Drexel 4180–4185

Drexel 4180–4185
New York Public Library for the Performing Arts

Drexel 4180–4185, a set of six manuscript partbooks
Date 1615-1625
Place of origin England
Language(s) English
Scribe(s) John Merro
Author(s) various
Size 6 partbooks
Format oblong

Drexel 4180–4185 is a set of six manuscript partbooks copied in Gloucester, England, containing primarily vocal music dating from approximately 1615-1625. Considered one of the most important sources for seventeenth century English secular song,[1] the repertoire included represents a mixture of sacred and secular music, attesting to the partbooks' use for entertainment and pleasure, rather than for liturgical use.

When rebound in 1950, it was discovered that the pastedown endpapers from the original bindings had been created from 16th century English music manuscripts. These fragments have become an additional source of study.

Belonging to the New York Public Library, the partbooks are part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, their name is derived from their call numbers.[2]

John Merro, copyist

Although it is known that John Merro copied the manuscript known today as Drexel 4180–4185, little biographical information about him has surfaced. First mentioned in a passing reference in 1609, it is known that he was a singer at Gloucester Cathedral. Based on inscriptions in the two manuscripts in the British and Bodleian libraries, Pamela Willetts observed that Merro had an interest in theology.[3] Other references identify him as witness to the will of Ann Tompkins (wife of Thomas Tompkins, step-mother of famed composer also named Thomas Tompkins, and mother of John, Robert and Giles) as well as having taught viol to children. (He is probably not the John Merro who married Elizabeth Hiam on April 26, 1627.) Merro's will is dated December 10, 1638 giving bequests to various family members. He died March 23, 1639 with his will going into effect on April 20, 1639. The will of his wife Elizabeth is dated September 9, 1645. In addition to giving bequests, she asked that she be buried next to her husband in the Cathedral. She died November 13, 1645 and her will was enacted in December of that year.[4]

General information on Merro's manuscripts

Three manuscripts can be identified as coming from Merro's hand:

Drexel 4180–4185 is the largest of the three collections and has the most diverse repertory.[5] Based on its contents, Monson estimated the date of Drexel 4180–4185 to be between 1615 and 1625, making it the earliest of the three manuscripts attributed to Merro.[6] Both Add. 17792-6 and D 245-7 contain of inscriptions by Merro indicating the manuscripts belonged to him. Such an indication is lacking in Drexel 4180–4185 suggesting that the partbooks were not part of Merro's personal collection but used by the cathedral, "made for informal use of choirmen and their friends."[7] However, they are not listed on the Gloucester Cathedral's inventory, indicating either that they were not part of that collection, or were removed before the inventory was made.

David Fallows hypothesized that the partbooks might have been the possession of Gloucester organists.[7] At the cathedral it was the organist's responsibility to copy music for use by the choir. Merro, who received an annual salary, might have been commissioned to do the copying because of his legible hand, though not necessarily in an official capacity. Unfortunately he was not accurate as many errors exists in the partbooks.[3][7]

Physical details

Gloucester Cathedral exterior front

The original covers to the partbooks were lost when the volumes were rebound in 1950.[7] However, Rimbault, who printed some of the works in his A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era, included the following note observing the now-lost bindings in that volume's preface:

This valuable set of ancient Part-books consists of six small oblong volumes in the original binding, and with the Arms and Badge of Edward the Sixth stamped on the sides … The writing commences in the reign of Edward the Sixth, and ends in that of Charles the First, the last composition entered being an Ode composed by Orlando Gibbons for the marriage of that king with the princess Henrietta Maria.[8]

Even without seeing the covers Ashbee noted several obvious errors in Rimbault's account.[7] Rimbault said the final work is an ode composed by Gibbons, but Ashbee noted it is a fantasia. Ashbee notes that the coat-of-arms could not have been that of Edward VI, although it suggests one from Gloucester, as well as ownership subsequent to that of Merro.[7]

Although Monson suggested the dates of 1615-1630, Fallows felt the earliest part of the span is the more correct. Based on his study of the paste-down flyleaves, he felt that the collection was bound no later than 1620 in Oxford.[9] Ashbee suggests dates of 1615-1625 and agrees that the earliest dates are more likely.[7]

The physical layout of music resembles that manuscripts Christ Church MSS 984-8 (The Dow Partbooks) and British Museum Add. 22597. This might have been a conscious decision on Merro's part to acknowledge the music's historic nature by maintaining the appearance of an archaic manuscript.[10] In the cantus partbook (Drexel 4180), this archaic style can be seen on folios 1-16v, 18v-38v, 40-43, 54v-57 and 64v-68. To Monson this represents the oldest layer of the partbooks.[10]

Dating

Monson notes that the group of madrigals by Tomkins (leaves 124v-138) apparently come from Tomkin's 1622 publication.[11] The inclusion of Byrd's "O Lord make thy servant James" indicates it was entered before 1625. Thus Drexel 4180 suggests dating of 1622-25 for its final entries.[12]

The date when Merro began the collection is more difficult to determine. The publication of Amner's "Sacred Hymns" suggests a date no earlier than 1615.[13] Although Brett thought Merro might have begun copying his collection around 1600,[14] 1615 is the more likely date for when the collection was begun.[12]

Provenance

The choir of Gloucester Cathedral; the organ pipes can be seen in the background (photo by David Iliff)

Possibly once having been in the possession of its copyist, John Merro, the whereabouts of the partbooks is unknown until the 19th century. Philip Brett mentions annotations he attributed to Matthew Hutton,[14] but Monson believed Brett was mistaken,[12] for the only annotations appear to be by a contemporary librarian.[15] The first indication of the partbooks comes from a nineteenth-century owner and musicologist Edward F. Rimbault. From whom he obtained the partbooks is revealed by the title of the publication in which he printed a few of the selections: A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient M.S. Part Books Formerly in the Evelyn Collection.[16] The opening line of Rimbault's preface reads:

The following collection of anthems by Este, Forde, Weelkes, and Bateson, have been scored from a manuscript set of part-books formerly in the possession of the celebrated John Evelyn, and now forming one of the many musical rarities in the library of the Editor.[8]

Despite Rimbault's acknowledgement of John Evelyn in the title and in the first line of the preface, Monson and Ashbee had problems with Rimbault's account, possibly because of the previously mentioned errors.[7] Monson observed Rimbault said that the books were "formerly in the possession of the celebrated John Evelyn." Yet they didn't appear in Evelyn's own manuscript catalog nor do they carry Evelyn's ownership mark.[17][18] Ashbee admits the possibilities that the partbooks might have been given away prior to the creation of Evelyn's catalog, but noted that no mention of Evelyn is in the auction catalog of Rimbault's library.[19]

Since Merro was living in Gloucester, Fallows hypothesized that the partbooks were probably acquired by Edward F. Rimbault from someone living in that region. He views John Stafford Smith as the likely candidate since his father, Martin Smith, was organist at Gloucester Cathedral from 1739 to 1781.[20] Ashbee notes that after his death, Smith's library was sold piecemeal which would have simplified acquisition.[19] (Rimbault acquired other works from Smith, such as Drexel 4175.)

