GB-Lbl Add. MS 37402

British Library, London, England

partbook: Early 17th Century

Archive	British Library, London, England (GB-Lbl)
Shelfmark	Add. MS 37402
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 (mentioned in liminary text) Pearson, James (mentioned in liminary text)
External Links	British Library online catalogue entry
External Authorities	RISM Online (sources/1001028887)
Provenance	England
Contents	139 pieces from 52 composers

General Description

A Discantus I 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 A book. Purchased by British Museum from W. Metcalfe in 1906.

DIAMM, 2023

Physical Description

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

DIAMM, 2023

Binding

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

DIAMM, 2023

Notation

not indicated

DIAMM, 2017

Foliation

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

DIAMM, 2017

Foliation

New pencil foliation, 1-98

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 textless 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. FerraboscoII)-1."

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

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Source attribution	Composers (? Uncertain)
1–1v	Deh poi che era ne' fati	-	Marenzio, Luca (ca. 1553–1599)
Deh poi che era ne' fati Marenzio, Luca (ca. 1553–1599) Appears on: 1–1v Genres: Madrigal (Italian) General Note missing folios from D2, with loss of the part for this piece
2–2v	O voi che sospirati	-	Marenzio, Luca (ca. 1553–1599)
O voi che sospirati Marenzio, Luca (ca. 1553–1599) Appears on: 2–2v General Note missing folios from D2, with loss of the part for this piece
3	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: 3 Genres: Chanson
3v	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: 3v Genres: Madrigal (Italian) General Note Only the 1a pars is copied
4–4v	Dolorosi martir', fieri tormenti	-	Marenzio, Luca (ca. 1553–1599)
Dolorosi martir', fieri tormenti Marenzio, Luca (ca. 1553–1599) Appears on: 4–4v Genres: Madrigal (Italian)
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)
5v	Che se mentre	-	Anonymous
Che se mentre Anonymous Appears on: 5v Genres: Madrigal (Italian)
6	Al suon d'amata voce	-	Quintiani, Lucrezio
Al suon d'amata voce Quintiani, Lucrezio Appears on: 6 Genres: Madrigal (Italian)
6v–7v	O come e gran martire	-	Monteverdi, Claudio (1567–1643)
O come e gran martire Monteverdi, Claudio (1567–1643) Appears on: 6v–7v Genres: Madrigal (Italian)
8	Sovra tenere herbette	-	Monteverdi, Claudio (1567–1643)
Sovra tenere herbette Monteverdi, Claudio (1567–1643) Appears on: 8 Genres: Madrigal (Italian)
8v	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: 8v Genres: Madrigal (Italian)
9–9v	O dolce anima mia	-	Monteverdi, Claudio (1567–1643)
O dolce anima mia Monteverdi, Claudio (1567–1643) Appears on: 9–9v Genres: Madrigal (Italian)
10	Ma dove lasso	-	Monteverdi, Claudio (1567–1643)
Ma dove lasso Monteverdi, Claudio (1567–1643) Appears on: 10 Genres: Madrigal (Italian)
10v–11	La giovinetta pianta si fa	-	Monteverdi, Claudio (1567–1643)
La giovinetta pianta si fa Monteverdi, Claudio (1567–1643) Appears on: 10v–11 Genres: Madrigal (Italian)
11v	Corre la nave	-	Anonymous
Corre la nave Anonymous Appears on: 11v Genres: Madrigal (Italian) General Note Beginning only, crossed through. Only copied in this book.
11v–12	O rossignuol che in queste verdi fronde	-	Monteverdi, Claudio (1567–1643)
O rossignuol che in queste verdi fronde Monteverdi, Claudio (1567–1643) Appears on: 11v–12 Genres: Madrigal (Italian)
12v–13	Stracciami pur il core	-	Monteverdi, Claudio (1567–1643)
Stracciami pur il core Monteverdi, Claudio (1567–1643) Appears on: 12v–13 Genres: Madrigal (Italian)
13v	O primavera bella	-	Monteverdi, Claudio (1567–1643)
O primavera bella Monteverdi, Claudio (1567–1643) Appears on: 13v Genres: Madrigal (Italian)
14	Il bianco e dolce cigno cantando more	-	Vecchi, Orazio (1550–1605)
Il bianco e dolce cigno cantando more Vecchi, Orazio (1550–1605) Appears on: 14 Genres: Madrigal (Italian)
14v	Non mi fuggir	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non mi fuggir Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 14v Genres: Madrigal (Italian)
15	Non vedi oime	-	Anonymous
Non vedi oime Anonymous Appears on: 15 Genres: Madrigal (Italian)
15v	Donna s'io sono il sole	-	Vecchi, Orazio (1550–1605)
Donna s'io sono il sole Vecchi, Orazio (1550–1605) Appears on: 15v Genres: Madrigal (Italian)
16	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: 16 Genres: Madrigal (Italian)
16v	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: 16v Genres: Madrigal (Italian)
17	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: 17 Genres: Madrigal (Italian)
17v	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: 17v Genres: Madrigal (Italian)
18	Arda pur sempre o mora	-	Marenzio, Luca (ca. 1553–1599)
Arda pur sempre o mora Marenzio, Luca (ca. 1553–1599) Appears on: 18 Genres: Madrigal (Italian)
