Mus. 78-82
Manuscript. Complete set of five partbooks, containing motets
and madrigals by Alfonso Ferrabosco (i); English, late 16th century.
The copyist, who is unidentified, was also responsible for London,
British Library, Madrigal Society MSS G. 44-7 & 49. There
are five discrete layers:
- Layer 1: items 1-8 (motets in 'high clefs').
- Layer 2: items 9-20 (multi-section motet).
- Layer 3: items 21-40 (motets in 'low clefs'); no. 40 is a later
addition.
- Layer 4: item 41 (Lamentation).
- Layer 5: items 42-87 (madrigals); no. 88 is a later addition.
The copyist numbered the pieces in two sequences, the first covering
the motets (Layers 1-3), the second the madrigals (Layer 5).
Most of the layers include pages of unused ruled staves headed
by item-numbers, on which copying of additional pieces was evidently
envisaged; thus, within the original numbering sequences, there
are unused pages reserved for the copying of motets 9 and 22-4,
and madrigal 11. Layer 4 ends with unused pages, as if for the
addition of further Lamentations. Additional observations on
copyists:
- Item 40: apparently a later addition by the main copyist.
- Item 41 (in Mus. 82, f. 43r): a substantial erratum change has
been made by a second copyist, who is also unidentified.
- Item 88: this is in a different hand, again unidentified.
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. 78 | Mus. 79 | Mus. 80 | Mus. 81 | Mus. 82 |
1 |
1 |
Alfonso Ferrabosco (i) |
Da pacem Domine [I] |
ff. 1v-2r | ff. 1v-2r | ff. 1v-2r | f. 1v | ff. 1v-2r |
2 |
2 |
Alfonso Ferrabosco (i) |
Mirabile mysterium |
ff. 2v-3r | ff. 2v-3r | ff. 2v-3r | ff. 2v-3r | ff. 2v-3r |
3 |
3 |
Alfonso Ferrabosco (i) |
Peccata mea, Domine |
ff. 3v-4r | ff. 3v-4r | ff. 3v-4r | ff. 3v-4r | ff. 3v-4r |
4 |
4 |
Alfonso Ferrabosco (i) |
Ad Dominum cum tribularer |
ff. 4v-5r | ff. 4v-5r | ff. 4v-5r | ff. 4v-5r | ff. 4v-5r |
5 |
5 |
Alfonso Ferrabosco (i) |
Ingemuit Susanna |
ff. 5v-6r | ff. 5v-6r | ff. 5v-6r | ff. 5v-6r | ff. 5v-5*r |
6 |
6 |
Alfonso Ferrabosco (i) |
Cantate Domino |
ff. 6v-7r | ff. 6v-7r | ff. 6v-7r | ff. 6v-7r | ff. 5*v-6r |
7 |
7 |
Alfonso Ferrabosco (i) |
Quia beneplacitum est (secunda pars of no. 6 above) |
ff. 7v-8r | ff. 7v-8r | ff. 7v-8r | ff. 7v-8r | ff. 6v-7r |
8 |
8 |
Alfonso Ferrabosco (i) |
Laboravi in gemitu meo |
f. 8v | f. 8v | f. 8v | f. 8v | f. 7v |
9 |
10 |
Alfonso Ferrabosco (i) |
Benedic, anima mea, Domino (prima pars) |
f. 9v | f. 9v | f. 9v | f. 9v | f. 8v |
10 |
11 |
