L B M P – 0 2 1
P A R T H E N I A
P A R T H E N I A I N – V I O L A T A
E X L I B R I S
Edited by
Jon Baxendale and Francis Knights
ISMN 979-0-706670-44-7 All rights reserved.! !
© 2021, Lyrebird Music
ISMN 979-0-706670-44-7 All rights reserved.
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T O G L E N W I L S O N
C O N T E N T S 14. Galiardo 35 15. Galiardo 38 1. $e genesis of the Parthenia publications i. Brief notes on music printing before c. 1612 i O R L A N D O G I B B O N S i ii. Parthenia: sources, protagonists and relationships 16. Galiardo 40 v iii. Parthenia In-Violata 17. Fantazia of foure parts 43
2. $e Music – a brief overview 18. $e lord of Salisbury his Pavin 48 i. Parthenia vi 19. Galiardo 50 ii. Parthenia In-Violata vii 20. $e deenes Com"and 53 21. Preludium 56 3. $e composers i. William Byrd viii ii. John Bull x P A R T H E N I A I N – V I O L A T A iii. Orlando Gibbons xi 1. $e Kinges MorisQ 60 4. AMeNs of performance 2. $e Lordes Mask 62 i. Instruments and tuning xii 3. $e Irish dance 63 ii. Ornamentation xiii 4. New Noddie 64 iii. Fingering xiv 5. Old Noddie 66 iv. Time signatures xvii 6. Ages youth 68 v. BlaQ notation xvii 7. $e first part of the old yeere 69
5. Using this edition xviii 8. $e last part of the old yeere 71 9. Miserere 72 10. Almain 74 P A R T H E N I A 11. –– 76 12. –– 78 W I L L I A M B Y R D 13. –– 80 14. [Corant] 82 1. Preludium. 1 15. Almaine 84 2. Pavana: Sr: Wm: Petre 2 16. Almaine 85 3. Galiardo. 8 17. [$e Dujess of BrunswiQs Toy] 86 4. Preludium 11 18. [Welsh Dance] 87 5. Galiardo. Mris Marye Brownlo. 12 19. [$e sjolding woman] 89 6. Pavana. $e Earle of Salisbury. 16 20. –– 90 7. Galiardo. 17 8. Galiardo. Secundo Mris Marye Brownlo. 18 B A S S V I O L P A R T S 92 J O H N B U L L 9. Preludiū 20 Editorial procedure 104 10. Pavana. St: $omas Wake 21 Commentary 104 11. Galiardo. St: $omas Wake 24 12. Pavana 28 Bibliography 107 13. Galiardo 33 Editions and Reference | SeleN discography 111
i
1 . T H E G E N E S I S O F T H E P A R T H E N I A P U B L I C A T I O N S rolling press became more widely used. 1586 saw the first colleYion engraved from copper plates in Simone Verovio’s Dile=o >irituale: canzone=e a tre et a qua=ro voci […] i. Brief notes on music printing before c. 1612 con l’intavolatura del cimbalo et liuto, and other Italian printers began to follow suit. Dough Johann Gutenberg established the first press in 1450, some decades passed before the tePniques he developed were adopted for printing music. Manuals for type- PAR is among these early publications. It was engraved by William Hole for Dorothy casters and printers exist from the sixteenth century onwards. While none mentions the Evans and printed by George Lowe sometime between late 1612 and early 1613. Hole produYion of music, we must assume that the fundamental tePnique of arranging the (d. 1624) was appointed cuneator (or Pief engraver) by James I (Grueber, 1907, 346) and type in formes, correYly aligning these with the paper to be printed and applying the was aYive from about 1607 when he produced the title plate for a London edition of the ink itself to both notation and le[ers was the same. For music, though, the system was Geneva Bible. We know of