18v	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: 18v Genres: Madrigal (Italian)
19	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: 19 Genres: Madrigal (Italian)
19	O di rare eccellenze	-	Vecchi, Orazio (1550–1605)
O di rare eccellenze Vecchi, Orazio (1550–1605) Appears on: 19 Genres: Madrigal (Italian)
19v	Pastorella gratiosella	-	Vecchi, Orazio (1550–1605)
Pastorella gratiosella Vecchi, Orazio (1550–1605) Appears on: 19v Genres: Madrigal (Italian)
20	Cara mia Dafne	-	Vecchi, Orazio (1550–1605)
Cara mia Dafne Vecchi, Orazio (1550–1605) Appears on: 20 Genres: Madrigal (Italian)
20v	Donna, se voi m'odiate	-	Pallavicino, Benedetto
Donna, se voi m'odiate Pallavicino, Benedetto Appears on: 20v Genres: Madrigal (Italian)
21	Monte, selvi, fontane	-	Quintiani, Lucrezio
Monte, selvi, fontane Quintiani, Lucrezio Appears on: 21 Genres: Madrigal (Italian)
21v	Di lauri e mirti il tuo bel tempio	-	Quintiani, Lucrezio
Di lauri e mirti il tuo bel tempio Quintiani, Lucrezio Appears on: 21v Genres: Madrigal (Italian)
22	Non puo tanto l'amore	-	Quintiani, Lucrezio
Non puo tanto l'amore Quintiani, Lucrezio Appears on: 22 Genres: Madrigal (Italian)
22v	Cinthia, el tuo dolce canto	-	Croce, Giovanni (ca. 1557–1609)
Cinthia, el tuo dolce canto Croce, Giovanni (ca. 1557–1609) Appears on: 22v Genres: Madrigal (Italian)
23	Donna, se quel ohime	-	Pallavicino, Benedetto
Donna, se quel ohime Pallavicino, Benedetto Appears on: 23 Genres: Madrigal (Italian)
23v	Baci amorosi e cari	-	Pallavicino, Benedetto
Baci amorosi e cari Pallavicino, Benedetto Appears on: 23v Genres: Madrigal (Italian)
24	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: 24 Genres: Madrigal (Italian)
24v	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: 24v Genres: Madrigal (Italian)
25	Occhi, mirando mi togliest' il cor	-	Venturi (del Nibbio), Stephanus
Occhi, mirando mi togliest' il cor Venturi (del Nibbio), Stephanus Appears on: 25 Genres: Madrigal (Italian)
25v	Quell' aura che spirand'a	-	Venturi, Pompilio
Quell' aura che spirand'a Venturi, Pompilio Appears on: 25v Genres: Madrigal (Italian)
26	Si un sguardo un fa beato	-	Venturi, Pompilio
Si un sguardo un fa beato Venturi, Pompilio Appears on: 26 Genres: Madrigal (Italian)
26v	Fuggi se sai fuggire	-	Eremita, Giulio
Fuggi se sai fuggire Eremita, Giulio Appears on: 26v Genres: Madrigal (Italian)
27	Candide perle e care	-	Croce, Giovanni (ca. 1557–1609)
Candide perle e care Croce, Giovanni (ca. 1557–1609) Appears on: 27 Genres: Madrigal (Italian)
27v	Quella che in mille	-	Vecchi, Orazio (1550–1605)
Quella che in mille Vecchi, Orazio (1550–1605) Appears on: 27v Genres: Madrigal (Italian)
28	Tu nascesti di furto	-	Giovannelli, Ruggiero (ca. 1560–1625)
Tu nascesti di furto Giovannelli, Ruggiero (ca. 1560–1625) Appears on: 28 Genres: Madrigal (Italian)
28v	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: 28v Genres: Madrigal (Italian)
29	Se la virtu ch' in voi	-	Quintiani, Lucrezio
Se la virtu ch' in voi Quintiani, Lucrezio Appears on: 29 Genres: Madrigal (Italian)
29v–30	Tra le dolcezze e l' ire	-	Luzzaschi, Luzzasco
Tra le dolcezze e l' ire Luzzaschi, Luzzasco Appears on: 29v–30 Genres: Madrigal (Italian)
30v	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: 30v Genres: Madrigal (Italian)
31–31v	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: 31–31v Genres: Madrigal (Italian)
32	Creschin a gara sin al ciel	-	Quintiani, Lucrezio
Creschin a gara sin al ciel Quintiani, Lucrezio Appears on: 32 Genres: Madrigal (Italian)
32v	Non vi bastava	-	Masnelli, Paolo
Non vi bastava Masnelli, Paolo Appears on: 32v Genres: Madrigal (Italian)
33	Soavissimo ardore	-	Masnelli, Paolo
Soavissimo ardore Masnelli, Paolo Appears on: 33 Genres: Madrigal (Italian)
33v	Occhi cari	-	Masnelli, Paolo
Occhi cari Masnelli, Paolo Appears on: 33v Genres: Madrigal (Italian)
34	Ah disleale	-	Masnelli, Paolo
Ah disleale Masnelli, Paolo Appears on: 34 Genres: Madrigal (Italian)
34v	A che tormi il ben mio	-	Masnelli, Paolo
A che tormi il ben mio Masnelli, Paolo Appears on: 34v Genres: Madrigal (Italian)
35	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: 35 Genres: Madrigal (Italian) General Note In the other books these 2 partes are copied in the reverse order
35v	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: 35v Genres: Madrigal (Italian) General Note In the other books these 2 partes are copied in the reverse order
36–36v	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: 36–36v Genres: Madrigal (Italian) General Note Only the 1a pars is copied
37	Clorinda hai vinto	-	Vecchi, Orazio (1550–1605)
Clorinda hai vinto Vecchi, Orazio (1550–1605) Appears on: 37 Genres: Madrigal (Italian)
37v	Non e lasso martire	-	Ferrabosco, Alfonso (the elder) (1543–1588)
Non e lasso martire Ferrabosco, Alfonso (the elder) (1543–1588) Appears on: 37v Genres: Madrigal (Italian)
38	Dolce alpestre parola	-	Mosto, Giovanni Battista
Dolce alpestre parola Mosto, Giovanni Battista Appears on: 38 Genres: Madrigal (Italian)
