Startling revelations! There is a link between Byrd's and Tallis's Laudate Dominums. Never discovered before! Read all about it here:
Considering Byrd's Laudate Dominum with reference to Tallis's Laudate
Dominum.
Introduction
It is said that to be imitated is the greatest form of praise you can receive. 'It is well known that both William Byrd and Thomas Morley were given to compositional exercises in 'friendly emulation'. One example of this is in the motet Puer natus est nobis by Byrd. Kerman says of this motet: 'The upward fifth in semibreves at the very beginning no doubt refers to the familiar plainchant, which had formed the basis of a monumental Mass written by Tallis … Tallis seems to be recalled by the sober chords towards the end of Byrd's opening point.' However, regarding Byrd's Laudate Dominum Kerman says that 'Byrd made no reference to the older composer's [Tallis's] music' but that he did 'take something from two of his own older motets with closely parallel texts, Laudate pueri Dominum (1575/7) and Cantate Domino (1591/29).' This study aims to show the connections that Byrd's Laudate Dominum has with his own previous works and with Tallis's Laudate Dominum.
Background to Byrd and Tallis
Both Tallis and Byrd were Catholics. Even amidst the climate of Protestantism in which they lived, where being a Catholic was to be an outcast at best, they both held to their beliefs. Tallis was quiet in his Catholicism. A couple of his motets during Elizabeth's reign, Derelinquit impius and In ieiunio et fletu include pleas made for the faithless to return to the Lord - a clear political message about Protestantism. Byrd, too, wrote political motets. 'Many of the texts of the Cantiones sacrae of 1589 and 1591 … can be read as references to the plight of Byrd and his fellow Catholics.'
Tallis was the elder of the two and lived through four monarchs. He was born around 1505 and was about 80 when he died. Byrd also lived until he was about 80, but he was Tallis's junior by about 40 years. Tallis was probably his teacher and together they gained a monopoly on music printing from Queen Elizabeth I. One particular book they published was the first book of Cantiones Sacrae in 1575. Byrd went on to produce two more Cantiones Sacrae and then his two Gradualia books, which appeared after the monopoly was ended.
Byrd's Laudate Dominum is the penultimate piece in the second book of Gradualia and dates from around 1610. Tallis's Laudate Dominum is found in several sources, but its exact date is unknown. However, it is not unreasonable that the work was written at least 30 years before Byrd's. The text for both pieces comes from Psalm 116 and both were probably used in private Catholic celebrations. Tallis's piece is somewhat unusual since it includes a doxology with the words "Gloria Patri".
Tallis's Laudate Dominum
Since Tallis's Laudate Dominum was written first, it is right that we consider it first. This piece is for four different vocal ranges and for five voices, two ranges being the same. The modern interpretation of the voices is: SAATB. In Laudate Dominum Tallis used the Franco-Flemish style of writing, where each line of text 'is broken into phrases that are set to different overlapping points, with each being treated as a separate unit in the imitative complex.' (A list of the motifs can be found in Appendix B.) This was not particularly typical of Tallis and, indeed, more is known of Byrd's admiration of Ferrabosco, who was a Franco-Flemish composer who came to England for while.
Looking at the graphical analysis (Appendix C) it is easy to see that the first line starts in the second alto. This is then passed to the soprano who answers the opening upward leap of a fourth with its own upward leap of a fifth. The distance of imitation is 1½ bars. The tenor then imitates the soprano line at a distance of 1½ bars, and the bass joins in two bars later with the second alto opening line. The last entry of this section is in the first alto, which also has the opening fourth leap. While the first alto finishes this first line, the soprano has started on the second line. The motif is still based on the opening motif, but Tallis alters the ending. Tallis's Laudate Dominum seems to have little structure other than the structure of the text. However, he brings out the middle phrase (line 4) by enclosing it with clear cadences on either side.
Tallis varies the number of voices throughout the piece. There is no homophonic movement, although the section "et veritas", comes very close with its close imitations. Here some of the imitative entries are pairs of voices rather than individual vocal lines. This is a common technique throughout the rest of this work as it also appears at "manet in aeternum", "Gloria Patri", "et nunc" and "et in saecula saeculorum". Byrd also made use of this technique, which Kerman calls 'cell technique'. In this 'the basis for the polyphony is not so much a subject or motive as a self-contained 'cell' for several voices, a few breves in length.' This cell is then used imitatively by different 'semichoirs'. Tallis's use at line four is restricted to two voices entering at the same time with other entries around it. (See bars 35-47 in the graphical score.) Byrd's use of this 'cell technique' is more extensive (see bars 46-52 in Byrd's Laudate Dominum) since he uses pairs of voices. First the tenor and the first bass, then the alto with the second bass, then the second soprano and the tenor. Thus the theme rises through the vocal ranges.
