ABSTRACT During the early modern period, the Quarrel of the Ancients and Moderns encapsulated profound changes in the way people conceived of the past in relation to their own present. While the Ancients continued to advocate emulating esteemed ancient authorities, the Moderns sought to break away from previous models through original invention. In reality, this binary opposition disguises a much more gradual process of change, which often resulted in contradictory perspectives on the past. This article uses music criticism from eighteenth-century Britain to explore these complexities, concentrating on how Henry Purcell’s Te Deum and Jubilate was appropriated by authors from both sides of the Quarrel to advance opposing viewpoints, using embryonic musical analysis as a hermeneutic tool. The study exposes the tensions underlying the developing historical narratives on which Purcell’s posthumous reputation was built, allowing us to place our own understanding of his reception more firmly within its socio-cultural context.