GB-Lbl Egerton 3665 (Tregian Manuscript)

British Library, London, England

manuscript of polyphony: 1613-9

Archive British Library, London, England (GB-Lbl)
Shelfmark Egerton 3665 (Tregian Manuscript)
Image Availability DIAMM does not have images of this source.
Surface Paper
Numbering System None
Measurements 412 x 266 mm
Other Identifiers
  • CCM: LonBLE 3665
Notations
  • black void mensural
Inventory This MS has not yet been inventoried by DIAMM. If you would like to submit an inventory, please send it to diamm@music.ox.ac.uk
Copyists
Relationships
External Links
Provenance
  • London? England
Contents 73 pieces from 15 composers Contains 35 uninventoried works or miscellaneous sections.
General Description

Manuscript divided into two volumes (referred to as 'Part I' and 'Part II') in 1950. Music in score format, with barlines.. Some pieces have text incipits or titles only.

The original owner was Francis Tregian the Younger (1574?-1619), a Catholic recusant - though Ruby Reid Thompson and latterly Oliver Neighbour (New Grove) have shown that he was not (as thought) the copyist, working at the manuscript while in the Fleet Prison in London.

Purchased by British Museum in 1950 at auction of library of James Edward Harris, 5th Earl of Malmesbury (1872-1950).

DIAMM, 2017
Physical Description

Folios trimmed in connection with earlier (18th-century?) rebinding, obliterating some marginal notes and pagination.

DIAMM, 2017
Binding

Both volumes rebound in identical modern covers of maroon leather and cloth over boards, with title 'Tregian's Madrigal Anthology' in gold. Portions of earlier (but not original) covers, of brown half-leather tooled in gold, glued inside front of Part I.

DIAMM, 2017
Watermark

shield surmounted with fleur-de-lis; not listed in Briquet or Heawood.

DIAMM, 2017
Notation

black void mensural

DIAMM, 2017
Ruling

each system of staves runs entirely across each opening.

DIAMM, 2017
Foliation

Other numberings: Several sections (defined roughly by types of repertory), each with its own system of original piece numbering; second, independent system of original piece numbers provides running count of works by each composer. Both systems count partes of motets and madrigals as separate items.

DIAMM, 2017
Foliation

Original ink pagination, 1-392 [Part I] + 393-1034 [Part II], with some errors, omissions, and inconsistencies. Modern pencil foliation, 1-198 [Part I] + 199-523 [Part II] includes several half-folios, scraps, and sheets pasted over old folios

DIAMM, 2017
Decoration

Edges of folios painted blue; no other decoration

DIAMM, 2017
Index

Incomplete index at beginning of Part I in 17th-century hand, but not hand of original scribe.

DIAMM, 2017
Surface

paper

DIAMM, 2017
Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

3 Lamentations, 36 motets, 1 anthem, 830 Italian secular pieces, 26 English secular pieces, 9 French secular pieces, 6 Spanish secular pieces, 1 Latin secular piece, 126 textless pieces (mostly instrumental Fantasias, dances, In nomines, etc.) = 1038

