FRANCIS CUTTING

Collected Lute Music

transcribed and editedby

Jan W.J. Burgers

Complete Edition

TREE EDITION

FRANCIS CUTTING

COLLECTED LUTE MUSIC

transcribed and editedby

JAN W.J. BURGERS

COMPLETE EDITION

Introduction Tablature

Commentary Transcriptions

FRANCIS CUTTING

COLLECTED LUTE MUSIC

© 2002TREE EDITION

LÜBECK

Ever since Martin Long’s publication in 1968of the Selected Works of Francis Cutting, Ihave been fascinated by the music of thisenigmatic composer, and it has been my de-sire to know all of his works. As the yearswent by and a complete edition did not ap-pear, I decided to collect his music myself.Now the work is done, and I believe it hasbeen worth the effort. The quality of Cut-ting’s compositions rank them among thebest of the rich Elizbethan repertoire, and thequantity of his output makes him one of theleading lutenists of the period. It is my hopethat with the present edition Cutting’s musicwill win the attention it rightly deserves.

When collecting and editing Cut-ting’s works I was fortunate enough to re-ceive help from many persons. I would liketo thank Andrew Ashbee, Anthony Bailes,Anthony Fiumara, René Genis, Lynn Hulse

and Tobias Neumann, who assisted me at onepoint or another during the work. Specialmention should be made of John Robinson,who generously let me share in his knowl-edge of lute music as well as his collectionof photocopies of manuscript sources;Stewart McCoy, who took great pains toscrutinize the tablature and the Commentary;and Ian Harwood, who critically read theIntroduction, checked manuscripts in theCambridge University Library and was everready to give good advice when it wasneeded. Their help has improved the book,and made it a pleasure to write. Finally I amgrateful to Wayne Cripps, for allowing thefree use of his TAB software, and to AlbertReyerman, who has been willing to publishthis book as a TREE Edition.

Amsterdam, January 2002 JWJB

PREFACE

CONTENTS

Introduction 1Cutting’s Life 1Cutting’s Works 5Cutting’s Style 12About the present edition 29

Tablature 31

Paired pavans and galliards1a Mrs. Anne Markham’s Pavan 321b Mrs. Anne Markham’s Pavan 342 Galliard 363 Pavan 374 Galliard 385a Pavan 395b Pavan 416 Galliard 437 Pavan 448 Galliard 469 Pavan 4710 Galliard 4811 E. Porter’s Pavan 4912 Galliard 5013a Pavan Sans Per 5113b Pavan Sans Per 5214 Galliard 54

Single pavans15 Pavan 5416 Pavan 5617a Pavan 5817b Pavan 5918 Groninge Pavan 6119 Sir Fulke Greville’s Pavan 6220 Pavan 6421a Pavan (Pavana Bray) 6621b Pavan (Pavana Bray) 67

Single galliards22 Galliard 6923 Galliard 7024 Galliard (on Go from my Window) 7125 Galliard 7226 Galliard 7227 Galliard 7428a Galliard 7528b Galliard 75

viii 29 Galliard 7630 Galliard 7831 Galliard 7932 Galliard 8033 Galliard 8134 Galliard 8235 Sir Walter Raleigh’s Galliard 8336 Galliard 8437a Galliard 8537b Galliard 86

Almains38a Almain 8738b Almain 8838c Almain 8939 Almain 9040a Almain 9140b Almain 91

Toys and related pieces41 Jig 9242a Toy 9342b Toy 9343 The Squirrel’s Toy 9444 Cutting’s Comfort 94

Variations and Ballad tunes45 Greensleeves 9446 My Lord Willoughby’s Welcome Home 9547 Packington’s Pound 9648a Walsingham 9748b Walsingham 98

Setting of a vocal piece49 Lullaby (William Byrd) 100

Lute duet50 Short Almain 101

Appendix A: Works of uncertain ascription 10351 Lachrimæ Pavan 10452 Quadro Pavan 10653 Passion Galliard 10754 Galliard 10855 The Woods so Wild 109

Appendix B: Works for Bandora 11356 Galliard 11457 The New Hunt sundry Ways 114

Appendix C: Lost Lute Work 11758 Pavan 118

Commentary 121

ixTranscriptions 161

Paired pavans and galliards1a Mrs. Anne Markham’s Pavan 1621b Mrs. Anne Markham’s Pavan 1652 Galliard 1683 Pavan 1704 Galliard 1725a Pavan 1745b Pavan 1776 Galliard 1797 Pavan 1828 Galliard 1849 Pavan 18610 Galliard 18811 E. Porter’s Pavan 19012 Galliard 19113a Pavan Sans Per 19213b Pavan Sans Per 19514 Galliard 197

Single pavans15 Pavan 19816 Pavan 20117a Pavan 20417b Pavan 20618 Groninge Pavan 20919 Sir Fulke Greville’s Pavan 21120 Pavan 21421a Pavan (Pavana Bray) 21721b Pavan (Pavana Bray) 218

Single galliards22 Galliard 22123 Galliard 22324 Galliard (on Go from my Window) 22525 Galliard 22626 Galliard 22827 Galliard 23028a Galliard 23228b Galliard 23329 Galliard 23530 Galliard 23731 Galliard 23932 Galliard 24133 Galliard 24334 Galliard 24435 Sir Walter Raleigh’s Galliard 24636 Galliard 24837a Galliard 25037b Galliard 251

Almains38a Almain 25338b Almain 25438c Almain 25639 Almain 258

x 40a Almain 25940b Almain 260

Toys and related pieces41 Jig 26142a Toy 26242b Toy 26243 The Squirrel’s Toy 26344 Cutting’s Comfort 263

Variations and Ballad tunes45 Greensleeves 26446 My Lord Willoughby’s Welcome Home 26547 Packington’s Pound 26648a Walsingham 26748b Walsingham 269

Setting of a vocal piece49 Lullaby (William Byrd) 272

Lute duet50 Short Almain 274

Appendix A: Works of uncertain ascription 27751 Lachrimæ Pavan 27852 Quadro Pavan 28053 Passion Galliard 28354 Galliard 28455 The Woods so Wild 286

Appendix B: Works for Bandora 29156 Galliard 29257 The New Hunt sundry Ways 292

Appendix C: Lost Lute Work 29758 Pavan 298

List of sources 299

List of Abbreviations 303

INTRODUCTION

Cutting’s Life

Until recently almost nothing was known of theElizabethan lutenist and composer FrancisCutting. In the 1980 edition of the New GroveDiana Poulton mentioned only the reference inthe poor rate book of the parish of Saint ClementDanes in Westminster, London, where a FrancisCutting was rated at 4d in the years 1583, 1588and 1589.1 Since then further information hascome to light of this Cutting in the same parish,so in the 2001 edition of the New Grove RobertSpencer was able to say a good deal more abouthim.2 This new information, published mainlyby Lynn Hulse,3 partly on the basis of an oldarticle by Charles Lethbridge Kingsford,4

strongly suggest that this Francis Cutting indeedwas our lutenist.

From 21 March 1571 Francis Cutting, gentle-man, rented one of the tenements adjoiningArundel House, the London residence of theHoward family. According to a survey ofArundel House drawn up in 1590, the tenementwas rented by him for a period of 21 years, forthe sum of 40s per annum. On 18 February 1583he was granted a lease in reversion on theproperty by Philip, Earl of Arundel.5 In this housein the Strand, facing Saint Clement Danes’churchyard (see Ill. 1 and 2), Cutting must havelived from at least March 1582, because fromthen on we find his children in the baptismalregister of Saint Clement Danes. Perhaps FrancisCutting lived somewhere else before that time,

as can also be deduced from the fact that he wasmentioned in the parish poor rate book from1583 onward, and from the fact that he, incontrast to many of Arundel’s tenants, was notassessed in the surveyor’s accounts for thehighways and bridges of the parish until 1587;thereafter he was rated at 4d a year.6

Francis Cutting and his wife Elizabeth had atleast ten children. Eight of them are recorded inthe baptismal register of the parish. These are:William (baptised 1 March 1582, probably diedbefore 1597, as he was not referred to in hismother’s will), Thomas (7 November 1583),John (16 November 1584), Ann (26 November1585), ‘Elsabeth’ (6 February 1587), Edward (19May 1588), ‘Frauncis’ (7 September 1589, butburied a day later, on 8 September), and anotherJohn (8 March 1595); all are referred to as ‘yesonn/daughter of Frauncis [Cutting]’.7 A furthertwo children are mentioned in Elizabeth’s will:Margaret, born some time before September1576, and Christopher who was under 21 yearsof age at the time of his mother’s death in 1597.It is possible, however, that these were Eliza-beth’s children from an earlier marriage; it seemslikely that Francis and Elizabeth were marriedin 1580 or 1581, as they had seven children atone to one-and-a-half year intervals between1582 and 1589.

Francis Cutting died on one of the first daysof the year 1596; according to the parish register‘Frauncis Cutting housholder’ was buried on 7January. He did not leave a will, so perhaps his

1 Poulton, ‘Francis Cutting’.2 Spencer, ‘Francis Cutting’.3 Hulse, ‘Francis and Thomas Cutting’. The following paragraphs are mainly based on this article.4 Kingsford, ‘Bath Inn or Arundel House’, first noticed in the musicological literature by Stevens, ‘A songe

of fortie partes’, pp. 174-175.5 Kingsford, op. cit., p. 270. All years mentioned are in modern reckoning.6 Hulse, op. cit., p. 73.7 Ibid. These data have been checked on a microfilm of the parish register of Saint Clement Danes, 1558–

1638/9, kept in Westminster City Library: A Register of Baptismes, Marriages, and Burialls in the parrishof St. Clement Danes [...] written by me John Morecroft mynister in the year of grace 1598. This film (no.574623) was made in October 1968 by the Genealogical Society, Salt Lake City, Utah.

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Ill. 1. Conjectural Plan of the North side of Arundel House. The black tenement was held by FrancisCutting. From: Kingsford, ‘Bath Inn or Arundel House’, p. 262.

death was unexpected. His widow Elizabeth diedshortly after September 1597. Her will, made inthe same year 1597, has been handed down, andfrom it we learn – assuming that all Francis’wealth passed to her – that their estate was worthapproximately £154 plus the value of the leaseon the tenement and the goods and chattels.8 SoCutting was rather well-to-do, and this agreeswith Poulton’s suggestion that he was not aprofessional musician, but rather a gentleman,living quietly outside the circle of musiciansdirectly connected with the court. As a matterof fact, in the 1590 survey of the Arundel Housetenements Francis is called a ‘gentleman’.9 It ispossible that he was a servant as well as a tenantof the Howards; the fact that Lord ThomasHoward still owed Elizabeth £20 in 1597 canalso be seen as an indication that Francis hadbeen employed by him. As we shall see, his sonThomas in all probability became a professionalmusician, and this also indicates that Francis’social status had not been very elevated.

Poulton was also the first to suggest thatCutting originated from East Anglia, where hissurname was more common than in other partsof the country. This suggestion was reiteratedby Hulse and Spencer, who both add that thisconnection with East Anglia is also implied bya bill of complaint brought against Cutting andone Richard Smyth of Suffolk in September1591 by a Norfolk gentleman named WilliamSmyth of Great Yarmouth. Furthermore, countyties could have contributed to the original asso-ciation between Cutting and the Howards, whoowned considerable property in east Anglia. Tothis we can add that in Suffolk in the sixteenthand seventeenth centuries were several familiesnamed Cutting(e), as is shown by the Internatio-nal Genealogical Index.10 There is a Cuttingefamily in Stoke-by-Nayland, and an extendedCutting family in Peasenhall, both in Suffolk.Interestingly, in the latter family we find branch-es with the same Christian names as in FrancisCutting’s family. An obvious candidate as a

8 Hulse, ‘Francis and Thomas Cutting’, p. 73.9 Spencer, ‘Francis Cutting’, supposes that this one reference of Cutting as a ‘gentleman’ is probably a mis-

take. Under the other nineteen tenants of Arundel House we find two more gentlemen, but most of Cutting’sneighbours were artisans, such as a taylor, a ‘sadler’, a pewterer, a blacksmith, and so forth.

10 The information was found on the internet version (autumn 2000: www.familysearch.org) as well as, withmuch more results, on the CD-ROM version of the International Genealogical Index.

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Ill. 2. Arundel House and the church of Saint Clement Danes, from Hollar’s view of West CentralLondon, probably drawn between 1656 and 1666.

possible relative of Francis is Thomas Cuttingof Peasenhall, who married Amy Cady in 1563.They had a daughter Alice baptised on 2September 1571. Amy was buried shortlythereafter, on 11 September. Thomas remarried

in 1572, with Susan Stebbing from Pettistree,Suffolk. From this union sprang the childrenThomas and his twin sister ‘Oliffe’ (1573),Henry (1577), Mary (February 1579), Susan(December 1579), Elizabeth (1587) and Edmund

4 (1589). The oldest son Thomas married in 1603a woman named Agnes, and they had at leastfour children: Elizabeth (1604), John (1607),Thomas (1610) and Francis (1613). This Francisdied 19 December 1680 and fathered fourchildren that we know of: Elizabeth, Ann, Johnand Grace. The lutenist Francis Cutting mayhave been a relative, perhaps a (younger) brother,of the first Thomas Cutting from Peasenhall.Another relative could be John Cuttinge fromPeasenhall, who had a daughter Maria baptisedin 1558 and a son Symon in 1560.

The data of the life of the Francis Cutting inWestminster agree well with the lute music ofthe composer Francis Cutting, none of whosepieces is likely to have been composed later than1596: they are mostly for a six-course instru-ment, and none requires more than sevencourses.11 Moreover, in Elizabeth’s will a ‘sealRinge of the lute’, which obviously had belongedto Francis, was bequeathed to her son Thomas,and this choice of the lute as an emblem showsthat this instrument had a special significancenot only to Francis, but also to Thomas. Now, itis likely that this son Thomas is the same as theprofessional lutenist Thomas Cutting who from1608 to his death in april 1614 served LadyArbella Stuart, King Christian IV of Denmark,Henry Prince of Wales and William Cavendishsuccessively.12 All in all it is almost certain thatthe Francis Cutting who lived in the parish ofSaint Clement Danes from about 1581, and wasburied there on 7 January 1596, is the same asour lutenist.

As we saw before, Francis Cutting probablymarried in 1580 or 1581 and took up full-timeresidence in his tenement in the Strand in aboutthe same period. We also saw that he wasconnected to the Howards, perhaps as a servant.He possibly followed in the wake of his masterPhilip Howard, who succeeded to the earldomof Arundel in 1580 and so came into possessionof Arundel House. Cutting’s connection with the

Howards cannot have been an altogether happyexperience, due to the unfortunate life of hispatron.

Philip Howard (1557–1595), the first Earl ofArundel of the Howard family, was out of favorat court. In 1582 his wife Anne Dacre openlyprofessed Romanism, and under her influenceHoward himself in 1584 also converted toRoman Catholicism, as a result of which hebecame a prisoner in his London house. Afterattempting to escape from England he was finedand rigorously imprisoned for life in 1585. In1589 he was even condemned to death, on thecharge of having had a mass said for the successof the Spanish Armada. Although he was notexecuted, he remained in the Tower untill hisdeath.13 In the family a story was rememberedthat may cast some light on the significance ofmusic in their lives: it was told that the nightbefore Lord Howard was condemned a nightin-gale was heard to sing with great melody in ajessamine tree in the garden of Arundel House,where his countess and children did remain, athing neither before nor since heard in thatplace.14 After the earl’s attainder in 1589,Arundel House with his other estates wasdeclared fortfeit. In December 1590 the countesswas allowed the use of certain rooms in the oldpart of the House, but it seems uncertain whethershe resided there for any considerable time.

With such a patron, it is not difficult to seewhy Cutting could not play a prominent role inthe most important musical circles of London,those of the court and its associated noble houses.The other contacts he had, judging from thededicatees of his works, were not for the mostpart very helpful either in this respect, and notvery numerous anyhow. Pieces of his werededicated to Mrs. Anne Markham, the wife ofthe socially not very elevated soldier GriffinMarkham, an E. Porter of whom nothing isknown, and (probably) Sir Walter Raleigh, at atime however when he fell out of favour at court.

11 Spencer, ‘Francis Cutting’.12 On Thomas Cutting see Poulton, ‘Thomas Cutting’, Spencer, op. cit., Hulse, ‘Hardwick MS 29’, pp. 63-64,

and Ward, ‘Dowland miscellany’, pp. 149-151 (App. Z: ‘Five letters concerning Thomas Cutting’s appoint-ment to the court of Christian IV’).

13 DNB; Kingsford, ‘Bath Inn or Arundel House’, pp. 250-252.14 Kingsford, op. cit., p. 251.

5More substantial contacts were Fulke Greville,the dedicatee of one of Cutting’s pavans, andPhilip Howard’s younger brother ThomasHoward, who was to become first Earl ofSuffolk, from whom Cutting received at leastone gift.15

Cutting’s works

Cutting was probably an amateur, not aprofessional lutenist like the Johnsons or theDowlands. It is thus very unlikely that hereceived a professional musical training, forinstance at a University (in the sources there isnever any mention of a degree with his name).Still, he must have learnt the art from someone,because his music shows the hand of a veryskilful musician, not only as a virtuoso but alsoas a composer. Wilburn Wendell Newcomb, whomade a comprehensive study of English lutemusic, states that Cutting was ‘a good andthoroughly educated composer.’16 However, itis not known where or with whom this musicaleducation was acquired. It does not seem likely,in view of the quality and ‘learned’ style of hiscompositions, that he was completely a self-taught man.

Cutting’s seclusion from the musical main-stream of the court circles could explain thecurious fact that his works, although of highquality and produced in considerable number,are found relatively sparsely in the sources. Inthis edition we include all lute works, 49 solosand one treble-and-ground duet, that are ascribedto Francis Cutting or are very probably compos-ed or arranged by him. To these are added, inAppendixes, five more lute pieces that areprobably or possibly by his hand, the two

bandora works to which his name is attached,and a presumed lute pavan which is only handeddown in the form of a viol duet.17 This rich output– exceeded only by that of Dowland and Hol-borne, and roughly equalled by that of JohnJohnson and Bacheler – is handed down only ina limited number of sources, of which mostcontain just a few of his compositions.

In the List of sources (see pp. 211-214) wecount 26 manuscripts and two printed books inwhich music by Cutting is found. In this list arefive sources of continental provenance,18 but inthese only two of his works were included. Theseare galliard no. 22, found in two continentalmanuscripts, and Sir Walter Raleigh’s Galliardno. 35, but the foreign copies of the latter areprobably based on Richard Allison’s version ofthis work (see the Commentary to this piece). Itis clear that Cutting’s music was hardly knownoutside England.

Even in England he was hardly a householdname. Of the 23 English sources in which hismusic is included, fifteen have just one or twoof his works; in the Pickeringe manuscript wefind three pieces (and Johnson’s ground onwhich Cutting wrote his only treble, no. 50).More important for the dispersion of Cutting’smusic are the Euing and Hirsch manuscripts andAdd.31392, with respectively eight (or nine),five (or six) and six works. Not much is knownof these books, but all three were probablywritten some time after Cutting’s death:Add.31392 is dated by Julia Craig-McFeelycirca 1605, Euing circa 1610 and Hirsch stilllater, circa 1620.19 Cutting’s music is for thegreater part handed down in two sources, orrather a group of sources and a printed book,stemming mostly from his own life time or veryshortly thereafter. These are the three earliest

15 Spring, Lute in Britain, p. 107, on the basis of Hulse, Musical Patronage, which work I was not able toconsult.

16 Newcomb, Englischen Lautenpraxis, p. 74: ‘einen guten Komponisten von gründlicher Ausbildung’. Inthe next section, Cutting’s musical style will be analysed more fully.

17 Not included is one setting for bandora of Cutting’s lute pavan no. 9, a part for a consort of which the otherparts are lost, and which probably was adapted from the lute solo by someone else, because no otherconsort pieces by Cutting are extant.

18 Aegidius, Besard, Leipzig, Nürnberg and Thysius.19 Craig-McFeely, Lute Manuscripts and Scribes. The dating of the Hirsch manuscript however is controver-

sial, an earlier date (c. 1595) being given by others.

6

manuscripts for solo lute that were written byMatthew Holmes, and A new Booke of Tabliture,published in London by William Barley in 1596.

Matthew Holmes was a precentor and singingman at Christ Church Cathedral, Oxford, from1588 to 1597, and thereafter at WestminsterAbbey until his death in 1621. An importantstudy by Ian Harwood brought to light that hewas the writer of nine volumes with music forvarious instruments, now preserved in the Cam-bridge University Library.20 These books havebeen described as ‘the largest and most importantbody of instrumental music that have come downto us, not excepting even the famous FitzwilliamVirginal Book’, and as ‘the richest store of

English lute music in the world’.21 Of thesemanuscripts four are mainly for solo lute music:Dd.2.11, Dd.5.78, Dd.9.33 and Nn.6.36. Cut-ting’s works are found in Dd.2.11 (16 pieces),Dd.5.78 (26 pieces) and Dd.9.33 (13 pieces). Ofthe 50 lute pieces certainly written by Cutting,only four are missing in these Holmes’ manu-scripts.22 (The total number of transcripts ofworks by Cutting in these books adds up to 56as ten pieces appear in two versions.23) Thesignificance of Holmes’ lute books for Cutting’smusic is amply illustrated by the fact that no lessthan 31 pieces would have been unknown to uswithout them. Unique pieces are found in allthese manuscripts: seven in Dd.2.11, thirteen in

20 Harwood, ‘Cambridge lute manuscripts’.21 There is much literature on these sources; for a recent overview see Spring, Lute in Britain, pp. 115-124, on

which this paragraph is based (the citations are taken from p. 115).22 Nos. 27, 44, 45, 47. Included is the lute duet no. 50 in Dd.3.18, also written by Matthew Holmes.23 These are nos. 4, 5, 7, 13, 14, 17, 28, 35, 38 and 48. When also counting a bandora work, pieces of uncertain

ascription and closely related works by other composers, we reach a total number of 63 Cutting pieces inthese books.

Ill. 3. Dd.5.78, f. 15r: the last part of Cutting’s pavan no. 9, copied by Matthew Holmes.

7

24 Here the dates are adopted as given by Craig-McFeely, Lute Manuscripts and Scribes. Dates given byother scholars are not much different from these.

25 There are none in Holmes’ latest lute book, Nn. 6.36, dated circa 1610–1615.26 There is not one single work known of Thomas Cutting; obviously composing was not were his interest

lay.27 Most fully in Ward, ‘Dowland Miscellany’, pp. 123-133 (App. P: ‘Falce and vnperfect?’)28 In Carpenter, ‘Lute Music of Francis Cutting’ and Spencer, ‘Francis Cutting’. Spring, op. cit., p. 140,

thinks that a professional musician like Cutting could not have been responsible for the many uncorrectedmistakes in the book, but there are some counter arguments against this; see below.

29 See Brown, Instrumental music, nos. 15964, 15965 and 15966. The allusion in the title to ‘an introductionto Prickesong’ make it probable that A new Booke was published with a fourth book on music theoryentitled The pathway to musicke (Ward, ‘Barley’s Songs without Words’, p. 14, footnote 2). All four bookscould be bought seperately or together; there is a (defective) copy of The pathway, with the orpharion andbandora books, in a contemporary binding that can never have included the lute book, at HelminghamHall (personal communication by Ian Harwood).

Dd.5.78 and eight in Dd.9.33 (as well as the duetin Dd.3.18). Without the diligent copying labourof Matthew Holmes only 19 of Cutting’s workswould have been handed down.

From their contents and the changes inHolmes’ handwriting the lute books can be datedapproximately: Dd.2.11 was written circa 1585–1595 (for the greater part probably between 1588and 1591), Dd.5.78 circa 1595–1600 and Dd.9.33 circa 1600–1605.24 Cutting’s works are notevenly distributed in these manuscripts: inDd.2.11 almost all of them are found in thesecond part of the book, in Dd.5.78 for thegreater part in the first half, and in Dd.9.33almost all in the first third of the book. Thisdistribution reveals that Matthew Holmes copiedCutting’s works mostly during the last decadeof the sixteenth century, with some more piecesduring the first years of the seventeenth century.25

He must have had easy access to Cutting’s music,perhaps even a direct connection with the com-poser, which is suggested not only by the sheernumber of pieces he transcribed, but also by theoverall high quality of these transcripts. Themanuscript with the greatest number of Cuttingpieces is Dd.5.78, written circa 1595–1600;perhaps Holmes’ move from Oxford to West-minster in 1597, in the near vicinity of Cutting’srelatives, made acquisition of his compositionsall the more easy. It could be that Cutting’s sonThomas, seventeen years of age in 1600 andprobably already a young lute-player in his ownright, preserved and distributed his father’smusic.26

The second most important source for Cut-

ting’s music is A new Booke of Tabliture, printedfrom woodblocks in 1596. In this book areincluded eleven (or perhaps twelve) of Cutting’sworks, three of which are found nowhere else.Apart from a significant number of block-maker’s errors these pieces are edited verycarefully, featuring full additions of graces andplaying signs (fingering dots and ‘hold’ signs).What makes this print very special for ourknowledge of Cutting’s works is the probabilitythat he himself edited the music in the book. JohnWard was the first to come up with this sug-gestion,27 and it was adopted readily by otherscholars.28

It is therefore worth the effort to take a betterlook at this source. In full, the title reads: ‘Anew Booke of Tabliture, Containing sundrieeasie and familiar Instructions, shewing howeto attaine to the knowledge, to guide and disposethy hand to play on sundry Instruments, as theLute, Orpharion, and Bandora: Together withdivers new Lessons to each of these Instruments.Whereunto is added an introduction to Pricke-song, and certaine familliar rules of Descant,with other necessarie Tables plainely shewingthe true use of the Scale or Gamut, and also howto set any Lesson higher or lower at yourpleasure. Collected together out of the bestAuthors professing the practice of these Instru-ments’. It is usually referred to as one book, butas it consists of three volumes, each with a titlepage, a preface and introductory matter, and eachbeginning with fol. A, the publisher designatedthem to be three separate books.29 However, asthe three parts unmistakably form a unity (the

8

above cited title page of the first part clearly isalluding to all three parts),30 we will follow theaccepted practice and refer to these as to onebook. The parts are devoted to music for lute,orpharion and bandora respectively. The first partis for lute and has a dedication to Bridget,Countess of Sussex on f. A2, a preface ‘To theReader’ on f. A3v, some poems, and an instruc-tion to lute playing and tuning on ff. B1-D1. Thesecond part only has a short preface ‘To theReader’ (f. A4), the third a preface without title(f. A3). In the first part only the dedication is

signed ‘W. B.’, in the second and third parts thesame signature is found with the prefaces.

A new Booke was published by WilliamBarley, a London draper, publisher and book-seller, who sold copies of it ‘at his shop inGratious street, neere Leaden-Hall’, as is statedon the title page of the second part.31 Not until1606 did he become a member of the Stationers’Company of London (a monopoly controllingpractically every aspect of the book trade), andso his earlier publishing activity brought himinto trouble. In 1591 he was committed to prison,

30 The title of the second part runs ‘A new Booke of Tabliture for the Orpharion: Contayning sundrie sorts oflessons, collected together out of divers good Authors, for the furtherance and delight of such as are desirousto practice on this Instrument. Never before Published.’ The title of the third part is identical, with the word‘Orpharion’ changed to ‘Bandora’.

31 For a biographical note on William Barley see, Newcomb, Lute music of Shakespeare’s time, pp. xi-xvii.Ward, ‘Barley’s Songs without Words’, pp. 16-17, footnote 5, makes clear that Barley was not a printer; hisbooks probably were printed by John Danter. I was not able to consult some recent literature: Lavin, WilliamBarley; Johnson ‘William Barley’; Krummel, English Music Printing.

Ill. 4. Barley, A new Booke, f. D3r: the end of Cutting’s pavan no. 9 and the beginning of pavan no. 5.

9and in 1595 he was brought to court for‘printinge iij ballades and a booke disorderlywithout licence or aucthoritye’, for which he wasfined 40s.32 The publishing of A new Booke wasagain without protection or permission of theStationers’ Company, although it seems thatBarley did not infringe the royal patent forprinting music, granted to Thomas Tallis andWilliam Byrd in 1575.33 Barley’s publicationventures were evidently successful. His businessthrived from 1599 until his death in 1614, duringwhich time he published books for ThomasMorley, the new patent-holder for printed music.

In his study on A new Booke, Ward defends itagainst many scholars, who in earlier years hadcondemned it as a crude product, with ‘impreciseand incoherently expressed’ rules for playing thelute, orpharion and bandora, offering ‘seedy’copies of an ‘arbitrary’ choice of pieces, inreadings that are ‘at best inaccurate and at worstcontemptible’.34 First he points out that the longintroduction of the first part, with the rules forplaying the lute, is in fact no more than a – quitegood – recension of the earlier treatise by Adrianle Roy, that had been translated into English byJ. Alford and printed in 1568 under the title ABriefe and easy instru[c]tion (reprinted in1574).35 The text published by Barley is for thegreater part identical to Alford’s, and most ofthe changed passages are no more than abridge-ments, or a mixture of quotations and para-

phrases. Sometimes the older version is some-what improved, but in a few instances Barley isfaulty, which according to Ward shows that thetext-editor was not a lutenist.36 Furthermore,Ward firmly defends the Barley edition againstthe allegation that it offered the public poorlychosen or haphazardly arranged music. On thecontrary, the three parts of A new Booke displaya ‘nice progression from the serious to theplayful, from the stylistically unified to themiscellaneous’.37 The contents of the lute andorpharion sections, for instruments that sharedtuning and repertoire, are complementary, andtogether they display a rich array of excellentlycomposed dances (pavans, galliards and al-mains) and variation works. ‘The hand of theeditor is clearly in evidence’.38

Ward offers some sound arguments for hissupposition that the musical editor, who incident-ally is mentioned implicitly albeit anonymouslyin the preface,39 could have been Francis Cut-ting.40 Cutting contributed eleven pieces to A newBooke, and they are a good cross-section of hiswork, representing all the genres in which he isknown to have composed.41 His contribution islarger than that of Dowland (six pieces), Rosseter(three), Holborne (two), Edward Johnson (one)and the anonymous composers (seven). Of theseven pieces in the lute part, being the first,largest and probably most prestigious volumeof the three, Cutting composed four, including

32 Newcomb, op. cit., p. xii.33 The printing from woodblocks would have evaded the patent, which only included music set from move-

able type. Moreover, the Tallis/Byrd patent expired in 1596.34 Ward, ‘Dowland Miscellany’, pp. 123 and 126-127, with these quotations from writings of Thurston Dart

and David Lumsden, and additional citations condemning the book. He had defended A new Booke earlierin Ward, ‘Barley’s Songs without Words’, p. 18, footnote 12.

35 Ward, ‘Dowland Miscellany’, pp. 124-126; Harwood, ‘Le Roy’s Lute Instructions’.36 Ward, op. cit., p. 125, footnote 239, also thinks that this may explain why Le Roy’s description of octave

tuning, in 1596 probably already abandoned in England, was retained in the Barley recension; the editorwas probably not aware of the current practice. However, Spencer, ‘Francis Cutting’, states that from theBarley text it can be deduced that Cutting’s lute had octave stringing. As a matter of fact, in a few placesCutting’s music does seem to imply octave stringing; see for instance in galliard no. 14 (a late piece) thechords in mm. 9 and 33. Nevertheless, this evidence is far from conclusive.

37 Ward, ‘Dowland Miscellany’, p. 126. Spring, Lute in Britain, pp. 143-144, also speaks out in favour of Anew Booke.

38 Ward, op. cit., p. 126.39 Barley, A new Booke, f. A3v: ‘I have here to my great cost and charges, caused sundrie lessons to be

collected together for the Lute, Orpharion, Bandora’. Ward, ‘Barley’s Songs without Words’, p. 22, foot-note 14, also mentiones this indication that a music editor was employed by Barley.

40 Ward, ‘Dowland Miscellany’, p. 124; earlier in Ward, ‘Barley’s Songs without Words’, p. 22, footnote 14.41 Carpenter, ‘Lute Music of Francis Cutting’.

