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which catholic composer wrote both catholic and anglican music

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English Renascenc composer

William Byrd (; birth date multifariously given as c.1539/40 or 1543 – 4 July 1623) was an English composer of the Renaissance. Widely considered to be nonpareil of the greatest composers of the Renaissance and one of the sterling British composers, he had a huge act upon on composers some from his native England and those on the continent.[1] [2] He wrote in many of the forms current in England at the prison term, including various types of sacred and layman polyphony, keyboard (the so-called Virginalist civilis), and consort music. Although He produced sacrosanct music for Anglican services, sometime during the 1570s he became a Roman Catholic and wrote Catholic sacred music later in his life.

Nativity and origins [edit]

Thanks largely to the research of John Harley, knowledge of Byrd's biography has expanded in late years. Thomas Byrd, the grandson of Richard Byrd of Ingatestone, Essex, plausibly moved to London in the 15th century. Thereafter back-to-back generations of the family are described as gentlemen. William Richard Evelyn Byrd was born in Greater London,[3] the Logos of another Seth Thomas Richard Evelyn Byrd about whom nonentity further is known, and his married woman, Margery. The specific year of Byrd's birth is unsealed. In his will, dated 15 November 1622, he describes himself as "in the 80th year of [his] age", suggesting a birthdate of 1542 or 1543.[4] However a text file dated 2 October 1598 written in his ain helping hand states that atomic number 2 is "58 yeares or ther abouts", indicating an earlier birthdate of 1539 OR 1540.[5] Byrd had two brothers, Symond and John, who became Jack London merchants, and four sisters, Alice, Barbara, Mary, and Martha.[6]

Early years [edit]

In that location is no documentary evidence concerning Richard E. Byrd's embryotic musical training. His two brothers were choristers at St. Paul's Duomo, and Byrd May have been a chorister there Eastern Samoa well under Simon Westcote (possibly Sebastian Westcott), although it is assertable that he was a chorister with the Chapel service Royal. A reference in the prefatory material to the Cantiones sacrae publicized aside Byrd and Thomas Prayer shawl in 1575 tends to confirm that Byrd was a schoolchild of Tallis in the Chapel Royal.[7] According to Anthony Wood, Byrd was "bred up to musick under Tho. Tallis." Moreover, one of Byrd's earlier compositions was a collaboration with cardinal Chapel Royal stag singing-men, John Sheppard and William Mundy, on a setting for four male voices of the psalm In exitu Israel for the procession to the face in Easter week. It was probably collected near the end of the prevai of Fairy Mary Tudor (1553–1558),[8] who resuscitated Sarum rite practices.

A few other compositions by Byrd also probably date from his teenaged years. These include his background of the Easter responsory Christus resurgens (a4) which was non promulgated until 1605, but which as component part of the Sarum liturgy could also have been composed during Mary's rule, equally asymptomatic as Alleluia confitemini (a3) which combines deuce liturgical items for Easter week. Some of the hymns and antiphons for keyboard and for consort may also date from this period, though it is besides possible that the concord pieces may have been composed in President Lincoln for the auditory communication training of choirboys.

Lincoln [cut]

Byrd's first far-famed paid employment was his appointee in 1563 every bit organist and master of the choristers at Lincoln Cathedral. Residing at what is now 6 Minster Yard Lincoln, he remained in post until 1572.[9] His period at Capital of Nebraska was not entirely trouble-freed, for on 19 November 1569 the Dean and Chapter cited him for 'dependable matters questionable against him' as the answer of which his salary was suspended. Since Puritanism was potent at Capital of Nebraska, it is possible that the allegations were connected with all over-flesh out choral polyphony operating room organ playing. A forward directive, dateable 29 November, issued careful operating instructions regarding Richard Evelyn Byrd's use of the organ in the liturgy.[10] On 14 Sep 1568, Byrd married Juliana Birley; information technology was a long-lasting and fruitful union which produced at least seven children.

The 1560s were also important formative years for Byrd the composer. His Short Service, an unpompous scene of items for the Anglican Matins, Communion and Evening Prayer services, which seems to have been designed to comply with the Protestant Church reformers' demand for clear words and simple musical textures, May well have been composed during the Lincoln years. It is at any rate clear that Admiral Byrd was composing Anglican religious music, for when helium left Lincoln the Doyen and Chapter continued to pay off him at a reduced plac on train that he would send the cathedral his compositions. Byrd had also taken serious strides with instrumental music. The seven In Nomine settings for harmonize (two a4 and fin a5), at the least cardinal of the consort fantasias (Neighbour F1 a6) and a number of important keyboard works were seemingly composed during the Lincoln years. The latter include the Ground in Gamut (described as "Mr Byrd's old prime") by his future pupil Thomas Tomkins, the A minor Fantasia, and probably the first of Byrd's peachy series of keyboard pavanes and galliards, a composition which was transcribed by Byrd from an original for five-component part fit in. Each these show Byrd step by step emerging as a John Major build on the Elizabethan musical landscape painting.

Some sets of keyboard variations, such every bit The Hunt's Aweigh and the imperfectly canned set connected Gypsies' Round also seem to be early whole caboodle. As we have seen, Byrd had begun mount Italic liturgical texts as a teenager, and helium seems to have continued to answer so at Lincoln. Two exceptional large-shell Psalm motets, Ad Dominum cum tribularer (a8) and Domine quis habitabit (a9), are Richard Evelyn Byrd's contribution to a paraliturgical form cultivated by Robert Snowy and Robert Parsons. De lamentatione, another early work, is a contribution to the Elizabethan practice of setting groups of verses from the Lamentations of Jeremiah, following the format of the Tenebrae lessons sung in the Catholic rite during the last three days of Holy Week. Other contributors in this material body let in Tallis, White, Parsons and the elder Ferrabosco. It is presumptive that this drill was an expression of Elizabethan Catholic nostalgia, as a number of the texts suggest.

The Chapel Royal [edit]

Byrd obtained the prestigious post of Gentleman of the Chapel Royal stag in 1572 following the death of Robert Parsons, a talented composer World Health Organization submerged in the Trent approximate Newark on 25 January of that year. Almost from the outset Byrd is named as 'organist', which all the same was not a designated berth but an occupation for some Chapel Royal phallus capable of filling it. This career move immensely hyperbolic Byrd's opportunities to extend his scope as a composer and also to make contacts at Tourist court. Queen Elizabeth (1558–1603) was a intermediate Protestant who eschewed the more extreme forms of Puritanism and retained a fondness for fancy ritual, besides organism a music lover and keyboard player herself. Byrd's turnout of Anglican Church music (formed in the strictest sense atomic number 3 sacred music premeditated for public presentation in church) is surprisingly small, but it stretches the limits of elaboration then regarded as acceptable past some reforming Protestants who regarded highly wrought music as a beguilement from the Word of God.

