Orlando Gibbons, one of a large family of musicians--Born in a time of transition from rigidity of ancient ecclesiastical music--Instrumentation coming into existence--Protest by Byrd--Contrast of the two composers--The age one in which freedom of thought springing up in all directions--Gibbons eager to take advantage of it--The result of the substitution of English for Latin in the Church--His eminence as writer of secular music--His death. The youngest son in a family of musicians, Orlando Gibbons is a particularly interesting subject for study, not only on account of his genius, but for the fact that he became the most distinguished living composer at a time that was, essentially, one of transition. The old order was giving place to the new. The rigid severity of the ancient Catholic Church music was gradually yielding to the attractions of greater warmth of feeling, added grace of melody and more freedom in expression. Instrumental music was lifting its head, and instruments other than the organ, the ever accepted aid to the rites of the Church, were invading the sacred precincts. Now, there are always men who are constitutionally averse to change, and of these was the great, but not too amiable, Mr. William Byrd. We can, therefore, quite appreciate his feelings on this particular innovation and understand the frame of mind in which he writes, in a preface to his "Songs of Sadness," thus: "There is no music of instruments whatever to be compared to the voyces of men, when they are good, well-sorted and ordered." Orlando Gibbons was the impersonator of the new spirit; William Byrd was the jealous guardian of the old. One can, then, easily imagine the indignation with which such innovations would be met, and the accumulated wrath that must have burnt at his heart as he saw the repeated and successful attacks on all that he regarded as sacred. Up to this time all musical instruments, with the exception of the organ, had been associated with dancing and the outdoor amusements of the common people, and since many of these were of a kind far removed from religious exercise, it is only rational to suppose that such a man as Byrd would view with repugnance their introduction into the Church's service. The fact, too, must be taken into consideration that at the time of this particular innovation he was fairly advanced in years, and, therefore, with a disposition less adaptable than that of the young and ardent musician who was destined to leave behind him an imperishable name in the hierarchy of the world's greatest musicians. Born about forty years after the birth of Byrd, Orlando Gibbons yet but survived him by two, being one of that long list of composers who have died young and whose premature death has robbed the world of who can tell how many masterpieces! His music was as distinct an advance on that of Byrd, as Byrd's was on that of Tallis.