GB-WCc MS 153 Discantus (Winchester Partbooks)

Winchester College, Warden and Fellows Library, Winchester, England

partbook: 1564-6

Archive	Winchester College, Warden and Fellows Library, Winchester, England (GB-WCc)
Shelfmark	MS 153 Discantus (Winchester Partbooks)
Surface	Parchment
Numbering System	Foliation
Measurements	170 x 235-9 mm
Other Identifiers	CCM: WinF 153
Notations	black void mensural
Relationships	? Elizabeth I (1553–1603) (commissioned/made for)
Provenance	Low Countries
Contents	Contains 107 compositions, 100 from 22 composers, 7 are anonymous.

General Description

A Discantus partbook (without voice designation) from a set of four volumes. Copied by one main scribe, who also wrote BolC Q26 and LeuvK 4 (Call); English pieces by Ford are later additions by second scribe. Main corpus copied in Low Countries; perhaps commissioned as gift for Elizabeth I, Queen of England. Ford pieces added after manuscript reached England. Probably acquired by Winchester College during 18th century.

DIAMM, 2017

Binding

Original covers of red leather over cardboard, tooled in blue, red, and gold with Tudor arms, ornamental designs, and voice designations

DIAMM, 2017

Notation

black void mensural

DIAMM, 2017

Ruling

Staff height 13

DIAMM, 2017

Foliation

Original ink foliation, 1-111, beginning on fifth folio. First four folios have modern pencil foliation, 1-4, as are ff. 112-121

DIAMM, 2017

Foliation

Other numberings: Pieces unnumbered in main corpus; original numbering of English pieces, 1-10.

DIAMM, 2017

Decoration

Large calligraphic style initials, some in black ink, others painted in red, blue, and yellow; some attributions and text incipits in red ink; edges of folios gilded.

DIAMM, 2017

Index

Original index on new ff. l'-3' in each book lists Italian pieces alphabetically by first letter of text, with subgrouping under each letter by order of appearance; French pieces listed in order of appearance.

DIAMM, 2017

Surface

parchment

DIAMM, 2017

DIAMM Note

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

DIAMM, 2023

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.

81 Italian secular pieces, 16 French secular pieces, 10 English secular pieces = 107

Arcadelt-1, (Azzaiolo)-14, (Briaco)-1, (Caldarino)-1, (Certon)-1, (Crecquillon/Sandrin/Sermisy)-1, (Donato)-5, Ford-10, (Alfonso Ganassi)-1, (Jacotin/Sermisy)-1, Jonckers [Gosse]-1, (Lambertini)-1, Lassus-7, (Nasco)-2, Passereau/(Marle)-1, Sandrin/(Manchicourt)-1, (Sermisy)-5, Sermisy [Claudin]/(Sandrin)-1, Tubal-5, Verdelot-1, Waelrant-35, Willaert-3, Willaert/(Fabrianese)-1, anon-7

4 parchment partbooks (D-125 + i folios, A-125, T-119 + i, B-i + 125), 170 x 235-9. Each book has original ink foliation, 1-111, beginning on fifth folio of DAT, sixth folio of B (ff. 86-91 missing in T book); first four folios in each book have modern pencil foliation, 1-4 (excludes front flyleaf in B book); ff. 112-121 also foliated in modern pencil. Pieces unnumbered in main corpus; original numbering of English pieces, 1-10. Blank folios or blank staves only—DA: 77'-92, 105'-121'; T: 77'-85', 92, 105'-121'; B: 6, 77'-92, 105'-421'. Original covers of red leather over cardboard, tooled in blue, red, and gold with Tudor arms, ornamental designs, and voice designations. Original index on new ff. l'-3' in each book lists Italian pieces alphabetically by first letter of text, with subgrouping under each letter by order of appearance; French pieces listed in order of appearance.

Copied by one main scribe, who also wrote BolC Q26 and LeuvK 4 (Call); English pieces by Ford are later additions by second scribe. Staff height 13. Large calligraphic style initials, some in black ink, others painted in red, blue, and yellow; some attributions and text incipits in red ink; edges of folios gilded.

1564-6 (dates in manuscript), with additions in first half of 17th century. Main corpus copied in Low Countries; perhaps commissioned as gift for Elizabeth I, Queen of England. Ford pieces added after manuscript reached England. Probably acquired by Winchester College during 18th century.

