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Catalogue of manuscript music in the British museum (Volume 2) online

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5 voices.



1. "Die lume"; with second part,
"Questi ad un col." i-v, f. 1.

2. "Amor inangeua"; with second
part, " E la banda." i-v, f. lb.

3. ' ' Gia piansi " ; with second part, ' ' E
si miseramente." i-v, f. 3.

i. "II foco ch' io sentia" (a 4); with
second part, "E quando io spero."
i, iv, f . 7b ; ii, iii, f . 8b.

5. "Amy, soufrez." i, ii, iv, v, f. 12b;
iii, f. 13.

6. "Petitte fleur" (a 6). i, f. 13b; ii,
V, f. 14; iii (2 parts), iv, f. 14b.

7. " Ceste belle petite bouche" (a 6).
i, ii (2 parts), v, f. 14b ; iii, f. 15b ; iv,



f.l5.

8. " Bon Jour, Mamye." i, v, f. 15 ; ii,
iv, f . 15b ; iii, f. 16.

9. "Jay veu le temps." i, ii, iv, v,
f. 15b ; iii, f. 16b.

10. "Est il possible." i, v, f . 15b ; ii,
iv, f. 16 ; iii, f . 16b.

11. " J'attens secours" (a 6). i, ii, iv,
v (2 parts), f . 16b ; iii, f. 17b.

12. "A dieu mon esperance " (a 6). i,
ii, iv, f. 17; iii, f . 18 ; v (2 parts),
f. 17b.

13. "Je I'aime Men." i-iv, f. 21b; v,
f . 22b.



Royal Appendix 31-35, passim.
Paper; 16th cent. Oblong octavo. See also under Motets (vol. i, p. 269).

Chansons and Madrigals, in parts, apparently all by Derick Gerarde,
though his initials are only appended to a few. The live volumes con-
tain respectively the treble, alto, tenor, bass, and "quintus" parts;
nos. 8 and 25-34 have a " sextus " part (generally contained in vol. v);
and nos. 35-37 have also 7th and 8th parts (in vols, ii and iii).

1. "Se (sic) dire ie 1' osoie." i-iii, v, f . 23b ; iv, f. 22b; v, f . 23.

f.6b; iv, f. 5b. 14. " Ge mois de may"; containing a

2. "Viure ne puis." i-iii, f. 7b ; iv, \ canon. i, iii, f. 24b ; ii, f. 25 ; iv,
f.6b; V, f.5b. I f. 23 ; v, f . 23b.

3. "Jenescay pas cement." i-iii, f. 8b; 15. " Puisquelle a mis a deulx." i-iii,
iv, V, f. 7b. f. 25b ; iv, f. 23b ; v, f. 24b.

4. " Dictes pour quoy." i-iii, f. 14; iv, 16. "Monc[o]eur chante." i-iii, f. 26b ;
f . 13 ; V, f . 12b. iv, f. 24b ; v, f. 25b.

5. " Viuons joieusement." i-iii, f.l4b; 17. " Yf Phebus stormes." i-iii, f.27b;



iv, V, f. 13b,

6. " A dieu lespoir." i-iii, f. 15 ; iv, v,
f. 14.

7. "A dieu mon esperance." i-iii,
f. 15b ; iv, V, f . 14b.



iv, f . 25b ; v, f. 26b.

18. "Le bergiere {sic) et la bergierre."
i-iii, V, f . 28b ; iv, f. 26b.

19. " Aiez pitie de votre amant." i-iii,
V, f. 29 ; iv, f. 27.



8. "Oncques amour ne fust." i-iii, ' 20, "Viure ne puis." Different from



f. 18 ; iv, f. 17 ; v, f. 16b (2 parts).

9. " Amour au coeur," i-iii, f. 18b; iv,
V, f. 17b.

10. " Jay si fort battaillez." i-iii, f. 19b;
iv, V, f . 18b.

11. "En attendant secours." i-iii,
f. 20b ; iv, v, f. 19b.

12. " Je ne suis pas de ses gens." i, iii,
f,23b; ii, f. 24b; iv, f.22; v, f. 22b.

13. " Pour vne seuUe," i, iii, f. 24 ; ii.



no, 2. i-iii, f. 30b ; iv, f . 29 ; v,
f. 31.