Tallis rarely has all five voices singing at the same time. Even at cadences there is usually one voice silent. The last repeat of "et veritas" includes all five voices, but then drops to three for the start of "manet in aeternum". The next tutti moment is for the phrase "et nunc et semper", but again Tallis drops the number of voices to three for the next phrase. The full choir is used for the last repetition of the penultimate line of the text and continues through to the end.
The piece appears to be in ionian mode but Tallis makes the ending in mixolydian mode. The ionian mode is reinforced with the cadence at the end of the first line, where there is a perfect cadence in C. There is no major cadence in G. The final cadence of the piece is a plagal cadence in G, but this feels more like an imperfect cadence in C. One of the reasons for this 'ionian' feel rather than 'mixolydian' is because there are few F#s throughout the piece. This, together with the lack of a perfect cadence in G, leaves the final cadence seeming incomplete to our twentieth-century ears.
Byrd's Laudate Dominum
In considering Byrd's Laudate Dominum, let us first examine Kerman's assertion that Byrd took something from his previous works: Laudate pueri Dominum and Cantate Domino. All three of these pieces share the same style of text and all are written for six voices. The two Laudates have the same voice range set-up of SAATBB, while Cantate Domino has a suggested set-up of SSATBB (see Appendix D). By having pairs of voices Byrd is able to use 'phrase repetition with voice exchanges' . Examples of this occur in Laudate Dominum in both soprano and bass pairings (Examples 1 & 2).
Example 1 - Soprano voice exchange
Example 2 - Bass voice exchange
Besides voice exchange a further link is made with Cantate Domino through the 'distinctive opening point.' The opening motifs for both Laudate Dominum and Cantate Domino are shown in Example 3.
Example 3
It is possible to see some similarity between the two opening motifs since both rise by a 3rd before continuing higher by stepwise movement. There is then a change in direction and they both move down towards to a cadence. Both Laudate Dominum and Cantate Domino use two themes, although Byrd makes the second theme of Laudate Dominum different to Cantate Domino's second theme. A third link between these two openings is that the opening motif is heard first in the alto before being taken up by the rest of the choir.
The next comparison Kerman makes is the stretto ostinato technique Byrd used in Laudate pueri Dominum and which he also uses in Laudate Dominum. This technique is where a rhythmic motif is used again and again, both within one vocal line and also with the close imitation that takes place. A particular example of this is at the fourth phrase of the text at bar 46+ of Byrd's Laudate Dominum. (See graphical analysis in Appendix B.) Tallis also used this technique in his Laudate Dominum (bar 35+), which also occurs at the fourth phrase. Byrd used his 'stretto' technique in several pieces. It would, therefore, be incorrect to say that he took the technique from Tallis's Laudate Dominum for his own version of the text. However, it could be said that he learnt the technique from Tallis and made it his own, with Tallis's Laudate Dominum providing some evidence for this.
Double imitation occurs in the last phrase of the motet. This is where two themes are used throughout one line of text. Byrd uses one theme for the first half of the text and a different, contrasting theme for the second half of the text. These two themes obviously overlap with each other owing to the imitative nature of the piece. Kerman says of this last phrase that it 'recalls the final point … in Quodcunque ligaveris.' Quodcunque ligaveris is the last Proper of the Mass of St Peter and St Paul, and precedes Laudate Dominum in the Gradualia. Example 4 shows the relevant parts of both pieces.
Example 4
Byrd's Laudate Dominum is very structured. Like Tallis, he sections out the text, giving each line its own motif(s). However, his structure is not only based on melody, but also on harmony. The cadences at the end of each line of text produce a mirror-image, the cadences being G, D, A, D and G. This structure, along with the frequent F#s, firmly establish the mixolydian mode, which is in contrast to Tallis's piece. Like Tallis, Byrd makes the middle line of the text stand out by having cadences at the beginning and the end. In Byrd's case, the middle phrase is the third line, "Quoniam confirmata".
