GB-WCc MS 153 Tenor (Winchester Partbooks)

Winchester College, Warden and Fellows Library, Winchester, England

partbook: 1564-6

Archive	Winchester College, Warden and Fellows Library, Winchester, England (GB-WCc)
Shelfmark	MS 153 Tenor (Winchester Partbooks)
Surface	Parchment
Numbering System	Foliation
Measurements	170 x 235-9 mm
Other Identifiers	CCM: WinF 153
Notations	black void mensural
Relationships	Elizabeth I (1553–1603) (commissioned/made for)
Provenance	Low Countries
Contents	108 pieces from 23 composers

General Description

A partbook designated Tenor from a set of four volumes. Copied by one main scribe, who also wrote BolC Q26 and LeuvK 4 (Call); English pieces by Ford are later additions by second scribe. Main corpus copied in Low Countries; perhaps commissioned as gift for Elizabeth I, Queen of England. Ford pieces added after manuscript reached England. Probably acquired by Winchester College during 18th century.

DIAMM, 2017

Physical Description

ff. 86-91 missing

DIAMM, 2017

Binding

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

DIAMM, 2017

Notation

black void mensural

DIAMM, 2017

Ruling

Staff height 13

DIAMM, 2017

Foliation

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

DIAMM, 2017

Foliation

Original ink foliation, 1-111, beginning on fifth folio; ff. 86-91 are missing First four folios have modern pencil foliation, 1-4, as are ff. 112-121.