Agazzari-20, Agresta-1, F. Anerio-13, Baccusi-2, Balbi-1, O. Bartolini-17, Augustine Bassano-4, Augustine Bassano-P. Philips-1, Bateson-4, Bati-1, Bellasio-4, Girolamo Belli-7, Bertani-1, Bianciardi-2, Borchgrevinck-1, Byrd-1, (Byrd/R. Farrant/R. Parsons I)-1, Caccini [J; Julio Romano]-55, Girolamo Casati-1, M. Casentini-4, Caurroy-7, Cifra-8, Coperario-52, Coudenno-1, Croce-1, Deering-7, Deering/(Ward)-6, M. East-13, Eremita-3, D. Farrant-1, Fattorini-2, A. Ferrabosco I-83, A. Ferrabosco I/(D. Ferrabosco)-1, A. Ferrabosco II-56, Fontanelli-13, Formica-1, Gabbiani-1, A. Gabrieli-1, Gagliano-18, Giovanni Pietro Gallo-1, Gastoldi-3, Gesualdo [Principe di Venosa]-60, Giovanelli-5, Hassler-1, Holborne-P. Philips-1, Ingegneri-1, Isnardi-1, Lassus-2, Le Jeune-2, Leoni-2, J. Lupo-1, T. Lupo-22, Luzzaschi-1, Macque-1, Marenzio-102, Marsolo-1, Mel-6, Merulo-2, Mogavero-1, Molinaro-1, Philippe de Monte-1, Monteverdi-86, Morley-1, Morley-P. Philips-2, Mosto-5, J. or W.? Mundy-2, Nanino-9, Nenna-37, Nodari-18, Orlandini-1, Orologio-1, Palestrina-1, Pallavicino-93, G. Palma-1, R. Parsons I-1, Pecci-20, Pedersøn-8, P. Philips-14, Priuli-1, Quintiani-16, Recalchi-1, Rimonte-7, S. Rossi-18, Rubiconi-1, I. Sabino-2, M. Santini-1, Schieti-1, Soriano-1, Striggio-2, Strogers-1, Tomkins-1, Tregian the Younger [F.T.]-2, Turco-1, Valcampi-1, Valmarano-9, Orazio Vecchi-5, Venturi-2, (Verdelot)-1, Verdonck-3, Ward-6, Weelkes-2, Wert-5, Wilbye-9, Wilder [Maestro Phillippo di Fiandra]-1, Zoilo-1, anon-3

i + iv + 198 + viii + i paper folios [Part I]; i + 325 + i + iv paper folios [Part II], 412 x 266. Last original folio in Part II consists of 9 paper strips recovered in 1951 from earlier binding, reconstructed to form one complete folio; first two modern folios at end of Part II are photographs of sample pages from NYorkP 4302. Folios trimmed in connection with earlier (18th-century?) rebinding, obliterating some marginal notes and pagination. Original ink pagination, 1-392 [Part I] + 393-1034 [Part II], with some errors, omissions, and inconsistencies. Modern pencil foliation, 1-198 [Part I] + 199-523 [Part II] includes several half-folios, scraps, and sheets pasted over old folios. Several sections (defined roughly by types of repertory), each with its own system of original piece numbering; second, independent system of original piece numbers provides running count of works by each composer. Both systems count partes of motets and madrigals as separate items. Blank staves on ff. 15'-16, 32', 42'-43, 50', 85'-86', 185'198', 502'-504', 511'-513', 515'-516, and 523'; f. 154 blank. Manuscript divided into two volumes (referred to as "Part I" and "Part II") in 1950; both volumes rebound in identical modern covers of maroon leather and cloth over boards, with title "Tregian's Madrigal Anthology" in gold. Portions of earlier (but not original) covers, of brown half-leather tooled in gold, glued inside front of Part I. Incomplete index at beginning of Part I in 17th-century hand, but not hand of original scribe. Music in score format, with barlines; each system of staves runs entirely across each opening. Copied by Francis Tregian the Younger, who also wrote NYorkP 4302 and several other manuscripts not within scope of this catalogue. Edges of folios painted blue; no other decoration. Some pieces have text incipits or titles only. Watermark (shield surmounted with fleur-de-lis) not listed in Briquet or Heawood.

1613-9. Copied at Fleet Prison in London. The compiler, scribe, and original owner was Francis Tregian the Younger (1574?-1619), a Catholic recusant. Purchased by British Museum in 1950 at auction of library of James Edward Harris, 5th Earl of Malmesbury (1872-1950).

Vol 4

Contents: 3 Lamentations, 36 motets, 828 Italian secular pieces (2 without text), 28 English secular pieces (1 without text), 9 French secular pieces, 6 Spanish secular pieces, 1 Latin secular piece, 123 textless pieces (mostly instrumental Fantasias, In nomines, dances, etc.) = 1034

Composers: Change "Caccini [J; Julio Romano]-55" to "Caccini [Julio Romano] -1"; change "A. Ferrabosco I-83" to "A. Ferrabosco I-82"; change "Gesualdo [Principe di Venosa]-60" to "Gesualdo [Principe di Venosa]-59"; change "Marenzio-102" to "Marenzio-100"; change " Palestrina-1 " to "Palestrina-2"; change "anon-3" to "anon-56."

