THE PORTFOLIOS:

John Milsom

Probably during the last quarter of the 18th century, an unknown hand - presumably one of the librarians at Christ Church - gathered together a substantial quantity of unbound music from the Aldrich and Goodson collections, and placed it within five 'portfolios'. These were kept in press I at shelf 2, and were identified with lower-case Greek letters: α, β, γ ,δ, and ε. Every item within the portfolios was marked with its correct portfolio number in red crayon (for instance, 'I.2.α'). However, evidently no attempt was made at that time to draw up a catalogue of the contents of each portfolio.

The portfolios were first described in 1846, by the Rev. Henry E. Havergal, Chaplain of Christ Church Cathedral, in his 'A Short Numerical Catalogue of the Manuscript and Printed Musick in the library of Christ Church chiefly in the collections of Dean Aldrich and Professor Goodson' (Christ Church, Library Records 30; cited as 'Havergal Summary' in the listings below; Havergal's entries for them occur near the end of this unpaginated catalogue). For reasons that are unknown, his listings vary in the amount of information they provide. For the first two portfolios (I.2.α and β) he gave details of every item, but for the remaining three there are only the following summary descriptions:

• Portfolio I.2.γ: '14 Anonymous anthems, mostly separate, with fragments of others, & 3 services in parts. MS.'

• Portfolio I.2.δ: '7 Latin motetts; 5 Italian cantatas, & 2 fragments; & 8 Songs & Duets &c: Anon: MS.'

• Portfolio I.2.ε: '5 odes in English, 4 in Latin; 3 [that number subsequently deleted] overtures and concertos; a musical dial, & fragments; all anonymous, but some probably by Aldrich & Goodson Sr: with allemande &c: by Thornwitz. MS.'

The portfolios were dismantled early in the 20th century, in the course of a systematic programme of binding and rebinding of the music collection initiated by York Powell. Care was taken, however, to retain early wrappers, and in the majority of cases the 19th-century red crayon portfolio numbers are still present and visible. This has allowed the original contents of Portfolios I.2.α and β to be reconstructed with confidence. In addition, York Powell drew up a contents list of Portfolio I.2.δ (it survives as a set of three sheets of notes that are now loose at the end of Mus. 1154), and this permits its contents too to be fully identified. All but one of the items from Portfolio I.2.γ appear now to have been found: Havergal tells us that there were seventeen of them ('14 Anonymous anthems ... & 3 services'), and of these, 16 have been located from their crayon numbers. Only the most miscellaneous of the portfolios, I.2.ε, remains something of a mystery. To date, 13 items from it have come to light, leaving at least one (and possibly more) unidentified.

It remains to be seen whether the placement of an item within a specific portfolio tells us anything useful about its earlier provenance. Almost certainly it does not. Several of the portfolios demonstrably included a mix of items deriving variously from the Aldrich and Goodson bequests. In one case, two halves of what was once a single folded sheet have been split between two different portfolios. However, since the majority of items placed within the portfolios were unrecorded in any of the 18th-century shelf-lists and catalogues, it has been reckoned worthwhile to identify their 19th-century portfolio locations, if only as a way of showing why it is now difficult or even impossible to determine their earlier provenance history.

