BYRD: Consort and Keyboard Music / Songs and Anthems
Byrd, William
Pavan
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F01
(accessed 28/04/18)
Sedate polyphonic music played by viols.
Galliard
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F02
(accessed 28/04/18)
The Pavane and Galliard are both Renaissance dances and it was common to play them as pairs. A favourite combination was a slow dance in duple meter followed by a fast dance in triple meter. They have a modal flavour like much of the music on this CD.
Susanna fair
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F03
(accessed 28/04/18)
Rejoice unto the Lord
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F04
(accessed 28/04/18)
Both of the above tracks sound essentially like old english folk music accompanied by viols. It’s all rather sedate and quite tuneful but frankly I find it boring.
‘Rejoice unto the Lord’ was written for the 28th anniversary of Elizabeth’s accession to the throne.
In the radio program below, Don Macleod explains that ‘Susanna fair’ is about two lecherous voyeurs looking to have their way with Susanna. This rather brings the music to life but it’s still not something I would listen to!
John come kiss me now (from The Fitzwilliam Virginal Book)
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F05
(accessed 28/04/18)
Fairly lively polyphonic harpsichord music full of mordents and trills. Not a million miles away from something J.S.Bach might write though again I think it has more of a modal Renaissance flavour. Some virtuosic sounding passages. Virginals were popular instruments at the time and something that ladies were encouraged to play in a similar parallel to the piano in the 19th century.
Fantasia No. 2
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F06
(accessed 28/04/18)
Viol consort. It all sounds rather ‘flat’ to me, the parts all blend in nicely and there don’t to be any big cadence points or big changes in dynamics and it sounds like a continuous stream of pleasant harmonies that ‘don’t go anywhere’. It’s pleasant enough but that’s about all I can say about it.
Have mercy upon me, O God
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F07
(accessed 28/04/18)
Polyphonic choir piece. Same comments as above though there is a bit more contrast between the male and female voices and quite a nice resolution to the voices at the end of the piece.
In Nomine No. 2
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F08
(accessed 28/04/18)
Viol consort in much the same style as fantasia No.2.
In angel’s weed
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F09
(accessed 28/04/18)
Fair Britain isle
http://imslp.naxosmusiclibrary.com/stream.asp?s=167137%2Fimslpcomp01%2F271848%5F10
(accessed 28/04/18)
It’s all starting to sound the same and I am not particularly enthused.
Biography
William Byrd was a composer who straddled the reign of several monarchs during what were religiously turbulent times. He lived through the Gunpowder plot of 1605. He was a contemporary of William Shakespeare. Born in London in 1540 during the reign of Henry VIII, he would go on to see several monarchs ascend to the throne – Edward VI, Mary I, James I, but most importantly – Elizabeth I who was on the throne for much of his working life and was an important supporter of his work. He died in 1623.
Two of his brothers became choristers at St.Paul’s cathedral for a time and it is possible that he joined the Chapel Royal around 1550. Some of his musical training would have been overseen by Thomas Tallis. In 1563 he became organist of Lincoln cathedral and in 1572 he he was sworn in as a Gentleman of the Chapel Royal.
Byrd was a Catholic, a religion that was effectively outlawed in England at the time, and court records show that he found himself in trouble with the authorities on a fairly regular basis. Attendance at chuch of England ceremonies since 1558 when Elizabeth ascended to the throne was enforced by law. Byrd was a recusant who remained loyal to the Roman Catholic church and did not attend Church of England ceremonies. It was the direct intervention of Elizabeth I that prevented him being thrown in jail for any length of time.
Indeed, this support from the monarch was visible at other times in his life, when he was gifted property, as well as a Royal Patent granted to him and Thomas Tallis, for the printing and publishing of music. This was something of a financial disaster initially: much of what they published remained unsold for many years. A second attempt some years later proved altogether more successful.
Byrd was a versatile composer who could write a Latin Motet one day, keyboard dance the next, a solemn viol accompanied song, pieces for viols alone and even the occasional ‘erotic’ song. Byrd also composed music for liturgical use by Catholics who celebrated Mass in secret.
‘His masses, one each for three, four, and five voices (c.1593-95) stand out as the finest by an English Renaissance composer.’ (Burkholder et al).
References
Donald Macleod explores the life and work of William Byrd
https://www.bbc.co.uk/music/artists/d1cf7a39-f268-45e8-bbc0-6cea5c0272cf
Click to access IMSLP277645-PMLP396040-02-susanna_faire—0-score.pdf
Burkholder, J. P., Grout, D. J., & Palisca, C. V. (2014). A history of western music (Ninth edition.). New York, N.Y.: W. W. Norton & Company, Inc.
I also checked out an example of Pavane and Galliard dancing:
The Galliard is a rather livelier affair than the Byrd example from the article above, and contains a variety of instrumental textures that I like.
Jim Mennell Music 