Musical Creativity in Restoration England

REBECCA HERISSONE

Appendix: Catalogue of Restoration Music Manuscripts

The following catalogue is an appendix of the music manuscripts that formed the main corpus of research materials used for the book Musical Creativity in Restoration England (Cambridge: Cambridge University Press, 2013). While it has primarily been designed to provide context for the book’s investigation of musical creativity, it is also intended to be an ongoing research tool for scholars and editors working in the field. Thus, although the majority of the sources included here have been consulted for the study, the catalogue has been broadened to include manuscripts peripheral to the project in order to make it a more useful resource for future research. Defining the boundaries for inclusion in any catalogue of this sort is fraught with difficulties, and it is rarely possible to ensure complete consistency. Broadly speaking, the year 1660 has been set as the starting point. For some genres of music this year marked a clear watershed: court music was re-established with the Restoration of the monarchy, the theatres were reopened, choral services were restarted, and Charles II established the use of instruments at the Chapel Royal, which resulted in the invention of the symphony anthem. While there is good reason to reach back into the 1650s to consider a few important manuscripts containing music in these genres – such as Locke’s score of the 1659 performance of Cupid and Death – such exceptions are relatively few and are easily defined. The situation is very different, however, for more informal types of music-making that took place in the home, tavern or at music meetings. These activities were relatively little affected by the tumultuous political events of that year, and there is no distinctive change detectable in sources for these genres of music around 1660. The situation is worsened by the fact that many manuscripts cannot be dated precisely. It is much harder, therefore, to establish consistent criteria for inclusion or exclusion of sources of instrumental consort music, secular and devotional song, and keyboard music than for other types of music included in the catalogue. In order to try to be as systematic as possible, the following principles have been adopted: 1. Music by composers who were still alive at the Restoration, but whose compositional activity predominantly pre-dates it is generally excluded, except where it is copied in sources also including Restoration compositions. Thus Matthew Locke’s music is included, but Henry Lawes’s (d. 1662) is not. Probably the most controversial member of the excluded group is John Jenkins (1592–1678), whose lengthy career included involvement in the Caroline masque The Triumph of Peace, but who was still teaching the North children in the 1660s. Most of Jenkins’s vast output is copied in sources dating from before the Restoration and they have therefore not been considered central to this study. 2. Where provenance can be detected, precedence is given to manuscripts associated with London and Oxford institutions and with composers based in these places. While many provincial sources are also included, there is no attempt comprehensively to record the surviving manuscripts of provincial cathedrals, in particular. 3. Manuscripts copied over lengthy periods, but predominantly completed before the Restoration, are generally excluded. 4. Manuscripts containing only music by non-English composers, other than those resident in England during the Restoration, are generally excluded even where copied by English scribes, except where they contribute to larger collections, such as that of the Oxford Music School.

The terminus ad quem for the catalogue has been set at approximately 1705, but this is of course a largely arbitrary date, which cannot be applied consistently since many sources cannot be dated with precision. For manuscripts clearly copied after c. 1700, the overriding criterion for inclusion has been evidence of continuity with Restoration repertory, approaches and functions. Later sources that do not show this kind of continuity have been excluded. Thus GB-Ob Mus.Sch.e.425 and e.426 – a pair of manuscripts begun c. 1710, containing songs and keyboard settings of music by Handel, Haym and others, partly copied by the German musician Andreas Roner and apparently pedagogical in origin – are not considered, since they include very little Restoration repertory. However, GB-AY D/DR 10/6a – another pedagogical manuscript including keyboard settings of theatre music, copied up to c. 1706 – is used, because it contains music predominantly composed in the Restoration period. In general, composers are included if they made a significant contribution to English musical life in the period c. 1660 to c. 1705, but the catalogue extends somewhat further – in particular to include autographs and supervised copying of music by Croft – in order to facilitate comparison with sources that form the core of the catalogue. Each entry in the catalogue follows the same format. Explanations of the abbreviations used, including RISM sigla, are given in the accompanying document ‘Appendix Abbreviations’, and full citations for the items in the bibliography are given in the document ‘Appendix Bibliography’. The bibliography includes four main types of reference: it provides references and links to relevant manuscript catalogues and RISM citations (giving precedence to www.rism.org.uk over RISM Series A/II identity numbers where possible, since the former records are more detailed); it lists source-study literature specifically focusing on the manuscripts in question; it includes references to the sources as they appear in the thematic catalogues of relevant composers (primarily Clarke, Locke and Henry Purcell); and it cites selected scholarly editions in which the sources are used, in order to provide information on the availability of modern editions of the works in question.

Comments on, corrections and potential additions to the catalogue are very welcome and can be emailed to [email protected].

Catalogue of Restoration Music Manuscripts

MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING B-Bc 1035.g Devotional settings, Blow, Francis Unknown After 1689 Score Pieces originally entered from Harding, A Thematic Catalogue, 30–4; H. anthems and songs Bragge, Peter Isaac, scribes (one both ends. Locke pieces Purcell, Duets, Dialogues and Trios, ed. Locke, H. Purcell, main hand, first attributed to Silas Taylor in GB- Spink, p. xvi; H. Purcell, Secular Songs, Wise two songs in Cfm 163. Some songs notated ed. Laurie, p. xix; H. Purcell, Symphony another hand) with melody only, with blank Songs, ed. Wood, p. xviii, p. xxi; RISM, bass staves Series A/II, ID/AN 702.002.406; Shay and Thompson, Purcell Manuscripts, 261–2 B-Bc 15139 Harpsichord music Blow, Jean Cort Unknown scribe, c. 1695–1705 Score Oblong quarto manuscript. Blow Blow, Complete Harpsichord Music, ed. Camp, Jean Casper, Chapel Royal Chaconne dated ‘June ye 3d Klakowich, 115; Hodge, ‘English Clarke, Croft, style 1687’; Klakowich takes this to be Harpsichord Repertoire’, vol. III, 29– Johann Philipp the date of composition, but 30; Holman, ‘A New Source’; RISM, Krieger, H. Purcell Holman disagrees Series A/II, ID/AN 702.001.169; Woolley, ‘English Keyboard Sources’, 228 B-Bc 15418 Keyboard music Blow, Fischer, Blow, Elizabeth After 1698 Score Oblong manuscript. Inscription Blow, Complete Harpsichord Music, ed. Froberger, Strungk Edgeworth? on front flyleaf: ‘Elizabeth Klakowich, 115; Dart, ‘Elizabeth Edgeworth’ (Blow’s daughter) Edgeworth’s Keyboard Book’; Herissone, ‘The Theory and Practice of Composition’, 230; RISM, Series A/II, ID/AN 702.001.219; Woolley, ‘English Keyboard Sources’, 121–2, 228 D-DS Mus 1227 Theatre suites Various Unknown scribe Early 18th C Score Contains four-part anonymous Herissone, ‘The Origins and Contents’; (anonymous) suites arranged by key. Many RISM, Series A/II, ID/AN concordances with GB-Cmc 450.028.034 F.4.35 (1–5) D-Hs ND VI Odes and theatre H. Purcell William 1702–7 Score Oxford provenance. Partly Charteris, ‘Newly Discovered Sources’; 3101 music Saunders copied from GB-Lbl Add. 31453. H. Purcell, The Indian Queen, ed. Laurie Signed ‘J. Dolben. XtChurch’, and Pinnock, p. xxvii; RISM, Series with some titles in Dolben’s A/II, ID/AN 452.011.722; Shay and hand. Omits songs that had been Thompson, Purcell Manuscripts, 255 published in Orpheus Britannicus D-Hs ND VI Odes and theatre H. Purcell Unknown scribe 1702–21 Score Copied from GB-Lbl Add. 5333. Charteris, ‘Newly Discovered Sources’; 3103 music Outer pages missing. Omits RISM, Series A/II, ID/AN songs that had been published in 451.513.490; H. Purcell, Dramatic Orpheus Britannicus Music, Part II, ed. Spink, p. xxxiv; Shay and Thompson, Purcell Manuscripts, 249 D-Hs ND VI Sets of instrumental Jenkins, W. Lawes, Anon A 1683–4 Four Inscribed ‘Sr Gabriel Roberts Ashbee, Thompson and Wainwright, 3193 dance suites Rogers, Simpson partbooks 1684’. Same copyist as GB-Lbl Viola da Gamba Society Index, vol. II, Add. 31431 15–23; Charteris, ‘A Rediscovered Manuscript Source’; RISM, Series A/II, ID/AN 451.513.336 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING F-Pc Rés 770 Instrumental Locke Unknown scribe Late 17th C Score Harding, A Thematic Catalogue, Tables consort music, IV and V; Holman, Four and Twenty including The First Fiddlers, 275–6 Part of the Broken Consort F-Pc Rés 1186 bis Keyboard music Blow, Croft, O. John Reading sr c. 1680 (first Score Upright folio manuscript. Hand Bailey, Seventeenth-Century British Part 1 Gibbons, R. King, (first layer), layer); 1690s of Reading identified by Alan Keyboard Sources, 120–1; Blow, Complete Lebègue, H. Purcell unknown hand (second Howard. Likely Winchester Harpsichord Music, ed. Klakowich, 115; (second layer) layer) provenance Brookes, British Keyboard Music, 112; Gustafson, French Harpsichord Music, vol. II, 144–8; Hodge, ‘English Harpsichord Repertoire’, vol. III, 100; Shay and Thompson, Purcell Manuscripts, 287; Woolley, ‘English Keyboard Sources’, 229; Zimmerman, Henry Purcell…An Analytical Catalogue, 471 F-Pc Rés F. 202 King Arthur H. Purcell Unknown scribe c. 1700–10 Score Readings may be ‘improved’, H. Purcell, King Arthur, ed. Laurie, p. since they are not consistent with xi; Shay and Thompson, Purcell other known sources. Manuscripts, 257, 259; Zimmerman, Henry Purcell…An Analytical Catalogue, 471

F-Pn Rés 2489 Secular songs Humfrey, Ives, H. J. Playford 1660s Score Cutts, ‘Seventeenth-Century Songs and Lawes, J. Playford, Lyrics’; English Songs, ed. Spink, 189; Wilson, Turner and Spink, English Song, 273 others GB-AY D/DR Keyboard music and Clarke, R. King, H. Robert King; c. 1703–6 Score Oblong quarto manuscript. Hodge, ‘English Harpsichord 10/6a settings of theatre Purcell and others annotations by Probably owned by Montague Repertoire’, vol. III, 108−9; tunes, inc. from Montague Drake Garrard Drake (1692–1728). http://www.rism.org.uk/manuscripts/ Clayton’s Arsinoe Includes pedagogical instructions 164112; Taylor, Thematic Catalog, 104; Woolley, ‘English Keyboard Sources’, 68–74, 229 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Bu 5001 Symphony anthems, Blow, Cooke, Blow, Cooke, 1660–85 Score Guardbook; all individual items Fenlon, Catalogue of the Printed Music and liturgical music and Humfrey, H. Purcell, Humfrey, H. were originally unbound leaves. Music Manuscripts, 113–14; Herissone, court odes Turner Purcell, Turner Shaw suggests they may have ‘The Theory and Practice of been rescued from the Whitehall Composition’, 167–8; fire in 1698 http://www.rism.org.uk/manuscripts/ 164758; Shaw, ‘A Collection of Music Manuscripts’; Shay and Thompson, Purcell Manuscripts, 142–3; Thompson, ‘Sources and Transmission’, 13–14; Wollston, ‘The Instrumentation of English Violin-Band Music’, 183–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 442 GB-Bu 5001, fols. Ode, Good Morrow to Cooke Cooke 1666 Score Loose-leaf score. New Year ode Fenlon, Catalogue of the Printed Music and 6–10 the Year Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 124225; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Ode, Rise, thou Best Cooke Cooke Before mid- Score Loose-leaf score. Probably a Fenlon, Catalogue of the Printed Music and 11–14 and Brightest Morning 1672 birthday ode Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 148381; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Ode, Come we Cooke Cooke Before mid- Score Loose-leaf score. Probably a Fenlon, Catalogue of the Printed Music and 15–20 Shepherds 1672 birthday ode Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 118323; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Ode, Dread Sir, Blow Blow 1683 Score Loose-leaf score. New Year ode Fenlon, Catalogue of the Printed Music and 21–31 Father Janus Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 120754; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Ode, Arise, great Blow Blow 1682 Score Loose-leaf score. New Year ode Fenlon, Catalogue of the Printed Music and 32–40 Monarch Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 112625; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Bu 5001, fols. Ode, Great Sir, the Joy Blow Blow 1681 Score Loose-leaf score. New Year ode Fenlon, Catalogue of the Printed Music and 44–51 of all our Hearts Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 124372; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score with detached Fenlon, Catalogue of the Printed Music and 52–9 O give Thanks prelude Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 140249; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Anthem, Thou, O Cooke Cooke 1660–72 Score Loose-leaf score Fenlon, Catalogue of the Printed Music and 60–3 God, art Praised in Music Manuscripts, 113–14; Sion http://www.rism.org.uk/manuscripts/ 159260; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1661 Score Loose-leaf score, probably with Fenlon, Catalogue of the Printed Music and 66–9 Behold, O God, our detached symphony. Inner parts Music Manuscripts, 113–14; Defender for Alleluia are blank. Composed http://www.rism.org.uk/manuscripts/ for the coronation of Charles II. 114504; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score. Fols. 127–8 Fenlon, Catalogue of the Printed Music and 70–2 Christ Rising Again comprise a blank leaf with a title; Music Manuscripts, 113–14; from the Dead fol. 128 includes the title http://www.rism.org.uk/manuscripts/ ‘Prelude’ (so is detached from the 164758; rest of the score) http://www.rism.org.uk/manuscripts/ 117765; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Funeral sentences Cooke Cooke 1660–72 Score Loose-leaf score Fenlon, Catalogue of the Printed Music and 74–7 Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 150067; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score with detached Fenlon, Catalogue of the Printed Music and 77–9 We have Sinned prelude Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 162425; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score Fenlon, Catalogue of the Printed Music and 80–5 The King shall Rejoice Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 133072; Shaw, ‘A Collection of Music Manuscripts’ MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score. The prelude, in Fenlon, Catalogue of the Printed Music and 89–90, 85–8 The Lord Hear Thee Humfrey’s hand, is misbound Music Manuscripts, 113–14; with We will Rejoice, which is http://www.rism.org.uk/manuscripts/ actually the second half of The 134633; Lord Hear Thee. Humfrey’s http://www.rism.org.uk/manuscripts/ copying has minor alterations but 162510; Shaw, ‘A Collection of Music it is not clear if he was the Manuscripts’ prelude’s composer GB-Bu 5001, fols. Symphony anthem, Cooke Cooke 1660–72 Score Loose-leaf score. ‘Hither Fenlon, Catalogue of the Printed Music and 91–6 Come Let us Pray numerous tribes’ on fol. 93 is Music Manuscripts, 113–14; incorrectly listed as a separate http://www.rism.org.uk/manuscripts/ piece in Fenlon’s catalogue. 118222; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Humfrey Humfrey Mid-1660s? Score Loose-leaf score. Wood refers to Fenlon, Catalogue of the Printed Music and 97–9 Almighty God, who this piece as ‘undoubtedly a Music Manuscripts, 113–14; Humfrey, Mad’st thy Blessed Son childhood composition’ Complete Church Music: I, ed. Dennison, p. xviii; http://www.rism.org.uk/manuscripts/ 111993; Shaw, ‘A Collection of Music Manuscripts’; Wood, ‘Humfrey [Humphrey, Humphrys], Pelham’ GB-Bu 5001, fols. Symphony Anthem, Blow Blow Late 17th C Score Loose-leaf score Blow, Anthems II, ed. Wood, 174; 100–9 O Sing unto the Fenlon, Catalogue of the Printed Music and Lord…Let the Music Manuscripts, 113–14; Congreagation http://www.rism.org.uk/manuscripts/ 143920; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols Symphony anthem, Blow Blow Late 17th C Score Loose-leaf score. Dirty outer Blow, Anthems IV, ed. Wood, 203; 110–12 Lift up your Heads leaves Fenlon, Catalogue of the Printed Music and Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 134030; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Blow Blow Late 17th C Score Loose-leaf score. Version in A Blow, Anthems IV, ed. Wood, 203; 113–19 The Lord is minor Fenlon, Catalogue of the Printed Music and King…Glorious Music Manuscripts, 113–14; Apparel http://www.rism.org.uk/manuscripts/ 135005; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Bu 5001, fols. Symphony anthem, Blow Blow Late 17th C Score Loose-leaf score. Version in G Fenlon, Catalogue of the Printed Music and 120–7 The Lord is minor Music Manuscripts, 113–14; King…Glorious http://www.rism.org.uk/manuscripts/ Apparel 135006; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, Blow Blow Late 17th C Score Loose-leaf score. Dirty outer Blow, Anthems II, ed. Wood, 174; 128–33 Blessed is the Man that covers Fenlon, Catalogue of the Printed Music and hath not Walked Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 115395; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, I Blow Blow Late 17th C Score Loose-leaf score. Dirty back leaf Blow, Anthems III, ed. Wood, 173; 134–9 will Hearken Fenlon, Catalogue of the Printed Music and Music Manuscripts, 113–14; http://www.rism.org.uk/manuscripts/ 128103; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Anthems, Let thy Blow Blow 1685 Score Loose-leaf score. Respectively Blow, Coronation Anthems, ed. Lewis 142–5 Hand be Strengthened entitled ‘Anthem ye 2d’ and and Shaw, p. xvi; Fenlon, Catalogue of and Behold O God our ‘Anthem ye 5th’; written for the Printed Music and Music Manuscripts, Defender James II’s coronation. Dirty 113–14; outer covers and signs of folding http://www.rism.org.uk/manuscripts/ 133888; http://www.rism.org.uk/manuscripts/ 114505; Shaw, ‘The Autographs of John Blow’, 90; Shaw, ‘A Collection of Music Manuscripts’ GB-Bu 5001, fols. Symphony anthem, H. Purcell H. Purcell c. 1682–3 Score Loose-leaf score. A later copy of Fenlon, Catalogue of the Printed Music and 146–51 The Lord is my Light the same piece was copied in Music Manuscripts, 113–14; Herissone, Purcell’s autograph in GB-Lbl ‘“Fowle Originalls”’, 580–4; H. Purcell, R.M. 20.h.8 Sacred Music, Part II, ed. Pike, p. xiii; http://www.rism.org.uk/manuscripts/ 135139; Shaw, ‘A Collection of Music Manuscripts’; Shay and Thompson, Purcell Manuscripts, 142–3 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Bu 5001, fols. Symphony anthem, I H. Purcell H. Purcell c. 1682–3 Score Loose-leaf score. A later copy of Fenlon, Catalogue of the Printed Music and 154–9 was Glad the same piece was copied in Music Manuscripts, 113–14; Herissone, Purcell’s autograph in GB-Lbl ‘“Fowle Originalls”’, 580–1, 584; H. R.M. 20.h.8 Purcell, Sacred Music, Part II, ed. Pike, p. xiii; http://www.rism.org.uk/manuscripts/ 127650; Shaw, ‘A Collection of Music Manuscripts’; Shay and Thompson, Purcell Manuscripts, 142–3 GB-Bu 5001, fols. Symphony anthem, H. Purcell H. Purcell c. 1682–3 Score Loose-leaf score. A later copy of Fenlon, Catalogue of the Printed Music and 162–7 My Heart is Fixed the same piece was copied in Music Manuscripts, 113–14; Herissone, Purcell’s autograph in GB-Lbl ‘“Fowle Originalls”’, 580–1; H. Purcell, R.M. 20.h.8 Sacred Music, Part II, ed. Pike, p. xiii; http://www.rism.org.uk/manuscripts/ 138337; Shaw, ‘A Collection of Music Manuscripts’; Shay and Thompson, Purcell Manuscripts, 142–3 GB-Bu 5001, fols. Symphony anthem, Turner Turner c. 1680 Score Loose-leaf score including non- Fenlon, Catalogue of the Printed Music and 168–71 God Standeth in the autograph inscription ‘Lioncoln Music Manuscripts, 113–14; Congregation [sic] Carriar att ye red Lion in http://www.rism.org.uk/manuscripts/ aldersgate Streat’, which suggests 124171; Shaw, ‘A Collection of Music transmission. Dirty outer covers Manuscripts’ GB-Bu 5001, fols. Devotional song, H. Purcell H. Purcell c. 1678–9 Score Loose-leaf score Fenlon, Catalogue of the Printed Music and 172–4 Plung’d in the Confines Music Manuscripts, 113–14; H. Purcell, of Despair Sacred Music, Part VI, ed. Lewis and Fortune, p. x; http://www.rism.org.uk/manuscripts/ 145916; Shaw, ‘A Collection of Music Manuscripts’; Shay and Thompson, Purcell Manuscripts, 142–3; Zimmerman, Henry Purcell…An Analytical Catalogue, 442 GB-Bu 5002 Italian and English Blow, Goodson sr, Goodson sr, Late 1670s– Score May consist of previously Blow, Anthems III, ed. Wood, 173; devotional and Humfrey, Ralph Edward Hull and 1680s separate books bound together. Harding, A Thematic Catalogue, 7, 26; H. secular song; Palmer, H. Purcell, three unknown Oxford provenance Purcell, Duets, Dialogues and Trios, ed. anthems Italian composers copyists Spink, p. xvi; H. Purcell, Sacred Music, Part VI, ed. Lewis and Fortune, p. x; H. Purcell, Secular Songs, ed. Laurie, p. xviii; H. Purcell, Symphony Songs, ed. Wood, p. xvii, p. xx; http://www.rism.org.uk/manuscripts/ 164759; Shay and Thompson, Purcell Manuscripts, 266–9; Zimmerman, Henry Purcell…An Analytical Catalogue, 442

MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cfm 87 Theatre music (H. Finger, Leveridge, London E c. 1696–1702 Score Purcell’s Circe misattributed to Fiske, ‘The “Macbeth” Music’; Fuller- Purcell, Circe; D. Purcell, H. Banister. The Macbeth music Maitland and Mann, Catalogue of the Leveridge, Macbeth; Purcell includes singers’ names; it was Music in the Fitzwilliam Museum, 36; D. Purcell and thought in the 18th C to be by Harding, A Thematic Catalogue, 67–80; Finger, The Rival Locke Music for Macbeth, ed. Winkler, 99; H. Queens, Finger, The Purcell, Dramatic Music…Part I, ed. Virgin Prophetess; D. Laurie, p. xli; Shay and Thompson, Purcell, The Judgement Purcell Manuscripts, 241 of Paris) GB-Cfm 88 Liturgical and Blow, Humfrey, Blow, H. Purcell, c. 1678–85 Score Pre-bound scorebook. Pre- Blow, Anthems II, ed. Wood, 174; symphony anthems, Locke, H. Purcell, one unknown Commonwealth material taken Blow, Anthems III, ed. Wood, 173; funeral sentences pre-Commonwealth scribe from Barnard. Blow, Anthems IV, ed. Wood, 203; composers Fuller-Maitland and Mann, Catalogue of the Music in the Fitzwilliam Museum, 37– 8; Herissone, ‘“Fowle Originalls”’, 573, 578, 592–604, 617; Herissone, ‘The Theory and Practice of Composition’, 168; Holman, Henry Purcell, 9–10, 113– 14, 127–9; Humfrey, Complete Church Music: I, ed. Dennison, p. xix; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; Shay, ‘Purcell as Collector’; Shay and Thompson, Purcell Manuscripts, 33–46; Thompson, ‘Sources and Transmission’, 38–40; Zimmerman, Henry Purcell…An Analytical Catalogue, 443 GB-Cfm 116 Anthems and service Aldrich, Batten, Blow, Croft, To c. 1707 Keyboard Missing pp. 1–48; p. 235 dated Fuller-Maitland and Mann, Catalogue of settings Blow, Child, Farrant, Weldon, two score 1707 by Blow. Evidence of use in the Music in the Fitzwilliam Museum, 59– Weldon and others unknown scribes practice 62; Herissone, ‘The Theory and Practice of Composition’, 169; Herissone, ‘To Fill, Forbear or Adorne’, 12–13; Shaw, ‘The Autographs of John Blow’, 86–7; Spink, Restoration Cathedral Music, 135

MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cfm 117 Liturgical and Many, from Tudor William Isaack c. 1677–84 Score Windsor provenance. Anthems Blow, Anthems III, ed. Wood, 173; symphony anthems; to Restoration and services copied at opposite Blow, Anthems IV, ed. Wood, 203; service settings periods ends. Some copies made from Fuller-Maitland and Mann, Catalogue of GB-Cfm 88; others from the Music in the Fitzwilliam Museum, 62– Barnard, Select Church Musick 70; Holman, ‘Bartholomew Isaack and “Mr Isaack” of Eton’; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; H. Purcell, Sacred Music, Part II, ed. Pike, p. xv; Shaw, ‘The Autographs of John Blow’, 93–4; Shay and Thompson, Purcell Manuscripts, 47–64; Spink, Restoration Cathedral Music, 81–2; Wood, ‘A Note on Two Cambridge Manuscripts’; Zimmerman, Henry Purcell…An Analytical Catalogue, 443 GB-Cfm 118 Secular songs and Many, including Henstridge; one c. 1680–5 Score Bound with printed songbooks Fuller-Maitland and Mann, Catalogue of catches Aldrich, Blackwell, unknown scribe (H. Lawes, Select Ayres and the Music in the Fitzwilliam Museum, 70– Blow, Forcer, Dialogues (1669), Choice Ayres 2; H. Purcell, Duets, Dialogues and Trios, Henstridge, Isaack, (1675 and 1679)); annotated by ed. Spink, p. xvi; H. Purcell, Secular H. Purcell, John the anonymous scribe. Likely Songs, ed. Laurie, p. xix; Shay and Vanderheighden Rochester provenance Thompson, Purcell Manuscripts, 276; Zimmerman, Henry Purcell…An Analytical Catalogue, 443

GB-Cfm 119 Odes and theatre H. Purcell London F After 1706? Score Fuller-Maitland and Mann, Catalogue of music the Music in the Fitzwilliam Museum, 73; H. Purcell, Dramatic Music, Part II, ed. Spink, p. xxxv; H. Purcell, The Indian Queen, ed. Laurie, p. xxiv; H. Purcell, King Arthur, ed. Laurie, p. xi; H. Purcell, Royal Welcome Songs, Part II, ed. Wood, p. xxi, p. xxiii; H. Purcell, A Song for the Duke of Gloucester’s Birthday, ed. Spink, p. ix; H. Purcell, Three Occasional Odes, ed. Wood, p. xviii; Shay and Thompson, Purcell Manuscripts, 252–3; Zimmerman, Henry Purcell…An Analytical Catalogue, 443 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cfm 152, fols. Service music and Blow, O. Gibbons, Braddock, H. c. 1693 Keyboard Purcell’s O give Thanks completed Fuller-Maitland and Mann, Catalogue of 1–5 anthems (inc. H. H. Purcell Purcell, Church score by John Church on a replacement the Music in the Fitzwilliam Museum, 93; Purcell O give leaf. Anthem dated 1693 by Herissone, ‘The Theory and Practice Thanks) Gostling in US-AUS HRC 85. of Composition’, 170; Herissone, ‘To One of six fragments in a Fill, Forbear or Adorne’, 13; Laurie, ‘The guardbook that Shay and Chapel Royal Partbooks’, 38–9 and n. Thompson suggest may have 20; H. Purcell, Sacred Music, Part V, ed. been compiled as an attempt to Thompson, p. xiv; Shaw, ‘A gather together composers’ Cambridge Manuscript’; Shay and autographs. Likely Chapel Royal Thompson, Purcell Manuscripts, 190–2; provenance Thompson, ‘Sources and Transmission’, 36–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 443 GB-Cfm 152, fols. Evening service in E Humfrey Humfrey, Early 1670s Keyboard Anthems listed in the 1676 Fuller-Maitland and Mann, Catalogue of 6–9r minor, Credo in E unknown scribe score Chapel Royal catalogue of the Music in the Fitzwilliam Museum, 93; minor services and anthems. One of six Herissone, ‘The Theory and Practice fragments in a guardbook that of Composition’, 170; Herissone, ‘To Shay and Thompson suggest may Fill, Forbear or Adorne’, 13; Humfrey, have been compiled as an Complete Church Music: I, ed. Dennison, attempt to gather together p. xix; Laurie, ‘The Chapel Royal composers’ autographs. Likely Partbooks’, 38–9 and n. 20; Shaw, ‘A Chapel Royal provenance Cambridge Manuscript’; Shay and Thompson, Purcell Manuscripts, 190–2 GB-Cfm 152, fols. Three anthems Batten, Child, Tucker, two Early 1670s Keyboard Anthems listed in the 1676 Fuller-Maitland and Mann, Catalogue of 9v–11 Tucker unknown scribes score Chapel Royal catalogue of the Music in the Fitzwilliam Museum, 93; services and anthems. One of six Herissone, ‘To Fill, Forbear or Adorne’, fragments in a guardbook that 13; Laurie, ‘The Chapel Royal Shay and Thompson suggest may Partbooks’, 38–9 and n. 20; Shaw, ‘A have been compiled as an Cambridge Manuscript’; Shay and attempt to gather together Thompson, Purcell Manuscripts, 190–2 composers’ autographs. Likely Chapel Royal provenance GB-Cfm 152, fols. Anthems and service Clarke, Croft Church, Croft c. 1705 Keyboard Dated by Shay and Thompson Fuller-Maitland and Mann, Catalogue of 12–15 music score on the basis of Clarke’s I will Love the Music in the Fitzwilliam Museum, 93; Thee, composed in 1705. One of Herissone, ‘The Theory and Practice six fragments in a guardbook that of Composition’, 170; Herissone, ‘To Shay and Thompson suggest may Fill, Forbear or Adorne’, 13; Laurie, ‘The have been compiled as an Chapel Royal Partbooks’, 38–9 and n. attempt to gather together 20; Shaw, ‘A Cambridge Manuscript’; composers’ autographs. Likely Shay and Thompson, Purcell Chapel Royal provenance Manuscripts, 190–2; Taylor, Thematic Catalog, 104 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cfm 152, fols. Four anthems (two Blow, Tucker Blow, Tucker Early 1670s Keyboard Anthems listed in the 1676 Fuller-Maitland and Mann, Catalogue of 16–19 incomplete) score Chapel Royal catalogue of the Music in the Fitzwilliam Museum, 93; services and anthems. One of six Herissone, ‘The Theory and Practice fragments in a guardbook that of Composition’, 170; Herissone, ‘To Shay and Thompson suggest may Fill, Forbear or Adorne’, 13; Laurie, ‘The have been compiled as an Chapel Royal Partbooks’, 38–9 and n. attempt to gather together 20; Shaw, ‘The Autographs of John composers’ autographs. Likely Blow’, 91; Shaw, ‘A Cambridge Chapel Royal provenance Manuscript’; Shay and Thompson, Purcell Manuscripts, 190–2 GB-Cfm 152, fols. Three anthems (one Aldrich, Clarke, Church, Croft c. 1705 Keyboard Dated by Shay and Thompson Fuller-Maitland and Mann, Catalogue of 20–1 incomplete) Croft score on the basis of similarities of the Music in the Fitzwilliam Museum, 93; paper and ruling with fragment 4. Herissone, ‘The Theory and Practice One of six fragments in a of Composition’, 170; Herissone, ‘To guardbook that Shay and Fill, Forbear or Adorne’, 13; Laurie, ‘The Thompson suggest may have Chapel Royal Partbooks’, 38–9 and n. been compiled as an attempt to 20; Shaw, ‘A Cambridge Manuscript’; gather together composers’ Shay and Thompson, Purcell autographs. Likely Chapel Royal Manuscripts, 190–2; Taylor, Thematic provenance Catalog, 104 GB-Cfm 163, fols. Devotional songs Silas Taylor? Unknown scribe Late 17th C Score Section of a guardbook. Twelve Fuller-Maitland and Mann, Catalogue of 46–73 of the songs are attributed to the Music in the Fitzwilliam Museum, 100– Locke in B-Bc 1035.g 1; Harding, A Thematic Catalogue, 31–4 GB-Cfm 240, fols. Anthem, Blessed be Blow Blow Late 17th C Score Loose-leaf score. Taken from a Griffin, An Account of Two Volumes; 1–8 the Lord my Strength two-volume guardbook Herissone, ‘The Theory and Practice connected with Cathedral Music. of Composition’, 170; Shaw, ‘The Autographs of John Blow’, 91 GB-Cfm 240, fols. Anthem, Awake, Blow Blow c. 1704 Score Loose-leaf score. Composed on Griffin, An Account of Two Volumes; 9–19 awake, utter a Song the victory at Blenheim, 1704. Herissone, ‘The Theory and Practice Taken from a two-volume of Composition’, 170; Shaw, ‘The guardbook connected with Autographs of John Blow’, 91 Cathedral Music. GB-Cfm 240, fols. Anthem, Let the Blow Blow Late 17th C Score Loose-leaf score. Taken from a Griffin, An Account of Two Volumes; 21–9 Righteous be Glad two-volume guardbook Herissone, ‘The Theory and Practice connected with Cathedral Music. of Composition’, 170; Shaw, ‘The Autographs of John Blow’, 91 GB-Cfm 652 Keyboard music Blow, R. Courteville, Renatus Harris c. 1702 Score Oblong quarto manuscript. Blow, Complete Organ Works, ed. (front end); trio Draghi, Frescobaldi jr? and John Annotations on second flyleaf Cooper, 82; Draghi, Harpsichord Music, sonatas (reverse end) and others (front Harris including ‘John Harris his Book’ ed. Klakowich, pp. ix–xi; Herissone, end); Corelli, H. and ‘This Book was given me by ‘The Theory and Practice of Purcell (reverse end) my brother Renatus for some Composition’, 170–1; H. Purcell, Ten other things which I gave for it’. Sonatas of Four Parts, ed. Tilmouth, p. Hand previously associated with xix; Woolley, ‘English Keyboard Draghi Sources’, 154–6, 230 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cfm 653 Keyboard music and Blow, Clarke, Croft, James Kent c. 1715 Score Oblong quarto manuscript. Blow, Complete Harpsichord Music, ed. settings of theatre H. Purcell and Apparently a gift to ‘Pretty Miss Klakowich, 115–16; Draghi, tunes others Carr without blemish or marr’. Harpsichord Music, ed. Klakowich, pp. Hand identified by Alan Howard ix–xi; Hodge, ‘English Harpsichord Repertoire’, vol. III, 34–6; Shay and Thompson, Purcell Manuscripts, 285–6; Taylor, Thematic Catalog, 105; Woolley, ‘English Keyboard Sources’, 75, 230–1 GB-Cfm 669 Anthems Various Gostling By 1699 Keyboard Mainly 18th C, but including Herissone, ‘To Fill, Forbear or Adorne’, score fragments of early book 13; Shay and Thompson, Purcell belonging with partbooks GB- Manuscripts, 206–7; Taylor, Thematic Lsp A2. Gostling received Catalog, 105 payment for copying the set in 1699 GB-Cfm 683 Ode (Of Old, when H. Purcell Anon B c. 1690–1 Score Belongs with GB-Ob T 785 as Laurie, ‘The “Cambury” Purcell Heroes); theatre the ‘Cambury’ MS, copied by a Manuscript’; Shay and Thompson, music (Amphitryon) single scribe. Instrumental and Purcell Manuscripts, 255–6, 258–9 vocal music in performing order GB-Cfm 684 Ode (Who can from H. Purcell William Isaack c. 1695 Score Loose-leaf score copied H. Purcell, A Song for the Duke of Joy Refrain?) stratigraphically. Performers Gloucester’s Birthday, ed. Spink, p. ix; named. Windsor provenance Shay and Thompson, Purcell Manuscripts, 172; Thompson, ‘Sources and Transmission’, 40, 46 GB-Cfm 734 Instrumental Early 17th C Three Early 17th c Five partbooks Five surviving books from a set Dart, ‘The Repertory of the Royal consort music for composers; later unidentified early (first layer); of six. Apparently originated as Wind Music’; Harding, A Thematic wind instruments additions of Lanier, 17th-C scribes; 1660s? royal wind music books from Catalogue, 88; Holman, Four and Twenty Charles and ‘John’ later additions by (second time of James I. Fiddlers, 147–8, 189–91 Coleman, Locke John Gamble layer) GB-CH Cap. Court-related songs; Blow, H. Purcell; John Walter; two c. 1677–80 Score Pre-bound book associated with Blow, Anthems II, ed. Wood, 174; VI/I/I later additions of later additions of unknown scribes (Walter); late London and Winchester or Draghi, Ode for St Cecilia’s Day, ed. miscellaneous Bassani, Blow, 1680s (other Chichester. Two labels ‘Io: White, p. xviii; Holman, Four and Restoration Croft, Finger, copyists) Walter Ano 1630’ and ‘Jo Walter: Twenty Fiddlers, 426; H. Purcell, Sacred repertoire Goldwin, Hall, His Book Anno Domino 1680’ Music, Part VI, ed. Lewis and Fortune, Merula, H. Purcell, attached inside front cover, but pp. x–xi; H. Purcell, Secular Songs, ed. Tudway, Wise not clearly linked to this book Laurie, p. xix; http://www.rism.org.uk/manuscripts/ 164131; H. Purcell, Ten Sonatas of Four Parts, ed. Tilmouth, pp. xix–xx; Shay and Thompson, Purcell Manuscripts, 121–3 GB-CHog M1090 Keyboard settings Barrett, Clarke, Two unknown Early 18th C Score Oblong quarto manuscript. Hodge, ‘English Harpsichord Croft, Dieupart, scribes; later Includes dated accounts. Music Repertoire’, iii. 83–4; Woolley, ‘English Keller, R. King, D. additions entered at both ends of the book. Keyboard Sources’, 41–5, 230 Purcell, H. Purcell, Formerly Lady Susi Jeans MS 2 Weldon and others MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Cjc Chapel Motets Dering, Jeffreys, J. Playford 1650s (before Two partbooks Two unbound and fragmentary Wainwright, ‘Richard Dering’s Few- Box of Alessandro Grandi 1662) vocal partbooks; apparently Voice “Concertato” Motets’, 169, 191 Fragments scribal publications Envelope 2 GB-Ckc 22 Sacred music; later Blow, Lawes, Locke, John Walter After 1684 Score Bound book; initial copying Blow, Anthems II, ed. Wood, 174; addition of three Tomkins, Turner, comprised sacred music, with Blow, Anthems III, ed. Wood, 173; odes (Blow, Arise, Ward; later additions secular repertory added later Blow, Anthems IV, ed. Wood, 203; great Monarch, Dread of Blow and Italian Harding, A Thematic Catalogue, 13; Sir, Father Janus, My composers Spink, Restoration Cathedral Music, 82; Trembling Song), one Wood, ‘A Note on Two Cambridge song and Italian Manuscripts’, 308–12 cantatas. GB-Cmc 2591 Songs arranged for Various, including Cesare Morelli c. 1679–93 Score Arranged for Samuel Pepys. Emslie, ‘Pepys, Samuel’; Emslie, bass voice, guitar Morelli Dated 1693 on cover. Guitar ‘Pepys’s Songs and Songbooks’, 242 n. and figured bass parts in tablature 2, 243 n. 1, 246; http://www.rism.org.uk/manuscripts/ 118092 GB-Cmc 2803 Songs arranged for Reggio, Lully, and Cesare Morelli c. 1680 Score ‘Songs. &. Operas. of Sig.r Pietro. Emslie, ‘Pepys’s Songs and bass voice, guitar Pepys with &. Sig.r Baptist.’