Drexel 4180–4185

Drexel 4180–4185 is a set of six manuscript partbooks copied in Gloucester, England, containing primarily vocal music dating from approximately 1615-1625. Considered one of the most important sources for seventeenth century English secular song,[1] the repertoire included represents a mixture of sacred and secular music, attesting to the partbooks' use for entertainment and pleasure, rather than for liturgical use.

Drexel 4180–4185
New York Public Library for the Performing Arts
Drexel 4180–4185, a set of six manuscript partbooks
Date1615-1625
Place of originEngland
Language(s)English
Scribe(s)John Merro
Author(s)various
Size6 partbooks
Formatoblong

When rebound in 1950, it was discovered that the pastedown endpapers from the original bindings had been created from 16th century English music manuscripts. These fragments have become an additional source of study.

Belonging to the New York Public Library, the partbooks are part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, their name is derived from their call numbers.[2]

John Merro, copyist

Although it is known that John Merro copied the manuscript known today as Drexel 4180–4185, little biographical information about him has surfaced. First mentioned in a passing reference in 1609, it is known that he was a singer at Gloucester Cathedral. Based on inscriptions in the two manuscripts in the British and Bodleian libraries, Pamela Willetts observed that Merro had an interest in theology.[3] Other references identify him as witness to the will of Ann Tomkins (wife of Thomas Tomkins, step-mother of famed composer also named Thomas Tomkins, and mother of John, Robert and Giles) as well as having taught viol to children. (He is probably not the John Merro who married Elizabeth Hiam on April 26, 1627.) Merro's will is dated December 10, 1638 giving bequests to various family members. He died March 23, 1639 with his will going into effect on April 20, 1639. The will of his wife Elizabeth is dated September 9, 1645. In addition to giving bequests, she asked that she be buried next to her husband in the Cathedral. She died November 13, 1645 and her will was enacted in December of that year.[4]

General information on Merro's manuscripts

Three manuscripts can be identified as coming from Merro's hand:

Drexel 4180–4185 is the largest of the three collections and has the most diverse repertory.[5] Based on its contents, Monson estimated the date of Drexel 4180–4185 to be between 1615 and 1625, making it the earliest of the three manuscripts attributed to Merro.[6] Both Add. 17792-6 and D 245-7 contain of inscriptions by Merro indicating the manuscripts belonged to him. Such an indication is lacking in Drexel 4180–4185 suggesting that the partbooks were not part of Merro's personal collection but used by the cathedral, "made for informal use of choirmen and their friends."[7] However, they are not listed on the Gloucester Cathedral's inventory, indicating either that they were not part of that collection, or were removed before the inventory was made.

David Fallows hypothesized that the partbooks might have been the possession of Gloucester organists.[7] At the cathedral it was the organist's responsibility to copy music for use by the choir. Merro, who received an annual salary, might have been commissioned to do the copying because of his legible hand, though not necessarily in an official capacity. Unfortunately he was not accurate as many errors exists in the partbooks.[3][7]

Physical details

Gloucester Cathedral exterior front

The original covers to the partbooks were lost when the volumes were rebound in 1950.[7] However, Rimbault, who printed some of the works in his A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era, included the following note observing the now-lost bindings in that volume's preface:

This valuable set of ancient Part-books consists of six small oblong volumes in the original binding, and with the Arms and Badge of Edward the Sixth stamped on the sides … The writing commences in the reign of Edward the Sixth, and ends in that of Charles the First, the last composition entered being an Ode composed by Orlando Gibbons for the marriage of that king with the princess Henrietta Maria.[8]

Even without seeing the covers Ashbee noted several obvious errors in Rimbault's account.[7] Rimbault said the final work is an ode composed by Gibbons, but Ashbee noted it is a fantasia. Ashbee notes that the coat-of-arms could not have been that of Edward VI, although it suggests one from Gloucester, as well as ownership subsequent to that of Merro.[7]

Although Monson suggested the dates of 1615-1630, Fallows felt the earliest part of the span is the more correct. Based on his study of the paste-down flyleaves, he felt that the collection was bound no later than 1620 in Oxford.[9] Ashbee suggests dates of 1615-1625 and agrees that the earliest dates are more likely.[7]

The physical layout of music resembles that manuscripts Christ Church MSS 984-8 (The Dow Partbooks) and British Museum Add. 22597. This might have been a conscious decision on Merro's part to acknowledge the music's historic nature by maintaining the appearance of an archaic manuscript.[10] In the cantus partbook (Drexel 4180), this archaic style can be seen on folios 1-16v, 18v-38v, 40-43, 54v-57 and 64v-68. To Monson this represents the oldest layer of the partbooks.[10]

Dating

Monson notes that the group of madrigals by Tomkins (leaves 124v-138) apparently come from Tomkin's 1622 publication.[11] The inclusion of Byrd's "O Lord make thy servant James" indicates it was entered before 1625. Thus Drexel 4180 suggests dating of 1622-25 for its final entries.[12]

The date when Merro began the collection is more difficult to determine. The publication of Amner's "Sacred Hymns" suggests a date no earlier than 1615.[13] Although Brett thought Merro might have begun copying his collection around 1600,[14] 1615 is the more likely date for when the collection was begun.[12]

Provenance

The choir of Gloucester Cathedral; the organ pipes can be seen in the background (photo by David Iliff)

Possibly once having been in the possession of its copyist, John Merro, the whereabouts of the partbooks is unknown until the 19th century. Philip Brett mentions annotations he attributed to Matthew Hutton,[14] but Monson believed Brett was mistaken,[12] for the only annotations appear to be by a contemporary librarian.[15] The first indication of the partbooks comes from a nineteenth-century owner and musicologist Edward F. Rimbault. From whom he obtained the partbooks is revealed by the title of the publication in which he printed a few of the selections: A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient M.S. Part Books Formerly in the Evelyn Collection.[16] The opening line of Rimbault's preface reads:

The following collection of anthems by Este, Forde, Weelkes, and Bateson, have been scored from a manuscript set of part-books formerly in the possession of the celebrated John Evelyn, and now forming one of the many musical rarities in the library of the Editor.[8]

Despite Rimbault's acknowledgement of John Evelyn in the title and in the first line of the preface, Monson and Ashbee had problems with Rimbault's account, possibly because of the previously mentioned errors.[7] Monson observed Rimbault said that the books were "formerly in the possession of the celebrated John Evelyn." Yet they didn't appear in Evelyn's own manuscript catalog nor do they carry Evelyn's ownership mark.[17][18] Ashbee admits the possibilities that the partbooks might have been given away prior to the creation of Evelyn's catalog, but noted that no mention of Evelyn is in the auction catalog of Rimbault's library.[19]

Since Merro was living in Gloucester, Fallows hypothesized that the partbooks were probably acquired by Edward F. Rimbault from someone living in that region. He views John Stafford Smith as the likely candidate since his father, Martin Smith, was organist at Gloucester Cathedral from 1739 to 1781.[20] Ashbee notes that after his death, Smith's library was sold piecemeal which would have simplified acquisition.[19] (Rimbault acquired other works from Smith, such as Drexel 4175.)

After Rimbault's death in 1876, the partbooks were sold as part of his estate.[21] They were one of about 600 lots purchased by Philadelphia-born financier Joseph W. Drexel (through his agent Joseph Sabin[7]), who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 4180–4185 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.