Alfonso Ferrabosco (i) |
Extendens caelum (secunda pars of no. 9 above) |
f. 10r | f. 10r | f. 10r | f. 10r | |
11 |
12 |
Alfonso Ferrabosco (i) |
Qui fundasti terram (tertia pars of no. 9 above) |
ff. 10v-11r | ff. 10v-11r | ff. 10v-11r | ff. 10v-11r | ff. 9v-10r |
12 |
13 |
Alfonso Ferrabosco (i) |
Qui emittis fontes (quarta pars of no. 9 above) |
ff. 11v-12r | ff. 11v-12r | ff. 11v-12r | ff. 11v-12r | ff. 10v-11r |
13 |
14 |
Alfonso Ferrabosco (i) |
Rigans montes (quinta pars of no. 9 above) |
| ff. 12v-13r | ff. 12v-13r | ff. 12v-13r | ff. 11v-12r |
14 |
15 |
Alfonso Ferrabosco (i) |
Saturabuntur ligna campi (sexta pars of no. 9 above) |
ff. 13v-14r | ff. 13v-14r | ff. 13v-14r | ff. 13v-14r | ff. 12v-13r |
15 |
16 |
Alfonso Ferrabosco (i) |
Posuisti tenebras (septima pars of no. 9 above) |
ff. 14v-15r | ff. 14v-15r | ff. 14v-15r | ff. 14v-15r | ff. 13v-14r |
16 |
17 |
Alfonso Ferrabosco (i) |
Quam magnificata sunt (octava pars of no. 9 above) |
| ff. 15v-16r | ff. 15v-16r | ff. 15v-16r | |
17 |
18 |
Alfonso Ferrabosco (i) |
Draco iste (nona pars of no. 9 above) |
ff. 16v-17r | ff. 16v-17r | ff. 16v-17r | ff. 16v-17r | ff. 15v-16r |
18 |
19 |
Alfonso Ferrabosco (i) |
Emittes spiritum tuum (decima pars of no. 9 above) |
ff. 17v-18r | ff. 17v-18r | ff. 17v-18r | ff. 17v-18r | ff. 16v-17r |
19 |
20 |
Alfonso Ferrabosco (i) |
Cantabo Domino (undecima pars of no. 9 above) |
ff. 18v-19r | ff. 18v-19r | ff. 18v-19r | ff. 18v-19r | ff. 17v-18r |
20 |
21 |
Alfonso Ferrabosco (i) |
Miserere nostri, Domine (secunda pars of no. 30 below) |
f. 19v | f. 19v | f. 19v | f. 19v | f. 18v |
21 |
25 |
Alfonso Ferrabosco (i) |
Heu mihi, Domine [I] |
ff. 22v-23r | ff. 22v-23r | ff. 22v-23r | ff. 22v-23r | ff. 21v-22r |
22 |
26 |
Alfonso Ferrabosco (i) |
Tribulationem et dolorem inveni |
ff. 23v-24r | ff. 23v-24r | ff. 23v-24r | ff. 23v-24r | ff. 22v-23r |
23 |
27 |
Alfonso Ferrabosco (i) |
Judica me, Domine (prima pars) |
ff. 24v-25r | ff. 24v-25r | ff. 24v-25r | ff. 24v-25r | ff. 23v-24r |
24 |
28 |
Alfonso Ferrabosco (i) |
Vide humilitatem meam (secunda pars of no. 23 above) |
ff. 25v-26r | ff. 25v-26r | ff. 25v-26r | ff. 25v-26r | ff. 24v-25r |
25 |
29 |
Alfonso Ferrabosco (i) |
Conserva me, Domine (prima pars) |
ff. 26v-27r | ff. 26v-27r | ff. 26v-27r | ff. 26v-27r | ff. 25v-26r |
26 |
30 |
Alfonso Ferrabosco (i) |
Vias tuas, Domine (secunda pars of no. 25 above) |
ff. 27v-28r | ff. 27v-28r | ff. 27v-28r | ff. 27v-28r | ff. 26v-27r |
27 |
31 |
