Christ Church Library music catalogue: Mus. 8

Mus. 8

A composite manuscript of scores, copied in five layers; assembled and bound probably in the late 17th or early 18th century. At least some of these scores may have been intended for use by organists; see Holman (in Bibliography below).

LAYER 1 (items 1-5 in inventory below): Christopher Gibbons: Fantasia-suites for treble, bass and organ, and miscellaneous 2-part Aires, copied in score by Francis Withy; English, late 17th century.

LAYER 2 (items 6-13 in inventory below): Christopher Gibbons: Fantasia-suites and miscellaneous single movements for 2 trebles, bass and organ, copied in score by Francis Withy; English, late 17th century.

LAYER 3 (items 14-17 in inventory below): Matthew Locke: The Broken Consort, Part 2 (4 suites), copied in score by Francis Withy; English, late 17th century.

LAYER 4 (items 18-29 in inventory below): motets largely by Giovanni Rovetta, copied in score by Francis Withy; English, late 17th century. The Rovetta motets probably derive from the printed copy of Gemma musicalis ... Liber Quartus (1649) now bound as Mus. 887-92(7).

LAYER 5 (items 30-59 in inventory below): Giovanni Pierluigi da Palestrina: madrigals from Delle madrigali spirituali a cinque voci ... libro secondo (Rome, 1594), copied in score without text by Richard Goodson Sr; English, late 17th century. Goodson supplied only the text-incipit in the top voice. In the first madrigal (item 30), complete text-underlay was subsequently added by Henry Aldrich.

For additional information about Mus. 8, and a more detailed inventory than the one supplied below, see The Viola da Gamba Society Index of Manuscripts Containing Consort Music, compiled by Andrew Ashbee, Robert Thompson and Jonathan Wainwright, vol. 2 (Aldershot etc., 2008), 225-32.

For information about other music manuscripts at Christ Church copied by Francis Withy, see the end of the entry for Mus. 337.
This is one of the many music manuscripts at Christ Church copied by Richard Goodson Sr.
This is one of the many music manuscripts at Christ Church copied by Henry Aldrich.

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).

