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.
The Galliarde for the Victorie
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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P Belgazo
Much too fast! The indication is "Largo trionfale"
Matthew C. Ganong
I agree with you that it is too fast. However, there is no tempo marking on this work, which was common practice in music of the late 16th, early 17th centuries- the tempo is inferred by the title "Galliard", a stately, lively dance. To play it as a "largo trionfale" would be an abomination. That indication is not from the original My Ladye Nevells Booke from which I drew this piece, which has no tempo markings anywhere.
P Belgazo
@Matthew C. Ganong Glad you agree that this magnificent is played too quickly even if this interpretation has its merits since it really reflects the joy that triumph causes! I also admire the precision and clarity of the performance, especially at this speed. You are right: the indication "largo trionfale" is not in the original score. I suspected it a little bit. Nevertheless, it is on the score I use and I mentioned it because it seems to me to reflect the spirit of the piece.
Matthew C. Ganong
@P Belgazo Thanks for your feedback, friend.