Egerton MS 2450

ff. 1-40, 124-150b. Collection of Motets, in score, which belonged to the Rev. Edward Goddard. They are, with one exception, unaccompanied, and (unless the contrary is stated) for 4 voices. Nos. 1-11 are ‘Antifone e Responsori à 4 e à 5 voci. . . di Tomaso Baij.’ 1. ‘Serve bone et fidelis.’ f. 1b. 2. ‘Virgo gloriosa.’ f. 5. 3. ‘Salva nos, Do[mine].’ f. 9. 4. ‘Tridua nos (sc. Triduanas) a Domino [poposci inducias].’ f. 11b. 5. ‘Cum jucunditate Nativitatem beate Marie.’ f. 15. 6. ‘Beatus Laurentius.’ f. 18b. 7. ‘Domine, quando veneris.’ f. 22. 8. ‘Mulier que erat in civitate‘ (à 5). f. 26. 9. ‘Juste (sic) est Joannes’ (à 5). f. 31. 10. ‘Christe, eleison.’ f. 35b. 11. ‘[P]eccante[m] me quotidie’ (à 5). f. 37b. 12. 'Christus factus est pro nobis obediens’ (à 5). 'Allesandro Melani.’ f. 124. 13. ‘Dies illa’; for 2 choirs of 3 voices each, with organ accompaniments. ‘Ottavio Pitoni.’ f. 126. 14. ‘Mottetto per L'Elevazione,’ beg. 'Adoramus te, Christe.’ ‘Claudio Casciolini.’ f. 147.

f. 40b. 'Lamentazioni del Mercoldi (sic) Santo,’ in D minor, for 4 voices, in score. Said here to be by Tomaso Baij, but ascribed in Add MS 24291, f. 1 to Gregorio Allegri. If that assumption be correct, it is possible therefore that the Antiphons, etc., may also be the latter's composition

ff 51b, 112. Two settings of the ‘Miserere mei, Deus,’ in score. 1. Beginning ‘Tunc imponet super altare tuum‘; for 2 choirs of 5 and 4 voices, by Gregorio Allegri. f. 51b. 2. For 5 voices. ‘Pietro Guglielmi.’ f. 112.

ff. 53-111. ‘Le tre ore dell' Agonia di nostro Signor, Gesù Cristo‘; for 2 sopranos, with pianoforte, in score, beginning ‘Già trafitto in duro legno,’ by Nicola Zingarelli.