Singing against Oppression - music by William Byrd

Choral singing and dialogues

Singing against oppression – The sung works are alternated with dialogues, such as those which could have taken place between Byrd and important people in his life. Byrd's choral works have an exceptional expressive power. The melodies are clear, giving the listener the impression that he could easily sing along. The structure, the interweaving of the five or more independently moving voices, fits together perfectly.

Byrd's work therefore stands solidly but also opens up broader musical vistas. There is a colouring, a harmony, by which the composer not only translates words and images into music, but also directly conveys an emotion. This is, even more than in other music, not so much aimed at an individual listener, but also intended for a group that intensely needs togetherness, in this case through singing.

That Byrd's times were difficult is an understatement. Freedom of belief and expression of faith were hard to find. The community of which Byrd was a part lived under constant pressure. As a result of this oppression, people fled because of their faith, and services of worship could only be celebrated in hiding.

England had exchanged the Church of Rome for its own state church. Openly declaring your faith could cost you your head. Nevertheless, Byrd unabashedly wrote music for the Roman Catholic Church in order to encourage and to share the faith. In many of his motets, Byrd refers to texts that are connected to what happens when people are confronted with captivity, terror, oppression and threats everywhere. Coming to terms with yourself and praying for forgiveness are recurring themes in the music. But, of course, there are also moments of enlightenment and relief.