DODD, Gordon • THEMATIC INDEX OF MUSIC FOR VIOLS (Viola da Gamba Society, 2011)

THE VIOLA DA GAMBA SOCIETY OF GREAT BRITAIN

THEMATIC INDEX OF

MUSIC FOR VIOLS x On-Line Edition 2008

Update: July 2011

COMPILED BY

GORDON DODD WITH REVISIONS AND ADDITIONS BY

ANDREW ASHBE

INTRODUCTORY NOTES In order to read the Index (on-line or on CD-ROM) you need Adobe Acrobat TM Reader. This software is present on most personal computers and is a de facto industry standard. Acrobat Reader can also be downloaded at no charge from http://adobe.com/products/acrobat/readstep2.html or via the Adobe website at www.adobe.com . The Index appears in .pdf format and consists of images of the pages. At present, therefore, it is not electronically searchable. Perhaps at some time in the future we will be able to create a searchable index using a combination of computerized codes of musical incipits and even sound files, but this would be an enormous task. CD-ROM: Handle the disc with care as it is less resistant to damage than large-scale commercial productions. See the next page below for the overall arrangement. The main index is arranged alphabetically by composer. Click on the bookmark on the left to reveal individual names and click on a particular name to go direct to the first page of that composer. For composers whose lists span many pages, further sub-divisions are provided for different categories of compositions. Original page-numbers from the printed Index have been retained, but a few have been moved out-of-sequence to improve grouping. It was decided to leave the orientation of pages unchanged, but they can be rotated for easier viewing on the screen by clicking on the ‘document’ menu and then ‘rotate pages’. Note that it may be necessary to scroll down to see some small images which have been centred on the page. For the anonymous tablature lists the ‘D’, ‘E’ or ‘F’ at the beginning of each tuning provides a three-fold division of the basic index, which is further subdivided by the ensuing letters/tuning. Again tunings spanning more than ten pages are given more than one bookmark. To save space (and money) in the printed version of the Index some pages incorporated two or more composers, causing some names to appear out of their alphabetical sequence. On the CD-ROM these multi-composer pages have been divided and each composer now appears separately in correct alphabetical order. Also the anonymous tablature pages were numbered according to the sequence in which they were catalogued in the VdGS card index. Following consultation, the sequence has been re-arranged alphabetically according to tuning to make each tuning easier to find. Although this upsets the original numerical sequence a list has been provided to show both. Libraries are identified using the appropriate RISM sigla, a list of which is given. Full references to books, articles and editions mentioned on the Index pages are to be found in the Bibliography. It is difficult to keep up with the flow of new editions and we would be glad to hear of any (including appropriate VdGS numbers). For those wishing to print pages, it is suggested that where it is intended to put them in a file with punched holes, a margin of 1.5 to 2 cm. is created: on the left for recto pages

and on the right for verso ones. For full pages a top margin of 0.5 cm will match Gordon’s original tables.

ARRANGEMENT Introduction Acknowledgements Explanatory Key List of Libraries Bibliography: (a) book and articles (b) Early and facsimile prints (c) Publishers and modern prints (d) Index of authors for (a) Annual lists of revised and new pages since 2004 Modern publications (mostly transferred from Index pages) file 02 Anon: staff notation A-2: two-part works A-2BC: works for 1 or 2 trebles/violins, bass viol and organ/continuo A-3: three-part works A-4: four-part works A-5: five-part works A-6: six-part works A-B2: works for two or more bass viols A-BA: works for bastarda A-B1: works for solo bass viol A-CS: consort songs A-DI: Divisions on a ground A-Kbd-B-1: Keyboard and bass viol file 03: Anon (with introduction); tablature tunings beginning with ‘d’ file 04: Anon; tablature tunings beginning with ‘e’ file 05: Anon; tablature tunings beginning with ‘f’ file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staff notation); Playford T (= tablature pieces) Alphabetical Index by Composer

files A-Z

THE VIOLA DA GAMBA SOCIETY OF GREAT BRITAIN

THEMATIC INDEX OF

MUSIC FOR VIOLS On-Line Edition 2008 Update: July 2011 COMPILED BY

GORDON DODD WITH REVISIONS AND ADDITIONS BY

ANDREW ASHBEE

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CONTENTS Introduction

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Acknowledgements Key List of Libraries Bibliography Author Index for Bibliography Revised and New Pages added since 2004

5 7 9 13 55 60

file 02 Anon (a) (staff notation) 2:two-part works A-2BC:

works for treble/violin, bass viol and organ/continuo

3:three-part works

four-part works five-part works six-part works A-B2:

works for two or more bass viols

A-BA:

works for bastarda

A-B1:

works for solo bass viol

A-CS:

consort songs

A-DI:

Divisions on a ground

file 03: Anon (with introduction); tablature tunings beginning with ‘d’ file 04: Anon; tablature tunings beginning with ‘e’ file 05: Anon; tablature tunings beginning with ‘f’ file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staff notation); Playford T (= tablature pieces) files A-Z: Alphabetical Index by Composer

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INTRODUCTION (by Gordon Dodd) Indexing within the Viola da Gamba Society began with the gift by Robert Donington of the card index which he had assembled while writing his thesis on English instrumental music,1 and which was maintained by Nathalie Dolmetsch until, in 1965, the material was entrusted to Gordon Dodd. Much welcome influence and impetus came from Ernst H. Meyer’s catalogue of 19342 and his book of 19463. From 1965 onwards, thematic index sheets in tabular form were issued in the Society’s Bulletin and, from 1969, in its journal, Chelys. These were known collectively as the Provisional Index. Subsequent development of the Provisional Index owed much to the Society’s deliberate policy of maintaining contact within its field, and to the welcome flow of information, gratefully acknowledged on another page, which ensued. The happy position was ultimately reached, of being able to give information as well as to receive it. The aim was to amend and amplify the Provision Index sheets and to republish them, together with much new data, in collected form, known as the Thematic Index or Index. As complete and simultaneous publication always appeared impracticable, issue by cumulative loose-leaf instalments was put in hand; six instalments were produced by Gordon Dodd between 1980 and 1992. Effort has been concentrated mainly on English music, but the proportion of Continental music has risen, markedly so since the recent revelation of the vast quantity, reported by François-Pierre Goy, of concordances between the English lyraviol and French lute repertoires. Most of the English music in tablature for viol has been included. A reasonably comprehensive account of consort songs and verse anthems for voice and viols is given. The policy, based on our experience of indexing the music of Jenkins and Lawes, of opening our doors to the generality of airs and dances for bowed strings, is confirmed and continued. (Addition by Andrew Ashbee) Following publication of the Sixth Instalment in 1992, Gordon resigned from the 1 CONSORTS D (See Bibliography for codes) 2 MEYER S 3 MEYER ECM, revised as MEYER EECM

project, although he continued to note further amendments in a master copy until prevented by increasing illness. The master copy, together with other papers on the Index, was transferred to the care of Andrew Ashbee by Gordon, in the knowledge that work was about to commence on the Society’s parallel Index of Manuscripts Containing Consort Music. A seventh instalment of the Thematic Index was produced in 2002 as a CD-ROM. This included many of Gordon’s last amendments as well as some new pages, but excluded any new work on the Anonymous pages. The CDROM format allows the flexibility which Gordon was careful to initiate in his looseleaf printed series. Work will continue and I will be pleased to receive further information at [email protected], or 214, Malling Road, Snodland, Kent, England ME6 5EQ. In 2004 a complete re-issue of the Thematic Index was made on a CD-ROM with all amendments then known, together with some further new pages. In 2008 the Committee gave permission for the whole Index to be placed on-line with free access to all and this is planned to appear first in the winter of 2008-9. The CD-ROM can still be made available for those preferring that format. It is intended to up-date the Index annually. Some changes will occur. Space limitations mean that it is becoming increasingly difficult to record modern publications on the Index pages and instead these will now be listed separately within the prefatory material. (However, the old material will not be deleted unless the space is required for new work.) It has been the custom to provide new and revised pages annually on the Society’s web-site so that users can up-date their copies. With the on-line Index this practice becomes redundant, so annual lists within the introduction will show which are the new and revised pages for each year. An author index for books/articles cited has been added after the Bibliography and it is hoped later to provide a subject index too. In order to give as complete coverage of contents as possible, it has been decided to include more nonviol (or mixed viol and violin) music found in string manuscripts prior to 1700. ANDREW ASHBEE 2008

ACKNOWLEDGEMENTS The information in these index sheets has been assembled after countless library visits on the part of Gordon Dodd and many other members of the Society, by comparison with theses and dissertations, and by direct exchange of information with researchers in our field. The Society is grateful for the kind assistance given to its members by the staffs of libraries which are listed on another page, and for the many useful and welcome contributions made by the following individuals:

Richard Andrewes Andrew Ashbee Clifford Bartlett Bruce Bellingham John Bennett Virginia Brookes Howard Meyer Brown Joan Cameron Richard Carter Richard Charteris Stuart Cheney Carolyn Coxon Tim Crawford Anne Cross Margaret Crum Charles Cudworth Mark Davenport Derek Davidson W. H. Davies Nathalie Dolmetsch Robert Donnington Warwick Edwards Christopher Field Carol Gartrell Pierre Gazères Margaret Gilmore François-Pierre Goy

John Harper Ian Harwood Michael Heseltine Naomi Hirschfield Michael Hobbs Peter Holman George Hunter Lynn Hulse John Jennings Norman Josephs Ruth Kelly Jineen KrogstadHeiman Rhona Lever Arthur Marshall Hazelle Miloradovitch Craig Monson John Morehen Stephen Morris Graham Nelson Richard Nicholson Marco Pallis Ian Payne Elizabeth Phillips David Pinto Diana Poulton Ulrich Rappen

Janet Richards Layton Ring Andrew Robinson Lucy Robinson Adrian Rose John Sawyer Bernard Schmidt Dierk Schulz David Scott Lawrence Selman Helen Simpson Robin de Smet Douglas Alton Smith Robert Spencer Matthew Spring Evelyn Stevens Michael Stevens Christopher Stewart Ila Stoltzfus Frank Traficante Margaret Urquhart Kees Vellekoop Jonathan Wainwright Alan Ward Robert Warner Peter Walls Peter Watts Joan Wess

Pamela Willetts John Wing

Brian Woods

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KEY References in the Index are given thus: To the Select Bibliography: e.g. JENKINS Al (no hyphen). To a page in the Index: JENKINS-1 (with hyphen). Incipits are given in modern form. Note values are original, but original clefs and time-signatures have been freely followed or ignored, to facilitate presentation on a single staff. Time signatures, normally, are unless otherwise shown. Titles of works such as Fantasy, Pavan, etc. are in most cases conventionally spelt or abbreviated.

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Tables of sources. Libraries are identified by RISM sigla which are listed on another page. Position-in-source is indicated by a number in the table which is defined at the head of its column by ‘f’ (folio), ‘p’ (page), ‘no’ (number in source), ‘seq’ (serial order in an unnumbered source) or ‘fr’ (microfilm frame). If no number of any sort can be quoted, a tick, indicating mere presence, is given. Folios. For example, 36 or 36r denotes the recto of f.36, and f.36' or 36v the verso. ‘inv’ (inverted) and ‘rev’ (reversed) are self-evident. f.36:1, 36:2, etc. denote the first, second, etc., pieces that start on the recto of f.36 (similarly with pages). Numbers in sources. An un-bracketed number, under a heading ‘no’, is a number found in the source. In sources with more than one sequence of numbers, I/2, II/7 denote no 2 in the first series, no 7 in the second series, etc.. As already noted, numbers in curved brackets, headed by ‘seq’ indicate serial order in an unnumbered source. Curved brackets are used elsewhere to signify positive identifications. Square brackets denote the extension of a source-numbering or an interpolation within it, or an editorial insertion. Incompleteness. An entry unqualified in any way normally denotes a complete version. If ‘B only’, ‘Tr lacking’ etc is entered, the piece is complete up to that standard in that source. ‘F’ is reserved for truly fragmentary cases where one or more parts are defective. The underlining of the VdGS number of a piece, or occasionally its title, denotes, following Edwards, that the piece has survived incomplete, but this procedure was introduced only in the Third Instalment. Attribution. ‘A’ = ‘Anonymous’; ‘Ap’ = ‘Anonymous, but attributed to this composer by virtue of position in the source’. Abbreviations: Consort parts, normally self-evident. Songs, following Monson: cs (consort song), cd (Consort duet), ct (consort trio). i, ii etc: 1st, 2nd etc sections of a verse anthem. Society numbering of pieces. Existing series of numbers have been adopted, e.g. ‘VdGS (Meyer) No. 6’, and, in particular: A (= Ashbee), Jenkins airs, see page JENKINS-1. C (= Charteris), Coprario’s works, see page COPRARIO1. CLF (= Corpus des Luthistes Francais), see CLF.

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E (= Edwards), Elizabethan consort music, see CONSORTS El. R (= Ruden), music in Swedish sources: see SWEDEN R. RC (= Richards) English bass viol music, numbered by composer. RT (ditto), numbered by theme. w (= Weidner), Tye’s works: see TYE W.

LIST OF LIBRARIES (Compiled by Gordon Dodd) This is a list of libraries containing all printed and manuscript sources known to the Society which include music written or transcribed for viols, including consort songs. Not all yet appear in the Index. A-AUSTRIA ETGöess Gö KN SPL Wgm Wn

Ebenthal, Privatsämmlung Göess Gottweig, Benediktinerstifts Bibliotek, Musikarchiv. Klosterneuberg, Augustiner-Chorherrenstift St Paul, Stift Wien, Gesellschaft der Musikfreunde. Wien, Österreichische National Bibliothek.

B-BELGIUM Bc Br

Brussels, Conservatoire. Brussels, Bibliothèque Royale Albert 1er

CH-SWITZERLAND BEsa

Bern, Staatsarchiv des Kantons.

CS-CZECHOSLOVAKIA KRa Pnm

Kromĕřiž: Liechenstein-Kastelkorn collection Praha: Narodni Muzeum.

D-GERMANY B Bds Dl DS Hs F

Berlin, Staatsbibliothek Preussicher Kulturbesitz. Berlin, Deutche Staatsbibliothek Dresden, Bibliothek und Museum Löbau Darmstadt, Hessische Landes- und Hochschulbibliothek Hamburg, Staats-un Universitatsbibliothek. Frankfurt-am-Main, Universitätsbibliothek Johann Christian Senckenberg Kl Kassel, Landesbibliothek. LEm Leipzig, Musikbibliothek der Stadt. Mbs Munich, Bayerische Staatsbibliothek MÜs Münster, Santini-Bibliothek. OB Otterbeuren, Benediktinerabtei, Musik archiv. RH Rheda, Fürst zu Bentheim-Tecklenburgische Bibliothek ROu Rostock, Universitätsbibliothek Swl Landesbibliothek Mecklenburg-Vorpommern, Schwerin Tu Tubingen, Universitätsbibliothek. Usch Ulm, van Schermar'sche Familienstiftung.

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W WRtl

Wolfenbuttel, Herzog-August Bibliothek. Weimar, Thuringische Landes bibliothek, Musiksammlung

DK-DENMARK Kk

Kobenhavn, Det Kongelige bibliothek.

E-SPAIN SE

Segovia, Catedral

IRL-EIRE Dm Dtc

Dublin, Archbishop Marsh's Library. Dublin, Trinity College Library.

F-FRANCE B Nm Pc Pcnrs Pn Psg

Besancon, Bibliothèque Municipale. Nantes, Bibliothèque Municipale. Paris, Conservatoire (MSS at Pn) Paris, Centre National de la Recherche Scientifique. Paris, Bibliothèque Nationale. Paris, Bibliothèque Sainte-Geneviève.

GB-GREAT BRITAIN AB BEV CAR Cfm Cjc Ckc Cp Cpc Cpl Ctc Cu CF CHEr DRc DU EL En Eu Ge GUm HAdolmetsch Lam Lbl

Aberystwyth, National Library of Wales. Beverley, East Riding of Yorkshire CRO. Carlisle Cathedral Chapter Library. Cambridge, Fitzwilliam Museum. Cambridge, St. John's College Library. Cambridge, King's College, Rowe Music Library. Cambridge, Peterhouse College Library. Cambridge, Pembroke College Library. Cambridge, Pendlebury Music Library. Cambridge, Trinity College Library. Cambridge, University College Library. Chelmsford, Essex CRO. Chester, Cheshire CRO, Leycester of Tabley Archives. Durham Cathedral Library. Dundee, Public Library. Ely Cathedral Library (MSS deposited at Cu). Edinburgh, National Library of Scotland. Edinburgh, University Library. Glasgow, University Library, Euing Collection. Guildford, Museum & Muniments. Haslemere, Dolmetsch Library. London, Royal Academy of Music London, British Library.

Lcm Lgc Lkc Llp Lms Lpro Lva LI LVp MA Mch Mp NO NTu Ob Och Rr SA T W Y

London, Royal College of Music Library. London, Guildhall, Gresham Library. London, King's College [in the Strand]. London, Lambeth Palace Library London, Madrigal Society (deposited at Lbl) London, Public Record Office. London, Victoria and Albert Museum Lincoln, Cathedral Library. Liverpool, Public Libraries, Central Library. Maidstone, Centre for Kentish Studies (formerly Kent Archives Office) Manchester, Chetham's Library. Manchester, Central Public Library, Henry Watson Collection Nottingham, University Library. Newcastle-upon-Tyne, University Library. Oxford, Bodleian Library. Oxford, Christ Church Library. Reading, Berkshire CRO. St Andrews University Library Tenbury, St. Michael's College (MSS at Ob) Wells, Cathedral Library. York Minster Library

J-JAPAN Tm

Tokyo, Tokyo Musashino Ongaku Daigaku

N-NORWAY Ou

Oslo, Universitetsbiblioteket

NL-NETHERLANDS DHgm Lt

The Hague, Gemeente Museum Leiden, Bibliotheca Thysiana

PL-POLAND GD Kj LZu

Gdansk, Biblioteka Polskiej, Akademii Nauk. Krakow, Biblioteka Warszaw skiego Towarzystwa Muzycznego. Lodz, Biblioteka Uniwersyteka.

S-SWEDEN K (Kl) L N Skma Uu

Kalmar, Stifts -och Gymnasiebiblioteket. Kalmarlans Museum. Lund, Universtitetsbiblioteket. Norrköpings State Library Kungliga Musikaliska akademiens biblioteket, Stockholm. Uppsala, Universitetsbiblioteket.

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US-USA AAu Bp Bh CA CLwr Cn LAuc NH NYp OAm R SM U Wc Ws

Ann Arbor, University of Michigan Boston, Mass., Public Library, Music Dept. Boston, Harvard Music Association. Cambridge, Mass., Harvard University Library. Cleveland, Ohio, Western Reserve University Library. Chicago, Newberry Library Los Angeles, University of California, William Andrewes Clark Memorial Library. New Haven, Conn., Yale University, Library of the School of Music. New York, Public Library (in the Lincoln Arts Center). Oakland, Calif., Mills College. Rochester, New York State, Eastman School of Music, Sibley Music Library. San Marino, Huntington Library. Urbana, University of Illinois, Music Library. Washington, Library of Congress. Washington, Folger Shakespeare Library.

USSR Lan

Leningrad, Biblioteka Akademii Nauk SSSR

SELECT BIBLIOGRAPHY The Bibliography is in process of being re-ordered into three categories: I: Books and Articles; II: Early Prints and Facsimiles; III: Publishers and Modern Editions. Section III is more selective than is eventually intended. In spite of this deficiency it is felt that to include some information at this stage is better than none. I: BOOKS AND ARTICLES ABEL H …. Peter Holman: ‘Charles Frederick Abel’s Viola da Gamba Music: A New Catalogue’, VdGS Journal, IV (2010), 36-73. ABEL K .... Walter Knape: Bibliographisch-thematisches Verzeichnis der Kompositionen von Karl Friedrich Abel (1723-87), (Cuxhaven, 1971). BACH CPE H …. Ernest Eugene Helm, Thematic Catalogue of the Works of Carl Philipp Emanuel Bach (New Haven and London: Yale U.P., 1989) BALDWIN B .... Roger Bray: ‘British Museum MS Royal 24 d 2 (John Baldwin’s Commonplace Book), an index and commentary’, RMARC 12, 137-151. BALDWIN B2 .... Roger Bray: ‘The part-books, Oxford, Christ Church MSS 979-83: an index and commentary’, MD xxv (1971), 179-197. BALTZAR H .... Peter Holman: ‘Thomas Baltzar (?1631-1663), the “incomperable Luciber on the violin”’, Chelys 13 (1984), 3-38. BALTZAR W .... Thomas G. Wood: The consort music of Thomas Baltzar, (unpublished Master’s diss., University of Cincinnati, 1985). BARNARD W .... Pamela J. Willetts: ‘John Barnard’s collection of viol and vocal music’, Chelys 20 (1991), 28-42. BARYTON G .... Carol Gartrell: The baryton, its history and music), (unpublished Ph D thesis, Surrey, 1983). BARYTON G2 .... Carol Gartrell: ‘The origins and development of the baryton’, Chelys 11 (1982), 4-7. BARYTON H .... Peter Holman: ‘“An Addicion of Wyer Stringes beside the Ordenary Stringes”: The Origin of the Baryton’, Companion to Contemporary Musical Thought, ed. J. Paynter and others (London, 1992), ii, 1098-1115. BASS B .... H. Bol: La basse de viole du temps de Marin Marais et d’Antoine Forqueray, (Bilthoven, A.B. Creyghton, 1973). BASS H .... Peter Holman: ‘Preliminary checklist of music for one or more bass viols with or without continuo printed before 1800’, Chelys 5 (1973-4), 62-65. BASS H2 …. Peter Holman: ‘Continuity and Change in English Bass Viol Music’, VdGSJ, 2 (2008), 20-50. BASS J .... Edward Huwys Jones: ‘To sing and play to the base violl alone - the bass viol in English 17th-century song’, LSJ 17 (1975), 17-23. BASS R .... Janet M. Richards: A study of music for bass viol written in England in the 17th century (unpublished B Litt thesis, Oxford (Somerville), 1960-1). BASS S .... Julie-Ann Sadie: The bass viol in French baroque chamber music, (UMI Research Press: Studies in Musicology, No. 26, Ann Arbor, 1980). BASS SI .... M. Sicard: École Francaise de viole de gambe de Maugars … Marin Marais, (unpublished Doctorat, Paris, 1979). BASS WH .... Wendy E. Hancock: The origins of the basso continuo in England, 1585-1625,

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(unpublished M Phil thesis, Nottingham, 1982). BDECM .... Andrew Ashbee and David Lasocki with Peter Holman and Fiona Kisby: A Biographical Dictionary of English Court Musicians 1485-1714, (Aldershot, 1998). BIBL K .... A. Hyatt King, Some British Collectors of Music, (Cambridge, 1963). BIBL R .... J. Rutledge: ‘A viol bibliography’, VdGSAJ XVI (1979), 47-71. BING F .... Christopher D. S. Field: ‘Stephen Bing’s copies of Coprario fantasia-suites’, Early Music, 27 (May 1999), 311-17. BING S .... Harold Watkins Shaw: The Bing-Gostling Part-Books at York Minster: A Catalogue with Introduction, Church Music Society, The Royal School of Church Music, London, 1986. BING W .... Pamela J. Willetts: ‘Stephen Bing, a forgotten violist’, Chelys 18 (1989), 3-17. BODLEIAN G .... Cathie Miserandino-Gaherty: ‘The codicology and rastrology of GB-Ob Mus. Sch. MSS c.64-9: Manuscripts in support of transmission theory’, Chelys 25 (1996/1997), 78-87. BOLLES U .... Margaret Urquhart: ‘Sir Robert Bolles Bt. of Scampton’, Chelys 16 (1987), 16-29. BOWS R .... Hans Reiners: ‘Baroque Bows’, Chelys 28 (2000), 59-76. BRADE H .... Calvin Raymond Huber: ‘Life and Music of William Brade’, (unpublished Ph D diss., University of North Carolina at Chapel Hill, 1965). BRITISH LIBRARY .... see under Lbl. BROWNE A .... Andrew Ashbee: ‘Instrumental music from the library of John Browne (1608-91), Clerk of the Parliaments’, ML 58/i (1977), 43-59. BROWNE FF .... Nigel Fortune and Iain Fenlon: ‘Music manuscripts of John Browne (1608-91) and from Stanford hall, Leicestershire’, in Source materials and the interpretation of music: a memorial volume to Thurston Dart, ed. Ian Bent (London, 1981), 155-168. BROWNING B1 .... David and Jennifer Baker: ‘The Browning (I)’, Chelys 10 (1981), 4-10. BUILDING T .... Frank Traficante: ‘Procrustean pairing of sentiment and tune: a seventeenth century English strophic song’, in Essays in Musicology: a tribute to Alvin Johnson, ed. LewisLockwood and Edward Roesner, (American Musicological Society, 1990), 177-191. BULL D .... Gordon Dodd: ‘Coperario or Bull?’ Chelys 1 (1969), 41. BUTLER P1 .... Elizabeth Phillips: The divisions and sonatas of Henry Butler, (unpublished Ph D diss., Washington University in St. Louis, 1982). BUTLER P2 .... Elizabeth Phillips: ‘Henry Butler and the early viol sonata’, VdGSAJ XXI (1984), 45-52. BUXTEHUDE L .... Eva Linfield: Dietrich Buxtehude’s sonatas: a historical and analytical study, (unpublished Ph.D. diss., Brandeis University, 1984). BYRD F .... Edmund H. Fellowes: William Byrd, (London, 1936, 1948). BYRD H .... John Harley: William Byrd: Gentleman of the Chapel Royal (Aldershot, 1997). BYRD N .... Oliver Neighbour: The consort and keyboard music of William Byrd, (London, 1979). BYRD N2 .... Oliver Neighbour: ‘New consort music by Byrd’, MT (June 1967), 506-508. BYRD P .... Ian Payne: ‘”The first that ever he made”: Byrd’s first pavan and galliard, and techniques of transcription and reconstruction in the “lost” consort dances’, Chelys 28 (2000), 28-58. BYRD T1 .... Richard Turbet: ‘Writings about Byrd’s consort music, a bibliographic note’, Consort 41 (1985), 74-75.

BYRD T2 .... Richard Turbet: William Byrd, a guide to research, (New York and London, 1987). BYRD T3 .... Richard Turbet: A hundred years of Byrd criticism 1883-1983, an annotated bibliography, (M Litt thesis, Aberdeen, 1983). BYRD ST .... Alan Brown and Richard Turbet (eds.): Byrd studies, (Cambridge, 1992). [NB contributions by John Bennett and John Irving noted separately]. BYRD V …. [various articles in The Viol, 1 (Winter 2005-6)] BYRD V2 …. [various articles in The Viol, 5 (Winter 2006-7)] CAMBRIDGE C .... Matthew Holmes (compiler): Cambridge Consort Books (GB-Cu MSS Dd.3.18 (lute),Dd.5.20 (bass viol), Dd.5.21 (recorder), Dd.14.24 (cittern). CAMBRIDGE H .... Ian Harwood: ‘The Origin of the Cambridge Lute MSS’, LSJ 5 (1962), 32-48. CAMBRIDGE H1 …. Ian Harwood: ‘“A Lecture in Musick, with the Practice thereof by Instruments in the Common Schooles”, Mathew Holmes and Music at Oxford University c.1588-1627’, LSJ XLV, (2005), 1-70. CAMBRIDGE P .... Ian Payne (ed.), Cambridge Consorts, Corda Music, CMP 418 (1991), being an edition and reconstruction of music in British Library Add. MSS 30826-8. CAVENDISH H .... Lynn Hulse: ‘Apollo’s Whirligig: William Cavendish, Duke of Newcastle and his Music Collection’, The Seventeenth Century, ix (1994), 213-46. CAVENDISH H2 .... Lynn Hulse: ‘The Duke of Newcastle and the English viol’, Chelys 29 (2001), 28-43. CELLO S .... Mark Smith: ‘The ‘cello bow held the viol-way; once common, but now almost forgotten, Chelys 24 (1995), 47-61. CHARPENTIER T …. Shirley Thompson: ‘Marc-Antoine Charpentier and the viol’, Early Music (2004), 497-510. CHELYS .... CHELYS, the Journal of the Viola da Gamba Society of Great Britain (London, annual). CLARK C .... Richard Charteris: ‘A rediscovered source of English consort music’, Chelys 5 (19734), 3-6. CLARK C2 .... Richard Charteris: ‘Four Caroline Part-Books’, ML 59 (1978), 49-51. COLISTA WK .... Helene Wessely-Kropik: Lelio Colista: ein Römischer meister vor Corelli: leben und umwelt, (Vienna, 1961). CONSORT .... The Consort, Journal of the Dolmetsch Foundation (Godalming, annual). CONSORTS A …. Andrew Ashbee: ‘Manuscripts of consort music in London, c.1600-1625: some observations’, VdGSJ, 1 (2007), 1-19. CONSORTS C .... Tim Crawford: ‘An unusual consort revealed in an Oxford manuscript’, Chelys 6 (1975-6), 61-8. CONSORTS D .... Robert Donington: English instrumental music from the Reformation to the Restoration, with particular reference to the 17th century, (unpublished B Litt thesis, Oxford (Queen’s), 1945-6). CONSORTS DA .... R. Thurston Dart: ‘Jacobean consort music’, PRMA 81 (1954-5), 63-76. CONSORTS E1 .... Warwick Edwards: The sources of Elizabethan consort music, (unpublished Ph D thesis, Cambridge, 1974). CONSORTS E2 .... Warwick Edwards: ‘The performance of ensemble music in Elizabethan England’, PRMA 97 (1970-1), 113-123.

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CONSORTS F .... Christopher D. S. Field: The English consort suite of the 17th century, (unpublished Ph D thesis, Oxford (New College), 1971). CONSORTS M .... Ernst H. Meyer: ‘Form in the instrumental music of the seventeenth century’, PRMA 65 (1939-40), 45-61. CONSORTS P .... Marco Pallis: ‘The instrumentation of English viol consort music’, Chelys 1 (1969), 27-35. COPRARIO C1 .... Richard Charteris: John Coprario (unpublished Ph D thesis, Canterbury, New Zealand, 1976). COPRARIO C2 .... Richard Charteris: John Coprario - a thematic catalogue of his music with a biographical introduction, (New York, 1977). COPRARIO C3 .... Richard Charteris: ‘Autographs of John Coprario’, ML 56 (1975), 41-46. COPRARIO C4 .... Richard Charteris: ‘John Coprario’s five- and six-part pieces: instrumental or vocal?’, ML 57 (1976), 370-378. COPRARIO C5 .... Richard Charteris: ‘A postscript to “John Coprario - a thematic index”’, Chelys 11 (1982), 13-19. COPRARIO C6 .... Caroline Cunningham: ‘John Coprario’s “Rules how to compose’ and his FourPart Fantasias: Theory & Practice Confronted’, Chelys 23 (1994), 37-46. COPRARIO C7 .... Caroline Cunningham: ‘Variety and unity in the fantasias of John Coprario’, Chelys 26 (1998), 69-77. COPRARIO S ... Gordon Sanford: ‘Coprario’s cadence: some thoughts on Coprario’s four-part fantasia C21’, Chelys 23, 44-48. CORELLI M .... Hazelle Miloradovitch: ‘Eighteeenth-century manuscript transcriptions for viols of music by Corelli and Marais in the Bibliothèque Nationale, Paris: sonatas and pièces de viole’, Chelys 12 (1983), 47-73. CORKINE N .... Graham Nelson: An introduction to and study of the lyra-viol music of William Corkine (unpublished partial MA diss., Queens University, Belfast, 1982) [Copy at Central Library, Royal Avenue, Belfast.] CORKINE N2 .... Graham Nelson: ‘The lyra-viol variation sets of William Corkine’, Chelys 17 (1988), 16-23. COSYN W .... Pamela Willetts: ‘Benjamin Cosyn: Sources and circumstance’, Sundry sorts of music books (Essays on the British Library Collections presented to O.W.Neighbour), (The British Library, London, 1993), 129-145. COURT A .... Andrew Ashbee: Lists of payments to the King’s Musick in the reign of Charles II (1660-1685), (Snodland, 1981). [Replaced by RECM V]. CRANFORD W .... P. Watts: A critical edition of the works of William Cranford..., (M.Mus. thesis, Auckland, New Zealand, 1979). CUTTING H .... Lynn Hulse: ‘Francis and Thomas Cutting: father and son?’, LSJ XXVI, Part 2 (1986), 73-74. DEERING P1 .... Peter Platt: Richard Deering: an account of his life and work, (B Litt thesis, Oxford (Magdalen), 1951-2). DENMARK B .... John Bergsagel: ‘Danish musicians in England 1611-14: some recent discoveries’, Dansk Aerbog for Musikforsking vii (1973-6), 9ff. DIEUPART H …. Matthew Hall, ‘Charles Dieupart’s Six Suites (1701-1702) and the en concert Performance Tradition’, VdGS Journal, IV (2010), 6-35 DOLLÉ G .... Robert Green: ‘Charles Dollé’s first work for pardessus de viole’, VdGSAJ 18 (1981),

67-75. DOLLÉ R .... Adrian P. Rose: ‘Another collection of pieces by Charles Dollé’, Chelys 11 (1982), 32-35. DOLLÉ R2 .... Adrian P. Rose: ‘Music for the dessus and pardessus de violes, published in France ca. 1650-1770’, VdGSAJ 16 (1979), 40-41. DOW .... David Mateer: ‘Oxford, Christ Church Music MSS 984-8, an index and commentary’, RMARC 20 (1986-7), 1-18. DOWLAND C .... Richard Charteris: ‘Manuscript additions of music by John Dowland and his contemporaries in two 16th-century prints’, Consort 37 (1981), 399-401. DOWLAND H .... Peter Holman, Dowland: Lachrimae (1604), (Cambridge University Press, 1999). DOWLAND P .... Diana Poulton: John Dowland (London, 1972; 2nd. ed. 1982). DOWLAND W .... John Ward: ‘A Dowland miscellany’, Journal of the Lute Society of America 10 (1977) ? DREXEL F .... David Fallows: ‘The Drexel Fragments of Early Tudor Song’, RMARC 26 (1993), 518. DREXEL G .... Hilda F. Gervers: A Seventeenth-Century Manuscript of English Keyboard Music: The New York Public Library Drexel Manuscript, Drexel 5612, (unpublished Ph. D. diss., University of New York, 1974). DUBLIN C1 .... Richard Charteris: Consort manuscripts in the Marsh Library, Dublin..., (unpublished M.A. thesis, Canterbury, New Zealand, 1972). DUBLIN C2 .... Richard Charteris: ‘Consort music manuscripts in Archbishop Marsh’s Library, Dublin’, RMARC 13, 27-63. DUBLIN C3 .... Richard Charteris: ‘Music manuscripts and books missing from Archbishop Marsh’s Library, Dublin’, ML 61 (1980), 310-317. DUBLIN C4 .... Richard Charteris: A catalogue of the printed books on music, printed music and music manuscripts in Archbishop Marsh’s Library, Dublin, (Clarabricken, 1982). DUBLIN C5 .... Richard Charteris: ‘New information about some of the consort music MSS in Archbishop Marsh’s Library, Dublin’, Consort 43 (1987), 38-39. DUBLIN P .... David Pinto, ‘Marsh, Mico and attributions’, Chelys 27 (1999), 40-58. DUBLIN T .... Robert Thompson: ‘A further look at the consort music manuscripts in Archbishop Marsh’s Library, Dublin’, Chelys 24 (1995), 3-18. DUBLIN W .... John Ward: ‘The lute-books of Trinity College, Dublin: II: MS D.1.21: the so called Ballet lute book’, LSJ 10 (1968), 15-32. [Contains index information on lyra-viol music]. DUBUISSON C1 .... Stuart Glenn Cheney: Dubuisson: a study of his music for solo bass viol, (unpublished Master’s diss., University of North Texas, 1988). DUBUISSON C2 .... Stuart Glenn Cheney: ‘A summary of Dubuisson’s life and sources’, VdGSAJ 27 (Dec 1990), 7-21. DUBUISSON K .... Gordon Kinney: ‘Writings on the viol by Dubuisson, de Machy, Roland Marais and Etienne Louiez’, VdGSAJ 13 (1976), 17-55. DURHAM C .... Brian Crosby: A catalogue of Durham Cathedral music manuscripts, (Oxford, 1986). DURHAM E .... Peter Evans: The 17th-century chamber music manuscripts in Durham Cathedral Library, (unpublished M.A. thesis, Durham, 1953).

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DURHAM H .... R. Alec Harman: A catalogue of printed music...in Durham Cathedral Library, (Oxford, 1968). DUTCH R1 .... Rudi Rasch: ‘Seventeenth-century Dutch editions of English instrumental music’, ML 53 (1972), 270-273. EAST E .... Joan A. Evans: The life and work of Michael East (c.1580-1648), (unpublished Ph D diss., Boston, 1984). EBENTHAL S .... Douglas Alton Smith: ‘The Ebenthal lute and viol tablatures’, EM 4 (1982), 462468. EGERTON C .... Mary Cyr: ‘A 17th-century source of ornamentation for voice and viol: British Museum MS Egerton 2971’, RMARC 9, 53-72. ELIZ B .... Morrison Comegys Boyd: Elizabethan music and musical criticism, (Philadelphia, 1940; 2nd rev. ed. 1962). ELIZABETHAN .... for other Elizabethan entries see CONSORTS ENG MUS .... P. E. Mueller: The influence and activities of English musicians on the Continent during the late 16th and early 17th centuries (unpublished Ph.D. diss., Indiana University, 1954). FALLE U .... Margaret Urquhart: ‘Prebendary Philip Falle (1656-1742) and the Durham bass viol manuscript A.27’, Chelys 5 (1973-4), 7-20. FANSHAWE A .... John Aplin: ‘Sir Henry Fanshawe and the two sets of early 17th-century part books at Christ Church, Oxford’, ML 57/i (1975), 11-24. FANTASIA N .... E. Nelson: An introductory study of the English 3-part string fancy (unpublished Ph D diss., Cornell, 1960). FANTASIA W .... Joan Wess: ‘Musica Transalpina, parody and the emerging Jacobean viol fantasia’, Chelys 15 (1986), 3-25. FANTASY P .... David Pinto: ‘The fantasy manner: the seventeenth century context’, Chelys 10 (1981), 17-28. FANTASY S1 .... Graham Strahle: Fantasy and music in 16th and 17th century England, (unpublished Ph D thesis, Adelaide, 1987). FANTASY S2 .... Graham Strahle: ‘Fantasy and music in 16th and 17th century England’ [a summary of FANTASY S1], Chelys 17 (1988), 28-32. FANT-SUITE J .... Jane Troy Johnson: The English fantasia-suite c.1620-60 (unpublished Ph D diss., California at Berkeley, 1971). [see also CONSORTS F] FERRABOSCO C .... Richard Charteris: ‘Autographs of Alfonso Ferrabosco I-III’, EM 10 (Apr 1982), 208-211. FERRABOSCO I C .... Richard Charteris: ‘New information about the life of Alfonso Ferrabosco the elder (1543-88)’, RMARC 17 (1981), 97-114. FERRABOSCO I C2 .... Richard Charteris: Alfonso Ferrabosco (1543-88): a thematic catalogue of his music with a biographical calendar (New York, 1984). FERRABOSCO II B .... Bruce Bellingham: ‘Alfonso Ferrabosco II: the art of the fantasia’, Chelys 26 (1998), 1-25. FERRABOSCO II D .... Gordon Dodd: ‘Alfonso Ferrabosco II - the art of the fantasy’, Chelys 7 (1977), 47-53. FERRABOSCO II F .... Christopher Field: ‘The Composer’s Workshop: Revisions in the Consort Music of Alfonso Ferrabosco the Younger’, Chelys 27 (1999), 1-39. FERRABOSCO II L .... Edward Lowinsky: ‘Echoes of Adrian Willaert’s chromatic ‘duo’ in 16th

and 17th-century compositions’, in Studies in Music History: Essays for Oliver Strunk (Princeton, 1968), 183-238. FERRABOSCO II V .... Raymond Vaught: The fancies of Alfonso Ferrabosco II, (unpublished Ph D diss., Stanford, 1959). FINGER M .... Arthur Marshall: ‘The viola da gamba music of Godfrey Finger’, Chelys 1 (1969), 16-26. FINGER M2 .... Arthur Marshall: ‘The chamber music of Godfrey Finger’, Consort 20 (1970), 42332. FINGER R …. Robert Rawson, From Olomouc to London: the early music of Gottfried Finger (c.1655 –1730), (unpublished PhD thesis, Royal Holloway, U. of London, 2001). FORQUERAY R .... S. Lucy Robinson: The Forquerays and the French viol tradition, (unpublished Ph D thesis, Cambridge (New Hall), 1981). FORQUERAY R1 …. Lucy Robinson: ‘Forqueray Pièces de Viole (Paris, 1747): an enigma of authorship between father and son’, Early Music (2006), 259-276. FRANCE MS .... Mark Summers: ‘La morte de la viole en France pendant le dix-huitième siècle: an enquiry into the viol’s fall from grace’, Chelys 29 (2001), 44-61. FRANCE S1 .... M. Sicard: ‘The French viol school before 1650’, VdGSAJ 18 (1981), 76-83. FRANCE S2 .... M. Sicard: ‘The French viol school: the repertory from 1650 to Ste-Colombe (c.1680)’, VdGSAJ 22 (1985), 42-55. GERMANY OL …. Michael O’Loghlin: Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School, (Aldershot, Ashgate, 2008). GERMANY E .... R. Bodig (tr.): ‘A Einstein: “German literature for the viola da gamba in the 16 th and 17th centuries”‘, VdGSAJ 23-26 (1986-1989). GERMANY F .... Fred Flassig: Die solistische Gambenmusik in Deutschland im 18. Jahrhundert, (Göttingen, Cuvillier Verlag, 1998). GERMANY MF …. Michael Fuerst: ‘The Partitur Ludwig: An Introduction and Thematic Catalogue, VdGS Journal, IV (2010), 74-102. GERMANY O .... Samantha Owens: ‘The Viol at the Württemberg Court c.1717: Identification of the Hand Gamba’, Chelys 30 (2002), 47-59. GERMANY R …. Michael Robertson: The Consort Suite in the German-Speaking Lands 16601705, (unpublished Ph. D. thesis, University of Leeds, 2004 GERMANY S .... B. Schwendowius: Die solistiche gambenmusik in Frankreich von 1610 bis 1740, (Regensburg, 1970). GIBBONS C R .... Clare Rayner: A little-known 17th-century composer, Christopher Gibbons (1615-1676), (unpublished Ph. D. diss., Indiana, 1963). GIBBONS B1 .... Francis Baines: ‘Fantasias for the Great Dooble Base’, Chelys 2 (1970), 37-38. GIBBONS B2 .... Francis Baines: ‘The consort music of Orlando Gibbons’, EM 6 (Oct 1978), 540543. GIBBONS D .... R. Thurston Dart: ‘The printed fantasies of Orlando Gibbons’, ML 37 (1956), 342349. GIBBONS F .... Edmund H. Fellowes: Orlando Gibbons, (London, 2nd. ed., 1951; reprinted USA 1970). GIBBONS H2 .... John Harper: ‘The distribution of the consort music of Orlando Gibbons in 17th

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century sources’, Chelys 12 (1983), 3-18. GIBBONS H3 .... John Harper: ‘Orlando Gibbons: the domestic content of his music and Christ Church MS 21’, MT 124 (1983), 767-770. GIBBONS HY .... John Harley: Orlando Gibbons and the Gibbons Family of Musicians (Aldershot, 1999). GIBBONS N .... Oliver Neighbour: ‘Orlando Gibbons (1582-1625): the Consort Music’, EM 11 (July 1983), 351-7. GIBBONS McG .... David McGuinness: ‘Gibbons’s solo songs reconsidered’, Chelys 24 (1995), 19-33. GIBBONS N .... Richard Nicholson: ‘A note on Gibbons and the anonymous 6-part fantasies in Christ Church Library’, VdGS Bulletin (London, July 1967). GIBBONS T .... W. M. Triplett: Orlando Gibbons: his life and music, (unpublished Ph D diss., S. California, 1959-60). GOLDING H …. Alan Howard: ‘Manuscript Publishing in the Commonwealth Period: A Neglected Source of Consort Music by Golding and Locke’, ML 90/i (2009), 35-67. GREGORY R1 .... James W. Riley: ‘The identity of William Gregory’, ML 48/iii (1967), 342-346. GREGORY R2 .... James W. Riley: William Gregory the younger..., (unpublished Ph D diss., Rochester, N.Y., 1959). GROVE .... Stanley Sadie (ed.): The New Grove Dictionary of Music and Musicians, 20 vols. (1980; 2nd edn. 2001). HACQUART C A .... P. Andriessen: Carel Hacquart (1640-1701?), een biographische bijdrage: het werk, (Brussels 1974). [Reviewed by J. R. Parker, EM 5/iv (1977), 565 and 567]. HAMBURG C ... Richard Charteris: ‘A rediscovered manuscript source with some previously unknown works by John Jenkins, William Lawes and Benjamin Rogers’, Chelys 22 (1993), 3-29. HARP C1 …. John P. Cunningham: ‘A Tale of Two Harps: Issues arising from recordings of William Lawes’s Harp Consorts’, Early Music Performer, 21 (2007), 13-24 HARP C2 …. John P. Cunningham: ‘”Irish harpers are excellent, and their solemn music is much liked of strangers”: The Irish Harp in Non-Irish Contexts in the Seventeenth Century’, in Music, Ireland and the Seventeenth Century, ed. B. Boydell and K. Houseton, IMS 10 (Dublin, 2009), 62-80. HARP H .... Peter Holman: ‘The harp in Stuart England: new light on William Lawes’s harp consorts’, EM 15/ii (1987), 188-203. HATFIELD C .... Richard Charteris: ‘Jacobean musicians at Hatfield House’, RMARC 12, 116-136. HATTON P .... David Pinto: ‘The music of the Hattons’, RMARC 23 (1990), 79-108. HATTON W .... Jonathan Wainwright: The Musical Patronage of Christopher, First Baron Hatton (1605-1670), (unpublished Ph.D. thesis, Cambridge, 1992). HATTON W2 .... Jonathan P. Wainwright: Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670), (Aldershot, 1997). HAYES V .... Gerald R. Hayes: The Viols and other bowed instruments, (London, 1930). HINGESTON B .... Emil W. Bock: The string fantasies of John Hingeston (c.1610-1683), (unpublished Ph D diss., State University of Iowa, 1956). HINGESTON H .... Lynn Hulse: ‘John Hingeston’, Chelys 12 (1983), 23-42. HUME H1 .... Colette Harris: The First Part of Ayres by Tobias Hume..., (unpublished M.Mus thesis, London (King’s), 1970).

HUME H2 .... Colette Harris: ‘Tobias Hume - a short biography’, Chelys 3 (1971), 16-18. HUME J .... Sterling Scott Jones: ‘The use of motivic and thematic material in the music of Tobias Hume’, VdGSAJ 33 (1996), 15-29. HUME S .... W. Sullivan: ‘Tobias Hume’s First Part of Ayres (1605)’, VdGSAJ 5, (1968), 5-15 and subsequent issues to vol. 9. HUNTINGDON C .... Richard Charteris: ‘The Huntingdon Library part books, Ellesmere MSS EL 25A 46-51, The Huntingdon Library Quarterly 50/1 (Winter 1987), 59-84. HUTTON C .... Richard Charteris: ‘Matthew Hutton (1638-1711) and his MSS in York Minster Library’, GSJ XXVIII (1975), 2-6. HUTTON I .... John Irving: ‘Matthew Hutton and York Minster MSS M.3/1-4(S)’, MR 44 (1983), 163-177. HUYGENS, C .... Tim Crawford: ‘Constantin Huygens and the “Englische Viool”’, Chelys 18 (1989), 41-60. ICONOGRAPHY F .... Michael Fleming: ‘Paintings of Viols in England c.1580-1660’, Chelys 25 (1996/1997), 3-21. IN NOM B .... Virginia Brookes: The ‘In Nomine’ from Taverner to Purcell: its sources and development, (unpublished M Phil thesis, Southampton, 1984). IN NOM B1 ... Virginia Brookes: ‘In Nomine: an obscure designation’, Chelys 30 (2002), 4-10. IN NOM W .... Robert W. Weidner: The early In Nomine, (unpublished Ph D diss., Rochester, N.Y., 1960). ITAL-ENG B .... Derry Bertenshaw: The influence of the late 16th century Italian polyphonic madrigal on the English viol consort, c.1600-45: a background study, (unpublished Ph D thesis, Leicester, 1992). ITAL-ENG B2 .... Derry Bertenshaw: ‘Madrigals and madrigalian fantasies: the five-part consort music of John Coprario and Thomas Lupo’, Chelys 26 (1998), 26-51. ITAL-ENG H1 .... Lydia Hamessley: The reception of the Italian madrigal in England: a repertorial study of manuscript anthologies, ca.1580-1620 (Ph.D. diss., University of Minnesota, 1989). ITAL-ENG H2 .... Lydia Hamessley: ‘The Tenbury and Ellesmere part-books: new findings on manuscript compilation and exchange, and the reception of the Italian madrigal in Elizabethan England’, ML 73/ii (Apr 1992), 177-221. ITALY H …. Bettina Hoffmann: ‘The Nomenclature of the Viol in Italy’, Viola da Gamba Society Journal, 2 (2008), 1-16. IVES K .... Ruth Kelly: The lyra viol music of Simon Ives (1600-62), (M.Mus thesis, Adelaide, in progress).? JAGIELLONSKA C .... Richard Charteris: ‘New connections between Eastern Europe and works by Philips, Dowland, Marais and others’, Chelys 29 (2001), 3-27. JEFFREYS A1 .... Peter Aston: ‘George Jeffreys’, MT 110 (July 1969), 772-6. JEFFREYS A2 .... Peter Aston: George Jeffreys and the English baroque, (unpublished Ph D thesis, York, 1970). JEFFREYS H .... Peter Holman: ‘George Jeffries and the “great dooble base”‘, Chelys 5 (1973-4), 79-80. JEFFREYS W .... Jonathan Wainwright: ‘George Jeffreys’ copies of Italian music’, RMARC 23 (1990), 109-124. JENKINS A1 .... Andrew Ashbee: The four-part instrumental compositions of John Jenkins,

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(unpublished Ph D thesis, London, 1966). JENKINS A2 .... Andrew Ashbee: ‘John Jenkins’s fantasia-suites for treble, two basses and organ’, Chelys 1 (1969), 3-15, and 2 (1970), 6-17. JENKINS A3 .... Andrew Ashbee: ‘Towards the chronology and grouping of some airs by John Jenkins’, ML 55/i (1974), 30-44. JENKINS A4 .... Andrew Ashbee: ‘Music for treble, bass and organ by John Jenkins’, Chelys 6 (1975-6), 25-42. JENKINS A5 .... Andrew Ashbee: ‘The six-part consort music of John Jenkins - an editor’s view’, Chelys 7 (1977), 54-68. JENKINS A6 .... Andrew Ashbee: ‘John Jenkins (1592-1678) and the lyra viol’, MT 119 (Oct 1978), 840-843. JENKINS A7 .... Andrew Ashbee: ‘John Jenkins (1592-1678): the viol consort music in 4, 5 and 6 parts’, EM 6 (Oct 1978), 492-500. JENKINS A8 .... Andrew Ashbee: The Harmonious Musick of John Jenkins: the fantasias for viols, (Surbiton, 1992). JENKINS A9 .... Andrew Ashbee: ‘John Jenkins: 1592-1678’, Consort 34 (1978), 265-273. JENKINS A10 .... Andrew Ashbee: ‘Genealogy and John Jenkins’, ML 46 (1965), 225-230. JENKINS A11 .... Andrew Ashbee: ‘John Jenkins (1592-1678); tradition and innovation’, Consort 48 (1992), 1-5. JENKINS A12 .... Andrew Ashbee: ‘The late fantasias of John Jenkins’, Chelys 25 (1996/1997), 53-64. JENKINS AH .... Andrew Ashbee and Peter Holman: John Jenkins and His Time: Studies in English Consort Music, Oxford, 1996. JENKINS C1 .... Carolyn Coxon: John Jenkins: a critical study...of his instrumental music, (unpublished Ph D thesis, Edinburgh, 1969). JENKINS C2 .... Carolyn Coxon: ‘A handlist of the sources of John Jenkins’s vocal and instrumental music’, RMARC 9, 73-89. JENKINS H .... Peter Holman: ‘Suites by Jenkins rediscovered...’, EM 6/i, (Jan 1978), 25-35. JENKINS J .... Jane Troy Johnson: ‘How to “humour” John Jenkins’ three-part dances: performance directions in a Newberry Library manuscript’, JAMS (1967), 197-208. JENKINS M .... Rev. F. Hugh Mountney: ‘Lady Katherine Audley’s Bells’, VdGS Bulletin, 19 June 1963, 4-7. JENKINS PW .... Pamela J. Willetts: ‘Autograph music by John Jenkins’, ML 48/ii (Apr 1967), 124-126. JENKINS S .... Helen J. Sleeper: ‘John Jenkins and the English fantasia-suite’, Bulletin of the American Musicological Society 4 (1940), 34-37. JENKINS S2 .... Helen J. Sleeper: her collection of MSS notes, thematic lists, transcriptions, etc. are at the Pendlebury Library, Cambridge. JENKINS U .... Margaret Urquhart: ‘Musical research in Durham Cathedral Library: Mr John Jenkins in particular’, Durham Cathedral Lecture (Durham Cathedral, 1979). JENKINS W1 .... Robert A. Warner: The fantasia in the works of John Jenkins, (unpublished Ph D diss., Michigan, 1951). JENKINS W3 .... Robert A. Warner: ‘Jenkins, four-part fancy, Meyer 14 - an enharmonic

modulation round the key-circle’, MR 28/i (Feb 1967), 1-20. KASSEL C .... Richard Charteris: ‘English music in the library of Moritz, Landgrave of HessenKassel, in 1613’, Chelys 15 (1986), 33-37. KASSEL W .... Christopher Wool: A critical edition and historical commentary on Kassel 4o MS Mus 125, (unpublished M Mus thesis, London, Royal Holloway College, 1983). KEYBOARD B .... Virginia Brookes: British Keyboard Music to c.1660: Sources and Thematic Index, (Oxford, 1996). KEYBOARD-VIOL S …. David J. Smith: ‘The English Pavan and Galliard for Viols and the Art of Keyboard Intabulation’, The Viol, No. 12 (Autumn, 2008), 14-19. LAWES A .... Andrew Ashbee (ed.): William Lawes 1602-1645: Essays on his Life, Times and Work, (Aldershot, 1998). LAWES C1 …. John P. Cunningham: ‘Music for the Privy Chamber: Studies in the Consort Music of William Lawes (1602-1645)’, (unpublished Ph D dissertation, Leeds, 2007). LAWES C2 …. John P. Cunningham: ‘“Let Them be Lusty Smart-Speaking Viols”: William Lawes and the Lyra Viol Trio’, JVdGSA 43 (2006); published 2008), 32-68. LAWES C3 …. John P. Cunningham: ‘“Some Consorts of Instruments are sweeter than others”: Further Light on the Harp of William Lawes’s Harp Consorts’, GSJ 61 (2008), 147-76. LAWES C4 …. John P. Cunningham: The Consort Music of William Lawes 1602-1645 (Woodbridge, 2010). LAWES D .... Gordon J. Dodd: ‘William Lawes - Royall Consort Suite No. 9 in F’, Chelys 6 (19756), 4-9. LAWES D2 .... Gordon J. Dodd: ‘A study in consort interpretation: William Lawes’s six-part consort set in G minor’, Chelys 20 (1991), 52-61. LAWES L1 .... Murray Lefkowitz: William Lawes, (London, 1960). LAWES L4 .... Murray Lefkowitz: William Lawes, his life and works, (unpublished Ph D diss., S California, 1963). LAWES MD .... Mark Davenport: The Dances and Aires of William Lawes (1602-1645): context and style, (unpublished Ph D diss., University of Colorado at Boulder, 2001) LAWES P1 .... David Pinto: ‘William Lawes’s consort suites for the viols and the autograph sources’, Chelys 4 (1972), 11-16. LAWES P2 .... David Pinto: ‘William Lawes’s music for viol consort’, EM 6/i (Jan 1978), 12-24. LAWES P3 .... David Pinto: ‘William Lawes at the siege of York, 1644’, MT 127 (1986), 579-583. LAWES P4 .... David Pinto: For ye violls: The consort and dance music of William Lawes, (London, 1995). LAWES P5 .... David Pinto: ‘New Lamps for Old: The Versions of the Royall Consort’, in Andrew Ashbee (ed.), William Lawes 1602-1645: Essays on His Life, Times and Work (Aldershot, 1998), 251281. LBL B .... L. Baillie (ed.): The catalogue of printed music in the British Library to 1980, 62 vols. (London, etc., 1981). LBL HH .... Augustus Hughes-Hughes: Catalogue of manuscript music in the British Museum: III: Instrumental music, (London 1909; repr. 1965). LBL I .... John Irving: ‘A note on British Library Add MSS 30826-8’, Consort 43 (1987), 17-23. LBL P .... Ian Payne: ‘British Library Add MSS 30826-8, a set of part books from Trinity College,

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Cambridge?’, Chelys 17 (1988), 3-15. LBL W .... Pamela J. Willetts: The British Museum handlist of music manuscripts acquired 190867, (London, 1970). LE BLANC 1740 .... Hubert Le Blanc: Défense de la Basse de Viole Contre les Entréprises du Violon et les Prétensions du Violoncel, (Amstredam, 1740). LE BLANC 1740/1 .... Facsimile reprint of the above (STIMU, The Hague, 1983). LE BLANC J .... B.G.Jackson: ‘Hubert Le Blanc’s “Défense de la viole”’, JVdGSA X (1973), 11, 69; XI (1974), 17; XII (1975), 14 [English translation and commentary]. LE STRANGE A .... Andrew Ashbee: ‘A further look at some of the Le Strange manuscripts’, Chelys 5 (1973-4), 24-41. LE STRANGE F .... Christopher D. S. Field: ‘Musical observations from Barbados, 1647-50’, MT 115 (July 1974), 565-567. LE STRANGE W1 .... Pamela J. Willetts: ‘Sir Nicholas Le Strange and John Jenkins’, ML 42/I (1961), 30-43. LE STRANGE W2 .... Pamela J. Willetts: ‘Sir Nicholas Le Strange’s collection of masque music’, British Museum Quarterly XXIX (1965), 79-81. LEYCESTER A .... H. Abbey: ‘Sir Peter Leycester’s book on music’, VdGSAJ 21 (1984), 28-44. LEYCESTER C …. Richard Carter: ‘Peter Leycester and “A Book of Lessons for the Lyro=Viol to play alone in severall Tunings’, The Viol, 2 (Spring 2006), 8-15. [Postscript in The Viol, 3, p.9] LILLY W .... Pamela J. Willetts: ‘John Lilly, musician and copyist’, Bodleian Library Record 7, No. 6 (Feb 1967), 307-311. LILLY W2 .... Pamela J. Willetts: ‘John Lilly, a re-dating’, Chelys 21 (1992), 27-37. LOCKE F .... Christopher D. S. Field: ‘Matthew Locke and the consort suite’, ML 51/i (Jan 1970), 15-25. LOCKE H .... Rosamund Harding: A thematic catalogue of the works of Matthew Locke, (Oxford, 1971). LOCKE L .... Murray Lefkowitz: The life and works of Matthew Locke (Div. of music, Boston University). LOCKE L2 .... Murray Lefkowitz: ‘Matthew Locke at Exeter’, Consort 22 (1965), 5-16. LOCKE T2 .... Michael Tilmouth: ‘Matthew Locke (1622-77)’, MT 118 (Apr 1977), 295-298. LOCKE T3 .... Michael Tilmouth: ‘Revisions in the chamber music of Matthew Locke’, PRMA 98 (1971-2), 89-100. LOCKE Th .... Robert Thompson: ‘The Sources of Locke’s Consort ‘for seaverall friends”’, Chelys 19 (1990), 16-43. LULLY S .... H. Schneider: Chronologisch-thematiches sämlicher werke von Jean-Baptiste Lully, (Tutzing, 1981). LUPO B .... Derry Bertenshaw: ‘Another Five-Part Piece by Thomas Lupo?’, Chelys 23 (1994), 1736. LUPO J1 .... John Jennings: The viol music of Thomas Lupo, (M Mus thesis, Sydney, 1967). LUPO J2 .... John Jennings: ‘The fantasias of Thomas Lupo’, Musicology III (1968-9), 34-48; reprinted in Chelys 3 (1971), 3-15. LUPO J3 .... John Jennings: ‘Thomas Lupo revisited - is key the key to his later music?’, Chelys 12

(1983), 19-22. LUTE S .... Matthew Spring: The Lute in Britain (Oxford, 2001). LUTE/VIOL G .... François-Pierre Goy: ‘Seventeenth-century viol pieces in settings for plucked strings (c.1625-c.1700)’, Chelys 23, 30-43. LUTE/VIOL S .... Matthew Spring, ‘The English lute “fantasia-style” and the music of Cuthbert Hely’, Chelys 25 (1996/1997), 65-77. LYRA Cu …. John P. Cunningham: ‘Lyra Viol Ecclesiastica: A Neglected Manuscript Source in Archbishop Marsh’s Library, Dublin’, VdGS Journal 3 (2009), 1-54. LYRA CW … John Cunningham and Andrew Woolley: ‘A Little-Known Source of Restoration Lyra-Viol and Keyboard Music, Surrey History Centre, Woking, LM/1083/91/35’,RMARC 43 (2010), 1-22. LYRA Cy .... Mary Cyr: ‘Ornamentation in English lyra viol music, part I: slurs, juts, thumps, and other “graces” for the bow’, VdGSAJ 34 (1997), 48-66; part II ditto: ‘shakes, relishes, falls, and other “graces” for the hand, VdGSAJ 35 (1998), 16-34. LYRA D .... Gordon Dodd: ‘Matters arising from the examination of some lyra viol manuscripts’, Chelys 9 (1980), 23-27, and 10 (1981), 39-41. LYRA H .... Colette Harris: ‘The viol lyra-way’, Chelys 4 (1972), 17-21. LYRA J .... J. Lejeune: La lyra-viol en Angleterre (1601-82), (unpublished Mémoire de licence, 3 vols., Liège, 1973). LYRA MJ .... M. Joiner: ‘GB-Lbl Add MS 15117, a commentary, index and bibliography’ RMARC 7, [n.d.], 51-109. LYRA N .... Graham Nelson, ‘A case for the early provenance of the Cartwright lyra-viol manuscript’, Chelys 25 (1996/1997), 107-115. LYRA O1 .... Annette Otterstedt: Die Englische Lyra-Viol: Instrument und Technik, (Bärenreiter, 1989) LYRA O2 .... Annette Otterstedt: ‘The spoon to the soup: an approach to the lyra viol’, Chelys 20 (1991), 43-51. LYRA R …. John Robinson: ‘John Leyden’s Lyra Viol Manuscript in Newcastle University Library and George Farquhar Graham’s Copy in the National Library of Scotland’, Viola da Gamba Society Journal, 2 (2008), 17-57. LYRA S .... John Sawyer: An anthology of lyra viol music in Oxford, Bodleian Library MSS Mus Sch D.245-7, (unpublished Ph D diss., Toronto, 1972). LYRA ST1 .... Ila H. Stoltzfus: The lyra viol in consort with other instruments, (unpublished Ph.D. diss., Louisiana State College and Agricultural and Mechanical College, 1982). LYRA ST2 .... Ila H. Stoltzfus: ‘“The lyra viol in consort”: an example form Uppsala, Univ. bibl. IMhs 4:3’, VdGSAJ 17 (1980), 47-59. LYRA T1 .... Frank Traficante: The Mansell lyra viol tablature, (unpublished Ph D diss., Pittsburgh, 1967). LYRA T2 .... Frank Traficante: ‘Lyra viol tunings: “All Ways have been Tryed to do It”‘, AcM XVII (1970), 183-205. LYRA T3 .... Frank Traficante: ‘Music for the lyra viols: the printed sources’, VdGSAJ 5 (1968); and LSJ 8 (1966), 7-24. LYRA T4 .... Frank Traficante: ‘Music for the lyra viols: the manuscript sources’, Chelys 8 (19789), 11-22.

