or

ter in 1571-2. This proves he did not at once come to London on his appointment to the Chapel Royal. This was in 1569, when he succeeded Robert Parsons as Gentleman of the Chapel Royal, the said Robert Parsons having been drowned at Newark in January of that year. It seems probable that Byrd kept up some kind of connection with Lincoln for some time after his appointment to the Chapel Royal, for an entry in the Chapter Records of Lincoln mentions the appointment of Thomas Butler as Organist and Master of the Choristers on the "nomination and commendation of Mr William Byrd." In London he shared with his old master, Tallis, the post of Organist of the Royal Chapel and he also enjoyed with hi

n 4, 5, and 6 parts. Some of the compositions were by Tallis and some by Byrd, and they are fine and dignified specimens of both composers. 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 a

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 tr

e following "Eight Reasons briefly set down by th

ught and quickly learned where there

delightful to Nature, and good

ll parts of the breast

remedy for Stutting[1] an

rocure a perfect pronunciati

oice, which gift is so rare, as there is not one among a thousand that hath it,

parable to that which is made of the voices of Men, where

honour and serve God therewith, and the voice

s added the fo

ing is so

en would lea

to 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

t 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 Book[3] 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

or 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

Byrd, a Father of Musick, died the 4th of July, and John Croker, a Counter Tenor of West

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

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 Cathe

he 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 V

Phoenix, Mr. Wm. Byrd, whom, in that kind, I know not whether any may equall, I am sure none excell, even by the judgment of France and Italy. His Cantiones Sacrae and also his Gradualia are meere Angelicall and Divine and being himself naturally disposed to gravity a

non Non nobis Domine, but it would be very diff

lent Fancies and In Nomines for strings, making a real advance upon the somewhat stilted specimens of Instrumental Music then in vogue, and

the development of the Art of Music in England in the 17th century. There is much trut

man stottern. To "stut" is still used in Cheshire d

a Roman Catholic and his name woul

d by Mr. Fuller Maitland