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Mus. 473-8

Manuscript. Complete set of six partbooks containing fantasias and in nomines for viol consort; English, copied principally in the 1620s, with a few additions made in the 1630s or later. Mus. 473: 'Cantus'; Mus. 474: 'Altus'; Mus. 475: 'Tenor'; Mus. 476: 'Quintus'; Mus. 477: 'Sextus'; Mus. 478: 'Bassus'.

Mus. 473-8 was principally copied by a single unidentified scribe, who was responsible for copying all except items 41 and 62-5 in the inventory below. The inclusion in this main layer of music by John Withy (items 40 and 42) and [George] Gill (items 45 and 82) may suggest that Mus. 473-8 was originally linked with the Oxford-West Country area; see Ashbee, 'The Transmission' (1996), p. 266. The partbooks subsequently came into the possession of John Browne (1608-91), Clerk to the Parliaments, many of whose manuscripts are now located within the Christ Church music collections. Browne himself added items 62-5, and probably oversaw the addition of item 41, which was entered by the unidentified copyist designated as 'Browne D' in Ashbee, 'Instrumental Music' (1977), pp. 52-3. Browne may have acquired the books from his first wife, who was daughter to Sir Thomas Crewe (1565-1633; Speaker of the House of Commons from 1623): see Musica Britannica, 81 (2003), p. 206; or the partbooks may have reached Browne by way of his second wife, Elizabeth; see Ashbee, 'The Transmission', pp. 266-7. Comments on individual pieces:

  • Item 40: catalogued as 'Fantasy a 5' in the Viola da Gamba Society's Thematic Index of Music for Viols (accessible online), but correctly a four-voice work.
  • Items 62-5 (Browne): these pieces evidently constitute a four-movement suite in B flat major; see David Pinto, 'William Lawes's Music for Viol Consort', Early Music, 6 (1978), 12-24 (at pp. 15-16), and ibid, For the Violls: The Consort and Dance Music of William Lawes (Richmond, 1995), 163-8. Only one voice-part is supplied of items 64-5.
The partbooks have an unusual foliation structure, designed by the principal copyist to attain consistent foliation for each composition, irrespective of the number of leaves actually contained in each partbook. Thus three books in the set open with f. 1 (Cantus, Altus and Bassus; Mus. 473-4 and 478); but the opening leaf of the Tenor (Mus. 475) is foliated '25'; the Quintus (Mus. 476) opens at f. '50', and the Sextus (Mus. 477) at f. '75'.