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LYRA W .... Peter Walls: ‘Lyra viol song’, Chelys 5 (1973-4), 68-73. MADRIGAL K ... Joseph Kerman: The Elizabethan Madrigal: a Comparative Study, (New York, 1962). MAKERS F …. Michel J. Fleming: ‘Viol-Making in England c.1580-1660’ (Ph D thesis, Open University, 2002; published as CD-ROM by the author, 2002). MANCHESTER F .... Paul L. Furnas: The “Manchester Gamba Book”: a primary source of ornaments for the lyra viol, (unpublished Ph D diss., Stanford, 1978). MANCHESTER T .... Frank Traficante: ‘The Manchester lyra viol tablature; further information’, VdGSAJ 3 (1966), 52-55. MARAIS B .... Garrett H. Bowles: The computer-produced thematic catalog: an index to the “pièces de violes” of Marin Marais volume 1, (unpublished Ph.D. diss., Stanford University, 1978). MARAIS L .... Francois Lesure: ‘Marin Marais: sa carriére, sa famille’, RBM 7 (1953), 129-136. MARAIS McD .... B. McDowell: Marais and Forqueray, a historical and analytical study of their work for solo basse de viole, (unpublished Ph D diss., Columbia University, 1974). MARAIS N .... R. Newton: ‘Hommage … Marin Marais’, Consort (1952), 14 ff. MARAIS S .... Julie-Ann Sadie: ‘Marin Marais and his contemporaries’, MT 119 (Aug 1978), 672674. MARAIS T .... Clyde H. Thompson: The music of Marin Marais, (unpublished Ph D diss., Michigan, 1958). MARAIS Te .... A. Tessier: ‘L’oeuvre de Marin Marais’, Bulletin de la Societé de l’Histoire de l’Art Francais, (1924), 76-80. MARAIS W .... F. Winzap: ‘Marin Marais - violiste a la cour du Roi-Soleil’, Revue musical de la Suisse Romande 26/1 (1973), 10-12. MASQUE K .... Jean Knowlton: ‘Dating the Masque Dances in British Museum Additional MS 10,444’, British Library Quarterly 32 (1967), 99-102. MASQUE W .... Peter Walls: Music in the English Courtly Masque, 1604-1640 (Oxford, 1996). MERRO W .... Pamela J. Willetts: ‘Music from the circle of Anthony Wood at Oxford’, British Museum Quarterly XXIV, no. 3-4 (1961), 71-75. MEYER ECM .... Ernst H. Meyer: English Chamber Music (London, 1946). MEYER EECM .... Ernst H. Meyer: Early English Chamber Music (London, 1982). [Revision of MEYER ECM]. MEYER S .... Ernst H. Meyer: Die mehrstimmige spielmusik des 17 jahrhunderts in nord und mitteleuropa, (Cassel, 1934). MICO B-W .... John S. Bennett and Pamela J. Willetts: ‘Richard Mico’, Chelys 7 (1977), 24-46. MICO-B .... John Bennett: ‘Byrd and Jacobean consort music: a look at Richard Mico’, in BYRDST, 129-140. MICROFILM .... David Charlton: ‘A national catalogue of music microfilms’ RMARC 11, 1-70. MONTECLAIR S .... Julie-Ann Sadie: ‘Montéclair, the viol player’s composer’, VdGSAJ 15 (1978), 41-50. MORLEY J .... P. Jenkins: The life and works of Thomas Morley, (unpublished M.A. thesis, Aberystwyth, 1966). MUNDY B .... G. Blount: The instrumental ensemble music of John and William Mundy, (? Music

Dept., S. California). MUNDY R .... R. Reeve: The life and works of William Mundy, (unpublished Ph D thesis, London (Royal Holloway College), 1980). MYRIELL W1 .... Pamela J. Willetts: ‘Musical connections of Thomas Myriell’, ML 49/i (Jan 1968), 36-42. MYRIELL W2 .... Pamela J. Willetts: ‘The identity of Thomas Myriell’, ML 53/iv (Oct 1972), 431433. NAU –B …. Brian Brooks: ‘Étienne Nau, Breslau 114 and the early 17th-century violin fantasia’, Early Music (2004), 49-73. NORTH W .... John Wilson (ed.): Roger North on Music, (London, 1959). NORWAY G .... François-Pierre Goy: ‘The Norwegian Viol Tablatures’, Chelys 23 (1994), 55-72. NOTATION D L .... E. David and M. Lussy: Histoire de la Notation Musicale, (Paris, 1882), copy at US-CLwr [See TI: page TYE-4]. ORGAN G .... Dominic Gwynn, ‘The sound of the seventeenth-century chamber organ’, Chelys 25 (1996/1997), 22-31. ORGAN O .... Annette Otterstedt, ‘The compatibility of the viol consort with the organ in the early seventeenth century’, Chelys 25 (1996/1997), 32-52. ORGANISTS S .... Harold Watkins Shaw: The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c.1538, Clarendon Press, Oxford, 1991. OSBORN F …. Robert Ford, ‘Osborn MS 515: a Guardbook of Restoration Instrumental Music’, Fontes Artis Musicae 30 (1983), 174-184. OXFORD A ....G. E. P. Arkwright: Catalogue of Music in the Library of Christ Church Oxford (Oxford, 1915; reprinted 1971). OXFORD C1 .... Margaret Crum: ‘The consort music from Kirtling, bought for the Oxford Music School from Anthony Wood, 1667’, Chelys 4 (1972), 3-10. OXFORD C2 .... Margaret Crum: ‘Early lists of the Oxford Music School collection’, ML 48/i (Jan 1967), 23-34. OXFORD G .... Richard L. Greaves: ‘Music at Puritan Oxford’, MT 110 (Jan 1969), 26OXFORD M .... Falconer Madan: A Summary Catalogue of Western Manuscripts in the Bodleian Library at Oxford, 6 vols. (Oxford, 1895-1935). PANMURE C .... P. Cadell: ‘La musique francais classique dans la collection des Comtes de Panmure’, RMFC XXII (1984), 50-58. PANMURE McC .... Calum McCart: ‘The Panmure manuscripts, a new look at an old source of Christopher Simpson’s music’, Chelys 18 (1989), 18-40. PAPER T .... Robert Thompson: English music manuscripts and the fine paper trade, 1648-1688, (unpublished Ph D thesis, London (King’s), 1988). PAPER T2 .... Robert Thompson: ‘Some late sources of music by John Jenkins’ in Andrew Ashbee and Peter Holman (eds.), John Jenkins and His Time: Studies in English Consort Music (Oxford, 1996), 271-308. PAPER T3 .... Robert Thompson: ‘Paper in English Music Manuscripts: 1620-1645’ in Andrew Ashbee (ed.), William Lawes 1602-1645: Essays on his life, times and work (Aldershot, 1998), 143154. PARDESSUS G .... Robert Green: ‘The pardessus de viole and its literature’, EM 10 (July 1982), 300-307.

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PARDESSUS R1 .... Adrian P. Rose: ‘The solo repertoire for dessus and pardessus de viole published in France c.1650-C.1770: a list of works, with introduction’, Chelys 9 (1980), 14-22. [See DOLLÉ R2, of which this is a reprint] PARDESSUS R2 .... Adrian P. Rose: ‘The Pardessus de viole: Notes for a master’s thesis’, Chelys 24 (1995), 34-46. PARDESSUS S …. Richard Sutcliffe, ‘The Pardessus Book of Mademoiselle Rochette’, Viola da Gamba Society Journal 2, ii (July 2009), 1-14 [with inventory on pp. 15-55, compiled by Andrew Ashbee] PARIS E .... J. d’Écorcheville: Catalogue du Fonds de Musique Ancienne de la Bibliothèque Nationale, (8 vols), (Paris, 1907). [On GB-Ob, open shelves; at Lbl, Hirsch 292.] PARSLEY M .... John Morehen: ‘The instrumental consort music of Osbert Parsley’, Consort 30 (1974), 67-71. PARSONS B .... David Baker: ‘The instrumental consort music of Robert Parsons’, Chelys 7 (1977), 4-23. PASTON B .... Philip Brett: ‘Edward Paston (1550-1630) a Norfolk gentleman and his musical collection’, Transactions of the Cambridge Bibliographical Society IV, Part I (1964), 51-69. PASTON M .... S. McCoy: Some aspects of the Paston lute books, (unpublished M Mus. thesis, King’s College, London, 1985). PATRONAGE H .... Lynn Hulse: The Musical Patronage of the English Aristocracy, c.1590-1640, (unpublished Ph.D. thesis, King’s College, London, 1993). PEERSON C .... Richard Charteris: ‘Another six-part fantasy by Martin Peerson?’, Chelys 9 (1980), 4-9. PEERSON H .... Julia J. Heydon: ‘Martin Peerson’s “Private Musicke”, VdGSAJ 29 (1992), 1-26. PEERSON J .... A. Jones: The life and works of Martin Peerson, (unpublished M Litt thesis, Cambridge (Girton), 1956-7). PLAYFORD F .... [Letter]: Michael Fleming: ‘A bookseller’s catalogue of 1657’, Chelys 29 (2001), 61-63. PLAYFORD M .... Peter A. Munstedt: John Playford, music publisher: a bibliographical catalogue, (unpublished Ph.D. diss., University of Kentucky, 1983). PLAYFORD T .... Robert Thompson: ‘Manuscript Music in Purcell’s London’, EM 23 (1995), 605618. POOLE A …. Patxi X. del Amo Irribarren, 'Anthony Poole (c.1629-1692), the Viol and exiled English Catholics' (unpublished Ph D dissertation, University of Leeds, 2011). PULVER .... Jeffrey Pulver: A biographical dictionary of old English music, (London, 1927). PURCELL A .... Martin Adams, Henry Purcell: The origins and development of his musical style (Cambridge, 1995). PURCELL B .... Ellen TeSelle Boal: ‘Tempo indications in Purcell’s fantasias and sonatas’, VdGSAJ 31 (1994 ), 9PURCELL H1 .... Peter Holman, Henry Purcell (Oxford, 1994). PURCELL H2 .... Peter Holman, ‘Henry Purcell and Joseph Gibbs: A new source of the three-part fantasias Z732 and Z734’, Chelys 25 (1996/1997), 97-100. PURCELL Pi .... David Pinto, ‘Purcell’s In nomines: A tale of two manuscripts (perhaps three)’, Chelys 25 (1996/1997), 101-106. PURCELL Pr .... Curtis Price (ed.), Purcell Studies (Cambridge, 1995).

PURCELL ST …. Robert Shay and Robert Thompson, Purcell Manuscripts. The Principal Musical Sources, (Cambridge, 2000). PURCELL Th1 .... Robert Thompson, The Glory of the Temple and the Stage: Henry Purcell (1659-1695), (London, 1995). PURCELL Th2 .... Robert Thompson, ‘The sources of Purcell’s fantasias’, Chelys 25 (1996/1997), 88-96. PURCELL T .... Michael Tilmouth; ‘The technique and form of Purcell’s sonatas’, ML 59/ii (Apr 1959), 109-121. PURCELL W .... Jack A. Westrup: Purcell (London, 1937; rev. 1965). PURCELL Z .... Franklin B. Zimmerman: Henry Purcell (1659-95), an analytical catalogue of his music, (London, 1963). PURCELL Z2 .... Franklin B. Zimmerman: Henry Purcell, 1659-1695, his life and times (Pennsylvania, 2nd. ed. 1983). RAVENSCROFT P .... Ian Payne: ‘The sacred music of Thomas Ravenscroft’, EM 10/iii (Jul 1982), 309-314. RECM .... Andrew Ashbee: Records of English Court Music. Vol. I (1660-1685) (Snodland, 1986) Vol. II (1685-1714) (Snodland, 1987) Vol. III (1625-1649) (Snodland, 1988) Vol. IV (1603-1625) (Snodland, 1991) Vol. V (1625-1714) (Aldershot, 1991) Vol. VI (1558-1603) (Aldershot, 1992) Vol. VII (1485-1558) (Aldershot, 1993) Vol. VIII (1485-1714) (Aldershot, 1995) Vol. IX Index (Aldershot, 1996) RENAISSANCE B .... Howard M. Brown: Instrumental music printed before 1600, (Cambridge, Mass., 1965). RENAISSANCE N .... Jeremy Noble: ‘Le repertoire instrumental Anglais: 1550-85’, La Musique Instrumental de la Renaissance (Paris, 1955), 91-114. [Includes list of contents of GB-Lbl Add MS 31390.] RENAISSANCE R .... Gustav Reese: Music in the Renaissance, (London, 1954). RESEARCH W .... Ian Woodfield: ‘Recent research on the viol’, VdGSAJ 25 (Dec 1988), 53-56, thenceforward annually. RISM-TABL .... W. Boetticher (ed.): Handschriften Uberlieferte Lauten und Gitarren tablaturen des 15 bis 18 Jahrhunderts, (Munich, 1978). [Includes details of some lyra viol tablatures]. ROGERS R .... Richard Rastall: ‘Benjamin Rogers (1614-98): some notes on his instrumental music’, ML 46 (1965), 237-242. ROSSETER H .... Ian Harwood: ‘Rosseter’s Lessons for Consort of 1609’, LSJ 7 (1965), 15-23. ROUSSEAU N …. Shaun K. F. Ng: ‘Réponce de Monsieur Rousseau’, Viola da Gamba Society Journal 2, ii (July 2009), 56-77. ST BARBE U .... Margaret Urquhart: Sir John St Barbe, Bt, (Southampton, 1983).

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SCHENCK L .... S. Luttman: ‘The music of Johann Schenck: some observations’, VdGSAJ 18 (1981), 94-120. SIMPSON C .... Richard Charteris: ‘A Newly-Discovered Manuscript Copy of Christopher Simpson’s The Division-Viol’, Chelys 23 (1994), 47-54. SIMPSON Con .... Ted Conner: ‘The groundbreaking treatise of Christopher Simpson’, VdGSAJ 36 (1999), 5-39. SIMPSON M .... M. Meredith: Christopher Simpson and the consort of viols, (unpublished Ph D thesis, Cardiff, 1969). SIMPSON R .... J. Rae: Christopher Simpson - Months and Seasons, (unpublished Master’s diss., Cincinatti, 1972). SIMPSON S .... Ilse Stoltzfus: ‘Christopher Simpson’s “Little Consort”‘, VdGSAJ 21 (1984), 53-63. SIMPSON U .... Margaret Urquhart: ‘The handwriting of Christopher Simpson’, Chelys 15 (1986), 62-63. SIMPSON U2 .... Margaret Urquhart: ‘Was Christopher Simpson a Jesuit?’, Chelys 21 (1992), 326. SIMPSON U3 .... Margaret Urquhart: ‘A possible trace of Christopher Simpson’, Chelys 27 (1999), 59-61). SOMERSET B .... Michael G. Brennan: ‘Sir Charles Somerset’s Music Books (1622)’, ML 74 (1993), 501-518. STERNE B …. Claire Berget: Laurence Sterne, ‘Charles Frederick Abel and the Viol’, Viola da Gamba Society Journal, 2 (2008), 67-75. STERNE … H: Peter Holman: ‘Laurence Sterne the Musician’, Viola da Gamba Society Journal, 2 (2008), 58-66. STIRROP W .... Pamela J. Willetts: ‘Silvanus Stirrop’s Book’, RMARC 10, 101-107. STUART C .... Edward Corp: ‘The Musical Manuscripts of “Copiste Z”’, Revue de Musicologie 84/i (1998), 37-62. SUTHERLAND .... GB-En Sutherland Papers, No. 314, deposit 28 (on loan). SWEDEN-TABL .... J. Ruden: Music in tablature in Sweden, (Stockholm, 1981). SYMPHONY .... Peter Holman: ‘The Symphony’, Chelys 6 (1975-6), 10-24. TAILOUR G .... David Allen Gerig: An analysis of two English pre-Restoration devotional collections: Robert Tailour’s “Sacred Hymnes...1615” and John Amner’s “Sacred Hymnes...1615”, (unpublished D.M.A. diss., University of Illinois at Urbana-Champaign, 1987). TAILOUR T .... C. Thomas: “Sacred Hymns by Robert Tailour, a critical study and transcription, (unpublished M Mus thesis, London (King’s), 1983). TALLIS M .... John Milsom: ‘A Tallis fantasia’, MT 126 (1985), 658-662. TELEMANN K .... Gordon Kinney: ‘Telemann’s use of the viol as a solo or concertante instrument’, VdGSAJ 17 (1980), 5-27. [Includes a list of works.] THESES ENG .... Ian Bartlett and Benedict Sarnaker (eds.): ‘Register of dissertations and theses on music in Britain and Ireland: cumulative list of accepted dissertations and theses to 1991 together with Supplement 1’, RMARC 25 (1992). THESES AMS .... The International Index of dissertations and musicological works in progress, (American Musicological Society et al, 1977). TOMKINS B …. Anthony Boden: Thomas Tomkins: The Last Elizabethan, Ashgate, Aldershot,

2005. TOMKINS C .... John Caldwell: British Museum Add MS 29996, (unpublished Ph D thesis, Oxford (Keble), 1964-5). TOMKINS I1 .... John Irving: ‘Consort playing in mid-17th century Worcester; Thomas Tomkins and the Bodleian part-books Mus Sch E.415-8’, EM 12/iii (Aug 1984), 337-344. TOMKINS I2 .... John Irving: ‘Oxford, Christ Church MSS 1018-20, a valuable source of Tomkins’s consort music’, Consort 40 (1984), 1-12. TOMKINS I3 .... John Irving: The instrumental music of Thomas Tomkins (1572-1636), (New York, 1989). TOMKINS I4 .... John Irving: ‘Byrd and Tomkins: the instrumental music’, in BYRD-ST, 141-158. TOMKINS I5 .... John Irving: ‘Thomas Tomkins’s copy of Morley’s ‘A Plaine and Easy Introduction to Practical Music’, ML 71/iv (Oct 1990), 483-493. TOMKINS P …. David Pinto [letter]: ‘Thomas Tomkins and a copyist associated with him’, M&L 72 (1991), 517-18. TOMKINS S .... Denis Stevens: Thomas Tomkins, (New York, 1967). TREBLE C .... Mary Cyr: ‘Solo music for the treble viol’, VdGSAJ 12 (1973), 4-13. TREGIAN B-L .... P. Boyan and G. Lamb: Francis Tregian, Cornish recusant, (London, 1955). [Mainly concerns Tregian I, but mentions Tregian II.] TREGIAN C1 .... Elizabeth Cole: ‘In search of Francis Tregian’, ML 33 (1952), 28-32. TREGIAN C2 .... Elizabeth Cole: ‘Seven problems of the Fitzwilliam Virginal Book’, PRMA 79 (1952-3), 51-64. TREGIAN Cu .... A. Cuneo: ‘Francis Tregian the Younger: Musician, Collector and Humanist?’, ML 76 (1995), 398-404. TREGIAN D .... Bernard Schofield and R. Thurston Dart: ‘Tregian’s anthology’, ML 32 (1951), 205-216. TREGIAN S …. David J. Smith: ‘Francis Tregian the younger as music copyist’, MT 143 (Summer 2002), 7-16. TREGIAN T .... Ruby Reid Thompson: ‘The “Tregian” Manuscripts: A Study of their Compilation’, British Library Journal 18 (1992), 202-4. TREGIAN T2 .... Ruby Reid Thompson: ‘Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View’, ML 82 (2001), 1-31. TREGIAN W .... Pamela J. Willetts: ‘Tregian’s part-books’, MT 104 (1963), 334-335. UPPSALA M .... J. Mracek: Seventeenth century instrumental dances in Uppsala Library Imhs 409..., (unpublished Ph D diss., Indiana, 1965). VdGSJ …. Viola da Gamba Society Journal VIOL F .... Michael Fleming: ‘Unpacking the “Chest of Viols”’, Chelys 28 (2000), 3-19. VIOL F2 .... Michael Fleming: ‘How long is a piece of string? Understanding seventeenth-century descriptions of viols’, Chelys 31 (2003), 18-35. VIOL H …. Peter Holman: Life after Death: the Viola da Gamba in Britain from Purcell to Dolmetsch (The Boydell Press, 2010). VIOL M .... Tilman Muthesius: ‘The English Chest of Viols’, Chelys 28 (2000), 20-27. VIOL O .... Annette Otterstedt: The Viol: History of an Instrument, (Kassel, 2002).

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VIOL W .... Ian Woodfield: The early history of the viol, (Cambridge, 1984). VIOLIN C .... Mark Caudle: ‘The English repertory for violin, bass viol and continuo’, Chelys 6 (1975-6), 69-75. VIOLIN H .... Peter Holman: ‘The English Royal Violin Consort in the sixteenth century’, PRMA 109 (1982-3), 39-59. VIOLIN H2 .... Peter Holman: Four and Twenty Fiddlers. The Violin at the English Court 15401690 (Oxford, 1993). VOICE/VIOL D …. Ross W. Duffin, ‘New light on Jacobean taste and practice in music for voices and viols’, in Le Concert des voix et des instruments a la Renaissance: actes du XXXIVe Colloque Renaissance, 1-11 juillet 1991, 601-618. VOICE/VIOL M .... Craig Monson: Voices and Viols in England, 1600-50, (Ph D diss., California at Berkeley, 1974). VOICE/VIOL M2 .... Craig Monson: Voices and Viols in England, 1600-1650, the sources and the music, (UMI Research Press, Studies in Musicology No. 55, 1982). VOICE/VIOL S .... Kathryn E. Smith: Music for voices and viols: a contextual study and critical performing edition of verse anthems in Christ Church (Oxford) MSS 56-60, (unpublished D.M.A. diss., University of Illinois at Urbana-Champaign, 1988). WALSINGHAM E .... Warwick Edwards: ‘The Walsingham consort books’, ML 55/ii (Apr 1974), 209-214. WARD B .... Virginia Brookes: ‘The four-part fantasias of John Ward: one composer or two?’, Chelys 26 (1998), 52-68. WARD F .... Robert Ford: ‘John Ward of Canterbury’, VdGSAJ 23 (1986), 51-63. WARD P1 .... Ian Payne: ‘The handwriting of John Ward’, ML 65/ii (Apr 1984), 176-199. WARD P2 .... Ian Payne: ‘John Ward (c. 1589-1638): The Case for One Composer of the Madrigals, Sacred Music and Five- and Six-Part Consorts’, Chelys 23 (1994), 1-16. WARD S .... Christian Strover: John Ward’s fantasias and In Nomines, (B Litt thesis, Oxford (Hertford), 1956-7). WASHINGTON D .... Gordon J. Dodd: ‘The Coprario-Lupo five-part books at Washington’, Chelys 1 (1969), 36-40. WEELKES B .... David Brown: Thomas Weelkes, (London, 1969). WEELKES D .... Gordon J. Dodd: ‘Mr Weelkes His Second Pavin’, Chelys 9 (1980), 31-32. WHITE R S .... Irwin Spector: Robert White, composer; between two eras, (unpublished Ph D diss., New York, 1952). WHITELOCK .... Andrew Ashbee: ‘A not unapt scholar: Bulstrode Whitelock (1605-75)’, Chelys 11 (1982), 24-31. WITHIE T .... Robert Thompson: ‘“Francis Withie of Oxon” and his commonplace book’, Chelys 20 (1991), 3-27. WOOD B .... Bruce Bellingham: ‘The musical circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, VdGSAJ 19 (1982), 7-70. WOOD S .... John Derek Shute: Anthony a Wood and his manuscript Wood D 19(4) at the Bodleian Library, Oxford: an annotated transcription, (unpublished Ph D diss., International Institute for Advanced Studies, Clayton, Missouri, 1979). WOODFILL .... Walter Woodfill: Musicians in English society from Elizabeth to Charles I, (Princeton, 1953).

YALE-FILMER .... Robert Ford: ‘The Filmer MSS - a handlist’, Notes, 34, No. 4 (June 1978), 814825. YOUNG D .... Gordon J. Dodd: ‘William Young - airs for solo viol’, Chelys 9 (1980), 33-35. YOUNG M .... Stephen Morris: The life and work of William Young (?-1662), “Englander”, composer and gambist to the Archduke Ferdinand Karl of Innsbruck’, (unpublished Ph D diss., University of Washington, 2004). YOUNG M2 …. Stephen Morris: ‘William Young “Englishman”’, VdGS Journal, 1 (2007), 51-65. YORK G1 .... David Griffiths: A catalogue of the printed music published before 1850 in York Minster Library, (York, 1977). YORK G2 .... David Griffiths: A catalogue of the music MSS in York Minster Library, (York, 1981). ZIEGLER T .... Frank Traficante: ‘An extant copy of J. C. Ziegler’s ‘Intavolatura zur viola da gamba’’, Chelys 8 (1978-9), 64

II: EARLY EDITIONS AND FACSIMILES ABBÉ 1761 .... l’Abb é le fils: Principes du violon (Paris, 1761). ABEL CF 1760 .... Carl Friedrich Abel: [Sonatas for VdG] (1760?). ABEL CF 1770 .... C. F. Abel: [Pieces for VdG] (1770). ABEL CF 1771 .... C. F. Abel: [6 easy sonatas] (Amsterdam, 1771). ABEL CH 1677 .... Clamor Heinrich Abel: 3 Theil Musicalische Blumen... (Frankfurt a/M, 1677). ADSON 1621 .... John Adson: Courtly Masquing Ayres (London, 1621). AGOSTINI 1583 .... L. Agostini: Il Nuovo Echo a cinque voic .... Libro Terzo Opera Decima (Ferrara, 1583). AHLE JG 1681 .... J. G. Ahle: Anmuthige Zehn vierstimme violdigamspiele ([Muhlhausen?], 1681). AHLE JR 1650 .... J. R. Ahle: Dreifaches Zehn allerhand neuer Sinfonien ... a3, 4, 5 (Erfurt, 1650). AHLE JR 1654 .... J. R. Ahle: Neuer Sonaten, Paduanen ... a2, 3, 4, 5 (Erfurt, 1654). AMBROGIO 1599 .... [included in BELLANDA 1599]. AMNER 1615 .... John Amner: Sacred Hymns of 3, 4, 5, & 6 parts (London, 1615). ARNOLD 1659 .... G. Arnold: Canzoni, Ariae et Sonaten a 1-4 violis cum B... Op. 3 (Innsbruck, 1659). ARIVABENE 1540.... A. Arrivabene (publ.): Musica Nova... (Venetia, 1540), (21 pieces by various composers). ATTAIGNANT 1530 (1) .... P. Attaignant (publ.): Six Gaillards et Six Pavanes.. a quatre parties.. (Paris [1530]), [25 pieces by various composers]. ATTAIGNANT 1530 (2) .... P. Attaignant (ed.): Neuf basse danses, etc etc ... a quatre parties... (Paris, 1530), (51 dances). ATTAIGNANT 1547 .... P. Attaignant (publ.): Second livre contenant trois Gaillardes... etc ... a quatre parties (Paris, 1547), (50 pieces). AVENARIUS 1630.... T. Avenarius: Convivium musicale... Paduanas, Galliards.. [a4, a5] (Hamburg und Hildesheim, 1630).

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BALLARD 1613, 1626 .... P. Ballard (publ): Airs à quatre de differents auteurs (Paris, 1613, 1626). BALLARD 1659 .... R. Ballard, (publ): II. Livre d'Airs de differents autheurs a deux parties (Paris, 1659) [= RISM B/I 1659.4] BALLARD R 1662 .... R. Ballard (publ): Livre de chansons pour danser et pour boire (Paris, 1662). BALLARD P 1675 .... P. Ballard (publ): Receuil des chansonettes... (Paris 1675). BANCHIERI A 1595 .... A. Banchieri: Concerti Ecclesiastici a otto voci... (Venice, 1595). BANCHIERI A 1596 .... A. Banchieri: Canzoni alla Francese a quattro voci per sonare... (Venice, 1596) (11 pieces a4). BANISTER 1678.... J. Banister and T. Low (publ.): New Ayres and Dialogues...by Sundry Authors (London 1678). BARLEY 1596 .... W. Barley: A new booke of tabliture (London, 1596). BARNARD 1641 .... John Barnard: First book of selected church music (London, 1641). BARRIÈRE 1739 .... J. Barrière: Sonates pour le Pardessus de viole avec la Basse Continue, Livre V (Paris, 1739). BASSANO C 1585 .... Fantasie a tre voci... (Venice, 1585). BASSANO C 1591 .... Motetti, Madrigali et Canzoni ... Diminuiti per sonar... [a3-6] (Venice, 1591). BECK 1670 .... J.H. Beck: Continuatio Exerciti musica secunda (1670). BECK 1671.... J.H. Beck: Allemanden, Giguen, Couranten und Sarabanden auf der Viola da Gamba zu streichen von etlichen Accorden. (Strasburg, 1677). BECKER 1668 .... D. Becker: Sonaten fur Violin (VdG, BC), über Chorallieder. (Hamburg [?], 1668). BECKER 1674 .... D. Becker: Erster Theil/Zwei-stimmigerlSonaten und Suiten/Nebest emem gedoppelten Bc (Hamburg, 1674). BELLANDA 1599 .... L. Bellanda: Canzonette spirituali a due voci con altra a tre & a quattro da sonare (1599) (incl. 2 a3 by Ambrogio Bresciano). BENDUSI 1553 .... F. Bendusi: Opera Nova di Balli...a quatro voci... (Venetia, 1553) (24 dances). BENSBERGH 1676: see page GAULTIER-2. BERNABEI 1698 .... J. Bernabei: Orpheus Ecclesiasticus (Nüremberg, 1698) (12 symph. a 2BV/Bc). BLAINVILLE 1750 .... C. de Blainville: Premier livre de Sonates pour le dessus de viole avec la Basse Continue (Paris, 1750). BLEYER 1628 .... N. Bleyer: Erster Theil newer Pad., Gall etc. mit 5 stimmen (Hamburg 1628). BLEYER 1642 .... ditto (Leipzig 1642). BOESSET 1624 .... Boesset: Quatrieme Livre d'Airs de cour a 4-5 parties (Paris?, 1624). BOISMORTIER 1725 .... J. de Boismortier: Sonates a deux Violes, Op. 10 (Paris, 1725). BOISMORTIER 1729 .... J. de Boismortier: Vingt-sixième oeuvre ... contenant VI Sonates (Paris, 1729) (cello, viol or bassoon). BOISMORTIER 1730 (1) .... J. de Boismortier: Trentième oeuvre ... contenant diverses pièces de viole (Paris, 1730).

BOISMORTIER 1130(2) .... J. de Boismortier: Trente et unième oeuvre... contenant diverses pièces de viole avec la basse chiffre (Paris, 1730). BOISMORTIER 1731 .... J. de Boismortier: Premier livre de Pièces pour la Viole (Paris, c.1730). BOISMORTIER 1732 .... J. de Boismortier: XL Oeuvre contenant six Sonates... (Paris, 1732) (2 bassoons, celli, viols). BOISMORTIER 1734 .... J. de Boismortier: Oeuvre cinquantième ... contenant VI Sonates (Paris, 1734) (cello, bassoons, viols, a2-3). BOISMORTIER 1736 .... J. de Boismortier: Six Sonates pour le pardessus de viole avec la basse, soixante-unième oeuvre (Paris, 1736). BOISMORTIER 1737 .... J. de Boismortier: Petites Sonates, op. 66 (Paris, 1737) (2 bassoons, celli, viols). BRADE 1609, 1614, 1617, 1619, 1621 .... W. Brade: various editions of airs and dances, some in modern editions. BUONA 1592 .... V. Buona:Il Secondo Libro delle canzonette a tre voci...(Venice, 1592) (12 a3). BUUS 1541 .... J. Buus: Superius Recercar...Libro Primo a Quatro Voci ... (Venice, 1547) (10 a4). BUUS 1549 ... J. Buus: Superius Il Secondo Libro de Recercari... a quatro voci... (Venice, 1649) (8 a4). BUXTEHUDE 1694.... D. Buxtehude: VII Sonate... (Hamburg & Lubeck, 1694) (7 Sonate a2 vln, VdG, bc, Op 11). BUXTEHUDE 1696 .... ditto (Hamburg 1696). BUXTEHUDEWV …. D. Buxtehude: Sonaten für Violine, Gambe und Cembalo, ed. M. Seiffert, DDT, xi (1903, rev. 2/1957 by H. J. Moser) BYRD 1575 .... W. Byrd: Cantiones Sacrae (London, 1575). BYRD 1588 .... W. Byrd: Psalmes, Sonets and Songs... (London, 1588). BYRD 1589 .... W. Byrd: Songs of Sundrie Natures (London, 1589). BYRD 1605 .... W. Byrd: Gradualia (London, 1605). BYRD 1611 .... W. Byrd: Psalmes, Songs and Sonnets... (London, 1611). de CAIX 1145 .... B. de Caix: VI Sonates pour deux Pardessus de Viole a Cing Cordes, Violins ou Basses de Viole... (Paris, Lyon, c.1745) CAIX d'HERVELOIS 1710 .... L. de Caix d'Hervelois: Premier livre de Pièces de Viole (Paris, 1710). CAIX d'HERVELOIS 1717 .... L. de Caix d'Hervelois: Second...do. (Paris, 1717). CAIX d'HERVELOIS 1717/1: Second livre de pièces de viole (Paris, 1717); facsimile reprint, ed. James Caldwell CAIX d'HERVELOIS 1731 .... L. de Caix d'Hervelois: Troisième oeuvre contenant quatre suites de pièces (Paris, 1731). CAIX d'HERVELOIS 1731/1: Troisième oeuvre contenant quatre suites de pièces pour la viole avec la basse chifr‚ en partition (Paris, 1731); facsimile reprint, ed. J-L Charbonnier (Paris, 1974). [BV, Bc]. [46 pieces]. CAIX d'HERVELOIS 1740 .... L. de Caix d'Hervelois: Quatrième Livre de Pieces a deux violes (Paris, 1740). CAIX d'HERVELOIS 1748/1: Cinquième livre de pièces de viole (Paris, 1748); facsimile reprint,

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ed. J-L Charbonnier (?) [BV, Bc]. [63 pieces]. CAIX d'HERVELOIS 1748 .... L. de Caix d'Hervelois: Cinquième livre de pièces de viole (Paris, 1748). CAIX d'HERVELOIS 1751 .... L. de Caix d'Hervelois: Sixième livre de pièces pour Un pardessus de viole... avec la basse... Neuvième oeuvre (Paris, 1751). CAIX d'HERVELOIS 1751: VIe Livre. Pièces pour un Pardessus de Viole a cinq et six cordes avec la Basse... (Paris, 1751). CAIX d'HERVELOIS 1753 ... L. de Caix d’Hervelois: Cinquième livre de pièces pour Un pardessus de viole...avec la basse ... dixième oeuvre (Lyon, 1753). CAMPION 1613 .... T. Campion: First and second books of ayres (London, 1613?). CAPPUS 1730 .... Premier Livre de Pièces de Viole (Paris, 1730). CAROLO 1710 .... See [ROSIER]. dalla CASA 1584 .... G. dalla Casa: Il vero modo di diminuir (Venetia, 1584) (25 bastarda settings of various composers' madrigals etc.). du CAURROY .... E. du Caurroy: Fantaisies a III, IV, V et VI parties (Paris, 1610). CAVACCIO 1597 .... G. Cavaccio: Musica ... A Quattro Voci (Venice, 1597) (25 named pieces, a4). de CAUS 1615 .... S. de Caus: Institution Harmonique (Frankfort, 1615). CHAMBONNIÈRES 1670 ....J.C.de Chambonnières: Pièces de clavessin, Livre II (Paris, 1670); i.e. RISM A/I C 1786. CHRISTENIUS 1619(1) .... J. Christenius: Omnigen Mancherley manier newer welti. Lieder, Paduanen... (Erfurt, 1619) (15 a5). CHRISTENIUS 1619(2) .... J. Christenius: Pfeil in welchen befinder Newe weltl. Lieder... (Leipzig, 1619) (6 a4). CIMA 1598.... G. Cima (12 a2 in GASTOLDI 1598). CLAMER 1682 .... A. Clamer: Mens harmonica ... 42 varioribus sonatinis (Salzburg 1682). COMPLEAT V .... Anon.: The Compleat Violist... (London, c.1700). COMPLEAT V/1 .... H. Klemt: Anon.: The Compleat Violist... (London, c.1700), facsimile reprint. CORKINE 1610 ....W. Corkine: Ayres to sing and play to the lute and basse violl (London, 1610). CORKINE 1610/1 .... W. Corkine: Ayres to sing and play to the lute and basse violl, facsimile reprint (Menston, 1970). CORKINE 1612 .... W. Corkine: The second book of ayres (London, 1612). CORKINE 1612/1 .... W. Corkine: The second book of ayres, facsimile reprint (Menstone, 1970). CORRETTE ND(1) .... N. Corrette: Les Délices de la Solitude... (sonatas for cello, viol or bassoon, with Bc) (Paris, no date). CORRETTE ND(2) .... N. Corrette: Le Phénix... concert pour quatre violoncelles, violes ou bassons (Paris, no date). COSYN J 1585 .... J. Cosyn: Musicke of six andfive parts... on the common tunes (London, 1585). COUPERIN F 1724 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts (Paris, 1724). COUPERIN F 1724/1 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts, facsimile reprint

(Geneva, 1979). COUPERIN F 1728 .... F. Couperin: Pièces de Viole... (Paris, 1728). COUPERIN F 1728/1 .... S.L. Robinson (ed.): F. Couperin: Pièces de Viole..., modern edition (Paris, 1972).) CRACOW BV/1 .... Gordon Dodd (ed.), facsimile reproduction of a MS, at one time in Cracow University Library, now at Warsaw (Pt-Wtm). DAY 1560 .... J. Day: Certaine Notes... (London, 1560). DEMANTIUS 1601 .... J. C. Demantius: Sieben und Siebenzig newe auss. lieb. ... tanze (a5) (Nuremberg, 1601). DEMANTIUS .... J. C. Demantius: Fasciculus Chorodiarum (dances a4-5) (Nuremberg, 1613). DOLL É 1737(1) .... C. Dollé: Pièces de viole, op. 2 (Paris, 1737). DOLLÉ 1737(2) .... C. Dollé: Sonates ..., op. 4 (duos etc. in F-Pn Vm7 6304) (Paris, 1737). DOLLÉ 1754 .... C. Dollé: Sonates..., op. 6 (2 pardessus de viole, in F-Pn Vm76305) (Paris, 1754). DOWLAND 1604 .... Dowland: Lachrimae, or Seaven Teares figvred in Seaven Passionate pauans, with diuers other Pauans, Galiards, and Almands, set forth for the Lute, Viols, or Violins, in fiue parts (London, 1604). DOWLAND 1604/1 .... Dowland: Lachrimae..., facsimile reprint, ed. Warwick Edwards, (Boethius Press, Leeds, 1974; 2nd. rev. ed. Severinus Press, Newbury, 1992). DOWLAND R 1610(1) .... R. Dowland: A Musicall Banquet (London, 1610). DOWLAND R 1610(2) .... R. Dowland: Variety of Lute Lessons (London, 1610). DRETZEL 1620 .... V. Dretzel: Serulum Musicale (a4, a8) (Nuremberg, 1620). DUMONT 1657 .... H. Dumont: Meslanges a ii, iii et v parties (Paris, 1657). EAST 1610 .... M. East: The Third Set of Bookes... (London, 1610). EAST 1618 .... M. East: The Fift Set of Bookes.. (London, 1618). EAST 1624 .... M. East: The Sixt Set of Bookes... (London, 1624). EAST 1638 .... M. East: The Seventh Set of Bookes... (London, 1638). ELIZABETHAN: for other Elizabethan entries see CONSORTS. ENGEUWIN 1616, 1617, 1622 .... Engelmann: Fasciculus 5 voc... (Leipzig 1616, 1617, 1622). ERLEBACH 1694.... P.H. Erlebach: VI Sonate a v... (vln, VdG, Bc) (Nurnberg, 1694). ESTREES 1559(1), (2), (3) .... J. D'Estrees: Premier...Second...Tiers Livre de Danseries ... a quatre parties (Paris, 1559). EX MUS 1660 .... Anon: Exercitium Musicum (113 3-part dances) (Frankfurt, 1660). FALCONIERI 1650 .... A.Falconieri: Il primo libro... (Naples, 1650). FARINA 1626, 1621, 1628 .... C. Farina: Libro Primo.. Ander Theil...Terzo.. Quarto...Funften (Dresden 1626, 1627, 1627, 1628, 1628). FARNABY 1625-39 .... G. Farnaby: The Psalmes ofDavid, to fower parts, for viols and voyce, the first book Doricke Mottoes, the second, Divine Canzonets (London, between 1625 and 1639). FERRABOSCO II 1609 .... Alfonso Ferrabosco II: Lessons for 1, 2 and 3 viols (London, 1609). FERRABOSCO II 1609/1: Lessons for 1, 2 and 3 viols (London, 1609); facsimile reprint (New

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York, 1973). LE FÈVRE [1703] .... Le Fèvre: Suittes faciles (Amsterdam, no date [1703]). FINGER 1688 .... G. Finger: Sonatae XII Pro Diversis Instrumentis... ad Basin Continuum pro Organo seu Clavicymbalo formantur (Op. 1, 1688). FIORÉ 1698 .... A. M. Fioré: Trattenimenti da camera a due stromenti (Lucca, 1698). FONGHETTI 1598 .... P. Fonghetti: Capricii et madrigali... a due voci (Verona, 1598) (16 instrumental pieces, named). FORD 1607 .... T. Ford: Musicke of Sundrie Kindes (London, 1607). FORD 1607/1: Musicke of Sundrie Kindes (London, 1607); facsimile reprint, ed. David Greer (Scolar Press, Menston, 1971). FORMSCHNEIDER 1538 .... H. Formschneider (publ.): Tenor Trium vocum Carmina... (Nuremberg 1538), (100 unattributed trios). FORQUERAY 1741(1) .... A. & J-B Forqueray: Pièces de viole avec la Basse Continue composées par Mr Forqueray le père (Paris, 1747). FORQUERAY 1747(1)/1: Antoine and Jean-Baptiste Forqueray: Pièces de viole avec la Basse Continue composes par Mr Forqueray le père (Paris, 1747); facsimile reprint (Geneva, 1976). FORQUERAY 1747(2) .... ditto ‘mise en pièces de clavecin par Mr Forqueray le fils’ (Paris, 1747). FRANCK 1603-23 .... (10 volumes of dances a4-6, publ. 1603-23). FRESCOBALDI 1608 .... G. Frescobaldi: Il primo libro delle fantasie a quattro (Milan, 1608). FRESCOBALDI 1615 .... G. Frescobaldi: Recercari, et canzoni franzese...libro primo (Roma, 1615). FRESCOBALDI 1628 .... G. Frescobaldi: Il primo libro delle canzoni (al-4) (Roma 1628). FRESCOBALDI 1634 .... G. Frescobaldi: Canzoni da sonare (al-4 plus Bc) (Venezia, 1634). FRITSCH 1606 .... B. Fritsch: Primitiae musicales... (dances a4) (Frankfort am Main, 1606). FUHRMANN 1615 .... C.L. Fuhrmann: Testudo gallo-germanica ([Nuremberg?], 1615). FULLSACK 1607 .... Z. Fullsack & C. Hildebrand: Ausserlesener Paduanen... (Heidelberg, 1607). FUNCK 1617 .... D. Funck: Stricturae Violdegambicae (Leipzig, 1677). GABRIELI 1581 .... A. & G. Gabrieli: Concerti.. Libro et secondo... (Venetia, 1587) (incl. 1 ric. per sonar by A. Gabrieli). GABRIELI A 1589 .... A. Gabrieli: Madrigali et Ricercari...a Quattro Voci... (Venetia, 1589). GABRIELI A 1590 .... A. Gabrieli: Madrigali et Ricercari...a Quattro voci (Venetia, 1590). GABRIELI-PADOVANO .... A. Gabrieli & A. Padovano: Dialoghi Musicali (Venetia, 1590). GABRIELI G 1591 .... G. Gabrieli: Sacrae Symphoniae (1597). GABRIELI G 1608 ... G. Gabrieli: (6 canzoni, 1608). GABRIELI G 1615 ... G. Gabrieli: Canzoni et Sonate (1615). GALILEI 1584 .... V. Galilei: Contrapunti a due voci... (Fiorenza 1584). GALLUS 1598 ... J. Gallus: Totius Libri primie.. (Mediolani, 1598). GANASSI 1542 .... S. Ganassi: Regole Rubertina (Venetia, 1542).

GARDANE 1551 .... A Gardane or Gardano (publ.): Fantasie, Recercari, Contrapunti a Tre voci.. (Venetia, 1551). GASTOLDI 1598 .... G. Gastoldi and others:. .Il primo Libro della musica a due voci (Milan, 1598). GAULTIER D LG/1 F. Lesure & F.-P. Goy (eds.), G. Gastoldi and others:... Il primo Libro della musica a due voci, facsimile ed. from original in D-Bkk MS 78.C.12 Geneve 1991. GERLE 1532.:.. H. Gene (ed.): Musica Teusch... (Nuremberg, 1532) (including 17 songs a4). GERLE 1546 .... H. Gene (ed.): Musica und Tablatur... (augmented version of GERLE 1542) (Nürnberg, 1546). GERVAISE 1550(1) .... C. Gervaise (ed.): Quart livre de danceries a quatre parties contenant xix pavanes & xxxi gaillardes... (Paris, 1550). GERVAISE 1550(2) .... C. Gervaise (ed.): Cinqiesme livre de danceries ... a quatre parties... (53 Bransles a4) (Paris, 1550). GERVAISE 1555 .... C. Gervaise (ed.): Sixieme Livre de danceries quatre parties ... (50 Bransles a4) (Paris, 1555). GERVAISE 1557 .... C. Gervaise (ed.): Troisieme Livre de danceries á quatre et cinq parties... (42 dances a4-5) (Paris, 1557). GETZMANN 1613 .... W. Getzmann: Phantasiae sive cantiones (Frankfurt am Main, 1613). GIBBONS 1620 .... Orlando Gibbons: Fantazies of Three Parts (London, c.1620) GORTON 1701 .... W. Gorton: A choice collection of new ayres...for two bass viols (London, l701). GROH 1603 .... J. Groh: 36 neue ... Intraden a5 (Nuremberg, 1603. GROH 1604 .... J. Groh: Dreisig neue auss. pav. & gall. (Nuremberg, 1604). GROH 1612 .... J. Groh: Dreisig...pav. & gall... (Nuremberg, 1612). GUAMI 1588 .... F. Guami: Ricercari a due voci... (Venetia, 1588) (23 duets). GUILLET 1610 .... C. Guillet: Vingt quatre fantasies a quatre parties, disposées selon l'ordre des douze modes (Paris, 1610). GUMPELZHAIMER 1595 .... A. Gumpelzhaimer: Compendium Musicae Latino Germanicum... (1595) (6 Ricercari by various composers). HACQUART C 1686(1) .... C. Hacquart: Chelys, op. 3 (Amsterdam, 1686). HACQUART C 1686(2) .... C. Hacquart: Harmonia Parnassia sonatarium trium... Op.2 (Utrecht, 1686). HACQUART C 1700-10 .... C. Hacquart: 12 sonatas for 2 VdG (Amsterdam c.1700-10). HADRIANIUS 1600 .... E. Hadrianius: Pratum Musicum (Antwerp, 1600). HAGIUS 1604 .... C. Hagius: Neue deutsche Tricinen (Heidelberg 1604). HAGIUS 1610 .... C. Hagius: Ander Theil (Frankfurt, 1610). HAGIUS 1617 .... C. Hagius: Neue kunstliche Musik, Intraden etc.(Nürnberg, 1617). HAMMERSCHMIDT 1636 .... A. Hammerschmidt: Erster Fleiss ... Paduanen (5 viols & Bc) (Freiberg, 1636). HAMMERSCHMIDT 1639 .... A. Hammerschmidt: Ander Theil.. .neuer Paduanen, Canzonen... (Freiberg, 1639).

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HAMMERSCHMIDT 1643 .... A. Hammerschmidt: Ander Theil weitliche Oden oder Liebegesange (incl. VdG obbligato) (Freiberg, 1643). HAMMERSCHMIDT 1650 .... A. Hammerschmidt: Dritter Theil...neuer Paduanen... (Leipzig, 1650). HASE 1610 .... G. Hase: Newe froliche...Tanz (Nürnberg, 1610). HASSLER 1601(1) .... H. Hassler: Lustgarten... (Nürnberg, 1601). HASSLER 1601(2) .... H. Hassler: Sacri Concentus... (Nürnberg, 1601). HAUSMANN 1598, 1599 .... V. Hausmann: Neue artige ... Tanze (Nürnberg, 1598 and 1599 (same contents)). HAUSMANN 1602 .... V. Hausmann: Venusgarten (Nürnberg, 1602). HAUSMANN 1603 .... V. Hausmann: Rest. von Poln. etc ... Tanzen (Nürnberg, 1603). HAUSMANN 1604 .... V. Hausmann: Neue Intrade (Nürnberg, 1604). HESSEN 1555 .... P. Hessen & Bartholomeus (eds.): Etlicher gutter Teutscher und Polnischen Tentz... (155 pieces a4-5) (Breslaw, 1555). HEUDELINNE 1701 .... L. Heudelinne: Trois Suites de Pièces a Deux Violles (Paris, 1701; Amsterdam 1708). HEUDELINNE 1705 .... L. Heudelinne: Second Livre de Pièces (Paris, 1705, 1710). HEUDELINNE 1705/1: Louis Heudelinne, Second Livre de Pièces (Paris, 1705,1710); facsimile reprint (Geneva, 1989). HILDEBRAND 1609 .... C. Hildebrand: Ander Theil, ausserlesener lieblicher Paduanen, und ... Galliarden, mitfünff stimmen... (Hamburg, 1609) HÖFFLER 1695 .... C. Höffler: Primae Chelicae... (Nurnberg, 1695). HOLBORNE 1597 .... A. Holborne: The Cittharne School (London, 1597). HOLBORNE 1599 .... A. Holborne: Pavans, Galliards, Almains... (London, 1599). HOLBORNE 1599/1 .... S. Beck (ed.): ditto, modern edition (New York, 1940). HOLBORNE 1599/2 .... B. Thomas (ed.): ditto, modern edition (London, 1980). HOVE 1612 .... J. van den Hove: DelitiaeMusicae (Antwerp 1612). HUGARD 1750 .... Hugard: ‘La Toilette’, pieces nouvelles pour le pardessus de viole à cinq cordes (with Bc) (Paris, c.1750). HUME 1605 .... T. Hume: First Part ofAyres (London, 1605). HUME 1605/1 .... F. Traficante (ed.): ditto, facsimile reprint (Menston, 1969). HUME 1607 .... T. Hume: Captain Hume’s Poeticall Musicke (London, 1607). HUME 1607/1 .... F. Traficante (ed.): ditto, facsimile reprint (Menston, 1969). INGEGNIERI 1579 .... M’A. Ingegnieri Il secondo Libro de Madrigali... (incl. 2 Canzoni a4) (Venetia, 1579). JONES 1601 .... R. Jones: The Second Booke of Songs and Ayres (London, 1601). JONES 1608 .... R. Jones: Ultimum Vale, or The Third Booke of Ayres (London, 1608). JULIO 1540 .... Julio da Modena: (13 Ricercari a4) (1540). KELZ 1669 .... Kelz: Epidigma harmoniae novae variae ... a Violino, e Viola da Gamba... (1669).

A KEMPIS 1644, 1647, 1649 .... N. A Kempis: Symphoniae ... Op. 1, Op. 2 Lib. I, Op 3 (Antwerp 1644, 1647, 1649). KINDERMANN 1653 .... J.E. Kindermann: Canzoni, Sonatae Una Duabus, Tribus & Quaturo violis... Pars Prior (Nurnberg, 1653. KON FANT 1648 .... XXKonincklyken Fantasien om op 3 Fioolen de Gamba... (Amsterdam, 1648). KON FANT 1648/1 .... E. Schreurs & M. Sanders: ditto, facsimile reprint (Peer, 1987). KON FANT 1648/2 .... H. Mönkemeyer: ditto, facsimile reprint (Celle, 1985). KONWALINKA 1673 .... P. Konwalinka: Jenische Abendmusik... (Jena, 1673). KREMBERG 1686 .... J. Kremberg: Musicalische Gemüths Ergotzung (40 accompanied songs; viol (10 tunings) & lute tablature) (Dresden 1689), KRIEGER 1688 .... J. Krieger: 12 sonate a2 ... Op. 1 (Nürnberg, 1688). KRIEGER 1693 .... J. Krieger: 12 sonate a2 (Nürnberg, 1693). KROMBHORN 1612 .... T. Krombhorn: Neue Paduanen... (Liegnitz, 1612). KÜHNEL 1698:.... A. Kühnel: Sonate o Partire ad una o due Viole da Gamba, con il Basso Continuo (Cassel 1698). KÜHNEL 1698/1 .... ditto, facsimile reprint (Peer, 1984). LASSO 1577 .... O. di Lasso: Novae Aliquot... ad duas voces... Cantiones... (24 pieces a2) (1577). LICINO 1545 .... A. Licino: Primo libro di duo cromatici... (20 canons a2) (Venetia, 1545). LOCKE 1656 .... Matthew Locke his Little Consort of Three Parts (London, 1656). LOCKE 1656/1 .... I. Gammie (ed.): ditto, modern edition (Harpenden, no date). LOCKE 1673 .... M. Locke: The Present Practice ofMusick Vindicated (London, 1673). LOW 1678 .... Low & Banister (publ.): New Airs & Dialogues (London, 1678). LOWE 1664 .... J. Lowe: Sonaten, Canzonen & Capriccen (incl. duets for violin and viol) (Jena, 1664). LUPACHINO 1559 .... B. Lupachino & J. Tasso:Il Primo Libro a Due Voci... (incl. 13 by Lupachino, 15 by Tasso) (Venetia, 1559). LUPACHINO 1565 .... B. Lupachino & J. Tasso: Il primo libro a note negre a due voci... (Venetia, 1565. LUTKEMAN 1597 .... P. Lutkeman: Der Erste Theil...Paduanen und Galliarden ... mit 5, 6 & mehrstimmen... (Stettin, 1597). LYTTICH 1610 .... J. Lyttich: Venus Glocklein oder newe welt Gesange... (Jena, 1610). MACE 1676 .... T. Mace: Musick’s Monument (London, 1676). MACE 1676/1 .... ditto, facsimile reprint (Paris, 1958). DE MACHY 1685 .... De Machy: Pieces de Violle (Paris, 1685). DE MACHY 1685/i .... ditto, facsimile reprint (Geneve, 1973). MAINERO 1578 .... G. Mainero: Ilprimo libro de Balli a quattro voci... (Venetia, 1578). MALVEZZI 1577 .... G. Malvezzi: Ilprimo libro de Recercari a Quattro Voci... (Perugia, 1577). MARAIS 1686 .... M. Marais: Pièces à une et à Deux Violes (Paris, 1686; ‘Basse-continues’ added in 1689) (also Amsterdam, 1701).

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MARAIS 1686/i .... ditto, facsimile reprint... MARAIS 1686/2 .... J. Hsu (ed.): ditto, modern edition (New York, 1980). MARAIS 1692 .... M. Marais: Pièces en trio (Paris, 1692; also Amsterdam, 1697). MARAIS 1692/i .... ditto, facsimile reprint... MARAIS 1701 .... M. Marais: Second Livre de Pièces de Viole (Paris, 1701; also Amsterdam, 1702). MARAIS 1701/i .... ditto, facsimile reprint... MARAIS 1701/2 .... J. Hsu (ed.): ditto, modern edition (New York, 1986). MARAIS 1711 .... M. Marais: Troisieme Livre de Pièces de Viole (Paris, 1711; also Amsterdam, c.1712). MARAIS 1711/i .... ditto, facsimile reprint. MARAIS 1717 .... M. Marais: Quatrieme Livre de Pièces a une et a trois violes (Paris, 1717; also Amsterdam, before 1737). MARAIS 1717/i .... ditto, facsimile reprint... MARAIS 1723 .... M. Marais: La gamme et autres morceaux de symphonie (Paris, 1723). MARAIS 1723/i .... ditto, facsimile reprint... MARAIS 1725 .... M. Marais: Cinquième Livre de Pièces de Viole (Paris, 1725). MARAIS 1725/i .... ditto, facsimile reprint. MARAIS R 1735 .... R. Marais: Premier livre de Pièces de Viole avec la basse chiffré... (Paris, 1735). MARAIS R 1735/1 .... ditto, facsimile reprint (Génève, c.1984). MARAIS R 1735/2 .... ditto, facsimile reprint (Oberlin, 1985) MARAIS R 1738 .... R. Marais: Second livre de pièces de Viole... (Paris, 1738). MARAIS R 1738/1 .... J-L. Charbonnier (ed.): ditto, facsimile reprint (Paris, 1981). MARAIS R 1738/2 .... ditto, facsimile reprint (Génève c.1984). MARAIS R 1738/3 .... ditto, facsimile reprint (Oberlin, 1985). MARC 1724 .... T. Marc: Suitte de pièces de dessus et de pardessus de viole et trois Sonates, avec les basses continue (Paris, 1724). MARC 1724/1 .... ditto, facsimile reprint (Génève, 1988). MARC 1724/2 .... A.P. Rose (ed.): ditto, modern edition (Ottawa, 1983). MASCHERA 1584 .... F. Maschera: Libro primo de Canzoni da Sonare a Quattro Voci... (21 canzoni a4) (Brescia 1584). MATHEW 1652 .... R. Mathew: The Lute’s Apology (London, 1652). MAYNARD 1611 .... J. Maynard: XII Wonders of the World (London, 1611). MAYNARD 1611/1 .... ditto, facsimile reprint (Menston,...). MAZZI 1596 .... L. Mazzi: Ricercari a Quattro et Canzoni a quattro, a cinque et a otto voci... (Venetia, 1596).

