William Byrd (v. 1540-1623)

William Byrd (1543 (?) - 4 juillet 1623) était un compositeur et organiste anglais.

Il existe très peu de sources concernant la jeunesse de Byrd et les premières années de sa carrière. Des documents juridiques découverts récemment situent l'année de sa naissance en 1540, ou à la fin de 1539 mais la tradition musicologique continue de retenir l'année 1543. Byrd a été un élève du compositeur Thomas Tallis. Son premier poste identifié avec certitude a été celui d'organiste de la cathédrale de Lincoln, le 27 février 1563. En 1572, il est à Londres pour remplir l'office de gentilhomme de la Chapelle Royale auquel il vient d'être nommé. Il tient l'orgue avec Tallis, chante et compose : Byrd conservera ce poste pendant deux décennies.

L'importance de ses relations personnelles et professionnelles avec Tallis se manifeste à nouveau en 1575, lorsque la reine Élisabeth Ire confère conjointement aux deux hommes le privilège exclusif pendant vingt-et-un ans d'importer, imprimer, publier, vendre de la musique et d'imprimer du papier musique. Byrd publie trois recueils de motets en latin, les Cantiones Sacrae, le premier en 1575 avec Tallis, qui écrit 16 des 36 pièces, et les deux autres en 1589 et 1591. Byrd publie parallèlement deux anthologies musicales en anglais, Psalmes, Sonets and Songs en 1588 et Songs of Sundrie Natures en 1589.

En 1593, Byrd et sa famille s'intallent dans un petit village de l'Essex, Stondon Massey, et ne le quittent plus. Byrd se consacre de plus en plus à la musique liturgique du rite catholique. Il publie ses trois Messes Ordinaires entre 1592 et 1595, suivies de deux livres de Gradualia, un cycle musical annuel, en 1605 et 1607. Il meurt le 4 juillet 1623 et est enterré dans une tombe anonyme du cimetière de Stondon.

L'existence de Byrd est marquée par une série de contradictions, très caractéristiques des hommes de la Renaissance. Ainsi vécut-il au XVIIe siècle sans que sa musique vocale, notamment ses madrigaux, se rapproche pourtant du nouveau style baroque ; cependant, son œuvre pour clavier, remarquablement construite, marque le début du style baroque pour l'orgue et le virginal. De la même manière, Byrd peut être considéré comme un musicien de cour anglican, quoiqu'il ait consacré ses dernières années à la liturgie catholique et qu'il soit mort dans une relative obscurité. Lors du déchaînement anti-catholique qui suivit l'attentat catholique contre Jacques Ier, en 1605, certaines de ses œuvres ont été interdites en Angleterre sous peine d'emprisonnement ; pourtant certaines autres, comme le Short Service, ont été chantées sans interruption dans les cathédrales anglaises au cours des quatre derniers siècles.


Oeuvres

Musique pour clavier

Ce sont avant tout ses plus de 140 œuvres pour le clavecin ou le virginal qui en font un compositeur de premier plan pour la musique anglaise. Le recueil My Ladye Nevells Booke (1591) en contient de 42 pièces, d'autres (69) sont connues par le Fitzwilliam Virginal Book (1562/1612), certaines étant communes aux deux recueils.

Voici quelques titres :

My Ladye Newels Grownde
Qui Passe; for my Ladye Nevell
All in a Garden Grine
A Medley
The Marche before the Battell
The Battell: The souldiers sommons; The marche of footemen; The marche of horsmen; The trumpetts; The Irishe marche; The bagpipe and the drone; The flute and the droome; The marche to the fighte; The retreat
The Galliarde for the Victorie
The Barleye Breake
The Bells ou The Bells of Osney
Callino Casturame
The Carmans Whistle
Clarifica Me Pater, pour clavier
Fortune
The Ghost
Gipseis Round
Have With Yow to Walsingham
Hughe Ashtons Grownde
The Hunt's Up, or Pescodd Time
John, Come Kiss Me Now
La Volta "Lady Morley", écrite en collaboration avec Thomas Morley
La Volta
Lord Willobies Welcome Home
Lullaby (attribution douteuse)
The Maydens Song
Malt's Come Downe
Monsieurs Almain
My Lord of Oxenford's Mask
O Mistris Myne
The Queenes Alman
Rowland, or Lord Willoughby's welcome home
Selliers Rownde
Tregian's Ground
Ut, mi, re
Ut, re, mi,
Ut, re, mi, fa, sol, la
Will Yow Walke the Woods soe Wylde
Wilson's wild, or Wolsey's wilde
The Woods so Wild
Fantasia in A
Fantasia in G
A Fancie
A Galliards Gygge
A Passamezzo Pavana
Galiardas Passamezzo
The Firste Pavian
The Galliarde to the Firste Pavian
The Seconde Pavian
The Galliarde to the Seconde Pavian
The Third Pavian
The Galliarde to the Third Pavian
The Fourth Pavian
The Galliarde to the Fourth Pavian
The Fifte Pavian
The Galliarde to the Fifte Pavian
Pavana the Sixte; Kinbrugh Goodd
The Galliarde to the Sixte Pavian
The Seventh Pavian
The Eighte Pavian
The Passinge Mesures; the Nynthe Pavian
The Galliarde to the Nynthe Pavian
A Voluntarie; for my Ladye Nevell
A Lesson of Voluntarie
The Second Grownde
The Tennthe Pavian; Mr. W. Peter
The Galliarde to the Tennthe Pavian
Lady Monteagle's Paven
Pavana Lachrimae
Pavana. Canon. Two parts in one
Prelude and Ground 'Queen's Goodnight'
Praesidium
French Coranto, trois versions
A Gigg
A Voluntarie
Variatio
Verse in C


Musique pour violes

Consorts de violes

15 Fantasias
6 In nomine
Gaillard
Pavan, à 5
Pavan and Galliard à 6 Pavan in A

Browning "The Leaves Be Green", à 5
John come kiss me now
Miserere, à 4
My Lord of Oxenford's Mask
Prelude and Ground, à 5
Prelude and Voluntary
Susanna fair
The Woods So Wild
Christ rising again


Ensemble instrumental

English Dances
Sermone blando
The Queen's Good Night


Musique sacrée

Messes (c.1592-5)

Messe pour trois voix (c.1593-4)
Messe pour quatre voix (c.1592-3)
Messe pour cinq voix (c.1594-5)


The Great Service : Venite - Te Deum - Benedictus - Kyrie - Creed - Magnificat - Nunc Dimittis
Cantiones, quae ab argumento sacrae vocantur, 5–8vv (London, 1575), with Tallis
Liber primus sacrarum cantionum [Cantiones sacrae], 5vv (London, 1589)
Liber secundus sacrarum cantionum [Cantiones sacrae], 5–6vv (London, 1591)
Gradualia ac cantiones sacrae, 3–5vv (London, 1605)
Gradualia seu cantionum sacrarum, liber secundus, 4–6vv (London, 1607)