Alfonso Ferrabosco (i) |
Sana me, Domine (prima pars) |
ff. 28v-29r | ff. 28v-29r | ff. 28v-29r | ff. 28v-29r | ff. 27v-28r |
28 |
32 |
Alfonso Ferrabosco (i) |
Ne derelinquas me, Domine (secunda pars of no. 27 above) |
ff. 29v-30r | ff. 29v-30r | ff. 29v-30r | ff. 29v-30r | ff. 28v-29r |
29 |
33 |
Alfonso Ferrabosco (i) |
Musica laeta |
ff. 30v-31r | ff. 30v-31r | ff. 30v-31r | ff. 30v-31r | ff. 29v-30r |
30 |
34 |
Alfonso Ferrabosco (i) |
Ad te levavi oculos meos (prima pars; see no. 20 above) |
ff. 31v-32r | ff. 31v-32r | ff. 31v-32r | ff. 31v-32r | ff. 30v-31r |
31 |
35 |
Alfonso Ferrabosco (i) |
Surge propera ... columba mea (prima pars) |
ff. 32v-33r | ff. 32v-33r | ff. 32v-33r | ff. 32v-33r | ff. 31v-32r |
32 |
36 |
Alfonso Ferrabosco (i) |
Surge propera ... formosa mea (secunda pars of no. 31 above) |
ff. 33v-34r | ff. 33v-34r | ff. 33v-34r | ff. 33v-34r | ff. 32v-33r |
33 |
37 |
Alfonso Ferrabosco (i) |
Peccantem me quotidie |
ff. 34v-35r | ff. 34v-35r | ff. 34v-35r | ff. 34v-35r | ff. 33v-34r |
34 |
38 |
Alfonso Ferrabosco (i) |
Benedic, anima mea, Domino |
ff. 35v-36r | ff. 35v-36r | ff. 35v-36r | ff. 35v-36r | ff. 34v-35r |
35 |
39 |
Alfonso Ferrabosco (i) |
Aurora diem nuntiat |
ff. 36v-37r | ff. 36v-37r | ff. 36v-37r | ff. 36v-37r | ff. 35v-36r |
36 |
40 |
Alfonso Ferrabosco (i) |
Ecce iam noctis |
ff. 37v-38r | ff. 37v-38r | ff. 37v-38r | ff. 37v-38r | ff. 36v-37r |
37 |
41 |
Alfonso Ferrabosco (i) |
Domine, in virtute tua (prima pars) |
ff. 38v-39r | ff. 38v-39r | ff. 38v-39r | ff. 38v-39r | ff. 37v-38r |
38 |
42 |
Alfonso Ferrabosco (i) |
Magna est gloria eius (secunda pars of no. 37 above) |
ff. 39v-40r | ff. 39v-40r | ff. 39v-40r | ff. 39v-40r | ff. 38v-39r |
39 |
43 |
Alfonso Ferrabosco (i) |
Nuntium vobis fero |
ff. 40v-41r | ff. 40v-41r | ff. 40v-41r | ff. 40v-41r | ff. 39v-40r |
40 |
44 |
Luca Marenzio |
Che se tu se'l cor mio |
f. 41v | f. 41v | f. 41v | f. 41v | f. 40v |
41 |
|
Alfonso Ferrabosco (i) |
Incipit Lamentatio Ieremiae prophetae [I] |
ff. 45r-47r | ff. 45r-47r | ff. 45r-47r | ff. 45r-46r | ff. 42r-44r |
42 |
1 |
Alfonso Ferrabosco (i) |
Poichè lasso (prima parte) |
ff. 54v-55r | ff. 55v-56r | ff. 55v-56r | ff. 53v-54r | ff. 53v-54r |
43 |
2 |
Alfonso Ferrabosco (i) |
Ch'io sento ad hora (seconda parte of no. 42 above) |
ff. 55v-56r | ff. 56v-57r | ff. 56v-57r | ff. 54v-55r | ff. 54v-55r |
44 |
3 |
Alfonso Ferrabosco (i) |
Come sola (terza parte of no. 42 above) |
ff. 56v-57r | ff. 57v-58r | ff. 57v-58r | ff. 55v-56r | |
