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There are accompaniments for flutes, violins, horns, tenor, and bass,
in score.



GLEES.



115



Additional 27643, ff. 2-1 4b.

Paper ; about 1803-1812. Quarto. The MS. belonged to William Hutchins
Callcott. It also contains a sacred Canon (vol. i, p. 120), a sacred Song [ib.
p. 451), Catches (above, p. 33), and a secular Song (1810), described below.

Glees, in score, by Dr. J. W. Callcott. Autograph. The first
three are for 3 voices.



1. "Ye Mariners of England." "1810."
f. 2.

2. "When Time was entwining the
garland." "1803." f. 4.



3. "Soft blows the wind." "1812."
f.6.

4. "See, baleful Iris" (double quartet).
The initials at the beginning are
evidently those of the singers, f . 8.



Additional 32021, passim.

Paper; a.d. 1806-1850. Oblong quarto. The MS. also contains sacred Canons,
(vol. i, p. 127), a sacred Chorus {ib. p. 166), a sacred Quartet (ib. p. 4), Catches
(above, p. 44), and a Pianoforte Solo (1825), in vol. iii.

Glees, for 4 voices (unless the contrary is stated), in score, by
Thomas Miles. Autograph. The names of the authors of the words,
etc., are generally given in brackets.



1. "Hail, Innocence, celestial maid"
(a 3). "1807." (Ogilvie.) f. 2b.

2. "Within this cot." [1807.] f. 5.

3. " sacred solitude." " 1806."
(Dr. Young.) f. 6b.

4. "Pride, pomp, and pleasures of the
world." "1811." f. 11.

5. "What, tho' around the warrior's
bed": dirge. "1815." (Charlotte
Nooth.) f. 13.

6. " Far in some shady blest retreat."
"1812." (Ogilvie.) f. 15.

7. "Hail to this happy day" (a 3).
[1816.] f. 19b.

8. " Beneath those rugged elms "(a 5).
"1821." (Gray's " Elegy.") f. 23b.

9. " Of all the birds on bush and tree "
(a 3). (Scott's Kenihvorth.) f.25b.



Opera of Love in a Village Harmon-
ized ... by Thomas Miles." The
so-called opera was a pasticcio
compiled, about 1790, from works by
the composers mentioned below, and
many others. " [S.] Howard."
f . 46b.

15. " How blest the maid " (a 3).
"1823." "Galuppi." f . 47b.

16. "Oh, how shall I in language
weak." "1824." "Carey." f . 48b.

17. "Gentle youth, ah tell me why."
[1826.] "D^Arne." f . 50b.

18. "Let gay ones and great" (a 3).
"1850." "Baildon." f . 51b.

19. "Drink ye to her that each loves
best." "1824." (Thomas Campbell.)
f.53.



10. "The Sun, when rising from his 20. " Bring the bowl which you boast "



bed." "1819." f. 28.

11. "There came three merry men"
(a 3). "1820." (Scott's Ivanhoe.)
f. 31b.

12. "Come, fill the bowl." "1823."
(Henry Neele.) f. 35.

13. " Ye gentle muses " (a 5). "1823."
(Pope's " Winter.") f. 38b.

14. "0 had I been by Fate decreed."
"1823." This and Nos. 15-18 are
headed " Sis (sic) Airs from the



(a 3). "1826." (Scott's Woodstock.)
f.57.

21. From that celestial orb." " 1826."
f. 59.

22. "Balmy pledge of love sincere."
"1828." f. 62.

23. "I think the Prog A jolly dog"
(a 3). "1845." f.65.

24. " What is Beauty ? Who can
show?" (a 3). "1850." f.67.

I 2



116



VOCAL MUSIC— SECULAR.



Additional 14340, ff. 40-52.

Paper ; a.d. 1807. Quarto. See also under Motets (vol. i, p. 318)

Glees, in score, by Samuel Wesley.