Cantiones quae ab argumento sacrae vocantur (1575) [edit]

Shortly afterwards Richard Evelyn Byrd and Tallis were conjointly acknowledged a patent for the impression of music and ruled music composition for 21 years, ace of a number of patents issued by the Crown for the impression of books on various subjects.[11] The cardinal musicians used the services of the French Huguenot printer Thomas Vautrollier, WHO had settled in England and previously produced an edition of a collection of Lassus chansons in London (Receuil du mellange, 1570). The two monopolists took advantage of the patent to produce a grandiose joint publishing under the title Cantiones quae ab argumento sacrae vocantur. It was a collection of 34 Latin motets consecrate to the Queen herself, attended by elaborate prefatory matter including poems in Latin elegiacs by the schoolmaster Richard Mulcaster and the young courtier Ferdinand Heybourne (aka Richardson). There are 17 motets each by Tallis and Byrd, one for yearly of the Queen's reign.

Byrd's contributions to the Cantiones are in various different styles, although his forceful musical personality is stamped happening all of them. The inclusion of Laudate pueri (a6) which proves to be an helpful fantasia with words added afterwards composition,[12] is one sign that Richard Evelyn Byrd had some difficulty in collecting enough material for the compendium. Diliges Dominum (a8), which may as wel originally have been untexted, is an 8-in-four retrograde canon of little musical pursuit. Also belonging to the to a greater extent primitive stratum of motets is Libera me Dominie (a5), a cantus firmus background of the ninth responsory at Matins for the Office for the Dead, which takes its jumping-off place from the stage setting aside Robert Parsons, while Miserere mihi (a6), a setting of a Compline antiphon often used past Tudor composers for didactic cantus firmus exercises, incorporates a iv-in-two canyon. Tribue Domine (a6) is a large-scale sectional composition setting from a medieval collection of Meditationes which was commonly attributed to St St. Augustine,[13] composed in a fashio which owes such to earlier Tudor settings of consecrated antiphons as a mosaic of stentorian and semichoir passages. Byrd sets it in three sections, each starting time with a semichoir passage in archaic expressive style.

Byrd's contribution to the Cantiones also includes compositions in a more modern manner which power point the way to his motets of the 1580s. Some of them show the influence of the motets of Alfonso Ferrabosco I (1543–1588), a Bolognese musician who worked in the Tudor romance at intervals between 1562 and 1578.[14] Ferrabosco's motets provided man-to-man models for Byrd's Emendemus in melius (a5), O lux beata Trinitas (a6), Dominie secundum actum meum (a6) and Siderum rector (a5) too as a more generalised image for what Joseph Kerman has known as Richard E. Byrd's 'affective-imitative' style, a method of setting pathetic texts in big paragraphs based on subjects employing curving lines in fluid rhythm and polyphonic music techniques which Byrd learnt from his study of Ferrabosco.

The Cantiones were a fiscal failure. In 1577 Byrd and Prayer shawl were forced to petition Queen Elizabeth for financial help, importunate that the issue had "fallen oute to oure greate losse" and that Tallis was now "verie aged". They were subsequently granted the leasehold on versatile lands in East Anglia and the Occident Commonwealth for a flow of 21 years.[15]

Catholicism [edit]

From the early 1570s onwards Richard E. Byrd became increasingly involved with Catholicism, which, as the learning of the last half-century has demonstrated, became a starring factor his personal and creative life. As John Harley has shown, it is probable that Byrd's parental family were Protestants, though whether by deeply felt conviction or nominal conformism is non perfect. Byrd himself may have held Complaintive beliefs in his youth, for a recently discovered fragment of a setting of an English translation of Luther's anthem "Erhalt uns, Herr, bei deinem Wort", which bears an attribution to "Birde" includes the course "From Turk and Pope fend for us Lord".[16] However, from the 1570s onwards atomic number 2 is found associating with acknowledged Catholics, including Lord Thomas Sir James Paget, to whom he wrote a beseeching letter on behalf of an unnamed friend in about 1573.[17] Richard Evelyn Byrd's wife Julian was prototypic cited for recusancy (refusing to attend Anglican services) at Harlington in Middlesex, where the family directly lived, in 1577. Byrd himself appears in the recusancy lists from 1584.[18]

His involvement with Catholicism took on a unweathered dimension in the 1580s. Chase Roman Catholic Pope Pius V's papal bull Regnans in Excelsis, in 1570, which vindicated Elizabeth's subjects from allegiance to her and effectively made her an outlaw in the eyes of the Catholic Church, Catholicism became increasingly identified with sedition in the eyes of the Tudor authorities. With the influx of missionary priests trained at the English College, Douai, (now in French Republic merely then part of the European nation Netherlands) and in Rome from the 1570s onwards, relations between the authorities and the Catholic community took a further turn for the worse. Byrd himself is found in the company of prominent Catholics. In 1583 he got into serious trouble because of his association with Paget, who was suspected of affair in the Throckmorton Patch, and for sending money to Catholics overseas. As a result of this, Byrd's membership of the Chapel Regal was apparently suspended for a time, restrictions were arranged on his movements, and his sign of the zodiac was ordered happening the search name. In 1586 he attended a gathering at a country house in the company of Father Henry Garnett (later dead for complicity in the Gunpowder Plot) and the Catholic poet Robert Southwell.[19]

Cantiones sacrae (1589 and 1591) [edit]

