Gordon Jacob and the incredible William Byrd Suite

Gordon Jacob Gordon Jacob was born in London on July 5, 1895 and died in Saffron Walden, England, on June 8, 1984. He received his education from both Dulwich College and the Royal College of Music, earning a Doctor of Music degree in 1935. From 1926, he was a member of the faculty at the latter institution and taught counterpoint, orchestration, and composition. A long line of his composition students, including Malcolm Arnold, Antony Hopkins, and Bernard Stevens, went on to successful careers. His orchestral and choral works include a ballet, concert overture, two symphonies, numerous concertos for wind and string instruments, many pedagogic works for piano and for chorus and a variety of chamber works, songs, and film music.

William Byrd Suite William Byrd (1542 – 1623), a pupil of Thomas Tallis, was known for his polyphonic choral and keyboard music, both sacred and secular. His works were preserved in the “Fitzwilliam Virginal Book,” which is a significant reference work on Elizabethan keyboard music. The 300th anniversary of Byrd’s death was celebrated in 1923 with appropriate performances of his music. Gordon Jacob selected six of Byrd’s pieces for inclusion in his commemorative Suite. The opening movement, The Earle of Oxford’s Marche, was Byrd’s initial movement to The Battell, a 16th Century program work of 15 movements depicting the participants and events of a battle. The music flows to a steady, stately beat adding dignity to the event. Characteristic of this and all of the movements is the harmonic chord conclusion. The Pavana has the slow duple rhythm of the stately court dance. John Come Kisse Me Now has a flirtatious vitality often found in the English madrigals. It possesses seven variations of an eight-bar tune. Beginning simply in the brass, The Mayden’s Song develops in content with counterpoint and embellished figures while retaining the style of the original. Instrumental texture provides variation to the simple melody of Wolsey’s Wilde. A simple rising two-note figure provides the background for the final movement, The Bells. Variations of a simple rhythmic figure of the bells, all keyed in B-flat, unfold as the music develops interest and momentum. from Band Music Notes – Stoutamire and Smith