1. "What Bliss to Life can Autumn
yield" (a 3). "1807." Autograph.
The words from Dr. Johnson's
"Autumn." f . 40.

2. "If in fighting foolish Systems"



(a 3). "1807." Autograph, f . 46b.
3. "Life is a jest" (a 4). Apparently
in the hand of Matthew Cooke.
f.51.



Additional 35005, ff. 49-65b, 115.

Paper ; a.d. 1807-1836. Quarto. See also below, under Songs (1783-1785).
Glees for 3 voices, in score, by Samuel Wesley. Mostly' autograph.

1. "What bliss to life can Autumn 4. "Here shall the Morn " (a 4). The
yield." "1807." f. 49. | words from Pope's "Elegy on an

2. "While ev'ry short-liv'd Flow'r." | unfortunate Lady." f . 59.

[1822.] f. 53. ! 5. "Part of the 41st Ode of Anacreon."

8. " Goosy, goosy, Gander." About j ["Hilaroi piomen," see Add. 14343,
1836 (watermark), f. 57. I below, p. 119]. Copy. f.ll5.



Additional 31716, passim.

Paper; a.d. 1808-1819. Oblong folio. The MS. also contains a Madrigal
(1812), described below.

Glees for 4 voices (unless the contrary is stated), in score, by
William Linley. Autograph.



1. "No, never shall my soul forget."
"1812." f. 2.

2. " Phillis, you little rosy Rake " (a 3).
"1813." f.l2.

3. " God of the Bow " (a 3). "1815."
f.l4.

4. "There is strange Music" (a 3):
elegy. "1816." f. 18.

5. "If ought of oaten stop" (a 3).
"1816." From Collins's "Ode to
the Evening." f. 22.

6. "lam the Comforter of those that
mourn ": elegy. "1816." f. 27.

7. "Go, musing Traveller." "1817."
f.32.

8. "Chant we the Requiem." "1817."
f. 38.

9. "At that dread Hour." "1818."
Gained Prize Medal of Catch Club
in 1821. f. 46.



10. "Frolick and free." "1819."
f. 55.

11. "Ere yet we Slumbers seek."
"1819." f.63.

12. " Ye little Troops of Fairies " (a 3).
This and the remaining numbers
appear to be taken from Fairy
Fantasies, 1808-1809. f . 67.

13. " Hark 1 from yon ruin'd Abbey
Walls." f.71.

14. "Zephyr, whither art thou stray-
ing" (a 3). f.78.

15. "Sweet, airy Being." The words
by Thomas Moore, f. 82.

16. "Would you the Fairy Regions
see" (a 8). f . 89.

17. " Now the blue Fly's gone to Bed."
f.92.

18. " On the Down of a Thistle I fly."
f . 98.



GLEES, 117



Additional 19648, ff. 16, 18.

Paper ; a.d. 1810. Quarto. The MS. also contains sacred Canons (vol. i, p. 128),
a secular Canon (above, p. 10), Catches (p. 44), Duets (p. 94), and other compositions
described below and in vol. iii.

Glees for 3 voices, in score, in the hand of D. Bruguier, to whom
the volume appears to have originally belonged.



1. "To sing of Love's passion." "D.
Bruguier, 1810." f. 16.

2. " young Lochinvar ! " Adapted



by the same from " T. Attwood."
f. 18.



Additional 35003, fF. 75-98b.

Paper ; a.d. 1811-1822. Oblong folio. See also under Motets (vol. i, p. 349).

Glees by Samuel Wesley. Unless the contrary is stated, they are
for 3 voices, in score, and autograph.



1. "The Rights of Man," beg. " While
others, Delia, use their Pen." About
1811 (watermark), f . 75.

2. "Now the trumpets' martial sound "
(a 4). "1815." On the Peace of
1814. f. 79.

3. "While evry short-liv'd Flower"
(a 4). "1822." f. 83.

4. "There are by fond Mama supplied
Six reasons against Sammy's ride " ;
with a bass. An early composition.



f.86.