45 |
4 |
Alfonso Ferrabosco (i) |
Ove le luci giro (quarta parte of no. 42 above) |
ff. 57v-58r | ff. 58v-59r | ff. 58v-59r | ff. 56v-57r | ff. 56v-57r |
46 |
5 |
Alfonso Ferrabosco (i) |
Io son ferito |
ff. 58v-59r | ff. 59v-60r | ff. 59v-60r | ff. 57v-58r | ff. 57v-58r |
47 |
6 |
Alfonso Ferrabosco (i) |
Vidi pianger madonna (prima parte) |
ff. 59v-60r | ff. 60v-61r | ff. 60v-61r | ff. 58v-59r | ff. 58v-59r |
48 |
7 |
Alfonso Ferrabosco (i) |
Come dal ciel (seconda parte of no. 47 above) |
ff. 60v-61r | ff. 61v-62r | ff. 61v-62r | ff. 59v-60r | ff. 59v-60r |
49 |
8 |
Alfonso Ferrabosco (i) |
Tu dolce anima mia |
f. 61v | f. 62v | f. 62v | f. 60v | f. 60v |
50 |
9 |
Alfonso Ferrabosco (i) |
Non ardo et son nel foco (prima parte) |
f. 62r | f. 63r | f. 63r | f. 61r | f. 61r |
51 |
10 |
Alfonso Ferrabosco (i) |
Foco è'l mio cor (seconda parte of no. 50 above) |
f. 62v | f. 63v | f. 63v | f. 61v | f. 61v |
52 |
12 |
Alfonso Ferrabosco (i) |
Cantai un tempo |
ff. 63v-64r | ff. 64v-65r | ff. 64v-65r | ff. 62v-63r | ff. 62v-63r |
53 |
13 |
Alfonso Ferrabosco (i) |
Non ha tante |
f. 64v | f. 65v | f. 65v | f. 63v | f. 63v |
54 |
14 |
Alfonso Ferrabosco (i) |
Chi per voi non sospira |
f. 65r | f. 66r | f. 66r | f. 64r | f. 64r |
55 |
15 |
Alfonso Ferrabosco (i) |
Dolci ire (prima parte) |
ff. 65v-66r | ff. 66v-67r | ff. 66v-67r | ff. 64v-65r | ff. 64v-65r |
56 |
16 |
Alfonso Ferrabosco (i) |
Forse anchor fia (seconda parte of no. 55 above) |
f. 66v | f. 67v | f. 67v | f. 65v | f. 65v |
57 |
17 |
Alfonso Ferrabosco (i) |
Amor mi sprona |
f. 67r | f. 68r | f. 69r | f. 66r | f. 66r |
58 |
18 |
Alfonso Ferrabosco (i) |
Deh non ponete fine |
ff. 67v-68r | ff. 68v-69r | ff. 69v-70r | ff. 66v-67r | ff. 66v-67r |
59 |
19 |
Alfonso Ferrabosco (i) |
Dolci, mentre il ciel volse (prima parte) |
f. 68v | f. 69v | f. 70v | f. 67v | f. 67v |
60 |
20 |
Alfonso Ferrabosco (i) |
Felice, ohime (seconda parte of no. 59 above) |
f. 68(bis)r | f. 70r | f. 71r | f. 68r | f. 68r |
61 |
21 |
Alfonso Ferrabosco (i) |
Standomi un giorno (prima parte) |
ff. 68(bis)v-69r | ff. 70v-71r | ff. 71v-72r | ff. 68v-69r | ff. 68v-69r |
62 |
22 |
Alfonso Ferrabosco (i) |
Indi per alto mar (seconda parte of no. 61 above) |
ff. 69v-70r | ff. 71v-72r | ff. 72v-73r | ff. 69v-70r | ff. 69v-70r |
63 |
23 |
Alfonso Ferrabosco (i) |
In un boschetto (terza parte of no. 61 above) |
ff. 70v-71r | ff. 72v-73r | ff. 73v-74r | ff. 70v-71r | ff. 70v-71r |
64 |
24 |
Alfonso Ferrabosco (i) |
