Music Traditions 350: Ancient to Baroque
William Byrd
Covert Catholic Values with Anglican Anthems
Comparison of Style to Catholic Gradualia
By: Shelley Mitchell
Instructor: Mr. Terry Dean
Indiana State University
5 December 2008
2
Composer William Byrd (1543 – 1623) distinguishes himself from many of his contemporaries
by the superb individual qualities within his compositions. Byrd displays a multi-faceted musical
personality rather than concentrating on a single style or type of music. From the 1570s onward, Byrd
becomes increasingly involved in Catholicism. Composing nearly 50 motets between 1575 –1591,
and William Byrd’s commitment to his religion gradually began to show influence in his musical
styles and in the composition of his motets, primarily within his choice of text. Though many of the
texts within his works have a very high Anglican quality, Byrd begins to incorporate many
economical and religious themes into his works, such as the coming of deliverance. This project will
explore how, William Byrd responds to the religious turmoil during his time by showing its influence
in his works, along with his personal obstacles to overcome. Works in which these elements are
present include the analysis of Byrd’s Gradualia, Cantiones sacrea 1575 & 1589 and Anglican
Anthem: Sing Joyfully, Unto God..
The Reformation began with the Protestant church objections against the Catholic Church
Doctrines, religions were intricately compiled to that which was deemed appropriate. The
Reformation began with Martin Luther and spread to two more main branches: The Calvinist and The
Church of England. In response to the expanding branches of the Protestant church, the Catholic
Church began the Counter- Reformation. Thus, the Council of Trent was convened and dedicated to
improving the discipline and administration of the Church. The Council of Trent demanded
simplicity in music in order that the words might be heard clearly. This placed a serious stumbling
block in the path of the development of musical techniques to be found later. Many religions had to
adapt to the changes demanded by the Council of Trent, “though music in the Catholic Church was
changed relatively little by the religious turmoil in the sixteenth century.”1 This was due to
composers such as Byrd whom remained true to the religion, and refused to change their style of
composing.
As a leading composer in the late Renaissance, Byrd served the Church of England, as a
member of the Royal Chapel, but he composed for both Anglican and Catholic Latin masses.2 His
association with the Catholic Religion during this time of turmoil created a considerable amount of
danger for many citizens. Upon his death Byrd expressed in his will, a pious wish that he might live
1
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music. ( New York:
W.W. Norton & Company, 2006), 224.
2
Burkholder,Grout, and Palisca, Western Music, 222.
3
and die a true and perfect member of God’s holy Catholic Church.3 As seen through his devotion and
works, there is no doubt that throughout Byrd’s life he remained faithful to the older traditions of the
Church, as opposed to the Reformation of the time. However, it is surprising that Byrd also held
positions within the service of the Reformed Anglican Church.
Much of the life style during this time depended on the personal friendships that one could
develop with minor officials in the hope of avoiding the harsh treatments and heavy fines given to
many recusants. Byrd’s commitment to the Catholic cause gradually found its way into his motets.
While composing mostly for the Anglican Church, his expressive compositional techniques from
Catholic influences begin to be incorporated, creating an overall compositional technique used within
all his works regardless of the religious context. Although free to hold religious convictions
privately, Catholics were not allowed to hold their services in any form of public expression.
Catholics began fleeing their homes, attempting to avoid the rapture on their religious views.
“The 1580s bare witness to another change in the English political climate, as Missionaries returning
from abroad try to aid the Catholic cause; plots and counter plots were being put forth as the Catholic
communities are being forced underground.”4 Catholics then began to build underground
communities. Byrd, being very much an influential member of recusants, delivers his message
through his music, while many others did so through politics. In the 1590s Byrd’s masses were
intended and written for liturgical use by Catholics who celebrated Mass in secret. Being a loyal
Catholic in a highly Anglican state, Byrd then became a loyal subject to the crown in order to enjoy
the protection of Queen Elizabeth I.5 However, neither Catholic sympathies nor Catholic activities
stopped Byrd from establishing himself. By the time he was thirty-five he became the leading
member of Queen Elizabeth’s Anglican Chapel Royal.6
Succeeded by Protestant Queen Elizabeth in 1558, after Catholic Queen Mary passed away,
William Byrd was eighteen and already sufficiently accomplished in comparison to older and more
skilled composers of the time. “The freedom from liturgical constraints allowed composers and
patrons to select their own text; this itself was to hold a great significance for Byrd.”7 Many Catholic
composers in this period shared several common characteristics such as the following: the expansion
of voices from four to six, creating a thicker texture and variety; use if imitative polyphony; syllabic
3
Edmund Fellowes, William Byrd ( London: Oxford University Press, 1948), 36.
