11

BYRD AND SWEELINCIC SOME CURSORY NOTES!

It has always smrck me how comparable the music and itsbackground of William Byrd (lia0-rófi) aodJan pieterszoon

Sweelinck (1t62-1621) are. Both were priacipally composàrsof vocal polyphony and had fully mastered the art of lareRenaïssance counterpoint, both wrore as masterfu[y lorfew as well as for many voices and made the variarion innumber of voices a principal tool of composition. Theyboth set texts disregarding religious di[ferences while bothwere catholic organists working in countries whereprotestantism had become the state religioo. Their pecuiiarposition in combinarion with an unusual openness of mindled to a rather liberal and progressive artistic oudook. Ir istherefore Íro coincidence rhar Byrd and sweelinck eachmanaged to develop a keyboard style and formal repertoirewhich was fully the equal of their vocal music, and whichturned out ro be hugely inÍIueatial and forming a realschool, For Byrd as for §weelinck composition neverbecame a Ínafter of rourine; instead, they soughr to imbueeach composition with a marked individualiry.

Unfornrnately, there is no evidence whatsoever thar theyknew about each other, though in the case of Sweelinckone can presume so, principally through his contacts withJohn Bull and Peter Philips, both English recusants whqhad found refuge in rhe Southern Netherlands. There istantalizingly litde musical evidence for any direct influ-ences. However, since the bulk of Byrd's keyboard musicmust have been composed long before Sweelinck made hisbelated starr as a keyboard composer,r the direction can beassumed to have been one-way, Continent-bound, Inparricular, some variation works of Sweelinck show signsof having been modelled on sets by Byrd. Ir is surely nocoincidence rhar rhe one melody common ro borhcomposer's keyboard oeuvres,2 'Forrune my foe,, shouldhave led to t\t'o rather closely related works, Sweelinck,slittle set, moreover, shows clear evidence for a reladvelyearly origin (that is, from the 1600s) and it is obyious rhat hetook the piece by the older compgser as a model, which isechoed in several passages, while he also seems to have hadByrd's Pavan F2 around on his halpsichord., But even theformal layout of a much more famous piece as Meí* jutgesLeben hat eír Eaà - famous not leasr in England foí-.4considerable rime, wirness its mention in James JoycCslIlysses (1922) - can be raced back to Byrd, since it isremarkably similar ro rhe lane/s Alt in a gardm greene.o Tlne'twin' of Mein junges Leban, the equally masrerly set on Ickvoeï al o,rer R1.jí, draws on a wide range of compositionaldevices, induding clear-cur English gallia.rd style ar the endas well as what almost looks iike a citation from Byrd,sHugh Ashton's Ground. in the fifth variation.'

However, none of the pieces by Byrd mentioned so farappear in any of the conrinental sources, let alone in sourcesderiving directly from Sweelinck, though this may relate tothe rather peculiar source situation for Sweelinck's ownkeyboard music. Indeed, the way the keyboard oeuvres ofByrd and Sweelinck are mansmited show a fundamental

12 AnnuaíEgrífuzus[etter 7 - 2AAL

difference. Whereas with Eyrd we have several sources

very close to the composer and which in most cases have

clear pedigrees and are primarily contemporaneous, withSweelinck the gteat majority is posthumous and withunknown or at best vague backgrounds. It is a strange factthat, although the many German Sweelinck students can be

ultimately held responsible for the transmission and survival

of so many pieces of their master in surprisingly high-qualitytexts,t direct evidence for their parricipation in rhis import-ant process is very scarce indeed, Major Sweeknck sources

such as the Lymar manuscripts (D-8, MSS Liibbenau LynarA 1 and B 1-4) or the large Vienna Minoriten Codex (A-Wm,

MS XIV.714) still keep their secrets regardíng their origins

and scribes. It is a remarkable phenomenon to see his music

copied (as a rule very faithfully) for more than half a century

after his death, and to see the transmission of his music so

closely bound up with thar of his North German pupils: the*ansmission of both their music and that of Sweelinck thusdries up simultaneously in the 16ó0s and 1ó70s.

