Mus. 1128

Manuscript. A miscellany of instrumental movements (including sketches and drafts) copied in score; English, early 18th century. The majority of the sheets transmit movements or sets of movements in three-part score (two trebles and bass); these works probably formed part of the repertory of the Oxford city/university waits or 'musick'. The copyists/composers, who have not been identified, are here designated as Copyists 'Z', 'Y' and 'X'; they were also responsible for other autograph scores and/or sets of performing parts within the Christ Church collection. For further details, see the entry for Mus. 34-6. Sheets 14 and 22 provide rare examples of Copyists Z and Y working on the same sheets of paper.

Mus. 1128 comprises 49 separate sheets, bound in largely random order within an early 20th-century guardbook of stiff card and vellum (upright format, 630 x 480 mm). The sheets are numbered 1-2, 2*, 3, 4, 4*, 5, 5*, 6, 6*, 7-11, 11*, 12-25, 25*, 26-7, 27*, 28-9, 29* and 30-41 in modern pencil.

One of the pieces copied here by Copyist Z is attributed elsewhere to George Tollett; see sheets 6-6* and 34 below. Mus. 1128 also includes extracts from the following works: a trio sonata by Arcangelo Corelli (sheet 22); Henry Purcell's Timon of Athens (sheet 31); and operas and ballets by Jean-Baptiste Lully (sheets 35-6).

In the descriptions of contents below, sets in the same key are distinguished from one another by means of roman numerals (I, II, etc), using and extending the numbering sequence of Mus. 34-6. Within each set, the number of movements is shown in round brackets: '(1-5)', etc.

• Sheet 1: single sheet in oblong format, 423 x 270 mm. Recto: incomplete draft with revisions of a movement in G major, copied by Copyist Y. Verso: complete version of the same movement, with further minor revisions, again copied by Copyist Y, with the sheet inverted. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set.
• Sheets 2 and 2*: both oblong format, c. 473 x 340 mm. Recto and verso: scores of an eight-movement suite or 'set' in B flat major, copied by Copyist Z. The pages are to be read in the following order: ff. 2r, 2*r, 2*v (with the sheet inverted) and 2v (with the sheet inverted). There is another copy of the sixth movement of this set, also copied by Copyist Z, in Mus. 1141a (ff. 66-9) (at f. 69r-v). These are the only known sources of the set now designated as B flat major/I (1-8).
• Sheet 3: oblong format, 465 x 295 mm. Recto: fair copy in score of a movement in D major with the heading 'For Three Trumpets', copied by Copyist Y. Possibly a partner to sheet 38 below. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set. Verso: unused ruled staves.
• Sheet 4: oblong format, 470 x 300 mm. Recto: draft of a movement in f minor, copied by Copyist Y; the last seven bars (marked with an asterisk) are to be replaced by the alternative ending copied on sheet 4* below. Verso: draft of a different movement in f minor, copied by Y, and numbered '3' as if to denote its place within a multi-movement suite or 'set'. Neither of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source.
• Sheet 4*: oblong format, 297 x 185 mm, pasted to the recto of sheet 4. Recto: replacement ending by Copyist Y for the movement in f minor copied on sheet 4 recto above. Verso: blank.
• Sheets 5 and 5*: both oblong format, c. 420 x 280 mm. Rectos: drafts (with minor revisions) of two movements in C major, copied by Copyist Z. The pages are to be read in the following order: ff. 5r, 5*r. At the foot of f. 5*r (with the sheet inverted), Copyist Z has copied the bass part (only) of the second movement, with the annotation 'Transcrib'd'. This is preceded by a copy of the bass part from another (unidentified) movement in C major. None of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source. Versos: unused ruled staves.
• Sheets 6 and 6*: both oblong format, c. 470 x 340. Rectos: fair copy by Copyist Z of a set of divisions for two violins on a ground in D major, attributed elsewhere to George Tollett; see for instance the copy (first treble part only) in Mus. 1183 (ff. 1-12), item 6, and the version published in The division-violin (London: John Playford, 1685), no. 21. The pages are to be read in the following order: ff. 6r, 6*r. There are sketches for this movement on sheet 34 verso below. This ground appears not to have been subsequently incorporated into a single-key set; but another set of variations on the same ground forms the opening movement of the set in D major/VI (1-5); see Mus. 34-6)/30, and other sources. Versos: unused ruled staves.
