Earl of Essex (1601), the Catholic matriarch and viscountess Montague Magdalen Dacre (With Lilies White, 1608) and Henry Prince of Wales (1612). Others refer to local notabilities or incidents from the Norfolk area. Byrd remained in Stondon Massey until his death, due to heart failure, on 4 July 1623, which was noted in the Chapel Royal Check Book in a unique entry describing him as "a Father of Musick". Despite repeated citations for recusancy and persistent heavy fines, he died a rich man, having rooms at the time of his death at the London home of the Earl of Worcester. Music During his life time, Byrd published three volumes of Cantiones Sacrae (1575, co-written with Tallis; 1589; 1591), two volumes of Gradualia (1605; 1607), Psalmes, Sonets, and Songs of Sadnes and Pietie (1588), Songs of Sundrie Natures (1589), and Psalmes, Songs, and Sonnets (1611). He also composed other vocal and instrumental pieces; three Masses, music for the Fitzwilliam Virginal Book, and motets. Early compositions 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. It was probably composed near the end of the reign of Queen Mary Tudor (1553–1558), who revived Sarum liturgical practices. A few other compositions by Byrd also probably date from his teenage years. These include his setting of the Easter responsory Christus resurgens (a4) which was not published until 1605, but which as part of the Sarum liturgy could also have been composed during Mary's reign, as well as Alleluia confitemini (a3) which combines two liturgical items for Easter week. Some of the hymns and antiphons for keyboard and for consort may also date from this period, though it is also possible that the consort pieces may have been composed in Lincoln for the musical training of choirboys. The 1560s were also important formative years for Byrd the composer. His Short Service, an unpretentious setting of items for the Anglican Matins, Communion and Evensong services, which seems to have been designed to comply with the Protestant reformers' demand for clear words and simple musical textures, may well have been composed during the Lincoln years. It is at any rate clear that Byrd was composing Anglican church music, for when he left Lincoln the Dean and Chapter