Oxford, Christ Church, Music Manuscript 8

A composite manuscript comprising five volumes of instrumental and vocal music copied by Francis Withy and a sequence of Palestrina madrigals copied by Richard Goodson I, probabl y bound t ogether for Henry Aldrich in the late seventeenth century.1 iv + 148 + iv (outermost two flyleaves at either end are stubs only).

Original ink paginations superseded by modern pencil foliation 1-147 (and one unnumbered folio) as follows:

Laye Original Subsequent Corresponding Content No music r Pagination unnumbered modern entered ff. pages foliation

1 1-27 5 1-16 C. Gibbons one- 15r-16v treble works 2 1-39 9 17-40 C. Gibbons two- 39v-40v treble works 3 1-35 5 41-60 Locke Broken 58v-60v Consort II 4a 61-64 Anonymous motets 63v-64v 4b 1-82* 5 65v-108 Rovetta motets 107r- 108v 5 - 109-[148] Palestrina madrigals 147v- [148v]

*f. 65r cont ains an i ncorrect copy of t he opening of Rovetta’s ‘Dulcis Christe’, annotated ‘falce writ’ by Withy. The pagination of this section therefore starts with his second copy of these bars beginning on 65v.

1 The description given here follows the divi sion of Och Mus. 8 into lay ers adopted in OCH-OL except for the distinction between Layers 4a and 4b; see Rastrology below for justification of this change. 225 Oxford, Christ Church, Mus. 8

Scribes: 1. Francis Withy (ff. 1-106v). 2. Richard Goodson I, with som e additions of text underlay by Henry Aldrich (ff. 109-147).

Inscriptions: f. 1: ‘Mr Chr: Gibbons his two parts / to the Organ’; f.17: ‘Mr Chr: Gibbons his 3 parts’; f. 39: ‘Dr Gibbons’; f. 41: ‘For 3 parts Two Trebles and a Base by Mr Matt: Lock’.

Format and dimensions: folio, 375-80 x 240-5.

Watermarks: Fleur-de-lys I/16, Fleur-de-lys I/17 (ff. 1-108). From f. 109 onwards there are two further Fleur-de-lys I marks, one countermarked RM and the other IHS.

Rastrology:

A 12; B 4; C 98; D 13(13.5)14(14.5)14.5(15)14. Red marginal rulings on left and right. Although there is considerable variation in detailed measurements, all pages of both paper t ypes in ff. 1-108 appear t o have been ruled with the same rastrum. With the exception of the gathering forming ff. 61-64 all pages copied by Withy have been pre-rul ed with bar l ines; as ff. 61-64 are separat ely paginated and contain repertory distinct from the following Rovetta section they may be regarded as a small but independent layer of the manuscript.

Collation: ff. 1-108 (and indeed most of ff. 109-[148]) consist of four-folio quires. However, ff. 90 and 91, which are at the centre of a gathering, are not conjunct so one of these folios must have been replaced in its entirety.

Binding: original card with white vellum edging, 392 x 248. The bi nding contains the bookplate identified in OCH-OL as ‘Bookplate 2’.

Provenance: Oxford; probably part of the bequest made to Christ Church by Henry Aldrich on his death in 1710. W atermark types strongly suggest copying in the early 1680s, especially the unusual PSAB monogram countermark which occurs in Ob MS Mus. Sch. C. 23, copied in 1680.2

Bibliography: WITHIE T; ORGAN H; OCH-OL

2 See Edward Lowe’s comment on the flyleaf, ‘the paper and binding of thes 4 Bookes cost 9s 6d the 1st of May 1680’. 227 Contents Orig. Page Folios Title Key Scoring VdGS Nos. Nos. ‘Mr Chr: Gibbons his two parts / to the Organ’ 1-4 1-2v 1st Fancy d tr.vl, b.vl & org 1 4-5 2v-3 [Almain] d tr.vl, b.vl & org 2 5-7 3-4 [Galliard] d tr.vl, b.vl & org 3 7-10 4-5v 2 Fancy d tr.vl, b.vl & org 4 11 6 [Almain] d tr.vl, b.vl & org 5 11-13 6-7 [Galliard] d tr.vl, b.vl & org 6 13-17 7-9 3d Fancy D tr.vl, b.vl & org 7 18 9v [Almain] D tr.vl, b.vl & org 8 18-19 9v-10 [Galliard] D tr.vl, b.vl & org 9 20-23 10-12 [Fantasia] D tr.vl, b.vl & org 10 24 12v [Almain] D tr.vl, b.vl & org 11 25 13 [Galliard] D tr.vl, b.vl & org 12 [C. Gibbons: Two-Part Airs] 26 13v [Almain] d tr.vl & b.vl 61 26-27 13v-14 Corant d tr.vl & b.vl 62 27-[28] 14r-v Sara[band] d tr.vl & b.vl 63 15-16v [blank but ruled and barred]

227 Oxford, Christ Church, Mus. 8 Orig. Page Folios Title Key Scoring VdGS Nos. Nos. ‘Mr Chr: Gibbons his 3 parts’ 1-3 17-18 1st Fancy a 2tr.vl, b.vl & org3 13 [4] 18v Almane a 2tr.vl, b.vl & org 14 [5] 19 [Galliard] a 2tr.vl, b.vl & org 15 [6] 19v 2 Fancy a 2tr.vl, b.vl & org 16 10 21v Almane a 2tr.vl, b.vl & org 17 11 22 [Galliard] a 2tr.vl, b.vl & org 18 12-14 22v-23v [Fantasia] d 2tr.vl, b.vl & org 19 14-15 23v-24 [Almain] d 2tr.vl, b.vl & org 20 15-16 24r-v [Galliard] d 2tr.vl, b.vl & org 21 16-19 24v-26 [Fantasia] d 2tr.vl, b.vl & org 22 20 26v [Almain] d 2tr.vl, b.vl & org 23 21-22 27r-v [Galliard] d 2tr.vl, b.vl & org 24 22-26 27v-29v 5th Fancy D 2tr.vl, b.vl & org 25 26 29v [Almain] D 2tr.vl, b.vl & org 26 27 30 Galiard D 2tr.vl, b.vl & org 27 28-31 30v-32 [Fantasia] D 2tr.vl, b.vl & org 28 31-32 32r-v Almane D 2tr.vl, b.vl & org 29 32-33 32v-33 [Galliard] D 2tr.vl, b.vl & org 30 34-35 33v-34 [Almain] g 2tr.vl, b.vl & org 42 35-36 34r-v [Corant] g 2tr.vl, b.vl & org 48 36 34v [Saraband] g 2tr.vl, b.vl & org 49 [37] 35 [Almain] g 2tr.vl, b.vl & org 51

3 There is no separate stave for the organ. Occasionally a few bars of the independent organ part are added on a free stave in red ink. 228 Oxford, Christ Church, Mus. 8 Orig. Page Folios Title Key Scoring VdGS Nos. Nos. [37]-38 35r-v [Saraband] g 2tr.vl, b.vl & org 50 38-39 35v-36 [Almain] g 2tr.vl, b.vl & org 47 39-[40] 36r-v [Galliard] g 2tr.vl, b.vl & org 52 [41]-[45] 37-39 [Fantasia] ‘Dr Gibbons’ g a4 81 39v-40v [blank but ruled and barred] ‘For 3 parts Two Trebles and a Base by Mr Matt: Lock’ [Second Part of the Broken Consort] 1-3 41-42 Pavan c 2tr.vl, b.vl & org4 1 4 42v Aire c 2tr.vl, b.vl & org 2 5 43 Corant c 2tr.vl, b.vl & org 3 6-7 43v Pavan] C 2tr.vl, b.vl & org 4 8 44v Aire C 2tr.vl, b.vl & org 5 9-10 45-6 Galiard C 2tr.vl, b.vl & org 6 11-14 46-47v [Pavan] e 2tr.vl, b.vl & org 12 14-15 47v-48 [Ayre] e 2tr.vl, b.vl & org 13 15-16 48r-v [Corant] e 2tr.vl, b.vl & org 14 16-17 48v-49 [Chicona] e 2tr.vl, b.vl & org 15 18-20 49v-50v [Pavan] d 2tr.vl, b.vl & org 7 20-21 50v-51 [Ayre] d 2tr.vl, b.vl & org 8 22-24 51v-52v [Galliard] d 2tr.vl, b.vl & org 9 24-25 52v-53 [Ayre] D 2tr.vl, b.vl & org 10 25-27 53-54 Saraban[d] D 2tr.vl, b.vl & org 11 27-29 54-55 [Pavan] F 2tr.vl, b.vl & org 16

4 Figured bass for organ included on a separate stave. 229 Oxford, Christ Church, Mus. 8 Orig. Page Folios Title Key Scoring VdGS Nos. Nos. 30 55v Aire F 2tr.vl, b.vl & org 18 31 56 [Corant] F 2tr.vl, b.vl & org 19 32-33 56v-57 Galiard F 2tr.vl, b.vl & org 17 34-35 57v-58 [Jigg] F 2tr.vl, b.vl & org 20 58v-61 [blank but ruled and barred]

Orig. Page Folios Composer Title Scoring Source Nos. [1]-3 61-62 Vi di Angelum Dei volantem Bbc 3-[5] 62-63 O Gloriosa Domina Bbc 63v-64v [blank but ruled] 6 5 [Rovetta] Dulcis Christe ‘Falce writ’5 ATBbc R2964/R2977 1-8 65-69 [Rovetta] Dulcis Christe ATB bc R2964/R2977 8-15 69-72v [Rovetta] Regina cæla [recte caeli] ATBbc R2964/R2977 16-24 73-77 [Rovetta] Surgamus ergo ATB bc R2964/R2977 25-32 78-81 [Rovetta] Confitemini Domino ATBbc R2964/R2977 33-40 81v-85 [Rovetta] Ego sum Resu[rrectio] ATBbc R2964/R2977 41-47 85v-88v [Rovetta] Alma Redemptoris ATBbc R2964/R2977 48-57 89-93v [Rovetta] Domine in virtute ATB bc R2964/R2977 58-66 94-98 [Rovetta] O Gloriosa Domina TTBbc R2964/R2977 67-76 98v-103 [Rovetta] Ego sum qui sum TTB bc R2964/R2977 77-[83] 103v-106v [Rovetta] Ave Regina cælorum TTBbc R2964/R2977 107-108v [blank but ruled and barred]

5 Incomplete; begun again on f. 65v. 230 Oxford, Christ Church, Mus. 8 Orig. Page Composer Folios Title Scoring Source Nos. 109-110 [Palestrina] 1 Figlio immortal6 a 5 P764 110v-111v [Palestrina] 2 E se mai voci di qua giù son grate a 5 P764 111v-113 [Palestrina] 3 Hor tu sol a 5 P764 113v-114v [Palestrina] 4 Dammi scala del ciel a 5 P764 114v-115v [Palestrina] 5 E se fur gia a 5 P764 116-117 [Palestrina] 6 Dammi vermiglia a 5 P764 117v-118v [Palestrina] 7 E se’l pe[n]sier a 5 P764 118v-120 [Palestrina] 8 Eletta Mirra a 5 P764 120-121 [Palestrina] 9 Cedro gentil a 5 P764 121v-122v [Palestrina] 10 Fa che con l’acque a 5 P764 122v-123v [Palestrina] 11 Se’ amarissimo fe le a 5 P764 124r-v [Palestrina] 12 Horto che sei a 5 P764 125r-v [Palestrina] 13 E se nel foco a 5 P764 126r-v [Palestrina] 14 Vincitrice de l’empia a 5 P764 127r-v [Palestrina] 15 Citta di Dio a 5 P764 128-129 [Palestrina] 16 Santo Altare a 5 P764 129-130v [Palestrina] 17 Tu di fortezza a 5 P764 130v-131v [Palestrina] 18 Specchio che fosti a 5 P764 132-133 [Palestrina] 19 Vello di Gedeon a 5 P764 133-134 [Palestrina] 20 Novella aurora a 5 P764 134v-135v [Palestrina] 21 E questo spirto a 5 P764 135v-136v [Palestrina] 22 E Dal letto di mille a 5 P764 137-138 [Palestrina] 23 Et arda ogn’hor a 5 P764 138-139 [Palestrina] 24 E tua merce a 5 P764

6 Text incipts only (added by Aldrich) except ‘Figlio immortal’ which is extensively underlaid. 231 Oxford, Christ Church, Mus. 8 Orig. Page Folios Composer Title Scoring Source Nos. 139v-140v [Palestrina] 25 E quella certa a 5 P764 140v-141v [Palestrina] 26 Anzi se focoe a 5 P764 142-143 [Palestrina] 27 E con i raggi tuoi a 5 P764 143-144v [Palestrina] 28 Regina de le vergini a 5 P764 144v-146 [Palestrina] 29 Al fin madre di Dio a 5 P764 146-147 [Palestrina] 30 E tu Signor a 5 P764 [147]v-[148]v [blank but ruled]

232 Oxford, Christ Church, Music Manuscripts 367-370

A set of four part books containing ayres and dances by Jenkins and hi s contemporaries. All pieces are indivi dually numbered and modern foliation appears only in 367.

