Purcell Manuscripts: the Principal Musical Sources Robert Shay and Robert Thompson Frontmatter More Information

Cambridge University Press 978-0-521-02811-0 - Purcell Manuscripts: The Principal Musical Sources Robert Shay and Robert Thompson Frontmatter More information

Purcell Manuscripts: The Principal Musical Sources

Few details are known about the life of Henry Purcell. This book provides the Wrst in-depth analysis of the most obvious documentary evidence of Purcell’s career – the music manuscripts of his own hand and those copied by his colleagues. Robert Shay and Robert Thomp- son oVer a richly illustrated study of Purcell’s sources, examining in detail the physical features of the manuscripts as well as their musical content. Their survey sheds new light on the chronology of composi- tion and copying of Purcell’s works and reassesses the place of extant autographs in his musical development. Major sources are fully catalogued, providing information about the context in which Pur- cell’s music was collected and performed, and his handwriting is more closely examined than ever before. The book represents a signiWcant new reference tool for scholars, applying a forensic ap- proach that greatly enriches our knowledge of the composer and the music of his time.

Robert Shay is Academic Dean at the Longy School of Music, Cambridge, Massachusetts. As a specialist in the music of Henry Purcell, he contributed to Purcell Studies (Cambridge University Press, 1995). He has also edited a volume of works by Henry Aldrich, Selected Anthems and Motet Recompositions (1998). Robert Thompson is Head of General Studies at Colfe’s School, Lee, London. He is also a contributor to Purcell Studies and has written articles on seventeenth-century music manuscripts for a number of publications including Chelys, which he now edits. In 1995 he was curator of the Purcell Tercentenary exhibition at The British Library. u

© Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-02811-0 - Purcell Manuscripts: The Principal Musical Sources Robert Shay and Robert Thompson Frontmatter More information

Purcell Manuscripts The Principal Musical Sources

ROBERT SHAY AND ROBERT THOMPSON

CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo

Cambridge University Press The Edinburgh Building, Cambridge CB2 2RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org Information on this title: www.cambridge.org/9780521580946

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2000 This digitally printed first paperback version 2006

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data Shay, Robert Stuart. Purcell manuscripts: the principal musical sources / Robert Shay and Robert Thompson. p. cm. Includes bibliographical references (p. ) and indexes. ISBN 0 521 58094 3 (hardback) 1. Purcell, Henry, 1659–1695 – Manuscripts Catalogs. 2. Music – Manuscripts Catalogs. I. Thompson, Robert, 1952–. II. Title. ML134.P95S53 2000 780'.92 – dc21 99–38030 CIP

ISBN-13 978-0-521-58094-6 hardback ISBN-10 0-521-58094-3 hardback

ISBN-13 978-0-521-02811-0 paperback ISBN-10 0-521-02811-6 paperback

Contents

list of illustrations page vii list of tables ix preface xiii acknowledgements xv bibliographical procedure xvi list of abbreviations xvii anoteonthetables xxii 1. Introduction: manuscript sources and Purcell’s music 1 2. Fitzwilliam Museum Music MS 88 and three principal concordances 33 3. British Library Additional MS 30930 and its repertories 84 4. British Library Royal Music 20.h.8 and its repertories 126 5. Performing materials from the London sacred establishments and other sacred sources 177 6. Music for the theatre 231 7. Vocal, keyboard and instrumental music 260

appendices Appendix 1. IdentiWed copyists and early owners 305 Appendix 2. UnidentiWed copyists 316

bibliography 318 indexes Index of manuscripts in tables 330 Index of rastral measurements 334 Index of works mentioned in the text 338 Index of manuscripts mentioned in the text 344 Index of names mentioned in the text 348 Index of watermark types and personal marks in paper mentioned in the text 353