Byrd's use of Tallis's Laudate Dominum
As mentioned in the introduction, Kerman states that there is no reference in Byrd's Laudate Dominum to Tallis's Laudate Dominum. He is wrong. Byrd did make reference to the older composer's music, not only in his Laudate Dominum, but also in the Introit of the Mass of St Peter and St Paul. Brown, in his review of Kerman's book points out that there is a parallel between the opening of Tallis's Laudate Dominum with Byrd's Nunc scio (the introit). This is shown here:
Example 5
According to Alan Brown, not only do the opening themes match in style and pitch, but also 'both pieces include a doxology with the words "Gloria Patri" set to the same rhythm, and with the same kind of cadential extension at the end on the words "saeculorum Amen".' Byrd's Laudate Dominum does not include a doxology, so perhaps this is the reason why Kerman missed the connection.
Appendix B shows the list of themes which Tallis and Byrd use in their respective Laudate Dominums. Comparing text line with text line it appears at first glance that there are no linkages. We can see that Byrd's theme for the fourth phrase is similar to that for his second phrase. We can also see that there is a connection between Tallis's themes for lines four and five of the text. Looking a little closer at the two sets of themes we can see that both composers use a dotted rhythmic style for line four - 'et veritas Domini manet in aeternum'. The two styles are similar here, with Byrd using his 'cell technique' and 'stretto ostinato' technique. Tallis, in his line four, uses two themes for this line and so the initial dotted rhythm only lasts for a few bars. The use of such dotted rhythms is, however, nothing new and Byrd frequently used the technique throughout his Gradualia. So, this is not the decisive evidence for a reference to Tallis.
What Kerman missed was the connection of Byrd's third theme with Tallis's seventh. Not only is the same melodic shape used, but same textural structure is used. (see Example 6).
Looking at the graphical analysis (Appendix C) of the corresponding places in both pieces it is easy to see the similarity. In the Tallis score this is shown at bar 73-96 which should be compared with the Byrd score, bar 21-39. In both cases the theme starts in two inner voices paired together before moving to the soprano (first soprano in Byrd) and then on to the rest of the choir. The opening phrases from both pieces are shown in Example 6 on next page.
Mention has already been made of Byrd's third theme ('Quoniam confirmata est super nos misericordia ejus'). This is the centre piece of the work. Not only is it the middle line of the text, but it is also has a key centre furthest from the overall modality of the work. Tallis's corresponding section is used in the doxology section at the end. This section begins with the words "et in saecula saecolorum", but the imitation continues into the Amen. Byrd sets his line apart from the surrounding text with perfect cadences in D before (bar 20-21) and after (bar 45-46) the section. Tallis, although not using perfect cadences, does begin the section with a plagal cadence in G.
Most of the imitative entries appear in two voices in thirds. This is more obviously achieved in Byrd's work where the same words are used for both voices. Tallis will use the melodic and rhythmic shape of the motif in one voice in conjunction with another vocal entry. The two lines together moving in thirds with the same rhythm, but not necessarily the same words. For example at bar 85 (of the Tallis Laudate Dominum) the soprano, having started the phrase for the third time, is in 6ths with the second alto, who is finishing the complete phrase for the second time. Tallis's section lasts some 25 bars to the cadence at bar 97-98. This is by far the longest section for a line of text in this entire work.
Example 6
As mentioned above, Byrd begins his section with two middle voices - in his case the alto and tenor, which is followed by an entry in the first soprano. The second soprano has a pre-echo, as it were, of both words and music to its own entry in the upbeat to bar 26. This entry is in partnership with the entry in the second bass. Byrd then uses his technique of voice exchange and the process just described for second soprano and second bass is repeated with the first soprano and first bass at bar 29. In fact, the two sopranos with the two basses could be said to be in double canon with each other. Byrd also uses double imitation and a second theme is used for the second half of the third phrase. Byrd's imitative point in the style of Tallis lasts for about 17 bars. The entire section (from perfect cadence to perfect cadence) lasts for 25 bars - the same length as Tallis's section.