only four Hole engravings of music: Orlando Gibbons’s more complicated: among required fonts were staves, clefs, accidentals and notes of Fantazies of Free Parts (whiP curiously claims to be ‘Cut in Copper, the like not 1 differing value and, in the case of keyboard music, it was important to convey Pords heretofore extant’ (q.v.)), an engraving of Notari’s cantatas (1613), PAR and Parthenia 2 and polyphonic parts, beams, accidentals, clefs and metrical symbols. In addition, In-Violata (hereafter PIV). longer pieces would have required more ParaYers than some typese[ers had at their di^osal. Because of this, formes might have needed to be reset for eaP line of music, ii. Parthenia: sources, protagonists and relationships whiP might be the reason why so many early music books adopted a landscape paper PAR is in upright format with plates measuring approximately 263 x 162mm. Folios are orientation to help conserve available type as muP as possible. not numbered in any surviving copy, though eaP page is marked with a roman numeral Typese[ing was a solution that worked best for vocal and instrumental genres and that corre^onds to the music’s serial position. Dere is a surprising number of blank tablature, but it was inadequate for conveying polyphonic or highly ornamented music pages, whiP seem to serve no purpose, and whiP were never filled in in later issues. on two-stave systems. Dus, hand-copying remained a more praYical means of None of these is numbered. Pages are arranged verso-reYo, the probable rationale being addressing the Pallenges provided by suP composers as those who contributed to that, since PAR’s contents ^an no more than two sides, beginning on the verso side of Parthenia (hereafter PAR). a folio would negate the need for page-turning. Dis has resulted in longer pieces Dere are examples of intaglio-engraved printing that date as far baa as the 1440s, appearing compressed, and it could be that some of the material in PAR was shortened whiP were produced using a mangle press, drawing both plates and paper through to aPieve this end. For example, Bull’s ‘Galiardo: St Domas Wake’ (PAR 9) omits the rollers. Surviving examples of engraved maps are found in Ptolemy’s Geographia fifth variation found in Fe FiIwilliam Virginal Book (FVB 36). PAR itself is divided into (Bologna, 1477; Rome, 1478; Florence, 1482), though––except for an una[ributed map of three seYions, eaP of whiP contains the work of one composer. De first has eight central Europe in 1491––the absence of similar engravings suggests the tePnique was pieces by William Byrd and is followed by collations of seven and six works by John widely unknown. De earliest identified copperplate engraving of music is the Bull and Orlando Gibbons, re^eYively. Durston Dart’s suggestion (1960, 39) that anonymously produced and undated Intabolatura da leuto del divino Francesco da Milano Gibbons was the driving force behind the colleYion seems highly plausible, e^ecially novamenta stampada. Another early example is Francesco Marcolini’s Intabolatura di liuto because Gibbons travelled to the Netherlands in 1613––where he may have met di diversi, though he soon returned to moveable type after this publication (Boorman, Sweelina––in