• Sheet 7: originally a bifolium, folded horizontally; now presented as a single sheet in upright format, with the foot of the lower leaf cut away; oblong format, 420 x 367 mm. Recto: fair copies of two movements in C major, copied by Copyist Z, and numbered '8' and '16'; the meaning of these numbers is unclear. Neither of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source. Verso: unused ruled staves.
• Sheet 8: segment of a larger sheet, cut down to oblong format, 470 x 110 mm, with a single vertical fold-mark. Almost certainly part of the sheet otherwise located at Mus. 1125, pp. 29-30. Contents: sketches and exercises by Copyist Y. Recto: fair copy of a short passage or exercise a3 in d minor. Verso: sketches for part of a movement a3 in e minor; possibly related to further sketches in e minor in Mus. 1125, p. 29, and on sheet 16 below.
• Sheet 9: segment of a larger sheet, cut down to oblong format, 470 x c. 185 mm. Contents: drafts and sketches by Copyist Y. The sheet appears first to have been used to sketch part of a movement in f minor on what is now the verso of the sheet; these sketches have been crossed out. (For a fair copy of the finished movement, also by Copyist Y, see sheet 20 recto below.) The recto of the sheet was then used to draft a rondo movement in f minor, and was trimmed in size in order to accommodate only this music; it is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set.
• Sheet 10: segment of a larger sheet, cut down to oblong format, 383 x 150 mm. Recto: fair copy of the opening of a movement in c minor, copied by Copyist Y. This is the only known source of this movement, which appears not to have been completed, nor subsequently incorporated into a single-key set. Verso: blank.
• Sheets 11 and 11*: apparently originally a bifolium, folded horizontally; now separated into two separate sheets, each oblong format, c. 470 x 340 mm. Contents: fair copies and drafts of movements a3 in f minor, copied by Copyist Z. One side of the bifolium, opened into a single large sheet (= sheet 11 recto, then 11* verso), was used for the following: a. (= sheet 11 recto): fair copy of a movement headed 'Rondeau', numbered '2', and annotated in the margin as follows: 'These Tunes to be placed in the set with the Ground in F flat thirds / Writ into Books'. This is the second movement of the set in f minor/I, performers' parts for which are in Mus. 1218(A-C)/1(copied by Copyist Z); / b. (= sheet 11* verso, top): fair copy of a movement numbered '2' and annotated in the margin 'Not writ into books'. This is the second movement of the set in f minor/II, performers' parts for which are in Mus. 1218(A-C)/2 (copied by Copyist Z); / c. (= lower part of sheet 11* verso): part of the ground in f minor cited above (= 4th movement of the set in f minor/I), annotated in the margin as follows: 'Some Strains to be placed into the Ground where they will best stand'. For further information about the sources of this ground, see sheet 23 below. The reverse side of the bifolium, again opened into a single large sheet (= sheet 11*r, then 11v; copied with the sheet inverted), contains drafts of further portions of the ground in f minor; see sheet 23 below for further information.
• Sheet 12: oblong format, 460 x 340 mm. Contents: sketches and drafts for movements in c minor, copied by Copyist Z. The verso contains miscellaneous sketches, and appears to have written first, since it includes material consolidated on the recto. Recto: drafts (with minor revisions) of two movements, both headed 'Minuet time, not fast'. The second of these minuets became the third movement of the set in c minor/IX, performers' parts for which are in Mus. 1218(A-C)/3 (copied by Copyist Z). Scores of other movements from this set are copied on sheets 15 and 26 below.
• Sheet 13: oblong format, 475 x 295 mm. Recto and verso: drafts (with minor revisions) of three movements in f minor, copied by Copyist Z; the first is headed 'A Round, or Hornpipe'. Both movements copied on the recto are annotated 'not writ into Books', but in fact they belong to the set in f minor/II, performers' parts for which are in Mus. 1218(A-C)/2 (copied by Copyist Z). The movement copied on the verso, which is also part of the set in f minor/II, is annotated 'Writ fair into another paper'; presumably this refers to the fair copy on sheet 19 verso below. Scores of the remaining movements of this set are copied on sheets 11* verso above and 19 below.
