Christ Church Music Catalogue
HomeBrowseContact

Mus. 1113

Manuscript. Keyboard book containing works of Italian and English origin, copied by an unidentified English scribe probably in the 1620s. The opening layer of largely Italian repertory (items 1-55) appears to be of Roman origin; it is followed by a layer of English repertory, beginning at item 56. A few pieces are designated as being for use on specific instruments (organ, virginals, etc).

The identity of the copyist of Mus. 1113 remains a subject of debate. Some authorities have favoured William Ellis (1620-c.1679; organist of St John's College, Oxford from 1639 to 1646), using arguments that proceed from the fact that the covers of Mus. 1113 are stamped with the initials 'W.E.', and that item 16 in the inventory below bears the same initials. Dates of copying as late as the 1650s have been proposed; see most recently Bailey 2001 (in Bibliography below). Other authorities have questioned these conclusions, partly on the grounds that the repertory of Mus. 1113 implies a copying date closer to 1620, partly because the scribal characteristics in Mus. 1113 do not match those of other manuscripts thought to have been copied by Ellis. At present, the most comprehensive study of Ellis's hand is to be found in Robert Thompson, 'A Further Look at the Consort Music Manuscripts in Archbishop Marsh's Library, Dublin', Chelys, 24 (1995), 3-18 (where Ellis is to be equated with Copyist 'Q'). This asserts that Ellis was responsible for copying the keyboard book Mus. 1236, the partbook set Mus. 468-72, and various manuscripts in other collections. If this is indeed the case, then the likelihood of his involvement with Mus. 1113 recedes sharply, since the hands are so dissimilar.

One possibility is that Mus. 1113 was copied by a musician of William Ellis's family who shared his initials; it may then have passed into William Ellis's possession. Most unusually, both Mus. 1113 and Mus. 1236 reached Christ Church not through the bequests of Aldrich or Goodson, but rather as part of the library of Archbishop William Wake (1657-1737), which otherwise contained very little music. When and where Wake obtained these two keyboard books is unrecorded; nor is it known if Wake himself was a keyboard player; but the fact that he was resident in Oxford in 1673-82, during which period William Ellis died, may point to his having acquired the books at that time.

Some of the pieces in Mus. 1113 were subsequently recopied as the opening layer of Mus. 1003, a keyboard book that later passed to Henry Bowman and other Oxford-based musicians. It is unknown whether the transfer of repertory was made during Ellis's lifetime or after his death. Either way, however, it is pure chance that Mus. 1003 and Mus. 1113 have ended up together in the Christ Church music collection, since Mus. 1113 was donated by Wake, and Mus. 1003 was donated either by Goodson or (less likely) Aldrich.

The contents of Mus. 1113 were numbered in a single sequence by the copyist. Since some of the short pieces appear to have been entered on staves previously left blank, it seems likely that the numbering system was applied only after copying of the music had largely been completed. Two unnumbered pieces (items 61 and 112) may therefore be late additions.