After Rimbault's death in 1876, the partbooks were sold as part of his estate.[21] They were one of about 600 lots purchased by Philadelphia-born financier Joseph W. Drexel (through his agent Joseph Sabin[7]), who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 4180–4185 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Notation

Monson notes that while some of Merro's scribal characteristics remain consistent through the six partbooks (the writing of treble, bass and c-clefs), other details differ both in music and in text underlay and the way in which they are written. For music, he ranges from the more old-fashioned square notation to the more contemporary use of rounded noteheads. In writing of text, his handwriting ranges from a stiff secretarial hand to a florid italic.[22] The square music notation combined with the secretarial hand of text appears mostly in older works, the four- and five-part sacred works by Tallis and his generation. Monson remarks on the appropriateness of such notation applying to an older generation of Elizabethan composers.[22] He notes that works by Byrd included in the collection appear to be written in a more archaic style, describing it as "a gesture towards decorum in penmanship and towards a historical sense which he [Merro] seems to possess."[10]

In the last hundred leaves Monson observes a preponderance of rounded notation and less use of the secretarial script.[11] This is most obvious in the annotations of "5 voc" and "6 voc." Monson believes these to be the "latest layer" in Drexel 4180–4185. Based on the last few vocal entries, Monson suggests they may have been completed in conjunction with work commencing on Merro's next work, Add. 17792.[11]

Despite variances, Monson felt that Merro was the sole copyist of the six partbooks and that the changes are due to his writing the books over the course of a dozen years.[22]

Both Willetts and Ashbee noted many errors in Merro's musical text.[3][7]

Music content

(See § The partbooks, below.)

Table of contents found at the beginning of Drexel 4182

Monson hypothesized that Merro's intention was compiling a collection of serious vocal music.[17] He based this conjecture on the presence of more than 70 full anthems in four and five parts, quite a large number. Of the modern entries (aside from those written by local composers), most are composed by John Amner and Thomas Tomkins whose style relates more to the older composers (such as Thomas Tallis and John Mundy) than of contemporaneous ones (such as Michael East). Monson deduces that Merro's curation can be seen as an act of preservation since the repertory he favored was quickly falling out of favor.[17]

After the consort song, the English madrigal is the next most prominent genre.[17] Rather than distributing the madrigals throughout the collection, Merro groups them together, selecting what are known as the most popular and most serious, whose sources are from four publications:

Monson observed the large number of works by Tomkins and suggests the reason could be due to the proximity of Worcester (where Tomkins was organist) to Gloucester (where Merro resided). Acknowledging the popularity of Weelkes and Wilbye, Monson was struck by the lack of any works by Thomas Morley in Merro's collection. This suggested to Monson that the composer's popularity was only temporary and was quickly forgotten. There are also no works by Orlando Gibbons—unusual considering the 1612 publication of his The first set of madrigals and mottets of 5 parts, apt for viols and voyces. (According to Monson, "virtually all scribes" similarly ignored Gibbons's works.[23])

Monson observed a significant number of Italian madrigals with English texts: 11 works from Musical Transalpina (1588), 6 from Italian Madrigals Englished (1590), and 2 from Musical Transalpina II (1597).[23] Luca Marenzio is the most popular of Italian composers represented by ten compositions, followed by the inclusion of four by Ferrabosco. The first Italian madrigal to be entered is by William Byrd, followed by Marenzio's "Every singing byrd" (which Monson hypothesized might be a tribute to the composer William Byrd).[23] All remaining Italian madrigals are without text except for their titles, an attribute to be found in other English manuscripts of the time. Monson attributed this lack of Italian texts to the inability to handle the language. He noted that in some cases works are included without their titles (such as on folios 62v-64v), presumably as they were intended for viols rather than voices. The inclusion of works such as those by Hassler suggests that Merro's interest in the madrigal extended to more unusual examples than those of copyists of similar English manuscripts,[23] even though he was apparently not concerned with preserving the integrity of the works as madrigals.[24]

Beginning at 139v Merro added another section of Italian works, this time including works for up to eight voices. Monson hypothesized that Merro must have had access to the three volumes of Gemmae Musicalis (published in 1588, 1589, and 1590) which would be the explanation for inclusions of the works on leaves 139v-149r.[24] The two isolated Italian madrigals, "Dolorosi martir" by Marenzio and Tutt'eri foco by Pallavicino were apparently entered as afterthoughts on what were blank leaves.[24]

For the Latin motets, Merro focused on Englishmen of the generation of Tallis (died 1585), Shepherd (active in the 1550s) and Mundy (died 1591). Merro copied these motets at a time when the composers had been dead for several decades which can explain why many are listed anonymously or have incorrect attributions.[24] Monson claimed that the motets by Lassus and Clemens non Papa were late additions. That they appear with no text save for their titles provided Monson with the evidence of Merro's "strangely insular attitude toward foreign composers in whatever language their works may appear."[24]

Music for voices and viols play only minor importance in the partbooks which could be taken as a sign of the difference between musical life in urban London (where the consort song has greater prevalence in existing sources) and that in provincial Gloucester.[24] The most significant composer of the consort song in the collection is Byrd; the collection contains 4 works from published sources as well as two unpublished songs.[25][26] The two unpublished songs by Byrd are"Come pretty babe" (the manuscript contains an attribution to Byrd) and "Delight is dead." Of the three consort songs ("Abradad," "Farewell the bliss" and "Come, Charon, come"), the latter two have no composer attributions.[25] Viewed as a whole, Merro's solo consort song repertory appears retrospective and antiquated (Monson calls it "ancient").[25] The partbooks contain no evidence of newer compositional approaches such as the lute ayre.[25]

The Cry of London, cantus part of an anonymous five-part anthem found in Drexel 4180, a 17th-century manuscript partbook

In the works copied for viols with solo and chorus, there is evidence of Merro's bending toward contemporary taste, most conspicuously in the works by John Amner. Two works by Michael East, "When Israel came out of Egypt" and "Sing we merrily" are not copied from the printed editions (which appeared in 1610 and 1624 respectively) but from earlier manuscript versions in secular sources. These two verse anthems in addition to "Rise O my soul" (Monson added "perhaps the most popular Jacobean verse anthem to appear in secular sources") are the only verse anthems taken from manuscript sources to appear in Drexel 4180–4185.[25]

Another sign of contemporary taste is the inclusion of works containing street cries: "The country cry" by Richard Dering, "The London cry" by Orlando Gibbons and the anonymous "The Cry of London."[27] Merro's version of Gibbons's "The London cry" differs from the one printed roughly contemporaneously in Thomas Myriell's "Tristitiae Remedium" (1615). In Drexel 4180 as well as Add. 29427, the two sections are in reverse. This is rectified in two later manuscripts, Add. 29372-7 and Add. 17792-6 (the latter manuscript also copied by Merro).[27]

Merro's version of Gibbons' "The London cry" is of interest. Though text underlay of these cry works were subject to variation, Merro's copy in Drexel 4180 is particularly extensive and occasionally explicit. An example concerns the depiction of a horse. Whereas one source gives a line as "She hath but on eye, and that is almost out, with a hole in he ear and a slit in her nose"; Add. 37402-6 has it as "...and a hole in her hip or there about." Merro's version in Drexel 4180–4185 reads: "She hath but on eye, and that is almost out, and a hole in her arse and there your snout." The explicit lines in Merro's version of Gibbons's popular work suggest a counterbalance to the conservative taste otherwise derived from the selection of works.[27]

Most of Merro's choices eschew interest in London or the court and reflect local and provincial taste. The exception is Gibbons's "Do not repine fair sun" which was written for the visit of James I to Scotland in 1617. Monson was perplexed as to how a work so closely connected with the court could find its way into Merro's collection. Although Monson suggested that Joseph Hall (1574-1656), a well-traveled clerk might have been the source, he was reluctant to accept the connection.[27]

As Merro worked for Gloucester Cathedral, it is not surprising to find works in Drexel 4180–4185 by composers active in the same vicinity. Those composers associated with a place in the manuscript are all from the West of England:

Except for Richard Nicolson, the more obscure composers are west countrymen and appear in other sources stemming from that region.[15][28]

Ashbee surmised that the repertoire of Drexel 4180–4185 was not dictated by Merro but rather the availability of sources by those performing it. The recreational nature of the collection is confirmed by the inclusion of non-liturgical works.[29]

Monson strove to understand the manuscript's grouping by looking at its structure and creation. The collection begins with four-part works (on leaves 1r through 23r), while five-part works begin on 23v with Byrd's "O God, give ear," "one of the most famous of all consort songs."[30] Monson believed that both the four-part and five-part sections were begun at the same time.[10] Monson guessed that the section beginning on 54v (opening with Byrd's "Lullaby") might have been intended as the start of another section containing consort songs.,[10] and that Merro began these three sections at the same time.[30] A fourth section (containing full anthems for five to eight voices) was begun on 64v.

