While his early works were greatly influenced by Wagner, in later years he became fascinated by Hindu mysticism and the simplicity of English folk song. When he became wildly excited over the rediscovery of English madrigal composers, including Weelkes, Byrd, and Purcell, in the early decades of the 20th century, he was inspired to set English medieval texts. The Four Songs for Voice and Violin, which date from this period, adopt a modal and chant-like style, which harks back to the music of Hildegard. Although the texts of these songs are not directly from Mary's perspective, the melding of love-imagery and the beautiful depiction of the Incarnation in the third song belong to the same emotional landscape as Monteverdi's Pianto and Hildegard's imagery.