# A Dictionary of Music and Musicians/Virginal Music, Collections of

​VIRGINAL MUSIC, COLLECTIONS OF.
1. The most remarkable, and in many respects the most valuable collection of English 17th century instrumental music is that contained in the volume known for the last century by the misleading name of Queen Elizabeth's Virginal Book. This book, which is now preserved in the Fitzwilliam Museum at Cambridge, is a small folio volume containing 220 folios of paper ​ruled by hand for music in 6-line staves, 209 of which are filled with music written in a small but distinct handwriting. The volume measures 339/10 centimetres in height by 22 centimetres in breadth, and the binding (a fine specimen of English 17th-century workmanship) is of crimson morocco, enriched with beautiful gold tooling, the sides being sprinkled with fleurs-de-lis. The water-mark on the paper is a crozier-case, measuring 4½ inches in height and 2½ inches in its widest part. It is possible that this mark indicates that the paper was manufactured at Basel, as the arms of that town are similar to it. The manuscript has in places been cut by the binder, but the binding is probably not of later date than the bulk of the book. Nothing is known of the history of the volume before the early part of the 18th century, when it was first noticed as being in the possession of Dr. Pepusch, but there is sufficient evidence to prove that it can never have belonged, as is generally supposed, to Queen Elizabeth. As has been already stated, the whole of the manuscript is in one handwriting; in many cases the compositions it contains bear the dates at which they were composed, and these dates (as will be seen from the list printed below) are in no sort of chronological order. The latest dated composition contained in the collection is an 'Ut, re, mi, fa, sol, la, a 4 voci,' by the Amsterdam organist Jehan Peterson Swellinck (1577-81-1621), which occurs on page 216, and bears the date 1612, nine years after the death of Queen Elizabeth, to whom the book is said to have belonged. But there is another piece in the volume which proves that the collection must have been written even later than this. At page 255 is a short composition by Dr. John Bull, entitled 'D. Bull's Juell ' (i.e. 'Dr. Bull's Jewel'). Another copy of this occurs on folio 49b of a manuscript collection of Bull's instrumental music preserved in the British Museum (Add. MSS. 23,623), which is particularly valuable as containing the dates at which most of the compositions were written, and this copy bears the inscription 'Het Juweel van Doctor Jan Bull quod fecit anno 1621. December.' The volume must therefore have been written later than this, and in all probability it dates from the third decade of the 17th century, the character of the handwriting, as well as the absence of compositions by musicians of a later date precluding the possibility of its being of more recent origin. Mr. Chappell, at the beginning of his work on the 'Popular Music of the Olden Time' (p. xv.) surmises that this collection may have been made for, or by, an English resident in the Netherlands, and that Dr. Pepusch obtained it in that country. This conjecture he founds upon the fact that the only name which occurs in an abbreviated form throughout the book is that of Tregian, and that a sonnet signed 'Fr. Tregian' is prefixed to Verstegan's 'Restitution of Decayed Intelligence,' which was published at Antwerp in 1605. The abbreviated name occurs as follows: at p. 111 is a composition of William Byrd's headed 'Treg. Ground'; at p. 152 is a 'Pavana Dolorosa. Treg.,' set by Peter Philips and dated 1593; at p. 196 is a short piece entitled 'Heaven and Earth,' to which no composer's name is given besides the syllable 'Fre' (probably a contraction of 'F. Tregian'); and at p. 297 in the margin, the initials F. Tr.' are written against the first line of a jig by William Byrd; on p. 315 'Mrs. Katherin Tregian's Pauen' is written in the margin against a Pavana Chromatica by William Tisdall. These few clues certainly point to some connection of the volume with the Tregian family, and it so happens that the history of at least two individuals of the name of F. Tregian is known with a considerable degree of certainty. The Tregians were a very rich and powerful Catholic family, whose seat was at Golden or Volveden in Cornwall, in which county their estates were said to have been worth £3000 per annum. Towards the close of the 16th century the head of the family was named Francis Tregian: his mother was named Katherine, and was the daughter of Sir John and Lady Elizabeth Arundell of Lanherne. In the year 1577 the Tregian family seem to have become suspected, probably as much on account of their wealth as of their religion, and (according to one account) a conspiracy was planned for their ruin. On June 8 the house at Golden was entered and searched, and one Cuthbert Mayne, a priest of Douay, steward to Francis Tregian, was arrested and imprisoned, with several other of Tregian's servants, 'all gentlemen saving one,' says a contemporary account, in Launceston Gaol. At the following assizes, Mayne was convicted of high treason, and was hanged, drawn, and quartered at Launceston on Nov. 29 of the same year. Tregian himself, who had been bound over to appear at the assizes, was committed a close prisoner to the Marshalsea, where he remained for ten months. He was then suddenly arraigned at the King's Bench and sent into Cornwall to be tried. For some time the jury would deliver no verdict, but after they had been repeatedly threatened by the judges, a conviction was obtained, and Tregian was sentenced to suffer the penalty of præmunire and to perpetual banishment. On hearing his sentence he exclaimed, 'Pereant bona, quae si uon periissent, fortassis dominum suum perdidissent!' Immediately judgment was given, Tregian was laden with irons and thrown into the foul common gaol of the county; his goods were seized, his wife and children were expelled, and his mother was deprived of her jointure, so that 'she remained oppresst with calamity untill her death.'
After being moved from prison to prison, and ​suffering indignities without number, which he endured with the utmost fortitude, Tregian was finally removed to the Fleet, where his wife joined him. He remained in prison for twenty-four (or, according to some accounts, twenty-eight) years, during which time he suffered much from illness, but occupied himself by writing poetry, and about the end of Elizabeth's reign he was released on the petition of his friends, though his estates still remained forfeited. In 1606 he left England on account of his ill-health, and went to Madrid. On his way he visited Douay (July 1606), and at Madrid he was kindly received by Philip III., who granted him a pension. He retired to Lisbon, and died there Sept. 25, 1608, aged 60. He was buried in the church of St. Roch, and soon came to be regarded as a saint. His body was said to have been found uncorrupted twenty years after his death, and it was alleged that miracles had been worked at his grave. Francis Tregian had no less than eighteen children, of whom eleven were born in prison. The eldest son, who bore his father's name of Francis, on June 29, 1608, bought back the family estates for £6,500, but in the following year he was convicted of recusancy, and part of the lands were again seized. In 1611 he is said to have compounded with the Crown, to have sold the rest of his property and gone to Spain, where he was made a grandee, and became the ancestor of the St. Angelo family. He was living in 1620, and probably did not die until 1630, when an inquisition was held of his lands. Another son of Francis Tregian the elder's, Charles by name, was educated at Rheims, and entered the household of Cardinal Allen. After the Cardinal's death (1594), Charles Tregian wrote a 'Planctus de Morte Cardinalis Alani.' He is said later to have served with the Spanish army in the Netherlands, and was living in 1611.
It will thus be seen that the connection of the Tregian family with the Netherlands was even closer than Mr. Chappell suspected, but it was impossible that the Virginal book could have been written by the elder Francis Tregian, who (according to Oliver) was the author of the sonnet prefixed to Verstegan's work. If the account of the younger Francis Tregian's settling in Spain is accurate, it is hardly probable that he was the transcriber of the MS. But whoever the actual scribe was, the series of dated pieces by Peter Philipps (pp. 134–165), who was an English Catholic ecclesiastic settled in the Netherlands, and possibly a connexion of Morgan Philipps, one of the first Professors of the Douay College, the note (p. 284) to the Pavana of Byrd's (who was all his life a Catholic), the heading of the jig (p. 306), 'Doctor Bull's myselfe ' (Bull went to Holland in 1613), all point to the conclusion that the collection was formed by some one who was intimate with the Catholic refugees of the period, while the probable connection of the book with the Tregian family, the details of whose misfortunes are more interesting than the above short sketch can convey, lends to it a value beyond that of its musical contents.