Byrd's commitment to the Broad-minded cause found expression in his motets, of which he composed about 50 between 1575 and 1591. Patc the texts of the motets enclosed by Richard Evelyn Byrd and Thomas Tallis in the 1575 Cantiones have a High Protestant denomination doctrinal tone, scholars such as Joseph Kerman have perceived a intense change of direction in the texts which Byrd set in the motets of the 1580s.[20] Particularly at that place is a persistent emphasis on themes such as the persecution of the chosen populate (Domine praestolamur a5) the Babylonian Oregon Egyptian captivity (Dominee tu iurasti) and the long-awaited coming of deliverance (Laetentur caeli, Circumspice Jerusalem). This has LED scholars from Kerman onwards to believe that Byrd was reinterpreting biblical and religious rite texts in a contemporary context and writing laments and petitions on behalf of the persecuted Catholic biotic community, which seems to have adopted William Byrd atomic number 3 a kind of 'house' composer. Some texts should probably follow taken as warnings against spies (Vigilate, nescitis enim) or lying tongues (Quis est homo) or celebration of the remembering of martyred priests (O quam gloriosum). William Byrd's setting of the initiatory four verses of Psalm 78 (Deus venerunt gentes) is widely believed to pertain to the savage instruction execution of Francium Edmund Campion in 1581 an event that caused general repulsion along the Continent As wellspring as in England. In the end, and perhaps most unco, Byrd's Quomodo cantabimus is the outcome of a motet exchange between Byrd and Philippe de Monte, who was director of euphony to Rudolf 2, Holy Roman Emperor, in Prague. In 1583 De Monte conveyed Byrd his mise en scene of verses 1–4 of Vulgate Psalm 136 (Super flumina Babylonis), including the acute question "How shall we sing the Lord's song in a strange land?" Byrd replied the following year with a mount of the defiant continuation, set, like Diamond State Monte's piece, in eight parts and incorporating a three-part canon by inversion.

Cardinal of Byrd's motets were promulgated in two sets of Cantiones sacrae, which appeared in 1589 and 1591. Together with two sets of European country songs, discussed below, these collections, dedicated to powerful Elizabethan lords (Edward VIII Somerset, 4th Earl of Joseph Emerson Worcester and John Lackland Lumley, 1st Baron Lumley), probably formed part of Byrd's campaign to re-establish himself in Judicature circles later on the reverses of the 1580s. They may also reflect the fact that Richard E. Byrd's fellow monopoliser Tallis and his printer Thomas Vautrollier had died, thence creating a more propitious climate for publishing ventures. Since many a of the motet texts of the 1589 and 1591 sets are pathetic in tone, information technology is not surprising that many of them persist in and develop the 'emotional-imitative' vein plant in some motets from the 1570s, though in a much concise and centred sort. Domine praestolamur (1589) is a good example of this style, laid out in imitative paragraphs based on subjects which characteristically emphasise the expressive shaver 2nd and minor sixth, with continuations which subsequently break bump off and are heard separately (another technique which Byrd had learnt from his study of Ferrabosco). Byrd evolved a special "cell" technique for setting the petitionary clauses such as miserere mei or libera nos Domine which form the central point for a number of the texts. Particularly conspicuous examples of these are the inalterable section of Tribulatio proxima EST (1589) and the multi-sectional Infelix ego (1591), a large-scale motet which takes its springboard from Tribue Domine of 1575.

There are as wel a number of compositions which do non conform to this stylistic pattern. They let in three motets which employment the old-fashioned cantus firmus proficiency Eastern Samoa fountainhead as the to the highest degree famous item in the 1589 collection, Nor'-east irascaris Domine. the second part of which is close modelled on Philip van Wilder's popular Aspice Domine. A few motets, especially in the 1591 set, abandon long-standing motet style and resort to vivid word house painting which reflects the maturation popularity of the madrigal (Haec dies, 1591). A famous passage from Thomas Morley's A Plaine and Easie Introduction to Practicall Musicke (1597) supports the vista that the madrigal had superseded the motet in the party favor of Catholic patrons, a fact which may explain wherefore William Byrd composed few not-liturgical motets after 1591.

The English strain-books of 1588 and 1589 [edit]

In 1588 and 1589 Admiral Byrd besides promulgated two collections of English songs.[21] The first, Psalms, Sonnets and Songs of Sadness and Pietie (1588) consists mainly of modified associate songs, which Byrd, probably guided by commercial instincts, had turned into communicative part-songs by adding words to the accompanying instrumental parts and labelling the original solo voice as "the first tattle part". The consort song, which was the most popular form of vernacular polyphony in England in the third stern of the sixteenth 100, was a solo song for a high voice (ofttimes sung by a boy) accompanied by a consort of cardinal accord instruments (unremarkably viols). As the title of Byrd's solicitation implies, consort songs varied widely in character. Many were settings of measured Psalms, in which the solo voice sings a melody in the manner of the numerous metrical psalm collections of the Day (e.g. Sternhold and Hopkins Book of Psalms, 1562) with each line prefigured by imitation in the accompanying instruments. Others are dramatic elegies, intended to be performed in the boy-plays which were popular in Tudor London. A popular source for birdsong settings was Richard Edwards' The paradyse of treat devices (1576) of which seven settings in fit in song form endure.

Byrd's 1588 collection, which complicates the grade as he inherited it from Robert Parsons, Richard Farrant and others, reflects this tradition. The "Book of Psalms" section sets texts drawn from Sternhold's psalter of 1549 in the traditional manner, while the 'sonnets and pastorals' section employs lighter, more rapid motion with crotchet (quarter-line) pulsing, and sometimes triple metre (Though Amaryllis dance in green, If women could be fair). Poetically, the set (together with other evidence) reflects Byrd's involvement with the written material circle surrounding Sir Philip Sidney, whose influence at Motor inn was at its height in the new 1580s. Byrd set three of the songs from Sidney's sonnet sequence Astrophel and Stella, as well as poems away other members of the Sidney circle, and also included deuce elegies on Sir Philip Sidney's death in the Battle of Zutphen in 1586.[22] But the most nonclassical point in the set was the Lullaby (Lullay lullaby) which blends the tradition of the impressive lament with the cradle-songs base in both early boy-plays and medieval mystery plays. It long retained its popularity. In 1602, Byrd's sponsor Edward Somerset, 4th Earl of Worcester, discussing Romance fashions in euphony, predicted that "in wintertime lullaby, an owld Song dynast of Mister Birde, wylbee more in request as I thinke."

The Songs of Sundrie Natures (1589) contain sections in three, four, quint and six parts, a initialise which follows the plan of some Tudor manuscript collections of menag euphony and was probably intended to emulate the madrigal collection Musica transalpina, which had appeared in print the premature year. Byrd's set contains compositions in a wide variety of musical styles, reflective the variegated character of the texts which he was setting. The three-part part includes settings of metrical versions of the seven penitential psalms, in an archaic style which reflects the influence of the psalm collections. Other items from the three-part and quaternion-part section are in a lighter vein, employing a line-by-railway line mimic technique and a predominate crotchet heart rate (The nightingale so pleasant (a3), Is love a boy? (a4) ). The five-part section includes song share-songs which show the influence of the "adapted harmonise song" style of the 1588 set but which look to let been conceived A whol-vocal part-songs. Byrd besides bowed to tradition aside setting 2 carols in the traditional form with alternating verses and burdens, (From Virgin's womb this day did spring, An earthborn tree, a heavenly fruit, some a6) and even included an anthem, a setting of the Easter prose Savior rising again which also circulated in church service chorus manuscripts with organ accompaniment.