MERCKER 1609 .... M. Mercker: 20 Neue ... Paduanen & Galliarden... (Helmstedt, 1609). MERULO 1574 .... C. Merulo: Il primo libro de Ricercari ... a quattro voci... (Venetia, 1574). MÉTRU 1642 .... N. Métru: Fantasies à Deux Parties pour les Violles... (Paris, 1642). MODERNE 1545 .... J. Moderne (publ.): Musique de Joye... (51 pieces a4 by Willaert, Julius de Modena etc) (Lyon, c.1545). MÖLLER 1610 .... J. Möller: Neue Paduanen... (Frankfurt, 1610). MONTECLAIR 1697 .... M. Monteclair: Serenade (Paris, 1697). MOREL 1709 .... Morel: Premier Livre de Pièces de Viole (Paris, 1709). MORLEY 1595 .... T. Morley: The First Booke of Canzonets to two Voyces (London, 1595). MORLEY 1595(1)/i .... E.H. Fellowes (ed.): ditto, modern edition (London, 1928). MORLEY 1595(1)/2 .... G. Hunter (ed.): ditto, facsimile reprint (Urbana, 1990). MORLEY 1595(2) .... T. Morley: Canzonets or little short songs to three voices (London, 1595). MORLEY INTRO .... T. Morley: A Plaine and Easie Introduction to Practicall Musicke (London, 1597). MORLEY INTRO/i .... E.H. Fellowes (ed.): ditto, facsimile reprint (London, 1937). MORLEY INTRO/2 .... A. Harman (ed.): ditto, modern edition (London, 1952). MOSS 1671 .... J. Moss: Lessons for the Bass Viol (London, 1671). MOULINI É 1629 .... [Lute Airs, Book III, 1629]. MOULINI É 1639 .... E. Moulinié: Cinquiesme Livre d’Airs de Cour a quatre et cinq parties... (Paris, 1639). MOULINI É 1658 .... E. Moulinié: Meslanges... (11 pavans for VdG and lute) ([Paris?], 1658). MOY 1631 .... L. de Moy: La petit Boucquet... (Emden, 1631). MYRIELL 1616 .... T. Myriell: Tristitiae Remedium (GB-Lbl Add MSS 29372-77). NEVELL 1591 .... J. Baldwin (scribe): My Ladye Nevells Book (MS, 1591). NEVELL 1591/1 .... H. Andrews (ed.): ditto, modern edition (London, 1926). NICOLAI 1675 .... J. Nicolai: Erster Theil... (Augsburg, 1675). OROLOGIO 1597 .... A. Orologio II: Intradae ... quinque & sex vocibus, Liber Primus... (8 a5, 20 a6) (Helmstadt, 1597). ORTIZ 1553 .... D. Ortiz: Trattado de Glosas Clausulas (Rome, 1553). ORTIZ 1553/1 .... M. Schneider (ad.): ditto, modern edition (Kassel, 1967). OTTO 1611 .... Otto: Neue Pad., Gall... (Leipzig, 1611). PEETRINO 1583 .... J. Peetrino: Il primo libro de Madrigali a quatro voci... (Venetia, 1583). PETERSEN 1683 .... D. Petersen: Speel Stuckan... (Amsterdam, 1683). PEUERL 1611, 1613, 1620, 1625 .... P. Peuerl: (4 editions of dances). PHALESE 1571 .... P. Phalèse & J. Bellère (publ.): Liber Primus Leviorum Carminum... (103 dances) (Lovani, 1571). PHALESE 1583 .... P. Phalèse & J. Bellère (publ.): Chorearum Molliorum Collectanaa... (Antwerp,

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1583). PHALESE 1590 .... P. Phalèse & J. Bellère (publ.): Bicinia... (about 20 duets by various composers) (Antwerp, 1590). PHILIDOR 1700 .... A-D. Philidor: Pièces a deux basses de viola, bass de violon at basson (Paris, 1700). PHILIDOR 1700/1 .... ditto, facsimile reprint (Geneva, 1988). PILKINGTON 1605 .... F. Pilkington: The first booke of songs or ayres of four parts (London, 1605). PILKINGTON 1624 .... F. Pilkington: The Second Set of Madrigals (includes the six-part fantasy) (London, 1624). PILKINGTON 1624/1 .... E.H. Fellowes: ditto, modern edition The English Madrigalists 26 (London, 1920, rev. T. Dart). PLAYFORD .... J. Playford (publ., London). PLAYFORD BI 1654, 1662 .... A Breefe Introduction to the Skill of Musick (London, 1654 and 1662). PLAYFORD CA 1655 Court Ayres (London, 1655). PLAYFORD CMA 1662 Courtly Masquing Ayres (London 1662). PLAYFORD DIV VLN 1685 etc The Division Violin (London, 1685 etc., various editions until c.1730. PLAYFORD EDM 1651-1728 The English Dancing Master (many editions from 1651 to 1728). PLAYFORD LCG 1652 A booke of new lessons for the cittern and gittern (London, 1652). PLAYFORD MDC 1666 Musick’s Delight on the Cithren (London, 1666). PLAYFORD MB 1651 A Musicall Banquett. Part 1: lyra viol lessons. Part 2: Musica Harmonia (as below). Part 3: Musick and mirth, rounds or catches a3. PLAYFORD MH 1651 Musica Harmonia, or choice Almans, Corants and Sarabands. PLAYFORD MH 1663, 1678 Musick’s Handmaide (London, 1663, 1678). PLAYFORD MR 1689 The second part of Musick’s Hand-maid (London, Henry Playford, 1689). PLAYFORD MRLV 1652/5 Musick’s Recreation on the Viol, Lyra-Way (London, 1652 or 1655). PLAYFORD MRLV 1661, 1669, 1682 ditto (London 1661, 1669, 1682). PLAYFORD MRLV 1682 D .... N. Dolmetsch (ad.): facsimile reprint of the harp-way sharp pieces in MRLV (London, 1960). POSCHIO 1618, 21, 26 .... I. Poschio: 3 editions of dances (Regensburg 1618; Nürnberg, 1621, 1626). PRAETORIUS 1612 .... M. Praetorius: Terpsichore... (Wolfenbuttel, 1612). PRAETORIUS 1612/1 .... B. Thomas (ed.?): ditto, modern edition (London,...) PURCELL 1683 .... H. Purcell: Sonnata’s ofIII Parts... (London, 1683). PURCELL 1683/1 .... R. Luckett: ditto, facsimile reprint (London, 1975). PURCELL 1683/2 .... Purcell Society (ed. M. Tilmouth): ditto, modern edition (London, 1990). PURCELL 1697 .... H. Purcell: Sonnata’s ofIV Parts... (London, 1697).

PURCELL 1697/1 .... Purcell Society (ed. M. Tilmouth): modern edition (London, 1990). RAVAL 1593 .... S. Raval:Il Primo Libro di Canzonette a quattro voci... (incl. 3 ricarcari) (Venetia, 1593). RAVAL 1596 .... S. Raval:Il Primo Libro di Ricercari a quattro voci cantabili par Liuti, Cimbali at Viola d’arco... (Palermo, 1596). REINCKEN 1687.... J. Reincken: Hortus Musicus... (works for V V VdG) (1687). RIVANDER 1613 .... P. Rivander: Prati Musich, Andar Theil, (Ansbach, 1613). RIVANDER 1614 .... P. Rivander: Neue lustige Courante... (Ansbach, 1614). ROBERDAY 1660 .... F. Roberday: Fugues at caprices a quatre parties (Paris, 1660) (at F-Pn, Vm7 1812; for organ but playable on viols). ROBINSON 1603 .... T. Robinson: The Schoole ofMusicke (London, 1603). ROGER 1703 .... E. Roger (ad.) Suittes faciles pour un violon ou une flute at une basse continue (Amsterdam (c.1703). ROGET 1739 .... C. Roget: Sonatas pour deux Pardessus de Violas, flutes ou violons Op. 1 (Paris, c.1739). ROSENMÜLLER 1645.... J. Rosenmüller: Paduanen...etc (Leipzig, 1645). ROSENMÜLLER 1654 .... J. Rosenmüler: Studentenmusik... (Leipzig, 1654). [ROSIER] 1710 .... Carolo [Rosier] X Sonata... (Amsterdam, c.1710) (for 2 bass viols and Bc). ROSSETER 1609 .... P. Rosseter: Lessons for Consort (London, 1609) (dances a4-5). ROTH 1624 .... C. Roth: Couranten-Lustgartlein... (Dresden, 1624). RUDENIUS 1600 .... J. Rudenius: Floras Musicae (Heidelberg, 1600). RUFFO 1564 .... V. Ruffo: Capricci in Musica a tre voci (Milan, 1564). RUFFO 1564/1 .... R. Bodig (ad.): ditto, facsimile reprint and modern edition (Miami, 1984). STE-COLOMBE ND .... Sainte-Colombe: Concerts à deux Violes Esgales (F-Pn Res Vma ms.866). STE-COLOMBE ND/i .... P. Hooreman (ed.): ditto, modern edition (Paris, 1973). SCALETTA 1590 .... O. Scaletta: Il secondo libro de Madrigaletti a cingue voci... con una canzone Francese... (Venetia, 1590). SCHÄFFER 1622 .... Schäffer: Pratum musicale flosculis (58 a4) (Leipzig, 1622). SCHÄFFER 1626 .... Promuldis Epuli musicalis (36 a3) (Leipzig, 1626). SCHEIDT 1621, 1622, 1625, 1627 .... S. Scheidt: Paduana...(1621, 1 & 2 pars ludorum (1622), 3 pars... (1625), 4 pars... (1625) (Hamburg). SCHEIN 1609 .... J. Schein: Venuskrantzlein... (Wittenberg, 1609). SCHENCK 1688 .... J. Schenck: Uytgevondene tyd en Konstoeffeningen (15 Sonatas, Op 2, Amsterdam, 1688). SCHENCK 1688/1 .... P. Stryckers (ed.): ditto, facsimile reprint (Peer, 1986). SCHENCK 1691 .... J. Schenck: Il Giardino armonico (Amsterdam, 1691 or 1692. SCHENCK 1692 .... J. Schenck: Scherzi Musicali op. 6 (Amsterdam, 1692). SCHENCK 1692/1 .... ditto, modern edition: Vereniging voor Nederlandse Musikgeschiedenis -28.

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SCHENCK 1692/2 .... ditto, facsimile reprint (Beziers ... ). SCHENCK 1694(1) .... J. Schenck: Le Nymphe di Rheno Op. 8 (Amsterdam, c .1694). SCHENCK 1694(l)/i .... ditto, modern edition, EDM44 (1956). SCHENCK 1694(2) .... J. Schenck: L’Echo du Danube, Op. 9 (Amsterdam, c.1694). SCHENCK 1694(2)/i .... ditto, facsimile reprint (Oberlin). SCHENCK 1694(2)/2 .... ditto, modern edition, EDM67. SCHENCK 1703 .... Anon (compiler): Select Lessons for the Bass Viol of Two parts Collected... out of the works of...Giovanni Schenck (London,’ [1703?]) [31 airs from SCHENCK 1692.. SCHENCK 1715 .... J. Schenck: Les Fantaisies Bizarrées de la Goutte, Op. 10 (Amsterdam, c.1715). SCHMELZER 1664 .... Schmelzer: Sonatae unarum fidium (1664). SCHERER 1680 .... S. Scherer: Sonatae a3... (VdG part lost) (Ulm, 1680). SCHOP 1634 .... J. Schop: Erster...Theil neuer Paduanen... (Hamburg, 1634). SCHOP 1646 .... J. Schop: (23 preludes, etc) (Hamburg, 1634. SCHULZ 1617 .... J. Schulz: 40 neuer auss. schone liebl. Pad., etc... (Hamburg, 1617). SCHULZ 1622(1) .... J. Schulz: Musicalischen Lustgarte... (more than 13 pieces a2-6) (Liineberg, 1622). SCHULZ 1622(2) .... J. Schulz: Intrade a4 (1622). SIEFERT 1651 .... P. Siefert: Psalmorum Davidicorum (Danzig, 1651). SIMPSON CPM .... C. Simpson: A Compendium of Practical Musick (London, 1665, 1667, 1668). SIMPSON CPM/1 .... P. Lord (ed.): ditto, modern edition (Oxford, 1970). SIMPSON DIV VLN .... C. Simpson: The Division Violin (London, 1685). SIMPSON DV .... C. Simpson: The Division Viol(ist) London, (1659, 1667, 1712). SIMPSON DV/i .... N. Dolmetsch (ed.): ditto, facsimile reprint of the 2nd edition (London, 1955). SIMPSON SN .... The Seasons, facsimile reprint (Génève). SIMPSON T 1610 .... T. Simpson: Opusculum (Frankfurt-am-Main, 1610). SIMPSON T 1617 .... T. Simpson: Opus Newer Paduanen, Galliarden, Intraden... (Hamburg, 1617). SIMPSON T 1617/i .... B. Thomas (ed.): ditto, modern edition (London). SIMPSON T 1621 .... T. Simpson: Taffel Consort... (Hamburg, 1621). SNEP 1698 .... J. Snep: Sonate, Allemande, Op. 1 (Amsterdam, c.1698). SPONGA 1595 .... F. Sponga: Ricercari et Arie Francesi a Quattro Voci... (16 ricercari, 4 arie) (Venetia, 1595). STADEN .... (6 collections of dances) (Nürnberg, 1606-43). STEUCCIUS 1602, 1604Amorum ac. Leporum Pars 1, 2 (Wittenberg 1602; pars 3, 1604). SUSATO 1551 .... T. Susato: Het derde musick boexten (157 dances) (Antwerp, 1551). SUTHERLAND .... GB-En Sutherland Papers, No. 314, deposit 28 (on loan).

SVET 1674 .... G. Düben (arr.): from Odae Svetlicae (Stockholm 1674). TAILOUR 1615 .... R. Tailour: Sacred Hymns... (London, 1615). TELEMANN 1728-9 .... G. Telemann: Der getreue Music-Meister (Hamburg 1728 and 1729). du TERTRE 1557 .... E. du Tertre: Septième Livre de Danceries... A Quatre Parties... (27 dances) (Paris 1557). TIBURTINO 1549 .... G. Tiburtino (publ?): Fantasie et Recerchari a tre voci... (29 pieces, some by Willaert) (Venetia, 1549). ‘T UIT KAB 1654 .... ‘T Uitnement Kabinet, vol pavanes, alamanden, sarabanden... (Amsterdam, c.1654). ‘T UIT KAB 1654/i .... ditto, modern edition (Amsterdam, 1973). VALERIUS 1626 .... A. Valerius: Nederlandische Gedenck-Clank (Haarlem, 1626). VECCHI 1590 .... O. Vecchi: Selva di varia Ricreatione... (13 pieces a2-10) (Venetia, 1590). VICENTINO 1572 .... N. Vicentino: Madrigali a cinque voci ... Libro Quinto (Milan, 1572). VINCI 1560 .... P. Vinci: Il Primo Libro... a due voci (Venetia, 1560). VINCI 1591 .... P. Vinci & A. Verso: ... Il secondo Libro di Motetti e Ricercari a Tre Voci... (14 ricercari) (Venetia, 1591). VINTZIUS 1629 .... G. Vintzius: Intraden... (Erfurt, 1629). VISÉE 1716 .... R. de Visée: Pièces de theorbe et de luth, mises en partition dessus et basse... (Paris, 1716). VÖLCKEL 1613 .... S. Völckel: Newe deutsche weitliche Gesanglein (Nürnberg, 1613). WAESICH 1632 .... C. Waesich: Canzoni... (1632). WALSINGHAM .... The Walsingham Consort Books: GB-BEV MSS DDHO/20/1-3 (treble, flute, bass) and US-OAm, MS (cittern book). WERL .... Albrecht Werl Lute Book, at GB-Ram (Spencer collection). WERL S .... R. Spencer, (ed), ditto, facsimile ed., Génève. WIDMANI 1600-1622 .... E. Widmann: (various dance collections (c. 160O, 1613, 1618, 1622). WILLAERT 1540-1593 .... A. Willaert: (various ricercari, 1540, 1543, 1549, 1551, 1593). YONGE 1588, 1597 .... N. Yonge (ed.): Musica Transalpina (London. Vol 1, 1588; vol 2, 1597). YOUNG 1653 .... W. Young: Sonate a3, 4, 5 voci con Allemande, Corranti... (Innsbruck, 1653). YOUNG 1653/i .... ditto, MS copy dated 1912-13, in GB-Lbl Add MS 38811. YOUNG 1653/2 .... W. Whittaker (ed.): ditto, modern ed. (Oxford., 1930-31). YOUNG 1653/3 .... G. Leonhardt (ed.): ditto, dances only, modern ed. (London, 1962). ZACHOW 1683 .... P. Zachow: VII Branlen... (Lubeck, 1683). ZACHOW 1693 .... P. Zachow: Verstimmter Viol di Gamba Lustspiele, ersten Theil (Lubeck, 1693). ZIEGLER ND .... J. Ziegler: Intavolatura zur Viola di Gamba... (no date).

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III: PUBLISHERS AND MODERN EDITIONS

This list is extracted and extended from previous versions. It does not include all editions noted in the Thematic Index, but ‘complete’ or large collections. Publishers noted in the Thematic Index pages are listed. ADSON 1621/1 .... JOHN ADSON: Courtly Masquing Ayres, ed. Peter Walls (London Pro Musica, London, 1975-6). ALAMIRE

....

Alamire,

Toekomstlaan

5

B

BE

-

3910

Neerpelt,

Belgium

(e-mail:

[email protected] ANTHEMS-R .... A Collection of Anthems, ed. Edward Rimbault (Musical Antiquarian Society, 1846). A-R .... A-R Editions, Inc., 801 Deming Way, Madison, Wisconsin 53717, USA. (internet: www.areditions.com ) . AS .... Asclepius Editions (Brian Capleton), The Lodge, 7 Shotover Court, Old Road, Headington, Oxford OX3 8SS. (internet: www.amarilli.co.uk/ascedns Augener .... Augener Editions BARRINGTON SERIES BASSANO C 1585/1 .... Fantasie a tre voci... (Venice, 1585), ed. R. Charteris (Fretwork, London & Bermuda, 1991). BOCQUET SR .... Souris & Rollin (eds.): CLF: Oeuvres de Bocquet (Paris, 1972). BOETHIUS .... (a) Boethius Editions (b) Musical Sources. Now published and issued by Severinus Press, Newbury, Berkshire. BUTLER P3: Henry Butler: Collected Works, ed. Elizabeth V. Phillips, with Basso Continuo Realizations and Commentary by Jack Ashworth (A- R Editions, Inc.: Recent Researches in the Music of the Baroque Era, Vol. 66, Madison, 1991): VdGS Nos. 1-20. [Score and parts: 1-15 for BV, Cont.; 16-20 for Vln, BV, Cont.] BYRD AB .... A. Brown (ed.): Keyboard Music of William Byrd, I, MB 27 (London, 1969); II, MB 28 (London, 1971). BYRD COLL .... E.H.Fellowes (ed.): The Collected Works of William Byrd (London, 1937-49): I Masses, Cantiones Sacrae (1575). V Gradualia (1605), parts 2 and 3. VIII Motets for 3, 4 and 5 parts XIII Songs of Sundrie Natures (1589). XIV Psalms, Songs and Sonnets (1611). XV Consort songs. XVII Chamber music for strings. XX Keyboard music. BYRD ED .... The Byrd Edition (London, 1970-). 1 C. Monson (ed.): Masses. 15 P. Brett (ed.): Consort songs for voice and viols. 16 P. Brett (ed.): Madrigals, Songs and Canons. 17 K. Elliott (ed.): Consort music.

BYRD TCM 2 .... Tudor Church Music Vol 2, William Byrd, English Church Music - I (1922). BYRD TCM 7 .... ditto, Vol 7, Gradualia, I and II (1927). BYRD TCM 9 .... ditto, Vol 9, Masses, Cantiones, Motets (1928). Second Suite [15 pieces] from CAIX d'HERVELOIS 1751, ed. ?, DOVEHOUSE EDITIONS VdG Series, No. 19 (Toronto, ?). CALLIOP É .... (Mary Cyr), 4 Brombal Drive, Guelph, Ontario N1G 4J6, Canada. CAMBRIDGE P .... Ian Payne (ed.), Cambridge Consorts, Corda Music, CMP 418 (1991), being an edition and reconstruction of music in British Library Add. MSS 30826-8. CHAMBONNIÈRES: Oeuvres Completes (Paris, 1925; reprinted 1967), ed. P. Brundel and A. Tessier. CHELYS .... Chelys, The Journal of the Viola da Gamba Society of Great Britain (London, annual, 1969-2004). CLF .... Corpus des Luthistes Français, national collection of lute music, in volumes, by composer: see under BOCQUET SR, DUBUT RV, DUFAUT SR, GAULTIER D T , MERCURE RV, MESANGEAU SR, PINEL RV. CMM... Corpus Mensurabilis Musicae, editions of the American Institute of Musicology. CNSR .... Church Music Society Reprints. COBBOLD P1 .... Ian Payne (ed.): The Music for Five Voices and Viols by William Cobbold, Fretwork Editions, FE 20, London, 2003. COBBOLD P2 .... Ian Payne (ed.): The Consort Songs and Consorts by William Cobbold, Fretwork Editions, FE 21, London, 2003. COLEMAN P .... David Pinto (ed.): Charles Colman: The Four-Part Airs, Fretwork Editions, FE15, London, 1998. ConseE .... Consortium Edition (H. Monckemeyer), Heinrichshofens. CONSP .... Consort Publications (Ian Graham-Jones), Cedar Lodge, River Street, Westbourne, Emsworth, Hants. PO10 8TG. [email protected] COPRARIO 2-4: John Coprario: The Two-, Three- and Four-Part Consort Music, ed. Richard Charteris, (Fretwork Edition FE4, London and Bermuda, 1991). [Score + Parts]. COPRARIO 5: John Coprario, the Five Part Pieces: CMM 92, ed. Richard Charteris, (American Institute of Musicology, Hänssler-Verlag, 1981). [Score]. COPRARIO 6: John Coprario, the Six-part Consorts and Madrigals, ed. Richard Charteris, (Boethius Press, Clarabricken, 1982). [Score/parts]. COPRARIO BV: John Coprario, the Fantasies for Two Bass Viols and Organ, and Eleven Pieces for Three Lyra Viols, ed. Richard Charteris, (A-R Editions, Recent Researches in Music of the Baroque Era, No. 41, Madison, 1982). [Score/parts]. COPRARIO VLN: 'John Coprario: Fantasia-Suites', MUSICA BRITANNICA 46 (London, 1980). CORDA .... Corda Music (Ian Gammie), 183 Beech Road, St. Albans, Herts [Also incorporating Golden Phoenix Editions and King’s Musick series]. COUPERIN F 1724/1 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts, facsimile reprint (Geneva, 1979). COUPERIN F 1728/1 .... S.L. Robinson (ed.): F. Couperin: Pièces de Viole..., modern edition (Paris, 1972).) CRACOW BV/1 .... Gordon Dodd (ed.), facsimile reproduction of a MS, at one time in Cracow

49

University Library, now at Warsaw (Pt-Wtm). CROMWELL .... Anne Cromwell’s Virginal Book. (Modern edn., ed. H. Ferguson, Oxford, 1974) Curwen Edition. DH .... Dovehouse Editions (Donald Beecher and Bryan Gillingham), 32 Glen Avenue, Ottawa, Canada, K1 S 2Z7 [Supplied by Loux Music Publishing Company, at The Recorder Shop, 2 Hawley Lane, Hannacroix, NY 12087-0034, USA; internet: http//:the recordershop.com ]. DDT .... Series: Denkmäler Deutsche Tonkunst. DOWLAND 1604/2: Lachrimae..., modern edition, ed. Peter Warlock (Oxford University Press, London, 1926). DOWLAND 1604/3: John Dowland, Complete Consort Music, ed. Edgar Hunt, (Schott, London, 1985) E .... Numbering by Warwick Edwards for some early consort pieces. EAST 1610/1: Eight Fantasies of Five Parts from The Third Set of Bookes (London, 1610), ed. E. H. Fellowes, rev. R. Thurston Dart (1960). EAST 1618/1: Twenty Light Fantasias from the Fift Set of Bookes, ed. David Goldstein, (Provincetown, Mass., 1969). EAST 1624: The Sixt Set of Bookes (London, 1624) EAST 1638: The Seventh Set of Bookes... (London, 1638). ECS .... English Consort Series, ed. Richard Nicholson. From Brian Jordan, 10 Green Street, Cambridge. EECM .... Series: Early English Church Music. EM .... Early Music (quarterly journal) FABER .... Faber Music Ltd., 3 Queen Square, London WC1N 3AU. FERRABOSCO I C3: Alfonso Ferrabosco the Elder (1543-88): Omnia Opera, CMM 96, Vol. IX (1988). [Score] FERRABOSCO II 4: 'Alfonso Ferrabosco the Younger: Four-Part Fantasias for Viols', MUSICA BRITANNICA 62, ed. Andrew Ashbee and Bruce Bellingham, (London, 1992). A companion set of parts: FERRABOSCO II 4/P. FERRABOSCO II 5-6: 'Alfonso Ferrabosco the Younger: Consort Music in Five and Six Parts', MUSICA BRITANNICA 81, ed. Christopher D. S. Field and David Pinto, (London, 2003). A companion set of parts: FERRABOSCO II 5-6/P. FERRABOSCO II 6: ‘The Complete Six-part works of Alfonso Ferrabosco II’, ed. David Pinto (Corda Music, St Albans, 1990) FERRABOSCO II Hex: ‘Alfonso Ferrabosco II: Two Hexachord Fantasias’, ed. David Pinto (Corda Music, St Albans, 1992). FÜLLSACK 1607/1: Ausserlesene Paduanen und Galliarden, Erster Theil... a5, (Hamburg, 1607). Modern editions: ed. C. Engelke, (Breslau, 1930); ed. Helmut Mönkemeyer, (Moeck Ed. No. 9005, Celle, 1986). [See also HILDEBRAND 1609/1 for a companion volume]. FW .... Fretwork Editions (Bill Hunt and Julia Hodgson), 16 Teddington Park Road, Teddington, Middlesex TW1 1 8ND FWVB .... J.A. Fuller Maitland and W. Barclay Squire (eds.) The Fitzwilliam Virginal Book (modern edition, London, 1899; reprinted New York, 1963). GALILEI 1584/1 .... V. Galilei: Contrapunti a due voci ..., 29 textless duets, publ. SCMA VIII.

GANASSI 1542/1 .... Schneider (ed.): S. Ganassi: Regole Rubertina, modern edition (1924). GAULTIER D T .... A. Tessier (ed.): La Rhétorique des dieux et autres pièces pour luth de Denis Gautier (Paris, 1933). GAULTIER V SR .... A. Souris & M. Rollin (eds.) Corpus des Luthistes Francais: Oeuvres du Vieux Gautier Paris, 2nd ed. (1980) GIBBONS 1620/1: modern edition, ed. Edmund H. Fellowes, (Stainer & Bell, London, 1924) GIBBONS 1620/2: modern edition, ed. George Hunter, NORTHWOOD MUSIC (Urbana, 1979). [See also KON FANT 1648]. GIBBONS H: 'Orlando Gibbons: Consort Music': MUSICA BRITANNICA 48, ed. John Harper, (Stainer & Bell, London, 1982). GIBBONS TCM 4 .... 'Orlando Gibbons': Tudor Church Music Vol. 4 (1925). GIBBONS V .... D. Wulstan (ed.): 'Orlando Gibbons, verse anthems', Early English Church Music iii (London, 1964). GIBBONS V2 .... D. Pinto (ed.): ‘Orlando Gibbons: The Consort Anthems’, 3 vols., FRETWORK EDITIONS (2003). GORTON 1701/1: Twelve Airs for two bass viols (London, 1701): DOVEHOUSE EDITIONS VdG Series, No. 2, ed. D. Beecher and B. Gillingham (Ottowa, 1979). GROVE .... S. Sadie (ed.): The New Grove, Dictionary of Music and Musicians (London, 1980). GROVE2 .... ditto, 2ndedition, 2001. GSJ .... The Galpin Society Journal (London, annual). GUNTERSBERG …. Edition Güntersberg, Langgarten 13, 69124 Heidelberg, Germany (e-mail: [email protected]; internet: www.guentersberg.de). HILDEBRAND 1609/1: Christian Hildebrand (publ.), Ander Theil ausserlesene Paduanen und Galliarden a5, (Hamburg, 1609). Modern edition, ed. Helmut Mönkemeyer, (Moeck Edition No. 9006, Celle, 1986). Hinrichsen .... Hinrichsen Editions HM .... Hortus Musicus series (Bärenreiter, Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX). HOLBORNE 1599/1: Anthony Holborne: Pavans, Galliards and Airs (London, 1599). Modern edition, ed. Sydney Beck (New York, 1940) HOLBORNE 1599/2: modern edition, ed. Bernard Thomas (LONDON PRO MUSICA EDITIONS, LPM AH1, Brighton, 1980). [Score and parts: 65 pieces]. HUME 1605/1: Tobias Hume: First Part of Ayres (London, 1605); facsimile reprint, ed. Frank Traficante (Scolar Press, Menston, 1969). HUME 1607/1: Tobias Hume: Captain Hume's Poeticall Musicke (London, 1607); facsimile reprint, ed. Frank Traficante (Scolar Press, Menston, 1969). IVES 4D: …. Peter Holman and John Cunningham (eds): Simon Ives, The Four-Part Dances (GBLbl, Add. MSS 18940-4) (Launton, 2008) JENKINS 3 .... Andrew Ashbee (ed.): ‘Consort Music of Three Parts’, (MUSICA BRITANNICA 70, 1997) JENKINS 4a .... Andrew Ashbee (ed.): 'John Jenkins: Consort Music of Four Parts', (MUSICA BRITANNICA 26,1966; 2nd. rev. ed. 1975). JENKINS 4b .... Andrew Ashbee (ed.): Consort Music for Viols in Four Parts, (Faber Music, London, 1978).

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JENKINS 5 .... Richard Nicholson (ed.): John Jenkins: Consort Music in Five Parts, (Faber Music, London, 1971). JENKINS 6 .... Andrew Ashbee and Richard Nicholson (eds.): John Jenkins: Consort Music for Viols in Six Parts, (Faber Music, London, 1976). JENKINS 6P .... Donald Peart (ed.): 'John Jenkins: Consort Music of Six Parts', (MUSICA BRITANNICA 39, London, 1977). JENKINS FS1 .... Andrew Ashbee (ed.): ‘John Jenkins: Fantasia-Suites I’, (MUSICA BRITANNICA 78, London, 2001). JENKINS FS2 …. Andrew Ashbee (ed.): 'John Jenkins: Fantasia-Suites II', (MUSICA BRITANNICA 90, London, 2010). JENKINS LC .... Frank Traficante (ed.): John Jenkins (1592-1678): The Lyra Viol Consorts, (A-R Editions Inc., Madison, 1992). JENKINS S .... Helen Joy Sleeper (ed.): John Jenkins: Fancies and Ayres, (Wellesley Edition No. 1, Wellesley College, 1950). JENKINS W2 .... Robert A. Warner (ed.): John Jenkins: Three-part Fancy and Air (divisions), (Wellesley Edition No. 10, Wellesley College, 1966). Revised by Andrew Ashbee: John Jenkins: Seven Fancy-Ayre Division Suites for Two Trebles, Bass and Organ, (FRETWORK, FE8, London and Bermuda, 1993). KALMUS .... Kalmus/Universal Edition KASSEL E .... J.Écorcheville (ed.): Vingt suites d’orchestre du XVII Siècle française; publiées ... d’après un manuscrit de la Bibl. de Cassel (Paris 1906, reprint New York 1970). (This is a diss. for Univ. of Paris, Sorbonne, 1906. Print includes editions and facsimile. Copies at GB-Lbl pr bks g.37; Hirsch M.8731). LANDMARK PRESS (Mark Davenport), Boulder, Colorado LAWES D2 .... Mark Davenport (ed.): William Lawes: The Three-Part Consorts for two treble viols (or violins) and bass viol, (LANDMARK Press ECS-3, Boulder, Colorado, 2002). LAWES L2 .... Murray Lefkowitz (ed.): ‘William Lawes: Select Consort Music’, (MUSICA BRITANNICA 21, London, 1963). LAWES P3 .... David Pinto (ed.): William Lawes: Consort Sets in Five and Six Parts, (Faber Music Ltd., 1979). LAWES P4 .... David Pinto (ed.): William Lawes: Fantasia-Suites for violins, bass viol and organ, (MUSICA BRITANNICA 60, London, 1992) LAWES P6a .... David Pinto (ed): William Lawes: The Royall Consort (new version), (FRETWORK FE1 1, London and Bermuda, 1995) LAWES P6b .... David Pinto (ed.): William Lawes: The Royall Consort (old version), (FRETWORK FE12, London and Bermuda, 1995) LPM .... London Pro Musica Edition (Bernard Thomas), P.O. Box 97, Hebden Bridge, HX7 8UZ, England (internet: www.londonpromusica.com LUPO 3 .... R. Charteris (ed.): Thomas Lupo, Consort Music of Two and Three Parts, (Clarabricken, 1988) LUPO 4 .... R. Charteris and J. Jennings (eds.): Thomas Lupo, the Four-Part Consort Music, (Clarabricken, 1983); also FRETWORK, FE 22, London, 2003. LUPO 5:.... Richard Charteris (ed): Thomas Lupo: The Five-Part Consort Music, (FRETWORK, FE13, 1997 and FE14, 1998)

LUPO 6:.... Richard Charteris (ed.): Thomas Lupo: The Six-Part Consort Music, (FRETWORK, FE9, 1993) MASQUE S .... Andrew Sabol, Four Hundred Songs and Dances from the Stuart Masque (Providence, 1978; 2nd edn. 1982). MICO 4 .... M. Tyler (ed.): Richard Mico: The Four-Part Consort Music, (FRETWORK, London, 1992). MICO H .... Andrew Handley (ed.): Richard Mico: Consort Music, (MUSICA BRITANNICA 65, London, 1994). MUS BRIT or MB .... Musica Britannica (Published for the Musica Britannica Trust by Stainer and Bell) includes 1. D. Stevens (ed.): The Mulliner Book 2. E. Dent (ed.): Cupid and Death 9. T. Dart and W. Coates (eds.): Jacobean Consort Music 15. K. Elliott (ed.): Music of Scotland, 1500-1700 18. J. Stevens (ed.): Music at the Court of Henry VIII 21. M. Lefkowitz (ed.): William Lawes: Select Consort Music 22. P. Brett (ed.): Consort Songs 26. A. Ashbee (ed.): John Jenkins: Consort Music of Four Parts 31, 32 M. Tilmouth (ed.): Matthew Locke: Chamber Music I and II 39 D. Peart (ed.): John Jenkins: Consort Music of Six Parts 40 W. Edwards (ed.): Music for Mixed Consort 44, 45 P. Doe (ed.): Elizabethan Consort Music I and II 46 R. Charteris (ed.): John Coprario: Fantasia-Suites 48 J. Harper (ed.): Orlando Gibbons: Consort Music 59 J. Irving (ed.): Thomas Tomkins: Consort Music 60 D. Pinto (ed.): William Lawes: Fantasia-Suites 62 A. Ashbee and B. Bellingham (eds.): Alfonso Ferrabosco the Younger: Four-Part Fantasias 65 A. Handley (ed.): Richard Mico: Consort Music 67 I. Payne (ed.): John Ward: Consort Music of Five and Six Parts 70 A. Ashbee (ed.): John Jenkins: Consort Music of Three Parts 78 A. Ashbee (ed.): John Jenkins: Fantasia-Suites I 81 D. Pinto and C. Field (eds.): Alphonso Ferrabosco the Younger: Consorts of Five and Six Parts 83 I. Payne (ed.): John Ward: Consort Music of Four Parts 90 A. Ashbee (ed.): John Jenkins: Fantasia-Suites II MBP .... Compatible parts for MB volumes. MINKOFF …. A la Règle d’Or, 23 Rue de fleurus, 75006, Paris (internet: [email protected] ). MM .... Marks’ Music, 87 Olive Road, London, NW2 6UR

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MMF .... MMF Publications, PO Box 287, 2160 AG Lisse, The Netherlands. Music from Dutch Libraries. Moeck Editions MP …. Wydawnictowo Dawnej Musyki Polskiej/Editions de l’Ancienne Musique Polonaise, vol. 29. Marcin Mielczewski, Canzona a 2: doi Violini e Basso, Krakow, 1956. MUSICA RARA Nagel .... Nagel Edition NORTHWOOD .... Northwood Music (George Hunter), 1108 West Stoughton, Urbana, Illinois 61801, USA. NOVA .... Nova Music NOVELLO .... Novello and Co. Ltd. PETERS .... Peters Edition PME .... Practicall Musicke Editions (Maurice Rogers), [email protected] PRB .... PRB Productions (Peter Ballinger), 963 Peralta Avenue, Albany, California 94706, USA. [email protected] SARABAND .... Saraband Music (Patrice Connelly), [email protected] SCHIRMER .... Schirmer Schott .... Schott & Co. Ltd., 48 Great Marlborough Street, London Severinus Press (see under BOETHIUS) SIMPSON T 1621/1: Thomas Simpson: Taffel Consort... (Hamburg, 1621); modern edition, ed. Bernard Thomas, (London Pro Musica, Brighton, 1988). STIMU .... STIMU, Utrecht TCM .... Tudor Church Music TYE PM .... Christopher Tye: Complete Consort Music; modern edition, ed. Bernard Thomas, (London Pro Musica, Brighton) VdGS .... Viola da Gamba Society of Great Britain VdGSA .... Viola da Gamba Society of America VdGS SP .... Supplementary Publications of the Viola da Gamba Society (GB). VdGS NL .... Pieces included with the Viola da Gamba Society (GB) Newsletter. WARD P3 .... Ian Payne (ed.): John Ward: Consort Music of Five and Six Parts (MUSICA BRITANNICA 67, London, 1995). WARD P4 .... Ian Payne (ed.): John Ward: Consort Music of Four Parts (MUSICA BRITANNICA 83, London, 2005). WEBSTER HC …. Peter Holman and John Cunningham (eds): Maurice Webster: Complete Consort Music (Launton, 2010)

AUTHOR INDEX FOR BIBLIOGRAPHY Abbey, Hermione Adams, Martin del Amo, Patxi Andriessen, P. Aplin, John Arkwright, G. E. P. Ashbee, Andrew Aston, Peter Baines, Francis Baker, David and Jennifer Bellingham, Bruce Bennett, John S. Bergasel, John Berget, Claire Bertenshaw, Derry Blount, G. Boal, Ellen TeSelle Bock, Emil W. Boden, Anthony Bodig, R (transl.) Boetticher, W. Bol, Hans Bowles, Garrett H. Boyan, P. Boyd, Morrison Comegys Bray, Roger Brennan, Michael G. Brett, Philip Brooker, Jeremy Brookes, Brian Brookes, Virginia Brown, Alan Brown, David Brown, Howard Meyer Cadell, P. Caldwell, John Carter, Richard Caudle, Mark Charlton, David Charteris, Richard

Cheney, Stuart Glenn Cole, Elizabeth Conner, Ted Corp, Edward Coxon, Caroline Crawford, Tim Crosby, Brian Crum, Margaret Cuneo, Ann Cunningham, Caroline Cunningham, John P.

LEYCESTER A PURCELL A POOLE A HACQUART C A FANSHAWE A OXFORD A BDECM; BROWNE A; CONSORTS A; CONSORTS A2; COURT A; JENKINS A1 to A12; JENKINS AH; LAWES A; LE STRANGE A; LE STRANGE A2; RECM; WHITELOCK JEFFREYS A1; JEFFREYS A2; Baillie, L. LBL B GIBBONS B1; GIBBONS B2 BROWNING B1; PARSONS B FERRABOSCO II B; WOOD B MICO B-W; MICO-B DENMARK B STERNE B ITAL-ENG B; ITAL-ENG B2; LUPO B MUNDY B PURCELL B HINGESTON B TOMKINS B GERMANY E RISM-TABL BASS B MARAIS B TREGIAN B-L ELIZ B BALDWIN B; BALDWIN B2 SOMERSET B PASTON B BARYTON B NAU-B IN NOM B; IN NOM B1; KEYBOARD B; WARD B BYRD ST WEELKES B RENAISSANCE B PANMURE C TOMKINS C LEYCESTER C VIOLIN C MICROFILM CLARK C; CLARK C2; COPRARIO C1 to C5; DOWLAND C; DUBLIN C1 to C5; FERRABOSCO C; FERRABOSCO I C; FERRABOSCO I C2; HAMBURG C; HATFIELD C; HUNTINGDON C; HUTTON C; JAGIELLONSKA C; KASSEL C; PEERSON C; SIMPSON C DUBUISSON C1; DUBUISSON C2 TREGIAN C1; TREGIAN C2 SIMPSON Con STUART C JENKINS C1; JENKINS C2 CONSORTS C; HUYGENS C DURHAM C OXFORD C1; OXFORD C2 TREGIAN Cu COPRARIO C6; COPRARIO C7 HARP C1; HARP C2; LAWES C1; LAWES C2; LAWES C3; LAWES C4;

55

Cyr, Mary Dart, R. Thurston Davenport, Mark David, E. Dodd, Gordon Donington, Robert Duffin, Ross Écorcheville, J. de Eddy, M Alexandra Edwards, Warwick Einstein, Alfred Evans, Joan Evans, Peter Fallows, David Fellowes, Edmund H. Fenlon, Ian Field, Christopher D.S. Flassig, Fred Fleming, Michael Ford, Robert Fortune, Nigel Furnas, Paul L. Gartrell, Carol Gerig, David Allen Gervers, Hilda Goy, François-Pierre Graf, Anne Grampp, Florian Greaves, Richard L. Green, Robert Griffiths, David Gwynn, Dominic Hamessley, Lydia Hancock, Wendy E. Harding, Rosamund Harley, John Harman, R. Alec Harper, John Harris, Colette Harwood, Ian Hayes, Gerald Heydon, Julia J. Hoffmann, Bettina Holman, Peter

Howard, Alan Huber, Calvin R. Hughes-Hughes, Augustus Hulse, Lynn Irving, John Jackson, B. G. Jenkins, P. Jennings, John Johnson, Jane Troy

LYRA Cu EGERTON C; LYRA C; TREBLE C CONSORTS DA; GIBBONS D; TREGIAN D LAWES MD NOTATION D L BULL D; FERRABOSCO II D; LAWES D; LAWES D2; LYRA D; WASHINGTON D; WEELKES D; YOUNG D CONSORTS D VOICE/VIOL D PARIS E ROST CONSORTS E1; CONSORTS E2; WALSINGHAM E GERMANY E EAST E DURHAM E DREXEL F BYRD F; GIBBONS F BROWNE FF BING F; CONSORTS F; FERRABOSCO II F; LE STRANGE F; LOCKE F GERMANY F ICONOGRAPHY F; MAKERS F; PLAYFORD F; VIOL F; VIOL F2 OSBORN F; WARD F; YALE-FILMER BROWNE FF MANCHESTER F BARYTON G; BARYTON G2 TAILOUR G DREXEL G LUTE/VIOL G; NORWAY G LYRA GR ITALY G OXFORD G DOLLÉ G; PARDESSUS G YORK G1; YORK G2 ORGAN G ITAL-ENG H1; ITAL-ENG H2 BASS WH LOCKE H BYRD H; GIBBONS HY DURHAM H GIBBONS H2; GIBBONS H3 HUME H1; HUME H2; LYRA H CAMBRIDGE H; CAMBRIDGE H1; ROSSETER H HAYES V PEERSON H ITALY H ABEL H; BALTZAR H; BARYTON H; BASS H; BASS H2; DOWLAND H; HARP H; JEFFREYS H; JENKINS AH; JENKINS H; PURCELL H1; PURCELL H2; STERNE H; SYMPHONY H; VIOL H; VIOLIN H; VIOLIN H2 GOLDING H BRADE H LBL HH CAVENDISH H; CAVENDISH H2; CUTTING H; HINGESTON H; PATRONAGE H HUTTON I; LBL I; TOMKINS I1 to I5 LE BLANC J MORLEY J LUPO J1 to J3 FANT-SUITE J; JENKINS J

Joiner, M. Jones. A. Jones, Edward Huwys Jones, Sterling Scott Kelly, Ruth Kerman, Joseph King, A. Hyatt Kinney, Gordon Knape, Walter Knowlton, Jean Lamb, G. Lasocki, David Le Blanc, Hubert Lefkowitz, Murray Lejeune, J. Lesure, François Linfield, Eva Lowinsky, Edward Lussy, M. Luttman, S. Madan, Falconer Marshall, Arthur Mateer, David McCart, Calum McCoy, Stewart McDowell, B. McGuiness, David Meredith, M. Meyer, Ernst H. Miloradovitch, Hazel Milsom, John Miserandino-Gaherty, Cathie Monson, Craig Morehen, John Morris, Stephen Mountney, Rev. Hugh Mracek, J. Mueller, P. E. Munstedt, Peter A. Neighbour, Oliver Nelson, E. Nelson, Graham Newton, R. Nicholson, Richard Ng, Shaun K. F. Noble, Jeremy O’Loghlin, Michael Orlando, Susan Otterstedt, Annette Owens, Samantha Pallis, Marco Payne, Ian Phillips, Elizabeth Pinto, David Platt, Peter Poulton, Diana Price, Curtis Pulver, Jeffrey

LYRA MJ PEERSON J BASS J HUME J IVES K MADRIGAL K BIBL K DUBUISSON K; TELEMANN K ABEL K MASQUE K TREGIAN B-L BDECM LE BLANC 1740 and 1740/1 LAWES L1; LAWES L4; LOCKE L; LOCKE L2 LYRA J MARAIS L BUXTEHUDE L FERRABOSCO II L NOTATION D L SCHENCK L OXFORD M FINGER M; FINGER M2 DOW PANMURE McC PASTON M MARAIS McD GIBBONS McG SIMPSON M CONSORTS M; MEYER ECM; MEYER EECM; MEYER S CORELLI M TALLIS M BODLEIAN G VOICE/VIOL M; VOICE/VIOL M2 PARSLEY M YOUNG M; YOUNG M2 JENKINS M UPPSALA M ENG MUS PLAYFORD M BYRD N; BYRD N2 FANTASIA N CORKINE N; CORKINE N2; LYRA N MARAIS N GIBBONS N ROUSSEAU N RENAISSANCE N GERMANY OL ITALY O LYRA O1; LYRA O2; ORGAN O GERMANY O CONSORTS P BYRD P; COBBOLD P; LBL P; RAVENSCROFT P; WARD P1; WARD P2 BUTLER P1; BUTLER P2 DUBLIN P; FANTASY P; HATTON P; HATTON P2; LAWES P1 to P5; PURCELL Pi; TOMKINS P DEERING P1 DOWLAND P PURCELL Pr PULVER

57

Rae, J. Ramsey, David Rasch, Rudi Rastall, Richard Rawson, Robert G. Rayner, Clare Reese, Gustav Reeve, R. Reiners, Hans Rhodes, David J. Richards, Janet M Riley, James W. Robertson, Michael N. Robinson, John Robinson, S. Lucy Rose, Adrian Ruden, J. Rutledge, J. Sadie, Julie-Ann Sanford, Gordon Sawyer, John Schneider, H. Schofield, Bernard Schwendowius, B. Shaw, Harold Watkins Shay, Robert Shute, John Derek Sicard, M. Sleeper, Helen Smit, Lambert Smith, Douglas Alton Smith, Kathryn E. Smith, Mark Spector, Irwin Spring, Matthew Stevens, Denis Stoltzfus, Ila H. Strahle, Graham Strover, Christian Sullivan, W. Summers, Mark Sutcliffe, Richard Tessier, A. Thomas, C. Thompson, Clyde H. Thompson, Robert Thompson, Ruby Reid Tilman, Muthesius Tilmouth, Michael Traficante, Frank Triplett, W. M. Turbet, Richard Urquhart, Margaret Vaught, Raymond Wainwright, Jonathan Walls, Peter Ward, Alan Ward, John Warner, Robert A.

SIMPSON R LYRA GR DUTCH R1 ROGERS R FINGER R GIBBONS C R RENAISSANCE R MUNDY R BOWS R BASS DR BASS R GREGORY R1; GREGORY R2 GERMANY R LYRA R FORQUERAY R DOLLÉ R; DOLLÉ R2; PARDESSUS R1; PARDESSUS R2 SWEDEN-TABL BIB R BASS S; MARAIS S; MONTECLAIR S COPRARIO S LYRA S LULLY S TREGIAN D GERMANY S BING S; ORGANISTS S PURCEL ST WOOD S BASS SI; FRANCE S1; FRANCE S2 JENKINS S; JENKINS S2 VIOLONCELLO S EBENTHAL S VOICE/VIOL S CELLO S WHITE R S LUTE S; LUTE/VIOL S TOMKINS S LYRA ST1; LYRA ST2; SIMPSON S FANTASY S1; FANTASY F2 WARD S HUME S FRANCE MS PARDESSUS S MARAIS Te TAILOUR T MARAIS T DUBLIN T; LOCKE Th; PAPER T to T3; PLAYFORD T; PURCELL ST; PURCELL Th1; PURCELL Th2; WITHIE T TREGIAN T; TREGIAN T2 VIOL M LOCKE T2; LOCKE T3; PURCELL T BUILDING T; LYRA T1 to T4; MANCHESTER T; ZIEGLER T GIBBONS T BYRD T1; BYRD T2; BYRD T3; BYRD ST BOLLES U; FALLE U; JENKINS U; St BARBE U; SIMPSON U to U3 FERRABOSCO II V HATTON W; HATTON W2; JEFFREYS W LYRA W; MASQUE W GOLDING H DOWLAND W; DUBLIN W JENKINS W1; JENKINS W3

Watts, P. Weidner, Robert W. Wess, Joan Wessely-Kropik, Helene Westrup, Jack Willetts, Pamela J. Wilson, John Winzap, F. Wood, Thomas G. Woodfield, Ian Woodfill, Walter Wool, Christopher Zimmerman, Franklin

CRANFORD W IN NOM W FANTASIA W COLISTA WK PURCELL W BARNARD W; BING W; COSYN W; GIBBONS W; JENKINS PW; LBL W; LE STRANGE W1; LE STRANGE W2; LILLY W; LILLY W2; MERRO W; MICO B-W; MYRIELL W1; MYRIELL W2; STIRROP W; TREGIAN W NORTH W MARAIS W BALTZAR W RESEARCH W; VIOL W WOODFILL KASSEL W PURCELL Z; PURCELL Z2

59

REVISED AND NEW PAGES ADDED SINCE 2004 2004: revised pages A-3-1 A-4-2 A-4-3 BULL-1 Carwarden-1 CobbR-1 Colman-5 Colman-7 Colman-9 Colman-11 Coprario-2 Coprario-4 Coprario-5 Coprario-7 Coprario-8 Deering-2 Deering-3 Duarte East-3 East-4 Farrant-1 GibbonsO-2 GibbsT-1 Holborne-8 Jenkins-29

Jenkins-40 Jenkins-43 Jenkins-54 Lawes-3 Lawes-5 Lawes-9 Lawes-12 Lawes-14 Lawes-15 Lawes-16 Lawes-17 Lawes-18 Lawes-19 Lawes-20 Lawes-21 Lawes-22 Lawes-23 Lawes-30 LupoTs-2 LupoTs-7 LupoTs-9 LupoTs-10 Mando-1 Marais-39 MellD-2

MellD-4 MellD-6 Mercure-1 Mico-2 Mico-4 Nicolai-1 Nicolai-2 Orn-1 Parsons-3 Pedersen Peerson-2 Purcell-2 Rogers-2 Sandley-1 SimpsonT-2 SimpsonT-3 SimpsonT-4 SimpsonT-5 Steffkens-2 Tomkins-5 Tye-3 Ward-3 Webster-1 Wilson-1

Gistou-1 Grabbe-1 Grep-1 HelyC-1 Krosch-1 Maerker-1

Mons-1 MuddT-1 Sommer-1 Steffens-1 Toppfer-1

2004: New pages A-4-7 BECKER-1 TO -9 Bleyer-1 Borchegrevinck-1 CHESHAM-1 Duarte-1

2005: Revised pages A-2-1 A-3-2 A-Di-1 ABEL-1 Jenkins-12A

Johnson-1 Johnsons-1 LupoJ-1 Milton-1 Steffkins-2

Steffkins-4 Steffkins-7 Tomkins-1

2005: New Pages ABEL CH-1

Abel CH-2

Abel CH-3

Beedom-1 Caurroy-1 to -4 Grabu-1

Hawney-1 JacksonJ-1 Jennings R-1

LoweT-1 Wood-1 Wood-2

2006: Revised pages (no new pages this year) defhf-7 defhf-18 edfhf-5 edfhf-6 edfhf-8 edfhf-10 edfhf-14 efdef-2 efded-4 efdef-6 efffe-2 efhfh-1 fdefh-8 fefef-4 fedef-8 fefhf-2 fefhf-4 fefhf-6

ffhfh-4 ffhfh-6 ffhfh-10 fhfhf-2 A-5-3 BROWNE-1 Gerrarde-1 GibbonsE-1 Gill-1 Giovanelli-1 Holmes-1 Ives-3 Ives-5 Ives-7 Ives-13 Milton-1 Pickering-1 WithyJ-2

fedfh-8 fefhf-2 fefhf-4 fefhf-6 ffeff-3 ffeff-9 ffeff-15 ffeff-23 ffeff-27 ffeff-29 ffeff-31 ffeff-35 ffeff-37 ffeff-39 fff-2 ffhfh-1 ffhfh-2 ffhfh-3 2007: Revised pages

edfhf-8 edfhf-13 edfhf-14 fdefh-6 feded-2 ffeff-3 fhfhf-2 fhfhf-4 A-2-3

COLMAN-13 Colman-14 Goodall-1 Jenkins-62 Jenkins-63 Jenkins-65 Jenkins-73 Lawes-3 Lillie-1

Maynard-1 Mico-2 Steffkins-3 Steffkins-4 Steffkins-5 Steffkins-8 Young09 Young-10

2007: New pages A-2-13 to -21 A-Kbd-B-1 to -3 ABEL CH-2 to -7 BULL-2

Clamer-1 Hudson-7 Krieger-1 GibbonsO-8

Scherle-1 Schmelzer-1 to -3 SimpsonC-11 Wing-1

1DEFHF-19 1DEFHF-26 1EDFHF-02 1EFDEF-02 1FHFHF-04

A-4-4 A-5-5 A-BA-1 A-BI-3

2008: Revised pages 1DEFHF-01 1DEFHF-03a 1DEFHF-05 1DEFHF-08 1DEFHF-15

61

A-BI-4

ABEL CH-1 BLANKES1 BREWSTER DREW-01 ESTO-02 ESTO-03 GREGYT-05 GREGYW-01 GREGYW-06

GREGYW-07 GREGYW-08 GROME-01 HUDSON-04 IVES-06 IVES-07 JEFFERYS JENKINS-65

LOOSEMORE STEFFKE-04 TALLIS TAYLORR-02 WITHY WITHYE WITHYF-01 YOUNG-09

2008: New Pages A-2-22 A-2-23 A-3-7 A-3-8 A-3-9 A-3-10 A-3-11 BEELAND-2 CLAYTON-1 CLAYTON-2 DUMONT-1 FARMER-1 FARMER-2 FARMER-3

FARMER-4 FARMER-5 FEIRRERA-1 FLUDD-1 FORCER-1 HAMMERSCHMIDT HOFFLER-1 HOFFLER-2 KNOP-1 LULLY-3 MACE-1 MACE-2 PAISIBLE-1 PAISIBLE-2

PAISIBLE-3 PAISIBLE-4 PAISIBLE-5 SCHENK-17 TURNER-1 VOLLEE-1 VOLLEE-2 VOLLEE-3 VOLLEE-4 VOLLEE-5 VOLLEE-6 WOOD-1 WOOD-2 WOOD-3

2009: Revised Pages A-2BC-2 A-2BC-3 A-2BC-4 ABEL CH COBB R COPRARIO-3 DEERING-3

FERRABOSCO II-3 FERRABOSCO II-5 FERRABOSCO II-7 LUPO J LUPO T-3 LUPO T-5 NICOLAI-2

NORCOMBE SCHMELZER 1-2 WARD 3 WARD 5 WARD

2009: New Pages A-2BC-2a A-2BC-6 A-2BC-7 A-2BC-8 A-4BC-1 A-5BC-1 A-6BC-1 ACHILEO ADSON-1-2 ARNOLD BACH CPE BACH H

BERTALI-1-3 BRIEGEL BUONAMENTE BUXTEHUDE-1-3 CAPRICORNUS CHAILO CLEMENTIS DRESE EBERLIN-2 ERBEN ERMISH FORSTER

FROBERGER-1-2 FURCHHEIM GROBE GROH HELLER HERWICH-2 HOFFMANN HOFFNER KERLL KRIEGER-2 LILIUS LILLIE-3

LONATI LOWE MAJEST. MAYR MIELCZEWSKI MOMETSCHSKI OSWALD 1-3

PISCATOR POHLE RICHARD ROSENMULLER ROSIER SCHMELZER 3-5 SCHNITTELBACH

STOSS UCCELLINI VALENTINI WICHEL ZAMPONI ZUBER 1-3

2010: Revised Pages FELICIANI-01 DEFHF-01 EDEDF-01 EDFHF-08 EDFHF-14 FDEDF-01 FEDED-02 FEDEF-05 FEDEF-06 FEDFH-02

FEDFH-05 FEDFH-06 A-DI-3 BANASTER ESTO-02 HUDSON-07 JENK-43 JENK-74A JENK 75

SIMPSO-09 STEFFKE-04 SWITONI-01 TAYLORR-02 YOUNG-10 ZPLAY-T2 ZPLAY-T3 ZPLAY-T4

2010: New Pages BLACK-01 GOLDING-1-3 ITALIAN MADRIGALS: ANERIO-01 BELLI-01 CAVACCIO-01 CROCE-1-3 EREMITA-01 FERRABOSCO I-01 FERRETTI-01 GASTOLDI-01 GIOVANELLI-01 LUZZASCHI-01

MACQUE, de-01 MARENZIO-1-10 MASNELLI-01 MELDERT-01 MONTEVERDI-01 MOSTO-01 NANINO-01 OROLOGIO-01 PALESTRINA-01 PALLAVICINO-01-2

PHILIPS, P-01 QUINTIANI-01 RORE, de-01 ROSSELLI-01 SABINO-01 STRIGGIO-01 VECCHI-01 VENTURI-01 WERT-01

2011 New Pages A-BI-6 ABEL CF-1 to -30 ARNOLD-1 BACH CPE-1

BENDA-1 GRAUN JG-1 to 6 HAMMER-1 JANITSCH-1 to 2

SCHAFFRATH-1 ZYKA-1 to 2

2011 Revised Pages 1EDFHF06 1FFEFF07 1FFEFF08 1FFEFF09 1FFEFF11

1FFEFF13 1FFEFF15 ABEL CH-1 A-DIV-3 CAURROY-2 63

CAURROY-4 DUARTE DUBUISSON-1 FARRANT-1 FORD-3

NORCOMBE-1

LIST OF MODERN PUBLICATIONS (We would be pleased to receive notification of any omissions)

Space limitations mean that it is becoming increasingly difficult to record modern publications on the Index pages and instead these will now be listed separately here. The old material will not be deleted unless the space is required for new work, but this list should be the first point of reference. ANONYMOUS 6 367 6505 6599 709-11 and 713-715 741 602-8 903-4 1337-9 1340-1343 1615-16 1655-6, 1665 1607, 1625 1611-14 1546 2142-2274

Divisions (7 sets) (bass viol) Greensleeves Sound out my voice lyra viol 3 Airs for 2 lyras

VdGS ME 137 VdGS ME 69 VdGS ME 128 VdGS ME 89 VdGS ME 131

3 airs and 3 almains a2 piece a2 [Mico?] 7 duos 2 fantasias a3 3 fantasias a4 3 fantasias and 1 pavan a4 2 fantasias a5 3 fantasias a5 2 fantasias a5 4 pavans a5 [untitled] a5 Masque airs a2

VdGS ME 188 VdGS ME 215 VdGS ME 203 VdGS ME 146 VdGS ME 214 VdGS ME 225 VdGS ME 147 VdGS ME 217 VdGS ME 162/177 VdGS ME 149 VdGS ME 208 MASQUE

ALLISON, Richard (fl. 1592-1601) E601 E602 E604 E605 E607 E674 E833 E673 E701 E603 E606 E244

De la Tromba pavin Response pavin Alison’s knell pavin Bachiler’s delight Go from my window Quadro pavin -galliard Mr Alisons Almayne Paven dolorosa The sharp pavin The Lady Frances Sidneys Almayne In Nomine a 5

MORLEY 1599/1, no. 3 MORLEY 1599/1, no. 25; MB 40, no. 1 MORLEY 1599/1, no. 11 MORLEY 1599/1, no. 24 MORLEY 1599/1, no. 12 MORLEY 1599/1, no. 1 MORLEY 1599/1, no. 2 Musica Britannica 40, no. 4 Musica Britannica 40, no. 3 Musica Britannica 40, no. 2 Musica Britannica 40, no. 5 Musica Britannica 45, no. 150

ALLWOOD In Nomine a4

VdGS ME 182

AMNER, John (1579-1641) Pavan a5 Corda Music CMP 418 Galliard a 5

Corda Music CMP 418

BACH, C.P.E. (1714-1788) Sonata in C

Alamire D/1990/4169/5 Güntersberg G050 Dovehouse, Baroque no. 23 Alamire D/1990/4169/5 Güntersberg G046 Peters 4287 Alamire D/1990/4169/5

Sonata in D

Sonata in g

1

Güntersberg G080 Schott VAB2 BACHELOR, Daniel (c.1574-1610) E609 E610 E612 E614 E703 E611 E613

Sir Francis Walsingham’s good night The Lady Frances Sidneys felicitye Daniells triall The widows mite Sir Francis Walsinghams good morrow The Lady Walsinghams conceits Daniell’s Almayne

Musica Britannica 40, no. 6 Musica Britannica 40, no. 8 Musica Britannica 40, no. 10 Musica Britannica 40, no. 11 Musica Britannica 40, no. 7 Musica Britannica 40, no. 9 Musica Britannica 40, no. 12

BALDWIN, John (before 1560-1615) E3 E109

In manus tuas, Domine Coockow as I me walked

E110

A browninge of 3 voc.

