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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 as shown in the manuscript. Display in modern form.
 Mus. 463Mus. 464Mus. 465Mus. 466Mus. 467
1 [Alfonso Ferrabosco (i)] Incipit lamentatio Hieremie prophete [I] ff. 1r-v ff. 1r-v ff. 1r-v ff. 1r-v ff. 1r-v
2 [Alfonso Ferrabosco (i)] De lamentatione Hieremie prophete ff. 2r-v ff. 2r-v ff. 2r-v ff. 2r-v ff. 2r-v
3 [Alfonso Ferrabosco (i)] Heu michi 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 leta 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 misterium f. 7v f. 7v f. 7v f. 7v f. 9v
13 [Alfonso Ferrabosco (i)] Ingemuit Susana 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 michi lacrime mee   f. 11v f. 11v f. 11v f. 13v
21 Alfonso ferabosco [(ii)] Laboravi in gemitu meo f. 12r f. 12r f. 12r f. 12r f. 14r
22   Faelices 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 consolobatur me f. 14v f. 14v ff. 14v-15r f. 14v f. 8v
26 [Alfonso Ferrabosco (i)] Deh non ponete fini 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 e 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)] Dolce mentr'il ciel vols'amate [prima parte] f. 27v f. 29v f. 29v f. 29v f. 26v
35 [Alfonso Ferrabosco (i)] Felic'hoime [seconda parte of no. 34 above] f. 28r f. 30r f. 30r f. 30r f. 27r
36 [Alfonso Ferrabosco (i)] Standom'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 fontan'in [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. Find in a Library
  • Richard Charteris, Alfonso Ferrabosco the Elder (1543-1588): A Thematic Catalogue of his Music with a Biographical Calendar (New York, 1984). Find in a Library
  • David Pinto, 'The Music of the Hattons', Royal Musical Association Research Chronicle, 23 (1990), pp. 79-108 (at p. 85). Find in a Library
  • 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. Find in a Library