A partbook designated 'Contratenor' on a large number of the pages, although some of the parts appear to be for other voices. Although early descriptions of the book suggest that its four sections are survivors from a set of what was originally six books, now bound together as a single book, there is no reason to suppose this is the case, particularly as the book is held in contemporary limp vellum covers, indicating that this is the form it was intended to take. It is more likely that this is simply a collection of their own voice parts belonging to an individual, and was either never part of a partbook 'set', or this is a surviving partbook from a lost set.

A front, unnumbered section, consists of 4 songs by Byrd, for 5 voices; The first numbered section consists of English anthems and songs by Byrd and others, 5 voices 'and 6 if you will', numbered 1-36; The next section has motets and other music for 5 voices by Byrd and others, numbered 1-57; and the final section is of motets, canticles, instrumental pieces, and an Italian madrigal by Alfonso Ferrabosco senior, for 6 voices, numbered 1-30.

The collection, if complete, would have ranked as one of the most important of all secular Elizabethan sources because of the wide and representative cross-section of so many musical genres, sacred and secular in its 131 works, and the many unica it contains. The concordances that can be traced show this to be an authoritative source generally, and particularly for the works of William Byrd. Original numbering of pieces in three series: 1-35 (omits some pieces); 1-57; 1-30 (some numbers missing, but all pieces included in enumeration).

First and third series contain 6-voice works; second series contains 5-voice works. Copied by several scribes. Some pieces have text incipits or titles only. Of English origin; possible connections with Sir John Petre (1549-1613), of Ingatestone, Essex. Petre was a neighbour and patron of Byrd. Later owned by Oxford University Music School; passed to Bodleian Library in 1885.

The name Peter Gifford is written three times in a contemporary hand on one of the rear endpapers.

Original covers of white limp vellum, with inscriptions 'Contratenor' and 'I.P' [= John Petre?; see [ChelmE 1] and [ChelmE 2]]; remnants of green tie ribbons. The name 'Peter Gifford', apparently in the hand of the copyist, is written on the inside of the back cover. [Notes on watermarks and collation, made during the repair of this manuscript in 1985-86, are kept at Refs. LVI.16].

Copied in four sections, using paper of three kinds. Watermarks resembling Fleur de Lys, Briquet 7257; B, Briquet 8078-80; and Grapes, initialled IV. The fourth section is made up of paper of each kind, in the order: Fleur de Lys (2 quires of 8), B (4 quires of 8), Grapes (1 quire of 8). The first is Fleur de Lys (quire of 4, fol. 1 missing); the third, Fleur de Lys (5 quires of 8) and Grapes (3 quires of 8, 1 of 4); the second, apparently the last to be copied, B (quire of 8) and Grapes (2 quires of 8, 1 of 4). Three leaves (pp. 135a-b, 239c-240 and 241a-b) were inserted for corrections.

Only fragments of watermarks visible: (1) crown; (2) grape cluster with initials 'V.l.'

Some pieces in chant notation; most in black void mensural notation

Five staves, the top and bottom lines extended through the marginal ruling.

new pencil pagination includes some errors and omissions: ii + 316 pages (really ii + 322, for pp. 135, 233, 239, 241 and 303 are tripled, 142-144 and 276-278 are each single pages), usually quired in eights.

No initials or decoration.

paper

Digitized with funding from the Arts and Humanities Research Council (UK) for the Tudor Partbooks project at the Universities of Oxford and Newcastle.

9 Magnificats, 1 Te Deum, 1 hymn, 1 Lamentation, 62 motets, 14 anthems, 1 carol, 26 English secular pieces, 2 Italian secular pieces, 11 instrumental pieces (In nomines, Fantasias, etc.) = 128 + 1 duplicate = 129

G. Ballarde-1, G. Ballarde/(Byrd)-1, Byrd-66, Byrd/(Tallis)-1, A. Ferrabosco I [Mr. Alphonso]-3, Heath I-1, W, Mundy-9, R. Parsons I-7, R. Parsons I/(Byrd/Strogers/R. White)-1, W. Parsons-1, Poynte-1, Shepherd-4, Strogers/(Byrd)-1, Tallis-3, Tallis/(Shepherd)-1, Taverner-4, Tye-10, R. White-6, W. White/(R. White)-1, Whytbroke-1, anon-5

1 paper partbook (Various voice parts, mostly A-i + 157 + i folios), 165 x 214. New pencil pagination, 1-319, with errors and omissions. Original numbering of pieces in three series: 1-35 (omits some pieces); 1-57; 1-30 (some numbers missing, but all pieces included in enumeration). First and third series contain 6-voice works; second series contains 5-voice works. Original covers of white parchment, with inscriptions "Contratenor" and "I.P" [= John Petre?; see ChelmE 1 and ChelmE 2]; remnants of green tie strings. No index. Some pieces in chant notation; most in white mensural notation. Copied by a single scribe. No initials or decoration. Only fragments of watermarks visible: (1) crown; (2) grape cluster with initials "V.l." Some pieces have text incipits or titles only.

Ca. 1575-86 (BrettS); dates 1568 and 1570 in manuscript. Of English origin; possible connections with Sir John Petre (1549-1613), of Ingatestone, Essex. Petre was a neighbor and patron of Byrd. Later owned by Oxford University Music School; passed to Bodleian Library in 1885.