21. " Je ne me puis tenir." i-iii, v,
f . 31b ; iv, f . 29b,

22, "Tous mes amys." i, f. 34b; ii,
iii, V, f. 34 ; iv, f. 32.

23, " Je suis amoureulx." i-iii, v, f. 37 ;
iv, f . 35.

24. " Le souuenir d'aimer." i, iii, v,
f . 38 ; ii, f . 38b ; iv, f , 36.



134



VOCAL MUSIC— SECULAR.



25. " Reueillez vous." i-iii,f. 42b; iv,
f. 40b ; V, f . 44b.

26. "Je suis desheritee." i-iii, f. 43;
iv, f . 41 ; V, f . 45b.

27. "Puis que fortune." i-iii, f. 43b;
iv, f. 41b : V, f. 46b.

28. "Pour vne, las, j'endure." i-iii,
f. 44 ; iv, f . 42 ; v, f. 47b.

29. " Reiouissons nous." " D. G." i-
iii, f. 44b ; iv, f. 42b ; v, f. 48b.

30. "Plaisir nay plus." i-iii, f . 45b ;
iv, f. 43b ; v, f . 50b.

31. "Tant ay souffert." i-iii, f.46b;
iv, f . 44b ; v, f . 52b.



32. "Mon ceur cbante." " D. G." i-
iii, f.49b; iv, f. 47b ; v, f . 58b.

33. "Hellas, Hellas, quel jour." " D.
G." i-iii, f. 50b ; iv, f. 48b ; v, f. 60b.

34. "Le rossignol plaisant." i-iii,
f . 51b ; iv, f. 49b ; v, f . 61b.

35. " Auecques vous mon amour finera."
i, f. 65 ; ii, iii, f. 61b ; iv, f. 61 ; v,
f. 68b.

36. "Jay tant chasse." i, f. 65b; ii,
iii, 64b ; iv, f . 61b ; v, f. 71b.

37. " Soions Joyeulx." i, f. 65b; ii, iii,
f. 63b ; iv, f. 62 ; v, f . 70b.



Royal Appendix 41-44.

Paper ; fE. 17. 16th cent. Oblong octavo. With the royal arms stamped on
the covers.

Chansons for 4 voices, in parts. Anonymous. The references to
the folios of each part are the same.



1. " Puis ne me peult venir." f. lb.

2. " Vous vsurpes. Dames." f . 2b.

3. " Plus nul regretz." f . 3b.

4. " Mon ceur chante." f. 4b.

5. " Vous scaues bien," f . 5b.

6. " Sur tous regretz." f. 6b.

7. " Se (sic) dire je I'ossoie." f. 7b.



8. " Si par souffrir." ff. 8b, lib.

9. " II nest sy doulce vie." f. 9b.

10. " Deuil, double deuilz." f. 10b.

11. " Pourquoy me vient tu." f. 12b.

12. " Mort et fortune." f. 14b.

13. " Ches facheux sotz." f. 15b.

14. " Changer ne puis." f. 16b.



Royal Appendix 49-54, passim.

Paper; 16th cent. Oblong octavo. See also under Motets (vol. i, p. 270).

Chansons and Madrigals for 6, 7 and 8 voices, in parts. Unless
the contrary is stated, they are for 6 voices.



"Latfeur."
"D.



1. " J'attens secours."
i-vi, f. lb.

2. "Bon jour, bon an" (a 7)
Hauericq." i-vi, f. lb.

3. " Cest grand plaisir." " Morel."
i-vi, f. 2.

4. " Si mon traueil vous puisse." " D.
Hauericq." i-iii, v, f. 10 ; iv, f . 9b ;
vi, f . 8b.

5. "Au joly hois." "N. Gombert."
i-iii, V, f . 10b ; iv, f. 10 ; vi, f . 9b.

6. " Changons propos." By the same,
i-iii, V, f. 11 ; iv, f. 10b ; vi, f. 10.

7. " Mon petit c[o]eur." By the same,
i, iv, f. lib ; ii, iii, v, f. 12 ; vi, f. 11.

8. " Comme le cerf." " Jacobus
Clemens." i, iv, f. 12 ; ii, iii, v,
f. 12b ; vi, f. lib.



9. " Eaison le veult." "N. G[ombert]."
i, f. 12b; ii, iii, v, f . lib ; iv, f. 11 ;
vi, f. 10b.

