Fitzwilliam Virginal Book

The Fitzwilliam Virginal Book is a primary source of keyboard music from the late Elizabethan and early Jacobean periods in England, i.e., the late Renaissance and very early Baroque. It takes its name from Viscount Fitzwilliam who bequeathed this manuscript collection to Cambridge University in 1816. It is now housed in the Fitzwilliam Museum at Cambridge. The word virginals does not necessarily denote any specific instrument and might refer to any instrument with a keyboard.

Allman

From the Fitzwilliam Virginal Book. Performed by Ulrich Metzner on a harpsichord of the type used in the early 20th century

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History

It was given no title by its copyist and the ownership of the manuscript before the eighteenth century is unclear. At the time The Fitzwilliam Virginal Book was put together most collections of keyboard music were compiled by performers and teachers: other examples include Will Forster's Virginal Book, Clement Matchett's Virginal Book, and Anne Cromwell's Virginal Book. It is possible that the complexities of typesetting music precluded the printing of much keyboard music during the late Renaissance and it was not until the advent of engraving music plates that pieces for keyboard were published. The first known example of this in England is Parthenia, which was published in c. 1612.

The FVB was once given the nomenclature of Queen Elizabeth's Virginal Book, although the title cannot be correct since much of its contents were written after her death in 1603. Another hypothesis, which still has supporters, is that it belonged to Francis Tregian the Younger, a recusant and amateur musician. It has been argued that Tregian may have copied the entire collection while imprisoned in the period leading up to his death in 1614. The nature of Tregian's contribution to the book has been disputed.^[1] Although other scholarship suggested that, as compiler, it is unlikely that Tregian was imprisoned long enough to undertake the copying involved,^[2] a closer inspection of the manuscript reveals two layers of copying, of which nos. 1-95 pieces form the first. This layer might have been done at any time previous to Tregian's 1612 incarceration.

The manuscript includes music dating from approximately 1562 to 1612 by John Bull, William Byrd, Orlando Gibbons, Giles Farnaby (51 of whose 52 known pieces are included), Thomas Tallis, and Martin Peerson. Continental composers are also represented by the English composer in exile Peter Philips, whose music is largely arrangements of sacred music, madrigals and chansons. Other foreign composers are represented by, among others, Jan Pieterszoon Sweelinck, the elusive Jehan Oystermayre and Giovanni Picchi. There are 298 pieces which includes the eighth variation of 'Treg. Ground' (also Hugh Ashton's Ground in My Ladye Nevells Booke) as a separate piece. It is found under a flap on which has written no. 276, 'Pescodd Time' and it is assumed that Tregian either did not recognise the variation or thought it worthy of inclusion; as it happens, it is incomplete. As with many keyboard manuscripts of the time, the pieces were not written for a specific instrument, and most sound happily on all contemporary keyboard instruments, including virginals, harpsichord, clavichord and chamber organ.^[3] Many of the pieces in the book are short, and many of them are character pieces with droll and memorable titles, including "Put Up Thy Dagger, Jemy", "The New Sa-Hoo", and "Quodlings Delight" by Giles Farnaby; "Nobody's Gigge", by Richard Farnaby; "Pakington's Pownde" and "The Irishe Dumpe" (anonymous); "The Ghost" and "The Earle of Oxford's Marche" by William Byrd; "Worster Braules" by Thomas Tomkins; and the famous "Lachrymae Pavan" by John Dowland, as arranged by Giles Farnaby and by William Byrd.

In 1899, Breitkopf & Härtel published an edition in two volumes (the Maitland Squire edition, see the Sources below) with only a basic critical commentary, which has been reprinted by Dover Publications and is available inexpensively. A microfilm facsimile of the manuscript is included in The music collections of the Cambridge libraries (Woodbridge, Conn. : Research Publications, 1991). Musica Britannica is preparing a volume dedicated to the "Keyboard Music from Fitzwilliam Manuscripts" [1]. A new three-volume edition was published by Lyrebird Music in 2020, edited by renowned English music scholars Jon Baxendale and Francis Knights.

Richard Strauss used several selections from the Fitzwilliam Virginal Book in his 1935 opera, Die schweigsame Frau, and cited them accordingly at their appearances in the work. They appear at ritualized moments in the action to provide commentary and atmosphere in the Act 2 marriage scene (No. XIV and No. XC) and in the Act 3 courtroom scene (No. XXXVII).

