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Updated: May 25, 2025
In writing the flattened leading note in one part against the sharpened in another he was merely following the polyphonists, and it sounds as well nay, as beautiful as any other discord, or the same discord on another degree of the scale.
Let us pause a moment, and ask ourselves if any great composer has ever had more than one style. Put aside the fifth-rate imitators who now copied Mozart, and now Palestrina, and could therefore write in as many styles as there were styles to copy, and not one of them their own. There is no difference between the sacred motets and the secular madrigals of the early polyphonists.
The old polyphonists he never tried to rival, but in the style of music he wrote no composer has gone or can go higher than he. A wiseacre has said that he left a sterile monument. It may be that monuments in the British Museum blow and blossom and reproduce their kind: outside they do not.
A more elaborately wrought and longer piece of work is the setting of the Latin Psalm, "Jehova, quam multi sunt." It is the high-water mark of all Church music after the polyphonists. By Church music I mean music written for the Church, not necessarily religious music.
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