1. General

Time-signatures have been modernized with the originals given in prefatory staves or above the lowest stave, with deviations noted in the commentary. Changes of metre are preceded by double barlines, added editorially without comment where necessary. Original note-values and clefs are retained, except where noted in the commentary; original clefs are also shown in prefatory staves. Original barring is also retained, though it has been standardized where necessary and minor deviations have been corrected without comment. Beaming is modernized without comment, as is the grouping of symbols for rests. Repeat schemes are adjusted to bring them into line with modern practice; any resulting editorial bars created are marked with an asterisk (*). Other editorial additions are distinguished by small type or square brackets. Original slurs (generally denoting the lengths of vocal melismas) have also been retained, though they have not been added editorially (in an attempt to standardize their use) unless suggested by a similar passage; any editorial slurs are distinguished with a dash through them.

Accidentals have been modernized where necessary, with naturals cancelling flats and sharps; redundant accidentals have been omitted without comment. Editorial accidentals are placed above the stave and are assumed to last until the end of the bar unless cancelled. Where possible, instrumental/vocal designations are taken from the copy-text(s), or from a secondary source (including literary texts) where none are given in the copy-text(s). However, instrument(s)/voice type(s) are not often specified, particularly in manuscript sources; in such instances, an editorial designation is given in square brackets: unfigured continuo lines are designated [BASS/O/US]; figured bass parts are designated [BASSO CONTINUO]; vocal/instrumental parts are given a generic designation based on range: [CANTO/US], [TREBLE], [TENOR], [BASS/O/US] etc.

Several of the ballad tunes in this edition are given in a high tessitura in copy-text sources, impractical for modern performance: where this is the case the tune has been transposed to a more easily singable tessitura, without comment.

2. Titles and index numbers

Titles of vocal items are taken from the first line of text as it appears in The Cambridge Edition of the Works of Ben Jonson (CWBJ). Titles of instrumental items are taken from the copy-text(s), with secondary source titles given in round brackets and any editorial expansions of titles given in square brackets. Where no title is available from the source(s) an editorial one has been supplied usually based on the generic form of the piece. The titles of instrumental items are modernized and standardized (e.g. ‘Masque’ replaces ‘maske’ etc.); original titles are all given in commentary.

Each item in the Music Edition has been given an individual index number. First, the literary contexts are grouped by genre, Plays (P), Masques (M), and Non-Dramatic Verse (N), with works presented chronologically within each genre (obviously, only works for which music survives are counted). Second, the play, masque, or non-dramatic verse collection is listed by number (the earliest play is ‘1’ and so on). Third, the music item within that play, masque, or non-dramatic verse collection is listed in order (or, in the case of several masque dances, in the apparent order). Some items are further distinguished by being described as ‘settings’ or ‘versions’. A ‘setting’ refers to unrelated musical settings, e.g. two composers setting the same lyric; a ‘version’ refers to items that are directly related (or derivative), but that are distinct enough to merit separate transcription. Settings are distinguished in the index numbers by a forward slash followed by the (Arabic) number of the setting; versions are distinguished by a miniscule letter in round brackets. The two systems are combined when a setting survives in multiple versions. For example, P.2.1/2(b) (Full score   , MIDI   ) means that this is a Play song, from Play 2 (Poetaster), and is item 1 from that play (‘If I freely may discover’). There are multiple settings of that item (in this case, two), this is setting 2. Further, it is Version b (i.e. one of two related settings). Items which are appendices have the suffix ‘A’ (e.g. M.12.6A (Full score   , MIDI   )).

3. Copy-texts and sources

Where more than one source is available the copy-text will generally be the earliest source or that which appears to best represent the composer’s intentions (so far as this can ever be determined). The copy-text is always listed first under ‘Sources’ and preceded by a confirmatory symbol, §. All sources used in compiling this edition (i.e. given as ‘Source(s)’) have been described in the List of Sources section. London is the place of publication for all printed sources, unless stated otherwise.

Where it has been necessary to distinguish between sources – in the commentary entries (and in the text collations) – they are given a short form derived from the manuscript number or from the year of publication, for example: Oxford, Christ Church, Mus. 439 would be rendered as ‘439’, or Ferrabosco’s Ayres (1609) would be rendered as ‘1609’. The only exception to this is in N.2.1/1 (Full score   , MIDI   )–6, the various settings of ‘Drink to me only with thine eyes’, where to avoid confusion in the Collation the index numbers are used (N.2.1/1 (Full score   , MIDI   ) etc.), each of which in turn refers to a copy-text.

Lists of all known sources are given for each item. Each source has been consulted in person, and collated for the edition, unless stated otherwise. All sources for vocal items have been collated with the exception of items later than 1700, where cognates generally indicate reprints that offer no significantly new information beyond indications of popularity and dissemination (for example, the various reprints of ‘Drink to me only with thine eyes’, Setting 1, N.2.1/1 (Full score   , MIDI   )). Sources for popular or ballad tunes have also not been collated, though additional information about further sources (or secondary material relating to them) has been given where appropriate.

Where instrumental items exist both in consort versions and in versions for solo instruments only the consort version has been included in this edition. For the present purposes, a ‘consort version’ is here defined as an item evidently designed to be performed by two or more instruments, even though the source(s) may not preserve the complete arrangement (e.g. the two-part repertoire of masque dances, which would typically have been originally performed in five parts). In general, although all known solo versions of instrumental items have been consulted they have not been collated with consort versions. Complete source-lists are provided where items are found in sources not used for compiling the edition; they include details of any published transcriptions, editions, facsimiles, and sound recordings.

Because of the inherently subjective nature of reconstructions, it is beyond the scope of this edition to attempt reconstruction of instrumental items that now only survive incomplete (as in the two-part masque dance repertoire) or in solo arrangements. Editorial reconstructions have thus been limited to single parts.

4. Song texts

The texts of the vocal items have been modernized in line with those in CWBJ; this particularly applies to punctuation, which in musical sources is often inconsistent or absent. Literary texts found in musical settings can often differ to printed texts (i.e. folio or quarto editions of Jonson’s plays and masques etc.). In this edition, where significant audible differences occur in the text the reading given in the musical source(s) has been preferred. For example, Jonson’s text for M.6.5 (Full score   , MIDI   ) from Queens gives the opening line as ‘When all the ages of the earth’ but the music sources for the setting by Alfonso Ferrabosco II changes ‘When’ to ‘If’: the latter has thus been preferred. Where appropriate, significant textual divergences are given in the Collation; this has been done particularly where the source of the music setting appears to be earlier than any literary sources. In each case the principal literary source against which the text collation has been compiled is the relevant CWBJ edition. Entries in the text collations refer to the line number of the text (and not to bar numbers).

   In sources where additional stanzas are given in block text they have been editorially underlain beneath the first stanza, in italics. Exceptions to this are where several stanzas are given and to underlay them all would look ungainly (a note is also made in commentary). Text underlay of ballad tunes often requires a degree of licence in terms of shortening and lengthening some notes to fit the poetic metre, particularly where several stanzas are sung to the same tune/strain. In general, where several stanzas are available for ballad tunes (e.g. M.12.5 (Full score   , MIDI   ), ‘Cock Lorel would need have the devil his guest’) only one or two stanzas have been underlain to give the overall impression; a flexible approach in performance is essential.

   In the first stanzas of settings, italics are used to designate repetitions of text indicated by ://: signs etc. Square brackets are used to designate any editorial additions to texts, or where text has been added editorially to a voice (as in the Bassus of N.3.5 (Full score   , MIDI   ))

5. Ornaments

Manuscript collections of vocal music and instrumental music (particularly for lute or lyra-viol) from the late sixteenth and early seventeenth centuries often include ornament signs. The lack of such signs in printed collections should be understood as a limitation of printing technology rather than an indication of a divergent performance practice. Two types of ornaments are found, ‘graces’ and ‘divisions’. Divisions are longer melodic patterns where the notes of a given melody are literally divided into shorter ones. Graces are typically short melodic figures embellishing a single note; they can be are either written out in full of indicated by stylized ornament signs. These signs have been reproduced as faithfully as possible in the edition. Where appropriate, suggestions as to their realization have offered in small staves in the music text and/or in the textual commentary. It is important to note that the realization of ornament signs often depends on interpretation and context. While most signs have a reasonably stable meaning, the same sign can mean different things from one manuscript to another and indeed even within the same manuscript. Above all, context should dictate meaning. For detailed studies on interpretation and performance of ornaments and ornament signs and of the period, see Huws Jones, 1989, ii. 48–144 and Toft, 1992, 85–107.

6. Lute Parts

The lute parts are given in the original French tablature and in an editorial staff notation transcription. Tablature indicates the finger positions on the fretboard of instruments such as the viol or lute. It is particularly useful for beginners as it negates the need for having to cope with the complexities of staff notation (tablature notation is still widely used by guitarists). In French tablature frets are indicated by miniscule letters and the strings represented by the six lines of the stave; ‘a’ indicates an open string (i.e. one struck but not stopped by the left hand), ‘b’ indicates a string stopped at the first fret and so on; the letter ‘j’ was not used to avoid confusion with ‘i’, which is interchangeable with ‘y’ in some sources. Taking the pitch of the top string as g', from low to high, the tuning for a six-course lute is G, c, f, a, d', g' (known as Renaissance tuning); where extra bass courses are required the pitches have been supplied editorially in the prefatory staves. As many as ten courses may be required, which would give the following tuning, low to high: C, D, E, F, G, c, f, a, d', g'. In lute tablature the rhythms are indicated by rhythm signs or time-marks above the stave and are quarter of their equivalent value in staff notation:

etc.

In general, time-marks are not repeated unless the rhythmic value changes or unless confusion could arise from their omission.

The staff notation transcriptions of the tablature attempt to make clear the implied voice-leading and any held notes. Any such transcription (or transliteration) requires a good deal of interpretation on the part of the editor. All Lute references in the commentary are to the tablature, not to the staff notation transcription (which are, of course, entirely editorial). In commentary, tablature entries give the course in Roman numerals followed by the tablature letter in miniscule. Thus, ‘IIId’ indicates the tablature letter ‘d’ (i.e. the third fret) on course ‘III’ (i.e. the third course). Courses are counted from high to low. Diads and chords are indicated as follows: IId-IIId-IVa etc. Where a time-mark is implied it is given in parenthesis. For example, 43, Lute, 3–5: time-mark is quaver, (quaver, quaver) (15117) means that in source ‘15117’ at bar 43 of the Lute part quaver time-marks are implied for symbols 3–5, although it is only written for symbol 3; time-marks are described as they are in the source (not by their modern equivalents). Due to the difficulties associated with the interpretation of ornament signs for the lute repertoire, any signs given in the sources have been reproduced as accurately as possible in the tablature but have not been realized in the transcription; where necessary the signs are discussed in the textual commentary for the relevant item.

7. Format of entries

The following information is given, in the following order, for each item (where appropriate):

• Line reference: literary reference from the relevant edition in the CWBJ, giving line numbers and characters; for instrumental items tentatively associated with masques, line numbers refer to the most likely place of the music item within the masque text.
• Source(s): list of sources used for compiling the edition of that item, with the copy-text given first and prefaced by § in cases where more than one source is known. The following information is given (where available): Holding institution; page or folio no(s).; title or other information; composer attributions; nature of source, if different from the copy-text (e.g. if the copy-text is in five parts but the secondary source only has the outer parts); JnB number (if applicable). All information etc. given in quotation marks is taken from the source, otherwise it is editorial (square brackets are used where confusion could arise). Line breaks are indicated with a diagonal slash, /.
• Facsimile(s): details of published facsimiles of the source(s), where available.
• Comments: list of editorial emendations made or divergences between sources, as well as any information concerning compilation of the transcription/edition etc. See 8. System of Reference, below, for the layout of the commentary entries.
• Text collation: collation of aurally significant divergences etc. between the musical text(s) and that given in the relevant CWBJ edition.
• Source-list of uncollated concordances and cognates: where relevant, list of any sources that include arrangements for solo instruments etc. with a brief description of the source and any pertinent information (including facsimiles and editions).

8. System of Reference

Entries in the textual commentary are given in the following format: bar number, part/voice (abbreviations, below), symbol number in the bar (counting rests and tied notes), reading or other comment, with any source(s) given in round brackets (not given for single-source items). For clarity, abbreviations have been kept to the minimum.

Thus, 1, Bass, 1–2: semibreve f (29841; 4175) means that in bar 1 of the Bass part, symbols 1–2 are given as a semibreve f in sources ‘29841’ and ‘4175’ (source abbreviations are taken from manuscript numbers or from the year of publication in the case of a printed source. Source abbreviations for printed collections are not universal throughout the edition, and refer only to the item under discussion.

Pitch is indicated by the Helmholtz system (CC–BB, C–B, c–b, c'–b', c''–b'', etc., where c' = middle C) and references to accidentals are in their modernized form. Clefs are indicated by letter (c, g, or f) and number (lines on the stave, counting upwards), so the treble clef is g2, the alto c3, and the bass f2. Accidentals enclosed in brackets indicate that they are to be found either in the prevailing key-signature or as an accidental earlier in the bar, but not as an accidental immediately preceding the note concerned. ‘INV.’ is used to indicate a portion of a manuscript written from the end with the volume inverted.

COMMENTARY

PLAYS (P)

1. Cynthia’s Revels (1600)

P.1.1 (Full score   , MIDI   )   Slow, slow, fresh fount, keep time with my salt tears (H. Youll)

   Line reference: Echo: Q, 1.2.65–75

Source:

H. Youll, Canzonets to Three Voices (1608), no. 8: ‘Of 3. voyces.’

Facsimile: Early English Books Online

Collation:

75 withered] also given as ‘withered’ in Youll’s print, where it is rendered ‘with-ered’, despite the latter being sung to a single note; here the terminal e has been elided editorially, as it would be in practice

75 daffodil] Daffadill

P.1.2/1–2 (Full score   , MIDI   )    Oh, that joy so soon should waste!

   Line reference: Hedon: Q, 4.3.161–72

• P.1.2/1 (Full score   , MIDI   ): Oh, that joy so soon should waste!, Setting 1 (Anon.)

Source:

Oxford, Christ Church, Mus. 439, pp. 38–9: unattributed; JnB 571

Comments:

53, Bass, 2 (upper note): crotchet g, minim g implied by a slur

53, Bass, 3: crotchet (low D)

54, Bass: minim-rest after note 1

• P.1.2/2 (Full score   , MIDI   ): Oh, that joy so soon should waste!, Setting 2 (H. Lawes)

Source:

London, British Library, Add. MS 53723, fol. 5: ‘H: Lawes’; JnB 570

Comments :

25, Bass, 1: breve

Collation:

161 Oh, . . . waste!] O the Joyes that soone should wast (439)

162 Or so] O soe (439); of soe (53723)

168 Is] was (439)

169 than] then (439)

171 should . . . wishing] would . . . wisshinge (439); would (53723)

172 might die] might/maye dye (53723)

2. Poetaster (1601)

P.2.1/1–2 (Full score   , MIDI   )    If I freely may discover

Line reference: Crispinus and Hermogenes: 2.2.135–44, 150–9

• P.2.1/1 (Full score   , MIDI   ): If I freely may discover, Setting 1 (Anon.)

Source:

London, British Library, Add. MS 24665, fos. 59v–60: unattributed; JnB 701

Comments:

Stanza 1 (2.2.135–44) only

3, Bass, 2: F

16, Cantus, 2–3: f', b♭'

17, Cantus, 1–4: b♭', a', a', f'

18, Cantus, 1: minim-rest

19–22, Cantus & Bass: black notation (coloration), applies to minims

23, Bass: time-signature omitted

27, Bass, 1: e

30, Bass, 2: G

33, Bass, 1: crotchet

33, Bass: time-signature comes after this bar (between the B♭ and A); Mary Chan suggests that there is a bar missing here in the Cantus part, and another bar missing from the Bass after bar 35. She further suggests that the solution given here accounts for the bars ‘numerically . . . [but] makes unsatisfactory harmony’ (1980, 65–6).

34–6, Cantus & Bass: black notation (coloration), applies to minims

• P.2.1/2(a) (Full score   , MIDI   ): If I freely may discover, Setting 2 , Version a (H. Lawes)

Source:

London, British Library, Add. MS 53723, fol. 7: ‘Hen: Lawes’; JnB 702

Comments:

Stanza 2 (2.2.150–9) given in block text; stanza 2 does not fit exactly because half of lines 152 and 153 (‘and then frowning, Sometimes sickish’) were omitted. However, the setting seems to work better by repeating the final line of the first stanza rather than inserting the omitted line.