. Arranged for Songbooks’, 246–7; and figured bass Hingeston Samuel Pepys. Guitar parts in http://www.rism.org.uk/manuscripts/ tablature. Bound with Reggio’s 136098; G. Rose, ‘Pietro Reggio: A Songs (1680) Wandering Musician’, 211–12; GB-Cmc F.4.35 Sixty theatre suites Various (most Charles Babel c. 1705 Five partbooks ‘The Magdalene College Part Gustafson, French Harpsichord Music, (1–5) in four and five unattributed) Books’. Arranged by key. vol. I, 70–1; Herissone, ‘The Origins parts Probably copied to order because and Contents’; H. Purcell, Dramatic of unusual inclusion of trumpet Music…Part I, ed. Laurie, p. xli; H. part. Dating based on latest Purcell, Dramatic Music…Part III, ed. repertory. Owned by Ferrar Laurie, p. xlvi; H. Purcell, King Arthur, family in 18th C ed. Laurie, p. xii; Zimmerman, Henry Purcell…An Analytical Catalogue, 444 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-DRc A25, Liturgical music Various Restoration William Greggs, c. 1690–1700 Keyboard Durham Cathedral books; A 25 Crosby, A Catalogue of Durham Cathedral C27–8, C33, C34 composers Matthew Owen scores, bass and C33 are organbooks Music Manuscripts, 20, 48, 50–1; partbooks Harding, A Thematic Catalogue, 15; H. Purcell, Sacred Music, Part II, ed. Pike, p. xxvi; H. Purcell, Sacred Music, Part V, ed. Thompson, pp. xv, xviii; http://www.rism.org.uk/manuscripts/ 164572; http://www.rism.org.uk/manuscripts/ 164597; http://www.rism.org.uk/manuscripts/ 164601; http://www.rism.org.uk/manuscripts/ 164602; Shay and Thompson, Purcell Manuscripts, 230; Spink, Restoration Cathedral Music, 232; Taylor, Thematic Catalog, 106, 108; Zimmerman, Henry Purcell…An Analytical Catalogue, 448, 449 GB-DRc D2 Instrumental Jenkins, William Unknown scribe 1670s Three Inscribed ‘for the honourable Sir Ashbee, Thompson and Wainwright, consort music and Young, Henry partbooks John St Barbe Bart neare Romsey The Viola da Gamba Society Index, vol. II, sonatas in three Butler and European in Hampshire’. One piece dated 54–9; Crosby, A Catalogue of Durham parts composers 1678 Cathedral Music Manuscripts, 51–2; Restoration Trio Sonatas, ed. Holman and Cunningham, p. xxiii; http://www.rism.org.uk/manuscripts/ 165219 GB-EL 2 Anthems and Various Restoration James Hawkins sr Early 18th C Keyboard Ely provenance. Five-line staves. Dickson, A Catalogue of Ancient Choral services and early 18th-C score Evidence of considerable wear Services and Anthems, 6; Herissone, ‘The composers through use. Theory and Practice of Composition’, 172; Taylor, Thematic Catalog, 108; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 GB-EL 3 Anthems and Various 17th-C and James Hawkins sr Early 18th C Keyboard Ely provenance Dickson, A Catalogue of Ancient Choral services early 18th-C score Services and Anthems, 6; Zimmerman, composers Henry Purcell…An Analytical Catalogue, 450 GB-EL 4 Anthems and Various, mainly John Ferrabosco, From early Keyboard Ely provenance Cheverton, ‘English Church Music’, services 16th- and early 17th- Thomas Bullis jr, 1660s score 449, 452–3; Dickson, A Catalogue of C composers James Hawkins Ancient Choral Services and Anthems, 6; Herissone, ‘The Theory and Practice of Composition’, 172–3 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-EL 5 Anthems and Various composers James Hawkins Late 1680s? Score Dickson, A Catalogue of Ancient Choral services from 16th to early sr Services and Anthems, 7; Spink, Restoration 18th C, most Cathedral Music, 84; Zimmerman, Henry associated with Ely Purcell…An Analytical Catalogue, 450 GB-EL 6 Anthems Various Restoration James Hawkins sr c. 1705–13 Score Dated by Spink on the basis of Dickson, A Catalogue of Ancient Choral composers, from Tudway’s and Croft’s titles Services and Anthems, 7; H. Purcell, London, Windsor, Sacred Music, Part I, ed. Dennison, p. Oxford, Ely and xii; H. Purcell, Sacred Music, Part II, ed. Cambridge Pike, p. xx; Shay and Thompson, Purcell Manuscripts, 228; Spink, Restoration Cathedral Music, 84–5; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 GB-EL 7 Anthems and James Hawkins sr James Hawkins sr After 1714 Score Dated by Spink on the basis of Dickson, A Catalogue of Ancient Choral services inclusion of Hawkins’s O Lord, Services and Anthems, 7; Herissone, ‘The grant the King a Long Life Theory and Practice of Composition’, 173–5; Spink, Restoration Cathedral Music, 85 GB-EL 9 Anthems and Blow, Hawkins sr, Mainly James After 1714 Score; Dated on the basis of Croft’s Blow, Anthems III, ed. Wood, 173; services Henman, Humfrey, Hawkins sr keyboard score title. Organbook was originally Blow, Anthems IV, ed. Wood, 203; Lawes, Travers, separate but was bound with the Dickson, A Catalogue of Ancient Choral Turner score during Hawkins’s lifetime Services and Anthems, 8; Spink Restoration and shows signs of use. Cathedral Music, 85; Herissone, ‘The Theory and Practice of Composition’, 175–6; Taylor, Thematic Catalog, 108; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 GB-EL 10 Anthems and Croft, Golding, James Hawkins sr After 1714 Score Dated on the basis of reference Dickson, A Catalogue of Ancient Choral services Hawkins jr, Hawkins to James Hawkins jr as organist Services and Anthems, 8; Herissone, ‘The sr of Peterborough Theory and Practice of Composition’, 176–7; Spink, Restoration Cathedral Music, 85 GB-EL 12 Anthems and Blow, Croft, Handel, James Hawkins sr After 1713 Score Dated on the basis of the Blow, Anthems IV, ed. Wood, 203; Utrecht Te Deum Hawkins sr, inclusion of Handel’s Utrecht Te Dickson, A Catalogue of Ancient Choral and Jubilate Humfrey, H. Purcell, Deum and Jubilate Services and Anthems, 8; Herissone, ‘The Turner and others Theory and Practice of Composition’, 177; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; H. Purcell, Sacred Music, Part V, ed. Thompson, p. xvii; Shay and Thompson, Purcell Manuscripts, 227–8; Spink, Restoration Cathedral Music, 86; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-EL 16 Anthems and Clarke, Goodson sr, James Hawkins Early 18th C Score Dickson, A Catalogue of Ancient Choral services Holmes (of sr Services and Anthems, 9; Spink, Restoration Lincoln), Nalson (of Cathedral Music, 86; Taylor, Thematic York), H. Purcell, Catalog, 108; Zimmerman, Henry Weldon Purcell…An Analytical Catalogue, 450 GB-EL 17 Anthems, mainly Aldrich, Hawkins sr, Henry Aldrich, Early 18th C Score Guardbook. Contains inscription Blow, Anthems II, ed. Wood, 174; comprising Hart James Hawkins, sr, ‘James Hawkins Jnr 1726’ Dickson, A Catalogue of Ancient Choral adaptations by two unknown Services and Anthems, 9; Herissone, ‘The Aldrich scribes Theory and Practice of Composition’, 177–8; Spink, Restoration Cathedral Music, 86; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 GB-EL 18 Anthems and J. Ferrabosco, James Hawkins sr, Early 18th C Score Guardbook. Contains inscription Blow, Anthems II, ed. Wood, 174; services Hawkins sr, Locke Lamb, three ‘James Hawkins Jnr 1726’ Dickson, A Catalogue of Ancient Choral and others, dating other unknown Services and Anthems, 9; Herissone, ‘The back to Tudor scribes Theory and Practice of Composition’, period 178; Spink, Restoration Cathedral Music, 86 GB-EL 19 Anthems and Clarke, Croft, James Hawkins sr 1718 Score Guardbook in three sections. Dickson, A Catalogue of Ancient Choral services Hawkins sr, Norris End of volume dated ‘6 Oct Services and Anthems, 10; Herissone, (of Lincoln), H. 1718’. Contains inscription ‘The Theory and Practice of Purcell, Tudway, ‘James Hawkins Jnr 1726’ Composition’, 178–9; H. Purcell, Sacred Turner Music, Part V, ed. Thompson, p. xvii; Shay and Thompson, Purcell Manuscripts, 227–8; Spink, Restoration Cathedral Music, 86; Taylor, Thematic Catalog, 108; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 GB-EL 20 Anthems Restoration and James Hawkins sr After 1705 Score Blow, Anthems IV, ed. Wood, 203; early 18th-C Blow, Coronation Anthems, ed. Lewis composers and Shaw, p. xvi; Dickson, A Catalogue of Ancient Choral Services and Anthems, 10; Herissone, ‘The Theory and Practice of Composition’, 179; H. Purcell, Sacred Music, Part V, ed. Thompson, p. xvii; Shay and Thompson, Purcell Manuscripts, 227–8; Spink, Restoration Cathedral Music, 86; Taylor, Thematic Catalog, 108; Zimmerman, Henry Purcell…An Analytical Catalogue, 450 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-En Inglis 94 Keyboard music and Blow, Draghi, Philip Philip Hart c. 1695 Score Oblong quarto manuscript. Bailey, Seventeenth-Century British MS 3343 settings Hart, Lully, H. Inscribed ‘Essex Deane 1695’ Keyboard Sources, 49; Beechey, ‘A New Purcell and others and ‘Diana Gostlins Musick Source’; Blow, Complete Harpsichord Book 1719 Given me by Sr Music, ed. Klakowich, 116; Draghi, Anthony Dean’. Harpsichord Music, ed. Klakowich, pp. ix–xi; Hodge, ‘English Harpsichord Repertoire’, 39; Shay and Thompson, Purcell Manuscripts, 287, 290; Woolley, ‘English Keyboard Sources’, 60–8, 234 GB-Ge R.d. 58– Secular partsongs Mainly early and J. Playford c. 1659–62 Four Set of four books with initials ‘I. English Songs, ed. Spink, 189; 61 and catches mid-17th-C English partbooks P.’ on the vellum covers. http://special.lib.gla.ac.uk/manuscript composers including Inscription in Cantus secundus s/search/results_ca.cfm?ID=45833; Coleman, Dering, reads ‘Decemi. 30.1674. Note Harding, A Thematic Catalogue, 4, 37; Lanier, H. and W. that I James Clifford bought this Spink, Ian, ‘The Old Jewry “Music- Lawes, Locke, J. sett of musick books of Mr Rich. Society”’ Playford, Webb and Price’s widow Mrs Dorothy Price Wilson for 7s.-6d.’ GB- Songs and keyboard Commonwealth Two main c. 1650– 60 Score Copy of Select Musical Ayres and Blow, Complete Harpsichord Music, ed. HADolmetsch music composers, unidentified (first layer); c. Dialogues (1652) to which ruled Klakowich, 119; Woolley, ‘English II.e.17 including H. and W. scribes, copying 1680–90 manuscript was added at an early Keyboard Sources’, 124–5, 234–5 Lawes (first layer); in two layers; (second date. Blank leaves suggest Hart, R. King, H. third scribe layer) manuscript was bound before all Purcell and Tudway the music was copied. Songs in (songs in second first layer in tablebook format. layer); Blow, Locke, Pedagogical material Benjamin Sandley and O. Gibbons (keyboard music in second layer) GB-Lam 3 The Fairy Queen H. Purcell H. Purcell, FQ1– 1692–3? Score Bound manuscript. Some music Herissone, ‘The Theory and Practice 4 incomplete. Complex copying of Composition’, 200–1; Holman, relationships Henry Purcell, 209–10; Price, Henry Purcell and the London Stage, 330; H. Purcell, The Fairy Queen, ed. Wood and Pinnock, p. xxxv; Royal Academy of Music Library Catalogue; Shay and Thompson, Purcell Manuscripts, 234– 240; Wood and Pinnock, ‘The Fairy Queen’; Zimmerman, Henry Purcell…An Analytical Catalogue, 458 GB-Lam 21 King Arthur H. Purcell London E Early 1699 Score ‘The Booke of John Townsend H. Purcell, King Arthur, ed. Laurie, p. (dated Junr’. No opening instrumental xi; Royal Academy of Music Library 1698/9) music or act tunes included Catalogue; Shay and Thompson, Purcell Manuscripts, 241–5; Zimmerman, Henry Purcell…An Analytical Catalogue, 458 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lam 24 Cantatas and theatre Stradella, H. Purcell London E c. 1696– 1702 Score Compiled from six separate H. Purcell, Dramatic Music…Part I, ed. music (H. Purcell, groups of leaves. No Laurie, p. xli; Royal Academy of Music Bonduca, Oedipus, instrumental opening music Library Catalogue; Shay and Thompson, Timon of Athens) included Purcell Manuscripts, 242 GB-Lbl Add. King Arthur, The H. Purcell Croft, London F End 17th C? Score Bound scorebook compiled from British Library: Search our Catalogue – 5333 Libertine, Of Old, when loose leaves Archives and Manuscripts; H. Purcell, Heroes Dramatic Music, Part II, ed. Spink, p. xxxv; H. Purcell, King Arthur, ed. Laurie, p. xi; H. Purcell, Three Occasional Odes, ed. Wood, p. xix; http://www.rism.org.uk/manuscripts/ 165175; Shay and Thompson, Purcell Manuscripts, 249, 251; Zimmerman, Henry Purcell…An Analytical Catalogue, 454 GB-Lbl Add. Masque in Timon of H. Purcell London E c. 1696–1702 Score Part of a guardbook British Library: Search our Catalogue – 5337, fols. 2–21 Athens Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 164822; Shay and Thompson, Purcell Manuscripts, 231; Zimmerman, Henry Purcell…An Analytical Catalogue, 454 GB-Lbl Add. Bonduca H. Purcell Unknown c. 1695 Score Part of a guardbook. Dated on British Library: Search our Catalogue – 5337, fols. 27–42 the basis of Shay and Archives and Manuscripts; H. Purcell, Thompson’s paper analysis Dramatic Music…Part I, ed. Laurie, p. xli; http://www.rism.org.uk/manuscripts/ 164822; Shay and Thompson, Purcell Manuscripts, 255–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 454 GB-Lbl Add. Fantazias, Italian Jeffreys Jeffreys c. 1640–62 Score Evidently not pre-bound since British Library: Search our Catalogue – 10338 and English part there are binder’s marks; bound Archives and Manuscripts; English Songs, songs, motets and in order of genre, then (for ed. Spink, 189; anthems, theatre motets) number of parts. Slips of http://www.rism.org.uk/manuscripts/ music paper used for corrections. 164826; Thompson, ‘English Music Reference made to another Manuscripts’, 165–220; Wainwright, personal source: ‘This Altered in Musical Patronage, 217–32 my other Booke’ (fol. 67v). GB-Lbl Add. Five related sets of Coperario, Jenkins, Unknown Early 1670s Two partbooks Dated on the basis of inclusion in Ashbee, Thompson and Wainwright, 10444, fols. 105– parts of instrumental W. Lawes, Locke, same hand of music from Lully’s Viola da Gamba Society Index, vol. I, 17; 29, and Lbl Add. consort music Lully Psyché; set associated with the Le British Library: Search our Catalogue – 10445, fols. 40– (including Locke’s Strange family. Archives and Manuscripts; Harding, A 93 For Several Friends) Thematic Catalogue, Table I; Thompson, ‘English Music Manuscripts’, 340–67 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Songs and catches Alfonso Balls, John Hilton and 1640s–c. Score Dates 1641 and 1656 given on British Library: Search our Catalogue – 11608 Thomas Brewer, two unknown 1660 fol. 64r and 1659 on fol. 74r. Archives and Manuscripts; Baruch, Carissimi, Coleman, scribes Third hand adds ornamentation ‘Seventeenth-Century English Vocal Dering, Ford, to some songs Music’; Chan, ‘John Hilton’s Hilton, Robert Manuscript’; English Songs, ed. Spink, Johnson, Lanier, H. 190; and W. Lawes, http://www.rism.org.uk/manuscripts/ Robert Ramsey, 164893 Wilson GB-Lbl Add. Macbeth J. Eccles J. Eccles c. 1694–6 Score Performers’ names included (two British Library: Search our Catalogue – 12219 sets, second in pencil) Archives and Manuscripts; Music for Macbeth, ed. Winkler, 98–9; http://www.rism.org.uk/manuscripts/ 136231 GB-Lbl Add. Secular and Blow, Cook, Locke and one 1670s? Score Notational rudiments included at British Library: Search our Catalogue – 14399 devotional songs, Gregory, Humfrey, unknown scribe front of manuscript Archives and Manuscripts; Harding, A mainly for soprano, Lanier, H. Lawes Thematic Catalogue, 28, 34–5; Herissone, with some dialogues and Locke ‘The Theory and Practice of for soprano and bass Composition’, 180–1; http://www.rism.org.uk/manuscripts/ 164838 GB-Lbl Add. The Island Princess Clarke, Leveridge, London A c. 1699 Score Score includes both text and British Library: Search our Catalogue – 15318 D. Purcell (music); music, copied by separate scribes. Archives and Manuscripts; The Island unknown scribe Princess, ed. Price and Hume; (text) http://www.rism.org.uk/manuscripts/ 132453; Shay and Thompson, Purcell Manuscripts, 253; Taylor, Thematic Catalog, 109 GB-Lbl Add. Cupid and Death C. Gibbons, Locke Locke 1659 Score Entitled ‘The Instrumentall and British Library: Search our Catalogue – 17799 vocall Musique in the Morall Archives and Manuscripts; Harding, A representation att the Millitary Thematic Catalogue, 40–1; Herissone, Ground, in Lescester ffeilds ‘The Theory and Practice of 1659’. Some inner parts not Composition’, 181; Locke and included Gibbons, Cupid and Death, ed. Dent; http://www.rism.org.uk/manuscripts/ 119518 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Consort music; Locke Locke Early 1670s? Score Compiled as a single collection, British Library: Search our Catalogue – 17801 incomplete copy of but original copying carried out Archives and Manuscripts; Harding, A ‘Musick for his when manuscript was unbound Thematic Catalogue, 88–103, 120, 132, Majesty’s Sackbutts Tables I–V, plates V and XIII; and Cornetts’; two Herissone, ‘The Theory and Practice canons 4 in 2 of Composition’, 181–3; Holman, Four and Twenty Fiddlers, 275–6; Locke, Chamber Music: I, ed. Tilmouth, pp. xiv–xv, pp. xxii–xxiii; Locke, Chamber Music: II, ed. Tilmouth, pp. xxi–xxii; Thompson, ‘English Music Manuscripts’, 524–8 GB-Lbl Add. Italian motets Bassani, Carissimi, Charles Late 17th C Score Oxford provenance British Library: Search our Catalogue – 17835, fols. 2–48 Stradella, other Husbands Archives and Manuscripts; Italian composers (Oxford A), http://www.rism.org.uk/manuscripts/ William 164386; Shay and Thompson, Purcell Saunders, Manuscripts, 150, 309, 313–14 Francis Smith and two unknown scribes GB-Lbl Add. Sacred music (Blow Blow, H. Purcell, William Late 17th C Score Oxford provenance. Tudway ode British Library: Search our Catalogue – 17835, fols. 87– Te Deum) and odes Tudway Saunders, to early 18th (in unknown hand) was Archives and Manuscripts; McGuinness, 141 (H. Purcell, Celebrate unknown scribe C composed in 1706 English Court Odes, 25, 234; this Festival and http://www.rism.org.uk/manuscripts/ Tudway, Hail, Happy 164386; Shay and Thompson, Purcell Day) Manuscripts, 150, 309, 313–14; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Services and Various Restoration Charles From late Score Oxford Christ Church Aldrich, Selected Anthems, ed. Shay, 117; 17840 anthems (including composers Husbands, 1680s or provenance. Dating on the basis British Library: Search our Catalogue – some symphony William 1690s of paper Archives and Manuscripts; Harding, A anthems) Saunders, Thematic Catalogue, 10; H. Purcell, Sacred Francis Smith Music, Part II, ed. Pike, p. xiv; H. Purcell, Sacred Music, Part V, ed. Thompson, p. xvii; http://www.rism.org.uk/manuscripts/ 164711; Shay and Thompson, Purcell Manuscripts, 150–3; Spink, Restoration Cathedral Music, 282; Taylor, Thematic Catalog, 110; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Extracts from Croft James Kent Early 18th C Score Part of a guardbook compiled in British Library: Search our Catalogue – 17841, fols. 30– anthems the 18th C Archives and Manuscripts; 43 http://www.rism.org.uk/manuscripts/ 164388 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Anthem, Hear my D. Purcell D. Purcell Early 18th C Score Loose-leaf score folded in two British Library: Search our Catalogue – 17841, fols. 81–6 Prayer, O Lord with a horizontal fold. Part of a Archives and Manuscripts; Herissone, guardbook compiled in the 18th ‘The Theory and Practice of C Composition’, 183; http://www.rism.org.uk/manuscripts/ 164388; Spink, Restoration Cathedral Music, 325 GB-Lbl Add. Te Deum and Croft James Kent, c. 1709 Score Performers’ names included. British Library: Search our Catalogue – 17845 Jubilate Croft Notation demonstrates that Kent Archives and Manuscripts; copied from an incomplete http://www.rism.org.uk/manuscripts/ source and that Croft added 151514 material after this initial copying GB-Lbl Add. Anthem, O give Croft James Kent c. 1715 Score Anthem for the thanksgiving on British Library: Search our Catalogue – 17846 Thanks the defeat of the 1715 uprising Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 140308 GB-Lbl Add. Anthems Croft James Kent, Early 18th C Score Guardbook, mostly copied by British Library: Search our Catalogue – 17847, fols. 85–8 Croft Kent, but with corrections and Archives and Manuscripts; annotations by Croft. End of http://www.rism.org.uk/manuscripts/ anthem Teach me, O Lord on fols. 164391 85–8 has been removed, probably in connection with later revision copied in GB-Ob Mus.c.1 GB-Lbl Add. Anthems Croft James Kent, Early 18th C Score, Guardbook, mostly copied by British Library: Search our Catalogue – 17848 Croft keyboard score Kent, but with corrections, Archives and Manuscripts; annotations and additions to the http://www.rism.org.uk/manuscripts/ organ part of Preserve me O God by 164392 Croft. GB-Lbl Add. Violin solos (front John Barrett, Clarke, Three unknown From 1694 Score Belonged to William and Martin British Library: Search our Catalogue – 17853 end); keyboard Croft, George scribes Blakeston, apparently young Archives and Manuscripts; Hodge, music and settings Holmes, Lully, H. pupils. Has been altered in ‘English Harpsichord Repertoire’, vol. (reverse end); Purcell and others rebinding. Anthems added later III, 45; anthems (later in 18th C. Likely to have http://www.rism.org.uk/manuscripts/ addition) originated in northeast England. 164395; H. Purcell, Dramatic Music, Part Dated ‘Sept. 27th: 94’ (fol. 34v) II, ed. Spink, p. xxxv; Taylor, Thematic Catalog, 110; Woolley, ‘English Keyboard Sources’, 238–9; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Secular songs Banister, Cambert, J. Charles c. 1681–5 Single part Inscribed ‘Charles Campelman British Library: Search our Catalogue – 19759 Hart, Ives, R. King, Campelman his Book June ye 9 1681’ on fol. Archives and Manuscripts; Harding, A Simon Pack, 1r. Songs lack bass parts. Three Thematic Catalogue, 39; Holman, Four Paisible, H. Purcell, songs added in a later 18th-C and Twenty Fiddlers, 369; H. Purcell, Reggio, Staggins, hand. Sacred Music, Part VI, ed. Lewis and Turner Fortune, p. x; H. Purcell, Secular Songs, ed. Laurie, p. xviii; http://www.rism.org.uk/manuscripts/ 164401; Shay and Thompson, Purcell Manuscripts, 275; Taylor, Thematic Catalog, 110; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Keyboard music; Aldrich, Bassani, One unknown Before 1713 Score Dating derives from Croft’s title, Blow, Complete Harpsichord Music, ed. 22099 extracts of Italian Clarke, R. scribe which is given as ‘Mr’ Klakowich, 116; British Library: Search operas and songs; Courteville, Croft, throughout; Zimmerman dates c. our Catalogue – Archives and Manuscripts; solo verses from Draghi, J. Eccles, H. 1704–7 Draghi, Harpsichord Music, ed. anthems, operas and Purcell and others Klakowich, pp. ix–xi; Harding, A odes; anthems Thematic Catalogue, 83; Hodge, ‘English Harpsichord Repertoire’, vol. III, 46−8; H. Purcell, Dramatic Music, Part II, ed. Spink, p. xxxv; H. Purcell, Duets, Dialogues and Trios, ed. Spink, p. xvii; H. Purcell, King Arthur, ed. Laurie, p. xii; H. Purcell, Twelve Sonatas of Three Parts, ed. Tilmouth, p. xvi; http://www.rism.org.uk/manuscripts/ 164403; Shay and Thompson, Purcell Manuscripts, 272 n.18; Taylor, Thematic Catalog, 110; Woolley, ‘English Keyboard Sources’, 239; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Songs and Blow, Carissimi, C. John Walter c. 1681–2 Score Inscribed ‘Mr Dolbins Book Blow, Venus and Adonis, ed. Wood, p. 22100 symphony songs; Gibbons, Henry Anno Domini 1682/1’ on fol. xiii; British Library: Search our Catalogue – odes (Purcell, Hall, J. Hart, Lanier, 151v. Dated c. 1683 by Wood. Archives and Manuscripts; Harding, A Welcome Vicegerent; Locke, Lully, H. Performers’ names included in Thematic Catalogue, 18, 35; Holman, Four Blow, Great Sir the Purcell, Turner, Blow’s Venus and Adonis and Twenty Fiddlers, 271, 276; H. Purcell, joy; Awake my Lyre); Walter Duets, Dialogues and Trios, ed. Spink, p. Blow’s Venus and xvii; H. Purcell, Royal Welcome Songs, Adonis Part I, ed. Wood, p. xviii; H. Purcell, Symphony Songs, ed. Wood, p. xvi; http://www.rism.org.uk/manuscripts/ 165206; Shay and Thompson, Purcell Manuscripts, 169–70; Spink, Restoration Cathedral Music, 389; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Theatre suites; Thomas Chilcot, Thomas Britton Early 18th C Three Entitled ‘Playhouse Tunes by British Library: Search our Catalogue – 24889 concerto (by Corelli) Corelli, Draghi, partbooks Divers Authors’. Associated with Archives and Manuscripts; Price, ‘The Eccles, Farmer, Thomas Britton by Rimbault in a Small-Coal Cult’; H. Purcell, Dramatic Finger, Gillier, note in the MS; hand Music…Part I, ed. Laurie, p. xli; H. Lenton, Lully, authenticated by Price Purcell, Dramatic Music, Part II, ed. Matteis, H. Purcell, Spink, p. xxxv; Tollett and others http://www.rism.org.uk/; Wollston, ‘The Instrumentation of English Violin-Band Music’, 172–3; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Instrumental S. Eccles, Thomas Unknown scribe Dated Three Inscribed ‘Thomas Fuller, 1682’ British Library: Search our Catalogue – 29283–5 consort music Farmer, Grabu, material partbooks Archives and Manuscripts; Harding, A (including Locke, Locke and others 1682–4 Thematic Catalogue, Table II; Holman, Little Consort); Four and Twenty Fiddlers, 313, 385; theatre tunes Thompson, ‘English Music Manuscripts’, 304–16 GB-Lbl Add. Theatre music Eccles, D. Purcell Two unknown Early 18th C Score British Library: Search our Catalogue – 29378 (including Eccles, scribes Archives and Manuscripts; Music for Rinaldo and Armida; Macbeth, ed. Winkler, 98; Macbeth; D. Purcell, http://www.rism.org.uk/manuscripts/ masque in The 164843; Pilgrim) GB-Lbl Add. Secular songs Early and mid-17th- Lowe c. 1636–late Score Lowe signed one front flyleaf. British Library: Search our Catalogue – 29396 C composers, 1670s Apparently a commonplace Archives and Manuscripts; Chan, ‘Edward including Banister, book, copied over many years Lowe’s Manuscript’; English Song 1600– Coleman, Humfrey, 1675…Add. Ms. 29396, ed. Jorgens; Lanier, H. and W. English Songs, ed. Spink, 190; Lawes, Locke, http://www.rism.org.uk/manuscripts/ Reggio, Wilson 164496 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Secular songs and Mid- and late-17th-C Henstridge c. 1682–8 Score Oblong duodecimo manuscript. British Library: Search our Catalogue – 29397 catches composers, Likely Rochester provenance Archives and Manuscripts; Harding, A including Aldrich, Thematic Catalogue, 36; Herissone, Blow, Carissimi, R. ‘Daniel Henstridge and the Courteville, James Transmission of Music’; H. Purcell, Hart, Henstridge, Dramatic Music…Part I, ed. Laurie, p. Locke, Henry Pack, xli; H. Purcell, Secular Songs, ed. Laurie, H. Purcell, Reggio, p. xviii; Turner, Wise, http://www.rism.org.uk/manuscripts/ Charles Wren 155701; Shay and Thompson, Purcell Manuscripts, 275–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 455 GB-Lbl Add. Secular songs and Early 17th-C Several unknown Begun in Score Apparently a pre-bound book, British Library: Search our Catalogue – 29481 instrumental pieces; English composers, hands early 17th C; first belonging to one ‘A. B.’, Archives and Manuscripts; Cheverton, anthems and secular including Campion, later whose initials are pasted at both ‘English Church Music’, 492–3; English songs (later Dowland, Robert additions ends inside modern binding, then Songs, ed. Spink, 189; additions) Johnson; mid- and ‘Richard Elliotts his Booke’ http://www.rism.org.uk/manuscripts/ late-17th-C English (inscription dated 1655). 165272 composers including Cheverton identifies Elliot as a Hall, Humfrey, W. lay clerk at Gloucester Cathedral King, Rogers, H. from 1660 Purcell, Wise GB-Lbl Add. Secular and Blow, Bowman, Bowman c. 1682 Score Separate gatherings not originally British Library: Search our Catalogue – 30382 devotional songs in Carissimi, Casati, bound together. Oxford Archives and Manuscripts; H. Purcell, English and Latin Dering, W. Lawes, provenance. Some compositional Duets, Dialogues and Trios, ed. Spink, p. Marini, Monferrato, revisions in Bowman autographs xvii; Rovetta, H. Purcell, http://www.rism.org.uk/manuscripts/ Sances, Silvestro, 113549; Shay and Thompson, Purcell Wise Manuscripts, 270–1; Wainwright, Musical Patronage, 239–42; Woolley, ‘English Keyboard Sources’, 239; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Instrumental Jenkins Matthew Hutton 1661–6 Three Dates of copying included in all Ashbee, Thompson and Wainwright, 30488–90 consort music partbooks three partbooks. Oxford Viola da Gamba Society Index, vol. I, 53– (fantazias) provenance 5; British Library: Search our Catalogue – Archives and Manuscripts GB-Lbl Add. Anthem, Unto thee James Hesletine James Hesletine 1707 Score Dated ‘17 Sept 1707’, at which British Library: Search our Catalogue – 30860 will I cry point James Heseltine – who Archives and Manuscripts; became organist of Durham http://www.rism.org.uk/manuscripts/ Cathedral in 1711 – was still a 161023 chorister at the Chapel Royal MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB- Devotional songs H. Purcell H. Purcell c. 1678–83 Score Complex binding history; music British Library: Search our Catalogue – Lbl Add. 30930 (front end); copied both before and after Archives and Manuscripts; Herissone, fantazias, sonatas binding. Flyleaf inscription: ‘The ‘“Fowle Originalls”’, 573, 590–1; and other Work’s of Hen: Purcell Anno Herissone, ‘Purcell’s Revisions’, 58–61, instrumental music Dom. 1680’ 69–70; Herissone, ‘The Theory and (reverse end) Practice of Composition’, 183–5; Holman, Henry Purcell, 9–10, 65–8, 73– 7; H. Purcell, Dramatic Music, Part II, ed. Spink, p. xxxv; H. Purcell, Fantazias and Miscellaneous Instrumental Music, ed. Tilmouth, p. xi; H. Purcell, Royal Welcome Songs, Part II, ed. Wood, p. xxii; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; H. Purcell, Sacred Music, Part VI, ed. Lewis and Fortune, p. x; H. Purcell, Ten Sonatas of Four Parts, ed. Tilmouth, pp. xii–xv, pp. xx– xxi; http://www.rism.org.uk/; Shay and Thompson, Purcell Manuscripts, 84– 100; Thompson, ‘English Music Manuscripts’, 288–9; Thompson, ‘Sources and Transmission’, 38–40; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthems and service Aldrich, Boyce, Aldrich, Flackton, From 1670s Scores and Guardbook containing a large British Library: Search our Catalogue – 30931 settings Blow, Bryne, Bull, Henstridge, H. to late 18th C keyboard number of loose-leaf scores Archives and Manuscripts; Clarke, Croft, Purcell, Raylton, scores associated with Canterbury; http://www.rism.org.uk/; Shay and Green, Hall, and several collected together by William Thompson, Purcell Manuscripts, 139; Humfrey, H. Purcell, unidentified Flackton; autograph items listed Spink, Restoration Cathedral Music, 148, Raylton, Tallis, scribes separately below 208; Taylor, Thematic Catalog, 110; Weldon Thompson, ‘Sources and Transmission’, 14–15; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthem, Blessed are H. Purcell H. Purcell 1688 Score Copied on successive loose British Library: Search our Catalogue – 30931, fols. 61–6 they that Fear the Lord bifolia and folded in half Archives and Manuscripts; Herissone, horizontally ‘The Theory and Practice of Composition’, 185–6; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; http://www.rism.org.uk/manuscripts/ 115016; Shay and Thompson, Purcell Manuscripts, 143; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Anthem, Out of the H. Purcell H. Purcell c. 1685 Score Leaves now guarded in British Library: Search our Catalogue – 30931, fols. 67– Deep separately. Large stain on outer Archives and Manuscripts; Herissone, 70 cover. ‘The Theory and Practice of Composition’, 185–6; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; http://www.rism.org.uk/manuscripts/ 145092; Shay and Thompson, Purcell Manuscripts, 83, 216–17; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Funeral Sentences, H. Purcell H. Purcell Before end Score Leaves now guarded in British Library: Search our Catalogue – 30931, fols. 81–4 In the Midst of Life, 1677 separately. Chorus of ‘Yet, O Archives and Manuscripts; Ford, ‘Purcell Thou Knowest, Lord Lord’ left uncopied as his own Editor’; Herissone, ‘“Fowle Originalls”’, 587–8; Herissone, ‘Purcell’s Revisions’, 66–9; Herissone, ‘The Theory and Practice of Composition’, 185–6; Manning, ‘Revisions and Reworkings’, 30–1; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; http://www.rism.org.uk/manuscripts/ 154291; Shay, ‘Purcell’s Revisions’; Shay and Thompson, Purcell Manuscripts, 213, 216; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Aldrich, Give Ear, O Farrant, arr. Aldrich Aldrich late 17th C Score Arranged from Farrant’s Hide not British Library: Search our Catalogue – 30931, fol. 161 Lord thy Face Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 123478 GB-Lbl Add. Anthems and Aldrich, Blow, Blow, Henman, From 1670s Scores and Guardbook containing a large British Library: Search our Catalogue – 30932 devotional songs Clarke, Henman, Henstridge, to late 18th C keyboard number of loose-leaf scores Archives and Manuscripts; Holman, Henry Henstridge, Edward Jackson, scores associated with Canterbury; Purcell, 130–1; Humfrey, Norris, H. H. Purcell, collected together by William http://www.rism.org.uk/; Spink, Purcell, Rogers, Raylton, John Flackton; autograph and other Restoration Cathedral Music, 208; Taylor, John Sargenson, Sargenson, and significant items listed separately Thematic Catalog, 110; Thompson, Tallis, Tudway, several below. Humfrey’s Have Mercy upon ‘Sources and Transmission’, 14–15; Turner, Wise, and unidentified me, O God erroneously stated by Zimmerman, Henry Purcell…An others from late hands Flackton to be autograph Analytical Catalogue, 456 17th C and 18th C MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Anthem, By the Humfrey, arr. H. H. Purcell Before end Score Organ arrangement of symphony British Library: Search our Catalogue – 30932, fols. 52–4 Waters of Babylon Purcell 1677 anthem; Shay and Thompson Archives and Manuscripts; Herissone, suggest that it may date from ‘“Fowle Originalls”’, 590; when Humfrey was ‘Purcell’s http://www.rism.org.uk/manuscripts/ primary composition instructor’ 116121; Shay and Thompson, Purcell Manuscripts, 2–3, 216–17; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthem, Have Mercy Richard Henman Richard Henman 1682–92 Score Modelled on Pelham Humfrey’s British Library: Search our Catalogue – 30932, fols. 56–9 upon me, O God anthem of the same name Archives and Manuscripts; Ford, ‘Henman, Humfrey, and “Have Mercy”’; Franklin, Review of Humfrey, Complete Church Music, ed. Dennison; Herissone, ‘The Theory and Practice of Composition’, 228; http://www.rism.org.uk/manuscripts/ 124960 GB-Lbl Add. Anthems, O Lord our G. King Edward Jackson c. 1673 Score Includes letter addressed to British Library: Search our Catalogue – 30932, fols. 70–1 Governor and The Henstridge and Henstridge’s Archives and Manuscripts; Lord is King address; transmission manuscript http://www.rism.org.uk/manuscripts/ 135029; http://www.rism.org.uk/manuscripts/ 142536; Thompson, ‘Sources and Transmission’, 41–2 GB-Lbl Add. Anthem, O God, the John Sargenson John Sargenson Before 1684 Score Text given as incipits only. John British Library: Search our Catalogue – 30932, fols. 77–8 Strength of All of them Sargenson was a minor canon at Archives and Manuscripts; Canterbury from 1663–84. http://www.rism.org.uk/manuscripts/ 140859; Spink, Restoration Cathedral Music, 208–9 GB-Lbl Add. Anthem, Give Ear, O Nicholas Wootton Nicholas Wootton Before 1698 Score Nicholas Wootton was organist British Library: Search our Catalogue – 30932, fols. 79– ye Heavens at Canterbury from 1692–8 Archives and Manuscripts; 83 http://www.rism.org.uk/manuscripts/ 123485; Spink, Restoration Cathedral Music, 210 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Symphony anthem, H. Purcell H. Purcell 1677 Score Described by Philip Hayes as British Library: Search our Catalogue – 30932, fols. 87– My Beloved Spake Purcell’s ‘Original score’ (fol. Archives and Manuscripts; Herissone, 93 87r); note in Hayes’s hand at end, ‘The Theory and Practice of ‘See a fair Copy of this in Composition’, 186; Howard Catalogue No 72’ implies ‘Understanding Creativity’, 70–3, 78– additional autograph was once 81, 85–91, 94, 98, 105–9; Manning, included in Flackton collection ‘Revisions and Reworkings’, 32–3; http://www.rism.org.uk/manuscripts/ 138200; Shay and Thompson, Purcell Manuscripts, 2, 26–7, 64, 139; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthem, Who hath H. Purcell H. Purcell Before end Score Unusually high volume of inner- British Library: Search our Catalogue – 30932, fols. 94–8 Believed our Report? 1677 part text omitted Archives and Manuscripts; Herissone, ‘The Theory and Practice of Composition’, 186; http://www.rism.org.uk/manuscripts/ 163376; Shay and Thompson, Purcell Manuscripts, 2, 26, 213, 215; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthem, Behold now H. Purcell H. Purcell c. 1678–9 Score Slip of paper covers first three British Library: Search our Catalogue – 30932, fols. 121– Praise the Lord staves to allow symphony to be Archives and Manuscripts; Herissone, 5 copied; further slip added at end ‘The Theory and Practice of of fol. 121 apparently to replace Composition’, 186; one on which end of symphony http://www.rism.org.uk/manuscripts/ was originally copied by Purcell 114473; Shay and Thompson, Purcell Manuscripts, 141–2; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Anthem, My God, my Blow Blow 1697 Score Annotated ‘at Aspinden Hall Sep. British Library: Search our Catalogue – 30932, fols. 128– God the 6th 1697’. Copied Archives and Manuscripts; Herissone, 9 stratigraphically on two small ‘The Theory and Practice of bifolia; six-line staves Composition’, 186; http://www.rism.org.uk/manuscripts/ 138272; Shaw, ‘The Autographs of John Blow’, 91 GB-Lbl Add. Anthem, Let thy John Sargenson John Sargenson Before 1684 Score Alteration in opening section British Library: Search our Catalogue – 30932, fols. 130– Merciful Ears suggests this is fowle originall. Archives and Manuscripts; 1 Text incomplete. John Sargenson http://www.rism.org.uk/manuscripts/ was a minor canon at Canterbury 133897; Spink, Restoration Cathedral from 1663–84. Music, 208–9 GB-Lbl Add. Anthem, O that mine G. or H. G. or H. Before 1682 Score Likely autograph because of British Library: Search our Catalogue – 30932, fols. 136– Eyes Loosemoore Loosemore compositional alterations in final Archives and Manuscripts; 7 chorus; unclear whether George http://www.rism.org.uk/manuscripts/ or Henry Loosemore 144192 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Devotional songs, Henstridge Henstridge After 1682 Score Dated on the basis of copying in British Library: Search our Catalogue – 30932, fols. 152– To God the Father Henstridge’s later hand, but likely Archives and Manuscripts; 3 to date after 1698 when he took http://www.rism.org.uk/manuscripts/ up post as organist of 159247; Spink, Restoration Cathedral Canterbury. Music, 210–11 GB-Lbl Add. Anthem, Hear me Henstridge Henstridge After 1682 Score Dated on the basis of copying in British Library: Search our Catalogue – 30932, fols. 154– when I call Henstridge’s later hand, but likely Archives and Manuscripts; 5 to date after 1698 when he took http://www.rism.org.uk/manuscripts/ up post as organist of 125185; Spink, Restoration Cathedral Canterbury. Music, 210–11 GB-Lbl Add. Anthems and service Blow, Byrd, Child, Henstridge, From late Scores and Guardbook containing a large British Library: Search our Catalogue – 30933 settings O. Gibbons, Flackton, 1670s to late keyboard number of loose-leaf scores Archives and Manuscripts; Harding, A Greene, Henstridge, Raylton and 18th C scores associated with Canterbury; Thematic Catalogue, 26–30; Hilton, W. King, several collected together by William http://www.rism.org.uk/; Spink, Locke, Nalson, unidentified Flackton; autograph and other Restoration Cathedral Music, 208; Robert Parsons, H. scribes significant items listed separately Thompson, ‘Sources and Purcell, Tallis, below Transmission’, 14–15; Zimmerman, Anthony Walkleley, Henry Purcell…An Analytical Catalogue, Wise 456 GB-Lbl Add. Morning Service in Henstridge Henstridge After 1682 Score Dated on the basis of copying in British Library: Search our Catalogue – 30933, fols. 117– D minor Henstridge’s later hand, but likely Archives and Manuscripts; 20 to date after 1698 when he took http://www.rism.org.uk/manuscripts/ up post as organist of 151612; Spink, Restoration Cathedral Canterbury. Music, 210–11 GB-Lbl Add. Anthem, The Lord is Henstridge Henstridge After 1682 Keyboard Dated on the basis of copying in British Library: Search our Catalogue – 30933, fol. 120 King score Henstridge’s later hand, but likely Archives and Manuscripts; to date after 1698 when he took http://www.rism.org.uk/manuscripts/ up post as organist of 135030; Spink, Restoration Cathedral Canterbury. Music, 210–11 GB-Lbl Add. Gloria (incomplete) Henstridge Henstridge Before 1682 Score Three unfinished holograph British Library: Search our Catalogue – 30933, fol. 127 canons. Dated on the basis of Archives and Manuscripts; copying in Henstridge’s earlier http://www.rism.org.uk/manuscripts/ hand 123796 GB-Lbl Add. Ode, Come, come Clarke Clarke? c. 1695 Score Ode on the Death of Henry British Library: Search our Catalogue – 30934, fols. 2–34 Along with a Dance Purcell. Originally loose-leaf Archives and Manuscripts; and a Song score, now bound into http://www.rism.org.uk/manuscripts/ guardbook. Singers’ names 118100; Shay and Thompson, Purcell included. Identification of Manuscripts, 134, 161; Taylor, Thematic manuscript as autograph Catalog, 110 unconfirmed: attributed to London A by Shay and Thompson MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Ode, Again the D. Purcell D. Purcell, 1700 Score Birthday ode for Ann of British Library: Search our Catalogue – 30934, fols. 37– Welcome London E Denmark. Originally loose-leaf Archives and Manuscripts; Herissone, 57 score, now bound into ‘The Theory and Practice of guardbook. Two sets of singers’ Composition’, 186–7; names included. http://www.rism.org.uk/manuscripts/ 110626; Shay and Thompson, Purcell Manuscripts, 161 GB-Lbl Add. Ode, Begin and Strike D. Purcell D. Purcell 1693 Score Ode for St Cecilia’s Day British Library: Search our Catalogue – 30934, fols. 58– the Harmonious Lyre celebration in Oxford. Originally Archives and Manuscripts; Herissone, 78 loose-leaf score, now bound into ‘The Theory and Practice of guardbook. Composition’, 186–7; http://www.rism.org.uk/manuscripts/ 114023; Shay and Thompson, Purcell Manuscripts, 161 GB-Lbl Add. Ode, Who can from H. Purcell H. Purcell 1695 Score Birthday ode for the Duke of British Library: Search our Catalogue – 30934, fols. 79– Joy Refrain? Gloucester. Originally loose-leaf Archives and Manuscripts; Herissone, 93 score, now bound into ‘“Fowle Originalls”’, 605–7, 611; guardbook. Singers’ names Herissone, ‘The Theory and Practice included of Composition’, 186–7; H. Purcell, A Song for the Duke of Gloucester’s Birthday, ed. Spink, p. ix; http://www.rism.org.uk/manuscripts/ 163354; Shay and Thompson, Purcell Manuscripts, 26, 29, 161–3; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Ode, The Loud D. Purcell D. Purcell, 1697 Score Welcome song for 1697. British Library: Search our Catalogue – 30934, fols. 94– Tongu’d War London A Originally loose-leaf score, now Archives and Manuscripts; Herissone, 104 bound into guardbook. Singers’ ‘The Theory and Practice of names included Composition’, 186–7; http://www.rism.org.uk/manuscripts/ 135969; Shay and Thompson, Purcell Manuscripts, 161 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Harpsichord music Edward Bevin, Edward Bevin, c. 1633 (first Score Large upright folio volume ruled Bailey, Seventeenth-Century British 31403 and organ Elway Bevin, John Henstridge, layer); with six-line staves. Associated Keyboard Sources, 58–61; Blow, Complete voluntaries, with Blitheman, Blow, Raylton, later 1680s–c. with Canterbury. Pedagogical Harpsichord Music, ed. Klakowich, 116; pedagogical Bull, Byrd, Corelli, 18th-C additions 1713 (second materials in first-layer and in later Blow, Complete Organ Works, ed. materials Croft, Francis layer) 18th-C additions (extracts from Cooper, 82; British Library: Search our Forcer, Frescobaldi, Morley’s Plaine and Easie Catalogue – Archives and Manuscripts; O. Gibbons, Locke, Introduction) Brookes, British Keyboard Music, 41–2; Soncino, Tallis Ford, ‘Bevins, Father and Son’; Harding, A Thematic Catalogue, 80; Hodge, ‘English Harpsichord Repertoire’, vol. III, 49–50; http://www.rism.org.uk/manuscripts/ 164718; Shay and Thompson, Purcell Manuscripts, 287; Woolley, ‘English Keyboard Sources’, 143–8, 240 GB-Lbl Add. Anthems, odes and Aldrich, Blow, Bull, Several unknown From late Score Guardbook of miscellaneous British Library: Search our Catalogue – 31405 selected movements Byrd, Croft, J. scribes, mainly 17th C to late loose-leaf items in multiple Archives and Manuscripts; from odes Eccles, J. Fiocco, P. Chapel Royal 18th C sections. Significant groups of http://www.rism.org.uk/manuscripts/ Fiocco, O. Gibbons, style items are listed separately below 164691; Zimmerman, Henry Hooper, Morley, Purcell…An Analytical Catalogue, 456 Mundy, D. Purcell, H. Purcell. C. Shode, Turner, Weldon GB-Lbl Add. Anthems Aldrich, Blow, Bull, Unknown scribe Late 17th C Score Last item (by Mundy) is British Library: Search our Catalogue – 31405, fols. 1–33 Byrd, O. Gibbons, completed by a second, Archives and Manuscripts; Hooper, Morley, unidentified scribe on an inserted http://www.rism.org.uk; Zimmerman, Mundy, H. Purcell sheet Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Extracts from odes D. and H. Purcell Unknown scribe, Late 17th or Score Music from The Libertine headed British Library: Search our Catalogue – 31405, fols. 134– (Welcome to all the Chapel Royal early 18th C ‘Ball song’ and from Shepherds, Archives and Manuscripts; 43 Pleasures; Shepherds, style Tune your Pipes headed ‘Ball song http://www.rism.org.uk; Zimmerman, Tune your Pipes) and No: ye 7th’. Evidence of attempts Henry Purcell…An Analytical Catalogue, theatre music (Act to rearrange some of the music. 