GB-Lbl Add. MS 37404

British Library, London, England

partbook: Early 17th Century

Archive	British Library, London, England (GB-Lbl)
Shelfmark	Add. MS 37404
Image Availability	DIAMM does not have images of this source.
Surface	Paper
Numbering System	Foliation
Measurements	139 x 185-94 mm
Other Identifiers	CCM: LonBL 37402-6
Relationships	Babington, Thomas and Elizabeth (owner) Metcalfe, W. (owner) ? Pearson, James (compiler)
External Links	British Library online catalogue entry
External Authorities	RISM Online (sources/1001028887)
Provenance	England
Contents	125 pieces from 51 composers

General Description

An Altus partbook from a set of five volumes. Originally vocal pieces, most are copied for instrumental perfromance without title or text. Copied by several scribes. Copied in England. The original owner (and compiler?) was James Pearson, whose name appears at end of D1 book (MB). Names of Thomas and Elizabeth Babington (other owners?) also appear on back flyleaf of T book. Purchased by British Museum from W. Metcalfe in 1906.

DIAMM, 2023

Physical Description

Some missing folios in A, affecting last 11 pieces, and beginning of D2, affecting 2 pieces.

DIAMM, 2023

Binding

New covers of red leather and cloth on card-board; portions of original brown leather covers glued inside modern covers. Original covers of all books except A have gold-tooled design (crown over Tudor rose)

DIAMM, 2023

Notation

not indicated

DIAMM, 2017

Foliation

Other numberings: Original numbering of Italian pieces in each book, 1-75 (two pieces omitted). First 20 pieces copied from RISM 1601/16 also have original numbering, i-xx.

DIAMM, 2017

Foliation

New pencil foliation, 1-96 (includes original fly-leaves front and back)

DIAMM, 2017

Decoration

No initials or decoration.

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.

6 motets (1 without text), 1 Service, 8 anthems, 77 Italian secular pieces, 34 English secular pieces,* 1 French secular piece, 12 text-less pieces (Fantasias, dances, etc.) = 139

*25 copied from print The Triumphes of Oriana (RISM 1601/16).

(F. Anerio)-1, Bennet-1, Byrd-5, Carlton-2, Cavendish-1, Cobbold-1, (Croce)-2 + 1?, (Dowland-anon)-1, M. East-1, (M. East/ Simmes)-1, (Eremita)-1, Farmer-1, A. Ferrabosco I-8 + 6?, (A. Ferrabosco II)-1, Gibbons-2, Ellis Gibbons-1, Ellis Gibbons/(Gibbons)-1, (Giovanelli)-1, Hilton the Elder-1, J. Holmes-1, T. Hunt-1, E. Johnson-1, R. Jones II-1, Kirbye-1, (Lassus)-1, Lesley [John Lisley]-1, T. Lupo-3 + 1?, (Luzzaschi?)-1, Mando-1, (Marenzio)-8, G. Marson-1, (Masnelli)-5, Milton-1, (Monteverdi)-10, Morley-4, (Mosto?)-1, J. Mundy-1, W. Mundy-1, Nicholson-1, Norcome-1, P.-1, P./(Byrd)-1, (Pallavicino)-8, R. Parsons I-1, (Peerson)-1, (Quintiani)-2 + 4?, Tallis-1, Tomkins-1, Tye-1, (Orazio Vecchi)-7, (Venturi?)-3, Weelkes-2, Wilbye-1, T. Wilkinson/(T. Hunt)-1, anon-17

5 paper partbooks (D-iii + 98 + ii folios, A-iii + 93 + i, T-ii + i + 94 + i + i, B-ii + 87 + i, Q-iii + 90 + i), 139 x 185-94. New pencil foliation — D: 1-98; A: 1-91 (last two folios not numbered); T: 1-96 (includes original fly-leaves front and back); B: 1-86 (last folio not numbered); Q: 1-89 (last folio not numbered). Original numbering of Italian pieces in each book, 1-75 (two pieces omitted). First 20 pieces copied from RISM 1601/16 (see above) also have original numbering, i-xx. New covers of red leather and cloth on card-board; portions of original brown leather covers glued inside modern covers. Original covers of all books except D have gold-tooled design (crown over Tudor rose). No index. Copied by several scribes. No initials or decoration.

Early 17th Century. Copied in England. The original owner (and compiler?) was James Pearson, whose name appears at end of D book (MB). Names of Thomas and Elizabeth Babington (other owners?) also appear on back flyleaf of T book. Purchased by British Museum from W. Metcalfe in 1906.

Vol 4

Composers: Change "(A. Ferrabosco II)-1" to "(A. Ferrabosco I/A. Ferrabosco II)-1."