38v	Natura non mi fe	-	Pallavicino, Benedetto
Natura non mi fe Pallavicino, Benedetto Appears on: 38v Genres: Madrigal (Italian)
39–39v	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: 39–39v Genres: Madrigal (Italian) General Note Copied in all books, but cancelled (crossed out). The 1a pars is copied a few folios later
40	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: 40 Genres: Madrigal (Italian)
40	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: 40 Genres: Madrigal (Italian)
40v–41	Quelle rose che colt' in paradiso	-	Anerio, Felice (ca. 1560–1614)
Quelle rose che colt' in paradiso Anerio, Felice (ca. 1560–1614) Appears on: 40v–41 Genres: Madrigal (Italian)
41v	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: 41v Genres: Madrigal (Italian)
42	Perfidissimo volto	-	Monteverdi, Claudio (1567–1643)
Perfidissimo volto Monteverdi, Claudio (1567–1643) Appears on: 42 Genres: Madrigal (Italian)
42v–43	Dolce mia cara mano	-	Pallavicino, Benedetto
Dolce mia cara mano Pallavicino, Benedetto Appears on: 42v–43 Genres: Madrigal (Italian)
43v	Amor se i bei rubini	-	Anonymous
Amor se i bei rubini Anonymous Appears on: 43v Genres: Madrigal (Italian)
44	Alte parole	-	Lupo, Thomas (ca. 1571–1627)
Alte parole Lupo, Thomas (ca. 1571–1627) Appears on: 44 Genres: Dance
44v	O che vezzosa	-	Lupo, Thomas (ca. 1571–1627)
O che vezzosa Lupo, Thomas (ca. 1571–1627) Appears on: 44v Genres: Madrigal (Italian)
45	If women can be courteous	-	Carlton, Richard
If women can be courteous Carlton, Richard Appears on: 45 Genres: Madrigal (English)
45v–46	Peace I hear a voice / Hold up / My masters all / At Betham time	Gibbons [crossed through]	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: 45v–46 Genres: Consort song Source Attribution: Gibbons [crossed through] General Note Titled 'A strange songe' (à 4). 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.
46v–47	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: 46v–47 Genres: In nomine, Song Source Attribution: Orlando Gibings / Gibbons
47v–48	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: 47v–48 Genres: Song
48v–49	[untitled piece]	'P'	Pearson, James (?)
[untitled piece] Pearson, James (?) Appears on: 48v–49 Genres: Viol piece Source Attribution: 'P' General Note The initial 'P' at the end in D1 may be that of James Pearson, as composer. 2 voice parts copied, the Sexta on f. 49
49v	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: 49v Genres: Motet
49v	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: 49v Genres: Motet General Note It is not clear whether the 2a pars is copied
50–51	Fantasia a6	William Birde	Byrd, William (ca. 1540–1623)
Fantasia a6 Byrd, William (ca. 1540–1623) Appears on: 50–51 Genres: Fantasia Source Attribution: William Birde General Note Sexta pars copied in Bassus book
51v	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: 51v Genres: Anthem Source Attribution: Birde
51v	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: 51v Genres: Anthem General Note It is not clear whether the 2a pars is copied
51v	Libera me Domine	Talles	Tallis, Thomas (ca. 1505–1585)
Libera me Domine Tallis, Thomas (ca. 1505–1585) Appears on: 51v Genres: Responsory Source Attribution: Talles
52	Prostrate, O Lord, I lie	Birde	Byrd, William (ca. 1540–1623)
Prostrate, O Lord, I lie Byrd, William (ca. 1540–1623) Appears on: 52 Genres: Anthem Source Attribution: Birde
52v	[untitled piece]	Dr Tye	Tye, Christopher (ca. 1505–ca. 1573)
[untitled piece] Tye, Christopher (ca. 1505–ca. 1573) Appears on: 52v Genres: Viol piece Source Attribution: Dr Tye
52v–53	Fantasia a5	-	Morley, Thomas (ca. 1557–1602)
Fantasia a5 Morley, Thomas (ca. 1557–1602) Appears on: 52v–53 Genres: Fantasia
53v	[untitled piece]	Morley	Morley, Thomas (ca. 1557–1602)
[untitled piece] Morley, Thomas (ca. 1557–1602) Appears on: 53v Genres: Viol piece Source Attribution: Morley
54	[untitled piece]	Munday	Mundy, William (ca. 1528–ca. 1591)
[untitled piece] Mundy, William (ca. 1528–ca. 1591) Appears on: 54 Genres: Viol piece Source Attribution: Munday
54v	Death the dissolver	-	Anonymous
Death the dissolver Anonymous Appears on: 54v Genres: Consort song
55	Dum transisset sabbatum	-	Anonymous
Dum transisset sabbatum Anonymous Appears on: 55 Genres: Motet
55v	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: 55v Genres: Anthem
56–56v	Decantabat populus in Israel	Birde	Byrd, William (ca. 1540–1623) (?)
Decantabat populus in Israel Byrd, William (ca. 1540–1623) (?) Appears on: 56–56v Genres: Motet Source Attribution: Birde General Note Source unknown. Not in Byrd Edition or Research Guide
57	Fie fie my fate	Mundye	Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?)
Fie fie my fate Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?) Appears on: 57 Genres: Consort song Source Attribution: Mundye
57v–58	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: 57v–58 Genres: Chanson Source Attribution: Parsons General Note unclear whether the 2a pars found in some sources is copied here
