R.M.24.d.2

ROYAL MUSIC COLLECTION. A volume in the script throughout of John Baldwin of Windsor (excepting ff. 87b-89), containing 203 motets, instrumental pieces, canons and contrapuntal exercises by various 16th century composers, some in score, some in separate parts. There are prefatory and concluding critical verses by Baldwin concerning contemporary English and foreign composers. Nos. 1-74 are in score.

Paper. ff. 188.

1. f. 1. Ferrabosco (Alfonso): Miserere nostri. 5-part motet.

2. f. 1b. Damon (William): Miserere nostri. 5-part motet. [For another copy see R.M.24.c.11.(24.)].

3. f. 3. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

4. ff. 3b-4. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

5. ff. 4b-5. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

6. ff. 5b-6. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

7. ff. 7-8. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

8. f. 9. Ferrabosco (Alfonso): String quintet. Unnamed piece for 5 viols.

9. ff. 9b-11. Ferrabosco (Alfonso): String sestet. Unnamed piece for 6 viols.

10. ff. 11b–12b. Ferrabosco (Alfonso): String sestet. Unnamed piece for 6 viols.

11. ff. 13-16b. Marenzio (Luca): Concerted instrumental piece. Unnamed piece for 10 viols.

12. f. 17. Marenzio (Luca): String sestet. Unnamed piece for 6 viols.

13. f. 18. Ferrabosco (Alfonso): String quartet. Unnamed piece for 4 viols.

14. ff. 18b-19. Ferrabosco (Alfonso): String quartet. Unnamed piece for 4 viols.

15. ff. 19b-20. Ferrabosco (Alfonso): String quartet. Unnamed piece for 4 viols.

16. f. 20b. Ferrabosco (Alfonso): String quintet. Piece for 5 viols, here unnamed but is ‘O voi che sospirate’.

17. ff. 21–22. Ferrabosco (Alfonso): String quintet. ‘Dolorosi martir’, for 5 viols.

18. ff. 22b-25b. Monte (Filippo di): Super flumina babilonis. 8-part motet, without words, for viols.

19. ff. 22b-24. Taverner (John): In nomine. 4-part instrumental piece. Scored in parallel with no. 18.

20. ff. 24-25b. Golder (Robert): In nomine. 4-part instrumental piece. Parallel with an 8-part piece by Filippo di Monte.

21. ff. 26-30. Byrd (William): Quomodo cantabimus. ‘Canon tres partes in una’. 8-part motet, without words, for viols.

22. ff. 30b-32. Byrd (William): Peccante me. 5-part motet, without words, for viols. From the Tallis and Byrd Cantiones, 1575.

23. ff. 31b-33. Byrd (William): Aspice domine. 6-part motet, without words, for viols. From the Tallis and Byrd Cantiones of 1575.

24. ff. 33-36. Byrd (William): Attollite portas. 6-part motet, without words, for viols. From the Tallis and Byrd Cantiones of 1575.

25. ff. 36-37. Ferrabosco (Alfonso): Vias tuas. 5-part motet, without words, for viols.

26. ff. 36b-39. Giles (Nathaniel): Vestigia mea. 5-part motet, without words, for viols.

27. ff. 39-40. Giles (Nathaniel): Tibi soli. 5-part motet, without words, for viols.

28. f. 40. Byrd (William): My soule opprest. 5-part piece, without words, for viols. No. 3 in ‘Psalms, Sonnets, and Songs, 1588’.

29. ff. 40b-45. Byrd (William): Dñe quis habitabit. 9-part motet, without words, for viols.

30. ff. 45b-46b. Tye (Christopher): Amavit. 5-part motet, without words, for viols.

31. ff. 46b-49. Byrd (William): Memento dñe. 9-part motet, without word, for viols. No. 8 from the Liber Primus Sacrorum Cantionum.

32. ff. 48b-51. Byrd (William): Tristicia. 5-part motet, without words, for viols. No. 6 in the Liber Primus Sacrorum Cantiones. With a second part ‘Sed tu dñe’ [see infra no. 33].

33. ff. 51-52b. Byrd (William): Sed tu dñe. 5-part motet, without words, for viols. No. 6 in the Liber Primus Sacrorum Cantiones. With a first part ‘Tristicia’ [see supra no. 32].

