Mus. 34-6

*** N.B. The information supplied on this page is extensive; you may find it easier to read from a printed copy. It has been revised and corrected on numerous occasions; see the foot of the page for the date on which the current version was posted. ***

Manuscript. Complete set of three instrumental partbooks (Mus. 34: 'First Treble'; Mus. 35: 'Second Treble'; Mus. 36: 'Thorow Base') containing approximately 30 unattributed single-key suites or 'sets'; English, probably early 18th century; possibly part of the repertory of the Oxford city/university waits or 'musick'. The copyist, who appears also to have been the composer, has not been identified, and is here designated as 'Copyist Z'. Some of these pieces also exist in autograph scores and/or alternative sets of parts within the Christ Church collection. For further details, see the discussion below, which includes a comprehensive listing of the whole repertory of sets.

In the following inventory of Mus. 34-6, sets in the same key are distinguished from one another by means of roman numerals (I, II, etc). Within each set, the number of movements is shown in round brackets: '(1-5)', etc. For some sets, the copyist has numbered the movements himself. Elsewhere, however, successions of movements in the same key are not numbered, and it is unclear whether or not they divide into separate sets. The inventory below shows the maximum possible division into sets, based on the evidence of page turns; it disregards the pencil numbering of movements in the margins, which was added probably by Arkwright in the early 20th century, and which favours long multi-movement sets. Instrumentation is specified in the following movements only:

• no. 18 below: C major/III, movement 4: 'Trumpet tune' in the First Treble partbook, and 'Violin' specified in the Second Treble partbook;
• no. 20 below: C major/V, movement 3: 'Two trumpets' specified in the two Treble partbooks;
• no. 22 below: D major/I, movements 5 and 8: 'Trumpet' and 'Trumpet tune' in the First Treble partbook.

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

Oblong format, 463 x 345 mm. Each partbook comprises 23 single sheets, stab-sewn to form a textblock. 18th-century binding of marbled paper over boards, edged with vellum. No early bookplates. 19th-century shelfmarks: H.1.34-6.

Provenance: from the Goodson bequest, listed in Clement 1747 as 'Sonatas Manuscrip 3 Books Num: 1', and in Malchair 1787 (f. 1) as 'Instrumental pieces for two violins & a Bass / three large books in Marble Coverd boards:'. A label pasted to the outside upper cover of Mus. 34 is annotated 'R: Goodson / Christ Church Coll:' in the hand of Richard Goodson Jr. Clement's number-label is missing.

Microfilm: manuscript music, reel 4.

Mus. 34-6 belongs to a large group of manuscripts at Christ Church connected with composers and musicians whose identity and activities remain unknown. The modest nature of the music, however, combined with the specification of 'trumpets' for several pieces, hints at this being the repertory of a professional consort, the most likely of which is the Oxford city/university waits or 'musick' in the early 18th century.

Many of the manuscripts, including Mus. 34-6, are in the hand of Copyist Z; they comprise composing drafts or scores, fair copies, sets of performing parts, and a small quantity of pedagogical material. The majority of the rest are the work of Copyist Y, whose hand in general resembles that of Copyist Z, raising the possibililty that Y is in fact a variant of Z. If Copyist Y is correctly a separate individual, then he too seems to have been a composer, and also wrote out material pertaining to or arising from music teaching. Two further unidentified copyists, X and W, make occasional appearances. Copyist X, whose hand is more distinctively individual, evidently copied only works by other composers (including Henry Purcell), either in score or in parts; his work occurs in Mus. 1125, pp. 7-8, 17-25 and 31-8; Mus. 1128, sheets 31 and 37; Mus. 1133, sheets 12-14; Mus. 1137, sheet 6; and Mus. 1140, sheets 1-3 and 12-14. Copyist W was responsible for Mus. 1141a (ff. 12-14), a set of performers' parts for movements copied elsewhere by Copyists Y and X.

• Image of the script of Copyist Z (from Mus. 1141a, f. 66r)
• Image of the script of Copyist Y (from Mus. 1141a, f. 10r)

No dates appear in any of the manuscripts. However, Mus. 1132 includes (as Sheet 3) a draft indenture dated 1708-9 that appears to have been copied by Copyist Z, and may hint at the approximate date of the entire complex of manuscripts.

