L B M P – 0 0 2 T H E F I T Z W I L L I A M V I R G I N A L B O O K V O L U M E I N o s . 1 – 7 3 E X L I B R I S Edited by Jon Baxendale and Francis Knights ISMN 979-0-706670-09-6 All rights reserved. C O N T E N T S P R E F A C E T H E M U S I C 1. Editing the Fitzwilliam Virginal Book i 1 Walsingham John Bull 2 2. Historical context i 2 Fantasia John Mundy 26 Fantasia, Faire Wether, etc. John Mundy 32 3. The copyist ii 3 4 Pavana Ferdinando Richardson 37 4. The manuscript 5 Variatio Ferdinando Richardson 39 i. Physical attributes iv 6 Galiarda Ferdinando Richardson 43 ii. Content v iii. Notation and technique v 7 Variation Ferdinando Richardson 45 iv. Marginalia and emendations ix 8 Fantasia William Byrd 49 v. Plenary notes xi 9 Goe from my Window Thomas Morley 55 5. The music 10 Jhon come kisse me now William Byrd 60 i. Composers and sources xi 11 Galliarda to my Lord Lumleys Pavan John Bull 67 ii. Dances xiii 12 Nancie Thomas Morley 70 iii. Variations xv 13 Pavana [Trumpet Pavan] John Bull 76 iv. Grounds xiv 14 Alman Anon. 79 v. Fantasias xvi 15 Robin John Mundy 80 vi. Intabulations of vocal music xvii 16 Pavana Anon. 83 vii. Cantus firmus pieces xvii 17 Galiarda John Bull 85 viii. Preludes and toccatas xviii 18 Barafostus Dreame Anon. 87 5. The Fitzwilliam composers xix 19 Muscadin Anon. 90 6. Instruments xxi 20 Alman Anon. 92 7. Temperament and tuning xxiii 21 Galiarda Anon. 94 8. Performance issues 22 Præludium Anon. 97 i. Ornaments xxiii 23 Præludium, El Kidermisters Anon. 98 ii. Fingering and articulation xxv 24 Præludium William Byrd 100 iii. Time signatures and black notation xxix 25 Præludium Anon. 102 9. Using this edition xxxi 26 The Irish Ho-Hoane Anon. 104 27 Pavane Ferdinando Richardson 104 28 Varatio Ferdinando Richardson 108 29 Galliarda Ferdinando Richardson 112 30 Varatio Ferdinando Richardson 114 31 The Quadran Pavan John Bull 119 32 Variation of the Quadran Pavan John Bull 129 33 Galliard to the Quadran Pavan John Bull 141 34 Pavana Do [Fantastic Pavan] John Bull 151 35 Galiard to the Pavan [Fantastic Galliard] John Bull 156 36 Saint Thomas Wake John Bull 159 37 In Nomine John Bull 163 C R I T I C A L A P P A R A T U S 38 [Veni Redemptor Genitum] John Bull 167 Editorial policy 348 39 Pavana Robert Johnson 171 Commentary 349 40 The Woods so wilde Orlando Gibbons 174 41 Pavana of my Lord Lumley John Bull 180 Suggested ties 356 42 Goe from my Window John Mundy 184 43 Præludium John Bull 190 B I B L I O G R A P H Y 357 44 Gloria tibi Trinitas John Bull 192 45 Salvator Mundi John Bull 196 I N D I C E S 46 Galliarda [Regina Galliard John Bull 204 Index by volume 364 47 Variato John Bull 208 Index by composer 367 48 Galliarda John Bull 212 49 Præludium Thomas Oldfield 215 50 In Nomine William Blitheman 218 51 Ut, Re, Mi, Fa, Sol, La John Bull 220 P L A T E S 52 Fantasia William Byrd 226 01. Ms. pages 37 and 38, nos. 18-20 91 53 The Kings Hunt Giles Farnaby 235 02. Ms. pages 88 and 89, nos. 46-47 207 03. Ms. pages 90 and 91, nos. 47-50 54 Spagnioletta Giles Farnaby 239 217 04. Ms. pages 120 and 121, nos. 18-20 55 For two Virginals Giles Farnaby 242 293 56 Passamezzo Pavana William Byrd 244 57 Galiardas Passamezzo William Byrd 252 58 The Carmans Whistle William Byrd 257 59 The Hunts up William Byrd 262 60 Treg.[ian’s] Ground William Byrd 270 61 Monsieurs Alman William Byrd 278 62 Variatio William Byrd 282 63 Alman William Byrd 290 64 Sellengers Round William Byrd 294 65 Fortune William Byrd 302 66 O Mistris myne William Byrd 306 67 The Woods so wilde William Byrd 312 68 Walsingham William Byrd 317 69 The Bells William Byrd 326 70 Tirsi, Luca Marenzio Peter Philips 333 71 Freno Peter Philips 336 72 Così morirò Peter Philips 340 73 Fece da voi Peter Philips 342 i 1 . E D I T I N G T H E F I T Z W I L L I A M V I R G I N A L B O O K It not only allows toDay’s performers an unDerstanDing of the notational conventions of The origins of the 1899 Breitkopf edition of the Fitzwilliam Virginal Book (hereafter FVB) the time, but also provides an opportunity for them to make observations anD draw their appear to have arisen in J. A. Fuller MaitlanD’s project cataloguing the Fitzwilliam own conclusions from the notation itself. It is also hopeD that the approach will stimulate Museum’s music manuscripts (1893). The following year, an eDition of the Virginal