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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.

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

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