Notation

Monson notes that while some of Merro's scribal characteristics remain consistent through the six partbooks (the writing of treble, bass and c-clefs), other details differ both in music and in text underlay and the way in which they are written. For music, he ranges from the more old-fashioned square notation to the more contemporary use of rounded noteheads. In writing of text, his handwriting ranges from a stiff secretarial hand to a florid italic.[22] The square music notation combined with the secretarial hand of text appears mostly in older works, the four- and five-part sacred works by Tallis and his generation. Monson remarks on the appropriateness of such notation applying to an older generation of Elizabethan composers.[22] He notes that works by Byrd included in the collection appear to be written in a more archaic style, describing it as "a gesture towards decorum in penmanship and towards a historical sense which he [Merro] seems to possess."[10]

In the last hundred leaves Monson observes a preponderance of rounded notation and less use of the secretarial script.[11] This is most obvious in the annotations of "5 voc" and "6 voc." Monson believes these to be the "latest layer" in Drexel 4180–4185. Based on the last few vocal entries, Monson suggests they may have been completed in conjunction with work commencing on Merro's next work, Add. 17792.[11]

Despite variances, Monson felt that Merro was the sole copyist of the six partbooks and that the changes are due to his writing the books over the course of a dozen years.[22]

Both Willetts and Ashbee noted many errors in Merro's musical text.[3][7]

Music content

Table of contents found at the beginning of Drexel 4182

Monson hypothesized that Merro's intention was compiling a collection of serious vocal music.[17] He based this conjecture on the presence of more than 70 full anthems in four and five parts, quite a large number. Of the modern entries (aside from those written by local composers), most are composed by John Amner and Thomas Tomkins whose style relates more to the older composers (such as Thomas Tallis and John Mundy) than of contemporaneous ones (such as Michael East). Monson deduces that Merro's curation can be seen as an act of preservation since the repertory he favored was quickly falling out of favor.[17]

After the consort song, the English madrigal is the next most prominent genre.[17] Rather than distributing the madrigals throughout the collection, Merro groups them together, selecting what are known as the most popular and most serious, whose sources are from four publications:

  • Songs of 3.4.5. & 6. parts (1622) by Thomas Tomkins - 16[23]
  • Balletts and Madrigals to Five Voyces, with One to 6. Voyces (1598) by Thomas Weelkes – 14
  • The First Set of English Madrigals (1598) by Wilbye – 13
  • Madrigales: The triumphes of Oriana, to 5. and 6. voices (1601) - 7

Monson observed the large number of works by Tomkins and suggests the reason could be due to the proximity of Worcester (where Tomkins was organist) to Gloucester (where Merro resided). Acknowledging the popularity of Weelkes and Wilbye, Monson was struck by the lack of any works by Thomas Morley in Merro's collection. This suggested to Monson that the composer's popularity was only temporary and was quickly forgotten. There are also no works by Orlando Gibbons—unusual considering the 1612 publication of his The first set of madrigals and mottets of 5 parts, apt for viols and voyces. (According to Monson, "virtually all scribes" similarly ignored Gibbons's works.[23])

Monson observed a significant number of Italian madrigals with English texts: 11 works from Musical Transalpina (1588), 6 from Italian Madrigals Englished (1590), and 2 from Musical Transalpina II (1597).[23] Luca Marenzio is the most popular of Italian composers represented by ten compositions, followed by the inclusion of four by Ferrabosco. The first Italian madrigal to be entered is by William Byrd, followed by Marenzio's "Every singing byrd" (which Monson hypothesized might be a tribute to the composer William Byrd).[23] All remaining Italian madrigals are without text except for their titles, an attribute to be found in other English manuscripts of the time. Monson attributed this lack of Italian texts to the inability to handle the language. He noted that in some cases works are included without their titles (such as on folios 62v-64v), presumably as they were intended for viols rather than voices. The inclusion of works such as those by Hassler suggests that Merro's interest in the madrigal extended to more unusual examples than those of copyists of similar English manuscripts,[23] even though he was apparently not concerned with preserving the integrity of the works as madrigals.[24]

Beginning at 139v Merro added another section of Italian works, this time including works for up to eight voices. Monson hypothesized that Merro must have had access to the three volumes of Gemmae Musicalis (published in 1588, 1589, and 1590) which would be the explanation for inclusions of the works on leaves 139v-149r.[24] The two isolated Italian madrigals, "Dolorosi martir" by Marenzio and Tutt'eri foco by Pallavicino were apparently entered as afterthoughts on what were blank leaves.[24]

For the Latin motets, Merro focused on Englishmen of the generation of Tallis (died 1585), Shepherd (active in the 1550s) and Mundy (died 1591). Merro copied these motets at a time when the composers had been dead for several decades which can explain why many are listed anonymously or have incorrect attributions.[24] Monson claimed that the motets by Lassus and Clemens non Papa were late additions. That they appear with no text save for their titles provided Monson with the evidence of Merro's "strangely insular attitude toward foreign composers in whatever language their works may appear."[24]

Music for voices and viols play only minor importance in the partbooks which could be taken as a sign of the difference between musical life in urban London (where the consort song has greater prevalence in existing sources) and that in provincial Gloucester.[24] The most significant composer of the consort song in the collection is Byrd; the collection contains 4 works from published sources as well as two unpublished songs.[25][26] The two unpublished songs by Byrd are"Come pretty babe" (the manuscript contains an attribution to Byrd) and "Delight is dead." Of the three consort songs ("Abradad," "Farewell the bliss" and "Come, Charon, come"), the latter two have no composer attributions.[25] Viewed as a whole, Merro's solo consort song repertory appears retrospective and antiquated (Monson calls it "ancient").[25] The partbooks contain no evidence of newer compositional approaches such as the lute ayre.[25]

The Cry of London, cantus part of an anonymous five-part anthem found in Drexel 4180, a 17th-century manuscript partbook

In the works copied for viols with solo and chorus, there is evidence of Merro's bending toward contemporary taste, most conspicuously in the works by John Amner. Two works by Michael East, "When Israel came out of Egypt" and "Sing we merrily" are not copied from the printed editions (which appeared in 1610 and 1624 respectively) but from earlier manuscript versions in secular sources. These two verse anthems in addition to "Rise O my soul" (Monson added "perhaps the most popular Jacobean verse anthem to appear in secular sources") are the only verse anthems taken from manuscript sources to appear in Drexel 4180–4185.[25]

Another sign of contemporary taste is the inclusion of works containing street cries: "The country cry" by Richard Dering, "The London cry" by Orlando Gibbons and the anonymous "The Cry of London."[27] Merro's version of Gibbons's "The London cry" differs from the one printed roughly contemporaneously in Thomas Myriell's "Tristitiae Remedium" (1615). In Drexel 4180 as well as Add. 29427, the two sections are in reverse. This is rectified in two later manuscripts, Add. 29372-7 and Add. 17792-6 (the latter manuscript also copied by Merro).[27]

Merro's version of Gibbons' "The London cry" is of interest. Though text underlay of these cry works were subject to variation, Merro's copy in Drexel 4180 is particularly extensive and occasionally explicit. An example concerns the depiction of a horse. Whereas one source gives a line as "She hath but on eye, and that is almost out, with a hole in he ear and a slit in her nose"; Add. 37402-6 has it as "...and a hole in her hip or there about." Merro's version in Drexel 4180–4185 reads: "She hath but on eye, and that is almost out, and a hole in her arse and there your snout." The explicit lines in Merro's version of Gibbons's popular work suggest a counterbalance to the conservative taste otherwise derived from the selection of works.[27]

Most of Merro's choices eschew interest in London or the court and reflect local and provincial taste. The exception is Gibbons's "Do not repine fair sun" which was written for the visit of James I to Scotland in 1617. Monson was perplexed as to how a work so closely connected with the court could find its way into Merro's collection. Although Monson suggested that Joseph Hall (1574-1656), a well-traveled clerk might have been the source, he was reluctant to accept the connection.[27]

