Psalmes, Sonnets and Songs (William Byrd): Difference between revisions

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*''4. [[How shall a young man (William Byrd)|How shall a young man]]''
*''4. [[How shall a young man (William Byrd)|How shall a young man]]''
*''5. [[O Lord, how long wilt thou forget (William Byrd)|O Lord, how long wilt thou forget]]''
*''5. [[O Lord, how long wilt thou forget (William Byrd)|O Lord, how long wilt thou forget]]''
*''6. [[O Lord, who in thy sacred tent (William Byrd)|O Lord who in thy sacred tent]]''
*''6. [[O Lord, who in thy sacred tent (William Byrd)|O Lord, who in thy sacred tent]]''
*''7. [[Help, Lord, for Wasted are Those Men (William Byrd)|Help Lord for wasted are those men]]''
*''7. [[Help, Lord, for wasted are those men (William Byrd)|Help, Lord, for wasted are those men]]''
*''8. [[Blessed is he that fears the Lord (William Byrd)|Blessed is he that fears the Lord]]''
*''8. [[Blessed is he that fears the Lord (William Byrd)|Blessed is he that fears the Lord]]''
*''9. [[Lord in thy wrath reprove me not (William Byrd)|Lord in thy wrath reprove me not]]''
*''9. [[Lord in thy wrath reprove me not (William Byrd)|Lord in thy wrath reprove me not]]''

Revision as of 17:56, 29 September 2017

General Information

{{Published}} is obsolete (code commented out), replaced with {{Pub}} for works and {{PubDatePlace}} for publications.

Composer: William Byrd

Following the commercial failure of the Cantiones Sacrae, published jointly with Tallis in 1575, Byrd waited another eleven years before venturing into print again. This time, he trusted his fortunes to a collection of secular music, no doubt encouraged by the growing popularity in England of Italian madrigals adapted to English words, and specifically to the success in the same year of Nicholas Yonge's collection Musica Transalpina (which had itself included a piece by him). This time, too, he had judged public taste better, as the collection was a great success and went through several editions in the following years.

Despite the popularity of the pieces, all of which are for 5 voices, it appears that none of them were originally written as unaccompanied polyphonic songs, but that all originated as consort songs for a single voice and four viols. Byrd acknowledges these origins in the print, often designating the original solo voice as "the first singing part".

The collection is dedicated to Sir Christopher Hatton, who had become Lord Chancellor in the previous year.

Contents of the Psalmes, sonets, & songs of sadnes and pietie

Psalms

Sonnets and Pastorals

Songs of sadness and piety

Funeral Songs