1	1	Christopher Gibbons	Fantasia-suite no. 1 in d minor, for treble, bass and organ: Fantasy, Almaine, Galliard (VdGS 1-3)	ff. 1^r-4^r
2	2	Christopher Gibbons	Fantasia-suite no. 2 in d minor, for treble, bass and organ: Fantasy, Almaine, Galliard (VdGS 4-6)	ff. 4^r-7^r
3	3	Christopher Gibbons	Fantasia-suite no. 3 in D major, for treble, bass and organ: Fantasy, Almaine, Galliard (VdGS 7-9)	ff. 7^r-10^r
4		Christopher Gibbons	Fantasia-suite no. 4 in D major, for treble, bass and organ: Fantasy, Almaine, Galliard (VdGS 10-12)	ff. 10^v-13^r
5		Christopher Gibbons	3 miscellaneous 2-part Airs in d minor (VdGS 61-3): Almaine, Corant, Saraband	ff. 13^v-14^v
6	1	Christopher Gibbons	Fantasia-suite no. 1 in a minor, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 13-15)	ff. 17^r-19^r
7	2	Christopher Gibbons	Fantasia-suite no. 2 in a minor, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 16-18)	ff. 19^v-22^r
8		Christopher Gibbons	Fantasia-suite no. 3 in d minor, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 19-21)	ff. 22^v-24^v
9		Christopher Gibbons	Fantasia-suite no. 4 in d minor, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 22-4)	ff. 24^v-27^v
10	5	Christopher Gibbons	Fantasia-suite no. 5 in D major, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 25-7)	ff. 27^v-30^r
11		Christopher Gibbons	Fantasia-suite no. 6 in D major, for 2 trebles, bass and organ: Fantasy, Almaine, Galliard (VdGS 28-30)	ff. 30^v-33^r
12		Christopher Gibbons	7 miscellaneous dance-movements in g minor for 2 trebles, bass and organ (VdGS 42, 48, 49, 51, 50, 47, 52)	ff. 33^v-36^v
13		Christopher Gibbons	Fantasy in g minor for 2 trebles, bass and organ (VdGS 81)	ff. 37^r-39^r
14		Matthew Locke	The Broken Consort, Part 2, Suite no. 1 in c minor/C major (Harding 135; VdGS 1-6)	ff. 41^r-45^v
15		Matthew Locke	The Broken Consort, Part 2, Suite no. 3 in e minor (Harding 138/1; VdGS 12-15)	ff. 46^r-49^r
16		Matthew Locke	The Broken Consort, Part 2, Suite no. 2 in d minor/D major (Harding 138/2; VdGS 7-11)	ff. 49^v-54^r
17		Matthew Locke	The Broken Consort, Part 2, Suite no. 4 in F major (Harding 138/3; VdGS 16, 18, 19, 17, 20)	ff. 54^r-58^r
18			Vidi angelum Dei volantem	ff. 61^r-62^r
19			O gloriosa Domina	ff. 62^r-63^r
20		Giovanni Rovetta	Dulcis Christe, ad te venio	ff. 65^r-69^r
21		Giovanni Rovetta	Regina caeli	ff. 69^r-72^v
22		Giovanni Rovetta	Surgamus ergo	ff. 73^r-77^r
23		Giovanni Rovetta	Confitemini Domino	ff. 77^v-81^r
24		Giovanni Rovetta	Ego sum resurrectio	ff. 81^v-85^r
25		Giovanni Rovetta	Alma Redemptoris mater	ff. 85^v-88^v
26		Giovanni Rovetta	Domine in virtute tua	ff. 89^r-93^v
27		Giovanni Rovetta	O gloriosa Domina	ff. 94^r-98^r
28		Giovanni Rovetta	Ego sum qui sum	ff. 98^v-103^r
29		Giovanni Rovetta	Ave Regina caelorum	ff. 103^v-106^v
30	1	Giovanni Pierluigi da Palestrina	Figlio immortal	ff. 109^r-110^r
31	2	Giovanni Pierluigi da Palestrina	E, se mai voci	ff. 110^v-111^v
32	3	Giovanni Pierluigi da Palestrina	Or tu, sol, che	ff. 111^v-113^r
33	4	Giovanni Pierluigi da Palestrina	Dammi, scala dal ciel	ff. 113^r-114^v
34	5	Giovanni Pierluigi da Palestrina	E, se fur già	ff. 114^v-115^v
35	6	Giovanni Pierluigi da Palestrina	Dammi, vermiglia rosa	ff. 116^r-117^r
36	7	Giovanni Pierluigi da Palestrina	E, s'el pensier	ff. 117^v-118^v
37	8	Giovanni Pierluigi da Palestrina	Eletta Mirra	ff. 118^v-120^r
38	9	Giovanni Pierluigi da Palestrina	Cedro gentil	ff. 120^r-121^r
39	10	Giovanni Pierluigi da Palestrina	Fa, che con l'acque tue	ff. 121^v-122^v
40	11	Giovanni Pierluigi da Palestrina	S'amarissimo fele	ff. 121^v-124^r
41	12	Giovanni Pierluigi da Palestrina	Orto che sei si chiuso	ff. 124^r-v
42	13	Giovanni Pierluigi da Palestrina	E, se nel foco	ff. 125^r-v
43	14	Giovanni Pierluigi da Palestrina	Vincitrice de l'empia idra	ff. 126^r-v
44	15	Giovanni Pierluigi da Palestrina	Città di Dio	ff. 127^r-v
45	16	Giovanni Pierluigi da Palestrina	Santo altare	ff. 128^r-129^r
46	17	Giovanni Pierluigi da Palestrina	Tu di fortezza torre	ff. 129^r-130^v
47	18	Giovanni Pierluigi da Palestrina	Specchio che fosti	ff. 130^v-131^v
48	19	Giovanni Pierluigi da Palestrina	Vello di Gedeon	ff. 132^r-133^r
49	20	Giovanni Pierluigi da Palestrina	Novella Aurora	ff. 133^r-134^r
50	21	Giovanni Pierluigi da Palestrina	E questo spirto	ff. 134^v-135^v
51	22	Giovanni Pierluigi da Palestrina	E dal letto	ff. 135^v-136^v
52	23	Giovanni Pierluigi da Palestrina	Ed arda agn'hor	ff. 137^r-138^r
53	24	Giovanni Pierluigi da Palestrina	E tua mercè	ff. 138^r-139^r
54	25	Giovanni Pierluigi da Palestrina	E quella certa speme	ff. 139^v-140^v
55	26	Giovanni Pierluigi da Palestrina	Anzi, se foco e ferro	ff. 140^v-141^v
56	27	Giovanni Pierluigi da Palestrina	E con i raggi tuoi	ff. 142^r-143^r
57	28	Giovanni Pierluigi da Palestrina	Regina della vergini	ff. 143^r-144^v
58	29	Giovanni Pierluigi da Palestrina	Al fin madre di Dio	ff. 144^v-146^r
59	30	Giovanni Pierluigi da Palestrina	E tu Signor	ff. 146^r-147^r