58v–59	Sorrow stay, lend true repentant tears	-	Dowland, John (1563–1626)
Sorrow stay, lend true repentant tears Dowland, John (1563–1626) Appears on: 58v–59 Genres: Consort song General Note an anojnymous adaptation of Dowland's song
59v–71	Hence stars, too dim of light	East	East, Michael
Hence stars, too dim of light East, Michael Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: East 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.
59v–71	With angel's face	Norcome	Norcome, Daniel
With angel's face Norcome, Daniel Appears on: 59v–71 Genres: Consort song Source Attribution: Norcome General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Lightly she whipped o'er the dales	Munday	Mundy, John (ca. 1555–1630)
Lightly she whipped o'er the dales Mundy, John (ca. 1555–1630) Appears on: 59v–71 Genres: Consort song Source Attribution: Munday General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Long live fair Oriana	Ellis Gibbons	Gibbons, Ellis
Long live fair Oriana Gibbons, Ellis Appears on: 59v–71 Genres: Consort song Source Attribution: Ellis Gibbons General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	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: 59v–71 Genres: Madrigal (English) Source Attribution: Bennet General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Fair Oriana, beauty's queen	Hilton	Hilton (Senior), John
Fair Oriana, beauty's queen Hilton (Senior), John Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Hilton General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	The nymphs and shepherds danced	Marson	Marson, George
The nymphs and shepherds danced Marson, George Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Marson General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Calm was the air and clear the sky	Carlton	Carlton, Richard
Calm was the air and clear the sky Carlton, Richard Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Carlton General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Thus Bonnyboots the birthday celebrated	Holmes	Holmes, John
Thus Bonnyboots the birthday celebrated Holmes, John Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Holmes General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	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: 59v–71 Genres: Madrigal (English) Source Attribution: Nicholson General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	The Fauns and Satyrs tripping	Tomkins	Tomkins, Thomas (1572–1656)
The Fauns and Satyrs tripping Tomkins, Thomas (1572–1656) Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Tomkins General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Come gentle swains	Cavendish	Cavendish, William (1593–1676)
Come gentle swains Cavendish, William (1593–1676) Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Cavendish General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	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: 59v–71 Genres: Madrigal (English) Source Attribution: Cobbold General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
59v–71	Arise awake	Morley	Morley, Thomas (ca. 1557–1602)
Arise awake Morley, Thomas (ca. 1557–1602) Appears on: 59v–71 Genres: Madrigal (English) Source Attribution: Morley General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue.
71v–83	Fair nymphs I heard one telling	Farmer	Farmer, John
Fair nymphs I heard one telling Farmer, John Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Farmer General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	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: 71v–83 Genres: Madrigal (English) Source Attribution: Wilbye General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	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: 71v–83 Genres: Madrigal (English) Source Attribution: Hunt General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	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: 71v–83 Genres: Madrigal (English) Source Attribution: Weelkes General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Fair Orian in the morn	Milton	Milton, John
Fair Orian in the morn Milton, John Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Milton General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Round about her Chariot	Ellis Gibbons	Gibbons, Ellis
Round about her Chariot Gibbons, Ellis Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Ellis Gibbons General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	With angel's face / Bright Phoebus greets	Kirbye	Kirbye, George
With angel's face / Bright Phoebus greets Kirbye, George Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Kirbye General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Fair Oriana seeming to wink at folly	Jones	Jones, Robert
Fair Oriana seeming to wink at folly Jones, Robert Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Jones General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Fair Cytherea presents her doves	Lisley	Lesley, John