34. f. 53-53b. Ferrabosco (Alfonso): Ultimi me. 6-part motet, without words, for viols.

35. f. 54. Ferrabosco (Alfonso): Salva me dñe. 6-part motet, without words, for viols. Followed, without interruption, by no. 36.

36. f. 54-54b. Ferrabosco (Alfonso): Christe redemptor. 6-part motet, without words, for viols. Following on from no. 35 without interruption.

37. f. 55-55b. White (Robert): Deus misereator. 6-part motet, followed by a second part ‘Letentur et ex[sultant]’ no. 38, without words, for viols.

38. ff. 55b-57b. White (Robert): ‘Letentur et ex[sultant]’. 6-part motet, following a first part ‘Deus misereator’ no. 37, without words, for viols.

39. f. 58-58b. Mundy (William): Adolosentulus [sic]. 6-part motet, without words, for viols, followed, without interruption, by no. 40.

40. f. 58b. Mundy (William): Tribulacio. 6-part motet, without words, for viols, following without break ‘Adolosentulus’.

41. f. 59-59b. Mundy (John): Judica me deus. 6-part motet, without words, for viols.

42. f. 60. Sheppard (John): Hec dies. 6-part motet, without words, for viols.

43. ff. 60b-61. Taverner (John): Et expecto. 6-part piece, without words, for viols.

44. ff. 60b-61. Taverner (John): Osanna. 6-part piece, without words, for viols.

45. ff. 61b-62. Tallis (Thomas): Variis linguis. 7-part motet, without words, for viols.

46. ff. 63-64. Mundy (John): In nōie. 6-part instrumental piece.

47. ff. 63b-65. Mundy (John): In nōie. 5-part instrumental piece.

48. ff. 64-65b. Mundy (John): [In nomine]. 6-part instrumental piece, unnamed in the text. At the top of the page are the words ‘Mr john mũdie of windsore’.

49. ff. 65b-66b. Mundy (John): In nōie. 5-part instrumental piece.

50. f. 67-67b. Morley (Thomas): Gaude Maria virgo. 5-part motet, followed by a ‘secunda pars, virgo prudĕtissima’ [see infra no. 51], without words, for viols.

51. ff. 68-69. Morley (Thomas): Virgo prudĕtissima. 5-part motet, following ‘Gaude Maria virgo’ [see supra no. 50], without words, for viols.

52. ff. 69-70. Byrd (William): Ne irascaris dñe. 5-part motet, without words, for viols. No. 20 in the Liber Primus Cantionum Sacrorum. With a second part ‘Civitas sancti’ [see infra no. 53].

53. ff. 70-71. Byrd (William): Civitas sancti. 5-part motet, without words, for viols. No. 20 in the Liber Primus Cantionum Sacrorum. With a first part ‘Ne irascaris dñe’ [see supra no. 52].

54. ff. 70b-71b. Byrd (William): T(r)ibulationes. 5-part motet, without words, for viols. No. 24 in the Liber Primus Sacrorum Cantiones. With a second part [see infra no. 55] and a third part [see infra no. 56].

55. ff. 71b-72b. Byrd (William): Timor. 5-part motet, without words, for viols. No. 24 in the Liber Primus Sacrorum Cantiones. With a first part ‘T(r)ibulationes’ [see supra no. 54] and a third part ‘Nos enim’ [see infra no. 56].

56. f. 73. Byrd (William): Nos enim. 5-part motet, without words, for viols. No. 24 in the Liber Primus Sacrorum Cantiones. With a first part ‘T(r)ibulationes’ [see supra no. 54] and a second part ‘Timor’ [see supra no. 55].

57. ff. 73b-74. Byrd (William): Oñi tempore (v. voc). 5-part motet, without words, for viols. With a ‘secunda pars’ ‘Memor esto’ [see infra no. 58].

58. ff. 74-75. Byrd (William): Memor esto. 5-part motet, without words, for viols. With a first part ‘Oñi tempore’ [see supra no. 57].

59. f. 75-75b. Byrd (William): Ne perdas. 5-part motet, without words, for viols. With a second part ‘Eripe me’ [see infra no. 60].

