Christ Church Library
Music catalogue
IntroductionNewsBrowseSearch Quick search:

Mus. 47

Manuscript. Originally a keyboard book in two layers, the first containing organ accompaniments to English anthems (items 1-10), the second idiomatic keyboard music (items 11-23); copyist unidentified, English, probably early 1660s. The volume then passed to Henry Aldrich, who added two keyboard pieces by John Blow (items 24-5), and expanded the volume with miscellaneous material (items 26 to end), including sketches of his own compositions; English, 1660s and later. The following observations about the layers can be made:

  • Layer 1 (items 1-10; organ accompaniments to English anthems): apparently part of the repertory of an unidentified choral foundation in the early years of the Restoration. Almost certainly not from Christ Church Cathedral, Oxford, since the copyist is not Edward Lowe, organist at Christ Church.
  • Layer 2 (items 11-23; keyboard music): apparently the same copyist as layer 1, despite some changes of notational habit. The repertory suggests a closeness to Christopher Gibbons, and includes music variously for organ and harpsichord. Some pieces from this layer were subsequently copied by Henry Aldrich into Mus. 15 (ff. 44-89), and by Edward Lowe into Mus. 1176.
  • Layer 3 (items 24-5; keyboard works by Blow, copied by Aldrich): probably one of the earliest surviving manuscripts copied by Aldrich. A link between Aldrich and Blow is suggested by several other manuscripts in the Christ Church collection, including Mus. 685-6 (Blow's 'Gesta Britannica: an ode', sent by Blow to Aldrich), and the torn sheet now divided between two locations, Mus. 1215(2) and Mus. 1188-9 (f. 18), on which music was copied by Blow and Aldrich in turn.
  • Layer 4 (item 26 to end; sketches by Aldrich): a miscellany, including leaves and gatherings that clearly had a separate existence before being bound together with the main keyboard layers. (See the bibliographical description below for further details.) This layer too probably includes some of Aldrich's earliest surviving notated work. Research into Aldrich's sketches is still in progress, and the inventory below is likely to be modified as new information comes to light. From item 44 onwards, copying was intermittently done with the volume inverted. For additional information about items 33-5 (canons), which were not copied by Aldrich, see the comments following the inventory.