The first recording of selections from the anthology was made by Joseph Payne in 1964. It was issued by Vox Box (i.e. Vox Records) as a three-LP boxed set and features Payne performing three album sides on harpsichord (a modern Eric Herz instrument) and three sides on organ. Generally the more moderately paced and sustained pieces are performed on the organ.

The pieces in the book

(For each composer, the pieces follow the order in which they appear in the manuscript)

Anonymous

Alman
Barafostus' Dreame
Muscadin
Alman
Galiarda
Praeludium, El. Kidermisters (possibly a work of John Bull)
Praeludium
The Irishe Hoe-Hoane
Veni
Heavene and Erthe
[Exercise]
Praeludium
Praeludium
Why Aske Yow
[deest owing to an error in numbering]
Pakingtons Pownde (possibly Benjamin Cosyn)
The Irish Dompe
Watkins Ale
Can Shee
A Toye
An Almain
Corranto
Alman
Corranto
Corranto
Corranto
Daunce
Praeludium
Martin Sayd to his Man
Coranto
Corranto
Corranto
Corranto
Corranto
Alman
Nowels Galliarde
The Kynges Morisco
Alman
A Toye
Corranto
Ladye Riche
Corranto
A Toye
Allemanda
Dalling Alman

Doctor John Bull

Walsingham
Galliarda to my Lorde Lumlyes Pavan
Pavana
Galiarda
The Quadran Pavan
Variation of the Quadran Pavan
Galiard to the Quadran Pavan
Pavan
Galiard to the Pavan
Sainte Thomas Wake
Praeludium
Fantasia
Praeludium
Gloria tibi trinitas
Salvator Mundi
Galliarda
Variatio
Galliarda to the Pavan
In Nomine
Christe Redemptor
The Kynges Hunt
Pavana
Galiarda
Dr Bulls Juell
The Spanyshe Paven
The Duke of Brunswykes Alman
Pypers Galiarde
Variatio ejusdem
Praeludium
Galiarda
Galiarda
A Gigge, Doctor Bulls My selfe
A Gigge
Praeludium
Ut, re, mi, fa, sol, la
The Duchesse of Brunswykes Toye
Miserere in three partes

Ferdinando Richardson

Pavana
Variatio
Galiarda
Variation
Pavane
Variatio
Galiarda
Variatio

Giles Farnaby

Pavana (Robert Johnson set by Giles Farnaby)
The K[ing's] Hunt
Spagnioletta
For tow virginals
Daphne
Pawles Wharfe
Quodlings Deligte
Putte upp thy Dagger, Jemy
Bony sweete Robin
Fantasia
Wooddy Cocke
Rosasolis
Alman (Robert Johnson set by Giles Farnaby)
The Nuwe Sa-Hoo
Giles Farnabyes Dreame
His Rest
His Humoure
A Maske
A Maske
Fantasia
A Maske
Fantasia
Loth to departe
Fantasia
Fantasia
Ay me, poore Heart
Fantasia
Walter Erles Pavan
The L. Zouches Maske
Grownde
Upp T[ails] all
Tower Hill
Praeludium
A Gigge
Galliarda
A Toye
Farnabyes Conceite
Telle Mee, Daphne
Mal Sims
Rosseters Galiarde
The Flatt Pavan
Why aske yow
Farmers Pavan
The Olde Spagnoletta
Meridian Alman
Fantasia

John Munday

Fantasia
Fantasia, Faire Wether, etc.
Robin
Go from my window
Mundays Joye

Peter Philips

Tirsi, di Luca Marenzio. Ia. Parte intavolata di Pietro Phillipi.
Freno
Cosi morirò
Fece da voi
Pavana Pagget
Galiarda
Passamezzo Pavana
Galiarda passamezzo
Chi fara fede al Cielo, di Alessandro Striggio
Bon Jour mon Cueur, di Orlando di Lasso
Pavana Dolorosa, Treg[ian set by]
Galiarda Dolorosa
Amarilli, di Julio Romano (Giulio Caccini)
Margott laborez
Fantasia (Si me tenez, Thomas Crecquillon).
Pavana
Le Rossignuol, (Lasso set by)
Galliardo
Fantasia

