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15v/17 T. Lupo Fantasia 11 a5 44/f.4r* 423-8/5; 716/29 16v/18 Simmes Arise. arise 29427/51 TR/40 18v/19 Deering Fantasia 7 a5 19v/20 Milton O woe is me 29427/50, 106 20v/21 T. Lupo Fantasia 2 a5 67/f.11v* 423-8/4; 716/28 21v/22 East Hence stars 22v/23 Milton Fantasia 1 a5 423-8/9 23v/24 T. O Lord, let me 29427/39 Tomkins know mine end 25v/25 Ward Non fu senza 14 a5 26v/26 Weelkes a6: Cease now delight 12 29427/23 TR/232 27v/27 T. Lupo Fantasia 3 a5 423-8/2; 716/26 28v/28 T. Lupo Heu mihi Domine 29427/115 TR/197 29r/29 [T. Lupo] O vos omnes 29427/56 29v/30 J. Lupo Alte parole 9 a5 [T. Lupo] TR/152 67/36v* 30v/31 Ferrabosco Zephirus brings TR/176 [I] the time 31v/32 Deering Fantasia 8 a5 32v/33 Byrd In resurrectione tua 29427/44 TR/96 33r/34 Monteverdi O com’e gran 29427/93 martire 67/f.25v 33v/35 Coprario [Al primo giorno] Fantasia 10 a5 34v/36 Wilbye a6: Softly, O softly TR/240 35v/37 East Credidi [Fantasia] 1610/V 36r/38 Vecchi Clorin<strong>da</strong> 29427/92 36v/39 D. [sic] Cease now, vaine 29427/16 Giles thoughts 37r/40 T. O thrice blessed 29427/17 Tomkins TR/51 37v/41 Milton Fantasia 2 a5 423-8/10 38/42 Ward Cor mio 12 a5 67/f.29v 423-8/18 38v/43 Byrd Ne irascaris (i) TR/146 B-Bc 4109/186 39r/44 T. Lupo Hierusalem 39v/45 Deering Fantasia 1 a5 423-8/17 40v/46 Wilbye a6: Long have I made TR/242 41v/47 Coprario In te mio nove [Fantasia] 6 a5 42v/48 T. Lupo Miserere mei TR/95, Domine 153 43r/49 Byrd Deus venerunt B-Bc gentes [i] 4109/190 43v/50 Ward Fantasia 3 a5 44/13v* 44v/51 Wilbye Sweet hony- TR/114
sucking bee [i] 45v/52 Coprario Per far [Fantasia] 31 a5 44/21v* 46r/53 Coprario Fantasia 53 a5 [unique] 46v/54 Eremita So far, deare life TR/143 47v/55 Wilbye Weepe mine eyes TR/117 48v/56 T. Lupo Salva nos domine 29427/114 TR/181 * pieces also found in the leather book[s]. ‘TR’ = Tristitiae Remedium GB-Lbl, Add. MSS 29372- 7. Professor Duffin is planning a full study of the manuscript and its origins and it is not my intention here to intrude upon this. Of the fifty-six pieces, mixing instrumental consorts with Italian and English madrigals, anthems and motets (ten in six parts, the rest in five), four are unique to this source, while thirtyfive appear in Myriell’s collections. Duffin’s proposal is that the collection was conceived as a whole, grouping one or more vocal pieces with the preceding instrumental one, and he offers a wealth of argument to demonstrate the idea. A complete performance of the music would surely have spread over several <strong>da</strong>ys – something like Holy Week comes to mind. At other times the subgroupings could be part of individual consort meetings. Duffin points out aspects of symmetry and comments on the regular placing of six-part works at (6), 16, 26, 36, 46 to head sub-groups. 37 Further links are traced in the relationships between texts and in the use of modes. As now formed there is a strong case for accepting his proposal. But in personal correspondence David Pinto has suggested that the initial base could just as easily have been the instrumental pieces and that, as was often the case, these were copied on separate folios to avoid show-through. He notes that with one exception this is the group most regularly placed within the partbooks. There are anomalies facing both suggestions (as the authors acknowledge). It may be that the present arrangement was not initially planned but arose after a few pieces had been copied. I am not convinced that much significance should necessarily be placed on some