For regardless what program, if any, is attached, there is surely a sense of emotional progression from intense grief to calm transcendence if the pavans are performed in sequence, as Holman strongly feels they should be.
He expertly sorts out the complicated relationships among various versions and finds subtle correspondences with ideas in the "Lachrimae" pavans.
Holman further identifies a motive in the third strain of the pavan with one in the third strain of Thomas Morley's "Sacred End Pavin.
More widespread were keyboard settings of the first "Lachrimae" pavan and allusions to its theme.
The works of Mico and his predecessor Dering are far from negligible counters to be played in advancing the position that, on the basis of extant works, a chamber tradition of more or less ornamental (as opposed to functional) pavans was being slimmed down from five to four parts, while retaining a 2Tr duet.
The five-part works are less problematic in that the pavans seem to follow on naturally from those by Dering in the same 2Tr scoring.
In his fourth variation, he relinquishes clear melodic statements of the tune for a texture in which two upper parts are in close canonic quavers over a harmonic bass line ('representing' the tune, which perhaps arose as a descant to it); this texture is strikingly similar to Variation 3 of the Quadro Pavan (No.
The link between Morley and Byrd is more secure in the case of the Pavan and Galliard in F (Nos.
18) The pavan was evidently popular in its own day, appearing twice in FWVB, under Morley's name (No.