Each of these sections was preceded by a few blank pages. Based on the blank page before 40r, Monson hypothesized that Merro planned a section of five-part madrigals. This explains the blank pages leading up to the next section containing Palestrina's Vergine cycle on page 40r.[30]

Beginning on 158v of 4180 ("O sing unto the Lord" by Amner) is a final group of full anthems, haphazard mixture of five- to twelve-parts. (It is also present in Add. 17792, although in that manuscript Merro maintained section division by a5, a6 and a7.[11]) Merro was constrained by the organization of Drexel 4180–4185, so when he came up to William Randall's 6-part "Give sentence with me," he could not enter it after 167v so he went back and inserted it on half of 122v. The same situation occurred with Thomas Ford's 5-part "Let God arise" backtracking to enter it beginning on 123v. Thus the Randall and Ford works form the demarcation of madrigals by Weelkes (prior to 122v) and Tomkins (following on 125v).[11]

Later insertions such as those by Randall and Ford were the clues to Monson that aided in his dating of the partbooks.[11] He notes that the group of madrigals by Tomkins on folios 124v through 138r come from the published collection "Songs of 3. 4. 5. & 6. parts".[31] Monson makes note of Thomas Bateson's seven-part "Holy Lord God almighty," his only extant sacred work.[11][32]

Paste down endpapers

When the partbooks were rebound in 1950, it was discovered that the pastedown endpapers were made from discarded music manuscripts from the sixteenth century. Rather than be cross at the willful destruction of such leaves embedded in old bindings, Fallows asserted that we should be thankful to the collectors who sought to decorate their books using these otherwise discarded fragments.[33] Being that there are six partbooks, there should have been twelve pastedowns (two for each volume, one each for the front and back endpapers), but only nine were found.[34] These were first documented by John Stevens (who said that they were brought to his attention by Thurston Dart).[35] Of these nine fragments (some of which contain more than one composition), Stevens counted fifteen separate works, four which appear in the British Library manuscript Add. 5465, the Fayrfax manuscript (F19, F24, F37, F40), and one ("The bella, the bella") with the 1530 publication XX Songes. Two of the numbers from the Fayrfax manuscript (F19 & F24) correspond to 2 sides of a leaf fragment in the Fitzwilliam Museum. Also, John Heywood's name can be linked indirectly with songs nos. 2 and 5.[35]

After Stevens' brief 1961 study there was no substantive examination of the fragments until 1993 when David Fallows published his study.[36] Fallows takes his point of departure the song "Somewhat musyng." This fragment, designated "A3" by Fallows, is discernible on the back pastedown of Drexel 4185. Fallows recognized that fragment is the bottom half of a leaf now in the Fitzwilliam Museum, Music MS 1005.[37] This song has two complete manuscript copies, both in sources which are considered among the main sources of early Tudor song, British Library Add. 5465 known as the "Fayrfax Manuscript" and the Henry VIII Manuscript, British Library Add. 31922. Writers have considered it one of the most widely distributed Tudor songs, appearing in three sources. [38][39]

The binding of the Drexel partbooks was replaced by the library in 1950, strongly suggesting that the original binding was in poor shape. Based on the pattern of the original binder, Fallows hypothesized that the Fitzwilliam Museum fragment was originally in the front endpaper of Drexel 4185. Fallows notes that the original choirbook source for the fragments was 29 x 21 cm. and that, when folded, nearly matches the size of the Drexel fragment, save for a 2 millimeter sliver.[34] Fallows hypothesized that a fragment in Cleveland might have been also been part of the same leaf from which the Drexel and Fitzwilliam fragments once belonged to. [33]

Although the original binding was lost when NYPL rebound the partbooks in 1950, some information can be ascertained based on the Bodleian fragments. These fragments come from the binding of the works of Gervase Babington published in 1615. The copy in the Bodleian Library was enumerated in Thomas James's 1620 catalog of the Bodleian Library. The Bodleian Day Book for 1613-1620, a log of daily happenings at the library, recorded that it was sent to the binder John Adams on October 2, 1615, confirmed by the type of binding used from 1615 on. The related fragment stem from a book published in 1611. J.B. Oldham identified the binder as Francis Peerse, the binder at the Bodleian Library from 1613 until his death in 1622. Though Monson estimated the date of the partbooks at about 1615 through 1630, Fallows drew the conclusion that the partbooks were bound in Oxford no later than 1620. (This does not preclude that musical works were copied into the books after they had been bound.) Fallows mentions that although using fragments in bindings ceased in London around 1540 and in Cambridge around 1570, it remained the custom in Oxford until around 1620.[9]

Whereas fragment A3 is in oblong format, fragment B is in upright format, suggesting that the two fragments come from different manuscripts. Fragment B contains parts of two songs, both of which are in the Fayrfax manuscript. The second one contains the opening line from Davy's "A blessid Jhesu" (Fayrfax ms. No. 37). The recto and top of the verso were designated by Stevens as two different songs, although he left open the possibility that they could be from the same work. Fallows said they are two stanzas of the same carol and proposes that Fragment B contains the second and third stanzas.[33] This leads Fallows to hypothesize that fragment B was not from a choirbook, but from a discantus partbook, because recto and verso of the fragment are a continuous discantus line, leading into another song.[40]

The fragments present a varying array of scribal styles which could represent a single scribe engaging in different styles.[41] While similar, it is questionable whether the handwriting of B is the same as A3.[40] Fallows believes the handwriting is the same as another early Tudor fragment now in the Bodleian Library, Mus. D. 103. This fragment is two bifolia taken from an early seventheenth-century binding. The fragment from the Bodleian Library indicates that the scribe used music paper ruled with seven staves. As this fragment shows the full height of the page, it is the proof that it could not be cut in two in order to be used as the pastedowns for the Drexel manuscript. This also means that on Drexel fragment B one staff is missing from the top which corresponds to the beginning of the third stanza of the song "In a slumbir." Departing from Stevens's point of view Fallows recognizes that the original leaf would have been the verso (now lost) facing fragment B. This helps understanding the other Drexel fragments.[9]

Fragment C is also upright (as is fragment B). It is also from a discantus partbook, probably the same one as fragment B, bound into the other end of the Drexel partbook. It appears to have had seven staves on the page. The verso contains beginning of the discant to "Jhoone is sike" by Davy (Fayrfax no. 40). Six staves are visible and a fragment of the text indicates it began there. The recto contains the end of a carol celebrating the wedding of James IV of Scotland to Margaret (Henry VIII's daughter) in 1503.[42] Stevens had observed that the tessitura of fragment C is in the alto range. Its recto and verso are apparently two different hands, neither of which is the same handwriting as fragment B.[41]

Fragment D appears to come from a bassus partbook. Fallows entertains the possibilities that B, C, and D are the hand of a single scribe and that the fragments come from two sources, a choirbook and a set of three partbooks: fragments B, C, and H are from the discantus, fragment G from the tenor and fragment D from the bassus.[41]