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

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
e4v–1r	E mi levai d'una bella mattina	-	Azzaiolo, Filippo (fl. 1557-69)
E mi levai d'una bella mattina Azzaiolo, Filippo (fl. 1557-69) Appears on: e4v–1r Number of voices: 4 General Note Initial 'E' elborately in blue before the first two lines of music
1v–2r	No gia mai non cangero	-	Anonymous
No gia mai non cangero Anonymous Appears on: 1v–2r Number of voices: 4
2v–3r	Non credo gia che piu infelice amante	-	Anonymous
Non credo gia che piu infelice amante Anonymous Appears on: 2v–3r Number of voices: 4
3v–4r	Pace non trov'et non ho da far guerra	-	Anonymous
Pace non trov'et non ho da far guerra Anonymous Appears on: 3v–4r Number of voices: 4
4v–5r	Ecco la stagion novella	-	Anonymous
Ecco la stagion novella Anonymous Appears on: 4v–5r Number of voices: 4
5v–6r	Ia passo il tiempo lo tiempo es passado	-	Anonymous
Ia passo il tiempo lo tiempo es passado Anonymous Appears on: 5v–6r Number of voices: 4 General Note Actually more Spanish than Italian (Italian version of title in index); on f. 6, three staves drawn, but only the top one used
6v–7r	Io ch' tropp' alt'amor volti seguire	-	Anonymous
Io ch' tropp' alt'amor volti seguire Anonymous Appears on: 6v–7r Number of voices: 4
7v–8r	Stava la gentil dama all'ombra	-	Anonymous
Stava la gentil dama all'ombra Anonymous Appears on: 7v–8r Number of voices: 4 General Note on f. 8r merely the text
8v–9r	Tu sei la causa de la morte mia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Tu sei la causa de la morte mia Waelrant, Hubert (ca. 1517–1595) Appears on: 8v–9r Source Attribution: Hubert Waelrant Number of voices: 4 General Note third stave (of three) on f. 9 blank
9v–10r	O Dio che fosse quella costumanza	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
O Dio che fosse quella costumanza Waelrant, Hubert (ca. 1517–1595) Appears on: 9v–10r Source Attribution: Hubert Waelrant Number of voices: 4
10v–11r	Se pur ti guardo dolce anima mia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Se pur ti guardo dolce anima mia Waelrant, Hubert (ca. 1517–1595) Appears on: 10v–11r Source Attribution: Hubert Waelrant Number of voices: 4
11v–12r	Vita della mia vita quando gran tort	P. Verdelot	Verdelot, Philippe (ca. 1480–ca. 1532)
Vita della mia vita quando gran tort Verdelot, Philippe (ca. 1480–ca. 1532) Appears on: 11v–12r Genres: Madrigal (Italian) Source Attribution: P. Verdelot Number of voices: 4
12r	Mort' e pieta, l'amor la cortesia	-	Waelrant, Hubert (ca. 1517–1595)
Mort' e pieta, l'amor la cortesia Waelrant, Hubert (ca. 1517–1595) Appears on: 12r Number of voices: 4
12v–13r	Aldi dolce ben mio	-	Azzaiolo, Filippo (fl. 1557-69)
Aldi dolce ben mio Azzaiolo, Filippo (fl. 1557-69) Appears on: 12v–13r Number of voices: 4 General Note final note (on f. 13r) drawn out into the margin
13v–14r	Fiamenga fredda core di diamante	Adrianus Tubal	Tubal, Adrian
Fiamenga fredda core di diamante Tubal, Adrian Appears on: 13v–14r Source Attribution: Adrianus Tubal Number of voices: 4 General Note on f. 14, final stave of piece is only about a third of the page - after that blank (this occurs several times in the following pieces)
14v–15r	La manza mia si chiama	Adrianus Tubal	Tubal, Adrian
La manza mia si chiama Tubal, Adrian Appears on: 14v–15r Source Attribution: Adrianus Tubal Number of voices: 4
15v–16r	Donna voi sete bella	A. Tubal	Tubal, Adrian
Donna voi sete bella Tubal, Adrian Appears on: 15v–16r Source Attribution: A. Tubal Number of voices: 4
16v–17r	Tri ciechi siamo povr' innamorati	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Tri ciechi siamo povr' innamorati Waelrant, Hubert (ca. 1517–1595) Appears on: 16v–17r Source Attribution: Hubert Waelrant Number of voices: 4
17v–18r	Li nostri preti han questa buon'usanza	-	Donato, Baldassare (ca. 1529–1603)
Li nostri preti han questa buon'usanza Donato, Baldassare (ca. 1529–1603) Appears on: 17v–18r Number of voices: 4
18v–19r	Madonna mia famme bon'offerta	Adrianus Willart	Willaert, Adrian (ca. 1490–1562)
Madonna mia famme bon'offerta Willaert, Adrian (ca. 1490–1562) Appears on: 18v–19r Source Attribution: Adrianus Willart Number of voices: 4
19v–20r	Vecchie letrose, non valete niente	Adrianus Willart	Willaert, Adrian (ca. 1490–1562)
Vecchie letrose, non valete niente Willaert, Adrian (ca. 1490–1562) Appears on: 19v–20r Source Attribution: Adrianus Willart Number of voices: 4
20v–21r	Paschino bello paschino	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Paschino bello paschino Waelrant, Hubert (ca. 1517–1595) Appears on: 20v–21r Source Attribution: Hubert Waelrant Number of voices: 4
21v–22r	E quand'a fato l'ovo la mattina	Adrianus Willart	Willaert, Adrian (ca. 1490–1562)
E quand'a fato l'ovo la mattina Willaert, Adrian (ca. 1490–1562) Appears on: 21v–22r Genres: Italian secular Source Attribution: Adrianus Willart Number of voices: 4
22v–23r	Madonna mia, pieta chiam'et aita	Orlando	Lassus, Orlande de (ca. 1532–1594)
Madonna mia, pieta chiam'et aita Lassus, Orlande de (ca. 1532–1594) Appears on: 22v–23r Source Attribution: Orlando Number of voices: 4
23v–24r	Tu sai madonna mia ch'io t'amo et voglio	Orlando	Lassus, Orlande de (ca. 1532–1594)
Tu sai madonna mia ch'io t'amo et voglio Lassus, Orlande de (ca. 1532–1594) Appears on: 23v–24r Genres: Italian secular Source Attribution: Orlando Number of voices: 4
24v–25r	La cortesia voi donne predicate ma mai	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
La cortesia voi donne predicate ma mai Lassus, Orlande de (ca. 1532–1594) Appears on: 24v–25r Genres: Italian secular Source Attribution: Orlando di lassus Number of voices: 4
25v	Tu traditora m'hai puost'a sto core	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Tu traditora m'hai puost'a sto core Lassus, Orlande de (ca. 1532–1594) Appears on: 25v Source Attribution: Orlando di lassus Number of voices: 4
26r	Sto core mio se fosse di diamante	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Sto core mio se fosse di diamante Lassus, Orlande de (ca. 1532–1594) Appears on: 26r Source Attribution: Orlando di lassus Number of voices: 4
26v–27r	Mill'anni sono ch'io non t'haggio vista	Hubert vvalrant	Waelrant, Hubert (ca. 1517–1595)
Mill'anni sono ch'io non t'haggio vista Waelrant, Hubert (ca. 1517–1595) Appears on: 26v–27r Source Attribution: Hubert vvalrant Number of voices: 4
27v–28r	Occhi lucent' assai piu che le stelle	-	Donato, Baldassare (ca. 1529–1603)
Occhi lucent' assai piu che le stelle Donato, Baldassare (ca. 1529–1603) Appears on: 27v–28r Number of voices: 4
28v–29r	Non t'ho possuto mai, donna mostrare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non t'ho possuto mai, donna mostrare Waelrant, Hubert (ca. 1517–1595) Appears on: 28v–29r Source Attribution: Hubert Waelrant Number of voices: 4
29v–30r	Se sai ch'io t'amo et piu che me t'honoro	-	Donato, Baldassare (ca. 1529–1603)
Se sai ch'io t'amo et piu che me t'honoro Donato, Baldassare (ca. 1529–1603) Appears on: 29v–30r Number of voices: 4
30v–31r	O dolce vita mia, non mi far guerra	-	Donato, Baldassare (ca. 1529–1603)
O dolce vita mia, non mi far guerra Donato, Baldassare (ca. 1529–1603) Appears on: 30v–31r Genres: Canzona Number of voices: 4
31v	Chiamo la mort'ogn'hor che me ne leva	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Chiamo la mort'ogn'hor che me ne leva Waelrant, Hubert (ca. 1517–1595) Appears on: 31v Source Attribution: H. Waelrant Number of voices: 4
32r	Sta constante cor mio, ch'io t'am'ogn'hora	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Sta constante cor mio, ch'io t'am'ogn'hora Waelrant, Hubert (ca. 1517–1595) Appears on: 32r Source Attribution: Hubert Waelrant Number of voices: 4
32v	I dolci squardi toi, alta signora	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
