MUSIC at the ARCHIVES Music Related Documents from the 13th Century to the 1970s ©Lincolnshire County Council. Electronic Version 1.3. Issued June 2012 MUSIC at the ARCHIVES Music Related Documents from the 13th Century to the 1970s Introduction “The subject Music in Lincolnshire is rather like the county, much bigger than one realizes at first. It is also like the county in another way. The beauty of the county is elusive, but very real when you find it, so too does one find a genuine love for music.” Dr Gordon Slater, Lincoln Cathedral organist, 1935* In truth, Lincolnshire has long made a significant contribution to music, from the 16th century with two of the century's greatest composers, John Taverner and William Byrd, through to the 20th century with two of the world's most successful songwriters, Bernie Taupin and Rod Temperton (who composed some of the best selling songs of our age such as "Candle in the Wind" and "Thriller"). This volume contains a selection of the music related documents held in Lincolnshire Archives. The documents date from the thirteenth century through to the 1970s. As well as music scores, there are letters, journals, tickets, advertisements, cartoons, programmes and portraits. The subject matter ranges from the music to be played at coronations to the coiffures and head wear of opera audiences. You can study the documents in further detail by visiting the Search Room at Lincolnshire Archives (see www.lincolnshire.gov.uk/archives for further details). This is only a selection of the music related documents in the Archives. We hope this selection will encourage you to delve deeper into the Archives. Where applicable, we have suggested similar documents to study. Many thanks to the Lincolnshire Archives Reprographics Department for supplying the images in this volume. You can order copies of the images in this volume by completing a Reprographics Order form. *from “Music in Lincolnshire” (Ref: Lincolnshire Magazine vol.2 no.3 Jan/Feb 1935). 2 14th Century 4 line stave music score manuscript on vellum used to bind a volume of wills (Ref: LCC WILLS/1557/iii) In the aftermath of the Reformation, beautiful monastic scores were cut up and used to bind volumes of Wills and Parish Records. Although it is not unusual to find the blank sides of parchment or vellum documents reused for writing material, cutting monastic music scores to use as binding seems particularly sad to the modern observer. Also see: HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, LCM/10/1, SAXILBY PAR/23/1 3 Six folios of liturgical text with musical notation for plainsong chants. Some later marginal notes have been made in Latin, Greek and English (believed to date from mid-13th Century) (Ref: HABROUGH PAR/23/1a folio 1) The folios were used to cover the Habrough Parish Register (1538-1610), but were de- tached in 1921-2. ...continued. 4 HABROUGH PAR/23/1a was studied by Roger Bowers of Jesus College, Cambridge and Dr. Susan Rankin of Emmanuel College in 1988. In a letter that now accompanies the document, Roger Bowers commented : “The fact that a colleague and I enjoyed only limited success in identifying the liturgical texts and plainsong chants from all the standard indices of such things suggests that these leaves are of considerable interest. They appear not to match any of the better- known English diocesan liturgies...and the suspicion immediately arises that these leaves are from the hitherto virtually unknown Use* of Lincoln. No complete volume of the Use of Lincoln is known to survive, though it is known to have enjoyed an independent exis- tence as late as 1556—and even then Bishop White’s order for it’s suppression (and re- placement by the Salisbury Use) may well have had little effect.” “Dr. Susan Rankin assures me that these leaves are written in an unusually fine hand for such a volume; the manuscript from which they came was something well out of the ordi- nary. It is of 13th century origin, perhaps around the middle.” “...if it proves to be that these are leaves of the hitherto unknown Use of Lincoln, it would be very agreeable ... to ponder upon the whereabouts of any other such leaves of Lincoln Use that may have survived as covers, paste-downs, and fly-leaves in other volumes.” *Definition of “Use”: A liturgical form practised in a particular church, ecclesiastical district or community. Also see CRAGG/2/3, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1, SAXILBY PAR/23/1 5 Pages from a medieval service book, 13th-14th century (Ref: LCM/10/1) Above is one of two folios from a Breviary. On one side is part of the proper* of the season, probably a Lent