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Mus. 877-80

A miscellany of manuscript and printed music, assembled in four volumes for Henry Aldrich in the last quarter of the seventeenth century. Two of the partbooks, Mus. 877-8, contain voice-parts for treble/tenor; Mus. 879 contains parts for bass voice; Mus. 880 contains parts for basso continuo. The following description and inventory draw extensively on the discussion of Mus. 877-80 in Jonathan P. Wainwright, Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670) (Aldershot and Brookfield VT, 1997), pp. 160-9 and 405-14.

Mus. 877-80 contains a total of seven layers, five of which are manuscript, the remaining two printed. The printed layers and two of the manuscript layers are complete; the remaining three manuscript layers now lack a partbook, and may well have been incomplete by the time they came into Aldrich's possession.

Layer 1 (Mus. 878-80 only): manuscript. Three partbooks from a set of four, containing ten motets by Richard Dering; copyist unidentified, English, probably early 1640s. The three surviving partbooks are: Mus. 878, ff. 1-2 and 15-18 [treble/tenor]; Mus. 879, ff. 1-2 and 14-17 [vocal bass]; and Mus. 880, ff. 1-2 and 15-18 [basso continuo]; a fourth partbook containing further voice-parts for treble/tenor is now missing. In the inventory below, the contents of Layer 1 are catalogued as items 101-10. Layer 1 was subsequently expanded by the addition of Layer 2.

Layer 2 (Mus. 878-80 only): manuscript. Three partbooks from a set of four, copied on gatherings inserted between and after sections of Layer 1, and containing further motets either by Richard Dering or attributable to him on stylistic grounds; English, probably early 1640s. The three surviving partbooks are: Mus. 878, ff. 3-14 and 19-30 [treble/tenor]; Mus. 879, ff. 3-13 and 18-29 [vocal bass]; and Mus. 880, ff. 3-14 and 19-30 [basso continuo]; a fourth partbook containing further voice-parts for treble/tenor is now missing. In the inventory below, the contents of Layer 2 are catalogued as items 201-28.

Layer 2 was copied by three scribes working collaboratively. The first, George Jeffreys, appears to have supervised the project, and was principally responsible for copying clefs and text-underlay. The second scribe, who has not been identified, copied only music. The third scribe, Stephen Bing, principally copied music, but also selectively added alternative text-underlay for the following motets: items 201, 203, 210, 211, 219, 220 and 226. For further details, see Jonathan Wainwright, 'Richard Dering's Few-Voice "Concertato" Motets', Music & Letters, 89 (2008), pp. 165-94, and Richard Dering, Motets for One, Two or Three Voices and Basso Continuo, ed. Jonathan Wainwright, Musica Britannica, 87 (London, 2008).

Layer 3 (Mus. 878 and 880 only): manuscript. Two partbooks from a set probably of three, containing vocal works by Claudio Monteverdi and Angelo Notari, copied by Notari himself; English, probably early 1640s. The two surviving partbooks are: Mus. 878, ff. 31-[54] [treble/tenor] and Mus. 880, ff. 31-43 [basso continuo]; a third partbook containing voice-parts for treble/tenor is now missing. In the inventory below, the contents of Layer 3 are catalogued as items 301-22. None of the music in this layer is ascribed, but some of the unattributed unica may well be compositions by Notari himself, and he may also have been responsible for adapting items 302 and 305 (three-voice arrangements of five-voice madrigals by Monteverdi). For further information about Layer 3, see Wainwright, Musical Patronage, pp. 162-5.

Layer 4 (all four partbooks): printed: John Wilson, Psalterium Carolinum (London, 1657).

Layer 5 (Mus. 878-80 only): printed: Walter Porter, Mottets of two voyces for treble or tenor and bass (London, 1657). There are two further copies of this publication at Christ Church, shelved at Mus. 818-20 and Mus. 821-3 respectively. The latter includes the first state (subsequently cancelled) of sigs. C and D1 in the 'Treble or Tenor' partbook.

