ORLANDO GIBBONS 400: AN ENGLISH KEYBOARD LEGACY
Resonus Classics, 2026
«Arguably the outstanding interpreter of Byrd’s keyboard music from her generation, Friederike Chylek turns her attention to Byrd’s younger Chapel Royal colleague (and possible though undocumented pupil) Orlando Gibbons. (…) Ms Chylek’s strengths are a wonderful grasp of melodic line, an impeccable sense of momentum, and superb clarity of contrapuntal discourse. It will come as no surprise to those aware of her other recordings that many of her interpretations on this disc are the best, or equal the best, of the works under consideration. (…) Indeed, I warmly recommend it.»
«Friederike Chylek meistert die vielen Triller, Arpeggien, Repetitionen mit großartiger Selbstverständlichkeit. (…) Dazu kommt eine stupende rhythmische Sicherheit, die über alle Klippen elegant hinweg führt. Wenn man als vorletztes Stück The Queen’s Command von Orlando Gibbons hört, kann man nur staunen über die Prachtentfaltung, die bei einem scheinbar bescheidenen Instrument wie dem Cembalo möglich ist.»
TALLIS, BYRD, GIBBONS
OehmsClassics, 2023
«This is an altogether delightful recording, with an outstanding exponent of early English keyboard music performing a well-chosen selection of works by three composers whose individual pieces always provide edification and pleasure. (…) There are fine performances on the 1699 Neapolitan harpsichord of masterpieces such as the Third Pavan and Galliard, Walsingham and Fortune. Finest of all, and indeed the finest of any commercially recorded version of the work, is O mistress mine – one of Byrd’s gems that should be heard much more often, given here in a performance of perfection encapsulated in the balance and delicacy of the concluding cadence.»
«Friederike Chylek durchschreitet mit ihrem Album Tallis – Byrd – Gibbons drei Generationen der englischen Renaissance. Und wenn es auch nur drei Orgelstücke enthält und sein Großteil in wunderbar atmend gespielter Cembalomusik besteht: Die beiden Felix namque von Thomas Tallis und die Fantasie über Ut Re Mi Fa Sol La von Byrd machen ein gutes Drittel der Spielzeit aus. Friederike Chylek spielt diese herrlich sich ausbreitende Polyphonie an der 1715 fertiggestellten Leu-Orgel der Klosterkirche Rheinau, deren Grundstimmen den vokalen Grundzug der drei Kompositionen zu schönster Geltung bringen.»
«Músicas un tanto abstrusas y de mucha exigencia para el oyente, se hacen asequibles gracias a la altísima calidad interpretativa de Friederike Chylek, que queda demostrada por su sobresaliente técnica, por la acertada elección de los tempi y por sus impecables versiones, que rezuman una profunda sensibilidad expresada con ligereza.»
William byrd: keyboard music
OehmsClassics, 2022
«Among discs devoted to Byrd’s keyboard music, this current recording is among the very finest. (…) it provides ideal listening: stimulating to the intellect, and delightful for recreation.»
«In every one of Chylek’s interpretations, I hear an uncommonly sober balance of emotional expressiveness with technical clarity, and through this disk I am reminded once more why I have had this lifelong relationship with Byrd. In this music there is a voice which fully knows the complex tapestry of life’s joys, sorrows and uncertainties; yet it urges us to never stop moving forward.»
From Byrd to Byrd
OehmsClassics, 2019
«I cannot recommend this disc too highly. Anyone familiar with some or all of these works will find them interpreted in so many new lights. It is also an ideal disc for someone setting out to discover early English keyboard music – a wonderful repertory complimented by this wonderful disc.»
Time stands still
„The performances by harpsichordist Friederike Chylek are delightfully elegant and sensitive. Her mastery of tempo flexibility and agogic nuance allows the music to breathe without compromising steadiness of meter. (…) Listeners who admire this repertory will not go wrong with this recording.“
Italians in London!
Simon Standage, violin
Friederike Chylek, harpsichord