The only source with a documented connection with the

§weelinck school is the small DÍiben Tablature Book (S-Uu,

IMhs 408), which was apparently written for and partlycopied out by the young Gustav Dtiben (c1629-1690). Gustav

was son of the Sweelinck pupil Andreas Dtiben (1597 /98-1662) and his successor as Capellmeister at the Swedish

court; Gustav's principal fame resides in his huge collectionof vocal and insmrmental ensemble music now kept inUppsala. The tablature book, the sole Íemnant of whatmust have been a large and important collection of NorthEuropean keyboard music, contains from Sweelinck s handonly a small variation set (which is moreover intermixedwith variations by his pupil Samuel Scheidt). However it ishere, if any,where, that a connecdon with Byrd may befound. The volume was begun in 1641 with a row of pavanand galliard sets, including very retrospectively Byrd's'Pere' pair which was by then exactly fifry years old.';Together with the pavan and galliard pairs included byPeter Philips and John 8u11, this might very well reflectrepertoire going back ro the Amsrerdam student years ofAndreas Driben. The Byrd copy basically derives fmm therevised version the composer pub§shed b Parthe*ia (1ó13),

and it is perhaps no coincidence that Àndreas's srudentshipfell exacdy in the following years (1614-1620), In rhisconnecdon, a partial copy of this famous print in themanuscript Lynar A2 (D-8, MS Liibbenau Lynar À2)becomes interesting too.8 A selection of welve pieces hasbeen copied out there as a closed groupr including six out ofByrd's eight contributions to the print, among them the'Petre' Pavan and Galliard (see table in next column).

In this MS no Sweelinck pieces have been preserved, but itforms tlrt companion for the much larger MS Lynar À1

written by the same (unknown) scribe. This scribe, as has

been shown elsewhere,' had access to an unusually rióvein of Sweelinck's keyboard music and this, in combina-don with the impeccable texts he transmits, led me to thehypothesis that his coples were more likely than not made

ditectly from Sweelinck's autographs. As a .orrs.q.renie,

much of the remaining repertoire mansmitted here (like-wise in high-qualiry texts) may also derive from Srlieelinclispapers, and it is thus possible that this also holds for theParthenia section. (That the Lynar A2 raoscriptions !!'eredone directly from the print appears unlikely, since theorder is somewhat haphazard; for example, rhe preludeclearly belonging to rhe perre Pavan and Galliard [pp.38-40 inthe MSI was copied our separately at a later poinr [p.43].)After this section the manuscript is rounded off by someadditional English repertoire: five pieces by Orlando Gibbons(including a remarkable galliard unique ro this source) agwell as two fantasias by Byrd (G2 and C1). Thus rhese.manuscript pieces may at one point have belonged tóSweelinck's library as well. Some sort of vaguely visible lineof transmission appears if one casts a glance at the con-cordances of the two Byr{ pieces. Not only do they nrm uppaired in Ly*ar .L2, but also in the so-called Ellis MS(GB-Och, Mus. MS 1113),10 and this larter MS conrains as

one of the very few English sources a piece by Sweelinck as

well (àe Hexachord Fantasia [F1], in a §ne text). A furtherContinental connecdon of this manuscript is suggesred bythe indusicrt of several pieces by Peter Philips, the majoriryunique to this souïce, while Byrd's Fantasia GZ seems tohave been well known in the Netherlands (or at least at rheBrussels court), wimess the use of its opening rheme infantasias by Philips and his colleague at the archducalchapel in Brussels, Peeter Comet,lt

Summary content of Lynar Àe, §p.n-dz

?p. yiece ctncordaaces*38-39 Byrd: Pavan gZ Sir Wílliam Petre Parthenia Z -- *ilO Byrd: Galliard gz Sir Willi*m Pete Parthenia 3 '4l Bull: Galliard d4 Partàenia 1Í r

42-43 Gibbons: Galliard in C Parthenia 16 t

43 Byrd: Praeludium g Parthenia 1

44 Byrd: Pavan aàEarlofSalisbury Parthenia644 Byrd: Galliard az/lEarlofSahsbury Parthenia 7

44-45 Byrd: GalÏard aZ/ii Earl ofsalisbury Parthenia I45 Bull: Praeludium G4 Parthenia 9

46-47 Gibbons: Praeludium in G Parthenia 21

47 Gibbons: Pavanin aEarlof Satisiatry Parthenia l848-49 Gibbons: Galliardin aEartof Sal:isbury Parrhenia 19

i0-51 Gibbons: Galliard in d Cosyn,2-r, Gibbons: Galliard in d unicum53 Gibbons: Whoop, do menoharm various r*54-59 Gibbons: T1le H*nts U? Cosyn, Drexel,9 Gibbons: Àlmain in G Cosyn60-ó3 By"rd: Fantasia G2 Fitzwilliam, El1is, Wray64-é7 Byrd: Fantasia Cl Nevell, Ellis

