William Byrd's Three Masses on the BBC's "Listening Service"

We are celebrating the 400th anniversary of William Byrd's death on July 4, 1623 throughout this year. Of course, it's being celebrated mostly in England!

The BBC has published a Composer of the Month article on his life and times in their classical music magazine, Tom Service has commented particularly on his Three Masses on his BBC program, Stile Antico has released a new CD, his works were performed at the Proms in Londonderry, and the Latin Mass Society in England is sponsoring a Byrd Festival with his Masses and works from the Gradualia including in the celebration of Mass at Corpus Christi Maiden Lane and other churches, etc., etc.

What's so good about the Latin Mass Society's effort is described in their program for the Festival:

This year, 2023, witnesses the four hundredth anniversary of the death of William Byrd, one of England’s greatest Renaissance composers. The Latin Mass Society is marking the occasion with a Byrd 400 Festival ofsacred music. From September 2023 the Southwell Consort, under the direction of Dominic Bevan, will perform music from Byrd’s Masses, Cantiones Sacrae, and sacred motets, as well as his organ music. 

Byrd’s sacred music was composed for the Roman Catholic Mass during a time when English Catholics faced religious persecution. Despite the clandestine climate in which it was composed, much of Byrd’s polyphony is sumptuous. It represents the last artistic flowering of an English liturgical tradition almost stamped out at the Reformation. 

The words, chant and ritual actions of the traditional Latin Mass were ancient in Byrd’s own day, and they have remained essentially unchanged ever since. It is within this context that this festival of sacred music will take place, presenting Byrd’s work in the original liturgical context for which it was composed.

In his "Listening Service" program, Tom Service makes a suggestion about these three Masses--meaning the ordinary text of the Mass, the Kyrie, Gloria, Credo, Sanctus/Benedictus, and Angus Dei--were integrated into the celebration of the secret Masses for which the works were intended. He notes the presence of the "custos" mark at the end of each part, suggesting that it means that the Mass parts were sung as the Mass was being "spoken". Service suggests that the Masses lasted as long as the Byrd Mass settings, around 20 minutes.

But I wonder about that, because not all Masses include all the parts of the ordinary, depending on the feast or feria being celebrated. In the Traditional Latin Mass, a Missa Cantata is sung/chanted by the priest, not spoken, and not all parts of the Mass, like the Roman Canon, are audible to the congregation even at a Missa Cantata; a Low Mass is a mostly silent Mass and usually these parts of the Mass are not sung. (That's assuming that the Mass revisions that Pope Pius V approved in 1570 for the Roman Missal, the Masses Catholic missionary priests were offering in England at the time Byrd was a Catholic and wrote these three Masses, are comparable to the Missa Cantatas and Low Masses I attend today.)

The Masses Byrd attended in Stondon Massey in Essex were celebrated under duress because it was illegal to say or attend Mass and everyone there, especially the priest, was in great danger, and so Service thinks these 20 minute Masses would have been practical, safe, and even politic, under the circumstances--to sum it up, serviceable.

As John Milsom wrote in the cover notes to the 2013/2014 CD of Byrd's Three Masses and the Ave Verum Corpus depicted above:

. . . In the 1590s, when his Masses were composed, there were no Catholic church choirs in England, and he never imagined them being sung proudly and publicly in cathedrals for all to hear. Few hard facts survive about the kinds of performances Byrd’s Catholic works received in his lifetime, but we can speculate with a fair degree of confidence. In the age of the Spanish Armada and the Gunpowder Plot, England’s Roman Catholic community celebrated Mass covertly behind closed doors, taking pains not to be found out and punished or fined. Their secret services took place in rooms hastily converted into chapels, led by priests who led surreptitious lives. If music was used, then it was sung and played by whoever came safely to hand: family members, invited guests and trusted servants. By definition, then, Byrd’s Masses are really chamber music, not choral repertory, and it was never Byrd’s intention that they should be sung in the resonant ambience of a great church by a choir such as that of Westminster Cathedral. . . .

Milsom comments on Byrd's Court career and the Anglican service music he wrote there and then states:

In private, he moved in the network of England’s Catholic community, whose religious beliefs he shared, and for whom he also wrote music—initially motets, but latterly also works for liturgical use, such as the three Masses and, later, the impressive cycle called Gradualia. As Byrd grew older his allegiances shifted, and he spent less time in London and more time with the Catholics in rural Essex, where he set up home. But his retreat never became a rift. Up to his death Byrd remained loyal to his queen [and king: James I from 1603 to 1623!] and his country, and he was tolerated at court even by those who knew of his double life.

He continues the discussion by contrasting the differences between the way Byrd sets words to music in the Anglican and Catholic works, noting that Catholic works "savour their words more meditatively, and speak with a more personal voice." (Please read the rest there.)

When Charles Cole reviewed the CD from the Westminster Cathedral Choir for the New Liturgical Movement website, he noted that Martin Baker had departed from the usual method of recording the choir:

It was perhaps partly in deference to these original performances in Tudor times that Martin Baker, the Master of Music, decided to make quite a radical change to the way the choir was recorded. Most of the Cathedral Choir’s recordings are made in the Apse, the usual liturgical singing position of the choir, however for this recording, the choir stood on the Sanctuary in a large square facing inwards towards Martin Baker, who stood at the centre. The effect is very different, both intimate and powerful, with a noticeable change in the acoustics. There is a heightened sense of dynamic range, with diminuendi of extraordinary control which taper into nothingness. And although this music will be very familiar to anyone in regular proximity to a traditional Catholic choir, there is a real sense of a new experience when listening to this recording.