Chiara fontana (quarta parte of no. 61 above) |
ff. 71vv-72r | ff. 73v-74r | ff. 74v-75r | ff. 71v-71(bis)r | ff. 71v-72r |
65 |
25 |
Alfonso Ferrabosco (i) |
Una strania phenice (quinta parte of no. 61 above) |
ff. 72v-73r | ff. 74v-75r | ff. 75v-76r | ff. 71(bis)v-72r | ff. 72v-73r |
66 |
26 |
Alfonso Ferrabosco (i) |
Al fin vid'io (sesta parte of no. 61 above) |
ff. 73v-74r | ff. 75v-76r | ff. 76v-77r | ff. 72v-73r | ff. 73v-74r |
67 |
27 |
Alfonso Ferrabosco (i) |
Hor che la notte |
ff. 74v-75r | ff. 76v-77r | ff. 77v-78r | ff. 73v-74r | ff. 74v-75r |
68 |
28 |
Alfonso Ferrabosco (i) |
Se pur è ver |
f. 75v | f. 77v | f. 78v | f. 74v | f. 75v |
69 |
29 |
Alfonso Ferrabosco (i) |
Mentre ti fui sì grato (prima parte) |
f. 76r | f. 78r | f. 79r | f. 75r | f. 76r |
70 |
30 |
Alfonso Ferrabosco (i) |
Mentre ti fui sì cara (seconda parte of no. 69 above) |
ff. 76v-77r | f. 78v | f. 79v | f. 75v | f. 76v |
71 |
31 |
Alfonso Ferrabosco (i) |
Hor pien d'alto desio (terza parte of no. 69 above) |
ff. 77v-78r | f. 79r | f. 80r | f. 76r | f. 77r |
72 |
32 |
Alfonso Ferrabosco (i) |
Hor un laccio (quarta parte of no. 69 above) |
ff. 78v-79r | f. 79v | f. 80v | ff. 76v-77r | ff. 77v-78r |
73 |
33 |
Alfonso Ferrabosco (i) |
Lasso donque che sia (quinta parte of no. 69 above) |
ff. 79v-80r | f. 80r | f. 81r | f. 77v | f. 78v |
74 |
34 |
Alfonso Ferrabosco (i) |
Ben chè senza mentire (sesta parte of no. 69 above) |
ff. 80v-81r | f. 80v | f. 81v | ff. 77v-78r | f. 79r |
75 |
35 |
Alfonso Ferrabosco (i) |
Vorrei lagnarmi a pieno (prima parte) |
ff. 81v-82r | f. 81r | f. 82r | ff. 78v-79r | f. 79v |
76 |
36 |
Alfonso Ferrabosco (i) |
S'io taccio (seconda parte of no. 75 above) |
ff. 82v-83r | f. 81v | f. 82v | f. 79v | f. 80r |
77 |
37 |
Alfonso Ferrabosco (i) |
Perle, rubini et ostro |
ff. 83v-84r | f. 82r | f. 83r | f. 80r | f. 80v |
78 |
38 |
Alfonso Ferrabosco (i) |
O dolcissimo bacio |
ff. 84v-85r | ff. 82v-83r | f. 83v | f. 80v | f. 81r |
79 |
39 |
Alfonso Ferrabosco (i) |
Già fu mai dolce speme |
ff. 85v-86r | ff. 83v-84r | f. 84r | f. 81r | f. 81v |
80 |
40 |
Alfonso Ferrabosco (i) |
Voi volete ch'io moia |
ff. 86v-87r | ff. 84v-85r | ff. 84v-85r | ff. 81v-82r | ff. 81v-82r |
81 |
41 |
Alfonso Ferrabosco (i) |
Cara la vita mia |
ff. 87v-88r | ff. 85v-86r | ff. 85v-86r | ff. 82v-83r | ff. 82v-83r |
82 |
42 |
Alfonso Ferrabosco (i) |
Quant'io son infelice |
ff. 88v-89r | ff. 86v-87r | f. 86v | ff. 83v-84r | f. 83v |
83 |
43 |
Alfonso Ferrabosco (i) |