DIAMM, 2017

Decoration

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

DIAMM, 2017

Index

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

DIAMM, 2017

Surface

parchment

DIAMM, 2017

DIAMM Note

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

DIAMM, 2023

Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

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

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

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

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

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

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

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
e4v–1r	E mi levai d'una bella mattina	-	Azzaiolo, Filippo (fl. 1557-69)
E mi levai d'una bella mattina Azzaiolo, Filippo (fl. 1557-69) Appears on: e4v–1r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: E me leuai d'una bella mattina General Note Notes: Before first two lines of music, 'T.ENOR.' (in blue, with elaborate inital in red and blue);
1v–2r	No gia mai non cangero	-	Anonymous
No gia mai non cangero Anonymous Appears on: 1v–2r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: NO no no no giamai no[n] ca[n]gero General Note Annotations/Corrections: signum congruentia in top line and at end (with beginning of repeat written out);
2v–3r	Non credo gia che piu infelice amante	-	Anonymous
Non credo gia che piu infelice amante Anonymous Appears on: 2v–3r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c2 Voice Text: NOn creddo gia che piu infelice amante General Note Annotations/Corrections: signum congruentia in last line;
3v–4r	Pace non trov'et non ho da far guerra	-	Anonymous
Pace non trov'et non ho da far guerra Anonymous Appears on: 3v–4r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: Pacce on trouo et non o di far guera
4v–5r	Ecco la stagion novella	-	Anonymous
Ecco la stagion novella Anonymous Appears on: 4v–5r Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c3 Voice Text: Ecco la stagion nouella General Note Annotations/Corrections: 1564' entered into initial 'E';
5v	Ia passo il tiempo lo tiempo es passado	-	Anonymous
Ia passo il tiempo lo tiempo es passado Anonymous Appears on: 5v Voice: [no designation] Languages: Spanish, Italian Mensuration: cut-c Clef: c3 Voice Text: IA passo il tiempo to tiempo es passado General Note Notes: f. 6r has just three blank stave lines;
6v–7r	Io ch' tropp' alt'amor volti seguire	-	Anonymous
Io ch' tropp' alt'amor volti seguire Anonymous Appears on: 6v–7r Voice: [no designation] Languages: Italian Mensuration: c Clef: c2 Voice Text: IO che tropp'alt'Amor volsí seguíre General Note Notes: piece ends on second line of f. 7r - beneath that blank stave line;
7v–8r	Stava la gentil dama all'ombra	-	Anonymous
Stava la gentil dama all'ombra Anonymous Appears on: 7v–8r Voice: [no designation] Languages: Italian Mensuration: 3 Clef: c4 Voice Text: STaua la gentil dama A lombra General Note Notes: music all on f. 7v; f. 8r has merely text;
8v–9r	Tu sei la causa de la morte mia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Tu sei la causa de la morte mia Waelrant, Hubert (ca. 1517–1595) Appears on: 8v–9r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: TV sei la caúsa [...] de la morte mia General Note Notes: piece ends on second line of f. 9r - beneath that blank stave line;
9v–10r	O Dio che fosse quella costumanza	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
O Dio che fosse quella costumanza Waelrant, Hubert (ca. 1517–1595) Appears on: 9v–10r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: O Dio che fosse quella [...] acostumanza General Note Annotations/Corrections: 9' (very faint) in bottom line of f. 9v; several '3' under notes in top line of f. 10;
10v–11r	Se pur ti guardo dolce anima mia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Se pur ti guardo dolce anima mia Waelrant, Hubert (ca. 1517–1595) Appears on: 10v–11r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: SE pur ti guardo [...] dolc'anima mía
11v	Vita della mia vita quando gran tort	Philippe verdelot	Verdelot, Philippe (ca. 1480–ca. 1532)
Vita della mia vita quando gran tort Verdelot, Philippe (ca. 1480–ca. 1532) Appears on: 11v Genres: Madrigal (Italian) Source Attribution: Philippe verdelot Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: VIta della mia vita qua[n]to gran tort General Note Notes: two bottom lines slightly extended into inner margin;
12r	Mort' e pieta, l'amor la cortesia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Mort' e pieta, l'amor la cortesia Waelrant, Hubert (ca. 1517–1595) Appears on: 12r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: MOrt'et pieta l'amor la cortesia General Note Annotations/Corrections: 1564' entered into initial 'M';
12v–13r	Aldi dolce ben mio	-	Azzaiolo, Filippo (fl. 1557-69)
Aldi dolce ben mio Azzaiolo, Filippo (fl. 1557-69) Appears on: 12v–13r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: ALdi dolce ben mio General Note Annotations/Corrections: for final note, stave extended into outer margin;
13v–14r	Fiamenga fredda core di diamante	Adrianus Tubal	Tubal, Adrian
Fiamenga fredda core di diamante Tubal, Adrian Appears on: 13v–14r Source Attribution: Adrianus Tubal Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: FIame[n]ga fredda core di diamante General Note Notes: final line spaced out quite generously, but then final note half in the margin;
14v–15r	La manza mia si chiama	Adrianus Tubal	Tubal, Adrian
La manza mia si chiama Tubal, Adrian Appears on: 14v–15r Source Attribution: Adrianus Tubal Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: LA manza mía si chiama
15v–16r	Donna voi sete bella	A Tubal	Tubal, Adrian
Donna voi sete bella Tubal, Adrian Appears on: 15v–16r Source Attribution: A Tubal Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: DOnna uoi sete bella General Note Notes: piece ends on second line of f. 16r - beneath that blank stave line;
16v–17r	Tri ciechi siamo povr' innamorati	HubertWalerant [sic]	Waelrant, Hubert (ca. 1517–1595)
Tri ciechi siamo povr' innamorati Waelrant, Hubert (ca. 1517–1595) Appears on: 16v–17r Source Attribution: HubertWalerant [sic] Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: TRi ciechi siamo [...] pour'inamorati General Note Annotations/Corrections: for last few notes, stave extended into outer margin;
17v–18r	Li nostri preti han questa buon'usanza	-	Donato, Baldassare (ca. 1529–1603)
Li nostri preti han questa buon'usanza Donato, Baldassare (ca. 1529–1603) Appears on: 17v–18r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: LI nostri preti ham questa buon'usanza
18v–19r	Madonna mia famme bon'offerta	Adrianus Villart	Willaert, Adrian (ca. 1490–1562)
Madonna mia famme bon'offerta Willaert, Adrian (ca. 1490–1562) Appears on: 18v–19r Source Attribution: Adrianus Villart Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: MAdonna mia [...] fiamma bon'offerta
19v–20r	Vecchie letrose, non valete niente	Adrianus Willart	Willaert, Adrian (ca. 1490–1562)