Portfolio I.2.α

1. Havergal Summary: '3 organ voluntaries by Redforde, Tallis, & anon: MS. XVII. cent:'

2. Havergal Summary: 'A motett by Ferrandi (Aldrich's coll.) MS. end of XVII. cent:'

3. Havergal Summary: 'The Base of "Preces & Psalmes" by Tallis & Batten. MS. XVII. cent:'

4. Havergal Summary: 'The Litany (anon:) MS. about 1700.'

5. Havergal Summary: 'An anthem by Rosingrave. MS.'

6. Havergal Summary: 'An anthem by M. L(ocke.) MS. end of XVII cent:'

7. Havergal Summary: 'A duet by H. Hall. MS. beginning XVIII. cent:'

8. Havergal Summary: 'An ode by H. Hall. MS [beginning XVIII. cent:]'

9. Havergal Summary: ' "Advice to a composer" by Orme. (Aldrich: coll:) MS. XVIII. cent:'

10. Havergal Summary: ' "The dream" by Dr Croft (Goodson's coll:) MS. XVIII. cent:'

11. Havergal Summary: 'An anthem by Locke Original MS.'

12. Havergal Summary: 'Cowley's Complaint. by H. Purcell. MS. about 1700.'

13. Havergal Summary: 'O give thanks. anthem by H. Purcell. Original MS. (?)'

14. Havergal Summary: 'Raise the voyce. An ode by H. Purcell. (Goodson's coll) MS. beginning XVIII. cent.'

15. Havergal Summary: ' "A song between Hope & Despair" by D. Purcell MS. about 1700.'

16. Havergal Summary: 'Love I defy thee. A cantata by D. Purcell. MS. 1706/7.'

17. Havergal Summary: ' "How doth the citty" Anthem by M. Locke. Original MS.'

Portfolio I.2.β

1. Havergal Summary: '2 motetts by Husbands. MS.'

2. Havergal Summary: '12 [motets by] Cassatus Carissimi (?) Sances, & anon: MS.'

3. Havergal Summary: '2 [motets by] J. Jackson. (9 sheets) MS.'

4. Havergal Summary: 'Base part of an anthem by D: Taylor. MS. XVII. cent:'

5. Havergal Summary: 'A health, by H. Hall & 3 catches by Tobias Langdon. MS. XVIII. cent:'

6. Havergal Summary: 'Tenor part of an anthem by J. Bishop. MS.'

7. Havergal Summary: '2 anthems by Bird in score. MS.'

8. Havergal Summary: 'An anthem by Blow. organ part. MS.'

9. Havergal Summary: '3 instrum: parts of Blow's morn: & Com: service in E. MS.'

10. Havergal Summary: 'Blows complete service in E. in score. MS. end of XVII. cent:'

11. Havergal Summary: 'A motett by Bassani. MS.'

12. Havergal Summary: 'A motett by Stradella. MS.'

13. Havergal Summary: 'An aire, chaconne &c: by Battista. MS.'
14. Havergal Summary: 'Overture, gavot &c: in Cadmus & Hermione by Battista. MS.'

15. Havergal Summary: ' "Miserere" by Dr. Bull. M.S.'

16. Havergal Summary: 'Te Deum, Jubilate & an anthem by Savery. MS. XVIII cent:'

17. Havergal Summary: '3 anthems by R. Goodson Sr: original MS.'

18. Havergal Summary: '2 anthems by Or: Gibbons. MS. middle of XVII. cent:'

19. Havergal Summary: 'The Contratenor & Bassus of an anthem by Child, & of a morn: & evening service anon. MS. end of XVII. cent:'

20. Havergal Summary: 'A song by Locke. MS. end of XVII. cent:'

21. Havergal Summary: 'Laudate by Quagdia. MS. end of XVII. cent:'

Portfolio I.2.γ

1. Mus. 865(A). Vocal and chorus parts with continuo for an anonymous 'Dialogue between the angels and shepherds at Christ's birth', possibly by Francis Pigott; autograph composing score, English, late 17th century.

2. Mus. 865(B). Vocal performing parts for English services (including Henry Aldrich, Service in A); English, last quarter of 17th century.

3. Mus. 865(C). Pietro Reggio, 'Wake sleepyng ones' for voice and continuo, headed 'The judgement'. Copyist identified; English, late 17th century.

4. Mus. 865(D) Anonymous anthem beginning 'Hosanna peace in Heav'n'; apparently a composing short score; English, c. 1700.

5. Mus. 1188-9 (f. 16). Fragment of an unidentified verse anthem (beginning '-justly & will not behold the majesty of the Lord'), copied by Henry Aldrich, and almost certainly a sketch or composing score by him. English, late 17th century. On the verso, two staves of an unidentified textless bass part, in an unidentified hand.