E128

Upon In Nomine [a4]

E245

In Nomine [a5]

Musica Britannica 45, no. 117 Musica Britannica 45, no. 125 London Pro Musica, EM14 Musica Britannica 45, no.124 London Pro Musica, EM14 Northwood Music BR-1 [1st issue] Musica Britannica 45, no. 131 Bärenreiter, Hortus Musicus, 134 Musica Britannica 45, no. 152

BALTZAR, Thomas (c.1631-1663) 84

Almond [solo violin]

Geschichte der Musicke in Beispielen, 237

BASSANO, Giovanni 1-20

Fantasias [a3] [1585] Nos. 1, 8, 10, 12, 13, 15, 18 Nos. 2, 4, 6, 7

Fretwork Bärenreiter, Hortus Musicus 16 Bärenreiter, Hortus Musicus, 64

BASSANO, Augustine (c.1526-1604) 1-5

Pavans and Galliards a5

Nova Music

BASSANO, Jerome (Hieronimus) (1559-1635) 1-4

Fantasias a5

Nova Music

BATEMAN, Robert (d.1618) 1-2 4, 8, 9 6

Galliards a5 Almain, Volta, Näglein Blumen The Cadua

Moeck, MMP VI London Pro Musica, Brade, 1617 Londn Pro Musica, T. Simpson, 1621

BENNET, John -

Eliza, her name gives honour Venus’ birds

Musica Britannica 22, no. 47 Musica Britannica 22, no. 48

BEVIN, Elway (c.1554-1638) -

Browning a3

1

In Nomine a5

2

In Nomine a5

Musica Britannica 9, no. 15 Northwood Music BR-1 Saraband Music, SM22 Musica Britannica 45, no. 153 Sul Tasto Musica Britannica 45, no. 154 Sul Taso

2

BLANKES, Edward 1-6

Fantasias a3

E56

Fantasia a5

Musica Britannica 45, nos. 118-123 VdGSA ‘F’ Series nos. 3-8 London Pro Musica, VML183 Musica Britannica 45, no. 138 VdGS ME 216

BLEYER, Nicolaus 1-6

LPM: SIMPSON T, 1621

BORCHGREVINCK, Melchior 1-3 1 4-5

Moeck MMP IV VdGS ME 149 Moeck MMP VI

BRADE, William Pavans and galliards (1607) Pavans and Galliards (1609) 1617 collection 1614 collection a6

London Pro Musica, TM24 London Pro Musica, WB1 London Pro Musica London Pro Musica, MP3

BREWER, Thomas 15-21

Four-part airs

VdGS ME 158

BREWSTER (BRUSTERS) E219 E248

In Nomine a4 In Nomine a5

Musica Britannica 45, no. 132 Musica Britannica 44, no. 14 VdGS ME 183

BROWNE, John In Nomine fantasy and air a5

VdGS ME 207

BUCKE, John E220

In Nomine a4

Musica Britannica 45, no. 133

BROWNE, John 1

In Nomine and Air a5

VdGS ME 207

BULL, John Fantasia a3 and a4; In Nomine a5 E21 Fantasy a3 3 Dorick fantasias trtrTB E249 In Nomine a5 E33

Fantasy a4

Anthem

Almighty God

Northwood Music JB-1 Musica Britannica 9, no. 7 Corda Music CMP401 Musica Britannica 9, no. 50 Bärenreiter, Hortus Musicus 5 MEYER EECM, p.299 Peters (ed. Beck) TCM 91

BUTLER, Henry (d.1652) All in

BUTLER P

BUXTEHUDE, Dietrich Seven Op. 1 sonatas Seven Op. 2 sonatas 266 Sonata 267 Sonata

Güntersberg G118 Güntersberg G119 Güntersberg G133 Güntersberg G127

3

268 269 271 272 273

Sonata Sonata Sonata Sonata Sonata

Güntersberg G065 Güntersberg G134 Güntersberg G135 Güntersberg G129 Güntersberg G126

BYRD, William 1 Fantasia 1 a3

2

Fantasia 2 a3

3

Fantasia 3 a3

4

Fantasia 4 a3

1

Fantasia 1 a4

2

Fantasia 2 a4

3

Fantasia 3 a4

1

Four fantasias a4 In Nomine a4

2

In Nomine a4

1

In Nomine a5

2

In Nomine a5

3

In Nomine a5

4

In Nomine a5

5

In Nomine a5

BYRD COLL XVII, 2 BYRD ED 17, 2 Bärenreiter, Hortus Musicus 14, 1 Northwood Music, WB-3 BYRD COLL XVII, 4 BYRD ED 17, 4 ECS, new series, 21 Northwood Music, WB-3 BYRD ED 17, 6 Northwood Music, WB-3 BYRD COLL XVII, 6 Northwood Music WB-3 BYRD AB, 27 [keyboard] BYRD COLL XIV, 35 BYRD COLL XVII, 10 BYRD ED 17, 7 Peters Edn. 6176 Northwood Music, WB-4 BYRD COLL XVII, 118 BYRD ED 17, 11 Northwood Music, WB-4 BYRD TCM 7, 163 BYRD COLL V, 111 BYRD COLL XVII, 118 BYRD ED 17, 147 Northwood Music, WB-4 VdGS ME 230 BYRD COLL XVII, 10 BYRD ED 17, 80 ECS 20, 10 Northwood Music, WB-4 BYRD COLL XVII, 14 BYRD ED 17, 83 ECS 20 Northwood Music, WB-4 BYRD COLL XVII, 49 BYRD ED 17, 86 ECS, 20, 9 Northwood Music WB-5 BYRD COLL XVII, 62 BYRD ED 17, 90 ECS 20, 7 Northwood Music WB-5 BYRD COLL XVII, 66 BYRD ED 17, 94 ECS 20 Northwood Music WB-5 BYRD COLL XVII, 53 BYRD ED 17, 98 ECS 20, 8 Northwood Music WB-5 BYRD COLL XVII, 58 BYRD ED 17, 103

4

Consort Songs Consort Hymns

ECS 20 Northwood Music WB-5 BYRD COLL XVII, 20 BYRD ED 17, 19 BYRD AB [keyboard], 26 Northwood Music, WB-5 BYRD COLL XVII, 38 BYRD ED 17, 29 BYRD AB [keyboard], 42 Northwood Music, WB-5 BYRD COLL XVII, 20 BYRD ED 17, 19 BYRD AB [keyboard], 26 Northwood Music, WB-5 BYRD COLL XVII, 30 BYRD ED 17, 39 Northwood Music, WB-5 BYRD ED 17, 73 BYRD AB [keyboard], 29a Northwood Music, WB-6 BYRD COLL XVII, 92 BYRD ED 17, 48 BYRD TCM 9, 105 BYRD ED 1, 82 Kraus, Cantantibus Organis XVI, p.33 Northwood Music, WB-6 BYRD COLL XVII, 70 BYRD ED 17, 63 BYRD COLL XIV, 166 Kraus, Cantantibus Organis XVI, p.38 Northwood Music, WB-6 BYRD ED 17, 75 BYRD COLL XVII, 99 Northwood Music, WB-6 BYRD ED 17, 78 BYRD COLL XVII, 101 Northwood Music, WB-6 BYRD ED 15 BYRD ED 17

Fantasy a4

VdGS ME 32

E58

Fantasy a5

E108

Prelude and Ground a5

E112

Browning a5

E444

Pavan a5

E83

Fantasia 1 a6

E84

Fantasia 2 a6

E85

Fantasia 3 a6

E402

Pavan a6

E501

Galliard a6

T. C.

CARLTON, Richard (c.1558-?1638) Pavan a5

VdGS ME 153

du CAURROY the 1610 publication (fantasias a 3-6)

LPM; Guntersberg

CHETWOOD, Mr. 1-4 Fantasias a3 1 ditto

Asclepius Editions VdGS ME 19

COBBOLD, William (1560-1639) E60,61 In Nomine a5 E59 Sub diversis speciebus Fretwork Five consort songs in

Musica Britannica 45, no. 139 Musica Britannica 45, no. 140 Musica Britannica 22

COCKE, Arthur (d.1604)

5

In Nomine a5

Musica Britannica 45, no. 155 VdGS ME 183

COLEMAN, Charles (d.1664) 1 Fantasia for 2 bass viols

1-5 1 3 4

VdGS ME 14 Dovehouse Editions, VDG14 VdGS ME 96 PRB Productions, VCO46 VdGS ME 67 VdGS ME 81 VdGS ME 127 Corda Music, CMP490 Fretwork, FE15

Fantasia a5 Fantasias a6 Fantasia a6 Fantasia a6 Fantasia a6 Three-part Airs (Book 1) Four-part Airs

COPRARIO, John 1-6 Two-part Fantasias

1-10

Fantasia 1 a2 Fantasias 2-3 a2 Fantasias a3

4, 6 1-7

6 Fantasias a3 Fantasia 4 a3 Fantasias 4 and 6 a3 Fantasias a4

1-52

Fantasias 4, 6, 7 a4 Fantasias 3 and 5 a4 Fantasias a5

1-8

Fantasias 7 and 9 a5 Fantasias 6, 10, 48-49 a5 Fantasias 5, 21, 47 a5 Fantasia 11 a5 Fantasia 53 a5 Fantasias a6

1-12

Fantasias 2 and 6 a6 Fantasias 3 and 4 a6 Fantasias for 2bv and organ

1-16 1-8 1-11 31-32

Northwood Music JC-2a/2b Fretwork FE4b Musica Britannica 9, no. 1 VdGS/Schott [ME] 13 VdGS ME 33 Corda Music Fretwork FE4b Northwood Music JC-3 Musica Britannica 9, no. 8 Nagel Edition 563 Northwood Music JC-4 Fretwork FE4b VdGS ME 3, 31, 18 Musica Britannica 9, nos. 19-20 COPRARIO 5 [score] Fretwork [score and parts] Corda Music [score] VdGS ME 63, 53 Musica Britannica 9 ECS Hinrichsen Edition 578a VdGS ME 224 COPRARIO 6 PRB Productions, VC027 Musica Britannica 9 VdGS ME 22 Dovehouse Editions, VDG6 A-R Editions B41 PRB Productions, VC054 Musica Britannica 9, no. 101 COPRARIO-VLN Musica Britannica 9, nos. 98-99 COPRARIO-VLN Musica Britannica 9, nos. 102-103 A-R Editions B41 MASQUE

Fantasia 7 for 2bv and org. Setts for vln, bv and organ Nos. 9 and 12 Setts for 2 vln, bv and organ Nos. 4 and 7 Airs for 3 lyra viols Airs a2

CORELLI, Arcangelo 6&9 Sonata op. 5, nos. 11 and 6

VdGS ME 136

COSYN, John Four consort songs

Musica Britannica 22

CRANFORD, William Three-part consorts

PRB Productions, VC029

6

1-6

Fantasias 1-2 a3 Almain a3 Four-part consorts Fantasias 1-4 a4 Walsingham variations a4 Five-part consorts Fantasia 1 a5 Fantasia 2 a5 Variations: go from my window Fantasias a6 No. 1 Passamezzo pavan a6 Quadran pavan a6

VdGS ME 172 Curwen 93027 PRB Productions, VC033 VdGS ME 80 VdGS ME 109 PRB Productions, VC031 VdGS ME 70 VdGS ME 161 VdGS ME 106 PRB Productions, VC027 VdGS ME 66 VdGS ME 176 VdGS ME 175

CUTTING, Francis Air ‘for the tenor and violle’

VdGS ME 88

DAMAN, William Ut re my a3 1 Fantasia a6 2

Musica Britannica 44, no. 1 Musica Britannica 45, no. 191 PRB Productions, VC065 London Pro Musica, EM19 Musica Britannica 44, no. 67 Mapa Mundi, H1

Fantasia a6 [6 trebles]

DERING, Richard (d.1630) 1-8 Fantasias a5 Fantasia 4 a5 Fantasias 5, 7-8 a5 Fantasias 5-8 a5 1-6 Fantasias a6 Nos. 1 and 5 a6 Nos. 4 and 6 a6 1-2 In Nomines a6 [anon.] 4 7

PRB Productions, VC019 Musica Britannica 9, no. 38 VdGS ME 112, 113, 44 ECS 12 PRB Productions, VC024 VdGS ME 93, 122 VdGS ME 165 PRB Productions, VC012 VdGS ME 164 ECS 12 ECS 7

Pavan-Almain a5 Pavan a5

DETHICK, ? Pavan a5

Corda Music, CMP 418

DOWLAND, John Lachrimae [complete] Music in 4 parts (trTTB)

Fretwork, FE26 Corda Music CMP444

DUARTE, Leonora Sinfonie a5

Corda Music CMP448

DUMONT, Henri The Symphonias, Pavanes and Allemandes a3 and a4 from 1652, 1657 and 1668 collections Dovehouse, no. 39 EAST, Michael 1-20 Fantasias a3 [1618] 1-8 Fantasias for 2 bass viols 1-9 1-12 1-8

EAST 1618/1 Northwood Music ME-3 Dovehouse VDG50 VdGS ME 73 Dovehouse Editions, VDG50 EAST 1610/1 Stainer and Bell [parts]

Fantasias a3 [1638] Fantasias a4 [1638] Fantasias a5 [1610]

7

Fantasia a5, no. 1 When Israel came What aileth thee Turn thy face O give me the comfort As they departed But what went you out to see For this is he I have roared I am brought My loins are filled Sing we merrily Take the psalm Blow up the trumpet

Schott ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R ANTHEMS-R

EGLESTONE, John 1-2 In Nomines a5

Musica Britannica 45, 156-157

FARNABY, Giles Maske a4

Consortium Edn. 1009

FARRANT, Richard Four-note pavan a5 Ah, alas you salt sea gods O Jove

Musica Britannica 9, no. 62 Musica Britannica 22, no. 7 Musica Britannica 22, no. 8

FERRABOSCO, ALFONSO [I] All in Pavan a5 1-3 In Nomines a5 C216 Duo Alfonso E27 Ut re mi no. 2 E41 Fantasia a4 E88

Fantasia a6

E89

Fantasia a6, no. 2

FERRABOSCO I C3 VdGS ME 159 VdGS ME 159 Musica Britannica 45, no. 115 Musica Britannica 44, no. 2 Musica Britannica 45, no. 127 VdGS ME 135 VdGS ME 135 Musica Britannica 45, no. 192 Musica Britannica 45, no. 68

FERRABOSCO, Alfonso [II] 1-24 Fantasias a4 Nos. 1, 2, 4, 13 No. 5 No. 6 Nos. 6-9,16,21,23,24 No. 7 Nos. 7, 13, 15, 20-21 No. 8 No. 9 Nos. 11-13, 17 No. 15 No. 16 Nos. 18-20 No. 18 No. 21 No. 23 No. 24 All five-part 5-part pavans and almans 1-2 In Nomines a5 1 In Nomine

Musica Britannica 62 [+ parts] ECS 5 VdGS ME 2 VdGS ME 48 VdGS ME 157 VdGS ME 49 Consortium D-2332 VdGS ME 55 VdGS ME 56 Musica Britannica 9 Peters Edn. (ed. Beck) VdGS ME 58 ECS 4 VdGS ME 59 VdGS ME 60 VdGS ME 65 VdGS ME 75 Musica Britannica 81 [+ parts] Northwood Music Af-Pav Consortium 2528 Musica Britannica 9, no. 51

8

2 1-9 1 1, 4 1-4 4 All

In Nomine Pavans Pavan [VdGS 155] 3 lyras Pavans Hexachord fantasia, part ii Almains Almain six-part

2, 7 3, 6 1 138 155

Fantasia a6 Fantasia a6 In Nomine a6 Lyra viol Lyra viol

VdGS/Schott 4 ECS 9a-b VdGS ME 114 Musica Britannica 9 Musica Britannica 9, no. 39 ECS 9a-b Musica Britannica 9, no. 65/114 Musica Britannica 81 [score] Corda Music [parts] Musica Britannic 9, nos. 78, 79 Consortium Edition Musica Britannica 9, no. 85 VdGS 89 VdGS 114

FINGER, Godfrey 2, 4 Sonatas 3, 6 Sonatas Suites in D and e Sonata in B-flat

Dovehouse Editions, no. 40 Fentone Music Dovehouse Editions, no. 24 Dovehouse Edition, no. 18

FORD, Thomas Air a4 1-6 Fantasias a5 1 Fantasia a5 1-4 Tablature duets Lyra viol duets

VdGS ME 62 VdGS ME 148 Musica Britannica 9, no. 40 Musica Britannica 9, nos. 126-7 A-R Editions B90

GIBBONS, Christopher Fantasia 22 39-41 Fantasias a3 Airs a3: 47, 50,69-70, 72-3 81-2 Fantasias a4

Hortus Musicus 7 VdGS ME 180 Musica Britannica 2 VdGS ME 142

GIBBONS, Edward In Nomine a5

VdGS ME 211

GIBBONS, Orlando All in 1-6 Fantasias for two trebles 1-9 Fantasias a3

2 3, 7 4 6 1-2

1-3 1, 3 2 1-6 1,3,5

Musica Britannica 48 Northwood Music OG-2/2Tn Stainer & Bell Northwood Music OG-3 Nagel, 563 and 565 VdGS ME 12 Hortus Musicus 14 Musica Britannica 9, no. 9 Meyer ECM Northwood Music OG-4 Stainer & Bell VdGS ME 11 Musica Britannica 9, no. 28 Northwood Music OG-5 VdGS ME 78 and 77 Musica Britannica 9, no. 52 Heinrichshofen Musica Britannica 9 Musica Britannica 9, no. 17 VdGS ME 195 Novello (ed. Bridge, 1919) Novello (ed. Stevens, 1956)

a3 with ‘Great dooble base’ ditto ditto ditto All Fantasias and In Nomine a4 Fantasias a4 In Nomine a4 In Nomines and pavan a5 In Nomines a5 ditto Fantasias a2 ditto Galliard a3 Pavan ‘Deleroye’ a5 Cries of London

9

2,5,6

Schott (ed. Just, 1933) Musica Britannica 22 Faber Music

Fantasias a6 [anon, attrib. OG] 6 fantasias, pavan and galliard And ‘Go from my window’ a6 ditto 3-part fantasias with great bass viol

Northwood Music OG-6 PRB Productions Northwood Music OG-3/GB

GIBBONS, Richard 1-2 Fantasias a4

VdGS ME 179

GIBBS In Nomine a5

Musica Britannica 45, no. 159

GILES, Nathaniel Cease now vain thoughts a5

Musica Britannica 22, no. 15

GILL, George In Nomine a6

PRB Productions, VC023 VdGS ME 206

GIOVANNELLI, Ruggiero Ut re mi & ‘For verie grief’ a5

VdGS ME 210

GISTOU, Nicolas 1-4 Pavans and galliards a5

Moeck MMP VI

GOLDAR E223 In Nomine a4

Musica Britannica 45, no. 134

GORTON, William 1-12 a1 and a2 all in Prelude for bass viol

Dovehouse Editions VDG2 VdGS ME 87

GIOVANELLI Ut-re-mi a5

VdGS ME

GRABBE, Johann Intrada, Paduan, Canzon

LONDON PRO MUSICA TS1

GRAUN, Johann Gottlieb Concerto for violin, gamba and orchestra Guntersberg G069 Sonata in b for gamba and cembalo Guntersberg G150 Trio in C for cembalo, gamba and bc Guntersberg G042 Trio in F for gamba and cembalo Guntersberg G057 Trio in F for cembalo, gamba and bc Guntersberg G058 Trio Concertante in D for 2 gambas and bc Guntersberg G039 Trio Concertante in G for 2 gambas and bc Guntersberg G040 Trio in G for 2 gambas and bc Guntersberg G131 GRECKE, Peter Two suites for 2 bass viols

Dovehouse Editions VDG42

GREP, Benedict 1-6

Moeck MMP V (1-2) and VI (3-6)

HACQUART, Philip 1-16 Bass Viol solos

PRB Productions, B017

HAKE, Edward In Nomine a5

Musica Britannica 45, no. 160

10

HAMMER, Franz Xaver Five Sonatas for VdG, ‘Cello or Bass

PRB Productions

HARDING, James 1-2 Fantasias a 4

Musica Britannica 45, nos. 128-9 LONDON PRO MUSICA EM16

HELY, Benjamin 1-9 Solo bass viol 1-6 Sonatas for 2 basses and bc

Corda Music Corda Music KM2

HILTON, John Prelude and fantasias a3 1-8 Ayres a3

Consortium 1022 Practicall Musicke

HINGESTON, John RC1-4 2 fantasias a2 RC9-12 Suite 3 a2 RC13-15 Suite 4 q2 1-9, 11-15 Fantasias and airs for 3 bass viols Fantasia, almande and corant (tr,b) Group I Group VII. Group VIII Group II Group X Group XI No. 1 Group XII

VdGS ME 36/45 VdGS ME 129 VdGS ME 130 Dovehouse VDG38 VdGS ME 45 PRB Productions VC047 PRB Productions VC020 PRB Productions VC025 PRB Productions VC022 PRB Productions VC014 PRB Productions VC006 VdGS ME 35 PRB Productions VC006

HOLBORNE, Anthony 1599 book Nos. 5-9, 23-4, 27-8 No. 46 Nos. 40, 59 1-2 Fantasias a4

LONDON PRO MUSICA AH1 ECS 1a ECS 1b Musica Britannica 9, nos. 66-7 Schott

HOLMES, John Piece a5

VdGS ME 208

HOLMES, Thomas 1-5 Airs a3

VdGS ME 168

HOTMAN, Nicolas Skolding wife suite for solo b viol

VdGS ME 85

HUDSON, George Lyra viol consort (vln, lyra, theorbo) 21-28 Airs a 3 in D 61-69 Airs a 3 in F

Dovehouse 35 Practicall Musicke PM118 Practicall Muscike PM117

HUME, Tobias 1605 book 1607 book

HUME 1605/1 HUME 1607/1

IVES, Simon 1-25 Airs a4 Nos. 10-16,22,23 No. 18

Edition HH Ltd. LAWES L3 Musica Britannica 83, p.92

11

1-9 1-4

1 2

Nos. 18, 20, 22 No. 23 Airs for two bass viols Airs a2, nos. 1-2, 5 Fantasias a4 No. 3 In Nomine a5 Fantasia a6 Fantasia a6 Lyra viol nos. 43,50,113,124,127,147 Lyra viol 124

MASQUE VdGS ME 62 a4 PRB Productions VC011 MASQUE Peters Edition P6176 VdGS/Schott ME 18 VdGS ME 211 VdGS ME 166 VdGS ME 71 MASQUE Musica Britannica 83 (Appendix)

JEFFREYS, George Fantasias a3 No. 1 No. 5

Practicall Musicke PM 110 VdGS ME 133 Hortus Musicus 14, no. 5

JENKINS, John 1-21 Fantasias a3 Nos. 3-4, 9-10, 20 Nos. 3,5,8,11,13,19 No. 18 1-17

1-3 1-17

Musica Britannica 70 JENKINS S Hortus Musicus 149 Hortus Musicus 14 Meyer EECM, Appendix JENKINS 4b (Faber) Meyer ECM/EECM, Appendix Augener Peters Edition P6176 JENKINS 4a (Musica Britannica 26) JENKINS W3 VdGS ME 82 Faber: JENKINS 5; Fretwork FE30 (with 4th reconstructed pavan) Faber: JENKINS 5; Fretwork FE29 and FE 30 JENKINS S Schirmer Faber: JENKINS 6 Musica Britannica 39 Faber: JENKINS 6 Musica Britannica 39 Faber: JENKINS 6 Musica Britannica 39 Musica Britannica 70 VdGS ME 26-28, 43, 79, 104, 108, 117118

Fantasias a4 No. 1 No. 3 No. 5 Nos. 7,9,15-16 No. 7 No. 17 Pavans a5

1-2

Fantasias a5 Nos. 1,5,8,10 No. 15 Pavans a6

1-12

Fantasias a6

1-2

In Nomines a6

1-28

Fantasias and pavan trtrB,Org Nos. 1-9

2 bass viols and organ Nos. 1-2,11-13, 14-17 Nos. 18-21, 37-8, 44-6, 63-64 Nos. 1-2 Nos. 37-38, 44-46, 63 No. 19 Nos. 24-36 Sonata in d, vln, B, organ Aria in A, vln, B, organ Divisions 1 and 2, tr B, organ [Anon., attrib. Jenkins] Fantasia-Suites Divisions 3 and 4, tr B, organ [Anon., attrib. Jenkins] Group I No. 4 No. 5 Nos. 12, 17

12

Fretwork FE21 Fretwork FE27 Dovehouse 14 Dovehouse 7 Dovehouse 3 Ogni Sorte Hinrichsen 559b; Schott 10624 Hinrichsen 559a VdGS ME 223 VdGS ME 228 Stainer & Bell OUP Musica da Camera JENKINS S

Group II Complete No. 5 Group III Complete Nos. 1 and 7 Group IV Complete Group V Complete Group VI Complete Group VII Complete Nos. 4,10,14 Group VIII No. 7 32 Ayres trtrBB, organ Newark Siege Airs in two parts trB Nos. 14-15,30-1,40-44,61-4,86-7, 154-7 1-10 Airs in three parts Tr,T,B Airs in three parts trtrB Nos. 1-6 Nos. 35-44, 15-21 Nos. 7-14, 53-59 Nos. 60-67, 71-74 Nos. 68-70 Nos. 85-90, 92, 102-103 Nos. 93-103 Airs in four parts Nos. 1-2,8,31,45-6,50-1 Nos. 4,9-12,18-21,23,27-30,34-7 Nos. 3,5-7,13-14,22,24,38-9,41-2 + no. 10 of dubia Nos. 15-17,25-6,32-2,40,43-4,49,52 No. 1 Nos. 1,14,23-4,30,32,49 Nos. 5,22 Nos. 3,24,32,49,52 Nos. 4,7,10-11,25,31,38-9,41,46-7,51 Lyra Consorts (tr,lyra,b,kbd) All complete pieces in Lyra viol solo Nos. 234,321,397,504

Musica Britannica 78 Stainer & Bell Musica Britannica 90 Corda Music (Golden Phoenix) PRB Productions VC010 Musica Britannica 26 JENKINS W2; Fretwork FE8 Musica Britannica 78 JENKINS S Early Music January 1978, 31-5 Musica Britannica 26 VdGS ME 25

Corda Music (Golden Phoenix) VdGS ME 132 PRB Productions VC017 PRB Productions VC021 PRB Productions VC028 PRB Productions VC071 Corda Music (Golden Phoenix) VdGS ME 222 VdGS ME 229 VdGS ME 167 Corda Music CMP 419 Corda Music CMP 423a Corda Music CMP 423b ECS 15 ZfS (Moeck) VdGS ME 11 JENKINS S Musica Britannica 26 JENKINS LC VdGS ME 144

JOHNSON, Edward Paduana a5 Eliza is the fairest

Fullsack 1607/1 Musica Britannica 22

JOHNSON, Robert [I] In Nomine a4 or a5

Musica Britannica 1 Musica Britannica 15 Hortus Musicus no. 3 Curwen 90824 Musica Britannica 44, no. 39 VdGS ME 199

Johnson’s Knell Ditto and pavan a5 JOHNSON, Robert [II] Satyr’s dance a4 The Temporiser; The Witty Wanton a4 Air in tablature

Consortium 1009; MASQUE 249 Musica Britannica 9, nos. 31-32 VdGS ME 88

KROSCH, Johann 1-3 Airs a4

LONDON PRO MUSICA: T Simpson 1621

13

LAWES, William Royal Consort Consort Music a5 68-71, 74 75 78-80 Consort Music a6 96, 97-100, 104-105 84-86 87-89 90-93 101-103 85-86 101, 103 Fantasias a4 108-113 [all] 110 Fantasia-Suites [all] 1, 7-8 with one vln 5 1, 6-7 with two vlns 2 4 5 Harp Consorts 162-191 [all] 188-190 Airs 10-13, 26, 28, 75, 80, 83, 206-8, 226-8, 261-3, 311-12, 320-1, 339, 342-3, 345 209, 231, 345 208, 226, 320-1 304 306, 110 318 336, 318 337 Xxxx Lyra Viol 567 568, 573

Fretwork [old and new versions] Faber [LAWES P3] Musica Britannica 21 VdGS ME 38 VdGS ME 10 Faber [LAWES P3] Musica Britannica 21 VdGS ME 97 VdGS ME 100 VdGS ME 52 VdGS ME 91 Schirmer Universal Edition Dovehouse VDG45 VdGS SP 8 [in d] Musica Britannica 60 Musica Britannica 21 Stainer & Bell 5418 Musica Britannica 21 VdGS ME 125 VdGS ME 42 Stainer & Bell 5421 PRB Productions VC062 Musica Britannica 21

LaNDMarK Press ECS-3 LAWES L3 VdGS ME 38 [a3] VdGS ME 34 VdGS ME 197 VdGS ME 75 [a4] VdGS ME 196 Universal Edition MASQUE LAWES L3 Musica Britannica 21

LOCKE, Matthew 1-54 For Severall Friends Duets for TB or BB 1-12 Duos for two bass viols

1-40

The Little Consort

1-24

The Flatt Consort 1-12 Broken Consort [part i] Broken Consort [part ii] Consort of four parts Sets 1-3 [1-12] Sets 4-6 [13-24]

1-24 1-20 1-24

Musica Britannica 31 Corda Music CMP492 Musica Britannica 31 Hortus Musicus 167 Corda Music KM1 Musica Britannica 31 Corda Music GP3a-b Musica Britannica 31 Hortus Musicus 180 Musica Britannica 32 Musica Britannica 32 Musica Britannica 32 Schott 2311a; Chester 252 a-c Schott 2311b; Chester 252 d-f

14

LOOSEMORE, George Fantasia a3 Lyra consort [tr, lv, bass]

VdGS ME 152 VdGS ME

LUPO, Thomas Fantasias and airs a3 2, 14, 17-20, 24 7, 9, 16 3, 5, 26 8 15, 25-6 15 10-12, 14 2, 4, 6, 8-9 18, 20, 26 Pavans a3

Fretwork FE18b Nagel 563 Nagel 565 Musica Britannica 9 Meyer ECM, p.144 Northwood Music Tl3 Hortus Musicus 14 Hortus Musicus 64 VdGSA Series ‘F’ Schott LUPO 3 ECS 11 Schott Musica Britannica 9, no. 16 Fretwork FE9 Musica Britannica 9, no. 80 VdGS ME 50 and 61 Fretwork FE22b Musica Britannica 9 VdGS ME 46 and 41 ECS 11 Fretwork FE 13, FE 14 Musica Britannica 9 ECS 3 [new series]

1, 3 1 Fantasias a6 5 1, 6 Fantasias and airs a4 1 2-3 8, 11 Fantasias a5 11-12, 24 25-27 Airs a2 and a3 3-4

MASQUE

De MACHY, Le Sieur 29-56 bass viol

Dovehouse Edition

MAERKER, Matthäus 1-10 airs a5

Moeck MMP V and VI

MALLORIE/MALERY In Nomine, Miserere, Sol re sol a5

Musica Britannica 44, nos. 51, 42, 69

MANDO, Patrick Like as the day

Musica Britannica 22, no. 12

MARC 26-38

VdGS ME 173-4

treble/pardessus

MASON 1-8 Pavans a5

Corda Music CMP 418

MAYNARD, John 7 pavans for lyra viol and bass

PRB Productions VC041

MERICOCKE, Thomas In Nomine a5

Musica Britannica 45, no. 161

MELL, Davis 5, 11, 24, 39

MASQUE

MICO, Richard

15

All in 5 duos for trB 2-4 Pavans a4 Two pavans a4 Consorts a4 [all] Fantasias a4 3, 18, 19 4, 8, 15 5 1-2 Fantasia a5 In Nomine a5 1-3 Pavans a5 Latral [i and ii]

Musica Britannica 65 [MICO H] VdGS ME 215 ECS 7a LONDON PRO MUSICA VML146 Fretwork FE7b ECS 7b Schott 10582-4 OUP EM 24 ECS 2; VdGS ME 134 ECS 2 ECS 2 Consortium

MILTON, John [I] 3 Fantasias a5 Fantasia 1 a5 In Nomine a6

PRB Productions, VC030 Musica Britannica 9, no. 44 VdGS ME 204

MONS., Thomas Pavan and galliard a5

Moeck MMP V

MORLEY, Thomas 1-9 Fantasias a2 Two fantasias a5

Northwood Music TM2 LONDON PRO MUSICA VML207

MOSS, John 2 bass viols: suites 1-13 2 bass viols: suites 14-26

Dovehouse Editions VdG61A Dovehouse Editions VdG61B

MOULINIÉ, Étienne 1-3 Fantasias a4

Practicall Musicke

MUDD, Henry In Nomine a4

Musica Britannica 44, no. 15 VdGS ME 182 Musica Britanncia 44, no. 52

In Nomine a5 MUNDY, John 1-3 In Nomines a5 1-2 In Nomines a6 Sing Joyfully

Musica Britannica 45 Musica Britannica 45 TCM 92

MUNDY, William O Mater Mundi Fantasia Sermone Blando 1-2 In Nomines a5 In Nomine [E272] In Nomine [E271] Fie fie my fate

Musica Britannica 44, no. 32 Musica Britannica 44, no. 33 Musica Britannica 44, no. 43 LONDON PRO MUSICA EM17 Musica Britannica 44, no. 53 Musica Britannica 44, no. 54 Musica Britannica 22, no. 30

NAU, Stephen 14-19 Airs a5

KASSEL E

NICOLAI, Johann Michael 2 Sonata 3-10 Sonatas and airs

Güntersberg G041 Güntersberg G047

NICHOLSON, Richard

16

9 Consort songs Cuckoo When Jesus sat at meat (verse anthem)

Musica Britannica 22 Chester edition 230 VdGS ME 221

NORCOMBE, Daniel Nine divisions for bass viol: 1, 5, 8, 13, 16, 20, 25, 28, 31

PRB Productions B016

OKER/OKOVER, John 1-10 Fantasias a3 Nos. 1-3 1-2 Pavans a5 No. 2 1-7 Fantasias a5 No. 5

Barrington Series VdGS ME 154 PRB Productions, VC044 Musica Britannica 9, no. 70 PRB Productions, VC044 Musica Britannica 9, no. 45

ØRN, Jacob Pavan a6

DENMARK B

PARSLEY, Osbert Salvator Mundi a3 1-2

EM adds Musica Britannica 44 EM adds Musica Britannica 44, Nos. 16-17 Curwen 93103 VdGS ME 198 EM adds Musica Britannica 44, No. 55 LONDON PRO MUSICA VML177 EM adds Musica Britannica 44, no. 44 Curwen 90827 EM adds Musica Britannica 44, no. 45 PARSLEY TCM Appendix

In Nomines a4 No. 1 No. 2 In Nomine No. 1 a5 Two pieces a5 Persley’s Clocke a5

Spease Noster Super Septem PARSONS, Robert 1-2 In Nomines a4

Musica Britannica 44, nos. 18-19 LONDON PRO MUSICA VML187 VdGS ME 198 Musica Britannica 44, no. 12 Musica Britannica 44, no. 35 Musica Britannica 44, no. 34 Musica Britannica 44, no. 56 BYRD COLL XX, no. 150 US-NYp edition (1937) FWVB, no. 140 Musica Britannica 44, no. 70 Partita edition LONDON PRO MUSICA EM13 Musica Britannica 44, nos. 74-75 VdGS ME 24 Musica Britannica 22, no. 6 Musica Britannica 22, no. 5

No. 1 Ut re mi a4 Songe a5 De la Court [two parts] In Nomine a5

Song called trumpets a6

1-2

In Nomines a7 Pour down you powers Enforced by love and fear

PATTRICK, Nathaniel Climb not too high Send forth thy sighs Prepare to die

Musica Britannica 22, no. 32 Musica Britannica 22, no. 10 Musica Britannica 22, no. 11

17

PEDERSØN, Magnus 1-2 Pavans a5

Corda Music CMP 418

PEERSON, Martin Fantasia a5: Attendite 1-7 Fantasias and Almains a6 No. 1 Nos. 2, 5 No. 3 No. 4 No 6 No. 7 Blow out the trumpet

VdGS ME 83 PRB Productions VC39C VdGS ME 5 Schott VdGS ME 101 Musica Britannica 9 VdGS ME 39 VdGS ME 138 Schott 10604

PHILIPS, Peter Pavan Pagget; Galliard 10; Pavan 21 a5 Almain Tr[egian] a5

Musica Britannica 9, nos. 71-2, 90 RENAISSANCE N

PICFORTH In Nomine a5

Musica Britannica 44, no. 57

PIETKIN, Lambert Two sonatas a4 ttt, bass, bc

PRB Productions, B049

PILKINGTON, Francis Fantasia No. 1 a6

VdGS ME 171

POLEWHELE/SIMPSON Divisions on Polewhele’s ground

VdGS ME 140

POOLE, Anthony Divisions for solo viol, no. 7

VdGS ME 139/90

POYNTE In Nomine a4 In Nomine a5

Musica Britannica 44, no. 20 Musica Britannica 44, no. 58

PRESTON, Thomas O lux a3 In Nomine a4

Musica Britannica 44, no. 5 Musica Britannica 44, no. 21

PRIMROSE Almain, Corant, Saraband a3

VdGS ME 103

PURCELL, Henry All consorts in Fantasias and In Nomines a3 – a7 1-3 Fantasias a3 4-13 Fantasias a4 Fantasia on one note and In Nomines a6 and a7 I-XII Sonatas of three parts I-X Sonatas of 4 parts

PURCELL S Nagel Edition, Nos. 58, 113 Northwood Music HP-1 Northwood Music HP-2 Northwood Music HP-3 PRB Productions VC058 and 59 Purcell Society (Novello, 1981)

PYTTYNS, Richard Ruger

Musica Britannica 44, no. 87 WARD D

RANDALL, William

18

In Nomine a5

Musica Britannica 45, no. 164

RAVENSCROFT, Thomas Fantasias a5 1 2 3 4 Verse anthems [all below in] O Jesu sweet Ah, helpless wretch All laud and praise O Lord, in thee is all my trust O woeful ruins of Jerusalem Wrapt up, O Lord O clap your hands together O let me hear thy loving kindness This is the day when first In thee, O Lord have I put my trust

PRB Productions VC035 Schott/VdGS 12 VdGS ME 98 VdGS ME 110 Schott/RMS 142, no. 25 RAVENSCROFT P1 CMSR 3 CMSR 3

READ, Richard Pavan and Galliard for 2 lyra viols

VdGS ME 131

ROGERS, Benjamin 81-89 9 Muses a4

VdGS ME 160

SADLER, John In Nomine a5

Musica Britannica 45, no. 165

SCHAFFRATH, Christoph duet for two viola da gambas solo in B-flat: viola da gamba, continuo sonata in A: viola da gamba, cembalo

Guntersberg 087 Guntersberg 049 Guntersberg 048

SCHENCK, Johann Six sonatas op. 9, vdg and cont. Two sonatas for 2 bass viols Le Nymphe di Rheno 12-15 Sonata IV

Das Erbe Deutcher Musik 67/8 (1973) PRB Productions B004 PRB Productions B036 VdGS ME 111

SCHMELZER, Henirich Duodena Delectarum Sonatorum 2 vlns, bass and bc (1659) Sacro-Profanus Concentus Musicus (1662)

DTÖ cxi-cxii (1965)

SCHULTZ, Jacob 1-2 Galliards a5

Moeck MMP

SIMMES, William 1-7 Fantasias a5 No. 1

PRB Productions VC005 Musica Britannica 9, no. 46

SIMPSON, Christopher No. 23: Divisions for bass viol 5 duets for division viols (VdGS 24-8) Divisions for treble and bass Divisions in F major The Months trBBBc The Seasons

VdGS ME 140 VdGS ME 220 Dovehouse Editions, no. 11 Saraband Music SM4 Dovehouse editions SIMPSON SN

19

1-20 1-22 1-26

20 ayres for 2 trebles and 2 basses Airs a3 trtrB Little Consort tr, lyra, B, Bc Six ayres for lyra viol and bass

VdGS ME 226 Dovehouse Editions PRB Productions, VC043a-c PRB Productions, VC037

SIMPSON, Thomas All in Volta Allemande, Ricercar, Malcontent

LONDON PRO MUSICA, MP9 Consortium Musica Britannica 9, nos. 105-7

SOMMER, Johann 1-11 Pavans and galliards a5

Moeck MMP V and VI

STANNAR, William In Nomine a5

Musica Britannica 45, no. 166 VdGS ME 183

STEFFENS, Johann 1-10 Pavans and Galliards a5

Moeck MMP VI

STONINGS, Henry In Nomine a4 In Nomine a5 No. 2 Miserere a5

Musica Britannica 44, no. 22 Musica Britannica 44, no. 59 VdGS ME 183 Musica Britannica 44, no. 46 EM series Musica Britannica 44, no. 40 EM series LONDON PRO MUSICA VML112

Browning a5

STONNARD, W Hearken all ye people

Concordia Edition

STROGERS, Nicholas 1-3 In Nomines a5 In Nomine a6 In Nomine Pavin A doleful deadly pang Mistrust not truth O heavenly God and father dear

Musica Britannica 44, nos. 60-62 Musica Britannica 44, no. 73 MORLEY 1599/1 Musica Britannica 22, no. 9 Musica Britannica 22, no. 21 Musica Britannica 22, no. 22

SUMARTE, Richard 16-19 3 pieces for tenor lyra viol

VdGS ME 102

TALLIS, Thomas In Nomine a4 In Nomine a5 (both the above) A solfinge songe

Musica Britannica 44, no. 23 Musica Britannica 44, no. 24 VdGS ME 13 Musica Britannica 44, no. 36

TAVERNER, John In Nomine a5

Musica Britannica 44, no. 25 Musica Britannica 1, no. 35 (kbd) TAVERNER TCM 1, p. 148 TAVERNER TCM 3, p. 199 Hortus Musicus 134 Musica Britannica 44, no. 71 TAVERNER TCM 3, p. 117 LONDON PRO MUSICA EM15

Quemadmodum a6

TOMKINS, Thomas Complete consort music in

Musica Britannica 59

20

Fantasias and In Nomines a3 No. 2 (In Nomine) No. 3 (Fantasia) Nos. 4-5, 10-12, 16 No. 8 No. 9 No. 10 No. 12 Nos. 13, 15 No. 14 No. 16

Hinrichsen H558a VdGS ME 84 Consortium D-2331/N 1142 Schott 10645 Stainer & Bell 5236 ECS 11 Schott 6193 VdGS ME 189 VdGS ME 47 VdGS ME 2 Musica Britannica 9, no. 13 Stainer & Bell 5234 Northwood Music, TT-5 Musica Britannica 5, no. 33 (kbd)

No. 17 Five-part music Fantasia a5 Pavans a5 Nos. 1, 6-8 No. 5 No. 6

Moeck, ZfS; ECS 5 (6) VdGS ME 145 Musica Britannica 5, no. 56 (kbd) Musica Britannica 9, no. 73 Musica Britannica 5, no. 35 (kbd) Musica Brtiannica 9, no. 33 Northwood Music, TT-6

Ut re mi a4 Almain a4 Six-part works Fantasias a6 Nos. 1, 4 No. 2 Pavan and Galliard Verse anthems Thou art my king, O God Sing unto God O Lord, let me know mine end Above the stars

Consortium Stainer & Bell Musica Brtiannica 9, nos. 91-2 EECM 9, no. 21 EECM 9, no. 20 EECM 9, no. 16 EECM 9, no. 14

TOMKINS, John or Thomas O thrice blessed earth bed

Musica Britannica 22, no. 40

TÖPPFER, Christian 1-5 airs a4

LONDON PRO MUSICA, Simpson 1621

TYE, Christopher All in Britannica 45 Two In Nomines a5 Lawdes Deo a5

LONDON PRO MUSICA M1; Musica LONDON PRO MUSICA VML129 Chester

WARD, John Fantasias and In Nomine a5 all in No. 1 No. 2 No. 3 No. 4 No. 5 No. 6 No. 7 No. 8 Nos. 9-10 No. 13 In Nomine Eight Fantasias and In Nomine Italian Madrigal fantasias a5

Musica Britannica 67 VdGS ME 40 VdGS ME 6 VdGS ME 105 VdGS ME 76 VdGS ME 115 VdGS ME 54 VdGS ME 57 VdGS ME 120 Musica Britannica 9, nos. 47, 46 VdGS ME 95 VdGS ME 15 Northwood Music JW-5 Northwood Music JW-Mad

21

Fantasias and In Nomines a4 1-6

1-5

Nos. 1, 6 No. 2 Nos. 7, 11, 16 In Nomines

6-20

No. 5 [‘Paris’ fantasias]

1-6

No. 6 No. 7 No. 8 Nos. 13, 16 Airs for two bass viols and organ

Musica Britannica 83 PRB Productions VC015 Musica Britannica 9, nos. 27, 25 Stainer & Bell 5238 VdGS ME 7/30 Musica Britannica 83 PRB Productions VC009 Musica Britannica 9, no. 29 Musica Britannica 83 PRB Productions VC016, VC018 VdGS ME 14 VdGS ME 30 Musica Britannica 9 VdGS ME 7 Musica Britannica 83 Dovehouse Edition VDG5 Musica Britannica 9, no. 6 Musica Britannica 67 Northwood Music JW-6 VdGS ME 51 Musica Britannica 9, nos. 81-2 VdGS ME 126 VdGS ME 121 VdGS ME 64 Musica Britannica 9, no. 86 Corda Music CMP 429

No. 2 Fantasias and In Nomines a6 No. 1 Nos. 2-3 No. 5 No. 6 In Nomine 1 In Nomine 2 Verse Anthems WEBSTER, Maurice Complete Consort Music

Editions HH Ltd.

WEELKES, Thomas Consort Works a4, a5 and a6 In Nomine a4

1-2 3-4

Northwood Music TW-1 to TW-3 Musica Britannica 45, no. 136 VdGS ME 198 Musica Britannica 45, no. 186 VdGS ME 72 VdGS ME 163 ECS 12 Musica Britannica 9 WEELKES G RENAISSANCE R Musica Britannica 22, no. 66

In Nomine no. 2 a5 Pavans a5 ditto No. 2 No. 5 No. 6 Fantasia a6 Cries of London

WHITBROOK In Nomine a4

VdGS ME 182

WHITE, Robert All instrumental music in 1-6 Fantasias a4 1-4 In Nomines a4 No. 1

A-R Editions R12 Musica Britannica 44 Musica Britannica 44 Musica Britannica 1 Hortus Musicus 134 Musica Britannica 45, no. 2 TCM V Musica Britannica 44, no. 63 Musica Britannica 44, no. 37

Christe qui lux no. 1 a4 Christe qui lux no. 2 a4 In Nomine a5 Mr Whyte his Songe a5 WHITE, William Two Fantasias for two bass viols Fantasia no. 2 for 2 bass viols

Dovehouse, no. 14 Musica Britannica 9, no. 5

22

Fantasia a3 trtrB

1-6

Musica Britannica 9, no. 14 VdGS ME 169 Peters Edn. 7168 Saraband Music SM16 Musica Britannica 9 Dovehouse Edition VDG36 Musica Britannica 9, no. 83 VdGS ME 92 PRB Productions VC013 Musica Britannica 9, no. 93

Fantasias 1 and 3 a5 Two Diapente fantasias a5 No. 2 Fantasias a6 No. 2 No. 5 Fantasia and 2 Pavans a6 Pavan no. 2

WIGTHORPE, William Smiths are good fellows (voice+5) Were I made juror (voice+4) I am not I (voice+4)

Musica Britannica 22, no. 57 Musica Britannica 22, no. 56; ES 1 Musica Britannica 22, no. 55

WILBYE, John Ne reminiscaris Domine a5 Fantasia a6

Musica Britannica 22, no. 45 Musica Britannica 9, no. 84; VdGS ME 227

WHITBROOKE In Nomine a4

Musica Britannica 44, no. 31

WITHY, Edward Trumpet Tune

VdGS ME 86

WITHY, John Treble and bass divisions 19 fantasias for 2 bass viols Fantasia a4; In Nomine a5

VdGS ME 94 Dovehouse VDG13 VdGS ME 212

WOODCOCK, Clement 1-3 In Nomines, Hackney, Browning Hackney

Musica Britannica 44 Curwen; LONDON PRO MUSICA VML 112 VdGS ME 74; LONDON PRO MUSICA

Browning

WOODESON, Leonard 1-4 In Nomines a5

Musica Britannica 45

YOUNG, William 1-9 Fantasias a3 (trtBbc) 1-11 Sonatas (1653) a3-5 8-9

VdGS ME 150-151 OUP (1930-1) DTÖ (1983) VdGS ME 178/181 OUP (1930-1) Universal (ed. Leonhardt, 1962) Schott Dovehouse, 46 PRB Productions VC038 VdGS ME 184 VdGS ME 185 VdGS ME 187

2 sonatas a4 in G & F 19 airs (1653) (trtrBbc) Sonata in D (vln,B,bc) 29 pieces for solo bass viol Airs and dances for 2 bass viols Coranto and Masque a2 Six dances a3 Six Allemands a3

ZYKA, Joseph Benedikt Trios in C, D, F: violin, 'cello, bass viol Trios in G, A, B-flat: violin, 'cello, b. viol

23

PRB CL009 PRB CL010

ANON: TWO-PART TREBLE AND BASS Lbl, Add. MS 10,444 VdGS No.

fol.

2203 30r

II/54 The Lord Hays his Masque [Thomas Lupo]; Rossiter 1609/8

2204 31v

II/57 The Fairey Masque Add. 38539, f.10r

2205 32r

II/58 The Pages Masque

2206 32v

II/59 A Masque

2207 32v

II/60 The Gypsies masque

2207 32v

II/61 Black Fryars Masque

2209 33r

II/61b [no bass part]

2210 33v

II/62 The Tempest

2211 33v

II/63 A Masque

2212 34v 2213 34v

II/65 A Masque II/66 The Sheapheards Masque

2214 35r

II/67 Durrance Masque

2215 35r

II/68 The Lord Hayes his first Masque

2216 35r

September 2007

II/69 The Second A-2-17

ANON: TWO-PART TREBLE AND BASS Lbl, Add. MS 10,444 VdGS No.

fol.

‘VB’ = V.Brookes: British Keyboard Music to c.1660: Sources and Thematic Index

2217 86r

II/70[a] The Third [Bass only]

2218 35v

II/70 [b] The May-Pole [VB 690] Brade 1617/18

2219 35v

II/71 The Amazonians Masque

2220 36v

II/72 The Furies

2221 36v

II/73 The Cuckolds Masque Brade 1617/45

2222 37r

II/74 The first of the Ladyes, after the Cuckolds

2223 37r

II/75 The Second

2224 37v

II/76 The Third

2225 37v

II/77 The Fourth

2226 38r

II/78 A Masque

2227 38v

II/79 Good Words for your Mony

2228 39r

II/80 The Second

2229 40v

II/82 The Lady Lucies Masque

2230 40v

II/86 Mary Maudling Masque

2231 40v

II/78 The First of the Temple

2232 41r

II/79 The Second of the Temple

September 2007

A-2-18

ANON: TWO-PART TREBLE AND BASS Lbl, Add. MS 10,444 VdGS No.

fol.

‘VB’ = V.Brookes: British Keyboard Music to c.1660: Sources and Thematic Index

2233 41r

II/89 The Third of the Temple

2234 41v

II/90 The French Morris

2235 41v

II/91 Graysin Anticke Masque

2236 43r

II/96 Fly Foul Soul Lbl: Add. 29481/24v

2237 43v

II/97 A Masque

2238 43v

II/98 The Antick Masque at Court

2239 44r

II/99 Graysinne Masque [VB 762]

2240 44v

II/100 York House Masque

2241 44v

II/101 The Mountebanks Dance at Grayes Inne

2242 45r

II/102 The Standing Masque [VB 760]

2243 45r

II/103 The May-pole Dance at Grayes Inne

2244 45v

2245 45v

2246 46r

September 2007

II/104 The Goates Masque II/105 The First of the Princes Masques II/106 The Second

A-2-19

ANON: TWO-PART TREBLE AND BASS Lbl, Add. MS 10,444 VdGS No.

fol.

‘VB’ = V.Brookes: British Keyboard Music to c.1660: Sources and Thematic Index

2247 46r

II/107 The Third

2248 46r

II/108 The Kings Mistresse

2249 46v

II/109 Wilsons Loue

2250 46v

II/111 Waters his Loue

2251 47v

II/112 Broxboorn Berry Masque

2252 47v

II/113 The New Yeares Gift

2253 48r

II/115 Squiers Masque

2254 48v

II/116 The First of the Temple [VB 768]

2255 49r

II/117 The Second [VB 752]

2256 49r

II/118 The Third

2257 49v

II/119 The First of S r John Paggingtons

2258 49v

II/120 The Second

2259 50r

II/121 The Third

2260 50v

II/124 The First of the Temple Masques

2261 51r

II/125 The Second

2262 51v

II/126 The Third

September 2007

A-2-20

ANON: TWO-PART TREBLE AND BASS Lbl, Add. MS 10,444 VdGS No.

fol.

‘VB’ = V.Brookes: British Keyboard Music to c.1660: Sources and Thematic Index

2263 51v

II/127 The First of the Prince his Masque

2264 52r

II/128 The Second

2265 52r

II/129 The Third

2266 52v

II/130 Lincolnes Inne Masque

2267 52v

II/131 The Prince his Masque

2268 53r

II/132 The Apes Dance at the Temple

2269 53v

II/133 Grayes Inne Masque Brade 1617/38

2270 53v

II/134 Grayes Inne Masque

2271 54r

II/135 The First of the Prince his [Masque] [Robert Johnson] [VB 1838] Brade 1617/31

2272 54r

II/136 The Second [VB 311] Brade 1617/32

2273 54v

II/137 The Third Brade 1617/33

2274 54v

II/138 [no title] Brade 1617/19

September 2007

A-2-21

Airs for treble and bass

VdGS No.

US-NH, Filmer 3. Treble & bass

ANON.

f.

2275 [Saraband]

90v

2276 [Jig]

85v

2277 [Air]

76r

2278 [Corant]

76r

2279 The Running Almand

75v

2280 The Port

75v

2281 Almain

74v

2282 [Almain]

74v

2283 Saraband

74r

2284 [Saraband]

74r

2285 [Air]

2286 [Air]

February 2008

64r

64r

A-2-22

VdGS No.

US-NH, Filmer 3 : treble & bass

ANON. Airs for Treble and Bass

f. 2287 [Air]

2288 [Saraband]

2289 The Globe Antick

2290 Courant

63v

63v

62v

62r

2291 [Saraband]

62r

2292 The Grand Masque

59v

2293 [Jig]

58r

2294 Almain

2295 Ayre

57r

57r

2296 Courant

56v

2297 Saraband

56v

February 2008

A-2-23

VdGS No.

GB-En, Panmure 2,3,12

Mostly, if not all, French

US-NH, Filmer 3

ANON. Treble and Bass

fol. 2298 [Air]

16v

2299 A French Ayre

17r

2300 A French Ayre

17r

2301 Moutarte Nouvelle

17r

2302 Tricotes

17v

2303 Triottes de blois

17v

2304

17v

2305 La Princesse

17v

Sir E F 2306 his French Ayre

18r

Courante 2307 de Tranelinne

69v

2308

69v

2309 Larobichonne

69r

February 2008

A-2-24

VdGS No.

GB-En, Panmure 2,3,12

Mostly, if not all, French

US-NH, Filmer 3

ANON. Treble and Bass

fol. 2310 La Bouree de Robichon

69r

2311 Le Boguinet

69r

2312 Courante

68v

2313 Courante

68v

2314 Moleneriser Ledernier

February 2008

68r

A-2-25

801

Sonata

C

802

Sonata

D

803

[Sonata]

a

5

804a [Suite] Allemande

A

9

804b Courante

A

9

804c Ballet

A

9

804d Sarabande

A

804e Gigue

A

805

[Sonata]

d

806

Sonata

a

807

Sonata

a

no.

no.

15

F-Pn, Rés Vm7 673

GB-Ob, Mus. Sch. D.249

no.

GB-Ob, Mus. Sch. C.80

no.

GB-DRc, D5

Pieces for violin, bass viol and continuo probably of continental origin VdGS No.

GB-DRc, D2

ANONYMOUS

no.

43

24

9

9

2

8

13

2003 A-2/bc-1

no.

GB-DRc, D2

no.

F-Pn, Rés Vm7 673

no.

GB-Lbl, RM 20.h.9

GB-Ob, Mus. Sch. D.249

no.

GB-HAdolmetsch II.c.25

Pieces for violin, bass viol and continuo probably of continental origin VdGS No.

GB-Lbl, Add. 31423

ANONYMOUS

no.

808

[Sonata and suite]

C

809

Symphonia

G

810

Symphonia

a

811

Sonata

a

812

[Sonata]

d

813* [Sonata]

d

40

814

a

45

[Sonata]

815† Sonata

no.

14

231v

10

228v

11

229v

12

102

d 70

816

Sonata

g

* †

Also in S-Uu, IMhs 11:1 Also in Exercitum Musicum (Frankfurt, 1660), No. 5

27

January 2009 A-2/bc-2

Pieces for violin, bass viol and continuo probably of continental origin VdGS No. Key

S-Uu IMhs

D-W, Cod. Guelf. 34. 7. Aug 2o

ANONYMOUS

no./p.

817

Sonata

a

818

Sonata

G

11:4

819

Sonata

a

11:10

820

Sonata

Bb

11:3

821

Sonata

D

11:9

11:6

822

Sonata

D

5/13

January 2009 A-2/bc-2a

831

Sonata

g

832

[Sonata]

d

833

[Sonata]

G

834

[Sonata]

D

835

[Sonata]

D

836

Sonata

a

15

837

Sonata

d

19

838

Sonata

F

839

La Castellina d

27

840

Sonata

a

28

841

‘adagio’

A

*ANDREAS OSWALD 842 Variata Aria d

January 2009

no.

no.

1

D-W, Cod. Guelf. 34.7. Aug. 2 o

Exercitum Musicum (Frankfurt, 1660)

no.

GB-HAdolmetsch II.c.25

Pieces for two violins and bass/continuo probably of continental origin VdGS No.

F-Pn, Rés Vm7 673

ANONYMOUS

no./ page

10

3

8

11

14

22

26

51 [b]/ 81

29

30

*54/ 88

A-2/bc-3

843

[Sonata]

d

844

[Sonata]

a

845

Variationes

D

846 Sonata d *G.B.BUONAMENTE

no.

no.

24

11

SUu, imhs

31

36

46

51

1:9*

54

847

[Sonata]

e

848

[Sonata]

D

849

[Sonata]

F

58

850

[Sonata]

a

69

851

‘adagio’

C

71

852 [Sonata] ‘Violino è Viol d’amor’

F

853

[Sonata]

G

84

854

[Sonata]

C

85

January 2009

Exercitum Musicum (Frankfurt, 1660)

no.

GB-HAdolmetsch II.c.25

Pieces for two violins and bass/continuo probably of continental origin VdGS No.

F-Pn, Rés Vm7 673

ANONYMOUS

55

78

13

A-2/bc-4

Pieces for two violins and bass/continuo probably of continental origin VdGS No.

F-Pn, Rés Vm7 673

ANONYMOUS

no.

855

[Sonata]

a

89

856

[Sonata]

e

90

857

[Sonata]

d

91

858

[Sonata]

d

94

859

[Sonata]

e

97

860

[Sonata]

d

98

861

‘adagio’

e

104

862 [Sonata] ‘Viola d’amour è Violino’

F

863

[Sonata]

A

864

La Chorista

D

2003

110

111

115

A-2/bc-5

Pieces for two violins and bass/continuo probably of continental origin VdGS No.

F-Pn, Rés Vm7 673

ANONYMOUS

no.

865

[Sonata]

D

866

[Sonata]

F

867

[Sonata]

d

868

[Sonata]

F

869

[Sonata]

C

870

[Sonata]

C

126

871

[Sonata]

a

127

872

[Sonata]

d

130

873

[Sonata]

d

132

874

[Sonata]

F

875

[Sonata]

Bb

876

[Sonata]

a

January 2009

118

119

122

123

125

134

135

145

A-2/bc-6

no.

f.

878

Canon per arsin et thesin G

879

Symphonia

D

880

Sonata

D

16

881

Sonata G * BERTALI

18

882

Sonata

Bb

883

Sonata

a

23

217v

884

Sonata

D

25

233v

885

Bergamasco D

26

232v

886

Sonata

D

887

Sonata

e

888

Sonata

g

889

Upon a ground

January 2009

no.

D-W, Cod. Guelf. 34.7. Aug 2 o

GB-DRc, D2

GB-Lbl, Add. 31423

Pieces for two violins and bass/continuo probably of continental origin VdGS No.

GB-HAdolmetsch II.c.25

ANONYMOUS

no./p.

6

7

38/49 *

19

13

27

29

218v

1

2

A-2/bc-7

Pieces for two violins and bass/continuo probably of continental origin VdGS No. key

GB-DRc, D2

ANONYMOUS S-Uu IMhs

no. 890

Upon a ground e

10 2 violins, viola da gamba and continuo

891

Sonata

C

11:9

892

Sonata

Eb

13:10

2 violins, viola da gamba or trombone and bc 893

Sonata

a

11:12 2 violins, viola da gamba or bassoon and bc

894

Sonata

January 2009

C

11:7

A-2/bc-8

ANONYMOUS Pieces for two violins and bass/continuo probably of continental origin VdGS No. key

GBCfm: Mu. 1167

no. 900 Sonata

901

Sonata

March 2009

(1)

(2)

A-2BC-9

Mostly, if not all, French VdGS No.

GB-En, Panmure 2,3,12

ANON. Trios Tr Tr B

Pages are torn out, so Treble I, nos. 1-2 and most of no. 3 and Treble II. nos. 1-11 are missing.

no. 980

[Air]

1

981

[Air]

2

982

[Courant]

3

983

Saraband

4

984

Simphonia

5

985

Air

6

986

Courant

7

987

Saraband

8

988

Fantasie

9

989

Air

10

990

Gigue

11

991

Saraband

12

992

Pavan

February 2008

13

A-3-7

Mostly, if not all, French VdGS No.

GB-En, Panmure 2,3,12

ANON. Trios Tr Tr B

no. 993

Air

14

994

Courant

15

995

Saraband

16

996

La Princesse

17

Iantha or Princess Royal in Playford DM, Apollo’s Banquet, etc.

18

997 998

Bouree de Arvis

19

999

La Galliard

20

1000 Grand Bouree

1001 Balliris

21

22

1002 Bouree Royale

23

1003 Rondeau

24

1004 Air

25

1005 Air

26

A-3-8 February 2008

Mostly, if not all, French VdGS No.

GB-En, Panmure 2,3,12

ANON. Trios Tr Tr B

no. 1006 [Air]

27

1007 [Air]

28

1008 [Air]

29

1009 Branle simple

30

1010 Gaij

31

1011 Amenet

32

1012

Gavot

33

1013 Courant

34

1014 Saraband

35

1015 Courant

36

1016 [Saraband]

37

Second treble only

Second treble only

A-3-9 February 2008

Trios Tr Tr B VdGS No.

GB-Lb l, Add. 31424

ANON

f. 1020. Adagio

45r

1021. Giga

45v

1022. Sarabanda

46r

1023 Adagio

46v

1024 Balletto

46v

1025 Sarabande

47r

1026 Giga

47v

1027 Adagio

48r

1028 Balletto

48v

1029 Giga

49r

1030 Scalanda

49r

1031 Adagio

49v

1032 Balletto

49v

September 2008

A-3-10

Trios Tr Tr B VdGS No.

GB-Lb l, Add. 31424

ANON

f. 1033. Giga

50r

1034. Sarabanda

50v

1035. Adagio

50v

1036. Balletto

51r

1037. Corrente

51v

1038. Sarabanda

51v

1039. Adagio

52r

1040. Balletto

52r

1041. Corrente

52v

1042. Sarabanda

52v

1043. Adagio

53r

1044. Balletto

53r

1045. Giga

53v

1046. Sarabanda

54r

September 2008

A-3-11

Anonymous Three parts three viola da gamba 1047 Sonata

January 2009

a

S-Uu, 11:5

A-3-12

ANONYMOUS four-parts

D-W, Cod. Guelf. 34.7. o Aug 2 4 viola da gamba, bc

1378 Fuga G

no./p. 85/172

violin, 2 viola da braccio, violone, bc 86/174

1379 Sonata C 2 violins, viola da gamba, violone or bassoon, bc 1380 Sonata F

87/177 2 violins, trombone, bassoon, bc

1381 Sonata e

January 2009

88/179

A-4BC-1

ANONYMOUS five-parts

D-W, Cod. Guelf. 34.7. o Aug 2 ‘5 instruments’, bc

1696 Canzona C

no./p. 85/172

2 violins, 2 viola da braccio, violone or bassoon, bc violin, 2 viola da braccio, violone, bc 86/174

1697 Sonata a 3 violins, 2 viola da braccio, violone, bc 1698 Sonata C

87/177 2 violins, 2 viola da braccio, bassoon, bc

1699 Sonata a

January 2009

88/179

A-5BC-1

ANONYMOUS six parts

2 violins, 3 viola da braccio, violone, bc 3007 Sonata g

D-W, Cod. Guelf. 34.7. o Aug 2 no./p. 97/197

2 violins or cornetts, 3 trombones, bassoon, bc 3008 Sonata C

January 2009

104/225

A-6BC-1

Additions to A-defhf-3 No. 7018: No. 7020: No. 7022:

other versions at 7095, 7421, 8207, 8307, 8308. ‘The Kings Kettie’ in GB-En, P637 R787.1, f. 1v, seq. (3) ‘Mackbeth’ in GB-En, P637 R787.1, f. 2r, seq. (5)

November 2008

A-defhf-3a

ANONYMOUS fdedf tuning

[Ayre], 1 part, c minor, A-ETgoëss MS ‘C’, seq. (34) [= JENKINS 546: GB-Mp, Br M 832 Vu 51: XVIII, 1, p.186] February 2010

A-fdedf-1

ANONYMOUS fedef tuning

VdGS No.