I dolci squardi toi, alta signora Waelrant, Hubert (ca. 1517–1595) Appears on: 32v Source Attribution: H. Waelrant Number of voices: 4
33r	Son mort'e moro	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Son mort'e moro Waelrant, Hubert (ca. 1517–1595) Appears on: 33r Source Attribution: Hubert Waelrant Number of voices: 4
33v	Non posso far cor mio, che pur non pianga	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non posso far cor mio, che pur non pianga Waelrant, Hubert (ca. 1517–1595) Appears on: 33v Source Attribution: Hubert Waelrant Number of voices: 4
34r	Tanto sai fare con l'inamorati	Adrianus tubal	Tubal, Adrian
Tanto sai fare con l'inamorati Tubal, Adrian Appears on: 34r Source Attribution: Adrianus tubal Number of voices: 4
34v–35r	Amar divers'amanti	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Amar divers'amanti Waelrant, Hubert (ca. 1517–1595) Appears on: 34v–35r Source Attribution: Hubert Waelrant Number of voices: 4
35v–36r	O quant amore sempre t'ho portato	-	Donato, Baldassare (ca. 1529–1603)
O quant amore sempre t'ho portato Donato, Baldassare (ca. 1529–1603) Appears on: 35v–36r Number of voices: 4
36v–37r	Deh per ch'abbandonasti me	A Tubal	Tubal, Adrian
Deh per ch'abbandonasti me Tubal, Adrian Appears on: 36v–37r Source Attribution: A Tubal Number of voices: 4
37v	Conza lavezzi siam s'havesti rotto madonna	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Conza lavezzi siam s'havesti rotto madonna Waelrant, Hubert (ca. 1517–1595) Appears on: 37v Source Attribution: Hubert Waelrant Number of voices: 4
38r	Madonn' habbi pieta del mio martire	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Madonn' habbi pieta del mio martire Waelrant, Hubert (ca. 1517–1595) Appears on: 38r Source Attribution: Hubert Waelrant Number of voices: 4
38v–39r	Non te recordi e quando mi dicevi	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non te recordi e quando mi dicevi Waelrant, Hubert (ca. 1517–1595) Appears on: 38v–39r Source Attribution: Hubert Waelrant Number of voices: 4
39v–40r	Issa in bona fe quando sei bella	-	Nasco, Jan
Issa in bona fe quando sei bella Nasco, Jan Appears on: 39v–40r Number of voices: 4
40v–41r	Che t'haggio fatto che m'hai tolto il core	-	Nasco, Jan
Che t'haggio fatto che m'hai tolto il core Nasco, Jan Appears on: 40v–41r Number of voices: 4
41v–42r	Da l'horto se ne vien la vilanella	-	Azzaiolo, Filippo (fl. 1557-69)
Da l'horto se ne vien la vilanella Azzaiolo, Filippo (fl. 1557-69) Appears on: 41v–42r Number of voices: 4
42v	Vorrei che tu cantassi una canzone	-	Azzaiolo, Filippo (fl. 1557-69)
Vorrei che tu cantassi una canzone Azzaiolo, Filippo (fl. 1557-69) Appears on: 42v Number of voices: 4
43r	Quanti ne vedi tutt'a te li tiri	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Quanti ne vedi tutt'a te li tiri Waelrant, Hubert (ca. 1517–1595) Appears on: 43r Source Attribution: Hubert Waelrant Number of voices: 4
43v–44r	Madonna mia per te son quasi morto	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Madonna mia per te son quasi morto Waelrant, Hubert (ca. 1517–1595) Appears on: 43v–44r Source Attribution: Hubert Waelrant Number of voices: 4
44v	In tutto voi ch'io mor'o traditora	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
In tutto voi ch'io mor'o traditora Waelrant, Hubert (ca. 1517–1595) Appears on: 44v Source Attribution: Hubert Waelrant Number of voices: 4
45r	Medici noi siamo, o donne belle	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Medici noi siamo, o donne belle Waelrant, Hubert (ca. 1517–1595) Appears on: 45r Source Attribution: Hubert Waelrant Number of voices: 4
45v–46r	Port'acqu'al crin'e piglia vent'in rete	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Port'acqu'al crin'e piglia vent'in rete Waelrant, Hubert (ca. 1517–1595) Appears on: 45v–46r Source Attribution: Hubert Waelrant Number of voices: 4
46v–47r	Me bisogna servir questa crudele	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Me bisogna servir questa crudele Waelrant, Hubert (ca. 1517–1595) Appears on: 46v–47r Source Attribution: Hubert Waelrant Number of voices: 4
47v–48r	La bella monicella ved'a messa	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
La bella monicella ved'a messa Waelrant, Hubert (ca. 1517–1595) Appears on: 47v–48r Source Attribution: Hubert Waelrant Number of voices: 4
48v–49r	Hor mai son quasi morto e tu n'ol credi	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Hor mai son quasi morto e tu n'ol credi Waelrant, Hubert (ca. 1517–1595) Appears on: 48v–49r Source Attribution: Hubert Waelrant Number of voices: 4
49v–50r	Son molti giorni, haime, ch'io pers'il core	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Son molti giorni, haime, ch'io pers'il core Waelrant, Hubert (ca. 1517–1595) Appears on: 49v–50r Source Attribution: Hubert Waelrant Number of voices: 4
50v–51r	Gentil madonna del mio cor patrona	-	Azzaiolo, Filippo (fl. 1557-69)
Gentil madonna del mio cor patrona Azzaiolo, Filippo (fl. 1557-69) Appears on: 50v–51r Number of voices: 4 General Note directly after the cut-c at the beginning comes a '3' and then several more '3' throughout the piece
51v–52r	Chi passa per sta strada'e non sospira	-	Azzaiolo, Filippo (fl. 1557-69)
Chi passa per sta strada'e non sospira Azzaiolo, Filippo (fl. 1557-69) Appears on: 51v–52r Number of voices: 4 General Note directly after the cut-c at the beginning comes a '3'
52v	Vorria morire per uscir di guai	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Vorria morire per uscir di guai Waelrant, Hubert (ca. 1517–1595) Appears on: 52v Source Attribution: Hubert Waelrant Number of voices: 4
53r	Vorria e non vorria questo vo dire	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Vorria e non vorria questo vo dire Waelrant, Hubert (ca. 1517–1595) Appears on: 53r Source Attribution: Hubert Waelrant Number of voices: 4 General Note scribe confusing ‘v’ and ‘b’ several times
53v	Ogniuno sapp'hor mai la pena mia	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Ogniuno sapp'hor mai la pena mia Waelrant, Hubert (ca. 1517–1595) Appears on: 53v Source Attribution: H. Waelrant Number of voices: 4
54r	Forsi perche core mio bell'hayme	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Forsi perche core mio bell'hayme Waelrant, Hubert (ca. 1517–1595) Appears on: 54r Source Attribution: Hubert Waelrant Number of voices: 4
54v	Quell' hora desiata sempr'aspetto	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Quell' hora desiata sempr'aspetto Waelrant, Hubert (ca. 1517–1595) Appears on: 54v Source Attribution: Hubert Waelrant Number of voices: 4
55r	Con tanto riguardare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Con tanto riguardare Waelrant, Hubert (ca. 1517–1595) Appears on: 55r Source Attribution: Hubert Waelrant Number of voices: 4
55v–56r	Stanco e solingo	-	Briaco
Stanco e solingo Briaco Appears on: 55v–56r Number of voices: 4
56v	Ancor che col partire	-	Caldarino, Giovanni Francesco
Ancor che col partire Caldarino, Giovanni Francesco Appears on: 56v Genres: Madrigal (Italian) Number of voices: 4
57r	Perche la vita e breve et l'ingegno	Archadelt	Arcadelt, Jacques (ca. 1507–1568)
Perche la vita e breve et l'ingegno Arcadelt, Jacques (ca. 1507–1568) Appears on: 57r Genres: Italian secular, Madrigal (Italian) Source Attribution: Archadelt Number of voices: 4
57v	Pastorella d'amor non fuggir	-	Ganassi, Alfonso
Pastorella d'amor non fuggir Ganassi, Alfonso Appears on: 57v Number of voices: 4
58r	Bernarde non puo stare	-	Azzaiolo, Filippo (fl. 1557-69)
Bernarde non puo stare Azzaiolo, Filippo (fl. 1557-69) Appears on: 58r Number of voices: 4
58v	O vilanella quand'a l'acqua vai	-	Azzaiolo, Filippo (fl. 1557-69)
O vilanella quand'a l'acqua vai Azzaiolo, Filippo (fl. 1557-69) Appears on: 58v Number of voices: 4
