Although William Byrd spent virtually his entire adult
life in the service of the Anglican Royal Chapel, Byrd
himself was a devout Catholic. Given the often
violently anti-Catholic atmosphere of England during
the composer's day, his choice to publish not only
three full Latin Masses but also, in the shape of the
two collections of Gradualia, some hundred-and-eight
Latin motets designed for use in the Mass service, is
remarkable for both its audacity and the relative
professional (and perhaps pe...(+)
Although William Byrd spent virtually his entire adult
life in the service of the Anglican Royal Chapel, Byrd
himself was a devout Catholic. Given the often
violently anti-Catholic atmosphere of England during
the composer's day, his choice to publish not only
three full Latin Masses but also, in the shape of the
two collections of Gradualia, some hundred-and-eight
Latin motets designed for use in the Mass service, is
remarkable for both its audacity and the relative
professional (and perhaps personal) danger it placed
the composer in. The famous Alleluia. Ave Maria, from
the first published book of the Gradualia, is actually
part of a larger Mass Proper setting celebrating the
Annunciation of the Blessed Virgin Mary, a
traditionally ceremonius affair carried out exactly
nine months before Christmas (or March 25) that Byrd
composed somewhere around 1605. The Alleluia. Ave Maria
treats in five voices the same basic text (the Angel's
announcement of the immaculate conception) that Byrd
set in an independent Ave Maria from around the same
time. A five part structural plan informs the work.
After a rich opening Alleluia, Byrd switches to
homophony for the presentation of the Ave Maria proper,
which is followed by a reworking of the Alleluia music
(now moving from the G to D tonal planes-modally
oriented, of course--, whereas the opening version
traversed the A/G axis). The fourth section is a
setting of the Virge Iesse text, while the fifth
reprises the Alleluia in glorious attire.
Although originally composed for Chorus (SATTB or
ATTBarB), I created this Interpretation of "Ave Maria"
(Hail Mary) for Wind Quintet (Flute, Oboe, English
Horn, French Horn & Bassoon).
PARTITION