Och 367 ‘C’ [cantus]: iii + 42 + i. Modern pencil foliation 1-41. No m usic copied on ff. 41 and [42]. Och 368 ‘A’ [altus]: iii + 42 + i. No music copied on ff. [40-42]. Och 369 ‘T’ [tenor]: iii + 44 + i. No music copied on ff. [38-44]. Och 370 ‘B’ [bassus]: iii + 44 + i. No music copied on ff. [39-44].

Owner: John Browne.

Scribes: Browne collection scribes A and B (John Browne).

Format and dimensions: oblong quarto, 153 x 192.

Watermarks: Fleur-de-lys II/4.

Rastrology: each page has five staves ruled with two rastra.

Rastrum 1: B 2; C 38.5; D 13(13)12.5 Rastrum 2: B 3; C 63.5; D 12.5(13)12.5(13.5)12

Collations: Och 367, 368: A6 B-E8 F4; Och 369, 370: A-E8 F4

Bindings: white vellum, 156 x 198. Fl yleaf watermarks: Och 367 front flyleaf i, lowest part of Eagle; Oc h 367 front flyleaf iii and other partbooks, Basilisk. See Appendix I below, p. 330.

Provenance: Originally compiled for John B rowne (1608-91), C lerk of the Parliaments. Listed as no. 33 among Henry Aldrich’s collection in Johann Baptist Malchair’s catalogue of 1787 (GB -Lcm, MS 2125). Aldrich was Dean of Christ Church, 1689-1710.

Bibliography: BROWNE A; BROWNE FF

233

Contents Four-part airs No. Composer Title Key 367 368 368 370 Hand VdGS No. 1 John Jenkins [Almain] G 1r 1r 1r 1r A 22 2 [Coleman] [Almain]1 G 1v 1v - 1v A 259 3 John Jenkins Coranto G 2r 2r 1v 2r A 42 4 J. J[enkins] Almaine G 2v 2v 2r 2v A 23 5 [Jenkins] [Almain] g 3r 3r 2v 3r A 30 6 John Jenkins [Almain] g 3v 3v 3r 3v A 31 7 - Seraband g 4r 4r - 4r A 923 8 J: Jenkins [Almain] g 4v 4v 3v 4v A 43 9 John Jenkins Almaine g 5r 5r 4r 5r A 32 10 J: Jenkins An Ayre c 5v 5r 4r 5r A 102 11 J. Jenkins An Ayre c 6r 5v 4v 5v A 5 12 J: Jenkins An Aire g 6v 6r 5r 6r A 49 13 J: Jenkins An Almaine c 7r 6v 5v 6v A 6 14 J. Jenkins An Ayre G/e 7v 7r 6r 6v-7r A 14 15 John Jenkins Almaine d 8r 7v 6v 7r A 13 16 John Jenkins Almaine d 8v 8r 7r 7v A 14 17 J: Jenkins Almaine d 9r 8v 7v 8r A 15 18 J. Jenkins Almaine d 9v 9r 8r 8v A 16 19 J: Jenkins Almaine g 10r 9v 8v 9r A 33 20 J: Jenkins Coranto g 10v 10r 9r 9v A 44 21 J: Jenkins Coranto d 11r 10v 9v 10r A 40

1 Three parts. 2 So numbered in ‘spurious’ group, although now acknowledged as being by Jenkins. 234

No. Composer Title Key 367 368 368 370 Hand VdGS No. 22 J: Jenkins Coranto d 11v 11r 10r 10v A 41 23 John Jenkins Coranto c 12r 11v 10v 11r A 39 24 John Jenkins Coranto C 12v 12r 11r 11v A 38 25 J: J[enkins] An Ayre d 13r 12v 11v 12r A 17 26 John Jenkins An Ayre c 13v 13r 12r 12v A 7 27 J Jenkins An Ayre G 14r 13v 12v 13r A 25 28 J: Jenkins An Ayre G 14v 14r 13r 13v A 26 29 J: Jenkins Almaine C 15r 14v3 13v 14r A 3 30 Maurice Webster A Pauan d 15v 15r 14r 14v A4 16 31 - The Merlyn g 16r 15v 14v 15r A A1351 32 John Jenkins Pauan g 16v-17r 15v-16r 14v-15r 15v-16r A 50 33 John Jenkins Pauan g 17v 16v 15v 16v A 51 34 John Jenkins Pauan a 18r 17r 16r 17r A 45 35 John Jenkins An Ayre a 18v 17v 16v 17v A 1 36 J: Jenkins Almaine in F fa ut F 19r 18r 17r 18r A 18 37 Charles Coleman Almaine G 19v 18v 17v 18v A 257 38 Ch: Coleman Almaine in F fa ut F 20r 19r 18r 19r A 209 39 Jo: Jenkins Almaine A Newyeres guift to T: C: G 20v-21r 19v-20r 18v-19r 19v-20r A 27 40 Mr Robert Johnson The Temporisor g 21v-22r 20v-21r 19v-20r 20v-21r A 2 No. Composer Title Key 367 368 368 370 Hand VdGS No.

3 ‘Coranto’. 4 ‘Maurice Webster’ added by Hand B in all four partbooks. 235

41 Mr Ro: Johnson The Wittie Wanton G 22v 21v 20v 21v A 3 42 J. Jenkins Sarraband g 23r 22r 21r 22r B 52 43 W. Lawes g 23v-24r 22v-23r 21v-22r 22v-23r B 101 44 [William Lawes] d 24r 23r 22r 23r B 264 45 W. L[awes] g 24v 23v5 22v6 23v B 339 46 [William Lawes] g 25r7 24r 23r 8 24r B 103 47 J. Jenkins Almaine D 25v 24v 23v 24v B 9 48 C. Coleman [Almain] g 26r 25r 24r 25r B 316 49 J. Jenkins Almaine D 26v 25v 24v 25v B 10 50 J. Jenkins Almaine D 27r 26r 25r 26r B 11 51 J. Jenkins Almaine G 27v-28r 26v 25v-26r 26v B 28 52 J. Jenkins Almaine G 28r 27r 26r 27r B 29 53 M. Webster An Eccho d 28v-29r 27v-28r 26v9 27v-28r B 11 54 J. Jenkins Almaine C 29v-30r 28v-29r 27v 28v B 4 55 J. Jenkins Almaine D 30r 29r 28r 29r B 12 56 C. Coleman Almaine C 30v 29v 28v 29v B 17 57 J. Jenkins Almaine a 31r 30r 29r 30r B 2 58 C. Coleman Almaine C 31v-32r 30v-31r 29v 30v B 1 59 M. Webster Almaine C 32v 31v 30r 31r B 17 60 C. Coleman Almaine F 33r 32r 30v 31v B 210 No. Composer Title Key 367 368 368 370 Hand VdGS No.

5 Blank page; headings: ‘4 Parte. Altus. 45.’ 6 Blank page; headings: ‘4 Parte. Altus. 45.’ 7 Blank page; headings: ‘4. Partes. Cantus. 46. 2. Trebbles’. 8 Blank page; headings: ‘4: Partes. Tenor. 46.’ 9 Blank pages; headings on f.26v: ‘An Eccho. Tenor. 53. M. Webster. 236

61 M. Webster Almaine D 33v-34r 32v-33r 30v-31r 32r B 18 62 J. Jenkins Pauan a 34v-35r 33v-34r 31v-32r 32v B 46 63 Jo: Jenkins Almaine G 35r 34r 32r 33r B 34 64 J. Jenkins Almaine G 35v 34v 32v 33v B 35 65 Jo: Jenkins Almaine F 36r 35r 33r 34r B 19 66 J. Jenkins Almaine F 36v-37r 35v-36r 33v 34v B 20 67 J. Jenkins Almaine F 37r 36r 34r 35r B 21 68 Jo: Jenkins An Ayre c 37v 36v 34v 35v B 8 69 Jo: Jenkins Almaine g 38r 37r 35r 36r B 36 70 Maurice Webster Almaine F 38v-39r 37v-38r 35v-36r 36v-37r B 6 71 Sy: Iues Pauan c 39v 38v 36v 37v B 16 72 Sy: Iues Pavan g 40r 39r 37r 38r B 10 [73] - - d 40v 39v 37v 38v B 1352 [74] - - d 40v 39v 37v 38v B 1353 [blank] 41-2 40-42 38-39 39-40

237 Oxford, Christ Church Music Manuscripts 372-376

A set of five partbooks containing four- and five-part instrumental pieces (some of vocal origin) and madrigals by Diomedes Cato, Francesco Mason, Claudio Merulo and Cipriano de Rore.

Copied in the early seventeenth century.

Och 372: 23 + i (the final folio and the endpage are attached to the back cover). Modern pencil foliation 1-6, preceded by one unnumbered folio [a] and followed by 16 unnumbered folios [7]-[22]. No music entered on ff. [a]r-v, 2, 5v-[22]v. Och 373: 29. Modern pencil foliation: ff. 1-15 followed by 14 unnumbered folios [16]-[29]. No music entered on ff. 1-2v, 14v-[29]v. Och 374: 31 (the first and last folios are attached to the covers). No foliation/pagination. No music entered on ff. [1]r-v, [2]r-v, [14]v-[31]v. Och 375: 27 (the final folio is attached to the back cover). No foliation/pagination. No music entered on ff. [1]-[2]v, [14]v-[27]v. Och 376: 24 (the first and last folios are attached to the covers). No foliation/pagination. No music entered on ff. [1]-[2]v, [14]v-[24]v.1

Owner: Christopher Hatton III?

Scribe: unidentified (see Plate 29)

Inscriptions: front cover of Mus. 372: ‘24. Fantasies. of. 3.4. &. 5. / pts.’ (Stephen Bing); ‘Fantasies of / Signior Diomede Claudio Correggio / Francesco Mason’ Ciprian de Roro. / 3. 4. & 5 Parts.’ (George Holmes).

Format and dimensions: Oblong quarto, 155 x 205.

Watermarks: Fleur-de-lys II/3.

Rastrology: A 5; B 5; C 119; D 12(14)12(14)12(15)12(15)12. Marginal rulings on left and right.

1 Och 376 f. [2]r has G clefs and B flat ‘key’ signatures entered on each stave only. 238 Christ Church, Mus. 372-376 Collations: 4 4 4 4 4 Och 372: A B (B1 removed) C-F ; 373: A (A2 removed) B (B1 & B4 removed) 4 4 4 4 2 C-H ; Och 374: A (A4 removed) B-H ; Och 375: (A4 removed) B-G ; Och 376: A 4 4 B (B2-3 removed) C-G .

Bindings: white vellum with remnants of original blue ties.

Provenance: The presence of inscriptions by Christopher Hatton’s secretary George Holmes and by Stephen Bing, who worked for Hatton as a copyist, suggest that Och 372-6 belonged to Hatton’s music collection, which appears to have been acquired by Henry Aldrich, Dean of Christ Church.

Bibliography: HATTON P; HATTON W.