60. ff. 75b-76. Byrd (William): Eripe me. 5-part motet, without words, for viols. With a first part Ne perdas’ [see supra no. 59].

61. f. 76. Taverner (John): Unnamed instrumental piece upon a plainsong. 3-part piece.

62. ff. 76b-77. Parsons (Robert): Libera me dñe. 5-part motet, without words, for viols.

63. ff. 78, 77b. Byrd (William): Dies illa. 5-part motet, without words, for viols.

64. f. 78. Byrd (William): Aspice dñe. 5-part motet, without words, for viols. No. 18 in the Liber Primus Cantionum Sacrorum. With a second part ‘Respice dñe’ [see infra no. 65].

65. ff. 78b-79. Byrd (William): Respice dñe. 5-part motet, without words, for viols. No. 18 in the Liber Primus Cantionum Sacrorum. With a first part ‘Aspice dñe’ [see supra no. 64].

66. ff. 79b-80. Byrd (William): O quam gloriosum (v. voc.). 5-part motet, without words, for viols. No. 22 in the Liber Primus Cantionium Sacrorum. With a second part ‘Benedictio’ [see infra no. 67].

67. ff. 80-81. Byrd (William): Benedictio. 5-part motet, without words, for viols. No. 22 in the Liber Primus Cantionium Sacrorum. With a first part ‘O quam gloriosum’ [see supra no. 66].

68. ff. 80b-82b. Bull (John): Deus omnipotens. 5-part anthem, followed by a short section called ‘I ame feeble’ (ff. 82b-83), without words, for viols.

69. ff. 82b-83. Bull (John): I ame feeble. 5-part anthem, following ‘Deus omnipotens’ (ff. 80b-82b).

70. ff. 82b-86. Byrd (William): Great Service. Sections, from the Te Deum and Benedictus of Byrd’s Great Service, arranged without words as a 5 and 6-part viol piece. f. 82b ‘in thee o lorde’; f. 83b ‘that we shulde: a canon’; f. 84 ‘the holy church’; f. 84 ‘that we beinge’; f. 86 ‘and yu childe’; f. 86 ‘yt we should be’. Before the last two sections on f. 85-85b is inserted a 6-part fragment, in score, from a Benedictus by Sheppard, ‘that we beinge’, also arranged as a viol piece.

71. f. 85-85b. Sheppard (John): Benedictus. Short section from a Benedictus ‘that we beinge …’ arranged as a 6-part viol piece.

72. ff. 84b-85b. Baldwin (John): In nõie; 1606. A 5. canon in subdiapason (5-part instrumental piece). Written on the lower half of the page. At the end is written '‘audes deo. finis Jo. Baldwin, 1606’.

73. ff. 86b-87. Anon: String quintet. Unnamed piece for 5 viols.

74. ff. 87b-89. Anon: String quartet. Unnamed piece for 4 string instruments. Written in a later hand than Baldwin’s and not his.

75. ff. 89b-90. Anon: If reason did rule. 2-part secular vocal composition. f. 89b is the upper part and f. 90 is the lower part.

76. ff. 90b-91. Anon: The batchelar most joyfullye. 2-part secular vocal composition. f. 90b is the upper part and f. 91 is the lower part.

77. ff. 91b-92. Byrchley (John): Dicãt nũc Judei. 2-part motet. f. 91b is the upper part and f. 92 is the lower part.

78. ff. 91b-92. Anon: Agnus dei. 2-part setting. f. 91b is the upper part and f. 92 is the lower part.

79. ff. 92b-93. Johnson (Robert): Dicãt nũc Judei. 2-part motet. f. 92b is the upper part and f. 93 is the lower part.

80. ff. 92b-93. Gore (Moris): Dicãt nũc Judei. 2-part motet. f. 92b is the upper part and f. 93 is the lower part.

81. ff. 93b-94. Anon: Ego sum panis. 2-part motet. f. 93b is the upper part and f. 94 is the lower part.

82. ff. 93b-94. Anon: Sancti spiritus Domine. 2-part motet, followed by ‘Jesu salvator mũdi’. f. 93b is the upper part and f. 94 is the lower part.