Vecchie letrose, non valete niente Willaert, Adrian (ca. 1490–1562) Appears on: 19v–20r Source Attribution: Adrianus Willart Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: UEcchie retrose [...] non valete níente General Note Notes: piece ends on third line of f. 20r - beneath that blank stave line;
20v–21r	Paschino bello paschino	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Paschino bello paschino Waelrant, Hubert (ca. 1517–1595) Appears on: 20v–21r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: PAschíno bello paschino General Note Notes: piece ends on second line of f. 21r - beneath that blank stave line;
21v–22r	E quand'a fato l'ovo la mattina	Adrianus Willart	Willaert, Adrian (ca. 1490–1562)
E quand'a fato l'ovo la mattina Willaert, Adrian (ca. 1490–1562) Appears on: 21v–22r Genres: Italian secular Source Attribution: Adrianus Willart Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: E Quand'a [...] fato l'ouo la mattína
22v–23r	Madonna mia, pieta chiam'et aita	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Madonna mia, pieta chiam'et aita Lassus, Orlande de (ca. 1532–1594) Appears on: 22v–23r Source Attribution: Orlando di lassus Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: Madonna mia pieta [...] chiam'et aita
23v–24r	Tu sai madonna mia ch'io t'amo et voglio	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Tu sai madonna mia ch'io t'amo et voglio Lassus, Orlande de (ca. 1532–1594) Appears on: 23v–24r Genres: Italian secular Source Attribution: Orlando di lassus Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: Tu sei madonna mia [...] chió t'am'et uoglio
24v–25r	La cortesia voi donne predicate ma mai	Orlando di lassús	Lassus, Orlande de (ca. 1532–1594)
La cortesia voi donne predicate ma mai Lassus, Orlande de (ca. 1532–1594) Appears on: 24v–25r Genres: Italian secular Source Attribution: Orlando di lassús Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: LA cortesia la cortesia uoi donne predicate
25v	Tu traditora m'hai puost'a sto core	Orlando di lassús	Lassus, Orlande de (ca. 1532–1594)
Tu traditora m'hai puost'a sto core Lassus, Orlande de (ca. 1532–1594) Appears on: 25v Source Attribution: Orlando di lassús Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: Tu traditora m'hai puost'asto core General Note Notes: the text for the last verse, verse four, is a line longer than that for verses two and three;
26r	Sto core mio se fosse di diamante	Orlando	Lassus, Orlande de (ca. 1532–1594)
Sto core mio se fosse di diamante Lassus, Orlande de (ca. 1532–1594) Appears on: 26r Source Attribution: Orlando Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: STo core mio [...] se fosse di diamante
26v–27r	Mill'anni sono ch'io non t'haggio vista	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Mill'anni sono ch'io non t'haggio vista Waelrant, Hubert (ca. 1517–1595) Appears on: 26v–27r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: MIll'anni sona [...] ch'io non t'haggio vista General Note Notes: three stave lines ruled on f. 27r, but only the top one used;
27v–28r	Occhi lucent' assai piu che le stelle	-	Donato, Baldassare (ca. 1529–1603)
Occhi lucent' assai piu che le stelle Donato, Baldassare (ca. 1529–1603) Appears on: 27v–28r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: OCchi lúcent'assai [...] piu che le stelle
28v–29r	Non t'ho possuto mai, donna mostrare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non t'ho possuto mai, donna mostrare Waelrant, Hubert (ca. 1517–1595) Appears on: 28v–29r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: NOn t'ho possuto mai [...] donna móstrare
29v–30r	Se sai ch'io t'amo et piu che me t'honoro	-	Donato, Baldassare (ca. 1529–1603)
Se sai ch'io t'amo et piu che me t'honoro Donato, Baldassare (ca. 1529–1603) Appears on: 29v–30r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: SE sai ch'io t'amo et piu che me [...] Et piu che to'honoro
30v–31r	O dolce vita mia, non mi far guerra	-	Donato, Baldassare (ca. 1529–1603)
O dolce vita mia, non mi far guerra Donato, Baldassare (ca. 1529–1603) Appears on: 30v–31r Genres: Canzona Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: O Dolce vita mia [...] non mi far guerra
31v	Chiamo la mort'ogn'hor che me ne leva	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Chiamo la mort'ogn'hor che me ne leva Waelrant, Hubert (ca. 1517–1595) Appears on: 31v Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: Chiamo la mort'ogn'hor che mie ne leua
32r	Sta constante cor mio, ch'io t'am'ogn'hora	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Sta constante cor mio, ch'io t'am'ogn'hora Waelrant, Hubert (ca. 1517–1595) Appears on: 32r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: STa constante cor mio ch'io t'am'ogn'hora
32v	I dolci squardi toi, alta signora	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
I dolci squardi toi, alta signora Waelrant, Hubert (ca. 1517–1595) Appears on: 32v Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: I Dolci sguardi toi alta Signora
33r	Son mort'e moro	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Son mort'e moro Waelrant, Hubert (ca. 1517–1595) Appears on: 33r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: SOn mort'e moro General Note Notes: final note in outer margin;
33v	Non posso far cor mio, che pur non pianga	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non posso far cor mio, che pur non pianga Waelrant, Hubert (ca. 1517–1595) Appears on: 33v Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: NOn posso far cor mío Che pur no[n] pianga
34r	Tanto sai fare con l'inamorati	Adrianus Tubal	Tubal, Adrian
Tanto sai fare con l'inamorati Tubal, Adrian Appears on: 34r Source Attribution: Adrianus Tubal Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: TAnto fai fare [...] con linamorati
34v–35r	Amar divers'amanti	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Amar divers'amanti Waelrant, Hubert (ca. 1517–1595) Appears on: 34v–35r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: AMar diuers amanti General Note Notes: third stave of f. 35r ruled but not used;
35v–36r	O quant amore sempre t'ho portato	-	Donato, Baldassare (ca. 1529–1603)
O quant amore sempre t'ho portato Donato, Baldassare (ca. 1529–1603) Appears on: 35v–36r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: O Quant'amore [...] sempre t'ho portato
36v–37r	Deh per ch'abbandonasti me	-	Tubal, Adrian
Deh per ch'abbandonasti me Tubal, Adrian Appears on: 36v–37r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: DEh per ch'abbandonnasti me General Note Notes: fourth stave on f. 37r ruled but not used;
37v	Conza lavezzi siam s'havesti rotto madonna	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Conza lavezzi siam s'havesti rotto madonna Waelrant, Hubert (ca. 1517–1595) Appears on: 37v Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: COnza lauezzi siam'shauesti rotto madonna General Note Annotations/Corrections: last few notes on additional short stave in bottom right corner; several '3' unde notes in penultimate line;
38r	Madonn' habbi pieta del mio martire	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Madonn' habbi pieta del mio martire Waelrant, Hubert (ca. 1517–1595) Appears on: 38r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: MAdonn'habbi pieta [...] del mio martire
