John Bull (1562-1628)
Christe Redemptor, CXXV
Dr Bulls Juell, CXXXVIII
Prélude, CXV
Gaillarde (Vaulting Galliard), XVII
Prelude, CVI
Veni Redemptor gentium, CVII
The Spanish Pavan, CXXXIX
Veni Redemptor gentium, XXXVIII
Pavana (Trumpet Pavan), XIII
Gaillarde (Regina Galliard)
Prélude, dor. CXVI
Salvator Mundi, XLV
Galliard, CLXXXV
Prélude D. (Dorick Prelude) , CXXXIV
Ut Re Mi Fa Sol La, CCXV
Gigue (Docter Bulles Griefe) CLXC
Gigue, Doctor Bulls my selfe, CLXXXVIX
Misere en 3 parties, CLXXIX
Galliard, CLXXXVI
Duchess of Brunswick’s Toy, CCLXII

Orlando Gibbons (1583-1625)
"The Woods so wilde", XL

Thomas Warrock (1565-1610)
Pavane, XCVII
Gaillarde, XCVIII

Galeazzo Sabbatini (1597-1662)
Prélude, XCIV

Martin Peerson (1571-1650)
Alman, XC
The Primerose, CCLXXI

Robert Parsons (1535-1571?)
In Nomine, CXL

Robert Johnson (?1583-1633)
Alman, CXLV
Alman, VXLVI

William Tisdale (fin 16e)
Pavane, CCXX
Almande, CCXIII
Pavane Clement Cotto, CCXIX
Galliarde, CCXCV
Pavane Chromatique "Mrs Katherin Tregians Pavane", CCXIV

William Inglott (1554-1621)
"A Gailliard Gound", CCL

John Marchant (?-1611)
Allemande, CLXXXVII

Jehan Oystermayre (?)
Gaillarde, CCLX

Thoams Oldfield (?)
Prélude, XLIX

John Blitheman (?1525-?)
in Nomine, L

Anonyme
Alman, CCXLIX
Prélude, CXI
An Almain, CC
Corranto CCI
Alman CCII
Corranto, CCIII
Corranto, CCIV
Corranto, CCV
Daunce, CCVI
"No Title", CCIX
"Martin sayd to his man", CCXII

Pieter-Jan Belder, clavecin

Titus Crijnen, 2014, clavecin d'après Ruckers, 1624
Adlam Burnett, 1980, clavecin d'après Ruckers, 1638
Gerhard Boogaard, 2016, Virginal d'après Couchet, 1650

Pieter-Jan Belder continues his superb survey of the Fitzwilliam Virginal Book, an extraordinary manuscript compiled in the late 16th century and held in the Fitzwilliam Museum in Cambridge. In this, the sixth volume, Belder focuses on the compositions of John Bull, one of the main contributors to the collection. Principally an organist and organ-builder, Bull left behind a variety of attractive pieces whose charm is belied by the way he often presented himself as a Doctor in music, which might suggest a rather scientific approach to composition. Nonetheless, his Ut Re Mi Fa Sol La, one of the longest and most challenging pieces in the manuscript and reminiscent of Tallis, is appropriately complex, beginning with twopart writing and adding additional voices as it progresses, while employing numerous tempo changes and cross-rhythms. In contrast to the prolific Bull, the remainder of the recording features a host of composers who appear only a few times in the manuscript. Other than Orlando Gibbons, one of the most important of all virginalists, the other contributors are less well known, and many have obscure or undocumented lives. The repetition of such forms as the pavan and alman across the set, however, allows the listener to make a number of interesting comparisons. Pieter-Jan Belder is not only a consummate performer but also a serious scholar of keyboard music from the Elizabethan and Jacobean eras. His research on the Fitzwilliam Virginal Book has led to a highly informed performance practice. Belder specialises in performance on historical instruments, and he has carefully selected three period harpsichords for this recording in order to create the most authentic sound possible. The listener is rewarded with a substantial set that highlights the superb achievements of the composers of this era, laying the foundations of keyboard music for centuries to come.