456 IV of The Libertine) Several singers identified by initials GB-Lbl Add. Songs, mainly J. Eccles Unknown scribe, Early 18th C Score Begins with fragment, so some British Library: Search our Catalogue – 31405, fols. 144– arranged from odes Chapel Royal music lost Archives and Manuscripts; 52 style http://www.rism.org.uk GB-Lbl Add. Ode, Bring Shepherds, Blow Unknown scribe, c. 1700 Score Loose-leaf score, now bound into British Library: Search our Catalogue – 31405, fols. 153– Bring the Kids Chapel Royal guardbook. Labelled ‘2d song’ Archives and Manuscripts; 8 style http://www.rism.org.uk/manuscripts/ 115905 GB-Lbl Add. Instrumental Coperario North family Early 1660s? Keyboard Organ part. Belongs with set Ashbee, Thompson and Wainwright, 31416 consort music scribe score preserved in GB-Ob Viola da Gamba Society Index, vol. I, (fantazias) Mus.Sch.c.91 126–7 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Six sets of A. Ferrabosco II, Anon C, Anon c. 1675–85 Partbooks The two co-copyists, who have Ashbee, Thompson and Wainwright, 31423, fols. 1– partbooks, (some Thomas Brewer, D; one unknown distinctive clefs, worked closely Viola da Gamba Society Index, vol. II, 75, 76–123, 124– incomplete) Child, Mico, Withey co-copyist alongside Anon C, but always on 13–14, 77–94; British Library: Search our 53, 154–71, 172– containing (set 1); Jenkins (sets discrete pieces. Anon C also Catalogue – Archives and Manuscripts; 215 and 216–63 instrumental consort 2–4); and mid-17th- copied music in GB-Lbl Add. Holman, Four and Twenty Fiddlers, 277, music C English and north 31424, 31430, 31435, 31436 and 280; Holman, ‘Suites by Jenkins’; European GB-Lcm 870. Anon D also http://www.rism.org.uk/manuscripts/ composers (sets 5– copied music in GB-Lbl Add. 164683; Thompson, ‘English Music 6) 31436 Manuscripts’, 325–39; Willetts, ‘Autograph Music’ GB-Lbl Add. Five sets of Michael East, Miguel Anon C c. 1675–85 Partbooks Fols. 85–169 once thought (by Ashbee, Thompson and Wainwright, 31424, fols. 1– instrumental consort Ferreira, Ives, Harding) to be Locke’s autograph Viola da Gamba Society Index, vol. II, 24, 25–40, 41–4, music, including Locke, Jean de la copies of his own dances, but 13–14, 95–103; British Library: Search 45–84 and 85– Locke’s For Several Volée, Ward now considered to be by Jean de our Catalogue – Archives and Manuscripts; 169 Friends la Volée, the initials ‘L.V’ Harding, A Thematic Catalogue, 130, appearing after 41 of the 65 134–8; pieces in this section. Scribe also http://www.rism.org.uk/manuscripts/ copied music in GB-Lbl Add. 164684; Thompson, ‘The Sources of 31423, 31430, 31435, 31436 and Locke’s Consort’; Willetts, ‘Autograph GB-Lcm 870 Music’ GB-Lbl Add. Instrumental Charles Coleman, Unknown Late 17th C Three Version of Little Consort pre-dates British Library: Search our Catalogue – 31426 consort music for Jenkins, Locke scribes partbooks alterations made in GB-Lbl Add. Archives and Manuscripts; Harding, A two trebles and one 17801 Thematic Catalogue, Table II; bass viol http://www.rism.org.uk/manuscripts/ 164685; Thompson, ‘English Music Manuscripts’, 524–9 GB-Lbl Add. Instrumental Jenkins, Nicolai Anon C Late 17th C Two partbooks Surviving parts are first bass and Ashbee, Thompson and Wainwright, 31430, fols. 1–13 consort music continuo from a set of three. Viola da Gamba Society Index, vol. II, Headed ‘for 3. Base viols by Mr 13–14; British Library: Search our Jenkins’, but Ashbee, Thompson Catalogue – Archives and Manuscripts; and Wainwright identify some as http://www.rism.org.uk/manuscripts/ probably by J. M. Nicolai. Scribe 164687; Willetts, ‘Autograph Music’ misidentified as Jenkins in RISM. Scribe also copied music in GB- Lbl Add. 31423, 31424, 31435, 31436 and GB-Lcm 870 GB-Lbl Add. Instrumental William Gregory, John Playford Mid 1670s Three Dated on the basis of British Library: Search our Catalogue – 31430, fols. 14– consort music Jenkins, Locke partbooks Thompson’s analysis; identified Archives and Manuscripts; Harding, A 119 as likely manuscript publication. Thematic Catalogue, Table II; http://www.rism.org.uk/manuscripts/ 164687; Thompson, ‘Manuscript Music’, 607, 615–16 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Instrumental Isaac Blackwell, Anon A c. 1680 Two partbooks Two surviving books. Inscribed Ashbee, Thompson and Wainwright, 31431 consort music Cazzati, Colista, C. ‘Sr Gabriel Roberts 1680’. Scribe Viola da Gamba Society Index, vol. II, (including Locke’s Gibbons, Jenkins, also copied music in D-Hs ND 13–14, 104–11; British Library: Search The First Part of the W. Lawes, Legrenzi, VI 3193 our Catalogue – Archives and Manuscripts; Broken Consort and Locke, Vitali Harding, A Thematic Catalogue 119, For Several Friends) Tables I–IV; Restoration Trio Sonatas, ed. and Italian sonatas Holman and Cunningham, p. xxiii; http://www.rism.org.uk/manuscripts/ 164725; Thompson, ‘English Music Manuscripts’, 367–80, 436–43 GB-Lbl Add. Two sets of parts, G. Gibbons, Locke, Unknown main c. 1675–85 Four Annotations in a separate hand: Ashbee, Thompson and Wainwright, 31435, fols. 1–68 containing H. Purcell scribe and partbooks ‘All the Fanta: in this book of Mr: Viola da Gamba Society Index, vol. II, and 69–110 instrumental consort unknown Locks I Exa by Mr Purcells Score 13–14, 112–16; British Library: Search music (including annotator Book’; similar inscriptions our Catalogue – Archives and Manuscripts; Locke’s Broken relating to all Locke’s music in Harding, A Thematic Catalogue, Table Consort and Fantazias the set, and alterations in parts IV; Holman, Henry Purcell, 75–7; from the Consort of indicate that the music was Holman, ‘Suites by Jenkins’; H. Purcell, Four Parts and checked against GB-Lbl Add. Fantazias and Miscellaneous Instrumental Purcell’s Fantazia 2) 17801. Same hand also annotated Music, ed. Tilmouth, p. xi; GB-Lcm 2090. Main hand http://www.rism.org.uk/manuscripts/ misidentified as Anon C in 164727; Shay and Thompson, Purcell Ashbee, Thompson and Manuscripts, 112; Willetts, ‘Autograph Wainwright Music’; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Unascribed bass Colista, William Anon C c. 1675–85 Partbook Treble and chordal continuo part Ashbee, Thompson and Wainwright, 31435, fol. 111– parts to sonatas Young missing. Scribe also copied music Viola da Gamba Society Index, vol. II, 22 in GB-Lbl Add. 31423, 31424, 13–14, 116; British Library: Search our 31430, 31436 and GB-Lcm 870 Catalogue – Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 164727 GB-Lbl Add. Sections of the Locke Unknown scribe Late 17th C Three Hand misidentified as Anon C in Ashbee, Thompson and Wainwright, 31436, fols. 1–12 Broken Consort partbooks Ashbee, Thompson and Viola da Gamba Society Index, vol. II, Wainwright 13–14, 117–24; British Library: Search our Catalogue – Archives and Manuscripts; Harding, A Thematic Catalogue, Table IV; http://www.rism.org.uk/manuscripts/ 164728 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Two sets of C. Simpson, Vitali, Anon C, Anon c. 1675–85 Three Anon C also copied music in Ashbee, Thompson and Wainwright, 31436, fols. 13– instrumental consort Silvani D partbooks GB-Lbl Add. 31423, 31424, Viola da Gamba Society Index, vol. II, 100 and 150–210 music (including 31430, 31435 and GB-Lcm 870. 13–14, 117–24; British Library: Search Simpson’s The Anon D also copied music in our Catalogue – Archives and Manuscripts; Months and The GB-Lbl Add. 31423. Vitali set Holman, ‘Suites by Jenkins’; Seasons) and Italian copied from the Venice print of http://www.rism.org.uk/manuscripts/ sonatas that year. Anon C and Anon D 164728; Willetts, ‘Autograph Music’ worked closely on Simpson’s set. GB-Lbl Add. Instrumental Hingeston Unknown scribe Late 17th C Three Ashbee, Thompson and Wainwright, 31436, fols. 101– consort music for partbooks Viola da Gamba Society Index, vol. II, 117 bass viols 13–14, 117–24; British Library: Search our Catalogue – Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 164728 GB-Lbl Add. Devotional songs Costanzo da Cosena, Locke Before 1677 Score In three originally separate British Library: Search our Catalogue – 31437, fols. 1– for men’s voices in Locke, Rovetta, (first and sections. Locke’s collection of Archives and Manuscripts; Harding, A 19, 20–8 and 29– English; devotional Sabbatini second Italian motets is annotated ‘when Thematic Catalogue, 3–6, 20–5; 43 songs in Latin; layers); c. I was in the Low = Countreys Herissone, ‘The Theory and Practice Italian motets 1648 (third 1648’. Possibly donated to of Composition’, 187–8; layer) Oxford Music School http://www.rism.org.uk/manuscripts/ 164690; Thompson, ‘English Music Manuscripts’, 387–93 GB-Lbl Add. Songs J. Courteville J. Courteville c. 1691 Score Dedicated to ‘the Honor[a]ble British Library: Search our Catalogue – 31439 Bennett Sherard Esq’, John Archives and Manuscripts; Herissone, Courteville’s patron ‘The Theory and Practice of Composition’, 189; http://www.rism.org.uk/manuscripts/ 165189 GB-Lbl Add. Anthems Aldrich, Blow, Hall, James Hawkins c. 1698 Score Manuscript addition to a printed Blow, Anthems II, ed. Wood, 174; 31444 Norris, H. Purcell, sr copy of Purcell’s Te Deum. Shay Blow, Anthems III, ed. Wood, 174; Tudway, Wise and Thompson date the Blow, Anthems IV, ed. Wood, 204; manuscript c. 1700–5, but Spink British Library: Search our Catalogue – notes that the last item is Blow’s Archives and Manuscripts; Lord, Remember David, written for http://www.rism.org.uk/manuscripts/ the Banqueting Hall’s opening in 164689; Shay and Thompson, Purcell 1698; the inscribed date here is Manuscripts, 226–7; Spink, Restoration given only as ‘December the 9th’, Cathedral Music, 86–7; Zimmerman, perhaps suggesting it was copied Henry Purcell…An Analytical Catalogue, in 1698 itself. In any case copied 456 before 1705, on the basis of Tudway’s title. MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Service setting and Blow, Philip Hart, James Hawkins sr, c. 1696–7 Score Ely Provenance. Dated on the Blow, Anthems II, ed. Wood, 174; 31445 anthems (some Hawkins, Humfrey, Tudway basis of paper and inscribed date Blow, Coronation Anthems, ed. Lewis symphony, one Norris, D. Purcell, of 1697 given for Blow’s I was and Shaw, p. xvi; British Library: Search arranged) H. Purcell, Tudway, Glad near the end of the our Catalogue – Archives and Manuscripts; Turner manuscript H. Purcell, Sacred Music, Part II, ed. Pike, p. xvi; H. Purcell, Sacred Music, Part III, ed. Fortune, p. xv; H. Purcell, Sacred Music, Part V, ed. Thompson, p. xvii; http://www.rism.org.uk/manuscripts/ 164731; Shay and Thompson, Purcell Manuscripts, 150–1, 227; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. Organ toccatas and Blow, C. Gibbons, George Holmes 1698 Score and Oblong quarto manuscript. Bailey, Seventeenth-Century British 31446 voluntaries; service H. Purcell, Rossi, keyboard score Formerly inscribed ‘George Keyboard Sources, 62; Blow, Complete setting Tallis Holmes, his Book, 1698 at my Organ Works, ed. Cooper, 82; British Lord Bishop of Durham’s’. Library: Search our Catalogue – Archives Holmes was a chorister and then and Manuscripts; Brookes, British organist at Durham from 1688 Keyboard Music, 42; Cox, Organ Music in before moving to Lincoln in 1705 Restoration England, 77–9, 495; http://www.rism.org.uk/manuscripts/ 164894; Shay and Thompson, Purcell Manuscripts, 290–1; Spink, Restoration Cathedral Music, 67–8; Woolley, ‘English Keyboard Sources’, 240; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. First section: H. Purcell FQ4 After 1695 Score Compressed score, compiled British Library: Search our Catalogue – 31447 Oedipus, Timon of (first from two smaller unbound Archives and Manuscripts; H. Purcell, Athens, Bonduca, King section); sections; instructions about part- Birthday Odes…Part I, ed. Wood, pp. Arthur, Circe, The mid-1690s? copying included, so related to xiv–xv; H. Purcell, Birthday Odes…Part Indian Queen, Hail! (second production of performance parts II, ed. Wood, pp. xiv–xv; H. Purcell, Bright Cecilia, Of Old, section) Dramatic Music…Part I, ed. Laurie, p. when Heroes, Who can xlii; H. Purcell, Dramatic Music, Part II, from Joy Refrain?, ed. Spink, p. xxxv; H. Purcell, Dramatic Sound the Trumpet, Music…Part III, ed. Laurie, p. xlvi; H. Celebrate this Festival; Purcell, King Arthur, ed. Laurie, p. xi; Second section: H. Purcell, Royal Welcome Songs, Part I, Welcome, Vicegerent, ed. Wood, p. xviii; H. Purcell, Royal Welcome Glorious Welcome Songs, Part II, ed. Wood, p. Morn, Arise my Muse, xxiii; H. Purcell, Three Occasional Odes, Love’s Goddess Sure ed. Wood, p. xviii; was Blind, Great http://www.rism.org.uk/manuscripts/ Parent, Hail, The 165159; Shay and Thompson, Purcell Libertine Manuscripts, 173–5, 244–5, 247–8; Zimmerman, Henry Purcell…An Analytical Catalogue, 456 GB-Lbl Add. The Indian Queen H. Purcell London A and c. 1698 Score (text and Separate paper used for text and British Library: Search our Catalogue – 31449 unknown scribe music) music; some instrumental music Archives and Manuscripts; (text only) possibly corrupt; associated with http://www.rism.org.uk/manuscripts/ ‘Mr Bowen’ 129727; Pinnock, ‘Play into Opera’; H. Purcell, The Indian Queen, ed. Laurie, p. xxiv; Shay and Thompson, Purcell Manuscripts, 253–4; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Odes and theatre Blow, Clarke, H. London F, Croft, c. 1696–1704 Score Dating based on Shay and British Library: Search our Catalogue – 31452 music (Purcell’s Purcell London A Thompson’s association of Archives and Manuscripts; H. Purcell, Timon of Athens, Who London A with Francis Pigott Dramatic Music…Part I, ed. Laurie, p. can from Joy Refrain?, xlii; H. Purcell, Dramatic Music…Part Bonduca, Oedipus, III, ed. Laurie, p. xlvi; H. Purcell, A Blow’s Welcome Every Song for the Duke of Gloucester’s Birthday, Guest, The Nymphs of ed. Spink, p. ix; the Wells, Bring http://www.rism.org.uk/manuscripts/ Shepherds, Hail, thou 164735; Shay and Thompson, Purcell Infant Year and Manuscripts, 249–50; Taylor, Thematic Clarke’s Barbadoes Catalog, 110; Zimmerman, Henry Song) Purcell…An Analytical Catalogue, 457 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Hail! Bright Cecilia H. Purcell William Isaack 1692–1703 Score Loose-leaf score. Stratigraphic British Library: Search our Catalogue – 31453, fols. 1–38 copying. Names of performers Archives and Manuscripts; given. Windsor provenance http://www.rism.org.uk/manuscripts/ 124525; Shay and Thompson, Purcell Manuscripts, 254–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. The Indian Queen H. Purcell Oxford B Before c. Score Music in Act V entitled (not by British Library: Search our Catalogue – 31453, fols. 39– 1702–7 Oxford B) on fol. 69r ‘Additional Archives and Manuscripts; H. Purcell, The 83 Act by Mr Daniel Purcel (Mr Indian Queen, ed. Laurie, p. xxiv; Henery Purcell being dead)’ http://www.rism.org.uk/manuscripts/ 129728; http://www.rism.org.uk/manuscripts/ 129706; Shay and Thompson, Purcell Manuscripts, 254–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. ‘All things seem J. Eccles (first One unknown After 1698 Score British Library: Search our Catalogue – 31453, fols. 150– deaf’, from The section); Clarke, R. scribe Archives and Manuscripts; H. Purcell, 1 and 169–91 Pretenders (first Courteville, Hall, Dramatic Music…Part I, ed. Laurie, p. section); collection James Hart, xlii; H. Purcell, Dramatic Music, Part II, of songs, mainly Benjamin Lamb, H. ed. Spink, p. xxxv; H. Purcell, Secular extracted from odes Purcell, Songs, ed. Laurie, p. xviii; and theatre music http://www.rism.org.uk/manuscripts/ (second section) 164736; Taylor, Thematic Catalog, 110; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 Lbl Add. 31453, Venus and Adonis Blow John Walter, 1680s Score Lacks final chorus and music Blow, Venus and Adonis, ed. Wood, p. fols. 152–68 with annotations after Adonis’s death; begins in xiii; British Library: Search our Catalogue – in two unknown Walter’s earliest hand. Seems to Archives and Manuscripts; hands have been copied originally at http://www.rism.org.uk/manuscripts/ time of original performance, but 161286; Shay and Thompson, Purcell subsequently altered for a second Manuscripts, 254–6 performance. Windsor provenance GB-Lbl Add. Inspire us, Genius J. Eccles J. Eccles c. 1703 Score Loose-leaf manuscript. Dated British Library: Search our Catalogue – 31456 according to recorded Archives and Manuscripts; Murphy, ‘The performance as birthday ode for Fashioning of a Nation’, vol. I, 308– 1703; ‘Anna’ and ‘Queen’ altered 32, vol. II, 143–222; to ‘William’ and ‘King’; Murphy http://www.rism.org.uk/manuscripts/ argues that original composition 129787 date was 1701. Singers’ names included in additional hand MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Welcome Every Guest Blow Blow c. 1695–1700 Score Loose-leaf score British Library: Search our Catalogue – 31457, fols. 1–10 Archives and Manuscripts; http://www.rism.org.uk/manuscripts/ 162642; Shaw, ‘The Autographs of John Blow’, 91 GB- Lbl Add. Welcome Genial Day Leveridge Leveridge 1701 Score Loose-leaf score. Composed for British Library: Search our Catalogue – 31457, fols. 11– performance in Dublin. Archives and Manuscripts; 25 Incomplete score. Misattributed http://www.rism.org.uk/manuscripts/ to Blow in British Library 162644 catalogue and RISM GB- Lbl Add. Welcome Happy Day Leveridge Leveridge 1699–1702 Score Loose-leaf score. Probably British Library: Search our Catalogue – 31457, fols. 26– composed for performance in Archives and Manuscripts; 44 Dublin. Misattributed to Blow in http://www.rism.org.uk/manuscripts/ British Library catalogue and 162647 RISM GB-Lbl Add. Morning service in Blow(?) and Two unknown Late 17th C Score Both sets share the same 18th-C British Library: Search our Catalogue – 31457, fols. 45– D (attributed to unknown scribes, Chapel pagination, although they are on Archives and Manuscripts; Herissone, 75 and 76–84 Blow); Evening Royal style different paper, so were bound ‘The Theory and Practice of Service in B flat together before the creation of Composition’, 189–90; this guardbook. Names of singers http://www.rism.org.uk/manuscripts/ given for Service in D. Morning 151661; Service formerly identified as http://www.rism.org.uk/manuscripts/ Blow autograph. Evening Service 151662 in B flat identified as Tudway autograph in RISM GB-Lbl Add. Anthem, O Sing unto Blow Blow 1670s? Score Shay and Thompson argue that Blow, Anthems III, ed. Wood, 174; 31458, fols. 1–5 the Lord…for He hath this copy precedes the one in British Library: Search our Catalogue – done Marvellous Things GB-Cfm 88, but the Archives and Manuscripts; Herissone, compositional alterations suggest ‘The Theory and Practice of this is possibly a fowle originall Composition’, 190; http://www.rism.org.uk/manuscripts/ 143988; Shaw, ‘The Autographs of John Blow’, 91; Shay and Thompson, Purcell Manuscripts, 37–8 GB-Lbl Add. Latin devotional Aldrich, Blow, Simon Child, Before 1678– Score Oxford provenance. Dating British Library: Search our Catalogue – 31460 songs by Italian and Carissimi, Cooke, Bowman, Hull, 1690s based on death of Bowman in Archives and Manuscripts; Cheverton, French composers; Desgranges, Goodson sr, 1685 and likely use of Harmonia ‘English Church Music’, 495; Harding, English devotional Fischietti, O. William Sacra (1688) as a source for some A Thematic Catalogue, 18; songs by English Gibbons, Graziani, Husbands, songs. Shay and Thompson http://www.rism.org.uk/manuscripts/ composers W. Lawes, Locke, H. Charles suggest a date of before 1678 for 165205; Shay and Thompson, Purcell Purcell, Sances, Wise Husbands Bowman’s copying, before 1693 Manuscripts, 271–2; Wainwright, Musical (Oxford A) for William Husbands’s copying Patronage, 244–51; Zimmerman, Henry and before 1692 for copying that Purcell…An Analytical Catalogue, 457 may be by Charles Husbands MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Solo anthems (by D. Croft, Casati, D. D. Purcell, Before 1717 Score Guardbook brought together by British Library: Search our Catalogue – 31461 Purcell); secular Purcell, H. Purcell London E, Kent. Some of the D. Purcell Archives and Manuscripts; Herissone, song in English and unknown scribe, anthems have compositional ‘The Theory and Practice of Italian James Kent changes and later addition of Composition’, 190–1; closing choruses (one copied by http://www.rism.org.uk/manuscripts/ London E), or closing pages left 164740; Spink, Restoration Cathedral blank. One solo anthem was Music, 325; Zimmerman, Henry copied by the unknown scribe Purcell…An Analytical Catalogue, 457 but signed by D. Purcell, so they clearly worked together GB-Lbl Add. Excerpts copied John Barrett, Blow, Nicholas c. 1704 Score Oblong quarto manuscript. Blow, Complete Harpsichord Music, ed. 31465 from Melothesia; Bryne, Croft, Philip Harrison Possibly a study book. Mainly Klakowich, 116; British Library: Search keyboard music Hart, George copied from printed sources. our Catalogue – Archives and Manuscripts; Holmes, Locke, H. Nicholas Harrison was a Brookes, British Keyboard Music, 42; Purcell musician from the northeast of Harding, A Thematic Catalogue, 1, 81; England, fl. 1709. Dating from Hodge, ‘English Harpsichord Woolley, based on inclusion of Repertoire’, vol. III, 51; music from Philip Hart’s 1704 http://www.rism.org.uk/manuscripts/ publication 165083; Shay and Thompson, Purcell Manuscripts, 291–2; Taylor, Thematic Catalog, 111; Woolley, ‘English Keyboard Sources’, 240; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Keyboard music for Blow, Croft, William William Davis Early 18th C Score Oblong quarto manuscript. Blow, Complete Harpsichord Music, ed. 31468 organ and Davis?, C. Gibbons, Inscribed ‘Will Davis Ejus Liber’, Klakowich, 116; Blow, Complete Organ harpsichord H. Purcell indicating ownership by Works, ed. Cooper, 82–3; British Worcester musician William Library: Search our Catalogue – Archives Davis. Reverse end contains and Manuscripts; Brookes, British probable fowle originalls of Keyboard Music, 43; Hodge, ‘English compositions by Davis himself Harpsichord Repertoire’, vol. III, 53; http://www.rism.org.uk/manuscripts/ 164693; Shay and Thompson, Purcell Manuscripts, 290–1; Spink, Restoration Cathedral Music, 68; Woolley, ‘English Keyboard Sources’, 241; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Ode, Awake, Celestial Philip Hart Unknown c. 1703 Score Entitled ‘Ode in Praise of British Library: Search our Catalogue – 31540 Harmony Musick’ Archives and Manuscripts; Dawes, ‘The Music of Philip Hart’; http://www.rism.org.uk/manuscripts/ 113393 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Anthems and English, French and Charles Morgan, c. 1680–91 Score Inscription on front cover: ‘Liber British Library: Search our Catalogue – 33234 devotional and Italian 17th-C one unknown Caroli Morgan è Coll. Magd: Archives and Manuscripts; Cheverton, secular songs composers, scribe Dec:mo 6:to Die 7:bris Anno ‘English Church Music’, 495–6; including Aldrich, Domini 1682’. Oxford Harding, A Thematic Catalogue, 39; H. Blow, Carisimi, provenance. Purcell, Duets, Dialogues and Trios, ed. Casati, Cooke, Spink, p. xvii; H. Purcell, Secular Songs, Draghi, Hall, Locke, ed. Laurie, p. xviii; H. Purcell, Symphony Lully, Merula, Songs, ed. Wood, p. xvi; Monferrato, H. http://www.rism.org.uk; Shay and Purcell, Reggio, Thompson, Purcell Manuscripts, 267, Sances, Stradella, 271; Thompson, ‘English Music Wise Manuscripts’, 293–303; Wainwright, Musical Patronage, 260–4; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Anthems; devotional English, French and William c. 1690–3 Score Wainwright describes the main Blow, Anthems IV, ed. Wood, 204; 33235 and secular songs Italian 17th-C Husbands, hand as that of Goodson sr, but British Library: Search our Catalogue – composers, Simon Child Shay and Thompson identify Archives and Manuscripts; Harding, A including Blow, Child from his signatures in the Thematic Catalogue, 9; H. Purcell, Duets, Carissimi, Casati, Christ Church disbursement Dialogues and Trios, ed. Spink, p. xvii; H. Child, C. Gibbons, books. Oxford provenance Purcell, Symphony Songs, ed. Wood, p. Graziani, Humfrey, xvii, p. xx; http://www.rism.org.uk; Lully, Monferrato, Shay and Thompson, Purcell H. Purcell, Rovetta, Manuscripts, 271; Wainwright, Musical Sances, Stradella, Patronage, 264–7; Zimmerman, Henry Turner Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Instrumental Blow, Locke, Unknown; one c. 1683; later Score Pages now guarded separately, British Library: Search our Catalogue – 33236 consort music Colista, Corelli, main scribe additions in but originally one book divided Archives and Manuscripts; Harding, A (including Locke’s Draghi, Lanier, H. 1690s into three sections with different Thematic Catalogue, Table II; H. Purcell, For Several Friends Purcell, Ruggiero rulings for each repertory. Fantazias and Miscellaneous Instrumental and Little Consort, Music, ed. Tilmouth, p. xi; H. Purcell, Purcell fantazias and Secular Songs, ed. Laurie, p. xviii; H. pavans); Italian and Purcell, Symphony Songs, ed. Wood, p. English sonatas; xvii; Restoration Trio Sonatas, ed. secular and Holman and Cunningham, p. xxiii; devotional songs http://www.rism.org.uk; Shay and (Purcell and Lanier) Thompson, Purcell Manuscripts, 109–12; Thompson, ‘English Music Manuscripts’, 444–53; Thompson, ‘The Sources of Locke’s Consort’; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Symphony songs Blow, Pepusch, H. London D, with 1685–6; later Score Bound scorebook; originally two British Library: Search our Catalogue – 33287 (first section); odes Purcell, Turner (first additions by four additions separate books; most copied Archives and Manuscripts; Draghi, Ode for and welcome songs section); Blow, later scribes before binding St Cecilia’s Day, ed. White, p. xx; (second section) Draghi, Humfrey, H. Herissone, ‘“Fowle Originalls”’, 612– Purcell, Turner 16; Holman, Henry Purcell, 150–1; H. (second section) Purcell, Royal Welcome Songs, Part I, ed. Wood, pp. xviii–xix; H. Purcell, Royal Welcome Songs, Part II, ed. Wood, pp. xxi–xxiii; H. Purcell, Symphony Songs, ed. Wood, pp. xvi–xix; H. Purcell, Three Occasional Odes, ed. Wood, p. xvii; H. Purcell, Three Odes for St Cecilia’s Day, ed. Wood, p. xii; http://www.rism.org.uk; Shay and Thompson, Purcell Manuscripts, 164–8; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Harpsichord music Blow, Bryne, R. Nicholas Early 18th C Score Oblong quarto manuscript. Blow, Complete Harpsichord Music, ed. 34695 and organ Courteville, Croft, C. Harrison Organ works mainly copied from Klakowich, 116–17; Blow, Complete voluntaries Gibbons, Philip GB-Lbl Add. 31446. Nicholas Organ Works, ed. Cooper, 83; British Hart, H. Purcell Harrison was a musician from Library: Search our Catalogue – Archives the northeast of England, fl. 1709 and Manuscripts; Brookes, British Keyboard Music, 43; Cox, Organ Music in Restoration England, 100–1; Hodge, ‘English Harpsichord Repertoire’, vol. III, 54; http://www.rism.org.uk; Shay and Thompson, Purcell Manuscripts, 291–2; Spink, Restoration Cathedral Music, 68; Woolley, ‘English Keyboard Sources’, 242; Zimmerman, Henry Purcell…An Analytical Catalogue, 457 GB-Lbl Add. Overtures, dance Late 17th-C and John Channing 1694–7 Score (mainly ‘John Channing, 1694’ inscribed British Library: Search our Catalogue – 35043 tunes and songs early 18th-C English single lines) on original spine. Begins with Archives and Manuscripts; H. Purcell, from odes and composers including printed edition, Dialogue in the last Dramatic Music, Part II, ed. Spink, p. theatre music of Blow, Clarke, J. Opera, call’d the Fairy Queen of xxxv; H. Purcell, Dramatic Music…Part 1690s, mainly Eccles, Finger, R. 1692. Includes ‘Rules for Gracing III, ed. Laurie, p. xlvi; H. Purcell, The arranged as single King, W. Lawes, on the Flutes’ Indian Queen, ed. Laurie, p. xxv; H. melodic lines for Lenton, Morgan, Purcell, Secular Songs, ed. Laurie, p. recorder Paisible, D. and H. xviii; http://www.rism.org.uk; Taylor, Purcell, Tollett Thematic Catalog, 111; Zimmerman, Henry Purcell…An Analytical Catalogue, 458 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Morning and Croft Croft 1719 Score British Library: Search our Catalogue – 38668 Evening Service in Archives and Manuscripts; E flat http://www.rism.org.uk/manuscripts/ 151526; Spink, Restoration Cathedral Music, 178 GB-Lbl Add. Keyboard music and Wide range of Charles Babel 1702 Score Folio volume containing 294 Blow, Complete Harpsichord Music, ed. 39569 settings French, English, pieces. Copied for his son, Klakowich, 117; British Library: Search Italian and German William: ‘Receuil de Pieces our Catalogue – Archives and Manuscripts; 17th-C keyboard Choisies Pour le Clauessin 1702 Draghi, Harpsichord Music, ed. composers, William Babel’ Klakowich, pp. ix–xi; Gustafson, including Clarke, French Harpsichord Music, vol. II, 187– Croft, Dieupart, 221; Hodge, ‘English Harpsichord Draghi, Keller, R. Repertoire’, vol. III, 57–66; Taylor, King, Lully, H. Thematic Catalog, 111; Woolley, ‘English Purcell; possibly Keyboard Sources’, 198–221, 242; some anonymous Zimmerman, Henry Purcell…An German repertory Analytical Catalogue, 458 GB-Lbl Add. Keyboard music and Bononcini, Croft, J. Unknown c. 1714 Score Oblong quarto. Contains British Library: Search our Catalogue – 40139 settings Eccles, J. E. pedagogical material at front of Archives and Manuscripts; Hodge, Galliard, Handel, book. According to Woolley ‘English Harpsichord Repertoire’, vol. Pepusch, H. Purcell, appears to be copied by pupil III, 67; George Spencer rather than teacher. George http://www.rism.org.uk/manuscripts/ Spencer was organist of Holy 164492; Woolley, ‘English Keyboard Trinity Church, Coventry from Sources’, 242–3; Zimmerman, Henry 1695–1731 Purcell…An Analytical Catalogue, 458 GB-Lbl Add. Keyboard music and Barrett, Blow, John Barrett? c. 1715 Score Oblong quarto. Blow, Complete Harpsichord Music, ed. 41205 settings Corelli, Croft, J. Klakowich, 117; British Library: Search Eccles, Finger, R. our Catalogue – Archives and Manuscripts; King, Loeillet, H. Draghi, Harpsichord Music, ed. Purcell and others Klakowich, pp. ix–xi; Hodge, ‘English Harpsichord Repertoire’, vol. III, 68– 9; http://www.rism.org.uk/manuscripts/ 165215; Woolley, ‘English Keyboard Sources’, 192–5, 243–4; Zimmerman, Henry Purcell…An Analytical Catalogue, 458 GB-Lbl Add. Four verse anthems Vaughan Richardson Vaughan After 1692 Score Winchester provenance. Foliation British Library: Search our Catalogue – 42065 Richardson from 67–82 indicates that this Archives and Manuscripts; Herissone, was once part of a larger volume, ‘The Theory and Practice of to which GB-Lbl Add. 63490 Composition’, 193; also belonged http://www.rism.org.uk/manuscripts/ 164418; Spink, Restoration Cathedral Music, 366 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. Service music, Blow, Byrd, C. Reading sr, c. 1675– Score Winchester provenance. Blow, Anthems II, ed. Wood, 174; 47845 anthems (mainly Gibbons, William Roseingrave, 1690s Originally separate leaves, Blow, Anthems III, ed. Wood, 174; symphony) and Gregory, Humfrey, four unknown probably bound in early 18th C, Blow, Anthems IV, ed. Wood, 204; canons Locke, H. Purcell, scribes but most in Reading’s hand. Shay British Library: Search our Catalogue – Tucker, Turner and Thompson link the Archives and Manuscripts; H. Purcell, symphony anthems with Charles Sacred Music, Part II, ed. Pike, p. xx; II’s Winchester visits in 1682–4, http://www.rism.org.uk/manuscripts/ when London musicians were 165113; Shay and Thompson, Purcell present, but GB-Lbl R.M. 20.h.8 Manuscripts, 144–50; Zimmerman, was apparently not the exemplar Henry Purcell…An Analytical Catalogue, 458 GB-Lbl Add. Keyboard pieces and Barrett, Clarke, H. Unknown scribe c. 1700–5 Score Prebound upright quarto book, British Library: Search our Catalogue – 47846 settings (front end); Purcell and most leaves empty. Professional Archives and Manuscripts; Hodge, theatre songs anonymous settings musician’s hand, but no ‘English Harpsichord Repertoire’, vol. (reverse end) (front end); J. indication of function. Repertory III, 70; Eccles, Weldon suggests manuscript was copied http://www.rism.org.uk/manuscripts/ (reverse end) for a patron. 