My Ladye Nevells Booke [edit]

The 1580s were also a productive decade for Admiral Byrd as a composer of instrumental music. On 11 Sep 1591 John James Arthur Baldwi, a tenor lay-clerk at St George's Chapel service, Windsor and later a colleague of Admiral Byrd in the Chapel service Royal, completed the copying of My Ladye Nevells Booke, a accumulation of 42 of Byrd's keyboard pieces, which was probably produced under Byrd's supervising and includes corrections which are thought to be in the composer's hand. Byrd would almost certainly have publicized it if the technical agency had been available to do soh. The dedicatee long remained unidentified, but Saint John Harley's researches into the heraldic design on the fly-leaf have shown that she was Lady Elizabeth Neville, the third base wife of Sir Joseph Henry Neville of Billingbear House, Berkshire, World Health Organization was a Justice of the Peace and a warder of Windsor Great Park.[23] Under her third married name, Lady Periam, she likewise received the inscription of Thomas Morley's two-share canzonets of 1595. The table of contents show Byrd's subordination of a wide variety of keyboard forms, though liturgical compositions based on plainsong are not represented. The appeal includes a series of ten pavans and galliards in the customary three-strain form with adorned repeats of each puree. (The only elision is the Ninth Pavane, which is a set of variations on the passamezzo antico bass.)

There are indications that the sequence may represent a chronological one, for the First Pavan is tagged "the original that ever hee made" in the Fitzwilliam Virginal Koran, and the 10th Pavan, which is detached from the others, evidently became available at a late stage before the culmination date. It is dedicated to William Petre (the son of Byrd's supporter Sir John Petre, 1st Baron Petre) World Health Organization was only 15 years old in 1591 and could hardly give birth played it if it had been calm much earlier. The collection as wel includes two renowned pieces of broadcast music. The Battle, which was apparently inspired aside an unidentified brush in Elizabeth's Irish wars, is a sequence of movements bearing titles much equally "The marche to fight", "The battells be joyned" and "The Galliarde for the victorie". Although non representing Byrd at his about profound, it achieved great popularity and is of parenthetic pastime for the information which it gives on sixteenth-century West Germanic language military calls. It is followed by The Barley Break (a mock-struggle follows a real one), a light-hearted piece which follows the advancement of a game of "barley-break", a version of the game now known as "piggy in the middle", played by troika couples with a ball. My Ladye Nevells Booke also contains two monumental Grounds, and sets of keyboard variations of varicoloured lineament, notably the huge set on Walsingham and the popular variations on Sellinger's Round, Carman's Whistle and My Jehova Willoughby's Receive Home. The fantasias and voluntaries in Nevell also insure a wide stylistic range, some being austerely polyphonic music (A voluntarie, no. 42) and others lighter and more Italianate in feel. (A Fancie no 36). Like the five-and sextet-part consort fantasias, they sometimes feature a gradatory gain in impulse afterward an imitative opening paragraph.

Consort music [redact]

The period up to 1591 also power saw important additions to Byrd's production of fit in music, some of which have probably been lost. Deuce magnificent large-scale compositions are the Browning, a set of 20 variations on a popular melody (also called "The leaves cost jet") which evidently originated as a celebration of the ripening of dotty in autumn, and an elaborate ground on the formula known as the Goodnight Ground. The smaller-scale fantasias (those a3 and a4) use a light-unsmooth pretended style which owes something to Continental models, patc the five and half a dozen-part fantasias employ stupendous-scale additive construction and allusions to snatches of popular songs. A nifty example of the last type is the Fantasia a6 (No 2) which begins with a sober pretended paragraph earlier progressively more fragmented textures (working in a quotation from Greensleeves at one point). It even includes a complete three-strain galliard, followed aside an grand coda (for a performance on YouTube, see low 'External links' below). The one-on-one cinque-disunite fantasia, which is seemingly an early figure out, includes a canon at the upper fourth.

Stondon Massey [edit]

In roughly 1594 Admiral Byrd's career entered a new phase angle. He was at present in his early fifties, and seems to have gone into semi-retirement from the Chapel Royal. He moved with his family from Harlington to Stondon Massey, a small village near Chipping Ongar in Essex.[24] His ownership of Stondon Place, where he lived for the rest of his liveliness, was contested by Joanna Shelley, with whom helium engaged in a legal dispute lasting about a decennium and a half. The main argue for the move was apparently the proximity of Byrd's patron Saint John Petre, 1st Top executive Petre (the son of the former Secretary of State of matter Sir William Petre). A wealthy topical anesthetic property owner, Petre was a discreet Catholic who maintained two local manor houses, Ingatestone Hall and Thorndon Hall, the first of which still survives in a much-altered state (the latter has been rebuilt). Petre held clandestine Mass celebrations, with music provided aside his servants, which were subordinate to the unwelcome attention of spies and paid informers employed for the Crown.

Byrd's acquaintance with the Petre family extended back at least to 1581 (as his living John Hancock letter of that year shows)[25] and he spent two weeks at the Petre household over Christmas in 1589. He was ideally well-appointed to provide elaborate polyphony to adorn the music making at the Catholic country houses of the time. The continued adherence of Byrd and his family to Catholicism continued to cause him difficulties, though a extant reference to a lost petition apparently written by Byrd to Henry M. Robert Cecil, Earl of Capital of Zimbabwe sometime between 1605 and 1612 suggests that he had been allowed to practise his organized religion under licence during the reign of Elizabeth.[26] Nevertheless, he regularly appeared in the every quarter local assizes and was reported to the archdeaconry Court for non-attending at the parish Christian church.[27] He was required to pay heavy fines for recusancy.

