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Mus. 1176

Manuscript. Keyboard book, compiled by Edward Lowe with additions by Richard Goodson Sr; English, 1670s and later. Apparently a partner volume to Mus. 1177, which uses the same paper-stock and rastration, and was also copied by Lowe and Goodson Sr. Items 1-8 probably derive from layer 2 of Mus. 47. Copyists as follows:

  • Edward Lowe: items 1-8 and 11.
  • Richard Goodson Sr: items 9-10, 13, and probably 12.

Table of titles and composers in modern form. Display form found in manuscript.

1 Christopher Gibbons Organ voluntary in C major = CEKM 18 (rev.) no.3 ff. 2r-v
2 Christopher Gibbons Voluntary in C major = CEKM 18 (rev.) no. 4 ff. 3r-4r
3 Christopher Gibbons Verse in d minor for double organ = CEKM 18 (rev.) no. 2 ff. 5r-6r
4 Orlando Gibbons 'Voluntary' = Fantasia of three parts, no. VIII (MB XLVIII, no. 14), reduced for keyboard ff. 6v-7r
5 Orlando Gibbons Fantasia in C major = MB XX (rev.) no. 13 ff. 8r-7v
6 John Blow Voluntary in G major = MB LXIX, no. 16 ff. 18r-10r
7 John Hingeston Voluntary in a minor, for double organ ff. 11r-12r
8 Christopher Gibbons Voluntary in a minor for double organ = CEKM 18 (rev.) no. 10 (Appendix 1) ff. 12v-13r
9   Prelude in C major ff. 13v-14r
10 Henry Purcell Suite in C major: Almand (Z.665/2) f. 14r
11 John Price Ground in d minor ff. 14v-15r
12 Christopher Gibbons Verse for the single organ (closing section only, transposed) = CEKM 18 (rev.) no. 6 f. 15v
13   Untitled voluntary in D major f. 16r

Upright format, 337 x 217 mm. Collation not securely ascertained on account of the tightness of the binding, but built around a central gathering of nine nested bifolios (= 18 folios, ff. 5-22), apparently preceded by two adjacent bifolios (ff. 1-2, 3-4), and followed by a bifolio (ff. 23-4); 24 folios in total. Foliation is in modern pencil. The bifolio now occupying ff. 9/18 was erroneously inverted before binding; thus item 6 now begins in inverted format at f. 18. Unused ruled staves on ff. 1r-v, 4v, 8v-9v, 10v, 16v-17v, and 18v-24v. Early 20th-century binding of tooled red leather over boards; no trace remains of any earlier binding. No early bookplate. 19th-century shelfmark: K.1.17. Formerly Mus. 1056. Annotations on f. 1r by York Powell.

Provenance uncertain, but in view of its close connection with Mus. 1177, almost certainly from the Goodson bequest. The volume cannot be matched against any entry in Clement 1747 or Malchair (1787). The current binding dates from the librarianship of York Powell, who was normally scrupulous about reporting 18th-century shelfmarks written on wrappers discarded during rebinding; this suggests that the volume was neither catalogued nor assigned a shelfmark until the 19th century.

Microfilm: manuscript music, reel 38.

Bibliography:

  • Christopher Gibbons (1615-1676, Keyboard Compositions, ed. Clare G. Rayner, rev. John Caldwell, Corpus of Early Keyboard Music, 18 (Neuhausen Stuttgart, 2/1989); cited in inventory above as 'CEKM 18 (rev.)'. Find in a Library
  • Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources (Cambridge, 2000), p. 285. Find in a Library
  • Candace Bailey, 'Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177', Royal Musical Association Research Chronicle, 32 (1999 [published 2001]), pp. 119-35.
  • Candace Bailey, Seventeenth-Century British Keyboard Sources (Warren, MI, 2003), esp. pp. 103-4.