Add MS 17804

Vol. III.

Mid to Late 16th Century.

Collection of Motets, etc., all of which appear to be for 4 voices, by English composers, most of whom flourished about 1554-1565, which latter is the probable date of the first parts of the volumes. The second parts may have been written a few years later, including as they do at least one composition by John Munday, who is not known to have flourished before 1585.

1. ‘Asparges (sic) me, Domine.’ Anonymous, iii f. 4.

2. Another setting. Anonymous, iii, f. 6;

3. Another setting. Anonymous, iii, f. 8.

4. Another setting. Anonymous, iii, f. 9b;

5. ‘Paternoster.’ ‘Master Philippes van Wilder.’ iii, f. 11.

6-8. ‘Audiui media nocte.’ Three settings:— (1) ‘[J.] Tauerner.’ iii, f. 103b (where the ‘pars ad placitum’ is said to be by ‘W. Whitbroke ‘);— (2) ‘[T.J Talles.’ iii, f. 104b;;— and (3) ‘[J.] Sheperde.’ iii, f. 105b;

9-12. Four settings of the ‘Gloria in Excelsis ‘:— (1) ‘Docter Cooper.’ iii, f. 106b; —(2) ‘[J.] Taverner.’ iii, f. 107b;— (3) '[T.] Talles‘ or ‘Tallis.’ iii, f. 108;;— and (4) ‘[J.] Sheperde.’ iii, f. 108b. The setting by Tallis commences with ‘Hodie’ [? ‘Christus natus est’].

13-17. Five settings of ‘In pace si dedero’:— (1) ‘[J.] Tauerner.’ iii, f. 109;— (2) ‘[T.]Talles.’ iii, f. 111;— (3) ‘[J.] Sheperde.’ iii, f. 112b;— (4) ‘Master [W.] Blytheman.’ iii, f. 113b;— and (5) ‘Docter Tye.’ iii, f. 114b.

18. ‘In manus tuas.’ ‘[J.] Sheperde.’ iii, f. 115b;

19. ‘Domine, commendo.’ By the same, iii, f. 116;

20. Another setting. By the same. Contra-tenor part wanting, iii, f. 116b;

21. ‘Exurge, Christe.’ ‘[W.?] Mondy.’ ii, f. 113b; iii, f. 117; iv, f. 109b. The contra-tenor part of this and the next two compositions is wanting.

22. ‘Nos alium Deum nescimus.’ Anonymous, iii, f. 117b;

23. ‘O salutaris hostia.’ Anonymous. iii, f. 119;

24. ‘Libera me, Domine.’ ‘[R.] White.’ iii, f. 120;

25. ‘Gloria, laus et honor.’ ‘Doctor Pye.’ iii, f. 121b;

26. 27. Two other settings of the same, by ‘[W.] Blitheman’ or ‘Blytheman.’ (1) iii, f. 130;— and (2), iii, f. 132;

28. ‘Alleluia. Confitemini Domino.’ '[J.] Sheperde.’ iii, f. 134;

29. ‘Ex mortuis jam non moritur.’ ‘— Knyght.’ iii, f. 135.

30. ‘Christus resurgens.’ ‘[J.] Redfurde‘ or ‘Redforde.’, iii, f. 136b;

31-33. ‘Dum transisset Sabatum.’ Three settings:— (1) ‘Robarte Barbar’ or ‘Barber.’ iii, f. 138b;— (2) ‘[R.] Johnson’ or ’Jhonson.’ iii, f. 139;— and (3) ‘John Taverner.’ iii, f. 139b.

34. ‘Vidi aquam egredientem.’ Anonymous, iii, f. 140b;

35. ‘Salve, festa dies.’ ‘[J.] Sheperde.’ iii, f. 141b;

36. ‘Sedit angelus ad sepulcrum.’ iii, f. 142. This and the next four compositions are anonymous.

37. ‘Viri galilei.’ iii, f. 144;

38. ‘Spiritus sanctus procedens a throno.’ iii, f. 146;

39. ‘Alma chorus domini.’ iii, f. 147b;

40. ‘Kyrie.’ ‘John Mundye.’ iii, f. 149b;

41. ‘Hec dies, quam fecit dominus.’ ‘John Ensdale’ or ‘Ensdall.’ iii, f. 150;

42. ‘Laudate, pueri,’ beginning ‘Sit nomen domini.’ ‘[J.] Sheparde.’ iii, f. 151;

43. ‘Facta est iudea.’ By the same, iii, f. 152b;

44. ‘Similis (sic) illis fiant.’ ‘[W.] Birde.’ iii, f. 154b;

