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.
||I call and cry (= O sacrum convivium)
||Hosanna to the son of David
||Lift up your heads, O ye gates
||Behold, it is Christ
||O Lord, make thy servant Elizabeth
||With all our hearts (= Salvator mundi I)
||Almighty and everlasting God
||O Lord, turn thy wrath/Bow thine ear [= Ne irascaris/Civitas sancti tui]
||Almighty God, who by the leading
||Organ voluntary in C major = CEKM 18 (rev.) no.3
||Verse in d minor for double organ = CEKM 18 (rev.) no. 2
||Voluntary in C major = CEKM 18 (rev.) no. 4
||'Voluntary' = Fantasia of three parts, no. VIII (MB XLVIII, no. 14), reduced for keyboard
||Fantasia in C major = MB XX (rev.) no. 13
||Voluntary in G major = MB LXIX, no. 16
||Voluntary in a minor, for double organ
||Voluntary in a minor for double organ = CEKM 18 (rev.) no. 10 (Appendix 1)
||Prelude G major, = MB XX (rev.) no. 2
||'A ground' = Whoop, do me no harm, MB XX (rev.) no. 31
||The queen's command = MB XX (rev.) no. 28
||'A running fantasia', = Prelude in a minor, = MB XX (rev.) no. 1
||Upon the bells (Brookes anon. no. 384)
||Prelude in G major (MB LXXIII, no. 56)
||A ground (MB LXXIII, no. 16)
||Ground in G major (fragment) = Cox Anonymous (English) no. 20
||Three-part fantasia (for strings?) = Cox Anonymous (English) no. 21
||Verse in d minor (incomplete) = Cox Anonymous (English) no. 22
||Fragment in G minor copied in 6-voice score, possibly a draft of an 'Amen'
||Unidentified passage of 4-voice polyphony in triple metre
||Unidentified fragments of 4-voice polyphony in duple metre, copied in keyboard score; the last of them is developed in no. 32 below
||Unidentified fragment of 4-voice polyphony, copied twice in keyboard score, with alternative distribution between the hands
||Canon nota superior (on a cantus firmus by Thomas Morley; see comments following this inventory)
||Canon (on a cantus firmus by Thomas Morley; see comments following this inventory)
||Canon 3 in one (on a cantus firmus by Thomas Morley; see comments following this inventory)
||Short Service: Nunc dimittis (ending), keyboard score
||Fragment in e minor, copied in 4-voice score
||Closing section of an untexted vocal work in g minor, copied in 4-voice score
||Polyphonic passage in F major, first drafted in short score, then reworked in 5-voice score
||Fragment in a minor, deleted
||Polyphonic passage in F major, in 5-voice score
||Vouchsafe O Lord (= sketches for part of Te Deum from Service in F)
||Draft of Kyrie from Service in F
||Thie sound is gone out (sketch of bass voice-part)
||Miscellaneous fragments and drafts, all untexted; further details will be posted at a later date
- 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:
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.
||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.
||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.
||pp. 69-70 (items 33-5 = canons): a leaf extracted from a different manuscript; see the discussion above.
||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.
||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'.
||pp. 89-92 (item 39): bifolio of paper type 2 (as in section B above). Unused ruled staves on pp. 90-92.
||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.
||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.
||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).
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.
- Geoffrey Cox, Organ Music in Restoration England: A Study
of Sources, Styles, and Influences (New York and London,
- 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.)'.
- Virginia Brookes, British Keyboard Music to c.1660 (Oxford,
- 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.