Fragment E contains a portion of John Taverner's "La bella la bella." Because this song had been published in XX songes (London, 1530), it provides a context for it and the other fragments. Dating from a period later than fragments B or C,[41] there is a possibility that this fragment is from the same discantus partbook as fragments B and C. If so, that suggests a date of 1510-1519—a date compatible with Taverner's "La bella la bella" as well as the later Henry VIII manuscript version of Fayrfax's "Somewhat musying" that is part of fragment A.[43] As originally noted by John Ward, fragment F apparently was once part of the leaf that is now in Cleveland (no. 15b), originally facing Drexel A2.[44] Although ultimately unprovable, Fallows argues that, save for fragment A, all other fragments probably stem from a single set of partbooks. These partbooks were probably copied around 1515 (a date based on the inclusion of "La bella la bella").[44]

The explanation of fragments B and C help in understanding fragment F. The music on the two pages has the same music with different texts, leading to the conclusion that it is two stanzas of the same musical work. As it appears to be a single voice moving from recto to verso, the assumption can be made that this is also from a discantus partbook, even though this one has only five staves per page (whereas the previous fragments indicated seven staves).[43]

Fallows concludes by saying there are two significant issues which the Drexel fragments reveal. They show the existence of the more florid singing style, dating from about 1500, which was known only through the Fayrfax manuscript and the publication XX songes. In other words: the simpler style prevalent in the Henry VIII manuscript (from about 1515) did not replace the florid style, but the two existed simultaneously, demonstrated by the Drexel fragments. The second significant issue suggests that Oxford was a likely center of song production. Fallows concludes with the hope for editions of unpublished music which will move knowledge toward a clearer understanding of the history of English song.[44]

List of contents

The partbooks

This table is based on Monson.[45] r=recto; v=verso.

