GB-Lbl Add. MS 37405

British Library, London, England

partbook: Early 17th Century

Archive	British Library, London, England (GB-Lbl)
Shelfmark	Add. MS 37405
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	Metcalfe, W. (owner) Babington, Thomas and Elizabeth (owner) ? Pearson, James (compiler)
External Links	British Library online catalogue entry
External Authorities	RISM Online (sources/1001028887)
Provenance	England
Contents	Contains 139 compositions, 129 from 53 composers, 10 are anonymous.

General Description

A Quintus (Tenor) 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

New pencil foliation, 1-86 (last folio not numbered)

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

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)
1–2	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: 1–2 Genres: Motet Number of voices: 2 of 4
2v	Deh poi che era ne' fati	-	Marenzio, Luca (ca. 1553–1599)
Deh poi che era ne' fati Marenzio, Luca (ca. 1553–1599) Appears on: 2v Genres: Madrigal (Italian) Number of voices: 4 of 5
3	O voi che sospirati	-	Marenzio, Luca (ca. 1553–1599)
O voi che sospirati Marenzio, Luca (ca. 1553–1599) Appears on: 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	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 Genres: Madrigal (Italian) Number of voices: 5 General Note Only the 1a pars is copied
5	O crude pene mie	-	Ferrabosco, Alfonso (the elder) (1543–1588)
O crude pene mie Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 5 Genres: Madrigal (Italian) Number of voices: 5
5v–6	Che se mentre	-	Anonymous
Che se mentre Anonymous Appears on: 5v–6 Genres: Madrigal (Italian) Number of voices: 5
6v	Al suon d'amata voce	-	Quintiani, Lucrezio
Al suon d'amata voce Quintiani, Lucrezio Appears on: 6v Genres: Madrigal (Italian) Number of voices: 5
7	O come e gran martire	-	Monteverdi, Claudio (1567–1643)
O come e gran martire Monteverdi, Claudio (1567–1643) Appears on: 7 Genres: Madrigal (Italian) Number of voices: 5
7v	Sovra tenere herbette	-	Monteverdi, Claudio (1567–1643)
Sovra tenere herbette Monteverdi, Claudio (1567–1643) Appears on: 7v Genres: Madrigal (Italian) Number of voices: 5
8	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: 8 Genres: Madrigal (Italian) Number of voices: 5
8v	O dolce anima mia	-	Monteverdi, Claudio (1567–1643)
O dolce anima mia Monteverdi, Claudio (1567–1643) Appears on: 8v Genres: Madrigal (Italian) Number of voices: 5
9	Ma dove lasso	-	Monteverdi, Claudio (1567–1643)
Ma dove lasso Monteverdi, Claudio (1567–1643) Appears on: 9 Genres: Madrigal (Italian) Number of voices: 5
9v–10	La giovinetta pianta si fa	-	Monteverdi, Claudio (1567–1643)
La giovinetta pianta si fa Monteverdi, Claudio (1567–1643) Appears on: 9v–10 Genres: Madrigal (Italian) Number of voices: 5
10v	O rossignuol che in queste verdi fronde	-	Monteverdi, Claudio (1567–1643)
O rossignuol che in queste verdi fronde Monteverdi, Claudio (1567–1643) Appears on: 10v Genres: Madrigal (Italian) Number of voices: 5
11–11v	Stracciami pur il core	-	Monteverdi, Claudio (1567–1643)
Stracciami pur il core Monteverdi, Claudio (1567–1643) Appears on: 11–11v Genres: Madrigal (Italian) Number of voices: 5
12	O primavera bella	-	Monteverdi, Claudio (1567–1643)
O primavera bella Monteverdi, Claudio (1567–1643) Appears on: 12 Genres: Madrigal (Italian) Number of voices: 5
12v	Il bianco e dolce cigno cantando more	-	Vecchi, Orazio (1550–1605)
Il bianco e dolce cigno cantando more Vecchi, Orazio (1550–1605) Appears on: 12v Genres: Madrigal (Italian) Number of voices: 5
13	Non mi fuggir	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non mi fuggir Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 13 Genres: Madrigal (Italian) Number of voices: 5
13v	Non vedi oime	-	Anonymous
Non vedi oime Anonymous Appears on: 13v Genres: Madrigal (Italian) Number of voices: 5
14–14v	Donna s'io sono il sole	-	Vecchi, Orazio (1550–1605)
Donna s'io sono il sole Vecchi, Orazio (1550–1605) Appears on: 14–14v Genres: Madrigal (Italian) Number of voices: 5
15	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: 15 Genres: Madrigal (Italian) Number of voices: 5
15v	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: 15v Genres: Madrigal (Italian) Number of voices: 5
16	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: 16 Genres: Madrigal (Italian) Number of voices: 5
16v	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: 16v Genres: Madrigal (Italian) Number of voices: 5
17	Arda pur sempre o mora	-	Marenzio, Luca (ca. 1553–1599)
Arda pur sempre o mora Marenzio, Luca (ca. 1553–1599) Appears on: 17 Genres: Madrigal (Italian) Number of voices: 5
17v	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: 17v Genres: Madrigal (Italian) Number of voices: 5
18	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: 18 Genres: Madrigal (Italian) Number of voices: 5
18v	O di rare eccellenze	-	Vecchi, Orazio (1550–1605)
O di rare eccellenze Vecchi, Orazio (1550–1605) Appears on: 18v Genres: Madrigal (Italian) Number of voices: 5
