Byrd, The Bible and Cambridge

Sidney Sussex College, Cambridge, reports on its day of lectures in celebration of the 400th anniversary of the King James Bible: http://www.sid.cam.ac.uk/life/news/newsitem.html?nid=223

William Byrd, Stondon Massey and the Authorised Version of The Bible

When Kerry McCarthy gave a lecture last week to guests at Sidney Sussex College in Cambridge she said, according to an Internet source (http://bookhaven.stanford.edu/2011/01/william-byrd-and-the-king-james-bible-he-was-agin-it/ ), that William Byrd (c1540 - 1623) set none of his music to the text of the King James Version of the Bible. The lecture was given in celebration of the 400^th anniversary of its publication.

Kerry McCarthy is an influential authority on Stondon Massey’s great composer, an Associate Professor of Duke University in the United States, and prime mover and shaker of the Byrd Festival in Portland, Oregon.

Thinking somewhat laterally, it seems to almost state the obvious that William Byrd would disregard the ‘new’ Anglican Bible of 1611. Byrd was an ardent recusant Catholic living in semi-retirement at Stondon Place in the quiet village of Stondon Massey in Essex. Four hundred years ago he had just published an entire edition of two cycles of Gradualia: illegal settings of Masses for the complete liturgical year to be sung in secret by ‘papist sympathisers’ at such places as Ingatestone Hall, the home of the Petre family, Byrd’s patrons. The year 1611 also marked the final publication of the composer’s work. Here was a man of at least three score and ten years who probably could not be bothered with the new-fangled version of the Bible.

The origin of the King James Version of the Bible is admirably covered in Derek Wilson’s new book, ‘The People’s Bible’ (2010). He tells the story of how churchman of various persuasions, mainstream Anglicans and Puritans, in 1604 flattered King James I into the creation of a unifying work bearing his name. Over six years six teams of scholars in Westminster, Cambridge and Oxford toiled over existing English language translations to create, as a Committee, a definitive work for its time.

Derek Wilson devotes the first seventy pages of his two hundred page book to those Bibles which had already translated and printed in English during the sixteenth century. Among those was the illegally imported translation by Tyndale, which cost him his life in 1536. Ironically only three years later King Henry VIII decreed that another translation, the Great Bible, be made available in all churches up and down the land. The Geneva Bible was published abroad in 1560; the Bishops Bible of 1568 followed which omitted controversial margin notes of the Geneva Bible; and the Rheims Bible published in the Low Countries in 1582. The Douai-Rheims Bible was the fruit of an English College, founded by William Allen, an exiled Jesuit biblical scholar, completed by Gregory Martin.

Byrd’s religious sympathies must have been towards the Rheims Bible, a ‘Catholic translation’ probably used covertly during the services at Ingatestone Hall. We need only think too of Byrd’s reaction to the martyrdom of Edmund Campion in Byrd’s motet, ‘Why Do I Use My Paper Ink and Pen’, and known friendship with Father Henry Garnett who was later arrested and hung in connection with the Gunpowder Plot of 1605 because he had heard, in a confessional, the plans of the conspirators. Garnett was a marked man. Throughout his trial was referred to as “Mr Garnett” because the authorities did not recognise his Jesuit priesthood.

1605 and 1607 were the years of publication of Byrd’s two books of Gradualia. This merely illustrates the dangerous path Byrd trod.

Byrd’s frequent naming before the Essex Archdeaconry Court by the parson and churchwardens of Stondon Massey for non-attendance at St Peter & St Paul Church, coupled with heavy fines, is further illustration of his refusal to embrace the established church. What is interesting is that his wife, who died c1606, was consistently named Ellen and not Juliana. Byrd biographer John Harley (1997) suggests this was the same person. We can deduce that whilst Byrd was not known in his immediate local community he moved nonetheless in influential circles and avoided the penalties associated with blatant Catholicism, that of imprisonment, confiscation of property and death. Nowhere could the Catholic mass be legally celebrated.

There is, perhaps, another reason why Byrd did not use the Authorised Version of the Bible. Derek Wilson points out that although the research was completed in 1610, the work itself was hurriedly proof-read; compiled for publication and printed the following year. The finished work was littered with errors and despite stringent efforts to ensure that the King James Version was the only Bible produced in England, copies of the Geneva Bible continued to be imported until the 1640s. In the early days the Authorised Version was hardly a roaring success, but its monopoly, and corrections, ensured its longevity.

