sacrae vocantur, quinque et sex partium (jointly with Tallis), 1575; (2) Psalmes, Sonets and Songs of Sadnes and Pietie, made into musicke of five parts [1587]; (3) Songs of Sundrie Natures, some of Gravitie and others of Myrth (for 3, 4, 5 and 6 voices), 1589; (4) Liber Primus Sacrarum Cantionum quinque vocum, 1589; (5) Liber Secundus Sacrarum Cantionum, etc. 1591; (6) Gradiialia, ac Cantiones Sacrae lab. Primus (for 3, 4 and 5 voices'), 1607; (7) Gradualia, etc. Lib. Secundus, 1610; (8) Psalmes, Songs and Sonnets (for 3, 4, 5 and 6 voices or instruments) 1611. In addition to these works, Byrd printed three masses (probably composed between the years 1553 and 1558), without date or the name of printer. He also contributed to the following works:—(i) Musica Transalpina, Madrigales translated, of foure, five and six parts, 1588; (2) Watson's First Sett of Italian Madrigalls Englished, 1590; (3) Parthenia, or the Maiden-head of the first Musick that ever was printed for the Virginalls [1600]; (4) Leighton's Teares or Lamentacions of a Sorrowful Soule (a collection of part-songs, by the principal composers of the day), 1614. A large number of his virginal compositions are contained in the so-called 'Virginal Book of Queen Elizabeth,' in the Fitzwilliam Museum, Cambridge, and in Lady Nevills 'Virginal Book,' in the possession of the Earl of Abergavenny. Besides the services and anthems printed in Barnard's 'Selected Church Musick,' 1641, and Boyce's 'Cathedral Music,' many others are to be found in MS. in the Aldrich, the Hawkins, and the Tudway Collections. A mass in D minor, edited by the writer, and Book I. of Cantiones Sacrae, edited by the late W. Horsley, were published by the Musical Antiquarian Society. The well-known canon, 'Non nobis Domine,' is traditionally said to be the composition of Byrd, but it is not found in any of his works. A poem in Blow's 'Amphion Anglicus,' 1700, speaks of 'Bird's Anthem in golden notes,' preserved in the Vatican, which may have some reference to the canon in question.
Byrd lived on terms of intimacy with the elder Ferrabosco, and more than once was his rival in trials of skill and ingenuity in Counterpoint. Morley (Introd. 1597), speaks of one of these 'virtuous contentions'; and Peacham, in his 'Compleat Gentleman' (ed. 1622, p. 100), says, 'for motets and musicke of pietie and devotion, as well for the honour of our nation as the merit of the man, I preferre above all other our Phoenix, Mr. William Byrd, whom in that kind, I know not whether any may equal.' In a letter from the Earl of Worcester to the Earl of Shrewsbury, September 19, 1602 (preserved among the Talbot Papers in the Heralds' College), we have an interesting passage respecting one of Byrd's part-songs. The writer says: 'We are frolic here in Court; much dancing in the Privy Chamber of country dances before the Queen's Majesty, who is exceedingly pleased therewith. Irish tunes are at this time most pleasing, but in winter, Lullaby, an old song of Mr. Bird's, will be more in request as I think.' The 'Lullaby Song' is printed in the author's 'Psalmes, Sonets and Songs of Sadnes and Pietie,' 1588.
From the Cheque Book of the Chapel Royal we learn that Byrd died July 4, 1623; and in the record of the event he is styled 'A Father of Musicke,' probably in allusion to his age and his length of service. If he was sixteen when his name appears as senior chorister of St. Paul's, he must have been eighty-five years old when he died. Thomas Tomkins (who was his scholar), in his 'Songs of 3, 4, 5 and 6 Parts,' 1622, speaks of his ‘ancient and much reverenced master.’
Byrd resided, at the end of the 16th century, in the parish of St. Helen, Bishopsgate. He was married, and had a family, as we learn from the registers of that church. One son, Thomas, was educated to the profession, for in 1601 he acted as substitute for Dr. John Bull as Gresham Professor.
Notwithstanding his conformity to the established religion, Byrd is supposed to have been at heart a Romanist. Some very curious particulars bearing upon this point have lately come to light. In a list of places frequented by certain recusants in and about London, under date 1581, is the following entry: 'Wyll'm Byred of the Chappele, at his house in p'rshe of Harlington, in com. Midds.' In another entry he is set down as a friend and abettor of those beyond the sea, and is said to be residing 'with Mr. Lister, over against St. Dunstan's, or at the Lord Padgette's house at Draighton.' In the 'Proceedings in the Archdeaconry of Essex,' May 11, 1605, 'William Birde, Gentleman of the King's Majestie's Chapell,' is 'presented' for 'popish practices,' but what was his sentence does not appear, as he was hiding at the time.
There is a portrait of William Byrd—an oval, in the same print with Tallis. It was engraved by Vandergucht for N. Haym's 'History of Music,' which never appeared. One impression only is known to exist. (Life of Byrd, Mus. Ant. Soc.; Cheque-Book of Chapel Royal, Camd. Soc.; Rimbault, Bibl. Madrigaliana.)
BABELL, William, the son of a bassoon-player, was born about 1690, and instructed in the elements of music by his father, and in composition by Dr. Pepusch. He was celebrated for his proficiency on the harpsichord, and was also a good performer on the violin. He was a member of the royal band, and for some years organist of All Hallows, Bread Street. Taking advantage of the rise and popularity of the opera in England, he was the first to arrange the favourite airs as lessons for the harpsichord. In this he was highly successful, and his arrangements of 'Pyrrhus and Demetrius,' 'Hydaspes,' 'Rinaldo,' etc., were standard works of their
