Add MS 18936

Vol. I.

18936

One of four volumes of a collection of early 17th Century Secular and Sacred vocal compositions for voice, and instruments; portions of Masses and Requiem-Masses; Secular and Sacred Latin compositions, in parts; by mostly English composers, including: T. Tallis, John Munday, John Taverner, John Shepherde, W. Birde, Thomas Morley, Thomas Bateson, Thomas Weilkes, John Wilbye, Horat. Vecchi, Francisci Bianchardi, 'William Cobbold, and Tommaso Lodovico da Vittoria.

Sacred vocal compositions, in parts. The first four are for 3 voices; the others appear to be for 5 voices, though only 4 parts remain.

1. 'Heare my prayer, O Lord.' By J. Mundy(?). i, f. 8b.

2. 'Helpe me, O lord, my sauiour.' Anonymous. i, f. 8b.

3. 'Ponder my words, Lord.' Anonymous. i, f. 9.

4. 'O heare yea this.' Anonymous. i, f. 9b.

5. 'Haue mercy on vs, Lord.' 'Byrd.' i, f. 50;

6. 'The Lord ys onely my support.' By the same. if. 50b;

7. 'Lord, to the I make my moane.' By the same. i, f. 50b;

8. 'O Lord, bow downe thy heauenly eyes.' By the same. i, f. 51;

9. 'Praise him on Tube,' with second part, 'Ye gladsome sound.' 'Alphonso [Ferrabosco].' i, f. 51b.

passim. Latin sacred compositions, in parts. Nos. 1-15 are for 3 voices.

1. ‘Saluator Mundi.’ ‘Byrd.’ i, f. 6b.

2. ‘Gaude plurimum Seruatoris.’ '[J.] Taverner.’ i, f. 10.

3,4. ‘Aue, mulierum sanctissima’ and ‘Rex sanctorum.’ ‘Tallis.’ i, f. 11b.

5. ‘Manus tuæ fecerunt me.’ ‘[R.?] Whyte.’ i, f. 12.

6. ‘Surge, propera, Amica.’ ‘[J.?] Mundye.’ i, f. 12.

7. ‘Sicut erat in principio.’ ‘Shepherd.’ i, f. 12b.

8. Another setting. ‘[J.?] Mundye.’ i, f. 12b.

9. ‘Exaudiat te Dominus.’ ‘[R. ?] Whyte.’ i, f. 13.

10. ‘Et nunc et semper.’ ‘[J.] Taverner.’ i, f. 13.

11. ‘Miserere.’ Anonymous, i, f. 13b.

12. Another setting. Anonymous, i, f. 14.

13. ‘Alleluia. Confitemini.’ ‘Byrd.’ i, f. 14.

14. ‘Alleluia.’ Anonymous, i, f. 14.

15. ‘Deus, in nomine tuo.’ ‘Victoria.’ i, f. 15b.

Nos. 16-24 appear to be all for 4 voices.

16. ‘Misere[re].’ ‘Byrd.’ i, f. 20b;

17. ‘Aue, verum corpus’; with an English version, ‘O Lord, God of Israell.’ By the same, i, f. 24b;

18. ‘Christe, qui lux.’ ‘[R. ?] Whyte.’ i, f. 25;

19,20. ‘Sicut erat’ and ‘Asperges me.’ ‘Victoria.’ i, f. 26;

21. ‘Vidi aquam.’ By the same, i, f. 26b;

22. ‘Quem visurus sum ego.’ Anonymous, i, f. 30b;

23. ‘Peccantem me quotidie.’ ‘Victoria.’ i, f. 35b;

24. ‘Miserere.’ ‘Byrd.’ Different from no. 16. i, f. 36;

All the remaining numbers (with two exceptions noted below) appear to be for 5 voices, though only 4 remain.

