Musical Settings

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

A

‘Absence, hear thou my protestation’
Poetical, EV1110, ‘Ode. ‘That time and absence proves Rather helps then hurts to loves’, attributed to John Hoskins in some manuscripts.
Printed with a musical setting in Morley, The First Booke of Ayres (1600), sigs. D4v.

‘Alack when I look back upon my youth that’s past’
Paradise, EV1366, ‘He repenteth his follie’, William Hunnis.
Hunnis’s setting for lute and voice appears in L: Add. 15117, c. 1630, fol. 6v-7; printed in William Hunnis, Seven Sobs of a Sorrowful Soul for Sinne (1583), sig. G10-v.

‘And would you see my mistress’ face?’
Poetical, EV2347, ‘Of his Mistresses Face’, Thomas Campion.
Printed with a musical setting in Philip Rosseter, A Booke of Ayres, Song 2, Part II (1601), sig. H1

‘Are Louers full of fire?’
Poetical, EV2435, Madrigal 10. ‘Upon his timerous silence in her presence.’
Reprinted with a musical setting in Robert Jones, Song 25, The First Set of Madrigals, (1607), sig. E.

‘As I beheld, I saw a herdman wild’
Englands Helicon, EV2686, ‘Of Phillida.’
First printed with musical setting in William Byrd, Psalmes, Sonets, & songs of sadnes and piety (1588), song 20, sigs. E1v-2; see also L: Add. 31992, c. 1600, f. 10v

‘As it fell upon a day’
Englands Helicon, EV2745, ‘Another of the same shepherds’, Richard Barnfield.
Reprinted as a broadside ballad, ‘A Louers newest Curranto, or the Lamentation of a young mans folly. To a pleasant new tune’, c. 1625 (Pepys 1.341, EBBA id 20014)

‘At her fair hands, how have I grace entreated’
Poetical, EV3113, Ode II, ‘A dialogue betweene him and his heart’, attributed to Walter Davison.
Reprinted with a musical setting in Robert Jones, Song 19, Ultimum Vale (1605), reprinted in Doughtie ed. Lyrics from English Airs, p. 234; first two stanzas were reprinted and set to music in Martin Peerson, Song 9, Private Music, or The First Book of Airs (1620), sig. C2v-3.

‘Away with these self-loving lads’
Englands Helicon, EV3261, ‘Another of his Cynthia.’
First printed with musical setting in John Dowland, The First Book of Songs or Ayres (1597), Song 21, sig. L1v-2. Dowland’s setting is also in O: Mus. f. 7-10: f. 7, fol. 12v.

B

‘Beauty sat bathing by a spring’
Englands Helicon, EV3459, ‘To Colin Clout’, Anthony Munday.
Printed with musical setting in Francis Pilkington, The First Book of Songs or Ayres of 4 parts with tableture for the lute or orpherian, with the violl de gamba (1605), song 18, sigs. K2v-I; Robert Jones, Vltimum Vale (1608), song 2; William Corkine, Airs to Sing and Play to the Lute and Base Viol (1610), song 9. Also appears in: Giles Earle’s Songbook, 1615-1626, L: Add. 24665, fols. 14v-15; O: Mus. f. 7-10: fol. 7.

‘Bitter sweet that strains my yielded heart, The’
Paradise, EV21911, ‘Beyng troubled in mynde, he writeth as followeth’, Jasper Heywood. Setting in the
Mulliner Book, no. 114, p. 169 [fol. 109].

‘Blame not my cheeks, though pale with love they be’
Poetical, EV3809, ‘Upon her paleness’, Thomas Campion.
Printed with a musical setting in Philip Rosseter, Song 14, Part I, Book of Ayres (1601), fol. E2

‘Burst forth my tears, assist my forward grief’
Englands Helicon, EV6343, ‘To his Flocks’, Henry Chettle.
Printed with a musical setting in John Dowland, The First Book of Songs or Airs (1597), song 8, sig. D2v-E1. Dowland’s setting also in in O: Mus. f. 7-10: f. 7, fol. 11v.

‘By painted words, the silly simple man’
Paradise, EV4321, ‘Most happy is that state alone, Where words and deedes agree in one’, Francis Kinwelmarsh.
Richard Edwards’s setting is in the Mulliner Book, no. 79, p. 113 [fol. 77v].

C

‘Clorinda false adieu, thy love torments me’
Englands Helicon, EV4723, ‘Philistus farewell to false Clorinda.’
First printed with a musical setting in Morley, Madrigals to Four Voices Newly Published (1594), song 2, sigs. B1v-2; (1600), sig. A2v.

