Text by Thomas Campion [?]
Music by Philip Rosseter
What is a day, what is a yeere?
Of vaine delight and pleasure?
Like to a dreame it endlesse dies,
And from vs like a vapour flies :
And this is all the fruit that we finde,
Which glorie in worldly treasure.
He that will hope for true delight,
With vertue must be graced ;
Sweete follie yeelds a bitter tast,
Which euer will appeare at last :
But if we still in vertue delight,
Our soules are in heauen placed.
This copy comes from the Luminarium site created by Anniina Jokinen and is used by permission. http://www.luminarium.org/renlit/whatis.htm
I don't know of any recordings of this song. but Harald Lillmeyer has made a midi file of this song. It is available at; http://kulturserver-bayern.de/home/harald-lillmeyer/Texte/Downloads/Downloads.html - P. T. C.
John Jeffreys writes "Number eighteen 'What is a day?' with its two verses and fine moral advice 'He that will hope for true delight with vertue must be graced' is excellent." * page 47.
Richard Alison also made a setting for a poem related to Rosseter's in his 'An Howres Recreation in Musicke (1606). The text is given below. It is also taken from the Luminarium site which credits both versions to Campion. These days many people (like John Jeffreys) feel that Rosseter wrote his own lyrics. The Alison version sounds to me like Campion because of lines like "All our joyes are but toyes" that sound like Campion's 'Now winter nights' from his 'The Third Book of Ayres' (c.1618).
Dr. David Greer from the University of Durham in the UK, did a paper, on this song, titled "What if a day": an examination of the words and music', in Music and Letters, 43 (1962), (page 304 to 319) a work that he refers to a couple of times in the passages I have cited below. - P. T. C.
David Greer writes about 'What if a day' in his essay on Robert Jones's "Farewell dear loue" that is titled 'Five variations on "Farewell dear loue"'. The following quotes come from this from essay;
The history of ' Farewell dear love ' has close parallels with that of another popular Elizabethan air ... ' What if a day '. Both travelled to Scotland in the same year, 1603, first appearing there in publications of the Edinburgh publisher Robert Charteris. Both became popular in the Netherlands and are found in the same Dutch songbooks. And both are unusual in the air repetory in that they were both treated to musical parody. Jones provided his own parody of ' Farewell dear love ' in his fourth book of airs, entitled A Musicall Dream, in 1609. In general, he imitates the rhythms and phrase-lengths of his original tune for comparison. Richard Allison 's parody of ' What if a day ' occurs in his Howres Recreation in Musicke of 1606, and in setting the second stanza, ' Earthes but a point ' he produces a further a further parody. - page 221 - David Greer (1990).
Greer give examples of the opening of both verses of these pieces.
... Jones ' s parody belongs to the small category of lutenist duet-air. Alison 's pieces are for four or five voices, but they are mostly scored for two cantus parts, a feature to which he draws attention in his title page and for which he gives the following explanation: ' All for the most part with two trebles, necessarie for such as teach in priuate families ...' . It may be that the didactic strain running through English music of this period is stronger than is genarally recognized. ... - page 222 of 'Five variations on "Farewell dear loue"', by David Greer (1990).
'Farewell dear love' is one of the English tunes that found their way to the Netherlands in the early seventeenth century. In view of the many English composers employed on the Continent in this period (Dowland, Bull, Philips etc.) it is hardly surprising that English tunes appear in Continental sources. But an equally potent agent in the process of transmission was the constant stream of English acting companies that travelled on the Continent. Ocasionally we have clear evidence that this was indeed the means by which a tune was transmitted, as is the case with 'What if a day', which is entitled 'Camedianten dans ' in Valerius's Neder - Landtsche Gedenck-Clanck. - page 218 'Five variations on "Farewell dear loue"', by David Greer (1990).
Philip Rosseter got a license, to train children in acting in 1610, with Robert Brown and Richard Jones. Later Rosseter got a license with Robert Jones, Philip Kingham and Ralph Reeve. No other names loomed larger than these four men, in leading the English acting companies that travelled on the Continent. Evidence of Rosseter's deep continental conection is further revealed by the fact that most of Rosseter's family ended up in the Netherlands after he passed away. There Philip Rosseter's son, lutenist, Dudley Rosseter can be connected to, the major European lute music publisher, Joachim van den Hove. Hove had printed a lot of John Dowland music in 1601 and 1612. - P. T. Connolly.