10. "Retirer il me fault." "Thomas
Criquillion." i-iii, v, f. 13 ; iv, f. 12b ;
vi, f . 12.

11. "Paine et traueil." "N. Gom-
bert." i-iii, V, f. 13b; iv, f . 13 ; vi,
f. 12b.

12. " Qui pouldroit dire." By the same,
i-iii, v, f. 14 ; iv, f . 13b ; vi, f . 13.

13. "Jay mis mon ceur" (? a 7).
Anonymous, i-iii, v, f. 14b ; iv, f. 14 ;
vi, f . 13b.

14. " Joissancevousdonneray." "Gom-
bert." i-iii, V, f. 15; iv, f. 14b; vi,
f.l4.

15. "Mille regres." By the same.



MADRIGALS.



135



i-iii, V, f. 15b ; iv, f. 15 ; vi. f. 14b.

16. " Si inon traueil vous peult." By
the same, i, ii, iv, f. 15b, iii, v, f. 16 ;
vi, f. 15.

17. " Je prens congie" (a 8). By the
same. i-iii, v, f. 16b ; iv, f. 16; vi,
f. 15b.

18. " Viurenepuis." " N. de Wismes."
i, ii, v, f . 18 ; iii, f . 18b ; iv, vi, f . 17b.

19. " Las, voules vous." "D. G[erard]."
i, ii, V, f.20b; iii, f. 21 ; iv, f . 19b ;



vi, f. 20.

20. "Cest grand plaisir." By the
same. i, ii, v, f. 21; iii, f. 21b; iv,
f.20; vi, f.20b.

21. "Hatezvous." By the same, i, ii,
V, f.21b; iii, f. 22 ; iv, vi, f. 21.

22. " Or est venu le printemps " ; with
second part, " Car ce jour dhuy." By
the same, i, ii, v, f. 22 ; iii, f. 22b ;
iv, vi, f. 21b.



Royal Appendix 67, ff. 9-28.

Paper; 16th cent. Oblong octavo. See also under Motets (vol. i, p. 270).

Chansons and Madrigals. Single voice parts (generally bass).
The number of voices for which the first and the last two were written
does not appear. Nos. 2-18 are for 6 voices.



1. [" Adieu mon esp^rance."] Imperfect
at the beginning. " Theodoricus
Gerardj." f. 9.

2. "Cest grand plaisir." " Damianus
Hauericq." f. 9b.

3. " Si mon traueil." By the same,
f . 10b.



ianus Hollandre." f. 19b.

12. "Dueil, double dueil." "Jo. Lupi."
f . 20b.

13. " Me retirer delle." Anonymous.
f.21b. .

14. "Pour vne, las, j'endure." " Theo-
doricus Gerardj." f. 22b.



4. " Jattens secours." " Latfeur." 15. " Tant ai souffert." By the same.



f.llb.
5. " ResueiUez vous tous." " Theo-
doricus Gerardj." f. 12b.



f.23b.
16. " Jesuisdesheritee." By the same.
f.24b.



6. " A qui me doibs retirer." "Clemens 17. "Puis que fortune." By the same.



Non papa." f. 13b.

7. " A dieu soulas." " Caron." f. 14b.

8. " Viure ne puis." " Nicolaus de
Wismes." f. 15b.

9. "Or est venu le printemps " ; in two
parts. "Theodoricus Gerardj." f. 16b.

10. " Celle qui ma tant pourmenez."
Anonymous, f . 18b.

11. " Quant je voi son ceur." " Christ-



f . 25b.

18. " Resiouissons nous." By the
same. f. 26b.

19. "... com' ancide." " Orlando di
Lassus." Bnjperfcct at the beginning,
f. 28.

20. "Tra bei rubin' e perle." By the
same. Imperfect at the end. f . 28b.



Royal Appendix 59-62, ff. 26b-44.

Paper ; 16th cent. Octavo. The MS. formerly belonged to [Henry Fitzalan,
18th Earl of] Arundel [d. 1580], and afterwards to [his son-in-law, John, Baron]
Lumley [d. 1609]. It also contains String Quartets (see vol. iii).

Neapolitan songs or Madrigals, in parts, the four volumes con-
taining respectively the treble, alto, tenor, and bass parts. Anonymous.
They are all (except no. 21) for 3 voices (cantus, tenor and bassus).



1. "Madonna, io mi vor[r]ai innamo-
rare." i, iii, iv, f. 26b.



