The renaissance English composer William Byrd (1543-1623) wrote a set of twenty-two variations on the popular melody Walsingham early in his career. Byrd may have been relatively newly arrived in London when he wrote this piece, and it may represent an attempt to impress. It is certainly an impressive piece.

This is the largest set of keyboard variations composed by Byrd. In order to maintain the technique over a large number of variations, Byrd utilises a technique similar to that used in The Maiden's Song, of treating the melody as if it were a cantus firmus. He is, however, freer here in his implementation, exchanging the smooth consort-like polyphony of The Maiden's Song for a more dynamic style suited to the keyboard.

Scholars have often contrasted and compared Walsingham with another large work by Byrd, the Browning fantasia for instrumental consort. Both works are tour de forces of their respective genres, utilize a similar theme and share some compositional devices. Naturally, however, each requires different writing for its different instrumental forces. Browning uses a wide range of imitative and motivic devices, difficult on the keyboard. Walsingham, on the other hand, uses very fast writing which a consort cannot undertake.

In the final analysis, however, links between Walsingham and any other piece are minimal. Walsingham contains some of the most effective writing by Byrd in his early career and is an important work in the English keyboard tradition.

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