‘Come away, come sweet love’
Englands Helicon, EV4757, ‘To his love.’
First printed and set to music John Dowland, The First Book of Songs or Airs (1597), song 11, D2v-E1; Dowland’s setting also in L: Add. 36526, A, c. 1600, fol. 2, 8v and O: Mus. f. 7-10: f. 9, fol. 5v.

‘Come gentle herdman, sit by me’
Poetical, EV4798, II, Eglogve.
A copy of this lyric is set to music in a songbook compiled in the 1630s, L: Add. 15117, fols. 10v-11.

‘Coridon, arise my Coridon’
Englands Helicon, EV4986, ‘Phillidaes Love-call to her Coridon, and his replying.’
A version of this lyric is set to music in the miscellany compiled by John Lilliat, O: MS. Rawl. Poet. 148, c.1592-1602, fols. 88v-90.

‘Cynthia queen of seas and lands’
Poetical, EV5079, ‘A lottery presented before the late queen’s majesty at the lord chancellor’s house, 1601’
Reprinted with a musical setting in Robert Jones, ‘Song 8’, Ultimum Vale (1605), reprinted in Doughtie ed. Lyrics from English Airs, pp. 210-11, bibliography id ‘DoughtieLyrics’. Another copy set to music is in ‘Giles Earle’s Book’ (1615), L: Add. 24665, fols. 19v-20.

D

‘Day delayed, The’
Paradise, EV22196, ‘He desyreth exchange of lyfe’, Thomas, Lord Vaux.
Appears with musical setting in: L: Add. 31992, c. 1600, fol. 53v, lute setting; O3: music 984-88, 1587-c.1600, song 122.

‘Diaphenia like the Daffadown-dillie’
Englands Helicon, EV5323, ‘Damelus song to his Diaphenia.’
A version is printed and set to music in Francis Pilkington, The First Book of Songs or Ayres of 4. parts with tableture for the lute or orpherian, with the violl de gamba (1605), song 17, sigs. K1v-2. Another copy is in O: Mus. f. 7-10: f. 9, fol. 22.

‘Disdain that so doth fill me’
Poetical, EV5382, Ode VIII, ‘Disdain at variance with desire’.
Reprinted with a musical setting in Robert Jones, Song 16, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, pp. 215-6; later reprinted with a musical setting in Martin Peerson, Song 4, Private Music (1620), sig. B1v-2.

E

‘Each one deserves great praise to have, but yet not like I think’
Paradise, EV5612, ‘Fortitude. A yong man of AEgypt, and Valerian ’, Richard Edwards.
Probably registered as a ballad, ‘A notable Dede of ye constancye of a true christian vnder ye persecucon of Valerian ye .8. emperour of Rome’ by John Hunter in March 1579.

‘Enforced by love and fear, to please and not offend’
Paradise, EV5744, ‘Beyng in loue, he complaineth’, R. L.
Robert Parson’s (Gentleman of Chapel Royal, d. 1570) setting for this lyric is reprinted in Consort Songs, Song 5, p. 9. Also appears with Parson’s setting in: O3: music 984-86, 1587-c.1600, song 120.

F

‘Fair in a morn, (o fairest morn)’
Englands Helicon, EV6087, ‘Astrophell his song of Phillida and Coridon’, Nicholas Breton.
Printed with musical setting in Morley, The First Booke of Ayres (1600), sigs. D3v-4.

‘Faustina hath the fairer face’
Poetical, EV6309, ‘Madrigal. In praise of two’,
Printed with a musical setting in Michael Cavendish, Fourteen Ayres (1598), sig. K2v-L1.

‘From Virgins wombe’
Paradise, EV7240, ‘For Christmas Day’, Francis Kinwelmarsh
William Byrd, Songs of Sundry Natures (1589), sig. G1v, copied by John Barrow in the 18th century, L: Add. 23626, fols. 45, 75v.

G

‘Go wailing accents go’
Poetical, EV7550, Madrigal XII, ‘Upon her hiding her face from him’, attributed to Francis Davison.
Reprinted with a musical setting, omitting lines 2 and 4, in John Ward, Song 5, The First Set of English Madrigals (1613), sig. B3.

‘Guarda me [mi] las vacas’
Englands Helicon, EV10131, ‘The Shepherd Carillo his song’, Bartholomew Yong.
Nicholas Lanier set a version of the lyrics to music which was later printed in Henry Playford, Select Musicall Ayres and Dialogues (1653), II.1-2.