Godea Tirsi gli amori |
ff. 89v-90r | ff. 87v-88r | f. 87r | ff. 84v-85r | f. 84r |
84 |
44 |
Alfonso Ferrabosco (i) |
Chi ha cor da partire |
ff. 90v-91r | f. 88v | f. 87v | f. 85r | f. 84v |
85 |
45 |
Alfonso Ferrabosco (i) |
O crude pene mie |
ff. 91v-92r | ff. 88v-89r | ff. 87v-88r | ff. 85v-86r | f. 85r |
86 |
46 |
Alfonso Ferrabosco (i) |
Non fingo |
f. 92v | f. 89v | f. 88v | f. 86v | f. 85v |
87 |
47 |
Alfonso Ferrabosco (i) |
Donna, se voi m'odiate |
ff. 92v-93r | f. 90r | ff. 88v-89r | f. 87r | ff. 85v-86r |
88 |
|
|
(Composing draft of the opening of a pavan, in score) |
| | f. 94v | | |
Upright format, 280 x 215 mm. Foliation in modern pencil, with
several errors; minor adjustments were made to the foliation
system in March 2006, and will not be present in microfilms made
before that date. Collation:
- Mus. 78 (Cantus): Layer 1 = A4, B4 (= ff. 1-8); unused ruled
staves on f. 1r. / Layer 2 = C4, D4, E4 (= ff. 9-20); unused
ruled staves on ff. 9r, 12v, 13r, 15v, 16r and 20r-v. / Layer
3 = F4, G4, H4, I4, J4, K4 (= ff. 21-44); unused ruled staves
on ff. 21r-22r and 42r-44v. / Layer 4 = L4, M2 (= ff. 45-50);
unused ruled staves on ff. 47v-50v. / Layer 5 = N4 (= gathering
of blank sheets, ff. 51-3 and 53a), then O4, P4, Q4, R4, S4,
T4, U4, V4, W4, X4, Y2 (= ff. 54-68, 68bis, 69-93, unfoliated
rear flyleaf); unused ruled staves on ff. 54r and 93r; f. 93v
is wholly blank.
- Mus. 79 (Altus): Layer 1 = A4, B4 (= ff. 1-8); unused ruled staves
on f. 1r. / Layer 2 = C4, D4, E4 (= ff. 9-20); unused ruled staves
on ff. 9r and 20r-v. / Layer 3 = F4, G4, H4, I4, J4, K4 (= ff.
21-44); unused ruled staves on ff. 21r-22r and 42r-44v. / Layer
4 = L4, M2 (= ff. 45-50); unused ruled staves on ff. 47v-50v.
/ Layer 5 = N4 (= gathering of blank sheets, ff. 51-4), then
O4, P4, Q4, R4, S4, T4, U4, V4, W4, X4 (= ff. 55-94); unused
ruled staves on ff. 55r, 64r and 90v-94v.
- Mus. 80 (Quintus): Layer 1 = A4, B4 (= ff. 1-8); unused ruled
staves on f. 1r. / Layer 2 = C4, D4, E4 (= ff. 9-20); unused
ruled staves on ff. 9r and 20r-v. / Layer 3 = F4, G4, H4, I4,
J4, K4 (= ff. 21-44); unused ruled staves on ff. 21r-22r and
42r-44v. / Layer 4 = L4, M2 (= ff. 45-50); unused ruled staves
on ff. 47v-50v. / Layer 5 = N4 (= gathering of blank sheets,
ff. 51-4), then O4, P4, Q4, R4, S4, T4, U4, V4, W4 (of which
W2 is excised, and is now a stub), X4 (= ff. 55-67, [68 omitted
from the foliation system, in error], 69-94); unused ruled staves
on ff. 55r, 64r and 89v-94r.