38v–39r	Non te recordi e quando mi dicevi	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Non te recordi e quando mi dicevi Waelrant, Hubert (ca. 1517–1595) Appears on: 38v–39r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: NOn te ricordi E quando mi diceui General Note Annotations/Corrections: second word corr. from 'ta' to 'te'; '3' at beginning of third line; Notes: on f. 39r, four staves pre-ruled, but only the top two used;
39v–40r	Issa in bona fe quando sei bella	-	Nasco, Jan
Issa in bona fe quando sei bella Nasco, Jan Appears on: 39v–40r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: ISsa issa in bona fe [...] qua[n]to sei bella
40v–41r	Che t'haggio fatto che m'hai tolto il core	-	Nasco, Jan
Che t'haggio fatto che m'hai tolto il core Nasco, Jan Appears on: 40v–41r Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: CHe t'haggio fatto [...] che m'hai tolt'il core General Note Notes: third stave on f. 41 ruled, but not used;
41v–42r	Da l'horto se ne vien la vilanella	-	Azzaiolo, Filippo (fl. 1557-69)
Da l'horto se ne vien la vilanella Azzaiolo, Filippo (fl. 1557-69) Appears on: 41v–42r Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: DA l'horto se ne uien la milanella
42v	Vorrei che tu cantassi una canzone	-	Azzaiolo, Filippo (fl. 1557-69)
Vorrei che tu cantassi una canzone Azzaiolo, Filippo (fl. 1557-69) Appears on: 42v Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: VOrrei che tú cantassi una canzone
43r	Quanti ne vedi tutt'a te li tiri	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Quanti ne vedi tutt'a te li tiri Waelrant, Hubert (ca. 1517–1595) Appears on: 43r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: Quanti ne vedi [...] tutt'a te li tiri General Note Annotations/Corrections: last notes on an additional stave (half line) in bottom margin;
43v–44r	Madonna mia per te son quasi morto	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Madonna mia per te son quasi morto Waelrant, Hubert (ca. 1517–1595) Appears on: 43v–44r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: MAdonna miá per te [...] son quasi morto General Note Notes: four staves pre-ruled on f. 44r, but only top three used;
44v	In tutto voi ch'io mor'o traditora	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
In tutto voi ch'io mor'o traditora Waelrant, Hubert (ca. 1517–1595) Appears on: 44v Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: IN tutto voi ch'io mor'[...]O traditora
45r	Medici noi siamo, o donne belle	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Medici noi siamo, o donne belle Waelrant, Hubert (ca. 1517–1595) Appears on: 45r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: MEdici noi siamo o donne belle
45v–46r	Port'acqu'al crin'e piglia vent'in rete	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Port'acqu'al crin'e piglia vent'in rete Waelrant, Hubert (ca. 1517–1595) Appears on: 45v–46r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: POrt aqu'al crin'e piglia vent'in rete General Note Notes: three staves pre-ruled on f. 46, but only top two used;
46v–47r	Me bisogna servir questa crudele	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Me bisogna servir questa crudele Waelrant, Hubert (ca. 1517–1595) Appears on: 46v–47r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: ME bisogna seruir [...] questa crudele
47v–48r	La bella monicella ved'a messa	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
La bella monicella ved'a messa Waelrant, Hubert (ca. 1517–1595) Appears on: 47v–48r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: LA bella monicella [...] ved'a messa General Note Notes: on f. 48r, three lines pre-ruled, but only the top two used;
48v–49r	Hor mai son quasi morto e tu n'ol credi	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Hor mai son quasi morto e tu n'ol credi Waelrant, Hubert (ca. 1517–1595) Appears on: 48v–49r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: HOr mai son quasi morto E to n'ol credi
49v–50r	Son molti giorni, haime, ch'io pers'il core	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Son molti giorni, haime, ch'io pers'il core Waelrant, Hubert (ca. 1517–1595) Appears on: 49v–50r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: SOn molti giorn'haime [...] ch'io pers'il core
50v–51r	Gentil madonna del mio cor patrona	-	Azzaiolo, Filippo (fl. 1557-69)
Gentil madonna del mio cor patrona Azzaiolo, Filippo (fl. 1557-69) Appears on: 50v–51r Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: GEntil madonna del mio cor patrona
51v–52r	Chi passa per sta strada'e non sospira	-	Azzaiolo, Filippo (fl. 1557-69)
Chi passa per sta strada'e non sospira Azzaiolo, Filippo (fl. 1557-69) Appears on: 51v–52r Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: CHi passa per sta strad'e non sospira General Note Notes: on f. 52r, three staves pre-ruled, but only top two uesed;
52v	Vorria morire per uscir di guai	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Vorria morire per uscir di guai Waelrant, Hubert (ca. 1517–1595) Appears on: 52v Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: UOrria morire [...] per uscir die guai
53r	Vorria e non vorria questo vo dire	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Vorria e non vorria questo vo dire Waelrant, Hubert (ca. 1517–1595) Appears on: 53r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: Vorria vorria e non vorria questo vo dire
53v	Ogniuno sapp'hor mai la pena mia	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Ogniuno sapp'hor mai la pena mia Waelrant, Hubert (ca. 1517–1595) Appears on: 53v Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: Ogniuno sapp'hor mai [...] la pena mia General Note Notes: for final note, stave drawn into inner margin;
54r	Forsi perche core mio bell'hayme	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Forsi perche core mio bell'hayme Waelrant, Hubert (ca. 1517–1595) Appears on: 54r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: FOrsi per che core mio bell'hayme General Note Notes: last notes entered on addtional 9half-length) stave in bottom margin;
54v	Quell' hora desiata sempr'aspetto	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Quell' hora desiata sempr'aspetto Waelrant, Hubert (ca. 1517–1595) Appears on: 54v Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: Quel hora desiata sempr'aspetto
55r	Con tanto riguardare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
Con tanto riguardare Waelrant, Hubert (ca. 1517–1595) Appears on: 55r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: COn tanto riguardare General Note Notes: for final note, stave extended into outer margin;
55v–56r	Stanco e solingo	-	Briaco
Stanco e solingo Briaco Appears on: 55v–56r Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: STanco e solingo per disert'here General Note Notes: for final note, stave extended into outer margin;
56v	Ancor che col partire	-	Caldarino, Giovanni Francesco
Ancor che col partire Caldarino, Giovanni Francesco Appears on: 56v Genres: Madrigal (Italian) Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: ANchor che côl partire
