Add MS 11582

ff. 2b, 12-59 and 95. Masses, or portions of Masses, for 4 voices (unless the contrary is stated), scored by Dr. Charles Burney. Some of them appear in vol. ii of his 'History of Music', 1782. The names of the Masses and of their composers are: — 1. ‘L'Omme Armé.’ ‘Josquin [des Près].’ There are 3 settings of the 'Agnus Dei,’ the melody to the last of which is taken from the air, ‘Clama, ne cesses.’ From 'Liber Primus Missarum Josquini'. ff. 2b-11b. 2-4. Part of the Kyries in the same composer's Masses, ‘La, sol, fa, re, mi,’ ‘Gaudeamus,’ and ‘Fortuna Desperata.’ From the same work. f. 12. 5. ‘Kyrie,’ ‘Et incamatus,’ ‘Sanctus,’ ‘Pleni sunt cœli,’ ‘Osanna,’ and ‘Benedictus,’ in the Mass, 'Faysans regres.’ From Book iii of he same work. ff. 12b-15. 6. ‘Pleni sunt [cœli],’ and ‘Agnus Dei’ (3 voices), in the Mass, ‘Ad Fugam.’ From the same. ff. 15b, 16b. 7. ‘Kyrie,’ ‘Sanctus,’ and ‘Benedictus‘ (2 voices), in the Mass, ‘Di dadi supra naragie.’ From the same, ff. 17, 17b. 8. ‘De beata Virgine‘ (4 and 5 voices). There are 3 settings of the ‘Agnus Dei,’ the second for 2 voices, and the third for 5 voices, to the air, ‘Vous jeuneres.’ From the same. ff. 18-25. 9. ‘Missa Sine Nomine.’ From the same, ff. 25b-31b. The four following (nos. 10-13) are from the 'Misse Petri de la Rue', 1503; nos. 14-16 were published in 1513:— 10. ‘Kyrie,’ ‘Gloria,’ ‘Sanctus,’ and ‘Benedictus,’ from the ‘Missa Beate Virginis.’ ff. 32b-34b. 11. ‘Kyrie,’ ‘Gloria,’ part of ‘Credo,’ and ‘Sanctus,’ from ‘Puer natus.’ ff. 34b-37b. 12. ‘Kyrie,’ ‘Gloria,’ ‘Benedictus’ (2 voices), and ‘Agnus Dei,’ from 'Missa Sexti ut, fa.’ ff. 38-40. 13. ‘Kyrie,’ from ‘Nunqua fue.’ ff. 40b, 41. 14. ‘Kyrie,’ ‘Gloria,’ and ‘Credo,’ from ‘Sancta Trinitas.’ ‘Antonius de Fevin, seu Feum.’ ff. 41b-44. 15. A few notes of the melody which gives its name to the Mass, ‘Le vilayn jaloys.’ ‘Robertus de Fevin.’ f. 44. 16. A few notes of the melody introduced in a Mass by — Pierzon [? de la Rue], f. 44. 17. ‘Kyrie‘ and ‘Gloria’ of a Mass, ‘Sine Nomine.’ ‘Joannes Mouton.’ From Book i of his Masses, published in 1515. ff. 45-46b. The remaining numbers are from a collection of Masses published in 1508:— 18. ‘Kyrie,’ ‘Gloria,’ and part of 'Credo,’ from ‘Si dedero.’ ‘Jacobus Obreth, seu Obrecht.’ ff. 47b-51b. 19. ‘Kyrie,’ and parts of ‘Gloria’ and ‘Credo,’ from ‘Messa de Franza.’ ‘Philippus Basiron.’ ff. 52, 53. 20. ‘Missa De Dringis.’ ‘Antonius Brumel.’ ff. 53b-58. 21. Part of ‘Credo,’ from the Mass, ‘N'as tu pas.’ ‘Gaspar.’ ff. 58b, 59. 22. ‘Christe eleison’ [from a Mass?]. 'Petrus Platensis.’ f. 95.