The King James Bible was intended to be read out aloud during Divine Worship. Even today its seventeenth century text seems to work through being heard. The success of the King James Version was due to an accident of history. It became the vogue in seventeenth century worship for the pulpit to take more importance than the altar. Lengthy sermons were not uncommon. At Stondon Massey we find part of a triple-decker pulpit. Reverend Reeve, a former Rector, wrote: “The pulpit in Stondon Church with the reading desk attached was erected during [Nathanial] Ward’s incumbency, and bears the date 1630. In all probability it was introduced into the Church in response to an order from Bishop Laud, but I think we may trace Ward’s handiwork also, and his personal superintendence. On the panels of the desk we find the words “Christ is All in All” the text of the famous discourse of his brother Samuel, “preacher of Ipswich”, which was published in 1627, while in the pulpit is carved “2 Tim. iv. 1-2”, the reference being to the words of St Paul, ‘Preach the word in season and out of season’, which no doubt was a favourite Apostolic injunction with the Puritan divine.”

It is to the Wards that we must look for the Stondon connection and the Authorised Version. Samuel Ward, the Ipswich preacher, became Master of Sidney Sussex College in 1610. But he was also a member of the Cambridge II team of translators responsible, with others, for the Apocrypha. His brother, Nathanial, became incumbent at Stondon Massey in 1628, and was one of the foremost Puritan preachers in Essex.

Nathaniel Ward’s nemesis was William Laud, the Bishop of London who on appointment in 1628 immediately forbade the printing of the Geneva Bible. Laud is described by Wilson as “the scourge of the Puritans” and Reeve as “determined to strengthen the traditional and Catholic position of the Church of England.”

Reeve takes up the story: “The Rector of Stondon was “presented” … “for not wearing a surplice in Church for the two last years past, and that prayers were not constantly read in Church on Wednesdaies, Fridaies and Holydaies”.

“A few years later, however, the end came. The Bishop’s books in the Registry of St Paul’s record that on 27^th Sept. 1632 Nathaniel Ward was suspended; on 30^th Oct. of the same year he was excommunicated for non-obedience to the Canons, and on 16^th Dec. he was deprived.

“On his expulsion from his living, Ward determined to visit the New England about which he had heard so much, and in the following year (1634) he set sail.”

The book which these New England settlers took with them was the Authorised Version of the Bible. Over time wherever Britain colonised and created its Empire, wherever the atlas was coloured red, the Bible was present in the culture of each new society.

The influence of this Bible spread because of its association with the monarchy, with stability and of order in society. Melvyn Bragg, for example, lists the King James Bible in his set of essays, ’12 Books That Changed The World’ (2006). Shakespeare’s ‘The First Folio’, Darwin’s ‘Origin of Species’, Adam Smith’s ‘Wealth of Nations’ and ‘The Rule Book for Association Football’ are also listed in his hall of fame. Perhaps it is an overstatement to suggest that the AV played a part in the democratic influence of England on other nations, but it is no understatement that the book had no cultural affect worldwide. It is interesting to reflect that while Britain considers AV – alternative voting – in a referendum, elsewhere in the world there is unrest and uprising against leaders in Middle Eastern countries.

The King James Version became, certainly for over 300 years, a core work in the English language and the teaching of the English language both at home and abroad. It became part of England’s literary heritage. This was both its success and long term failure. Melvyn Bragg suggests that there are some Christians who believe that only a return to regular use of the King James Version will return the nation to “the true path”. Derek Wilson says that the study of the Christian faith adapts with each age and while the works of Shakespeare, a contemporary of the Bible, could not possibly be rewritten, likewise this was mistakenly felt with the King James Version.

Wilson also cites why the KJV’s popularity fell into decline, pointing to the First World War, the break-up of the hierarchical society and increasing secularisation of the nation. Changes in education too meant that learning text by rote is considered out dated and that widespread use of the Bible in teaching in schools is now politically incorrect.

In the Church of England this year, strenuous efforts are being made to encourage greater personal Bible reading. (See for example the Bishop of Chelmsford’s item on the diocese website: http://www.chelmsford.anglican.org/bishop-says-the-bible-is.html). Clergy say that the Bible provides moral compass for peoples’ lives and the King James Version is more than a piece of towering seventeenth century literature.

Bibliography:

Bragg, Melvyn. 12 Books That Changed The World (Hodder & Stourton, 2006).

Fraser, Antonia. The Gunpowder Plot. Terror and Faith in 1605 (Arrow, 1999).

Harley, John. William Byrd. Gentleman of the Chapel Royal (Ashgate, 1997)

Reeve, Rev. E. H. L.. A History of Stondon Massey in Essex (Wiles & Son, Colchester, 1906).

Wilson, Derek. The People’s Bible. The Remarkable History of the King James Version (Lion, 2010).

