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Music Manuscripts: Series 3: Part 2: Christ Church, Oxford: Unpublished English Manuscripts of the 16th and 17th Centuries


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Music Mss from the Great English Collections: Series III Christ ChurchOxford

Introduction: MusicManuscripts from the Great English Collections: Series 3: The Music Collectionof Christ Church, Oxford: Parts 1-3

 

General Preface -Part One: Unpublished English Music Manuscripts of the 16th and 17th Centuries

 

Harvester Microform (now Primary Source Microfilm, animprint of Thomson/Gale) is proud to be publishing the third in their series Unpublished Music Manuscripts from theGreat English Collections. The aim is to make available, for the first time, toscholars and practical musicians large collections of rich manuscript materialin the great British Libraries. The series is under the general direction ofProfessor Roger Bray of the University of Lancaster.

 

Series One consists of sixteenth and seventeenth centurymanuscripts of the Oxford Music School, housed at the Bodleian Library of theUniversity of Oxford. Series Two contains the magnificent collection of St.Michaels College, Tenbury, also housed at the Bodleian Library, Oxford.

 

Series Three is the extensive Music Collection of ChristChurch, Oxford. Part One consists of Unpublished Music Manuscripts of the 16thand 17th Centuries, and includes all the established English Masters of thatperiod such as Sheppard, Taverner, Tallis, Byrd, and Lawes Brothers, theGibbons Family, the Commonwealth Oxford Group, Jenkins, Locke, Blow and thePurcell Brothers. The collection is particularly rich in masses, motets,madrigals and anthems and is a compliment to its collectors, the 17th centurypolymath Aldrich and the 18th century composer Goodson.

 

Further parts of the Christ Church collection will completethe reproduction of English music manuscripts and the reproduction ofmanuscripts of Continental music.

 

This printed listing of the items which appear in Part Oneaccompanies the microfilm. The individual manuscript listings which appear atthe beginning of each volume have been collected together and reproduced infull on the first reel.

 

Introduction - PartOne

 

This is the first part of the third programme of Harvestersnew series of microfilm publications in music. It consists of the musicholdings of the Library of Christ Church, Oxford. Since its receipt in 1712 ofDean Aldrich's library, supplemented by the additions of Richard Goodson a fewyears later, this Library has been a treasure-trove of music both vocal andinstrumental, much of it still not published in a modern edition, and anapparently endless source of material for the scholar. It is anticipated thatthe Librarys major music holdings will be published in three parts, the firsttwo of which will consist of English music, the last consisting of theremainder of Continental works.

 

As part of this microform publication we include theCatalogue made and published by Arkwright in 1915. Valuable though this is, itis actually more of an Index than a Catalogue. There is no modern catalogue ofthe collection, and so I have had to use, as an interim measure, the manuscriptlisting which has been included at the beginning of each manuscript,incorporating where possible the improved information by more recent scholars.Some of this latter is anonymous, and so I take this opportunity of thankingall those who communicated information relating to these manuscripts to theLibrary, whence it has been incorporated into this Listing and Guide.

 

Invitation to Scholars

 

Making this material available on microfilm is intended tobe of great help to scholars who wish to edit, study, and perform individualpieces. It is also to be hoped that it will be a spur to scholars to movetowards a proper catalogue. To this end, I am happy to issue this invitation toscholars to help in assembling such a catalogue. Publication will, no doubt, bein the fairly distant future, but I should expect that scholars have betweenthem a wealth of information relating to whole manuscripts, or perhaps onlyportions, which will contribute to what could be a new and interesting methodof catalogue preparation. If therefore any scholar reading this invitation hasany information superior to that of either this Listing and Guide or anypublished index or inventory, I should be delighted to collate the informationfor a future catalogue. Full acknowledgement will of course be given. Pleaseaddress your letters to Roger Bray, Music Department, University of Lancaster,LA1 4YW, UK.

 

Introduction to the Collection

 

Artwrights preface and introduction require very littleamplification. We today are, if anything, even more aware of our good fortune,and our debt to Aldrich and Goodson, because modern scholarship has graduallyrealised what must have been lost of the sixteenth and seventeenth centurysources, and the material which the two collectors saved is therefore all themore appreciated. Arkwright rightly mentions the famous Dow part-books (MSS984-8), though he might also have singled out the even more important Baldwinpart-books (979-83); he mentions the manuscript said by Rogers to be in thehand of Orlando Gibbons (21), and might have stressed that there are alsoautographs by Locke, Blow, and Rogers himself; he mentions the major keyboardsource (1113), and might have gone on to place due emphasis on the variousimportant organ sources (6, 47, 67, 88, 437, 438, 1001). Yet it is only sincehis day that we have realised that, for example, the Baldwin part-books providethe unique source of a great amount of polyphony from the last days of thepre-Anglican period, or that the organ sources provide us with importantevidence of the pitch of early Anglican music.