239 Christ Church, Mus. 372-376 Contents

No.2 Composer Title Folios 372 373 374 375 376 1 Claudio Correggio [Canzona - 3 [2] [3] [2] [Merulo] ‘La Pazza’] 2 Francesco Mason’ [Canzona] - 3v [2]v [3]v [2]v 3 Claudio Correggio [Canzona - 4v [3]v [4]v [3]v ‘La Radivila’] 4 [Merulo?]3 [Canzona] - 5v [4]v [5]v [4]v 5 Signior Diomede [Ricercar] - 6 [5] [6] [5] [Diomedes Cato] 6 Signior Diomede [Ricercar] - 6v [5]v [6]v [5]v 7 Signior Diomede [Ricercar] - 7v [6]v [7]v [6]v 8 Claudio Correggio [Canzona] - 8 [7] [8] [7] 9 Signior Diomede [Ricercar] - 8v [7]v [8]v [7]v 10 Ciprian de Roro [Untexted - 9v [8]v [9]v [8]v madrigal?] 11 Signior Diomede [Ricercar] 1 10v [9]v [10]v[9]v 12 Signior Diomede [Ricercar] 1v 11 [10] [11] [10] 13 Signior Diomede4 [Ricercar] 2v 11v [10]v [11]v [10]v 14 Signior Diomede Tirsi morir 3v 12v [11]v [12]v [11]v volea5 15 Signior Diomede Freno Tirsi’l 3v 13 [11] [12]v [11]v 2 par5 desio 16 Signior Diomede Cosi morire 4v 13v [12]v [13]v [12]v

3 par5 fortunati

[recte Cosi moriro i fortunati] 17 Ciprian de Roro [Untexted 5 14 [13] [14] [13] madrigal?]

2 In Och 373-6; the seven pieces in Och 372 are numbered 1-7. 3 No. 4 is unattributed but David Pinto (HATTON P p. 105, footnote 27) notes that the piece is ‘comparable thematically and stylistically to canzoni accepted as works of Merulo, and should be added to the canon.’ 4 Attributed to ‘Ciprian de Roro’ in Och 372. 5 The text—by Guarini—appears only in Och 372. 240 Oxford, Christ Church, Music Manuscripts 379-381

A set of three partbooks of three-part ayres by Anonymous, John Cobb, Coleman, Coprario, Cranford, William Drewe, Ferrabosco II, Ford, Holmes, Ives, Jenkins, Robert Johnson, Nicholas Lanier, William Lawes, Cormack MacDermot, Webster.

Och 379 ‘Cantus’: iii + 30 + iii. Modern pencil foliation 1-25; no music entered on ff. [27]-[30]. Och 380 ‘Altus’: i + 32 + ii. Modern pencil foliation 1-26; no music entered on ff. [26v]-[32]. Och 381 ‘Bassus’: ii + 32 + i. Modern pencil foliation 1-27; no music entered on ff. [27v]-[32].

Owner: John Browne.

Scribes: Browne collection scribes A, B (John Browne) and C (as Plates 2-4)

Inscriptions: Och 381, flyleaf [ii]: table of contents according to key (‘Songes in C ffa ut’ etc.), in hand of John Browne.

Format and dimensions: Oblong folio, 156 x 204.

Watermarks: Arms of Berne I/1. (Och 381 contains one sheet, ff. 25/26 and their unnumbered conjuncts, of a much smaller Arms of Berne watermark, ruled as other pages; see Appendix I, pp. 297-8.)

Rastrology: A 5; B 5; C 119.5; D 12(13.5)13(14)12.5(14.5)12.5(14.5)13.5

Collations: Och 379: A8 B6 C8 D8 Och 380, 381: A-D8 241 Christ Church, Mus. 379-381 Bindings: White vellum, 161 x 213, labelled ‘Cantus’, ‘Altus’, ‘Bassus’; all parts have gilt edged paper. Flyleaf watermark: coat of arms, unidentifiable through cropping of top edge.

Provenance: Compiled for John Browne (1608-1691), Clerk of the Parliaments. Listed as part of no. 33 among Henry Aldrich’s collection in Johann Baptist Malchair’s catalogue of 1787 (GB-Lcm, MS 2125). Aldrich (1648-1710) was Dean of Christ Church, 1689-1710.

Bibliography: BROWNE FF; BROWNE A

Contents No. Composer Title Key 379 380 381 Hand VdGS No. 1 J: Jenkins Almaine c 1r 1r 1r A 5 2 - - c 1v 1v 1v A 924 3 (Charles Coleman) Almaine g 2r 2r 2r A 313 4 C: Coleman Almaine g 2v 2v 2v A 314 5 C: Coleman Almaine g 3r 3r 3r A 315 6 John Jenkins Almaine g 3v 3v 3v A 3 7 Charles Coleman Almaine G 4r 4r 4r A 258 8 (J) - g 4v 4v 4v A 925 9 Alfonso Ferabosco Almaine F 5r 5r 5r A 4 10 Charles Coleman Almaine C 5v 5v 5v A 1 11 J: Jenkins Almaine g 6r 6r 6r A 4 12 J: Jenkins Almaine c 6v 6v 6v A 6 13 Charles Coleman Almaine G 7r 7r 7r A 260 14 J: Jenkins Almaine g 7v 7v 7v A 1 15 C: C(oleman) Almaine g 8r 8r 8r A 312 16 Ch: Coleman Almaine F 8v 8v 8v A 211 17 Ch: Coleman Almaine F 9r 9r 9r A 212 18 Will: Cranford Almaine g 9v 9v 9v A1 [none] 19 [Jenkins] Coranto g 10r 10r 10r A 2 20 Gio: Coprario - G 10v 10v 10v A1 [none] 21 Ro: Johnson - g 11r 11r 11r A1 6 22 - - g 11v 11v 11v A [-] 23 - - g 12r 12r 12r A [-] 24 Sym: Iues Pauan d 12v 12v 12v A 1 25 Sym: Iues The Wagg d 13r 13r 13r A 25 26 Sy: Iues Coranto d 13v 13v 13v A 3

1 Composer’s name added by Scribe B. 242 Christ Church, Mus. 379-381 No. Composer Title Key 379 380 381 Hand VdGS No. 27 Sy: Iues Seraband d 14r 14r 14r A [none] 28 Will: Lawes - G/e 14v 14v 14v A1 311 29 (Nich:) Lanyer Symphonia g 15r 15r 15r B 1 30 (Nicho:) Lanyer Symphonia G 15r 15r 15r B 2 31 Tho: Fford Almayne G 15v 15v 15v B [none] 32 Tho. Holmes Pavan d 16r 16r 16r B 4 33 Mr Maurice Webster An Eccho d 16v 16v 16v A1 11 34 Mr Maurice Webster An Eccho G 17r 17r 17r A 12 35 Mr Maurice Webster An Eccho G 17v 17v 17v A 13 36 Jo: Cobb Almaine d 18r 18r 18r B 1 37 Jo: Cobb Almaine g 18v 18v 18v B 2 38 Jo: Cobb Corant g 19r 19r 19r C2 3 39 Jo: Cobb Corant g 19r 19r 19r C2 4 40 Mr Cormake Sr John Paitons pauan F 19v 19v 19v C 1 41 W D[rewe] Almaine F 19v 19v 19v C 11 42 W D[rewe] Almaine F 20r 20r 20r C 12 43 W D[rewe] Almaine F 20r 20r 20r C 13 44 W D[rewe] Coranto F 20v 20v 20v C 14 45 [W. Drewe] Almaine F 20v 20v 20v C 15 46 W D[rewe] Almaine F 21r 21r 21r C 16 47 W D[rewe] Almaine F 21r 21r 21r C 17 48 W D[rewe] Almaine F 21v 21v 21v C 18 49 W D[rewe] Saraband F 21v 21v 21v C 19 50 W D[rewe] Almaine F 22r 22r 22r C 20 51 W D[rewe] Saraband F 22r 22r 22r C 21 52 C C[oleman] Almaine C 22v 22v 22v C 2 53 C C[oleman] Coranto C 22v 22v 22v C 3 54 C C[oleman] Almaine C 23r 23r 23r C 4 55 C C[oleman] Coranto C 23r 23r 23r C 5 56 C C[oleman] Almaine C 23v 23v 23v C 6 57 C C[oleman] Coranto C 23v 23v 23v C 7 58 C C[oleman] Almaine F 24r 24r 24r C 220 59 C C[oleman] A Northen Saraband F 24v 24r 24v C 218 60 [Coleman] Almaine F 24v 25r 24v C 217

2 Titles by Scribe B. 243 Christ Church, Mus. 379-381 No. Composer Title Key 379 380 381 Hand VdGS No. 61 [Coleman] Coranto F 25r 25r 25r C 221 62 [Coleman] Coranto F 25r 24v-25r 25r C 229 63 C C[oleman] Almaine C 25v 25v 25v C 8 64 [Coleman] Corranto C 25v 25v 25v C 9 65 C C[oleman] Corranto C 26r 26r 26r C 10 66 [Coleman] Coranto C 26r 26r 26r C 11 67 [J. Browne?] Pavan g 26v3 - 26v B - 68 [J. Browne?] Almaine c - - 27r B - 69 [J. Browne?] [Corant] c - - 27r B -

3 Incomplete. 244 Oxford, Christ Church, Music Manuscripts 409-410

Treble and bass string parts of Matthew Locke’s ‘Consort for severall freinds’, in a version differing significantly from that in the composer’s autograph Lbl, Add. MS 17,801. Apart from textual variants within movements, Och 409-10 omits some movements from the autograph, includes others not found there and presents some suites in a different order. Probably copied in the 1670s (see Provenance below).

Mus. 409: i + 47 + i. Pencil foliation ff. 1-17 followed by 30 unnumbered folios. No music entered on 1, 17v, nor on any of the unnumbered folios. Mus. 410: iii + 48 + i. No foliation or pagination. No music entered on [1], [17]v- [48]v.

Scribe: Francis Withy (as Plates 17d-f).

Format and dimensions: Upright quarto 260 x 205.

Watermarks: Bend II/5.

Rastrology: A 8; B 4; C 98; D 12.5(16)12.5(15.5)13(16)12.5

Collation: A-M4 in both partbooks. In Mus. 409 quire B lacks its final folio and a whole page correction slip is pasted over f. 12v.

Bindings: contemporary distressed calf with blind-tooled rectangles and corner patterns similar to those in Och, Mus. 401-2; this binding is identified as ‘Aldrich binding type 2’ in OCH-OL. Edges of boards unusually decorated with gilt dots; spine inscription in gold lettering: ‘FANT[asia] A 2.B[ooks] / 1 [Mus 409] or 2 [Mus. 410].

Provenance: Oxford. The manuscripts belonged to Henry Aldrich’s collection in which they were designated ‘FANT A’, the first set in the fantasia sequence, and were copied by Francis Withy, who began his long career as a Christ Church singing man in 1670. They may be connected in some way with Matthew Locke’s documented visit to Oxford in 1673.

Bibliography: LOCKE F; LOCKE Th; WITHIE T

245 Christ Church, Mus. 409-410 Contents No. Folios Title Key VdGS No. 409 410 ‘For 2 parts Ma Lock’ 1 1v [1]v Pavan g Pav2 2 2 [2] [Jigg] g Jigg 6 3 2 [2] Aalmane g Ayre 3 4 2v [2]v Corant g Cor 4 5 2v [2]v Saraban[d] g Sar 5 6 3 [3] Ayre G Ayre 7 7 3 [3] Corant† G Cor 55 8 3v [3]v Saraband G Sar 9 9 3v-4 [3]v Pavan B Pav 11 10 4 [4] (Fancy) B Fant 10 11 4v [4]v Ayre B Ayre 12 12 4v [4]v Corant† B Cor 56 13 5 [5] Saraband B Sar 14 14 5 [5] Jigg B Jigg 15 15 5v [5]v Pavan d Pav 17 16 6 [6] Fancy d Fant 16 171 6v [6]v Ayre d Ayre 18 18 6v-7 [6]v-[7] Carant d Cor 19 19 7 [7] Ayre D Ayre 20 20 7v [7]v Saraband D (Cor 21)* 21 7v-8 [7]v-[8] Fancy A Fant 39 22 8 [8] Corant A Cor 41 23 8v [8]v Jigg A Jigg 42 24 8v-9 [8]v-[9] Pavan a (Pav 36)* 25 9 [9] Ayre a Ayre 37 26 9v [9]v Saraband† a Sar 57 27 10 [10] Pavan F Pav 30 28 10v-11 [10]v-[11] Fancy F Fant 29 29 11 [11] Ayre F Ayre 31 30 11v [11]v Saraband F Sar 34 31 11v-12 [11]v-[12] Ayre F Alm 33 32 12 [12] Jigg F Jigg 35 33 12v [12]v Pavan c Pav 44 34 13 [13] Fancy c Fant 43 35 13v [13]v Ayre c (Ayre 45)*

* very different from the autograph version. † do not appear in the autograph source (Lbl, Add. MS 17,801). 1 Misnumbered ‘18’ in Och 410. 246 Christ Church, Mus. 409-410 No. Folios Title Key VdGS No. 409 410 36 13v-14 [13]v-[14] Corant c Cor 46 37 14 [14] Saraband c Sar 47 38 14v [14]v Ayre C Ayre 48 39 14v-15 [14]v-[15] Corant† C Cor 58 40 15 [15] Saraband† C Sar 59 41 15v-16 [15]v Pavan e Pav 23 42 16 [16] Almane e Alm 24 43 16v [16]v Ayre e Ayre 26 44 16v-17 [16]v Corant e Cor 25 45 17 [17] Saraband e Sar 27 46 17 [17] Jigg e Jigg 28

247 Oxford, Christ Church, Music Manuscripts 423-428

A set of partbooks containing music in 3, 4, 5 and 6 parts.

