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Mus. 468-72

Manuscript. Complete set of five partbooks containing two layers of contents. Layer 1 (copied at what is now designated as the fronts of the volumes): fantasias in 3, 4 and 5 parts by George Jeffreys, Alfonso Ferrabosco (ii), John Jenkins, John Ward and others, copied in Oxford by William Ellis (1620-79), probably mid 1660s. Layer 2 (copied at what is now designated as the rear, with the volumes inverted): miscellaneous vocal and instrumental parts (including works by Henry Purcell) copied in Oxford largely by Richard Goodson Sr, late 17th century and later. In the inventory below, the contents of Layer 1 are numbered as '1-52', those of Layer 2 as '101-111'.

Layer 1: for general information about Ellis's copying activities and script, see Robert Thompson, 'A Further Look at the Consort Music Manuscripts in Archbishop Marsh's Library, Dublin', Chelys, 24 (1995), 3-18 (where Ellis is to be equated with Copyist 'Q'). For a list of other music manuscripts at Christ Church copied by William Ellis, see the entry for Mus. 1236. The repertory of Layer 1 was probably copied in part from scores and partbooks owned by Narcissus Marsh; for details, see Musica Britannica 81, p. 208. In turn, Mus. 468-72 apparently served as copy-text for the set of partbooks copied in c. 1667 by Matthew Hutton that is now York, Minster Library, MS M.3/1-4(S); see Ashbee, 'The Transmission' and Musica Britannica 81, p. 208.

The repertory of Layer 2 was added after Mus. 468-72 had come into the possession of Richard Goodson Sr. This is one of many music manuscripts at Christ Church copied partly or wholly by Richard Goodson Sr.

