Christ Church Library music catalogue: Mus. 510-14

Mus. 510-14

Manuscript. Complete set of five partbooks, assembled by Henry Aldrich in the late 17th century. The volumes were designed to accommodate the so-called 'Tregian Partbooks' of c. 1620 (Layer 2), the contents or pages of which had already been numbered '97-144' by their copyist. To these, Aldrich added an upper layer of 48 leaves (= 96 pages; Layer 1) in each partbook, in order to precede and complement the 'Tregian' numbers.

Layer 1 (pp. 1-96, = items 1-5): motets and English service music by Thomas Tallis, adapted and copied by Henry Aldrich; English, late 17th century.
Layer 2 (pp. 97-144, = items 6-49): Italian madrigals, copied from Italian printed sources; English, c. 1620. Copyist uncertain; formerly thought to be Francis Tregian, but the identification has been challenged by Thompson (see Bibliography below).

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. 510	Mus. 511	Mus. 512	Mus. 513	Mus. 514
1	1	[Thomas Tallis; arr. Henry Aldrich]	I look for the Lord [adaptation of 'Absterge Domine']	p. 2	p. 2	p. 2	p. 2	p. 2
2	2	[Thomas Tallis; arr. Henry Aldrich]	I look for the Lord [adaptation of 'Absterge Domine']	p. 3	p. 3	p. 3	p. 3	p. 3
3	3	[Thomas Tallis; arr. Henry Aldrich]	O pray for the peace of Jerusalem [adaptation of 'In manus tuas' and 'O nata lux']	p. 4	p. 4	p. 4	p. 4	p. 4
4	4	[Thomas Tallis; arr. Henry Aldrich]	[Litany]		pp. 6-7	pp. 6-7	pp. 6-7	p. 6
5		[Thomas Tallis; arr. Henry Aldrich]	[Litany]	pp. 6-7	pp. 8-9	pp. 8-9	pp. 8-9	pp. 10-11
6	97	Alfonso Fontanelli	Padre del ciel	p. 97	p. 97	p. 97	p. 97	p. 97
7	98	Marco da Gagliano	O sonno, O della quet'humida	p. 98	p. 98	p. 98	p. 98	p. 98
8	99	Marco da Gagliano	Questo silenzio che'l di fuggo	p. 99	p. 99	p. 99	p. 99	p. 99
9	100	Marco da Gagliano	L'ardente tua facella	p. 100	p. 100	p. 100	p. 100	p. 100
10	101	Marco da Gagliano	Su la sponda del Tebro	p. 101	p. 101	p. 101	p. 101	p. 101
11	102	Marco da Gagliano	Filli, mentre ti bacio	p. 102	p. 102	p. 102	p. 102	p. 102
12	103	Lucrezio Quintiani	Dolce esco del mio cor	p. 103	p. 103	p. 103	p. 103	p. 103
13	104	Lucrezio Quintiani	Dolce d'ogni mio ben ricco tesoro	p. 104	p. 104	p. 104	p. 104	p. 104
14	105	Carlo Gesualdo	Caro, caro amoroso neo	p. 105	p. 105	p. 105	p. 105	p. 105
15	106	Carlo Gesualdo	Hai rotto, e sciolto	p. 106	p. 106	p. 106	p. 106	p. 106
16	107	Carlo Gesualdo	Che sentir deve il petto	p. 107	p. 107	p. 107	p. 107	p. 107
17	108	Carlo Gesualdo	Candida man	p. 108	p. 108	p. 108	p. 108	p. 108
18	109	Carlo Gesualdo	Non mi togl'il ben mio	p. 109	p. 109	p. 109	p. 109	p. 109
19	110	Carlo Gesualdo	All'apparir di quelle luci ardenti	p. 110	p. 110	p. 110	p. 110	p. 110
20	111	Carlo Gesualdo	Baci soavi e cari	p. 111	p. 111	p. 111	p. 111	p. 111
21	112	Carlo Gesualdo	Mentre Madonn'il lasso	p. 112	p. 112	p. 112	p. 112	p. 112
22	113	Carlo Gesualdo	Ahi troppo saggia nel'errar	p. 113	p. 113	p. 113	p. 113	p. 113
23	114	Carlo Gesualdo	Del bel de bei vostr'occhi	p. 114	p. 114	p. 114	p. 114	p. 114
24	115	Carlo Gesualdo	Ahi dispietat'e cruda	p. 115	p. 115	p. 115	p. 115	p. 115
25	116	Carlo Gesualdo	Languisc'e moro	p. 116	p. 116	p. 116	p. 116	p. 116