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)
1–1v	Fuerunt mihi lachrimae (C36)	-	Ferrabosco, Alfonso (the elder) (1543–1588) (?) Ferrabosco, Alfonso (the younger) (ca. 1575–1628) (?)
Fuerunt mihi lachrimae (C36) Ferrabosco, Alfonso (the elder) (1543–1588) (?) Ferrabosco, Alfonso (the younger) (ca. 1575–1628) (?) Appears on: 1–1v Genres: Motet Number of voices: 2 of 4
2	Deh poi che era ne' fati	-	Marenzio, Luca (ca. 1553–1599)
Deh poi che era ne' fati Marenzio, Luca (ca. 1553–1599) Appears on: 2 Genres: Madrigal (Italian) Number of voices: 4 of 5
2v–3	O voi che sospirati	-	Marenzio, Luca (ca. 1553–1599)
O voi che sospirati Marenzio, Luca (ca. 1553–1599) Appears on: 2v–3 Number of voices: 4 of 5
3v	Che fa hoggi il mio sole che fa'l mio	-	Marenzio, Luca (ca. 1553–1599)
Che fa hoggi il mio sole che fa'l mio Marenzio, Luca (ca. 1553–1599) Appears on: 3v Genres: Chanson Number of voices: 5
4	Dolorosi martir', fieri tormenti	-	Marenzio, Luca (ca. 1553–1599)
Dolorosi martir', fieri tormenti Marenzio, Luca (ca. 1553–1599) Appears on: 4 Genres: Madrigal (Italian) Number of voices: 5
4v–5	Giunto a la tomba - 1a pars (of 4): Giunto a la tomba	-	Marenzio, Luca (ca. 1553–1599)
Giunto a la tomba - 1a pars (of 4): Giunto a la tomba Marenzio, Luca (ca. 1553–1599) Appears on: 4v–5 Genres: Madrigal (Italian) Number of voices: 5 General Note Only the 1a pars is copied
5v	O crude pene mie	-	Ferrabosco, Alfonso (the elder) (1543–1588)
O crude pene mie Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 5v Genres: Madrigal (Italian) Number of voices: 5
6	Che se mentre	-	Anonymous
Che se mentre Anonymous Appears on: 6 Genres: Madrigal (Italian) Number of voices: 5
6v–7	Al suon d'amata voce	-	Quintiani, Lucrezio
Al suon d'amata voce Quintiani, Lucrezio Appears on: 6v–7 Genres: Madrigal (Italian) Number of voices: 5
7v	O come e gran martire	-	Monteverdi, Claudio (1567–1643)
O come e gran martire Monteverdi, Claudio (1567–1643) Appears on: 7v Genres: Madrigal (Italian) Number of voices: 5
8–8v	Sovra tenere herbette	-	Monteverdi, Claudio (1567–1643)
Sovra tenere herbette Monteverdi, Claudio (1567–1643) Appears on: 8–8v Genres: Madrigal (Italian) Number of voices: 5
9	La tra il sangue e le morti egro	-	Monteverdi, Claudio (1567–1643)
La tra il sangue e le morti egro Monteverdi, Claudio (1567–1643) Appears on: 9 Genres: Madrigal (Italian) Number of voices: 5
9v–10	O dolce anima mia	-	Monteverdi, Claudio (1567–1643)
O dolce anima mia Monteverdi, Claudio (1567–1643) Appears on: 9v–10 Genres: Madrigal (Italian) Number of voices: 5
10v–11	Ma dove lasso	-	Monteverdi, Claudio (1567–1643)
Ma dove lasso Monteverdi, Claudio (1567–1643) Appears on: 10v–11 Genres: Madrigal (Italian) Number of voices: 5
11v–12	La giovinetta pianta si fa	-	Monteverdi, Claudio (1567–1643)
La giovinetta pianta si fa Monteverdi, Claudio (1567–1643) Appears on: 11v–12 Genres: Madrigal (Italian) Number of voices: 5
12v–13	O rossignuol che in queste verdi fronde	-	Monteverdi, Claudio (1567–1643)
O rossignuol che in queste verdi fronde Monteverdi, Claudio (1567–1643) Appears on: 12v–13 Genres: Madrigal (Italian) Number of voices: 5
13v–14	Stracciami pur il core	-	Monteverdi, Claudio (1567–1643)
Stracciami pur il core Monteverdi, Claudio (1567–1643) Appears on: 13v–14 Genres: Madrigal (Italian) Number of voices: 5
14v–15	O primavera bella	-	Monteverdi, Claudio (1567–1643)
O primavera bella Monteverdi, Claudio (1567–1643) Appears on: 14v–15 Genres: Madrigal (Italian) Number of voices: 5
15v–16	Il bianco e dolce cigno cantando more	-	Vecchi, Orazio (1550–1605)
Il bianco e dolce cigno cantando more Vecchi, Orazio (1550–1605) Appears on: 15v–16 Genres: Madrigal (Italian) Number of voices: 5
16v	Non mi fuggir	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non mi fuggir Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 16v Genres: Madrigal (Italian) Number of voices: 5
16v–17	Non vedi oime	-	Anonymous
Non vedi oime Anonymous Appears on: 16v–17 Genres: Madrigal (Italian) Number of voices: 5
17v	Donna s'io sono il sole	-	Vecchi, Orazio (1550–1605)
Donna s'io sono il sole Vecchi, Orazio (1550–1605) Appears on: 17v Genres: Madrigal (Italian) Number of voices: 5
18	Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 18 Genres: Madrigal (Italian) Number of voices: 5
18v	Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 18v Genres: Madrigal (Italian) Number of voices: 5
19	Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 19 Genres: Madrigal (Italian) Number of voices: 5
19v–20	Mentre ti fui si grato - 4a pars (of 6): Hor un laccio	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Mentre ti fui si grato - 4a pars (of 6): Hor un laccio Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 19v–20 Genres: Madrigal (Italian) Number of voices: 5
20v	Arda pur sempre o mora	-	Marenzio, Luca (ca. 1553–1599)
Arda pur sempre o mora Marenzio, Luca (ca. 1553–1599) Appears on: 20v Genres: Madrigal (Italian) Number of voices: 5
21–21v	Rimanti in pace, a la dolente e bella	-	Marenzio, Luca (ca. 1553–1599)
Rimanti in pace, a la dolente e bella Marenzio, Luca (ca. 1553–1599) Appears on: 21–21v Genres: Madrigal (Italian) Number of voices: 5
22	Ond'ei di morte la sua faccia	-	Marenzio, Luca (ca. 1553–1599)
Ond'ei di morte la sua faccia Marenzio, Luca (ca. 1553–1599) Appears on: 22 Genres: Madrigal (Italian) Number of voices: 5
22v–23	O di rare eccellenze	-	Vecchi, Orazio (1550–1605)
O di rare eccellenze Vecchi, Orazio (1550–1605) Appears on: 22v–23 Genres: Madrigal (Italian) Number of voices: 5
23v–24	Pastorella gratiosella	-	Vecchi, Orazio (1550–1605)
Pastorella gratiosella Vecchi, Orazio (1550–1605) Appears on: 23v–24 Genres: Madrigal (Italian) Number of voices: 5
24v	Cara mia Dafne	-	Vecchi, Orazio (1550–1605)
Cara mia Dafne Vecchi, Orazio (1550–1605) Appears on: 24v Genres: Madrigal (Italian) Number of voices: 5
25	Donna, se voi m'odiate	-	Pallavicino, Benedetto
Donna, se voi m'odiate Pallavicino, Benedetto Appears on: 25 Genres: Madrigal (Italian) Number of voices: 5
25v–26	Monte, selvi, fontane	-	Quintiani, Lucrezio
Monte, selvi, fontane Quintiani, Lucrezio Appears on: 25v–26 Genres: Madrigal (Italian) Number of voices: 5
26v–27	Di lauri e mirti il tuo bel tempio	-	Quintiani, Lucrezio
Di lauri e mirti il tuo bel tempio Quintiani, Lucrezio Appears on: 26v–27 Genres: Madrigal (Italian) Number of voices: 5
27v–28	Non puo tanto l'amore	-	Quintiani, Lucrezio
