William Byrd (1543 - 1623)
Consort and Keyboard Music, Songs and Anthems
William Byrd is one of that select body of composers who was
recognised as a genius, and an influential one, during his own lifetime. His
contemporaries referred to him as 'a Father of Musick' and 'our Phoenix', perhaps alluding
to his rôle in bringing Elizabethan music to a peak of perfection, particularly in terms
of his understanding of the way continental polyphony could be used for effective
expressive ends. Having learned through the influence of his older colleague Thomas
Tallis, and the example of foreigners such as Alfonso Ferrabosco, whose music was much
copied and eventually published in England, Byrd developed his distinctive musical
language into one capable of infinite variety of mood and character.
The outline of Byrd's early career is not well documented, but
he must have been born in 1543, possibly in London where he may have been taught by
Tallis. At the age of nineteen he was appointed Organist and Master of the Choristers at
Lincoln Cathedral, but it was not long before he was sworn in as a Gentleman of the Chapel
Royal, taking up residence in London in 1572, and sharing the duties of organist with
Tallis. It was soon after this that the two composers received a monopoly from Queen
Elizabeth for the publishing and printing of music. Byrd was now at the hub of English
musical life, composing services and anthems for the reformed English liturgy, songs with
viols for court entertainments, as well as keyboard music which bears witness to his own
prowess as a virtuoso performer, and publishing songs for the growing amateur market.
During the 1580s and 1590s, however, life for Catholics in
England was becoming increasingly hard, and like many of the old faith Byrd tended to
withdraw from court life, buying a property in Stondon Massey in Essex, and spending more
time with noble Catholic families. He clearly cultivated influential friends, and was
spared the worst excesses of persecution, but it was for secret Latin services in the
great houses of such families as the Petres of Ingatestone Hall that Byrd wrote his three
great Mass settings and the late Latin motets. By now, however, his instrumental works and
secular songs were also being avidly received by the rapidly flourishing demand for
domestic music.
By 1600 the viols, hitherto largely the domain of professional
instrumentalists at court, were being cultivated by wealthy amateurs, and Byrd's
fantasias, In Nomines and dances were circulated widely. Indeed he included two fantasias,
in four [11] and six [15] parts in his 1611 publication Psalmes,
Songs and Sonnets, alongside secular songs and those with sacred texts, such as
Have mercy upon me [7] with its
alternation of a solo voice with viols and chorus sections with text in all parts. Byrd's
interest in music publishing continued with Parthenia, an
important collection of keyboard pieces in 1613, and he then spent his last decade in
semi-retirement in Essex, dying in 1623 in his eightieth year.
The music recorded here gives a representative cross-section of
Byrd's secular output and gives an idea of its variety .The Consort songs (for solo voice
with Viols) are mostly serious in outlook -Byrd was described by Henry Peacham in 1622 as
'naturally disposed to Gravitie and Pietie'. The genre probably has its origins in music
for Court dramatic entertainments produced by the Choirboys of St. Paul's, Westminster
Abbey, and the Chapel Royal. It was also used, particularly for elegies and laments, in
the burgeoning Elizabethan public theatre.
Several of Byrd's Consort songs can be associated with specific
events at Court: Rejoice unto the Lord [4]
celebrates the twenty-eighth anniversary of Elizabeth's accession to the English throne in
1586. Two others mark more sombre events: In angel's
weed [9] is an elegy for Mary, Queen of Scots, Who died in 1587, while Fair Britain isle [10] laments in especially heartfelt manner the passing
of Prince Henry, eldest son of James I, in 1612. Byrd's sense of drama Comes to the fore
in Triumph with pleasant melody [12], a
dialogue between Christ and a Sinner. Although it would be possible to perform it with one
voice taking both rôles, we have here taken the liberty of a more realistic approach. Susanna fair [3] was published in Byrd's first
secular collection, Psalmes, Sonets and Songs, of
1588 with text in all five voices, but it is performed here in its original format as a
solo consort song.
The final item included, Christ
rising again [17] from his 1589 collection of Songs of Sundrie Natures, Shows Byrd's complete
mastery of the verse anthem form which he was largely responsible for bringing to
fruition. It is a development from the consort song, but here Short choruses are
interjected into the texture, breaking up the solos into a number of 'verses'. Later to be
adopted by the church with organ accompaniment, the verse anthem in domestic devotions
would have used Viols instead, the instruments weaving a delicately energetic backdrop to
the passionate declamations of the solo voices.