The preference of Copyists Z and Y was for the three-part texture of two treble instruments and figured bass; only occasionally did they venture into four-part scoring. Contrapuntal texture is standard. Instrumentation is rarely specified; a few movements are headed with the word 'trumpets' or are named 'trumpet tune', but otherwise violins are implied for the two upper parts, since they do not extend in range below the open G string. Individual melodic lines are never technically demanding or wide-ranging, and if played on violins they would rarely venture above first position. Treble parts are notated in G2 clef, with the single exception of Mus. 1131, sheet 2, which employs G1 'violin' clefs (Copyist Z) for three movements a3, the first and last of which are headed 'Ritornelle'. A few movements a2 for treble and bass occur within the complex; see Mus. 1125, pp. 31-8; Mus. 1128, sheet 37; Mus. 1135, sheets 2 and 4; and Mus. 1137, sheet 2.

Most of the movements copied by Z and Y are organized in single-key suites or 'sets'. (The latter term occurs only twice, in marginal notes made by Copyist Z in Mus. 1128, sheet 11r, and Mus. 1132, sheet 13r.) There is a wide variety of keys, including A major, B minor and F minor. Individual sets may contain as few as three or as many as nine movements. Some sets exist in fair-copy parts; others survive only in score, copied on sheets in large folio format, including what are sometimes clearly composing scores, with substantial revisions. In several sets it is possible to follow a path of evolution from initial composing score, through various layers of revision, to final fair copy and performing parts. For a complete listing of the single-key sets and their sources, see the end of this page.

In addition, the copyists wrote out a few works by other composers: Giovanni Battista Bassani, Lelio Colista, Corelli, Henry Du Mont, Lully and Henry Purcell. Finally, some of the sheets were used for (or arise from) pedagogy - apparently the teaching of composition - and there is also a verbal analysis of passages from works by Lully, copied and perhaps conceived by Copyist Y, in Mus. 1187, Folder B, item 8.

Of the materials created by these musicians, only Mus. 34-6 were given robust bindings. The remainder took the form of single sheets or partbook-fascicles, and in that state they were kept in bundles or rolls until the early years of the 20th century, when they were mounted in guardbooks and given their current arrangement and appearance. These sheets and fascicles are not mentioned in any catalogues of the Christ Church collections until those of Havergal. However, in view of Goodson Jr's known ownership of Mus. 34-6, it seems likely that they all derive from the Goodson bequest. If the repertory does indeed derive from the university waits, then it would probably have been supervised by the Professor of Music, a post that the Goodsons held in succession; hence the link with the Goodson bequest.

The following manuscripts at Christ Church contain material copied by Copyists Z, Y, X and W. Only outline descriptions are given here; emphasis is placed upon any contents that may help to shed further light on the entire complex of manuscripts. Section A lists music copied in score by Z and Y, scores that presumably arise from the act of composing and revising the pieces themselves. Section B lists fair-copy sets of performing parts, again copied by Z and Y. Section C lists other material, including music by named composers, and all manuscripts copied by Copyists X and W.

SECTION A: Music written in score

• Mus. 1125: 12 items. Items 1-6: composing scores and fair copies by Z, Y and X. (Items 7-12: see Sections B and C below.)

• Mus. 1126: 21 sheets. Sheets 4, 6-10* and 12-13*: composing scores and fair copies by Z. (Sheets 11-11*: see Section B below; sheets 1-3* and 4*-5: see Section C below.)

• Mus. 1131: 5 sheets. Sheets 1 and 5: movements in c minor copied in score by Y, possibly his composing scores. (Sheets 2-4: see Section C below.)

• Mus. 1128: 41 sheets. Sheets 2, 5-7, 11-13, 14 recto, 15, 19, 23-4, 26, 30, 33-4, 39-40: composing drafts and fair copies by Z, all in score. Sheets 1, 3-4, 8-10, 14 verso, 16-18, 25, 27-9, 32, 37-8, 41: composing drafts and fair copies by Y, all in score. Sheets 3 and 38 specify scoring for 'Three Trumpets'. Section C below lists music by other composers, some of which was copied by X.

• Mus. 1131: 5 sheets. Sheets 1 and 5: movements in c minor copied in score by Y, possibly his composing scores. (Sheets 2-4: see Section C below.)

• Mus. 1132: 27 sheets. With the exception of sheet 3, this is a miscellany of composing drafts and fair copies by Z, all in score. (Sheet 3: see Section C below.)

