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Music Manuscripts: Series 6: Part 2: Cambridge Libraries: Manuscripts in the Rowe Music Library, King’s College, Cambridge


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About this Collection

Music Mss from the Great English Collections: Series VI

Introduction: MusicManuscripts from the Great English Collections: Series 6: Music Collections ofthe Cambridge Libraries: Parts 1-6

 

Publishers Note -Part One: Music Manuscripts before 1850 from Cambridge University Library andEly Cathedral

 

Harvester Microform (now Primary Source Microfilm, animprint of Thomson/Gale) are proud to publish another important series of Music Manuscripts from the Great EnglishCollection. The programme is under the general direction ofProfessor Roger Bray of the University of Lancaster with Clifford Bartlett aseditor for this series based on the Cambridge Libraries.

 

Series One is based on the music collection of the BodleianLibrary, Oxford, Series Two contains the collection of St. Michaels College,Tenbury, also housed at the Bodleian Library and Series Three reproduces themusic holdings of Christ Church, Oxford. Series Four and Series Five move toLondon for the magnificent collections of the British Library and the RoyalCollege of Music, and Series Six makes available much of the unique materialheld in the Cambridge Libraries.

 

Series Six, Part One consists of music manuscripts frombefore 1850 held at the University Library, Cambridge. The Collection isparticularly strong in medieval music, sixteenth and seventeenth centurytablatures, and a variety of eighteenth century manuscripts including importantautographs. It is further enhanced in this microfilm edition by the inclusionof a set of service books from Ely Cathedral that are now housed at theUniversity Library. These are a major source of sacred music from theseventeenth and eighteenth centuries.

 

The Listing of Manuscripts was compiled by Clifford Bartlettfor this edition, and it is published here for the first time. The entries alsoappear in full on the first reel of film, and the relevant entries preface eachsubsequent reel.

 

As an additional aid to users Reel One includes descriptiveentries of the music manuscripts in the Two-Letter series taken from the Catalogueof the Manuscripts Preserved in the Library of the University of Cambridge(Cambridge 1857-67). Advances in scholarship, and the rebinding of manymanuscripts, have lessened the value of this catalogue. It is still however, amajor reference work and will soon be supplemented by a new catalogue of theAdditional Manuscripts. Reel One also contains the catalogue of musicmanuscripts from W.E. Dicksons rare Catalogue of Ancient Choral Servicesand Anthems Preserved among the Manuscript Scores and Partbooks in theCathedral Church of Ely (Cambridge, 1861).

 

Our thanks are due to Clifford Bartlett and Professor RogerBray.

 

Publishers Note -Part Two: Music Manuscripts in the Rowe Music Library, King's College,Cambridge

 

Kings College Cambridge houses in the Rowe Music Libraryone of the most significant collections of music manuscripts, not only inCambridge, but in England. Research Publications (now Primary Source Microfilm,an imprint of Thomson/Gale) are proud to present this selection of 265 of itsrare manuscripts.

 

Our selection has been made by Professor Roger Bray ofLancaster University and Clifford Bartlett, who has prepared the guideaccompanying the programme. It contains all pre-1800 sources, with primarysources from the 19th century (though not anthologies and amateur compositions)and chapel part-books up to the present century.

 

The earliest item is a 14th century song. From the 16thcentury comes a scroll dated 1580 containing 57 rounds and catches and a cantus partbook with a variedrepertoire. The early seventeenth century is represented by a collection of 13songs with lute accompaniment and some extremely interesting viol part booksgiven by Lord Keynes.

 

There is also a rich selection of opera, oratorio and choralmusic, with notable manuscript scores of Lullys operas Armide (1686)and Belerophon (1679), Alessandro Scarlattis La Giuditta (1700)and two manuscripts relating to early performances of Handels Messiah.

 

The selection is also rich in orchestral works, with a finecollection of about 70 mid-18th to early 19th century concertos in contemporarymanuscript parts. Among these are four by Georg Benda, three unpublishedkeyboard concertos by Nickelmann, a concerto by E.M. Wolf and a Flute Concertoby Hasse.

 

The Rowe Library is also rich in 18th century chamber music,with trio sonatas by Besozzi, an unknown Pergolesi Sonata di Violino e Bassoand a duet by C. Stamitz among the outstanding works.

 

Much of the latter part of the programme is devoted toEnglish church music. Unfortunately, few of the partbooks used by the choir ofKings College Chapel before the early 19th century have survived; theselection includes these, and also the extant 19th century part-books, some ofwhich remained in use well into the present century. These contain the servicesand anthems which formed the repertoire of one of Englands enduring centres ofexcellence for choral music.

 

This hard-copy guide gives brief catalogue entries for eachmanuscript as well as the contents of each reel of film. A brief contents listappears on reel one of the programme, and relevant short entries appear at thestart of each reel.

