The composer Thomas Tallis (c. 1505 - November 1585) lived and worked through much of the turbulent Tudor period in England. Unlike many of his contemporaries, he did not just react to radical change: he thrived on it. He helped invent new musical styles to meet the demands of the English Reformation. He revived and reimagined older musical forms for a new era. Fewer than a hundred of his works have survived, but they are incredibly diverse, from miniature settings of psalms and hymns to a monumental forty-voice motet. In this new biography, author Kerry McCarthy traces Tallis's long career from his youthful appointment at Dover Priory to his years as a senior member of the Chapel Royal, revisiting the most important documents of his life and a wide variety of his musical works. The book also takes readers on a guided journey along the River Thames to the palaces, castles, and houses where Tallis made music for the four monarchs he served. It ends with reflections on Tallis's will, his epitaph (whose complete text McCarthy has recently rediscovered), and other postmortem remembrances that give us a glimpse of his significant place in the sixteenth-century musical world. Tallis will be treasured by performers, scholars, Tudor enthusiasts, and anyone interested in English Renaissance music.

William Byrd's Gradualia is one of the most unusual and elaborate musical works of the English Renaissance. This large collection of liturgical music, 109 pieces in all, was written for clandestine use by English Catholics at a time when they were forbidden to practice their religion in public. When Byrd began to compose the Gradualia, he turned from the penitential and polemical extravagances of his earlier Latin motets to the narrow, carefully ordered world of the Counter-Reformation liturgy. It was in this new context, cut off from his familiar practice of choosing colorful texts and setting them at length, that he first wrote about the "hidden and mysterious power" of sacred words to evoke a creative response. Liturgy and Contemplation in Byrd's Gradualia responds to Byrd's own testimony by exploring how he read the texts of the Mass and the events of the church calendar. Kerry McCarthy examines early modern English Catholic attitudes toward liturgical practice, meditation, and what the composer himself called "thinking over divine things." She draws on a wide range of contemporary sources - devotional treatises, commentaries on the Mass, poetry, memoirs, letters, and Byrd's dedicatory prefaces - and revisits the Gradualia in light of this evidence. The book offers a case study of how one artist reimagined the creative process in the final decades of his life.

William Byrd's Gradualia is one of the most unusual and elaborate musical works of the English Renaissance. This large collection of liturgical music, 109 pieces in all, was written for clandestine use by English Catholics at a time when they were forbidden to practice their religion in public. When Byrd began to compose the Gradualia, he turned from the penitential and polemical extravagances of his earlier Latin motets to the narrow, carefully ordered world of the Counter-Reformation liturgy. It was in this new context, cut off from his familiar practice of choosing colorful texts and setting them at length, that he first wrote about the "hidden and mysterious power" of sacred words to evoke a creative response. Liturgy and Contemplation in Byrd's Gradualia responds to Byrd's own testimony by exploring how he read the texts of the Mass and the events of the church calendar. Kerry McCarthy examines early modern English Catholic attitudes toward liturgical practice, meditation, and what the composer himself called "thinking over divine things." She draws on a wide range of contemporary sources - devotional treatises, commentaries on the Mass, poetry, memoirs, letters, and Byrd's dedicatory prefaces - and revisits the Gradualia in light of this evidence. The book offers a case study of how one artist reimagined the creative process in the final decades of his life.

The foremost composer under the reign of Elizabeth I and James I, William Byrd (c. 1540 - 1623) produced countless masses, motets, polyphonic songs, and works for keyboard and instrumental consort, all of which rank among the most unique and inspired works of the late Renaissance. His output was widely admired both at the time and now, and the influence he exerted on his contemporaries and on future generations of English composers was profound. Byrd was especially well-known for his motets, a musical form which he - a practicing Catholic in Anglican England and composer for the English Chapel Royal - especially favored, in spite of the threats of religious persecution he routinely faced.
This biography takes a new look at Byrd's music - instrumental and vocal, sacred and secular - and the various documents of his long life. Exploring the musical world in which Byrd grew up, author Kerry McCarthy traces his influence on the English musicians of the early Baroque, many of whom were his students, and takes on the uncomfortable paradoxes of the composer's life as a devout and influential Catholic who spent much of his career in the service of the English Protestant establishment. McCarthy also pays special attention to Byrd's literary background and activities as an older contemporary of Shakespeare who enjoyed close ties to the Elizabethan and Jacobean literary world. A detailed, fresh, and readable account of a composer who was revered by his colleagues as "our Phoenix" and "a Father of Music," Byrd is essential reading for scholars, students, and performers of early music, as well as general readers interested in the musical world of Renaissance England.