6. Mus. 1188-9 (f. 17). Chorus 'Peace be within thy walls' from the anthem 'O pray for the peace of Jerusalem' by Henry Aldrich (after Carissimi); autograph score. English, late 17th century.

7. Mus. 1188-9 (f. 18). Short score of an incomplete vocal work, 'O remember not', in the hand of Henry Aldrich, probably his composing draft. English, late 17th century. Torn from a larger sheet, the remainder of which is now Mus. 1215(2) (= Portfolio I.2.δ no. 20, q.v.).

8. Mus. 1188-9 (ff. 20-27). Two partbook-fascicles, the first (ff. 20-23) labelled 'Bassus Cantoris', the second (ff. 24-7) 'Contratenor Cantoris', containing movements from Henry Aldrich's Service in F, and an unidentified verse anthem, ['God is our refuge and strength']. Copied largely by Edward Lowe, with some text-underlay supplied by Henry Aldrich; English, 3rd quarter of 17th century.

9. Mus. 1188-9 (ff. 28-31). Two partbook-fascicles, the first (ff. 28-9) labelled 'D[ecani Bassus]', the second (ff. 30-31) 'C[antoris Contratenor]', containing the Te Deum and Jubilate of an unidentified Service in C major, copied by Edward Lowe. English, 3rd quarter of 17th century.

10. Mus. 1188-9 (ff. 32-5). Sketches, drafts and revisions by Henry Aldrich, largely untexted, and including drafts of the opening sections of the anthems 'Give ear, O Lord' and 'Behold now praise the Lord'. English, late 17th century.

11. Mus. 1188-9 (ff. 36-7). Fragment in score (opening 'worthy to be praysed; there is no end of his greatness') from an unidentified verse anthem, copied by Richard Goodson Jr, and including a small cancel leaf on f. 36v (concealing a rejected reading) that may imply that the anthem is of his own composition. English, early 18th century.

12. Mus. 1188-9 (ff. 42-5). Complete set of four instrumental parts for 'My song shall be alway' by Henry Purcell. Partly autograph; the second hand (designated as 'Oxford B' in Shay and Thompson, Purcell Manuscripts, p. 317) has not been identified. English, late 17th century.

13. Mus. 1205(A). Henry Cooke, 'Sleep downy sleep', copied in score by Richard Goodson Sr; English, late 17th century.

14. Mus. 1205(B). Two anthems (by John Blow and William Byrd, the second incomplete), copied in score by Richard Goodson Jr. English, c. 1700.

15. Mus. 1205(C). Sketches, fragments and fair copies of compositions and adaptations by Henry Aldrich; autograph scores; English, late 17th century.

16. Mus. 1215(3). Organ parts for verse anthems by John Ward, copied by Stephen Bing; English, 1630s.

Portfolio I.2.δ

SEVEN LATIN MOTETS:

1. Mus. 1154(A). Maurizio Cazzati, 'Crutior in hac flamma', copied by an unidentified English hand, C17th. Also William Turner, Minuet in g minor, apparently for keyboard; autograph, probably composing score.

2. Mus. 1154(C). Three instrumental parts ('Violino Primo', 'Violino Secondo' and 'Violone') for [Giovanni Battista Bassani], motet 'In hoc mundo', copied by James Talbot. English, late 17th century.

3. Mus. 1154(D). Three instrumental parts ('Violino Primo', 'Violino Secondo' and 'Violone') for [Giovanni Battista Bassani], motet 'Aligeri Amores', copied by James Talbot. English, late 17th century.

4. Mus. 1154(E). Three instrumental parts ('Violino Primo', 'Violino Secondo' and 'Violone') for [Giovanni Battista Bassani], motet 'Pompae vanae', copied by James Talbot. English, late 17th century.

