Mus. 463-7
Manuscript. Complete set of five partbooks, containing works
principally by Alfonso Ferrabosco (i); English, c. 1600. Single
unidentified copyist (despite some superficial internal variety
within the copying, caused by changes in the thickness of the
nib being used). The name 'Nicolas Lanier' is written on a parchment
strip used to strengthen the binding at the rear of Mus. 465,
and may point to some closeness between a musician of that name
- more probably Nicolas Lanier (i) than Nicholas Lanier (ii)
- and the origins or provenance of the partbooks.
- Item 21, by Alfonso Ferrabosco (ii), is the only piece in the
set that bears a composer attribution.
- Item 22 is a motet in honour of King James I (= James VI of Scotland),
Anne of Denmark, and their children.
Table of titles and composers in modern form. Display form found in manuscript.
| | Mus. 463 | Mus. 464 | Mus. 465 | Mus. 466 | Mus. 467 |
| 1 |
Alfonso Ferrabosco (i) |
Incipit Lamentatio Ieremiae prophetae [I] |
ff. 1r-v | ff. 1r-v | ff. 1r-v | ff. 1r-v | ff. 1r-v |
| 2 |
Alfonso Ferrabosco (i) |
De Lamentatione Ieremiae prophetae |
ff. 2r-v | ff. 2r-v | ff. 2r-v | ff. 2r-v | ff. 2r-v |
| 3 |
Alfonso Ferrabosco (i) |
Heu mihi, Domine [I] |
f. 3r | f. 3r | f. 3r | f. 3r | f. 3r |
| 4 |
Alfonso Ferrabosco (i) |
Sana me, Domine (prima pars) |
f. 3v | f. 3v | f. 3v | f. 3v | f. 3v |
| 5 |
Alfonso Ferrabosco (i) |
Ne derelinquas me, Domine (secunda pars of no. 4 above) |
f. 4r | f. 4r | f. 4r | f. 4r | f. 4r |
| 6 |
Alfonso Ferrabosco (i) |
Conserva me, Domine (prima pars) |
f. 4v | f. 4v | f. 4v | f. 4v | f. 4v |
| 7 |
Alfonso Ferrabosco (i) |
Vias tuas, Domine (secunda pars of no. 6 above) |
f. 5r | f. 5r | f. 5r | f. 5r | f. 5r |
| 8 |
Alfonso Ferrabosco (i) |
Peccantem me quotidie |
f. 5v | f. 5v | f. 5v | f. 5v | f. 5v |
| 9 |
Alfonso Ferrabosco (i) |
Musica laeta |
f. 6r | f. 6r | f. 6r | f. 6r | f. 6r |
| 10 |
Alfonso Ferrabosco (i) |
Cantabo Domino (undecima pars of 'Benedic, anima mea, Domino') |
f. 6v | f. 6v | f. 6v | f. 6v | f. 6v |
| 11 |
Alfonso Ferrabosco (i) |
Magna est gloria eius (secunda pars of 'Domine, in virtute tua') |
f. 7r | f. 7r | f. 7r | f. 7r | f. 7r |
| 12 |
Alfonso Ferrabosco (i) |
Mirabile mysterium |
f. 7v | f. 7v | f. 7v | f. 7v | f. 9v |
| 13 |
Alfonso Ferrabosco (i) |
Ingemuit Susanna |
f. 8r | f. 8r | f. 8r | f. 8r | f. 10r |
| 14 |
Alfonso Ferrabosco (i) |
Da pacem Domine [I] |
f. 8v | f. 8v | f. 8v | f. 8v | f. 10v |
| 15 |
Alfonso Ferrabosco (i) |
Laboravi in gemitu meo |
f. 9r | f. 9r | f. 9r | f. 9r | f. 11r |
| 16 |
Alfonso Ferrabosco (i) |
Posuisti tenebras (septima pars of 'Benedic, anima mea, Domino') |
f. 9v | f. 9v | f. 9v | f. 9v | f. 11v |
| 17 |
Alfonso Ferrabosco (i) |
Ad Dominum cum tribularer |
f. 10r | f. 10r | f. 10r | f. 10r | f. 12r |
| 18 |
Alfonso Ferrabosco (i) |
In nomine [I] |
f. 10v | f. 10v | f. 10v | f. 10v | f. 12v |
| 19 |
Alfonso Ferrabosco (i) |
In nomine [II] |