What if a day, or a month, or a yeare
Crown thy delights with a thousand sweet contentings?
Cannot a chance of a night or an howre
Crosse thy desires with as many sad tormentings?
Fortune, honor, beauty, youth
Are but blossoms dying;
Wanton pleasure, doating love,
Are but shadowes flying.
All our joyes are but toyes,
Idle thoughts deceiving;
None have power of an howre
In their lives bereaving.
Earthes but a point to the world, and a man
Is but a point to the worlds compared centure:
Shall then a point of a point be so vaine
As to triumph in a seely points adventure?
All is hassard that we have,
There is nothing biding;
Dayes of pleasure are like streames
Through faire meadowes gliding.
Weale and woe, time doth goe,
Time is ever turning:
Secret fates guide our states,
Both in mirth and mourning.
Text Source: The Anchor Anthology of Sixteenth-Century Verse. Richard S. Sylvester, ed.
Anchor Press/Doubleday, Garden City: 1974. p. 549.
The Luminarium site also has a Midi Music version of 'What if a Day' which was sequenced by John Cowles.
Kinde in vnkindnesse when will you relent,
And cease with faint loue true loue to torment,
Still entertain'd excluded still I stand,
Her gloue stil holde, but cannot touch the hand.
In her faire hand my hopes and comforts rest,
O might my fortunes with that hand be blest,
No enuious breaths then my deserts could shake,
For they are good, whom such true loue doth make.
O let not beautie so forget her birth,
That it should fruitles home returne to earth,
Loue is the fruite of beautie, then loue one,
Not your sweete selfe, for such selfe loue is none.
Loue one that onely liues in louing you,
Whose wrong'd deserts would you with pity view,
This strange distast which your affections swaies,
Would relish loue, and you find better daies.
Thus still my happie sight your beautie viewes,
Whose sweet remembrance stil my hope renewes,
Let these poore lines sollicite loue for mee,
And place my ioyes where my desires would bee.
Source ; A site created by Harald Lillmeyer. Mr. Lillmeyer typed the text from a facsimile of the 1601 booke and preserved the original spelling. This texts copyright © Harald Lillmeyer, 2004 and is used by his most kind consent.
This site can be found at; http://kulturserver-bayern.de/home/harald-lillmeyer/Texte/Downloads/Downloads.html
'XIX. Kind in unkindness' - Notes, Recordings and Comments
John Jeffreys writes "The five verses of 'Kind in unkindness' are of unrequited love touching expressed." * page 47.
I don't know of any recordings of this song, but Harald Lillmeyer has made a midi file of this song. It is available at the address above. - P. T. C.
Richard Allison put Philip Rosseter's 'What if a day' to a musical parody and Rosseter set about 4 or 5 of Allison's songs in his Lessons for Consort (1609). So, on this half page, I will do a little examination of Richard Allison.
For a short summery of Allison, we can turn to Chris Whent's, Here Of A Sunday Morning, (HOASM), Early Music site, from WBAI radio in New York where it says;
"Richard Alison (? - before 1609)
English composer. His Psalms of David in Meter (1599) was a much admired collection of settings a 4 or for one voice and lute; An Hour's Recreation ...(1606) is a mixture of madrigals and anthems. He also contributed to East's and Ravenscroft's psalters, and Morley's Consort Lessons."
For this Richard Allison half page I have not taken pains to make a discography, but a partial one 'A Partial Richard Alison Discography' can be found on Chris Whent's Here Of A Sunday Morning site at;
In his book on Philip Rosseter, John Jeffreys makes this comment comparing Alison's madrigals to Jones's madrigals;
... Both Allison and Farmer were the authors of some excellent madrigals. The former's work provides us with a noticeable contrast to that of other Madrigalists, as a whole, in that it is predominately homophonic. He also showed a rare discretion in his choice of words. ... One of the other few composers who thus scored some madrigals was Robert Jones. ... " 'The Life And Works of Philip Rosseter' John Jeffreys, (page 16).