of the pairings; it may simply have been a case of finding a short piece (perhaps in a suitable mode) to fill the available gap (as with the Masnelli/Weelkes pairing mentioned below). Against Pinto’s case: (1) To begin on folio 2v rather than 1v suggests that the first (vocal) piece was already in place (2) The sequence from no. 8 to no. 12 (ff. 8v-11r) incorporates two textless Italian madrigals which might serve as ‘instrumental’ items as in other contemporary manuscripts, but both appear to be fillers: Masnelli’s non vi bastava (f. 9r) follows the one-page O vos omnes by Weelkes and Quintiani’s Al suo[n] d’amata is squeezed after Wilbye’s O wretched man (which ends on the first stave of f. 10r in all three extant books), so the Wilbye must have already been copied. The three parts of William Simmes’s Arise, arise (ff. 16v-18r) fill the extended gap between nos. 17 and 19, as does Tomkins’s Lord, let me know mine end on ff. 23v-25r between nos. 23 and 25, suggesting both of these were part of the original plan. Milton’s one-page fantasia (no. 41) enabled Ward’s Cor mio to go on the next page. 38 The same happens with Coprario’s two fantasias nos. 37 But he believes no. 4 (a6) initiates the first group. Nos. 8, 10, 12, 14 are also a6. 38 Incidentally, its absence from the ‘leather books’ suggests that the scribe identified it as a madrigal. 13
Page 1 and 2: The Viola da Gamba Society Journal
Page 3 and 4: CONTENTS Editorial iv Manuscripts o
Page 5 and 6: Manuscripts of Consort Music in Lon
Page 7 and 8: Tenbury 369-74. 8 Both Bertenshaw a
Page 9 and 10: works come at the end of the copyin
Page 11 and 12: Coprario Fantasia 1 Coleman Fantasi
Page 13 and 14: The first and fourth of these are a
Page 15: 84 T. Lupo Fantasia 11 a 5 5 2 9 85
Page 19 and 20: mercantile life of London. 43 Pinto
Page 21 and 22: the tenor in 719. The latter hand m
Page 23 and 24: M990.C66.F4. 49 Pamela Willetts has
Page 25 and 26: fantasias, mostly composed in the s
Page 27 and 28: e Sung by Men as well as Boyes or W
Page 29 and 30: published in 1702. 28 One of these
Page 31 and 32: material and the long period over w
Page 33 and 34: Illus. 1: Cambridge, Fitzwilliam Mu
Page 35 and 36: seemingly using Eitner’s Quellen-
Page 37 and 38: Bass viol music - or at least music
Page 39 and 40: ---------------- It is now clear th
Page 41 and 42: Gidding in 1625. 65 Nicholas became
Page 43 and 44: will much oblige the whole Consort
Page 45 and 46: Illus. 5: Cambridge, Library of Mag
Page 47 and 48: Appendix I: Inventory of Cambridge,
Page 49 and 50: octave; VdGS, Anon, no. 227. Possib
Page 51 and 52: 37 39, 40 ‘New Sebell’; C major
Page 53 and 54: ITEM XII. Format: folio sheet. Wate
Page 55 and 56: William Young, ‘Englishman’ STE
Page 57 and 58: At the end of the Thirty Years War
Page 59 and 60: Figure 1. Tiroler Landesarchiv, Kam
Page 61 and 62: Figure 2. Tiroler Landesarchiv. Kam
Page 63 and 64: Senn mentions Eitner’s citations
Page 65 and 66: English violists. 35 Maugars impres
Page 67 and 68:
discontinuous. It may however be us
Page 69 and 70:
after the Henrician Reformation, or
Page 71 and 72:
its inclusion of the 32 Ayres and t
Page 73 and 74:
C.82) copied probably in the late 1
Page 75 and 76:
the organ parts of his two-violin s
Page 77 and 78:
John Ward: Consort Music DAVID PINT
Page 79 and 80:
The 4-part residue, harder to place
Page 81 and 82:
may then have a partial incipit. Le
Page 83 and 84:
Johann Christian Bach and even Mara
Page 85:
The fourth sonata in D major contai
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