This bass melody is a ‘long’ ground (it lasts for twelve bars). There are two 4-bar phrases, the end of each of which is marked by a little 2-bar phrase of different character, creating a most original ‘4+2, 4+2’ form for each variation. The 2-bar phrases are either quiet in the context of a loud variation or loud in the context of a quiet one; or perhaps slow in a fast one or fast in a slow one; or triplets after duplets, duplets after triplets, etc. Particularly notable is the moment at the start of Variation 12 when Byrd lifts the ground melody out of the bass and into the treble. (A comparably striking use of the same effect occurs in Bach’s organ Passacaglia.) It stays there until the end of the work, although the little 2-bar interruptions remain in the bass, adding a still further element of contrast. Such features give a uniquely discursive quality to Byrd’s closely-argued musical structure, sustained over seventeen variations (indeed, this is one of Byrd’s longest works). The final variation explores both the lowest and the highest range of the keyboard.
The Second Ground is a compelling example of Byrd at his most creative, paying the greatest attention to detail. Listeners who pay it the compliment of listening with as much attention will find that it amply repays their efforts. Neighbour also mentions a final special feature, the ‘altogether exceptional lyric appeal’.
from notes by Davitt Moroney © 1999