57r	Perche la vita e breve et l'ingegno	Archadelt	Arcadelt, Jacques (ca. 1507–1568)
Perche la vita e breve et l'ingegno Arcadelt, Jacques (ca. 1507–1568) Appears on: 57r Genres: Italian secular, Madrigal (Italian) Source Attribution: Archadelt Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: PErche la uit'e breue
57v	Pastorella d'amor non fuggir	-	Ganassi, Alfonso
Pastorella d'amor non fuggir Ganassi, Alfonso Appears on: 57v Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c3 Voice Text: PAstorella d'amor no[n] mi fuggir
58r	Bernarde non puo stare	-	Azzaiolo, Filippo (fl. 1557-69)
Bernarde non puo stare Azzaiolo, Filippo (fl. 1557-69) Appears on: 58r Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: BErnarde non puo stare
58v	O vilanella quand'a l'acqua vai	-	Azzaiolo, Filippo (fl. 1557-69)
O vilanella quand'a l'acqua vai Azzaiolo, Filippo (fl. 1557-69) Appears on: 58v Voice: [no designation] Languages: Italian Mensuration: cut-c 3 Clef: c4 Voice Text: O vilanella quand'a l'acqua uaí
59r	E levaime d'una bella mattina	-	Azzaiolo, Filippo (fl. 1557-69)
E levaime d'una bella mattina Azzaiolo, Filippo (fl. 1557-69) Appears on: 59r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: E Leuaime D'una D'una bella mattina General Note Notes: ending of piece on additional stave (about half length) in bottom margin;
59v–60r	Girometta senza te	-	Azzaiolo, Filippo (fl. 1557-69)
Girometta senza te Azzaiolo, Filippo (fl. 1557-69) Appears on: 59v–60r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: GIrometta senza te General Note Notes: three staves pre-ruled on f. 60r, but only the top one and a half used;
60v–61r	Mille gentil salute	-	Azzaiolo, Filippo (fl. 1557-69)
Mille gentil salute Azzaiolo, Filippo (fl. 1557-69) Appears on: 60v–61r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: MIlle gentil gentil salute General Note Notes: four staves pre-ruled on f. 61r, but only the top three used;
61v–62r	Bona via faccia barca	-	Azzaiolo, Filippo (fl. 1557-69)
Bona via faccia barca Azzaiolo, Filippo (fl. 1557-69) Appears on: 61v–62r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: BOna mia faccia barca
62v–63r	Vita de la mia vita	-	Lambertini
Vita de la mia vita Lambertini Appears on: 62v–63r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c2 Voice Text: VIta de la mia vita
63v–64r	Ch'il credera s'il dico	-	Azzaiolo, Filippo (fl. 1557-69)
Ch'il credera s'il dico Azzaiolo, Filippo (fl. 1557-69) Appears on: 63v–64r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: CH'il credera s'il dico General Note Notes: on f. 64r, four staves pre-rules, but only the first three used (the third for only the three last notes);
64v–65r	O pur donne belle	-	Azzaiolo, Filippo (fl. 1557-69)
O pur donne belle Azzaiolo, Filippo (fl. 1557-69) Appears on: 64v–65r Voice: [no designation] Languages: Italian Mensuration: cut-c Clef: c4 Voice Text: O Pur donne belle
65v–66r	A d'altre lo voi dare	Hubert Waelrant	Waelrant, Hubert (ca. 1517–1595)
A d'altre lo voi dare Waelrant, Hubert (ca. 1517–1595) Appears on: 65v–66r Source Attribution: Hubert Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c4 Voice Text: A d'altre lo voi dare General Note Notes: on f. 66, four staves pre-ruled, but only the top one used;
66v–67r	Se ben da voi madonn'i fia lontano	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Se ben da voi madonn'i fia lontano Waelrant, Hubert (ca. 1517–1595) Appears on: 66v–67r Source Attribution: H. Waelrant Voice: [no designation] Languages: Italian Mensuration: c Clef: c3 Voice Text: SE ben da voi madonn'i fia lontano General Note Notes: on f. 67r, four staves pre-ruled, but only the top three used (third one for only a few notes);
67v–68r	O thou whose love I prize above my life	Mr Ford	Ford, Thomas
O thou whose love I prize above my life Ford, Thomas Appears on: 67v–68r Source Attribution: Mr Ford Voice: [no designation] Languages: English Mensuration: cut-c Clef: c4 Voice Text: O thou whose Love I prize above my Life General Note Annotations/Corrections: barlines entered throughout (in different pen); signum congruentiae in penultimate line of f. 68r; final stave drawn into outer margin; Notes: writing from here on distinctly different to that in the preceeding pieces;
68v–69r	O how my soul ravished	-	Ford, Thomas
O how my soul ravished Ford, Thomas Appears on: 68v–69r Voice: [no designation] Languages: English Clef: c3 Voice Text: O how my soule is ravisht
69v–70r	Who ever smelt the breath of morning flowers	-	Ford, Thomas
Who ever smelt the breath of morning flowers Ford, Thomas Appears on: 69v–70r Voice: [no designation] Languages: English Clef: c3 Voice Text: Who ever smelt the Breath of morning fflower's General Note Annotations/Corrections: signum congruentiae in top line of f. 70; for final note, bottom line slightly extended into outer margin;
70v–71r	Go, wounded Soul	-	Ford, Thomas
Go, wounded Soul Ford, Thomas Appears on: 70v–71r Voice: [no designation] Languages: English Mensuration: cut-c Clef: c3 Voice Text: Goe wounded Soule General Note Annotations/Corrections: at every occurrence of the word, unusual curl over the 'o' of 'Soule'; signum congruentiae in bottom line of f. 70v; on f. 71r, four staves pre-ruled, but only the top three used (third one for only a few notes);
71v–72r	My love is like a Garden	-	Ford, Thomas
My love is like a Garden Ford, Thomas Appears on: 71v–72r Voice: [no designation] Languages: English Clef: c3 Voice Text: My Love is like a Garden General Note Annotations/Corrections: signum congruentiae in top line of f. 72r; erasure (possibly sharp) before note towards end of top line of f. 72r and before penbultimate note; second and bottom line of f. 72r extended into outer margin; barline before final note;
72v–73r	What curious face	-	Ford, Thomas
What curious face Ford, Thomas Appears on: 72v–73r Voice: [no designation] Languages: English Clef: c3 Voice Text: What curious fface is this General Note Annotations/Corrections: signum congruentiae towards end of second line of f. 73r;
73v–74r	Come forth, my dear	-	Ford, Thomas
Come forth, my dear Ford, Thomas Appears on: 73v–74r Voice: [no designation] Languages: English Mensuration: cut-c Clef: c3 Voice Text: Come forth my deare General Note Annotations/Corrections: signum congruentiae in second line of f. 74r; bottom line fully pre-ruled but only about first third used;
74v–75r	Now sleepes my love	-	Ford, Thomas
Now sleepes my love Ford, Thomas Appears on: 74v–75r Voice: [no designation] Languages: English Mensuration: cut-c Clef: c4 Voice Text: Now sleepes my Love General Note Annotations/Corrections: signum congruentiae in second line of f. 75r;
75v–76r	What greater Joy	-	Ford, Thomas
What greater Joy Ford, Thomas Appears on: 75v–76r Voice: [no designation] Languages: English Mensuration: cut-c Clef: c3 Voice Text: What greater Joy General Note Annotations/Corrections: signum congruentiae in top line of f. 76r; barline before final note; Notes: on first page (f. 75v) four staves pre-ruled, but only the top three used;
76v–77r	Strike thou the Anvil	-	Ford, Thomas