13, Cantus, 3: accidental omitted

27, Cantus, 2: a'

• P.2.1/2(b) (Full score   , MIDI   ): If I freely may discover, Setting 2 , Version b (H. Lawes)

Source:

New York, New York Public Library, Drexel MS 4257, no. 25: unattributed [Henry Lawes]; JnB 710

Comments:

Stanza 2 (2.2.150–9) given in block text; stanza 2 does not fit exactly and requires repetition of the final line of the first stanza. This is a more preferable solution than editorially adding line 157, which Lawes omitted.

Collation:

135 may] might (4257)

136 my] a (4257)

138 Savouring . . . than city] sauouring . . . then (24665); sav’ring . . . Citty (53723); Citty (4257)

139 pity] pitty (53723; 4257)

140 humorous] amorous (24665); Hum’rous (53723)

141 and] but (53723; 4257)

142 the] her (24665; 53723; 4257)

143 too, too] to (4257)

144 All] But all (24665); but still (53723; 4257)

144 barr’d] bard (53723)

150 allowed] alowd (53723); allow’d (4257)

151 So . . . used] Soe . . . usd (53723; 4257)

152–3 and then frowning, Sometimes sickish,] omitted (53723; 4257)

153 swowning] sowning (53723); sownding (4257). ‘Both are obsolete forms of sound but with different meanings, the former to swoon and the latter to become sound or healthy (OED)’ (Jorgens, 1986–9, 12.443)

157] line omitted (4257)

158 Thus] These (4257)

3. Eastward Ho! (1605)

P.3.1 (Full score   , MIDI   )     Sleep, wayward thoughts (J. Dowland)

Line reference: Gertrude: 1.2.7; ‘“Thus, whilst she sleeps I sorrow for her sake,” etc.’: sung snatch from ‘Sleep, wayward thoughts’: editorial setting for single voice given in headnotes.

Source:

J. Dowland, The First Book of Songs and Ayres (1597), no. 13

Facsimile: Early English Books Online

Source list of uncollated concordances and cognates:

Brussels, Bibliothèque Royale Albert 1^er/Koninlijke Bibliotheek Albert I, Section de la Musique, Fétis, F.3095 (II.4.109), pp. 12–13: Cantus, Altus, Tenor, and Bassus (only Cantus is texted)

Paris Conservatoire MSS Rés 1186, fol. 10v: Keyboard (untexted)

Edinburgh, National Library of Scotland, Music Dept, 9450, fos. 6v, 26v–7: Cantus and Tenor, only (texted)

Edinburgh, University Library, Main Library, La.III.488, p. 44: Cantus only (untexted)   

Edinburgh, University Library, Main Library, La.III.490 (John Squire’s MS), p. 71: Cantus only (texted)

London, British Library, Add. MS 15118, fol. 4v: ‘Sleepe wayward thoughts’; Cantus and Bassus only (incipit text only)

London, British Library, Add. MS 36526(A), fos. 3 (Tenor) and 9 (Bassus): ‘Sleep waiward thoughts’; unattributed; Tenor and Bassus only; incipit text only, not underlain; probably copied from 1597 print

Oxford, Bodleian Library, Mus. MS, F.7–10, fol. 7v: (texted) Cantus, Altus, Tenor, and Bassus

Perth, Sandeman Public Library, N.16 (manuscript copy of Forbes’s Songs and Fancies, first edition with additional music), no. 20

Dublin, Archbishop Marsh’s Library, Z4.3.1–5, fos. 1v–2: (untexted) Altus, Tenor, and Bassus only

Los Angeles, University of California at Los Angeles, William Andrews Clark Memorial Library, MS T 135Z B724 1677–89, fol. 67: Cantus (texted) and Bassus (untexted) only

J. Forbes, Songs and Fancies (Aberdeen, 1662; 1666; 1682), no. 20: ‘THE TVVENTY SONG’; unattributed; Cantus only; both additional stanzas given but not underlain; apparently derived from 1597 print. Facsimiles: Early English Books Online (1662; 1666)

J. Playford, A Brief Introduction to the Skill of Music (1660; 1662), p. 41: ‘For 2 Voyces Treble and Bass’ / ‘Mr. Dowland’: Cantus and Bassus (in score); same setting in both editions; barred in four beat units (Dowland’s original is in triple time). Facsimile: Early English Books Online

P.3.2/1 (Full score   , MIDI   )–2     When Samson was a tall young man (Tune: The Spanish Pavan)

Line reference: Quicksilver: 2.2.31–8; ballad parody

• P.3.2/1 (Full score   , MIDI   ): The Spanish Pavan, Setting 1

Tune with traditional ballad text, ‘When Samson was a tall young man’

• P.3.2/2 (Full score   , MIDI   ): The Spanish Pavan, Setting 2

Tune with Jonson’s parodic text, ‘When Samson was a tall young man’

Source:

P.3.3 (Full score   , MIDI   )   Mistress, since you so much desire (T. Campion)

Line reference: Gertrude: 3.2.35–6; “But a little higher, but a little higher, but a little higher, There, there, there lies Cupid’s fire’: sung snatch from refrain of ‘Mistress, since you so much desire’: editorial setting for single voice given in headnotes.

Source:

P. Rosseter, P. [and T. Campion], A Book of Ayres (1601), Book 1, no. 16   

Lost Source: New York, New York Public Library, Drexel MS 4175, no. vii: ‘Mrs Since you soe much’; listed in table of contents but missing from source; presumably for voice and unfigured bass.

Comments:

36, Bass Viol, 1: omitted

37, Lute, 2–3: time-mark is semiquaver, (semiquaver)

P.3.4/1–2 (Full score   , MIDI   )    His head as white as milk (Tune: The Merry Milkmaids)

Line reference: Gertrude: 3.2.64–8; parody song

• P.3.4/1 (Full score   , MIDI   ): The Merry Milkmaids, Setting 1

Tune with Shakespearean text, ‘And will he not come again?’

• P.3.4/2 (Full score   , MIDI   ): The Merry Milkmaids, Setting 2

Tune with Jonson’s parodic text, ‘His head as white as milk’

       Comments:

P.3.5   Now, Oh, now, I needs must part (J. Dowland)

Line reference: Quicksilver: 3.2.123–4 ‘“Now, Oh, now, I must depart; Parting though it absence move”’: (corrupt) sung snatch from opening line of ‘Now, Oh, now, I needs must part’: editorial setting for single voice given in headnotes

Source:

J. Dowland, The First Book of Songs and Ayres (1597), no. 6

Facsimile: Early English Books Online

Comments:

2, Cantus, 3: semibreve a', minim-rest

4, Cantus, 3: semibreve a', minim-rest

4, Altus, 3: semibreve f', minim-rest

6, Cantus, 3: semibreve a', minim-rest

10, Cantus, 3: semibreve d'', minim-rest

12, Cantus, 1: semibreve a', minim-rest

14, Cantus, 3: semibreve a', minim-rest

8, 15, All parts, 1: breve, breve (the second breve is filled in; i.e. half the value)

Source list of uncollated concordances and cognates:

Brussels, Bibliothèque Royale Albert 1^er/Koninlijke Bibliotheek Albert I, Section de la Musique, Fétis 3095 (II.4.109), pp. 6–7

Cambridge, Fitzwilliam Museum, MS 52.D.25: Bassus only (untexted)

London, British Library, Add. MS 36526(A), fos. 7v (stanza 1; block text), 2v (Altus) and 8v (Bassus): ‘Now o now’; unattributed; text not underlain, incipit only; Altus and Bassus only

Oxford, Christ Church, Mus. 439, p. 45: ‘Dowland: 1^st Book of Ayres’ [later hand, in ink]; Cantus and Bassus only; stanzas underlaid as in the 1597 print. Facsimile: Jorgens, 1986–9, 6

Perth, Sandeman Public Library, N.16 (manuscript copy of Forbes’s, Songs and Fancies first edition with additional music), no. 47; unattributed; Cantus only

London, British Library, Add. MS 29291, fos. 22r–v: Cantus, Altus, Tenor, and Bassus (in score)

Oxford, Bodleian Library, Mus. MS, fos.7–10, fol. 5v

Dublin, Archbishop Marsh’s Library, Z4.3.1–5, Q4: Altus, Tenor, and Bassus only (untexted)

J. Forbes, Songs and Fancies (1662), no. 47: ‘THE FOURTYSEVENTH SONG.’; unattributed; Cantus only; stanzas underlaid as in the 1597 print. Facsimile: Early English Books Online

P.3.6 (Full score   , MIDI   )   O hone, hone, o no nera (Tune: Franklin is fled away)

Line reference: Gertrude: 5.1.6; ‘O hone, hone, o no near, etc.’: possibly sung snatch

Source:

P.3.7/1–2 (Full score   , MIDI   )    In Cheapside, famous for gold and plate (Tune: Labandala Shot)

Line reference: Quicksilver: 5.5.40–112 [40–9; 53–60; 62–3; 67–75; 84–93; 103–12]; parody song, ‘To the tune of “I wail in woe, I plunge in pain”’

• P.3.7/1 (Full score   , MIDI   ): Labandala Shot, Setting 1

Tune with traditional ballad text, ‘I wail in woe’

• P.3.7/2 (Full score   , MIDI   ): Labandala Shot, Setting 2

Tune with Jonson’s parodic text, ‘In Cheapside famous for gold and plate’

Source: Tune adapted from Ward, 1957, 173–4   

4. Volpone (1606)

P.4.1 (Full score   , MIDI   )   Come, my Celia, let us prove (A. Ferrabosco II)

Line reference: Volpone: 3.7.165–82; final quatrain? 236–9, see below

Sources:

§ A. Ferrabosco II, Ayres (1609), no. 6

London, British Library, Add. MS 15117, fol. 20v: unattributed; Cantus and Lute only; JnB 446

Comments:

The 15117 version derives closely from 1609, although only the Cantus and Lute parts were copied. Bars 14–26 are a repeat of bars 1–13 with only a slight modification, in bar 22. The 15117 copyist did not write out the repeat, rather he underlaid it below the first stanza; it is written out in full in 1609.

10, Lute, 3–4: IId-IIId-Iva, IIc (1609; 15117)

11, Lute, 1–2: IId-IV1-Vc, Va (1609; 15117)

31, Lute, 4: time-mark is semiquaver (15117)

35, Cantus, 3–4: accidental omitted (15117)

42, Cantus: indication omitted (1609)

43, Lute, 3–5: time-mark is quaver, (quaver, quaver) (15117)

43, Lute & Bass, 4: f♯ (1609; 15117); a root position cadence is implied, though the Lute and Bass have the dominant chord in first inversion in both sources:

In the Lute part this can be easily explained, as the d on beat 3 could be tied into beat 4 with the f♯ thus being an inner part to the chord. The implication is that the Bass part was derived from the Lute part, and not conceived independently.

56, Lute, 1: omitted (15117)

57, Cantus, 1: breve (15117)

57, Bass, 1: breve

57, Cantus, 1: long (1609)

Collation:

166 can, the sports] may the sweets (1609; 15117)

171 if once we lose] if we once lose (1609; 15117)

180 thefts] theft (1609; 15117)

5. Epicene (1609)

P.5.1/1–2 (Full score   , MIDI   )    Still to be neat, still to be dressed

Line reference: Boy: 1.1.71–82

• P.5.1/1 (Full score   , MIDI   ): Still to be neat, still to be dressed, Setting 1 (W. Lawes)

Sources:

§ New York, New York Public Library, Drexel MS 4041, fol. 45v: ‘Ben Jonson’ [pencil; Edward Rimbault, a nineteenth-century owner of 4041]; unattributed [William Lawes]; JnB 598

New York, New York Public Library, Drexel MS 4257, no. 179: ‘M^r William Lawes’; JnB 599

Comments:

Stanza 2 (1.1.77–82) not underlain, given in block text (4041; 4257)

1, Bass: time-signature is (4257)

9, Bass, 4: B♭ (4257)

10, Cantus & Bass: omitted (4257)

• P.5.1/2 (Full score   , MIDI   ): Still to be neat, still to be dressed, Setting 2 (Anon.)

Source: Playford, J. (1669), The Treasury of Music, Book 2, p. 51: ‘On a Proud Lady’; unattributed

Facsimile: Early English Books Online

Comments:

Stanza 2 (1.1.77–82) not underlain, given in block text

Collation:

71 dressed] drest (4041; 4257; 1669)

72 were] weare (4041; 4257)

73 powdered, still perfumed] powderd, & still perfumd (4041); powder’d and still perfum’d (4257); powder’d . . . perfum’d! (1669)

74 it is] ’tis (4257)

79 loosely flowing, hair] loosly flowing & haire (4041); loosly (4257; 1669)

80 neglect] neglects (4041; 1669)

81 Than] Then (1669)

81 th’adulteries of] th: adulterous wayes of (4041); the adulterate wayes of (4257); th’Adult’ries (1669)

82 They strike] Those strike pleas (4257)

82 mine eyes] my Eyes (1669)

6. Catiline His Conspiracy (1611)

P.6.1/1–2 (Full score   , MIDI   )    It is decreed. Nor shall thy fate, O Rome

Line reference: Catiline: 1.1.73–97

• P.6.1/1 (Full score   , MIDI   ): It is decreed. Nor shall thy fate, O Rome, Setting 1 (S. Pepys and J. Hingeston)

Source:

Cambridge, Magdalene College, Pepys Library MS 2803, fos. 108v–11v: Samuel Pepys (Bassus) and John Hingeston (Basso continuo); JnB 562

Comments:

14, Bassus, 5–6: f, e

• P.6.1/2 (Full score   , MIDI   ): It is decreed. Nor shall thy fate, O Rome, Setting 2 (C. Morelli)

Source:

Cambridge, Magdalene College, Pepys Library MS 2591, fos. 41–3v: Cesare Morelli; JnB 561

Comments:

14, Bassus, 4: a

Collation:

76 Ay, . . . Alps] I; . . . Alpes (2591); I . . . Alp’s (2803)

81 me chides] mee chid’s (2803)

85 Equal . . . could] equall . . . can (2591; 2803)

87 doth heaven?] does Heav’n? (2951); does Heav’n (2803)

88 marked] mark’d (2591; 2803)

89 By her no voice . . . candidate] of her Novoice . . . Candidate (2591); of her noevoice . . . Candidat’ (2803)

90 Pontic War?] Pontick war? (2951); Ponticq warr? (2803)

92 she can lose . . . lose] shee can loose . . . loose (2951); she can loose . . . loose (2803)

94 Dig me a seat . . . again] dig mee a Seat . . . again (2591); dig me a Seate . . . againe (2803)

95 burden] burthen (2591; 2803)

96 than] then (2803)

97 That she hath teemed] that ere shee teem’d (2951); that ere she teem’d (2803)

7. Bartholomew Fair (1614)

P.7.1/1–2 (Full score   , MIDI   )    My masters and friends and good people, draw near

Line reference: Nightingale and Cokes: 3.5.10, 56–138; ‘My masters and friends, and good people draw near’: ballad

• P.7.1/1 (Full score   , MIDI   ): Packington’s Pound, Setting 1

Tune with unidentified Dutch text, ‘Godin wiens min mijn zinnen altijd’ (‘Goddess whose less my senses’)

• PS7.1/2: Packington’s Pound, Setting 2

Tune with Jonson’s text, My masters and friends, and good people draw near)

Source:

Tune adapted from Jan Janszoon Starter, Friesche Lust-Hof (Amsterdam, 1621), p. 10: ‘Peckingtons pond’: four additional strains are given

8. The Devil Is an Ass (1616)

P.8.1(a (Full score   , MIDI   )–e)   Have you seen but a white lily grow (?R. Johnson). See also N.3.2 (Full score   , MIDI   )

Line reference: Wittipol: 2.6.104–13

Comments:

P.8.1(a (Full score   , MIDI   )–e) are five related versions derived from a common model. There are slight variants in text alignment in each version, especially where vocal embellishments have been written out: these have been silently corrected. Only P.8.1(a) (Full score   , MIDI   ) has ‘but’ in line 106 (i.e. ‘Have you marked but the fall of the snow’); this has been editorially added to all of the other versions.

