Per anna Justitiæ,' preserved at Oxford, in a set of very incorrectly-written Parts, from which Dr. Burney scored a few extracts. As Marbeck was a zealous follower of the new religion, it is clear that this Mass must have been written during his early life. Where, then, is his English Church Music? It is impossible to believe that so ardent a reformer, and so great a Musician, took no part in the formation of that School of purely English Cathedral Music to which all the best Composers of the period gave so much attention. Surely, some fragments, at least, of his works must remain in our Chapter Libraries.
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The Notes marked *, are sung by the Bass; those marked †, by the Tenor.
We regret that we can find no room for more numerous, or more extended examples, selected from the works of a period which has not received the attention it deserves from English Musicians: but, we trust that we have said and quoted enough to show that this long-neglected School, supported by the learning of Johnson, the flowing periods of Marbeck, and the incomparable expression of Bedford and Edwardes, can hold its own, with honour, against any other of the time; and we are not without hope that our countrymen may some day become alive to the importance of its monuments, and strive to rescue from final oblivion Compositions certainly not unworthy of our regard, as precursors of those which glorified the greatest Period of all—the Period which corresponded with that of the 'Missa Papæ Marcelli' in Italy.
The leader of the Sixth Period was Christopher Tye, whose genius prepared the way, first, for the works of Robert Whyte, and, through these, for those of the two greatest writers who have ever adorned the English School—Thomas Tallis, and William Byrd. Tye's Compositions are very numerous. His best-known work is a Metrical Version of the Acts of the Apostles, in which the simplicity of the Faux-bourdon is combined with a purity of Harmony worthy of the best Flemish Masters, and a spirit all his own. Two of these under other titles—'Sing to the Lord in joyful strains,' and 'Mock not God's Name,' are included in Hullah's 'Part Music,' and well known to Part-singers. Besides these, the Library of Christchurch, Oxford, contains 7 of his Anthems, and 14 Motets, for 3, 4, 5 and 6 Voices; and that of the Music School, a Mass, 'Euge bone,' for 6 Voices, which is, perhaps, the greatest of his surviving works. A portion of the 'Gloria' of this Mass, scored by Dr. Burney, in his second volume, and reprinted in Hullahsa 'Vocal Scores,' will well repay careful scrutiny. One of its Subjects corresponds, very curiously, with a fragment, called 'A Poynt,' by John Shepherde, written, most probably, for the instruction of some advanced pupils, and printed by Hawkins. It is interesting to compare the grace of Shepherde's unpretending though charming little example, with the skilfully constructed network of Imitation with which Tye has surrounded the Subject. We need not transcribe the passages, as they may so easily be found in the works we have named; but, the following less easily accessible example of Tye's broad masculine style will serve still better to exemplify both the quiet power and the melodious grace of his accustomed manner.
Ascendo ad Patrem. Motet à 5.
Still greater, in some respects, than Tye, was Robert Whyte; known only—we shame to say
