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Contents: Introduction. Part 1 The Lives and Times of Thomas Tomkins and his Family, Anthony Boden: Lostwithiel St David's Menevia sacra Gloucester Her Majesty's chapel Worcester Awfull majestie The greatest maecenas Sceptre and crown Sacred and profane A faithful city Distracted times. Part 2 The Music of Thomas Tomkins, Denis Stevens: Musica Deo Sacra Songs of 3, 4, 5 and 6 parts Music for keyboard instruments Consort music. Part 3 Further Commentaries: Thomas Tomkins: an appreciation, Bernard Rose Sacred music omitted from Musica Deo Sacra, Peter James Thomas Tomkins: borrowings, self-borrowings and homage, David R.A. Evans. List of works and their sources Bibliography Index.

W HEN he edited the Fifth Edition of Grove's Dictionary, Eric Blom worked with minimal assistance in a parsimonious postwar situation: no subeditors, no committees, no computers. Stanley Sadie, the editor of The New Grove, maintains with justifiable pride that most of the dead wood has now been removed in order that a new and vigorous growth could take its place with ample room for expansion. His new edition is nothing if not expansive. And in general, the overseeing of this vast and complex project has been carried out with exemplary patience and thoroughness, for which Dr. Sadie and his loyal team of helpers deserve the highest praise. In the articles on Baroque topics, there is much material of which they may justly be proud. Claude Palisca's survey of the terminology, aesthetics, and scope of the Baroque concept should be carefully digested by all who use the word or study the period. Its etymology is carefully explained, and its chronological limits are clearly and reasonably defined. Inevitably, there are some composers whom we consider as belonging to the Renaissance in a historical sense, though projecting an avant-garde vein of musical thought in certain of their works. Gesualdo's madrigals have no continuo part, yet their sectionalized construction clad with anticlassical chords and contours stamps them as Baroque in the true meaning of the word. Lorenzo Bianconi's article could have brought out this point a little more persuasively, as Glenn Watkins does in his authoritative study of the composer. In a different way from Gesualdo, William Byrd often displays Baroque tendencies especially in his Great Service and in his verse anthems. If the English betrayed their lack of interest in cori spezzati as

SEVERAL YEARS AGO, attention was drawn in the pages of this JOURNAL tO a mid-I6th-century setting, by an English composer, of a sequence for Easter Day.' The work in question made its first appearance in musicological literature in the early years of this century, its description being tantalizingly brief and enigmatic: "Fulgens. Darauf folgen 13 Arrangements."2 Miller's article, although it atoned for Davey's brevity, retained the enigma: Why was the piece written? Was it liturgical? Were the verses to be played along with the chant? The present study is concerned with solving the enigma and showing how the music is indeed unique in being part of a large-scale liturgical composition. As a keyboard setting of a sequence, it is unique neither in the repertory of the Tudor organists nor in that of contemporary continental masters.

THE word 'pre-Reformation' is almost sufficiently sweeping and spacious to provoke hasty calculations about the true bulk and vastness of the unseen part, the submerged part of the English musical iceberg. As a nation, we are certainly insular; the greater part of our traditions lies beneath the surface; and we often refer in terms of icy contempt to the noble efforts of our musical forefathers, who were intent upon outstripping their continental rivals. Writers on early organ music are frequently out of sympathy with, and consequently unkind to, our English composers. Gabrieli and Titelouze are lauded to the loft, if not to the skies; while the works of our hempen homespuns-Allwood, Burton, Coxsun, Farrant, Kyrton, Preston, Redford, Rhys, Shelbye, Shepherd, Strowger, Tallis, Taverner, Thorne, and Wynslate-are passed over with scarcely a mention. The reason is not hard to seek. Very little of our early organ music has been transcribed and published in modern editions: of the composers mentioned at least eight are practically unknown, and although a few pieces by the others have been re-edited, only one of them-John Redford-enjoys the distinction of having a complete edition and commentary.' In some ways, the problems posed by this music are relatively small when'compared to the multitude of sources for Tudor Church Music. Against the hundreds of manuscripts scattered not only throughout our great public and private libraries, but also in cathedral cities up and down the country, we find only a handful of manuscripts containing genuinely Tudor keyboard music. Four are to be found in the British Museum, and one in Christ Church, Oxford. Apart from fragments, therefore, it is possible to count the sources on the fingers of one hand: Royal App. 56, Add. MS. 15233, Add. MS. 29996, Add. MS. 30513-and in Oxford, Christ Church MS. 371.

sance Music'. The description of the Fountains Abbey manuscript, together with an uncommonly generous batch of facsimiles and musical examples, appeared in the January 1958 issue of 'Music & Letters', and this brief postscript is offered as an amplification of the pioneer work achieved by my revered former teacher Dr. H. K. Andrews and my friend and colleague Thurston Dart. In the course of confirming their suggestion that the manuscript contains music of the Cistercian rite, I hope to show also that the manuscript had two different and distinct periods of use; that there were two scribes; that the order of the four folios can be restored with a reasonable degree of certainty; and that another English manuscript (on the basis of a concordance with this one) can be identified as Cistercian in origin. The point of departure might well be the description of items III ('Gloria Patri'), V ('Constantes estote') and VII ('Constantes