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F6R RFAWNG ROOM aNIV




CATALOGUE OF MUSIC

IN THE

LIBRARY OF CHRIST CHURCH
OXFORD

BY

G. E. P. ARKWRIGHT

WITH A PREFACE BY
T. B. STRONG

DEAN OF CHRIST CHURCH

PART I
WORKS OF ASCERTAINED AUTHORSHIP



HUMPHREY MILFORD

OXFORD UNIVERSITY PRESS

LONDON EDINBURGH GLASGOW NEW YORK

TORONTO MELBOURNE BOMBAY

1915



OXFORD : HORACE HART
PRINTER TO THE UNIVERSITY



>*



|36>



to I I

•J



PREFACE

THE present volume, being Part I of the Catalogue of the
Library of Music at Christ Church, contains a list of all the
manuscript music of which the authorship is known ; it is



CORRIGENDA

Page 10, line I. Beckwitk. Omit the name ' Christmas '.

Page 38, line 20. Farinelli. For ' Cristiano ' read ' Giovanni

Page 71, line 28. Leveridge. For ' Calista ' read ' Caligula

Page 86, line 6 from bottom. Insert reference number 945.

Page 124. Before line 8 from bottom, insert

WHYTE or WHITE (William).



repaired, unbound volumes were beautifully bound, loose
sheets, of which there were a large number, were sorted and
their contents identified. For some of this work we had the
help of Sir John Stainer, then Professor of Music in the
University. Under Professor Powell's successor, Mr. F. J.
Haverfield, now Camden Professor of Ancient History, the
books were rearranged and the Catalogue revised and brought
up to date. It was then decided, on the proposal of the
present Librarian, Mr. H. W. Blunt, to print the Catalogue as
it stood, in order that musical scholars might know generally

1

I



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to ) /

•J



PREFACE

THE present volume, being Part I of the Catalogue of the
Library of Music at Christ Church, contains a list of all the
manuscript music of which the authorship is known ; it is
not a complete list of the whole Collection. There is besides
the works catalogued here a small number of works to which
no author's name is appended and of which the authorship
has not been traced. Any catalogue of these which should be
useful would be a thematic catalogue ; it is hoped that these
\ anonymous works will be catalogued thematically in a Second
\ Part, which will appear in fasciculi. There is also a con-
i siderable number of printed books, many of which are of
great interest. There are, however, few volumes of which
specimens are not to be found elsewhere, so that the need for
a published catalogue is less pressing. There is an ancient
manuscript catalogue which was copied in an elaborate fashion
on vellum by the Rev. H. E. Havergal, M.A., formerly Chaplain,
in the years 1845-7. So far as I am aware, this copy professed
to be, and was, a copy and nothing else. While the late
Professor York Powell occupied the office of Librarian the
books were very carefully put in order. Bindings were
repaired, unbound volumes were beautifully bound, loose
sheets, of which there were a large number, were sorted and
their contents identified. For some of this work we had the
help of Sir John Stainer, then Professor of Music in the
University. Under Professor Powell's successor, Mr. F. J.
Haverfield, now Camden Professor of Ancient History, the
books were rearranged and the Catalogue revised and brought
up to date. It was then decided, on the proposal of the
present Librarian, Mr. H. W. Blunt, to print the Catalogue as
it stood, in order that musical scholars might know generally

1

o>
CO'






IV



PREFACE



what is to be found in the Library. At this stage the Govern-
ing Body had the great good fortune of securing the services
of Mr. G. E. P. Arkwright, a scholar of the first rank in music
of the sixteenth and seventeenth centuries. Mr. Arkwright
has gone carefully over the whole Collection and verified all
the entries in the Catalogue. But this is not all. In the old
Catalogues there was a very long list of anonymous works :
by means of his great knowledge of the period Mr. Arkwright
has succeeded in tracing the large majority of these works,
and they now appear under the name of their composers.
I take this opportunity of offering to Mr. Arkwright the most
sincere thanks of myself and my colleagues for his invaluable
help.