5. "On the salt wave we live"; with
accompaniment apparently for 2
violins and a bass, f . 88.

6. " When Friendship, Love, and Truth
abound." f. 91.

7. "Roses, their sharp spines being
gone." The words from Beaumont
and Fletcher's "Two Noble Kins-
men." f. 95.



Additional 34610, ff. 35, 37-40b passim.

Paper; about 1812 (see ff. 31, 32). Quarto. See also under Anthems (vol. i,
p. 93).

" Retirement " : a serious glee for 4 voices, beg. " To these lov'd
shades," by Matthew Cooke. Autograph.. In score (f. 35), followed by
the single parts (ff. 37b, 38b, 39b and 40b).

Additional 14342, f. 69.

Paper ; a.d. 1813. Oblong folio. See also under Masses (vol. , p. 234).

" Old King Cole " ; for 3 voices, in score, by Samuel Wesley, 1813.
Autograph.

Additional 34803, ff. 33b, 67.

Paper ; A.D. 1822. Quarto. See also below, under Songs (1820-1824).
Glees for 4 voices, by John Lodge Ellerton. Autograph.

1. " Wreath[e] the bowl with flowers of I apparently a glee for soprano, two
soul." In score. "1822." f. 33b. tenors and bass. In parts, f. 67.

2. "Far in the chambers of the west " :



118



VOCAL MUSIC— SECULAR.



Additional 36966-36968, passim.

Paper ; a.d. 1830-1834. Oblong folio. See also below, under Songs.

" Glees," for 3 voices (unless the contrary is stated), composed by-
Henry R[o\vley] Bishop for Vauxhall Gardens. With symphonies and
accompaniments for horns, clarinets, flutes (ottavino and traverso),
oboes, bassoons, trumpets, kettledrums and strings, and occasionally
also bass-drum, cymbals, triangle and trombones. In the seventh,
piece (36968, f. 78) side-drum, bell and " crash " are also used.
Generally in two separate scores. Autograph.



86966. 1. " The Palmer Knights."
"1830." ff.2-11.

3696Y. 1. "The Thistle, the Sham-
rock and Rose," beg. "In a lovely
bow'r one day." "1831." ff.2-11.

2. "The Fisherman's Good Night"
(a 4), beg. " Lo! the day's champion."

36968. 1. " AU in the greenwood

shade." "1833." f . 70.
2. "The Enraged Musician " (a 4), beg.

"0! pray have you never heard of



2. "Four merry boys are we" (a 4).
"1830." tf.96-109b.

"1832." ff.l37-142b.

3. "Bacchanalian," beg. "0! were the
sea a sea of wine." "1832." ff. 196-
205b.



Signer Scratchimento" (a 4). "1834."
ff. 78-99.
3. "When the moon is riding high"
(for 3 sopranos). "1834." ff. 200-213.



Additional 30273, ff. 4, 5b.

Paper; about 1833 (watermark, f. 35). Narrow oblong octavo. See also under
Catches (above, p. 45).

Glees for 3 voices, iu score, by Dr. Henry Harington.

1. " What shall we sing now." f. 4. met." f. 5b.

2. "Sing old Rose," beg. "Now we're



Additional 31415, passim.
Paper ; after 1835. Oblong octavo. See also below, under Madrigals.

Glees, in parts. Nos. 1 and 8-10 are for 4 voices; the others,
for 5.



1. " Awake, Eolian lyre." "J.Danby."
i, f.6b; ii, f. 3b; iv, f . 6b ; vi, f. 6.

2. "You gave me your heart." " S.
Webbe, 1776." i, f. 7 ; ii, f. 5b ; iv,
f.8b; V, f.4; vi, f . 8.

3. " Bird of Eve." "Lord Morning-
ton." i, f.7b; ii, f.6; iv, f . 10 ; v,
f . 5b ; vi, f. 9b.

4. " It was a lover." " R. J. S. Stevens,
1786." i, f . 8 ; ii, f . 6b ; in, f . 7b ; iv,
f.lOb; vi, f.9b.