The earliest account of this collection of Virginal music occurs in the Life of Dr. John Bull in Ward's Lives of the Gresham Professors (1740), in which is printed a list of Bull's compositions contained in it. Ward states that his information was derived from Dr. Pepusch, who communicated the contents of the volume to him, describing it as 'a large folio neatly written, bound in red Turkey leather, and guilt.' In this no mention is made of the book having belonged to Queen Elizabeth. In 1762 it was bought for 10 guineas at the sale of Dr. Pepusch's collection by R. Bremner, who gave it to Lord Fitzwilliam, in whose possession it was in 1783. It is next noticed in Hawkins's History (1776), where it is first stated to have been in Queen Elizabeth's possession. Hawkins also tells the story (repeated by Burney) of Pepusch's wife, Margherita de l'Epine, having attempted to play the music it contained, but although an excellent harpsichord player, never having been able to master the first piece, Bull's Variations on 'Walsingham.' Burney (1789) adds the well-known account of Elizabeth's playing to Sir James Melvil, with the remark that if she could execute any of the pieces in the Virginal Book, she must have been a very great player, as some are so difficult that it would be hard to find a master in Europe who would play them without a month's practice. Burney's acquaintance with the MS. must have been very slight, as he describes Peter Philipps's Fantasia on p. 158 as a regular fugue for the organ. Burney's remarks have been repeated by several writers, amongst others by Steevens, in his notes to 'Winter's Tale' (1803), but with the exception of Mr. Chappell's conjecture nothing further has been discovered with regard to the origin or history of the book. A MS. index of its contents was in the possession of Bartleman, and from this a copy was made in 1816 by Henry Smith, and inserted at the end of the original volume. In Warren's edition of Boyce's 'Cathedral Music' (1849), a list of its contents was printed in the notes to the Life of Byrd, but this is in many respects inaccurate. In framing the following list some attempt has been made to give a few references to similar collections in which other copies of the compositions indexed may be found. The compositions mostly consist of airs and variations, the different sections of which are numbered consecutively. Thus the first piece in the book consists of 29 variations on the air 'Walsingham,' but as in the MS. the air itself is numbered 'I,' the number of sections is stated in the index to be thirty. The references to Mr. Chappell's work are to the edition already mentioned. The spelling of the MS. is generally retained, but in a few instances abbreviations have been omitted.
| Page. | Num- ber. | Description. | Sec- tions. | Composer. |
| 1 | 1 | Walsingham | 30 | Dr. John Bull. |
| 10 | 2 | Fantasia | … | John Munday. |
| 12 | 3 | Fantasia | … | {{{1}}}„{{{1}}}„ |
| 14 | 4 | Pauana | 3 | Ferd$^o$ Richardson. |
| 15 | 5 | Variatio | 3 | {{{1}}}„{{{1}}}„ |
| 16 | 6 | Galliarda | 3 | {{{1}}}„{{{1}}}„ |
| 17 | 7 | Variation | 3 | {{{1}}}„{{{1}}}„ |
| 19 | 8 | Fantasia | … | William Byrd. |
| 21 | 9 | 'Goe from my Window' | 7 | Thomas Morley. |
| 23 | 10 | 'Jhon come kisse me now. | 16 | W. Byrd. |
| 27 | 11 | Galliarda to my L. Lumley's Pauen, Pag. 76 | 3 | Doctor Bull. |
| 28 | 12 | Nancie | 3 | T. Morley. |
| 30 | 13 | Pauana | 3 | Doctor Bull. |
| 32 | 14 | Alman | 3 |
| 32 | 15 | Robin | 3 | Jhon Munday. |
| 33 | 16 | Pauana | 2 | M. S. |
| 34 | 17 | Galiarda | 2 | Dr. Bull. |
| 36 | 18 | Barafostus Dreame | 4 |
| 37 | 19 | Muscadin | 2 | |
| 37 | 20 | Alman | 2 | |
| 38 | 21 | Galiarda | 3 | |
| 39 | 22 | Praeludium | | |
| 40 | 23 | Praeludium. El. Kidermister. | | |
| 41 | 24 | Praeludium | | |
| 41 | 25 | Praeludium | | |
| 42 | 26 | The Irish Ho-hoane | | |
| 43 | 27 | Pauana | 3 | Ferdinando Richardson |
| 44 | 28 | Variatio | 3 | {{{1}}}„{{{1}}}„ |
| 46 | 29 | Galiarda | 3 | {{{1}}}„{{{1}}}„ |
| 47 | 30 | Variatio | 3 | {{{1}}}„{{{1}}}„ |
| 49 | 31 | The Quadran Pauen | 8 | Dr. Bull. |
| 54 | 32 | Variation of the Quadran Pauan | 8 | {{{1}}}„ |
| 59 | 33 | Galiard to y$^e$ Quadran Pauan. | 12 | {{{1}}}„ |
| 63 | 34 | Pauana. Do | 3 | {{{1}}}„ |
| 66 | 35 | Galiard to the Pauen | 3 | {{{1}}}„ |
| 67 | 36 | St. Thomas Wake | 5 | {{{1}}}„ |
| 69 | 37 | In Nomine | … | {{{1}}}„ |
| 70 | 38 | … | … | {{{1}}}„ |
| 72 | 39 | Pauana | 3 | Rob. Jhonson. Sett by Giles Farnabie. |
| 74 | 40 | The Woods so Wilde | 5 | |
| 76 | 41 | Pauana of My L. Lumley. | 3 | Doctor Bull. |
| 78 | 42 | 'Goe from my Window' | 8 | Jhon Munday. |
| 80 | 43 | Praeludium | … | Doctor Bull. |
| 81 | 44 | Gloria Tibi Trinitas | … | {{{1}}}„{{{1}}}„ |
| 82 | 45 | Saluator Mundi | 3 | {{{1}}}„{{{1}}}„ |
| 86 | 46 | Variatio | 3 | {{{1}}}„{{{1}}}„ |
| 87 | 47 | Galliarda | 3 | {{{1}}}„{{{1}}}„ |
| 89 | 48 | Galiarda to the Pauen, Pag. 63. Dor. | 3 | {{{1}}}„{{{1}}}„ |
| 91 | 49 | Praeludium | … | Thomas Oldfield. |
| 91 | 50 | In Nomine | … | William Blithman. |
| 92 | 51 | Vt, re. mi, fa, sol, la. | 17 | Doctor Bull. |
| 94 | 52 | Fantasia | 4 | W. Byrd. |
| 98 | 53 | The K(ing's) Hunt | 2 | Giles Farnabie. |
| 100 | 54 | Spagnioletta | 3 | {{{1}}}„{{{1}}}„ |
| 101 | 55 | For 2 Virg. | 4 | {{{1}}}„{{{1}}}„ |
| 102 | 56 | Passamezzo Pauana | 6 | W. Byrd. |
| 104 | 57 | Galiardus Passamezzo. | 8 | {{{1}}}„ |
| 106 | 58 | The Carman's Whistle | 9 | {{{1}}}„ |
| 108 | 59 | The Hunt's Up | 12 | {{{1}}}„ |
| 111 | 60 | Treg. Ground | 12 | {{{1}}}„ |
| 114 | 61 | Monsieur's Alman | 2 | {{{1}}}„ |
| 116 | 62 | Variatio | 3 | {{{1}}}„ |
| 119 | 63 | Alman | 4 | {{{1}}}„ |
| 120 | 64 | Sellinger's Round | 9 | {{{1}}}„ |
| 123 | 65 | Fortune | 4 | {{{1}}}„ |
| 125 | 66 | O Mistris myne | 6 | {{{1}}}„ |
