William Byrd: Difference between revisions

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==Secular music==
==Secular music==
{{#SortWorks:Secular music|cols=3}}
{{Top}}
*{{NoCo|Ah silly Soul}} Alto & 5 viols
*{{NoCo|All as a sea}}
*{{NoCo|Although the heathen poets}}
*{{NoCo|Ambitious love}}
*{{NoCo|And think ye Nymphs to scorn at love - Love is a fit of pleasure}}
*{{NoCo|As I beheld I saw a herdman wild}}
*{{NoCo|Awake mine eyes}}
*{{NoCo|Care for thy soul}}
*{{NoCo|Come jolly Swains}}
*{{NoCo|Come to me grief for ever}}
*{{NoCo|Come woeful Orpheus}}
*{{NoCo|Compel the hawk to sit}}
*{{NoCo|Constant Penelope}}
*{{NoCo|Crowned with flowers}}
*{{NoCo|The Eagle's force}}
*{{NoCo|The fair young virgin - But not so soon}}
*{{NoCo|Farewell false Love}}
*{{NoCo|A feigned friend}}
*{{NoCo|From Citheron the warlike boy is fled - There careless thoughts are freed - If Love be just}}
*{{NoCo|The greedy Hawk}}
*{{NoCo|I joy not in no earthly bliss}}
{{mdl|3}}
*{{NoCo|I thought that Love had been a boy}}
*{{NoCo|If in thine heart}}
*{{NoCo|If that a sinner's sighs}}
*{{NoCo|If women could be fair}}
*{{NoCo|In crystal towers}}
*{{NoCo|In fields abroad}}
*{{NoCo|In Winter cold - Whereat an ant}}
*{{NoCo|Is Love a boy? - Boy pity me}}
*{{NoCo|Let not the sluggish sleep}}
*{{NoCo|The match that's made}}
*{{NoCo|My mind to me a kingdom is}}
*{{NoCo|The nightingale}}
*{{NoCo|O dear life}}
*{{NoCo|O mistress mine}}
*{{NoCo|O sweet deceit}}
*{{NoCo|O that most rare breast}}
*{{NoCo|O you that hear this voice}}
*{{NoCo|Of flattering speech}}
*{{NoCo|Of gold all burnished - Her breath is more sweet}}
*{{NoCo|Penelope that longed for the sight}}
*{{NoCo|Retire my soul}}
*{{NoCo|See those sweet eyes - Love would discharge}}
*{{NoCo|Sellenger's Round}}
{{mdl|3}}
*{{NoCo|Susanna fair (1588)}} 5vv
*{{NoCo|Susanna fair (1589)}} 3vv
*{{NoCo|This sweet and merry month of May (a 4)}}
*{{NoCo|This sweet and merry month of May (a 6)}}
*{{NoCo|Though Amarillis dance in green}}
*{{NoCo|Upon a Summer's day - Then for a boat}}
*{{NoCo|La Virginella}}
*{{NoCo|Wedded to will is witless}}
*{{NoCo|Weeping full sore}}
*{{NoCo|What is life, or worldly pleasure?}}
*{{NoCo|What pleasure have great princes}}
*{{NoCo|When first by force}}
*{{NoCo|When I was otherwise}}
*{{NoCo|When younglings first - But when by proof}}
*{{NoCo|Where fancy fond}}
*{{NoCo|While that the Sun}}
*{{NoCo|Who likes to love}}
*{{NoCo|Who looks may leap}}
*{{NoCo|Who made thee, Hob, forsake the Plough}}
*{{NoCo|Why do I use my paper, ink and pen?}}
*{{NoCo|Wounded I am - Yet of us twain}}
*{{NoCo|Ye sacred muses}}
{{btm}}
{{CheckMissing}}
{{CheckMissing}}
{{Whatlinkshere}}
{{Whatlinkshere}}
==Publications (vocal music only)==
==Publications (vocal music only)==
*''[[Cantiones quae ab argumento sacrae vocantur]]'' (1575), jointly with [[Thomas Tallis]]
*''[[Cantiones quae ab argumento sacrae vocantur]]'' (1575), jointly with [[Thomas Tallis]]

Revision as of 23:00, 22 October 2020

Aliases: If his surviving signatures are a representative sample, the composer's preferred spelling of his own name was "Byrde", although on his own publications it also appears as Bird and Byrd. His contemporaries knew him indiscriminately as Byrd(e), Bird(e) and even Burd(e).

Life

Byrd.jpg

Born: 1539 or 1540?

Died: 4 July 1623

Biography:
Byrd's will, dated November 1622, declares that he is ‘in the 80th yeare of myne age’, but since a deposition of October 1598 gives his age as ‘58 yeares or ther abouts’ it seems likely the will had been drafted some time before being dated.

William Byrd was one of the most celebrated English composers in the Renaissance. His entire life was marked by contradictions, and as a true Renaissance man he cannot be easily categorised. 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 form 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, printed by Thomas East in 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 entry in Cathedral Music, Volume 2 (William Boyce) reads:

William Bird, was admitted a Gentleman of the Chapel Royal in 1569. He, in conjunction with Thomas Tallis, published in 1575 a collection of their own compositions in Latin, entitled, Sacred Songs: and in the Years 1589, 1591, and 1605, he printed three other collections of his own Productions in the same Language, all of which had the same Title with the first conjoint Publication.

His works were, in his own time, in great Repute, both at Home and Abroad, and are still held in general Estimation: His Canon of Non nobis Domine, will, in particular, remain a perpetual Monument to his Memory.--- He died in 1623.

View the Wikipedia article on William Byrd.

Note. This page is only partially automated. For an automated version, see /Automated.

List of choral works

Latin.png Sacred music

in Latin (A-D)

Latin.png in Latin (E-O)

Latin.png in Latin (P-Z)

England.png English Anthems

Services

Secular music

Other works not listed above (See Template:CheckMissing for possible reasons and solutions)


Click here to search for this composer on CPDL

Publications (vocal music only)

Contributions to:

External links

There is no single official Byrd website, but a variety of useful resources can be found scattered widely across the Web. Many of these sites still repeat the (almost certainly) incorrect birthdate of 1543.