the new queen’s retinue;3 this may suggest some close relationship Grove Music Online). Dis should come as no surprise since nothing in either engraving between composer and monarP. At any rate, the works by Gibbons in PAR are of the could be aPieved without employing the older method, whiP required less complex highest quality and were likely seleYed to invite direY and favourable comparison with treatment. Bull and Byrd: Gibbons exceeds the former in virtuosity in his ‘Galiardo’ (PAR 16) and Other examples of impressed printing began appearing from the late sixteenth the la[er in depth in his se[ing of the Salisbury memorial pavan and galliard. In century in mainly devotional prints. While Vincenzo Galilei’s Dialogo della musica antica addition, Gibbons provides the sole examples in PAR of a contrapuntal fantasia and et della moderna (Florence, 1581) contains an engraved table showing the finals and keyboard variations, two genres of whiP Byrd was the leading exponent.4 dominants of the twelve modes, no known engraved music was to appear until the De title reads:
1 #is suggests the engraving predates PAR, though its dedicatee was Edward Wraye, ‘one of ye 3 Twelve works from Parthenia were copied into Lynar A2 soon after, by a scribe close to Groomes of his Mats bed Chamber’, whose appointment was not secured until the end of June 1618. SweelinP. See Pieter Dirksen, ‘Orlando Gibbons’s Keyboard Music: #e Continental However, the reference makes sense if taken to refer to genre rather than the method of publication. PerUeVive’, in Smith and Taylor (2013), pp. 157–168 at 158–159. 2 Prime Musi*e nuove di Angelo Notari a una, due, et tre Voci, per Cantare con la Tiorba et altri Strumenti, 4 Gibbons had recently published a set of Madrigals and Motets (London, 1612), another public Nouamente posti in luce. Cf. Wainwright, 2021. statement of his compositional prowess. ! !!! !"#"$"%"&"'"(")"#" D6"P94>6"97"%9I6"G;"68@5GR65";E9=IJ">9<6"G;"89";=5?54;6";48>6"E4;"?9;4:498"S9=IJ" EGR6" @4R68" E4<" G" J6@566" 97" ?59<4868>6O" SE4P" S9=IJ" EGR6"
Fig. 01: Hole’s title page superimposed over Mahham’s engraving H. Cecilia met engelen. iii. Parthenia In-Violata (Images: Bibliothèque nationale de France; Rijksmuseum, Haarlem, Netherlands). De undated PIV came in the wake of the first volume. It contains 20 pieces for keyboard It is often observed that the number of extant copies of a musical publication must and bass viol and was printed and sold by John Pyper from his ‘shopp at Pauls gate next indicate its success. However, as a new and unknown commodity, we would be forgiven unto Peapside at the crosse keies’. De earliest known reference to Pyper is from c. 1620, for thinking that few copies were produced at first. Indeed, if we go by Byrd’s when he printed for the early Oxford Press (Madan, 1895, 298). For the most part, the publication Cantiones quæ ab argumento sacræ vocantur (1575) whiP, in 1583, still had 717 engraving style matPes PAR and is undoubtedly the work of William Hole, with the unsold examples (q.v.), we might assume that Byrd, at least, might have been reluYant music seleYed by a brother or son, Robert, who is not otherwise known as a musician. to print more than was