MS Mus. 1851

Single volume containing 98 pieces copied by William Armstrong and, later, Edward Finch. The volume has been used from both ends, with the front portion containing a series of instrumental sonatas on paper ruled with eight staves per page. Reversed, the volume contains a mixture of instrumental and vocal pieces on paper ruled with nine staves per page. The instrumental sonatas are either for violin, recorder or the transverse flute - the latter mostly transposed or otherwise adapted by Edward Finch from existing violin sonatas. The vocal music in the volume includes a series of Italian songs and cantatas.

A date at the bottom of the table of contents suggests the volume was owned by Armstrong in 1691. However, based on the known publication dates of some of the first set of sonatas copied by him it is thought that copying didn't begin until the early 1700s. Some of the entries by Edward Finch are dated, and all from the years following William Armstrong’s death in 1717. The latest date given is 1720.

The volume has a full calf binding and is written in brown ink with some additions in red ink. There is significant bleed through of the ink towards the centre of the volume, particularly on those pages copied by Finch, which has led to damage and corrosion of the paper.

The copy of Henry Purcell's sonata in G minor, Z780 (pp. 68-71) is thought to be a unique source. This first appeared in modern editions for violin and piano by Alfred Moffat in 1899 (BL, h.1684.a.) and Sir Frederick Bridge in 1903 (BL, g.25.o.(3.)). A copy of the Bridge edition and a short article by him, discussing the manuscript, has been pasted into the front of the volume. The location of this manuscript was unknown when editions came to be made by Thurston Dart (1959) and Robert Illing (1975). It was rediscovered by Peter Holman in 2012.

For information concerning William Armstrong and Edward Finch, and the history, chronology and contents of this manuscript in particular, see: Peter Holman, ‘A Purcell manuscript lost and found’, Early Music, vol. 40 no. 3 (August 2012), pp. 469-487; and Christopher Simon Roberts, Music and Society in Eighteenth-Century Yorkshire (PhD Thesis, University of York, 2014).

The following list of contents has been compiled with reference to Peter Holman's article and the PhD thesis by Christopher Simon Roberts cited above.

• f. x. In the hand of Edward Finch: ‘The Notes upon the German Flute’, being a fingering chart in tablature form with corresponding pitches in stave notation.
• f. x. Article by J. Frederick Bridge, concerning Purcell's sonata in G minor (Z810), together with a printed edition by Bridge of the same piece, published in 1903. Both pasted onto a fly leaf.
• f. x. In the hand of Edward Finch: ‘The stops of the Bassoon’, being a fingering chart in tablature form with corresponding pitches in stave notation.
• ff. x-x. Table of contents. The recto lists the solos for violin while the verso lists those for the flute. At the bottom of the verso is written: ‘Hunc Librum Scripsit Gulielmus Armstrong Londini Anno Dom. 1691’.

The following sonatas are in the hand of William Armstrong and are for violin and basso continuo:

• pp. 1-7. ‘Sonata del Signor Godfrid Finger’, in A major.
• pp. 8-11. ‘Sonata del Sigr. Arcangelo Corelli’, in A major.
• pp. 12-15. ‘III Sonata by Mr Tho. Farmer’, in A major.
• pp. 16-19. ‘III Sonata by Mr Courtivil’, in A major.
• pp. 20-23. ‘V Sonata del Sigr Arcangelo Corelli’, in A major.
• pp. 24-27. ‘VI Sonata del Sigr Godfrid Finger’, in A major.
• pp. 28-31. ‘VII Sonata del Sig. G. Finger’, in E major.
• pp. 32-35. ‘VIII Sonata del Sigr G. Finger’, in E major.
• pp. 36-39. ‘IX Sonata del Sig G. Finger’, in D major.
• pp. 40-45. ‘X Sonata del Sig Arco. Corelli’, in D major.
• pp. 46-49. ‘XI Sonata del Sigr Carlo Ambrosio Lonati’, in D major.
• pp. 50-52. ‘XII Sonata del Sigr. Carlo Ambrosio’, in F major.
• pp. 53-57. ‘XIII Sonata by Mr Robert King’, in F major.
• pp. 58-63. ‘XIV Sonata del Sigr G. Finger’, in A major.
• pp. [64]-67. ‘XV Sonata del Sigr Arcangelo Corelli’, in A minor.