 

Arkwright was cautious in assessing some of the manuscripts,noting that many are simply scored versions of printed material, while otherscontain either the music of Aldrich, who is perhaps not of the first rank as acomposer, or his adaptations of Italian music some of which is of much earlierdate, a practice which is not looked upon with much favour today. However, inthe present publication, hardly anything has been left out, because we areanxious to show the material as the collections of their eighteenth centuryowners, showing as they do the repertoire and taste of the period. Quite apartfrom this, the collection provides useful evidence of the spread of Italianmusic to England, and of what England did to the music when it arrived. It alsoprovides a useful picture of Oxford music in the years following the periodcovered by the early manuscripts of the Music School collection at the BodleianLibrary. The extensive amount of church music from this period will proveuseful to scholars who are now turning their attention increasingly towards it.

 

This Listing and Guide is based on the handwritten listswhich appear at the front of each manuscript, supplemented where possible bymore recent information. It is fully realised that this is very far fromaccurate, and indeed many will be bound to agree with the anonymous handwriting in some exasperation against the index to MS 361: this list ishopelessly inadequate. Nevertheless it is the first time that this materialhas been conveniently brought together and it is offered in the hope that itwill more easily direct scholars to the music so that in due course they canhelp to compile a definitive catalogue. As a further aid the individualmanuscript listings, which appear at the beginning of each volume, have beencollected together and reproduced in full on the first reel.

 

In this Listing composers names have been spelt as in Grove6, and English titles have been modernised except where there is doubt as tothe word intended. More difficulty was experienced with the Italian titles,which have been left as in the handwritten lists, and it is appreciated thelevel of errors may be greater. It should be noted that the handwritten listshave many entries stating simply instrumental piece, and the more precisedefinition of a work as a fantasia, air, suite, etc. will have to await furtherstudy, although in some cases I have tried to decide what a piece might be.

 

The page or folio reference precedes the entry to which itrefers. Where a composers name is underlined, it is understood that thefollowing works are by the same composer until a different composers nameappears. For typographical reasons, ordinary brackets ( ) are used throughoutto indicate editorial additions, where square brackets would normally beexpected. All manuscripts have the prefix: Christ Church, Oxford, Music MS.

 

Music Scholars everywhere will be grateful to The GoverningBody of Christ Church, Oxford for granting permission for this microfilmedition of their rich and extensive collection of music manuscripts, and Iwould like to acknowledge the care and patience of the Librarian, Dr. J.F.A.Mason, in ensuring that this ambitious project became possible.

 

In particular I would like to acknowledge the help of Mr.H.J.R. Wing, Assistant Librarian, not only for assisting us in the compilationof the project and answering specific queries, but also for collating theadditional information provided from time to time by scholars. In some casesthis additional information is anonymous, but in other cases in which I havebeen able to improve upon the original entry, the scholars can be identified.Those whose additional information has been used in MSS included in this partof our project are Peter Holman (MS 5), Gordon Dodd (44), Andrew Ashbee(379-81), Richard Andrewes. (401-2), John Steele (423-8), Norman Josephs (433),Richard Newton (435), and J. Bunker Clark (6, 47 (part), 67, 88, 437, 438). Itis very much to be hoped that when the new catalogue is prepared this list willbe very substantially longer. Finally, thanks are due to Rosalie Warburton forher patience and tolerance in keeping the Lancaster end of the operationworking smoothly.

 

Roger Bray
Lancaster

 

General Preface -Part Two: Unpublished English Music Manuscripts of the 16th and 17th Centuries

 

Harvester Microform are proud to be publishing the secondpart of the third series of UnpublishedMusic Manuscripts from the Great English Collections. The aim is to makeavailable, for the first time, to scholars and practical musicians largecollections of rich manuscript material in the great British Libraries. Theseries is under the general direction of Professor Roger Bray of the Universityof Lancaster.

 

Series Three is the extensive Music Collection of ChristChurch, Oxford. Part One consists of Unpublished English Music Manuscripts ofthe 16th and 17th Centuries, and includes all the established English Mastersof that period such as Sheppard, Taverner, Tallis, Byrd, the Lawes Brothers,the Gibbons Family, the Commonwealth Oxford Group, Jenkins, Locke, Blow and thePurcell Brothers. The collection is particularly rich in masses, motets,madrigals and anthems and is a compliment to its collectors, the 17th centurypolymath Aldrich and the 18th century composer Goodson.

 

Part Two completes the reproduction of English musicmanuscripts and Part Three contains the manuscripts of Continental music.