10 the first two and the last, Dowland the remainingtwo. Moreover, in all parts his name is the onlyone that is spelled out in full (four times), whileall other names appear as initials. Also, his nameis the only one to appear in a title (Cutting’sComfort). To this can now be added that theBarley setting of Dowland’s Lachrimæ Pavan,which in its divisions differs markedly fromother versions of this piece, clearly shows traitsof Cutting’s musical style, and was probablyarranged by him.42 Furthermore, in his prefaceBarley mentions the presence of expert lutetutors in London.43 One of those expert lutenistsmust have been the one that edited his book, sothis reference to London does not excludeCutting. Finally, if Cutting really was the editorof A new Booke, then there is an explanation whythis collection of carefully chosen and editedmusic was published with such a large numberof printing errors; more in fact than in any otherprinted book. These mistakes were made by theanonymous block-maker, who clearly had noidea of lute music,44 and the woodblocks wereof course more difficult to correct than type, andonly at high cost for Barley. Moreover, Cuttingdied in January 1596 (perhaps unexpectedly, aswe have seen), and so probably never had theopportunity to proof-read the book, which waspublished later that year. Of course the firststages of the production – the collecting of themusic and the writing of the exemplars for the

block-maker – must have started much earlier,as is stated expressly by Barley in his dedi-cation.45

The poor opinion expressed by many scholarsof A new Booke was probably caused by Dow-land’s preface in his First Booke of Songes(1597), in which he writes that ‘there have bindivers Lute-lessons of mine lately printedwithout my knowledge, falce and unperfect’.46

Dowland must have been referring to the Barleyprint of the year before, in which his music wasobviously included without permission. Ofcourse Dowland was only trying to denigrate Anew Booke as it was obviously a threat to hischances to profit from his own works, and so hedeclared its contents ‘falce and unperfect’.Probably he was especially displeased withBarley’s version of his Lachrimæ Pavan, whichwas so unlike his own setting. If Cutting reallycollaborated with Barley in the production of Anew Booke, he surely did not earn the favour ofDowland (nor of any of the other musicianswhose works were printed illegally). This couldbe the reason why Cutting’s music is conspic-uously absent from Robert Dowland’s Varietieof Lute-lessons, in which other great lutenistsof the recent past and present were honoured bythe inclusion of one or two of their works (al-though there is no piece by John Johnson either).A new Booke was bound to arouse the wrath ofthe professional musicians in the upper circles,

42 See below. The setting in Barley of Dowland’s Piper Pavan, on ff. E3r-F1r, although Diana Poulton inDowland, Lute music, no. 8, finds it ‘generally unsatisfactory’, agrees fairly closely with the other versionsof this piece (see also Ward, ‘Dowland miscellany’, pp. 129-130). Only in the first strain and its divisionsthere are some variants in Barley, mainly small details (differently spaced chords and some variant – mostlysimpler – scalar passages in mm. 11, 12-13). There are two more important differences: firstly, the omittingin Barley (as in some other sources) of the second half of mm. 3 and 12, and secondly, the varied repeat ofthe third strain, which is lacking in most sources. These added divisions, however, are very simple and showno signs of Cutting’s style; nor do the different passages in the A’ strain.

43 Barley, A new Booke, f. A3v: ‘It is not to be doubted but that there are a number of good wits in England,which for their sufficient capacitie and promptnes of spirit, neither Fraunce nor Italie can surpasse, and inrespect that they cannot all dwell in or neere the cittie of London where expert Tutors are to be had, by whomthe may be trained in the true manner of handling the Lute and other Instruments, I have here to my greatcost and charges, caused sundrie lessons to be collected together for the Lute, Orpharion, Bandora’. IanHarwood, however, points out that this phrase is partially taken from Le Roy, A Briefe and easy instru[c]tion:‘Being verely perswaded that there be an infinite number of good wits in fraunce, the which for that theycannot all dwell in or neere the Cittie of Paris, or such like flowrishing Citties, for lacke of perfit Instructors...’ (personal communication).

44 Carpenter, ‘Lute Music of Francis Cutting’, is of the same opinion.45 Barley, A new Booke, f. A2v: ‘And now after long time having gotten it finished’.46 Dowland, First Booke of Songes, ‘To the courteous Reader’. Ward, ‘Dowland miscellany’, p. 123, cites also

some derogatory remarks by Holborne and Morley condemning other prints by Barley.

11and it is likely that Cutting was willing to beinvolved in its production just because he wasnot associated with them.

We may be fairly confident that between them,the Holmes lute books and A new Booke havehanded down to us a considerable portion ofCutting’s compositions, in versions that are onthe whole in accordance with the composer’sintentions.47 It has been said that MatthewHolmes did not hesitate to edit the pieces hecopied. As a matter of fact we have noted someinstances of Holmes’ alterations of Cutting’spieces.48 However, the fact that, in his books,Holmes frequently copied out the same piecesin identical or near-identical versions indicatesthat he was apt to copy his exemplars rathermechanically. Many of the crossing-outs andalterations in his books could be corrections ofhis own copying errors. Cutting probably editedthe excellent versions in the Barley print himself,and his work was only sullied by the overt errorsof the block-maker.

Cutting’s known output of 50 pieces for thelute consists of 14 pavans, 23 galliards (six ofthem paired to a pavan), three almains, four‘toy’-like pieces, four sets of variations on balladtunes, one intabulation of a vocal model, andone treble-and-ground duet, which pieces ‘bestepitomize the English lute style of the late 1580’sand early 1590’s’.49 The works of questionableattribution in Appendix A consist of a version ofDowland’s famous Lachrimæ pavan, a Quadropavan, two galliards, and a set of variations ofthe tune The Woods so Wild. The bandora piecesin Appendix B are another galliard and variationsof The New Hunt is Up. In Appendix C is apavan, attributed to ‘Cutting’, which is handeddown as a duet for viols, but originally probably

was composed for the lute. Absent from Cut-ting’s works are newer musical forms like volts,corantos and preludes, but also the old fantasias,which is rather remarkable for this composerwith a manifest propensity for polyphonic part-writing and imitation. However, fantasias werenot very popular with English lute composersof Cutting’s generation, although some of them,notably Dowland and Holborne, did write a few(and successful ones at that). Also lacking inCutting’s oeuvre are Passamezzo settings (oralmost lacking, if no. 52 is really a work by him),but in the ‘classical’ period of English lute musicsuch variations had gone out of favour: JohnJohnson still wrote a good number of Quadroand Passymeasures pavans and galliards, butcomposers like Dowland and Holborne none orpractically none.50

In some ways, however, Cutting does dis-tinguish himself from the lutenists of his day.The paired pavan and galliard, although pro-claimed the norm by Morley,51 and written ex-tensively in the keyboard music of the period, isfound rather sparsely in the ‘classical’ Englishlute repertoire from the 1590’s. Not so withCutting: almost half of his pavans, six out of 14,have an accompanying galliard. In this respecthe is more like John Johnson, who also wrotemany pairs. It seems that in Cutting’s time thewriting of paired pieces was already somewhatoutdated.52 Cutting’s galliards are often modelledrather loosely on their pavans, with both piecessharing the same tonal scheme, identical motivesat the opening of strains and recurring basslines.53 Galliard no. 10 in C minor can hardlyhave much in common with its pavan no. 9,because it is a literal transposition of galliardno. 34 in F minor. Probably it was selected byCutting for no other reason than the fact that,

47 Carpenter, ‘Lute Music of Francis Cutting’.48 See for instance the Commentary to no. 34.49 Spring, Lute in Britain, p. 148.50 That is, in their lute works. Holborne included several ground bass pieces in his Cittharn Schoole (four

Passamezos, three Quadros, two La Vecchios, one Qui Passi and A Horn Pype), and in the introduction ofthat book he calls these ‘the most usuall and familiar grounds of these our times’ (cited in the modernedition, p. [15]). See also Wentzel, Lute pavans and galliards, p. 4, and Spring, op. cit., pp. 117-119, 146.

51 Morley, Plaine and Easie Introduction, p. 181: ‘After every pavan we usually set a galliard (that is, a kindof musicke made out of the other)’. See also Wentzel, op. cit., p. 90.

52 Wentzel, op. cit., p. 4.53 See Wentzel, op. cit., pp. 99-107, with illustrative comparisons of the pairs 1-2, 11-12 and 13-14.

12 after transposition, it had the same tonal schemeas the pavan. On the other hand, galliard no. 6resembles its pavan no. 5 more closely, and inthe case of nos. 13 and 14 the galliard essentiallyis the pavan in triple meter.

Another individual trait of Cutting’s outputis the great number of pieces that are in one wayor another based on works of other composers.This practice is also found in the works of otherEnglish lutenists, but much less often than inCutting’s. Of his 50 lute pieces, eight or nine,possibly even eleven or twelve, were based onmusic by other composers, as were perhaps allfive works of uncertain ascription. He used theworks of the best musicians, such as WilliamByrd, John Dowland, Thomas Morley, JohnJohnson and Alfonso Ferrabosco the elder, andhis models were of a divers nature. He madetranscriptions for the lute from works for voicesor keyboard: from Byrd the five-part songLullaby my sweet little baby, the Pavana Brayfor keyboard, and possibly a galliard and thekeyboard variations on The Woods so Wild.54

Besides that there is another pavan for keyboardfrom Morley.55 These transcriptions are all ‘verywell crafted and clearly the work of anexperienced intabulator’;56 Cutting probablyplayed the keyboard, or was at least aware ofcontemporary keyboard practice.57 In the processof transcribing music he follows the model quiteclosely, not only keeping the melody and bass(and thus the harmony) unchanged, but oftenalso the middle voices (sometimes interchangingtenor and alto). In most cases he transposes thepiece to a key fit for the lute. In the dances byByrd and Morley he adds varied reprises of hisown invention.

Furthermore, Cutting borrowed from theworks of other composers for the lute. His onlyknown duet treble, no. 50, is based on a ground

by John Johnson (and even a few elements ofthe treble itself are taken from Johnson’s treble).The beginning of Walsingham, no. 48, is ratherreminiscent of the opening of Johnson’s set ofvariations. Elements of the Quadro Pavan no.52, a work of uncertain ascription, also showindebtedness to Johnson’s settings of thisground. Cutting’s pavan no. 15 in G minor isnew setting of a piece in B flat minor by AlfonsoFerrabosco. Some of Cutting’s pieces are basedon works by Dowland. These are galliard no.33, to which he added his own divisions, andperhaps also galliard no. 36, the varied repeatsof which are certainly by Cutting. The first strainof Cutting’s variations on My Lord Willoughby’sWelcome Home, no. 46, is probably a setting byDowland. The Barley version of Dowland’sLachrimæ Pavan, no. 51, is most likely revisedby Cutting, who made some small changes tothe first statements of the strains and rewrotethe varied repeats, albeit on the basis of Dow-land’s own divisions.58 Perhaps this ratherextensive borrowing from other composers is afurther indication that Cutting was an amateurmusician.

Cutting’s style

It is now time to take a closer look at the workscomposed by Francis Cutting and to analyse hismusical style. The greatest part of his knownoutput consists of dances: pavans, galliards andalmains make up 40 of his 50 pieces. The 23galliards constitute almost half of his oeuvre, andthe 14 pavans are another substantial part of it;the dances are rounded off by the three almains.Most of the galliards and almains are of ‘normal’length, with three eight-measures strains, al-though one of the latter has only two strains.59

54 Nos. 49, 21, 54, 55.55 No. 16.56 Carpenter, ‘Lute Music of Francis Cutting’.57 Spring, Lute in Britain, p. 141.58 The galliards nos. 22 and 35, to which not only Cutting’s name but also those of Alfonso Ferrabosco(?) and

Richard Allison respectively are attached in the sources, are probably not based on works by these compos-ers. The galliard no. 53, attributed to Cutting in one source and to Anthony Holborne in another, is probablycomposed by the latter.

59 Galliards: nos. 2, 3, 8, 10, 12, 22, 23, 24, 26, 28, 29, 30, 31, 34, 35, 37 (and 54). Almains: nos. 38, 39, 40; no.39 has only two strains.

13Of the galliards, three include one strain of tenmeasures; one long example has one strain often measures and two of twelve.60 Rather excep-tional are three galliards of just two strains each,but in two of them the length of the strains (12and 16 measures) make the pieces sizeableenough.61 With the pavans the picture is different.All of them have three strains, but only five havethe ‘standard’ number of eight measures perstrain – and two of these are based on works byother composers.62 The other nine pavans arealmost all shorter, varying from 6-6-6 measuresto 8-10-8 measures; only two share a number of8-6-8 measures, and the others each have adifferent length.63 Thus the pavans of FrancisCutting show a great variety in numbers ofmeasures, but in this they are not very differentfrom those of other lute composers; the pavansof Dowland and Holborne, for instance, alsooften deviate from the 8-8-8 standard.64 Com-pared with the pieces by Johnson and especiallyDowland and Holborne, few of Cutting’s pavansand galliards have a symmetrical structure, offour measures with an antecedent phrase andfour measures with the consequent phrase.65 Thisis sometimes the case, mostly in galliards,66 butgenerally Cutting prefers not to stop the move-ment with a full-bar close halfway trough thestrain (in many instances there is indeed a closein the fourth measure), but to go on immediatelywith a new phrase.

In the harmonic construction of his worksFrancis Cutting does show some individuality.67

Of course, we must be careful when studying

the harmonic characteristics of the music of thisperiod. It would be wrong to expect Elizabethancomposers to be acquainted with later harmonicconcepts, as tonic and dominant, or even withthe dual tonality of major and minor keys. Theystill thought in the old modality, and conceivedtheir compositions horizontally rather thanvertically: their music was primarily structuredby the flow of the melodic lines in a polyphonictexture. However, the harmonic aspect wascertainly an integral part of lute music, and inpractice a certain notion of harmonic progressionwas already playing a part in these compositions.To give a simple example, Wilburn WendellNewcomb, who studied the harmonic back-ground of English lute music, notes that theprogression V-I was already so well established,that a deviant progression V-VI worked as asurprise, and was intentionally written as such.68

Wayne Clifford Wentzel, another student of thisrepertoire, also stresses that both modal and tonalimplications were present in the harmonic voca-bulary of the English lutenists.69 Obviously thereare clear signs of a quite developed idea ofharmonic progression, also in Cutting’s music.For instance, Newcomb found in a galliard byCutting (no. 27) an example of a musical phrasewhich is repeated in four degrees of the circleof fifths (see Example 1).70 In the C strain ofthis piece a melodic fragment beginning in Gand ending on C (mm. 37-38) is repeated threetimes in sequences, the first time from C to F,then from F to B flat and finally from B flat to Eflat. Also interesting are the tonal implications

60 Nos. 32 and 36 (8-8-10), 27 (10-8-8), 14 (10-12-12).61 Nos. 25 (8-8), 33 (12-12), 6 (16-16).62 Nos. 11, 15, 17, 20, 21; of these nos. 15 and 21 were originally composed by others.63 Nos. 18 (6-6-6), 7 (6-6-7), 9 (7-6-6), 13 (7-6-6½), 1 and 19 (8-6-8), 3 (8-7-8), 5 (9-6-8), 16 (8-10-8, but

based on a pavan by Morley).64 Of Dowland’s pavans nearly half have 8-8-8 bars, of Holborne’s no more then a quarter. The pavans of

composers for keyboard, such as Bull or Morley, are also not uniform in this respect, as is shown by aglance at the FWVB.

65 Wentzel, Lute pavans and galliards, the table on p. 15.66 In galliard no. 30, for example, such a symmetrical structure is found in all three strains, in galliards nos.

24 and 28 in the A and B strains, in galliards nos. 23 and 35 only in the A strain. In pavan no. 20 thissymmetry is in the A strain.

67 Spring, op. cit., p. 148.68 Newcomb, Englischen Lautenpraxis, pp. 108-109.69 Wentzel, op. cit., pp. 14, 18-19. He states that tonal features were traditionally part of dance music, con-

trary to the sacred music.70 Newcomb, op. cit., pp. 109-110. What follows is taken literally from his analysis.

14

of this passage. Here we have a first phrasewhich begins and cadences in C minor. Thesecond phrase ‘modulates’ to F minor, the thirdto B flat major, and the fourth briefly to E flatmajor, which is expected psychologically.Without doubt this constitutes an early exampleof a planned modulation over four degrees ofthe circle of fifths. Moreover, the term ‘modu-lation’ could be used here in a modern sense,because the progression through the differentkeys is bridged seamlessly by the sequences.

This example notwithstanding, English lutemusic was of course not yet acquainted with themodern conception of dual (major-minor)tonality. To illustrate that point, Newcomb againgives an example from Cutting’s music, frompavan no. 13.71 In modern terms, the A strain ofthat piece is completely in D major, after whichthe B strain starts off in the dominant A major.Immediately, however, with a repeated tone cnatural the keys of G major and C majorinfiltrate unexpectedly the music (mm. 15(4)-17), after which the return to A major, with csharp, (m. 18) is even more abrupt. By way ofan (unstable) D major chord the music cadencesin an unprepared E major harmony (m. 19) back

to A major. In terms of modern dual tonality thisprogression from ‘tonic’ D to ‘dominant’ A seemsrather stiff and strange. In this passage, as in mostEnglish lute music, there is no ‘modulation’ inthe sense of dual harmonics. Although it is clearthat the fifth degree is used systematically toreach a harmonic goal, these ‘modulations’ inlute compositions mostly give the impression ofcadential formulae glued to each other.72

In English music the evolution to a modernmajor-minor harmonic system was hamperedalso by the common device of the false-relation.73

As in many of the contemporary English piecesfor lute and keyboard, these are present inCutting’s music; see for instance pavan no. 5 m.34 (f natural against f sharp), galliard no. 35 m.5 (a natural-a flat), almain no. 39 mm. 2-4 and6-7 (b natural-b flat), Walsingham no. 48 m. 26(d natural-d flat) and m. 50 (e natural-e flat), orpavan no. 3 m. 2 (f natural-f sharp together withe natural-e flat!). Occasionaly Cutting seemsambivalent about the tonality of a piece, judgingfrom some rather erratic alternations betweenmajor and minor thirds. See for instance the Cstrain of galliard no. 28b, where the notes anatural and a flat keep following one another.

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71 Newcomb, Englischen Lautenpraxis, pp. 108-109. Again the following is cited from this study.72 Wentzel, Lute pavans and galliards, pp. 14, 18-19, gives Dowland’s Haselwood’s Galliard (Dowland, Lute

Music, no. 84, a doubtful work) as an example of a piece which is ‘as clearly in the “key” of D minor as anyBaroque or classical example’, but he is perhaps slightly overstating the point: there are not many pieceswith such a ‘modern’ harmonic scheme, and the chord progression A-F, with a false-relation c sharp-cnatural (mm. 4-5), detracts from this modern appearance.

73 Newcomb, op. cit., pp. 110-113.

15Likewise, the A strain of galliard no. 31 waversbetween C major and C minor harmonies. Pavanno. 20, to give another example, opens with afull chord in F minor, to shift immediately to amajor harmony, which is kept further on.

Although he had no notion of modern har-monics, it is obvious, however, that as a com-poser Francis Cutting had a clear perception ofthe overall (harmonic) construction of his pieces.In many of his dances there is a fast harmonicpulse,74 especially towards the end of the strains,where Cutting is inclined to speed up themovement, as a result of which the ‘dominant’chord of the closing cadence is often not longerthan a minim, both in pavans and galliards, thusin the pavans attained on the – weak – forth beat.See for instance Mrs. Anne Markham’s Pavanand its paired galliard, nos. 1a and 2. In the pavanthe harmonic movement of the A strain is ratherslow, with two or three chords in a measure, butin m. 6 the pulse becomes quicker, and in thepenultimate m. 7 there are chords on B flat major,C minor, D major and G minor before thedominant D is reached which leads to the closingchord on the tonic G in the last measure. In theB strain the harmonic pulse in the penultimatemeasure is just as fast; only in the C strain thedominant is reached in the middle of themeasure, on the strong beat. In the paired galliardthe dominant D in the final cadence of the Astrain is likewise reached only at the third minimof the penultimate measure, as is the case in theC strain; in this piece it is in the B strain that thedominant comes earlier, at the second minim ofthe penultimate measure, and thus on a strongbeat. Incidentally, this harmonic accelerationtowards the final cadence results in a few awk-

ward moments in some galliards, where the finalchord falls in the penultimate rather than the lastmeasure of the strain, as a result of which thelast measure, obviously only written to make fullthe number of eight measures per strain, feelssomewhat redundant.75

The same acceleration of the harmonic move-ment is clear in pavan no. 3. In the A strain theharmonic pulse, which starts slowly in mm. 1-2, speeds up in m. 3 in a cadence on F to reach afirst full close on B flat on the first beat of m. 4.Then again the harmonic movement slows down,the quicker movement of the bass in mm. 5-6being partly broken chords, which do not changethe harmony. In m. 7 bass and harmonicmovement accelerate towards a cadence on D,leading to the final chord G in m. 8.

This A strain of pavan no. 3 also gives a clearview of the most important constituent elementof Cutting’s music: the polyphonic fabric ofinterweaving melodic lines, executed with moreprecision than in most works of other lutenists.76

As a composer, Cutting is skilled in handlingthis ‘learned’ technique, as is evident from thefact that forbidden consecutive intervals arerather seldom found in his works, and when theydo occur it is as parallel octaves between bassand tenor, which are not very conspicuous andeven inaudible when a lute with octave stringingis used.77 Cutting’s skill as a polyphonist isespecially manifest from the many instances ofimitation in his works.78 It is no exaggeration tosay that that imitation plays a leading role as aconstructive element in his music. To make thisclear we may take a look at the A strain of pavanno. 3 (see Example 2).

The strain starts off with a descending and

74 Also noticed by Carpenter, ‘Lute Music of Francis Cutting’.75 Nos. 4 (C strain), 29 (B strain), 32 (C strain). Also in nos. 33 (A and B strains) and 36 (C strain) the final

chord is in the penultimate bar, but here we do not have the feeling that it is premature; these are probablyworks by Dowland, re-arranged by Cutting (in Dowland’s galliards the final chord is often spread overtwo bars). In Cutting’s pieces nos. 6 and 14 all strains come to a close in double final bars, but here itworks naturally, as these galliards have a slower harmonic pulse, perhaps because they are modelledclosely to their paired pavan.

76 As is also stated by Spring, Lute in Britain, p. 148, and Wentzel, op. cit., p. 146: ‘Cutting is the expertcontrapuntalist’.

77 See for instance no. 4 m. 33, no. 20 m. 20(3-4), no. 24 m. 17(2-3). Consecutive octaves between bass andtenor in no. 17a m. 5(1-2) have been considered a copyist’s error (see the Commentary to no. 17), as couldbe the parallel octaves between treble and tenor in no. 19 m. 35(1-2): the note 3a in m. 35(1) shouldprobably read 3d (compare m. 43). On octave stringing see above, footnote 36.

78 Also noticed by Wentzel, op. cit., pp. 77, 146-147; Spencer, ‘Francis Cutting’.

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Example 2. Pavan no. 3, mm. 1-8

then ascending phrase in the treble, which at adistance of a semibreve is imitated a fifth belowin the alto voice. In m. 2 the treble then resumesthe theme, now shortened (just the descendingnotes) and lowered a tone, which is answeredby the bass at the original pitch. The polyphonictexture thickens in m. 3, with melody lines inthe treble and tenor voices that are derived fromthe second part of the theme. All this leads to acadence on F and a full close on B flat. Now (m.4) the alto resumes with a new descendingtheme, derived from the first one, which isimitated at a distance of a semibreve in the treble,a fourth higher, and immediately after that, in astretto, in the bass, at the lower octave. After ahalf close on D major in m. 5(4) the bassinstantly resumes with a related descendingtheme, which is answered in the treble (m. 6).This in its turn is transformed without interrupt-ion into a new phrase, strikingly starting with anew element, an upward leap of a fourth, andending with a dotted descending line, whichmotive is imitated at close quarters in the tenor.

Again the polyphonic texture is thickened, andwith a bass line that is related to this last phrasethe cadence on D is reached, leading to the closeon G major.

It is thus clear that Cutting deliberately andskilfully constructed the strain, by combiningpolyphonic imitation and harmonic direction.The music grows from a long phrase that first isimitated at a slow harmonic pulse, then develop-ed further with close imitation of shorter phrasesin a thickened polyphonic texture, and finallyleads to a cadence which is introduced by imi-tation of a new distinctive motive, and enhancedby a speeding up of the harmonic movement.Another example of a careful over-all construct-ion of a piece by means of imitation and therepeating of longer phrases can be found inpavan no. 13, where the whole of the A strain isbuilt on an ascending fifth, and the C strain onthe same interval, now descending.79

The contrapuntal techniques that are foundin no. 3 occur in many of Cutting’s pavans:imitation of a head-motive at the start of a strain

79 Also mentioned by Wentzel, Lute pavans and galliards, p. 38.

17

(reminiscent of the technique used in fantasias80),and imitation of shorter phrases in the furtherdevelopment. Almost always the head-motiveis an ascending or descending phrase beginningwith a dotted minim and a crotchet followed byminims or crotchets, which phrase is stated firstin the treble voice at the opening of the piece.81

An exception is pavan no. 9, which starts withan opening chord of a semibreve in length, afterwhich begins a descending phrase with a dottedminim stated first in the bass and only then inthe treble. In pavan no. 20 this phrase (hereascending) is not found in the A strain, but atthe beginning of the B strain. In pavan no. 1 theascending phrase starts with the rhythmic variantof a dotted crotchet. In other pavans this versionis found in the varied repeat of the phrase withthe dotted minim.82 The melodic line is the samein all cases: the dotted minim in an ascendingline is broken with a descending quaver afterthe dotted crotchet, after which the followingcrotchets ascend again, and vice versa in adescending line (in no. 3). The dotted head-motive is nearly always imitated once or twice,mostly in bass and/or alto; pavan no. 11 is the

only one where this is not the case. Sometimesthe B or C strains also have this dotted phrase asa head-motive,83 here often with one or moreleaps in the melody, as opposed to the stepwiseascending or descending lines in the A strains.

In Cutting’s galliards we find the samestructural use of polyphonic imitation as in hispavans, but here the head-motives are shorter,obviously because of the faster pace of thisdance. Many strains begin with a dotted crotchet,mostly in an ascending line (an alternative beingascending crotchets without a dotted rhythm),varied in the reprise with a turn of four quavers.84

Compared with the pavans, the galliard’s imita-tion is spread rather more evenly over the wholeof the piece, and is less often concentrated atthe beginning of the strain. The polyphony isoften somewhat simpler than in the pavans, al-though complicated imitation can be found inthe galliards as well. In the C strain of no. 26,for instance, the same motive is found up to tentimes in eight measures, mm. 35-38 being onelong stretto (Example 3). Other examples arethe B and C strains of no. 4 (the C strain exploit-ing the same motive as the one in Example 3),

80 See Newcomb, Englischen Lautenpraxis, pp. 56-58.81 The only exceptions being nos. 1, 9 and 20 (not taken into account are the pavans nos. 15, 16 and 21,

which were originally composed by others). On this rhythmic pattern see Wentzel, op. cit., pp. 30-31.82 See the A’ strains of nos. 3, 5 (in the tenor voice), 13, 18. This identical ornamentation was also noticed by

Wentzel. op. cit., p. 78.83 Nos. 1, 3, 5, 7, 17 and 19.84 See for instance no. 32 (A and C strains).

Example 3. Galliard no. 26, mm. 33-40

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and the A and B strains of no. 27 (in whichextended use is made of canonic imitation: theA strain is built as a canon at the octave betweentreble and bass). A good illustration of Cutting’sability to use imitation also as a structural devicein his galliards, can be found in the C strain ofno. 29 (Example 4). In the first three measuresthe melodic lines are all ascending, with trebleand bass in loose canonic movement. Thetension, which is built up also by a harmonicacceleration in a hemiola, reaches a breakingpoint on the chord on g in m. 36, which is keptup in the air at the length of a dotted rhythm,after which all melodic lines are descending.Tension is not allowed to slacken, however,

because of imitation in three voices at closeintervals, leading to another hemiola and thefinal cadence.

As in the beginning of no. 3 (Example 2),Cutting frequently transforms his motives bywriting rhythmic variants or inversions of thebasic pattern, as is made clear by Wentzel.85 Inthe first strain of pavan no. 5, for instance, thedotted motive is first imitated, then inverted,diminished, and then the original version re-appears in the bass (Example 5). Often theoriginal motive reappears in many forms: aug-mented, condensed, inverted, and with dottedrhythms flattened out into strings of crotchets(Example 6). Occasionally two different motives

Example 4. Galliard no. 29, mm. 33-40

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85 Wentzel, Lute pavans and galliards, pp. 38-40. What follows is taken literally from his analysis.

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Example 7. Galliard no. 4, mm. 1-6

are presented within the same strain, but eventhen the first motive can be hidden in the second:see the first strain of galliard no. 4 (Example 7),where the first motive is treated as a simplesequence in the treble in mm. 1-4 and the secondappears in imitation in mm. 4-6, but here thefirst motive seems to be hidden in the top voice(see the asterisks).

Identical or related motives are also used byCutting to connect the musical content ofdifferent strains, thus strengthening the overallcohesion of the composition.86 In pavan no. 3for instance, the B strain starts with a motive inthe treble (m. 17) which is imitated in the altoand bass voices in m. 18, and the material ofthis measure reappears in the alto and bass atthe beginning of the C strain (m. 31) in a slightlyvaried form and with a different treble. In pavanno. 7 the head-motive of the piece, a dotteddescending line, imitated in mm. 1-3, reappearsseveral times in mm. 15-16 in the B strain andalso once in the C strain, in the bass of m. 27. Inpavan no. 5 the head-motive, a dotted ascendingline (see Example 5), is used inverted at thebeginning of the B strain (m. 19-20, three times),and, in setting 5b of the piece, several times in

diminished version at the beginning of the Cstrain (mm. 31 and 33). Sometimes the pre-dominant motives of the A and B strains are usedagain in the C strain, thus summarizing the firsttwo strains in the third. See for instance pavanno. 19, where in the first half of the C strain(mm. 29-31) the dotted descending motive fromthe A strain reappears, while in the second halfof the C strain (mm. 32-34) the short descendingmotive of a crotchet followed by quavers of theB strain (mm. 19-21) is used again. In thismanner, motivic relationship in much of Cut-ting’s works is rather complex: ‘he expandsmotives, inverts them, and otherwise modifiesthem producing a kind of unity unparalleled bythe other composers’.87

In Cutting’s music imitation is not onlyimportant as a structural device, but it is alsoused extensively as an ornamental element.88

This is the case when short rhythmical motivesappear rapidly after each other in differentvoices, as in pavan no. 1, mm. 33-35 (Example8). The same feature is used also as a variationtechnique in varied repeats; see for instancepavan no. 5a, mm. 13-17 (Example 9), wheretwo different small motives are strewn through

86 Wentzel, op. cit., pp. 40-45. Again much of the following paragraph comes from this study.87 Wentzel, op. cit., p. 147.88 As is also noticed by Carpenter, ‘Lute Music of Francis Cutting’.

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Example 9. Pavan no. 5a, mm. 13-17

the music. Here these imitations occur in placeswhere there was no imitation in the first state-ment (mm. 4-8). However, when there is imita-tion in the first statement, in the reprise thisimitation is mostly maintained, and often evenhighlighted by means of embellishment. See forinstance again pavan no. 3 (from Example 2):in the second half of the A’ strain the motives

are broken up in smaller notes, as a result ofwhich the imitations are even more pointed thanthe first time (Example 10). Another example isfound in pavan no. 5, where a simple motive ofstepwise descending crotchets in mm. 34-36 iseffectively brought out by means of its divisions(mm. 42-44). Introduction of imitation in thevaried repeat occurs in a remarkable way in

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pavan no. 20, where in the beginning of the A’strain (mm. 9-12) not only a beautiful imitativecounterpoint is introduced, which was totallyabsent in the first statement, but also in mm. 9-10 the harmony is changed: chords in C majorin the A strain (mm. 1-2) now appear in C minor(we shall return to this feature later).

To structure the polyphonic flow of his music,Cutting also often uses sequences, that is repeti-tion of a motive in a single voice, at a differentpitch (and not in a different voice, as with imita-tion).89 He makes much use of this technique inhis galliards, with motives that are repeated onceor twice, often in an ascending progression. Seefor instance no. 2, where in mm. 17-19 the samemotive is found three times in the treble voice,every time one step higher (and it is imitated inthe alto in m. 21) (Example 11). Sequences areused mostly in the treble, but they sometimesoccur also in other voices: see for examplegalliard no. 25, with a motive in the bass voicerecurring three times in mm. 18-20. In galliardno. 37 sequences are used in a masterly way tostructure the music: in the B section in the treble

(mm. 12-14, including some imitation in thealto), and in the C section in the bass (mm. 20-22). Frequently treble and bass (and sometimesalso middle voices) move in sequences together,resulting in a harmonic sequence; see for in-stance no. 30 mm. 21-23, with two repeats oftheir motives (Example 12), and no 28a mm. 5-7, with one repeat in the treble and two in thebass.90 Already mentioned is the extendedsequence in galliard no. 27 (see Example 1). An-other example is found in a pavan, no. 1 mm.18-19. Cutting thus uses sequences to structurethe composition, and, especially in his galliards,to give impetus to the movement, to thrust themusic forward.91

In his varied repeats Cutting likes to con-centrate the divisions in the upper voice. Wentzelhas studied the division style of the prominentlutenists, and he found that Cutting was the oneto write in his pavans the most smoothly arti-culated passages of semiquavers, moving nearlyalways in a stepwise manner, with occasionalthirds which are immediately filled in from theopposite direction.92 The movement in semi-

Example 11. Galliard no. 2, mm. 17-19

Example 12. Galliard no. 30, mm. 21-23

89 As defined by Newcomb, Englischen Lautenpraxis, pp. 69-70. Carpenter, ‘Lute Music of Francis Cut-ting’, also mentions Cutting’s use of sequential repetition.

90 This strain is quoted in Wentzel, Lute pavans and galliards, p. 35, as an illustration of the typical sequencein lute music.

91 These sequences are used also by other lute composers: less commonly by Dowland, more frequently byHolborne and very often by John Johnson.

92 Wentzel, op. cit., p. 53.

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Example 13. Galliard no. 2, mm. 25-27

quavers mostly starts with a quaver, and hereCutting regularly allows an interval, favouringa lower third, but also writing larger leaps (foran illustration of these features see the divisionsin pavan no. 1a). In his galliards, in which theflourishes are shorter than in his pavans, Cuttingallows more skips and leaps.93

As in his first statements, so in his variedrepeats Cutting uses sequences to drive the musicon. In many instances repeated motives in thefirst statement return in the reprises, the divisionslending even more speed to the movement. Seeagain galliard no. 2, where the sequence of mm.17-19 is embellished in mm. 25-27 (Example13). Sequences are also introduced when in thefirst statement there is no sequence at all, forinstance in galliard no. 29 mm. 14-15(1) (nicelybringing out the hemiola), pavan no. 21b m.11(1-2), and almain no. 38b mm. 26-27. As inthe last two examples, sequences in divisionsare in most cases repeats of short rhythmical-melodic fragments. In English lute music this isa widespread technique, found extensively in themusic of John Johnson, and also in the works ofDowland.

