The earliest MS. specimens date from about 156o, but the greater number come after 1590, being stimulated by reprints of Italian works. During the next 40 years about 2000 madrigals were published, and more remain in MS. In Inany cases competent composers wrote little else, so that at the opening of the 17th century the English school really devoted itself to this form. To the pioneers Edwards and Byrd, already mentioned, the following should be added:
Thomas Morley (d. c. 1607), born in 1557 and a pupil of Byrd, entered the Chapel Royal in 1592, after being for a time organist at St. Paul's, and succeeded to Byrd's monopoly in 1598. His canzonets (from 1593), madrigals (from 1594), ballets (1595) and ayres (1600) constitute the best of his work, though his instrumental pieces and limited sacred music are also notable. His theoretical treatise (1597) was influential. John Dowland (d. 1626), born in 1563, was exclusively a secular composer, and famous as a virtuoso upon the lute. Partly because of his Catholic associations in early life, he spent much time abroad from 158o, visiting France, Germany and Italy, besides being employed in 1598-1606 with peculiar honors at the Danish court. On returning to England, he held two or three positions, the last as court-lutist. His madrigals and ayres (1596-162 I) have remained in use to the present. He also issued a popular set of instrumental pavans (1605) and a translation of Ornithoparchus' book (1609), with a short addition of his own.
George Kirbye (d. 1634) is known from one book of fine madrigals (1597) and others scattered in collections or MS. Thomas Weelkes, who also entered the field with success in 1597 with several books, was organist successively at Winchester College and at Chichester. John Wilbye gained the title of 'the chief of English nladrigalists' by some 65 famous specimens (from 1598). John Bennet issued one book (1599) of exquisite beauty, with some other pieces, including a few anthems and hymn-tunes (till 1614). Thomas Bateson (d. 1630), organist at Chester from 1599 and at Dublin from 16°9, was almost equally expert (works, 1604-18). Michael Este, choirmaster at Lichfield, not only wrote lnany fine madrigals (1604-38), but considerable instrumental music and some anthems. Francis Pilkington was connected with Chester Cathedral (ayres and madrigals, 16°5-24). Thomas Ford (d.1648), music-master in the royal household and in the Chapel from 1625, was both a secular composer (from 1607) and a writer of anthems (in MS.).
Thomas Ravenscroft (d. 1635?), born about 1582 and a choirboy at St. Paul's, though not greater than several of the" foregoing, exerted a wider influence through his madrigals (from 1609), motets and canons, his collection of tunes (1621) and his treatise (161 J) on Measured Music. Orlando Gibbons (d. 1625), born in 1583 and a choirboy at King's College, Cambridge, organist at the Chapel Royal from 1604 and at Westminster Abbey from 1623, is by far the greatest name in the series after Byrd. His abundant works (from 1611) range from services, anthems and "hytnn-tunes to remarkable madrigals and instrumental pieces (see also sec. 99).
The Prayer Book and Music