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. 473Mus. 474Mus. 475Mus. 476Mus. 477Mus. 478
1 1 Orlando Gibbons Fantasia a3 (VdGS 1) ff. 1v-2r ff. 1v-2r       ff. 1v-2r
2 2 Orlando Gibbons Fantasia a3 (VdGS 2) ff. 2v-3r ff. 2v-3r       ff. 2v-3r
3 3 Orlando Gibbons Fantasia a3 (VdGS 3) ff. 3v-4r ff. 3v-4r       ff. 3v-4r
4 4 Orlando Gibbons Fantasia a3 (VdGS 4) ff. 4v-5r ff. 4v-5r       ff. 4v-5r
5 5 Orlando Gibbons Fantasia a3 (VdGS 5) ff. 5v-6r ff. 5v-6r       f. 5v
6 6 Orlando Gibbons Fantasia a3 (VdGS 6) ff. 6v-7r ff. 6v-7r       ff. 6v-7r
7 7 John Jenkins Fantasia a3 (VdGS 13) ff. 7v-8r ff. 7v-8r       ff. 7v-8r
8 8 John Jenkins Fantasia a3 (VdGS 14) ff. 8v-9r ff. 8v-9r       ff. 8v-9r
9 9 John Jenkins Fantasia a3 (VdGS 4) ff. 9v-10r ff. 9v-10r       ff. 9v-10r
10 10 John Jenkins Fantasia a3 (VdGS 5) ff. 10v-11r ff. 10v-11r       ff. 10v-11r
11 11 John Jenkins Fantasia a3 (VdGS 6) ff. 11v-12r ff. 11v-12r       ff. 11v-12r
12 12 John Coprario Fantasia a3 (VdGS 7) ff. 12v-13r ff. 12v-13r       f. 12v
13 13 John Coprario Fantasia a3 (VdGS 8) ff. 13v-14r ff. 13v-14r       f. 13r
14 14 John Coprario Fantasia a3 (VdGS 9) ff. 14v-15r ff. 14v-15r       ff. 13v-14r
15 15 John Coprario Fantasia a3 (VdGS 1) f. 15v f. 15v       f. 14v
16 16 John Coprario Fantasia a3 (VdGS 2) f. 16r ff. 16v-17r       ff. 15v-16r
17 17 Thomas Lupo Fantasia a3 (VdGS 16) ff. 16v-17r f. 17v       f. 16v
18 18 Thomas Lupo Fantasia a3 (VdGS 19) ff. 17v-18r f. 18r       f. 17v
19 19 Thomas Lupo Fantasia a3 (VdGS 17) ff. 18v-19r ff. 18v-19r       ff. 18v-19r
20 20 Thomas Lupo Fantasia a3 (VdGS 21) ff. 19v-20r ff. 19v-20r       ff. 19v-20r
21 1 Thomas Lupo Fantasia a4 (VdGS 1) ff. 25v-26r ff. 25v-26r ff. 25v-26r     ff. 25v-26r
22 2 Thomas Lupo Fantasia a4 (VdGS 2) ff. 26v-27r ff. 26v-27r ff. 26v-27r     ff. 26v-27r
23 3 Thomas Lupo Fantasia a4 (VdGS 3) ff. 27v-28r ff. 27v-28r ff. 27v-28r     ff. 27v-28r
24 4 Thomas Lupo Fantasia a4 (VdGS 4) ff. 28v-29r ff. 28v-29r ff. 28v-29r     ff. 28v-29r
25 5 John Coprario Fantasia a4 (VdGS 1) ff. 29v-30r ff. 29v-30r ff. 29v-30r     ff. 29v-30r
26 6 John Coprario Fantasia a4 (VdGS 7) ff. 30v-31r ff. 30v-31r ff. 30v-31r     ff. 30v-31r
27 7 John Ward Fantasia a4 (VdGS 21) ff. 31v-32r ff. 31v-32r ff. 31v-32r     ff. 31v-32r
28 8 John Ward Fantasia a4 (VdGS 22) ff. 32v-33r ff. 32v-33r ff. 32v-33r     ff. 32v-33r
29 9 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 20) ff. 33v-34r ff. 33v-34r ff. 33v-34r     ff. 33v-34r
