Mus. 1005

Manuscript. John Jenkins's autograph scores of his two- and three-part airs; English, c. 1644-5; formerly owned by and presumably copied for Sir Nicholas L'Estrange (1604-1655). The scorebook has been separated from its five associated partbooks, two of which are now Chicago, Newberry Library, Case MS -VM 1 .A 18 J 52c (treble and bass partbooks for the three-part airs, lacking the second treble partbook); the remaining three partbooks are presumably lost.

In the inventory below, numbers in the second column are those given in Mus. 1005 at the ends of individual pieces, as cross-references to the ayres as copied into the partbooks. For the 122 two-part ayres (items 1-124), these numbers apparently refer to the lost two-partbook set. For the three-part ayres (items 125-209; sometimes called 'The Newberry Airs'), the numbers refer to the Chicago partbooks; for details, see the parallel inventory of Mus. 1005 and the Chicago partbooks in The Viola da Gamba Society Index of Manuscripts Containing Consort Music, compiled by Andrew Ashbee, Robert Thompson and Jonathan Wainwright, vol. 1 (Aldershot etc., 2001), pp. 216-26. In Mus. 1005, some of the cross-reference numbers are followed by various graphical (i.e. non-alphabetic or numerical) symbols; in column 2 below, the presence of such a symbol is signalled by an asterisk (*).

The airs are arranged by key, as follows:

• Two-part airs: items 1-29: g minor / 30-7: G major / 38-48: d minor / [49-50: misplaced and abandoned items] / 51-60: d minor, then D major / 61-9: a minor / 70-9: e minor / 80-98: c minor / 99-102: C major / 103-14: F major / 115-24: B flat major.
• Three-part ('Newberry') airs: items 125-33: g minor / 134-9: G major / 140-53 : d minor / 154-9 : D major / 160-9 : a minor / 170-2 and 175-7: e minor / 173-4: G major / 178-85 : c minor / 186-92 : C major / 193-9 : F major / 200-9: B flat major.

Oblong format, 260 x 200 mm. 155 folios; collation not researched because of the tightness of the binding. Paginated in two sequences by Jenkins himself (with supplementary pagination by later hands), as follows:

• First sequence (122 two-part airs): 65 folios, paginated '1-114' in the following sequence: 1-14, 14a-h, 15-31, 30a, 31a, 32-4, [34a-f] and 35-114. The leaf comprising pp. 79-80 is mounted on a stub, and has a pastedown cancel over the lowest two staves of p. 80. Unused ruled staves with barlines on pp. 35, 59, 82-3, 96-7 and 108-110; unused ruled staves without barlines on pp. 111-14.
• Four unpaginated blank leaves of thinner paper.
• Second sequence (84 three-part 'Newberry' airs): 86 folios, paginated '1-[151]' in the following sequence: [0], 1-4, [4A = a fully copied page of music that was subsequently deleted with hatching], 4C-F, [4G], 5-41, 41a, [41b-h], 42-113, 113B-F, [113G], 114-150 and [151]. Unused ruled staves and barlines on pp. [0], 15, [41h], 53-4, 73, 87, [113G], 129, and [151].

Provenance: Sir Nicholas Le Strange; Hugh Hutchins (see below). Acquired by Christ Church as part of the Goodson bequest; listed in Clement 1747 as 'Fancys Mr Jn Jenkins in Score No. 54', and in Malchair 1787, f. 9r, as 'Fancy's in score Jenkins'.

Microfilm: manuscript music, reel 35.

Hugh Hutchins (or Hutchin), originally from Grantham (Lincs.), matriculated at Trinity College, Oxford, in 1695, aged 17, and was awarded the degrees of B.A. and M.A. at Christ Church in 1698-9 and 1701 respectively. According to Thomas Hearne writing in 1706, Hutchin was a 'Great Friend' of 'the most worthy Dr [Henry] Aldrich', and at that time was one of the chaplains at Christ Church Cathedral; see Remarks and Collections of Thomas Hearne, vol. 1 (1705-7) (Oxford Historical Society: Oxford, 1885), p. 195.

Select bibliography:

• John Jenkins and his Time: Studies in English Consort Music, ed. Andrew Ashbee and Peter Holman (Oxford, 1996), esp. p. 218 (fn. 153).
• The Viola da Gamba Society Index of Manuscripts Containing Consort Music, compiled by Andrew Ashbee, Robert Thompson and Jonathan Wainwright, vol. 1 (Aldershot etc., 2001), pp. 210-26.