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Mus. 736-8

Manuscript. Three partbooks from a set of four, containing sacred and secular vocal works largely by Thomas Ford and John Jenkins; English, mid 1630s. According to annotations on the set's original upper wrappers, Mus. 736 is the 'Contratennor' partbook, Mus. 737 the 'Tennor', and Mus. 738 the 'Bassus'; the basso continuo partbook is missing. The contents were copied by two scribes, neither of whom has been identified; for details, see below.

Mus. 736-8 falls into three distinct layers, each of which has had its contents numbered by the scribe(s) in a separate sequence, as shown in column 2 in the inventory below. The layers are as follows:

  • Layer 1: items 1-8: first sequence of works by Ford, followed by an incomplete piece by Jenkins (item 9) inserted as a late addition. Unused pages at the end.
  • Layer 2: items 10-36: second sequence of works by Ford, with a change of paper-stock at the end of the layer. (For details of this, see the physical descriptions of the partbooks below the inventory.) This implies that Layer 2 was expanded beyond its envisaged bounds. Unused pages at the end.
  • Layer 3: items 36-55: works by Jenkins and others. Unused pages at the end.
The principal scribe of Mus. 736-8, who remains unidentified, was responsible for copying everything except items 22-5 and 55, which are the work of a second hand. The latter copyist has been claimed (by Pinto; see Bibliography below, p. 92) as one of the contributing hands to Mus. 56-60, but without details that would support this theory. The possibility of a link between the two sets would merit fuller investigation, not least because it has implications for the provenance history of Mus. 736-8.

Comments on individual pieces:

  • Item 9 was abandoned after seven staves in Mus. 736, and is missing from the other two partbooks.
  • Item 42: in Mus. 736 this piece is headed: 'An Elegie on the Death of the Renowned and worthy Gent, William Austin of Lincolnes Inne Esquire'. William Austin died in 1634; see The Oxford Dictionary of National Biography.
  • Item 44: an elegy for an unidentified musician called 'Markes'. For further details, see Smith (in Bibliography below), pp. 173-6.
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. 736Mus. 737Mus. 738
1 1 Thomas Ford Hail, holy woman ff. 1r-v ff. 1r-v ff. 1r-v
2 2 Thomas Ford Yea, wond'rous fair to see to ff. 1v-2r ff. 1v-2r f. 2r
3 3 Thomas Ford Yet if his majesty, our sovereign Lord ff. 2v-3r ff. 2v-3r ff. 2v-3r
4 4 Thomas Ford Sigh no more, ladies ff. 3r-4r ff. 3r-4r ff. 3r-v
5 5 Thomas Ford Say, bold but blessed thief f. 4r f. 4r f. 4r
6 6 Thomas Ford Fire, fire! Lo, here I burn f. 4v f. 4v f. 4v
7 7 Thomas Ford Come, let us here enjoy the shade ('A dialogue') f. 5r f. 5r f. 5r
8 8 Thomas Ford Strike, Lord! Why wilt thou sheath thy sword? ('A dialogue') f. 5v f. 5v f. 5v
9   John Jenkins Fair Aristilla, see the waves appear (incomplete) f. 6r    
10 1 Thomas Ford Come forth, my dear f. 8r f. 8r f. 9r
11 2 Thomas Ford Now sleeps my love f. 8v f. 8v f. 9v
12 3 Thomas Ford What greater joy can bless my soul f. 9r f. 9r f. 10r
13 4 Thomas Ford O thou whose love I prize f. 9v f. 9v f. 10v
14 5 Thomas Ford O how my soul is ravished f. 10r f. 10r f. 11r
15 6 Thomas Ford Whoever smelt the breath of morning flowers f. 10v f. 10v f. 11v
16 7 Thomas Ford At night, lie down f. 11r f. 11r f. 12r
17 8 Thomas Ford My sins are like the hairs upon my head f. 11v f. 11v f. 12v
18 9 Thomas Ford Go, wounded soul f. 12r f. 12r f. 13r
19 10 Thomas Ford My love is like a garden f. 12v f. 12v f. 13v
20 11 Thomas Ford What curious face is this f. 13r f. 13r f. 14r
21 12 Thomas Ford Strike thou the anvil f. 13v f. 13v f. 14v
22 13 Thomas Ford My griefs are full f. 14r f. 14r f. 15r
23 14 Thomas Ford Praise the Lord, O my soul f. 14v f. 14v f. 15v
24 15 Thomas Ford O praise the Lord, for it is a good thing f. 15r f. 15r f. 16r
25 16 Thomas Ford Hear my prayer, O Lord, and with thine ears f. 15v f. 15v f. 16v
26 17/18 Thomas Ford O clap your hands together ff. 16r-v ff. 16r-v ff. 17r-v
27 19 Thomas Ford Forsake me not, O lord f. 17r f. 17r f. 18r
28 20 Thomas Ford Bow down thine ear, O Lord ff. 17v-18r ff. 17v-18r ff. 18v-19r
29 21 Thomas Ford Why art thou so heavy, O my soul? f. 18v f. 18v f. 19v
30 22 Thomas Ford Glory be to the Father f. 19r f. 19r f. 20r
31 23 Thomas Ford Sweet yet cruel, unkind is she ff. 19v-20r ff. 19v-20r ff. 20v-21r
32 24 Thomas Ford Grief, keep in f. 20r f. 20r f. 21r
33 25 Thomas Ford What's a woman but her will f. 20v f. 20v f. 21v
34 26 Thomas Ford How sits this city f. 21r f. 21r f. 22r
35 27 Thomas Ford Let not thy blackness f. 21v f. 21v f. 22v
36 28 Thomas Ford Our life is nothing but a winter's day f. 22r f. 22r f. 23r
37 1 John Jenkins Tell me, my love f. 23r f. 23r f. 24r
38 2 John Jenkins O Domine Deus f. 23v f. 23v f. 24v
39 3 John Jenkins O nomen Jesus f. 24r f. 24r f. 25r
40 4 John Jenkins The shepherds sing ff. 24v-25r ff. 24v-25r ff. 25v-26r
41 5 John Jenkins Awake, sad heart ff. 25v-26r ff. 25v-26r ff. 26v-27r
42 6 Simon Ives Sad clouds of grief f. 26v f. 26v f. 27v
43 7 John Jenkins Glory, honour, power and praise f. 27r f. 27r f. 28r
44 8 John Jenkins No, no, he is not gone forever f. 27v f. 27v f. 28v
45 9 John Jenkins O sacred tears f. 28r f. 28r f. 29r
46 10 John Jenkins Vainglorious peace f. 28v f. 28v f. 29v
47 11 John Jenkins Tune me, O Lord f. 29r f. 29r f. 30r
48 12 John Jenkins Holy and blessed spirit divine f. 29v f. 29v f. 30v
49 13 John Jenkins Cease, my soul, your mourning f. 30r f. 30r f. 31r
50 14 John Jenkins Mercy, dear Lord f. 30v f. 30v f. 31v
51 15 John Jenkins O take thy lute and tune it f. 31r f. 31r f. 32r
52 16 John Jenkins And art thou grieved ff. 31v-32r ff. 31v-32r ff. 32v-33r
53 17 John Jenkins Then with our trinity f. 32v f. 32v f. 33v
54 18 John Jenkins Bright spark, shot from a brighter place f. 33r f. 33r f. 34r
55 19   No, 'tis in vain f. 33v f. 33v f. 34v