30 10 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 21) ff. 34v-35r ff. 34v-35r ff. 34v-35r     ff. 34v-35r
31 11 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 13) ff. 35v-36r ff. 35v-36r ff. 35v-36r     ff. 35v-36r
32 12 Alfonso Ferrabosco (ii) Hexachord fantasia, part 1 (VdGS 10) f. 36v ff. 36v-37r ff. 36v-37r     ff. 36v-37r
33 13 Alfonso Ferrabosco (ii) Hexachord fantasia, part 2 (VdGS 11) f. 37v ff. 37v-38r ff. 37v-38r     ff. 37v-38r
34 14 Alfonso Ferrabosco (ii) Fantasia a4 (VdGS 18) ff. 38v-39r ff. 38v-39r ff. 38v-39r     ff. 38v-39r
35 15 John Jenkins Fantasia a4 (VdGS 5) ff. 39v-40r ff. 39v-40r ff. 39v-40r     ff. 39v-40r
36 16 John Jenkins Fantasia a4 (VdGS 6) ff. 40v-41r ff. 40v-41r ff. 40v-41r     ff. 40v-41r
37 17 John Jenkins Fantasia a4 (VdGS 7) ff. 41v-42r ff. 41v-42r ff. 41v-42r     ff. 41v-42r
38 18 John Jenkins Fantasia a4 (VdGS 13) ff. 42v-43r ff. 42v-43r ff. 42v-43r     ff. 42v-43r
39 19 John Jenkins Fantasia a4 (VdGS 14) ff. 43v-44r ff. 43v-44r ff. 43v-44r     ff. 43v-44r
40 20 John Withy Fantasia a4 ff. 44v-45r ff. 44v-45r ff. 44v-45r     ff. 44v-45r
41 21 John Jenkins Fantasia a4 (VdGS 11) ff. 45v-46r ff. 45v-46r ff. 45v-46r     ff. 45v-46r
42 1 John Withy In nomine a5 ff. 50v-51r f. 50v ff. 50v-51r ff. 50v-51r   ff. 50v-51r
43 2 Alfonso Ferrabosco (ii) In nomine a5 (VdGS 3) f. 51v ff. 51v-52r ff. 51v-52r ff. 51v-52r   ff. 51v-52r
44 3 Simon Ives In nomine a5 ff. 52v-53r f. 52v ff. 52v-53r ff. 52v-53r   ff. 52v-53r
45 4 George Gill In nomine a5 f. 53v ff. 53v-54r ff. 53v-54r ff. 53v-54r   ff. 53v-54r
46 5 William White Fantasia a5 (VdGS 1): Diapente, part 1 ff. 54v-55r ff. 54v-55r ff. 54v-55r ff. 54v-55r   ff. 54v-55r
47 6 William White Fantasia a5 (VdGS 3): Diapente, part 2 ff. 55v-56r ff. 55v-56r ff. 55v-56r ff. 55v-56r   ff. 55v-56r
48 7 William White Fantasia a5 (VdGS 2) ff. 56v-57r ff. 56v-57r ff. 56v-57r ff. 56v-57r   ff. 56v-57r
49 8 John Ward Cor mio deh non languire ff. 57v-58r ff. 57v-58r ff. 57v-58r ff. 57v-58r   ff. 57v-58r
50 9 John Ward Fantasia a5 (VdGS 10) ff. 58v-59r ff. 58v-59r ff. 58v-59r ff. 58v-59r   ff. 58v-59r
51 10 Thomas Lupo Fantasia a5 (VdGS 3) ff. 59v-60r ff. 59v-60r ff. 59v-60r ff. 59v-60r   ff. 59v-60r
52 11 Thomas Lupo Fantasia a5 (VdGS 14) ff. 60v-61r ff. 60v-61r ff. 60v-61r ff. 60v-61r   ff. 60v-61r
53 12 John Jenkins Fantasia a5 (VdGS 7) ff. 61v-62r ff. 61v-62r ff. 61v-62r ff. 61v-62r   ff. 61v-62r
54 13 John Jenkins Fantasia a5 (VdGS 9) ff. 62v-63r ff. 62v-63r ff. 62v-63r ff. 62v-63r   ff. 62v-63r
