musical age than ours. Until the time of Handel's arrival in this
country there was no book printed which did not show unmistakably that
its writer loved music. It is a fact (as the learned can vouch) that
Erasmus considered the English the most given up to music of all the
peoples of Europe; and how far these were surpassed by the English is
further shown by the fact that English musicians were as common in
continental towns in those days as foreign musicians are in England
nowadays. I refrain from quoting Peacham, North, Anthony Wood, Pepys,
and the rest of the much over-quoted; but I wish to lay stress on the
fact that here music was widespread and highly cultivated, just as it
was in Germany in the eighteenth century. Moreover, an essential
factor in the development of the German school was not wanting in
England. Each German prince had his Capellmeister; and English nobles
and gentlemen, wealthier than German princes, differing from them only
in not being permitted to assume a pretentious title, had each his
Musick-master. I believe I could get together a long list of musicians
who were thus kept. It will be remembered that when Handel came to
England he quickly entered the service of the Duke of Chandos. The
royal court always had a number of musicians employed in the making or
the performing of music. Oliver Cromwell retained them and paid them;
Charles the Second added to them, and in many cases did not pay them
at all, so that at least one is known to have died of starvation, and
the others were everlastingly clamouring for arrears of salary. It was
the business of these men (in the intervals of asking for their
salaries) to produce music for use in the church and in the house or
palace; that for church use being of course nearly entirely
vocal--masses or anthems; that for house use, vocal and
instrumental--madrigals and fancies (_i.e._ fantasias). As generation
succeeded generation, a certain body of technique was built up and a
mode of expression found; and at length the first great wave of music
culminated in the works of Tallis and Byrde. Their technique and mode
of expression I shall say something about presently; and all the
criticism I have to pass on them is that Byrde is infinitely greater
than Tallis, and seems worthy indeed to stand beside Palestrina and
Sweelinck. Certainly anyone who wishes to have a true notion of the
music of this period should obtain (if he can) copies of the D minor
five-part ma