necessary. Yet, printing engraved plates was a different ma[er Knowing this to be the work of Hole helps in approximating the last possible date of to typeset music. To begin with, the pressure exerted on the plates by the rollers publication since he died in 1624. Interestingly, the title page’s depiYion of a gradually degraded their contours and most were rendered unfit for purpose after the harpsiPord and bass viol appears to have been in^ired by similar drawings in the vi publication and contains a similar play on words. Not only does it announce that it is PAR’s ‘unviolated’ natural successor, but it also alludes to the existence of a bass viol part and tells us that it is the ‘Mayden-Musiae for the Virginals and Bass Viol’.
2 . T H E M U S I C –– A B R I E F O V E R V I E W i. Parthenia Since all three composers were Gentlemen of the Chapel Royal, their collaboration must be assumed. It is evident that the pieces were Posen with a degree of care, and only the composers could have done this. For example, Byrd’s ‘Pavana: Sr: Wm: Petre’ and its accompanying galliard (PAR 2 and 3) first appeared in My Ladye Nevells Booke in 1591 but probably date from the previous decade (Baxendale and Knights, 2021, ix–x), were revised considerably for this publication. It cannot be said if the engraving provided Byrd with impetus for this. However, it would seem foolish to publish material using a ground-breaking produYion tePnique without first revising its contents. It is helpful to look in some detail at the genres represented. In some cases, compositional tePniques cross, as exemplified by ‘Pavana: St: Domas Wake’ (PAR 10), whiP, while adhering to the formal ternary struYure of a pavan with balanced phraseology, also finds parity with the only variation set in the book, ‘De qeenes Com"and’. Pavan-galliard pairs comprise the majority of the book’s content, whiP, while not unusual in Elizabethan sources, began to become more independent of eaP other towards the end of the sixteenth century. Dis is predominantly true of the pavan, e^ecially under the hands of Byrd and Bull, where we see a move away from Fig. 02: Title page to Parthenia In-Violata (image: New York Public Library). striYly dance-oriented struYures towards a rhetorical genre of the type seen later in the century in the music of Johann Jakob Froberger and FrenP clavecinistes. Byrd’s pavan second volume of MiPael Praetorius’s Syntagma Musicum (it will be remembered that and galliard contributions are fine examples of the genre and demonstrate a willingness Hole also plagiarised the title page of PAR from Matham). If so, the second volume of to experiment harmonically and struYurally. De ‘Sr: Wm: Petre’ pair is anPored in the Syntagma was not issued until 1619, whiP might suggest it was published after then. tran^osed Dorian mode (finalis G), whiP Byrd uses as a starting point for harmonic De engraving quality is inferior to PAR, demonstrating that a qualified third party exploration. De first strain of the pavan, for example, passes through F, C and A major; did not oversee Hole’s work: notes are generally correY though there are problems with the second moves towards D; and before a return to the tonic at the end of the third ^atial positioning and vertical alignment. SuP inaccuracies are often a ParaYeristic of strain, the subdominant of C minor is first established. Dus, Byrd explores both the manuscripts, suggesting that while Hole could copy what he saw, he was without sharp and flat sides of the tonic’s modality. Dere are two independent galliards enough knowledge to correY even the most obvious errors. De cover engraving shows dedicated to ‘Mris: Marye Brownlo’, and while these adhere to the expeYed an Italianate harpsiPord with lid closed, on whiP are five books of music: one is open ParaYeristics of the genre by oscillating between a minim and do[ed-minim beat, and di^lays the first strain of ‘De Kinges Mosisa’ (PIV 1). On the same table is a six- PAR 8 is more subtle by reserving ! exclusively for odd-numbered bars and " or # for string bass viol. Dere is no dedicatee;13 the works were ‘seleYed out of the compositions even ones. of the most famous in that arte’ by Robert Hole. De more striking of Byrd’s contributions is the ‘Pavana: De Earle of Salisbury’ and As may be seen from Fig. 02 (above), the book is in oblong format and measures 150 its accompanying galliard (PAR 6 and 7). A second Salisbury pair is found in the x 190mm and contains 29 pages. De only known copy, now housed at De New York Gibbons seYion of the book (PAR 19 and 20). Significant resemblances are apparent in Public Library (US-Nyp, Drexel 5120), belonged to Edward Rimbault until his death in both composers’ pavans since eaP alludes to Dowland’s Pavana LaUrymae (1598). Byrd’s 1876 when the library purPased it. Its title is unashamedly designed to exploit the 1612 version is striking for its brevity, consisting of just two strains without a developed
13 Dart (1961, 37) Ueculates that a dedication page may originally have been present; and the title page may have been amended from a previous version. P A R T H E N I A
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T H E M A Y D E N H E A D O F T H E F I R S T M U S I C K T H A T
E V E R W A S P R I N T E D F O R T H E V I R G I N A L L S P A R T H E N I A
O R T H E M A Y D E N H E A D O F T H E F I R S T M U S I C K T H A T E V E R W A S P R I N T E D F O R T H E V I R G I N A L S
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LBMP- 021 17 8 . G A L I A R D O . S E C U N D O M R I S : M A R Y E B R O W N L O W I L L [ I A M ] B Y R D E Œ æ æ ˙ ™ œ ˙ ™ æ œ ˙ ™ ˙æ ™ ˙ ™ N œæ ™ œ œ œ œ œ w ˙ w˙ œ œ œæ #w˙ Œ œ ˙ ˙ ™ ˙ ™ œ ˙ & 3 J æ w ˙ w æ æ ˙ ™ æ § œ ˙ æ œ ™ œ œ œ œ œ œ ™ ˙ œ œ ˙ œ ˙ ˙ œ# œ ? ? N ∑ æ J æ œ ™ œ œ œ œ æ œ ˙ œ ˙ œ ˙ œ ˙ 3 æ æ J æ æ J ˙ ˙
7 {{ æ æ æ æ æ æ j œæ ™ j œ æ œæ œæ ™ œj æ œ œæ œ# œ ˙ ˙ æ ™ œ œ œ æ ™î í ™ œ ™ œ œ œ˙ œ œ ™ œ œ œ œ œ ˙ œ œ ˙ & ˙ œ œ œ œ ##wœ œ# œ# ˙ n˙ œ œ æ [ 2 ] æ ™ œ j æ æ œ œ ‰ œ œæ œ œ ˙ œ œ œ œ œ ˙ ™ œ ˙ œ œ ™ œ œæ œ œ ? œ ˙ œ ˙ w ‰ j œ ™î í ™ Œ æ J æ Œ ™ œ œ œ œ ˙ ˙ Ó œ ˙ œ ˙ œ J
