Twelve Good Musicians: From John Bull to Henry Purcell — Background and Themes

Bridge’s Defensive Stance

From the opening page, Bridge positions himself against a prevailing neglect of 17th-century English music. He quotes Parry's remark that the period is 'almost a blank' and then systematically lists achievements: the Madrigal school, Milton's Comus, the rise of the violin, and Purcell's output. This defensive tone recurs throughout the excerpts. Bridge is not merely presenting facts; he is making a case for the value of these composers. Readers should note how each chapter likely reinforces this argument, using biographical details and musical examples to demonstrate vitality rather than decline.

The Lawes Preface as a Window

Bridge reproduces Henry Lawes's preface to his Ayres at length, calling it 'both amusing and improving.' Lawes complains that English words are blamed for not suiting music, but he insists the fault lies with composers or singers, not the language. He notes that English has 'plenty of Monosyllables' and can rival Latin. He also recounts how Italianate songs by an Englishman were assumed foreign, and how a friend's joke about Jubal being the eighth man from Adam was taken seriously. This preface gives a vivid sense of contemporary debates about national style and the reception of English music abroad.

Structure as Lecture Series

The book's origin as a university course shapes its structure. Each chapter treats one musician chronologically, from John Bull (born about 1563) to Henry Purcell (died 1695). Bridge acknowledges using Grove's Dictionary and the Dictionary of National Biography for biographical details, and thanks several scholars. The excerpts do not reveal how much musical analysis or score quotation appears, but the inclusion of Lawes's full preface suggests Bridge values primary sources. Readers should expect a narrative that moves from composer to composer, with Bridge's own commentary linking them to his central thesis about the century's richness.

Evidence from the Excerpts

The excerpts provide several concrete details: Bridge's title page lists his roles as King Edward Professor of Music, Gresham Professor, and Emeritus-Organist of Westminster Abbey. The preface is dated October 1920 from 'The Cloisters, Westminster Abbey.' The table of contents shows twelve chapters, each named after a composer. The Lawes preface, included in full, runs several paragraphs and includes specific complaints about 'new Judges of our own Country' and a story about a song revived after 18 years. These details ground the book in a specific time and place, and show Bridge's method of letting historical voices speak.

Bridge's book is best approached as a series of connected portraits rather than a continuous history. Readers may wish to read the Lawes preface carefully, as it exemplifies the kind of contemporary testimony Bridge values. The excerpts do not show how Bridge handles musical analysis or how he balances biography with criticism, but his clear purpose—to rescue these twelve musicians from obscurity—gives the work a consistent thread.

When I close Twelve Good Musicians, I remember how Bridge’s warm anecdotes made those old names breathe, proving England’s seventeenth century sang. That same kinship lives in his larger companion, where he traces the river backward and forward without fussing over greatness. For years I’ve kept them near each other on my shelf, two voices in quiet agreement. How Music Developed A Critical and Explanatory Account of the Growth of Modern Music — Key Ideas to Explore feels like the same patient hand, just writing a longer letter.