Fair Cytherea presents her doves Lesley, John Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Lisley General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Hard by a crystal fountain	Morley	Morley, Thomas (ca. 1557–1602)
Hard by a crystal fountain Morley, Thomas (ca. 1557–1602) Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Morley General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
71v–83	Come blessed Byrd and with thy sugared relish	Johnson	Johnson, Edward
Come blessed Byrd and with thy sugared relish Johnson, Edward Appears on: 71v–83 Genres: Madrigal (English) Source Attribution: Johnson General Note From 'The Triumphs of Oriana'. Foliation of the individual pieces is not clear from the BL catalogue. The Sexta voice part is usually in the D1 book.
83v–84	[untitled piece]	-	Anonymous
[untitled piece] Anonymous Appears on: 83v–84 Genres: Viol piece General Note Cantus & Sextus copied in the D1 book; no parts copied in the other books
84v–87v	The cries of London	Thomas Weelkes	Weelkes, Thomas (ca. 1576–1623)
The cries of London Weelkes, Thomas (ca. 1576–1623) Appears on: 84v–87v Genres: Consort song Source Attribution: Thomas Weelkes General Note a number of folios are missing in the Altus book affecting the remaining pieces in the collection
88–88v	[untitled piece]	-	Anonymous
[untitled piece] Anonymous Appears on: 88–88v Genres: Viol piece
89–89v	Fantasia on 'Attendite'	-	Anonymous
Fantasia on 'Attendite' Anonymous Appears on: 89–89v Genres: Fantasia
90–90v	O God when thou wentest forth	-	Anonymous
O God when thou wentest forth Anonymous Appears on: 90–90v Genres: Anthem
91–91v	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: 91–91v Genres: Anthem Source Attribution: Wilkinson
92–92v	Rise, O my soul - 1a pars (of 3): Rise, O my soul	-	East, Michael (?) Simmes, William (?)
Rise, O my soul - 1a pars (of 3): Rise, O my soul East, Michael (?) Simmes, William (?) Appears on: 92–92v Genres: Anthem
92v–93	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: 92v–93 Genres: Anthem
93	Rise, O my soul - 3a pars (of 3): To thee, O Jesus	-	East, Michael (?) Simmes, William (?)
Rise, O my soul - 3a pars (of 3): To thee, O Jesus East, Michael (?) Simmes, William (?) Appears on: 93 Genres: Anthem
93v–94	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: 93v–94 Genres: Anthem
94–94v	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: 94–94v Genres: Anthem
95–96v	Fantasia (in 3 partes)	Thomas Lupo	Lupo, Thomas (ca. 1571–1627)
Fantasia (in 3 partes) Lupo, Thomas (ca. 1571–1627) Appears on: 95–96v Genres: Fantasia Source Attribution: Thomas Lupo
97	When Israel came out of Egypt	-	Anonymous
When Israel came out of Egypt Anonymous Appears on: 97 Genres: Anthem
97v–98	What first did break thee	-	Anonymous
What first did break thee Anonymous Appears on: 97v–98 Genres: Consort song
98v	Pavan	'P' [=James Pearson?] / [Byrd]	Pearson, James (?) Byrd, William (ca. 1540–1623) (?)
Pavan Pearson, James (?) Byrd, William (ca. 1540–1623) (?) Appears on: 98v Genres: Pavan Source Attribution: 'P' [=James Pearson?] / [Byrd] 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 – 40v–41
Anonymous	Amor se i bei rubini – 43v Che se mentre – 5v Corre la nave – 11v Death the dissolver – 54v Dum transisset sabbatum – 55 Fantasia on 'Attendite' – 89–89v Non vedi oime – 15 O God when thou wentest forth – 90–90v What first did break thee – 97v–98 When Israel came out of Egypt – 97 [untitled piece] – 88–88v [untitled piece] – 83v–84
Bennett, John (fl. 1599-1614)	All creatures now are merry minded – 59v–71
Byrd, William (ca. 1540–1623)	Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou – 51v Arise O Lord - 2a pars (of 2): Help us, O God – 51v (?) Decantabat populus in Israel – 56–56v Fantasia a6 – 50–51 O Lord, who in thy sacred tent – 55v (?) Pavan – 98v Prostrate, O Lord, I lie – 52
Carlton, Richard	Calm was the air and clear the sky – 59v–71 If women can be courteous – 45
Cavendish, William (1593–1676)	Come gentle swains – 59v–71
Cobbold, William (ca. 1560–1639)	With wreaths of rose and laurel – 59v–71
Croce, Giovanni (ca. 1557–1609)	Candide perle e care – 27 Cinthia, el tuo dolce canto – 22v Se da voi m'allontano, cor mio – 28v
Dowland, John (1563–1626)	Sorrow stay, lend true repentant tears – 58v–59
East, Michael	Hence stars, too dim of light – 59v–71 (?) Rise, O my soul - 1a pars (of 3): Rise, O my soul – 92–92v (?) Rise, O my soul - 2a pars (of 3): And thou, my soul – 92v–93 (?) Rise, O my soul - 3a pars (of 3): To thee, O Jesus – 93
Eremita, Giulio	Fuggi se sai fuggire – 26v
Farmer, John	Fair nymphs I heard one telling – 71v–83