Motets, psaumes, hymnes, offertoires sur un texte en Latin

Ab ortu solis - Venite comedite
Adoramus te
Adorna thalamum tuum
Afflicti pro peccatis - Ut eruas nos
Alleluia - Ascendit Deus
Alleluia. Ave Maria - Virga Jesse floruit
Alleluia. Cognoverunt discipuli
Alleluia - Emitte Spiritum tuum
Alleluia. Vespere autem Sabbathi
Alma Redemptoris Mater
Angelus Domini descendit
Apparebit in finem
Ascendit Deus in jubilatione
Aspice Domine quia facta est
Aspice Domine de sede - Respice Domine
Assumpta est Maria
Attollite portas
Audivi vocem
Ave Maria
Ave maris stella
Ave Regina coelorum
Ave verum corpus
Beata es, Virgo Maria
Beata viscera
Beati mundo corde
Benedicta et venerabilis
Cantate Domino
Christe qui lux es et dies
Christe qui lux es et dies, autre version à 4
Christus resurgens
Cibavit eos
Circumdederunt me
Civitas sancti tui
Confirma hoc Deus
Constitues eos Principes (Gradual)
Constitues eos Principes (Offertoire)
Cunctis diebus
Da mihi auxilium
Decantabat populus
Defecit in dolore - Sed tu Domine
Deo gratias
Descendit de coelis - Et exivit per auream portam
Deus venerunt gentes - Posuerunt morticinia - Effuderunt sanguinem - Facti sumus opprobrium
Dies sanctificatus
Diffusa est gratia - Propter veritatem - Vultum tuum
Diliges Dominum
Domine ante te
Domine exaudi orationem - Et non intres in judicium
Domine non sum dignus
Domine praestolamur - Veni Domine noli tardare
Domine salva nos
Domine secundum actum meum
Domine secundum multitudinem
Domine tu jurasti
Ecce advenit dominator Dominus
Ecce quam bonum
Ecce virgo concipiet
Ego sum panis vivus
Emendemus in melius
Exsurge Domine
Fac cum servo tuo
Factus est repente
Felix es, sacra Virgo Maria
Felix namque es
Gaude Maria
Gaudeamus omnes in Domino
Gaudeamus omnes in Domino, seconde version
Haec dicit Dominus - Haec dicit Dominus
Haec dies à 3
Haec dies à 6
Haec dies - Alleluia Pascha nostrum
Hodie beata Virgo
Hodie Christus natus est
Hodie Simon Petrus
In manus tuas
In resurrectione tua
Infelix ego - Quid igitur faciam? - Ad te igitur
Jesu nostra redemptio
Justorum animae
Laetentur coeli - Orietur in diebus
Laudate Dominum omnes gentes
Laudate pueri Dominum
Laudibus in sanctis - Magnificum Domini - Hunc arguta
Levemus corda
Libera me, Domine, de morte aeterna
Libera me, Domine, et pone me
Lumen ad revelationem gentium
Memento Domine
Memento homo
Memento salutis auctor
Miserere mei, Deus
Miserere mihi Domine
Ne irascaris Domine - Civitas sancti tui
Nobis datus
Non vos relinquam orphanos
Nunc dimittis (Gradualia)
Nunc scio vere
O admirabile commertium
O Domine adjuva me
O gloriosa Domina
O lux beata Trinitas
O magnum mysterium - Beata Virgo
O quam gloriosum est regnum - Benedictio et claritas
O quam suavis
O Rex gloriae
O sacrum convivium
O salutaire hostia (Gradualia)
O salutaris hostia (inédit)
Oculi omnium
Optimam partem elegir
Pange lingua gloriosi
Pascha nostrum
Passio Domini nostri Jesu Christi secundum Johannem
Peccantem me quotidie
Peccavi super numerum
Pietas omnium
Plorans plorabit
Post dies octo - Mane nobiscum
Post partum Virgo
Precamur sancte Domine
Propter veritatem - Alleluia - Assumpta est Maria
Psallite Domino
Puer natus est nobis
Quem terra, pontus, aethera
Quis est homo - Diverte a malo
Quodcunque ligaveris
Quotiescunque manducabitis
Recordare Domine - Quiescat Domine
Reges Tharsis
Reges Tharsis, à 5
Regina coeli laetare
Responsum accepit Simeon
Resurrexi
Rorate caeli desuper
Sacerdotes Domini
Salve Regina - Et Jesum benedictum (1591)
Salve Regina (1605)
Salve sancta parens
Salve sola Dei genitrix
Senex puerum portabat, à 4
Senex puerum portabat, à 5
Siderum rector
Solve jubente Deo
Speciosus forma
Spiritus Domini
Surge, illuminare, Jerusalem
Suscepimus Deus - Justitia - Magnus Dominus
Suscepimus Deus - Sicut audivimus
Terra tremuit
Timete Dominum
Tollite portas
Tribue Domine - Te deprecor - Gloria Patri
Tribulatio proxima est - Contumelias et terrores
Tribulationes civitatum - Timor et hebetudo - Nos enim pro peccatis
Tristitia et anxietas - Sed tu Domine
Tu es pastor ovium
Tu es Petrus
Tui sunt coeli
Unam petii a Domino
Veni Sancte Spiritus
Venite exultemus Domino
Victimae paschali laudes
Vide Domine afflictionem - Sed veni Domine
Viderunt omnes (Communion)
Videront omnes (Gradual)
Vidimus stellam
Vigilate
Virgo Dei genitrix
Viri Galilaei
Visita Quaesumus
Vulgum tuum


Pièces sacrées sur un texte anglais

Arise Lord into thy rest
Attend mine humble prayer
Be unto me
Behold how good a thing - And as the pleasant morning dew
Blessed is he that fears the Lord
Bow thine ear, O Lord
Christ rising again - Christ is risen again
Come help O God
Come let us rejoice unto our Lord
An earthly tree a heavenly fruit - Cast off all doubtful care
Even from the depth
From depth of sin
Have mercy upon me
Help, Lord, for wasted are those men
How long shall mine enemies
How shall a young man
How vain the toils
I have been young
I have longed for thy saving health
I laid me down
Look down O Lord
Lord hear my prayer instantly
Lord in thy rage
Lord in thy wrath correct me not
Lord, make me to know thy ways
Make ye joy to God
Mine eyes with fervency
My soul oppressed with care
O God give ear
O God that guides the cheerful sun
O God, the proud are risen against me
O God which art most merciful
O God, whom our offences
O Lord, make thy servant Elizabeth
O Lord my God
O Lord, how long wilt thou forget
O Lord, turn thy wrath away
O Lord, who in thy sacred tent
Praise our Lord all ye Gentiles
Preces and Responses
Prevent us, O Lord
Prostrate O Lord I lie
Right blest are they
Sing joyfully
Sing we merrily unto God
Sing ye to our Lord
Teach me, O Lord
This day Christ was born
Turn our captivity
Unto the hills mine eyes I lift
When Israel came out of Egypt


Attribuées à Byrd

Ave regina caelorum à 5 voix (ATTBarB) - attribution "Mr Byrde" dans le Paston Lute Book, mais les musicologues qui ont établi le Tudor Church Music Book (Livre de musique sacrée Tudor) l'attribuent à John Taverner.

