B-Br MS II.4109

KBR (Koninklijke Bibliotheek / Bibliothèque royale), Brussels, Belgium

tablebook: c. 1612-6

Archive	KBR (Koninklijke Bibliotheek / Bibliothèque royale), Brussels, Belgium (B-Br)
Shelfmark	MS II.4109
Image Availability	DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface	Paper
Numbering System	Pagination
Format	portrait
Measurements	283 x 185 mm
Other Identifiers	CCM: BrusBR II.4109 olim (Former shelfmark): Fetis 3095
Notations	black void mensural
Copyists	Myriell, Thomas Music
Relationships	? Fanshawe, Sir Henry (owner) Reed, Isaac (owner) Fetis, Francois-Joseph (1784–1871) (owner) Bibliothèque Royale (owner) Myriell, Thomas (owner) ? Ward, John (ca. 1589–ca. 1638) (owner)
External Links	images
Provenance	London, England
Contents	108 pieces from 14 composers

General Description

A tablebook (voice parts copied to be readable by performers around a table). Organised in alternating sections of 4vv & 5vv pieces (with one section of 3vv pieces).

Copied by Thomas Myriell (see below), who also wrote LonBL 29372-7, part of LonBL 29427, and several other manuscripts not within scope of this catalogue (see MonsonM and WillettsMC). Copied in London or vicinity.

Originally owned by the clergyman Thomas Myriell, who began his career in Cambridge, moved to Barnet (near London) c. 1610, then served as rector of St. Stephen's Walbrook in London from 1616 until his death in 1625. Possible subsequent owners include the composer John Ward, and Ward's patron, Sir Henry Fanshawe, of London and Ware, Hertfordshire.

Purchased in Ware (from Fanshawe family?) by the bibliophile Isaac Reed in 1784. Later owned by François-Joseph Fétis (1784-1871); passed to Bibliothèque Royale in 1877.

DIAMM, 2017

Physical Description

incomplete with the loss of some pages at the end

DIAMM, 2022

Binding

Original covers of brown leather over boards, with medallion stamped in gold front and back

DIAMM, 2017

Watermark

pot with flowers, surmounted by four-leaf clover or crescent (neither variant in Briquet)

DIAMM, 2017

Notation

black void mensural

DIAMM, 2017

Date

Ca. 1612-6 (MonsonM).

DIAMM, 2017

Foliation

New red ink pagination, 1-212

DIAMM, 2017

Decoration

Inked historiated initials, some with simple floral designs

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.

13 motets, 3 anthems, 84 English secular pieces, 2 French secular pieces, 1 Italian secular piece = 103

F. Anerio-2, G. Bassano-1, Byrd-27, Croce-3, (Deering)-1, (Dowland)-15, M. East-10, Farmer-4, R. Jones II-7, Lassus-2, Morley-18, Tallis-4, Weelkes-8, anon-1

iv + 106 + i paper folios, 283 x 185. New red ink pagination, 1-212. Original covers of brown leather over boards, with medallion stamped in gold front and back. No index. Copied by Thomas Myriell (see below), who also wrote LonBL 29372-7, part of LonBL 29427, and several other manuscripts not within scope of this catalogue (see MonsonM and WillettsMC). Voice parts copied to be readable by performers around a table. Inked historiated initials, some with simple floral designs. Watermark: pot with flowers, surmounted by four-leaf clover or crescent (neither variant in Briquet).

Ca. 1612-6 (MonsonM). Copied in London or vicinity. Originally owned by the clergyman Thomas Myriell, who began his career in Cambridge, moved to Barnet (near London) ca. 1610, then served as rector of St. Stephen's Walbrook in London from 1616 until his death in 1625. Possible subsequent owners include the composer John Ward, and Ward's patron, Sir Henry Fanshawe, of London and Ware, Hertfordshire. Purchased in Ware (from Fanshawe family?) by the bibliophile Isaac Reed in 1784. Later owned by François-Joseph Fétis (1784-1871); passed to Bibliothèque Royale in 1877.