From this common stock of patterns, a feware used regularly by Cutting. In the divisionsof his pavans we often find a scale figure of aquaver followed by six semiquavers ,mostly in an upward direction, and frequentlyfollowed by another eight (or more) semiquavers(for instance in no. 1, mm. 10, 11-12, 38). A chainof eight semiquavers is seldom used as a separateentity (as in no. 5a, m. 37). Cutting has a certainpredilection for the rhythmical patterns (in galliards ) and also (ingalliards ); see for instance pavan no.

13, galliard no. 35 and almain no. 38bc. Hewrites them sometimes in sequences or inpolyphonic imitation (see almain no. 40b, mm.41-48). These patterns were also favoured byJohn Johnson. In galliards we find regularly ashort upward scale (for instance in no.34, mm. 12-14, in the treble no. 50, mm. 39-42,and also in pavan no. 5, mm. 14-16, 43-45). Inlonger scale figures we often see groups of foursemiquavers (in pavans and almains; quavers ingalliards), with a falling third as the first or lastinterval: and . These patterns arefrequently used in sequences. Another regularlyfeatured group, mostly at the end of a chain of(semi)quavers and consequently often incadences, consists of a falling and rising secondfollowed by a falling third: (see forinstance pavan no. 18, mm. 9, 11, 18).

Of course these melodic-rhythmical patterns,although important for the structure of Cutting’sdivisions, do not set them apart from those ofother composers, because all lutenists are wontto use generally the same material. This is alsothe case with cadential formulae. There exist alimited number of them, stereotypes more or lessin use by all, but Wentzel has shown that mostcomposers have a predilection for one or two ofthose.94 He made a list of eight cadential for-mulae, types a to h, and found that the lutenistshe studied – John Johnson, John Dowland,Francis Cutting, Anthony Holborne and DanielBatcheler – preferred one or two patterns. Adistinction can be made between the figurationon the leading tone over the dominant chord,and the figural prolongation of the tonic chord.

Concerning the patterns over the dominantchord, in Cutting’s works are found two distinct

93 Wentzel, Lute pavans and galliards, pp. 60-61.94 Wentzel, op. cit., pp. 21-24.

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Example 15. Galliard no. 37b, mm. 47-48

formulae which are used frequently. Often hewrites one with a ‘gap’ before the last leadingnote, which gap is filled by a note in a differentvoice, in a V-I cadence usually the seventhdegree (see Example 14, from pavan no. 20).95

The other, written less often, is characterised bya falling third in the middle of the last group of(semi)quavers (Example 15, from galliard no.37b). Both formulae are found in pavans as wellas galliards.96 Incidentally, in cadences Cuttingalso likes to write a free-standing dominant inthe bass, with the other voices suspended aboveit, especially in a cadence D-G (see for instanceno. 19, Sir Fulke Greville’s Pavan, mm. 19 and 25).

In the stereotypical figural patterns over thefinal chord of a strain, some formulae can bedetected that are typical for Cutting’s style. Inthe first statements of his pavans he often (30times) writes florid passages, not (or just loosely)related to these formulae, but in many instances(19 times) we see a pattern which Wentzel calledtype d: a dotted crotchet on the fifth degree ofthe chord, followed by a quaver above it and adownward scale of four quavers to the thirddegree (see Examples 16 and 17). Wentzelidentified this formala too as one favoured byCutting, finding it less in pieces by others.97 Inhis pavans Cutting also uses frequently (six

95 In Wentzel, op. cit., p. 21, this is formula a, extensively used by all lutenists exept John Johnson. Wentzel,however, does not make any distinction between the variant forms of this pattern as used by differentcomposers (see the following footnote).

96 The first formula is characteristic of John Dowland as well, and is found also in Richard Allison (but withthe ‘gap’ not filled) and Anthony Holborne (often in a middle voice, sometimes also with the gap leftopen). Of the second formula very few instances are found in the pieces of Holborne and Allison; there aremore in Dowland’s works, especially in his pavans (see for instance Dowland, Lute Music, no. 17, al-though that is an exceptional case), however on the whole less often than in Cutting’s music.

97 Wentzel, op. cit., pp. 23-24.

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times) Wentzel’s pattern type c, consisting of anoff-beat dotted crotchet on the fifth degree,followed by a scale of three quavers to the thirdor the first degree (see Examples 18 and 19). Incontrast, the pattern of a downward scale of anoctave starting on the first degree, a favouriteformula in Dowland’s pieces (Wentzel’s type b),is found only once in a Cutting pavan.98 Like hispavans, Cutting’s galliards also frequently endwith a florid figuration, or, in contrast, with asimple breaking of the final chord (16 times).99

However, stereotypical formulae are here foundoften, not only in the first statements of thestrains, but in the varied repeats as well. Thepreferred closing formula is an off-beat minimon the third degree, followed by a crotchet onthe fourth and again a minim on the third (seeExamples 20 and 21). This is formula h in

Wentzel, who also identified it as Cutting’sfavourite galliard pattern.100 Found eight timeseach are a pattern like the b formula of the pavans(a downward scale of an octave) and a variantof the c pattern of the pavans: an off-beat dottedcrotchet on the fifth degree, followed by threedownward quavers to the third or first degree(see Examples 22 and 23). Finally there isWentzel’s formula g, which is written eleventimes, but only in four pieces.101 This formula, adotted minim on the third degree followed bythree descending crotchets leading back to thethird (see Example 24), is used by Cutting whenhe wants to protract the final chord over twomeasures, for which this pattern offers an easysolution. It is written mostly on D major chords;we find it two times on a G major chord (in no.6) and once on an A major chord (in no. 14).

98 No. 1b m. 36.99 Broken chords are found exceptionally often in no. 30, mm. 4, 8, 12, 20, 24 (also in mid-strain cadences).100 Wentzel, Lute pavans and galliards, p. 23.101 Nos. 4, 6, 14 and 33. These are somewhat special cases: nos. 4, 6 and 14 are galliards which are based on

pavans, and no. 33 is a galliard based on a piece by Dowland.

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Furthermore, Carpenter and Spencer noticedCutting’s habit of connecting one strain to thebeginning of the next by means of a scalarpassage.102 There are many occurrences of thisin his works (see for instance galliard no. 10),and it can be said to be a distinctive trait of hisstyle, although the same technique is usedregularly by other composers, notably by Hol-borne and John Johnson.103 In the flourishes onthe final chord of strains in Cutting’s dances wesometimes find a leap rather than the obligatoryscale figures, suggesting polyphony (see theclosing measure of pavans nos. 15 and 19, andfor instance galliard no. 26 m. 16, and almainno. 38c m. 16).

A characteristic trait of Cutting’s style is theoccurrence now and then of harmonies in variedrepeats which differ from those of the firststatement. In pavan no. 7 the bass line of m. 5 isaltered slightly in m. 11, as a result of whichhere the dominant d is reached only at the lastcrotchet before the bar line. In pavan no. 17bthere are two instances (mm. 31 and 44) of achanged bass line, the first time introducing andthe second time omitting a intermediary har-mony (compare mm. 23 and 36 respectively).As we saw before, in pavan no. 20 some har-monies in the divisions are adapted for the sakeof polyphonic imitation, which Cutting obvious-ly considered more important: compare mm. 1-

2 and 9-10 (a major harmony is turned into minorone in the repeat), mm. 38 and 46 (a bass note isomitted in the repeat) and mm. 6 and 14. Someinstances of this altering of the harmonies invaried reprises are found also in galliards,almains and other pieces.104

There remain two small melodic featureswhich are also characteristic of the music ofFrancis Cutting. The first is a short phrase of anascending fifth beginning with a leap of a minorthird. This we find regularly in his works, indances as well as variations: see for instance no.1 Mrs. Anne Markham’s Pavan m. 19 (fourtimes, in bass and alto), galliard no. 4 mm. 4-6(seven times in different voices; see Example7); no. 46 My Lord Willoughby’s Welcome Homem. 9 (twice in the alto); no. 48 Walsingham mm.53-54 (twice in the bass). This phrase is usedalso in divisions, for instance in pavan 5 mm.14-17 (five times, in the bass, tenor and altovoices; see Example 9). The second feature is,to my knowledge, found almost exclusively inthe divisions of Cutting’s pavans, always in theA’ strain. It is a flourish (one quaver followedby a chain of fourteen semiquavers) above aminim bass note e flat, which flourish consistsof a descending and then ascending scale of theoctave g’-g-g’, with in the second (ascending)part a false-relation e’ natural.105 Exactly thissame figure appears in no. 1 m. 12, no. 15 m.

102 Carpenter, ‘Lute Music of Francis Cutting’; Spencer, ‘Francis Cutting’.103 See also Wentzel, op. cit., pp. 17-18, who finds that Holborne is the one to use this device most often.104 See galliard no. 30 mm. 7 and 15, where a major third is introduced in the F chord, and changed bass lines

in almain no. 38 (versions b and c) mm. 34 and 42, almain no. 39 mm. 5-6 and 13-14, and no. 44 Cutting’sComfort mm. 11 and 15.

105 This same flourish is found once in Holborne, Music for Lute & Bandora (ed. Spring), nos. 13a and c(pavan Last Will and Testament), m. 90 (in version no. 13d, m. 45, there is no note e’ natural in the flourish,and therefore no false-relation). Perhaps Holborne here deliberately cited Cutting, as this piece showssome similarities with one of Cutting’s more popular works, Mrs. Anne Markham’s pavan (no. 1, in whichthis flourish is found also): compare the opening of the C strain of Holborne’s piece with the beginning ofCutting’s B strain, and the rhythmically distinct figuration in mm. 13 and 28-31, especially m. 30 (in no.13d) with mm. 13-14 of Cutting’s pavan.

26 11, no. 16 m. 14 and also in no. 51, the Barleyversion of Dowland’s Lachrimæ Pavan, m. 14,thus making it very likely that this version, sodeviating from the standard one, was composedby Cutting.106 In other works by Cutting flourish-es are found that are reminiscent of the one on eflat: see pavan no. 9 m. 21, and no. 46 My LordWilloughby’s Welcome Home m. 14; comparealso the bass line in no. 48 Walsingham mm.28-29(1).

When analysing the characteristic features ofCutting’s works, we see that they are not in auniform style. In his pavans, and to a lesserextent in his galliards, distinct differences canbe discerned. These differences probablyrepresent a development of Cutting’s musicalstyle. It is therefore possible to reconstruct a– tentative – chronology of his works on thebasis of their stylistic traits.

Starting with the pavans, first of all we seethat the density of their polyphonic texturevaries. There are pavans, for instance nos. 1aand 9 and in part also no. 3, with a rather thin,basically three-voiced texture. No. 9 especially(notably the A and B strains) is essentially inthe older ‘linear’ style, with a top voice on abass which is filled out with chords; there is alsolittle trace here of the imitative counterpoint ofCutting’s other pieces. This pavan must be anearly work.107 The other pavans have a fullertexture, often in four voices; nos. 5, 7, 11, 13and 19 are clear examples; these must be laterworks.

Furthermore, there is a marked differencebetween the divisions of no. 9 and those ofpavans like nos. 13 and 19. In no. 9 we havelong chains of semiquavers (which trait is alsoknown from the divisions in the ‘linear’ style),while in the others the semiquavers are groupedin smaller numbers, thus forming shorter chains.In his late works, Cutting likes to keep theintricate four-part polyphony intact in the variedrepeats, often enhancing it by adding smallornaments in the various voices, using the

rhythmic patterns described earlier or intro-ducing syncopated movement. These techniquesresult in a somewhat fragmented, ‘nervous’ stylein these late reprises. The difference betweenthe early and late divisions can be made clearby simply counting the semiquavers which occurin groups of five or more (excluding theflourishes in the final measure of the strains),and then taking the average by dividing the sumby the number of counted groups. Thus in no. 9we find an average of 14.1 semiquavers pergroup, which is the highest outcome of allpavans, while the lowest average is found in no.13b with 2.5 notes per group (3 in no. 13a). Otherpavans with extended chains of semiquavers arenos. 1b (an average of 13.9; 1a has 13.5), 16(11) and 7 (8.9). Pavans with small numbers ofsemiquavers per group, obviously later com-positions, are nos. 3 (an average of 5.3), 19 (5.3)and 20 (4.2).

Now that we have established this roughchronology of the pavans, some additionalobservations can be made. First, the outcome isconfirmed by the use that is made of the seventhcourse D in them: from not at all in no. 9, viaoptional (it is used, but is not essential in thevoice-leading or the playing technique) as in no.1a, to integrally in pieces like nos. 11, 13 and19. In the second place, it seems that in hisearliest and latest pieces Cutting makes less useof intricate imitative counterpoint, which isfound most extensively in the other works, fromhis middle phase so to say. In late pavans likenos. 11 and 19 the polyphony is dense, but itmostly involves long, quasi-vocal lines, ratherthan shorter and closely imitated points, such aswe find in a pavan as no. 3 (as analysed before).This is not to say that imitation is absent in theselate works: see for instance, in the GroningePavan no. 18, the complex double counterpointat the opening of the C section, or in pavan no.11 the long line in the tenor (derived from atheme in the treble) imitated in the treble (mm.9-11). In the third place, in the later worksCutting’s harmonic sense has developed. The

106 Erik Ryding, ‘Cutting’s “Lachrimae”?’, reached the same conclusion, also on the basis of this characteristicscale figure.

107 This also goes for Quadro Pavan no. 52, if Cutting really did write that; this piece is completely in the‘linear’ style.

27harmonic pulse seems to be faster than in theearlier pieces, and the works make a moredeliberate use of features like suspensions,appoggiaturas and dissonant passing notes. Seefor instance, in no. 11 E. Porter’s Pavan, thechains of appoggiaturas in mm. 13 and 14-15.

Some of these differences between early andlate characteristics can be found in the twoversions of no. 1 Mrs. Anne Markham’s Pavan.Version no. 1a is probably a quite early work,taking into account its rather thin, essentiallythree-voiced texture, and its long rows of semi-quavers in the divisions. The seventh course Dis used a couple of times, and in some places(mm. 1, 19) it seems to be integral part of thevoice-leading, but probably in its earliest stagethe piece was for a six-course instrument (seethe Commentary to this work). Version 1b ofthis pavan must be of a later date. Although thedivisions have not changed very much (there areeven some more flourishes of semiquavers thanin 1a), the texture has thickened, at places up tofour voices (see for instance mm. 1-4). Also, theseventh course now plays an integral part in themusic. This version 1b probably should beclassified as a late work. Perhaps the ‘baroque’breaking of the chords in m. 7 is a indication ofthe direction in which Cutting’s music mighthave gone, had he lived longer.

All things considered, it seems that the orderin which Cutting’s pavans were composed, isroughly as follows. The earliest one would beno. 9: partly in the old ‘linear’ style, with a thintexture and a small amount of counterpoint andimitation, and with long flourishes in the variedrepeats.108 A next phase could be represented byno. 1a, with a rather thin, three-voiced texture,now including polyphonic voice-leading andmore imitation, and with long chains of semi-quavers in the reprises. This last characteristicwe find also in nos. 15 and 16, based on composi-tions by Ferrabosco and Morley respectively, thedivisions of which were made by Cutting. No.15 probably was composed in this early period;it is perhaps significant that the first measuresof no. 9, which is very unlike the openings ofother pavans by Cutting, seem to be inspired by

the beginning of no. 15. Also, the piece is forsix-course lute, while in the C strain a seventhcourse is sorely needed to keep up the imitativevoice-leading (see the Commentary). No. 16,however, with its integral use of the seventhcourse, probably belongs to the late phase, whichcan also be deduced from some stretches of‘nervous’ divisions, leaving the polyphony intact(see mm. 27-29, 32-35, 48-49). A next groupconsists of nos. 3, 17, 7, 5, 18, 13, 1b and probab-ly no. 20, of which the last four or five, withtheir fuller texture, are perhaps later than the firstthree or four. These pieces are characterised bya development from three to four voices, muchclose imitation, and shorter chains of semi-quavers in the divisions than before. Judgingfrom the length of the flourishes in theirdivisions, nos. 21 and 51, based on works byByrd and Dowland, also belong to this phase.The latest works would be nos. 11 and 19, witha full four-voiced counterpoint, less imitation,more advanced harmonic traits, and, in the caseof no. 19, rather short stretches of passageworkin the divisions (no. 11 has no varied repeats).

In the galliards some of the stylistic traitswhich we found developing in the pavans canalso be detected. Likewise we see here pieces inthe early ‘linear’ style, with a thin texture, basic-ally consisting of a treble on a chordal bass line,and with no imitation between the parts; sequen-ces are the main structural element. These traitsare found in their most pure form in nos. 24 and25, which must be the earliest of Cutting’sgalliards that are handed down. In another groupof pieces, probably belonging to the next period,a somewhat fuller texture can be discerned, witha more contrapuntal voice-leading and shortspells of imitation. These galliards comprise nos.22, 2 (to pavan 1), 10 and the identical 34 (withimitation in mm. 45-47), and 35 (where there issome imitation in the A strain); perhaps also nos.36 and 32 belong in this phase. The last mention-ed galliard, no. 32, shows a further developedsense of polyphony, and this is the direction inwhich Cutting’s galliards seem to go. A fullercounter-point and a growing amount of imitationare found in the galliards that could be placed in

108 Certainly older is Quadro Pavan no. 52, but as is stated before, it is doubtful if Cutting did write that.

28 the next phase: nos. 23, 28, 30 and also 6 (topavan no. 5); some more imitation is found innos. 8 (to pavan no. 7) and 4 (to pavan no. 3). Adense contrapuntal texture, with a prominent rolefor imitation, is found in nos. 14 (to pavan no.13), 26, 27, 29, 31 and 33 (on a galliard byDowland), representing the late phase of Cut-ting’s galliards. The latest specimens are probab-ly nos. 37 and 12 (to pavan no. 11), where wesee the more advanced harmonic traits whichwe observed in the latest pavans, with suspen-sions and appoggiaturas (see for instance no.37b, mm. 35 and 36), while in no. 12 imitationgives way to a more free counterpoint withlonger melodic lines, just as is the case in itspaired pavan. Furthermore, it is only the lategalliards nos. 33, 14, 37 and 12, that require aseven-course lute.109 In these latest works,notably nos. 12 and 14 the dance-like rhythmiccharacteristics of the galliard, clearly present inthe early and middle phases, somewhat dis-appear; these pieces are becoming more abstract.

From this stylistic evolution of the galliardswe learn that their development is analogous tothat of the pavans, apart from the shortening ofthe chains of small notes in the divisions; thisfeature is not found in the galliards (their rowsof quavers even seem to get longer in the courseof time). Furthermore, the stylistic evolution ofthe pavans and that of their paired galliards moreor less seem to coincide, lending more credibilityto this hypothetical chronology.110

We may assume that it took some time tocomplete this evolutionary process. There are,however, not many firm data to assign years tothe relative chronology (see the Commentary tothe individual pieces). We know that pavan no.1, on stylistic grounds assumed to be probably arelatively early work by Cutting, must have beendedicated to Mrs. Anne Markham before theautumn of 1591, when her husband was knight-ed. The setting of Byrd’s Pavana Bray, no. 21,judging from its style probably made in a later

period, must date from some time after 1591,when Byrd finished this composition. No. 35 SirWalter Raleigh’s Galliard, stylistically anotherrather early work, is likely to have been dedicat-ed after Raleigh’s knighthood in 1585, but beforehis influence at court declined after 1588, andcertainly before his imprisonment and sub-sequent banishment from court in 1592. No. 47Packington’s Pound was probably composedbefore 1587, when the dedicatee was knighted;no. 49 Lullaby probably dates from after 1588,when the vocal model was published. Thedistribution of the works in the books andmanuscripts is not very helpful either, becausemany pieces are found in sources that date fromshortly after Cutting’s death (as is the case withBarley and Dd.5.38). One can observe, however,that no. 11 E. Porter’s Pavan, in all probabilitymade in the latest period of Cutting’s active lifeas a composer, is found already in the earliest ofthe Holmes books for lute solo, Dd.2.11, albeitin the latter part of the manuscript (on f. 73v-74r). Galliard no. 22 and the toy no. 42 are foundin a book which is dated somewhat earlier (Add.2764, possibly written 1585–1590), so thesepieces probably date back to the eighties. Allthings considered, it seems that Cutting madehis earliest extant pieces somewhere in the earlyeighties, that his middle period fell in the secondhalf of the decade, and that his late works musthave been composed in the nineties. Perhaps hisactivity as a composer coincided with his life inLondon.

Without doubt Francis Cutting’s compositionsfor lute rank among the best of the Elizabethan‘Golden Age’. In quality as well as quantity theycan stand comparison with the works of his mostgifted contemporaries, John Johnson, JohnDowland and Anthony Holborne. He does nothave Dowland’s melodic gift or Johnson’srhythmic genius, but his pieces ‘constitute manyof the most perfectly balanced works of the

109 In some versions of galliards nos. 2 and 4 a seventh course is also written, but these seem to be later addi-tions (see the Commentary to these pieces).

110 Only pavan no. 9 seems to be in an earlier style than its galliard no. 10, but as we saw that there is no musicalsimilarity between the two, the galliard being a mere transposition of no. 34, it is very well possible thatCutting added the galliard to the pavan at a later date.

29repertoire’.111 The serious mood of his pavans,the vitality of his galliards, the gaiety of hisalmains and toys, together with his personalharmonic idiom and his inventiveness in usingcounterpoint, imitation and sequences, are allsure signs of an able and often inspiredcomposer. Many of his pieces are technicallydemanding, exactly because of their contrapuntalqualities, but Cutting always stays close to thelute’s idiom as it had developed in England.112

Richard Newton, the first to appraise Cutting’sworks, rightfully stated that the modern playerwho is willing to invest time and effort in thismusic, ‘will find himself richly rewarded’.113

About the present edition

In this book have been edited all works for luteand bandora by Francis Cutting. Above eachpiece is the ascription as given in the sources.This is done because two anonymous works havebeen attributed to Cutting (in both cases galliardsthat probably form a pair with pavans whoseauthorship is certain),114 because some pieceshave a conflicting ascription in the sources, andbecause some works are arrangements byCutting of compositions by others. In the lasttwo cases one finds two composer’s names atthe head of the piece;115 in the Commentary isexplained whether we are dealing with aconflicting or a double authorship. In the editionproper are given the fifty lute works that areascribed to Cutting, including the two anonym-ous galliards. In Appendix A are five pieces ofuncertain ascription; in Appendix B the twobandora works by Cutting. Appendix C gives apavan that is handed down in the form of a violduet, but probably was based on a now lost lutework.

The versions chosen for this publication areof course the ones the editor considers the best:they have the best musical text and show thefewest copyist’s mistakes. Always included arethe versions printed in Barley’s A new Booke, asCutting probably edited these himself. Whenthere exist two or more clearly distinct versionsof a work, both are edited; in one case there aregiven three variants.116 In the edition the pieceshave been transcribed as faithfully as possiblefrom the chosen main source, including theplaying signs (finger dots, graces, vertical anddiagonal strokes concerning the positionrespectively the holding of bass notes). Editorialcorrections have only been made sparingly,where there is a clear case of a copying error.The corrections are based as far as possible onother existing versions of the same piece, andall are of course mentioned in the Commentary.Only the irregularly placed bar lines, occurringfrequently in many sources, have sometimesbeen standardised silently.

Apart from this, the Commentary includes: alist of all the sources in which a piece is found;the number of the piece in the earlier edition byLong in Cutting, Selected Works; backgroundnotes to each piece; a justification of the groundson which an anonymous work was ascribed toCutting, or, in the case of a double ascription,the editor’s opinion about the authorship; and adescription of the differences between thevarious versions and the version(s) printed inthe book. Mentioned are the more importantvariant readings: variations in melody lines,variations in basses and considerable harmonicvariations. Considered less important, andtherefore often omitted in the Commentary, arecopyist’s errors, minor harmonic variants (asdifferently spaced chords) and the sometimesvast array of divisions in the varied repeats.

111 Spring, Lute in Britain, p. 148.112 Carpenter, ‘Lute Music of Francis Cutting’, calls Cutting’s music ‘not really idiomatically conceived for

the lute’, but much continental music from the period, from Bakfark to Molinaro, is much more difficult toplay.

113 Newton, ‘Francis Cutting’, p. 47.114 Nos. 6, 8.115 Nos. 15, 16, 21, 33, 35, 36, 46, 49, 50, 51, 53; see also nos. 54, 55.116 Two versions: nos. 1, 5, 13, 21, 40, 48; three versions: no. 38.

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APPENDIX B

Works for Bandora

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1. Mrs. Anne Markham’s Pavan

i Add.3056, ff. 48v-49r: A Pauan.ii Dd.9.33, ff. 32v-33r: Mrs Anne Markhms

Paven Fr Cuttingeiii Add.31392, ff. 36v-37r: a pavyn.iv Add.38539, ff. 28v-29r: a pauinv Pickeringe, ff. 21v-22r: A pavine by Franns

Cuttingevi Euing, f. 33r

Cutting, Selected Works, no. 1.

One of Cutting’s most popular works, preservedin more sources than his other pieces. It remindsone somewhat of a famous piece by anothercomposer: John Dowland’s Lachrimæ Pavan.Cutting’s pavan has a similar tonal scheme asDowland’s, and there are also similar passages:cf. the beginning of the C strains; m. 4 by Cut-ting and m. 2 by Dowland; mm. 17-18 by Cut-ting and mm. 36-37 by Dowland. Perhaps Cut-ting was inspired by the Lachrimæ Pavan.

Martin Long, Cutting, Selected Works, no. 1,remarks that the piece cannot have been writtenlater than 1594, when Mrs. Anne Markham be-came Lady Markham, while at the other hand‘the integral use made of a seventh course in Dsuggests it could not have been written muchbefore 1590’. The DNB (and also Newton,‘Francis Cutting, p. 44-45) gives more full in-formation on the dedicatee. She probably canbe identified with Anne, daughter of Peter Roos,of Laxton, Nottinghamshire, who married Grif-fin Markham (?1564–1644). He was a profes-sional soldier, serving with Essex before Rouenin the autumn of 1591, where he was knighted.

COMMENTARY

Measure numbers are given after a single or double letter ‘m’, for ‘measure(s)’; a number betweenbrackets following a measure number means the beat under discussion. Thus ‘m. 5(1)’ means: fifthmeasure, first beat. Beats are counted in minims, a pavan having four beats to a measure, a galliardthree. Small italics refer to tablature letters. These are given after an Arabian numeral referring to acourse on the lute, which is assumed to have a tuning in g: 1 stands for the highest course g’, 2 for thesecond course d’, and so on. Hence ‘6d’ means: sixth course, third fret, which will give the tone Bflat.

So Mrs. Anne Markham became Lady Mark-ham in 1591, not 1594 (Craig-McFeely, LuteManuscripts and Scribes, App. 5, ‘Dateable el-ements’, is also confused about these dates).Consequently the pavan must have been dedi-cated before 1591. Moreover, Long’s conjecturaldating of the piece in connection with its use ofthe seventh course seems a bit off the mark, be-cause, as we shall see, some versions of the pa-van suggest that the piece was originally com-posed for six-course lute. It is therefore prob-able that the work originated in the eighties, themore so as it shows the traits of Cutting’s ear-lier style (see the Introduction).

The existing versions of this piece are notvery different, although it seems there is somereal development detectable in them. No. i, analmost flawless and a musically satisfying ver-sion, is chosen as the basic text for the edition,as no. 1a. It corresponds also very closely to theother versions: only the scale figure in the ca-dence in m. 16(1-2) is different from all the othersources, which have here for the first time thefigure as it is repeated in m. 44(1-2). The ver-sions ii and vi represent, as we shall see, prob-ably the latest stage of this piece. This is the rea-son why no. ii, in one of Matthew Holmes manu-scripts, which are important for Cutting’s mu-sic, is also printed in our edition, under no. 1b.

Of the other sources no. iii (which lacks mm.19(3)-21(2) and 23(3)-25(2)) is much like no. i.Only occasionally its text is concordant with thatof nos. iv and v. These versions iv and v, althoughboth late sources (with in iv much graces andplaying signs), seem to represent an earlier stageof the piece, which probably was written firstfor six-course lute. (A seventh course D is used

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in iv, in mm. 2(3), 11(3), 27(1), 29(1 and 3),31(3), 37(1 and 3), 39(3), but at these instancesit is only doubling a note d at the lower octave,or (in mm. 11, 27, 31 and 39) replacing an easyto play d; these could very well be later addi-tions by a copyist.) That the piece in the firstinstance was without a seventh course, is evi-dent from the first measure, where in iv the bassis an octave higher:

iv, mm. 1-2(1)

It is even possible that in version v here ispreserved the earliest text, with a bass note f in-stead of f sharp:

v, mm. 1-2(1)

This note f is not so strange as it may seem atfirst sight: it provides a perfect imitation in theoctave with the treble voice in m. 1(1-2). Possi-bly Cutting only later changed it to f sharp, forharmonic reasons. (Incidentally, there is a par-allel of such a procedure in John Johnson’s De-light Pavan (Johnson, Collected Works, no. 5),where in m. 3(3) we find a bass note B flat in theoldest version later changed to B.) It is worthnoticing that in versions ii and vi, in which wefind the latest stage of Cutting’s pavan, there isan f sharp not only in the bass, but also in thetreble voice, obviously to make the imitationperfect once again.

Evidence of the early, six-course text of thepiece is found also in no. iv in m. 19(1-2) and inits repeat, m. 25, where a note F is lacking inthe bass, which in the later versions is added,there resulting in a sequence with m. 19(3-4):

iv, m. 19

In no. v this note is also missing in the re-peat, m. 25, but in m. 19 there is an f at the higher

octave. In versions ii and vi, representing prob-ably the latest stage of the piece, this sequenceis augmented by adding a note a in the middlevoice, which (obvious) note is lacking in all theother sources.

There are some other variant readings foundin one or both of the early versions iv and v (andsometimes also in iii). In nos. v and iii m. 3 issimpler than in the other versions:

v, m. 3

In m. 14(1) the bass note 5c of no. i reads 4cin nos. iv, v and iii; however, at the first state-ment (m. 6) this note reads 5c in nos. iv and v. Inm. 30(2) in no. iv the bass and middle voices aredifferent from other versions (but the same as innos. ii and vi!):

iv, m. 30(1-2)

Only in iv is there in m. 31(4) on the lastcrotchet a bass note d (5c), giving a rhythmicpulse to the harmonic leap D-g. In nos. iv and vm. 43 is, unlike the other versions, unornament-ed, with a literal repeat of. m. 35.

Nos. ii and vi are almost identical, apart fromthe fact that vi lacks the varied repeats and has afew errors. The text of these sources is in someaspects different from all other versions, andthese differences make it probable that in ii andvi the latest stage of the piece is preserved. Wehave already seen that in mm. 19 and 25 in theseversions the sequence was augmented by add-ing a note a in the middle voice. Furthermore,here the seventh course is used more than in i(mm. 3-4, 7(4), 13, 15, 21, 29, 30, 35, 37, 38).Some different figuration also suggests a fur-ther development of the piece: see in m. 11(2)an added tenor voice 4e3bd under the alto 3d2ac,and in m. 39(3)-40(2) an added figuration, wherei repeats the unvaried first statement. Note alsothe ‘nervous’ style of these scale passages in mm.39(3) and 40(1), typical for Cutting’s later pieces.This same kind of divisions we find in v in m.

122

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m. 25(1) 3d added;m. 35(4) 1c added (it is however also lacking

in no. vi!);m. 41(4) 3a added. Here in m. 41(4), as in m.

33(4), one could think that the notes 4ac shouldread 3ac, as in the other versions. No. vi, how-ever has 4ac, as no. ii, so this could be an au-thentic variant.

Mm. 43(2)-44: see above.One would expect the chord in m. 1(1) to be

a full six voices, as in no. vi and in ii m. 9; thescribe, however, crossed out a note 3b here,which note was perhaps corrected from 3c. Across under the next note 1a is probably also acorrection sign, as are crosses in mm. 23 and28.

Perhaps in m. 26(4) the minim 5a should bedivided in two crotchets 5ad, as in no. i.

2. [Galliard]

i Dd.5.78, ff. 24v-25r: Fr Cuttingii Add.31392, ff. 37v-38r

Cutting, Selected Works, no. 1b, with a facsimileof i.

This galliard is in ii found after pavan no. 1, andboth pieces have the same tonal scheme: strainA in G minor, B in B flat major and C in D mi-nor-G minor. Moreover, mm. 4-5(2) of the pa-van are similar to mm. 3-5(1) of the galliard;compare also m. 19 of the pavan with mm. 36-37 of the galliard. Also the ascending bass lineconnecting mm. 1-2 of the pavan becomes theopening bass line of the galliard. These piecesprobably form a pair (see Wentzel, Lute pavansand galliards, pp. 101-103, 105-106).