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

This source has not been fully inventoried. If you would like to contribute an inventory please get in touch. E-mail diamm@music.ox.ac.uk.

Known compositions

Composition Composers (? Uncertain) Folios / Pages Source Attribution
Ad te levavi - 1a pars (of 2): Ad te levavi 155 -
Ad te levavi - 2a pars (of 2): Quia multum repleti 155 -
Amarilli mia bella 10–10v -
Aupres de vous [-] -
Aurora diem nuntiat 140 -
Benedic anima mea - 10a pars (of 11): Emittes spiritum tuum (C17) 158 -
Benedic anima mea - 11a pars (of 11): Cantabo Domino (C18) 162 -
Benedic anima mea - 1a pars (of 11): Benedic anima mea. Domine Deus meus (C8) 52 -
Benedic anima mea - 3a pars (of 11): Qui fundasti (C10) 58 -
Benedic anima mea - 4a pars (of 11): Qui emittis (C11) 108 -
Benedic anima mea - 7a pars (of 11): Posuisti tenebras (C14) 142 -
Benedic anima mea - 9a pars (of 11): Draco iste enim (C16) 151 -
Benedic anima mea ... Et omnia quae 166 -
Cantate Domino - 1a pars (of 2): Cantate Domino canticum novum 137 -
Cantate Domino - 2a pars (of 2): Quia bene placitum est 137 -
Conserva me Domine - 1a pars (of 2): Conserva me Domine (C25) 106 -
Conserva me Domine - 2a pars (of 2): Vias tuas Domine (C25) 106 -
Da pacem Domine (I) (C27) 121 -
De Lamentatione Jeremiae (C64) 124 -
Domine in virtute - 1a pars (of 2): Domine in virtute tua (C30) 110 -
Domine in virtute - 1a pars (of 2): Domine in virtute tua (C30) 164 -
Domine in virtute - 2a pars (of 2): Magna est gloria (C31) 110 -
Domine in virtute - 2a pars (of 2): Magna est gloria (C31) 164 -
Ecce jam noctis 140 -
Fuerunt mihi lachrimae (C36) 50 -
Heu mihi Domine (I) (C37) 102 -
In manu dextera [-] -
In nomine (F84) - Exaudi vocem 67 -
In nomine (F85) 61 -
In nomine (F86, C222) 59v -
In nomine (II) 159 -
In nomine (III) 156 -
In nomine (V) a5 156v -
In nomine a5 158 -
Incipit lamentatio Jeremiae [II] Zain, Vocavi (C66) 143 -
Incipit lamentatio Jeremiae [II] Zain, Vocavi (C66) 149 -
Inclina Domine - 1a pars (of 6): Inclina Domine aurem (C41) 523 -
Inclina Domine - 4a pars (of 6): In die tribulationis 523 -
Inclina Domine - 5a pars (of 6): Quoniam magnus es 523 -
Ingemuit Susanna (C43) 116 -
Italia mia ben che'l parlar sia indarno 402(?) -
Judica me - 1a pars (of 2): Judica me Domine (C44) 136 -
Judica me - 2a pars (of 2): Vide humilitatem meam (C45) 136 -
Lamentations [...] Aleph (5vv - C65) 124 -
Las, voulez vous qu'une [-] -
Le rossignol plaisant et gratieux [-] -
Mirabile mysterium (C47) 114 -
Miserere nostri Domine (C3) 128 -
Non ha tante quanto [-] -
Nuntium vobis (C48) 132 -
Peccantem me quotidie (C52) 101 -
Peccata mea Domine (C53) 160 -
Quare dereliquerunt me 50 -
Redemisti me domine [-] -
Sana me Domine - 1a pars (of 2): Sana me Domine (C55) 103 -
Sana me Domine - 2a pars (of 2): Ne derelinquas me, Domine (C56) 103 -
Surge propera - 1a pars (of 2): Surge propera amica mea columba mea (C57) 146 -
Surge propera - 2a pars (of 2): Surge propera amica mea formosa mea (C58) 146 -
Susanne un jour [-] -
Tribulationem et dolorem inveni (C63) 134 -
Tuam [-] -