* in the case ofthe Parthenia group, further concordances havenot been listed.Cosyn = GB-Lb1, R.M. 24.d.3 (Bfi/ljamin Cosya's Y*§nal Book 1ó20)

Drexel = US-NYp, Drexel MS 5612

Ellis = GB-Och, Mus. MS 1113 ('Ellis' ïvlanuscript)Fitzwilliam = GB-Cf, Mu. M§ 168

Nevell = My Ladye Netells Booke,1591 (MS in private UK olrnersbip)Parthenia = Parthetia or the May denhead (London, 1613 )'WraY

= GB-Lbl, Àdd. MS 30485*' GB-Oó, L.tus. MS§ 47 aíd 431; Priscílla Banbury's Yírsaal Boak

{MS in private ownership); F-Pn, MS Rs. 1186.

Anruua{ Egrí furus[etter 7 - 2001 13

1. [Byrd]

That Sweelinck knew the Pere Pavan (and Galliard) is notonly evident from its inclusion in two of the §weelincksources! but is further supporred by his imitation of thecontrametric figuration of this piece in strongly relatedforms in several of his works (Ex. 1-2).11

Ex. 1 - Byrd, Pavan: Sir Willism Petre (Parhenia version),bar Z4f. / Sweelinck, Toccata G1, bar 106f.

Ex, 2 - Byrd, Pavan; Sir Williem Perre (Parrhenia version),bar 59f / Sweelinck, Povana Philippi, bar 105f.

While the copy of this pavan and gallíard in Lynar .ilZremains close to the published text (as do the othertranscriptions frorr. Panhenkt), the text of this work in the

Döben Tólarure is an altogether different affair. As with theother English repertoire in this source, the versionpresented here shows alteration of the text towards a moÍepolyphonic ideal. David Smith noted regarding the Philipspieces (the Dolorosa and Paget Pavan and Galliards as well as

the arrangement of Thomas Tomkins's keyboard Pavan ina) that this may in part reflect the consor: originals.t3 Suóan explanation is, however, out of the question for the Byrdpair which almost certainly never edsted in a consortvrjrsion. Therefote the variants of this piece, which was akelöoard work from the outset (and this adaptation wasmoreover obviously done directly from tbe Parthenia

version), gain special importance. §ince the Diiben version:*'as hitherto not available in print and also only partlyieconsmrctable via the critical commentary of the completee.dition,to we have included it here as a musical supplement.

À comparison of this version with its model, the partheniatext,rt can now !e easily carried through and reveals mlnysmall but important changes to render the piece more

polyphonic and more strict§ four-part - if sometimes onlyon paper. Here three typical examples have been singled out.In Ex. 3 (see p. 15), one sees the arranger striving for a smoothfour-part texture, eliminating many of the harpsichord-idiomadc, percussive elements like the two fs on the fi-rst

beat of bar 18, the doubling of the c" in the lower octave iabar 19; he even manages to render the purely rhythmicblpulsation in bar 20 more polyphoaic. The alto motif of bar65f of the pavan is upon its imitation liberally distributedover tenor and bass in the Parthenia version; this is'corrected' in the Diiben Tablature by rearranging it for thebass only, wíth renewed voice-leading in the inner voices(Ex. a). In the galliard, the striking entry of the full-voicetexturr in bar 2 with the open-fifth harmony is altered inDiiben into a complete harmony by changing the alto into a

Bb; a similar change can be observed ia bar 79 of the pavan,leading to a texrure equally awkward to play but with a

new tenor line (Ex. 5).

It is certainly tempting to attribute the rewritten version ofByrd's Pavan and Galliard 92 to §weelinck, though onethen would have to accept a differentation in his rework-ings of English keyboard music between a slight (and notentirely successful) adaptadon to his own style as here or incompletely rewritten and brilliantly varied manífestadon as

in bis Pavaaa Philippi. From the perspective of the sourceand its background, a case could be made for an altemadveattribution of these changes to Scheidemann, who seems tohave been allied with the origin of its content.td Be it as itmay, it certainly reflects the outlook of Sweelinck and hisschool and puts their reladonship with the Yirginalist'repertoire sharply into focus: while they greatly admiredand emulated this intensely idiomatic harpsichord style, itsinvolved polyphonic manner and its expressive figurarion,they were somewhat less happy with its free-voiced aspect

and could not leave the sins against coffect voice-leadinguntouched.