83. ff. 93b-94. Anon: Jesu salvator mũdi. 2-part motet, following ‘Sancti spiritus Domine’. f. 93b is the upper part and f. 94 is the lower part.

84. ff. 94b-97. Johnson (Robert): Laudes deo. 2-part motet. ff. 94b, 95b and 96b are the upper part; ff. 95, 96 and 97 are the lower part.

85. ff. 96b-97. Johnson (Robert): Dicãt nũc Judei. 2-part motet. f. 96b is the upper part and f. 97 is the lower part.

86. ff. 96b-97. Anon: Agnus dei. 2-part setting. f. 96b is the upper part and f. 97 is the lower part.

87. ff. 97b-98. Car [?] (Robert): Agnus Dei. 2-part setting. f. 97b is the upper part and f. 98 is the lower part.

88. ff. 97b-98. Anon: Agnus dei. 2-part setting. f. 97b is the upper part and f. 98 is the lower part.

89. ff. 97b-98. Anon: Agnus dei. 2-part setting. f. 97b is the upper part and f. 98 is the lower part.

90. ff. 98-99. Baldwin (John): Unnamed instrumental piece for 2 viols; 1600.

91. ff. 99b-100. Taverner (John): In women is rest. Secular piece for 2 voices. f. 99b is the upper part and f. 100 is the lower part.

92. ff. 100-101. Baldwin (John): Upon ut re mi fa, a duo; ‘the first of may, anno 1595’. Theoretical exercise in proportions, a counterpoint below the six notes of the hexachord.

93. ff. 101b-102. Woodson (Thomas): Ut re mee fa. Theoretical exercise in proportions; a 2-part counterpoint upon the six notes of the hexachord. f. 101b is the upper part and f. 102 is the lower part.

94. f. 101b. Baldwin (John): Upon ut re mee fa, a duo. Theoretical exercise in proportions, a counterpoint below the six notes of the hexachord.

95. ff. 102b-103. Giles (Nathaniel): A lesson of descant of thirtie eighte propocions of sundrie kindes made by mr giles mr of the children of windsor then, & now mr of ye children of ye chappell also. Theoretical exercise in proportions upon the plainsong ‘Miserere’.

96. f. 103b. Anon: Exaudi me. 2-part lesson in proportions. Separate parts.

97. f. 104. Anon: Holde faste. 3-part lesson in proportions. Separate parts.

98. ff. 104b-105. Bedyngeham (John): Vide domine. 2-part lesson in proportions. Separate parts.

99. f. 105. Anon: Perce domine. 2-part lesson in proportions. Separate parts.

100. ff. 105b-106. Bedyngeham (John): Manus Dei. 2-part lesson in proportions, followed by a ‘secunda pars’. Separate parts.

101. ff. 106b-107. Bedyngeham (John): Salva Jesu. 3-part lesson in proportions. Separate parts.

102. ff. 106b-107. Anon: Unnamed piece. 2-part lesson in proportions. Separate parts.

103. ff. 107b-108. Giles (Nathaniel): In te dñe speravi; ‘in anno dñi, 1591’. 2-part lesson in proportions. Separate parts.

104. ff. 108b-109. Baldwin (John): Spes mea; 1591. 2-part lesson in proportions. Separate parts.

105. ff. 109b-110. Baldwin (John): In manus tuas dñe; 1591. 2-part lesson in proportions. Separate parts.

106. f. 110b. Anon: Salva nos. 4-part lesson in proportions. Separate parts.

107. f. 111. Anon: Salva nos. 4-part lesson in proportions. Separate parts.

108. ff. 111b-112. Giles (Nathaniel): Salvator mũdi. 3-part lesson in proportions. Separate parts.

109. ff. 112b-113. Baldwin (John): Sermone; Dec. 24, 1591. 3-part lesson in proportions. Separate parts.

110. ff. 113b-115. Tye (Christopher): Sit fast. 3-part lesson in proportions, followed by a secunda pars. In separate parts.

111. ff. 115b-118. Anon: Kiries of 3 voc. 3-part settings of ‘Kyrie Eleison’. Separate parts.

112. ff. 118b-119. Preston ( ): O lux. 3-part lesson, for viols. Separate parts.

113. ff. 118b-119. Ut re mi fa. 3-part hexachord lesson for viols, following ‘O lux’. In separate parts.

