Album insights
In 1912, when the British Library acquired Add MS 38539, speculation arose about the initials "ML" on the cover possibly referring to Matthew Locke. However, this attribution was revisited when the initials were found to predate Locke's birth, leading the manuscript to regain its less appealing catalog title. As the Early Music Movement emerged, focusing on "Not Quite Great Figures," the manuscript was later dubbed the "Sturt Lutebook," assuming that Sturt, one of Prince Henry's lutenists, compiled it in the 1620s. Robert Spencer simplified the title to just "ML," hinting at a potential association with a certain "Margaret" who had scribbled her name on some pages. This shift reflected a new perspective emphasizing the purpose and audience of such books rather than a single composer, aligning it with other books owned by Jane Pickering, Margaret Board (lutenists), Elizabeth Rogers (virginal), and Lady Ann Blount (voice), showcasing virtuosity in private performances by women. Margaret has lingered in the author's mind over the years since this manuscript captivated them.
Some pieces in the book could be recordings from Margaret's lute lessons—possibly with Sturt or another court member from the inner circle of James I's court, where masques, theater, and avant-garde chamber music performances were planned. Contrary to simple handovers, fifteen different scribes were involved in the manuscript, often overlapping their musical entries. The collection showcased collaborative teamwork at its best. Whether Margaret was a patron, observer, or just an available student remains unclear. Lutenists exchange knowledge, comment on music, borrow melodies, reflecting on the declining Elizabethan lute music era and their place in it.
The Flying Horse, an anonymous piece in the collection, encapsulates the book's essence—a "ground" enriched with an exotic A major chord, inviting improvisation. Pegasus, born from Medusa and Poseidon, symbolizes this piece. Despite differences in stylistic ornamentation, the book's exploration of emotional expression through intricate ornamentation provides a rich tapestry that transcends time.
Focusing on various pieces such as the f-Moll-Pavane and Daniel Batchelers Galliard, the author reflects on the intricate interplay between composition and interpretation during this period. The mix of classic tunes like John come kiss me now and Melodies that echo theater performances are thrown into a melting pot of artistic expression.
Elizabeth Kenny © 2009