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)
2–3	If my complaints	-	Dowland, John (1563–1626)
If my complaints Dowland, John (1563–1626) Appears on: 2–3 Genres: Consort song Number of voices: 4
4–5	Can she excuse my wrongs	-	Dowland, John (1563–1626)
Can she excuse my wrongs Dowland, John (1563–1626) Appears on: 4–5 Genres: Consort song Number of voices: 4
6–7	Now oh now I needs must part	-	Dowland, John (1563–1626)
Now oh now I needs must part Dowland, John (1563–1626) Appears on: 6–7 Genres: Consort song Number of voices: 4
8–9	Away with these self-loving lads	-	Dowland, John (1563–1626)
Away with these self-loving lads Dowland, John (1563–1626) Appears on: 8–9 Genres: Consort song Number of voices: 4
10–11	Burst forth my tears	-	Dowland, John (1563–1626)
Burst forth my tears Dowland, John (1563–1626) Appears on: 10–11 Genres: Consort song Number of voices: 4
12–13	Sleep wayward thoughts	-	Dowland, John (1563–1626)
Sleep wayward thoughts Dowland, John (1563–1626) Appears on: 12–13 Genres: Consort song Number of voices: 4
14–15	Come again sweet love doth now invite	-	Dowland, John (1563–1626)
Come again sweet love doth now invite Dowland, John (1563–1626) Appears on: 14–15 Genres: Consort song Number of voices: 4
16–17	His golden locks	-	Dowland, John (1563–1626)
His golden locks Dowland, John (1563–1626) Appears on: 16–17 Genres: Consort song Number of voices: 4
18–19	Dear if you change	-	Dowland, John (1563–1626)
Dear if you change Dowland, John (1563–1626) Appears on: 18–19 Genres: Consort song Number of voices: 4
20–21	Humour say	-	Dowland, John (1563–1626)
Humour say Dowland, John (1563–1626) Appears on: 20–21 Genres: Consort song Number of voices: 4
22–23	A shepherd in a shade	-	Dowland, John (1563–1626)
A shepherd in a shade Dowland, John (1563–1626) Appears on: 22–23 Genres: Consort song Number of voices: 4
24–25	If floods of tears	-	Dowland, John (1563–1626)
If floods of tears Dowland, John (1563–1626) Appears on: 24–25 Genres: Consort song Number of voices: 4
26–27	Toss not my soul	-	Dowland, John (1563–1626)
Toss not my soul Dowland, John (1563–1626) Appears on: 26–27 Genres: Consort song Number of voices: 4
28–29	Praise blindness eyes	-	Dowland, John (1563–1626)
Praise blindness eyes Dowland, John (1563–1626) Appears on: 28–29 Genres: Consort song Number of voices: 4
30–31	Shall I sue	-	Dowland, John (1563–1626)
Shall I sue Dowland, John (1563–1626) Appears on: 30–31 Genres: Consort song Number of voices: 4
32–33	Do you not know	T. Morley	Morley, Thomas (ca. 1557–1602)
Do you not know Morley, Thomas (ca. 1557–1602) Appears on: 32–33 Genres: Song Source Attribution: T. Morley Number of voices: 3
34–35	Thirsis o let pity	T. Morley	Morley, Thomas (ca. 1557–1602)
Thirsis o let pity Morley, Thomas (ca. 1557–1602) Appears on: 34–35 Genres: Song Source Attribution: T. Morley Number of voices: 3
36–37	Now must I die	-	Morley, Thomas (ca. 1557–1602)
Now must I die Morley, Thomas (ca. 1557–1602) Appears on: 36–37 Genres: Song Number of voices: 3
38–39	Lady if I through grief	-	Morley, Thomas (ca. 1557–1602)
Lady if I through grief Morley, Thomas (ca. 1557–1602) Appears on: 38–39 Genres: Song Number of voices: 3
40–41	Cease mine eyes	-	Morley, Thomas (ca. 1557–1602)
Cease mine eyes Morley, Thomas (ca. 1557–1602) Appears on: 40–41 Genres: Song Number of voices: 3
42–43	Arise, get up my dear	-	Morley, Thomas (ca. 1557–1602)
Arise, get up my dear Morley, Thomas (ca. 1557–1602) Appears on: 42–43 Genres: Song Number of voices: 3
44–45	Sprintime mantleth every brow	-	Morley, Thomas (ca. 1557–1602)
Sprintime mantleth every brow Morley, Thomas (ca. 1557–1602) Appears on: 44–45 Genres: Song Number of voices: 3
46–47	Eheu! Sustulerunt Dominum	T. Morley	Morley, Thomas (ca. 1557–1602)
Eheu! Sustulerunt Dominum Morley, Thomas (ca. 1557–1602) Appears on: 46–47 Genres: Motet Source Attribution: T. Morley Number of voices: 4
48–49	O amica mea - 2a pars (of 2): Dentes tui sicut greges	-	Morley, Thomas (ca. 1557–1602)
O amica mea - 2a pars (of 2): Dentes tui sicut greges Morley, Thomas (ca. 1557–1602) Appears on: 48–49 Genres: Motet Number of voices: 5
50–51	O amica mea - 1a pars (of 2): O amica mea	T. Morley	Morley, Thomas (ca. 1557–1602)
O amica mea - 1a pars (of 2): O amica mea Morley, Thomas (ca. 1557–1602) Appears on: 50–51 Genres: Motet Source Attribution: T. Morley Number of voices: 5
52–53	And the king was moved	-	Dering, Richard
And the king was moved Dering, Richard Appears on: 52–53 Genres: Motet Number of voices: 5
54–55	All at once well met	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
All at once well met Weelkes, Thomas (ca. 1576–1623) Appears on: 54–55 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
56–57	Give me my heart	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Give me my heart Weelkes, Thomas (ca. 1576–1623) Appears on: 56–57 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
58–59	Come clap - 1a pars (of 2): Come clap thy hands	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Come clap - 1a pars (of 2): Come clap thy hands Weelkes, Thomas (ca. 1576–1623) Appears on: 58–59 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