55 14 John Jenkins Fantasia a5 (VdGS 15) ff. 63v-64r ff. 63v-64r ff. 63v-64r ff. 63v-64r   ff. 63v-64r
56 15 John Jenkins Fantasia a5 (VdGS 16) ff. 64v-65r ff. 64v-65r ff. 64v-65r ff. 64v-65r   ff. 64v-65r
57 16 Richard Mico Fantasia a5 (VdGS 1) ff. 65v-66r ff. 65v-66r ff. 65v-66r ff. 65v-66r   ff. 65v-66r
58 17 Richard Mico Fantasia a5 (VdGS 2) ff. 66v-67r ff. 66v-67r ff. 66v-67r ff. 66v-67r   ff. 66v-67r
59 18 Charles Coleman Fantasia a5 ff. 67v-68r ff. 67v-68r ff. 67v-68r ff. 67v-68r   ff. 67v-68r
60 19 Thomas Lupo Fantasia a5 (VdGS 16) ff. 68v-69r ff. 68v-69r ff. 68v-69r ff. 68v-69r   ff. 68v-69r
61 20 Thomas Lupo Fantasia a5 (VdGS 17) ff. 69v-70r ff. 69v-70r ff. 69v-70r ff. 69v-70r   ff. 69v-70r
62 21 John Browne Ayre a5 f. 70v f. 70v f. 70v f. 70v   f. 70v
63 22 John Browne In nomine fantasia a5 ff. 71r-70v ff. 71r-70v ff. 71r-70v f. 71r   ff. 71r-70v
64 23 John Browne Ayre a5 f. 71v          
65 24 John Browne Pavan a5 f. 72r          
66 1 Charles Coleman Fantasia a6 (VdGS 3) ff. 75v-76r ff. 75v-76r ff. 75v-76r ff. 75v-76r ff. 75v-76r ff. 75v-76r
67 2 Charles Coleman Fantasia a6 (VdGS 2) ff. 76v-77r ff. 76v-77r ff. 76v-77r ff. 76v-77r ff. 76v-77r ff. 76v-77r
68 3 Thomas Lupo Fantasia a6 (VdGS 1) ff. 77v-78r ff. 77v-78r ff. 77v-78r ff. 77v-78r ff. 77v-78r ff. 77v-78r
69 4 Thomas Lupo Fantasia a6 (VdGS 4) ff. 78v-79r ff. 78v-79r ff. 78v-79r ff. 78v-79r ff. 78v-79r ff. 78v-79r
70 5 Thomas Lupo Fantasia a6 (VdGS 9) ff. 79v-80r ff. 79v-80r ff. 79v-80r ff. 79v-80r ff. 79v-80r ff. 79v-80r
71 6 Thomas Lupo Fantasia a6 (VdGS 10) ff. 80v-81r ff. 80v-81r ff. 80v-81r ff. 80v-81r ff. 80v-81r ff. 80v-81r
72 7 William White Fantasia a6 (VdGS 5) ff. 81v-82r ff. 81v-82r ff. 81v-82r ff. 81v-82r ff. 81v-82r ff. 81v-82r
73 8 William White Fantasia a6 (VdGS 4) ff. 82v-83r ff. 82v-83r ff. 82v-83r ff. 82v-83r ff. 82v-83r ff. 82v-83r
74 9 William White Fantasia a6 (VdGS 3) ff. 83v-84r ff. 83v-84r ff. 83v-84r ff. 83v-84r ff. 83v-84r ff. 83v-84r
75 10 William White Fantasia a6 (VdGS 1) ff. 84v-85r ff. 84v-85r ff. 84v-85r ff. 84v-85r ff. 84v-85r ff. 84v-85r
76 11 William White Fantasia a6 (VdGS 2) ff. 85v-86r ff. 85v-86r ff. 85v-86r ff. 85v-86r ff. 85v-86r ff. 85v-86r
77 12 William White Fantasia a6 (VdGS 6) ff. 86v-87r ff. 86v-87r ff. 86v-87r ff. 86v-87r ff. 86v-87r ff. 86v-87r
78 13 Alfonso Ferrabosco (ii) Fantasia a6 (VdGS 2) ff. 87v-88r ff. 87v-88r ff. 87v-88r ff. 87v-88r ff. 87v-88r ff. 87v-88r
79 14 Alfonso Ferrabosco (ii) Fantasia a6 (VdGS 1) ff. 88v-89r ff. 88v-89r ff. 88v-89r ff. 88v-89r ff. 88v-89r ff. 88v-89r