• Mus. 1133: 14 sheets. With the exception of sheets 4 and 12-14, this is a miscellany of composing drafts and fair copies by Z, all in score. Sheet 6 specifies scoring for 'Two Trumpets'; Sheet 11 specifies scoring for 'Trumpet [and] Violin'. (Sheets 12-14 are the work of Copyist X; see Section C below.)

• Mus. 1134: 6 sheets. Composing drafts and scores by Z of 9 movements in F major, apparently for two sets. Several movements are present in both drafts and fair copies.

• Mus. 1135: 12 sheets. Composing drafts and fair copies principally by Z, all in score. Also scores copied by Y on sheets 7-8 and 11r; sheet 8 specifies scoring for 'Two Trumpets'. Performing parts for some of these pieces are in Mus. 34-6. (Sheet 11v: see Section C below.)

• Mus. 1136: 9 sheets. Sheets 7-9: composing drafts and fair copies of movements in b minor by Z, all in score. Subsequently rearranged in order to create two discrete sets in b minor, performing parts for which are in Mus. 34-6. (Sheets 1-6: see Section B below.)

• Mus. 1137: 9 sheets. Sheets 1-5, 7-9: movements in various keys, copied in score by Y, possibly his composing scores. Sheets 4 and 8 specify scoring for 'Two Trumpets'. Performers' parts for the movements on sheet 5, written by Copyist W, are in Mus. 1141a (ff. 12-14). (Sheet 6: see Section C below.)

• Mus. 1138:7 sheets. Sheet 4: movements in B flat major, copied in score by Z. Mus. 1138 also contains a set of parts for the same set; see Section B below.

• Mus. 1139: 2 sheets. Scores of four sets in D major, copied by Z. Performers' parts for all these pieces are in Mus. 34-6.

• Mus. 1140: 14 sheets. Sheet 4: movements copied in score by Y. Sheet 11: composing scores by Z. Mus. 1140 also contains a set of partbooks copied by Z (sheets 5-10; see Section B below), and parts copied by X (sheets 1-3 and 12-14; see Section C below).

• Mus. 1141a: contains three relevant sections: Mus. 1141a (ff. 10-11) and Mus. 1141a (ff. 52-3): movements copied in score by Y, including drafts; and Mus. 1141a (ff. 66-9): movements copied in score by Z, including drafts. See also Section C below.

• Mus. 1141b: contains Mus. 1141b (ff. 86-9): scores of seven movements in A major, copied by Z.

• Mus. 1141c, ff. 114, 116-24: 10 sheets. Folios 116-24: composing drafts and fair copies in score, and performers' parts (see B below), all in the hand of Copyist Z; f. 122 specifies scoring 'For two Violins'. Folio 114: score copied by Y. (Unrelated material on f. 115.)

• Mus. 1141d: contains two relevant sections: Mus. 1141d (ff. 129-31) (also f. 134): scores of movements in a minor, copied by Z, including composing scores; Mus. 1141d (f. 133): composing scores of movements in e minor, copied by Z. See also Section C below.

SECTION B: Sets of performers' parts

• Mus. 34-6. Complete set of three partbooks ('First Treble', 'Second Treble' and 'Thorow Base'), containing up to 30 single-key suites in various keys, copied by Z.

• Mus. 1125, item 12: two instrumental parts for a set of movements in d minor, copied by Copyist X, and apparently left incomplete. (Remaining contents of Mus. 1125: see Sections A above and C below.)

• Mus. 1126, sheets 11-11*: '2nd Treble' performing part for a nine-movement suite or 'set' in b minor, here omitting movement 8; copied by Coipyist Z. Mus. 1126 also contains composing scores by Z (see Section A above), and music by Lelio Colista (see Section C below).

• Mus. 1136, sheets 1-6: complete set of three performing parts ('First Treble', 'Second Treble' and 'Base') for a single-key suite in E flat major, copied by Y. Mus. 1136 also contains composing scores by Z (see Section A above).

• Mus. 1138, sheets 1-3 and 5-7: complete set of three performing parts ('First Treble', 'Second Treble' and 'Base') for a single-key suite in B flat major, copied by Z. Sheet 4 contains movements from the same work, copied in score by Z; see Section A above.