Illustrations

1.1 Pelham Humfrey: By the waters of Babylon, copied by Purcell. British Library Add. MS 30932, fol. 53v page 3 1.2 ‘IHS’ countermark with initials of Etienne Touzeau. British Library Add. MS 30930, fol. 29/i 11 1.3 Angoumois Xeur-de-lys watermark. British Library Add. MS 30930, fol. 29/ii 12 1.4 Title page of Edward Cocker, Arts Glory or The Pen-Man’s Treasurie, London, 1657 25 1.5 Henry Purcell: My beloved spake (c. 1677), autograph. British Library Add. MS 30932, fol. 90v 27 1.6 Henry Purcell: From those serene and rapturous joys (1684), autograph. British Library R.M. 20.h.8, fol. 182r 28 1.7 Henry Purcell: Who can from joy refrain (1695), autograph. British Library Add. MS 30934, fol. 88r 29 2.1 John Blow: O sing unto the Lord, autograph. British Library Add. MS 31458, fol. 1r (detail) 38 2.2 John Blow: O sing unto the Lord, autograph. Fitzwilliam Museum MU MS 88, fol. 9v 38 2.3 John Blow: Sing we merrily, partly autograph and partly copied by Purcell. Fitzwilliam Museum MU MS 88, fol. 20r 45 2.4 Henry Purcell: Save me O God, copied by William Isaack. Fitzwilliam Museum MU MS 117, fol. 111r 58 2.5 Henry Purcell: My beloved spake, copied by William Isaack. Fitzwilliam Museum MU MS 117, fol. 225r 63 2.6 Henry Purcell: O give thanks, copied by John Gostling. University of Texas, Austin, Harry Ransom Humanities Research Center MS Pre-1700 85, p. 78 INV 74 2.7 Henry Purcell: Save me O God, copied by London A. Rochester, Eastman School of Music, Sibley Music Library MS M2040/A628/Folio, p. 25 82 3.1 Henry Purcell: ‘Here Begineth ye 6, 7, & 8 part Fantazia’s’, autograph. British Library Add. MS 30930, fol. 48r 98 3.2 Henry Purcell: Plunged in the conWnes of despair, autograph. British Library Add. MS 30930, fol. 4r 102

vii

Illustrations

3.3 Henry Purcell: Plunged in the conWnes of despair, copied by John Blow. Christ Church, Oxford, Mus. 628, p. 42 103 4.1 Henry Purcell: Awake put on thy strength, mostly copied by London A. British Library R.M. 20.h.8, fol. 13v 132 4.2 Henry Purcell: Welcome vicegerent of the mighty king, copied by John Walter. British Library Add. MS 22100, fol. 4r 171 5.1 Henry Purcell: Let God arise, copied by William Tucker with autograph alterations. Westminster Abbey Triforium Set I, alto cantoris partbook, fol. 58v 200 5.2 Henry Purcell: Service in B$, copied by John Walter. Christ Church, Oxford, Mus. 38, p. 25 214 5.3 Henry Purcell: Who hath believed our report, autograph. British Library Add. MS 30932, fol. 94v 215 5.4 John Blow: organ part of God is our hope and strength, copied by Purcell. Christ Church, Oxford, Mus. 554, fol. 3r 216 5.5 Henry Purcell: Funeral Sentences, copied by Daniel Henstridge. University of California at Los Angeles, William Andrews Clark Memorial Library MS fC6966/M4/A627/1700, p. 26 225 6.1 Henry Purcell: trio ‘They shall be as happy’ from The Fairy Queen copied by FQ1. Royal Academy of Music, London, MS 3, fol. 104v 238 6.2 Henry Purcell: the First Music from The Fairy Queen, partly autograph and partly copied by FQ2. Royal Academy of Music, London, MS 3, fol. 3v 239 6.3 Daniel Purcell: a section of Song on her Royal Highness Birth Day (1700), partly autograph and partly in the hand of London E. British Library Add. MS 30934, fol. 43r 246 6.4 Henry Purcell: the Frost Scene from King Arthur, copied by FQ4. British Library Add. MS 31447, fol. 33r 248 7.1 Henry Purcell: jig in A minor, autograph. British Library MS Mus.1, fol. 10r 278 7.2 Henry Purcell: jig in A minor, possibly copied by Francis Forcer. Bodleian Library MS Mus.Sch. E.399, fol. 8v 279 7.3 Henry Purcell: unique prelude to the keyboard suite in A minor, copied by the elder Richard Goodson. Christ Church, Oxford, Mus. 1177, fol. 24v INV 286 7.4 Henry Purcell: overture in G minor, copied by John Reading. British Library R.M. 20.h.9, fol. 117v 297 Illustrations are reproduced by courtesy of the following copyright holders: 1.1–1.3, 1.5–1.7, 2.1, 3.1, 3.2, 4.1, 4.2, 5.3, 6.3, 6.4, 7.1, 7.4, The British Library; 1.4, the Victoria and Albert Museum; 2.2–2.5, the Syndics of the Fitzwilliam Museum, Cambridge; 2.6, the University of Texas, Austin; 2.7, the Eastman School of Music, University of Rochester; 3.3, 5.2, 5.4, 7.3, the Governing Body of Christ Church, Oxford; 5.1, the Dean and Chapter of Westminster Abbey; 5.5, the University of California, Los Angeles; 6.1, 6.2, the Royal Academy of Music, London; 7.2, the Bodleian Library, Oxford.

