service on the Continent, even when the existence of good English compositions was but slightly known.
Whether or not at the opening of the 15th century true counterpoint
was first invented by Englishmen and by them handed
over to the industrious Netherlanders may be a question. But
in the 16th century England deserves credit for much progress
peculiarly her own. She seems to have led the way in writing
for keyboard instruments. Her development of counterpoint
early in the century was distinct from that of the later Netherlanders
or their disciples, and quite as remarkable. In the remodeling
of styles under the influence of Protestantism she
made an original combination of polyphony with the new
materials of Protestant liturgies. The English cultivation of
the madrigal and its relatives was also strikingly original.
The pre-Reformation period ended under Henry VIII. (1509-47) with
his impulsive break with Rome about 1535 and the suppression of the
monasteries and religious houses in 1536-40. An outbreak of iconoclastic
zeal against the old order followed, which wrought havoc in
choir-libraries and organs and which condemned all elaborate service-music.
Then came, especially under Edward VI. (1547-53), the first
steps in the full organization of the Anglican Church, with the drafting
of new liturgies in English. Under Mary (1553-8) the old usages were
somewhat revived. During the long reign of Elizabeth (1558-1603)
sacred music again became notable in connection with the new Prayer
Book, leading to contrapuntal achievements of remarkable power. The
encouragement then given brought out a long line of talented madrigalists
which continued into the troubled time of the first Stuarts.
The number of early composers known is large, among whom the following may be mentioned:—
Henry Abyngton (d. 1497), organist at Wells in 1447, Mus. D. at Cambridge in 1463, Master of the Chapel Royal from 1465; Gilbert Banastir, Master of the Chapel in 1482-1509; Richard Davy, organist at Magdalen College, Oxford, in 1490, who is said to have written the earliest Passion known; Robert Fayrfax (d. 1529), the leading genius of the earliest group, Mus. D. at Cambridge in 1501 and at Oxford in 1511, Master of the Chapel from 1510, later organist at St. Alban's; Nicholas Ludford, probably in the Chapel about 1510-20; and John Taverner, organist at Boston till 1530 and then at Oxford, who was one of the few to write a mass on a secular melody after the Netherland style. Hugh Aston (d. 1522), probably in the service of the Countess of Richmond, later Archdeacon of York, is known by instrumental pieces (before 1510) that are the first of the kind anywhere. Henry VIII. (d. 1547) was not only a patron of music, but played on several instruments and composed masses, motets and ballads (probably before 1530).