• P.8.1(a) (Full score   , MIDI   ): Have you seen but a white lily grow, Version a

Source:

London, British Library, Add. MS 15117, fol. 17v: unattributed; JnB 17

Comments:

2, Cantus, 3: g'

3, Cantus, 8: dotted-semiquaver

3, Lute, 1–2: time-mark is dotted-quaver, semiquaver

5, Lute, 1–2: time-mark is quaver, (quaver)

6, Cantus, 3–6: all semiquavers

7, Lute, 1–2: time-mark is quaver, (quaver)

13, Cantus, 4: omitted

13, Lute, 1–2: no time-mark given, implying continuation of previous time-mark (i.e. quaver, quaver)

15, Cantus, 4–5: crotchet d''

15, Lute, 1: Id-IIa-Vc; no time-mark given, implying continuation of previous time-mark (i.e. quaver)

18, Lute, 1: no time-mark given, implying continuation of previous time-mark (i.e. quaver)

20, Lute, 2: IIa-IIIb-Iva-Vc-VId

23, Cantus, 3: semibreve

23, Lute, 1–4: time-mark is quaver, (quaver), crotchet, (crotchet)

• P.8.1(b) (Full score   , MIDI   ): Have you seen but a white lily grow, Version b

Sources:

§ Edinburgh, University of Edinburgh, Centre for Research Collections Mus. m. 1 (formerly Reid Music Library, P637 R787.1) (Magdalen Cockburn MS), fos. 51v–2 (INV.): unattributed

New York, New York Public Library, Drexel MS 4175, no. xlix: ‘Haue y^u seene y^e: violl’ (contents list); unattributed; JnB 26   

London, British Library, Add. MS 29481, fol. 21: unattributed; JnB 19   

Comments:

P.8.1(b) (Full score   , MIDI   ) and P.8.1(c) (Full score   , MIDI   ) are closely related, although 29481 contains several notable text variations (see Text collations, below).

Time-signature is omitted (29841)

1, Cantus, 4: b♭' (P637)

1, Bass, 1–2: semibreve f (29841; 4175)

2, Cantus, 1–3: dotted-crotchet c'', quaver f' (29841; 4175); text as follows (29841):

2, Bass, 1–2: minim f (29841; 4175)

2, Bass, 3: dotted-crotchet f, quaver e (P637)

4, Cantus, 1: crotchet, quaver-rest (29841)

4, Cantus, 4: accidental omitted (29841)

4, Bass, 1–3: dotted-minim d (P637)

5, Cantus, 1–2: crotchet, crotchet (P637)

6, Cantus, 1: dotted-crotchet (4175)

6, Cantus, 9: accidental omitted (4175; 29841)

7, Bass, 1–2: semibreve c (4175; 29841)

8, Bass, 1–2: dotted-crotchet A (4175; 29841)

9, Cantus, 1–2: crotchet, crotchet (P637)

9, Cantus, 4–5: f' f' (4175; 29841; P637)

10, Cantus, 4–7: crotchet g' (4175; 29841)

10, Bass, 1: A (P637)

11, Bass, 2: F (4175; 29841)

12, Cantus, 2–3: minim d'' (P637)

12, Bass, 2–3: minim g (4175; 29841)

13, Bass, 2–3: minim c (4175; 29841)

14, Cantus, 2: f' (P637)

14, Bass, 1: dotted-crotchet f, quaver e♭ (P637)

14, Bass, 2–4: minim B♭ (4175; 29841)

15, Cantus, 1–2: crotchet d'' (P637)

15, Bass, 1: b♭ (4175; 29841)

15, Bass, 2–3: A, F (P637)

16, Bass, 2: f (4175; 29841)

18, Cantus, 1–2: dotted-minim g' (4175; 29841)

19, Bass, 1: A (P637)

20, Cantus, 1: minim d'', crotchet-rest (4175; 29841)

20, Bass, 1–2: dotted-minim B♭, crotchet A (P637)

22, Cantus, 1: crotchet-rest (4175; 29841)

22, Cantus, 2–4: slur omitted (4175; 29841)

22, Bass, 1–2: dotted-crotchet A, quaver B♭ (4175; 29841)

22, Cantus & Bass, 1: fermata omitted (P637)

• P.8.1(c) (Full score   , MIDI   ): Have you seen but a white lily grow, Version c (cf. 8.1(b))

Source:

Oxford, Christ Church, Mus. 87, fos. 4v–5: unattributed; JnB 23

Comments:

This ornamented version is of particular interest, as it demonstrates how the basic outline of a song could be ornamented by contemporary (presumably professional) performers. Such a setting reflects the difficulty in notating an extemporized performance in staff notation. Thus, the version has been only lightly edited with little effort made to regularize the ornaments to fit into the duple time metre. This results in several bars containing extra beats (the difficulty involved in fitting the Cantus to the harmonic Bass is indicative of aural transmission). Some extra beats have been editorially interpreted as tuplets (bar 25). Others (bars 9, 14, and 22) have been allowed to stand but with additional editorial beats in the Bass part indicated by small font and dotted ties; these represent the underlying harmony of the ornaments. The manuscript in which the setting is found contains several ornamented songs, of which this setting is one of the most detailed.

3, Cantus, 4: dotted-quaver

9, Cantus, 4–7: semiquavers

11, Cantus, 4–5: f', f'

14, Cantus, 3: accidental omitted

15, Cantus, 4–7: semiquavers

16, Cantus, 2: f'

20, Cantus, 4: quaver a', quaver a'

21, Cantus, 1–4: interpretation as grace notes is editorial

23, Cantus, 1–2: interpretation as grace notes is editorial

23, Cantus, 10: crotchet-rest

26, Cantus, 4–5: semiquavers

• P.8.1(d) (Full score   , MIDI   ): Have you seen but a white lily grow, Version d

Source:

Los Angeles, University of California at Los Angeles, William Andrews Clark Memorial Library, C6967M4, no. 12: unattributed

Comments:

Similar to P.8.1(b) (Full score   , MIDI   ); this version seems to be a slightly corrupt copy, though the variants may also be indicative of the apparently significant role played by aural dissemination in this song’s transmission.

4, Cantus, 2: c''

6, Cantus: the syllable ‘lling’ is given under the repeated g′ quavers but is crossed out; it has been retained here due to the repeated note

7, Cantus, 3: f'

14, Cantus, 3: c''

14, Bass, 3: c

16, Cantus, 5: a'

17, Cantus, 1: the copyist originally wrote ‘smellt’ but realized the error immediately, crossed it out and wrote ‘tasted’ (before any music had been copied)

As one often finds in manuscript copies of the poem (but not in the musical settings), the copyist of P.8.1(d) (Full score   , MIDI   ) also wrote a parodic version of the stanza in block text following the setting (here modernized), which has been editorially set to the music of P.8.1(d) (Full score   , MIDI   ) below:

Have you seen the black little maggot

That creeps upon a dead dog?

Or an old woman with a faggot

A-smothering of a hedgehog?

Have you seen cow’s bobby toasted?

Or a sheep skin, roasted?

Or have smelt to the babe

In the whittle or a leper in the spittle?

Or have tasted the savine tree?

Oh, so black! Oh, so foul! Oh, so rough!

Oh, so foul is she!

Another example of this parodic verse is found in Oxford, Bodleian Library, MS Eng. Poet. F. 25, a small upright quarto manuscript commonplace book in several hands, with texts in English and Latin. It was probably begun towards middle of seventeenth century, with several later additions (some are dated 1718 and 1719); fos. 63–7 contain the texts – no music – for nine songs (numbered 1–9), and headed ‘Songes’. Jonson’s original text for ‘Have you seen but a white lily grow’ is no. 4 (fol. 64v), which is followed by the parody (here modernized):

Have you seen a black-headed maggot

A-crawling upon a dead dog?

Or an old, old witch, with a faggot

A-swealing of a hedgehog?

Have you smelt cow’s bobby toasted?

Or a sheep’s skin roasted?

Have you smelt to the babe in the whittle

Or the leaper in the spittle?

Have you tasted the saven tree?

Oh, so black! Oh, so rough! Oh, so sour!

So sour is she!

Presumably a "cow's bobby" is its udders; the "saven tree" is a species of juniper, with poisonous leaves used for procuring abortions.

• P.8.1(e) (Full score   , MIDI   ): Have you seen but a white lily grow, Version e

Sources:

Dublin, Trinity College, MS 412, fol. 31v (Cantus); unattributed; JnB 30   

Edinburgh, University Library, Main Library, MS La.III.483, p. 201 (Bass): ‘Have you seen but a bright lillie grow’: unattributed; JnB 35

Comments:

The Cantus part is written in a secretary hand; the version is highly ornamented but rhythmically difficult to sort out, as a literal transcription results in uneven bars etc.; it is similar to P.8.1(c) (Full score   , MIDI   ): both are heavily ornamented. The ornamentation in this version suggests a professional singer. The difficulty in aligning the two parts is strongly indicative of aural transmission.

The text is not aligned well in 412, thus, positioning of some words done in consultation with other versions.

All grace notes are given full-size in 412: all grace note slurs are editorial.

2, Cantus, 3, 6–9: semiquavers

6, Cantus, 7: crotchet

6, Cantus, 12: c''

8, Cantus, 1–8: semiquaver, semiquaver, dotted quaver, semiquaver, semiquaver, semiquaver, semiquaver, semiquaver

8, Cantus, 15: quaver; the dot is misplaced before the note

9, Cantus, 1: semiquaver

10, Cantus, 1–2: b(♭)′, c′′

10, Cantus, 6–13: semiquavers

11, Cantus, 1–4: semiquavers

11, Cantus, 7: minim

12, Cantus, 4–5: dotted-quaver, semiquaver

13, Cantus, 1: crotchet

15, Cantus, 1–2: crotchet d''

15, Cantus, 8–15: semiquavers

16, Bass, 1–2: crotchet, crotchet

17, Cantus, 2–3: semiquaver f', semiquaver f'

18, Cantus, 1: semibreve

19, Bass, 1: minim

20, Bass, 2–3: crotchets

21, Cantus, 1–3: semiquaver, semiquaver, crotchet

23, Cantus, 1–8: semiquavers

24, Cantus & Bass, 1: breves

Collation :

104 but a] the (4175)

104 but a bright lily grow] the white lillie flower (29481); the white lilly grow (87)

104 bright] Whyte (15117)

105 have touched] had toucht (15117); hath toucht (412); had touch (87)

105 touched] toucht (4175; 29481; C6967M4); tucht (P637)

106 marked] markt (15117; P637); mark’t (412)

106 marked but] markt (4175; 29481; C6967M4; 87)

107 soil hath smutched] earth hath smutcht (4175; C6967M4; 412); earth haue smutcht (29481); earth hathe smutcht (15117); soil had smutcht (87); earth haue smatcht (P637)

108 o’the beaver] of beauer (4175; 29481; 15117; C6967M4; 412; 87); of bever (P637)

110 Or have smelt] ore haue smelde (P637)

110 o’the bud o’the] to the budde of the (4175; 87); to the bud of the (29481; C6967M4); of the bud of the (15117, 412; P637)

111 i’the] in the (15117; 4175; 29481; C6967M4; 412; 87; P637)

112 Or have] have you (87)

112 tasted] tased (P637)

112 o’the] of the (15117; 4175; 29481; C6967M4; 412; 87; P637)

113 is] was (87)

9. The Sad Shepherd (1641)

P.9.1/1–2 (Full score   , MIDI   )   Though I am young and cannot tell

Line reference: Karolin: 1.5.65–80

• P.9.1/1 (Full score   , MIDI   ): Though I am young and cannot tell, Setting 1 (J. Wilson)

Source:

Oxford, Bodleian Library, MS Mus.b.1, fos. 137v–8: ‘John Wilson’; JnB 718

Comments:

5, Cantus 1, 1: e''

9, Bass, 1–3: crotchet f, crotchet d

13, Cantus 2, 3: quaver

17, Cantus 1 & 2, Bass, 1: minim

30, Bass, 1: e

31, Cantus 1, 1: d''

31, Cantus 2, 2: b'

38, Cantus 1, 1: e''

• P.9.1/2(a) (Full score   , MIDI   ): Though I am young and cannot tell, Setting 2 , Version a (N. Lanier)

Sources:

§ J. Playford, Select Musical Ayres and Dialogues (1652), Book 2, 24   

J. Playford, Select Musical Ayres and Dialogues (1653), Book 3, [24] (mis-numbered 21): ‘a.3.voc.’ / ‘Cantus Primus’ / ‘Cantus Secundus’ / ‘Bassus’; ‘Mr. Nicholas Lanneare’

J. Playford, Select Ayres and Dialogues (1659; rpt. as The Treasury of Music, 1669, Book 1), 92: ‘A. 3. Voc.’ / ‘Cantus Primus’ / ‘Cantus Secundus’ / ‘Bassus’; ‘Mr. Nicholas Lanneare’

Playford, J. (1672), Introduction to the Skill of Music, Book 1, 68: ‘A 2 Voc.’/ ‘TREBLE’ / ‘BASSE’ [i.e. lacks Cantus Secundus]; ‘N. L.’

Facsimiles: Early English Books Online (1652; 1653; 1659; 1667; 1669; 1672)

Comments :

Lines 65–72 only (1652; 1653; 1659/1669; 1672)

t-s: 3 [Cantus Primus & Secundus, and Bassus] (1653), [Bassus] (1672); 3 [Cantus Primus & Secundus, and Bassus] (1659/1669), [Cantus Secundus] (1672)

1, Cantus Primus & Secundus, 1–4: slurs omitted (1652)

6, Cantus Secundus, 2: f♯' (1652; 1653; 1659/1669)

7, Bassus, 2: G (1652; 1653; 1659/1669; 1672)

9, Cantus Primus, 3: e♭' (1672)

11, Cantus Primus, 2: b♭' (1652; 1653; 1659/1669; 1672)

13, Bassus, 1–3: semibreve B♭, crotchet B♭, crotchet f (1672)

15, Bassus, 1–3: semibreve f♯, crotchet f♯, crotchet g (1672)

16, Bassus, 2: B♭ (1672)

17, Cantus Primus, 1–4: dotted-minim e♭'', crotchet b♭' (slurred to), minim a' (1672)

17, Bassus, 1–2: minim c, semibreve d (1672)

• P.9.1/2(b) (Full score   , MIDI   ): Though I am young and cannot tell, Setting 2 , Version b (N. Lanier)

Sources:

§ J. Hilton, Catch that Catch can: or The Musical Companion (1667), 216–17 (Altus; Tenor; Medius; Bassus); ‘A. 4. Voc.’; ‘Mr. Lanneare.’      

Playford, J. (1673), The Musical Companion, 202–3 (Cantus Primus; Cantus Secundus; Medius; Bassus); ‘a. 4. Voc.’; ‘Mr. N. Lannear.’    

Glasgow, Euing Music Library, MSS R.d.58–61, fos. 45 (INV.) (‘Altus’), 32v (INV.) (‘medius’), 43 (INV.) (‘Tenor’), 32 (INV.) (‘Bassus’): ‘JP’ (MSS 58–9), ‘J. N.’ (MSS 60–1); JnB 724

Facsimiles: Early English Books Online (1667; 1673)

Comments

All three sources contain the same piece; however, in Playford’s autograph (R.d.58–61) and 1667 the top three parts are written in c3, c3, and c4 clefs, with the parts an octave lower than in 1673; R.d.58–61 was evidently the copy-text for 1667. The 1667 setting has a key-signature of two flats, whereas the 1673 setting has a key-signature of one flat (although the necessary accidentals are the same in both). R.d.58–61 omits stanza 2. In collating the sources the instrument designations from 1667 and R.d.58–61 have been followed; the Cantus Primus, Cantus Secundus, and Medius of 1673 correspond to the Altus, Medius, and Tenor parts, respectively.

4, Medius, 1: fermata (1667)

9, Altus, 3: accidental omitted (1667)

11, Altus, 2: b♭' (1667; 1673)

11, Bassus, 2: minim (1667)

12, Medius, 1: fermata (1667)

13, Medius, 3: b♭' (1667; 1673)

16, Bassus, 2: g (1667; 1673)

17, Altus, 2–3: slurred (1673)

Text collation:

69 wounds, with heat,] wounds, &c. (1672)

70 as] and (1652; 1659; 1667; 1669; 1672; 1673); & (1653)

75 Or] And (b.1)

77 Love’s enflamed] Loves inflamed (b.1)

79 Except Love’s] unles his (b.1)

80 the frost out of] a frost from out (b.1)

MASQUES AND ENTERTAINMENTS (M)

1. A Private Entertainment at Highgate (1604)

M.1.1 (Full score   , MIDI   )   See, see, oh, see, who here is come a-maying! (M. Peerson)

Line reference: Aurora, Zephyrus and Flora: 78–97; ‘Here AURORA, ZEPHYRUS, and FLORA, began this song in three parts.’