David Skinner, William Byrd, (accessed October 1 2008).
5
Burkholder,Grout, and Palisca, Western Music, 223.
6
Joseph Kerman, Music and Politics, (accessed October 1 2008).
7
John Harley, William Byrd: Gentleman of the Chapel Royal ( England: Scolar Press, 1997), 204.
4
4
text declamation; and the use of canon. Composers also began to set Latin words drawn from
religious sources, though without any clear reasoning.
One of the many and first genres to be composed by Byrd is that of the motet. With the
development and completion of the Cantiones Sacrea of 1575 and 1589, Byrd employed a variety of
voice combinations. Byrd’s choice of words for his Cantiones Sacrea of 1575 is as varied as found in
those composed earlier at Lincoln. “There are five prayers for mercy, three songs of praise, two
observations on the human condition, and one rule of conduct. Unlike the texts Byrd was to set after
he became more deeply involved in recusant affairs, most carry no secondary political function
applying to English Catholics of the time.”8 The texts chosen, such as Emendemus un melius, Libera
me Domine et pone me iuxte te, and Da mihi auxilium, were so because of the allowance of musical
expression.9
Byrd was trying greatly to avoid texts set by his English predecessors. Many of the texts from
the 1575 and 1589 Cantiones Sacrea express sadness or contrition, and appeal for God’s help. Even
more significant is the amount of texts that can be interpreted as a reference to the plight of Byrd and
his fellow Catholics. These were set during the time that Byrd and his family, were continuously
accused of recusancy, for being associated with Catholic missionaries. It takes little imagination to
find half a dozen texts in each volume that speak plainly for a community that felt itself
beleaguered.10
Ex. Cantiones Sacrea
Domine, praestolamur adventum tuum….Dissolvas iugum captivitatis nostrae… et libera populum
tumm. ( Lord, we look for Thy coming… unloose the yoke of our captivity… and deliver Thy people.)
Memento, Domine, congregationis tuae … et mitte eis auxilium. ( Be mindful, O Lord of Thy
congregation … and send them help)
Vide, Domine, afflictionem nostrum … et Miserere populi tui gementi et flentis. ( Behold , O lord our
affliction … and have mercy upon Thy sighing, weeping people).
8
Harley, William Byrd, 227.
Ibid
10
Harley, William Byrd, 228.
9
5
Many other similar phrases abound: ‘Jerusalem is forsaken,’ Let us not perish, ‘insults and
terrors have I suffered’, ‘there is hope in thy last days’, and ‘the children shall return to their own
border’, Unhappy am I, bereft of help on every side’, ‘Save us, O lord, for we perish’.11
The writing in many of Byrd’s works is taut and concise. Long vocal lines of earlier motets
have given way to short , strikingly molded motives following one another in a series of complex
rhythmic patterns and leisurely use of imitation. Structured tempo changes form an integral part of
Byrd’s methods of illuminating the texts.12
Anglican Anthems
Another topic of discussion about Byrd’s music is his consistent production of Anglican
anthems under the Church of England and Queen Elizabeth I. His Anglican music resulted from his
commitment to supply the Lincoln Cathedral with ‘cantica et servitia divina’ for the rest of his life.
“Payment of the money which was part of the arrangement began on 25 March 1574.”13 The
development of the anthem was one of the many musical innovations spawned by English
reformation.14 Anthems were designed to be an optional addition to the service; justification came
from Queen Elizabeth I’s decree in favor of choral music. Liturgically, the Anglican anthem has no
equal style of composition with the Catholic Church. The anthem provides a moment of purely
musical expression in old style.15 It was an unaccompanied motet style, where free polyphony is the
prevailing rule. Text is illustrated both harmonically and figuratively by means of descriptive
melodic line and chromatic coloration.16 Expressive and dramatic in nature, anthems share all of their
structural characteristics and syllabic works with at least semi-independent accompaniment from the
organ.