2. " Tv mi fai star content'." i, iii, iv,
f.27.



136



YOCAL MUSIC- SECULAR.



3. " Per disperato mene vogl' andare."
i, iii, iv, f. 27b.

4. " Mai me pensaua." i, iii, iv, f. 28.

5. "L'atra traitora." i, iii, iv, f. 28b.

6. " Beato chi d' amor." i, iii, iv,
f.29.

7. " Poi ch' il mio core." i, iii, iv,
f. 29b.

8. " Occhi leggiadri." i, iii, iv, f. 30.

9. "Madonna mia, a te." i, iii, iv,
f . 30b.

10. "Si (sic) tu mi fai gridar." i, iii,
iv, f. 31.

11. "T' baggio stipata." i, iii, iv,
f . 31b.

12. " Quel foco, quelli raggi." i, iii, iv,
f.32.

13. "Quando voleua gia." i, iii, iv,
f . 32b.

14. "Vita mia bella." i, iii, iv, f. 33.

15. " Ov' il bel vise." i, iii, iv, f. 33b.

16. " Sempre la vita mia." i, iii, iv,
f.34.

17. " Ahi, vita mia." i, iii, iv, f. 34b.

18. " Se tu non v[u]oi ch' io mora." i,
iii, iv, f. 35.

19. 20. Two pieces without words or
titles, i, iii, iv, ff. 35b, 36.

21. " Dames d'onneur " (a 4). i, iii, iv,



f.36b; ii, f.26b.

22. " Vorrai che tu cantasse." i, f. 37b;
iii, iv, f. 37.

23. " Io piango." i, f. 38 ; iii, iv, f. 37b.

24. "Si (sic) quando sto sveigliato." i,
f. 38b ; iii, iv, f. 38.

25. "Privo son d' ogni ben." i, f . 39 ;
iii, iv, f. 38b.

26. A piece without words or title, i,
f. 39b ; iii, iv, f. 39.

27. "Mai posso far collata." i, f.40;
iii, iv, f. 39b.

28. "Son mort' et moro." i, f . 40b ;
iii, iv, f . 40.

29. "0 tu, tu, consta." i, f . 41 ; iii,
iv, f. 40b.

30. "Mille volte, mille volte m' hai
fatto." i, f.41b; iii, iv, f. 41.

31. "Non so pensare." i, f. 42; iii, iv,
f . 41b.

32. " dio perche non vedi." i, f. 42b ;
iii, iv, f. 42.

83. "Donna, possa partir morte." i,
f. 43 ; iii, iv, f. 42b.

34. "Vida da minha alma." i, f . 43b ;
iii, iv, f. 43.

35. "Minima fermeza." i, f . 44 ; iii,
iv, f. 43b.



Additional 30835-30837.

Paper ; ff. 32, 31, 30. Early 17th cent. Octavo.

Collection of Madrigals for 5 voices, said here to be by L[uca]
Marenzio ; but nos. 2-4 are attributed in Add. 31506 to M. A. Ro.ssi.
Treble, alto, and bass parts. None of them are included in any
known collection of Marenzio's madrisfals.



1. " Che pensi, che pensi, cor di tigre,"
in two parts, i-iii, f. 1.

2. "Ecosipur'languendo." i-iii, f. 2b.

3. "Per non mi dir." i-iii, f. 3b.

4. "0 prodighi di fiamme." i, f. 4b ;
ii, iii, f. 4.

5. "Come sian dolorose." i, f . 5b ; ii,
iii, f. 5.

6. " Stratiami (sic) pur. Amor " ; in two
parts, i, f. 6b ; ii, iii, f. 6.

7. "Era 1' anima mia." i, f. 8; ii, iii,
f.7.

8. "Occhi un tempo." i, f. 8b; ii, iii,
f.7b.

9. ' ' Langue al uostro languir." i, f . 9b ;
ii, iii, f. 8.



10. "0 miseria d' Amante " ; in two
parts, i, f. 10b ; ii, iii, f. 9.

11. " Hor' che la notte " ; in two parts,
i, f. lib; ii, iii, f. 10.

12. " Ciechi desir " ; in two parts, i,
f. 13; ii, iii, f. lib.

13. "Credetel' uoi." i, f. 14 ; ii, iii,
f.l2b.

14. "Cor mio, deh, non languire." i,
f. 14b ; ii, iii, f. 13b.