As Merro worked for Gloucester Cathedral, it is not surprising to find works in Drexel 4180–4185 by composers active in the same vicinity. Those composers associated with a place in the manuscript are all from the West of England:

  • "Mr Hugh Davies of Hereford"
  • "Mr Tomkins of Woster"
  • "Smith of Salop" [Shropshire]
  • "Smith of Gloucester"

Except for Richard Nicholson, the more obscure composers are west countrymen and appear in other sources stemming from that region.[15][28]

Ashbee surmised that the repertoire of Drexel 4180–4185 was not dictated by Merro but rather the availability of sources by those performing it. The recreational nature of the collection is confirmed by the inclusion of non-liturgical works.[29]

Monson strove to understand the manuscript's grouping by looking at its structure and creation. The collection begins with four-part works (on leaves 1r through 23r), while five-part works begin on 23v with Byrd's "O God, give ear," "one of the most famous of all consort songs."[30] Monson believed that both the four-part and five-part sections were begun at the same time.[10] Monson guessed that the section beginning on 54v (opening with Byrd's "Lullaby") might have been intended as the start of another section containing consort songs.,[10] and that Merro began these three sections at the same time.[30] A fourth section (containing full anthems for five to eight voices) was begun on 64v.

Each of these sections was preceded by a few blank pages. Based on the blank page before 40r, Monson hypothesized that Merro planned a section of five-part madrigals. This explains the blank pages leading up to the next section containing Palestrina's Vergine cycle on page 40r.[30]

Beginning on 158v of 4180 ("O sing unto the Lord" by Amner) is a final group of full anthems, haphazard mixture of five- to twelve-parts. (It is also present in Add. 17792, although in that manuscript Merro maintained section division by a5, a6 and a7.[11]) Merro was constrained by the organization of Drexel 4180–4185, so when he came up to William Randall's 6-part "Give sentence with me," he could not enter it after 167v so he went back and inserted it on half of 122v. The same situation occurred with Thomas Ford's 5-part "Let God arise" backtracking to enter it beginning on 123v. Thus the Randall and Ford works form the demarcation of madrigals by Weelkes (prior to 122v) and Tomkins (following on 125v).[11]

Later insertions such as those by Randall and Ford were the clues to Monson that aided in his dating of the partbooks.[11] He notes that the group of madrigals by Tomkins on folios 124v through 138r come from the published collection "Songs of 3. 4. 5. & 6. parts".[31] Monson makes note of Thomas Bateson's seven-part "Holy Lord God almighty," his only extant sacred work.[11][32]

Paste down endpapers

When the partbooks were rebound in 1950, it was discovered that the pastedown endpapers were made from discarded music manuscripts from the sixteenth century. Rather than be cross at the willful destruction of such leaves embedded in old bindings, Fallows asserted that we should be thankful to the collectors who sought to decorate their books using these otherwise discarded fragments.[33] Being that there are six partbooks, there should have been twelve pastedowns (two for each volume, one each for the front and back endpapers), but only nine were found.[34] These were first documented by John Stevens (who said that they were brought to his attention by Thurston Dart).[35] Of these nine fragments (some of which contain more than one composition), Stevens counted fifteen separate works, four which appear in the British Library manuscript Add. 5465, the Fayrfax manuscript (F19, F24, F37, F40), and one ("The bella, the bella") with the 1530 publication XX Songes. Two of the numbers from the Fayrfax manuscript (F19 & F24) correspond to 2 sides of a leaf fragment in the Fitzwilliam Museum. Also, John Heywood's name can be linked indirectly with songs nos. 2 and 5.[35]

After Stevens' brief 1961 study there was no substantive examination of the fragments until 1993 when David Fallows published his study.[36] Fallows takes his point of departure the song "Somewhat musyng." This fragment, designated "A3" by Fallows, is discernible on the back pastedown of Drexel 4185. Fallows recognized that fragment is the bottom half of a leaf now in the Fitzwilliam Museum, Music MS 1005.[37] This song has two complete manuscript copies, both in sources which are considered among the main sources of early Tudor song, British Library Add. 5465 known as the "Fayrfax Manuscript" and the Henry VIII Manuscript, British Library Add. 31922. Writers have considered it one of the most widely distributed Tudor songs, appearing in three sources. [38][39]

The binding of the Drexel partbooks was replaced by the library in 1950, strongly suggesting that the original binding was in poor shape. Based on the pattern of the original binder, Fallows hypothesized that the Fitzwilliam Museum fragment was originally in the front endpaper of Drexel 4185. Fallows notes that the original choirbook source for the fragments was 29 x 21 cm. and that, when folded, nearly matches the size of the Drexel fragment, save for a 2 millimeter sliver.[34] Fallows hypothesized that a fragment in Cleveland might have been also been part of the same leaf from which the Drexel and Fitzwilliam fragments once belonged to. [33]

Although the original binding was lost when NYPL rebound the partbooks in 1950, some information can be ascertained based on the Bodleian fragments. These fragments come from the binding of the works of Gervase Babington published in 1615. The copy in the Bodleian Library was enumerated in Thomas James's 1620 catalog of the Bodleian Library. The Bodleian Day Book for 1613-1620, a log of daily happenings at the library, recorded that it was sent to the binder John Adams on October 2, 1615, confirmed by the type of binding used from 1615 on. The related fragment stem from a book published in 1611. J.B. Oldham identified the binder as Francis Peerse, the binder at the Bodleian Library from 1613 until his death in 1622. Though Monson estimated the date of the partbooks at about 1615 through 1630, Fallows drew the conclusion that the partbooks were bound in Oxford no later than 1620. (This does not preclude that musical works were copied into the books after they had been bound.) Fallows mentions that although using fragments in bindings ceased in London around 1540 and in Cambridge around 1570, it remained the custom in Oxford until around 1620.[9]

Whereas fragment A3 is in oblong format, fragment B is in upright format, suggesting that the two fragments come from different manuscripts. Fragment B contains parts of two songs, both of which are in the Fayrfax manuscript. The second one contains the opening line from Davy's "A blessid Jhesu" (Fayrfax ms. No. 37). The recto and top of the verso were designated by Stevens as two different songs, although he left open the possibility that they could be from the same work. Fallows said they are two stanzas of the same carol and proposes that Fragment B contains the second and third stanzas.[33] This leads Fallows to hypothesize that fragment B was not from a choirbook, but from a discantus partbook, because recto and verso of the fragment are a continuous discantus line, leading into another song.[40]

The fragments present a varying array of scribal styles which could represent a single scribe engaging in different styles.[41] While similar, it is questionable whether the handwriting of B is the same as A3.[40] Fallows believes the handwriting is the same as another early Tudor fragment now in the Bodleian Library, Mus. D. 103. This fragment is two bifolia taken from an early seventheenth-century binding. The fragment from the Bodleian Library indicates that the scribe used music paper ruled with seven staves. As this fragment shows the full height of the page, it is the proof that it could not be cut in two in order to be used as the pastedowns for the Drexel manuscript. This also means that on Drexel fragment B one staff is missing from the top which corresponds to the beginning of the third stanza of the song "In a slumbir." Departing from Stevens's point of view Fallows recognizes that the original leaf would have been the verso (now lost) facing fragment B. This helps understanding the other Drexel fragments.[9]