45. ‘Benedixit omnibus qui timent.’ '[W.?] Mundye.’ iii, f. 156;

46. ‘In nomine Jhesu.’ Anonymous, iii, f. 158;

47, 48. ‘Sancte Deus, sancte fortis.’ Two settings: — (1) ‘Master Phillippes van Wilder.’ iii, f. 210b;— and (2) ‘[T.] Tallis.’ iii, f. 214;

49. ‘Recordare, Domine, testamenti.’ ‘Master Bramston.’ iii, f. 215b;

50. ‘Sub tuam proteccionem.’ ‘Doctor Tye.’ iii, f. 216b;

51. ‘Gaude, Maria virgo.’ ‘[R.] Johnson, pryste.’ iii, f. 218;

52. ‘Salve, regina.’ ‘P[h]ilip Alcoke.’ iii, f. 220;

53. ‘Sancta Maria, virgo.’ Anonymous, iii, f. 222;

54. ‘Gaudete, celicole.’ ‘[J.] Sheperde.’ iii, f. 223;

55. ‘Et porte inferi.’ Anonymous, iii, f. 225;

56. ‘Sancta Maria, virgo.’ ‘— Knyghte‘ or ‘Knighte.’ iii, f. 226;

57. ‘Speciosa facta es.’ ‘Cristofer Hoskins.’ iii, f. 227;

58. ‘Ave, Maria.’ Anonymous, iii, f. 228;

59. ‘O bone Jesu.’ Anonymous, iii, f. 228b;

passim. Masses, or portions of Masses, for 4 voices, in parts. 1-15. Settings of the ‘Kyrie,’ or ‘Alleluia,’ or both, by the following composers: —

'[J.] Taverner,’ ‘Tavernor,’ or 'Tavernar.’ iii, f. 13.

'Hyett.’ iii, f. 14;

‘[J.] Tavernar.’ iii, ff. 14b, 15.

‘Doctor Tye.’ iii, ff. 16b, 17;

‘Wyllyam Mondy.’ iii, ff. 17b, 18b;

‘[J.] Hake’ or ‘Hacke.’ iii f. 19.

‘[W. ?] Mondy.’ iii f. 19b.

‘[Christopher?] Okeland’ or ‘Ocland.’ iii f. 20.

'Knighte.’ iii f. 20b.

'[T.] Talles.’ iii f. 21.

'[J.] Sheperde,’ ‘Sheperd,’ or ‘Shepard.’ iii, ff. 21b, 22b;

The following 7 Masses are without a ‘Kyrie ‘:

— 16. ‘The western wynde.’ ‘John Taverner.’ iii, f. 23b;

17, 18. Two without names. ‘Doctor Tye.’ iii, f. 34; -and ‘[J.] Sheperde.’ iii, f. 44b;

19. ‘French Masse.’ By the same, iii, f. 53b;

20. ‘Be not afraide.’ By the same, iii, f. 62;

21. A Mass without a name. ‘[T.] Talles.’ iii, f. 71;.

22. ‘Playnsong Masse.’ ‘[J.] Taverner.’ iii, f. 80;

The remaining Masses follow the usual order: —

23. ‘Playnsong Masse for a Mene’ [i.e. tenor]. ‘Jhon Sheperde.’ iii, f. 88b;

24. ‘For a Mene.’ ‘Thomas Applebye’ or ‘Appelbye.’ iii, f. 92b;

25-27. Three Masses ‘Apon ye square,’ viz., one by ‘[W.] Whitbroke.’ iii, f. 162b; — and two by ‘Wyllyam Mondye,’ ‘Mundaye,’ or ‘Monday.’ iii, ff. 174b, 187b;

vol. iii, ff. 1-4; 'Te Deum'; for 4 voices, in parts. Anonymous

vol. iii, f. 122b; 'Passio Domini nostri Jesu cristi secundum Matheum. Non in die festo'; for 4 voices, in parts. Anonymous.

ff. 187-219b passim. Settings of the ‘Magnificat‘ in Latin, for 4 voices, in parts, by the following composers: —

1. ‘[W.(?)] Mundy.’ Vol iii, f. 198;

2. ‘[T.] Talles.’ iii, f. 200;

3. ‘[J.] Sheperd.’ iii, f. 203b;

4. ‘[J.] Tauerner.’ iii, f. 206b;

5. ‘Stenings‘ or ‘Stonings.’ iii, f. 208b;

Vol iii, f. 227b; 'Nesciens mater virgo virum peperit,’ apparently for 4 voices, in parts, by — ‘Wright’ or ‘Wryghte.’