Thomas Morley

Goe from my window
Nancie
Fantasia
Alman
La Volta (Set by William Byrd)
Pavana
Galiarda

Thomas Tomkins

Pavana
A Grownde
Barafostus' Dreame
The Hunting Galliard
Worster Braules

William Byrd

BK numbers refer to Musica Britannica: William Byrd Keyboard Music, ed. Alan Brown (London: Stainer & Bell, 2 vols, 1969/71)

8. Fantasia, BK63
10. Jhon come kisse me nowe, BK81
24. Praeludium, BK24
52. Fantasia, BK13
56. Passamezzo Pavana, BK2a
57. Galliardas Passamezzo, BK2b
58. The Carmans Whistle, BK36 (also catalogued in My Ladye Nevells Booke)
59. The Huntes upp, BK40 (also catalogued in My Ladye Nevells Booke)
61. Treg[ian's] Grownde, BK20
61(sic.) Monsieurs Alman (I), BK87
62. Variatio, BK88
63. [Monsieur's] Alman [III], BK44
64. Sellengers Rownde, BK84 (also catalogued in My Ladye Nevells Booke)
65. Fortune, BK6
66. O Mistris Myne, BK83
67. Will Yow Walke the Woods soe Wylde, BK85 (also catalogued in My Ladye Nevells Booke)
68. Have With Yow to Walsingame, BK8 (also catalogued in My Ladye Nevells Booke)
69. The Bells, BK38
91. Pavana, Bray, BK59a
92. Galiarda, BK59b
93. Pavana, Ph. Tr., BK60a
94. Galiarda, BK60b
100. Praeludium to the Fancie, BK12
101. Ut, Re, Mi, Fa, Sol, La, BK64 (also catalogued in My Ladye Nevells Booke)
102. Ut, Re, Mi, BK65
103. Fantasia
104. All in a Garden Grine, BK56
121. Pavana Lachrymae, BK54 (by John Dowland, set by William Byrd)
122. Galiarda, BK55 (by James Harding, set by Byrd)
126. The Maydens Songe, BK82
133. The Quadran Pavian, BK70a
134. Galiarde to the Quadran Pavian, BK70b
150. Malt's come downe, BK107 (doubtful attribution)
155. La Volta, BK91
156. An Almane, BK89
157. Wolsey's Wylde, BK37
158. Callino Casturame, BK35
159. La Volta L. Morley, BK90
160. Rowland (Lord Willobies welcome home), BK7 (also catalogued in My Ladye Nevells Booke)
162. The Goste, BK78
163. Alman, BK11
164. Galliard, BK53
165. Pavana, BK4a
166. Galiarda, BK4b
167. [The first] Pavana, BK29a (also catalogued in My Ladye Nevells Booke)
168. Galiarda, BK29b (also catalogued in My Ladye Nevells Booke)
172. The Queene's Alman, BK10
173. A Medley, BK111 (attribution doubtful)
174. Pavana
175. Galliarda
176. Miserere [Clarifica me pater] in three partes, BK48
177. Miserere [Clarifica me pater] in fore partes, BK49
181. A Gigg, 'F.Tr.', BK22
191. Sir Jhon Grayes Galliarde, BK104 (doubtful attribution)
216. Gipsies Rownde, BK80
218. [The French] Coranto, BK21a
241. Corranto, BK45
252. [The third] Pavana, BK14a (also catalogued in My Ladye Nevells Booke)
253. Galiarda, BK14b (also catalogued in My Ladye Nevells Booke)
254. Pavana, BK52a
255. Galiarda, BK52b
256. Pavana, BK101 (doubtful attribution)
257. [The second] Pavana Fant[asia], BK71a (also catalogued in My Ladye Nevells Booke)
258. Galiarda, BK71b (also catalogued in My Ladye Nevells Booke)
259 The Earle of Oxford's Marche [The march before the Battell], BK93 (also catalogued in My Ladye Nevells Booke)
261. Fantasia, BK62
275. Pavana, Canon 2 in 1,
276. Pescodd Tyme [The Hunt's Up], BK40
277. Pavana deligte (Edward Johnson, set by William Byrd), BK5a
278. Galiarda (Edward Johnson, set by William Byrd), BK5b
294. Ladye Montegles Pavan, BK75