| 127 | 67 | The Woods so Wild | 14 | {{{1}}}„ 1590. |
| 129 | 68 | Walsingham | 22 | {{{1}}}„ |
| 132 | 69 | The Bells | 9 | {{{1}}}„ |
| 134 | 70 | (1) Tirsi di Luca Marenzio 1$^a$ parte. Intauolata di Pietro Fhilippi. | … | Peeter Philips. |
| 135 | 71 | (2) Freno, 2$^a$ parte | … | {{{1}}}„{{{1}}}„ |
| 137 | 72 | (3) Cosi Moriro, 3$^a$ parte. | … | {{{1}}}„{{{1}}}„ |
| 138 | 73 | (4) Fece da voi à 6 | … | {{{1}}}„{{{1}}}„ |
| 139 | 74 | (5) Pauana Pagget | 3 | {{{1}}}„{{{1}}}„ |
| 141 | 75 | (6) Galiard | 3 | {{{1}}}„{{{1}}}„ |
| 142 | 76 | (7) Passamezzo Pauana. | 7 | {{{1}}}„{{{1}}}„ 1592. |
| 146 | 77 | (8) Galiarda Passamezzo. | 10 | {{{1}}}„{{{1}}}„ |
| 148 | 78 | (9) Chi fara fede al cielo di Alessandro Striggio | … | {{{1}}}„{{{1}}}„ |
| 150 | 79 | (10) Bon Jour mon Cueur dl Orlando. | … | {{{1}}}„{{{1}}}„ 1602. |
| 152 | 80 | (11) Pauana Dolorosa. Treg. | 3 | {{{1}}}„{{{1}}}„ 1593. |
| 154 | 81 | (12) Galiarda Dolorosa | 3 | {{{1}}}„{{{1}}}„ |
| 155 | 82 | (13) Amarilli dl Julio Romano. | … | {{{1}}}„{{{1}}}„ 1603. |
| 156 | 83 | (14) Margotte Laborez | … | {{{1}}}„{{{1}}}„ 1605. |
| 158 | 84 | (15) Fantasia | 39 | {{{1}}}„{{{1}}}„ |
| 161 | 85 | (16) Pauana | … | {{{1}}}„{{{1}}}„ 1580. |
| 162 | 86 | (17) Le Rossignol | … | {{{1}}}„{{{1}}}„ 1595. ​ |
| 164 | 87 | (18) Galliarda | 2 | Peeter Philips, 1595. |
| 165 | 88 | (19) Fantasia | … | {{{1}}}„{{{1}}}„ 1582. |
| 167 | 89 | (1) Fantasia | … | Nicholas Strogers. |
| 168 | 90 | Alman | 2 | Martin Peereson. |
| 169 | 91 | Pauana Bray | 3 | W. Byrd. |
| 170 | 92 | Galiarda | 3 | {{{1}}}„ |
| 171 | 93 | Pauana. Ph. Tr. | 3 | {{{1}}}„ |
| 173 | 94 | Galiarda | 2 | {{{1}}}„ |
| 174 | 95 | Toccata | … | Giouanni Pichl. |
| 181 | 96 | Praludium Toccata 1 | … | Jehan Pieterson Swellinck. |
| 183 | 97 | Pauana 1 | 3 | Thomas Warrock. |
| 185 | 98 | Galiarda 2 | 3 | {{{1}}}„{{{1}}}„ |
| 186 | 99 | Praeludium to y$^e$ Fancie, pag. 94. | … | Wm. Byrd. |
| 187 | 100 | Vt, re, mi, fa, sol, la | 17 | W. Byrd. |
| 190 | 101 | Vt, mi, re | 13 | {{{1}}}„ |
| 192 | 102 | Fantasia | … | {{{1}}}„ |
| 194 | 103 | All in a Garden green | 6 | {{{1}}}„ |
| 196 | 104 | Heaven and Earth | … | Fre. |
| 197 | 105 | Preludium | … | Dr. Bull. |
| 198 | 106 | Veni | | |
| 199 | 107 | Fantasia | … | Dr. Bull. |
| 201 | 108 | Foelix Namque. 1$^{um}$ | 1 | Thomas Tallis, 1562. |
| 205 | 109 | Foelix Namque. 2$^a$ | 2 | {{{1}}}„{{{1}}}„ 1564. |
| 210 | 110 | Daphne 5 | … | Giles Farnaby. |
| 212 | 111 | Pawles Whistle. 6 | … | {{{1}}}„{{{1}}}„ |
| 213 | 112 | Quodling's Delight. 7 | 4 | {{{1}}}„{{{1}}}„ |
| 214 | 113 | Praeludium | … | Dr. Bull. |
| 215 | 114 | Praeludisum Dor. | … | {{{1}}}„ |
| 215 | 115 | Praeludium | | |
| 216 | 116 | Vt, re, mi, fa, sol, la, à 4 voci. 2 | 20 | Jehan Peterson Swellinck. 1612. |
| 219 | 117 | In Nomine | … | Dr. Bull. |
| 221 | 118 | Praeludium | | |
| 222 | 119 | Pauana Lachrymae | 3 | John Dowland. Sett foorth by Wm. Byrd. |
| 223 | 120 | Galiarda | 3 | James Harding. Sett foorth by Wm. Byrd. |
| 225 | 121 | Pauana. 1 | 4 | Thomas Tomkins. |
| 227 | 122 | Fantasia | … | Thomas Morley. |
| 229 | 123 | Christe Redemptor | … | Dr. Bull. |
| 231 | 124 | The Mayden's Song | 7 | Wm. Byrd. |
| 233 | 125 | Putt vp thy dagger, Jemy 8 | … | Giles Farnaby. |
| 235 | 126 | Bony Sweet Robin. 9 | 5 | {{{1}}}„{{{1}}}„ |
| 237 | 127 | Fantasia. 10 | … | {{{1}}}„{{{1}}}„ |
| 239 | 128 | A Grounde. 2 | … | Thomas Tomkins. |
| 241 | 129 | Barafostus Dreame. 3 | 8 | {{{1}}}„{{{1}}}„ |
| 244 | 130 | The Hunting Galliard. 4 | 2 | {{{1}}}„{{{1}}}„ |
| 245 | 131 | Quadran Pauen | 8 | Wm. Byrd. |
| 248 | 132 | Galiard to the Quadran Pauen | 3 | {{{1}}}„{{{1}}}„ |
| 250 | 133 | The King's Hunt | 3 | Dr. Bull. |
| 252 | 134 | Pauaua | 3 | {{{1}}}„ |
| 254 | 135 | Galiarda | 3 | {{{1}}}„ |
| 255 | 136 | D. Bull's Juell | 3 | {{{1}}}„ |
| 256 | 137 | The Spanish Pauen | 8 | {{{1}}}„ |
| 257 | 138 | In Nomine. 1 | … | Persons. |
| 259 | 139 | Wooddy-Cock. 2. | 6 | Giles Farnaby. |
| 262 | 140 | The Duke of Brunswick's Alman | 2 | Dr. Bull. |
| 262 | 141 | Rosasolis. 12 | 12 | Giles Farnaby. |
| 264 | 142 | Psalme. 3 | 5 | Jehan Pieterson Swelling. |
| 266 | 143 | Alman | … | Robert Johnson. |
| 267 | 144 | Alman. 2 | 2 | {{{1}}}„{{{1}}}„ |
| 267 | 145 | Alman. 2 | 2 | R. Johnson. Sett by Giles Farnaby. |
| 267 | 146 | The New Sa-hoo. 13 | … | Giles Farnaby. |
| 268 | 147 | Nobodyes Gigge. 1 | 2 | Richard Farnaby, sonne to Giles Farnaby. |
| 269 | 148 | Malt's come downe | 9 | William Byrd. |
| 270 | 149 | Praeludium | | |
| 271 | 150 | Alman | 2 | Thomas Morley. |
| 272 | 151 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 274 | 152 | Galiarda | 3 | {{{1}}}„{{{1}}}„ |
| 275 | 153 | La Volta | 2 | William Byrd. |
| 276 | 154 | Alman | 3 | Wm. Byrd. |
| 276 | 155 | Wolsey's Wilde | 2 | {{{1}}}„{{{1}}}„ |
| 277 | 156 | Callino Casturame | 6 | W. Byrd. |
| 278 | 157 | La Volta. T. Morley | 2 | {{{1}}}„{{{1}}}„ |
| 278 | 158 | Rowland | 3 | {{{1}}}„{{{1}}}„ |
| 279 | 159 | Why aske you | 2 | |
| 280 | 160 | The Ghost | 2 | Byrd. |
| 281 | 161 | Alman | 2 | {{{1}}}„ |
| 282 | 162 | Pauana | 3 | {{{1}}}„ |
| 283 | 163 | Galiarda | 4 | {{{1}}}„ |
| 284 | 164 | Pauana | 3 | {{{1}}}„ |
| 285 | 165 | Galiarda | 3 | W. Byrd. |
| 286 | 166 | Pauana | 3 | Thomas Morley. |
| 289 | 167 | The Queenes Alman | 3 | Wm. Byrd. |
| 291 | 168 | A Medley | 8 | {{{1}}}„{{{1}}}„ |
| 293 | 169 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 294 | 170 | Galliarda | 3 | {{{1}}}„{{{1}}}„ |
| 294 | 171 | Miserere, 3 Parts | … | {{{1}}}„{{{1}}}„ |
| 295 | 172 | Miserere, 4 Parts | … | {{{1}}}„{{{1}}}„ |
| 296 | 173 | Pakington's Pownde | 2 | |
| 297 | 174 | The Irishe Dumpe | 3 | |
| 297 | 175 | Watkins Ale | 3 | |
| 297 | 176 | A Gigg | 2 | W Byrd. |