One wonders if Byrd in his old age Lbamt about Sweelinckand his sudden blossoming as a keyboard composer. If heknew any piece by :he Amsterdam composer at all, themost likely candidate appears ro be the latter's HexachordFanrasia. Ir is the only Sweelinck piece transmined in morethan one English source; it is not only present - along withthree other major Sweelinck pieces - in the FitzwilliamVirginal Book (GB-Cfrn, Mu. MS 168) but also, as hàs

already been seen, in ihe Ellis manuscript alongside twoByrd fantasias probably also known to Sweelinck.rT It wasin all probability composed in 1612 (the dated transmittedby Francis Tregian) and a copy must have arrived shortlythereafter (via Philips?) in England. That it is this piece towhich this honour befell is certainiy not a coincidence, since

the tradition of writing large and ambitious polyphonickeyboard pieces on the rising and falling hexachord was

initiated by Byrd and his school. Both the radidon and theschool were still very muó alive at the time Sweelinck'smaste{piece arrived in England. The flourishíng of thisesoteric keyboard genre in Northem Europe in the firstdecades of the 17th cenalry is suggestive of a lively exchange

2. [Byrd]

1-4 Annl+o{tsyrífl{9uss[etter 7 2A01.

among the composers of these pieces, though any concreteevidence is lacking. Thus, we have also no clue whether thepresepce of §weelinck's Hexachord Fantasia in .Englishsources is the result of any such high-spirited rivalry,'8

The piece copied immediately before Sweelinck'sHexachord Fantasia in the Fitzwilliam Virginal Book, a

prelude (no, [CXYI{),re has at one poinr been tentativclyascdbed to Sweelinck,zo However, it cannot be a prelude to.the Hexachord Fantasia for reasons of key alone, while itseems foreign to Sweelincr"s style, Reconsideration of thepiece, however, seems to make an attribution to WilliamByrd much more likely. Indeed, his style appears so muchin evidence that it is altogether surprising that hisauthorship has not been considered before. In particular thecentral imitative section with its compact ffeaunent(reminiscent of a relatively late work Iike the QuadranPavan) of a typical point (see Ex. o) closely approachesByrd's idiom. Moreover, assuming that this work is byB1"rd, it perhaps belongs, analogous to his Praeludium andFantasia al linked in the same souÍce (nos. CLI and LIIrespectively, the former with an explicít direction ro play itbefore the latter), to one of the two keyboard fantasias inthe same mode also pÍesent in Fitzwilliam (G2 or G3).Fantasia G2 appears the most likely candidate for a pairingwith rhe anonymous prelude; as with the pair in a, a clearthematic relationship seems pnesent (Ex. 7).

The addition of preludes to major extant pieces seems to bea distinct§ late mait of Byrd. The primary evidence lies inthe 1613 Pa*hedn, were he appeaÍs to have added preludeswherever possible. Thus the already decades-old petrePavan and Galliard was prefaced with a probably newly-composed prelude, as was the brand-new, elaborate MaryBrownlow's Galliard;'zl obviously, the ensuing Earl ofSalisbury pleces (Pavan and two Galliards a2) were tooshort, and the Pavan too close in character and length toallow for the additioh of a prelude. Around the same tímethe Prelude for the Fantasia in a was copied out in theFitzwilliam Virginal Book (which forms, rogether with ananonymous copy in GB-Lbl, Add. MS 30485 [Wray], theonly source for the piece). On tlle basis of these threeauthenticated and ffrmly attaóed preludes Oliver Neigh-bour convincingly ascribed two more preludes from theanonymous repertoire to Byrd, which of couÍse raises rheinteresdng question of to which major compositions they

belong.z2 As Neighbour algues, with regard of the F majorthe pairing seems clear: the harmonic scheme it outlinesand the- position in the manuscript in question (GB-Lbl;R.M. 24.d.3 {Will Forster's Vir§wl Bookl) leaves no doubtabout its parentage to the Pavan and Galliard F2. HoweVèr,his case for linking the Prelude in G transmitted in the sapemanuscript as well as in Fitzwilliam to the Echo Pavan anhGalliard G5 seems less persuasive, not least because theecho pair itself is transmirted anonymously too. As Neigh-bour himself points out, there are also strong motivicresemblances to Fantasia G3, but he rcjects any possiblelink. However, if one indeed accepts the prelude as beloirg-ing to this fantasia and is willing to adopt the link berweenthe second anonymous Prelude in G with Fantasia G2 as

outlined above, then it is striking that all three of Byrd'searly keyboard fantasias may have been supplemented by aprelude at a later date (all six pieces in question are more-over induded in the Fitwilliam Virginal Book); perhaps hefelt the need to give a new, modemized conrext for theseolder pieces. The evidence of Parthenia seems in general topoint to a very late date for rhese enrichments.2r Byrd washere obviously following a uend appearing sometime after1600 whose pdncipal èxponent was John Bull (who left noless than seventeerl examples of the genre),'o and hisinfluence can easily be detected in Byrd's preludes, notably inthe Prelude in C which may have been ínspired by Bull'sPavan and Galliard St. Thomas Wake also induded inPorth*ia,25