Version ii is largely identical to i. In ii muchuse is made of a seventh course D, in mm. 5,12-14, 19, 27 (in mm. 19(3) and 27(3) a D iswritten where i has an F harmony), 33-35, 38,41, 43, 46; in m. 5 and mm. 12-14(1) all bassnotes are an octave lower than in i. As is thecase with the paired pavan no. 1, one has theimpression that the piece originally was writtenfor a six-course lute, the seventh course being alater addition, either by the composer or by acopyist. Version ii has some notes that in i aremissing, mostly 2a in g chords and 3a or 4e in

23. Also the broken chords in mm. 7(3) and 20(1)could be an indication of a later date for thisversion.

Unique for no. ii is the figuration in the finalmeasures, mm. 43-44, as far as it can be recon-structed (with the aid of m. 35): mm. 43(2)-44are written in the bottom margin of the page,and have partly disappeared because the marginhas been trimmed and all tablature beneath thefourth line is gone. We have made white the partof the tablature which is lost:

ii, mm. 43(2)-44

Possibly the abrupt ending of the piece, con-trary to Cutting’s style, in m. 44 was introducedby the copyist, caused by the lack of space thatwas troubling him here. At the bottom of f. 32vhe therefore wrote an alternative ending, meantto replace m. 44: he placed a sign (two dots) atthe beginning of this measure, and the same signat the beginning of m. 44 on f. 33r. In the edi-tion we have printed this alternative ending. Asthat passage is also damaged in the manuscript,we give here a transcription of the tablature thatis still visible, making white the part of the tab-lature which is gone now:

ii, m. 44 (alternative ending)

Editorial changes in i:m. 1(1) the rhythm signs from a dotted minim

and a crotchet;m. 20(4) 5d from 5c;m. 32(3) 7d from 7a;m. 33(2) 5a from 5c;m. 33(3) quavers from semiquavers;the barring has been standardised to four beats

in a measure (in all sources except v and vi themeasures have a length of two beats).

Editorial changes in ii:m. 15(3) 7e added;m. 20(4) 5cd and 4c added, from no. vi (the

end of the bar is written in the inner margin ofthe manuscript and partly torn away);

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chords in d (mm. 6(3), 12(1), 12(3), 14(1), 21(3),42(1), 43(1)); other extra notes are in m. 1(1) 5cand (probably corrupt) 1a, m. 26(1) 2b and 3b.At places ii misses notes that are present in i:the same notes 2a and 3a or 4e in the chords ing and d (mm. 13(1), 17(3), 29(1), 46(3)), and inm. 2(3) 4c, m. 8(3) 6a, m. 13(2) 5c, m. 15(3) 2f,m. 29(3) 5c, m. 35(2) 6d, m. 36(2) 3b, m. 42(1)5c. Many of these omissions, especially in thebass notes, probably are corrupt, as are the wrongnotes in m. 4(3) 3a instead of 2a and m. 27(3)6a instead of 7a. In a few places we find moresubstantial variant readings in ii: in m. 34(1) adotted rhythm, which in mm. 36(1) and 44(1) ismissing, in m. 13(3) in the middle voice a figu-ration 3babd in quavers, and a different figura-tion in mm. 16, 28 and 47-48 (which is in m. 47simpler than in i, in m. 28 more elaborate):

ii, m. 16

ii, m. 28

ii, mm. 47-48

Editorial changes in i, on the basis of thereadings in the corresponding places in i and ii:

m. 7(1, second crotchet) 1a omitted;m. 14(3) 6a added (also lacking in ii);m. 19(3) 4a added (after i m. 27; ii has a D

harmony in these places);m. 20(2) 3a added;m. 34(1) dotted rhythm from two crotchets;m. 42(2) 1d from 1a;m. 44(1) 1a from 1e.

3. Pavan

i Dd.9.33, ff. 9v-10r: Paven. Fr Cutting

Cutting, Selected Works, no. 2a.

This pavan has no varied repeat for the thirdstrain; this section should be played twice.

Editorial changes:m. 3(3) 4a and 3b added in order to fill a gap

in the tenor voice (cf. the corresponding m. 11);m. 12(3) the dotted quaver and the semiqua-

ver from a dotted crotchet with a quaver;m. 17(4) 3a added (cf. m. 24);m. 28(3) 5d from 6d (cf. m. 21);some irregularly placed bar lines have been

standardised.In m. 12(4) the letters 1f-3d are unclear be-

cause of corrections by the copyist, and havebeen reconstructed after m. 4.

4. Galliard

i Dd.5.78, ff. 22v-23r: F Cii Euing, f. 48r: A Galliarde by Mr Cuttingeiii Dd.2.11, f. 53v

Cutting, Selected Works, no. 2b, with a facsimileof i.

In none of the sources this galliard is found to-gether with pavan no. 3, but probably thesepieces form a pair: both works open with thesame chord, their strains have identical tonalschemes, and especially in their B sections thechord progressions are similar, with the samePhrygian cadence in mm. 22-23.

Version ii is very similar to i. In ii there aresome grace signs and fingering dots, and muchuse is made of a seventh course D (mm. 2, 7, 15,17, 24, 25, 32, 44-47); sometimes a whole bassline is lowered an octave (mm. 44-45(1), 46).The fact that this low D sometimes doubles a din the upper octave, and that in one instance in avaried repeat a low D is not written, while itwas there the first statement (mm. 2 and 10),indicates that this seventh course is possibly anaddition by a copyist. Other differences betweeni and ii are few and minor: in the first chord 4finstead of 3f (in m. 1 wrongly 5f, but see the

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corresponding m. 9); some other chords withslightly different notes (mm. 10(3), 24(1), 32(3),33(3), 39, 44(1), 47(1)); in m. 39(1) there is a(probably incorrect) treble 1a in the chord; inm. 42(1) 1c instead of 1b. There is no dottedrhythm in mm. 37-38. Flourishes in cadencesare different in m. 16 and altogether lacking inm. 48 (here probably because of lack of spaceon the page). Different passage work we see inmm. 44(3)-45(1) (where in m. 44(3) probably abass note 6a should be added):

ii, mm. 44-45

Version iii is without varied repeats, but oth-erwise similar to i and ii. With ii it has someaspects in common: the same first chord, no dot-ted rhythm in mm. 37-38, a treble 1a in m. 39(1).It has simpler closing measures than i and ii:mm. 8 and 40 each have two simple chords onthe first and second beat, and mm. 23-24 in iiiare condensed into one measure: thus here theB strain has only seven measures.

Editorial changes:m. 11(3) 5d from 6d;m. 12(1) 6d added (after m. 4 and ii);m. 19(2) 4a from 3a (to keep up the imita-

tion, and after ii and the varied repeat, m. 27);m. 26(1) 4a from 4b (after m. 18 and ii);m. 28(2) 2e from 2d (after ii);m. 41(1) 2d-4f from 2f-3f (after m. 33 and ii).

5. Pavan

i Barley, (lute) ff. D3r-4v: A Pauan for the Lute./ pauin by F. C.

ii Dd.5.78, ff. 10v and 20: F: Ciii Hirsch, f. 9viv Dd.2.11, ff. 57r and 56v

Cutting, Selected Works, no. 3a.

This pavan is handed down in four sources,which represent two versions of the piece. Thetexts of sources i and iii are very much alike,and those in ii and iv are almost identical. Thedifference between both versions are, apart from

some small variants in voice-leading and chordbreaking and spacing, found mostly in the firsthalf of the C strain. Here we see in i and iii anopening that consist of a straightforward chordprogression (m. 31), which in the varied repeat(m. 39) is slightly embellished by passing notesin a dotted rhythm. In the version in ii and iv thetext of this varied repeat is used as the first state-ment, and in the C’ strain there is some passagework in quavers, which is not found in the otherversion (mm. 39 and 40). This re-using a variedrepeat as a first statement is a procedure of whichwe see some instances in the works of JohnJohnson; there this was taken as an activity bythe composer himself (Johnson, CollectedWorks, p. 20). It is possible that Francis Cuttingused the same device, and is thus responsiblefor both stages of the piece. We therefore givean edition of both versions, although they arefor the most part very much alike. From the wayin which the reworking took place, can be con-cluded that the version in i and iii is perhaps theoldest, which conclusion is enhanced by the factthat in the version in ii and iv a seventh course isused; i and iii are written for six-course lute.

In this edition setting i is given as no. 5a, iias no. 5b. No. i, from the authoritative Barleyprint, with ornaments and playing signs, waschosen as the basic source for no. 5a, notwith-standing the fact that it is corrupt at places; worstof all a complete measure, m. 33, is lacking. Alldeficiencies could however easily be restoredfrom iii and the other sources. The differencesbetween i and iii are mostly of minor importance:small changes in the spacing of chords or in arhythm. Different are two D major chords, inmm. 5(3) (3a-4b-5c) and 23(1) (1c-2a-3a-4b-5c), which are played in the second position inall other sources. Also unique for iii is the scalefigure in m. 38(1-2):

iii, m. 38(1-2)

No. iii has other differences from i in com-mon with the version ii-iv, which suggest that iniii an intermediate stage of the piece is preserved.The most important of these is found in m. 27(1-2), where iii has a voice-leading as in ii and iv,

126 against i. In the corresponding place in the firststatement, m. 21(2), iii also has the same chordas nos. ii and iv, also against i. Other instanceswhere iii follows the second version: extra bassnotes in mm. 5(2) (6a) and 41(4) (6c), an extranote in the treble (1c) in m. 24(1), the chordbreaking in m. 46(3-4), 3d instead of sharpened3e in m. 17(2).

The sources ii an iv are both copied by Mat-thew Holmes. However, he used for these twocopies three examplars: iv, with A, B and Cstrains only, was first written by him on f. 57r,and later he copied the varied repeats on emptystaves on the bottom of this page and f. 56v nextto it. The differences between ii and iv are fewand of minor importance. In iv in m. 17(2-4) theseventh course is used three times (7caa); in m.21(1) there is 2a instead of 2e and in m. 21(2)6a instead of 6e (both probably errors); in m.31(2) there is no dotted passing note 6e, whilein the corresponding m. 39(2) this note is dot-ted.

Editorial changes in i:the complete m. 33 is missing; it was supple-

mented from iii.M. 6(1, first crotchet) 3a omitted (after all

other sources);m. 11(2) 6e added;m. 21(2) 6e corrected from 6a (after the other

sources, and the corresponding m. 27);m. 21(4) 5c from 4c;m. 23(1) 5c from 4c;m. 26(3) in the chord 3d from 2d;m. 26(3) in the scale figure 2acd from 3acd;m. 37(4) last two notes 2ce added;m. 39(1) 4e-5c from 4c-5e;m. 41(4) 6c from 6e;m. 43(3, on the beat) 1a omitted (it is lacking

in the corresponding m. 35);m. 43(4) 5a added;m. 44(1) 1c from 2c;m. 46(3) 6a added (in i there is an open space

between 4c and 3d).In i there are a number of mistakes and omis-

sions in the rhythm signs. Missing rhythm signshave been supplemented, in mm. 25(4) (crotch-et), 29(2) (quaver above 1f), 37(3) (crotchet andquaver) and 46(4) (minim above last note; i hasonly a fermata). Misplaced rhythm signs in ihave been corrected, in m. 16(3) (the quaver onthe 1e of the following beat), 25(1) (the quaver

on the following 1c) and 26(3) (quaver and semi-quaver from crotchet and quaver).

Misplaced fingering dots have been correctedin mm. 12(2), 15(3-4), 26(1-2), 27(3-4), 28(2),38(4), 41(3), 43(3).

Bar lines have been standardised (in the var-ied repeats of i many measures have a length oftwo minims).

In m. 13(2) the note 6c is misshapen in theprint and not wholly readable.

In m. 18(3) 6a is straight beneath 3d, but theother solution (first 3d, then 6a) is not likely.

Editorial changes in ii:m. 29(4) 6a added;m. 32(3) 2f added;m. 33(4) 3e added;m. 34(1) under 1h a note 2a omitted (cf. the

varied repeat, m. 42);m. 41(3) 1a from 1e (after all other sources);m. 45(1) 1f from 1c (after all other sources).In m. 44(2) the note 1a is very uncertain in ii,

but it is present in all other sources.

6. [Galliard]

i Dd.5.78, ff. 20v and 11r

Not in Cutting, Selected Works.

An anonymous and untitled piece in the onlysource, where f. 20 was displaced when themanuscript was re-bound in 1893. This galliardclearly is linked to the pavan no. 5: compare mm.1-2 of both pieces, mm. 13-16 of the galliardwith mm. 8-9 of the pavan, mm. 33-34 of thegalliard with mm. 19-20(1) of the pavan, mm.41-43(1) of the galliard with mm. 31-32 of thepavan, and mm. 43-45(1) of the galliard withm. 34-35(1) of the pavan. Apart from the lastinstance, all similarities occur at the beginningof the strains of both pieces.

This brings us on the very remarkable con-struction of this galliard. It consist of two strains,each with a length of sixteen measures, and eachwith a varied repeat. Each strain is subdividedin two parts of eight measures. In the A strain,the second part (mm. 9-16) is a variation of thefirst part (mm. 1-8), with only the end (mm.13(2)-16) diverging. So, with the varied repeatA’, the beginning of the first part of this strain is

127

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heard four times. This A strain is derived fromthe A strain of the pavan. The B strain is alsodivided in two parts of eight measures each, buthere the second part (mm. 41-48) is not a repeti-tion of the first part (mm. 32-40). As a matter offact, the first part is derived from the B strain ofthe pavan, the second part from its C strain.

It is clear that the galliard has been composedafter the model of the pavan, but as the piece isnot attributed in i, it is not certain that Cuttingwas the composer. However, from the style ofthe galliard we can conclude that it is likely hemade this piece. From Cutting’s paired pavansand galliards, nos. 13 and 14 show the samemanner of reworking a pavan to a galliard, byresetting the same chords in duple time in a tri-ple time scheme, as we see in the already men-tioned instances in this piece. Also, the style ofthe divisions is definitely very much like Cut-ting’s. There is imitation: in mm. 43-44 and itsvaried repeat, mm. 59-60 (taken from the pa-van); in mm. 27-28, between treble and alto, withthe characteristic motif of an ascending fifthbeginning with a leap of a third; and also simi-lar flourishes in the closing cadence, mm. 63-64. We see six times the rhythmic figure

, in mm. 19-20, 21-22 (bringing out thehemiola) and 61-62 (also in a hemiola, the lasttime the variant ending with two quavers). Seealso the groups of four quavers beginning orending with an interval of a third (mm. 20, 26,30, 54, 62). Furthermore, we note in m. 32 theflourish that connects the A’ strain with the fol-lowing B section. The cadential formula that iswritten four times in this piece, in mm. 7-8, 15-16, 39-40 and 47-48 (type g, see the Introduc-tion) is used often by Cutting when he wants toprotract the final chord over two measures.

Editorial changes:m. 4(3) 5c added (cf. m. 20);m. 26(3) 6a from 5a (cf m. 10);m. 28(3) 2e from 2d;m. 32 double bar line added (in i at the end of

a stave);m. 35(3) after 6e a note 6c omitted, and the

rhythm changed from two crotchets to oneminim (cf. m. 51).

In m 45(2) the note 2a is unclear: it reads 2e,or the copyist already corrected it to 2a.

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7. Pavan

i Dd.5.78, ff. 60v-61r: A Pauen Fr. Cuttingii Dd.5.78, f. 45v: F. C

Cutting, Selected Works, no. 4, wit a facsimileof i.

This pavan is found twice in the same source.No. ii is without varied repeats, but the A and Bstrains resemble version i closely. Apart fromsome errors (m. 4(1) 3f instead of 3h; m. 15(2)1a instead of 1e) and some differences in chords(m. 4(3) 3f added, m. 5(1) 3f omitted), we see afew more important notes omitted (m. 1(3) 5c;m. 3(2) 1a) or added (m. 5(3, second crotchet) 3e).

However, much more differences are foundin the C strain. Here in m. 25(4) no. ii has a sharp-ened note 1e, and in m. 30 much of the middlevoices is missing, as are the bass notes 5a in m.28(1) and 6a in m. 30(1) and a note 4e in thechord in m. 27(1). Moreover, mm. 27(3)-29(3)are rather different from i: in mm. 27(3)-28(1)two and a half beats are shortened to two, andthe first beat of m. 28(2) is skipped, while theone beat of m. 28(4) is elongated to two beats,to make up for those missing beats. Also, muchof the voice-leading in these and following barsis different. We give the text of the complete Cstrain in ii (with a few irregular bar lines stand-ardised):

128

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ii, mm. 25-31

Editorial changes in i:m. 5(2) 5e added (after m. 11 and version ii);m. 11(4) 3c from 3e (the 3e gives a chromatic

scale going nowhere);m. 12(1) the first notes 2dc added (there are

two notes missing in the flourish, and this seemsthe most logical solution);

m. 16(3) 7a added (after m. 22 and versionii);

m. 17(1) 2f from 2e;m. 24 between the second and third beat a

bar line omitted;m. 26(3) 3e from 3a (the resolution of a sus-

pension from the preceding 3f; see also ii);m. 28(2) 3f added (after m. 35);m. 28(3-4) the rhythm signs changed from a

dotted crotchet on the second half of the thirdbeat (on the G chord), followed by three qua-vers;

the bar line between mm. 37 and 38 added.

8. [Galliard]

i Dd.5.78, f. 24r

Not in Cutting, Selected Works.

This piece has no title or composer’s name at-tached to it in its only source, but it is withoutany doubt the galliard to Cutting’s pavan no. 7:it has the same tonal scheme as this pavan, andin both pieces the A and C sections begin withidentical melodic and harmonic progressions. Inparticular the poignant harmony of the openingof the C strain (mm. 25-26(1) in the pavan andmm. 33-34(1) in the galliard) show with certaintythat these works form a pair. It is therefore prob-able that Cutting is also the composer of thisanonymous galliard, the more so as many of hisworks are found in this part of Dd.5.78. Fur-thermore, it is clear that the quality and stylistictraits of this galliard put it firmly in Cutting’scamp. The whole piece is built on short phrasesthat are imitated (mm. 1-2, 6-7, 46-47) or

chained in sequences (mm. 4-6, 12-13, 17-20per two measures, and in addition m. 22); seealso the whole of the C strain, where most meas-ures begin with an ascending dotted figure,which is used also in mm. 18, 20 and 22. Thevaried repeat of this figure is often beginningwith a turn (mm. 26, 28, 30, 41). Some of thesephrases are in the rhythm (mm. 12-13,42-45). We find groups of four quavers begin-ning or ending with a leap of a third, also in se-quences (mm. 14-16, 31). Furthermore, in m.15 is the cadential formula over the dominantchord with a falling third, and in mm. 8 and 40his favorite pattern on a final chord in a galliard(the ‘h formula’; see the Introduction). The open-ing of this piece is very similar to that of Cut-ting’s galliard no. 33, which is built on a galliardby Dowland, and resembles also the beginningof Dowland’s Lady Rich’s Galliard (Dowland,Lute Music, no. 43).

Editorial changes:m. 12(2) 2e from 2d (cf. m. 4);m. 12(3) 4a added (also after m. 4);m. 24(1) the dotted rhythm from two crotch-

ets (to stay in line with the rhythm of the wholestrain);

m. 26(3) 1a omitted (after m. 18);m. 38(1) 6a from 6c;m. 38(3) 6a added (after m. 46; movement

of the bass in crotchets in the second half of themeasure is a characteristic of this galliard).

9. Pavan

i Barley (lute), ff. D1v-3r: A Pauan for theLute. / F. C

ii Dd.5.78, ff. 14v-15r: F. C.iii Hirsch, f. 10riv 31392, ff. 29v-30r: a Pavyn by maister

Cuttingev Browne, f. 19r: Cuttings Pauan (bandora

consort part, in D minor)

Cutting, Selected Works, no. 5, with a facsimileof i.

One of Cutting’s more popular works: it is foundin four versions, and there obviously also ex-isted a consort setting, of which only the bandorapart is extant (no. v). There is no indication that

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a

Cutting had something to do with this setting.The pavan is probably in Cutting’s early style(see the Introduction), and is perhaps modelledon a pavan by Alfonso Ferrabosco I, which wasre-worked by Cutting (see no. 15): both pieceshave very similar opening bars.

As the basis text for the edition of this pavanwe have chosen the one in no. i, the authorita-tive Barley print. No. ii, in a manuscript equallyimportant as a source for Cutting’s works, givesa text which is much like that of no. i. In versionii there are passing notes in the melody in m.2(3) (crotchets 2bd) and m. 18(2) (a crotchet 2babove 5a). In no. ii we find a few fuller chords(added notes in m. 1(1) 4c, m. 15(1) 5c-6a, m.15(2) 1a, m. 20(3) 3f, m. 26(3) 2f-3f) and somethinner chords (lacking notes in m. 4(1) 3b, m.8(3) 1a, m. 21(1) 2a-3c, m. 22(1) 2a-3b, m. 26(2)2f). The note 3d in m. 23(1) is lacking in allsources except no. i, as are the bass notes 6a inmm. 19(2) and 25(2). Some passages in the di-visions of no. ii are simpler as no. i, as they re-peat the first statement: m. 10(1-2) is like m. 3,m. 11(3-4) like m. 4, m. 12(1-2) like m. 5, m.36(3) like m. 30; m. 9(1-2) is like m. 2(1-2), withonly a small flourish in the middle voice. In otherplaces, in mm. 6(3)-7, 26, 31(3)-32 and 34(3-4)the figuration in no. ii differs from no i:

ii, mm. 6(3)-7

ii, m. 26

ii, mm. 31(3)-32(1)

ii, m. 34(3-4)

In no. ii some different figuration appears alsoin m. 12(4) (1abda), m. 14(1) (the same notes,but a different rhythm: first four semiquavers2cacd, then a quaver 1a), m. 35(3) (the last note1a instead of 1d) and m. 37(2) (above the bass4a four semiquavers 1c2d1ac). In a few placesthe bass note in no. ii is an octave higher or lowerthan in no. i (mm. 6(3), 19(3 and 4), 37(4)). M.27(1-2) is not played in the third position, as inthe other sources, but in the first: a chord 1a-2b-3b-4c-5d and a following note 3b instead of 4f.In m. 23(3) no. ii has 2b instead of 2c.

Version iii is very much like no. i. In someplaces it follows the text of no. ii: the figurationin mm. 7(1-2), 26(1); the lacking notes in mm.19(2) and 25(2) (6a), m. 22(1) (3b) and m. 33(3)(2a); the single note 4c in m. 6(3). In the chordin m. 10(3) the note 2b is lacking, in the chordin m. 11(1) the notes 2b-3b are added. In m. 35(1-2) there are no divisions.

We find more differences in version iv. Inplaces the figuration here is simpler than in theother sources: m. 8(2), 10(1) (text as in m. 3),m. 26(3-4) (just broken chords), mm. 32-35(2)and 36(3-4) (no divisions, text like mm. 27-29,30), and also in mm. 10(3-4) and 37(1-2):

iv, m. 10(3-4)

iv, m. 37(1-2)

A different figuration occurs in m. 38(1-2) (ascale figure very much like the one in m. 32)and in m. 25(3-4):

iv, m. 25(3-4)

Apart from some other small changes, ver-sion iv has, like no. ii, just a single bass noteunder the scale figures in mm. 21(1) and 22(1),no bass note 6a in mm. 19(2) and 25(2), and no

130 note 3d in m. 23(1).Editorial changes (after no. ii and mostly

also after nos. iii and iv):m. 5(4) 5a added;m. 9(3) 5a from 4a;m. 11(1) 2b added;m. 12(4) 5a added;m. 26(3) 2f added (in i there is a vertical tie

between 1e and the double cross);m. 35(2) 3b from 3c.Misplaced rhythm signs have been corrected

in mm. 24(4) and 38(1) (in both cases in no. ithe semiquaver is one position too far to the right,in m. 24 above the note 2a, in 38 above the sec-ond note 3c); in m. 38(4) the rhythm sign of aminim was added (in i is only a fermata).

Fingering dots have been corrected in mm.22(3), 25(1), 25(4) and 38(1-2).

The bar lines have been standardised; in no. ithe bars sometimes have a length of two min-ims, and the bar line between mm. 33-34 is mis-placed one minim to the left.

In the print some tablature letters are mis-shapen and therefore barely readable: m. 11(3)6f, m. 12(2) 2d.

10. [Galliard]

i Dd.5.78, f. 15v: F. C.

Not in Cutting, Selected Works.

This galliard is in the source immediately pre-ceded by Cutting’s pavan no. 9, and it has thesame harmonic scheme as that work; probablyboth pieces are meant to form a pair. However,this galliard is almost exactly identical to Cut-ting’s galliard no. 34 in F minor. In comparingboth pieces it becomes clear that this version inC minor is probably a transposition of no. 34,and that it is not the other way around: this wouldexplain the low tessitura of the piece, the melodyof which never reaches c” (1f), and also a ratherunusual feature as the scale figure in the finalcadence in m. 40(1-2). From this one can con-clude that this galliard was not written expresslyas a companion piece to the pavan no. 9, whichcan also be deduced from the fact that pavanand galliard do not share some thematic mate-rial, as do other paired dances by Cutting.

Formally it is not even certain that it was Cut-ting himself who coupled the pieces, or, for thatmatter, made the transposition. As this galliardis nearly identical to no. 34, there is no basis fora stylistic analysis. In a few instances figurationin the varied repeats differs from that in no. 34,in mm. 9(2-3), 25(1-2), 29(2-3) and 32(1-2), andespecially the variant in m. 32, in a rapid move-ment in which a falling fourth and third occur,is in Cutting’s style; but that could have beentaken from the unknown exemplar from whichthe transposition was made. The only thing thatcan be said with confidence, is that the transpo-sition was made by an able lutenist. As this pieceis ascribed to Cutting in i, it is a fair assumptionthat he was responsible for this transposed ver-sion of an other piece from his hand.

Editorial changes:m. 44(1) 1a from 2a (after m. 36, and con-

firmed in no. 34);after m. 24 the bar line doubled.

11. E. Porter’s Pavan

i Dd.2.11, f. 73r: Cutting E. Porters Pauen

Cutting, Selected Works, no. 6, with a facsimileof i.

The identity of the dedicatee E. Porter is notknown. Martin Long, in Cutting, Selected Works,takes over the suggestion made by Richard New-ton, ‘Francis Cutting’, p. 45, that he could beEdmund Porter, of Aston-sub-Edge, Gloucester-shire, father of the 17th-century diplomat Endy-mion Porter. The son, known to have a markedinterest in the arts, cannot be meant, because hewas born in 1587, and thus was probably lessthan ten years old when the piece was copied ini (see also Craig-McFeely, Lute Manuscripts andScribes, Appendix A). In Dd. 3.18, ff. 48v-49r,there is a consort lute part of a pavan (a recorderpart is in Dd.5.21, f. 11r) wich is directly fol-lowed (f. 49r) by a probably paired Portersgalliard (see Nordstrom, ‘Cambridge ConsortBooks’, p. 94-95, nos. 83 and 84), but this pa-van has no relation with Cutting’s piece. StewartMcCoy suggested, in a personal communication,that this lute pavan possibly began life as a fivepart consort piece.

131Above the first double bar, between mm. 8and 9, there is a number 2 written, to indicatethat the preceding strain should be repeated. Aswritten-out varied repeats are missing, all strainsshould be played twice.

In m. 14(4) the chord is rather messy in thesource, because of corrections in it (probablyfrom a chord 1e-2f-4c-6a). The chord in m. 12(2)was also corrected by the copyist, probably from1h-2e-4e-6h. In two instances it is unclearwhether a tablature letter a or e is written: in m.19(4) maybe 2e is written instead of 2a, but anote f sharp seems out of place in the musicalcontext; in m. 23(1) maybe 1e is written insteadof 1a, but because 1e would result in rather ob-vious parallel fifths between the treble and tenorvoices, we assume that 1a is meant.

Editorial change:m. 2(1) 4c from 3c (to make more sense in

the voice-leading of the alto).

12. Galliard

i Dd.5.78, f. 55r: A Gall. fr Cutting

Not in Cutting, Selected Works.

This galliard probably forms a pair with pavanno. 11: both pieces have the same tonal scheme,and the opening bars of the A and B strains ofthe galliard show melodic and harmonic simi-larities with those of the pavan (cf. mm. 1 and 5of both pieces). Wentzel, Lute pavans andgalliards, p. 103-105, points out that the basslines of the A strains of pavan and galliard arevery much the same. Both pieces have anotherfeature in common, which is rather atypical forCutting: the absence of varied repeats. The Por-ters galliard in Dd.3.18, f. 49r, a lute part forconsort (a flute part is in Dd.5.21, f. 11r), has norelation with Cutting’s piece.

In m. 24(2) the note 7a is not entirely cer-tain: in the manuscript mm 23(2)-24 were writ-ten in the lower margin, and because of the dam-aged edge of the page here only the top of a let-ter is visible, but musically 7a is the only possi-bility.

Editorial change:m. 8(3) 7a added (there is no tablature letter

under the rhythm sign; a minim rest could be

intended, but it seems more likely that a notewas forgotten).

13. Pavan Sans Per

i Euing, ff. 32v-33rii Dd.2.11, f. 84v: Sans per. Cuttingeiii Dd.5.78, ff. 13v-14r: F Civ Pickeringe, ff. 18v-19r: A Pauine by Francis

Cuttinge

Cutting, Selected Works, no. 7, with a facsimileof i. Also edited in Lumsden, Anthology, no. 4.

A pavan with a mysterious name. Richard New-ton (‘Francis Cutting’, p. 46) has pointed outthat maybe Sans pair, French for ‘peerless, with-out equal’ is meant. Newton also suggested Sanspeur, ‘fearless’, as a possible meaning, but thisis an unlikely interpretation: Brian Jeffery (inan e-mail to John Robinson, d.d. 13 December2000) writes that the word per ‘is most unlikelyto come anywhere near the French pronuncia-tion of ‘peur’ at that time’. He also suggests thatthe title might be a device or motto of a familyor person, perhaps of a patron of Cutting’s.

The C section of this pavan is remarkable forhaving an irregularity in its measures. Whencounting (the for pavans customary) measuresof four minims length, as is done in nos. ii andiii and in this edition, then in the end of the strainthere remains a measure of six minims (as in iiand iii) or a measure of two minims and one offour minims (the solution adopted in the edi-tion). In versions i and iv the measures are oftwo minims length, and there the C strain con-sequently has an uneven number of measures.This irregularity is found more often in Englishpavans of the period, for instance in Dowland’sLachrimæ (see no. 51)

For the edition the good version no. i has beenchosen as the first basis text, printed undernumber 13a. The versions ii and iii, both copiedby Matthew Holmes, and nearly identical, showa number variant readings, which frequently arefound also in the independent version iv. There-fore, these variants are probably authentic, whichmakes it worth while to print this version ii-iiialso in the edition, under number 13b (with no.ii as the basis text).

132 Version no. iv is at places the same as no. i,in other instances it is identical to nos. ii and iii.As i are mm. 4(3-4), 15(2), 28(4), 33; as ii-iiiare mm. 4(1-2), 5-7, 17. In the C strain versioniv shows some individual traits: in m. 30 the bassnote c is sharpened (5b instead of 5a) and in m.31(4) the G chord has been replaced by a ca-dence on A, as a result of which the irregularbar 32 could be skipped; this C strain thereforeis two beats shorter than in the one in the otherversions. At places the first statements of no. ivare identical to the varied repeats in the otherversions: m. 20 in iv is like m. 26 in the others,m. 29 in iv resembles m. 36 in ii-iii, and m. 31(1-2) in iv resembles m. 38(1-2) in ii-iii. The veryflorid varied repeats of no. iv are only occasion-ally (in mm. 8 and 21) identical to those of nos.ii-iii. For the rest they are very much unlike anyof the other versions, and also very much unlikeCutting’s usual division style. They were prob-ably made by another lutenist, on the basis of aversion of the piece resembling nos. ii-iii. Partsof these divisions remind one of those of DanielBacheler’s pavans (the style of which is decribedin Wentzel, Lute pavan and galliards, pp. 52-59, 78-84).

Differences between nos. ii and iii are mi-nor: no. ii has in m. 1(1) an added note 7a, in m.7(4) 7a instead of 5c, in m. 8(1) no note 7a, inm. 13(4, on the beat) an extra note 1c in the tre-ble, in m. 18(1) two crotchets (no dot), in m.40(3) an extra note 7a, and in m. 40(4) 7a in-stead of 5c.

Editorial change in i:the measures, in i at a length of two minims,

have been brought to four minims.There is a discrepancy between the notes 2c

in m. 3(2) and 2e in m. 10(3). Perhaps in m. 3the 2c should be read as 2e. Musically 2c (whichis found in nos. ii and iii in both instances) mightbe better, but in no. iv there is 2e in both mm. 3and 10, so this seems to be an authentic variant.

Editorial changes in ii:m. 15(4) 3a from 2a (in m. 21 this same note

3a was corrected by Holmes from 2a);m. 16(3-4) two times 2e from 2d (after m. 22

and no. iii);m. 23(4) 4c from 4d (the same 4d is in iii,

although it is obviously an error);m. 24(2) 3e from an unclear (corrected) note

which seems to be 3d;

m. 36(3) crotchet from quaver.In nos. ii-iii in m. 15(2) the note 2k is a bit

peculiar, as it destroys the imitation between thetreble and alto voices in mm. 15-16. Also, thisvariant is not confirmed in no. iv, which has 2g.The paired galliard, no. 14, has 2k, but see thecommentary to that piece. It is possible that thisvariant is introduced by the copyist Holmes.