| 298 | 177 | Pipers Pauen | 3 | Martin Peerson. |
| 299 | 178 | Pipers Galliard | 3 | Dr. Bull. |
| 300 | 179 | Variatio Eiusdem | 3 | {{{1}}}„{{{1}}}„ |
| 302 | 180 | Praeludium. D. | … | {{{1}}}„{{{1}}}„ |
| 303 | 181 | Galiarda | 2 | {{{1}}}„{{{1}}}„ |
| 304 | 182 | Galiarda | 2 | {{{1}}}„{{{1}}}„ |
| 305 | 183 | Allemanda | 2 | Marchant. |
| 306 | 184 | Can shee | 3 | ​ |
| 306 | 185 | A Gigge. Dr. Bulls Myselfe. | 2 | Dr. Bull. |
| 307 | 186 | Sr Jhon Grayes Galiard | 3 | W.B. |
| 307 | 187 | Praeludium | … | Dr Bull. |
| 307 | 188 | A Toy | 2 | |
| 308 | 189 | Giles Farnaby's Dreame | 3 | Giles Farnaby. |
| 308 | 190 | His Rest. Galiard | 3 | {{{1}}}„{{{1}}}„ |
| 308 | 191 | His Humour | 4 | {{{1}}}„{{{1}}}„ |
| 309 | 192 | Fayne would I wedd | 3 | Richard Farnaby. |
| 309 | 193 | A Maske | 6 | Giles Farnabye. |
| 310 | 194 | A Maske | … | {{{1}}}„{{{1}}}„ |
| 310 | 195 | An Almain | 2 | |
| 310 | 196 | Corranto | 2 | |
| 310 | 197 | Alman | 2 | |
| 311 | 198 | Corranto | 2 | |
| 311 | 199 | Corranto | | |
| 311 | 200 | Corranto | 2 | |
| 311 | 201 | Dannce | 2 | |
| 312 | 202 | Worster Braules | 3 | Thomas Tomkins. |
| 312 | 203 | Fantasia | … | Giles Farnabye. |
| 313 | 204 | A Maske | 2 | {{{1}}}„{{{1}}}„ |
| 314 | 205 | Praeludium | … | Dr. Bull. |
| 314 | 206 | … | 2 | {{{1}}}„{{{1}}}„ |
| 314 | 207 | Martin sayd to his Man | … | |
| 315 | 208 | Almand | 2 | William Tisdall. |
| 315 | 209 | Pauana Chromatica | 3 | {{{1}}}„{{{1}}}„ |
| 317 | 210 | Vt, re, mi, fa, sol, la | 23 | Dr. Bull. |
| 321 | 211 | Gipseis Round | 7 | Wm. Byrd. |
| 324 | 212 | Fantasia. 4 | … | Jhon Pieterson Sweeling. Organista a Amstelredä. |
| 327 | 213 | Corranto | 2 | 'William Byrd sett.' |
| 328 | 214 | Pauana. Clement Cottō. 3 | 3 | Wm. Tisdall. |
| 328 | 215 | Pauana. 4 | 3 | {{{1}}}„{{{1}}}„ |
| 329 | 216 | Corranto | 2 | |
| 329 | 217 | Alman | 2 | Hooper. |
| 329 | 218 | Corranto | 3 | |
| 329 | 219 | Corranto | 2 | |
| 330 | 220 | Corranto | 2 | |
| 330 | 221 | Corranto | 3 | |
| 330 | 222 | Alman | 3 | |
| 331 | 223 | Corranto | 2 | Hooper. |
| 331 | 224 | Fantasia. 20 | … | Giles Farnaby. |
| 333 | 225 | Loth to depart. 21 | 6 | {{{1}}}„{{{1}}}„ |
| 334 | 226 | '22. Fantasia' | … | {{{1}}}„{{{1}}}„ |
| 335 | 227 | Fantasia. 23 | … | {{{1}}}„{{{1}}}„ |
| 338 | 229 | {{{1}}}„ 24 | … | {{{1}}}„{{{1}}}„ |
| 340 | 230 | {{{1}}}„ 25 | … | {{{1}}}„{{{1}}}„ |
| 341 | 231 | Walter Earle's Pauen. 26 | 3 | {{{1}}}„{{{1}}}„ |
| 343 | 232 | {{{1}}}„{{{1}}}„ 27 | … | {{{1}}}„{{{1}}}„ |
| 344 | 233 | Fantasia. 28 | … | {{{1}}}„{{{1}}}„ |
| 346 | 234 | {{{1}}}„ 29 | … | {{{1}}}„{{{1}}}„ |
| 347 | 235 | L. Zouches Maske. 30 | … | {{{1}}}„{{{1}}}„ |
| 349 | 236 | A Grounde. 31 | 14 | {{{1}}}„{{{1}}}„ |
| 351 | 237 | Corranto | 2 | W. Byrd. |
| 352 | 238 | Vp T(ails) All. 32 | 19 | Giles Farnaby. |
| 355 | 239 | Thomson's Medley | 7 | Edward Johnson. |
| 356 | 240 | Nowel's Galiard | 3 | |
| 357 | 241 | Tower Hill | 2 | Giles Farnaby. |
| 358 | 242 | Praeludium. 33 | … | {{{1}}}„{{{1}}}„ |
| 358 | 243 | The King's Morisco | 6 | |
| 359 | 244 | A Duo | … | Richard Farnaby. |
| 359 | 245 | Alman | 2 | |
| 359 | 246 | A Galliard Ground | 5 | William Inglot. |
| 362 | 247 | The Leaues bee greene. 2 | 13 | {{{1}}}„{{{1}}}„ W. Byrd. |
| 364 | 248 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 365 | 249 | Galiarda | 3 | {{{1}}}„{{{1}}}„ |
| 366 | 250 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 367 | 251 | Galiarda | 3 | {{{1}}}„{{{1}}}„ |
| 368 | 252 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 370 | 253 | Pauana Fant(astica) | 3 | {{{1}}}„{{{1}}}„ |
| 370 | 254 | Galiarda | 3 | {{{1}}}„{{{1}}}„ |
| 371 | 255 | The Earle of Oxford's Marche | 2 | {{{1}}}„{{{1}}}„ |
| 373 | 256 | Galiarda | 3 | Jehan Oystermayre |
| 374 | 257 | Fantasia | … | W. Byrd. |
| 377 | 258 | The Duchesse of Brunswick's Toye. | 2 | Dr. Bull. |
| 377 | 259 | A Toye | 2 | |
| 378 | 260 | Corranto | 3 | |
| 378 | 261 | Corranto Lady Riche | 2 | |
| 378 | 262 | Corranto | 3 | |
| 379 | 263 | A Gigge | 4 | Giles Farnaby. |
| 381 | 264 | A Toye | 2 | {{{1}}}„{{{1}}}„ |
| 381 | 265 | The Primerose | 2 | Martin Peerson. |
| 382 | 266 | The Fall of the Leafe | 2 | Martin Peereson. |
| 383 | 267 | Farnaby's Conceit | … | Giles Farnabye. |
| 383 | 268 | Allemanda | 3 | |
| 384 | 269 | Pauana. Canon. 2 parts in one. | 3 | Wm. Byrd. |
| 385 | 270 | Pescodd Time | 11 | {{{1}}}„{{{1}}}„ |
| 388 | 271 | Pauana Delight | 3 | Edward Johnson. Sett by Will. Byrd. |
| 390 | 272 | Galiarda | 3 | Edward Johnson. Sett by Wm. Byrd. |
| 391 | 273 | Miserere, 3 parts | … | Dr. Bull. |
| 393 | 274 | Tell mee, Daphne | 3 | Giles Farnaby |
| 394 | 275 | Mal Sims | 2 | {{{1}}}„{{{1}}}„ |
| 395 | 276 | Munday's Gioy | 2 | Munday. |
| 396 | 277 | Rosseter's Galiard | 3 | Sett by Giles Farnaby. |
| 397 | 278 | The Flatt Pauan | 3 | Giles Farnaby. |
| 398 | 279 | Pauana | 3 | {{{1}}}„{{{1}}}„ |
| 401 | 280 | Why aske you | 3 | {{{1}}}„{{{1}}}„ |
| 403 | 281 | Farmer Pauen | 3 | {{{1}}}„{{{1}}}„ |
| 405 | 282 | Dalling Alman | 3 | |
| 405 | 283 | The Old Spagnoletta | 3 | Giles Farnaby. |
| 406 | 284 | Lachrimae Pauan | 3 | J.D. Sett by Giles Farnaby. |
| 408 | 285 | Meridian Alman | 3 | Sett by Giles Farnaby. |
| 409 | 286 | Pauana | 3 | Orlando Gibbons. |
| 410 | 287 | Muscadin | 2 | Giles Farnaby. |
| 411 | 288 | Lady Montegle's Pauen | 3 | Wm. Byrd. |
| 412 | 289 | Galiarda 5 | 3 | Wm. Tisdall. |
| 413 | 290 | Fantasia | … | Giles Farnaby. |
| 416 | 291 | Hanskin | 5 | Richard Farnaby. |
The music ends on p. 418. At the end of the volume is an index of the contents signed 'Henry Smith Richmond, scripsit, from a MS. Index in the Possession of Mr. Bartleman. 24 March, 1816.' In this pieces, copies of which occur in Lady Novell's book, are marked with an asterisk.
