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Mus. 521-4

Manuscript. Complete set of four vocal partbooks, containing at the front (items 1-16) fair copies by Henry Aldrich of motets by Palestrina, and at the rear (volumes inverted, items 17-19) three anthems by Aldrich in autograph fair copy, two of which are adapted from the Palestrina motets copied at the other end of the set. English, late 17th century. The Palestrina copies probably derive ultimately from Aldrich's copy of Festorum totius anni cum communi sanctorum quaternis vocibus (Rome, 1622) in Mus. 887-92(4). However, to judge from the precise durations given to final notes in each voice-part, they were almost certainly copied from an unidentified intermediate score. For other adaptations by Aldrich of Palestrina motets in this set, see the entry for Mus. 16.

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. 521Mus. 522Mus. 523Mus. 524
1 1 Giovanni Pierluigi da Palestrina Dies sanctificatus ff. 1r-v ff. 1r-v ff. 1r-v ff. 1r-v
2 2 Giovanni Pierluigi da Palestrina Lapidabant Stephanum ff. 2r-v ff. 2r-v ff. 2r-v ff. 2r-v
3 3 Giovanni Pierluigi da Palestrina Valde honorandus est ff. 3r-v ff. 3r-v ff. 3r-v ff. 3r-v
4 4 Giovanni Pierluigi da Palestrina Magnum haereditatis mysterium ff. 4r-v ff. 4r-v ff. 4r-v ff. 4r-v
5 5 Giovanni Pierluigi da Palestrina Tribus miraculis ornatum ff. 5r-v ff. 5r-v ff. 5r-v ff. 5r-v
6 6 Giovanni Pierluigi da Palestrina Hodie beata virgo Maria ff. 6r-v ff. 6r-v ff. 6r-v ff. 6r-v
7 7 Giovanni Pierluigi da Palestrina Ave Maria ff. 7r-v ff. 7r-v ff. 7r-v ff. 7r-v
8 8 Giovanni Pierluigi da Palestrina Jesus iunxit se discipulis suis ff. 8r-v ff. 8r-v ff. 8r-v ff. 8r-v
9 9 Giovanni Pierluigi da Palestrina O Rex gloriae ff. 9r-v ff. 9r-v ff. 9r-v ff. 9r-v
10 10 Giovanni Pierluigi da Palestrina Loquebantur variis linguis ff. 10r-v ff. 10r-v ff. 10r-v ff. 10r-v
11 11 Giovanni Pierluigi da Palestrina Benedicta sit sancta Trinitas ff. 11r-v ff. 11r-v ff. 11r-v ff. 11r-v
12 12 Giovanni Pierluigi da Palestrina Lauda Sion Salvatorem ff. 12r-v ff. 12r-v ff. 12r-v ff. 12r-v
13 13 Giovanni Pierluigi da Palestrina Fuit homo missus a Deo ff. 13r-v ff. 13r-v ff. 13r-v ff. 13r-v
14 14 Giovanni Pierluigi da Palestrina Tu es pastor ovium ff. 14r-v ff. 14r-v ff. 14r-v ff. 14r-v
15 15 Giovanni Pierluigi da Palestrina Magnus Sanctus Paulus ff. 15r-v ff. 15r-v ff. 15r-v ff. 15r-v
16 16 Giovanni Pierluigi da Palestrina Surge propera amica mea ff. 16r-v ff. 16r-v ff. 16r-v ff. 16r-v
17   Henry Aldrich Give ear, O Lord ff. 140r-139v ff. 143r-142v ff. 143r-142v ff. 144r-143v
18   Palestrina; arr. Henry Aldrich Why art thou so vexed [= 'Ave Maria'] ff. 139r-138v ff. 142r-141v ff. 142r-141v ff. 143r-142v
19   Palestrina; arr. Henry Aldrich O God the King of glory [= 'O Rex gloriae'] ff. 138r-137v ff. 141r-140v ff. 141r-140v ff. 142r-141v

Oblong format, 205 x 155 mm. Each partbook contains c.18 gatherings each of 4 nested bifolios (= 8 folios). Of these, the first two gatherings have been used to copy items 1-16, and the last for items 17-19; the remaining gatherings contain unused ruled staves. Foliation is in modern pencil, and extends only through the three gatherings in which music is copied. Late 17th-century bindings of dark brown leather over boards, blind-tooled with fillets and small ornaments. (The tools used do not correspond to those of the standard 'Aldrich binding' type.) Bookplate 2 in all 4 volumes. 19th-century shelfmarks: I.7.23-6.

Provenance: from the Aldrich bequest. Listed in Dowding (main hand) at position M.2.3 as 'Latin Collects MS. / on all the Saints days set to music in 4. Vols'. By the time Burney compiled his catalogue, the set had been moved to position M.4.2. The shelfmark 'M.4.2' is written on the front flyleaf of Mus. 521, and is concealed or partly concealed under pastedown contents-lists by Weedon in the other volumes of the set.

Microfilm: manuscript music, reel 22.


Robert Shay (ed.), Henry Aldrich: Selected Anthems and Motet Recompositions, Recent Researches in the Music of the Baroque Era, 85 (Madison, 1998). Find in a Library