Non puo tanto l'amore Quintiani, Lucrezio Appears on: 27v–28 Genres: Madrigal (Italian) Number of voices: 5
28v–29	Cinthia, el tuo dolce canto	-	Croce, Giovanni (ca. 1557–1609)
Cinthia, el tuo dolce canto Croce, Giovanni (ca. 1557–1609) Appears on: 28v–29 Genres: Madrigal (Italian) Number of voices: 5
29v	Donna, se quel ohime	-	Pallavicino, Benedetto
Donna, se quel ohime Pallavicino, Benedetto Appears on: 29v Genres: Madrigal (Italian) Number of voices: 5
30	Baci amorosi e cari	-	Pallavicino, Benedetto
Baci amorosi e cari Pallavicino, Benedetto Appears on: 30 Genres: Madrigal (Italian) Number of voices: 5
30v–31	Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 30v–31 Genres: Madrigal (Italian) Number of voices: 5
31v–32	Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 31v–32 Genres: Madrigal (Italian) Number of voices: 5
32v–33	Occhi, mirando mi togliest' il cor	-	Venturi (del Nibbio), Stephanus
Occhi, mirando mi togliest' il cor Venturi (del Nibbio), Stephanus Appears on: 32v–33 Genres: Madrigal (Italian) Number of voices: 5
33v–34	Quell' aura che spirand'a	-	Venturi, Pompilio
Quell' aura che spirand'a Venturi, Pompilio Appears on: 33v–34 Genres: Madrigal (Italian) Number of voices: 5
34v–36	Si un sguardo un fa beato	-	Venturi, Pompilio
Si un sguardo un fa beato Venturi, Pompilio Appears on: 34v–36 Genres: Madrigal (Italian) Number of voices: 5
36v–37	Fuggi se sai fuggire	-	Eremita, Giulio
Fuggi se sai fuggire Eremita, Giulio Appears on: 36v–37 Genres: Madrigal (Italian) Number of voices: 5
37v–38	Candide perle e care	-	Croce, Giovanni (ca. 1557–1609)
Candide perle e care Croce, Giovanni (ca. 1557–1609) Appears on: 37v–38 Genres: Madrigal (Italian) Number of voices: 5
38v–39	Quella che in mille	-	Vecchi, Orazio (1550–1605)
Quella che in mille Vecchi, Orazio (1550–1605) Appears on: 38v–39 Genres: Madrigal (Italian) Number of voices: 5
39v–40	Tu nascesti di furto	-	Giovannelli, Ruggiero (ca. 1560–1625)
Tu nascesti di furto Giovannelli, Ruggiero (ca. 1560–1625) Appears on: 39v–40 Genres: Madrigal (Italian) Number of voices: 5
40v–41	Se da voi m'allontano, cor mio	-	Croce, Giovanni (ca. 1557–1609)
Se da voi m'allontano, cor mio Croce, Giovanni (ca. 1557–1609) Appears on: 40v–41 Genres: Madrigal (Italian) Number of voices: 5
41v–42	Se la virtu ch' in voi	-	Quintiani, Lucrezio
Se la virtu ch' in voi Quintiani, Lucrezio Appears on: 41v–42 Genres: Madrigal (Italian) Number of voices: 5
42v–43	Tra le dolcezze e l' ire	-	Luzzaschi, Luzzasco
Tra le dolcezze e l' ire Luzzaschi, Luzzasco Appears on: 42v–43 Genres: Madrigal (Italian) Number of voices: 5
43v–44	Non fingo, egli e pur (C106)	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non fingo, egli e pur (C106) Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 43v–44 Genres: Madrigal (Italian) Number of voices: 5
44v–45	Zefiro torna e 'l bel tempo rimena	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Zefiro torna e 'l bel tempo rimena Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 44v–45 Genres: Madrigal (Italian) Number of voices: 5
45v–46	Creschin a gara sin al ciel	-	Quintiani, Lucrezio
Creschin a gara sin al ciel Quintiani, Lucrezio Appears on: 45v–46 Genres: Madrigal (Italian) Number of voices: 5
46v–47	Non vi bastava	-	Masnelli, Paolo
Non vi bastava Masnelli, Paolo Appears on: 46v–47 Genres: Madrigal (Italian) Number of voices: 5
47v–48	Soavissimo ardore	-	Masnelli, Paolo
Soavissimo ardore Masnelli, Paolo Appears on: 47v–48 Genres: Madrigal (Italian) Number of voices: 5
48v	Occhi cari	-	Masnelli, Paolo
Occhi cari Masnelli, Paolo Appears on: 48v Genres: Madrigal (Italian) Number of voices: 5
49	Ah disleale	-	Masnelli, Paolo
Ah disleale Masnelli, Paolo Appears on: 49 Genres: Madrigal (Italian) Number of voices: 5
49v–50	A che tormi il ben mio	-	Masnelli, Paolo
A che tormi il ben mio Masnelli, Paolo Appears on: 49v–50 Genres: Madrigal (Italian) Number of voices: 5
50v–51	A la dolce ombra - 2a pars (of 6): Non vide il mondo	-	Ferrabosco, Alfonso (the elder) (1543–1588)
A la dolce ombra - 2a pars (of 6): Non vide il mondo Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 50v–51 Genres: Madrigal (Italian) Number of voices: 5
51v–52	A la dolce ombra - 6a pars (of 6): Tanto mi piacque	-	Ferrabosco, Alfonso (the elder) (1543–1588)
A la dolce ombra - 6a pars (of 6): Tanto mi piacque Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 51v–52 Genres: Madrigal (Italian) Number of voices: 5
52v–53	Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 52v–53 Genres: Madrigal (Italian) Number of voices: 5 General Note Only the 1a pars is copied
53v	Clorinda hai vinto	-	Vecchi, Orazio (1550–1605)
Clorinda hai vinto Vecchi, Orazio (1550–1605) Appears on: 53v Genres: Madrigal (Italian) Number of voices: 5
54	Non e lasso martire	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non e lasso martire Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 54 Genres: Madrigal (Italian) Number of voices: 5
54v–55	Dolce alpestre parola	-	Mosto, Giovanni Battista
Dolce alpestre parola Mosto, Giovanni Battista Appears on: 54v–55 Genres: Madrigal (Italian) Number of voices: 5
55v	Natura non mi fe	-	Pallavicino, Benedetto
Natura non mi fe Pallavicino, Benedetto Appears on: 55v Genres: Madrigal (Italian) Number of voices: 5
56–57	Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir	-	Pallavicino, Benedetto
Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir Pallavicino, Benedetto Appears on: 56–57 Genres: Madrigal (Italian) Number of voices: 5 General Note This pars only is copied; but then crossed out. The 1a pars is copied a few folios later
57	Con che soavita - 1a pars (of 2): Con che soavita	-	Pallavicino, Benedetto
Con che soavita - 1a pars (of 2): Con che soavita Pallavicino, Benedetto Appears on: 57 Genres: Madrigal (Italian) Number of voices: 5
57v–58	Con che soavita - 2a pars (of 2): Perche i vostri diletti	-	Pallavicino, Benedetto
Con che soavita - 2a pars (of 2): Perche i vostri diletti Pallavicino, Benedetto Appears on: 57v–58 Genres: Madrigal (Italian) Number of voices: 5
58v–59	Quelle rose che colt' in paradiso	-	Anerio, Felice (ca. 1560–1614)
Quelle rose che colt' in paradiso Anerio, Felice (ca. 1560–1614) Appears on: 58v–59 Genres: Madrigal (Italian) Number of voices: 5
59v–60	Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte	-	Pallavicino, Benedetto
Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte Pallavicino, Benedetto Appears on: 59v–60 Genres: Madrigal (Italian) Number of voices: 5 General Note Only the 1a pars is copied here (the 2a pars was copied above, but then crossed out)
60v–61	Perfidissimo volto	-	Monteverdi, Claudio (1567–1643)
Perfidissimo volto Monteverdi, Claudio (1567–1643) Appears on: 60v–61 Genres: Madrigal (Italian) Number of voices: 5
61v–62	Dolce mia cara mano	-	Pallavicino, Benedetto
Dolce mia cara mano Pallavicino, Benedetto Appears on: 61v–62 Genres: Madrigal (Italian) Number of voices: 5
62v–63	Amor se i bei rubini	-	Anonymous
Amor se i bei rubini Anonymous Appears on: 62v–63 Genres: Madrigal (Italian) Number of voices: 5
63v–64	Alte parole	-	Lupo, Thomas (ca. 1571–1627)
Alte parole Lupo, Thomas (ca. 1571–1627) Appears on: 63v–64 Genres: Dance Number of voices: 5
64v	O che vezzosa	-	Lupo, Thomas (ca. 1571–1627)
O che vezzosa Lupo, Thomas (ca. 1571–1627) Appears on: 64v Genres: Madrigal (Italian) Number of voices: 5
65	If women can be courteous	-	Carlton, Richard
If women can be courteous Carlton, Richard Appears on: 65 Genres: Madrigal (English) Number of voices: 5
65v–66	Peace I hear a voice / Hold up / My masters all / At Betham time	-	Gibbons, Orlando (ca. 1583–1625) (?) Gibbons, Ellis (?)
Peace I hear a voice / Hold up / My masters all / At Betham time Gibbons, Orlando (ca. 1583–1625) (?) Gibbons, Ellis (?) Appears on: 65v–66 Genres: Consort song Number of voices: 4 General Note Titled 'A strange songe'. D1 begins 'Peace! I hear a voyce '; the Altus 'Hold up, hold up'; the Tenor (Quintus), 'My masters all'; and the Bass, 'Att betham tyme.' The name 'Gibbons' originally given in the Altus has been struck out.
66v–67	The cries of London - 1a pars (of 2): God give you good morrow, my masters	Orlando Gibings / Gibbons	Gibbons, Orlando (ca. 1583–1625)
The cries of London - 1a pars (of 2): God give you good morrow, my masters Gibbons, Orlando (ca. 1583–1625) Appears on: 66v–67 Genres: In nomine, Song Source Attribution: Orlando Gibings / Gibbons Number of voices: 5
67v–68	The cries of London - 2a pars (of 2): Will you go with me - A good sausage	-	Gibbons, Orlando (ca. 1583–1625)
The cries of London - 2a pars (of 2): Will you go with me - A good sausage Gibbons, Orlando (ca. 1583–1625) Appears on: 67v–68 Genres: Song Number of voices: 5
68v	Like as the day	Patterick Mando	Mando, Patrick
Like as the day Mando, Patrick Appears on: 68v Genres: Madrigal (English) Source Attribution: Patterick Mando Number of voices: 4
69	[untitled piece]	-	Pearson, James (?)
[untitled piece] Pearson, James (?) Appears on: 69 Genres: Viol piece Number of voices: 6 General Note 6vv - Sexta in D1 book; The initial 'P' at the end in D1 may be that of James Pearson, as composer
69v	Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me	-	Lassus, Orlande de (ca. 1532–1594)
Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me Lassus, Orlande de (ca. 1532–1594) Appears on: 69v Genres: Motet Number of voices: 5
69v	Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam	-	Lassus, Orlande de (ca. 1532–1594)
Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam Lassus, Orlande de (ca. 1532–1594) Appears on: 69v Genres: Motet Number of voices: 5
70–70v	Fantasia a6	William Bird	Byrd, William (ca. 1540–1623)
Fantasia a6 Byrd, William (ca. 1540–1623) Appears on: 70–70v Genres: Fantasia Source Attribution: William Bird Number of voices: 6 General Note 6vv - Sexta in B book
71	Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou	Birde	Byrd, William (ca. 1540–1623)
Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou Byrd, William (ca. 1540–1623) Appears on: 71 Genres: Anthem Source Attribution: Birde Number of voices: 5 General Note In this book the 2a pars seems to be separated from its 1a pars
71	Libera me Domine	Talles	Tallis, Thomas (ca. 1505–1585)
Libera me Domine Tallis, Thomas (ca. 1505–1585) Appears on: 71 Genres: Responsory Source Attribution: Talles Number of voices: 5
71v	Prostrate, O Lord, I lie	Birde	Byrd, William (ca. 1540–1623)
Prostrate, O Lord, I lie Byrd, William (ca. 1540–1623) Appears on: 71v Genres: Anthem Source Attribution: Birde Number of voices: 5
71v	[untitled piece]	Dr Tye	Tye, Christopher (ca. 1505–ca. 1573)
[untitled piece] Tye, Christopher (ca. 1505–ca. 1573) Appears on: 71v Genres: Viol piece Source Attribution: Dr Tye Number of voices: 5
72	Arise O Lord - 2a pars (of 2): Help us, O God	Birde	Byrd, William (ca. 1540–1623)
Arise O Lord - 2a pars (of 2): Help us, O God Byrd, William (ca. 1540–1623) Appears on: 72 Genres: Anthem Source Attribution: Birde Number of voices: 5 General Note In this book the 2a pars seems to be separated from its 1a pars
72v	Fantasia a5	-	Morley, Thomas (ca. 1557–1602)
Fantasia a5 Morley, Thomas (ca. 1557–1602) Appears on: 72v Genres: Fantasia Number of voices: 5
73	[untitled piece]	Morley	Morley, Thomas (ca. 1557–1602)
[untitled piece] Morley, Thomas (ca. 1557–1602) Appears on: 73 Genres: Viol piece Source Attribution: Morley Number of voices: 5
73v–74	[untitled piece]	Munday	Mundy, William (ca. 1528–ca. 1591)
[untitled piece] Mundy, William (ca. 1528–ca. 1591) Appears on: 73v–74 Genres: Viol piece Source Attribution: Munday Number of voices: 5
74v	Death the dissolver	-	Anonymous
Death the dissolver Anonymous Appears on: 74v Genres: Consort song Number of voices: 5
74v–75	Dum transisset sabbatum	-	Anonymous
Dum transisset sabbatum Anonymous Appears on: 74v–75 Genres: Motet Number of voices: 5
75v	O Lord, who in thy sacred tent	-	Byrd, William (ca. 1540–1623)
O Lord, who in thy sacred tent Byrd, William (ca. 1540–1623) Appears on: 75v Genres: Anthem Number of voices: 5
75v–76	Decantabat populus in Israel	Birde	Byrd, William (ca. 1540–1623) (?)
Decantabat populus in Israel Byrd, William (ca. 1540–1623) (?) Appears on: 75v–76 Genres: Motet Source Attribution: Birde Number of voices: 5 General Note source unknown. Not in Byrd Edition or Research Guide
76v	Fie fie my fate	Mundye	Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?)
Fie fie my fate Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?) Appears on: 76v Genres: Consort song Source Attribution: Mundye Number of voices: 5
77	De la court - 1a pars	Parsons	Parsons (I), Robert (ca. 1535–ca. 1572)
De la court - 1a pars Parsons (I), Robert (ca. 1535–ca. 1572) Appears on: 77 Genres: Chanson Source Attribution: Parsons Number of voices: 5 General Note It is unclear whether the 2a pars found in some sources is copied here
