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Mus. 1003

Manuscript. Keyboard book in four layers, copied in England (and probably in Oxford) during the second half of the 17th century and the first decade of the 18th century. Copyists include Henry Bowman, Charles Morgan, Richard Goodson Sr and Richard Goodson Jr. This is one of the many manuscript sources of keyboard music at Christ Church. Loose within the volume is Mus. 1003a, which is apparently unrelated to Mus. 1003 itself.

  • Layer 1 (ff 1-12r; items 1-14 in the inventory below): unidentified copyist working probably in the third quarter of the 17th century. The contents of this layer were largely transferred from another keyboard book now at Christ Church, Mus. 1113, which was itself copied probably in the 1620s, and was apparently owned by the Oxford-based keyboard player William Ellis (1620-c.1679; organist of St John's College, Oxford from 1639 to 1646).
  • Layers 2 and 3 (items 15-48 and 55-6) were formerly thought to have been copied solely by Henry Bowman, but have recently been interpreted by Andrew Woolley as being the work jointly of Bowman and Charles Morgan, the latter perhaps modelling his notation upon Bowman's, and apparently using staves or pages that Bowman had left blank. The following description of Layers 2 and 3 draws upon Woolley, 'English Keyboard Sources and their Contexts, c. 1660-1720' (Ph.D. thesis, University of Leeds, 2008), Chapter 6: 'Collecting Keyboard Music'.
  • Layer 2: items 16-19, 21-9, 32 and 35-6. Copied by Henry Bowman, presumably during the period 1664-77, since Bowman refers to Christopher Gibbons as 'Dr' (item 42; Gibbons's Oxford D.Mus. was conferred in 1664), and to John Blow as 'Mr' (Blow's Lambeth D.Mus. was conferred in 1677). For a list of other items at Christ Church associated with Henry Bowman, see the entry for Mus. 20.
  • Layer 3: items 15, 20, 30-31, 33-4, 37-48 and 55-6; also the last 3 bars of item 14. Copied by Charles Morgan, at least partly before 1677 (on the grounds that items 37-40 are again ascribed to 'Mr Blow'). For further information about Charles Morgan, see the section on Provenance below.
  • Layer 4 (inside upper and lower covers; also items 49-54): copied and/or used by members of the Goodson family. Tables of rudiments on the inside upper and lower covers were probably copied by Richard Goodson Sr; they imply that Mus. 1003 was used by him for pedagogy. Items 49-54 appear to have been copied by Richard Goodson Jr, possibly at a young age. An annotation on the last page (f. 52v), which has been interpreted as 'Anna Goodson', may refer to another member of the Goodson family; see Bailey 2003 (in Bibliography below), p. 95. This is one of the many music manuscripts at Christ Church copied wholly or partly by Richard Goodson Sr.
Comments on individual pieces:
  • Item 14: the ending of this piece was probably originally copied on the first of five leaves that have been excised between ff. 11 and 12 (and are now represented by stubs). The ending was then recopied on f. 12r by Charles Morgan, who was presumably responsible for making the excisions.
  • Item 18 in the inventory below: a related version of this work was published in Melothesia (RISM 1673/6): see Bailey 2003, p. 95.
  • Item 19 is evidently a rejected draft for item 21, implying that the piece was composed by Bowman himself. Some of the other unattributed pieces in Layer 2 may therefore also be by him.
  • Items 20, 30-31, 44 and 47: for outline information about printed sources for these originally vocal works, see English Song-Books 1651-1702: A Bibliography, ed. Cyrus Lawrence Day and Eleanore Boswell Murrie (London, 1940).
  • Item 49 ('Vigo Minuit'): the title 'may refer to the victory of the Duke of Ormonde at Vigo Bay on 12 October 1702' (Woolley, p. 133, fn. 3).
  • Items 55-6 are copied at the rear with the volume inverted.
In the inventory below, numbers in the second column were added in pencil by an unidentified hand probably in the 19th century; they are clearly visible in the standard microfilm of Mus.1003.

Table of titles and composers in modern form. Display form found in manuscript.
The first column gives the modern numbering of the pieces; the second shows numbering used by the copyist(s).