Byrd’s texts are drawn fairly equally from psalm texts and sacred verse. The more simplistic
musical style of the Reformed Church frustrated devoted music lovers, and the anthem provided a
moment of purely musical expression in the older traditional style.17
Some cross-over anthems that were included in secular and sacred sources are: O God Give
Ear- a full anthem from the 1588 publication of Psalms, Sonets and Songs; an Early Tree a Heavenly
Fruit; Have mercy Upon Me, O God – two verse anthems found in manuscript collections; Christ
11
Harley, William Byrd, 228
Harley, William Byrd, 242.
13
Harley, William Byrd, 299.
14
Deborah Ann Casey, “ The Catholic Gradualia and Anglican Anthems of William Byrd: A Comparison”
( MA Thesis, San José State University, 1978), 55.
15
Ibid
16
Casey, “William Byrd: A Comparison”, 53.
17
Casey, “William Byrd: A Comparison”, 56.
12
6
Rising – a verse anthem from the 1589 Songs of Sundrie Natures. The use of polyphony and
homophony, aside from the difference between the verse and full style works, is one of the most
important stylistic characteristics and structural devices used within Byrd’s anthems.18 Many church
leaders also expressed a clear preference for simple, syllabic music, in spite of Elizabeth’s liberal
attitude towards music. Even with the strong restrictions set within the boundaries of composing for
the Anglican Church, Byrd still does not strictly adhere to a homophonic compositional style.
In Byrd’s Anglican Anthem, Sing Joyfully Unto God, the opening phrase of the text is set with
a single voice on each part. This technique is very similar to the Catholic Church settings of Chant
incipits. This full anthem by Byrd is much more polyphonic in nature than that of verse anthems. It
also borrows heavily from both madrigal and motet styles, though modified for the liturgy. Sing
Joyfully Unto God is one of the most thoroughly motet-like of the many Byrd anthems. Within the
anthem there is a new point of imitation for each new phrase of text. Byrd‘s extensively uses the text
depictions to creatively illustrate the meaning of the music. Below is an example of Byrd’s ‘Sing
Joyfully, Unto God’; emphasizing the trumpet call of the text. All voices are singing together to
depict the fullness of a trumpet fanfare, thickening the texture to illustrate the musical concept. This
sections begins with homophony, but polyphony is employed throughout the work.19 Byrd uses this
technique primarily for a structural contrast device.
Ex.1 Homophony as text depiction. Sing Joyfully Unto God, measures 18-20
18
19
Casey, “William Byrd: A Comparison”, 61.
Casey, “William Byrd: A Comparison”, 64.
7
The use of imitation as a structural tool is maintained primarily within full anthems. Byrd also
uses a technique called pairing of voices, which was highly popular within the Renaissance period.
Ex. 2 Arise, O Lord, Why Sleepest Thou?, measures 1-4
William Byrd’s means of producing textual clarity lies primarily, but not exclusively, in his
structural techniques. The listener’s understanding of the text relies on the rhythmic, melodic, and
vocal inflections. Many of the preferences of the Anglican reformers contribute to Byrd’s textual
clarity. Byrd’s use of melismas in the vocal line also corresponds to his use of polyphony,
incorporating melismatic lines to accent the ends of phrases, or bring out the primary focus of the
musical thought. The syllabic nature of Anglican anthems gives accented syllables of the text a
greater emphasis for the listener.20 The use of musica ficta and abrupt modal shifts, or changes from
major to minor sonorities, can also produce an effect of anguish or sorrow representing a specific text.
Byrd’s ability to illustrate the text musically, even within the restricted form available in the Anglican
Church, is remarkable.21 Even though Byrd did not obtain the freedom of the secular style, he
employed a wide range of musical devices to creatively illustrate the meaning of the text.
20
21
Casey, “William Byrd: A Comparison”, 70.
Casey, “William Byrd: A Comparison”, 72.
8
Another aspect of Byrd’s anthems is the harmonic structure, which proves to be as interesting
as the rest of his compositional techniques. Within all of Byrd’s music the anthems are a mixture of
modal and tonal styles, with a much greater use of homophony. The basically restricted style
imposed on musicians by the Anglican reformers limited many opportunities for melodic expression
within music. Therefore, many composers turned to the use of harmonic variety. Byrd favored
occasional cross-relations, within the use of the tritone as an internal dissonance. “Though this type
of harmonic clash was to be avoided, especially between upper parts, Byrd used it; it was to provide
inner tension for the interpretation of the text.”22 The tritone is an unusual technique used within
works of this time period because it was referred to as the ‘forbidden’ interval.