Och 423 [Cantus]: iii + 107 + ii. Modern pencil foliation 1-104. No music entered on ff. 9r-32v, 46r-52v, 71r-82r, 103v-[107]. Front flyleaves [ii] and [iii] consist of ruled music paper.

Och 424 [Altus]: v + 83 + i. Modern pe ncil foliation 1-75 (numbering not written on ff. 17-19, 21-22). No m usic entered on ff. 14r-26v, 46v-54r and from 75v. Contains music for 4-6 parts. Front flyleaf [i] contains a copy of the Cantus part of two pavans by White that also appear in Och 423, ff. 82v and 103r; [iv] and [v] consist of unused music paper (Pot III/1/a).

Och 425 [Tenor]: iv + 110. Modern pe ncil foliation 1-112 (numbering not written on ff. 10-19, 21-22, 41-42, 103-112; folio num bers 23-24 omitted). No music entered on ff. 9r-22v, 38r-48v, 67v-81r and from 102v. Second front flyleaf, numbered ‘0’, contains the bass part of a fan tasia by Coprario; 0/i and 0/ii also consist of music paper.

Och 426 [Quintus]: iii + 69 + i. Modern pencil foliation 1-55. No m usic entered on ff. 19v-33r, 55r-[69].

Och 427 [Sextus]: iv + 36. Modern pencil foliation 1-[36]; numbering not written on ff. 23-36. Unnumbered front flyleaves [ii] -[iv] consist of music paper; copying begins on verso of [i v]. No m usic entered on ff. 0r and from f. 21v onwards. Contains one bass part of works in six parts.

Och 428 [Bassus]: viii + 94. Modern pencil foliation 1-86 (folio num bers not written on ff. [22]-[24], [87]-[94]. Front flyleaves [i ]-[iii] unnumbered, unruled paper, then iv (ruled), v-vi (unruled), 0, 01 (ruled). No music entered on ff. 9r-24v, 38r-44v, 63v-64r and from 85v onwards.

Owner: John Browne.

Scribes: Browne collection scribes ‘O’, ‘A’, ‘B’ (John Browne), ‘C’, ‘D’, ‘F’ (see Plates 2-6, 8)

248 Christ Church, Mus. 423-428

Inscriptions: Most pages are labelled with the number of parts (e.g. ‘A 4 voc:’), the part name, an ascription and the title of the piece. The com plex history of the source is reflected in the variety of titles used by different scribes and by the need to re-copy headings initially written by scribe O (see below). Each new section is introduced in each part by a rubric such as ‘Heere beginneth the Fantazies of 4: partes’, added by Hand D. The ori ginal copyist (O) paginated his work in i nk, making a new start from 1 at the beginning of each section.

Format and dimensions: Folio, 283 x 195; coloured edges and rounded corners.

Watermarks:

Paper types in ruled music pages

Och 423 Och 424 Och 425 Och 426 Och 427 Och 428 Pot I/8 1-32, 19-53, 1-22, 1-32, [02], 13, 1-24, 51-81, 54. 66, 41-80, 33, 44, 14-[34] 43-63, 82, 95, 67-[82] 81, 94, 45-[67] 64, 77, 96- 95-112 78-94 [103], [105], [106] Pot I/9 33-50, 1-18 25-40, 34-43, 1-12 25-29, 83-87, 82-93 [69]- 31-36, 90-94 [70] 38-47 Pot IV/1 88-9, [83] [35] - 30, 37 104, [36] [107]

Identifiable paper types in flyleaves (including ruled pages treated as flyleaves)

Och 423 rear flyleaves [i-ii]; Pillars FII/3 Och 424 front flyleaves [i], [i v-v] Pot IV/1; [ii-iii] Pillars FII/3; rear flyleaves [i- ii]: Pillars FII/3 Och 425 front flyleaves 0-[0/ii] Pot I/9 Och 426 front flyleaves [i]: Pillars FII/3; 0 Pot I/9 Och 427: front flyleaves [0-0/i]: Pot I/9 Och 428: front flyleaves [i], iv: Pot I/9; [ii-iii], v-vi: Pillars FII/3; 0-01 Pot IV/1

Rastrology: Pot I/8 paper: A 10; B 5; C 115.5; D 12(13)12.5(14)12(13.5)12.5(13)13

249 Christ Church, Mus. 423-428

Pot I/9 paper: A 10; B 5; C 114.5; D 12.5(13)13(13)12.5(13)13(13)12.5 A few sheets of Pot I/9 used in flyleaves have the same ruling as Pot IV/1 below. Pot IV/1 paper: A 10; B 2; C 38; D 13(13)12.5 All types have marginal rulings on left and right.

Collation: Och 423: A-B10 C12 D18 E2 F10-1 G10 H8 J14 K18; collation from f. 96 (gathering L) onwards unclear: one folio removed after f. 99, three after f. 100, four after f. 106; f. 104 tipped in at centre of gathering. Och 424: A18 B6 C-D10 E10-1 F14-1 G8-1 H10-1 Och 425: A-B8 C4 D2 E16 F6-1 G8 H10 J6 K12-1 L14 M8 N12-2 Och 426: A12 B8 C-E12 F12-1 G2 Och 427: A14 B10-1 C12 D2 Och 428: A10-1 B10 C2 D4-1 E18 F12 G6 H4-1 J14 K10 L8-1

Binding: Contemporary boards covered in reversed calf, 290 x 207, blind-tooled with three lines, gilt edges. Stamped with initial of part name front and back: C[antus], A[ltus], T[enor], Q[uintus], S[extus], B[assus].

Provenance: Probably part of R ichard Goodson’s bequest to Christ Church, Oxford; J. B. Malchair’s catalogue (GB-Lcm 2125) refers to a set of small folio volumes bound in rough calf (f. 26).

Bibliography: BROWNE A; BROWNE FF; FERRABOSCO II 5 -6, especially p. 206

Och 423-428 are t he only books in the Browne collection to contain the work of copyist ‘O’. This scribe’s work was evidently carried out before binding, as he had to replace original headings cropped when the books were bound; he worked predominantly in large gatherings and numbered the pages containing music in separate sequences for each scoring combination. The intended contents of the books were not lim ited to the initial project completed by ‘O’, and substantial amounts of unused paper were i ncorporated in the binding. A number of pastedowns and flyleaves consist of music paper; for pastedowns, the binder seems often to have used pages copied by ‘O’ that duplicate material elsewhere but do not have any apparent faults—see page 1 for a possible explanation.

250 Christ Church, Mus. 423-428 Contents Three-part section No Ascription Title 423 424 425 426 427 428 1004 Scribe1 VdGS No. ff. ff. ff. ff. ff. ff. pp. 1 Tho: Lupo Fantasia 1 - 1 - - 1 - O 2 2 Tho: Lupo Fantazia 1v - 1v - - 1v - O 3 3 Tho: Lupo Fantazia 2 - 2 - - 2 - O 10 4 Tho: Lupo Fantazia 2v - 2v - - 2v - O 11 5 Tho: Lupo Fantazia 3 - 3 - - 3 - O 12 6 Tho: Lupo Fantazia 3v - 3v - - 3v - O 4 7 Tho: Lupo Fantazia 4 - 4 - - 4 - O 22 8 Tho: Lupo Fantazia 4v - 4v - - 4v - O 25 9 Tho: Lupo Fantazia 5 - 5 - - 5 - O 7 10 Tho: Lupo Fantazia 5v - 5v - - 5v - O 8 11 Tho: Lupo Fantazia 6 - 6 - - 6 - O 24 12 Tho: Lupo Fantazia 6v - 6v - - 6v - C2 9 13 Tho: Lupo Fantazia 7 - 7 - - 7 - C3 6 14 Tho: Lupo [Fantasia] 7v - 7v - - 7v - B 14 15 [Lupo] Pavan 7v - 7v - - 7v - B 1 16 [Lupo] Pavan 8 - 8 - - 8 - B 2 17 [Lupo] Pavan 8 - 8 - - 8 - B 3 18 [Lupo] [Pavan] 8v - 8v - - 8v - B 4

1 Following the nomenclature of BROWNE A and BROWNE FF. Och 1004 was copied by scribe E throughout. 2 Copied by Scribe O in Mus. 423. 3 Copied by Scribe O in Mus. 423. 251 Christ Church, Mus. 423-428 Four-part section No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. 1 Tho: Lupo4 Fantazia 33 1 25 - - 25 - O 5 2 Tho: Lupo Fantazia 33v 1v 25v - - 25v - O 6 3 Tho: Lupo Fantazia 34 2 26 - - 26 - O 7 4 Tho: Lupo Fantazia 34v 2v 26v - - 26v - O 1 5 Tho: Lupo Fantazia 35 3 27 - - 27 - O 2 6 Tho: Lupo Fantazia 35v 3v 27v - - 27v - O 8 7 Tho: Lupo Fantazia 36 4 28 - - 28 - O 3 8 John Coprario Fantazia 36v 4v 28v - - 28v - O 17 9 John Coprario Fantazia 37 5 29 - - 29 - O 18 10 John Coprario Fantazia 37v 5v 29v - - 29v - O 19 11 John Coprario Fantazia 38 6 30 - - 30 - O 20 12 John Coprario Fantazia 38v 6v 30v - - 30v - O 21 13 John Coprario Phantasye 39 7 31 - - 31 - O 22 14 T. C.5 Fantazia 39v 7v 31v - - 31v - C None 15 Al: Ferabosco [II] Fantazia 40 8 32 - - 32 2-3 O 7 16 Al: Ferabosco [II] Phantasye 40v 8v 32v - - 32v 7-9 O6 9 17 Al: Ferabosco [II] Fantazia 41 9 33 - - 33 4-6 O7 8 18 Ric. Deering Pavan for Trebles 41v 9v 33v - - 33v - B None 19 Al: Ferabosco [II] [Fantasia] 41v-42 9v-10 33v-34 - - 33v-34 - B 23

4 Erroneously attributed to William White in 428. 5 Thomas Crewe or Timothy Collins? See BROWNE A, p. 51. 6 Copied by Scribe D in Mus. 424. 7 Copied by Scribe D in Mus. 424. 252 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. 20 Al: Ferabosco [II] [Fantasia] 42v-43 10v-11 34v-35 - - 34v - B 14 21 Al: Ferabosco [II] [Fantasia] 43 11 35 - - 35 - B 13 22 Al: Ferabosco [II] [Fantasia] 43v-44 11v-12 35v-36 - - 35v - B 21 [23 Missing] B 24 Jo: Warde [Fantasia] 44v-45 12v 36v-37 - - 36v - B 6 25 Aferabosco [II] [Fantasia] 45 13 37 - - 37 - B 22 26 Aferabosco [II] [Fantasia] 45v 13v 37v - - 37v - B 18 Five-part section 1 Thomas Lupo8 Fantazia 53 27 49 1 - 45 - O 1 2 Thomas Lupo Fantazia 53v 27v 49v 1v - 45v - O 3 3 Thomas Lupo Fantazia 54 28 50 2 - 46 - O 4 4 Thomas Lupo Fantazia 54v 28v 50v 2v - 46v - O 2 5 Thomas Lupo Fantazia 55 29 51 3 - 47 - O 11 6 Thomas Lupo Fantazia 55v 29v 51v 3v - 47v - O 12 7 Thomas Lupo Fantazia 56 30 52 4 - 48 - O 13 8 Tho: Lupo Fantazia 56v 30v 52v 4v - 48v - O 14 9 Mr Milton Fantazia 57 31 53 5 - 49 - O 1 10 Mr Melton Fantazia 57v 31v 53v 5v - 49v - O 2 11 Mr Melton Fantazia 58 32 54 6 - 50 - O 3 12 A: Farbabosco [II] In nomine 58v 32v 54v 6v - 50v - O 1 13 A: Farabasco [II] In nomine 59 33 55 7 - 51 - O 2 14 A: Farabosco [I] In nomine 59v 33v 55v 7v - 51v - O 1