office. On the other side is a pas- sage re Moses [? from Mattins]. Recto shown above, detail from verso shown right. Also see: LCM/10/2-5, HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, SAXILBY PAR/23/1, LCC WILLS/1557/iii *Definition of “proper”: for use in the liturgy of a particular festival or season of the year. 6 14th century 4 line stave music score manuscript on paper used to bind a vestry book dating from 1597. (Ref: FRAMPTON PAR/10/1) This vestry book of parish officers' accounts (dated 1597-1683) was originally bound with a fragment of an illuminated manu- script, part of which remains, and rebound into a blue paper cover in 1859. Also see: LCM/10/1, HABROUGH/23/1, CRAGG/2/3, SAXILBY PAR/23/1, LCC WILLS/1557/iii Please note that, due its fragile condition, this document is currently not for production (NFP) in the Lincolnshire Archives Search Room. 7 Music Score of 2 movements, the Credo and Sanctus, of the ordinary mass th (15 century) (Ref: SAXILBY PAR/23/1) Composer is unknown. Probably survived from early example of a genuine choirbook. The provenance can be traced to Saxilby, probably in the mid-16th century. It had evidently formed the outside covers to a book - possibly churchwarden's accounts since there is graffito on the score of the name Edward Tindall and the dates 1681, 1682, 1683, and 1684. Edward Tindall was churchwarden at this time. An article has been written about this document: "The Saxilby Fragment" by Margaret Bent and Roger Bowers in "Early Music History, 1: Studies in medieval and early modern music." Cam- bridge University Press, 1981 (includes copy of the music score). Also see: HABROUGH/23/1, CRAGG/2/3, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1 8 Two leaves from a 15th Century Monastic Antiphony from the Monastery of Ludger in Werden, Friesland, Germany, pasted to the inside back cover of a volume (Ref: CRAGG/2/3) One leaf is part of the mattins of Candlemas Day (2 February). The other has part of the mattins of the beheading of St. John the Baptist (29 August) and part of the mattins of St Giles (1 September). Both leaves have been used as binding for a book at some time. Both leaves feature a four line stave with one line of the stave marked in red. Also see: HABROUGH/23/1, SAXILBY PAR/23/1, FRAMPTON PAR/10/1, LCC WILLS/1557/iii, LCM/10/1. 9 Parish Register with scores of a Galliard by William Byrd (c.1539-1623) and Pavanne by Mr B... on six line stave. (Ref: FRISKNEY PAR/1/1) This Parish Register of baptisms, marriages and burials dating from 1558 was bound with a sheet of music scores which includes Byrd’s Garliardo 2 (no.59b), Pavan: Kinborough Good (no.32a), Pavan (no.16a) and Galliard (no.16b). The music scores are written on a six line stave as were Byrd’s published keyboard works at the time. Along with Thomas Tallis, another great composer and Byrd's former teacher, Queen Elizabeth I granted Wil- liam Byrd the monopoly rights to publish music in England, despite the fact that Byrd was a known Catholic. Byrd was organist and choirmaster at Lincoln Cathedral from Lady Day (25 March) 1563 until December 1572. He lived at 6 Minster Yard (a plaque marks the site of his abode). At Lincoln there was confrontation between Byrd and the Archdeacon John Aylmer, a zealous anti-Papist who was disdainful of the use of music in church at all let alone Byrd's flamboyant "Popish" style. See R BOX L.B.BYRD/PAC for more information on these scores 10 Book of Psalms, printed 1647, bound up at the end of the fourth of four vol- umes of manuscript notes for sermons. The volumes were written by John Taylor (born 1620) who was the godson of Sir John Mounson. (Ref: MON/7/59, title page and p78 shown above) The records of a number of Lincolnshire parishes include a copy of the Psalms, some hand writ- ten, others printed, but most dating from the eighteenth and nineteenth centuries. The book of Psalms bound into MON/7/59 was printed in 1647 during the Civil War. The title page takes a dis- tinctly Puritanical tone, extolling the virtues of singing of Psalms and “laying apart all ungodly songs and ballades: which tend onely to the nourishing of vice, and corrupting of youth.” Also see: CARLTON LE MOORLAND PAR/23/2, CORBY PAR/23/2-3, SCREMBY PAR/23/1, STAMFORD ST MICHAEL PAR/22/1-2, WOOLSTHORPE PAR/23/1, WESTON PAR/23/2, LOUTH HOLY TRINITY PAR/22/1. Images by courtesy of Lady Monson Ref: Epworth Bishop’ Transcriptions, 29 December 1707 Baptism of Charles Wesley (1707-1788), pre-eminent author of hymn lyrics including “Hark, the Herald Angels Sing”, “Jesus, Lover of My Soul”, “O for a Thousand Tongues to Sing”, “Love Di- vine, All Loves Excelling”.