Ferrabosco, Alfonso (the elder) (1543–1588)	A la dolce ombra - 2a pars (of 6): Non vide il mondo – 35v A la dolce ombra - 6a pars (of 6): Tanto mi piacque – 35 Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma – 36–36v Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato – 16 Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro – 16v Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio – 17 Mentre ti fui si grato - 4a pars (of 6): Hor un laccio – 17v Non e lasso martire – 37v Non fingo, egli e pur (C106) – 30v Non mi fuggir – 14v O crude pene mie – 5 Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno – 24 Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza – 24v Zefiro torna e 'l bel tempo rimena – 31–31v
Gibbons, Ellis	Long live fair Oriana – 59v–71 (?) Peace I hear a voice / Hold up / My masters all / At Betham time – 45v–46 Round about her Chariot – 71v–83
Gibbons, Orlando (ca. 1583–1625)	(?) Peace I hear a voice / Hold up / My masters all / At Betham time – 45v–46 The cries of London - 1a pars (of 2): God give you good morrow, my masters – 46v–47 The cries of London - 2a pars (of 2): Will you go with me - A good sausage – 47v–48
Giovannelli, Ruggiero (ca. 1560–1625)	Tu nascesti di furto – 28
Hilton (Senior), John	Fair Oriana, beauty's queen – 59v–71
Holmes, John	Thus Bonnyboots the birthday celebrated – 59v–71
Hunt 'of Wells', Thomas	Hark, did ye ever hear so sweet a singing? – 71v–83 (?) Put me not to rebuke – 91–91v
Johnson, Edward	Come blessed Byrd and with thy sugared relish – 71v–83
Jones, Robert	Fair Oriana seeming to wink at folly – 71v–83
Kirbye, George	With angel's face / Bright Phoebus greets – 71v–83
Lassus, Orlande de (ca. 1532–1594)	Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me – 49v Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam – 49v
Lesley, John	Fair Cytherea presents her doves – 71v–83
Lupo, Thomas (ca. 1571–1627)	Alte parole – 44 Fantasia (in 3 partes) – 95–96v O che vezzosa – 44v
Luzzaschi, Luzzasco	Tra le dolcezze e l' ire – 29v–30
Marenzio, Luca (ca. 1553–1599)	Arda pur sempre o mora – 18 Che fa hoggi il mio sole che fa'l mio – 3 Deh poi che era ne' fati – 1–1v Dolorosi martir', fieri tormenti – 4–4v Giunto a la tomba - 1a pars (of 4): Giunto a la tomba – 3v O voi che sospirati – 2–2v Ond'ei di morte la sua faccia – 19 Rimanti in pace, a la dolente e bella – 18v
Marson, George	The nymphs and shepherds danced – 59v–71
Masnelli, Paolo	A che tormi il ben mio – 34v Ah disleale – 34 Non vi bastava – 32v Occhi cari – 33v Soavissimo ardore – 33
Milton, John	Fair Orian in the morn – 71v–83
Monteverdi, Claudio (1567–1643)	La giovinetta pianta si fa – 10v–11 La tra il sangue e le morti egro – 8v Ma dove lasso – 10 O come e gran martire – 6v–7v O dolce anima mia – 9–9v O primavera bella – 13v O rossignuol che in queste verdi fronde – 11v–12 Perfidissimo volto – 42 Sovra tenere herbette – 8 Stracciami pur il core – 12v–13
Morley, Thomas (ca. 1557–1602)	Arise awake – 59v–71 Fantasia a5 – 52v–53 Hard by a crystal fountain – 71v–83 [untitled piece] – 53v
Mosto, Giovanni Battista	Dolce alpestre parola – 38
Mundy, John (ca. 1555–1630)	(?) Fie fie my fate – 57 Lightly she whipped o'er the dales – 59v–71
Mundy, William (ca. 1528–ca. 1591)	(?) Fie fie my fate – 57 [untitled piece] – 54
Nicholson, Richard (1563–1639)	Sing shepherds all and in your roundelays – 59v–71
Norcome, Daniel	With angel's face – 59v–71
Pallavicino, Benedetto	Baci amorosi e cari – 23v Con che soavita - 1a pars (of 2): Con che soavita – 40 Con che soavita - 2a pars (of 2): Perche i vostri diletti – 40 Dolce mia cara mano – 42v–43 Donna, se quel ohime – 23 Donna, se voi m'odiate – 20v Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte – 41v Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir – 39–39v Natura non mi fe – 38v
Parsons (I), Robert (ca. 1535–ca. 1572)	De la court - 1a pars – 57v–58
Pearson, James	(?) Pavan – 98v (?) [untitled piece] – 48v–49
Peerson, Martin	I am brought - 1a pars (of 2): I am brought into so great trouble – 93v–94 I am brought - 2a pars (of 2): My heart panteth – 94–94v
Quintiani, Lucrezio	Al suon d'amata voce – 6 Creschin a gara sin al ciel – 32 Di lauri e mirti il tuo bel tempio – 21v Monte, selvi, fontane – 21 Non puo tanto l'amore – 22 Se la virtu ch' in voi – 29
Simmes, William	(?) Rise, O my soul - 1a pars (of 3): Rise, O my soul – 92–92v (?) Rise, O my soul - 2a pars (of 3): And thou, my soul – 92v–93 (?) Rise, O my soul - 3a pars (of 3): To thee, O Jesus – 93
Tallis, Thomas (ca. 1505–1585)	Libera me Domine – 51v
Tomkins, Thomas (1572–1656)	The Fauns and Satyrs tripping – 59v–71
Tye, Christopher (ca. 1505–ca. 1573)	[untitled piece] – 52v
Vecchi, Orazio (1550–1605)	Cara mia Dafne – 20 Clorinda hai vinto – 37 Donna s'io sono il sole – 15v Il bianco e dolce cigno cantando more – 14 O di rare eccellenze – 19 Pastorella gratiosella – 19v Quella che in mille – 27v
Venturi (del Nibbio), Stephanus	Occhi, mirando mi togliest' il cor – 25
Venturi, Pompilio	Quell' aura che spirand'a – 25v Si un sguardo un fa beato – 26
Weelkes, Thomas (ca. 1576–1623)	As Vesta was from Latmos Hill descending – 71v–83 The cries of London – 84v–87v
Wilbye, John (1574–1638)	The Lady Oriana was dight all in the treasures of Guiana – 71v–83
Wilkinson, T(homas?)	(?) Put me not to rebuke – 91–91v

