Difference between revisions of "William Byrd"
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Whilst brought up in a [[Protestant]] household, he increasingly leaned towards [[Catholicism]], and much of his finest music is set to [[Latin]] texts – his music for the mass is the equal of any on the Continent. Whilst much of his catholic music is of a melancholy nature – he equated the state of catholic England with the fall of [[Jerusalem]] – he also wrote joyful consort and keyboard pieces that can be called exuberant. | Whilst brought up in a [[Protestant]] household, he increasingly leaned towards [[Catholicism]], and much of his finest music is set to [[Latin]] texts – his music for the mass is the equal of any on the Continent. Whilst much of his catholic music is of a melancholy nature – he equated the state of catholic England with the fall of [[Jerusalem]] – he also wrote joyful consort and keyboard pieces that can be called exuberant. | ||
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| − | {{DEFAULTSORT: Byrd, William}} | + | |
| + | References: | ||
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| + | “Oxford Companion to Music” | ||
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| + | “The Grove Concise Dictionary of Music” | ||
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| + | [[Category:Composers]]. | ||
| + | {{DEFAULTSORT:Byrd, William}} | ||
Latest revision as of 00:58, July 12, 2016
- for the Virginia planter see William Byrd II
William Byrd (1543-1623), English composer, was one of the last and perhaps greatest of the great Tudor and Jacobean masters that formed the musical component of the English Renaissance.
He was a pupil of Thomas Tallis, was appointed organist and choirmaster at Lincoln Cathedral in 1563, joined the Chapel Royal in 1570 and, with Tallis, was given a royal monopoly of music printing. (He was to publish three sets of his own songs to English texts.)
Whilst brought up in a Protestant household, he increasingly leaned towards Catholicism, and much of his finest music is set to Latin texts – his music for the mass is the equal of any on the Continent. Whilst much of his catholic music is of a melancholy nature – he equated the state of catholic England with the fall of Jerusalem – he also wrote joyful consort and keyboard pieces that can be called exuberant.
References:
“Oxford Companion to Music”
“The Grove Concise Dictionary of Music”.