Fragment C is also upright (as is fragment B). It is also from a discantus partbook, probably the same one as fragment B, bound into the other end of the Drexel partbook. It appears to have had seven staves on the page. The verso contains beginning of the discant to "Jhoone is sike" by Davy (Fayrfax no. 40). Six staves are visible and a fragment of the text indicates it began there. The recto contains the end of a carol celebrating the wedding of James IV of Scotland to Margaret (Henry VIII's daughter) in 1503.[42] Stevens had observed that the tessitura of fragment C is in the alto range. Its recto and verso are apparently two different hands, neither of which is the same handwriting as fragment B.[41]

Fragment D appears to come from a bassus partbook. Fallows entertains the possibilities that B, C, and D are the hand of a single scribe and that the fragments come from two sources, a choirbook and a set of three partbooks: fragments B, C, and H are from the discantus, fragment G from the tenor and fragment D from the bassus.[41]

Fragment E contains a portion of John Taverner's "La bella la bella." Because this song had been published in XX songes (London, 1530), it provides a context for it and the other fragments. Dating from a period later than fragments B or C,[41] there is a possibility that this fragment is from the same discantus partbook as fragments B and C. If so, that suggests a date of 1510-1519—a date compatible with Taverner's "La bella la bella" as well as the later Henry VIII manuscript version of Fayrfax's "Somewhat musying" that is part of fragment A.[43] As originally noted by John Ward, fragment F apparently was once part of the leaf that is now in Cleveland (no. 15b), originally facing Drexel A2.[44] Although ultimately unprovable, Fallows argues that, save for fragment A, all other fragments probably stem from a single set of partbooks. These partbooks were probably copied around 1515 (a date based on the inclusion of "La bella la bella").[44]

The explanation of fragments B and C help in understanding fragment F. The music on the two pages has the same music with different texts, leading to the conclusion that it is two stanzas of the same musical work. As it appears to be a single voice moving from recto to verso, the assumption can be made that this is also from a discantus partbook, even though this one has only five staves per page (whereas the previous fragments indicated seven staves).[43]

Fallows concludes by saying there are two significant issues which the Drexel fragments reveal. They show the existence of the more florid singing style, dating from about 1500, which was known only through the Fayrfax manuscript and the publication XX songes. In other words: the simpler style prevalent in the Henry VIII manuscript (from about 1515) did not replace the florid style, but the two existed simultaneously, demonstrated by the Drexel fragments. The second significant issue suggests that Oxford was a likely center of song production. Fallows concludes with the hope for editions of unpublished music which will move knowledge toward a clearer understanding of the history of English song.[44]

List of contents

The partbooks

This table is based on Monson.[45] r=recto; v=verso.