25. ‘Deus, qui beatam Mariam.’ 'Pietro Philippi.’ [1612.] i, f. 36b;

26. ‘Ut la[n]terna.’ ‘Gregorio Languio.’ i, f. 38b;

27. ‘Adoramus Te.’ ‘Byrd.’ i, f. 39;

28. ‘Gaude, Maria’ (with canon). 'Victoria.’ i, f. 40;

29. ‘Credo quod Redemptor.’ Anonymous, i, f. 41;

30. ‘Miserecordias (sic) Domini.’ 'Horat. Vecchi.’ i, f. 44;

31. ‘Ad te suspiramus’ (à 4). ‘Victoria.’ i, f. 45b;

32. ‘Laudate.’ ‘Francisci Bianchardi.’ i, f. 52;

33. ‘O lux.’ ‘Victoria.’ i, f. 52b;

34. ‘Ignis crux bestiæ.’ By the same. i, f. 52b;

35. ‘De excelso misit ignem.’ ‘[R. ?] Whyghte.’ i, f. 65;

36. ‘Cantate Domino canticum novum.’ ‘[J.] Tomkins.’ i, f. 65b;

37. ‘Ne reminiscaris, Domine.’ ‘John Wilbye.’ i, f. 66;

38. A medley, beginning ‘Miserere’ (for 6 voices, of which only 4 are given, with the plainsong in the tenor). ‘Dr. Stevenson.’ i, f. 66b;

39. ‘Heu mihi, Domine.’ ‘Tho. Morley.’ i, f. 70b;

40. ‘Emendemus in melius’; with second part, ‘Adjuua nos, Deus.’ 'Wm Byrd.’ i, f. 71b;

passim. Portions of Requiem-Masses, in parts, probably all by Vittoria, his name being affixed at the end of most of them. In four volumes.

Nos. 1 and 2 are for 3 voices; the others apparently for 4.

1,2. 'Tremens factus sum' and 'Dies illa, dies iræ.' i, f. 15.

3-6. 'Dona eis, Domine' (two settings), 'Et tibi reddetur,' and 'Kyrie.' i, f. 31b;

7. 'Libera animas.' i, f. 32;

8-12. 'Erit iustus,' 'Sanctus,' 'Pleni sunt cœli,' 'Benedictus,' and 'Agnus Dei.' i, f. 32b;

13-17. 'Agnus Dei' (2), 'Luceat eis,' 'Et lux perpetua,' and ' Libera me.' i, f. 33;

18. 'Requiem eternam.' i, f. 35b;

passim. Portions of Masses, in parts.

Nos. 1-19 are for 3 voices, nos. 20-28 for 9 voices, nos. 29-58 for 4, nos. 61-76 for 5.

1. ‘Benedictus.’ ‘[J.] Taverner.’ Vols, I, f. 10.

2. ‘Qui tollis peccata.’ ‘Tallys.’ i, f. 10b.

3. ‘Domine Deus.’ By the same. i, f. 10b.

4. ‘Sanctus.’ ‘[J.] Taverner.’ i, f. 11.

5. Another setting. Anonymous, i, f. 11

6. ‘Agnus Dei.’ ‘[J.] Shepheard.’ i, f. 11b.

7. ‘Et in terra pax.’ Anonymous, i, f. 12b.

8. ‘Laudamus te.’ Anonymous, i, f. 13.

9-11. ‘Christe eleison.’ Three settings. '[J.] Taverner.’ i, f. 13b.

12. ‘Osanna in excelsis.’ By the same, i, f. 14.

Probably all of the following sixty-three numbers (13-75) are by Tommaso Lodovico da Vittoria, but only those to which an asterisk is prefixed are marked with his name (‘Victoria ‘) in the MS.

***13-15. ‘Benedictus.’ Three settings. i, f. 14b.

*16. ‘Domine Deus.’ i, f. 15.

***17-19. ‘Christe eleison.’ Three settings, i, ff. 15, 15b.

*20. ‘Agnus Dei.’ i, f. 15b.

21. ‘Kyrie.’ i, f. 15b.

*22. ‘Et in terra pax.’ i, f. 16b.

23. ‘Qui tollis.’ i, f. 16b.

*24. ‘Kyrie.’ i, f. 16b.

25. ‘Patrem omnipotentem.’ i, f. 7b.

26. ‘Sanctus.’ i, f. 18b.

*27. ‘Agnus Dei’ (with canon), i, f. 18b.

28. ‘Osanna in excelsis.’ i, f. 18b.