H

‘Hark jolly shepherds’
Englands Helicon, EV8211, ‘The Sheepheards Consort’.
First printed with a musical setting in Morley, song 17, Madrigals to Four Voices (1594), sigs. E3v-E4, Song 18, (1600), sig. E4v.

‘Her face, Her tongue, Her wit’
Phoenix, EV8799, ‘A Sonet’, Sir Arthur Gorges.
Poetical, EV8799, ‘A sonnet in the grace of wit, of tongue, of face’
William Barley printed the text of this lyric, although did not specify a particular setting in the following pavans, ‘An Instruction to the Lute’, A new Booke of Tabliture (1596), sig. A4v.

‘Higher that the Cedar tree, The’
Paradise, EV22961, ‘Of the meane estate’, William Hunnis.
Appears with musical setting in Mulliner Book, Appendix I, no. 1, p. 205 [fol. 1].

‘How can the tree but waste, and wither away’
Paradise, EV9280, ‘No pleasure without some paine’, Thomas, Lord Vaux.
Musical setting is reprinted in Consort Songs, Song 17, p. 34. William Barley printed it for voice and bandore in A new Booke of Tabliture (1596), Song 7, sig. C3v, D4. There are a number of surviving arrangements for voice and lute, and cittern. Appears with a musical setting in: NLW Brogyntyn 27, c. 1595-1600, p. 125; Robert Dow’s setting in O3: Music 984-8, 1587-c.1600, Song 113; Giles Earle’s Songbook, 1615-1626, L: Add. 24665, fol. 27v; UCLA: Taitt MS Cantus, fol. 62.

I

‘I have entreated, and I have complained’
Poetical, EV9817, Sonnet VII, ‘His sighs and teares are bootlesse’, attributed to Walter Davison.
Lines 1-4, 9, 12 were reprinted with a musical setting in John Ward, Song 26, The First Set of English Madrigals (1613), sig. E2; also in L: Add. 29372, fols. 170v-71.

‘I loath that I did love’
Tottel, TP762, ‘The aged lover renounceth love’, Thomas, Lord Vaux.
Registered as a ballad, ‘the Aged lover Renownceth love’ by Richard Serle in 1563-4 (Arber, 1.235), and possibly again under the title, ‘an olde louers complaint’ on 19 October, 1579. The first line was either taken over as a name for a tune, ‘I lothe that I did loue’, (see Gorgious, EV32300, ‘The Lover complaineth of his Lady’s inconstancy’), or Vaux took his first line from a pre-existing tune. The poem was set to music which survives in two manuscripts: in a section entitled ‘Certaine pretie songes hereafter followinge drawn together by Richard Shanne 1611’, under the title ‘A verie pretie songe of an ould man’, and to the same setting as ‘The Queristers song of Yorke in praise of heaven’ (‘Ierusalem my happie home’), in L: Add. 38599, setting on fol. 133v, text on fols. 134v-5; and a setting for the lute and voice in L: Add. 4900, fols. 62v-63. In Hamlet, the grave digger sings a corrupt form of the first three stanzas to the tune of ‘The Children in the Wood’ (V.i.61-4, 71-4).

‘I sigh, why so? for sorrow of her smart.’
Paradise, EV10286, ‘Where reason makes request’.
A musical setting of this lyric appears in L: Add. 36526a, c. 1600, fol. 6

‘If care do cause men cry, why do not I complain?’
Tottel, TP825, ‘The faithful lover declareth his pains and his uncertain joys, and with only hope recomforteth somewhat his woeful heart’, Surrey.
A lute setting of this verse appears in the Braye Lute Book, Y: Osborn music 13, fol. 22.

‘If friendless faith: if guiltless thought may shield’
Paradise, EV10804, ‘Beyng disdained, he complaineth’, Thomas, Lord Vaux.
Musical setting appears in O: Mus. Sch.e.423, c. 1580-90, p. 40; and NLW Brogyntyn 27, c. 1595-1600, p. 130.

‘If I behold your eyes’
Poetical, EV10892, Madrigal IX, ‘Answers to her question, what Loue was’, attributed to Francis Davison.
Reprinted with a musical setting in Robert Jones, Song 18, The First Set of Madrigals (1607), sig. D1v.