165114; Taylor, Thematic Catalog, 112; Woolley, ‘English Keyboard Sources’, 244 GB-Lbl Add. Anthems (including Blow, Humfrey, Tucker Before end Partbook Bass partbook surviving from an Blow, Anthems III, ed. Wood, 174; 50860 symphony anthems) Locke, H. Purcell, 1677 otherwise lost set. Belongs with Blow, Anthems IV, ed. Wood, 203; Tudway, Turner J-Tn N–5/10 within a Chapel British Library: Search our Catalogue – Royal set of 15 books, separate Archives and Manuscripts; Cheverton, from GB-Lbl R.M. 27.a.1–8 ‘English Church Music’, 362–4; H. Purcell, Sacred Music, Part I, ed. Dennison, p. xii; http://www.rism.org.uk/manuscripts/ 164437; Shay and Thompson, Purcell Manuscripts, 144, 146–7; Spink, Restoration Cathedral Music, 77 GB-Lbl Add. Keyboard pieces and Barrett, Blow, Elizabeth Batt 1704–7 Score Inscribed ‘Elizabeth Batt 1704’. Blow, Complete Harpsichord Music, ed. 52363 settings Bononcini, Clarke, Many pieces copied from printed Klakowich, 117; British Library: Search R. Courteville, Croft, sources our Catalogue – Archives and Manuscripts; Dieupart, Draghi, J. Draghi, Harpsichord Music, ed. Eccles, Forcer, R. Klakowich, pp. ix–xi; Hodge, ‘English King, François de la Harpsichord Repertoire’, vol. III, 71– Croix, Locke, Lully, 4; Francis Pigott, H. http://www.rism.org.uk/manuscripts/ Purcell 164865; Taylor, Thematic Catalog, 112; Woolley, ‘English Keyboard Sources’, 139–42, 244–5 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Add. The Fairy Queen H. Purcell Unknown scribe Early 18th C Score Mainly derived from printed British Library: Search our Catalogue – 62671, fols. 4–37 material, but overture is Archives and Manuscripts; Price, Henry independent; Shay and Purcell and the London Stage, 331–6; H. Thompson suggest the MS Purcell, The Fairy Queen, ed. Wood and represents an attempt to collect Pinnock, p. xxxvi; material once GB-Lam 3 had http://www.rism.org.uk/manuscripts/ been lost (after 1693) 121859; Shay and Thompson, Purcell Manuscripts, 240 GB-Lbl Add. Verse anthem, O Vaughan Richardson Vaughan After 1692 Score Apparently belonged with GB- British Library: Search our Catalogue – 63490 God, Thou art my God Richardson Lbl Add. 42065, since it contains Archives and Manuscripts; part of same foliation (fols. 124– http://www.rism.org.uk/manuscripts/ 6) 140896; Spink, Restoration Cathedral Music, 366 GB-Lbl Add. Anthems (front Aldrich, Child (front One main c. 1680–1700; Score ‘The Song book’ (then added British Library: Search our Catalogue – 63626 end); devotional and end); Blow, unknown scribe; later below) ‘of Mr Montriot’; pre- Archives and Manuscripts; Cutts, ‘An secular songs Carissimi, R. three later additions bound scorebook, with many Unpublished Purcell Setting’; Fortune, (reverse end) Courteville, J. additions dated 1702–1709 unused leaves. Discovered in the ‘An “Unpublished” Purcell Setting’; H. Eccles, Philip Hart, 1702 and 1709 Chapel Organ Loft of Stoneleigh Purcell, Dramatic Music, Part II, ed. Humfrey, D. and H. Abbey in late 1950s. Songs Spink, p. xxxv; H. Purcell, Duets, Purcell, Reading sr, mostly arranged for bass voice or Dialogues and Trios, ed. Spink, p. xvii; H. Reggio treble and bass Purcell, Sacred Music, Part VI, ed. Lewis and Fortune, p. x (listed as ‘Stoneleigh MS’); http://www.rism.org.uk/manuscripts/ 164456; Zimmerman, Henry Purcell…An Analytical Catalogue, 471 (listed under ‘Stonleigh Abbey Library’) GB-Lbl Add. Sonatas; treble parts Bassani, Child, Unknown scribe c. 1686–1707 Partbook Headed ‘The First Treble Booke British Library: Search our Catalogue – 63627 for anthem (by Corelli, Sampson 1686’, so surviving first violin- Archives and Manuscripts; Restoration Trio Child); ayres (by Estwick, Hilton, H. part of a set. One anonymous Sonatas, ed. Holman and Cunningham, Hilton); songs (by Purcell, Reggio sonata dated 1693 and ‘A resting pp. xxiii–xxiv; Reggio and H. Minuett’ by ‘T.A.’ dated 1707 http://www.rism.org.uk/manuscripts/ Purcell) 164457; Shay and Thompson, Purcell Manuscripts, 113 GB-Lbl Egerton Devotional and Campion, Dering, Two unknown After 1669 Score Shorthand notation of texts and British Library: Search our Catalogue – 2013 secular songs Hilton, Lanier, H. scribes; one later partial transcription of continuo Archives and Manuscripts; Chan, ‘A Mid- and W. Lawes, scribe part suggest some music copied Seventeenth-Century Music Meeting’, Lenton, Wilson from memory 233–8; English Songs, ed. Spink, 190; http://www.rism.org.uk MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Egerton Ode, Of Old, when H. Purcell H. Purcell 1690 Score Loose-leaf score, copied on British Library: Search our Catalogue – 2956 Heroes successive loose bifolia Archives and Manuscripts; Herissone, ‘“Fowle Originalls”’, 605–8; Herissone, ‘The Theory and Practice of Composition’, 193–4; H. Purcell, Three Occasional Odes, ed. Wood, p. xvii; Shay and Thompson, Purcell Manuscripts, 143, 158, 163; Zimmerman, Henry Purcell…An Analytical Catalogue, 454 GB-Lbl Egerton Macbeth; ‘Now I go’ Leveridge Unknown scribe, c. 1702 Score Hand for ‘Now I go’ corresponds British Library: Search our Catalogue – 2957 from Macbeth Leveridge with Leveridge’s signature in Archives and Manuscripts; Fiske, ‘The (recopied, with inscription on fol. 14. Incomplete “Macbeth” Music’, 121–2; Harding, A autograph instrumental parts in sections of Thematic Catalogue, 71, 75, 77–8; Music transmission letter) Macbeth music copied in other for Macbeth, ed. Winkler, 99–100; hand. Music misattributed to Zimmerman, Henry Purcell…An Locke in eighteenth century Analytical Catalogue, 454 GB-Lbl Egerton Harpsichord music Blow, Croft, London F c. 1700 Score Pre-bound folio manuscript, with Bailey, Seventeenth-Century British 2959 and settings; organ Froberger, R. King, many empty leaves. Inscribed Keyboard Sources, 67–8; Blow, Complete voluntaries (by H. Purcell ‘Liber Jo: Gostling Ecclesia Sch Harpsichord Music, ed. Klakowich, 117; Blow) Pauli apud Londonienses Blow, Complete Organ Works, ed. Subdecani. Ex dono famine Cooper, 82; British Library: Search our excellentisimae Dno Townsend Catalogue – Archives and Manuscripts; de Highgate’ Draghi, Harpsichord Music, ed. Klakowich, pp. ix–xi; Ford, ‘Minor Canons at Canterbury Cathedral’, 491– 2; Hodge, ‘English Harpsichord Repertoire’, vol. III, 75; H. Purcell, Royal Welcome Songs, Part II, ed. Wood, p. xxii; Woolley, ‘English Keyboard Sources’, 118–22, 247; Woolley, ‘An Unknown Autograph’, 150–1; Zimmerman, Henry Purcell…An Analytical Catalogue, 454 GB-Lbl Egerton Anthem, Rejoice in the Croft Croft c. 1720 Score Composed for a thanksgiving British Library: Search our Catalogue – 2965 Lord, O ye Righteous celebration on 13 November Archives and Manuscripts; 1720 http://www.rism.org.uk/manuscripts/ 148023 GB-Lbl Harley Italian secular songs Albrici, Carissimi, Reggio 1681 Score Inscription on the final page: British Library: Search our Catalogue – 1501 Cassati, Cavalli, ‘Scritto a richesta di Monsieur Archives and Manuscripts; Herissone, Cesti, Gratiani, Didie In Londra. Anno Domini. ‘The Theory and Practice of Lucio, Reggio, 1681 Pietro Reggio’; thus a Composition’, 194; Rose, ‘Pietro Rossi, Barbara presentation manuscript Reggio: A Wandering Musician’, 212– Strozzi, Ziani 13; Willetts, ‘A Neglected Source’, 329–30 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl Hirsch Keyboard settings H. Purcell Unknown c. 1710 Score 30 oblong quarto leaves bound at British Library: Search our Catalogue – III.472 the end of a copy of Purcell’s A Archives and Manuscripts; Woolley, Choice Collection of Lessons (1696) ‘English Keyboard Sources’, 248 GB-Lbl K.1.c.5 Keyboard music H. Purcell, Thomas Unknown c. 1700 Score 7 oblong quarto leaves bound at Woolley, ‘English Keyboard Sources’, Morgan (?) the end of a copy of Purcell’s A 124 Choice Collection of Lessons (1696). Although all five pieces are attributed to Purcell, Woolley states that one is probably by Morgan GB-Lbl K.9.b.9(5) Anthems, O Lord Blow Blow, unknown Late 1680s Score Bound with printed music by Herissone, ‘The Theory and Practice God of my Salvation, copyist Lassus, but no known of Composition’, 199–200; Wood, My God, my Soul is connection. Mostly calligraphic ‘John Blow’s Anthems with Orchestra’, Vexed, Jesus, Seeing the copying; headings and clefs for vol. V, 417 Multitudes, O God, Service in G and O Lord God of my Wherefore art Thou Salvation (left uncopied) entered Absent; Service in G, by unknown scribe. Dating based Service in A on similarities with GB-Lcm 1097, where the same scribe also set up Blow’s copying GB-Lbl Mus. 1 Keyboard music and Draghi, O. Gibbons, Draghi, H. Purcell 1690s? Score Oblong quarto manuscript; pre- Bailey, Seventeenth-Century British settings H. Purcell and bound book. Some graded pieces Keyboard Sources, 68; Banks, ‘British probably other and elementary material with Library Ms. Mus.1’; British Library: anonymous fingerings at Purcell end; musical Search our Catalogue – Archives and composers ‘address’ copied by Draghi Manuscripts; Hogwood, ‘A New English Keyboard Manuscript’; Holman, Henry Purcell, 94–6; Klakowich, ‘Seventeenth- Century English Keyboard Autographs’; Price, ‘Newly Discovered Autograph Keyboard Music’; H. Purcell, Dramatic Music…Part III, ed. Laurie, pp. xlvi–xlvii; Shay and Thompson, Purcell Manuscripts, 278–82; Thompson, ‘Sources and Transmission’, 47, 49–51; Woolley, ‘English Keyboard Sources’, 53–60, 247 GB-Lbl Mus. Keyboard music Barrett, Blow, Henstridge c. 1705 Score Canterbury provenance. Some British Library: Search our Catalogue – 1625 Clarke, Croft, R. settings apparently copied from Archives and Manuscripts; Johnstone, ‘A Courteville, R. King, A Collection of Lessons and Aires New Source of Late-Seventeenth and D. and H. Purcell, (1702) and The Ladys Banquet Early Eighteenth-Century English Snow (1704) Harpsichord Music’; Woolley, ‘English Keyboard Sources’, 248 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl R.M. Symphony anthems Blow (one piece), H. Purcell, 1680–90 Score Pre-bound scorebook. Purcell’s British Library: Search our Catalogue – 20.h.8 (front end); court Cazzati (one piece), London A, autograph copying ceases c. 1685 Archives and Manuscripts; Herissone, odes and symphony H. Purcell London B, ‘“Fowle Originalls”’, 573, 577–8, 580– songs (reverse end) London C 3, 605, 611–17; Herissone, ‘The Theory and Practice of Composition’, 196–9; Holman, Henry Purcell, 9–10, 45–6, 130, 132–6, 150, 155, 158, 161, 164; H. Purcell, Birthday Odes…Part I, ed. Wood, p. xiv; H. Purcell, Duets, Dialogues and Trios, ed. Spink, p. xvii; H. Purcell, Royal Welcome Songs, Part I, ed. Wood, pp. xviii–xix; H. Purcell, Royal Welcome Songs, Part II, ed. Wood, pp. xxi–xxiii; H. Purcell, Sacred Music, Part II, ed. Pike, pp. xii–xiii; H. Purcell, Sacred Music, Part III, ed. Fortune, p. xv; H. Purcell, Sacred Music, Part VI, ed. Lewis and Fortune, p. xi; H. Purcell, Secular Songs, ed. Laurie, p. xix; H. Purcell, Symphony Songs, ed. Wood, pp. xvi–xx; H. Purcell, Three Occasional Odes, ed. Wood, pp. xvii–xviii; H. Purcell, Three Odes for St Cecilia’s Day, ed. Wood, p. xii; Shay and Thompson, Purcell Manuscripts, 126–39; Thompson, ‘Sources and Transmission’, 38–40; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 GB-Lbl R.M. Sonatas, canons, Blow, H. Purcell, John Reading sr c. 1682–5 Score Bound scorebook Blow, Anthems II, ed. Wood, 174; 20.h.9 court instrumental Roseingrave, Vitali, Blow, Anthems IV, ed. Wood, 204; music, sacred music William Young British Library: Search our Catalogue – Archives and Manuscripts; Holman, ‘Compositional Choices’, 251–3; Holman, Four and Twenty Fiddlers, 300– 2; Holman, Henry Purcell, 65–6; H. Purcell, Fantazias and Miscellaneous Instrumental Music, ed. Tilmouth, p. xi; H. Purcell, Royal Welcome Songs, Part I, ed. Wood, p. xviii; H. Purcell, Twelve Sonatas of Three Parts, ed. Tilmouth, p. xvi; Restoration Trio Sonatas, ed. Holman and Cunningham, p. xxiv; Shay and Thompson, Purcell Manuscripts, 125, 295–8; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl R.M. Organ voluntary Benjamin Rogers Benjamin Rogers 1664 Score Copied on two loose leaves Bailey, Seventeenth-Century British 21.d.8, fols. 65–6 (originally a bifolio?) bound Keyboard Sources, 69; British Library: amongst a series of instrumental Search our Catalogue – Archives and parts to 18th-C opera overtures. Manuscripts; Rogers, Complete Keyboard The sheets were originally folded Works, ed. Rastall; Woolley, ‘English in half twice horizontally, and the Keyboard Sources’, 109, 249; Woolley, words ‘For Mr Dugdales Lady ‘An Unknown Autograph’, 156–7 these’ written at one end of the resulting parcel (now visible on the verso of fol. 66) GB-Lbl R.M. Ode, Prepare ye Sons Croft Unknown ?1713 Score Birthday ode for Queen Anne British Library: Search our Catalogue – 24.d.5 of Art Archives and Manuscripts GB-Lbl R.M. Ode, O Harmony, to J. Eccles Eccles? 1701 Score Ode for St Cecilia’s Day, 1701; British Library: Search our Catalogue – 24.d.6 thee we Sing loose-leaf score Archives and Manuscripts; RISM Series A/II, 800.250.414 GB-Lbl R.M. Ode, Celebrate this H. Purcell William Isaack c. 1699 Score Loose-leaf score. Performers’ British Library: Search our Catalogue – 24.e.4 Festival names included. Related to GB- Archives and Manuscripts; H. Purcell, Ob Mus.c.28 Birthday Odes…Part II, ed. Wood, p. xv; Shay and Thompson, Purcell Manuscripts, 172; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 GB-Lbl R.M. Ode, Raise, raise the H. Purcell London D Late 17th C Score Loose-leaf score. Performer’s British Library: Search our Catalogue – 24.e.5, fols. 1–9 Voice name (‘Bowen’) included, but not Archives and Manuscripts; H. Purcell, in the hand of London D Three Odes for St Cecilia’s Day, ed. Wood, p. xii; Shay and Thompson, Purcell Manuscripts, 168, 317; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 GB-Lbl R.M. Ode, Who can from H. Purcell Unknown Late 17th C Score Loose-leaf score British Library: Search our Catalogue – 24.e.5, fols. 10– Joy Refrain? Archives and Manuscripts; H. Purcell, A 21 Song for the Duke of Gloucester’s Birthday, ed. Spink, p. ix; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 GB-Lbl R.M. Songs and duets, H. Purcell Unknown Early 18th C Score Has an engraved frontispiece British Library: Search our Catalogue – 24.e.6 mainly extracted taken from a printed volume, Archives and Manuscripts; H. Purcell, from odes and with the title cut out and Dramatic Music, Part II, ed. Spink, p. theatre works ‘Purcell’s songs’ inserted. Some xxxv; H. Purcell, Duets, Dialogues and pieces are transcribed including Trios, ed. Spink, p. xvii; Zimmerman, their attached instrumental Henry Purcell…An Analytical Catalogue, sections and choruses 462 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lbl R.M. Masque in Timon of H. Purcell London A Late 17th or Score, one Bound amongst, but not British Library: Search our Catalogue – 24.e.13, pp. 62– Athens early 18th C performing connected to, 18th-C incomplete Archives and Manuscripts; Shay and 110 part copies of extracts from Purcell’s Thompson, Purcell Manuscripts, 254; theatre music. Internal pagination Zimmerman, Henry Purcell…An given as pp. 1–49. London A Analytical Catalogue, 462 copies bass part to ‘Come let us agree’ on fol. 101 with heading ‘Lev:’ (i.e. Richard Leveridge) GB-Lbl R.M. Service settings, Various Restoration Tucker (to From early Eight Chapel Royal partbooks, British Library: Search our Catalogue – 27.a.1–8 symphony, verse and earlier 1677), Braddock Restoration partbooks containing remnants of earlier Archives and Manuscripts; Cheverton, and full anthems composers (c. 1681–2 and to early 18th sets together with make-good ‘English Church Music’, 370–4; 1690s), Church C and other copying by Church. Herissone, ‘To Fill, Forbear or Adorne’, (from c. 1697), Copied on vellum; bound c. 1705. 14; Laurie, ‘The Chapel Royal some assistant Books a.1–3 and 5–6 belong Partbooks’, 28–37; H. Purcell, Sacred copyists together and are men’s books; a.4 Music, Part II, ed. Pike, p. xvi; H. is a treble book containing Purcell, Sacred Music, Part V, ed. Braddock’s copying, but not Thompson, p. xiii; Shaw, ‘A within same set; a.7 is entirely in Contemporary Source of English Tucker’s hand, has bass chorus Music’; Shay and Thompson, Purcell parts only, and is a fragment. Manuscripts, 177–90; Spink, Restoration GB-Lbl Add. 50860 and J-Tn N– Cathedral Music, 77, 78–9; Zimmerman, 5/10 form part of a separate set Henry Purcell…An Analytical Catalogue, of Chapel Royal books 460–1 GB-Lcm 183 Semele J. Eccles J. Eccles c. 1707 Score Oblong format. Neatly copied, J. Eccles, Semele, ed. Platt; but with notational alterations; http://www.libcat.rcm.ac.uk/uhtbin/c apparently copied for a gisirsi.exe/?ps=4qefwYdIPh/0/16292 production, but none occurred. 0005/9 Copy is incomplete GB-Lcm 776 Ode, Appear in all thy Blow Blow c. 1700 Score Loose-leaf manuscript. New Year Herissone, ‘The Theory and Practice Pomp ode of Composition’, 201; Shaw, ‘The Autographs of John Blow’, 92 GB-Lcm 839 Anthems Croft Croft, James 1720s Score Copied by Kent, but checked and Kent annotated by Croft GB-Lcm 862 The Virgin Prophetess Finger London A c. 1701 Score Score includes both text and http://www.rism.org.uk/manuscripts/ (music); music, copied by separate scribes 161487; Shay and Thompson, Purcell unknown scribe Manuscripts, 253 (text) GB-Lcm 870 Fantazia suites C. Gibbons Anon C 1680s? Three Three surviving books: organ Ashbee, Thompson and Wainwright, partbooks part missing. Anon C also copied Viola da Gamba Society Index, vol. II, music in GB-Lbl Add. 31423, 31–3 31424, 31430, 31435 and 31436 GB-Lcm 871 Four fantazia suites C. Gibbons John Playford 1662 Three Treble title page dated 1662. http://www.rism.org.uk/manuscripts/ partbooks Hand identified by Rebecca 164222 Herissone MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lcm 910 Anthem, Behold, O James Hawkins James Hawkins Early 18th C Score Dedicated to ‘The Very Rev. Mr. Herissone, ‘The Theory and Practice God, our Defender Tomlinson and the rest of the of Composition’, 210; Great, Good and Just Nonjurors http://www.rism.org.uk/manuscripts/ of St. John’s College in 114513 Cambridge’ GB-Lcm 920 Latin and English George Jeffreys George Jeffreys Late 1650s or Four Dated on the basis of alterations http://www.rism.org.uk/manuscripts/ motets early 1660s partbooks made to GB-Lbl Add. 10338 164232; Wainwright, Musical Patronage, after this set was copied 286–8 GB-Lcm 920a Anthems, motets George Jeffreys George Jeffries Late 1660s– Four Autograph inscriptions ‘Finis / Cheverton, ‘English Church Music’, and service settings 1675 partbooks 75’ on fol. 63 and ‘Finis / Dec: 497–9; 75’ on fol. 77v http://www.rism.org.uk/manuscripts/ 164231; Wainwright, Musical Patronage, 288–90 GB-Lcm 939 Instrumental Locke Locke Before 1677 Score Loose-leaf score copied Harding, A Thematic Catalogue, 166, consort music stratigraphically Table V, Plate IV; Herissone, ‘The (Consort of Four Parts) Theory and Practice of Composition’, 201–2; http://www.rism.org.uk/manuscripts/ 164228; Tilmouth, ‘Revisions in the Chamber Music’, 96–7 GB-Lcm 989 Ode, Welcome D. Purcell D. Purcell 1698 Score Manuscript publication dedicated Herissone, ‘The Theory and Practice Glorious Day to Princess Anne. Hand of Composition’, 202; Shay and misidentified as that of London Thompson, Purcell Manuscripts, 245 E by Shay and Thompson GB-Lcm 1089, Anthem, O Sing unto Blow Unknown Late 17th C Score Bound with a printed copy of Herissone, ‘The Theory and Practice fols. 8391 God Melopeia Sacra (1721). Once of Composition’, 228–9; Shaw, ‘The thought to be in Blow’s hand Autographs of John Blow’, 94 GB-Lcm 1097, Ode, From Harmony, Draghi Blow After 1687 Score Loose-leaf score. Hand identified Draghi, Ode for St Cecilia’s Day, ed. fols. 85a–112a from Heavenly by Bruce Wood White, p. xix; Wood, ‘“Only Purcell Harmony e’re shall Equal Blow”’ 134 n. 49 GB-Lcm 1097, Ode, Triumphant Blow FQ4 c. 1700 Score Loose-leaf score with Shay and Thompson, Purcell fols. 125–34 Fame compressed notation, as in GB- Manuscripts, 316; Wood, ‘John Blow’s Lbl Add. 31447 Anthems with Orchestra’, vol. V, 419– 21 GB-Lcm 1097, Ode, Hail Monarch, Blow Blow, unknown 1685 Score Loose-leaf score possibly Blow, Jesus, Seeing the Multitudes, ed. fols. 135–50 Sprung of Race Divine scribe intended for single-composer file Howard, Introduction, p. vi; Wood, manuscript. Dated 21 Dec. 1685 ‘John Blow’s Anthems with Orchestra’, vol. V, 419–21 GB-Lcm 1097, Ode, Is it a Dream? Blow Blow, unknown c. 1687 Score Loose-leaf score possibly Blow, Jesus, Seeing the Multitudes, ed. fols. 151–68 scribe intended for single-composer file Howard, Introduction, p. vi; Wood, manuscript ‘John Blow’s Anthems with Orchestra’, vol. V, 419–21 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lcm 1097, Ode, Ye Sons of Blow Blow, unknown c. 1688 Score Loose-leaf score possibly Blow, Jesus, Seeing the Multitudes, ed. fols. 169–88 Phoebus scribe intended for single-composer file Howard, Introduction, p. vi; Wood, manuscript ‘John Blow’s Anthems with Orchestra’, vol. V, 419–21 GB-Lcm 1097, Ode, With Cheerful Blow Blow, unknown c. 1690 Score Loose-leaf score possibly Blow, Jesus, Seeing the Multitudes, ed. fols. 189–204 Hearts scribe intended for single-composer file Howard, Introduction, p. vi; Wood, manuscript ‘John Blow’s Anthems with Orchestra’, vol. V, 419–21 GB-Lcm 1097, Symphony anthem Blow Blow Late 1680s Score Anthems copied continuously. Blow, Anthems IV, ed. Wood, 204; fols. 205–14 The Lord God is a Sun All written for coronation of Blow, Coronation Anthems, ed. Lewis and Shield; anthems William and Mary in 1689. and Shaw, p. xvi; Wood, ‘John Blow’s Behold, O God, our Possibly intended for single- Anthems with Orchestra’, vol. V, 419– Defender and Let my composer file manuscript 21 Prayer come up GB-Lcm 1097a, Ode, Smile, Smile Humfrey Anon E, Chapel Early 1670s Score Loose-leaf score. Originally Holman, Henry Purcell, 145; Wood, fols. 116–19r Again Royal style paginated 254–9 and probably ‘Humfrey, Pelham’; Wood, ‘John from institutional file copy Blow’s Anthems with Orchestra’, vol. therefore. Dating of ode unclear V, 419–21 (Wood states it was written as the birthday ode for Charles II in 1671, but gives no details to support this assertion; Holman suggests 29 May 1673, but again without further explanation) GB-Lcm 1097a, Ode, Arise, great Blow Anon E, Chapel c. 1682 Score Loose-leaf score. Originally Wood, ‘John Blow’s Anthems with fols. 119v–49 Monarch Royal style paginated 240–8 and probably Orchestra’, vol. V, 419–21 from institutional file copy therefore GB-Lcm 1106, Barbadoes Song Clarke London A Early 18th C Score Loose-leaf score. Identified as Shay and Thompson, Purcell fols. 1–28 Clarke autograph in Taylor’s Manuscripts, 249 n. 38, 279; catalogue Taylor, Thematic Catalog, 112

GB-Lcm 1106, From Harmony, from Draghi Renatus Harris, 1690s Score Loose-leaf score. Includes Draghi, Ode for St Cecilia’s Day, ed. fols. 29–74 Heavenly Harmony jr? singers’ names, connected with White, pp. xviii–xix second performance MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lcm 1119 Songs and catches; Aldrich, Blow, Unknown scribe c. 1683–92 Score Dance descriptions precede the H. Purcell, Secular Songs, ed. Laurie, p. dance tunes. Damascene, Draghi, music at the beginning of the xx; Shay and Thompson, Purcell Farmer, P. or J. manuscript, and are described in Manuscripts, 272–5; Zimmerman, Henry Hart, R. King, an inscription in the hand of Purcell…An Analytical Catalogue, 460 Thomas Pack, H. Butler Buggins as ‘The old Purcell and others Measures of the Inner Temple London’; Buggins was Master of the Revels there from 1672–5. Most of the songs are copied as single-line melodies only, with several copied in as text above which no music was ever added GB-Lcm 1144 Theatre suites Barrett, S. Eccles, Several unknown c. 1695–1700 Two partbooks Two surviving parts of a set of H. Purcell, Dramatic Music…Part I, ed. Finger, Grabu, scribes four (first treble and bass). Music Laurie, p. xlii; H. Purcell, Dramatic Lenton, D. and H. arranged by key; originally copied Music…Part III, ed. Laurie, p. xlvii; H. Purcell, Tollett, on loose sheets. Dated on the Purcell, The Fairy Queen, ed. Wood and basis of repertory. ‘Elizabeth Pinnock, p. xxxvi; Purcell, The Indian Sharp’ annotated on fol. 22v of Queen, ed. Laurie, p. xxv; Shay and bass part Thompson, Purcell Manuscripts, 298–9; Zimmerman, Henry Purcell…An Analytical Catalogue, 460 GB-Lcm 1172 Theatre suites Lord Byron, Clarke, London A, c. 1700 Score Plays often identified in titles; Instrumental Music for London Theatres, ed. J. and S. Eccles, unknown scribe productions date from 1690–9. Price, pp. vii–viii; H. Purcell, Dramatic Farmer, Finger, (last folio only) Apparently just the G minor Music…Part I, ed. Laurie, p. xlii; H. Lenton, Lully, section of a larger collection Purcell, Dramatic Music, Part II, ed. Morgan, Orme, Spink, p. xxxvi; H. Purcell, Dramatic Paisible, D. and H. Music…Part III, ed. Laurie, p. xlvii; H. Purcell Purcell, The Fairy Queen, ed. Wood and Pinnock, p. xxxvii; H. Purcell, King Arthur, ed. Laurie, p. xii; Shay and Thompson, Purcell Manuscripts, 298– 302; Taylor, Thematic Catalog, 112; Zimmerman, Henry Purcell…An Analytical Catalogue, 460 GB-Lcm 2011 Symphony anthems H. Purcell London D and c. 1679– 85 Score Associated with Chapel Royal. H. Purcell, Sacred Music, Part I, ed. two other (first vol.); c. Originally in two volumes. Behold Dennison, p. xii; H. Purcell, Sacred scribes, FQ4 1685–7 now praise the Lord copied c. 1685 Music, Part II, ed. Pike, pp. xiv–xv; H. (second vol.) from GB-Lbl Add. 30932; some Purcell, Sacred Music, Part III, ed. others copied from GB-Lbl R.M. Fortune, p. xv; Shay and Thompson, 20.h.8, but not all common Purcell Manuscripts, 151–3; Zimmerman, works taken from that Henry Purcell…An Analytical Catalogue, manuscript. Linked by scribes to 460 GB-Lbl Add. 33287 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lcm 2090 Instrumental Locke Unknown main Early 18th C Three The Little Consort was copied from Harding, A Thematic Catalogue, Table II; consort music (The scribe and partbooks the Playford print of 1656. Howard, ‘Manuscript Publishing in the Little Consort; The unknown Alterations in parts indicate that Commonwealth’, 58 n. 84; Tilmouth, Second Part of the annotator the music was checked against ‘Revisions in the Chamber Music’, 93 Broken Consort) GB-Lbl Add. 17801. Same hand also annotated GB-Lbl Add. 31435 GB-Lcm 2093 Keyboard pieces, Blow, Bull, Byrd, O. Unknown scribe 1660s–70s Score Includes fingerings and figured Bailey, Seventeenth-Century British mainly preludes Gibbons, Locke, bass exercises, suggesting Keyboard Sources, 70–1; Blow, Complete (front end) and John Maynard, pedagogical function Harpsichord Music, ed. Klakowich, 117; voluntaries (reverse Rogers, Weelkes, Brookes, British Keyboard Music, 53–4; end) Abiell Wichello Woolley, ‘English Keyboard Sources’, 255–6 GB-Lcm 2230 Te Deum and Blow, H. Purcell London F, Croft By end 1700 Score Inscribed ‘Wm Croft’s Booke H. Purcell, The Indian Queen, ed. Laurie, Jubilate and Great 1700’. In five sections, with pp. xxiv–xxv; Shay and Thompson, Quire of Heaven different paper, bound together, Purcell Manuscripts, 251–2; Zimmerman, (Blow); The Indian but with one section left blank Henry Purcell…An Analytical Catalogue, Queen, Acts II and V 460 (H. Purcell) GB-Lg GMus 452 Odes Great Quire of Blow London F Late 1690s Score Bound scorebook; may originally Blow, Anthems II, ed. Wood, 175; Heaven, The Glorious have comprised two separate Herissone, ‘The Theory and Practice Day is Come, Bring books. The scribe was named as of Composition’, 229 Shepherds, Hail thou William Isaack by Wood; Infant Year, Welcome identification of London F by Every Guest, The Howard. Sacred items associated Nymphs of the Wells; with St Paul’s Cathedral. A Te Deum and further Blow ode (Appear in all thy Jubilate in D; Pomp) was added in a much later anthems I was Glad, I hand at the end of the Waited Patiently, Bring manuscript unto the Lord GB-Lg GMus 458 Begin the Noble Song D. Purcell? London E c. 1698 Score Loose-leaf score. Entitled ‘St http://prism.talis.com/cityoflondon/it Caecilia’s Song For the Yeare ems/1206256; D. Purcell, Ode for St 1698 By Mr Dan: Purcell’, but Cecilia’s Day, ed. Charteris not a work otherwise attributed to Daniel Purcell. (cf. ode of the same title attributed to William Norris’s ode in GB-Ob Mus.c.28, fols. 48–63) MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lg GMus Instrumental Dietrich Becker, Stephen Bing Late Three Upright octavo format. Ashbee, Thompson and Wainwright, 469–71 consort music: Jenkins, Locke, Common- partbooks Contemporary binding survives. Viola da Gamba Society Index, vol. I, 97– fantazias; ‘sonatas’ William Young wealth Becker pieces were a later 9; Harding, A Thematic Catalogue, Table and dances (by addition III; Dietrich Becker) http://prism.talis.com/cityoflondon/it ems/1071028; http://prism.talis.com/cityoflondon/it ems/1071036; http://prism.talis.com/cityoflondon/it ems/1068497; Wainwright, Musical Patronage, 102 GB-Lg Safe 3 Songs arranged from H. Purcell H. Purcell, D. c. 1692–5 Score Pre-bound book. Possibly Herissone, ‘The Theory and Practice odes and theatre Purcell connected to informal of Composition’, 202–4; Holman, music performances at court Henry Purcell, 58; H. Purcell, Birthday Odes…Part II, ed. Wood, pp. xv–xvi; H. Purcell, Dramatic Music…Part I, ed. Laurie, p. xlii; H. Purcell, Dramatic Music, Part II, ed. Spink, p. xxxvi; H. Purcell, Dramatic Music…Part III, ed. Laurie, p. xlvii; H. Purcell, Duets, Dialogues and Trios, ed. Spink, p. xvii; H. Purcell, The Fairy Queen, ed. Wood and Pinnock, p. xxxv; H. Purcell, The Gresham Autograph, ed. Laurie and Thompson; H. Purcell, Secular Songs, ed. Laurie, pp. xix–xx; http://www.rism.org.uk/manuscripts/ 165168; Shay and Thompson, Purcell Manuscripts, 263–6; Squire, ‘An Unknown Autograph’; Thompson, ‘Sources and Transmission’, 47–9; Zimmerman, Henry Purcell…An Analytical Catalogue, 461 GB-Ll 1040 Keyboard pieces and Ayleward, Bryne, W. Bryne, two 1660s Score Upright quarto. Initials ‘AL’ on Bailey, Seventeenth-Century British settings Lawes, John unknown scribes cover. Hand identified by Keyboard Sources, 71–2; Brookes, British Mercure, Etienne(?) Woolley. Evidence of teaching Keyboard Music, 55; Harley, ‘An Early Moulinié, Jonas use, including much fingering; Source’; Tresure Woolley suggests one http://www.rism.org.uk/manuscripts/ unidentified hand is probably that 164238; Woolley, ‘English Keyboard of the student Sources’, 164–9, 253–4 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lsp 43.D Psalm chants and Batten, Blow, Bryne, Bing? Several c. 1677–81 Partbook Associated with St Paul’s Boyer and Wainwright, ‘From Barnard service settings Child, O. Gibbons, unknown scribes Cathedral. Inscribed ‘For Mr to Purcell’, 635–8; Shay and Humfrey, H. and T. Short Twenty Morning & Thompson, Purcell Manuscripts, 211 n. Purcell, Rogers, Evening Services now performd 51 Tallis, Tucker, in ye Cathedral. church of Pauls Turner London’. Boyer and Wainwright suggest the book was compiled for Short as a congregation member to follow services. Begins with printed psalter GB-Lsp A1 Service settings Restoration and Bing, Gostling Before 1677 Two partbooks Surviving countertenor and tenor Boyer and Wainwright, ‘From Barnard earlier composers to late 1690s decani partbooks from St Paul’s to Purcell’, 638; H. Purcell, Sacred Cathedral. Completed by Music, Part V, ed. Thompson, p. xviii; Gostling around the time of the Shay and Thompson, Purcell re-opening of the Cathedral Manuscripts, 207; Wainwright, Musical Patronage, 108 GB-Lsp A2 Anthems and service Restoration and Gostling By 1699 Four Surviving countertenor, tenor Harding, A Thematic Catalogue, 11, 15; settings earlier composers partbooks and bass decani and bass cantoris Herissone, ‘To Fill, Forbear or Adorne’, books from St Paul’s Cathedral. 13; Shay and Thompson, Purcell Fragments of related organbook Manuscripts, 206–7; Spink, Restoration survive in GB-Cfm 669. Gostling Cathedral Music, 298, 301 received payment for copying the set in 1699 GB-Lsp Case B.13 Symphony anthem, Blow Blow 1698 Score For Festival of the Sons of the Blow, Anthems IV, ed. Wood, 204; Blessed is the Man that Clergy, 1698. Contains singers’ Herissone, ‘The Theory and Practice Feareth the Lord names of Composition’, 204; Shaw, ‘The Autographs of John Blow’, 92 GB-Lwa C.J.3 (1) Venus and Adonis Blow William Isaack 1680s? Score Copied after corrections were Blow, Venus and Adonis, ed. Wood, pp. made in GB-Lbl Add. 31453, but xiii–xxiv from different source. Possibly a ‘twin’ file copy connected with second performance GB-Lwa C.J.3 (2) Dioclesian H. Purcell William Isaack 1701 Score Dated 1701 in copy. Appears to http://www.rism.org.uk/manuscripts/ be copied from an uncorrected 120288; Zimmerman, Henry printed score. Some compressed Purcell…An Analytical Catalogue, 463 scoring suggests it was made for personal study GB-Lwa Service settings and Aldrich, Batten, Tucker (and two Mainly Two partbooks Surviving alto and tenor cantoris Blow, Anthems IV, ed. Wood, 204; Triforium Set I anthems Blow, Child, Farrant, assistants for before 1677; books from Westminster Abbey. Boyer and Wainwright, ‘From Barnard A. Ferrabosco II, C. texts), Bing, later copying Purcell corrected Tucker’s copy to Purcell’, 635; Cheverton, ‘English Gibbons, Humfrey, Braddock and into 19th C of Let God Arise in alto partbook, Church Music’, 386–90; H. Purcell, H. Purcell, Rogers, assistants; later on added fol. 58v Sacred Music, Part II, ed. Pike, pp. xv– Tomkins, Tucker, scribes inc. paper xvi; Shay and Thompson, Purcell Tudway, Turner, Chelsum and Manuscripts, 193–201; Spink, Restoration Wise; later additions Church Cathedral Music, 77, 147, 292 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Lwa Service settings and Aldrich, Batten, Bing, scribe Early 1670s– Partbook Surviving tenor decani book Boyer and Wainwright, ‘From Barnard Triforium Set II anthems Blow, Bryne, Byrd, from Braddock’s 80s, later from Westminster Abbey. to Purcell’, 635; Cheverton, ‘English Child, Farrant, O. circle; later copying Cannibalized by Church in 18th Church Music’, 386, 391–3; Shay and Gibbons, Hooper, additions by C from earlier set Thompson, Purcell Manuscripts, 200–1 Humfrey, Locke, Church Mundy, Portman, H. Purcell, Rogers, Tallis, Turner, Tye, Wise GB-Mch Mun. Instrumental Coperario, Jenkins, Unknown scribe Late 1650s or Partbook Single surviving bass partbook Charteris, ‘Chetham’s Library, A.2.6 consort music W. Lawes, Locke, early 1660s from a two-part set. Not ruled Manchester’; Thompson, ‘The Sources (including part of Mell, Singleton professionally, and bound with of Locke’s Consort’, 20 Locke’s For Several manuscript text of proverbs in Friends) English, French and Latin, suggesting private source GB-Mp 130 HD4 Te Deum and Turner Unknown scribe 1696 Score Precise dates attached to all three http://www.rism.org.uk/manuscripts/ v.235 Jubilate; O Give pieces, and Jubilate includes 164293; Spink, Restoration Cathedral Thanks unto the Lord soloist names. Poor-quality Music, 138 and O Lord the Very paper, but generous usage and Heavens (symphony neat copying. No evidence of anthems) usage GB-Mp BRm Anthems and Blow, H. Purcell Blow Late 1690s Keyboard Copied stratigraphically on large Blow, Anthems II, ed. Wood, 175; 370.Bp.35 arrangements of score sheets that were once folded Blow, Anthems III, ed. Wood, 174; symphony anthems together. Several pieces dated in Herissone, ‘The Theory and Practice late 1690s in US-AUS HRC 85; of Composition’, 204; Herissone, ‘To Shay and Thompson suggest it Fill, Forbear or Adorne’, 14–15; Pike, was possibly copied for the re- ‘Alternative Versions’, 273–5; H. opening of St Paul’s in 1697, and Purcell, Sacred Music, Part I, ed. Thompson indicates a likely file Dennison, p. xiii; H. Purcell, Sacred purpose due to the format. Used Music, Part III, ed. Fortune, p. xvi; H. as an exemplar by Gostling in Purcell, Sacred Music, Part V, ed. GB-Ob T 1176–82 Thompson, p. xiv; http://www.rism.org.uk/manuscripts/ 164299; Shaw, ‘The Autographs of John Blow’, 87; Shay and Thompson, Purcell Manuscripts, 209–11; Thompson, ‘Sources and Transmission’, 29, 41; Zimmerman, Henry Purcell…An Analytical Catalogue, 465 GB-Mp BRm Anthem, Bring unto Blow Unknown scribe, Late 17th C Score Despite Shaw’s comments to the http://www.rism.org.uk/manuscripts/ 370.Bp.36 the Lord Chapel Royal contrary, Wood lists this score as 115914; Shaw, ‘The Autographs of style in Blow’s autograph. Details of John Blow’, 94; Wood, ‘Blow, John’, the textual hand and C clef works list suggest a different copyist with Chapel Royal training. MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Mp BRm Union anthem Blow, Clarke and Unknown scribe c. 1707 Keyboard Copied stratigraphically; score http://www.rism.org.uk/manuscripts/ 370.Cp.21 (Behold how Good and Croft score has been folded horizontally and 135014; Taylor, Thematic Catalog, 114 Joyful) vertically. Hand resembles that of Clarke, but has secretary e so is more likely to be a Chapel Royal trained scribe; also inscribed ‘The Union Anthem May 1st 1707 Mr Clark’ GB-Mp BRm Anthem, Thy way, O Goldwin Goldwin After 1685 Score Presumably Windsor provenance http://www.rism.org.uk/manuscripts/ 370.Gp.21 God, is Holy 159552; Spink, ‘Goldwin [Golding], John’, works list GB-Mp BRm Anthem, O Lord, Hall Unknown Late 17th C Score http://www.rism.org.uk/manuscripts/ 370.Hc.31 Rebuke me not 142693 GB-Mp BRm Devotional songs Locke Unknown Early 18th C Score Inexpert scribe apparently Harding, A Thematic Catalogue, 4; 370.Lu.31 for men’s voices: copying from parts; errors due to http://www.rism.org.uk/manuscripts/ When I was in inaccurate synchronization of 142107 Tribulation and O parts Lord, our Lord GB-Mp BRm Instrumental Edward Golding, J. Playford? c. 1651–60 Three Hand identification suggested by Howard, ‘Manuscript Publishing in the 630.85.Go.42 consort music, Locke partbooks Alan Howard. Price on first page Commonwealth’ including part of of each part Locke’s Little Consort GB-NO PwV23, Theatre songs: two Locke Locke 1670s? Score From 1668 production of Herissone, ‘The Theory and Practice fols. 2–3 from The Triumphant Albumazar and 1674 production of Composition’, 205; Hulse, ‘Matthew Widow and one from of The Triumphant Widow. Both Locke’ Albumazar sheets have been folded (separately) GB-Ob Don.c.19 Anthems Croft Unknown Early 18th C Score Guardbook; taken from a two- Griffin, An Account of Two Volumes volume set connected with Cathedral Music; connected to GB- Cfm 240 GB-Ob Mus.a.1 Benedicite from H. Purcell H. Purcell c. 1682 Score Single bifolio copied Herissone, ‘“Fowle Originalls”’, 590–2; Service in B flat stratigraphically; paper revision Herissone, ‘Purcell’s Revisions’, 62–3, slip includes extract from Cruda 80–1; Herissone, ‘The Theory and Amarilli on reverse Practice of Composition’, 205; Shay and Thompson, Purcell Manuscripts, 211; Zimmerman, ‘Purcell and Monteverdi’, 466 GB-Ob Mus.b.15, Anthem, The Lord Croft Croft c. 1706 Score Written for a thanksgiving on Shaw and Beeks, ‘Croft [Crofts], fols. 30–31 hath Appeared for us battle of Ramillies, 12 May 1706. William’ Copied stratigraphically on a single bifolium with signs of horizontal and vertical folding so could be for transmission MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Mus.b.15, Anthem, Praise God Croft Croft, James c. 1717 Score Composed for the opening of the Shaw and Beeks, ‘Croft [Crofts], fols. 32–41 in his Sanctuary Kent organ at Finedon, William’ Northamptonshire, in 1717. Mainly copied by Croft, with final section in hand of Kent with autograph corrections and text. Performers’ names and organ registrations given. Apparently incomplete, with two sections of the psalm not connected GB-Ob Mus.c.1, Anthems, Teach me, Croft Barker, Croft 1723 Score Holograph final chorus of Teach Shaw and Beeks, ‘Croft [Crofts], fols. 1–15 O Lord and Thou, O me, O Lord signed ‘Wm Croft | William’ God, art Praised in Winton, septr ye 11th 1723’; Sion copied by Barker, but checked and annotated by Croft; final chorus also copied by Croft. There is an earlier incomplete version of Teach me, O Lord in GB-Lbl Add. 17847, from which this version takes sections GB-Ob Mus.c.1, Anthem, O give [Vaughan Vaughan After 1688 Score Winchester provenance. No fols. 92–101 Thanks Richardson] Richardson attribution, but the hand is the same as that in GB-Ob Mus.c.6, from fol. 53 to end, and GB-Lbl Add. 42065, a known Richardson autograph. Separate slips are used for instrumental passages GB-Ob Mus.c.6, Ode, O Harmony, Clarke Unknown scribe, Early 18th C Score New Year ode for 1706. Loose- McGuinness, English Court Odes, 23, fols. 2–22 where’s now thy Power? Chapel Royal leaf score 232; Taylor, Thematic Catalog, 115 style GB-Ob Mus.c.6, Ode, Let the shrill William Morley William Morley 1713? Score Holman indicates that this ode is Holman, ‘Original Sets of Parts’, 10; fols. 23–40 Trumpet’s Loud likely to have been written for McGuinness, English Court Odes, 23, Alarms Morley’s BMus degree ceremony 232 on 17 July 1713 GB-Ob Mus.c.6, Ode, Come, bring the Blow Unknown scribe, c. 1700 Score Birthday ode for 1700. Loose-leaf McGuinness, English Court Odes, 23, fols. 41–51 Song Chapel Royal score 232 style GB-Ob Mus.c.6, Ode, From Sounds [Vaughan Vaughan Early 18th C Score Loose-leaf score. Winchester McGuinness, English Court Odes, 23, fols. 53–69 Celestial Richardson] Richardson provenance. Cecilian ode. The 232; Wanless, ‘The Odes of John hand of Richardson was Eccles’, 69–83 identified by Wanless GB-Ob Mus.c.6, Ode, O Welcome to the [Vaughan Vaughan Early 18th C Score Loose-leaf score. Winchester McGuinness, English Court Odes, 23, fols. 70–80 Choir Richardson] Richardson provenance. Cecilian ode. The 232; Wanless, ‘The Odes of John hand of Richardson was Eccles’, 69–83 identified by Wanless MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Mus.c.6, Ode, This is that [Vaughan Vaughan c. 1700 Score Loose-leaf score. Winchester McGuinness, English Court Odes, 23, fols. 81–end Glorious Day Richardson] Richardson provenance. Cecilian ode. The 232; Wanless, ‘The Odes of John hand of Richardson was Eccles’, 69–83 identified by Wanless GB-Ob Mus.c.23, Anthem, O Clap your Locke? Unknown scribe, Late 17th C Score Late 18th-C attribution; Harding, A Thematic Catalogue, 27 fols. 1–9 Hands together Oxford style associated with Maurice Greene GB-Ob Mus.c.23, Latin motets, Audi Locke Locke Late 1660s? Score Both anthems copied Harding, A Thematic Catalogue, 23, 25, fols. 11–24 Domine and Super stratigraphically, with an outer 27, Table IV, Plate VII; Herissone, flumina Babylonis sheet (fol. 10) that originally ‘The Theory and Practice of contained the titles in Locke’s Composition’, 205–6 hand. Probably written for Oxford Music School GB-Ob Mus.c.23, Symphony anthem, Locke Locke 1666 Score Entitled ‘A song of Harding, A Thematic Catalogue, 15–16; fols. 25–33 Be Thou Exalted Thanksgiveing for his Majestys Herissone, ‘The Theory and Practice Victory over the Dutch on St of Composition’, 205–6; Holman, Four James his Day 1666. And and Twenty Fiddlers, 403–4 Perform’d before his Majesty on the 14th of August following’ GB-Ob Mus.c.23, Responses to Locke Locke c. 1666 Score Copied on one leaf, with free- Harding, A Thematic Catalogue, 19; fol. 34 Commandments and hand staves. End of Creed Herissone, ‘The Theory and Practice part of Nicene missing, so presumably one page of Composition’, 205–6 Creed has been lost GB-Ob Mus.c.26, End of unknown H. Purcell Unknown scribe Late 17th-C Score Unidentified ‘Hallelujah’ on fols. fols. 2–3 anthem; anthem, 2r, with Lord, what is Man? on fol. Lord, what is Man? 2v. GB-Ob Mus.c.26, Anthem, Let mine H. Purcell H. Purcell c. 1682 Score Loose-leaf score, copied Herissone, ‘“Fowle Originalls”’, 585, fols. 4–9 Eyes Run Down with stratigraphically. Extensively 590–2; Herissone, ‘Purcell’s Revisions’, Tears revised using paper slips. 