Title

9742 9743 9744 9745 9746

Air Air/Alm* Air Air Allemande

GB-Lbl, MS Mus. 249 (seq.) 55 56 58 59

D-Kl Ms. 4o Mus. 108.7 fol. =Anon 9658 2r 1v

=former Anon 8731

* Concordances are Simon Ives a2 (VdGS 1): Symphony Coleman VdGS 15 Sumarte VdGS 29 (The King’s Maske)

March 2010

fedef-6

The Viola da Gamba Society - Publications - Thematic Index of music for viols

 

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The Viol

Thematic Index of music for viols Tablature Manuscripts     To the main Thematic Index page   TABLATURE SOURCES FOR LYRA VIOL MUSIC INTRODUCTION The Society's Index of Manuscripts Containing Consort Music, now in progress, generally excludes sources of tablature pieces. One or two exceptions have been made where these can be linked to a particular owner/copyist like John Browne, or where the tablature pieces are part of a composite collection like GB-Ob, MSS Mus. Sch. D.245-7, by John Merro (noted as IMCM in the list below). Indexing lyra viol music is fraught with difficulties because the various manuscripts throw up numerous discrepancies. One piece might be assigned to several composers, appear in more than one tuning, or present variant readings, all of which hinder making a positive identification. In recent years Richard Carter has done much valuable work on the tablature music in the Thematic Index, pointing out corrections and finding concordances. It has been proposed that an index for lyra viol music be created, listing pieces by source, similar to the published IMCM above. As work progresses we will place it on the Society's web-site Revision and correction will thus be relatively easy to manage. It is intended to show the concordances for each piece. The aim will be to provide a link to each manuscript from the list below. Much work has already been done, although it will take time to create and co-ordinate the various files. Initially we have draft lists by Richard Carter, John Cunningham, the late Gordon Dodd, and John Robinson, which will provide a very firm foundation as the project gets under way. Andrew Ashbee March 2011   SOURCE LIST (a) PRINTED SOURCES Hume, Tobias

The First part of Ayres.., 1605

 

Hume, Tobias

Captain Humes Poeticall Musicke, 1607

 

   

   

Ford, Thomas

Musicke of Sundrie Kindes, 1607

 

 

   

.pdf 195KB  

Ferrabosco, Alfonso [II]

Lessons for 1. 2. and 3. viols, 1609

Corkine, William

Ayres to Sing and Play to the Lute and Basse Violl, 1610

.pdf 97KB

Corkine, William

The Second Booke of Ayres, 1612

 

   

   

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

     

The Viola da Gamba Society - Publications - Thematic Index of music for viols

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Playford, John Playford, John Playford, John Playford, John Playford, John Moss, John

A Musicall Banquet, 1651

 

Musick's Recreation on the Lyra Viol, 1652 Musick's Recreation on the Lyra Viol, 1661 Musick's Recreation on the Lyra Viol, 1669 Musick's Recreation of the Lyra Viol, 1682 Lessons for the basse viol, 1672

 

A-ET, goess MS 'A'

 

A-ET, goess MS 'B'  

A-ET, goess MS 'C'    

Germany  

D-Kl, Ms. 4 Mus. 108 .2   D-Kl, Ms. 4 Mus. 108 .3

                 

.pdf 184KB

 

.pdf 185KB

 

 

 

 

D-Kl, Ms. 4 Mus. 108 .4 D-Kl, Ms. 4 Mus. 108 .5  

D-Kl, Ms. 4 Mus. 108 .6  

D-Kl, Ms. 4 Mus. 108 .7  

D-Kl, Ms. mus. 61.1(1)  

D-Kl, Ms. mus. 61.1(2)  

LUh, David von Mandelslaw    

Eire  

IRL-Dm, MS Z.3.4.13  

IRL-Dm, MS Z.3.5.13 [see VdGS Journal III]  

IRL-Dtc, 408/1 [William Ballet]    

France

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

             

Austria

 

 

 

(b) MANUSCRIPT SOURCES  

 

                                             

 

The Viola da Gamba Society - Publications - Thematic Index of music for viols

 

 

 

 

 

Great Britain  

GB-CHEr, MS DLT/B31 [Peter Leycester]  

GB-Cu, Dd.5.20  

GB-Cu, Dd.6.48  

GB-Cu, Dd.5.78GB-Cu, Dd.9.33

                 

.pdf 51KB

 

 

 

 

GB-Cu, Hengrave Hall Deposit 77 (1) GB-Cu, Hengrave Hall Deposit 77 (2)  

GB-Cu, Add. MS 9284  

 

F-Pn, Res 1111

 

GB-Cu, [to check - single sheet or double fold]  

GB-DU, Mus. 10445 [Andrew Bla[i]kie]  

GB-En, Dep. 314/24  

GB-Er, MS 787.1  

GB-Eu, Reid Library, Mus.m.1  

GB-HAdolmetsch, MS II B 3  

GB-Lam, MS 600 [John Browne] [IMCM 2]  

GB-Lbl, Add. MS 15117  

GB-Lbl, Add. MS 15118  

GB-Lbl, Add. MS 17795 [IMCM 1]  

GB-Lbl, Add. MS 31432 Cunningham/Lawes]  

GB-Lbl, Add. MS 56279 [Silvanus Stirrop]  

GB-Lbl, Add. MS 59869 [Cartwright] [IMCM 1]  

GB-Lbl, Add. MS 63852 [Griffith Boynton]  

GB-Lbl, Egerton 2971

                                                                 

.pdf 109KB

 

 

 

 

GB-Lbl, Harley 7578 GB-Lbl, Mus. 249  

GB-Lcm, C41/1 [formerly II F 10 ]  

GB-Mp, BRm/832 Vu51 [facsimile; see VdGSJ III]

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

           

The Viola da Gamba Society - Publications - Thematic Index of music for viols

 

 

GB-NTu Bell-White 46 [VdGSJ II]

 

GB-Ob, Ob MS Mus Sch C.61 [IMCM II]

 

   

GB-Ob, MS Mus Sch D.217  

GB-Ob, MS Mus Sch D.221  

GB-Ob, MS Mus Sch D.233, 236  

GB-Ob, MS Mus Sch D.245-247 [IMCM I]  

GB-Ob, MS Mus. Sch. F.572  

GB-Ob, MS Mus. Sch. F.573  

GB-Ob, MS Mus. Sch. F.575  

GB-Ob, MS Mus. Sch. F.578  

GB-Ob, MS Mus. Sch. b.15  

GB-Och, Mus 439  

GB-Och, Mus 531-532  

GB-Och, Mus 725-727  

GB-Och, Mus 1014  

GB-SA, MS 38470/2  

GB-WOhc, MS LM/1083/91/35 [see RMARC 43]  

[TW m] Tunbridge Wells, Richard MacNutt private collection

                                                                 

 

 

Norway

 

   

N-Tu, XA HA Mus. 1:2 [see Chelys 23]  

N-Tu, XA HA Mus. 1:1 [see Chelys 23]  

N-Ou, MS 294 [see Chelys 23]    

Sweden  

S-[K1], MS 21.068  

S-L, MS Wenster G. 28  

S-L, MS Wenster G.35  

S-N, Finspang 9096.3  

S-Skma, MS Tablatur No. 3

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

                                     

 

The Viola da Gamba Society - Publications - Thematic Index of music for viols

 

United States of America  

 

   

US-Ca, MS Mus. 70 [William Lawes] [Cunningham/Lawes]    

 

 

 

US-LAuc, MS M286M4L992 [Mansell] US-NH, Misc. MS 170, Filmer Ms 3  

US-NYp, Drexel 4175 [Anne Twice]  

US-SM, MSS EL25/A/46  

US-Wc M2. I.T217C Case

               

         

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http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

MVSICKE / OF / SVNDRIE / KINDES, / Set forth in two Bookes. / THE FIRST WHEREOF ARE, / Aries for 4. Voices to the Lute, Orphorion, / or Basse- Viol, with a Dialogue for two / Voices, and two Basse Viols in parts, / tunde the Lute way. / THE SECOND ARE / Pauens, Galiards, Almaines, Toies, / Iigges, Thumpes and such like, for two / Basse- Viols, the Liera way, so made as the / greatest number may serue to play alone, very / easie to be performde. / Composed by THOMAS F ORD. Imprinted at London by IOHN WINDET at the Assignes / of WILLIAM BARLEY and are to be sold by IOHN BROWNE / in Saint Dunstons churchyard in Fleetstreet 1607. Facsimile: London, Scholar Press, 1978. Copies in: GB-Lbl [K.9.a.19]; GB-Gu [Euing R.x.5]; US-CAh [STC 11166]; US-Ws [STC 11166] Oleg V. Timofeyev (ed.) Thomas Ford: Lyra Viol Duets, Recent Researches in the Music of the Baroque Era 90 (Middleton, Wisconsin: A-R Editions Inc., 1998) [ISBN 978-0-89579-412-3]. no. sig.. title: PRIMA PARS. 1 G2v-H1r A Pauen./ M. Southcotes Pauen. [fefhf] GB-Ob Mus.Sch.D.245, p. 38 Pavine [fefhf] MB IX, no 126 2 H1v-H2r The Galliard. [fefhf] GB-Ob Mus.Sch.D.245, p. 33 Galliarde [fefhf] MB IX, no 127 3 H1v-H2r An Almaine./ M. Westouers farewell. [fefhf] GB-Ob Mus.Sch.D.245, p. 34 Alman: [fefhf] 4 H2v-I1r A Pauen./ M. Maynes Choice. [fefhf] 5 I1v-I2r The Galliard. [fefhf] GB-Ob Mus.Sch.D.246, p. 30 Galliarde [fefhf] 6 I1v-I2r Forget me not. [fefhf] F-Pc Rés.1111, f. 173v Aria [fefhf] GB-Cu Nn.6.36, f. 15r iii [defhf] GB-Ob Mus.Sch.D.246, p. 35 Forget me not [fefhf] 7 I2v-K1r A Pauen./ Sir Richard Westons delight [fefhf] 8 K1v-K2r An Almaine./ Mounsieur Lullere his choice. [fefhf] GB-Ob Mus.Sch.D.246, p. 31 Almaine [fefhf] 9 K1v-K2r The wild goose chase./ Sir Iohn Philpots delight. [fefhf] GB-Ob Mus.Sch.D.246, p. 40 The wildgoose chase [fefhf] 10 K2v-L1r What you will. [fefhf] 11 K2v-L1r And if you do touch me ile cry./ Sir Richard Tichbornes toy. [fefhf] GB-CHEr Ms. DLT/B 31, f. 47v Syr Rich: Titchbournes Toy GB-Lbl Add.56279, f. 8r [no title] [fefhf] GB-Ob Mus.Sch.D.245, p. 35 And if you do touch ile Cry [fefhf] 12 L1v-L2r The Baggepipes./ Sir Charles Howards delight [fefhf] GB-Ob Mus.Sch.D.246, p. 39 Sir Charles Howards delight [fefhf] 13 L1v-L2r Why not here./ M. Crosse his choice. [fefhf] F-Pc Rés.1111, f. 247v [Courantta] [fefhf]

title: SECVNDA PARS A Pauin./ M. Southcotes Pauin. [fefhf] GB-Ob Mus.Sch.D.246, p. 38 Pavine [fefhf] The Galliard. [fefhf] GB-Ob Mus.Sch.D.246, p. 33 Galliarde [fefhf] An Almayne./ M. Westouers fare well. [fefhf] GB-Ob Mus.Sch.D.246, p. 34 Alman: [fefhf] A Pauen./ M. Maines Choice. The Galliard. [fefhf] GB-Ob Mus.Sch.D.245, p. 30 Galliarde [fefhf] Forget me not. [fefhf] GB-Ob Mus.Sch.D.245, p. 35 Forget me not [fefhf]

VdGS [Ford] no. I II III IV V VI

A Pauen./ Sir Richard Westons delight [fefhf] An Almaine./ Mounsieur Lullere his choice. [fefhf] GB-Ob Mus.Sch.D.245, p. 31 Almaine [fefhf] The wild goose chase./ Sir Iohn Philpots delight. [fefhf] GB-Mp BRm 832 Vu 51, p. 44 14. Mr. G. / Coranto / Willis [fefhf] GB-Ob Mus.Sch.D.245, p. 40 The wildgoose chase [fefhf] What you will. [fefhf] And if you do touch me Ile cry. / Sir Richard Tichbornes toy. [fefhf] GB-Ob Mus.Sch.D.246, p. 35 And if you do touch ile Cry [fefhf] IRL-Dtc 408/I p. 58 untitled [fefhf]

VII VIII

The Baggepipes./ Sir Charles Howards delight [fefhf] GB-Ob Mus.Sch.D.245, p. 39 Sir Charles Howards delight [fefhf] Why not here. M. Crosse his choice. [fefhf] GB-Ob Mus.Sch.D.245, p. 39 whi not heare [fefhf]

XII

IX X XI

XIII

GB-Ob Mus.Sch.D.246, p. 39 whi not heare [fefhf] 14 L2v-M1r Chang of Ayre. [fefhf] GB-Ob Mus.Sch.D.246, p. 32 Change of Ayre [fefhf] 15 L2v-M1r Whipit and Tripit./ M. Southcotes Iig. [fefhf] GB-Ob Mus.Sch.D.245, p. 32 whip it and trip it [fefhf] 16 M1v-M2r Cate of Bardie / The Queenes Iig. [fefhf] GB-Ob Mus.Sch.D.246, p. 36 The Queenes Jedge [fefhf] GB-Cu Dd.5.20, f. 25r untitled [fefhf] 17 M2v A snatch and away./ Sir Iohn Paulets toy. [fefhf] F-Pc Rés.1111, f. 175r Saraband [fefhf] GB-Lbl Add.56279, f. 7r ii [no title] [fefhf] GB-Ob Mus.Sch.D.246, p. 34 A snatch and away [fefhf] Playford MRLV 1652, p. 6 Coranto [fefhf] Playford MRLV 1669, p. 16 [defhf] Playford MRLV 1682, p. 33 Saraband. [defhf] 18 M2v A pill to purge Melancholie./ M. Richard Martins Thumpe. [fefhf] GB-CHEr Ms. DLT/B 31, f. 47r A Pill to purge Melanchollye. otherwise known as Sr. Rich. Martins Thumpe [fefhf] GB-Lbl Add.56279, f. 8r [no title] [fefhf] GB-Mp BRm 832 Vu 51, p. 43 M r Tho: / A thumpe. / Martine. [fefhf] GB-Ob Mus.Sch.D.246, p. 34 A pill to purge mellancholy [fefhf] GB-Cu Nn.6.36, f. 15v untitled [fefhf] Playford MRLV 1652, p. 6 A Pill to Purge Melancholy. [fefhf] February 2011

Chang of Ayre. [fefhf] GB-Ob Mus.Sch.D.245, p. 32 Change of Ayre [fefhf] Whipit and Tripit. / M. Southcotes Iigge [fefhf] GB-Ob Mus.Sch.D.246, p. 32 whip it and trip it [fefhf] Cate of Bardie / The Queenes Iig. [fefhf] GB-Ob Mus.Sch.D.245, p. 36 The Queenes Jedge [fefhf] IRL-Dtc 408/I p. 59 A Jigg [fefhf] A snatch and away. / Sir Iohn Paulets toy. [fefhf] GB-Ob Mus.Sch.D.245, p. 34 A snatch and away [fefhf] IRL-Dtc 408/I p. 58 Sir / Iohn paulete / toye [fefhf]

A pill to purge Melancholie. / M. Richard Martins Thumpe [fefhf] GB-Ob Mus.Sch.D.245, p. 34 A pill to purge mellancholy [fefhf] IRL-Dtc 408/I p. 39 untitled [fefhf] IRL-Dtc 408/I p. 57 untitled [fefhf]

XIV XV XVI XVII [=Playford T 142]

XVIII [=Playford T 248]

AYRES, / TO / SING AND PLAY / TO THE LVTE AND / BASSE VIOLL. / With Pauins, Galliards, Almaines, and / Corantos for the Lyra / VIOLL. / By William Corkine. / LONDON / Printed by W. Stansby for Iohn Browne, and are to be sold at his / Shop in Saint Dunstanes Church-yard in Fleete-streete. / 1610. Facsimile: Scolar Press 1978. copies in: GB-Gu [Euing R.x.66 imperfect, lyra viol music lacking]; GB-Lbl [K.8.h.4]; GB-Lcm [1.G.38]; US [private collection of Robert S. Pirie, Hamilton, MA] [inventory by John H Robinson, February 2011]

Lessons for the Lyra Viall. no. sig. title VdGS no. [tuned: ffhff] Corkine 1 E1r Almaine. 1 2 E1v Pauin. 2 3 E1v Coranto. 3 4 E2r Almaine. 4 5 E2r Coranto. 5 6 E2v Pauin. 6 7 E2v Coranto 7 8 F1r Galliard. 8 9 F1r Galliard. 9 10 F1v-F2r Whoope doe me no harme goodman. 10 cognate: GB-Mp BRm 832 Vu 51, pp. 14-15 Whoope doe me / no harme. R[icharde]. S[umarte]. [ffeff] 11 F2r Galliard. 11 12 F2v-G1r Fortune. 12 cognate: GB-Mp BRm 832 Vu 51, pp. 12-13 Fortune / R[icharde]. S[umarte]. [ffeff]

THE / SECOND BOOKE, / OF / AYRES, / Some, to sing and play to the / Base-Violl alone: / Others, to be sung to the Lute and / Base Violl. / With new Corantoes, Pauins, Almaines; / as also diuers new Descants vpon old Grounds, / set to the Lyra-Violl. / By William Corkine. / LONDON: / Printed for M.L.I.B. and T.S. / Assigned by W. Barley. / 1612. Facsimile: Scolar Press 1977. copies in: GB-Lbl [K.8.h.5]; US-SM [Huntington 13571]; US [private collection of Robert S. Pirie, Hamilton, MA]

[inventory by John H Robinson, February 2011]

Lessons for the Lyra Violl. no. sig. title [tuned: ffhfh] 1 G1r Lesson for two Lyra Violls./ Lesson for two Lyra Violls. 2 G1v If my Complaints. 3 G2r Perlude. 4 G2v-H1r Come liue with me, and be my loue. 5 H1r Perlude. concordance: GB-Ob Mus.Sch.D.245, p. 112 untitled [ffhfh] 6 H1v-H2r Walsingham. 7 H2r Coranto. 8 H2v-I1r Mounsiers Almaine. 9 I1r Coranto. 10 I1v The Punckes delight. [tuned: fhfhf] 11 I2r Pauin. 12 I2v Almaine.

VdGS no. Corkine 13 14 15 16 17 18 19 20 21 22 23 24

D-Kl Ms. 4° Mus. 108 .2 INVENTORY by Richard Carter, September 2008, checked and revised May 2011. This inventory is based on that in the catalogue of manuscripts held in the Kassel libraries (Gesamthochschulbibliothek Kassel, Landesbibliothek & Murhardsche Bibliothek der Stadt Kassel), Clytus Gottwald, Harrassowitz, 1997, pp.624-631. Foliation modern. Gottwald lists very few concordances. The key is given for pieces with the solo part in normal viol way tuning, except for the psalms; for pieces in other tunings it is only given if it is determined by a staff notation bass part. NO. / TITLE 1r - 6 v 7r 7v 8r v

TUNING/KEY COMPOSER

VdGS No.

empty incomplete pen and ink drawing single stave, bass clef, with note names written as an ascending and descending scale A Toy fefhf Anon. 8215

8

Sarabande

fefhf

9r 9v

Air Allem(ande) 4. Sarabande Skolding wife/School ground

ffeff

10 r

5. Air

10 v

Sarabande & Var:

11 r

d d F d

8216

Anon. Anon. Anon. Nicolas Hotman

6051 6052 6053 36

No indication of tuning GB-Lbl Add. Ms. 5118 fo:31r:1

Final bar spills over onto fo.10r Many concordant versions; see the Thematic Index.

Anon.

6054

Anon.

8217

No indication of tuning

g g F D d

Anon. Anon. Lully Lully Anon.

6055

11 12 r 12 v

A ground Fragment, no barlines Boŭrrée Menuest The Italian Rant

13 r 13 v 14 r 14 v 15 r 15 v 16 r

Auff meinen lieben Gott a Auff meinen lieben Gott a Basse (Auff meinen lieben Gott) Psalm 42 Wie nach einer Wasserquelle 42. Ps: Basse: Ps: 16 Ps: 16 Basse

Anon. Anon.

6058

Staff notation on 5-line stave, bass clef. In a different hand, 6th staff line added later? LWV 31/17 LWV 42/20 Playford T167 MRLV 1669 no.73 The Italian Rant (edfhf) GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:115 v:1 Tune Zahn1 no. 2164, here with chords Single melody line except for final cadence

Lobwasser 16812

6059

Lobwasser 1681

6060

v

d

Anon.

COMMENTS/CONCORDANCES

fefhf ffeff

(6056) (6057) 7805

- 1-

16 v - 19r

empty

19 v 20 r

Psal: 27 Bass: Ps: 27

20 v 21 r 21 v 22 r 22 v 23 r 23 v 24 r 24 v 25 r 25 v 26 r 26 v 27 r 27 v 28 r 28 v 29 r 29 v 30 r 30 v 31 r 31 v 32 r 32 v

Psalm 51Herr Gott nach deiner großen gütigkeit Lobwasser 1681 Basse 51 Ps: 84 Gott der du ein heerfürst bist Lobwasser 1681 Basse 84 Ps 116 Ich lieb den Herrn Lobwasser 1681 Basse Ps 116 PS. 19 Die Himmel alzumahl Lobwasser 1681 Basse Ps 19 PS. 22 Mein Gott, mein Gott ach wie Lobwasser 1681 Basse Ps 22 PS 23 Mein Hüter und mein Hirt Lobwasser 1681 Basse PS 23 PS 24 Dem Herren der Erdkreis zusteht Lobwasser 1681 Basse P 24 PS 25 Zu dir mein Herz erhebe Lobwasser 1681 Basse 25 PS: 28 Zu dir schreÿ ich Lobwasser 1681 Basse Ps 28 PS 30 Ich will dich preisen Herre Gott Lobwasser 1681 Basse Ps 30 PS 31 Auff dich setz ich etc: Lobwasser 1681 Basse Ps 31 PS. 32. O seelig muß ich diesen etc: Lobwasser 1681 Basse Ps 32 PS:33. Wolauff ihr Heiligen und frommen etc Lobwasser 1681 PS 34. Ich will nicht lassen ab etc Lobwasser 1681 Basse Ps 33 Basse Ps 34 36 Ps Auß des Gottlosen thun und werck Lobwasser 1681 Basse Ps 36 PS. 37 Erzürne dich nicht über die Gottlosen Lobwasser 1681 Basse Ps 37 PS 43. Richt mich Herr Gott und halte mir recht Lobwasser 1681

33 r 33 v 34 r 34 v 35 r 35 v

Lobwasser 1681

6071 Does not fit the psalm tune: the rhythm matches, but the pitches rapidly lose touch. The melody ends the two sections in different keys (F and C), the bass ends both in G. 6072 6073 6074 6075 6076 6077 6078 6079 6080 6081 6082 6083 6084 6085 6086 6087 6088

- 2-

36 r

Basse 43

36 v

gige:

37 r

Sarabande:

37 v - 38r 38 v 39 r 39 v 40 r 40 v

Präl(udium) ffeff d ruled, no music PS. 40 Ich hab gewart des Herren stetiglich Basse Ps 40 PS. 119 Basse Ps 119 La Sisonne a

41 r v

41 42 r 42 v 43 r 43 v 44 r 44 v 45 r 45 v 46 r

Willem deútekom

Stofken

fedfh

d

Willem Deutekom

11

fedfh

d

Dietrich Steffkens

102

Anon.

6089

Lobwasser 1681

6090

Lobwasser 1681

6091

Anon.

6092 6104 8913

Basse La Sisonne Prelude D Psalm: 103 Nun preiß mein Seel Basse Ps 103 Psalm 101Ich hab mir vorgesetzt Basse Ps 101 Psalm: 110 Der Herr zu meinem Herrn Basse Ps 110 PS 121 Mein augen ich gen berg aufricht Basse Ps 121 two empty staves Ritornelle C Aria Basse e Ritornelle Basse

Anon. Lobwasser 1681

6093 6094

Lobwasser 1681

6095

Lobwasser 1681

6096

Lobwasser 1681

6097

Anon. Anon.

6098 6099

- 3-

D-Kl Ms. 4° Mus. 108.3 fo:29v 52. Gigŭ e Willem Dútekom (ffeff) D-Kl Ms. 4° Mus. 108.4 fo:20 v :2 52. Gigŭ e (staff bass part) v D-Kl Ms. 4° Mus. 108.3 fo:31 56. Gigŭ e (fedfh) v D-Kl Ms. 4° Mus. 108.4 fo:21 :2 56. Gigŭ e (staff bass part) A-ETgoëss (A) fo:43r Sarabande Stefkens r A-ETgoëss (A) fo:44 Doubles de la Sarabande A-ETgoëss (B) fo:70 r Sarabande D Stöeffken D-Kl Ms. 4° Mus. 108.3 fo:30 r 53. Sarab: Stöffken (ffeff) D-Kl Ms. 4° Mus. 108.4 fo:21 r:1 53. Sarab: Stöfke (staff bass part) D-Kl Ms. 4° Mus. 108.3 fo:32 r 57. Sarabande Stebkens D-Kl Ms. 4° Mus. 108.4 fo:22 r:1 57. Sarab. Stöbkens (staff bass) GB-Lbl Add. Ms. 59869 (Cartwright) fo:25 r:1 IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:22 r Mr Stephkins

Gottwald has La Bibonne. Both words exist in French, but as Sisonne is a dance step it is perhaps more likely. Not concordant, see fo:48v below D-Kl Ms 2° Mus 61:1 (1) fo:15 r:2 (Baryton) Four bar fragment, more like an extended cadence

Bass to a missing piece at 45v :1? Bass to 45 v:2

46 v 47 r 47 v 48 r 48 v r

49 49 v 50 r 50 v

untitled Aria Ballet Basse Aria Basse Salomons deligt Salomons deligt Basse 3. Prince Ruperts March

d F Bb

Anon. Anon. Anon.

6100 6102 6101

F

6103

d

Joseph-Francois Salomon? Anon.

d

Anon.

6105

C G

Anon. Anon.

6106 6107

see also fo:53 v

G C

Anon. Anon.

6108 6103

Transposed version, see fo:47v

D

Lully

(6109)

LWV 39/4

A

Anon.

6110

Transposed and slightly different version of 6107, fo:50v:2

g

Anon

6111

Two versions, the second with double stops.

a

Anon.

6112

poss. Du Buisson?

D d

Lully Daniel Eberlin

(6113) 8

LWV 39/13 D-Kl Ms. 4° Mus. 108.3 fo:81v 138. Lamento a doi Di D. Eb: D-Kl Ms. 4° Mus. 108.4 fo:50v 138. Lamento D S. Eb: (staff bass)

6104

52 v 53 r 53 v 54 r 54 v 55 r 55 v 56 r 56 v - 57r 57 r

Basse 4. Allem(ande) Basse 5. Sarabande 6. Boŭree Roÿale des Dames Basse Sarabande Basse Boŭrèe 7. Menuet 8. Salomons deligt Basse (Menuet) Basse (Salomons deligt) 9. Ritornelle Basse 10. Bourée Basse 11. Boŭree Basse 12. La Menuet d’auphin DB[?] Basse 13. Eccho Lamento

57 v 58 r

14. Gaillarde La Valette Aria

A d

Anon. Daniel Eberlin

6115 7

58 v

15. Piece Piece d’un autre ton 16. Sarabande 17. Allem(ande) 18. Aria 19. Sarab(ande) & Var:

F G A d d d

Anon

6117 (6117) 6118 6119 6120 6121

51

r

51 v 52 r

r

59 59 v 60 r 60 v

Anon. Anon. Anon. Anon.

- 4-

later insertion in a different hand Bass to a missing piece at 46v :1? Bass to 46 v:2 See also 52 r:2 Not La Sisonne again, despite initial similarity. See e.g. Playford CDM 1651

D-Kl Ms. 4° Mus. 108.3 fo:80v 137. Aria di D. Eb: D-Kl Ms. 4° Mus. 108.4 fo:50v 137. Aria di D. Eb (staff bass part) Transposed. Gottwald notes only one version. A-ETgoëss Ms. (C) seq.(3) [not concordant with Hotman VdGS 3]

6203 61 r 61 v 62 r 62 v 63 r

20. Sarab(ande) 21. Allemande 22. Allem(ande) 23. Sarabande 24. Sarabande 25. Sarab(ande)

d F d g g d

63 vr 64

26. A Toy 27. Sarabande

fefhf fefhf

64 vr 65 65 v

28. PS 130 Basse Ps 130 29. Bourree

ffeff

66 r 66 v 67 r 67 v

Basse 30. Sarab(ande) Spagnuole Sarab(ande) Spagnŭ ole Basse Sar(abande) Gavotte Roÿale

68 r

Anon. Anon. Anon. Anon. Anon. Anon.

[6375 6122 6123 6124 6125 6126 6127

Daniel Farrant Anon.

1 8218

D-Kl Ms. 4° Mus. 108.3 fo:2 r 3. Sarabande D-Kl Ms. 4° Mus. 108.4 fo:1 v 3. Sarabande (staff bass part) Apparent concordance lasts only two bars]

D-Kl Ms. 4° Mus. 108.3 fo:49v 83. Sarab: Tuning chart by octaves at end of piece

Lobwasser 1681

6128

C A

Anon.

6129 9601

d

Anon.

6130

a a

Pinel Pinel

4 5 6302

ex anon 6131 ex anon 6132 D-Kl Ms. 4° Mus. 108.5 fo:11v , in a, incomplete D-Kl Ms. 4° Mus. 108.5 fo:12 v, in d, complete

68 v

Sar: Basse Gavotte Roÿale Basse Allemande

d

Anon.

6133

68 v - 69r

Sarab(ande)

d

Pierre Dubut

2 (ex 6134)

69 v

37. Sar(abande)

D

Anon.

8916 6135

70 r 70 v 71 r 71 v

38. Sarabande DB [?] 39. Warumb betrübstu dich mein Hertz a 40. Gigue d 41. Allem(ande) D

D-Kl Ms. 4° Mus. 108.3 fo:45v 74. Allem D-Kl Ms. 4° Mus. 108.4 fo:26r 74. Allem: (staff bass part) D-Kl Ms. 4° Mus. 108.3 fo:45v 76. Sarab D-Kl Ms. 4° Mus. 108.4 fo:26v 76. Sarab: (staff bass part) D-Kl Ms. 2° Mus. 61.1(1) fo:21v (Baryton, fedfh) D-Kl Ms. 4° Mus. 108.3 fo:46r 78. Sarab: D-Kl Ms. 4° Mus. 108.4 fo:26v 78. Sarab: (staff bass part) Simplified version of no. 37. poss. Du Buisson?

Anon. Anon. Du Buisson

72 r

42. Sarab(ande)

Du Buisson

D

6136 6137 91 (ex 6138) 8572 9 (ex 6139)

- 5-

D-Kl Ms. 4° Mus. 108.3 fo:76v 131. Boŭ rée Verstimbt (efffe) D-Kl Ms. 4° Mus. 108.4 fo:47v 131. Boŭ rée (staff bass part) [6129 & 9601 are independent arrangements]

a contre partie? D-Kl Ms. 2° Mus. 61.1(1) fo:23v :1 (Baryton, fdefh) PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:35 r Sarabande US-Wc Ms. M2.1.T2.17C.Case fo:9v Sarabande D.B.

72 v 73 r 73 v 74 r 74 v 75 r 75 v 76 r 76 v 77 r 77 v 78 r 78 v 79 r

43. Gigue 44. Sarab(ande) 45. Gavotte 46. Ballett 47. Coquille 48. Pelerains 49. Sarab(ande) 50. Boŭrrée 51. Boŭrrée Mad: 52. Sarab(ande) 53. Bourrée des Moscow[?]: DB[?] 54. Les Canaries 55. Gavotte 56. Sarab(ande) 57. Sarabande

D D a g C C d d d d g d F F F A

Anon. Anon. Lully Anon. Du Buisson Lully Lully Anon. Anon. Strobel Anon. Anon. Anon. Anon. Anon.

6140 6141 (6142) 6143 35 (ex 6144) (6145) (6146) 6147 6148 2 6150 6151 6152 6153 6154 9602

79 v

58. Bourée de St: Germain

a

Lully

(6155)

80 r

Stimmŭng defhf 59. Almaine

defhf

Robert Taylor

11

80 v 81 r

60. Courente 61. Sarab(ande)

defhf defhf

Anon. Robert Taylor

7091 12

81 v 82 82 v - 83r 83 v

62. Sarab(ande) 63. Sar(abande) 64. Gavotte 65. Allem(ande) 66. Sarab(ande)

d d c a a

Anon. Anon. Anon. Anon. Anon.

6156 6157 6158 6159 6160

84 r 84 v 85 r

67. Allemande 68. Sarab(ande) 69. Gigue

d d D

Pinel François Dufaut Anon.

85 v 86 r 86 v 87 r 87 v

70. Gigue Gigue Basse Air Air Basse empty page

G

Anon.

6 3 6163 8575 6164

d

Anon.

6165

r

- 6-

No final barline, but apparently complete. LWV 42/28 F-Pc Ms. Rés. 1111 no.[205] fo:189v Aria LWV 17/21 LWV 75/37 Mad: (Madame?) ex anon. 6149 poss. Du Buisson?

[6154 & 9602 are independent arrangements] D-Kl Ms. 4° Mus. 108.3 fo:77r 132. Sarab: (efffe) D-Kl Ms. 4° Mus. 108.4 fo:77 r 132. Sarab: (staff bass part) LWV 40/7 Tuning chart by unisons GB-Lbl Ms. Mus. 249 seq.(32) IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:70rinv Mr Taylor D-Kl Ms. 4° Mus. 108.3 fo:65r 112. Sarab: IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:69vinv Mr Taylor

D-Kl Ms. 4° Mus. 108.3 fo:9 v 9. Sarabande D-Kl Ms. 4° Mus. 108.4 fo:3 v 9. Sarab (staff bass part) ex anon. 6161 ex anon. 6162 [Does not concord with Du Buisson 74] D-Kl Ms. 2° Mus. 61.1(1) fo:24v :1 Gigue (Baryton, fdefh)

88 r 88 v - 89r 89 v - 90r 90 r 90 v - 91r 91 v 92 r 92 v - 93r 93 v - 94v 95 r 95 v 96 r 96 v 97 r 97 v 98 r 98 v 99 r 99 v 100r 100v 101r 101v 102r 102v 103r 103v - 104r 104v 105r 105v 106r 106v 107r

Gavotte d Anon. 6166 Gavotte F Anon. 6167 Duble This is a tripla of the preceding Gavotte. La follia, ground only. G clef on the bottom line of the tablature staff, note names written in instead of notes. Gavotte d Anon. 6168 6334 D-Kl Ms. 4° Mus. 108.5 fo:33 v untitled Gavotte F Anon. 6169 6323 D-Kl Ms. 4° Mus. 108.5 fo:28 v Gavotte & Variatio [6389 The apparent concordance lasts less than 2 bars] Gavotte F Anon. 6170 Gique F Anon. 6171 Sarabande en Rondeau C Lully (6172) LWV 71/26. Gottwald points out that the double stops are added in different ink. See also fo:103v - 104r empty page, not ruled Sarab(ande) d Anon. 6173 Sarab(ande) D Anon. 6174 Giqŭe D Anon. 6175 1. Menŭ et A Anon. 6176 2. Menŭ et A Anon. 6177 3. Menŭ et A Anon. 6178 4. Boŭrree A Anon. 6179 5. Menŭ et A Anon. 6180 6. Menŭ et A Anon. 6181 7. Boŭrrée a Anon. 6182 Menŭet D Anon. 6183 Duple metre with crotchet upbeat. Menŭet D Anon. 6184 Ritornelle F Lully (6185) LWV 59/3 Menŭet F Lully (6186) LWV 59/7 Bouree DB[?] G Anon. 6187 Index has [Gavotte]. poss. Du Buisson? empty page, not ruled Rondeaŭ C Lully (6188) LWV 71/26 here without double stops. See fo:93v - 94v Gavotte Basch d Anon. 6189 D-Kl Ms. 4° Mus. 108.5 fo:27 v Gavotte D-Kl Ms. 4° Mus. 108.5 fo:39 v Gavotte gtre partie Gavotte D-Kl Ms. 4° Mus. 108.5 fo:40r gtre partie Gavotte [These are three independent intabulations, with variant rhythms and fingerings] Sarabande d Anon. 6190 gtre partie Chanson Liebster Jesu Trost des Herzen a Anon. 6191 Tune Zahn1 no. 6908 Chanson d’ŭ n aŭtre ton 3 D Anon. 6192 No final barline, but seems complete.

- 7-

107v

Sarabande

g

Lully

(6193)

108r 108v - 115v

Ballet empty pages

G

Anon.

6194

LWV 53/48 Playford T283 MRLV 1682 no.10 Minuet, by Mr Baptist (edfhf) Index has [Gavotte]

NOTES: 1 Die Melodien des deutschen evangelischen Kirchenlieder aus den Quelle geschöpft und mitgeteilt von Johannes Zahn, a collection of 8,806 church tunes published in 6 volumes by Johannes Christoph Andreas Zahn (1817-1895). Gottwald points out that Liebster Jesu first appeared in the Frankfurt Gesangbuch only in 1711. 2 Ambrosius Lobwasser (1515-1585) made a German translation of the psalms based on the French version in the Geneva Psalter. First published in 1573, it was reprinted over 100 times and set to music (some editions are in the form of four part books); it continued to be used into the early 18th century. A scan of the 1679 print held by The Herzog August Bibliothek in Wolfenbüttel is online at . According to Gottwald the versions of the melodies which are here transcribed for viol first appeared in the 1681 reprint (Die CL Psalmen Davids nach Frantzös. Melodey in Teutsche Reimen gebracht durch Ambrosius Lobwasser…Marburg, Jod. Kürßner, 1681). 3 In the Kassel tablatures this phrase is usually used to signal a transposed version of the previous piece, but here it is a different psalm tune.

- 8-

D-Kl Ms. 4° Mus. 108.3 INVENTORY by Richard Carter, April 2008, checked and revised May 2011 This inventory is based on that in the catalogue of manuscripts held in the Kassel libraries (Gesamthochschulbibliothek Kassel, Landesbibliothek & Murhardsche Bibliothek der Stadt Kassel), Clytus Gottwald, Harrassowitz, 1997, pp.635-638. Foliation modern. Gottwald lists only very few concordances. D-Kl Ms. 4° Mus. 108.4 is a companion volume containing mainly staff notation bass parts, which are cross-referenced here where appropriate. The key is given for all pieces with the solo part in normal viol way tuning; for pieces in other tunings it is only given if it is determined by a staff notation bass part. No. / TITLE r

I I v - IIv 1r 1v - 2r 2r

s. o. empty 1. Allemande 2. Coŭ r(ante) 3. Sarabande

2v - 6r 6v - 7r 7v 8r 8v - 9r 9v 10 r 10 v 11 r 11 v

4. Ballet (‘Skolding Wife’) 5. Allem(ande) 6. Sarab(ande) 7. Entrée 8. Sarab(ande) 9. Sarabande 10. Gigŭe 11. Ballet 12. Sarab(ande) 13. Gavotte 14. Aria 15. Sarab(ande) 16. Allem(ande) 17. Aria 18. Sarab(ande) 19. Gavotte 20. Sarabande 21. Ballet 22. Sarabande 23. Courante [?] 24. Gavotte

12 r 12 v - 13 r 13 r 13 v 13 v - 14 r 14 v 15 r 15 v 16 r

TUNING /KEY

COMPOSER

ffeff

Anon. 6201 François Dufaut 4 Anon. 6203 6121 [6375 N. Hotman 36 Anon. 6204 François Dufaut 5 Anon. 6206 François Dufaut 6 Anon. 6160 Anon. 6208 Anon. 6209 Anon. 6210 Anon. 6211 Anon. 6212 Jean Mercure 3 Anon. 6214 Anon. 6215 Anon. 6216 Anon. 6217 Anon. 6218 Anon. 6219 Anon. 6220 Anon. 6221 Anon. 6222

d d d d F F G F a d D D D D d A A A F Bb A A d G

VdGS No.

- 1-

BASS PART COMMENTS/CONCORDANCES IN VOL. 4 1r 1r 1v 2v 2v 3r 3r 3v 3v 4r 4r 4r 4v 4v 4v 5r 5r 5v 5v 5v 6r 6r 6v

Also at no. 75, fo:44v ex anon. 6202 Here without the double D-Kl Ms. 4° Mus. 108.2 fo:60v 19. Sarab: & Var. Apparent concordance lasts only two bars] Many concordances, see the Thematic Index ex anon. 6205 ex anon. 6207 D-Kl Ms. 4° Mus. 108.2 fo:83v 66. Sarab:

D-Kl Ms. 2° Mus. 61.1(1) fo:24v :2 ex anon. 6213

Index suggests Sarabande

16 v

25. Ballet

D

Du Buisson

36 (ex 6223)

6v

17 r 17 v 18 r 18 v 19 r 19 v

26. Abendlied 27. Psalm: 16 28. Ich rŭff zŭdir Herr JesŭChrist 29. Sarabande 30. Allem(ande) 31. Serenade

G g d d d

Anon. Anon. Anon. Anon. Anon. Lully

8574 6224 6225 6226 6227 6228 (ex 6229) 8748

6v 7r 7r 7v

20 r

32. Courente D. B.

d

Du Buisson

3

7v

20 v

33. Sarab(ande) D. B.

d

Du Buisson

4

8r

21 r

34. Boŭrrée D. B. Air D. B. 35. The Queens Masque

D D G

Du Buisson Du Buisson Simon Ives

23 24 50 (T262)

8r 8v

36. Aria Scavez voŭs la belle 37. Gavotte D. B. 38. Ballet 1 39. Ballet 2 40. Ballet 3 41. Ballet 4 La Follia 42. Allemande

d D D D D D g d

Anon. Du Buisson Anon. Anon. Anon. Anon. Anon. Ch. Coleman

6230 25 6231 6232 6233 6234 6235 292

8v 9r 9r 9r 9v 9v 9v

21 v

22 r 22 v 23 r 23 v 24 r 24 v

- 2-

F-Pc Ms Rés. 1111 fo:190v no.[206] Ballet PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:36r Ballet D-Kl Ms. 2° Mus. 61.1(1) fo:24r:2 Ballet (fdefh, Baryton) Title from Vol. 4

LWV 14/2 F-Pc Ms. Rés. 1111 fo:25 v 29. Nun ist alle meine Lust (fedfh) PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:5 v Courante US-Wc Ms. M2.1.T2.17C.Case fo:3v Courante D.B. PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:6 r Sarabande US-Wc Ms. M2.1.T2.17C.Case fo:4v Sarabande D.B. Playford MRLV 1661 no.7 A Masque Mr Sim. Ives (defhf) Playford MRLV 1669 no.40 The Queens Mask Mr Simon Ives D-Kl Ms. 4° Mus. 108.3 fo:53v 89. Allem. F-Pc Ms. Rés. 1111 fo:18 v 19. Nun schlaft sie schön GB-CHEr DLT/B 31 (Peter Leycester) fo:10r GB-Cu Ms. Dd 6.48 fo:30v GB-Lbl Add. Ms. 59869 (Cartwright) fo:8r:1 (attr. Lawes) GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:39 r:2 GB-Ob Ms. Mus. Sch. F.578 fo:21r S-[K1] Ms. 21.068 fo:26v S-L Ms G.35 p.6 US-NH Ms. Filmer 3 fo:21v of B US-NYp Ms. Drexel 5609 p.29

Exercitium musicum (Frankfurt a.M., 1660) no. 68 (a3)

Playford CMA 1662 no. 49 Playford CA 1665 no. 2 GB-Lbl Add. Ms. 31438 no. 16 attr. Locke GB-Ob Ms. Mus. Sch. D.220 no. 17 p.7 GB-Och Mss 1006-9 p.2:1 GB-Och Ms. 1022 no. 9 US-NH Ms. Filmer 3 fo:inv61 r:2 F-Pc Ms. Rés. 1111 fo:263r no.[256] Courant F-Pc Ms. Rés. 1111 fo:268r no.[261] Sarab GB-Ob Ms. Mus. Sch. F.574 p.4 F-Pc Ms. Rés. 1111 fo:269r no.[263] Sarab & Variatio PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:67 r Sarabande & Variation

25 r 25 v

43. Courr(ante) Haŭt: 44. Sarab(ande) Haŭ tt

d d

Nicolas Hotman 23 Nicolas Hotman 28

10 r 10 r

26 r

45. Sarab(ande)

d

Nicolas Hotman 29

10 v

26 v

46. Coŭ rente d Anon. 6236 10 v [No. 47 missing here. In Vol. 4 no. 47 is an unrelated solo piece in staff notation entitled Piece] 48. numbered and ruled, no music 49. Sarab(ande) D D. Steffkens 58 11 r [all tablature concordances tuning fdefh] A-ETgoëss Ms. (A) fo:4r & fo:9r Sarab Stefken + Double A-ETgoëss Ms. (B) fo:61r Sarabande F-Pc Ms. Rés. 1111 fo:31v 35. Sarraband GB-Lbl Add. Ms. 59869 (Cartwright) fo:25 r:3 GB-Lbl Ms. Mus. 249 seq.(4) Sarabande GB-Ob Ms. Mus. Sch. F.573 f.19 v:1 (violin) IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) no. 5 fo:31 v S-L Ms. G.28 p.108:2 50. Sarabande d Anon. 6237 51. Sonata A Anon. 6238 20 v 52. Gigŭe Willem Dútekom d W. Deutekom 11 20 v D-Kl Ms. 4° Mus. 108.2 fo:36v gige: Willem deútekom D-Kl Ms. 4° Mus. 108.3 fo:31v 56. Gigŭ e (both fedfh) 53. Sarab(ande) Stöffken d D. Steffkens 102 21 r [all concordances tuning fedfh] r A-ETgoëss Ms. (A) fo:43 Sarabande Stefkens A-ETgoëss Ms. (A) fo:44r Doubles de la Sarabande A-ETgoëss Ms. (B) fo:70r Sarabande D Stöeffken D-Kl Ms. 4° Mus. 108.2 fo:37r Sarabande: Stofken D-Kl Ms. 4° Mus. 108.3 fo:32r 57. Sarabande Stebkens GB-Lbl Add. Ms. 59869 (Cartwright) fo:25:1 IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:22 Mr Stephkins r 54. Gigŭe Stöffk D D. Steffkens 71 21 A-ETgoëss Ms. (A) fo:8v Gigue de Stefken (fdefh) D-Kl Ms. 2° Mus. 61.1(1) fo:23r

27 r 27 v

28 r 28 v - 29 r 29 v 30 r

30 v

- 3-

F-Pc Ms Rés. 1111 fo:41v 47. Gigue (fdefh)

31 r

55. Allemande

31 vr 32 32 v - 33 r

56. Gigŭe 57. Sarabande Stebkens 58. Allem(ande)

33 rv 33 34 r 34 v 35 r 35 v 36 r 36 v 37 r 37 v 38 r 38 v 39 r 39 v 40 r 40 v 41 r

59. Sarab(ande) 60. Gavotte 61. Chançon 62. Sarabande 63. Chanson 64. Lamento Lamento Basso 65. Sarabande Sarabande Basse 66. Ballo Salomon Salomon Basse 67. Volti(geure) Basse Voltigeure 68. Les Esclaves Basse 69. Ballo 70. Gavotte

41 v 42 r 42 v 43 r 43 v 44 r 44 v 44 v - 45 r 45 v 46 r 46 v 47 r 47 v 48 r 48 v - 49 r

d

Anon.

6239

-

fedfh

d d d

W. Deutekom D. Steffkens Anon.

11 102 8721

21 vr 22 22 r

ffeff

D g D d a e

Anon. Anon. Anon. Anon. Anon. Anon.

6240 6241 6242 6243 6244 6245

22 vv 22 22 v 23 r 23 r 23 v

e

Anon.

6246

23 v

C

Anon.

6247

24 r

(Joseph-Francois Salomon?)

C

Lully

(6248)

24 r

LWV 42/29

v

LWV 42/30

C

Lully

(6249)

24

e d

Anon. Anon.

-

71. Chanson Chanson Basse 72. Sarab(ande) Sar(abande) Basse 73. Chanson Chanson Basse 74. Allem(ande) 75. Allem(ande) 76. Sarab(ande)

D

Anon.

6250 6251 6321 6252

25 r

d

Anon.

6243

25 v

a

Anon.

6253

25 v

d d d

Anon. Anon. Pierre Dubut

26 r 26 r 26 v

78. Sarab(ande) 79. Ballet 80. Gavotte 81. Sarab(ande) Sarabande 82. Libertas

D F F F Bb C

Anon. Anon. Anon. Anon.

6133 6201 2 (ex 6134) 8916 6135 6254 6255 6256 (6256) 6257

Anon.

- 4-

Also at no. 52, fo:29vr (ffeff) q.v. for concordances Also at no. 53, fo:30 (ffeff) q.v. for concordances

Also at no. 72, fo:42v D-LEm MS II.6.24 fo:98v Nos 64-68 & 71-73: Basses, here in tablature, match Vol. 4

[Untitled] D-Kl Ms. 4° Mus. 108.5 fo:26v Gavotte Also at no. 62, fo:34v

D-Kl Ms. 4° Mus. 108.2 fo:68v :1 Allemande Also at no. 1, fo:1r D-Kl Ms. 4° Mus. 108.2 fo:68v :2 Sarab D-Kl Ms. 2° Mus. 61.1(1) fo:21v (Baryton, fedfh) 26 v - 27 rD-Kl Ms. 4° Mus. 108.2 fo:69v Sar 27 r 27 v 27 v Transposed version of No. 81 28 r D-Kl Ms. 2° Mus. 61.1(1) fo:8 r:2 (Baryton, fedfh)

49 v 50 r 50 v - 51 r 51 v - 52 r 52 r 52 v - 53 r 53

v

83. Sarab(ande) 84. Sarabande 85. Gigŭe 86. Rondeau 87. numbered and ruled, no music 88. Courante defhf

d C d C

Anon. Anon. Anon. Anon.

6127 6258 6259 6260

-

C

Anon.

6261

-

54 r

89. Allem(ande) Stimmung defhf 90. Coŭ r(ante)

F

Simon Ives

50

35

-

[attr. Hudson]

117

-

54 v

91. Sarab(ande)

-

[attr. Deutekom] 5

-

92. Ballet

-

Anon.

-

7095 7018 (T166) 7421

55 r

93. The Chimes

-

Simon Ives

8207 (T183) 8307 8308 31 (T139)

- 5-

-

D-Kl Ms. 2° Mus. 61e fo:3-8v (a5) F-Pn Ms. Rés. F.494 (a5) S-Uu IMhs 409 (a5) D-Kl Ms. 4° Mus. 108.2 fo:63r 25. Sarab F-Pn Ms. Rés. 1402 p.1 A l’imperio d’amore [and others]

GB-Llp Ms. 1041 fo:62 r Pensieri quietato v

The Queens Masque See no. 35 fo:21v for concordances GB-Lbl Add. Ms. 59869 (Cartwright) fo:7r:2 GB-Ob Ms. Mus. Sch. F.575 fo:83 v :2 Cora(nto) IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:67 vinv D-Kl Ms. 4° Mus. 108.5 fo:45v :1 Saraband F-Pc Ms. Rés. 1111 fo:19r 20. Sarraband GB-Ob Ms. Mus. Sch. F.578 fo:23 v Sarband GB-En Sutherland House p.4:1 Whom [serve?] yea Playford MRLV 1669 no. 2 Maying Time Playford MRLV 1682 no. 2 Fain I would GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:117rinv:1 Sheapherds Hay Playford MRLV 1652 no. 1 May Time (fefhf) IRL-Dtc Ms. 408/1 (William Ballet) p.57:2 (fefhf) IRL-Dtc Ms. 408/1 (William Ballet) p.59:1 (fefhf) Playford MRLV 1652 no. 41 [42] La Cloche Playford MRLV 1661 no. 15 La Cloche Mr Simon Ives Playford MRLV 1669 no. 27 Second Lesson, With a Thump Playford MRLV 1682 no. 47 Saraband F-Pc Ms. Rés. 1111 fo:71v Sarabanda GB-Cu Ms. D.d 6.48 fo:2 v La Cloche GB-Lbl Add. Ms. 59869 (Cartwright) fo:13 r:2 GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:86 v GB-Mp Ms. 832 Vu 51 (Manchester) p.133:1 La Cloche Mr Simon Ives GB-Ob Ms. Mus. Sch. F.575 fo:12 r The Chimes Mr Simon Ives GB-Ob Ms. Mus. Sch. F.575 fo:89 v inv GB-Ob Ms. Mus. Sch. F.578 fo:6 r (efdef)

GB-Ob Ms. Mus. Sch. F.578 fo:23 r Courant S-[K1] Ms. 21.068 fo:27rinv } Engelske/Englische S-L Ms. G.28 p.6:2 } glocken/Klocken S-Skma Ms. Tablatur nr. 3 fo:64rinv } 55 vr 56 56 v 57 r 57 v 58 r 58 v

94. Ps: 116 verstimbt defhf 95. Ps: 24 edfhf 96. Chanson edfhf 97. Ps: 84 defhf 98. Ps: 34 Ich will nicht laßen abedfhf 99. Aria edfhf 100. Sarabande edfhf

F f g f -

Anon. Anon. Anon. Anon. Anon. Anon. Simon Ives

7096 7831 7832 7097 7833 7834 83 (T48)

32 vr 33 33 v 34 r -

59 r 59 v 60 r 60 v

101. Gigŭ e 102. Allem(ande) 103. Sarab(ande) 104. Sarab(ande)

edfhf edfhf edfhf edfhf

f f f -

Anon. Anon. Anon. Anon.

7835 7836 7837 7838

35 r 35 v 35 v - 36 v -

61 r 61 vv - 62 r 62 63 r 63 v 64 r

105. Ballet 106. Ps: 32 O Seelig mus ich 107. Ballet 108. Ballet 109. Ballet 110. The King enjoyes his own

ffeff defhf

e -

Anon. Anon. Anon. Anon. Anon. Anon.

6262 7101 7102 7103 7104 7003 (T196)

-

A-240

- 6-

Ich Lob den Herren Was Gott gefelt, [mein frommes Kind]

Playford MRLV 1652 no. 59 [63] Saraband Playford MRLV 1661 no. 48 [49] Saraband M Esto Playford MRLV 1661 no. 65 [67] Saraband Mr Simon Ives A-ETgoëss Ms. (B) fo:9r Sarabande F-Pc Ms. Rés. 1111 fo:3v 3. Sarraband GB-CHEr DLT/B 31 (Peter Leycester) fo:10 r:3 GB-Mp Ms. 832 Vu 51 (Manchester) p.124:2 Saraband Mr Simon Ives

Playford MB 1651 no. 5 (fefhf) Playford MRLV 1652 no. 7 The K. enjoyes &c. (fefhf) Playford MRLV 1661 no. 3 When the King Enjoyes, &c. Playford MRLV 1669 no. 8 The King enjoyes His own Playford MRLV 1682 no. 6 The King enjoyes his own F-Pc Ms. Rés. 1111 fo:14 v 15. Gavotte GB-Cu Ms. D.d 6.48 fo:22 v GB-En Sutherland House p.1:1 GB-En P637 R787.1 (Reid) seq.(4) fo:1 v When the King enjoyes his owne GB-Ob Ms. Mus. Sch. F.572 p.81 GB-Cfm MU Ms. 647 p.inv52 (solo bass viol, staff notation)

64 v - 65r 65 r

111. Allem(ande) 112. Sarab(ande)

65 v - 66 r

113. 114. ruled and numbered, no music

66 vr 67

115. Allemande 116. Gavotte

72 v - 73 r 73 v 74 r 74 v 75 r 75 v 76 r

LWV 22/21 D-Kl Ms. 2° Mus. 61.1(1) fo:25r:2 (Baryton, fedfh) 117. Allem(ande) D. B. a Du Buisson 12 PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:22 r Allemande US-Wc Ms. M2.1.T2.17C.Case fo:13 v Allemande D.B. 118. Courente D. B. a Du Buisson 13 PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:22 v Courante US-Wc Ms. M2.1.T2.17C.Case fo:14 v Courante D.B. 119. Sarab(ande) D. B. a Du Buisson 14 US-Wc Ms. M2.1.T2.17C.Case fo:15 v Sarabande D.B. 120. Not entered, the remaining space on 69 v and the whole of 70r are filled with an incomplete piece, VdGS 6270, in a different hand. 121. Sarab(ande) H. d Nicolas Hotman 8 43 r A-ETgoëss Ms (B) fo:39 v Sarabande F-Pc Ms. Rés. 1111 fo:55v 60. Sarraband 122. Jeŭnes Zephirs D J. C. de Chambonnières 1 43 v (ex 6271) 123. Sarabande D Pierre Dubut 1 (ex 6272) 44 r [6272 & 6376 are independent versions] ex 6376 D-Kl Ms. 4° Mus. 108.6 fo:37v Cour: (solo) D-Kl Ms. 4° Mus. 108.6 fo:38r Cour: (bass) 124. Ritoŭ rnelle g Lully (6273) 44 v - 45 rLWV 53/47 125. Allemande D. Eb d Daniel Eberlin 1 45 v Nos. 125 - 128 have figured bass parts 126. Courante D. Eb d Daniel Eberlin 2 45 v - 46 r r 127. Sarabande D. E d Daniel Eberlin 3 46 128. Giqŭe d Daniel Eberlin 4 46 v 129. Allemande D Anon. 6274 47 r 130. Sarab(ande) D Anon. 6275 47 v

76 vr 77 77 vr 78 78 v 79 r 79v - 80r 80 v 81 r 81 v 82 r 82 v 83 r

v

67 - 68

r

68 v - 69 r 69 r - 69v 70 r 70 v - 71 r 71 v - 72 r 72 r

-

Anon. Robert Taylor

7105 12

-

ffeff

d D

Anon. Lully

6268 (6269)

-

131. Boŭ rrée Verstimbt 132. Sarab(ande)

efffe

A A

Anon. Anon.

9601 9602

47 vr - 48 r 48

133. Allemande Eb: 134. Gavotte Eb: 135. Sarabande (Sa)rabande 136. Giqŭe 137. Aria di D. Eb: Aria del Basso 138. Lamento a doi Di D. Eb: Lamento Basso 139. Sarab(ande) D. Eb. Sarab(ande) Basse

ffeff

A A A d A d

Daniel Eberlin Daniel Eberlin Anon. Anon. Anon. Daniel Eberlin

5 6 6276 6277 6278 7

48 vr 49 49 v bass part in vol. 4 marked Viola 2da v r 49 - 50 bass part in vol. 4 marked Viola 2da 50 v D-Kl Ms. 4° Mus. 108.2 fo:58r Aria

d

Daniel Eberlin

8

50 v

d

Daniel Eberlin

9

51 r

- 7-

D-Kl Ms. 4° Mus. 108.2 fo:81r 61. Sarab: IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:69vinv Mr Taylor

D-Kl Ms. 4° Mus. 108.2 fo:57r Lamento

83 v 84 r

140. Gigŭ e D. S. Eb. Gigŭ e Basse

84 vv 84 - 85 r 85 r 85 v 86 r 86 v 87 v - 88 v

Stimmŭng efhff 141. Aria – Variatio 142. Sarab(ande) 143. Courente 144. Gavotte 145. Gigue empty pages

efhff

d

Daniel Eberlin

10

51 r

-

Anon.

9351 9352 9353 9354 9355

-

- 8-

no. 1

f. 95v

Cambridge, University Library [GB-Cu] MS Dd.9.33, c. 1600-1605

title Untitled [ffeff] GB-Cu Dd.5.20, f. 19v untitled [ffeff]

The third of Mathew Holmes' lute manuscripts, containing a single piece for lyra viol on the last folio of music.

