Musical Creativity in Restoration England
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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.