Now available! England’s Phœnix: William Byrd

NEW RELEASE!
Recorded live in concert in May 2016

 

William Byrd is England’s greatest Renaissance composer. His sublime motets & anthems, nestled around the magisterial Mass for 5 Voices, will captivate & inspire you. 

A contemporary of Shakespeare, Byrd (ca.1540–1623) was a Catholic composer at a time when it was illegal in England. Yet he composed with apparent impunity, because of the esteem in which he was held by his contemporaries and by Queen Elizabeth I.

For more information and/or to order your copy, click here.

 

Now available: Carols for Quire CD, volume 3

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Celebrate the holidays all year round with the 3rd volume in Quire Cleveland’s series of Carols for Quire from the Old & New Worlds. By popular demand, we’ve issued the splendid 2013 concert, where British and American Christmas music from the past 100 years met its match with settings from earlier centuries. Hear “Silent Night” (1818) paired with “In the bleak midwinter” (1906), and 3 settings of “A spotless rose” from the 17th, 20th, and 21st centuries.

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The Land of Harmony: American Choral Gems

AmericanCDCover

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Meet us in The Land of Harmony, Quire Cleveland’s new recording of American music! It includes early versions The Star-Spangled Banner,” “When Jesus Wept,” “Amazing Grace” — and much more.

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Madrigalian Motets

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Quire Cleveland’s recording of “music that shouldn’t exist” — Madrigalian Motets from Jacobean England  is now available. It features exquisite music by your favorite English composers, including William Byrd, Thomas Weelkes, Alfonso Ferrabosco, Jr., John Wilbye, and more.

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Carols for Quire Vol. 2

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Carols for Quire from the Old and New Worlds, Volume 2 features Medieval carols, Renaissance chansons and motets, English Romantics, and even a world premiere composed for Quire Cleveland!

With Carols for Quire 2, you can experience Quire Cleveland’s annual programs at the architecturally splendid Trinity Cathedral, which have become a favorite holiday tradition. Read a rave review of the 2012 performance, as well as praise for this recording in Early Music America magazine

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