It may not be out of place to add a few words upon the
Collection itself. It represents mainly the taste and enthu-
siasm of one man, H. Aldrich, Dean, 1689-17 12. Aldrich was
a man of many gifts and his name is well known. It is hardly
necessary to refer to his works in Logic and Theology or to
his skill in architecture : we are concerned with him, at present,
only as a musician. It was an age of congratulatory verses
and odes. Every royal visitor and every occasion of public
importance, as well as the annual Act, produced a rich crop of
these compositions. Aldrich wrote the music for several of
these occasions: for the Encaenia, 1672, 1674, 1675; for the
entertainment of the Duke of York, 1683 (Wood's Life and
Times, O.H.S., vol. ii. 248, 258, 319, iii. 52). But these were
not the only occasions when music was required. There was,
of course, the music of the Church ; also, under the Statutes
then in operation, the Choragus was ordered to provide
a weekly concert, and it is plain from Wood and Hearne that
a great deal of music must have been performed in Oxford at
this time. Such concerts will, no doubt, account for a large
amount of the music owned by Aldrich ; but it is also plain
that he was a real student of music, and collected not only for
purposes of performance, but also as a connoisseur. In his
will, after bequeathing his music to Christ Church, he goes on :
' I make it my request to the Dean and Chapter of the said



PREFACE V

Church that they will be pleased to take such care of my
Prints and books of Musick that they may not be exposed to
common usage nor to any man without their leave and
appointment, because they are things of value in themselves
and to be found in very few Libraries.'

The only considerable addition to the books came from the
library of Richard Goodson, organist of the Cathedral and
Professor of Music in the University from 1682-1718. I have
failed to discover any detailed information about this man.
His period as organist coincided very largely with Aldrich's
residence in Christ Church. Aldrich was Tutor and Censor,
then Canon, before he became Dean in 1689. The tastes of
the two men must have been in close agreement. Goodson,
like Aldrich, wrote music for the Oxford Acts and for the
services of the Church ; but though Aldrich in G and certain
anthems are still heard here and elsewhere, Goodson's com-
positions have gone out of use. Yet he would seem — if, for
once, we may trust the language of an epitaph — to have had
a high reputation in his day for music, and, if I am not putting
too much weight upon the words of the epitaph, for personal
charm :

H. S. E.

Ricardus Goodson

Hujus Eccles: Organista

Hujus Academ: Mus: Praelector

Utrique Deliciae et Decus.

Since the days of Goodson there has been no large addition
to the Library. The interest in music prevailing in England
shortly after the Restoration lasted throughout the eighteenth
century, but without producing any considerable musician at
Christ Church. It then passed away altogether, and for a long
period of years music was regarded in higher academic circles
as an eccentric if not a mischievous pursuit. This view would
not lead either to the extension of the Collection, or even to
the filling up of lacunae. The books have been used by
various workers in the field of musical history. Dr. Burney
{Hist, of Music, vol. iii, p. 66, note) speaks of the importance



vi PREFACE

of the Collection, and then adds : ' To these valuable books
I have not only been honoured with free access by the
Rev. Dean and Chapter, but allowed, in the most liberal
manner, to take away many of the most curious in the col-
lection out of the library, for a considerable time, in order to
consult and make extracts from them at my leisure.' I may
perhaps, without disrespect to Dr. Burney, venture to suggest
that this liberal policy, if extensively pursued, may account
for some of the gaps. Until recent years the music in this
as in other Cathedrals was performed from manuscript part-
books. These are now superseded by printed copies. The
old Cathedral-books, which have many features of interest —
especially a series of chants written before the present fixed
arrangement of bars was adopted — are now deposited in the
Music Library. Nearly all the works outside the period of
Aldrich and the Goodsons are in these volumes. Among
these is the volume containing chants throughout the month,
and a number of anthems by Crotch, mainly in the hand-
writing of Dr. Crotch himself. He was organist here from
1790-1807.

To note all the points of interest in these books would take
me far beyond the limits of a Preface. I will confine myself
to quoting the note in Rogers' handwriting on the fly-sheet
of MS. 21 :

Ben. Rogers his booke Aug. 18 1673 •

and psented me by Mr. John Playford Stationer

in the Temple • London •

This Score-booke was done formerly

by that rare musician Mr. Orlando Gibbons

and this book is of great value to a composer.