14. Galliard

i Dd.2.11, ff. 73v-74r: Phs galliardeii Dd.5.78, f. 14r: F: C

Not in Cutting, Selected Works.

A galliard which clearly forms a pair with pa-van no. 13: in ii the galliard immediately fol-lows the pavan, and both pieces share the samemelodic and harmonic material; ‘the galliard, infact, is the pavan suitably transformed in metre’(Newton, ‘Francis Cutting’, p. 46; see alsoWentzel, Lute pavans and galliards, pp. 99-101).The galliard fits especially close to the versionof the pavan found in the sources ii and iii, andedited here under no. 13b: compare m. 5 of thegalliard with m. 4(3-4) of the pavan, m. 11 ofthe galliard with m. 15 of the pavan, and m. 32(2-3) of the galliard with m. 32 of the pavan. Some-what mysterious is the galliard’s title in i, possi-bly ascribing the piece to (Peter?) Philips.

Both versions, copied by the same scribe,Matthew Holmes, are nearly identical. No. i hasbeen chosen as the basis text for the edition. Insource i the piece was written on the last threestaves of f. 73v, while on the empty bottom staveof f. 74r the copyist wrote another, untidy ver-sion of the C strain, with many mistakes andcorrections, but essentially the same as the ver-sion copied in first instance; it looks like an un-successful attempt at making a varied repeat ofthat strain. In the edition this obviously not au-thentic repeat has been omitted. An interestingfeature of this version i is the fact that in m. 11the note 2k was corrected from 2g, possibly anindication that in Holmes’ exemplar was a 2g,and that the 2k, which is also found in the pairedpavan in these sources, was introduced by ourcopyist. This note 2k, found only in Holmes’versions of the pavan and galliard, is possibly

133

œ œ œ œ œ

not authentic, as it breaks up the imitation be-tween the treble and alto voices in mm. 11-14(mm. 15-16 in the pavan).

Differences between nos. i and ii are minor.In m. 26(3) the chord in ii is 2c-3e-4e-6c, possi-bly a better reading, because the pavan also hasa melody note 2c at this point (m. 28(4)). In ii inthe final D-chords in mm. 9(1), 33(1) and 34(1)a note 4e is added; in m. 34 after the full chordonly a semibreve 5c is written. In ii in m. 31(3)the bass note 6a is omitted.

Editorial change:m. 16(3) 4c from 4d (in this chord the same

error is found more often in Holmes’ versionsof this pavan and galliard).

15. Pavan

i Dd.2.11, f. 72r: Pauen Cuttingii Hirsch, ff. 12v-13riii Dd.2.11, f. 1v: Alfonso

Not in Cutting, Selected Works.

A pavan in G minor, found in i and ii. Version iiihas the same pavan, without varied repeats, buthere it is in B flat minor and ascribed to ‘Alfonso’(Ferrabosco the elder). This version is publishedin Ferrabosco, Works for Lute, no. 11, and inFerrabosco, Opera omnia, IX, no. 10. Both edi-tors, Nigel North and Richard Charteris, agreethat the B flat minor version was composed byFerrabosco; North states that this piece can beattributed to him on stylistic grounds ‘with someconfidence’. Thus it is most likely that Cuttingborrowed a composition by the elder Ferrabosco,transposed it down a third, and added his owndivisions to it. Moreover, there is no reason todoubt the ascription to Cutting in no. i, as manyof his stylistic features are found in the variedrepeats: cadential formulas with a falling third(m. 47) and a ‘gap’ (m. 7; in the first statement,but not in the pavan by Ferrabosco); groups offour semiquavers with a falling third in the lastinterval (mm. 8, 13, 14); the rhythmic figure

(mm. 12, 15, 31); in m. 48 a final flour-ish with a leap of an octave; above all, in m. 11the characteristic flourish g’-g-g’ above a bass eflat.

Cutting’s transcription of the Ferrabosco pa-

van is a rather literal one, keeping the harmonicand melodic outlines intact, including the intri-cate polyphony of the C strain. Only in someinstances he introduces minor changes in thespacing of chords or the progression of innervoices. Probably this is an early work of Cut-ting, as it is written for six-course lute, where inm. 35(3-4) a seventh course is sorely needed:here Cutting was obliged to introduce two awk-ward intervals as he is forced to move to a higheroctave in the short theme that permeates the en-tire C strain (the same interval is found once inthe corresponding place in varied repeat, m.43(3)). As mentioned in the Introduction, thelength of the chains of semiquavers in the divi-sions also put this work in an early period.

Versions i and ii are almost completely iden-tical. In ii some notes are absent that are foundin i: m. 15(1) 4a; m. 30(2) 1c and the first 4a; m.42(1) 4c; m. 44(3) 4c. Notes in ii that are lack-ing in i: m. 14(3) 3c; m. 44(3, under 2d) 3a. Inm. 29(3) ii has 5a instead of 5b, and in m. 24(3-4) ii gives on the third beat a chord 2a-3a-4band on the fourth beat a single note 5c.

Editorial changes:m. 4(4) 6d from 6e (after ii and iii; cf. also

m. 12);m. 44(3) 3a added (after ii; cf. also m. 36);some irregularly placed bar lines (mm. 13-

14, 32, 41-47) have been standardised.Grid signs in m. 13(3) under 3d, 24(4) under

4b and 47(3) under 4c are not graces, but crossedout letters.

16. Pavan

i Dd.9.33, ff. 11v-12r: A Pauen MrBirde set tolute by fr. Cutting

Not in Cutting, Selected Works. Edition: Byrd,Music for the Lute, no. 8, with a facsimile of i.

A pavan starting with the famous Lachrimæ -Flow my tears theme of John Dowland. In i thepiece is attributed to William Byrd, but inFWVB, no. 153, this pavan is on the name ofThomas Morley. As in this source the compan-ion galliard and a directly preceding almain arealso attributed to Morley, and as the stylistic fea-tures of the pavan point to Morley rather than to

134 Byrd, the connection with Morley seems secured(see Nigel North’s commentary in Byrd, Musicfor the Lute, no. 8).

The keyboard pavan is in A minor, a tonehigher than the lute setting. Cutting’s versionfollows its model closely in the A, B and Cstrains; only in the cadences he sometimes de-parts from Morley (in mm. 7(1-2), 8, 44); thecadential figure in m. 7(3-4) is retained how-ever, as is the complete cadence of the B strain(mm. 25-26). Even the middle voices (especiallythe alto) are often found in the lute version,sometimes moved up or down an octave (forinstance m. 39(1); in m. 5(3-4) the alto and tenorhave switched position). In the B section thepolyphonic imitation of a four-note theme in allthe voices is found also in the Cutting’s setting,with one change: in one instance he has set thetheme one minim later (it moved from m. 18(3-4) to mm. 18(4)-19(1)). In the varied repeatsCutting departs from his model, although thesetoo could as easily have been transposed; clearlythe A’, B’ and C’ strains are of his own compo-sition, on the basis of his A, B and C sections. Inthe divisions there are just a few analogies be-tween both versions: in m. 14(3-4) the scale fig-ure in the lute setting mirrors the one in Morley’ssetting, and in the divisions of the B’ strain Cut-ting took over Morley’s idea to retain the poly-phonic play on the four-note theme, consistentlyreworking it with the same ‘division’; only Cut-ting’s jerky upward scale figure is very differ-ent from Morley’s smooth turn.

Editorial changes:superfluous bar lines have been omitted in

the middle of mm. 7, 21 and 48.Some notes have been added or changed, on

the basis of the model or the corresponding placein the lute setting:

m. 17(4) 3b from 2b;m. 20(1, second crotchet) 4a from an unclear

letter (4e or perhaps 4a);m. 21(1) 4a added;m. 22 three times 7b added;m. 29(4) 4a added (to keep up the imitation);m. 32(3) the bass note 7b in i a crotchet ear-

lier;m. 39(4) 2f from 3f;m. 41(1) 2c from 3c;m. 51(3-4) 3cdca from 2cdca and 7a from

6a.

In m. 46(4) the note 2d was corrected from2b and the first note 1c was added; the readingin i seems corrupt:

i, m. 46(3-4)

In m. 30(3-4) there is a hole in the middle ofthe stave, and of the first note 5a only the bot-tom half is visible. The note 3d above it is lesscertain: visible is only the top of a vertical stroke,which appears to be a tablature 3d rather than avertical tie (cf. the preceding notes 3d in the samebar). Judging from m. 20, no further notes havedisappeared here.

One could think that in m. 35(4) the note 3ashould be lowered to 4a, in order to avoid theclash a-a’ flat, but such a false-relation is verycommon in English music of the period, and thenote a keeps the melodic sequence in m. 35(3)-36(1) unimpaired.

A few grid signs in i seem to be correctionsrather than ornaments (crossed out misplaced barlines in mm. 17, 39, 48 and a crossed out letterin m. 51); they are not reproduced in the edi-tion.

17. [Pavan]

i Dd.5.78, f. 17v: F. C.ii Dd.2.11, ff. 11v-12r: Fr. Cuttinge

Not in Cutting, Selected Works.

A pavan in G minor, but beginning in D minor.This piece is handed down in two rather differ-ent versions. In no. ii it has varied repeats, whichare lacking in no. i. Moreover, there are impor-tant differences between nos. i and ii in the Aand B strains (in mm. 2(3-4), 5-7(2), 11(3-4) and15(2-3), bar numbers counted after version i),as well as many small variants. Both versionsare ascribed to Cutting, and therefore they arehere both edited, under numbers 17a and 17b.

Apparently the text of the A strain of the longversion ii is corrupted: it is clear that there issomething wrong in the awkward mm. 5-7(2),with the off-beat chords on f and g, and the pro-

Åa

²

Æ

±a ° ²

a ±Å°

Ʋ

aŲ

a

±

135tracted pause in the treble just before the ca-dence. We give this passage as it is found in ii:

ii, mm. 5-7(2)

When we look at the same passage in thevaried repeat (mm. 13-15), and in version i, wesee that in ii there is a minim missing in m. 5(3),and a minim too many in m. 7(1). Obviously anearlier copyist omitted notes in m. 5(3) by mis-take, which was corrected (possibly by anotherscribe) by adjusting the bar lines and doublingthe value of the rhythm signs in m. 7(1) in orderto get the beginning of the cadence D-G whereit belongs, in m. 7(3). Fortunately reconstruct-ing the text can be done with some confidence,thanks to the varied repeat and no. i: the bar linesshould be transposed a minim to the left, and inthe first half of m. 7 the four crotchets shouldbecome quavers (see the edition). More diffi-cult is the reconstruction of the missing minimin m. 5(3), because precisely in this strain ver-sion i is rather different. We are guided by cor-responding passages in the A strain of ii, in mm.2(3-4) and 4(3-4): a treble with a dotted minim(where a chord is broken in three crotchets) andtwo stepwise descending quavers, above a bassascending stepwise in crotchets. We see the sameascending bass with descending quavers in thetreble in m. 5(3), so probably a copyist hereomitted the broken chord in two crotchets (per-haps his eye slipped to an identical chord along-side). Now in no. i we see exactly this brokenchord, so we are justified in copying these notesinto the missing beats of no. ii. In the recon-struction of ii therefore in m. 5(3) a chord on gand a note g were added, analogous to mm. 2(3)and 4(3), as well as a top note g’ to the first andsecond chords, to account for the beginning ofthe descending treble line, and in order to ob-tain a perfect sequence with m. 4(3-4).

Editorial changes in i:m. 21(1) 6a added;m. 5(1-2) is probably corrupt, as it has an un-

playble chord and a row of consecutive octavesbetween the bass and tenor voices:

i, mm. 5(1-2)

Surely 7e and 6a are alternatives to 4b and4c (possibly as a result of a copyist arranging anoriginally six-chord piece to a seven-courselute); the notes 4b and 4c were omitted in theedition.

In m. 6(4) the two repeated bass notes 6aseem a bit strange: possibly one of them shouldbe omitted (the first one being a doubling in thelower octave of the note g, the second one just a– rather atypical – re-iteration).

In m. 7(2) perhaps a bass 6a should be addedunder the notes 1d-2f.

In m. 13(1) the note 2d should possibly read3d, as in ii.

Editorial changes in ii:mm. 5-7(2): see above;m. 31(2) 6a added (cf. m. 23);m. 31(3) 3e not visible in ii (obscured by an

ink stain);some bar lines have been standardised in the

A’ and C’ strains; the double bar line at the endof m. 16 is not in ii.

In m. 11(4) 3c should perhaps read 3b.In m. 13(4) 2c should perhaps read 2b (cf. m.

5(4)).In m. 44(4, last crotchet) perhaps the notes

1c and 5c should be added to 2e, after m. 36(and also no. i). On the other hand, small irregu-larities like these are found often in Cutting’smusic (see the Introduction); see also mm. 23and 31.

18. Groninge Pavan

i Hirsch, f. 12rii Dd.9.33, ff. 34v-35r: Groninge Paven f C

Cutting, Selected Works, no. 8, with a facsimileof i.

The title of this pavan is somewhat mysterious.The reading of it in ii is not altogether unequivo-cal, but ‘Groninge’ seems the most plausible one.One would take ‘Groninge’ to be the Elizabethan

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spelling for ‘groaning’, but the music is not ex-ceptionally sad or melancholic (Newton,‘Francis Cutting’, p. 45; Long in Cutting, Se-lected Works, no. 8). Newton suggests the titlemight refer to the northern Dutch town ofGroningen. In 1594 Sir Griffin Markham tookpart in the (successful) siege of Groningen, andas Cutting was associated with the Markhams(Sir Griffin’s wife Anne was the dedicatee ofpavan no. 1, which piece in ii is found on ff.32v-33r, thus separated just one leaf from theGroninge Pavan), it is conceivable that this pa-van commemorates the said event. If this is thecase, the pavan was composed in or very shortlyafter 1594.

The two versions of this piece are very simi-lar. The reading of i seems best, so this is cho-sen as the primary source for the edition. Thedifferences between i and ii are minor. In ii thereare a number of notes lacking which are presentin i: m. 3(3) 4c, m. 8(4) 6a, m. 9(1) 5c, m. 13(3)the first 3b, m. 14(1) 3b-4c, m. 14(4) 3d, m. 16(1)3f, m. 21(4) the last note 3i (this bar ends withthe notes 1f-3g, with the time value of a crotchet),m. 26(1) 4e, m. 29(2) 4d, m. 32(4) 2f, m. 33(1)4h and 3f. In ii there are found some notes whichare missing in i: notes on the beat in m. 7(1) 4c,m. 9(1) 2a, m. 20(1) 4c, m. 28(1) 5a, m. 34(1)5a, m. 35(3) 2f, m. 35(3) 3f beneath the second1e, and m. 36(3) 1a. Different notes in ii are: m.30(1) a variant chord 1f-2f-3h-5a, and mm. 15(2)and 21(2) 5a instead of 6f; clear mistakes are inm. 2(4) the notes 2f-3f (instead of 3f-4f), and inm. 24(3-4) the whole scale passage from 5c to4a, which in ii is a line higher. Different rhythmsigns in ii are found in m. 6(1) (a dotted crotchetfollowed by two semiquavers; adopted in the edi-tion of i) and m. 8(1) (two crotchets).

In m. 23(4) the text in ii is slightly differentfrom i:

ii, m. 23(4)

In m. 28 as well as in the varied repeat, m.34, in ii the middle voices are different from i,while in the repeat there is also an added bassnote:

ii, m. 28

ii, m. 34

Maybe these variants are authentic; the syn-copated bass C-B flat-C in m. 34 is a nice imita-tion of the same figure in mm. 32(4)-33(1) and33(2-3), although one would have expected asharpened noteB (6e instead of 6d).

Editorial changes in the edition of i:the bar lines have been standardised (from

m. 8 onward most bars have two minims, whilethere are irregularities in mm. 16-17 and 35-36);

m. 6(1) the dot added to the crotchet;m. 15(3) crotchets from quavers;m. 16(1) 3f added, to keep the middle voice

intact (also missing in ii, but cf. m. 22);m. 22(1) 2a from 1a (as in ii).

19. Sir Fulke Greville’s Pavan

i Dd.9.33, ff. 18v-19r: Sr Fooke GrevilesPauen. Fr. Cuttinge.

Cutting, Selected Works, no. 9, with a facsimileof i.

The name of the dedicatee could give a clue tothe date of this composition. There were threeSir Fulke Grevilles in this period, but the mostlikely candidate is the later Lord Brooke (1554–1628), poet, influential civil servant and MP, anda known patron of music (Cutting, SelectedWorks, preface). As this dedicatee becameKnight of the Bath in 1603, it was formerlythought that Cutting wrote this pavan in or afterthat year. We now know, however, that Cuttingdied in January 1596, so this assumption cannotbe correct. Perhaps a copyist added the title ‘Sir’,or else the pavan was dedicated to Sir Fulke’sfather (1526–1606), who had been knighted in1565 (Spencer, ‘Francis Cutting’). The pavan is

137in Cutting’s late style.In m. 6(3) a grid between the consecutive

notes 3d is probably not meant as a grace sign,but as a crossing out of a superfluous bar lineplaced before the chord. Another grid in m.37(4), on the fifth stave under the note 1c, looksmore like a deletion by the copyist than an or-nament. Both signs have not been included inthe edition. (On the use of these correction signsin the Holmes manuscripts see Holborne, Mu-sic for Lute andBandora (ed. Spring), p. 211.)In m. 6(4)-7(1) the scribe has corrected severalnotes, but there is no doubt about the reading ofthem. In m. 13(4) the fingering dots were placedby the scribe to clarify the position of the notesin a crammed passage, written in the margin ofthe manuscript.

Editorial changes:m. 13(3) 6a added (cf. m. 5);m. 17(3) 5c added (cf. m. 23);m. 25(4) the last two quavers from crotchets;m. 30(1) 3a from 2a;m. 34(1) 4f from 3f (cf. m. 42);m. 40(2) 6f from 5f (cf. m. 32);m. 41(4) 4c added (cf. m. 33);m. 42(4) 3d added (cf. m. 34);m. 43(2) 2a added (cf. m. 35) (the last three

added notes have been included with the pur-pose of avoiding interruptions of a middle voice).

In many places irregularly placed bar lineshave been standardised.

In m. 35(1) the note 3a should possibly beread as 3d (cf. m. 43), in order to avoid con-secutive octaves between the tenor and treblevoices.

20. Pavan

i Dd.2.11, f. 6v: Pauan. Fr. Cutti[ing]

Not in Cutting, Selected Works.

A pavan, although in the ‘key’ of F major, withan opening in F minor. Another peculiarity ofthis piece is found in the varied repeat of theopening, mm. 9-10, where the C major harmo-nies of the corresponding mm. 1-2 have beenchanged into C minor. Possibly the opening ofthe C strain was inspired by the beginning ofthe C strain of the keyboard pavan by Morley,

which was set for the lute by Cutting (see no.16).

In places version i seems not altogether reli-able. The copyist Holmes probably omitted a fewnotes (see below) and sometimes correctednotes. Some of these corrections result in notunequivocal readings of the text. Unclear are thefollowing notes: m. 17(3) 3d (probably correctedfrom 3c); m. 25(4) in the chord the notes 1c-2d-3f; m. 27(3) 4h-5a; m. 47(1) 2d-3f, while Holmesat first in this beat meant to write four notes here,as is clear from the uncorrected grid of four qua-vers.

Editorial changes:m. 12(1) in the chord a note 4d omitted;m. 17(4) 1c added (cf. m. 25);m. 19(1) 2g added (cf. m. 27);m. 22(1) 6a from 5d (cf. m. 30);m. 25(4) 4a from 4f (cf. m. 17);m. 27(2) 2d from 2f (cf. m. 19);m. 34(1) the dotted rhythm from two crotch-

ets (cf. mm. 33 and 35);m. 40(1) 3a added to finish off the middle

voice of m. 39;m. 47(1) the rhythm from four quavers (see

above);m. 47(4, last four notes) demi-semiquavers

from semiquavers.In m. 6(1-2) the rhythm perhaps should be

, in order to obtain a perfect imitation inthe upper octave with m. 5; see also the corre-sponding m. 14, where the rhythm is the sameas in m. 13. However, in m. 6 the fingering dotunder 1c also indicates that the copyist, Mat-thew Holmes, intended the rhythm as it stands.

Grid signs in mm. 10(1) and 42(4), in bothcases beneath the note 1a, are crossed out verti-cal ties rather than ornaments.

21. Pavan (Pavana Bray)

i Barley, (orph.) ff. D3v-4v: MasterBirdsPauan set by Francis Cutting. / A pauan byMrByrde

ii Dd.9.33, ff. 12v-13r: Pavan Fr Cutting

Not in Cutting, Selected Works. Edition: Byrd,Lute Music, no. 2, with a facsimile of ii.

A pavan of William Byrd, set for the lute by

Ä Â Â Ã

138 Francis Cutting. For the model see Byrd, Key-board Music, II, no. 59a. Here may also be founda note on the rather obscure title of the piece: itis ‘perhaps written for a Father William Bray,of the Jesuit College at Saint-Omer, a place towhich expatriate English Catholics (includingsome musicians) used to resort.’ There are sev-eral references to this Father Bray between theyears 1583 and 1594.

The lute setting of the A, B and C strains fol-lows the model closely. There is some thinningout in the texture of the chords and of the innervoices, especially the tenor; also the flourishesin the closing cadences are different (mm. 8, 16and 23-24, counting the bars of i). The variedrepeats (the A’, B’ and C’ strains) are differentfrom the model, and these must have been com-posed by Cutting. Only occasionally we hear anallusion to Byrd’s figuration here (counting thebars of ii: mm. 13(1), 14(2-3), 25(3-4), 28(1),29(2), 41(1-2)).

In the edition the text is given after ii, as it isthe only version with varied repeats (no. 21b),as well as after i, from the authoritative Barleyprint (no. 21a). Both versions resemble eachother closely. In various places, where the textof i differs somewhat from ii, in most cases thereading of i seems to be better, as it is confirmedby the text of the model. These better readingshave been incorporated in our edition of ii. Otherdifferences between i and ii: in i the bars are ofhalf length, and there are graces, which are lack-ing in ii. In i in m. 13(3, on the beat) in the chordthere is a note 2d, which note in ii (in m. 21 andin the corresponding m. 29) has been crossedout; it is not found in the model.

Editorial changes in i:the bar lines have been standardised (in i are

measures of two minims);m. 4(3-4) is missing in i, and is here recon-

structed after ii (and after the model);m. 9(2) in i the crotchet rhythm sign is placed

above 3d instead of 2d;m. 22(1) the note 2d in the second chord cor-

rected from 2c (after ii and the model);m. 24(1) misplaced fingering dots corrected

(dots under the first 2c and 3d omitted and un-der 2a added).

Editorial changes in ii:the bar lines, sometimes placed irregularly

in the varied repeats, have been standardised.

Some missing notes have been added from i,as they are confirmed by the model:

m. 6(1 and 3) 7a added;m. 14(1) 7a added (cf. m. 6);m. 22(2) 3h-5a added;m. 30(2) 5a added;m. 38(3) 4a added;m. 39(3) 3d added;m. 40(1) 7a added;m. 44(3) 3f added (cf. m. 36).Other editorial changes based on i and the

model:m. 3(4) 3c from 4c (also in m. 11);m. 11(3) 3c from 4c (also in m. 3);m. 19(4) 5e from 5d (cf. also m. 27);m. 30(2) 3h from 3i (cf. m. 22);m. 34(4) 3d from 2d;m. 35(4) 5f from 4f (see below);m. 37(2, second crotchet) a superfluous re-

peated note 5a omitted;m. 38(1) 5f from 4f (see below);m. 45(2, second crotchet) 5a omitted (as in

m. 37);m. 46(1) 5f from 4f (see below);m. 46(3) 4a from 5a, cf. m. 38.In mm. 35(4), 38(1) and 46(1) 5f was changed

from 4f (after i and the model), because the 4finterrupts with the voice-leading of the tenor,which in m. 35-36 even is imitating the themefrom the treble (see also the varied repeat, mm.43-44). As the chord 1h-2d-4f-6d is much moreidiomatic on the lute than 1h-2d-5f-6d, this read-ing with 5f changed to 4f can easily have beenintroduced by a copyist.

Two grid signs in the tablature, in m. 12(4)on the fourth stave, under the note 1a, and in m.31(3) on the fourth stave, between the notes 2aand 6a, are corrections by the copyist rather thanornaments.

In m. 46(4) the note 3c possibly should beread as 3b.

It seems strange that in i m. 11(3, on the beat)and in ii m. 19(3) and in the corresponding placein m. 27(3) a note 2a is lacking; this omissioninterrupts the alto voice, which in the model in-deed has a note d here. However, as this note islacking in both versions, Cutting seems to haveomitted it on purpose.

139

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22. Galliard

i Euing, f. 29rii Dd.2.11, f. 71v: f Cuttings galliardiii Marsh, p. 386: galliard Alfonsusiv Add.31392, f. 34r: a galiard by mr Cuttinge.v Add.2764(2), f. 7r (C strain only, with the

first two minims missing)vi Thysius, f. 33r: Maister Hayls Gallardvii Leipzig, ff. 96v-97r (pp. 218-219): Galliarda

Dulandi 39viii Leipzig, ff. 104v-105r (pp. 234-235):

Galiardaix D.246, pp. 259-262: Cuttings Galliard (bass

viol solo)

Cutting, Selected Works, no. 15. Another mod-ern edition in Lumsden, Anthology, no. 8.

One of Cutting’s most popular works, one thateven found its way into continental manuscriptcollections. In the trustworthy source ii and inno. iv the piece is ascribed to Cutting, and it cer-tainly in his style: the whole work consists ofchains of sequences, and in the A strain we no-tice Cutting’s favourite ‘galliard-motif’, a shortascending dotted line, imitated in all voices.However, in no. iii the piece is attributed toAlfonsus (Ferrabosco?). This last setting is notvery different from the other English versions,so probably the copyist of iii made an error. Orcould it be possible that Cutting based his pieceon a galliard by Ferrabosco? Nigel North, theeditor of Ferrabosco, Works for Lute, preface, p.1, thinks that this seems unlikely. There is alsothe possibility that this ‘Alfonsus’ is not Ferra-bosco at all: in the English sources for lute andbandora his name is always (19 times) spelledAlfonso or (in Welde) Alphonso, with an o at theend (see the commentary in the edition men-tioned, also in the bandora part; only once, inPickeringe, we find the variant Alfonces). Theascription to Dowland in no. vii and to MaisterHayls (Robert Hales?) in no. vi, both continen-tal sources, can safely be discarded.

No. ix is a piece for bass viol solo (Dodd,Thematic Index, Cutting no. 3), a set of varia-tions upon the bass of Cutting’s galliard(AA’BB’CC’A”A”’B”B”’C”C”’).

All lute versions are very much alike, apartfrom the nos. vii (printed in Dowland, Lute Mu-

sic, no. 85) and viii, which are probably settingsby continental lutenists. No. i is the only onewith varied repeats. As these are not found inany other source, they are perhaps not made byCutting. However, these divisions, though rathersimple, are effective, and are not contrary to hisstyle; see the repeated use of the turn consistingof four quavers at the start of a phrase (mm. 9,10, 13, 26-28; in the A’ strain as a division of theascending dotted motif). Furthermore, note rep-etitions as seen in m. 29 are found also in otherdivisions of galliards by Cutting: cf. no 30 m.37 and no. 32 m. 44.

Most differences are found in no. iii, whichhas some small variants in the middle voices inmm. 23 and 36-37:

iii, m. 23

iii, mm. 36-37

Also, in mm. 38-40, where all versions showsome minor variants, nos. iii and also v and vihave the most diverging reading:

iii, mm. 38-40

Other differences, which are found in sev-eral sources: in m. 7 no dotted rhythm and a bassvoice 6acda (in nos. ii, iii), and in m. 33(1) an Eflat chord in root position (in nos. iii, iv, vi, vii);no. i differs from all others in m. 24, which havethe D chord played in second position.

Editorial changes:m. 3(1) dotted rhythm from two crotchets

(after all other sources);m. 36(3) 3e under 2e omitted;m. 40(3) in the chord 1a omitted (without 1a

the treble voice seems to make more sense, andin m. 48 the piece ends with a top note 2a);

m. 44(1-2) 4fef from 4efe (also possible is an

140 emendation 4eff, but efe for fef seems a more‘logical’ scribal error).

23. [Galliard]

i Dd.5.78, ff. 37v-38r: F C

Not in Cutting, Selected Works.

Editorial change:in m. 30(3) the note 4c has been added, which

is desirable because of the hemiola (cf. m. 22).A double cross under the last note 4c of m.

48 has been omitted, since the copyist Holmesuses such crosses to show or correct errors, notas ornaments (perhaps he meant to show thatthe first chord of m. 48 needed filling out, with3c and/or 4c; cf. no. 24 m. 16).

24. [Galliard] (on Go from my Window)

i Dd.2.11, f. 53v: F C

Cutting, Selected Works, no. 11.

A galliard without varied repeat of the C strain;that section should therefore be played twice.From John Ward, Dowland Miscellany, p. 65,we learn that this galliard is built on the populartune Go from my Window: the first strain is basedon the tune, ‘the second strain is based on thetonic/supertonic harmonies of the tune’s firsthalf, and the third strain contains echoes of thetune itself’. Earlier Wentzel, Lute pavans andgalliards, pp. 126-127, already had noticed theconnection between song and galliard.

Editorial changes:in m. 19(1) and in the corresponding m. 27(1)

the copyist made some corrections. In m. 19(1)he changed 1a from 1e and (probably) 6e from6a; in m. 27(1) he again corrected 6e from 6a,but here he left 1e unchanged. In the edition thisnote 1e is also corrected to 1a, in accordancewith m. 19, in order not to change the melodicline of the treble in the repeat (and to avoid arather weak voice-leading).

M. 21(1) 1k from 1f (cf. the correspondingm. 29).

25. [Galliard]

i Dd.5.78, f. 23r: Fr Cutting

Not in Cutting, Selected Works.

This untitled piece seems to be a galliard, al-though it is an untypical one, as it consists oftwo strains only.

In m. 29(3) the reading in i is not altogetherclear: there is a ‘grid’ rhythm sign of two crotch-ets, but under it the tablature letters 1f-2c-5a arevertically aligned. The reading in the editionseems the most probable one, but it is also pos-sible that the crotchets are an error and that aminim was meant (as in m. 21).

26. [Galliard]

i Dd.9.33, f. 36v: Fr Cutting

Cutting, Selected Works, no. 12.

Editorial changes:m. 13(2) 6d moved from the third beat (un-

der the first 1g) to the second beat (there is ahemiola here; cf. m. 5);

m. 23(1) 4a from 3a;m. 28(2) 5b from 5c (cf. the corresponding

m. 20; a note d flat is more logical in this musi-cal context than d natural);

m. 32(3) the rhythm sign added;m. 39(3) the rhythm sign added;m. 48 all rhythm signs added (there are none

in i).In m. 21(3) one could suspect a copyist’s er-

ror in the note 3a, an augmented fifth a on thebass d flat, but as the varied repeat has the samenotes (m. 29), this effect must be intended: the aserves as an (unexpected) leading note to thefollowing chord of B flat (the actual note b flatis not written in the tablature, but it heard as theoctave played with the bass note 6d).

141

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27. Galliard

i Barley, (lute) ff. F1r-[G]1r: A Pauin for rheLute. [sic] / A Galliarde by. Fr. C.

ii Euing, f. 46r

Cutting, Selected Works, no. 13, with a facsimileof ii.

Version ii has no varied repeat for the C strainand lacks graces, fingering dots and diagonalstrokes to indicate that a bass note should beheld, but otherwise it is similar to i. It has someadded notes in middle voices, running parallelwith the treble: mm. 6(2-3) 3bd, 24(1-2) 2ad,25(2, on the beat) 3b, 32(1-2) 2a3d, 36(1) 2a. Inm. 40(1) is 3d instead of 4c. Sometimes notes inmiddle voices are lacking (mm. 26(3) 4a, 40(2)two times 4a, 41(1) 4a, 41(3) 3b). No. ii lacksfiguration in mm. 11(1), 14, 34(1-2), but hasscale figures in mm. 28(1-2), 43(3) and 44(1-2),where i is simpler. Other differences: in mm. 3(1)and 13(1) 2b instead of 2a, in m. 8(3) the bassnote 5c a crotchet after the beat, in m. 35(1)1acda instead of 1adca, in m. 36(3) 4c insteadof 3c, and in m. 2 a different voice-leading:

ii, m. 2

A difference in m. 40(3), where ii has 3d-4aon the beat and 6c on the next crotchet, is prob-ably the result of an error by the scribe, whobegan to write the chord on the beat, just as hehad done in m. 39(2), where he first omitted thesolitary note 1a, which he then scribbled in be-tween the chords.

Editorial changes:m. 1(2) fingering dot under 1a added and

from under 2d omitted;m. 15(1) 4a from 5a;m. 16(1) 4d and 3d from 3d and 2d;m. 18(1-2) all notes one line higher in i;m. 20(2) quaver from crotchet;m. 38(1) 6e from 6a;m. 43(2-3) rhythm signs added (lacking in

i);m. 48(3) chord 3d-4a-6c from 2d-3a-5c.

28. [Galliard]

i Dd.5.78, f. 41r: C Gii Dd.9.33, f. 74r: Fr Cutting

Not in Cutting, Selected Works.

