Add MS 37404

In parts, across five volumes: Italian Madrigals; and other Compositions, for violins, mostly anonymous, containing treble, contra-tenor, quintus, and bassus parts; Madrigals and other compositions, for voices, mostly by English composers; including: 'Fuerunt mihi lachrime mee', attributed in Thomas Myriell's 'Tristitiæ remedium'.

Vol III. Add MS 37404

ff. 92-94.Whole Service (without kyrie), in D. Treble part only. Anonymous. The first leaf is mutilated. A second Magnificat added at f. 96b is imperfect at the end. In a rather later hand than the rest of the MS.

passim. Compositions in 5 parts, intended to be played by viols, though most of them are Italian madrigals, under which latter heading those with words are described. Most of them are anonymous, the names given below being chiefly supplied from other sources. Containing Trebles i and ii, Contra-tenor, Quintus, and Bassus. The dates below are mostly taken from Collections of 5-part Madrigals published by the composers in question.

1. 'Deh, poichè era' [1595]. 2nd treble wanting. This and nos. 2-5 are by Marenzio. iii, f. 2;

2. 'Voi che sospirate' [1581]. 2nd treble wanting, iii, f. 2b;

3. 'Che fa hoggi il mio [sole]' [1580]. iii, f. 3b;

4. 'Giunto a la Tomba' [1584]. iii, f. 4b.

5. 'Dolorosi martir'' [1580]. iii, f. 4;

6. 'O crude pene.' Probably by A. Ferrabosco [1587]. iii, f. 5b;

7. 'Che se mentre.'' iii, f. 6;

8. 'Al suo[n] d'amata.' By L. Quinziani [1588]. iii, f. 6b;

9. 'O come gran martire.' This and nos. 10-17 are by Monteverde [1592]. iii, f. 7b;

10. 'Sovra tenera herbet[ta].' iii, f. 8;

11. 'Là, tra 'l sangue.' iii, f. 9;

12. 'O dolce anima mia.' iii, f. 9b;

13. 'Ma dove, lasso.' iii, f. 10b;

14. 'La giovinetta pianta.' iii, f. 11b; ['Cor[r?]e la [nave?]' 'Has been begun here in the 1st treble part, but cancelled, and does not appear in the other parts.]

15. 'O Rosignuol.' iii, f. 12b;

16. 'Stracciami pur il core.' iii, f. 13b;

17. 'O primavera bella.' iii, f. 14b;

18. 'Il bianco e dolce [cigno].' By O. Vecchi [1589]. iii, f. 15b;

19. 'Non mi fuggir.' By A. Ferrabosco [1587]. iii, f. 16b;

20. 'Non vedi, oimè.' iii, f. 16b;

21. 'Donna, s' io son[o] il sole.' By O. Vecchi [1589]. iii, f. 17b;

22. 'Mentre ti fui si gra[to].' This forms with nos. 23-25 a series, probably by A. Ferrabosco, 1587. iii, f. 18;

23. 'Mentre ti fui si caro' (sic), iii, f. 18b;

24. 'Hor pien d' alto [desio].' iii, f. 19;

25. 'Hor' un laccio.' iii, f. 19b;

26. 'Arda pur sempre.' By Marenzio [1595]. iii, f. 20b;

27. 'Bimanti in pace.' By Marenzio [1594]. iii, f. 21;

28. 'Ond' ei, di morte.' By Marenzio [1594]. iii, f. 22;

29. 'O di rare' eccellenze.' This and nos. 30, 31 are by O. Vecchi [1589]. iii, f. 22b;

30. 'Pastorella [graziosella].' iii, f. 23b;

31. 'Cara mia Dafne.' iii, f. 24b;

32. 'Donna, se voi m' odiate.' By B. Pallavicino [1593]. iii, f. 25;

33. 'Monti, selve.' This and presumably also nos. 34 and 35 are by L. Quinziani [1588]. iii, f. 25b;

34. 'Di lauri e mirtil' (sic), iii, f. 26b;

35. 'Non puo tanto l' amore.' iii, f. 27b;

36. 'Cinthia (sic), il tuo dolce.' By G. Croce [1592]. iii, f. 28b;

37. 'Donna, se quel.' This and no. 38 are by B. Pallavicino [1593]. iii, f. 29b;

38. 'Baci amorosi.' iii, f. 30;

39. 'Vorrei lagnar[mi].' This and no. 40 are by A. Ferrabosco [1587]. iii, f. 30b;

40. 'S' io taccio.' iii, f. 31b;

41. 'Occhi, mirando.' This and evidently also nos. 42 and 43 are by S. Venturi [1592]. iii, f. 32b;

42. 'Quell' aura.' iii, f. 33b;

43. 'S 'un sguard'.' iii, i. 34b;

44. 'Fuggi, se sai.' By Giulio Eremita [1589]. iii, f. 36b;

45. 'Candide perle.' Probably by G. Croce [1592]. iii, f. 37b;

46. 'Quella che in mille.' By O. Vecchi [1589]. iii, f. 38b;