5. "Amidst the myrtles." "Jon.Bat-
tishiU." i, f. 12b ; ii, f . 11 ; iv, f. 14b ;
V, f. 6 ; vi, f. 13.



6. " A gen'rous Friendship." " S.
Webbe." [1768.] i, f.l5; iii, f. 13;
iv, f. 16b ; V, f. 7 ; vi, f. 15b.

7. "Mark'dyouhereye." "Spof^orth."
i, f . 21 ; ii, f . 16b ; iv, f. 23 ; v, f . 8b ;,
vi, f.21.

8. "Grabbed age and youth." " R. J.
S. Stevens." ii, f. 4b; iv, f. 7b; v„
f. 3b ; vi, f. 7.

9. " Melting Airs." " Dr. Hayes, 1763."
iii, f. 7 ; iv, f. 9b ; v, f. 5b ; vi, f. 9.

10. "When despairing Cupid stealeth."'
Anonymous, iii, f. 3 ; iv, f. 44b ; v,.
f.20; vi, f.



GLEES.



119



Additional 14343, passim.

Paper; about 1839 (see f.46). Oblong folio. The MS. also contains a sacred
Quartet (vol. i, p. 391), Duets (above, p. 97), another Glee (p. Ill), and other
compositions, described below and in vol. iii.

Glees, for 3 voices (with two exceptions noted below), in score, by
Samuel Wesley. In the hand of Vincent Novello, from MSS. belonging
to Charles Stokes, etc.



1. " While others, Delia, use their
Pen." "1800." f . 4b.

2. " Sol, Do, Re, Mi " : a fantasia, f . 6.

3. "When Bacchus, Jove's immortal
Boy." "1806." f.9b.

4. "Hilaroi piomen." "1800." The
words are from Anacreon. f. lib.

5. "When down his throat." The
words by Madan. f. 17.

6. " Now the trumpet's martial sound"
(a 4). On the. Peace of 1814. The
words by W. B. Kingston, f. 21.

7. " Goosy, Goosy, Gander"; with



figured bass. f. 25.

8. "While ev'ry short liv'd Flower"
(a 4). " 1822." f. 25b.

9. " Say, can Pow'r." f. 30b.

10. "Beneath, a sleeping Infant lies."
f. 32b.

11. " Happy the man." The words from
Dryden's Horace, f. 39b.

12. "O Sacred Bird." The words by
Dr. Akenside. f. 41.

13. "Roses, their sharp spines being
gone." "1798." f. 43b.



Additional 32587, ff. 28-45b.

Paper ; a.d. 1841-1852. Oblong quarto. The MS. also contains a Catch (above,
p. 47), a fragment of an Opera (19th cent.), described below, and Pianoforte
Solos, in vol. iii.

Glees for 4 voices, in score, by William P. Stevens. Autograph.



1. "Bless'd as th' immortal Gods."
"1850." f. 28.

2. "Lov'd tho' thou art." "1841."
Words by Thomas B. Shaw. f. 30.



3. "On a day, alack the day." With
pianoforte accompaniment. Prize
Glee. f. 37.

4. " Why so pale ? " "1852." f. 41.



Additional 35028, S. 4-15, 18-29b.

Paper ; a.d. 1860. Quarto. See also below, under Songs.

Glees, for 3 voices (unless the contrary is stated), in score, by
Samuel W^esley.



1. "Circle the bowl" (a 4). "1782."
f.4.

2. "Thou happy wretch." "1783."
The words are from Young's " Night
Thoughts." f. 12.

3. ' ' There are by fond Mama supplied."
About 1778. f. 14.

4. " Goosy, goosy, Gander." About



1781. f. 18.

5. "A-dieu, ye soft scenes of delight."
f.l9.

6. " When Orpheus went down." About
1781. f. 21.

7. "When first thy soft lips." " 1783."
f.25.



