THE MUSIC OF DEFIANCE
The final stage was devoted to the setting of forbidden liturgical texts, coinciding with Byrd’s effective retirement, at the age of fifty, from the royal chapel and his removal to a country home, where he joined a recusant community headed by a noble family named Petre. It was for this community and others like it, evidently, that his late work was intended. From 1593 to 1595, Byrd issued three settings of the Mass Ordinary, one a year, respectively for four, for three, and for five voice parts. This, finally, was music that could only be sung behind closed doors. The first Mass Ordinary settings ever printed in England, they were issued without title pages (but as Kerman observes, “Byrd’s name was coolly entered as author at the top of every page”).21
- Citation (MLA):
- Richard Taruskin. "Chapter 16 The End of Perfection." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 1 Sep. 2014. <http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016011.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 16 The End of Perfection. In Oxford University Press, Music from the Earliest Notations to the Sixteenth Century. New York, USA. Retrieved 1 Sep. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016011.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 16 The End of Perfection." In Music from the Earliest Notations to the Sixteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 1 Sep. 2014, from http://www.oxfordwesternmusic.com/view/Volume1/actrade-9780195384819-div1-016011.xml