Abstract
SEVERAL YEARS AGO, attention was drawn in the pages of this JOURNAL tO a mid-I6th-century setting, by an English composer, of a sequence for Easter Day.' The work in question made its first appearance in musicological literature in the early years of this century, its description being tantalizingly brief and enigmatic: Fulgens. Darauf folgen 13 Arrangements.2 Miller's article, although it atoned for Davey's brevity, retained the enigma: Why was the piece written? Was it liturgical? Were the verses to be played along with the chant? The present study is concerned with solving the enigma and showing how the music is indeed unique in being part of a large-scale liturgical composition. As a keyboard setting of a sequence, it is unique neither in the repertory of the Tudor organists nor in that of contemporary continental masters.
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