• Mus. 1140, sheets 5-10: complete set of 3 partbooks ('First Treble', 'Second Treble' and 'Base'), containing 4 single-key suites in various keys, copied by Z. Mus. 1140 also contains composing scores by Y and Z (see Section A above), and parts copied by X (see Section C below).

• Mus. 1141c. (a) f. 121: Second Treble parts for two Sets in b minor. (Both sets are also copied into Mus. 34-6.) (b) f. 122: performing parts for movements in various keys 'For two Violins', notated in score by Copyist Y. The movements, which have not been identified elsewhere, evidently lack their bass parts.

• Mus. 1209(A-C). Complete set of 3 partbooks ('First Treble', 'Second Treble' and 'Base'), containing 2 single-key suites in A major, copied by Y.

• Mus. 1217(A-D). Complete set of 4 partbooks ('First Treble', 'Second Treble', 'Tenor' and 'Base'), containing 2 single-key suites in g minor, copied by Y. Drafts and scores of several movements are in Mus. 1140.

• Mus. 1218(A-C). Complete set of 3 partbooks ('First Treble', 'Second Treble' and 'Base'), containing 4 single-key suites in various keys and 2 canons, copied by Z. Drafts and scores of several movements are in Mus. 1126 and Mus. 1128.

SECTION C: Miscellaneous

• Mus. 1124: 2 bifolia. Extracts in score, as if for study or instruction, from pieces attributed to 'Bassani' and 'Carissimi', copied by Z. Several of the extracts are correctly from Henry Du Mont's Motets a II. III. et IV. parties (Paris, 1681), a copy of which is at Mus. 167-70 (from the Goodson bequest).

• Mus. 1125. Item 7: fair copy in score of a da capo aria in A major for 'Violin'. 'Voice' and 'Harp[sichord]', beginning 'Bella Cinthia L'arco e L'armi'; copied collaboratively by Copyist Z (opening 25 bars) and an unidentified second hand. Item 8: 'First Musick in Dioclesian by Mr. Hen[ry] Purcell' = Z.627 (1a-b), copied in score by Copyist X. Item 9: five-voice score of a 'Curtain Tune' in D major, scored for 'First Treble', 'Trumpet', '2nd Treble', 'Tenor' and 'Basse', headed 'Calo', copied by Copyist X. Item 10: 'A Set of Tunings by Mr Baltazar' = three dances in G major for violin in scordatura by Thomas Baltzar; copyist unidentified; this sheet is not connected repertorially to the other contents of Mus. 1125, and may have found its way into the volume by chance. Item 11: sketches and exercises by Copyist Y. (For items 1-6 and 12, see Sections A and B above.)

• Mus. 1126. Sheets 1-3* and 4*-5: movements and extracts from sonatas by Lelio Colista, copied by Copyist Z. (Sheets 4 and 6-12*: see Sections A and B above.)

• Mus. 1128. Sheets 6, 6* and 34: set of variations on a ground, attributed elsewhere to George Tollett. Sheet 21: 'Canon in the unison. Set to words'; the copyist's identity has not been ascertained. Sheet 22: Corelli, Op. 4 no. 1, Adagio (earliest edition: 1694), copied in score by Copyist Y without title or attribution. Sheet 31: 'Trumpet Overture' (= overture to Timon of Athens, Z.632/1; 1694?) by 'Mr Hen: Purcell', copied by X. Sheets 35-6: extracts in score from Lully's Persée (= Mus. 603), Le triomphe de l'amour (= Mus. 604), and Thésée (no copy at Christ Church), copied in score by Y.

• Mus. 1131. Sheet 2, recto: fair copies of three movements a3 (clefs: G1, G1, F4), the first and last of which are headed 'Ritornelle', copied by Copyist Z. Verso: apparently passages extracted from instrumental works a2-3, copied as if for study by Copyist Z. Sheets 3-4: a compendium of music examples with verbal captions, explaining the rudiments of polyphonic composition, copied on seven numbered pages by Copyist Z. Page '1': cadential formulae a3 / page '2': fugal expositions a3; cadential formulae a4 / page '3': cadential formulae a4; fugal expositions a4; counterpoint examples / page '4': fugal expositions a4; counterpoint and dissonance treatment / page '5': figured basses; suspensions; canons at various intervals; rules for invertible counterpoint / page '6': canons / page '7': invertible counterpoint; fugue by contrary motion. (For the remaining sheets, see Section A above.)