Title Composer Idiom Cantus 4180 Altus 4181 Tenor 4182 Quintus 4183 Sextus 4184 Bassus 4185 Appearance in contemporary prints
O Lord the maker William Mundy full anthem 0v 0v 1v 1r
O Lord give thy holy spirit Thomas Tallis full anthem1r 1r 2r 1v
Give alms [anonymous] full anthem1v 1v 2v 2r
My God look upon me Mr. Smith of Salop full anthem2v 2v 3v 2v
If ye love me Thomas Tallis full anthem3v 3r 4r 3V John Day, Certaine Notes (1560)
I give you a new commandment John Sheppard full anthem3v 3v 4v 3v John Day, Certaine Notes (1560)
Her the voice Thomas Tallis full anthem4v 4v 5v 4v John Day, Certaine Notes (1560)
Let us now laud William Mundyfull anthem5r 5r 6r 5r
A new commandment William Mundyfull anthem6r 6r 7r 5v
This is my commandment [William Mundy/Thomas Tallis/Johnson] full anthem6v 6v 7v 6r
If ye be risen Christopher Tye full anthem6v 7r 8r 6v
Rejoice in the Lord N. Strogers full anthem7v 7v 8v 7v
A new commandment Thomas Tallis full anthem8v 8v 9v 8r
Submit yourselves John Sheppard full anthem9r 9r 10r 8v John Day, Certaine Notes (1560)
He that hath my commandment William Mundy full anthem9v 9v 10v 9r
He that hath my commandment T. Coste full anthem10r 10r 11v 9v
Behold it is Christ William Mundy full anthem10v 10v 12r 10r
Praise the Lord William Mundy full anthem11r 11v 12v 10v
O Lord from us [anonymous] full anthem11v 12v 13v 11r
I will always give thanks [anonymous] full anthem12v 12v 14r 12r
This sweet and merry William Byrd full anthem13r 13r 14v 12v Italian Madrigals Englished (1590), no. 8
Every singing byrd Luca Marenzio full anthem14r 14r 15v 13r Italian Madrigals Englished (1590), no. 6
When first my heedless Luca Marenzio full anthem15r 15r 16v 14r Italian Madrigals Englished (1590), no. 1
O merry world Luca Marenzio full anthem15v 15v 17r 14v Italian Madrigals Englished (1590), no. 2
Zephyrus [breathing] Luca Marenzio full anthem16r 16r 17v 15r Italian Madrigals Englished (1590), no. 4
Fair shepherd's queen Luca Marenzio full anthem16v 16v 18r 15v Italian Madrigals Englished (1590), no. 5
Circumdederunt me Jacob Clemens non Papa 17r 17r 18v 16r
Quoniam tribulatio (ii) Jacob Clemens non Papa 17v 17v 19r 16v
Saint Marie now (i) John Amner full anthem18v 19r 20r 18r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 9
At length (ii) John Amner full anthem18v 19r 20r 18r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 10
But he the God of love (iii) John Amner full anthem19r 19v 20v 18v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 11
Sweet are the thoughts John Amner full anthem19v 20r 21r 19r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 7
Woe is me that I am John Amner full anthem 21r 22r 20r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 12
Come let's rejoice John Amner full anthem21r 21v 22v 20v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 8
O greif, if yet Baldassare Donato full anthem21v 22r 23r 21r Musica Transalpina (1588), no. 5
My heart, what hast Thomas Morley full anthem22v 23r 24r 21v Canzonets, or little short songs to fovre voyces (1597), no. 8
Still it frieth Thomas Morley full anthem23r 23v 24v 22r Canzonets, or little short songs to fovre voyces (1597), no. 9
O God, give ear William Byrd full anthem23v 24r 25r 22v 1r Musica Transalpina (1588), no. 1
O mortal man William Byrd full anthem24r 24v 25v 23r 1v
O Lord I bow the knees William Mundy full anthem25r 25v 26v 23v 2v
Grant unto us N. Strogers full anthem26r 26v 27v 24v 3av
Wipe away my sins Thomas Tallis full anthem26v 27r 28r 25v 3b
Deliver me from mine enemies Robert Parsons full anthem27v 28r 29r 26v 4r
Lord, who shall dwell Robert White full anthem28r 29r 29v 27r 4v
Prevent us O Lord William Byrd full anthem29v 30r 31r 28v 6r
Blessed by thy name Thomas Tallis 30r 30v 31v 29r 6v
Set up thyself Mr. Smith of Gloucester full anthem30v 31r 31v 29v 7r
Almighty God, the fountain Mr. Tomkins of Woster full anthem31r 32r 33v 30r 7v
I will sing unto the Lord John Amner full anthem32r 33r 32v 31r 8v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 18
The heavens stood John Amner full anthem32v 33v 33r 31v 9r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 15
He that descended John Amner full anthem33r 34v 34v 32r 9v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 17
Now doth the city John Amner full anthem33v 35r 35r 32v 10r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 16
When Israel (i) Michael East verse anthem 34r 35v 35v 33r 10r The third set of bookes... (1610), no. 4
What aileth thee (ii) Michael East verse anthem 34r 35v 35v 33r 10r The third set of bookes... (1610), no. 45
Rise O my soul (i) William Simms verse anthem 35v 36v 36v 34r 11V
And thou, my soul (ii) William Simms verse anthem 35v 36v 36v 34r 11V
To thee, O Jesu (iii) William Simms] verse anthem 35v 36v 36v 34r 11V
Do not repine fair sun Orlando Gibbons verse anthem 37r 38r 38v 35v 13v
Vergine bella Giovanni Pierluigi da Palestrina 40r 41r 43r 39r 17r Il primo libro de madrigali (1581), no. 1
Vergine saggia Giovanni Pierluigi da Palestrina 40v 41v 43v 39v 17v Il primo libro de madrigali (1581), no. 12
Vergine pura Giovanni Pierluigi da Palestrina 41r 42r 44r 40r 18r Il primo libro de madrigali (1581), no. 13
Vergine santa Giovanni Pierluigi da Palestrina 41v 42v 44v 40v 18v Il primo libro de madrigali (1581), no. 15
Vergine sol'al [mondo] Giovanni Pierluigi da Palestrina 42r 43r 45r 41r 19r Il primo libro de madrigali (1581), no. 16
Vergine chiara Giovanni Pierluigi da Palestrina 42v 43v 45v 41v 19v Il primo libro de madrigali (1581), no. 18
Vergine quante [lagrime] Giovanni Pierluigi da Palestrina 43r 44r 46r 42r 20r Il primo libro de madrigali (1581), no. 19
[Fantasia] the first Thomas Lupo the elder 43v 44v 46v 42v 20v
[Fantasia] the second Thomas Lupo the elder 44r 45r 47r 43r 21r
[Fantasia] the third Richard Dering 44v 45v 47v 43v 21v
[Fantasia] the fourth Richard Dering 45r 46r 48r 44r 22r
The white delightful swan Orazio Vecchi 45v 46v 48v 44v 22v Musica Transalpina (1597), no. 1
Cinthia [thy song] Giovanni Croce 46r 47r 49r 45r 23r Musica Transalpina (1597), no. 4
"Larissinall" [Le Rossignol] Alfonso Ferrabosco 46v 47v 49v 45v 23v Musica Transalpina (1588), no. 43
When I would thee embrace Giovanni Battista Pinello di Ghirardi 47r 48r 50r 46r 24r Musica Transalpina (1588), no. 41
When shall I cease Noë Faignient 47v 48v 50v 46v 24v Musica Transalpina (1588), no. 21
I must depart Luca Marenzio 48r 49r 51r 47v 25v Musica Transalpina (1588), no. 22
Susanna fair Orlande de Lassus 48v 49v 51v 47v 25v Musica Transalpina (1588), no. 19
So gratious Giovanni Ferretti 49r 50r 52r 48r 26r Musica Transalpina (1588), no. 25
In paradise [anonymous] consort song 49v 50v 52v 48v 26v 1v
Delight is dead William Byrd consort song 50r 51r 53r 49r 27r
Come pretty babe William Byrd consort song 50v 51v 53v 49v 27v
Abradad [anonymous] consort song 51r 52r 53v 50r 28r
Farewell the bliss [anonymous] consort song 52r 52v 54v 50v 28v
Come, Charon, come [anonymous]consort duet 53r 53r 55r 51r 29r
Lullaby (i) William Byrd consort song 54v 53v 55v 51v 29v Psalmes, Sonets and Songs (1588), no. 32
Be still (ii) William Byrd consort song 54v 53v 55v 51v 29v Psalmes, Sonets and Songs (1588), no. 32
Prostrate O Lord William Byrd consort song 55v 54v 56r 52r 30v Psalmes, Sonets and Songs (1588), no. 27
In fields abroad William Byrd consort song 54r 55r 56v 52v 31r Psalmes, Sonets and Songs (1588), no. 22
Constant Penelope William Byrd consort song 55v 55v 57r 53r 31v Psalmes, Sonets and Songs (1588), no. 23
O sing unto the Lord Thomas Tomkins full anthem56v 56r 57v 53v 32r 2v/10v