It is not clear what the caption to this piece in imeans; perhaps the letters stand for ‘CuttingGalliard’. Version ii has varied repeats, but the(earlier?) version i has many interesting vari-ants in its harmonies as well as in its voice-lead-ing: see mm. 7, 10, 12, and its C strain, espe-cially mm. 22-23. Therefore the text of bothversions is printed here: i as no. 28a, ii as no.28b.

In no. i m. 1(1) the letters 2f-3g are partlyobscured by an ink blot. Two tablature lettersare a later addition by the copyist MatthewHolmes, using a very fine pen: m. 13(3) 6h andm. 13(1) 6a under the already present 5a; as thenote 5a is correct, Holmes deleted the addition(the 6a is smudged) (observations by Ian Har-wood in CUL, August 2001). In i m. 17(1) thenote 3c possibly should read 3b, as in ii.

In version ii are many double crosses, the in-terpretation of which poses some problems. Thecopyist Matthew Holmes uses crosses to cor-rect wrong elements in the tablature or to showcorrections, and some of the crosses in this piececould be meant as such: those in mm. 4 (some-thing crossed out?), 15 (in the next chord 3a iscorrected from 3d), 32(1) (the cross could meanan ommission; cf. no. 23 m. 48). The othercrosses, however, do not seem to point at cor-rections or omissions in the tablature, and mostof them are perfectly plausible as ornaments. Inview of this, all crosses have been included inthe edition.

Editorial changes in ii:m. 13(3) 3b from 3a (cf. m. 5);m. 22(1) the rhythm sign added.Two fingering dots were omitted, in m. 6(2)

under 1a and in m. 13(2) under 1d.In mm. 45(3)-46(1) the manuscript is dam-

aged, as a result of which part of the tablature(in the middle of the stave) has disappeared, butit seems that there are no tablature letters miss-ing.

142

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29. [Galliard]

i Dd.5.78, ff. 33v-34r: F. C.

Not in Cutting, Selected Works.

Editorial changes:m. 19(2) 6a added (cf. m. 27);m. 37(1) 1d from 1c.Perhaps in the same m. 37, on the third beat,

a note 3b should be added, as in the correspond-ing m. 45 in the varied repeat.

30. Galliard

i Dd.9.33, f. 10v: Galliarde. F[r.] Cuttinge

Cutting, Selected Works, no. 14, with a facsimileof i.

In i a part of the lower margin has been cut away,as a result of which the lower part of the com-poser’s name and the lower part of the last meas-ure have disappeared (see the facsimile in Cut-ting, Selected Works), but enough was preservedto identify the composer, and to reconstruct (af-ter m. 40) the measure with the notes on thefourth and fifth courses.

In m. 27(1) one is inclined to read the firstnote f ’ as e’ flat (2b instead of 2d; cf. m. 19), butsimilar note repetitions are found in other divi-sions of galliards by Cutting; see. no. 22 m. 29and no. 32 m. 44.

31. [Galliard]

i Dd.5.78, ff. 19v and 22r: F C

Not in Cutting, Selected Works.

Editorial changes:m. 12(3) 1c from 1a;m. 13(1) 2f from 3f;m. 14(1-2) the rhythm corrected from ,

to match m. 6;m. 19(3) 1f from 1c (see the corresponding

m. 27; a note 1c instead of the second 1f in m.27 seems less probable);

m. 25(3) 5a added;

m. 34(3) 2e from 2d;m. 44(3) 3a added.In m. 32(3), in the final chord, the note 1a

should perhaps be omitted, as in m. 24(3), forthe sake of the voice-leading of the treble.

32. [Galliard]

i Dd.5.78, f. 16r: F. C.

Cutting, Selected Works, no. 15.

In m. 6(3) the bass note was corrected by thecopyist, who altered 5e to 5a, or perhaps theother way around, 5a to 5e; in the edition 5a ismaintained, as it makes a more logical bass line,and is found in the corresponding m. 14. Fur-thermore, the copyist corrected in m. 51(3) thelast note, but it is unclear whether het meant itto be 1e or 1d; 1e is adopted here, being surelythe more typical leading note.

Editorial changes:m. 1(2) 2c from 2b (musically more logical,

and confirmed in the varied repeat, m. 9);m. 3(3) 5c added (cf. m. 11);m. 12(1) 1f from 1h (this strain is built on a

four-quaver turn with intervals of a second (seemm. 9, 10, 13, 14, 16; cf. especially the figura-tion of m. 10);

m. 34(1) 3c added (cf. m. 44);m. 42 double bar line from a single one.

33. Galliard

i Dd.5.78, f. 63r: A Galliarde fr. Cuttinge.ii Dd.2.11, f. 58r: Fr: Dac: Galliardiii Add.3056, f. 33v: Galliard J. D.

Not in Cutting, Selected Works. An edition inDowland, Lute Music, nos. 24 and 92.

A two-strain galliard, fairly closely identical toJohn Dowland’s song ‘Awake sweet love thouart returnd’, no. 19 in his First Booke of Songes(1597). Poulton, John Dowland, pp. 144-145,has made it clear that the song is based on thegalliard, and not the other way around. This canbe deduced from the ‘modernisation’ of themelody in the song, where the second note, c in

143

œ œ œ œ œ

the lute piece, being the modal seventh of thescale, is in the song changed into c sharp, thesharp seventh of the modern major scale.Poulton, op. cit., p. 241, also points out that inlater editions of the First Booke several passagesof the lute accompaniment were re-written, aninteresting example of which occurs in mm. 1-2, where the revised lute part was brought muchcloser to the lute solo version, by introducingan imitation of the voice at the lower octave.

All this being the case, it is most likely thatDowland based his song on a galliard of his ownhand. Dowland’s galliard then is found in sourcesii and iii, both without varied repeats, of whichiii ascribes the piece to him (edited in Dowland,Lute Music, no. 24). However, version i, a reli-able source, gives Francis Cutting as the com-poser. Probably then Cutting re-arranged Dow-land’s galliard and added varied repeats of hisown invention, thus making it a new composi-tion. Poulton, op. cit., p. 145, states that thesedivisions ‘show unmistakable characteristics ofCutting’s style’, and again in Dowland, LuteMusic, the commentary to no. 92, calls this ver-sion ‘an example of the successful marriage ofDowland’s melody with Cutting’s style’. Thevaried repeats indeed do show many character-istics of Cutting’s style. In the cadences we seethe formula with the ‘gap’ (three times, mm. 22,39, 46), as well as the ‘free-standing dominant’(mm. 32, 39, 44). Imitation from the first state-ment has been retained, in mm. 13-14 and 17-18 highlighted by means of the lively rhythmi-cal figure , which is found also in mm.21, 34, 38 and 42). In the B’ strain much use ismade of the four-quaver turn (mm. 37, 38, 40,41, 43), sometimes in sequences (mm. 40-41).The four-quaver motif starting with a fallingthird is found twice in mm. 43, also in a se-quence. Furthermore it is worth mentioning thatthe opening of this pieces is very similar to thatof galliard no. 8 of this edition, unattributed inthe source but probably made by Cutting.

In the first statement of the galliard Cuttingleft Dowland’s piece almost unchanged. Headded a bass note G in m. 1(3) and a bass note din m. 5(3), thus slightly changing the harmo-nies, and changed in m. 30(2) a passing note din the bass into A; small adaptations, that enli-ven the rhythm of the piece a bit by giving har-monic accents.

Editorial changes:m. 42(3) 2c from 1c;m. 44(2) 6e from 5e (as in m. 32, and in ii

and iii).Possibly in m. 22(3) the note 1c should be

corrected to 2c, giving a cadential formula morecharacteristic for Cutting.

34. [Galliard]

i Dd.5.78, ff. 29v-30r: F Cii Euing, f. 39riii Hirsch, f. 6v-7r

Not in Cutting, Selected Works.

This galliard is a version in F minor of thegalliard no. 10 in C minor. Probably this piecein F minor is the original work and the piece inC minor the transposition (see the Commentaryto no. 10).

The three versions of this galliard are verymuch the same. Nos. i and ii are nearly identi-cal. Different in no. ii, apart from a few obviouserrors, are some dotted rhythms (mm. 1(1), 2(1-2), 3(2), 10(1), 11(2), 23(1), 29(2) and a fewomitted notes (m. 5(3) 2d, m. 18(1) 2b).

No. iii has a few variant readings, all ofminor importance. Some of these are identicalto the version in C minor (no. 10): m. 6(3), 14(3),15(1), 19(3)-20(1), 26(1), 28(1), 29(1) and 47(2).Other variants are only found in no. iii, but allthese occur in closing bars of strains: a caden-tial trill in mm. 8 and 48, and scalar runs in m.24 and 32. Bar 16 is lacking in iii.

In i the copyist, Matthew Holmes, made afew corrections, obviously to make a difficultpassage more easy to play: in mm. 3 and 11 thenotes 1ba were changed to 2gf, in m. 38 1b waschanged to 2g, and again in m. 46 1ab to 2fg;probably then he also added in all four places a‘holding’ line under the tablature letter 3e. Thesecorrected notes are not found in any other source,and were in all probability invented by Holmes,who obviously found in his exemplar the texthe wrote in the first instance. That original textis adopted in our edition.

Editorial changes:m. 3(2-3) 1ba: see above;m. 9(1-2) the bass note 4a added and the notes

144 7a on the first beat and 4a on the second beatomitted (the correction after m. 1 and the othersources);

m. 11(2-3) 1ba: see above;m. 22(3) 3e added (after m. 30 and the other

sources);m. 38(2) 1b: see above;m. 46(1-2) 1ab: see above.In m. 43(2) a grid sign under 3d is probably a

correction rather than an ornament, and is notincluded in the edition.

Perhaps in mm. 6(3) and 14(3) the passingnote 2d (also found in no. ii) should be read as3d (as in iii and no. 10), but this could well bean authentic variant.

35. Sir Walter Raleigh’s Galliard

i Dd.5.78, ff. 46r and 45v: F C.ii Dd.2.11, f. 79v: Galliarde W: Bradbery / Sir

Walter Rawley F. Cuttingiii Euing, f. 40riv Board, f. 23v: Gallyard R. A / A Gall: Mr

Allysonnv Besard, f. 111r: GAlliardavi Nürnberg, f. 16v: Gagliardavii Aegidius, ff. 150v-151r: Galliardeviii Dolmetsch, ff. 99v-100r: Galliardeix Nürnberg, f. 3v: Galliarda Glaziers (in C

minor)x Nürnberg, f. 4r: Galliarda Glaziers Aliter (in

G minor)xi Otley, f. 9r: Gal:4 / Allysons gal:p Ro: Spr

(cittern)

Not in Cutting, Selected Works. An edition inAllison, Lute Music, nos. 15 and 20.

This galliard is dedicated to the poet, scholar,soldier and explorer Sir Walter Raleigh (1554–1618). Raleigh was knighted in 1585, and thededication was probably after that date, judgingfrom the title ‘Sir’. On the other hand, after 1588Raleigh’s influence at court lessened, whichperhaps made him a less likely dedicatee. It isimprobable that works were dedicated to himafter 1592, when he fell from grace, was im-prisoned and subsequently released, but bannedfrom court.

The ascription of this galliard is problematic:

in nos. i and ii it is ascribed to Cutting, in nos. ivan xi to Richard Allison. Furthermore, in ii infirst instance the name of William Bradbury wasconnected to this piece, obviously as a compos-er’s name, but later the copyist Holmes wrotethe names of Raleigh and Cutting above the firstinscription. As Cutting’s name appears also un-der i, written by the same copyist, the ascriptionto Bradbury probably was a mistake.

The version of this piece as it is found in i anii is clearly related to the version in the otherEnglish sources, nos. iii, iv and xi, but there aresome consistent differences between both ver-sions (nos. iv and xi are printed in Allison, LuteMusic, nos. 15a and 20). These differences arefound not only in the varied repeats, which showsome variant figuration (in mm. 13-16, 25, 27,29-32, 44-48, so mostly in the second part ofthe strains), but also in the first statements: cf.the melody in m. 7 (and the corresponding m.15); in mm. 33(3) and 41(3) the melody note 1bin nos. i and ii and 1c in the others; also in mm.5(2) and 13(2) the bass note 3a in the first groupand 4d in the second group (here, however, no.iii follows nos. i and ii). Probably Francis Cut-ting was responsible for the version in nos. i andii, while Richard Allison made the version foundin nos. iii and iv, on which version RobertSprignell based his transcription for cittern, no.xi. It seems that only Cutting’s setting was dedi-cated to Raleigh, another indication that we aredealing with two different, albeit closely relatedversions.

It is clear that Cutting’s and Allison’s settingsare dependent one way or the other: one of themrewrote the composition of the other lutenist. Itis hard to decide whether Cutting or Allisonmade the first version. Cutting probably was theolder master, and his setting is found in the ear-liest sources, but both arguments are not deci-sive in arguing his version came first. Perhapsmore weight can be given to stylistic arguments.This galliard in many instances resembles othergalliards in F minor to which Cutting’s name isconnected, nos. 34 and 36. See for instance thebeginning of the C strain of this galliard and thatof no. 36, with the sequences in mm. 33-35; cf.also in m. 38 of no. 34 and this no. 35 the ten-sion reached in the dotted minim bass note d’flat, a ‘fa super la’, just before the hemiola lead-ing to the final cadence (in no. 35 the tension is

145

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very effectively heightened by the ascending se-quence leading to the d’ flat). In addition, char-acteristic are the other sequences found in no.35, in mm. 17-20 and 21-22. In m. 5-6(1) thereis imitation of a small motif, in treble and bass.In m. 31 is written a ‘free-standing dominant’ inthe cadence, and in m. 47 the cadential formulaprobably should be interpreted as the one withthe ‘gap’ favoured by Cutting (the ‘gap’ beingfilled by the treble voice). The rhythmical pat-tern is found in mm. 15, 29, 38, 39, 46and three times in a sequence in mm. 41-43. Thefour-quaver turn is written in mm. 10 (twice, ina sequence), 11, 13-14 (in imitation), 30 and 44.All in all it seems more likely that this is an origi-nal composition by Cutting, reworked by Alli-son, than the other way around.

Versions of this piece are found in severalcontinental sources, nos. v-x. Of these nos. ix-xhave no direct relation to the English settings:no. x is a duet version, made to fit the (slightlyadapted) solo no. ix (see Allison, Lute Music,nos. 15b and c, where this duet is printed). Thevery similar continental versions v, vi, vii andviii, however, are clearly related to Allison’s set-ting, as in them much of the text of Allison’sversion is incorporated, including his varied re-peats. This continental setting is therefore basedon Allison’s piece, which indicates that Allisonmade it some time before 1603, when no. v wasprinted.

Editorial changes:m. 12(1) 2c added;bar line between mm. 29-30 added;m. 32(1) 2c added;m. 47 is confused in i:

i, m. 47

In the edition the rhythm signs in the secondbeat have been changed, and the note 1d has beencorrected to 1a (as a seventh b’ flat is not re-solved into a third a’ in the following F chord).

In i this galliard is copied on f. 46r, while thecopyist Matthew Holmes some time later addedan alternative reading for the closing mm 45-48on the opposite page, f. 45v. The text of this al-ternative division:

œ œ œ œ œi, alternative mm. 45-48

As this later addition gives the divisions asfound in the Allison version of the piece, in ouredition the text is printed as it was written in thefirst instance.

36. [Galliard]

i Dd.9.33, ff. 22r and 21v: Dowland F. Cut-ting

Not in Cutting, Selected Works. Edition: Dow-land, Lute music, no. 82.

In the only source this piece has two compos-er’s names attached to it: Dowland’s and Cut-ting’s. Cutting’s name was written immediatelyafter the piece was copied into the manuscript,Dowland’s name was added later (as is also theopinion of Long in Cutting, Selected Works, p.52, no. 28 of the inventory of Cutting’s works).Who was the composer? Poulton and Lam, theeditors of Dowland, Lute Music, commentaryto no. 82, think that the piece is ‘more consist-ent with Cutting’s style than with Dowland’s’.Craig-McFeely, Lute Manuscripts and Scribes,inventory of Dd.9.33, states that this is a pieceby Dowland, arranged by Cutting. It is possiblethat the scribe of i, Matthew Holmes, since hedid not erase Cutting’s name as he added Dow-land’s, also assumed a dual authorship.

So, when trying to decide whether Dowlandor Cutting made this piece, one must have a sepa-rate look at the first statements and the variedrepeats, because one lutenist could have addeddivisions to a galliard of the other. Regardingthe varied repeats, they could well have beencomposed by Cutting. Certain measures areidentical or very similar to ones in other worksby him: compare m. 10 with galliard no. 35 m.

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146 10, m. 32 with galliard no. 34 m. 32, m. 12 withno. 34 m. 13, and also m. 46 with no. 48 Walsing-ham m. 28. In m. 27 we find one of Cutting’sfavourite cadential formulas, the one with a fall-ing third, but as it happens this formula is alsofound frequently in Dowland’s works. A kindof a problem is posed by the conspicuous as-cending sequences of groups of four quavers,each group beginning with a falling third: in mm.25 is a chain of three groups, in mm. 48-49 evenof five groups. Of course, sequences are a hall-mark of Cutting’s style, and sequences like theseare found regularly in other galliards: in no. 27mm. 18-19, no. 30 m. 13, no. 33 m. 43, and, indescending order, in no. 4 mm. 9 and 11, no. 8mm. 14-15, no. 31 m. 29. In all these instancesjust two groups are chained in a sequence, nevermore. In Dowland’s galliards these sequencesare found too, and as far as I can see, always inchains of three groups: see Dowland, Lute Mu-sic, no. 41 m. 9 and no. 44 m. 13, both, how-ever, in descending order (but see no. 28 m. 10,an ascending sequence of three groups, eachhowever ending with a falling third). If Cuttingindeed made these divisions of no. 36 – andstylistic evidence suggests that he did – he per-haps wrote them on the basis of the original di-visions by Dowland (as he probably did in thecase of pavan no. 51).

If Cutting wrote the divisions of this galliard,then Dowland probably composed the first state-ments of this galliard. To Dowland as the firstcomposer point the melodious quality of thelines, which are more tuneful than Cutting’s,especially in the first strain. Compare for in-stance the melodic line of mm. 1-4, arching witheasy grace from c’ to c” and back to g’, with themelodies at the beginning of galliards nos. 34and 35, which are closely related but somewhatrugged in comparison. Speaking for Dowlandis also the final chord of the C strain, that natu-rally spreads over the two final bars; we sawthat in Cutting’s galliards double final bars of-ten give an uneasy feeling of superfluity. Thebeginning of the C strain is related to that ofCutting’s galliard no. 35, but in Dowland’sgalliards similar passages can be found (for in-stance Dowland, Lute Music, no. 26 mm. 17-18, no. 29 mm. 17, 21). Parallel moving lineswith a syncopated middle voice, as in mm. 17-18 and 38-39) are a feature of Cutting’s style

(see galliard no. 22 mm. 33-37), but are alsowritten by Dowland (Dowland, Lute Music, no.26 m. 13, no. 29 m. 3). The sequence with thedotted motif in mm. 20-21, however, is not foundin other Dowland galliards, but very similar in-stances occur in Cutting’s no. 2 mm. 17-19, 21and no. 31 m. 17-18. Perhaps Cutting in placesadapted Dowland’s model to his taste.

Thus the ascription in the source and the sty-listic evidence lead to the conclusion that it ismost likely that we are dealing with an originalcomposition by Dowland, to which Cuttingadded varied reprises, perhaps on the basis ofthe original ones. Possibly he also made somechanges in the first statements.

Editorial changes:m. 12(3) 1f from 1d (cf. m. 4);m. 15(1) 3b from 3d;m. 26(3) 2b added (the note 3f before needs

to be resolved; cf. m. 18);m. 36(1) 1b from 1f.

37. Galliard

i Barley (orph.), f. C1r: A Galliard made byF. C. / A Galliarde by Fr. C.

ii Dd.5.78, ff. 30v-31r: F: C.

Not in Cutting, Selected Works.

This galliard is handed down in two importantsources for Cutting’s music: Barley and Dd.5.78.The version in ii, possibly written after no. i wasprinted in 1596, was not copied from that print,as it has varied repeats, which are lacking in i.In the edition both versions are given, as nos.37a and 37b respectively.

Editorial change in i:m. 14(1-2) incorrect fingering dots beneath

the notes 2a and 2d omitted, the dot under 2cadded.

Editorial changes in ii:m. 5(1, on the beat) 2c omitted (this note, in

the treble voice, is not present in the correspond-ing m. 13 nor in i, and is probably not authentic,as it blurs the imitation in mm. 3-5);

m. 8 bar line doubled;m. 12(3) 1a added (cf. m. 4);m. 41(2) 3a from 4a (cf. m. 33 and no. i).

14738. Almain

i Dd.5.78, f. 31r: F Cii Dd.2.11, f. 100r: Allmaine. Fr. Cuttingiii Barley, (lute) ff. F1v-2v: A Pauin for the Lute.

[sic] / an Almaine. by. F. C.iv 31392, f. 26r: an Almaine by maister Cuttingev Pickeringe, ff. 31v-32r: Almaine by frauncis

Cuttinge

Cutting, Selected Works, no. 16, with a facsimileof iv; a modern edition also in Lumsden, An-thology, no. 18.

One of the more popular works by Cutting, judg-ing from the number of sources in which thispiece is handed down. The almain appears intwo different versions: in nos. ii and iii the divi-sions are very elaborate, in nos. i, iv and v rathersimple. The first statements of the strains arevery much the same in both versions. The textof the simple version is nearly identical in allthree sources i, iv and v, but there are a numberof differences in the divisions of nos. ii and iii,the latter being still more florid than the first;these seem to represent two different stages ofthe elaborate version of the piece. For that rea-son in this edition both elaborate settings ii andiii are given (as nos. 38b and 38c), as well as thesimple version i (no. 38a).

In Cutting, Selected Works, no. 16, MartinLong states that it seems probable that the sim-pler version is the revised one, ‘since it occursin sources later than ii and iii and there is evi-dence that Cutting moved towards a less showy,more melodic treatment of divisions in his laterworks’; Long, however, does not indicate thenature of this evidence. The fact that the elabo-rate version occurs in the earliest manuscripts,does of course not prove that it is also the earli-est one. Furthermore, in ii the piece is found atthe very end of the collection, and could there-fore have been copied not much before settingno. i: Craig-McFeely, Lute Manuscripts andScribes, thinks it possible that the process ofcopying Dd.2.11 was partly contemporary withthat of Dd.5.78. Moreover, as Cutting probablywas involved with the production of print iii,the version found there, the most elaborate one,could be the last one he made. Perhaps the floridand simple versions are not different phases of

one piece, but coexisted at the same time.Differences between nos. ii and iii occur in

the varied repeats, in mm. 16, 25-27, 28, 29, 32and 42-48. The simple versions i, iv and v arealmost exactly the same. Variant readings in iv:a few added notes (m. 5(2) 2d; m. 6(2) 3d; mm.8(1) and 16(1) 4c; all on the beat) and one omit-ted note (m. 11(2) 2c); m. 3(1) 3d instead of 3a;mm. 15(2) and 23(2) treble voice syncopated;m. 24 5g-7a instead of 6h; mm. 41(2, secondbeat)-42(1) treble voice, in quavers, 1fd | ca, and3a omitted; m. 44(1) 3a omitted; m. 45 bass 4c-3d omitted; m. 47(1) 3c instead of 4c, and arhythm of four quavers. Variant reading in v: inmm. 8(1) and 16(1) 4c added, in m. 8(2) errone-ously 6a instead of 5a and in m. 47(1) a rhythmof four quavers, but further completely identi-cal to i.

Editorial changes in i:m. 5(2) 4a added;m. 47(1) quavers above 2ce from semiqua-

vers.The bars, with a length of four minims, have

been halved.Editorial changes in ii:the page is damaged at the top left-hand cor-

ner, as a result of which all of mm. 1-2 and thefirst note 2c of m. 10 have disappeared (and fromthe first note 2d of m. 3 only traces are visible);these have been reconstructed from the otherversions.

M. 9(2) 5a and 6a added;m. 43(2) 3e from 3d (cf. m. 35);m. 48(2) rhythm sign minim from semibreve;bar lines after mm. 31 and 33 added.Perhaps in m. 39(1) on the beat 1a should be

added, as in all other versions.Editorial changes in iii:m. 4(2) 4c from 5c;m. 9(2) 6a from 5a;m. 12(1) second quaver rhythm sign from

crotchet;m. 15(2) in iii 6a under 2h;m. 19 crotchet from quaver;m. 24 bar line doubled;m. 33(1) quaver from crotchet;m. 45(2) 1f added (clearly an error by the

block-maker: the vertical tie between this miss-ing note and the bass 4e is indeed present).

Fingering dots were corrected: m. 8(2) dotunder 5a omitted; m. 10(1) in iii all dots are mis-

148 placed one note to the right; m. 25(1) a dot un-der 2c omitted and dots under the adjacent notes2a and 2d added.

39. Almain

i Dd.9.33, f. 9r: An Allmaine Fr. Cutting

Cutting, Selected Works, no. 17, with a facsimileof i.

A short almain of two strains of four bars, eachstrain with its varied repeat.

Editorial changes:m. 19(1) 4g from 4f (cf. m. 27);m. 31(1) 4e from 4d (cf. m. 23);m. 32(2) the minim from a semibreve.The bar lines, which in i are rather irregu-

larly placed, have been standardised into meas-ures of two minims.

40. Almain

i Barley, (orph.) f. C2r: An Almaine by FrancesCuting. / Allmaine by. Fr. C.

ii Dd.9.33, f. 8v: An Allmaine

Not in Cutting, Selected Works.

This almain is handed down in two authorativesources: the Barley print and a lute book copiedby Matthew Homes. In i this almain is withoutvaried repeats. In ii there are repeats, and alsosome differences with i. Therefore, both versionshave been edited, as nos. 40a and 40b.

The differences between i and ii, apart froma number of more or less filled out chords, areas follows: a changed melody in mm. 6-7; an-other harmony in m. 36(1) (bar number as in ii),and a different cadence in m. 39. This cadenceis simpler in ii than in i, and also a bit awkward,perhaps a reason to suppose ii gives the earlierversion of the piece.

Editorial changes in i:m. 8(2, last note before the double bar)

crotchet from minim;m. 16 all rhythm signs added (in i the double

bar line is after the measure);m. 24(2) crotchet from minim.

Editorial changes in ii:m 11(1) 4a added;m. 27(2) 5a added;m. 31(1) first rhythm sign added (there are

no rhythm signs here in ii);m. 34(2) 6a added;m. 44(2, on the beat) 4a added.In m. 47(2) the tablature letters 2cdcd have

been reconstructed: in ii they are illegible be-cause the manuscript is damaged (the rhythmsigns above them are still visible).

In m. 48, written in the bottom margin, thesixth tablature stave has disappeared; any tabla-ture letters written under the sixth stave haveconsequently disappeared too, and the note 7ais therefore added by the editor.

The bar lines, which are irregular (the meas-ures partly have four minims and partly twominims), have been standardised.

41. Jig

i Dd.2.11, f. 98r: A Jigg. fr Cutting

Long, Cutting Selected Works, no. 19, with afacsimile of i.

A short piece, consisting of two strains of fourmeasures each. Only the A strain has a writtenout varied reprise, but the B strain should alsobe repeated.

Of the caption in i the last three letters -ingrun into the gulley.

42. Toy

i Add.2764(2), f. [7]rii Dd.2.11, f. 80v: F: Cuttings Toy

Cutting, Selected Works, no. 20.

A short piece of twelve bars, with three strainsof four measures each. All strains should be re-peated, as is indicated by the number 2 writtenabove the double bar lines (in i after the A and Bstrains, in ii only above the double bar line in m.8). Versions i and ii show some differences, es-pecially in the harmonies but also at places in

149

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the melody (mm. 3, 7, 10-12), so both settingsare included in the present edition.

The manuscript Add.2764, which contains no.i, exists only as fragments in the form of a se-ries of half-pages which had been used by a sev-enteenth-century binder as waste endpaperspasted between the clean endpaper and the bind-ing board (Craig-McFeely, Lute Manuscriptsand Scribes). Of this setting the upbeat is miss-ing, so this was reconstructed from version ii.Furthermore, the scribe clearly was confusedabout the rhythm of the piece, judging from themany mistakes in the rhythm signs. The strangehandling of the upbeats at the beginning and endof the A and C strains (as a result of which inthese strains all bar lines are misplaced by a halfbar) give the impression that he wrote the piecedown from hearing rather than from an exem-plar. In the edition is printed a reconstruction,with the upbeats and bar lines standardised as inno. ii, and here is given a literal transcription ofi, after the copy made in December 2000 by IanHarwood at the MS room of Cambridge Uni-versity Library:

i

The tablature letters 3d-4c between bracketsin m. 4 are illegible because the paper is heavilystained.

Editorial changes in i:the upbeat added (see above);the bar lines in the A and C strains standard-

ised (see above);rhythm signs corrected in mm. 4, 7, 8 and 12

(cf. the transcription above);m. 4(1) 3d-4c illegible in i (see above).

Editorial changes in ii:m. 4 the first two rhythm signs from minim

and crotchet;m. 9(2) 6a probable but not certain (the manu-

script has been cropped and only the top of theletter is visible);

m. 10(2) 6e probable but not certain (onlythe top of the letter is visible);

m. 12 the rhythm signs reconstructed (obscurein ii).

43. The Squirrel’s Toy

i Dd.2.11, f. 77r: The Squirrills Toy Fr Cut-ting

Not in Cutting, Selected Works. Edition: Dart,Anthology, no. 38.

A very short piece of eight bars, with two strainsof four bars each; each strain should be repeated.

Editorial changes:m. 4(1) 5a from 4a, a bass note c being a

more likely progression than f.The bar line between the upbeat and m. 1 has

been added.

44. Cutting’s Comfort

i Barley, (orph.) f. D1v: Cuttings comfort. / byFr. C

Cutting, Selected Works, no. 21, with a facsimileof i.

A short piece, consisting of two strains of fourtwo-beat measures, each strain with its variedrepeat.

Editorial changes:m. 6(1) 4a from 5a (cf. m. 2);m. 8(1) 1a added (cf. m. 4);m. 10(2) 7a added (cf. m. 14);m. 11(2) the rhythm signs changed from

to (as is indicated by the fingering dots; cf.also m. 15);

m. 16 the last rhythm sign added (in i there isonly a fermata).

The bar lines after mm. 4 and 12 have beendoubled.

  Ä

Ä Â Â

150 45. Greensleeves

i Add.31392, f. 29r: Greenesleeues by maisterCuttinge

Not in Cutting, Selected Works. Edition: Eliza-bethan popular music, no. 7, with a facsimile ofi.

Two variations on the well-known ballad tune;see Simpson, Broadside Ballad, pp. 268-278.Three other lute settings, in Ballet-2, p. 104(greenesleues, in C minor), Thysius, f. 390r-v(Gruen sleefs ey touiou met all myn here, in Cminor) and Vanden Hove, Florida, f. 107v(Griensliefs, in F minor), are not related.

Editorial changes:m. 8 has only one beat; the second beat, with

the note 4c, has been added (after m. 24);m. 16(2) the minim from a dotted minim.In m. 7(1) the bass note 4a should perhaps be

on the third crotchet, under the note 2b insteadof under 2d.

46. My Lord Willoughby’s Welcome Home

i Dd.5.78, f. 28v: F: Cii Dd.2.11, f. 58v: My L Williaghby Tune J. D.iii Pickeringe, f. 25r: My lord willobes wellcome

home by John dowlandiv Wickhambrook, f. 12r: my lo: willobeis tune

Jhone Doulandev Euing, f. 38rvi Mynshall, f. 1r: Mmy lord wilobie / [index:]

my lord wilobies welcom home

Not in Cutting, Selected Works. Edition: Eliza-bethan Popular Music, no. 9, with a facsimileof i.

On this tune see Chapell, Popular Music, I, p.155, Simpson, Broadside Ballad, pp. 467-471,and Dowland, Lute Music, the commentary tono. 66a. The tune was first known as ‘Rowland’,a character in a comedy, which play was per-formed on the continent by an English troupe ofactors in 1585 and 1586. The tune is found inseveral continental lute sources under this title,and also Byrd’s set of variations (FWVB I, no.160) is titled Rowland. In English lute sources

the tune is known as ‘My Lord Willoughby’sWelcome Home’ or ‘My Lord Willoughby’stune’. The name of Peregrine Bertie, BaronWilloughby de Eresby (1555–1601) was prob-ably associated with the tune on his return fromthe Low Countries in 1589, where in 1587 hewas appointed commander of the English forcesin the Netherlands in the place of the Earl ofLeicester.

The setting in D minor is ascribed in i to F. C.,that is Francis Cutting: Matthew Holmes, thescribe of i, abbreviates Cutting’s name often thatway, especially in this source. However, the firsteight bars of this piece are identical to a simplesetting, a single statement of the tune, found inseveral English sources: nos. ii-vi. In three ofthese, nos. ii (also copied by Holmes!) iii and iv,the piece is ascribed to John Dowland (see Dow-land, Lute Music, no. 66a). If that ascription iscorrect, then Cutting probably used Dowland’ssetting of the tune for his own set of variations.

Editorial changes:m. 23(2) 3a added;double bar lines after mm. 10 and 18 have

been omitted.

47. Packington’s Pound

i Barley, (orph.) f. C4v: Bockingtons Pound byFr. C. / Bockington. Pound by Fr. C.

Not in Cutting, Selected Works.

