Manuscript. Keyboard book containing works of English and French
origin, copied in Oxford by William Ellis, probably in the 1650s
and early 1660s. For general information about Ellis and his
musical circle, see Bellingham (in Bibliography below); for specific
information about Ellis's copying activities and his scribal
characteristics, see Robert Thompson, 'A Further Look at the
Consort Music Manuscripts in Archbishop Marsh's Library, Dublin',
Chelys, 24 (1995), pp. 3-18 (at pp. 10-11, where Ellis
is to be equated with Copyist 'Q'). For information about repertorial
layers in Mus. 1236, see the studies by Bailey (in Bibliography).
Ellis was also responsible for copying parts of Mus. 468-72.
An outline inventory of Mus. 1236, with information about concordances
for works of French origin, is available in Bruce Gustafson,
French Harpsichord Music of the 17th Century: a Thematic Catalog
of the Sources with Commentary (Ann Arbor, 1979), vol. 2,
pp. 123-32. A more recent inventory of Mus. 1236, with a more
comprehensive list of references to modern editions of the pieces
contained in Mus. 1236 (or their cognates), is included in Virginia
Brookes, British Keyboard Music to c.1660 (Oxford, 1996);
this latter book's thematic index is cited in the inventory below
as 'Brookes'. See also the following:
The contents of Mus. 1236 were entered at both ends of the volume.
In the layer copied at what is now designated as the front (items
1-49), Ellis himself began a pagination system in ink, but abandoned
it at p. 33. The remainder of this 'front' layer was subsequently
foliated in modern pencil, beginning with 'f. 33' (= Ellis's
'p. 33'). The layer at the reverse end (items 50-89), which is
copied with the volume inverted, has its own separate foliation
system, again in modern pencil. Because the standard microfilm
of Mus. 1236 shows all these numberings, they are retained in
the inventory below; the 'front' end is catalogued first, using
Ellis's pagination for 'pp. 1-32' and modern foliation starting
at 'f. 33r'; for contents copied at the 'rear', the prefix 'R'
has been added to the foliation system. Other catalogues, including
RISM, have rejected the pagination/foliation system written into
Mus. 1236 itself, and instead refer to its 122 constituent leaves
as 'ff. 1-122'; for details of the collation of the leaves, see
- For pieces attributed to La Barre (items 1, 7, 9-10, 32-5 and
48), see Harpsichord Music Associated with the Name La Barre,
ed. Bruce Gustafson and R. Peter Wolf, The Art of the Keyboard,
4 (New York, 1999).
- For pieces attributed to John Roberts (items 23-4), see John
Roberts: The Collected Works, ed. Candace Bailey, The Art
of the Keyboard, 8 (New York, 2003).
Table of titles and composers as shown in the manuscript. Display in modern form.
||Jonas Tresure [correctly La Barre, after Orlando Gibbons?]
||[Courant with variation; La Barre ed. no. 6b; lacks opening]
||Courant [Brookes 2321]
||Courant. variola [Brookes 2324]
||Mr Sambonier [= Chambonnières]
||Corant [Brookes 1486]
||Ayre [Brookes 2311]
||Corant [Brookes 2322]
||Sarabrand [La Barre ed. no. 12a]
||pp. 8 - 9
||The forrest [Brookes 559]
||Corant [with variation; La Barre ed. no. 6a]
||Courant [with variation; La Barre ed. no. 14]
||pp. 11 - 12
||Almaine [Brookes 342]
||The Nightingale [Brookes 816]
||Toletole [Brookes 1159]
||A coranto [Brookes 295]
||Mr [Henry] Loosemore
||Courant [Brookes 1915]
||An Almaine [Brookes 1951]
||pp. 16 - 17
||Corant [Brookes 1956]
||Sarabrand [Brookes 1960]
||Almaine [Brookes 1952]
||pp. 20 - 21
||Corant [Brookes 1957]
||Sarabrand [Brookes 1961]
||pp. 22 - 23
||An Ayre [Brookes 301]
||Mr [John] Roberts (i)
||[Courant; Bailey ed. no. 15]
||Mr [John] Roberts (i)
||Coranto [Bailey ed. no. 12a]
||pp. 26 - 27
||[Masque; Brookes 755]
||pp. 28 - 29
||Noue [= Stephen Nau]
||Corant [Brookes 1985]
||Corant [Brookes 1503]
||Almonde [Brookes 343]
||Almond [Brookes 1678]
||Corant [Brookes 1679]
||Sarabrand [Brookes 1680]
||Corant [La Barre ed. no. 3c]
||Corant [La Barre ed. no. 13]
||Corant [[La Barre ed. no. 1]
||Sarabrand [La Barre ed. no. 2a]
||Mr Ben: Rogers
||Corant [Brookes 2151]
||Almaine [Brookes 1592]
||Mr Ben Rogers, London
||Corant/La sedois [Brookes 2153]
||ff. 38v - 39r
||Mr Ben Roger[s], London
||Saraband [Brookes 2157]
||Ben Rogers of London
||[Alman; Brookes 2145]