 

This printed listing of the items which appear in Part Twoaccompanies the microfilm. The individual manuscript listings which appear atthe beginning of each volume have been collected together and reproduced infull on reel 22. As part of this microform edition we are also providingsubscribers with a copy of Catalogue of Music, in the Library of ChristChurch, Oxford, by G.E.P. Arkwright, first published by Oxford UniversityPress in 1915.

 

The preparation of this Listing and Guide has not been easy.And, under the watchful eye of Roger Bray, we must acknowledge the care,attention and skill of Violet Richardson and Mavis Thomas at all stages in thepreparation of this interim listing.

 

Introduction - PartTwo

 

This is the second part of Harvesters microfilm edition ofthe music holdings of the Library of Christ Church, Oxford. Since its receiptin 1712 of Dean Aldrichs library, supplemented by the additions of RichardGoodson a few years later, this Library has been a treasure-trove of music,both vocal and instrumental, much of it still not published in a modernedition, and an apparently endless source of material for the scholar. TheLibrarys major music holdings will be published in three parts, the first twoof which will consist of English music, the last consisting of Continentalworks.

 

There is no modern catalogue of the collection, and so Ihave had to use, as an interim measure, the manuscript listing which has beenincluded at the beginning of each manuscript, incorporating where possible theimproved information by more recent scholars. Some of this latter is anonymous,and so I take this opportunity of thanking all those who communicatedinformation relating to these manuscripts to the Library, whence it has beenincorporated into this Listing and Guide.

 

Music Scholars everywhere will be grateful to The GoverningBody of Christ Church, Oxford for granting permission for this microfilmedition of their rich and extensive collection of music manuscripts, and Iwould like to acknowledge the care and patience of the Librarian, Dr. J.F.A.Mason, in ensuring that this ambitious project became possible.

 

In particular I would like to acknowledge the help of Mr.H.J.R. Wing, Assistant Librarian, not only for assisting us in the compilationof the project and answering specific queries, but also for collating theadditional information provided from time to time by scholars. In some casesthis additional information is anonymous, but in other cases in which I havebeen able to improve upon the original entry, the scholars can be identified.Those whose additional information has been used in MSS included in this partof our project are A. Ashbee (MSS 612-613, 1022, 1175), C. Arnold (1018-1020),W. Botticher (531-532), V. Brookes (716), J. Bunker Clark (1001), G. Dodd(531-532, 1021, 1027), H. Ferguson (1177), P. Holman (767, 940), Lady Jeans(1176), and J. Sawyer (940). The listings for MSS 979-983 and 984-988 are basedon my own findings. It is very much to be hoped that when the new catalogue isprepared this list will be very substantially longer. Finally, thanks are dueto Rosalie Warburton for her patience and tolerance in keeping the Lancasterend of the operation working smoothly.

 

Roger Bray
Lancaster

 

General Preface -Part Three: Unpublished Continental Music Manuscripts of the 16th and 17thCenturies

 

Harvester Microform are proud to be publishing the thirdseries of Unpublished Music Manuscriptsfrom the Great English Collections. The aim is to make available, for the firsttime, to scholars and practical musicians large collections of rich manuscriptmaterial in the great British Libraries. The series is under the generaldirection of Professor Roger Bray of the University of Lancaster. This thirdpart of the Christ Church Collection has been edited by Dr. Tim Carter, also ofthe University of Lancaster.

 

This printed listing of the items which appear in Part Threeaccompanies the microfilm. The individual manuscript listings which appear atthe beginning of each volume have been collected together and reproduced infull on reel 46. As part of this microform edition we are also providingsubscribers with a copy of Catalogue of Music in the Library of ChristChurch, Oxford, by G.E.P. Arkwright, first published by Oxford UniversityPress in 1915.

 

As a further aid to the user we have compiled a completelisting, in numerical order, of all the manuscripts which have been included inall three parts. This appears at the end of this index on page 37. The numberof the reel on which each manuscript has been reproduced appears in bracketsafter the manuscript reference. This listing, in conjunction with Arkwright andthe Harvester Guides, will make possible for the first time, easy access to therich manuscript material in this magnificent collection.

 

The preparation of this Listing and Guide has not been easy.And, under the watchful eyes of Roger Bray and Tim Carter, we must acknowledgethe care, attention and skill of Violet Richardson and Mavis Thomas at allstages in the preparation of this interim listing.

