Byrd’s Gradualia appeared in two volumes in 1605 and 1607, and comprise two cycles of 109 motets for the church year. This monumental undertaking took place at a time when English Catholics were forbidden to practice their religion in public; these motets were then intended for clandestine use. The Tudor Consort explores this icon of Renaissance music, presenting selected motets in the intimate one-voice-per-part context for which they were intended.