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

1 Thomas Tallis I call and cry (= O sacrum convivium) pp. 1-2
2 Orlando Gibbons Hosanna to the son of David pp. 3-4
3 Orlando Gibbons Lift up your heads, O ye gates pp. 5-6
4 Edmund Hooper Behold, it is Christ p. 7
5 William Byrd Sing joyfully pp. 8-9
6 William Byrd O Lord, make thy servant Elizabeth pp. 10-11
7 Thomas Tallis With all our hearts (= Salvator mundi I) pp. 12-13
8 Orlando Gibbons Almighty and everlasting God pp. 14-15
9 William Byrd O Lord, turn thy wrath/Bow thine ear [= Ne irascaris/Civitas sancti tui] pp. 15-18
10 John Bull Almighty God, who by the leading pp. 19-22
11 Christopher Gibbons Organ voluntary in C major = CEKM 18 (rev.) no.3 pp. 25-26
12 Christopher Gibbons Verse in d minor for double organ = CEKM 18 (rev.) no. 2 pp. 26-29
13 Christopher Gibbons Voluntary in C major = CEKM 18 (rev.) no. 4 pp. 29-32
14 Orlando Gibbons 'Voluntary' = Fantasia of three parts, no. VIII (MB XLVIII, no. 14), reduced for keyboard pp. 32-34
15 Orlando Gibbons Fantasia in C major = MB XX (rev.) no. 13 pp. 34-35
16 John Blow Voluntary in G major = MB LXIX, no. 16 pp. 36-37
17 John Hingeston Voluntary in a minor, for double organ pp. 38-40
18 Christopher Gibbons Voluntary in a minor for double organ = CEKM 18 (rev.) no. 10 (Appendix 1) pp. 41-42
19 Orlando Gibbons Prelude G major, = MB XX (rev.) no. 2 pp. 43-45
20 Orlando Gibbons 'A ground' = Whoop, do me no harm, MB XX (rev.) no. 31 pp. 46-47
21 Orlando Gibbons The queen's command = MB XX (rev.) no. 28 pp. 48-50
22 Orlando Gibbons 'A running fantasia', = Prelude in a minor, = MB XX (rev.) no. 1 pp. 51-53
23   Upon the bells (Brookes anon. no. 384) pp. 53-54
24 John Blow Prelude in G major (MB LXXIII, no. 56) pp. 56-57
25 John Blow A ground (MB LXXIII, no. 16) pp. 58-62
26   Ground in G major (fragment) = Cox Anonymous (English) no. 20 p. 63
27   Three-part fantasia (for strings?) = Cox Anonymous (English) no. 21 pp. 64-65
28   Verse in d minor (incomplete) = Cox Anonymous (English) no. 22 p. 66
29   Fragment in G minor copied in 6-voice score, possibly a draft of an 'Amen' p. 66
30   Unidentified passage of 4-voice polyphony in triple metre p. 67
31   Unidentified fragments of 4-voice polyphony in duple metre, copied in keyboard score; the last of them is developed in no. 32 below p. 67
32   Unidentified fragment of 4-voice polyphony, copied twice in keyboard score, with alternative distribution between the hands p. 68
33   Canon nota superior (on a cantus firmus by Thomas Morley; see comments following this inventory) p. 69
34   Canon (on a cantus firmus by Thomas Morley; see comments following this inventory) p. 69
35   Canon 3 in one (on a cantus firmus by Thomas Morley; see comments following this inventory) p. 70
36 Orlando Gibbons Short Service: Nunc dimittis (ending), keyboard score p. 70b
37   Fragment in e minor, copied in 4-voice score p. 71
38   Closing section of an untexted vocal work in g minor, copied in 4-voice score pp. 74-75
39   Polyphonic passage in F major, first drafted in short score, then reworked in 5-voice score p. 89
40   Fragment in a minor, deleted p. 93
41   Polyphonic passage in F major, in 5-voice score p. 94
42 Henry Aldrich Vouchsafe O Lord (= sketches for part of Te Deum from Service in F) pp. 97-99
43 Henry Aldrich Draft of Kyrie from Service in F p. 100
44   Thie sound is gone out (sketch of bass voice-part) p. 107a
45   Miscellaneous fragments and drafts, all untexted; further details will be posted at a later date pp. 108-118

  • Items 33-5 (canons): copyist unidentified, working on a leaf previously paginated '79-80' in ink, and therefore presumably removed from another volume. (The sheet itself has been folded twice, once horizontally and once vertically.) The canons have been worked against a 'plainsong' (= cantus firmus) used by Thomas Morley in A plaine and easie introduction to practicall musicke (1597, 2/1608), a copy of which Aldrich possessed. (See Mus. 804; the relevant passage on canons occurs on pp. 99-103.) Aldrich subsequently copied two of the canons (item 33, and the beginning of item 34) into Mus. 15 (ff. 1-43) (as items 1-2).

Upright format, 315 x 210 mm. Collation:

-LAYERS 1 and 2 (pp. 1-54): originally 28 folios, the last of which has been excised and is represented by a stub (visible after p. 54). Principally made from a single paper-stock (pp. 1-24 and 29-54), with a bifolio of different paper inserted at the opening of Layer 2 as pp. 25-8. Paginated '1-54' in ink by the copyist. Collation of pp. 1-24: a gathering of 4 nested bifolios, followed by a gathering of 2 nested bifolios. Collation of pp. 29-54: three gatherings each of 2 nested bifolios, followed by a single sheet with conjoined stub. All the pages in layers 1-2 have been ruled with 6-lined staves for keyboard notation. Unused ruled staves on pp. 23-4 (= end of Layer 1).