 

Introduction - PartThree

 

Part Three of the Harvester microform edition of the MusicManuscript Collection of Christ Church, Oxford completes the set and consistsof those manuscripts that are devoted in the main to continental music. Therepertory contained therein ranges from the late sixteenth to the earlyeighteenth centuries, by and large from Italy and France, and is again witnessto the critical acumen of the collections founders, Henry Aldrich and RichardGoodson. Pride of place goes to the sole-surviving sources of two operas byAlessandro Scarlatti (MS. 989, Il Flavio Cuniberto, 1702; MS. 990, Geronetiranno di Siracusa, 1692) and to the manuscripts (notably 51, 945-959, 996-998)containing seventeenth-century Italian contatas (with many unica) by such masters as Giovanni Bononcini, Giacomo Carissimi,Antonio Cesti, Luigi Rossi, Mario Savioni, Allessandro Scarlatti and AlessandroStradella. These also include Vocal works by Carlo Caproli del Violino,Francesco Federici, Francesco Gasparini, Venanzio Leopardi, Bernardo Pasquiniand Severo di Luca which serve to place the work of the masters in its context.These cantata manuscripts are crucial to the understanding of a genre that hasonly recently received the attention it deserves from modern scholars.

 

The collection also contains unique sources for the Vocalworks of Giovanni Paolo Fusetto, Jakob Kremberg and Angelo Vitali (the latteris known by only one work in Christ Church MS. 765) and for the instrumentalmusic of Pietro Andrea Ziani and Leonora Duante. There is sacred music byPalestrina, Giovanni Bassani, Carissimi, Giovanni Felice Sances and Stradella,and mass movements by Giovanni Battista Borri and a motet by Giovanni BattistaQuaglia which are not noted in recent listings of these composers works. Twoanonymous sacred works, a set of Lamentations (MS. 995, sung in S. Apollinarein Rome) and a mass for voices and instruments (MS. 1073) are also worthy ofcloser examination by present-day scholars and performers.

 

The presence of works by Bassani, Arcangelo Corelli,Giovanni Legrenzi, Jean-Baptiste Lully and Alessandro Melani, who often share amanuscript with their English contemporaries (including Henry Purcell), bearswitness to the seventeenth-century English taste for Italian and French music.The transcriptions of sacred and secular works by Palestrina, AlessandroStriggio, Marco da Gagliano and Sigismondo dIndia also testify to thehistorical awareness of Dean Aldrich. Similarly, two sets of part-bookscontaining sixteenth-century Italian madrigals and French chansons withspiritual English texts (MSS. 750-753, 1074-1077) offer an intriguingdemonstration of the way in which many English listeners might have gainedtheir first introduction to the music of continental composers. Both for itsbeing a mirror of contemporary taste and for the many unique sources, thiscollection is of great value to performers and musicologists alike.

 

The dividing up of a collection according to the nationalityof the music is bound to lead to some inconsistency. Thus there is Englishmusic in this part of the microform edition, just as there was continentalmusic in Parts I and II (cf. MSS. 2, 8, 14, 18, 21, 23, 33, 37, 43, 44, 46, 48,49, 67, 68-75, 78-82, 350, 372, 373-376, 389, 403-408, 436, 521-524, 527-530,598, 621, 622, 623-626, 739-743, 747-749, 878-880, 979-983, 984-988, 1003,1034, 1111, 1113, 1141A, 1141D, 1179, 1215, 1230, 1236). We have also takenthis opportunity to include three predominantly English manuscripts (351-352,620) not included in Parts I and II.

 

As with Parts I and II, the present Listing and Guide isbased on the handwritten lists which appear at the front of each manuscript. Itis recognised that these lists are less than accurate and scholars will need toavail themselves of such aids as the composer work-lists in The New GroveDictionary of Music and Musicians (London, 1980) and, in the case of thecantata manuscripts, the Wellesley Edition Cantata Index Series toconfirm the attributions made here. Clearly, then, this listing is something ofa stop-gap pending the appearance of a much-needed fully-annotated catalogue ofthe Christ Church collection.

 

The individual manuscript listings which appear at thebeginning of each volume have been collected together and reproduced in full onthe first reel, and scholars are referred to Arkwrights catalogue (included aspart of this microform publication) for fuller details of scoring, concordancesboth within and outside the collection and other relevant details. In thisListing and Guide composers names and titles have been modernised. The pagesor folio reference precedes the entry to which it refers. Where a composersname is underlined, it is understood that the following works are by the samecomposer until a different composers name appears. For typographical reasonsparentheses have been used in place of square brackets to indicate editorialadditions. All manuscripts have the prefix: Christ Church, Oxford, Music MS.

 

Scholars will be grateful to The Governing Body of ChristChurch, Oxford for granting permission for this microfilm edition of their richand extensive collection of music manuscripts, and we would like to acknowledgethe care and patience of the Librarian, Dr. J.F.A. Mason, in ensuring that thisambitious project became possible. In particular we would also like toacknowledge the contribution of Mr. H.J.R. Wing, Assistant Librarian, inassistance and advice.


Tim Carter
Lancaster