Other sources:

‘Great and Manifold Blessings: The Making of the King James Bible’. An exhibition (which runs until 18 June 2011) at Cambridge University Library. See http://www.lib.cam.ac.uk/exhibitions/KJV/index.html

Andrew Smith

Byrd On The Wire: Brentwood Gazette item on Internet

Our local newspaper, the Brentwood Gazette, ran an item promoting the forthcoming William Byrd Festival last month. This has been published. For the full text go to http://findarticles.com/p/news-articles/brentwood-gazette/mi_8088/is_20110119/elizabethan-maestro-buried-church-honour/ai_n56696290/

Flock To "Birde" Festival

We hope that 'Early Music' lovers across the country will want to come to the William Byrd Festival. Tickets are on sale.

What's Your Favourite?

A survey has begun at Stondon Massey and Blackmore parish churches to find out what are peoples' favourite hymns. A Top Ten will be compiled to be sung at a special service on Sunday 15 May to close the William Byrd Festival.

Anyone can vote. Send us your three favourite hymns and we will add the titles onto the spreadsheet. (Use the comments field below?)

The last poll was carried out in 2004 for a Service which closed the Flower Festival at the Priory Church of St Laurence, Blackmore. Then the Top Ten were: (1) And Did Those Feet (Jerusalem); (2) Lord The Light Of Your Light Is Shining (Shine Jesus Shine); (3) O Lord My God (How Great Thou Art); (4) All Things Bright and Beautiful; (5) Be Still For The Presence of The Lord; (6) Praise My Soul The King of Heaven; (7) I The Lord of Sea and Sky; (8) I Vow To Thee My Country; (9) Amazing Grace; (10) Love Divine All Love's Excelling.

"William Byrd is England's Greatest Composer"

Richard Turbet is our guest speaker over the first weekend of the William Byrd Festival when he co-presents ‘William Byrd: His Essex Years’. Tickets are now on sale, priced £12.50 (under 16s £6).

Richard says, “I think it is appropriate to begin by saying simply ‘William Byrd is England's greatest composer’. No point in pussyfooting around.”

Byrd was born around 1540 and became a well known organist, musician and composer of his day, writing and publishing both sacred and secular music. He was engaged as a Gentleman of the Chapel Royal, as such Queen Elizabeth’s sacred choir, following the death of Robert Parsons.

Byrd moved to Stondon Massey around the year 1594 and spent thirty years in semi-retirement. It was at Stondon Massey that his true religious feelings came to the fore in the writing of his music. He was a great friend of the Petre family, who were Catholics and his Patrons, and made several visits to Ingatestone Hall, where his clandestine and illegal Catholic Masses were sung. He later wrote a complete set of music for the church year – two books of ‘Gradualia’, the second of which in 1607 was dedicated to his patron, John Petre. This was a most dangerous and daring pursuit.

“It was well known to the authorities that Byrd was composing and publishing music for the Roman Catholic church” Richard says. “Indeed, the person who licensed Byrd's two books of ‘Gradualia’ (the music he composed for the services of the RC Church throughout the liturgical year) was Richard Bancroft, successively the Anglican Bishop of London and Archbishop of Canterbury.”

“Byrd was a formidable networker and had friends in the highest places - from the Queen and subsequent King downwards. He composed and published a large quantity of music for the illegal Roman Catholic rite. Such was his status with The Queen, by whom he was employed as a Gentleman of the Chapel Royal, no action was taken against him."

Byrd also composed a small but significant amount of music for the Church of England. This included the Great Service as well as other anthems.

“His Roman Catholic music could not be performed in the Anglican Church during his lifetime. His Latin music started to be published again in the 1840s, but even between his death and then it was never neglected, and it circulated in manuscripts among prominent London musicians. However during the earlier twentieth century it gained acceptability among the Anglican hierarchy”. Today his Latin work has been recorded by Cardinall’s Musick under its director Andrew Carwood. The completion of this cycle of work has been likened in importance to Bach’s Cantatas and Beethoven’s piano sonatas.

On his death in 1623 Byrd was described as the ‘Father of Music’, perhaps due more to his great age – and seniority in the Chapel Royal, much like is described ‘The Father of the House’ of the senior politician in the British Parliament – than being at the vanguard of new music.

In many respects William Byrd’s music is as well known as it has ever been.