Title Composer Idiom Cantus 4180 Altus 4181 Tenor 4182 Quintus 4183 Sextus 4184 Bassus 4185 Appearance in contemporary prints
O Lord the makerWilliam Mundyfull anthem0v0v1v1r
O Lord give thy holy spiritThomas Tallisfull anthem1r1r2r1v
Give alms[anonymous]full anthem1v1v2v2r
My God look upon meMr. Smith of Salopfull anthem2v2v3v2v
If ye love meThomas Tallisfull anthem3v3r4r3VJohn Day, Certaine Notes (1560)
I give you a new commandmentJohn Sheppardfull anthem3v3v4v3vJohn Day, Certaine Notes (1560)
Hear the voiceThomas Tallisfull anthem4v4v5v4vJohn Day, Certaine Notes (1560)
Let us now laudWilliam Mundyfull anthem5r5r6r5r
A new commandmentWilliam Mundyfull anthem6r6r7r5v
This is my commandment[William Mundy/Thomas Tallis/Johnson]full anthem6v6v7v6r
If ye be risenChristopher Tyefull anthem6v7r8r6v
Rejoice in the LordN. Strogersfull anthem7v7v8v7v
A new commandmentThomas Tallisfull anthem8v8v9v8r
Submit yourselvesJohn Sheppardfull anthem9r9r10r8vJohn Day, Certaine Notes (1560)
He that hath my commandmentWilliam Mundyfull anthem9v9v10v9r
He that hath my commandmentT. Costefull anthem10r10r11v9v
Behold it is ChristWilliam Mundyfull anthem10v10v12r10r
Praise the LordWilliam Mundyfull anthem11r11v12v10v
O Lord from us[anonymous]full anthem11v12v13v11r
I will always give thanks[anonymous]full anthem12v12v14r12r
This sweet and merryWilliam Byrdfull anthem13r13r14v12vItalian Madrigals Englished (1590), no. 8
Every singing byrdLuca Marenziofull anthem14r14r15v13rItalian Madrigals Englished (1590), no. 6
When first my heedlessLuca Marenziofull anthem15r15r16v14rItalian Madrigals Englished (1590), no. 1
O merry worldLuca Marenziofull anthem15v15v17r14vItalian Madrigals Englished (1590), no. 2
Zephyrus [breathing]Luca Marenziofull anthem16r16r17v15rItalian Madrigals Englished (1590), no. 4
Fair shepherd's queenLuca Marenziofull anthem16v16v18r15vItalian Madrigals Englished (1590), no. 5
Circumdederunt meJacob Clemens non Papa17r17r18v16r
Quoniam tribulatio (ii)Jacob Clemens non Papa17v17v19r16v
Saint Marie now (i)John Amnerfull anthem18v19r20r18rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 9
At length (ii)John Amnerfull anthem18v19r20r18rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 10
But he the God of love (iii)John Amnerfull anthem19r19v20v18vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 11
Sweet are the thoughtsJohn Amnerfull anthem19v20r21r19rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 7
Woe is me that I amJohn Amnerfull anthem21r22r20rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 12
Come let's rejoiceJohn Amnerfull anthem21r21v22v20vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 8
O greif, if yetBaldassare Donatofull anthem21v22r23r21rMusica Transalpina (1588), no. 5
My heart, what hastThomas Morleyfull anthem22v23r24r21vCanzonets, or little short songs to fovre voyces (1597), no. 8
Still it friethThomas Morleyfull anthem23r23v24v22rCanzonets, or little short songs to fovre voyces (1597), no. 9
O God, give earWilliam Byrdfull anthem23v24r25r22v1rMusica Transalpina (1588), no. 1
O mortal manWilliam Byrdfull anthem24r24v25v23r1v
O Lord I bow the kneesWilliam Mundyfull anthem25r25v26v23v2v
Grant unto usN. Strogersfull anthem26r26v27v24v3av
Wipe away my sinsThomas Tallisfull anthem26v27r28r25v3b
Deliver me from mine enemiesRobert Parsonsfull anthem27v28r29r26v4r
Lord, who shall dwellRobert Whitefull anthem28r29r29v27r4v
Prevent us O LordWilliam Byrdfull anthem29v30r31r28v6r
Blessed by thy nameThomas Tallis30r30v31v29r6v
Set up thyselfMr. Smith of Gloucesterfull anthem30v31r31v29v7r
Almighty God, the fountainMr. Tomkins of Wosterfull anthem31r32r33v30r7v
I will sing unto the LordJohn Amnerfull anthem32r33r32v31r8vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 18
The heavens stoodJohn Amnerfull anthem32v33v33r31v9rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 15
He that descendedJohn Amnerfull anthem33r34v34v32r9vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 17
Now doth the cityJohn Amnerfull anthem33v35r35r32v10rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 16
When Israel (i)Michael Eastverse anthem34r35v35v33r10rThe third set of bookes... (1610), no. 4
What aileth thee (ii)Michael Eastverse anthem34r35v35v33r10rThe third set of bookes... (1610), no. 45
Rise O my soul (i)William Simmsverse anthem35v36v36v34r11V
And thou, my soul (ii)William Simmsverse anthem35v36v36v34r11V
To thee, O Jesu (iii)William Simms]verse anthem35v36v36v34r11V
Do not repine fair sunOrlando Gibbonsverse anthem37r38r38v35v13v
Vergine bellaGiovanni Pierluigi da Palestrina40r41r43r39r17rIl primo libro de madrigali (1581), no. 1
Vergine saggiaGiovanni Pierluigi da Palestrina40v41v43v39v17vIl primo libro de madrigali (1581), no. 12
Vergine puraGiovanni Pierluigi da Palestrina41r42r44r40r18rIl primo libro de madrigali (1581), no. 13
Vergine santaGiovanni Pierluigi da Palestrina41v42v44v40v18vIl primo libro de madrigali (1581), no. 15
Vergine sol'al [mondo]Giovanni Pierluigi da Palestrina42r43r45r41r19rIl primo libro de madrigali (1581), no. 16
Vergine chiaraGiovanni Pierluigi da Palestrina42v43v45v41v19vIl primo libro de madrigali (1581), no. 18
Vergine quante [lagrime]Giovanni Pierluigi da Palestrina43r44r46r42r20rIl primo libro de madrigali (1581), no. 19
[Fantasia] the firstThomas Lupo the elder43v44v46v42v20v
[Fantasia] the secondThomas Lupo the elder44r45r47r43r21r
[Fantasia] the thirdRichard Dering44v45v47v43v21v
[Fantasia] the fourthRichard Dering45r46r48r44r22r
The white delightful swanOrazio Vecchi45v46v48v44v22vMusica Transalpina (1597), no. 1
Cinthia [thy song]Giovanni Croce46r47r49r45r23rMusica Transalpina (1597), no. 4
"Larissinall" [Le Rossignol]Alfonso Ferrabosco46v47v49v45v23vMusica Transalpina (1588), no. 43
When I would thee embraceGiovanni Battista Pinello di Ghirardi47r48r50r46r24rMusica Transalpina (1588), no. 41
When shall I ceaseNoë Faignient47v48v50v46v24vMusica Transalpina (1588), no. 21
I must departLuca Marenzio48r49r51r47v25vMusica Transalpina (1588), no. 22
Susanna fairOrlande de Lassus48v49v51v47v25vMusica Transalpina (1588), no. 19
So gratiousGiovanni Ferretti49r50r52r48r26rMusica Transalpina (1588), no. 25
In paradise[anonymous]consort song49v50v52v48v26v1v
Delight is deadWilliam Byrdconsort song50r51r53r49r27r
Come pretty babeWilliam Byrdconsort song50v51v53v49v27v
Abradad[anonymous]consort song51r52r53v50r28r
Farewell the bliss[anonymous]consort song52r52v54v50v28v
Come, Charon, come[anonymous]consort duet53r53r55r51r29r
Lullaby (i)William Byrdconsort song54v53v55v51v29vPsalmes, Sonets and Songs (1588), no. 32
Be still (ii)William Byrdconsort song54v53v55v51v29vPsalmes, Sonets and Songs (1588), no. 32
Prostrate O LordWilliam Byrdconsort song55v54v56r52r30vPsalmes, Sonets and Songs (1588), no. 27
In fields abroadWilliam Byrdconsort song54r55r56v52v31rPsalmes, Sonets and Songs (1588), no. 22
Constant PenelopeWilliam Byrdconsort song55v55v57r53r31vPsalmes, Sonets and Songs (1588), no. 23
O sing unto the LordThomas Tomkinsfull anthem56v56r57v53v32r2v/10v
Sing we merrily (i)Michael Eastverse anthem57v57r58v54v33r3vThe Sixt Set of Bookes... (1624), no. 14
Take the psalm (ii)Michael Eastverse anthem57v57r58v54v33rThe Sixt Set of Bookes... (1624), no. 15
Blow up the trumpet (iii)Michael Eastverse anthem58r57v59r55r33v4rThe Sixt Set of Bookes... (1624), no. 16
Why dost thou shootJohn Wilbyefull anthem59r58v61r56r34v4vThe First Set of English Madrigals (1598), no. 30
Of joys and pleasing painsJohn Wilbyefull anthem59v59r61v56v35r5vThe First Set of English Madrigals (1598), no. 26
My throat is soreJohn Wilbyefull anthem60r59v62r57r35v6rThe First Set of English Madrigals (1598), no. 27
O ye little flocks (i)John Amnerverse anthem60v60v62v57v36v7rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 19
Fear not (ii)John Amnerverse anthem61v61r63v58r37r7vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 20
And they cry (iii)John Amnerverse anthem62r61v64r58v37v8rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 21
Lo how from heaven (i)John Amnerverse anthem62v62v64v59r38r8vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 22
I bring you tidings (ii)John Amnerverse anthem63r62r65r59v38v9rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 23
A stranger hereJohn Amnerfull anthem63v63r65v60r39v9vSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 24
My Lord is hence removedJohn Amnerverse anthem64r63v66r60v40r10rSacred hymnes Of 3. 4. 5 and 6. parts for voyces & vyols (1615), no. 25
Sing joyfullyWilliam Byrdfull anthem64v64r66v61r40v12v
O God the proudThomas Tomkinsfull anthem65v65r57v61v41v13v
Christ rising (i)Thomas Tallisfull anthem66r65v68v62v43v
Christ is risen (ii)Thomas Tallisfull anthem66r65v68v62v43v
O Lord how long wilt thou[anonymous]full anthem67v67r69v63v44r
Salvator MundiThomas Tallisfull anthem68v68r70v64v45vCantiones Sacrae (1575), no. 1
Absterge DomineThomas Tallisfull anthem69r68v71r65r46rCantiones Sacrae (1575), no. 2
LamentationsThomas Tallisfull anthem70r69v72r66r47r
In resurrectioneWilliam Byrdfull anthem71v71r73v67v48vCantiones Sacrae (1575), no. 17
Adolescentulus sumWilliam Mundyfull anthem72r71V74r67V49r15V
Jerusalem plantabis[anonymous]full anthem73r72v75r58v50r16v
Credo quod redemptorRobert Parsonsfull anthem73v73v75v69r50v17v
O sacrum conviviumThomas Tallisfull anthem74r69v51rCantiones Sacrae (1575), no. 9
[Homo] quidam fecitThomas Tallisfull anthem74v74r76r70r51v18r
In NomineWilliam Byrd75r75v77v70v52rIn Nomine a5 No. 5
In NomineRobert Parsons75v76r78r71r52v
In NomineAlfonso Ferrabosco58r[46]76v78v71v53r
In Nomine"Brewster"58v77r79r72r53v
De la courte (part 1)Robert Parsons59r78v79v72v54r
De la courte (part 2)Robert Parsons59v77v80v73r54v
[Unidentified Italian madrigal][anonymous]62v79r81v73v55v
[Ma la fiamma de l'alma]Hans Leo Hassler63r79v82r74r56rMadrigali à 5. 6. 7. & 8. voci (1596)
[Musica e lo mio core]Hans Leo Hassler61v80r82v74v56v18vMadrigali à 5. 6. 7. & 8. voci (1596)
[Unidentified Italian madrigal[anonymous]63v80v83v75r57r19v
[Unidentified Italian madrigal[anonymous]64r81r84r75v57v
[Care lagrime mie]Hans Leo Hassler64v81v84v76r58rMadrigali à 5. 6. 7. & 8. voci (1596)
Dolorosi [martir]Luca Marenzio65r82r85r76v58v
Now must I partLuca Marenzio65v82v85v77r59r20rMusica Transalpina (1588), no. 51
So far from my delightAlfonso Ferrabosco66r83r86r77v59v20vMusica Transalpina (1588), no. 48
[She only doth not feel]Alfonso Ferrabosco66v83v86v78r60r21rMusica Transalpina (1588), no. 49
I sung sometimeLuca Marenzio67r84r87r78v60v21vMusica Transalpina (1588), no. 56