8 Attributed to both William White and Tho. Lupo in 428. 253 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. 15 W: Cranford In nomine 60 34 569 8 - 52 - O None 16 Charles Coleman Fantazia 60v 34v 56v 8v - 52v - O None 17 Ricd Dearinge Fantazia 61 35 57 9 - 53 - O 1 18 J: Ward Cor mio 61v 35v 57v 9v - 53v - O 12 19 Jo: Coprario Fantazia 62 36 5810 10 - 54 - O 34 20 R: Dearinge Fantazia11 62v 36v 58v 10v - 54v - O 2 21 Si Ives12 Fantazia 63 37 59 11 - 55 - O None 22 W White Fantazia 63v 37v 59v 11v - 55v - O 1 23 T Morley13 Pavine. Sacred Ende 64 38 60 12 - 56 - O Weelkes 2 24 Mr Ri: Micho Pauan 64 38 60 12 - 56 - B 1 25 Alfonso Ferabosco Junior Almayne 64v 38v 60v 12v - 56v - B 1 26 [Ferrabosco II] Pauan 64v 38v 60v 12v - 56v - B 2 27 (Alfonso Ferabosco) Pauan 64v-65 38v-39 60v-61 12v-13 - 56v-57 - B 3 28 [Ferrabosco II] Douehouse Pauan 65 39 61 13 - 57 - B 1 29 Ferrabosco II14 Almayne 39 61 13 - 57 - B 2 30 Alfonso Ferabosco

9 Concluded on f. 55v. 10 Incomplete. 11 Same as a 5 No. 41. 12 Recte Ward: In Nomine. 13 Recte Weelkes. 14 Later attribution with comment ‘cf Egerton ms. 3665’. 254 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. [Junior] Pauan15 65v 39v 61v 13v - 57v - B 4 31 Alfonso Ferabosco [Junior] Pauan 65v-66 39v 61v 13v - 57v - B 5 32 (Alfonso Ferrabosco [Junior]) Pauan 66 40 62 14 - 58 - B 6 33 [Ferrabosco II] Pauan 66 40 62 14 - 58 - B 8 34 Mr Dan: Farrant Pauan upon fower Notes 66v 40v 62v 14v - 58v - B None 35 Alfonso Ferabosco [Junior] Pavin 66v 40v-41 62v-63 14v - 58v-59 - B 9 36 Alfonso Ferabosco [Junior] Almaine 67 41 63 15 - 59 - B 4 37 Ri: Deering Almaine 67 41 63 15 - 59 - B 4 38 Ric: Deeringe16 Pauan 67v 41v 63v 15v - 59v - B Jenkins 2 39 Jo Jenkins Pavan 68 42 64 16 - 60 178-177rev F 2 40 Jo: Jenkins Pauan 68v 42v 64v 16v - 60v - D 3 41 Rich: Deering Fantazia17 69 43 65 17 - 61 176-173rev D 2 42 J: Coperario Cresce in voi 69v 43v 65v 17v - 61v - D 16 43 Orlando Gibbons Innomine the first 7018 44v-45 6619 18 - 6220 - D 2

15 Texted: ‘Hear me, O God’. 16 Recte Jenkins. 17 Same as a 5 No. 20. 18 Completed on f. 69v. 19 Completed on f. 65v. 20 Completed on f. 61v. 255 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. 44 Orlando Gibbons Innomine the second 70v 45v-46 66v-67 18v-19 - 62v-63 - D 3 Six-part section 1[a] William: White Pavan 82v 54v [81]v 33v [c]v 64v - O 1 [1b] [White] Pavan 82v 54v [81]v 33v [c]v 64v - O 2 2 William White Fantazia 83 55 82 34 1 65 - O 4 3 William White Fantazia 83v 55v 82v 34v 1v 65v - O 3 4 William White Fantazia 84 56 83 35 2 66 - O 1 5 William White Fantazia 84v 56v 83v 35v 2v 66v - O 2 6 John Warde Fantazia21 85 57 84 36 3 67 - O 2 7 John Warde Fantazia 85v 57v 84v 36v 3v 67v - O 3 8 John Warde Fantazia 86 58 85 37 4 68 - O 6 9 John Warde Fantazia22 86v 58v 85v 37v 4v 68v - O 7 10 John Ward Fantazia 87 59 8623 38 5 69 - O 4 11 John Ward Fantazia24 87v 59v 86v 38v 5v 69v - O 5 12 John Ward Innomine 88 60 87 39 6 70 - O 1 13 John Ward I[n]nomine 88v 60v 87v 39v 6v 70v - O 2 14 Peter Phillipes Pavan Deo gratias [Passamezzo 89 61 88 40 7 7125 - O Pav 21

21 Same as a 6 No. 28. 22 Same as a 6 No. 29. 23 Concluded on f. 85v. 24 Same as a 6 No. 34. 25 Sections 1-5; last few notes of section 5 on f. 70v. 256 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. Pavana] 15 Peter Phillipes [Sections 4-6 of above] 89v 61v 88v 40v 7v 71v26 - O Pav 21 16 Martin Pierson Fantazia. acquaintaince 90 62 89 41 8 72 - O 1 17 Martin Pierson Fantazia [Beauty] 90v 62v 89v 41v 8v 72v - O 2 18 Martin Pierson Fantazia [Chowse] 91 63 90 42 9 73 - O 3 19 Martin Pierson Fantazia [Delicate] 91v 63v 90v 42v 9v 73v - O 4 20 Gio: Coprario Fantazia 92 64 91 43 10 7427 159-157rev O 2 21 Mr Melton In[n]omine 92v 64v 91v28 43v 10v 74v - O - 22 Mr Melton Fantazia 93 6529 92 44 11 75 - O - 23 Jo: Jenkins Fantasia 93v-94 65v-66 92v-93 44v-45 11v-12 75v-76 - B 1 24 Jo: Jenkins Fantasia 94v-95 66v-67 93v 45v 12v 76v - B 2 25 Gio Coprario Fantasia 95 67 94 46 13 7730 156-154rev B 3 26 Gio Coprario Fantasia 95v 67v 94v 46v 13v 77v 153-152rev B 5 27 Aferabosco [II] Fantasia31 9632 68 95 47 14 7833 151-149rev B34 2

26 Section 6. 27 Annotation: ‘Organ. no. 1.’ 28 Texted: ‘If that a siner siyed’. 29 Lacks first sixteen breves of the part. 30 Annotation: ‘Organ: no. 2.’ 31 Same as a 6 No. 31. 32 Concluded on f. 95v. 33 27 Annotation: ‘bis. scripted /31.’ 34 Copied by Scribe A in 426. 257 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. 28 John Warde Fantasia35 96v 68v 95v 47v 14v 78v - O 2 29 John Warde Fantazia36 97 69 96 48 15 79 - O 7 30 Tho: Lupo Fantazia 97v 69v 96v 48v 15v 79v - O37 8 31 Aferabosco [II] Fantazia38 98 70 97 49 16 80 - O39 2 32 Aferabosco [II] [Fantasia] 98v-99 70v-71 97v-98 49v 16v 80v 148-146rev B 1 33 Tho: Lupo Fantazia 99 71 98 50 17 81 145-141rev B40 7 34 Mr Warde Fantazia41 99v 71v 98v 50v 17v 81v - D 5 35 Tho Lupo Fantazia 100 72 99 51 18 82 142-140rev D 2 36 Tho. Lupo Fantazia 100v 72v 99v 51v 18v 82v - D 5 37 Tho. Lupo Fantazia 101 73 100 52 19 83 - D 3 38 Tho. Lupo Fantazia 101v 73v 100v 52v 19v 83v - D 6 39 Jo: Jenkins Fantazia 102 74 101 53 20 84 172-170rev D 12 40 Jo. Jenkins Fantazia 102v 74v 101v 53v 20v 84v 169-166rev D 8 41 W. White Fantazia 103 75 102 54 21 85 - D 5

35 Same as a 6 No. 6. 36 Same as a 6 No. 9. 37 Copied by Scribe B in 428. 38 Same as a 6 No. 27. 39 Copied by Scribe B in 428. 40 Copied by Scribe D? in 427. 41 Same as a 6 No. 11. 258 Christ Church, Mus. 423-428 No Ascription Title 423 424 425 426 427 428 1004 Scribe VdGS No. ff. ff. ff. ff. ff. ff. pp. Flyleaves - Jo: coprario [Fantasia a 4]42 - - 043 [0]44 - - - O 22 - [Ferrabosco II] [Fantasia a 4]45 - - - - [a] rev46 - - O 22 - Thomas Lupo [Fantasia a 4]47 - - - - [a]v rev48 - - O 5 - [White] [Fantasia a 6]49 - - 10350 - - - - O 4 - (William White) [Pavan a 6]51 104 [0]v52 - [70]v53 - - - O 1 & [83]v - William White [Pavan a 6] 104 [0]v - [70]v - - - O 2 & [83]v

42 Another copy of a 4 No. 13. 43 Another copy of Bassus part (as Mus. 428 f. 31). 44 Another copy of Altus part (as Mus. 424 f. 7). 45 Another copy of a 4 No. 25. 46 Another copy of Tenor part (as Mus. 425 f. 37). 47 Another copy of a 4 No. 1. 48 Another copy of Tenor part (as Mus. 425 f. 25). 49 Another copy of a 6 No. 2. 50 An incomplete copy of the Tenor part (see f. 82). 51 Another copy of a 6 No. 1. 52 Another copy of the Cantus part (as Mus. 423 f. 104). 53 Another copy of Tenor part (as Mus. 425 f. [81]v). 259 Oxford, Christ Church, Music Manuscript 430

An organ book with headings in John Browne’s hand of fantasia-suites by William Lawes.

Copied c.1630-45 i + 61 + i. Pencil foliation 1-56 starting on r-h side of first music opening (the first music folio is therefore f. [0]). No music entered on ff. 0r, 7v, 8v, 10v-11r, 56v-[60v].

Scribes: music hand unidentified (see Plate 9); headings and inscriptions, although varied, seem to be by John Browne.

Inscriptions: f. 29v, ‘Here begins Mr Lawes his organ Part for 2 violins & a Bass.’; f. 56r, ‘Heere Endeth ye Organ Parte ffr two Violins And A Basse Violl’; rear end-paper, ‘This for Robert Packer Esqr at Shellingford’

Format and dimensions: folio, 305 x 194; coloured edges

Watermarks: Pillars I/3

Rastrology: A 10 (six-line); B 2; C 41; D 14(34)14. Black marginal rulings on left and right.

Collation: A4 B10-3 C-G10

Binding: Contemporary sheep, 310 x 202. Inner and outer frames front and back, each consisting of triple fillets, the central fillet of each frame gilt; gilt corner decorations to inner frames and central gilt stamp in a wreath pattern. Spine decorated with double gilt bands, probably originally nine.

Provenance: John Browne (1608–91), Clerk of the Parliaments; Robert Packer (1614-1680) of Shellingford, Berkshire

Bibliography: BROWNE A; BROWNE FF

260 Christ Church, Mus. 430 Contents

No. Title Key Folio VdGS No. [William Lawes: setts for one violin, bass and organ] 1 Fantazia g 0v-2r 1 2 Almaine 2v 3 Ayre 3r 4 Fantazia G 3v-4v 2 5 Almaine 5r [Blank] 5v 6 Ayre 6r 7 Fantazia a 6v-7r, 8r 3 [Blank] 7v, 8v 8 Almaine 9r 9 Ayre 9v-10r [Blank] 10v-11r 10 Fantazia C 11v-12r 4 11 Almaine 13r 12 Ayre 13v-14r 13 Fantazia d 14v-16r 5 14 Almaine 16v-17r 15 Ayre 17v-18r 16 Fantazia D 18v-20r 6 17 Almaine 20v-21r 18 Ayre 21v-22r 19 Fantazia d 22v-23r 7 20 Almaine 24r 21 Ayre 24v-25r 22 Fantazia D 25v-27r 8 23 Almaine 27v-28r 24 Ayre 28v-29r ‘Here begins Mr Lawes his organ Part / for 2 violins & a Bass’ 25 Fantazia g 29v-31r 1 26 Almaine 31v-32r 27 Ayre 32v-33r 28 Fantazia G 33v-35r 2 29 Almaine 35v-36r 30 Ayre 36v-37r 31 Fantazia a 37v-38v 3 32 Almaine 38v-39r 33 Ayre 39v-40r 34 Fantazia C 40v-41v 4 35 Almaine 41v-42r 261 Christ Church, Mus. 430 No. Title Key Folio VdGS No. 36 Ayre 42v-43r 37 Fantazia d 43v-44v 5 38 Almaine 44v-45r 39 [Ayre] 45v-46r 40 Fantazia D 46v-47v 6 41 Almaine 47v-48r 42 [Ayre] 48v-49r 43 Fantazia d 49v-50v 7 44 Almaine 51r 45 Ayre 51v-52r 46 Fantazia D 52v-54r 8 47 Almaine 54v-55r 48 Ayre 55v-56r

262 Oxford, Christ Church, Music Manuscripts 473-478

A set of six partbooks containing music in 3, 4, 5 and 6 parts. Possibly copied in the 1620s or 30s. Foliation corresponds in all books, so that only the treble, altus and bass actually begin at f. 1.

