Page 55 - (DK) The Classical Music Book - Big Ideas Simply Explained

RENAISSANCE 1400–1600 53

See also: Missa l’homme armé 42 ■ Missa Pange lingua 43 ■ Canticum
Canticorum 46–51 ■ Ein feste Burg ist unser Gott 78–79

the first publication of Latin “sacred
songs” in 1575 was lukewarm,
perhaps because of the Catholic
sentiment of some of the texts.
In spite of his Catholicism,
To a man thinking about Byrd’s loyalty to queen and country
divine things … the most appears to have taken precedence
fitting measures come, over his religious adherence. In
I know not how, as if by thanksgiving for the victory of the
their own free will. English fleet over the Spanish
William Byrd Armada in 1588, Elizabeth William Byrd
composed a song titled “Look,
and Bow Down Thine Ear, O Lord.” Born into a large merchant
It is thought that she chose William family in London in 1540,
Byrd to set it to music. Although William Byrd most likely
the anthem is now lost, it would gained his musical training
have been a clear demonstration as one of 10 boy choristers
composers were permitted to of her high regard for him. at London’s St. Paul’s Church
use Latin as well as English when (the Gothic predecessor of
writing liturgical music. Last Anglican work St. Paul’s Cathedral), before
Byrd flourished under In 1580, Byrd published his going on to sing for Catholic
Elizabeth’s patronage. By 1565, Great Service, his last work for ceremonies at the Chapel
he was the organist and master the Anglican rite. A monumental Royal under Queen Mary.
at Lincoln Cathedral, where he composition, the Great Service Later, in 1572, during
Elizabeth I’s reign, Byrd
produced his Short Service, comprises seven sections for an became a Gentleman of the
settings for Matins, Communion, Anglican celebration of the mass Chapel Royal, a post he held
and Evensong, amounting to the in English for two five-voice choirs. for more than 20 years.
greater part of music in English for It is not known if Byrd wrote his While Byrd composed
the Anglican liturgy. Later, when Great Service with any particular much secular music, including
Byrd was a Gentleman of the choir or occasion in mind. However, works for virginals, he is best
Chapel Royal, Elizabeth granted the sheer scale of the piece and the known for his religious music.
Byrd and his fellow composer technical requirement of the writing In 1575, he and Thomas
Thomas Tallis, who was also a would have put it beyond the reach Tallis published a first volume
Catholic, a monopoly on music of all but the largest choirs. Some of Latin motets, Cantiones
production in England. hear it as a farewell to colleagues, Sacrae (Sacred Songs). After
or a last act of contrition to a Tallis’s death, Byrd continued
God and queen monarch who had chosen to the series with two volumes of
Concern about Byrd’s religious overlook Byrd’s Catholicism. his own Cantiones in 1589 and
1591. Byrd published his last
adherence did become an issue, In 1605, a messenger carrying work, Psalmes, Songs, and
however, in 1577, when Byrd’s wife, a copy of Byrd’s newly published Sonnets in 1611, 12 years
Julian, was accused of failing to Gradualia (a collection of settings before his death in 1623.
attend a service by the Bishop of of movements of the Mass for the
London, John Aylmer, a rigorous Catholic church year, for three
enforcer of the Act of Uniformity to five voices) was apprehended Other key works
of 1559, which aimed to unify the and thrown in Newgate gaol. 1589 Cantiones sacrae, Book 1
Anglican Church. From then on, The composer, however, avoided 1591 Cantiones sacrae, Book 2
Byrd did not make a secret of his imprisonment, facing only pressure 1605 Gradualia
Catholic faith, and the reception for in the courts and heavy fines. ■

US_052-053_William_Byrd.indd 53 26/03/18 1:00 PM