114. ff. 119b-120. Baldwin (John): A fancie. 3-part fantasia for viola ‘upon a grownde’. Separate parts.

115. ff. 120b-121. Bevan (Elway): A browning of 3 voc. 3-part fantasia for viols upon the ‘Leaves be greene’ tune. Separate parts.

116. ff. 121b-122. Baldwin (John): A browninge of 3 voc. 3-part fantasia for viols upon the ‘Leaves be greens’ tune. Separate parts.

117. ff. 122b-123. Baldwin (John): O lux. 3-part fantasia for viols upon the plainsong. Separate parts.

118. ff. 123b-124. Baldwin (John): In nomine; 1592. 4-part composition for viols. Separate parts.

119. ff. 124b-125. Baldwin (John): Coockow. 3-part piece for strings. Separate parts.

120. ff. 125b-126. Baldwin (John): Upon the plainesong; 1597. 3-part lesson for viols upon a fourth plainsong canto fermo. Separate parts.

121. ff. 126b-127. Bull (John): Unnamed Fantasia. For 3 viols. Separate parts.

122. ff. 127b-128. Baldwin (John): Unnamed 4-part lesson in proportions upon a plainsong; 1603. Separate parts.

123. ff. 128b-134. Byrd (William): Mass for 3 voices. Separate parts.

124. ff. 134b-135. Taverner (John): Gaude plurimum. 3-part motet. Separate parts.

125. f. 135. Taverner (John): Enudem igitur Jesũ. 3-part motet. Separate parts.

126. ff. 135b-136. Sheppard (John): Illustrissima omnium. 3-part motet. Separate parts.

127. f. 136. Anon: Genitũ nõ factũ. Fragment of a 3-part Credo.

128. ff. 136b-137. Mundy (John): Dominus illuminatio mea. 3-part motet. Separate parts.

129. ff. 137b-138. Wood (John): Ex(s)urge domine. 3-part motet. Separate parts.

130. ff. 138b-139. Mundy (William): Noli emulari. 3-part motet. Separate parts.

131. ff. 139b-140. Mundy (William): Vox patris celestis. 3-part motet. Separate parts.

132. ff. 140b-141. Mundy (William): Maria virgo sanctissima. 3-part motet. Separate parts.

133. ff. 140b-141. Giles (Nathaniel): Quis est homo. 3-part motet. Separate parts.

134. ff. 141b-142. Wood (John): Esto pater. 3-part motet. Separate parts.

135. ff. 141b-142. Parsons (Robert): In manus tuas. 3-part motet, following ‘Esto pater’. Separate parts.

136. ff. 142b-143. Wood (John): Perfice illud. 3-part motet. Separate parts.

137. ff. 142-143. Traditur militibus. 3-part motet, following ‘Perfice illud’. Separate parts.

138. ff. 143b-144. Mundy (William): Ex quibus personis. 3-part motet, followed by ‘Adhesit pavimēto’. Separate parts.

139. ff. 143b-144. Mundy (William): Adhesit pavimēto. 3-part motet, following ‘Ex quibus personis’. Separate parts.

140. ff. 144b-145. Mundy (William): Surge propera, amica. 3-part motet. Separate parts.

141. ff. 144b-145. Taverner (John): Tam peccatũ. 3-part motet, following ‘Surge, propera amica’. Separate parts.

142. ff. 145b-146. Wood (John): Verbi tui fulminibus. 3-part motet. Separate parts.

143. ff. 145b-146. Taverner (John): Virgo pura. 3-part motet, following ‘Verbi tui fulminibus’. Separate parts.

144. ff. 146b-147. Parsons (Robert): Magnus es domine. 3-part motet. Separate parts.

145. ff. 146b-147. Taverner (John): Rex amabilis. 3-part motet, following ‘Magnus es domine’. Separate parts.

146. ff. 147b-148. Tye (Christopher): Et cũ pro nobis. 3-part motet. Separate parts.

147. ff. 147b-148. Taverner (John): Jesu spes penitentibus. 3-part motet, following ‘Et cũ pro nobis’. Separate parts.

148. ff. 148b-149. Taverner (John): O splendor. 3-part motet. Separate parts.