19	Pastorella gratiosella	-	Vecchi, Orazio (1550–1605)
Pastorella gratiosella Vecchi, Orazio (1550–1605) Appears on: 19 Genres: Madrigal (Italian) Number of voices: 5
19v	Cara mia Dafne	-	Vecchi, Orazio (1550–1605)
Cara mia Dafne Vecchi, Orazio (1550–1605) Appears on: 19v Genres: Madrigal (Italian) Number of voices: 5
20	Donna, se voi m'odiate	-	Pallavicino, Benedetto
Donna, se voi m'odiate Pallavicino, Benedetto Appears on: 20 Genres: Madrigal (Italian) Number of voices: 5
20v	Monte, selvi, fontane	-	Quintiani, Lucrezio
Monte, selvi, fontane Quintiani, Lucrezio Appears on: 20v Genres: Madrigal (Italian) Number of voices: 5
21	Di lauri e mirti il tuo bel tempio	-	Quintiani, Lucrezio
Di lauri e mirti il tuo bel tempio Quintiani, Lucrezio Appears on: 21 Genres: Madrigal (Italian) Number of voices: 5
21v	Non puo tanto l'amore	-	Quintiani, Lucrezio
Non puo tanto l'amore Quintiani, Lucrezio Appears on: 21v Genres: Madrigal (Italian) Number of voices: 5
22	Cinthia, el tuo dolce canto	-	Croce, Giovanni (ca. 1557–1609)
Cinthia, el tuo dolce canto Croce, Giovanni (ca. 1557–1609) Appears on: 22 Genres: Madrigal (Italian) Number of voices: 5
22v	Donna, se quel ohime	-	Pallavicino, Benedetto
Donna, se quel ohime Pallavicino, Benedetto Appears on: 22v Genres: Madrigal (Italian) Number of voices: 5
23	Baci amorosi e cari	-	Pallavicino, Benedetto
Baci amorosi e cari Pallavicino, Benedetto Appears on: 23 Genres: Madrigal (Italian) Number of voices: 5
23v	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: 23v Genres: Madrigal (Italian) Number of voices: 5
24	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: 24 Genres: Madrigal (Italian) Number of voices: 5
24v	Occhi, mirando mi togliest' il cor	-	Venturi (del Nibbio), Stephanus
Occhi, mirando mi togliest' il cor Venturi (del Nibbio), Stephanus Appears on: 24v Genres: Madrigal (Italian) Number of voices: 5
25	Quell' aura che spirand'a	-	Venturi, Pompilio
Quell' aura che spirand'a Venturi, Pompilio Appears on: 25 Genres: Madrigal (Italian) Number of voices: 5
25v	Si un sguardo un fa beato	-	Venturi, Pompilio
Si un sguardo un fa beato Venturi, Pompilio Appears on: 25v Genres: Madrigal (Italian) Number of voices: 5
26	Fuggi se sai fuggire	-	Eremita, Giulio
Fuggi se sai fuggire Eremita, Giulio Appears on: 26 Genres: Madrigal (Italian) Number of voices: 5
26v	Candide perle e care	-	Croce, Giovanni (ca. 1557–1609)
Candide perle e care Croce, Giovanni (ca. 1557–1609) Appears on: 26v Genres: Madrigal (Italian) Number of voices: 5
27	Quella che in mille	-	Vecchi, Orazio (1550–1605)
Quella che in mille Vecchi, Orazio (1550–1605) Appears on: 27 Genres: Madrigal (Italian) Number of voices: 5
27v	Tu nascesti di furto	-	Giovannelli, Ruggiero (ca. 1560–1625)
Tu nascesti di furto Giovannelli, Ruggiero (ca. 1560–1625) Appears on: 27v Genres: Madrigal (Italian) Number of voices: 5
28	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: 28 Genres: Madrigal (Italian) Number of voices: 5
28v	Se la virtu ch' in voi	-	Quintiani, Lucrezio
Se la virtu ch' in voi Quintiani, Lucrezio Appears on: 28v Genres: Madrigal (Italian) Number of voices: 5
29	Tra le dolcezze e l' ire	-	Luzzaschi, Luzzasco
Tra le dolcezze e l' ire Luzzaschi, Luzzasco Appears on: 29 Genres: Madrigal (Italian) Number of voices: 5
29v	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: 29v Genres: Madrigal (Italian) Number of voices: 5
30–30v	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: 30–30v Genres: Madrigal (Italian) Number of voices: 5
31	Creschin a gara sin al ciel	-	Quintiani, Lucrezio
Creschin a gara sin al ciel Quintiani, Lucrezio Appears on: 31 Genres: Madrigal (Italian) Number of voices: 5
31v	Non vi bastava	-	Masnelli, Paolo
Non vi bastava Masnelli, Paolo Appears on: 31v Genres: Madrigal (Italian) Number of voices: 5
32	Soavissimo ardore	-	Masnelli, Paolo
Soavissimo ardore Masnelli, Paolo Appears on: 32 Genres: Madrigal (Italian) Number of voices: 5
32v	Occhi cari	-	Masnelli, Paolo
Occhi cari Masnelli, Paolo Appears on: 32v Genres: Madrigal (Italian) Number of voices: 5
33	Ah disleale	-	Masnelli, Paolo
Ah disleale Masnelli, Paolo Appears on: 33 Genres: Madrigal (Italian) Number of voices: 5
33v	A che tormi il ben mio	-	Masnelli, Paolo
A che tormi il ben mio Masnelli, Paolo Appears on: 33v Genres: Madrigal (Italian) Number of voices: 5
34	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: 34 Genres: Madrigal (Italian) Number of voices: 5
34v	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: 34v Genres: Madrigal (Italian) Number of voices: 5
35	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: 35 Genres: Madrigal (Italian) Number of voices: 5 General Note Only the 1a pars is copied
35v	Clorinda hai vinto	-	Vecchi, Orazio (1550–1605)
Clorinda hai vinto Vecchi, Orazio (1550–1605) Appears on: 35v Genres: Madrigal (Italian) Number of voices: 5
36	Non e lasso martire	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non e lasso martire Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 36 Genres: Madrigal (Italian) Number of voices: 5