[Because my love]Luca Marenzio67v84v87v79r61r22rMusica Transalpina (1588), no. 57
Laudate pueriWilliam Byrdfull anthem68r85r88r79v61v22vCantiones Sacrae (1575), no. 17
Deus misereaturJohn Sheppardfull anthem69v86r91r62v23v
Deus misereaturRobert Whitefull anthem71r88r89r80v64r25r
Domine non exaltatumWilliam Mundyfull anthem72v89v92v81v65v26v
[Libera nos] salvaJohn Sheppardfull anthem73v90v93v82v66v27v
[Libera nos] salvaJohn Sheppardfull anthem74r91r94r83v67r28r
EsurientesJohn Sheppard74r91v94r82v67r
Jerusalem surgeClemens non Papa74r92r94v84r69r
Jerusalem surge, part 2rClemens non Papa75r92v95r84v69v
Veni electa mea (i)Clemens non Papa75v93r95v85r70r
Audi filia (ii)Clemens non Papa76r93v96r85v70v
Dum transissetThomas Tallisfull anthem76v94r96v86r68r
Cantate DominoRichard Nicholsonfull anthem77v94v97v86v71r
Blessed art thou that fearest[anonymous]full anthem78r95v98v87r71v
Veni in hortumOrlande de Lassusfull anthem79r96v98r88r72v
Angelus ad pastoresOrlande de Lassusfull anthem79v97r100r88v73r
Sermone blandoWilliam Mundy80r97v100v89r73v
Cante, cantateRobert Parsons80v98r101r89v73v28v
Johnson's knellRobert Johnson81r98v101v90r74r
Alas, alack, my heart is woe[anonymous]8 [82?]99a102r91r75r
Holy, holy, holyRobert Parsonsfull anthem82v99av102v91v75v
All ye people, clapWilliam Byrdfull anthem83v99bv103v92v76v
O Lord turn thy wrathWilliam Byrdfull anthem84r100r104r93r77r
Bow thine ear (ii)William Byrdfull anthem84v100v104v93v77v
Out of the deepWilliam Byrdfull anthem85v101v105v94v78v
Behold, how good and joyful[anonymous]full anthem86v102v106v95v79v
How long shall mine enemiesWilliam Byrdfull anthem87v103v107v96v80v
O Lord, make thy servant, JamesWilliam Byrdfull anthem89v104v180v97v81v
O fools can you notJohn Wilbyefull anthem90v106v109v98rThe First Set of English Madrigals (1598), no. 8
Alas, what hopeJohn Wilbyefull anthem91v107r110r98vThe First Set of English Madrigals (1598), no. 9
Lady, when I beholdJohn Wilbyefull anthem92v107v110v99rThe First Set of English Madrigals (1598), no. 10
Thus saith my ClorisJohn Wilbyefull anthem93v108v111v99vThe First Set of English Madrigals (1598), no. 11
Adieu, sweet AmarillisJohn Wilbyefull anthem94r109r112r100rThe First Set of English Madrigals (1598), no. 12
Die, hapless manJohn Wilbyefull anthem94v109v112v100v82rThe First Set of English Madrigals (1598), no. 13
I fallJohn Wilbyefull anthem95r110r113r101r82vThe First Set of English Madrigals (1598), no. 14
Unkind O stayJohn Wilbyefull anthem95v110v113v101v83rThe First Set of English Madrigals (1598), no. 20
Flora gave meJohn Wilbyefull anthem96r111r114r102r83vThe First Set of English Madrigals (1598), no. 22
I sung sometimesJohn Wilbyefull anthem96v111v114v102v84vThe First Set of English Madrigals (1598), no. 21
When David heardMr. Smithfull anthem97v112v115v103v85v
O give thanksNathaniel Gilesfull anthem98r113r116r104r86r
Behold it is ChristEdmund Hooperfull anthem99r114r117r105r87r
Rejoice in the LordMr. Hugh Davies of Herefordfull anthem100r115r118r106r88r
O God, whom our offencesWilliam Byrdfull anthem101v116v119v106v89v
Hear my crying[anonymous]full anthem102v117v120v107v90v
All people clapThomas Weelkesfull anthem104r119r122r108v92r
O Lord rebuke me not[anonymous]full anthem105r119v123r109v92v
Christ rising (i)Edmund Tuckerfull anthem106r121r124r110v94r
Christ is risen (ii)Edmund Tuckerfull anthem106r121r124r110v94r
The Country cryRichard Deringverse anthem107av122v125v112r95v
The London Cry (i)Orlando Gibbonsverse anthem109v125v128r114v98v
A good sausage (ii)Orlando Gibbonsverse anthem109v125v128r114v98v
The Cry of London[anonymous]verse anthem112v127v130v116v101v
O amica meaThomas Morley114r129r132r118r103r
All at once well metThomas Weelkesfull anthem114v129v132v118v103vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 1
To shorten winter'sThomas Weelkesfull anthem115r130r133r119r104rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 2
Whilst youthfulThomas Weelkesfull anthem115v130v133v119v104vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 4
On the plainsThomas Weelkesfull anthem116r131r134r120r105rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 5
Hark all ye lovelyThomas Weelkesfull anthem116v131v134v120v105rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 8
Say, dainty damesThomas Weelkesfull anthem117r132r135r121r106rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 9
In pride of MayThomas Weelkesfull anthem117v132r135r121r106vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 11
We shepherds singThomas Weelkesfull anthem118r133r136r122r107rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 17
I love and have my loveThomas Weelkesfull anthem118v133v136v122v107vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 18
Give me my heartThomas Weelkesfull anthem119v134v137r123r108rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 7
Now is my ClorisThomas Weelkesfull anthem120r136a137v123v108vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 22
Cease now delightThomas Weelkesfull anthem120v136av138r123v109r29vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 24
Come clap thy handsThomas Weelkesfull anthem121v135v139r124v111rBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 19
Phillis hath swornThomas Weelkesfull anthem122a136a139v125r111vBalletts and Madrigals to Five Voyces, with One to 6. Voyces (1598), no. 20
Give sentence with meWilliam Randallfull anthem122av136bv140r125V112r30V
Let God ariseThomas Fordfull anthem123v138v142r127v114r
To the shady woodsThomas Tomkinsfull anthem125v139v143v128v32rSongs of 3.4.5. & 6. parts (1622), no. 13
Too much I once lamentedThomas Tomkinsfull anthem125r140r144r128v32vSongs of 3.4.5. & 6. parts (1622), no. 14
Come shepherdsThomas Tomkinsfull anthem126v140v144v129v33vSongs of 3.4.5. & 6. parts (1622), no. 15
Cloris, why stillThomas Tomkinsfull anthem127v141v145r130r334vSongs of 3.4.5. & 6. parts (1622), no. 16
See the shepherd's queenThomas Tomkinsfull anthem128v142r145v130v35vSongs of 3.4.5. & 6. parts (1622), no. 17
Phillis now ceaseThomas Tomkinsfull anthem129v142v146r131v36vSongs of 3.4.5. & 6. parts (1622), no. 18
When David heardThomas Tomkinsfull anthem130v143r146v132v37vSongs of 3.4.5. & 6. parts (1622), no. 19
Phillis, yet see himThomas Tomkinsfull anthem131v143v147v133r38vSongs of 3.4.5. & 6. parts (1622), no. 20
Fusca, in thy starry eyesThomas Tomkinsfull anthem132v144v148v134r39vSongs of 3.4.5. & 6. parts (1622), no. 21
Adieu ye city prisoning towersThomas Tomkinsfull anthem133v145v149r134v40vSongs of 3.4.5. & 6. parts (1622), no. 22
When I observeThomas Tomkinsfull anthem134v146v149v135r115v41vSongs of 3.4.5. & 6. parts (1622), no. 23
Music divineThomas Tomkinsfull anthem135v147v150v135v116v42vSongs of 3.4.5. & 6. parts (1622), no. 23
Oft did I marleThomas Tomkinsfull anthem136v148v151v136v117v43vSongs of 3.4.5. & 6. parts (1622), no. 24
Woe is meThomas Tomkinsfull anthem137v149v152v137v118v44vSongs of 3.4.5. & 6. parts (1622), no. 25
It is my well-beloved's voiceThomas Tomkinsfull anthem138v150v153v138v119v45vSongs of 3.4.5. & 6. parts (1622), no. 26
Turn unto the LordThomas Tomkinsfull anthem138r151v154v138r120v46vSongs of 3.4.5. & 6. parts (1622), no. 27
A le quancie de roseAndrea Gabrieli139v152r155r139v121r47rGemma Musicalis (1588)
Ecco vinegioAndrea Gabrieli140v152v155v140v121v47vGemma Musicalis (1588)
Sacri [di Giove]Giovanni Gabrieli141v153v156v141v122v48vLiber secundus Gemmae musicalis (1589)
O passi sparsiAndrea Gabrieli142v154v157v142v123v49vLiber secundus Gemmae musicalis (1589)
A dio [dolce mia vita]Giovanni Gabrieli143v155v158v143v124v50vGemma Musicalis (1588)
D'un si bel focoAlessandro Striggio144v156r159v144r125v51vGemma Musicalis (1588)
Quei vinto dal furorAndrea Gabrieli145v156v160v144v126v52vLiber secundus Gemmae musicalis (1589)
Ecco l'alma beataGiovanni Croce146v157v161v145r127r53vLiber secundus Gemmae musicalis (1589)
Basti [fin qui]Luca Marenzio147v158v162v145v127v54vLiber secundus Gemmae musicalis (1589)
Lieto godea [sedendo]Giovanni Gabrieli148v159v163v146v128v55vGemma Musicalis (1588)
O misero mio coreGiulio Eremita149r160r164r147r129v56vTertius Gemmae musicalis liber (1589)
Hence starsMichael Eastfull anthem149v160v164v147v130vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601) [unnumbered]
With angel's faceDaniel Norcombfull anthem150v161v165v148v131vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 1
Lightly she whippedJohn Mundyfull anthem151v162v166v149v132vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 2
Long live fair OrianaEllis Gibbonsfull anthem152v163v157v150v133vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 3
All creatures nowJohn Bennetfull anthem153v164v168v151v134vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 4
Fair OrianaJohn Hiltonfull anthem154v165v169v153v135vMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 5
Sing shepherds allRichard Nicholsonfull anthem155r166v170r152v136rMadrigales: The triumphes of Oriana, to 5. and 6. voices (1601), no. 9
Tutteri focoBenedetto Pallavicino156v167v171v154v137v
[untitled][anonymous]157v168v172v155r138v
O sing unto the LordJohn Amnerfull anthem158v169v173v155v139v57v
Holy Lord God almightyThomas Batesonfull anthem160r170v175r156v140v60v
Out of the deepWilliam Byrdfull anthem160v171v175v157v141v62r
Rejoice in the LordMatthew Jeffriesfull anthem162r172v176v158v142v63v
O give thanksJohn Mundyfull anthem163r173v177v159v144r64v
Awake up my glory”Mr. Hugh Davies of Hereford”full anthem164v175r179v160v145v65v
Lord enter not into judgmentThomas Tomkinsfull anthem166r176r180v161v147r
O Lord ariseThomas Weelkesfull anthem167v176v181r162v147v68v
O praise the Lord, all ye heathenThomas Tomkinsfull anthem166v177v181v163v148v69v
FantasiaWilliam Byrd168v179v183v165v150v71vFantasia a6 No. 3
FantasiaWilliam Byrd169v180v184v166v151v
DorickJohn Bull181r185r167r152r
FantasiaSimon Ives184v185v167v72vFantasia a4 No. 2
FantasiaSimon Ives181v186v168v73vFantasia a4 No. 1
FantasiaJohn Jenkins182v187v169v74v
FantasiaJohn Jenkins183v188v170v75v
FantasiaSimon Ives185v189v171v76vFantasia a4 No. 4
FantasiaSimon Ives186v190v172v77vFantasia a4 No. 3
FantasiaAlfonso Ferrabosco187v191v173v78v
Fantasia[anonymous]169v188v174r152v79v
Fantasia 1Orlando Gibbons174v153v80v
Fantasia 2Orlando Gibbons175v154r81v
Fantasia 3Orlando Gibbons176v154v82v
Fantasia 4Orlando Gibbons177v155r83v
Fantasia 5Orlando Gibbons178v155v84v
Fantasia 6Orlando Gibbons179r156r85r
Fantasia 7Orlando Gibbons179v156v85v
Fantasia 8Orlando Gibbons180v157r86v
Fantasia 9Orlando Gibbons181r157v87v
Fantasia 9Orlando Gibbons88v