Upright format, 295 x 225 mm. Collation: all three partbooks contain 40 leaves, essentially in ten gatherings of fours (i.e. A-J4). The paper-stock is consistent except for gathering G, which in all three partbooks has a different watermark; this change coincides with the end of Layer 2, and implies that Layer 2 was expanded only after work had begun (or been finished) on Layer 3. The foliation system, which is in modern pencil, does not take account of the uncut leaves that occur in all three partbooks. The relationship of collation to foliation is as follows

  • Mus. 736 and 737: Gathering A4 = wholly unfoliated, and evidently used as wrappers for the remainder of each volume / B4 = ff. 1-4 / C4 = ff. 5-7 followed by an unfoliated leaf (uncut at the upper edge) / D4 = ff. 8-11 / E4 = ff. 12-15 / F4 = ff. 16-19 / G4 (with different watermark) = ff. 20-22 followed by an unfoliated leaf (uncut at the upper edge) / H4 = ff. 23-6 / I4 = ff. 27-30 / J4 = ff. 31-4. Unused ruled staves on sigs. C2v-4v (i.e. at the end of Layer 1), G3v-4v (i.e. at the end of Layer 2) and J4r-v (i.e. at the end of Layer 3).
  • Mus. 738: Gathering A4 = wholly unfoliated, and evidently used as a wrapper for the remainder of the volume / B4 = ff. 1-4 / C4 = ff. 5-8; this gathering comprises two nested half-sheets with different watermarks / D4 = ff. 9-12 / E4 = ff. 13-16 / F4 = ff. 17-20 / G4 (with different watermark) = ff. 21-23 followed by an unfoliated leaf (uncut at the upper edge) / I2 = ff. 24-5 / J2 = ff. 26-7 / J4 = ff. 28-31 / K4 = ff. 32-5. Unused ruled staves on sigs. C2r-4v (i.e. at the end of Layer 1), G3v-4v (i.e. at the end of Layer 2) and K4r-v (i.e. at the end of Layer 3).
Original paper wrappers are made from gathering A of each partbook, are now bound at the fronts of the partbooks. All three volumes have now been rebound in early 20th-century protective bindings of limp vellum. Bookplate 2 in Mus. 738 only, on what was formerly the verso of the rear wrapper (i.e. sig. A4v). The original upper wrapper of Mus. 737 is annotated in pencil by Malchair; all three wrappers have also been annotated by Havergal. 19th-century shelfmarks: K.3.43-5.

Provenance: possibly from the Hatton collection (as suggested by Pinto; see Bibliography below; this hypothesis awaits fuller investigation). Then part of the Aldrich bequest; listed in Archives 1717, shelfmark E5, as 'Songs of Verse & Chorus', to which a later hand has added 'by Ford & Jenkins'. The shelfmark 'E.5' is written in ink on the original upper wrapper of Mus. 738.

Microfilm: manuscript music, reel 28.

Select bibliography:

  • Donna Schulz Bloom, 'John Jenkins's Seventeen Sacred Songs in Christ Church MSS. 736-738', M. A. thesis, Cornell University, 1971; this includes a transcription of items 37-41 and 43-54 in the inventory above. A copy of this dissertation is held at Christ Church, and is available to readers on request. Find in a Library
  • David Pinto, 'The Music of the Hattons', Royal Musical Association Research Chronicle, 23 (1990), p. 92. Find in a Library
  • Kathryn Smith, '"To Glorify Your Choir"': The Context of Jenkins's Sacred Vocal Music', John Jenkins and his Time: Studies in English Consort Music, ed. Andrew Ashbee and Peter Holman (Oxford, 1996), chapter 7 (pp. 171-88). Find in a Library