149. ff. 148b-149. Taverner (John): Gloriosa, domine. 3-part motet, following ‘O splendor’. Separate parts.

150. ff. 149b-150. Taverner (John): Prudens virgo. 3-part motet. Separate parts.

151. ff. 149b-150. Taverner (John): Tu ad liberandũ. 3-part motet, following ‘Prudens virgo’. Separate parts.

152. ff. 150b-151. Taverner (John): Te angelorũ. 3-part motet. Separate parts.

153. ff. 150b-151. Sheppard (John): Ergo Sathan. 3-part motet, following ‘Te angelorũ’. Separate parts.

154. ff. 151b-152. Tye (Christopher): Domine deus celestis. 3-part motet. Separate parts.

155. ff. 151b-152. Anon: Da illi domine. 3-part motet, with a canon in the upper parts.

156. ff. 152b-153. Tye (Christopher): In quo corrigit. 3-part motet. Separate parts.

157. ff. 152b-153. Anon: In corde meo. 3-part motet, following ‘In quo corrigit’.

158. ff. 152b-153. White (Robert): Manus tue. 3-part motet, following ‘In corde meo’. Separate parts.

159. ff. 153b-154. Anon: Ut te laudare. 3-part motet. Separate parts.

160. ff. 153b-154. Anon: Quare pro nobis. 3-part motet, following ‘Ut te laudare’.

161. ff. 154b-155. Anon: Maria plena virtute. 3-part motet. Separate parts.

162. ff. 154b-155. Anon: Rex amabilis. 3-part motet, following ‘Maria plena virtute’.

163. ff. 155b-156. Tallis (Thomas): Gaude gloriosa dei. 3-part motet. Separate parts.

164. ff. 155b-156. Fayrfax (Robert): Ave sũme eternitatis. 3-part motet, following ‘Gaude gloriosa dei’. Separate parts.

165. ff. 156b-157. Tallis (Thomas): Gaude virgo Maria. 3-part motet. Separate parts.

166. ff. 156b-157. Fayrfax (Robert): Ave dei patris. 3-part motet, following ‘Gaude virgo Maria’. Separate parts.

167. ff. 157b-158. Taverner (John): Gaude Maria virgo. 3-part motet. Separate parts.

168. ff. 157b-158. Taverner (John): Gaude Maria Jesu mater. 3-part motet, following ‘Gaude Maria virgo’. Separate parts.

169. ff. 158b-159. Sheppard (John): Inclina domine. 3-part motet. Separate parts.

170. ff. 158b-159. Tallis (Thomas): Tu nimirũ. 3-part motet, following ‘Inclina domine’. Separate parts.

171. ff. 159b-160. Tallis (Thomas): Avve mulieris [sic, i.e. Ave mulierum]. 3-part motet. Separate parts.

172. ff. 159b-160. Tallis (Thomas)?: Per hec nos. 3-part motet, following ‘Avve (sic) mulieris’. Possibly from ‘Salve intermorata virgo’ by Tallis.

173. ff. 160b-161. Byrd (William): Alleluya. 3-part motet. Separate parts.

174. ff. 160b-161. Byrd (William): Cunctis diebus. 3-part motet, following ‘Alleluya’. Separate parts.

175. ff. 160b-161. Anon: Infelix ego. 3-part motet, following ‘Cunctis diebus’.

176. ff. 161b-163. Thorne (John): Stella celi. 3-part motet, followed by ‘Ipsa stella’, ‘O gloriosa stella’, ‘Salva nos Jesu’ and ‘Pro quibus virgo’. Separate parts.

177. ff. 161b-163. Thorne (John): Ipsa stella. 3-part motet, following ‘Stella celi’ and followed by ‘O gloriosa stella’, ‘Salva nos Jesu’ and ‘Pro quibus virgo’. Separate parts.

178. ff. 161b-163. Thorne (John): O gloriosa stella. 3-part motet, following ‘Stella celi’ and ‘Ipsa stella’ and followed by ‘Salva nos Jesu’ and ‘Pro quibus virgo’. Separate parts.

179. ff. 161b-163. Thorne (John): Salva nos Jesu. 3-part motet, following ‘Stella celi’, ‘Ipsa stella’ and ‘O gloriosa stella’ and followed by ‘Pro quibus virgo’. Separate parts.