77v–78	Sorrow stay, lend true repentant tears	-	Dowland, John (1563–1626)
Sorrow stay, lend true repentant tears Dowland, John (1563–1626) Appears on: 77v–78 Genres: Consort song Number of voices: 5
78v–86v	Hence stars, too dim of light	East	East, Michael
Hence stars, too dim of light East, Michael Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: East Number of voices: 5 General Note This and the next 24 songs make a complete copy of 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	With angel's face	Norcome	Norcome, Daniel
With angel's face Norcome, Daniel Appears on: 78v–86v Genres: Consort song Source Attribution: Norcome Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Lightly she whipped o'er the dales	Mundy	Mundy, John (ca. 1555–1630)
Lightly she whipped o'er the dales Mundy, John (ca. 1555–1630) Appears on: 78v–86v Genres: Consort song Source Attribution: Mundy Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Long live fair Oriana	Ellis Gibbons	Gibbons, Ellis
Long live fair Oriana Gibbons, Ellis Appears on: 78v–86v Genres: Consort song Source Attribution: Ellis Gibbons Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	All creatures now are merry minded	Bennet	Bennett, John (fl. 1599-1614)
All creatures now are merry minded Bennett, John (fl. 1599-1614) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Bennet Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Fair Oriana, beauty's queen	Hilton	Hilton (Senior), John
Fair Oriana, beauty's queen Hilton (Senior), John Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Hilton Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	The nymphs and shepherds danced	Marson	Marson, George
The nymphs and shepherds danced Marson, George Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Marson Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Calm was the air and clear the sky	Carlton	Carlton, Richard
Calm was the air and clear the sky Carlton, Richard Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Carlton Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Thus Bonnyboots the birthday celebrated	Holmes	Holmes, John
Thus Bonnyboots the birthday celebrated Holmes, John Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Holmes Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Sing shepherds all and in your roundelays	Nicholson	Nicholson, Richard (1563–1639)
Sing shepherds all and in your roundelays Nicholson, Richard (1563–1639) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Nicholson Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	The Fauns and Satyrs tripping	Tomkins	Tomkins, Thomas (1572–1656)
The Fauns and Satyrs tripping Tomkins, Thomas (1572–1656) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Tomkins Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Come gentle swains	Cavendish	Cavendish, William (1593–1676)
Come gentle swains Cavendish, William (1593–1676) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Cavendish Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	With wreaths of rose and laurel	Cobbold	Cobbold, William (ca. 1560–1639)
With wreaths of rose and laurel Cobbold, William (ca. 1560–1639) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Cobbold Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
78v–86v	Arise awake	Morley	Morley, Thomas (ca. 1557–1602)
Arise awake Morley, Thomas (ca. 1557–1602) Appears on: 78v–86v Genres: Madrigal (English) Source Attribution: Morley Number of voices: 5 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
87–91v	Fair nymphs I heard one telling	Farmer	Farmer, John
Fair nymphs I heard one telling Farmer, John Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Farmer Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	The Lady Oriana was dight all in the treasures of Guiana	Wilbye	Wilbye, John (1574–1638)
The Lady Oriana was dight all in the treasures of Guiana Wilbye, John (1574–1638) Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Wilbye Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Hark, did ye ever hear so sweet a singing?	Hunt	Hunt 'of Wells', Thomas
Hark, did ye ever hear so sweet a singing? Hunt 'of Wells', Thomas Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Hunt Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	As Vesta was from Latmos Hill descending	Weelkes	Weelkes, Thomas (ca. 1576–1623)
As Vesta was from Latmos Hill descending Weelkes, Thomas (ca. 1576–1623) Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Weelkes Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Fair Orian in the morn	Milton	Milton, John
Fair Orian in the morn Milton, John Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Milton Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Round about her Chariot	Ellis Gibbons	Gibbons, Ellis
Round about her Chariot Gibbons, Ellis Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Ellis Gibbons Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	With angel's face / Bright Phoebus greets	Kirbye	Kirbye, George
With angel's face / Bright Phoebus greets Kirbye, George Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Kirbye Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Fair Oriana seeming to wink at folly	Jones	Jones (II), Robert (1577–1617)
Fair Oriana seeming to wink at folly Jones (II), Robert (1577–1617) Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Jones Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Fair Cytherea presents her doves	Lisley	Lesley, John
Fair Cytherea presents her doves Lesley, John Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Lisley Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Hard by a crystal fountain	Morley	Morley, Thomas (ca. 1557–1602)
Hard by a crystal fountain Morley, Thomas (ca. 1557–1602) Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Morley Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book
87–91v	Come blessed Byrd and with thy sugared relish	Johnson	Johnson, Edward
Come blessed Byrd and with thy sugared relish Johnson, Edward Appears on: 87–91v Genres: Madrigal (English) Source Attribution: Johnson Number of voices: 6 General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. Sexta vox generally in D1 book General Note The remaining pages of the book are missing, leaving the remaining pieces in the collection incomplete

