My Ladye Nevells Booke (British Library MS Mus. 1591) is a music manuscript containing keyboard pieces by the English composer William Byrd, and, together with the Fitzwilliam Virginal Book, one of the most important collections of keyboard music of the renaissance.
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My Ladye Nevells Booke consists of 42 pieces for keyboard by William Byrd, probably the greatest English composer at that time. Although the music was copied by John Baldwin, one of the most famous musical scribes and calligraphers of the day, the pieces seem to have been selected, organized and even edited and corrected by Byrd himself.
A heavy, oblong folio volume, it retains its original elaborately tooled Morocco binding, stamped with the title, on top of a nineteenth century repair. The illuminated coat-of-arms of the Nevill family is on the title page, with the initials "H.N." in the lower left-hand corner. There are 192 folios each consisting of four six-line staves with large, diamond-shaped notes. At the end is a table of contents.
The origins of the manuscript are obscure. Not even the exact identity of the dedicatee is clear, but Lady Nevell was presumably a pupil or patron of Byrd. There have been several contenders for the title among the widespread Nevill family, but recent research points to the most likely as being Elizabeth Neville, wife of Sir Henry Neville of Billingbear, Berkshire (c.1518-1593), whose arms on the title page have now been identified. Sir Henry and his family were not Catholics, but his son Henry's association with Robert Devereux, 2nd Earl of Essex is evidence that the family may have been in favour of religious tolerance.
The date of the manuscript however leaves no doubt, as it was signed as completed by the scribe John Baldwin in Windsor:
Baldwin was a fervent admirer of Byrd: at the end of the fourth galliard he noted: mr. w. birde. homo memorabilis, and elsewhere he wrote a poem praising Byrd, whose greater skill and knowledge doth excelle all at this tyme.
Elizabeth Nevill must have been closely associated with Byrd, whether as pupil or patron is not known, but the book was most probably a gift to her. She lived principally at Hambleden in Buckinghamshire, nearby to where Byrd and his brothers had a home. At some time it was presented to Queen Elizabeth by Sir Henry Nevill, and then passed through various hands until it was given back in 1668 to an unknown Nevill descendant. The book was preserved by the Nevill family until the end of the eighteenth century, when it passed through several collectors' hands until it returned to the possession of William Nevill, 1st Marquess of Abergavenny. In 2006 it was accepted by HM Government in lieu of Inheritance tax, and allocated to the British Library. In 2009 the British Library digitised the manuscript and made it available as a virtual book on its website.
(spelling as in the index to the pieces)
With the exception of the two pieces dedicated to Lady Nevell, the compositions were evidently neither created specifically for the book, nor for the dedicatee, but are representative of some of Byrd's work of the ten to fifteen previous years. The tenth pavan is dedicated to the Catholic John, Lord Petre, while the sixth was for Kinborough Good, daughter of Dr James Good. The manuscript is notable for the lack of any liturgical works, and the pieces may reflect the musical tastes of Elizabeth Nevill herself. Dance music is represented mainly by the ten magnificent but somewhat sombre pavans and their galliards, and there are none of Byrd's more lively corantos and voltas found in the Fitzwilliam Virginal Book, and only one of the almans.
The naive Battell was supposedly written after the Armada victory of 1588, but more probably alludes to one of the Irish rebellions of the time. It is the first known programmed suite of descriptive music, and shows Byrd in a rare lighthearted vein.
The variation forms, sometimes harmonic, sometimes contrapuntal, are on folk-song and dance tunes, and on the hexachord (ut, re, mi, fa, sol, la), possibly an invention of Byrd's. The masterful fantasias and voluntaries (the terms could in this period be used interchangeably), at least one of which is an arrangement of a fantasia for consort, are not likely to have been composed before the late 1580s, but in any case a full generation before the Italian keyboard masters published their toccatas.
Complete recordings of the music in the booke have been made by harpsichordists Christopher Hogwood and Elizabeth Farr. Davitt Moroney's recording of the complete keyboard works of William Byrd of course includes all these pieces. Some pieces, including Sellingers Rownde and Hughe Ashtons Grownde, have been recorded by Glenn Gould on piano.