Strike thou the Anvil Ford, Thomas Appears on: 76v–77r Voice: [no designation] Languages: English Mensuration: cut-c Clef: c4 Voice Text: Strike thou the Anvill General Note Annotations/Corrections: signum congruentiae in third line of f. 77r; text corr. in top line of f. 77r;
77v–92r	blank staves (with space for initial letters at beginning of the top line on versos)	-	-
blank staves (with space for initial letters at beginning of the top line on versos) Appears on: 77v–92r General Note Notes: fols 85v to 91r absent; f. 92r fully blank;
92v–93r	O combien est malheurex le desir dont	-	Sermisy, Claudin de (ca. 1490–1562) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?)
O combien est malheurex le desir dont Sermisy, Claudin de (ca. 1490–1562) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Appears on: 92v–93r Genres: Chanson Voice: [no designation] Languages: French Voice Text: O combien est malheureux le desir General Note Notes: TENOR.' in big, blue letters before music (with large capital 'T' in red and blue);
93v	Bon jour mon coeur bon jour ma douce vie	Orlando di lassus	Lassus, Orlande de (ca. 1532–1594)
Bon jour mon coeur bon jour ma douce vie Lassus, Orlande de (ca. 1532–1594) Appears on: 93v Genres: Chanson Source Attribution: Orlando di lassus Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: BOniour mo[n] cœur General Note Annotations/Corrections: final note of second and of final line in inner margin;
94r	Au pres de vous secretement demeure	-	Sermisy, Claudin de (ca. 1490–1562)
Au pres de vous secretement demeure Sermisy, Claudin de (ca. 1490–1562) Appears on: 94r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: AVpres de vous [...] secretteme[n]t General Note Annotations/Corrections: signum congruentiae in third line; at beginning, before initial, some scribble - possibly some abbreviation;
94v–95r	Je fille quant Dieu ne donne de quoi	-	Jonckers, Maistre Gosse
Je fille quant Dieu ne donne de quoi Jonckers, Maistre Gosse Appears on: 94v–95r Voice: [no designation] Languages: French Mensuration: cut-o 3 Clef: c3 Voice Text: IE fille qua[n]t dieu me donne de q[uo]y General Note Annotations/Corrections: in first and second line of f. 94v, dots after notes (next to uopper end of stem) - the same in first, third and bottom lines of f. 95r;
95v–96r	La la la je ne lose dire la la la	-	Certon, Pierre (–ca. 1572)
La la la je ne lose dire la la la Certon, Pierre (–ca. 1572) Appears on: 95v–96r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: LA la la ie ne loz [...] dire
96v–97r	Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant	-	Sermisy, Claudin de (ca. 1490–1562)
Tant que vivrai - 1a pars (of 2): Tant que vivrai en age florissant Sermisy, Claudin de (ca. 1490–1562) Appears on: 96v–97r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: TAnt que viuray en caige flourissant General Note Notes: elaborate initial 'T' in red and blue; on f. 97r, three staves pre-ruled, but only one and a half used;
97v–98r	Le voulez vous bien dame que je couche	H. Waelrant	Waelrant, Hubert (ca. 1517–1595)
Le voulez vous bien dame que je couche Waelrant, Hubert (ca. 1517–1595) Appears on: 97v–98r Source Attribution: H. Waelrant Voice: [no designation] Languages: French Mensuration: cut-c Clef: c4 Voice Text: LE voulez vous bien [...] Dame qùe ie coùche General Note Annotations/Corrections: in top line, several '3' under notes - the same on the top four lines of f. 98r; last few notes of the piece on additional stave half length) in bottom margin - stave lines continuing beyond final double barline (do not usually do that in this volume);
98v	Il me suffit de tous mes maulx	-	Sermisy, Claudin de (ca. 1490–1562)
Il me suffit de tous mes maulx Sermisy, Claudin de (ca. 1490–1562) Appears on: 98v Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c4 Voice Text: Il me souffit de tous mes maulx
99r	Pour un plaisir que si peu dure	-	Sermisy, Claudin de (ca. 1490–1562)
Pour un plaisir que si peu dure Sermisy, Claudin de (ca. 1490–1562) Appears on: 99r Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: POur vng plaisir que si peu dure General Note Annotations/Corrections: signum congruentiae in second line; Notes: elaborate initial in red (most of the other chansons just black);
99v–100r	Celle qui m'a tant pourmené	-	Sermisy, Claudin de (ca. 1490–1562)
Celle qui m'a tant pourmené Sermisy, Claudin de (ca. 1490–1562) Appears on: 99v–100r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: CElle qui ma tant pourmenez General Note Notes: on f. 100, four lines pre-ruled, but only the top three used;
100v–101r	Doulce memoire en plaisir consommée	Sandrin	Manchicourt, Pierre de (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?)
Doulce memoire en plaisir consommée Manchicourt, Pierre de (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Appears on: 100v–101r Genres: Chanson Source Attribution: Sandrin Voice: [no designation] Languages: French Mensuration: cut-c Clef: c4 Voice Text: DOulce memoire en plaisir conso[m]me General Note Notes: last few notes on shorter stave;
101v–102r	Vous perdez temps de me dire mal d'elle	-	Crecquillon, Thomas (ca. 1505–ca. 1557) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?)
Vous perdez temps de me dire mal d'elle Crecquillon, Thomas (ca. 1505–ca. 1557) (?) Sandrin, Pierre (ca. 1490–ca. 1560) (?) Sermisy, Claudin de (ca. 1490–1562) (?) Appears on: 101v–102r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: UOus perdes temps de moij dire mal d'elle General Note Notes: elaborate initial in red and blue; only half of pre-ruled final line used;
102v–103r	D'ou [dont] vient cela belle je vous supply	-	Sermisy, Claudin de (ca. 1490–1562)
D'ou [dont] vient cela belle je vous supply Sermisy, Claudin de (ca. 1490–1562) Appears on: 102v–103r Genres: Italian secular Voice: [no designation] Languages: French Mensuration: cut-c Clef: c4 Voice Text: DOnt vieng cela belle ie vous supplie General Note Annotations/Corrections: one crotchet in second line of f. 102v noticeable darker than the other notes on this page (f. 103r is similarly dark); signum congruentiae in second line of f. 103r; seemingly text corr. between first and second word of piece; note and stave corr. in top line of f. 103r;
103v–104r	Ce faux amour d'arc et de fléches s'arme	-	Lassus, Orlande de (ca. 1532–1594)
Ce faux amour d'arc et de fléches s'arme Lassus, Orlande de (ca. 1532–1594) Appears on: 103v–104r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c4 Voice Text: CE faulx amo[ur] d'arc et de fleisches
104v–105r	Une bergiere ung jour aux champs estoit	-	Passereau, Pierre (fl. c1509–1547) (?) Marle, Nicolas de Marle, Nicolas de (?)
Une bergiere ung jour aux champs estoit Passereau, Pierre (fl. c1509–1547) (?) Marle, Nicolas de Marle, Nicolas de (?) Appears on: 104v–105r Genres: Chanson Voice: [no designation] Languages: French Mensuration: cut-c Clef: c3 Voice Text: Une bergier vng Jour aù champs estoit General Note Notes: elaborate capital 'U' in red and blue;
105v–121v	blank staves (with space for initial letters at beginning of the top line on versos)	-	-
blank staves (with space for initial letters at beginning of the top line on versos) Appears on: 105v–121v General Note Notes: folio numbers in ink up to (and including) '111', after that in pencil;