473 ‘Cantus’: ii + 100 + ii. Original ink foliation 1-95 omitting some pages not copied by first scribe; ff. 46, 71-75 numbered in modern pencil; erroneous ink sequence ff. 76-78-[-]-79 corrected in pencil. Flyleaves of main paper type. No music entered on ff. 20v-25r, 46v-50r, 72v-75r, 95v-100v.

474 ‘Altus’: ii + 98 + ii. Original ink foliation 1-95 applied as in Och 423. No music entered on ff. 46v-50r, 71v-75r, 95v-98v.

475 ‘Tenor’: ii + 72 + ii. Foliation [25]-[96] to correspond with other partbooks, applied in ink as above to ff. 26-45, 51-70; ff. 46, 71 numbered in pencil. No music entered on ff. 46v-50r, 71v-75r, 95v-96v.

476 ‘Quintus’: ii + 51 + ii. Foliation [50]-[101] to correspond with other partbooks, applied in ink as above to ff. 51-95; f. 71 missing but included in numbering scheme. No music entered on ff. 50r, 72v-75r, 95v-101v.

477 ‘Sextus’: ii + 30 + ii. Foliation [75]-[104], applied in ink to ff. 76-95. No music entered ff. 75r, 95v-[104].

478 ‘Bassus’: ii + 98 + ii. Foliation 1-[98] applied in ink to ff. 1-45, 51-70, 76-95; f. 46 numbered in pencil. No music copied on unnumbered folios or on ff. 1r, 18r, 20v-25r.

Owner: John Browne.

Scribes: mainly the work of an unidentified early seventeenth-century scribe (see Plate 10), with two additions at the ends of existing sequences: Browne’s own hand (Browne collection hand ‘B’) appears in 5-part pieces 21-24, attributed to ‘J.B’, and Browne collection hand ‘D’ in four-part piece no. 21.

Inscriptions: 473 f. 20r: ‘Fines three parts’; f. 29r: ‘too basses’.

263 Christ Church, Mus. 473-478 Format and dimensions: Upright quarto. Och 473: 231 x 183; Och 474: 237 x 182; Och 475: 239 x 182; Och 476: 237 x 185; Och 477: 237 x 183; Och 478: 237 x 182

Watermarks: None visible in music paper, which otherwise resembles the ‘Bend I’ material found in other Christ Church sources. The binding is not deep or tight enough to conceal any standard type of watermark , so Och 473-478 appear to represent a rare occurrence of unmarked high-quality paper.

Flyleaves in Och 474 and 475 (front and rear), 476 (front) and 477 (front and rear) are made of paper with a mark representing a bunch of grapes on a shield; other flyleaves are made of the main paper type.

Rastrology: A 8; B 4; C 89; D 13(12.5)12.5(13)12.5(13)13

Collations: Och 473: A-Bb4 Och 474: A-Z4 Aa2 Bb4 Och 475: A-S4 Och 426: A-E4 F4-1 G-N4 Och 427: A2 B-H4 Och 428: A-O4 P6 Q-S4 T 4-2 V2 X-Bb4

Bindings: Contemporary sheep, 290 x 207, tooled and gilt with two lines, the inner with decorative corners; ornamental central motif, different on Tenor and Bassus from other partbooks, and stamped part name. Och 473, 238 x 184; Och 474, 475, 243 x 188; Och 476, 243 x 189; Och 477, 478, 242 x 189. Edges of paper variously coloured: Och 473, 475, 476 mottled red, Och 474, 477 solid red, Och 478 solid blue.

Provenance: Probably part of Richard Goodson’s bequest to Christ Church, Oxford (1718).

Bibliography: BROWNE A; BROWNE FF; FERRABOSCO II 5-6, especially p. 206.

264 Oxford, Christ Church, MSS Mus. 473-8 Contents [Music in three parts] No. Ascription Title 473 474 475 476 477 478 VdGS No in 473 in 473 1 Orl: Gibbons Phantazia 1v-2r 1v-2r 1v-2r 1 2 Orl: Gibbons Phantazia 2v-3r 2v-3r 2v-3r 2 3 Orl: Gibbons Phantazia 3v-4r 3v-4r 3v-4r 3 4 Orl: Gibbons Phantazia 4v-5r 4v-5r 4v-5r 4 5 Orl: Gibbons Phantazia 5v-6r 5v-6r 5v-6r 5 6 Orl: Gibbons Phantazia 6v-7r 6v-7r 6v-7r 6 7 Jo: Jenkins Phantazia 7v-8r 7v-8r 7v-8r 13 8 Jo:Jenkins Phantazia 8v-9r 8v-9r 8v-9r 14 9 Jo:Jenkins Phantazia 9v-10r 9v-10r 9v-10r 4 10 Jo:Jenkins Phantazia 10v-11r 9v-10r 9v-10r 5 11 Jo:Jenkins Phantazia 11v-12r 11v-12r 11v-12r 6 [12] Gio: Coprario Phantazia 12v-13r 12v-13r 12v-13r 7 [13] Gio: Coprario Phantazia 13v-14r 13v-14r 13v-14r 8 [14] Gio: Coprario Phantazia 14v-15r 14v-15r 14v-15r 9 [15] Gio: Coprario Phantazia 15v 15v 15v 1 [16] Gio: Coprario Phantazia 16r 16r 16r 2 [17] Tho: Lupo Phantazia 16v-17r 16v-17r 16v-17r 16 [18] Tho: Lupo Phantazia 17v-18r 17v-18r 17v-18r 19 [19] Tho: Lupo Phantazia 17v-18r 17v-18r 17v-18r 17 [20] Tho: Lupo Phantazia 17v-18r 17v-18r 17v-18r 21

265 Oxford, Christ Church, MSS Mus. 473-8 [Music in four parts] No. Ascription Title 473 474 475 476 477 478 VdGS No in 473 in 473 1 Tho: Lupo Phantazia 25v-26r 25v-26r 25v-26r 25v-26r 1 2 Tho: Lupo Phantazia 26v-27r 26v-27r 26v-27r 26v-27r 2 3 Tho: Lupo Phantazia 27v-28r 27v-28r 27v-28r 27v-28r 3 4 Tho: Lupo Phantazia 28v-29r 28v-29r 28v-29r 28v-29r 4 5 Gio: Coprario Phantazia 29v-30r 29v-30r 29v-30r 29v-30r 1 6 Gio: Coprario Phantazia 30v-31r 30v-31r 30v-31r 30v-31r 7 7 Mr. Ward Phantazia 31v-32r 31v-32r 31v-32r 31v-32r 1 8 Mr. Ward Phantazia 32v-33r 32v-33r 32v-33r 32v-33r 2 9 Alphonso Phantazia 33v-34r 33v-34r 33v-34r 33v-34r 20 10 Alphonso Phantazia 34v-35r 34v-35r 34v-35r 34v-35r 21 11 Alphonso Phantazia 35v-36r 35v-36r 35v-36r 35v-36r 13 12 Alphonso Ut, re, mi 36v 36v 36v 36v 10 13 Alphonso The Second parte 37v 37v 37v 37v 11 14 Alphonso Phantazia 38v-39r 38v-39r 38v-39r 38v-39r 18 15 Jo: Jenkins Phantazia 39v-40 39v-40 39v-40 39v-40 5 16 Jo: Jenkins Phantazia 40v-41r 40v-41r 40v-41r 40v-41r 6 17 Jo: Jenkins Phantazia 41v-42r 41v-42r 41v-42r 41v-42r 7 18 Jo: Jenkins Phantazia 42v-43r 42v-43r 42v-43r 42v-43r 13 19 Jo: Jenkins Phantazia 43v-44r 43v-44r 43v-44r 43v-44r 14 20 Jo: Withy Phantazia 44v-45r 44v-45r 44v-45r 44v-45r none1 21 J. Jenkins Fantazia 21 45v-46r 45v-46r 45v-46r 45v-46r 11

1 Page J.WITHY-2, incipit unnumbered.

266 Oxford, Christ Church, MSS Mus. 473-8 No. Ascription Title 473 474 475 476 477 478 VdGS No in 473 in 473 [Music in five parts] 1 John Withy Innomine 50v-51r 50v-51r 50v-51r 50v-51r 50v-51r none2 2 Alphonso Innomine 51v 51v 51v 51v 51v 3 3 Sym: Ives Innomine 52v-53r 52v-53r 52v-53r 52v-53r 52v-53r none3 4 Mr. Gill Innomine 53v 53v 53v 53v 53v none4 5 Will: White Phantazia5 54v-55r 54v-55r 54v-55r 54v-55r 54v-55r 1 6 Will: White Phantazia6 55v-56r 55v-56r 55v-56r 55v-56r 55v-56r 3 7 White Phantazia 56v-57r 56v-57r 56v-57r 56v-57r 56v-57r 2 8 Jo: Ward Phantazia7 57v-58r 57v-58r 57v-58r 57v-58r 57v-58r 12 9 Jo: Ward Phantazia 58v-59r 58v-59r 58v-59r 58v-59r 58v-59r 10 10 Tho: Lupo Phantazia 59v-60r 59v-60r 59v-60r 59v-60r 59v-60r 3 11 Tho: Lupo Phantazia 60v-61r 60v-61r 60v-61r 60v-61r 60v-61r 14 12 Jo: Jenkins Phantazia 61v-62r 61v-62r 61v-62r 61v-62r 61v-62r 2 13 Jo: Jenkins Phantazia 62v-63r 62v-63r 62v-63r 62v-63r 62v-63r 6 14 Jo: Jenkins Phantazia 63v-64r 63v-64r 63v-64r 63v-64r 63v-64r 4 15 Jo: Jenkins Phantazia 64v-65r 64v-65r 64v-65r 64v-65r 64v-65r 5

2 Page J.WITHY-2, incipit unnumbered. 3 Page IVES-5, incipit unnumbered. 4 Page GIBBS-1, incipit unnumbered. 5 ‘Ut re mi’ 6 ‘La sol fa’ 7 ‘Cor Mio’ 8 Page COLEMAN-1, incipit unnumbered.

