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Mus. 48

Manuscript. Miscellany of Italian and English sacred and secular music, written in score; five copyists, all English, late 17th and early 18th centuries. (For a related manuscript copied by Henry Aldrich, see Mus. 43.) The following copyists were responsible for items listed in the inventory below:

  • items 1-5: Richard Goodson Sr.
  • items 6-9: Unidentified/A. There are some similarities of script and notation with Francis Smith (d. 1698), hence the identification in Robert Shay and Robert Thompson, Purcell Manuscripts: The Principal Musical Sources (Cambridge, 2000) p. 313; but enough divergences exist to suggest that this is in fact a different copyist.
  • items 10-20 and 22: Unidentified/B. According to Wainwright, Musical Patronage (in Bibliography below; p. 377), items 6-9 and 10-20 were copied by a single hand, but a clear distincton can be drawn between the two copyists. Neither can be matched confidently with the copyist of Mus. 1151, ff. 1v-5r (as claimed in Wainwright, p. 377, footnote a).
  • items 21, 23-27 and 29-32: Henry Aldrich.
  • item 28: John Church. (For a list of other manuscripts at Christ Church copied by Church, see the entry for Mus. 50.)

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

1 Giovanni Paolo Colonna Pulchra es, amica mea pp. 1-9
2 Giovanni Battista Bassani? Ride tellus, gaude caelum pp. 10-19
3 Giovanni Paolo Colonna O splendida dies pp. 20-26
4 Giovanni Battista Bassani (attrib.) Esurientes, venite pp. 27-33
5 Giovanni Paolo Colonna Advolate, fideles populi pp. 34-41
6 Giovanni Felice Sances Laetamini in Domino pp. 42-46
7 Giovanni Felice Sances Ardet cor meum et anima mea pp. 47-51
8 Giovanni Felice Sances Audite me, divini fructus pp. 51-55
9 Giovanni Felice Sances Dulcis amor Jesu pp. 56-58
10 Pietro Reggio Miserere mei Deus pp. 58-67
11 Nicholas Lanier O amantissime Domine (embellished version) pp. 68-69
12 Alessandro Stradella Sopra un'eccelsa torre pp. 70-79
13 Matthew Locke And a voice came out of the throne pp. 79-82
14 Edward Gibbons Awake and arise pp. 82-83
15 Christopher Gibbons Gloria Patri et Filio pp. 84-85
16 Jeremiah Clarke The Lord is my strength ('A Thanksgiving Anthem June 27: 1706') pp. 86-100
17 Jeremiah Clarke I will love thee, O Lord ('a Thanksgiving Anthem [1705]') pp. 100-121
18 Bonifazio Graziani; English words by 'Dr Pickering' They that go down to the sea (= Dedit abyssus vocem suam) pp. 122-125
19 Pietro Antonio Fiocco Caeli dapes ut vivatis pp. 126-135
20 Sigismondo d'India In principio creavit Deu pp. 136-139
21 Giovanni Pierluigi da Palestrina Exultate Deo (textless, incomplete) pp. 140-143
22 Alessandro Stradella La ragion m'assi cura (extract from 'Vola, vola in altri petti') pp. 144-149
23 Henry Aldrich (after Richard Farrant and Henry Lawes) Not unto us, Lord (derived from Farrant, 'Lord, for thy tender mercy's sake', and H. Lawes, 'Zadok the priest') pp. 150-152
24 Henry Aldrich (after an unidentified model) O Lord God of our salvation (2nd version) pp. 153-156
25 Henry Aldrich (after an unidentified model) Be thou exalted, O Lord pp. 157-160
26 Edmund Hooper I will magnify thee, O God pp. 160-164
27 Christopher Tye (shortened; by Henry Aldrich?) I will exalt thee, O Lord pp. 165-167
28 John Blow The Lord hear thee in the day of trouble pp. 167-170
29 Thomas Tallis (spurious; ?arr. Henry Aldrich) Preces, psalm and responses ('Litany-service, For men') pp. 170-173
30 Thomas Tallis, adapted by Henry Aldrich Litany (4-voice arrangement) pp. 174-178
31   O Lord, deal not with us after our sins ('Second suffrages') pp. 179-181
32   28 psalm-tunes from a projected sequence of 31, by Blow, 'Dr. A.', Humfrey, Goodson Sr., Thomas Purcell, Edward Purcell, Henry Purcell, Withy, Turner, Isaac, Smith, and anon. pp. 181-186

Upright format, 335 x 217 mm. Collation: originally 24 gatherings each of 2 nested bifolios (= 4 folios), = 96 folios. Of these, 93 folios remain. In gathering 20, the fourth leaf (after p. 158) has been excised and is now a stub. Gathering 24: the inner bifolio (between pp. 184 and 185) has been removed. Changes of copyist occur during gatherings, rather than between them. Paginated in pencil by Malchair, who was also responsible for providing an outline list of contents on the front flyleaf (with additions and corrections by Havergal and later users). A loose sheet of comments by Malchair is inserted following p. 122; for a transcription, see Wainwright, p. 376. Early 18th-century binding of marbled paper over boards, strengthened at the edges with strips of vellum; the vellum spine is probably a later addition. No early bookplate. 19th-century shelfmark: I.1.12.

Provenance: presumably from the Aldrich bequest, on account of the presence of Aldrich's own hand within the volume. The earliest catalogue entry for this volume is by Malchair (f. 4r), where it is assigned the letter 'G' within a sequence of volumes bearing letter-designations. Almost certainly this would place Mus. 48 within the sequence described by Hind (in Dowding) as '18 Vols. of Musick, chiefly M.S. mark'd on the Backs, A. B. C. C.2. D. D.2. E. E.2. F. H. I. K. L. M. M.2. N. O. P. Q. T.' In Mus. 48 itself, there is no trace of the identifying letter 'G', but this may have been written on an earlier state of the spine, and lost during subsequent repair.

Microfilm: manuscript music, reel 6.


Jonathan P. Wainwright, Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670) (Aldershot and Brookfield VT, 1997), pp. 376-8. Find in a Library