Multitude [edit]

Byrd now embarked on a programme to allow a cycle of religious rite euphony covering all the principal feasts of the Catholic Christian church calendar. The first stage therein undertaking comprised the 3 Fair of the Mass cycles (in quaternity, three and fin parts), which were published by Thomas East between 1592 and 1595. The editions are undatable (dates can be established only away intimate bibliographic analysis),[28] dress not name the printing machine and lie in of only 1 bifolium per partbook to attention concealment, reminders that the possession of heterodox books was still highly dangerous. All three works contain retrospective features harking back to the earlier Tudor tradition of Mass settings which had lapsed after 1558, on with others which reflect Continental influence and the liturgical practices of the external-trained incoming missionary priests. Muckle for Four Voices, or the Four-Part Mass, which reported to Joseph Kerman was probably the first to be unperturbed, is partly modelled happening King John Taverner's Mean Mass, a highly regarded early Tudor stage setting which Byrd would probably have sung As a choirboy. Taverner's influence is particularly clear in the scale figures rising successively through a fifth, a sixth and a seventh in Byrd's setting of the Sanctus.

All three Mass cycles employ otherwise early Tudor features, notably the tessellated of semichoir sections alternating with full sections in the four-part and five-part Multitude, the use of a semichoir incision to unobstructed the Gloria, Credo, and Agnus Dei, and the chief-motif which links the openings of completely the movements of a cycle. Even so, all trio cycles also include Kyries, a rare feature in Sarum Rite mass settings, which usually omitted it because of the exercise of tropes on festal occasions in the Sarum Rite. The Kyrie of the three-part Mass is set in a simple litany-like fashio, simply the other Kyrie settings utilise dense forged polyphonic music. A special feature article of the quaternity-part and five-part Mass is Admiral Byrd's treatment of the Agnus Dei, which hire the proficiency which Richard Evelyn Byrd had previously practical to the petitionary clauses from the motets of the 1589 and 1591 Cantiones sacrae. The unalterable words dona nobis pacem ("Ulysses Grant us peace"), which are set to irons of anguished suspensions in the Four-Part Mass and expressive stop homophony in the five-part setting, almost for sure reflect the aspirations of the troubled Catholic community of the 1590s.

Admiral Byrd's three masses are generally enrolled among his superlative works, with Brian Robins of AllMusic considering them "masterpieces of late Elizabethan polyphony."[29]

Gradualia [edit]

The second stage in Byrd's programme of liturgical polyphony is formed by the Gradualia, cardinal cycles of motets containing 109 items and publicized in 1605 and 1607. They are sacred to two members of the Catholic nobility, Joseph Henry Howard, 1st Earl of Northampton and Byrd's own frequenter Sir John Petre, WHO had been elevated to the peerage in 1603 under the claim Lord Petre of Writtle. The appearance of these cardinal monolithic collections of Catholic polyphony reflects the hopes which the nonconformist community must have harboured for an easier life under the new king James I, whose mother, Mary Queen of Scots, had been a Catholic. Addressing Petre (who is better-known to have Lent him money to boost the printing of the collection), Byrd describes the contents of the 1607 circle as "blooms congregate in your own garden and truly attributable you as tithes", thus making explicit the fact that they had formed start out of Catholic pious observances in the Petre family.

The greater parting of the ii collections consists of settings of the Proprium Missae for the major feasts of the church calendar, thus supplementing the Mass Ordinary cycles which Byrd had publicized in the 1590s. Normally, Byrd includes the Introit, the Gradual, the Alleluia (or Tract in Lent if needed), the Offertory and Communion. The feasts covered include the major feasts of the Virgin Blessed Virgin (including the votive mass for the Virgin for the four seasons of the church year), All Saints and Corpus Christi (1605) followed past the feasts of the Temporale (Christmas, Epiphany, Easter, Ascension, Whitwee, and Spread of 29-Jun (with additional items for St Peter's Chains and the Consecrated Mass of the Blessed Sacrament) in 1607. The poesy of the Introit is usually set as a semichoir subdivision, returning to cram full choir scoring for the Gloria Patri. Siamese treatment applies to the Gradual rhyme, which is normally attached to the opening Alleluia to form a lone item. The liturgy requires recurrent settings of the news "Alleluia", and Byrd provides a astray variety of different settings forming bright conceived small fantasias which are one of the most striking features of the ii sets. The Alleluia verse, together with the conclusion Alleluia, ordinarily word form an point in themselves, piece the Offertory and the Communion are set A they stand.

In the Roman Lord's Suppe there are many texts which come along repeatedly in different liturgical contexts. To avoid having to set the same text twice, Byrd often resorted to a cross-reference or "transport" organization which allowed a single setting to be slotted into a different place in the Holy Sacrament. Unfortunately, this practice sometimes causes mix-up, partly because normally no more rubrics are printed to realize the required transfer trenchant and partially because there are approximately errors which refine matters still farther. A good enough example of the transfer system operating is provided away the firstly motet from the 1605 settled (Suscepimus Deus a5) in which the text used for the Introit has to be reused in a shortened form for the Gradual. Byrd provides a cadential break at the cut-off point.

The 1605 mark also contains a number of motley items which fall outside the liturgical scheme of the main body of the set. As Philip Brett has spiked out, most of the items from the four- and three-part sections were embezzled from the Primer (the English name for the Book of hours), thus falling within the sphere of private devotions quite than public revere. These include, inter alia, settings of the four Marian antiphons from the Roman Rite, four Marian hymns set a3, a version of the Litany, the gem-like setting of the Eucharistic hymn Ave verum Corpus, and the Turbarum voces from the St John Lackland Passion, likewise as a serial of miscellaneous items.

In stylistic terms the motets of the Gradualia form a sharp contrast to those of the Cantiones sacrae publications. The vast bulk are shorter, with the discursive imitative paragraphs of the sooner motets giving place to double phrases in which the counterpoint, though intricate and concentrated, assumes a inessential level of grandness. Long imitative paragraphs are the exception, often unbroken for final climactic sections in the minority of extended motets. The mellifluous writing ofttimes breaks into quaver (eighth-note) motion, given to undermine the minim (half-note) pulse with surface detail. Some of the more merry items, especially in the 1607 set, feature vivid madrigalesque word-painting. The Marian hymns from the 1605 Gradualia are kick in a light line-by-line false counterpoint with quirkiness throb which recalls the three-part English songs from Songs of sundrie natures (1589). For obvious reasons, the Gradualia never achieved the popularity of Byrd's sooner works. The 1607 set omits several texts, which were evidently likewise sensitive for publication in the light of the renewed anti-Catholic persecution which followed the failure of the Gunpowder Plot in 1605. A current account which sheds sunlit along the circulation of the medicine between Christian religion country houses, refers to the arrest of a young Frenchman titled Charles II de Ligny, WHO was followed from an unidentified land house by spies, apprehended, searched and institute to be carrying a copy of the 1605 set.[30] Nevertheless, Admiral Byrd felt rubber sufficient to reissue both sets with new title of respect pages in 1610.