A single statement of the tune. The piece is prob-ably named after Sir John Packington (1549–1625), in reference to his famous wager to swimfrom Westminster to London Bridge. See Simp-son, Broadside Ballad, pp. 564-570. Thededicatee was knighted in 1587, and this piece,where he is mentioned without his title, wasprobably written before that. There are a ver-sions of this tune in C minor in Nn.6.36, f. 21r(Pack. Pound; ed. in Elizabethan Popular Mu-sic, no. 12), Westminster (pakingtons pound, ed.in Lute News 55, Supplement p. 27) and, verycorrupt, Mynshall, f. 8v (packingtons com-pounds; index: Pactkintons componds), but theseare not related to Cutting’s little piece. Anothersetting, like Cutting’s in F minor, in Thysius, f.401v (Paccetonspon. Chanson Engloise) is also

151

IJa

a

²a²²a

±

ı²²a

Ų

a ± a ± ²Ã±²²a

not very similar to i and has probably no con-nection with it.

Editorial changes:m. 13(2) the rhythm sign (crotchet) added;m. 19 the dot added to the first rhythm sign,

and the third rhythm sign (the crotchet) added.

48. Walsingham

i Dd.2.11, f. 96r: Fr. Cuttingii Barley, (orph.) ff. D2r-3r: Walsinggam made

by Francis Cutting. / Walsingame by. Fr. C.iii Dd. 5.78, ff. 50v-51r: F: Civ Euing, ff. 43v-44

Cutting, Selected Works, no. 18. Also edited inLumsden, Anthology, no. 25.

Seven variations on the well-known ballad tune‘As I went to Walsingham’. Other sets of varia-tions for the lute were composed by JohnJohnson, Edward Collard, Anthony Holborne,John Marchant and John Dowland. See Simpson,Broadside Ballad, pp. 741-743; an extended listof settings is in Ward, Music for ElizabethanLutes, p. 100, footnote 306. The melody con-sists of a four measure section in A flat major,followed by a section of another four measures,in E flat major-F minor/major, which in somesettings is repeated. Cutting’s piece shows someaffinity with Johnson’s (Johnson, CollectedWorks, no. 34): it is in the same key, and theopening of both works is very much alike. Per-haps Cutting borrowed the theme from the oldermaster. Cutting’s work is in eight measures,without the repeat (which also is lacking in thesettings by Collard and Marchant).

There are a number of differences betweenversion ii, the authoritative Barley print, and theother sources. These differences are not veryimportant, but none the less we are dealing withtwo distinct stages of the piece. For this reasonin the edition both i and ii are given, as nos. 48aand 48b; the version in ii, printed by Barley, wasprobably made by Cutting shortly before hisdeath. The differences are mostly small variants:dotted rhythms (mm. 10(1), 16(1), 22(1), 35(1-2), 50(1)), chords broken in smaller note values(mm. 4, 12, 48(3)), added or omitted notes inchords (mm. 15(3), 28, 31(3), 34(3)), added or

omitted notes in a middle voice (mm. 11(2),12(2), 13(2), 53(1), 54(3)-55(1), and a differentlast bar. There are also more substantial changes:added notes in the bass in i (mm. 35(1), 38(2),39(1), 42(2), 44(3), 55(2)), a different bass linein mm. 43(1-2), 45(1), an added melody note inii in m. 42(2), and an added flourish in the tre-ble in ii in m. 50(2).

Versions i and iii are nearly identical, as in iiionly two notes are omitted that are present in i:in m. 10(1) 2d and in m. 32(3) 7a. There aremore differences between versions i and iv: iniv there is no seventh course F (the missing notesare replaced by 4a); some chords are thinner(mm. 5(1), 6(2), 6(3), 7(2), 9(1), 10(1), 13(1),20(1), 34(3), 42(3)); in mm. 9(1) and 28(1) thereare (probably erroneous) F minor chords insteadof A flat major chords. A bass note 4d is missingin m. 35(2) as well as m. 49(1). In m. 7(2-3) thecadence is different, as is the scale figure in thefinal bar m. 56:

iv, m. 7(2-3)

iv, m. 56

Editorial changes in i:since the manuscript is damaged, in m. 1(1-

2) the tablature letters on the three top stavesare unreadable, as are the rhythm signs in mm.1-2(1); these are reconstructed from nos. iii and iv.

In m. 40(3) the dotted minim is changed froma minim without dot.

In m. 36 the mensural sign 3 is in the source.The proportion should change in m. 36,and change back in m. 41.

Editorial changes in ii:m. 16(3) rhythm sign minim added;m. 36 the mensural sign 3 added (see i);m. 40(3) the last chord of the variation is miss-

ing, and is here supplemented after no. i;m. 56(3) rhythm sign minim added (in ii there

is only a fermata), and a bar line before the finalchord omitted.

h = h.

152 49. Lullaby

i Dd.9.33, ff. 4v-5r: Mr Birdes Lullaby set byfr. Cutting.

ii Add. 31992, ff. 21v-22r: fol. 46. Mr ByrdeLullaby La. p. al. 3. t.

Not in Cutting, Selected Works. Edition: Byrd,Music for the Lute, no. 1, with a facsimile of i.

The model of this lute setting in G minor isWilliam Byrd’s five part song ‘Lullaby, mysweet little baby’ in D minor, published in 1588in his Psalms, Sonets and Songs, no. 32. Thiswas obviously a popular cradle song, and in re-quest at court. It is also known in contemporarysettings for lyra viol and keyboard (listed inByrd, Music for the Lute, no. 1). No. ii, in Cminor, is not a lute solo; in this version the fourlowest parts are intabulated for lute, while thehighest part, omitted from the setting, needs tobe sung. E.H. Fellowes, the editor of Byrd,Psalms, Sonets and Songs, concludes from theform in which the complete words of the songwere printed in the original edition that the firstpart (in our edition mm. 1-26) should be sungagain after the conclusion of the second section.This observation is enhanced by the fact that ini at the double bar after m. 26 there is a fermata,a sign that generally in this manuscript (and inthe other lute books from the period) designatesthe end of a piece, thus also suggesting a DaCapo. From Fellowes’ edition we further learnthat in the vocal version the last bars of the piece(from the half of our m. 48, with the upbeat)should be repeated. For this repeat there is nosign in i, but a lute player can of course play thislast section twice, in concordance with themodel. In no. ii there is also a fermata over thechord in m. 26, and a signum congruentiae above the second chord of m. 48, which con-firms the repeat of the last eight measures.

Nigel North in his edition of Byrd, Music forthe Lute, no. 1, judges not very favourably onCutting’s setting, which he thinks ‘not particu-larly successful, as the first singing part tendsto get lost on the lute’. However, as this ‘firstsinging part’ is the second soprano in the vocalmodel, in the full five-voice polyphony this partis also rather obscured by the other voices. (In-terestingly, in ii the voice sings the highest tre-

ble part, while the second treble is marked inthe tablature with dots alongside the relevanttablature letters, to mark which notes were theoriginal singing part.) As North notes, Cuttingmade his setting a fifth lower than the originalsong, and in reworking the piece not always re-tained the full polyphony, but tended to fill outchords at cadences to six parts. By this free re-working Cutting thus seems to exploit fully theresonance of the lute, transforming the originalvocal polyphony to a rich sound on his own in-strument.

Editorial changes:m. 36(6, last rhythm sign) minim from semi-

breve;m. 41(1, the first rhythm sign) dotted minim

from crotchet;m. 53(2) 2a from 1a.Missing bar lines (mm. 1-4, 36-37, 55) have

been added, a bar line in the middle of m. 4 hasbeen omitted, and a misplaced bar line (m. 54after the first minim) has been corrected.

In m. 16(4) the notes 5g-6h are obscure in i,where they are corrected.

For the convenience of the player themensural sign 3, which is not in i, is added in m.27, to indicate the change from duple to tripletime. Here the proportion should change: .

50. [Short Almain]

i Dd.3.18, f. 59r: Fr Cuttingii Pickeringe, f. 14r: the grownd to the treble

Not in Cutting, Selected Works.

A treble and ground duet, Cutting’s only duet asfar as we know. The ground is found in ii, whereit is connected with a treble by John Johnson,the Short Almain 2 (Johnson, Collected Works,no. 58). The ground was probably composed byJohnson, because he wrote another treble on it,the Short Almain 1 (ibid., no. 57). Holborne alsoused this ground: he wrote a set of variationsfor lute solo on it (Holborne, Music for Lute andBandora (ed. Spring), no. 57). Cutting not onlyused Johnson’s ground, but probably also knewthe connected Short Almain 2, because parts ofhis composition remind us of Johnson’s treble:the rhythmic figure in mm. 39-42 we see in

h = h.

153Johnson’s work in mm. 33-40, and the repeatednotes at the beginning of upward scale figures,used as a device for speeding up the concludingvariation, are also found in both pieces (Cutting’smm. 48-51 and Johnson’s mm. 43 and 46). Be-cause of this relation with Johnson’s treble wehave called Cutting’s unnamed piece also ‘ShortAlmain’.

Editorial changes to no. i:m. 64 rhythm sign minim from semibreve.In source i the piece is a later addition to the

manuscript by the copyist, Matthew Holmes. Itis in his later short-hand style, with the ‘grid’system of notating rhythm signs replaced by thesigns in the form of ‘normal’ notes, that are writ-ten only where changes of rhythm occur. Thisnotation system he started to use well after 1600,as is clear from Dd.9.33, where we can see thetransition take place. In our edition we havechanged the ‘notes’ to the rhythm signs used inthe other pieces.

Editorial changes to no. ii:the first bar line (between the upbeat and m.

1) added;m. 16 rhythm sign minim from semibreve.

51. Lachrimæ Pavan

i Barley (lute), ff. E1r-F[=E]2v: Lacrime byI. D.

Not in Cutting, Selected Works.

A setting of Dowland’s famous Lachrimæ Pa-van, the divisions of which are rather deviantfrom the other versions of this piece. DianaPoulton, John Dowland, pp. 127-128, took this‘unusual text’ (Dowland, Lute Music, the com-mentary to no. 15) as an example to illustratethe inferiority of the Barley print, by comparingthe reprise of the first strain with that of the‘standard’ version in Dd.5.78 (see also Ward,‘Dowland miscellany’, pp. 127-129). Later itwas suggested by Erik Ryding, ‘Cutting’s“Lachrimae”?’, that Cutting could be the authorof these divisions. This would be an obviouspossibility, since Cutting is thought to be themusical editor of the Barley print (see the Intro-duction). As a matter of fact, these divisions arebuilt loosely on the ones found in other sources

œ œ œ œ œ œ œ

œ œ œ œ œ

of Lachrimæ Pavan, but the peculiarities of thisversion show clearly traits of Cutting’s style. Inm. 42, at the opening of the C’ strain, the dottedminim of m. 33 has the same melodic and rhyth-mic variant as is found in other pavans by Cut-ting. In the divisions we see a frequent use ofrhythmical patters favoured by Cutting: an as-cending in mm. 9, 15, 44, 49, andthe pattern in mm. 10, 31, 44 (twice).In m. 27 there is a free-standing ‘dominant’ bassnote D. Telling is also the use of the cadentialformula in mm. 8 and 41, which is used moreoften by Cutting (the ‘c formula’; see the Intro-duction); in Dowland’s version we find here hisfavorite b pattern. Most important of all (andalso mentioned by Ryding): in m. 14 we findthe flourish g’-g-g’ on a bass note e flat, with afalse-relation e’ natural in the upward move-ment, a figure characteristically found only inCutting’s pavans. It looks like Francis Cuttingreally made this independent setting of Lachri-mæ Pavan, of course as one of a number of ad-aptations of music by other composers.

Editorial changes:m. 4(2) 4e from 4b;m. 7(2) 3a added;m. 12(2) all notes one line higher in i;m. 16(4) 6a from 6d;m. 22(3) a note 4f under 2d omitted;m. 28(4) notes 5d on the beat and 4a above

the next 5d omitted:

i, m. 28(4)

A number of obviously wrong rhythm signshave been corrected, in mm. 1(2) (quaver added),1(3) (crotchet from quaver), 2(3) (semibrevefrom minim), 9(2) (a quaver above 1b omitted),9(3) (a quaver above 2b omitted), 31(1) (bothrhythm signs misplaced to the right), 39(2)(crotchet from quaver), 39(4) (quaver added),50(4) minim from a semibreve with a fermata.

Some misplaced fingering dots have beencorrected: m. 10(1-2) two dots replaced to theleft (from under the first 1a to 1c, and from un-der the second 1a to 2d); m. 20(2) a dot under2b omitted; m. 37(4) a dot under 1f omitted; m.44(1) a dot under 2c omitted and dots added

Äa°²

Å

a²

a

154 under the adjacent notes 2a and 2d; m. 49(2)fingering dots under the first two notes 2e omit-ted and dots added under 2f, 2c and again 2f.

In i all measures have a length of two min-ims instead of four; after m. 8 is a single barline.

52. Quadro Pavan

i Dallis, pp. 28-29: NB 4 / quadran F C.

Not Cutting, Selected Works. Edition: Robinson,‘Cotton’, no. 3b.

A setting in C major of the Quadro Pavan, vari-ations on the Passamezzo moderno ground bass,which originated in Italy. Its English name isderived from its key using B naturale, alsoknown as B quadratum (and in this respect dif-fering from the key with B flat of the Passamezzoantico). Another variety was the Passamezzopaganina, in England known as La Vecchia.Passamezzo settings were very popular in Eng-lish lute music of the 1570’s and 1580’s; JohnJohnson wrote a number of pieces on thesegrounds. However, lutenists of the ‘classical’style had lost interest in this variation form: JohnDowland for instance, a prolific composer whostarted his career in the eighties, never wrote aQuadro or Passamezzo setting as far as we know.Likewise Anthony Holborne wrote only oneQuadro Pavan, for bandora (Holborne, Musicfor Lute and Bandora (ed. Spring), no. 76), al-though in the preface to his Cittharn School hedescribed these ground basses as ‘the most usualland familiar grounds of these our times’; in thisbook he included eleven of these pieces (see theIntroduction, p. 11 footnote 50). However, theseare works for cittern; in the lute music of the‘classical’ style Passamezzo settings are rare.

This Quadro Pavan by Cutting, his onlyPassamezzo setting, is therefore also ratheratypical, if he really did write it. In i, an earlysource from 1583–1585, this is the only piecewhich could be ascribed to Francis Cutting, as-suming that F C is an abbreviation of his name.The piece is entirely in the early ‘linear style’,which is not found in Cutting’s other pieces forlute solo. (Holborne’s Quadro Pavan for bandorais more ‘modern’, and fits with its broken chords

more in this composer’s usual style.) MartinLong, the editor of Cutting, Selected Works (p.53, App. 1), considers this Quadro as a workprobably not written by Cutting, because ‘pas-sages [are] identical with other Quadran set-tings’. And indeed, this Quadro pavan showsmuch similarity with an anonymous setting inBallet, pp. 8-9 (the quadren Pauen): in bothpieces mm. 7, 19, 21, 22 are cognate and mm.3-4 are identical, as are m. 15 in Ballet and m.31 in i (being the cadence of the A strain and A’strain respectively). Moreover, in both settingsthe complete B’ strain (mm. 41-48) is almostexactly the same; there are only some minor vari-ants in mm. 43(3)-44(1). It is clear there is aconnection between these two pieces.

The Ballet piece was edited in John Johnson,Collected Works, no. 38b, because it is part of agroup of closely related Quadro pavans andgalliards (in that edition nos. 38a-c, 39a-c, 40and 41), which in their turn are clearly relatedto Johnson’s Quadro pavan no. 17. It is prob-able that the pavans nos. 38a-c are variant ver-sions of a single composition, and the similari-ties with no. 17, as well as some stylistic fea-tures, point to John Johnson as the composer ofthis group of pieces (see Johnson, CollectedWorks, the Commentary to nos. 38, 39, 40 and41). Thus the setting in i, possibly made by Cut-ting, is based on these Quadro settings ascribedto Johnson. Incidentally, the setting in i is notonly similar to Johnson’s no. 38b, but has alsosome bars in common with nos. 38c and 40 (mm.31 and 15) and the Quadro galliard no. 39c:compare in both pieces mm. 1-3(1), with an iden-tical descending bass line, and the cadencialharmonies in m. 47 in no. 39c and m. 30 in i.

The question remains: was Francis Cuttingthe composer of the Quadro pavan in i? The ini-tials F C were written with the piece, and in othersources these are always taken to refer to hisname. There is no other known lutenist with thesame initials, apart from Francis Cardell, whobriefly held a post of court lutenist and dancingmaster before he died in 1604/5. However, hecannot have written this piece, because in 1583–1585, when it was copied in the Dallis lute book,he was still a child: his parents, Thomas Cardelland the widow Ellen Cotton, married in 1575(see Robinson, ‘Cotton’, p. 2-3). John Robinsonsuggests that F C could stand for F(rancis?)

155Cotton, possibly the former husband of EllenCotton, who then could be the Cotton who wrotea handful of lute works in the early style, whichare found in the Dallis and Marsh lute books.As a matter of fact, the Quadro Pavan in i showsnot only similarities with Johnson’s setting, butalso with the setting in Marsh, pp. 227-228(Quadro Cotton). Robinson’s hypothesis, how-ever, cannot be substantiated, as no person withthis name is found in the sources.

So Cutting remains a possible candidate asthe composer of this Quadro Pavan. If he didwrite the piece, it must be an early work of his,dating from before 1583. That early date wouldaccount for the atypical style of the piece: onecan imagine that the first pieces of the younglutenist Cutting were in the old style (also sug-gested by Wentzel, Lute pavans and galliards,pp. 191-120), which was so successfully ex-ploited by a composer like John Johnson. Alsothe fact that this Quadro Pavan leans heavilyon an existing piece, possibly composed byJohnson, points at a young composer, and at alutenist like Cutting, who later in life was neverreluctant to borrow from admired fellow musi-cians. Furthermore, there is Cutting’s only tre-ble and ground duet, no. 50, which is not onlyvery much like the Johnson duets in the old style,but is even written on a ground by Johnson.

In i corrections have been made in m. 23(3),where under 4a also 5a and 6a are written (it isnot certain 4a is meant, as all three bass notesare stroked through), and m. 35(3), where thereading of the first chord 1c-2a-5c is uncertain.In m. 46(1) there are two notes 4c and 5c, but 4cseems to be crossed out. In m. 46(4) was writ-ten a single minim with the notes 3c-4c, whichwere corrected to the text found in the edition,however without changing the rhythm sign to agrid of four quavers. Under mm. 26(1) and 28(3)there is a cross written. Indecipherable text iswritten under mm. 18(3-4) and 23(3-4); textunder m. 32(3-4) seems to read ende qdn pauan.

Editorial changes:m. 39(2) 5e from 6e;m. 46(4) the quavers from a minim (see

above);a few obviously misplaced fingering dots

have been corrected (mm. 10(4), 26(2), 30(1),41(3), 45(3-4)).

A number 2 written above the double bar af-

ter m. 16, normally indicating a repeat, shouldbe ignored, as the varied reprise follows. Per-haps the number designates the second section.

53. Passion Galliard

i Trumbull, f. 19r: gli: cuttingsii Dd.2.11, ff. 83r and 82v : Holburns passion

Not in Cutting, Selected Works. Edition of ii:Holborne, Music for Lute and Bandora (ed.Spring), no. 36.

This galliard, of three strains without varied re-peats, is ascribed both to Anthony Holborne andto Cutting. Aus dem Spring, who edited thisgalliard in Holborne, op. cit., does not take astand on the authorship of this piece, and in theHolborne edition by Kanazawa (no. 34) no. i isnot mentioned. It is hard to decide which com-poser made the piece. The galliard seems morein Holborne’s style than in Cutting’s; especiallythe alternation of 3/2 and 6/8 metre (in strain C)is a favourite device of Holborne’s (see New-comb, Englischen Lautenpraxis, pp. 90-91;Wentzel, Lute pavans and galliards, p. 27); it isfound seldom in Cutting’s galliards (the C sec-tion of no. 32 gives an example, but here themetres are not really alternated: the strain startswith six measures in 6/8 movement, and endswith a cadence in 3/2). Also, the total lack ofpolyphonic imitation does not point at Cuttingas the composer, and the chordal progressionsin the C strain are more in line with Holborne’sstyle, as is the fact that the piece has no variedrepeats. Furthermore, the ‘fancy’ title is a strongindication in favour of Holborne’s authorship.All these, and the fact that the reliable source iascribes it to Holborne, make it most likely thathe is the composer. It seems to be an originalcomposition for lute, as it is not included inHolborne’s PGA. There is a possibility that Cut-ting did make a new setting of this galliard, and(as so often) in the reworking composed his owndivisions, while later some copyist omitted thesevaried repeats. If this is the case, the ascriptionin ii is correct, but of course Cutting’s contribu-tion to the setting would be lost.

As the basis text of this edition no. i has beenchosen, being the version with Cutting’s name

156 attached to it. Versions i and ii are rather simi-lar. No. ii is slightly more elaborate than i, withsome figuration in mm. 4, 8 and 24 (and a dif-ferent scale figure in m. 16), and fuller chordsin mm. 5(3), 17(3), 19(3) and 20(2) (but in mm.11(1) and 22(2) the chords in ii are thinner thanin i). In mm. 6, 12, 18 and 21 there are somesmall variants in the voice-leading. In ii abovethe double bar line after m. 8 a number 2 is writ-ten, indicating a repeat of section A; of course,all strains of this galliard without varied repeatsshould be played twice.

In i an ink stain covers parts of mm. 8 and15. Thus in m. 8(1) the notes 2f-3h-5a are un-certain, but 2f and 5a seem partially visible. Inm. 15 the notes 4c and 2f-4e as well as the minimrhythm sign are uncertain; here the tail of 2f isstill visible, as are possibly traces of 4c and 4e(which would make this measure identical to m.15 of no. ii).

Editorial changes (all after no. ii):m. 3(2) 1d added;m. 22(1) 6e from 6a;m. 23(3) 3d-4c from 3c-4d.

54. Galliard

i Welde, f. 8r: The Galiard Mr Birdeii Hirsch, f. 2riii Dd.9.33, ff. 59v-60riv Dd.2.11, f. 101v: Mr Birdes

Not in Cutting, Selected Works. Edition: Byrd,Music for the Lute, no. 5.

A transcription for lute of a galliard in C minorfor keyboard, composed by William Byrd (Byrd,Keyboard Music, no. 29(b)). It is probably anearly work by him, because it is paired to a pa-van which in FWVB I no. 167 is called ‘the firstthat ever hee made’(this galliard is there as no.168). It was a popular piece, because apart fromthe lute settings there exist two arrangementsfor cittern: one in Holborne, Cittharn Schoole,no. 41 (Maister Birds Galliard), and another onein Dd.4.23, ff. 59v-60r (Mr. Byrd Galliard).

There are three lute versions of this galliard,all of which are made by anonymous lutenists;in Byrd, Music for the Lute, they have been ed-ited under numbers 5a, b and c. The first ver-

sion, in F minor, the one that concerns us here,is found in i and ii, in practically identical texts.No. iii is also in F minor, but, although it showssome similarities with the first version, is it is adifferent setting. Perhaps this transcription wasmade by a lutenist who knew the version i-ii andtook that as the basis for a new setting of thisgalliard. No. iv is in G minor, and is rather dif-ferent from the other versions, not only in itsdivisions but also in its first statements of thestrains, which digress at points from Byrd’smodel. North, the editor of Byrd, Music for theLute, no. 5, suggests that this setting in G minorcould have been made by Edward Collard.

There are some indications that the first ver-sion, as found in i and ii, was set by FrancisCutting. Firstly there is Cutting’s propensity toset works of other composers, including Byrd’s,for the lute (see nos. 21, 49 and perhaps also55). Moreover, this version was made by an ex-pert lutenist, who very skilfully adapted Byrd’skeyboard galliard for the lute. The key of thepiece was lowered a fifth, from C minor to Fminor, so as to fit the compass of the instrument.In the first statement of the strains the model isfollowed closely, with some thinning out of thetexture and some simplification of the voice-leading of the middle parts; in one instance thetop voice is ornamented (mm. 19-20). The divi-sions in the varied repeats are at places basedon the model: mm. 12(1-2) and 14(1-2) are iden-tical, as are mm. 43-44, where divisions are lack-ing both in model and lute setting; the figura-tion in m. 11 is based on the model, but slightlydifferentiated. Thus the greater part of the divi-sions was newly composed by the arranger.

In these new divisions we find some traitsthat are characteristic of Cutting’s style. One ofthem is the use of sequences. These are writtenin treble and bass in mm. 11 and 45, in the tre-ble with groups of four quavers, each group be-ginning with a falling third (these groups arefound also in mm. 12, 13, 14). Note also the se-quential treatment of mm. 17-18 (in the modelthere is no sequence here) and mm. 19-20 (afterthe model, but the sequence highlighted bymeans of the dotted rhythm); in the varied re-peat, mm. 25-28, these sequences are accentu-ated by introducing a flourish in the first se-quence and a pointed rhythm in the second. Fur-thermore, we see the characteristic cadential

157

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formula with a falling third in m. 47. Some ca-dences in this piece are strongly reminiscent ofothers in genuine galliards by Cutting: comparethe flourishes in the cadence F-C in mm. 30-32with the (nearly) identical ones of galliards no.32 mm. 15-16 and 51-52, no. 27 mm. 51-52,and no. 28b m. 47, as well as the final bar m. 32of no. 54 with galliards no. 27 mm. 20 and 52,and no. 31 m. 16 (the ‘c formula’; see the Intro-duction). Apart from these characteristics in thenew divisions, there is also a change made bythe lutenist in the first statement of the A strain,where in mm. 1-2 (and also in the varied repeat,mm. 9-10), an instance of imitation is broughtout, which in Byrd’s model is only implicitlypresent, but not clear to the ear or the eye: therethe responding middle voice in mm. 2 an 10 isdivided over the two staves, and in the first state-ment ‘drowns’ in the chordal structure of mm.1-2 (Byrd just wrote minims here, not the pass-ing notes which are found in the lute versions).Version iv and Holborne’s setting for cittern alsobring out the imitation here, but they do not re-tain Byrd’s imitation between descant and mid-dle voice in mm. 5-6, as is the case in the lutesetting in i and ii. However, the anonymous lu-tenist who made this version has not retained allimitation of his exemplar: in mm. 37-39 the tex-ture was simplified. (Interestingly version iii haskept the imitation here, but it works not alto-gether successful on the lute.) So, at the end ofthe day one can say that it is just possible that itwas Cutting who made this skilful arrangementof Byrd’s galliard.

The differences between i and ii are few. In iithere are no graces or playing signs, and thisversion shows a number of clear mistakes by acopyist (tablature letters on wrong lines in mm.5, 15, 45; a misplaced bar line in m. 44), theworst being the omission of the complete m. 19.In m. 16(3) there is a single note 2d instead of afull chord; in m. 17 the rhythm is not dotted andthe note 5a is missing. In m. 42 the figuration isslightly different:

ii, m. 42

Another difference is found in m. 33 and its

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repeat m. 41 (see below).Editorial changes:m. 13(3) 4a from 5a;m. 33(2) 5d added and 3b from 3d. This added

bass note e flat (5d) is present not only in ii, butalso in the model and the other lute settings.Therefore, here ii probably gives the correct text.The original reading of m. 33 in i (where be-cause of the different bass line the one note inthe middle voice was changed also):

i, m. 33

M. 41(2) 5d added (see m. 33).In i there are single bar lines after mm. 8, 24

and 40.

55. The Woods so Wild

i Euing, ff. 33r-34v

Not in Cutting, Selected Works. Edition: Byrd,Music for the Lute, no. 7.

Fourteen variations on a popular tune, of whichthe words have not come down. This lute set-ting is a transcription of The Woods so Wild forkeyboard by William Byrd. This transcriptionis executed very skilfully: by lowering the pieceby a fifth in the lute version the greatest part ofthe model could almost literally be retained, andwhere the music had to be adapted to fit the lute,the arranger showed musical and technical in-sight: see for instance variation 2, where the tex-ture was thinned out by omitting the lowestcourses on the lute, thus suggesting a high reg-ister as in the model, and variation 8, where thealto voice was put in top in order to retain itsimitation with the tenor. For the versions of thekeyboard piece see Byrd, Keyboard Music, no.85, and Byrd, Music for the Lute, no. 7. Byrd’spiece is in a curious tonality, with the keys of Fand G alternating; the lute version is transposedto B flat-C. A first setting of this piece was madeby Byrd in 1590, when he wrote only twelvevariations (nos. 1-11 and 14); later, some timeafter 1591, he added the variations 12 and 13

158 (see Byrd, Keyboard Music, no. 85, and Neigh-bour, William Byrd, pp. 156-157). It is this sec-ond version which is set for lute, which there-fore also was made some time after 1591.

In i this work remains anonymous (there arepractically no names and titles attached to thepieces in the Euing manuscript), so we do notknow who made this lute setting of Byrd’s com-position. Richard Newton, ‘Francis Cutting’, p.118, suggested that Cutting could be the makerof the transcription, as did Nigel North in hisedition in Byrd, Music for the Lute. Both gaveno grounds for that supposition, but two thingscan be said in favour of it. This very successfulintabulation of a complicated piece can onlyhave been made by an able lutenist-composer,and of the professional lutenists it is surely Cut-ting, with his obvious propensity to reworkpieces of others and his distinct involvementwith Byrd’s music, who is the most likely can-didate. Furthermore, this setting is found in apart of a manuscript with many works by Cut-ting: in the source it follows directly after hispavans nos. 13 and 1 (see the List of sources, p.213). As the piece is a very close transcriptionof Byrd’s setting, nothing can be said about theparticularities of the lute style, apart from thefact that this literal way of intabulating a key-board work is found in other settings by Cutting(see nos. 16 and 21)

Editorial changes:in i there are a number of obvious errors,

which could easily be corrected after the modelby Byrd. These corrections are:

m. 3(2) 5a from 4a;m. 7(1) 1a from 1d;m. 10(1) 1a-2b from 1b-2a;m. 16(1) the quavers from one quaver fol-

lowed by two semiquavers;m. 22(2) 5c-6d from 4c-5d;m. 35(2) 1a from 1e;m. 36(1) 6f from 6c;m. 71(1) 1a in i placed above 5c instead of

5e;m. 71(2) the rhythm from four quavers fol-

lowed by one crotchet;m. 87(2) 3c from 2c;m. 91(2) 5a from 4a;m. 99(2) the first note 4a from 5a;m. 101(2) the notes 5dcac from 4dcac;m. 111(2) 5c from 6c;

m. 113(1) 6a from 5a;m. 114 the rhythm sign from a minim with a

fermata.The bar lines between mm. 112-113 and 113-

114 have been added, and bar lines in the mid-dle of mm. 71 and 113 have been omitted.

Some changes were introduced in order notto interrupt the melody of the cantus firmus:

m. 23(1) 4e added;m. 60(1) 3a from 3d;m. 94(2) 5c added.There are many more instances in which the

text of the keyboard model suggests copyist’somissions or errors in the version i, which im-pair melodic lines. The following notes shouldperhaps be added (all on the first beat, unlessindicated otherwise): m. 28(1) 2c; m. 39(2) 3a;m. 68(1) 4c; m. 70(2 third beat) 4a; m. 72(2)4c; m. 88(2 third beat) a quaver 3d (as an up-beat for the treble in the next variation); m.109(1) 4f or 6d. Also, in m. 39(1) the note 5eshould possibly read 4a, and in m. 71(2) the sec-ond note 2d should possibly read 2a.

56. Galliard

i Dd.2.11, f. 64r: Galliard Fr. Cutting

Not in Cutting, Selected Works.

A galliard without varied repeats, for seven-course bandora.

Editorial change:between mm. 10 and 11 the bar line with tie

added.In m. 13(2) a grid under 1d is not a grace

sign, but a crossed out tablature letter a.

57. The new Hunt sundry Ways

i Barley, (band.), ff. B3v-C1r: The new Huntsundry waies made by Frances Cutting. / Thenew Hunte.

Not in Cutting, Selected Works.

A setting, for seven-course bandora, of five vari-ations on a 16-bar ground in two parts, each partconsisting of 8 bars. The ground has a peculiar

159tonal scheme: the first part is in C-D, the secondin F-C. This same ground is found in a duet tre-ble for lute, The (new) Hunt is up, possibly byJohn Johnson; see Johnson, Collected Works, no.71. A duet treble with the same title, which wascertainly written by Johnson (ibid., no. 62), hasa slightly different tonal pattern: G-A and a-G.A Hunt’s Up is not necessarily a hunting song ortune, but a tune that for some reason is calcu-lated to rouse a sleeper, at New Years day orMay day, or to rouse a newly married couple(see Dean Smith, edition of Playford, EnglishDancing Master, p. 81).

Editorial changes:the only source of this piece, Barley’s print

of 1596, is corrupted by many obvious mistakes.The mm. 15 and 39 are lacking, so they had tobe reconstructed for this edition. As the they bothhappen to be closing measures of a strain, thatreconstruction was not too difficult; for m. 39,m. 7 was copied, and for m. 15 we took m. 31 asa model.

The text of i is confused in mm. 61-63. Bar-ley there misplaced the bar lines and obviouslyalso made some mistakes in the tablature. Thereading of i:

i, mm. 61-63

In the present edition the bar lines betweenmm. 61-62 and 62-63 have been corrected byputting them a crotchet to the right. Furthermore,in m. 61(1) a note 3c is added in order not tointerrupt the flow of the middle voice (see m.60), in m. 61(2, second crotchet) 1d was changedin 1b, and in m. 63(1) 5a was changed into 6a.