Collaborations

In exitu Israel à 4 voix (SSAT) - avec John Sheppard et William Mundy


Musique profane

Consorts Songs

Ah silly Soul
An aged dame
Come to me grief for ever
Come woeful Orpheus
Constant Penelope
Content is rich
Crowned with flowers and lilies
Delight is death
Fair Britain Isle
Farewell false love
From Virgin's womb - Rejoice rejoice
He that all eathly pleasure scorns
In angel's weed
In fields abroad
La Virginella
Lullaby, my sweet little baby
My mind to me a Kingdom is
My mistress had a little dog
My sweet little darling (attribution douteuse)
O that most rare breast
O you that hear this voice
Penelope that longed for the sight
Plorans Ploravit
The man is blest
The noble famous Queen
Truth at the first
What pleasure have great princes
Who likes to love
Who made thee, Hob, forsake the plough?
Why do I use my paper, ink and pen?
Ye sacred muses (Élégie pour Thomas Tallis)


Madrigaux

Alack, when I look back
Earthly tree, duo pour 2 sopranos
If in thine heart
O dear life
This sweet and merry month of May, version madrigalesque
Though Amaryllis dance in green
Weeping full sore


Autres pièces vocales profanes

All as a sea
Although the heathen poets
Ambitious love
And think ye Nymphs to scorn at love - Love is a fit of pleasure
As I beheld I saw a herdman wild
Awake mine eyes
Care for thy soul
Come jolly Swains
Compel the hawk to sit
The Eagle's force
The Fair young virgin
A feigned friend
From Citheron the warlike boy is fled - There careless thoughts are freed - If Love be just
The Greedy hawk
He that all earthly pleasure scorns
I joy not in no earthly bliss
I thought that Love had been a boy
If that a sinner's sighs
If women could be fair
In crystal towers
In Winter cold - Whereat an ant
Is Love a boy? - Boy pity me
Let not the sluggish sleep
The Match that's made
The Nightingale
O sweet deceit
Of flattering speech
Of gold all burnished - Her breath is more sweet
Out of the orient crystal skies
Retire my soul
See those sweet eyes - Love would discharge
Sellenger's Round
Susanna fair (1588)
Susanna fair (1589)
This sweet and merry month of May
Upon a Summer's day - Then for a boat
Wedded to will is witless
What is life, or worldly pleasure?
When first by force
When I was otherwise
When younglings first - But when by proof
Where fancy fond
While that the Sun
Who looks may leap
Wounded I am - Yet of us twain


Oeuvres incomplètes

Ad punctum in modico à 2 (BB) - Fragment
Ah, youthful years - Fragment
Behold, how good - Fragment
Cease Cares - Fragment
Depart ye furies - Fragment
Litany à 4 (SATB) - Fragment d'attribution douteuse
If trickling tears - Fragment
In tower most high - Fragment
I will give laud - Fragment
Jubilate Deo, omnis terra - Fragment d'attribution douteuse
Look and bow down - Fragment
Oh happy thrice - Fragment
O trifling days - Fragment
Preces Deo fundamus - Fragment
Service in F - Fragment d'attribution douteuse
Sponsus amat sponsam à 2 (ST) - Fragment d'attribution douteuse
With sighs and teares - Fragment

William Byrd va nettement plus loin que la génération précédente (celle du pionnier Christopher Tye) dans la complexité de l'écriture pour consort. Au début des années 1560, le genre est encore le privilège de la cour, de quelques théâtres, de cercles aristocratiques – il ne séduira les amateurs qu'au début du siècle suivant. Byrd destine alors aux violes des hymnes polyphoniques et des 'In nomine' sur cantus frirmus ("rapsodies mystiques pour consort" selon la belle formule de Laurence Dreyfus) mais s'en détourne assez vite : le cadre régulier des variations sur des dans ou des aires populaires (grounds) et l'espace absolument libre de ses fantaisies (à 3, 4, 5 ou 6 violes) feront désormais ses délices. Il travaille les mêmes formes qu'aux claviers mais en exploitant tout le potentiel polyphonique du consort. … Harold Lopparelli dans Diapason, été 2011 – introduction au nouveau CD 'Complete Consort Music' chez Linn

Sans G GOULD et son célèbre disque BYRD/GIBBONS, je ne me serais sans doute jamais intéressé à BYRD et toute la musique de cette époque. Un des plus beaux disques du pianiste, mais qui me semble plus un signe nostalgique d’amour à cette période ou à ces deux musiciens qu’une véritable réussite à entrer dans cet univers. Simplicité absolue, dénuement, humilité, c’est un sommet, une merveille, mais un mixte curieux, à mon goût.

BYRD est –je parle de son oeuvre de clavier- le compositeur le plus maître des possibilités relativement nouvelles de la musique pour clavecin à cette époque. FARNABY, extrêmement attachant, reste un peu plus extérieur, me semble-t-il, BULL, plus inégal, souvent sidérant, un peu rocailleux, démonstratif, n’a pas la plénitude de BYRD, et TOMKINS, pour ne citer que les plus connus, m’apparaît un peu scolaire, parfois. Toute cette musique est un enchantement, mais avec BYRD, on a le plus abouti : musique qui parle, respire naturellement en dépit des formules, qui fait vivre les formules, justement, et les fait oublier aussi. A ce titre de père de la musique pour clavier, qu’il partage avec BULL, il devrait être davantage apprécié. Mais à part la célèbre « Bataille », en général, on ne connaît pas grand-chose de lui. Quel dommage, vraiment, quelle pitié !!

Entrer dans sa musique est une des plus belles façons de se transporter un peu à cette époque, d’en toucher un peu le cœur vivant, pour autant que les interprètes aient trouvé des accès. HOGWOOD, dans son ancien enregistrement de « My Lady Nevell’s Book » est excellent. La version E FARR, chez Naxos, est bien moins enlevée, j’ai l’impression. Il faut aussi avoir l’intégrale de D MORONEY, parce que c’est une intégrale (on peut être peu favorable aux intégrales, mais quand on aime, …), en raison de l’utilisation, entre autres instruments magnifiques*, d’un muselaar extraordinaire, et pour certaines pièces qui sont de vrais miracles. Quelques beaux disques isolés, anciens, celui d’E. THORNBURGH et d’U. DEUTSCHLER, notamment, sont de très bonnes approches, si on peut encore les trouver. Il y en a d’autres. Je ne parle que de ceux que j’ai, et vous cause de tout cela sans aucune technique (je n’en ai pas, étant simple amateur ou amoureux), avec seulement un intérêt passionné, déjà ancien, pour les Elizabéthains.

Enrichi, augmenté, par cette musique. Non : mots trop faibles encore. Chance d’avoir rencontré cela, presque bénédiction. Et pour ceux qui ne connaîtraient pas, chance aussi : il leur reste ces belles choses-là à découvrir !

* un clavecin à double pincement, si je me souviens bien, notamment, qui permet une « Quadran Pavan » inoubliable.