Source:

M. Peerson, Private Music, or the First Book of Ayres and Dialogues (1620), no. 24

Facsimile: Early English Books Online

Comments:

8, Tenor, 6, 8: accidentals omitted

9, Tenor, 6: accidental omitted

10, Bassus, 6–7: minim c

15, Cantus 1, 4: accidental omitted

15, Cantus 2, 9: accidental omitted

17, Countertenor, 3: accidental omitted

20, Cantus 1, 6: accidental omitted

21, Cantus 1, 7: accidental omitted

Collation:

78 See, oh, see, who here is come a-maying!] See, . . . O see, who is here come a maying,

80 his beauteous] his sweet beautious

83 no . . . men] as well as men

86 Raise, lark] Lark raise

93 for] and / &

96 ] not in    

2. The Masque of Blackness (1605)

M.2.1 (Full score   , MIDI   )   Come away, come away (A. Ferrabosco II)

Line reference: Tenor voice: 251–6

Sources:

§ A. Ferrabosco, Ayres (1609), no. 3

Oxford, Christ Church, Mus. 439, p. 31: ‘finnis m^r / [later hand; modern pencil:] Ferrabosco’; Tenor and Bass only; JnB 684   

Comments:

All vocal ornaments are supplied from 439.

1, Tenor & Bass: time-signature is (439)

1–2, Bass: octave lower (439)

3, Tenor, 2: the ♭ sign is misplaced before note 1 of the bar (439)

3, Bass, 1: dotted-crotchet G, quaver G (439)

4, Tenor, 4: ornament sign omitted (1609)

7, Bass: ♯ sign before note 1 (439); this appears to be in relation to the ♭ before the previous note, an e; it may imply a raised third (it is a dominant chord proceeding to a tonic)

8, Bass, 1: crotchet D, crotchet d (439)

9, Tenor & Bass: omitted (439)

10, Bass, 2: dotted-crotchet G, quaver G (439)

11, Tenor, 2: bª (439)

11, Bass, 1–3: octave lower (439)

12, Tenor, 2: minim (439)

12, Bass, 1: crotchet B♭', minim b♭ (439)

13, Tenor, 2: e′ (1609)

14, Bass, 1: minim d, minim D (439)

15, Bass, 1: minim (439)

16, Tenor & Bass: omitted (439)

16, Lute, 1: time-mark is semibreve

Text collation:

255 than] then (1609)

3. Hymenaei (1606)

M.3.1 (Full score   , MIDI   )   Essex Antic Masque (Anon.)

Line reference: 89–99 (? ‘with a kind of contentious music, issued forth the first masque of eight men’)

Sources:

§ J. Adson, Courtly Masquing Ayres (1621), no. 4: unattributed; untitled

London, British Library, Add. MS 10444, fos. 42 (Cantus) and 92 (Bassus), no. 92: unattributed; ‘Essex Anticke Masque’; Cantus and Bassus only

Comments:

1–6, 11–13, All parts: time-signature is (1621; 10444); 7–10, All parts: time-signature is (1621; 10444); 15–26, All parts: time-signature is 3 (1621); 15–26, Bassus: time-signature is 3i (10444); the copyist forgot to include the time-signature change in the Cantus part.

1, Cantus: clef is g1 (1621; 10444)

1–26, Bassus: key-signature is no sharps or flats (10444)

1–6, Cantus: key-signature is one-sharp (10444)

7, Cantus: key-signature is two-flat (b♭ and e♭); 7, Bassus: key-signature is one-flat, thus a one-flat key-signature has been used in the edition with no comment on any incidental e♭s arising from the key-signature in the Cantus part

8, Bassus, 1: dotted-crotchet G, quaver G (10444)

11, Cantus: from 10444

11, Cantus: key-signature is one-sharp (10444)

11, Cantus, 2: accidental omitted (1621)

13, Cantus, 3: accidental omitted (10444)

13, Cantus, 7: crotchet a' (10444)

15, Bassus, 1–2: dotted-minim d (10444)

17, Bassus, 3: g (10444)

18, Bassus, 2: G (10444)

24, Bassus, 1–2: G, G (10444)

M.3.2   The First of my Lord of Essex (Anon.)

Line reference: 275 (? ‘Here they danced forth a most neat and curious measure, full of subtlety and device’)

Sources:    

§ J. Adson, Courtly Masquing Ayres (1621), no. 5: unattributed; untitled

London, British Library, Add. MS 10444, fos. 42v (Cantus) and 92 (Bassus), no. 93: unattributed; ‘The first of my Lord of Essex’; Cantus and Bassus only

Facsimile: Early English Books Online (1621)

Comments:

1, Cantus: clef is g1 (1621; 10444)

1, Bassus: key-signature is no sharps or flats (1621; 10444); other parts all have a one-sharp key-signature

3, Cantus, 4: accidental omitted (10444)

11, Cantus, 7: accidental omitted (10444)

M.3.3   The Second [of my Lord of Essex] (Anon.)

Line reference: 352–3 (? ‘Here they danced their last dances, full of excellent delight and change, and in their latter strain fell into a fair orb, or circle, Reason standing in the midst and speaking’)

Sources:

§ J. Adson, Courtly Masquing Ayres (1621), no. 6: unattributed; untitled

London, British Library, Add. MS 10444, fos. 42v (Cantus) and 92v (Bassus), no. 94: ‘The second’; Cantus and Bassus only

Facsimile: Early English Books Online (1621)

Comments :

1, Cantus: clef is g1 (1621; 10444)

1, Bassus: key-signature is no sharps or flats (1621; 10444)

1, Bassus, 2: dotted-minim c (10444)

2, Bassus, 1: dotted-minim c (10444)

2, Bassus, 2: ♯ (10444)

7, Cantus, 1–2: c'', b♭' (10444)

7, Cantus, 7–8: dotted-quaver, semiquaver (10444)

8, Bassus, 1: minim (10444)

11, Altus, 4: e' (1621)

14, Medius, 1: d' (1621)

15, Bassus, 3–4: minim A (10444)

M.3.4   The Third [of my Lord of Essex] (Anon.)

Line reference: 352–3 (? ‘Here they danced their last dances, full of excellent delight and change, and in their latter strain fell into a fair orb, or circle, Reason standing in the midst and speaking’)

Sources:    

§ J. Adson, Courtly Masquing Ayres (1621), no. 7: unattributed; untitled

London, British Library, Add. MS 10444, fos. 42v (Cantus) and 92v (Bassus), no. 95: ‘The Third’; Cantus and Bassus only

Facsimile: Early English Books Online (1621)

Comments :

1, Cantus: clef is g1 (1621; 10444)

1, Bassus: key-signature in 10444 is a two-sharp in the Bassus; the first sharp is on f, however, the second is on A, suggesting that the sharp was misplaced and intended either to be on c or on F; given the overall key of D major, it has been taken in the edition that the ♯ sign was misplaced from the c

8, Cantus, 2: accidental omitted (10444)

9, Cantus, 3: accidental omitted (10444)

11, Cantus, 4–7: dotted-quaver, semiquaver, dotted-quaver, semiquaver (10444)

11, Cantus, 5: accidental omitted (1621)

11, Bassus, 4: ♯ sign misplaced before note 5 (1621)

13, Cantus: time-signature is 3i (10444)    

18, Cantus, 3: accidental omitted (10444)

4. The Masque of Beauty (1608)

M.4.1 (Full score   , MIDI   )   So beauty on the waters stood (A. Ferrabosco II)

Line reference: Loud tenor: 257–64

Source: A. Ferrabosco II (1609), Ayres, no. 21   

Facsimile: Early English Books Online

Comments:

The first repeat is written out in full; the repeat of bars 18–21 is implied by a terminal repeat sign, :||, in the final bar

1, Lute, 1: IIc-IIId-Va in the written-out repeat

6, Lute, 4: Ia-Ve in the written-out repeat

After 21, Tenor & Bass: second-time (final) bar, long

Text collation:

257 beauty] beautie

258 flood!] floud,

262 than] then

264 than] then

M.4.2(a (Full score   , MIDI   )–b)   If all these Cupids now were blind (A. Ferrabosco II)

Line reference: A treble voice: 271–7

• M.4.2(a) (Full score   , MIDI   ): Version a

Sources:

§ A. Ferrabosco II, Ayres (1609), no. 18: ‘First part’

Oxford, Christ Church, Mus. 439, p. 93: ‘M^r alfonso fferrabosco’; Treble and Bass, only; JnB 682   

Comments:

The 439 setting is closely derived from 1609 (Lute part omitted); even the final second-time bars are identical. The manuscript version also contains many ornament signs and a written-out final cadenza, which have not been recorded but have been presented separately in M.4.2(b) (Full score   , MIDI   ).

1, Treble: time-signature is ; time-signature is omitted in the Bass (439)

17, Bass, 5: dotted-quaver (439)

After 20, Lute: second-time bar, no time-mark, fermata (1609)

After 20, Bass: second-time bar, long (1609; 439)

• M.4.2(b) (Full score   , MIDI   ): Version b (439 setting)

Source: Oxford, Christ Church, Mus. 439, p. 93: ‘M^r alfonso fferrabosco’

Comments:

This item is a transcription of the manuscript setting, with an editorial realization of the ornament signs: the final cadenza is given in 439.

There are three ornament signs used in this piece: (1) \ (2) x (3) |

• The slanted stroke \ occurs twice and appears to imply an upwards resolving appoggiatura (‘beat’): 7–8, Treble, 4–1; and a descending scale: 19–20, Bass, 3–1. The ascending scalar figure in bars 7–8 is supplied in 439 on the first of two unused staves beneath the song. The figure is given without a clef or any text below the bass of what is bar 16; however, a c1 clef is implied as it is the clef used for the vocal line and also clearly intended for the roulade given below it (which is texted ‘his mother’). Harmonically and melodically this seems the most appropriate use of the figure; the original rhythm (a dotted-quaver followed by nine semiquavers) has been slightly modified.
• The x, found in the Treble at the end of bar 14, is rarely encountered as an ornament sign in vocal music; it is more commonly found in tablature (i.e. for lute or lyra-viol), where is usually indicates an appoggiatura (‘falle’). In the current context that implies that the e' would an appoggiatura to the d' in bar 15: however, this effect is later in style than one would expect. Thus, the ‘x’ has been interpreted here as an extended trill covering both the e' and the d'.
• The vertical stroke | appears twelve times in the piece, but the meaning appears to vary. It occurs in the following contexts:
• Between two notes a step apart (ascending and descending): here interpreted as the first note being repeated as an appoggiatura to the second note (‘backfall’): 2, Treble, 1–2 and 12, Treble, 5–6; and as a double appoggiatura (‘double backfall’, a slide from a third above the main note i.e. the inverted form of the elevation): 4, Treble, 6–7 and 18, Treble, 4–5;
• Between two notes a third apart (ascending and descending): here interpreted as a ‘backfall’ (5, Treble, 4–5), and as a filled in interval (9, Treble, 1–2 and 12, Treble, 4–5);
• Between two notes a fifth apart (descending): here interpreted as a filled in interval (13, Treble, 5–6);
• Between two repeated notes: here interpreted as a trill (‘shake’) (7, Treble, 3–4 and 17, Treble, 1–2);
• After the final note of a phrase: here interpreted as a ‘backfall’ (3, Treble, after 1), and as a ‘double backfall’ (5, Treble, after 6).

21–3, Treble & Bass: the roulade in the vocal part is given on the second of two unused staves beneath the song; it lacks a clef but is texted ‘his mother’

Text collation:

273 mind] mindes, (1609)

M.4.3 (Full score   , MIDI   )   It was no policy of court (A. Ferrabosco II)

Line reference: Another treble voice: 279–85

Sources:

§ A. Ferrabosco II, Ayres (1609), no. 19: ‘Second part’

Oxford, Christ Church, Mus. 439, p. 94: ‘M^r alfonso ffereabosco’; Treble and Bass only

Comments:

The 439 version is closely derived from 1609 (Lute part omitted).

1, Treble: time-signature is

1, Bass: time-signature is omitted (439)

3, Lute, 2: IIa-IVc-VIe (d'-g-B♭)

15, Treble, 4: accidental omitted (439)

15, Bass, 2–4: accidentals omitted (439)

22, Bass, 2: appears to have been effaced in 439; copyist wrote a quaver f (with a ♯ symbol above), which he then effaced in favour of crotchet f (with ♯ below stave)

26, Lute, 1: time-mark is omitted, fermata (1609)

After 26, Treble & Bass: second-time bar, long (1609; 439)

Text collation:

279 polity] pollicie (1609; 439)

280 Albe the place were charmèd] although the place be charmed (1609; 439)

M.4.4 (Full score   , MIDI   )   Yes, were the Loves or false, or straying (A. Ferrabosco II)

Line reference: A tenor: 287–92

Sources:

§ A. Ferrabosco II, Ayres (1609), no. 20: ‘Third part’   

Oxford, Christ Church, Mus. 439, p. 96: unattributed; Tenor and Bass only

Comments:

439 omits the Lute part, and the ending from 33, Tenor, 2.

1, Tenor: time-signature is (439)

1, Bass: time-signature is omitted (439)

1, Tenor: clef is g2 (439), c4 (1609); the 439 setting is written an octave higher (at written pitch)

1.B.t-s: omitted (439)

25.T: ♭ symbol (for 3) is misplaced between notes 1 and 2 (439)

26.B.1: accidental omitted (439)

30.T.3: accidental omitted (1609); ♭ symbol (for 3) is before note 1 (439)

37, Tenor & Bass, 1: long (1609)

37, Lute, 1: time-mark is omitted, fermata (1609)

Text collation:

288 beauties . . . weighing] beautie . . . waying

289 deceit is mixed] deceipt is mixt

290 fixed;] fixt,

M.4.5 (Full score   , MIDI   )   Had those that dwell in error foul (A. Ferrabosco II)

Line reference: The first tenor: 297–302

Source: A. Ferrabosco II. (1609), Ayres, no. 22   

Facsimile: Early English Books Online

Comments:

After 25, Tenor & Bass: second-time bar, long

Text collation:

299 these] those    

302 world’s soul, true harmony] worlds soule their harmonie

5. The Haddington Masque (1608)

M.5.1/1–2 (Full score   , MIDI   )   Beauties, have you seen a toy

Line reference: The Graces: 63–122

• M.5.1/1(a) (Full score   , MIDI   ): Setting 1 , Version a (H. Lawes)

Sources:

§ H. Lawes, The Second Book of Ayres and Dialogues (1655), p. 41   

London, British Library, Add. MS 11608, fol. 81: unattributed [Henry Lawes]

Comments :

The parts are not named in 11608.

Only the Cantus is underlaid in 11608, which also has two stanzas in block text; all three voices are underlaid in 1655, which also gives an additional 8 stanzas in block text: all lines except 105–10, with lines 145–54 given as a single stanza; 11608 gives lines 93–8 as stanza 3, and lines 100–4 as stanza 2.

9, All parts, 1: ‘But’ (given in 11608; 1655) omitted here from stanza 3 to fit to the tune

1, Cantus Secundus, 3–4: slurred (11608)

2, Cantus, 1–2: slurred (11608)

2, Cantus Secundus, 1–2, 2–3: slurred (11608)

3, Cantus Secundus, 5–6: dotted-crotchet (11608)

3, Bassus, 3–4: dotted-crotchet (11608; 1655)

7, Cantus Secundus, 3–4: slurred (11608)

7, Bassus, 2–3, 5–6: slurred (11608)

8, Cantus Secundus, 1–2: slurred (11608)

8, Bassus, 1–3: dotted-crotchet A, quaver A (11608)

9, Cantus, 3–4: dotted-crotchet, quaver (11608)

10, Cantus, 2–3: slurred (11608)

12, Cantus Secundus & Bassus, 3: fermata (11608)

• M.5.1/1(b) (Full score   , MIDI   ): Setting 1 , Version b (H. Lawes)

Sources:

§ London, British Library, Add. MS 53723, fol. 36v: ‘Henry Lawes’; JnB 672

J. Playford, The Treasury of Music (1669), Book 2, p. 75: ‘Venus Hue and Cry after Cupid’; unattributed [Henry Lawes]

New York, New York Public Library, Drexel MS 4257, no. 37: unattributed [Henry Lawes]; JnB 674

Comments:

8 verses given in block text (53723; 4257; 1669)

1, Cantus: clef is c1 (53723), g2 (4257)

2, 3, Cantus, 1–3: slurred (1669; 4257)

2, Cantus, 3–4: crotchet a' (1669)

2, Cantus, 4: b' (4257)

2, Bass, 1–3: minim d, minim c (4257); A, F, G (1669)

3, Cantus, 5–6: crotchet, crotchet (1669; 4257)

3, Bass, 1–2: minim f (4257)

4, Cantus, 1–4: dotted-crotchet d'', quaver c'' (4257); dotted-crotchet b', quaver b' (1669)

4, Bass, 1: crotchet g, crotchet G (4257)

5, Cantus, 3–4: crotchets (4257)

5, Bass, 1–2: crotchet G, minim c, crotchet A (4257); dotted-crotchet e, quaver f♯, crotchet g♯, crotchet a (1669)

6, Cantus, 2: c'' (4257)

6, Bass, 1–3: dotted-crotchet B, quaver A, minim G (4257); crotchet f♯, crotchet d, minim g (1669)

7, Bass, 1: crotchet c, quaver d, quaver e (quavers slurred) (1669)

7, Cantus, 1–2: dotted-crotchet , quaver (4257)

7, Bass, 1–3: dotted-crotchet A, quaver G, crotchet F, quaver E, quaver D (4257)

7, Bass, 3: quaver c, quaver B (slurred) (1669)

8, Cantus, 1–4: dotted-crotchet g', quaver f' (4257); dotted-crotchet g', quaver f♯' (1669)

8, Bass, 1: crotchet C, crotchet D (4257); dotted-crotchet A, quaver A (1669)

11, Cantus, 1–2: crotchets (4257)

11, Bass, 1–2: minim f (4257)

11, Bass, 1–2: dotted-crotchet, quaver (1669)

12, Cantus & Bass, 3: fermatas omitted (1669)

12, Cantus, 1–2: quaver c'', quaver d'', dotted-quaver b' (all under a single slur), semiquaver c''

• M.5.1/2 (Full score   , MIDI   ): Setting 2 (Anon.)