179a. ff. 161b-163. Thorne (John): Salva nos Jesu. 3-part motet, following ‘Stella celi’, ‘Ipsa stella’, ‘O gloriosa stella’ and ‘Salva nos Jesu’. Separate parts.

180. ff. 162b-164. Cooper ( ) Dr.: Pro quibus virgo. 3-part motet, followed by ‘Ipsa stella’, ‘O gloriosa stella’, ‘Nam te filius’ and ‘Salva nos Jesu’. Separate parts. The parts are very much confused with the pieces that precede and follow it.

181. ff. 162b-164. Cooper ( ) Dr.: Ipsa stella. 3-part motet, see supra ‘Stella celi’ no. 180. Separate parts.

182. ff. 162b-164. Cooper ( ) Dr.: O gloriosa stella. 3-part motet, see supra ‘Stella celi’ no. 180. Separate parts.

183. ff. 162b-164. Cooper ( ) Dr.: Nam te filius. 3-part motet, see supra ‘Stella celi’ no. 180. Separate parts.

184. ff. 162b-164. Cooper ( ) Dr.: Salva nos Jesu. 3-part motet, see supra ‘Stella celi’ no. 180. Separate parts.

185. ff. 163b-164. Cooper ( ) Dr.: O crux gloriosa. 3-part motet. Separate parts.

186. ff. 164b-165. Moorecocke ( ): Gloria laus et honor. 3-part motet. Separate parts.

187. ff. 165b-166. Digon (John) Prior of St. Austins [Augustines] in Canterburie: Ad lapidis. 3-part motet. Separate parts.

188. ff. 165b-166. Digon (John) Prior of St. Austins [Augustines] in Canterburie: Rex benedicte. 3-part motet, following ‘Ad lapidis’. Separate parts.

189. ff. 166b-167. Henry VIII, King of England: Quam pulchra es. 3-part motet, followed by ‘Veni dilecte’. Separate parts.

190. ff. 167b-169. Baldwin (John): If reason did rule; November, 1597. 3-part secular song, with a ‘secunda pars’. Separate parts.

191. ff. 169b-171. Bevan (Elway): I had both monie and a frende. 3-part song with a ‘secunda pars’.

192. ff. 171b-173. Baldwin (John): In the merie monthe of maye; 1592. 3-part secular song, with a ‘secunda pars’. Separate parts.

193. ff. 173b-175. Baldwin (John): Lord who shall dwell. 3-part anthem, with a ‘secunda pars’. Separate parts.

194. ff. 175b-177. Giles (Nathaniel): Out of the deepe; 1590’. 3-part anthem, with a ‘secunda pars’. Separate parts.

195. ff. 177b-179. Baldwin (John): Save me, O God. 3-part anthem, with a ‘secunda pars’. Separate parts.

196. ff. 179b-181. Baldwin (John): Beholde how good; 1597. 3-part song, with a ‘secunda pars’. Separate parts.

197. ff. 180b-181. Baldwin (John): Three things ther be. 3-part song, following ‘Beholde how good’ [no.197]. Separate parts.

198. ff. 181b-183. Bevan (Elway): Lord whoe shall dwell. 3-part anthem.

199. ff. 183b-184. Bevan (Elway): By mirthe much sicknes. 3-part song. Separate parts.

200. ff. 184b-186. Sheppard (John): What comforte at thy death. 3-part song, with a second part ‘Death thus to suffer’. Separate parts.

201. ff. 186b-187. Marbecke (John) of Windsore: A virgine and mother. 3-part hymn to the Virgin. Separate parts.

202. ff. 187b-188. Sheppard (John): Steven first after Christe. 3-part sacred song. Separate parts.