Composer	Compositions
Anerio, Felice (ca. 1560-1614)	Quelle rose che colt' in paradiso – 58v–59
Anonymous	Amor se i bei rubini – 62v–63 Che se mentre – 6 Death the dissolver – 74v Dum transisset sabbatum – 74v–75 Non vedi oime – 16v–17
Bennett, John (1599-1614)	All creatures now are merry minded – 78v–86v
Byrd, William (ca. 1540-1623)	Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou – 71 Arise O Lord - 2a pars (of 2): Help us, O God – 72 (?) Decantabat populus in Israel – 75v–76 Fantasia a6 – 70–70v O Lord, who in thy sacred tent – 75v Prostrate, O Lord, I lie – 71v
Carlton, Richard	Calm was the air and clear the sky – 78v–86v If women can be courteous – 65
Cavendish, William (1593-1676)	Come gentle swains – 78v–86v
Cobbold, William (ca. 1560-1639)	With wreaths of rose and laurel – 78v–86v
Croce, Giovanni (ca. 1557-1609)	Candide perle e care – 37v–38 Cinthia, el tuo dolce canto – 28v–29 Se da voi m'allontano, cor mio – 40v–41
Dowland, John (1563-1626)	Sorrow stay, lend true repentant tears – 77v–78
East, Michael	Hence stars, too dim of light – 78v–86v
Eremita, Giulio	Fuggi se sai fuggire – 36v–37
Farmer, John	Fair nymphs I heard one telling – 87–91v
Ferrabosco, Alfonso (the elder) (1543-1588)	A la dolce ombra - 2a pars (of 6): Non vide il mondo – 50v–51 A la dolce ombra - 6a pars (of 6): Tanto mi piacque – 51v–52 Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma – 52v–53 (?) Fuerunt mihi lachrimae (C36) – 1–1v Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato – 18 Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro – 18v Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio – 19 Mentre ti fui si grato - 4a pars (of 6): Hor un laccio – 19v–20 Non e lasso martire – 54 Non fingo, egli e pur (C106) – 43v–44 Non mi fuggir – 16v O crude pene mie – 5v Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno – 30v–31 Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza – 31v–32 Zefiro torna e 'l bel tempo rimena – 44v–45
Ferrabosco, Alfonso (the younger) (ca. 1575-1628)	(?) Fuerunt mihi lachrimae (C36) – 1–1v
Gibbons, Ellis	Long live fair Oriana – 78v–86v (?) Peace I hear a voice / Hold up / My masters all / At Betham time – 65v–66 Round about her Chariot – 87–91v
Gibbons, Orlando (ca. 1583-1625)	(?) Peace I hear a voice / Hold up / My masters all / At Betham time – 65v–66 The cries of London - 1a pars (of 2): God give you good morrow, my masters – 66v–67 The cries of London - 2a pars (of 2): Will you go with me - A good sausage – 67v–68
Giovannelli, Ruggiero (ca. 1560-1625)	Tu nascesti di furto – 39v–40
Hilton (Senior), John	Fair Oriana, beauty's queen – 78v–86v
Holmes, John	Thus Bonnyboots the birthday celebrated – 78v–86v
Hunt 'of Wells', Thomas	Hark, did ye ever hear so sweet a singing? – 87–91v
Johnson, Edward	Come blessed Byrd and with thy sugared relish – 87–91v
Jones (II), Robert (1577-1617)	Fair Oriana seeming to wink at folly – 87–91v
Kirbye, George	With angel's face / Bright Phoebus greets – 87–91v
Lassus, Orlande de (ca. 1532-1594)	Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me – 69v Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam – 69v
Lesley, John	Fair Cytherea presents her doves – 87–91v
Lupo, Thomas (ca. 1571-1627)	Alte parole – 63v–64 O che vezzosa – 64v
Luzzaschi, Luzzasco	Tra le dolcezze e l' ire – 42v–43
Mando, Patrick	Like as the day – 68v
Marenzio, Luca (ca. 1553-1599)	Arda pur sempre o mora – 20v Che fa hoggi il mio sole che fa'l mio – 3v Deh poi che era ne' fati – 2 Dolorosi martir', fieri tormenti – 4 Giunto a la tomba - 1a pars (of 4): Giunto a la tomba – 4v–5 O voi che sospirati – 2v–3 Ond'ei di morte la sua faccia – 22 Rimanti in pace, a la dolente e bella – 21–21v
Marson, George	The nymphs and shepherds danced – 78v–86v
Masnelli, Paolo	A che tormi il ben mio – 49v–50 Ah disleale – 49 Non vi bastava – 46v–47 Occhi cari – 48v Soavissimo ardore – 47v–48
Milton, John	Fair Orian in the morn – 87–91v
Monteverdi, Claudio (1567-1643)	La giovinetta pianta si fa – 11v–12 La tra il sangue e le morti egro – 9 Ma dove lasso – 10v–11 O come e gran martire – 7v O dolce anima mia – 9v–10 O primavera bella – 14v–15 O rossignuol che in queste verdi fronde – 12v–13 Perfidissimo volto – 60v–61 Sovra tenere herbette – 8–8v Stracciami pur il core – 13v–14
Morley, Thomas (ca. 1557-1602)	Arise awake – 78v–86v Fantasia a5 – 72v Hard by a crystal fountain – 87–91v [untitled piece] – 73
Mosto, Giovanni Battista	Dolce alpestre parola – 54v–55
Mundy, John (ca. 1555-1630)	(?) Fie fie my fate – 76v Lightly she whipped o'er the dales – 78v–86v
Mundy, William (ca. 1528-ca. 1591)	(?) Fie fie my fate – 76v [untitled piece] – 73v–74
Nicholson, Richard (1563-1639)	Sing shepherds all and in your roundelays – 78v–86v
Norcome, Daniel	With angel's face – 78v–86v
Pallavicino, Benedetto	Baci amorosi e cari – 30 Con che soavita - 1a pars (of 2): Con che soavita – 57 Con che soavita - 2a pars (of 2): Perche i vostri diletti – 57v–58 Dolce mia cara mano – 61v–62 Donna, se quel ohime – 29v Donna, se voi m'odiate – 25 Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte – 59v–60 Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir – 56–57 Natura non mi fe – 55v
Parsons (I), Robert (ca. 1535-ca. 1572)	De la court - 1a pars – 77
Pearson, James	(?) [untitled piece] – 69
Quintiani, Lucrezio	Al suon d'amata voce – 6v–7 Creschin a gara sin al ciel – 45v–46 Di lauri e mirti il tuo bel tempio – 26v–27 Monte, selvi, fontane – 25v–26 Non puo tanto l'amore – 27v–28 Se la virtu ch' in voi – 41v–42
Tallis, Thomas (ca. 1505-1585)	Libera me Domine – 71
Tomkins, Thomas (1572-1656)	The Fauns and Satyrs tripping – 78v–86v
Tye, Christopher (ca. 1505-ca. 1573)	[untitled piece] – 71v
Vecchi, Orazio (1550-1605)	Cara mia Dafne – 24v Clorinda hai vinto – 53v Donna s'io sono il sole – 17v Il bianco e dolce cigno cantando more – 15v–16 O di rare eccellenze – 22v–23 Pastorella gratiosella – 23v–24 Quella che in mille – 38v–39
Venturi (del Nibbio), Stephanus	Occhi, mirando mi togliest' il cor – 32v–33
Venturi, Pompilio	Quell' aura che spirand'a – 33v–34 Si un sguardo un fa beato – 34v–36
Weelkes, Thomas (ca. 1576-1623)	As Vesta was from Latmos Hill descending – 87–91v
Wilbye, John (1574-1638)	The Lady Oriana was dight all in the treasures of Guiana – 87–91v