Layer 6 (Mus. 880 only): manuscript. Basso continuo parts for motets by Italian composers, copied by Stephen Bing; English, after 1643 (and possibly 1650s; see Wainwright, Musical Patronage, pp. 167-8). In the inventory below, the contents of Layer 6 are catalogued as items 601-46. This layer was probably intended to complement printed editions of the relevant motets. Some of these editions are now to be found within the Christ Church music collection; see for example the motet collections of Aloisi = Mus. 893-9(4), Facchi = Mus. 931-5(10), Grandi = Mus. 926-30(10), Tomasi = Mus. 926-30(1), and Trabattone = Mus. 931-5(12). However, it is unclear whether or not these specific printed copies at Christ Church were the ones that Layer 6 was intended to complement; and Layer 6 also includes motets for which Christ Church cannot provide matching printed partbooks. For a full list of the printed editions from which Bing's selection ultimately derives, see Wainwright, Musical Patronage, pp. 412-13.

Layer 7 (Mus. 880 only): manuscript. Basso continuo parts for three sets of five-voice madrigals by Carlo Gesualdo (books 2, 1 and 4), copied by Stephen Bing; English, 1640s. In the inventory below, the contents of Layer 7 are summarized as items 701-3. (For a full listing of the madrigals copied in this layer, see Wainwright, Musical Patronage, pp. 413-4.) This layer was presumably intended to complement printed editions of Gesualdo's madrigals, and possibly the copies now bound within Mus. 908-12.

Overview of the contents of individual partbooks, listed by layers:

  • Mus. 877: opens with 18 leaves of unused ruled staves that may have been included to give bulk to the bound volume; then Layer 4 (printed: Wilson).
  • Mus. 878: Layers 1+2 (manuscript; items 101-228); then Layer 3 (manuscript; items 301-21); then Layers 4 and 5 (printed).
  • Mus. 879: Layers 1+2 (manuscript; items 101-228); then Layers 4 and 5 (printed).
  • Mus. 880: Layers 1+2 (manuscript; items 101-228); then Layer 3 (manuscript; items 301-22); then Layers 4 and 5 (printed); then Layers 6 and 7 (manuscript; items 601-703). The manuscript layers in this volume are foliated in two separate sequences. Layers 1-3 = first foliation sequence (ff. 1-43); then printed Layers 4-5; then Layers 6-7 = second foliation sequence (ff. 1-41).
Printed contents:
Mus. 877-80(1)
Wilson, John, 1595-1674 Grove DNB
Psalterium Carolinum. The devotions of his sacred Majestie in his solitudes and sufferings, rendred in verse. Set to musick for 3 voices and an organ, or theorbo, by John Wilson Dr. and Musick Professor of Oxford.
London: Printed for John Martin and James Allestrey, 1657
RISM A/I W1235
Mus. 877: Cantus primus; Mus. 878: Cantus secundus; Mus. 879: Base; Mus. 880: Basso Continuo.
Cantus secundus lacks titlepage and dedication page.
Mus. 877-80(2)
Porter, Walter, d. 1659 Grove DNB
Mottets of two voyces for treble or tenor and bass. With the continued bass or score: to be performed to an organ, harpspycon, [sic] lute or bass-viol.
London: Printed by William Godbid for the author, 1657
RISM A/I P5219
Mus. 878: Treble or tenor; Mus. 879: Bassus; Mus. 880: Basso continuo.