The following pieces are in the hand of Edward Finch:

• pp. 68-71. ‘XVI Sonata by Mr Henry Purcell’, in G minor (Z780), for violin and basso continuo.
• pp.72-75. ‘XVII Sonata del Sigr Godfred Finger’, in G major.
• pp. 76-[81]. ‘XVIII Sonata I. Corelli’s IV Solo of his Opera Quinta Set for the German Flute by Transposing it and putting it from F to D#’, in D major. Corelli’s sonata for violin op. 5, no. 4, transposed by Finch for flute and basso continuo.
• pp. 82-87. ‘XIX I Sonata’, by Edward Finch, in D major, for flute and basso continuo. Dated ‘Xmas 1717’. Includes an alternative version of the third movement (page 87).
• p. 88. Minuet in D major, possibly for flute with basso continuo. Described as: ‘2 Parts in One made for the Great Room at Burley whose Eccho Plays the 2nd Treble & sounds like 3 or 4 instruments’.
• pp. 89-93. ‘XX 2 Sonata For the German Flute’, by Edward Finch, in D major, for flute and basso continuo. Dated ‘April 29th 1718’.
• pp. 94-98. ‘XXI 3 Sonata’, by Edward Finch, in D major, for flute and basso continuo. Dated ‘August 30th 1718’.
• p. 99. A jig in G major, possibly by Edward Finch, for flute and basso continuo. Dated ‘1719’ at the end.

The following sonatas are in the hand of William Armstrong and for recorder with basso continuo, unless otherwise stated.

• pp. 100-104. ‘Sonata del Sigr Godfrido Finger’, in F major.
• pp. 105-107. ‘Sonata del Sigr G. Finger’, in C major.
• pp. 108-111. ‘Sonata del Sigr G. Finger’, in G major. Thought to be by Carel Rosier.
• pp. 112-115. ‘Sonata del Sigr G. Finger’, in C major.
• pp. 116-119. ‘Sonata by Mr Raphael Courtevill’, in F major. Thought to be by Gottfried Finger.
• pp. 120-123. ‘Sonata del Sigr G. Finger’, in F major.
• pp. 124-127. ‘Sonata by Mr Edward Finch’, in G major.
• pp. 128-131. ‘Sonata by Mr Edward Finch’, in C major.
• pp. 132-135. ‘Sonata by Mr Edward Finch and Mr Finger’, in C minor.
• pp. 136-139. ‘Sonata del Sigr G: Finger’, in B flat major.
• pp. 140-141. ‘4 Sonata’, by Edward Finch, in G major, for a treble instrument, probably recorder, with basso continuo. Dated ‘November 20th. 1718’.
• pp. 142-147. ‘5 Sonata’, in A minor, by Edward Finch, with a ‘Presto’ movement by Thomas Benson. Dated ‘Xtmas 1718’.
• pp. 147-150. ‘6 Sonata’, by Edward Finch, dated ‘January 29. 1718/9’. Together with a movement headed ‘Gigha’, described as being by Finch and Thomas Benson, dated ‘Feb. 2. 1718/9’.
• pp. 151-155. ‘Sonata 8’, by Edward Finch, in G major, for violin and basso continuo. This is a transposed version of the sonata found on pp. 128-131.
• pp. 156. ‘Sonata IX’, in C major, for flute and basso continuo. A transposed version of Corelli’s sonata Op. 5, No. 9.
• pp. 157-161. ‘Sonata XI’, by Edward Finch, D major, probably for flute and basso continuo. The second and fourth movements are labelled ‘Turn again Whittington Ld. Mayor of London’ and ‘The Hempdresser’.
• pp. 162-165. ‘XII’. A five-movement sonata in G major, possibly by Edward Finch. Dated ‘1720’ at the end.

The volume reversed:

f.. xx. Note stuck to the board summarising the contents of the manuscript.

f. xx. Flyleaf with annotation containing information about former owners.

In the hand of Edward Finch:

• f. xx. Scales for ‘Consort Pitch Flute’; ‘Upper Voice Flute a Lesser 3d : Lower in Pitch’ and ‘Lower Voice Flute a greater 3d Lower [th][a]n Consort Pitch’.
• f. xx. ‘Possible Shakes upon [th]e German Flute’, illustrated with staff notation and tablature.
• p. [1]. ‘Harry Purcells Golden Sonata’. Adagio from Purcell’s sonata in F major, Z810, transposed to G minor with a tenor part added in red ink.