Catalogue complet selon le Grove


Vocal religiosa:

Printed latin music:

Cantiones, quae ab argumento sacrae vocantur, 5–8vv (London, 1575), with Tallis [C], F i, TCM ix, B i
Liber primus sacrarum cantionum [Cantiones sacrae], 5vv (London, 1589) (CS i], D ii, B ii
Liber secundus sacrarum cantionum [Cantiones sacrae], 5–6vv (London, 1591) [CS ii], D iii, B iii
Mass, 4vv, c1592–3, F i, 30, TCM ix, 17, B iv, 24
Mass, 3vv, c1593–4, F i, 1, TCM ix, 3, B iv, 1
Mass, 5vv, c1595, F i, 68, TCM ix, 36, B iv, 36
Gradualia ac cantiones sacrae, 3–5vv (London, 1605) [G i./part no.] F iv–v, TCM vii, B v–via, b
Gradualia seu cantionum sacrarum, liber secundus, 4–6vv (London, 1607) [G ii], F vi–vii, TCM vii, B viia, b


Alphabetical list of latin works:

Ab ortu solis, 4vv, G ii 13; F vi, 69, TCM vii, 239, B viia, 64
Ad Dominum cum tribularer, 8vv, GB-Lbl; F ix, 54, TCM ix, 164, B viii, 50; text missing
Adoramus te, Christe, 1v, 4 viols, G i/I 26; F iv, 152, TCM vii, 85, B via, 1
Adorna thalamum tuum, 3vv, G i/III 11; F v, 207, TCM vii, 205, B vib, 136
Ad punctum in modico, 5vv, CH, Ob; F xvi, 122; only two parts extant
Afflicti pro peccatis nostris (c.f. chant), 6vv, CS ii 27–8; D iii, 193, B iii, 212
Alleluia, Ascendit Deus [= All ye people, clap your hands], 5vv, G ii 26; F vii, 10, TCM vii, 286, B viib, 11
Alleluia, Ave Maria … in mulieribus. Alleluia, Virga Jesse, 5vv, G i/I 20; F iv, 101, TCM vii, 58, B v, 117
Alleluia, Cognoverunt. Alleluia, Caro mea, 4vv, G ii 16; F vi, 87, TCM vii, 247, B viia, 75
Alleluia, Confitemini Domino, 3vv, Lbl Add. 18936–9, R.M. Baldwin, Och Mus.45; F viii, 23, TCM ix, 181, B viii, 1
Alleluia, Emitte spiritum tuum, 5vv, G ii 32; F vii, 37, TCM vii, 302, B viib, 42
Alleluia, [Vespere autem sabbati] quae lucescit, 3vv, G i/III 6; F v, 185, TCM vii, 196, B vib, 117
Alma Redemptoris mater, 4vv, G i/II 13; F v, 93, TCM vii, 155, B vib, 35
Angelus Domini descendit de coelo, 3vv, G i/III 8; F v, 192, TCM vii, 199, B vib, 123
Apparebit in finem, 5vv, CS ii 12; D iii, 83, B iii, 89
Ascendit Deus, 5vv, G ii 28; F vii, 17, TCM vii, 290, B viib, 19
Aspice, Domine, de sede sancta tua (c.f. chant), 5vv, CS i 18–19; D ii, 139, B ii, 156
Aspice, Domine, quia facta est desolata civitas, 6vv, C 10; F i, 149, TCM ix 86, B i, 39
Assumpta est Maria … Dominum. Alleluia, 5vv, G i/I 24; F iv, 144, TCM vii, 81, B v, 166
Attollite portas [= Let us arise; Lift up your heads], 6vv, C 11; F i, 159, TCM ix, 92, B i, 52
Audivi vocem, 5vv CH, Lbl, Ob, Och; F viii, 48, TCM ix, 182
Ave Maria … fructus ventris tui, 5vv, G i/I 14; F iv, 75, TCM vii, 40, B v, 83
Ave maris stella, 3vv, G i/III 4; F v, 162, TCM vii, 186, B vib, 97
Ave regina, 4vv, G i/II 14; F v, 103, TCM vii, 159, B vib, 44
*Ave regina caelorum, attrib. Byrd in Lbl Add.31992 (lutebook); attrib. Taverner in Ob Tenbury 1486 and Willmott MS, Spetchley Park, Braikenridge; B viii, 156
Ave verum corpus [= O Lord, God of Israel], 4vv, G i/II 5; F v, 27, TCM vii, 127, B via, 82
Beata es, virgo Maria, 5vv, G, i/I 10; F iv, 53, TCM vii, 30, B v, 60
Beata virgo, 4vv, G ii 9; F vi, 25, TCM vii, 228, B viia, 38
Beata, viscera, 5vv, G i/I 11; F iv, 57, TCM vii, 32, B v, 65
Beati mundo corde, 5vv, G i/I 32; F iv, 199, TCM vii, 112, B via, 53
Benedicta et venerabilis, 5vv, G i/I 7; F iv, 43, TCM vii, 25, B v, 50
* Benigne fac, Domine, 5vv, Ob, Och; F viii, 56, TCM ix, 186
Cantate Domino, 6vv, CS ii 29; D iii, 203, B iii, 223
[Christe, qui lux es … praedicans] Precamur (c.f. chant), 5vv, Och; F viii, 63 TCM ix, 279, B viii, 14
Christus resurgens (c.f. chant), 4vv, G i/II 10; F v, 64, TCM vii, 143, B vib, 9
Cibavit eos, 4vv, G i/II 1; Fv, 1, TCM vii, 116, B via, 61, B viia, 137
Circumdederunt me dolores mortis, 5vv, CS ii 15; D iii, 102, B iii, 111
* Circumspice, Hierusalem, 6vv, Lcm, Ob; F ix, 1, TCM ix, 190
Civitas sancti tui [= Be not wroth very sore; Bow thine ear]: see Ne irascaris
Confirma hoc, Deus, 5vv, G ii 34; F vii, 44, TCM vii, 306, B viib, 49
Constitues eos, 6vv, G ii 39; F vii, 82, TCM vii, 327, B viib, 91
Cunctis diebus, 6vv, CS ii 30; D iii, 211, B iii, 232
Da mihi auxilium, 6vv, C 23; F i, 206, TCM ix, 115, B i, 113
Defecit in dolore, 5vv, CS i 1–2; D ii, 1, B ii, 1
* De lamentatione Hieremiae, 5vv, Lbl, Och, Ob; F viii, 1, TCM ix, 153, B viii, 20
Deo gratias, 4vv G i/II 20; F v, 139, TCM vii, 176, B vib, 82
Descendit de coelis (c.f. chant), 6vv, CS ii 21–2; D iii, 150, B iii, 163
* Deus, in adiutorium meum intende, 6vv, Ob, Och; F ix, 13, TCM ix, 196
Deus, venerunt gentes, 5vv, CS i 11–14; D ii, 80, B ii, 89
Dies sanctificatus, 4vv, G ii 3; F vi, 16, TCM vii, 216, B viia, 14
Diffusa est gratia, 5vv, G i/I 22; F iv, 116, TCM vii, 67, B v, 136
Diliges Dominum, 8vv, C 25; F i, 232, TCM ix, 149, B i, 151