ff. 31b-94b. Motets for 4 voices (unless the contrary is stated), scored by Dr. Charles Burney. 1. ‘Diligebat autem eum Jhesus’ (à 5). ‘Certon’ (from the 1st book of Motets by Cipriano di Rore, etc., 1544). f. 31b. 2. ‘Usquequo, Domine, oblivisceris me’ (à 5). ‘Ferabosco‘ (from the same work), f. 47. 3. ‘Non nobis, Domine’; with a second part, ‘Lauda Deum, O Renata.’ ‘Jo. Mouton’ (from Book ii of Motetti de la Corona, 1519). ‘Composed in 1509 for the birth of Renée, Louis XII's second daughter.’ ff. 59b, 60. 4. ‘Quis dabit oculis nostris’; with a second part, ‘Heu nobis, Domine‘; and a third part, ’Ergo ejulate, pueri.’ By the same (from Book iii of the same work). ‘Composed in 1514 on the death of Queen Anne de Bretagne.’ ff. 61, 61b. 5. ‘Hue me sydereo’; with second part, ‘Felle sitim magni regis’ (à 6). 'Jusquin [des Pres]‘ (from Book iii of the same work), ff. 62b, 64. 6. ‘Præter rerum seriem’ (à 6). Imperfect. By the same (from Book iii of the same work), f. 65b. 7. ‘Alma redemptoris‘; with second part, ‘Tu, quæ genuisti.’ By the same (from the same work), ff. 73, 73b. 8. ‘Verbum bonum et suave’; with second part, ‘Ave! Solem genuisti‘ (à 6). ‘Adrianus [Willaert]‘ (from Book iv of the same work), ff. 74b, 75b. 9. ‘Quam pulchra es, amica’; with second part, ‘Labia tua lilia.’ ‘Jo. Mouton‘ (from Book iii of the same work). Inserted in vol. ii of Burney's History, 1782. ff. 77, 77b. 10. ‘Domine, ne in furore tuo‘; with second part, ‘Cor meum conturbatum est.’ ‘Jusquin’ (from the same work), ff. 78b, 80. 11. ‘Ave, Sanctissima Maria’ (à 3). Only 8 bars. Anonymous, f. 92b. 12. ‘Ave, verum corpus’ (à 2). ‘Jodoci Pratensis.’ f. 93. 13. ‘Vere passum’ (à 3). By the same, f. 93. 14. ‘Tota pulchra ea.’ ‘Henrici Isaac.’ f. 94. The last three numbers are taken from Book iii of Glarean's Dodecachordon.

ff. 66b-68b. 'Stabat Mater'; for 5 voices, in score, by Josquin [des Pres]. Scored from the Motetti de la Corona, published by Ottavio Petrucci in 1519. It is divided into two parts and ends, 'Paradisi gloria.'

ff. 65, 81-92. Madrigals, etc., for 5 voices (unless the contrary is stated), scored by Dr. Charles Burney. No. 1 is from Book ii of Madrigals by Cipriano di Rore and others, Venice, 1544; the rest from Books iv-ix of Chansons for 4 to 7 voices, published by Tylman Susato at Antwerp in 1544, 1545. 1. 'S' infinita bellezza.' 'Archadelt.' f. 65. 2. 'N'esse (sic) pas ung grant desplaisir.' 'Jusquin de Pres.' f. 81. 3. 'Par faulte d'argent.' 'Jo. Gallus.' f. 81b. 4. 'Reconfortez le petit cueur.' 'Cornelius Canis.' f. 82. 5. 'Gens qui parlez mal.' By the same. f. 82b. 6. 'Ta bonne grace.' By the same. f. 83. 7. 'Tous mes amis.' By the same. f. 83b. 8. 'Tout à rebours,' begins 'Sy des haulx cieulx.' 'Jo. le Cocq.' f. 84. 9. 'Congie je prens.' 'Jo. Courtois.' f. 84b. 10. 'En non saichant.' 'Josquin de Pres.' f. 85. 11. 'Le temps qui court' (à 4). 'Jo. Richafort.' f. 86b. 12. 'Rejouissons nous a cest heure' (à 4). 'Ciprianus de Rore.' f. 88. 13. 'Si mon travail.' 'Pier Manchicourt.' f. 88b.

ff. 69-72b. 'Miserere mei, Deus‘; in 3 parts, for 5 voices, in score, by Jusquin [des Près]. It is scored from no. vii in Book 3 of the 'Motetti de la Corona', published by Ottavio Petrucci in 1519.

ff. 85b, 90b. 'In Josquinum a Prato, Musicorum principem, Monodiæ.' [From Tylman Susato's Chansons, book vii, 1545.] 1. 'Musæ Jovis' (à 4). 'Benedictus [Ducis].' f. 85b. 2. 'O mors inevitabilis' (à 7). 'Jeron Vinders.' f. 89b. 3. 'Musæ Jovis' (à 6). 'Nicolaus Gombert.' f. 90b.