The pastedowns

This table is based on the articles by Stevens[47] and Fallows.[36] Neither author based their list on the integrity of the physical fragments but rather on their musical content. Thus, although there are nine fragments, both Stevens and Fallows enumerate more than nine items, as they discern more than a single musical work on some fragments. Fallows's list also includes designations for items in other libraries as he believes they were once joined with some of the Drexel fragments (fragments in other libraries are not included here). Stevens's list eschews use of bibliographic terms in identifying whether a fragment is recto or verso, or whether it comes from the front or the back of a volume.

Call number Location in volume Recto or verso Stevens's designation Fallows's designation Text Remarks
Drexel 4180frontrecto3B[c]rowne of thorne so scharpe & kene throw my heydUpright; Probably from a poem of Jesus's pleading
verso4Bfor thy sake man to whom yf pu call at a[ny?]; [refrain]: In a f[orest?] laytt as I was I ...vt supra finisUpright; probably from a poem of Jesus's pleading; possibly continuation of recto
1D"My mode is changyd in euery wyse""A blessed Jhesu, hough fortunyd this"; Fayrfax 37; bottom line of fragment
backrecto8CThe red rosse fayre and sote of sentUpright;
verso5C"...y[ow] please alake good Jone what may...."Upright; "Jhoone is sick and ill at ease"; Fayrfax 40;
Drexel 4181[front]Lacking; perhaps "A8" now in Cleveland
backrecto15DUnidentified; perhaps related to the work on the verso
verso11D...thus hath mayd my payneThe first staff is a vocal work containing a bass part, possibly of a love song
14DStevens: The remaining four staves are from an unidentified instrumental work, possibly related to 15; Fallows: untexted bassus part
Drexel 4182[front]Lacking; Fallows mistakes a leaf with empty staves as being a pastedown (it is really the beginning of the manuscript)[48]
[back]Lacking; perhaps "F3" now in Cleveland
Drexel 4183frontrecto10E1The bella, the bella we maydens, measures 23-52; this leaf has been tipped in the volume upside down
versoE1blank page
backrecto7F2...love shuld com. On euery syde the way she prydeFragment of an unidentified love song
verso2F2"...whan I haue plesyd my lady now and than""All a green willow"; Song 25 (Stevens misidentifies this as belonging to Drexel 4184)
Drexel 4184frontrecto10E2The bella, the bella we maydens"We be maidens fair and gent," song 296 in XX songes, no. 6; measures 1-36
verso10E2...Syster loke pt ye be not forlornContinuation of The bella; Song 296; in XX songes, no. 6; treble: measures 53-66; alto: 53-61
backrecto6F1...[lo]kyng for her trew love long or that yt was dayfragment of a love song; bottom portion written over in a later hand
verso13F1He þat smytyth hy...He that smiteth with a stave of oak; refrain: Card lye down & whele stond styll / lett [ ] / [ ] tyll peny pot to þe nale tryll[49]
Drexel 4185[front]Lacking; perhaps A3 bottom, now in Fitzwilliam Museum
backrecto9A3 topSumwhat musyng and more morenyng in remembryng the unstedfastnestenor voice; misidentified by Stevens as being from 4183; Fayrfax 24; Henry VIII 107
verso9A3 topto let it ouerpass and thynk þeron no moreFirst-second staves: conclusion of "Sumwhat musyng"; (third staff is blank)
-A3 topAs solen as staytly as strange toward me as I ofThird-fourth staves: beginning of "As solemn as stately as strange toward me"[50]

