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

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 {10} 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.

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 {12} 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 {13} 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.