Add MS 36484

passim. Vocal compositions, apparently in the hand of David Melvill alias Melvine, whose name is written in a contemporary hand at the bottom of every page. Unless the contrary is stated, they are for 4 voices. Bass part. The composers' names are not given. {See the Melvill Book of Roundels, Roxburghe Club, 1916, p.xv} {Sotheby's sale cat. 16 October 1945. Lot 2028} 1. 'When sail my sorovfull siching slaik.' [Tallis.] f. 1. 2. 'Suport your servand, pierles paramure.' f. 1b. 3. 'Only to ʒow, my ladey bricht.' f. 2. 4. 'Richt soir oprest am I.' f. 3b. 5. 'In throw the vondouis (sc. windows) of my eies.' f. 4b. 6. 'I joy not in no earthlie bliss.' [W. Byrd, 1588.] f. 6. 7. 'Wher fancie fond'; for 5 voices. By the same. 1588. f. 6b. 8. 'Susanna [fair sometime of love assaulted was]'; for 5 voices. [O. di Lasso, from , 1588.] f. 7. 9, 10. 'Musick fyne,' and 'Lytill blak.' f. 8. 11, 12. 'O mortall man,' and 'My delyt.' f. 8b. 13. 'Vn jour vis.' (For the contra-tenor part, see Add MS 33933, f. 78b). f. 11. 14, 15. 'My luiff,' and ' Adew.' f. 21b. 16. 'Clarinda fals, Adew.' This and no. 17 are from Thomas Morley's , 1594. f. 24. 17. 'Why sit I heir, Alace.' f. 24b. 18. 'O loue, thou art enraiged.' f. 25. 19. 'Cum, my deir.' f. 25b. 20. 'In dew of roises (sic).' [T. Morley, 1594.] f. 26. 21. 'O cum away, my deirest deir.' f. 27. 22. 'Delay of tym hes wrocht my wo.' f. 27b. 23. 'I will no moir my siching slaik.' [T. Morley, 1594.] f. 28. 24. 'Tu as tut seul'; for 5 voices. [C. Verdonck.] f. 28b. 25. 'Constant Penelope'; for 5 voices. [W. Byrd, from , 1588.] f. 29. 26. 'In fieldis abrod'; for 5 voices. [By the same, from the same work.] f. 29b. 27. 'The quhyt sueit singing death'; for 5 voices, f. 30. 28. 'Zephirus bringis the tyme'; for 5 voices. [A. Ferrabosco, from , 1597.] f. 30b. 29. 'Hard by a cristall fontane'; for 6 voices. [G. Croce, from the same work.] f. 31. 30. 'Apryl is in my maistres face.' [T. Morley, , 1594.] f. 31b. 31. 'Pansing in spreit.' f. 31b. 32. 'Cinthia, thy song and chanting.' [G. Croce.] This and nos. 33-38 are from , 1597, and are written for 5 or (in the case of no. 38) 6 voices, f. 32. 33. 'Flie, giue thow wilt.' [G. Eremita.] f. 32b. 34. 'In flour of Apryll.' [A. Ferrabosco.] f. 33. 35. 'Hillis and woods.' [L. Quinzani.] f. 33b. 36. 'Sueit sparkle off luifis fyre.' [G. M. Nanimo.] f. 34. 37. 'Sueit eyis admyring.' [S. Venturi.] f. 34b. 38. 'Beautie (properly Dainty) quhyt pearle.' [A. Bicci.] f. 35. 39. 'Besydis a fountain.' [T. Morley, , 1594.] f. 35b. 40. 'Si dessus.' f. 36. 41. 'When I wald the[e] Imbraice.' [G. B. Pinello, from , 1588.] f. 36b. 42. 'Yow prettie flouris.' This and the next are by John Farmer, 1599. f. 37. 43. 'Now each creatur.' f. 37b. 44. 'Ladie, let me behold.' [G. Croce, from Morley's , 1597.] f. 38. 45. 'Evin sighes I send.' f. 38b. 46. 'Ye pearce my hairt.' f. 39. 47. 'Tres beux geux (sc. yeux).' f. 39b. 48. 'Sie (sc. see), sie, myne owne sueit.' This and nos. 49-57 are from , by Thomas Morley, 1593. f. 40. 49. 'Joy, joy doth so aryse.' f. 40b. 50. 'Ladie, those eyes of yours.' f. 41. 51. 'Crewell, yow pull away to[o] soine your sueit lipis.' f. 41b. 52. 