Manuscript. Keyboard book in two scribal and repertorial layers:
(1) anonymous pieces copied by or for Martha Long in the mid
17th century; (2) works for harpsichord by John Blow, Henry Purcell
and others, copied probably in the 1680s by a professional musician,
apparently for Martha Long's son, George Luellyn. This is one
of the many manuscript sources of keyboard music at Christ Church.
The inventory of Layer 1 draws on and partly supplements information
provided in Virginia Brookes, British Keyboard Music to c.1660
(Oxford, 1996), the thematic index of which is cited below as
'Brookes'. Comments on individual pieces:
- Layer 1 = items 1-16 in the inventory below. The names of 'Martha
Long' and 'Sary Long' occur among pen-trials on a leaf now pasted
to the inside lower cover. Martha Long, daughter of George Long
of Penn in Buckinghamshire, married the poet and royal physician
Martin Lluelyn (1616-82) on 5 August 1662. If copied by or for
her, Layer 1 presumably predates her marriage.
- Layer 2 = items 101-24 in the inventory below. This layer was
copied by the unidentified scribe designated as 'FQ4' in the
Purcell literature (see Shay and Thompson in Bibliography below;
among other manuscripts, he was also responsible for copying
Mus. 1109). The last page of this layer (p. 42) bears the name
of 'George Luellyn', together with the date 'Anno Dom: 1690'.
George Luellyn (1668-1739), son of Martha Long and Martin Lluelyn,
is reputed to have been a page of the back stairs in the reign
of Charles II, and at court to have become acquainted with Henry
Purcell; see Sir John Hawkins, A General History of the Science
and Practice of Music, vol. 4 (London, 1776), p. 511, footnote.
Lluelyn matriculated at Merton College, Oxford, in 1685, graduated
B.A. in 1690 (the year of the annotation in Mus. 1179), and M.A.
at Christ Church in 1693.
Table of titles and composers in modern form. Display form found in manuscript.
- Items 1-16: some of the dance movements are grouped by key and
may constitute suites; see especially items 1-3, 8-9/11 and 13-15.
- Items 4, 7 and 12 are based on popular tunes; see The Complete
Country Dance Tunes from Playford's Dancing Master (1651-ca.1728),
ed. Jeremy Barlow (London, 1985), nos. 145, 138 and 115 respectively.
(Information kindly supplied by Andrew Woolley.)
- Item 6 is annotated 'this Sarabrand makes no end' (p. 9).
- Item 9: the opening resembles that of a corant by Louis Couperin
(as noted in Bailey 2003, pp. 106-7), but thereafter the two
pieces are largely unrelated, and the resemblance may be coincidental.
- Item 10: evidently copied in error and abandoned.
- Item 112: modern edition in Girolamo Frescobaldi, Organ and
Keyboard Works, iii: The First Book of Toccatas, Partitas etc.
1637, ed. Pierre Pidoux (Kassel etc., 1949), p. 55. For another
copy of this work, see Mus. 1113/53.
- Item 118: from Lebègue's Second livre d'orgue (Paris,
?1678); modern edition in Oeuvres complètes d'orgue
de Nicolas Lebègue, ed. Alexandre Guilmant and André
Pirro, Archives des maîtres de l'orgue, 9 (Paris, 1919),
- Item 121: modern edition in Henry Purcell: Organ Works,
ed. Hugh McLean (Sevenoaks, 2/1967), p. 3. A manuscript letter
from McLean to Christ Church Library, dated 30 April 1952 and
enquiring about George Luellyn, is kept loose within Mus. 1179.
