ropter nos homines," noting more
especially the magnificent effect of the swelling mass of sound
dissolving in a cadence at the "Crucifixus." Another passage, equal to
any ever written, begins at "Et unam Sanctam Catholicam." There is a
curious energy in the repetition of "Et Apostolicam Ecclesiam," and
then a wistful sweetness and tenderness at "Confiteor unum baptisma."
Again, the whole of the "Agnus" is divine, the repeated "miserere
nobis," and the passage beginning at the "Dona nobis pacem,"
possessing that sweetness, tenderness and wonderful calm. But there is
not a number that does not contain passages which one must rank
amongst the greatest things in the world; and it must be borne in mind
that these passages are not detached, nor in fact detachable, but
integral, essential parts of a fine architectural scheme.

OUR LAST GREAT MUSICIAN (HENRY PURCELL, 1658-95)

I.

Purcell is too commonly written of as "the founder of the English
school" of music. Now, far be it from me to depreciate the works of
the composers who are supposed to form the "English school." I would
not sneer at the strains which have lulled to quiet slumbers so many
generations of churchgoers. But everyone who knows and loves Purcell
must enter a most emphatic protest against that great composer being
held responsible, if ever so remotely, for the doings of the "English
school." Jackson (in F), Boyce and the rest owed nothing to Purcell;
the credit of having founded _them_ must go elsewhere, and may beg a
long time, I am much afraid, in the land of the shades before any
composer will be found willing to take it. Purcell was not the founder
but the splendid close of a school, and that school one of the very
greatest the world has seen. And to-day, when he is persistently
libelled, not more in blame than in the praise which is given him, it
seems worth while making a first faint attempt to break through the
net of tradition that has been woven and is daily being woven closer
around him, to see him as he stands in such small records as may be
relied upon and not as we would fain have him be, to understand his
relation to his predecessors and learn his position in musical
history, to hear his music without prejudice and distinguish its
individual qualities. This is a hard task, and one which I can only
seek to achieve here in the roughest and barest manner; yet any manner
at all is surely much better than letting the old fictions go
unre