Upright format, 392 x 250 mm. 148 ff., foliated in modern pencil. Gathering structure as follows:

LAYER 1 (ff. 1-16): 16 leaves in 4 quires (A-D4). Pagination '1-27' added by Withy in ink, in the gutter at the head of the page, starting at f. 1r and ending at f.14r. Unused ruled staves on ff. 15r-16v.

LAYER 2 (ff. 17-40): 24 leaves in 6 quires (A-F4). The first five quires have been signed 'a-e' by Withy, in ink, in the gutter at the foot of the page at the following places: ff. 20v, 21r, 25r, 29r, 33r. In quires 1-5, Withy has also added pagination '1-39' in ink, in the gutter, starting at f. 17r and ending at f. 34r. Unused ruled staves on ff. 39v-40v.

LAYER 3 (ff. 41-60): 20 leaves in 5 quires (A-E4). Pagination '1-35' added by Withy at the upper left-hand corner of each page, starting at f. 41r and ending at f. 58r. Unused ruled staves on ff. 15r-16v.

LAYER 4 (ff. 61-108): 48 leaves in 12 quires (A-L4). Cancel slips or sheets have been pasted on ff. 72v, 80v and 102v, evidently to eliminate copying errors. In the Rovetta section, Withy has added pagination '1-82' either in the gutter or at the upper left-hand corner of the page, starting at f. 65v and ending at f. 106r. Unused ruled staves on ff. 63v-64v and 107r-108v.

LAYER 5 (ff. 109-48): 40 leaves in 8 quires, quired variously in fours or sixes. Unused ruled staves on ff. 147v-148v.

Late 17th-century binding of thick grey card edged in vellum, equivalent to that of Mus. 7. Bookplate 2 on inside upper cover. 19th-century shelfmark: H.1.8.

Provenance unknown, but most likely from the Aldrich bequest, partly on account of the presence of Bookplate 2, partly because of Aldrich's added underlay in item 30. Probably one of the volumes listed by in the block entry by Hind in Dowding, referring to a sequence of '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. 8, an identifying label has evidently been removed from the head of the spine.

Microfilm: manuscript music, reel 2.

Bibliography

Peter Holman, '"Evenly, Softly, and Sweetly Acchording to All": The Organ Accompaniment of English Consort Music', John Jenkins and his Time: Studies in English Consort Music (Oxford, 1996), pp. 353-82 (at p. 370).
The Viola da Gamba Society Index of Manuscripts Containing Consort Music, compiled by Andrew Ashbee, Robert Thompson and Jonathan Wainwright, vol. 2 (Aldershot etc., 2008), pp. 225-32.

Facsimile of f. 19v: John Jenkins and his Time: Studies in English Consort Music, ed. Andrew Ashbee and Peter Holman (Oxford, 1996), p. 371.