120 VOCAL MUSIC— SECULAR.

Egerton 2571, ff. 26, 29b, 36b.

Paper ; 19th cent. Oblong folio. See also under Motets (vol. i, p. 362).
Glees, in score, by Samuel Wesley.



1. " sacred bird " (a 3). f. 26.

2. " Say, can pow'r or lawless wealth "



(a 3). f.29b.
3. "Life is a jest " (a 4) : air. f. 86b.



SECTION VII.— MADEIGALS

INCLUDING Ballets, early Chansons or Canzonets for several
VOICES, Villanellas, and a few compositions of the early

PART OF THE 1 7tH CENTURY WHICH HAVE SOME RESEMBLANCE

to Partsongs.



Additional 24198, f. lb.

Vellum; 14th-15th cent. Folio. See also under Motets (vol. i, p. 256).
" Trop est fol ky me bayle sa femme." Only one part.

Additional 34200, ff. 57-60.
Paper ; early 15th cent. Octavo. See also under Treatises, in vol. iii.
Chansons for 3 voices, in parts. Anonymous.



1. "II (?) veul prendre." The treble
wanting, f . 57.

2. " Sans amer home." f. 57b.



3. "Quant vous." f . 58b.

4. "Bonum vinum cum sapore.
f. 59b.



Cotton, Titus A. xxvi, ff. 3b-7b passim.

Paper ; about 1448 (see f. 3). Octavo. See also below, under Songs.

Chansons for 2 or 3 voices, in parts, apparently written in the
north of Italy. Anonymous.



1. "Jour a iour" (a 3). f . 3b.

2. " Qu'en puisie " (a 2). f.4.

3. "Vne fois auant que mourir" (a 3).
f.4b.

4. " Je me recommande " (a 3). f. 5b.



5. Without words (a 2). f. 6.

6. Without words (apparently a 8, with
an alternative 2nd contra-tenor part).
f.7b.



Additional 29987, ff. 2b-69b ^assm.

Vellum ; 15th-16th cent. Octavo. The MS. appears to have been written
for a member of the Medici family (see arms on f . 2) ; it belonged in i670 to
Carlo di Tommaso Strozzi, who added an index of names (f. 1). It contains other
compositions, etc., described elsewhere.

" Madriali," " Ballate," " Caccie," etc., -by little-known Italian
composers of the 15th century. There are similar collections in the



MADRIGALS.



121



Biblioteca Laurenziana at Florence (87) and in the Bibliotheque
Nationale at Paris. Unless the contrary is stated, the compositions
are for 2 voices and anonymous. Most of them have a ritornello or
refrain at the end of each verse.



1. " dolcie (sic) apresso un bel."
ff. 2b, 4b.

2. "Di nouo e gionto un caualier."
"Magister Jacobus de Bolonia."
f.3b.

3. "0 Perla gentil " ; with the same
refrain as no. 1. f. 5b.

4. "Apres' una (sic) fiume." f. 6b.

5. " Per allegrezza." f. 7.

6. "0 tu chara scientia." "Magister
Johannes de Frorentia " (sc. Floren-
tia). f.7b.

7. "Si chome (sc. siccome) al canto."
" Magister Jacobus de Bolonia." f . 8b.

8. "Sedendo a lonbra." "Magister
Johannes de Frorentia." f. 9.

9. "Si dolce no[n] so" (a 3). "Ma-
gister Franciscus de Frorentia."
f.9b.

10. "Mvsican (sic) son." By the
same, f . 10b.

11. "Al bacho." " Frater Bartolinus
de Padoua." f. 12b.

12. "Prima uertute." "Magister
Jachobus de Bolonia." f. 18b.

13. "Mille mer9e de Amore." f. 14.

14. " Qvando la terra." " Frater Barto-
linus de Padoua." ff. 14b, 21b.

15. "La dolce cera" (a 3). By the
same. f. 15b.

16. "Vseletto seluagio." "Magister
Jachobus de Bolonia." f. 16b.