203. f. 188b. Wilkinson (Thomas): Jhesus autem transiens. 13-part canon.

includes:

• Tracts 1-203 John Baldwin, composer: John Baldwin, composer: Baldwin Collection of Motets in the hand of John Baldwin: circa 1600: Lat, Eng: Copies.
• f. 1 passim Alfonso Ferrabosco, composer: Music manuscripts: circa 1600-18th cent: Lat, Eng: Copies.
• Tract 2 William Daman, composer: 'Miserere nostri', motet: circa 1600-18th cent: Lat: Copies.
• ff. 3-22 Luca Marenzio, composer: Music manuscripts: circa 1600-18th cent: Lat, Ital, Eng: Copies.
• f. 22b passim John Taverner, composer: Vocal music: circa 1600-18th cent: Lat, Eng: Copies.
• ff. 22b-25b Philippe de Monte, composer: 'Super flumina babilonis', motet: circa 1600: Lat: Copy.
• ff. 24-25b Robert Golder, composer: 'In nomine': circa 1600: Copy.
• ff. 26 passim William Byrd, composer: Music manuscripts: circa 1600-18th cent: Eng, Lat: Copies.
• f. 36b passim Nathaniel Giles, composer; d.1633: Music manuscripts: 1590-circa 1600: Eng, Lat: Copies.
• f. 45b passim Christopher Tye, composer: Music manuscripts: circa 1600: Lat: Copies.
• f. 55b passim Robert White, composer: Motets: circa 1600: Lat: Copies.
• f. 58 passim William Mundy, composer: Motets: circa 1600-18th cent: Lat: Copies.
• f. 59 passim John Mundy, composer: Music manuscripts: circa 1600-18th cent: Eng, Lat: Copies.
• f. 60 passim John Sheppard, composer: Vocal music: circa 1600: Lat, Eng: Copies.
• f. 61b passim Thomas Tallis, composer and organist: Vocal music: circa 1600-18th cent: Lat, Eng: Copies.
• ff. 67-69 Thomas Morley, composer and writer: Vocal music: circa 1600-18th cent: Lat, Eng: Copies.
• Tracts 72, 90, 92, 94, 104, 105, 109, 114, 116-120, 122, 190, 192, 193, 195-197 John Baldwin, composer: Vocal and instrumental music: 1591-1606: Autogr.
• f. 76b passim Robert Parsons, composer: Motets: circa 1600: Lat: Copies.
• ff. 80b-83, 126b-127 John Bull, composer: Music manuscripts: circa 1600-18th cent: Copies.
• ff. 91b-92 John Byrchley, composer: 'Dicat nuc Judei', motet: circa 1600: Lat: Copy.
• ff. 92b-93 Moris Gore, composer: 'Dicat nuc Judei', motet: circa 1600: Lat: Copy.
• ff. 92b-93, 94b-97 Robert Johnson, composer: Vocal music: circa 1600: Lat: Copies.
• ff. 97b-98 Robert Car, composer: Agnus dei: circa 1600: Lat: Copy.
• Tracts 98, 100, 101 Johannes Bedyngham, composer: Lessons in proportions: circa 1600: Copies.
• ff. 101b-102 Thomas Woodson, composer: 'Ut re mee fa', musical exercise: circa 1600: Copy.
• Tracts 115, 191, 198, 199 Elway Bevin, composer; d.1638: John Baldwin, composer: Vocal and instrumental music , in the hand of John Baldwin: circa 1600: Copies.
• ff. 118b-119 Preston, composer: 'O lux', for viols: circa 1600: Copy.
• f. 137b passim John Wood, composer: Motets: circa 1600: Lat: Copies.
• ff. 155b-157 Robert Fayrfax, composer: Sacred music: circa 1600-18th cent: Lat: Copies.
• ff. 161b-163 John Thorne, of York; composer: 'Stella celi', motet: circa 1600: Lat: Copy.
• ff. 162b-164 Dr. Cooper, composer: Sacred vocal music: circa 1600: Lat: Copies.
• ff. 164b-165 Moorecocke, composer: 'Gloria laus et honor', motet: circa 1600: Lat: Copy.
• ff. 165b-166 John Digon, Prior of St. Austins [Augustines] in Canterburie; composer: Motets: circa 1600: Lat: Copies.
• ff. 166b-167 Henry VIII of England: 'Quam pulchra es', motet: circa 1600: Lat: Copy.
• ff. 186b-187 John Merbecke, of Windsore; composer: 'A virgine and mother', hymn: circa 1600: Copy.
• f. 188b Thomas Wilkinson, composer: 'Jhesus autem transiens', canon: circa 1600: Lat: Copy.