36v	Dolce alpestre parola	-	Mosto, Giovanni Battista
Dolce alpestre parola Mosto, Giovanni Battista Appears on: 36v Genres: Madrigal (Italian) Number of voices: 5
37	Natura non mi fe	-	Pallavicino, Benedetto
Natura non mi fe Pallavicino, Benedetto Appears on: 37 Genres: Madrigal (Italian) Number of voices: 5
37v	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: 37v Genres: Madrigal (Italian) Number of voices: 5 General Note Only this pars is copied; but then crossed out. The 1a pars is copied a few folios later
38	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: 38 Genres: Madrigal (Italian) Number of voices: 5
38v	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: 38v Genres: Madrigal (Italian) Number of voices: 5
39	Quelle rose che colt' in paradiso	-	Anerio, Felice (ca. 1560–1614)
Quelle rose che colt' in paradiso Anerio, Felice (ca. 1560–1614) Appears on: 39 Genres: Madrigal (Italian) Number of voices: 5
39v–40	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: 39v–40 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)
40v–41	Perfidissimo volto	-	Monteverdi, Claudio (1567–1643)
Perfidissimo volto Monteverdi, Claudio (1567–1643) Appears on: 40v–41 Genres: Madrigal (Italian) Number of voices: 5
41v	Dolce mia cara mano	-	Pallavicino, Benedetto
Dolce mia cara mano Pallavicino, Benedetto Appears on: 41v Genres: Madrigal (Italian) Number of voices: 5
42	Amor se i bei rubini	-	Anonymous
Amor se i bei rubini Anonymous Appears on: 42 Genres: Madrigal (Italian) Number of voices: 5
42v	Alte parole	-	Lupo, Thomas (ca. 1571–1627)
Alte parole Lupo, Thomas (ca. 1571–1627) Appears on: 42v Genres: Dance Number of voices: 5
43–43v	O che vezzosa	-	Lupo, Thomas (ca. 1571–1627)
O che vezzosa Lupo, Thomas (ca. 1571–1627) Appears on: 43–43v Genres: Madrigal (Italian) Number of voices: 5
44	If women can be courteous	-	Carlton, Richard
If women can be courteous Carlton, Richard Appears on: 44 Genres: Madrigal (English) Number of voices: 5
44v–45	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: 44v–45 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.
45v–46	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: 45v–46 Genres: In nomine, Song Source Attribution: Orlando Gibings / Gibbons Number of voices: 5
46v–47	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: 46v–47 Genres: Song Number of voices: 5
47v	Like as the day	Patterick Mando	Mando, Patrick
Like as the day Mando, Patrick Appears on: 47v Genres: Madrigal (English) Source Attribution: Patterick Mando Number of voices: 4
48	[untitled piece]	'P' [=James Pearson?]	Pearson, James (?)
[untitled piece] Pearson, James (?) Appears on: 48 Genres: Viol piece Source Attribution: 'P' [=James Pearson?] 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
48v	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: 48v Genres: Motet Number of voices: 5
48v	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: 48v Genres: Motet Number of voices: 5
49	Fantasia a6	William Bird	Byrd, William (ca. 1540–1623)
Fantasia a6 Byrd, William (ca. 1540–1623) Appears on: 49 Genres: Fantasia Source Attribution: William Bird Number of voices: 6 General Note 6vv - Sexta in B book
50	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: 50 Genres: Anthem Source Attribution: Birde Number of voices: 5
50	Arise O Lord - 2a pars (of 2): Help us, O God	-	Byrd, William (ca. 1540–1623)
Arise O Lord - 2a pars (of 2): Help us, O God Byrd, William (ca. 1540–1623) Appears on: 50 Genres: Anthem Number of voices: 5
50	Libera me Domine	Talles	Tallis, Thomas (ca. 1505–1585)
Libera me Domine Tallis, Thomas (ca. 1505–1585) Appears on: 50 Genres: Responsory Source Attribution: Talles Number of voices: 5
50v	Prostrate, O Lord, I lie	Birde	Byrd, William (ca. 1540–1623)
Prostrate, O Lord, I lie Byrd, William (ca. 1540–1623) Appears on: 50v Genres: Anthem Source Attribution: Birde Number of voices: 5
51	[untitled piece]	Dr Tye	Tye, Christopher (ca. 1505–ca. 1573)
[untitled piece] Tye, Christopher (ca. 1505–ca. 1573) Appears on: 51 Genres: Viol piece Source Attribution: Dr Tye Number of voices: 5
51v	Fantasia a5	-	Morley, Thomas (ca. 1557–1602)
Fantasia a5 Morley, Thomas (ca. 1557–1602) Appears on: 51v Genres: Fantasia Number of voices: 5
52	[untitled piece]	Morley	Morley, Thomas (ca. 1557–1602)
[untitled piece] Morley, Thomas (ca. 1557–1602) Appears on: 52 Genres: Viol piece Source Attribution: Morley Number of voices: 5
52v	[untitled piece]	Munday	Mundy, William (ca. 1528–ca. 1591)
[untitled piece] Mundy, William (ca. 1528–ca. 1591) Appears on: 52v Genres: Viol piece Source Attribution: Munday Number of voices: 5
53	Death the dissolver	-	Anonymous
Death the dissolver Anonymous Appears on: 53 Genres: Consort song Number of voices: 5
53v	Dum transisset sabbatum	-	Anonymous
Dum transisset sabbatum Anonymous Appears on: 53v Genres: Motet Number of voices: 5
54	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: 54 Genres: Anthem Number of voices: 5
54v–55	Decantabat populus in Israel	Birde	Byrd, William (ca. 1540–1623) (?)