60–61	Come clap - 2a pars (of 2): Phillis hath sworn	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Come clap - 2a pars (of 2): Phillis hath sworn Weelkes, Thomas (ca. 1576–1623) Appears on: 60–61 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
62–63	Unto our flocks	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Unto our flocks Weelkes, Thomas (ca. 1576–1623) Appears on: 62–63 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
64–65	Now is my Cloris fresh	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Now is my Cloris fresh Weelkes, Thomas (ca. 1576–1623) Appears on: 64–65 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
66–67	Cease now delight	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Cease now delight Weelkes, Thomas (ca. 1576–1623) Appears on: 66–67 Genres: Song Source Attribution: T. Weelkes Number of voices: 6
68–69	Farewell my joy	T. Weelkes	Weelkes, Thomas (ca. 1576–1623)
Farewell my joy Weelkes, Thomas (ca. 1576–1623) Appears on: 68–69 Genres: Consort song Source Attribution: T. Weelkes Number of voices: 5
70–71	Now that each creature	G. Bassano	Bassano, Giovanni (ca. 1560–1617)
Now that each creature Bassano, Giovanni (ca. 1560–1617) Appears on: 70–71 Genres: Madrigal (English) Source Attribution: G. Bassano Number of voices: 4
72–73	Lady let me behold (= Lasciatemi mirar donna)	G. Croce	Croce, Giovanni (ca. 1557–1609)
Lady let me behold (= Lasciatemi mirar donna) Croce, Giovanni (ca. 1557–1609) Appears on: 72–73 Genres: Madrigal (English) Source Attribution: G. Croce Number of voices: 4
74–75	Since that the time	G. Croce	Croce, Giovanni (ca. 1557–1609)
Since that the time Croce, Giovanni (ca. 1557–1609) Appears on: 74–75 Genres: Madrigal (English) Source Attribution: G. Croce Number of voices: 4
76–77	Flora fair love	F. Anerio	Anerio, Felice (ca. 1560–1614)
Flora fair love Anerio, Felice (ca. 1560–1614) Appears on: 76–77 Genres: Madrigal (English) Source Attribution: F. Anerio Number of voices: 4
78–79	My heart, why hast thou	T. Morley	Morley, Thomas (ca. 1557–1602)
My heart, why hast thou Morley, Thomas (ca. 1557–1602) Appears on: 78–79 Genres: Consort song Source Attribution: T. Morley Number of voices: 4
80–81	Daphne the bright	G. Croce	Croce, Giovanni (ca. 1557–1609)
Daphne the bright Croce, Giovanni (ca. 1557–1609) Appears on: 80–81 Genres: Consort song Source Attribution: G. Croce Number of voices: 4
82–83	Pearl, crystal, gold	F. Anerio	Anerio, Felice (ca. 1560–1614)
Pearl, crystal, gold Anerio, Felice (ca. 1560–1614) Appears on: 82–83 Genres: Consort song Source Attribution: F. Anerio Number of voices: 4
84–85	Cock-a-doo-dell-doo	R. Jones	Jones (II), Robert (1577–1617)
Cock-a-doo-dell-doo Jones (II), Robert (1577–1617) Appears on: 84–85 Genres: Consort song Source Attribution: R. Jones Number of voices: 4
86–87	Sing merry birds	R. Jones	Jones (II), Robert (1577–1617)
Sing merry birds Jones (II), Robert (1577–1617) Appears on: 86–87 Genres: Consort song Source Attribution: R. Jones Number of voices: 4
88–89	I come sweet birds	R. Jones	Jones (II), Robert (1577–1617)
I come sweet birds Jones (II), Robert (1577–1617) Appears on: 88–89 Genres: Consort song Source Attribution: R. Jones Number of voices: 4
90–91	Shrill sounding bird	R. Jones	Jones (II), Robert (1577–1617)
Shrill sounding bird Jones (II), Robert (1577–1617) Appears on: 90–91 Genres: Consort song Source Attribution: R. Jones Number of voices: 4
92–93	Come doleful owl	R. Jones	Jones (II), Robert (1577–1617)
Come doleful owl Jones (II), Robert (1577–1617) Appears on: 92–93 Genres: Consort song Source Attribution: R. Jones Number of voices: 5
94–95	Sweet, when thou sing'st	R. Jones	Jones (II), Robert (1577–1617)
Sweet, when thou sing'st Jones (II), Robert (1577–1617) Appears on: 94–95 Genres: Consort song Source Attribution: R. Jones Number of voices: 5
96–97	Your presence breeds	-	Jones (II), Robert (1577–1617)
Your presence breeds Jones (II), Robert (1577–1617) Appears on: 96–97 Genres: Consort song Number of voices: 6
98–99	In resurrectione tua	-	Byrd, William (ca. 1540–1623)
In resurrectione tua Byrd, William (ca. 1540–1623) Appears on: 98–99 Genres: Motet Number of voices: 5
100–101	Noblesse gist au coeur	O. Lasso	Lassus, Orlande de (ca. 1532–1594)
Noblesse gist au coeur Lassus, Orlande de (ca. 1532–1594) Appears on: 100–101 Genres: Chanson Source Attribution: O. Lasso Number of voices: 5 General Note the Tenor part is textless
102–103	Susanne un jour d'amour solicitée par deux viellards	O. Lasso	Lassus, Orlande de (ca. 1532–1594)
Susanne un jour d'amour solicitée par deux viellards Lassus, Orlande de (ca. 1532–1594) Appears on: 102–103 Genres: Chanson Source Attribution: O. Lasso Number of voices: 5 General Note the Tenor part is textless
104–105	Mine eyes with fervency	-	Byrd, William (ca. 1540–1623)
Mine eyes with fervency Byrd, William (ca. 1540–1623) Appears on: 104–105 Genres: Anthem Number of voices: 5
106–107	How shall a young man?	-	Byrd, William (ca. 1540–1623)
How shall a young man? Byrd, William (ca. 1540–1623) Appears on: 106–107 Genres: Song Number of voices: 5
