required to pay heavy fines for recusancy. Anglican church music Byrd's staunch adherence to Catholicism did not prevent him from contributing memorably to the repertory of Anglican church music. 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. Byrd also played a role in the emergence of the new verse anthem, which seems to have evolved in part from the practice of adding vocal refrains to consort songs. Byrd's four Anglican service settings range in style from the unpretentious Short Service, already discussed, to the magnificent so-called Great Service, a grandiose work which continues a tradition of opulent settings by Richard Farrant, William Mundy and Robert Parsons. Byrd's setting is on a massive scale, requiring five-part Decani and Cantoris groupings in antiphony, block homophony and five, six and eight-part counterpoint with verse (solo) sections for added variety. This service setting, which includes an organ part, must have been sung by the Chapel Royal Choir on major liturgical occasions in the early seventeenth century, though its limited circulation suggests that many other cathedral choirs must have found it beyond them. Nevertheless, the source material shows that it was sung in York Minster as well as Durham, Worcester and Cambridge, in the early seventeenth century. The Great Service was in existence by 1606 (the last copying date entered in the so-called Baldwin Commonplace Book) and may date back as far as the 1590s. Kerry McCarthy has pointed out that the York Minster manuscript of the Great Service was copied by a vicar-choral named John Todd, apparently between 1597 and 1599, and is described as 'Mr Byrd's new sute of service for means'. This suggests the possibility that the work may have been Byrd's next compositional project after the three Mass settings. Later years During his later years Byrd also added to his output of consort songs, a number of which were discovered by Philip Brett and Thurston Dart in Harvard in 1961. They probably reflect Byrd's relationship with the Norfolk landowner and music-lover Sir Edward Paston (1550–1630) who may have written some of the poems. The songs include elegies for public figures such as the