* Domine, ante te omne desiderium, 6vv, Och; F ix, 38, TCM ix, 208
* Domine, exaudi orationem meam et clamor meus, 5vv, Ob Mus.Sch.E.526, Ob Tenbury 389; Ob 389 in F xvi, 127; only 3 parts extant
Domine, exaudi orationem meam, inclina, 5vv, CS ii 10–11; D iii, 68, B iii, 74
Domine, non sum dignus, 6vv, CS ii 23; D iii, 160, B iii, 174
Domine, praestolamur, 5vv, CS i 3–4; D ii, 14, B ii, 15
Domine, quis habitabit, 9vv, Lbl; F ix, 130, TCM ix, 223, B viii, 97
Domine, salva nos, 6vv, CS ii 31; D iii, 68, B iii, 245
Domine, secundum actum meum, 6vv, C 24; F i, 218, TCM ix, 122, B i, 132
Domine, secundum multitudinem dolorum meum, 5vv, CS i 27; D ii, 198, B ii, 221
Domine, tu iurasti, 5vv, CS i 15; D ii, 110, B ii, 124
Dominus in Sina, 5vv, G ii 27; F vii, 14, TCM vii, 288, B viib, 15
Ecce advenit dominator Dominus, 4vv, G ii 10; F vi, 48, TCM vii, 230, B viia, 42
Ecce quam bonum est, 4vv, G i/II 9; F v, 53, TCM vii, 139, B vib, 1
Ecce virgo concipiet, 5vv, G i/I 15; F iv, 78, TCM vii, 42, B v, 87
Ego sum panis vivus, 4vv, G ii 17; F vi, 96, TCM vii, 251, B viia, 82
Emendemus in melius, 5vv, C 4; F i, 119, TCM ix, 61, B i, 1
Exsurge, quare obdormis, Domine? [= Arise, O Lord, why sleepest thou?], 5vv, CS ii 19; D iii, 132, B iii, 144
Fac cum servo tuo, 5vv, CS ii 5; D iii, 33, B iii, 37
Factus est repente de coelo sonus, 5vv, G ii 35; F vii, 48, TCM vii, 308, B viib, 53
Felix es, sacra virgo, 5vv, G i/I 9; F iv, 49, TCM vii, 28, B v, 56
Felix namque es, 5vv, G i/I 19; F iv, 98, TCM vii, 56, B v, 113
Gaudeamus omnes, 5vv, G i/I 23; F iv, 134, TCM vii, 76, B v, 156
Gaudeamus omnes, 5vv, G i/I 29; F iv, 175, TCM vii, 98, B via, 27
Gaude Maria, 5vv, G i/I 21; F iv, 109, TCM vii, 63, B v, 127
Gloria Patri: see Tribue, Domine
Haec dicit Dominus, 5vv, CS ii 13–14; D iii, 90, B iii, 97
Haec dies, 6vv, CS ii 32; D iii, 228, B iii, 251
Haec dies, 3vv, G i/III 7; F v, 189, TCM vii, 198, B vib, 121
Haec dies, 5vv, G ii 21; F vii, 132, TCM vii, 267, B viia, 111
Hodie Beata Virgo Maria, 4vv, G i/II 19; F v, 134, TCM vii, 174, B vib, 77
Hodie Christus natus est, 4vv, G ii 6; F vi, 26, TCM vii, 220, B viia, 20
Hodie Simon Petrus, 6vv, G ii 42; F vii, 104, TCM vii, 340, B viib, 114
Iesu nostra redemptio, 4vv, G ii 19; F vi, 110, TCM vii, 257, B viia, 93
Infelix ego, 6vv, CS ii 24–6; D iii, 166, B iii, 180
In manus tuas, Domine, 4vv, G i/II 15; F v, 111, TCM vii, 163, B vib, 51
In resurrectione tua, 5vv, CS i 17; D ii, 134, B ii, 150
Iustorum animae, 5vv, G i/I 31; F iv, 194, TCM vii, 109, B via, 48
Laetania, 4vv, G i/II 16; F v, 118, TCM vii, 166, B vib, 56
Laetentur coeli, 5vv, CS i 28–9; D ii, 206, B ii, 229
Laudate Dominum omnes gentes, 6vv, G ii 45; F vii, 132, TCM vii, 356, B viib, 143
Laudate, pueri, Dominum [= Behold, now praise the Lord], 6vv, C 17; F i, 181, TCM ix, 105, B i, 82
Laudibus in sanctis, 5vv, CS ii 1–2; D iii, 1, B iii, 1
Levemus corda, 5vv, CS ii 16; D iii, 110, B iii, 121
Libera me, Domine, de morte aeterna (c.f. chant), 5vv, C 33; F i, 275, TCM ix, 81, B i, 213
Libera me, Domine, et pone me juxta te, 5vv, C 5; F i, 124, TCM ix, 64, B i, 8
Memento, Domine, 5vv, CS i 8; D ii, 55
Memento, homo [= O Lord, give ear], 6vv, C 18; F i, 194, TCM ix, 112, B i, 97
Memento, salutis auctor, 3vv, G i/III 3; F v, 156, TCM vii, 183, B vib, 93
Miserere mei, Deus, 5vv, CS ii 20; D iii, 144, B iii, 157
Miserere mihi, Domine (c.f. chant), 6vv, C 29; F i, 240, TCM ix, 129, B i, 161
Ne irascaris (2p. Civitas sancti tui) [= Behold, I bring you; Let not thy wrath; O Lord, turn thy wrath] 5vv, CS i 20–21; D ii, 151, B ii, 169
Ne perdas (c.f. chant), 5vv, Lbl, Lcm, Ob, Och; F viii, 99, TCM ix, 243, B viii, 168
Non vos relinquam orphanos, 5vv, G ii 37; F vii, 66, TCM vii, 318, B viib, 73
Nos enim pro peccatis [= Let not our prayers]: see Tribulationes civitatem
Nunc dimittis servum tuum, 5vv, G i/I 4; F iv, 17, TCM vii, 11, B v, 19
Nunc scio vere, 6vv, G ii 38; F vii, 71, TCM vii, 321, B viib, 80
O admirabile commercium, 4vv, G ii 7; F vi, 33, TCM vii, 223, B viia, 28
Oculi omnium, 4vv, G i/II 2; F v, 8, TCM vii, 119, B via, 67, B viia, 142
O Domine, adiuva me, 5vv, CS i 5; D ii, 29, B ii, 32
O gloriosa Domina, 3vv, G i/III 2; F v, 150, TCM vii, 181, B vib, 89
O lux, beata Trinitas, 6vv, C 12; F i, 170, TCM ix, 99, B i, 69
O magnum misterium, 4vv, G ii 8; F vi, 40, TCM vii, 226, B viia, 34
Omni tempore benedic Deum (c.f. chant), 5vv, Lbl, Ob, Och; F viii, 122, TCM ix, 257, B viii, 178
Optimam partem elegit, 5vv, G i/I 25; F iv, 148, TCM vii, 83, B v, 170
O quam gloriosum est regnum, 5vv, CS i 22–3; D ii, 166, B ii, 187
O quam suavis est, 4vv, G ii 18; F vi, 101, TCM vii, 253, B viia, 86
O Rex gloriae, 5vv, G ii 30; F vii, 23, TCM vii, 294, B viib, 26