  • Items 1-21, 23-7 and 29-37: incipits and concordances for these anonymous pieces, which are probably of Roman origin, are given in Cox (see Bibliography below), Appendix B (p. 368 ff), Anonymous 1-35.
  • In Italian manuscript sources, item 21 occurs as part of a longer work attributed to Giovanni Battista Ferrini, a fact that has sometimes entered into discussions of the date of copying of Mus. 1113. As others have pointed out, however, Ferrini's name may have become attached to music that is not wholly by him. If so, then the ascription has no implications for the date of Mus. 1113 itself.
  • Items 22, 28 and 38-5 derive from Girolamo Frescobaldi's Toccate e partite d'intavolatura di cimbalo (Rome, 1616 and later editions). References to 'Pidoux iii' are to Girolamo Frescobaldi, Organ and Keyboard Works, iii: The First Book of Toccatas, Partitas etc. 1637, ed. Pierre Pidoux (Kassel etc., 1949)/page(s).
  • Items attributed to 'B.C.' (Benjamin Cosyn?) are edited in Memed (see Bibliography below).
  • Items for which modern editions are available in the series Music britannica ('MB') are cited by the titles allocated to them in those editions.
  • The opening of item 76 is based on the opening of John Coprario's Fantasia a3, VdGS 5 (Charteris no. 11), but thereafter is musically independent.
Table of titles and composers as shown in the manuscript. Display in modern form.
The first column gives the modern numbering of the pieces; the second shows numbering used by the copyist(s).
1 1   [Toccata] pp. 1-2
2 2 [after Palestrina] Vestiva i Colli p. 2
3 3   [Capriccio/canzona] pp. 3-4
4 4   Courante francise p. 4
5 5   [Toccata] pp. 5-6
6 6   [Capriccio/canzona] pp. 7-8 +6
7 7   [Toccata] p. 9
8 8   [Capriccio/canzona] p. 10
9 9   [Capriccio/canzona] pp. 11-12
10 10   Courante p. 12
11 11   [Toccata] pp. 13-14
12 12   Courante p. 14
13 13   [Toccata] pp. 15-16
14 14   Capriccio/canzona pp. 16-17
15 15   [Toccata] p. 18
16 16 W.E. [Capriccio/canzona] pp. 19-20
17 17   [Toccata] p. 21
18 18   [Capriccio] pp. 21-23
19 19   Per la Com: [Elevation toccata] pp. 23-24
20 20   [Toccata] pp. 25-26 +24
21 21   [Aria di Fiorenza (terza parte)] pp. 27-28
22 22 [Girolamo Frescobaldi] Courente [quarta: Pidoux iii/71] p. 28
23 23   [Toccata] pp. 29-30
24 24   [Capriccio/canzona] pp. 31-32 +30
25 25   [Toccata] pp. 33-34
26 26   [Capriccio/canzona] pp. 35-36
27 27   [Capriccio] pp. 36-38
28 28 [Girolamo Frescobaldi] Corrente [terza: Pidoux iii/71] p. 38
29 29   [Toccata] pp. 39-40
30 30   Courant p. 40
31 31   [Capriccio] pp. 41-42
32 32   [Toccata] 1 p[ar]t pp. 43-44
33 33   2e p[ar]t [= second part of no. 32 above] pp. 45-46 +44
34 34   [Canzona] pp. 47-48
35 35   [Toccata] pp. 49-50 +48
36 36   [Canzona] pp. 51-52
37 37   del Pedali [Pedal toccata] pp. 53-55
38 38 [Girolamo Frescobaldi] [Toccata terza (Pidoux iii/11)] pp. 56-58
39 39 [Girolamo Frescobaldi] [Toccata quinta (Pidoux iii/16)] pp. 59-62
40 40 [Girolamo Frescobaldi] [Toccata settima (Pidoux iii/24)] pp. 63-66
41 41 [Girolamo Frescobaldi] [Toccata ottava (Pidoux iii/28)] pp. 67-70
42 42 [Girolamo Frescobaldi] [Toccata nona (Pidoux iii/32)] pp. 71-74
43 43 [Girolamo Frescobaldi] [Toccata duodecima (Pidoux iii/43)] pp. 75-77
44 44 [Girolamo Frescobaldi] Corrente [seconda: Pidoux iii/70] p. 78
45 45 [Girolamo Frescobaldi] [Toccata prima (Pidoux iii/3)] pp. 79-82
46 46 [Girolamo Frescobaldi] [Toccata seconda (Pidoux iii/7)] pp. 83-86
47 47 [Girolamo Frescobaldi] [Toccata quarta (Pidoux iii/14)] pp. 87-90
48 48 [Girolamo Frescobaldi] [Toccata sesta (Pidoux iii/20)] pp. 91-94
49 49 [Girolamo Frescobaldi] [Toccata decima (Pidoux iii/36)] pp. 95-98
50 50 [Girolamo Frescobaldi] [Toccata undecima (Pidoux iii/40)] pp. 99-102
51 51 [Girolamo Frescobaldi] Partite [14] sopra l'aria [della Romanesca (Pidoux iii/46)] pp. 103-112
52 52 [Girolamo Frescobaldi] Corrente [prima: Pidoux iii/70] p. 112
53 53 [Girolamo Frescobaldi] Part[it]e [11] sopra [l'aria di] la monicha [Pidoux iii/55] pp. 113-118
54 54 [Girolamo Frescobaldi] partite [12] sopra [l'aria di] Ruggiero [Pidoux iii/60] pp. 119-126
55 55 [Girolamo] Frisco Baldy partite [6] sopra [l'aria di] Folia [Pidoux iii/67] pp. 127-130
56 56 B[enjamin] C[osyn?] [Voluntary; Memed no. 46] pp. 131-132
57 57 B[enjamin] C[osyn?] [Voluntary; Memed no. 47] pp. 133-134