Sources:

London, British Library, Add. MS 11608, fos. 80v–1: ‘Another way in two parts’; unattributed; JnB 671   

Comments :

This version – ‘Another way in two parts’ – was copied stratigraphically across the top of fos. 80v–1; clearly, it was copied after the three-part version by Henry Lawes, M.5.1/1(a) (Full score   , MIDI   ). The Treble stave on fol. 80v is hand-drawn, as are the two staves on fol. 81; the Bass stave on fol. 80v was left unused from the other piece on that page. The two additional verses (not underlain) are shared between the two settings.

Text collation:

75 He hath of marks about him plenty;] Marks he hath about him plenty, (11608; 1655)

M.5.2(a (Full score   , MIDI   )–b)   Why stays the bridegroom to invade (A. Ferrabosco II)

Line reference: Epithalamion, 349–58

Comments :

There are two related settings of this song. The first is in Ferrabosco’s published Ayres (M.5.2(a) (Full score   , MIDI   )), the second is essentially the same setting (without the Lute part) but containing many written-out ornaments (M.5.2(b) (Full score   , MIDI   )).

• M.5.2(a) (Full score   , MIDI   ): Version a

Source: A. Ferrabosco II, Ayres (1609), no. 11   

Facsimile: Early English Books Online

Comments:

13, Bass, 1: minim A, crotchet-rest: over this note (1609)

29, Bass, 1: minim (1609)

30, Cantus & Bass, 1: long (1609)

30, Lute, 1: IIc-IIId-IVe-VIc; time-mark is omitted, fermata (1609)

• M.5.2(b) (Full score   , MIDI   ): Version b

Source:

Oxford, Christ Church, Mus. 439, pp. 60–1: unattributed [Alfonso Ferrabosco II]; JnB 675

Comments:

This transcription is largely diplomatic. The various ornaments were written around the notes of the printed version; they are generally meant to be sung just before or on the main beat (i.e. as grace notes), although this sometimes results in too many beats in a bar (often indicative of aural transmission). For ease of comparison, the basic vocal line from Ayres (1609) has been given in a small stave above the embellished vocal line.

The main ornaments used are here: the ‘elevation’ (also known as a ‘wholefall’), a slide usually from a third below the main note: examples can be found at bars 1, 4, 9, 11 (from an octave below), 16, 17, 22, 24, and 26; the ‘single backfall’, an appoggiatura from above: examples can be found at bars 2, 9, and 24; the ‘double backfall’, a slide from a third above the main note (i.e. the inverted form of the elevation): an example can be found at bar 2.

Most slurs from grace notes to main notes are editorial (and added without comment).

7, Cantus, 10–13: semiquavers

19, Cantus, 13–16: semiquavers

14, 30, Bass, 1: minim A, crotchet-rest

Text collation:

351 Goodnight,] godnight (439)

352 Goodnight] godnight (439)

352 you, a virgin, say:] you a virgin say, (1609) you a virgin saye (439)

353 rise] ryse (439)

354 Your] yo:^r (439)

355 Hymen’s] hymens (1609; 439)

357 your perfection, we] your perfections wee (1609) yo:^r perfections we (439)

6. The Masque of Queens (1609)

M.6.1(a (Full score   , MIDI   )–b)   The First Witches’ Dance

Line reference: 19–20 (? ‘these witches, with a kind of hollow and infernal music, came forth’)

• M.6.1(a) (Full score   , MIDI   ): Version a (?R. Johnson)

Sources:

§ London, British Library, Add. MSS 17786–9, 17791, fol. 5: ‘The Wyche’ (17786–8, 17791), ‘The Wiche’ (17788); unattributed

London, British Library Add. MS 10444, fos. 21 (Superius) and 74v (Bassus), no. 25: ‘The first witches dance’ (f. 21) / ‘The first of the witches Dance’ (f. 74v); unattributed; Superius and Bassus only

Comments:

10444 only has fermatas over the last note (i.e. bar 22)

1–14, Superius & Bassus: time-signature is 3i (10444)

1, Superius: clef is g1 (10444)

2, Superius, 4–5: dotted-minim (10444)

3, Superius, 4: accidental omitted (10444)

3, Superius, 6: accidental omitted (1621; 10444)

5, Superius, 9–10: crotchet e'' (10444)

5, Bassus, 2: crotchet c, crotchet d (10444)

6, Bassus, 1: d (10444)

7, Superius, 4–6: minim d'' (10444)

8, Superius, 1–3: crotchet f♯'', quaver e'', quaver f♯'' (10444)

8, Bassus, 3–4: crotchet B (10444)

10, Bassus, 2–4: crotchet B, minim b, crotchet A (10444)

10, Bassus, 4: g (17791)

11, Superius, 2–4: crotchet g'', quaver f♯'', quaver g'' (10444)

12, Superius, 1–3: crotchet f♯'', quaver e'', quaver f♯'' (10444)

14, All parts: the second-time bar is implied by the crotchet upbeat (i.e. last note of bar 14), which is given after the double barlines, requiring the dot to be dropped from the minim in the second half of bar 14 (17786–91); the upbeat is given as an upbeat in 10444

13, Superius, 5: quaver e'', quaver f♯'' (10444)

15–22, Superius & Bassus: time-signature is ; minims black notation (10444)

15–22, All parts: minims in black notation (17786–91)

15, Bassus, 2: d (10444)

16, Bassus, 1: minim d, crotchet d (10444)

19, All parts, 1: beat omitted (17786–91); given as minim-rest (10444), this solution has been adopted in the five-part version

19, Bassus, 4: d (10444)

21, Superius, 1–2: minim (10444)

22, Bassus, 1: d (10444)

22, Superius & Bassus, 3: dotted-minim tied to minim (10444)

• M.6.1(b) (Full score   , MIDI   ): Version b (?R. Johnson, arr. W. Brade)

Source:

W. Brade, Newe ausserlesene liebliche Branden (Hamburg, 1617), no. 49: ‘Der Hexen Tanz’; unattributed

Source list for other versions (solo lute and lyra-viol):

Version 1:

Version 2:

Dublin, Trinity College, MS 408/1–2, p. 65: ‘y^e witches dawnce’; unattributed; Lyra-viol (tuning: ffhfh). Edition: Chan, 1980, 203–4 (incorrectly described as a setting for Lute)

Version 3:

M.6.2   The Second Witches’ Dance (?R. Johnson)

Line reference: 313 (? ‘with a strange and sudden music they fell into a magical dance’)

Source:

London, British Library, Add. MS 10444, fos. 21v (Treble) and 75 (Bass), no. 26: ‘The second witches Dance’; unattributed

Comments:

15, Treble, 5: dotted-minim

15, Bass, 2–3: crotchet f, minim c, dotted-minim F

Source list for other version (keyboard):

M.6.3 (Full score   , MIDI   )    Almande (The First of the Queen’s Masque) (?A. Ferrabosco II)

Line reference: 609–10 (? ‘The first [dance] was to the cornetts’)

Source:

Cambridge, Fitzwilliam Museum, Mus. 734, no. 19: ‘Almande’; unattributed    

Comments:

The Tenor part is lost: here reconstructed editorially.

4, Quintus, 1–2: minim g', crotchet-rest, crotchet e'

Source-list for other version (solo lute):

M.6.4 (Full score   , MIDI   )   Brand (The Second of the Queen’s Masque) (?R. Johnson or ?A. Ferrabosco II, arr. W. Brade)

Line reference: 610 (? ‘the second [dance was] to the violins.’)

Source:

W. Brade, Newe ausserlesene liebliche Branden (Hamburg and Lübeck, 1617), no. 1: ‘Brand’; unattributed

Comments:

The ‘Brand’ (also known as brawls or branles) was one of the fifteenth-century basse danse; in the sixteenth century it became particularly popular in France as a group dance, with a large number of local variants developing; the characteristic motion was a side-step as the group of dancers held hands. Brawls were essentially functional dance music, which can be seen in the regular four-bar phrases (four- rather than three-bar phrases distinguishes the branle double from the branle simple).

Source list for other version (solo lute):

M.6.5 (Full score   , MIDI   )   If all the ages of the earth (A. Ferrabosco II)

Line reference: Tenor [John Allen]: 615–20

Sources:

§ Ferrabosco II, A. (1609), Ayres, no. 23   

Oxford, Christ Church, Mus. 439, p. 95: ‘M^r alfonso Ferrabosco’; Cantus and Bass, only; JnB 687   

Comments:

1, Cantus & Bass: time-signature is omitted (439)

1, Cantus: clef g2, notated at pitch (439)

23, Cantus & Bassus, 1: long (1609; 439); fermata (439)

23, Lute, 1: time-mark is omitted, fermata (1609)

Text collation:

615 When] If (1609; 439)

616 crowned] crown’d (1609; 439)

617 that, when] when that (1609; 439)

620 all they] they all (1609; 439)

M.6.6(a (Full score   , MIDI   )–b)   The Last of the Queen’s Masque

Line reference: 621 (? ‘their third dance’)

• M.6.6(a) (Full score   , MIDI   ): Version a (Anon., arr. J. Dowland?)

Source:

R. Dowland, Variety of Lute-Lessons (1610) [no. 26]: ‘The last of the Queenes Maskes’; unattributed; possibly arranged by John Dowland; seven-course Lute (Renaissance tuning [vii: F])

Facsimile: Early English Books Online

Comments;

5, Lute, 6: Ia (g')

12, Lute, 4: Ia-IIb-IIId-VIb

• M.6.6(b) (Full score   , MIDI   ): Version b (Anon.)

Source:

London, Royal College of Music, Library, MS 603 (Spencer Collection) (Margaret Board MS), fol. 41: unattributed; no title; seven-course Lute (Renaissance tuning [vii: F])

Comments:

APPENDIX: Eighteenth-century glee

M.6.7 (Full score   , MIDI   )A   The Witches’ Song (R. J. S. Stevens)

Line reference: Witches: 130–4, 138–49, 154–7, 174–9

Source:

London, British Library, Add. MS 31815, fos. 55–64v: ‘Witches Song from Ben Johnson’ / (‘Soprano’; ‘Alto’; ‘Tenor’; ‘1 Bass’; ‘2 Bass’) (f. 55) / ‘RJS Stevens / Feb. 1 1799 / Charterhouse’ (f. 64v)    

Cognate (not collated):

R. J. S. Stevens, Seven Glees with a Witches Song & Chorus, And two Glees from Melodies by Henry Lawes ([1808]), pp. 37–59: ‘WITCHES SONG, and Chorus. The Poetry by Ben Johnson. Composed at the request of M^rs. Hughes’. ‘‘Seven Glees, | with a | Witches Song & Chorus, | And two Glees from Melodies, | BY | Henry Lawes, | The whole Composed and Harmonized | BY | R. J. S. Stevens. | Opera 6. (London: Printed for the Author, Charterhouse, by [Thomas] Preston, 97 Strand, [c. 1808]). | Price, 15^s. Copy consulted: London, British Library, E.319.(4); the title-page is signed by Stevens

Comments:

The glee contains several annotations in pencil, which appear to date to the late nineteenth century; the annotations mostly take the form of additional continuo figures (e.g., ‘C ♭3’ under a root position C minor chord).

The solo sections are indicated as ‘First Witch Solo, 5^th Witch Solo’ etc.: all have been standardized in the edition as ‘First Witch Solo’ etc.

Tasto solo directions are often given as ‘T. S.’ (here expanded without comment).

Dynamics are usually given as ‘pia’, ‘for’ etc. (here expanded without comment).

43, Alto, 1: figure 8/6

121, Alto, Tenor, Basses 1 & 2, 1–2: dotted-crotchet, quaver

Text collation:

132 turned] turn’d

133 snatched] snatch’d

134–7] omitted

139 O’the] on the

140 though] tho’

142 ha’] have

150–3] omitted

157 of . . . danced i’the] off . . . dance’d in the

158–73] omitted

174 help] aid

7. Oberon (1611)

M.7.1 (Full score   , MIDI   )   Catch: ‘Buzz’, quoth the blue fly (E. Nelham)

Line reference: Satyrs: 142–9

Sources:

§ J. Hilton, Catch that Catch can: or The Musical Companion (1667),

Book 2, p. 75: ‘a. 4. Voc.’ / ‘Mr. Edmund Nelham.’

London, Royal College of Music, Library, II.c.15, fol. 48: ‘A 4 voc / M^r Edmund Nelham’    

Facsimile: Early English Books Online (1667)

Comments:

II.c.15 appears to have been copied from the print or some related source; both settings are identical except that II.c.15 lacks all of the slurs save that in bar 16.

Text collation:

142 ‘Buzz’, . . . blue fly] Buz . . . Blew Fly (1667; II.c.15)

143 ‘Hum’ . . . bee;] Hum . . . Bee, (1667; II.c.15)

144 ‘Buzz’ and ‘hum’, they cry,] Buz and Hum (1667; II.c.15)

146 ear] ears (1667; II.c.15)

147 Thus, do you see?] thus as you see, (1667; II.c.15)

148 ate the] eat a (1667; II.c.15)

M.7.2 (Full score   , MIDI   )   (The Satyrs’ Masque) (R. Johnson, arr. T. Simpson)

Line reference: 205 (? ‘they fell suddenly into an antic dance, full of gesture and swift motion’)

Sources:

§ T. Simpson, Taffel-Consort (Hamburg, 1621), no. 24: ‘Robert Johnson’; no title

London, British Library, Add. MS 10444, fos. 31 (Cantus) and 82v (Bassus), 56: ‘The Satyres Masque’; unattributed; Cantus and (unfigured) Bassus only

Comments:

This transcription follows the strain repeats as given in 1621; 10444 gives strain ends after bars 8, 21, 36, 44, 52 and 60 (both parts).