59r	E levaime d'una bella mattina	-	Azzaiolo, Filippo (fl. 1557-69)
E levaime d'una bella mattina Azzaiolo, Filippo (fl. 1557-69) Appears on: 59r Number of voices: 4
59v–60r	Girometta senza te	-	Azzaiolo, Filippo (fl. 1557-69)
Girometta senza te Azzaiolo, Filippo (fl. 1557-69) Appears on: 59v–60r Number of voices: 4
60v–61r	Mille gentil salute	-	Azzaiolo, Filippo (fl. 1557-69)
Mille gentil salute Azzaiolo, Filippo (fl. 1557-69) Appears on: 60v–61r Number of voices: 4
61v–62r	Bona via faccia barca	-	Azzaiolo, Filippo (fl. 1557-69)
Bona via faccia barca Azzaiolo, Filippo (fl. 1557-69) Appears on: 61v–62r Number of voices: 4
62v–63r	Vita de la mia vita	-	Lambertini
Vita de la mia vita Lambertini Appears on: 62v–63r Number of voices: 4
63v–64r	Ch'il credera s'il dico	-	Azzaiolo, Filippo (fl. 1557-69)
Ch'il credera s'il dico Azzaiolo, Filippo (fl. 1557-69) Appears on: 63v–64r Number of voices: 4
64v–65r	O pur donne belle	-	Azzaiolo, Filippo (fl. 1557-69)
O pur donne belle Azzaiolo, Filippo (fl. 1557-69) Appears on: 64v–65r Number of voices: 4
65v–66r	A d'altre lo voi dare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
A d'altre lo voi dare Waelrant, Hubert (ca. 1517–1595) Appears on: 65v–66r Source Attribution: Hubert Waelrant Number of voices: 4
66v–67r	Se ben da voi madonn'i fia lontano	H Waelrant	Waelrant, Hubert (ca. 1517–1595)
Se ben da voi madonn'i fia lontano Waelrant, Hubert (ca. 1517–1595) Appears on: 66v–67r Source Attribution: H Waelrant Number of voices: 4
67v–68r	O thou whose love I prize above my life	Mr Ford	Ford, Thomas
O thou whose love I prize above my life Ford, Thomas Appears on: 67v–68r Source Attribution: Mr Ford Number of voices: 3 General Note only beginning of text entered
68v–69r	O how my soul ravished	-	Ford, Thomas
O how my soul ravished Ford, Thomas Appears on: 68v–69r Number of voices: 3 General Note only beginning of text entered
69v–70r	Who ever smelt the breath of morning flowers	-	Ford, Thomas
Who ever smelt the breath of morning flowers Ford, Thomas Appears on: 69v–70r Number of voices: 3 General Note only beginning of text entered
70v–71r	Go, wounded Soul	-	Ford, Thomas
Go, wounded Soul Ford, Thomas Appears on: 70v–71r Number of voices: 3 General Note only beginning of text entered; second line of f. 71 (with the last few notes of the music) does not have the flat noted
71v–72r	My love is like a Garden	-	Ford, Thomas
My love is like a Garden Ford, Thomas Appears on: 71v–72r Number of voices: 3 General Note only beginning of text entered
72v–73r	What curious face	-	Ford, Thomas
What curious face Ford, Thomas Appears on: 72v–73r Number of voices: 3 General Note only beginning of text entered
73v–74r	Come forth, my dear	-	Ford, Thomas
Come forth, my dear Ford, Thomas Appears on: 73v–74r Number of voices: 3 General Note only beginning of text entered
74v–75r	Now sleepes my love	-	Ford, Thomas
Now sleepes my love Ford, Thomas Appears on: 74v–75r Number of voices: 3 General Note only beginning of text entered
75v–76r	What greater Joy	-	Ford, Thomas
What greater Joy Ford, Thomas Appears on: 75v–76r Number of voices: 3 General Note only beginning of text entered
76v–77r	Strike thou the Anvil	-	Ford, Thomas
Strike thou the Anvil Ford, Thomas Appears on: 76v–77r Number of voices: 3 General Note only beginning of text entered
77v–92r	blank staves (with space for initial letters at beginning of the top line on versos)	-	-
blank staves (with space for initial letters at beginning of the top line on versos) Appears on: 77v–92r General Note f. 92r fully blank
92v–93r	O combien est malheurex le desir dont	Claudin	Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?)
O combien est malheurex le desir dont Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?) Appears on: 92v–93r Genres: Chanson Source Attribution: Claudin Number of voices: 4 General Note initial 'O' elaborately in blue (title and composer in red)
93v	Bon jour mon coeur bon jour ma douce vie	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Bon jour mon coeur bon jour ma douce vie Lassus, Orlande de (ca. 1532–1594) Appears on: 93v Genres: Chanson Source Attribution: Orlando di lassus Number of voices: 4 General Note last few notes of music on additional stave in bottom margin
94r	Au pres de vous secretement demeure	-	Sermisy, Claudin de (ca. 1490–1562)
Au pres de vous secretement demeure Sermisy, Claudin de (ca. 1490–1562) Appears on: 94r Genres: Chanson Number of voices: 4
94v–95r	Je fille quant Dieu ne donne de quoi	Gosse	Jonckers, Maistre Gosse
Je fille quant Dieu ne donne de quoi Jonckers, Maistre Gosse Appears on: 94v–95r Source Attribution: Gosse Number of voices: 4
95v–96r	La la la je ne lose dire la la la	-	Certon, Pierre (–ca. 1572)
La la la je ne lose dire la la la Certon, Pierre (–ca. 1572) Appears on: 95v–96r Genres: Chanson Number of voices: 4
96v–97r	Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant	-	Sermisy, Claudin de (ca. 1490–1562)
Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant Sermisy, Claudin de (ca. 1490–1562) Appears on: 96v–97r Genres: Chanson Number of voices: 4
97v–98r	Le voulez vous bien dame que je couche	-	Waelrant, Hubert (ca. 1517–1595)
Le voulez vous bien dame que je couche Waelrant, Hubert (ca. 1517–1595) Appears on: 97v–98r Number of voices: 4
98v	Il me suffit de tous mes maulx	-	Sermisy, Claudin de (ca. 1490–1562)
Il me suffit de tous mes maulx Sermisy, Claudin de (ca. 1490–1562) Appears on: 98v Genres: Chanson Number of voices: 4
99r	Pour un plaisir que si peu dure	-	Sermisy, Claudin de (ca. 1490–1562)
Pour un plaisir que si peu dure Sermisy, Claudin de (ca. 1490–1562) Appears on: 99r Number of voices: 4
99v–100r	Celle qui m'a tant pourmené	-	Sermisy, Claudin de (ca. 1490–1562)
Celle qui m'a tant pourmené Sermisy, Claudin de (ca. 1490–1562) Appears on: 99v–100r Genres: Chanson Number of voices: 4
100v–101r	Doulce memoire en plaisir consommée	Sandrin	Sandrin, Pierre (ca. 1490–ca. 1560) (?) Manchicourt, Pierre de (?)
Doulce memoire en plaisir consommée Sandrin, Pierre (ca. 1490–ca. 1560) (?) Manchicourt, Pierre de (?) Appears on: 100v–101r Genres: Chanson Source Attribution: Sandrin Number of voices: 4
101v–102r	Vous perdez temps de me dire mal d'elle	-	Crecquillon, Thomas (ca. 1505–ca. 1557) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?)
Vous perdez temps de me dire mal d'elle Crecquillon, Thomas (ca. 1505–ca. 1557) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?) Appears on: 101v–102r Genres: Chanson Number of voices: 4
102v–103r	D'ou [dont] vient cela belle je vous supply	-	Sermisy, Claudin de (ca. 1490–1562)
D'ou [dont] vient cela belle je vous supply Sermisy, Claudin de (ca. 1490–1562) Appears on: 102v–103r Genres: Italian secular Number of voices: 4
103r	Si je ne voy m'amie, je mourrai de doleur	-	Willaert, Adrian (ca. 1490–1562)
Si je ne voy m'amie, je mourrai de doleur Willaert, Adrian (ca. 1490–1562) Appears on: 103r Number of voices: 4
103v–104r	Ce faux amour d'arc et de fléches s'arme	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Ce faux amour d'arc et de fléches s'arme Lassus, Orlande de (ca. 1532–1594) Appears on: 103v–104r Genres: Chanson Source Attribution: Orlando di lassus Number of voices: 4
104v–105r	Une bergiere ung jour aux champs estoit	-	Passereau, Pierre (fl. c1509–1547) (?) Marle, Nicolas de Marle, Nicolas de (?)
Une bergiere ung jour aux champs estoit Passereau, Pierre (fl. c1509–1547) (?) Marle, Nicolas de Marle, Nicolas de (?) Appears on: 104v–105r Genres: Chanson Number of voices: 4
105v–121v	blank staves (with space for initial letters at beginning of the top line on versos)	-	-
blank staves (with space for initial letters at beginning of the top line on versos) Appears on: 105v–121v General Note folio numbers entered in ink up to (and including) f. 111