John Jeffreys adds more frends to the circle so we get a picture that encompases John Dowland, Thomas Campion, Richard Allison, Philip Rosseter, Robert Jones and Giles Farnaby;
Richard Allison [was] ... esteemed by Dowland, who composed a complimentary Sonnet to him which was printed in the 'Psalmes' after the prevailing custom of the day. Allison, too, was a friend of Giles Farnaby1 (that virtuoso of the virginal who so much admired Rosseter's work) and was the author of at least twenty songs and instrumental pieces besides. In 1606 he published 'An Howres Recreation', a work of considerable intrest, in which the words of the pieces numbering 1, 2, 17, 19, 20 and 21 are by Thomas Campion. It is possible he was a friend of both Rosseter and Campion. - John Jeffreys (* page 15)
Dr. Craig-McFeely indicates that Richard Allison's circles of influence was much wider;
For PDF files go to http://www.craigmcfeely.force9.co.uk/thesis.html CHAPTER 7 - Case studies: part 2
For text files go to http://www.cs.dartmouth.edu/~wbc/julia/ch7/7e.htm CHAPTER 7 e
CHAPTER 6 ... The more professional players, however, have a tendency to appear in more than one source [of manuscripts of lute music], and possibly over a considerable time-span. John Dowland is one such known scribe, as is the scribe tentatively identified as Richard Allison. ...
CHAPTER 7 e or Case studies: part 2 ... That John Dowland and Sir William Leighton contributed laudatory poems indicates the high regard in which he was held by his contemporaries, as well as a certain familiarity with them. The copying of this scribe who could be Allison includes quite a significant proportion of Dowland's works, and those that are titled are correctly ascribed to the composer. ...
If Allison was principally a teacher this would imply that all the sources in which he appears are pedagogical sources. However, ... , but since Matthew Holmes was officially a professional singing man, rather than a professional lutenist ... , he may have availed himself of the opportunity to take some lessons with Allison while he was still collecting music in this, one of his earlier books. ... . ...
Just as the Holmes books [Dd.4.22, Dd.9.33] are a highly significant collection of sources, ... Richard Allison, is probably the most significant of any surviving from this period, since his widespread activity suggests not only links between a spectacularly large proportion of the extant source, but also indicates a degree of activity that can only satisfactorily be explained as the practice of a teacher. A musician of Allison's stature and reputation would be more likely to have had a sphere of influence as wide as this than someone unknown. .... If ..., then the known activity of this scribe appears to cover a period of about 25-30 years. This would not be an unreasonable working span for any scribe, whatever his purpose in copying, and would certainly be a reasonable working life for a teacher.
The scribe responsible for the samples of tablature discussed here appears to have been active in four otherwise discrete manuscript sources of this period. That he may have been associated with 10% of all the surviving sources of English lute music suggests one of two things: either that he had an exceptionally wide sphere of activity and influence, or that the surviving sources from this period, which had hitherto appeared to be a representative sampling of a generation of books, are in fact not so. The transmission of the contemporary consort repertory through scribal publication may provide some clues to the apparently exceptional connection between so many of the sources, but the indubitably peculiar characteristics of the lute playing and copying community seem to exclude this type of relationship.
... . If, ... then ... If ... is accurate then ... . Even ... is very tenuous ... the total of linked sources to 12 ... sources out of only 41. This is over 25% the surviving sources. ...
If Allison was a well-known teacher, then perhaps the suspicious number of sources in which he is active is not quite as peculiar as the statistics would seem to suggest. It is clear that he tended to make more than just passing acquaintances with either these manuscripts or their owners, and he may indeed have been a teacher to whom many Londoners gravitated or were directed, suggesting a respectable reputation, particularly as a player of Dowland's reputation seems to have held him in some esteem. John Dowland, where he writes in manuscripts, does not appear to have been a particularly active copyist, perhaps because his hand was often not as neat or legible as that of his pupil. His fame rested on his abilities as a player and a composer though, not as a teacher. The fact that Allison appears in Matthew Holmes's book in an apparently didactic guise is another suggestion that he was considered a fine teacher by his professional contemporaries, ... . ... .