• Mus. 1132, sheet 3: copy by Z of a draft indenture dated 1708. (For the remaining sheets, see Section A above.)

• Mus. 1133. Sheet 4: a short 3-voice setting of the words 'Glory to God on high, on Earth Peace, and Good Will toward Men'; copyist unidentified. Sheets 12-14: score of an unidentified ritornello movement a5 in A major, copied Copyist X. (For the remaining sheets, see Section A above.)

• Mus. 1135, sheet 11 verso: basso continuo part with text cues for song 'Cease, O, Cupid, thus to obraid me' from F. B. Conti's opera Clotilda, as published in Songs in the new opera, call'd Clotilda[,], the songs done in Italian and English as they are perform'd at ye Queens Theatre (Walsh, [1709], and later editions), copied by Y. (For the remaining sheets, see Section A above.)

• Mus. 1137, sheet 6: Henry Purcell, Ground from Dioclesian, copied in score without title or attribution by X. (For the remaining sheets, see Section A above.)

• Mus. 1140, sheets 1-3 and 12-14: performing parts for an unidentified 'Chacone' in C major for 3 instruments, copied by X. (For the remaining sheets of Mus. 1140, see Sections A and B above.)

• Mus. 1141a (ff. 12-14): complete set of three performing parts for isolated movements in different keys, copied by W. All three movements were elsewhere copied in score by Copyists Y and X.

• Mus. 1141d (f. 132): [Jean] Baptist [Lully], 'Magicians' (= 'Première Entrée: les Musiciens', from La Pastorale Comique, LWV 33/1), copied in score by Y. (For other relevant portions of Mus. 1141d, see Section A above.)

• Mus. 1187, Folder B, item 8. Prose description (with music examples) of harmonic progressions in Lully's Proserpine (1680; printed score = Mus. 601, from the Goodson bequest), and in an unidentified work; copied by Y, possibly with some Z at the end. For a discussion of this item, see Joel Lester, 'An Analysis of Lully from circa 1700', Music Theory Spectrum, 16 (1994), 41-61. Mus. 1187, which is principally devoted to the 'James Talbot MS' but also includes texts of other provenance, was assembled in the mid/late 18th century by Christ Church librarians. Lester was unaware of that, and his comments on provenance should therefore be disregarded.

COMPLETE LISTING OF SETS BY KEY AND COMPOSER/COPYIST:

• C major/I (2-4) (Z): complete set of performers' parts in Mus. 34-6/6. Space was left in the partbooks for the addition of an opening movement; it was never supplied.
• C major/II (1-5) (Z): complete set of performers' parts in Mus. 34-6/17.
• C major/III (1-4) (Z): complete set of performers' parts in Mus. 34-6/18.
• C major/IV (1-4) (Z): complete set of performers' parts in Mus. 34-6/19.
• C major/V (2-6) (Z): complete set of performers' parts in Mus. 34-6/20. Space was left in the partbooks for the addition of an opening movement; it was never supplied.
• C major/VI (1-6) (Z): scores in Mus. 1126, sheets 13-13*; complete set of performers' parts in Mus. 1218(A-C)/4.
• C major/VII (1-5) (Z): drafts in Mus. 1133, sheets 2-3, followed by neat fair copies on sheet 5.
• C major/VIII (1-4) (Z): drafts in Mus. 1133, sheet 10; movements 1-2 are incomplete.
• C major/IX (1-4) (Z): scores in Mus. 1128, sheet 24.
• C major/X (1-3) (Y): scores in Mus. 1141a (ff. 10-11).
• C major/XI (1-6) (Z): scores in Mus. 1132, sheets 15-16.
• C major/XII (1-6) (Y): scores in Mus. 1137, sheets 3-4 and 8.

• c minor/C major/I (1-4) (Z): scores in Mus. 1132, sheets 12 and 24.