17. "Vn bel parlare." By the same.
f.l7b.

18. "Piu no mi churo." "Maestro
Giouanni de Chascina." f. 18b.

19. " I[o] credo ch' i dormiua." " Ser
Lorenzo." f. 19b.

20. "Qual legie moue." "Frater
Bartolinus de Padoua." f. 20b.

21. " Per isparverare." f . 22b.

22. " Non aurama (sic) pieta " (a 8).
f. 23b.

23. " Donna, sito falito." f . 24.

24. "Guard' una volta" (4 8). f. 24b.

25. " I son vn pellegrin." f. 25.

26. " Percbedinouosdegno." Only one
part. "Francescho de Frorencia."
f. 25b.

27. "Tosto che lalba" : a "chaccia"



or hunting-song. "Ser Gheradello."
f.26.

28. " L' aspido sordo." f. 26b.

29. " La dona mia uole." f. 27.
80. "Non senti, donna." f . 27b.

31. "Se pronto non sara." f.28.

32. "Nella piu chara parte." "Ma-
gister Franciscus de FroreuQia."
f . 28b.

88. "Sia quel chesser." "Frate
Andrea de Servi." f. 29.

84. "Gran pianta " (a 3). "Magister
Francisus de Froren(?ia." f. 29b.

85. "A Dyou, a dyou." By the same.
f.80.

86. "Parte si con dolore " (a 8). By
the same. f. 30b.

87. " I son tuo, donna." " Ser Nicholo
del Proposto." f. 31.

88. " Lamantachassera " (sic), f. 31b.

89. "Informa quasi tral uegliare":
a "Chaccia." ff.82, 69b.

40. "Piu bella donna." "Maestro
F[r]ancescho di Firenge." f. 32b.

41. " Donna, non fu giamay." "Bona-
uitus Corsini, pit[t]or." f. 88.

42. "Vid[d]i nell o[m]bra." "Ser
Lorenzo, prete." f. 83b.

43. "Plata (sic) ti moua." " Bonaui-
tus Chorsini, pitor." f. 34b.

44. "Amor, tu uedi." By the same.
f.85.

45. " Povero (jappator." " Ser Lorenzo
di Fio[renze]." f. 35b.

46. "I fu gia bianch' ucciel." "Ser
Donatio da Chascina." f. 36b.

47. "Po[i]che datte mi chonuieu
partir." f. 37.

48. "lo uegio in gran dolo." "Ser
Nicholo dell Proposto." f. 39.

49. " Chosi pensoso." f. 39b. .

50. " Chil ben sofri." f . 40.

51. "Neir aqua chiara." "Frate
Vincengo." f. 40b.

52. " Dapoy chel sole." " Ser Nicholo
del Proposto." f. 41b.

58. "State su, donne." By the same.

f. 42b.
54. " Ittase nera star." "Ser Lo-

ren90." f. 48b.



122



VOCAL MUSIC— SECULAR.



55. " No di spregiarui." " Ser Nicholo
del Proposto." f. 44b.

56. "Ittase nera star." "Maestro
Vincentij." f. 45.

57. "Sotto uerdi frascetti." "Ser
Gheradello." f. 45b.

58. "Mentr' che vagho uiso." "Ser
Nichollo del Proposto." f. 46.

59. "La neve, el ghiaccio." "Fratte
Guigliemo di Sco. Spirito." f. 46b.

60. " I pregho amor." f. 47b.

61. "Come tradi[r] pe[n]sasti." "Ja-
chopo Pianel[l]aio de Firen9e." f. 48.

62. " Lasso per mie " (a 3). f. 48b.

63. " Quanto piu charo fay" (a 3).
" Fra[n]cescho de Froren(;ia." f . 49b.

64. "Per Uafruencja." "Francescho
[Landino] Degli Orghanni." f. 50b.

65. " Se non ti piaque." "Don
Paghollo." f. 51b.

