THE EGERTON PROJECT

Egerton 3665 is a massive and under-studied Stuart manuscript source containing more than a thousand pieces, and CIRS is beginning a project in 2025 to perform and edit it all. For a summary description, see DIAMM 

Please contact Matthew Gouldstone mag210@cam.ac.uk if you would like to be involved with this project.

Bibliography

A list of existing publications relating to Egerton 3665 and Francis Tregian.

Linda Phyllis Austern, Candace Bailey and Amanda Eubanks Winkler (eds.), Beyond Boundaries: Rethinking Music Circulation in Early Modern England (Bloomington IN, 2017).

Candace Bailey, ‘Orlando Gibbons, keyboard music, and the beginnings of the baroque: new considerations of a musical style’, IRASM 37 (2006), pp. 135-156.

____, ‘Blurring the Lines: “Elizabeth Rogers Hir Virginall Book” in Context’, Music & Letters 89, No. 4 (Nov 2008), pp. 510-546.

Chris Banks, Arthur Searle and Malcolm Turner (eds.), Sundry Sorts of Music Books: Essays on the British Library collections, presented to O. W. Neighbour on his 70th birthday (London, 1993).

Jon Baxendale and Francis Knights (eds.), The Fitzwilliam Virginal Book, 3 vols. (Tynset, 2020).

Jodi Beder, The Fitzwilliam Virginal Book Dances: The Fusion of Rhythm and Tonal Structure in the Late Renaissance (PhD dissertation, The City University of New York, 1982).

Marco Bizzarini, Luca Marenzio: the Career of a Musician between the Renaissance and the Counter-Reformation (Aldershot, 2003).

Donald H. Boalch, (rev. Charles Mould), Makers of the Harpsichord and Clavichord, 1440-1840 (Oxford, 1995).

Anthony Boden, Thomas Tomkins: The Last Elizabethan (London, 2005).

Pearl Alexandra Boyan and George Robert Lamb, Francis Tregian, Cornish Recusant (London, 1955).

Bernard Brauchli, The Clavichord (Cambridge, 1998).

Bernard Brauchli, Alberto Galazzo and Ivan Moody (eds.), De Clavicordio VI (Magnano, 2004).

Virginia Brookes, British Keyboard Music to c.1660 (Oxford, 1996).

Alan Brown, ‘England’, in Alexander Silbiger (ed.), Keyboard Music before 1700 (London, 2/2004), pp. 23-89.

Alan Brown and Richard Turbet (eds.), Byrd Studies (Cambridge, 1992).

William Chappell, Popular Music of the Olden Time (London, 1856).

Victor Coelho and Keith Polk (eds.), Instrumentalists and Renaissance Culture, 1420-1600 (Cambridge, 2016).

Elizabeth Cole, ‘In Search of Francis Tregian’, Music & Letters xxxiii (1952), pp. 51-63.

____, ‘Seven Problems of the Fitzwilliam Virginal Book: An Interim Report’, Proceedings of the Royal Musical Association, 79th Session (1952-1953), pp. 51-64.

Charles Cudworth, ‘A Cambridge Anniversary: The Fitzwilliam Museum and Its Music-Loving Founder’, The Musical Times 107, No. 1476 (February 1966), pp. 113-117.

Anne Cuneo and Adrienne Burrows, ‘Francis Tregian the Younger: Musician, Collector and Humanist?’, Music & Letters 76, No.3 (August 1995), pp. 398-404.

Walker Cunningham, The Keyboard Music of John Bull (Ann Arbor, 1984).

Alan Curtis, Sweelinck’s Keyboard Music (Leiden, 1969).

Frank A. D’Accone (ed.), London, British Library MS Egerton 3665 (‘The Tregian Manuscript’), Renaissance Music in Facsimile (New York & London, 1988).

Pieter Dirksen, The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence (Utrecht, 1996).

____, ‘New Perspectives on Lynar A1’, in Hogwood (2003), pp. 36-66.

____, ‘Towards a canon of the keyboard music of John Bull’, in Smith (2019), pp. 184-206.

____, ‘The Virginalists’, in Kroll (2019), pp. 31-46.

Iain Fenlon (ed.), Cambridge Music Manuscripts 900-1700 (Cambridge, 1982), pp. 161-164.

Howard Ferguson, ‘Repeats and final bars in the Fitzwilliam Virginal Book’, Music and Letters xliv/4 (October 1962), pp. 345–350.