viii

Tables

2.1 Cambridge, Fitzwilliam Museum Music MS 88: contents page 42 2.2 Probable dates of Purcell’s copying in Cambridge, Fitzwilliam Museum Music MS 88 44 2.3 Cambridge, Fitzwilliam Museum Music MS 117: contents 50 2.4 Paper types, collation and rastrology in Cambridge, Fitzwilliam Museum Music MS 117 56 2.5 University of Texas at Austin, Harry Ransom Humanities Research Center MS Pre-1700 85: contents 67 2.6 Paper types, collation and rastrology in University of Texas at Austin, Harry Ransom Humanities Research Center MS Pre-1700 85 70 2.7 Rochester, Eastman School of Music, Sibley Music Library MS M2040/A628/Folio: contents 79 3.1 London, British Library Additional MS 30930: vocal music. Contents and concordances 85 3.2 London, British Library Additional MS 30930: instrumental music other than sonatas. Contents and concordances 86 3.3 London, British Library Additional MS 30930: sonatas. Contents and concordances 87 3.4 London, British Library Additional MS 30930: current and possible original collation 90 3.5 Oxford, Christ Church Mus. 628: contents 101 3.6 Oxford, Bodleian Library MS Mus.c.28: contents 105 3.7 Purcell’s sacred partsongs in London, British Library Additional MS 30930 and Oxford, Bodleian Library MS Mus.c.28 106 3.8 New York Public Library, Drexel MS 5061: contents 107 3.9 London, British Library Additional MS 33236: contents 110 3.10 Related English sources of sonatas 111 3.11 Oxford, Bodleian Library MSS Mus.Sch. E.400–403: contents 116 3.12 University of Chicago, Joseph Regenstein Library, MS 959: contents 120 3.13 Chichester, West Sussex Record OYce, MS Cap. VI/I/I: contents 122 4.1 London, British Library Royal Music 20.h.8: contents 128

Tables

4.2 London, British Library Royal Music 20.h.8: incidence of secretary and italic forms of the lowercase ‘r’ in odes and welcome songs 131 4.3 London, British Library Royal Music 20.h.8: incidence of secretary and italic forms of the lowercase ‘r’ in anthems 133 4.4 Manuscripts copied by London A 134 4.5 London, British Library Royal Music 20.h.8: solo songs and duets 138 4.6 Primary manuscript sources of Purcell’s symphony anthems 140 4.7 Separate autograph scores of Purcell symphony anthems: Birmingham University, Barber Institute, MS 5001; Oxford, Bodleian Library MS Mus.c.26; London, British Library Additional MSS 30931 and 30932 142 4.8 London, British Library Additional MS 50860 and Tokyo, Nanki Library MS N5/10: contents 146 4.9 London, British Library Additional MS 47845: collation of music folios 148 4.10 London, British Library Additional MS 47845: contents 149 4.11 London, British Library Additional MS 17840: contents 152 4.12 London, British Library Additional MS 31445: contents 154 4.13 London, Royal College of Music MS 2011: contents 155 4.14 London, British Library Additional MS 33287 and Royal College of Music MS 2011: rastrology 156 4.15 Sources of the symphony version of My song shall be alway 156 4.16 Oxford, Bodleian Library MS Tenbury 1503: contents 159 4.17 Primary manuscript sources of welcome songs and other odes 160 4.18 Separate scores of individual odes 162 4.19 London, British Library Additional MS 30934, fols. 80–93: conjectural collation 164 4.20 London, British Library Additional MS 33287: contents 166 4.21 Primary manuscript sources of symphony songs 168 4.22 London, British Library Additional MS 22100: contents 170 4.23 London, British Library Additional MS 31447: contents 174 5.1 Primary manuscript sources of Purcell’s full and verse anthems 178 5.2 London, British Library Royal Music 27.a.1: contents 182 5.3 Copying by William Tucker and Edward Braddock in the Chapel Royal partbooks, London, British Library Royal Music 27.a.1–8 186 5.4 London, British Library Royal Music 27.a.7: contents 189 5.5 Cambridge, Fitzwilliam Museum Music MS 152: contents 191 5.6 London, Westminster Abbey MSS Triforium Set I: contents 194 5.7 Payments for music books and copying at Westminster Abbey, 1660–1700 197