{{ 13 æ § œ ™ œj æ œæ ™ j æ æ æ ˙ j ˙ œ˙ ™ œ ˙ œ ˙ œ ™ œ ˙œ œæ œ œ ˙æ Œ œ æ œ ™ œ ™ œb œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ & æ J ˙ ˙ æ J œ œ ™ j æ æ j j r œ ™ j ˙ ˙ ˙ ˙ œ ˙ œ ™ œ ˙ œ ˙ j œ œ œ œ ™ œ œ œ œ œ œ œ ˙ œ ? ˙ ˙ ˙ ˙ œ ™ œ œ œ ™ œ œ œ œ œ ˙ {{ ˙ Ó Ó J J œ œ 17 æ œ œ ™ æ æ ˙ œæ œ ˙ œ œ ˙ ™î í ™ æ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ & ˙ œ œ ˙ æ œ ˙ Œ ˙ œ œ# œ œ œ œ J æJ æJ J [ 3 ] ™ ™ j ˙ ˙ œ ™ œ œ ™ œ œ œ œ æ ? œ œ œ œ œ œ œ ˙ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ ™ æ œ œ œ œ œ œ œ œ œ œ æ ™î í ™ œ ™ æ æ æ œ {{ J œ œ œ 18 LBMP- 021 12 U & œ œ# œ œ# œ œ# œ œ# œ œ# œ œ# œ œ# œ# ˙ ˙ w wæ œ œ œ œ œ œ œ œ œ wœ œ ˙ æ w ? w œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ Uw {{ w œ œ œ œ œ œ œ œ œ œ œ w œ œ wÓ ˙
1 0 . P A V A N A . S T : T H O M A S W A K E D R . B U L L æ C Ó æ w w ˙ ˙ w ˙ œæ œ w æ j w w B & ˙ w ww# w ˙ ˙ w w w œæ ™ œ ˙ w ˙ œ w æ æ ˙ w ˙ œ œ Œ ˙ œ æ j ˙ ˙ æ æ æ ˙ æ æ æ œæ ™ jœ œ ˙ j œ æ Œ ? ? C Ó ˙ w œ œ #œæ œ ˙ œ œ ˙ ˙ ˙ w˙ œ œ œ ˙ œ# æ w œ ˙ œ ™ œ ˙œ ™ ˙ ˙ ˙# æ ˙ œ w Ó w w ˙˙ ˙ ™ œ w w
7 {{ § æ Ó ˙ æ ˙ ™ œ œæ œ œ œ œ ™ œ w w w ˙ ˙ ˙ œ & ˙ ˙œ œ# œ œ# ˙ ˙ #˙ œ ™ œ œ œ œ æ ˙w˙ #w w w ˙ ˙ ˙ ™ ˙ æ æ æ œ œ œ œ œ ˙ ˙ ˙ æ [ Rep. ] æ æ j ˙ w w ˙æ æ ˙æ œ æ æ æ ? ˙ ˙ ˙ ˙ wœ# œ ˙ wœ œ œ œ ˙ ˙ w˙ ˙# w ˙ wœ ™ œ œ ˙ ˙ ˙æ ˙# {{ ˙ w w ˙ w ˙ ˙ ˙ ˙# LBMP- 021 21 P A R T H E N I A I N - V I O L A T A
O R M A Y D E N - M U S I C K E F O R T H E V I R G I N A L L S A N D B A S S - V I O L
1 . T H E K I N G E S M O R I S C K œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ æ œæ ™ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ & œ ™ œ œ œ ˙ æ œ Œ œ ˙ æ œ ™ æ 2 3 24 1 3 21 3 2 æ æ æ œ æ ˙æ œ œ œæ ˙æ j œ œ œ œ œ œ ˙æ ? ? œ ˙ ˙ ˙ œ œ œ œ œ˙ Œ æ œ æ œ ˙ ˙ œ œ œ œ œ {{{ Œ ˙ ™ Œ œ œ œ œ œ æ œ æ Œ œ œ œ œ œ ˙ ?? ˙ œ œ œ œ œ œ ˙ œ œ œ œ ˙ ™ œ ˙ ™ œ œ œ œ œ œ Œ œ œ œ œ œ
7 œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ #œ œ# œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ ˙ ™ œ œ & æ J æ œ œ œ œ œ œ œ J J J æ ˙ ™ æ æ æ 2 3 2 æ æ 2 3 æ æ œ œ œ œ œ ˙ œ ˙æ œ œ œ œ œ ˙æ œ ? œ ™ œ ˙ œ œ#˙œ œ# œ# ˙ œ œ œ œ œ œ œ ˙ œ {{{ J œ Œ ˙ ™ ˙ ™ Œ ˙ ™ œ Œ ˙ ™ œ ? œ ™ œ ˙ œ œ œ ˙ ™ ˙ ™ œ œ œ ˙ ™ œ J œ w œ œ
60 LBMP-021 13 * j œ œ œ œ œ ™ œ œ œ œ œ œ ˙ ™ œ æ j æ œ œ œ œ œ ™ œ ˙ & æ æ æ J J J æ œ œ œ ˙ ™ œ œ œ œ œ œ ˙ ˙ œ ™ œ# œ œ œ œ œ œ œ œ ˙ 3 æ ™ œ 2 æ Œ œ œ œ ˙ ™ œ œ œ œ ˙æ œ œ œ ˙ œ œ œ œ ˙ ˙ ? ˙ œ œ œ œ ˙ œ œ œ œ œ #œ œ œ ˙ œ œ ˙ {{{ ˙ ™ œ œ œ Œ ˙ œ ˙ ™ Œ Œ œ ? œ œ œ œ œ ˙ œ œ œ œ ˙ ™ œ ˙ ™ œ œ ˙ ™ œ ˙ ™ œ œ œ ˙
21 j * œ œ æ ™ r æ ˙ æ æ æ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ œ œ #˙ ˙ œ æ ˙ œ æ & æ #˙ œ œ# œ œ# œ ˙ # ˙ #˙ ™ œ# # ˙˙# ™ #˙ ™ œ æ Œ Œ ˙ ™ œ Œ æ œ œ œ œ œ œ# ˙æ Œ ˙ ™ ˙ ˙ ˙ ? œ œ ˙ œ ˙ œ œ ˙ ˙ ™ ˙ ™ ˙˙# ™ ˙ ™ {{{ ˙ ˙ ˙ Œ œ ˙ ™ ™ œ ? ˙ ˙ œ œ œ ˙ œ ™ ˙ ™ œ ˙ ˙ œ ˙ ˙ œ ˙ 27 U ˙ ™ œ æ œ æ æ æ & ˙ œ ##˙ ™ œ ˙ ™ œ ˙˙# ™ ˙ ™ ˙# #˙ ˙ œ# #œ ˙ œ æ #˙æ œ# ˙ œ œ# œ œ ˙ ™ # ˙ ™ ˙ ™ ˙ ™ ˙ ˙ ˙ æ # ˙ ™ æ Uæ ˙ ™ Œ ˙æ Œ ˙ Œ ˙ œ Ó œ Ó œ Œ ˙ Œ œ ˙ ˙æ ™ ? ˙ ™ ˙ ™ w ™ ˙ ˙ œ ˙ ™ ˙˙# ™ ˙ ##œ ˙ œ Ó œ {{{ Œ ˙ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ œ ˙ ™ ™ ˙# œ ˙ Œ ˙ U ? ˙ ™ œ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ™ ˙ ˙# œ ˙ ˙ ™
LBMP-021 61 2 . T H E L O R D E S M A S K [ J O H N C O P R A R I O ] j j j j j b œ j æ rœ œ ™œ œ œ œ ˙ æj r æ rœ œ œ œ œ ™œ œ œ ˙# œ œ œ œ œ j œ œ & w ™ œ œ# ™œ œ ˙˙# œæ ™œ œ ™œ ™ æ R J J æ ™R æ œ œ ™ œ œ ˙ ™ 3 5 æJ 54 œ æ ˙ æ j æ æ Œ æ ? ? ##œæ ™ œ œ œæ ˙ æ ˙ ™ œ œ œ ˙ œ ˙æ œ ˙ œ b ˙ ™ œ Œ œ ˙ ˙ ™ œ ˙ ˙ œ œ œ ˙ œ {{{ Œ œ Œ ˙ ˙ œ ??b ˙ ™ œ œ ˙ ™ œ ˙ œ œ œ œ œ ˙ ˙ ™ ˙
