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William Byrd · John Bull Kit Armstrong

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William Byrd · John Bull Kit Armstrong WILLIAM BYRD · JOHN BULL THE VISIONARIES OF PIANO MUSIC KIT ARMSTRONG 1 List to that sweete Recorder; How daintily this BYRD his notes doth vary, As if he were the Nightingalls owne brother! Loe, where doth pace in order WILLIAM BYRD · JOHN BULL A braver BULL, then did Europa cary: THE VISIONARIES OF PIANO MUSIC Nay let all Europe showe me such an other. KIT ARMSTRONG Mr. Hugh Holland on his worthy friend W. H. & his triumviri of Musicke 2 3 2 WILLIAM BYRD ca. 1540–1623 K Canons 51 – 48 [0:33] – 39 [1:04] – 7 [1:45] – 15 [2:25] – 114 [3:06] 3:40 ÖNB A Prelude 0:40 B Pavan Sir William Petre 4:42 L Prelude 1:02 C Galliard 2:33 M Carol “Laet ons met herten reijne” 2:04 Parthenia 1–3 · MB 27/1 & 3 MB 14/56 · BL f. 65 D The flute and the drum 1:48 N Les Buffons · 15 variations 3:20 from The Battle · Nevell 4 · MB 28/94 MB 19/101 · BL f. 22 E The woods so wild · 14 variations 3:37 O Walsingham · 30 variations 13:13 Fitzwilliam 67 · MB 28/85 Fitzwilliam 1 · MB 19/85 F The maiden’s song · 8 variations 5:32 WILLIAM BYRD Fitzwilliam 126 · Nevell 28 · MB 28/82 P Pavan The Earl of Salisbury 2:03 G John come kiss me now · 16 variations 5:22 Q Galliard 1:17 Fitzwilliam 10 · MB 28/81 R Second Galliard Mris Marye Brownlo 3:36 Parthenia 6–8 · MB 27/15 JOHN BULL ca. 1562–1628 H Fantasia 3:58 S The Bells 6:08 Fitzwilliam 108 Fitzwilliam 69 · MB 27/38 I Fantastic Pavan 4:43 J Fantastic Galliard 1:37 MB: Musica Britannica (A National Collection of Music) Fitzwilliam: The Fitzwilliam Virginal Book Fitzwilliam 34 & 35 · MB 19/86 Nevell: My Ladye Nevells Booke of Virginal Music ÖNB: Österreichische Nationalbibliothek Mus. Hs. 17771 BL: British Library Add. MS 23623 3 JOHN BULL b Ut, re, mi, fa, sol, la · Fantasia 6:31 Fitzwilliam 101 · Nevell 9 · MB 28/64 T Queen Elizabeth’s (Chromatic) Pavan 4:34 MB 19/87a c Ut, mi, re · Fantasia 4:54 Fitzwilliam 102 · MB 28/65 U My grief 1:55 Fitzwilliam 190 · MB 19/139 JOHN BULL WILLIAM BYRD d Canons 68 – 78 [0:44] – 79 [1:09] – 65 [1:41] – 3 [2:10] – 53 [2:38] 3:28 ÖNB V O mistress mine · 6 variations 4:28 Fitzwilliam 66 · MB 28/83 WILLIAM BYRD W The Second Ground · 16 variations 7:08 e Walsingham · 22 variations 8:51 Nevell 30 · MB 27/42 Fitzwilliam 68 · Nevell 31 · MB 27/8 JOHN BULL f Sellinger’s Round · 9 variations 4:19 Fitzwilliam 64 · Nevell 37 · MB 28/84 X Prelude 1:44 Fitzwilliam 43 JOHN BULL Y Melancholy Pavan 4:13 g Fantasia on a Fugue of Sweelinck 3:53 MB 19/67a MB 14/4 · BL f. 52 WILLIAM BYRD h Telluris ingens conditor · Nos. 1, 2, 3, 6, 7 5:02 MB 14/47 · BL f. 170 a The Earl of Oxford’s March 3:11 Fitzwilliam 259 · Nevell 3 · MB 28/93 KIT ARMSTRONG piano 4 LIVING IN THE UNIVERSE OF BYRD AND BULL by Kit Armstrong t is a metaphor encountered in creation myths the ship recognizes in his compositions widespread hints of world over: a pair of opposites coming together, support for the recusant cause, often through the I thus giving birth to the universe we know. The com- choice of texts and of musical imagery. His music plexity of our experience of existence, so instinct would reaches for the sublime; he was “of himself naturally want to explain it, must be the result of a duel of primor- disposed to gravity and piety”, as Henry Peacham dial forces or beings. With these recordings I wish to tell related in 1622. By contrast, in looking at accounts of my story of the creation of a musical universe, at whose John Bull one is as likely to come across encomia as dawn stood two contrasting figures from England’s stories of misadventure. “The man hath more music Golden Age: William Byrd and John Bull. As their per- than honesty,” wrote the Archbishop of Canterbury. In sonalities infused the vessel of keyboard music, a uni- 1613 Bull fled England for reasons of irreparable repu- verse was born, of which they became the fabric, that tation or of religious intolerance (for he too was Catho- would define the art of music for evermore. lic), eventually becoming Antwerp Cathedral’s organist. William Byrd composed in a wide range of genres, Throughout Bull’s colourful life, numerous testimonies vocal and instrumental, sacred and secular. Inheritor of attest to his great fame and extraordinary skill as a a rich insular tradition, personified in his close relation- musician. In his works, both intellectuality and visceral- ship with his mentor Thomas Tallis, he came to be ity are singularly conspicuous. Most remarkably, he revered as “a Father of Musick”. The balancing act predominantly wrote keyboard