47. 'Tu nascesti di furto.' By R. Giovanelli [1593]. iii, f. 39b;

48. 'Se da voi.' By G. Croce [from Novi pensieri musicali, 1594]. iii, f. 40b;

49. 'Se le virtu.' Probably by L. Quinziani [1588]. iii, f. 41b;

50. 'Tra le dolcezze.' Probably by L. Luzzaschi [1599]. iii, f. 42b;

51. 'Non fingo.' Probably by A. Ferrabosco [1587]. iii, f. 43b;

52. 'Zefiro torna.' iii, f. 44b;

53. 'Creschin' a gara.' By L. Quinziani [1588]. iii, f. 45b;

54. 'Non vi bastava.' This and probably also nos. 55-58 are by P. Masnelli [1596]. iii, f. 46b;

55. 'Soavissimo ardore.' iii, f. 47b;

56. 'Occhi cari.' iii, f. 48b;

57. 'Ah, disleale.' iii, f. 49;

58. 'A che tormi il be[n] mio.' iii, f. 49b;

59. 'Tanto mi piacque.' This and nos. 60 and 61 are by A. Ferrabosco [1587]. iii, f. 51b;

60. 'Non vide il mondo.' iii, f. 50b;

61. 'Don[n]a, l' ardente.' iii, f. 52b;

62. 'Clorind', hai vinto.' By O.Vecchi [1589]. iii, f. 53b;

63. 'Non è lasso.' By A. Ferrabosco [1587]. iii, f. 54;

64. 'Dolci alpestri parole.' Probably by G. B. Mosto [from Melodia Olympica, 1591]. iii, f. 54b;

65. 'Natura [non mi].' This and no. 66 are by B. Pallavicino [about 1582-4?]. iii, f. 55b;

66. 'Ne lo star.' Cancelled, iii, f. 56;

67. 'Con che soavità.' By B. Pallavicino [bef. 1588]. iii, f. 57;

68. 'Perchè i vostri diletti.' iii, f. 57b;

69. 'Quelle rose.' By Felice Anerio [from Le Gioje, 1589]. iii, f. 58b;

70. 'Hor veggio.' By B. Pallavicino [about 1582-1584?]. iii, f. 59b;

71. 'Perfidissimo volto.' By Monteverde [1592]. iii, f. 60b;

72. 'Dolci (sic) mia cara mano.' By B. Pallavicino [about 1582-1584]. iii, f. 61b;

73. 'Amor, se [i] bei [rubini ?].' iii, f. 62b;

74. 'Alte parole.' iii, f. 63b;

75. 'O che vezzosa.' iii, {Attrib. Thomas Lupo by D. Bertenshaw, ed. [Viola da Gamba Society], supplementaary. pub. 170}

76. 'If women could (sc. can) be courtious.' By Richard Carlton [1601]. iii, f. 65;

77. 'Timor et tremor.' iii, f. 69b;

78. 'Arise, Lord [why sleepest Thou].' Birde. iii, ff. 71, 72;

79. 'Libera [me, Domine].' 'Talles.' iii, f. 71;

80. 'Prostrat[e], Lord.' 'Birde.' iii, f. 71b;

81. Piece without title. 'D[r.] Tye.' iii, f. 71b;

82. 'La fantasia.' iii, f. 72b; {? Morley - cf. Meyer}

83. Piece without title. 'Morley.' iii, f. 73;

84. Another without title. 'Munday.' iii, f. 73b;

85. 'Death, the dissolver.' iii, f. 74b;

86. 'Du[m] transsitt (sc. transisset) [sabbatum].' iii, f. 74b;

87. 'O Lord [who in Thy sacred tent].' By Byrd. iii, f. 75b;

88. 'Decantabit.' 'Birde.' iii, f. 75b;

89. 'De la Court.' '[? R{obert}.] Parsons.' iii, f. 77;

90. [Piece without title. The contratenor parts of this and of nos. 91-93 are wanting, owing to a gap in vol. iii.]

f. 1b. 'Fuerunt mihi lachrime mee.' Only two out of the four parts are given. Attributed in Thomas Myriell's 'Tristitiæ remedium' (prepared for publication in 1616) to Alfonso Ferrabosco. See Add MS 29372-29377.

ff. 45b-97b passim. Madrigals and other vocal compositions, in parts, almost entirely by English composers, apparently for 5 voices, unless the contrary is stated, though the contra-tenor parts of nos. 19 and 20 are wanting, owing to a gap in vol. iii, and only one part of no. 21 is given.

1. 'A strange songe' (à 4). The first-treble voice begins 'Peace! I hear a voyce '; the contra-tenor, 'Hold up, hold up'; the tenor, 'My masters all'; and the bass, 'Att betham tyme.' The name 'Gibbons' originally given in vol. iii has been struck out. iii, f. 65b;

2. 'The crie[s] of London,' begins 'Good morowe, my Masters.' 'Orlando Gibings' or 'Gibbons.' iii, f. 66b;

3. 'Fye, fye... my fate.' Apparently by 'Mundye' (see vol. v, f. 60). iii, f. 76b;