267 Oxford, Christ Church, MSS Mus. 473-8 No. Ascription Title 473 474 475 476 477 478 VdGS No in 473 in 473 16 Mico Phantazia 65v-66r 65v-66r 65v-66r 65v-66r 65v-66r 1 17 Ric: Mico Phantazia 66v-67r 66v-67r 66v-67r 66v-67r 66v-67r 2 18 Mr. Coleman Phantazia 67v-68r 67v-68r 67v-68r 67v-68r 67v-68r none8 19 Tho: Lupo Phantazia 68v-69r 68v-69r 68v-69r 68v-69r 68v-69r 16 20 Tho: Lupo Phantazia 69v-70r 69v-70r 69v-70r 69v-70r 69v-70r 21 J[ohn] B[rowne] Ayre 70v 70v 70v 70v 70v 22 J[ohn] B[rowne] In Nomine 71v-72r 71v-72r 71v-72r 71v-72r 71v-72r 23 J[ohn] B[rowne] [Ayre] 71v 71v 71v 71v 71v 24 J[ohn] B[rowne] Pavin 72r 72r 72r 72r 72r [Music in six parts] 1 Mr. Coleman Phantazia 75v-76r 75v-76r 75v-76r 75v-76r 75v-76r 75v-76r 3 2 Mr. Coleman Phantazia 76v-77r 76v-77r 76v-77r 76v-77r 76v-77r 76v-77r 2 3 Mr. Lupo Phantazia 77v-78r 77v-78r 77v-78r 77v-78r 77v-78r 77v-78r 1 4 Mr. Lupo Phantazia 78v-79r 78v-79r 78v-79r 78v-79r 78v-79r 78v-79r 4 5 Mr. Lupo Devision Basses 79v-80r 79v-80r 79v-80r 79v-80r 79v-80r 79v-80r 9 6 Mr. Lupo Phantazia 80v-81r 80v-81r 80v-81r 80v-81r 80v-81r 80v-81r 10 7 Mr. White Phantazia 81v-82r 81v-82r 81v-82r 81v-82r 81v-82r 81v-82r 5 8 Mr. White Phantazia 82v-83r 82v-83r 82v-83r 82v-83r 82v-83r 82v-83r 4 9 Mr. White Phantazia 83v-84r 83v-84r 83v-84r 83v-84r 83v-84r 83v-84r 3 10 Mr. White Phantazia 84v-85r 84v-85r 84v-85r 84v-85r 84v-85r 84v-85r 1 11 Mr. White Phantazia 85v-86r 85v-86r 85v-86r 85v-86r 85v-86r 85v-86r 2 12 Mr. White Phantazia 86v-87r 86v-87r 86v-87r 86v-87r 86v-87r 86v-87r 6

268 Oxford, Christ Church, MSS Mus. 473-8 No. Ascription Title 473 474 475 476 477 478 VdGS No in 473 in 473 13 Alphonso Phantazia 87v-88r 87v-88r 87v-88r 87v-88r 87v-88r 87v-88r 2 14 Alphonso Phantazia 89v-90r 89v-90r 89v-90r 89v-90r 89v-90r 89v-90r 1 15 Alphonso Innomine 89v-90r 89v-90r 89v-90r 89v-90r 89v-90r 89v-90r 1 16 Mr. Ward Innomine 90v-91r 90v-91r 90v-91r 90v-91r 90v-91r 90v-91r 2 17 Mr. Gill [In Nomine] 91v 91v 91v 91v 91v 91v none9 18 Mr Jenkins Phantazia 92v-93r 92v-93r 92v-93r 92v-93r 92v-93r 92v-93r 5 19 Mr Jenkins Phantazia 93v-94r 93v-94r 93v-94r 93v-94r 93v-94r 93v-94r 2 20 Mr Jenkins Phantazia 94v-95r 94v-95r 94v-95r 94v-95r 94v-95r 94v-95r 3

9 Page GIBBS-1, incipit unnumbered.

269 Oxford, Christ Church, Music Manuscripts 716-720

Five composite partbooks containing music in 4 and 5 parts. With the exception of the Quintus part Och 718 each book consists of four sections:

1. Four folios containing fantasias a4 by Thomas Lupo copied by Browne scribe ‘C’ (pp. 1-8) (as Plate 4). 2. Six folios unused in Och 716, 718 and 720; copied in two unidentified hands with music by Jenkins, one in Och 717 and the other in 719 (pp. 9- 20) (see Plates 11g-h) ). 3. Two folios containing music by Bassano in a fourth hand (pp. 21-24) (see Plates 11a-c) 4. A large gathering, usually containing 17 surviving folios, copied in a fifth hand (pp. 25 onwards); this section has a superseded earl ier pagination and its first page is discoloured (see Plates 11d-f).

Och 716 ‘Cantus A 5. 6. parts’: iv + 29 + i i. Continuous ink pagination 1-54, omitting two folios following the verso of p. 49; earlier p agination 1 -[34] in Section 4. Thi rd and fourth front flyleaves foliated in modern pencil ‘i’ and ‘ii’. No music entered on pp. 5-20.

Och 717 ‘Altus A 5. 6. part s’: i i + 29 + i . Continuous ink pagination 1-54, omitting two folios following th e verso of p. 49; earlier pagination 1-[34] in Section 4. No music entered on pp. 5, 12-20.

Och 718 ‘Quintus A 5.6. parts’: iii + 18 + ii. Ink pagination 21-54 to correspond with other partbooks, om itting two folios fo llowing the verso of p. 49; p. 53, though numbered in the main sequence and ruled for music, is of a different paper type and serves as a flyleaf.

Och 719 ‘B assus Secundus a 5 & 6 part es’: i v + 29 + ii. Continuous ink pagination 1-54, omitting two folios following the verso of p. 49; earlier pagination 1-[34] in Section 4. No music entered on pp. 5, 12-20.

Och 720 ‘Bassus Primus A 5. 6. part es’: ii + 29 + i. Continuous ink pagination 1- 54, omitting two folios following the verso of p. 49; earlier pagination 1-[34] in Section 4. No music entered on pp. 5-20.

Owner: John Browne? 270 Christ Church, Mus. 716-720

Scribes: Browne collection scribe ‘C’ and four further hands.

Format and dimensions: Folio, c.283 x 184-9.

Watermarks: Paper types in ruled music pages

Och 716 Och 717 Och 718 Och 719 Och 720 pp. 1-8 Pot V/1 Pot VI/1 — Pots V/1, Pots V/1, VI/2 VI/2 pp. 9-20 Pot I/10 Pot I/10 — Pot I/10 Pot I/10 pp. 21-24 Pot I/11 Indecipher Pot I/11 Indeciphera Pot I/12 able* ble* pp. 25— Grapes Grapes I/3 Grapes Grapes I/3 Grapes I/3 I/3 I/3 *appears to be a coat of arms; staves drawn one line at a time rather than with a rastrum.

Identifiable paper types in flyleaves (including ruled pages treated as flyleaves) Och 716: front flyleaf ‘i’ Posthorn Och 717: front flyleaf [i] Posthorn Och 718: front flyleaf [ii] Pot I/10; [iii] Posthorn; rear flyleaf p. [53], Pot FII/3 Och 719: front flyleaf [ii] Pot I/10; [iii] Posthorn; rear flyleaf [i] Pot I/10 Och 720: front flyleaf [i] Posthorn

Rastrology:

Pot I/10 A 10; B 2; C 38; D 12(14)12. Cf. Och 423-428, Pot IV/1 Pot I/11 A 10; B 2; C 39; D 12.5(13.5)13 Pot I/12 A 10; B 5; C 115; D 12.5(13.5)12.5(13)12.5(13)13(13)12. Cf. Och 423-428, Pot I/9, and Grapes I/3 below. Pots V/1, VI/1, VI/2 A 10; B 5; C 113; D 11.5(14)11(15)11(14.5)10.5(14.5)11.5 Grapes I/3 A 10; B 5; C 115; D 12.5(13.5)12.5(13)12.5(13)13(13)13.5 All types have marginal rulings on left and right.

Collation: Och 716, 717, 719, 720: A4 B6 C2 D20-3 Och 718: A2 B20-4

271 Christ Church, Mus. 716-720

Binding: Contemporary grey paper, c. 284 x 190

Provenance: The only evidence to link this set of books with John Browne is the appearance of Hand C, who copies Lupo’s four-part fantasias VdGS nos 9-12 i n the opening section of each book except Och 718. It s eems likely, however, that C played a part in the assembly of the composite partbooks as he apparently ‘wrote over’ the Cantus part of t he final work i n Och 716 t o make the notation more legible. It cannot be proven that he was working on John Browne’s behalf, but the four Lupo fantasias he copied do not duplicate Browne’s known partbooks elsewhere. The earliest material appears to be t he fourth section, containing five-part music by Lupo, White and other composers: this section consisted of a single large gathering with its own internal pagination, and the first page of this section in each partbook is discoloured, as though it was the outermost page for som e years (the corresponding back pages have been re moved). The title pages of each partbook clearly anticipate the inclusion of additional six- rather than four-part music.

Bibliography: BROWNE FF; BROWNE A; FERRABOSCO II 5-6

272 Christ Church, Mus. 716-720 Contents Composer Title Nos./Pages VdGS No. or 716 717 718 719 720 Source Tho: Lupo Fant azia 1 1 - 1 1 9 Tho: Lupo fant asia. a. 4. 2-3 2-3 - 2 2 10 (Tho: Lupo) fantazia. [Air] a.4. 3 3 - 3 3 11 Tho: Lupo fant azia.[Air] a.4. 4 4 - 4 4 12 Jo: Jenkins [Fant asia] A.4.1 - 6-7 - 6-7 - 12 Jo: Jenkins [Fant asia] A.4. - 8-9 - 8-9 - 13 Jo: Jenkins [Fant asia] A.4. - 10-11 - 10-11 - 9 Hieronymo Bassano Fantasia (a 5.) 21 21 21 21 21 1 Hieronimo Bassano a.5. Fantasia 22 22 22 22 22 2 Hier: Bassano Fantasia a.5. 23 23 23 23 23 3 Hier: Bassano Fantasia a.5. 24 24 24 24 24 4 Mr Lupo A.5./ Phantazia v parts 25 25 25 25 25 1 Mr Lupo A.5. / (Phantazia) 26 26 26 26 26 3 Mr Lupo A.5. / (Phantazia) 27 27 27 27 27 4 Mr Lupo A.5. / Phantazia 28 28 28 28 28 2 Mr Lupo A.5. / Phantazia 29 29 29 29 29 11 Mr Lupo A.5. / Phantazia 30 30 30 30 30 12 Mr Lupo A.5. / Phantazia 31 31 31 31 31 13 Mr Lupo A.5. / Phantazia 32 32 32 32 32 14 Mr Will: Whyte A.5. / Phantazia 33 33 33 33 33 1 Mr Simmes A.5. / Phantazia 34 34 34 34 34 1 Mr Simmes A.5. / Phantazia 35 35 35 35 35 2

1 The Jenkins Fantasies lack 2 parts. 273 Christ Church, Mus. 716-720 Composer Title Nos./Pages VdGS No. or 716 717 718 719 720 Source Mr (W:) Simmes A.5. / Phantazia 36 36 36 36 36 3 Mr (W:) Simmes A.5. / Phantazia 37 37 37 37 37 4 Mr (W:) Simmes A.5. / Phantazia 38 38 38 38 38 5 Mr (W:) Simmes A.5. / Phantazia 39 39 39 39 39 6 Mr Simmes A.5. / Phantazia 40 40 40 40 40 7 Mr (Michaell) Est A.5. / Phantazia [‘Penitet’] 41 41 41 41 41 E6, No. IV Mr Est A.5. / Phantazia [ ‘Vixi’] 42 42 42 42 42 E6, No. VI All:Fanso (Ferrabosco) [II] A.5. / In nomine 43 43 43 43 43 1 Mr all Fanso (Ferabosco) [II] A.5. / In nomine 44 44 44 44 44 2 Mr Martin Pe[e]rson2 A.5. / Phan[ta]zia [‘Attendite’] 45 45 45 - - - A.5. / Phant[a]zia 46 46 46 46 46 A1665 A.5. / Phantazia 47 47 47 47 47 A1666 Mr East A.5. / Phantazia [‘Desperavi’] 48 48 48 48 48 E6, No. I Mr East A.5. / Phantazia [‘Peccavi’] 49 49 49 49 49 E6, No. II Simmon Ives A.5. / In nomine 50 50 50 50 50 - Sim[on] Ives [recte Ward] A.5. / In nomine 51 51 51 51 51 - William Whyte A.5. Phantazia 52 52 52 52 52 3

2 Lacks 2 parts. 274 Oxford, Christ Church, Music Manuscripts 728-730

Three partbooks containing autograph music by John Withy, consisting mostly of ayres and a single fantasia for two bass viols and continuo; the final piece is a set of variations on a ground for treble and bass. The ayres are complex pieces with written-out variations in their repeats. Contents are grouped according to key and sometimes appear to be conceived as brief suites or as pairs of contrasting movements. Probably copied c. 1650-60. i. 728: i + 26 + i. Modern pencil foliation for music folios 1-21. No music entered from f. 21v onwards, on any preceding verso except f. 17v, or on f. 17r. ii. 729: i + 26 + i. Modern pencil foliation 1-28 including flyleaves. No music entered from f. 22v onwards, on any preceding versos except 16v and 18v or on f. 18r. iii. 730: i + 20 + i. Modern pencil foliation 1-22 including flyleaves. No music entered from f. 12v onwards or on any preceding verso.

Owner: Henry Aldrich appears to have owned the set at the time of his death (see Provenance below).

Scribe: John Withy (as Plates 16d-e).

Inscriptions: i. front flyleaf verso: table of contents according to key (John Withy). ii. f. 1r (flyleaf): ‘a dul busines’; at foot of page an obliterated name. iii. most pages headed ‘organo’.

Format and dimensions: folio i. 293 x 195; ii. 292 x 191; iii. 293 x 196.