Conclusion
Byrd's second Gradualia was written very quickly, so perhaps it is hardly surprising that he used material from elsewhere. His Laudate Dominum contains links to three other works of his and to Tallis's Laudate Dominum. It may well be that there are more links to other pieces - either his own or other contemporaries - of which we are still unaware. Besides the connections made from Byrd's Laudate Dominum to other works, a connection was also made from Tallis's Laudate Dominum to a different work of Byrd's in the same publication. Nunc scio, the Introit to the Mass of St Peter and St Paul, is listed in the Gradualia directly before the Laudate Dominum. It is possible that Byrd wrote the Laudate Dominum about the same time as the Propers for the Mass of St Peter and St Paul, since there is a link between his final piece of the Mass Propers and the end of his Laudate Dominum.
There is far more to Byrd's Laudate Dominum than meets the eye. There are many connections to other works and much that could be said of the style of Byrd. He uses techniques of imitation and stretto with great command, and the whole piece is very well structured. Tallis's Laudate Dominum, in contrast, seems to have little sense of overall structure about it in the same way that Byrd's does. There is no overarching form to guide the listener and the final cadence shows this lack of guidance clearly. This may not be one of Tallis's best works, but it is still very worthy of consideration.
© Lez Bullwer, May 1999
Bar numbers refer to Tallis Anthology edition (for Tallis Laudate - note, this edition was re-edited by transposing down a minor third to original key), and The Byrd Edition (for Byrd Laudate - note, this edition was re-edited with the note values halved in order to compare with the Tallis).
Sorry, no appendices available in this webpage.
Endnotes to quotes will be added as soon as possible.
Bibliography & further reading
Brown, Howard M, Music in the Renaissance
Prentice-Hall International Limited, London, 1976
Ed. Brown, Alan & Turbet, Richard, Byrd Studies
Cambridge University Press, Cambridge, 1992
Chapters:
Chapter 2 - The English background to Byrd's motets: textual and
stylistic models for Infelix ego
by Owen Rees
Chapter 3 - Byrd's manuscript motets: a new perspective
by John Morehen
Chapter 5 - 'Throughout all generations': intimations of influence in
the Short Service styles of Tallis, Byrd and Morley
by Craig Monson
Caldwell, John, CD sleeve notes to:
Tallis Choral & Organ Works
Chandos CHAN0588, 1996
Doe, Paul, Tallis
Oxford University Press, London, 1968
Grout, Donald J & Palisca, Claude V, A History of Western
Music (4th edition)
J M Dent & Sons Ltd, London, 1993
Harley, John, William Byrd: Gentleman of the Chapel
Royal
Scolar Press, Aldershot, 1997
Kerman, Joseph, The Masses and Motets of William Byrd
Faber & Faber, London, 1981
Le Huray, Peter, Music and the Reformation in England:
1549-1660
Herbert Jenkins, London, 1967
Ed. LaRue, Jan, Aspects of Medieval and Renaissance Music: A
Birthday Offering to Gustave Reese
Oxford University Press, London, 1967
Chapter:
Fugue and Mode in 16th-century vocal polyphony
by Imogene Horsley
Byrd, Tallis, and the Art of Imitation
by Joseph Kerman
Wulstan, David, Tudor Music
J M Dent & Sons Ltd, London, 1985
Journal of American Musicalogical Society:
Vol. 14, 1961, p.199-233: Byrd's Motets: Chronology and Canon by
Joseph Kerman
Vol. 38, 1985, p.162-169: Book Review of Joseph Kerman's The Masses
and Motets of William Byrd by Alan Brown
Music Anthologies
The Byrd Edition
Volume 1: Cantiones Sacrae (1575),
Ed. Craig Monson, Stainer & Bell, London, 1977
Volume 3: Cantiones Sacrae II (1591),
Ed. Alan Brown, Stainer & Bell, London, 1977
Volume 5: Gradualia I (1605) - The Marian Masses,
Ed. Philip Brett, Stainer & Bell, London, 1989
Volume 7b: Gradualia II (1607) - Ascension, Pentecost & the
Feasts of Saints Peter and Paul, Ed. Philip Brett, Stainer &
Bell, London, 1997
A Tallis Anthology
17 Anthems and Motets,
Selected by John Milsom, Oxford University Press, Oxford, 1992
Tudor Church Music
Volume VI: Thomas Tallis (c.1505-1585)
Oxford University Press, London, 1928
Volume VII: William Byrd (1543-1623) - Gradualia, Books I &
II
Oxford University Press, London, 1927