The Collection throws some light on the organists of Christ
Church and their achievements. It contains certain works
by J. Taverner, who was master of the children in Cardinal
College, and who was certainly able to play the organ. He
was playing at the Evensong on February 21, 1528, when the
Cardinal's Commissary arrived to inquire into the orthodoxy



PREFACE vii

of the College. 1 In Christ Church there was a choir consisting
of .boys and men, with a master of the choristers, and the
receipts for their payments appear in the Disbursement Books
every quarter 2 : but there does not seem to have been an
organist before the beginning of the seventeenth century : and
there is no evidence of expenditure upon the organ. It is
probable that the master of the choristers played the organ
also. The boys have a master to teach them grammar and
also music : the same person usually performs both these
functions. In March, 1605, the word 'organista' occurs for the
first time, and the signature attached to it is that of Leonard
Major. Leonard Major signs in June, 1605, the receipt of
a sum for the purchase of instruments. In 1608 Mr. W.
Stonnard appears as organist for the first time, together with
a blower. A setting of the Magnificat and Nunc Dimittis of
his appears in the Catalogue. He died in 1629, and was
succeeded by Edw. Lowe. This gentleman passed through
the Commonwealth. Payments for the organist and blower
disappear in 1644 and 1645, the books which alone survive
for this period, but in 1659 E. Lowe reappears. He held
office till 1682. A considerable number of his compositions
is to be found in the Library. After E. Lowe came
W. Husbands, who held office till 1692. His name also is
in the Catalogue, but he seems to have arranged the com-
positions of other men rather than composed on his own
account. Then follows Richard Goodson, the friend of
Aldrich, and part-founder of the Collection ; he is succeeded
in 1 718 by his son, also called Richard Goodson. The elder
but not the younger is represented in the Collection. In
1 741 R. Church succeeded R. Goodson the younger, but he
also seems to have left no compositions to the Cathedral.
In 1776 T. Norris was appointed organist, a man with a

1 See Foxe's Acts and Monuments, ii, p. 523, ed. 1641 ; Grove's Dictionary oj
Music, vol. v, p. 30, art. ' Taverner ', by G. E. P. Arkwright.

2 The Disbursement Books are kept in the Treasury. The earliest book is
dated 1577. There are large gaps during the broken times of the Commonwealth,
but with this exception the series is complete.



via



PREFACE



distinguished record as a singer: one anthem and perhaps
three chants represent his achievement, so far as the Collection
is concerned. Then, at the age of fifteen, W. Crotch became
organist of Christ Church, the most distinguished musician
who had yet held the post. His avocations, besides his work
in the Cathedral, were numerous, and he moved to London in
1807, still retaining the Professorship of Music. W. Cross
was his successor, followed in 1825 by W. Marshall. Both
were undistinguished. In 1846 came W. Corfe, son of the
organist of Salisbury, who held office till 1882, and is in the
recollection of many persons still living. Though a player
of very limited resources and by no means a prolific composer,
he was a fine musician: old-fashioned in his musical education,
he learnt to understand modern music, including that of
Brahms. His three successors, Dr. C. H. Lloyd (1882-92),
Dr. B. Harwood (1 892-1 909), and Mr. H. G. Ley, are still
with us.

T. B. S.



INTRODUCTION

This Catalogue of the MS. music preserved in the Christ Church
Library is based upon that made in 1845-7 by the Rev. H. E.
Havergal. In Mr. Havergal's Catalogue, which was never printed,
the works whose authors are known were arranged under an alpha-
betical list of Composers. There were also four lists of anonymous
compositions, (i) Sacred music with English words ; (ii) with foreign
words ; (iii) Secular music with English words ; (iv) with foreign
words; arranged according to the alphabetical order of their first
words. The anonymous instrumental works were not catalogued
at all.

The alphabetical list of Composers' names has been revised and
remodelled, and is now printed. But it is felt that lists of words of
anonymous compositions are of very little use, and these are reserved
for future volumes : it is hoped that a series of thematic catalogues
may be issued, beginning with the anonymous Italian cantatas.