1. On the chrooology ofthe two keyboard oeuvÍes, see Oliver Neighbour,The Consort anà KeyboardMusíe of Willi.am Eyrd pondon, t97B), pass;n (burin particular p.259f); Pièrer Dirksen, The Keybaorà Musk ofJan pietcrszooft

§weelrncl - Jt.r Srllc, Signifcanee and InÍhtrlr.e, Mueiekhisrorische Mono-gra§en XV (Utrecht. l99z). pp.rt4-516.2. That is, apart from their arrangements of Dowland's payana tachrymae,which is a contrapuntal model rather than a melody taken for variations;for comparisons ofByrd's and Sweelinck's vèÍsions ofthis famous pavaa,see Werner Breig. 'Die Virgioalister: und die deutsche Claviermusik derSclrtitz-GeaeratioÍt' , b Deutsch-Ë,ngLilche Mnsikbeziehtnget, ed. Wolf Konol4Musik ohne GreDzen I (lrrÍÈachen. 1985), pp,60-66; Àlan Curtis, Sweelinrk,sKrybo ar à Mrcic (Leider., z / t97 2), p. i08f; Dirksea, The Keybo arà M*ic of j anPieterszaa Sweelis.L, pp.309-31a.3. Curtis, Sweelinc&'s Kcyboard Musl, pp.120-122; Dirksen, The KeybotràMtdsic oÍJaí P iete*zao.n Sweeliack, p.Z}gtr.a. I}tíI, p.zsl.5. Ibià, p,29zf. §ee also Curtis, Swedinck,s Keyboard Mtlsir, p.103 for aparallel berween Htgh Ashton's Gro,.rd and Sweeliack's powno philipyí.6. SÈe my article 'The Sweelinck Paradox - Researching. Ànalysing atd-Performing Sweelinch's KeÉoard Music'. io SweclircL srrdÈs, ed. piei-er

Dirksea (in preparetion lurrechr, 2001]).7. Neighbour, The Ccnsort anà Keyboerd M*ie of Witlian Byà, p.rs6.8. On this soutce, see \I1.erner Breig, "Die Lsbbenauer Tabulaturen LyrarA 1 und À 2", ir Archi§ §ir Masikwissenschafr 25 (19ós), pp.96-t t7 , L23-216.9. Dirksen, The KelboaàMwb ofJad ?iet*szoon SrvrelinÉk, pp.20-23.10. For the contents of this manuscript, see VirgjÍria Brookes, BrÈishKcyboarà Musi. to c.r660 - §owces aaà Thematiic Inder (Oxford. 1996),pP.89-91. See also Orhan Memed, Seuenteenth Ctntury tíe1boail l$utit:Be$amia Cosyn (New York, 1993), pp.90-l0t11. Peter PbiJips, Corrplcre Keyboard Mlsic, ed. David J. Smith. MuicaBritdííiea LXXV (London, 1999), no. 13; peerer Comet, Coraplete Keyboarà

Mnsic, ed. Pieter Dirksea I Jean Ferrard, Moflurnlíta Mlsca NeedanàicaXVII (Utrecht, 2'001), nos. t aÍld 6 (see also no. tt).12. CuÍtis, §weelinr}'s f,epo ard M:nsir, p.1O4l Dirksen, The Ke&oard" Nltsic of

J an Pit*rszoon SwreliMk, p. 305.

13. See his editiou of Philips, Canrylrte Keyboard MÍsic (see Nore ll). p.t8z.1a. William Byrd , Keyboarà Mrrsic, vol. I, ed. Alan Brown, Mrsica I ntrníicdXXVII (London. 21976), p.r72.