66. A few bars of a madrigal, without
words. " Ser Nicholo del Proposto."
f. 52b.

67. "Donna, i prego amore " (a 3).
f . 53b.

68. "Benche partir da te." "Ser
Nicholo del Proposto." f. 54.

69. " Posando lonbra." f . 54b.

70. " Ben ch' io serua con fe." f. 55.

71. " Donna, tu pur." f. 55b.

72. " Gia perchi pensso." f. 59b.

73. " Bench' amar, crudel." f. 60.

74. " Ciascum (sic) faccia per se." "Ser



Nichollo del Proposto." f. 70b.

75. "Giporte" (sic), f. 71.

76. "Con leuriere." "Ser Gherard-
ello." f.71b.

77. " Tremando piu che foglia."
" Rosso de Chollegrana." f . 72b.

78. " Chosa non necha " (sc. nega) ; a 3.
f. 73b.

79. "Non piu diro." "Ser Nicholo
del Proposto." f . 74.

80. "El gradisio" (sc. II gran desio) ;
a 3. f.74b.

81-84. The tenor of four short " Chan-
9onete tedesche," without words.
f.75.

85. " Lalma mia piangie " (a 3).
"M[agister] Franciscus." f. 75b.

86. " Nessum pongha speran^a" (a 3).
f. 76b.

87. " Or sus uous dormet " (a 3).
f . 77b.

88. "Segugi a corde." f . 78b.

89. " Comtenplar le gran chose "
(a 3). "Francescho." f.79.

90. " Dolce signore." By the same,
f. 79b.

91. "La dolcie uista." By the same,
f. 80.

92. " Lucea nel prato." By the same,
f . 80b.

93. " Per um verde boschetto." "Fra
Bartolino." f. 81b.



Printed Book, K. i. e. 1 (at the end).

Paper ; early 16th cent. Small oblong octavo. The first part of the book
consists of printed " Songes, ix of iiii partes and xi of thre partes," by English
composers, 1530.

Compositions probably for 3 or 4 voices. Alto part.

1. "Behold and see how byrds dothe mestres of alle musyk " ; and third
fly." " Samoht Notterts," sc. part, "None may with hym compare."
Thomas Stretton. A song in praise of " y" defender of

2. " By a banke as I ley " ; with second owr feythe," sc. Henry VIII. Anony-
part, "The nyghtyngalle, y^ lady and mous.



Harley 5242.

Vellum; fi. 48. Early 16th cent. Octavo.

Chansons, for 3 voices (with one exception), in parts, with illumi-
nated initials and occasionally an illuminated border in which occur
the letters F F (Franyoise, to whom several of the verses are addressed),



MADRIGALS.



123



and a monogram, probably intended for M A M I E. The only composer
named (£. 5b) is Antoine de Fevin (fl. 1514).



1. " Vray dieu damours." f. lb.

2. "Seigneurs que dieu vous gard";
with second part, " Et pour vous faire
entendre" (a 2). f . 3b.

3. " Jelelairray" (sc. laisserai). "Anth.
de Feuin." f . 5b.

4. "Maulditz soient ces mariz jaloux."
f. 7b.

5. " Non mudera ma Constance." Im-
perfect at the end. f. 9b.

6. " Pensez de faire garnison." f. lib.

7. " Si jeusse Marion." f. 12b.

8. " Tres doulce dame." f. 13b.

9. " Le bon espoir que mon cueur a " ;
with second part, ' ' Jay endure paine."
f. 15b.

10. " Souvent je mesbatz." f. 17b.

11. " Celle qui ma demande." f. 18b.

12. " Dieu la gard la bergerotte."
f. 19b.

13. "Adieu, solaz." f . 20b.

14. " Si iay perdu." f. 21b.

15. " [S]i Jaime mon amy." Superius
only. f. 22b.

16. "En despit des faulx mesdisans."
Superius wanting, f. 23.

17. " Hellas, jen suis marri." f . 24b.



18. " II ny a yci celuy." f. 26b.