Tables

5.8 Works by Purcell in York Minster MSS M1(S) 205 5.9 John Gostling’s copies of works by Purcell in the St Paul’s and Tenbury partbooks 208 5.10 Manchester Central Library BRm370Bp35: contents 210 5.11 Separate autograph scores of service music, full and verse anthems (including works by other composers) 212 5.12 Oxford, Christ Church Mus. 22, pp. 1–131: contents 220 5.13 University of California at Los Angeles, William Andrews Clark Memorial Library MS fC6966/M4/A627/1700: contents 222 6.1 Oxford, Bodleian Library MS Tenbury 1266: contents 233 6.2 London, Royal Academy of Music MS 3, The Fairy Queen: sections entirely or partly copied by Purcell 236 6.3 Sources of Purcell copied by London E 242 6.4 Music by composers other than Purcell copied by London E 245 6.5 London, British Library Additional MS 31452: original table of contents, fol. iiiv 250 6.6 London, British Library Additional MS 31452: contents 250 6.7 London, British Library Additional MS 5333: contents 251 6.8 London, Royal College of Music MS 2230: contents 252 6.9 Cambridge, Fitzwilliam Museum Music MS 119: contents 253 6.10 London, British Library Additional MS 31449: paper and rastrology 254 6.11 London, British Library Additional MS 31453, fols. 40–83: paper and rastrology 256 6.12 London, British Library Additional MS 5337, fols. 27–42: paper and rastrology 256 6.13 Oxford, Bodleian Library MS Mus.c.27, fols. 33–6: paper and rastrology 256 6.14 Cambridge, Fitzwilliam Museum Music MS 683 and Oxford, Bodleian Library MS Tenbury 785: contents 258 7.1 The ‘Court’ group of sources 261 7.2 Brussels, Koninklijk Conservatorium MS 1035.g: contents 262 7.3 London, Guildhall Library MS Safe 3 (Gresham autograph songbook): contents 264 7.4 The ‘Oxford’ group of sources 267 7.5 Birmingham University, Barber Institute of Fine Arts MS 5002: contents 268 7.6 Birmingham University, Barber Institute of Fine Arts MS 5002: paper and rastrology 270 7.7 The ‘southeastern’ group of sources 273 7.8 Songs and catches by Purcell in sources of the ‘southeastern’ group 274

Tables

7.9 London, British Library MS Mus.1: contents 280 7.10 Oxford, Christ Church Mus. 1177: contents of reverse sequence 284 7.11 Other primary manuscript sources of harpsichord music by Purcell 288 7.12 Sources of Purcell’s organ music 291 7.13 New Haven, Beinecke Rare Book and Manuscript Library, Osborn MS 515: music by Purcell 294 7.14 London, British Library R.M. 20.h.9: contents 296 7.15 London, Royal College of Music MS 1144: parts of theatre suites by Purcell 299 7.16 London, Royal College of Music MS 1172: contents 300