Sing we merrily (i) Michael East verse anthem 57v 57r 58v 54v 33r 3v The Sixt Set of Bookes... (1624), no. 14
Take the psalm (ii) Michael East verse anthem 57v 57r 58v 54v 33r The Sixt Set of Bookes... (1624), no. 15
Blow up the trumpet (iii) Michael East verse anthem 58r 57v 59r 55r 33v 4r The Sixt Set of Bookes... (1624), no. 16
Why dost thou shoot John Wilbye full anthem59r 58v 61r 56r 34v 4v The First Set of English Madrigals (1598), no. 30
Of joys and pleasing pains John Wilbye full anthem59v 59r 61v 56v 35r 5v The First Set of English Madrigals (1598), no. 26
My throat is sore John Wilbye full anthem60r 59v 62r 57r 35v 6r The First Set of English Madrigals (1598), no. 27
O ye little flocks (i) John Amner verse anthem 60v 60v 62v 57v 36v 7r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 19
Fear not (ii) John Amner verse anthem 61v 61r 63v 58r 37r 7v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 20
And they cry (iii) John Amner verse anthem 62r 61v 64r 58v 37v 8r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 21
Lo how from heaven (i) John Amner verse anthem 62v 62v 64v 59r 38r 8v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 22
I bring you tidings (ii) John Amner verse anthem 63r 62r 65r 59v 38v 9r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 23
A stranger here John Amner full anthem63v 63r 65v 60r 39v 9v Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 24
My Lord is hence removed John Amner verse anthem 64r 63v 66r 60v 40r 10r Sacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 25
Sing joyfully William Byrd full anthem64v 64r 66v 61r 40v 12v
O God the proud Thomas Tomkins full anthem65v 65r 57v 61v 41v 13v
Christ rising (i) Thomas Tallis full anthem66r 65v 68v 62v 43v
Christ is risen (ii) Thomas Tallis full anthem66r 65v 68v 62v 43v
O Lord how long wilt thou [anonymous] full anthem67v 67r 69v 63v 44r
Salvator Mundi Thomas Tallis full anthem68v 68r 70v 64v 45v Cantiones Sacrae (1575), no. 1
Absterge Domine Thomas Tallis full anthem69r 68v 71r 65r 46r Cantiones Sacrae (1575), no. 2
Lamentations Thomas Tallis full anthem70r 69v 72r 66r 47r
In resurrectione William Byrd full anthem71v 71r 73v 67v 48v Cantiones Sacrae (1575), no. 17
Adolescentulus sum John Mundy full anthem72r 71V 74r 67V 49r 15V
Jerusalem plantabis [anonymous]full anthem73r 72v 75r 58v 50r 16v
Credo quod redemptor Robert Parsons full anthem73v 73v 75v 69r 50v 17v
O sacrum convivium Thomas Tallis full anthem74r 69v 51r Cantiones Sacrae (1575), no. 9
[Homo] quidam fecit Thomas Tallis full anthem74v 74r 76r 70r 51v 18r
In Nomine William Byrd 75r 75v 77v 70v 52r
In Nomine Robert Parsons 75v 76r 78r 71r 52v
In Nomine Alfonso Ferrabosco 58r[46] 76v 78v 71v 53r
In Nomine "Brewster" 58v 77r 79r 72r 53v
De la courte (part 1) Robert Parsons 59r 78v 79v 72v 54r
De la courte (part 2) Robert Parsons 59v 77v 80v 73r 54v
[Unidentified Italian madrigal] [anonymous] 62v 79r 81v 73v 55v
[Ma la fiamma de l'alma] Hans Leo Hassler 63r 79v 82r 74r 56r Madrigali à 5. 6. 7. & 8. voci (1596)
[Musica e lo mio core] Hans Leo Hassler 61v 80r 82v 74v 56v 18v Madrigali à 5. 6. 7. & 8. voci (1596)
[Unidentified Italian madrigal [anonymous] 63v 80v 83v 75r 57r 19v
[Unidentified Italian madrigal [anonymous] 64r 81r 84r 75v 57v
[Care lagrime mie] Hans Leo Hassler 64v 81v 84v 76r 58r Madrigali à 5. 6. 7. & 8. voci (1596)
Dolorosi [martir] Luca Marenzio 65r 82r 85r 76v 58v
Now must I part Luca Marenzio 65v 82v 85v 77r 59r 20r Musica Transalpina (1588), no. 51
So far from my delight Alfonso Ferrabosco 66r 83r 86r 77v 59v 20v Musica Transalpina (1588), no. 48
[She only doth not feel] Alfonso Ferrabosco 66v 83v 86v 78r 60r 21r Musica Transalpina (1588), no. 49
I sung sometime Luca Marenzio 67r 84r 87r 78v 60v 21v Musica Transalpina (1588), no. 56
[Because my love] Luca Marenzio 67v 84v 87v 79r 61r 22r Musica Transalpina (1588), no. 57
Laudate pueri William Byrd full anthem 68r 85r 88r 79v 61v 22v Cantiones Sacrae (1575), no. 17
Deus misereatur John Sheppard full anthem69v 86r 91r 62v 23v
Deus misereatur Robert White full anthem71r 88r 89r 80v 64r 25r
Domine non exaltatum William Mundy full anthem72v 89v 92v 81v 65v 26v
[Libera nos] salva John Sheppard full anthem73v 90v 93v 82v 66v 27v
[Libera nos] salva John Sheppard full anthem74r 91r 94r 83v 67r 28r
Essurientes John Sheppard 74r 91v 94r 82v 67r
Jerusalem surge Clemens non Papa 74r 92r 94v 84r 69r
Jerusalem surge, part 2r Clemens non Papa 75r 92v 95r 84v 69v
Veni electa mea (i) Clemens non Papa 75v 93r 95v 85r 70r
Audi filia (ii) Clemens non Papa 76r 93v 96r 85v 70v
Dum transisset Thomas Tallis full anthem76v 94r 96v 86r 68r
Cantate Domino Richard Nicolson full anthem77v 94v 97v 86v 71r
Blessed art thou that fearest [anonymous] full anthem78r 95v 98v 87r 71v
Veni in hortum Orlande de Lassus full anthem79r 96v 98r 88r 72v
Angelus ad pastores Orlande de Lassus full anthem79v 97r 100r 88v 73r
Sermone blando William Mundy 80r 97v 100v 89r 73v
Cante, cantatte Robert Parsons 80v 98r 101r 89v 73v 28v
Johnson's knell Robert Johnson 81r 98v 101v 90r 74r
Alas, alack, my heart is woe [anonymous] 8 [82?] 99a 102r 91r 75r
Holy, holy, holy Robert Parsons full anthem82v 99av 102v 91v 75v
All ye people, clap William Byrd full anthem83v 99bv 103v 92v 76v
O Lord turn thy wrath William Byrd full anthem84r 100r 104r 93r 77r
Bow thine ear (ii) William Byrd full anthem84v 100v 104v 93v 77v
Out of the deep William Byrd full anthem85v 101v 105v 94v 78v
Behold, how good and joyful [anonymous] full anthem86v 102v 106v 95v 79v
How long shall mine enemies William Byrd full anthem87v 103v 107v 96v 80v
O Lord, make thy servant, James William Byrd full anthem89v 104v 180v 97v 81v
O fools can you not John Wilbye full anthem90v 106v 109v 98r The First Set of English Madrigals (1598), no. 8
Alas, what hope John Wilbye full anthem91v 107r 110r 98v The First Set of English Madrigals (1598), no. 9
Lady, when I behold John Wilbye full anthem92v 107v 110v 99r The First Set of English Madrigals (1598), no. 10
Thus saith my Cloris John Wilbye full anthem93v 108v 111v 99v The First Set of English Madrigals (1598), no. 11
Adieu, sweet Amarillis John Wilbye full anthem94r 109r 112r 100r The First Set of English Madrigals (1598), no. 12
Die, hapless man John Wilbye full anthem94v 109v 112v 100v 82r The First Set of English Madrigals (1598), no. 13
I fall John Wilbye full anthem95r 110r 113r 101r 82v The First Set of English Madrigals (1598), no. 14
Unkind O stay John Wilbye full anthem95v 110v 113v 101v 83r The First Set of English Madrigals (1598), no. 20
Flora gave me John Wilbye full anthem96r 111r 114r 102r 83v The First Set of English Madrigals (1598), no. 22
I sung sometimes John Wilbye full anthem96v 111v 114v 102v 84v The First Set of English Madrigals (1598), no. 21
When David heard Mr. Smith full anthem97v 112v 115v 103v 85v
O give thanks Nathaniel Giles full anthem98r 113r 116r 104r 86r
Behold it is Christ Edmund Hooper full anthem99r 114r 117r 105r 87r
Rejoice in the Lord Mr. Hugh Davies of Hereford full anthem100r 115r 118r 106r 88r
O God, whom our offences William Byrd full anthem101v 116v 119v 106v 89v
Hear my crying [anonymous] full anthem102v 117v 120v 107v 90v
All people clap Thomas Weelkes full anthem104r 119r 122r 108v 92r
O Lord rebuke me not [anonymous] full anthem105r 119v 123r 109v 92v
Christ rising (i) Edmund Tucker full anthem106r 121r 124r 110v 94r
Christ is risen (ii) Edmund Tucker full anthem106r 121r 124r 110v 94r
The Country cry Richard Dering verse anthem 107av 122v 125v 112r 95v