15. "Pal[l]ida gelosia"; in two parts,
i, f. 15b ; ii, iii, f. 14.

16. "Ah, dolente partita." i, f. 17 ; ii,
iii, f. 15b.

17. " Ohime, se tanto amate." i, f. 17b ;
ii, iii, f. 16b.



MADRIGALS.



137



18. "Cura gelata." i, f. 18b ; ii, iii,
f. 17b.

19. "Si, mi dicesti." i, f . 19b ; ii, iii,
f. 18b.

20. "Amor', ioparto." i, f. 20b; ii, iii,
f . 19b.

21. " Voi uolete ch' io Mora" ; in two
parts, i, f. 21b ; ii, iii, f. 20b.

22. "Morto mi uede." i, f. 22b ; ii, iii,
f. 21b.

23. " Tu parti, tu parti, a pena gionto."
i, f.23b; ii, iii, f. 22b.

24. "Con che soauita." i, f . 24 ; ii, iii,
f.23.



25. "Alma afflitta." i, f . 25 ; ii, iii,
f. 24.

26. " Moribondo mio pianto." i, f. 25b ;
ii, iii, f . 24b.

27. " Io d' altrui se uolessi." i, f. 26b ;
ii, iii, f. 25b.

28. " Vna farfalla"; in two parts, i,
f. 27 ; ii, f . 26b ; iii, f . 26.

29. "Clie dura legge." i, f. 28d; ii
f.28; iii, f. 27b.

30. " Quanto per uoi sofferse" ; in two
parts, i, f. 29b ; ii, f. 29 ; iii, f. 28b.

31. "Mentre d' ampia uoragine ton-
ante." i, f. 30b ; ii, f. 30b ; iii, f. 29b.



Additional 17786-17791, passim.

Paper ; early 17tb cent. Oblong octavo. The MS. also contains Anthems
(vol. i, p. 5), Carols {ib. p. 142), Chamber trios, etc.

Madrigals, etc., by English composers of the end of the 16th and
beginning of the 17th century, in parts, the six volumes containing
respectively the " superius," " medius," contra-tenor, tenor, " sextus,"
and bass parts. Unless the contrary is stated, they are for 5 voices,
the part contained in vol. v being a duplicate of one of the parts in a
preceding volume, with the words added.



1. "My little sweet Darlinge." "W.
Byrd." i-iv, vi, f. 6 ; v, f. 2.

2. " Pandulpho " ; beginning "Powre
downe . . . your eares." "Rob.
Parsons." i-iv, vi, f. 6b ; v. f. 2b.

3. " Joue, from stately throne."
"Richard Farrant." i-iv, vi, f . 7b ;
v, f . 3b.

4. "Joane, quoth John": dialogue.
"[Richard ?] Nikcolson." i-iv, vi,
f.8; V, f.4.

5. " Dowland's sorrow " ; beginning



parts. By the same, i-iv, vi, f. lib ;
V, f. 8.

10. "Were I made Jurer." By the
same, i-iv, vi, f . 12 ; v, f. 8b.

11. "To plead my faith." Here attri-
buted to the same, but in R. Dow-
land's Musicall Banquet, 1610, to
D. Batchelor. i-iv, vi, f . 12b ; v,
f.9.

12. "What meate eates the Spaniard"
(a 6). Anonymous, i-iv, vi, f. 13b
V, f . 9b.



" Sorrow,



come.



William i 13. "I am not I of such beleefe "



Wigthorp." i-iv, vi, f. 9 ; v, f. 4b.
6. "Eliza her name giues honor."



dialogue. " W. Wigthorpe." i-iv
vi, f . 13b ; V, f. 10.



"Jo. Bennet." i-iv, vi, f . 9b ; v, 14. "Of all ioUy pastimes." Anony-
f . 5b. mous. i-iv, vi, f . 15b ; v, f . 10b.



7. "Resurrexit a mortuis, this holy St.
Frauncis." Anonymous, i-iv, vi,
f . 10b.



15. "Send foorth thy sighes." "Na^
thanaell Patricke." i-iv, vi, f. 16b
V, f.ll.



