Egerton MS 2468

ff. 3-46b, passim. Motets, etc., in score. Unless the contrary is stated, they are for 4 voices without accompaniment; 18th cent. 1, 2. Two settings (à 8 and 5, with figured basses) of ‘Beatus vir qui timet Dominum‘; each of them followed by a ‘Gloria Patri.’ Anonymous, ff. 3, 11. Nos. 3-6 (in a different hand from nos. 1, 2) are nos. 17-20 of the 1st book of Palestrina's Motecta Festorum, 1563; nos. 7-9 (in a third hand) are from the Gradus ad Parnassum of J. J. Fux. 3. ‘In diebus illis mulier.’ f. 19. 4. ‘Beatus Laurentius.’ f. 23b. 5. ‘Quæ est ista quæ processit.’ f. 27b. 6. ‘Misso Herodes spiculatore.’ f. 31b. 7. ‘Ad te, Domine, levavi Animam’: offertorium. f. 38. 8. 'Ave, Maria‘: offertorium with 'canto fermo.’ f. 41. 9. ‘Domine, fac mecum misericordiam tuam.’ f. 45b.

f. 35. 'Concentus ab eodem Auctore [Angelo Berardo] in exemplum Modi tertii.'; 18th cent. From Fux' Gradus ad Parnassum (1725), p. 229.

ff. 35b-58 passim. Masses, or fragments of Masses, in score, written, unless the contrary is stated, for 4 voices and unaccompanied; 18th cent. 1. ‘Agnus Dei,’ in G minor. Anonymous. f. 35b. 2. ‘Kyrie della Messa della Mutazione.’ ‘John Joseph Feux’ [i.e. Fux], taken from his Gradus ad Parnassum, where it is called ‘Missa vicissitudinis.’ f. 37. 3. ‘Kyrie.’ By the same. From the Mass, ‘In fletu solatium‘ (quoted in the same work), f. 43. 4. ‘Kyrie,’ for 5 voices, with a figured bass. ‘Gulielmus Messaus, 1633‘; from the Mass ‘Sonna (sic) Scendisti in Terra.’ In a later hand than no. 3. f. 47.

ff. 45, 46b. 'Domine, ne in furore'; with instrumental accompaniment and figured bass, in score, apparently by J. J. Fux, who has inserted it in his Gradus ad Parnassum, 1725, as a specimen of a Recitative; 18th cent.

f. 59. 'Miserere mei, Deus‘; for 4 voices, in score, said to be an incorrect copy of that by Allegri (see note at beginning); late 18th cent.