The London Cry (i) Orlando Gibbons verse anthem 109v 125v 128r 114v 98v
A good sausage (ii) Orlando Gibbons verse anthem 109v 125v 128r 114v 98v
The Cry of London [anonymous] verse anthem 112v 127v 130v 116v 101v
O amica mea Thomas Morley 114r 129r 132r 118r 103r
All at once well met Thomas Weelkes full anthem114v 129v 132v 118v 103v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 1
To shorten winter's Thomas Weelkes full anthem115r 130r 133r 119r 104r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 2
Whilst youthful Thomas Weelkes full anthem115v 130v 133v 119v 104v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 4
On the plains Thomas Weelkes full anthem116r 131r 134r 120r 105r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 5
Hark all ye lovely Thomas Weelkes full anthem116v 131v 134v 120v 105r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 8
Say, dainty dames Thomas Weelkes full anthem117r 132r 135r 121r 106r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 9
In pride of May Thomas Weelkes full anthem117v 132r 135r 121r 106v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 11
We shepherds sing Thomas Weelkes full anthem118r 133r 136r 122r 107r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 17
I love and have my love Thomas Weelkes full anthem118v 133v 136v 122v 107v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 18
Give me my heart Thomas Weelkes full anthem119v 134v 137r 123r 108r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 7
Now is my Cloris Thomas Weelkes full anthem120r 136a 137v 123v 108v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 22
Cease now delight Thomas Weelkes full anthem120v 136av 138r 123v 109r 29v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 24
Come clap thy hands Thomas Weelkes full anthem121v 135v 139r 124v 111r Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 19
Phillis hath sworn Thomas Weelkes full anthem122a 136a 139v 125r 111v Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 20
Give sentence with me William Randall full anthem122av 136bv 140r 125V 112r 30V
Let God arise Thomas Ford full anthem123v 138v 142r 127v 114r
To the shady woods Thomas Tomkins full anthem125v 139v 143v 128v 32r Songs of 3.4.5. & 6. parts (1622), no. 13
Too much I once lamented Thomas Tomkins full anthem125r 140r 144r 128v 32v Songs of 3.4.5. & 6. parts (1622), no. 14
Come shepherds Thomas Tomkins full anthem126v 140v 144v 129v 33v Songs of 3.4.5. & 6. parts (1622), no. 15
Cloris, why still Thomas Tomkins full anthem127v 141v 145r 130r 334v Songs of 3.4.5. & 6. parts (1622), no. 16
See the shepherd's queen Thomas Tomkins full anthem128v 142r 145v 130v 35v Songs of 3.4.5. & 6. parts (1622), no. 17
Phillis now cease Thomas Tomkins full anthem129v 142v 146r 131v 36v Songs of 3.4.5. & 6. parts (1622), no. 18
When David heard Thomas Tomkins full anthem130v 143r 146v 132v 37v Songs of 3.4.5. & 6. parts (1622), no. 19
Phillis, yet see him Thomas Tomkins full anthem131v 143v 147v 133r 38v Songs of 3.4.5. & 6. parts (1622), no. 20
Fusca, in thy starry eyes Thomas Tomkins full anthem132v 144v 148v 134r 39v Songs of 3.4.5. & 6. parts (1622), no. 21
Adieu ye city prisoning towers Thomas Tomkins full anthem133v 145v 149r 134v 40v Songs of 3.4.5. & 6. parts (1622), no. 22
When I observe Thomas Tomkins full anthem134v 146v 149v 135r 115v 41v Songs of 3.4.5. & 6. parts (1622), no. 23
Music divine Thomas Tomkins full anthem135v 147v 150v 135v 116v 42v Songs of 3.4.5. & 6. parts (1622), no. 23
Oft did I marle Thomas Tomkins full anthem136v 148v 151v 136v 117v 43v Songs of 3.4.5. & 6. parts (1622), no. 24
Woe is me Thomas Tomkins full anthem137v 149v 152v 137v 118v 44v Songs of 3.4.5. & 6. parts (1622), no. 25
It is my well-beloved's voice Thomas Tomkins full anthem138v 150v 153v 138v 119v 45v Songs of 3.4.5. & 6. parts (1622), no. 26
Turn unto the Lord Thomas Tomkins full anthem138r 151v 154v 138r 120v 46v Songs of 3.4.5. & 6. parts (1622), no. 27
A le quancie de rose Andrea Gabrieli 139v 152r 155r 139v 121r 47r Gemma Musicalis (1588)
Ecco vinegio Andrea Gabrieli 140v 152v 155v 140v 121v 47v Gemma Musicalis (1588)
Sacri [di Giove] Giovanni Gabrieli 141v 153v 156v 141v 122v 48v Liber secundus Gemmae musicalis (1589)
O passi sparsi Andrea Gabrieli 142v 154v 157v 142v 123v 49v Liber secundus Gemmae musicalis (1589)
A dio [dolce mia vita] Giovanni Gabrieli 143v 155v 158v 143v 124v 50v Gemma Musicalis (1588)
D'un si bel foco Alessandro Striggio 144v 156r 159v 144r 125v 51v Gemma Musicalis (1588)
Quei vinto dal furor Andrea Gabrieli 145v 156v 160v 144v 126v 52v Liber secundus Gemmae musicalis (1589)
Ecco l'alma beata Giovanni Croce 146v 157v 161v 145r 127r 53v Liber secundus Gemmae musicalis (1589)
Basti [fin qui] Luca Marenzio 147v 158v 162v 145v 127v 54v Liber secundus Gemmae musicalis (1589)
Lieto godea [sedendo] Giovanni Gabrieli 148v 159v 163v 146v 128v 55v Gemma Musicalis (1588)
O misero mio core Giulio Eremita 149r 160r 164r 147r 129v 56v Tertius Gemmae musicalis liber (1589)
Hence stars Michael East full anthem149v 160v 164v 147v 130v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601) [unnumbered]
With angel's face Daniel Norcomb full anthem150v 161v 165v 148v 131v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 1
Lightly she whipped John Mundy full anthem151v 162v 166v 149v 132v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 2
Long live fair Oriana Ellis Gibbons full anthem152v 163v 157v 150v 133v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 3
All creatures now John Bennet full anthem153v 164v 168v 151v 134v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 4
Fair Oriana John Hilton full anthem154v 165v 169v 153v 135v Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 5
Sing shepherds all Richard Nicolson full anthem155r 166v 170r 152v 136r Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 9
Tutteri foco Benedetto Pallavicino 156v 167v 171v 154v 137v
[untitled] [anonymous] 157v 168v 172v 155r 138v
O sing unto the Lord John Amner full anthem158v 169v 173v 155v 139v 57v
Holy Lord God almighty Thomas Bateson full anthem160r 170v 175r 156v 140v 60v
Out of the deep William Byrd full anthem160v 171v 175v 157v 141v 62r
Rejoice in the Lord Matthew Jeffries full anthem162r 172v 176v 158v 142v 63v
O give thanks John Mundy full anthem163r 173v 177v 159v 144r 64v
Awake up my glory ”Mr. Hugh Davies of Hereford” full anthem164v 175r 179v 160v 145v 65v
Lord enter not into judgment Thomas Tomkins full anthem166r 176r 180v 161v 147r
O Lord arise Thomas Weelkes full anthem167v 176v 181r 162v 147v 68v
O praise the Lord, all ye heathen Thomas Tomkins full anthem166v 177v 181v 163v 148v 69v
Fantasia William Byrd 168v 179v 183v 165v 150v 71v
Fantasia William Byrd 169v 180v 184v 166v 151v
Dorick John Bull 181r 185r 167r 152r
Fantasia Simon Ives 184v 185v 167v 72v
Fantasia Simon Ives 181v 186v 168v 73v
Fantasia John Jenkins 182v 187v 169v 74v
Fantasia John Jenkins 183v 188v 170v 75v
Fantaisia Simon Ives 185v 189v 171v 76v
Fantasia Simon Ives 186v 190v 172v 77v
Fantasia Alfonso Ferrabosco 187v 191v 173v 78v
Fantasia [anonymous] 169v 188v 174r 152v 79v
Fantasia 1 Orlando Gibbons 174v 153v 80v
Fantasia 2 Orlando Gibbons 175v 154r 81v
Fantasia 3 Orlando Gibbons 176v 154v 82v
Fantasia 4 Orlando Gibbons 177v 155r 83v
Fantasia 5 Orlando Gibbons 178v 155v 84v
Fantasia 6 Orlando Gibbons 179r 156r 85r
Fantasia 7 Orlando Gibbons 179v 156v 85v
Fantasia 8 Orlando Gibbons 180v 157r 86v
Fantasia 9 Orlando Gibbons 181r 157v 87v
Fantasia 9 Orlando Gibbons 88v