O sacrum convivium, 4vv, G i/II 7; F v, 37, TCM vii, 132, B via, 92
O salutaris hostia, 4vv, G i/II 6; F v, 31, TCM vii, 129, B via, 87
O salutaris hostia, 6vv, Ob, Och; F ix, 48, TCM ix, 257, B viii, 44
[Pange lingua … misterium.] Nobis datus, 4vv, Gi/II 8; F v, 43, TCM vii, 134, B via, 97
Pascha nostrum … veritatis, 5vv, G ii 24; F vii, 152, TCM vii, 278, B viia, 132
Peccantem me quotidie, 5vv, C 6; F i, 138, TCM ix, 72, B i, 28
Peccavi super numerum, 5vv, Lbl, Ob, Och; F viii, 133, TCM ix, 264
Petrus beatus (c.f. chant), 5vv, Ob; F viii, 145, TCM ix, 270, B viii, 137
Plorans ploravit, 5vv, G i/I 28; F iv, 165, TCM vii, 92, B via, 15
Post dies octo, 3vv, G i/III 9; F v, 195, TCM vii, 200, B vib, 125
Post partum, virgo, 5vv, G i/I 18; F iv, 94, TCM vii, 53, B v, 108
Psallite Domino, 5vv, G ii 29; F vii, 20, TCM vii, 292, B viib, 23
Preces Deo fundamus, Lbl; B xvi, 180; consort song, fragment
Puer natus est, 4vv, G ii 1; F vi, 1, TCM vii, 210, B viia, 2
Quem terra, pontus, aethera, 3vv, G i/III 1; F v, 140, TCM vii, 177, B vib, 83
Quis est homo, 5vv, CS ii 3–4; D iii, 18, B iii, 21
Quis me statim, 1v, 4 viols Lbl, Lcm, Ob, US-CA; B xv, 140; consort song
Quodcunque ligaveris, 6vv, G ii 44; F vii, 120, TCM vii, 349, B viib, 131
Quomodo cantabimus?, 8vv, GB-Lbl, Ob; F ix; 99, TCM ix, 283
Quotiescunque manducabitis, 4vv, G i/II 4; F v, 21, TCM vii, 124, B via, 77
Recordare, Domine, 5vv, CS ii 17–18; D iii, 120, B iii, 132
Reges Tharsis, 4vv, G ii 11; F vi, 57, TCM vii, 234, B viia, 49
Regina coeli, 3vv, G i/III 5; F v, 176, TCM vii, 192, B vib, 109
Responsum accepit Simeon, 5vv, G i/I 5; F iv, 28, TCM vii, 17, B v, 31
Resurrexi, 5vv, G ii 20; F vii, 123, TCM vii, 262, B viia, 102
Rorate coeli, 5vv, G i/I 12; F iv, 61, TCM vii, 34, B v, 70
Sacerdotes Domini, 4vv, G i/II 3; F v, 18, TCM vii, 123, B via, 75
Salve regina, 4vv, G i/II 12; F v, 84, TCM vii, 151, B vib, 26
Salve regina, 5vv, CS ii 6–7; D iii, 42, B iii, 47
Salve sancta parens, 5vv, G i/I 6; F iv, 35, TCM vii, 21, B v, 40
Salve sola Dei genetrix, 4vv, G i/II 17; F v, 123, TCM vii, 169, B vib, 67
Senex puerum portabat … adoravit, 4vv, G i/II 18; F v, 130, TCM vii, 172, B vib, 73
Senex puerum portabat … regebat, 5vv, G i/I 3; F iv, 14, TCM vii, 10, B v, 16
Sicut audivimus, 5vv, G i/I 2; F iv, 10, TCM vii, 8, B v, 12
Siderum rector, 5vv, C 19; F i, 199, TCM ix, 78, B i, 104
Similes illis fiant, 4vv, Lbl Add.17802–5; F viii, 42, B viii, 4
Solve iubente Deo, 6vv, G ii 40; F vii, 90, TCM vii, 332, B viib, 99
Speciosus forma, 5vv, G i/I 17; F iv, 88, TCM vii, 49, B v, 101
Spiritus Domini, 5vv, G ii 31; F vii, 28, TCM vii, 297, B viib, 34
Surge, illuminare, Ierusalem, 4vv, G ii 15; F vi, 82, TCM vii, 244, B viia, 58
Suscepimus Deus, 5vv, G i/I 1; F iv, 1, TCM vii, 3, B v, 2
Te deprecor: see Tribue, Domine
Terra tremuit, 5vv, G ii 23; F vii, 150, TCM vii, 277, B viia, 129
Timete Dominum, 5vv, G i/I 30; F iv, 185, TCM vii, 104, B via, 37
Tollite portas, 5vv, G i/I 13; F iv, 70, TCM vii, 38, B v, 78
Tribue, Domine (2p. Te deprecor; 3p. Gloria Patri), 6vv, C 30–32; F i, 14, TCM ix, 132, B i, 167
Tribulationes civitatum (2p. Timor et hebetudo; 3p. Nos enim pro peccatis [= Let not our prayers]), 5vv, CS i 24–6; D ii, 180, B ii, 202
Tribulatio proxima est, 5vv, CS ii 8–9; D iii, 58, B iii, 63
Tristitia et anxietas, 5vv, CS i 6–7; D ii, 37, B ii, 42
Tu es pastor ovium, 6vv, G ii 43; F vii, 144, TCM vii, 346, B viib, 125
Tu es Petrus, 6vv, G ii 41; F vii, 97, TCM vii, 336, B viib, 107
Tui sunt coeli, 4vv, G ii 4; F vi, 20, TCM vii, 218, B viia, 17
Turbarum voces in passione Domini secundum Ioannem, 3vv, G i/III 10; F v, 198, TCM vii, 202, B vib, 128
Unam petii a Domino, 5vv, G i/I 27; F iv, 155, TCM vii, 87, B via, 4
Veni, Sancte Spiritus, et emitte, 5vv, G ii 36; F vii, 53, TCM vii, 311, B viib, 59
Veni, Sancte Spiritus, reple, 5vv, G ii 33; F vii, 41, TCM vii, 304, B viib, 46
Venite, comedite panem meum, 4vv, G ii 14; F vi, 77, TCM vii, 242, B viia, 71
Venite, exultemus Domino, 6vv, G ii 46; F vii, 141, TCM vii, 361, B viib, 152
Victimae paschali laudes, 5vv, G ii 22; F vii, 137, TCM vii, 270, B viia, 117
Vide, Domine, afflictionem nostram, 5vv, CS i 9–10; D ii, 65, B ii, 73
Viderunt … Dei nostri, 4vv, G ii 5; F vi, 24, TCM vii, 219, B viia, 20
Viderunt … omnis terra, 4vv, G ii 2; F vi, 11, TCM vii, 213, B viia, 9
Vidimus stellam, 4vv, G ii 12; F vi, 64, TCM vii, 237, B viia, 54
Vigilate, 5vv, CS i 16; D ii, 120, B ii, 135
Virgo Dei genetrix, 5vv, G i/I 8; F iv, 46, TCM vii, 26, B v, 53
Viri Galilei, 5vv, G ii 25; F vii, 1, TCM vii, 281, B viib, 2
Visita quaesumus, Domine, 4vv, G i/II 11; F v, 76, TCM vii, 148, B vib, 19
Vultum tuum, 5vv, G i/I 16; F iv, 82, TCM vii, 45, B v, 94