  • Items 1, 18-19, 38, 50, 102 and 107 are incomplete in one or more partbooks because of missing leaves.
  • Item 41: erroneously attributed to 'AFerabosco' in Mus. 468.
  • Item 102: the same setting is copied in score in Mus. 1205(C), item 4.
  • Item 103: copied by Richard Goodson Jr; treble and bass parts in score. The words form part of the Litany and Suffrages as they appear in the Latin Book of Common Prayer.
  • Item 109: includes parts for a 'Boree' and a 'Minuet', copied on slips pasted to f. 48r. These movements are not by Purcell, and may be additions made by Goodson Sr himself; see Shay and Thompson, Purcell Manuscripts, p. 175.
  • Item 110: copyist unidentified.
Table of titles and composers in modern form. Display form found in manuscript.
The first column gives the modern numbering of the pieces; the second shows numbering used by the copyist(s).
 Mus. 468Mus. 469Mus. 470Mus. 471Mus. 472
1 1 George Jeffreys Fantasia a3 (VdGS 1) ff. 0v-1r f. 1r     ff. 0v-1r
2 2 George Jeffreys Fantasia a3 (VdGS 2) ff. 1v-2r ff. 1v-2r     ff. 1v-2r
3 3 George Jeffreys Fantasia a3 (VdGS 3) ff. 2v-3r ff. 2v-3r     ff. 2v-3r
4 4 George Jeffreys Fantasia a3 (VdGS 4) ff. 3v-4r ff. 3v-4r     ff. 3v-4r
5 5 George Jeffreys Fantasia a3 (VdGS 6) ff. 4v-5r ff. 4v-5r     ff. 4v-5r
6 6 George Jeffreys Fantasia a3 (VdGS 5) ff. 5v-6r ff. 5v-6r     ff. 5v-6r
7 1 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 13) f. 8r f. 8r f. 1r   f. 7r
8 2 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 21) ff. 8v-9r ff. 8v-9r ff. 1v-2r   ff. 7v-8r
9 3 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 3) ff. 9v-10r ff. 9v-10r ff. 2v-3r   ff. 8v-9r
10 4 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 12) ff. 10v-11r ff. 10v-11r ff. 3v-4r   ff. 9v-10r
11 5 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 16) ff. 11v-12r ff. 11v-12r ff. 4v-5r   ff. 10v-11r
12 6 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 5) ff. 12v-13r ff. 12v-13r ff. 5v-6r   ff. 11v-12r
13 7 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 1) ff. 13v-14r ff. 13v-14r ff. 6v-7r   ff. 12v-13r
14 8 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 2) ff. 14v-15r ff. 14v-15r ff. 7v-8r   ff. 13v-14r
15 9 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 6) ff. 15v-16r ff. 15v-16r ff. 8v-9r   ff. 14v-15r
16 10 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 4) ff. 16v-17r ff. 16v-17r ff. 9v-10r   ff. 15v-16r
17 11 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 22) ff. 17v-18r ff. 17v-18r ff. 10v-11r   ff. 16v-17r
18 12 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 20) ff. 18v-19r f. 18v ff. 11v-12r   ff. 17v-17*r
19 13 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 19) ff. 19v-20r f. 19r ff. 12v-13r   ff. 17*v-18r
20 14 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 18) ff. 20v-21r ff. 19v-20r ff. 13v-14r   ff. 18v-19r
21 15 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 14) ff. 21v-22r ff. 20v-21r ff. 14v-15r   ff. 19v-20r
22 16 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 17) ff. 22v-23r ff. 21v-22r ff. 15v-16r   ff. 20v-21r
23 17 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 8) ff. 23v-24r ff. 22v-23r ff. 16v-17r   ff. 21v-22r
24 18 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 9) ff. 24v-25r ff. 23v-24r ff. 17v-18r   ff. 22v-23r
25 19 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 7) ff. 25v-26r ff. 24v-25r ff. 18v-19r   ff. 23v-24r