-LAYERS 3 and 4: almost entirely written on 5-lined staves. 36 leaves or sheets, often separated by stubs where further sheets have been excised. Pagination is in modern pencil, and was slightly adusted in June 2005. (These adjustments will not be present in microfilms made before that date.) Three sheets show clear signs of having once been folded, and must therefore have had a separate existence before being bound into the volume; they are now paginated as pp. 69-70 (items 33-5), 108-108a and 110-110a. Collation is often unclear on account of the tightness of the binding, but the following structure is suggested by the characteristics of the staves and marginal rules:

A pp. 55-66 (items 24-9): paper type 1. A single gathering of 3 nested bifolios (= 6 folios); ruled margins in red. Unused ruled staves on p. 55.
B pp. 67-8 (items 30-32): correctly a bifolio, now bound into the volume at one edge of the sheet, and folded inwards. Ruled on each half-sheet, with a blank central gutter; on both sides of the sheet, Aldrich has extended the staves across the gutter to facilitate continuous copying. Paper type 2, with ruled margins in black.
C pp. 69-70 (items 33-5 = canons): a leaf extracted from a different manuscript; see the discussion above.
D pp. 70a-b (item 36): correctly a bifolio, now bound into the volume at one edge of the sheet, and folded inwards. Ruled with 6-lined staves on each half-sheet, with a blank central gutter; on one side of the sheet (p. 70b), Aldrich has extended the staves across the gutter to facilitate continuous copying. The paper-type differs from those of Layers 1-2. Unused ruled staves on p. 70a.
E pp. 71-88b: 14 surviving leaves from what was once a more substantial section, with stubs of excised leaves. All pages are ruled with three systems each of four 5-lined staves, with spaces between the systems. Contains items 37-8 only; unused ruled staves on the remaining pages. Paginated '71-88, 88a-b'.
F pp. 89-92 (item 39): bifolio of paper type 2 (as in section B above). Unused ruled staves on pp. 90-92.
G pp. 93-107a (items 40-44): 12 surviving leaves from what was once a more substantial section, with stubs of excised leaves. Paper type 1 (as in Section A above). Paginated '93-107, 107a'. Unused ruled staves on pp. 95-6, 98 and 101-7.
H pp. 108-108a and 110-110a: two single sheets, using paper type 2 (as in sections B and F above). Both sheets appear formerly to have been folded at least once horizontally, and therefore to have had a separate existence before being bound into the volume.
I pp. 109-109a and 111-18: total of five leaves, using paper type 1 (as in Sections A and G above). Probably a single leaf (p. 109-109a), then a gathering of two nested bifolios (pp. 111-18).
Contemporary binding of blind-tooled brown leather over boards, rebacked and repaired in the mid 20th century. No early bookplate. 19th-century shelfmark: I.1.11.

Provenance: presumably from the Aldrich bequest. However, the volume is listed by Malchair 1787 (f. 4) in the company of items from the Goodson bequest, as follows: 'Organ Part of anthems. thin small folio / smooth brown calf. / Tallis Orl. Gibbons / Kooper [recte 'Hooper'] Bird / Blow'. Possibly the Goodsons aquired this volume from Aldrich.

Microfilm: manuscript music, reel 6.

Bibliography:

  • Geoffrey Cox, Organ Music in Restoration England: A Study of Sources, Styles, and Influences (New York and London, 1989). Find in a Library
  • Christopher Gibbons (1615-1676, Keyboard Compositions, ed. Clare G. Rayner, rev. John Caldwell, Corpus of Early Keyboard Music, 18 (Neuhausen Stuttgart, 2/1989); cited in inventory above as 'CEKM 18 (rev.)'. Find in a Library
  • Virginia Brookes, British Keyboard Music to c.1660 (Oxford, 1996). Find in a Library
  • Candace Bailey, 'Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177', Royal Musical Association Research Chronicle, 32 (1999 [published 2001]), pp. 120-22.
  • Candace Bailey, Seventeenth-Century British Keyboard Sources (Warren, MI, 2003), esp. p. 86.