Composer	Compositions
Anonymous	Ecco la stagion novella – 4v–5r Ia passo il tiempo lo tiempo es passado – 5v–6r Io ch' tropp' alt'amor volti seguire – 6v–7r No gia mai non cangero – 1v–2r Non credo gia che piu infelice amante – 2v–3r Pace non trov'et non ho da far guerra – 3v–4r Stava la gentil dama all'ombra – 7v–8r [No description] – 105v–121v [No description] – 77v–92r
Arcadelt, Jacques (ca. 1507-1568)	Perche la vita e breve et l'ingegno – 57r
Azzaiolo, Filippo (1557-69)	Aldi dolce ben mio – 12v–13r Bernarde non puo stare – 58r Bona via faccia barca – 61v–62r Ch'il credera s'il dico – 63v–64r Chi passa per sta strada'e non sospira – 51v–52r Da l'horto se ne vien la vilanella – 41v–42r E levaime d'una bella mattina – 59r E mi levai d'una bella mattina – e4v–1r Gentil madonna del mio cor patrona – 50v–51r Girometta senza te – 59v–60r Mille gentil salute – 60v–61r O pur donne belle – 64v–65r O vilanella quand'a l'acqua vai – 58v Vorrei che tu cantassi una canzone – 42v
Briaco	Stanco e solingo – 55v–56r
Caldarino, Giovanni Francesco	Ancor che col partire – 56v
Certon, Pierre (-ca. 1572)	La la la je ne lose dire la la la – 95v–96r
Crecquillon, Thomas (ca. 1505-ca. 1557)	(?) Vous perdez temps de me dire mal d'elle – 101v–102r
Donato, Baldassare (ca. 1529-1603)	Li nostri preti han questa buon'usanza – 17v–18r O dolce vita mia, non mi far guerra – 30v–31r O quant amore sempre t'ho portato – 35v–36r Occhi lucent' assai piu che le stelle – 27v–28r Se sai ch'io t'amo et piu che me t'honoro – 29v–30r
Ford, Thomas	Come forth, my dear – 73v–74r Go, wounded Soul – 70v–71r My love is like a Garden – 71v–72r Now sleepes my love – 74v–75r O how my soul ravished – 68v–69r O thou whose love I prize above my life – 67v–68r Strike thou the Anvil – 76v–77r What curious face – 72v–73r What greater Joy – 75v–76r Who ever smelt the breath of morning flowers – 69v–70r
Ganassi, Alfonso	Pastorella d'amor non fuggir – 57v
Jonckers, Maistre Gosse	Je fille quant Dieu ne donne de quoi – 94v–95r
Lambertini	Vita de la mia vita – 62v–63r
Lassus, Orlande de (ca. 1532-1594)	Bon jour mon coeur bon jour ma douce vie – 93v Ce faux amour d'arc et de fléches s'arme – 103v–104r La cortesia voi donne predicate ma mai – 24v–25r Madonna mia, pieta chiam'et aita – 22v–23r Sto core mio se fosse di diamante – 26r Tu sai madonna mia ch'io t'amo et voglio – 23v–24r Tu traditora m'hai puost'a sto core – 25v
Manchicourt, Pierre de	(?) Doulce memoire en plaisir consommée – 100v–101r
Marle, Nicolas de	Une bergiere ung jour aux champs estoit – 104v–105r (?) Une bergiere ung jour aux champs estoit – 104v–105r
Nasco, Jan	Che t'haggio fatto che m'hai tolto il core – 40v–41r Issa in bona fe quando sei bella – 39v–40r
Passereau, Pierre (c1509–1547)	(?) Une bergiere ung jour aux champs estoit – 104v–105r
Sandrin, Pierre (ca. 1490-ca. 1560)	(?) Doulce memoire en plaisir consommée – 100v–101r (?) O combien est malheurex le desir dont – 92v–93r (?) Vous perdez temps de me dire mal d'elle – 101v–102r
Sermisy, Claudin de (ca. 1490-1562)	Au pres de vous secretement demeure – 94r Celle qui m'a tant pourmené – 99v–100r D'ou [dont] vient cela belle je vous supply – 102v–103r Il me suffit de tous mes maulx – 98v (?) O combien est malheurex le desir dont – 92v–93r Pour un plaisir que si peu dure – 99r Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant – 96v–97r (?) Vous perdez temps de me dire mal d'elle – 101v–102r
Tubal, Adrian	Deh per ch'abbandonasti me – 36v–37r Donna voi sete bella – 15v–16r Fiamenga fredda core di diamante – 13v–14r La manza mia si chiama – 14v–15r Tanto sai fare con l'inamorati – 34r
Verdelot, Philippe (ca. 1480-ca. 1532)	Vita della mia vita quando gran tort – 11v–12r
Waelrant, Hubert (ca. 1517-1595)	A d'altre lo voi dare – 65v–66r Amar divers'amanti – 34v–35r Chiamo la mort'ogn'hor che me ne leva – 31v Con tanto riguardare – 55r Conza lavezzi siam s'havesti rotto madonna – 37v Forsi perche core mio bell'hayme – 54r Hor mai son quasi morto e tu n'ol credi – 48v–49r I dolci squardi toi, alta signora – 32v In tutto voi ch'io mor'o traditora – 44v La bella monicella ved'a messa – 47v–48r Le voulez vous bien dame que je couche – 97v–98r Madonn' habbi pieta del mio martire – 38r Madonna mia per te son quasi morto – 43v–44r Me bisogna servir questa crudele – 46v–47r Medici noi siamo, o donne belle – 45r Mill'anni sono ch'io non t'haggio vista – 26v–27r Mort' e pieta, l'amor la cortesia – 12r Non posso far cor mio, che pur non pianga – 33v Non t'ho possuto mai, donna mostrare – 28v–29r Non te recordi e quando mi dicevi – 38v–39r O Dio che fosse quella costumanza – 9v–10r Ogniuno sapp'hor mai la pena mia – 53v Paschino bello paschino – 20v–21r Port'acqu'al crin'e piglia vent'in rete – 45v–46r Quanti ne vedi tutt'a te li tiri – 43r Quell' hora desiata sempr'aspetto – 54v Se ben da voi madonn'i fia lontano – 66v–67r Se pur ti guardo dolce anima mia – 10v–11r Son molti giorni, haime, ch'io pers'il core – 49v–50r Son mort'e moro – 33r Sta constante cor mio, ch'io t'am'ogn'hora – 32r Tri ciechi siamo povr' innamorati – 16v–17r Tu sei la causa de la morte mia – 8v–9r Vorria e non vorria questo vo dire – 53r Vorria morire per uscir di guai – 52v
Willaert, Adrian (ca. 1490-1562)	E quand'a fato l'ovo la mattina – 21v–22r Madonna mia famme bon'offerta – 18v–19r Si je ne voy m'amie, je mourrai de doleur – 103r Vecchie letrose, non valete niente – 19v–20r