7 j j æ æ 5 4353 b ™ æ ‰ œ œ œ ™ œ œ œ œ œ œ œ œæ œ æ œ œ œ œ nœ œ œ & œ œ œ œ œ œ œ œ œ #˙ æ J æ œ œ œ œ œ œ œ œ œ œ b œ œ# # œ ˙ 4 æ æ æ æ j j Œ œ ˙ ˙ œ œ j œ ™ j ˙ ? œ œ œ œ ˙ æ ˙b œ œ ˙ œ œ ™ œ œ œ œ œ œ œ b ˙ œ œ ˙ ˙ Œ ˙ ˙ œ Œ 2 3 2 {{{ œ * ˙ œ œ ™ ? b œ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ œ
13 § b 5 5 554 3 #˙ œ œ œ æ œ œ #œ Uw & b Œ n˙ Œ œ ˙ œ œ œ æ nnœ œ œ œ œ #w ˙ 5 ˙ œ œ œ œ œ œ 5 Œ œ n ˙ # ˙ æ ˙ ˙ œ œ æ j Uæ ? Œ œ œ #˙ œ œ ˙ ˙ œ Œ œ œ œ œ œ #œ œ ™ œ œ wæ b ˙ Œ œ œ ˙ ˙ œ Œ œ œ 3 53 5 4 Ó ˙ {{{ § œ œ œ œ œ œ U ? b ˙# Œ œ ˙ ˙ Œ œ œ# œ œ œ œ ˙ œ œ œ œ ˙ 62 LBMP-021 3 . T H E I R I S H D A N C E j r ™ œ œ# œ# ™ œ œ œ œ œ j r æ œ æ œ æ J æ æ æ œ œ# œ œ ™ j œ æ & œ# ™ œ ˙æ æJ R æ æ æ # ˙ œ #˙œ ™ œ ˙æ œ æ ˙ ™ œ œ ˙ ˙ ™ œ œ #œ ˙æ ˙ ™ œ ? ? ˙ ˙˙# ˙ ™ œ ˙ ™ œ# œœ# œ œ ˙ #˙ {{{ œ ™ Jœ œ Œ œ j ??w ˙ ™ œ œ œ# œ œ ˙ ™ œ ™ œ ˙ œ 6 æ j æ æ œ# œ# æ ™ œ œ œæ œ æ œ# ™ œ ™ œ œ œ œ ™ œ œ #œ œ œ œ #œ ˙ œ œ œ# œ œ æ œ œ & J R #œ œ œ #˙ æ æ æ æ 3 1 æ œ æ œ ™ œ œ ™ œ ˙ ˙ ™ œ œæ æ œ œ ™ œ # œ ? ˙ ™ œ ˙ œ œ# œ œ œ# ˙ œ ™ œ ™ Ó œ ™ J ‰ Jœ Œ {{{ œ 3 1 ? j œ œ# œ œ ™ œ œ œ ™ œ œ ˙ œ œ ™ œ œ# œ œ œ œ œ œ œ 3 1
11 # # œ œ œ œ œ œ œ œ# œ# œ# œ œ œ# œ œ œ œ œ œ œ œ #œ œ U ™ & æ æ æ æ æ æ œ æ œ œ# œ œ# œ œ œ# œ ™ 2 æ æ #œ ™ 5 œ ™ œ ™ # æ U œ ™ œ œ# œ œ œ œ# œæ ™ œ œ æ ?#œ œ# œ œ Ó œÓ œ ™ œ Ó œ œ ™ {{{ ™ œ œ Ó œ ™ œ U ? œ# œ ™ œ œ œ# ™ œ ™ œ œ œ œ ™ œ œ LBMP-021 63 Photocopyable page
P A R T H E N I A I N - V I O L A T A
B A S S V I O L
1 . T H E K I N G E S M O R I S C K œ œ ˙ ? ˙ œ œ œ œ œ ˙ Œ œ œ œ œ ˙ ™ œ ˙ ™ œ œ œ œ œ œ œ œ œ œ œ
7 ™ œ œ œ ? œ œ ˙ œ œ œ ˙ ™ ˙ ™ œ œ œ ˙ ™ œ ˙ ™ ˙ ™ œ œ œ ˙ ™ œ œ ˙ J œ w œ œ œ œ ˙ ™ œ 19 œ ? œ œ œ ˙ ˙ œ ˙ œ œ œ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ 26 ? ˙ ˙ œ U ˙ ™ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ™ ˙ ™ ˙# œ ˙ ˙ ™
2 . T H E L O R D E S M A S K œ ˙b œ œ ™ ? ˙ ™ œ œ ˙ ™ œ ˙b œ œb œ œb ˙ œ œ œ ˙ ˙ ™ ˙ ˙ œ ˙ ˙ 11 § œ œ œ œ œ œ U ? ˙b ˙ œ œ œ ˙# Œ œ ˙ ˙ Œ œb œ# œ œ œ œ œ ˙ œ œ œ œ ˙
92 LBMP- 021 B A S S V I O L Photocopyable page
3 . T H E I R I S H D A N C E ? j j œ# œ œ w ˙ ™ œ œ œ œ# œ œ œ ˙ ˙ ™ ˙ œ œ œ œ# œ œ œ ™ œ œ ™ œ 9 U ? œ ™ œ œ œ ™ œ œ œ# ™ œ ™ œ œ œ œ œ œ# ™ œ ™ œ ™ œ œ œ 3 1 œ œ
4 . N E W N O D D I E ? ÓÓÓÓÓÓ ÓÓÓ Ó œ œ# œ ™ œ œ œ ÓÓÓ œ œ œ œ œ œ 6 1 œ œ œ 7 œ œ œ œ œ ? œ ÓÓÓÓÓÓ ÓÓÓ Ó œ œ œ œ œ œ œ œ œ ™ œ ™ ÓÓÓ œ 13 ? œ œ œ œ œ œ œ œ œ ÓÓÓÓÓÓ œ œ œ œ œ œ œ œ ÓÓÓÓÓÓ œ œ 19 ? ˙ œ œ# œ ™ œ# œ U J œ œ ™ Ó œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ™
LBMP- 021 93
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C R I T I C A L A P P A R A T U S
103 E D I T O R I A L P R O C E D U R E PitH references use Helmholb: Editing !e Fi&william Virginal Book and My Ladye Nevells Booke (Tynset, 2020; 2021) drew CB c b c1 b1 c2 b2 c3 the editors’ aBention to the often creative means by whiH composers solved rhythmic and other notational problems for whiH no standardised system then existed. However, w w w ? w rather than take the route of the editors of other academic editions, whereby suH w w & w w w notational peculiarities as note groupings, tripla notation and time signatures are rationalised, they took a novel decision by altering the notation only if it was likely to For ease of reference, stave designations are R, L and P; voice numbers are hierarHical become a source of confusion. On finding this was popular with players, they have taken and always count the highest note as voice 1; beat references are provided in crotHets their editorial policy to a more radical level, hoping that this will engage performers for simple time signatures and doBed crotHets/quavers for compound. Rus, further with the original music, even though it is interpreted in a modern print medium. 