Watermarks: i. ff. 2-[24] Pillars II/6; i. ff. 1 and [26] and all of ii and iii have a centre watermark apparently consisting of the name ‘PINAUD’ in a panel.

Rastrology: Pillars paper: A 10; B 5; C 119.5; D 13.5(13.5)12.5(14)13(12.5)13(13.5)13 ‘Pinaud’ paper: A 10; B 5; C 179.5; D 13.5(12.5)13.5(12.5)13(12)13.5(12.5)13

275 Christ Church, Mus. 728-730 Collations: each book consists of a single quire inside flyleaves and a grey paper cover.

Binding: Contemporary grey paper covers; Och 728-9 labelled ‘For two Bases’ and Och 730 labelled ‘Throughe Base’; each volume bears the early shelfmark ‘K25’ (see Provenance below). Flyleaf watermarks Posthorn FII/1.

Provenance: From the circle of John Withy of Worcester and his son Francis. The early shelfmark K25, however, clearly links the set with a document at Christ Church, Oxford, ‘A Catalogue of the Books contain’d in the Archives’, begun in 1717 and believed to list, among other things, Henry Aldrich’s music collection (see OCH- OL). Although Francis Withy was a singing man at Christ Church from 1670 until his death in 1727, and evidently knew Henry Aldrich, Och 728-30 bear no evidence of Francis’s ownership and may therefore have been a direct gift from John Withy to Aldrich or another member of the college.

Bibliography: BASS R; OCH-OL

276 Christ Church, Mus. 728-730 Contents

Nos. 1-19 headed ‘For two Bases’ in all parts; no. 12 additionally entitled ‘Fantazia’.

No. Key 728 ff. 729 ff. 730 ff. Genre VdGS no.

1 d 1r 2r 2r Binary ayre, duple time 1 2 d 2r 3r 2r Binary ayre,1 duple time 2 3 d 3r 4r 3r Binary ayre, triple time 3 4 d 4r 5r 3r Binary ayre, duple time 4 5 d 5r 6r 4r Binary ayre, triple time 5 6 F 6r 7r 5r Binary ayre, duple time 6 7 F 7r 8r 5r Binary ayre, duple time 7 8 F 8r 9r 6r Binary ayre, triple time 8 9 F 9r 10r 6r Binary ayre, duple time 9 10 F 10r 11r 7r Binary ayre, duple time 10 11 F 11r 12r 7r Ayre, triple time 11 12 G 12r 13r 8r Fantazia 12 13 G 13r 14r 8r Binary ayre, duple time 13 14 G 14r 15r 9r Binary ayre, triple time 14 15 G 15r 16r 9r Binary ayre, duple time 15 16 G 16r 17r-16v 10r Ayre, triple time 16 17 G 17v-18r 18v-19r 10r Ayre, duple time 17 18 G 19r 20r 11r Binary ayre, triple time 18 19 e 20r 21r 11r Binary ayre, duple time 19 20 a 21r 22r 12r Ground -

No. 20 for treble, bass and continuo, headed in i. ‘For a Treble & Base of a grounde’; in ii. ‘Base and treble of a grounde’; in iii. ‘a grounde’

1 At foot of f. 2r in iii. is the direction ‘in this part play ev[er]y strayne twise’, which clearly applies to every movement in the collection except for no. 12 and no. 20. Ayres 11, 16 and 17, however, consist of a single strain only, repeated in its entirety. 277 Oxford, Christ Church Library, Music Manuscript 1004

An organ book linked with string parts in GB-Ckc, Rowe MSS 114-117 (‘White bookes’), GB-Och, Mus. 423-8 (‘Ruffe bookes’) and GB-Och, Mus. 473-8.

Copied c.1630-45. ii + 92 + viii (4 removed, stubs remain) + ii.

Ink pagination 1-184. No music entered on pp. 1, 27-90, 137-9, 160-5, 184.

Scribes: Browne collection scribes E: (John Hilton1) (all the music) and B (references to ‘white’ and ‘ruffe’ books) (see Plates 7 and 3). (using nomenclature of BROWNE A and BROWNE FF).

Format and dimensions: Oblong folio, 217 x 283. Deckels on original sheet edges.

Watermarks: Kneeling saint I/1.

Rastrology: A 6 (six-line); B 2; C 45; D 15(14)16. Marginal rulings on left and right.

Collation: A8 B8-1 C-D8 E10-1 F6 G10-1 H-J8-1 K8 L6 M10-1. Quires are numbered 1-12, omitting the numeral for quire 3, and this structure is confirmed by the watermarks

Binding: modern. Original flyleaves marked with a coat of arms (see Appendix).

Provenance: John Browne (1608–91), Clerk of the Parliaments.

Bibliography: BROWNE A; BROWNE FF; FERRABOSCO II 5-6

1 By comparison with the holograph MSS GB-Och, Mus. 744-6 and identified by David Pinto and Christopher Field. 278 Christ Church, Mus. 1004 Contents No. Composer Title Scoring Pages VdGS No. 1 Alphonzo Farabosco his a4 2-3 7 Fantazias of 4 parts. ‘no. 15 in ye ruffe bookes’ 2 ‘no. 17 in ye ruffe bookes’ a4 4-6 8 3 ‘no. 16 in ye ruffe bookes’ a4 7-9 9 4 ‘no. 12 in the white bookes’ a4 10-12 15 5 ‘no. 6 in the white bookes’ a4 13-15 2 6 ‘no. 7 in the white bookes’ a4 16-18 1 7 ‘no. 1o in the white bookes’ a4 19-21 5 8 ‘no. 11 in the white bookes’ a4 21-23 6 9 ‘This is ye 10th in ye white Bookes’ a4 24-26 4 [blank] 27-90 1 Mr. Thomas Lupo his a5 91-93 1 Fantaziæs of five partes 2 a5 94-96 3 3 a5 97-99 4 4 a5 100-102 2 5 a5 103-105 11 6 a5 106-109 12 7 a5 110-112 13 8 a5 113-115 14 Alphonso Farabosco In nomine a5 116-118 1 Alphonso Farabosco In[n]omine a5 119-121 2 Mr. Willm White Fantaziæ a5 122-124 1 Mr. William Whyte Fantaziæ a5 125-127 3 Mr. Charles Coleman Fantazia a5 128-131 1 Mr. Richard Deeringe Fantaziæ a5 132-136 1 [blank] 137-139 Reverse End 1 John Coperario Fantazia a5 183-182 48 ‘no. 1o in the white bookes’ 2 John Coperario Fantazia a5 181-179 7 ‘no. 33. in the white bookes’ Mr. John Jenkins Pavan a5 178-177 2 ‘39. in ye Ruffe bookes’ Mr. Richard Deeringe Fantaziæ a5 176-173 2 ‘41. in ye Ruffe bookes’ Mr. John Jenkins Fantazia a6 172-170 12 ‘39. in ye Ruff-bookes’ Mr. John Jenkins Fantaziæ a6 169-166 8 279 Christ Church, Mus. 1004 No. Composer Title Scoring Pages VdGS No. ‘40th, in ye Ruff-bookes’ [blank] 165-160 Fantaziæ of 6 parts by a6 159-157 2 Mr. John Coperario ‘no 20. in ye Ruffe bookes’ ‘no 25. in ye Ruffe bookes’ a6 156-154 3 ‘no 26. in the ruff bookes’ a6 153-152 5 Fantaziæ by Alphonso Ferabosco a6 151-149 2 ‘no: 27th. in ye Ruff-bookes’ ‘32. in ye Ruff-bookes’ a6 148-146 1 Fantaziæ Tho: Lupo a6 145-143 7 ‘33. in the Ruff-bookes’ Fantaziæ Tho: Lupo a6 142-140 2 ‘35. in ye Ruffe-bookes’

280 Oxford, Christ Church, Music Manuscripts 1018-1020

Three partbooks mainly containing fantasias in three parts by Thomas Tomkins. i. Och 1018 ‘Triplex’: i + 21 + ii (counting double pasted leaves as single folios). Quires numbered in pencil; modern pencil foliation 1-21. No music entered on ff. 1r-3r, 9r, 10v-14r, 18v-19r, 21v. ii. Och 1019 ‘Medius’: i + 26 + i (counting double pasted leaves as single folios). Quires numbered in pencil, but modern foliation only ff. 1-3. No music entered on the following folios within each numbered quire:

Quire 1 1v-2v Quire 2 (labelled 3) 1r (= f. 3 in continuous foliation), 3v, 4r, 6v Quire 3 1r, 2r, 3r, 4v, 5r-8v Quire 4 1r-2r, 3v-4r Quire 5 2v-3r, 4v-5v iii. Och 1020 ‘Bassus’: ii + 23 + i (counting double pasted leaves as single folios). Quires numbered in pencil; no other foliation. No music entered on the following folios within each numbered quire:

Quire 1 1r-2v Quire 2 1r, 3v, 4r, 6v Quire 3 1r, 3r, 4v-6v Quire 4 1r-4r Quire 5 3r-3v

Scribes:

1. An unidentified hand responsible for all the Tomkins fantasias (see Plate 15) 2, 3 Two unidentified hands who added some fragments on f. 1r of Och 10191.

Format and dimensions: folio, drastically cut down: i. 198 x 191, ii. 194 x 192, iii. 196 x 191. See Rastrology below.

1 Facsimile in TOMKINS I3 opposite p. 136. John Irving suggests that the second of these hands is that of the scribe who copied GB-Ob, MSS Mus. Sch. C.64-9. 281 Christ Church, Mus. 1018-1020 Watermarks: Bend IV/1

Rastrology: A 7; B 5; C 116; D 13(12.5)13(13)12.5(13)13(13)12.5 As the staves are clearly ruled with a five-stave rastrum, the books appear to consist of heavily cut-down pages of ten-stave paper.2 It is difficult to imagine why this was done unless particular dimensions were specified for practical reasons or to conform with existing material; it is evident from the number of unused folios, however, that economy was not a prime consideration.

Collations: (after TOMKINS I3 pp. 132-3 and Table 11) i. A4-1 B6 C10-1 D4 E8 ii. A2 B-C8 D8-1 E6 iii. A2 B-D8 E6-1

Binding:

Contemporary paper covers. Flyleaf watermarks include Pillars FI/4/a; another Pillars mark on f. [i] of Och 1020, and a Pot I mark in the front flyleaf of Och 1019, are partly obscured by bookplates.

Provenance:

Probably West Midlands, possibly Worcester in the circle of Thomas Tomkins and John Withy (see TOMKINS I3, esp. pp. 145 and 172).

Bibliography:

DUBLIN T; TOMKINS I2; TOMKINS I3

2 It is conceivable that ten-stave sheets were deliberately divided unevenly into sheets of three and seven staves, in which case the process is less wasteful than it appears. 282 Christ Church, Mus. 1018-1020 Contents

No.3 Title 1018 1019 1020 VdGS no. [Ground. D. Norcombe] 1r 2 [Ground] 1r [Ground. M. Webster] 1r 1 [Ground] 1r [Thomas Tomkins: three-part music] 1 Fantasia of 3 parts 1v-2r 1v-2r 1v-2r 11 2 Fantasia of 3 parts 2v-3r 2v-3r 2v-3r 10 3 Fantasia of 3 parts 3v-4r 3v-4r 3v-4r 9 4 Fantasia of 3 parts 4v-5r 4v-5r 4v-5r 8 5 In nomine 3 parts 6r 5v 5v-6r 1 [Blank] 6r 6 Fantasie 3 parts 6v 6v 6v 174 [Blank] 7r 7r 7r 7 Fantasie 3 parts 7v-8r 7v-8r 7v-8r 12 8 Fantasie 3 parts. 2 trebles5 8v-9r 8v-9r 8v-9r 7 9 Fantasie 3 parts. 2 trebles 9v-10r 9v-10r 9v-10r 6 10 Fantasie 3 parts. 2 trebles 10v-11r 10v-11r 10v-11r 4 11 Fantasie 3 parts. 2 trebles 11v-12r 11v-12r 11v-12r 5 12 In nomine 3 parts. 2 trebles 12v-13r 12v-13r 12v 2

3 Nos 1-7 applied in ink in each partbook; then (i) 8-12 numbered in pencil; (ii) 8-10 numbered in pencil, 11-12 unnumbered; (iii) 8 numbered in pencil, 9-12 unnumbered. 4 Unique to this source. 5 Rubric ‘2 trebles’ does not appear in iii. 283