The musical MSS. in this Library are not all of equal interest. Some
of them, such as the fine Set of Part-books, 984-8 ; or the Orlando
Gibbons autograph album, 21; or the Virginal Book, 11 13; are of
the highest importance. Others are merely compressed Organ Parts
made by nineteenth-century organists from accessible printed collec-
tions, and are of little value. Dean Aldrich's own MS. copies of old
English music (of which the Library contains many volumes) must
not be accepted as good authorities ; for it was his practice to alter
them freely, so much so that it has been thought best to catalogue
many of them as ' adaptations ' under the name of Aldrich.

Whenever I have found that any of the compositions catalogued
have been published, I have noted the fact for purposes of identifica-
tion. In many cases no doubt the printed versions may prove to
differ considerably from the MS. copies. It must not be assumed
that all the other works are unprinted. I have only noted those
which I happen myself to have seen in print.



x INTRODUCTION

The principal printed collections to which I refer are the following :

Arnold. Dr. Samuel Arnold's collection of Cathedral Music, edited

by Edward F. Rimbault, 1842.
Barnard. Selected Church Musick, 1641.
Boyce and Warrens Boyce. Cathedral Music, 1760-73. Joseph

Warren's Edition, 1849, contains anthems and services not found

in the original edition.
Burney. A General History of Music, 1776-89.
Cath. Mag. The Cathedral Magazine, or Divine Harmony, 1775.
Chappell. Old English Popular Music, edited by H. Ellis Wooldridge,

1893.
Clifford. Divine Services and Anthems, 1663: 2nd Edition 1664.

[A collection of words only.]
Cope. Anthems by Eminent Composers of the English Church,

edited by the Rev. W. H. Cope, 1849-51.
The Fitzivilliam Virginal Book edited by W. Barclay Squire and

J. A. Fuller Maitland.
Goss and Turle. Services Ancient and Modern.
Hawkins. A General History of the Science and Practice of Music,

1776.
Jebb. The Choral Responses and Litanies of the United Church ot

England and Ireland, 1847-57.
Marshall. Dr. William Marshall's Collection of Cathedral Services.
Motett Soc. Collection of Ancient Church Music Printed by the

Motett Society.
O. E. Ed. The Old English Edition, 1889-1902.
Ouseley (i) Cathedral Services, 1853.

(ii) Sacred compositions of Orlando Gibbons, 1873.
Page. Harmonia Sacra, 1800.
The Parish Choir, 1846-51.
Rimbault. Cathedral Music.
Squire. Purcell's Harpsichord Music, Purcell Society, 1895, edited

by W. Barclay Squire.
Besides these authorities, I have made free use of the books of
reference, dictionaries, catalogues, histories, and musical journals,
without which no work of this kind can be undertaken. I mention in
particular The Dictionary of National Biography; Fosters Alumni
Oxonienses; Grove's Dictionary of Music and Musicians, 1904-10;
Eiiner's Quellen-Lexicon, 1900-4; The King's Musick, by the Rev.
H. C. De Lafontaine, 1909; A History of English Cathedral Music
by John S. Bumpus; A History of English Music by Henry Davey ;
Rimbaulfs Old Cheque-Book of the Chapel Royal, 1872; and his
Bibliotheca Madrigaliana, 1847; Cathedral Organists by John E.
West, 1899 '> Degrees in Music by C. F. Abdy Williams ; Alessandro
Scarlatti by E.J. Dent, 1905; Luigi Rossi by A. Wotquenne, 1909;



INTRODUCTION xi

Alessandro Stradella, by H. Hess, 1906. The British Museum
Catalogue of Printed Music, 19 12, and the Royal College of Music
Catalogue of Printed Music, 1909 by W. Barclay Squire; The
Catalogue of MS. Music in the British Museum 1906-9, by
A. Hughes-Hughes; The Library of Congress Catalogue of Opera
Librettos, 19 14 by O. G. T. Sonneck; The Catalogue de la
Bibliotheque du Conservatoire Royal de Musique de Bruxelles, by
A. Woiquenne; The Catalogue du Fonds de Musique Ancienne de la
Bibliotheque Nationale by /. Ecorcheville ; The Catalogue of Music
in the Fitzwilliam Museum, by/. A. Fuller Maitland and A. H
Mann. The Rivista Music ale Italiana ; The Sammelbande der Inter-
national Musik-Gesellschaft ; The Musical Antiquary; and Mr. F. G.
Edwards's articles in the Musical Times.