Composition	Composers (? Uncertain)	Folios / Pages
[untitled piece]	Pearson, James (?)	69
[untitled piece]	Tye, Christopher (ca. 1505–ca. 1573)	71v
[untitled piece]	Morley, Thomas (ca. 1557–1602)	73
[untitled piece]	Mundy, William (ca. 1528–ca. 1591)	73v–74
A che tormi il ben mio	Masnelli, Paolo	49v–50
A la dolce ombra - 2a pars (of 6): Non vide il mondo	Ferrabosco, Alfonso (the elder) (1543–1588)	50v–51
A la dolce ombra - 6a pars (of 6): Tanto mi piacque	Ferrabosco, Alfonso (the elder) (1543–1588)	51v–52
Ah disleale	Masnelli, Paolo	49
Al suon d'amata voce	Quintiani, Lucrezio	6v–7
All creatures now are merry minded	Bennett, John (fl. 1599-1614)	78v–86v
Alte parole	Lupo, Thomas (ca. 1571–1627)	63v–64
Amor se i bei rubini	Anonymous	62v–63
Arda pur sempre o mora	Marenzio, Luca (ca. 1553–1599)	20v
Arise awake	Morley, Thomas (ca. 1557–1602)	78v–86v
Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou	Byrd, William (ca. 1540–1623)	71
Arise O Lord - 2a pars (of 2): Help us, O God	Byrd, William (ca. 1540–1623)	72
As Vesta was from Latmos Hill descending	Weelkes, Thomas (ca. 1576–1623)	87–91v
Baci amorosi e cari	Pallavicino, Benedetto	30
Calm was the air and clear the sky	Carlton, Richard	78v–86v
Candide perle e care	Croce, Giovanni (ca. 1557–1609)	37v–38
Cara mia Dafne	Vecchi, Orazio (1550–1605)	24v
Che fa hoggi il mio sole che fa'l mio	Marenzio, Luca (ca. 1553–1599)	3v
Che se mentre	Anonymous	6
Cinthia, el tuo dolce canto	Croce, Giovanni (ca. 1557–1609)	28v–29
Clorinda hai vinto	Vecchi, Orazio (1550–1605)	53v
Come blessed Byrd and with thy sugared relish	Johnson, Edward	87–91v
Come gentle swains	Cavendish, William (1593–1676)	78v–86v
Con che soavita - 1a pars (of 2): Con che soavita	Pallavicino, Benedetto	57
Con che soavita - 2a pars (of 2): Perche i vostri diletti	Pallavicino, Benedetto	57v–58
Creschin a gara sin al ciel	Quintiani, Lucrezio	45v–46
De la court - 1a pars	Parsons (I), Robert (ca. 1535–ca. 1572)	77
Death the dissolver	Anonymous	74v
Decantabat populus in Israel	Byrd, William (ca. 1540–1623) (?)	75v–76
Deh poi che era ne' fati	Marenzio, Luca (ca. 1553–1599)	2
Di lauri e mirti il tuo bel tempio	Quintiani, Lucrezio	26v–27
Dolce alpestre parola	Mosto, Giovanni Battista	54v–55
Dolce mia cara mano	Pallavicino, Benedetto	61v–62
Dolorosi martir', fieri tormenti	Marenzio, Luca (ca. 1553–1599)	4
Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma	Ferrabosco, Alfonso (the elder) (1543–1588)	52v–53
Donna s'io sono il sole	Vecchi, Orazio (1550–1605)	17v
Donna, se quel ohime	Pallavicino, Benedetto	29v
Donna, se voi m'odiate	Pallavicino, Benedetto	25
Dum transisset sabbatum	Anonymous	74v–75
Fair Cytherea presents her doves	Lesley, John	87–91v
Fair nymphs I heard one telling	Farmer, John	87–91v
Fair Orian in the morn	Milton, John	87–91v
Fair Oriana seeming to wink at folly	Jones (II), Robert (1577–1617)	87–91v
Fair Oriana, beauty's queen	Hilton (Senior), John	78v–86v
Fantasia a5	Morley, Thomas (ca. 1557–1602)	72v
Fantasia a6	Byrd, William (ca. 1540–1623)	70–70v
Fie fie my fate	Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?)	76v
Fuerunt mihi lachrimae (C36)	Ferrabosco, Alfonso (the elder) (1543–1588) (?) Ferrabosco, Alfonso (the younger) (ca. 1575–1628) (?)	1–1v
Fuggi se sai fuggire	Eremita, Giulio	36v–37
Giunto a la tomba - 1a pars (of 4): Giunto a la tomba	Marenzio, Luca (ca. 1553–1599)	4v–5
Hard by a crystal fountain	Morley, Thomas (ca. 1557–1602)	87–91v
Hark, did ye ever hear so sweet a singing?	Hunt 'of Wells', Thomas	87–91v
Hence stars, too dim of light	East, Michael	78v–86v
Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte	Pallavicino, Benedetto	59v–60
Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir	Pallavicino, Benedetto	56–57
If women can be courteous	Carlton, Richard	65
Il bianco e dolce cigno cantando more	Vecchi, Orazio (1550–1605)	15v–16
La giovinetta pianta si fa	Monteverdi, Claudio (1567–1643)	11v–12
La tra il sangue e le morti egro	Monteverdi, Claudio (1567–1643)	9
Libera me Domine	Tallis, Thomas (ca. 1505–1585)	71
Lightly she whipped o'er the dales	Mundy, John (ca. 1555–1630)	78v–86v
Like as the day	Mando, Patrick	68v
Long live fair Oriana	Gibbons, Ellis	78v–86v
Ma dove lasso	Monteverdi, Claudio (1567–1643)	10v–11
Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato	Ferrabosco, Alfonso (the elder) (1543–1588)	18
Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro	Ferrabosco, Alfonso (the elder) (1543–1588)	18v
Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio	Ferrabosco, Alfonso (the elder) (1543–1588)	19
Mentre ti fui si grato - 4a pars (of 6): Hor un laccio	Ferrabosco, Alfonso (the elder) (1543–1588)	19v–20
Monte, selvi, fontane	Quintiani, Lucrezio	25v–26
Natura non mi fe	Pallavicino, Benedetto	55v
Non e lasso martire	Ferrabosco, Alfonso (the elder) (1543–1588)	54
Non fingo, egli e pur (C106)	Ferrabosco, Alfonso (the elder) (1543–1588)	43v–44
Non mi fuggir	Ferrabosco, Alfonso (the elder) (1543–1588)	16v
Non puo tanto l'amore	Quintiani, Lucrezio	27v–28
Non vedi oime	Anonymous	16v–17
Non vi bastava	Masnelli, Paolo	46v–47
O che vezzosa	Lupo, Thomas (ca. 1571–1627)	64v
O come e gran martire	Monteverdi, Claudio (1567–1643)	7v
O crude pene mie	Ferrabosco, Alfonso (the elder) (1543–1588)	5v
O di rare eccellenze	Vecchi, Orazio (1550–1605)	22v–23
O dolce anima mia	Monteverdi, Claudio (1567–1643)	9v–10
O Lord, who in thy sacred tent	Byrd, William (ca. 1540–1623)	75v
O primavera bella	Monteverdi, Claudio (1567–1643)	14v–15
O rossignuol che in queste verdi fronde	Monteverdi, Claudio (1567–1643)	12v–13
O voi che sospirati	Marenzio, Luca (ca. 1553–1599)	2v–3
Occhi cari	Masnelli, Paolo	48v
Occhi, mirando mi togliest' il cor	Venturi (del Nibbio), Stephanus	32v–33
Ond'ei di morte la sua faccia	Marenzio, Luca (ca. 1553–1599)	22
Pastorella gratiosella	Vecchi, Orazio (1550–1605)	23v–24
Peace I hear a voice / Hold up / My masters all / At Betham time	Gibbons, Orlando (ca. 1583–1625) (?) Gibbons, Ellis (?)	65v–66
Perfidissimo volto	Monteverdi, Claudio (1567–1643)	60v–61
Prostrate, O Lord, I lie	Byrd, William (ca. 1540–1623)	71v
Quell' aura che spirand'a	Venturi, Pompilio	33v–34
Quella che in mille	Vecchi, Orazio (1550–1605)	38v–39
Quelle rose che colt' in paradiso	Anerio, Felice (ca. 1560–1614)	58v–59
Rimanti in pace, a la dolente e bella	Marenzio, Luca (ca. 1553–1599)	21–21v
Round about her Chariot	Gibbons, Ellis	87–91v
Se da voi m'allontano, cor mio	Croce, Giovanni (ca. 1557–1609)	40v–41
Se la virtu ch' in voi	Quintiani, Lucrezio	41v–42
Si un sguardo un fa beato	Venturi, Pompilio	34v–36
Sing shepherds all and in your roundelays	Nicholson, Richard (1563–1639)	78v–86v
Soavissimo ardore	Masnelli, Paolo	47v–48
Sorrow stay, lend true repentant tears	Dowland, John (1563–1626)	77v–78
Sovra tenere herbette	Monteverdi, Claudio (1567–1643)	8–8v
Stracciami pur il core	Monteverdi, Claudio (1567–1643)	13v–14
The cries of London - 1a pars (of 2): God give you good morrow, my masters	Gibbons, Orlando (ca. 1583–1625)	66v–67
The cries of London - 2a pars (of 2): Will you go with me - A good sausage	Gibbons, Orlando (ca. 1583–1625)	67v–68
The Fauns and Satyrs tripping	Tomkins, Thomas (1572–1656)	78v–86v
The Lady Oriana was dight all in the treasures of Guiana	Wilbye, John (1574–1638)	87–91v
The nymphs and shepherds danced	Marson, George	78v–86v
Thus Bonnyboots the birthday celebrated	Holmes, John	78v–86v
Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me	Lassus, Orlande de (ca. 1532–1594)	69v
Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam	Lassus, Orlande de (ca. 1532–1594)	69v
Tra le dolcezze e l' ire	Luzzaschi, Luzzasco	42v–43
Tu nascesti di furto	Giovannelli, Ruggiero (ca. 1560–1625)	39v–40
Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno	Ferrabosco, Alfonso (the elder) (1543–1588)	30v–31
Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza	Ferrabosco, Alfonso (the elder) (1543–1588)	31v–32
With angel's face	Norcome, Daniel	78v–86v
With angel's face / Bright Phoebus greets	Kirbye, George	87–91v
With wreaths of rose and laurel	Cobbold, William (ca. 1560–1639)	78v–86v
Zefiro torna e 'l bel tempo rimena	Ferrabosco, Alfonso (the elder) (1543–1588)	44v–45