1, Cantus & Altus: key-signature is one-sharp (1621)

1, Cantus: key-signature is one-sharp (10444)

1, Cantus: clef is g1 (10444)

1, Bassus, 3: d (10444)

2, Bassus, 2: g (10444)

3, Bassus, 1–4: minim g, crotchet g, crotchet d (10444)

5, Cantus, 1: accidental omitted (10444)

6, Cantus, 5: quaver c'', quaver d'' (10444)

8, All parts: the first-time bar is editorial for 1621, but not for 10444

10, 11, 15, 16, Cantus, 1: dotted-minim tied to crotchet (10444)

10, 11, Cantus & Bassus, 1: dotted-minim tied to crotchet (10444)

12, 17, Cantus, 1: tied to beat 1 of next bar (10444)

15, Bassus, 1–2: slurred (10444)

16, Bassus, 1: dotted-minim tied to crotchet (10444)

18, Altus, 2–3: accidental omitted

18, Bassus, 1–4: A, A, A, G (10444)

19, Bassus, 1–3: minim F♯, minim G (10444)

19, Bassus & Basso Continuo, 3: accidental omitted (1621)

20, Cantus, 3–4: crotchet d'' (10444)

20, Cantus, 7: accidental omitted (1621; 10444)

20, Bassus, 1–4: minim G, minim A (10444)

21, Cantus: time-signature is omitted (10444)

21, Bassus: time-signature is 3i (10444)

23, Bassus, 2: minim B; also accounts for beat 1 of the following bar (10444)

25, Bassus, 2: minim d; also accounts for beat 1 of the following bar (10444)

26, Bassus, 1–2: crotchet d (from previous bar), minim B (10444)

26b–31, All parts: black notation (black minims and semibreves) (1621)

27, Cantus, 1–2: minim c♯'' (10444)

27, Bassus, 2–5: crotchet a, crotchet f♯ (10444)

28, Cantus, 2–4: minim c'' (10444)

28, Cantus, 4: accidental omitted (1621)

32, Bassus: time-signature is omitted (10444)

33, Cantus, 1: minim b', crotchet c'', crotchet d'' (10444)

34, Cantus, 1–5: minim e'', quaver d'', quaver c'' (10444)

35, Cantus, 1–5: crotchet d♯'', crotchet e'', minim f♯'' (10444)

35, Cantus, 3: accidental omitted (1621)

35, Cantus, 5–6 and 36, Cantus, 1: dotted-minim f(♯)'', crotchet e'', minim e'' (1621)

35, Cantus, 5–6: minim f(♯)'' (10444)

35, Tenor, 2: accidental omitted

36, Cantus, 1–3: semibreve e'' (10444)

37, Cantus and Bassus: time-signature is (perfect prolation) (10444)

38, Cantus, 3: tie omitted (10444)

39, Cantus, 1–2: minim e'' (10444)

39, Bassus, 3–4: minim G (10444)

40, Cantus, 1–2: minim a', minim a' (10444)

41, Bassus, 1–3: minim f♯, crotchet e, crotchet d (10444)

43, Cantus, 3–4: crotchet a', crotchet g', dotted-crotchet a', semiquaver g', semiquaver a' (10444)

44, Bassus, 1: semibreve (10444)

48, Tenor, 2: accidental omitted

50, Cantus, 1–2: crotchets (10444)

51, Bassus, 1–2: semibreve d (10444)

53–60, All parts: black notation (black minims and semibreves) (1621)

53, Bassus, 1–2: dotted-minim g (10444)

55, Cantus, 4–5: minim a'' (10444)

56, Cantus, 1–2: crotchets (10444)

56, Cantus, 5–6: minim (10444)

56, Tenor, 2: accidental omitted

57, Bassus, 3: semibreve, crotchet-rest (10444)

58, Bassus, 1: c (1621)

58, Cantus: time-signature is 3i (10444)

58, Cantus, 1–3: crotchet–rest, quaver g', quaver b', quaver c'', quaver d'', quaver e'', quaver f'' (10444)

59, Bassus, 2: accidental omitted (1621)

59, Bassus, 1–2: accidental omitted (10444)

M.7.3   The Fairies’ Masque (?R. Johnson)

Line reference: 295 (? ‘Then the lesser fays dance forth their dance’)

Source:

London, British Library, Add. MS 10444, fos. 31v (Treble) and 83 (Bass), no. 57: ‘The Fairey Masque’ (fol. 31v) / ‘The Fairies Masque’ (fol. 83)

Comments:

1, Treble: clef is g1

1, Bass: redundant ♯ sign below 1

3, Bass: redundant ♯ sign below 1

9, Bass: key-signature is

27, Treble & Bass, 1: semibreve

54, Bass, 1–2: e, e

55, Bass, 1: d

59, Treble, 1: semibreve

59, Bass, 1: minim

Source list for other version (solo lute):

M.7.4(a (Full score   , MIDI   )–b)   Almande (The First of the Prince’s Masque) (R. Johnson)

Line reference: 307 (? ‘There Oberon and the knights dance out the first masque dance’)

• M.7.4(a) (Full score   , MIDI   ): Version a (five-part) (R. Johnson, arr. W. Brade)

Source:

W. Brade, Newe ausserlesene liebliche Branden (Hamburg and Lübeck, 1617), no. 31: ‘Der erste mascharada Pfaltzgraffen’

• M.7.4(b) (Full score   , MIDI   ): Version b (six-part) (R. Johnson)

Sources:

§ Cambridge, Fitzwilliam Museum, Mus. 734, no. 5: ‘Almande / R J’

London, British Library, Add. MS 10444, fos. 54 (Canto) and 103v (Bass), no. 135: ‘The first of the Prince his’

Comments:

The version in 10444 is in C major (either a fourth lower or a fifth higher than the version in Mus. 734). For ease of collation, all readings from 10444 have been transposed down a fourth (to F major).

1, Canto, 1–4: dotted-quaver, semiquaver, dotted-quaver, semiquaver (10444)

1, Basso, 1: minim F, crotchet F, crotchet F (10444)

2, Basso, 1–2: E, F (10444)

3, Sesto, 1: d′

3, Basso, 1–3: BB♭, C, D, E crotchets (10444)

4, Canto, 5–6: dotted-crotchet, quaver (10444)

4, Basso, 1–2: F, A (10444)

5, Basso, 1–4: G, F, E, D (10444)

6, Canto, 2: g" (10444)

6, Canto, 5–6: dotted-crotchet, quaver (10444)

6, Basso, 1–2: dotted-minim c, crotchet f (10444)

7, Canto, 5–6: quaver g', quaver f', crotchet g' (10444)

7, Basso, 1–2: B♭, c (10444)

8, Canto, 1–2: semibreve (10444)

8, Basso, 1–2: semibreve (10444)

9, Basso, 2: dotted-crotchet f, quaver e (10444)

13, Basso, 2–4: minim G (10444)

14, Basso, 1–5: minim B♭, minim d (10444)

15, Canto, 1–2: dotted-crotchet a' (10444)

16, Canto, 1: quaver g', quaver f', crotchet g' (10444)

Source list for solo versions (mandora, keyboard, lute and lyra-viol):

Paris, Bibliothéque nationale MS Rés. 1186, p. 342: ‘Lincolns Inn Masque Or. Gib.’; Keyboard; arranged? by Orlando Gibbons

Edinburgh, National Library of Scotland, Adv. MS 5.2.15, Skene MS, p. 44: ‘Prince Henreis Maske’; Mandora

London, British Library, Add. MS 63852, Griffith Boynton MS, no. 70: ‘The Princes masque’; Keyboard

London, British Library, Add. MS 63852, Griffith Boynton MS, no. 168: ‘The Princes Maske’; Lyra-viol (tuning: ffhfh)

London, Kensington Palace, MS 46.78/748, Anne Cromwell’s Virginal Book, p. 18: ‘The Princes Masque’; Keyboard. Edition: Ferguson, 1974, no. 14

London, Royal Academy of Music, MS 600 (Robert Spencer Collection), The Browne Lyra Viol MS, fol. 76v: ‘The Princes Dance’; Lyra-viol (tuning: ffhfh)

London, Royal Academy of Music, MS 603 (Robert Spencer Collection), Margaret Board Lute Book, fol. 28: ‘The Princis Masque’; Lute. Facsimile: Spencer, 1976

London, Royal Academy of Music, MS 603 (Robert Spencer Collection), Margaret Board Lute Book, fol. 30v: ‘The la: Elyza: her masque’; Lute. Facsimile: Spencer, 1976

Oxford, Christ Church, Mus. 92, fol. 10: ‘Tapp up all your strong Beere’; Keyboard

New York, New York Public Library, Drexel MS 5612, p. 1: ‘The Princes Mask’; Keyboard

M.7.5 (Full score   , MIDI   )   Nay, nay, You must not stay (A. Ferrabosco II)

Line reference: 310–19

Source:

Oxford, Bodleian Library, Tenbury MS 1018, fol. 36: ‘Alfonso Farrabosco’; JnB 688

Comments:

The copyist originally wrote a g2 (treble) clef for the vocal part, also indicating a flat sign on the middle line of the stave; the flat sign was crossed out and the g2 clef appears to have been incorporated into a new flat sign (on the second space from top of the stave). Flat signs were also written on top of the bass stave and on the first line from bottom, these were crossed out. The bar between 17 and 18 was crossed out in pencil. The copyist originally crossed out the text and rewrote it over the text in the next bar; the realigned quaver staves in bar 18 are also in pencil, as is the large ‘still’; the text in bar 18 was crossed out in pencil. It is not clear whether the copyist was using the pencil, but this seems unlikely. The following bar between bars 17 and 18 is crossed out in modern pencil, the revision is an improvement:

9, Bass, 2: G

17, Bass, 2: copyist originally wrote f but crossed it out in pencil and replaced it with the d (in pencil)

Text collation:

313 This’s] This is

314 fays] fairies

319 of which you are] omitted

M.7.6(a (Full score   , MIDI   )–b)   Almande: The Second of the Prince’s Masque (R. Johnson)

Line reference: 320 (? ‘After which [Nay, nay, You must not stay], they danced forth their second masque dance’)

• M.7.6(a) (Full score   , MIDI   ): Version a (five-part) (R. Johnson, arr. W. Brade)

Source:

W. Brade, Newe ausserlesene liebliche Branden (Hamburg and Lübeck, 1617), no. 32: ‘Der ander Mascharada’

• M.7.6(b) (Full score   , MIDI   ): Version b (six-part) (R. Johnson)

Sources:

§ Cambridge, Fitzwilliam Museum, Mus. 734, no. 6: ‘Almande / R J’   

London, British Library, Add. MS 10444, fos. 54 (Canto) and 103v (Basso), no. 136: ‘The Second’; unattributed; Canto and Basso, only

Comments:

The version in 10444 is in C major (either a fourth lower or a fifth higher than the version in Mus. 734). For ease of collation, all readings from 10444 have been transposed down a fourth (to F major).

1, Canto, 1–4: dotted-quaver, semiquaver, dotted-quaver, semiquaver (10444)

0, Basso, 1: omitted (10444)

1, Basso, 1–2: minim F, crotchet F, crotchet BB♭ (10444)

2, Basso, 1–4: C, D, E, F (10444)

3, Basso, 1–2: BB♭, C (10444)

4, Basso, 1: minim F, crotchet F (10444)

5, Basso, 1–3: BB♭, C, D (10444)

6, Canto, 1: dot omitted, in error (10444)

6, Basso, 1–2: C, BB♭ (10444)

7, Basso, 1–2: crotchet BB♭, crotchet D, minim C (10444)

10, Canto, 4–5: dotted-crotchet, quaver (10444)

12, Canto, 4–5: dotted-crotchet, quaver (10444)

11, Basso, 1: minim G (10444)

13, Basso, 3–4: minim F (10444)

14, Basso, 1–4: B♭, G, A, F (10444)

15, Basso, 1–4: crotchet G, quaver D, quaver E, minim F (10444)

16, Canto, 6: quaver f', quaver g' (10444)

16, Basso, 1–3: BB♭, C, D (10444)

17, Canto, 1–2: quaver a', quaver b♭', crotchet g' (10444)

17, Basso, 1: C (10444)

Source list for solo versions (keyboard and lute):

Cambridge, Fitzwilliam Museum, Mus. MS 32.G.29 (The Fitzwilliam Virginal Book), no. 202: ‘Alman’; Keyboard

Cambridge, University Library, MS Nn. 6.36, fol. 18v: ‘Maske’; Lute

Oxford, Christ Church, Mus. 92, fol. 4: ‘The Princes Maske’; Keyboard

New York, New York Public Library, Drexel MS 5612, p. 1: ‘A Masque’; Keyboard

M.7.7 (Full score   , MIDI   )   Gentle knights (A. Ferrabosco II)

Line reference: One of the sylvans: 337–44

Source:

Oxford, Bodleian Library, Tenbury MS 1018, fos. 37v–8: ‘Farabosco’; JnB 689

Comments:

1, Cantus & Bass: time-signature omitted

18, 34, Cantus, 6: B♭

34, Bass, 2: copyist originally wrote d, which he corrected to B♭

Text collation:

339 high-graced] high grac’d

341 bright] light

344 should] shall

M.7.8 (Full score   , MIDI   )   Almande (The Third of the Prince’s Masque) (?R. Johnson)

Line reference: 355 (? ‘After this [Gentle knights’], they danced their last dance, into the work.

Sources:

§ W. Brade, Newe ausserlesene liebliche Branden (Hamburg and Lübeck, 1617), no. 33: ‘Der dritte mascharada’

London, British Library, Add. MS 10444, fos. 54v–5 (Canto) and 104 (Basso), no. 137: no title; unattributed; Canto and Basso, only

Source list for solo versions (keyboard and lute):

Cambridge, University Library, MS Nn. 6.36, fol. 18v: ‘Maske’; Lute

Edinburgh, National Library of Scotland, Music Dept, MS 9449 (Panmure MS 8), fos. 4–5v: ‘Allmayne’; Keyboard

8. Love Freed From Ignorance and Folly (1611)

M.8.1   The Fools’ Masque (Anon.)

Line reference: 209 (? ‘The FOLLIES dance, which were twelve she-fools.’)

Source:

London, British Library, Add. MS 10444, fos. 29v (Treble) and 81 (Bass): ‘The Fooles Masque’; unattributed

Comments:

1, Bass: key-signature is one-flat throughout, although two flats are necessary

5, Treble, 4–5: crotchets

7, Bass, 1: omitted

11, Bass, 3–5: omitted

19, Treble, 4: g'

20, Treble, 1: a'

27, Treble, 3–4: a'', e''

34, Treble, 4: e(♭)′′

35, Bass, 1: A

The final strain (bars 33–40) is highly corrupt, especially the treble line: instead of listing the numerous changes, here follows a diplomatic transcription of both parts. In the edition the bass has been retained (with the exception of the final note, which is a semibreve in the MS) and the treble edited to fit, while retaining the melodic outline; the last beat of bar 37 in the treble is omitted in the manuscript:

M.8.2 (Full score   , MIDI   )   Oh, what a fault, nay, what a sin (?A. Ferrabosco II)

Line reference: First Priest: 290–4

Source:

Oxford, Bodleian Library, Tenbury MS 1018, fos. 36v–7: unattributed; JnB 679

Comments:

In the masque the song was answered by a chorus (see lines 295–7).

1, Cantus & Bass: time-signature is omitted

Text collation:

292 beauty to have lost!] bewtie hadd been loste

293 the . . . with] y^e . . . w^th

M.8.3 (Full score   , MIDI   )   How near to good is what is fair! (A. Ferrabosco II)

Line reference: Second Priest: 299–306

Source:

Oxford, Bodleian Library, Tenbury MS 1018, fos. 37r–v: ‘Farabos / co’

Comments:

1, Cantus & Bass: time-signature is omitted

1–17, 22–36, Cantus: clef is c4

34, Cantus, 1: bª is indicated in 1018

Text collation:

300 Which] w^ch

301 with the lines . . . air] w^th y^e lynes . . . ayer

303 wish to see it still, and prove] w^th it still to see and prooue

304 ways] way

305 than] then

306 grieved] greude/greeude

APPENDIX: Possibly associated song

M.8.4A    Senses by unjust force banish’d (?A. Ferrabosco II)

Source:

Oxford, Bodleian Library, Tenbury MS 1018, fol. 37: unattributed

Comments:

18, Cantus: ♯ sign below note 1

Text collation:

1 banish'd] bannisht

2 the . . . your] y^e . . . you

3 vanish'd,] vannisht

4 possess'd] possest

5 on] one

7 Than . . . earth’s broad] then . . . earthes brode

9. The Vision of Delight (1617)

M.9.1(a (Full score   , MIDI   )–b)   I was not wearier where I lay (?N. Lanier)

Line reference: Aurora: 222–7

Source:

London, British Library, MS Egerton 2013, fol. 45v: unattributed; JnB 736

Lost setting:

• M.9.1(a) (Full score   , MIDI   ): Version a (Diplomatic transcription)

Comments:

Diplomatic transcription; barlines are given as in the source

1, Cantus, 6: semiquaver, but the previous note is dotted implying a demisemiquaver

• M.9.1(b) (Full score   , MIDI   ): Version b (Editorial reconstruction)

Comments:

In the masque Aurora’s solo song is answered by The Choir (lines 228–31).

Text collation:

223 Tithon’s] Titans

224 Than] Then

10. Pleasure Reconciled to Virtue (1618)/ For the Honour of Wales (1618)

M.10.1 (Full score   , MIDI   )   The Goats’ Masque (Anon.)

Line reference: 279 (? ‘Here the dance of goats.’)

Source:

London, British Library, Add. MS 10444, fos. 45v (Treble) and 95 (Bass), no. 104: ‘The goates Masque’; unattributed

Comments:

19, Treble, 4: minim

20, Treble, 1: semibreve

M.10.2   The First of the Prince’s Masques (Anon.)

Line reference: (Pleasure Reconciled) 229 (? ‘First dance.’)

Source:

London, British Library, Add. MS 10444, fos. 45v–6 (Treble) and 95v (Bass), no. 105: ‘The first of the Princes Masques’; unattributed

Comments:

1, Bass, 3: a

4, Treble, 2: d''

7, Treble: redundant ♯ under note 4

7, Treble, 5: b(♭)

7, Bass, 4: accidental omitted

M.10.3   The Second [of the Prince’s Masques] (Anon.)