Ex. 3 Melodic Outline of a Tritone. Hear My Prayer, O Lord, Measure 19-20
A final point of discussion regarding Byrd’s harmonic approach to the anthem is his treatment
of the cadence. In contrast to his more well-known independent attitude towards the use of musica
ficta, Byrd conforms closely with the conservative ideals of the Anglican Church within the cadence
points in his anthems.23
A brief overview of Byrd’s anthems reveals a musical style that is basically
homophonic in nature, and cast in one of two stylistic forms: accompanied works, with instrumental
parts either doubling voices or acting independently; and dramatic and expressive works, within the
confines of the simple, syllabic texture, and use of cross-relations and rhythmic irregularities to
provide interest.24 Ultimately, the musical style is dictated more by the reformers of the Anglican
Church than by the preferences of the composer, but Byrd’s personal flair is evident as he continually
breaks away from the restricted forms of the more ardent reformers.25
Casey, “William Byrd: A Comparison”, 79.
Casey, “William Byrd: A Comparison”, 81.
24
Casey, “William Byrd: A Comparison”, 82.
25
Ibid
22
23
9
William Byrd invested a good part of his mature artistic life in the Tridentine liturgy and the
events of the Roman Catholic Church year. The musical contents within both volumes of Byrd's
Gradualia reflect his commitment to well-ordered worship. In many English Catholic letters and
memoirs, one constant trait is the high degree of anonymity, concentrated especially around
priesthood and liturgical activities.26
An example includes the memoirs of Jesuit missionary John
Gerard, which contained hundreds of anecdotes about his friends and associates; very few people are
identified by name or place. Exact details that would be most useful, such as the times and places
where Mass was celebrated, the people who took part, and their connections, would have been the
most incriminating. It is known that English Catholics valued the Mass very highly and were often
willing to risk their lives.
One instance describes an early morning raid on an illegal service: “Father Southwell heard the
din, he guesses what it was about, slipped off his vestments and stripped the altar bare. While doing
so everyone laid down their personal belongings, with nothing left to betray the presence of a priest.
Some even went as far as to turn the beds and put the cold side up to delude evidence.”27 Gerard and
friends had just enough time to “stow themselves and all their belongings into a very cleverly built
type of cave, where they would hide until the searchers would relinquish themselves for the night.”28
While many priests became accustomed to these intrusions and raids by the police, they began to
travel lightly “knowing their papers and possessions could be abandoned, confiscated or destroyed at
any moment”.29
This personal testament to the religious wars of the time is evidence of the harsh times in which
Catholics survived in order to remain true to their religion. While Byrd was under the protection of
Queen Elizabeth I, many others may not have had the security of a high social status protector as did
Byrd. Though he was under the protection of the Queen, Byrd still continued applying covert
messages within works. Such as the Anglican Anthems previously discussed. Writing for many
secret Catholic meetings, Byrd commits to his own musical identity and expresses the discrimination
against Catholics of the times. It was his hope to make a difference and inspire many to follow their
beliefs. Rather than bending to the times and pressure of others.
Kerry McCarthy, Liturgy and Contemplation in Byrd’s Gradualia ( New York: Routledge, 2007), 71.
Ibid
28
McCarthy, Liturgy and Contemplation, 72.
29
Ibid
26
27
10
Catholic Gradualia
The two books of the Gradualia, published in 1605 and 1607, not only represent a different
period within Byrd’s works but they also have a somewhat different aim. Many of the motets within
the Gradualia were especially designed for liturgical use for those who still followed the older
Catholic traditions.30 Byrd presents the Gradualia as a mature synthesis of his Catholic compositional
style.