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

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

Images © The Warden and Scholars of Winchester College

Set: TUDOR PARTBOOKS

Type: Project Collection

GB-CF MS D/DP Z6/1

GB-CF MS D/DP Z6/2

GB-Cfm MU MS 1005 (Fayrfax fragments)

GB-Cgc MS 667/760 (Caius Choirbook)

GB-Cjc MS 234 (K.31)

GB-Ckc Rowe 316

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

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

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

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

GB-Cqcl Old Library G.4.17

GB-Cu Dd.13.27

GB-DORmcghie McGhie manuscript

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

GB-Lbl Add. MS 4900

GB-Lbl Add. MS 15166

GB-Lbl Add. MS 17802 (Gyffard Partbooks)

GB-Lbl Add. MS 17803 (Gyffard Partbooks)

GB-Lbl Add. MS 17804 (Gyffard Partbooks)

GB-Lbl Add. MS 17805 (Gyffard Partbooks)

GB-Lbl Add. MS 22597

GB-Lbl Add. MS 29996

GB-Lbl Add. MS 30480 (Hamond Partbooks)

GB-Lbl Add. MS 30481 (Hamond Partbooks)

GB-Lbl Add. MS 30482 (Hamond Partbooks)

GB-Lbl Add. MS 30483 (Hamond Partbooks)