Manuscript contents:
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. 878Mus. 879Mus. 880
101 1 Richard Dering Justus cor suum tradidi (MB 87 no. 6) f. 1r f. 1r f. 1r
102 2 Richard Dering Gaudent in caelis (MB 87 no. 7) f. 1v f. 1v f. 1v
103 3 Richard Dering Ardens est cor meum (MB 87 no. 1) f. 2r f. 2r f. 2r
104 4 Richard Dering O Domine Jesu Christe (MB 87 no. 11) f. 2v f. 2v f. 2v
105 5 Richard Dering O bone Jesu (MB 87 no. 4) f. 15r f. 14r f. 15r
106 6 Richard Dering Panis angelicus (MB 87 no. 16) f. 15v f. 14v f. 15v
107 7 Richard Dering O quam suavis est (MB 87 no. 19) f. 16r f. 15r f. 16r
108 8 Richard Dering Justus germinabit (MB 87 no. 21) f. 16v f. 15v f. 16v
109   Richard Dering Isti sunt sancti (MB 87 no. 20) f. 17r f. 16r f. 17r
110   Richard Dering Qualis est dilectus tuus (MB 87 no. 22) ff. 17v-18r ff. 16v-17r ff. 17v-18r
201   Richard Dering Conceptio tua (MB 87 no. 12; with alternative text: Nativitas tua) f. 3r f. 3r f. 3r
202   Richard Dering Gratias tibi Deus (MB 87 no. 8) f. 3v f. 3v f. 3v
203   Richard Dering Sancta et immaculata (MB 87 no. 10) f. 4r f. 4r f. 4r
204   Richard Dering O donna troppo cruda f. 4v f. 4v f. 4v
205   Richard Dering Ego dormio (MB 87 no. 14) f. 5r f. 5r f. 5r
206   Richard Dering Veni electa mea (MB 87 no. 9) f. 5v f. 5v f. 5v
207   Richard Dering? Hei mihi Domine (MB 87 no. 37) f. 6r f. 6r f. 6r
208   Richard Dering? Anima Christi sanctifica me (MB 87 no. 34) f. 6v f. 6v f. 6v
209   Richard Dering? O sacrum convivium [ii] (MB 87 no. 38) f. 7r f. 7r f. 7r
210   Richard Dering O crux ave spes unica (MB 87 no. 32; with alternative text: Jesu salve) f. 7v f. 7v f. 7v
211   Richard Dering? Beatus Laurentius (MB 87 no. 35; with alternative text: O felix ecclesia) f. 8r f. 8r  
212   Richard Dering? Protector noster (MB 87 no. 49) f. 8v f. 8v  
213   Richard Dering? Propitius esto (MB 87 no. 48) f. 9r f. 9r  
214   Richard Dering Duo seraphin [i] (MB 87 no. 5) f. 9v f. 9v  
215   Richard Dering? Tua Jesu dilectio (MB 87 no. 47) f. 10r    
216   Richard Dering? Jesus auctor clementiae (MB 87 no. 33)   f. 10v  
217   Richard Dering? Gloria tibi Trinitas (MB 87 no. 46) f. 12v    
218   Richard Dering? Tibi laus, tibi gloria (MB 87 no. 44) f. 18v f. 17v f. 18v
219   Richard Dering? O Maria (MB 87 no. 53; with alternative text: O Messia) f. 19r f. 18r f. 19r
220   Richard Dering Laetamini cum Maria (MB 87 no. 17; with alternative text: Laetamini cum Messia) f. 19v f. 18v f. 19v
221   Richard Dering Vulnerasti cor meum (MB 87 no. 15) f. 20r f. 19r f. 20r
222   Richard Dering? Exsultavit cor meum (MB 87 no. 41) f. 20v f. 19v f. 20v
223   Richard Dering Cantate Domino (MB 87 no. 18) f. 21r f. 20r f. 21r
224   Richard Dering? Paratum cor meum (MB 87 no. 54) f. 21v f. 20v f. 21v
225   Richard Dering? Confitemini Domino (MB 87 no. 40) f. 22r f. 21r f. 22r
226   Richard Dering? Augustine augustissime (MB 87 no. 50; with alternative text: O Messia mundi gloria) f. 22v f. 21v f. 22v
227   Richard Dering? Quemadmodum desiderat (MB 87 no. 55) f. 23r f. 22r  
228     I heard a voice f. 26v f. 28r f. 26v
301     Ch'io non t'ami (a3) ff. 31r-v   f. 31r
302   Claudio Monteverdi T'amo mia vita (a5; here in an arrangement a3) f. 32r   f. 31v
303     Fiumi e fonti     f. 31v
304     Jubilate (a2)     f. 32r
305   Claudio Monteverdi Ahi com'a un vago sol (a5; here in an arrangement a3) ff. 32v-33r   f. 32v
306   Angelo Notari Occhi un tempo mia vita (a2) f. 33v   f. 33r
307     Alla vermiglia     f. 33v
308   Claudio Monteverdi Cruda Amarilli     f. 34r
309     Una farfalla cupida (a2 or a3) ff. 34r-v   f. 34v