108–109	Constant Penelope	-	Byrd, William (ca. 1540–1623)
Constant Penelope Byrd, William (ca. 1540–1623) Appears on: 108–109 Genres: Consort song Number of voices: 5
110–111	Farewell false love	-	Byrd, William (ca. 1540–1623)
Farewell false love Byrd, William (ca. 1540–1623) Appears on: 110–111 Genres: Consort song Number of voices: 5
112–113	Care for thy soule as thing of greatest price	-	Byrd, William (ca. 1540–1623)
Care for thy soule as thing of greatest price Byrd, William (ca. 1540–1623) Appears on: 112–113 Genres: Sacred Song Number of voices: 5
114–115	The match that's made	-	Byrd, William (ca. 1540–1623)
The match that's made Byrd, William (ca. 1540–1623) Appears on: 114–115 Genres: Consort song Number of voices: 5
116–117	Why do I use my paper, ink and pen?	-	Byrd, William (ca. 1540–1623)
Why do I use my paper, ink and pen? Byrd, William (ca. 1540–1623) Appears on: 116–117 Genres: Song Number of voices: 5
118–119	Come to me, grief, for ever	-	Byrd, William (ca. 1540–1623)
Come to me, grief, for ever Byrd, William (ca. 1540–1623) Appears on: 118–119 Genres: Song Number of voices: 5
120–121	Complain with tears	-	Anonymous
Complain with tears Anonymous Appears on: 120–121 Genres: Consort song Number of voices: 5
122–123	O sacrum convivium in quo Christus sumitur	T. Tallis	Tallis, Thomas (ca. 1505–1585)
O sacrum convivium in quo Christus sumitur Tallis, Thomas (ca. 1505–1585) Appears on: 122–123 Genres: Motet Source Attribution: T. Tallis Number of voices: 4 General Note only 4 parts copied for this piece
124–125	In manus tuas Domine	-	Tallis, Thomas (ca. 1505–1585)
In manus tuas Domine Tallis, Thomas (ca. 1505–1585) Appears on: 124–125 Genres: Motet Number of voices: 4 General Note only 4 parts copied for this piece
126	Emendemus - 1a pars (of 2): Emendemus in melius	W. Byrd	Byrd, William (ca. 1540–1623)
Emendemus - 1a pars (of 2): Emendemus in melius Byrd, William (ca. 1540–1623) Appears on: 126 Genres: Motet Source Attribution: W. Byrd Number of voices: 4 General Note only 4 parts copied for this piece
127	Emendemus - 2a pars (of 2): Adiuva nos Deus	-	Byrd, William (ca. 1540–1623)
Emendemus - 2a pars (of 2): Adiuva nos Deus Byrd, William (ca. 1540–1623) Appears on: 127 Genres: Motet Number of voices: 4
128–129	O nata lux de lumine	-	Tallis, Thomas (ca. 1505–1585)
O nata lux de lumine Tallis, Thomas (ca. 1505–1585) Appears on: 128–129 Number of voices: 4 General Note only 4 parts copied for this piece
130–131	Salvator mundi (I)	T. Tallis	Tallis, Thomas (ca. 1505–1585)
Salvator mundi (I) Tallis, Thomas (ca. 1505–1585) Appears on: 130–131 Genres: Motet Source Attribution: T. Tallis Number of voices: 4 General Note only 4 parts copied for this piece
132–133	Libera me Domine et pone - 1a pars (of 2): Libera me domine et pone me	W. Byrd	Byrd, William (ca. 1540–1623)
Libera me Domine et pone - 1a pars (of 2): Libera me domine et pone me Byrd, William (ca. 1540–1623) Appears on: 132–133 Genres: Anthem Source Attribution: W. Byrd Number of voices: 4 General Note only 4 parts copied for this piece
134–135	Libera me Domine et pone - 2a pars (of 2): Dies mei transierunt	W. Byrd	Byrd, William (ca. 1540–1623)
Libera me Domine et pone - 2a pars (of 2): Dies mei transierunt Byrd, William (ca. 1540–1623) Appears on: 134–135 Genres: Anthem Source Attribution: W. Byrd Number of voices: 4 General Note only 4 parts copied for this piece
136–137	You pretty flowers	J. Farmer	Farmer, John
You pretty flowers Farmer, John Appears on: 136–137 Genres: Madrigal (English) Source Attribution: J. Farmer Number of voices: 4
138–139	Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature	J. Farmer	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature Farmer, John Appears on: 138–139 Source Attribution: J. Farmer Number of voices: 4
140–141	I thought my love	-	Farmer, John
I thought my love Farmer, John Appears on: 140–141 Genres: Madrigal (English) Number of voices: 4
142–143	Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought	J. Farmer	Farmer, John
Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought Farmer, John Appears on: 142–143 Source Attribution: J. Farmer Number of voices: 4
144–145	Dainty fine sweet nymph	-	Morley, Thomas (ca. 1557–1602)
Dainty fine sweet nymph Morley, Thomas (ca. 1557–1602) Appears on: 144–145 Genres: Consort song Number of voices: 5
146–147	Shoot false love	-	Morley, Thomas (ca. 1557–1602)
Shoot false love Morley, Thomas (ca. 1557–1602) Appears on: 146–147 Genres: Consort song Number of voices: 5
148–149	No no Nigella	-	Morley, Thomas (ca. 1557–1602)
No no Nigella Morley, Thomas (ca. 1557–1602) Appears on: 148–149 Genres: Consort song Number of voices: 5
150–151	Singing alone	-	Morley, Thomas (ca. 1557–1602)
Singing alone Morley, Thomas (ca. 1557–1602) Appears on: 150–151 Genres: Consort song Number of voices: 5
152–153	You that wont	T. Morley	Morley, Thomas (ca. 1557–1602)
You that wont Morley, Thomas (ca. 1557–1602) Appears on: 152–153 Genres: Consort song Source Attribution: T. Morley Number of voices: 5
154–155	Lo she flies	-	Morley, Thomas (ca. 1557–1602)
Lo she flies Morley, Thomas (ca. 1557–1602) Appears on: 154–155 Genres: Consort song Number of voices: 5