8. " Come hither ..." : dialogue (a 6). I 16. " Grace, my lovely one." "Thomas



"W. Wigthorp." i-iv, vi, f.ll; v,
f.7b.
9. " Smithes are good fellowes " ; in two



Weelkes." i-iv, vi, f. 17b.
17. "Wilt thou, unkind, now leave me "
(a 6). "Robert Ramsey." i-iv, vi
f . 34b ; V, f . 17b.



138



VOCAL MUSIC— SECULAR.



Additional 29366-29368, passim.
Paper; early 17th cent. Oblong folio. See also under Anthems (vol. i, p. 5).
Madrigals to English words. Treble, bass, and " quintus " parts,



unless the conti'ary is stated.

1. "Cruell, vukind, adue." " Palavi-
cino." i-iii, f. 12b.

2. "0 how fortunate they" (for 5
voices). " Ro. Ramsey." i, f. 18; ii,
f. 17 ; iii, f. 18.

3. "Cease now thy greife." By the
same, i, f. 18b; ii, f.l7b; iii, f. 18b.

4. " Stay, Daphne." Cantus and " quin-



tus " parts. Anonymous, i, iii, f . 20b.

5. "0 louely, loueless sweet." " Tho.
Wilkin [son?]." i-iii, f. 21.

6. "Since no desert can move thee."
"Robert Ramsey." i, ii, f . 2-lb ; iii,
f.22b.

7. "In vaine, poore eyes." The music
has not been filled in. ii, f. 19b.



Additional 29427, ff. 13, 13b, 14b, 16b, 41b-44, 74-76.
Paper; early 17th cent. Small folio. See also under Anthems (vol. i, p. 6).
Madrigals for 5 and (no. 4) 6 voices. Alto part.



1. "Cease now, vaine though[t]s."
"Gyles." f.l3.

2. "0 thrice blessed." "Tho. [John
in Add. 29372-6] Tomkins." f. 13b.

3. "Come, tread the path." Anony-
mous, f . 14b.

4. " Cease now delighte." By T.Weelkes.
f . 16b.



5. " The country cryes." "Deereing."
f . 41b.

6. "Cryes of London" ["A good hot
sausage," etc.'] ; with second part
["God give you good morrow, my
masters"]. "Orlando Gibbons.'*
f.48.



Additional 33933, f. 85.

Paper; early 17th cent. Octavo. See also Anthems (vol. i, p. 2).
"Come againe, sweet lov." [By John Dowland, 1597.] Contra-



tenor part.



Harley 7578, ff. 84-1 16b passm.



Paper; teinp. Elizabeth (f. 110b). Oblong octavo. The MS. was given to
Humfrey Wanley by James Mickleton, of Grays Inn, 17 Feb. 1717-18 (see
f. 117b), and appears to have previously belonged to Thomas Awdcorne or Old-
corne. The first 83 leaves of it contain chiefly poems in English, in 15th and
16th century hands ; the last 6, Lute Solos in an early 17th century hand. The
same collection also contains Anthems (vol. i, p. 3), Motets (ib. p. 265), a sacred
Trio (ib. p. 463), String Quintets, etc.

Vocal part-music, mostly anonymous, apparently connected with
the neighbourhood of Durham. Only one part remains, though some
of the pieces were written for as many as 5 voices.

Printed by Ritson, Ancient Songs,
1790, p. 134. f. 100b.
5. "In Creat, when Dedylus fyrst
began." Imperfect, f. 103.



1. "[Whether of these tow] Lytell
byrdes flatterith most." Imperfect.
f.84.

2. "My lady is a prety on." f. 85.

3. "When trewth is tryed." f. 93b.

4. "Hey downe, downe, downe, . . . .
these women all." "M' Heath."



6. " If I be wanton, I wotte welle why.'
f . 105b.

7. "Alone walking and oft musing"



MADRIGALS.



139



containing allusions to many towns
and villages to the north and west of
Durham, f. 106.

8. "Ty the mar[e], tomboy." Printed
by Ritson, oj>. cit. p. 130. f. 111.

9. " Aryse, aryse, aryse, I say." f. 114.

10. "That of wysse men maykes worsse
then swyne." f. 114b.

11. "Houghe the tankerd " (" triplex"



part). f.ll5b.

12. "What tyme Appelles." f. 116.

13. "I may well banne that I poor
Nanne." f . 116.

14. " Take hede bytyme." f . 116b.

15. "Fylle the poot (sic), mayd."
Printed by Ritson, op. cit. p. 136.
f . 116b,



Additional 30480-30484, passim.