J. A. Fuller Maitland, ‘The Notation of the Fitzwilliam Virginal Book’, Proceedings of the Musical Association, 21st Session (1894-1895), pp. 103-114.

____ and A. H. Mann (eds.), Catalogue of Music in the Fitzwilliam Museum, Cambridge (Cambridge, 1893).

Geert Jan van Gelder, ‘Peter Philips’s Fantasia in F in the Fitzwilliam Virginal Book: an Intabulation of Crecquillon’s Si me tenez’, Scottish Music Review, 6 (2020-21).

Margaret Glyn, About Elizabethan Virginal Music and its Composers (London, [1924]).

Dominic Gwynn, ‘The lost musical world of the Tudor organ’, in Smith (2019), pp. 49-65.

John Harley, William Byrd: Gentleman of the Chapel Royal (Aldershot, 1999).

____, Orlando Gibbons and the Gibbons Family of Musicians (London, 1999).

____, The World of William Byrd: Musicians, Merchants and Magnates (Farnham, 2010).

____, Thomas Tallis (Farnham, 2015).

John Harper, ‘Continuity, Discontinuity, Fragments and Connections: The Organ in Church, c.1500-1640’ in Hornby (2010), pp. 215-231.

____, ‘Changes in the fortunes and use of the organ in church, 1500-1800’, in Quinn (2018), pp. 59-72.

Asako Hirabayashi, Ornamentation in the harpsichord music of William Byrd (PhD dissertation, Juilliard School of Music, 1997).

____, ‘The Authority of the Bevin table in the interpretation of ornament signs in Elizabethan virginal music’, Harpsichord & fortepiano, ix/1 (Spring 2001), pp. 24-30.

____, ‘A New Interpretation of the English Virginalists’ Ornament Signs’, Early Keyboard Journal xxv-xxvi (2010), pp. 93-123.

Christopher Hogwood (ed.), John Dowland: keyboard music (Launton, 2005).

____, ‘John Dowland at the keyboard’, Early Music xli (2013), pp. 255-272.

____ (ed), The Keyboard in Baroque Europe (Cambridge, 2003).

____and Bernard Brauchli, ‘The Clavichord in Britain and France: a selection of documentary references before 1700’, in Brauchli, Galazzo and Moody (2004), pp. 177-184.

Desmond Hunter, The application of grace signs in the sources of English keyboard music, c.1530-c.1650 (PhD dissertation, National University of Ireland, 1989).

Alec Hyatt King, Some British Collectors of Music, c.1600-1960 (Cambridge, 1963).

John Irving, ‘Morley’s Keyboard Music’, Music & Letters 75, No. 3 (August 1994), pp. 333-343.

Andrew Johnstone, ‘As it was in the Beginning’: Organ and Choir Pitch in Early Anglican Church Music’, Early Music xxxi/4 (November 2003), pp. 506-525.

H. Diack Johnstone, ‘A Fitzwilliam Mystery’, The Musical Times 107, No. 1480 (June 1966), pp. 496-497.

____, ‘The English Beat’, in Judd (1992), pp. 34-44.

Pamela Palmer Jones, The Fitzwilliam Virginal Book: Historical Background and Performance Practice Issues (DMA dissertation, University of Utah, 2009).

Robert Floyd Judd (ed.), Aspects of keyboard music: essays in honour of Susi Jeans on the occasion of her seventy-fifth birthday (Oxford, 1992).

Francis Knights, ‘The clavichord in Tudor Cambridge’, British Clavichord Society Newsletter, xli (June 2008), pp. 3-7.

____, ‘Virginalist ornamentation and interpretation’ Early Keyboard Journal xxxiii (2016).

____, ‘Italian Madrigals in the Paston Manuscripts’, National Early Music Association Newsletter iv/1 (Spring 2020), pp. 24-44.

____, ‘Revisiting the keyboard music of Giles Farnaby’, The Musical Times, clxii/1954 (Spring 2021), pp.29-36.

John Koster, ‘The Importance of the Early English Harpsichord’, Galpin Society Journal xxxiii (March 1980), pp. 45-73.

