Moreover one of Byrd's earliest compositions was a collaboration with two Chapel Royal singing-men, John Sheppard and William Mundy, on a setting for four male voices of the psalm In exitu Israel for the procession to the font in Easter week.

Byrd's setting of the first four verses of Psalm 78 ( Deus venerunt gentes ) is widely believed to refer to the cruel execution of Fr Edmund Campion in 1581, an event that caused widespread revulsion on the Continent as well as in England.

The layout of the set broadly follows the pattern of Byrd's 1589 set, being laid out in sections for three, four, five and six parts like its predecessor and embracing an even wider miscellany of styles ( perhaps reflecting the influence of another Jacobean publication, Michael East's Third Set of Books ( 1610 ).

Byrd's last published compositions are four English anthems printed in William Leighton's ' Teares or Lamentacions of a Sorrowfull Soule ( 1614 ).

Byrd's output of Anglican church music ( defined in the strictest sense as sacred music designed for performance in church ) is surprisingly small, but it stretches the limits of elaboration then regarded as acceptable by some reforming Protestants who regarded highly wrought music as a distraction from the Word of God.

Byrd's wife Julian was first cited for recusancy ( refusing to attend Anglican services ) at Harlington in Middlesex, where the family now lived, in 1577.

Byrd's staunch adherence to Catholicism did not prevent him from contributing memorably to the repertory of Anglican church music.

Ironically in view of Byrd's own religious beliefs, it was his Anglican church music which came closest to establishing a continuous tradition, at least in the sense that some of it continued to be performed in choral foundations after the Restoration and into the eighteenth century.

The police station has been moved to North Main Street in what was France Byrd's Pure service station.

He was unsuccessful, although his campaign made great note of Byrd's record of high office in the Ku Klux Klan, his avoidance of service in World War II, and the fact that Byrd, then alone among members of Congress, owned no home in the state he represented.

Ferrabosco's motets provided direct models for Byrd's Emendemus in melius ( a5 ), O lux beata Trinitas ( a6 ), Domine secundum actum meum ( a6 ) and Siderum rector ( a5 ) as well as a more generalized paradigm for what Joseph Kerman has called Byrd's ' affective-imitative ' style, a method of setting pathetic texts in extended paragraphs based on subjects employing curving lines in fluid rhythm and contrapuntal techniques which Byrd learnt from his study of Ferrabosco.

Byrd's small output of church anthems ranges in style from relatively sober early examples ( O Lord, make thy servant Elizabeth our queen ( a6 ) and How long shall mine enemies ( a5 ) ) to other, evidently late works such as Sing joyfully ( a6 ) which is close in style to the English motets of Byrd's 1611 set, discussed below.

There are more carols set in verse and burden form as in the 1589 set as well as lighter three and four-part songs in Byrd's ‘ sonnets and pastorals ’ style.

The latter include the Ground in Gamut ( described as ' Mr Byrd's old ground ') by his future pupil Thomas Tomkins, the A minor fantasia and probably the first of Byrd's great series of keyboard pavans and galliards, a composition which was transcribed by Byrd from an original for five-part consort.

Byrd's 1588 collection, which complicates the form as he inherited it from Robert Parsons, Richard Farrant and others, reflects this tradition.

A special feature of the four-part and five-part Masses is Byrd's treatment of the Agnus Dei, which employ the technique which Byrd had previously applied to the petitionary clauses from the motets of the 1589 and 1591 Cantiones sacrae.

Byrd's set includes two consort fantasias ( a4 and a6 ) as well as eleven English motets, most of them setting prose texts from the Bible.

* Complete list of Byrd's works from stainer. co. uk ( PDF )

In 1928, Admiral Byrd began his first expedition to the Antarctic involving two ships, and three airplanes: Byrd's Flagship was The City of New York ( a Norwegian sealing ship previously named Samson that had come into fame as a ship in the vicinity of Titanic when the latter was sinking ); a Ford Trimotor called the Floyd Bennett ( named after the recently deceased pilot of Byrd's previous expeditions ); a Fairchild FC-2W2, NX8006, built 1928, named " Stars And Stripes " ( now displayed at the Virginia Aviation Museum, on loan from the National Air and Space Museum ); and a Fokker Universal monoplane called the Virginia ( Byrd's birth state ).