Line reference: 251 (? ‘The second dance.’)

Source:

London, British Library, Add. MS 10444, fos. 46 (Treble) and 95v (Bass), no. 106: ‘The Second’; unattributed

M.10.4   The Third [of the Prince’s Masques] (Anon.)

Line reference: 301 (? ‘they dance their last dance’)

Source:

London, British Library, Add. MS 10444, fos. 46 (Treble) and 95v–6 (Bass), no. 107: ‘The third’; unattributed

Comments:

1, Bass, 2–4: quaver g, crotchet a, crotchet d

Partial concordance:

William Brade, Newe ausserlesene liebliche Branden (Hamburg, 1617), no. 8: ‘Des jungen Prinzen Intrada’; only the first two bars are concordant:

11. News from the New World Discovered in the Moon (1620)

M.11.1 (Full score   , MIDI   )   The Birds’ Dance (Anon.)

Line reference: 242 (? ‘The antimasque of Volatees.’)

Source:

London, British Library, Add. MS 10444, fos. 19v (Treble) and 73v (Bass), no. 20: ‘The Birds dance’ (f. 19v) / ‘The Birds Dance’ (f. 73v); unattributed

Comments:

17, Treble, 1: omitted

12. The Gypsies Metamorphosed (1621)

M.12.1 (Full score   , MIDI   )   The Gypsies’ Masque (Anon.)

Line reference: 50 (? ‘[First] dance’)

Sources:

§ London, British Library Add. MS 10444, fos. 32v (Treble) and 83v–4 (Bass), no. 60: ‘The Gypsies Masque’; unattributed    

Oxford, Christ Church, Mus. 44, fol. 132v: ‘The Gipsies Maske’; unattributed; Keyboard (Treble & Bass, in score)

Comments:

Although the 44 version is evidently for keyboard, it is only has treble and bass and is a better text (for this piece) in some places than 10444; thus, the two versions have been collated (although elsewhere in the edition it has been standard practice not to collate consort versions with arrangements for solo instruments). 44 contains a few ornament signs, which have been noted in the commentary.

1, Treble: clef is g1 (10444)

1, Bass, 2: crotchet e, crotchet c (44)

1, Treble, 1: ornament sign // (44); this sign is generally interpreted as a trill starting on the main note or the one below it

3, Treble, 3–4: dotted-quaver, semiquaver (44)

6, Bass, 2: g (44)

6, Treble, 2–3, 5–6: dotted-quaver, semiquaver (44)

7, Bass, 2–3: crotchet e (10444)

8, Treble, 3–4: dotted-quaver, semiquaver (44)

8, Bass, 1–2: minim c (10444)

8, Bass, 3: crotchet g, crotchet f (44)

9, Bass, 3: d (44)

10, 22, Treble & Bass: time-signature is 3 (44)

10, Treble, 2–3: f'', d'' (10444)

10, Treble, 5: accidental omitted (10444)

10, Bass, 1–4: minim c (black notation), crotchet A, minim F♯, crotchet D (black notation) (44)

11, Treble, 3: accidental omitted (10444)

11, Bass, 1–4: crotchet c, minim d, minim G, crotchet g (10444)    

12, Bass, 1–6: crotchet A, minim d (black notation), minim G (black notation), crotchet B (44)

12, Bass, 6: c (10444)

13, Treble, 2: accidental omitted (10444)

13, Treble, 5: black notation (44)

13, Bass, 1: e (10444)

13, Bass, 2–3: black notation (44)

14, Treble & Bass: time-signature is C (44)

14, Bass, 1: minim G, minim g (44)

16, Bass, 1: g (10444)

18, Treble, 3: accidental omitted (10444)

18, Bass, 2: d' (44)

19, Bass, 1–2: dotted-crotchet c', quaver b, dotted-crotchet a, quaver g (44)

20, Treble, 4: accidental omitted (10444)

20, Bass, 1–2: minim f, crotchet c, crotchet A (44)

22, Treble, 1: black notation (44)

22, Treble, 3–4: dotted-crotchet, quaver (44)

22, Treble, 1–2: dotted-crotchet, quaver (44)

22, Bass, 1–4: minim G, minim g (44)

23, Bass, 2–4: crotchet c, minim G, minim g (10444)

23, Bass, 1: black notation (44)

23, Bass, 4: editorial; beat omitted (44)

24, Treble, 2–3, 5–6: minim (black notation) (44)

24, Bass, 1–4: e (black notation), c, B (black notation), G (44)

25, Treble, 1–3: crotchet b', crotchet a', crotchet g' (10444)

25, Bass, 1–2: crotchet g, minim d (10444)

25, Bass, 1: black notation (44)

Source list for other versions (solo lute and keyboard):

M.12.2 (Full score   , MIDI   )   From the famous peak of Derby (R. Johnson)

Line reference: Jackman: 53–64; lines 65–72 are not set

Source:

J. Playford, The Musical Companion (1673), pp. 88 (‘Cantus’), 89 (‘Bassus’): ‘a. 2. Voc. / (The Gipsies Song.) / Rob. Johnson’

Facsimile: Early English Books Online

Comments:

Dashed barlines indicate the changes of metrical pulse from 3/2 to 3/4

Text collation:

53 Derby] Darby

54 there hard by,] that’s hardby;

55 keep] make

56 Thus th’Egyptians] There the Gypsies

58 tattered] tatter’d

59 rags] Raggs

62 or] and

63 Ribbons . . . saffroned linen,] Ribonds . . . saffron Linnin;

64 All] And all

M.12.3 (Full score   , MIDI   )   To the old, long life and treasure (Anon.)

Line reference: Jackman: 226–35 (‘Third Song’)

Source:

New York, New York Public Library, Drexel MS 4257, no. 177: unattributed; JnB 622

Comments:

See also M.12.6A (Full score   , MIDI   )

The stanza in block text is numbered ‘2’ and is followed by ‘3’ but no text is given for a third stanza.

7, Bass, 1–3: f, e, d

Text collation:

234 foul] foole

235 clear] faire

236 errors;] error

237 loving] lovley

239 To . . . terrors] and . . . terror

M.12.4 (Full score   , MIDI   )   Why, this is a sport (E. Chilmead)

Line reference: The Patrico and Jackman: 450–75

Source:

London, British Library, Add. MS 29396, fos. 71v–2v: ‘The Gypsies, Patrico & Jackman’ / ‘M^r Chilmeade’; JnB 624

Comments:

From note 2 of bar 34 onwards the Bass part is editorial.

35, Bassus, 1–2: crotchet, crotchet

Text collation:

452 the] y^e

454 the] y^e

455 With the mayor and] w^th y^e Maior &

456 We’ll] weele

457 Do-do-down] (downe) ://: ://:]

458 gypsy] Gypsie

459 the] y^e

460 Than the . . . the] then y^e . . . y^e

461 the] y^e

462 that] y^t

464 Ay] I

465 the] y^e

467 Though] tho

468 the girls] y^e Girles

469 Ay] I

471 the . . . with . . . sluts] y^e . . . w^th . . . slutts

472 guts.] gutts

M.12.5/1–2 (Full score   , MIDI   )   Cock Lorel would needs have the devil his guest (Tune: An old man is a bed full of bones)

Line reference: Jackman: 742–817

• M.12.5/1 (Full score   , MIDI   ): An old man is a bed full of bones, Setting 1

Traditional ballad tune

• M.12.5/2 (Full score   , MIDI   ): An old man is a bed full of bones, Setting 2

Tune with Jonson’s text, ‘Cock Lorel would needs have the devil his guest’

Source:

Tune adapted from T. D’Urfey, Wit and Mirth (1719), 4.101–3: ‘A BALLAD call’d COOK-LORREL. The Words by BEN. JOHNSON.’; text variants have not been collated

Facsimiles: Early English Books Online

Comments:

New York, New York Public Library Drexel MS 4257, no. 92 (text only); JnB 645      

The version in Wit and Mirth is a minor third higher.

APPENDIX

M.12.6A (Full score   , MIDI   )   To the old, long life and treasure (S. Webbe)

Line reference: Jackman: 226–35

Source:

London, British Library, Add. MS 31806, fol. 134: ‘S. Webbe, 1774’ (score) / ‘This gain’d a Prize Medal 1774. S Webbe’ / ‘Catch’

Comments:

Samuel Webbe (1740–1816) was an associate of R. J. S. Stevens.

Voices are labelled ‘1^st’, ‘2^d’, ‘3^d’ at start and end (giving new order of entries).

1, Voices 2 & 3: time-signature is omitted.

13. The Masque of Augurs (1622)

M.13.1 (Full score   , MIDI   )   The Bears’ Dance (Anon.)

Line reference: 124 (? ‘Enter John Urson with his bears, singing.’)

Source:

London, British Library, Add. MS 10444, fos. 19 (Treble) and 73 (Bass), no. 19: ‘The Beares Dance’ (fos. 19, 73); unattributed

Comments:

In consultation with the other two arrangements (for Lute and for Keyboard), the C major key-signature (of the Treble part) has been retained, and the one-flat (e♭) key-signature of the Bass part ignored (without further comment).

9, Treble: flat sign before note 1, presumably confirming the cancellation of the f♯′′ in the previous bar though the sharp is not given

Source list for other versions (solo lute and keyboard):

Edinburgh, National Library of Scotland, Music Dept, MS 9449 (Panmure MS 8), fol. 3: ‘The Bears Daunce’; unattributed; Keyboard

M.13.2/1–2 (Full score   , MIDI   )   Though it may seem rude (Tune: Jog On)

Line reference: John Urson: 125–85

• M.13.2/1 (Full score   , MIDI   ): Jog On, Setting 1

   Traditional ballad tune

• M.13.2/2 (Full score   , MIDI   ): Jog On, Setting 2

Tune with ballad text ‘Though it may seem rude’

Source:

Facsimile: Eighteenth-Century Collections Online

Text collation:

126 Though] Tho’

137 sign-a] Sine a

140 Though] Tho’

141 o’the] o’th’

150 there] here

151 again] agen

156–61] omitted

164 desire] desire a

167 our fire] the Fire a

185 ye] you

M.13.3 (Full score   , MIDI   )   Do not expect to hear of all (N. Lanier)

Line reference: Apollo: 326–37 (‘The Revels. After which, Apollo went up to the King and sung.’: line 325)

Source:

London, British Library, Add. MS 11608, fol. 17v: ‘M^r. Nicholas Laneir’; JnB 681

Comments:

11, Cantus, 4: ♭ sign misplaced before note 4

18, Cantus: the ornament signs presumably indicate a series of neighbour notes (upper or lower); they could also indicate more extensive ‘shakes’ (i.e. trills) though in this context the graces appear to be short

Text collation:

327 Your . . . lest] yo^r . . . least

328 A] some

329 Some things the . . . concealed] Thus much y^e . . . conceal’d

330 From . . . the . . . lest . . . revealed] frō . . . y^e . . . least . . . reveal’d

331 powers shall] peers? would

332 your] yo^r

333 The reverence . . . your] y^e Rev’rence . . . their

334 discern] discearne

335 The] y^e

336 And that the . . . your] & y^t yo^r . . . yo^r

337 father’s] fathers

14. Time Vindicated to Himself and to his Honours (1623)

M.14.1 (Full score   , MIDI   )   Half Hannikin

      Traditional tune

Source:

J. Playford, The English Dancing Master (1651), p. 43: ‘Halfe Hannikin’

Facsimile: Early English Books Online

Comments:

This tune is cited as one of the dances included in the measures (see Headnotes for this item).

The Fortunate Isles and their Union (1625)

M.15.1/1–2 (Full score   , MIDI   )   Come, noble nymphs, and do not hide

Line reference: Proteus, Portunus and Saron: 394–417 (‘Here Proteus, Portunus, Saron go up to the ladies with this song.’, line 393)

• M.15.1/1 (Full score   , MIDI   ): Setting 1 (Anon.)

Source:

Oxford, Bodleian Library, MS Donc. c.57, no. 97, p. 102: unattributed; JnB 608

Comments:

Lines 394–401 only are set

1, Cantus & Bass: time-signature is omitted

9, Cantus, 2–5: c'', a', b', c''

15, Cantus, 1–5: semiquavers

• M.15.1/2 (Full score   , MIDI   ): Setting 2 (W. Webb)

Source:

J. Playford, Select Ayres and Dialogues (1659; rpt. as The Treasury of Music, 1669, Book 1), 14: ‘At a Masque, to invite the Ladies to Dance.’ / ‘Mr. William Webb.’   

Facsimiles: Early English Books Online (1659; 1669)

Comments:

Stanzas 2 and 3 (394–417) given in block text.

Text collation:

402 wear . . . toils,] were . . . toyls? (1659/1669)

405 on the shore,] long be your smiles fore? (1659/1669)

407 emerald] Emrauld (1659/1669)

408 better-watered] better water’d (1659/1669)

410 ambergris] Amber-greece (1659/1669)

411 Of which was formèd Neptune’s niece,] Whereof was formed Neptunes Neece, (1659/1669)

415 your smiles] and Smiles (1659/1669)

16. The King’s Entertainment at Welbeck (1633)

M.16.1 (Full score   , MIDI   )   What softer sounds are these (W. Lawes)

Line reference: Doubt and Love, accompanied by the Chorus of Affections, Joy, Delight, and Jollity: 3–33 (‘His Majesty being set at dinner, a song was sung, a dialogue between the Passions, DOUBT and LOVE [, accompanied by the Chorus of Affections, JOY, DELIGHT, and JOLLITY].’)

Source:

London, British Library, Add. MS 31432, fos. 20v–1: ‘Dialogue’ / ‘Joy’ / ‘Delight’; ‘Wj:lLawes’; JnB 677   

Comments:

Lawes sets lines 3–16 only; second stanza not given in block text

31, Cantus 1, 5: g′

39, Cantus 1, 2: d′′

41, All parts, 1: breve    

Text collation:

4 hemisphere] Hemipsheare

6 and . . . everything,] & . . . Euerie thing

11 waters’] watters

12 hours;] bowers

13 that] y^t

14 The ‘Welcome’ of our great, good King.] Welcome to our Royal King

NON-DRAMATIC VERSE

1. Epigrams (1616)

N.1.1 (Full score   , MIDI   )   Underneath this stone doth lie (‘Epitaph on Elizabeth, L. H’)

   Printed poem: Epigrams, 124. Stevens sets lines 3–6, of

      which only the first line is directly from Jonson’s poem.

Source:

Glasgow, Euing Music Library, MS R.d.94, pp. 39–41: ‘Compos’d. 1782’ / ‘Words from / Ben: Johnson’ / Serious Glee. 5 Voices’ [‘Voices’ was added at a later stage]; ‘Soprano’, ‘Alto’, ‘Tenore 1:^ono’; ‘Tenore 2:^do’; ‘Basso’. The setting has been crossed-out (with a large X through each stave, though the music still entirely legible) with the following note at the end, ‘Reset Page 51. / Vol. 1’, p. 39

Comments:

Several of the slurs (used only to indicate melismas) appear to have been added after copying.

12, Tenor 2 & Bass, 1–2: the rhythm has been altered from two crotchets to dotted-crotchet, quaver by the addition of a dot and a tail; this was done after copying; the hand is indistinct but presumably that of Stevens

2. The Forest (1616)

N.2.1/1–5 (Full score   , MIDI   )   Drink to me only with thine eyes (‘Song. To Celia’)

    Printed poem: The Forest, 9. Song: To Celia

Comments:

There are several unrelated settings of this poem from the eighteenth century (and later), better known by the poem’s opening line, ‘Drink to me only with thine eyes’: the sources for all except one (N.2.1/2 (Full score   , MIDI   )) are printed. N.2.1/1 (Full score   , MIDI   ) is the most famous setting, and is found in several arrangements. For discussion of the tentative attribution to Henry Harington, see Headnotes for this item.

• N.2.1/1 (Full score   , MIDI   ): Setting 1 (?H. Harington)

Source:

Anon. [?Henry Harington] ([c. 1780?]), Drink to me only with thine eyes

Comments:

Stanza 2 (lines 9–16) not given.

List of cognates, not collated:

‘Drink to me only with thine Eyes. To Celia, a Song’ ([c. 1770?]): Copy consulted: London, British Library, G.315.(87.)

‘Drink to me only with thine Eyes. To Celia, a Song’ ([c. 1770?]): Copy consulted: London, British Library, G.315.(87.)

‘Drink to me only with thine Eyes. A favourite glee for three voices’ (Babb’s Musical Circulating Library, [c. 1780]). Copy consulted: London, British Library, H.1860.nn.(4.)