VdGS no. 6501

London, British Library [GB-Lbl], Egerton MS 2971: 'Songs Etc. 17 th Century' See EGERTON C .... Mary Cyr: ‘A 17th-century source of ornamentation for voice and viol: British Museum MS Egerton 2971’, RMARC 9, 53-72 for a full list of contents and concordances for the vocal music no. p. mod. f. flyleaf recto Robius Downes Texted songs with lyra viol [tuning?] tablature [5-line] accompaniment in score: 1 88-89 24v-25r Dolcissimo sospiro [Caccini] 2 25v-26r Ma grideran per me lepiagg'i Mont'e queste 3 91 27r Parlera, nel mio uoluo la pietat'el dolore 4 92-93 27v-28r Crud' Amarilli 5 94-95 28v-29r Amarilli mia bella [Caccini] Solo lyra viol tuned fefhf [5-line tablature]: 6 129 33r Alman Coperario [fefhf] 130 33v [tuning indication]: fefhf Leiro 7 131 34r A toy by D. Farrant [fefhf] D-Kl 4o Mus.108 II, no. 26, f. 63v untitled [fefhf] F-Pc Rés. 1111, no. 190, f. 174v Courant [fefhf] IRL-Dtc 408/I, p. 40 header: for the Leereowe violl [fefhf] IRL-Dtc 408/I, p. 40 & 60 a Toye [fefhf] GB-CHEr DLT/B 31, f. 45v iii untitled [fefhf] GB-Cu Dd.5.20, f. 25v untitled [fefhf] GB-Lbl Add.15118, f. 31r ii Thumpe [fefhf] 8 131 34r Alman [fefhf] March 2011

VdGS

solo Alm 25 Toy 1

Alman 2

ANONYMOUS Pieces for two violins and bass/continuo probably of continental origin VdGS No. key

GBCfm: Mu. 1167

no. 900 Sonata

901

Sonata

March 2009

(1)

(2)

A-2BC-9

ABEL, Carl Friedrich (1723-1787) This Catalogue is compiled by Peter Holman. The introduction is cut down from the full explanation in ABEL-H (q.v.). The Catalogue replaces that of ABEL-K and it is suggested that ‘A’ prefixes the catalogue numbers for general use. See also VIOL-H, chapters 5-6. Charles Frederick Abel was probably the most prolific composer for the viola da gamba after the Baroque period. We have ninety-five surviving works featuring the gamba in solo or obbligato roles: thirty pieces for unaccompanied gamba (plus three short cadenza -like passages); forty-nine solos or sonatas and two separate minuets for gamba and bass; four duets for gamba and violoncello; a gamba part possibly from a sonata with obbligato harpsichord; two incomplete trios for flute, gamba and bass; a quartet for flute, violin, gamba and violoncello; two quartets for gamba, violin, viola and violoncello; and an aria with gamba obbligato. In addition, there are a number of surviving violoncello parts that may originally have been intended for the gamba, and we know from newspaper advertisements and other documentary sources that many other works once existed. Most of Abel’s viola da gamba music was catalogued and published in modern editions by Walter Knape in the 1960s and early 70s, though his work (ABEL K) is unsatisfactory in several respects. A number of pieces were omitted from his catalogue, some of which were known when it was compiled, there are many errors in the listing of sources and in the incipits of the pieces, and he is not a reliable guide to Abel’s hand, failing to recognize genuine examples and wrongly claiming copies made by others as autographs. In what follows Abel’s gamba music is grouped into eight categories by scoring: 1. Unaccompanied viola da gamba 2. Viola da gamba and bass/continuo 3. Viola da gamba and violoncello 4. Viola da gamba and ?harpsichord 5. Flute, viola da gamba and bass/continuo 6. Flute, violin, viola da gamba and violoncello 7. Viola da gamba, violin, viola and violoncello 8. Soprano, viola da gamba, two violins, viola and bass/continuo Within each category the works are presented in the order they appear in the primary sources, and the sources are ordered by the alphabetical order of their RISM library sigla, with (in the case of Category 2), the printed collection coming first in the sequence. Knape’s catalogue numbers (WKO) have been included, but since a number of works are not in WKO new numbers have been allocated in the form 1:4 (i.e. the fourth piece in Category 1) or 7:2 (the second in Category 7), thus allowing for extra pieces to be added as they come to light. Abel wrote his viola da gamba parts mostly in the treble clef, expecting it to be played at the lower octave—a feature preserved in the incipits. Occasionally, as in 4:1, 7:1 and 7:2, the parts are written in the alto and bass clefs, as in modern practice, which suggests the intervention of a contemporary copyist or arranger. A distinction is made between solo gamba works that have a simple accompaniment, occasionally figured and usually labelled ‘Basso’ (Category 2), and duets specifically for gamba and violoncello (Category 3) in which the violoncello presumably has a more active role—though the four works concerned are not available for study. The titles of the pieces are given in the form they appear in the principal source; Holman has given appropriate titles to untitled pieces in square brackets. The incipits have been transcribed directly from the sources with a minimum of editorial changes and additions, though a few obvious errors have been corrected without comment; the exact placing and duration of slurs is sometimes open to question and may differ slightly from modern editions. Holman has only included fingerings that February 2011

ABEL CF-1

he believes to be autograph. Holman writes: ‘I have tried to list all modern editions, and would be glad to hear of any I have missed—or of any other omissions and errors.’ Library Sigla (Following the RISM system used in Grove Music Online) A-HE Heiligenkreuz, Musikarchiv des Zisterzienserstiftes A-LA Lambach, Benediktiner-Stift Lambach, Bibliothek AUS-NLwm Nedlands (Perth), Wigmore Music Library, University of Western Australia CZ-Pnm Prague, Narodní Muzeum D-B Berlin, Staatsbibliothek zu Berlin Preuβischer Kulturbesitz, Musikabteilung D-Dl Dresden, Sächische Landesbibliothek, Staats- und Universitätsbibliothek Dresden DK-Kk Copenhagen, Det Kongelige Bibliotek Slotsholmen GB-Ckc Cambridge, Rowe Music Library, King’s College GB-Lbl London, The British Library GB-Lna London, The National Archives GB-Lu London, University of London, Senate House Library US-NYp New York, NY, New York Public Library at Lincoln Center, Music Division Publisher Abbreviations CAP Charivari Agréable Publications, Oxford DE Dovehouse Editions, Ottawa, Viola da gamba series Fretwork Fretwork Editions, London EG Edition Güntersberg, Heidelberg HM Hortus Musicus, Bärenreiter, Kassel Knape C. F. Abel, Compositionen, ed. Walter Knape, Cuxhaven PRB PRB Productions, Albany CA UO Ut Orpheus Edizioni, Bologna Sources The Favourite Songs in the Opera Sifari, 2 vols. (London: Welcker, [1767]). A selection of arias from the opera in full score. 8:1 is in vol. 1, pp. 2-7; copy consulted: GBLbl, G.206.k.(2). Six Easy Sonattas for the Harpsichord, or for a Viola da Gamba, Violin or German Flute, with a ThoroughBass Accompaniment ([?London, ?1772]). It consists of 2:1-6 in score. The only surviving copy is DDl, Mus. 3122-R-2. There is a facsimile with an introduction by Michael O’Loghlin (Heidelberg, 2005), EG, G501. Les Suites des trios primieres: trios pour le violon, violoncello, et basso (London: Longman, Lukey and Co., [1772]). It consists of parts of 5:1, 5:2 and a variant of Six Sonatas for a Violin, a Violoncello, & Base, with a Thorough Base for the Harpsichord, op. 9 (London, 1772), no. 5. The only known copies are at GB-Ckc (violoncello and basso parts) and AUS-NLwm (violoncello part). A-LA, oblong-quarto manuscript parts of 7:1 and 7:2, copied by an unidentified hand. The ultimate source was clearly Abel’s Six Quartettos for Two Violins, a Tenor and Violoncello Obligati, op. 8 (London, 1769), nos. 5 and 2, though the fact that they are numbered 1 and 3 in the manuscripts rather than 5 and 2 suggests that there was at least one intermediate source. D-B, KHM 25 a/b. Folio scores of 2:7 and 2:8 copied by an unidentified late eighteenth-century German hand. It is not autograph, as claimed by Knape: the handwriting is quite different from Abel’s known autographs, such as GB-Lbl, Add. MS 31,697, Items 1-5 and the first section of US-NYp, Drexel MS 5871, the composer is given the formal title ‘Sigr Abel’ (he signed his work ‘C. F. Abel’), and the viola da gamba part is mostly written in the alto clef; the composer wrote February 2011

ABEL CF-2

his gamba music in the treble clef. D-B, Mus. Ms. 253/10. Folio parts of the three-movement version of 6:1, copied on paper stamped ‘J J / Berlin’ by the same late nineteenth-century copyist as part of D-B, Mus. Ms. 263 and Items 1 and 2 of D-B, Mus. Ms. Slg. Klg. 2. He may be the Braunschweig cellist and gamba player Johann Klingenberg (1852-1905) since D-B, Mus. Ms. Slg. Klg. 2 came from his collection. D-B, Mus. Ms. 263. Folio scores and gamba parts of 2:10 and 2:7, copied by two late nineteenthcentury hands. The first, possibly Johann Klingenberg, also copied D-B, Mus. Ms. 253/10 and Items 1 and 2 of D-B, Mus. Ms. Slg. Klg. 2. The second hand used paper stamped ‘C. Peters München’. They are edited for performance with added dynamics and a keyboard realization of the bass. D-B, Mus. Ms. Slg. Klg. 2. Folio scores of 2:10, 1:3 and 1:4 (Item 1), 6:1 (Item 2), 2:7 and 2:8 (Item 4), as well as Abel’s two sonatas for violoncello and bass WKO 147 and 148 (Item 3), from the collection of Johann Klingenberg. The hand of Items 1 and 2, possibly Klingenberg himself, also copied D-B, Mus. Ms. 253/10 and part of D-B, Mus. Ms. 263. GB-Lbl, Add. MS 31,697. A scrapbook containing seven separate items, the first five of which are Abel’s autographs of 2:9, 1:1, 1:2, 1:3, and 1:4. Items 6 and 7 are manuscripts each containing sequences of 15 sonatas by Abel for viola da gamba and bass (2:10-21, 23, 25-26 and 2:27-41), as well as, in Item 6, the individual minuets 2:22 and 2:24. They were copied by an unidentified hand probably in the 1770s from Abel’s autographs. Most if not all the items were owned by Elizabeth, Countess of Pembroke (1737-1831), and it was probably assembled in its present form by the artist and gamba player Thomas Cheeseman (1760-?1842). GB-Lu, MS 944/2/1-3. Three late eighteenth-century folio manuscript part-books containing, in the earliest layer, trio sonatas by Maximilian Humble and anonymous, as well as (in the first violin and bass parts) a set of early eighteenth-century sonatas composed or arranged for viola da gamba and bass; the gamba part of 4:1 comes at the end of this sequence, though there is no corresponding part in the bass part-book. The part-books seem to have been owned in turn by John Williamson (1740-1815), a Canterbury surgeon; his son John (1790-1828), also a Canterbury surgeon; the organist Stephen Elvey (1805-1860); and his brother Sir George (1816-1893); they were given to London University Library in 1925 as part of the Elvey Collection. US-NYp, Drexel MS 5871. An oblong large-quarto manuscript beginning with 29 pieces for unaccompanied viola da gamba (1:5-33) in Abel’s autograph, as well as containing copies of Corelli’s trio sonatas op. 1, nos. 1-2 and op. 3, nos. 1-5 in a different hand, and an anonymous ‘Solo per il Cembalo’ that appears to be in Abel’s autograph and may be by him. The manuscript subsequently belonged to Joseph Coggins (1786 -1866) and Edward Rimbault (1816-1876), passing into the Drexel Collection after the sale of Rimbault’s library in 1877. There is a facsimile with an introduction by Walter Knape (Peer: Alamire, 1993), Facsimile series, 21, and another in Music for Solo Viola da Gamba, CAP040 (2007). Collection of the late Edgar Hunt, manuscript parts of 6:1. They have not been available for study, but a note in the ‘VIOLA (or Viola da gamba)’ part of Hunt’s edition (Schott, 10190) states: ‘The MS part (in the editor’s possession) is headed “Viola da gamba” whereas in the title it is given as “Violetta”. The part is written an octave higher in the treble clef in accordance with Abel’s custom when writing for the Viola da gamba’. Private collection, part-autograph folio manuscript containing ten sonatas for viola da gamba and bass (2:42-51) and four duets for gamba and violoncello (3:1-4). It has not been available for study, though a certain amount can be learned about it from the descriptions in sale catalogues: Puttick and Simpson, 27 November 1882, lot 508; Sotheby’s 17 June 1947, lot 241; and Sotheby’s 26 May 1994, lot 97. It belonged to Elizabeth, Countess of Pembroke (1737-1831), Edward Payne (1844-1904) and Arthur Frederick Hill (1860-1939). February 2011

ABEL CF-3

C. F. ABEL Category 1: Unaccompanied Viola da Gamba 1:1

[Te]mpo di Menuet, G major, WKO 153. Source: GB-Lbl, Add. MS 31,697, f. 6v (Item 2). Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042. Comment: slightly related to 1:24.

1:2

Tempo minuetto, D major, WKO 154. Source: GB-Lbl, Add. MS 31,697, f. 7 (Item 3). Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042. Comment: related to 1:22.

1:3

Sonata, G major, WKO 155. Sources: GB-Lbl, Add. MS 31,697, ff. 8-9 (Item 4); D-B, Mus. Ms. Slg. Klg. 2, Item 1, pp. 6-7. Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042. Comment: A later hand added ‘Composed for the Lady Pembroke’ on GB-Lbl, Add. MS 31,697, f. 8. D-B, Mus. Ms. Slg. Klg. 2 was presumably copied directly or indirectly from GBLbl, Add. MS 31,697. 1:3/1 is related to 1:4.

[Ada]g[io]

Allegro

Menuet

1:4

Adagio, G major, not in WKO. Source: GB-Lbl, Add. MS 31,697, f. 9v (Item 5). Edition: Schott, 10353; EG, G142; CAP, 041, 042. Comment: related to 1:3/1.

February 2011

ABEL CF-4

C. F. ABEL 1:5

Allegro, D major, WKO 186. Source: US-NYp, Drexel MS 5871, p. 1. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 042.

1:6

[Adagio or Andante], D major, WKO 187. Source: US-NYp, Drexel MS 5871, p. 2. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:7

Tempo di Minuet, D major, WKO 188. Source: US-NYp, Drexel MS 5871, p. 3. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:8

Adagio, D major, WKO 189. Source: US-NYp, Drexel MS 5871, p. 4. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:9

Vivace, D major, WKO 190. Source: US-NYp, Drexel MS 5871, p. 5. Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:10

Andante, D major, WKO 191. Source: US-NYp, Drexel MS 5871, p. 6. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: the opening is related to Louis Caix d’Hervelois, Musette in D major for bass viol and continuo, Troisième oeuvre (Paris, 1731), 14-15.

February 2011

ABEL CF-5

C. F. ABEL 1:11

[Allegro], D major, WKO 192. Sources: US-NYp, Drexel MS 5871, p. 7. Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:12 [Minuet], D major, WKO 193. Source: US-NYp, Drexel MS 5871, p. 8. Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:13 [Flourish or Cadenza], D major, not in WKO. Source: US-NYp, Drexel MS 5871, p. 8. Edition: UO, HS99; CAP, 041, 042.

1:14 [Prelude], D major, WKO 194. Source: US-NYp, Drexel MS 5871, p. 8. Edition: UO, HS99; CAP, 041, 042.

1:15 [Allegro], D major, WKO 195. Source: US-NYp, Drexel MS 5871, p. 9. Edition: Knape, xvi; UO, HS99; CAP, 041, 042.

1:16 Fuga, D major, WKO 196. Source: US-NYp, Drexel MS 5871, pp. 10-11. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: the subject is taken from Corelli’s Concerto Grosso in D major, op. 6, no. 1.

February 2011

ABEL CF-6

C.F. ABEL 1:17

[Adagio ], D major, WKO 197. Source: US-NYp, Drexel MS 5871, p. 11. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:18

Allegro, D major, WKO 198. Source: US-NYp, Drexel MS 5871, pp. 12-13. Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:19 [Minuet], D major, WKO 199. Source: US-NYp, Drexel MS 5871, p. 13. Editions: Knape, xvi; DE, 22; CAP, 041, 042.

1:20 [Flourish or Cadenza], D major, not in WKO. Source: US-NYp, Drexel MS 5871, p. 13. Edition: CAP, 041, 042.

1:21 Tempo di Minuet [en rondeau], D major, WKO 200. Source: US-NYp, Drexel MS 5871, p. 14. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:22 Tempo di Minuet, D major, WKO 201. Source: US-NYp, Drexel MS 5871, p. 15. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: related to 1:2.

February 2011

ABEL CF-7

C. F. ABEL 1:23

[Minuet en rondeau], D major, WKO 202. Source: US-NYp, Drexel MS 5871, p. 16. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:24

[Minuet with two variations], in D major, WKO 203, 204. Source: US-NYp, Drexel MS 5871, p. 17. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: slightly related to 1:1.

1:25

[Flourish or Cadenza], D major, not in WKO. Source: US-NYp, Drexel MS 5871, p. 17. Edition: UO, HS99; CAP, 041, 042.

1:26

[Prelude], D minor, WKO 205. Source: US-NYp, Drexel MS 5871, p. 18. Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:27 [Minuet], D minor, WKO 206. Source: US-NYp, Drexel MS 5871, p. 18. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:28

Allegro, D minor, WKO 207. Source: US-NYp, Drexel MS 5871, p. 19. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

February 2011

ABEL CF-8

C. F. ABEL 1:29

[Allegro], D minor, WKO 208. Source: US-NYp, Drexel MS 5871, pp. 20-21. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:30 Adagio, D minor, WKO 209. Source: US-NYp, Drexel MS 5871, p. 22. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:31

Tempo di Minuet, D major, WKO 210. Source: US-NYp, Drexel MS 5871, p. 23. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:32 Allegretto, A major, WKO 211. Source: US-NYp, Drexel MS 5871, pp. 24-25. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:33 [Rondo], A major, WKO 212. Source: US-NYp, Drexel MS 5871, p. 25. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

February 2011

ABEL CF-9

C. F. ABEL Category 2: Viola da Gamba and Bass/Continuo 2:1

Sonata, C major, WKO 141. Source: Six Easy Sonattas, no. 1, pp. 2-5. Editions: Knape, xvi; HM, 39; EG, G062.

Vivace

Adagio

Minuetto

2:2

Sonata, A major, WKO 142. Source: Six Easy Sonattas, no. 2, pp. 6-9. Editions: Knape, xvi; HM, 39; EG, G062.

Allegro

Siciliano

Tempo di Minueto

2:3

Sonata, D major, WKO 143. Source: Six Easy Sonattas, no. 3, pp. 10-12. Editions: Knape, xvi; HM, 39; EG, G062.

Allegro

Adagio

February 2011

ABEL CF-10

C. F. ABEL Minuetto

2:4

Sonata, G major, WKO 144. Source: Six Easy Sonattas, no. 4, pp. 13-16. Editions: Knape, xvi; HM, 40; EG, G063.

Allegro

Adagio

Minuetto

2:5

Sonata, A major, WKO 145. Source: Six Easy Sonattas, no. 5, pp. 17-20. Editions: Knape, xvi; HM, 40; EG, G063.

Allegro

Andante

Minuetto

February 2011

ABEL CF-11

C. F. ABEL 2:6

Sonata, E minor, WKO 146. Source: Six Easy Sonattas, no. 6, pp. 21-24. Editions: Knape, xvi; HM, 40; EG, G063.

Moderato

Adagio

Minuetto

2:7

Sonata, E minor, WKO 150. Sources: D-B, KHM 25a; D-B, Mus. Ms. 263; D-B, Mus. Ms. Slg. Klg. 2, Item 4. Editions: Knape, xvi; Schott, ES1373; EG, G090. Siciliano

Allegro

Presto

2:8

Sonata, G major, WKO 149. Sources: D-B, KHM 25b; D-B, Slg. Klg. 2, Item 4. Editions: Knape, xvi; EG, G090.

Adagio

Allegro

February 2011

ABEL CF-12

C. F. ABEL Allegro ma non presto

2:9

Sonata, G major, WKO 152. Source: GB-Lbl, Add. MS 31,697, ff. 3-6 (Item 1). Editions: Knape, xvi; PRB, CL015; EG, G188.

[A]llegretto

Adagio

[A]llegro

2 :10

Sonata, C major, WKO 151. Sources: GB-Lbl, Add. MS 31,697, ff. 10v-13 (Item 6, no. 1); D-B, Mus. Ms. 263; D-B, Mus. Ms. Slg. Klg. 2., Item 1, pp. 1-5. Editions: Knape, xvi; PRB, CL015. Comment: the Cantabile, arranged for gamba, violin and violoncello probably by Johannes Klingenberg, also appears in the D-B, Mus. MS 253/10 version of 6:1. The D-B manu scripts were presumably copied directly or indirectly from GB-Lbl, Add. MS 31,697.

Allegro

Cantabile

Tempo di Minuetto

February 2011

ABEL CF-13

C. F. ABEL 2:11

Sonata, D major, WKO 156. Source: GB-Lbl, Add. MS 31,697, ff. 13v-15 (Item 6, no. 2). Editions: Knape, xvi; PRB, CL013.

Allegro

Minuetto

2:12 Sonata, G major, WKO 157. Source: GB-Lbl, Add. MS 31,697, ff. 15v-17 (Item 6, no. 3). Editions: Knape, xvi; PRB, CL013. Moderato

Tempo di Minuetto

2:13 Sonata, D major, WKO 158. Source: GB-Lbl, Add. MS 31,697, ff. 17v-19 (Item 6, no. 4). Editions: Knape, xvi; PRB, CL014. Moderato

Minuetto

2:14 Sonata, G major, WKO 159. Source: GB-Lbl, Add. MS 31,697, ff. 19v-21 (Item 6, no. 5). Editions: Knape, xvi; PRB, CL014. Allegro

February 2011

ABEL CF-14

C. F. ABEL Minuetto

2:15 Sonata, D major, WKO 160. Source: GB-Lbl, Add. MS 31,697, ff. 21v-23 (Item 6, no. 6). Editions: Knape, xvi; PRB, CL014. Allegro

Minuetto

2:16 Sonata, D major, WKO 161. Source: GB-Lbl, Add. MS 31,697, ff. 23v-25 (Item 6, no. 7). Editions: Knape, xvi; PRB, CL015. Allegro

[Minuet]

2:17 Sonata, C major, WKO 162. Source: GB-Lbl, Add. MS 31,697, ff. 25v-27 (Item 6, no. 8). Editions: Knape, xvi; PRB, CL013. Allegro

Vivace

February 2011

ABEL CF-15

C. F. ABEL 2:18

Sonata, A major, WKO 163. Source: GB-Lbl, Add. MS 31,697, ff. 27v-29 (Item 6, no. 9). Editions: Knape, xvi; PRB, CL014.

Allegro

Tempo di Minuetto

2:19 Sonata, A major, WKO 164. Source: GB-Lbl, Add. MS 31,697, ff. 29v-31 (Item 6, no. 10). Editions: Knape, xvi; PRB, CL015. Allegro

Minuetto

2:20 Sonata, D major, WKO 165. Source: GB-Lbl, Add. MS 31,697, ff. 31v-34 (Item 6, no. 11). Editions: Knape, xvi; PRB, CL014. Allegro

Adaggio

Tempo di Minuetto

February 2011

ABEL CF-16

C. F. ABEL 2:21

Sonata, D major, WKO 166. Source: GB-Lbl, Add. MS 31,697, ff. 34v-36 (Item 6, no. 12). Editions: Knape, xvi; PRB, CL014.

Allegro

Andante

Minuetto

2:22 Tempo di Minuetto, C major, not in WKO. Source: GB-Lbl, Add. MS 31,697, f. 37. Edition: PRB, CL014. Comment: treated as the third movement of 2:21 in PRB, CL014, but the discrepancy of keys makes this unlikely.

2:23 Sonata, G major, WKO 167. Source: GB-Lbl, Add. MS 31,697, ff. 37v-38v (Item 6, no. 13). Editions: Knape, xvi; PRB, CL013. Allegro

Tempo di Minuetto

2:24 Tempo di Minuetto, D major, not in WKO. Source: GB-Lbl, Add. MS 31,697, f. 39. Editions: Knape, xvi; PRB, CL013. Comment: treated as the third movement of 2:23 in Knape, xvi and PRB, CL013. This is unlikely unless a da capo to 2:23/2 is intended, though it is not indicated in the manuscript.

February 2011

ABEL CF-17

C. F. ABEL 2:25 Sonata, D major, WKO 168. Source: GB-Lbl, Add. MS 31,697, ff. 39v-42 (Item 6, no. 14). Editions: Knape, xvi; PRB, CL013. Allegro

Allegro

Minuetto

Minuetto

2:26 Sonata, D major, WKO 169. Source: GB-Lbl, Add. MS 31,697, ff. 42v-44 (Item 6, no. 15). Editions: Knape, xvi; PRB, CL013. Allegro

Minuetto

Allegretto

2:27 Sonata, C major, WKO 170. Source: GB-Lbl, Add. MS 31,697, ff. 45v-48 (Item 7, no. 1). Editions: Knape, xvi; PRB, CL014. Moderato

February 2011

ABEL CF-18

C. F. ABEL Andantino

Allegro

2:28 Sonata, G major, WKO 171. Source: GB-Lbl, Add. MS 31,697, ff. 48v-51 (Item 7, no. 2). Editions: Knape, xvi; PRB, CL014. Vivace

Cantabile

Vivace

2:29 Sonata, D major, WKO 172. Source: GB-Lbl, Add. MS 31,697, ff. 51v-54 (Item 7, no. 3). Editions: Knape, xvi; PRB, CL014. Comment: the second movement is wrongly given in the source with only two sharps. Allegro

Adaggio

Minuetto

February 2011

ABEL CF-19

C. F. ABEL 2:30

Sonata, A major, WKO 173. Source: GB-Lbl, Add. MS 31,697, ff. 54v-57 (Item 7, no. 4). Editions: Knape, xvi; PRB, CL014.

Allegro

Cantabile

Tempo di Minuetto

2:31 Sonata, G major, WKO 174. Source: GB-Lbl, Add. MS 31,697, ff. 57v-60 (Item 7, no. 5). Editions: Knape, xvi; PRB, CL013. Moderato

Cantabile

Vivace

2:32 Sonata, C major, WKO 175. Source: GB-Lbl, Add. MS 31,697, ff. 60v-63 (Item 7, no. 6). Editions: Knape, xvi; PRB, CL013. Allegro

Adaggio

February 2011

ABEL CF-20

C. F. ABEL Tempo di Minuetto

2:33

Sonata, A major, WKO 176. Source: GB-Lbl, Add. MS 31,697, ff. 63v-66 (Item 7, no. 7). Editions: Knape, xvi; PRB, CL013.

Allegro

Andantino

Allegro

2:34 Sonata, A major, WKO 177. Source: GB-Lbl, Add. MS 31,697, ff. 66v-69 (Item 7, no. 8). Editions: Knape, xvi; PRB, CL015. Allegro

Andante

Allegro

2:35 Sonata, G major, WKO 178. Source: GB-Lbl, Add. MS 31,697, ff. 69v-71 (Item 7, no. 9). Editions: Knape, xvi; PRB, CL013. Allegro

February 2011

ABEL CF-21

C. F. ABEL

Minuetto

2:36

Sonata, A major, WKO 179. Source: GB-Lbl, Add. MS 31,697, ff. 71v-73 (Item 7, no. 10). Editions: Knape, xvi; PRB, CL013.

Allegro

Andante

Minuetto

2:37

Sonata, D major, WKO 180. Source: GB-Lbl, Add. MS 31,697, ff. 73v-75 (Item 7, no. 11). Editions: Knape, xvi; PRB, CL015.

Allegro

Siciliano

Minuetto

February 2011

ABEL CF-22

C. F. ABEL 2:38

Sonata, D major, WKO 181. Source: GB-Lbl, Add. MS 31,697, ff. 75v-77 (Item 7, no. 12). Editions: Knape, xvi; PRB, CL015.

Allegro

Minuetto [and two variations]

2:39 Sonata, G major, WKO 182. Source: GB-Lbl, Add. MS 31,697, ff. 77v-79 (Item 7, no. 13). Editions: Knape, xvi; PRB, CL015. Allegro

Adaggio

Minuet

2:40 Sonata, A major, WKO 183. Source: GB-Lbl, Add. MS 31,697, ff. 79v-81 (Item 7, no. 14). Editions: Knape, xvi; PRB, CL015. Allegro

Adaggio

Minuetto

February 2011

ABEL CF-23

C. F. ABEL 2:41

Sonata, C major, WKO 184. Source: GB-Lbl, Add. MS 31,697, ff. 81v-83 (Item 7, no. 15). Editions: Knape, xvi; PRB, CL015.

Moderato

Tempo di Minuetto

2:42 Sonata, E major, not in WKO. Source: part-autograph manuscript, private collection, no. 3. Edition: none. Allegro Adagio

Tempo di Minuet 2:43 Sonata, E¨ major, not in WKO. Source: part-autograph manuscript, private collection, no. 4. Edition: none. Vivace Adagio Menuet 2:44 Sonata, B¨ major, not in WKO. Source: part-autograph manuscript, private collection, no. 5. Edition: none. Moderato Adagio Tempo di Menuet 2:45 Sonata, B¨ major, not in WKO. Source: part-autograph manuscript, private collection, no. 6. Edition: none. Vivace Adagio Tempo di Menuet

February 2011

ABEL CF-24

C. F. ABEL 2:46

Sonata, B¨ major, not in WKO. Source: part-autograph manuscript, private collection, no. 7. Edition: none.

Allegro Adagio Menuet 2:47 Sonata, F major, not in WKO. Source: part-autograph manuscript, private collection, no. 8. Edition: none. Moderato Adagio Men[uet] 2:48

Sonata, G major, not in WKO. Source: part-autograph manuscript, private collection, no. 9. Edition: none.

Allegro Adagio Tempo di Menuetto 2:49 Sonata, D major, not in WKO. Source: part-autograph manuscript, private collection, no. 10. Edition: none. Moderato Adagio Men[uet] 2:50 Sonata, D major, not in WKO. Source: part-autograph manuscript, private collection, no. 13. Edition: none. Allegro Adagio Allegretto 2:51 Sonata, A major, not in WKO. Source: part-autograph manuscript, private collection, no. 14. Edition: none. Moderato Adagio Tempo di Menuet

February 2011

ABEL CF-25

C. F. ABEL Category 3: Viola da Gamba and Violoncello 3:1

Duetto, D major, not in WKO. Source: part-autograph manuscript, private collection, no. 1. Edition: none.

Allegro Rondeau 3:2

Duetto, D major, not in WKO. Source: part-autograph manuscript, private collection, no. 2. Edition: none.

Allegro Adagio Tempo di Menuet 3:3

Duetto, G major, not in WKO. Source: part-autograph manuscript, private collection, no. 11. Edition: none.

Poco allegro Un poco adagio Rondeau alegretto 3:4

Duetto, G major, not in WKO. Source: part-autograph manuscript, private collection, no. 12. Edition: none.

Un poco allegro Andante Tempo di Minuet

February 2011

ABEL CF-26

C. F. ABEL Category 4: Viola da Gamba and ?Harpsichord 4:1

[Sonata], C major, not in WKO. Source: GB-Lu, MS 944/2/1-3, part 1, pp. 30-31. Edition: none. Comment: only the gamba part survives, entitled ‘F. Abel per il Viol di Gambo’, though its style suggests that it comes from an accompanied sonata with obbligato harpsichord rather than one for gamba and bass; see Holman, Life after Death, 226-227.

[Allegro]

[Andante]

[Minuet]

Category 5: Flute, Viola da Gamba and Bass/Continuo 5:1

Trio, F major, not in WKO. Les Suites des trios primieres, pp. 8-9 in each part, no. 4. Edition: none. Comment: only the gamba and figured bass parts survive, in a publication said to be ‘Pour le VIOLON, V IOLONCELLO, et BASSO’. From the documents relating to Abel’s lawsuit against Longman, Lukey and Co. in 1773 we know that it was written ‘about 10 years ago’ (i.e. around 1763) and was originally composed ‘for a Flute, Viol di gamba and a Bass’; see Holman, Life after Death, 224-226.

Moderato

Andante

Menuetto

February 2011

ABEL CF-27

C. F. ABEL 5:2

Trio, G major, not in WKO. Les Suites des trios primieres, pp. 9-10 in each part, no. 5. Edition: none. Comment: only the gamba and figured bass parts survive, in a publication said to be ‘Pour le VIOLON, VIOLONCELLO , et BASSO ’. From the documents relating to Abel’s lawsuit against Longman, Lukey and Co. in 1773 we know that it was written ‘about 10 years ago’ (i.e. around 1763) and was originally composed ‘for a Flute, Viol di gamba and a Bass’; see Holman, Life after Death [VIOL H] , 224-226.

Allegro

Andante

Menuetto

Category 6: Flute, Violin, Viola da Gamba and Violoncello 6:1

Quartet, G major, WKO 227. Sources: manuscript in the possession of the late Edgar Hunt; D-B, Mus. Ms. Slg. Klg. 2, Item 2; D-B, Mus. Ms. 253/10. Editions: Schott, 10190; PRB, CL007. Comment: the Edgar Hunt and D-B manuscripts preserve independent versions, published respectively by Schott and PRB; the one in D-B, Mus. Ms. Slg. Klg. 2 may derive from a manuscript, now lost, that was offered for sale in Hamburg in 1783 as ‘Abel, I Quatuor. Viola da Gamba Fl. Violin & Violoncel G dur’. In addition, the version in D-B, Mus. Ms. 253/10 has a central ‘Cantabile’ described as an insertion (‘Einlage’); it is an arrangement, possibly made by Johann Klingenberg, of 2:10/2; see Holman, Life after Death, 227-228. The two-movement version is found as the outer movements of a flute quartet in CZ-Pnm, XXII A7, while the Allegretto also serves as the finale of the string quartet op. 12, no. 6, WKO 72/3.

Allegro Moderato

Cantabile: see 2:10/2

February 2011

ABEL CF-28

Category 7: Viola da Gamba, Violin, Viola, Violoncello 7:1

Quarteto N: 1, A major, not in WKO. Source: manuscript parts at A-LA. Edition: none. Comment: An arrangement of no. 5 of Abel’s Six Quartettos, op. 8, WKO 65, with the gamba taking the first violin part down the octave. The part is written in the alto clef, which suggests that the arrangement was not made by Abel himself.

Un poco Vivace

Adagio ma non Tropo

Allegro assai

7:2

Quarteto N. 3, B¨ major, not in WKO. Source: manuscript parts at A-LA. Edition: none. Comment: An arrangement of no. 2 of Abel’s Six Quartettos, op. 8, WKO 62, with the gamba taking the first violin part down the octave. The part is written in the alto clef, which suggests that the arrangement was not made by Abel himself.

Allegro con Spirito

Adagio

Tempo di Menueto

February 2011

ABEL CF-29

C. F. ABEL Category 8: Soprano, Viola da Gamba, Two Violins, Viola and Bass/Continuo 8:1

‘Frena le belle lagrime’, B¨ major, not in WKO. Source: The Favourite Songs in the Opera Sifari, vol. 1, pp. 2-7. Modern edition: Fretwork, FE2.

Cantabile

See ABEL-H Appendix 1 for a discussion of lost or unidentified works by Abel

February 2011

ABEL CF-30

ABEL, Clamor Heinrich (1634-1696) ‘Sonata sopra CucCuc’ in G major for violin, bass viol and continuo GB-DRc, D2, no. 19 [H. Abell] GB-HADolmetsch, II.c.25, no. 9 [Clamor Hen Abell] GB-Lbl, Add. 31423, ff. 230/249/261v (no. 14) [Anon.] for 2 violins and continuo [Sonata]

F-Pn, Rés Vm7 673, no. 45

[Sonata]

F-Pn, Rés Vm7 673, no. 86

Further information from Richard Carter: Clamor Heinrich Abel's "Musicalische Blumen" was published in three parts: Part One (52 pieces, 1674) and Part Two (59 pieces, 1676, dedication dated 1675) - both titled "Erstlinge Musicalischer Blumen" - contain suites for four instruments (most probably violin band with two treble violins) and harpsichord continuo. Part Three (61 pieces, 1677, dedication dated 1676) - "Dritter Theil Musicalischer Blumen" - contains eight suites (Allemanda/Courante/Sarabanda/ Gique) for violin and harpsichord, plus a further seven suites for violin, lyra viol ("verstimbte Violadagamba") and harpsichord, of which the last is also for scordatura violin. No copy of the viol partbook is known to survive.

January 2009

ABEL CH-1

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674) 1. Praeludium.

   Adagio.

Sonatina.                                Allegro.

2. Allemanda. 

    

                4. Sarabanda.  Adagio

6. Praeludium. 







                      

          

   

3. Corrante.

5. Giqve.                   

         

Sonatina.                                 adagio.

Allegro.

                     7. Allemanda.

  

               8. Corrante.

                                             9. Sarabanda.

10. Giqve.

12. Giqve.                                             11. Sarabanda.

Sonatina.                                            

13. Praeludium. Adagio.

Allegro.

15. Corrante.                                          14. Allemanda.

17. Giqve.                                             16. Sarabanda.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674) 18. Praeludium. Sonatina.                                          Allegro. Adagio.

                   

                       19. Allemanda.

20. Corrante.

22. Giqve. 21. Sarabanda.                                                 Sonatina.                                             Allegro.

23. Praeludium. Adagio.

24. Allemanda. 

                 

                   26. Sarabanda.

      25. Corrante.

             

                             27. Giqve.

   Sonatina.                                  28. Praeludium. Adagio.

Allegro.

30. Corrante.                                                29. Allemanda.

                   31. Sarabanda.

32. Giqve.   

      

              

Sonatina.                                   

33. Praeludium. Adagio.

Allegro.

34. Allemanda. 

   

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674)

             

                   35. Corrante.

36. Sarabanda. 

  



37. Giqve.                                      

Sonatina.                                    

38. Praeludium.

Allegro.

Adagio.

39. Allemanda.                      

40. Corrante.                           

42. Giqve. 41. Sarabanda.                                               Sonatina.                                                Allegro. Adagio.

43. Praeludium.

44. Allemanda.                       

45. Corrante.                     

     47. Giqve.      46. Sarabanda.                                      48. Praeludium. Sonatina.                                          Adagio.

Allegro.

                 49. Allemanda.

50. Corrante.                  

52. Giqve. 51. Sarabanda.                                              

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6)

2. Allemanda.                                                  



1. Praeludium.

4. Sarabanda.                                            3. Corrante.

6. Allemanda.                                            5. Giqve.

7. Corrante.  

     

8. Sarabanda.                                

                          9. Giqve.

                     10. Praeludium.

                    11. Allemanda.

13. Sarabanda.                                           12. Corrante.

14. Giqve.               

15. Praeludium.  



    

               

 

16. Allemanda.                              

[note: this key sig. in PARS PRIMA only, in error]

18. Sarabanda.                                      17. Corrante.

                       20. Corrante.                      19. Allemanda.

21. Sarabanda.  

 

22. Giqve.                                        

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6) 24. Allemanda. 23. Praeludium.                                           

26. Sarabanda.                                          



25. Corrante.

28. Corrante. 27. Allemanda.                                          

30. Giqve. 29. Sarabanda.                                                 

32. Allemanda.                                             31. Praeludium. allegro

adagio

34. Sarabanda.                                         33. Corrante.

   #                               35. Giqve.

37. Allemanda.                              

36.Praeludium. 



adagio

39. Sarabanda.                                      38. Corrante. 

                          40. Giqve. 

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6) 42. Allemanda. 41. Praeludium.                                                   

44. Sarabanda.   43. Corrante.                                        

45. Giqve.                          

47. Allemanda.                                           46. Praeludium.

48. Corrante.

          

    

                      49. Sarabanda.

                            50. Giqve.

51. Sonata Battaglia. 

                         

      

52. Allemanda.

     

 

  

 

    



   



  

 

53. Ballo presto.                            

55. Gavotte.                                            54. Corrante.

 57. Ballet.                                              56. Sarabanda. adagio

59. Giqve.                                                   58. Sarabanda.

NOTE: for nos. 56-59 the second part is missing.

piano

ACHILLEO, Paolo 2 vln, bc [Sonata]

January 2009

7

F-Pn, Rés Vm 673, no. 131

ACHILLEO-1

ADSON, John c.1586-1640)

1 2

3

14

15

16

4 17 5 18 6 19 7 20 8 21 9

10

11

32

12

13 January 2009

ADSON-1

ADSON, John (1586/7-1640) Courtly Masquing Ayres (1621) Five-part pieces 1. Adsonns Masque* 2. Mr Adson Masque 3. Adsons Masque 4. Essex Anticke Masque 5. The First of my Lord of Essex 6. The Second 7. The Third 8. The Second [Temple Antick] 9. The First of the Temple Antick 10. The First Witches Dance 11. Broxboorn berry Maske 12. Broxboorn berry Maske 13. Williams his Loue 14. 15. Van-weelly 16. 17. 18. 19.† 20.† 21.† *titles from GB-Lbl, Add. 10444 †‘for Cornets and Sagbuts’

(a2: Treble/Bass)

GB-Lbl, Add. 38539

f./no.

[Lute]

GB-Lbl, Add. 10444

15v;70v/9 39v;90r/83 39v;90r/84 42r;92r/92 42v;92r/93 42v;92v/94 42v;92v/95 51r;100r/123 50v;100r/122 21r;74v/25 13r;67v/5 13r;67v/4 47r;96v/110

f.30v

[Robert Johnson]

34r;85r/64

38v;89v/81 treble; bass only

Six-part pieces† 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. GB-Ob, Mus. Sch. D.220 32.

Corant

January 2009

C/a

p.39, no.36 a2: bass only ADSON-2

D-W, Cod. Guelf. 34.7. o Aug 2

ARNOLD, Gregory 2 violins, bassoon, bc

no./p. 67/120

Canzona 2 violins, viola da braccio, bastarda, bc

Canzona

January 2009

77/149

ARNOLD-1

John ATKINSON Perhaps the Court musician (died 1671) VdGS No. 1.

Saraband C

GB-Ob, MS Mus. Sch. D.220, p. 81, no. 60 (bass only)

7th instalment 2002

ATKINSON-1

BACH, Carl Philipp Emanuel (1714-1788) Helm numbers (in BACH CPE H)

See GERMANY OL

Solo in C, VdG, Bc H 558

B-Bc, 5634 D-B, Sig. Klg. 6

Solo in D, VdG, Bc H 559

B-Bc, 5364 D-B, Sig Klg. 6

Trio in g, VdG and Cembalo obbligato

A-Wgm, XI 36270 A-Wn, 16786 B-Bc, 5635 D-B, ms. autogr. Bach P357 D-B, SA 3627/1

February 2011

BACH CPE-1

BACH, HEINRICH (1615-1692) 2 vln, 2 viola da braccio, violone Sonata

D-W, Cod. Guelf. 34.7. Aug 2o, no. 92, p. 186

Sonata

D-W, Cod. Guelf. 34.7. Aug 2 o, no. 93, p. 188

January 2009

BACH H-1

Mr BARRAT VdGS No. 1. Ambuscado

7th Instalment, 2002

GB-Ob, MS Mus. Sch. D.220, p. 85, no. 79 BARRAT-1

1

Galliard G

10

2

Galliard a

14

3. Almain

C

4. Almain

G

no.

g

US-NYp, Drexel 5612

18v, 17

50

7. The Fates Masque. g

9. Näglein Blumen

p., no.

7v, 25

23

6. The Cadua a

D

f.,no.

5v, 12

5. Bateman’s Masque a

8. Volta

GB-Lbl, Add. 10444

1 621

no.

23v, 32

KEYBOARD

no.

SIMPSON T

VdGS No

BRADE 1617

(d. 1618)

HILDERBRAND 1609

Robert BATEMAN

48v, 114

14

44

Other sources attribute this piece to Robert Johnson: Princes Almain

VdGS Nos. 1-2 have pavans placed before them attributed to ‘Johann Thomas’ (an Englishman?). VdGS No. 4 is called ‘Stephen Thomas his 2[nd]’ in GB -Lbl, Add. 10,444.

2003

BATEMAN-1

THOMAS

BATESON (d.1630)

CS If floods of tears a4

August 2004

Second set of Madrigals (1618), no. 12. Publ. EM xxii (2/1960)

BATESON-1

BECKEN, Pleikardus Carolus (fl. 1650s) Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u. Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts only survive in GB-Lbl, Add. MS 31438, as listed below. VdGS No. f.

1.

Allemand

63v

2.

[Allemand]

63v

3.

Allemand

64r

4.

Courant

64r

5.

Saraband

64v

6.

Ballet

64v

7.

Ballet

8.

Courant

65r

9.

Saraband

65r

10.

Aria

65v

11. [Allemand]

65v

12.

Courant

13.

Saraband

64v

65v

66r

BECKEN-1 March 2008

BECKEN, Pleikardus Carolus (fl. 1650s) Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u. Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts only survive in GB-Lbl, Add. MS 31438, as listed below. VdGS No. f.

14. [Allemand]

66r

15.

Aria

66v

16. [Allemand]

66v

17.

Courant

66v

18.

Saraband

67r

19.

Ballet

67r

20.

Schick

67v

21.

Courant

67v

22.

Courant

67v

23.

Allemand

68r

24.

Allemand

68r

25.

Schick

26.

Courant

68v

68v

BECKEN-2 March 2008

BECKEN, Pleikardus Carolus (fl. 1650s) Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u. Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts only survive in GB-Lbl, Add. MS 31438, as listed below. VdGS No. f.

27.

Saraband

68v

28.

Allemand

69r

29.

Courant

69r

30.

Saraband

69v

31.

Allemand

69v

32.

Courant

70r

33.

Saraband

70r

34.

Allemand

70r

35.

Gavot

70v

36.

Gavot

70v

37.

Gavot

70v

38.

Gavot

70v

39.

Brandle

70v

April 2008

BECKEN-3

BECKEN, Pleikardus Carolus (fl. 1650s) Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u. Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts only survive in GB-Lbl, Add. MS 31438, as listed below. VdGS No. f.

40.

Bransle

71r

41.

Bransle

71r

42.

Bransle

January 2009

71r

BECKEN-4

US-NHb Osborn 515

(1623-1679) GB-Lgc, G. Mus. 469-71

no. no.

no.

f.

Sonata a3

1

Sonata a3

2

Sonata a3

3

Sonata a3

4

32v

2nd violin only

BECKER 1668

Pieces for two violins, bass and continuo

Sonata

1

1

Allmandt

2

2

Courant

3

3

Saraband

4

4

Giguæ

5

5

Sonata

6

6

bass or bc only

BECKER

BECKER 1674

DIETRICH

BECKER-1 2004

BECKER 1674

Pieces for two violins and continuo

GB-Lgc, MSS G.469-71

DIETRICH BECKER (1623-1679)

no. no.

Allmandt

7

Courant

8

8

Saraband

9

9

Giguæ

10 10

Sonata

11 11

Allmandt

12

Courant

13

Saraband

2nd violin only

7

14

Giguæ

15

Sonata

16 BECKER-2

2004

DIETRICH BECKER

(1623-1679)

BECKER 1674

Pieces for two violins and continuo

Allmandt

Courant

Saraband

Giguæ

Sonata

Brandle simple

no.

17

18

19

20

21

22

Gay

[b]

Amener

[c]

Gavott

[d]

Courant simple

23

Courant simple

24 BECKER-3

2004

DIETRICH BECKER

(1623-1679)

BECKER 1674

Pieces for two violins and continuo

Sarabanda

Sonata

Allmandt

Courant

Saraband

Giguæ

Sonata

Ariæ

Courant

no.

25

26

27

28

29

30

31

32

33

Saraband

34

Giguæ

35 BECKER-4

2004

DIETRICH BECKER (1623-1679)

Sonata

Allmandt

Courant

Saraband

Giguæ

GB-DRc MS D2

BECKER 1674

Pieces for two violins and continuo

no.

36

37

38

39

40

Pieces for violin, viola da gamba and continuo no.

Sonata

41

Allmandt

42

Courant

43

Sarabande

Giguæ

25

44

45 BECKER-5

2004

F-Pn, Rés Vm7 673

no.

no.

f.

Sonata

5

101

25'

Allmand

6

26:1

Courant

7

26:2

Saraband

8

26:3

Gigue

9

26:4

Sonata

10

26': 1

Allmand

11

26': 2

12

27:1

13

27:2

14

27:3

Courant

Saraband

Gigue

2004

bass only

BECKER 1668

Four-part pieces for two violins, viola, violon and basso continuo

US-NHb Osborn 515

DIETRICH BECKER (1623-1679)

BECKER-6

bass only

BECKER 1668

Four-part suites for violin, viola, viola da braccio, violon and basso continuo

US-NHb Osborn 515

DIETRICH BECKER (1623-1679)

no.

f.

Brandle

29

27':1

Gay

[b]

27':2

Amener

[c]

27':3

Gavott

[d]

27':4

Courant

[e]

27':5

Brandle

30

28:1

Gay

[b]

28:2

Amener

[c]

28:3

Gavott

[d]

28:4

Courant

[e]

28:5 BECKER-7

2004

bass only

BECKER 1668

Five-part pieces

US-NHb Osborn 515

DIETRICH BECKER (1623-1679)

no.

f.

Sonata

15

31

Paduana

16

28':1

Paduana

17

28':2

Sonata

18

29

Sonata

19

31'

Ariæ

20

29':1

Ballet

21

29':2

Sarband

22

30:1

Sonata

23

30:2

24

30'

Allmand

2004

2 violins, viola, viola da braccio, violon, bc

4 violins, violon, bc

2 violins, 3 viola da gamba, bc

2 violins, viola, viola da braccio, violon, bc

BECKER-8

Courant

Sarband

Gique

Canzon

bass only

BECKER 1668

Five-part pieces

US-NHb Osborn 515

DIETRICH BECKER (1623-1679)

no.

f.

25

30:2

26

30'

27

31

28

32

2 violins, viola, viola da braccio, violon, bc

2 violins, 2 cornetto, violon ó fagotto, bc

BECKER-9 2004

VdGS No.

GB-Lbl, Add. 31429 (Tr Tr B)

Airs [GB-Ob, Mus. Sch. D.220 assumed in two parts; GB-Lbl, Add. 31429 for two trebles and bass]

GB-Ob, MS Mus. Sch. D.220 (bass only)

Ambrose BEELAND (1597-c.1678)

London city wait from 1631 and tenor violinist at the English Court 1639-1671.

p./no.

1. Country Dance G

16/ I:47

2. Toy

19/ I:54

G

3. Country Dance G

19/ I:55

4. The Common Hunt G 5. Country Dance g

19/ I:56 24/ I:77 37 & 41/ II:26 & 40

6. Almain a

7. Saraband

a

8. Almain

Bb

9. Toy

Bb

45/ III:6

10. Corant

Bb

45/ III:7

11. Saraband Bb

45/ III:8

7th Instalment, 2002

37 & 41/ II: 27 & 41

45/ III:5

BEELAND-1

VdGS No.

p./no.

12 Bow bells rung backward 13 Corant

US-NH, Filmer 3 (treble & bass)

Airs in two parts

GB-Ob, MS Mus. Sch. D.220 (bass only)

AMBROSE BEELAND

f.

88/ V;89 88/ V:90

14 [Corant]

85r

15 [Corant]

85r Ap

February 2008

BEELAND-2

BENDA, Franz (1709-1786)

Solo in F major, viola da gamba and continuo D-B, KHM 6208 A-SPL

June 2011

BENDA-1

(1591-1658) All published LPM

T SIMPSON 162 1

Nicolaus BLEYER

no.

1.

Paduan

2.

Courant

3.

Ballet

22

4.

Volta

35

5.

Courant

43

6.

Mascarada

9

12

49

(see also T SIMPSON 1617, No. XXI: ‘Bleyer’s Armbande’)

2004

BLEYER-1

All published Moeck MMP

HILDERBRAND 1609

(c.1570-1632)

FULLSACK 1607

Melchior BORCHGREVINCK

= Ex Anon 1613 and 1690 (q.v.)

1.

Paduana

I/I

2.

Paduana

IV/I

3.

Galliard

IV/ii

4.

Paduana

VI/I

5.

Galliard

VI/ii

2004

BORCHGREVINCK-1

BRADE, William (d.1630): ‘Newe lustige Volten, Coranten, [...]’, 1621, a5 No. I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV

Title* Paduan [Galliard] [Corant] [Air] [Corant] [Corant] [Corant] [Corant] [Galliard] [Galliard] [Almain] [Galliard] [Galliard] [Galliard] [Galliard] [Galliard] [Almain] [Corant] [Air] [Corant] [Almain] [Almain] [Corant] [Galliard] [Corant] [Corant] [Corant] [Corant] [Corant] [Corant] [Corant] [Corant] [Corant] [Galliard]

* No attempt has been made to assign titles such as ‘volta’, mascherada, etc. which Brade may well have used. ‘Corant’ is assigned to triple-time pieces in 6/4; ‘Galliard’ to triple-time pieces in 3/2.

2003

BRADE-12

BRIEGEL, Wolfgang Carl (1626-1712)

violin and bc

Sonata

A

D-W, Cod. Guelf. 34.7. o Aug 2

no./p. 33/36

viola da gamba and bc ‘ground’

Allemand d

Courant

d

January 2009

29/33

30/34

BRIEGEL-1

Airs for 2 trebles and a bass

Och 379-81 no.

67 A

treble 1 (fragment) and bass only

Almain

68 A

bass only

Corant

69 A

bass only

Pavan

August 2004

J. BROWNE-1

BULL, John Two-part: Treble and Bass Bull’s Toye

August 2007

Lbl, Add. 10,444, f.8v

BULL-2

a

January 2009

1:9

Exercitum Musicum (Frankfurt, 1660)

Sonata

GB-HAdolmestsch II.C.25

(d. 1642)

SUu, imhs

F-Pn, Rés Vm7 673

BUONAMENTE, Giovanni Battista

no.

no.

no.

51 A

24 A

11 A

ex anon. 846

BUONAMENTE-1

BUXTEHUDE, Dietrich (1637-1707) BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957)

VII Suonate for violin, viola da gamba and bc (Lübeck, ?1694) 252 I

F

253 II

G

254 III

a

255 IV

Bb

256 V

C

257 VI

d

258 VII e

January 2009

BUXTEHUDE-1

BUXTEHUDE, Dietrich (1637-1707) BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957)

VII Suonate for violin, viola da gamba and bc (Lübeck, 1696) 259 I

Bb

260 II

D

261 III

g

262 IV

c

263 V

A

264 VI

E

258 VII F

January 2009

BUXTEHUDE-2

S-Uu, imhs

BUXTEHUDE, Dietrich (1637-1707) BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957) 2 violins, viola da gamba, bc

266 Sonata

C

GBOb Mus. Sch. D,249 p.

13:27 viola da gamba, violone, bc

267 Sonata

D

13:24 viola da gamba, bc

268 Sonata

D

128-9 2 violins, viola da gamba, bc

269 Sonata

F

13:23

271 Sonata

G

13:28

violin, viola da gamba, bc

272 Sonata

a

13:26

273 Sonata

Bb

13:25 ‘2 violins’, bc

270 Sonata

January 2009

F

1:12

Bass only

BUXTEHUDE-3

WILLIAM BYRD (1540-1623)

In assessing the contributions of scholars and musicians to the revival of English Golden-Age music in general, and of music for viols in particular, our early attention is fixed on the work of Dr E. H. Fellowes and of the publisher, Stainer & Bell Ltd., who brought out his editions of the English Madrigal School and of the collected works of William Byrd. Long before the generality of viol consort editions began to appear in quantity, all Fellowes’s editions were in print: a creditable achievement. Fellowes, moreover, had the music sung and played; although Byrd’s consort music may have been transposed, halved in note-values and played by the violin family, the music was given an airing, and we are becoming more aware, nowadays, that the treatment described, though unfashionable, was not totally unrepresentative of l7th-century practice. More recent work on Byrd’s music and sources has been done by Brett, Edwards, Elliott and Neighbour (the first three of whom have contributed to The Byrd Edition, under Brett’s general editorship, with which Stainer & Bell are currently replacing the Fellowes/Dart revised edition). In making up the Society’s records, the compiler was aware of the volume and quality of published information. Although he took note of the sources that he saw, it did not seem to him necessary to tread the whole path all round the libraries merely to check work already known to be accurate. These index sheets of William Byrd, therefore, like those of several other composers in the second instalment, rely to an appreciable extent on published information, for which the Society is grateful to the authorities named above. However, the compiler ventures to hope that added value is being given, firstly by the completeness of the record, secondly by the collation and exhibition of the various numbering systems. In this index, the symbols BYRD ED 1 etc., with their Arabic numerals, distinguish The Byrd Edition, mentioned above, from its predecessor, The Collected Works of William Byrd to which the symbols BYRD COLL I etc., with their Roman numerals, are assigned. Since the above was written the appearance of BYRD H has added significantly to the Byrd biography, whilst also providing a new survey of the composer’s music. BYRD-1

D-W, Cod. Guelf. 34.7. o Aug 2

CAPRICORNUS, Samuel Friedrich (1628-1665) violin, viola da gamba, bc

Ciaccona D

S-Uu imhs

no./p. 37/47

3 violins, 2 viola da braccio, 2 viola da gamba, bass, organ

Sonata

a

January 2009

1:13

CAPRICORNUS-1

CHAILO, Carlo 2 vlns, bass and bc Sonata

January 2009

B-Bc, XY 29,410, seq. (6)

CHAILO-1

Alexander CHESHAM (d.1625) Courant

2004

T. SIMPSON 1621, No. 21 (a4) Published by LPM

CHESHAM-1

(1610-1654) VdGS no./key

GB-Lbl, Add. 31429

Edmund CHILMEAD

Three-part airs for two trebles and bass

f./no.

1.

C

43v/ 32

2.*

F

7th Instalment 2002

44v/ 33 A

*Included here on grounds of style and place

CHILMEAD-1

CLAMER, Andreas Christophorus Mensa harmonica XLII. Rarioibus Sonatinis instructa. Septem in Partes, seu Tonos distributa (Salzburg, 1682). [DTÖ 129 (1979)] Partita

I

G

Intrada/Giga/Sarabanda/ Balletto/Lamento/Saltarello

II

A

Intrada/Courante/Sarabanda/ Aria/Giga/Saltarello

III

g

Intrada/Moresca/Courante/ Moresca/Sarabanda/Scherzo

IV

G

Intrada/Courante/Sarabanda/ Gigue/Balletto/Saltarello

V

Bb

Bransle/Gaye/Amenis/ Gavotte/Moresca/Gigue

VI

F

Intrada/Svitte/Courante/ Svitte/Sarabanda/Saltarello

VII

D

Intrada/Courante/Sarabanda/ Intrada/Courante/Sarabanda

August 2007

CLAMER-1

CLAUSSEN, J. VdGS No.

1.

Sonata a2 violino e viola [da gamba and continuo], G major DRc, D2, No. 5

2003

CLAUSSEN-1

VdGS No.

IR-Dm, MS Z4.2.16 (Score, Tr & B)

Airs a2 and a3

US-NH, Flimer 4

CLAYTON, William (c.1636-1697)

f./no.

f.

a2 1. Prelude

7v:1

2. Coranto

7v:2 A

3. Coranto

8 A

a3: 4. Long time

35v/1

5.[Corant]

35v/2

6. [Corant]

7. [Corant]

March 2008

36r/3

36r/4

CLAYTON-1

Airs a3 in E minor VdGS No.

GB-W, Vic. Ch. 7-8 Treble 2 & Bass

CLAYTON, William (c.1636-1697)

p/no.

E1.

26/1

E2

27/2

E3a*.

36/-

E3b*

35/-

E3c.*

34/-

E4.

27/4

28/5

E5. E6.

*Treble not identified (or illegible)

Saraband

28/6

E7.

29/7

E8.

29/8

E9.

30/[9]

E10.

31/ [10]

E.11

31/ [11]

March 2008

CLAYTON-2

CLEMENTIS 2 violins, viola da gamba, violone, bc

Sonata

d

January 2009

D-W, Cod. Guelf. 34.7. o Aug 2 no./p. 84/170

CLEMENTIS-1

JOHN COPRARIO (c.1575—1626) In the following index pages our earliest chickens come home to roost. Our Provisional Index began, in Bulletin No. 24 of December 1965, with 5 pages of Coperario which were added to in later issues; the present task is to revise and redraw them. Much has happened, however, in the intervening period. Richards had already studied and catalogued the bass viol works (see BASS R). Charteris completed a doctorate thesis (COPRARIO C1), published his catalogue of the complete works (COPRARIO C2) and a series of editions of the music, and discovered the autograph at Hatfield House, successfully identifying it with the hand of ‘Rules how to compose’. To much of this work the Provisional Index was an input; from much of it, the present revision has drawn appreciable benefit. A word on numbering is necessary. We started with Meyer’s numbers, but reasons accumulated—Tregian’s score being one—why a different system should be sought. At first sight, Charteris’s catalogue, in which the whole repertoire was numbered straight through, as in our Lawes index but with no gaps, appeared to provide a satisfactory system. However, his editions of the important collections of music began to appear; because these emanated from different publishers, each—not unexpectedly—was numbered consecutively from 1. As those are the numbers which will appear in programmes and lists of recordings, and by which the public will be expected to know the works, the compiler has thought it prudent to adopt them in preference to the ones in the catalogue. Nevertheless, all the numbering systems are given, for cross-referencing purposes, those in the catalogue being prefixed ‘C’, and Meyer’s numbers being prefixed ‘M’. By the way, Giovanni ‘Coperario (who by the way was plain Cooper but affected an Itallian termination)’ — NORTH W p. 288 — has officially become ‘John Coprario’, as insisted upon by the authorities, on the strength of the autograph and the contemporary printed editions. For a minor clash of attribution involving Coprario, see page TYE-4. Works dropped from the original index pages are: Fantasy a4, Meyer 7 — to Bull (q.v., and see BULL D). Fantasy a4, Meyer 9 — to T.C. (q.v., and see BROWNE A, p. 51). Fantasies a5, Meyer 51, 55, 57:— to East (q.v., ‘Penitet’, ‘Credidi’ , ‘Vixi’). See also COPRARIO C5

COPRARIO-1

John COPRARIO Fantasia a3 VdGS No. 11

St Aubyn MS, No. 11 a3 (Bass only)

Fantasia a5 VdGS No. 53

US-Cl Wr f.35v, No. 53 (TrAB parts only)

January 2009

COPRARIO-18

WILLIAM CRANFORD (fl. c.1620—1640)

Cranford’s small output of string music appears mainly in the MSS of Browne, Le Strange, Merro and Marsh. Andrew Robinson, after editing the two anonymous sets of variations, attributed them to Cranford on grounds of style. Go from my window appears among the six-part pieces with one part apparently missing. However, at no time is the tune missing, nor are the distances between parts wider than one might expect from this composer, and Robinson’s proposal to reclassify this work as a five-part piece has been accepted. Cranford’s style is almost unique among seventeenth-century consort composers. The fewer the parts, the more pointilliste, as may best be appreciated by starting with the six-part and finishing with the three-part works. The harmony is distinctly strange and the texture is often mechanical. There are signs of either a facetious nature or an unbalanced mind. There is one noticeable similarity of flavour, between part of Cranford’s six-part fantasy No. 1 and a passage towards the end of the six-part fantasy Chowse of Martin Peerson, that well-known practical joker; the question is: who was poking fun at whom ? The reason for mentioning the style in this Index is the fact that Sir Nicholas Le Strange who annotated his part-books with sub-sources and textual variants, in painstaking detail, gave no indication whatever that the Cranfords differed in any way from the soberer and more conventional works (which, incidentally, did not include any by Peerson or Lawes) in his collection. They came from few sub-sources, as can be verified from the Le Strange index pages, and were only lightly annotated. The work entitled In Nomine Mr Cranford, 5 parts, 2 basses, at No. 55 in the Bc book, EIRE-Dm 143 Z2.4.16 was found by Peter Watts not to be by Cranford; it is a Bc part for Alfonso Ferrabosco II’s five-part In Nomine No. 3. CRANFORD-1

RICHARD DEERING (c. 1580-1630) The main references to the life and work of Dering or Deering can be found in Platt’s introduction to DEERING P1 and in GROVE. Despite careful research, not all of Deering’s movements here and on the Continent have been satisfactorily accounted for. The discovery that what purported to be his six-part fantasy (Meyer No. 2) proved to be the Advent motet Gaudete Omnes by Hieronymus Praetorius was mentioned in the Society’s Bulletin No. 28 (1968); thus, when GROVE (p. 671 of the 5th Edition) was found to be saying: It would seem ... that the musical Dr Richard During of Hamburg mentioned in a letter by Huygens may not have been related to the composer, despite his similar name ...

our interest was greatly aroused, as Praetorius was a Hamburg organist for much of Deering’s lifetime, and there may be more in the Hamburg connection than meets the eye. One five-part fantasy, No. 5, stands out from the others; it is for two basses and is found only in GB-Lbl Add MSS 39550-4, checked only from Harman. Comparison of Tregian’s and Le Strange’s lists is interesting; did Sir Nicholas correctly attribute this fantasy to Deering, or does it belong to some other acknowledged two-bass composer such as Coperario or Lupo ? The five-part dances have been numbered so as to keep reasonably close to the sequence in GB-Lcm MS 1145, almaines being paired with their appropriate pavans. Reference to the Mico index will show how it was decided to distribute the pavans in GB-Ckc MSS Rowe 114-7 between Deering and Mico. The anonymous six-part pieces have been indexed with a cautious attribution to Deering; if the eye be allowed to glance up to the five-part incipits, this possibility may seem not too far-fetched. Although a flyleaf in GB-Lcm MS 2039 bears the inscription ‘Mr Deering’s 2 & 3 parts’, the reference is to some vocal works later in the MS. The anonymous pieces at the beginning are pavans and galliards in 4 or 5 parts, with at least a bass part missing. No. 5 is the familiar chromatic pavan of Toinkins (No. 6); there is no evidence to connect any of the others with Deering. It was the tabular layout of the five-part fantasies which quickly brought to the compiler’s eye the probable identity, later confirmed beyond doubt, of the Rowe and Clark partbooks: see the first two columns on page 3.