• Sheet 14: upright format, 467 x 300 mm. Recto: fair copy (with revisions) of the latter part of a ground in f minor, copied by Copyist Z and annotated as follows: 'The Remainder of the Ground in F flat thirds, beginning at the 20th Strain', and 'Writ into Books'. For further information about the sources of this ground, see sheet 23 below. Verso: drafts with extensive revisions of two movements in A major, scored for two trebles (?violins), copied by Copyist Y; the second movement is headed 'Gavot time', and is incomplete at the end. Neither of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source. Sheet 14 represents a rare instance of Copyists Z and Y working on the same sheet of paper. This sheet has been folded horizontally several times.
• Sheet 15: oblong format, 563 x 330 mm. Recto and verso: drafts of three movements in c minor, copied by Copyist Z; the third draft is incomplete and has been deleted. The first and third of these movements form part of the set in c minor/IX, performers' parts for which are in Mus. 1218(A-C)/3 (copied by Copyist Z); scores of other movements from this set are copied on sheets 12 above and 26 below. Sheet 15 also contains (on the verso, copied with the sheet inverted) a movement 'for three violins, To be plaid Round as a catch', notated in both C major and B flat major; a figured bass is supplied for this movement. This canon appears not to have been subsequently incorporated into a single-key set, and this is its only known source.
• Sheet 16: oblong format, 465 x 300 mm. Recto and verso: sketches and incomplete drafts of four movements a4, copied by Copyist Y. The three sketches on the recto are all in e minor, and may be related to the sketches on sheet 8 above. The remaining sketch, copied on the verso, is in c minor, and is headed 'Rondeau'. None of these movements appears to have been subsequently incorporated into a single-key set.
• Sheet 17: oblong format, 465 x 300 mm. Recto: fair copies of two movements in f minor, copied by Copyist Y. Verso (with the sheet inverted): preliminary sketches by Copyist Y of a set of variations on a ground in f minor; these have been partly crossed out. Some of the same material is reworked in the partial draft of this movement by Copyist Y copied on sheet 20 verso below. None of these movements appears to have been subsequently incorporated into a single-key set.
• Sheet 18: segment of a larger sheet, cut down to oblong format, 470 x 213 mm. Recto and verso: fair copies of two movements in f minor, copied by Copyist Y. Both movements bear the number '4', but neither appears to have been subsequently incorporated into a single-key set, and this is their only known source.
• Sheet 19: oblong format, 465 x 297 mm. Recto: fair copy of a movement in f minor, copied by Copyist Z, annotated 'Not writ into books', and incomplete at the end; possibly a rejected sixth movement for the set in f minor/II (1-5). Verso: fair copy by Copyist Z of the movement in f minor drafted on sheet 13 verso above. This latter movement is annotated 'not writ into Books', but in fact is the opening movement of the set in f minor/II, performers' parts for which are in Mus. 1218(A-C)/2 (copied by Copyist Z). Scores of the remaining movements of this set are copied on sheets 11* verso and 13 above.
• Sheet 20: segment of a larger sheet, cut down to oblong format, c. 470 x 110 mm. Contents: fair copies of two movements in f minor, copied by Copyist Y. The verso of the sheet, which appears to have been copied first, contains the central portion of a set of variations on a ground in f minor; there are sketches of this movement, also by Copyist Y, on sheet 17 verso above. (For another set of variations in f minor on this ground by Copyist Z, see sheet 23 below. For a set based on the same ground transposed to g minor, copied by Copyist Y, see sheets 29 and 29* below.) The recto of sheet 20 was then used to copy a different movement in f minor; the sheet was subsequently trimmed in size in order to accommodate only this music. Sketches for this latter movement, also by Copyist Y, are on sheet 9 verso above. This movement appears not to have been subsequently incorporated into a single-key set, and these are its only known sources.