156–157	Why weeps alas	-	Morley, Thomas (ca. 1557–1602)
Why weeps alas Morley, Thomas (ca. 1557–1602) Appears on: 156–157 Genres: Consort song Number of voices: 5
158–159	O God give ear (5vv)	-	Byrd, William (ca. 1540–1623)
O God give ear (5vv) Byrd, William (ca. 1540–1623) Appears on: 158–159 Genres: Anthem Number of voices: 5
160–161	My soul oppressed	-	Byrd, William (ca. 1540–1623)
My soul oppressed Byrd, William (ca. 1540–1623) Appears on: 160–161 Genres: Anthem Number of voices: 5
162–163	I joy not in no earthly bliss	-	Byrd, William (ca. 1540–1623)
I joy not in no earthly bliss Byrd, William (ca. 1540–1623) Appears on: 162–163 Genres: Song
164–165	Though Amaryllis dance in green	-	Byrd, William (ca. 1540–1623)
Though Amaryllis dance in green Byrd, William (ca. 1540–1623) Appears on: 164–165 Genres: Song
166–167	Who likes to love	-	Byrd, William (ca. 1540–1623)
Who likes to love Byrd, William (ca. 1540–1623) Appears on: 166–167 Genres: Song
168–169	My mind to me a kingdom is	-	Byrd, William (ca. 1540–1623)
My mind to me a kingdom is Byrd, William (ca. 1540–1623) Appears on: 168–169 Genres: Sacred Song
170–171	La verginella	-	Byrd, William (ca. 1540–1623)
La verginella Byrd, William (ca. 1540–1623) Appears on: 170–171 Genres: Italian secular
172–173	All as a sea	-	Byrd, William (ca. 1540–1623)
All as a sea Byrd, William (ca. 1540–1623) Appears on: 172–173 Genres: Consort song
174–175	In fields abroad	-	Byrd, William (ca. 1540–1623)
In fields abroad Byrd, William (ca. 1540–1623) Appears on: 174–175 Genres: Song
176–177	Lullaby - 1a pars (of 2): Lullaby, my sweet little baby	-	Byrd, William (ca. 1540–1623)
Lullaby - 1a pars (of 2): Lullaby, my sweet little baby Byrd, William (ca. 1540–1623) Appears on: 176–177 Genres: Song
178–179	Lullaby - 2a pars (of 2): Be still, my blessed babe	-	Byrd, William (ca. 1540–1623)
Lullaby - 2a pars (of 2): Be still, my blessed babe Byrd, William (ca. 1540–1623) Appears on: 178–179 Genres: Song
180–181	Susanna fair - 1a pars (of 2): Susanna fair sometime assaulted was	-	Byrd, William (ca. 1540–1623)
Susanna fair - 1a pars (of 2): Susanna fair sometime assaulted was Byrd, William (ca. 1540–1623) Appears on: 180–181 Genres: Song
180–181	Susanna fair - 2a pars (of 2): And if I grant to that which you request	-	Byrd, William (ca. 1540–1623)
Susanna fair - 2a pars (of 2): And if I grant to that which you request Byrd, William (ca. 1540–1623) Appears on: 180–181 Genres: Song
182–183	O that most rare breast	-	Byrd, William (ca. 1540–1623)
O that most rare breast Byrd, William (ca. 1540–1623) Appears on: 182–183 Genres: Song
184–185	The doleful debt	-	Byrd, William (ca. 1540–1623)
The doleful debt Byrd, William (ca. 1540–1623) Appears on: 184–185 Genres: Consort song
186–187	Ne irascaris - 1a pars (of 2): Ne irascaris Domine	-	Byrd, William (ca. 1540–1623)
Ne irascaris - 1a pars (of 2): Ne irascaris Domine Byrd, William (ca. 1540–1623) Appears on: 186–187 Genres: Motet
188–189	Ne irascaris - 2a pars (of 2): Civitatis sancti tui	-	Byrd, William (ca. 1540–1623)
Ne irascaris - 2a pars (of 2): Civitatis sancti tui Byrd, William (ca. 1540–1623) Appears on: 188–189 Genres: Motet
190–191	Deus venerunt gentes - 1a pars (of 4): Deus venerunt gentes	-	Byrd, William (ca. 1540–1623)
Deus venerunt gentes - 1a pars (of 4): Deus venerunt gentes Byrd, William (ca. 1540–1623) Appears on: 190–191 Genres: Motet
192–193	Deus venerunt gentes - 2a pars (of 4): Posuerunt morticinia	-	Byrd, William (ca. 1540–1623)
Deus venerunt gentes - 2a pars (of 4): Posuerunt morticinia Byrd, William (ca. 1540–1623) Appears on: 192–193 Genres: Motet
194–195	Sweet love I err	M. East	East, Michael
Sweet love I err East, Michael Appears on: 194–195 Genres: Consort song Source Attribution: M. East Number of voices: 4
196–197	Joy of my life	-	East, Michael
Joy of my life East, Michael Appears on: 196–197 Genres: Consort song Number of voices: 4
198–199	Pity dear love	-	East, Michael
Pity dear love East, Michael Appears on: 198–199 Genres: Consort song Number of voices: 4
200–201	My hope of counsel	-	East, Michael
My hope of counsel East, Michael Appears on: 200–201 Genres: Consort song Number of voices: 4
202–203	All ye that joy in wailing	-	East, Michael
All ye that joy in wailing East, Michael Appears on: 202–203 Genres: Consort song Number of voices: 4
204–205	My prime of youth - 1a pars (of 2): My prime of youth	-	East, Michael
My prime of youth - 1a pars (of 2): My prime of youth East, Michael Appears on: 204–205 Genres: Consort song Number of voices: 4
206–207	My prime of youth - 2a pars (of 2): The spring is past	-	East, Michael
My prime of youth - 2a pars (of 2): The spring is past East, Michael Appears on: 206–207 Genres: Consort song Number of voices: 4
208–209	Fair is my love	-	East, Michael
Fair is my love East, Michael Appears on: 208–209 Genres: Consort song Number of voices: 4
210–211	Sly thief	-	East, Michael
Sly thief East, Michael Appears on: 210–211 Genres: Consort song Number of voices: 4
212	What thing more cruel	-	East, Michael
What thing more cruel East, Michael Appears on: 212 Genres: Consort song Number of voices: 3 of 4