3.2/4 R2 indicates: bar 3; beat 2; note 4; upper stave; voice 2. Ris, we hope, will Hallenge more people to begin consulting facsimiles in their studies if not using them for performance. Rus, nothing has been added or subtraSed in terms C O M M E N T A R Y of how the music initially appeared. ABempts have been made (where sensible) to begin pieces on the reSo side of pages, though this has been thought unimportant where P A R T H E N I A longer pieces are involved. Other sources have only been consulted when errors or 1. Prelude omissions are suTeSed, although these have not always been used if another solution Brookes 1462, MB xxvii 1, PaD 5. seems more suitable. 2. Pavan: Sir William Petre Although clefs and six-line staves have been modernised to suit today’s players, all Brookes 1460, MB xxvii 11, PaD 5. other aTeSs of the books’ notation have been reproduced faithfully. Rus, tied notes, 53.7 L3: No aug. dot. beamings and accidentals are notated as they appear in the manuscript, as does tripla notation and the varying time signatures. Where these might be a source of ambiguity, 3. Galiard appropriate comments have been made in this seSion. Original barlines are also Brookes 1368, MB xxvii 15, PaD 8. retained. 35.4 L1: Stray descending stem supp. Where errors exist, they have been correSed in the score; suTeSed errors remain as 46.5 R2: No aug. dot. per the manuscript; in both instances, they are reported upon in this seSion. Players are 4. Prelude advised that the critical report is an important tool for determining editorial Brookes 1463, MB xxvii 85, PaD 10, FVB 24. intervention. It also contains brief information on the baWground to the music. Where significant comments are made, they are indicated ‘inline’ with asterisks to instruS the 5. Galiard: Mistress Mary Brownlow player to consult this document. *Brookes 1396, MB xxvii 123, PaD 11. Further information on editorial policy may be found in SeSion 5, ‘Using this 28.5 R2: Stray ascending stem supp. edition’. 6. Pavan: Re Earle of Salisbury Brookes 1453, MB xxvii 57, PaD 13. Abbreviations: First- and second-time bars have not been rationalised. Re repeat in bar 4 assumes Aug. Augmentation that e is not tied over; the final bar provides again the beginning of bar 5. Brookes Brookes 1996 number, * indicates that PAR or PIV is the sole source 7. Galliard FVB Fibwilliam Virginal Book (manuscript) number Brookes 1392, MB xxvii 58, PaD 14. FVBL Fibwilliam Virginal Book (2020 edition) page 16. Note that the tuplets are indicated with a tertiary beam; in this instance, triplets are MB Musica Britannica volume page suggested. PaD Parthenia (Dart, 1962 edition) 8. Galliard: Second aug. Augmentation *Brookes 1369, MB xxvii 58, PaD 14. lh Left hand rh Right hand supp. Suppressed 9. Prelude 104