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Mus. 1155-61

Manuscript. Alessandro Striggio (i), Il cicalamento delle donne al bucato. Complete set of seven partbooks; unidentified copyist, probably Italian, probably early 17th century.

Mus. 1155: Cantus [1]
Mus. 1156: Cantus 2
Mus. 1157: Altus [1]
Mus. 1158: Altus 2
Mus. 1159: Tenor [1]
Mus. 1160: Tenor 2
Mus. 1161: Bassus

For a more detailed description and inventory, see Wainwright (in Bibliography below).

Upright format, c. 275 x 205 mm. Each partbook comprises three nested bifolios (i.e. 6 ff.), without foliation or pagination. All seven partbooks retain their original wrappers of thick paper, and are now stitched into folders of modern card, mounted impermanently on cords within an early 20th-century folder of stiff card and vellum. Upper wrapper of Mus. 1159 annotated 'A 7. voc.' by George Holmes. An unidentified English hand, early 17th century, has written a book-list on the outside lower wrapper of Mus. 1159. Bookplate 2 on inside original upper wrapper of Mus. 1155. 19th-century shelfmarks: I.7.35-41. Formerly Mus. 533-9.

Provenance: from the Hatton collection (see Wainwright). Then part of the Aldrich bequest, listed in Archives 1717, item D3, as 'A Set of Italian Music' (to which a later hand has added 'by Alessandro Striggio'), and in Dowding (main hand) as 'Ciccalameto di Donne di Alessandro Striggio in 7. parts.' The shelfmark 'D3', written in ink on the upper wrapper of Mus. 1155, is now largely concealed under a pastedown bearing the 19th-century call-number '533'.

Microfilm: manuscript music, reel 60.

Bibliography:

Jonathan Wainwright, Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1606-1670) (Aldershot and Brookfield VT, 1997), p. 417. This incorrectly states that the copyist of Mus. 1155-61 was also responsible for copying Mus. 78-82 and Mus. 463-7. Despite superficial similarities of hand, the three sets were in fact copied by three different scribes. Find in a Library