2. My Ladye Nevells Booke. This valuable collection of Byrd's Virginal music belongs to the Marquess of Abergavenny, in whose family it has remained since it was written. [App. p.813 "correct the statement that the book has always been in the possession of Lord Abergavenny. It formerly belonged to Burney, and was sold at his sale for £11 0s. 6d. According to Rimbault, it was at one time in his (Rimbault's) library."] It is an oblong folio volume, beautifully bound in morocco enriched with gold, green, and red, and lined with blue watered silk. On the title-page is an illuminated coat of arms and the monogram 'H. N.' The music is written on a 6-line stave in square-headed notes, and was copied by John Baldwin of Windsor, a fine volume of whose transcribing is preserved in the Queen's Library at Buckingham Palace. Hawkins, who alludes to this MS. in vol. iii. (p. 288) and vol. iv. (p. 386) of his History of Music, states that the book was given by Byrd to his scholar, Lady Nevill, but there is no evidence in support of this assertion. The MS. was examined by Mr. Chappell when ​writing his work on English Music, in which volume it is frequently referred to. The following is a list of its contents:—
| Number. | Name. | Folio. | Composer. |
| 1 | My Ladye Novel's grownde | 1 | Mr. W. Birde. |
| 2 | Qui passe: for my Ladye Nevel | 8 | {{{1}}}„{{{1}}}„ |
| 3 | The Marche before the battell. | 13b |
| 4 | The Souldiers Sommons: the Marche of Footemen. | 19 |
| | The Marche of Horsmen | 20 |
| | Now foloweth the Trumpetts: the Trumpetts. | 21 |
| | The Irishe Marche | 22b |
| | The Bagpipe | 21 |
| | And the Drone | 24 |
| | The Flute and the Droome | 25 |
| | The Marche to the Fighte | 28 |
| | The Retreat. Now foloweth a Galliarde for the Victorie. | | |
| 5 | The Galliarde | 32 | Mr. W. Birde. |
| 6 | The Barelye Breake | 34 | Mr. W. Birde Gentleman of Her Maiestie's Chappel. |
| 7 | A Galliards Gygge | 43 | Mr. W. Birde organiste of Her Maiestie's Chappell. |
| 8 | The Huntes Upp | 46 | Mr. W. Birde. Laus sit Deo. |
| 9 | Ut re mi fa so la | 46b | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ Finis Mr. W. Birde. |
| 10 | The First Pauian | 58b | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ Finis Mr. W. Birde. |
| 11 | The Galllard foloweth | 61b | {{{1}}}„{{{1}}}„ |
| 12 | The II Pauian | 63 | {{{1}}}„{{{1}}}„ |
| 13 | The Galliarde | 65 | {{{1}}}„{{{1}}}„ |
| 14 | The III Pauian | 67 | {{{1}}}„{{{1}}}„ |
| 15 | The Galiarde to the same | 69b | {{{1}}}„{{{1}}}„ |
| 16 | The IIII Pauian | 71b | {{{1}}}„{{{1}}}„ |
| 17 | The Galliard heer followeth | 73b | Mr. W. Birde. Homo memorabilis. |
| 18 | The V Pauian | 75b | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ Mr. W. Birde. Laudes Deo. |
| 19 | The Galliarde | 78b | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ Mr. W. Birde. Laudes Deo. |
| 20 | Pauana the VI. Kinbrugh. Goodd. | 80b | Mr. W. Birde. |
| 21 | The Galliarde folows | 84 | Laus sit Deo. Mr. W. Birde. |
| 22 | The Seventh Pauian | 86 | Mr. W. Birde Gentleman of the Chappell. |
| 23 | The Eighte Pauian | 89 | Mr. W. Birde of the Chappell. |
| 24 | The passinge mesures Pauian of Mr. W. Birdes. | 92 | Mr. W. Birde. |
| 25 | The Galliarde foloweth. The Galliarde. | 99b | Mr. W. Birde of the Chappell. |
| 26 | A Voluntarie for my Ladye Nevell. | 105b | Finis Mr. W. Birde. |
| 27 | Will you walke the woods so wylde. | 109 | Finis Mr. W. Birde. Anno 1590. |
| 28 | The Maidens songe | 113 | Mr. W. Birde. |
| 29 | A Lesson of Voluntarie | 119b | Finis. Mr. W. Birde. |
| 30 | The Seconde Grownde | 126 | Mr. W. Bird. |
| 31 | Haue with you to Walsinghame. | 135 | Finis Maister W. Birde. |
| 32 | All in a garden grine | 142b | Mr. W. Bird. |
| 33 | Lord Willobies welcome home | 146b | Finis Maister Willm. Birde. |
| 34 | The Carman's Whistle | 149 | Finis Maister Willm. Birde. |
| 35 | Hugh Astons Grownde | 153b | Mr. W. Birde. |
| 36 | A fancie | 161 | {{{1}}}„{{{1}}}„ |
| 37 | Sellinger's Rownde | 166b | Finis. Mr. W. Birde. |
| 38 | Munser's Almaine | 173b | Finis. Mr. W. Birde. |
| 39 | The Tennthe Pauian: Mr. W. Peter. | 180b | Finis. The Galliarde followeth. |
| 40 | The Galllard | 184b | Finis Mr. W. Birde. |
| 41 | A Fancie | 186b | {{{1}}}„{{{1}}}„{{{1}}}„ |
| 42 | A Voluntarie | 191 | Finis Mr. W. Birde, Gentleman of the Queen's Chappell. |
At the end of the volume is 'The Table for this booke,' after which is the following colophon: 'Ffinished and ended the leventh of September in the yeare of our Lorde God 1591 and in the 33 yeare of the raigne of our sofferaine ladie Elizabeth by the grace of God queene of Englande, etc. By me Jo. Baldwine of Windsore. Laudes Deo.'
3. Will. Forster's Virginal Book. This volume, which belongs to Her Majesty the Queen, is preserved at Buckingham Palace, and consists of 238 octavo folios ruled in 6-line staves. The water-marks are a shield surmounted by a coronet, bearing a fleur-de-lis on the escutcheon, and a pot with the initials 'E. O. R.' The book probably belonged to Sir John Hawkins, and has been bound in modern times in half red morocco and paper boards. At the beginning is a 'Table of the Lessons,' written in the same hand as the rest of the book, and signed '31 Januarie 1624. Will. Forster.' The following is a list of the contents of the volume:—
| Number. | Name. | Folio. | Composer. |
| 1 | A Grounde of Mr. Bird's | 2 | Byrd. |
| 2 | I. The French Coranto | 14 | {{{1}}}„ |
| 3 | The Second French Coranto | 16 | {{{1}}}„ |
| 4 | The 3rd French Coranto | 18 | {{{1}}}„ |
| 5 | A Levolto | 20 | {{{1}}}„ |
| 6 | Lo. Willobies wellcome home | 22 | {{{1}}}„ |
| 7 | Felix Nunquam | 24 | {{{1}}}„ |
| 8 | A Horne pipe | 50 | Byrd. |
| 9 | Kapasse | 63 | {{{1}}}„ |
| 10 | Wilson's Wilde | 70 |
| 11 | An Almaine | 72 |
| 12 | As I went to Walsingham | 74 | Byrd |
| 13 | Galliardo | 88 | Thomas Morley |
| 14 | Quadro Pavine | 96 | {{{1}}}„{{{1}}}„ |
| 15 | Almayne | 110 |
| 16 | Pavin | 114 | Byrd |
| 17 | The Wood soe wylde | 118 |
| 18 | Pavin | 127 | Byrd |
| 19 | … | 130 | {{{1}}}„ |
| 20 | Parludam | 136 |
| 21 | A Galliard | 137 |
| 22 | The New Medley | 143 |
| 23 | 3 voc. Praise the Lord. Psalme 103. | 150 | John Ward. |
| 24 | The Lord, executeth righteousness, à 3 voc. | 152 | {{{1}}}„{{{1}}}„ |
| 25 | For looke howe highe. à 3 voc. | 154 | {{{1}}}„{{{1}}}„ |
| 26 | The Dales of Man. à 3 voc. | 156 | {{{1}}}„{{{1}}}„ |
| 27 | The Lord. à 3 voc. | 158 | {{{1}}}„{{{1}}}„ |
| 28 | Have Mercie. à 3 voc. | 160 | {{{1}}}„{{{1}}}„ ​ |
| 29 | Behould | 162 | {{{1}}}„{{{1}}}„ |
| 30 | Turne Thye Face | 164 | {{{1}}}„{{{1}}}„ |
| 31 | Deliver mee | 166 | {{{1}}}„{{{1}}}„ |
| 32 | The Marchant's Dreame | 170 | |
| 33 | Rogero | 176 |
| 34 | … | 182 |
| 35 | … | 186 | |
| 36 | … | 188 | Byrd. |
| 37 | … | 196 | Englitt. |
| 38 | The Quadrant Pavin | 202 | Bull. |
| 39 | Passa Measures Pavin | 217 | Byrd. |
| 40 | Passa Measures Galliard | 230 | {{{1}}}„ |
| 41 | Mr Bird's Gallard | 240 | {{{1}}}„ |
| 42 | Mounser's Alman | 344 | {{{1}}}„ |
| 43 | Fortune | 252 | {{{1}}}„ |
| 44 | A Grounde | 258 | {{{1}}}„ |
| 45 | A Ground | 263 | {{{1}}}„ |
| 46 | Parsons Innominey (sic) | 272 | {{{1}}}„ |
| 47 | Johnson's delighte | 276 | {{{1}}}„ |
| 48 | The Galliard to the Pavin aforesaid. | 284 | {{{1}}}„ |
| 49 | Quadrant Pavin | 288 | {{{1}}}„ |
| 50 | The Galliard | 302 | {{{1}}}„ |
| 51 | Pavin | 311 | {{{1}}}„ |
| 52 | The Galliard | 319 | {{{1}}}„ |
| 53 | A Galliard | 322 | {{{1}}}„ |
| 54 | Goe from my Windoe | 324 | {{{1}}}„ |
| 55 | Lachramie | 331 | {{{1}}}„ |
| 56 | A Pavan | 340 |
| 57 | Doctor Bull's Gall(iard) | 347 | Bull. |
| 58 | … | 352 |
| 59 | … | 360 |
| 60 | Mounser's Alman | 366 | Byrd. |
| 61 | Harding's Gall(iard) | 388 |
| 62 | A Pariudam | 386 | Byrd. |
| 63 | A Grounde | 390 | {{{1}}}„ |
| 64 | A Pavin | 404 |
| 65 | Galliard | 412 |
| 66 | An Alman | 416 |
| 67 | A pavin | 420 |
| 68 | The Galliard | 426 |
| 69 | Robbin Hood | 430 |
| 70 | If my Complaints, or Pyper's Galliard. | 442 |
| 71 | The King's Hunt | 447 | Bull. |
| 72 | … | 456 |
| 73 | Praeludiam | 458 |
| 74 | Watkins Ale | 460 |
| 75 | … | 462 |
| 76 | … | 464 |
| 77 | The same a noate lower | 466 |
| 78 | … | 468 |
4. Benjamin Cosyn's Virginal Book. This fine folio volume, like the last-mentioned collection, is the property of Her Majesty, and is preserved at Buckingham Palace. The binding is of English workmanship, and contemporary with the MS. It consists of calf with gold tooling. The letters 'B. C.' are stamped both on the front and the back, and part of the tooling has been stamped above the letters 'M. O.'—probably the initials of an earlier owner. The book has been shut by brass clasps, but these are now broken off. At the beginning is an index, divided into 'A Table of these Lessons followinge made and sett forth by Ben Cos,' 'A Table of these Lessons followinge made by Mr. Docter Bull,' 'A Table of these Lessons following made by Mr. Or. Gibbons,' 'These lessons following are made by Tallis and Byrd,' after which comes a list of six services contained in the same volume, at the end of which is written 'These are y$^e$ six services for the Kings Royall Chappell.' The same page also contains 'A Catch of 9 parts in one,' 'Let us goe pray for John Cook's soul,' and 'A Table of all these lessons generally contained in this Booke are in Nomber: 96. By me Beniamin Cosyn Right owner of this Booke.' Hawkins (History, vol. iii. p. 421) says that Benjamin Cosyn was 'a famous composer of lessons for the harpsichord, and probably an excellent performer on that instrument,' that he flourished about the year 1600, and that 'there are many of his lessons extant that seem in no respect inferior to those of Bull.' The last statement looks as if Hawkins had been acquainted with the Virginal Book, for many of the lessons in it against which Cosyn's name appears, are undoubtedly the compositions of Bull and of other authors: indeed it is probable that further research would show that Cosyn had very little to do with any of the compositions in the book. His name is found in no other collection, and who he was is not known. A John Cosyn is mentioned by Anthony à Wood (Bodleian Library, Wood, 19 D. (4) 10b) as organist of Charterhouse.
