Add MS 10338

ff. 4-13. 'Fantazies,' or Fancies, for strings and organ, in score, by George Jeffreys. 1-6. Six 'of 3 Parts for the Violls and the Virginall.' Autograph. In the 5th Fantasia, a few notes have been added to the virginal part to make it suitable for playing on the organ. f. 4. 7. Another 'of 2 parts to the Organ for the violin,' sc. Fantasia for 2 violin with organ accompaniment. f. 12b.

ff. 14b-24. Madrigals(?), for 3 voices, in score, by George Jeffreys. Autograph. Nos. 10-12 are accompanied by a basso continuo. 1. 'Le parole soavi.' f. 14b. 2. 'O vaghe, O care stelle.' f. 15. 3. 'Donna crudel...piu non ti chieggio.' f. 15b. 4. 'Quand' io miro le rose.' f. 16. 5. 'All' ombra degli allori.' f. 16b. 6. 'Si (sic) miro il tuo bel viso.' f. 17. 7. 'Occhi, stelle mortali.' f. 17b. 8. 'Crudel tu per fug[g]ire.' f. 18. 9. 'Donna, s' io miro voi.' f. 18b. 10. 'Felice Pastorelle (sic), ch' in compagnia di Clori.' f. 19b. 11. 'Provate la mia Fiamma.' f. 20b. 12. 'Che nove Arti son queste.' f. 22.

f. 24b. 'Musick, thou Queen of soules'; for 3 voices, with a bass, in score, in the hand of George Jeffreys, who is presumably the composer.

f. 26b. 'Coy Cœlia, dost thou see'; with 3-part chorus and basso continuo, in score, in the hand of George Jeffreys, who is presumably the composer of them.

ff. 28b, 33-51. Dramatic compositions with a basso continue, in score, by George Jeffreys. Autograph. 1. 'Say, Daunce, how shall we goe': 3-part song, from the 'Maskque of Vices.' f. 28b. 2-5. 'Songs made for some Comedyes A 4 Voc. 1631 [the words by] Sr R[ichard] Hatton,' viz.: 'You that have been this Evening's light.' f. 33; — 'Fond Maydes, take warninge, while you may.' f. 34b; — 'Cupid blushes to behold.' f. 36b;—'Hymen hath together tyed.' f. 39b. 6. 'Songs made for Dr. Hausted's Comedy called ye Riuall Freinds. Acted before ye Kinge and Queene [at Cambridge], An. 1631, 19 March.' They consist of a 'Dialogue (Venus, Thetis, and Phœbus),' begins 'Drowsy Phœbus, come away,' solos, and 5-part choruses, ff. 43-51.

ff. 30b, 31b. Dialogues, with a basso continuo, in score, by George Jeffreys. Autograph. 1. 'Why sigh you, swayne?' f. 30b. 2. 'Lovely Sheaphard.' f. 31b.

ff. 51b-56. 'Felice Pastorella'; consisting of solos, duet, trio, and 5-part choruses, with symphonies for 5 strings, in score, by George Jeffreys. Autograph.

ff. 57b-270 passim. Collection of musical compositions of various styles, in score, copied in, or after, 1669 (see f. 274b) from earlier works written by George Jeffreys, who is evidently the composer of most, if not all, of the works (cf. 17816, f. 8). The Motets included are accompanied by a basso continuo; nos. 1, 2, 15-45 being for 3 voices; nos. 3-14, 46-57 for 4 voices; nos. 58, 59 for 5 voices; and no. 60 for 6 voices. 1. ‘O tu, vnus Deus.’ Unfinished. f. 57b. 2. ‘Quid mihi est in cœlo. Composed in 1661. f. 64b. 3. ‘Timor et tremor.’ f. 73b. 4. ‘Audiui vocem de cœlo.’ f. 74b. 5. ‘Si diligitis me.’ f. 75b. 6. ‘Siue vigilem, siue dormiam.’ f. 76b. 7. ‘Erit gloria Domini.’ f. 77b. 8. ‘Domine Deus salutis meæ.’ f. 78b. 9. ‘Et ingrediar ad altare Dei.’ f. 79b. 10. ‘O Quam dulcis, quam suauis.’ f. 83. 11. ‘O Panis Angelorum.’ f. 84b. 12. ‘O nomen Iesu.’ f. 85b. 13. ‘O Pretiosum et admirandum conuiuium.’ f. 86b. 14. ‘Jesu, Rex admirabilis.’ f. 87b. 15. ‘Audite, gentes, et narrabo.’ f. 91b. 16. ‘Gloria tua manet in eternum.’ Composed in 1658-1659. f. 94. 17. ‘Gloria Patri.’ f. 96b. 18. ‘Florete, flores.’ f. 97. 19. ‘O piissime Domine.’ f. 99b. 20. ‘Salue, cœlestis curiæ triumphale Decus.’ f. 101b. 21. ‘Exurge ! quare obdormis.’ f. 114b. 22. ‘O quam gloriosum est Regnum.’ f. 116. 23. ‘Lapidabant Stephanum.’ f. 117b. 24. ‘Et recordatus est Petrus.’ f. 119. 25. ‘Beatus Author seculi.’ f. 120. 26. ‘Jesu mi Dulcissime.’ f. 121b. 27. ‘Vere languores nostros ipse tulit.’ f. 123b. 28. ‘Nescio quid Amore maius.’ f. 124b. 29. ‘Vtinam concessa mihi.’ f. 125b. 30. ‘Nil Canitur suauius.’ f. 126b. 31. ‘Ecce, Dilectus meus.’ f. 127b. 32. ‘Prior Christus dilexit nos.’ f. 128b. 33. ‘Domine Jesu, dilexisti me.’ f. 129b. 34. ‘Christo Jesu debes omnem vitam tuam.’ f. 131. 35. ‘Hosanna filio Dauid.’ f. 132. 36. ‘Heu mihi! Domine, miserere mei.’ f. 133b. 37. ‘Visa vrbe, fleuit super ea.’ f. 134b. 38. ‘Inuocaui nomen tuum.’ f. 135b. 39. ‘Jerusalem, quæ occidis prophetas.’ f. 138. 40. ‘Domine, Dominus noster.’ f. 139. 41. ‘Caro mea vere est cibus.’ f. 141. 42. ‘Paratum cor meum.’ Composed in 1657. f. 142b. 43. ‘Quando natus es.’ Composed in 1657. f. 145b. 44. ‘O Deus meus.’ f. 148. 45. ‘O quam iucundum, quam suaue.’ f. 150b. 46. ‘O Domine deus.’ f. 165b. 47. ‘Quid com[m]isisti, Jesu.’ f. 181. 48. ‘Ego sum Panis.’ f. 183. 49. ‘Jubilate Deo.’ f. 186b. 50. ‘Amor Jesu.’ f. 190b. 51. ‘O Bone Jesu.’ f. 193. 52. ‘Audite Celi.’ f. 196b. 53. ‘Jesu, Dulcedo Cordium.’ f. 199b. 54. ‘Te Deum Laudamus.’ Composed in 1649. f. 204. 55. ‘Gloria Patri et Filio.’ f. 215b. 56. ‘O quam iucundum.’ Composed in 1651. f. 217. 57. ‘Gloria Patri qui creauit.’ Composed in 1651. f. 221b. 58. ‘Gloria in Excelsis.’ f. 226. 59. ‘Bone Jesu, Verbum Patris.’ f. 230b. 60. ‘Hosanna Filio Dauid.’ f. 266b. The Index at the beginning and many critical notes interspersed throughout the MS. are in the hand of E. T. Warren, Secretary of the Catch Club.