• Sheet 21: segment of a larger sheet, cut down to oblong format, 245 x 160 mm. Originally used by Copyist Z to draft material on what is now the verso = a movement probably in A major (the clefs have been cut away), subsequently crossed out by the copyist. The recto was then used by Copyist Z to notate a 'Canon in the unison' for four basses accompanying a rising/falling hexachord cantus firmus notated in C2 clef. This canon is headed 'Set to words', but no text-underlay is provided, and no other copy of the piece has yet been located. The sheet was trimmed in size to accommodate only this canon.
• Sheet 22: segment of a larger sheet, cut down to oblong format, 465 x 190 mm. Probably originally used by Copyist Z to draft material on what is now the verso = sketches for movements in D major, crossed out by the copyist. The recto was then used by Copyist Y apparently for pedagogical purposes. It contains the following: (a) a partial copy of the Adagio from Arcangelo Corelli's trio sonata Op. IV no. 3; (b) a two-voice extract in C major, with a numerical analysis of the intervals between the voices. The sheet was trimmed in size to accommodate only the material on the recto. Sheet 22 represents a rare instance of Copyists Z and Y working on the same sheet of paper.
• Sheet 23: upright format, 467 x 303. Recto and verso: fair copy (with revisions) of the opening segments of a ground with variations in f minor, copied by Copyist Z. This is the fourth movement of the set in f minor/I, performers' parts for which are in Mus. 1218(A-C)/1(copied by Copyist Z). The sheet includes 26 numbered variations on the ground, some of which appear to be later additions. The copy was intended to continue on sheet 14 above (recto, with the sheet inverted), but this was abandoned. An alternative ending was then devised on sheet 14 recto (uninverted), which claims to be 'The Remainder of the Ground in F flat thirds, beginning at the 20th Strain'. For drafts of some segments of this movement, see sheets 11-11* above. (The same ground was also used for sets of variations by Copyist Y; for details, see sheet 20 above.)
• Sheet 24: originally a bifolium, folded horizontally; now presented as a single sheet, upright format, 600 x 447 mm. Recto and verso: fair copy (with minor revisions) of a four-movement set in C major, copied by Copyist Z. The verso is copied with the sheet inverted. This is the only known source of the set now designated as C major/IX (1-4).
• Sheets 25 and 25*: apparently originally a bifolium, folded horizontally; now separated into two separate sheets, each oblong format, 470 x 300 mm. Rectos: fair copy of a four-movement set in G major, copied by Copyist Y. Versos: unused ruled staves. This is the only known source of the set now designated as G major/I (1-4).
• Sheet 26: oblong format, 470 x 300 mm. Recto: drafts of movements in A major and c minor, copied by Copyist Z. The movements in A major, which are copied first, largely belong to the set in A major/VII, of which there are further drafts in Mus. 1141b (ff. 86-9), and performers' parts in Mus. 1140/7; both of these latter sources were also copied by Copyist Z. Sheet 26 recto ends with a sketch of the opening of a movement in c minor, another incomplete draft of which is on sheet 15 verso above (deleted by the copyist); this movement was subsequently used to open the set in c minor/IX. Verso: blank, but annotated by Havergal: 'Airs &c / in score', followed by the 19th-century shelfmark 'I.2'.
• Sheets 27 and 27*: segments of two larger sheets, both cut down to oblong format, c. 470 x 205 mm. Rectos: fair copies of two movements in D major, copied by Copyist Y, and numbered '5' and '6', as if forming part of a multi-movement set; however, neither of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source. Versos: unused ruled staves.
• Sheet 28: segment of a larger sheet, cut down to oblong format, 367 x 130 mm. Recto: fair copy of a movement in A major, copied by Copyist Y. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set. The verso is blank.
• Sheets 29 and 29*: apparently originally a bifolium, folded horizontally; now separated into two separate sheets, each oblong format, c. 415 x 270 mm. Contents: fair copy of a three-movement set in g minor, copied by Copyist Y. One side of the bifolium, opened into a single large sheet (= sheets 29 verso, then 29* verso), was used to copy the first two movements. The reverse side, copied with the bifolium inverted (= sheets 29* recto, then 29 rexto), was used to copy the third movement, a ground in g minor in 13 variations. (This ground, transposed to f minor, was also used by Copyist Y for the variations sketched and drafted on sheets 17 verso and 20 verso above. For another set of variations in f minor on this ground by Copyist Z, see sheet 23 above.) This is the only known source of the set now designated as g minor/V (1-3).