‘In dew of roses, steeping her lovely cheeks’
Englands Helicon, EV11822, ‘Lycoris the nymph, her sad song.’
First printed with musical setting in Morley, Madrigals to Four Voices (1594), song 7, sigs. C1v-2.

‘In going to my naked bed, as one that would have slept’
Paradise, EV11914, ‘Amantium irae amoris redintigratia est’, Richard Edwards.
Setting probably by Edwards appears in Mulliner Book, no. 81, pp. 119-21 [fol. 79v]; The English Madrigalists, ed. Fellowes, rev. Dart, vol. 36, Part 4:4. Also appears with musical accompaniment in: L: Add. 36526, A, fols. 1, 6; London, R.C.M. 722, f. 62v; London, R.C.M. 2111, f. 4v.

‘In health and ease am I’
Poetical, EV11943, ‘Madrigall II, ‘Vpon his mistresse sicknes, and his owne health’, attributed to Francis Davison.
Reprinted with a musical setting, and with final lines changed, in John Ward, ‘Song 4’, The First Set of English Madrigals (1613), sig. B2v.

‘In the merry month of May’
Englands Helicon, EV12317, Phillida and Coridon, Nicholas Breton.
Printed with music in Michael East, Madrigals to Three, Four, and Fiue Parts (1604), Song 2, sig. B1v. Also appears in: L: Royal Mus. 24.d.2, c. 1600, ‘Three texts, iij: voc: iohn: baldwine’, ff. 171v-3 O: Mus. b. 1, fol. 135; Mus. d. 8, fol. 3v. Popular in the eighteenth century.

‘In youthful years when first my young desires began’
Paradise, EV12501, ‘Faire words make fooles faine’, Richard Edwards.
Registered as ballad in 1563-4 and 1565-6. Set with lute accompaniment in TCD MS D.3. 30/1, c. 1600, ff. 204-7, where it is ascribed to ‘Mr Parsons’; appears unascribed with a different although compatible lute-setting in a songbook compiled c.1630, L: Add. 15117, fol. 14v, see: David Greer, ed. Songs from Manuscript Sources, 2 vols. (London: Stainer and Bell, 1979), I; and Mary Joiner, ‘B.M. Add. Ms. 15117, Commentary, Index and Bibliography’, RMA Research Chronicle 7, (1969), 51-109 (59-60, Plate 4a).

‘In terrors trap with thraldom thrust’
Paradise, EV12286, ‘Beyng in trouble, he writeth thus’, William Hunnis.
See Robert Dow’s setting in O3: music 984-88, 1587-c.1600, no. 111, reprinted in Consort Songs, Song 18, p. 35; and also NLW Brogyntyn 27, p. 129.

‘In winter’s just return, when Boreas gan his reign’
Tottel, TP944, ‘Complaint of a diying lover refused upon his lady’s unjust mistaking of his writing.’
A lute setting of this verse appears in the Braye Lute Book, Y: Osborn music 13, fol. 41v.

L

‘Lady my flame still burning’
Poetical, EV13136, ‘A dialogue betwixt the lover and his lady’, Nicholas Yonge.
Printed with a musical setting in Nicholas Yonge, Song 12, Musica Transalpina (1597), sig. C2v-3, and in John Farmer, Song 3, The First Set of English Madrigals, (1599), sig. B3v; also appears in O: Mus. d. 8, f. 67

‘Let rulers make most perfect laws, to rule both great and small’
Paradise, EV13487, ‘Iustice. Zaleuch and his Sonne’, Richard Edwards.
Registered as ballad, ‘The Juste Judgement of Zaleucus agaynste Whoredom’ by John Arnold in 1568-9.

‘Like as the doleful Dove’
Paradise, EV13645, ‘No paines comparable to his attempt.’
Thomas Tallis’s setting of this lyric for 4 voices is transcribed in O: Mus. D. 190, fol. 60; reprinted in Sir John Hawkins, General History of the Science and Practice of Music, 5 vols. (1776), V.450-52.

‘Like as the Lark within the Marlin’s foot.’
Tottel, TP1046, ‘Louer sheweth his wofull state, and prayeth pitie, The’
Printed with a musical setting in The Melville Book of Roundels [1604], ed. by Granville Bantock and H. O. Anderton (Edinburgh, 1916), p. 203, and John Forbes, Cantus, Songs and Fancies (1662), Song 25, sig. L1v.