xii

Preface

The origins of this book lie in separate research projects, some of which had little or nothing to do with Purcell. Enquiries into sources of the English composer George JeVreys demonstrated that a careful examination of a manuscript’s physical make-up, a process for which we later learned the ugly but succinct word ‘codicology’, could yield surprising and informative results; some received opinions concerning composers’ handwriting seemed due for re-examination; and we both acquired a growing awareness of the activities of copyists and other relatively obscure musicians in the later seventeenth century. Our contributions to Purcell Studies in 1995, independent- ly conceived and written, fortuitously complemented each other and formed the basis of this more comprehensive survey of Purcell manuscripts aiming to arrive at a better understanding of the stemmata of some of Purcell’s works and a deeper appreciation of the place of each major manuscript source in the working life of the musicians who copied and used it. Our readers must decide whether and to what extent we have succeeded. The task would have been unthinkable without Franklin B. Zimmerman’s Henry Purcell, 1659–1695: an Analytical Catalogue of his Music, and readers may be surprised to Wnd a paucity of ‘Z numbers’ in our text and tables. We felt that in most cases the identity of a work was made clear by its title or incipit and therefore decided to reserve Zimmerman’s catalogue numbers for ambiguously titled works such as keyboard pieces: no disrespect to a great Purcellian is intended. Other decisions unlikely to be beyond criticism include a certain inconsistency in the identiWcation of works in the tables: when we thought there was anything to be gained from it we have included literal transcriptions of ‘headings’ or ‘incipits’ (information listed under such categories is given as it appears in the source without inverted commas); when not, we have used the modernised ‘title’. Similarly, we have given the full inclusive pagination or foliation for works contained in all autographs and certain non- autographs, while simply providing the initial page or folio number for other manuscripts. Contractions in quoted material, both in the tables and the text, are expanded except in the case of those involving the y-thorn, when it seemed absurdly pedantic to alter ‘yt’ to ‘y[a]t’.

xiii

Preface

Most of the manuscripts discussed in this book have been examined at Wrst hand, and we are responsible for all details of their watermarks, measurements and other physical features. A handful, which we judged not to be of the Wrst importance, we studied only in reproductions, and codicological information is omitted from the tables of their contents unless it could be reliably obtained: the sources of such information are acknowledged at the appropriate places. We have tried to provide a reference for each identiWed copyist or early owner suYcient to enable any interested reader to pursue further enquiries: most such references are in footnotes, but a number of major copyists, along with a few others for whom adequate information is not readily available, are dealt with in the Appendices. Our intention from the outset was to produce not simply a catalogue of the major manuscript sources but a relatively detailed treatment in prose, thus enabling us to explore interconnections between sources, copyists and variant versions of particular works. It is our hope, however, that those who wish to consult this book for speciWc information about a particular manuscript or work will Wnd the several indexes suYcient for their purposes. For those less familiar with Purcell source material some indication of the book’s overall layout should be given here: Chapter 1 explores Purcell’s career as viewed from the extant manuscript sources and then provides background information on the major facets of codicological study, namely paper and handwriting. Chapters 2–4 each take as their focal point one of the three great autograph scorebooks, also encompassing closely related sources or (in Chapters 3–4) sources containing related repertories. Chapters 5–7 then cover the remaining ground: the miscellaneous sacred sources, the theatre sources, and everything else (the sources of songs, keyboard music and instrumental works not previously covered).

xiv

Acknowledgements

Our debt to existing published material will be apparent on every page and is, we hope, adequately acknowledged. In the years in which this book has been in preparation we have both taken part in conferences, exhibitions and editorial work, all of which deepened our understanding of our subject: our obligation for speciWc pieces of information passed on informally or through correspondence is stated in the relevant footnotes, but our special thanks for sustained and substantial support, help and encouragement are due to Curtis Price, Principal of the Royal Academy of Music; Margaret Laurie, Chairwoman of the Purcell Society; Bruce Wood, Peter Holman, Christopher Hogwood and Keri Dexter. Correspondence and conversation with scholars pursuing lines of enquiry very diVerent from our own, notably Martin Adams and Rebecca Herissone, produced many rewarding points of convergence but also some instructive divergences. The staV of each and every library holding our source material have far exceeded their professional obligations and have readily shared their knowledge with us: we must especially thank Chris Banks, Curator of Music Manuscripts at The British Library, not only for assisting in numerous ways but also for doing so while the Library was moving to its new premises. Finally, and above all, we must record our debt to our wives Elizabeth Shay and Janet Thompson for their support and forbearance over a long period of preoccupation with seventeenth-century matters.

Bibliographical procedure

books, articles and published music As a rule all references to books, articles and published music are given in full on their Wrst appearance in each chapter and thereafter in short-title form. Frequently cited books and periodicals, however, are identiWed by the abbreviations given on pp. xvii–xix below. Publications of the Purcell Society are identiWed in footnotes in the form Works; volume number; date (dates of publication are given in preference to the description ‘revised edition’).

