The Dublin Virginal Manuscript: new perpectives on virginalist ornamentation

T was John Ward and Thurston Dart who first drew attention to the importance of the Dublin Virginal Manuscript as a source of English keyboard music.' An edition of the manuscript prepared by John Ward was published in 1954; a revised edition was issued in the 196os; and the third edition, with the original note-values restored, was published in 1983.2 The next step surely will be to publish a facsimile of the original (perhaps in conjunction with a CD recording of the music). The manuscript, the most substantial collection of secular English keyboard music before My Ladye Nevells Booke (1591), was compiled c.1570 in England by an unknown copyist. It was brought to Ireland early in the 17th century by Archbishop Ussher (1581-1656), who from 1603 visited England on a number of occasions, largely in his capacity as a bibliophile.3 The manuscript contains 30 pieces. In the main these are a mixture of pavan/galliard pairs, arrangements of popular songs, and variation sets. John Ward notes that 'The handwriting ... is neat ... errors are usually corrected ... the MS gives every indication of careful copying and actual use.'4 This is an important point. Indeed, the correction of a number of misplaced grace signs is indicative of the degree of care exercised by the copyist; this is of particular relevance to the subject of this paper. The manuscript is undated and none of the pieces is titled, though one is ascribed to 'Mastyre Taylere', apparently the John Tayler who was organist of Westminster Abbey, 1562-7o.5 The focus of this article is on embellishment, in particular on that implied by the grace signs used in the manuscript. The striking features of the application of singleand double-stroke signs invite close study, not least because of what light such an examination might shed on virginalist practice generally. The Dublin Virginal Manuscript is the earliest surviving source of English keyboard music in which grace signs are applied with any degree of consistency. The ornamentation provided is not lavish. It may be reasonably extensive during the first strain or section of a piece, with few, if any, signs thereafter. Conversely, there may be little or no ornamentation at the beginning, but signs introduced later in the piece to highlight particular figuration. To give a brief overview of the nature of the application: the principal sign used is the double stroke, which, in the main, graces relatively short notes in the treble line; in seven instances it decorates a note in the initial