80 15 Alfonso Ferrabosco (ii) In nomine a6 (VdGS 1) ff. 89v-90r f. 89v ff. 89v-90r ff. 89v-90r ff. 89v-90r ff. 89v-90r
81 16 John Ward In nomine a6 (VdGS 2) ff. 90v-91r ff. 90v-91r ff. 90v-91r ff. 90v-91r f. 90v ff. 90v-91r
82 17 George Gill In nomine a6 f. 91v ff. 91v-92r ff. 91v-92r ff. 91v-92r ff. 91v-92r ff. 91v-92r
83 18 John Jenkins Fantasia a6 (VdGS 5) ff. 92v-93r ff. 92v-93r ff. 92v-93r ff. 92v-93r ff. 92v-93r ff. 92v-93r
84 19 John Jenkins Fantasia a6 (VdGS 2) ff. 93v-94r ff. 93v-94r ff. 93v-94r ff. 93v-94r ff. 93v-94r ff. 93v-94r
85 20 John Jenkins Fantasia a6 (VdGS 3) ff. 94v-95r ff. 94v-95r ff. 94v-95r ff. 94v-95r ff. 94v-95r ff. 94v-95r

Upright format, c. 235 x 185 mm. Structure:

  • Mus. 473 (Cantus): ii+100+ii leaves. Textblock largely foliated in ink by the principal copyist, with minor emendations and additions in modern pencil. Collation: A4 (ff. 1-4), B4 (5-8), C4 (9-12), D4 (13-16), E4 (17-20), F4 (21-4), G4 (25-8), H4 (29-32), I4 (33-6), J4 (37-40), K4 (41-4), L4 (45-8), M4 (49-52), N4 (53-6), O4 (57-60), P4 (61-4), Q4 (65-8), R4 (69-72), S4 (73-6), T4 (77-80), U4 (81-4), V4 (85-8), W4 (89-92), X4 (93-6), Y4 (97-100). There are pastedown cancel slips on ff. 4v, 5r, 5v, 77v and 87r. Unused ruled staves on ff. 1r, 20v-25r, 37r, 38r, 46v-50r, 52r, 54r, 72v-75r, 92r and 95v-end.
  • Mus. 474 (Altus): ii+98+ii leaves. Textblock largely foliated in ink by the principal copyist, with minor emendations and additions in modern pencil. Collation: A4 (ff. 1-4), B4 (5-8), C4 (9-12), D4 (13-16), E4 (17-20), F4 (21-4), G4 (25-8), H4 (29-32), I4 (33-6), J4 (37-40), K4 (41-4), L4 (45-8), M4 (49-52), N4 (53-6), O4 (57-60), P4 (61-4), Q4 (65-8), R4 (69-72), S4 (73-6), T4 (77-80), U4 (81-4), V4 (85-8), W4 (89-92), X2 (93-4), Y4 (95-8). There are pastedown cancel slips on ff. 31v, 32r, 32v, 39r, 76v and 85v. Unused ruled staves on ff. 1r, 16r, 20v-25r, 46v-50r, 51r, 53r, 71v-75r, 90r and 95v-end.
  • Mus. 475 (Tenor): ii+72+ii leaves. Textblock largely foliated in ink as ff. '[25]-[96]' by the principal copyist, with minor emendations and additions in modern pencil. Collation: A4 (ff. [25]-8), B4 (29-32), C4 (33-6), D4 (37-40), E4 (41-4), F4 (45-8), G4 (49-52), H4 (53-6), I4 (57-60), J4 (61-4), K4 (65-8), L4 (69-72), M4 (73-6), N4 (77-80), O4 (81-4), P4 (85-8), Q4 (89-92), R4 (93-6). There are pastedown cancel slips on ff. 41v, 75v and 84r. Unused ruled staves on ff. [25]r,.46v-50r, 71v-75r and 95v-end.