I have received much help in the course of preparing this
Catalogue, and I have pleasure in gratefully acknowledging my
obligations in particular to Mr. E. J. Dent, who put at my disposal
his lists of Scarlatti's Songs and has looked out references for me, and
identified music at Cambridge and at Berlin. I have also to express
my indebtedness to Professor Ch. Van den Borren of the University
nouvelle de Bruxelles, who has identified some music for me and
advised me as to MSS. at Brussels ; to Dr. Hugo Leichtentritt, who
collated some Scarlatti MSS. at Berlin ; Cav. Livi and Monsieur
Andre Pirro have given me valuable help in the endeavour to identify
compositions by Carissimi and by Pietro Cornet. I have consulted
Mr. W. J. Lawrence also with regard to some of the seventeenth and
and eighteenth century plays of which the music is found in the
Library.

There are some contractions used in this Catalogue which need
explanation.

v. = voices : 4 v. = for 4 voices.

A. = Alto : T. = Tenor : B. = Bass.
S. = Soprano : Tr. = Treble.

V. A. = Verse Anthem : F. A. = Full Anthem.

V. and Chos. = Verse and Chorus.

Te D., Bte., Btus., Jub., Ky., Sctus., Glo., Mag., N. Dim., Cant.
D. Mis. = Te Deum, Benedicite, Benedictus, Jubilate, Kyrie,
Sanctus, Gloria, Magnificat, Nunc Dimittis, Cantate and Deus
Misereatur.

Sc. = Score : Sep. = Separate parts.

B. M. = British Museum.

R. C. M. = Royal College of Music.

G. E. P. A.



ALCOCK (John). 17 15-1806. Mus. Doc. Organist of Lichfield
1749-60.
Service in E mi. Published in 1753.

Te D., Jub., Ky., Creed, Mag., N. Dim. Score 41

Two Chants (the first also in 1229, without name) 1226

Thirteen Chants (2 with name, 1 1 with initials J. A.) 1229

ALDRICH (Henry). 1647-1710. D.D. Dean of Ch. Ch. 1689.

Services.

Service in E mi. 4 v. Bte., Jub., Ky., Creed. Score 60

The same, with ' If the Lord himself and Mag. and

N. Dim. A. and B. parts only 785

Benedicite from the same (unfinished). Score 19

Service in F. 2-5 v. Te D., Jub. (two versions), Ky., Creed, Mag.,

N. Dim. Score 19

Sep. parts. (A. T. B. only) 1220-4

A. and B. Chorus parts (incomplete) 1188-9

Organ part, without Mag. and N. Dim. 1230

Service in G. 4 v. Printed c. 1690 without Sctus. and Glor. ; and

in Boyce. Sctus. and Glor. in Ouseley.

Te D., Jub., Ky., Creed, Sctus., Glor., Mag., N. Dim.
Score 19, 50

The same without Sctus. and Glor. Score 15

Organ parts 1225, 1228

Service in A. 4 v. Arnold.

Te D., Jub., Ky., Creed, Cant., Deus Mis. Score

19, 60
Te D. (unfinished). Score 1111

Cantate and Deus Mis. Score 15

Organ part, without Ky. and Creed 1228

Three Single Chants. 4 v. Score 48

The 1 st and 3rd of these, Organ part 1226

Another Single Chant. Organ part 1226

Anthems.
All people that on earth. V. A. Adapted from Tallis. Arnold,
Moteti Soc, &c.

Scores 11, 16 (2 versions), 614

Sep. T. and B. only 1220-4

Organ parts 1230, 1235



2 CATALOGUE OF MANUSCRIPT MUSIC

ALDRICH (Henry)— continued.

Behold in heav'n. V.A. (from Carissimi) cf. B. M. Addl. MS.
17840. Ascribed to Blow, in late hand, in 12 and 16.

Score 12, 16, 614

Sep. A. T. (verse and Chos.), B. (verse and Chos.)