1     Toccata (= Mus. 1113/1) f. 1r
2 2   Capriccio/canzona (= Mus. 1113/3) ff. 1v-2r
3     Courante francise (= Mus. 1113/4) f. 2r
4   Jan Pieterszoon Sweelinck Hexachord fantasia (closing section only; = Mus. 1113/86) ff. 2v-3r
5 3 Orlando Gibbons Alman (MB 20 no. 34; = Mus. 1113/90) f. 3r
6 4 John Bull Ionic alman (MB 19 no. 110; = Mus. 1113/78) f. 3v
7 5 John Bull Germain's alman (MB 19 no. 94; = Mus. 1113/89) f. 4r
8 6   Courant Cromatique (= Mus. 1113/101) f. 4v
9 7 John Bull Alman (MB 19 no. 115; = Mus. 1113/106) f. 5r
10 8 Peter Philips Almande (MB 75 no. 14; = Mus. 1113/113) ff. 5v-6v
11 9 John Bull Alman fantasia (Meridian) (MB 19 no. 134; = Mus. 1113/110) f. 7r
12 10   Toccata (= Mus. 1113/25) ff. 7v-8r
13 11 Girolamo Frescobaldi Partite 12 sopra l'aria di Ruggiero (Pidoux iii/60; = Mus. 1113/54) ff. 8v-11r
14 12   Unidentified keyboard work in a minor ff. 11v-12r
15 13   The Vicechancellor f. 12r
16 14   Allemande f. 12v
17     Saraband ff. 12v-13r
18 15 William Thatcher Air f. 13v
19   Henry Bowman? Jigg (incomplete sketch for no. 21 below) f. 14r
20   Henry Aldrich O the bonny Christ Church bells f. 14r
21 16 Henry Bowman? Jigg (reworking of no. 19 above) ff. 14v-15r
22 17   Saraband f. 15r
23 18 William Lawes Air (The golden grove; VdGS 361) f. 15v
24 19 William Lawes Corant (The golden grove; VdGS 363) f. 16r
25 20 William Lawes? Saraband f. 16v
26 21   Air f. 17r
27 22 Robert Smith Jigg f. 17v
28 23   Jigg f. 18r
29 24   Ground and 3 variations ff. 18v-19r
30 25 Matthew Locke Ne'er trouble thyself at the times ff. 19v-20r
31 26 John Wilson In a season all oppressed f. 20r
32 27   Ground and variation ff. 20v-21r
33 28   Jigg f. 21v
34 29 Robert? Smith Air f. 22r
35 30 John Roberts (i)? Saraband f. 22v
36 31 John Banister (i) Saraband f. 23r
37 32 John Blow Saraband (MB 73 no. 36; = Mus. 598/9) ff. 23v-24r
38 33 John Blow Gavott (MB 73 no. 37) ff. 24v-25r
39   John Blow Gavott (MB 73 no. 38) f. 25r
40 34 John Blow Jigg (MB 73 no. 39) f. 25v
41 35 Robert? Smith Air f. 25v
42 36 Christopher Gibbons Saraband (CEKM 18(rev) no. 9) f. 26r
43 37 John Blow Prelude (MB 73 no. 56; opening only) ff. 26v-27r
44 38 Henry Lawes? Con bel sigillo di segretezza f. 28r
45 39   Air f. 28v
46 40 Jeremy Savile Here's a health unto his majesty (keyboard reduction; no words) f. 29r
47 41 William Lawes O, my Clarissa, thou cruel fair f. 29r
48 42   Air f. 29v
49 43   Vigo minuet f. 30r
50 44 Henry Purcell We, the spirits of the air (from 'The Indian Queen'; Z.630(17bc)), here texted as 'Happy songster of the Spring' f. 30v
51 45   Minuet (with fingering) f. 31r
52 46   Air (with fingering) f. 31v
53   Henry Purcell Cibell/Trumpet tune (Z.T678; opening only) ff. 31v-32r
54     fragments ff. 32v-33r
55   Giovanni Battista Draghi Alman (= Mus. 1177, no. 38) f. 52v
56   Giovanni Battista Draghi Corant (opening only; = Mus. 1177, no. 39) f. 52r

Oblong format, 285 x 205 mm. Structure: 52 surviving leaves (without endleaves), foliated in modern pencil. Collation not fully ascertained because of extensive excisions, but conjecturally:

  • A8 (ff. 1-8);
  • B10 (of which leaves B1, B4 and B6-10 have been excised; B2-3 = ff. 9-10, B5 = f. 11);
  • C12 (of which leaves C2, C4, C10 and C12 have been excised; the remaining eight leaves are ff. 12-19);
  • D8 (ff. 20-27);
  • E8 (ff. 28-35);
  • F6 (ff. 36-41);
  • G8 (of which probably G8 has been excised; G1-7 = ff. 42-8);
  • probably H6 (of which H1 and H4 are excised; H2-3 = ff. 49-50, H5-6 = ff. 51-2).
The inside lower cover is foliated '53'. Unused ruled staves on ff. 27v and 33v-51r. Mid 17th-century covers of thick white card. Leaves bearing tables of the rudiments of music theory and notation, probably copied by Richard Goodson Sr, have been pasted to the inside upper and lower covers; those on the upper inside cover are now partly concealed beneath later pastedown material (a bookplate and a modern contents lists). The outside upper and lower covers have been annotated by Charles and John Morgan; see section of Provenance below. Bookplate 3 on the inside upper cover. 19th-century shelfmark: G14.

Provenance: earliest copyist/owner (Layer 1) not ascertained; then Henry Bowman (Layer 2). The subsequent history of Mus. 1003 is implied by the following annotations on the outside upper and lower covers: 'C. Morgan', 'John Morgan', 'Morgan His Booke', 'J. Nordin', and other pen-trials. The first of these apparently refers to Charles Morgan (c. 1660-1738), a chorister at Christ Church from 1670 to 1677, and a singing-man there until 1681; he subsequently moved to Magdalen College, where he sang as a lay clerk. (For further information about Morgan, see Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources (Cambridge, 2000), p. 271.) Mus. 1003 passed finally to the Goodsons, who added Layer 4. Presumably it reached Christ Church as part of the Goodson bequest. However, Mus. 1003 is not explicitly listed in any of the 18th-century catalogues of the Christ Church music collections.

Microfilm: manuscript music, reel 34.

Select bibliography:

  • Virginia Brookes, British Keyboard Music to c.1660: Sources and Thematic Index (Oxford, 1996), pp. 89-90. Find in a Library
  • Candace Bailey, Seventeenth-Century British Keyboard Sources (Warren, MI, 2003), pp. 93-6. Find in a Library
  • Andrew Woolley, 'English Keyboard Sources and their Contexts, c. 1660-1720' (Ph.D. thesis, University of Leeds, 2008), Chapter 6: 'Collecting Keyboard Music'. Find in a Library