manuscripts Music manuscripts are identiWed in full in section or table headings but by RISM sigla and abbreviated shelfmarks throughout the body of the text: in particular, the element ‘MS’ has been omitted unless its absence causes potential confusion. Two unfamiliar sigla have been introduced: GB-Ktp Knutsford, Tatton Park US-NHb New Haven, Yale University, Beinecke Rare Book and Manuscript Library Unnumbered pages or folios within the main pagination or foliation sequence are designated by a Roman numeral after the previous numbered page or folio (e.g. 30/ii).

xvi

Abbreviations

BOOKS

Adams, Henry Purcell Martin Adams, Henry Purcell: the Origins and Development of his Musical Style (Cambridge, 1995)

BDM Andrew Ashbee and David Lasocki, assisted by Peter Holman and Fiona Kisby, A Biographical Dictionary of English Court Musicians, 1485–1714, 2 vols. (Aldershot, 1998)

Bloxam, Register J. R. Bloxam, ed., A Register of the Presidents, Fellows, Demies ...ofSt Mary Magdalen College, 8 vols. (Oxford, 1853–85)

Burney, History Charles Burney, A General History of Music from the Earliest Ages to the Present Period (1789), 2 vols., ed. Frank Mercer (London, 1935; repr. New York, 1957)

Churchill W. A. Churchill, Watermarks in Paper . . . in the XVII and XVIII Centuries and their Interconnection (Amsterdam, 1935)

Crosby, Catalogue Brian Crosby, A Catalogue of Durham Cathedral Music Manuscripts (Oxford, 1986)

CSPD M. A. E. Green, et al., eds., Calendar of State Papers, Domestic Series . . . Preserved in the State Paper Department of Her Majesty’s Public Record OYce (London, 1860–)

Dawe, Organists Donovan Dawe, Organists of the City of London (Padstow, 1983)

DNB Leslie Stephen et al., eds., The Dictionary of National Biography,22 vols. and supplements (London and Oxford, 1917–)

Dodd, Thematic Index Gordon Dodd, ed., Thematic Index of Music for Viols (London, 1980–92)

Foster, Alumni Joseph Foster, Alumni Oxonienses, 1500–1714, 4 vols. (Oxford, 1891)

Grindle, Irish Cathedral Music W. H. Grindle, Irish Cathedral Music: a History of Music at the Cathedrals of the Church of Ireland (Belfast, 1989)

Grove Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, 20 vols. (London, 1980)

xvii

Abbreviations

Hawkins, History John Hawkins, A General History of the Science and Practice of Music,2 vols. (London, 1853; repr. New York, 1963) Hearne C. E. Doble et al., eds., Remarks and Collections of Thomas Hearne,11 vols. (Oxford, 1885–1921) Heawood Edward Heawood, Watermarks, Mainly of the 17th and 18th Centuries (Hilversum, 1950) Holman, Four and Twenty Peter Holman, Four and Twenty Fiddlers: the Violin at the English Fiddlers Court, 1540–1690 (Oxford, 1993) Holman, Henry Purcell Peter Holman, Henry Purcell (Oxford, 1994) Holst, ed., Henry Purcell Imogen Holst, ed., Henry Purcell, 1659–1695: Essays on his Music (London, 1959) King, Some British Collectors A. Hyatt King, Some British Collectors of Music, c.1600–1960 (Cam- bridge, 1963) Lawlor, Fasti H. J. Lawlor, ed., The Fasti of St Patrick’s, Dublin (Dundalk, 1930) Madan, Summary Catalogue Falconer Madan, A Summary Catalogue of Western Manuscripts in the Bodleian Library at Oxford, III (Oxford, 1895); V (Oxford, 1905) Performing the Music Michael Burden, ed., Performing the Music of Henry Purcell (Oxford, 1996) Purcell Companion Michael Burden, ed., The Purcell Companion (London, 1995) Purcell Studies Curtis Price, ed., Purcell Studies (Cambridge, 1995) RECM Andrew Ashbee, ed., Records of English Court Music, I (Snodland, 1986); V (Aldershot, 1991); VIII (Aldershot, 1995) Shaw, The Succession Watkins Shaw, The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c.1538 (Oxford, 1991) Spink, Restoration Ian Spink, Restoration Cathedral Music, 1660–1714 (Oxford, 1995) Vicars, Index Arthur Edward Vicars, Index to the Prerogative Wills of Ireland, 1536–1810 (Dublin, 1897) Voorn, De papiermolens Henk Voorn, De papiermolens in de provincie Noord-Holland (Haar- lem, 1960) Westrup, Purcell J. A. Westrup, Purcell, rev. Nigel Fortune (London, 1980; repr. with new foreword by Curtis Price, Oxford, 1995) Wood Andrew Clark, ed., The Life and Times of Anthony Wood, 5 vols. (Oxford, 1891–1900) Zimmerman, Catalogue Franklin B. Zimmerman, Henry Purcell 1659–1695: an Analytical Catalogue of his Music (London, 1963) Zimmerman, Life Franklin B. Zimmerman, Henry Purcell, 1659–1695: his Life and Times, 2nd edn (Philadelphia, 1983)