29. ‘Agnus Dei.’ i, f. 20b;

*30, *31. ‘Benedictus.’ Two settings. i, f. 25;

32. ‘Benedictus.’ i, f. 25b;

*33, *34. ‘Sanctus.’ Two settings, i, f. 25b;

*35, *36. ‘Domine Deus.’ Two settings, i, f. 26;

37. ‘Quoniam.’ i, f. 26b;

*38. ‘Kyrie.’ i, f. 26b;

39,40. ‘Et in terra pax’ and ‘Qui tollis peccata.’ i, f. 27;

*41, *42. ‘Et in terra pax‘ and ‘Qui tollis.’ i, f. 27b;

*43, *44. ‘Agnus Dei.’ Two settings (with canons), i, f. 28;

45. ‘Kyrie eleison.’ i, f. 28;

****46-49. ‘Christe eleison.’ Four settings, i, ff. 28, 28b;

*50, *51. ‘Osanna in excelsis.’ Two settings, i, f. 28b;

*52. ‘Patrem omnipotentem.’ i, f. 29;

*53. ‘Crucifixus.’ i, f. 29b;

54,55. ‘Crucifixus.’ Two settings. i, f. 30;

56. ‘Patrem omnipotentem.’ i, f. 30b;

57,58. 'Crucifixus‘ and ‘Kyrie.’ i, f. 31;

*59. Mass (8 voices), i, f. 33b;

*60. ‘Kyrie‘ (4 voices) i, f. 30;

*61. ‘Osanna in excelsis.’ i, f. 40;

***62-64. ‘Et in terra pax,’ ‘Qui 16 tollis,’ and ‘Osanna in excelsis.’ i, f. 40b;

*65, *66. ‘Sanctus‘ and ‘Agnus Dei.’ i, f. 41;

*67. ‘Et in terra pax.’ i, f. 41b;

68, 69. ‘Qui tollis peccata’ and 'Kyrie.’ i, f. 41b;

*70,*71. ‘Sanctus’ and ‘Patrem omnipotentem.’ i, f. 42;

*72. ‘Patrem omnipotentem.’ i, f. 42b;

***73-75. ‘Kyrie.’ Three settings. i, ff. 43, 43b;

76. ‘Agnus Dei.’ ‘Alphonso [Ferrabosco].’ i, f. 45;

passim. Vocal compositions, in parts, Nos. 1-13 are for 3 voices, nos. 14-20 apparently for 4 voices, and the rest for 5 voices.

1. 'Say, Galatea, since our comminge hither.' '[T.] Wilkinson ' (, Book ii). i, f. 3.

2. 'A sea Nymph sate vpon ye shore.' Anonymous. i, f. 3b.

3. 'Your shininge eyes.' 'Tho. Bateson' (, 1604). i, f. 4.

4. 'Stryke vp the Tabor.' This and nos. 5-13 are by '[Thomas] Weilkes' (from , 1608, except nos. 6, 13). i, f. 4b.

5. 'Four armes, two necks.' i, f. 4b.

6. 'Thus sings my dearest Jewell.' i, f. 5.

7. 'Late in my rash accounting.' i, f. 5.

8. 'Come, sirha Jackho.' i, f. 5b.

9. 'Tantara ran tan tan, cryes Mars.' i, f. 6.

10. 'O when I thinke.' i, f. 6b.

11. 'Some men desire.' i, f. 7.

12. 'Aye me! alas! hey ho!...thus doth Messalyna goe.' i, f. 7b.

13. 'Cease sorrowes.' [, 1597.] i, f. 8.

14. 'Quando...' 'Philippi de Monte.' i, f. 20b;

15. 'Vaults, graues and tombes.' Anonymous. i, f. 21;

16. 'Alas, I faynte.' Anonymous. i, f. 21b;

17. 'O my hart.' Anonymous. Three parts only. i, f. 22.

18. 'Mi parto.' Anonymous. i, f. 22b;

19. 'Chi mi consola.' Three parts only. Anonymous. i, f. 23.

20. 'Amor [se i bei rubini?]'; with second part, 'Perchi [non posso?].' Three parts only. 'Pietro Philippi, Anglise' (?from , 1591). i, f. 23b.