Decantabat populus in Israel Byrd, William (ca. 1540–1623) (?) Appears on: 54v–55 Genres: Motet Source Attribution: Birde Number of voices: 5 General Note source unknown. Not in Byrd Edition or Research Guide
55v	Fie fie my fate	Mundye	Mundy, John (ca. 1555–1630) (?) Mundy, William (ca. 1528–ca. 1591) (?)
Fie fie my fate Mundy, John (ca. 1555–1630) (?) Mundy, William (ca. 1528–ca. 1591) (?) Appears on: 55v Genres: Consort song Source Attribution: Mundye Number of voices: 5
56	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: 56 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
56v–57	Sorrow stay, lend true repentant tears	-	Dowland, John (1563–1626)
Sorrow stay, lend true repentant tears Dowland, John (1563–1626) Appears on: 56v–57 Genres: Consort song Number of voices: 5
57v–65v	Hence stars, too dim of light	East	East, Michael
Hence stars, too dim of light East, Michael Appears on: 57v–65v 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.
57v–65v	With angel's face	Norcome	Norcome, Daniel
With angel's face Norcome, Daniel Appears on: 57v–65v 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.
57v–65v	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: 57v–65v 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.
57v–65v	Long live fair Oriana	Ellis Gibbons	Gibbons, Ellis
Long live fair Oriana Gibbons, Ellis Appears on: 57v–65v 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.
57v–65v	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: 57v–65v 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.
57v–65v	Fair Oriana, beauty's queen	Hilton	Hilton (Senior), John
Fair Oriana, beauty's queen Hilton (Senior), John Appears on: 57v–65v 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.
57v–65v	The nymphs and shepherds danced	Marson	Marson, George
The nymphs and shepherds danced Marson, George Appears on: 57v–65v 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.
57v–65v	Calm was the air and clear the sky	Carlton	Carlton, Richard
Calm was the air and clear the sky Carlton, Richard Appears on: 57v–65v 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.
57v–65v	Thus Bonnyboots the birthday celebrated	Holmes	Holmes, John
Thus Bonnyboots the birthday celebrated Holmes, John Appears on: 57v–65v 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.
57v–65v	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: 57v–65v 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.
57v–65v	The Fauns and Satyrs tripping	Tomkins	Tomkins, Thomas (1572–1656)
The Fauns and Satyrs tripping Tomkins, Thomas (1572–1656) Appears on: 57v–65v 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.
57v–65v	Come gentle swains	Cavendish	Cavendish, William (1593–1676)
Come gentle swains Cavendish, William (1593–1676) Appears on: 57v–65v 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.
57v–65v	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: 57v–65v 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.
57v–65v	Arise awake	Morley	Morley, Thomas (ca. 1557–1602)
Arise awake Morley, Thomas (ca. 1557–1602) Appears on: 57v–65v 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.
66–73v	Fair nymphs I heard one telling	Farmer	Farmer, John
Fair nymphs I heard one telling Farmer, John Appears on: 66–73v 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
66–73v	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: 66–73v 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
66–73v	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: 66–73v 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
66–73v	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: 66–73v 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
66–73v	Fair Orian in the morn	Milton	Milton, John
Fair Orian in the morn Milton, John Appears on: 66–73v 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
66–73v	Round about her Chariot	Ellis Gibbons	Gibbons, Ellis
Round about her Chariot Gibbons, Ellis Appears on: 66–73v 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
66–73v	With angel's face / Bright Phoebus greets	Kirbye	Kirbye, George
With angel's face / Bright Phoebus greets Kirbye, George Appears on: 66–73v 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
66–73v	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: 66–73v 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
66–73v	Fair Cytherea presents her doves	Lisley	Lesley, John
Fair Cytherea presents her doves Lesley, John Appears on: 66–73v 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
66–73v	Hard by a crystal fountain	Morley	Morley, Thomas (ca. 1557–1602)
Hard by a crystal fountain Morley, Thomas (ca. 1557–1602) Appears on: 66–73v 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
66–73v	Come blessed Byrd and with thy sugared relish	Johnson	Johnson, Edward
Come blessed Byrd and with thy sugared relish Johnson, Edward Appears on: 66–73v 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
74–75	The cries of London	Thomas Weelkes	Weelkes, Thomas (ca. 1576–1623)
The cries of London Weelkes, Thomas (ca. 1576–1623) Appears on: 74–75 Genres: Consort song Source Attribution: Thomas Weelkes Number of voices: 4 of 5 General Note The last pages of the Altus book are missing, affecting the pieces from here to the end
75v–77	[untitled piece]	-	Anonymous
[untitled piece] Anonymous Appears on: 75v–77 Genres: Viol piece Number of voices: 4 of 5
77v–78	Fantasia on 'Attendite'	-	Anonymous
Fantasia on 'Attendite' Anonymous Appears on: 77v–78 Genres: Fantasia Number of voices: 4 of 5
78v–79	O God when thou wentest forth	-	Anonymous
O God when thou wentest forth Anonymous Appears on: 78v–79 Genres: Anthem Number of voices: 4 of 5
79v–80	Put me not to rebuke	Wilkinson	Hunt 'of Wells', Thomas (?) Wilkinson, T(homas?) (?)
Put me not to rebuke Hunt 'of Wells', Thomas (?) Wilkinson, T(homas?) (?) Appears on: 79v–80 Genres: Anthem Source Attribution: Wilkinson Number of voices: 4 of 5
80v	Rise, O my soul - 1a pars (of 3): Rise, O my soul	-	Simmes, William (?) East, Michael (?)