Paper; iewj>. Elizabeth. Oblong octavo. See also under Anthems (vol. i, p. 3).

Vocal part-music by English composers, mostly for 4 or 5 voices,
in parts.

be "chaplain to Queue Anne Bullen."
i, f.63; ii, f.68b; iii, f.63b; iv, f.65b;
V, f . 10b.

9. "Com agayne sweet natur's

traseur." "E. Johnson." i, f.63;
ii, f.eSb; iii, f.63b (here attributed
to Phillypes) ; iv, f . 65b ; v, f . 10b.

10. "With out redressee (sic) I wast[e]
my mynde." For 4 voices. Anony-
mous, i, f. 74b; ii, f.79b; iii, f.73b;
iv, f.76b.

11. 12. "D'ung noveau dart je suis
frap[p]e" (two versions?). For 5
voices. By P. Phillips, i, ff. 78b, 79 ;
ii, ff.83b, 84; iii, ff . 77b, 78; iv,
ff . 80b, 81 ; V, f . 14b.

13. "Mistruste oft tymes amise."

Anonymous, i, f. 87b ; ii, f. 92b ; iii,

f. 86 ; iv, f . 89.
14 (? 2nd verse) " By art of . . . ."

ii, f . 93.
15. "As one in care I doe lament."

Anonymous, v, f. 10,



1. "0 death rock me asleep."

For 5 voices. Anonymous, i, f . 37b ;
ii, f.40b; iii, f.38b; iv, f.41; v, f.l9b.

2. "Com, palefaced death." For 4
voices. "Johnson." i, f . 38 ; ii,
f. 41b ; iii, f. 39 ; iv, f. 41b.

3. "When shall my sorowfull syghinge
slake." ' ' Tallys." i, f . 48 ; ii, f . 54 ;
iii, f . 50 ; iv, f . 53.

4. "Defiled is my name." " [R.] John-
sone." i, f. 49b ; ii, f. 56b ; iii, f. 52b ;
iv, f . 55b.

5. "Vt re mi fa" (a solfa-ing song).
In 4 parts. "Parsons." i, f . 57b ;
ii, f.63b; iii, f.59b; iv, f . 66.

6. "Triumphe, Triumphe, with ple-
saunte melodie." For 5 voices.
"[William] Bird." i, f.60; ii, f.67;
iii, f. 62 ; iv, f . 64 ; v, f . 9b.

7. "Susanna fayer." Imperfect at the
end. By A. Ferrabosco, sen. i, f . 62.

8. "Elisa .... is ye fayrest queue."
"Johnson," stated in a later hand to



Additional 17797, passim.

Paper ; after 1600 (see below). Small oblong quarto. See also under Anthems
(vol. i, p. 7).

Madrigals for 5 voices, in parts ; by Richard Nicholson, whose
name is appended, except in the case of those marked anonymous and
no. 2, which is known to be his composition. The folios refer respec-
tively to the cantus, altus, tenor, bassus, and quintus parts.



1. "And so an end." Anonymous,
ff . lb, 19b, 37b, 55b, 73b.

2. " Cuckow ... so merrily sings."
[1600.] ff. 3b, 21b, 39b, 57b, 75b.

3. "In the merry month of May."



ff . 4, 22, 40, 58, 76.

4. "No more, good herdsman." ff. 4b,
22b, 40b, 58b, 76b.

5. "I am not I of such beleefe." ff. 5,
23, 41, 59, 77.



140



VOCAL MUSIC— SECULAR.



6. " What sudden change." ff. 5b, 23b,
41b, 59b, 77b.

7. "Thou marvailst much." fi. 7b, 25b,
43b, 61b, 79b.

8. " Sweet needle." Anonymous, fi. 8b,
26b, 44b, 62b. 80b.

9. " Muse not, faire loue." Anonymous.
ff.9b, 27b, 45b, 63b, 81b.

10. " Sweet, they say such vertue lies."



f£. 10b, 28b, 46b, 64b, 82b.

11. "Farewell the joyes." fi. 13b, 31b,
49b, 67b, 85b.

12. "Come, infirmity." Anonymous,
fi. 14b, 32b, 50b, 68b, 86b.

13. " . . . . And hath good grace."
Quintus part only. Spaces have been
left for the other parts, but they have
not been filled in. f. 87b.



Additional 30816-30819.