The Other Pieces

Pavana - M. S.
The Woods so Wilde - Orlando Gibbons
Praeludium - Thomas Oldfield
In Nomine - William Blitheman (see John Blitheman)
Fantasia - Nicholas Strogers
Alman - Nicholas Strogers
Toccata - Giovanni Picchi
Praeludium, Toccata - Jan Pieterszoon Sweelinck
Pavana - Thomas Warrock (see also organists of Hereford Cathedral)
Galiarda - Thomas Warrock
Praeludium - Galeazzo
Heavene and Erthe - Fre - Francis Tregian
Felix namque 1 - Thomas Tallis
Felix namque 2 - Thomas Tallis
Felix namque: Alleluia (possibly a Thomas Tallis sketch); in Breitkopf, it has no title; elsewhere, it is called 'Præludium'.
Ut, Re, Mi, Fa, Sol, La a 4 voci - Jan Pieterszoon Sweelinck
Pavana Lachrymae - John Dowland (set by William Byrd)
Galiarda - James Harding (set by William Byrd)
In Nomine - John Parsons
Psalme - Jan Pieterszoon Sweelinck
Nobodyes Gigge - Richard Farnaby (son of Giles Farnaby)
Pipers Pavan - Martin Peerson
Allemanda - Marchant
Fayne would I Wedd - Richard Farnaby
Almand - William Tisdall
Pavana Chromatica - William Tisdall
Fantasia - Jan Pieterzoon Sweelinck
Pavana, Clement Cotton - William Tisdall
Pavana - William Tisdall
Alman - Hooper (perhaps Edmund Hooper)
Corranto - Hooper
Jhonsons Medley - Edward Johnson
A Galiarde Grownde - William Inglott (organist at Hereford and Norwich Cathedrals)
The Leaves bee greene - William Inglott
Galiarda - Jehan Oystermayre
The Primerose - Martin Peerson
The Fall of the Leafe - Martin Peerson
Pavana Delight - Edward Johnson (set by William Byrd)
Lachrymae Pavan - John Dowland (set by Giles Farnaby)
Pavana - Orlando Gibbons
Galiarda - William Tisdall
Hanskin - Richard Farnaby

References

^ Ruby Reid Thompson, Francis Tregian the Younger as music copyist: A legend and an alternative view. Music and Letters 2001 82: 1-31; doi:10.1093/ml/82.1.1
^ Kah-Ming Ng, liner notes to The Fitzwilliam Virginal Book: Transcriptions for a Mixed Consort, charivari agréable, Signum Records SIGD009
^ A few of the pieces presuppose an instrument arranged with a short octave in the bass, since they contain large intervals for the left hand that cannot be reached on the modern keyboard. The short octave was widely employed in all four instruments mentioned in the main text.

External links

The Fitzwilliam Virginal Book: Scores at the International Music Score Library Project
Fitzwilliam Virginal Book, c.1610 – c.1625, information by the Fitzwilliam Museum
Lynda Sayce and Kah-Ming Ng: The Fitzwilliam Virginal Book, Signum Records, 1999
Holt, Greg (June 2007). Fawcett, Pat (ed.). "Francis Tregian and the Fitzwilliam Virginal Book". The Cornwall Family History Society. 124. Truro: CFHS: 32–33. ISSN 0141-7614. OCLC 62597632.
Greg Holt: Who wrote the Fitzwilliam Book?

Recordings

Complete Recording performed on digital piano/harpsichord by Claudio Colombo
FitzWilliam Virginal Book, Vol. I, recorded by Dutch harpsichordist Pieter-Jan Belder on Brilliant Classics (total is 15 CDs in 7 Volumes, 2011–2020)

[1] Ruby Reid Thompson, Francis Tregian the Younger as music copyist: A legend and an alternative view. Music and Letters 2001 82: 1-31; doi:10.1093/ml/82.1.1

[2] Kah-Ming Ng, liner notes to The Fitzwilliam Virginal Book: Transcriptions for a Mixed Consort, charivari agréable, Signum Records SIGD009

[3] A few of the pieces presuppose an instrument arranged with a short octave in the bass, since they contain large intervals for the left hand that cannot be reached on the modern keyboard. The short octave was widely employed in all four instruments mentioned in the main text.

[1]

[2]

[3]