The William Byrd Festival is set to showcase the Golden Age of Music from Elizabethan England, starting on Friday, August 1, in Portland, Oregon. This annual event, which has been a beloved tradition since 1998, offers a rich experience of organ and choral music, enlightening lectures, and a deep dive into the late-Renaissance period.
This year, the festival pays tribute to the influential English composer Orlando Gibbons, whose life ended 400 years ago. The festival is also dedicated to William Mahrt, an esteemed scholar and lecturer who contributed to the festival for all 26 years until his passing this past January. In honor of Mahrt, the festival will feature “The Victoria Requiem” sung liturgically on August 9.
The term “liturgically” typically evokes thoughts of sacred music associated with the church, and indeed, a significant portion of the Byrd Festival’s offerings falls into this category. Historically, much of the choral music from the Western Medieval, Renaissance, and Baroque eras has been sacred, and Oregon audiences have a strong affinity for this genre.
For example, the Oregon Bach Festival’s sacred performances, including sell-out shows of Bach’s B Minor Mass and St. Markus Passion, have highlighted the community’s appreciation for choral music. Notably, previous performances like Damien Geter’s African American Requiem in 2022, the annual renditions of Rachmaninoff’s All Night Vigil, and the Portland Symphonic Choir’s collaborations all reflect the ongoing enthusiasm for sacred choral works in the area.
Among the notable choirs contributing to Portland’s vibrant choral scene is Cappella Romana, which shares a mission similar to that of the Byrd Festival’s Resident Choir, Cantores in Ecclesia. The festival presents a unique occasion to experience Renaissance choral music within the context of a church service, with seven liturgical events scheduled this season, all offered free of charge.
Yes, you heard right: Masses, Compline, and Evensong will be free at the Byrd Festival, along with two organ recitals and two lectures. Everyone is welcome, regardless of background or prior knowledge of the music. Whether curious attendees or seasoned aficionados, all are encouraged to partake in this event, which celebrates historically informed performances and the profound impact of music in nurturing personal devotion in various forms.
The festival spans three weekends and includes twelve events, with a schedule that features five Masses, one Compline, and one Evensong. Compline, typical of the Catholic tradition, and Evensong, an Anglican tradition, provide soothing music for the end of the day.
William Byrd’s music is set to feature prominently in four Masses at the festival, all officiated by the Dominican order at Holy Rosary Parish. Audience members familiar with Bach’s Mass in B Minor may find parallels in Byrd’s Mass settings, as they all utilize the same sacred text but in a more concise, a cappella format.
Cantores in Ecclesia, under the direction of Blake Applegate, will perform Byrd’s Mass for Five Voices on August 16, which marks a significant highlight of the event. Attendees will have the option to listen online to Byrd’s Masses, including comparative performances of the “Kyrie” from the Mass for 3 Voices and the Mass for 4 Voices.
This season, additional music from Byrd’s Gradualia will be sung at Mass on August 15, performed by the Byrd Festival Consort, conducted by Applegate. The size of the Consort will vary depending on the selections, and detailed information about the program is available in the online festival materials.
One of the Masses on August 9 will present the Officium Defunctorum, or Requiem Mass, by contemporary composer Tomás Luis de Victoria. This poignant tribute will honor the legacy of William Mahrt, as reflected upon by WBF singer and noted scholar Kerry McCarthy, who emphasized Mahrt’s dedication to exploring and sharing sacred music.
In a fitting tribute to Mahrt, McCarthy will lead a lecture before the Victoria Mass titled “Singing the Victoria Requiem: a tribute to Dr. William Mahrt (1939-2025).” Former festival attendees recall Mahrt’s passion for early music, a sentiment which is echoed in McCarthy’s current endeavors.
McCarthy is also working on a book that follows the lives of real singers in Tudor England, challenging the perception of these musicians as anonymous figures. Her research reveals that around 1 out of every 50 literate people in England during 1530 were professional church musicians, a significant portion of the populace. She aims to bring these individuals to life in her writing by tracing the career of a specific singer from his debut to the end of his life.
In a related artistic direction, Byrd Festival Director Mark Williams is set to present an organ recital on August 2, offering a non-choral complement to the festival’s offerings. The opening and closing concerts, which are ticketed events, will provide an introduction to the music of Orlando Gibbons and also feature works by his contemporary, Thomas Tomkins.
Festival-goers will have numerous opportunities to engage with Gibbons’s music, as nine of his choral anthems will be performed by either Cantores in Ecclesia or the Byrd Festival Consort. Attendees can even sample Gibbons’ choral style through performances of his anthem “O Clap Your Hands.”
Though the three B’s of music—Bach, Beethoven, and Brahms—are widely known, the importance of Renaissance music, particularly by William Byrd, should not be overlooked. This is why the William Byrd Festival exists: to celebrate this crucial period of music history and foster a sense of community through the lens of liturgy, scholarship, and the shared experience of music.
The 26th Annual William Byrd Festival will commence with its opening concert on Friday, August 1, at 7:30 PM at The Madeleine Church and will conclude on Sunday, August 17, at 4 PM at the Church of St. Patrick. Tickets for the opening and closing events are available for purchase online, while all other events are free, with optional donations appreciated.
The festival’s schedule includes multiple Masses, with one significant concert featuring choral music by a guest composer. Composer Paul Safar has collaborated with poet Ingrid Wendt to set her poem “Lacrimosa” to music, responding to the ongoing conflicts in today’s world. This work will be included in the premiere concert “Intersections: Music, Poetry and Calls for Peace” on August 1 at Lincoln Recital Hall on the Portland State Campus.
This concert, which will feature Safar’s compositions along with poetry readings by Wendt, is expected to draw a crowd eager for the world premiere of this new choral work.
Furthermore, the Portland Symphonic Choir will continue their “2025 Summer Sing” celebration with an event focusing on the impact of choir music in fostering community and empathy. This gathering, titled “The Power of Choir,” will be held on August 6 at the historic Alberta House and promises to amplify the voices of its participants.
Looking ahead, choral enthusiasts are encouraged to mark their calendars for the Portland Symphonic Choir’s final “Summer Sing” event, where the 2025 Call-for-Scores selections will be revealed. This event will take place on August 16 at the Multnomah Arts Center and will highlight the works that have been submitted for consideration.
With an array of performances, lectures, and community events scheduled throughout the festival, the William Byrd Festival promises to be a captivating celebration of Renaissance choral music, honoring the legacy of composers like Byrd and Gibbons while nurturing a love for sacred music within the Portland community.
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