Composition	Composers (? Uncertain)	Folios / Pages
[untitled piece]	Pearson, James (?)	48v–49
[untitled piece]	Tye, Christopher (ca. 1505–ca. 1573)	52v
[untitled piece]	Morley, Thomas (ca. 1557–1602)	53v
[untitled piece]	Mundy, William (ca. 1528–ca. 1591)	54
[untitled piece]	Anonymous	83v–84
[untitled piece]	Anonymous	88–88v
A che tormi il ben mio	Masnelli, Paolo	34v
A la dolce ombra - 2a pars (of 6): Non vide il mondo	Ferrabosco, Alfonso (the elder) (1543–1588)	35v
A la dolce ombra - 6a pars (of 6): Tanto mi piacque	Ferrabosco, Alfonso (the elder) (1543–1588)	35
Ah disleale	Masnelli, Paolo	34
Al suon d'amata voce	Quintiani, Lucrezio	6
All creatures now are merry minded	Bennett, John (fl. 1599-1614)	59v–71
Alte parole	Lupo, Thomas (ca. 1571–1627)	44
Amor se i bei rubini	Anonymous	43v
Arda pur sempre o mora	Marenzio, Luca (ca. 1553–1599)	18
Arise awake	Morley, Thomas (ca. 1557–1602)	59v–71
Arise O Lord - 1a pars (of 2): Arise O Lord why sleepest thou	Byrd, William (ca. 1540–1623)	51v
Arise O Lord - 2a pars (of 2): Help us, O God	Byrd, William (ca. 1540–1623)	51v
As Vesta was from Latmos Hill descending	Weelkes, Thomas (ca. 1576–1623)	71v–83
Baci amorosi e cari	Pallavicino, Benedetto	23v
Calm was the air and clear the sky	Carlton, Richard	59v–71
Candide perle e care	Croce, Giovanni (ca. 1557–1609)	27
Cara mia Dafne	Vecchi, Orazio (1550–1605)	20
Che fa hoggi il mio sole che fa'l mio	Marenzio, Luca (ca. 1553–1599)	3
Che se mentre	Anonymous	5v
Cinthia, el tuo dolce canto	Croce, Giovanni (ca. 1557–1609)	22v
Clorinda hai vinto	Vecchi, Orazio (1550–1605)	37
Come blessed Byrd and with thy sugared relish	Johnson, Edward	71v–83
Come gentle swains	Cavendish, William (1593–1676)	59v–71
Con che soavita - 1a pars (of 2): Con che soavita	Pallavicino, Benedetto	40
Con che soavita - 2a pars (of 2): Perche i vostri diletti	Pallavicino, Benedetto	40
Corre la nave	Anonymous	11v
Creschin a gara sin al ciel	Quintiani, Lucrezio	32
De la court - 1a pars	Parsons (I), Robert (ca. 1535–ca. 1572)	57v–58
Death the dissolver	Anonymous	54v
Decantabat populus in Israel	Byrd, William (ca. 1540–1623) (?)	56–56v
Deh poi che era ne' fati	Marenzio, Luca (ca. 1553–1599)	1–1v
Di lauri e mirti il tuo bel tempio	Quintiani, Lucrezio	21v
Dolce alpestre parola	Mosto, Giovanni Battista	38
Dolce mia cara mano	Pallavicino, Benedetto	42v–43
Dolorosi martir', fieri tormenti	Marenzio, Luca (ca. 1553–1599)	4–4v
Donna l'ardente fiamma - 1a pars (of 2): Donna l'ardente fiamma	Ferrabosco, Alfonso (the elder) (1543–1588)	36–36v
Donna s'io sono il sole	Vecchi, Orazio (1550–1605)	15v
Donna, se quel ohime	Pallavicino, Benedetto	23
Donna, se voi m'odiate	Pallavicino, Benedetto	20v
Dum transisset sabbatum	Anonymous	55
Fair Cytherea presents her doves	Lesley, John	71v–83
Fair nymphs I heard one telling	Farmer, John	71v–83
Fair Orian in the morn	Milton, John	71v–83
Fair Oriana seeming to wink at folly	Jones, Robert	71v–83
Fair Oriana, beauty's queen	Hilton (Senior), John	59v–71
Fantasia (in 3 partes)	Lupo, Thomas (ca. 1571–1627)	95–96v
Fantasia a5	Morley, Thomas (ca. 1557–1602)	52v–53
Fantasia a6	Byrd, William (ca. 1540–1623)	50–51
Fantasia on 'Attendite'	Anonymous	89–89v
Fie fie my fate	Mundy, William (ca. 1528–ca. 1591) (?) Mundy, John (ca. 1555–1630) (?)	57
Fuggi se sai fuggire	Eremita, Giulio	26v
Giunto a la tomba - 1a pars (of 4): Giunto a la tomba	Marenzio, Luca (ca. 1553–1599)	3v
Hard by a crystal fountain	Morley, Thomas (ca. 1557–1602)	71v–83
Hark, did ye ever hear so sweet a singing?	Hunt 'of Wells', Thomas	71v–83
Hence stars, too dim of light	East, Michael	59v–71
Hor veggio - 1a pars (of 2): Hor veggio chiar che recoperte	Pallavicino, Benedetto	41v
Hor veggio - 2a pars (of 2): Ne lo star ne 'l fuggir	Pallavicino, Benedetto	39–39v
I am brought - 1a pars (of 2): I am brought into so great trouble	Peerson, Martin	93v–94
I am brought - 2a pars (of 2): My heart panteth	Peerson, Martin	94–94v
If women can be courteous	Carlton, Richard	45
Il bianco e dolce cigno cantando more	Vecchi, Orazio (1550–1605)	14
La giovinetta pianta si fa	Monteverdi, Claudio (1567–1643)	10v–11
La tra il sangue e le morti egro	Monteverdi, Claudio (1567–1643)	8v
Libera me Domine	Tallis, Thomas (ca. 1505–1585)	51v
Lightly she whipped o'er the dales	Mundy, John (ca. 1555–1630)	59v–71
Long live fair Oriana	Gibbons, Ellis	59v–71
Ma dove lasso	Monteverdi, Claudio (1567–1643)	10
Mentre ti fui si grato - 1a pars (of 6): Mentre ti fui si grato	Ferrabosco, Alfonso (the elder) (1543–1588)	16
Mentre ti fui si grato - 2a pars (of 6): Mentre ti fui si caro	Ferrabosco, Alfonso (the elder) (1543–1588)	16v
Mentre ti fui si grato - 3a pars (of 6): Hor, pien d'alto desio	Ferrabosco, Alfonso (the elder) (1543–1588)	17
Mentre ti fui si grato - 4a pars (of 6): Hor un laccio	Ferrabosco, Alfonso (the elder) (1543–1588)	17v
