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Mus. 1179

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.

  • 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.
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:
  • 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), p. 109.
  • 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).
Table of titles and composers in modern form. Display form found in manuscript.
1   Alman in F major (Brookes 339) p. 1
2   Corant in F major (Brookes 456) pp. 2-3
3   Saraband in F major (Brookes 973) p. 3
4   The highlander's march (Brookes 629) pp. 4-5
5   Corant in F major (Brookes 265) pp. 6-7
6   Saraband in F major (Brookes 974) pp. 8-9
7   The sword song tune / Love lies a-bleeding (Brookes 708) p. 10
8   Alman in F major (Brookes 340) p. 11
9   Corant in F major (Brookes 457) p. 12
10   Saraband in d minor (fragment of treble only) p. 13
11   Saraband in F major (Brookes 975) p. 13
12   Allthea (Brookes 305) p. 14
13   Alman in e minor (Brookes 341) p. 15
14   Corant in e minor (Brookes 458) p. 16
15   Saraband in e minor (Brookes 976) p. 17
16   Trickatees (Brookes 1037) p. 18
101 John Blow Gavot in C major (MB 73 no. 4) p. 18
102 John Blow Corant in a minor (MB 73 no. 77) p. 19
103   Air in F major p. 19
104   Air in C major p. 20
105 John Blow Saraband in C major (MB 73 no. 3) p. 20
106 Henry Purcell Suite in C major: Almand (Z.665/2) p. 21
107 John Blow Saraband in C major (MB 73 no. 10) p. 22
108 John Blow Alman in C major (MB 73 no. 1) pp. 22-23
109 John Blow Alman in C major (MB 73 no. 5) p. 23
110 John Blow Corant in C major (MB 73 no. 6) p. 24
111 John Blow Air in d minor (MB 73 no. 41) p. 25
112 Girolamo Frescobaldi Partite 11 sopra l'aria di Monicha (Pidoux iii/55): opening only p. 25
113 John Blow Alman in g minor (MB 73 no. 62) pp. 26-27
114 John Blow Chaconne in g minor (short version; MB 73 no. 71) p. 27
115 John Blow Ground in C major (MB 73 no. 16) pp. 28-32
116 John Blow Ground in G major (MB 73 no. 59) pp. 33-35
117 John Bull Prelude (MB 19 no. 117) p. 35
118 Nicolas Lebègue Gloria: 'Tu solus altissimus' (trio in mode 4) p. 36
119 John Blow Air in a minor (MB 73 no. 80) p. 36
120 John Blow Prelude in G major (MB 73 no. 57) p. 37
121 Henry Purcell Voluntary in C major (Z.717) p. 38
122 Christopher Gibbons Voluntary in a minor (CEKM 18 (rev.) no. 5) p. 39
123   Prelude in a minor pp. 40-41
124 John Blow Hunting alman in G major (MB 73 no. 47; opening only) p. 41
125 'Dr Phillips' (Nonsense piece) p. 42

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.

Select bibliography:

  • 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. Find in a Library
  • 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 hand. Find in a Library
  • Candace Bailey, Seventeenth-Century British Keyboard Sources (Warren, MI, 2003), pp. 106-7. Find in a Library
  • Andrew Woolley, 'English Keyboard Sources and their Contexts, c. 1660-1720' (Ph.D. thesis, University of Leeds, 2008), pp. 112-18. Find in a Library