Paper; fi. 48, 48, 48, 48. After 1601 (see f. 33b). Oblong octavo.

" Le Belle Nimfe " : a collection of Madrigals for 6 voices, made
apparently at the beginning of the 17th cent, and evidently taken
from works then engraved, especially from II lauro verde, which first
appeared in 1583. The dates appended below are those of the first
editions in which the Madrigals in question are known to have been
published. First and second treble, alto and bass parts. The words
are wanting. The foliation is the same in each part.



1. " Stella crudel." " Claudin le Jeune."
[1585.] f. 1.

2. "Amanti miei." By the same.
[1585.] f. lb.

3. "Parto da voi." " Claudio [Meru-
lo] da Correggio." f. 2.

4. "Tra pure neui." By the same.
[1579.] f. 2b.

5. "Amor, che v[u]oi ch'." "Pietero
Philipe." [1591.] f. 3b.

6. "Poidisse." " Tiburtio Massaino."
[1579.] f. 4b.

7. "Sperar non si [potea] " ; in two
parts. "Andrea Gabrieli." [1579.]
f.5b.

8. "Liete le muse." "Francesco
Eouigo." [1583.] f. 7b.

9. " Cessi . . . ." Anonymous, f . 8b.

10. " Quaudo . . . ." Anonymous, f.9.

11. "Ch' io scriua." "Philipe de
Monte." [1569.] f . 9b.

12. "Come il [lauro]." By L. Mira.
[1583.] f. 10b.

13. "Amor, che vid'." " Pietro Phil-
lipi." [1591.] f. lib.

14. "Vorria parlare." " Gio. Turn-
hout." [1591.] f. 12b.

15. "Ahi, che [fuggite]." " Julio Here-
mita." [1584.] f. 13b.

16. "Prendi 1' aurata [lira]." "Or-
lando " [di Lasso, 1587]. f. 14b.

17. "Non mi togl'." Anonymous,
f . 15b.



18. "Forsidite." Anonymous, f. 16b.

19. "Occhimiei." "Bacucius." [1591.]
f. 17.

20. " Se voi s[i]et'." " Gio. Battista
Mosto." [1579.] f. 17b.

21. "Questa fera [gentil]." "Joane
Ferret[t]i." [1567.] f. 18b.

22. "Parto da voi." " Luca Maren-
z[i]o." [1585 ?] f. 19b.

23. "Ovetral'herbe." " Jouan. Croce."
[1592.] f. 20b.

24. "Solo e penso[so] '" ; in two parts.
Anonymous, f . 21b.

25. "Eran [le] Ninfe." " Alesandro
Strig[g]io." [1592.] f. 23b.

26. "Verde lauro." "Philipe de
Monte." [1583.] f . 24b.

27. "Non so s' amor." " Stephan
Felix." [1579.] f. 25.

28. "Deh,scem' il [foco]." ByB. Pal-
lavicino (?). [1587.] f . 25b.

29. " O gratiosa e cara." "Joan. Croce."
[1590.] f. 26b.

30. "Verde lauro." " Anuibal. Stabile."
[1583.] f. 27b.

31. "Sonno diletto." "Andrea Ga-
brielis." [1580.] f. 28b.

32. "En las Riveras"; in two parts.
" Pedro Rimonte." f. 29b.

33. "Chi crederia." "Joan. Croce."
[1590.] f. 31b.

34. " Poi che '1 mio [largo pianto]."
" Filippo de Monte." [1569.] f. 32b.



MADRIGALS.



141



35. "Talche douunque." By L.
Marenzio. [1587.] f. 33.

36. "Madonna, con quest'." " Pietro
Swe[e]liDg." [1601.] f . 33b.

37. "Voi volete [ch' io]." "Alfonso"
[Ferrabosco, sen., 1597]. f. 34:b.

38. "El que partir"; in two parts.
"Pedro Rimonte." f. 35b.

39. "Se pensand' al partir." " Gio.
Piero Manenti." [1574.] f. 37b.

40. "Valli profunda al sol"; in two
parts. " Joan. Croce." [1590.] f . 38b.

41. "Donna crudel." Anonymous,
f. 40b.

42. "Piantagentil." "Nicole Peruue."



[1583.] f.41.

43. " Ecco, ch' io." Anonymous.
[1583 ?] f . 41b.

44. "La doles vista." " Pbilipe da



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