I guess the only way we could come closer to hearing this music as Byrd and the congregation heard it would be to record an amateur choir in a small space!

Finally, I do have to make one comment about the "Composer of the Month" article from the June issue of BBC Music Magazine: Andrew Stewart writes that "Byrd risked punishment to compose sublime settings of outlawed Latin texts, especially during the 1580s when Jesuit missionaries from the continent were being burned at the stake . . ." (p. 60) 

No, they were being hanged, drawn, and quartered!

Hakluyt's 400th

The Hakluyt Society has been celebrating the 400th anniversary of Richard Hakluyt's death (November 23, 1616) including lectures and a church service:

At 10.30 a.m. on Sunday 27 November, there will be a commemorative service in All Saints Church, Wetheringsett, Suffolk, IP14 5PP, Hakluyt’s parish, which will be led by the Bishop of St Edmundsbury and Ipswich, with the dedication of a stone plaque in memory of Richard Hakluyt. This will be followed by a buffet lunch in the Village Hall with a programme of music and readings. There will be an opportunity for small groups of Hakluyt Society members to visit the surviving part of Hakluyt’s former rectory.

History Today offers this appraisal of Hakluyt's influence:

Among the major commemorations taking place this year is the 400th anniversary of the death of Richard Hakluyt (1552–1616), England’s greatest promoter of overseas expansion. Hakluyt has always been an elusive and shadowy figure: there is no known surviving portrait of him. Likewise, there are no written accounts of his physical appearance. Like his contemporary, the poet John Donne, Hakluyt was successful in his profession, securing important clerical positions. On his death he was a priest at Westminster Cathedral, a position he took up in 1602 and, from 1590, rector of Wetheringsett and Brockford. He was, as Peter Mancall neatly sums up in his biography, Hakluyt’s Promise: An Elizabethan’s Obsession for an English America (2007), ‘famous enough to be buried in Poet’s Corner in Westminster Abbey, but not famous enough to merit a plaque telling of his bones being buried there’.

Hakluyt’s monument remains his work, capped by his editing of The Principal Navigations, Voyages, Traffiques and Discoveries of the English Nation, which first appeared in one large volume in 1589 and then in an expanded, updated edition in three volumes between 1598 and 1600. These publications created a rationale and plan for English commercial activity (hence the focus on ‘Traffiques’) in places such as Muscovy, Persia and the Levant, along with maritime exploration in search of a North-east or North-west Passage to China and colonial expansion in the New World, emulating and counteracting the achievements of Catholic rivals, notably Spain. The works of Hakluyt’s fellow quadricentennials, Shakespeare, Cervantes and even Ben Jonson (if we count the appearance of his first folio of 1616) may have transformed the literary landscape forever, but Hakluyt changed the geopolitical landscape through his tireless advocacy of English exploits in a world of increasingly global competition.

Please read the rest there.

Illustration credit from Wikipedia Commons: English writer Richard Hakluyt (c. 1552 or 1553 – 23 November 1616) pictured in a stained glass window in the West Window of the South Transept of Bristol Cathedral.

Miguel Cervantes, RIP

We should be celebrating Miguel Cervantes today on the 400th anniversary of this great novelist's death, but we aren't celebrating it as much as we are William Shakespeare's 400th anniversary tomorrow (April 23), as least according to the BBC:

Miguel de Cervantes and William Shakespeare died days apart, 400 years ago, each of them a giant in his own language and literary tradition. But a difference in the scale of quatercentenary [sic] celebrations in their respective countries and around the world is leading some fans of the author of Don Quixote to cry foul.

While "all the world's a stage" for the British bard thanks to the rollout of the massive Shakespeare Lives programme of arts events around the globe, celebrations of the life of his Spanish contemporary are perhaps "more honoured in the breach than the observance".

Shakespeare Lives aims to reach half a billion people worldwide - the first screenings of The Complete Walk, 37 short films to represent the complete body of the bard's stage plays, took place at the weekend. The Spanish government's action plan for Cervantes, on the other hand, seems far less ambitious... and leans heavily on exhibitions and conferences in big city museums and libraries.

This has provoked some rather unchivalrous comments from bigwigs in the field of Spanish culture.

"We've had 400 years to prepare for this," said Dario Villanueva, director of the Spanish Royal Academy, shortly after a letter from UK Prime Minister David Cameron introducing Shakespeare Lives was published in major newspapers around the world.

"There are a few events lined up but the figure of Cervantes deserves a major gesture on the part of our top institutions."

The Spanish Culture Ministry has admitted that the programme remains a "work in progress" and that some events will not emerge from the pipeline until 2017.

Read the rest here. 

Since I have Chesterton on my mind, here's a snippet of his Lepanto--Cervantes was there at the great victory of the Holy League--and Cervantes is already thinking of his great hero:

Cervantes on his galley sets the sword back in the sheath
(Don John of Austria rides homeward with a wreath.)
And he sees across a weary land a straggling road in Spain,
Up which a lean and foolish knight for ever rides in vain,
And he smiles, but not as Sultans smile, and settles back the blade....
(But Don John of Austria rides home from the Crusade.)

And, Chesterton wrote his own homage to Cervantes in his last novel, The Return of Don Quixote!

Finally, here's the great anthem from The Man of LaMancha, "To Dream the Impossible Dream", sung by the original Broadway Don Quixote, Richard Kiley!

May Miguel Cervantes, hero and author, rest in the peace of Christ, having reached the reachable Star of Heaven!