____, ‘Transposition and tuning from Schlick to Sweelinck’, Organ Yearbook xli (2012), pp. 59-90.

____, ‘Questions of Keyboard Temperament in the Sixteenth Century’, in Woolley (2013), pp. 115-130.

____, ‘The harpsichords of the virginalists’, in Smith (2019).

Edward Kottick, A History of the Harpsichord (Bloomington IN, 2003).

Mark Kroll (ed.), The Cambridge Companion to the Harpsichord (Cambridge, 2019).

Harry B. Lincoln, The Italian Madrigal and Related Repertories (New Haven, 1988).

Tomi Mäkelä, ‘“As I Went to Walshingham”. Über den Sinn einer zyklischen Betrachtung der Liedvariationen von John Bull’, Acta Musicologica lxviii/1 (January- June 1996), pp. 23-47.

Richard Marlow, Critical edition of the keyboard works of Giles and Richard Farnaby (PhD dissertation, University of Cambridge, 1966).

____, ‘Sir Ferdinando Heyborne alias Richardson’, The Musical Times cxv (1974), pp. 736–739.

Christopher Marsh, Music and Society in Early Modern England (Cambridge, 2010).

Darryl Martin, ‘Two Elizabethan Virginals?’, Galpin Society Journal liii (April 2000), pp. 156-167, addendum in liv (2001), pp. 432-436.

____, The English Virginal (PhD dissertation, University of Edinburgh, 2003).

____, ‘From the Virginal to the Spinet: Domestic Keyboard Instrument Manufacture and Use in Stuart England’, in Donahue (2011), pp. 1-12.

Kerry McCarthy, Byrd (Oxford, 2013).

____, Tallis (Oxford, 2020).

John Meffen, The temperament of keyboard instruments in England during the late sixteenth and early seventeenth centuries (dissertation, Durham University, 1973), http://etheses.dur.ac.uk/10096.

Thomas Morley, A Plaine and Easie Introduction to Practicall Musicke (London, 1597).

Davitt Moroney, ‘Bounds and Compasses: The Range of Byrd’s Keyboards’, in Banks, Searle and Turner (1993), pp. 67-88.

Tessa Murray, Thomas Morley: Elizabethan Music Publisher (Woodbridge, 2014).

Edward W. Naylor, An Elizabethan Virginal Book (London, 1905).

Oliver Neighbour, The Consort and Keyboard Music of William Byrd (London, 1978).

Grant O’Brien, Ruckers: A harpsichord and virginal building tradition (Cambridge, 1990).

Alexei Panov and Ivan Rosanoff, ‘Performing Ornaments in English Virginal and Harpsichord Music (Based on the Study of Original Interpretation Instructions)’, Arts x/1 (2020), pp. 41–67.

Robert Parkins, ‘Keyboard Fingering in Early Spanish Sources’, Early Music, xi/2 (July 1983), pp. 323-331.

John A. Parkinson, ‘A Fitzwilliam Mystery’, The Musical Times 107, No. 1483 (September 1966), p. 782.

Anthony Gaetano Petti, ‘New Light on Peter Philips’, The Monthly Musical Record, 87 (1957) pp. 58-63.

David Pinto, ‘Walter Earle and his successors’, The Consort xlix (1993), pp. 13-16.

____, ‘Gibbons in the Bedchamber’, in Andrew Ashbee and Peter Holman (eds.), John Jenkins and his Time (Oxford, 1996), pp. 89-109

Tihomir Popović, Mazene - Manusckipte - Modi: Untersuchungen zu My Ladye Nevell’s Booke (Stuttgart, 2013).

Diana Poulton, John Dowland, his life and works (London, 2/1982).

Michael Praetorius, Syntagma musicum, iii (Wittenberg, 1614).

Iain Quinn (ed.), Studies in English Organ Music (Abingdon, 2018).

Rudolf Rasch, ‘The Messaus-Bull Codex London, British Library, Additional Manuscript 23.623’, Revue Belge de Musicologie l (1996), pp. 93-127.

David Price, Patrons and Musicians of the English Renaissance (London, 1981).

Richard Rastall, The Notation of Western Music: An Introduction (London, 1983).

Malcolm Rose, ‘Further on the Lodewijk Theewes Harpsichord’, Galpin Society Journal lv (2002), pp. 279-309.

____, ‘The history and significance of the Lodewijk Theewes claviorgan’, Early Music, xxxii (November 2004), pp. 577-592.