The pastedowns

This table is based on the articles by Stevens[47] and Fallows.[36] Neither author based their list on the integrity of the physical fragments but rather on their musical content. Thus, although there are nine fragments, both Stevens and Fallows enumerate more than nine items, as they discern more than a single musical work on some fragments. Fallows's list also includes designations for items in other libraries as he believes they were once joined with some of the Drexel fragments (fragments in other libraries are not included here). Stevens's list eschews use of bibliographic terms in identifying whether a fragment is recto or verso, or whether it comes from the front or the back of a volume.

Call number Location in volume Recto or verso Stevens's designation Fallows's designation Text Remarks
Drexel 4180 frontrecto 3 B [c]rowne of thorne so scharpe & kene throw my heyd Upright; Probably from a poem of Jesus's pleading
verso 4B for thy sake man to whom yf pu call at a[ny?]; [refrain]: In a f[orest?] laytt as I was I ...vt supra finis Upright; probably from a poem of Jesus's pleading; possibly continuation of recto
1 D "My mode is changyd in euery wyse" "A blessed Jhesu, hough fortunyd this"; Fayrfax 37; bottom line of fragment
backrecto 8 C The red rosse fayre and sote of sent Upright;
verso 5 C "...y[ow] please alake good Jone what may...." Upright; "Jhoone is sick and ill at ease"; Fayrfax 40;
Drexel 4181 [front] Lacking; perhaps "A8" now in Cleveland
back recto 15 D Unidentified; perhaps related to the work on the verso
verso 11 D ...thus hath mayd my payne The first staff is a vocal work containing a bass part, possibly of a love song
14 D Stevens: The remaining four staves are from an unidentified instrumental work, possibly related to 15; Fallows: untexted bassus part
Drexel 4182 [front] Lacking; Fallows mistakes a leaf with empty staves as being a pastedown (it is really the beginning of the manuscript)[48]
[back] Lacking; perhaps "F3" now in Cleveland
Drexel 4183 frontrecto 10 E1 The bella, the bella we maydens, measures 23-52; this leaf has been tipped in the volume upside down
verso E1 blank page
backrecto 7 F2 ...love shuld com. On euery syde the way she pryde Fragment of an unidentified love song
verso 2 F2 "...whan I haue plesyd my lady now and than" "All a green willow"; Song 25 (Stevens misidentifies this as belonging to Drexel 4184)
Drexel 4184 frontrecto 10 E2 The bella, the bella we maydens "We be maidens fair and gent," song 296 in XX songes, no. 6; measures 1-36
verso 10 E2 ...Syster loke pt ye be not forlorn Continuation of The bella; Song 296; in XX songes, no. 6; treble: measures 53-66; alto: 53-61
backrecto 6 F1 ...[lo]kyng for her trew love long or that yt was day fragment of a love song; bottom portion written over in a later hand
verso 13 F1 He þat smytyth hy... He that smiteth with a stave of oak; refrain: Card lye down & whele stond styll / lett [ ] / [ ] tyll peny pot to þe nale tryll[49]
Drexel 4185 [front] Lacking; perhaps A3 bottom, now in Fitzwilliam Museum
backrecto 9 A3 top Sumwhat musyng and more morenyng in remembryng the unstedfastnes tenor voice; misidentified by Stevens as being from 4183; Fayrfax 24; Henry VIII 107
verso 9 A3 top to let it ouerpass and thynk þeron no more First-second staves: conclusion of "Sumwhat musyng"; (third staff is blank)
- A3 top As solen as staytly as strange toward me as I of Third-fourth staves: beginning of "As solemn as stately as strange toward me"[50]

Works consulted

  • Ashbee, Andrew (1967), "Lowe, Jenkins and Merro", Music and Letters, 48: 310–311 
  • Ashbee, Andrew (2013), "John Merro’s Manuscripts Revisited" (PDF), The Viola da Gamba Society Journal, 7: 1–19 
  • Ashbee, Andrew; Thompson, Robert; Wainwright, Jonathan (2001). The Viola da Gamba Society index of manuscripts containing consort music. Aldershot, Hants, England: Ashgate. ISBN 9780754601302. 
  • Brett, Philip, ed. (1967). Consort Songs. Musica Brittanica. 22. London: Stainer and Bell. 
  • Drexel 4180–4185, New York: New York Public Library, 1942, OCLC 79468694 
  • Fallows, David (1993), "The Drexel Fragments of Early Tudor Song", Royal Musical Association Research Chronicle, 26: 5–18, JSTOR 25099433  (JSTOR access by subscription)
  • Monson, Craig (1982). Voices and Viols in England, 1600-1650: the Sources and the Music. Ann Arbor, MI: UMI Research Press. pp. 133–58. ISBN 9780835713023. 
  • Rimbault, Edward F., ed. (1845), A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient m.s. Part Books Formerly in the Evelyn Collection, London: Printed for the members of the Musical Antiquarian Society by Chappell, OCLC 23536116 
  • Stevens, John (1961), "Postscript: The Drexel Fragments", Music and Poetry in the Early Tudor Court, London: Methuen, pp. 426–28 
  • Willetts, Pamela J. (1961), "Music from the Circle of Anthony Wood at Oxford", British Museum Quarterly, 24: 71 

Editions

Some material from Drexel 4180–4185 has appeared in modern editions:

References

  1. ↑ Peter Le Huray, Music and the Reformation in England 1549-1660 (New York: Oxford University Press), p. 99.
  2. ↑ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
  3. 1 2 3 Willetts 1961, p. 74.
  4. ↑ Ashbee 2001.
  5. ↑ Monson 1982, p. 133.
  6. ↑ Ashbee 2013, p. 1.
  7. 1 2 3 4 5 6 7 8 9 10 Ashbee 2013, p. 2.
  8. 1 2 Rimbault 1845, p. 1.
  9. 1 2 3 Fallows 1993, p. 9.
  10. 1 2 3 4 5 Monson 1982, p. 135.
  11. 1 2 3 4 5 6 7 Monson 1982, p. 137.
  12. 1 2 3 Monson 1982, p. 138.
  13. ↑ John Amner, Sacred Hymns. Of. 3. 4. 5. and 6. parts for Voyces and Vyols (London : Edw. Allde, 1615).
  14. 1 2 Brett 1967, p. 173.
  15. 1 2 Monson 1982, p. 308.
  16. ↑ Rimbault 1845.
  17. 1 2 3 4 Monson 1982, p. 139.
  18. ↑ Evelyn's catalog is located at Christ Church, cataloged as Catalogus Evelynianus 1687, MS 20a.
  19. 1 2 Asbhbee 2001, p. 237.
  20. ↑ Fallows 1993, p. 13, footnote 13.
  21. ↑ Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 86, lot 1337.
  22. 1 2 3 Monson 1982, p. 134.
  23. 1 2 3 4 5 Monson 1982, p. 140.
  24. 1 2 3 4 5 6 Monson 1982, p. 141.
  25. 1 2 3 4 5 Monson 1982, p. 142.
  26. ↑ One of the songs mentioned by Monson is "Out of the deep" in versions for four and five voices, which Grove Music Online says is of doubtful authenticity. See Joseph Kerman and Kerry McCarthy, "Byrd, William" Grove Music Online accessed 19 January 2015 (access by subscription).
  27. 1 2 3 4 Monson 1982, p. 143.
  28. ↑ Hugh Davies appears in the Gloucester bassus book, Christ Church 544-53, Bodleian manuscript Mus. D 162 and in Barnard sources Royal College of Music 1045-51 and Tenbury 791. Smith of Salop only appears in Ludlow SRO 356, MS.
  29. ↑ Ashbee 2013, p. 3.
  30. 1 2 3 Monson 1982, p. 136.
  31. ↑ Thomas Tomkins, Songs of 3.4.5. and 6. parts, London: Printed for Matthew Lownes, John Browne and Thomas Snodham, 1622.
  32. ↑ In the 5th edition of Grove's Dictionary of Music and Musician, Edmund H. Fellows says this work is thought to have been submitted by Bateson as a requirement for receiving his master's degree (Edmund H. Fellowes, "Bateson, Thomas," Grove's Dictionary of Music and Musicians (New York : Macmillan, 1904-10), vol. 1, p. 498). There is no mention of this work's origin in New Grove, implying that Fellows's story lacked verification or was subsequently refuted (David Brown, "Bateson, Thomas," New Grove Dictionary of Music and Musicians, New York: Oxford Music Online, accessed 18 January 2015. (access by subscription)
  33. 1 2 3 Fallows 1993, p. 7.
  34. 1 2 Fallows 1993, p. 6.
  35. 1 2 Stevens 1961, p. 426.
  36. 1 2 Fallows 1993.
  37. ↑ Fallows 1993, p. 5.
  38. ↑ Fallows 1993, p. 5-6.
  39. ↑ Fallows goes into depth explaining a misunderstanding that originally enumerated five sources for the song.
  40. 1 2 Fallows 1993, p. 8.
  41. 1 2 3 4 Fallows 1993, p. 10.
  42. ↑ John E. Stevens, Music & poetry in the Early Tudor Court (London: Methuen, 1961), p. 427.
  43. 1 2 Fallows 1993, p. 11.
  44. 1 2 3 Fallows 1993, p. 12.
  45. ↑ Monson & 1982 198.
  46. ↑ The contemporaneous page numbering restarts at 58 at this point in the cantus partbook.
  47. ↑ Stevens 1961.
  48. ↑ Fallows 1993, p. 15.
  49. ↑ http://www.cddc.vt.edu/host/imev/record.php?recID=1894/%5B%5D
  50. ↑ Footnote to The Digital Index of Middle English Verse

Endpapers

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