Other editorial changes:m. 3(3) 4a from an unclear letter (4e?);m. 16 both rhythm signs added;m. 20(1) 1h from 1f;m. 21(1) 6f from 5f;m. 29(2) 7a from 6a;m. 32 both rhythm signs added;m. 42(1) the rhythm sign from the second

chord to the first;m. 46(3) 3c from 2c;m. 47(3) quaver added;m. 52(2) the quaver rhythm of 2ab from

crotchets;m. 54(1) 4d from 3d;m. 58(2) in i the bass note 5c under 1a mis-

placed under the following 2d;m. 59(1) 6a from 5a;m. 64(2) semibreve added;m. 78(3) 2b from 2c;m. 79 minim and crotchet from a single

crotchet above the first chord;m. 80(2) a semibreve added (in i there is only

a fermata here).In some bars with obviously dotted rhythms

the dot is lacking, so that the bar has not its fullthree minims. These dots these have been added,in mm. 3(1) (but here the rhythm signs are un-clear; there are perhaps two crotchets), 5(1),13(1), 21(1), 23(1), 31(1).

Some misplaced fingering dots have beencorrected, in mm. 5(3), 7(2-3). 10(2), 13(1-2),43(1-2), 58(1).

Perhaps in m. 10(3) the note 1a should read1c.

58. [Pavan]

i D.245, pp. 212-213: For the Tenor violl MrCutinge (tenor viol)

ii D.246, p. 230: Mr Cuttinge (bass viol)

Not in Cutting, Selected Works.

An unnamed piece, probably a pavan, which ishanded down in the form of an duet for twoviols. In no. i we find a part for tenor viol, notatedin tablature, in no. ii a bass part in mensural no-tation. This duet probably is an arrangement ofan original lute work by Cutting, which is nowlost. This can be deduced from the fact that in iand ii both parts are followed by an arrangementfor two viols of a still existing lute pavan byRobert Johnson (Johnson, Complete Works, no.3): D.245, p. 213, For the Tenor violl Mr Johnson(tablature), and D.246, p. 230, The two last arfor the Tenor and violle (mensural notation).From this last piece can be seen how the arrangerworked. For the tenor viol part he simply cop-ied the uppermost notes of the lute tablature,without giving much attention to the voice-lead-ing: when the treble voice is silent, he just cop-ied a fragment of the next upper voice, mostly

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160 the alto. Sometimes fragments of a middle voicehave been included in the part, together with thetreble. Closing flourishes are often reduced to asimple semibreve; varied repeats are not in-cluded. The bass part is a straightforward tran-scription of the lowest part of the lute tablature,mostly the bass, or, when that is silent, the tenor.

The piece by Cutting clearly has been ar-ranged in much the same way. Thus by combin-ing both viol parts it is possible to make a re-construction of the outlines of this pavan, con-sisting of the treble and bass voices and a fewfragments of middle voices. When doing so itbecomes clear that twelve minims are missingin the tenor viol part, in all probability at theend of the A strain. In the edition a literal tran-scription is given of the viol parts, as well as the

partial reconstruction of the original lute work.In the bass viol part a low C is written; in the

lute reconstruction added bass courses F, E flat,D and C have been used. If this pavan really ismade by Francis Cutting (theoretically it couldalso be the only known lute work of his son Tho-mas), the original composition probably was fora seven-course lute, the instrument for whichCutting’s later works were written. The arrangerobviously had an exemplar in which the piecewas adopted for an instrument with added basscourses.

Editorial changes:in the reconstruction the measures have been

standardised, and in mm. 3, 11, 16 and 17 errorsin the tenor viol part have been corrected (cf.the literal transcription of that part.

TRANSCRIPTIONS

162

1a. Mrs Anne Markham’s Pavan

Add.3056, ff. 48v-49r Francis Cutting

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165

Dd.9.33, ff. 32v-33r Francis Cutting

1b. Mrs Anne Markham’s Pavan

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26. [Galliard]

Dd.9.33, f. 36v Francis Cutting

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B17

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C33

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27. Galliard

231

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Dd.5.78, f. 41r Francis Cutting

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29

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37

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C'41

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253&

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45

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Dd.5.78, f. 31r Francis Cutting

38a. Almain

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31

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Dd.2.11, f. 100r Francis Cutting

38b. Almain

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37

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15

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28

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32

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44

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15

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Barley (lute), ff. F1v-2v Francis Cutting

38c. Almain

257&

?

20

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29˙

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15

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Dd.9.33, f. 9r Francis Cutting

39. Almain

259&

?

29

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274

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Dd.9.33, f. 59r John Johnson / Francis Cutting

treble

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w

˙

˙

˙

˙ wn

w ˙

˙˙n

˙

w#w

∑

˙

˙ wnÓ ˙

˙ ˙wn

w

w Ó

˙w

wÓ ˙n

w

˙wn

˙

w

wn

˙wn

˙

Ó ˙ wwn˙

˙

wÓ

˙w

w

&

?

b

b

b

b

51

˙˙

w˙ ˙w

w ˙œœ

˙ w ˙

˙˙˙ ˙

w

˙

w˙

w

˙

˙ .˙œ ˙ ˙w

˙

˙

˙˙..˙˙ œœ œœ# œ

œ œ

˙ ˙

.˙œ

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˙

∑ ∑ Ó˙

.˙n œ ˙ ˙ ˙

˙

˙ ˙œn œ w

˙˙

.˙ œ œœ ˙

˙

˙

.˙

œ ˙ ˙ ˙#

&

?

b

b

b

b

2

3

2

3

54

.˙ œ ˙ ˙ ˙#

˙

˙n ˙˙˙ ˙ ˙

˙n ˙˙

˙

œœ ˙

˙

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˙

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˙.˙ œ w ˙#

œ œnœn œ

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˙˙ œ

œ˙

w#.˙ œn œn œ

.˙ œ ˙

w

˙

w ˙

wwn

˙˙

w

w

˙

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w ˙

D.C. al Fine

275

Vb

b

b

10œ œ œ œ œ œ œn

œ œnœ œœ œ œn

œ œœ œœbœ œ œ œ

œ œœ œ œ œ œ œn œn œ

œ œ œ

Vb

b

b

15 œ œ œn œ œ œn œ œ œn œœ œ œ œœ

2œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œn œ œn œ œ œ œ#

Vb

b

b

20

œ œ œœ œ œ œ œ œ œ

œ œœ œnœn œœ œ œœ œœ œ œ œ

œ œ œ œœ œœ œ œ œ œ œ œ œ

Vb

b

b

25œ œ œœ œœ œœ œ

œ œnœn œ

œ œnœ# œ

œn œnœ œ

œ œœ œnœœn œœ œb œb œ

Vb

b

b

29

œ œœ œœ œœ œœ œnœn œœ œ œ œ œ œ œn œ

œ œ œ œ œ œ œn œ œ œ œ œn

3œ œœ œœ œnœ œ

Vb

b

b

34œ œ œnœ œ œ œn

œ œn œœ œ œ œn œ œ# œ

œn œ œ œ œ œ œ œœ œœ œ œ œ œ

œ œ œ œ œ œ

Vb

b

b

39

œœ œœ œœ œ œ

œ œœ œ œ

œ œœ œœ œ

œ œœ œœ œ

œ œœ œœ œ

Vb

b

b

44œ œ œœ œ œ œ œ œ œ œ œ œ

œ œœn œ œ œ œ œn œ œn

œn œœ œ œ œ

œnœ œ œœb œœ œ

Vb

b

b

449

œœ œ œœ œnœ œœ

œ œ œ œœ œœn œn œ œ œn

œ œœ œ œn

œ œnœn œœœ œœ œ œ œ

œ œœn

Vb

b

b

54 œ œœb œ œ œ œ œ œ œ

œ œ œ œ œ œ œ

œ œœ œœ œœ œœœ œœ œœ œ œœ œ œ œ

œ œ œ

Vb

b

b

59 œnœ œ œ œ œ œ œ œn

œ œ œ œ

œb œ œ œ

œ œ œœ œ œ œ œ œn œn œ œ œ œ œ œ œn œ œ œ œ œn ˙

˙

˙

276ground

Pickeringe, f. 14r [Anonymous]

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C

C

œ œ

Ó

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w

w

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œ œ˙˙

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b

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6

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.

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.

12

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j

œ ˙

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.˙ œ

˙

˙

˙

APPENDIX A

Works of uncertain ascription

278

Barley (lute), ff. E[1]r-[E]2v John Dowland / [Anonymous]

51. Lachrimæ Pavan

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7

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9

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12

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œ œœ œœ œ œ œ œœ œœ œnœ œ

w

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14

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279

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20

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B'.˙ œ

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26

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29

Œœ œ˙

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˙

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Œ

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Œœ

˙Œ

œ œœ@

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Œ œ œœ œ œœ

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w

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32

œ#œ œnœ œ œœ œœn œ œ œ œ œ œ ww

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41

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44

˙ œ œ œœ œb œ œ

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46

Ó˙

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œ œ œ œ œ œœ ˙

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C

49

œ#œ œnœ œœ œ œ œ œ œ œ

œ œ œ

w

w w

wœœn

@

œ œn œ œ œ œ œ œœ œœ œ œ œ w

@

Œ.˙

w ˙ ˙

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C

A

œ œ

Ó

.˙ œ.œ

j

œ œ œ œ œww

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w w

˙˙ œœ œ œ

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˙ œ œ.œ

j

œb œ œw

w w

w w

˙ ˙ ˙ ˙˙

˙ ˙˙ ˙

˙ ˙ w

Dallis, pp. 28-29 F. C.

52. Quadro Pavan

281

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23

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27

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9

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20

œ

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œ

œb œ œ œ œ œ œ œ ˙

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30

œ

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Œ ˙ œ w

.˙ w

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34

w

ww

œ œ œ œ œ œ#

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37

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43

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‰

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.˙œ.˙ œ

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œb œ œ œ œ ww

Œ

.˙

w Ó ˙

283

Trumbull, f. 19r Anthony Holborne / Francis Cutting

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APPENDIX B

Works for Bandora

292

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Dd.2.11, f. 64r Francis Cutting

56. Galliard

Barley (band.), ff. B3v-C1r Francis Cutting

57. The New Hunt sundry Ways

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.˙ œ œ œw

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293

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APPENDIX C

Lost Lute work

298

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58. [Pavan]

partial reconstruction

LIST OF SOURCES

The following list contains all the sources of lute music by Francis Cutting in alphabeticalorder. The folio or page number concerned is followed by: the title and the number of the piecein the present edition; a ‘T’ when the title is given in the source; a ‘(T)’ where the sourceprovides a fragmentary title; the ascription to the composer (‘FC’ stands for Francis Cutting,except perhaps the ascription F. C. in Dallis).

Add.2764(2)f. 7 22. Galliard — —f. 7 42. Toy — —

Add.3056f. 33v 33. Fr. Dac. Galliard T J.D.ff. 48v-49 1. Mrs. Anne Markham’s Pavan — —

Add.31392f. 26 38. Almain T FCf. 29 45. Greensleeves T FCff. 29v-30 9. Pavan T FCf. 34 22. Galliard T FCff. 36v-37 1. Mrs. Anne Markham’s Pavan (T) —ff. 37v-38 2. Galliard — —

Add.31992ff. 21v-22 49. Lullaby (lute accompaniment) T Byrd

Add.38539ff. 28v-29 1. Mrs. Anne Markham’s Pavan — —

Aegidiusff. 150v-151 35. Sir Walter Raleigh’s Galliard — —

Barley, New booke of Tablitureff. (L) D1v-3 9. Pavan T FCff. (L) D3-4v 5. Pavan T FCff. (L) E1-2v 51. Lachrimæ Pavan T Dowlandff. (L) F1v-2v 38. Almain T FCff. (L) F4-G1 27. Galliard T FCf. (O) C1 37. Galliard T FCf. (O) C2 40. Almain T FCf. (O) C4v 47. Packington’s Pound T FCf. (O) D1v 44. Cutting’s Comfort T FCff. (O) D2-3 48. Walsingham T FCff. (O) D3v-4v 21. Pavan (Pavana Bray) (T) FCff. (B) B3v-C1 57. The New Hunt Sundry Ways (bandora) T FC

Besard, Thesaurusf. 111 35. Sir Walter Raleigh’s Galliard — —

Boardf. 23v 35. Sir Walter Raleigh’s Galliard (T) Allison

300 Brownef. 19 9. Pavan (bandora, consort part) T FC

D.245pp. 212-213 58. Pavan (viol) — FC

D.246p. 239 58. Pavan (viol) (T) FCpp. 259-262 22. Galliard (viol) T FC

Dallispp. 28-29 52. Quadro Pavan (T) F. C.

Dd.2.11f. 1v 15. Pavan — Alfonsof. 6v 20. Pavan T FCff. 11v-12 17. Pavan — FCf. 53v/1 4. Galliard — —f. 53v/2 24. Galliard — FCff. 57 and 56v 5. Pavan — —f. 58 33. Fr. Dac. Galliard T —f. 58v 46. My Lord Willoughby’s Welcome Home T Dowlandf. 64 56. Galliard (bandora) T FCf. 71v 22. Galliard T FCf. 72 15. Pavan T FCf. 73 11. E. Porter’s Pavan T FCff. 73v-74 14. Galliard T Phsf. 77 43. The Squirells Toy T FCf. 79v 35. Sir Walter Raleigh’s Galliard T FCf. 80v 42. Toy T FCff. 83 and 82v 53. Passion Galliard T Holbornef. 84v 13. Pavan Sans Per T FCf. 96 48. Walsingham T FCf. 98 41. Jig T FCf. 100 38. Almain T FCf. 101v 54. Galliard — Byrd

Dd.3.18f. 59 50. Short Almain (treble) — FC

Dd.5.78.3ff. 10v and 20 5. Pavan — FCff. 13v-14 13. Pavan Sans Per — FCf. 14 14. Galliard T FCff. 14v-15 9. Pavan — FCf. 15v 10. Galliard — —f. 16 32. Galliard — FCf. 17v 17. Pavan — FCff. 19v and 22 31. Galliard — FCff. 20v and 11 6. Galliard — —ff. 22v-23 4. Galliard T FCf. 23 25. Galliard — FCf. 24 8. Galliard — —ff. 24v-25 2. Galliard — FCf. 28v 46. My Lord Willoughby’s Welcome Home — FCff. 29v-30 34. Galliard — FCff. 30v-31 37. Galliard T FC

301f. 31 38. Almain T FCff. 33v-34 29. Galliard — FCff. 37v-38 23. Galliard — FCf. 41 28. Galliard — CGf. 45v 7. Pavan T FCff. 46 and 45v 35. Sir Walter Raleigh’s Galliard — FCff. 50v-51 48. Walsingham T FCf. 55 12. Galliard T FCff. 60v-61 7. Pavan T FCf. 63 33. Galliard T FC

Dd.9.33ff. 4v-5 49. Lullaby T Byrd / FCf. 8v 40. Almain T —f. 9 39. Almain T FCff. 9v-10 3. Pavan T FCf. 10v 30. Galliard T FCff. 11v-12 16. Pavan T Byrd / FCff. 12v-13 21. Pavan (Pavana Bray) (T) Byrd / FCff. 18v-19 19. Sir Fulke Greville’s pavan T FCff. 22 and 21v 36. Galliard — FC / Dowlandff. 32v-33 1. Mrs. Anne Markham’s Pavan T FCff. 34v-35 18. Groninge Pavan T FCf. 36v 26. Galliard — FCff. 59v-60r 54. Galliard — —f. 74 28. Galliard — FC

Euingf. 29 22. Galliard — —ff. 32v-33 13. Pavan Sans Per — —f. 33 1. Mrs. Anne Markham’s Pavan — —ff. 33v-34v 55. The Woods so Wild — —f. 39 34. Galliard — —f. 40 35. Sir Walter Raleigh’s Galliard — —ff. 43v-44 48. Walsingham — —f. 46 27. Galliard — —f. 48 4. Galliard T FCf. 58v 46. My Lord Willoughby’s Welcome Home — —

Hirschf. 2r 54. Galliard — —ff. 6v-7 34. Galliard — —f. 9v 5. Pavan — —f. 10 9. Pavan — —f. 12 18. Groninge Pavan — —ff. 12v-13 15. Pavan — —

Leipzig II.6.15p. 218 22. Galliard T Dowlandp. 234 22. Galliard T —

Marshp. 386 22. Galliard T Alfonsus

Mynshallf. 1r 46. My Lord Willoughby’s Welcome Home T —

302 Nürnbergf. 3v 35. Sir Walter Raleigh’s Galliard (T) Glaziersf. 4 35. Sir Walter Raleigh’s Galliard (T) Glaziersf. 16v 35. Sir Walter Raleigh’s Galliard (T) —

Pickeringef. 14r 50. Short Almain (ground) — —ff. 18v-19 13. Pavan Sans Per (T) FCff. 21v-22 1. Mrs. Anne Markham’s Pavan (T) FCf. 25r 46. My Lord Willoughby’s Welcome Home T Dowlandff. 31v-32 38. Almain T FC

Thysiusf. 33 22. Galliard T Maister Hayls

Trumbullf. 19r 53. Passion Galliard (T) Cuttings

Weldef. 8r 54. Galliard T Byrd

Wickhambrookf. 12r 46. My Lord Willoughby’s Welcome Home T Dowland

303LIST OF ABBREVIATIONS

Unless stated otherwise, sources are for lute solo.

Add. 2764(2) — Cambridge University Library,Add.MS 2764(2), c.1585-90.

Add.3056 — Cambridge University Library,Add.3056 (known as the Cosens Lute Book),ca. 1610.

Add.31392 — Londen, British Library, Add.MS31392, c. 1605.

Add.31992 — Londen, British Library, Add.MS21992, c. 1590–1600 (lute accompanimentparts).

Add.38539 — Londen, British Library, Add.MS38539, The M.L. Lute Book, c. 1610–1640 (for-merly known as John Sturt’s lute book; facs. ed.R. Spencer, Kilkenny 1985).

Aegidius — Prague, Narodni Museum, IV.G.18:Lute Book of Joannes Aegidius Berner de Ret-tenwertt, c. 1623–1637.

Allison, Lute Music — The solo Lute Music ofRichard Allison, with Bandora and Cittern ar-rangements, ed. by John Robinson and StewartMcCoy, with a biographical sketch by RobertSpencer, s.l., 1995 (The Lute Society Music edi-tions).

Ballet — Dublin, Trinity College Library,Ms.408/1, c. 1595 and c. 1610.

Ballet-2 — Dublin, Trinity College Library,MS.408/2, c. 1605.

Barley — A new Booke of Tabliture – – – [for]the Lute, Orpharion and Bandora, William Bar-ley, London 1596 (from the copy in Londen,British Library) (ed. in: Newcomb, Lute musicof Shakespeare’s time).

Besard, Thesaurus — Thesaurus Harmonicus –– – per Ioannem Baptistam Besardvm – – –,

Coloniæ Agrippinæ 1603.

Board — London, Royal Academy of Music,Robert Spencer Collection, MS 603: Margaret

Board’s Lute Book, c. 1620–1635 (facs. ed. R.Spencer, Kilkenny 1976).

Brown, Instrumental music — H.M. Brown,Instrumental music printed before 1600. A bib-liography, Cambridge, Massachusetts 1965.

Browne — London, Royal Academy of Music,Robert Spencer Collection, MS 600: the Browne(formerly Braye) Bandora (c. 1600) and Lyraviol (c. 1635–1640) Book (from: Edwards, Mu-sic for Mixed Consort).

Byrd, Keybord Music — William Byrd, Key-board Music, ed. by A. Brown, 2 vols., London1969–1971, 2/1976 (Musica Britannica 27, 28).

Byrd, Music for the Lute — William Byrd, Mu-sic for the Lute, ed. by Nigel J. North, London[1973] (Music for the Lute 6).

Byrd, Psalms, Sonets and Songs — WilliamByrd, Psalms, Sonets and Songs (1588), ed. byE.H. Fellowes, London 1948 (The Collectedvocal works of William Byrd 12).

Carpenter, ‘Lute Music of Francis Cutting’ —S. Carpenter, ‘The Lute Music of Francis Cut-ting’, Lute News 38 (June 1996), p. 3 (a reportby S. Haynes of a paper delivered at a Lute So-ciety meeting, April 1996).

Chappell, Popular Music — W. Chappell, Popu-lar Music of the Olden Time (London 1855–1859, repr. New York 1965).

Craig-McFeely, Lute Manuscripts and Scribes— Julia Craig-McFeely, English Lute Manu-scripts and Scribes 1530–1430 (D.Phil. thesisUniversity of Oxford 1994; on-line edition,1997).

Cutting, Selected Works — Francis Cutting, Se-lected Works, ed. by Martin Long, London[1968] (Music for the Lute 2).

D.245 — Oxford University Library, BodleianMS D.245, c. 1630 (viol).

304 D.246 — Oxford University Library, BodleianMS D.246, c. 1630 (viol).

D.247 — Oxford University Library, BodleianMS, c. 1630 D.246 (viol).

Dallis — Dublin, Trinity College, MS 403 (for-merly D.3.30): Thomas Dallis’ Lute Book, c.1583–1585.

Dd.2.11 — Cambridge University Library, MSDd.2.11.(B), c. 1585–1595.

Dd.3.18 — Cambridge University Library, MSDd.3.18, c. 1585–1600 (lute solo and parts ofduets and for mixed consort).

Dd.4.23 — Cambridge, University Library, MSDd.4.23, c. 1595 (cittern solo).

Dd.5.21 — Cambridge, University Library, MSDd.5.21, c. 1595 (descant and flute parts formixed consort).

Dd5.78.3 — Cambridge University Library, MSDd.5.78.(3), c. 1595–1600.

Dd.9.33 — Cambridge University Library, MSDd.9.33.(C), c. 1600–1605.

DNB — L. Stephen and S. Lee (eds.), The Dic-tionary of National Biography, 22 vols., Lon-don 1885–1900; repr. in 2 vols., London 1975.

Dodd, Thematic Index — Gordon Dodd, The-matic Index of Music for Viols, [London, 1980](Viola da Gamba Society of Great Britain; keptup-to-date by supplements).

Dowland, First Booke of Songes — John Dow-land, The first Booke of Songes and Ayres – – –,Peter Short, London 1597, repr. 1600, 1603,1606, probably 1608, and 1613; facs. ed. byDiana Poulton, Menston 1978 (English LuteSongs 1597–1632. A Collection of FacsimileReprints, no. 14).

Dowland, Lute Music — The collected LuteMusic of John Dowland, transcr. and ed. byDiana Poulton and Basil Lam, London 1974.

Dowland, Variety of Lute-lessons — RobertDowland, Varietie of Lute-lessons – – –, Tho-mas Adams, London 1610; facs. ed. by EdgarHunt, London 1958.

Edwards, Music for Mixed Consort — W.Edwards, Music for Mixed Consort, London

1977 (Musica Britannica 40).

Elizabethan Popular Music — ElizabethanPopular Music for the Lute, ed. by Brian Jeffery,London [1966] (Music for the Lute 1).

Euing — Glasgow, University Library, MSEuing 25 (formerly MS R.d.43), c. 1610.

Ferrabosco, Opera omnia — Alfonso Ferraboscothe elder (1543–1588), Opera omnia, IX: Instru-mental music, ed. by Richard Charteris, Neu-hausen-Stuttgart 1988 (Corpus MensurabilisMusicae 96).

Ferrabosco, Works for Lute — Alfonso Ferra-bosco of Bologna, Collected Works for Lute andBandora, part I: Lute, ed. by Nigel North, Ox-ford University Press, 2 vols., London [1974](Music for the Lute 8).

FWVB — Cambridge, Fitzwilliam Museum,Music MS 168: the Fitzwilliam Virginal Book,1609–1619 (ed. by J.A. Fuller Maitland en W.Barclay Squire, Londen/Leipzig 1899, repr. NewYork 1963).

Harwood, Cambridge lute manuscripts — IanHarwood, ‘The origins of the Cambridge lutemanuscripts’, LSJ 5 (1963), pp. 32-48.

Harwood, ‘Le Roy’s Lute Instructions’ — IanHarwood, ‘On the Publication of Le Roy’s LuteInstructions’, LSJ 18 (1976), pp. 30-36.

Hirsch — Londen, British Library, MS HirschM.1353: The Hirsch Lute Book, c. 1595 or c.1620 (facs. ed. R. Spencer, Kilkenny 1982).

Holborne, Cittharn School — A. Holborne, TheCittharn School – – –, London 1597 (The com-plete Works of Anthony Holborne, vol. II, Mu-sic for Cittern, ed. by M. Kanazawa, CambridgeMass./London 1973 (Harvard Publications inMusic 5).

Holborne, Music for Lute & Bandora (ed.Kanazawa) — The complete Works of AnthonyHolborne, vol. I, Music for Lute & Bandora, ed.by M. Kanazawa, Cambridge Mass./London1967 (Harvard Publications in Music 1).

Holborne, Music for Lute and Bandora (ed.Spring) — Anthony Holborne, Music for Luteand Bandora, ed. by Rainer aus dem Spring, 2vols., s.l. 2001 (The Lute Society Music edi-tions).

305Holborne, PGA — Anthony Holborne, Pavans,Galliards, Almains, Londen 1599 (ed. B. Tho-mas, London 1980).

Vanden Hove, Florida — Florida sive Cantio-nes, – – – ad Testvdinis vsum accommodatæopera atque industria Ioachimi vanden HoveAntverpiani, Vltraiecti, Apud Salomonem deRoy, & Ioannem Guilelmi de Rhenen, 1601.

Hulse, ‘Francis and Thomas Cutting’ — LynnHulse, ‘Francis and Thomas Cutting: father andson?’, LSJ 26 (1986), pp. 73-74.

Hulse, ‘Hardwick MS 29’ — Lynn Hulse,‘Hardwick MS 29: A New Source for JacobeanLutenists’, LSJ 26 (1986), pp. 63-72.

Hulse, Musical Patronage — Lynn Hulse, Mu-sical Patronage of the English Aristocracy c.1590–1640 (Ph.D. thesis King’s College, Uni-versity of London, 1993).

Johnson, Complete Works — Robert Johnson,Complete Works for Solo Lute, ed. A. Sunder-man, London [1972] (Music for the Lute 4).

Johnson, Lute Music — John Johnson, CollectedLute Music, ed. by Jan W.J. Burgers, 2 vols.,Lübeck 2001.

Johnson ‘William Barley’ — G.D. Johnson,‘William Barley, “Publisher & Seller of Book-es”, 1591–1614’, The Library, 6th series 11(1989), pp. 19-35.

Kingsford, ‘Bath Inn or Arundel House’ — C.L.Kingsford, ‘Bath Inn or Arundel House’, Archae-ologia 72 (1922), pp. 243-277.

Krummel, English Music Printing — D.W.Krummel, English Music Printing, 1553–1700,London 1975 (Bibliographical Society publica-tion).

Lavin, ‘William Barley’ — J.A. Lavin, ‘WilliamBarley, Draper and Stationer’, Studies in Bibli-ography: papers of the Bibliographical Societyof the University of Virginia 22 (1969), pp. 214-223.

Leipzig — Leipzig, Musikbibliothek der Stadt,Ms. II.6.15, 1619.

Lumsden, Anthology — An Anthology of Eng-lish Lute Music (16th century), ed. by DavidLumsden, with a foreword by Thurston Dart,

London [1953] (Schott’s Series of early LuteMusic 2).

LSJ — The Lute Society Journal (1959– ; since1982: The Lute. The Journal of the Lute Soci-ety).

LSJA — Journal of the Lute Society of America(1968– ).

Lute News — Lute News. The Lute SocietyMagazine (1986– ).

Marsh — Dublin, Archbishop Marsh’s Library,MS Z3.2.13, c. 1595 (facs. ed. R. Spencer, Kil-kenny 1981).

Mynshall — London, Royal Academy of Mu-sic, Robert Spencer Collection, MS 601: Rich-ard Mynshall’s Lute Book, c. 1597–1599 (facs.ed. R. Spencer, Kilkenny 1975).

Morley, Plaine and Easie Introduction — Tho-mas Morley, A Plaine and Easie Introduction toPracticall Musicke – – –, London 1597 (facs.Amsterdam/New York 1969).

Neighbour, William Byrd — O. Neighbour, TheConsort and Keyboard Music of William Byrd,London 1978, 19842 (The Music of WilliamByrd 3).

Newcomb, Englischen Lautenpraxis — W.W.Newcomb, Studien zur englischen Lautenpraxisim elisabethanischen Zeitalter, Kassel etc. 1968.

Newcomb, Lute music of Shakespeare’s time —W.W. Newcomb, Lute music of Shakespeare’stime. William Barley: A new Booke of Tabliture,1596, London 1966.

New Grove 1980 — The New Grove Dictionaryof Music and Musicians, second ed., ed. S. Sadie,20 vols., London 19806.

New Grove 2001 — The New Grove Dictionaryof Music and Musicians, second ed., ed. S. Sadie,29 vols., London/New York 20017.

Newton, ‘Francis Cutting’ — Richard Newton,‘Francis Cutting: a bibliography’, Lute SocietyJournal 1 (1959, publ. 1963), pp. 38-47 (a re-print from the old series 1/6 (1959), pp. 106-118, 135-138).

Nordstrom, ‘Cambridge Consort Books’ — L.Nordstrom, ‘The Cambridge Consort Books’, in:LSJA 5 (1972), pp. 70-103.

306 North, Byrd Lute Music — see Byrd, Music forthe Lute

Nn.6.36 — Cambridge, University Library, MSNn.6.36, c. 1610–1615.

Nürnberg — Nürnberg, Bibliothek des Germa-nischen Nationalmuseums, MS 33748/M.271,Fasc. I, c. 1610.

Otley — Matthew Otley’s Cittern Book, after c.1600 and after 1650; owned by John M. Ward,Cambridge, Mass. (from: Allison, Lute Music).

Pickeringe — Londen, British Library, MSEgerton 2046: Jane Pickeringe’s Lute Book, c.1616–1650 (facs. ed. R. Spencer, Kilkenny1985).

Playford, English Dancing Master — JohnPlayford, The English Dancing Master, London1651 (facs. ed. with Introduction, Bibliographyand Notes by M. Dean-Smith, London 1957).

Poulton, ‘Francis Cutting’ — D. Poulton,‘Francis Cutting’, New Grove 1980, vol. 5, pp.106-107.

Poulton, John Dowland — D. Poulton, JohnDowland, London 1972 (rev. ed. 1982).

Poulton, ‘Thomas Cutting’ — D. Poulton, ‘Tho-mas Cutting’, New Grove 1980, vol. 5. p. 107.

Robinson, ‘Cotton’ — John H. Robinson, ‘Col-lected Lute Music of Brewster, Bulman, Cot-ton, E. E., Fernyer and Weston’, Lute News 58(June 2001, Supplement).

Ryding, ‘Cutting’s “Lachrimae”?’ — Erik S.Ryding, ‘Cutting’s “Lachrimae”?’, Lute Societyof America Quarterly 24, no. 2 (May 1989), pp.20-21.

Simpson, Broadside Ballad — C.M. Simpson,The British Broadside Ballad and its music, NewBrunswick 1966.

Stevens, ‘A songe of fortie partes’ — D. Stevens,‘A songe of fortie partes, made by Mr. Tallys’,Early Music 10 (1982), pp. 171-181.

Stephens, The Wickhambrook lute manuscript— The Wickhambrook lute manuscript, transcr.and ed. by Daphne E.R. Stephens, s.l. 1963 (The-sis Yale University; Collegium Musicum 4)

Spencer, ‘Francis Cutting’ — R. Spencer, ‘Fran-cis Cutting’, New Grove 2001, vol. 6, p. 791.

Spring, Lute in Britain — Matthew Spring, TheLute in Britain. A History of the Instrument andits Music, Oxford/New York 2001.

Thysius — Leiden, Bibliotheca Thysiana, MS1666: Het luitboek van Thysius, c. 1595–1646.

Trumbull — Cambridge University Library,Add.MS 8844 (formerly Reading, BerkshireRecord Office, Trumbull Add.MS 6): WilliamTrumbull’s Lute Book, c. 1595 (facs. ed. R.Spencer, Kilkenny 1980).

Ward, ‘Barley’s Songs’ — J. Ward, ‘Barley’sSongs without Words’, LSJ 12 (1970), pp. 5-22.

Ward, ‘Dowland miscellany’ — J.M. Ward, ‘ADowland miscellany’, LSJA 10 (1977), pp. 5-152.

Ward, Music for Elizabethan Lutes — J.M.Ward, Music for Elizabethan Lutes, 2 vols.,Oxford 1992.

Welde — John Welde’s Lute Book, c. 1600–1605, owned by Lord Forester, Willey Park,Shropshire.

Wentzel, Lute pavans and galliards — WayneClifford Wentzel, The lute pavans and galliardsof John Johnson, Anthony Holborne, FrancisCutting, John Dowland and Daniel Bacheler :a stylistic comparison, s.l. 1976 (D.Phil. thesisUniversity of Pittsburgh).

Westminster — Westminster Abbey Library. MS105, early 17th c., fragment (facs. in Lute News53 (April 2000, Supplement)).

Wickhambrook — Yale University, School ofMusic, Special Collection Ma.21.w.632: TheWickhambrook Lute Book, c. 1590 (ed. in:Stephens, The Wickhambrook lute manuscript).

TREE EDITION