The Digital Image Archive of Medieval Music (DIAMM) launched its series of published facsimiles in 2010 with editions of the Eton Choirbook and the Dow Partbooks, followed by a set of the Byrd Masses. This fourth volume is the long-awaited facsimile of the Henry VIII Book, a manuscript well known to scholars and performers of early Tudor music, not least because it contains no fewer than thirty-three compositions by Henry VIII himself, as well as popular songs by Cornysh, Fayrfax, Cooper and others foreign and domestic. With 109 compositions in all, this is the best representative collection of songs from the early reign of this most musical of kings.

As we have come to expect from DIAMM, all aspects of presentation, paper, binding and full-colour reproduction are excellent. The facsimile pages are produced nearly at original size, and the reproduction is crisp and clear, providing the illusion that one is face to face with the original parchment manuscript. Many congratulations are here due to the series typesetter and DIAMM photographer Julia Craig-McFeely, who has probably photographed more musical manuscripts than anyone else.

But there is so much more to this volume than the facsimile alone. A masterful and extensive introduction is provided by David Fallows, long established as the world expert on medieval and renaissance song (among other things), who is perfectly placed to digest and expand on the earlier work of others, especially John Stevens (most notably, his Music at the Court of Henry VIII, Musica Britannica XVIII, 1962, and Music and Poetry in the Early Tudor Court, 1961). Fallows provides a model manuscript study that is not only clear, excellently organised and cogent, but also immensely enjoyable to read. Beyond the general physical description of the book and its contents – including thoughts on structure, stave-ruling, musical script, text hands and decoration – sections are also devoted to the differing repertories in the book, from rounds and consorts to ‘Freemen's Songs’ to supposed theatrical songs, as well as on Henry VIII himself as a composer, poet and arranger. Fallows also provides an in-depth study on the history and provenance of the book from its supposed initial copying in c.1513–16 to private ownership by the early eighteenth century to its eventual purchase by the British Museum in 1882.

However, the most useful and impressive undertaking by Fallows is a running commentary on all 109 compositions. Some occupy a paragraph or two, while others are stand-alone mini articles in themselves. This is a veritable treasure-trove of valuable new information and new theories. Commentary on Henry VIII's ‘arrangement’ of Pastyme with good companye, the most famous of the works in the book, is extensive and here Fallows traces the earlier French origins of the tune. In addition, I most particularly enjoyed the extended commentaries on Adieu madam[e] et ma mastres[se], the puzzle canons, and my personal favourite in the book, Fayrfax's Sumwhat musing. All is rounded off with a bibliography, indexes of manuscripts and songs and a general index, and a full inventory.

With this groundbreaking publication, Fallows teaches us much, and has paved the way for future scholar-performers to take up this wonderful music once more, but with clearer insight and understanding. A remarkable achievement, and worth every penny.