Mus. 960
Manuscript. Choristers' commonplace book, containg vocal and
keyboard works and pedagogical tables; in use at Christ Church
Cathedral during the later 1720s, presumably under the tutelage
of Richard Goodson Jr. Inscriptions and pen-trials on the inside
covers and front flyleaf include the names of:
- Thomas Ford (chorister from 1721; name written on inside upper
and lower covers and front flyleaf);
- Phipps Weston (chorister from 1722, chaplain from 1736; name
written on p.1);
- Thomas Carpenter (chorister from 1723; name written on front
flyleaf and inside lower cover);
- John King (chorister from 1726; name written on p. 5).
Many of the pieces listed in the inventory below are fragmentary,
comprising only a few bars of music, or text written beneath
unused staves. Some of the composer attributions are therefore
hypothetical. Comments on individual pieces:
- Item 2: there are also partial copies of this voice-part on pp.
19-20.
- Items 4-7 (catches): the text-underlay is written beneath blank
staves; no music was entered.
- Item 9 (Carissimi): this voice-part ultimately derives from the
work in Mus. 996/1, which served as exemplar for the copy by
Richard Goodson Sr in Mus. 54/4. See also Mus. 622/1 for
a copy by Richard Goodson Jr, which is closer in date to Mus.
960 itself.
- Item18: there is also an abandoned earlier copy of this piece
on p. 41.
- The inventory below omits various vocal exercises, pen-trials,
and what appear to be nonsense notations, written on pp. 15,
23, 27 and 30.
- A table of solmization syllables is written on the inside lower
cover.
Table of titles and composers in modern form. Display form found in manuscript.
| 1 |
|
Ah, tell me no more of your duty (treble voice-part only; words by D'Urfey) |
pp. 1-2 |
| 2 |
|
You little loves that hourly wait (treble voice-part only) |
pp. 2-3 |
| 3 |
Giovanni Bononcini |
Dear pretty maid, don't fly me so (music from 'Astartus'; treble voice-part only) |
p. 3 |
| 4 |
Simon Ives |
Boy go down and fill the other quart (words only) |
p. 4 |
| 5 |
William Cranford? |
Come hither, Tom, and make up three (words only) |
pp. 4-5 |
| 6 |
Henry Aldrich |
Our friend at the Mermaid's down (words only) |
pp. 6-7 |
| 7 |
Michael Wise |
Old Chiron thus preached (words only) |
p. 7 |
| 8 |
Henry Purcell |
Shepherd, leave decoying (from 'King Arthur', Z.628(16b); treble voice-part only, incomplete) |
p. 9 |
| 9 |
Giacomo Carissimi |
Tra più riposti abissi (three extracts, treble voice-part only) |
pp. 10-11 |
| 10 |
Henry Purcell |
Dear pretty youth, unveil your eyes (from 'The Tempest, or the Enchanted Isle', Z.631(10); treble voice-part only, incomplete) |
p. 17 |
| 11 |
Henry Carey |
Though cruel you seem to my pain (treble voice-part only, incomplete) |
p. 21 |
| 12 |
|
Whilst Strephon gazed on Chloe's eyes (treble voice-part only, incomplete) |
p. 25 |
| 13 |
|
Gavotte in a minor (keyboard score; partly copied twice) |
pp. 35-33 |
| 14 |
|
Minuet in C major (keyboard score) |
pp. 36-38 |
| 15 |
|
Minuet in G major (keyboard score, incomplete) |
p. 39 |
| 16 |
John Ernest Galliard |
Ghosts of ev'ry occupation (from 'The Necromancer'; treble voice-part and figured bass) |
pp. 42-44a |
| 17 |
|
Love I bid adieu/Bramo di morir ('Sung at The Theatre in Drury Lane'; treble voice-part and figured bass) |
p. 45 |
| 18 |
John Ernest Galliard |
Cupid, god of pleasing anguish (from 'The Necromancer'; opening of treble voice-part; then text only) |
pp. 50-51 |
| 19 |
|
(Table of solmization syllables) |
p. 52 |
| 20 |
|
Conquering beauty 'tis I still adore ('A favourite Air'; treble voice-part and figured bass) |
p. 53 |
Oblong format, 205 x 150 mm. 27 surviving leaves; further leaves
have been torn out; collation not researched. The first 11 leaves
have been paginated '1-21' in ink by the copyists; subsequent
pagination is in modern pencil. The following leaves are defective:
pp. 15/16, 27/8 and '44a-b' (= fragmentary leaf between pp. 44
and 45). 18th-century binding of brown leather over boards, blind
tooled with fillets. Extensive annotations on inside upper and
lower covers and front flyleaves, including 'Thomas Ford His
Book April 21 1725'. Bookplate 3. 19th-century shelfmark: E.1.25.
Provenance: from the Goodson bequest (on the evidence of the
names of the choristers, all of whom would have been trained
by Richard Goodson Jr).
Microfilm: not included in the standard microfilm series.
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