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But in Purcell, despite his sheer strength, we never fail to get the characteristic Purcellian touch, the little unexpected inflexion, or bit of coloured harmony that reminds that this is the music of the open air, not of the study, that does more than this, that actually floods you in a moment with a sense of the spacious blue heavens with light clouds flying.

The music for the first plays is in no way bound up with the plays. It consists of instrumental pieces and songs literally interpolated. It is likely enough that tunes written for one play were often enough used for another. The pieces were brief, but the unmistakable Purcellian mingling of strength and sweetness is to be found even in such trifles.

The general plan is the same, but more effect is got out of the strings without the management of the parts ceasing to be Purcellian. We get slow and quick movements in alternation, or if two slow ones are placed together they differ in character. Variety was the main conscious aim. The notion of getting a unity of the different movements of a sonata occurred to no one until long after.

Crotch, one of the "English school," living in an age less sensitive even than this to Purcellian beauty, felt to be so great that it would be a desecration to set the words again.