Composer	Compositions
Anerio, Felice (ca. 1560-1614)	Flora fair love – 76–77 Pearl, crystal, gold – 82–83
Anonymous	Complain with tears – 120–121
Bassano, Giovanni (ca. 1560-1617)	Now that each creature – 70–71
Byrd, William (ca. 1540-1623)	All as a sea – 172–173 Care for thy soule as thing of greatest price – 112–113 Come to me, grief, for ever – 118–119 Constant Penelope – 108–109 Deus venerunt gentes - 1a pars (of 4): Deus venerunt gentes – 190–191 Deus venerunt gentes - 2a pars (of 4): Posuerunt morticinia – 192–193 Emendemus - 1a pars (of 2): Emendemus in melius – 126 Emendemus - 2a pars (of 2): Adiuva nos Deus – 127 Farewell false love – 110–111 How shall a young man? – 106–107 I joy not in no earthly bliss – 162–163 In fields abroad – 174–175 In resurrectione tua – 98–99 La verginella – 170–171 Libera me Domine et pone - 1a pars (of 2): Libera me domine et pone me – 132–133 Libera me Domine et pone - 2a pars (of 2): Dies mei transierunt – 134–135 Lullaby - 1a pars (of 2): Lullaby, my sweet little baby – 176–177 Lullaby - 2a pars (of 2): Be still, my blessed babe – 178–179 Mine eyes with fervency – 104–105 My mind to me a kingdom is – 168–169 My soul oppressed – 160–161 Ne irascaris - 1a pars (of 2): Ne irascaris Domine – 186–187 Ne irascaris - 2a pars (of 2): Civitatis sancti tui – 188–189 O God give ear (5vv) – 158–159 O that most rare breast – 182–183 Susanna fair - 1a pars (of 2): Susanna fair sometime assaulted was – 180–181 Susanna fair - 2a pars (of 2): And if I grant to that which you request – 180–181 The doleful debt – 184–185 The match that's made – 114–115 Though Amaryllis dance in green – 164–165 Who likes to love – 166–167 Why do I use my paper, ink and pen? – 116–117
Croce, Giovanni (ca. 1557-1609)	Daphne the bright – 80–81 Lady let me behold (= Lasciatemi mirar donna) – 72–73 Since that the time – 74–75
Dering, Richard	And the king was moved – 52–53
Dowland, John (1563-1626)	A shepherd in a shade – 22–23 Away with these self-loving lads – 8–9 Burst forth my tears – 10–11 Can she excuse my wrongs – 4–5 Come again sweet love doth now invite – 14–15 Dear if you change – 18–19 His golden locks – 16–17 Humour say – 20–21 If floods of tears – 24–25 If my complaints – 2–3 Now oh now I needs must part – 6–7 Praise blindness eyes – 28–29 Shall I sue – 30–31 Sleep wayward thoughts – 12–13 Toss not my soul – 26–27
East, Michael	All ye that joy in wailing – 202–203 Fair is my love – 208–209 Joy of my life – 196–197 My hope of counsel – 200–201 My prime of youth - 1a pars (of 2): My prime of youth – 204–205 My prime of youth - 2a pars (of 2): The spring is past – 206–207 Pity dear love – 198–199 Sly thief – 210–211 Sweet love I err – 194–195 What thing more cruel – 212
Farmer, John	I thought my love – 140–141 Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought – 142–143 Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature – 138–139 You pretty flowers – 136–137
Jones (II), Robert (1577-1617)	Cock-a-doo-dell-doo – 84–85 Come doleful owl – 92–93 I come sweet birds – 88–89 Shrill sounding bird – 90–91 Sing merry birds – 86–87 Sweet, when thou sing'st – 94–95 Your presence breeds – 96–97
Lassus, Orlande de (ca. 1532-1594)	Noblesse gist au coeur – 100–101 Susanne un jour d'amour solicitée par deux viellards – 102–103
Morley, Thomas (ca. 1557-1602)	Arise, get up my dear – 42–43 Cease mine eyes – 40–41 Dainty fine sweet nymph – 144–145 Do you not know – 32–33 Eheu! Sustulerunt Dominum – 46–47 Lady if I through grief – 38–39 Lo she flies – 154–155 My heart, why hast thou – 78–79 No no Nigella – 148–149 Now must I die – 36–37 O amica mea - 1a pars (of 2): O amica mea – 50–51 O amica mea - 2a pars (of 2): Dentes tui sicut greges – 48–49 Shoot false love – 146–147 Singing alone – 150–151 Sprintime mantleth every brow – 44–45 Thirsis o let pity – 34–35 Why weeps alas – 156–157 You that wont – 152–153
Tallis, Thomas (ca. 1505-1585)	In manus tuas Domine – 124–125 O nata lux de lumine – 128–129 O sacrum convivium in quo Christus sumitur – 122–123 Salvator mundi (I) – 130–131
Weelkes, Thomas (ca. 1576-1623)	All at once well met – 54–55 Cease now delight – 66–67 Come clap - 1a pars (of 2): Come clap thy hands – 58–59 Come clap - 2a pars (of 2): Phillis hath sworn – 60–61 Farewell my joy – 68–69 Give me my heart – 56–57 Now is my Cloris fresh – 64–65 Unto our flocks – 62–63

