The first two three-part fantasias composed by William Byrd (1543-1623) were closely related and may have been conceived as a pair of works. The first is an unhurried, pleasant study in imitative counterpoint. Indeed, it is one of Byrd's few fantasias that exclusively use this device.

The word that springs to mind to describe this work is 'leisurely'. The piece does not, however, lack a sense of momentum and the listener's attention is guided inexorably, if leisuredly forwards. It has an even flow to the counterpoint, allowing the work to progress without Byrd's usual breaks to articulate the form. The work incorporates three sections based on three different themes. The last section, built on a single theme, accounts for more than half the piece and is a remarkable piece of writing.

The first three-voice Fantasia is a study in coherence. It holds together so well that the section breaks are easy to miss at first listening, and is unique for this reason in the repertoire of Byrd, the master musical architect.

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