1220-4

Behold now praise the Lord. 5 v. (Adapted from ? Palestrina) Cope.

Score 19

Organ parts 1228, 1230

Be not wroth. 5 v. Freely adapted from Byrd's Civitas sancti tui

in Sacrae Can Hones, 1589.

Scores 16, 614

Sep. parts, A. T. B. only 1220-4

Organ part 1230

Blessed is the man, V. A. : probably an adaptation by Aldrich.

Scores 12, 16, 614

By the waters of Babylon. 6 v. (Adaptation. Ascribed to

Farrant in a late hand in 16). Cope. Score 11, 16

Four-part version. Score 614

Organ part 1230

An anonymous version, slightly different, with Gloria

Patri. Sep. A. T. B. only 1220-4

Call to remembrance. 4 v. (Adapted from Farrant with added

verse, O remember not.) Score 11, 16, 614

Organ 1230

Comfort ye my people. V. A. for A. T. B. and Chos.

Score 19

For Sion's sake. V. A. (Adapted from Carissimi.)

Score 12, 16, 614

Give ear O Lord. F. A. 4 v. (? Adaptation.)

Score 11, 19

Sep. parts 521-4

Sep. parts, A. T. B. only 1220-4

Organ part 1230

Fragment of Studies for same 1188-9

Give the king thy judgements. Bass Solo and Chos. One page

of this anthem was printed by Aldrich as part of an intended

publication, fol. : no place nor date 1208

Score 15, 19

God is our hope. 5 v. Page, &c. Score 19

Organ part 1230

God is our refuge. T. T. and Chos. ? Adaptation. Score

12, 16, 614
Haste thee O Lord my God. 2-6 v. (Adapted from Carissimi.)

Score 16, 614

Have mercy upon me. T. Solo and Chos. Printed by Aldrich as

part of an intended publication 1208

Score 19



IN CHRIST CHURCH LIBRARY 3

ALDRICH (Henry) — continued.

Hide not thou thy face. 5 v. (Adapted from Farrant.) Score

11, 16

Sep. parts, A. T. B. only 1220-4

Arranged for 4 v. Score 614

Organ part of same, as in 614 1230

Hold not thy tongue. 4 v. (Adapted from Palestrina's Nativitas

tua.) Score 11, 614

Score, two versions 16

Organ part 1230

I am come into my garden. 2 v. (S. and B). Score initialled

H. A. 18

I am well pleased. V. A. for A. T. B. and Chos. (Adapted from

Carissimi.) Arnold.

Score 12, 16, 614

Organ part 1226

If the Lord himself. V. A. Score 19

(In 19 a later hand has written 'Dr. Child' above this Anthem.

Child's setting, however, is quite different. All the contents of 19

are by Aldrich.)

A. and B. Chos. parts only 785

I look for the Lord. 5 v. Freely adapted from Tallis's Absterge

Domine in Caniiones, 1575. Score 11, 16, 614

A. T. B. only 1220-4

Organ 1230

Sep., differing from above (twice) 510-4

I waited patiently. Sopr. Solo and Chos. Score 15, 19

I will exalt thee. V. A. with Instruments. Score 19

Violin part 1142

I will love thee. Bass Solo and Chos. Score 19, 22

My heart is fixed. 4 v. (Adapted from Palestrina's Nos autem

gloriari) Score 11, 16, 614

Organ part 1230

Not unto us. 4 v. (Adapted from Farrant and Lawes). A mold, &c.

Score 48

Organ part 1230

O give thanks. 6 v. Printed c. 1690: Boyce, &c. Score 19

Second Treble part only 683

Organ part 1230

Fragments and sketches 1188-9

O God the King of Glory. 4 v. (Adapted from Palestrina's O rex

gloria.) Score 11, 16, 614

Sep. parts 521-4

Sep. parts wanting Cantus 1220-4

Organ part 1230

O God thou art my God. T. Solo and Chos. Score 15, 19

O how amiable. V. A. S. S. and Chos. (Adapted from Carissimi.)

Score 12, 16, 22, 614



4 CATALOGUE OF MANUSCRIPT MUSIC


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