Composition	Composers (? Uncertain)	Folios / Pages
A shepherd in a shade	Dowland, John (1563–1626)	22–23
All as a sea	Byrd, William (ca. 1540–1623)	172–173
All at once well met	Weelkes, Thomas (ca. 1576–1623)	54–55
All ye that joy in wailing	East, Michael	202–203
And the king was moved	Dering, Richard	52–53
Arise, get up my dear	Morley, Thomas (ca. 1557–1602)	42–43
Away with these self-loving lads	Dowland, John (1563–1626)	8–9
Burst forth my tears	Dowland, John (1563–1626)	10–11
Can she excuse my wrongs	Dowland, John (1563–1626)	4–5
Care for thy soule as thing of greatest price	Byrd, William (ca. 1540–1623)	112–113
Cease mine eyes	Morley, Thomas (ca. 1557–1602)	40–41
Cease now delight	Weelkes, Thomas (ca. 1576–1623)	66–67
Cock-a-doo-dell-doo	Jones (II), Robert (1577–1617)	84–85
Come again sweet love doth now invite	Dowland, John (1563–1626)	14–15
Come clap - 1a pars (of 2): Come clap thy hands	Weelkes, Thomas (ca. 1576–1623)	58–59
Come clap - 2a pars (of 2): Phillis hath sworn	Weelkes, Thomas (ca. 1576–1623)	60–61
Come doleful owl	Jones (II), Robert (1577–1617)	92–93
Come to me, grief, for ever	Byrd, William (ca. 1540–1623)	118–119
Complain with tears	Anonymous	120–121
Constant Penelope	Byrd, William (ca. 1540–1623)	108–109
Dainty fine sweet nymph	Morley, Thomas (ca. 1557–1602)	144–145
Daphne the bright	Croce, Giovanni (ca. 1557–1609)	80–81
Dear if you change	Dowland, John (1563–1626)	18–19
Deus venerunt gentes - 1a pars (of 4): Deus venerunt gentes	Byrd, William (ca. 1540–1623)	190–191
Deus venerunt gentes - 2a pars (of 4): Posuerunt morticinia	Byrd, William (ca. 1540–1623)	192–193
Do you not know	Morley, Thomas (ca. 1557–1602)	32–33
Eheu! Sustulerunt Dominum	Morley, Thomas (ca. 1557–1602)	46–47
Emendemus - 1a pars (of 2): Emendemus in melius	Byrd, William (ca. 1540–1623)	126
Emendemus - 2a pars (of 2): Adiuva nos Deus	Byrd, William (ca. 1540–1623)	127
Fair is my love	East, Michael	208–209
Farewell false love	Byrd, William (ca. 1540–1623)	110–111
Farewell my joy	Weelkes, Thomas (ca. 1576–1623)	68–69
Flora fair love	Anerio, Felice (ca. 1560–1614)	76–77
Give me my heart	Weelkes, Thomas (ca. 1576–1623)	56–57
His golden locks	Dowland, John (1563–1626)	16–17
How shall a young man?	Byrd, William (ca. 1540–1623)	106–107
Humour say	Dowland, John (1563–1626)	20–21
I come sweet birds	Jones (II), Robert (1577–1617)	88–89
I joy not in no earthly bliss	Byrd, William (ca. 1540–1623)	162–163
I thought my love	Farmer, John	140–141
If floods of tears	Dowland, John (1563–1626)	24–25
If my complaints	Dowland, John (1563–1626)	2–3
In fields abroad	Byrd, William (ca. 1540–1623)	174–175
In manus tuas Domine	Tallis, Thomas (ca. 1505–1585)	124–125
In resurrectione tua	Byrd, William (ca. 1540–1623)	98–99
Joy of my life	East, Michael	196–197
La verginella	Byrd, William (ca. 1540–1623)	170–171
Lady if I through grief	Morley, Thomas (ca. 1557–1602)	38–39
Lady let me behold (= Lasciatemi mirar donna)	Croce, Giovanni (ca. 1557–1609)	72–73
Libera me Domine et pone - 1a pars (of 2): Libera me domine et pone me	Byrd, William (ca. 1540–1623)	132–133
Libera me Domine et pone - 2a pars (of 2): Dies mei transierunt	Byrd, William (ca. 1540–1623)	134–135
Lo she flies	Morley, Thomas (ca. 1557–1602)	154–155
Lullaby - 1a pars (of 2): Lullaby, my sweet little baby	Byrd, William (ca. 1540–1623)	176–177
Lullaby - 2a pars (of 2): Be still, my blessed babe	Byrd, William (ca. 1540–1623)	178–179
Mine eyes with fervency	Byrd, William (ca. 1540–1623)	104–105
Mr Farmer's Four Parts (Madigrals), no. 10: Who would have thought	Farmer, John	142–143
Mr Farmer's Four Parts (Madigrals), no. 2: Now each creature	Farmer, John	138–139
My heart, why hast thou	Morley, Thomas (ca. 1557–1602)	78–79
My hope of counsel	East, Michael	200–201
My mind to me a kingdom is	Byrd, William (ca. 1540–1623)	168–169
My prime of youth - 1a pars (of 2): My prime of youth	East, Michael	204–205
My prime of youth - 2a pars (of 2): The spring is past	East, Michael	206–207
My soul oppressed	Byrd, William (ca. 1540–1623)	160–161
Ne irascaris - 1a pars (of 2): Ne irascaris Domine	Byrd, William (ca. 1540–1623)	186–187
Ne irascaris - 2a pars (of 2): Civitatis sancti tui	Byrd, William (ca. 1540–1623)	188–189
No no Nigella	Morley, Thomas (ca. 1557–1602)	148–149
Noblesse gist au coeur	Lassus, Orlande de (ca. 1532–1594)	100–101
Now is my Cloris fresh	Weelkes, Thomas (ca. 1576–1623)	64–65
Now must I die	Morley, Thomas (ca. 1557–1602)	36–37
Now oh now I needs must part	Dowland, John (1563–1626)	6–7
Now that each creature	Bassano, Giovanni (ca. 1560–1617)	70–71
O amica mea - 1a pars (of 2): O amica mea	Morley, Thomas (ca. 1557–1602)	50–51
O amica mea - 2a pars (of 2): Dentes tui sicut greges	Morley, Thomas (ca. 1557–1602)	48–49
O God give ear (5vv)	Byrd, William (ca. 1540–1623)	158–159
O nata lux de lumine	Tallis, Thomas (ca. 1505–1585)	128–129
O sacrum convivium in quo Christus sumitur	Tallis, Thomas (ca. 1505–1585)	122–123
O that most rare breast	Byrd, William (ca. 1540–1623)	182–183
Pearl, crystal, gold	Anerio, Felice (ca. 1560–1614)	82–83
Pity dear love	East, Michael	198–199
Praise blindness eyes	Dowland, John (1563–1626)	28–29
Salvator mundi (I)	Tallis, Thomas (ca. 1505–1585)	130–131
Shall I sue	Dowland, John (1563–1626)	30–31
Shoot false love	Morley, Thomas (ca. 1557–1602)	146–147
Shrill sounding bird	Jones (II), Robert (1577–1617)	90–91
Since that the time	Croce, Giovanni (ca. 1557–1609)	74–75
Sing merry birds	Jones (II), Robert (1577–1617)	86–87
Singing alone	Morley, Thomas (ca. 1557–1602)	150–151
Sleep wayward thoughts	Dowland, John (1563–1626)	12–13
Sly thief	East, Michael	210–211
Sprintime mantleth every brow	Morley, Thomas (ca. 1557–1602)	44–45
Susanna fair - 1a pars (of 2): Susanna fair sometime assaulted was	Byrd, William (ca. 1540–1623)	180–181
Susanna fair - 2a pars (of 2): And if I grant to that which you request	Byrd, William (ca. 1540–1623)	180–181
Susanne un jour d'amour solicitée par deux viellards	Lassus, Orlande de (ca. 1532–1594)	102–103
Sweet love I err	East, Michael	194–195
Sweet, when thou sing'st	Jones (II), Robert (1577–1617)	94–95
The doleful debt	Byrd, William (ca. 1540–1623)	184–185
The match that's made	Byrd, William (ca. 1540–1623)	114–115
Thirsis o let pity	Morley, Thomas (ca. 1557–1602)	34–35
Though Amaryllis dance in green	Byrd, William (ca. 1540–1623)	164–165
Toss not my soul	Dowland, John (1563–1626)	26–27
Unto our flocks	Weelkes, Thomas (ca. 1576–1623)	62–63
What thing more cruel	East, Michael	212
Who likes to love	Byrd, William (ca. 1540–1623)	166–167
Why do I use my paper, ink and pen?	Byrd, William (ca. 1540–1623)	116–117
Why weeps alas	Morley, Thomas (ca. 1557–1602)	156–157
You pretty flowers	Farmer, John	136–137
You that wont	Morley, Thomas (ca. 1557–1602)	152–153
Your presence breeds	Jones (II), Robert (1577–1617)	96–97