Works consulted

  • Ashbee, Andrew (1967), "Lowe, Jenkins and Merro", Music and Letters, 48: 310–311
  • Ashbee, Andrew (2013), "John Merro's Manuscripts Revisited" (PDF), The Viola da Gamba Society Journal, 7: 1–19, archived from the original (PDF) on 2015-09-05, retrieved 2015-02-25
  • Ashbee, Andrew; Thompson, Robert; Wainwright, Jonathan (2001). The Viola da Gamba Society index of manuscripts containing consort music. Aldershot, Hants, England: Ashgate. ISBN 9780754601302.
  • Brett, Philip, ed. (1967). Consort Songs. Musica Brittanica. 22. London: Stainer and Bell.
  • Drexel 4180–4185, New York: New York Public Library, 1942, OCLC 79468694
  • Fallows, David (1993), "The Drexel Fragments of Early Tudor Song", Royal Musical Association Research Chronicle, 26: 5–18, JSTOR 25099433 (JSTOR access by subscription)
  • Monson, Craig (1982). Voices and Viols in England, 1600-1650: the Sources and the Music. Ann Arbor, MI: UMI Research Press. pp. 133–58. ISBN 9780835713023.
  • Rimbault, Edward F., ed. (1845), A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient m.s. Part Books Formerly in the Evelyn Collection, London: Printed for the members of the Musical Antiquarian Society by Chappell, OCLC 23536116
  • Stevens, John (1961), "Postscript: The Drexel Fragments", Music and Poetry in the Early Tudor Court, London: Methuen, pp. 426–28
  • Willetts, Pamela J. (1961), "Music from the Circle of Anthony Wood at Oxford", British Museum Quarterly, 24: 71

Editions

Some material from Drexel 4180–4185 has appeared in modern editions:

  • Beck, Sydney, ed. Nine Fantasias in Four Parts. New York: New York Public Library/C.F. Peters, 1947.
    • Contains:
  • Brett, Philip, ed. Consort Songs. Musica Britanica, volume 25. London: Stainer and Bell, 1967.
    • Contains Alas, alack, my heart is woe, Farewell the bliss, In paradise, Come, Charon, come, ... The country cry
  • Rimbault, Edward F., ed. A Collection of Anthems for Voices and Instruments by Composers of the Madrigalian Era Scored From a Set of Ancient m.s. Part Books Formerly in the Evelyn Collection. London: Printed for the members of the Musical Antiquarian Society by Chappell, [1845].
    • Contains: Blow out (up) the trumpet, When Israel came out of Egypt, Let God arise, All people clap, Sing we merrily, Holy Lord God almighty.

References

  1. Peter Le Huray, Music and the Reformation in England 1549-1660 (New York: Oxford University Press), p. 99.
  2. Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
  3. Willetts 1961, p. 74.
  4. Ashbee 2001, p. 10.
  5. Monson 1982, p. 133.
  6. Ashbee 2013, p. 1.
  7. Ashbee 2013, p. 2.
  8. Rimbault 1845, p. 1.
  9. Fallows 1993, p. 9.
  10. Monson 1982, p. 135.
  11. Monson 1982, p. 137.
  12. Monson 1982, p. 138.
  13. John Amner, Sacred Hymns. Of. 3. 4. 5. and 6. parts for Voyces and Vyols (London : Edw. Allde, 1615).
  14. Brett 1967, p. 173.
  15. Monson 1982, p. 308.
  16. Rimbault 1845.
  17. Monson 1982, p. 139.
  18. Evelyn's catalog is located at Christ Church, cataloged as Catalogus Evelynianus 1687, MS 20a.
  19. Asbhbee 2001, p. 237.
  20. Fallows 1993, p. 13, footnote 13.
  21. Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 86, lot 1337.
  22. Monson 1982, p. 134.
  23. Monson 1982, p. 140.
  24. Monson 1982, p. 141.
  25. Monson 1982, p. 142.
  26. One of the songs mentioned by Monson is "Out of the deep" in versions for four and five voices, which Grove Music Online says is of doubtful authenticity. See Joseph Kerman and Kerry McCarthy, "Byrd, William" Grove Music Online accessed 19 January 2015 (access by subscription).
  27. Monson 1982, p. 143.
  28. Hugh Davies appears in the Gloucester bassus book, Christ Church 544-53, Bodleian manuscript Mus. D 162 and in Barnard sources Royal College of Music 1045-51 and Tenbury 791. Smith of Salop only appears in Ludlow SRO 356, MS.
  29. Ashbee 2013, p. 3.
  30. Monson 1982, p. 136.
  31. Thomas Tomkins, Songs of 3.4.5. and 6. parts, London: Printed for Matthew Lownes, John Browne and Thomas Snodham, 1622.
  32. In the 5th edition of Grove's Dictionary of Music and Musician, Edmund H. Fellows says this work is thought to have been submitted by Bateson as a requirement for receiving his master's degree (Edmund H. Fellowes, "Bateson, Thomas," Grove's Dictionary of Music and Musicians (New York : Macmillan, 1904-10), vol. 1, p. 498). There is no mention of this work's origin in New Grove, implying that Fellows's story lacked verification or was subsequently refuted (David Brown, "Bateson, Thomas," New Grove Dictionary of Music and Musicians, New York: Oxford Music Online, accessed 18 January 2015. (access by subscription)
  33. Fallows 1993, p. 7.
  34. Fallows 1993, p. 6.
  35. Stevens 1961, p. 426.
  36. Fallows 1993.
  37. Fallows 1993, p. 5.
  38. Fallows 1993, p. 5-6.
  39. Fallows goes into depth explaining a misunderstanding that originally enumerated five sources for the song.
  40. Fallows 1993, p. 8.
  41. Fallows 1993, p. 10.
  42. John E. Stevens, Music & poetry in the Early Tudor Court (London: Methuen, 1961), p. 427.
  43. Fallows 1993, p. 11.
  44. Fallows 1993, p. 12.
  45. Monson 1982, p. 198.
  46. The contemporaneous page numbering restarts at 58 at this point in the cantus partbook.
  47. Stevens 1961.
  48. Fallows 1993, p. 15.
  49. http://www.cddc.vt.edu/host/imev/record.php?recID=1894/%5B%5D
  50. Footnote to The Digital Index of Middle English Verse

Endpapers

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