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Composers (? Uncertain) Folios / Pages Item title Attribution in Source
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Composer Compositions
Anonymous
Baldwin, John (ca. 1560–1615)
Bati, Lucca (1546–1608)
Bellasio, Paolo (1554–1594)
Byrd, William (ca. 1540–1623)
Caccini, Giulio Romano (1551–1618)
Ferrabosco, Alfonso (the elder) (1543–1588)
Ferrabosco, Alfonso (the younger) (ca. 1575–1628)
Holborne, Antony (ca. 1545–1602)
Mundy, John (ca. 1555–1630)
Mundy, William (ca. 1528–ca. 1591)
Parsons (I), Robert (ca. 1535–ca. 1572)
Philips, Peter (ca. 1560–1628)
Strogers, Nicholas
Verdelot, Philippe (ca. 1480–ca. 1532)
Composition Composers (? Uncertain) Folios / Pages
Ad te levavi - 1a pars (of 2): Ad te levavi 155
Ad te levavi - 2a pars (of 2): Quia multum repleti 155
Amarilli mia bella 10–10v
Aupres de vous [-]
Aurora diem nuntiat 140
Benedic anima mea - 10a pars (of 11): Emittes spiritum tuum (C17) 158
Benedic anima mea - 11a pars (of 11): Cantabo Domino (C18) 162
Benedic anima mea - 1a pars (of 11): Benedic anima mea. Domine Deus meus (C8) 52
Benedic anima mea - 3a pars (of 11): Qui fundasti (C10) 58
Benedic anima mea - 4a pars (of 11): Qui emittis (C11) 108
Benedic anima mea - 7a pars (of 11): Posuisti tenebras (C14) 142
Benedic anima mea - 9a pars (of 11): Draco iste enim (C16) 151
Benedic anima mea ... Et omnia quae 166
Cantate Domino - 1a pars (of 2): Cantate Domino canticum novum 137
Cantate Domino - 2a pars (of 2): Quia bene placitum est 137
Conserva me Domine - 1a pars (of 2): Conserva me Domine (C25) 106
Conserva me Domine - 2a pars (of 2): Vias tuas Domine (C25) 106
Da pacem Domine (I) (C27) 121
De Lamentatione Jeremiae (C64) 124
Domine in virtute - 1a pars (of 2): Domine in virtute tua (C30) 110
Domine in virtute - 1a pars (of 2): Domine in virtute tua (C30) 164
Domine in virtute - 2a pars (of 2): Magna est gloria (C31) 110
Domine in virtute - 2a pars (of 2): Magna est gloria (C31) 164
Ecce jam noctis 140
Fuerunt mihi lachrimae (C36) 50
Heu mihi Domine (I) (C37) 102
In manu dextera [-]
In nomine (F84) - Exaudi vocem 67
In nomine (F85) 61
In nomine (F86, C222) 59v
In nomine (II) 159
In nomine (III) 156
In nomine (V) a5 156v
In nomine a5 158
Incipit lamentatio Jeremiae [II] Zain, Vocavi (C66) 143
Incipit lamentatio Jeremiae [II] Zain, Vocavi (C66) 149
Inclina Domine - 1a pars (of 6): Inclina Domine aurem (C41) 523
Inclina Domine - 4a pars (of 6): In die tribulationis 523
Inclina Domine - 5a pars (of 6): Quoniam magnus es 523
Ingemuit Susanna (C43) 116
Italia mia ben che'l parlar sia indarno 402(?)
Judica me - 1a pars (of 2): Judica me Domine (C44) 136
Judica me - 2a pars (of 2): Vide humilitatem meam (C45) 136
Lamentations [...] Aleph (5vv - C65) 124
Las, voulez vous qu'une [-]
Le rossignol plaisant et gratieux [-]
Mirabile mysterium (C47) 114
Miserere nostri Domine (C3) 128
Non ha tante quanto [-]
Nuntium vobis (C48) 132
Peccantem me quotidie (C52) 101
Peccata mea Domine (C53) 160
Quare dereliquerunt me 50
Redemisti me domine [-]
Sana me Domine - 1a pars (of 2): Sana me Domine (C55) 103
Sana me Domine - 2a pars (of 2): Ne derelinquas me, Domine (C56) 103
Surge propera - 1a pars (of 2): Surge propera amica mea columba mea (C57) 146
Surge propera - 2a pars (of 2): Surge propera amica mea formosa mea (C58) 146
Susanne un jour [-]
Tribulationem et dolorem inveni (C63) 134
Tuam [-]

denotes primary source study

Thompson, Ruby Reid. 2001. Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View. Music and Letters, 1-31.

