Ludwig Senfl (born 1492, died about 1555), a pupil and the successor of Isaak at the court chapel of Maximilian I at Vienna, was later chapel-master at Munich. According to Riemann, Senfl was one of the most distinguished, if not the most important, of the German contrapuntists of the sixteenth century. He is further remembered as a friend of Luther. A great number of his compositions are preserved, among them being masses, motets, odes, songs, and hymns for congregational singing. The work of the brilliant Clement Jannequin in Paris was largely secular and will be treated in another chapter. It may be remarked in passing that types of composition perfected by him were to have great influence upon instrumental music before the end of the century. In England John Merbecke (d. 1585), Christopher Tye (d. 1572), Thomas Tallis (d. 1585), and William Byrd (d. 1623) match the Netherlands in skill and bring to their music not only the spirit of the new age, but the peculiar melodiousness which has always characterized English music. The works of Tallis became great favorites and in the famous English collections of music for the virginals toward the end of the century several of his vocal works appeared as transcriptions. Byrd must be ranked as one of the most daring composers of the time. Though he conformed to the new religion he remained at heart a Catholic, and his great works are akin to those of the greatest Catholic composers on the continent. He has, indeed, been called the Lassus of England. Here, too, must be mentioned, though belonging almost more to the next century, Thomas Morley (d. 1602), John Dowland (d. 1626), and perhaps the greatest of all English composers except Henry Purcell, Orlando Gibbons (d. 1625). All these men were composing at the end of the century, especially madrigals and other secular forms famous not only for their great technical skill, but for their remarkable sweetness and expressiveness. They were all, moreover, skillful instrumentalists and brought music for the harpsichord to a state far advanced beyond anything on the continent. John Bull (d. 1628) was not only a master of the art of counterpoint but a virtuoso on both organ and harpsichord, whose match could be found only in Andrea and Giovanni Gabrielli in Venice.