January 18, 2016.William Byrd.With numerous but minor stars who were born this week – two Russians, Cui (b.January 18th of 1835) and Tcherepnin (b.January 20th, 1899), three Frenchmen, Chabrier (1/18/1841, Chausson (1/20/1855) and Dutilleux (1/22/1916), and Muzio Clementi (b. January 23rd of 1753), an Italian who made his name in England – we’ll turn our attention to one of the greatest English composers of the Renaissance, William Byrd.We’ve mentioned him numerous times but have never written about him in detail.Byrd was born in London, probably in 1542 or 1543. If that’s the case, he would have been about 12 years younger than Orlando di Lasso and five years older than Tomás Luis de Victoria.Very little is known about Byrd’s early years.He was probably a chorister at the Chapel Royal and a pupil of the much older (and famous) Thomas Tallis.Some years later, in 1575, Queen Elisabeth granted Tallis and Byrd a “patent” to print and publish music, and historians surmise that the relationship between the two composers was that of a teacher and pupil.In 1563, Byrd was appointed the organist and master of choristers at the historic Lincoln Cathedral.Composing was one of his main responsibilities, and a number of compositions from that period have survived.Since the reign of Henry VIII, the Church of England had been separated from Rome, but Catholicism was still quite strong and tolerated.Byrd, who was probably raised Protestant, eventually converted to Catholicism, and it’s likely that the years at Lincoln were those of transition. Catholic music of the period was much more complex than the music of the Protestant churches, where a simple melody and clarity of diction were valued more than elaborate polyphony.At some point Byrd was even reprimanded by the Cathedral’s Dean for writing “papist” kind of music. But he also complied with the requirements of the Anglican service, as this wonderful example demonstrates: Magnificat, from his Short Service, is simple and clear (Truro Cathedral Choir is conducted by Andrew Nethsingha). Lincoln was also the place where Byrd composed his first pieces for the virginal (a small harpsichord), thus becoming one of the first composers of what would be known as the English “Virginalist” school (Orlando Gibbons, John Bull and Thomas Morley are among it’s more illustrious representatives).
In 1572 Byrd was made a Gentleman of the Chapel Royal, a prestigious position through which he gained many powerful patrons among the courtiers of Queen Elisabeth, such as the Earl of Oxford and Lord Paget, the Earl of Worcester.The Queen herself was Byrd’s major benefactor.When she granted Byrd and Tallis a patent to publish music, their first issue, Cantiones, consisting of 34 multi-voice motets, was dedicated to the Queen.Here’s Byrd’s Motet for 6 voices, O lux beata Trinitas.It’s performed by the British Ensemble The Cardinall’s Musick, Andrew Carwood conducting.The years after 1575 were rather difficult for Byrd, as England became much less intolerant toward Catholics.Byrd was never directly prosecuted but at some point was suspended from the Chapel Royal.Byrd could no longer compose openly Catholic music; the most he could allow himself were motets, a form much more accepted in the Catholic service than the Anglican one.Byrd also continued to publish; his partner Tallis died in 1585, leaving Byrd the sole proprietor of the publishing company.Their earlier efforts weren’t commercially successful, but in the 1580s, Byrd, the monopolist, created a flourishing company.He also continued to compose, and here’s a Pavane from that period; Colin Tilney is at the harpsichord.
Byrd was to live another 40 productive years (he died on July 4th of 1623), and we’ll write about them later.Here is a short Agnus Dei from his Mass for Four Voices written in the later period of Byrd’s life.Simon Preston leads the Choir of Christ Church Cathedral, Oxford.
William Byrd, 2016
January 18, 2016. William Byrd. With numerous but minor stars who were born this week – two Russians, Cui (b. January 18th of 1835) and Tcherepnin (b. January 20th, 1899), three Frenchmen, Chabrier (1/18/1841, Chausson (1/20/1855) and Dutilleux (1/22/1916), and Muzio
Clementi (b. January 23rd of 1753), an Italian who made his name in England – we’ll turn our attention to one of the greatest English composers of the Renaissance, William Byrd. We’ve mentioned him numerous times but have never written about him in detail. Byrd was born in London, probably in 1542 or 1543. If that’s the case, he would have been about 12 years younger than Orlando di Lasso and five years older than Tomás Luis de Victoria. Very little is known about Byrd’s early years. He was probably a chorister at the Chapel Royal and a pupil of the much older (and famous) Thomas Tallis. Some years later, in 1575, Queen Elisabeth granted Tallis and Byrd a “patent” to print and publish music, and historians surmise that the relationship between the two composers was that of a teacher and pupil. In 1563, Byrd was appointed the organist and master of choristers at the historic Lincoln Cathedral. Composing was one of his main responsibilities, and a number of compositions from that period have survived. Since the reign of Henry VIII, the Church of England had been separated from Rome, but Catholicism was still quite strong and tolerated. Byrd, who was probably raised Protestant, eventually converted to Catholicism, and it’s likely that the years at Lincoln were those of transition. Catholic music of the period was much more complex than the music of the Protestant churches, where a simple melody and clarity of diction were valued more than elaborate polyphony. At some point Byrd was even reprimanded by the Cathedral’s Dean for writing “papist” kind of music. But he also complied with the requirements of the Anglican service, as this wonderful example demonstrates: Magnificat, from his Short Service, is simple and clear (Truro Cathedral Choir is conducted by Andrew Nethsingha). Lincoln was also the place where Byrd composed his first pieces for the virginal (a small harpsichord), thus becoming one of the first composers of what would be known as the English “Virginalist” school (Orlando Gibbons, John Bull and Thomas Morley are among it’s more illustrious representatives).
In 1572 Byrd was made a Gentleman of the Chapel Royal, a prestigious position through which he gained many powerful patrons among the courtiers of Queen Elisabeth, such as the Earl of Oxford and Lord Paget, the Earl of Worcester. The Queen herself was Byrd’s major benefactor. When she granted Byrd and Tallis a patent to publish music, their first issue, Cantiones, consisting of 34 multi-voice motets, was dedicated to the Queen. Here’s Byrd’s Motet for 6 voices, O lux beata Trinitas. It’s performed by the British Ensemble The Cardinall’s Musick, Andrew Carwood conducting. The years after 1575 were rather difficult for Byrd, as England became much less intolerant toward Catholics. Byrd was never directly prosecuted but at some point was suspended from the Chapel Royal. Byrd could no longer compose openly Catholic music; the most he could allow himself were motets, a form much more accepted in the Catholic service than the Anglican one. Byrd also continued to publish; his partner Tallis died in 1585, leaving Byrd the sole proprietor of the publishing company. Their earlier efforts weren’t commercially successful, but in the 1580s, Byrd, the monopolist, created a flourishing company. He also continued to compose, and here’s a Pavane from that period; Colin Tilney is at the harpsichord.
Byrd was to live another 40 productive years (he died on July 4th of 1623), and we’ll write about them later. Here is a short Agnus Dei from his Mass for Four Voices written in the later period of Byrd’s life. Simon Preston leads the Choir of Christ Church Cathedral, Oxford.