Rise, O my soul - 1a pars (of 3): Rise, O my soul Simmes, William (?) East, Michael (?) Appears on: 80v Genres: Anthem Number of voices: 4 of 5
81	Rise, O my soul - 2a pars (of 3): And thou, my soul	-	Simmes, William (?) East, Michael (?)
Rise, O my soul - 2a pars (of 3): And thou, my soul Simmes, William (?) East, Michael (?) Appears on: 81 Genres: Anthem Number of voices: 4 of 5
81v	Rise, O my soul - 3a pars (of 3): To thee, O Jesus	-	Simmes, William (?) East, Michael (?)
Rise, O my soul - 3a pars (of 3): To thee, O Jesus Simmes, William (?) East, Michael (?) Appears on: 81v Genres: Anthem Number of voices: 4 of 5
82–82v	I am brought - 1a pars (of 2): I am brought into so great trouble	-	Peerson, Martin
I am brought - 1a pars (of 2): I am brought into so great trouble Peerson, Martin Appears on: 82–82v Genres: Anthem Number of voices: 4 of 5
83–83v	I am brought - 2a pars (of 2): My heart panteth	-	Peerson, Martin
I am brought - 2a pars (of 2): My heart panteth Peerson, Martin Appears on: 83–83v Genres: Anthem Number of voices: 4 of 5
84–86	Fantasia (in 3 partes)	Thomas Lupo	Lupo, Thomas (ca. 1571–1627)
Fantasia (in 3 partes) Lupo, Thomas (ca. 1571–1627) Appears on: 84–86 Genres: Fantasia Source Attribution: Thomas Lupo Number of voices: 5 of 6 (or 4 of 5?) General Note It is not clear from the BL catalogue whether there are 2 voice-parts or just 1 in this book
86v–87	When Israel came out of Egypt	-	Anonymous
When Israel came out of Egypt Anonymous Appears on: 86v–87 Genres: Anthem Number of voices: 4 of 5
87v–89	What first did break thee	-	Anonymous
What first did break thee Anonymous Appears on: 87v–89 Genres: Consort song Number of voices: 4 of 5
89v	Pavan	'P' [=James Pearson?] / [Byrd]	Byrd, William (ca. 1540–1623) (?) Pearson, James (?)
Pavan Byrd, William (ca. 1540–1623) (?) Pearson, James (?) Appears on: 89v Genres: Pavan Source Attribution: 'P' [=James Pearson?] / [Byrd] Number of voices: 4 of 5 General Note The 'P.' at the end may be the initial of the composer [? James Pearson, the owner]

Composer	Compositions
Anerio, Felice (ca. 1560-1614)	Quelle rose che colt' in paradiso – 39
Anonymous	Amor se i bei rubini – 42 Che se mentre – 5v–6 Death the dissolver – 53 Dum transisset sabbatum – 53v Fantasia on 'Attendite' – 77v–78 Non vedi oime – 13v O God when thou wentest forth – 78v–79 What first did break thee – 87v–89 When Israel came out of Egypt – 86v–87 [untitled piece] – 75v–77
Bennett, John (1599-1614)	All creatures now are merry minded – 57v–65v
Byrd, William (ca. 1540-1623)	Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou – 50 Arise O Lord - 2a pars (of 2): Help us, O God – 50 (?) Decantabat populus in Israel – 54v–55 Fantasia a6 – 49 O Lord, who in thy sacred tent – 54 (?) Pavan – 89v Prostrate, O Lord, I lie – 50v
Carlton, Richard	Calm was the air and clear the sky – 57v–65v If women can be courteous – 44
Cavendish, William (1593-1676)	Come gentle swains – 57v–65v
Cobbold, William (ca. 1560-1639)	With wreaths of rose and laurel – 57v–65v
Croce, Giovanni (ca. 1557-1609)	Candide perle e care – 26v Cinthia, el tuo dolce canto – 22 Se da voi m'allontano, cor mio – 28
Dowland, John (1563-1626)	Sorrow stay, lend true repentant tears – 56v–57
East, Michael	Hence stars, too dim of light – 57v–65v (?) Rise, O my soul - 1a pars (of 3): Rise, O my soul – 80v (?) Rise, O my soul - 2a pars (of 3): And thou, my soul – 81 (?) Rise, O my soul - 3a pars (of 3): To thee, O Jesus – 81v
Eremita, Giulio	Fuggi se sai fuggire – 26
Farmer, John	Fair nymphs I heard one telling – 66–73v
Ferrabosco, Alfonso (the elder) (1543-1588)	A la dolce ombra - 2a pars (of 6): Non vide il mondo – 34 A la dolce ombra - 6a pars (of 6): Tanto mi piacque – 34v Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma – 35 (?) Fuerunt mihi lachrimae (C36) – 1–2 Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato – 15 Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro – 15v Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio – 16 Mentre ti fui si grato - 4a pars (of 6): Hor un laccio – 16v Non e lasso martire – 36 Non fingo, egli e pur (C106) – 29v Non mi fuggir – 13 O crude pene mie – 5 Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno – 23v Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza – 24 Zefiro torna e 'l bel tempo rimena – 30–30v
Ferrabosco, Alfonso (the younger) (ca. 1575-1628)	(?) Fuerunt mihi lachrimae (C36) – 1–2