310     Ecco nova beltà (a2) ff. 37v-38r   f. 35r
311     Questo è pur (a2)     f. 35v
312     Ave sanctissima (a1)     f. 36r
313     Questa crudel (a1)     f. 36v
314     Deh poi (a2)     f. 37r
315     Spesso t'amo (a2)     f. 37v
316     Che fai, Alma? (dialogue a2, Core/Alma)     ff. 38r-v
317     Interdette (a1, 'basso solo')     ff. 39r-v
318   Angelo Notari Intenerite voi (a2) f. 35r   f. 40r
319     Quell'augellin (a3) f. 35v   f. 40v
320     Ah non si può crudele (a2) ff. 36v-37r   f. 41r
321   Claudio Monteverdi Non è di gentil core (a2) f. 36r   f. 41v
322     Filli miranda (a2-3)     f. 42r
601 1 Tarquinio Merula Cum complerentur     f. 1r
602 2 Tarquinio Merula Magnificate Dominum     f. 1v
603 3 Tarquinio Merula Ego flos campi     ff. 1v-2r
604 4 Alessandro Grandi (i) Diligam te Domine     f. 2v
605 5 Alessandro Grandi (i) Domine ne in furore tuo     f. 3r
606 6 Alessandro Grandi (i) O bone Jesu     f. 3r
607 7 Egidio Trabattone Litany, BVM: Kyrie eleison     ff. 3v-4r
608 8 Alessandro Grandi (i) Obaudite me     f. 4r
609 9 Alessandro Grandi (i) Vidi speciosam     f. 4v
610 10 Alessandro Grandi (i) Caro mea vere est cibus     f. 8r
611 11 Alessandro Grandi (i) Congratulamini omnes     f. 8v
612 12 Alessandro Grandi (i) Cantabo Domino     f. 9r
613 13 Alessandro Grandi (i) Hic est vere martyr     f. 9v
614 14 Alessandro Grandi (i) Benedictus Dominus     f. 12r
615 15 Alessandro Grandi (i) Heu mihi     f. 12v
616 16 Alessandro Grandi (i) Magnum haereditatis     f. 13r
617 17 Alessandro Grandi (i) Inter vestibulum     f. 13v
618 18 Alessandro Grandi (i) Deus qui nos in tantis     f. 14r
619 19 Alessandro Grandi (i) Plorabo die ac nocte     f. 14v
620 20 Giovanni Battista Aloisi Impetum inimicorum     f. 18r
621 21 Giovanni Battista Aloisi Cantate Domino     f. 18v
622 22 Giovanni Battista Aloisi Dulcissima Christi mater     f. 19r
623 23 Leandro Gallerano In Domino confido     f. 19v
624 24 Giovanni Battista Aloisi Attollite portas     f. 20r
625 25 Egidio Trabattone Qui habitatis     f. 20v
626 26 Egidio Trabattone In caelis hodie     f. 21r
627 27 Tarquinio Merula Jesu dulcissime     f. 21v
628 28 Giovanni Giacomo Arrigoni Usami pur orgoglio     f. 22r
629 29 Giovanni Giacomo Arrigoni Stelle fulminatrici     f. 22v
630 30 Egidio Trabattone Laudate Dominum     f. 23r
631 31 Egidio Trabattone Laetis nunc mentibus     f. 23v
632 32 Egidio Trabattone Dicite nobis     f. 15r
633 33 Tarquinio Merula Nominativo hic et haec et hoc     f. 15v
634 34 Tarquinio Merula Nominativo quis vel qui quae quod     f. 16r
635 35 Tarquinio Merula Tempesta di dolcezza     f. 16v
636 36 Tarquinio Merula Belle ha le perle     f. 17r
637 37 Virgilio Mazzocchi Nigra sum     f. 17v
638 38 Giovanni Battista Aloisi Audite gentes     f. 10r
639 39 Giovanni Felice Sances O Jesu mi dulcissime     f. 10v
640 40 Agostino Facchi O Jesu clementissime     f. 11r
641 41 Agostino Facchi Ave saluberrima     f. 11v
642 42 Biagio Tomasi Quasi cedrus     f. 5r
643 43 Biagio Tomasi O Maria sanctissima     f. 5v
644 44 Biagio Tomasi Litany, BVM: Kyrie eleison     ff. 5v-6r
645 45 Giovanni Felice Sances Salve, O Christe     ff. 6v-7r
646 46 Alfonso Ferrabosco (i) Fuerunt mihi lachrimae meae     f. 7v
701 1-20 Carlo Gesualdo, principe di Venosa Madrigali a cinque voci, libro secondo (complete contents, figured bass only)     ff. 24r-29r
702 1-20 Carlo Gesualdo, principe di Venosa Madrigali a cinque voci, libro primo (complete contents, figured bass only)     ff. 29r-34r
703 1-21 Carlo Gesualdo, principe di Venosa Madrigali a cinque voci, libro quarto (complete contents, figured bass only)     ff. 35r-40v