f. 11r | f. 11r | f. 11r | f. 11r | f. 13r |
| 20 |
Alfonso Ferrabosco (i) |
Fuerunt mihi lachrimae meae |
| f. 11v | f. 11v | f. 11v | f. 13v |
| 21 |
Alfonso Ferrabosco (ii) |
Laboravi in gemitu meo |
f. 12r | f. 12r | f. 12r | f. 12r | f. 14r |
| 22 |
|
Felices Britones |
ff. 12v-13r | ff. 12v-13r | ff. 12v-13r | ff. 12v-13r | ff. 14v-15r |
| 23 |
Alfonso Ferrabosco (i) |
Surge propera ... columba mea (prima pars) |
f. 13v | f. 13v | f. 13v | f. 13v | f. 7v |
| 24 |
Alfonso Ferrabosco (i) |
Surge propera ... formosa mea (secunda pars of no. 23 above) |
f. 14r | f. 14r | f. 14r | f. 14r | f. 8r |
| 25 |
Jacobus Clemens non Papa |
Qui consolabatur me |
f. 14v | f. 14v | ff. 14v-15r | f. 14v | f. 8v |
| 26 |
Alfonso Ferrabosco (i) |
Deh non ponete fine |
f. 15r | f. 15r | f. 15r | f. 15r | f. 9r |
| 27 |
Alfonso Ferrabosco (i) |
Hor pien d'alto desio (terza parte of 'Mentre ti fui sì grato') |
f. 23v | f. 25v | f. 25v | f. 25v | f. 22v |
| 28 |
Alfonso Ferrabosco (i) |
Hor un laccio (quarta parte of 'Mentre ti fui sì grato') |
f. 24r | f. 26r | f. 26r | f. 26r | f. 23r |
| 29 |
Alfonso Ferrabosco (i) |
Vorrei lagnarmi a pieno (prima parte) |
f. 24v | f. 26v | f. 26v | f. 26v | f. 23v |
| 30 |
Alfonso Ferrabosco (i) |
S'io taccio (seconda parte of no. 29 above) |
f. 25r | f. 27r | f. 27r | f. 27r | f. 24r |
| 31 |
Alfonso Ferrabosco (i) |
Se pur è ver |
f. 25v | f. 27v | f. 27v | f. 27v | f. 24v |
| 32 |
Alfonso Ferrabosco (i) |
Donna, l'ardente fiamma (prima parte) |
f. 26r | f. 28r | f. 28r | f. 28r | f. 25r |
| 33 |
Alfonso Ferrabosco (i) |
Signor, la vostra fiamma (seconda parte) |
f. 26v | f. 28v | f. 28v | f. 28v | f. 25v |
| 34 |
Alfonso Ferrabosco (i) |
Dolci, mentre il ciel volse (prima parte) |
f. 27v | f. 29v | f. 29v | f. 29v | f. 26v |
| 35 |
Alfonso Ferrabosco (i) |
Felice, ohime (seconda parte of no. 34 above) |
f. 28r | f. 30r | f. 30r | f. 30r | f. 27r |
| 36 |
Alfonso Ferrabosco (i) |
Standomi un giorno (prima parte) |
ff. 28v-29r | ff. 30v-31r | ff. 30v-31r | ff. 30v-31r | ff. 27v-28r |
| 37 |
Alfonso Ferrabosco (i) |
Indi per alto mar (seconda parte of no. 36 above) |
ff. 29v-30r | ff. 31v-32r | ff. 31v-32r | ff. 31v-32r | ff. 28v-29r |
| 38 |
Alfonso Ferrabosco (i) |
In un boschetto (terza parte of no. 36 above) |
ff. 30v-31r | ff. 32v-33r | ff. 32v-33r | ff. 32v-33r | ff. 29v-30r |
| 39 |
Alfonso Ferrabosco (i) |
Chiara fontana (quarta parte of no. 36 above) |
ff. 31v-32r | ff. 33v-34r | ff. 33v-34r | ff. 33v-34r | ff. 30v-31r |
| 40 |
Alfonso Ferrabosco (i) |
Una strania phenice (quinta parte of no. 36 above) |
ff. 32v-33r | ff. 34v-35r | ff. 34v-35r | ff. 34v-35r | ff. 31v-32r |
| 41 |
Alfonso Ferrabosco (i) |
Al fin vid'io (sesta parte of no. 36 above) |
ff. 33v-34r | ff. 35v-36r | ff. 35v-36r | ff. 35v-36r | ff. 32v-33r |
Upright format, 237 x 180 mm. Foliated in modern pencil, replacing
the copyist's own pagination system in ink, which runs in two
sequences, the first covering items 1-26, the second items 27-41.
