writer scoffs at Bull's religious sensitiveness, but there is no doubt he was, like Byrd, a Papist at heart.

In 1617 he succeeded Waelrant at Antwerp Cathedral, dying in that city on the 12th or 13th of March, 1628, and being buried in the Cathedral.

Bull was evidently well thought of by his Antwerp friends, and Sweelinck, the great Dutch organist, included a Canon by Bull in his work on Composition. Bull returned the compliment by writing a Fantasia on a Fugue by Sweelinck.

Bull is most favourably known as a composer for the Virginals. Many fine examples are to be found in the Fitzwilliam Virginal Book, and his powers as performer must have been very great, judging from his compositions. He joined Byrd and Gibbons in contributing to the celebrated collection Parthenia ("the first music for the Virginals ever published in England.") There are examples of his Church Music in Boyce's Cathedral Music (1760), but, like many other specimens contained in that valuable and well-known collection, these compositions of Bull do not seem to me to be the best examples of his powers. A really beautiful little motet contained in Sir William Leighton's Teares and Lamentations of a Sorrowful Soule (1614) entitled In the Departure of the Lord gives me a very high opinion of his Church Music. It is for four voices and full of beautiful harmony and expressive modulation. Indeed, I think it compares favourably with much of the kind written by contemporary musicians.

I hope to be able to edit it, with other specimens of Bull's sacred music, in the early future.

A portrait exists in the University of Oxford, and round it is written

"The Bull by force in field doth rayne
But Bull by skill good-will doth gaine."

A copy of this portrait is prefixed to this book.

II. WILLIAM BYRD

1542 or 3—1623

A great contemporary of John Bull comes next for consideration. William Byrd is certainly one of the most distinguished of the remarkable company of English composers living in the early years of the 17th century. Curiously enough, he was not included amongst the contributors to The Triumphs of Oriana. There may be a reason, of which more anon. Anthony Wood tells us "he was bred up to musick under Thomas Tallis," and the eminent Church musician was god-father to Byrd's son Thomas. Byrd was also Tallis' executor. In early life the subject of my Lecture was Organist of Lincoln, in which city he was married on the 14th of September, 1568. His eldest son was born at Lincoln in 1569, and a daughter in 1571-2. This proves he did not at once come to London on his appointment to the Chapel Royal. This was in 1569, when he succeeded Robert Parsons as Gentleman of the Chapel Royal, the said Robert Parsons having been drowned at Newark in January of that year. It seems probable that Byrd kept up some kind of connection with Lincoln for some time after his appointment to the Chapel Royal, for an entry in the Chapter Records of Lincoln mentions the appointment of Thomas Butler as Organist and Master of the Choristers on the "nomination and commendation of Mr William Byrd." In London he shared with his old master, Tallis, the post of Organist of the Royal Chapel and he also enjoyed with him a privilege of a more profitable nature, which was no less than a patent, granted by Queen Elizabeth to print and sell music, English or foreign, and to rule, print and sell music paper for twenty-one years, and all other printers were forbidden to infringe this license under penalty of forty shillings. A petition from some printers, having reference to this license, shows it was not altogether a popular privilege. The complainants say: "Byrd and Tallys, her Majesty's Servants, have musicke bokes with note, which the Complainants confess they would not print, nor be furnished to print, tho' there were no privilege." I think this may be regarded as a little specimen of professional jealousy.

Whether the privilege was a great financial benefit to the two old Masters one cannot say, but, anyhow, it was of great advantage in one way, and that was the opportunity it gave of printing and publishing their own works, and Byrd was not slow in taking advantage of it. In 1575 appeared his first published work, as a set of "Cantiones" in 4, 5, and 6 parts. Some of the compositions were by Tallis and some by Byrd, and they are fine and dignified specimens of both composers. One by Tallis in particular is a beautiful example of his treatment of a Chorale, the parts flowing in charming melody and the whole work abounding in interesting and clever "imitation." I have been able to publish this fine example of early Church music, and it has been well received "in Quires and places where they sing." With the exception of "If ye love me" I do not know any anthem by Tallis which compares with it in solemn and chaste expression. It shows Byrd's old master—one of the founders of our Cathedral music—at his very best.

On the death of Tallis 1585, the patent was enjoyed by Byrd alone, and he made very good use of it. One of his first publications was entitled Psalmes, Sonets, and Songs of sadness and pietie, made into musicke of 5 parts; whereof some of them going abroad among divers, in untrue coppies, are heere truely corrected, and the other being Songs very rare and newly composed, are heere published, for the recreation of all such as delight in Musicke (1588).

At the back of the title-page of this work are the following "Eight Reasons briefly set down by the Author to perswade every one to learn to sing:"

1. First it is a knowledge easily taught and quickly learned where there is a good Master and an apt Scholar.

2. The exercise of singing is delightful to Nature, and good to preserve the health of Man.

3. It doth strengthen all parts of the breast and doth open the pipes.

4. It is a singular good remedy for Stutting[1] and Stammering in the speech.

5. It is the best means to procure a perfect pronunciation, and to make a good Orator.

6. It is the only way to know where Nature hath bestowed the benefit of a good voice, which gift is so rare, as there is not one among a thousand that hath it, and in many that excellent gift is lost, because they want Art to express Nature.

7. There is not any Musicke of Instruments whatsoever comparable to that which is made of the voices of Men, where the voices are good and the same well sorted and ordered.

8. The better the voice is the meeter it is to honour and serve God therewith, and the voice of man is Chiefly to be imployed to that End."

To the above is added the following couplet:

Since Singing is so good a thing
I wish all men would learne to sing.

In the same year appeared a work which was destined to wield tremendous influence upon English Musical Art. This was a collection of Madrigals called Musica Transalpina. Madrigals translated out of 4, 5, and 6 parts, chosen out of divers excellent Authors, with the first and second parts of La Virginella made by MAISTER BYRD upon two stanzas of Ariosto and brought to speak English with the rest. The inclusion of his name in this connection gives Byrd the claim to be considered one of the first, if not the first, of English