In the hand of William Armstrong:

• pp. 2-3. ‘A Division by Mr Edward Finch upon Farrinels Ground’, in D minor for recorder and basso continuo. See also pages 104-109 in the second set of paginated pages.
• pp. 4-8. Suite in four movements in F major by an anonymous composer, possibly for two recorders and basso continuo.

In the hand of Edward Finch:

• p. 9. A minuet with variation in D minor, by an anonymous composer, for two violins and basso continuo.
• pp. 10-12. 'Gia tra l’onde il sol s’asconde’, cantata for soprano, violin and basso continuo, in B flat major, by Giacomo Greber.
• p. 13. ‘Un Sol di Belta’, aria for soprano and basso continuo, in C major, by an anonymous composer. With an English translation of the text provided by Edward Finch.
• pp. 14-15. ‘Prima noia è pena trova’, aria for soprano and basso continuo, in B flat major, by an anonymous composer. With an English translation of the text provided by Edward Finch.
• pp. 16-17. ‘Sciolto sono è più non peno’, aria for soprano and basso continuo, in F major, by an anonymous composer. With an English translation of the text provided by Edward Finch.
• p.17. ‘Godrà lieta l’alma mia’, aria for soprano and basso continuo, in A minor, by an anonymous composer. With an English translation provided by Edward Finch.
• p.18. ‘Pastorella spera, spera’, for soprano and basso continuo, in A major, by Bononcini. From Il trionfo di Camilla, first performed in Vienna in 1696 and in an adapted version in London in 1706. With an English translation provided by Edward Finch
• p. 19. ‘Bella imago dell mio bene’, for soprano and basso continuo, in C major, by Bononcini. With an English translation of the text by Edward Finch.
• pp. 20-21. ‘Se ne va di faggio in faggio’, for soprano, treble instrument and basso continuo, in B flat major, by Bononcini.
• p. 22. ‘Mio Cor, è che sarà’, for soprano and basso continuo, in C minor, by Bernardo Pasquini.
• pp. 22. Almand or air, in D major, by an unknown composer.
• p. 23. ‘Minuet’, in D major, by Jeremiah Clarke, for treble instrument and basso continuo, but using a different bass to that used in other sources.
• p. 23. ‘The 100 ps: tune in 7 pts. E.F.’, in B flat major, by Edward Finch. Scored for SSAATTB and basso continuo.
• p. 24. ‘Hear ye Gods of Britain’, from Bonduca, Z574/12, by Henry Purcell.
• pp. 24-34. ‘O Give thanks’, verse anthem for four voices with chorus by Henry Purcell, Z33.
• p. 35. A jig in G minor by an unknown composer, for two treble instruments and basso continuo.
• pp. 36-55. ‘O most Blessed who can Praise Thee’, by Jean-Joseph Fiocco, described as ‘Fiocco’s Mottets’. Simpson suggests this may be an adaptation made by Valentine Nalson. In A major, scored for SATB, two violins and basso continuo.
• pp. 56-57. ‘Gloria Patri et Filio’, described as ‘4 voc: Very Slow 1st. Pt. Canon 4 in 2 in Imitation of Stradella. Set at Venice by Seignr Di Tomaso Roseingrave’. In A minor and scored for SATB.
• pp. 58-59. ‘Vo Penando e non so come’, cantata for soprano, violin, viola and basso continuo in B flat major by an unknown composer.
• p. 60. Piece for flute and basso continuo in E minor by Giovanni Battista Grano, described as ‘Mr Grano’s Composition for the German Flute made as fast as he could write’. Not found in the published set of solos by Grano (see British Library g.422.j.(4.)).

The following forms a second sequence of numbered pages in the reversed volume. Unless otherwise stated, they consist of a series of sonatas for violin or recorder and basso continuo, transposed or otherwise adapted for German Flute.