• c minor/I (1-5) (Z): complete set of performers' parts in Mus. 34-6/1.
• c minor/II (1-5) (Z): complete set of performers' parts in Mus. 34-6/2.
• c minor/III (1-5) (Z): complete set of performers' parts in Mus. 34-6/3.
• c minor/IV (1-6) (Z): score of movement 5 only in Mus. 1141c, f. 120; complete set of performers' parts in Mus. 34-6/4.
• c minor/V (1-3) (Z): score of movement 1 only in Mus. 1135, sheet 2; complete set of performers' parts in Mus. 34-6/13.
• c minor/VI (1-3) (Z): complete set of performers' parts in Mus. 34-6/14.
• c minor/VII/1-3 (Z): complete set of performers' parts in Mus. 34-6/15.
• c minor/VIII (1-5) (Z): complete set of performers' parts in Mus. 34-6/16.
• c minor/IX (1-4) (Y): drafts and scores in Mus. 1128, sheets 12, 15 and 26; complete set of performers' parts in Mus. 1218(A-C)/3.
• c minor/X (1-3) (Y): scores in Mus. 1131, sheet 1.

• D major/I (1-10) (Z): complete set of performers' parts in Mus. 34-6/22.
• D major/II (1-11) (Z): complete set of performers' parts in Mus. 34-6/23.
• D major/III (1-5) (Z): draft of movement 3 only in Mus. 1135, sheet 4v; complete set of performers' parts for movement 3 only in Mus. 1140, sheets 5-10; scores of whole work in Mus. 1139, sheet 2; complete set of performers' parts for whole work in Mus. 34-6/27.
• D major/IV (1-4) (Z): draft of movement 3 only in Mus. 1135, sheet 4v; complete set of performers' parts for movement 4 only in Mus. 1140, sheets 5-10; scores of whole work in Mus. 1139, sheets 1-2; complete set of performers' parts for whole work in Mus. 34-6/28.
• D major/V (1-5) (Z): scores for movements 1 and 3-5 in Mus. 1139; complete set of performers' parts for movements 2 and 3 only in Mus. 1140, sheets 5-10; complete set of performers' parts for whole work in Mus. 34-6/29.
• D major/VI (1-5) (Z): scores in Mus. 1139, sheet 1; complete set of performers' parts for movements 1 and 2 only in Mus. 1140, sheets 5-10; complete set of performers' parts for whole work in Mus. 34-6/30.
• D major/VII (1-7) (Z): scores in Mus. 1128, sheet 39, Mus. 1141a (ff. 66-9) and Mus. 1141c, ff. 124-5.
• D major/VIII (movements 5-6 only) (Y): scores in Mus. 1128, sheets 27-27*.

• E flat major/I (1-5) (Z): complete set of performers' parts in Mus. 34-6/21.
• E flat major/II (1-9) (Y): complete set of performers' parts in Mus. 1136, sheets 1-6.

• e minor/I (1-5) (Z): score of movements 2-3, together with a discarded movement 1, in Mus. 1140, sheet 11r; complete set of performers' parts for the whole work (with replacement movement 1) in Mus. 1140, sheets 5-10. A ground in e minor, designated as belonging to this set, is copied in score in Mus. 1132, sheet 13.
• e minor/II (1-4) (Z): scores of movements 2-3 only in Mus. 1141d (f. 133); complete set of performers' parts for the whole work in Mus. 1140, sheets 5-10.
• e minor/III (movements 4-5 only) (Z): scores in Mus. 1128, sheet 30.
• e minor/IV (1-?7) (Z): scores in Mus. 1132, sheets 6-10.

• F major/I (1-4) (Z): drafts and scores in Mus. 1134.
• F major/II (1-5) (Z): drafts and scores in Mus. 1134.
• F major/III (1-3) (Y): scores in Mus. 1135, sheet 12.

• f minor/I (1-5) (Z): sketches and scores of movements 2 and 4 in Mus. 1128, sheets 11-11*, 14 and 23; complete set of performers' parts for the whole work in Mus. 1218(A-C)/1. The ground bass on which movement 4 is based was also used for sketches and drafts by Copyist Y; see Mus. 1128, sheets 17v, 20v and 29*-29; in these, the ground is sometimes set in g minor rather than f minor.
• f minor/II (1-5) (Z): sketches and scores of movements 1-4 in Mus. 1128, sheets 11*v, 13 and19; complete set of performers' parts for the whole work in Mus. 1218(A-C)/2. There is a possibly rejected sixth movement in Mus. 1128, sheet 19.

• G major/I (1-4) (Y): scores in Mus. 1128, sheets 25-25*.

• G major/e minor/I (1-5) (Z): scores in Mus. 1132, sheets 4-5. Movement 2 is in e minor, the remaining movements in G major.