DEERING-1

JOHN DOWLAND (1563—1626) The fine collection of Lachrimae pavans and other dances, of 1604, makes up the major part of Dowland’s consort music; to this, several other airs have been added. Dowland has formed the life’s work of Diana Poulton, and his career and music have been extensively recorded by her in DOWLAND P. For many years we have played ‘Lachrimae’ from Warlock’s edition of 1926; more recently, we have had Edwards’s facsimile edition of 1974. Further information on Dowland sources was given by Ward in DOWLAND W. The compiler was much exercised as to the presentation of concordances, in view of the multitudinous sources of versions for solo lute, voice or voices, and plain or mixed consort. In the case of Holborne, all sources known to the Society were given; were the same policy applied to Dowland, the scope of the Index would be substantially overreached. ‘Lachrimae Antiquae’, for example, would need about sixty entries, including arrangements, and the mere existence of a two-part version of Piper’s Pavan would admit about twenty extra concordances. After a trial tabulation of all sources, the decision was made to record only the principal consort sources and publications, and to give, in the first few columns, a key to the full source-information in DOWLAND P. The columns headed ‘DOWLAND P’ refer to the separate numbers, given therein, to versions for consort, versions for solo lute, and songs in the First Book of 1597 et seq (I), the Second Book of 1600 (II). ‘A Pilgrim’s Solace’ of 1612 (PS) and ‘A Musicall Banquet’ of 1610 (AMB). Authorities appear to be agreed that all the versions for consort, other than those in the ‘Lachrimae’ collection, of the pieces listed are in arrangements which cannot be attributed to Dowland. The five-part setting of ‘Lachrimae Antiquae’ in GB-Lbl Add MSS 17786-91 is apparently related to the keyboard version in FWVB 121 where it is followed, as in Add 17786-91, by ‘James Harding’s Galliard’. The compiler is indebted to Tim Crawford for the observation that the part given on f.86 of Lbl Add MS 33933 (one of Thomas Wode’s part books) ‘is in the soprano clef and is called “Contra of Lachrimae or Flow My Tears”. It is practically identical with the lute part in the Cambridge Consort Books i.e. that in Cu MS Dd 3.18 f.16’, published in MORLEY 1599/1 No. 7. I suspect that ‘Contra’ means something more like Contrapartie which the French used somewhat later for a second lute part added to a solo to make a duet, but at the same pitch so that the parts cross’. Details of GB-Lbl Add MS 10444 will be found in LE STRANGE W2.

DOWLAND-1

JOHN DOWLAND Three parts (altus, tenor, quintus) of ‘Lachrimae Antiquae’ (VdGS No. 1) appear in a MS addition to PL-Kj, Mus. ant. pract. H 540 at f. 1-1v (see JAGIELLONSKA C) DOWLAND-5

DRESE, ADAM (c.1620-1701) Violin, viola da gamba, bc D-W, Cod. Guelf. 34.7. Aug 2o, no. 47, p. 72

Sonata 2 vln, viola da gamba, bc

D-W, Cod. Guelf. 34.7. Aug 2 o, no. 55, p. 91

Sonata

2 cornettini, 2 cornett, 2 trombone or 2 pochetti, 2 vln, 2 vla da gamba, bc Sonata

January 2009

D-W, Cod. Guelf. 34.7. Aug 2 o, no. 102, p. 214

DRESE-1

no.

DUMONT 1668

(All published: Dovehouse, no. 39)

DUMONT 1657

VdGS No.

DUMONT 1652

Henri DU MONT (1610-1684)

no.

no

1.

Pavane tr t b

23

2.

Symphonia tr tr b

24

3.

Allemanda tr tr b

25

4.

Symphonia tr tr t b

37

5.

Allemanda gravis tr t t/b b

40

6.

Pavane tr tr b

7.

Allemanda tr t b

8.

Allemanda gravis tr t b

9.

Symphonia tr tr b

no num ber

10.

Allemanda tr tr b

no num ber.

19

no number no number

April 2008

DU MONT-1

EBERLIN, Daniel (1647—c.1714) Sonatas for 2 vlns, bass and bc

F-Pn, Rés Vm7 673, no. 150 Trium mirifice (1675), no. 2 ‘La Eminenza’ F-Pn, Rés Vm7 673, no. 149 Trium mirifice (1675), no. 3 ‘La Favorita’

January 2009

EBERLIN-2

William ELLIS (d. 1679). Oxford organist who organized concerts in the Interregnum. Apart from these airs, Ellis also wrote anthems and keyboard music. Bass parts only of two-part airs

VdGS Nos.

GB-Och, Mus. 1022

1.

Almain

d

No. 17

2.

Corant

d

18

3.

Almain

d

19

4.

Almain

d

20

5.

Saraband

d

21

6.

Michaelmas Day C

22

7th Instalment 2002

ELLIS-1

Christian ENGLEMANN Four-part airs (both published LPM) 1.

Courant

T SIMPSON 1621, No. 27

2.

Ballet

T SIMPSON 1621, No. 47

2004

ENGELMANN-1

ERBEN, Johann Balthasar

S-Uu, imhs

1626-1686

Sonata sopra ‘ut re mi fa sol la’

January 2009

2 violins, bc 3:4

ERBEN-1

ERMISH, Caspar Jacob

S-Uu, imhs

2 violins, viola, violone, bc

Sonata a4

January 2009

3:2

ERMISH-1

(d.1688) Violinist and Theatre composer Airs in D major a3 (tr tr b) VdGS No.

GB-Lbl, Add. 31429

FARMER, Thomas

f./no. D1.

4r/1

D2.

4v/2

D3

4v/3

D4

4v/4

February 2008

2nd treble (1st missing)

FARMER-2

VdGS No.

f.

G1.

18r

G2.

18r

G3.

18v

G4.

18v

G5.

19r

G6.

20r

G7.

G8.

G9.

New Ayres and Dialogues (a2)

Airs in G major a3 and a2

GB-Lbl, Mus. 142

(d.1688) Violinist and Theatre composer

GB-Lbl, Add. 31429

FARMER, Thomas

no.

no.

20v

3

1

G10.

3

G11.

5

February 2008

FARMER-3

THOMAS FARMER Theatre Airs a2 and a3 in G Minor

g1

g14

g2

g15

g3

g16

g4

g17

g5

g18

g6

g19

g7

g8

g9

g10

g11

g12

g13

February 2008

FARMER-4

New Ayres and Dialogues (a2)

no.

GB-W, VC 9

f./no.

Mus. 142

VdGS No.

GB-Lbl Add. 3142 9

THOMAS FARMER Theatre Airs a2 and a3 in G minor

p.

no.

5r/-

g2.

5v/1

g3.

6r/2

g4.

6r/3

g5.

6v/[4]

g6.

7r/5

g7.

7v/6

g8.

7v/7

g9.

8r/8

g10.

25r/1

48

g11.

25r/2

48

g12.

25v/3

49

g13.

25v/4

49

g14.

26r/5

50

TREBLE ONLY

g1.

g15.

1

g16.

2

g17.

2

g18.

19

g19

20

February 2008

FARMER-5

ALFONSO FERRABOSCO II (1575—1628) ‘In deed I haue seene the like committed by maister Alfonso, a great musition’, wrote Morley, in 1597, of Alfonso Ferrabosco I; fantasies by Alfonso Ferrabosco II in the Shirley partbooks, GB-Lbl, Add MSS 40657-61, in William Lawes’s hand, are headed ‘Alfonso’. Both generations, therefore, were known affectionately by the same first name, and many a manuscript was labelled ‘Alfonso Ferrabosco’ without the slightest attempt to distinguish. However, in these days, it is gratuitously confusing to publish, as is sometimes done, a modern edition as by ‘Alfonso Ferrabosco’ with no distinction, when it is so easy to follow the examples of Tregian and others, and to use the suffixes Elder and Younger, or Senior and Junior, or Father and Son, or I and II. The principal work on Alfonso II’s four- and six-part fantasies is that by Vaught (see FERRABOSCO II V). See also FERRABOSCO II D and TOMKINS C. Most of Alfonso II’s four- and five-part works are found in Tregian’s score, and thus were probably composed by c.1610-1613; several of them had already appeared in the Lessons of 1609 (see FERRABOSCO II 1609). Judging by the list of sources, and by the large number of alternative versions, the four-part fantasies, and the five-part dances, were very popular, not only with the Jacobeans but with the Carolines also. Fantasy 24, attributed ambiguously to ‘Alfonso Ferabosco’ might well have been composed by Alfonso I, perhaps with a vocal text. Lowinsky (see FERRABOSCO II L) attributed the Hexachord Fantasy to Alfonso della Viola, but scholars are now agreed that this is wrong. The six-part works cannot be accurately dated, mainly because none of them appears in Tregian’s score. The earliest of their sources is GB-Och Mus. 61-6, contributed to by Myriell (d.1625), but that fact demonstrates little else than the probability that two of the fantasies were produced during their composer’s lifetime. A complete edition of the consort music is published in MUSICA BRITANNICA, Vols, 62 (four-part) and 81 (five- and six-part), with the lyra viol pieces planned to appear later. FERRABOSCO II-1

VdGS No.

1. Courant

2. Allemand*

GB-Och Mus. 1066

Trios for two treble and a bass

no.

f.

16

* identified as by ‘f’

17

3. Allemand*

18

4. Allemand*

19

Treble only

Musician to Queen Catherine of Braganza

GB-Lbl, Add. 31424

FERREIRA, Miguel

5. Allemand]

2r

6. Corant

2r A

7. Saraband

3v A

8. Contredance

3v A

March 2008

FERREIRA-1

FLUDD, Robert (1574-1637) US-NH, Filmer 3 1.

D Fludd’s dreame

3r

2.

Dr Fludd’s scale

3v

3.

Dr Fludd’s First Pavan

3v

4.

Dr Fludd’s Second Pavan

4v

5.

Dr Fludd’s Changes

6.

First Coranto

8r

7.

First Almayne or his Mottle

8v

8.

Second Almaine [Coranto]

9v

9.

A Toye

10.

A Brandle

11.

The May Game

January 2008

6v

10v

11r 11v

FLUDD-1

VdGS No.

p./no.

Lbl, Add. 29283-5

Airs in B-flat Major a3

GB-W, VC 9

FORCER, Francis (c.1650-c.1704)

f.56v-/ no.

B1.

18/1

B2.

18/2

B3.

19/3

B4.

55/[1]

/4

B5.

55/2

/9

B6.

56/3

/2

B7.

56/4

/3

57/5

/5

57/6

/6

58/7

/7

58/8

/8

B8.

B9.

B10.

B11.

B12.

B13.

February 2008

/1

/10

FORCER-1

FÖRSTER, Kaspar 1616-1673

S-Uu, imhs

2 violins, bassoon, bc

Sonata a3

3:6 2 violins, viola da gamba, bc

Sonata a3

3:7 2 violins, viola da gamba, bc

Sonata a3

3:7a &3:9b

2 violins, viola, violone, 2 cornetts, bassoon, bc

Sonata a7

3:8 2 violins, viola da gamba, bc

Sonata a3 La pazza

3:9a 2 violins, violone, bc 3:10

Sonata a3 2 violins, viola da gamba, bc

Sonata a3

January 2009

3:11

FORSTER-1

FROBERGER, Johann Jacob (1616-1667) Suites for ‘Violin and viola da gamba’ Are these versions of keyboard works? 1. Allemande a

D-W, Cod. Guelf. 34.7. o Aug 2 no./p. 8/23

2. Courant

a

3. Saraband

a

4. Gigue

a

11/24

5. Allemande G

12/25

6. Courant

G

13/25

7. Saraband

G

8. Gigue

G

15/26

9. Courant

G

16/26

10. Sarabande G

9/24

10/24

14/25

17/26

11. Allemande D

18/27

12. Courant

19/27

D

January 2009

FROBERGER-1

FROBERGER, Johann Jacob (1616-1667) Suites for ‘Violin and viola da gamba’ Are these versions of keyboard works?

D-W, Cod. Guelf. 34.7. o Aug 2 no./p.

13. Sarabande D

20/27

14. Gigue

21/27

D

January 2009

FROBERGER-2

S-Uu, imhs

FURCHHEIM, Johann Wilhelm (d. 1682) 2 violins, bc Sonata a2

e

3:13 3 violins, 2 viola, violone, bc

Sonatella A a7

3:14 3 violins, 2 violas, bassoon, bc

Sonata a6

D

3:15 2 violins, 2 cornets, bassoon, bc

Sonata a5

a

3:16 2 violins, 2 violas, bassoon, bc

Sonata a5

Eb

3:17 a&b 2 violins, 2 violas, violone, bc

Suite a5: b Praeludium

3:12

Allemande

Courant

Sarabande

Gigue

January 2009

FURCHHEIM-1

Cornettist and violinist at the English Court, 1660-1684)

GB-Ob, Mus. Sch. D.2 00 (bass only)

John GAMBLE (d. 1687)

p./no.

VdGS No. 1. Almaine

c

2. Corant

c

67/5

3. Saraband

c

67/6

4. Almaine

C

84/72

5. Saraband

C

84/73

6. March

F

168/60

7th Instalment 2002

67/4

GAMBLE-1

CHRISTOPHER GIBBONS (1615-1676)

Work on Christopher Gibbons has been done mainly by Rayner (see GIBBONS C R), Field (see CONSORTS F) and Johnson (see FANT-SUTTE J). In the preparation of these index sheets, only the first two of those references were consulted. All known sources have been inspected. Both Rayner and Field numbered parts of the repertoire in suites; this was convenient up to a point, but, as can be seen from the index sheets, alternative airs were introduced here, and sundry movements were omitted there, and it now becomes necessary to refer to movements individually as well as collectively. Although all suite-numbering is indicated, every movement or piece, as with the Lawes fantasies and airs, has been awarded its own separate Air-number. During the drafting of the sheets it appeared that, for lack of space, not all the source-columns could be properly annotated, as elsewhere in the Index. Accordingly, a list of sources was prepared and is now given on page 2; some comments follow hereunder. GB-Lbl Add MS 17799 is Matthew Locke’s autograph of Cupid and Death — with Gibbons’s contributions in Locke’s hand. Add MS 17800 which appears in some source-lists is a much later copy and has been ignored herein. GB-Ob MS Mus Sch C.44 is a near-A4-sized book which formerly contained some folded leaves of a larger size. These are now filed separately between two grey boards tied with white tapes. As will be remembered from OXFORD Cl, the earlier in the alphabet, the bigger the book, so the shelf mark A.641, by which these leaves must be ordered, denotes a MS of the very largest class. EIRE-Dm MS Z4.2.16 (microfilm at GB-Cpl) is known mainly as a thorough-bass book, but the Gibbons airs therein are set out in 2-part score, Tr and B. Details of this book are given by Charteris in DUBLIN C2. Only the first of the four-part fantasies (Fantasy 81) listed herein is fully authenticated, but the attribution to Gibbons of the other two (see page 8) appears reasonable in the circumstances. John Cannell has discovered that GB-Ob MSS Mus. Sch. C.138 contains playing parts of seven of Christopher Gibbons’s airs, evidently used at Oxford in music for his Act, 11 July 1664. They are Nos. 31, 33, 47, 50, 52, 53 and 61.

2003

C. GIBBONS-1

CHRISTOPHER GIBBONS — LIST OF SOURCES OF STRING MUSIC Source

No. in MS

VdGS Air No.

MS contains

Remarks

47, 50, 69, 70, 72, 73

Score

Locke autograph of Cupid & Death, publ in MUS BRIT 2

13-15, 17-24 19-30

Tr 1, 2 only Tr Tr B Bc

870 871

19-30 1-12

Tr Tr B Tr B Org

872

1-12

Tr B

GB-Lbl Add MSS 17799 31431 31435

134-44 1-12

Lcm MSS 1662: hand resembles that of Gb-Lbl Add MS 31423 etc

Ob MSS Mus Sch C.44 C.44 (A.641)

-

35-38 81-3

Tr Tr B Bc Score

C.53

-

20-24, 31-34

Tr Tr B Bc

AUTOGRAPH PART AUTOGRAPH; large unfolded leaves from C.44 AUTOGRAPH

19-30 22, 31-34 42-3, 48-9, 46, 50, 35-7 19-30 42-50 33, 34, 31, 32, 23, 24, 26, 27 29, 30

Tr Tr B Org

Lowe’s hand

Tr Tr B Bc

‘Another Base of ye 3d 45, 44, fancie of Mr Gibbons things’ (25-30) in Lowe’s hand; other hand(s) unknown E.443-6 ‘New consort bookes’ copied by Lowe from Och Mus. 1006-9

C.102

Sets 1-4 Set 5 1-11

D.231

1-9 10-19

Tr Tr B Bc

Och MSS 8

-

10 15 21 414-6

Sets 1-6 Sets 1-4 -

434

-

620 778 1-12 1006-9 1180

Sets 1-4 Sets 1-6

1-12, 61-3, 13-30, 42, 48, 49, 51, 50, 47, 52, 81 22, 31 (fragm) 81 (fragm) 39-41 13-30 1-12 61-3, 42, 48-51, 47, 52 1-12, 61, 64, 74, 75 13-30 1-12 42-50, 33, 34, 31, 32, 23, 24, 26, 27, 29, 30 1, 4, 7, 10-12 13-30

Score, organ additions in red Score Score Score Tr Tr B

Late C17

B only

AUTOGRAPH

Score Bc only Tr Tr B Bc

Given to R. Goodson, 1702 Not Jenkins’s hand (as 777)

Organ

Aldrich’s hand. Most pieces have RH staff blank.

EIRE—Dm MSS Z2.1.13 Z4.2.16

-

C. GIBBONS-2

33, 53, 54 66-68, 64-5, 69, 71-2

Score Score

ORLANDO GIBBONS (1583-1625)

With Orlando Gibbons, the two chief points of interest are the date of the printed set of three-part fantasies, and the attribution of some of the six-part works. Dart (see GIBBONS D) suggested that the formerly-accepted date of 1610 for the printed fantasies could not be correct, and that a date of c1620 was more probable; this is accepted here. Nicholson (see GIBBONS N) stated a most reasonable case for the attribution to Orlando Gibbons of five anonymous six-part fantasies and the variations on Go from my window in GB-Och Mus. 2, and for the reclassification as untexted vocal pieces of three six-part ‘fantasies’ (i.e. Meyer 2, .5 and 5). We therefore accepted the sole attributed fantasy (Meyer as common ground, and, having dropped the three ‘vocal’ pieces, renumbered the anonymous fantasies as Nos. 2 to 6, and listed the set of variations. All this was set out on page 34 of CHELYS 5 (1971), and, since no subsequent dispute arose, we came to regard this arrangement as generally acceptable. However, since three publications adopted the GB-Och sequence, we followed suit. More recently, however, in his complete edition—GIBBONS H—of the consort works, Harper accepted the first two ‘vocal’ pieces as fantasies but continued, like us, to query the third, and printed all three on the reasonable grounds that, otherwise, they would be the only substantial pieces of Gibbons unavailable in modem editions. We have accordingly listed them, but without reintroducing them into the numbering system. One reason, incidentally, for reprinting these sheets was our desire to incorporate the entries and numbering of GIBBONS H. Both Meyer (see MEYER ECM) and Baines (see GIBBONS B1) were content to accept the last three 3-part fantasies (with Great Dooble Base) as being by Gibbons, but the discovery, in NOTATION DL. of a fragment of Fantasy 7 (which echoes No. 3 ?), attributed to Coprario, has led to re-attribution to Coprario (see GIBBONS N and an edition in COPRARIO 2-4). Holman (see VIOLIN H2) and Harley in GIBBONS HY record the presence of a ‘Great Dooble Base’ in the Hatton household, which might have been the inspiration for these pieces as well as for some works by George Jeffreys, and also at Court. At least two sources of these fantasies incorporate additional phrases which suggest the skeleton of an organ part; owing to this and to the wide open spaces between the string parts, a reconstructed organ part will be needed in modem performance. Further comment by Baines on the consort repertoire of Gibbons will be found in GIBBONS B2. Numerous similarities can be detected between passages in Gibbons, mainly in the printed set, and passages in Tomkins and Lawes. For a curious act of piracy from the printed edition of c.1620, see page BUTLER-2. 2003

O. GIBBONS-1

GIBBONS, Orlando

Almain (a2: tr/b)

Lbl, Add. 10,444, Section 1, no. 14, f.6r: ‘Gibbons his Almaine’

(‘The siluer Swanne’ is Section 1, no. 11 at f.5r)

August 2007

O.GIBBONS-8

RICHARD

Fantasies a4

2003

GIBBONS Ob Mus Sch C.64-9 no.

EIRE-Dm Z3.4.1-6 no.

VdGS SP

1a4

18a4

179

2

17

179 R. GIBBONS-1

JOHN

GIBBS GB-Ob, MSS Mus. Sch. D.212-216 No. I/16 a5 Published MB 45, No. 159 J. GIBBS-1

In Nomine a5 published as ME 206

August 2006

GILL-1

Madrigal to text by Livio Celiano. Ut re mi fa sol la ogn’armonia/abbraccia col dolcezza’ Ruggiero Giovanelli. Il Terzo Libro de madrigali a cinque voci (Venetia, 1599, No. 10). Bass part also at Anon 1567.

Five-part consorts VdGS No.

published Moeck MMP VI

HILDEBRAND 1609

Nicolas GISTOU (d. 1609)

no. 1.

Paduana

IV/i

2.

Galliard

IV/ii

3.

Paduana

VII/i

4.

Galliard

VII/ ii

2004

GISTOU-1

GOLDAR (GOLDER/GOWLDYN)

ROBERT died c.1563.

GB-Lbl, RM 24.d.2, No. 24 Published MB 45, No. 134 GOLDAR-1

(1585-1655)

VdGS No.

published LPM

T SIMPSON 1621

Johann GRABBE

no.

1.

Intrada

2

2.

Paduan

14

3.

Canzon

2004

38

GRABBE-1

VdGS No.

defhf

no. Ayre 1 G

Cor 2 G Sar 3 G

GB-En, P637 R787.1

Airs for solo lyra viol

PLAYFORD T

William GREGORY

f. (seq.)

257*

46

19

A Trumpet Preludem 4 G

21r (48) Ap

Trumpet Allmaine 5 G

21v (49)

Ayre 6 G Allmane 7 G Saraband 8 G

November 2008

1-3: A sequence from MRLV 1669, nos. 5153

27r (60)

34v (76)

34v (77)

GREGORY W-1

* 11-16: a sequence from MRLV 1661, nos. [59]-[64]

no.

Tun. no: p

GB-En, P637 R787.1

edfhf

Ob, MS Mus. Sch. F.5 75

VdGS No.

GB-Mp, MS 832 vu 51

Airs for solo lyra viol

PLAYFORD T

William GREGORY

f.

f. (seq)

202*

214

XI,19; 120:2

38

131

7

XI, 21 121:2

100

28v

Allmane

18

7v (20)

Coranto

19

November 2008

8r (21)

GREGORY W-6

VdGS No.

Airs for solo lyra viol edfhf

GB-En, P637 R787 .1

William GREGORY

f. (seq) Sarraband 20 g

8v (22)

Prelude 30 g

8v (23)

Corranto 31 g

Sarraband 32 g

November 2008

9v (25)

10r (26)

GREGORY W-7

VdGS No.

fedfh

GB-En, P637 R787.1

Airs for solo lyra viol

Ob MS Mus. Sch. F5 75

William GREGORY

f.

f. (seq.)

29v

29r

30r Ap

29v Ap

30v Ap

30r

31r Ap

30v Ap

GREGORY W-8

VdGS No.

all published Moeck MMP V and VI

HILDEBRAND 1609

Five-part consorts

FULLSACK 1607

Benedict GREP

no.

no.

1.

Paduana

2.

Galliard

3.

Paduana

4.

Galliard

5.

Paduana

XI/I

6.

Galliard

XI/ii

2004

III/I

III/ii

III/I

III/ii

GREP-1

Mr GROBE

S-Uu imhs 18:27

Partita for viola d’amor [scordatura], viola da gamba and bc Allemande

Courant

Gavotte

Saraband

Gigue

January 2009

GROBE-1

GROH, ‘Heinrich’

S-Uu imhs

‘Direct. Mus. Merseb[urg]’

2 violins, 2 viola, violone, bc

Suite a5: Allamanda

1:11

Courante

Sarabande

Gigue

January 2009

GROH-1

VdGS No.

solos for lyra viol

Lbl, Add. 59869

Mid-17th century

GB-En, P637 R787.1

John GROME

f.

f. 11:2

1.

Prelude defhf

2.

Prelude edfhf

3.

Almain fdefh

14v

4.

Corant fdefh

14v

5.

Saraband fdefh

15v

6.

Prelude fdefh

15v

April 2008

17:1

GROME-1

Carel HACQUART (1640-1701?)

The Durham copy of Carolus Hacquart’s Chelys Op 3 (1686) is the only copy known to the compiler; it is for solo viol, with no accompanying basso continuo book; however, entries in a manuscript volume at Durham—GB-DRc MS A.27—clearly show that a basso continuo book must have existed. Prebendary Falle, to whom the Durham books belonged, copied selected bass viol pieces from the printed book into MS A.27, as described, with an inventory, by Urquhart in FALLE U. As he copied each piece, Falle made an annotation, in A.27, such as ‘3/2’; this can be seen or easily deduced from FALLE U to signify page 3 of the viol book’, and ‘page 2 of a [now missing] Bc book’, and similarly for other copies which he made, including 10 more by Hacquart. While GB-DRc MS A.27 is under review, the organisation of the generality of basso continuo parts copied into A.27 by Falle may be of some interest. Up to page 99, the Bc part for each piece is braced beneath the solo part, making a short score, except for pages 51-54 on which Schenck’s Sonata II from his Op. 2 (1688) is presented without Bc part. Between pages 101 and 319, near the end, no Bc parts are given; only the solo viol part is given, on a single staff. It is as if the household, at page 100 of the MS and half way through its musical life, had lost a key viol or theorbo player, or as if a fashion had changed. Between pages 320 and 327, at the end of MS A.27, the Fantasie and Passacaille from Falle’s own ‘In Genere Harmonico’ are presented, with Bc part.

1992

C. HACQUART-1

HAMMER, Franz Xaver (1741-1817) Sonatas for Viola da Gamba and continuo No. 1

D-Swl, 2285/1

No. 2

D-Swl, 2285/2 1st movt. a partial reworking of Sonata No. 1 by Andreas Lidl

3rd movt. as Lidl’s 3rd movt, with added second episode by Hamer

February 2011

HAMMER-1

Franz Xaver HAMMER Sonatas for Viola da Gamba and continuo no. 3

February 2011

D-Swl, 2285/3 [Viola da Gamba, Violoncello, bass]

HAMMER-2

Franz Xaver HAMMER Sonatas for Viola da Gamba and continuo No. 4

D-Swl, 2285/4 Viola da Gamba and Violoncello [arranged, possibly from an as yet unknown sonata by Lidl]

No. 5

D-Swl, 2285/5 Viola da Gamba and Violoncello [unattributed, in Hamer’s hand]

February 2011

HAMMER-3

Franz Xaver HAMMER Viola da Gamba solo

No. 1

D-Swl, 2885/1 [after Sonata 1]

No. 2 No. 3

February 2011

HAMMER-4

Trios VdGS No.

GB-Lbl, Add. MS 31438 [Treble only]

HAMMERSCHMIDT, Andreas

All probably from Dritter Theil Newer Paduanen, Galliarden [etc.] mit 3. 4. und 5 Stimmen (1650). See GERMANY-R

no./ fol. 1.

Ballet

1/84r

2.

Saraband

2/84r

3.

Ballet

3/84v

4.

Aria

4/84v

5.

Saraband

6.

Allemande

7.

Saraband

8.

‘Saraband’[?]

9.

Ballet

10.

Allemande

11.

Courant

5/84v

6/85r

7/85r

8/85r

9/85r

10/85v

11/85v

12.

Saraband

February 2008

12/85v

HAMMERSCHMIDT-1

HANLEIN, Paul (1626-1686) 2 violins, 2 violas, violone, bc

Sonata a5 Battallia

January 2009

S-Uu, imhs 4:1

HANLEIN-1

HELLER, Johann Killian (?1633-1674) [Sonata] for two violins and bass

January 2009

F-Pn, Rés Vm7 673, no. 72 [authenticity is questioned]

HELLER-1

C[uthbert?] HELY Mask

July 2004

Two trebles, bass and continuo GB-Lbl, Add. MSS 18940-4, f. 3r Keyboard: US-NYp, Drexel 5612, p. 113 [Anon.]

HELY C-1

HERWICH, Christian D-W, Cod. Guelf 34.7. Aug 2o p. 34, no. 31

Ruggiero Viola da gamba to a ground Violin, viola da gamba, bc Sonata

D-W, Cod. Guelf 34.7. Aug 2o p. 87, no. 53

La Chilana

D-W, Cod. Guelf 34.7. Aug 2 o p. 116, no. 65 2 vln, viola da gamba, bc

Aria

January 2009

D-W, Cod. Guelf 34.7. Aug 2 o p. 258, no. 110

HERWICH-2

JOHN HINGESTON (c.1610-1683)

Hingeston’s works survive in a very few MSS, principally in GB-Ob MSS Mus Sch D.205-11, of which he wrote the organ part, the remainder being copied under his direction. His respect for Edward Lowe, who became the Heather Professor at Oxford in 1661, is pleasingly attested in the following note, found in those partbooks: This set of Bookes & works of mine I freely give to ye Musique School at Oxon whereto I was ye more incouraged, from what I have heard & seene of ye care,e Dilligence & industry, of ye present proffessor thereof in ye Universitie, Mr Edward Lowe, my ever honored frind and fellow servant. Did Lowe’s successors enjoy testimonials as fair as that ? Attention is called to the works listed on page 7, which appear in MS E.382 but not in 1455 D.205-11. E.382 is holograph, and is a reasonably complete reduction of the string parts; from this it should be easy to reconstruct the string parts of those extra pieces. Modern studies of Hingeston in the United Kingdom fall neatly between Richards, who covered the works for bass viols (see BASS R), Field who dealt with the fantasy-suites (see CONSORTS F), and Hulse who has studied the life and works as a whole (see HINGESTON H).

Konrad HÖFFLER (1647-1705?) [12 suites for viola da gamba and continuo] All in Primitiae Chelicae (Nuremberg, 1695). Published in Das Erbe Deutscher Musik, 67

1.

Suite I F

Prelude-Fuga; Allemand; Courant; Saraband; Giga

2

Suite II b

Allemand; Corrente; Saraband; Giga

3

Suite III D

Allemand; Corrente; Saraband; Giga

4

Suite IV A

Preludio; Allemand; Corrente; Saraband; Giga

5

Suite V d

Preludio; Allemand; Corrente; Saraband; Giga

6

Suite VI G

Preludio; Allemand; Courant; Saraband; Giga

April 2008

HOFFLER-1

Konrad HÖFFLER (1647-1705?) [12 suites for viola da gamba and continuo] All in Primitiae Chelicae (Nuremberg, 1695). Published in Das Erbe Deutscher Musik, 67

7.

Suite VII a

Allemand; Corrente; Saraband; Giga

8.

Suite VIII c

Allemand; Corrente; Saraband; Giga

9.

Suite IX Bb

Allemand; Corrente; Saraband; Giga

10.

Suite X g

Allemand; Corrente; Saraband; Giga

11.

Suite IX C

Sonata-Fuga; Allemand; Corrente; Saraband; Giga

12.

Suite XII e

Allemand; Courant; Saraband; Giga

April 2008

HOFFLER-2

HOFFMANN, ‘Giovanni’/ Johann 2 violins, bc

Sonata

d

January 2009

D-W, Cod. Guelf. 34.7. Aug. 2 o no./p.

46/71

HOFFMANN-1

HÖFFNER 2 violins, violetta, 2 viola da braccio, 2 trombetta, bassoon, bc

Sonata a8

January 2009

S-Uu, imhs 4:2

HÖFFNER-1

ANTHONY HOLBORNE (d.1602)

Holborne’s collection of 65 airs (see HOLBORNE 1599) is the foundation of the first six index sheets. Judging by the number of arrangements, for instruments other than the ‘Viols, Violins or other Musicall Winde Instruments’ for which they were set, they must have been extremely popular in this country and on the Continent. For much of the information given, the Society is indebted to Jeffery (see HOLBORNE J1) and Edwards (see CONSORTS E1); their numbers are given in the tables in addition to the Society’s numbers which run consecutively through the 1599 edition. When two ‘Edwards’ numbers are given, the lower one usually refers to a mixed consort setting, and this, by the nature of the sources, is often an incomplete setting. There is a fair spread of modern publications, with little scope, if any, for newcomers. The final page collects together some miscellaneous works, mainly from the mixed consort department. Useful information concerning the plucked string sources has been set out by Diana Poulton in DOWLAND P; many of these cover both composers. A discussion by Jeffery of the instrumentation of Holborne’s works, and of the different instrumentations in the plucked string sources, appears in HOLBORNE J2.

George HUDSON

GB-Ob, Mus. Sch. D.220 (bass only) p./no.

G minor 95. Almaine

23/70

96.

Saraband

23/71

97.

Corant

23/72

98.

Saraband

23/73

99.

[Saraband]

Bb Major 143. Almain

23/74

48[a]/16

48[a]/17

144.

Corant

145.

Saraband

146

Air

62/71

147.

Corant

62/72

148.

Saraband

62/73

2004

48[a]/18

HUDSON-6

George HUDSON

GB-Ob, Mus. Sch. D.220 (bass only) p./no.

C minor 10.

Air

11.

Corant

68/8

12.

Saraband

68/9

13.

Running Alman

68/10

14.

Air

68/11

2004

68/7

HUDSON-7

HUDSON, George

GB-SA 38470/2

tuning: [fedef]

fol.

150 Prelude

1v

151 An Allmaine

2v

152 A Corant

3r

May 2007

HUDSON-8

ITALIAN MADRIGALS Many English consort manuscripts include Italian madrigals, both texted and untexted. Alfred Einstein’s pioneering study The Italian Madrigal (Princeton, 1949) was followed by Joseph Kerman’s The Elizabethan Madrigal (MADRIGAL-K). More recently two important works are ITAL-ENG H1: Lydia Hamessley, The Reception of the Italian Madrigal in England: A Repertorial Study of Manuscript Anthologies, ca. 1580-1620 (unpublished diss. University of Minnesota, 1989) and ITAL-ENG B: Derry Bertenshaw: The influence of the late 16th century Italian polyphonic madrigal on the English viol consort, c.1600-45: a background study, (unpublished Ph D thesis, Leicester, 1992), together with spin-off articles ITAL-ENG H2 and ITAL-ENG-B2. The considerable presence of Italian madrigals within consort manuscripts makes it sensible that they should be noted in this Index. Few manuscripts of exclusively vocal music (such as those in the Madrigal Society collection) are included. Lute book versions are excluded too. I leave aside the argument as to whether the madrigals were played, or sung, or played and sung from these books. The decades immediately before and after 1600 saw the most copying of Italian madrigals, particularly from the printed collections and including English versions from e.g. Musica Transalpina, Italian Madrigals Englished and Morley’s Selected Madrigals. Thereafter they declined gradually, but were not extinguished from the sources until the advent of the Civil War. (There are later purely vocal co llections.) English prints are identified as: MT 1588 MT 1597 W 1590 Morley 1598

= = = =

Musica Transalpina, 1588 Musica Transalpina, 1597 Watson: Italian Madrigals Englished, 1590 Morley, Selected Madrigals, 1598

Felice Anerio Untexted Title

First Print

Other Prints

GB-Lbl, Add. 37402-6* no./f. Amor se bei rubini a5 II a5 (1585) Paradiso musicale (1596) 73/43v Quelle rose che colt’in a5 Le Gioie (1589) Paradiso musicale (1596) 69/40v

Texted Title

First Print

Amor se bei rubini

a5

Quelle rose che colt’in L’aura che noi cironda Questa, che’l cor m’ancide Laura dolce Godi leggiadre filli Come ne caldi

a5 a6 a6 a6 a6 a6

Other Prints

II a5 (1585) Paradiso musicale (1596) [Madrigali Spirituali] Le gioie (1589) Paradiso musicale (1596) I a6 (1590), no.2 I a6 (1590), no.4 I a6 (1590), no.3 I a6 (1590), no.14 I a6 (1590), no.15

GB-Lcm, 684

US-SM, Ellesmere 25 A 46-51 [56]/29v

f.133v/no.72 f.123v/no.52 f.124r/no.53 f.134r/no.73 f.134v/no.74

[58]/30v [75]/50v [76]/51r

Giovanni Francesco Anerio Picciola sei ma vaga, gentil Deh qual prova maggio flori February 2010

I a 5 (1599): GB-Ob, Tenbury 940-4, no. 8 [authorship ‘?’ in Hammesley]: GB-Ob, Tenbury 940-4, no. 136 IM-ANERIO-1

Guilio Belli Texted Title Perché v’allontanate Picciol premio al mio amore Se diletto prendete Udite, amanti

February 2010

First Print a5 a5 a5 a5

II a5&6 (1592) II a5&6 (1592) II a5&6 (1592) II a5&6 (1592)

Morley Selected Madrigals 1598

GB-Ob, Tenbury 940-4 no. Hark and give ear attentive 36 55 56 57

IM-BELLI-1

Giovanni Cavaccio: madrigals for six voices Title

Print

owner or copyist Guinta qui dori

February 2010

Il trionfo di Dori 1592, p.9

GB-Lcm, 684 Hamond f./no. 135r/75

US-SM, Ellesmere EL 25 A 46-51 Herbert/Egerton f. 53r

IM-CAVACCIO-1

Giovanni Croce Untexted madrigals: five voices Title

First print

GB-Lbl, Add. 37402-6 No./fol.

US-LAuc, C6968M4 and GB-Ckc MS 321

Cintia il tuo dolce Candide perl’e Se da voi

II a5 (1592) II a5 (1592) Novi pensieri musicali (1594) a5

36/22v 45/27r 48/28v

No. 29 a5

US-NYp Drexel 4180-5 Merro f.46r [English title]

Ecco pal ma [a10]

No. 8/f. 146v

Texted madrigals: five voices

February 2010

Title

First Print

Meco godi un diletto Se voi sete il mio cor S’hai tu, crudel Amor se m’accendesti Quando’io mirai Odi, languid’e Cinthia il tuo dolce Candide perl’e Cruda la fume Tu dunque

I (1590) I (1590) I (1590) I (1590) I (1590) I (1590) II a5 (1592) II a5 (1592) II a5 (1592) II a5 (1592)

Englished Filmer 1 Ellesmere 25 A 46-51 Tenbury 940-4 fol. no./fol. no. Filmer Herbert/Egerton 53 [60v] 78 61r 81 96 98 149 MT 1597 1/2r 95 13/8r 121 125 139

1

IM-CROCE

Title

First print

Cadea, nel dirmi Chi pensa ch’ombra Quest’aspre doglie Tu pur insidiosa La misera farfalla Amor, ecco la mano Amor, con quai parole Scoprir un picciol riso Se da voi m’allontano Poscia ch’amor Tarda fosta, rispose Ella che pur arde Soavissimo fiato Perche, lasso Amor cieco m’offesse Occhi bei si

1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594 1594

Title

Lady, let me behold Since that the time Daphne the bright

February 2010

First print

a4 a4 a4

MT 1597, no. 3 MT 1597, no. 2 MT 1597, no. 20

Englished Filmer 1 Ellesmere 25 A 46-51 Tenbury 940-4 Fol. No./fol No. 21 25 38 41 51 52 63 67 69 73 84 88 109 116 143 147

B-Br, MS II 4109 page Myriell 72 74 80

GB-Lbl, Add. 29372-7 Page/fol. Myriell

2

GB-Lcm 684 Hamond

IM-CROCE

GB-Och, Mus. 67 Fol. Myriell

Title

First print

owner or copyist O gracious and worthiest Lo, where I lie in grief Hard by a crystal fountain Lord in thy wrath

a6 a6 a6 a6

Deh non misar Bocca soave e care Adio caro il mio Tirsia (i) Valli profunde (ii) Erme cam vag’ Chiudea le luci Aminta S’a la gelata mia timida Ove tra l’herbe e I fiori

a6 a6 a6 a6 a6 a6 a6 a6

Long have I languished

a6

Show mercy

a6

Give me a clean heart

a6

Lord in Thine anger

a6

My strength even fails

a6

February 2010

B-Br, MS II 4109 page Myriell

GB-Lbl, Add. 29372-7 Page/fol. Myriell 244/127v

MT 1597, no. 19 MT 1597, no. 24 Musica Sacra 1608, no. 1 I 1590 I 1590 I 1590 I 1590 I 1590 I 1590 I 1590 Il trionfo di Dori 1592 Musica Sacra 1608, no. 2 Musica Sacra 1608, no. 7 Musica Sacra 1608, no. 8 Musica Sacra 1608, no. 5 Musica Sacra 1608, no. 6

248/129v 250/130v

GB-Lcm, 684 f./no. Hamond 98r/1 107r/19 116r/37

GB-Och, Mus. 67* fol. Myriell

124v/54 125r/55 127r/59 131v/68 132r/69

US-SM, Ellesmere EL 25 A 46-51 fol. Herbert/Egerton

50r 49r 49v 52v

251/131r

3

252/131v

64v

253/132r

65v

332/171v

66v

334/172v

67v

IM-CROCE

Guilio Eremita Textless madrigals Title

First print

Io seguo l’ardente fiamma O vaga tortorella Mentre intento mirar Se perché cruda sete Si rispose ben mio Lungi, ben mio Fuggi, se sai fuggire O mio sonno dolore O misero mio core [a8]

II a5 (1589) II a5 (1589) II a5 (1589) II a5 (1589) II a5 (1589) II a5 (1589) II a5 (1589) II a5 (1589) RISM 15968

GB-Cfm, Mu 782 Tisdale/Bull 1/15v 2/16v 7/17v 12/18v 5/19v 18/20v 20/21v 6/22v

US-CLwr f.35v GB-Lbl, Add. 37402-6 US-NYp Drexel 4180-5 (Blossom) No./fol No./fol. No./fol. Merro

54/46v [English] 44/26v 11/149r

Texted madrigals Title

First print

O vaga tortorella Lungi, ben mio

II a5 (1589) II a5 (1589)

Fuggi, se sai fuggire

II a5 (1589)

February 2010

Englished

MT 1597/3 So far dear life MT 1597/ Fly if thou wilt

US-CLwr f.35v (Blossom) No./fol.

GB-Lbl, Add. 29372-7 Page/fol. Myriell 143/73r [English]

GB-Ob, Tenbury 940-4 65 72 79 IM-EREMITA-1

Andrea Feliciani: madrigals for six voices Title owner or copyist Fra i vaghi e bei crin d’oro For grief I die [Io per languir]

February 2010

February 2010

Print I 1586, p.4; Armonia di scelti authori a sei voci 1586, p.4 MT 1597, no. [Armonia di scelti authori a sei voci 1586, p.5]

GB-Lcm, 684 Hamond f./no. 127v/60

IM-FELICIANI-1

FELICIANI-1

Alfonso Ferrabosco I: Il Primo Libro de’ Madrigali a Cinque (1587) [* = untexted] Title

Englished

owner; copyist

GBCfm, 52 A 33-35 (3 parts) Paston f.

Se pur è ver (i) Mentre ti fui sì grato (ii) Mentre ti fui sì caro (iii) Hor pien d’alto desiro (iv) Hor un laccio (v) Lasso donque che sia (vi) Ben che senza mentire (i) Vorrei lagnarmi a pieno (ii) S’io taccio Perle, rubino et ostro O dolcissimo bacio Già fu mia dolce speme

February 2010

GBCfm, 782*

Tisdale/ Bull f.

GB-Lbl, Madrigal Society G44-47, 49

GB-Lbl, Egerton 3665 (Score) Tregian

no. 27 A

GB-Ob, Tenbury 364-8

GB-Ob, Tenbury 940-4

GBOch, Mus 78-82

GBOch, Mus 463-7

Paston

no.

f.

48v

M1598

GB-Lbl, Add. 374026*

f.

US-SM, Ellesmere EL 25 A 46-51

Herbert/Egerton no.

16r A

f. 75v A 76r A 76v A

f. 25v A

f. 31v*

49v

19 A

16v A

50v

18 A

17 A

18

77v A

23v A

21v

17v A

30

78v A 79v A

24r A

22r

11v*

51v 52r

27

53r

80v A

5v A

43v

25

24r A

6v A

45v

26 18 19 20

24v A 33r A

1

117

81v A

24v A

110

82v A 83v A 84v A 85v A

25r A

IM-FERRABOSCO I

Voi volete ch’io moia Cara la vita mia Quant’ io son infelice Godea Tirsi gli amori Chi ha cor da partire O crude pene mie Non fingo Donna, se voi m’odiate

38v A

86v A

39v A

87v A 88v A no. 22

36v A 34v A 35v A

89v A 90v A 91v A 92v A

5r A 30v A no. 21

Alfonso Ferrabosco I: Il Secondo Libro de’ Madrigali a Cinque (1587) Title

owner; copyist (i) A la dolc’ombra (ii) Non vide il mondo (iii) Un lauro mi difese (iv) Però più ferm’ogn’hor (v) Selve, sassi, campagne

February 2010

Englished

GBCfm, 52 A 33-35 (3 parts) Paston f. 25v A 26v A 7v A

GB-Cfm, 782*

GB-Lbl, Egerton 3665 (Score)

GB-Lbl, Add. 30820-2 (3 parts)

GB-Lbl, Add. 34050 (1 part)

Tisdale/ Bull f.

Tregian

Paston

Paston

no. 43 23 44 45

f.

GB-Lbl, Add. 374026*

GB-Ob, Tenbury 364-8

GB-Ob, Tenbury 940-4

GBOch, Mus 463-7

Paston f. 35v A

f.

US-SM, Ellesmere EL 25 A 46-51 Herbert?

no.

f.

f. 28v

46

2

IM-FERRABOSCO I

(vi) Tanto mi piacque (i) Donna, l’ardente fiamma (ii) Signor, la vostra fiamma (i) Scorprirò l’ardor mio (ii) Se voi sète il mio sol Non mi fuggir ben mio Zefiro torna Già non fia ver Poi ch’io non posso Bruna sei tu, ma bella Non è lasso martire (i) Solo e pensoso (ii) Sì ch’io mi cred’homai Nel più fiorito Aprile

MT2

57v

47 32

24v

MT2

59r

33

25v

MT2 32v A 8v A M1598 MT2

56r

49r A

49

26r A

50r A

50

26v A

48

11v A

49

12v A

50 28 51 52 29 53 54 55

MT2

35r A 36r A

31

30v

14v A 31r A

11v 12v

9r A 10v A 14v A 15v A

71 82

7r

37v A

26v

29r

7v

51v A

Alfonso Ferrabosco I - Five-part Italian madrigals in MS Title

GB-Cfm, 52 A 33-35 (3 parts)

GB-Lbl, Add. 29427 (Altus)

owner/copyist

Paston f.

Myriell f.

GB-Lbl, Add. 30820-2 (3 parts) Paston

GB-Lbl, Egerton 3665 (Score)

(i) Poichè, lasso, m’è tolto (ii) Ch’io sento ad hora

Tregian no. 16 17

February 2010

3

GB-Lbl, Madrigal Society G. 44-47, 49

GB-Ob, Tenbury 940-4

GB-Och, 78-82

no. 5A 6A

no.

no. 1A 2A

GBOch, 463-7

US-NH, Filmer 1 Filmer f.

IM-FERRABOSCO I

(iii) Come solea (iv) Ove le luci giro Io son ferito (i) Vidi pianger madonna (ii) Come dal ciel Tu dolce anima mia (i) Non ardo et son nel foco (ii) Foco è’l mio cor Cantai un tempo Non ha tante Chi per voi non sospira (i) Dolci ire (ii) Forse anchor fia Amor mi sprona Deh non ponete fine (i) Dolci, mentre il ciel volse (ii) Felice, ohime! (i) Standomi un giorno (ii) Indi per alto mar (iii) In un boschetto (iv) Chiara fontana (v) Una strania phenice (vi) Al fin vid’io Hor che la notte

February 2010

7A 8A

10v A 5r A 4v A

2 40 12 35 36 13 14 34 15 37 41 42 38 39 5 6 7 8 9 10

64r

9v A 40v A

4

1 (‘A. F.’) 2A 4A

3A 115 16 A

3A 4A 5 Ap 6A 7A 8A 9A 10 A 12 A 13 A 14 A 15 A 16 A 17 A 18 A 19 A 20 A 21 A 22 A 23 A 24 A 25 A 26 A 27 A

103v A 104v A 77v A 79v A 80v A 83v A 78v A 81v A 82v A 15r A 27v A 28r A 28v A 29v A 30v A 31v A 32v A 33v A

102v A 73v A 74v A 84v A 85v A 86v A 87v A 88v A 89v A

IM-FERRABOSCO I

Alfonso Ferrabosco: Six-part Italian madrigals in MS Title

GB-Cfm 24 E 1317 (5 of 6 parts)

owner/copyist (i) Dolce guerriera mia (ii) Ma se con l’opre Grave pene in amor Così m’è l’aspettar Interdette speranze (i) Se lungi dal mio sol (ii) Sola voi no’l sentite (i) Ecco che un’altra volta (ii) E se di vero amor Vergine bella [11 parts] (i) Mentre ch’il cor (ii) Quel foco è morto Se pur è ver Quel sempre acerbo (i) Io vo piangendo (ii) Sì che, s’io vissi (i) Valle, che dei lamenti

February 2010

p. 15 16 19 11 12 3

GB-Lbl, Add. 30816-19 (4 of 6 parts) Paston

GB-Lbl, Add. 37403 (37402-6)*

GB-Ob, Tenbury 1018 (Score)

f.

f. 4v A 5r A 2r A

1v 6r A

US-NH, Filmer 1 Filmer f. 127v A 128v A 125v A 124v A

4

US-NYp, Drexel 4302 (Score) Tregian no. 1 2 3 4 5 6 42 7 8 9-19

131v A 132v A

5

20 21 22 23 24 25 26

IM-FERRABOSCO I

(ii) Ben riconosco in lei (i) Lasso me (ii) Cerco fermar il sol’ (i) Hor vedi, amor (ii) Tu sei pregion Non è lasso martire Voi volete ch’io moia (i) Già disfatt’ha le nevi (ii) Esser non può (i) Benedetto sia’l giorno (ii) Benedette le voci Ogni loco m’attrista Questi ch’inditio Con lagrime (i) Fui vicino a cadere (ii) Hor, com’augel Quando la bella

February 2010

27 133v A 134v A

28 29 30 31 32 33 34

34v

129v A 130v A 135v A 126v A

35 36 37 38 40 41 43 44

1*

6

IM-FERRABOSCO I

Giovanni Ferretti

February 2010

Title

First print

GB-Ob, Tenbury 940-4

Tutte le stella Una piaga mortal Venite amanti Donna mi fugg’ogn’hora

V/1585 V/1585; Morley 1598 V/1585; Morley 1598 V/1585; Morley 1598

15 [texted] 7 [texted] 3 [texted]

GB-Lbl, Add. 29427 Myriell 57r [textless] 57v [textless]

IM-FERRETTI-1

Giovanni Gastoldi: madrigals for six voices Title owner Al mormorar Felice amante February 2010

February 2010

Print Il trionfo di Dori 1592, p.27 I 1592

GB-Lcm, 684 Hamond f./no. 126v/58 131r/67 IM-GASTOLDI-1

GASTOLDI-1

Ruggiero Giovanelli Title

Print

Sel vaggia anima mia Misera, che faro? Ohime perche mi fuggi Occhi miei che miraste Se di farmi morire O come vaneggiate Donna Voi volete ch’io nuoia Tu nascesti di furto Morirò di dolor O timida lepretta Mi sfidate Come potrò, giamai Cor mio, deh non piangete T’amo, mia vita Cor mio, benchè lontana Com’odiarvi poss’io Filli Sei tu, cor mio Vidi Filli partire

I/1586 I/1586 I/1586 II/1593 II/1593 II/1593 II/1593 II/1593 II/1593; Morley 1598 II/1593; Morley 1598 II/1593; Morley 1598 II/1593; Morley 1598 III/1599 III/1599 III/1599 III/1599 III/1599 III/1599

February 2010

GB-Cfm Mu. 782 Tisdale/Bull 13v

GB-Ob, Tenbury 940-4

GB-Lbl, Add. 37402-6*

US-LAuc, C6968M4 and GB-Ckc MS 321

no.47/f.28

59

10 119 60

9v 10v 11v 37 12v 7v

105

8v

2 106 107 118 26 102 76

IM-Giovanelli-1

Luzzasco Luzzaschi Tra le dolcezze

February 2010

La gloria musicale … a cinque voci (1592/14), p. 10 in GB-Lbl, Add. 37402-6, f.29v [textless]

IM-LUZZASCHI-1

Giovanni/Jean de Macque Hor un laccio

1582/4 1585/19 1598 =

Se d’altro mai

1594/7 = Melodia Olympica (Antwerp) GB-Lbl, Add. MS 29427, no. 64, f.46 [textless]

February 2010

= Dolci affeti madrigali a cinque voci (Venice) = Symphonia angelica (Antwerp) Morley, Selected Madrigals [‘My sweet Lais’]

IM-de MACQUE-1

Luca Marenzio: Il Primo Libro de Madrigali (1580) for five voices Title

Englished

owner Liquide perle Amor Spuntavan già (ii) Quando’l mio vivo Dolorosi martir Che fa hoggi Madonna mia gentil

MT 1588 W 1590 W 1590 MT 1597 MT 1588 W 1590

GB-Cfm, Mu. 782* Tisdale/Bull f. 29v 30v 31v

GB-Lbl, Add. 37402-6* no./f.

34v

GB-Lbl, Royal 24.d.2* Baldwin f.

GB-Ob, Tenbury 940-4

21r

15

no. 1

US-NH, Filmer 1 Filmer f.

US-NYp Drexel 4180-5 Merro f.

US-SM, Ellesmere EL 25 A 46-51 Herbert/Egerton f.

73r

65r*

13v

3/3r 33v

MT 1588 has five pieces from this book; W 1590 has 10

February 2010

1

IM-MARENZIO

Luca Marenzio: Il secondo libro de madrigali (1581) for five voices Title owner Amor poiche non vuole (ii) Chi strinse mia Fillide mia O voi che sospirate Mi fa lasso languire Già torna a rallegrar

February 2010

Englished

GB-Cfm, Mu. 782* Tisdale/Bull f. 38v

GB-Lbl, Royal 24.d.2* Baldwin f.

GB-Ob, Mus. Sch. C45-50

GB-Ob, Tenbury 302* Barnard? f.

GB-Ob, Tenbury 940-4 no.

US-NH, Filmer 1 Filmer f.

US-SM, Ellesmere EL 25 A 46-51 Herbert/Egerton f.

44 39v 37v 36v 35v

20v

46v ‘10’ (seq.42)

2

2 100

136/98v 145/107v 128/91v

14r

IM-MARENZIO

Luca Marenzio: Il terzo libro de madrigali (1582) for five voices Title

Englished

owner Caro dolce mio ben Rose bianche e vermiglie Se la mia fiamma ardente

February 2010

Morley 1598

GB-Cfm, Mu. 782* Tisdale/Bull f. 41v

GB-Ob, Tenbury 940-4 no. 120

GB-Och, Mus 2* (Score) Hatton f. 109v

GB-Och, Mus 4038* Hatton

GB-Och, Mus 436* (organ) Hatton

GB-Och, Mus 67* (organ) Myriell

2v

40

35v

US-NH, Filmer 1 Filmer f. 106v

40v 42v

3

IM-MARENZIO

Luca Marenzio: Il quarto libro de madrigali (1584) for five voices Title

Englished

GB-Lbl, Add. 37402-6*

owner Giunto a la tomba (ii) Non di morte sei tu (iii) Ongli lor tu (iv) Ed amando morrò

February 2010

no./f. 4/3v

US-NH, Filmer 1 Filmer f. 70v 71v 72r 72v

4

IM-MARENZIO

Luca Marenzio: Il quinto libro de madrigali (1585) for five voices Title

Englished

GB-Ob, Tenbury 940-4

owner Se voi sete cor mio Basciami, basciami, mille mille volte

February 2010

no. 22 59

US-NH, Filmer 1 Filmer f. 60v

5

IM-MARENZIO

Luca Marenzio: Il sesto libro de madrigali (1594) for five voices Title

owner Udite lagrimosi Spiriti d’Averno (ii) Che se tu Rimanti in pace (ii) Ond’ei di morte

February 2010

GB-Lbl, Add. 29427* (altus) Myriell f.

63v

GB-Lbl, Add. 37402-6*

GB-Och, Mus 2* (Score)

GB-Och, Mus 4038*

no./f.

GB-Lbl, Add. 4065761* Shirley f.

Hatton f.

27/18v 28/19r

40v 39v 40r

110r 108v 109r

6

GB-Och, Mus 67* (organ)

US-NH, Filmer 1

US-SM, Ellesmere EL 25 A 46-51

Hatton f.

GB-Och, Mus 436* (organ) Hatton f.

Myriell f. 33r

Filmer f.

Herbert/Egerton f. 13r

3r 1v 2r

51r 49v 50r

34r

41v

12r

32r

12v & 33r*

IM-MARENZIO

Luca Marenzio: Il settimo libro de madrigali (1595) for five voices Title

GB-Lbl, Add. 37402-6*

owner Deh poi ch’era Quell’augellin Cruda Amarilli (ii) Ma grideran per me O disaventurosa Al lume delle stelle Tirsi Ami Tirsi Arda pur sempr’o mora

February 2010

no./f. 1/1r

GB-Lbl, Add. 4065761* Shirley f. 41v 42r

GB-Ob, Tenbury 940-4 no. 137 126 141

GB-Och, Mus 2* (Score)

GB-Och, Mus 4038*

Hatton f. 117r 118r

Hatton f. 8r 9r

GB-Och, Mus 436* (organ) Hatton f. 57v 58v

118v

9v

59r

GB-Och, Mus 44*

f.

GB-Och, Mus 67* (organ)

GB-Och, Mus 527-30, 1024

Myriell f. 32v

f.

45v 49v 39v

116v 108r

7v 1r

7

57r 49r

5v

IM-MARENZIO

Luca Marenzio: Il nono libro de madrigali (1599) for five voices Sole e pensoso: GB-Lbl, Add. 40657-61, f.43r GB-Ob, Tenbury 302, f.46

Luca Marenzio: Madrigali … libro primo (1588) for four, five and six voices Title owner (all a5): Fuggito è ’l sonno Senza il mio vago (ii) O giorno Fiere Silvestre Ecco che un’altra volta E se di vero Amor Com’ogni rio che d’acque Valli riposte Basti fin qui le pene O fere stele Se la mia vita Piango ch’Amor Affliger chi per voi

February 2010

GB-Lbl, Royal 24.d.2 Baldwin f. 3r 3v 4v 5v 7r 9r 9v 11v 13r 17r 18r 18v 19v

8

IM-MARENZIO

Title

Print Dolci affetti madrigali 1582, p.5

Hor pien d’altro (a5)

US-NH, Filmer 1 no. 34, f. 13r

Luca Marenzio: Madrigals for six voices Title

Print

owner Se bramate chia mora (i) Ecco che’l ciel (ii) Ecco che mill’augel (ii) Mentre novella alma vittoria Donna più d’altri adorna (i) Baci soavi e cari (ii) Baci amorosi e belli (iii) Baci affamati e’ngordi (i) Leggiadrissima eterna primavera (ii) Già le muse e le gratie Occhi sereni e chiari Crudell perche mi fuggi Nel più fiorito Aprile

February 2010

IV a6 1587; Antwerp 1594, f.5r V a6 1591, p.6 V a6 1591, p.7 I a6 1581; Antwerp 1594, f.46r II a6 1585; Antwerp 1594, f.4r V a6 1591, p.16 V a6 1591, p.17 V a6 1591, p.18 V a6 1591, p.1 V a6 1591, p.2 I a6 1581 Nuremberg 1589, no.21 IV a6 1587 Antwerp 1594, f.36r I a6 1581; Nuremberg 1589, no.20

GB-Lcm, 684 Hamond f./no.

GB-Ob, Mus. Sch. MSS C.45-50

125v/56 126r/57

2 (66)

no. (page) 1 (65)

US-NH, Filmer 1 Filmer no./f.

3 (67) 4 (68) 135v/76 136v/78 128r/61

5 (69) 6 (70) 7 (71) 8 (72) 9 (73) 10 (74) 14 (78) 153/112r

9

IM-MARENZIO

Piangea Filli e rivolte (i) Laura serena (ii) Le quale spargea (v) Baci mentre (iv) Baci cortesi e grati (vi) Baci ohime non mirate (i) Come inanti de l’aba (ii) Cosi questa Donò Cinthia a Damone Per duo coralli ardenti

February 2010

III a6 1585; Antwerp 1594, f.27 I a6 1581 I a6 1581 V a6 1591, p.20 V a6 1591, p.19 V a6 1591, p.21 Antwerp 1594, f.48v Antwerp 1594, f.49r III a6 1585; Antwerp 1594, f.40r I a6 1581; Antwerp 1594, f.11v

122r/49 122v/50 123r/51 136r/77 137r/79 137v/80 128v/62 129r/63 129v/64 130r/65

10

IM-MARENZIO

Paulo Masnelli Title

Print

GB-Lbl, Add. 37402-6* [fol.]