Byrd's consort music, like that of all his English
contemporaries, utilises the forms of the fantasia, which his pupil Thomas Morley
described as 'the most principal and chiefest kind of music which is made without a
dittie', and the dance forms of the stately pavan and the more vigorous galliard. Byrd's
fantasias have a habit of beginning like textless vocal polyphony, with spacious entries
of the individual voices, though in the four part fantasia [11] two themes are heard from the outset. As the pieces develop, however, they
become infected by more clearly 'popular' material, with references to Greensleeves [6] and
the inclusion within the fantasia of clearly defined galliard sections [5], [15].
The In Nomine was
a uniquely English phenomenon: a fantasia based on a cantus
firmus which used the plainsong Gloria tibi
Trinitas. A section of the Benedictus of
the Mass of that name by Johann Taverner, was taken out of context as an instrumental
piece, then imitated by most great English composers down to Henry Purcell. Byrd's
four-part setting [8] is an early work, its lean counterpoint clearly related to the works
of his older contemporaries Parsons and White, but the fifth five-part version [16] is
altogether more complex. Here Byrd begins with gently falling phrases, only gradually to
enliven his ideas, concluding with triumphant fanfare-like rising arpeggio patterns.
Unlike the >In Nomines, the six part pavan and galliard
[1],[2] are thought to be
relatively late works, possibly Byrd's last for viol consort, but there is no sign of
decline in either vitality or invention in these superbly wrought examples of 'art' dance
music.
Like many of his contemporaries, Byrd was a renowned keyboard
player, and he left a large number of works designed for harpsichord, or for the usually
single-strung, rectangular virginals with their rather more plummy tone-colour. John come
kiss me now [5] from the famous Fitzwilliam Virginal Book is a brilliant example of
Byrd's variation technique: the tune on which it is based is always there somewhere,
moving from part to part, disguised in a decorative flurry of ever more exciting
figuration. Both the majestic Pavan [13]and the lively Oui
passe [14] come from My Lady Nevell's Book of
1592, a manuscript collection which Byrd seems to have supervised himself. While the
former is a highly sophisticated and restrained piece of writing, the latter reflects its
origins in an Italian popular song, since despite its contrapuntal ingenuity it never
loses sight of the earthy rhythmic verve of its Venetian model.
1994 John Bryan
Rose Consort of Viols
The members are: John Bryan, Mark Caudle, Alison Crum, Julia
Hodgson, Elizabeth Liddle, Roy Marks, Susanna Pell
The Rose Consort of Viols takes its name from the celebrated
family of viol makers, whose work spanned the growth and flowering of the English consort
repertoire. With its unique blend of intimacy, intricacy, passion and flamboyance, this
repertoire forms the basis of the Rose Consort's programmes ranging from Taverner and
Byrd, to Lawes, Locke and Purcell, and expanding where necessary to include singers, lutes
and keyboard instruments.
The Consort performs extensively throughout Britain and the
continent of Europe, appears regularly on the BBC and in the major London concert halls,
and has made a number of highly acclaimed recordings. It has received awards for its
research and performance of newly devised programmes, some of which have been toured on
the Early Music Network, or performed at leading festivals such as York, Utrecht and
Bruges.
Timothy Roberts
Timothy Roberts read music at
Cambridge University and studied early keyboards at the Guildhall School in London, in
addition to solo recitals on harpsichord, organ, fortepiano and clavichord he is much in
demand as continuo player for the Gabrieli Consort, His Majesty's Sagbutts & Cornetts
and the West German Radio choir Corona Colonensis.
Tessa Bonner
Tessa Bonner worked in BBC Television
before training as a singer at Leeds University She is now a key member of such well-known
ensembles as the Tallis Scholars, the Taverner Consort and the Gabrieli Consort, as well
as making regular solo appearances in major festivals throughout the world.
Red Byrd
The members are Caroline Trevor, Penny
Vickers, Ian Honeyman, John Potter, Henry Wickham, Richard Wistreich
Red Byrd was founded by John Potter
and Richard Wistreich to break new ground in singing both early and
contemporary music. They have performed at major festivals in Bremen, Bruges and Utrecht,
made a number of significant recordings and commissioned several new works for voices and
'old' instruments.