‘Like to a hermit poor in place obscure’
Phoenix, EV13718.5, ‘Like to a hermite poore in place obscure’, Sir Walter Raleigh.
Printed with a musical setting in Alfonso Ferrabosco, Ayres (1609), song 1, sig. B1; Nicholas Lanier’s later setting for the lyric is printed in John Playford, Select Musical Ayres (1652), song 1, sig. B1, and John Wilson, ‘A Lovers Melancholy Repose’, Select ayres and dialogues for one, two, and three voyces (1659), song 1, sig. B1.

‘Long have I lived in court, yet learned not all this while’
Poetical, PR177, ‘Yet other twelve wonders of the world’, Sir John Davies.
Printed with a musical setting in John Maynard, The XII Wonders of the World: For the Violl de Gambo, the Lute and the Voyce (1611), sig. B1-G2.

‘Love, if a god thou art’
Poetical, EV14171: Madrigall I. ‘To Cupid’, attributed to Francis Davison.
The first stanza (‘Loue, if…Hart?’) was reprinted with variants and set to music in Robert Jones, Song 5, The First Set of Madrigals (1607), sig. B3.

‘Love of change hath chang’d the world throughout, The’
Poetical, EV23317, ‘That he is unchangable’.
Printed with a musical setting in Richard Carlton, Madrigals in Five Voices (1601), sig. B1.

‘Lowest trees have tops, the ant her gall, The’
Poetical, EV23336, ‘Natural comparisons with perfect love’.
Reprinted with a musical setting in John Dowland, Song 19, The third and last book of songs and airs, (1603), sigs. L1v-2; later reprinted in Thomas Davidson, Cantus, Songs and Fancies (1662), sig. G1v.

M

‘Mistrust misdemes amisse, whereby displeasure growes’
Paradise, EV14770, ‘Beyng in sorrowe he complaineth’, Thomas, Lord Vaux.
Musical setting reprinted in Consort Songs, Song 19, p. 36. Also appears with musical setting in NLW Brogyntyn 27, c. 1595-1600, p. 130.

‘Mistrust not troth, that truely means’
Paradise, EV14771, ‘A woorthy dittie, sung before the Queenes Maiestie at Bristowe’, D.S, 1574.
[Nicholas?] Strogers’s setting for this song is reprinted in Consort Songs, Song 21, pp. 38-9. Also appears with musical setting in O3: Music 984-5, 987-8, 1587-c.1600, Song 121.

‘My eye why dost thou light on that, which was not thine?’
Paradise, EV15094, ‘A dialog betwene the auctour and his eye’, William Hunnis.
Appears with musical setting in O: Music F. 7-10, fols. 2, 7.

‘My flocks feed not, my ewes breede not’
Englands Helicon, EV15119, ‘The unknown shepherd’s complaint.’
Printed and set to music in Thomas Weelkes, Cantus prim[us]. Madrigals to 3.4.5. & 6. voyces (1597), Song 2, sigs. B1v-2v.

‘My heart and tongue were twins, at once conceived’
Englands Helicon, EV15195, ‘Apollo’s loue-song for fair Daphne.’
Printed and set to music in John Dowland, A Pilgrim’s Solace (1612), song 18, sig. K2v-L.

‘My only star’
Poetical, EV15434, Ode IIII, ‘Being by his absence in Italy depriued of her lookes, words, and gestures, he desireth her to write vnto him’, attributed to Francis Davison.
Reprinted with a musical setting in John Ward, Song 17, The First Set of English Madrigals (1613), sig. D1.

‘My thoughts are winged with hopes, my hopes with love’
Englands Helicon, EV15575, ‘Another to his Cynthia.’
Printed and set to music in John Dowland, The First Book of Songs or Airs (1597), song 3, sig. B1v-2. Dowland’s setting also in in O: Mus. f. 7-10: f. 7, fol. 4v and Mus. f. 7-10: f. 9, fol. 7.

N

‘Near to a bank with roses set about’
Englands Helicon, EV15721, ‘The shepherd’s antheme’, Michael Drayton.
An incomplete and variant version with music is in Giles Earle’s Songbook, 1615-1626, L: Add. 24665, fol. 33.

‘Nightingale so soon as April bringeth, The’
Englands Helicon, EV23581, ‘Another of Astrophel’, Sir Philip Sidney.
The tune identified for the lyric in ‘Certaine Sonets Written by Sir Philip Sidney’ is ‘Non credo gia che piu infelice amante’ (The Countesse of Pembrokes Arcadia (1598), pp. 473-4); the first seven lines were printed with music in Thomas Bateson, The First Set of English Madrigals (1604), p. 11.