Gibbons, Ellis	Long live fair Oriana – 57v–65v (?) Peace I hear a voice / Hold up / My masters all / At Betham time – 44v–45 Round about her Chariot – 66–73v
Gibbons, Orlando (ca. 1583-1625)	(?) Peace I hear a voice / Hold up / My masters all / At Betham time – 44v–45 The cries of London - 1a pars (of 2): God give you good morrow, my masters – 45v–46 The cries of London - 2a pars (of 2): Will you go with me - A good sausage – 46v–47
Giovannelli, Ruggiero (ca. 1560-1625)	Tu nascesti di furto – 27v
Hilton (Senior), John	Fair Oriana, beauty's queen – 57v–65v
Holmes, John	Thus Bonnyboots the birthday celebrated – 57v–65v
Hunt 'of Wells', Thomas	Hark, did ye ever hear so sweet a singing? – 66–73v (?) Put me not to rebuke – 79v–80
Johnson, Edward	Come blessed Byrd and with thy sugared relish – 66–73v
Jones (II), Robert (1577-1617)	Fair Oriana seeming to wink at folly – 66–73v
Kirbye, George	With angel's face / Bright Phoebus greets – 66–73v
Lassus, Orlande de (ca. 1532-1594)	Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me – 48v Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam – 48v
Lesley, John	Fair Cytherea presents her doves – 66–73v
Lupo, Thomas (ca. 1571-1627)	Alte parole – 42v Fantasia (in 3 partes) – 84–86 O che vezzosa – 43–43v
Luzzaschi, Luzzasco	Tra le dolcezze e l' ire – 29
Mando, Patrick	Like as the day – 47v
Marenzio, Luca (ca. 1553-1599)	Arda pur sempre o mora – 17 Che fa hoggi il mio sole che fa'l mio – 3v Deh poi che era ne' fati – 2v Dolorosi martir', fieri tormenti – 4 Giunto a la tomba - 1a pars (of 4): Giunto a la tomba – 4v O voi che sospirati – 3 Ond'ei di morte la sua faccia – 18 Rimanti in pace, a la dolente e bella – 17v
Marson, George	The nymphs and shepherds danced – 57v–65v
Masnelli, Paolo	A che tormi il ben mio – 33v Ah disleale – 33 Non vi bastava – 31v Occhi cari – 32v Soavissimo ardore – 32
Milton, John	Fair Orian in the morn – 66–73v
Monteverdi, Claudio (1567-1643)	La giovinetta pianta si fa – 9v–10 La tra il sangue e le morti egro – 8 Ma dove lasso – 9 O come e gran martire – 7 O dolce anima mia – 8v O primavera bella – 12 O rossignuol che in queste verdi fronde – 10v Perfidissimo volto – 40v–41 Sovra tenere herbette – 7v Stracciami pur il core – 11–11v
Morley, Thomas (ca. 1557-1602)	Arise awake – 57v–65v Fantasia a5 – 51v Hard by a crystal fountain – 66–73v [untitled piece] – 52
Mosto, Giovanni Battista	Dolce alpestre parola – 36v
Mundy, John (ca. 1555-1630)	(?) Fie fie my fate – 55v Lightly she whipped o'er the dales – 57v–65v
Mundy, William (ca. 1528-ca. 1591)	(?) Fie fie my fate – 55v [untitled piece] – 52v
Nicholson, Richard (1563-1639)	Sing shepherds all and in your roundelays – 57v–65v
Norcome, Daniel	With angel's face – 57v–65v
Pallavicino, Benedetto	Baci amorosi e cari – 23 Con che soavita - 1a pars (of 2): Con che soavita – 38 Con che soavita - 2a pars (of 2): Perche i vostri diletti – 38v Dolce mia cara mano – 41v Donna, se quel ohime – 22v Donna, se voi m'odiate – 20 Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte – 39v–40 Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir – 37v Natura non mi fe – 37
Parsons (I), Robert (ca. 1535-ca. 1572)	De la court - 1a pars – 56
Pearson, James	(?) Pavan – 89v (?) [untitled piece] – 48
Peerson, Martin	I am brought - 1a pars (of 2): I am brought into so great trouble – 82–82v I am brought - 2a pars (of 2): My heart panteth – 83–83v
Quintiani, Lucrezio	Al suon d'amata voce – 6v Creschin a gara sin al ciel – 31 Di lauri e mirti il tuo bel tempio – 21 Monte, selvi, fontane – 20v Non puo tanto l'amore – 21v Se la virtu ch' in voi – 28v
Simmes, William	(?) Rise, O my soul - 1a pars (of 3): Rise, O my soul – 80v (?) Rise, O my soul - 2a pars (of 3): And thou, my soul – 81 (?) Rise, O my soul - 3a pars (of 3): To thee, O Jesus – 81v
Tallis, Thomas (ca. 1505-1585)	Libera me Domine – 50
Tomkins, Thomas (1572-1656)	The Fauns and Satyrs tripping – 57v–65v
Tye, Christopher (ca. 1505-ca. 1573)	[untitled piece] – 51
Vecchi, Orazio (1550-1605)	Cara mia Dafne – 19v Clorinda hai vinto – 35v Donna s'io sono il sole – 14–14v Il bianco e dolce cigno cantando more – 12v O di rare eccellenze – 18v Pastorella gratiosella – 19 Quella che in mille – 27
Venturi (del Nibbio), Stephanus	Occhi, mirando mi togliest' il cor – 24v
Venturi, Pompilio	Quell' aura che spirand'a – 25 Si un sguardo un fa beato – 25v
Weelkes, Thomas (ca. 1576-1623)	As Vesta was from Latmos Hill descending – 66–73v The cries of London – 74–75
Wilbye, John (1574-1638)	The Lady Oriana was dight all in the treasures of Guiana – 66–73v