Thompson, Ruby Reid. 1992. The 'Tregian' manuscripts: A Study of Their Compilation. British Library Journal, 202-204.

D'Accone, Frank A. 1988. London, British Library, MS Egerton 3655 [Facsimile reproduction, with introduction]. Renaissance Music in Facsimile.  Garland Publishing Co.

Charteris, Richard (editor). 1984. Alfonso Ferrabosco the Elder (1543-1588): Opera Omnia. Corpus mensurabilis musicae.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I-III, passim. Notes: mention of MS; contents list (partial); concordances (partial); transcriptions (partial).

Charteris, Richard. 1984. Alfonso Ferrabosco the Elder (1543-1588): A Thematic Catalogue of his Music with a Biographical Calendar.  New York. Pages: 57ff, 189-90. Notes: contents list (partial); concordances (partial).

Duffy, John. 1980. The Songs and Motets of Alfonso Ferrabosco, the Younger (1575-1628).  Ann Arbor. Pages: 248-9,307, 444-50. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians.  London. Pages: XVII, 594. Notes: facsimile (partial).

Slim, H Colin. 1978. Ten Altus Parts at Oscolt College, Sutton Coldfield.  Santa Ana: Privately printed for the author. Pages: 15. Notes: facsimile (partial).

Slim, H Colin. 1978. A Royal Treasure at Sutton Coldfield. Early Music, 57-74. Pages: 57. Notes: mention of MS.

Monson, Craig. 1977. Thomas Myriell's Manuscript Collection: One View of Musical Taste in Jacobean London. Journal of the American Musicological Society, 419-65. Pages: 441. Notes: contents list (partial).

Russell, Eleanor. 1973-74. Pedro Rimonte in Brussels (c. 1600-1614). Anuário Musical, 181-94. Pages: 191-2. Notes: physical description (partial); contents list (partial); mention of MS; discussion.

Slim, H Colin. 1972. A Gift of Madrigals and Motets.  Chicago and London. Pages: I, 6-8, 111-2, 227. Notes: physical description (partial); contents list (partial); concordances (partial); mention of MS; discussion.

Willetts, Pamela J. 1970. Handlist of Music Manuscripts aquired 1908-1967. Pages: 74. Notes: mention of MS.

Brett, Philip. 1965. The Songs of William Byrd. Cambridge University, Unpublished Ph.D. dissertation. Pages: 110, 277. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Willetts, Pamela J. 1963. Tregian's Part Books. The Musical Times, 334-5. Notes: mention of MS.

Cole, Elizabeth. 1955. L'Anthologie de Madrigaux et de Musique Instrumentale pour Ensembles de Francis Tregian. La Musique Instrumentale de la Renaissance,  Paris. Notes: physical description (partial); contents list (partial); transcriptions (partial); mention of MS; discussion.

Cole, Elizabeth. 1952-53. Seven Problems of the Fitzwilliam Virginal Book. Proceedings of the Royal Musical Association, 51-63. Pages: 60. Notes: mention of MS.

Cole, Elizabeth. 1952. In Search of Francis Tregian. Music and Letters, 28-32. Notes: physical description; mention of MS; discussion.

Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music.  London. Pages: IX, 96, 109-13, 220-5; XXII, 175, 178, XLIV, 76-7, 98-9, 189-92. Notes: mention of MS; contents list (partial); concordances (partial); transcriptions (partial).

Schofield, Bertram, and Thurston Dart. 1951. Tregian's Anthology. Music and Letters, 205-16. Notes: physical description; contents list (partial); concordances (partial); incipits (partial); mention of MS; discussion.

Fellowes, Edmund H (editor). 1937-50, 1962. The Collected Works of William Byrd. Pages: XVII, 150, 162. Notes: mention of MS; contents list (partial); concordances (partial).

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Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description