Physical structure: upright format, 285 x 193 mm. The gathering structures and foliation of individual layers are described below; for additional information about paper-stock, watermarks and foliation, see Wainwright, Musical Patronage, pp. 405-9. Late 17th-century bindings of the 'Aldrich binding' Type 1; the spines are gold-tooled 'MOT 4 B[ooks]'. On the verso of the front flyleaf of Mus. 880, the Aldrich Associate has written the following summary description of the set's contents: 'Mr Jeffrey's Collection of Songs / Dr Wilson's Psalterium Carolinum / Mr Walter Porter's Mottets / Thorough Base to the Prince of Venosas 5 parts &c'. (The implications of the phrase 'Mr Jeffrey's Collection of Songs' are considered below.) This summary description served as a model for all subsequent 18th-century descriptions of the contents of Mus. 877-80, including the one by Malchair transcribed in Wainwright, Musical Patronage, p. 160. Bookplate 2 in all four volumes. 19th-century shelfmarks: K.5.1-4.

Layer 1 (Mus. 878-80 only): each partbook originally comprised three adjacent bifolia (equivalent to A2, B2, C2), and was evidently neither foliated nor paginated; instead, the first eight motets were numbered '1-8' by the copyist. Layer 2 was then inserted into Layer 1 (Mus. 878-80 only). The resulting partbooks again show no trace of any early foliation or pagination system, although this may have been cropped when the volumes were trimmed to fit their current binding. Layers 1+2 are now foliated in modern pencil.

  • Mus. 878: 30 leaves. Collation: A2 (ff. 1-2 = Layer 1) / B6, C6 (ff. 3-8, 9-14 = Layer 2) / D2, E2 (ff. 15-16, 17-18 = Layer 1) / F6, G6 (ff. 19-24, 25-30 = Layer 2). Unused ruled staves on ff. 10v-12r, 13r-14v, 23v-26r and 27r-30v.
  • Mus. 879: 29 leaves. Collation: A2 (ff. 1-2 = Layer 1) / B6, C6 (of which B4 is missing; ff. 3-7, 8-13 = Layer 2) / D2, E2 (ff. 14-15, 16-17 = Layer 1) / F6, G6 (ff. 18-23, 24-29 = Layer 2). Unused ruled staves on ff. 10r, 11r-13v, 22v-27v and 28v-29v.
  • Mus. 880: 30 leaves. Collation: A2 (ff. 1-2 = Layer 1) / B6, C6 (ff. 3-8, 9-14 = Layer 2) / D2, E2 (ff. 15-16, 17-18 = Layer 1) / F6, G6 (ff. 19-24, 25-30 = Layer 2). Unused ruled staves on ff. 8r-14v, 23r-26r and 27r-30v.
No trace remains of any pre-Aldrich binding for Layers 1+2. Nonetheless it is likely that the partbooks once possessed wrappers bearing the name of George Jeffreys, since the Aldrich Associate designates them as 'Mr Jeffrey's Collection of Songs', but Jeffreys' name does not appear anywhere within Layers 1 and 2 themselves. Presumably the original wrappers were removed when the partbooks were re-bound for Aldrich.

Layer 3 (Mus. 878 and 880 only): each partbook probably comprised a single quire of 12 bifolia (= A24). In Mus. 878 the quire is intact; its first nine leaves are foliated '31-9' in modern pencil, and its remaining leaves are unfoliated. Unused ruled staves from f. 38v to the end of the quire. In Mus. 880 the latter part of the quire was excised before rebinding, and only its first 13 leaves remain, foliated '31-43' in modern pencil. Unused ruled staves on ff. 42v-43v. No trace remains of any pre-Aldrich binding for Layer 3. However, sewing-holes can be seen in the gutter, and these do not match sewing-holes in the adjacent Layer 2. This implies that (a) Layer 3 was not formerly bound with Layers 1+2, and (b) the original bindings or wrappers for Layer 3 were removed when the partbooks were re-bound for Aldrich.

