One by Tallis in particular is a beautiful example of his treatment of a Chorale, the parts flowing in charming melody and the whole work abounding in interesting and clever "imitation." I have been able to publish this fine example of early Church music, and it has been well received "in Quires and places where they sing." With the exception of "If ye love me" I do not know any anthem by Tallis which compares with it in solemn and chaste expression. It shows Byrd's old master – one of the founders of our Cathedral music – at his very best.
On the death of Tallis 1585, the patent was enjoyed by Byrd alone, and he made very good use of it. One of his first publications was entitled Psalmes, Sonets, and Songs of sadness and pietie, made into musicke of 5 parts; whereof some of them going abroad among divers, in untrue coppies, are heere truely corrected, and the other being Songs very rare and newly composed, are heere published, for the recreation of all such as delight in Musicke (1588).
At the back of the title-page of this work are the following "Eight Reasons briefly set down by the Author to perswade every one to learn to sing:"
1. First it is a knowledge easily taught and quickly learned where there is a good Master and an apt Scholar.
2. The exercise of singing is delightful to Nature, and good to preserve the health of Man.
3. It doth strengthen all parts of the breast and doth open the pipes.
4. It is a singular good remedy for Stutting1 and Stammering in the speech.
5. It is the best means to procure a perfect pronunciation, and to make a good Orator.
6. It is the only way to know where Nature hath bestowed the benefit of a good voice, which gift is so rare, as there is not one among a thousand that hath it, and in many that excellent gift is lost, because they want Art to express Nature.
7. There is not any Musicke of Instruments whatsoever comparable to that which is made of the voices of Men, where the voices are good and the same well sorted and ordered.
8. The better the voice is the meeter it is to honour and serve God therewith, and the voice of man is Chiefly to be imployed to that End."
To the above is added the following couplet:
Since Singing is so good a thing
I wish all men would learne to sing.
In the same year appeared a work which was destined to wield tremendous influence upon English Musical Art. This was a collection of Madrigals called Musica Transalpina. Madrigals translated out of 4, 5, and 6 parts, chosen out of divers excellent Authors, with the first and second parts of La Virginella made by MAISTER BYRD upon two stanzas of Ariosto and brought to speak English with the rest. The inclusion of his name in this connection gives Byrd the claim to be considered one of the first, if not the first, of English Madrigal writers. And the fact that he contributed to this work may have possibly been the cause of the absence of his name from the collection made by Morley – which, of course, was an imitation of the publication which had appeared some twelve years before. This is merely a supposition, but there must be some reason for the exclusion of such a distinguished composer, and one already famous as a Madrigal writer. It is the more remarkable from the fact that Morley spoke of Byrd with the greatest respect and even affection.2
Two years later he wrote two settings of This sweet and merry month of May for Watson's First sett of Italian Madrigals Englished. Among his other vocal compositions are Psalms, Songs and Sonets, some solemne, other joyfull framed to the life of the words. Fit for voyces or viols. He also was a contributor to Leighton's Teares and Lamentations of a Sorrowful Soul, the work in which Bull's beautiful Motet appears. One of his works he dedicated to the Earl of Northampton, and the dedication infers that not only had Byrd reason to be grateful to that nobleman, but so also had the Gentlemen of the Chapel Royal, as he seems to have been the means of securing an increase in their salaries. Of course many of Byrd's works were not published, and this is particularly the case with his compositions for the Virginals. Many are in the Fitzwilliam Virginal Book3 and also in Lady Nevill's Booke, which is a collection of Virginal Lessons, copied by a singing Man of Windsor named John Baldwin. Before leaving Byrd's professional life it is interesting to note his connection with another musical worthy contemporary, Alfonso Ferabosco; a joint publication of theirs will show this. It was entitled Medulla Musicke, sucked out of the sappe of Two of the most famous Musicians that ever lived, Master William Byrd and Master Alfonso Ferabosco, Either of whom having made 40 severall ways (without contention) shewing most rare and intricate skill in 2 parts in one upon the Plaine Song Miserere. This work was most probably the outcome of a "friendly contention" which they had "each one judging his rival's work, they both set plaine song 40 different ways."
In private life Byrd's religious feelings made his career rather an anxious one; like many others on the Chapel Royal Staff, though outwardly Protestant, he was probably a Roman Catholic. It was known that the Byrd family were "Papisticall recusants"; as early as 1581 he is mentioned as living at one of the places frequented by recusants, and is also set down as "a friend and abettor of those beyond the Sea, and is said to be living with Mr. Lister over against St Dunstans or at the Lord Padgettes house at Draighton." It is a noticeable thing that though his duties called him to the Chapel Royal, he lived nearly the whole of his life out of London. At one place, Stondon, Essex, he had some sequestrated property granted to him for three lives, but had a good deal of dispute with the previous owners, which went so far as to necessitate the King's intervention. In a law-suit in connection with it "one Petiver submitted the said Byrd did give him vile and bitter words," that when told he had no right to the property replied that "yf he could not hould it by right he would hould it by might." Byrd lived a long life, and died on July 4, 1623.
The exact entry recording this fact in the Chapel Royal Cheque Book runs "1623, William Byrd, a Father of Musick, died the 4th of July, and John Croker, a Counter Tenor of Westminster, was admitted for a year of probation of his good behaviour and civill carriage."
Mr Barclay Squire has discovered much of interest concerning Byrd, notably his Will. In this he expresses a hope that he "may live and dye a true and perfect member of God's holy Catholic Church, (without which I believe there is no salvation for me). My body to be honourably buried in that parish or place where it shall please God to take me oute of this life, which I humbly desyre (if it shall please God) may be in the parish of Stondon where my dwellinge is, and this to be buried neare unto the place where my wife lyeth buryed."
Of late years much attention has been devoted to Byrd's sacred music, which includes some remarkably fine Masses, some of which have been reprinted and used in the Roman Catholic Church. But Byrd has never been forgotten in the Cathedrals of England, for his Anthem Bow Thine ear has always found a place in the lists of the daily musical services. There is, also, a fine specimen of his composition in the volume of Cathedral music published by Dr. Hayes. It has English words, and for a long time appeared in the Abbey list as by Hayes, but it was identified as one of Byrd's Latin motets, and now is ascribed to the rightful owner.
An interesting specimen of his Clavier compositions is to be found in the Fitzwilliam volume being an arrangement of the air O Mistress Mine. This is one of the few pieces of Shakesperean music which was published in the Poet's life-time. It is charmingly treated by Byrd. The same air appeared in a work by Morley, an arrangement of various airs for a small Band consisting of the Treble Viol, Flute, Cittern, Pandora, Lute, and Bass Viol. It seems probable that this air was a popular tune and that Shakespeare wrote words to it, or possibly (as he did in Willo! Willo!) took the old words which were set to the melody and incorporated them in his play.
A contemporary opinion of Byrd can be gathered
It may have been because he was a Roman Catholic and his name would not have been welcome to Elizabeth.
Now published. Edited by Mr. Fuller Maitland and Mr. Barclay Squire.