The following is a complete list of the contents of the volume: as the old pagination is in places irregular, the pages have been numbered freshly. The titles in the index are sometimes different from those in the body of the book: when these variations occur, they have been noted in the last column:—
| No. | Name. | Page. | Composer. | Title in Index. |
| 1 | A Prelude | 1 | Benj. Cosyn |
| 2 | A Pavin | 2 | {{{1}}}„{{{1}}}„ | In E, La, Mi. |
| 3 | The Galliard to itt | 5 | {{{1}}}„{{{1}}}„ | In A, Re. |
| 4 | Lacrime Pavin | 8 | {{{1}}}„{{{1}}}„ |
| 5 | The Galliard to itt | 12 | {{{1}}}„{{{1}}}„ |
| 6 | A Pavin | 15 | {{{1}}}„{{{1}}}„ | The Lo. Lumlye's Pavin |
| 7 | The Galliard to itt | 19 | {{{1}}}„{{{1}}}„ |
| 8 | A Grounde | 22 | {{{1}}}„{{{1}}}„ | In A, Re. |
| 9 | A Grounde | 29 | {{{1}}}„{{{1}}}„ | In Gam, Ut. |
| 10 | Sermone Blando | 29 | {{{1}}}„{{{1}}}„ |
| 11 | A Galliard | 42 | {{{1}}}„{{{1}}}„ | In Ff, fu, ut. |
| 12 | {{{1}}}„ | 43 | {{{1}}}„{{{1}}}„ | In D, sol, re. |
| 13 | Pakinton's Pownde | 46 | {{{1}}}„{{{1}}}„ |
| 14 | A Galliard | 49 | {{{1}}}„{{{1}}}„ | A cross-handed Galllard. |
| 15 | Dum Aurora | 54 | {{{1}}}„{{{1}}}„ |
| 16 | Whie aske you | 59 | {{{1}}}„{{{1}}}„ | 'Why aske yu'. |
| 17 | The Queene's Commande. | 62 | Orl. Gibbons | In the Index attributed to Cosyn. |
| 18 | Filliday Floutes me | 64 | Benj. Cosyn | 18. 'Fillida.' |
| 19 | My Self | 65 | {{{1}}}„{{{1}}}„ |
| 20 | Miserere | 68 | {{{1}}}„{{{1}}}„ |
| 21 | What you Will | 71 | {{{1}}}„{{{1}}}„ |
| 22 | A Galliard | 73 | {{{1}}}„{{{1}}}„ | 'My Lo. Rich. his Galliard.' |
| 23 | The Kings Hunt | 75 | {{{1}}}„{{{1}}}„ |
| 24 | Thomas Lupoes Galliard. | 78 | {{{1}}}„{{{1}}}„ |
| 25 | My Lo. Burrows Galliard. | 80 | {{{1}}}„{{{1}}}„ |
| 26 | Ut, re, mi, fa, sol, la | 82 | Orl. Gibbons | In the Index attributed to Cosyn. |
| 27 | A Galliard | 88 | Benj. Cosyn | 'Sr Robert Southwell's Gall.' |
| 28 | Mr. Stroude's Galliard | 90 | {{{1}}}„{{{1}}}„ |
| 29 | The Galliard to Doct. Bulle's Fantastick Pavin. | 91 | {{{1}}}„{{{1}}}„ |
| 30 | Preludiem | 93 | Doctor Bull | 'A Prelude in Gamut.' |
| 31 | The Quadren Pavin | 94 | {{{1}}}„{{{1}}}„ |
| 32 | The Galliard to itt | 101 | {{{1}}}„{{{1}}}„ |
| 33 | Pavana | 106 | 'Finis. Doct. Bulles Ffantasticall Pavine' | 'The Phantasticall Pavin. |
| 34 | A Pavin in A, re | 110 | Doctor Bull |
| 35 | The Galliard to itt | 113 | {{{1}}}„{{{1}}}„ |
| 36 | Pavana | 114 | {{{1}}}„{{{1}}}„ | 'A Pavin in D, sol, re.' |
| 37 | Galliard | 114a | {{{1}}}„{{{1}}}„ | 'The Galliard to itt.' ​ |
| 38 | Brunswick's Toy | 114b | {{{1}}}„{{{1}}}„ | 'The Duke of Brunswick.' |
| 39 | Pavana | 115 | {{{1}}}„{{{1}}}„ | 'The Trumpet Pavin.' |
| 40 | Galliardo | 116 | {{{1}}}„{{{1}}}„ | 'The Galliard to it.' |
| 41 | Pavana | 118 | {{{1}}}„{{{1}}}„ | 'The Lo. Lumlies Pavin.' |
| 42 | The Galliard | 120 | {{{1}}}„{{{1}}}„ | 'The Galliard to it.' |
| 43 | Wake Galliard | 122 | {{{1}}}„{{{1}}}„ | 'Wake's Galliard.' |
| 44 | Docter Bulle's Jewell | 124 | {{{1}}}„{{{1}}}„ |
| 45 | Duretto | 125 | |
| 46 | A Galliard | 126 | Doctor Bull | 'The Lo. Hunsden's Galliard.' |
| 47 | A Prelude | 127 | {{{1}}}„{{{1}}}„ | In ff, fa, ut. |
| 48 | A Galliard | 128 | {{{1}}}„{{{1}}}„ | The Galliard to Pavan no. 70. |
| 49 | Fantasia | 130 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 50 | Havana | 135 | {{{1}}}„{{{1}}}„ | 'The Mallincholy Pavin.' |
| 51 | The Galliard to itt | 137 | {{{1}}}„{{{1}}}„ |
| 52 | As I went to Wallsingham | 139 | {{{1}}}„{{{1}}}„ |
| 53 | Felix Namque | 150 | Thos. Tallis |
| 54 | Goe from my windoe | 157 | Will. Byrd |
| 55 | 1. Galliarda | 160 | Orl. Gibbons, 'Bachellor of Musik.' |
| 56 | 2.{{{1}}}„ | 162 | Orl. Gibbons | 'The Hunt's up.' |
| 57 | 3. A Maske | 167 | {{{1}}}„{{{1}}}„ |
| 58 | 4. Galliard | 168 | {{{1}}}„{{{1}}}„ |
| 59 | 5.{{{1}}}„ | 170 | {{{1}}}„{{{1}}}„ | 'The La. Hatten's Galliard.' |
| 60 | 6. A Fancy | 171 | {{{1}}}„{{{1}}}„ |
| 61 | 7. A Toy | 171 | {{{1}}}„{{{1}}}„ |
| 62 | 8. Galliard | 180 | {{{1}}}„{{{1}}}„ |
| 63 | 9. Almaine | 181 | | Attributed to Orlando Gibbons in the Index. |
| 64 | 10. Almaine | 181 | | 'The Ffrench Allmaine.' |
| 65 | 11. Allmaine | 182 | Orl. Gibbons. | 'Another Allmaine.' |
| 66 | 12. Fantasia | 184 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 67 | Galliard | 186 | Benj. Cosyn | 'Sir Richard Latener's Galliard,' |
| 68 | The Goldfinch | 187 | {{{1}}}„{{{1}}}„ |
| 69 | Pavana | 188 | Doctor Bull | 'A Pavin in Gamut flatt.' |
| 70 | Pavana | 190 | Mr. Yves sett forth B. Cosyn | 'Mr. Yves his Allmaine.' |
| 71 | Allmaine | 192 | {{{1}}}„{{{1}}}„ | 'The Coranto to Itt.' |
| 72 | Galliard | 194 | Orl. Gibbons |
| 73 | Fantasia | 196 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 74 | Prelludem | 198 | {{{1}}}„{{{1}}}„ | 'A Prelude.' |
| 75 | Fantasia | 199 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 76 | In Nomine | 200 | {{{1}}}„{{{1}}}„ |
| 77 | Fantasia | 201 | {{{1}}}„{{{1}}}„ | 'A Fancy.' |
| 78 | An Allmaine | 202 | {{{1}}}„{{{1}}}„ |
| 79 | Allmaine | 203 | {{{1}}}„{{{1}}}„ |
| 80 | A Fancy for a Double Orgaine. | 204 | {{{1}}}„{{{1}}}„ |
| 81 | Fantasia | 206 | {{{1}}}„{{{1}}}„ | 'A Fancy in Gamut flatt.' |
| 82 | {{{1}}}„ | 208 | {{{1}}}„{{{1}}}„ | 'A Fancy in C, fa, ut.' |
| 83 | {{{1}}}„ | 210 | {{{1}}}„{{{1}}}„ | 'Another Fancy in C, fa, ut.' |
| 84 | {{{1}}}„ | 211 | {{{1}}}„{{{1}}}„ | 'A Fancy in A, re.' |
| 85 | Galliard | 212 | Doctor Bull | 'The Galliard to no. 87. |
| 86 | {{{1}}}„ | 214 | {{{1}}}„{{{1}}}„ | 'The La. Lucie's Galliard.' |
| 87 | Pavana | 215 | {{{1}}}„{{{1}}}„ | 'Queene Elizabeth's Pavin.' |
| 88 | In Nomine | 218 | {{{1}}}„{{{1}}}„ |
| 89 | Dr. Bulles Greefe | 220 | {{{1}}}„{{{1}}}„ |
| 90 | Galliard | 221 | {{{1}}}„{{{1}}}„ | 'The Vauting Galliard.' |
| 91 | Mr. Bevan's Morning and Evening Service. | 222 | Bevin |
| 92 | O my sonne Absolon | 235 | |
| 93 | Morning and Evening Service in D. | 236 | Tallis |
| 94 | Morning and Evening Service in D. | 246 | Strogers |
| 95 | Morning and Evening Service in D. | 260 | Byrd |