Layer 4 (all four partbooks; printed: Wilson): sewing-holes in the gutter do not match sewing-holes in the adjacent Layer 3. This implies that (a) Layer 4 was not formerly bound with Layer 3, and (b) the original bindings or wrappers for Layer 4 were removed when the partbooks were re-bound for Aldrich.

Layer 5 (Mus. 878-80 only; printed: Porter): the titlepages are worn, and there are no sewing-holes in the gutter. This implies that Layer 5 was unbound before being incorporated into Mus. 877-80, and previously had no connection with the set's other layers.

Layer 6 (Mus. 880 only): originally a single quire of 12 bifolia (= A24), of which the last leaf is excised and is now an unfoliated stub. For reasons now unknown, the quire was dismantled into four sub-quires before binding, with the result that the contents are no longer bound in their correct order. (The disruption will be evident in the inventory above, which cites items 601-46 in their correct order as copied and numbered by Bing, rather than in the order in which they are now bound.) For a diagrammatic representation of the original quire-structure, see Wainwright, Musical Patronage, p. 409. The surviving 23 leaves of Layer 6 are now foliated '1-23' in modern pencil; the excised stub (= olim A24) is located after f. 7v. The original opening and closing pages of the quire (i.e. ff. 1r, and the verso of the stub after f. 7v) are stained and worn; this implies that Layer 6 was an unbound fascicle before being incorporated into Mus. 877-80.

Layer 7 (Mus. 880 only): three quires, each of three bifolia (A6, B6, C6); 18 leaves in total, foliated '24-41' in modern pencil. (The foliation system continues from that of Layer 6.) Unused ruled staves on ff. 34v and 41r-v. The presence of sewing-holes in the gutter, and the fact that the outermost pages of the quire are unstained (ff. 24r, 41v), both imply that Layer 7 possessed a binding before being incorporated into Mus. 877-80; if so, then no trace of it now survives. The absence of sewing-holes from Layer 6 implies that Layers 6 and 7 were once independent of one another, notwithstanding the fact that both are collections of continuo parts copied by Stephen Bing.

Provenance:

  • Before being acquired by Aldrich, Layers 1+2 (manuscript) were probably part of the Hatton collection (implied by the fact that its contents were copied by George Jeffreys and Stephen Bing).
  • Layer 3 (manuscript) may also derive from the Hatton collection (on the evidence of its paper-stock; see Wainwright, Musical Patronage, pp. 162-3).
  • Nothing is known about the pre-Aldrich provenance of Layers 4 and 5 (printed).
  • Layer 6 (manuscript) may have formed part of the Hatton collection (implied by the fact that its contents were copied by Stephen Bing). Before being acquired by Aldrich, it may have been owned by the 'Richard Reeve' whose name is written on the verso of the excised stub now bound after f. 7. This may be the Richard Reeve (1642-93) who matriculated at Oxford in 1661, graduated BA in 1665, converted to Roman Catholicism, was appointed master of Magdelen College School in 1670, resigned his post in 1673, and moved to Douai in 1674; see the entry on him in the Oxford Dictionary of National Biography.
  • Layer 7 (manuscript) may have formed part of the Hatton collection (implied by the fact that its contents were copied by Stephen Bing).
In its current bound state, Mus. 877-80 reached Christ Church as part of the Aldrich bequest. It is listed in Archives 1717, item D18, as 'Mr Jeffreys Collection of Songs. / Dr Wilson's Psalterium Carolinum. / Porter's Mottets &c.', and in Dowding (main hand) as 'Jefferies Collection of Songs, Porters Mottets &c. / Appears to be a good collection'. (Both of these descriptions derive from the outline list of the contents written by the Aldrich Associate on the verso of the front flyleaf of Mus. 880.)

Microfilm of manuscript contents: manuscript music, reel 30.
Microfilm of printed contents: printed music, reel 48.

Select bibliography:

  • Jonathan P. Wainwright, Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670) (Aldershot and Brookfield VT, 1997), pp. 160-9 and 405-14. Find in a Library
  • David Pinto, 'The True Christmas: Carols at the Court of Charles I', in William Lawes (1602-1645): Essays on his Life, Times and Work, ed. Andrew Ashbee (Aldershot etc., 1998), pp. 97-120 (at pp. 104-6). Find in a Library
  • Jonathan Wainwright, 'Richard Dering's Few-Voice "Concertato" Motets', Music & Letters, 89 (2008), pp. 165-94. Find in a Library