Musical Borrowing
An Annotated Bibliography

Individual record

[+] Monson, Craig. "Authenticity and Chronology in Byrd's Church Anthems." Journal of the American Musicological Society 35 (Summer 1982): 280-305.

While some of Byrd's anthems are contrafacta of his Latin motets, two others are known to borrow from works by other composers. The opening of How long shall mine enemies shares melodic and organizational features with Tallis's I call and cry and Byrd models the conclusion ("But my trust is in thy mercy") on the corresponding section ("Forget my wickedness") of his predecessor, quoting the last three measures quite literally. Although the soprano and alto parts of William Hunnis's verse anthem Alack when I looke back are lost, it can still clearly be recognized as the model of Byrd's setting of the same text. Both compositions correspond in terms of form, melodic material, and techniques, such as quotation of the preexistent tune in an inner part at parallel places. Byrd, however, expands the choruses at the end of each verse and enhances the contrapuntal workmanship.

Works: Byrd: How long shall mine enemies (282-87), Alack, when I look back (295-99), All ye people clap your hands (302), Arise, O Lord, why sleepest thou (302), Behold I bring you glad tidings (302), Behold now praise the Lord (302), Be not wroth very sore (302), Blessed art thou, O Lord (302), Let not our prayers (303), Let not thy wrath (303), Let us arise (302), Lift up your heads (303), O Lord, give ear (303), O Lord turn thy wrath (303).

Index Classifications: 1500s, 1600s

Contributed by: Andreas Giger

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