'Whether away so fast.' f. 42b. 53. 'Blow, shepherds, blow.' f. 43b. 54. 'God morrow, fair ladies.' f. 44. 55. 'O flye not, O tak some pittie.' f. 44b. 56. 'Thirsis, let pittie moue the.' f. 45. 57. 'Aryse, get wp, my deir.' f. 45b. 58. 'Why do I thus complaine'; for 3 voices, f. 46b. 59. 'Lo, lady, for your loue.' [G. Croce, from Morley's .'] f. 48. 60. 'The flaming fyre.' f. 48b. 61. 'Hark, Joly Shipherds.' [T. Morley, , 1594.] f. 49. 62. 'Present now must I bee.' f. 49b. 63. 'As every flour doth spring in may.' f. 50. 64. 'I die, alaice, throuch your disdaining.' f. 50b. 65. 'Vor[r]ia...' f. 50b. 66. 'O cairfull catiue.' f. 51b. 67. 'Whairfoir is this, my lady sueit.' f. 52. 68, 69. 'What plesure haue gryt princes,' and 'My mynd to me a kingdome is.' These and nos. 70, 71 are by W. Byrd, from his . 1588. f. 52b. 70, 71. 'Fairweill, fals loue'; and 'The match that is maid.' f. 53. 72, 73. 'Ane Italian song,' and 'Adiw, sueit hairt.' f. 55b. 74. 'My plesour.' f. 56. 75. 'Ardoch' (sc. Ardo che?); for 3 voices, f. 56b. 76,77. 'Puis que ne ueux escouter,' and 'Si ie trepasse.' f. 57. 78, 79. 'Je vaw (sc. vois?),' and 'Ausew' (sc. 'Aux yeux ' ) . f. 57b. Nos. 80-87 are by Bernardino Mosto, from his collection of 5-part Madrigals, 1588. 80, 81. 'L' Aurora [e 'l giorn'],' and 'Cantano j piu [graditi].' f. 58. 82, 83. 'Felice [è lo mio core],' and 'Crudell [perche mi fuggi].' f. 58b. 84, 85. 'Zeffiro [torna],' and 'Notte felice [aventurosa].' f. 59. 86, 87. 'Ploue (sc. piove) da glie occhi,' and 'Da bei voster (sic) [occhi].' f. 59b. Nos. 88-107 are by Ruggiero Giovanelli, from Books i-iii of his 5-part Madrigals, published in 1586, 1593 and 1599. 88, 89. 'Dunque, Aminta,' and 'Dalle [labbia rosate] spira.' f. 60. 90, 91. 'Cara dolce [favella],' and 'Dono licori [a Tirsi].' f. 60b. 92, 93. 'Ohime [perche mi fuggi],' and 'I piu candide (sic) [gigli].' f. 61. 94. 'Ardo, si, ma non [t' amo],' with second part, 'Ardi e gella' (sic). f. 61b. 95. 'Nell foco [d' un bel lauro].' f. 62. 96, 97. 'Mi sfidate,' and 'lo sequo (sic) [l' orm' invano].' f. 62b. 98, 99. 'O timida le prata (sc. lepretta),' and 'Sei tu, mio [cor].' f. 63. 100. 'Donna, la bella [mano].' f. 63b. 101, 102. 'Come potro giamai,' and 'Tirsi, io mi parta' (sic). f. 64. 103. 'Lalina (sc. L' alma) guerriar' (sic). f. 64b. 104, 105. 'Viddi filli,' and 'Dolcissimo [legame].' f. 65. 106. 'Tu nascesti [di furto].' f. 65b. 107. 'Wth (sc. Ut) re mi fa sol la.' f. 66. Nos. 108-117 are from the set of Madrigals published by Michael Este in 1604. The first six are for 3 voices. 108. 'In the merry month of may'; with second part, 'Coridon wold kise her then.' f. 66b. 109. 'O come again, my Loue.' f. 67. 110. 'Yomig cupid hath proclaimd a bloody wair.' f. 67b. 111. 'To bed, to bed she cals.' f. 68. 112. 'Oh doe not run away from me.' f. 68b. 113. 'In ane euening late as I was walking.' f. 69. 114. 'Pitie, dear Loue.' f. 69b. 115. 'When on my dear I do demaund the due.' f. 70. 116. 'All yee that Joy in wailling'; for 5 voices, f. 70b. 117. 'The spring is past'; for 5 voices. Part ii of 'My prime of youth.' f. 71.