PERIODICALS AcM Acta Musicologica BLJ British Library Journal

xviii

Abbreviations

BLR Bodleian Library Record BMQ British Museum Quarterly EM Early Music FAM Fontes Artis Musicae GSJ Galpin Society Journal JAMS Journal of the American Musicological Society JRMA Journal of the Royal Musical Association MA Musical Antiquary M&L Music and Letters MQ Musical Quarterly MR Music Review MT The Musical Times PRMA Proceedings of the Royal Musical Association RMARC Royal Musical Association Research Chronicle

GENERAL ABBREVIATIONS

bc basso continuo INV Inverted: used when modern foliation or pagination applies to music copied with the manuscript reversed and for the reverse sequence when a manuscript has separate pagination from the front and back MLE Music for London Entertainment: a series of facsimiles issued by Richard MacNutt 1983–7 and subsequently by Stainer and Bell S, A, CT, T, B soprano, alto, countertenor, tenor, bass solo voices satb soprano, alto, tenor, bass chorus voices va viola vn violin

RISM LIBRARY SIGLA

Belgium B-Bc Brussels, Koninklijk Conservatorium

Eire EIRE-Dcc Dublin, Christ Church Cathedral (deposited at the Representative Church Body Library, Dublin)

France F-Pc Paris, Conservatoire National (housed at F-Pn) F-Pn Paris, Bibliothe`que Nationale

xix

Abbreviations

Germany D-Hs Hamburg, Staats- und Universita¨tsbibliothek

Great Britain (the national siglum ‘GB’ is omitted) Bu Birmingham University, Barber Institute of Fine Arts Cfm Cambridge, Fitzwilliam Museum Ckc Cambridge, King’s College, Rowe Music Library Cmc Cambridge, Magdalene College CDp CardiV, Public Libraries, Central Library CH Chichester, West Sussex Record OYce DRc Durham, Cathedral En Edinburgh, National Library of Scotland EL Ely, Cathedral (deposited at Cambridge University Library) EXc Exeter, Cathedral Ktp Knutsford, Tatton Park Lam London, Royal Academy of Music Lcm London, Royal College of Music Lg London, Guildhall Library Lpro London, Public Record OYce Lsp London, St Paul’s Cathedral Lwa London, Westminster Abbey LI Lincoln, Cathedral Mp Manchester, Central Public Library, Henry Watson Music Library Ob Oxford, Bodleian Library Och Oxford, Christ Church Ooc Oxford, Oriel College WO Worcester, Cathedral WRch Windsor, St George’s Chapter Library WRec Windsor, Eton College Y York, Minster

Japan J-Tn Tokyo, Nanki Music Library

United States US-AUS Austin, University of Texas, Harry Ransom Humanities Research Center US-BE Berkeley, University of California, Music Library US-Cn Chicago, Newberry Library US-Cu Chicago, University of Chicago, Joseph Regenstein Library US-LAuc Los Angeles, University of California, William Andrews Clark Memorial Library

Abbreviations

US-NH New Haven, Yale University, Music Library US-NHb New Haven, Yale University, Beinecke Rare Book and Manuscript Library US-NYp New York, Public Library US-R Rochester, Eastman School of Music, Sibley Music Library US-Wc Washington, Library of Congress, Music Division US-Ws Washington, Folger Shakespeare Library

xxi

A note on the tables

All measurements in tables are in millimetres. Details of rastrology include the following information:

The total number of staves on a page The number of staves drawn at once by a single multi-stave rastrum The overall span of the multi-stave rastrum The ‘proWle’ of the rastrum, consisting of the width of each individual stave and (in parentheses) the width of the spaces between the staves

All rastral measurements are variable, and deviations of up to 1 mm are not unusual. For further information, see pp. 17–18 below.

xxii