It seems to me to be simply one more proof of the extraordinary tenacity with which Queen Elizabeth held to her policy of trusting to the influence of time to gradually moderate opposing views, and ultimately cement them in one creed which should embody the essential beliefs of both.
In any case, two things are known, that his services were retained, and that he adhered to the use of Latin for his sacred music. This, of course, means that either none of his music was sung in the Church, or that the occasional use of Latin for singing was permitted. The latter, I think, extremely probable, at least in the early years of the Reformation. He was appointed
organist of Lincoln Cathedral in 1563, and in 1569 became a member of the Chapel Royal. In 1575 he published, in conjunction with Tallis, a collection of motets, which was dedicated to the Queen. It may be noted that it was printed by one Vautrollier, although the two composers had recently acquired the right of exclusively printing music for twenty-one years. It may be assumed that they sub-let the privilege, for it is known that after the death of Tallis, Byrd became sole possessor of the monopoly. This collection was entitled "Cantiones, quæ ab argumento sacræ vocantar, quinque et sex partum." Unlike Tallis, he did not confine his energies to sacred music, but wrote much for the virginals, as well as some beautiful madrigals.
In 1591 was issued his "Liber secundus Sacrarum Cantionum."
By this time Byrd was universally recognised as the greatest English musician of his time, and his fame had spread to the Continent. The death of Tallis had left him absolutely without a rival. There is plenty of evidence proving Queen Elizabeth's regard for him. In fact, it was from a pecuniary point of view, somewhat embarrassing to him, as it must be admitted that the great Queen was exacting of service, and somewhat parsimonious in the paying for it. The many references to him made by contemporary writers, such as "homo memorabilis," "the most celebrated musician of the English nation," and "one of the most famous musicians that ever were in this land," all go to shew that his name was held in the highest esteem.
The year 1607 witnessed the production of the "Gradualia"; this contained music for the complete ecclesiastical year of the Catholic Church. A striking example of his fearlessness!
The work by which he is best known to the general public to-day is the ever popular "Non nobis Domine," which, although written in the severe style of canon form, is at once beautiful and touching in its extraordinary expression of reverence. The highest achievements of William Byrd were the Masses in three, four and five parts.
In these works his genius is displayed to its fullest extent and in its most splendid guise.
The period is declared by so great an authority as W. S. Rockstro (Grove's Dictionary) to be the greatest in the history of Mass music, and Byrd's Mass in five parts is one of the most splendid that were written during that memorable time.