Although the evidence pointing to the identity of the scribe ... as Richard Allison is undoubtedly circumstantial, it is nevertheless clear that all those factors regarding the activity of the scribe, regardless of his name, remain unchanged. He was clearly a teacher of some reputation, working in London between about 1585 and 1615, and one who had an impressive atelier and sphere of influence. The sources that are linked in this small London circle facilitate the understanding of the other very small hints that can be seen as each source in the repertory is examined in detail, allowing the extrapolation of what is probably a reasonably accurate picture for the lute playing world in England during the height of the instrument's popularity. - Dr. Craig-McFeely
A major London composer conspicuously missing in these English manuscripts of lute music is Robert Jones. Dr. Craig-McFeely does not include his signature in her list [Craig-McFeely Chapter 7, table 44] of known scribes. Perhaps his writing could still be identified in these manuscripts. Robert Jones is better represented in European sources [Craig-McFeely Chapter 2, table 13] where, if we credit the two Robin Jones songs to him, his three or four songs ('Farewell dear love' and the 'Volt' in Besard (1603)) would rank him high among English musicians.
Reasons that I can think of for his absence are (1) he was not so much a lutenist as a singer who accompanied himself on the viol (as more song manuscripts are accompanied by viol than lute) and (2) he was on the young side (but not as young as Robert Johnson "Shakespeare's Lutenist").
We know that Robert Jones and Philip Rosseter would end up working in the theatre. Working for 'That strumpet the stage' was not esteemed nor was being an 'itinerant' musician. I do not know of anyone who composed a complimentary poems to Robert Jones or Philip Rosseter. Many North Americans forget that England had (and still has to a much lesser degree) a class system. Beyond any of their artistic superiority, Richard Allison and orphan Thomas Campion likely came from higher class families than did the likes of Robert Jones and Philip Rosseter. To a great degree these men were all bared from rising very high in a society that stifled even the greatest mind of that time. - P. T. Connolly.
XXV. (Sonnet 25 William Shakespeare)
Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars,
Unlook'd for joy in that I honour most.
Great princes' favourites their fair leaves spread
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
The painful warrior famoused for fight,
After a thousand victories once foil'd,
Is from the book of honour razed quite,
And all the rest forgot for which he toil'd:
Then happy I, that love and am beloved
Where I may not remove nor be removed.
This is a list of works of Richard Allison that I compiled mostly from Dr. Craig-McFeely's 'English Lute Manuscripts And Scribes 1530 - 1630 but also from N. Fortune's essay in the 1965 edition of 'The Lute Society Journal', John Jeffreys' 'The Life And Works of Philip Rosseter' and Chris Whent's, (HOASM) (from whom I have quoted from above without quotation marks).
I hope to complete the list with things like the Allison works in 'Psalms of David in Meter' later. I still need to go over things like Dr. Craig-McFeely's 'APPENDIX 6 Duet and consort music in solo lute sources' again.
Julia Craig-McFeely's thesis, on solo lute music, makes a thorough examination of printed and manuscripts sources of English solo lute music. Dr. Craig-McFeely's site is a good Richard Allison site because he is a key figure in her study and she dedicates a chapter section to the scribe tentatively identified as him.
http://www.craigmcfeely.force9.co.uk/thesis.html (for PDF files)
However Dr. Craig-McFeely's site does not have a simple list of his works and I hope you will find my list of some use.
I have compiled this mix of printed books and manuscripts in a rough chronological order.
I have put the individual pieces in colour (red) and they do not repeat but for Philip Rosseter's Lessons for Consort. - P. T. Connolly
The order for the important manuscripts is thus;
Modern title - Original title & Folio) Allison and /or other composers - (the concordances from Dr. Craig-McFeely, using her abbreviations)
Dolorosa Pavan (Pauen Dolorosa Ri: Allison - 4v-5/1) Richard Allison (Dd.3.18 46v-47 and 53v (cnst pts) Dd.5.78.3 32v/1)
? Dr. Craig-McFeely does not list this piece in her 'Index of composers' - Fantasia [bandora] (fantaz[ia] Ri: Ali - 28v) Richard Allison (31392 40v-41 cf solo: Dd.5.78.3 58v-59/1 - Board 29v - Mertel 1615 219/2-220 - Mylius 1622 38/2-39) ?
Pavan (Pauen Ri: Allison - 71) Richard Allison (Hirsch 3v-4/1 - 31392 30v-31 - Dd.5.78.3 33/1)
Almain (Allmaine R. Alison - 75/2) Richard Allison (found only in this manuscript)
Primero (Primero - 87v) Richard Allison (cf: Board 13v-14/1 (in C))
Sir Walter Raleigh's Galliard (Sir Walter Rawley f. Cutting Galliarde W: Bradbery - 79v/1) Francis Cutting/ William Bradbury/ Richard Allison (Dd.5.78.3 46 & 45v - Euing 40 - Board 23v/1 - cf: Dolmetsch 99v-100 - Aegidius 150v-151 - Besard 1603 111/2 - N?rnberg 3v-4 and 16v). Allison's name seems to be added to manuscripts at a much later date, and thus he is a less likely author of the work, making Dr. Craig-McFeely put his name at the end.