“The first volume of the Gradualia consists of sixty-three separate motets for the principal Feats
of the Blessed Virgin and the Feast of All Saints”.31 The Gradualia is divided into three sections for
three, four and five voices, unrelated to any particular feast. Volume II, containing forty-six motets,
is also divided into three parts for four, five, and six voices, though each volume contains a few
pieces that are related to the liturgy. Within Volume I, the two pieces that are not specifically related
to the liturgical plan are “Plorans Plorabit (I. 1-28) and Salva Sola Dei Genetrix (I. 2:17)”.32 Within
the second volume of the Gradualia, there are also only two works unrelated to the main liturgical
scheme of the Gradualia, yet they do hold a place in the liturgy. “Laudate Dominum (II. 3:45) is a
tract for Holy Saturday, and Venite Exultemus (II. 3:46) is the first Psalm Verse for the Matins
Invitatory”.33
When writing this work Byrd’s main concern was placed upon the fitting of the text to the
music. Each section is also through-composed with a new point of imitation for each musical phrase;
as within many of his Anglican Anthems. A means to create some variety and contrast within the
Gradualia Byrd uses his technique of pairing voices, along with his creative use of homophony and
polyphony.
30
Fellowes, William Byrd, 79.
Casey, “William Byrd: A Comparison”, 25.
32
Casey, “William Byrd: A Comparison”, 26.
33
Ibid
31
11
Ex. 4 Use of Voice Pairings for Coloristic and Textual contrast.
Victimae Paschali, measures 37-46
Ex. 5 Homophony for Textual Emphasis. Suscepimus Deus, measures 20-22
12
As important as was Byrd’s use of many techniques to shape the structure of the works, equally
as important was the influence of the text on musical style. Text became the most important element
to many of his works, not just exclusively this Gradualia. “In addition to their influence as liturgical
elements set to reflect their proper components of verse, response; the words themselves influence
rhythm, melodic contour, and the expressive qualities of the piece.”34 “Byrd knew that the basic test
of good vocal music is that it should be ‘framed to the life of the words’ to his own expression.”35
The serious and constant meditation upon the words is what caused that certain hidden power to be
revealed, enabling Byrd to continue inventing new musical phrases.36
Melodic syncopations serve the same function as the uneven textual settings in providing
rhythmic life and interest. A large portion of Byrd’s phrases seem to begin on the half-beat within the
body of his works. Dotted rhythms and leaps on half-beats provide greater variety in addition to
adding vocal independence. The techniques show that the more voice parts that are involved in the
melodic line, the greater incidence of syncopation in order to provide each part with as much
individuality as possible.37
Ex. 6 Off-beat Entries and syncopated Melodic Lines Add to Rhythmic Interest.
Responsum Accepit Simeon, measures 23-25
Casey, “William Byrd: A Comparison”, 39.
Fellowes, William Byrd, 80.
36
Ibid
37
Casey, “William Byrd: A Comparison”, 42.
34
35
13
During the sixteenth century many composers developed a large vocabulary of melodic gestures to
understand or represent certain emotions or ideas within the text. Some of them such as “Curving
lines for ‘wander’, rising lines for words such as ‘ascend’ or ‘arise’, and fast melismas for ‘running’
seem fairly obvious, yet composers used many more that were more subtle.”38 Byrd used his
techniques to concentrate more on structural phrasings than individual words. Over time Byrd
refined his compositional techniques to produce a smooth and more adaptable style.
Composed during the same time period, both the Catholic Gradualia and the Anglican anthems
show noticeable differences in their musical style, yet show a similarity consisting within the formal
structure, melody and text, and harmony.
Formal Structure
The Gradualia motets are structured according to their liturgical role, with the text being
determined by the liturgy of the specific day. Within the Gradualia the structure is throughcomposed, polyphonic, imitative in nature, and the use of soloists is confined to certain portions of
text; traditionally those that were sung in the older Gregorian tradition. Without the free stylistic
characteristics of the anthems, the Gradualia commonly uses voice pairings with choral sections.
Byrd compensates for the stricter guidelines of the work with a larger change in texture by “allowing
a variety of subtle interpretations of the text which are denied to the anthems.”39
The Anglican Anthems fall into two structural classes. The full anthem, which is derived from
motet style, and also the verse anthem, which is a free-form alteration between one or more soloists
and chorus. As a free-form structure, musically the anthem is optional to the service, not particularly
bound to any typical style of text or form.40 Both forms of the Anglican anthem are rooted primarily
in homophony rather than polyphony, and extremely mild in the use of imitation.