- Item 125 has been added by an unidentified hand c.1700, and is
either an extended musical pen-trial or a musical jest aimed
at 'Dr Phillips' (perhaps Arthur Phillips, 1605-95).
||Alman in F major (Brookes 339)
||Corant in F major (Brookes 456)
||Saraband in F major (Brookes 973)
||The highlander's march (Brookes 629)
||Corant in F major (Brookes 265)
||Saraband in F major (Brookes 974)
||The sword song tune / Love lies a-bleeding (Brookes 708)
||Alman in F major (Brookes 340)
||Corant in F major (Brookes 457)
||Saraband in d minor (fragment of treble only)
||Saraband in F major (Brookes 975)
||Allthea (Brookes 305)
||Alman in e minor (Brookes 341)
||Corant in e minor (Brookes 458)
||Saraband in e minor (Brookes 976)
||Trickatees (Brookes 1037)
||Gavot in C major (MB 73 no. 4)
||Corant in a minor (MB 73 no. 77)
||Air in F major
||Air in C major
||Saraband in C major (MB 73 no. 3)
||Suite in C major: Almand (Z.665/2)
||Saraband in C major (MB 73 no. 10)
||Alman in C major (MB 73 no. 1)
||Alman in C major (MB 73 no. 5)
||Corant in C major (MB 73 no. 6)
||Air in d minor (MB 73 no. 41)
||Partite 11 sopra l'aria di Monicha (Pidoux iii/55): opening only
||Alman in g minor (MB 73 no. 62)
||Chaconne in g minor (short version; MB 73 no. 71)
||Ground in C major (MB 73 no. 16)
||Ground in G major (MB 73 no. 59)
||Prelude (MB 19 no. 117)
||Gloria: 'Tu solus altissimus' (trio in mode 4)
||Air in a minor (MB 73 no. 80)
||Prelude in G major (MB 73 no. 57)
||Voluntary in C major (Z.717)
||Voluntary in a minor (CEKM 18 (rev.) no. 5)
||Prelude in a minor
||Hunting alman in G major (MB 73 no. 47; opening only)
Upright format, 290 x 190 mm. Structure: 21 leaves (without endleaves),
paginated in ink (rectos only) by York Powell. Collation not
ascertained because of the tightness of the binding; stubs are
located between pp. 18-19, 22-3 and 24-5, but it is unclear whether
these represent excisions or are strengtheners inserted at the
time of rebinding. Mid 17th century binding, rebacked and extensively
repaired in the early 20th century. Upper and lower covers of
brown leather over boards, gold-tooled with small central ornaments,
and with fillets with bud-like ornaments at the corners. The
front endleaves were added at the time of rebinding; the rear
endleaves incorporate a leaf of 17th-century pentrials (now pasted
to the inside lower cover) that includes the names of 'Martha
Long', 'Sary Long', and the annotation 'Cosens maried her / Brown
declard it / Prebend of / Winsor'. No early bookplate. 19th-century
shelfmark: I.7.78. Formerly Mus. 576. The inside upper cover
and front endleaf are annotated by York Powell, who presumably
supervised the repair of the volume in the early 20th century.
Provenance: Martha Long; George Luellyn. Henry Aldrich and Richard
Goodson Sr would both have encountered Luellyn during his Oxford
years in the 1680s and 90s, and presumably the volume reached
Christ Church Library through either the Aldrich or Goodson
bequest; but it is not known which of these donors acquired the
volume, nor is it specifically listed in any of the early catalogues
of the Christ Church music collections.
Microfilm: manuscript music, reel 38.
- Candace Bailey, 'Concepts of Key in Seventeenth-Century English
Keyboard Music', in Tonal Structures in Early Music, ed.
Cristle Collins Judd (New York and London, 1998), pp. 247-74.
- Robert Shay and Robert Thompson, Purcell Manuscripts: The
Principal Musical Sources (Cambridge, 2000), pp. 157, 292
and 316; also illus. 6.4 (p. 248) for a further sample of FQ4's
- Candace Bailey, Seventeenth-Century British Keyboard Sources
(Warren, MI, 2003), pp. 106-7.
- Andrew Woolley, 'English Keyboard Sources and their Contexts,
c. 1660-1720' (Ph.D. thesis, University of Leeds, 2008), pp.