5. Mus. 1154(F). Three instrumental parts ('Violino Primo', 'Violino Secondo' and 'Violone') for [Giovanni Battista Bassani], motet 'In Caligine', copied by James Talbot. English, late 17th century.. Also Mus. 1154(F*): two instrumental parts ('Violino Primo', 'Violino Secondo') for [Giovanni Battista Bassani], motet 'Ejah Tubae', the first copied by James Talbot, the second in an unidentified hand. English, late 17th century.

6. Mus. 1154(H). Incomplete score of Alphonse d'Eve, 'Alma redemptoris mater', copied by Richard Goodson Sr, presumably from the printed edition in Mus. 841-51. English, late 17th century.

7. Mus. 1154(I). Unattributed motet, 'O crux lignum', copied in score by an unidentifed hand, English, mid-late 17th century.

FIVE ITALIAN CANTATAS and TWO FRAGMENTS:

1. Mus. 1147(A). Unattributed cantata 'Del mio partir, oh dio', for high voice and continuo. Score, possibly Italian, 2nd half of 17th century.

2. Mus. 1147(B). The outer bifolio of an unattributed motet 'Stillate mellis flumina' for high voice and continuo; the inner bifolio is now Mus. 1142b (f. 61). Score; copyist unidentified, presumably Italian, late 17th century.

3. Mus. 1215(4). Unattributed cantata, 'O quanto è contenta quell'alma'. Copyist unidentified; probably English, mid 17th century. The name 'Roseingrave', faintly visible at the top of f. 1r, has been added by a different hand.

4. Mus. 1215(5). Unattributed vocal work for three voices and continuo, in score. Originally copied with the Italian text 'Colui che partesi dal Regno amabile' in an unidentified hand, late 17th century. Partially re-texted in German (starting 'Warum') in a different but contemporary hand. Possibly the setting of 'Colui che partesi' doubtfully attributed elsewhere to Antonio Sartorio.

5. Mus. 1215(6). Unattributed cantata 'Care selve beate', for bass voice and continuo. Copyist unidentified; English, mid 17th century.

6. Mus. 1215(8). Fragment of an unidentified Italian cantata, opening with the words '[pro]celle. Lenza speme di mercede'. Copied by Richard Goodson Sr; English, late 17th century.

7. Mus. 1215(9). Fragment of an unidentified Italian cantata, opening with the words '-cida ch'è senza pietà'. Copyist unidentified, presumably Italian, late 17th century.

EIGHT SONGS AND DUETS:

1. Mus. 1154(B). Unattributed song 'Whilst Health & blooming Youth' for two voices (soprano, bass) and continuo. Two copies: a short score in the hand of James Talbot that may be his composing autograph; and a neat copy in an unidentified hand. Both English, late 17th century.

2. Mus. 1154(G). 'All things are hush'd', for three voices and continuo, copied by Richard Goodson Sr; possibly his autograph composing score. English, late 17th century.

3. Mus. 1154(K). Unattributed song, 'Bright Phebus just had now adorn'd the skies' for soprano and continuo, copied in score by William Husbands; English, 1670s or 80s.

4. Mus. 1154(L). 'A shepherd charmd with Evry Grace' for soprano and continuo, copied in score by Richard Goodson Sr; unattributed, but evidently Goodson's autograph composing score. English, late 17th century.

5. Mus. 1154(M). Unattributed song 'A poor soul satt sighing near a ginger bread stall' for soprano and continuo. Score, copyist unknown; English, late 17th century.

6. Mus. 1215(2). John Blow, canon 'No Lucinda I swear the temptations so sweet' for two voices and continuo. Autograph score, torn and incomplete at end; the remainder of this sheet is now Mus. 1188-9 (f. 18). English, late 17th century.

7. Mus. 1215(7). Three unattributed pieces in keyboard score, the first of them texted in the upper line; copied by Richard Goodson Sr; English, early 18th century.