Book players further by opening up a realm of music that woulD––without the efforts of Fuller was announceD in The Musical Times, in collaboration with William Barclay Squire, his MaitlanD anD Barclay Squire––have remaineD either largely unknown until well into the brother-in-law.1 The purposes appear to have been primarily scholarly: ‘Nothing will be twentieth century. adDed or omitted, but the orDinary five-line staves will be substituteD for the six-line staves of the MS. anD the G anD F clefs only will be useD’. This edition was by no means 2 . H I S T O R I C A L C O N T E X T the first time that the music of the virginalists haD appeareD in print in modern times.2 The music contained in FVB testifies to the diversity and richness of cultural life in Arthur Hipkins haD alreaDy DemonstrateD ByrD, Bull anD Gibbons on a spinet in 1890, England during the late Tudor dynasty and its pursuant Jacobean period. The era lasted as part of his series of lecture-recitals on olD music (several years earlier he haD even more than 150 years, beginning with Henry VII, a DescenDent of the House of Lancaster performed on a virginals in meantone).3 who seizeD the English crown in 1485 after a 32-year civil war with the House of York. The 1899 Breitkopf volumes were expensive anD harD to access, so a collection of The Tudor line continued through two generations and ended with the death of selecteD pieces from those was publisheD in 1941. Several years later Margaret Glyn Elizabeth I in 1603. She died without issue, after which the crown passed to James VI of produced two heavily-edited volumes of selections for British & Continental EDition ScotlanD, the son of Mary Queen of Scots anD the great-grandson of Henry VII. Since (Glyn, 1945), anD Hans ReDlich had also proDuced an edition of virginal music in 1938. Henry was the ruler of IrelanD, James’s accession leD to the union of the three states that The effect on musicians was felt quite widely, and the Breitkopf edition became a was to become the UniteD KingDom in 1801. His death in 1625 saw the accession of significant monument to a hitherto-forgotten English musical repertoire; Herbert Charles. He was to rule until his Deposition anD later execution in 1649 anD the Howells, for example, playeD from it to Bartók in the early 1920s (Palmer, 1996, 407-9). formation of a Commonwealth state and its ultimate rule by Oliver Cromwell. It even spawneD fictional novels about John Bull anD Francis Tregian.4 However, it was That this was a turbulent period in which internal conflicts were commonplace and not until the afforDable 1963 Dover reprint (reviseD 1979-80) that the Fuller MaitlanD where a range of aggressive foreign policies meant harDly a DecaDe woulD pass without anD Barclay Squire edition became wiDely available. Since that Date the music from the some form of international Dispute. On the Domestic front, the Death of EDwarD VI in manuscript has become a significant part of the early keyboard repertoire. 1553 marred a peaceful royal transition by creating a power vacuum that saw the rapiD While a remarkable eDition for its age, especially given that the eDitors were working accession of two monarchs. His successor by law was the fiercely Catholic Mary TuDor. from black anD white Victorian plate photographs of the manuscript, the Breitkopf However, by this point, EnglanD haD been a Protestant nation for nearly 20 years. publication has now been superseded in every respect, and the present edition, Attempts by EDwarD to overrule the ThirD Act of Succession of 1543 anD to allow Lady containing perhaps 10,000 corrections or changes with respect to it, is long overDue. The Jane Grey to be his successor faileD.5 She was granDDaughter to Henry VII anD Edward’s transcriptions were first maDe by Jon Baxendale, working from high-resolution colour first cousin (once removeD), anD although installeD as monarch, support was not digital images of the FVB, and engraved using some specially created symbols. sufficient enough to ensure Grey’s position. After a nine-day rule, she was deposed and Following all the notational peculiarities of the manuscript coulD take up to several soon executeD. Mary became monarch. Her rule was to last five years During which hours per page, and the project has taken more than 18 months to complete.