Anglican church music [edit]

Byrd's staunch bond to Catholicism did not prevent him from contributing memorably to the repertory of Anglican church music. Byrd's soft output of church anthems ranges in vogue from relatively sober early examples (O Lord, make thy servant Elizabeth our queen (a6) and How long shall mine enemies (a5) ) to other, evidently late works such as Babble joyfully (a6) which is close in style to the English motets of Byrd's 1611 set, discussed below. Byrd also played a role in the emergence of the newfangled verse anthem, which seems to have evolved in part from the rehearse of adding vocal refrains to consort songs. Byrd's 4 Anglican service settings range fashionable from the unpretentious Short Service, already discussed, to the magnificent supposed Great Service, a highfalutin lic which continues a custom of rich settings aside Richard Farrant, William Mundy and Robert Parsons. Admiral Byrd's setting is along a massive scale, requiring five-percentage Decani and Cantoris groupings in antiphony, kibosh homophony and five, cardinal and eight-part counterpoint with verse (solo) sections for added variety. This service setting, which includes an organ start, must have been sung by the Chapel Royal Choir on major liturgical occasions in the early seventeenth century, though its constricted circulation suggests that some other cathedral choirs essential have found it on the far side them. Nevertheless, the origin textile shows that it was sung in York Minster as considerably As Durham, Worcester and Cambridge, in the early ordinal century. The Avid Service was in macrocosm away 1606 (the last copying go steady entered in the so-named Baldwin Hackneyed Book) and May escort back as far as the 1590s. Kerry McCarthy has pointed KO'd that the House of York Minster manuscript of the Great Serving was copied by a vicar-choral named St. John the Apostle Todd, plain between 1597 and 1599, and is delineated as 'Mr Richard E. Byrd's new sute of serve for substance'.[31] This suggests the possibility that the work may have been Byrd's next compositional project after the three Deal settings.

Psalms, songs and sonnets (1611) [edit]

Byrd's last collection of English songs was Psalms, Songs and Sonnets, published in 1611 (when Byrd was over 70) and dedicated to Francis Clifford, 4th Earl of Cumberland, who later also acceptable the commitment of Thomas Campion's First Script of Songs in about 1613. The layout of the set generally follows the pattern of Byrd's 1589 set, organism laid retired in sections for three, quaternity, five and half-dozen parts like its predecessor and embracing an even wider miscellany of styles (perhaps reflective the influence of another King of England publication, Michael East's Third Set of Books (1610)). Byrd's rig includes two consort fantasias (a4 and a6) as well as eleven English motets, near of them mise en scene prose texts from the Holy Scripture. These include some of his most famous compositions, notably Praise our Lord, all ye Gentiles (a6), This day Christ was born (a6) and Have mercy upon me (a6), which employs alternating phrases with verse and full grading and was circulated as a church anthem. There are many carols set in versify and burden form atomic number 3 in the 1589 hardened as asymptomatic as hoy three- and Little Jo-part songs in Byrd's "sonnets and pastorals" style. Some items are, however, more tinged with madrigalian influence than their counterparts in the earlier set, making cleared that the truncated-lived madrigal vogue of the 1590s had not completely passed Byrd by. Many of the songs follow, and develop further, types already established in the 1589 collection.

During his later days Byrd also added to his output of consort songs, a number of which were discovered aside Philip Brett and Thurston Dart in Harvard in 1961. They probably shine Byrd's relationship with the Norfolk landowner and music-devotee Sir Edward Antony Richard Louis Paston (1550–1630) who English hawthorn birth written some of the poems. The songs include elegies for exoteric figures such as the Earl of Essex (1601), the Catholic matriarch and viscountess Montague Magdalen Dacre (With Lilies White, 1608) and H Prince of Wales (1612). Others refer to local notabilities Oregon incidents from the Norfolk area.

Hold out works [redact]

William Byrd also contributed eighter keyboard pieces to Parthenia (winter 1612–13), a accumulation of 21 keyboard pieces carven past William Hole, and containing music by William Byrd, John Bull and Orlando Gibbons. IT was issued in celebration of the forthcoming marriage of Henry James I's daughter Princess Elizabeth to Frederick V, Elector Palatine, which took place on 14 February 1613. The three composers are nicely differentiated by seniority, with William Byrd, Copper and Gibbons represented respectively by octad, seven and sextet items. Byrd's contribution includes the famous Earle of Salisbury Pavan, composed in retentivity of Robert Cecil, 1st Earl of Salisbury, WHO had died on 24 May 1612, and its two accompanying galliards. Byrd's last published compositions are four English anthems printed in Sir William Leighton's Teares or Lamentacions of a Sorrowfull Soule (1614).

Richard E. Byrd remained in Stondon Massey until his death on 4 July 1623, which was noted in the Chapel service House Check Book in a unique entry describing him as "a Father of Musick". Contempt repeated citations for recusancy and persistent heavy fines, he died a wealthy man, having rooms at the time of his death at the London household of the Earl of Worcester.

Reputation and reception [edit]

Byrd's output of about 470 compositions amply justifies his reputation as unmatchable of the great masters of European Renaissance medicine. Perhaps his most impressive achievement as a composer was his power to transform thusly many an of the main musical forms of his Clarence Day and mold them with his possess personal identity. Having fully grown up in an age in which Latin concerted music was largely claustrophobic to liturgical items for the Sarum ritual, he assimilated and mastered the Geographic region motet class of his twenty-four hours, employing a highly in the flesh synthesis of English and Continental models. He virtually created the Tudor consort and keyboard fantasia, having only the most early models to follow. He as wel raised the consort song, the church anthem and the Protestant denomination service setting to new high. Finally, despite a general aversion to the madrigal, he succeeded in cultivating secular vocal music in an impressive variety of forms in his three sets of 1588, 1589 and 1611.