• Sheet 30: oblong format, 470 x 300 mm. Recto: fair copies of two movements in e minor, copied by Copyist Z, and numbered '4' and '5', as if forming part of a multi-movement set; however, neither of these movements appears to have been subsequently incorporated into a single-key set, and this is their only known source. Verso: unused ruled staves.
• Sheet 31: oblong format, 480 x 300 mm. Recto: 'Trumpet Overture' by 'Mr Hen: Purcell' (= trumpet part only for the overture to Timon of Athens (Z.632 (1)), copied by Copyist X. The verso is blank.
• Sheet 32: segment of a larger sheet, cut down to oblong format, 243 x 215 mm. Recto: fair copy of a movement in A major, copied by Copyist Y. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set. Verso: brief sketch by Copyist Y of further material in A major, but otherwise blank.
• Sheet 33: segment of a larger sheet, cut down to oblong format, 235 x 150 mm. Recto: apparently an errata sheet for a copy in score of an unidentified movement a5 in B flat major, copied by Copyist Z; there are two extracts, with the headings 'page 5' and 'page 7'. Verso: unused ruled staves.
• Sheet 34: segment of a larger sheet, cut down to oblong format, 467 x 190 mm. The sheet appears to have been used originally to draft a set of divisions for two violins on a ground in D major, attributed elsewhere to George Tollett. These sketches, in the hand of Copyist Z, are written on what is now designated as the verso of the sheet, and have been crossed out by the copyist. There is a complete copy of this movement, also by Copyist Z, on sheets 6-6* above. The recto of the sheet was then used by Copyist Z for a fair copy of a movement in D major, and the sheet cut down in size to accommodate only this music. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set.
• Sheets 35 and 36: originally two bifolia, folded horizontally; now presented as two single sheets, upright format, c. 590 x 460 mm. Contents: instrumental movements from operas and ballets by Jean-Baptiste Lully, copied in 6-part score (sheet 35) and 3-part score (sheet 36) by Copyist Y as if for study. The extracts are drawn from the following works: Persée (of which there is a printed copy at Mus. 603); Le triomphe de l'amour (printed copy at Mus. 604); and Thesée (no printed copy at Christ Church).
• Sheet 37: oblong format, 465 x 240 mm. Recto: two unidentified movements in c minor for treble and bass, copied in score by Copyist X. The verso is blank.
• Sheet 38: oblong format, 460 x 297 mm. Recto: fair copy in score of a movement in D major with the heading 'For Three Trumpets', copied by Copyist Y. Possibly a partner to sheet 3 above. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set. Verso: unused ruled staves.
• Sheet 39: segment of a larger sheet, cut down to oblong format, 377 x 175 mm. Recto: fair copy of a movement in D major, copied by Copyist Z, with the annotation 'Writ into another paper'. This piece was subsequently used as the fourth movement of the set in D major/VII (1-7); for other copies of this set, see Mus. 1141a (ff. 66-9) and Mus. 1141c, ff. 124-5 (both of which were also copied by Copyist Z). Verso: a movement in G major, copied by Copyist Z, and headed 'Three parts in one' / 'For three Violins to be plaid round'; for another copy of this movement, which appears not to have been subsequently incorporated into a single-key set, see Mus. 1218(A-C)/5.
• Sheet 40: upright format, 370 x 297 mm. Recto: fair copy of a set of variations on a ground in A major, copied by Copyist Z. This piece was subsequently used as the second movement of the set in A major/VIII (1-3). For another copy of this movement by Copyist Z, see Mus. 1141b (ff. 86-9)/3. Performing parts for the complete set in A major/VIII, again copied by Copyist Z, are in Mus. 1140/7. The verso is blank.
• Sheet 41: oblong format, 413 x 280 mm. Recto: fair copy of a movement in f minor headed 'Rondeau', copied by Copyist Y. This is the only known source of this movement, which appears not to have been subsequently incorporated into a single-key set. Verso: unused ruled staves.

Microfilm: manuscript music, reel 60.