58 58 B[enjamin] C[osyn?] [Voluntary; Memed no. 48] p. 134
59 59 Mr Tho[mas] Tomkins [Fancy; MB 5 no. 29] pp. 135-136
60 60   [Voluntary] pp. 137-138
61     Mr Sanders his delight p. 138
62 61 Mr Tho[mas] Tomkins [On a plainsong; MB 5 no. 68] pp. 139-140 +136
63 62 B[enjamin] C[osyn?] [Voluntary; Memed no. 49] pp. 141-143
64 63 Orl[ando] Gibbons [or John Bull] [Plainsong fantasia; MB 20 no. 48] pp. 143-145
65 64 B[enjamin] C[osyn?] [Voluntary; Memed no. 50] pp. 145-146
66 65 O[rlando] G[ibbons] [Fantasia; MB 20 no. 10] pp. 147-148
67 66 Or[lando] Gibbons [Fantasia; MB 20 no. 11] pp. 149-150
68 67 Dr [John] Bull [Veni redemptor gentium (I); MB 14 no. 42] pp. 150-152
69 68 Mr Or[lando] Gibbons [spurious] [Plainsong fantasia; MB 20 no. 58] pp. 153-154
70 69 B:C. [recte Orlando Gibbons] [Fantasia; MB 20 no. 12] pp. 155-156
71 70 B[enjamin] C[osyn?] [Voluntary; Memed no. 51] p. 156
72 71 Mr W[illiam] Bird [Fantasia; MB 28 no. 62] pp. 157-158
73 72 Or[lando] Gibbons [spurious] [Fantasia; MB 20 no. 59] p. 159
74 73 B[enjamin] C[osyn?] [Voluntary; Memed no. 52] p. 160
76 75 [after John Coprario?] [Fantasia] p. 162
77 76 Dr [John] Bull [Fantasia; MB 14 no. 15] p. 163
78 77 Dr [John] B[ull] [Ionic] Almaine [MB 19 no. 110] p. 164
79 78 [John Bull] Ino[m]i[n]e [IV; MB 14 no. 23] pp. 165-167
80 79 [John Bull] Ino[m]i[n]e [V; MB 14 no. 24] pp. 167-170
81 80 [John Bull] Ino[m]i[n]e [VI; MB 14 no. 25] pp. 171-173
82 81 [John Bull] Ino[m]i[n]e [I; MB 14 no. 20] pp. 173-176
83 82 [John Bull] ino[m]i[n]e [II; MB 14 no. 21] pp. 176-178
84 83 [John Bull] Ino[m]i[n]e [III; MB 14 no. 22] pp. 179-181
85 84 Dr [John] Bull Ino[m]i[n]e [IX; MB 14 no. 28] pp. 181-186
86 85 Mr John Peeterson of Amsterdam [Jan Pieterszoon Sweelinck] Fantasia ... super ut.re.mi.fa.sol.la [Hexachord fantasia] pp. 187-194
87 86 Dr [John] Bull Miserere [I; MB 14 no. 34] pp. 195-198
88 87 Mr Rob[er]t Johnson [(ii)] An Almaine p. 199
89 88 Dr [John] Bull An Almaine [= Germain's Alman; MB 19 no. 94] pp. 199-200
90 89 Or[lando] Gibbons An Aire [= Alman; MB 20 no. 34] p. 200
91 90 Dr [John] Bull Dorick [music,] 3 p[ar]ts [MB 14 no. 57] p. 201
92 91 Dr [John] Bull Dorick [music,] 4 p[ar]ts [MB 14 no. 58] p. 202
93 92 Dr John Bull Walsingham [MB 19 no. 85, short version] pp. 203-209
94 93 Dr [John] Bull A pavin [= Chromatic pavan (Queen Elizabeth's); MB 19 no. 87a] pp. 209-210
95 94 Tho[mas] Tomkins Pavin [MB 5 no. 56] pp. 211-215
96 95 T[homas] Tomkins Almaine [= A toy; MB 5 no. 69] p. 216
97 96 Mr J[ohn] Holmes fantazia pp. 217-218
98 97 Orlan[do] Gibbons Allmaine [= The Italian ground; MB 20 no. 27] pp. 219-220
99 98 R[obert] Johnson [(ii)] Almaine[: Lady Hatton] p. 220
100 99 O[rlando] G[ibbons] Galliard [Lady Hatton; MB 20 no. 20] p. 221
101 100   Courant Cromatique p. 222
102 101 Dr [John] Bull Almaine [= English toy; MB 19 no. 96] p. 223
103 102 Dr [John] Bull [French] Allmaine [MB 19 no. 95] p. 224
104 103 Dr [John] Bull [Dallying] Allmaine [MB 19 no. 104] p. 225
105 104 Dr [John] B[ull] Almaine [MB 19 no. 135] p. 226
106 105 [John Bull] Almaine [MB 19 no. 115] p. 227
107 106 Dr [John] Bull faire & sweet [= Duchess of Brunswick's toy; MB 19 no. 97] p. 228
108 107 Dr [John] Bull a preludium [MB 19 no. 118] p. 228
109 108 Dr [John] Bull Almaine [MB 19 no. 114] p. 229
110 109 Dr [John] Bull Almaine [= Alman fantasia (Meridian); MB 19 no. 134] pp. 229-230
111 110 Dr [John] Bull A Pavin [MB 19 no. 88a] pp. 231-234
112   Dr [John] Bull Preludium [MB 19 no. 84] p. 234
113 111 Pietro Philippi [Peter Philips] Almande [MB 75 no. 14] pp. 235-238
114 112 [Marenzio arr.] Pietro Philippi [Peter Philips] Deggio Dunque partire [MB 75 no. 5a] pp. 238-240
115 113 Rob[er]t Johnson [(ii)] A masque tune p. 240
116 114 [Marenzio arr.] Pietro Philippi [Peter Philips] Secunda parte [to no. 112 above:] Io partire [MB 75 no. 5b] pp. 241-242
117 115 [Marenzio arr.] Pietro Philippi [Peter Philips] Terza parte [to no. 112 above:] Ma voi [MB 75 no. 5c] pp. 243-244
118 116 [Peter Philips, based on his own madrigal] Fice de voi Partiti [MB 75 no. 7] pp. 245-247
119 117 [Lassus arr.] Pietro Philippi [Peter Philips] Le Rosignaiol [MB 75 no. 9] pp. 247-251
120 118 [Orfeo Vecchi arr.] Pietro Philippi [Peter Philips] Benedicam Dominum [MB 75 no. 24] pp. 251-253