Pavan ([Pavyn Maister?] R: Allison - 97v) Richard Allison (31392 31v-32)
Allison's Pavan, consort part (Alysons Pauen / Alisons Pauen [index:] Alisons Pauen. - 19v-20/1) Richard Allison (found only in this manuscript)
? Allison's Knell, consort part (Allisons Knell [index:] Allisons Knell. - 31v-32/1) Richard Reade/ ?Richard Allison
Go From My Window, consort part (Go from my Window. Ri: Alison - 34v-35) Richard Allison (Board 10/3 - Euing 48v-49/1 - Montbuysson 1/1 - 2764(2) 9v (dt/cnst) - Collard: Dd.9.33 31v-32 - Pilkington: 31392 26v-27 - JD: Euing 17v-18/1- Barley1596 66-69 (orph.) - Dd.5.78.3 39v-40 Pickeringe 29v Thysius 395/2 Robinson: Dd.2.11 3 - Dd.5.78.3 40v Folger 17 Robinson 1603 29) John Dowland's name is in Barley's 1596 book and Pilkington's name is added to Additional 31392 (below), and thus it is questionable as to whether Richard Allison was the author of the work.
In their liner notes Fithian and Henriksen write that tunes such as 'Go From My Window' and 'Spanish Pavan' were "variations on popular tunes." 'Go From My Window' is credited to Richard Allison a couple of times.
Bacheler's Delight, consort part (Bachelers Delight Ri: Alison [index:] Bachelers Delight - 44v/2-45) Richard Allison
Dolorosa Pavan, consort part (Dolorosa Pauen. Ri Allison [index:] Dolorosa pauen. - 46v-47) Richard Allison Dd.2.11 4v-5/1 Dd.3.18 53v (cnst pt) Dd.5.78.3 32v/1
Mrs Millicent's Pavan, consort part (Mrs Millicents Paven Ri Alison - 57v-58) Richard Allison - see Rosseter's Lessons for Consort (1609) below.
1. ? 2. ? 3. ? 4. ? 5. ? 6. ? 7. ? 8. ? 9. ? 10. ?
Two works by Richard Allison are printed in 'Twenty Songs from Printed Sources' which is published by Stainer & Bell and edited by David Greer (see above). (Ref. LS19);
These works are:
O Lord, turn not away thy face
When we sat in Babylon
They are scored to the Lute, Bandora, Cittern and Lyra Viol so perhaps they are from this book.
The Bachelars Delight Dr. Craig-McFeely does not list this piece as a concordances cons. & cogs. of Bacheler's Delight in Ms.Dd.3.18 above but I would guess it is. [A recording of this piece is on the CD 'The Lady's Delight' by the Baltimore Consort]
De la Trombo Pavan - see Rosseter's Lessons for Consort (1609) below.
Allison's Knell - see Rosseter's Lessons for Consort (1609) below.
Pavan (a Pavyn by maister Allison 30v-31) Richard Allison (see concordances above: Dd.2.11 71)
Pavan (a pavyn by maister Richard Allison: 31v-32) Richard Allison (see above: Dd.2.11 97v)
Sharp Pavan (a pavyn by maisterRich: Allison. - 32v-33) Richard Allison (Fuhrmann 1615 59 - British Library Ms Hirsch.M.1353 4v-5/1 and 63v - 31392 32v-33 [?] - cf: Herhold 35v-37/1 [corrupt] - dt: Pickeringe 11v-12 - Folger 17-18 - ML 5v-6 - Trumbull 17 (gr.)
Pavan (a pavyn by maister Richard Allison. - 33v-34/1) Richard Allison (found only in this manuscript)
12. Millicent Pavan : Richard Allison.
N. Fortune lists the concordances as "Lute part, CUL Dd.3.18., a.57 v, 58". ('Mrs. Millicent's Pavan'); bass viol, CUL Dd.5.20.., f.10 v.