Two compositional techniques used with the anthems that are not present in Gradualia, is the
use of “accompaniment, and soloists as the primary structural tool.”41 Almost always accompanied
by at least a semi-independent organ part, the use of instruments gives a new outlook into sacred
vocal music. Within the anthem the use of soloists is “valid in its own right”, were as in the
Gradualia the use of soloists was to relieve a long polyphonic passage.42 Byrd uses these two
techniques to reflect the greater influence of secular music the Anglican anthems. Byrd’s
Casey, “William Byrd: A Comparison”, 43.
Casey, “William Byrd: A Comparison”, 84.
40
Ibid
41
Ibid
42
Ibid
38
39
14
incorporation of secular song in his anthems also reflects the freedom of the work, since it does not
fulfill any function other than inspiring the congregation.
The remainder the structural differences occur within the different musical philosophies of the
church. For the Gradualia music was designed to be as beautiful as possible to glorify god, even with
the sacrificing of text; where as the music of the Anglican anthems were based upon clarity of text,
and the music must be of simpler nature to accommodate this purpose.
Text and Melody
One of the most influential musical techniques that Byrd assimilates within his music is the use
of the Text, intertwined into a unique melodic gesture. Within both genres of music Byrd “exercises
great care in following the rhythmic accents and vocal inflections particular to the language.”43
Developing a style of musical ‘speech’ in both the Gradualia and anthems, Byrd contributes heavily
to the expression and clarity of the text. The Anglican anthems and Gradualia by Byrd “incorporate
rhythmic syncopation as a means of driving the piece forward, commonly found within Byrd’s works,
regardless of the function of the composition; though Byrd occasionally differentiates between the
two styles.”44 A universal technique that Byrd incorporates to his sacred music is his treatment of the
Amen. “Byrd always set this part of his text in a free, and polyphonic style, and his settings in both
the Catholic and Anglican works are indistinguishable.”45
Of the many contrasts in Byrd’s Gradualia and anthems is the difference in the languages used.
The fact remains that the Catholic Gradualia is set in Latin and the anthems are set in English,
creating an instant difference in stylistic characteristics of the texts. Many would expect Byrd to
differ somewhat in his treatment of the text between the two languages but Byrd’s “approach to the
setting, and his consideration for all aspects of the text, are the same both language.”46
Harmony
Much of Byrd’s harmonic stylistic techniques apply to both his Gradualia and anthems.
Although it can be found that there is a distinctive weakening of the traditional modal system in his
works, Byrd’s compositions are still organized in a linear fashion. Displaying a marked similarity to
each other it is still important to examine the use of direct and indirect tritons and dissonances, crossrelations, and irregular dissonant treatment; pressing on the importance of the extent in use. The
Casey, “William Byrd: A Comparison”, 87.
Ibid
45
Casey, “William Byrd: A Comparison”, 89.
46
Ibid
43
44
15
anthems employ all of these devices occasionally, but they are more “traditional in their harmonic
style.”47
Many of these compositional devices are evident within Byrd’s Gradualia, where “they play a
role in harmonic interpretation of the text as well as providing added musical interest.”48 Another
aspect includes Byrd’s approach to the cadential points. With a larger use of irregular cadential
points with his Gradualia using the dominant sevenths and the so-called English cadence. However,
the Anglican anthems use the traditional Renaissance cadence formulas exclusively.
In revealing two very different, yet similar musical styles, a connection is being built between
Byrd’s Catholic and Anglican literature. Structurally, Byrd’s anthems and his Gradualia are very
different. Musically such as: text, harmony, and melody, they are related, but Byrd hides this by
creating different emphasizing points an aspects of melodic and harmonic styles. In identifying the
music of William Byrd, it is the inner similarities that make the individuality of his compositional
techniques. The external characteristics can be attributed to the Church in which they were
composed for. Putting his own personal style into his work for both religions, Byrd was “genius
enough to be able to do so in two essentially opposite musical structures with radically altering his
won musical characteristics.”49
Whether once style can be deemed better than another implies that music has a right and a
wrong way to be composed. Within this time period, constraints placed upon sacred music shortened
the opportunities and limited amounts of musical potential from many composers. But within both
the Anglican anthems and Catholic Gradualia, Byrd molded and created music that is both beautiful
and inspiring in its own way.
From the time William Byrd began composing his loyal commitment to the Catholic religion
became apparent. Though holding an office in the Anglican Church, Byrd was able to successfully
present his own values within his music. Though many of his texts have a very high Anglican quality,
the covert messages of the condemned Catholics shine through. The major strength that Byrd held in
offering his service to the people was through the texts of his works; placing the covert meanings
behind Anglican values and restrictions towards music within his anthems of the time.