ff. 2b, 54. Bass part of two Scottish sacred compositions for 4 voices. Anonymous. 1. ‘Thy mercie will I sing and justice eik.’ f. 2b. 2. ‘Who on the highest will depend.’ f. 54.

ff. 3, 4, 17, 26v, 54, 56. Bass part of some Scottish metrical versions of Psalms, etc., for 4 voices (with one exception, noted below). The names of the composers are not given. 1. 'O Lord, how mony enemeis have I.' f. 3. 2. 'Oure father, god celestiall.' f. 4. 3. 'Off mercie and of Judgement both,' for 5 voices (the same version as in the Scottish Metrical Psalter, 1565-1635): the music by A. Blakehall (see Add 33933, f. 54). f. 17. 4. 'With mynd opprest I cry to the.' f. 26b. 5. 'Our god is our defender.' f. 54. 6. 'The god off all power and micht.' f. 56.

ff. 5, 5b. Bass part of two anonymous compositions for 4 voices, both of which occur in John Forbes' , Aberdeen, 1662 (cantus only). 1. 'O lustie May.' The contra-tenor part occurs in Add MS 33933 (f. 85). f. 5. 2. 'Q(?)wm [for Cum], death, behold I breath.' Published (see above) as 'Even death, behold I breath.' f. 5b.

ff. 7-56b passim. Bass part of some Latin sacred compositions, a few of which appear to have originally formed part of Masses. Unless the contrary is stated, they are for 4 voices. The names of the composers are not given. Possibly some of the works are by the original owner — and probable transcriber — David Melville. 1. ‘Ascendo [ad Patrem]‘ (à 5). By Dr. Christopber Tye. f. 7. 2. ‘Peccaui, pater.’ f. 9b. 3. ‘Miserere mej.’ f. 10. 4. 5. ‘Sharp's Miserere,’ and an ‘Agnus Dei.’ f. 10b. 6. ‘Media vitæ’; in three parts. f. 13b. 7. ‘Ecce, quam bonum.’ f. 14. 8. ‘Deus misereatur nostri’; in two parts. By R. Johnson, f. 15. 9. ‘Inclina, domine, aurem‘; with second part, ‘Auribus percipe, domine.’ ff. 16, 16b. 10. ‘Surge, Illuminare, Jerusalem.’ f. 19. 11. ‘Vitam quæ faciunt beatiorem.’ f. 20. 12. ‘Laudamus te.’ f. 20b. 13. ‘Ad te levaui.’ f. 47. 14. ‘Da pacem, domine.’ f. 49b. 15. ‘Qui tollis.’ f. 51. 16. 17. ‘Benedicemus te‘ and ‘ . . . Wisibilium omnium.’ f. 53b. 18. ‘Tria sunt munera’ (à 3). f. 56b.

ff. 9, 10, 11b-12b, 50, 51. Compositions without titles, in 4 parts, from a Scottish MS. Bass part only. They are headed:— 1. 'Sir John Black.' f. 9. 2. 'Blak, maior.' f. 10. 3-5. 'Lessones upon the first,' 'secund,' and '50 psalmes.' ff. 11b-12b. 6. 'Wilsonis fantasie.' f. 50. 7. 'In nomine.' f. 51.

ff. 13, 22-23b, 71b. Bass part of some anonymous 5-part compositions, from a Scottish MS. 1. 'A lessone off descant.' f. 13. 2, 3. 'Lachrime' Pavan, and galliard. f. 22. 4, 5. 'Dawlans' (sc. Dowland's) pavan and galliard. f. 22b. 6, 7. 'James Lauder's' and 'Maister William Skein's' Pavans. f. 23. 8, 9. 'Sir William Keithis' Pavan and galliard. f. 23b. 10. A piece headed 'Maister Philip . . .' f. 71b.

f. 18. Bass part of an anonymous secular composition for 6 voices, begins 'Anna (sc. Queen Anne of Denmark, d. 1619), veni; sequimur'; with second part, 'Macte animo, Iacobe decus.'