‘Now have I lean’d with much ado at last’
Poetical, EV16393, Ode XIII, ‘A defiance to disdainful love’.
Reprinted with a musical setting in Robert Jones, Song 21, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, p. 219.

‘Now I find, thy looks were fained’
Phoenix, EV16413, ‘Now I find, thy looks were fained’.
Reprinted with a musical setting in Thomas Ford, Musicke of Sundrie Kindes, (1607), sig. C1v-C2

‘Now [Shepherd] what is love, I pray thee tell?’
Phoenix Nest, EV16604, ‘A description of Love’; Englands Helicon, EV20050, ‘The Shepherd’s description of his love’, Sir Walter Raleigh (?).
Printed and set to music in Robert Jones, The Second Book of Songs and Airs (1601), song 9, sig. F1v.

‘Not she for whom proud Troy did fall and burn,’
Gorgious Gallery, EV16233: ‘The Lover in the praise of his beloved and comparison of her beauty.’
This lyric is set to music in a contratenor part book, O: Mus Sch. e. 423, c.1580-90, p. 38.

O
‘O Happy dames, that may embrace’.
Tottel, TP1288, ‘The forsaken lover describeth and forsaketh love’.
John Sheppard’s setting for the keyboard and as a part-song for four voices is in the Mulliner Book, no. 111a and 111.

‘O Heavenly God, O Father dear, cast down thy tender eye’
Paradise, EV17058, ‘The Complaint of a Synner’, Francis Kinwelmarsh.
[Nicholas?] Strogers’s setting is reprinted in Consort Songs, Song 22, p. 39. There is another setting in Thomas Myriell’s 1616 ms anthology. A setting was printed in William Damon’s Bassus. The second booke of the musicke of M. William Damon (1591), sig. G2v. Musical settings also appear in D: 410 (D.3.30), c. 1600, pp. 202-3, 212; in ‘Giles Lodge’s lutebook’, F: V.a.159, c. 1571-1600, fol. 13v; L: Add. 31992, c. 1600, fol. 53, a lute setting; in the lutebook c. 1630, L. Add.15117, fol. 4; O: Mus. Sch. e. 423, c. 1580-90, p. 38; Y: Misc. MS 170 Filmer, c.1591, ff. 54v-5.

‘Oft have I mus’d the cause to find’
Poetical, EV18238, ‘Ladies eyes, serue Cupid both for Darts and Fire’.
Reprinted with a musical setting in Robert Jones, Song 20, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, pp. 218-9.

‘Only joy, now here you are’
Englands Helicon, EV18500, ‘The Shepherd to his chosen nimph’, Sir Philip Sidney.
Reprinted with a musical setting in A. B., Fourteen Italian songs composed by Giovanni Giacomo Castoldi de Carravagio (1680), p. 124.

P

‘Perdy I said it not’
Tottel, TP1462, ‘The lover excuseth him of words wherewith he was unjustly charged’, Wyatt.
A lute setting of this verse appears in the Braye Lute Book, Y: Osborn music 13, fol. 31v.

S

‘Saint I serve, and have besought full oft, The’
Paradise, EV24049, ‘Trie and then trust’, Richard Hill.
Anonymous setting reprinted in Consort Songs, Song 20, p. 3. Also appears with musical setting in: NLW Brogyntyn 27, c. 1595-1600, p. 125; O3: Music 984-88, 1587-c.1600, Song 112.

‘Satyr once did run away for dread, A’
Englands Helicon, EV755, ‘Another of the same’, Sir Philip Sidney.
The first four lines of this lyric are printed and set to music in John Ward, The First Set of English Madrigals (1613), song 7, sig. B4.

‘She only is the pride of nature’s skill’
Poetical, EV20007, Elegy III, ‘Her praise is in her wont’.
Reprinted with a musical setting in Robert Jones, Song 2, The First Set of Madrigals (1607), sig. B1v.

‘Short is my rest, whose toil is overlong’
Phoenix, EV20063, ‘Short is my rest, whose toile is ouerlong’, Nicholas Breton (?).
The text is printed amongst other lyrics set to the bandore, but no musical setting is cited for this particular lyric, in William Barley, ‘An Instruction to the Bandore’, A new Booke of Tabliture (1596), sig. D4.

‘Since I your cherry lips did kiss’
Poetical, EV20357, Madrigall 4, ‘Vpon a kisse receiued’, attributed to Francis Davison.
Reprinted with a musical setting in Robert Jones, Song 19, The First Set of Madrigals (1607), sig. D2.