| 96 | Venite in F | 272 | Benj. Cosyn |
| 97 | Morning and Evening Service in F. | 274 | Orl. Gibbons |
| 98 | Morning Serivce in F. | 284 | Tho. Weelks |
[ W. B. S. ]
* ↑ The edition of this work referred to in this article is that published by Chappell & Co. in two volumes, without a date. The full title-page runs as follows: 'The Ballad Literature and Popular Music of the Olden Time: a History of the Ancient Songs, Ballads, and the Dance Tunes of England, with numerous Anecdotes and entire Ballads. Also a Short Account of the Minstrels. By W. Chappell, F.S.A. The whole of the Airs harmonized by G. A. Macfarren.'
* ↑ Harleian Society Publications, vol. ix., Visitation of Cromwell [App. p.813 "Cornwall"] of 1620. p. 275, note. See also Cooke's Visitation in 1673 (Harl. MS. 1079).
* ↑ Further information as to the Tregian family may be found in the following works:—Oliver's 'Catholic Religion in Cornwall'; Polwhele's 'History of Cornwall,' volumes iv. and v.; Catholic Miscellany for June, 1823; also in Add. MSS. 21, 203, and in the State Papers, particularly Domestic Series, James I. 1619, volume 41, and 1620, volume 116.
* ↑ Chappell, p.121. Ward (Lives of the Gresham Professors) says, 'This tune was first composed by William Byrde with twenty-two variations; and afterwards thirty others were added to it by Dr. Bull.' Another copy is in Benjamin Cosyn's Virginal Book, p. 139. See also Forster's Virginal Book, p. 74.
* ↑ Contains 80 bars of music descriptive of a storm. The different sections are headed, Faire Wether, Lightning, Thunder, Calme Wether. Lightning, Thunder, Faire Wether, Lightning, Thunder, Faire Wether, Lightning, Thunder, A Cleare Day. [See Programme Music, vol. iii. p. 35.]
* ↑ A copy of this is in Add. MSS. 30,485, fol. 75b.
* ↑ Add. MSS 30,485, fol.76b.
* ↑ Chappell, pp. 140, 142. A setting by Wm. Byrd is in B. Cosyn's Virginal Book, p. 139. See also No. 42. Another setting (by Francis Pilkington, Mus. Bac.) is in lute tablature in Add. MSS. 31,392, fol. 26.
* ↑ Chappell, pp. 122, 147, 218, 660, 771.
* ↑ Mentioned in Ward's List. A copy is in B. Cosyn's Virginal Book, p. 120.
* ↑ Chappell. p. 149.
* ↑ In Ward's List.
* ↑ Ibid.
* ↑ Chappell, pp. 240, 775. Vide infra, p. 241.
* ↑ Vide infra, p. 410.
* ↑ i.e. 'Ochone.' Chappell, p. 793.
* ↑ Chappell, p. 104. A different setting by Dr. Bull is in Cosyn's Virginal Book, p. 94. See also Add. MSS. 29,485, p. 34; 30,485, fol. 17b; 31,392, fol. 20; and Foster's Virginal Book, pp. 96 and 202; also infra p. 245. This and the next seven pieces are in Ward's List.
* ↑ In Ward's List this is called 'Fantasia upon a Plain Song.'
* ↑ Only one bar of the fifth section has been written in, the rest of the page is left blank. Chappell. p. 66. A copy of this is in Add. MSS. 31,403, which gives the name of Orlando Gibbons as the composer. See also Forster's Virginal Book. p. 118; Lady Nevell's Virginal Book, fol. 109; and Add. MSS. 30,485, fol. 67; also infra. No. 68.
* ↑ 'Vide the Galliard to this Pauen, pag. 27' (note in the MS.). In Cosyn's Virginal Book, p. 15. this Pavan and its Galliard have Cosyn's initials to them. It is mentioned in Ward's List.
* ↑ 'Vide p. 21.' This is the same composition as that on p. 21, attributed to Morley, but the copy on p. 21 wants the final section. Another setting (by Byrd) is in Forster's Book, p. 324, and in Cosyn's Book, p. 157.
* ↑ Ward calls this 'Praeludium to Gloria Tibi Trinitas.'
* ↑ This and the following three pieces are in Ward's List.
* ↑ There are two similarly named compositions by Bull in Add. MSS. 23,623, fol. 19, and 31,403 respectively, but all three are different.
* ↑ This composer is totally unknown.
* ↑ Written on the same plainsong as 'In Nomines' by Blytheman in Add. MSS. 31,403, and 30,485.
* ↑ In Ward's List.
* ↑ Chappell, p. 60. See also Cosyn's Book, p. 75.
* ↑ A curious little piece of eight bars for two Virginals.
* ↑ See vol. ii. p. 662a. This Pavan and the following Galliard also occur in Lady Novell's Book, fol. 92, and Will Forster's Book. p. 217. See also p. 142, No. 76.
* ↑ This celebrated piece has been often printed. Copies of it are in Lady Nevell's Book, fol. 149, and in Add. MSS. 31,403 and 30,485. and Forster's Book, p. 130. Chappell. pp. 137–140, 428.
* ↑ Chappell. pp. 53, 60–62. 196; a copy is in Lady Nevell's Book, fol. 46.
* ↑ A copy of this is in Lady Nevell's Book, fol. 153b, where it is called 'Hughe Astons grownde.'
* ↑ A copy of this is in Forster's Book, p. 244. A different setting is in Lady Nevell's Book, fol. 173b, of which a copy is also in Forster's Virginal Book, p. 366.
* ↑ Chappell, p. 69, where the melody is printed in Byrd's arrangement. A copy is in Lady Nevell's Book, fol. 166b.
* ↑ Chappell, p. 162.
* ↑ Ibid. p. 209.
* ↑ A different setting from that contained in p. 74, v. supra. Copies in Lady Nevell's Book, fol. 109 and Add. MSS. 31,403. See also Will Forster's Virginal Book, p. 118.
* ↑ See No. 1. Other copies of this setting are in Lady Nevell's Book, fol. 31, and Will Forster's Book, p. 74.
* ↑ See vol. ii. p. 662a.
* ↑ In the margin is the following note (part of which has been cat by the binder); 'The first one Philips made.'
* ↑ Part of p. 176, and pp. 177, 178, 179, and 180 are blank. The numeration of the pieces leaves off here.
* ↑ This piece consists of seventeen quite short sections. At the foot of p. 189 is written 'Perge.'
* ↑ Chappell, p. 110. Occurs in Lady Novell's Book, fol. 1426.
* ↑ In Ward's List.
* ↑ In Add. MSS. 30,485, a collection of Virginal Music headed 'Extracts from Lady Nevil's Music Book,' but containing much besides, is a 'Felix Namque' by Tallis, against which (in a later hand) is written '1562. In the Virginal Book,' but this is a different composition from either this or the following.
* ↑ A copy of this, entitled 'Felix Numquam,' is in Forster's Virginal Book (p. 24) with no composer's name to it. Another 'Felix Namque' is in Benjamin Cosyn's Book (p. 150); this is different from any of the above, bringing up the number of Tallis's settings to four. (See vol. iv. p. 54.)