Wilkinson, T(homas?)	(?) Put me not to rebuke – 79v–80

Composition	Composers (? Uncertain)	Folios / Pages
[untitled piece]	Pearson, James (?)	48
[untitled piece]	Tye, Christopher (ca. 1505–ca. 1573)	51
[untitled piece]	Morley, Thomas (ca. 1557–1602)	52
[untitled piece]	Mundy, William (ca. 1528–ca. 1591)	52v
[untitled piece]	Anonymous	75v–77
A che tormi il ben mio	Masnelli, Paolo	33v
A la dolce ombra - 2a pars (of 6): Non vide il mondo	Ferrabosco, Alfonso (the elder) (1543–1588)	34
A la dolce ombra - 6a pars (of 6): Tanto mi piacque	Ferrabosco, Alfonso (the elder) (1543–1588)	34v
Ah disleale	Masnelli, Paolo	33
Al suon d'amata voce	Quintiani, Lucrezio	6v
All creatures now are merry minded	Bennett, John (fl. 1599-1614)	57v–65v
Alte parole	Lupo, Thomas (ca. 1571–1627)	42v
Amor se i bei rubini	Anonymous	42
Arda pur sempre o mora	Marenzio, Luca (ca. 1553–1599)	17
Arise awake	Morley, Thomas (ca. 1557–1602)	57v–65v
Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou	Byrd, William (ca. 1540–1623)	50
Arise O Lord - 2a pars (of 2): Help us, O God	Byrd, William (ca. 1540–1623)	50
As Vesta was from Latmos Hill descending	Weelkes, Thomas (ca. 1576–1623)	66–73v
Baci amorosi e cari	Pallavicino, Benedetto	23
Calm was the air and clear the sky	Carlton, Richard	57v–65v
Candide perle e care	Croce, Giovanni (ca. 1557–1609)	26v
Cara mia Dafne	Vecchi, Orazio (1550–1605)	19v
Che fa hoggi il mio sole che fa'l mio	Marenzio, Luca (ca. 1553–1599)	3v
Che se mentre	Anonymous	5v–6
Cinthia, el tuo dolce canto	Croce, Giovanni (ca. 1557–1609)	22
Clorinda hai vinto	Vecchi, Orazio (1550–1605)	35v
Come blessed Byrd and with thy sugared relish	Johnson, Edward	66–73v
Come gentle swains	Cavendish, William (1593–1676)	57v–65v
Con che soavita - 1a pars (of 2): Con che soavita	Pallavicino, Benedetto	38
Con che soavita - 2a pars (of 2): Perche i vostri diletti	Pallavicino, Benedetto	38v
Creschin a gara sin al ciel	Quintiani, Lucrezio	31
De la court - 1a pars	Parsons (I), Robert (ca. 1535–ca. 1572)	56
Death the dissolver	Anonymous	53
Decantabat populus in Israel	Byrd, William (ca. 1540–1623) (?)	54v–55
Deh poi che era ne' fati	Marenzio, Luca (ca. 1553–1599)	2v
Di lauri e mirti il tuo bel tempio	Quintiani, Lucrezio	21
Dolce alpestre parola	Mosto, Giovanni Battista	36v
Dolce mia cara mano	Pallavicino, Benedetto	41v
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)	35
Donna s'io sono il sole	Vecchi, Orazio (1550–1605)	14–14v
Donna, se quel ohime	Pallavicino, Benedetto	22v
Donna, se voi m'odiate	Pallavicino, Benedetto	20
Dum transisset sabbatum	Anonymous	53v
Fair Cytherea presents her doves	Lesley, John	66–73v
Fair nymphs I heard one telling	Farmer, John	66–73v
Fair Orian in the morn	Milton, John	66–73v
Fair Oriana seeming to wink at folly	Jones (II), Robert (1577–1617)	66–73v
Fair Oriana, beauty's queen	Hilton (Senior), John	57v–65v
Fantasia (in 3 partes)	Lupo, Thomas (ca. 1571–1627)	84–86
Fantasia a5	Morley, Thomas (ca. 1557–1602)	51v
Fantasia a6	Byrd, William (ca. 1540–1623)	49
Fantasia on 'Attendite'	Anonymous	77v–78
Fie fie my fate	Mundy, John (ca. 1555–1630) (?) Mundy, William (ca. 1528–ca. 1591) (?)	55v
Fuerunt mihi lachrimae (C36)	Ferrabosco, Alfonso (the elder) (1543–1588) (?) Ferrabosco, Alfonso (the younger) (ca. 1575–1628) (?)	1–2
Fuggi se sai fuggire	Eremita, Giulio	26
Giunto a la tomba - 1a pars (of 4): Giunto a la tomba	Marenzio, Luca (ca. 1553–1599)	4v
Hard by a crystal fountain	Morley, Thomas (ca. 1557–1602)	66–73v
Hark, did ye ever hear so sweet a singing?	Hunt 'of Wells', Thomas	66–73v
Hence stars, too dim of light	East, Michael	57v–65v
Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte	Pallavicino, Benedetto	39v–40
Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir	Pallavicino, Benedetto	37v
I am brought - 1a pars (of 2): I am brought into so great trouble	Peerson, Martin	82–82v
I am brought - 2a pars (of 2): My heart panteth	Peerson, Martin	83–83v
If women can be courteous	Carlton, Richard	44
Il bianco e dolce cigno cantando more	Vecchi, Orazio (1550–1605)	12v
La giovinetta pianta si fa	Monteverdi, Claudio (1567–1643)	9v–10
La tra il sangue e le morti egro	Monteverdi, Claudio (1567–1643)	8
Libera me Domine	Tallis, Thomas (ca. 1505–1585)	50
Lightly she whipped o'er the dales	Mundy, John (ca. 1555–1630)	57v–65v
Like as the day	Mando, Patrick	47v
Long live fair Oriana	Gibbons, Ellis	57v–65v
Ma dove lasso	Monteverdi, Claudio (1567–1643)	9
Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato	Ferrabosco, Alfonso (the elder) (1543–1588)	15
Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro	Ferrabosco, Alfonso (the elder) (1543–1588)	15v
Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio	Ferrabosco, Alfonso (the elder) (1543–1588)	16
Mentre ti fui si grato - 4a pars (of 6): Hor un laccio	Ferrabosco, Alfonso (the elder) (1543–1588)	16v
Monte, selvi, fontane	Quintiani, Lucrezio	20v
Natura non mi fe	Pallavicino, Benedetto	37
Non e lasso martire	Ferrabosco, Alfonso (the elder) (1543–1588)	36
Non fingo, egli e pur (C106)	Ferrabosco, Alfonso (the elder) (1543–1588)	29v
Non mi fuggir	Ferrabosco, Alfonso (the elder) (1543–1588)	13
Non puo tanto l'amore	Quintiani, Lucrezio	21v
Non vedi oime	Anonymous	13v
Non vi bastava	Masnelli, Paolo	31v
O che vezzosa	Lupo, Thomas (ca. 1571–1627)	43–43v
O come e gran martire	Monteverdi, Claudio (1567–1643)	7
O crude pene mie	Ferrabosco, Alfonso (the elder) (1543–1588)	5
O di rare eccellenze	Vecchi, Orazio (1550–1605)	18v
O dolce anima mia	Monteverdi, Claudio (1567–1643)	8v
O God when thou wentest forth	Anonymous	78v–79
O Lord, who in thy sacred tent	Byrd, William (ca. 1540–1623)	54
O primavera bella	Monteverdi, Claudio (1567–1643)	12
O rossignuol che in queste verdi fronde	Monteverdi, Claudio (1567–1643)	10v
O voi che sospirati	Marenzio, Luca (ca. 1553–1599)	3
Occhi cari	Masnelli, Paolo	32v
Occhi, mirando mi togliest' il cor	Venturi (del Nibbio), Stephanus	24v
Ond'ei di morte la sua faccia	Marenzio, Luca (ca. 1553–1599)	18
Pastorella gratiosella	Vecchi, Orazio (1550–1605)	19
Pavan	Byrd, William (ca. 1540–1623) (?) Pearson, James (?)	89v
Peace I hear a voice / Hold up / My masters all / At Betham time	Gibbons, Orlando (ca. 1583–1625) (?) Gibbons, Ellis (?)	44v–45
Perfidissimo volto	Monteverdi, Claudio (1567–1643)	40v–41
Prostrate, O Lord, I lie	Byrd, William (ca. 1540–1623)	50v
Put me not to rebuke	Hunt 'of Wells', Thomas (?) Wilkinson, T(homas?) (?)	79v–80
Quell' aura che spirand'a	Venturi, Pompilio	25
Quella che in mille	Vecchi, Orazio (1550–1605)	27
Quelle rose che colt' in paradiso	Anerio, Felice (ca. 1560–1614)	39
Rimanti in pace, a la dolente e bella	Marenzio, Luca (ca. 1553–1599)	17v
Rise, O my soul - 1a pars (of 3): Rise, O my soul	Simmes, William (?) East, Michael (?)	80v
Rise, O my soul - 2a pars (of 3): And thou, my soul	Simmes, William (?) East, Michael (?)	81
Rise, O my soul - 3a pars (of 3): To thee, O Jesus	Simmes, William (?) East, Michael (?)	81v
Round about her Chariot	Gibbons, Ellis	66–73v
Se da voi m'allontano, cor mio	Croce, Giovanni (ca. 1557–1609)	28
Se la virtu ch' in voi	Quintiani, Lucrezio	28v
Si un sguardo un fa beato	Venturi, Pompilio	25v
Sing shepherds all and in your roundelays	Nicholson, Richard (1563–1639)	57v–65v
Soavissimo ardore	Masnelli, Paolo	32
Sorrow stay, lend true repentant tears	Dowland, John (1563–1626)	56v–57
Sovra tenere herbette	Monteverdi, Claudio (1567–1643)	7v
Stracciami pur il core	Monteverdi, Claudio (1567–1643)	11–11v
The cries of London	Weelkes, Thomas (ca. 1576–1623)	74–75
The cries of London - 1a pars (of 2): God give you good morrow, my masters	Gibbons, Orlando (ca. 1583–1625)	45v–46
The cries of London - 2a pars (of 2): Will you go with me - A good sausage	Gibbons, Orlando (ca. 1583–1625)	46v–47
The Fauns and Satyrs tripping	Tomkins, Thomas (1572–1656)	57v–65v
The Lady Oriana was dight all in the treasures of Guiana	Wilbye, John (1574–1638)	66–73v
The nymphs and shepherds danced	Marson, George	57v–65v
Thus Bonnyboots the birthday celebrated	Holmes, John	57v–65v
Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me	Lassus, Orlande de (ca. 1532–1594)	48v
Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam	Lassus, Orlande de (ca. 1532–1594)	48v
Tra le dolcezze e l' ire	Luzzaschi, Luzzasco	29
Tu nascesti di furto	Giovannelli, Ruggiero (ca. 1560–1625)	27v
Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno	Ferrabosco, Alfonso (the elder) (1543–1588)	23v
Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza	Ferrabosco, Alfonso (the elder) (1543–1588)	24
What first did break thee	Anonymous	87v–89
When Israel came out of Egypt	Anonymous	86v–87
With angel's face	Norcome, Daniel	57v–65v
With angel's face / Bright Phoebus greets	Kirbye, George	66–73v
With wreaths of rose and laurel	Cobbold, William (ca. 1560–1639)	57v–65v
Zefiro torna e 'l bel tempo rimena	Ferrabosco, Alfonso (the elder) (1543–1588)	30–30v

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

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