1 This point was first given a full treatment by Joseph Kerman in his doctoral dissertation, ‘The Elizabethan Madrigal’, Princeton, 1950. Anyone who has read this invaluable study will realise my indebtedness to it. Since it is about to be published, there seemed no point ιn quoting page references to the original typescript.Google Scholar

2 The Autobiography of Thomas Whythorne, ed. J. M. Osborn, Oxford, 1961, p. 67 (spelling modernized).Google Scholar

3 See Stevens, D., The Mulliner Book—A Commentary, London, 1952, p. 57, and A Part-book in the Public Record Office', Music Surcey, ii (1950), 166.Google Scholar

4 Two four-part consort songs in British Museum Add. MSS 30,480–4 show a certain independence in the instrumental parts: the anonymous ‘Without redress I waste my mind’ and ‘Come, palefaced death’ by the Scottish priest Robert Johnson, who fled to England before the Reformation. They may date from this transitional period. Johnson's song is printed at p. 149 of Music of Scotland, ed. K. Elliott & H. M. Shire (Musica Britannica, xv), London, 1957.Google Scholar

5 MSS 984–8, containing Byrd's two Funeral Songs for Sir Philip Sidney (d. 1586).Google Scholar

6 The Paradise of Dainty Devices, ed. H. E. Rollins, Cambridge (Mass.), 1927, p. 4; one of the many later editions reads ‘Instruements’.Google Scholar

7 ibid., p. 72; the tune is printed in Chappell's Old English Popular Music, ed. H. E. Wooldridge, London, 1893, i. 72.Google Scholar

8 ibid., p. 92; ascribed to Hunnis in the first edition only, but undoubtedly of his authorship—perhaps a thanksgiving for his release from the tower in 1558 (?); cf. C. C. Stopes, William Hunnis and the Revels of the Chapel Royal, Louvain, 1910, pp. 109–111. I give the version in the Dow MSS, which seems a better text than that of the printed edition.Google Scholar

9 The published version, probably following the musical setting, has the rubric Bis against the final couplet of each stanza.Google Scholar

10 Brown, D., ‘William Byrd's 1588 Volume’, Music & Letters, xxxviii (1957), 376. I am indebted to Mr. Brown for allowing me to read his unpublished M.A. dissertation, ‘The English Tradition in Secular Music of the 16th Century’ (University of Sheffield, 1959).CrossRefGoogle Scholar

11 Whythorne, op. cit., p. 174.Google Scholar

12 ‘From Virgin's womb’ No. 35, 1589; see also Nos. 40, 41 and 46–7 of the same collection.Google Scholar

13 Bodleian MS Mus. Sch. e. 423; See Kerman, J., ‘Byrd's Motets: Chronology and Canon’, Journal of the American Musicological Society, xiv (1961), 368. The other important manuscript sources of Byrd's songs are Harvard MS Mus. 30; Christ Church MSS 984–8; Tenbury MS 389; British Museum Add. MSS 18,936–9,29,401–5,31,992 and Egerton MSS 2,009–12.Google Scholar

14 From the dedication to Sir Christopher Hatton, Psalmes, Sonets, & Songs, 1588.Google Scholar

15 Wallace, C. W., The Evolution of the English Drama up to Shakespeare with a history of the evolution of the first Blackfriars Theatre (Schriften d. deut. Shakespeare-Gesellschaft, iv), Berlin, 1912; A. Feuillerat, Documents relatιng to the revels at Court in the Time of King Edward VI and Queen Mary (Materialien zur Kunde des älteren Englischen Dramas, xliv), Louvain, 1914; C. C. Stopes, op. cit.; E. K. Chambers, The Elizabethan Stage, Oxford, 4. vols., 1923; H. N. Hillebrand, The Child Actors (Illinois University Studies in Language and Literature, xi), Urbana, Illinois, 1926.Google Scholar

16 Arkwright, G. E. P., ‘Elizabethan Choirboy Plays and their Music’, Proceedings of the Musical Association, xl (1914), 135. This article is an expanded version of ‘Early Elizabethan Stage Music’, Musical Antiquary, I (1909), 30–40. Many of the songs were published in Elizabethan Songs, ed. P. Warlock, 3 vols., London, 1926.Google Scholar

17 See Clemen, W., English Tragedy before Shakespeare, trans. T. S. Dorsch, London, 1961, especially Chapter 14.Google Scholar

18 Sir Philip Sidney, The Defence of Poesie, ed. A. Feuillerat, Cambridge, 1923, P. 38.Google Scholar

19 The Mulliner Book, ed. D. Stevens (Musica Britannica, i), London, 1951, pp. 10–11.Google Scholar

20 British Museum, Add. MS 15,117 and Rowe Library, King's College, Cambridge, MS 2 respectively.Google Scholar

21 ed. J. P. Brawner, Urbana (Illinois), 1942; see also W. J. Lawrence, ‘The Earliest Private-Theatre Play’, Times Literary Supplement (11 Aug. 1921), 514, who ascribes the play to Farrant; but see Chambers, op. cit., iii. 311, and iv.’ 52. Fellowes, who mistakenly ascribed the song to Byrd on the evidence of Tenbury MS 389, thought the Warres was probably based on an earlier play; see William Byrd, 2nd edn., London, 1948, p. 169.Google Scholar