‘Since just disdain began to rise’
Poetical, EV20205, ‘Being scorned and disdained, he inveighs against his lady’.
Reprinted with a musical setting in Richard Jones, Song 18, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, p. 217; later reprinted with a musical setting in Martin Peerson, Song 8, Private Music (1620), sigs. C1v-2.

‘Sturdy Rocke, for all his strength, The’
Paradise, EV24341, ‘Mans flitting life, fyndes surest stay’, John Thorn
Richard Alison set the first two verses of this poem in An Howres Recreation in Musicke (1606), Song 15, sig. C4, as a consort song with a choral refrain.

‘Sweet, if you like and love me still’
Poetical, EV21231, Ode 5, ‘His farewell to his vnkinde and vnconstant Mistriss’, attributed to Sir Francis Davison.
Reprinted with a musical setting in Robert Jones, Song 6, Ultimum Vale (1605), reprinted in Doughtie ed. Lyrics from English Airs, pp. 209-10.

‘Sweet lord, your flame still burning’
Poetical, EV21249, ‘Her answer’.
Printed with a musical setting in Nicholas Yonge, Song 12, Musica Transalpina (1597), sig. C2v-3, and John Farmer, The First Set of English Madrigals (1599), sig. B3v.

‘Sweet love, mine only treasure’
Poetical, EV21252: Ode, ‘Where his lady keeps his heart’.
Reprinted with a musical setting in Robert Jones, Song 11, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, pp. 212-3.

T

‘Thestilis as silly swain [man], when love did him forsake’
Tottel, TP1892, ‘The complaint of Thestilis amid the desert wood’; Englands Helicon, EV25219, ‘The complaint of Thestilis the forsaken shepherd.’
A lute and voice setting for this lyric is in L: Add. MS. 4900, fol. 58.

‘Thine eyes so bright’
Poetical, EV25323, Madrigal I.
Reprinted with a musical setting in Robert Jones, Song 1, The First Set of Madrigals (1607), sig. B.

‘Thirsis enjoyed the graces’
Englands Helicon, EV26758, ‘Another Stanza added after.’
First printed in Yonge, Musica Transalpina (1588), song 42, sig. F2v, with a musical setting attributed to Alfonso Ferrabosco.

‘Thirsis to die desired’
Englands Helicon, EV26762: Thirstis the Sheepheard his deaths song.’
First printed in Yonge, Musica Transalpina (1588), songs 16-18, sigs. B4v-C1v, with a musical setting attributed to Luca Maranzio. The Altus, Tenor, Bassus and Quintus parts from Yonge’s collection are much altered in the version in Englands Helicon.

‘Those eyes which set my fancy on a fire’
Phoenix, EV25809, ‘Those eies which set my fancie on a fire.’
Musical setting for the bandore and voice printed in William Barley, ‘An Instruction to the Bandore’, A new Booke of Tabliture (1596), sig. C2v-C3, D4.

‘Though Amarillis dance in green’
Englands Helicon, EV26208, ‘To Amarillis.’
Printed with musical setting in William Byrd, Psalms, Psalmes, Sonets, & songs of sadnes and piety (1588), song 12, sig. D1v. Musical settings also in O: Mus. Sch. e.423, c. 1580-90, p. 47; O3: Music 984-88, 1587-c.1600, no. 132.

‘Too dearly had I bought my green and youthful years’
Tottel, TP2054, ‘A warning to the lover how he is abused by his love.’
Set to music in `Braye Lute Book’, Y: Osborn T3177, Music MS. 13, fol. 36.

W

‘Wake pity, wake, for thou hast slept too long’
Poetical, EV28085, Sonnet V, ‘To Pitie’, attributed to Francis Davison.
The last six lines (‘Sweet Pittie wake… die’) were reprinted and set to music in John Ward, Song 9, The First Set of English Madrigals (1613), sig. C1.

‘What pleasure have great princes’
Englands Helicon, EV28901, ‘The Herd-man’s happy life’, William Byrd.
Printed with musical setting in William Byrd, Psalmes, Sonets, & songs of sadnes and piety (1588), song 19, sig. E1.

‘When to her lute Corinna sings’
Poetical, EV21332, ‘Of Corinna’s singing’, Thomas Campion.
Printed in Philip Rosseter, Song 6, Part I, Book of Ayres (1601), sig. C2; reprinted with a musical setting in Robert Jones, Song 16, The first set of madrigals (1607), sig. C4v.

