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Mus. 16

Manuscript. Vocal works copied in score by Henry Aldrich, the majority of them adaptations by him of works by other composers; English, c. 1685-1702. Loose within the volume is Mus. 16a.

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

1 Henry Aldrich (after an unidentified model) All people that on earth do dwell pp. 1-2
2 John Bull, arr. Henry Aldrich O Lord my God (= Almighty God, who by the leading) pp. 3-9
3 Richard Farrant, arr. Henry Aldrich Hide not thou thy face from us pp. 9-12
4 Henry Aldrich (?) By the waters of Babylon pp. 12-15
5 Orlando Gibbons, arr. Henry Aldrich Blessed is the man (= Glorious and powerful God) pp. 16-21
6 Henry Aldrich (after Carissimi?) God is our refuge pp. 21-26
7 Pelham Humfrey, arr. Henry Aldrich O praise the Lord pp. 27-32
8 Henry Aldrich (after John Blow) I was in the spirit (= And I heard a great voice) pp. 33-39
9 Michael Wise, arr. Henry Aldrich Thy beauty, O Israel (= How are the mighty fallen) pp. 40-45
10 Henry Aldrich (after an unidentified model) All people that on earth do dwell pp. 46-47
11 Orlando Gibbons, arr. Henry Aldrich Behold, thou hast made my days pp. 48-51
12 Orlando Gibbons, arr. Henry Aldrich Give sentence with me (= Almighty and everlasting God) pp. 52-53
13 Henry Aldrich (after Carissimi?) O how amiable pp. 55-59
14 Henry Aldrich (after Carissimi?) It is a good thing pp. 59-62
15 Henry Aldrich (after Carissimi) For Sion's sake (derived from Egredimini caelestes curiae + Suscitavit Dominus + Annunciate gentes) pp. 63-69
16 Henry Aldrich (after Carissimi?) O pray for the peace of Jerusalem pp. 69-75
17 Henry Aldrich (after Carissimi) O Lord, I will praise thee (derived from Laudemus virum gloriosum + Dicite nobis) pp. 76-81
18 Henry Aldrich (after Carissimi) Haste thee, O Lord my God (= O dulcissimum Mariae nomen + final chorus of Jephte) pp. 82-85
19 Henry Aldrich (after Carissimi?) Behold in heaven, on the right hand pp. 86-91
20 Henry Aldrich (after Carissimi) I am well pleased (= Praevaluerunt in nos inimici + Vidi impium superexaltatum) pp. 92-100
21 Richard Farrant, arr. Henry Aldrich Call to remembrance pp. 101-102
22 Henry Aldrich (after Palestrina) Hold not thy tongue (= Nativitas tua) pp. 103-104
23 William Mundy O Lord, the maker of all thing pp. 105-106
24 Henry Aldrich (after Palestrina) O God the king of glory (= O rex gloriae) pp. 107-109
25 Henry Aldrich (after Palestrina) Hold not thy tongue (= Nativitas tua) pp. 109-111
26 Henry Aldrich (after Palestrina) We have heard with our ears (= Doctor bonus) pp. 112-115
27 Henry Aldrich (after Palestrina) Why art thou so vexed (= Ave Maria) pp. 115-117
28 Henry Aldrich (after Palestrina) The eye of the Lord (= Jesus junxit se) pp. 118-120
29 Henry Aldrich (after Palestrina) My heart is fixed (= Nos autem gloriari) pp. 121-123
30 Henry Aldrich (after Palestrina) The eye of the Lord (= Jesus junxit se) pp. 123-125
31 Henry Aldrich (after Tallis) I look for the Lord (based on Absterge Domine) pp. 133-135
32 Henry Aldrich (after Tallis) I will magnify thee (based on Absterge Domine) pp. 136-138
33 Robert White, arr. William Husbands O Lord, rebuke me not (= The Lord bless us) pp. 139-141
35 William Byrd, arr. Henry Aldrich Save me, O God pp. 145-147
36 Henry Aldrich, after William Mundy O Lord, I bow the knees pp. 148-150
37 John Mundy O give thanks unto the Lord, for he pp. 151-154
38 Henry Aldrich (after Byrd) Be not wroth (= Civitas sancti tui) pp. 142-144
39 William Byrd O Lord, make thy servants King William and Queen Mary pp. 170-172
40 William Byrd Sing joyfully pp. 173-176
41 William Byrd O Lord, make thy servant Elizabeth (here adapted to read 'our sovereign lady, Queen Anne') pp. 177-179
42 Orlando Gibbons Hosanna to the son of David pp. 180-183
43 Orlando Gibbons Lift up your heads, O ye gates pp. 183-186

Upright format, 370 x 245 mm. 96 folios, paginated partly in ink by Aldrich, otherwise in modern pencil. The sequence omits p. 159, and therefore ends at p. 193 (correctly = 192). Collation not fully ascertained on account of the tightness of the binding, but evidently a mixture of gatherings of various sizes. (See below for further comments on this.) Unused ruled staves on pp. 54, 126-30, 158-68 and 187-93. Early 18th-century binding of brown leather over boards, blind-tooled with fillets and small ornaments. Index of contents by Malchair, with later annotations by Havergal. Bookplate 2. 19th-century shelfmark: H.1.16.

Aldrich assembled this manuscript from gatherings that are sometimes individually numbered. (The gathering-numbers are written in ink at the upper right-hand corners of their opening pages.) The following gatherings are identifiable:

  • Gathering 15: pp. 49-60 (3 nested bifolios, = 6 folios);
  • Gathering 16: pp. 61-72 (3 nested bifolios, = 6 folios);
  • Gathering 17: pp. 73-84 (3 nested bifolios, = 6 folios);
  • Gathering 18: pp. 85-92 (2 nested bifolios, = 4 folios);
  • Gathering 22: pp. 105-12 (2 nested bifolios, = 4 folios);
  • Gathering 23: pp. 113-124 (3 nested bifolios, = 6 folios);
  • Gathering 25: pp. 133-44 (3 nested bifolios, = 6 folios);
  • Gathering 24 : pp. 145-52 (2 nested bifolios, = 4 folios).

Provenance: from the Aldrich bequest, but not matched against any entry in the 18th-century catalogues of the Christ Church collections.

Microfilm: manuscript music, reel 3.

Bibliography:

  • Robert Shay, '"Naturalizing" Palestrina and Carissimi in Late Seventeenth-Century Oxford: Henry Aldrich and his Recompositions', Music and Letters, 77 (1996), 368-400. Find in a Library
  • Robert Shay (ed.), Henry Aldrich: Selected Anthems and Motet Recompositions, Recent Researches in the Music of the Baroque Era, 85 (Madison, 1998). Find in a Library