Composition	Composers (? Uncertain)	Folios / Pages
A d'altre lo voi dare	Waelrant, Hubert (ca. 1517–1595)	65v–66r
Aldi dolce ben mio	Azzaiolo, Filippo (fl. 1557-69)	12v–13r
Amar divers'amanti	Waelrant, Hubert (ca. 1517–1595)	34v–35r
Ancor che col partire	Caldarino, Giovanni Francesco	56v
Au pres de vous secretement demeure	Sermisy, Claudin de (ca. 1490–1562)	94r
Bernarde non puo stare	Azzaiolo, Filippo (fl. 1557-69)	58r
Bon jour mon coeur bon jour ma douce vie	Lassus, Orlande de (ca. 1532–1594)	93v
Bona via faccia barca	Azzaiolo, Filippo (fl. 1557-69)	61v–62r
Ce faux amour d'arc et de fléches s'arme	Lassus, Orlande de (ca. 1532–1594)	103v–104r
Celle qui m'a tant pourmené	Sermisy, Claudin de (ca. 1490–1562)	99v–100r
Ch'il credera s'il dico	Azzaiolo, Filippo (fl. 1557-69)	63v–64r
Che t'haggio fatto che m'hai tolto il core	Nasco, Jan	40v–41r
Chi passa per sta strada'e non sospira	Azzaiolo, Filippo (fl. 1557-69)	51v–52r
Chiamo la mort'ogn'hor che me ne leva	Waelrant, Hubert (ca. 1517–1595)	31v
Come forth, my dear	Ford, Thomas	73v–74r
Con tanto riguardare	Waelrant, Hubert (ca. 1517–1595)	55r
Conza lavezzi siam s'havesti rotto madonna	Waelrant, Hubert (ca. 1517–1595)	37v
D'ou [dont] vient cela belle je vous supply	Sermisy, Claudin de (ca. 1490–1562)	102v–103r
Da l'horto se ne vien la vilanella	Azzaiolo, Filippo (fl. 1557-69)	41v–42r
Deh per ch'abbandonasti me	Tubal, Adrian	36v–37r
Donna voi sete bella	Tubal, Adrian	15v–16r
Doulce memoire en plaisir consommée	Sandrin, Pierre (ca. 1490–ca. 1560) (?) Manchicourt, Pierre de (?)	100v–101r
E levaime d'una bella mattina	Azzaiolo, Filippo (fl. 1557-69)	59r
E mi levai d'una bella mattina	Azzaiolo, Filippo (fl. 1557-69)	e4v–1r
E quand'a fato l'ovo la mattina	Willaert, Adrian (ca. 1490–1562)	21v–22r
Ecco la stagion novella	Anonymous	4v–5r
Fiamenga fredda core di diamante	Tubal, Adrian	13v–14r
Forsi perche core mio bell'hayme	Waelrant, Hubert (ca. 1517–1595)	54r
Gentil madonna del mio cor patrona	Azzaiolo, Filippo (fl. 1557-69)	50v–51r
Girometta senza te	Azzaiolo, Filippo (fl. 1557-69)	59v–60r
Go, wounded Soul	Ford, Thomas	70v–71r
Hor mai son quasi morto e tu n'ol credi	Waelrant, Hubert (ca. 1517–1595)	48v–49r
I dolci squardi toi, alta signora	Waelrant, Hubert (ca. 1517–1595)	32v
Ia passo il tiempo lo tiempo es passado	Anonymous	5v–6r
Il me suffit de tous mes maulx	Sermisy, Claudin de (ca. 1490–1562)	98v
In tutto voi ch'io mor'o traditora	Waelrant, Hubert (ca. 1517–1595)	44v
Io ch' tropp' alt'amor volti seguire	Anonymous	6v–7r
Issa in bona fe quando sei bella	Nasco, Jan	39v–40r
Je fille quant Dieu ne donne de quoi	Jonckers, Maistre Gosse	94v–95r
La bella monicella ved'a messa	Waelrant, Hubert (ca. 1517–1595)	47v–48r
La cortesia voi donne predicate ma mai	Lassus, Orlande de (ca. 1532–1594)	24v–25r
La la la je ne lose dire la la la	Certon, Pierre (–ca. 1572)	95v–96r
La manza mia si chiama	Tubal, Adrian	14v–15r
Le voulez vous bien dame que je couche	Waelrant, Hubert (ca. 1517–1595)	97v–98r
Li nostri preti han questa buon'usanza	Donato, Baldassare (ca. 1529–1603)	17v–18r
Madonn' habbi pieta del mio martire	Waelrant, Hubert (ca. 1517–1595)	38r
Madonna mia famme bon'offerta	Willaert, Adrian (ca. 1490–1562)	18v–19r
Madonna mia per te son quasi morto	Waelrant, Hubert (ca. 1517–1595)	43v–44r
Madonna mia, pieta chiam'et aita	Lassus, Orlande de (ca. 1532–1594)	22v–23r
Me bisogna servir questa crudele	Waelrant, Hubert (ca. 1517–1595)	46v–47r
Medici noi siamo, o donne belle	Waelrant, Hubert (ca. 1517–1595)	45r
Mill'anni sono ch'io non t'haggio vista	Waelrant, Hubert (ca. 1517–1595)	26v–27r
Mille gentil salute	Azzaiolo, Filippo (fl. 1557-69)	60v–61r
Mort' e pieta, l'amor la cortesia	Waelrant, Hubert (ca. 1517–1595)	12r
My love is like a Garden	Ford, Thomas	71v–72r
No gia mai non cangero	Anonymous	1v–2r
Non credo gia che piu infelice amante	Anonymous	2v–3r
Non posso far cor mio, che pur non pianga	Waelrant, Hubert (ca. 1517–1595)	33v
Non t'ho possuto mai, donna mostrare	Waelrant, Hubert (ca. 1517–1595)	28v–29r
Non te recordi e quando mi dicevi	Waelrant, Hubert (ca. 1517–1595)	38v–39r
Now sleepes my love	Ford, Thomas	74v–75r
O combien est malheurex le desir dont	Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?)	92v–93r
O Dio che fosse quella costumanza	Waelrant, Hubert (ca. 1517–1595)	9v–10r
O dolce vita mia, non mi far guerra	Donato, Baldassare (ca. 1529–1603)	30v–31r
O how my soul ravished	Ford, Thomas	68v–69r
O pur donne belle	Azzaiolo, Filippo (fl. 1557-69)	64v–65r
O quant amore sempre t'ho portato	Donato, Baldassare (ca. 1529–1603)	35v–36r
O thou whose love I prize above my life	Ford, Thomas	67v–68r
O vilanella quand'a l'acqua vai	Azzaiolo, Filippo (fl. 1557-69)	58v
Occhi lucent' assai piu che le stelle	Donato, Baldassare (ca. 1529–1603)	27v–28r
Ogniuno sapp'hor mai la pena mia	Waelrant, Hubert (ca. 1517–1595)	53v
Pace non trov'et non ho da far guerra	Anonymous	3v–4r
Paschino bello paschino	Waelrant, Hubert (ca. 1517–1595)	20v–21r
Pastorella d'amor non fuggir	Ganassi, Alfonso	57v
Perche la vita e breve et l'ingegno	Arcadelt, Jacques (ca. 1507–1568)	57r
Port'acqu'al crin'e piglia vent'in rete	Waelrant, Hubert (ca. 1517–1595)	45v–46r
Pour un plaisir que si peu dure	Sermisy, Claudin de (ca. 1490–1562)	99r
Quanti ne vedi tutt'a te li tiri	Waelrant, Hubert (ca. 1517–1595)	43r
Quell' hora desiata sempr'aspetto	Waelrant, Hubert (ca. 1517–1595)	54v
Se ben da voi madonn'i fia lontano	Waelrant, Hubert (ca. 1517–1595)	66v–67r
Se pur ti guardo dolce anima mia	Waelrant, Hubert (ca. 1517–1595)	10v–11r
Se sai ch'io t'amo et piu che me t'honoro	Donato, Baldassare (ca. 1529–1603)	29v–30r
Si je ne voy m'amie, je mourrai de doleur	Willaert, Adrian (ca. 1490–1562)	103r
Son molti giorni, haime, ch'io pers'il core	Waelrant, Hubert (ca. 1517–1595)	49v–50r
Son mort'e moro	Waelrant, Hubert (ca. 1517–1595)	33r
Sta constante cor mio, ch'io t'am'ogn'hora	Waelrant, Hubert (ca. 1517–1595)	32r
Stanco e solingo	Briaco	55v–56r
Stava la gentil dama all'ombra	Anonymous	7v–8r
Sto core mio se fosse di diamante	Lassus, Orlande de (ca. 1532–1594)	26r
Strike thou the Anvil	Ford, Thomas	76v–77r
Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant	Sermisy, Claudin de (ca. 1490–1562)	96v–97r
Tanto sai fare con l'inamorati	Tubal, Adrian	34r
Tri ciechi siamo povr' innamorati	Waelrant, Hubert (ca. 1517–1595)	16v–17r
Tu sai madonna mia ch'io t'amo et voglio	Lassus, Orlande de (ca. 1532–1594)	23v–24r
Tu sei la causa de la morte mia	Waelrant, Hubert (ca. 1517–1595)	8v–9r
Tu traditora m'hai puost'a sto core	Lassus, Orlande de (ca. 1532–1594)	25v
Une bergiere ung jour aux champs estoit	Passereau, Pierre (fl. c1509–1547) (?) Marle, Nicolas de Marle, Nicolas de (?)	104v–105r
Vecchie letrose, non valete niente	Willaert, Adrian (ca. 1490–1562)	19v–20r
Vita de la mia vita	Lambertini	62v–63r
Vita della mia vita quando gran tort	Verdelot, Philippe (ca. 1480–ca. 1532)	11v–12r
Vorrei che tu cantassi una canzone	Azzaiolo, Filippo (fl. 1557-69)	42v
Vorria e non vorria questo vo dire	Waelrant, Hubert (ca. 1517–1595)	53r
Vorria morire per uscir di guai	Waelrant, Hubert (ca. 1517–1595)	52v
Vous perdez temps de me dire mal d'elle	Crecquillon, Thomas (ca. 1505–ca. 1557) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?)	101v–102r
What curious face	Ford, Thomas	72v–73r
What greater Joy	Ford, Thomas	75v–76r
Who ever smelt the breath of morning flowers	Ford, Thomas	69v–70r