13. MilIicent's Galliard : Richard Allison.
*N. Fortune lists the concordances as "No other source, but based closely on No. 12".
17. Galliard to de la Tromba : Richard Allison.
N. Fortune writes and lists the concordances as "No other source, but based closely on 'de la Trombo Pavan' in Morley's Consort Lessons (l599), No. 3.
21. Galliard to the Knell : Richard Allison.
*N. Fortune says, in regard to the concordances of this piece, that it has "No other source, but based closely on 'Allison's Knell' in Morley's Consort Lessons (1599), No. ll. R.C.M. Cittern part-book ends here.
Almain (a allmayne by R Alisoune - 10) Richard Allison (found only in this manuscript)
Spanish Measure, duet treble (Spanysh Measurs Treble / The Spanish Measures treble [M]R: Ally: - 4v-5/1) Richard Allison (found only in this manuscript)
Spanish Measure, duet ground (The [g]round / The grounde to the treble before By mrAllysonn - 5/2) Richard Allison (found only in this manuscript)
Passamezzo Pavan (Passeme Pavan R: A: / Passemesu Pavan By Mr Rich: Allysonn - 8v-9/1) Richard Allison (Board 2v/1)
Passamezzo Galliard (Passemesu Gally R: A: / The Gallyard to the pauan before by Mr Ri. Allysonn - 9v-10/1) Richard Allison (found only in this manuscript)
Go From MyWindow ([G]oe fro [m]y / When will my loue comeHowme/ Goe from my wyndowe By mr Ri: Allysonn 10/3) Richard Allison (see concordances above: Dd.3.18 34v-35 (cnst))
Primero (Premero Ri: Ally / Premero / Premero 13v-14/1) Richard Allison (cf:Dd.2.11 87v so see above)
QuadranPavan (Quadran Pavin / Quadran Pavin - 19v-20) Richard Allison (Dd.4.22 4v-5v)
Sir Walter Raleigh's Galliard (Gallyard R. A / A Gall: Mr Allysonn - 23v/1) Francis Cutting/William Bradbury/RichardAllison (see concordances above: Dd.2.11 79v/1)
'Five variations on "Farewell dear loue"', The Well Enchanting Skill: Essays in Honour of Frederick W. Sternfeld, ed. John Caldwell, Edward Olleson and Susan Wollenberg (Oxford, 1990), 213-29
by David Greer, Department of Music, University of Durham.
David Greer, ' " What if a day " An Examination of theWords and Music' Music & Letters, xliii (1962), 304 -19.
Twenty Songs from Printed Sources (Ref. LS19) Stainer & Bell; To the Lute, Bandora, Cittern and Lyra Viol. Edited by David Greer.
* 'The Life And Works of Philip Rosseter' by John Jeffreys (1990)
Roberton Publications, The Windmill, Wendover, Aylesbury HP22 6JJ. Printed in Great Britain by Lavenham Press Ltd.
Julia Craig-McFeely's thesis, on solo lute music titled 'English Lute Manuscripts And Scribes 1530 - 1630'
The new (and official) site of this thesis is http://www.craigmcfeely.force9.co.uk/thesis.html
Dr. Craig-McFeely's Index of composers - http://www.cs.dartmouth.edu/~wbc/julia/ap3/ap3.html
A site created by Harald Lillmeyer that can be found at;
Look under 'Downloads'.
Chris Whent's, Here Of A Sunday Morning, (HOASM), Early Music site, from WBAI radio in New York.
N. Fortune's essay entitled 'Philip Rosseter And His Songs' in issue vii, of the 1965 edition of The Lute Society Journal (pages 7-14).
The CD; 'The Lady's Delight' by the Baltimore Consort (1998) - Dorian Recordings, DOR-90252
Note that I have not taken pains to make a discography, for this Richard Allison half page, but this disc seem to be the only one I have with a song by him on it.
The CD; Music Dear Solace to my Thoughts - Francis Pilkington: Songs from the First Booke of Ayres and Lute Solos by Bruce Scott Fithian (tenor) and Olav Chris Henriksen.
Psalms of David in Meter (London, 1599/Reprinted 1968),
An Howres Recreation in Musicke (London, 1606);
Thomas East's Whole Booke of Psalmes (1592).
Thomas Morley The First Book of Consort Lessons (London, 1599/R 1611) ed. Sydney Beck (New York, 1959)