Byrd’s heyday precisely coincided with the reign of Queen Elizabeth I. She came to the throne on the death of Mary Tudor, in 1558; Byrd was then not yet twenty. And her long reign ended forty-five years later, in 1603. Byrd was thus the Elizabethan composer par excellence, occupying the same role as his younger contemporary Shakespeare played in the theatre. Though he spent his whole life in the service of the Anglican Church, Byrd was born and remained a Roman Catholic. His prestige must have been considerable, for the Queen continued to protect him and he was never harassed during the religious disputes that shook the country. When he became organist of Lincoln Cathedral in 1563, barely into his twenties, his professional qualities were recognized by a salary considerably higher than was customary. Byrd very quickly established himself as an outstanding personality, thanks to his performing skill on keyboard instruments, his burgeoning reputation as a composer and his charisma with both colleagues and pupils. Many of these pieces are derived from dance steps. Among them are the pavans, followed by their galliards, a genre that flourished throughout the Renaissance.