It is also commemorated in a U. S. postage stamp issued at the time, and a considerable amount of mail using it was sent from Byrd's base at Little America, which was powered by a Jacobs Wind 2. 5 kW.

Byrd's Fairchild FC-2W2, NX8006, " Stars And Stripes " is on display at the Virginia Aviation Museum located on the north side of the airport, on loan from the National Air and Space Museum in Washington, D. C.

Admiral Richard E. Byrd Middle School, located in Frederick County, Virginia, was opened in 2005, and is decorated with pictures and letters from Byrd's life and career.

The long-range shortwave voice transmissions from Byrd's Antarctic expedition in 1934 was named an IEEE Milestone in 2001.

Byrd's first regular group was a quintet that he co-led from 1958-61 with baritone saxophonist Pepper Adams, an ensemble whose hard-driving performances are captured " live " on At the Half Note Cafe.

For 2003 and half of 2004, Griggs was absent from the country charts, although he, Montgomery Gentry, and Blake Shelton performed uncredited guest vocals on Tracy Byrd's 2003 single " The Truth About Men ".

However, the issue of Virginia's public debt was far from resolved during Byrd's formative years.

In November 1965, Byrd's father resigned from the U. S. Senate for health reasons.

Byrd's song " Velma " from his Wildflowers album gives a personal account of the murders and investigation.

At the time, Long was second to the aging Senator Harry Flood Byrd, Sr., of Virginia on the Senate Finance Committee and had already presided as chairman during Byrd's prolonged absence because of failing health.

Together with two sets of English songs, discussed below, these collections, dedicated to powerful Elizabethan lords ( Edward Somerset, 4th Earl of Worcester and John Lumley, 1st Baron Lumley ), probably formed part of Byrd's campaign to re-establish himself in Court circles after the reverses of the 1580s.

Sam Caldwell, State Highway Department public relations director, resigned Tuesday to work for Lt. Gov. Garland Byrd's campaign.

Although verified at the time by a committee of the National Geographic Society, this claim has since been undermined by the 1996 revelation that Byrd's long-hidden diary's solar sextant data ( which the NGS never checked ) consistently contradict his June 1926 report's parallel data by over.

Byrd's contribution to the Cantiones also includes compositions in a more forward-looking manner which point the way forwards to his motets of the 1580s.

Byrd's commitment to the Catholic cause found expression in his motets, of which he composed about 50 between 1575 and 1591.

Thirty-seven of Byrd's motets were published in two sets of Cantiones sacrae, which appeared in 1589 and 1591.

Byrd's set contains compositions in a wide variety of musical styles, reflecting the variegated character of the texts which he was setting.

On 11 September 1591 John Baldwin, a tenor lay-clerk at St George's Chapel, Windsor and later a colleague of Byrd in the Chapel Royal, completed the copying of My Ladye Nevells Booke, a collection of 42 of Byrd's keyboard pieces which was probably produced under Byrd's supervision and includes corrections which are thought to be in the composer's hand.

The period up to 1591 also saw important additions to Byrd's output of consort music, some of which has probably been lost.

Thomas Morley, Byrd's other major composing pupil, devoted himself to the cultivation of the madrigal, a form in which Byrd himself took little interest.

Byrd's exceptionally long lifespan meant that he lived into an age in which many of the forms of vocal and instrumental music which he had made his own had lost their appeal to most musicians.

who adds that the sextant data in the long unavailable original official typewritten report are all expressed to 1 ", a precision not possible on Navy sextants of 1926 and not the precision of the sextant data in Byrd's diary for 1925 or the 1926 flight, which was normal ( half or quarter of a minute of arc ).