63–5, 70–80; Herissone, ‘The Theory Sketches for part of the anthem and Practice of Composition’, 206; included on reverse of revision Shay and Thompson, Purcell slips Manuscripts, 143, 216–17; Thompson, ‘Sources and Transmission’, 33–5; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 GB-Ob Mus.c.26, Symphony anthem, H. Purcell H. Purcell c. 1682–3 Score Loose-leaf score Herissone, ‘“Fowle Originalls”’, 580–1; fols. 10–17 In Thee, O Lord Herissone, ‘The Theory and Practice of Composition’, 206; H. Purcell, Sacred Music, Part II, ed. Pike, p. xiii; Shay and Thompson, Purcell Manuscripts, 142–3; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Mus.c.26, Ode, Hail! Bright H. Purcell H. Purcell, FQ4, 1692 Score Loose-leaf score in which outer Herissone, ‘“Fowle Originalls”’, 605– fols. 21–69 Cecilia two unknown leaf has been replaced; fol. 21 in 11; Herissone, ‘The Theory and scribes first unidentified hand; fols. 67–8 Practice of Composition’, 206; hand of FQ1; fol. 69 in second Holman, Henry Purcell, 181–2; H. unidentified hand. Two sets of Purcell, Ode on St Cecilia’s Day, ed. singers’ names included Dennison, pp. ix–xi; Shay and Thompson, Purcell Manuscripts, 143, 158, 161, 163; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 GB-Ob Mus.c.26, Ode, Arise my Muse H. Purcell London A Late 17th C Score Loose-leaf score. Possibly H. Purcell, Birthday Odes…Part I, ed. fols. 71–94 connected to Winchester due to Wood, p. xiv; Shay and Thompson, annotation ‘Richardson book’; Purcell Manuscripts, 172–3; Zimmerman, four singers named Henry Purcell…An Analytical Catalogue, 466 GB-Ob Mus.c.26, Odes (H. Purcell, Blow, H. Purcell, Unknown scribe, Late 17th C Score Loose-leaf score. First ode begins H. Purcell, Three Odes for St Cecilia’s fols. 96–114 Welcome to all the unknown Chapel Royal partway through ‘Here the deities Day, ed. Wood, p. xii; Zimmerman, Pleasures (inc.), Blow style approve’. Anthem is incomplete Henry Purcell…An Analytical Catalogue, Begin the Song (inc.); and appears to be a fowle 466 anthem, I will Love originall Thee, O Lord GB-Ob Mus.c.26, Odes, Dread Sir, the Blow Two unknown Late 17th-C Score Loose-leaf score. First three odes fols. 115–133 Prince (inc.), The New scribes have no instrumental parts. Hand Year is Begun, Up changes at fol. 130 Shepherds, up, My Trembling Song (inc.) GB-Ob Mus.c.27, Theodosius, Act I, H. Purcell Unknown scribe c. 1680 Score Headed ‘Songs in Theodosia by H. Purcell, Dramatic Music…Part III, ed. fols. 33–6 Ritual Scene Mr Hen: Purcell’. Dated on the Laurie, p. xlvii; Shay and Thompson, basis of paper type, by Shay and Purcell Manuscripts, 255–6; Zimmerman, Thompson Henry Purcell…An Analytical Catalogue, 466 GB-Ob Mus.c.27* Ode, Who can from H. Purcell William Isaack c. 1695 Score Fols. 27–32 of GB-Ob Mus.c.27. H. Purcell, A Song for the Duke of Joy Refrain? and John Walter Loose-leaf score copied Gloucester’s Birthday, ed. Spink, p. ix; stratigraphically. Performers’ Shay and Thompson, Purcell names given Manuscripts, 161, 172; Thompson, ‘Sources and Transmission’, 40, 46; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 GB-Ob Mus.c.28, Songs from Don H. Purcell John Walter By 1708 Score Loose-leaf score H. Purcell, Dramatic Music…Part I, ed. fols. 3–18 Quixote Laurie, p. xlii; Shay and Thompson, Purcell Manuscripts, 104–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Mus.c.28, Odes (H. Purcell, William Norris, H. Unknown scribe Late 17th C Score Loose-leaf score H. Purcell, Birthday Odes…Part I, ed. fols. 19–63 Now does the Glorious Purcell Wood, p. xiv; Shay and Thompson, Day Appear; Norris, Purcell Manuscripts, 104–6; Zimmerman, Begin the Noble Song Henry Purcell…An Analytical Catalogue, 467 GB-Ob Mus.c.28, Songs from Bonduca H. Purcell Unknown scribe Late 17th C Score Loose-leaf score H. Purcell, Dramatic Music…Part I, ed. fols. 64–77 Laurie, p. xlii; Shay and Thompson, Purcell Manuscripts, 104–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 GB-Ob Mus.c.28, Ode, Celebrate this H. Purcell John Walter with By 1703 Score Loose-leaf score. Performers’ H. Purcell, Birthday Odes…Part II, ed. fols. 78–99 Festival William Isaack names and instructions for Wood, pp. xiv–xv; Shay and copying parts included Thompson, Purcell Manuscripts, 104–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 GB-Ob Mus.c.28, Devotional songs H. Purcell John Walter c. 1680? Score Not fully texted H. Purcell, Sacred Music, Part VI, ed. fols. 100–24 Lewis and Fortune, p. x; H. Purcell, Symphony Songs, ed. Wood, p. xx; Shay and Thompson, Purcell Manuscripts, 104–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 GB-Ob Mus.c.48 Anthems and service Various 16th- and Unknown early Early 17th C Partbook Thoroughbass partbook from Cheverton, ‘English Church Music’, settings in two layers 17th-C English 17th-C scribe (first layer); New College, Oxford, compiled 400–2; Herissone, ‘The Theory and composers, (first layer); W. 1670s by William King and Practice of Composition’, 207; Spink, including Aldrich, King, Goodson sr (second incorporating some earlier Restoration Cathedral Music, 329 Batten, Blow, Byrd, (second layer) layer) fragmentary bass parts. Some Child, Farrant, O. copying in the second layer Gibbons, W. King, postdates Blow’s doctorate of Mundy, H. Purcell, 1677 Rogers, Tallis, Wise GB-Ob Mus.c.49 Anthems and service Blow, Bryne, J. Unknown scribe Late 1670s Partbook Bass decani partbook from New Cheverton, ‘English Church Music’, settings Ferrabosco, Wise College, Oxford 402–3; Spink, Restoration Cathedral Music, 341 GB-Ob Mus.c.226 Solo anthems D. Purcell James Kent, D. Before 1717 Score Volume likely to have been pre- Herissone, ‘The Theory and Practice Purcell bound. Mostly copied by Kent, of Composition’, 207–8; Spink, using GB-Lbl Add. 34161 as an Restoration Cathedral Music, 325 n. 28 exemplar. D. Purcell added (where MS is misidentified as ‘organ alone’ annotation on p. 11, Mus.c.22b) and copied an organ prelude on a spare verso at start of My God, my God; this prelude does not occur in GB-Lbl Add. 31461 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Anthems and service Various 16th- and Unknown scribe Early 17th C Partbook Bass decani partbook from New Cheverton, ‘English Church Music’, Mus.d.162 settings 17th-C English (first layer) College, Oxford 397–9 composers, including Batten, Byrd, Child, William Ellis, O. Gibbons, Hooper, W. King, Rogers, Tallis, Tomkins GB-Ob Anthems Croft James Kent Early 18th C Score Mus.d.173 GB-Ob Ode, Some Say their Croft Croft c. 1725 Score ‘An Ode to the Grand Khaiber’ Shaw and Beeks, ‘Croft [Crofts], Mus.d.263 Sire’s the First Made William’ Man GB-Ob Mus.e.22 Service settings Various 16th- and Goodson sr Before end Partbook From New College, Oxford Cheverton, ‘English Church Music’, 17th-C English 17th C 399 composers, including Aldrich, Batten, Byrd, Child, O. Gibbons, Rogers, Wise GB-Ob Mus.e.23– Service settings Various 16th- and Morgan Cove, Pre-1660 Three Countertenor, tenor and bass Cheverton, ‘English Church Music’, 5 17th-C English Goodson sr., W. (first layer); partbooks partbooks from New College, 397 n. 149; Herissone, ‘The Theory composers, King; unknown 1660–9 (2nd Oxford. Music entered in several and Practice of Composition’, 208; including Byrd, scribes layer); 18th C layers. The first post-Restoration Child, Farrant, O. (4th layer) additions were apparently made Gibbons, Hall, W. before Benjamin Rogers was King, Morley, awarded his doctorate in 1669 Rogers, Tallis, Weelkes GB-Ob Motets Sances Charles 1670s? Five partbooks Manuscript copy of Sances’s Crum, ‘Early Lists’; Wainwright, Mus.Sch.c.10 Husbands sr Motetti (1638). Inscribed ‘The Musical Patronage, 300–2 Gift of Mr Lowe late Professour’ and included in 1682 inventory of Oxford Music School manuscripts GB-Ob Sacred and secular Albrici, Cazzatti, Lowe Late 1660s? Score Inscribed ‘The Gift of Mr Lowe Crum, ‘Early Lists’; Wainwright, Mus.Sch.c.11 vocal music Deering, A. late Professour’ and included in Musical Patronage, 302–4 Ferrabosco II, 1682 inventory of Oxford Music Jeffreys, Lanier, School manuscripts Lowe, Merula, Rovetta MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Sacred and secular English and Italian Lowe; later 1660s–80s Eight Included in 1682 inventory of Crum, ‘Early Lists’; Wainwright, Mus.Sch.c.12–19 vocal music composers, additions by partbooks Oxford Music School Musical Patronage, 304–13 including Blow, Goodson sr and manuscripts Carissimi, Casati, Goodson jr Cazzatti, C. Gibbons, Locke, Marini, Monferrato, Rovetta, Sances, Wilson GB-Ob Motets Italian composers Charles From late Four Inscribed ‘The Gift of Mr Lowe Crum, ‘Early Lists’; Wainwright, Mus.Sch.c.24–7 including Aloisi, Husbands sr, 1670s partbooks late Professour’ and included in Musical Patronage, 314–15 Faccho, Marini, Matthew 1682 inventory of Oxford Music Monferrato, Hutton, Lowe, School manuscripts Phillippi, Sances Goodson sr, unknown scribe GB-Ob Devotional songs Child Unknown scribe By 1682 Six partbooks Inscribed ‘The Gift of Mr Lowe Crum, ‘Early Lists’ Mus.Sch.c.32–7 late Professour’ and included in 1682 inventory of Oxford Music School manuscripts GB-Ob Anthems and service Various Restoration Charles Badham Early 18th C Score Possibly associated with St Paul’s, Blow, Anthems II, ed. Wood, 175; Mus.Sch.c.38–40 settings composers, where Badham was minor canon. Blow, Anthems III, ed. Wood, 174; including Blow, Inaccurate copyist, however, so Blow, Anthems IV, ed. Wood, 204; Locke, H. Purcell may be unlikely that he was Cheverton, ‘English Church Music’, retained as a paid copyist 499–502; Harding, A Thematic Catalogue, 10, 14; Shay and Thompson, Purcell Manuscripts, 229, 305; Spink, Restoration Cathedral Music, 84; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 GB-Ob Four service settings Blow, W. King, Blow, unknown Late 17th C Partbook Countertenor decani part Shaw, ‘The Autographs of John Blow’, Mus.Sch.c.42 Weldon scribes 92 GB-Ob Ad te levavi and two Locke Locke (score, 1665 Score, Oxford provenance. Annotation Harding, A Thematic Catalogue, 22–3; Mus.Sch.c.44, set instrumental pieces parts), Lowe keyboard score by Lowe relates to Music School Herissone, ‘The Theory and Practice D1 (keyboard score, and parts meeting on Thursday 16 of Composition’, 208; Locke, Anthems parts), November 1665 and Motets, ed. Tilmouth, pp. xxii–xxvi, 153 GB-Ob Prelude and Gloria Locke Locke 1665 Score Oxford provenance. Annotation Harding, A Thematic Catalogue, 21; Mus.Sch.c.44, set Patri by Lowe relates to meeting on Herissone, ‘The Theory and Practice D21 Thursday 9 November [1665]. of Composition’, 208; Locke, Anthems Parts preserved in GB-Ob and Motets, ed. le Huray, 150; Mus.Sch.c.138, fols. 1–4 Ob Mus.Sch.c.44, Instrumental C. Gibbons C. Gibbons Before 1676 Score Loose-leaf score Herissone, ‘The Theory and Practice sets D25 and consort music (two of Composition’, 208 D31 four-part fantazias) MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental C. Gibbons C. Gibbons Before 1676 Four Oxford provenance. Inscribed Crum, ‘Early Lists’ Mus.Sch.c.53 consort music partbooks ‘The Gift of Mr Lowe late (ayres) Professour’ and included in 1682 inventory of Oxford Music School manuscripts GB-Ob Instrumental Christopher John Lilly, 1668 Four Included in 1682 inventory of Ashbee, Thompson and Wainwright, Mus.Sch.c.54–7 consort music (The Simpson unknown scribe partbooks Oxford Music School Viola da Gamba Society Index, vol. I, Months and The manuscripts 100–2; Crum, ‘Early Lists’; Seasons) Wainwright, Musical Patronage, 316–18; Thompson, ‘English Music Manuscripts’, 276–7 GB-Ob Instrumental Christopher Matthew Hutton Before 1674 Score Inscribed ‘The Gift of Mr Lowe Crum, ‘Early Lists’ Mus.Sch.c.58 consort music (The Simpson late Professour’ and included in Seasons) 1682 inventory of Oxford Music School manuscripts. Given by Hutton to Lowe in 1674 GB-Ob Instrumental Coperario, Jenkins, Francis Withey ?1690s Two partbooks Oxford provenance. Not Ashbee, Thompson and Wainwright, Mus.Sch.c.59–60 consort music for Christopher included in 1682 inventory of Viola da Gamba Society Index, vol. II, bass viol Simpson, Ward, Music School manuscripts 133–7 John Withey GB-Ob Grounds, division, Blow, Colista, Francis Withey c. 1688–1700 Score Oxford provenance. Personal Ashbee, Thompson and Wainwright, Mus.Sch.c.61 sonatas and other Corelli, Finger, scorebook with notes, according Viola da Gamba Society Index, vol. II, instrumental consort Jenkins, R. King, to the annotation at the front of 138–43; Blow, Complete Harpsichord music; one keyboard Lully, Matteis, D. the manuscript, this was ‘The gift Music, ed. Klakowich, 117; Hodge, piece (by Blow); two and H. Purcell, of his loving Scholler Hen: ‘English Harpsichord Repertoire’, vol. songs (by Purcell); Christopher Knight A:B: è Coll Wad-ham] III, 81; H. Purcell, Secular Songs, ed. symphony anthem Simpson, Francis A:D: 1687’ Laurie, p. xix; Shay and Thompson, (H. Purcell, My Song and John Withey, Purcell Manuscripts, 153–5; Zimmerman, shall be Alway); Peter Young Henry Purcell…An Analytical Catalogue, extracts from Mace’s 466 Musick’s Monument, GB-Ob Instrumental Henry Butler, John William Noble, 1671–8 Score Included in 1682 inventory of Ashbee, Thompson and Wainwright, Mus.Sch.c.71 consort music for Daniel, Hugh Facy, Francis Withey Oxford Music School Viola da Gamba Society Index, vol. II, bass viol Francis Farmeloe, manuscripts. Dates included on 155–8; Crum, ‘Early Lists’ Jenkins, H. Lawes, several pages. Bound with a copy Daniel Norcombe, of Simpson’s Compendium (1667) Christopher Simpson, Anthony Poole, Francis and John Withey GB-Ob Instrumental Jenkins, Christopher Anon F c. 1685–8 Two partbooks Same copyist as US-Cu 959. Ashbee, Thompson and Wainwright, Mus.Sch.c.77 consort music (duets Simpson Possible links with Jesuits and the Viola da Gamba Society Index, vol. II, for bass viol) court of James II 159–60 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental Jenkins North family 1656 Three Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.81 consort music scribe partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) 103–5; Crum, ‘The Consort Music from Kirtling’, 6, 7, 8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 GB-Ob Instrumental Jenkins North family c. 1656– Four Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.82 consort music scribe 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) 106–7; Crum, ‘The Consort Music from Kirtling’, 7–8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 GB-Ob Instrumental Jenkins North family c. 1656– Seven Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.83 consort music scribe 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) 108–10; Crum, ‘The Consort Music from Kirtling’, 5–6, 8; Crum, ‘Early Lists’ GB-Ob Instrumental Jenkins North family c. 1656– Four Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.84 consort music scribe 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (dance suites) 111–12; Crum, ‘The Consort Music from Kirtling’, 8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 GB-Ob Instrumental Jenkins North family Early 1660s? Four Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.85 consort music (lyra scribe partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, viol consorts) 113–14; Crum, ‘The Consort Music from Kirtling’, 8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 GB-Ob Instrumental Jenkins Unknown scribe Early 1660s? Three Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.86 consort music partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fancy-air sets) 115–16; Crum, ‘The Consort Music from Kirtling’, 8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 GB-Ob Instrumental Jenkins Bing(?), an c. 1656– Three Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.87 consort music unknown scribe 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazias) and an annotator 117–19; Crum, ‘The Consort Music from Kirtling’, 5, 8–9; Crum, ‘Early Lists’; Wainwright, Musical Patronage, 319–20 GB-Ob Instrumental Jenkins North family Early 1660s? Four Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.88 consort music (airs) scribe, Jenkins partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, 120–21; Crum, ‘The Consort Music from Kirtling’, 8, 9; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental W. Lawes North family c. 1656– Four Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.89 consort music scribe, unknown 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) scribe 122–3; Crum, ‘The Consort Music from Kirtling’, 4, 6, 7, 8; Crum, ‘Early Lists’ GB-Ob Instrumental W. Lawes North family c. 1656– Three Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.90 consort music scribe, unknown 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) scribe 124–5; Crum, ‘The Consort Music from Kirtling’, 4, 7, 8; Crum, ‘Early Lists’ GB-Ob Instrumental Coperario North family Early 1660s? Two partbooks Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.91 consort music scribe School from ‘Mr Wood’ in 1667. Viola da Gamba Society Index, vol. I, (fantazias) Accompanying organ part 126–7; Crum, ‘The Consort Music preserved in GB-Lbl Add. 31416 from Kirtling’, 8; Crum, ‘Early Lists’ GB-Ob Organ voluntaries Blow Unknown scribe Late 17th C Score Once thought (by Cox) to be an Bailey, Seventeenth-Century British Mus.Sch.c.93, autograph Keyboard Sources, 81; Blow, Complete fols. 61–6 Organ Works, ed. Cooper, 83; Brookes, British Keyboard Music, 72; Cox, Organ Music in Restoration England, 99; Woolley, ‘English Keyboard Sources’, 257 GB-Ob Secular and Blow, Locke, H. Unknown scribe Late 17th C Score Pre-bound score with 48 folios Harding, A Thematic Catalogue, 36; Mus.Sch.c.96 devotional songs Purcell and others ruled for music and 12 ruled with Zimmerman, Henry Purcell…An six vertical rules in pairs of two Analytical Catalogue, 467 on the left, middle and right of the page. This is clearly intended for an index, which the copyist began on fol. 49 by entering the first item. However, music has only been entered on 10 pages and the rest of the book is empty apart from an extract from the text of Old Tom of Bedlam (the first item copied in the music) GB-Ob Instrumental Jenkins North family Late 1650s? Five partbooks Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.98 consort music scribe School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (ayres) 128–30; Crum, ‘The Consort Music from Kirtling’, 7, 8; Crum, ‘Early Lists’ GB-Ob Instrumental Jenkins North family Late 1650s? Five partbooks Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.99 consort music scribe School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazias and 131–3; Crum, ‘The Consort Music pavans) from Kirtling’, 4, 6–7, 8; Crum, ‘Early Lists’ MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental Thomas Brewer Unknown scribe c. 1656– Five partbooks Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.100 consort music 1660s School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazias) 134–5; Crum, ‘The Consort Music from Kirtling’, 7, 8; Crum, ‘Early Lists’ GB-Ob Instrumental Coperario North family c. 1656– Three Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.c.101 consort music scribe and 1660s partbooks School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazia suites) unknown scribe 136–8; Crum, ‘The Consort Music from Kirtling’, 4–5, 7, 8; Crum, ‘Early Lists’; Holman, Four and Twenty Fiddlers, 272–3 GB-Ob Instrumental Thomas Baltzar, C. Lowe, unknown 1659–62 Four Included in 1682 inventory of Crum, ‘Early Lists’; Holman, Four and Mus.Sch.c.102 consort music Gibbons scribes partbooks Oxford Music School Twenty Fiddlers, 273–5 (fantazia suites) manuscripts. Possibly the set for which £5 was paid according to 1675 list GB-Ob Act song, My Lesbia, Bowman Bowman (score), c. 1680 Score and parts Loose-leaf score. Annotation by Holman, ‘Original Sets of Parts’, 266 Mus.Sch.c.120 let us Live and Love Lowe (parts) Lowe: ‘English songe for Saturday. 10 papers. Not performd: Goe perjur’d man was sunge in the roome of [it] July 1680’ GB-Ob Act song, Dum mosa Sampson Estwick Sampson Estwick, 1693 Parts Authorship unclear, and Holman http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.121 torpet Oxford A and ascribes it as a possible Carissimi ge.php?set=Mus.+619+%28ff.+16-- Charles arrangement by Aldrich. 19%29; Holman, ‘Original Sets of Husbands jr Annotation in unknown hand: Parts’, 266 (ascribed Aldrich); Trowles, ‘Act Song for. 93: Britannia. By ‘The Musical Ode in Britain’, vol. II, Mr Alsop’ (text author). Related 13 score in GB-Och 619, fols. 20–7 GB-Ob Act song, Awake my Blow Blow, Lowe c. 1676 Parts Possibly written in memory of http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.122 Lyre Christopher Gibbons, who died ge.php?set=Mus.+23; Holman, 20 October 1676. Score ‘Original Sets of Parts’, 13, 19, 266 preserved in GB-Och 23, fols. 4– 6 GB-Ob Act song, Eia Lowe Lowe 1671 Score and parts Loose-leaf score is an incomplete Holman, ‘Original Sets of Parts’, 11– Mus.Sch.c.123 eruditam fowle originall. Annotation by 12, 14, 266 Lowe: ‘Thes are the Wordes of the songe I composd for the Theatre, with Instrumentall music, which was performd the 7th of July beinge fryday. 1671’ GB-Ob Instrumental parts Locke, Rogers Lowe Before 1677 Parts Identified as belonging to an Act Harding, A Thematic Catalogue, 106–7, Mus.Sch.c.124 to unknown Act song by Holman due to Lowe’s 129–30, Tables IV and VI; Holman, song annotations and instructions ‘Original Sets of Parts’, 266 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Act song, Jam satis Aldrich Aldrich, Lowe 1679 Parts Score preserved in GB-Och 619, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.125 somno fols. 6–11 ge.php?set=Mus.+619+%28ff.+6-- 11%29; Holman, ‘Original Sets of Parts’, 267; Trowles, ‘The Musical Ode in Britain’, vol. II, 11 GB-Ob Act songs, Io Sampson Estwick Unknown scribe Before 1685 Parts Holman suggests may have been http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.126 triumphe and Julio written for Estwick’s BA degree ge.php?set=Mus.+619+%28ff.+31-- festas in 1677. Score of Julio festas 2%29; Holman, ‘Original Sets of preserved in GB-Och 619, fols. Parts’, 267; Trowles, ‘The Musical Ode 31–2 in Britain’, vol. II, p. 71 GB-Ob Oxford victory ode, Goodson sr Unknown scribe c. 1702 Parts Score preserved in GB-Och 617, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.127 O qui potenti fols. 1–28, where an annotation ge.php?set=Mus.+617; Holman, describes it as ‘Musick composed ‘Original Sets of Parts’, 11, 12, 267; on account of some early Trowles, ‘The Musical Ode in Britain’, successes in Queen Anne’s reign vol. II, 75 for the Theatre in Oxon’ GB-Ob Ode for anniversary Aldrich, from Lowe Oxford C and 1705–6 Parts Score preserved in GB-Och 618, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.128 of University of and Goodson sr unknown scribe fols. 36–42. Adapted from two ge.php?set=Mus.+618+%28ff.+36-- Frankfurt, Carminum earlier versions of same ode, by 42%29; Herissone, ‘The Theory and praeses Lowe and by Goodson sr Practice of Composition’, 209; Herissone, ‘“To Entitle Himself to ye Composition”’; Holman, ‘Original Sets of Parts’, 267; Trowles, ‘The Musical Ode in Britain’, vol. II, 13–14 GB-Ob Act song, Carminum Lowe (first version); Lowe, Goodson sr, before mid- Parts Parts are incomplete and reflect http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.129 praeses Goodson sr (second unknown scribe 1682 (first two different versions of the ode, ge.php?set=Mus.+618+%28ff.+43-- version) version); c. respectively dated before 1682 50%29; 1695 (second (composed by Lowe) and c. 1695 http://library.chch.ox.ac.uk/music/pa version) (with alterations and additions by ge.php?set=Mus.+621+%28ff.+1-- Goodson sr). Scores preserved in 41%29; Herissone, ‘“To Entitle GB-Och 618, fols. 43–50 and Himself to ye Composition”’; Holman, GB-Och 621, fols. 13v–19v. ‘Original Sets of Parts’, 267; Trowles, Later version adapted from same ‘The Musical Ode in Britain’, vol. II, ode by Aldrich in GB-Ob 13–14 Mus.Sch.c.128 and GB-Och 618, fols. 36–42 GB-Ob Act song, O cura Goodson sr Goodson sr Early 18th C? Parts Score preserved in GB-Och 618, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.130 divum fols. 18–25 ge.php?set=Mus.+618+%28ff.+18-- 25%29; Holman, ‘Original Sets of Parts’, 268 GB-Ob Ode, Let the Shrill William Morley William Morley, 1713? Parts According to Holman probably Holman, ‘Original Sets of Parts’, 10, Mus.Sch.c.131 Trumpet’s Loud unknown scribe written for Morley’s BMus award 11, 17–18, 268; Trowles, ‘The Musical Alarms on 17 July 1713. Score preserved Ode in Britain’, vol. II, 106–7 in GB-Ob Mus.c.6, fols. 23–40 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Act song, O Maria, Sampson Estwick Unknown scribe c. 1692 Parts Dating based on inscription ‘Ode http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.132 O diva to the Queen By Dr Hannes’ ge.php?set=Mus.+619+%28ff.+28-- (text author). Score preserved in 30%29; Holman, ‘Original Sets of GB-Och 619, fols. 28–30 Parts’, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 70–1 GB-Ob Act song, Io Unknown Lowe Before mid- Parts Anonymous ode. Dating Holman, ‘Original Sets of Parts’, 268 Mus.Sch.c.133 Britannum 1682; rev. unknown, but references to 1689–1702 Charles II are later revised to William III, indicating that ode was re-used GB-Ob Act song, Quis efficaci Goodson sr Goodson sr, 1685–1702 Parts Text relates to reign of William http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.134 carmine Bowman(?) III. Score preserved in GB-Och ge.php?set=Mus.+618+%28ff.+9-- 618, fols. 9–16 17%29; Holman, ‘Original Sets of Parts’, 17, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 76 GB-Ob Ode, Janus, Did Ever Goodson sr Goodson sr, three 1705 Parts Annotated ‘Musick compos’d for http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.135 to thy Sight other unknown the Theatre Oxon After the ge.php?set=Mus.+616; scribes Victory at Blenheim’; victory was http://library.chch.ox.ac.uk/music/pa celebrated in Oxford in January ge.php?set=Mus.+618+%28ff.+26-- 1705. Completed score in GB- 35%29; Herissone, ‘Richard Goodson Och 618, fols. 26–35; Incomplete the Elder’s Ode’; Herissone, ‘The score including sketches in GB- Theory and Practice of Composition’, Och 616, 1–3v and 23v–21r 209–10; Holman, ‘Original Sets of Parts’, 16, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 78 GB-Ob Act songs, Sacra Goodson sr Goodson sr, Lowe Before mid- Parts Score for Sacra musarum preserved http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.136 musarum and Io 1682 in GB-Och 618, fols. 1–4 ge.php?set=Mus.+618+%28ff.+1-- triumphe 4%29; Holman, ‘Original Sets of Parts’, 268–9; Trowles, ‘The Musical Ode in Britain’, vol. II, 75 GB-Ob Act song, Revixit io Aldrich Lowe Before mid- Parts Score preserved in GB-Och 619, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.137 Carolus 1682 fols. 12–15 ge.php?set=Mus.+619+%28ff.+12-- 15%29; Holman, ‘Original Sets of Parts’, 12, 13, 269; Trowles, ‘The Musical Ode in Britain’, vol. II, 13 GB-Ob Prelude and Gloria Locke Locke 1665 Parts Oxford provenance. Annotation Harding, A Thematic Catalogue, 21; Mus.Sch.c.138, Patri by Lowe relates to meeting on Herissone, ‘The Theory and Practice fols. 1–4 Thursday 9 November [1665]. of Composition’, 208, 210; Locke, Score preserved in GB-Ob Anthems and Motets, ed. le Huray, 150 Mus.Sch.c.44, Set D21 GB-Ob Ode, O Tuneful God John Isham John Isham 1713? Parts According to Holman, probably Holman, ‘Original Sets of Parts’, 269; Mus.Sch.c.140 written for Isham’s BMus on 17 Trowles, ‘The Musical Ode in Britain’, July 1713. Score is preserved in vol. II, 102 GB-Ob Mus.Sch.d.341 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Act song, Nunc est Lowe Lowe Before mid- Parts Some compositional materials Holman, ‘Original Sets of Parts’, 15, Mus.Sch.c.141 canendum 1682 preserved with parts 16, 269 GB-Ob Act song(?), Come, Unknown Lowe and Before mid- Parts First violin part annotated ‘Violin Holman, ‘Original Sets of Parts’, 269– Mus.Sch.c.142 with our Voice let us unknown scribe 1682 to play with the voices in ye 70 War dialogue at the Schooles Saturday’ GB-Ob Act song, Festo quid Goodson sr Goodson sr Unknown Parts Score preserved in GB-Och 37, http://library.chch.ox.ac.uk/music/pa Mus.Sch.c.143 potius die Neptuni fols. 25–56 ge.php?set=Mus.+37+%28pp.+25-- 58%29; Holman, ‘Original Sets of Parts’, 270 GB-Ob Act song, Diva quo Blow Blow (score), 1678–9 Score and parts Loose-leaf score of vocal sections Herissone, ‘The Theory and Practice Mus.Sch.c.144 tendis Lowe (parts) in Blow’s hand. Annotation by of Composition’, 210; Holman, Lowe reads ‘The Score & partes ‘Original Sets of Parts’, 270; Shaw, Instrumentall & vocall of a peice ‘The Autographs of John Blow’, 92 of a Songe Composed by Dr Blow designed for the Act 1678 but that Act being putt off. it was not finisht: [until] the next year 1679. [I]t was transcribed & performd as a 2d Songe in the Theatre. on Fryday the 11 of July: with the addition onely of a Prelude of Mr Banisters in the same key. to bring the Songe in’ GB-Ob Act song, Non usitata Bowman Lowe Before mid- Parts Lowe annotates the score ‘Latin Holman, ‘Original Sets of Parts’, 270 Mus.Sch.c.146 ac tenuis ferar 1682 songe for Saturday Mr Bowman’ GB-Ob Act song, Woman is Wilson Lowe 1671? Parts Lowe annotates the score Holman, ‘Original Sets of Parts’, 270 Mus.Sch.c.147 Nothing ‘Englishe songe for Mr Woodson on Saturday’. Date is added in pencil GB-Ob Instrumental John Hingeston Lowe, John Before 1682 Six partbooks Included in 1682 inventory of Crum, ‘Early Lists’; Herissone, ‘The Mus.Sch.d.205– consort music Hingeston and keyboard Oxford Music School Theory and Practice of Composition’, 11 (fantazia suites) (keyboard score) score manuscripts. Front of each part 211–13; Herissone, ‘The Theory and book contains a dedication to the Practice of Composition’, 211–13; Oxford Music School in Holman, Four and Twenty Fiddlers, 267; Hingeston’s hand Hulse, ‘John Hingeston’ GB-Ob Instrumental Early 17th-C Unknown scribe Before 1682 Five partbooks Included in 1682 inventory of Crum, ‘Early Lists’ Mus.Sch.d.212– consort music (In English composers Oxford Music School 16 Nomines) manuscripts MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Keyboard pieces (by Banister, Bryne, W. Bryne? c. 1660s Score Pre-bound folio book, with many Bailey, Seventeenth-Century British Mus.Sch.d.219 Bryne) and settings Lawes, Locke unused leaves. Hand identified as Keyboard Sources, 82–3; Brookes, British likely Bryne autograph by Keyboard Music, 73; Harding, A Thematic Klakowich Catalogue, 83; Hodge, ‘English Harpsichord Repertoire’, vol. III, 81; Klakowich, ‘Keyboard Sources’, 30–2; Late-Seventeenth-Century English Keyboard Music, ed. Bailey; Woolley, ‘English Keyboard Sources’, 164–7, 257 GB-Ob Instrumental C. Gibbons Unknown scribe Before 1682 Seven Included in 1682 inventory of Crum, ‘Early Lists’ Mus.Sch.d.231 consort music partbooks Oxford Music School manuscripts GB-Ob Early 17th-century Early 17th-C Unknown scribe Before 1682 Four Included in 1682 inventory of Crum, ‘Early Lists’; Harding, A Mus.Sch.d.233–6 vocal music (first composers; (early 17th C, partbooks Oxford Music School Thematic Catalogue, 106, 129, Tables III, layer); vocal music Blundeville, first layer); Lowe manuscripts. Originally a set of IV, VI; Holman, Four and Twenty (by Dering) and Coleman, Dering, (second layer) six books bought by Lowe (so Fiddlers, 244, 260 instrumental consort Jenkins, W. Lawes, already containing the early 17th- music (second layer) Locke century music), of which two are now lost GB-Ob Instrumental Thomas Baltzar, Anon G, 1660s–70s Four Included in 1682 inventory of Ashbee, Thompson and Wainwright, Mus.Sch.d.241–4 consort music Bowman, Jenkins, Matthew partbooks Oxford Music School Viola da Gamba Society Index, vol. II, W. Lawes, Rogers, Hutton, Lowe manuscripts. Inscription by 161–74; Crum, ‘Early Lists’; Harding, Lowe: ‘given mee by Mr Colbius A Thematic Catalogue, 129–30; Holman, Organist of Exeter’ (i.e. Four and Twenty Fiddlers, 277–9 Theodore Colby). Same copyist as in GB-Ob Mus.Sch.d.261, fols. 39–76 GB-Ob Trio sonatas James Sherard Anon H Early 18th C Four Parts for Sherard’s Op.2, printed Shay and Thompson, Purcell Mus.Sch.d.252 partbooks in 1711. Autograph annotations Manuscripts, 114; Tilmouth and identified by Margaret Crum. Thompson, ‘Sherard [Sharwood], Anonymous scribe was also James [Giacomo]’ responsible for GB-Ob Mus.Sch.e.400–3, J-Tn N2/15 and US-NH Filmer 17 GB-Ob Trio sonatas Colista, Corelli, James Sherard From c. 1686 Four Restoration Trio Sonatas, ed. Holman and Mus.Sch.d.254–6 Lonati, H. Purcell partbooks Cunningham, p. xxiv; Shay and Thompson, Purcell Manuscripts, 114; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental Jenkins Anon G, Lowe 1660s–70s Keyboard Included in 1682 inventory of Ashbee, Thompson and Wainwright, Mus.Sch.d.261, consort music score Oxford Music School Viola da Gamba Society Index, vol. II, fols. 39–76 manuscripts. Same copyist as was 175–7; Crum, ‘Early Lists’ responsible for inserting headings into GB-Ob Mus.Sch.d.241–4. Lowe adds headings here and also the inscription ‘Organ Parts to Mr Jenkins fancies Division for 3 partes. Prckt in the Bookes with vellum covers. & given me by Mr Colbius Organist of Exeter’ (i.e. GB-Ob Mus.Sch.d.241–4) GB-Ob Instrumental John Hingeston John Hingeston Before 1683 Keyboard Overlaps in content with organ Herissone, ‘The Theory and Practice Mus.Sch.e.382 consort music score part GB-Ob Mus.Sch.d.211, but of Composition’, 213–14; Holman, unrelated order of pieces Four and Twenty Fiddlers, 267; Hulse, ‘John Hingeston’ GB-Ob Keyboard pieces and Barrett, Lord Byron, Unknown scribe c. 1705 Score Oblong quarto manuscript. Draghi, Harpsichord Music, ed. Mus.Sch.e.397 settings Clarke, R. (C. Collett?) Tallies and pedagogical material, Klakowich, pp. ix–xi; Hodge, ‘English Courteville, plus annotation ‘this Acc[oun]t. Harpsichord Repertoire’, vol. III, 83– Dieupart, Eccles, Set Down in ye little book and 4; Taylor, Thematic Catalog, 115; Lully, Thomas pd. C. Collett’; therefore Woolley, ‘English Keyboard Sources’, Morgan, H. Purcell associated with teaching. Some 15, 36–7, 257–8; Zimmerman, Henry settings include original texts of Purcell…An Analytical Catalogue, 467 songs GB-Ob Keyboard pieces and Blow, Farmer, Francis Forcer, c. 1681 Score Oblong quarto manuscript. Bailey, Seventeenth-Century British Mus.Sch.e.399 settings Forcer, Lenton, several unknown Inscribed ‘Elizabeth Nodes Her Keyboard Sources, 83–4; Blow, Complete Robert Smith scribes Book august 8th 1681’. The ‘Mrs Harpsichord Music, ed. Klakowich, 117; Beety Nodes’ who signed the Hodge, ‘English Harpsichord book in 1682 is surely the same Repertoire’, vol. III, 85; Shay and person. Pedagogical material Thompson, Purcell Manuscripts, 277; Woolley, ‘English Keyboard Sources’, 49–1 and 258 GB-Ob Trio sonatas Bassani, Antonio Anon H, one From mid Four Same scribe as was responsible H. Purcell, Ten Sonatas of Four Parts, ed. Mus.Sch.e.400–3 Biffi, Colista, Lonati, other unknown 1680s partbooks for GB-Ob Mus.Sch.d.252, J-Tn Tilmouth, p. xxi; Restoration Trio Corelli, Matteis, H. scribe N2/15 and US-NH Filmer 17; Sonatas, ed. Holman and Cunningham, Purcell scribe connected with James p. xxiv; Shay and Thompson, Purcell Sherard Manuscripts, 114–17; Thompson, ‘English Music Manuscripts’, 458–61; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Instrumental Richard Cooke, North family 1654 Four partbook Acquired for Oxford Music Ashbee, Thompson and Wainwright, Mus.Sch.e.406–9 consort music Jenkins scribe School from ‘Mr Wood’ in 1667 Viola da Gamba Society Index, vol. I, (fantazias) 167–8; Crum, ‘The Consort Music from Kirtling’, 6, 8; Crum, ‘Early Lists’; Thompson, ‘English Music Manuscripts’, 227–9 GB-Ob Instrumental Various 17th-C Unknown scribe c. 1660 Five partbooks Inscribed ‘Ri:[chard] Rhodes ex Crum, ‘Early Lists’; Thompson, Mus.Sch.e.410– consort music for English composers Aede Christi Oxon Sep 7 1660’. ‘English Music Manuscripts’, 262–5 14 violin, lyra viol, bass Included in 1682 inventory of and continuo Oxford Music School manuscripts GB-Ob Instrumental Benjamin Hely, Francis Withey c. 1670s–90s Two partbooks Not included in 1682 inventory Ashbee, Thompson and Wainwright, Mus.Sch.e.428 consort music for Marin Marais of Oxford Music School Viola da Gamba Society Index, vol. II, bass viols manuscripts 182–3 GB-Ob Instrumental Sylvanus Taylor Sylvanus Taylor By 1682 Five partbooks Included in 1682 inventory of Crum, ‘Early Lists’ Mus.Sch.e.429 consort music Oxford Music School (pavans and ayres) manuscripts GB-Ob Instrumental Christopher Francis Withey c. 1670 Four Included in 1682 inventory of Ashbee, Thompson and Wainwright, Mus.Sch.e.430 consort music (Little Simpson partbooks Oxford Music School Viola da Gamba Society Index, vol. II, Consort) manuscripts. Presented to Lowe 184–6; Crum, ‘Early Lists’ in 1673 GB-Ob Instrumental Thomas Brewer, Thomas Late 1650s Six partbooks Oxford provenance. Crum Ashbee, Thompson and Wainwright, Mus.Sch.e.431–6 consort music (airs) John Carwarden, Jackson?, Lowe suggests this was the set of books Viola da Gamba Society Index, vol. II, Charles Coleman, for which Jackson was paid in 187–97; Crum, ‘Early Lists’, 27; Jenkins, W. Lawes, 1656; they do not appear in 1682 Holman, Four and Twenty Fiddlers, 260– Rogers, Christopher inventory of Oxford Music 1, 270 Simpson School manuscripts GB-Ob Instrumental Various 17th-C Lowe and By 1682 Four Included in 1682 inventory of Crum, ‘Early Lists’; Restoration Trio Mus.Sch.e.443–6 consort music English composers unknown scribes partbooks Oxford Music School Sonatas, ed. Holman and Cunningham, manuscripts. Labelled ‘New p. xxiv Consort Books’ GB-Ob Instrumental Aldrich?, Banister, Francis Withey 1681–2 Three Not included in 1682 inventory Ashbee, Thompson and Wainwright, Mus.Sch.e.447–9 consort music (airs) Stephen Crespion, partbooks of Oxford Music School Viola da Gamba Society Index, vol. II, Sampson Estwick, manuscripts 207–11 Goodson sr, Jenkins, W. King, William Marsh, Arthur Phillips, Christopher Simpson, William Young; some German airs MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob Vocal and Thomas Baltzar, Lowe c. 1636–82 Score Probably Lowe’s personal Ashbee, Thompson and Wainwright, Mus.Sch.e.451 instrumental consort Bowman, Dering, C. scorebook but contents are Viola da Gamba Society Index, vol. II, music Gibbons, Hudson, cross-referenced to Oxford 212–24; Harding, A Thematic Catalogue, Ives, Jeffreys, H. and Music School parts 106–7, 129–30, Tables IV and VI; W. Lawes, Locke, Holman, Four and Twenty Fiddlers, 244, Lowe, Mell, Rogers, 274–5, 277–9; Wainwright, Musical Wilson and others Patronage, 326–36 GB-Ob Act Song, Stay, Bowman Lowe, Bowman c. 1677 Parts Annotation in the hand of Lowe: Holman, ‘Original Sets