Printed english music:

Psalmes, Sonets and Songs, 5vv (London, 1588) [PSS i], D xii, EM xiv
Songs of Sundrie Natures, 3–6vv (London, 1589) [SSN], D xiii, EM xv
Psalmes, Songs and Sonnets … fit for Voyces or Viols, 3–6vv (London, 1611) [PSS ii], D xiv, EM xvi, B xiv

English liturgical music:

For sources see R.T. Daniel and P. le Huray: The Sources of English Church Music 1549–1660, EECM, suppl.i (1972)
Short Service, 4–6vv: Ven, TeD, Bs, Ky 1–2, Cr, San, Mag and Nunc; F x, 52, TCM ii, 51, B xa, 59
Second Service, 1/5vv, org: Mag and Nunc; F x, 108, TCM ii, 99, B xa, 121
Third Service, 5vv, ‘three Minnoms’: Mag and Nunc; F x, 122, TCM ii, 111, B xa, 136
Great Service, 5–10vv: *Ven, TeD, Bs, Ky, Cr, Mag and Nunc; F x, 136; TCM ii, 123, B xb
First Preces and Psalms 47, 54, 100 (Jub; one part only); F x, 1, 18, 27, xvi, 138, TCM ii, 3, B xa, 9
Second Preces and Psalms 114, 55, 119, 24; F x, 36, 38, 46, i, 159, TCM ii, 13, B xa, 28
*Third Preces and Responses, 5vv; F x, 7, 10, TCM ii, 49, B xa, 1
* Litany, 5vv; US-NYp Chirk, B xa, 50

anons
Most of the canons in F xvi are now thought to be spurious; see Brett (1972)
Canon two in one ‘per arsin et thesin’, B xvi, 169
Canon six in one (and four in two), B xvi, 171


consort music

all published in B xvii; p. nos. in parentheses
Fantasias, grounds and dances:
Browning a 5 (39)
Fantasia a 3 in C, no.1 (2)
Fantasia a 3 in C, no.2 (4)
Fantasia a 3 in C, no.3 (6)
Fantasia a 4 in a, inc. (11)
Fantasia a 4 in G [= In manus tuas, Domine], one part only (147)
Fantasia a 4 in g, PSS ii 15 (7)
Fantasia a 5 in C [= kbd fantasia in C, MB 26] (19)
Fantasia a 6 in F [= Laudate, pueri, Dominum], inc. (48)
Fantasia a 6 in g, no.1 (53)
Fantasia a 6 in g, no.2, PSS ii 26 (63)
Pavan a 5 in c [= kbd pavan in c, MB 29] (73)
Pavan and galliard a 6 in C (75)
Prelude [and Ground] (29)

In Nomines:
In Nomine a 4, no.1 (80)
In Nomine a 4, no.2 (83)
In Nomine a 5, no.1 (86)
In Nomine a 5, no.2, ‘on the sharpe’ (90)
In Nomine a 5, no.3 (94)
In Nomine a 5, no.4 (98)
In Nomine a 5, no.5 (103)

Hymn and Miserere settings:
Christe qui lux es a 4, no.1, 3 verses (110)
[Christe qui lux es] a 4, no.2, 3 verses (114)
[Christe qui lux es] a 4, no.3, 1 verse (117)
Christe Redemptor a 4, 2 verses (118)
Miserere a 4, 2 verses (122)
* Salvator mundi a 4, 2 verses (124)
Sermone blando a 3, 2 verses (108)
* Sermone blando a 4, no.1, 3 verses (127)
Sermone blando a 4, no.2, anon. (130)
* Te lucis ante terminum a 4, 12 verses (8 + 4) (134)


Instrumental:

Keyboard music
MB nos. follow in parentheses

Fantasias, preludes, hymns and antiphons:
Fantasia in a (13)
Fantasia in C, no. 1 [= consort Fantasia a 5 in C] (26)
Fantasia in C, no.2 (25)
Fantasia in C, no.3 (27)
Verse [Fantasia in C, no.4] (28)
Fantasia in d (46)
Voluntary for my Lady Nevell [Fantasia in G, no.1] (61)
Fantasia in G, no.2 (62)
Fantasia in G, no.3 (63)
Ut mi re (65)
Ut re mi fa sol la, in G (64)
Prelude in a (12)
Prelude in C (24)
Prelude in F, GB-Lbl R.M.24.d.3, anon.
Prelude in G, Lbl R.M.24.d.3, anon.
Prelude in g (1)

Clarifica me, Pater, 3 settings (47–9)
Gloria tibi Trinitas (50)
Miserere, 2 settings (66–7)
Salvator mundi, 2 settings (68–9)

Grounds and related pieces:

‘The seconde grownde’, in C (42)
[Short] Ground in C (43)
[Short] Ground in G (9)
[Short] Ground in g (86)
Hornpipe (39)
Hugh Aston’s Ground (20)
My Lady Nevell’s Ground (57)
Qui passe [Chi passa] for my Lady Nevell (19)
The Bells (38)
The Hunt’s Up, or Pescodd Time (40)
Ut re mi fa sol la, in F (58)

Variations:

All in a garden green (56)
Callino casturame (35)
Fortune (6)
Go from my window (79)
Gypsies’ Round (80)
John come kiss me now (81)
O mistress mine, I must (83)
Rowland, or Lord Willoughby’s Welcome home (7)
Sellinger’s Round (84)
The Carman’s Whistle (36)
The Maiden’s Song (82)
The woods so wild (85)
Walsingham (8)
Wilson’s wild (37)

Pavans and Galliards:

Pavan and Galliard in a, no.1 (14)
Pavan and two Galliards in a, no.2, The Earl of Salisbury (15)
Pavan and Galliard in a, no.3 (16)
Pavan in a, no.4 (17)
Pavan and Galliard in B  (23)
Pavan and Galliard in C, no.1 (30)
Pavan and Galliard in C, no.2, Kinborough Good (32)
Pavan and Galliard in C, no.3 (33)
Galliard in C, no.4, Mistress Mary Brownlow (34)
Pavan and Galliard in c, no.1 (29)
Pavan and Galliard in c, no.2 (31)
Pavan and Galliard in d, no.1 (52)
Galliard in d, no.2 (53)
Pavan and Galliard in F, no.1, Bray (59)
Pavan and Galliard in F, no.2, Ph. Tregian (60)
Quadran Pavan and Galliard in G, no.1, on the passamezzo moderno (70)
Pavan and Galliard in G, no.2 (71)
Pavan and Galliard in G, no.3 (72)
Pavan and Galliard in G, no.4 (73)
Echo Pavan and Galliard in G, no.5, anon. (114)
Pavan in G, no.6, Canon 2 in 1 (74)
Lady Monteagle’s Pavan in G, no.7 (75)
Pavan in G, no.8 (76)
Galliard in G, no.9 (77)
Passamezzo Pavan and Galliard in g, no.1, on the passamezzo antico (2)
Pavan and Galliard in g, no.2, Sir William Petre (3)
Pavan and Galliard in g, no.3 (4)


Other dances, descriptive music and arrangements:

Alman in C, Lbl R.M.24.d.3, anon.
[Monsieur’s] Alman in C (44)
Alman in G (11)
Monsieur’s Alman in G, no.1 (87)
Monsieur’s Alman in G, no.2 (88)
Alman in g (89)
The Queen’s Alman (10)
The Ghost (alman) (78)
Coranto in C (45)
Three French Corantos (21)
Jig in a (22)
The Galliard Jig (18)
Lavolta in g, no.1, Lady Morley (90)
Lavolta in g, no.2 (91)
The Barley Break (92)
The Battle (94)
The March before the Battle, or The Earl of Oxford’s March (93)
In Nomine (Parsons, arr. Byrd) (51)
O quam gloriosum est regnum (?arr. Byrd), MB, lv, 48
Pavan and Galliard, Delight (Johnson, arr. Byrd) (5)
Lachrymae Pavan (Dowland, arr. Byrd) and Galliard (Harding, arr. Byrd) (54–5)