- Mus. 81 (Tenor): Layer 1 = A4, B4 (= ff. 1-8); unused ruled staves
on ff. 1r and 2r. / Layer 2 = C4, D4, E4 (= ff. 9-20); unused
ruled staves on ff. 9r and 20r-v. / Layer 3 = F4, G4, H4, I4,
J4, K4 (= ff. 21-44); unused ruled staves on ff. 21r-22r and
42r-44v. / Layer 4 = L4, M2 (= ff. 45, 45bis-49); unused ruled
staves on ff. 46v-49v. / Layer 5 = N4 (= gathering of blank sheets,
unfoliated), then O4 (of which 04 is excised, and has been replaced
by a separate leaf, now f. 56), P4, Q4, R4, S4, T4, U4, V4, W4
(of which W1 is excised, and is now a stub), X4 (= ff. 53-71,
71bis, 72-90); unused ruled staves on ff. 53r, 62r and 87v-90v.
- Mus. 82 (Bassus): Layer 1 = A4, B4 (= ff. 1-5, 5*, 6-7); unused
ruled staves on f. 1r. / Layer 2 = C4, D4, E4 (= ff. 8-19); unused
ruled staves on ff. 8r, 9r, 14v-15r and 19r-v. / Layer 3 = F4,
G4, H4, I4, J4, K2 (= ff. 20-41); unused ruled staves on ff.
20r-21r and 41r-v. / Layer 4 = L4 (of which L2 has been excised,
with a replacement sheet pasted to the stub, now f. 43), M4 (=
ff. 42-9); unused ruled staves on ff. 44v-49v. / Layer 5 = N4
(= gathering of blank sheets, ff. 50-51, 51*, 52), then O4, P4,
Q4, R4, S4, T4, U4, V4, W4, X2 (= ff. 53-90); unused ruled staves
on ff. 53r, 55v-56r, 62r and 86v-90v. The copyist has created
alphabetical lists of the contents in the following places: (a)
list of motets: on front flyleaves [iir-iiir]; (b) list of madrigals:
on ff. 50r-v.
Gathering-numbers were written on the lower left-hand corner
of the first page of each gathering; the majority of these were
subsequently trimmed by the binder. All five partbooks are bound
in late 16th-century bindings of limp vellum, gold-tooled with
fillets enclosing elaborate central decorative panels. Stubs
of green ribbon ties remain in place at the foredge heads and
tails of the covers. The outside upper covers have been annotated
in ink with part-names ('Cantus', etc.), and the uniform designation
'A:5'; the same information is written on the first flyleaf of
each volume. Bookplate 2 in Mus. 78, 79 and 81 only. 19th-century
shelfmarks: I.1.42-6.
Provenance uncertain; most likely from the Goodson bequest,
less likely from the Aldrich bequest. Not listed in any of
the 18th-century catalogues of the Christ Church music collections
until Malchair (f. 5), where the set is described in the section
devoted to the Goodson bequest, as follows: 'Five books vellum
bound . the several / parts of some Lattin Mottetts'. (The absence
of any composer's name in Malchair's description arises from
the fact that there are no composer attributions in Mus. 78-82
itself.) There are no early shelfmarks in Mus. 78-82; this is
more characteristic of Goodson-derived books than of material
from the Aldrich bequest.
Microfilm: manuscript music, reel 8.
Bibliography:
- Richard Charteris, 'The Motets of Alfonso Ferrabosco the Elder
(1543-1588)', The Consort, 38 (1982), pp. 445-60.

- Richard Charteris, Alfonso Ferrabosco the Elder (1543-1588):
A Thematic Catalogue of his Music with a Biographical Calendar
(New York, 1984).

- Jonathan Wainwright, Musical Patronage in Seventeenth-Century
England: Christopher, First Baron Hatton (1606-1670) (Aldershot
and Brookfield VT, 1997), p. 417. This incorrectly states that
the copyist of Mus. 78-82 was also responsible for copying Mus. 463-7 and Mus. 1155-61. Despite superficial similarities of
hand, the three sets were in fact copied by three different scribes.

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