‘Drink to me only. A favorite glee for three voices’ (T. Straight, [1777/8–c. 1783]). Copy consulted: London, British Library, H.1654.j.(43.)

‘Drink to me only. A Favourite Glee for three Voices’ (Dublin: John Lee, [1780?]). Copy consulted: London, British Library, H.1601.a.(41.)

‘Drink to me only with thine eyes: a favourite glee for three voices with the original words by Ben Johnson’ (Printed for A. Bland, [c. 1784–92]). Copy consulted: New York, The Morgan Library and Museum, British music 1750–1825.11

‘Drink to me only. A Favorite Song and Glee’ (Major, [1790?]). Copy consulted: London, British Library, H.1648.(4.)

‘Drink to me only with thine Eyes. A favourite glee for three voices’ (Dale’s Musical Circulating Library, [1783–1821: c. 1790?]). Copy consulted: London, British Library, H.1652.00.(20.)

John Wall Callcott, A Select Collection of Catches, Canons and Glees . . . Composed, selected and arranged by J. W. Callcott ([c. 1790?]). Copy consulted: London, British Library, D.413

• N.2.1/2 (Full score   , MIDI   ): Setting 2 (‘A Song to Celia’) (Anon.)

Source:

London, British Library Add, MS 29386, fol. 12v: ‘A Song to Celia. The Words by Ben: Johnson’; unattributed

Comments:

Only lines 1–4 are underlain; the remaining lines are divided into three four-line stanzas, given in block text.

The numberings etc. above the top stave appear to indicate keyboard fingerings; ‘X’ was commonly used to indicate a trill; the sign in bar 10 presumably also indicates a trill.

• N.2.1/3 (Full score   , MIDI   ): Setting 3 (Mr Andrews)

Source:

Andrews, Mr ([c. 1730?]), Drink to me only with thine Eyes

Comments:

Stanza 2 (lines 9–16) given in block text, not underlain.

Most of the ‘3’ indications of tuplets are editorial.

The ‘sym[phony]:’ rubrics in bar 0 (and editorially at bars 18, 21, and 33) refer to the instrumental introduction and ritornellos (for violins and flutes?); the instrumental accompaniment would double the voice for the sung passages

27, Voice, 5: e♭''

28, Voice, 1: e♭''

32–27, Voice: here the print omits the last two words of the phrase ‘for thine’ and also omits a rubric for the symphony to take over the vocal line; the melody of bars 33–7 seem more likely to be intended for instruments rather than a long vocal melisma

• N.2.1/4 (Full score   , MIDI   ): Setting 4 (?J. Oswald)

Source:

Oswald, J. ([c. 1762?]), The Thirsty Lover

Comments:

The arrangement is likely to be the work of James Oswald (1710–69), a Scottish composer, publisher, arranger and cellist. Flood (1925) dated it to c. 1753–4.

The ‘sym[phony]:’ rubrics in bars 0 and 28 refer to the instrumental introduction and coda (for violins and flutes?); the instrumental accompaniment would double the voice for the sung passages.

17, Basso Continuo, 1: figures 4/2

• N.2.1/5 (Full score   , MIDI   ): Setting 5 (T. Linley Sr)

Source:

Linley, T. (c. 1800), The Posthumous Vocal Works , i. 102–4: ‘GLEE’

Comments:

Glee setting by Thomas Linley Sr, published posthumously by his wife.

• N.2.1/6 (Full score   , MIDI   ): Setting 6 (Anon.)

Source:

Anon. ([c. 1730?]), To Celia, A Song

Comments:

Single sheet song, with no publication details.

16, Basso Continuo, 3: figure is 6, in error

Text collation:    

3 Or leave . . . in] breathe but . . . into (N.2.1/5 (Full score   , MIDI   ))

5 that from the] which in my (N.2.1/4 (Full score   , MIDI   ))

5 doth rise] derives (N.2.1/5 (Full score   , MIDI   ))

6 Doth ask] demands (N.2.1/5 (Full score   , MIDI   ))

7 might . . . sup] could . . . sip (N.2.1/5 (Full score   , MIDI   ))

7 sup] sip (N.2.1/4 (Full score   , MIDI   ))

8 change for] barter (N.2.1/5 (Full score   , MIDI   ))

9 thee] the (N.2.1/2 (Full score   , MIDI   ))

9 rosy] Rosie (N.2.1/4 (Full score   , MIDI   ); N.2.1/3 (Full score   , MIDI   ); N.2.1/6 (Full score   , MIDI   )); roseate (N.2.1/5 (Full score   , MIDI   ))

10 honouring] honring (N.2.1/4 (Full score   , MIDI   ); N.2.1/3 (Full score   , MIDI   )); hon’ring (N.2.1/6 (Full score   , MIDI   ))

11 giving it a hope that there] thinking that on thy fair Breast (N.2.1/5 (Full score   , MIDI   ))

12 withered] wither’d (N.2.1/3 (Full score   , MIDI   ); N.2.1/6 (Full score   , MIDI   ))

13 breathe] breath (N.2.1/3 (Full score   , MIDI   ))

14 sent’st] sent (N.2.1/3 (Full score   , MIDI   ))

15 when] which (N.2.1/5 (Full score   , MIDI   ))

2. The Underwood (1641)

N.3.1 (Full score   , MIDI   )   Hear me, O God! (A. Ferrabosco II)

    Printed poem: Underwood 1.2: A Hymn to God the Father

Source:

§ London, British Library, MS Egerton 3665, fos. 507v–8 (p. 100[3]), no. 4: ‘Pauana’ / ‘Heare mee O God . . .’ / ‘B. I[onson].’ / ‘Alfonso Ferabosco Jun.’

Comments:

This is one of several related settings by Alfonso Ferrabosco II, a contrafactum of his ‘four-note’ pavan (see Headnote for this item).

Stanza 1 (lines 1–16) underlaid; stanza 2 (lines 17–32) given in block text

10, All parts: fermatas are editorial

10, 18, 29, All parts: longs

London, British Library, Add. MSS 29372–7 (Thomas Myriells’ Tristitiae Remedium, 1616), (29372–5, fol. 72v; 29376, fol. 59v): ‘Heare me o god . . .’ / ‘Alfonso Ferabosco’ (29372), written-out repeats, stanzas underlaid incorrect order (1a, 2a, 1b, 2b, 1c, 2c); ‘Heare me o god.’ / ‘Alfonso Ferabosco’ (29373); five parts

London, British Library, Add. MS 29427, fol. 70v, no. 110 (142 deleted): ‘Heare me O God.’ / ‘Alfonso Ferabosco’; Altus only

Oxford, Christ Church, Mus. 423–8, no. 30 (423, fol. 65v; 424, fol. 39v; 425, fol. 61v; 426, fol. 13v; 428, fol. 57v): ‘Pavan. Alfonso Ferabosco’ / ‘Heare me O God . . .’ (423); ‘Pavan. Heere mee o God. Alfonso Ferabosco’ (424)

Cambridge, King’s College, Rowe Music Library, MS Rowe 113A, p. 2: ‘Heere mee o God. Pavan. Alfonso’; Organ only

London, British Library, Add. MSS 17792–6 (17792, fol. 54; 17793, fol. 57; 17794, fol. 59; 17795, fol. 22; 17796, fol. 54): ‘Pavin Mr AF’ (17792): five parts

London, British Library, MS Egerton 2485: unattributed; no title; Organ only    

Oxford, Bodleian Library, MSS Mus. Sch. E.415–8 (415, fol. 2; 416, fol. 2; 417, fol. 3; 418, fol. 5): ‘Alfonso’ / ‘The 4 note Pavan’ / ‘AF:’ (415): five parts, now lacking the Quintus book    

Oxford, Bodleian Library, Rawl. Poet. 23, p. 158: text only; anthem sung in the Chapel Royal 1635

Oxford, Christ Church, Mus. 2, fol. 141: unattributed; no title; five parts (in score)

Oxford, Christ Church, Mus. 403–8 (404–5, 408, fol. 61; 406–7, fol. 60): unattributed; no title; five parts

Oxford, Christ Church, Mus. 436, fol. 115: unattributed; no title; Organ only

Oxford, Christ Church, Mus. 527–30 and 1024, fol. iv: ‘Alfonso Fer’ / ‘4 notes pav:’ (527): five parts

Lost setting:

19 That] y^t (1018)

5 prove] knowe (1018)

9 left] let (3665); set (423–8); sett (1018)

12 For sin’s] For sinne’s (29372–7); For Sinn’s (2013); For Sinns (423–8); for sinn (1018)

13 minds] mynd’s (423–8); minde (1018)

14 Rarely] cannot (1018)

19 That] y^t (1018); thou (3665)

19 a Son] a sonne (29372–7; 3665); a sonn (1018); thy sonne (2013)

20 To free] to free (1018; 29372–7; 3665); to be (2013)

22 With all since] withal since (3665); which all since (1018); which with all sinne (2013); from death since (29372–7)

23 Sin] Sinne, (3665); Since (29372–7)

25 overcame] over-came (3665); overcome (1018)

30 Me farther toss] and now begin (29372–7; 3665); and now beegin (1018); and nowe begin (2013)

32 Under his cross] beneath the Crosse (3665); beneath the crosse (2013); beneath thy crosse (29372–7); beeneath thy Crosse (1018)

N.3.2 (Full score   , MIDI   )   See, the chariot at hand here of Love (?J. Gamble). See also P.8.1(a (Full score   , MIDI   )–e)

Printed poem: Underwood, 2.4 (A Celebration of Charis in Ten Lyric Pieces): Her Triumph

Source:

New York, New York Public Library, Drexel MS 4257, no. 2: unattributed; JnB 9   

Comments:

Stanza 1 (lines 1–10) underlain; stanzas 2 and 3 (lines 11–20 and 21–30) given in block text

1, Cantus, 4: b♭'

3, Bass, 3–4: dotted-crotchet

Text collation:

4 well the car] whilst the coach

10 Through swords, through seas, whither she would ride.] through y^e woods through y^e seas whether she will ride whether she would ride

15 smoother] smother

16 Than] Then

17 And from her archèd brows, such a grace] From her raysed browes sitts grace

18 Sheds itself] Shades it selfe

19 there triumphs to the life] theire triumphs delight

20 of the elements’] of such Elementall

21 a bright] the white

22 have] hath

23 Ha’ . . . o’the] Haue . . . of the

24 soil] earth

25 Ha’ . . . o’the] Haue . . . of

27 Or have smelt o’the bud o’the briar?] Haue you smelt to y^e budd of the bryar

29 o’the] of the

N.3.3 (Full score   , MIDI   )   For Love’s sake, kiss me once again (?R. Johnson)

Printed Poem: Underwood, 2.7 (A Celebration of Charis in Ten Lyric Pieces): Begging Another, on Colour of Mending the Former, lines 1–6 only

Source:

London, British Library, Add. MS 56279, fol. 24v: unattributed

Comments:

Lines 1–6 only (underlain).

2, Bass, 2: g

3, Bass, 1–2: g, G

4, Cantus & Bass: time-signature is omitted, the change to triple-time indicated by barring

Text collation:

4 do you] should we

5 taste] kiss

6 doth] does

N.3.4/1–2 (Full score   , MIDI   )   Come, with our voices let us war

Printed Poem: Underwood, 3: The Musical Strife, in a Pastoral Dialogue

• N.3.4/1 (Full score   , MIDI   ): Setting 1 (Anon.)

Source:

Oxford, Bodleian Library, MS Don.c.57, fos. 48v–9: unattributed; JnB 322   

Comments:

In Don.c.57 the division of voices is indicated by numbers 1 and 2 above the stave; this last only until stanza 4, thereafter the same pattern is followed here editorially

41, Cantus 1, 4: c''

44, Cantus 1, 6: b'

55, Cantus 2, 5: b'

58, Cantus 1, 2: c''

• N.3.4/2 (Full score   , MIDI   ): Setting 2 (J. Wilson)

Sources:

§ Oxford, Bodleian Library, MS Mus.b.1, fos. 81–3: ‘A Dialogue / John Wilson’ (in score); JnB 324   

Oxford, Bodleian Library, MS Mus. Sch. C.142, fos. 1r–v (Cantus 1) and 2r–v (Cantus 2): unattributed; Parts; JnB 325    

Comments:

The close relationship between the two sources (and their common Oxford provenance) strongly suggests that the C.142 version was copied from Mus.b.1 for performance at the Act Song (see the Headnotes for this item). 142 also includes a second copy of the bass part, transposed down a tone (to B minor); this is found immediately after the bass part in C minor (i.e. on facing pages).

1, All parts: time-signature is omitted (b.1); time-signature is (C.142)

1, Bass: key-signature is three-flats (C.142)

1, Cantus 1, 4: accidental omitted (b.1; C.142)

10, Bass, 1: accidental omitted (b.1)

13, Cantus 2, 4: accidental omitted (b.1)

22, Cantus 1, 3: g' (C.142)

27, Cantus 1, 1: accidental omitted (C.142)

38, Cantus 1, 1: omitted (C.142)

38, Bass, 1: fermata (C.142)

40, Cantus 1, 3–4: accidentals omitted (b.1; C.142)

45, Cantus 1, 1: omitted (C.142)

61–68, All parts: the repeat is implied by text instruction ‘Chorus Nay rather’ after bar 68 (C.142)

62, Cantus 2, 4: d'' (b.1; C.142)

63, Cantus 2, 5: accidental omitted (b.1; C.142)

65, Cantus 2, 2–3, 5: accidental omitted (b.1)

68, Bass, 1: breve (C.142)

Text collation:

4 turn] turnd (b.1, C.142)

9 your] our (b.1, C.142)

13 me] mine (c.57)

15 sting] stings (c.57)

25 Nay] Let (c.57)

28 choir] Quire (b.1, C.142, c.57)

N.3.5 (Full score   , MIDI   )   Do but consider this small dust (A. Ferrabosco II)

Printed Poem: Underwood 8: The Hourglass

Source:

Carlisle, Cathedral Library, MSS Box B1, no. 8: ‘Alf. Ferabosco’ / ‘3. Voc:’; two parts of on original set of three (‘Altus’ and ‘Bassus’ only); JnB 286

Comments:

The Bass part is untexted in the source, though it presumably would have been sung.

4, Bassus, 4: quaver e, quaver e

6, Bassus, 5–6: crotchet a

7, Bassus, 3: quaver d, quaver d

12, Altus, 3: a', c''

15, Altus, 5–6: crotchet e′′

15, Bassus, 5–6: crotchet A

17, Altus, B.3: semibreves

Text collation:

2 the] this

3 moved] mov’d

4 believe that] beleive y^t

5 The body was] y^e body ever was

6 that loved] y^t love’d

7 And . . . mistress’ flame . . . a] & . . . m^ris flames . . . y^e

8 Turned] burnt

9 and . . . unblessed] & . . . unbless’t

10 expressed] express’t

Contrafactum of ‘Do but consider this small dust’

   All you forsaken lovers (attrib. A. Ferrabosco II)

Source:

London, British Library, Add. MS 10337, fol. 47: unattributed

Uncollated concordance:

Cambridge, Fitzwilliam Museum, Mu. MS 782 (‘The John Bull MS’ compiled c. 1620; formerly MS 52.D.25), fol. 111v: attributed to Ferrabosco

Comments:

The author of the song text is unknown

7, Cantus, 3: e♭''

13, Cantus, 3: bª'

15, Bassus, 3: b♭

16, Cantus, 3: crotchet e''

16, Bassus, 2: c    

17, Bassus, 2: b♭

17, Cantus, 2: semibreve

17, Bassus, 3: semibreve

N.3.6 (Full score   , MIDI   )   Or scorn or pity on me take (J. Wilson)

Printed Poem: Underwood 11: The Dream

Source:

Oxford, Bodleian Library, MS Mus.b.1, fos. 48v–9: ‘John Wilson’; JnB 48

Comments:

10–11, Cantus, 5–1: b♯' (i.e. bª')

Text collation:

9 spite] spight

13 sleep] sleeps

N.3.7 (Full score   , MIDI   )   Come, let us here enjoy the shade (T. Ford)

Printed Poem: Underwood 36: A Song

Source:

Oxford, Christ Church, Mus. 736–8 (‘Alto’; ‘Contratennor’; ‘Basso’; continuo lacking, here reconstructed editorially), fol. 5: ‘Tho: fford’ / ‘of 3’ / ‘A Dialogue’ (737)

Comments:

27, Altus: quaver-rest before note 1

27, Altus, 5: crotchet

49, All parts, 1: long

Text collation:

2 shadow] shaddowes

3 his] this

4 sunlight . . . than he] sonnes light . . . then hee

6 lights . . . doth] light . . . doe

10 Who] where

13 styled] stilde