GB-Lbl Add. MS 30484 (Hamond Partbooks)

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

GB-Lbl Royal Appendix 12

GB-Lbl Royal Appendix 13

GB-Lbl Royal Appendix 14

GB-Lbl Royal Appendix 15

GB-Lbl Royal Appendix 16

GB-Lbl Royal Appendix 17

GB-Lbl Royal Appendix 18

GB-Lbl Royal Appendix 19

GB-Lbl Royal Appendix 20

GB-Lbl Royal Appendix 21

GB-Lbl Royal Appendix 22

GB-Lbl Royal Appendix 23

GB-Lbl Royal Appendix 24

GB-Lbl Royal Appendix 25

GB-Lbl Royal Appendix 26

GB-Lbl Royal Appendix 27

GB-Lbl Royal Appendix 28

GB-Lbl Royal Appendix 29

GB-Lbl Royal Appendix 30

GB-Lbl Royal Appendix 31

GB-Lbl Royal Appendix 32

GB-Lbl Royal Appendix 33

GB-Lbl Royal Appendix 34

GB-Lbl Royal Appendix 35

No images available

GB-Lbl Royal Appendix 41

No images available

GB-Lbl Royal Appendix 42

No images available

GB-Lbl Royal Appendix 43

No images available

GB-Lbl Royal Appendix 44

GB-Lbl Royal Appendix 45 (Ludford)

GB-Lbl Royal Appendix 46 (Ludford)

GB-Lbl Royal Appendix 47 (Ludford)

GB-Lbl Royal Appendix 48 (Ludford)

GB-Lbl Royal Appendix 49

GB-Lbl Royal Appendix 50

GB-Lbl Royal Appendix 51

GB-Lbl Royal Appendix 52

GB-Lbl Royal Appendix 53

GB-Lbl Royal Appendix 54

GB-Lbl Royal Appendix 56

No images available

GB-Lbl Royal Appendix 57

GB-Lbl Royal Appendix 58

No images available

GB-Lbl Royal Appendix 59

No images available

GB-Lbl Royal Appendix 60

No images available

GB-Lbl Royal Appendix 61

No images available

GB-Lbl Royal Appendix 62

GB-Lbl Royal Appendix 74 (Lumley)

GB-Lbl Royal Appendix 75 (Lumley)

GB-Lbl Royal Appendix 76 (Lumley)

No images available

GB-Lcm [pr. bk.] B187

No images available

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

No images available

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

No images available

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

No images available

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

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

GB-Lna SP I/246

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

GB-Ob MS. Mus. d. 103

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

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

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

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

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

GB-Ob MS. Mus. e. 21

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

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

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

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

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

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

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

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

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

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

GB-Ob MS. Tenbury 341

GB-Ob MS. Tenbury 342

GB-Ob MS. Tenbury 343

GB-Ob MS. Tenbury 344

GB-Ob MS. Tenbury 389

No images available

GB-Ob MS. Tenbury 807

No images available

GB-Ob MS. Tenbury 808

No images available

GB-Ob MS. Tenbury 809

No images available

GB-Ob MS. Tenbury 810

No images available

GB-Ob MS. Tenbury 811

No images available

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

GB-Ob MS. Tenbury 1464

GB-Ob MS. Tenbury 1486 (Braikenridge Manuscript)

No images available

GB-Och Mus. 45

GB-Och Mus. 979 (Baldwin Partbooks)

GB-Och Mus. 980 (Baldwin Partbooks)

GB-Och Mus. 981 (Baldwin Partbooks)

GB-Och Mus. 982 (Baldwin Partbooks)

GB-Och Mus. 983 (Baldwin Partbooks)

GB-Och Mus. 984 (Dow Partbooks)

GB-Och Mus. 985 (Dow Partbooks)

GB-Och Mus. 986 (Dow Partbooks)

GB-Och Mus. 987 (Dow Partbooks)

GB-Och Mus. 988 (Dow Partbooks)

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

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

GB-WCc MS 153 Bassus (Winchester Partbooks)

GB-WCc MS 153 Contra Altus (Winchester Partbooks)

GB-WCc MS 153 Discantus (Winchester Partbooks)

GB-WCc MS 153 Tenor (Winchester Partbooks)

GB-WRec MS 178 (Eton Choirbook)

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

No images available

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

US-NYp Mus. Res. Drexel 4180

US-NYp Mus. Res. Drexel 4181

No images available

US-NYp Mus. Res. Drexel 4182

US-NYp Mus. Res. Drexel 4183

US-NYp Mus. Res. Drexel 4184

US-NYp Mus. Res. Drexel 4185

US-Ws V.a. 408

Set: Winchester Partbooks

Type: Partbooks

GB-WCc MS 153 Bassus (Winchester Partbooks)

GB-WCc MS 153 Contra Altus (Winchester Partbooks)

GB-WCc MS 153 Discantus (Winchester Partbooks)

GB-WCc MS 153 Tenor (Winchester Partbooks)

‡ denotes primary source study

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

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

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

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

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

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

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

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

This form is used to make comments on a source. If you wish to notify us of a correction to the record, you should use the "Contribute a change" form instead.

No comments have been made.

Contributions to this record are recorded here. If you wish to contribute information or a correction to this record, use the "Contribute a Change" link. This will then be reviewed by DIAMM staff and, if accepted, your contribution will be acknowledged here.

DIAMM, 2016

Monday, 23 January, 2017

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

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

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description