• f. xx. Unnumbered. A thematic index of sonatas by Francesco Geminiani, described as: ‘The Whole XII of Francesco Geminiani’s Sonatas for the Violin & Base Violin & Harpsichord Transposed & fitted in more com[m]odious Keys to the German Flute’.
• pp. [1]-4. Francesco Geminiani, Op. 1, No. 9, transposed from A major to G major.
• pp. 5-8. Francesco Geminiani, Op. 1, No. 10, transposed from E major to D major.
• pp. 9-12. Francesco Geminiani, Op. 1, No. 11, transposed from A minor to G minor.
• pp. 13-16. Francesco Geminiani, Op. 1, No. 12, described as ‘tranpos’d here & there’, in D minor.
• pp. 16-20. Francesco Geminiani, Op. 1, No. 7, transposed from C minor to D minor.
• pp. 20-23. Francesco Geminiani, Op. 1, No. 8, transposed from B minor to A minor.
• pp. 23-27. Francesco Geminiani, Op. 1, No. 4, described as ‘Alter’d from double Notes for [th]e German Flute’, in D minor.
• p. 28. ‘The Saraband is the 7th Solo in Corelli’s Opera Quinta with variations after Geminiani’s Maner’, in E minor. With a note referring to further variations on the same bass on page 44 of this section of the volume. Dated at the end, ‘13 April 1719’.
• pp. 29-33. Francesco Geminiani, Op. 1, No. 5, transposed from B flat major to C major.
• pp. 34-39. Francesco Geminiani, Op. 1, No. 1, transposed from A major to G major.
• pp. 40-43. Francesco Geminiani, Op. 1, No. 3, transposed from E minor to D minor.
• p. 44. Continuation of the variations found on page 28 of this section, in E minor.
• pp. 45-49. Francesco Geminiani, Op. 1, No. 2, in D minor
• pp. 50-53. Francesco Geminiani, Op. 1, No. 6, transposed from G minor to A minor.
• pp. 54-57. Francesco Gasperini, Op. 1, No. 3, transposed from F major to D major, with some passages adapted.
• pp. 58-62. Francesco Gasperini, Op. 1, No. 2, transposed from A major to G major.
• pp. 63-66. Jean-Baptiste Loeillet, Op. 1, No. 7, transposed from C minor to A minor.
• pp. 67-71. Jean-Baptiste Loeillet, Op. 1, No. 12, transposed from D minor to E minor.
• p. 72. Jean-Baptiste Loeillet, ‘Prelude of Luly’s Set for the Harpsichord in Gamut flat in Imitation of a Lute & put into Are Key for the German Flute’, transposed into A minor.
• p. 73. ‘Saraband Luly’, in A minor, by Jean-Baptiste Loeillet.
• pp. 74-75. ‘Canon in Unison’ for two German Flutes with optional basso continuo part. Dated at the end, ‘Dec. 29th. 1716’.
• pp. 76-79. Sonata for two flutes and basso continuo in D major. Dated ‘Sept 15th 1717’.
• pp. 80-85. Francesco Geminiani, Op. 1, No. 1, transposed from A major to G major.
• p. 86. ‘Saraband’ by Corelli, ‘Graced by Luly’ [i.e. John Loeillet, d. 1730]. The piece also includes the instruction: ‘Play This after Luly’s Saraband at Page 73’.
• p. 87. ‘Adagio’ by Edward Finch, dated: ‘Oct: 31. 1718’.
• pp. 88-89. ‘A Division upon a Chromatic Ground to be play’d by Seven Instruments, Or if need be Those 7 Parts may be playd upon a Harpsichord whilst the German Flute or Violin or Hautbois plays the Division’, in E minor, by Edward Finch. Dated ‘Octobr 13th 1718’.
• pp. 90-91. ‘A Division upon a Chromatic Ground being to be chaunted by 7 Voices or play’d by 7 Instruments or else All these 7 parts by playd upon an Organ or Harpsichord Whilst an Eighth Violin German Flute or Hautbois Plays the Division’, by Edward Finch, in E minor. Dated ‘October 25th 1718’.
• p. 92. ‘Largo’, in E minor, by Edward Finch.
• p. 93. ‘Gigha’, in E minor, by Edward Finch.
• p. 94. Two sarabands or minuets, in E minor, possibly by Edward Finch. For two violins and basso continuo.
• pp. 95-99. Francesco Geminiani, Op. 1, No. 5, transposed from B flat major to C major.
• pp. 100-104. ‘Sonata 9th’, in D minor, by Edward Finch. Dated ‘May 28th 1719’.
• pp. 104-109. ‘Follia A Division upon a Ground. Made in King James [th]e 2 d s Reign’, in A minor, by Edward Finch. For violin and basso continuo.
• pp. 110-114. ‘Sonata X’, in D minor, by Edward Finch, for violin and basso continuo. The third movement is described: ‘Workd round thro[ugh] All the Keys & mark’d with Red Letters over the Trebble or under the Base or both’.
• pp. 115-119. Arcangelo Corelli, Op. 5, No. 9, transposed into C major.
• pp. 120-125. Variations on the first section of the Saraband from Corelli’s sonata Op. 5, No. 7, by Francesco Geminiani.