To rightly appreciate the value of Lasso's music one must bear in mind the history of the great Netherlands school as a whole. Lasso was the perfect blossom of a plant of long growth. His earliest predecessors had been occupied in manufacturing musical materials, systematizing the old chaotic practice of the mere improvisers and establishing fundamental forms on which the superstructure of modern music was to be reared. In their efforts at perfecting these forms they had fallen into extravagances, often losing sight of the nature and purpose of music, of which at the best they had a very imperfect comprehension. Occasionally, at least once in each period of the existence of the school, a composer arose who urged forward the march of development. A host of imitators would follow, and in imitating the new forms and touches of a creative mind these men could fall back into mere formal ingenuity again, and stay there till another original thinker arose. The progress of musical art, therefore, might be likened to the rising of the ocean tide on the beach, moving forward in a series of waves, each followed by receding water. [Illustration: ORLANDO DI LASSO.] From a very early period in the rise of the Netherlands school a movement toward beauty and simplicity of form and expression can be traced. This movement came to its destination in Lasso. He did not, it is true, abandon the contrapuntal forms of his predecessors; but he wholly subordinated them to his purpose, and his purpose was plainly the expression of those feelings which belong to man's religious nature. He succeeded in keeping this purpose uppermost, no matter in what style he chose to write. Sometimes he composed simple chorales in which the voices moved simultaneously, and again he wrote hymns in four parts, adding a popular melody as a discant. He moved from either of these styles to the most complicated polyphonic manner of the Des Prés period without sacrifice of dignity, musical beauty or religious fervor. He wrote works for two and three choirs, and he wrote others for only two voices. In the Penitential Psalms he clearly demonstrated that a mass of voices and parts was not necessary to an attainment of impressive effect, for he showed that he could be most powerfully expressive and influential while employing the simplest of means. Some of his writing is extremely old-fashioned even for his time. It might have been handed down from the days of Ockeghem. Again he plunges boldly into the labyrinth of chromatics and makes one think he hears the voice of Cyprian de Rore. In short, we must concede that Lasso displayed in his constructive skill the versatility of a complete master, while through all his work there runs the never-failing current of personal influence that flows only from the masterful individuality of a real genius.