‘When I behold the bier, my last and posting horse’
Paradise, EV29491, Bethinking himself to his end, writeth thus.
Musical settings in C17: 118, c. 1590, p. ii, end flyleaf; L: Harl. 7578, c. 1580, fol. 116

‘When I look back, and in myself behold’
Paradise, EV29525, ‘Of the instabilitie of youth’, Thomas, Lord Vaux.
Musical settings in O: Mus. Sch.e.423, c. 1580-90, p. 41; O3: Music 986, c. 1587, Song 99b; L: Add. 31992, c. 1600, f. 51v.

‘When love was first begot’
Englands Helicon, EV29625, ‘Phaebes Sonnet, a reply to Montanus passion’, Thomas Lodge.
Printed and set to music in Francis Pilkington, The First Book of Songs or Ayres of 4. parts with tableture for the lute or orpherian, with the violl de gamba (1605), song 16, sig. I2v-L1.

‘When May is in his prime’
Paradise, EV29646, Richard Edwards
Robert Dow’s setting in O3: Music 984-8, 1587-c.1600, no. 103-4 is reprinted in Consort Songs, Song 23, pp. 40-2. Another version appears in L: Add. 22597, c. 1600, fol. 41. See: Philip Brett, ‘The English Consort Song, 1570-1625’, PRMA 88 (1961-2), 73-88.

‘When raging love with extreme pain’
Tottel, TP2184, ‘The lover comforteth himself with the worthiness of his love.’
A lute setting of this verse appears in the Braye Lute Book, Y: Osborn music 13.

‘When will the fountain of my tears be dry?’
Poetical, EV30063, Ode V, ‘Petition to have her leave to die’.
Reprinted with a musical setting in Robert Jones, Song 13, Ultimum Vale (1608), reprinted in Doughtie ed. Lyrics from English Airs, pp. 214; another copy set to music is in ‘Giles Earle’s Book’ (1615), L: Add. 24665, fols. 21-2v.

‘Where griping grief the heart would wound and doleful dumps then oppress’
Paradise, EV30214, ‘In commendation of Musick’, Richard Edwards.
Edwards setting of his lyric appears in Mulliner Book, Song 113, p. 169 [fol. 108v]. It is sung by Peter in Shakespeare, Romeo and Juliet after Juliet’s supposed death, IV.iv.152-68.

‘While that the sun with his beams hot’
Englands Helicon, EV30510, ‘Philon the shepherd, his song.’
Printed and set to music in William Byrd, Songs of Sundrie Natures (1589), song 23, sigs. E1v-2; L: Add. 31992, c. 1600, f. 4v. Other copies in L: Add. 31992, c. 1600, fol. 4v and O: Mus. f. 11-15: f. 11, fol. 22v.

‘Who seeks the way to win renown’
Paradise, EV30952, ‘A young Gentleman willing to trauell into forreygne partes being intreated to staie in England.’
Possibly printed as a broadside ballad; one of a set of ballads in L: Sloane 2497, fol. 7; transcribed in J.O.Halliwell, ed., Early Naval Ballads of England, Percy Soc. (1841), pp. 14-15, but without a tune specified or with a musical setting.

‘With fragrant flowers we strew the way’
Englands Helicon, EV31666, ‘The nymphs meeting their May queen, entertain her with this ditty’, author Thomas Watson.
A song sung in six parts, see The Honorable Entertainement (1591), sig. B4-4v; printed and set to music in Francis Pilkington, The First Book of Songs or Ayres of 4 parts with tableture for the lute or orpherian, with the violl de gamba (1605), song 20, sig. L2v-MI.

Y

‘Your presence breeds my anguish’
Poetical, EV32545, Ode II. ‘His restlesse estate’, attributed to Francis Davison.
Reprinted with a musical setting, without the fourth stanza, in Robert Jones, Song 12, The First Set of Madrigals (1607), sig. D4.

Z

‘Zephirus brings the time that sweetly scenteth’
Englands Helicon, EV32584, ‘Another Sonet thence taken.’
First printed in Yonge, Musica Transalpina (1588), songs 42-3, sigs. G4v-H1, with a musical setting attributed to Gironomo Conversi; the first eight lines are reprinted in the second book of Musica Transalpina (1597), song 2, sig. B1v, and in Michael Cavendish, Fourteen Airs in Tabletory (1598), song 22. A loose translation is also printed in Thomas Watson, song 4, The first sett of Italian Madrigalls Englished (1590), sig. B2v.