||ff. 39v - 40r
||B[enjamin] Rogers Lon[don]
||Corant [Brookes 2152]
||ff. 40v - 41r
||B[enjamin] Rog[ers] Lon[don]
||Sarabrand [Brookes 2158]
||Ben Rogers Lon[don]
||Gigue [Brookes 2155]
||ff. 41v - 42r
||Corant [Brookes 1583]
||ff. 42v - 43r
||Almaine [Brookes 1948]
||ff. 43v - 44r
||Corant [Brookes 1953]
||ff. 44v - 45r
||Sarabrand [Brookes 1958a]
||ff. 45r - 46r
||Mr [La] Barr
||Corant [La Barre ed. no. 11a]
||Ben Rogers, London
||Ayre [Brookes 2148]
||ff. 50v - 51r
||Almayne [Brookes 1589]
||Sarabrand [Brookes 1601]
||The Royallist [Brookes 1600]
||Magdana cree [= 'Mad Tom of Bedlam'; Brookes 714]
||Midsomer [Brookes 782]
||The parson of the Parrish [Brookes 842]
||[Air; Brookes 267]
||Pembrook Colledge [Brookes 864]
||The Capp of Maintainance [Brookes 405]
||A sarabrand [Brookes 978]
||ff. R3v - R4r
||The Old man [Brookes 827]
||A Pretty fancy [Brookes 545]
||Picalominas March [Brookes 868]
||f. R4v - R5r
||Corant [Brookes 1797]
||A hedge or a Haycock [Brookes 627]
||A health in Canary [Brookes 626]
||A lute lesson [Brookes 713]
||Corant [Brookes 461]
||A mask [Brookes 2335]
||A mayds delight [Brookes 736]
||Almaine [Brookes 1590]
||[incomplete copy of no. 14 above]
||Corant [Brookes 1595]
||Corant [Brookes 1596]
||Almaine [Brookes 1591]
||ff. R10v - R11r
||Corant [Brookes 1597]
||set to the virginall by W[illiam] Ellis
||Bow Bells [Brookes 1594]
||ff. R12v - R13r
||Almond, Mariae [Brookes 1593]
||ff. R13v - R14r
||Corant [Brookes 1598]
||Fain I would [Brookes 2050]
||The kings march [Brookes 689]
||[Etienne Moulinié] set by Will[iam] Ellis
||Moulinies sarabrand [Brookes 1602]
||ff. R15v - R16r
||Vulcan & Venus [Brookes 1068]
||The Golden grove [Air, VdGS 361]
||The Corant to the Golden Grove [VdGS 363]
||ff. R17v - R18r
||[Etienne Moulinié, set by William Ellis]
||Molnis Corant [Brookes 1599]
||Thomas you cannot [Brookes 1015]
||Sarabrand [VdGS 264]
||The Irish Hay [Brookes 658]
||An Irish Jigg [Brookes 677]
Oblong format, 230 x 175 mm. Originally 144 leaves (18 quires
each of 8 leaves), of which 122 remain in place. The collation
below gives the following information: quire and current pagination
or foliation / actual foliation (as used by RISM).
Unused ruled staves on ff. 37v-38r, 46v-50r, 51v-54v, R12r, R14v,
R19v-20v, and all the unfoliated leaves in quires F-O. Mid 17th-century
binding of brown leather over boards; upper and lower covers
gold-tooled with fillets enclosing a central ornament, with smaller
ornaments at the corners; edges stippled in red. Bookplate:
Wake (on inside rear cover).
- Originally A8, of which A1-3 have been excised; A4-7 = 'pp. 3-12'
/ actual ff. 1-5.
- B8 = 'pp. 13-28' / actual ff. 6-13.
- C8; C1-2 = 'pp. 29-32'; C3-8 = 'ff. 33-8' / actual ff. 14-21.
- Originally D8, of which D2 has been excised; D1,3-8 = 'ff. 39-45'
/ actual ff. 22-8.
- E8 = 'ff. 46-53' / actual ff. 29-36.
- F8 = 'f. 54', then unfoliated / actual ff. 37-44.
- G8 = unfoliated / actual ff. 45-52.
- H8 = unfoliated / actual ff. 53-60.
- I8 = unfoliated / actual ff. 61-8.
- J8 = unfoliated / actual ff. 69-76.
- K8 = unfoliated / actual ff. 77-84.
- L8 = unfoliated / actual ff. 85-92.
- M8 = unfoliated / actual ff. 93-100.
- N8 = all excised.
- O8, of which O2 has been excised; O1,3 are unfoliated; O4-8 =
ff. R20-16 / actual ff. 101-7.
- P8, of which P5 has been excised; P1-4,6-8 = ff. R15-9 / actual
- Q8 = ff. R8-1 / actual ff. 115-22.
Provenance: from the library of Archbishop William Wake (1657-1737),
which was donated to Christ Church at his death. Wake also owned
Mus. 1113, another keyboard book associated with William Ellis.
When and where Wake obtained these two manuscripts is unrecorded;
nor is it known if Wake himself was a keyboard player; but the
fact that he was resident in Oxford in 1673-82, during which
period William Ellis died, may point to his having acquired the
books at that time.
Microfilm: manuscript music, reel 45.
- Bruce Bellingham, 'The Musical Circle of Anthony Wood in Oxford
During the Commonwealth and Restoration', Journal of the Viola
da gamba Society of America, 19 (1982), pp. 6-70.
- Candace Bailey, 'William Ellis and the Transmission of Continental
Keyboard Music in Restoration England, Journal of Musicological
Research, 20 (2001), pp. 211-42.
- Candace Bailey, Seventeenth-Century British Keyboard Sources
(Warren, MI, 2003), 108-16.