Monte, selvi, fontane	Quintiani, Lucrezio	21
Natura non mi fe	Pallavicino, Benedetto	38v
Non e lasso martire	Ferrabosco, Alfonso (the elder) (1543–1588)	37v
Non fingo, egli e pur (C106)	Ferrabosco, Alfonso (the elder) (1543–1588)	30v
Non mi fuggir	Ferrabosco, Alfonso (the elder) (1543–1588)	14v
Non puo tanto l'amore	Quintiani, Lucrezio	22
Non vedi oime	Anonymous	15
Non vi bastava	Masnelli, Paolo	32v
O che vezzosa	Lupo, Thomas (ca. 1571–1627)	44v
O come e gran martire	Monteverdi, Claudio (1567–1643)	6v–7v
O crude pene mie	Ferrabosco, Alfonso (the elder) (1543–1588)	5
O di rare eccellenze	Vecchi, Orazio (1550–1605)	19
O dolce anima mia	Monteverdi, Claudio (1567–1643)	9–9v
O God when thou wentest forth	Anonymous	90–90v
O Lord, who in thy sacred tent	Byrd, William (ca. 1540–1623)	55v
O primavera bella	Monteverdi, Claudio (1567–1643)	13v
O rossignuol che in queste verdi fronde	Monteverdi, Claudio (1567–1643)	11v–12
O voi che sospirati	Marenzio, Luca (ca. 1553–1599)	2–2v
Occhi cari	Masnelli, Paolo	33v
Occhi, mirando mi togliest' il cor	Venturi (del Nibbio), Stephanus	25
Ond'ei di morte la sua faccia	Marenzio, Luca (ca. 1553–1599)	19
Pastorella gratiosella	Vecchi, Orazio (1550–1605)	19v
Pavan	Pearson, James (?) Byrd, William (ca. 1540–1623) (?)	98v
Peace I hear a voice / Hold up / My masters all / At Betham time	Gibbons, Orlando (ca. 1583–1625) (?) Gibbons, Ellis (?)	45v–46
Perfidissimo volto	Monteverdi, Claudio (1567–1643)	42
Prostrate, O Lord, I lie	Byrd, William (ca. 1540–1623)	52
Put me not to rebuke	Hunt 'of Wells', Thomas (?) Wilkinson, T(homas?) (?)	91–91v
Quell' aura che spirand'a	Venturi, Pompilio	25v
Quella che in mille	Vecchi, Orazio (1550–1605)	27v
Quelle rose che colt' in paradiso	Anerio, Felice (ca. 1560–1614)	40v–41
Rimanti in pace, a la dolente e bella	Marenzio, Luca (ca. 1553–1599)	18v
Rise, O my soul - 1a pars (of 3): Rise, O my soul	East, Michael (?) Simmes, William (?)	92–92v
Rise, O my soul - 2a pars (of 3): And thou, my soul	Simmes, William (?) East, Michael (?)	92v–93
Rise, O my soul - 3a pars (of 3): To thee, O Jesus	East, Michael (?) Simmes, William (?)	93
Round about her Chariot	Gibbons, Ellis	71v–83
Se da voi m'allontano, cor mio	Croce, Giovanni (ca. 1557–1609)	28v
Se la virtu ch' in voi	Quintiani, Lucrezio	29
Si un sguardo un fa beato	Venturi, Pompilio	26
Sing shepherds all and in your roundelays	Nicholson, Richard (1563–1639)	59v–71
Soavissimo ardore	Masnelli, Paolo	33
Sorrow stay, lend true repentant tears	Dowland, John (1563–1626)	58v–59
Sovra tenere herbette	Monteverdi, Claudio (1567–1643)	8
Stracciami pur il core	Monteverdi, Claudio (1567–1643)	12v–13
The cries of London	Weelkes, Thomas (ca. 1576–1623)	84v–87v
The cries of London - 1a pars (of 2): God give you good morrow, my masters	Gibbons, Orlando (ca. 1583–1625)	46v–47
The cries of London - 2a pars (of 2): Will you go with me - A good sausage	Gibbons, Orlando (ca. 1583–1625)	47v–48
The Fauns and Satyrs tripping	Tomkins, Thomas (1572–1656)	59v–71
The Lady Oriana was dight all in the treasures of Guiana	Wilbye, John (1574–1638)	71v–83
The nymphs and shepherds danced	Marson, George	59v–71
Thus Bonnyboots the birthday celebrated	Holmes, John	59v–71
Timor et tremor - 1a pars (of 2): Timor et tremor venerunt super me	Lassus, Orlande de (ca. 1532–1594)	49v
Timor et tremor - 2a pars (of 2): Exaudi Deus deprecationem meam	Lassus, Orlande de (ca. 1532–1594)	49v
Tra le dolcezze e l' ire	Luzzaschi, Luzzasco	29v–30
Tu nascesti di furto	Giovannelli, Ruggiero (ca. 1560–1625)	28
Vorrei lagnarmi - 1a pars (of 2): Vorrei lagnarmi a pieno	Ferrabosco, Alfonso (the elder) (1543–1588)	24
Vorrei lagnarmi - 2a pars (of 2): S' io taccio il duol s'avanza	Ferrabosco, Alfonso (the elder) (1543–1588)	24v
What first did break thee	Anonymous	97v–98
When Israel came out of Egypt	Anonymous	97
With angel's face	Norcome, Daniel	59v–71
With angel's face / Bright Phoebus greets	Kirbye, George	71v–83
With wreaths of rose and laurel	Cobbold, William (ca. 1560–1639)	59v–71
Zefiro torna e 'l bel tempo rimena	Ferrabosco, Alfonso (the elder) (1543–1588)	31–31v

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, 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. 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, 359-82. Pages: 365, 376. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

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

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

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

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

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DIAMM, 2016

Monday, 23 January, 2017

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

Monday, 23 January, 2017

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