---

Doubtful works:

English
Service in F: TeD, Bs, Cp 34, 38–9, fragments; F xvi, 130; B xa, 162
Short Service: San, Lbl Add.34203; F x, 95, TCM ii, 89, B xa, 162
*Litany, 4vv, Cu (formerly EL 4); F x, 15, TCM ii, 49, B xa, 149
By force I live, 1v, 4 viols, Lbl Add.18936–9; B xv, 155
Glory to God on high, 1v only, Cu (formerly EL 28); B xi, 191
If trickling tears, Ob Tenbury 389, one part only; F xvi, 147
Methought of late, 1v, 4 viols, Lbl Add.17792–6; B xv, 158
My little sweet darling, consort song attrib. Byrd in Lbl Add. 17786–91; MB xxii, no.25
O Lord, turn not away thy face, 4vv, Ob Mus.Sch.F. 17–19 (attrib. ‘W. B.’)
O trifling toys, Ob Tenbury 389, one part only; F xvi, 149
Out of the deep, 5vv, Lbl Add.17792–6, US-NYp Drexel 4180–84; B xi, 192
Out of the deep, 6vv, GB-Och Mus.1001 (attrib. O. Gibbons), Ojc 181, US-NYp Drexel 4180–85; B xi, 57
The day delayed, 1v, 4 viols, GB-Lbl Add.31992, Och 984–8; B xv, 161

Latin
* Domine Deus omnipotens, 5vv, Och; F viii, 77, TCM ix, 213
Reges Tharsis, 5vv, Och Mus.979–83; F vii, 162
Sanctus, 3vv, Och Mus.45; F viii, 27
Sponsus amat sponsum, 5vv, Lbl Add.32377, Ob Mus.Sch.E.423, Ob Tenbury 389; two parts in F xvi, 128
Vide, Domine, quoniam tribulor, 5vv, Lbl Add.23624, Ob Tenbury 389; F vii, 169

Keyboard music
MB nos. follow in parentheses
Galliard (105); Galliard, If my complaints (103); Malt’s come down, Fitzwilliam Virginal Book [no. 150] (107); Medley (112)

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Lost works

only text extant
Behold, O God, with thy all prospering eye [? = Behold, O God, the sad and heavy case], Lbl Harl.6346, Ob Rawl.poet.23; B xi, 190
God be merciful unto us, J. Clifford: The Divine Services and Anthems (London, 2/1664)
Let us be glad, Lbl Harl.6346, Ob Rawl.poet.23; B xi, 190
Sing ye to our God, Lbl Harl.6346, Ob Rawl.poet.23; B xi, 191

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Misattributed works
English
Short Service: *Ky 2, attrib. Byrd in GB-DRc E.4–11, Cp 31–46; attrib. Giles in Cjc 181; F x, 80, TCM ii, 81; alternative *Cr, attrib. Byrd in DRc E.4–11, Cp 31–46; attrib. Farrant in Cpc 6 (1–6); TCM ii, 82
Service, attrib. Byrd in Ob E 40; attrib. Inglott in Och 1001 and later MSS
Abradad, attrib. ‘Mr. B’ in Ob Tenbury 389; F xvi, 145, is Ah, Alas, you salt sea gods, consort song by R. Farrant; MB xxii, no.7
Come tread the paths, consort song, attrib. Byrd in Ob Tenbury 389; MB xxii, no.3
Let God arise, attrib. Byrd in Och Mus. 1012; F xvi, 141, is by T. Ford
O heav’nly God, consort song, attrib. ‘Mr B’ in Ob Tenbury 389 is by ?N. Strogers; MB xxii, no.22
O praise our Lord, ye saints above, 5vv, attrib. Byrd in Lbl Add.17797, attrib. A. Ferrabosco (i) in Lbl Add.18936–9; F xi, 33, B xi, 174

Latin
Decantabat populus, 5vv, attrib. Byrd in Lbl Add.37402–6, anon. in Och Mus.984–8; F viii, 68
Dies illa, 5vv, Lbl R.M. Baldwin, TCM ix, 303, is by R. Parsons (i)
Incola ego sum, 4vv, Ob Tenbury 354–8, TCM ix, 241, is by R. Parsons
Quia illic, 4vv, fragment, attrib. Byrd in Lbl Add.35001; TCM ix, 312

Consort music
Fantasia a 4 in d, no.1, US-Ws V.a.405, f.40v; B xvii, 14
Fantasia a 4 in d, no.2, Ws V.a.405, f.41r; B xvii, 16
In Nomine a 7, attrib. Byrd in Lbl Add.32377, is by R. Parsons (i); F xvii, 119

Keyboard
MB nos. follow in parentheses
Alman (108);
Alman (109);
Lullaby (110);
Medley (111);
Pavan (101);
Pavan (102);
Pavan and Galliard (98);
Pavan (99b);
Pavan and Galliard, Fitzwilliam Virginal Book, nos.174–5 (99a, c);
Pavan and Galliard (100);
Prelude (96);
Prelude (97);
Bonny sweet Robin (106);
The Hunt's Up (41);
Miserere mei Deus (arr.), Lbl Add.31403, F viii, 29;
Sir John Gray’s Galliard, Fitzwilliam Virginal Book, no.191 (104)




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Intégrale des Messes - Motets

Deller Consort de Londres - Alfred Deller, direction
Honor Sheppard, soprano (2,3,4,5,6)
Christina Clarke, soprano (4)
Alfred Deller, contre-ténor (1,2,3,4,5,6)
Neil Jenkins, ténor (1,2,3,4,5,6)
John Buttrey, ténor (5)
Maurice Bevan, baryton (1,2,3,4,5,6)
Simon Deller, baryton (6)

Messe à trois voix (1)
00:00 Kyrie
00:50 Gloria
05:57 Credo
13:44 Sanctus
16:00 Benedictus
17:02 Agnus Dei

Motets à cinq voix (2)
20:44 Cibavit eos
24:03 O sacrum convivium
27:10 Sacerdotes Domini
28:37 Ave regina coelorum
34:00 Ego sum panis
36:24 Senex puerum portabat
38:58 O magnum mysterium

Messe à quatre voix (3)
49:17 Kyrie
51:26 Gloria
57:17 Credo
1:04:51 Sanctus
1:07:15 Benedictus
1:08:50 Agnus Dei

Motets à cinq voix (4) *
1:12:18 Alleluia, ascendit Deus
1:13:34 Siderum rector
1:16:31 Ave verum corpus
1:20:51 Non vos reliquam orphanos
1:22:26 O quam gloriosum
1:27:20 Justorum animae
1:30:19 Laudibus in sanctis

Messe à cinq voix (5)
1:35:45 Kyrie
1:37:17 Gloria
1:42:19 Credo
1:51:08 Sanctus
1:53:26 Benedictus
1:55:05 Agnus Dei

Motets à cinq voix (6)
1:58:34 Miserere mei
2:02:17 Ne irascaris Domine
2:05:33 Civitas sancti tui
2:09:42 Laetentur coeli
2:12:53 Ave Maria
2:14:49 Alleluja, cognoverunt discipuli
2:18:12 Christe qui lux es et dies