‡ denotes primary source study

Godt, Irving. 1981. Prince Henry as Absalom in David's Lamentations. Music and Letters, 62: 318-30. Pages: 328-9. Notes: mention of MS; contents list (partial); concordances (partial).

Monson, Craig. 1977. Thomas Myriell's Manuscript Collection: One View of Musical Taste in Jacobean London. Journal of the American Musicological Society, 30: 419-65. Notes: physical description (partial); contents list; concordances; facsimile (partial); mention of MS; discussion.

Willetts, Pamela J. 1968. Musical Connections of Thomas Myriell. Music and Letters, 49: 36-42. Pages: 38. Notes: mention of MS.

Brett, Philip. 1965. The Songs of William Byrd. Cambridge University, Unpublished Ph.D. dissertation. Pages: 242-4. Notes: physical description (partial); contents list (partial); concordances (partial).

Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: XXII, 62-4, 174,182. Notes: contents list (partial); concordances (partial); transcriptions (partial).

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Monday, 23 January, 2017

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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

B-Br MS II.4109

KBR (Koninklijke Bibliotheek / Bibliothèque royale), Brussels, Belgium

tablebook: c. 1612-6

General Description

Physical Description

Binding

Watermark

Notation

Date

Foliation

Decoration

Surface

Census Catalogue of Music Description

General Note

General Note

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General Note