Images © The Warden and Scholars of Winchester College

Set: TUDOR PARTBOOKS

Type: Project Collection

GB-CF MS D/DP Z6/1

GB-CF MS D/DP Z6/2

GB-Cfm MU MS 1005 (Fayrfax fragments)

GB-Cgc MS 667/760 (Caius Choirbook)

GB-Cjc MS 234 (K.31)

GB-Ckc Rowe 316

GB-Cp MS 31 [Contratenor] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 32 [Bassus] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 40 [Triplex] (Peterhouse Partbooks: Henrician Set)

GB-Cp MS 41 [Medius] (Peterhouse Partbooks: Henrician Set)

GB-Cqcl Old Library G.4.17

GB-Cu Dd.13.27

GB-DORmcghie McGhie manuscript

GB-Lbl [pr. bk.] C. 52. b. 21

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Altus]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Discantus]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Medius]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 1 [Tenor]

No images available

GB-Lbl [pr. bk.] Music Library K. 2. f. 13

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Altus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Bassus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Discantus]

No images available

GB-Lbl [pr. bk.] Music Library K. 3. f. 9 [Tenor]

GB-Lbl Add. MS 4900

GB-Lbl Add. MS 15166

GB-Lbl Add. MS 17802 (Gyffard Partbooks)

GB-Lbl Add. MS 17803 (Gyffard Partbooks)

GB-Lbl Add. MS 17804 (Gyffard Partbooks)

GB-Lbl Add. MS 17805 (Gyffard Partbooks)

GB-Lbl Add. MS 22597

GB-Lbl Add. MS 29996

GB-Lbl Add. MS 30480 (Hamond Partbooks)

GB-Lbl Add. MS 30481 (Hamond Partbooks)

GB-Lbl Add. MS 30482 (Hamond Partbooks)

GB-Lbl Add. MS 30483 (Hamond Partbooks)

GB-Lbl Add. MS 30484 (Hamond Partbooks)

GB-Lbl R.M.24.d.2 (Baldwin Commonplace Book)

GB-Lbl Royal Appendix 12

GB-Lbl Royal Appendix 13

GB-Lbl Royal Appendix 14

GB-Lbl Royal Appendix 15

GB-Lbl Royal Appendix 16

GB-Lbl Royal Appendix 17

GB-Lbl Royal Appendix 18

GB-Lbl Royal Appendix 19

GB-Lbl Royal Appendix 20

GB-Lbl Royal Appendix 21

GB-Lbl Royal Appendix 22

GB-Lbl Royal Appendix 23

GB-Lbl Royal Appendix 24

GB-Lbl Royal Appendix 25

GB-Lbl Royal Appendix 26

GB-Lbl Royal Appendix 27

GB-Lbl Royal Appendix 28

GB-Lbl Royal Appendix 29

GB-Lbl Royal Appendix 30

GB-Lbl Royal Appendix 31

GB-Lbl Royal Appendix 32

GB-Lbl Royal Appendix 33

GB-Lbl Royal Appendix 34

GB-Lbl Royal Appendix 35

No images available

GB-Lbl Royal Appendix 41

No images available

GB-Lbl Royal Appendix 42

No images available

GB-Lbl Royal Appendix 43

No images available

GB-Lbl Royal Appendix 44

GB-Lbl Royal Appendix 45 (Ludford)

GB-Lbl Royal Appendix 46 (Ludford)

