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.
Comments on individual pieces:
- 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.
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.
- 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.
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).
||Toccata (= Mus. 1113/1)
||Capriccio/canzona (= Mus. 1113/3)
||Courante francise (= Mus. 1113/4)
||Jan Pieterszoon Sweelinck
||Hexachord fantasia (closing section only; = Mus. 1113/86)
||Alman (MB 20 no. 34; = Mus. 1113/90)
||Ionic alman (MB 19 no. 110; = Mus. 1113/78)
||Germain's alman (MB 19 no. 94; = Mus. 1113/89)
||Courant Cromatique (= Mus. 1113/101)
||Alman (MB 19 no. 115; = Mus. 1113/106)
||Almande (MB 75 no. 14; = Mus. 1113/113)
||Alman fantasia (Meridian) (MB 19 no. 134; = Mus. 1113/110)
||Toccata (= Mus. 1113/25)
||Partite 12 sopra l'aria di Ruggiero (Pidoux iii/60; = Mus. 1113/54)
||Unidentified keyboard work in a minor
||Jigg (incomplete sketch for no. 21 below)
||O the bonny Christ Church bells
||Jigg (reworking of no. 19 above)
||Air (The golden grove; VdGS 361)
||Corant (The golden grove; VdGS 363)
||Ground and 3 variations
||Ne'er trouble thyself at the times
||In a season all oppressed
||Ground and variation
||John Roberts (i)?
||John Banister (i)
||Saraband (MB 73 no. 36; = Mus. 598/9)
||Gavott (MB 73 no. 37)
||Gavott (MB 73 no. 38)
||Jigg (MB 73 no. 39)
||Saraband (CEKM 18(rev) no. 9)
||Prelude (MB 73 no. 56; opening only)
||Con bel sigillo di segretezza
||Here's a health unto his majesty (keyboard reduction; no words)
||O, my Clarissa, thou cruel fair
||We, the spirits of the air (from 'The Indian Queen'; Z.630(17bc)), here texted as 'Happy songster of the Spring'
||Minuet (with fingering)
||Air (with fingering)
||Cibell/Trumpet tune (Z.T678; opening only)
||Giovanni Battista Draghi
||Alman (= Mus. 1177, no. 38)
||Giovanni Battista Draghi
||Corant (opening only; = Mus. 1177, no. 39)
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:
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.
- 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).
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.
- Virginia Brookes, British Keyboard Music to c.1660: Sources
and Thematic Index (Oxford, 1996), pp. 89-90.
- Candace Bailey, Seventeenth-Century British Keyboard Sources
(Warren, MI, 2003), pp. 93-6.
- Andrew Woolley, 'English Keyboard Sources and their Contexts,
c. 1660-1720' (Ph.D. thesis, University of Leeds, 2008), Chapter
6: 'Collecting Keyboard Music'.