ff. 60-63b. Three solos for a bass voice, with a basso continuo, by George Jeffreys. Autograph. 1. 'O quam suave'; described as a 'Mottect,' or motet, f. 60. 2. 'Spetiosus forma præ filijs hominum.' f. 61b. 3. 'Prayse the Lord, O my Soule.' f. 62b.

ff. 67b-274b. Anthems in score, with a Basso continuo, by George Jeffreys. Autograph. 1. 'See, see, ye word is incarnate,' with second part, 'The Paschall lambe,' and third part, 'Glory be to ye Lambe' (3 voices). Composed in 1662. f. 67b. 'With notes that are both loud and sweet' (for the Ascension). For 2 voices. At the beginning is written 'Mr. Pett.' f. 89. 'Glory to God on high' (Morning Hymn). 'Composed at Mr. Peter Gunnings motion, May, 1652.' f. 104b. 4. 'Vnto thee, O Lord, will I lift vp my soul,' with second part, 'Shew me thy wayes, Lord,' described as a 'mottect,' or motet. f. 106b. 5. 'Heare my prayer, Lord, and with thine ears.' f. 108b. 6. 'Sing vnto the Lord, yee Saints.' f. 110. 7. 'Praise the Lord, my soule.' f. 111b. 8. 'Brightest Sunne, how was thy light' (for the Epiphany). f. 113. Nos. 3 to 8 are for 3 voices; the following four anthems are for 4 voices: — 9. 'What praise can reach thy Clemency.' f. 153b. 10. 'In the midst of life '—'made in the tyme of my sicknes, October, 1657.' f. 160b. 11. 'Turne thou vs, O good Lord,' composed in 1655. f. 172. 12. 'Turne thee againe, O Lord God,' composed in 1648. f. 177. The remaining anthems are for 5 voices. 13. 'Bussie tyme' (for Innocents' day). f. 239. 14. 'Brightest of dayes' (for the Epiphany). f. 242b. 15. 'Whisper it easily' (on the Passion). f. 246b. 16. 'Ryse Hart, thy lord is rysen' (for the Resurrection). f. 250b, 17. 'Looke vpp, all Eyes' (for the Ascension). f. 255b. 18. 'The Lord in thy aduersity.' f. 259b. 19. 'A musick strange' (for Whit-Sunday). The date 1669 is added at the end, but whether as that of the composition or of the completion of the volume is not certain, f. 270b.

f. 80b. 'Heu me misera, tulerunt Dominum meum‘: a Dialogue between Mary Magdalene and the Angels at the Sepulchre (basses, in unison), with a figured bass for organ, in score. By George Jeffreys. Autograph.

ff. 204-215. 'Te Deum'; ending with an 'Alleluia,' for 4 voices, with a basso continuo, in score, by George Jeffreys. Autograph. Apparently composed in 1649.

ff. 223b-225. Gloria in Excelsis, and Sanctus; followed by the two Communion responses, 'We lift them up unto the Lord,' and 'It is meet and right so to do'; for 4 voices in score. [By George Jeffreys.] Autograph.

f. 233b. 'Harke, sheapard swaynes,’ for 5 voices, with a basso continuo, in score, by George Jeffreys. Autograph.