The reign of Henry VIII (1509-1547), was a much more eventful one, so far as the introduction of new kinds of music is concerned. When, through the death of his brother, therefore, he became direct heir to the throne, he was one of the most accomplished and educated young princes in Europe.

Among other studies, music was one of his main subjects and when he became king, he surpassed the average Churchman’s knowledge of music, and this at a time when musical art and science were still almost completely controlled by the clergy. Henry influenced big changes in music and also led by example. A practical musician, he delighted greatly in part singing and nothing is more influential than a royal example. The ability to sing his part at sight came to be regarded as one of the essential accomplishments of a gentleman, which would still be recognised two centuries later.

Besides Dr. Fayrfax, who was also principal musician for Henrys father, there were three other musicians; these are John Taverner, John Merbecke, and Christopher Tye. All composers and organists. Taverner was a celebrated composer in his day. He was also an organist of Boston, in Lincolnshire, and in later years held the same post at Christ Church, Oxford. Christopher Tye was Music Master to Edward VI, and to the other children of Henry VIII. He was one of the most important writers of Church music of his time. Merbecke’s claim to fame lies in the fact that he was the first to frame a musical setting of the Book of Common Prayer (1550).

Chief among the writers, who in their work created a link between the old ways and the new (Thomas Tallis (1520-1585), and his pupil William Byrd (1538-1623), are top of the list.

All these eminent names take us from the time of Henry VIII, through to the reigns of Edward VI, and Mary, to that of Elizabeth, and then to the start of the most brilliant period in English musical history.

Michael Shaw is an organ and keyboard teacher and sells sheet music and tutor books at his websites http://www.mikesmusicroom.co.uk

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