6. Prelude in O. bars 8-10

frnnua{ tsyrl \{"erus[etter 7 - 2001 15

15. Ibid, no. li Parthenia. ed. Thurston Dan, Early Kqboa:,d Mric XIX(London, 1962), nos. 2-3.

16, See the author's article 'Tbe D§ben Tablature and its Background'(forthcoming).

tz. A third British source for the Hexachord Fantasia, GB-Och. Mus. MSI"o03, is copied Éom Ellis and moreover offers only a fagment of the work.The texts of Fitzt'iiliam and Ellis in comparison with the coatinentalsources show them to be much related and thus probably deriving from acommon branch of transmission.18. See the article mentioned in Note 6.

19. Thc Fitzwilliam Y*§ml Book, vol. lI, ed. J.A. Fuller Maitiand aad W.Barclay-Squire {l*ipzig, I 899 / R New }'otk, Lg 6 3), p.z,s.

20, A-lan Curtis, Sweelimk's K*boafi Works: A Stuày oÍ English Elemeftts inDilch sectlar M*tic of the "Gouàen Eeurv" (Diss., Illinois, 1963), p.1r 1.

21. There is no reason, *s Neighbour does (The Consor anà lieyboard. Mtsicaf William B,!rd. p.?"23f.) to quesdon the authelticity of tlis pairing; thiswould ill fit sith the general irnptesson of the carefi.rl selection andrevision Bwd brought to his contribution to Pa*htnh, while the prelude ilks sprawling marÍler moreover seems a perfect foil to the Galliard (note in-parricular thc overall importance of writter-out sem.rplet trills, whichincidentally are also a prominent new feature in the shortened and reyisedending of the'Perre' Pavan).?.2. Three S,iorrymous Keyboord Piecf§ .$ttf,'battd ta Wílliam Brd, ed. OliverNeighbour (London. 1973); Neighböur, The Consort anà Keybcard l!ílsic ofWilliaw Btrd., ppJ,rc,223f. §ee aiso Elizakthan Keyboarà M*ric, ed. AlanBrown, Musica Bitann*aLY {London, tgsg), nos. 3 and 4.23. Whíè John Harley (William Byrd: Gentleman of the Chapel Royal

[Àldershot, 1997], p.351) corectly follows Neighbour's suggesrion inplacing the bulk of the preludes as late works, he is surely mistaken indating the Prelude ia a as far back as Byrd's Lincoln years.24. U/alker Cunningham. The Ke.tboarà Masir of John Bell, Studies inN{lsicologl LXXI (Ana Arbor, 19S:t). pp.77-8121. Harley, lViliianr Elrd (see Nore 2.3), p.-itlf.

Note on the edition:

This version of William Byrd's Pavan and Galliard sirWilliom Peíe presents a rranscription of the text found inUppsala, Universitetsbiblioteket, Instr. Mus. Hs. 408, ff.

27v-29t (pavan) and ff. z9v-31r (galliard). Jhe New Germantablature notation has been reproduced as it srands as far as

possible:

[1] In this notation, barlines are implied by the cleargrouping of notes on rhe paper and realized here. The:sixs€{tions of each dance are thus separated in the manuscript:between rhe firo sraremenrs of a section by a single lihe(with the exception of a/a' of the galliard, whose doubleline here is an obvious error), berween different secdons bya double line. This has been echoed here by having adouble lin'e between the sraves for the former, and a fulldouble line for rhe larer. Modem ffnal barlines ate added inaccordance with the direction Fiais wrirten ar the end ofboth the payan and the galliard.

[2] As a rule, the four voices have been equally distributedover the two staves, with corresponding stemming. Somerests unnecessary i§ a fwo-§taye version have been omitfed,[3] A note whose value stretches over the barline has beenmodernized into two tied notes,

[a] The sextuplets in rhe edition are notared in the tablatureas normal sixteenrh notes (rhythmical symbol with fourhorizontal lines), but with the digit "1" added before ther§thmical symbol (implying thirty-second nores);obviously, an approach to rhe average worrh is meanr here.

[5] Three erÍors remain to be noted: Pavan, bar 39, tenot,first notel dot missing Pavan, bar i0, sopranoi thesixteenth notes seem ro have erroneously been shifted aneighth note value forward (Pafiheflia reading: first noreeighth note, last note quarter), but since the new Íeading isin itself not really wrong, it has been left as it stands;Galliard, bar 46, soprano, second nore: d",

Pkter Dirksen

4. Blrd: Pavan Sir Willi*m Petre bars 65-68

lParthenial lDiibenl

5. Bwd: Pavan Sir \l'ílliam Petre bars 78-79' IParthenia]

3. Byrd: Galliud SirWillian Perre bars 17-21

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