21. 'O tell me, sweet heart.' Anonymous. i, f. 37;

22. 'What, shall I part.' [G. Kirbye, 1597.] i, f. 37b;

23. 'Phillis, a heardmayd dayntye.' 'Alfonso [Ferrabosco].' i, f. 38;

24. 'Di questi hondi' (sic). {Di questa biond'e vaga treccia, see also 'I saw not love' In Egerton MS 2009-2012} By the same. {[By Striggio.]} i, f. 38b;

25. 'Le belle.' By the same. i, f. 39;

26. 'La bella.' '[B.] Paleuicino.' i, f. 39b;

27. 'O comme...' 'Orlando [di Lasso].' i, f. 45b;

28. 'Delight ys dead.' 'Byrd.' i, f. 46;

29. 'By force I liue.' By the same. i, f. 46b;

30. 'Live longe desyre.' Anonymous. i, f. 46b;

31. 'From a starre.' 'Cobbold.' i, f. 47;

32. 'See, see those sweet eyes.' 'Byrd.' [1589.] i, f. 47;

33. 'Syth yt ye tree.' Anonymous. [? By the same.] i, f. 47b;

34. 'Let fortune fayle'; with second part,' 'My yeares doe seeke her stepps.' 'Byrd.' i, f. 47b;

35. 'Whom hatefull harmes.' By the same. i, f. 48;

36. 'Crowned with starres'; with second part, 'Oh worthie queene.' By the same. i, f. 48b;

37. 'As Cæsar wept.' 'Tallis.' i, f. 49;

38. 'List not to Syrens.' 'Alphonso [Ferrabosco].' i, f. 49b;

39. 'Mount, hope, aboue the skyes.' By the same. {[By Byrd.]} i, f. 50;

40. 'The whytest snow.' By the same. i, f. 53;

41. 'Penelope'; with second part, 'Wanton wyngs.' 'Byrd.' i, f. 53b;

42. 'Non lasso martires' (sic). 'Alfonso [Ferrabosco].' i, f. 53b;

43. 'Lors que Je uoy.' 'Philippo De Monte.' i, f. 54;

44. 'Pis ne me.' 'Cyrquillo ' (sc. Créquillon). i, f. 54b;

45. 'The crye of London'; beginning 'Ny oysters.' 'Weilkes.' i, f. 55;

46. Another setting. Anonymous. i, f. 56b;

47. 'New fashions.' In four parts. 'William Cobbold.' i, f. 58;

48. 'For death of her' (Mary Gascoygne, d. 1588). By the same. i, f. 61;

49. 'Ye mortal wights.' By the same. i, f. 61b;

50. 'Sighes, doe your part.' By the same. i, f. 62;

51. 'I plunged am poore wreach.' By the same. i, f. 62b;

52. 'Jamyes (sc. Jamais) amant' or 'Jamie's a man.' By the same. i, f. 63;

53. 'Amids my bale.' By the same. i, f. 63;

54. 'The haughtye harts.' By the same. i, f. 63b;

55. 'O froward fate.' By the same. i, f. 63b;

56. 'The rare affects.' By the same. i, f. 64;

57. 'As phisicks skill.' Anonymous. i, f. 64b;

58. 'Countrye Crye'; begins 'God giue you god morowe, Sir Rees.' 'Richard Deringe.' i, f. 67b;

59. 'Sacred Pan.' 'Nath. Pattricke.' i, f. 70;

60. 'O death [rock me asleep].' Anonymous. (The same as in Add MS 30480, f. 37b, but different from the tune in Chappell's , ed. Wooldridge, 1893.) i, f. 70b;

passim. Latin compositions to secular words, in parts.

1. 'Dulcior melle' (à 3). Anonymous. i, f. 16.

2. 'Sub diuersis speci[e]bus' (à 5). 'William Cobbold.' i, f. 43b;

3. 'Mars et Marte' (à 5). 'Alphonso [Ferrabosco].' i, f. 54b;

passim. after 1612. Compositions (two), in parts, apparently for 5 instruments, though only 4 parts remain.

1. 'Anome' (sc. 'In nomine' ?); in two parts. 'Willi[a]m Gobbold.' i, f. 19b;

2. Fantasia. Anonymous. i, f. 44b;

Vol I, f. 45;. 'Sicut loquutus‘; from a ‘Magnificat,’ apparently for 5 voices, in parts, by R. (?) Parsons.