h-and-ready process, as no Purcell has ever appeared to lengthen the
vocal portions. As Purcell left the anthems, so we must leave
them--exquisite fragments that we may delight in, but that are of no use
in the service for which they were composed. Still, this does not apply
to them all; at least twenty of the finest are splendidly schemed,
largely designed, and will come into our service lists more frequently
when English Church musicians climb out of the bog in which they are now
floundering. They are full, if I may use the phrase, of pagan-religious
feeling. 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. He seizes upon the texts to paint vivid descriptive
pieces; he thrills you with lovely passages or splendours of choral
writing; but he did not try to express devotional moods that he never
felt. A mood very close to that of religious ecstasy finds a voice in
"Thou knowest, Lord, the Secrets of our Hearts"--the mood of a man clean
rapt away from all earthly affairs, and standing face to face, alone,
with the awful mystery of "the infinite and eternal energy from which
all things proceed." It is plain, direct four-part choral writing, but
the accent is terrible in its distinctness. At Queen Mary's funeral (we
can judge from Tudway's written reflections) the audience was
overwhelmed, and we may believe it. 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. The passage at "Ego cubui et dormivi" is
sublime, Purcell's discords creating an atmosphere of strange beauty,
almost unearthly, and that yields to the unspeakable tenderness of the
naive phrase at the words, "Quia Jehovah sustentat me." The _Te Deum_
was until recently known only by Dr. Boyce's perversion. Dr. Boyce is
reputed to have been an estimable moral character, and it is to be hoped
he was, for that is the best we can say of him. He was a dunderheaded
worshipper and imitator of Handel. Thinking that Purcell had tried to
write in the Handelian bow-wow, and for want of learning had not
succeeded; thinking also that he, Dr. Boyce, being a musical doctor, had
that learning, he took