Spring Concerts for Byrd Choirs

Stondon Singers, under the direction of Christopher Tinker, perform Faure’s Requiem as the centrepiece of their Spring Concert at the Priory Church of St Laurence, Blackmore, at 7.30pm on Saturday 5 March. For more information follow this link: http://www.gerontius.net/cgi-bin/event.cgi?cname=10692

Writtle Singers Spring Concert is on Saturday 12 March commencing at 7.30pm. It will be held at All Saints Church, Writtle, and is entitled ‘Radiance: Music of Light’. For more information visit their website: http://www.writtlesingers.org/#nextconcert

Two Weekends: Four Events: Six Occasions

Everyone involved in the William Byrd Festival is busy preparing their programmes for the events to be held over two weekends, from 7 to 15 May. This promises to be a great occasion for Stondon Massey, and will help raise funds to build a new Memorial Garden for the churchyard where our great composer, William Byrd, was buried in 1623.

The Festival begins on Saturday 7 May when the Stondon Singers, a renowned local choir, accompany Richard Turbet in a lecture / recital entitled ‘William Byrd: His Essex Years’. Richard Turbet is an internationally respected authority on Byrd’s life and work. He is preparing the third edition of ‘William Byrd: A Guide to Research’ in which he catalogues and reviews all that has been produced about the Elizabethan composer and musician. He makes what will probably be a unique appearance to the place where Byrd lived and died. There are two performances: at 4.00pm and 7.30pm. Tickets at £12.50 each and are available from the Church Office c/o The Vicarage, Church Street, Blackmore, Ingatestone, Essex. Please make your cheque payable to ‘Stondon Massey PCC’ and enclose a Stamped Addressed Envelope. Oh yes, do mention whether you want to come to the matinee (4pm) or evening performance (7.30pm).

On Sunday 8 May, no tickets are needed to attend the 9.00am Morning Prayer Service based on a Byrd theme. In addition to following the liturgy contained in the Book of Common Prayer (1662) service, our organist John Hatt will play three pieces by Byrd. Jubilate, our benefice choir, will sing ‘If Ye Love Me’ by Byrd’s friend and mentor Thomas Tallis. The readings will be taken from the Authorised Version of the Bible (King James Version) which came into use during Byrd’s residence at Stondon Massey in 1611. Richard Turbet, our guest over the first weekend, will give a short address. The programme is nearing completion. As one of the service leaders all I have to do is ensure I do not get tongue-tied by the language which has come down to us from the seventeenth century.

Weekend two is marked by a concert by the Writtle Singers under the direction of Christine Gwynn. This will be held on Saturday 14 May at 7.30pm at St Peter and St Paul Church. The title of the event will be ‘William Byrd: Loyal Heart or Traitor?’ and will explore in words and music the composer’s life as a recusant Catholic, at odds with the law of the time proscribed by Queen Elizabeth I yet regarded by her as a master of his craft. Poor Parson Nobbs, the Rector of Stondon Massey, was required to present before the Archdeaconry Court a list of non-attenders. Byrd never crossed the threshold of the parish church and was fined time and again. We hope that you will want to attend the event will want to buy tickets, again priced £12.50 from the Church Office. The evening will include Byrd’s Mass for Four Voices, composed for private and illegal worship for the Petre family and their friends at nearby Ingatestone Hall. There will be one performance at 7.30pm.

Finally, on Sunday 15 May at 9.00am (repeated at 11.00am at the Priory Church of St Laurence, Blackmore) we will have a service of Favourite Hymns. Voting has opened to compile a Top Ten. With the ticket application form attached you will see space for your Top Three. Let us know your favourites and come to a service led by our Reader, Anthea Gray. No entrance fee. A collection will be taken during the service.

All money raised from the concerts will go to the Fabric Fund of St Peter and St Paul Church, Stondon Massey.

We look forward to hearing from you.

Singers to Explore Queen and William Byrd

The Writtle Singers have announced the theme of their concert to be held at Stondon as part of the William Byrd Festival. On Saturday 14 May, at 7.30pm, Christine Gwynn will be directing the singers and narrator, Martyn Richards, in a performance entitled 'William Byrd: Loyal Heart or Traitor?'

The evening will explore through words and music Byrd's subversive life as a recusant Catholic. It was something which Queen Elizabeth I found hard to stomach but, because he was such a great composer and musician, she turned a blind eye to his behaviour.

The evening will include a complete performance of Byrd's 'Mass for Four Voices', plus settings of Psalm 137 in which Byrd, in composition, replies to de Monte, "How Do We Sing The Lord's Song In A Strange Land".

Tickets are now on sale price £12.50 each.

Stondon Congregation look forward to William Byrd Festival

The Brentwood Gazette today has published an item on the forthcoming William Byrd Festival. Drawing on information contained in this site, Piers Meyler has created a really creditable article. A photographer came to St Peter & St Paul Church after the service last Sunday and took some pictures. The 'Genius of music' will be celebrated in May.