Christ Church Library music catalogue: Mus. 16

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.
Robert Shay (ed.), Henry Aldrich: Selected Anthems and Motet Recompositions, Recent Researches in the Music of the Baroque Era, 85 (Madison, 1998).