Admiral Byrd enjoyed a high reputation among English musicians. As early as 1575 Richard Mulcaster and Ferdinand Haybourne praised Byrd, unneurotic with Prayer shawl, in poems promulgated in the Tallis/Byrd Cantiones. Despite the commercial enterprise failure of the publication, whatever of his other collections sold well, while Elizabethan scribes such as the Oxford academic Robert Dow, the Windsor lay salesclerk Lavatory Baldwin, and a school of scribes working for the Norfolk country gentleman Sir Edward Paston derived his music extensively. Dow included Latin distichs and quotations in kudos of Byrd in his manuscript collection of music, the Dow Partbooks (GB Och 984–988), while Baldwin included a long doggerel verse form in his Commonplace Good Book (Britain Lbm Roy App 24 d 2) ranking Byrd at the head of the musicians of his day:

Yet let not straingers bragg, nor they these soe commende,
For they may now geve place and sett themselves behynde,
An Englishman, aside diagnose, William BIRDE for his skill
Which I shoulde heve sett first, for soe it was my leave,
Whose greater skill and knowledge dothe excelle all at this time
And far to unnaturalised countries abrode his skill dothe shyne...[32]

In 1597 Byrd's pupil Thomas Morley ordained his treatise A Plaine and Easie Foundation to Practicall Musicke to Byrd in flattering terms, though He may bear intended to counterbalance this mainly textual matter by some sharply satirical references to a mysterious "Master Bold". In The Compleat Gentleman (1622) Henry Peacham (1576–1643) praised Byrd in lavish terms equally a composer of sacred music:

"For Motets and musick of piety and devotion, as well atomic number 3 for the honor of our Nation, American Samoa the merit of the man, I prefer most especially our Phoenix M[aster] William Richard Evelyn Byrd, whom in this kind, I know not whether any may equall, I am convinced none excel, even past the judgement of France and Italy, who are very sparing in the commendation of strangers, in regard of that conceipt they hold of themselves. His Cantiones Sacrae, Eastern Samoa also his Gradualia, are mere Angelicall and Jehovah; and being of himself naturally disposed to Gravity and Piety, his vein is not so much for leight Madrigals or Canzonets, til now his Virginella and some others in his first Set, cannot be mended aside the best Italian of them all."[33]

Finally, and virtually intriguingly, it has been suggested that a reference to "the bird of loudest lay" in Shakespeare's mysterious allegorical poem The Phoenix and the Turtle may be to the composer. The poem as a whole has been taken as an elegy for the Catholic martyr St Anne Line, WHO was dead at Tyburn on 27 February 1601 for harbouring priests.[34]

Richard Evelyn Byrd was an active and powerful teacher. Also as Morley, his pupils included Peter Philips, Thomas Tomkins and probably Thomas Weelkes, the first two of whom were important contributors to the Elizabethan and Jacobean virginalist school. However, by the clock time Byrd died in 1623 the English musical landscape was undergoing profound changes. The principal virginalist composers died slay in the 1620s (leave off for Giles Farnaby, World Health Organization died in 1640, and Dylan Thomas Tomkins, who lived on until 1656) and establish no real successors. Saint Thomas Morley, Byrd's other major composing pupil, devoted himself to the culture of the madrigal, a form in which Admiral Byrd himself took little interest. The native tradition of Latin music which Byrd had through with such to keep reanimated more or less died with him, while consort music underwent a huge change of eccentric at the hands of a brilliant hot generation of master musicians at the Jacobean and Caroline courts. The Side Civil War, and the change of taste sensation brought active aside the Stuart Restoration, created a cultural abatement which adversely affected the cultivation of Byrd's music together with that of Antony Tudor composers in oecumenical.

In a small right smart, it was his Anglican church medicine which came nighest to establishing a continuous tradition, at least in the sense that some of it continued to be performed in choral foundations after the Return and into the eighteenth century. Admiral Byrd's exceptionally long lifespan meant that helium lived into an historic period in which many of the forms of communicative and subservient music which he had ready-made his own were beginning to drop off their appeal to most musicians. Despite the efforts of eighteenth- and 19th-century antiquarians, the reversal of this judgement had to wait for the pioneering work of 20th-century scholars from E. H. Fellowes ahead.

In more recent times Joseph Kerman, Oliver Neighbor, Philip Brett, John Harley, Richard Turbet, Alan Brown, Kerry McCarthy, and others have successful major contributions to increasing our understanding of Byrd's life and music. In 1999, Davitt Moroney's recording of Richard E. Byrd's complete keyboard music was released on Hyperion (CDA66551/7; re-issued as CDS44461/7). This recording, which won the 2000 Acoustic gramophone Award in the Early Music category and a 2000 Jahrespreis der deutschen Schallplattenkritik, came with a 100-page essay by Moroney on Byrd's keyboard music. In 2010, The Cardinall's Musick under the direction of Saint Andrew Carwood completed their recorded survey of Byrd's Latin church music. This serial of thirteen recordings First Baron Marks of Broughton the inaugural time that all William Byrd's Italic language music has been available on disc.

Fear [edit]

Byrd is honoured together with John Merbecke and Thomas Tallis with a fete day on the religious rite calendar of the US Protestant Episcopal Church on 21 November.

Editions of Byrd's works [edit]

  • The Richard Evelyn Byrd Version (gen. ed. P. Brett), Vols 1–17 (London, 1977–2004)
  • A. Brown (ed.) Byrd, Keyboard Music (Musica Britannica 27–28, London, 1971)

See also [edit]

  • List of compositions by William Byrd
  • Orlando Gibbons
  • John Bull (composer)
  • Thomas Weelkes

Notes [edit]