GB-Lbl Royal Appendix 47 (Ludford)

GB-Lbl Royal Appendix 48 (Ludford)

GB-Lbl Royal Appendix 49

GB-Lbl Royal Appendix 50

GB-Lbl Royal Appendix 51

GB-Lbl Royal Appendix 52

GB-Lbl Royal Appendix 53

GB-Lbl Royal Appendix 54

GB-Lbl Royal Appendix 56

No images available

GB-Lbl Royal Appendix 57

GB-Lbl Royal Appendix 58

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GB-Lbl Royal Appendix 59

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GB-Lbl Royal Appendix 60

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GB-Lbl Royal Appendix 61

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GB-Lbl Royal Appendix 62

GB-Lbl Royal Appendix 74 (Lumley)

GB-Lbl Royal Appendix 75 (Lumley)

GB-Lbl Royal Appendix 76 (Lumley)

No images available

GB-Lcm [pr. bk.] B187

No images available

GB-Lcm [pr. bk.] B190 [Altus]

No images available

GB-Lcm [pr. bk.] B190 [Bassus]

No images available

GB-Lcm [pr. bk.] B190 [Discantus]

No images available

GB-Lcm [pr. bk.] B190 [Tenor]

GB-Llp MS 1 (Lambeth Choirbook; Arundel Choirbook)

GB-Lna SP I/246

GB-Ob MS. Mus. c. 784 (Willmott Manuscript)

GB-Ob MS. Mus. d. 103

GB-Ob MS. Mus. e. 1 (Sadler Partbooks)

GB-Ob MS. Mus. e. 2 (Sadler Partbooks)

GB-Ob MS. Mus. e. 3 (Sadler Partbooks)

GB-Ob MS. Mus. e. 4 (Sadler Partbooks)

GB-Ob MS. Mus. e. 5 (Sadler Partbooks)

GB-Ob MS. Mus. e. 21

GB-Ob MS. Mus. Sch. e. 376 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 377 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 378 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 379 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 380 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 381 (Forrest-Heather Partbooks)

GB-Ob MS. Mus. Sch. e. 420 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 421 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 422 (Wanley Partbooks)

GB-Ob MS. Mus. Sch. e. 423

GB-Ob MS. Tenbury 341

GB-Ob MS. Tenbury 342

GB-Ob MS. Tenbury 343

GB-Ob MS. Tenbury 344

GB-Ob MS. Tenbury 389

No images available

GB-Ob MS. Tenbury 807

No images available

GB-Ob MS. Tenbury 808

No images available

GB-Ob MS. Tenbury 809

No images available

GB-Ob MS. Tenbury 810

No images available

GB-Ob MS. Tenbury 811

No images available

GB-Ob MS. Tenbury 1382 (Southwell Tenor Book)

GB-Ob MS. Tenbury 1464

GB-Ob MS. Tenbury 1486 (Braikenridge Manuscript)

No images available

GB-Och Mus. 45

GB-Och Mus. 979 (Baldwin Partbooks)

GB-Och Mus. 980 (Baldwin Partbooks)

GB-Och Mus. 981 (Baldwin Partbooks)

GB-Och Mus. 982 (Baldwin Partbooks)

GB-Och Mus. 983 (Baldwin Partbooks)

GB-Och Mus. 984 (Dow Partbooks)

GB-Och Mus. 985 (Dow Partbooks)

GB-Och Mus. 986 (Dow Partbooks)

GB-Och Mus. 987 (Dow Partbooks)

GB-Och Mus. 988 (Dow Partbooks)

GB-Odiamm Contratenor partbook in private ownership (contact DIAMM)

GB-W X4/34/3 (Fayrfax fragments)

GB-WCc MS 153 Bassus (Winchester Partbooks)

GB-WCc MS 153 Contra Altus (Winchester Partbooks)

GB-WCc MS 153 Discantus (Winchester Partbooks)

GB-WCc MS 153 Tenor (Winchester Partbooks)

GB-WRec MS 178 (Eton Choirbook)

No images available

IRL-Dm [pr. bk.] Z4. 3. 1-5

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Altus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Bassus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Discantus]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Superius (Quintus)]

No images available

IRL-Dtc [pr. bk.] OLS. 192. n. 40 [Tenor]

No images available

US-NYp Mus. Res. *MNZ (Chirk) [1] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [2] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [3] (Chirk Castle Partbooks)

No images available

US-NYp Mus. Res. *MNZ (Chirk) [4] (Chirk Castle Partbooks)

US-NYp Mus. Res. Drexel 4180

US-NYp Mus. Res. Drexel 4181

No images available

US-NYp Mus. Res. Drexel 4182

US-NYp Mus. Res. Drexel 4183

US-NYp Mus. Res. Drexel 4184

US-NYp Mus. Res. Drexel 4185

US-Ws V.a. 408

Set: Winchester Partbooks

Type: Partbooks

GB-WCc MS 153 Bassus (Winchester Partbooks)

GB-WCc MS 153 Contra Altus (Winchester Partbooks)

GB-WCc MS 153 Discantus (Winchester Partbooks)

GB-WCc MS 153 Tenor (Winchester Partbooks)

‡ denotes primary source study

Forney, Kristine K. 1999. A Gift of Madrigals and Chansons: The Winchester Part Books and the Courtship of Elizabeth I by Erik XIV of Sweden. The Journal of Musicology, 17: 50-75.

Ritterman, Janet. 1977. The Winchester College Part Books: A study of the manuscript with a transcription of the French chansons. King's College (London), Unpublished M.Mus. thesis. Notes: physical description; contents list; concordances; transcription (partial); texts (partial); mention of MS; discussion.

Bernstein, Jane Agar. 1974. The Chanson in England 1530-1640: A Study of Sources and Styles. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 43-52. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Weaver, Robert Lee. 1971. The Motets of Hubert Waelrant (c. 1517-1595). Syracuse University, Unpublished Ph.D. dissertation. Pages: I, 54-9 II, 75-6 [referred to as MS Appendix No. i]. Notes: physical description (partial); contents list (partial); mention of MS; discussion.

Allaire, Gaston Georges, and Isabelle Anne-Marie Cazeaux (editors). 1970. Claudin de Sermisy: Opera Omnia. Corpus mensurabilis musicae, vol. 52. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: IV, xi. Notes: contents list (partial); concordances (partial).

Piel, Walter. 1969. Studien zum Leben und Schaffen Hubert Waelrants. Marburger Beiträge zur Musikforschung, vol. 3. Marburg. Pages: 79-80, 258 [referred to as MS 121.43]. Notes: contents list (partial); mention of MS; discussion.

Boetticher, Wolfgang. 1958. Orlando di Lasso und seine Zeit. 1532-1594. Repertoire-Untersuchungen zur Musik der Spätrenaissance, vol. I. Kassel and Basel. Pages: 837. Notes: physical description (partial).

Westrup, Jack A (editor). 1954-. New Oxford History of Music. London, New York, and Toronto. Pages: IV, 83-4. Notes: mention of MS.

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Loose Arnold

Monday, 15 April, 2024

Pointed out that 'E quando ha fato l'ovo la mattina' (Adrian Willaert) is ascribed to Tiberio Fabrianese in *Il primo libro di canzon villanesche alla Napolitana* (Venice, 1551).

DIAMM, 2016

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. General Description; Binding Note; Notation Note; Ruling Note; Foliation Note; Foliation Note; Decoration Note; Contents Note; Surface Note

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