26 20 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 23) ff. 26v-27r ff. 25v-26r ff. 19v-20r   ff. 24v-25r
27 23 John Jenkins Fantasia a4 (VdGS 6) ff. 29v-30r ff. 28v-29r ff. 21v-22r   ff. 27v-28r
28 24 John Jenkins Fantasia a4 (VdGS 5) ff. 30v-31r ff. 29v-30r ff. 22v-23r   ff. 28v-29r
29 25 John Ward Fantasia a4 (VdGS 3) ff. 31v-32r ff. 30v-31r ff. 23v-24r   ff. 29v-30r
30 26 John Jenkins Fantasia a4 (VdGS 10) ff. 32v-33r ff. 31v-32r ff. 24v-25r   ff. 30v-31r
31   John Jenkins Fantasia a4 (VdGS 11) ff. 33v-34r ff. 32v-33r ff. 25v-26r   ff. 31v-32r
32   John Jenkins Fantasia a4 (VdGS 1) ff. 34v-35r ff. 33v-34r ff. 26v-27r   ff. 32v-33r
33   John Jenkins Fantasia a4 (VdGS 2) ff. 35v-36r ff. 34v-35r ff. 27v-28r   ff. 33v-34r
34   John Jenkins Fantasia a4 (VdGS 3) ff. 36v-37r ff. 35v-36r ff. 28v-29r   ff. 34v-35r
35 31 John Jenkins Fantasia a4 (VdGS 4) ff. 37v-38r ff. 36v-37r ff. 29v-30r   ff. 35v-36r
36   John Jenkins Fantasia a4 (VdGS 7) ff. 38v-39r ff. 37v-38r ff. 30v-31r   ff. 36v-37r
37   John Jenkins Fantasia a4 (VdGS 8) ff. 39v-40r ff. 38v-39r ff. 31v-32r   ff. 37v-38r
38   John Jenkins Fantasia a4 (VdGS 12) ff. 40v-41r ff. 39v-40r ff. 32v-33r   f. 38v
39   John Ward Fantasia a5 (VdGS 2) ff. 44v-45r ff. 42v-43r ff. 35v-36r ff. 0v-1r ff. 41v-42r
40   John Ward Fantasia a5 (VdGS 4) ff. 45v-46r ff. 43v-44r ff. 36v-37r ff. 1v-2r ff. 42v-43r
41   John Ward Fantasia a5 (VdGS 5) ff. 46v-47r ff. 44v-45r ff. 37v-38r ff. 2v-3r ff. 43v-44r
42 4 John Ward Fantasia a5 (VdGS 6) ff. 47v-48r ff. 45v-46r ff. 38v-39r ff. 3v-4r ff. 44v-45r
43   John Ward Fantasia a5 (VdGS 7) ff. 48v-49r ff. 46v-47r ff. 39v-40r ff. 4v-5r ff. 45v-46r
44   John Ward Fantasia a5 (VdGS 8) ff. 49v-50r ff. 47v-48r ff. 40v-41r ff. 5v-6r ff. 46v-47r
45   John Ward Fantasia a5 (VdGS 1) ff. 50v-51r ff. 48v-49r ff. 41v-42r ff. 6v-7r ff. 47v-48r
46   William White Fantasia a5 (VdGS 1) ff. 51v-52r ff. 49v-50r ff. 42v-43r ff. 7v-8r ff. 48v-49r
47   John Ward Fantasia a5 (VdGS 3) ff. 52v-53r ff. 50v-51r ff. 43v-44r ff. 8v-9r ff. 49v-50r
48   John Ward Fantasia a5 (VdGS 10) ff. 53v-54r ff. 51v-52r ff. 44v-45r ff. 9v-10r ff. 50v-51r
49   John Ward Fantasia a5 (VdGS 9) ff. 54v-55r ff. 52v-53r ff. 45v-46r ff. 10v-11r ff. 51v-52r
50 1 Alfonso Ferrabosco (ii) In nomine I a5 (VdGS 1) f. 60r f. 58r ff. 51v-52r ff. 16v-17r ff. 57v-58r
51 2 Alfonso Ferrabosco (ii) In nomine 2 a5 (VdGS 2) ff. 60v-61r ff. 58v-59r ff. 52v-53r ff. 17v-18r ff. 58v-59r
53 3 Alfonso Ferrabosco (ii) In nomine 3 a5 (VdGS 3) ff. 61v-62r ff. 59v-60r ff. 53v-54r ff. 18v-19r ff. 59v-60r
101     scales         f. 64v
102   Thomas Tallis, adapted by Henry Aldrich Pater de caelis Deus (= Latin Litany) ff. 65r-64v f. 63v ff. 58r-57v ff. 27r-26v ff. 64r-63v
103     Sicut speramus in te (part of the Latin Litany and Suffrages)   f. 63v      
104     Burial service   ff. 56v-54v   ff. 26r-24v  
105   Henry Purcell Trumpet tune and 'Sound, Fame' (from 'Dioclesian', Z627(21-2)) ff. 64r-63r ff. 63r-62r ff. 57r-56r    
106   Henry Purcell Celebrate this festival (Z321, extracts) f. 62v ff. 61v-r ff. 55v-54v    
107   Henry Purcell O let me weep (from 'The Fairy Queen', Z629(40ab))   f. 57r ff. 51r-50v    
108   Henry Purcell Symphony and 'Seek not to know' (from 'The Indian Queen', Z.630(14-15))   ff. 57v-56v ff. 50r-49v    
109   Henry Purcell/?Richard Goodson (i) Raise, raise the voice (Z334), with additional dances     ff. 49r-47r    
110     Entrée and Gigue in g minor     f. 46v    
111   Christopher Gibbons The Lord sware (from 'The Lord said unto my Lord')     ff. 34v-r    