19. " Petite fleur cointe et jolie."
f. 27b.

20. "A vous non aultre." f. 28b.

21. "A Dieu, mamour et mon desir."
f . 30b.

22. "Royne des flours la plus belle."
f . 32b.

23. "Royne des flours que jay tant
desiree." f. 33b.

24. "Royne des flours que je desire."
f. 35.

25. "Lamour de moy." f . 36b.

26. "II fait bon aimer loysellet " ;
with a second part, "II fait bon
escouter." f. 38b.

27. " [N]on mudera ma Constance "
(different from no. 5). f. 40b.

28. "[0]n a mal dit de mon amy."
f. 41b.

29. "[M]ais que ce fust le plaisir
delle." f. 43b.

30. " [D]ieu gard celle de deshonneur."
f.45b.

81. " [V]ray dieu, qui my confortera."
Imperfect at the end. f . 47i).



The music of nos. 1, 13, 15 and 28 occurs (with slight variations)
in the rather later MS., Add. 35087 (below, p. 128), as do also the
words of several others of the Chansons,



Royal Appendix 58, passim.

Paper; early 16th cent. Oblong octavo. The MS. contains other music,
sacred and secular, described elsewhere. A note on f. 3 connects it with the
diocese of Exeter ; and another on f. 39b, with the town of Cardiff. It belonged
formerly to Dominus Johannes B y (f. 59b).

Vocal compositions : one part only (except in no. 27), chiefly tenor.
Unless the contrary is stated, they are anonymous.



1. "A[h], the syghes that come fro my
hert." By W. Cornish, f. 1.

2. "Though that she cannot Redresse."
f. 3b.

3. " Colle to me the Rysshes greene."
f.4.

4. " Down bery down " : a " Rownde."
f.4b.

5. " Westron wynde." f. 5.

6. " Iff I hade wytt." f. 5b.



7. "Why soo vnkende." f. 6.

8. " Kytt hathe lost hur key." f. 6b.

9. " [B]low thy home, hunter." By W.
Cornish, f. 7b.

10. "Alone, alone ... in wyldernys."
f.8.

11. "The lyttell prety nygtyngale."
ff. 8b, 9b.

12. " Cum home, swet hart." f. 8b.

13. "Nay, Mary." f.8.



124



VOCAL MUSIC— SECULAR.



14. " To leve alone." f . 10.

15. "By a bancke as I lay." f. 10b.

16. " Tbys yenders nygbt I berd a
wygbt." f. 12b.

17. "Nay, Mary" (different from no.
13). f. 13.

18. " Coll to me tbe russbes grene"
(different from no. 3). f. 14b.

19. *"0 my lady dure." "Parker,
monke of Stratforde." f . 16b.

20. " Rasyd ys my mynde." f. 17.

21. " Now fayre, fay rest off euery
fayre." Supposed to bave been



written on tbe marriage of Margaret,
sister of Henry VIII, to James IV,
of Scotland, in 1503. f. 17b.

22. " Tbose I doo syng." f. 18b.

23. "Petyously constraynyd am I."
" Docter Copere." f. 19b.

24. "When fortune bad me avaunsyd."
f. 21b.

25. " Frere Gastkyn." "Raff Drake."
f . 24b.

26. "The wbele off fortune." f. 50.

27. "My lytell fole ys gon to play"
(a 3). f.55b.



Additional 5465, ff. 2b-46b, 89b-115.

Vellum; early 16tb cent. Quarto. See also under Carols (vol. i, p. 139).

Compositions, in parts, by English musicians of the end of the
15th and beorinniug of the 16th centuries. Nos. 1-12 are for 2 voices
(treble and contra-tenor or tenor) ; the others for 3 voices.

go." "William



1. "The farther I
Newark." f. 2b.

2. "A[h] myherte, I knowe yow well."
Anonymous, f. 3b.

3. "What causytbme wofuU thoughtis."
" William Newark." f. 4b.



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