  • Mus. 476 (Quintus): ii+64+ii leaves. Textblock largely foliated in ink as ff. '[50]-[101]' by the principal copyist, with minor emendations and additions in modern pencil. Collation: A4 (ff. [50]-53), B4 (54-7), C4 (58-61), D4 (62-5), E4 (66-9), F4 (70-3; f. 71 is largely torn out), G4 (74-7), H4 (78-81), I4 (82-5), J4 (86-9), K4 (90-3), L4 (94-7), M4 (98-101). There are pastedown cancel slips on ff. 77r, 86r, 88v and 93r. Unused ruled staves on ff. [50]r, 72v-75r and 95v-end.
  • Mus. 477 (Sextus): ii+30+ii leaves. Textblock largely foliated in ink as ff. '[75]-[104]' by the principal copyist. Collation: A2 (ff. [75]-76), B4 (77-80), C4 (81-4), D4 (85-8), E4 (89-92), F4 (93-6), G4 (97-100), H4 (101-4). There are pastedown cancel slips on ff. 76v, 85v and 90r. Unused ruled staves on ff. [75]r, 91r and 95v-end.
  • Mus. 478 (Bassus): ii+98+ii leaves. Textblock largely foliated in ink by the principal copyist, with minor emendations and additions in modern pencil. Collation: A4 (ff. 1-4), B4 (5-8), C4 (9-12), D4 (13-16), E4 (17-20), F4 (21-4), G4 (25-8), H4 (29-32), I4 (33-6), J4 (37-40), K4 (41-4), L4 (45-8), M4 (49-52), N4 (53-6), O4 (57-60), P2 (61-2), Q4 (63-6), R4 (67-70), S4 (71-4), T4 (of which T3-4 were excised before foliation took place; T1-2 = ff. 75-6), U2 (77-8), V4 (79-82), W4 (83-6), X2 (87-90), Y4 (91-4), Z4 (95-8). There are pastedown cancel or supplementary slips on ff. 5r, 51v, 53r, 83v and 87v. Unused ruled staves on ff. 1r, 6r, 15r, 17r, 18r, 20v-25r, 46v-50r, 71v-75r, 83v and 95v-end.
Mid 17th-century bindings of brown leather over boards. Upper and lower covers gold-tooled with fillets enclosing ornamental centrepieces of three different designs: design A on Cantus, Altus, Quintus and Sextus partbooks; design B on Tenor partbook; design C on Bassus partbook. Part-names are also tooled in gilt on the front covers (with the exception of the Altus, Mus. 474, in which the part-name is erroneously tooled on the lower cover with the volume inverted). All six partbooks have coloured edges, as follows: stippled red edges on Mus. 473, 475 and 476; solid red edges on Mus. 474 and 477; solid blue edges on Mus. 478. Bookplate 2 in all six partbooks. Rough pencil list of contents by Havergal on front endleaf [ii] of Mus. 478. 19th-century shelfmarks: I.6.33-8.

Provenance: probably from the Aldrich bequest, along with all other music-books now at Christ Church formerly owned by John Browne. Possibly the set listed in Dowding (main hand) at position N.1.5 as 'Fancies / By Coperario, Alphonso &c. MS. in 6. Vols. & several English Anthems'; this entry cannot be matched with any other partbook set in the Christ Church collections. Although Mus. 473-8 contains no 'English anthems', nonetheless some of the contents have titles that might have caught the eye of the Dowding cataloguer. The presence of Bookplate 2 within the partbooks serves further to support the link with Aldrich.

Microfilm: manuscript music, reel 20.

Select bibliography:

  • Andrew Ashbee, 'Instrumental Music from the Library of John Browne (1608-1691), Clerk of the Pariaments', Music & Letters, 58 (1977), 43-59. 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), pp. 266-7. 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. 206. Find in a Library
  • The Viola da Gamba Society Index of Manuscripts Containing Consort Music, compiled by Andrew Ashbee, Robert Thompson and Jonathan Wainwright, vol. 2 (Aldershot etc., 2008), 1-3 and 263-9. Find in a Library