Upright format, 253 x 200 mm.

  • Mus. 468: 66 leaves, foliated '[0], 1-65' in modern pencil. Collation: A8 (ff. [0]-7) / B4 (8-11) / C4 (12-15) / D4 (16-19) / E4 (20-23) / F4 (24-7) / G4 (28-31) / H4 (32-5) / I4 (36-9) / J4 (40-43) / K8 (44-51) / L8 (52-9) / M8 (of which M1 and M8 are now missing; ff. 60-65). Unused ruled staves on ff. [0]r, 6v-7v, 27v-29r, 41v-44r, 55v-59v and 65v.
  • Mus. 469: 63 leaves, foliated in modern pencil. Collation: A8 (of which A1 is excised; ff. 1-7) / B4 (8-11) / C8 (of which C8 is almost wholly excised, and is unfoliated; C1-7 = ff. 12-18) / D8 (of which D3 is excised; ff. 19-25) / E8 (26-33) / F8 (34-41) / G8 (42-9) / H8 (50-7) / I8 (of which I1 and I8 are now missing; ff. 58-63). Unused rules staves on ff. 6v-7v, 26v-28r, 40v-42r, 53v-54r and 60v.
  • Mus. 470: 58 leaves, foliated in modern pencil. Collation: A4 (ff. 1-4) / B8 (ff. 5-12) / C8 (ff. 13-20) / D8 (of which D1 is excised; 21-7) / E8 (of which E8 is excised; ff. 28-34) / F8 (35-42) / G8 (43-50) / H8 (51-8). Unused ruled staves on ff. 20v-21r, 33v, 35r and 58v.
  • Mus. 471: 29 leaves, foliated '[0], 1-22, 22a, 23-7' in modern pencil. Collation: A8 (ff. [0]-7) / B8 (8-15) / C6 (ff. 16-21) / D4 (of which D4 is excised; ff. 22, 22a, 23) / E4 (24-7). Unused ruled staves on ff. [0]r, 11v-16r, 19v-24r and 27v.
  • Mus. 472: 67 leaves, foliated '[0], 1-6, 6*, 7-17, 17*, 18-64' in modern pencil. Collation: A8 (ff. [0]-6, 6*) / B4 (7-10) / C4 (11-14) / D4 (15-17, 17*) / E4 (18-21) / F4 (22-5) / G5 (26-9) / H4 (30-33) / I4 (34-7) / J4 (of which J2 is excised; 38-40) / K8 (41-8) / L8 (49-56) / M8 (57-64). Unused ruled staves on ff. [0]v, 6v-6*v, 25v-27r, 39r-41r, 52v-57r and 60v-63r.
Mid 17th-century bindings of plain vellum over boards. An unidentified late 17th-century hand has written outline lists of the contents of Layer 1 on the inside upper covers of all five volumes. Inside lower cover of Mus. 471 inscribed 'Mr Rich: Goodson' [Sr] (probably autograph). A faded annotation in ink on the upper outside cover of Mus. 469 may also be a record of ownership, but has not been deciphered. Jottings by Richard Goodson Jr on outside lower cover of Mus. 468, and inside upper cover of Mus. 470. No early bookplates. 19th-century shelfmarks (largely concealed beneath modern contents lists): I.6.28-32.

Provenance: from the Goodson bequest. The earliest reference to Mus. 468-72 in the 18th-century catalogues of the Christ Church music collections is in Malchair 1787 (f. 9), where the set is listed as 'Fencys in parts 5. books Vellum bound / quarto size. Jeffrey / Ferabosco / Jenkins / Ward'.

Microfilm: manuscript music, reel 19.

Select bibliography:

  • Robert Thompson, 'A Further Look at the Consort Music Manuscripts in Archbishop Marsh's Library, Dublin', Chelys, 24 (1995), 3-18. Find in a Library
  • Andrew Ashbee, 'The Transmission of Consort Music in Some Seventeenth-Century English Manuscripts', John Jenkins and his Time: Studies in English Consort Music, ed. Andrew Ashbee and Peter Holman (Oxford, 1996), p. 269. Find in a Library
  • Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Mmusical Sources, (Cambridge, 2000), p. 175. Find in a Library
  • Alfonso Ferrabosco the Younger: Consort Music of Five and Six Parts, ed. Christopher Field and David Pinto, Musica Britannica 81 (2003), p. 208. Find in a Library