A. L. Rowse, ‘Francis Tregian’, Music & Letters xxxiii/2 (April 1952), p. 192.

Raymond Russell rev. Howard Schott, The Harpsichord and Clavichord (London, 2/1973).

Bertram Schofield and Thurston Dart, ‘Tregian’s Anthology’, Music & Letters xxxii (1951), pp. 205-16.

David L. Schulenberg, ‘The Keyboard Works of William Byrd: Some Questions of Attribution, Chronology, and Style’, Musica Disciplina xlvii (1993), pp. 99-121.

____, ‘Ornaments, Fingerings, and Authorship: Persistent Questions About English Keyboard Music circa 1600’, Early Keyboard Journal xxx (2013), pp. 27–51.

Erich Paul Schwandt, The ornamented clausula diminuta in the Fitzwilliam virginal book (PhD dissertation, Stanford University, 1967).

Watkins Shaw, The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c.1538 (Oxford, 1991).

Martin Shepherd, ‘The Interpretation of signs for graces in English lute music’, The Lute xxxvi (1996), pp. 37-84.

Christopher Simpson, The Principles of Practical Musick (London, 1667).

Alexander Silbiger (ed.), Keyboard Music before 1700 (New York, 2/2004).

Anne Smith, The Performance of 16th-Century Music (Oxford, 2011).

Eleanor Smith, ‘The English Claviorgan in the Sixteenth and Seventeenth Centuries’, Galpin Society Journal lxviii (Spring 2015), pp. 21-34.

David J. Smith, The Instrumental Music of Peter Philips: its Sources, Dissemination and Style (dissertation University of Oxford, 1994).

____, ‘A Legend?: Francis Tregian the Younger as Music Copyist’, The Musical Times 143, No.1879 (Summer 2002), pp. 7-16.

____, ‘Making Connections: William Byrd, ‘Virtual’ Networks and the English Keyboard Dance’, in Woolley (2013), pp. 19-30.

____, ‘Seven Solutions for Seven Problems: the Fitzwilliam Virginal Book’, in Smith (2019), pp. 163-183.

____ (ed.), Aspects of Early English Keyboard Music before c.1630 (Abingdon, 2019).

____ and Rachelle Taylor (eds.), Networks of Music and Culture in the late Sixteenth and Early Seventeenth Centuries (Farnham, 2013).

Yael Sela Teichler, ‘My Ladye Nevells Booke: music, patronage and cultural negotiation in late sixteenth-century England’, Renaissance Studies xxvi/1(February 2012), pp. 88-111.

Ruby Reid Thompson, ‘The “Tregian” manuscripts: a study of their compilation’, British Library Journal, xviii (1992).

____, ‘Francis Tregian the Younger as Music Copyist: A Legend and an Alternative View’, Music and Letters lxxxii/1 (2001), pp. 1-31.

____, Beyond the Tregian Theory: Physical Analysis and Content of the Fitzwilliam Virginal Book; Egerton Ms 3665; Drexel Ms 4302; and Christ Church Mus. 510-14, Layer 2 (University of Cambridge, 2023).

Robert Toft, ‘Tune Thy Musicke to Thy Hart’: The Art of Eloquent Singing in England 1597-1622 (Toronto, 1993).

Raymond Francis Trudgian, Francis Tregian, 1548-1608, Elizabethan Recusant, A Truly Catholic Cornishman (Brighton, 1998).

Pascale Vandervellen (ed), The Golden Age of Flemish Harpsichord Making: a Study of the MIM’s Ruckers Instruments (Brussels, 2017)

Willem Diederik Viljoen, The Ornamentation in the Fitzwilliam Virginal Book, with an introductory study of contemporary practice (PhD dissertation, University of Pretoria, 1986).

Pamela Willetts, ‘Tregian’s Part-Books’, The Musical Times, civ (1963), pp. 334-336.

____, ‘Oportet Meliora Tempora Non Expectare Sed Facere. The Arduous Life of Francis Tregian, The Younger’, Recusant History xxviii/3 (2007), p. 378.

Michael I. Wilson, The Chamber Organ in Britain, 1600-1830 (Abingdon, 2/2016).

Walter L. Woodfill, Musicians in English Society from Elizabeth to Charles I (Princeton, 1953).

Andrew Woolley and John Kitchen (eds.), Interpreting Historical Keyboard Music: Sources, Contexts and Performance (Farnham, 2013).

David Wulstan, Tudor Music (Iowa City, 1986).