• g minor/I (1-4) (Z): complete set of performers' parts in Mus. 34-6/11.
• g minor/II (1-3) (Z): complete set of performers' parts in Mus. 34-6/12.
• g minor/III (1-4) (Z): scores of all four movements in Mus. 1132, sheets 14 and 25; scores of movements 1-3 only in Mus. 1141c, ff. 118-119.
• g minor/IV (1-4) (Z): scores in Mus. 1140, sheet 11v.
• g minor/V (1-3) (Y): scores in Mus. 1128, sheets 29-29*.
• g minor a4/I (1-5) (Y): complete set of performers' parts in Mus. 1217(A-D)/1.
• g minor a4/II (1-5) (Y): scores of movements 3 and 4 in Mus. 1140, sheet 4; complete set of performers' parts in Mus. 1217(A-D)/2.

• A major/I (1-6) (Z): scores of movements 1-2 and 5-6 in Mus. 1141c, f. 117; score of movements 4 and 6 in Mus. 1135, sheets 1 and 3; score of movement 6 in Mus. 1141b (ff. 86-9) (at ff. 88v-89r); complete set of performers' parts for the whole work in Mus. 34-6/5.
• A major/II (1-4) (Z): complete set of performers' parts in Mus. 34-6/7.
• A major/III (1-4) (Z): complete set of performers' parts in Mus. 34-6/8.
• A major/IV (1-3) (Z): complete set of performers' parts in Mus. 34-6/9.
• A major/V (1-4) (Z): complete set of performers' parts in Mus. 34-6/10.
• A major/VI (1-7) (Y): complete set of performers' parts in Mus. 1209(A-C)/1.
• A major/VII (1-6) (Y): complete set of performers' parts in Mus. 1209(A-C)/2.
• A major/VIII (1-3) (Z): complete set of performers' parts in Mus. 1140, sheets 5-10. Scores of four additional (and presumably rejected) movements for this set are in Mus. 1141b (ff. 86-9), together with scores of movements 1 and 2. Earlier drafts of movements 2 and 4 are in Mus. 1128, sheets 40r and 26r.
• A major/IX (1-5) (Z): scores in Mus. 1126, sheets 4 and 6.

• a minor/I (A-D) (Z): drafts and scores in Mus. 1141d (ff. 129-31) (at ff. 129-31 and 134).

• B flat major/I (1-8) (Z): scores in Mus. 1128, sheets 2 and 2*; score of movement 6 only in Mus. 1141a (ff. 66-9) (at f. 69r-v).
• B flat major/II (1-7) (Z): drafts and scores of movements 3, 6 and 7 in Mus. 1126, sheets 7-8; scores of movements 1-2 and 4 in Mus. 1138, sheet 4; complete set of performers' parts for the whole work in Mus. 1138, sheets 1-3 and 5-7.
• B flat major/III (?1-7) (Y): scores of three movements, including two numbered as '4th' and '7th', in Mus. 1135, sheet 8. The remaining movements of this set have not been traced.

• b minor/I (1-7) (Z): scores of all seven movements in Mus. 1136, sheets 7-9, and in Mus. 1141c, f. 123; complete set of performers' parts for the whole work in Mus. 34-6/24; another copy of the Second Treble part in Mus. 1141c, f. 121v.
• b minor/II (1-6) (Z): scores of all six movements in Mus. 1136, sheets 7-9, and in Mus. 1135, sheet 10; complete set of performers' parts for the whole work in Mus. 34-6/25; another copy of the Second Treble part in Mus. 1141c, f. 121r.
• b minor/III (1-9) (Z): scores of movements 1-2 and 4-8 in Mus. 1126, sheets 10*-10; scores of movement 9 in Mus. 1135, sheet 4r, and Mus. 1141c, f. 123r; complete set of performers' parts for the whole work in Mus. 34-6/26; another copy of the Second Treble part in Mus. 1126, sheets 11-11* (omits movement 8).
• b minor/IV (1-5) (Z): scores in Mus. 1126, sheets 9-9*.
• b minor/V (1-7) (Z): scores in Mus. 1126, sheets 12-12*.
• b minor/VI (1-3) (Y): scores in Mus. 1137, sheet 7.

• There are miscellaneous single movements in various keys in Mus. 1125, Mus. 1128, Mus. 1131, Mus. 1132, Mus. 1133, Mus. 1135, Mus. 1137, Mus. 1140, Mus. 1141a, Mus. 1141c and Mus. 1141d.