Page:Pratt - The history of music (1907).djvu/152



numerous motets and anthems, with some instrumental fantasias, all showing great ability.
 * minster in 1567. He is supposed to have been Tye's son-in-law. He left

Richard Farrant (d. 1580) was in the Chapel Royal from 1564. His services and anthems (some possibly by other Farrants), with 20 organ-pieces, show him a worthy contemporary of Tye and Tallis.

William Byrd (d. 1623), born in 1543 and a pupil of Tallis, became organist at Lincoln in 1563, was in the Chapel Royal from 1570 and later its organist, and was joint-publisher with Tallis from 1575, succeeding to the monopoly in 1585. He was often in trouble because of his strong Catholic sympathies. Though perhaps not absolutely unexcelled at every point, his works (from 1575) are so many, varied and superior that he is counted not only the greatest English composer of the century, but a compeer of Palestrina and Lassus. The list includes masses, motets, anthems, psalms, madrigals, songs and remarkable virginal-pieces, including some true variations. As an instrumental writer he was long unrivaled.

John Bull (d. 1628), born about 1562, was organist at Hereford from 1582, soon entered the Chapel Royal and in 1591 became its organist, and in 1597-1607 was the first professor of music at Gresham College. In 1601 he traveled on the Continent as a virtuoso, and in 1613 migrated to Brussels, becoming in 1617 organist at Antwerp Cathedral. He was a remarkable performer, an expert contrapuntist and a prolific composer of keyboard-pieces of decided historic importance.

Italian madrigals began to be reprinted in England in 1588 and strengthened the national interest in secular composition. Under this stimulus a long series of further composers appeared (see sec. 69), though the earlier of them were immediately connected with those here mentioned.