26	117	Carlo Gesualdo	Dolcissimo sospiro	p. 117	p. 117	p. 117	p. 117	p. 117
27	118	Carlo Gesualdo	Deh se gia fu crudele	p. 118	p. 118	p. 118	p. 118	p. 118
28	119	Carlo Gesualdo	Questa crudele e pia	p. 119	p. 119	p. 119	p. 119	p. 119
29	120	Carlo Gesualdo	Moro, moro, e mentre sospiro	p. 120	p. 120	p. 120	p. 120	p. 120
30	121	Carlo Gesualdo	Quando di lui	p. 121	p. 121	p. 121	p. 121	p. 121
31	122	Carlo Gesualdo	Sparge la mort'al mio signor	p. 122	p. 122	p. 122	p. 122	p. 122
32	123	Carlo Gesualdo	Mentre gira costei	p. 123	p. 123	p. 123	p. 123	p. 123
33	124	Carlo Gesualdo	Ecco moriro dunque	p. 124	p. 124	p. 124	p. 124	p. 124
34	125	Tomaso Pecci	Se gl'amorosi miei	p. 125	p. 125	p. 125	p. 125	p. 125
35	126	Tomaso Pecci	Cosi in gelida	p. 126	p. 126	p. 126	p. 126	p. 126
36	127	Tomaso Pecci	Amarilli de mia	p. 127	p. 127	p. 127	p. 127	p. 127
37	128	Tomaso Pecci	Perfidissimo volto	p. 128	p. 128	p. 128	p. 128	p. 128
38	129	Tomaso Pecci	Ahi che spent'e'l desio	p. 129	p. 129	p. 129	p. 129	p. 129
39	130	Tomaso Pecci	O donna, troppo crud'e troppo bella	p. 130	p. 130	p. 130	p. 130	p. 130
40	131	Tomaso Pecci	Ahi, ch'el mio cor si fuggi	p. 131	p. 131	p. 131	p. 131	p. 131
41	132	Tomaso Pecci	Dolce tormento mio	p. 132	p. 132	p. 132	p. 132	p. 132
42	133	Tomaso Pecci	Cosi pietosa i colpi rinovella	p. 133	p. 133	p. 133	p. 133	p. 133
43	134	Tomaso Pecci	Ch'io mora, ohime ch'io mora	p. 134	p. 134	p. 134	p. 134	p. 134
44	135	Tomaso Pecci	Quel neo, quel vago neo	p. 135	p. 135	p. 135	p. 135	p. 135
45	136	Tomaso Pecci	Sospir, che del bel petto di Madonna	p. 136	p. 136	p. 136	p. 136	p. 136
46	137	Tomaso Pecci	Amor io parto	p. 137	p. 137	p. 137	p. 137	p. 137
47	138	Tomaso Pecci	O nelle tue sventure aventurosa	p. 138	p. 138	p. 138	p. 138	p. 138
48	139	Tomaso Pecci	E pender semi viva	p. 139	p. 139	p. 139	p. 139	p. 139
49	140	Tomaso Pecci	Del piu leggiadro fiore	p. 140	p. 140	p. 140	p. 140	p. 140

Oblong format, 230 x 175 mm. Collation details: see Wainwright (in Bibliography below). Layer 2 is paginated in ink by the copyist. Layer 1 was partly foliated in pencil in the early 20th century; this foliation was cancelled and replaced by the current pagination system in February 1989 (The full pagination system will therefore not be present in microfilms made before that date.) Late 17th-century bindings of the 'Aldrich binding' Type 1+; spines gold-tooled 'Z / V. B' [i.e. set 'Z', comprising 5 books], followed by numerals 'I-V' to distinguish the partbooks from one another. Bookplate 2. 19th-century shelfmarks: I.7.12-16.

Provenance: from the Aldrich bequest, listed in Dowding (main hand), item M.2.1, as 'Madrigali - MS / Del Prencipe di Venosa, Marco Gagliano, Lucr. Quintiani, Fontanelli & Tom Pecci. 5 Vol:'.

Microfilm: manuscript music, reel 49.

Bibliography:

Jonathan P. Wainwright, Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670) (Aldershot and Brookfield VT, 1997), pp. 190-1 and 389-91.
Ruby Reid Thompson, 'Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View', Music & Letters, 82 (2001), pp. 1-31.

This is one of the many music manuscripts at Christ Church copied by Henry Aldrich.