Add MS 11585

ff. 2-34. Madrigals, etc., in score. Unless the contrary is stated, they are for 3 voices and unaccompanied. 1. 'Che (sic) prend' amor a gioco'; with accompaniments for 2 strings and a figured bass for harpsichord. 'Cavalier Tarquinio Merula, maestro di capella nella Chiesa Maggiore di S. Maria di Bergamo.' From Book ii of the Musiche Concertate, op. x, 1635. f. 2. 2. 'Nominativo hie hfec hoc' (à 4); with figured bass. By the same. f. 5. 3. 'Nominativo quis quel [sc. vel) qui' (à 4); with figured bass. By the same. f. 8b. 4. 'Rose beate.' 'Alessandro Grandi.' From Book ii of the Madrigali concertati, op. xi, Venice, 1626. This and nos. 5, 6 are for 2 voices, with a figured bass. f. 12. 5. 'Se desiate, o bella diva.' 'Merula.' From the same work as no. 1. f. 12b. 6. 'Dormivo e mi baciasti.' 'Giovanni Ferrari, Pisano, maestro di capella del...Gran Duca di Toscana, nel Duomo di Livorno.' From , Book i, 1628. f. 15. 7. 'Mordi, ben mio' (à 4). By the same. From the same work. f. 15b. 8. 'Deliette mignonette' (à 4). 'Eustache du Caurroy.' f. 18b. 9. 'L'eure est venue.' Attributed by Dr. Burney to Josquin des Près. This and nos. 10-12 are copied from Royal MS 20 A. [xvi], above, p. 127. f. 23b. 10. 'A l'eure que premier vous vis.' 'Bouvel.' f. 24b. 11. ['Que vous, Madame.'] 'Josquin.' f. 25b. 12. 'Mes pensées.' By the same. f. 26b. 13. 'The farther I go, the more behynde' (à 2). 'William Newark.' Copied from 'the Fayrfax MS' (now Add MS 5465, above, p. 124). f. 33b.

ff. 4b, 26. 1. Aria, begins 'Con nobil arte'; with bass. By Cavalier Tarquinio Merula. f. 4b. 2. 'Air du Prévôt des Marchands'; ascribed by La Borde to David Rizzio. Melody only. f. 26.

ff. 12b-16 passim. 'Fragments of Italian melody in the 17th century'; collected by Dr. Burney. 1. Division. 'Pallavicino.' From Madrigals, Bk. vii, 1611. f. 12b. 2. Subject of fugue. 'Pallavicino.' From Madrigals, Bk. viii, 1612. f. 12b. 3, 4. Two passages. 'Antonio Cipra.' From Madrigals, Bk. iii, 1605. f. 12b. 5-13. Cadenza, etc. '[Tarquinio] Merula.' f. 13. 14-20. Subject of fugue etc. 'Merula.' f. 14b. 21, 22. Fragments. '[Giovanni ?] Ferrari.' f. 16.

ff. 13, 14b, 35-37b. Examples of Harmony taken from 'Franchinus Gaforus,' sc.Gaforio (nos. 3, 4, 7), etc. 1. Point of imitation, etc. 'Merula.' f. 13. 2. Imitations. 'Agostino Facho,' organist of Vicenza cathedral, 1636. f. 14b. 3. Fragments of counterpoint, including one from a motet by 'Tinctor.' ff. 35-36. 4. Eight Rules of Counterpoint. f. 36. 5. Simple Counterpoint ipon a Plain song and Florid Counterpoint 'organizans.' f. 37. 6. Fragments by 'Okeghem.' From Glarean's Dodecachordon. f. 37. 7. Recapitulation of all Gaforio's rules of Counterpoint. f. 37. 8. 'Règle de l'octave, or Harmony of the 15th, 16th, 17th and 18th centuries.' f. 37b.

f. 13b. 'Egli è pur troppo vero': duet with bass, apparently by Tarquinio Merula.

ff. 17, 18. Two Carols for 4 voices, in score, from the 'Mélanges de la Musique, by Eustache du Caurroy, published after his death, in 1610, sc. (1) ‘Noel! Voyci l'heureuse nuit.’ f. 17;— (2) ‘Noel! Sors de ton lit.’ f. 18.

ff. 19-23 passim. Fantasies for 4 instruments (unless the contrary is stated), in score, by Eustache du Caurroy [from his Mélanges de la Musique, 1610]. No. 2 (f. 20) is on the hymn 'Le Seigneur, dès qu'on nous offense'; and no. 3 (f. 20b), on the air 'Une Jeune Fillette' (in five divisions, of which the first two are for 3 instruments) {, probably copied in the Bibliotheque de Ste. Geneviève, Paris}.

ff. 20b, 21. 'Fantasie 'By E. Du Caurroy [1610], written partly for 3, and partly for 4 instruments.

ff. 27b-47 passim. Motets, for 4 voices (unless the contrary is stated), in score. In the hand of Dr. Charles Burney, who inserted some of them in vol ii (1782) of his History of Music. 1. ‘Deus, in adjutorium.’ ‘Litavius (sc. Ludovicus) Senflius Tigurinus‘ (copied from Glarean). f. 27b. 2. ‘Misericordias Domini.’ ‘Josquinus’ (from the Motetti della Corona, 1519). f. 29. 3. ‘Inviolata integra et casta es‘ (à 5). By the same (from the above work). f. 30b. 4. ‘Kyrie, eleison.’ ‘Okenheim‘ (from Glarean). f. 37. 5. ‘Per illud ave’ (à 2). ‘Johannes Mouton‘ (from the same), f. 38b. 6. ‘Anima mea liquefacta est‘; with figured bass. ‘Henricus Isaac’ (from the same), f. 39. 7. ‘Loquebar de testimoniis tuis’; with figured bass. By the same (from the same), f. 40. 8. ‘Tulerunt Dominum.’ Attributed to the same (from the same), f. 40b. 9. ‘Conceptio Mariæ.’ By the same. f. 41b. 10. ‘Salve, sancta parens‘ (canon à 6). 'Adriano [Willaert]’ (from his Musica Nova). f. 44b.

ff. 38, 44. 'Pleni sunt cœli‘ (2 voices) and ‘Agnus Dei‘ (3 voices), from the Mass ‘Hercules,’ by Jodocus Pratensis. From Glarean.

ff. 38, 43b. Two-part Canons, without words, by Pierre de la Rue (f. 38), and Jacob Obrecht (f. 43b).

f. 38b. ‘Benedictus qui venit‘ (à 2), by [Anton] Brumel (from Glarean), cited by Burney as an example of Homophonia in the Mixolydian mode.

ff. 42, 42b. Two Graces (before and after meals), for 4 voices, in score, by Tylman Susato. Taken from the 11th book of his Chansons à 4 . . . Anvers, 1549. 1. ‘O souverain Pasteur et Maistre.' f. 42. 2. ‘Pere eternel, qui vous (i.e. nous) ordonnes.’ f. 42b.