Oblong format, 215 x 165 mm. 132 leaves, the majority of which have been paginated by the copyist. Collation:

  • A8 (of which A1 was formerly pasted to the inside upper cover but is now detached; A2-A4r are unpaginated; and A4v-8v = pp. 1-9) / B8 (pp. 10-25) / C8 (26-41) / D8 (42-57) / E8 (58-73) / F8 (74-89) / G8 (90-105) / H1 (106-7; this leaf may have been excised from gathering R below) / I8 (108-23) / J8 (124-39) / K8 (140-55) / L8 (156-71) / M8 (172-87) / N8 (188-203) / O8 (204-19) / P8 (220-35) / Q4 (236-43) / R8 (of which R1-3 = pp. 244-9; R4 is excised and may be the leaf now at pp. 106-7; R5-6 = pp. 250-3; R7 is unpaginated; R8 is pasted to the inside lower cover). Staves were ruled only on the pages with pagination; all others were originally left blank.
Mid-17th-century binding of vellum over boards, with stubs of pink ribbon at the fore-edge; upper and lower covers gold-tooled with the initials 'W.E.'. The use of leaves from gatherings A and R to line the inside upper and lower covers may imply that the volume was bound before copying began. Bookplate 4 (Archbishop William Wake) on f. [1v]. Partial list of contents by York Powell on ff. [2r-3r]. Formerly Mus. 1175, then Mus. 1073.

Provenance: from the library of Archbishop William Wake (1657-1737), which was donated to Christ Church at his death.

Microfilm: manuscript music, reel 37.

Select bibliography:

  • Geoffrey Cox, Organ Music in Restoration England: A Study of Sources, Styles, and Influences (New York and London), 1989, pp. 141-3.
  • Orhan Memed, Seventeenth-Century English Keyboard Music: Benjamin Cosyn (New York and London, 1993), pp. 90-101.
  • Candace Bailey, 'William Ellis and the Transmission of Continental Keyboard Music in Restoration England, Journal of Musicological Research, 20 (2001), pp. 211-42.