William Byrd (1540 or late 1539 –1623) was one of the most celebrated Engli… Read Full Bio ↴William Byrd (1540 or late 1539 –1623) was one of the most celebrated English composers in the Renaissance.
He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his superbly constructed keyboard works marked the beginning of the Baroque organ and harpsichord style. Byrd's life is interesting because of his Roman Catholic sympathies combined with his work in the court of the Anglican Queen Elizabeth I.
He composed much music, if intermittently, for the Roman Catholic liturgy, particularly in his later years; the two volumes of Gradualia are a prime example. Possibly as a result of this he did not receive widespread recognition in his lifetime, but was very well respected among the Roman Catholic gentry. In the anti-Catholic frenzy following the 1605 Gunpowder Plot, the first volume of the Gradualia (1605), was banned in England under penalty of imprisonment, as indeed was all of his Catholic music; however, his Anglican music - such as the Short Service, and the Responses - has been sung in English cathedrals uninterrupted for the past four centuries.
He lived until well into the seventeenth century without writing music in the new Baroque fashion, but his superbly constructed keyboard works marked the beginning of the Baroque organ and harpsichord style. Byrd's life is interesting because of his Roman Catholic sympathies combined with his work in the court of the Anglican Queen Elizabeth I.
He composed much music, if intermittently, for the Roman Catholic liturgy, particularly in his later years; the two volumes of Gradualia are a prime example. Possibly as a result of this he did not receive widespread recognition in his lifetime, but was very well respected among the Roman Catholic gentry. In the anti-Catholic frenzy following the 1605 Gunpowder Plot, the first volume of the Gradualia (1605), was banned in England under penalty of imprisonment, as indeed was all of his Catholic music; however, his Anglican music - such as the Short Service, and the Responses - has been sung in English cathedrals uninterrupted for the past four centuries.
Have with Yow to Walsingame
William Byrd Lyrics
We have lyrics for these tracks by William Byrd:
attollite portas Attollite portas, principes, vestras, et elevamini, portae a…
Ave Verum Corpus Ave verum Corpus natum de maria virgine. Vere passum immolat…
Ne irascaris Domine Ne irascaris Domine satis, et ne ultra memineris iniquitatis…
Ne irascaris, Domine Ne irascaris Domine satis, et ne ultra memineris iniquitatis…
The Great Service: Nunc Dimittis Now Thou dost dismiss Thy servant, O Lord, according to…
Tribue Domine Tribue Domine, ut donec in hoc fragili corpore positus sum, …
Tribue, Domine Tribue Domine, ut donec in hoc fragili corpore positus sum, …
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Dmitry Sofronov
Thank you! Have you not thought of playing Daphne from Camphuysen manuscript? It's rather close in style to the virginal music of England. I'd love to hear you playing it!
Neil Cave
no
Dmitry Sofronov
(cont.2) The Camphuysen Daphne sounds more... I'm not sure what word I want... There's a dynamic that brings it a bit ahead of the time of the virginalists. And I never never found a single scan from the Camphuysen - not for any money. I thought that perhaps you would have more luck than me.
Dmitry Sofronov
It really is a mysterious piece. I tried it on IMSLP once and failed. I got me the complete Fitzwilliam - there is a Daphne by Farnaby - but alas! - absolutely different but for the theme. According to the wikipedia, there's no Daphne in the van Soldt, unless it lurks there under a different name, as it may. Don't bother yourself (I guess you know but just in case) about Daphny from the Anne Cromwell - only the melody and some simple chords.
Dmitry Sofronov
@John Kelly Thank you, but I'm afraid I was misleading. This was 7 years ago when there was a 500 symbols restriction, and this comment is just a bit of my conversation with Rosemary, concerning a different piece we discussed - Daphne from Camphuysen.
John Kelly
Byrd's Walsingham is in the FItzwilliam, Volume I, but it's not quite the same version or even title as this one. This is from My Lady Nevells Book, which you can find on IMSLP (https://imslp.org/wiki/Special:ImagefromIndex/05179/hfjn, Hilda Andrews' edition). You can also view a facsimile of the original at the British Library, http://www.bl.uk/turning-the-pages/?id=07482f58-c64e-4f34-8e14-d49447645509&type=book. The set is much easier to find in My Lady Nevells Book--the book is much shorter than the Fitzwilliam!
Dmitry Sofronov
(cont.) Sorry about that - silly 500 symbols... There was a reason for me looking in the virginal music for this Daphne - I first heard it from an ancient Leonhardt's record, with no comments on the origin of the piece, and I was sure it was an anonymous virginalist. I'm not a specialist, of course, but if blind-tested, I would attribute the piece to Byrd; there's a likeness to the Queenes Alman; and yet, there's a difference.