Collation:
- Mus. 463 (Cantus): Layer 1 (corresponding to the copyist's first
pagination system): A8 (= ff. 1-8), B8 (of which B3-4 are pasted
together; = ff. 9-15), C6 (= ff. 16-21; the foliation number
'22' has been omitted in error); unused staves on ff. 1v and
15v-21v. Layer 2 (corresponding to the copyist's second pagination
system): D8, E8 (= ff. 23-30, 31-38); unused staves on ff. 23r,
27r and 34v-end.
- Mus. 464 (Contratenor), Mus. 465 (Quintus), and Mus. 466 (Tenor):
Layer 1 (corresponding to the copyist's first pagination system):
A8, B8, C8 (= ff. 1-8, 9-16, 17-24); unused staves on ff. 15v-24v.
Layer 2 (corresponding to the copyist's second pagination system):
D8, E8 (= ff. 25-32, 33-40); unused ruled staves on ff. 25r,
29r and 36v-end.
- Mus. 467 (Bassus): Layer 1 (corresponding to the copyist's first
pagination system): A8 (= ff. 1-8), B8 (of which B1-2 and B6-7
are pasted together; = ff. 9-14), C8 (= ff. 15, 15a, 16-21);
unused ruled staves on ff. 15v-21v. Layer 2 (corresponding to
the copyist's second pagination system): D8, E8 (= ff. 22-9,
30-37); unused ruled staves on ff. 22r, 26r, 33v-end.
Early 17th-century bindings of limp vellum, gold tooled on the
upper and lower covers with fillets and fleurs-de-lys enclosing
a more elaborate central ornament; spines similarly tooled with
fillets and floral ornaments; upper and lower covers also tooled
with the initials of the respective voice-names: C[antus], C[ontratenor],
Q, T, B. (For a comparable and possibly related binding, see
Mus. 455-8.) There are tab-holes for ties at the outer edges
of the covers, but no remnants survive of the ties themselves.
Upper cover of Mus. 466 annotated by Stephen Bing. Spines annotated
with the letters 'F' and 'B' in 17th-century ink; above the letter
'F', Henry Aldrich subsequently added the letters 'Mot' (for
'Motet), also in ink. Bookplate 2. 19th-century shelfmarks:
I.6.23-7.
Provenance: probably from the Hatton collection (see Pinto and
Wainwright in Bibliography below). Then part of the Aldrich
bequest, listed in Archives 1717, item D20, as 'Lat: &
Ital: Songs for 5 Voices. MSS.', expanded in Dowding to read
'The Lamentation of Jeremiah in latin without a name. Ferabosco
&c'. No early shelfmark is present in Mus. 463-7 itself;
it may have been concealed under printed labels now pasted to
the spines.
Microfilm: manuscript music, reel 18.
Bibliography:
- Richard Charteris, 'The Motets of Alfonso Ferrabosco the Elder
(1543-1588)', The Consort, 38 (1982), pp. 445-60.
- Richard Charteris, Alfonso Ferrabosco the Elder (1543-1588):
A Thematic Catalogue of his Music with a Biographical Calendar
(New York, 1984).
- David Pinto, 'The Music of the Hattons', Royal Musical Association
Research Chronicle, 23 (1990), pp. 79-108 (at p. 85).
- Jonathan Wainwright, Musical Patronage in Seventeenth-Century
England: Christopher, First Baron Hatton (1606-1670) (Aldershot
and Brookfield VT, 1997), pp. 33 and 417. The latter states that
the copyist of Mus. 463-7 was also responsible for copying Mus. 78-82 and Mus. 1155-61. Despite superficial similarities of
hand, the three sets were in fact probably copied by three different
scribes.
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