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Concert 9
Sunday 26th November at 3pm,
The Glebe Town Hall, 160 St John’s Rd,
Glebe 2037
A Byrd's Eye View Celebrating William Byrd St Cecilia Day Concert
Josie and the Emeralds
Programme
William Byrd |
Pavan and Galliard (6 viols) |
Byrd: |
Oh you that hear this voice (soprano, 4 viols) |
Byrd: |
In Nomine a4 No.2 (4 viols) |
Byrd: |
Come to me, grief, for ever (soprano, 4 viols) |
Byrd: |
Fantasia a4 No.3 (4 viols) |
Byrd: |
Fantasia a4 No.3 (4 viols) |
Byrd: |
Browning: The Leaves be Green (5 viols) |
Byrd: |
My mind to me a Kingdom is (soprano, 4 viols) |
Brooke Green: |
My mind to me a Kingdom is (soprano, 4 viols |
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Byrd: |
Have mercy upon me, O God (soprano, 5 viols) |
Richard Sumarte: |
The Nightingale (Laura Vaughan, bass viol) |
Byrd |
My Mistress had a little dog (soprano, 4 viols) |
Byrd |
Fantasia a6 No.2 (6 viols) |
Brooke Green: |
A Byrd’s Eye View (soprano, 6 viols) |
Josie and the Emeralds
Josie Ryan, soprano
Brooke Green, (artistic director, viol)
Laura Vaughan, Daniel Yeadon, Fiona Ziegler, Ruby Brallier, Cathy Upex, viols
Program Overview
We celebrate William Byrd’s remarkable contribution to music with some of his most
famous songs and a selection of music for viols, in combinations from 4 - 6 parts,
culminating in his magnificent 6 part Fantasia no.2. Continuing the Byrd/bird song theme,
Laura Vaughan performs The Nightingale by one of Byrd’s contemporaries: Richard
Sumarte. (as far as we know, Byrd didn’t write music for solo viol). Not long after the death
of William Byrd, Renaissance writer Katherine Philips evokes mournful bird calls in her
poem Orinda to Lucasia. This was part of the inspiration for Brooke Green’s new work, A
Byrd's Eye View which we premiere today.
William Byrd’s life and legacy
2023 marks 400 years since the death of one of England’s most venerated and prolific
Renaissance composers, William Byrd (c.1540 - 1623). Byrd wrote in almost every genre
of music of his time and about 600 of his pieces have survived. As an often outspoken
Catholic serving under a Protestant monarch, he was always in danger. Some would
argue it was this paradox that inspired his greatest music.
Byrd's first known appointment was in 1563 as organist and master of the choristers at
Lincoln Cathedral. In 1569 he was cited for 'certain matters alleged against him' and his
salary was suspended. Since Puritanism was influential at Lincoln, it is possible that the
allegations were connected with over-elaborate choral polyphony or organ playing. In 1572
Byrd obtained the post of Gentleman of the Chapel Royal, becoming organist and
composer for the largest choir of its kind in England. For the rest of his life he remained at
the centre of England’s musical life. There are varying accounts of his personality - as
stubborn and difficult, (as he was involved in several legal disputes), or demonstrating a
high degree of tact and diplomacy.
Byrd was widely admired by his contemporaries at home and abroad. Henry Peacham
(1576 - 1643) said he preferred his music above all else and called him ‘our Phoenix
Master’. An English scribe, Mr Baldwin, composed this in his honour
Yet not straingers bragg, nor these some commende,
For they may now geve place and sett themselves behynde,
An Englishman, by name William BIRDE for his skill
Which I should heve sett first, for soe it was my will,
Whose far greater skill and knowledge doth excelle all at this time
And far to strange countries abroad his skill dothe shyne…
Click here to download the full programme notes
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