Being under the service of Queen Elizabeth I created little to no toll upon Byrd’s life. Though
accused of recusancy, Byrd continued intricately composing his values into the Anglican anthems and
Casey, “William Byrd: A Comparison”, 90.
Ibid
49
Casey, “William Byrd: A Comparison”, 93.
47
48
16
Protestant culture. Continuing to compose his motets and gradually moving towards other genres of
the times, Byrd became one of the most influential and multi-faceted composers of the period. Many
of the musical techniques that Byrd incorporated into every work include those of imitation to
homophony, paired voice imitations, and most importantly the clarity of the text depiction and
declamation within his vocal works.
As many have observed throughout the century, several composers earlier within the century
had begun to choose motet texts for apparently personal rather than liturgical reason, but Byrd
departed radically from English practice in doing so. He was attracted to a variety of texts, regardless
of their roles in the service.50 This suggests that Byrd wished his music to support and enhance the
texts he selected, whether from Scripture, hymns, prayers or the liturgy. His extraordinary
accomplishments in virtually every genre earned for him a place of distinction during England’s
golden age of music. Perhaps it is the best to agree with J.A Westrup in saying “ In music, too, he
found his natural way of speech. He had, he said, no, ‘other powre of serviceable thankfulnesse then
in notes & tunes of Musicke’.”51
50
51
Howard M. Brown, Music in the Renaissance ( Englewood Cliffs, NJ: Prentice-Hall,1976), 327.
J.A Westrup, William Byrd ( 1543-1623) ( accessed Dec.1 2008)
17
Bibliography
A. Books
Brett, Phillip. William Byrd and his Contemporaries. University of California Press, 2007
Brown, Howard M. Music in the Renaissance. Englewood Cliffs, N.J: Prentice-Hall,
INC, 1976.
Burkholder, Peter J., Donald Jay Grout, and Claude V. Palisca, A History of Western Music.
New York: W.W. Norton & Company, 2006
Fellowes, Edmund. William Byrd. London: Oxford University Press, 1948
Harley, John. William Byrd: Gentleman of the Chapel Royal. England: Scolar Press, 1997.
McCarthy, Kerry. Liturgy and Contemplation in Byrd’s Gradualia. New York: Routledge,
2007.
Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. New York :McGrawHill 2007.
Turbet, Richard. William Byrd, a guide to research. New York: Routledge, 2006.
B. Thesis
Casey, Deborah Ann. “The Catholic Gradualia and Anglican Anthems of William Byrd: A
Comparison.” MA Thesis, San José State University
C. Scores
William Byrd, Gradualia. Edited by Edmund Fellowes ( London : Stainer & Bell, 1937-1950).
18
D. Online Articles
Boorman, Stanley. “Notes” Second Series, Vol.51, No. 1 ( Sept. 1994) pg. 402-403
http://www.jstor.org/action/ahowpublication?journalCode=notes ( Accessed 20 Seot. 2008).
Kerman, Joseph. "Music and Politics: The Case of William Byrd ( 1540 - 1623)(1998), 277,
http://www.aps-pub.com/proceedings/1443/Kerman.pdf. (accessed October 19, 2008).
Kerman, Jospeh. “William Byrd”, Grove Music Online ed. L. Macy ( Accessed 10 Sept, 2008),
http://www.oxfordmusiconline.com/subscriber/
Mateer, David. “William Byrd’s Middlesex Recusancy.” Music and Letters, Vol. 78, No. 1 ( Feb,
1997) pp. 1-14, http:www.jstor.org/stable/737502?seq=1 ( Accessed 20 Sept. 2008).
Skinner, David. "William Byrd." 2003.
http://www.goldbergweb.com/en/magazine/composers/2001/03/287_print.php (accessed
October 1 2008).
Westrup, J. A. “William Byrd ( 1543-1623), “Music & Letters, XXIV, No. 3
http://www.jstor.org/stable/727454?seq=2&Search=yes&term=Westrup&term=%22William+B
( accessed Dec.1 2008)
E. Audio Recordings
William Byrd, Byrd Gradualia, the Marion Masses. William Byrd Choir: Gavin Turner,
Hyperion Records, CD Interlibrary Loan.