music, probably as the between his steadfast Catholicism, for which he was first among composers ever to do so. continually penalized, and his social and professional From today’s perspective, it seems obvious that the eminence (“a stiff papist and a good subject”, wrote keyboard is an instrument in a class by itself. It is the Queen Elizabeth I) could have motivated his reclusion instrument called upon for a solo recital, because it is starting around 1590, whereupon he produced his the instrument that allows a single person, the per- Walsingham by John Bull, excerpt from The Fitzwilliam Virginal Book Latin Masses and comprehensive Gradualia. Scholar- former, to embody musical utterance of fully developed © The Fitzwilliam Museum, University of Cambridge 9 5 quality. Its natural ability to produce many sounds at or to explode, rather than seeking balance and relishing smiling resignation, fire turns to radiance, pride gives music, in which so much of expression is manifested once provides for harmony and polyphony, which are eloquent understatement like Byrd’s. way to hidden sorrow. in surface detail. central to Western music, while its solo nature lets the I marvel at the tangibility of each composer’s voice, Byrd was more composer than diarist; the inspira- Dating artworks on grounds of style and of emo- listener identify the message of the music with the per- over the distance of more than 400 years and across tion of his music was the great eternal world, not him- tional content has never been a reliable business. son of the performer. For the listener, knowing that the changes in the world that I can never fathom. This bond self. He best expressed it in his own words: “To one Though based in well-founded termini post quem and totality of sound is coming from the mind of one single I sense prompts me to set forth a story of their lives and thinking about things divine, diligently and earnestly ante quem, I do not propose the remarks above as an person induces them to experience it as one-on-one characters in music not as tapestries of facts, but as I pondering them, the aptest ideas come as if spontane- attempt to fix the chronology of these composers’ emotional transmission. The resulting genre of musical imagine them. It seems natural to start with Bull, for the ously, I know not how; freely do they offer themselves works; rather, they are a complement to my personal monologue is in effect unique in our music tradition, emotions that his music projects to me are emotions of to a mind not lazy or inert” (“Divina cogitanti, diligen- musical interpretations, and a record of the impressions and is shared today chiefly among the organ, the piano, the personal sphere, easily imagined as autobiographi- terque ac serio pervolutanti, nescio quonam modo, of scenarios and imagined experience that the music and the harpsichord. When I came to know Byrd’s and cal. His music is full of fire, anger, pride, sensuality. His aptissimi quique numeri, quasi sponte accurrant sua; has cast upon me. For me, the genesis of a musical Bull’s keyboard music, I realized that it was their vision expression is a dichotomy of force and vulnerability: animoque minime ignavo, atque inerti, liberaliter ipsi interpretation goes hand in hand with building up a web that I have just described here. force in the single-mindedness of purpose that many a sese offerant”). The core of his keyboard corpus con- of associations. And should reality prove one associa- Byrd brought to keyboard music the same refine- passage exhibits and in the abundant exclamation sists of dances (chiefly pavan and galliard), variations tion to be false, others will take its place. ment of compositional artifice and perfection of form points he drives toward with energetic determination; (including grounds), and fancies (“fantasy” in modern Let me introduce a grouping that I see as “funeral that underpin his renowned vocal music. Furthermore, vulnerability in its states of adriftness, non-fulfilment or parlance, closer to “fugue” in meaning). It may well be pieces”. Interpreting Bull’s Queen Elizabeth’s (Chro- for the keyboard genre in particular, he fused song, tense directionlessness. Like life itself, his music does that Byrd’s works were at first concerned with the matic) Pavan as an elegy upon Queen Elizabeth I’s death dance, counterpoint, virtuosity to create a language not present perfectly distilled experiences neatly development of technique in these defined forms. Next in 1603, I consider its three sections (conforming to with a richness to fill large expanses of time engag- framed.
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