Soavissimo adore Occhi cari et amati Non vi bastava Ah disleale A che tormi il ben mio

II/1596 II/1596 II/1596 II/1596 II/1596

33r 33v 32v 34r 34v

February 2010

GB-Lbl, Add. 29427* [no./fol.] Myriell

US-CLwr, f.35.v* [no./fol.]

96/63r

9/9r

IM-MASNELLI-1

Leonardo Meldert: madrigals for six voices Title owner or copyist Cresci bel Verdi Alloro

February 2010

Print Il lauro verde 1583, f.9

GB-Lcm, 684 Hamond f./no. 133r/71

IM-MELDERT-1

34r

42v

110v

3v

89

24v

GB-Och, 21

51v

106v

US-CLwr, f.35 .r (Blossom)*

3v

26v

64 39 33 46 58 85

E415-18*

52v

25v

I-Dm, Z.3.4.7-12*

4v

3r

GB-Ob,

53v

GB-Ob, Ten bury 940-4

5r

67*

33r

90

112v 111v

527-30, 1024*

IV/1603 IV/1603 IV/1603 IV/1603 IV/1603 IV/1603

10r 10v

62

34r 41r

44*

Luci seren’e chiara Voi pur da me partire Cor mio mentre Cor mio non mori [Frag.] La piaga Volgea l’anima [Frag.]

8v 9r 28r 3r 3v

10v 6v 8r 9r 12v 11v 8v 13v 42r 10r

436*

93

403-8*

9v 27v

2*

III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592 III/1592

GB-Och Egerton 2485*

La Giovanetta pianta O come è gran martire Sovra tenere herbetta O dolce anima mea Stracciami pure il core O rossignol La tra’l sangu’e O primavera Perfidissimo volto Ma dove, o lasso me Rimanti in pace Ond’ei di morte

Add. 40657-61*

Print

Add. 37402-6*

Title

Add. 29427*

GB-Lbl

US-S M, Ellesmere 25 A 46-51

MONTEVERDI, Claudio

33r

25r

23v 29r

28v

12r 11v

62v 61v

47v

3v

105v p.304 p.308 p.302 p.306

* = textless

February 2010

IM-Monteverdi-1

Giovanni Battista Mosto Title

Print

Cara, dolce, noturna Deh, non mi dar pena Dolce alpestre parole

II/1584

GB-Ob, Tenbury 940-4 no. 91

II/1584

92

February 2010

Melodica Olympica 1591

English print

Morley, 1598

101

GB-Lbl, Add. 37402-6* no./fol.

US-SM Ellesmere 25 A 46-51 f.

64/38r

24r

IM-Mosto-1

Giovanni Maria Nanino: five-part madrigals Title

Dolce fiamella mia Amore, deh dimmi come Questo vostro fuggire Deh coralli ridenti Amore mi fà morire Nè mai si lieto L’aurora e’l giorno e’l sole Da bei vostri’occhi Credetel voi (ii) Ond’ei di sdegn’accesso a guerra Morir può il vostro core

February 2010

Print

Englished

158110 158110 II/1586 II/1586 II/1586 II/1586 II/1586 II/1586 II/1586 II/1586

M1598

II/1586

GB-Ob, Tenbury 940-4 no. 4 108 131 134 103 104 114 127 122 42 24

IM-NANINO-1

Alessandro Orologio: Five-part madrigals Title

Ma se pieta Mentre di gioia Hor che suave l’aura Se mi tenete’l core

February 2010 1

Print

Englished

GB-Cfm, Mu. 782 Tisdale/Bull f. 14v

GB-Ob, Tenbury 940-4

I/1588 I/1588

MT2

no. 74 68

I/1588

MT2

112

I/1588

11

IM-OROLOGIO-

Giovanni Pierluigi Palestrina Title Virgine bella Virgine saggia Virgine pura Vergine santa Vergine sola Vergine chiara Vergine quanta lagrime

Print I/1581 I/1581 I/1581 I/1581 I/1581 I/1581 I/1581

US-NYp, Drexel 4180-5 40r 40v 41r 41v 42r 42v 43r

30 five-part madrigals: the whole of Delle madrigali spirituali libro secundo are on ff. 109r-147r of GB-Och, Mus 8. Io son ferito a5 is in US-NH, Filmer 1, f.97v [from Il terzo libro delle Muse a cinque voci …(Venice, 1561)]

September 2007

IM-Palestrina-1

f. g. h.

Non mirar Non mi ferir Con che soavità

III/1588 III/1588 III/1588

i. j. k. l.

Donna,se voi m’odiate T’amo mia vita Donna, se quell ohimè Baci amorosi e cari

V/1593 V/1593 V/1593 V/1593

m.

Come vivro nelle mie pene Era l’anima mia O come vaneggiate Cor mio, deh non languire

n. o. p. q.

O dolorosa morte

VII/1604

GB-Ob, Tenbury 94 0-4

Egerton 3665

8v 7r 37r

58r 56v 90r

x

72v

125v

120r 11r

60v

2*

x x x

89 42v 41v 39r 38v 28 32 40r 20v

62

23r 23v

117v 41v

VI/1600 VI/1600 VI/1600 VI/1600

436 *

II/1584 II/1584 II/1584 II/1584 II/1584

GB-Och

403-8*

O saette d’amor Dolce mia cara mano Hor veggio chiar N’é lo star Natura non mi fi

Add. 40657-61*

Add. 29427*

a. b. c. d. e.

Add. 37402-6*

GB-Lbl

PALLAVICINO, Benedetto

58v

* = untexted

February 2010

IM-PALLAVICINO-1

a. b. c. d. e.

O saette d’amor Dolce mia cara mano Hor veggio chiar N’è lo star Natura non mi fe’

II/1584 II/1584 II/1584 II/1584 II/1584

25v 26r 27v 26v

f. g. h.

Non mirar Non mi ferir Con che soavità

III/1588 III/1588 III/1588

30r

i. j. k. l.

Donna,se voi m’odiate T’amo mia vita Donna, se quel ohimè Baci amorosi e cari

V/1593 V/1593 V/1593 V/1593

m.

Come vivro nelle mie pene Era l’anima mia O come vaneggiate Cor mio, deh non languire

n. o. p. q. r.

O dolorosa morte Tuttere fuoco

February 2010

22v 23r 23v

VI/1600 VI/1600 VI/1600

34v

VI/1600

30v

VII/1604 ?

US-NYp, Drexel 4180-5*

US-SM, Ellesmere EL 25 A 46-51

I-Dm, Z.3.4.7-12*

527-30, 1024

GB-Och

6 7*

PALLAVICINO, Benedetto

4v

104v 156v

IM-PALLAVICINO-2

Peter Philips: madrigal for six voices Title owner or copyist Poi che voi non volete

February 2010

Print

GB-Lcm, 684 Hamond f./no. 132v/70

GB-Ob, Mus. F 16 Hamond f./no. 65v/13

PHILIPS-1

LUCREZIO QUINTIANI Title

Print

Englished

owner; copyist Al suon d’amata Monti, selve, fontane Creschin a gara Di lauri e mirti Alto Signor che da stellanti Se le virtù Non può tanto Dolce esca del mio cor (ii) Dolci d’ogni mio ben Sapete Amanti Gia cominciame (ii) Chi sara mai Voi sola, ex voi anco Polimia, un che t’honora Liete verdi Che se’l grider Dimmi per corte sia Dunque aminta

February 2010

GB-Cfm, Mu. 782*

GB-Lbl, Add. 29427* Myriell f. 60v

GB-Lbl, Add. 37402-6*

GB-Ob, Tenbury 940-4

f. 6r

GB-Lbl, Egerton 3665 Tregian no./f. 169/280v

GB-Lcm, MS 684

US-NH, Filmer 1

no.

Hamond f./no.

Filmer f. 61v

five-part I/1588

MT 1597

Tisdale/Bull f. 23v

I/1588

MT 1597

25v

21r

170/281r

13

42v/6

I/1588 I/1588 I/1588

MT 1597

27v 24v

21v

171/282r 714/494v 715/495r

43 14

72r/65

I/1588 I/1588 I/1588

29r

716/496r 717/495v 718/496r

26v

I/1588

719/496v

I/1588 I/1588

720/497v 721/498r

I/1588

722/497v

I/1588

723/498v

I/1588

28v

724/499r

I/1588 I/1588 I/1588

725/500r 726/500r 727/500v

I/1588

728/500v

1

US-CLwr, f.35v* (Blossom) f./no. 10r/11

US-SM, Ellesmere EL 25 A 46-51 Herbert/Egerton f. 19v

99v

78r/77 23

100v 101v

78v/78

77v/76

IM-QUINTIANI

Mi piace star in vita Taci prendi in mio l’arco

February 2010

I/1588

729/501r

I/1588

730/501v

2

IM-QUINTIANI

Cipriano de Rore Title

Print

owner Cantai mentre Se be nil duol per voi (ii) Ben voi a più di mille Alme Susanna ben felice February 2010

I/1542 IV/1557 IV/1557 V/1566

US-NH, Filmer 1 Filmer f. 96v 94v 95r 95v IM-de RORE-1

François Roussel [Francesco Rosselli] Title owner five-part: Guidomi in part’il ciel Da indi in qua sol

February 2010

Print Il terzo libro delle Muse 1561, p.10 Il terzo libro delle Muse 1561, p.11

US-NH, Filmer 1 Filmer no./f. 102/69v 103/70r

ROSSETTI-1

Ippolito Sabino Title

Print

Englished

Ecco i’mi discoloro

VII/1589

M1598

February 2010

GB-Ob, Tenbury 940-4 no. 94 IM-SABINO-1

Alessandro Striggio: madrigals for five voices Title

Print

US-NH, Filmer 1

Melodia Olympica 1591

no./f. 127/90v

Print

GB-Ob, Mus Sch. 45-50

I 1560

no./p. 13/77

owner Anchor ch’io possa dire

madrigals for six voices Title owner Nasco la pena mia

February 2010

STRIGGIO-1

ORAZIO VECCHI Title

Print

Englished

GB-Lbl, Add. 29427* (altus) Myriell f.

Il bianco e dolce cigno Chi vi mira Del dimmi, vita mia Tremolavon le frondi On d’all’hor io, languendo Clorinda, hai vinto Cara mia Dafne O di rare eccelenze Pastorellla gratiosella Donna, s’io sono il sole Al bel de tuoi capelli

February 2010

I/1589

MT2

I/1589 I/1589 I/1589 I/1589

M1598 M1598

I/1589 I/1589 I/1589 I/1589 I/1589 1590

GB-Lbl, Add. 37402-6*

no./f. 18/14r

GB-Lbl, Add. 40657-61 Shirley f.

GB-Ob, Tenbury 940-4

no. 97

GB-Och, Mus 67* (organ)

USCLWr, f.35v* (Blossom) (3 parts)

Myriell f.

f./no.

31v

31r/38

US-SM, EL 25 A 46-51

Herbert/Egerton f. 2v

61 66 34 61r

62/37r 31/20r 29/19r 30/19v

40v 12 20 77 54

IM-VECCHI-1

VECCHI: Madrigals for six voices Title owner or copyist O che vezzosa

February 2010

Print I 1583

GB-Lcm, 684 Hamond f./no. 130v/66

GB-Ob, Mus. F 1-6 Hamond f./no. 73r/23

IM-VECCHI-1

Stefano Venturi Title

Print

Occhi mirando

I a5 (1592)/5 I a5 (1592)/21 I a5 (1592)/2 I a5 (1592)/15

Quell’aura S’un sguard un fa beato Occhi, se lachrimare

February 2010

US-SM, Ellesmere 25 A 4651 38/20v

Add 374026*

GB-Ob, GBTenbury Cfm, 940-4 782*

[41]/25r

6

3v

37/20r

[42]/25v

3

4v

39/21r

[43]/25v

48

5v

Och Mus. 33 (score)

Musica Transalpina 1597

Morley Selected Madrigals 1598

Sweet eyes As Mopsus went

As Mopsus went

6v

VENTURI-1

Giaches de Wert Title owner five-part: Fra le dorate chiome Quella donna real

February 2010

Print

VIII 1586 Madrigale del fiore, libro primo 1561

US-SM, Ellesmere EL 25 A 46-51 Herbert/Egerton f. 25r

US-NH, Filmer 1 Filmer no./f. 101/f.69r

WERT-1

JANITSCH, Johann Gottlieb (1708-c.1763) For further details see GERMANY OL

Various settings including violin, viola da gamba, ‘cello and continuo: D-B, Sig. Klg. 63/1 (attrib. Schaffrath) GB-Lbl, Add. MS 33296 (pp.149-172) Breitkopf 2 (1762), p.80 (oboe, viola, viola da gamba, continuo) Breitkopf 3 (1763), p.106 (oboe, vln piccolo, viola/vdg, continuo) Breitkopf 6 (1765), p.241 (oboe, vln piccolo, viola da gamba, continuo)

Quartet in C: 2 vln, viola da gamba, continuo D-B, SA 3369 (‘Sig. Graun’) D-B, SA 3159 (attrib. Janitsch)

Quartet in D: oboe/flute, oboe/violin, viola da gamba/viola/’cello, continuo D-B, Mus. ms 11103/24 D-B, SA 3152 D-B, SA 3164

June 2011

JANITSCH-1

JANITSCH, Johann Gottlieb For further details see GERMANY OL Quartet in D major: flute/violin, oboe/ violin, viola/viola da gamba, continuo D-B, SA 3132 D-B, SA 3162 Dk-Kk, mu 6212.16.30 Dk-Kk, mu 7411.1832

Quartet in A: various settings, including: Violin, viola da gamba, ‘cello, continuo D-B, Slg. Klg. 63/2 (attrib. Schaffrath)

June 2011

JANITSCH-2

JOHN JENKINS (1592-1678)

The pages devoted to Jenkins set out all the works for bowed strings that are known to the Society. The principal work done on Jenkins is that by Ashbee (e.g. JENKINS Al), Coxon (e.g. JENKINS C1), Field (CONSORTS F), Nicholson (JENKINS 5, 6), also Peart (JENKINS 6P), Richards (BASS R), Sleeper (e.g. JENKINS 5), Warner (e.g. JENKINS W1) and Willetts (e.g. JENKINS PW). Coxon’s comprehensive handlist (JENKINS C2), although non-thematic, has been of great assistance, for many years, to students of Jenkins. Our numbering of the works for viol consort has departed for several reasons from that of Meyer; it conforms with the numbering decided on by the Society’s editors for the VdGS/Faber series of publications. However, Meyer numbers are quoted for ease of cross-reference wherever they exist. Our numbering of airs and suites follows the numberings of Ashbee and, where appropriate, Field. As a consequence, the airs are separated into two-, three- and fourpart collections; the indication of correspondence between these collections is facilitated by the use of the following internal prefixes: A/2/... A/5/... A/3T/... A/4/...

= = = =

No. ... in the 2-part series (Tr B). No. ... in the 5-part series (Tr Tr B). No. ... in the 3-part series (Tr T B). No. ... in the group of 52 four-part airs.

For example, as may be verified, A/3T/S = A/2/16 and A/4/37. The identification of Jenkins’s autograph follows the suggestions and findings of Ashbee, Lefkowitz and Willetts; these are particularly helpful in the case of the bass viol works in GB-Lcm 921, where ‘Jenkins’ evidently means what it says. The re-emergence of D-Hs ND VI 3193 has confirmed the attribution to Jenkins of the ten sets for three trebles and bass on page 19.

JENKINS-1

John Jenkins

510 Saraband

efdef tuning

Formerly at no. 205. The first four bars are identical with 205, but the remainder differs.

January 2009

JENKINS-74a

Robert

JOHNSON

Fantasia for 3 trebles ffhfh 14 The Princes

September 2005

US-LAuc fF1995M4, No. 18 GB-Lam MS 600 f.76' anon ffhfh GB-Cfm MSS E13-17 part 2 no 5: a6: ‘R. J. Almand’ also GB-Lbl, Add. MS 63852, f. 90'inv: 2 defhf A, and f.37:2 kbd and ex-Anon 6512

JOHNSONS-3

KERLL, Johann Kaspar (1627-1693) [Sonata] for two violins and bass F-Pn, Rés Vm7 673, no. 12 CS-KRa, 4:52 Exercitum Musicum, no. 8

F 2 violins, viola da gamba, bc

Sonata g

S-Uu, imhs 4:5

William KING

1. Almaine before the song

GB-Ob, Mus. Sch. E.447-9 f./seq. 33v/1

2.

Ayre

34r/2

3.

[Galliard]

34v/3

4.

[Air]

5.

[Galliard]

2003

35r/4

35v/5

KING-1

VdGS No.

GB-Lbl, Add. MS 31438

KNÖP, Lüder (d.1665)

no./ fol. 1.

Ballet

1/82v

2.

Saraband

2/82v

3.

Ballet

3/82v

4.

Corant

4/83r

5.

Ballet

6.

Corant

6/83r

7.

Ballet

7/83v

8.

Saraband

8/83v

9.

Ballet

9/83v

10.

Corant

10/83v

11.

Ballet

12.

Corant

February 2008

5/83r

11/83v

12/84r

KNOP-1

KRIEGER, Johannn Philipp (1649-1725) XII Suonate, op. 2 for violin, viola da gamba and continuo (Nuremberg, 1693) all published in DTB (New) vol. 8 (1986)

1

C

2

d

3

e

4

F

5

G

6

a

7

Bb

8

g

9

g

10

A

11

D

12

D

January 2007

KRIEGER-1

KRIEGER, Johann Philipp [Sonata] for two violins and bass/bc F-Pn, Rés Vm7 673, no. 133 Sonata for 2 violins, viola da braccio, bassoon, bc a4 S-Uu, imhs 4:9

January 2009

KRIEGER-2

(fl. 1599-1607) four-part consorts (published LPM) VdGS No.

T SIMPSON 1621

Johann KROSCH (GROSCHE)

no. 1.

Courant

2.

Courant

25

3.

Courant

26

2004

15

KROSCH-1

WILLIAM LAWES (1602-1645) These pages set out all the chamber music for bowed strings of William Lawes that is known to us. The principal work done on Lawes is that by Lefkowitz (e.g. LAWES L1), Field (CONSORTS F) and Pinto (e.g. LAWES P3). To an extent not met with in Jenkins’s music, the miscellaneous airs, in many different settings, overlap with the main collections such as the five-part, six-part and Harp consorts. With Jenkins, the few airs which appear in different collections have been allowed to remain there, linked by suitable cross-references; with Lawes, each air appears once only, in what is deemed to be the most appropriate place. Moreover, all the works are numbered serially throughout the Index, starting with the principal collections and finishing with the miscellaneous airs, and each piece has a unique ‘air number’ for easy reference. For example, ‘The Air from the five-part Consort in F’ identifies a particular setting; however, if only the tune—regardless of key or setting—is under consideration, ‘Air 80’ quickly locates it. Nevertheless, such a procedure has obscured the grouping of several well-defined sets of airs; to make up for this, the following list, which shows the organisation of some apparently-popular four-part sets, is offered: GB-Ob MSS Mus Sch E.431—6 and F.568—9 Set in g: Pav 101, Air 103, Cor 338, Air 70, Cor 339. Set in G: Pav 79, Air 320, Air 80, Cor 322. GB-Lbl Add MSS 40657-61 Set in g: Air-fant 336, Air 337, Air 103, Cor 339. The following list shows the various names by which the Royall Consort and its subdivisions were known: Source Name Given to Suites C The Royall Consort 1-10 D The Royall Consort 1-6 F Flat Ayres; Sharp Ayres 1-3; 4-6 G The Royall Consort 1-6 H Mr W.L. his Consort 7-10 H Mr Lawes his Great Consort 1-10 K Mr William Lawes Royall Consort 1-3 etc. Lack of space has made difficulties in showing some modern editions: Royall Consort (Old and New versions) =LAWES P6a and 6b; Complete three-part airs = LAWES D2 LAWES-1

LILIUS, Franciszek

(Francis Lily)

(d.1657) violin, viola da gamba, bc

Sonata

a

January 2009

D-W, Cod. Guelf. 34.7. o Aug 2 no./p. 61/105

LILIUS-1

fdefh continued VdGS No.

GB-En, P637 R787.1

John LILLIE

f./seq. 35.

Almaine

16r/38

36.

Almaine

16v/39

37.

Corranto

17r/40

January 2009

LILLIE-3

MATTHEW LOCKE (1622-1677) The standard works on Locke are by Harding (LOCKE H, reviewed in Chelys 5 (1971) p.25), Tilmouth (LOCKE T1, reviewed in Chelys 4 (1972) p.58, and LOCKE T2), and by Lefkowitz in LOCKE L. When cataloguing Locke’s Airs, the temptation is to be drawn too far from this Index’s proper scope, into the generality of the theatrical music. A line has therefore been drawn around the repertoire presented in LOCKE T1, namely, the main collections: For Several Friends, the bass viol duos, the Little Consort, the Flat Consort, the Broken Consort, the Concert of Four Parts, and the Oxford Suite, also the Almand for solo bass viol and the two canons. Details of the theatrical airs are readily accessible, if needed, in LOCKE H. LOCKE H and LOCKE T1 present a choice of numberings. Since LOCKE T1 is the authoritative published text of the music, its numbering of the Suites (‘sets’ herein) has been adopted, even though it differs in places from the grouping in the sources. Individual pieces, as the index pages clearly show, were numbered in most sources with a considerable degree of accord; this numbering has been used in preference to the lower-case letters (which are nevertheless quoted for crossreference) in LOCKE T1. Harding’s system of numbering, which more nearly conforms to the grouping in the sources, is given for cross-reference, the numbers being prefixed by ‘H.’ when abbreviation is necessary. Additional notes on sources: GB-Lbl, Add MSS 10444-5: see LE STRANGE W2. GB-Mch MS Mun A.2.6: See Chelys 5 (1973—4) p.78. Ob MSS Mus Sch D.235-6: as elsewhere, listed in detail so as to make plain the organisation of the set. The apparent reason why the Flat Consort peters out in the manner shown is that it runs up against music coming the other way in the books reversed. US-NYp MS Drexel 5061: microfilm C.13 at GB-Cpl. US-NYp MS Drexel 3976: microfilm C.11 at GB-Cpl, identified there as MS Drexel 1355.

LOCKE-1

(1632-1687) Airs in C Major a3 VdGS No.

GB-Lbl, Add. 31429

JEAN-BAPTISTE LULLY

f./no.

C1.

C2.

15v/1

15v/2

C3.

16r/3

C4.

16v/4

February 2008

4th part added

LULLY-3

THOMAS LUPO 1571-1628 Jennings’s investigations, in LUPO J1 and LUPO J2, of the Lupo family, brought to light several contenders for the honour of having composed the viol consort music which survives in Thomas Lupo’s name. Thomas Lupo (senior) was the son of Joseph Lupo; he was a court musician from 1590 and composer for the violins from 1621; after his death in 1628 his son, Theophilus Lupo, took his place as court musician. Thomas Lupo (junior) was a cousin, being the son of Peter Lupo, who was a brother of Joseph. Jennings attributed all the consort music to Thomas Lupo (senior). Among the three-part works, several dances, mainly almaines, are labelled as ‘fantasies’; they are written in a light style, apparently for two violins and bass viol. Among the three-part works are found pieces for three equal instruments - this is a rare instance. Those for trebles and tenors are transpositions of the same work; the one for three basses is a different fantasy. Among the four-part works are a few pieces labelled ‘fantasy’, but these are rather of the nature of airs. Among the five-part works are several for two basses, not represented in Tregian’s score. A few five- and six-part fantasies embody florid division parts.

LUPO-1

VdGS No.

published Moeck MMP V and VI

HILDEBRAND 1609

Five-part consorts

FULLSACK 160 7

Matthäus MAERKER

no.

no.

1.

Paduana

2.

Galliard

3.

Paduana

V/I

4.

Galliard

V/ii

5.

Paduana

IX/I

6.

Galliard

IX/ii

7.

Paduana

XIII/I

8.

Galliard

9.

Paduana

10.

Galliard

2004

XII/I

XII/ii

XIII/ii

XV/I

XV/ii

MAERKER-1

D-W, Cod. Guelf. 34.7. o Aug 2

MAJEST:, Caesar [Emperor Ferdinand III?]

violin, viola da gamba, bc

Aria

January 2009

no./p. 43/64

MAJESTY-1

MARIN

MARAIS (1656-1728) ‘Indexing Marals’ means, chiefly, listing the contents of the five books of Pièces de Viole which, with facsimiles and modern editions available, have been well known for many years. It also illustrates the existence of anthologies made from and outside the Pièces de Viole, and collates their sources, some of them less well known, of which the following is a summary: GB-DRc MS A.27. Copies by Prebendary Philip Falle (1556-1742), as described by Urquhart in FALLE U. GB-En MSS 9465-7 (formerly Panmure MSS 21-23: see Cadell in PANMURE C). Copies of many Pièces de Viole, and of many additional items (for which see pages MARAIS-36 to 39). In the Folies, IIe Livre, VdGS (Hsu) No. 20, Panmure, like IIe Livre, has 15 Couplets, but these differ towards the end; moreover, Panmure has 14 additional unpublished Couplets. Many of the additional Panmure pieces are not individually attributed; however, the three MSS form an integral set, and the legend on the cover of MS 9465 (Panmure 21) Pièces de viole de Mr Marais - helps to authenticate the attribution to Marais of the whole set. F-Pn Vm7 6275 and Vm7 1107. These are MS copies, made by Jean-Pierre de Villeneuve, for 5-string pardessus de viole, of items liberally drawn from the Pièces de Viole, as explained in detail, with source-tables, by Miloradovitch in MARAIS M. One or two doubles, and one piece — La Siamoise — do not appear in the five books. Receull d’Airs (Nevers, 1763), in private hands, and F-Pn Vmc 85 (Ex Libris Le Blanc) are both identified by Miloradovitch (see p. 66 of MARAIS N), as sources containing copies of works, by Marais and others, for pardessus de viole, but their contents are not listed. Écorcheville. Pieces listed by Écorcheville in PARIS E include a few items in sources other than the five books; most of them concord with pieces in the five books, but Écorcheville does not list the concordances. The sources are F-Pn Vm7 1107 (2 pieces), and the following 18th-century MSS: 4866 (flute) (6 pieces), 4867 (solo violin) (2 or 3 pieces) and 4872 (keyboard) (1 piece). Pièces en trio (MARAIS 1692) are not listed on this occasion. Numbering. Where original numbering exists it has been adopted, as in the principal modern editions. Ier Livre is the only one of the five books to have no original piecenumbering; Ve Livre is the only one of the five to have original suite numbering. Otherwise the numbering is editorial. The ‘Additional Pieces’ beginning on page MARAIS- 36 are numbered editorially, beginning at 151, so as to avoid confusion with the numbering of the five books and to facilitate quotation without qualification. Publications. Between Caldwell, Ebner and Minkoff, the facsimile reproduction of the printed books (including La Gamme and the Pièces en Trio) is more than achieved. Modern editions: Hsu, with Broude Bros., (MARAIS H): all the Pièces de Viole. Charbonnier (MARAIS C) and Kinney (MARAIS K) have contributed modern editions of some of the Pièces de Viole. The help given by Anne Cross in collating all this material is much appreciated.

MARAIS-1

Musician known to Pepys; also served Oliver Cromwell VdGS No.

GB-Ob, Mus. Sch. D.200 (bass only)

Thomas MAYLARD

p./no. 1.

Almaine

2.

Almaine

3.

Corant

7th Instalment 2002

119/70

119/71

119/72

MAYLARD-1

GB-Lbl,

Add. 10,444, Section 1, no. 15 ‘Maynards Almaine’ (treble and bass)

August 2007

MAYNARD-1

MAYR, Rupert Ignaz (1646-1712) Sonata for two violins and continuo

January 2009

F-Pn, Rés Vm7 673, no. 136 (‘Ignatio Mağer’)

MAYR-1

Airs for two trebles, bass and continuo VdGS No.

GB-Lbl, Add. MS 18940-4

Thomas MUDDE [II] (d.1667)

f.

1.

Ayre

4r:1

2.

Almain

4r:2

3.

Corant

4v:1

4.

Echo

4v:2

5.

Saraband

4v:3

6.

Corant

5r:1

7

Ayre

5r:2

8.

Ayre

5v

9.

Echo

10.

Saraband

2004

6r:1

6r:2

MUDDE T-1

NICOLAI, Johann Michael

GB-HAdolmetsch, MS II.c.25, no. 32 (anon.) GB-Lbl, Add. 31423, f.221v (anon.) 7 F-Pn, Res Vm 673, no. 73 *D-W, Cod. Guelf. 34.7.Aug 2 o, p. 42, no. 35

Sonata Violin, viola da gamba (*bassoon)

o

Sonata

D-W, Cod. Guelf. 34.7 Aug 2 , no. 36, p. 44 Violin, viola da gamba D-W, Cod. Guelf. 34.7 Aug 2 o, no. 83, p. 167

Sonata 2 vln, viola da gamba, bassoon

D-W, Cod. Guelf. 34.7 Aug 2 o, no. 103, p. 219

Sonata 2 vln, 3 vla da braccio, violone 2 violins and viola da gamba

F-Pn, Res Vm7 673, no. 21

Sonata Sonata

F-Pn, Res Vm7 673, no. 25

[Sonata]

F-Pn, Res Vm7 673, no. 82

[Sonata]

vln, 2 vla da braccio, viola da gamba F-Pn, Res Vm7 673, no. 105

(vla 1) [Sonata]

January 2009

F-Pn, Res Vm7 673, no. 106 (vln and vla 2 only)

NICOLAI-2

OSWALD, Andreas (Uswalt) dates unknown violin and bc

D-W, Cod. Guelf 34.7. Aug. 2o

F-Pn, Rés 7 Vm 673

no./p.

no.

1. Sonata e

4/5

2. Sonata D

6/17

violin, viola da gamba, bc scordatura

3. Sonata A

45/68

two violins, bc 4. Sonata D

49/76

5. Aria variata

54/88

d

30 A

Ex Anon 842

violin, viola da braccio, viola da gamba, bc 60/102

6. Sonata A violin, trombone, bassoon, bc

7. Sonata D

62/108

8. Sonata C

71/131

9. Sonata D

109/256

10. Sonata D

111/261

January 2009

OSWALD-1

OSWALD (Uswalt), Andreas dates unknown

D-W, Cod. Guelf 34.7. Aug. 2o

two violins, viola da gamba, bc

S-Uu IMhs

no./p.

(gamba)

11. Sonata G

68/121

12. Sonata D

112/264

violin, trombone viola da gamba, bc 13. Sonata F

70/128

14. Sonata e

113/266

violin, 2 viola da braccio, bassoon, bc 81/160

15. Sonata d 3 violins, bc

16. Sonata D

January 2009

9:6

OSWALD-2

OSWALD, Andreas ‘junior’ It is presumed he is a different person from Andreas Oswald [I], but evidence is lacking. violin, viola da gamba, bc Sonata G

D-W, Cod. Guelf 34.7. Aug. 2o no./p. 48/74

violin, viola da gamba or trombone, bc Sonata a

January 2009

52/85

OSWALD-3

(d.1688) Theatre composer (wind player) Airs in G minor a3 VdGS No.

GB-Lbl, Add. 31429

PAISIBLE, James (d.1721)

f./no.

g1.

8v/1

g2.

9r/2

g3.

9r/3

g4.

9v/4

g5.

9v/5

g6. RoundO

10r/6

g7.

10v/7

g8. RoundO

10v/8

g9.

11r/9

g10.

11v/10

g11.

12r/11

February 2008

PAISIBLE-1

(d.1688) Theatre composer (wind player) Airs in G minor a3 VdGS No.

GB-Lbl, Add. 31429

PAISIBLE, James (d.1721)

f./no.

g12. Brawles

12v/1

g13. [Brawle]

13r/2

g14. [Brawle]

13v/3

g15. [Brawle]

13v/4

g16. [Brawle]

14r/5

g17. [Brawle]

g18. [Brawle]

14r/6

14v/7

g19. [Brawle]

14v/8

g20.

23v/10

g21.

24r/11

g22.

24v/12

February 2008

PAISIBLE-2

(d.1688) Theatre composer (wind player) Airs in G major a3 VdGS No.

GB-Lbl, Add. 31429

PAISIBLE, James (d.1721)

f./no.

20v/1

G1.

G2.

RoundO

21v/3

G3.

G4.

21r/2

RoundO

G5.

February 2008

21v/4

22r/5

PAISIBLE-3

(d.1688) Theatre composer (wind player) Airs in D Minor a3 VdGS No.

GB-Lbl, Add. 31429

PAISIBLE, James (d.1721)

f./no.

d1.

22v/6

d2.

22v/7

February 2008

PAISIBLE-4

(d.1688) Theatre composer (wind player) Airs in F Major a3 VdGS No.

GB-Lbl, Add. 31429

PAISIBLE, James (d.1721)

f./no.

F1.

23r/8

F2.

23v/9

February 2008

PAISIBLE-5

Mogens

PEDERSØN

‘Magno Petreio’ Both published in CAMBRIDGE P

July 2004

PEDERSØN-01

Arthur PHILLIPS VdGS No.

Organist to Henrietta Maria; also at Magdalen College, Oxford, and Professor of Music at Oxford: 1639-1656. GBGBOb Och E.447- 1022 9 f./seq.

no.

1.

Almain

87

2.

Corant

88

3.

Saraband

4.

Pavan

89

29v/1

30r/2 5.

[Air]

6.

[Air]

30v/3

31v/4 7.

[Almain] 31v/5

8.

[Corant] 32v/6

9.

2004

[Fanfare]

PHILLIPS A-1

Sebastian LA PIERRE Dancing master at the English Court, 1611-1642

1.

Ayre

GB-Ob, MS Mus. Sch. D.220 p. 39, no. 34

2.

Corant

p. 169, no. 62

7th Instalment 2002

LA PIERRE-1

PISCATOR, George (fl. 1610-1635) 2 cornetts, 2 violins, 3 trombones, bc

Sonata

a

January 2009

D-W, Cod. Guelf. 34.7. o Aug 2 no./p. 105/230

PISCATOR-1

POHLE, David (1624-1695) 2 violins, viola da braccio, bc

Sonata

D-W, Cod. Guelf. 34.7. o Aug 2

F-Pn, Rés 7 Vm 673

no./p.

no.

74/137

G 2 violins, viola da gamba, violone, bc

Sonata

79/154

d gamba [part III]

Sonata

C

82/164 gamba [part III] 2 [scordatura] violins, bc

Sonata A [=Nun danket]

January 2009

24*

attrib. D. P.

POHLE-1

RICHARD, Balthasar (c.1600-after 1660) Sonata for violin and continuo

F-Pn, Rés Vm7 673, no. 78a [‘Richardo’]

Sonata for two violins, viola da gamba and bc GB-HAdolmetsch, II.c.25, no. 21 [Anon.] GB-Lbl, Add. 31423, f. 216v [‘Balthasar Richardt’] Sonata for two violins, viola da gamba and bc

[see also ZAMPONI] B-Bc, XY 29,410, no. 2 [in A; ‘Zamponi’] F-Pn, Rés Vm7 673, no. 63 [Anon.] GB-HAdolmetsch, II.c.25, no. 2 [‘Balthasar Richardt’]

January 2009

RICHARD-1

ROSENMÜLLER, Johann (c.1619-1684) 2 vlns, viola da gamba and bc Sonata

GB-HAdolmetsch II.c.25, no. 4 (‘Rosemulden 1666’)

Sonate da camera (1667) for two violins, two violettas and continuo [reduced to three parts by omitting the violettas. The first movement only is copied] 7

no. 2

F-Pn, Rés Vm 673, no. 100

no. 11

F-Pn, Rés Vm7 673, no. 102

no. 6

F-Pn, Rés Vm7 673, no. 120

January 2009

ROSENMULLER-1

ROSIER, Carl (1640-1725) Sonata for two violins and continuo F-Pn, Rés Vm7 673, no. 32 Sonata for violin and viola da gamba with continuo F-Pn, Rés Vm7 673, no. 144

A. S. See Ambrosius Scherle

SCHAFFRATH, Christoph (1709-1763) For more details see GERMANY OL

Solo in B-flat, viola da gamba, continuo D-B, Am.B. 499/5

Duet in d, 2 viola da gambas D-B, Am.B. 498 (Hesse and Schaffrath)

Trio in G, viola da gamba, cembalo D-B, Am.B 581

Trio in A, viola da gamba, cembalo D-B, Am.B. 497/17

June 2011

SCHAFFRATH-1

Johann (Giovanni)

SCHENCK

(c.1660-c.1712)

SCHENCK L contains a useful summary, by Luttman, of Schenck’s music. SCHENCK [1703], of which a copy is held at GB-Cfm, is entitled Select Lessons for the Bass Viol/of Two Parts/Collected by our Best Viollists out of the works of that great Master/GIOVANNI SCHENCK... (GB-Cfm MU MS 882). There are 31 pieces, for basso continuo only, lacking solo part(s). Mention of ‘Two Parts’ apparently led to an assumption that the Bc parts are from the only collection of Schenck’s that was specifically designated for two viols, namely Op 8: Le Nymphe de Rheno. They are thus quoted in GROVE and HOG. However, from information kindly collected by Derek Davidson, it was found that none of the pieces concorded in any particular with Op 8, but that all of them did concord with pieces in Op. 6, Scherzi Musicali, these being (in Op. 6, as shown in the index pages): Nos 38-43; 11-13; 15-17; 44-45; 47-48; 21-24; 26; 51-55; 58; 60-62; 64. Some of the selections consisted of the omission of second gigues, and the isolation of chaconnes. The ‘two parts’ must have been Op. 6’s solo and continuo viol parts. SCHENCK-1

Johann SCHENCK Two Sonatas for Solo Bass Viol from A-Wn, Codex 16598 (Both published in Das Erbe Deutscher Musik, 67) Sonata IV

Adagio-Allegro; Aria; Aria; Adagio; Tempo di gavotte; Adagio; Allegro; Giga

Sonata V

Adagio; Allegro; Allemand; Courant; Giga; Aria; Aria Burlesca

April 2008

SCHENCK-17

All[emande] ‘Amb’

(89)

It is suggested that A. S. is Ambrosius Scherle, a viol player at the Brandenburg court 1621-1646 and ‘Amb’ is a contraction of his forename. See http://igor.gold.ac.uk/~mas01tc/web/ttc/RoweBaryton.html#RoweBarytonRef

October 2007

Scherle-1

SCHMELZER, Johann Heinrich

Sacro-Profanus Concentus Musicus (Nuremberg, 1662) [DTÖ cxi-cxii (1965)] key

S-Uu MSS

Sonata 1

C

a8

2 trumpets,2 vlns, 4 gambas, Bc

Sonata 2

d

a6

Corn. & Tromb. 1-3, or vln, gambas 1-3, Bc

Sonata 3

C

a6

2 vlns, 4 gambas, Bc

Sonata 4

a

a6

2 vlns, 4 gambas, Bc

Sonata 5

g

a6

2 vlns, 4 gambas, Bc

Sonata 6

d

a6

2 vlns, 4 gambas, Bc

Sonata 7

D

a5

2 vlns, 3 gambas

Sonata 8

G

a5

2 vlns, 3 gambas

Sonata 9

d

a5

2 vlns, 3 gambas

Sonata 10 D

a4

vln, 3 gambas

Sonata 11 F

a4

vln, 3 gambas

Sonata 12

Wind instruments

January 2009

58:10

58:13

SCHMELZER-3

Sonata

a

Sonata

d

Sonata

d

GB-DRc, D5

violin, viola da gamba and continuo

GB-HAdo lmetsch, II.c.25

key

GB-Lbl, Add. 31423

SCHMELZER, Johann Heinrich

f.

no.

no

226r

14

222r

31

S-Uu IMhs

no./p.

8:6

4

D-W, Cod. Guelf. 34.7 Aug 2o

43/64 attrib. ‘Caesar Majest.’

58:7

violin and continuo

Saraband variata

D

Sonata

a

8:18

8:4 2 violins and continuo

Sonata

F

Sonata

e

8:13

8:5 2 violins, viola da gamba and continuo

Sonata

g

8:8

Sonata

G

8:11

Sonata

G

8:12

January 2009

64/113

SCHMELZER-4

key

D-W, Cod . Guelf. 34.7 Aug 2 o

S-Uu, IMhs

SCHMELZER, Johann Heinrich

no./p.

2 violins, viola da gamba and continuo (‘a3’)

Sonata

G

8:14

Sonata

A

8:9*

* amended from ‘Bertali’

2 violins, viola da braccio/viola da gamba, viola da gamba and continuo (‘a4’)

Sonata

8:2.03 & 8:21

C violin, 4 viole and continuo (‘a5’)

Sonata

8:10

e violin, viola da gamba, bc

Sonata

d

40/54 2 violins, bc

Sonata

F

January 2009

41/57

SCHMELZER-5

SCHNITTELBACH, Nathanael (1633-1667) Violin and bc D-W, Cod. Guelf. 34.7. Aug 2 o, no. 7, p. 20

Sonata Violin, viola da gamba, bc Sonata

January 2009

HAdolmetsch, II.c.25, no. 1 DRc, D2, seq. (8)

SCHNITTELBACH-1

Jacob SCHULTZ 1.

2.

Galliard

FÜLLSACK 1607, no. I/ii Written to pair with Paduana I/i by Melchior Borchgreving

Galliard

FÜLLSACK 1607, no. VIII/ii Paired with Paduana VIII/i by Thomas Mons.

7th Instalment 2002

SCHULTZ-1

Mr SHEPPIE VdGS No. 1.

Almaine

GB-Ob, MS Mus. Sch. D.220 (bass only) p. 121, no. 81

2.

Aire

p. 122, no. 85

7th Instalment 2002

SHEPPIE-1

CHRISTOPHER SIMPSON (c.1604-1669) For some years the principal work on Simpson comprised that of Meredith (see SIMPSON M) and Richards (see BASS R). This has been supplemented more recently by Urquhart’s studies of autographs of Simpson which are now considered to include: GB-T MS 390 (printers copy for the Compendium). GB-Och MS 1183, f.28, annotations and music hand of a set of divisions, for treble and bass, VdGS No.5. B-Bc MS Litt. XY 24,910, playing parts of The Seasons, without continuo but otherwise complete. Details of MSS in private hands were kindly contributed by Ian Harwood. One of them is a single bass part of 23 two-part airs by Simpson; its existence has prompted the constitution of a separate list of two-part airs, despite the many correspondences details of which are tabulated - with the three-part airs and the Little Consort. A feature peculiar to the division viol repertoire is the proliferation of copies of The Division Viol into the back of which were bound leaves of manuscript paper bearing sets of divisions by numerous composers. The practice is testimony to Simpson’s acknowledged eminence in the field; it undoubtedly ensured the survival of many papers which otherwise might have ‘taken the air in kites’, as North put it. One such Simpson’, at US-Cn, has in its MS leaves some sets of divisions which correspond, not to other bass viol settings, but to those in Playford’s The Division Violin.

1980, rev. 1989

SIMPSON-1

SIMPSON, Christopher Miniatures and exercises for bass viol David Pinto has pointed out that the 1667 edition of Simpson’s The Division-Viol includes a page of miniatures and exercises on page [62] (the verso after the final page of text). These are indexed below. 1. .

2.

3.

4.

5.

6.

7.

8.

September 2007

SIMPSON.C-11

THOMAS

SIMPSON

Opusculum Neuwer Pauanen (Hamburg, 1610) Consorts in Five Parts VdGS No.

20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 2004

I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX

Pavan Galliard Pavan by John Dowland, VdGS No. 2 (q.v.) Galliard Pavan ‘Sachevil’s dolorosi’ Galliard Pavan by Thomas Tomkins, VdGS No. 6 a5 (q.v.) Galliard Pavan Galliard Pavan by John Dowland, VdGS No. [22] Galliard Pavan by John Farmer, VdGS No. 1 Galliard Lazers Pavan Galliard Pavan by John Farmer, VdGS No. 2 Galliard Pavan Galliard Pavan by John Dowland, VdGS No. 10 (q.v.) Galliard Pavan Galliard Courante Volta Courante Volta Courante Volta T. SIMPSON-2

THOMAS SIMPSON Opus newer Paduanen, Galliarden, Intraden, Canzonen (Hamburg, 1617) Consorts in five parts

All published: Musica Rara

VdGS No.

44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 2004

I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII

Paduana Intrada Ricercar Canzon Courante Courante Volta Courante Allmande Paduan Galliard Intrada Ballet Volta Courante Volta Courante Ballet: La mia Salome Almanda Mascarada Bleyers Armbande (Nicolaus Bleyer, VdGS No. 1) Pasameza T. SIMPSON-5

VdGS No.

Published in Moeck MMP V and VI

no.

HILDEBRAND 1609

Five-part consorts

(d. 1627)

FULLSACK 1607

Johann SOMMER

no.

1.

Paduana

XIV/i

to pair with E. Harden Galliard

2.

Paduana

XVIII/ i

to pair with J. Dowland Galliard

3.

Galliard

XXI/ii

to pair with E. Johnson Pavan

4.

Paduana

XXII/i

5.

Galliard

XXII/ ii

6.

Paduana

7.

Galliard

8.

Paduana

XVI/i

9.

Galliard

XVI/ii

10.

Paduana

XVII/i

11.

Galliard

XVII/ ii

2004

XXIV/ i XXIV/ ii

SOMMER-1

(c.1569-1616) Five-part consorts VdGS No.

published in Moeck MMP VI

HILDEBRAND 1609

Johann STEFFENS

no. 1.

Paduana

2.

Galliard

3.

Paduana

4.

Galliard

5.

Paduana

6.

Paduana

7.

Galliard

8.

Paduana

XIV/i

9.

Paduana

XVIII/ i

10.

Galliard

2004

I/i

I/ii

II/i

II/ii

X/i

Pair for Bateman Galliard VdGS No. 1

XII/i

XII/ii

Pair for Bateman Galliard, VdGS No. 2

XVIII/ ii

STEFFENS-1

STEFFKENS and HOTMAN Dietrich Steffkens and Nicolas Hotman qualify for mention in the same breath, on three counts. Firstly, they are intimately connected in the Goëss MSS (A-ETgoëss MSS A to C). Secondly, it is to the same MSS that we owe our knowledge of far larger lists of works, of both oomposers, than have ever been published before. Thirdly, Steffkens and Hotman, well known to Constantijn Huygens, are mentioned, together with Walter Rowe, in a single letter of Huygens, drawn to the compiler’s attention by Hirschfeld and Vellekoop. Steffkens’ works are presented here; Hotman’s start on page HOTMAN-1. From Huygens and other sources, it is clear that Steffkens signed his name in the German style: ‘Stoeffken’. He was better known in the Anglicised version, Steffkens or Steffkins, and, as Steffkens is the form mostly found in the Goëss MSS, we have adopted it. At the same time, to preserve the distinction between Dietrich and Frederick, we have taken for Frederick the spelling ‘Stepkins’ which is the one used by Falle in the relevant MS. In LYRA D, the possibility was floated that the principal hand in the Goëss MSS could well be that of Steffkens. However, Crawford and Holman consider it certain that the small group of pieces from sequence no. (72) to no. (77) in Goëss ‘B’ (i.e. Airs 106, 104, 103, 102, 91, 92), four of which are attributed to ‘Sto’ or ‘Stoeffken’, is in the composer’s hand. If that is true, another contender must be found for Hand Q, and the names of Huygens and Hotman readily suggest themselves as possibilities. In LYRA D, also, the link between the Goëss MSS and US-NYp MS Drexel 5551 (Ms leaves bound into the back of a copy of SIMPSON 1659), in relation to Airs 1-5 and 8-15, was noticed. Goëss ‘A’ is dated 19 Octobre 1664; the ten airs, present in both sources, are marked in Drexel 3551 ‘A suite of Mr Steffkins he gave me October yr. 1664’. It remains desirable to know who owned Drexel 3551 at that time. Numerous letters to and from Huygens testify to Steffkens’ presence in the Netherlands at times between 1648 and 1659. Ashbee has located English public records which indicate that Steffkens was in London c.1628-1642 and 1660-1673, and we look to North (NORTH W p. 298) for confirmation of the friendship between Steffkens and Jenkins, dating, perhaps, from those years. STEFFKINS-1

STOSS, Johann Sonatas for two violins and continuo F-Pn, Rés Vm7 673, no. 57 S-Uu, IMhs 8:24a and 8:24b F-Pn, Rés Vm7 673, no. 59

F-Pn, Rés Vm7 673, no. 83

F-Pn, Rés Vm7 673, no. 124

January 2009

STOSS-1

Richard Carter points out that the second division of Goëss (116) is identical to Christopher Simpson no. 125 (Hengrave Hall 77(1), no.4, p.82). Was ‘Pater Switoni’ a code name for Simpson among his Catholic associates?

April 2010

SWITONI-1

THOMAS TOMKINS (1572—1656)

The latest (and very full) account of Tomkins’s life and works is TOMKINS B. Comments on the consort music are by Denis Stevens, revised from his earlier account in TOMKINS S. The three-part works and three of the five-part pavans can be dated before 1659, when John Merro died. Pavan 6, the very well known chromatic pavan, appears both in FWVB and in Tregian’s score, and can be dated before 1619. As some published editions of the three-part works have already employed Merro’s numbering, this is adopted herein, in preference to separate lists of In Nomines and fantasies. There seems little doubt that Fantasy 17 is by Tomkins, placed as it is with eleven other anonymous but recognisable pieces by Tomkins, forming the entire contents of GBOch MSS 1018-20. For recent studies of the instrumental works of Tomkins, see TOMKINS I1, I2 and I3. John Irving has edited the complete consort music as MB 59. Tomkins is remembered not only for his own work but for his ownership and use, possibly for instruction, of an important keyboard and score book, GB-Add MS 29996; see TOMKINS C and FERRABOSCO II D. As noted under Gibbons, affinities exist between passages in Tomkins and passages in Gibbons and Lawes.

August 2005

TOMKINS-1

(1632-1687) Airs in C Major a3 VdGS No.

GB-Lbl, Add. 31429

TURNER, William (1651-1740)

f./no.

C1.

RoundO

C2.

16v/1

16v/2

C3.

17r/3

C4.

17v/4

February 2008

TURNER-1

UCCELLINI, Marco (1603-1680) Sonatas for two violins and continuo Op. 4, no. 15

F-Pn, Rés Vm7 673, no. 35 (‘Cassati’)

Op. 4, no. 20

F-Pn, Rés Vm7 673, no. 64 (‘Casati’)

Op. 4, no. 17

F-Pn, Rés Vm7 673, no. 66 (‘Casati’)

Op. 5, no. 13

January 2009

F-Pn, Rés Vm7 673, no. 92

UCCELLINI-1

VALENTINI, Giovanni (c.1582-1649) Aria for two violins and continuo F-Pn, Rés Vm7 673, no. 18 (‘Valentini’) [Aria] for two violins and continuo F-Pn, Rés Vm7 673, no. 33 (‘Io. Valentini’) Sonata for two violins and continuo

Sonata for 5 instruments with violone [=a6]

F-Pn, Rés Vm7 673, no. 22 (anon) in five parts: D-Kl, 2o Mus 60f-y (‘Giovanni Valentini’) D-W, Cod. Guelf. 34.7. Aug 2o no. 95, p. 192

Sonata for 2 violins, 2 viola da braccio, bassoon, bc

January 2009

D-W, Cod. Guelf. 34.7. Aug 2 o no. 99, p. 203

VALENTINI-1

Trios for Tr Tr B

GB-Och, Mus. 1066. Treble only

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

no.

no.

f.

Prelude

1

7

2.

PavanAllemand

2

8

15v A

3.

Allemand

3

4

15v A

4.

Allemand

4

5

5.

Chicone

5

28

6.

Saraband

6

12 Ap

7.

Prelude

7

13 Ap

8.

Allemand

8

14

9.

Air

9

15

10.

Allemand

10

20

11.

Gigue

11

22

12.

Symphonia

12

29

13.

Bourée

13

26

May 2008

TREBLE ONLY

1.

Treble I parts in Bc, XY 24910 are Treble II in Add. 31424. Those shown conform with Bc, XY 24910 and often the leading part is used for this Index. In Add. 31424 most of these pieces are ascribed to ‘L.V’ and it is assumed that all the remainder (‘Ap’) are also by de la Vollée.

16v A

VOLLÉE-1

GB-Och, Mus. 1066. Treble only

Trios for Tr Tr B

no.

no.

f.

14

60 Ap

13v A

61 Ap

14r A

63 Ap

14v A

1

TREBLE ONLY

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

14.

Symphonia

15.

Allemand

15

16.

Chicona

16

17.

Air

17

18.

[Air]

18

19.

Saraband

19

20.

Allemand

21.

Courant

2 Ap

22.

Courant

3 Ap

23.

Courant

6 Ap

24.

Saraband

9

25.

Allemand

10 Ap

26.

Allemand

11

May 2008

Treble I parts in Bc, XY 24910 are Treble II in Add. 31424. Those shown conform with Bc, XY 24910 and often the leading part is used for this Index. In Add. 31424 most of these pieces are ascribed to ‘L.V’ and it is assumed that all the remainder (‘Ap’) are also by de la Vollée.

VOLLÉE-2

GB-Och, Mus. 1066. Treble only

Trios for Tr Tr B

no.

no.

f.

27.

Suite

28.

Courant

29.

Courant

30.

Saraband

31.

Saraband

32.

Sinfonie

20

48

33.

Allemand

21

49

34.

Prelude

22

47

35.

Allemand

23

50

36.

Courant

24

51

37.

Saraband

25

52 Ap

38.

Prelude

26

30

39.

Allemand

27

31

May 2008

21

Treble I parts in Bc, XY 24910 are Treble II in Add. 31424. Those shown conform with Bc, XY 24910 and often the leading part is used for this Index. In Add. 31424 most of these pieces are ascribed to ‘L.V’ and it is assumed that all the remainder (‘Ap’) are also by de la Vollée.

23

24

16v A

25

27

17r A

TREBLE ONLY

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

18v A

VOLLÉE-3

GB-Och, Mus. 1066. Treble only

Trios for Tr Tr B

no.

no.

f. 18v A

40.

Allemand

27

36

41.

Fantazia

28

35

42.

Courant

29

32

43.

Saraband

30

34

44.

Branle

31

37

45.

Galliard

32

44

46.

Allemand

33

39

47.

Allemand

34

43

48.

Ballet

35

40

49.

Allemand

36*

50.

Saraband

37

42

51.

Allemand

38

45

52.

Saraband

39

46

May 2008

TREBLE ONLY

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

Treble I parts in Bc, XY 24910 are Treble II in Add. 31424. Those shown conform with Bc, XY 24910 and often the leading part is used for this Index. In Add. 31424 most of these pieces are ascribed to ‘L.V’ and it is assumed that all the remainder (‘Ap’) are also by de la Vollée.

see no. 59

see no. 60

*one treble only

VOLLÉE-4

Trios for Tr Tr B

GB-Och, Mus. 1066. Treble only

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

no.

no.

f.

53.

Gigue

33

54.

Caprice

38 Ap

55.

Courant

41

56.

Sinfonia

57.

Saraband

58.

Courant

59.

Allemand

56 Ap

60.

Ballet

57 Ap

61.

La Bergerette

58 Ap

62.

Saraband

59 Ap

63.

Gigue

62 Ap

14v A

64.

Gavot

64 Ap

14r A

65.

[Allemand]

May 2008

40

53 Ap

41

54 Ap

Treble I parts in Bc, XY 24910 are Treble II in Add. 31424. Those shown conform with Bc, XY 24910 and often the leading part is used for this Index. In Add. 31424 most of these pieces are ascribed to ‘L.V’ and it is assumed that all the remainder (‘Ap’) are also by de la Vollée.

19r A

18r A

TREBLE ONLY

55 Ap

no. 33 transposed

no. 35 transposed

9v A

VOLLÉE-5

Trios for Tr Tr B

GB-Och, Mus. 1066. Treble only

VdGS No.

GB-Lbl, Add. 31424, ff. 8 5-112

fl.1660s. Composer and French musician at the court of Charles II.

B-Bc, MS Litt XY, 249 10

Jean de la VOLLÉE

f.

[Courant]

9v A

67.

[Saraband]

10r A

68.

[Courant]

10v A

69.

[Saraband]

10v A

70.

[Allemand]

12v A

71.

[Courant]

12v A

72.

[Saraband]

13r A

73.

[Saraband]

13r A

74.

[Courant]

17v A

75.

[Sinfonia]

19v A

TREBLE ONLY

66.

May 2008

VOLLÉE-6

7. [Air]

US-NYp, JOG 72-50, f. 19v

8. Air

f. 19v

9. Jigg

f. 19v [all attrib. ‘F. W.’]

May 2008

WITHY, F-1

Airs [Theatre suites?] for tr tr b

Add. 41205

[not Anthony Wood] fl. c.1680.

Add. 31429

WOOD, Mr

GB-Lbl

VdGS No. f. 1.

27v

2.

28v

3.

29r

4.

29v

5.

30r

6.

30r

7.

30v

8.

30v

9.

31r

10.

31v

11.

31v

12.

32r

13.

February 2008

fol.

33v

(Keyboard)

WOOD-1

[not Anthony Wood] fl. c.1680. Airs [Theatre suites?] for tr tr b VdGS No.

Lbl, Add. 29283-5

WOOD, Mr

f.10v-/ no. 14.

/1

15.

/2

16.

/3

17.

/4

18.

/5

19.

/6

20.

/7

21.

/8

22.

/9

23.

/10

24.

/11

25.

/12

26.

April 2008

‘June 1682’

/13

WOOD-2

[not Anthony Wood] fl. c.1680. Airs [Theatre suites?] for tr tr b VdGS No.

Lbl, Add. 29283-5

WOOD, Mr

f.10v-/ no. 27.

/14

28.

/15

29.

/16

April 2008

WOOD-3

WILLIAM YOUNG (d.1662) William Young is best known for his work done while in the service of the Archduke of Austria, notably the printed set of Sonatas and Airs of 1653. Recently a second print has been discovered containing the nine pieces for Treble, Tenor, Bass, and Continuo, hitherto called fantasias, but styled ‘Sonatas’ in the print (Innsbruck, 1659). Receipt of later information since these pages were first drawn up has made necessary some revision of our numbering, which where possible follows that of Richards, of the bass viol pieces (see BASS R). At the end of the works for two bass viols: RC 24 has been made No. 1 of the Solo Divisions. RC 23 has been assigned to Butler and replaced by the former RC 30. RC 25 has been assigned to Jenkins (RC 63). RC 26-29, four solo dances, now appear as Prelude 16, Allemande 19, Courante 20 and Sarabande 18 of the 30 airs for solo bass viol. Stephen Morris is currently engaged on a dissertation about Young’s life and works, and we are very grateful to him for much help, not least his catalogue of Young’s compositions. ‘M’ numbers refer to the Morris Catalogue (in progress). It is now believed that William Young of Austria composed all the music ascribed to ‘Young’ in English manuscripts and that the eponymous wind player at the English Court (d.1671) can be disregarded as a possible composer of any of them.

1980, rev. 1989, 2003

YOUNG-1

ZAMPONI, Gioseffo (d.1662) Sonata for violin, viola da gamba and bc GB-DRc, D2, no. 28 [‘B5tl2’ = Butler] GB-DRc, D5, no. 3 [‘Zamponi’] GB-DRc, D10, no. 29 [‘Singr .’ blank] GB-Lg, Gresham Mus. 369, f.91r inv. [violin only] Sonata for two violins, viola da gamba and bc GB-HAdolmetsch, II.c.25, no. 2 [‘Balthazar Richart’] F-Pn, Rés Vm7 673, no. 63 [Anon.] B-Bc, XY 24,910 [‘Zamponi’; in key A] Sonata for two violins, viola da gamba and bc

Sonata for violin, viola da gamba and bc

F-Pn, Rés Vm7 673, no. 99 [‘Zamboni’]

F-Pn, Rés Vm7 673, no. 45 [Anon] D-W, Cod. Guelf 34.7. Aug 2o, no. 50, p.79 [‘Sign: Schampon’]

Capriccio in F-Pn Many lost works

January 2009

ZAMPONI-1

ZUBER, Gregor (fl. 1633-1673) Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck, 1649) and another similar collection for four instruments and continuo (Frankfurt am Main, 1659). Both these are lost and his only surviving music is treble parts to dances, apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below. VdGS No.

f.

1.

Allemand

50r

2.

Courant

50r

3.

Saraband

50r

4.

Ballet

50v

5.

Courant=Sar.

50v

6.

Ballet ‘a5’

50v

7.

Saraband ‘2 a5’

51r

8.

Ballet ‘a5’

51r

9.

Courant

51r

10.

Mascharada

51v

11.

Saraband

12.

Ballet

13.

Saraband

January 2009

51v

51v

52r

ZUBER-1

ZUBER, Gregor (fl. 1633-1673) Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck, 1649) and another similar collection for four instruments and continuo (Frankfurt am Main, 1659). Both these are lost and his only surviving music is treble parts to dances, apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below. VdGS No.

f./no.

14.

[Allemand]

52r/14

15.

Saraband

52r/15

16.

[Saraband]

52v/16

17.

Saraband

52v/17

18.

Ballet

52v/18

19.

Balletto

75v/1

20.

Brandle

75v/2

21.

Saraband

75v/3

22.

[Almand]

76r/4

23.

Courant

24.

Saraband

January 2009

‘Gregorius Zubern 1649 a5 Frankfurt am Main 1660’

76r/5

76v/6

ZUBER-2

ZUBER, Gregor (fl. 1633-1673) Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck, 1649) and another similar collection for four instruments and continuo (Frankfurt am Main, 1659). Both these are lost and his only surviving music is treble parts to dances, apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below. VdGS No.

f./no.

25.

Saraband

76v/7

26.

Balletto

76v/8

27.

[Courant]

77r/9

28.

Saraband

77r/10

29.

Aria

30.

[Almand]

77v/12

31.

[Courant]

77v/13

32.

Saraband

78r/14

33.

Aria

78r/15

34.

Ballet

35.

Courant

January 2009

77r/11

78r/16

78v/17

ZUBER-3

ZYKA, Joseph Benedikt (c.1730-1791) For further information see GERMANY OL

Trio in C, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

Trio in D, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, KHM 5774 (bass only) D-B, Klb 77 (Klingenberg)

Trio in F, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

June 2011

ZYKA-1

ZYKA, J. B. For further information see GERMANY OL Trio in G, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

Trio in A. Violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

Trio in B-flat. Violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

Another version: movement II; Adagio: movement III: violin, violoncello, unfigured bass In D-B, KHM 5773

June 2011

ZYKA-2