of Parts’, 270 Mus.Sch.e.452 Shepherd, Stay ‘Englishe songe for Act Saturday’. Score published, without tenor part, in Bowman’s Songs for 1, 2 & 3 Voyces (Oxford, 1677) GB-Ob Instrumental A. Ferrabosco II John Wilson, By 1679 Two partbooks Two surviving partbooks of an Bellingham, ‘The Musical Circle of Mus.Sch.f.568–9 consort music William Ellis original set of four. Attribution Anthony Wood’, 69–70; Holman, Four (fantazias) of hands made by Bellingham. and Twenty Fiddlers, 260 Ferrabosco pieces erroneously ascribed to Coperario GB-Ob Instrumental Oldis and others Unknown scribe By 1659 Four Included in 1682 inventory of Crum, ‘Early Lists’ Mus.Sch.g.612 consort music partbooks Oxford Music School (ayres) manuscripts. Given to Lowe by Valentine Oldis in March 1659 GB-Ob T 296–9 Instrumental Christopher Unknown scribe Late 17th C Four Stated in the second edition of Fellowes, The Catalogue of the consort music (The Simpson partbooks the Tenbury Library catalogue as Manuscripts, 46; Herissone, ‘The Theory Seasons) autograph, but a note by and Practice of Composition’, 230 Margaret Urquhart in the Bodleian Library copy of the catalogue states that they are not, and there is no resemblance to Simpson’s autograph in GB-Ob T 390. GB-Ob T 785 Theatre music: H. Purcell Anon B (first c. 1690–1 Score Belongs with GB-Cfm 683 as the Fellowes, The Catalogue of the Amphitryon (end), layer); one later ‘Cambury’ MS. Instrumental and Manuscripts, 157; Laurie, ‘The Distress’d Innocence, scribe (second vocal music is copied in “Cambury” Purcell Manuscript’; H. The Gordian Knot layer) performing order. Purcell, Dramatic Music, Part II, ed. Unty’d, Sir Anthony Spink, p. xxxvi; H. Purcell, Dramatic Love, King Arthur Music…Part III, ed. Laurie, p. xlvii; H. (Act I, inc.) (first Purcell, King Arthur, ed. Laurie, p. xii; layer); miscellaneous Shay and Thompson, Purcell instrumental theatre Manuscripts, 255–6, 258–9; music (second layer) Zimmerman, Henry Purcell…An Analytical Catalogue, 472 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob T 789 Anthems Clarke, James Unknown scribe c. 1715 Score According to an annotation the Fellowes, The Catalogue of the Hawkins jr, H. score was ‘Bought of Mr John Manuscripts, 158–9; H. Purcell, Sacred Purcell, other Brown one of the Lay Clerks’ at Music, Part II, ed. Pike, p. xvii; H. Restoration Peterborough in 1725; thus Purcell, Sacred Music, Part V, ed. composers associated with Peterborough Thompson, p. xv; Shay and Cathedral. Forty-seven anthems Thompson, Purcell Manuscripts, 230; included Spink, Restoration Cathedral Music, 333; Taylor, Thematic Catalog, 116; Zimmerman, Henry Purcell…An Analytical Catalogue, 472 GB-Ob T 797– Anthems and service Early 18th-C John Gostling c. 1710–15 Seven Described by Shay and Blow, Anthems IV, ed. Wood, 205; 803 settings English composers; partbooks Thompson as ‘Gostling’s second Fellowes, The Catalogue of the some Restoration set of file copies’ Manuscripts, 165–7; Shay and composers Thompson, Purcell Manuscripts, 206–9; Spink, Restoration Cathedral Music, 78; Taylor, Thematic Catalog, 116; Zimmerman, Henry Purcell…An Analytical Catalogue, 472 GB-Ob T 897, Symphony anthem, Blow Unknown scribe, Early 18th C Score Hand has characteristics of an Blow, Anthems III, ed. Wood, 174; fols. 1–13 When Israel Came out Oxford style Oxford scribe, so possible Fellowes, The Catalogue of the of Egypt Oxford provenance. Some Manuscripts, 186 natural signs suggest 18th-C copying GB-Ob T 1008 Symphony anthem, Blow Blow c. 1685 Score Copied stratigraphically. Entitled Blow, Coronation Anthems, ed. Lewis God Spake sometime in ‘An anthem compos’d for the and Shaw, p. xvi; Fellowes, The Visions Coronation of King James the Catalogue of the Manuscripts, 210; 2d: in the year 1685’. According Herissone, ‘The Theory and Practice to Joyce (reported in Shaw), Sir of Composition’, 227; Joyce, The Life of Frederick Gore Ouseley rescued Rev. Sir F. A. G. Ouseley, 150; Shaw, the manuscript ‘from wrapping ‘The Autographs of John Blow’, 93 up cheese and bought it for ninepence from a Windsor grocer in 1854’; this possibly suggests Windsor provenance GB-Ob T 1011 Trio sonatas H. Purcell George Jeffreys 1683–5 Score Stratigraphic copying and Fellowes, The Catalogue of the (Sonatas 1, 2 and 9 originally unbound Manuscripts, 211; H. Purcell, Twelve from 1683 Sonnata’s Sonatas of Three Parts, ed. Tilmouth, p. of III Parts) xvi; Shay and Thompson, Purcell Manuscripts, 125; Wainwright, Musical Patronage, 341–2; Zimmerman, Henry Purcell…An Analytical Catalogue, 472 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob T 1031 Services and Croft, H. Purcell and Charles Badham c. 1705 Score Possibly associated with St Paul’s, Fellowes, The Catalogue of the anthems various Restoration where Badham was a minor Manuscripts, 220–1; Howard, composers canon. Inaccurate copyist, ‘Understanding Creativity’, 85–91; H. however, so unlikely that he was Purcell, Sacred Music, Part I, ed. retained as a paid copyist and this Dennison, p. xiii; Shay and Thompson, is more likely a personal book Purcell Manuscripts, 62, 139 n. 23, 229, 305; Spink, Restoration Cathedral Music, 84; Taylor, Thematic Catalog, 117; Zimmerman, Henry Purcell…An Analytical Catalogue, 472 GB-Ob T 1175, Ode (D. Purcell, D. Purcell London E, D. c. 1696–1702; Score Bound scorebook compiled from Fellowes, The Catalogue of the fols. 1–79 Appear, Apollo’s Purcell; later later 18th-C loose leaves; later 18th C Manuscripts, 252–3; H. Purcell, The Darling); theatre additions, inc. by additions additions, including some in the Indian Queen, ed. Laurie, p. xxv; Shay music (including Thomas Barrow hand of Thomas Barrow, not and Thompson, Purcell Manuscripts, 241, final-act music from listed here. Some of the music by 243; Zimmerman, Henry Purcell…An The Indian Queen, D. Purcell was wrongly attributed Analytical Catalogue, 473 ‘Arise great dead’ to H. Purcell by one of the 18th- from The Funeral in C hands, and the ode was entitled D. Purcell’s ‘Duke of Gloucester’s Birthday autograph, and D. Music’, whereas it was in fact for Purcell’s music for the Installation of the Duke of Pausanias and Cynthia Gloucester on 22 February and Endymion) 1695/6 GB-Ob T 1176– Anthems and service Wide range of John Gostling c. 1705–15 Four Described by Shay and Blow, Anthems II, ed. Wood, 175; 82 settings Restoration partbooks, Thompson as ‘fair copies’ and Blow, Anthems III, ed. Wood, 175; composers seven personal books, with material Blow, Anthems IV, ed. Wood, 205; organbooks collected retrospectively from Fellowes, The Catalogue of the Gostling’s other sets. Personal Manuscripts, 254–7; Harding, A Thematic ownership implied because the Catalogue, 12; Herissone, ‘To Fill, set was sold as part of William Forbear or Adorne’, 15; H. Purcell, Sacred Gostling’s collection. However, Music, Part I, ed. Dennison, p. xiii; H. overlaps of content with the set Purcell, Sacred Music, Part II, ed. Pike, in GB-LSp A2 are avoided, pp. xiii–xiv; H. Purcell, Sacred Music, suggesting some connection with Part III, ed. Fortune, p. xvi; H. Purcell, Gostling’s copying for St Paul’s Sacred Music, Part V, ed. Thompson, p. xiv; Shay and Thompson, Purcell Manuscripts, 206–9; Spink, Restoration Cathedral Music, 78; Taylor, Thematic Catalog, 117–18; Thompson, ‘Sources and Transmission’, 41–2; Zimmerman, Henry Purcell…An Analytical Catalogue, 473 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob T 1226 Odes (Draghi, From Blow, Carissimi, John Reading sr Before 1692 Score Originally separate loose-leaf Draghi, Ode for St Cecilia’s Day, ed. Harmony, from Clarke, Draghi, H. (first two odes); (first two scores; items apparently bound White, p. xx; Fellowes, The Catalogue of Heavenly Harmony, H. Purcell unknown scribe odes), c. 1693 together in early 18th C. Hand of the Manuscripts, 268; H. Purcell, Three Purcell, Of Old, when (third ode); (fourth ode) John Reading sr identified by Occasional Odes, ed. Wood, p. xviii; Shay Heroes, Blow, Clarke (fourth Alan Howard and Thompson, Purcell Manuscripts, 135; Triumphant Fame, ode); unknown Taylor, Thematic Catalog, 118; Clarke, Song on the scribe (motet) Zimmerman, Henry Purcell…An Assumption); motet Analytical Catalogue, 473 (Carissimi, Surgamus eamus properamus) GB-Ob T 1232 Songs; odes (Hall, Clarke, Croft, Hall London A, with Early 18th C Score Items apparently brought Fellowes, The Catalogue of the Yes, my Aminta, annotations by together by Croft in early 18th C; Manuscripts, 270; Shay and Thompson, Clarke, Pay your Croft; clefs added two separate paper types present. Purcell Manuscripts, 134; Taylor, Thematic Thanks, Tell the by several Hand of London A identified by Catalog, 118 World, Barbadoes unknown scribes Shay and Thompson Song, Now Albion Raise; coronation anthem (Clarke, Praise the Lord, O Jerusalem) GB-Ob T 1278 Sections of The H. Purcell Unknown scribe Before 1698 Part Bass part copied for Leveridge; Fellowes, The Catalogue of the Indian Queen includes solo and chorus sections Manuscripts, 282; H. Purcell, The Indian but not the part of Ismeron taken Queen, ed. Laurie, p. xxv; Shay and by Leveridge in the production of Thompson, Purcell Manuscripts, 257; c. 1698–1700 Zimmerman, Henry Purcell…An Analytical Catalogue, 473 GB-Ob T 1503 Anthems Aldrich, Blow, John Phipps c. 1715 Score ‘John Phipps His Score Book H. Purcell, Sacred Music, Part II, ed. Croft, O. Gibbons, January the 6 1714:15’. Probably Pike, p. xxiv; H. Purcell, Sacred Music, Godfry?, Humfrey, copied over a long period due to Part V, ed. Thompson, p. xv; Shay and H. Purcell, Tucker, changes in hand. Phipps was Thompson, Purcell Manuscripts, 157–9; Wise vicar choral at St Patrick’s Zimmerman, Henry Purcell…An Cathedral Dublin, and entered Analytical Catalogue, 473 music into the partbooks of Christ Church, Dublin GB-Ob T 1504 Sacred music Various 17th-C and James Hawkins Early 18th C Score Shay and Thompson, Purcell early 18th-C English Manuscripts, 227, 230; Zimmerman, composers Henry Purcell…An Analytical Catalogue, 473 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Ob T 1508 Keyboard suites Various keyboard Charles Babel 1701 Score Oblong quarto manuscript. First Brookes, British Keyboard Music, 117; composers, mainly and last leaves apparently lost. Draghi, Harpsichord Music, ed. English and French, Inscribed ‘Ce Liure Arpartient a Klakowich, pp. ix–xi; Gustafson, including Clarke, gm. Babel 1701 London’. Many French Harpsichord Music, vol. II, 174– Croft, Dieupart, R. pieces anonymous 86; Hodge, ‘English Harpsichord King, Lully, H. Repertoire’, vol. III, 101–2; Taylor, Purcell Thematic Catalog, 118; Woolley, ‘English Keyboard Sources’, 198–221, 260; Zimmerman, Henry Purcell…An Analytical Catalogue, 473 GB-Och 3, fols. Trio sonatas Bassani, H. Purcell Goodson sr, After 1683 Score Loose leaves left unbound until http://library.chch.ox.ac.uk/music/pa 39–70 (Bassani, Op. 5, No. (first layer); Clarke, Goodson jr (first layer); late 18th C, but Goodson sr left ge.php?set=Mus.+3+%28ff.+39-- 1; H. Purcell, Lully, H. Purcell early 18th C blank leaves later filled by his 70%29; H. Purcell, Dramatic Music, Part Sonatas 7, 8 and 9 (second layer) (second son, suggesting the group formed II, ed. Spink, p. xxxvi; H. Purcell, King from Sonatas of Four layer) a discrete unit. Purcell sonatas Arthur, ed. Laurie, p. xii; H. Purcell, Parts) (first layer); copied from GB-Lbl Add. 30930 Ten Sonatas of Four Parts, ed. Tilmouth, instrumental theatre according to Shay and p. xxi; Shay and Thompson, Purcell music (second layer) Thompson Manuscripts, 118; Taylor, Thematic Catalog, 115; Zimmerman, Henry Purcell…An Analytical Catalogue, 467 GB-Och 8, fols. Instrumental C. Gibbons Francis Withey 1680s Score First two sections of a Ashbee, Thompson and Wainwright, 1–14 and 17–39 consort music guardbook, each with its own Viola da Gamba Society Index, vol. II, (fantazia suites) pagination. Dating based on 225–32; watermark evidence given by http://library.chch.ox.ac.uk/music/pa Ashbee, Thompson and ge.php?set=Mus.+8 Wainwright GB-Och 8, fols. Instrumental Locke Francis Withey 1680s Score Third section of a guardbook, Ashbee, Thompson and Wainwright, 41–58 consort music (The with its own pagination. Dating Viola da Gamba Society Index, vol. II, Second Part of the based on watermark evidence 225–32; Harding, A Thematic Catalogue, Broken Consort) given by Ashbee, Thompson and 106–7, 119, Tables IV and VI; Wainwright http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+8 GB-Och 8, fols. Motets Rovetta and Francis Withey 1680s Score Fourth section of a guardbook, Ashbee, Thompson and Wainwright, 61–106 unknown with its own pagination. Viola da Gamba Society Index, vol. II, According to Milsom, the 225–32; Rovetta motets were probably http://library.chch.ox.ac.uk/music/pa copied from the printed copy of ge.php?set=Mus.+8 Gemma musicalis…Liber Quartus (1649) held in Christ Church (now GB-Och 887–92). Dating based on watermark evidence given by Ashbee, Thompson and Wainwright MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 8, fols. Madrigals Palestrina Goodson sr, 1680s Score Copied without text, although Ashbee, Thompson and Wainwright, 109–47 Aldrich full text of first item provided by Viola da Gamba Society Index, vol. II, Aldrich. Milsom notes that the 225–32; madrigals are from Delle madrigali http://library.chch.ox.ac.uk/music/pa spirituali a cinque voci…libro secondo ge.php?set=Mus.+8 (Rome, 1594). Dating based on watermark evidence given by Ashbee, Thompson and Wainwright GB-Och 11 Anthems and Aldrich (inc. Charles c. 1690 Score Husbands was paid for copying Aldrich, Selected Anthems, ed. Shay, 117; anthem arrangements of Husbands at Christ Church in 1691, but http://library.chch.ox.ac.uk/music/pa arrangements Farrant, Palestrina, (Oxford A) Shay and Thompson have linked ge.php?set=Mus.+11; Herissone, ‘The (contrafacta) Tallis), Child, this payment with entries in the Theory and Practice of Composition’, Mundy, Rogers, cathedral partbooks, and this 214–15; Shay and Thompson, Purcell Tallis, Robert White manuscript (together with GB- Manuscripts, 150, 309–10 Och 12) belonged in Aldrich’s private library GB-Och 12 Anthems and Aldrich (inc. Charles c. 1690 Score Partner book to GB-Och 11, Aldrich, Selected Anthems, ed. Shay, 117; anthem arrangements of Husbands containing later repertory and http://library.chch.ox.ac.uk/music/pa arrangements Carissimi, O. (Oxford A) requiring organ accompaniment. ge.php?set=Mus.+12; Harding, A (contrafacta) Gibbons, Wise), As with GB-Och 11, this formed Thematic Catalogue, 6–7; Herissone, ‘The Blow, Child, Cooke, part of Aldrich’s personal Theory and Practice of Composition’, C. and O. Gibbons, collection 215; Shay and Thompson, Purcell Humfrey, W. Lawes, Manuscripts, 150, 309–10 Locke, Wise GB-Och 14 Miscellaneous Blow, Carissimi, Blow Before end Score Shaw notes characteristics of Blow, Anthems IV, ed. Wood, 205; contents, mainly Cecchelli, Child, 1677 Blow’s early hand; contents also http://library.chch.ox.ac.uk/music/pa comprising anthems Cooke, Crivelli, C. suggest apprentice copying, ge.php?set=Mus.+14; Harding, A (inc. symphony Gibbons, Locke, including music by Cooke, C. Thematic Catalogue, 5–7, 9, 39; anthems), Italian Monteverdi, Pesenti, Gibbons (his teachers) and Locke Herissone, ‘The Theory and Practice songs, English Rovetta, Savioni, of Composition’, 215–16; Shaw, ‘The devotional songs Stradella, Wise Autographs of John Blow’, 88–90; Wainwright, Musical Patronage, 366–8 GB-Och 15, fols. Anthems and service Aldrich, Coperario, Aldrich, Late 17th C Score, Goodson sr copied Aldrich’s I Aldrich, Selected Anthems, ed. Shay, 117; 1–43 settings, canons (by C. Gibbons, Goodson sr keyboard score Waited Patiently. Some incomplete, http://library.chch.ox.ac.uk/music/pa Morley), fantasy (by Thomas Morley sketched and reworked material. ge.php?set=Mus.+15+%28ff.+1-- C. Gibbons), Milsom indicates that the canons 43%29; Herissone, ‘The Theory and fantazia suites (by were almost certainly copied Practice of Composition’, 216–17; Coperario) from GB-Och 47. Coperario Shay, ‘“Naturalizing” Palestrina and fantazia suites in keyboard score Carissimi’, 382–3 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 15, fols. Keyboard music, Byrd, C. and O. Aldrich Between c. Keyboard Book probably belonged to Bailey, Seventeenth-Century British 44–89 inc. voluntaries; Gibbons, John 1662 and score Sampson Estwick due to pen Keyboard Sources, 84−5; Brookes, British keyboard parts to Price, Tallis 1682 trial, ‘Samul Estwck His Book’ Keyboard Music, 74; anthems and http://library.chch.ox.ac.uk/music/pa instrumental consort ge.php?set=Mus.+15+%28ff.+44-- music 89%29; Herissone, ‘The Theory and Practice of Composition’, 216–17; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3; Woolley, ‘English Keyboard Sources’, 260 GB-Och 16 Anthems and Aldrich (inc. Aldrich c. 1685–1702 Score Assembled by Aldrich from loose Aldrich, Selected Anthems, ed. Shay, 117; anthem arrangements of numbered gatherings; bound in http://library.chch.ox.ac.uk/music/pa arrangements Bull, Carissimi, early 18th C ge.php?set=Mus.+16; Herissone, ‘The (contrafacta) Farrant, O. Theory and Practice of Composition’, Gibbons, Humfrey, 217–18; Shay, ‘“Naturalizing” Palestrina, Tallis, Palestrina and Carissimi’, 382–3 Wise) Byrd, O. Gibbons, Mundy, GB-Och 17 English, French and Albrici, Aldrich, Aldrich, Late 17th C Score Goodson added six songs by http://library.chch.ox.ac.uk/music/pa Italian secular song Carissimi, Graziani, Goodson sr Graziani at the end of the ge.php?set=Mus.+17; Herissone, ‘The Roger Hill, Jeffreys, manuscript Theory and Practice of Composition’, Jenkins, Lanier, W. 218; Shay, ‘“Naturalizing” Palestrina Lawes, Lowe, Lully, and Carissimi’, 382–3 Reggio, Rossi, Savioni, Wilson and others (mostly unidentified) GB-Och 18 Italian and English Aldrich, Blow, Aldrich c. 1670 Score Dating from Wainwright, and http://library.chch.ox.ac.uk/music/pa secular and Carissimi, Facchi, C. (before 1677) attribution to ‘Mr Blow’ ge.php?set=Mus.+18; Herissone, ‘The devotional song; and O. Gibbons, Theory and Practice of Composition’, Latin motets; Grandi, Jeffreys, W. 218; Shay, ‘“Naturalizing” Palestrina anthems Lawes, Marazzoli, and Carissimi’, 382–3; Wainwright, Ramsey, Turini, Musical Patronage, 368–70 Wise GB-Och 19 Anthems and service Aldrich Aldrich 1680s–90s Score Copied in three layers, separating Aldrich, Selected Anthems, ed. Shay, 117; services, verse anthems and full http://library.chch.ox.ac.uk/music/pa anthems ge.php?set=Mus.+19; Herissone, ‘The Theory and Practice of Composition’, 219; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3; Spink, Restoration Cathedral Music, 317 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 21 Instrumental Coperario, O. Two unknown c. 1620s (first Score Inscribed ‘Ben: Rogers his book. Ashbee, Thompson and Wainwright, consort music Gibbons (first layer); scribes (first two layer); c. Aug[us]t 18 1673 and presented Viola da Gamba Society Index, vol. I, (fantazias), anthems Farmelo, Gesualdo, layers); Rogers 1630s me by Mr John Playford stationer 190–4; Cheverton, ‘English Church (first layer); untexted C. Gibbons, Nenna, (third layer) (second in the Temple London. This Music’, 502–3; Italian and English Merula, Missino, layer); c. Score book was done formerly by http://library.chch.ox.ac.uk/music/pa madrigals and Monteverdi, Philips, 1673–85 that rare Musition, Mr Orlando ge.php?set=Mus.+21; Harper, English instrumental Wilbye (second (third layer) Gibbons and this book is of great ‘Orlando Gibbons’; Herissone, ‘To Fill, consort music layer); Rogers (third value to a Composer’. Rogers Forbear or Adorne’, 102–8; Spink, (second layer); three layer) filled in gaps left by the other two Restoration Cathedral Music, 323–4; anthems, short copyists. Items dated (between Wainwright, Musical Patronage, 370–4 service and Te 1677 and 1685) Deum (third layer) GB-Och 22 Anthems and service Aldrich, Blow, Goodson sr, Before 1677 Score Composite score, with later http://library.chch.ox.ac.uk/music/pa settings Cooke, C. Gibbons, Goodson jr (first layer); copying by Goodson jr from fol. ge.php?set=Mus.+22; Harding, A Locke, Purcell from c. 1677 133. Goodson sr’s copying is in Thematic Catalogue, 7, 14; Herissone, to c. 1690 two layers: the first contains his ‘The Theory and Practice of (second early hand (with similarities to Composition’, 220; H. Purcell, Sacred layer); early Lowe); later copying suggests Music, Part I, ed. Dennison, p. xiii; H. 18th C (later some haste, and pages were left Purcell, Sacred Music, Part V, ed. additions) blank for Purcell’s I will love thee, Thompson, p. xiv; Shay and for which only the chorus was Thompson, Purcell Manuscripts, 219–21; copied Zimmerman, Henry Purcell…An Analytical Catalogue, 467 GB-Och 23 Secular and Bassani, Blow, Goodson sr, Late 17th C Score Mainly in the hand of Goodson http://library.chch.ox.ac.uk/music/pa devotional song; Act Carissimi, Clarke, Lowe, Goodson with early sr, but Lowe copied Blow’s ge.php?set=Mus.+23; H. Purcell, song (Blow, Awake Croft, Edward jr, and two 18th C Awake my Lyre on fols. 4–6; this Duets, Dialogues and Trios, ed. Spink, p. my Lyre); odes (H. Golding, Lully, H. unknown scribes additions score corresponds with the parts xviii; Zimmerman, Henry Purcell…An Purcell, Celebrate this Purcell, Robert in GB-Ob Mus.Sch.c.122. Later Analytical Catalogue, 468 Festival and Blow, Smith additions by Goodson jr My Trembling Song); extracts from Lully’s Cadmus et Hermione; motets, anthems and services GB-Och 32 Theatre music from H. Purcell Goodson jr Early 18th C Score Copied from D-Hs ND VI 3101. http://library.chch.ox.ac.uk/music/pa Oedipus, Timon of An anonymous Mass in D and ge.php?set=Mus.+32; H. Purcell, The Athens, Bonduca, The ode added later by Goodson jr Indian Queen, ed. Laurie, p. xxvii; Indian Queen; ode, Zimmerman, Henry Purcell…An Hail! Bright Cecilia Analytical Catalogue, 468 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 34–6 Instrumental suites Unknown Unknown scribe Early 18th C Three Probably preserves the repertory http://library.chch.ox.ac.uk/music/pa partbooks of the Oxford Waits. Milsom ge.php?set=Mus.+34--6 suggests the music may be autograph, and has recorded in detail the related scores and parts preserved elsewhere in the Christ Church collection GB-Och 37, pp. Venus and Adonis Blow Goodson sr Early 1680s Score Wood suggests that the readings Blow, Venus and Adonis, ed. Wood, p. 99–138 in this score preserve an interim xxiii; stage between the first and http://library.chch.ox.ac.uk/music/pa second versions of the work ge.php?set=Mus.+37+%28pp.+99-- 138%29; Shaw, ‘John Blow and Oxford’, 142 GB-Och 38 Service in B flat H. Purcell John Walter c. 1700 Score According to Shay and http://library.chch.ox.ac.uk/music/pa Thompson may have been ge.php?set=Mus.+38; Shay and copied from GB-Cfm 117, to Thompson, Purcell Manuscripts, 213–14; which Walter makes some Zimmerman, Henry Purcell…An annotations, although Isaack’s Analytical Catalogue, 468 copy has incomplete text and barring GB-Och 39 Sonnata’s of III Parts H. Purcell Edward Hull Late 1680s? Score Bound score with calligraphic http://library.chch.ox.ac.uk/music/pa appearance. Some variants in ge.php?set=Mus.+39; H. Purcell, relation to printed parts Twelve Sonatas of Three Parts, ed. Tilmouth, p. xvi; Shay and Thompson, Purcell Manuscripts, 124–5; Zimmerman, Henry Purcell…An Analytical Catalogue, 468 GB-Och 43 Devotional music Carissimi, C. and E. Aldrich, c. 1680–1700 Score Bowman copied Humfrey’s ‘How http://library.chch.ox.ac.uk/music/pa mainly by Italian Gibbons, Humfrey, Bowman, well doth this harmonious ge.php?set=Mus.+43 ; Harding, A composers; a secular Lanier, Locke, unknown scribe meeting’. Incomplete material on Thematic Catalogue, 3; Shay, song (Humfrey, Monferrato, Reggio, fol. 1r by unknown scribe, ‘“Naturalizing” Palestrina and ‘How well doth this Sances, Trabattone tentatively identified as Aldrich Carissimi’, 382–3; Wainwright, Musical harmonious by Milsom Patronage, 374–5 meeting’) GB-Och 46 Organ parts for Barrett, Carissimi, R. King, four c. 1700 Keyboard Upright folio volume Bailey, Seventeenth-Century British service music (front Clarke, J. Eccles, O. unknown scribes score Keyboard Sources, 84−5; Hodge, ‘English end); keyboard Gibbons, P. Hart, R. Harpsichord Repertoire’, vol. III, 90; music and settings King, Benjamin http://library.chch.ox.ac.uk/music/pa (reverse end) Lambe, H. Lawes, ge.php?set=Mus.+46; Taylor, Thematic H. Loosemore, Catalog, 115; Woolley, ‘English Lully, Francis Pigott, Keyboard Sources’, 15–16, 260–1 H. Purcell, Reggio, Rogers MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 47 Organ parts for Byrd, Bull, O. Unknown scribe c. 1660– Keyboard Upright folio volume; pp. 69–70 Bailey, Seventeenth-Century British anthems (first layer); Gibbons, Hooper, (first two layers); before 1677 score originally belonged in another Keyboard Sources, 86; Blow, Complete keyboard music Tallis (first layer); Aldrich (third and (first two volume and contain canons based Harpsichord Music, ed. Klakowich, 118; (second layer); Blow, C. and O. fourth layers) layers); third on a cantus firmus used by Blow, Complete Organ Works, ed. keyboard music Gibbons, Hingeston and fourth Morley. Cooper, 83; Brookes, British Keyboard (third layer); (second layer); Blow layers begun Music, 75–6; Cox, Organ Music in compositional (third layer); Aldrich before 1677 Restoration England, 79; sketches and (fourth layer) http://library.chch.ox.ac.uk/music/pa fragments (fourth ge.php?set=Mus.+47; Spink, Restoration layer) Cathedral Music, 67; Woolley, ‘English Keyboard Sources’, 261 GB-Och 48 Two-part motets Bassani, Colonna Goodson sr (first c. 1670–1710 Score Wainwright indicates there is one http://library.chch.ox.ac.uk/music/pa (first layer); Italian (first layer); Sances layer); unknown unidentified scribe, responsible ge.php?set=Mus.+48; Harding, A solo vocal music (second layer); scribe (second for layers 2 and 3; Shay and Thematic Catalogue, 3; Herissone, ‘The (second layer); Clarke, Fiocco, C. layer); unknown Thompson identify two separate Theory and Practice of Composition’, English and Italian and E. Gibbons, scribe (third scribes, of whom they suggest the 220; Shay, ‘“Naturalizing” Palestrina devotional music Graziani, d’India, layer); Aldrich first is Francis Smith; Milsom and Carissimi’, 382–3; Shay and (third layer); Lanier, Locke, (fourth layer); disagrees with this identification, Thompson, Purcell Manuscripts, 313; anthems, anthem Reggio, Stradella John Church so indicates two unidentified Taylor, Thematic Catalog, 115; arrangments and (third layer); Aldrich, (fifth layer) copyists Wainwright, Musical Patronage, 376–8; psalm chants (fourth Hooper, Palestrina, Zimmerman, Henry Purcell…An layer); anthem (fifth Tallis, Tye (fourth Analytical Catalogue, 468 layer) layer); Blow (fifth layer) GB-Och 49, pp. Psalm chants Turner Turner Late 17th C Score Part of a guardbook assembled in http://library.chch.ox.ac.uk/music/pa 44–7 the late 18th C. Single bifolium ge.php?set=Mus.+49+%28pp.+44-- that has been folded, so could 7%29; Spink, Restoration Cathedral have been sent to Oxford as a Music, 15; Wainwright, Musical transmission manuscript Patronage, 378–82 GB-Och 49, pp. Anthems William Norris, D. Unknown scribe Early 18th C Score Part of a guardbook assembled in http://library.chch.ox.ac.uk/music/pa 66–87 Purcell the late 18th C. Originally ge.php?set=Mus.+49+%28pp.+66-- paginated 1–19 by the copyist 87%29; Wainwright, Musical Patronage, 378–82 GB-Och 49, pp. Secular and Blow, Cooke, Hall, Unknown scribe Late 17th C Score Part of a guardbook assembled in http://library.chch.ox.ac.uk/music/pa 88–151 devotional songs James Hart, the late 18th C ge.php?set=Mus.+49+%28pp.+88-- and partsongs Humfrey, Locke, 151%29; Harding, A Thematic Catalogue, Portman, Thomas 36; Wainwright, Musical Patronage, 378– Wilkinson, Wilson, 82 Wise MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 88 Anthems and service Bull, Byrd, Farrant, C. Gibbons, John From late Keyboard Organbook begun at Winchester, Cheverton, ‘English Church Music’, settings O. Gibbons, Giles, Silver?, several 1630s? score probably before the Civil War, 466–7; John Holmes, unknown scribes but transferred to New College. http://library.chch.ox.ac.uk/music/pa Morley, Mundy, This was apparently a personal ge.php?set=Mus.+88 Robert Parsons, rather than institutional Sheppard, John organbook, since there is Silver, Tallis, evidence of William King’s Tomkins, Tye, personal ownership, but it Weelkes, Robert probably went to Goodson sr White afterwards, as his successor at New College. Early repertory, but compositional materials added by a later unknown scribe GB-Och 92 Simple keyboard O. Gibbons, Mary Kercher (?) mid-17th C Keyboard Probably of Winchester Bailey, Seventeenth-Century British music and Thomas Holmes, and unknown score provenance. According to Bailey, Keyboard Sources, 87–9; Brookes, British pedagogical Robert Johnson, W. scribes (first formerly included an annotation Keyboard Music, 85–6; materials (first layer); Lawes, Thomas layer); C. Gibbons reading ‘This book belonged to http://library.chch.ox.ac.uk/music/pa compositional Warwick, and (second layer); the Honourable Mis- Mary ge.php?set=Mus.+92 sketches (second unidentified W. King? (third Kircher 1643’, but this layer); dances (third composers (first layer) annotation is no longer legible; layer) layer); C. Gibbons another annotation, ‘Emanuell (second layer); Miles’, occurs on fol. 26v. Mary unknown (third Kercher married Christopher layer) Gibbons in 1646 and the book passed into Gibbons’s ownership: he added autograph compositional materials GB-Och 94 Service setting and John Golding William Isaack Late 17th C Score Belonged to the Aldrich http://library.chch.ox.ac.uk/music/pa anthems collection at Christ Church, and ge.php?set=Mus.+94; Shay and contains Golding’s earliest pieces, Thompson, Purcell Manuscripts, 61; five of which also occur in GB- Spink, Restoration Cathedral Music, 346, Cfm 117, where they were copied 381 c. 1684. Likely to have been transmission manuscript for Oxford MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 337 Commonplace book Bevin, Birchensha, Francis Withey c. 1670–1695 Score Bound with Withey’s copy of http://library.chch.ox.ac.uk/music/pa containing extracts Locke, Matteis, Simpson’s Compendium of Practical ge.php?set=Mus.+337; Thompson, copied from theory Morley, H. Purcell, Musick. Inscribed ‘Francis Withey ‘“Francis Withie of Oxon”’ books and related C. Simpson His Book Octobre 12 1667’. exercises Extracts are from Bevin, A Briefe and Short Instruction in the Arte of Musicke; notes by Birchensha; Locke, Melothesia; Matteis, Ayrs for the Violin; Morley, A Plaine and Easie Introduction; H. Purcell’s edition of Playford, Introduction to the Skill of Musick; C. Simpson, A Compendium of Practical Musick GB-Och 350 Secular and Albrici, Banister, Goodson sr, Mainly Score Dated by Milsom on the basis of http://library.chch.ox.ac.uk/music/pa devotional songs Blow, Carissimi, unknown scribe before end attribution to ‘Mr Blow’ in item ge.php?set=Mus.+350; Holman, Henry and motets Desgranges, 1677 36 of the 43 copied pieces. Purcell, 8; H. Purcell, Secular Songs, ed. Graziani, Hall, Probably a pre-bound Laurie, p. xix; Shay and Thompson, Humfrey, H. Lawes, manuscript, due to unused ruled Purcell Manuscripts, 267; Zimmerman, Lully, Marazzoli, D? staves, especially at the end. Last Henry Purcell…An Analytical Catalogue, and H. Purcell, two items added in a different 468 Rossi, Turner, Wise hand GB-Och 389 Secular song (treble Bassani, Blow, Begun by From c. 1697 Score Probably a pre-bound book due http://library.chch.ox.ac.uk/music/pa line only) Eccles, Hall, Goodson sr, to unused ruled pages; likely ge.php?set=Mus.+389; Zimmerman, Leveridge, D. and unknown scribes pedagogical function; includes Henry Purcell…An Analytical Catalogue, H. Purcell, Weldon musical rudiments at the reverse 468 end in the hand of Goodson sr. ‘William Shadwell’ written on outside cover. Inside cover includes date ‘Oc[to]b[e]r 19 [16]97’ GB-Och 409–10 Instrumental Locke Francis Withey After 1670? Two partbooks Withey’s readings preserve Ashbee, Thompson and Wainwright, consort music (For significant variants in relation to Viola da Gamba Society Index, vol. II, Several Friends) Locke’s autograph in GB-Lbl 245–7; Add. 17801, including differences http://library.chch.ox.ac.uk/music/pa of suite order and movement ge.php?set=Mus.+409--10; Harding, A order within suites, and absent Thematic Catalogue, Table I; Thompson, movements ‘The Sources of Locke’s Consort’, 16– 43 GB-Och 433 Solo violin suites Davis Mell (first Davis Mell (first Before 1662 Score Contemporary binding and Holman, Four and Twenty Fiddlers, 244, (first layer) layer); Banister, layer); James (first layer); additions in space left blank by 268–9; Handel (later Talbot and early 18th C Mell suggest this was a pre- http://library.chch.ox.ac.uk/music/pa additions) Goodson jr (later (later bound book. Rudiments copied ge.php?set=Mus.+433 additions) additions) by Goodson jr, suggesting the book developed a teaching function MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 438 Secular song (voice Wilson, unknown Lowe 1645–late Score, Inscribed ‘Mrs Anne Bailey’ and http://library.chch.ox.ac.uk/music/pa part only) (first (first layer); Batten, 1660s keyboard score dated 1645; Lowe may have ge.php?set=Mus.+438 layer); organ Bevin, Byrd, Child, begun the book for her before accompaniments to Farrant, Tallis the book’s change of function. service settings and (second layer) Organ parts include some anthems (second overlap with repertory copied in layer) Christ Church partbooks, but apparently Lowe’s own book, including some personal jottings GB-Och 468–72 Instrumental A. Ferrabosco II, William Ellis mid-1660s Five partbooks First layer probably copied from Ashbee, ‘The Transmission of Consort consort music Jeffreys, Jenkins, (first layer); (first layer); Archbishop Marsh’s manuscripts, Music’, 269; (fantazias) (first Ward, William Goodson sr 1690s or later according to Milsom. The parts http://library.chch.ox.ac.uk/music/pa layer); extracts from White (first layer); C. (second layer) (second for Purcell’s Raise, raise the Voice ge.php?set=Mus.+468—72; Shay and odes and theatre Gibbons and H. layer) were copied from GB-Och 1145 Thompson, Purcell Manuscripts, 175; music (H. Purcell, Purcell (second and contain added dances, Thompson, ‘A Further Look’; Celebrate this Festival, layer) possibly by Goodson sr Zimmerman, Henry Purcell…An Dioclesian, The Fairy Analytical Catalogue, 468 Queen, The Indian Queen, Raise, raise the Voice), an anthem (second layer) GB-Och 510–14 Italian madrigals Fontanelli, da Francis Tregian? c. 1620 Five partbooks Italian madrigals in ‘Tregian’ layer http://library.chch.ox.ac.uk/music/pa (‘Tregian’ layer); Gagliano, Gesualdo, (‘Tregian’ layer); (‘Tregian’ copied from printed sources; ge.php?set=Mus.+510--14; Herissone, arrangements of Pecci, Quintiani Aldrich (Aldrich layer); late Aldrich layer added at front of set ‘The Theory and Practice of anthems and service (‘Tregian’ layer); layer) 17th C Composition’, 221; Shay, music (Aldrich layer) Tallis, arranged by (Aldrich ‘“Naturalizing” Palestrina and Aldrich (Aldrich layer) Carissimi’, 382–3; Wainwright, Musical layer) Patronage, 389–91 GB-Och 521–4 Motets (front end); Palestrina (front Aldrich Late 17th C Four Aldrich, Selected Anthems, ed. Shay, 118; anthems and motet end); Aldrich, partbooks http://library.chch.ox.ac.uk/music/pa arrangements Palestrina arranged ge.php?set=Mus.+521--4; Shay, (reverse end) by Aldrich (reverse ‘“Naturalizing” Palestrina and end) Carissimi’, 382–3 GB-Och 554, fol. Anthem, God is our Blow H. Purcell Before end Keyboard Copied stratigraphically on a http://library.chch.ox.ac.uk/music/pa 3 Hope and Strength 1677 score single sheet. Shay and Thompson ge.php?set=Mus.+554+%28f.+3%29; suggest it may possibly be linked Herissone, ‘To Fill, Forbear or Adorne’, to Westminster Abbey 15; Shay and Thompson, Purcell Manuscripts, 2, 11–12, 26, 201, 216–18 GB-Och 554, fols. Service in E minor Blow Lowe Before end Score http://library.chch.ox.ac.uk/music/pa 4–9 1677 ge.php?set=Mus.+554+%28ff.+4-- 9%29 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 580 Secular songs mainly Samuel Akeroyde, Goodson sr c. 1696– Score Ruled with five-line staves at Blow, Complete Harpsichord Music, ed. from theatre works John Bowman, J. 1700? front end and six-line staves at Klakowich, 118; (front end); Eccles, Philip Hart, reverse end. Inside cover includes http://library.chch.ox.ac.uk/music/pa keyboard music and D. and H. Purcell inscription ‘Catherine Brooks, ge.php?set=Mus.+580; H. Purcell, settings (reverse (front end); Samuel her Book’. Notational rudiments Dramatic Music, Part II, ed. Spink, p. end) Akeroyde, Blow, D. included at the beginning of both xxxvi; H. Purcell, Royal Welcome Songs, and H. Purcell ends of the book; pedagogical Part II, ed. Wood, p. xxi; Woolley, (reverse end) manuscript. Some songs also ‘English Keyboard Sources’, 94–5, included in the settings at the 262–3; Zimmerman, Henry Purcell…An keyboard end of the book Analytical Catalogue, 468 GB-Och 616, fols. Parts of ode, Janus, Goodson sr Goodson sr 1705 Score Loose-leaf score fragments http://library.chch.ox.ac.uk/music/pa 1–3 and 23–21 Did Ever to thy Sight (outline drafts and second drafts). ge.php?set=Mus.+616; Herissone, Relates to completed score in ‘Richard Goodson the Elder’s Ode’; GB-Och 618, and parts in GB- Herissone, ‘The Theory and Practice Ob Mus.Sch.c.135. Composed of Composition’, 221; Trowles, ‘The for celebration to mark victory at Musical Ode in Britain’, vol. II, 78 Blenheim, January 1705 GB-Och 616, fols. Te Deum and Goodson sr Goodson sr, Late 17th C Score Goodson jr copied alternative http://library.chch.ox.ac.uk/music/pa 4–17 Jubilate in C Goodson jr Gloria for Jubilate ge.php?set=Mus.+616 GB-Och 617, pp. Ode, O qui potenti Goodson sr Goodson sr Early 18th C Score Loose-leaf score used as copy http://library.chch.ox.ac.uk/music/pa 1–28 text for parts in GB-Ob ge.php?set=Mus.+617; Herissone, Mus.Sch.c.127. Annotation ‘The Theory and Practice of describes it as ‘Musick composed Composition’, 221–2; Holman, on account of some early ‘Original Sets of Parts’, 267; Trowles, successes in Queen Anne’s reign ‘The Musical Ode in Britain’, vol. II, for the Theatre in Oxon’ 75 GB-Och 617, pp. Ode, Ormond’s Glory Goodson sr Goodson sr Early 18th C Score Loose-leaf score. Composed c. http://library.chch.ox.ac.uk/music/pa 32–54 1702 to celebrate a military ge.php?set=Mus.+617; Herissone, victory ‘The Theory and Practice of Composition’, 221–2; Trowles, ‘The Musical Ode in Britain’, vol. II, 76 GB-Och 618, fols. Act song, Sacra Goodson sr Goodson sr Before mid- Score Loose-leaf score including drafts; http://library.chch.ox.ac.uk/music/pa 1–4 musarum 1682 used as copy text for parts in ge.php?set=Mus.+618+%28ff.+1-- GB-Ob Mus.Sch.c.136 4%29; Herissone, ‘The Theory and Practice of Composition’, 222; Holman, ‘Original Sets of Parts’, 268– 9; Trowles, ‘The Musical Ode in Britain’, vol. II, 75 GB-Och 618, fols. Act song, Iam resurgit Goodson sr Goodson sr Late 17th C Score Loose-leaf score including drafts http://library.chch.ox.ac.uk/music/pa 5–8 divus or early 18th ge.php?set=Mus.+618+%28ff.+5-- C 8%29; Herissone, ‘The Theory and Practice of Composition’, 222; Trowles, ‘The Musical Ode in Britain’, vol. II, 75 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 618, fols. Act song, Qui efficaci Goodson sr Goodson sr Between Score Loose-leaf score used as copy http://library.chch.ox.ac.uk/music/pa 9–17 carmine 1685 and text for parts in GB-Ob ge.php?set=Mus.+618+%28ff.