 

Acknowledgements

 

We are indebted to Clifford Bartlett for his time, energyand expertise in preparing this programme, but we must also thank ProfessorRoger Bray for his advice and Mrs. Margaret Cranmer, librarian of the RoweMusic Library, for her help and advice in the preparation of this programme.

 

Publishers Note -Part Three: Handel Manuscripts in the Fitzwilliam Museum, Cambridge

 

This Third Part of our Series: The Music Collections of the Cambridge Libraries presents theHandel manuscripts from the Fitzwilliam Museum.

 

Lord Fitzwilliam was a leading proponent of Handels musicduring the latter half of the eighteenth century and as well as encouraging itsperformance, he was also an avid collector. The Handel manuscripts which formthe core Founders Bequest at the museum, and the backbone of this edition areamongst the most significant to have survived, having been used by, amongothers, Samuel Arnold, as the basis of his edition of Handels CollectedWorks.

 

The Founders Bequest is supplemented today by theBarret-Lennard Collection, of 67 volumes in the hand of J.C. Smith the Elder,and now boasts a remarkable selection of vocal music in particular. There aremanuscripts of Agrippina, Alcina, Alexander Balus, Amadigi,Ariodante, Atalanta, Ezio, Giulio Cesare, Lothario,Radamisto, Scipione, Siroe, Teseo, Tolomeo,and Xerxes among the operas.

 

Among the oratorios in this collection are Acis andGalatea, Athalia, Deborah, Esther, Israel in Egypt,Jephtha, Judas Maccabeus, Samson, Saul, Solomon,Susanna, Theodora and Time and Truth.

 

Sacred, occasional and instrumental music are alsorepresented however, with manuscripts of the Chandos Anthems and Te Deum, solocantatas, sonatas for flute, violin and bassus, various concerti, extracts fromThe Water Music and odes, including one written for Queen Annesbirthday.

 

The Nature of ThisEdition

 

In addition to a basic contents of reels on each reel, thefirst reel also includes the complete Fuller-Maitland and Mann Catalogue ofMusic in the Fitzwilliam Museum (1893), a manuscript catalogue of theBarret-Lennard collection in the hand of A.H. Mann, the 1986 Zrich Festivalexhibition catalogue, Fitzwilliam: A Cambridge Collection of Music whichsheds valuable new light on the manuscripts. We also include the FitzwilliamMuseum publication Handel and the Fitzwilliam (1974).

 

The Nature of theGuide

 

The hard-copy guide which accompanies this programme hasbeen prepared by Clifford Bartlett, and includes a brief contents of reels forquick reference, and new full descriptive entries on each manuscript.

 

Acknowledgements

 

We are indebted to Mr. Paul Woudhuysen of the FitzwilliamMuseum and to Clifford Bartlett for all their help, advice and care in thepreparation of this project.

 

Publishers Note -Part Four: English Music Manuscripts before 1880 in the Fitzwilliam Museum,Cambridge

 

This Fourth part of our series: The Music Collections of theCambridge Libraries presents the English music manuscripts from theFitzwilliam Museum, which include some of the best known manuscript sources forEnglish music from the sixteenth century to Elgar.

 

Perhaps the most famous single manuscript in the wholecollection is the Fitzwilliam Virginal Book, but this is just one of severalkey Tudor and Stuart source manuscripts in this part. The Paston Part Booksare two bassus part books from the huge family of sources compiled betweenc.1590 and c.1620 by Edward Paston. They also contain instrumental music byByrd and his predecessors.

 

The Tolqhoun Part Book is a cantus part book datingfrom 1611, the Bull Manuscript dates from around 1600, and was owned bythe organist and composer John Bull. It contains many anonymous 5 part piecesin score, mostly madrigals and part songs by Diomedes Cato, and the bass partsof 8 Dowland songs. Lord Herbert of Cherburys Lute Book dates from 1619to 1640, and contains 242 compositions by a number of English and Europeancomposers, grouped by key.

 

Later periods are also well represented, with Restorationworks including anthems by John Blow and pieces by Jeremiah Clarke, John Ecclesand autograph manuscript by Henry Purcell.

 

The eighteenth century is a period of particular strengthand depth for the collection, as Fitzwilliam collected the manuscripts of hiscontemporaries, among them Nares, Burton, Keeble and the two Kelways, as wellas manuscripts by Greene, Stanley, Babell, Pepusch and William Boyce.

 

From the nineteenth century, there are manuscripts by theWesleys, C.V. Stanford, Walmisley and Elgars Falstaff.