* ↑ No. 4 of Giles Farnaby's 'Canzonets to Foure Voyces' (1598) is 'Daphne on the Rainebow.'
* ↑ Chappell, pp. 456, 782, 794.
* ↑ In Ward's List.
* ↑ Ibid.
* ↑ Add. MSS. 31,392 (fol. 35) has 'Dowland's Lachrymae' in lute tablature. The tune is to be found in nearly every Elizabethan collection, and is frequently alluded to by writers. It occurs at fol. 71a of Add. MSS. 30,485, and a setting by Cosyn is in his Virginal Book, p. 8. See Chappell, p. 92, and infra.
* ↑ Occurs as 'Hardings Galliard,' without Byrd's name, Forster's Book, p. 380. Two fancies by James Harding are in Add. MSS. 30,485, ff. 47 and 50.
* ↑ In Ward's List.
* ↑ Occurs at fol. 113a of Lady Nevill's Book. A copy is in Add. MSS. 31,403.
* ↑ Chappell, p. 233. In Add. MSS. 23,623 is (fol. 13b) 'Bonni well Robin van Doct. Jan Bull,' dated Jan. 18, 1627.
* ↑ Vide supra, No. 35, to which this is a different setting.
* ↑ Vide supra, No. 31. A copy is in Forster's Book, p. 288.
* ↑ A copy is in Forster's Book, p. 302.
* ↑ This and the following four pieces are in Ward's List.
* ↑ This occurs in Add. MSS. 23,623 (fol. 49b), where it is entitled 'Het Juweel van Doctor Jan Bull quod fecit anno 1621. December.' Ward, who prints a list of the contents of this version inserts the date '12,' before the name of the month. A slightly different version occurs at p. 124 of Cosyn's Virginal Book.
* ↑ Chappell. pp. 240, 776.
* ↑ Ibid. p. 793.
* ↑ In Ward's List.
* ↑ At fol. 17b of Add. MS. 23,623 is a different setting of this air entitled 'Rose a soils van Joan (sic) Bull Doct.' The sections of this piece are termed 'variations.'
* ↑ Chappell, p. 74.
* ↑ Occurs under the name 'Leualto' at p. 20 of Forster's Virginal Book.
* ↑ Chappell, p. 86. See Forster's Book (p. 70).
* ↑ Chappell, p. 793. This tune, the Irish origin of which is denoted by its name ('Colleen oge asthore') is referred to in Shakespeare's Henry V. Another copy is at fol. 96b of Add. MSS. 30,485.
* ↑ Chappell, pp. 114 and 770. Occurs under the name 'Lord Willobies welcome home,' at fol. 46b of Lady Nevill's 'Virginal Book' and at p. 22 of Forster's Book. Against the bass line is written in the margin '300 to S. T. by Tom.'
* ↑ Vide infra, p. 401.
* ↑ In the margin is written 'the first t(hat) euer hee m(ade).' The etters in brackets have been cut by the binder.
* ↑ Chappell, pp. 123 and 771. Another copy is at p. 46 of Cosyn's Virginal Book, where it is signed with his initials.
* ↑ Chappell, p. 793.
* ↑ Ibid. p. 136. Occurs at p. 460 of Forster's Book.
* ↑ Against the first line in the margin is written 'F. Tr.'
* ↑ This and the four following pieces are in Ward's List.
* ↑ In Ward's List.
* ↑ Ibid.
* ↑ In the margin are some words which Mr. Chappell reads 'R. Rysd silas.'
* ↑ In Ward's List.
* ↑ Chappell, p. 76.
* ↑ In the margin is written 'Mrs. Katherin Treglan's Pauen.'
* ↑ Ward calls this 'Fantasia with 23 Variations upon Ut, re, mi, fa, sol, la.'
* ↑ Chappell. pp. 171. 772.
* ↑ Ibid. pp. 173, 708, 772.
* ↑ Ibid. pp. 196, 773
* ↑ Burney says this is the same as 'The Marche before the Batell' at fol. 13b of Lady Nevell's Book.
* ↑ In the margin is written 'Vied P. Philippl scrp. la medesima fuga, pag. 158.' The subject is the same as that of Philips' Fantasia (No. 84). Against the third line is written '… (illegible) ls fuga e fuggira.'
* ↑ In Ward's List. A copy is In Cosyn's Book, p. 199.
* ↑ Chappell, p. 196. Same air as No. 59 (p. 108). See Lady Nevell's Book, fol. 46.
* ↑ In Ward's List.
* ↑ Chappell. p, 158.
* ↑ Ibid. pp. 177, 789.
* ↑ Rossiter published a volume of 'Consort Lessons' in 1609.
* ↑ In the margin is written 'Vedi Mor. 287.' This refers to a curious piece of plagiarism, section 3 of Morley's Pavan, on p. 287, being nearly identical with section 3 of Farnaby's on p. 400.
* ↑ At p. 59 of Cosyn's Book is a setting of this air signed 'B. C.,' and at fol. 95b of Add. MSS. 30,485 is another by Bull. Vide supra, p. 279.
* ↑ Vide supra, p. 222.
* ↑ The air of this is the same as that of No. 19.
* ↑ Chappell, p. 23.
* ↑ A copy of numbers 3, 4, and 5 is in the Christ Church Library. Oxford. This curious piece was known as 'Mr. Byrd's Battle.' At fol. 29b occur the words: 'Tantara tantara, the battels be joyned.' See [[A Dictionary of Music and Musicians/Musical Libraries#422|vol. ii. p. 422a; vol. iii. pp. 35b and 644a. Hawkins, vol. iv. 386.
* ↑ Queen Elizabeth's Virginal Book, no. 59.
* ↑ Forster's Virginal Book, p. 217. Queen Elizabeth's Book, no. 56.
* ↑ Queen Elizabeth's Book. no. 67.
* ↑ A copy of this is in Add. MSS. 31,403.
* ↑ Queen Elizabeth's Book, no. 68. Forster's Book, p. 74. Add. MSS. 30, 485.
* ↑ On fol. 145b is written: 'Here is a falte, a pointe left out wch ye shall finde prickte, after the end of the nexte songe, upon the 148 leafe.' Queen Elizabeth's Book, p. 194.
* ↑ Forster's Book, p. 22.
* ↑ Queen Elizabeth's Book, no. 58. Forster's Book p. 130. Add. MSS. 31,403, and 30,485.
* ↑ Queen Elizabeth's Book, no. 66.
* ↑ Queen Elizabeth's Virginal Book, p. 120.
* ↑ Forster's Book, p. 366. A different setting in Queen Elizabeth's Book, p. 114.
* ↑ i.e. a Lavolta.
* ↑ This composition is attributed in Queen Elizabeth's Book to Tallis, and dated 1564: the name should be 'Felix Namque.'
* ↑ The first note only has been written in. In the Table of Lessons, this composition is attributed to Byrd.
* ↑ In the 'Table' called 'Walsingham' only.
* ↑ A mistake is made in the pagination here. Pages 118 and 119 are the same.
* ↑ 1n the Table this is called 'Ground.' It is the well-known 'Carman's Whistle.'
* ↑ 'The 5th and last of the 103 Psalme.'
* ↑ 'The 1 of the 51 Psalme.'
* ↑ '2 of ye 51 Psalme.'
* ↑ 'The last of the 51 Psalme.'
* ↑ 'Marcthant's Dreame' (Table).
* ↑ 'Byrd'(Table).
* ↑ A Pavan.
* ↑ 'The Galliard to it' (Table).
* ↑ 'Lachramy' (Table).
* ↑ Cosyn's name does not occur in the Index: no. 96 consists of a Te Deum, Benedictus, Kyrie, Creed, Magnificat, and Nunc Dimittis, and the whole service is attributed to Gibbons.
Appendix:
​VIRGINAL MUSIC. Vol. iv. p. 307 a. The account of the younger Francis Tregian (based upon that given in Polwhele's Cornwall, iv. 88–90) is incorrect. He was educated at Eu, and entered Douay Sept. 29, 1586. On the occasion of the visit of the Bishop of Piacenza, Aug. 14, 1591, he was chosen to deliver a Latin address of welcome. He left Douay on July 11, 1592, and was afterwards for two years chamberlain to Cardinal Allen, upon whose death in 1594 he delivered a funeral oration in the church of the English College at Rome. In a list of the Cardinal's household drawn up after his death, which is preserved in the Archives of Simancas, Tregian is described as 'molto nobile, di 20 anni, secolare, di ingenio felicissimo, dotto in filosofia, in musica, et nella lingua latina.' He returned to England, bought back his father's lands, and in 1608–9 was convicted of recusancy and committed to the Fleet. He died there, probably in 1619, owing the Warden above £200 for 'meate, drinke and lodging.' In his rooms at the Fleet a contemporary record states there were many hundred books. If it were not for the date of 'Dr. Bull's Jewel,' it might be conjectured that the Fitzwilliam Virginal Book was written by the younger Tregian while a prisoner in the Fleet. If this is impossible, there can be but little doubt that it was written by some of his associates, possibly by one of his sisters, who were in England with him.
[ W. B. S. ]