22 Almost certainly composed for a performance of Seneca's Hippolytus given in 1592 at Christ Church, Oxford, with additional scenes by William Gager; see the remarks by Jean Jacquot in Musique et Poésie au XVIe siècle (Colloques Internationaux du Centre National de la Recherche Scientifique: Sciences Humaines, v), Paris, 1954, pp. 283–4.Google Scholar

23 For Thomas Legge's Ricardus Tertius, produced at St. John's College. Cambridge in 1579; see Fellowes, op. cit., pp. 167–8.Google Scholar

24 ‘William Byrd and the Madrigal’, Festschrift für Johannes Wolf, Berlin, 1929, p. 26; also ‘Musical Form of the Madrigal’, Music & Letters, xi (1930), 239. The consort song plays a smaller rôle in the miscellaneous collection of 1611 (see Nos. 25, 28, 31 & 32) and is no longer disguised by the addition of words to the lower parts. A consort song, ‘Adoramus te, Christe’ crept into Gradualia, 1603; it lies outside the main liturgical plan of the book.Google Scholar

25 ibid., p. 30.Google Scholar

26 Royal College of Music, MS 2,089; Tenbury MSS 340 and 341–4.Google Scholar

27 Published at Leyden in 1586. The emblems dedicated to Paston (pp. 134–5, 198–9) are adjacent to two dedicated to Dyer (pp. 132–3, 196–7).Google Scholar

28 ibid., p. 186, dedicated ‘Ad doctiss. virum D. St. BVLLVM’. A Stephen Bull, LL.B., held posts in the Norwich Archdeaconry in 1584 and 1585; see Francis Blomefield and C. Parkin, An Essay towards a topographical history of the County of Norfolk, 2nd edn., London 1805–10, iii. 656, 659.Google Scholar

29 Quoted in E. B. Burstall, ‘The Pastons and their Manor of Binham’, Norfolk Archaeology, xxx (1950), 105. Bartholomew Young, in the preface to his translation of Montemayor's Diana, 1598 (dedicated to Penelope Rich), mentions Paston's travels in Spain and praises his translation of ‘some leaves that liked him best’ in Diana. Paston's translation seems never to have been published.Google Scholar

30 ‘I joy not in no earthly bliss’ (No. 11) and ‘My mind to me a kindgom is’ (No. 14).Google Scholar

31 Prerogative Court of Canterbury, Scroope 43.Google Scholar

32 ‘Songs by William Byrd in Manuscripts at Harvard’, Harvard Library Bulletin, xiv (1960), 343–65.Google Scholar

33 See T. B. Trappes-Lomax, ‘Roman Catholicism in Norfolk’, Norfolk Archaeology, xxxii (1938), 31.Google Scholar

34 Blomefield, op. cit., vi. 493–4.Google Scholar

35 ‘When Flora fair’, an imitation of Petrarch's ‘Zefiro torna’ set to Palestrina's ‘Vestiv'i colli’ in British Museum Egerton MSS 2,009–12 (folios 4’-6), was used by the Norwich priest, Richard Carlton in Nos. 4–5 of his Madrigals To Five voyces, 1601. Carlton also set (as Nos. 6–7) ‘From stately tower’ (Eg. 2,009–12, fs. 35’-36’).Google Scholar

36 A punning reference in l. 18 of this verse led Mr. Dart and myself to think it concerned Penelope Rich (op. cit., p. 352, where the poem is printed complete). Byrd's ‘Weeping full sore’ (1589, No. 26) definitely mentions her, and it is possible that she was acquainted with the Pastons; her Roman Catholic sympathies are known—See Vaughan, E., ‘Priests’ Holes in an Essex Manor House’, Essex Review, xxvii (1918), 25 & 28–9.Google Scholar

37 See Sothern, A. C., An Elizabethan Recusant House, comprising the life of the Lady Magdalen Viscountess Montague (1538–1608), trans. from the Latin of Dr. Richard Smith by Cuthbert Fursdon, London, 1954.Google Scholar

38 See Lawrence, W. J., ‘Thomas Ravenscroft's Theatrical Associations’, Modern Language Review, xix (1924), 418–423, and A. J. Sabol, ‘Two Songs with Accompaniment for an Elizabethan Choirboy Play’, Studies in the Renaissance, v (1938), 145–159.Google Scholar

39 Many of the items in Warlock's Elizabethan Songs belong to this category. Dowland's fine ‘Sorrow, stay’ originally published for voice, lute and bass viol alone ιn the Second Booke of Songes, 1600, had two five-part consort arrangements accorded it, one by William Wigthorp in British Museum Add. MSS 17,786–91, and another, anonymously, in British Museum Add. MSS 37,402–6.Google Scholar

40 The consort songs of East, Mundy and Greaves, omitted by Fellowes in his edition of The English Madrigal School, have been appended to a revised edition (by Thurston Dart), together with the psalms, verse-anthems and instrumental Fantasies that appear in these sets.Google Scholar

41 New York Public Library, Drexel MSS 4,180–5; published by Stainer & Bell (No. 5491), London, 1961.Google Scholar

42 Fellowes, E. H., William Byrd, p. 157.Google Scholar