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Updated: June 29, 2025
This showed mainly two tendencies: first, one towards expression of poetic feeling and towards definiteness of that expression, the other towards the entirely new technique which was to supersede the contrapuntal technique of Byrde and Palestrina. This technique proved admirable for vocal polyphony how admirable we have all the Flemish and Italian and English contrapuntal music to show.
Byrde prepared the way for Purcell, it is true; but even that exceeding glory pales before the greater glory of having written the Cantiones Sacræ and the D minor Mass. In its way the D minor Mass is as noble and complete an achievement as the St. Matthew Passion or the "Messiah," the Choral symphony of Beethoven or the G minor symphony of Mozart, "Tristan" or the "Nibelung's Ring."
Still, there was something for them to see in Tallis; whereas in Byrde there was nothing for them to see that they had eyes to see, or to hear that they had ears to hear.
Purcell's age was not a devotional age, and Purcell himself, though he wrote Church music in a serious, reverential spirit, could not detach himself from his age and get back to the sublime religious ecstasy of Byrde.
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