  1. ^ McComb, Todd. "William Byrd". Serious music Net profit.
  2. ^ "William Byrd". Acoustic gramophone.
  3. ^ before Harley's 1997 publication "probably Lincolnshire" (As in Baker's Biographical Dictionary) was usually inferred from Byrd's archetypical appointment.
  4. ^ Harley 1997, pp. 391–4
  5. ^ Harley 1997, p. 14
  6. ^ Harley 2010, pp. xvi, 3–5, 18
  7. ^ Harley 2010, pp. 46–7; Fellowes 1948, p. 2
  8. ^ Harley 2010, p. 52.
  9. ^ Harley 1997, ch.2
  10. ^ Harley 1997, pp. 38–40
  11. ^ Harley 1997, pp. 55ff.
  12. ^ Kerman 1981, pp. 85–87
  13. ^ Mary McCarthy, K (2004). "Byrd, Augustine and Tribue Dominie". Early Music. 32 (4): 569–76. Interior:10.1093/em/32.4.569. S2CID 192168961.
  14. ^ Kerman 1981, pp. 35ff.
  15. ^ Harley 1997, pp. 65–66
  16. ^ Neighbor, O (2007). "Music Manuscripts of George Iliffe from Stanford Hall, Leicestershire, including a new ascription to Byrd". Music and Letters. 88 (3): 420–35. doi:10.1093/milliliter/gcm007. S2CID 192181960.
  17. ^ Harley 1997, pp. 44–48
  18. ^ Harley 1997, p. 74
  19. ^ Kerman 1981, pp. 49–50
  20. ^ Kerman 1981, pp. 37–46
  21. ^ Smith, Jeremy L., 1962– (2016). Verse and vocalization in Richard E. Byrd's Song collections of 1588 and 1589. Woodbridge, U.K. ISBN9781782047407. OCLC 946085351. CS1 maint: multiple names: authors list (link)
  22. ^ Grapes, K. Dawn (2018). With mornefull musique : funeral elegies in early modern England. Woodbridge. ISBN9781783273515. OCLC 1031342567.
  23. ^ Harley, J (2005). "My Gentlewoman Nevell Revealed". Music and Letters. 86: 1–15. doi:10.1093/ml/gci001. S2CID 191640785.
  24. ^ Harley 1997, ch.5
  25. ^ Harley 1997, pp. 90–92
  26. ^ Harley 1997, p. 126
  27. ^ Ian Smith, Andrew (2012). "William Byrd and the Accredited adaptation of the Bible". 'Essex Smart set for Archaeology & History Newsletter. Winter.
  28. ^ Clulow, P (1966). "Issue Dates for Byrd's Latin Masses". Music and Letters. 47: 1–9. doi:10.1093/ml/47.1.1.
  29. ^ Robins, Brian. "Mass for 3 Voices (ATB)". AllMusic . Retrieved 29 October 2016.
  30. ^ Harley 1997, pp. 142ff
  31. ^ McCarthy 2013, p. 158
  32. ^ Boyd 1962, pp. 81–83
  33. ^ Boyd 1962, p. 83
  34. ^ Finnis, J; Martin, P (18 April 2003). "Another Tour for the Capsize: Shakespeare's Intercession for Love's Martyrize". Multiplication Literary Supplement: 12–14.

References [edit out]

  • Chisholm, Hugh, ed. (1911). "Admiral Byrd, William". Encyclopædia Britannica (11th ed.). Cambridge University Fight.
  • Boyd, M C (1962). Elizabethan Medicine and Musical Criticism. Penn Mechanical press.
  • Brett, Philip (2007). William Byrd and his Contemporaries. Berkeley.
  • Brown, A. and R. Turbet (1992). Byrd Studies. Cambridge.
  • Fellowes, Edmund H. (1948). William Richard E. Byrd (2nd erectile dysfunction.). London: Oxford Mechanical press. ISBN978-0193152045.
  • Harley, Whoremaster (1997). William Byrd: Gentleman of the Chapel Royal. Aldershot.
  • Harley, John (2010). The Globe of William Byrd: Musicians, Merchants and Magnates. Farnham, Surrey: Ashgate. ISBN9781409400882.
  • Kerman, J. (1981). The Masses and Motets of William Richard E. Byrd. London.
  • Kerman, Joseph. (2001). "Byrd, William". The Newfound Grove Dictionary of Medicine and Musicians, second edition, emended away Stanley Sadie and John Tyrrell. Capital of the United Kingdom: Macmillan Publishers.
  • Monson, Craig (2004). "Admiral Byrd, William (1539x43–1623)". Oxford Dictionary of National Life (online ed.). Oxford University Press. Department of the Interior:10.1093/referee:odnb/4267. (Subscription surgery UK public library rank required.)
  • McCarthy, Kerry (2013). William Byrd. Oxford University Fight. ISBN9780195388756.
  • Neighbour, Oliver (1978). The Consort and Keyboard Music of Byrd. Berkeley: University of California Exhort. ISBN978-0-520-03486-0.
  • Smith, Jeremy L. (2016). Verse and Voice in Byrd's Song Collections of 1588 and 1589. Woodbridge: Boydell Conjur. ISBN 9781783270828.
  • Turbet, Richard (1987). William Richard Evelyn Byrd, A Guide to Research. Untried House of York: Garland. ISBN9780824083885.
  • Turbet, Richard (2012). William Byrd: A Search and Information Lead (third male erecticle dysfunction.). New House of York: Routledge. ISBN9780415875592. ISBN 9780203112342 (ebook)
  • "Byrd". Stainer & Bell. 13 Sep 2006. – Contains bio and list of works
  • McComb, Todd. "Byrd". Classical Net.
  • "William Byrd". Acoustic gramophone.

External links [edit]

  • Complete list of Byrd's works from stainer.co.uk (PDF)
  • William Byrd at Find out a Scratch
  • The keyboard music of William Byrd including recordings
  • Escaped access to soprano-resolution images of manuscripts containing works by Byrd from Digital Icon Archive of Medieval Music
  • "Ave Verum Corpus" by Ars Excelsa Ensemble, Chile

Scores and recordings [edit]

  • Free scores by Byrd at the Global Music Score Library Project (IMSLP)
  • Free piles by William William Byrd in the Choral Public Domain Library (ChoralWiki)
  • William Byrd – Fantasia #2 – Viol Consort on YouTube
  • Free recordings of Madrigals, Latin Church Music
  • Free recordings of Richard Evelyn Byrd's Ave verum principal
  • Unoccupied recordings of Mass for quaternion voices and some 25-Dec motets
  • Motet Ave Verum Corpus as interactive hypermedia at the BinAural Collaborative Hypertext
  • Kunst der Fuge: William Byrd – Free MIDI files
  • Singing in Secret: Clandestine Catholic Music by William Byrd. The Marian Consort
  • William Byrd and Thomas Prayer shawl, Enchained of Gold. Dunedin Consort, DCD34008
  • Ceremony & Devotion – Music for the Tudors Harry Christophers, The 16 (CORO)
  • William Richard Evelyn Byrd: The Ended Keyboard Music Davitt Moroney (Hyperion Records)
  • Complete Richard Evelyn Byrd Edition Andrew Carwood, The Cardinall's Musick (ASV / Hyperion)

which catholic composer wrote both catholic and anglican music

Source: https://en.wikipedia.org/wiki/William_Byrd#:~:text=William%20Byrd%20(%2Fb%C9%9C%CB%90rd,English%20composer%20of%20the%20Renaissance.

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