+9-- 1702 Mus.Sch.c.134 17%29; Herissone, ‘The Theory and Practice of Composition’, 222; Holman, ‘Original Sets of Parts’, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 76 GB-Och 618, fols. Act song, O cura Goodson sr Goodson sr Unknown Score Loose-leaf score used as copy http://library.chch.ox.ac.uk/music/pa 18–25 divum text for parts in GB-Ob ge.php?set=Mus.+618+%28ff.+18-- Mus.Sch.c.130 25%29; Herissone, ‘The Theory and Practice of Composition’, 222; Holman, ‘Original Sets of Parts’, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 76 GB-Och 618, fols. Ode, Janus, Did Ever Goodson sr Goodson sr 1705 Score Relates to incomplete drafts in http://library.chch.ox.ac.uk/music/pa 26–35 to thy Sight GB-Och 616, fols. 1–3 and 23– ge.php?set=Mus.+618+%28ff.+26-- 21, and parts in GB-Ob 35%29; Herissone, ‘Richard Goodson Mus.Sch.c.135. Composed for the Elder’s Ode’; Herissone, ‘The celebration to mark victory at Theory and Practice of Composition’, Blenheim, January 1705 222; Trowles, ‘The Musical Ode in Britain’, vol. II, 78 GB-Och 618, fols. Ode, Carminum Aldrich, from Lowe Aldrich 1705–6 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 36–42 praeses and Goodson sr preserved in GB-Ob ge.php?set=Mus.+618+%28ff.+36-- Mus.Sch.c.128. Adapted from 42%29; Herissone, ‘“To Entitle two earlier versions of same ode, Himself to ye Composition”’; Holman, by Lowe and by Goodson sr ‘Original Sets of Parts’, 267; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3; Trowles, ‘The Musical Ode in Britain’, vol. II, 13–14; GB-Och 618, fols. Ode, Carminum Goodson sr, from Goodson sr c. 1695 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 43–50 praeses Lowe preserved in GB-Ob ge.php?set=Mus.+618+%28ff.+43-- Mus.Sch.c.129. Adds to earlier 50%29; Herissone, ‘“To Entitle version of the same ode, by Lowe Himself to ye Composition”’; Holman, ‘Original Sets of Parts’, 267; Trowles, ‘The Musical Ode in Britain’, vol. II, 13–14 GB-Och 618, fol. Overture to Act Goodson sr Goodson sr Unknown Score Loose-leaf score. Annotation http://library.chch.ox.ac.uk/music/pa 51 Song identifies it as the overture to an ge.php?set=Mus.+618+%28f.+51%2; Act song by Sampson Estwick, Trowles, ‘The Musical Ode in Britain’, but this has not been identified vol. II, 78 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 619, fols. Act song, Consurge Aldrich Aldrich c. 1692 Score Loose-leaf score http://library.chch.ox.ac.uk/music/pa 1–5 tandem ge.php?set=Mus.+619+%28ff.+1-- 5%29; Herissone, ‘The Theory and Practice of Composition’, 222–3; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3, Trowles, ‘The Musical Ode in Britain’, vol. II, 12 GB-Och 619, fols. Act song, Jam satis Aldrich Aldrich 1679 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 6–11 somno preserved in GB-Ob ge.php?set=Mus.+619+%28ff.+6-- Mus.Sch.c.125 11%29; Herissone, ‘The Theory and Practice of Composition’, 222–3; Holman, ‘Original Sets of Parts’, 267; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3; Trowles, ‘The Musical Ode in Britain’, vol. II, 11 GB-Och 619, fols. Act song, Revixit io Aldrich Aldrich Before mid. Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 12–15 Carolus 1682 preserved in GB-Ob ge.php?set=Mus.+619+%28ff.+12-- Mus.Sch.c.137 15%29; Herissone, ‘The Theory and Practice of Composition’, 222–3; Holman, ‘Original Sets of Parts’, 269; Shay, ‘“Naturalizing” Palestrina and Carissimi’, 382–3; Trowles, ‘The Musical Ode in Britain’, vol. II, 13 GB-Och 619, fols. Act song, Descende Locke Lowe 1673 Score Loose-leaf score http://library.chch.ox.ac.uk/music/pa 16–19 caelo ge.php?set=Mus.+619+%28ff.+16-- 19%29; Harding, A Thematic Catalogue, 39; Trowles, ‘The Musical Ode in Britain’, vol. II, 106 GB-Och 619, fols. Act song, Dum mosa Sampson Estwick? Sampson Estwick 1693 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 20–7 torpet preserved in GB-Ob ge.php?set=Mus.+619+%28ff.+20-- Mus.Sch.c.121. Authorship 27%29; Holman, ‘Original Sets of unclear, and Holman identifies Parts’, 266 (ascribed Aldrich); Trowles, the piece as a possible Carissimi ‘The Musical Ode in Britain’, vol. II, arrangement by Aldrich 13 GB-Och 619, fols. Act song, O Maria, Sampson Estwick Sampson Estwick, c. 1692 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 28–30 O diva additions by preserved in GB-Ob ge.php?set=Mus.+619+%28ff.+28-- Goodson sr and Mus.Sch.c.132 30%29; Holman, ‘Original Sets of others Parts’, 268; Trowles, ‘The Musical Ode in Britain’, vol. II, 70–1 GB-Och 619, fols. Act song, Julio festas Sampson Estwick Sampson Estwick Before 1685 Score Loose-leaf score. Relates to parts http://library.chch.ox.ac.uk/music/pa 31–2 preserved in GB-Ob ge.php?set=Mus.+619+%28ff.+31-- Mus.Sch.c.126. Holman suggests 2%29; Holman, ‘Original Sets of may have been written for Parts’, 267; Trowles, ‘The Musical Ode Estwick’s BA degree in 1677 in Britain’, vol. II, p. 71 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 620, pp. Theatre-suite H. Purcell (first William Dingley? c. 1702 Score Original contents presented as a http://library.chch.ox.ac.uk/music/pa 1–101 movements copied layer); Clark, Corelli, (first layer), gift to Goodson jr from William ge.php?set=Mus.+620+%28pp.+1-- from Ayres for the Croft, H. Purcell Goodson jr Dingley 101%29; H. Purcell, Dramatic Music, Theatre (first layer); (second layer) (second layer) Part II, ed. Spink, p. xxxvi; H. Purcell, sonatas and other King Arthur, ed. Laurie, p. xii; H. instrumental music Purcell, Ten Sonatas of Four Parts, ed. (second layer) Tilmouth, p. xxi; Shay and Thompson, Purcell Manuscripts, 113; Taylor, Thematic Catalog, 115; Zimmerman, Henry Purcell…An Analytical Catalogue, 468 GB-Och 620, pp. Instrumental C. Gibbons, H. Goodson sr Late 17th C Score Bound with pp. 1–101 in late http://library.chch.ox.ac.uk/music/pa 102–33 consort music Purcell 18th century ge.php?set=Mus.+620+%28pp.+102-- (fantazia suites; 133%29; Shay and Thompson, Purcell Fantazia upon one Manuscripts, 113, 283; Zimmerman, Note) Henry Purcell…An Analytical Catalogue, 468 GB-Och 620, pp. Instrumental Coperario Goodson sr Late 17th C Score Bound with pp. 1–101 in late http://library.chch.ox.ac.uk/music/pa 134–61 consort music 18th century ge.php?set=Mus.+620+%28pp.+134-- (fantazia suites) 161%29; Shay and Thompson, Purcell Manuscripts, 113 GB-Och 621, fols. Italian and English Blow, Casati, C. Lowe Before 1677 Score Score of Carminum praeses relates Cheverton, ‘English Church Music’, 1–41 devotional music, Gibbons, Humfrey, to parts preserved in GB-Ob 504–5; anthems and motets; Locke, Lowe, Mus.Sch.c.129 http://library.chch.ox.ac.uk/music/pa ode Carminum praeses Monferrato, ge.php?set=Mus.+621+%28ff.+1-- Rovetta, Trabattone 41%29; Harding, A Thematic Catalogue, 36; Herissone, ‘“To Entitle Himself to ye Composition”’; Holman, ‘Original Sets of Parts’, 267; Trowles, ‘The Musical Ode in Britain’, vol. II, 13–14; Wainwright, Musical Patronage, 391–3 GB-Och 621, fols. Anthem, How Long Henry Bowman? Henry Bowman c. 1670–85 Score Authorship unconfirmed Cheverton, ‘English Church Music’, 42–6 wilt Thou Forget me, O 504–5; Lord? http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+621+%28ff.+42-- 6%29 GB-Och 623–6 Italian and English Blow, Henry Henry Bowman c. 1670–85 Four http://library.chch.ox.ac.uk/music/pa secular and Bowman, Carissimi, partbooks ge.php?set=Mus.+623--6; Harding, A devotional music Casati, Child, Facchi, Thematic Catalogue, 24; Wainwright, Filippi, Lowe, C. and Musical Patronage, 393–6 O. Gibbons, Monferrato, Rogers, Rovetta, Sances, Trabattone, Wise and others MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 628 Symphony anthems, Blow, Humfrey, H. Blow c. 1677 Score Probably bound after copying. Blow, Anthems III, ed. Wood, 174; devotional songs Purcell http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+628 ; Herissone, ‘The Theory and Practice of Composition’, 223; Humfrey, Complete Church Music: II, ed. Dennison, p. xviii; Shaw, ‘The Autographs of John Blow’, 89–90; Shay and Thompson, Purcell Manuscripts, 4, 100–1, 103; Zimmerman, Henry Purcell…An Analytical Catalogue, 468 GB-Och 685 Act song, Dum pulsa Blow Blow c. 1695 Score Loose-leaf score showing http://library.chch.ox.ac.uk/music/pa strident timpana evidence of transmission through ge.php?set=Mus.+685--6; Herissone, annotation on fol. 8v: ‘For ye ‘The Theory and Practice of Reved Dr Aldridge Dean of Xt Composition’, 223; Shaw, ‘The Church In Oxford’. Annotated Autographs of John Blow’, 92–3 ‘2d song’. Related parts in GB- Och 1141b, fols. 101–10 and GB-Och 1142b, fols 52–3 GB-Och 686 Act song, Non arma Blow Blow c. 1695 Score Loose-leaf score showing http://library.chch.ox.ac.uk/music/pa regum evidence of transmission through ge.php?set=Mus.+685--6; Herissone, annotation by Blow: ‘For the ‘The Theory and Practice of Revd. Dr. Aldridg Dean of Xt Composition’, 223; Shaw, ‘The church In Oxford’. Annotated Autographs of John Blow’, 92–3 ‘1st Song’. Related parts in GB- Och 1141b, fols. 101–10 and GB-Och 1142b, fols 52–3 GB-Och 692 Adaptation of vocal Locke Unknown scribe 1670s Score http://library.chch.ox.ac.uk/music/pa music from Acts II ge.php?set=Mus.+692; Harding, A and IV of The Thematic Catalogue, 49–50 Empress of Morocco GB-Och 747–9 Motets, anthems, Child, Dering, John Playford; Begun in c. Three Three surviving books from an http://library.chch.ox.ac.uk/music/pa devotional songs Grandi, Jeffreys, two other 1650s partbooks original set of four (continuo ge.php?set=Mus.+747--9; Harding, A Locke unknown scribes partbook is lost) Thematic Catalogue, 24; Wainwright, Musical Patronage, 183–4, 401–2 GB-Och 761 Short service Nathaniel Patrick Blow Late 17th C Score Shaw states that the text of this http://library.chch.ox.ac.uk/music/pa piece had ‘become much ge.php?set=Mus.+761; Shaw, ‘The debased’ when Blow copied it. Autographs of John Blow’, 93 Loose nested bifolios GB-Och 766 Symphony anthem, H. Purcell Unknown scribe 1690s? Score Likely Oxford provenance http://library.chch.ox.ac.uk/music/pa My Song shall be ge.php?set=Mus.+766; Shay and Alway Thompson, Purcell Manuscripts, 153, 156–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 468 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 772–6 Instrumental Locke Locke, Lowe, two Before 1677 Five partbooks Second violin part missing. Part http://library.chch.ox.ac.uk/music/pa consort music (The unknown scribes names added by Lowe, leading ge.php?set=Mus.+772--6; Harding, A First Part of the Broken Milsom to suggest that the parts Thematic Catalogue, Table IV; Herissone, Consort) may have been used at Oxford ‘The Theory and Practice of Music School meetings. Milsom Composition’, 224; Holman, Four and indicates incorrectly that GB- Twenty Fiddlers, 276 Och 776 (bass partbook) does not contain Locke’s autograph; it may have been a later addition to the set, since it does not use the movement numbering system present in the other parts. Readings contain variants in relation to Locke’s score in GB- Lbl Add. 17801 GB-Och 780 Service in G Blow Blow By late 1680s Score Dating based on readings http://library.chch.ox.ac.uk/music/pa apparently earlier than those in ge.php?set=Mus.+780; Shaw, ‘The GB-Lbl K.9.b.9(5) Autographs of John Blow’, 93 GB-Och 784 Devotional song, Henry Bowman Henry Bowman Before 1685 Score http://library.chch.ox.ac.uk/music/pa Miserere mei Deus ge.php?set=Mus.+784 GB-Och 794 Funeral sentence, H. Purcell Unknown scribe c. 1700 Score, Includes full scores of funeral http://library.chch.ox.ac.uk/music/pa Thou Knowest, Lord keyboard score sentence and the funeral march, ge.php?set=Mus.+794; Shay and (for Funeral of and a separate organ part, bound Thompson, Purcell Manuscripts, 226–7; Queen Mary) between printed copies of Zimmerman, Henry Purcell…An Purcell’s Te Deum and Jubilate and Analytical Catalogue, 469 Harmonia Sacra, Books I and II. Shay and Thompson link the manuscript to Christ Church because it belonged in the Goodson bequest and a part for the piece exists in GB-Och 1246 (Christ Church tenor part book), but this is transposed so not necessarily directly linked to this source GB-Och 865, Devotional F. Pigott? F. Pigott? Late 17th C Vocal and Anonymous piece, associated http://library.chch.ox.ac.uk/music/pa Section A partsong, Ye Mighty continuo parts with Pigott by Milsom. ge.php?set=Mus.+865%28A%29 Heavens Instrumental interludes for the same work (not appearing in the score) are preserved in the part books GB-Och 1118 and 1121 GB-Och 865, Song, ‘Wake, Reggio Unknown scribe Late 17th C Score http://library.chch.ox.ac.uk/music/pa Section C sleeping ones’ ge.php?set=Mus.+865%28C%29 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 865, Anthem, Hosanna, Unknown Unknown scribe Early 18th C Keyboard Apparently a solo anthem to http://library.chch.ox.ac.uk/music/pa Section D Peace in Heaven score (short which an unknown scribe has ge.php?set=Mus.+865%28D%29 score) added annotations in preparation for making an arrangement for larger forces GB-Och 1003 Harpsichord music Bull, Frescobaldi, O. Unknown scribe 1640– 50s? Score Oblong quarto manuscript. Bailey, Seventeenth-Century Keyboard Gibbons, Peter (first layer); (first layer); c. Annotated ‘C: Morgan: his Book’, Sources, 93–6; Blow, Complete Philips, Sweelinck Henry Bowman, 1664–77 ‘John Morgan’, ‘S Nordin’. Harpsichord Music, ed. Klakowich, 118; (first layer); Aldrich, Charles Morgan (second and Material in the first layer copied Brookes, British Keyboard Music, 89–90; Banister, Blow, (second and third layers); from GB-Och 1113; includes a http://library.chch.ox.ac.uk/music/pa Bowman, Draghi, C. third layers); c. 1700 Bowman sketch later worked out ge.php?set=Mus.+1003; Draghi, Gibbons, H. and W. Goodson sr, (fourth layer) in full. Goodson used the Harpsichord Music, ed. Klakowich, pp. Lawes, Locke, Goodson jr manuscript for pedagogical ix–xi; Hodge, ‘English Harpsichord Jeremy Savile, (fourth layer) purposes; some early copying by Repertoire’, vol. III, 91–2; Woolley, Robert Smith, Goodson jr included ‘English Keyboard Sources’, 133–6, William Thatcher, 263–4 Wilson (second and third layers); H. Purcell and unknown (fourth layer) GB-Och 1066 Instrumental Philip Beckett, Three unknown c. 1670 Partbook Treble partbook, probably http://library.chch.ox.ac.uk/music/pa consort music Locke, Lully, Jean de scribes originally from a set of four. ge.php?set=Mus.+1066; Harding, A (dance suites and la Volée Associated with the court band Thematic Catalogue, 105–6, 119, 130–2, theatre tunes) of twenty-four violins by 134–8; Holman, Four and Twenty Holman; Philip Beckett was a Fiddlers, 314, 319–21; Wollston, ‘The member of the group Instrumentation of English Violin- Band Music’, 144–50 GB-Och 1109 Anthem, O give H. Purcell FQ4 c. 1700 Score Loose-leaf score http://library.chch.ox.ac.uk/music/pa Thanks ge.php?set=Mus.+1109; Zimmerman, Henry Purcell…An Analytical Catalogue, 469 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1114 Secular songs (first Banister?, H. Lawes Unknown scribe From mid- Score (and Music entered from both ends of Blow, Venus and Adonis, ed. Wood, p. layer); ornamented (first layer); (first layer); three 17th C to partbook?) manuscript. Used for multiple xxiv; instrumental parts unknown (second unknown scribes early 18th C purposes over considerable http://library.chch.ox.ac.uk/music/pa (second layer); layer); Samuel (second layer); period: originally a songbook, ge.php?set=Mus.+1114; Shaw, ‘John Goodson’s Akeroyde, Aldrich, Goodson sr, then used as a partbook for Blow and Oxford’, 142; Zimmerman, arrangement of Blow, O. Gibbons, Goodson jr, instrumental music, then used for Henry Purcell…An Analytical Catalogue, Venus and Adonis, Hilton, Ives, H. several unknown further vocal music and 469 anthems, songs, and Purcell, unknown scribes, possibly pedagogical purposes, partly by miscellaneous (third layer) Christ Church Goodson sr. Fols. 6–10 comprise materials (third choristers (third fragments of treble and alto parts layer) layer) for Venus and Adonis, arranged and transposed for high voices by Goodson sr; these parts are related to the fragmentary full score in GB-Och 1142, fol. 21. Wood states that GB-Och 37 was the copy text for the score and parts GB-Och 1118 Instrumental dances; Lully, Francis Unknown scribe Late 17th C Partbook Second treble partbook. Includes http://library.chch.ox.ac.uk/music/pa interludes to Pigott? instrumental interludes for piece ge.php?set=Mus.+1118%2C+Mus.+1 partsong, Ye Mighty partially preserved in GB-Och 121 Heavens 865 GB-Och 1121 Instrumental dances; Lully, Francis Unknown scribe Late 17th C Partbook Bass partbook. Includes http://library.chch.ox.ac.uk/music/pa interludes to Pigott? instrumental interludes for piece ge.php?set=Mus.+1118%2C+Mus.+1 partsong Ye Mighty partially preserved in GB-Och 121 Heavens 865 GB-Och 1127 Act songs, Conveniunt Aldrich Lowe, unknown 1682 Parts Vocal and instrumental parts for http://library.chch.ox.ac.uk/music/pa doctae sorores and Hic scribe ‘1st’ and ‘2nd’ songs, and ge.php?set=Mus.+1127; Holman, sede Carolus concluding suite of dances. ‘Original Sets of Parts’, 12, 271; Performed on 7 July 1682 Trowles, ‘The Musical Ode in Britain’, according to Holman vol. II, 12 GB-Och 1141a, Seven keyboard Croft Croft c. 1702 Score Single upright bifolio http://library.chch.ox.ac.uk/music/pa fols. 6–7 pieces, some ge.php?set=Mus.+1141a+%28ff.+6-- arranged from 7%29; Woolley, ‘English Keyboard theatre music Sources’, 75–7, 264; Woolley, ‘An Unknown Autograph’ GB-Och 1141a, Three instrumental Unknown Unknown scribe Early 18th C Three Probably part of the repertory of http://library.chch.ox.ac.uk/music/pa fols. 12–14 suites partbooks the Oxford Waits; therefore ge.php?set=Mus.+1141a+%28ff.+12-- related to GB-Och 34–6 14%29 GB-Och 1141a, Sonata Unknown London A c. 1700 Parts Complete set of parts for http://library.chch.ox.ac.uk/music/pa fols. 20–46 and orchestral ‘sonata’, including ge.php?set=Mus.+1141a+%28ff.+20-- 49 string, trumpet and oboe parts 49%29 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1141a, Fragment of ode, Hall Hall c. 1702–7 Score Loose-leaf score containing http://library.chch.ox.ac.uk/music/pa fol. 47 Bless Albion inserted tune for the ode; eight ge.php?set=Mus.+1141a+%28f.+47% sections of the opening are 29 preserved in GB-Och 1142a, fols. 34–7, and the overture and end section is preserved in GB-Och 1212(A). Written for Queen Anne; no clear indication of Oxford provenance GB-Och 1141a, Theatre suites H. Purcell James Talbot c. 1700 Part First violin part. Material possibly http://library.chch.ox.ac.uk/music/pa fols. 50–1 copied from Ayres for the Theatre ge.php?set=Mus.+1141a+%28ff.+50-- 51%29; H. Purcell, The Indian Queen, ed. Laurie, p. xxv; GB-Och 1141a, Instrumental music Unknown Unknown scribe Early 18th C Score Two three-part movements. http://library.chch.ox.ac.uk/music/pa fols. 52–3 ge.php?set=Mus.+1141a+%28ff.+52-- 3%29 GB-Och 1141a, Instrumental music Unknown Unknown scribe Early 18th C Score Some composing materials http://library.chch.ox.ac.uk/music/pa fols. 66–9 apparently included. Probably ge.php?set=Mus.+1141a+%28ff.+66-- part of the repertory of the 9%29 Oxford Waits; therefore related to GB-Och 34–6 GB-Och 1141a, Instrumental theatre Hall, Lully Hall, James Late 17th C Score Hall autograph copied http://library.chch.ox.ac.uk/music/pa fols. 70–7 music Talbot collaboratively with Talbot ge.php?set=Mus.+1141a+%28ff.+70-- 77%29 GB-Och 1141b, Instrumental suites Unknown Unknown scribe Early 18th C Score Probably part of the repertory of http://library.chch.ox.ac.uk/music/pa fols. 86–9 the Oxford Waits; therefore ge.php?set=Mus.+1141b+%28ff.+86-- related to GB-Och 34–6 9%29 GB-Och 1141b, Act songs, Dum pulsa Blow Unknown scribe c. 1695 Parts, keyboard Fragmentary instrumental parts. http://library.chch.ox.ac.uk/music/pa fols. 101–4, 105– strident timpana and (fols. 101–4), score Related scores in GB-Och 685 ge.php?set=Mus.+1141b+%28ff.+101 10 Non arma regum Goodson sr and 686. Fols. 101–4 (first and --4%29; (fols. 105–10) second violin parts) in unknown http://library.chch.ox.ac.uk/music/pa hand ge.php?set=Mus.+1141b+%28ff.+105 --10%29 GB-Och 1141b, Keyboard suites Unknown Lowe Before mid- Score Milsom notes that Aldrich copied Bailey, Seventeenth-Century British fols. 111–13 1682 the same pieces in GB-Och 378 Keyboard Sources, 99; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1141b+%28ff.+111 --13%29; Woolley, ‘English Keyboard Sources’, 264 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1142a, Adaptation of Venus Blow Goodson sr Early 1680s Score Fragments of a full score Blow, Venus and Adonis, ed. Wood, p. fol. 21r and Adonis containing the same adaptation xxiv; of parts of Venus and Adonis as http://library.chch.ox.ac.uk/music/pa are found in the treble and alto ge.php?set=Mus.+1142a+%28ff.+21-- parts on fols. 6–10 of GB-Och 2%29; Shaw, ‘Blow and Oxford’, 142 1114. Wood states that GB-Och 37 was the copy text for the score and parts GB-Och 1142a, Act song, Laurus Goodson sr Goodson sr Late 17th C Score Loose-leaf score containing http://library.chch.ox.ac.uk/music/pa fols. 21v–2 cruentas or early 18th outline draft; paginated 12–15, ge.php?set=Mus.+1142a+%28ff.+21-- C implying existence of sketchbook 2%29 GB-Och 1142a, Unidentified ode Goodson sr Goodson sr Late 17th C Score Outline drafts and second drafts http://library.chch.ox.ac.uk/music/pa fols. 23–4, 27 fragments or early 18th ge.php?set=Mus.+1142a+%28ff.+23-- C 8%29 GB-Och 1142a, Oxford victory ode, Goodson sr Goodson sr c. 1702 Score Outline drafts and second drafts http://library.chch.ox.ac.uk/music/pa fols. 25–26, 28v O qui potenti relating to the completed full ge.php?set=Mus.+1142a+%28ff.+23-- score in GB-Och 617 and 8%29; Holman, ‘Original Sets of corresponding parts in GB-Ob Parts’, 11, 12, 267; Trowles, ‘The Mus.Sch.c.127 Musical Ode in Britain’, vol. II, 75 GB-Och 1142a, Ode, With Eager Goodson sr Goodson sr, Early 18th C Parts Unfigured bass and bass chorus http://library.chch.ox.ac.uk/music/pa fols. 32–3 Haste; secular song, Goodson jr part to ode; unfigured bass part ge.php?set=Mus.+1142a+%28ff.+32-- ‘A shepherd to song, relating to score in GB- 3%29 charm’d’ Och 1154, section L GB-Och 1142a, Fragment of ode, Hall Hall c. 1702–7 Score Loose-leaf score containing eight http://library.chch.ox.ac.uk/music/pa fols. 34–7 Bless Albion sections of opening of the ode. ge.php?set=Mus.+1142a+%28ff.+34-- An inserted tune for the same 7%29 ode is preserved in GB-Och 1141a, fol. 47, and the overture and end section is preserved in GB-Och 1212(A). Written for Queen Anne; no clear indication of Oxford provenance GB-Och 1142a, Keyboard suite Henry Thornowitz Henry Thornowitz Early 18th C Score Annotated ‘Allemande for the http://library.chch.ox.ac.uk/music/pa fols. 40–1 Harpshicord Henry Thornowitz ge.php?set=Mus.+1142a+%28ff.+40-- to your Honours desire to which 41%29; Hodge, ‘English Harpsichord I am Extraordinary plased’ Repertoire’, vol. III, 114; Woolley, ‘English Keyboard Sources’, 109, 264– 5 GB-Och 1142b, Act song, Nunc juvat Sampson Estwick Sampson Estwick Late 17th C Score Loose-leaf, incomplete score http://library.chch.ox.ac.uk/music/pa fol. 51 doctas ge.php?set=Mus.+1142b+%28f.+51% 29 GB-Och 1142b, Act songs, Dum pulsa Blow Goodson sr c. 1695 Part Soprano part. Related scores in http://library.chch.ox.ac.uk/music/pa fols. 52–3 strident timpana and GB-Och 685 and 686 ge.php?set=Mus.+1142b+%28ff.+52-- Non arma regum 3%29 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1142b, Ode, With Eager Goodson sr Goodson sr Early 18th C Score Fragmentary loose-leaf score. http://library.chch.ox.ac.uk/music/pa fols. 56–7 Haste Text refers to reign of Queen ge.php?set=Mus.+1142b+%28ff.+56-- Anne. Relates to parts copied by 7%29 Goodson jr in Och 1142a, fols 32–3 GB-Och 1142b, Anthem, I will Exalt Aldrich Unknown scribe Late 17th C Part First-violin part. Copied in score Shay, ‘“Naturalizing” Palestrina and fols. 62–3 Thee by Aldrich in GB-Och 19 Carissimi’, 382–3 GB-Och 1145 Ode, Raise, raise the H. Purcell Unknown 1690s or later Score Loose-leaf score. Copyist uses http://library.chch.ox.ac.uk/music/pa Voice eccentric spelling. The parts for ge.php?set=Mus.+1145; H. Purcell, this ode entered by Goodson sr Three Odes for St Cecilia’s Day, ed. Wood, in GB-Och 470 were copied p. xii; Shay and Thompson, Purcell from this score, but contain Manuscripts, 175; Zimmerman, Henry added dances Purcell…An Analytical Catalogue, 469 GB-Och 1150 Song, ‘In a deep H. Purcell Unknown c. 1700 Score Unbound leaves http://library.chch.ox.ac.uk/music/pa vision’s intellectual ge.php?set=Mus.+1150; H. Purcell, scene’ Symphony Songs, ed. Wood, p. xx GB-Och 1154, Partsong, Crucior in Cazzati, Turner Unknown, Turner Late 17th C Score Turner autograph is a later http://library.chch.ox.ac.uk/music/pa Section A hac flamma; keyboard addition ge.php?set=Mus.+1154%28A%29 minuet in G GB-Och 1154, Song, ‘Whilst health James Talbot? James Talbot and Late 17th C Score, short Loose-leaf score without http://library.chch.ox.ac.uk/music/pa Section B and blooming youth’ unknown scribe score attribution. Copied twice: in the ge.php?set=Mus.+1154%28B%29 first (incomplete) version the bass voice and continuo share a stave. The second is on three staves. GB-Och 1154, Secular partsong, All Goodson sr? Goodson sr Late 17th C Score Loose-leaf score without http://library.chch.ox.ac.uk/music/pa Section G Things are Hushed attribution; Milsom suggests it ge.php?set=Mus.+1154%28G%29 could be a ‘composing score’ GB-Och 1154, Song, ‘Bright Unknown William 1670s–80s Score Loose-leaf score http://library.chch.ox.ac.uk/music/pa Section K Phoebus just had Husbands ge.php?set=Mus.+1154%28K%29 now’ GB-Och 1154, Secular song, ‘A Goodson sr Goodson sr Early 18th C Score Loose-leaf score without http://library.chch.ox.ac.uk/music/pa Section L shepherd charm’d’ attribution. Related to parts in ge.php?set=Mus.+1154%28L%29 GB-Och 1142a, fols. 32–3 GB-Och 1174 Sonnata’s of III Parts H. Purcell Goodson sr After 1683 Score Originally in thick wrappers. http://library.chch.ox.ac.uk/music/pa Hand is identified by Milsom. ge.php?set=Mus.+1174; H. Purcell, Although Shay and Thompson Twelve Sonatas of Three Parts, ed. note that the manuscript is ‘in the Tilmouth, p. xvi; Shay and Thompson, same hand as the final section of Purcell Manuscripts, 124; Zimmerman, Och 8’, they do not name Henry Purcell…An Analytical Catalogue, Goodson 469 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1175 Keyboard music and Giles Farnaby, Ives, Robert Wintersall 1650s Score Mainly containing works by Bailey, Seventeenth-Century British settings Jenkins, W. Lawes, Wintersall himself Keyboard Sources, 101–3; Brookes, British Robert Wintersall Keyboard Music, 94–5; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1175; Woolley, ‘English Keyboard Sources’, 114 GB-Och 1176 Organ voluntaries, Blow, C. and O. Lowe, Goodson Late 1670s Score Upright folio volume; partner to Bailey, ‘Keyboard Music in the Hands fantazias and Gibbons, Hingeston, sr onwards GB-Och 1177. First eight of nine of Edward Lowe and Richard preludes; keyboard John Price, H. pieces in Lowe’s hand were Goodson I’, 120–6; Bailey, Seventeenth- suites Purcell copied from GB-Och 47; Century British Keyboard Sources, 103–4; Goodson’s copying is a later Blow, Complete Organ Works, ed. addition Cooper, 83; Brookes, British Keyboard Music, 95–6; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1176; Hodge, ‘English Harpsichord Repertoire’, vol. III, 93; Late-Seventeenth-Century English Keyboard Music, ed. Bailey; Shay and Thompson, Purcell Manuscripts, 285; Woolley, ‘English Keyboard Sources’, 184–5, 265–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 469 GB-Och 1177 Keyboard music La Barre, Bryne, Lowe, Goodson 1660s–early Score Upright folio volume; partner to Bailey, ‘Keyboard Music in the Hands (dances, airs and Richard Gibbs, sr 1670s GB-Och 1176. Goodson’s of Edward Lowe and Richard suites for Lowe, Portman (Lowe’s copying apparently carried out Goodson I’, 120–6; Bailey, Seventeenth- harpsichord) (Lowe’s copying); copying); over a long period, due to Century British Keyboard Sources, 104–6; Blow, Bryne, 1670–90s changes in character of hand Blow, Complete Harpsichord Music, ed. Diesener, Draghi, (Goodson’s Klakowich, 118; Blow, Complete Organ Locke, Lully, copying) Works, ed. Cooper, 84; Brookes, British Christopher Preston, Keyboard Music, 96–7; Draghi, H. Purcell, John Harpsichord Music, ed. Klakowich, pp. Roberts and ix–xi; unknown (Goodson http://library.chch.ox.ac.uk/music/pa sr’s copying) ge.php?set=Mus.+1177; Gustafson, French Harpsichord Music, vol. II, 149– 54; Harding, A Thematic Catalogue, 80; Hodge, ‘English Harpsichord Repertoire’, 94–5; Late-Seventeenth- Century English Keyboard Music, ed. Bailey; Shay and Thompson, Purcell Manuscripts, 282–6; Woolley, ‘English Keyboard Sources’, 184–5, 265–6; Zimmerman, Henry Purcell…An Analytical Catalogue, 469 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1179 Dance music for Unknown (first Martha Long? Before 1662 Score Upright folio manuscript. Bailey, Seventeenth-Century British keyboard (first layer); Blow, (first layer); FQ4 (first layer); c. Evidence of ownership by Keyboard Sources, 106–7; Blow, Complete layer); keyboard Frescobaldi, C. (second layer) 1680–90 Martha and Sarah Long, and by Harpsichord Music, ed. Klakowich, 118; music (dances, airs Gibbons, Lebègue, (second Martha Long’s son, George Brookes, British Keyboard Music, 97; and suites for H. Purcell (second layer) Lluellen, who dated the http://library.chch.ox.ac.uk/music/pa harpsichord) layer) manuscript 1690 on its last leaf. ge.php?set=Mus.+1179; Hodge, (second layer) The link between Martha Long ‘English Harpsichord Repertoire’, vol. and George Lluellen was made III, 96; Shay and Thompson, Purcell by Milsom, but is not noted by Manuscripts, 285, 292 n. 52; Woolley, Bailey, Shay and Thompson or ‘English Keyboard Sources’, 111–18, Woolley 266; Zimmerman, Henry Purcell…An Analytical Catalogue, 469 GB-Och 1183 Twenty-one sets of Banister, Michael Mainly two 1660s–70s Parts Originally unbound collections, http://library.chch.ox.ac.uk/music/pa instrumental music Farinel, Thomas unknown many folded in the middle. ge.php?set=Mus.+1183; Herissone, Farmer, Christopher scribes; Associated with the Oxford ‘The Theory and Practice of Simpson, Robert Christopher Waits by Holman, Milsom and Composition’, 224; Holman, Four and Smith, George and Simpson Wollston. Set 6 (fols. 28–9) Twenty Fiddlers, 321–3; Wollston, ‘The Thomas Tollett, comprises bass parts for two sets Instrumentation of English Violin- John Twist and of divisions for treble and bass in Band Music’, 125–43, 146–50; others the autograph of Christopher Zimmerman, Henry Purcell…An Simpson Analytical Catalogue, 469 GB-Och 1188–9, Jubilate Locke Locke 1665–6? Score Score related to vocal and http://library.chch.ox.ac.uk/music/pa fols. 1–6 instrumental parts on fols. 7–10 ge.php?set=Mus.+1188--9+%28ff.+1- of GB-Och 1188–9. Possibly for -6%29; Harding, A Thematic Catalogue, performance in Oxford during 7–8; Herissone, ‘The Theory and Locke’s visit in 1665–6. Locke’s Practice of Composition’, 224–6; score has an outer paper cover Holman, Four and Twenty Fiddlers, 406; and is copied on a pair of bifolios Locke, Anthems and Motets, ed. le with hand-drawn staves (no Huray, 157; Holman, ‘Original Sets of rastrum, but straight edge used) Parts’, 271 GB-Och 1188–9, Jubilate Locke Lowe 1665–6? Parts Vocal and instrumental http://library.chch.ox.ac.uk/music/pa fols. 7–14 performing parts related to ge.php?set=Mus.+1188--9+%28ff.+7- Locke’s autograph score on fols. -14%29; Harding, A Thematic Catalogue, 1–6 of GB-Och 1188–9. Possibly 7–8; Holman, Four and Twenty Fiddlers, for performance in Oxford 406; Locke, Anthems and Motets, ed. le during Locke’s visit in 1665–6. Huray, 157; Holman, ‘Original Sets of Liturgical use is implied by Parts’, 271 Lowe’s annotation ‘verse for a Boy alone’ in the countertenor viol part, so it may have been sung at Christ Church MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1188–9, Fragments of Aldrich Aldrich Late 17th C Score Fol. 18 comprises the remainder http://library.chch.ox.ac.uk/music/pa fols. 15–19, 32– preliminary materials of the sheet preserved at GB- ge.php?set=Mus.+1188-- 5, 39–40 for arrangements by Och Mus. 1215, Section 2 9+%28f.+15%29; Aldrich, mainly http://library.chch.ox.ac.uk/music/pa anthems ge.php?set=Mus.+1188-- 9+%28f.+16%29; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1188-- 9+%28f.+17%29; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1188-- 9+%28f.+18%29; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1188-- 9+%28f.+19%29; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1188-- 9+%28ff.+32--5%29; http://library.chch.ox.ac.uk/music/pa ge.php?set=Mus.+1188-- 9+%28ff.+39--40%29; Herissone, ‘The Theory and Practice of Composition’, 24–6 GB-Och 1188–9, Service in F Aldrich, unknown Aldrich, Lowe Before mid- Partbooks Two separate partbook http://library.chch.ox.ac.uk/music/pa fols. 20–7 (Aldrich); God is our 1682 fragments. Aldrich’s copying ge.php?set=Mus.+1188-- Refuge and Strength mainly comprises supply of text 9+%28ff.+20--27%29; (unknown) underlay but there are also paste- downs and deletions. Not recorded as Christ Church books, but not clearly part of Aldrich’s personal collection GB-Och 1188–9, Te Deum and Unknown Lowe Before mid- Partbooks Two separate partbook http://library.chch.ox.ac.uk/music/pa fols. 28–31 Jubilate 1682 fragments. Not recorded as ge.php?set=Mus.+1188-- Christ Church books, but not 9+%28ff.+28--31%29 clearly part of Aldrich’s personal collection GB-Och 1188–9, O give Thanks Locke Lowe, unknown Before mid- Score Opening copied by Lowe http://library.chch.ox.ac.uk/music/pa fol. 38 scribe 1682 ge.php?set=Mus.+1188-- 9+%28f.+38%29; Harding, A Thematic Catalogue, 6–7, Plate V MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1188–9, Symphony anthem, H. Purcell Oxford B, H. 1690s Parts Four string parts with Oxford http://library.chch.ox.ac.uk/music/pa fols. 42–5 My Song shall be Purcell, unknown provenance. Most of the ge.php?set=Mus.+1188-- Alway hand symphony was copied by Oxford 9+%28ff.+42--5%29; Herissone, ‘The B, but Purcell added the petite Theory and Practice of Composition’, reprise and independent chorus 224–6; Shay and Thompson, Purcell string parts. First treble probably Manuscripts, 153, 157; Wood, ‘A Newly a replacement part Identified Purcell Autograph’; Zimmerman, Henry Purcell…An Analytical Catalogue, 469 GB-Och 1205, Song, ‘Sleep, downy Cooke Goodson sr Late 17th C Score Includes inscription in Goodson http://library.chch.ox.ac.uk/music/pa Section A sleep’ sr’s hand: ‘I desire you to set the ge.php?set=Mus.+1205%28A%29 like figures in the new Bass you intend to make, as are in former’ GB-Och 1205, Anthem adaptations Aldrich Aldrich Late 17th C Score Includes some sketching of an http://library.chch.ox.ac.uk/music/pa Section C (arrangements of ‘Amen’ on fol. 1r, and ending of ge.php?set=Mus.+1205%28C%29; anthems by Robert unidentified piece Shay, ‘“Naturalizing” Palestrina and White and Tallis) Carissimi’, 382–3 GB-Och 1212, Fragment of ode, Hall Hall c. 1702–7 Score Loose-leaf score containing http://library.chch.ox.ac.uk/music/pa Section A Bless Albion overture and later sections of the ge.php?set=Mus.+1212%28A%29; ode; eight sections from the Herissone, ‘The Theory and Practice opening are preserved in GB- of Composition’, 226 Och 1142a, fols. 34–7, and an inserted tune in GB-Och 1141a, fol. 47. Written for Queen Anne; no clear indication of Oxford provenance GB-Och 1212, Ode, Yes, my Aminta Hall Hall c. 1698 Score Ode on the Death of Henry http://library.chch.ox.ac.uk/music/pa Section B Purcell. Incomplete ge.php?set=Mus.+1212%28B%29; Herissone, ‘The Theory and Practice of Composition’, 226 GB-Och 1215, Anthem, Lord, Thou Daniel Roseingrave H. Purcell. Daniel c. 1682 Score Roseingrave added the title and http://library.chch.ox.ac.uk/music/pa Section 1 art become Gracious Roseingrave text incipits, plus an unidentified ge.php?set=Mus.+1215%281%29 ; five-bar cadential passage at the Herissone, ‘“Fowle Originalls”’, 589– end. Holman suggests the source 90; Holman, Henry Purcell, 10–11; was copied for transmission, but Holman, ‘Purcell and Roseingrave’; Shay and Thompson note that Shay and Thompson, Purcell the copying may have taken place Manuscripts, 218; Thompson, ‘Sources between 1682 and 1684 when and Transmission’, 44 Charles II was in Winchester annually MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1215, Two-part canon, Blow Blow c. 1680 Score Written on the reverse of a http://library.chch.ox.ac.uk/music/pa Section 2 ‘No, Lucinda I printed single-sheet ge.php?set=Mus.+1215%282%29; swear’ advertisement. It is torn and Herissone, ‘The Theory and Practice incomplete at the end, the of Composition’, 230 remainder being preserved as GB-Och 1188–9, fol. 18 GB-Och 1215, Song, ‘Hi jinko Goodson sr Goodson sr Late 17th C Score Nonsense song on a ground bass http://library.chch.ox.ac.uk/music/pa Section 10 brisco alphonzo’ ge.php?set=Mus.+1215%2810%29 GB-Och 1215, Song, ‘In spite of D. Purcell London A Late 17th C Score Three single sheets, paginated 1– http://library.chch.ox.ac.uk/music/pa Section 11 despair, the young 6 ge.php?set=Mus.+1215%2811%29 and the fair’ GB-Och 1219, Fragments of three Unknown Unknown scribe Late 17th C Score Linked to Locke in Havergal’s http://library.chch.ox.ac.uk/music/pa Section B songs summary of Christ Church ge.php?set=Mus.+1219%28B%29 manuscripts in 1846, but not attributed GB-Och 1219, Anthem, How doth Locke Locke c. 1665–6 Keyboard Copied stratigraphically. For http://library.chch.ox.ac.uk/music/pa Section D the City sit Solitary score transposing organ so probably ge.php?set=Mus.+1219%28D%29; for Oxford Harding, A Thematic Catalogue, 9; Herissone, ‘The Theory and Practice of Composition’, 226–7; Herissone, ‘To Fill, Forbear, or Adorne’, 76–110 GB-Och 1219, Song (Hall, ‘To Hall, Tobias Tobias Langdon c. 1703 Score Catches refer to Admiral Rooke. http://library.chch.ox.ac.uk/music/pa Section F arms’); three catches Langdon Fol. 1r includes a note to Aldrich ge.php?set=Mus.+1219%28F%29 (Langdon) identifying this as a transmission manuscript for Goodson sr GB-Och 1219, Anthem, I am well Goodson sr Goodson sr 1680s? Short score Dated on the basis of Goodson’s http://library.chch.ox.ac.uk/music/pa Section G pleased use of his early treble clef form. ge.php?set=Mus.+1219%28G%29 Chorus sections written on two staves, with inner parts added in last chorus GB-Och 1219, Anthem, Not unto us, Goodson sr Goodson sr 1680s? Score Annotation by Philip Hayes http://library.chch.ox.ac.uk/music/pa Section H, O Lord identifies this as an early ge.php?set=Mus.+1219%28H%29; Section U Goodson composition, but the http://library.chch.ox.ac.uk/music/pa newer clef form is used. Section ge.php?set=Mus.+1219%28U%29; H contains the completed score, Herissone, ‘The Theory and Practice while Section U comprises of Composition’, 226–7 preliminary compositional materials including some for this anthem MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1219, Anthem, Rejoice in the Goodson sr Goodson sr c. 1713? Score Annotation by Philip Hayes http://library.chch.ox.ac.uk/music/pa Section I Lord suggests that this was composed ge.php?set=Mus.+1219%28I--T%29; for the 1713 Act, but no evidence Herissone, ‘The Theory and Practice given and ‘13’ is written over an of Composition’, 226–7 erasure. Sections J–T comprise parts for the anthem, copied by Goodson jr GB-Och 1220–4 Anthems and service Bevin, Byrd, Child, Zacharie Irishe c. 1643–4 Five partbooks Christ Church cathedral Aldrich, Selected Anthems, ed. Shay, 118; settings Farrant, Giles, O. (first layer), Lowe (first layer); partbooks. Five of the original Cheverton, ‘English Church Music’, Gibbons, Lowe, (second layer), 1660s eight books in the set survive 414–20; Morley, Mundy, Aldrich, (second http://library.chch.ox.ac.uk/music/pa Tallis, Tomkins and Goodson sr, layer); late ge.php?set=Mus.