8. Mus. 1215(10). Doggerel song on a ground bass, beginning 'Hi jinko brisco alphonzo'. Copied by Richard Goodson Sr; apparently his composing score. English, late 17th century.

Portfolio I.2.ε (= olim Mus. 1038)

FIVE ODES IN ENGLISH:

1. Mus. 1142a (ff. 34-7). [Henry Hall Sr], 'Bless Albion, bless thy stars above'; fragment of autograph score of an ode headed elsewhere as 'Song to the Queen'. English, composed 1702-7. For further details, see the remaining fragments of this work now at Mus. 1212(A).

2. Mus. 1142b (ff. 56-7). Fragments from the composing score of an unidentified ode by Richard Goodson Sr; autograph. English, early 18th century. The section sketched here, which opens at f. 57v, is for soprano, oboe and continuo, and opens with the words 'With Eager hast'.

3. Mus. 1153. Chorus (opening 'Yee Vocal Choir whom sacred love of Harmony') from an unidentified ode for St Cecilia's Day. Score, incomplete, copied by Richard Goodson Jr. English, early 18th century.

4. Mus. 1211. Performing vocal part in C4 clef for a connected sequence of dramatic scenes including a 'dialogue between Grumpo and the Witch' (f. 1r) and a 'dialogue between Time, Fortune, Cupid and Hymen', all apparently by 'Mr Pigot' (= Francis Pigott?). Copyist unidentified; English, c.1700. Other sections of this work, partly in the hand of the same copyist, are in Mus. 90-91.

5. Not located

FOUR [ODES] IN LATIN:

1. Mus. 1141b (ff. 105-10). Keyboard score for [John Blow], ode ['Gesta Britannica'], in two sections, 'Non arma regum' and 'Dum pulsa strident timpana', here unattributed and designated only as '1st Song' and '2d Song'. Copied by Richard Goodson Sr; English, late 17th century. Also probably the violin parts for this work now at Mus. 1141b (ff. 101-4), which were presumably formerly nested within the keyboard score.

2. Mus. 1142a (ff. 38-9). [Musgrave Heighington], ode 'Donec gratus'. Incomplete composing score, autograph. English, early 18th century. For autograph sketches for this work, see Mus. 363, starting at f. 45r.

3. Mus. 1142b (ff. 46-9). [Richard Goodson Jr], 'Festo quid potius', incomplete draft of vocal sections; autograph. English, early 18th century. For other sources of this work, based on Horace's Odes III 28, see the description under Mus. 37 (pp. 25-58).

4. Mus. 1142b (f. 51). Part of a Latin ode beginning 'Nunc juvat doctas referare portas', copied by Sampson Estwick, and presumably his autograph. English, early 18th century.

THREE OVERTURES AND CONCERTOS

1. Mus. 1186. An untitled and unattributed copy of Henry Purcell, overture to ode, 'Hail, bright Cecilia', Z.328(1a-e), copied in score. Copyist unidentified; English, early 18th century.

2. Mus. 1213. Unattributed orchestral work in D, in three movements ('Overture', [Fugue] and 'Minuet', the third of these apparently incomplete at the end), copied in score by Richard Goodson Jr, and possibly his composing score. English, early 18th century.

3. Mus. 1214. Handel op3/1

'A MUSICAL DIAL, & FRAGMENTS ... WITH ALLEMANDE &C: BY THORNWITZ.'

1. Mus. 864. Unattributed fantasia for up to 5 instruments, one of which plays repeated notes (rising and falling through the hexachord) in imitation of the chiming of a clock; copyist unidentified, English, late 16th century. Also a late 17th-century copy of the piece in score.

2. Mus. 1142a (ff. 40-41) Suite in d minor for harpsichord (Allemande, Courante, Menuet, Air Amor, Air Cross), with the following heading on f. 40: 'Allemande for the Harpsichord Henry Thornowitz to your Honours desire to which I am Extraordinary plased'. Presumably autograph. English, early 18th century.