 

The Nature of ThisEdition

 

A basic contents of reels, which provides brief descriptionsof each manuscript, will appear in full on reel one, and thereafter for therelevant manuscripts at the start of each reel. In addition, the first reelincludes the complete Fuller-Maitland and Mann Catalogue of Music in theFitzwilliam Museum (1893), a manuscript catalogue of the Barret-Lennardcollection in the hand of A.H. Mann and the Zrich Festival exhibition catalogue,Fitzwilliam: A Cambridge Collection of Music which sheds valuable newlight of the manuscripts.

 

Acknowledgements

 

We are indebted to Mr. Paul Woudhuysen of the FitzwilliamMuseum and to Clifford Bartlett for all their help, advice and care in thepreparation of this project.

 

Publishers Note -Part Five: Continental Music Manuscripts from the Fitzwilliam Museum,Cambridge: Section A

 

This Fifth part of our Series: The Music Collections of the Cambridge Libraries presents the firstsection of Continental Music manuscripts from the Fitzwilliam museum.

 

The general admiration for Italian music in the eighteenthcentury is fully reflected in the Fitzwilliam collection. We include autographsby Bitti, G.B. Buononcini, Casali, Clari, Colonna, Corelli, Ferarce, Gasparini,Leo, Marcello, Paradies (for whom the Fitzwilliam is the single most importantsource), Stradella and Vivaldi. A bequest to the museum by Mrs. E.J. Hooker in1836 added further manuscripts representing J.C. Bach, Picinni, Galuppi and Jomelli.

 

Fitzwilliams musical interests went far beyond the standardItalian repertoire however. He was a prominent member of the Scarlatti set,buying two manuscripts in Spain in 1772 that were later used by Birchall forhis edition of Thirty Sonatas. He also acquired fine sequences of copiesof Lully and Rameau. A manuscript of Symphonies des Operas includingmusic by Lully, Destouches, Campra, Colasse and Lacoste (copied c.1700), isamong the many interesting items acquired since the founders death.

 

The Nature of ThisEdition

 

In addition to a basic contents of reels and briefdescriptions of each manuscripts which appear in full on reel one, andthereafter for the relevant manuscripts at the start of each reel, the firstreel also includes the complete Fuller-Maitland and Mann Catalogue of Musicin the Fitzwilliam Museum (1893), a manuscript catalogue of theBarret-Lennard collection in the hand of A.H. Mann and the 1986 Zrich Festivalexhibition catalogue, Fitzwilliam: A Cambridge Collection of Music whichsheds valuable new light on the manuscripts. In addition, we include the twoFitzwilliam Museum publications French Music and the Fitzwilliam 91975)and Italian Music and the Fitzwilliam (1976).

 

Acknowledgements

 

We are indebted to Mr. Paul Woudhuysen of the FitzwilliamMuseum and to Clifford Bartlett for all their help, advice and care in thepreparation of this project.

 

Publishers Note -Part Six: Continental Music Manuscripts from the Fitzwilliam Museum, Cambridge:Section B

 

This Sixth part of our Series: The Music Collections of the Cambridge Libraries presents thesecond section of Continental Music manuscripts from the Fitzwilliam museum.

 

The general admiration for Italian music in the eighteenthcentury is fully reflected in the Fitzwilliam collection. We include autographsby Bitti, G.B. Buononcini, Casali, Clari, Colonna, Corelli, Ferarce, Gasparini,Leo, Marcello, Paradies (for whom the Fitzwilliam is the single most importantsource), Stradella and Vivaldi. A bequest to the museum by Mrs. E.J. Hooker in1836 added further manuscripts representing J.C. Bach, Picinni, Galuppi andJommelli.

 

Fitzwilliams musical interests went far beyond the standardItalian repertoire however. He was a prominent member of the Scarlatti set,buying two manuscripts in Spain in 1772 that were later used by Birchall forhis edition of Thirty Sonatas. He also acquired fine sequences of copiesof Lully and Rameau. A manuscript of Symphonies des Operas includingmusic by Lully, Destouches, Campra, Colasse and Lacoste (copied c.1700), isamong the many interesting items acquired since the founders death.

 

The Nature of ThisEdition

 

In addition to a basic contents of reels and briefdescriptions of each manuscripts which appear in full on reel one, andthereafter for the relevant manuscripts at the start of each reel, the firstreel also includes the complete Fuller-Maitland and Mann Catalogue of Musicin the Fitzwilliam Museum (1893), a manuscript catalogue of theBarret-Lennard collection in the hand of A.H. Mann and the 1986 Zrich Festivalexhibition catalogue, Fitzwilliam: A Cambridge Collection of Music whichsheds valuable new light on the manuscripts. In addition, we include the twoFitzwilliam Museum publications French Music and the Fitzwilliam 91975)and Italian Music and the Fitzwilliam (1976).

 

Acknowledgements

 

We are indebted to Mr. Paul Woudhuysen of the FitzwilliamMuseum and to Clifford Bartlett for all their help, advice and care in thepreparation of this project.