+1220--4; Dexter, others (first layer); Hull, C. and W. 17th C (third ‘Unmasking “Thomas Tudway”’; Aldrich, Batten, Husbands, layer); c. 1710 Harding, A Thematic Catalogue, 7, 10; H. Child, Farrant, C. Francis Smith, onwards Purcell, Sacred Music, Part II, ed. Pike, p. Gibbons, H. and W. Withy and others (fourth layer) xxiv; Shay and Thompson, Purcell Lawes, Lowe, (third layer); Manuscripts, 150, 309, 313; Spink, Mundy, Wise and Hewis Kelway, Restoration Cathedral Music, 315; others (second Thomas Hudson Zimmerman, Henry Purcell…An layer); Aldrich (inc. and others Analytical Catalogue, 469 adaptations), Blow, (fourth layer) Bryne, Locke, H. Purcell, Wise and others (third layer); John Bishop, Croft, C. King, W. Hayes, Nathaniel Priest, H. Purcell and others (fourth layer) GB-Och 1230 Anthems and service Aldrich (inc. Goodson sr, Early 18th C Keyboard Organbook copied for Christ Aldrich, Selected Anthems, ed. Shay, 118; settings arrangements), later additions by score Church. Some of the contents http://library.chch.ox.ac.uk/music/pa Blow, Byrd, Child, Goodson jr match the Christ Church ge.php?set=Mus.+1230; Shay, Croft, Farrant, O. partbooks ‘“Naturalizing” Palestrina and Gibbons, Golding, Carissimi’; Zimmerman, Henry Mundy, H. Purcell, Purcell…An Analytical Catalogue, 469 Rogers, Tallis, Weldon and others MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Och 1236 Keyboard music Bryne, William Ellis 1650s–60s Score Bailey, Seventeenth-Century British (French and English Chambonnières, Keyboard Sources, 108–16; Bailey, dances) François Dufaut, ‘William Ellis’; Brookes, British Keyboard William Ellis, John Music, 98–100; Ferrabosco, Thomas http://library.chch.ox.ac.uk/music/pa Holmes, La Barre, ge.php?set=Mus.+1236; Gustafson, W. Lawes, Jean French Harpsichord Music, vol. II, 123– Mercure, John 32; Hodge, ‘English Harpsichord Roberts, Rogers, Repertoire’, vol. III, 97–9; Woolley, Jonas Tresor and ‘English Keyboard Sources’, 266–7 others GB-Omc 347 Service settings Blow, Byrd, Child, Unknown scribe After 1682 Keyboard Magdalen College organbook. Knights, ‘Magdalen College MS 347’; O. Gibbons, score Dated on the basis of Aldrich’s http://www.rism.org.uk/ Nathaniel Patrick, title. Includes an ornamented part Rogers, Tallis for O. Gibbons’s Short Service GB-Ooc Ua 34 Oedipus, masque in H. Purcell London E Early 18th C Score H. Purcell, Dramatic Music…Part I, ed. Timon of Athens, Laurie, p. xlii; H. Purcell, Dramatic Bonduca Music…Part III, ed. Laurie, p. xlvii; Shay and Thompson, Purcell Manuscripts, 241–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 470 GB-Ooc Ua 35 King Arthur H. Purcell London E Early 18th C Score No opening instrumental or act H. Purcell, King Arthur, ed. Laurie, p. music xi; Shay and Thompson, Purcell Manuscripts, 241–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 470 GB-Ooc Ua 36 Circe, The Indian H. Purcell London E Early 18th C Score No opening instrumental or act H. Purcell, Dramatic Music…Part I, ed. Queen music Laurie, p. xlii; H. Purcell, The Indian Queen, ed. Laurie, p. xxiv; Shay and Thompson, Purcell Manuscripts, 241–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 470 GB-Ooc Ua 37 Odes, Of Old, when H. Purcell London E Early 18th C Score Bound score compiled from H. Purcell, A Song for the Duke of Heroes and Who can loose leaves Gloucester’s Birthday, ed. Spink, p. ix; H. from Joy Refrain? Purcell, Three Occasional Odes, ed. Wood, p. xviii; Shay and Thompson, Purcell Manuscripts, 241–7; Zimmerman, Henry Purcell…An Analytical Catalogue, 470 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-WO A.3.1–5 Anthems and service English composers Unknown scribe From late Five partbooks Treble partbook missing from Cheverton, ‘English Church Music’, settings including Aldrich, 1670s set. Worcester Cathedral 429–39; H. Purcell, Sacred Music, Part John Badger, Blow, partbooks II, ed. Pike, p. xviii; H. Purcell, Sacred Richard Browne, Music, Part V, ed. Thompson, p. xviii; Child, Richard Shay and Thompson, Purcell Davis, C. Gibbons, Manuscripts, 230; Taylor, Thematic Hall, Hawkins, Catalog, 119; Zimmerman, Henry Humfrey, W. King, Purcell…An Analytical Catalogue, 476 H. and W. Lawes, Locke, H. Purcell, Rogers, Tucker, Tudway, Turner, Wise GB-WOKhc Instrumental pieces Forcer, John Moss One main hand After mid- Score Unbound manuscript, using Cunningham and Woolley, ‘A Little- LM/1083/91/35 for solo lyra viol and unknown (front 1687 tablature and staff notation. Known Source’ (front end); end); Diesener and Titles of pieces added in several keyboard music unknown (reverse different hands, and practice (reverse end) end) signatures may indicate names of owners of the manuscript. Dating based on inclusion of ‘Siface’s farewell’, as ‘c fachis far wel’ (Siface came to England in 1687, leaving in June) GB-Y M1(S) Anthems and service Batten, Blow, Bryne, Stephen Bing, To c. 1679 Eight The ‘Bing-Gostling’ partbooks, Cheverton, ‘English Church Music’, settings Bull, Byrd, Child, Gostling (Bing); from partbooks containing some 300 pieces. The 507–16; Griffiths, A Catalogue of the Dering, Farrant, C. 1690s manuscript was not pre-bound. Music Manuscripts, 1–20; Harding, A and O. Gibbons, (Gostling) Shay and Thompson consider Thematic Catalogue, 10, 12, 14; H. Hall, Humfrey, this ‘a file-copy set not intended Purcell, Sacred Music, Part I, ed. Jeffreys, Mundy, for use in performance’, implying Dennison, p. xiii; H. Purcell, Sacred Robert Parsons, that this was Bing’s personal set, Music, Part II, ed. Pike, p. xvii; H. Nathaniel Patrick, since it clearly travelled with him Purcell, Sacred Music, Part V, ed. H. Purcell, Rogers, from St Paul’s to Lincoln and Thompson, p. xx; Silas Taylor, J. and back to London. The books later http://www.rism.org.uk; Shay and T. Tomkins, Tucker, belonged to John Gostling Thompson, Purcell Manuscripts, 201–6; Tudway, Turner, personally (they were sold with Shaw, The Bing-Gostling Part-books; Wise and others William Gostling’s collection) Spink, Restoration Cathedral Music, 78; and were used by him as Thompson, ‘Sources and exemplars for several of his other Transmission’, 41; Zimmerman, Henry sets Purcell…An Analytical Catalogue, 477–8 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING GB-Y M3/1–4(S) Instrumental Jenkins, A. Matthew Hutton 1667 Four Dated by Hutton. Partly copied Ashbee, Thompson and Wainwright, consort music Ferrabosco II, Ward, partbooks from IRL-Dm Z3.4.1–6 Viola da Gamba Society Index, vol. I, (fantazias) Tomkins 229–30; Charteris, ‘Matthew Hutton’; Griffiths, A Catalogue of the Music Manuscripts; Irving, ‘Matthew Hutton and York Minster’; http://www.rism.org.uk GB-Y M8(S) Anthems Blow, Croft, John Cooper From c. 1715 Score York Minster provenance. John Griffiths, A Catalogue of the Music Golding, James Cooper was Vicar Choral at York Manuscripts; http://www.rism.org.uk; Hawkins, Humfrey, Minster from 1715 to 1728 Shay and Thompson, Purcell H. Purcell, Tudway, Manuscripts, 229–30; Zimmerman, Wise and others Henry Purcell…An Analytical Catalogue, 478 (incorrect shelfmark) GB-Y M14/2(S) Service settings Blow, Bryne, Byrd, John Cooper From c. 1715 Score York Minster provenance. John Griffiths, A Catalogue of the Music Child, Edward Cooper was Vicar Choral at York Manuscripts; http://www.rism.org.uk; Finch, O. Gibbons, Minster from 1715 to 1728 Shay and Thompson, Purcell Golding, C. King, Manuscripts, 229–30; Zimmerman, Nathaniel Patrick, Henry Purcell…An Analytical Catalogue, H. Purcell, Rogers, 478 (incorrect shelfmark) Tallis, Tudway, Wise and others GB-Y M20(S) Instrumental Jenkins Matthew Hutton 1667/8 Score Annotation on back cover in the Ashbee, Thompson and Wainwright, consort music hand of Edward Lowe: ‘11 Octo: Viola da Gamba Society Index, vol. I, (fantazias) 1671. This score I borrowed of 231–2; Charteris, ‘Matthew Hutton’; Mr Hutton of Brazennose. Who Griffiths, A Catalogue of the Music bidd mee keepe it ’till hee calld Manuscripts; http://www.rism.org.uk for it. Ed: Lowe’ GB-Y M56(S) Instrumental Christopher Matthew Hutton 1674 Score Dated on fol. 60r, ‘Feb. 20. Ashbee, Thompson and Wainwright, consort music (The Simpson 1673/4’ Viola da Gamba Society Index, vol. I, Seasons) 233–4; Charteris, ‘Matthew Hutton’; Griffiths, A Catalogue of the Music Manuscripts; http://www.rism.org.uk GB-Y M57/1– Instrumental Bassani, Corelli, H. Matthew Hutton c. 1690– Four Folio manuscripts. Copying Charteris, ‘Matthew Hutton’; Griffiths, 4(S) consort music (trio Purcell 1700? partbooks postdates Hutton’s activities in A Catalogue of the Music Manuscripts; H. sonatas) Oxford Purcell, Ten Sonatas of Four Parts, ed. Tilmouth, p. xxii; Shay and Thompson, Purcell Manuscripts, 118, 123–4; Zimmerman, Henry Purcell…An Analytical Catalogue, 479 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING IRL-Dm Z.2.1.12 Instrumental A. Ferrabosco II, Anon I, two c. 1666–78 Scores Guardbook of unbound scores. Charteris, ‘Consort Music consort music Thomas Lupo other unknown Anon I also contributed to IRL- Manuscripts’, 27–8, 36, 42–3; (three- and four-part scribes, Dm Z3.4.7–12 and, according to http://www.rism.org.uk/manuscripts/ fancies) Narcissus Marsh Thompson, may be Richard 164347; Thompson, ‘A Further Look’ Mico. One of the other unknown scribes also copied GB-Och 517– 20, which has similar repertory, but was copied earlier. Associated with Narcissus Marsh’s music meetings in Oxford IRL-Dm Z2.1.13 Instrumental Coperario, C. and O. Narcissus Marsh, c. 1666–78 Score Guardbook including Charteris, ‘Consort Music consort music Gibbons, Jenkins, W. King, stratigraphic copying. Associated Manuscripts’, 28–9, 36–7, 43–4; W. King and Unknown scribe with Narcissus Marsh’s music Herissone, ‘The Theory and Practice unknown meetings in Oxford. Some of Composition’, 227–8; uncertainty over attributions http://www.rism.org.uk/manuscripts/ 164348?peek=1&wheel=mnskrpt_yj; Thompson, ‘A Further Look’ IRL-Dm Z3.4.1–6 Instrumental Coleman, Coperario, Anon J, two Begun in Six partbooks This set was cross-referenced Charteris, ‘Consort Music consort music in Dering, A. other unknown 1640s? against IRL-Dm Z3.4.7–12. Manuscripts’, 29–30, 37, 44–9; Irving, three to six parts Ferrabosco II, R. scribes, Scribes (including Marsh) worked The Instrumental Music of Thomas and O. Gibbons, Narcissus Marsh closely together; Anon J Tomkins, 149; Hilton, Simon Ives, contributed to both sets and also http://www.rism.org.uk/manuscripts/ Jenkins, Lupo, to GB-Ob Mus.Sch.c.64–9. 164350; Thompson, ‘A Further Look’ Martin Peerson, Associated with Narcissus Ravenscroft, Marsh’s music meetings in Tomkins, Ward, Oxford William White IRL-Dm Z3.4.7– Instrumental Brewer, Coperario, Anon I, Anon J, Begun in Six partbooks This set was cross-referenced Charteris, ‘Consort Music 12 consort music in Cranford, A. Anon K, four 1640s? against IRL-Dm Z3.4.1–6 and Manuscripts’, 30–1, 37–8, 49–53; three to six parts Ferrabosco II, Ford, other unknown contains complementary Irving, The Instrumental Music of Thomas Jenkins, Lupo, Mico, scribes repertory as well as sharing one Tomkins, 149; Thompson, ‘A Further Tomkins, Ward and scribe (Anon J). Anon I also Look’ others contributed to IRL-Dm Z2.1.12 and, according to Thompson, may be Richard Mico; Anon K also contributed to IRL-Dm Z3.4.13 and Z4.2.16; according to Thompson this is the same scribe as the copyist of GB-Ob Mus.Sch.e.431–6, whom Crum suggests may be Thomas Jackson. Associated with Narcissus Marsh’s music meetings in Oxford MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING IRL-Dm Z3.4.13 Instrumental Coperario, Dering, Anon K, William c. 1666–78 Parts, keyboard Guardbook principally containing Charteris, ‘Consort Music consort music A. Ferrabosco II, Ellis, Rogers, score bass parts and continuo parts. Manuscripts’, 31–2, 38, 54–6; Ives, Jeffreys, Jeffreys, Hand of Ellis identified by Thompson, ‘A Further Look’; Jenkins, Rogers, C. Narcissus Marsh, Robert Thompson. Anon K also Wainwright, Musical Patronage, 422; Simpson, Ward and two unknown contributed to IRL Dm Z3.4.7– Woolley, ‘English Keyboard Sources’, others scribes 12 and Z4.2.16; according to 269 Thompson this is the same scribe as the copyist of GB-Ob Mus.Sch.e.431–6, whom Crum suggests may be Thomas Jackson. Associated with Narcissus Marsh’s music meetings in Oxford IRL-Dm Z3.5.13 Instrumental Mid-17th-C Archbishop 1666 Tablature book Dated by Marsh on front and Charteris, A Catalogue of the Printed consort music for composers Marsh, one back flyleaves Books on Music, 118–21; Thompson, ‘A lyra viol unknown scribe Further Look’ IRL-Dm Z4.2.16 Instrumental Cranford, C. Anon K, c. 1666–78 Partbook Anon K also contributed to IRL Charteris, ‘Consort Music consort music Gibbons, Lupo, Narcissus Marsh, Dm Z3.4.7–12 and Z4.2.16. Manuscripts’, 32–3, 38–9, 56–7; (dance suites and William White one unknown Associated with Narcissus Woolley, ‘English Keyboard Sources’, fantazias) scribe Marsh’s music meetings in 269 Oxford J-Tn 0–1–54 Secular and H. Purcell and Edward Hull 1680s–90s? Score Oxford provenance Shay and Thompson, Purcell devotional songs others Manuscripts, 100, 272; Zimmerman, Henry Purcell…An Analytical Catalogue, 481 J-Tn N2/15 Instrumental Blow, Colista, Anon H, one Early 1680s Two partbooks Surviving second violin and bass H. Purcell, Ten Sonatas of Four Parts, ed. consort music Corelli, Draghi, other unknown partbooks from set of four. Tilmouth, pp. xxi–xxii; Restoration Trio (sonatas) Lonati, Matteis, H. scribe Bound with printed parts for Sonatas, ed. Holman and Cunningham, Purcell, Ruggiero, Purcell’s 1683 Sonnata’s of III p. xxiv; Shay and Thompson, Purcell Vitali Parts, probably before copying. Manuscripts, 114–17; Zimmerman, Anonymous scribe was also Henry Purcell…An Analytical Catalogue, responsible for GB-Ob 481 (item 546) Mus.Sch.d.252, and e.400–3, and US-NH Filmer 17 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING J-Tn N3/35 Keyboard music and Bryne, Bull, Unknown (first mid-17th C Score, Folio volume. Includes Bailey, Seventeenth-Century British settings; unknown (first layer); Raylton (first layer); c. keyboard score inscription ‘William Raylton his Keyboard Sources, 122; Blow, Complete accompaniments for layer); Barrett, Blow, (second layer) 1707–30s Book g[iven] b[y] y[e] M.C. Harpsichord Music, ed. Klakowich, 118; instrumental music Bononcini, Clarke, (second March ye 3i 170[?]’ Blow, Complete Organ Works, ed. R. Courteville, Croft, layer) Cooper, 83; Brookes, British Keyboard O. Gibbons, Hall, Music, 117–18; Hodge, ‘English Handel, R. King, H. Harpsichord Repertoire’, vol. III, 103– Purcell, Raylton?, 4; McLean, ‘Blow and Purcell in Weldon (second Japan’, 704; H. Purcell, Ten Sonatas of layer) Four Parts, ed. Tilmouth, p. xxii; Woolley, ‘English Keyboard Sources’, 148–54, 268–9; Zimmerman, Henry Purcell…An Analytical Catalogue, 481 (item 545) J-Tn N5/10 Anthems (including Blow, Humfrey, Tucker, H. Before end Partbook Bass partbook, belonging with Blow, Anthems III, ed. Wood, 174; symphony anthems) Locke, H. Purcell, Purcell, four other 1677 GB-Lbl Add. 50860 within a Blow, Anthems IV, ed. Wood, 205; Tallis unidentified (Tucker); c. Chapel Royal set of fifteen McLean, ‘Blow and Purcell in Japan’, copyists 1687 books, separate from GB-Lbl 702, 704; H. Purcell, Sacred Music, Part (Purcell) R.M. 27.a.1–8. The chorus of Sing V, ed. Thompson, p. xiii; Shay and unto God is in Purcell’s autograph Thompson, Purcell Manuscripts, 144, 146−7; Zimmerman, Henry Purcell…An Analytical Catalogue, 481 (item 540) J-Tn p2 (Ohki 69) Last 2.5 bars of Blow Blow 1683 Score Fragment pasted onto inside Herissone, ‘The Theory and Practice Blow, My Trembling front cover. Dated 15 December of Composition’, 231; McLean, ‘Blow Song 1683; for 1684 New Year ode and Purcell in Japan’, 705; Shaw, ‘The Autographs of John Blow’, 93; Shaw, ‘Blow and Purcell in Japan’; Zimmerman, Henry Purcell…An Analytical Catalogue, 481 (item 542) MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-AUS HRC 85 Anthems and Aldrich John Gostling c. 1679–1705 Score Formerly US-AUS Pre-1700 85. Blow, Anthems II, ed. Wood, 174; symphony anthems (arrangements), Originally copied unbound. Blow, Anthems III, ed. Wood, 173; Blow, Child, Clarke, Reflects Chapel Royal repertory, Harding, A Thematic Catalogue, 10, 14; Croft, Humfrey, and includes dates and Holman, Henry Purcell, 137–8; The Locke, Francis descriptions relating to first Gostling Manuscript, ed. Zimmerman; H. Pigott, H. Purcell, performances. Some material Purcell, Sacred Music, Part I, ed. Tudway, Turner copied from composer Dennison, p. xiii; H. Purcell, Sacred autographs in GB-Bu 5001, GB- Music, Part II, ed. Pike, p. xiii; H. Cfm 88 and GB-Lbl Add. 30931. Purcell, Sacred Music, Part III, ed. Remained within Gostling family Fortune, p. xv; H. Purcell, Sacred Music, and was sold at William Part V, ed. Thompson, p. xiii; RISM, Gostling’s auction, so probably a Series A/II, ID/AN 109.180; Shay and personal copy Thompson, Purcell Manuscripts, 64–78; Spink, Restoration Cathedral Music, 83, 162–70; Taylor, Thematic Catalog, 120; Thompson, ‘Sources and Transmission’, 45; Zimmerman, ‘Anthems of Purcell and Contemporaries’; Zimmerman, Henry Purcell…An Analytical Catalogue, 480 (listed as ‘William Kennedy Gostling Manuscript’) US-Cn Case 7A/2 Anthems, symphony Blow, Church, John Gostling c. 1705–15 Score Described by Shay and Boyer and Wainwright, ‘From Barnard anthems and service Clarke, Croft, Thompson as Gostling’s ‘second to Purcell’, 632; Ford, ‘Minor Canons settings Golding, Greene, scorebook’ (in relation to US- at Canterbury Cathedral’, 288–94, 893– Palestrina, Weldon, AUS Pre-1700 85); likely to have 9; RISM, Series A/II, ID/AN 117.830; Wise been another personally owned Shay and Thompson, Purcell book Manuscripts, 65, 207–9; Spink, Restoration Cathedral Music, 83–4 US-Cn Case VM Theatre suites and Barrett, Bassani, Nicholas Early 18th C Three Three surviving instrumental Charteris, ‘Some Manuscript 3.1 P985 other instrumental Clarke, J. and S. Harrison and partbooks partbooks from a set of four (the Discoveries’, 8–10 music Eccles, Finger, several unknown continuo partbook is missing). Lenton, Paisible, scribes Bound as manuscript additions to Thomas Pickmore, a set of H. Purcell’s Ayres for the J. Ravenscroft, D. Theatre; the title pages of the and H. Purcell printed set are inscribed ‘J. Bridgeman’s Book 1697’. Hand of Nicholas Harrison on fols. 21v–22 identified by Andrew Woolley MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-Cn Case VMT Keyboard music and ‘Mr Ardoyne’, Blow, Unknown scribe c. 1680 Score Oblong quarto manuscript, Charteris, ‘Some Manuscript 252 P72/1 settings, including of Bryne, H. and W. comprising manuscript additions Discoveries’, 10–11; Hodge, ‘English psalm tunes Lawes, Alphonso bound after Playford’s Musick’s Harpsichord Repertoire’, vol. III, 110; Marsh, H. Purcell Handmaid (1678). Woolley Woolley, ‘English Keyboard Sources’, and others suggests the manuscript portion 123–30, 270 may have been copied by a scribe working within Playford’s scriptorium US-Cn Case Vn Theatre suites by Lully, H. Purcell, Charles Babel Early 18th C Two partbooks Two surviving books from a set Herissone, ‘The Origins and Contents’; 350 B113t many composers Steffani, unknown of three. Arranged by key. Many RISM, Series A/II, ID/AN 135.210 concordances with GB-Cmc F.4.35 (1–5) US-Cu 959 Instrumental Bassani, Bocaletti, Anon F, six Late 1680s? Four Shay and Thompson suggest Shay and Thompson, Purcell consort music Colista, Corelli, other unknown partbooks possible links with Jesuits and the Manuscripts, 118–21; RISM, Series (sonatas) Finger, Kruger, scribes court of James II, both in A/II, ID/AN 110.050 Legrenzi, Lonati, London and in exile after 1689. Mannelli, Anthony Same copyist as GB-Ob Poole, H. Purcell, Mus.Sch.c.77 Vitali US-Eu M.A. 24.1 Ode, Arise, great Blow Unknown scribe 1683 Score Loose-leaf score. Claimed as an RISM, Series A/II, ID/AN 102.338; Monarch autograph by Nathan van Patten, Shaw, ‘The Autographs of John Blow’, but this disputed by Shaw 95 US-Hw Quartz Ode, Strike the Lyre, Croft Unknown scribe c. 1706 Score Loose-leaf score bound with a RISM, Series A/II, ID/AN 100.003 M1490.P96.07 your Voices Raise copy of the 1706 Orpheus 1706 Britannicus. Inscription identifies the piece as an ode ‘in Honour of D.r Windebank’s Club’ US-LAuc B217 Theatre suites and Banister, Finger, Two unknown After 1697 Four Now reclassified as US-LAuc Charteris, ‘A Checklist of the M4 S948 1690 instrumental music Morgan, Paisible, H. scribes partbooks 1970.001. ‘John’ written inside Manuscript Sources’, 408–10; H. Bound Purcell (first layer); front flyleaf of first-violin book, Purcell, Dramatic Music, Part II, ed. Banister, Barrett, but cover label is in French: Spink, p. xxxvi; RISM, Series A/II, Clarke, R. King, ‘Suittes d’airs et ouvertures du ID/AN 136.709 Paisible, H. Purcell, Sieur Banister, a.4 parties’. Finger (second layer) Thomas Finney suggested this book was once owned by Thomas Britton. Purcell pieces mainly copied from Ayres for the Theatre MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-LAuc D173 Keyboard music Draghi, H. Purcell Two unknown c. 1700? Score Now reclassified as US-LAuc Bailey, Seventeenth-Century British M4 H295 1690 scribes 1970.003. Oblong volume. Keyboard Sources, 72–3; Charteris, ‘A Inscribed ‘Att Mr Shaws At ye Checklist of the Manuscript Sources’, Second House in Wild Court in 412–13; Draghi, Harpsichord Music, ed. Wild Street’ Klakowich, pp. ix–xi; Hodge, ‘English Harpsichord Repertoire’, vol. III, 43; Klakowich, ‘Harpsichord Music by Purcell’; Woolley, ‘English Keyboard Sources’, 270 US-LAuc fC6966 Anthems, chants Aldrich, Blow, Daniel Henstridge, After 1677–c. Score Both the fact that material was Charteris, ‘A Checklist of the M4 A627 1700 (front end); Child, Church, two items added 1708; layers added over a long time (over Manuscript Sources’, 411–12; H. anthems, Draghi, Henstridge, by unknown both before several of Henstridge’s Purcell, Sacred Music, Part II, ed. Pike, p. instrumental works Humfrey, H. Purcell, scribes and after appointments) and the inclusion xv; H. Purcell, Sacred Music, Part V, ed. (reverse end) Tudway, Turner, 1682 of some non-liturgical items Thompson, p. xvi; Shay and Wise, Nicolas suggest this was a personal book. Thompson, Purcell Manuscripts, 222–6 Wootton Came into the possession of W. Gostling after Henstridge’s death US-LAuc fC6997 Symphony anthems Blow, Humfrey, Unknown scribe 1670s–early Score Repertory and Chapel-Royal M4 A627 1696 Turner (Chapel Royal 1680s character of hand strongly Bound style) suggest institutional origin US-LAuc M678 Keyboard music and Lord Byron, Clarke, Unknown scribe c. 1700 Score Now reclassified as US-LAuc Charteris, ‘A Checklist of the M4 H295 1710 settings R. King, Lully, D. 1970.008. Oblong volume. Manuscript Sources’, 413–14; Hodge, and H. Purcell Inscribed ‘Mary Frederick’. ‘English Harpsichord Repertoire’, vol. Presence of tally marks and III, 44; Klakowich, ‘Harpsichord fingering suggests the book was Music by Purcell’; Taylor, Thematic used for teaching. No Catalog, 120; Woolley, ‘English attributions included Keyboard Sources’, 97, 271 US-LAuc P985 Instrumental theatre H. Purcell FQ4 After 1697 Score Large folio manuscript. Hand Charteris, ‘A Checklist of the M4 C697 music (theatre airs) identified by Andrew Woolley Manuscript Sources’, 41417 (personal correspondence). Contents are organized by key and, according to Woolley, largely copied from Ayres for the Theatre US-NH Filmer 6 Instrumental theatre S. Eccles, Farmer, Unknown scribe c. 1682 Three First treble book includes Ford, ‘The Filmer Manuscripts’, 818; music John Lenton partbooks inscription ‘Rob: Filmer’. Holman, Four and Twenty Fiddlers, 355; Holman suggests the repertory is RISM, Series A/II, ID/AN 105.746; a chronological collection of Wollston, ‘The Instrumentation of incidental music for plays from English Violin-Band Music’, 179–82 1682 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-NH Filmer 7 Instrumental theatre Banister, J. Eccles, Anon L, R. c. 1671–7 Partbook Bass partbook. Includes note on Ford, ‘The Filmer Manuscripts’, 818; music Farmer, Forcer, Filmer, several flyleaf: ‘all Mr Banisters things Holman, Four and Twenty Fiddlers, 313, King, Locke, Lully, unknown scribes that were made for the new 337–9; Wollston, ‘The Instrumentation Pack, Paisible, house; & Mr Smiths things in of English Violin-Band Music’, 85–93, Turner gamut only’. Holman notes the 179–82 ‘new house’ was Dorset Garden, so dates based on repertory and its opening date of 1671. Anon L also contributed to US-NH Osborn 515 US-NH Filmer 8 Instrumental theatre Lully, H. Purcell, Several unknown Late 1670s Partbook Bass partbook. Dated (by Ford) Ford, ‘The Filmer Manuscripts’, 818; music Smith, and others scribes and early on the basis of the repertory Shay and Thompson, Purcell 1680s Manuscripts, 295–8; Wollston, ‘The Instrumentation of English Violin- Band Music’, 179–82 US-NH Filmer 9 Instrumental theatre Ackroyd, Bullamore, Anon M, four 1682–1700 Three Dated on the basis of the plays Ford, ‘The Filmer Manuscripts’, 819; music Compton, J. and S. other unknown partbooks with which the music is Wollston, ‘The Instrumentation of Eccles, Farmer, scribes associated. Anon M was also English Violin-Band Music’, 179–82 Finger, Forcer, responsible for US-NH Filmer Grabu, Paisible, 10–13 and contributed to US- Tollett and others NH Filmer 14 US-NH Filmer 10 Instrumental music Torelli? Anon M Late 17th C Two parts Loose leaves described as ‘Senior Ford, ‘The Filmer Manuscripts’, 819 Torellos Airs’. Ford notes that these are not identified works of Torelli. Anon M was also responsible for US-NH Filmer 11–13 and contributed to US- NH Filmer 9 and 14 US-NH Filmer 11 Instrumental theatre R? King Anon M c. 1684–92 Two parts Surviving first and second treble Ford, ‘The Filmer Manuscripts’, 819 music (seven theatre parts only. Loose leaves. Dating tunes) based on King’s known contributions to United Company plays. Anon M was also responsible for US-NH Filmer 10 and 12–13 and contributed to US-NH Filmer 9 and 14 US-NH Filmer 12 Instrumental theatre John Lenton Anon M Late 17th C Three parts Single bifolium. Anon M was also Ford, ‘The Filmer Manuscripts’, 819 music responsible for US-NH Filmer 10–11 and 13 and contributed to US-NH Filmer 9 and 14 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-NH Filmer 13 Instrumental theatre H. Purcell Anon M Mid 1690s? Two parts Surviving second treble and bass Ford, ‘The Filmer Manuscripts’, 819 music parts. Anon M was also responsible for US-NH Filmer 10–12 and contributed to US- NH Filmer 9 and 14 US-NH Filmer 14 Instrumental theatre Unknown Anon M and Late 17th C; Part Surviving treble part. Single Ford, ‘The Filmer Manuscripts’, 819– music; ballad opera unknown scribe later 18th-C bifolium. Anon M was also 20 tunes additions responsible for US-NH Filmer 10–13 and contributed to US- NH Filmer 9 US-NH Filmer 15 Keyboard music Blow, Francis Francis Forcer c. 1678–80 Score Oblong manuscript. Inscribed Bailey, Seventeenth-Century British Forcer, H. Purcell, ‘Amy Filmer Her Booke 1677/8’; Keyboard Sources, 73; Blow, Complete Turner includes pedagogical material Harpsichord Music, ed. Klakowich, 118– 19; Ford, ‘The Filmer Manuscripts’, 820; Hodge, ‘English Harpsichord Repertoire’, vol. III, 111; Shay and Thompson, Purcell Manuscripts, 277, 306; Woolley, ‘English Keyboard Sources’, 46–52, 271 US-NH Filmer 16 Instrumental suites, Lully and others Francis Forcer, From mid Two parts Surviving second treble and bass Ford, ‘The Filmer Manuscripts’, 820; mainly from theatre several unknown 1680s parts. Music entered over a long music scribes period, including eighteenth- century additions US-NH Filmer 17 Keyboard music; Handel, H. Purcell, Forcer, c. 1700–13 Score One song copied by Turner from Bailey, Seventeenth-Century British solo anthems (by Turner, and others Henstridge, Handel’s Teseo (1713). Anon H Keyboard Sources, 73–4; Blow, Complete Turner and H. Turner, Anon H, was also responsible for GB-Ob Harpsichord Music, ed. Klakowich, 119; Purcell); treble parts Anon N many Mus.Sch.d.252, GB-Ob Ford, ‘The Filmer Manuscripts’, 820–1; of songs, some from unknown scribes Mus.Sch.e.400–3 and J-Tn Hodge, ‘English Harpsichord theatre works N2/15. Anon N was responsible Repertoire’, vol. III, 112; Shay and for US-NH Filmer 22 and 23 Thompson, Purcell Manuscripts, 277, 306; Woolley, ‘English Keyboard Sources’, 48–9, 271–2 US-NH Filmer 18 Instrumental music Turner? Turner Late 17th or Score Three pieces for treble and Ford, ‘The Filmer Manuscripts’, 821; (suite) early 18th C figured bass US-NH Filmer 19 Keyboard suite Turner? Turner Late 17th or Score Unascribed suite of three dances Ford, ‘The Filmer Manuscripts’, 821; early 18th C Hodge, ‘English Harpsichord Repertoire’, vol. III, 113; Woolley, ‘English Keyboard Sources’, 49, 272 US-NH Filmer 20 Devotional song ‘J. R.’, Turner? Turner, unknown Late 17th or Score Single folio, containing score of Ford, ‘The Filmer Manuscripts’, 821 ‘When Israel was hand early 18th C song on one side, in Turner’s from bondage led’; hand, and treble part to the instrumental consort instrumental music on the piece reverse MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-NH Filmer 21 Anthems Aldrich, H. Purcell Daniel 1698 or later Partbook Bifolium from countertenor Ford, ‘The Filmer Manuscripts’, 821; Henstridge partbook. Likely Canterbury Shay and Thompson, Purcell provenance Manuscripts, 221, 224, 230 US-NH Filmer 22 Songs ‘Long from Unknown Anon N Early 18th C Score Single sheet. Anon N also copied Ford, ‘The Filmer Manuscripts’, 821 the force of beauty’s music into US-NH Filmer 17 and charm’s’ and ‘When 23 Delia on the plain’ US-NH Filmer 23 ‘Graces from From Bononcini Anon N Early 18th C Part Single sheet. Anon N also copied Ford, ‘The Filmer Manuscripts’, 821–2 Camilla’, for arias music into US-NH Filmer 17 and from Il Trionfo di 22 Camilla (1706) US-NH Filmer 24 Keyboard music and Barrett, Blow, H. Unknown scribe By 1710 Score Oblong manuscript. Inscribed Blow, Complete Harpsichord Music, ed. settings Purcell ‘Elizabeth Filmer’. Includes Klakowich, 119; Ford, ‘The Filmer pedagogical materials Manuscripts’, 822; Hodge, ‘English Harpsichord Repertoire’, vol. III, 113; Woolley, ‘English Keyboard Sources’, 272 US-NH Filmer 25 Secular and Boesset, le Camus, Unknown scribe Begun in Score Owned by a ‘Miss Wallis’ and Ford, ‘The Filmer Manuscripts’, 822 devotional songs in Corelli, Geminiani, 1660s? probably entered Filmer family English, French, Rossi and others by marriage. Includes lute Italian and Latin accompaniments written in tablature US-NH Filmer 26 Songs and Various, including Unknown scribe Late 1670s? Single part Melody lines only to songs also Ford, ‘The Filmer Manuscripts’, 822 instrumental pieces H. Purcell included in Playford’s Choice Ayres (1676), and treble parts to popular instrumental pieces. Ford describes this as a ‘commonplace book’ and suggests it entered the Filmer household by marriage US-NH Filmer 27 Songs in English, Lully, Rossi, and Unknown scribe c. 1679 Single part Melody lines only. Inscribed Ford, ‘The Filmer Manuscripts’, 822 French and Italian others ‘Elizabeth Beversham, her Booke, July the 11the, 1679’ US-NH Filmer 32 Metrical psalms Various Robert Filmer? Late 17th C Single part Duodecimo format. Inscribed Ford, ‘The Filmer Manuscripts’, 823 ‘Robert Filmer His Booke: of psalmes’ US-NH Filmer 33 Instrumental music Dieupart, Grabu, de Dieupart, other 1680 Three Inscribed ‘Livre de triôts Ford, ‘The Filmer Manuscripts’, 824 (ballet music la Grange, Lebègue, unknown scribes partbooks appartenants à Dieupart, Fluste et extracts) Lully Crômorne ordinaire de la chambre du Roy. 1680’ US-NH Filmer 34 Instrumental music Matteis Unknown scribe Early 18th C Part Second violin part entitled Ford, ‘The Filmer Manuscripts’, 824 (Aires in Three Parts) ‘Secondo Violino del Libro di Nichola Matteis’. Probably copied from print publication (London, 1703) MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-NH Osborn Instrumental theatre Locke, D. and H. Anon L, Wren, 1674–1700 Partbook Guardbook of bass parts; single Browning, ‘Purcell’s “Stairre Case 515 music; music for Purcell, R. Wren London E, H. surviving copy from a set of Overture”’; Ford, ‘Osborn MS 515’; bass viol, gamba, or (theatre music); Purcell, two (probably) five. Bound as a Herissone, ‘The Theory and Practice bass violin Becker, Kircher, unknown scribes collection c. 1700. Anon L also of Composition’, 231; Holman, Henry Jenkins, W. Lawes, contributed to US-NH Filmer 7 Purcell, 63–5, 73, 76; H. Purcell, Matteis, Poole, H. Fantazias and Miscellaneous Instrumental Purcell (consort Music, ed. Tilmouth, pp. xiv–xv; G. music) Rose, ‘A New Purcell Sources’; Shay and Thompson, Purcell Manuscripts, 2, 213, 292–4; Wollston, ‘The Instrumentation of English Violin- Band Music’, 94–7 US-NYp Drexel Instrumental music Banister, Locke, John Banister, 1670s–80s Three Organized by key. Begun by Harding, A Thematic Catalogue, 116–17; 3849 (theatre suites and Jenkins, Smith, Thomas Britton partbooks Birchensha but later owned and Holman, Four and Twenty Fiddlers, 323– court-related pieces) Staggins and others added to by Britton; inscribed 5, 369−73; Wollston, ‘The ‘Thomas Britton his book 1680’ Instrumentation of English Violin- Band Music’, 151–65 US-NYp Drexel Instrumental music Locke Anon O 1680s? Score Entitled ‘The Rare Theatrical, & Harding, A Thematic Catalogue, 118–28; 3976 (theatre suites) other Compositions’. Organized Holman, Four and Twenty Fiddlers, 314– by key; possibly three missing 19, 338–42; Locke, Dramatic Music, ed. sections. Holman relates the Tilmouth, pp. xx–xxi; Locke, The Rare repertory to court dances as well Theatrical, ed. Holman; RISM, Series as the theatre. There are some A/II, ID/AN 102.435; Shay and variations of hand, which leads Thompson, Purcell Manuscripts, 108; Harding to identify two separate Wollston, ‘The Instrumentation of copyists, but these variations English Violin-Band Music’, 99–109, occur within pieces. The scribe, 117–23 who also copied US-NYp Drexel 5061, was possibly connected to the Isaack family according to Holman US-NYp Drexel Songs John Atkins, John Gamble 1659 Score More than 300 songs. Inscribed English Songs, ed. Spink, 190; Jorgens 4257 Thomas Brewer, ‘His booke, amen 1659’ (ed.), New York Public Library Thomas Campion, Manuscripts Part II; RISM, Series A/II, Coleman, Gamble, ID/AN 102.621 Robert Johnson, Lanier, H. and W. Lawes, William Webb, Wilson, Withey, and others US-NYp Drexel Oedipus H. Purcell London A c. 1700 Score ‘Carelessly copied’ according to H. Purcell, Dramatic Music…Part III, ed. 4285.6 Laurie Laurie, p. xlvii; Shay and Thompson, Purcell Manuscripts, 254; Zimmerman, Henry Purcell…An Analytical Catalogue, 466 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-NYp Drexel Instrumental Francis Forcer, Anon O Begun in Score In several once-independent Harding, A Thematic Catalogue, 117, 5061 consort music Benjamin Isaack, 1670s sections according to pagination. Table II; Holman, Four and Twenty (including H. Locke, H. Purcell, R. Possibly related to Isaack family. Fiddlers, 318; Holman, Henry Purcell, 65; Purcell, Fantazias Smith, and unknown The scribe, who also copied US- H. Purcell, Fantazias and Miscellaneous and In Nomines); (sacred music) NYp Drexel 3976, was possibly Instrumental Music, ed. Tilmouth, p. xii; some sacred music connected to the Isaack family RISM, Series A/II, ID/AN 103.321, according to Holman. Holman 103.327–9, 103.331–6, 103.348, also suggests the opening section 103.357; Shay and Thompson, Purcell (movements in G minor) may Manuscripts, 106–9, 306, 310–11; transmit part of the lost ‘Gamut’ Wollston, ‘The Instrumentation of section of US-NYp Drexel 3976 English Violin-Band Music’, 109–17 US-NYp Drexel Keyboard music La Barre, Bull, John Thomas Heardson, Late 1650s or Score Folio keyboard book. Scribe Bailey, ‘New York Public Library 5611 Cobb, Benjamin with additions by early 1660s identified by Bailey; Heardson Drexel MS 5611’; Bailey, Seventeenth- Cosyn, Hugh Facy, two other was organist at Ludlow parish Century British Keyboard Sources, 74–9; C. and O. Gibbons, scribes, one church before the Brookes, British Keyboard Music, 65–7; Richard Gibbs?, probably Bryne Commonwealth. Some of Gustafson, French Harpsichord Music, Heardson, W. Heardson’s copying may have vol. II, 133–40; Hodge, ‘English Lawes, John been corrected by Bryne Harpsichord Repertoire’, vol. III, 80; Mercure, Arthur RISM, Series A/II, ID/AN 104.325; Phillips?, Rogers, Woolley, ‘English Keyboard Sources’, Tomkins, Jonas 273 Tresure US-R M2040/ Anthems (including Blow, C. and O. London A, John c. 1685 Score Unbound, possibly until 19th RISM, Series A/II, ID/AN 130.400, A628/Folio symphony anthems) Gibbons, Humfrey, Playford century; discoloured outer leaves. Shay and Thompson, Purcell H. Purcell Earlier pagination suggests once Manuscripts, 78–83; Zimmerman, Henry part of larger volume. Final piece Purcell…An Analytical Catalogue, 471 (Humfrey anthem) on different paper and in the hand of Playford. Twelve of the fifteen works were copied from GB- Cfm 88 and Out of the Deep probably from GB-Lbl Add. 30931. Shay and Thompson suggest the manuscript preserves apprentice copying by London A US-R Vault Instrumental Locke Unknown scribe 1661 Score Annotated on fol. 8: ‘The End of Harding, A Thematic Catalogue, Table ML.96.L814f consort music (The (‘I.A.’) Mr Locks 3 pts. Ffancies & Ayrs. IV; Holman, Four and Twenty Fiddlers, First Part of the Broken I. A. 1661 Octo. 11th’. Probably 275–6; RISM, Series A/II, ID/AN Consort) copied from an autograph source, 131.770 since scribe often includes initials ‘ML’, which Locke included on each page of his manuscripts US-STu MLM 107 Ode, My Trembling Blow Unknown scribe After 1684 Score Loose-leaf score. Erroneously RISM, Series A/II, ID/AN 112.205; Song described in RISM as an Shaw, ‘The Autographs of John Blow’, autograph anthem 94 MANUSCRIPT CONTENTS COMPOSERS COPYISTS DATE OF FORMAT COMMENTS BIBLIOGRAPHY INCLUDED COPYING US-STu MLM 850 Te Deum and H. Purcell John Walter, c. 1694 Score Some singers named (‘Tur[ner]’, RISM, Series A/II, ID/AN 111.322, Jubilate William Issack ‘Ho[well]’, ‘Will[iams]’, ‘Wood’, Zimmerman, Henry Purcell…An all London singers). Copying Analytical Catalogue, 471 (item 701) carried out by Walter and Isaack jointly, an in their copy of Purcell’s Celebrate this Festival in GB-Ob Mus.c.28 US-Su M782.8 Odes, With Noise of Croft James Kent, c. 1713 Score Chccked, with some corrections Johnstone, ‘Music and Drama’; RISM, C874t Cannon and Laurus Croft by Croft. Composed for Croft’s Series A/II, ID/AN 101.751 cruentas (Musicus DMus at Oxford. Given to John apparatus academicus) Dolben by Croft in 1713 according to its inscription US-Wc Keyboard music Draghi, Fontana, London A c. 1700–1710 Score Oblong manuscript Bailey, Seventeenth-Century British M21/M185/ Francis Forcer, Keyboard Sources, 123; Draghi, Case Kuhnau, Pasquini, Harpsichord Music, ed. Klakowich, pp. H. Purcell and ix–xi; Hodge, ‘English Harpsichord others Repertoire’, vol. III, 106; Shay and Thompson, Purcell Manuscripts, 134, 290; Woolley, ‘English Keyboard Sources’, 275 US-Wc ML96 Te Deum and Croft Croft, unknown Before 1714 Score Described as an ‘autograph fair RISM, Series A/II, ID/AN 110.634 C638 Jubilate in B minor, copy’ in RISM A/II. Hear my anthem, Hear my Prayer, described as ‘copyist’s’ Prayer score with autograph annotations