Set: MSS Additional 37402-37406

Type: Partbooks

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‡ denotes primary source study

Charteris, Richard. 1984. Alfonso Ferrabosco the Elder (1543-1588): A Thematic Catalogue of his Music with a Biographical Calendar. New York. Pages: 75ff, 189. Notes: contents list (partial); concordances (partial).

Fenlon, Iain, and John Milsom. 1984. 'Ruled Paper Imprinted': Music Paper and Patents in Sixteenth-Century England. Journal of the American Musicological Society, 37: 139-63. Pages: 155,162. Notes: physical description (partial); mention of MS; discussion.

Monson, Craig. 1982. Voices and Viols in England, 1600-1650: The Sources and the Music. Ann Arbor. Pages: 225-6. Notes: contents list.

Daniel, Ralph T, and Peter Le Huray. 1972. The Sources of English Church Music 1549-1660. Early English Church Music, vol. Supplementary Volume 1. London. Notes: contents list (partial); concordances (partial).

Brett, Philip. 1965. The Songs of William Byrd. Cambridge University, Unpublished Ph.D. dissertation. Pages: 222. Notes: physical description (partial); contents list (partial).

Kerman, Joseph. 1961. Byrd's Motets: Chronology and Canon. Journal of the American Musicological Society, 14: 359-82. Pages: 365, 376. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hughes, Dom Anselm. 1953. Catalogue of the Musical Manuscripts at Peterhouse, Cambridge. Cambridge. Pages: III, 222-4, 232, 387, 399-400, 405. Notes: physical description (partial); contents list.

Lewis, Anthony (editor). 1951-. Musica Britannica: A National Collection of Music. London. Pages: XXII, 24, 50-2, 64-5, 102-13, 174, 179, 181-5; XLIV,52-5,186. Notes: mention of MS; contents list (partial); concordances (partial); transcriptions (partial).

Fellowes, Edmund H (editor). 1937-50, 1962. The Collected Works of William Byrd. Pages: XVII, 73-4, 150, 158-9. Notes: mention of MS; contents list (partial); concordances (partial); transcriptions (partial).

Madden, F. 1843-. Catalogue of Additions to the Manuscripts in the British Museum. Pages: [1906-10], 33. Notes: physical description (partial); contents list (partial).

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DIAMM, 2016

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