x

THE VIOLA DA GAMBA SOCIETY

OF GREAT BRITAIN

THEMATIC INDEXOF

MUSIC FOR VIOLS

On-Line Edition 2008

Update: July 2011

COMPILED BY

GORDON DODDWITH REVISIONS AND ADDITIONS BY

ANDREW ASHBE

INTRODUCTORY NOTESIn order to read the Index (on-line or on CD-ROM) you need Adobe AcrobatTM Reader.This software is present on most personal computers and is a de facto industrystandard. Acrobat Reader can also be downloaded at no charge fromhttp://adobe.com/products/acrobat/readstep2.html or via the Adobe website atwww.adobe.com .

The Index appears in .pdf format and consists of images of the pages. At present,therefore, it is not electronically searchable. Perhaps at some time in the future we willbe able to create a searchable index using a combination of computerized codes ofmusical incipits and even sound files, but this would be an enormous task.

CD-ROM: Handle the disc with care as it is less resistant to damage than large-scalecommercial productions.

See the next page below for the overall arrangement. The main index is arrangedalphabetically by composer. Click on the bookmark on the left to reveal individualnames and click on a particular name to go direct to the first page of that composer. Forcomposers whose lists span many pages, further sub-divisions are provided for differentcategories of compositions. Original page-numbers from the printed Index have beenretained, but a few have been moved out-of-sequence to improve grouping. It wasdecided to leave the orientation of pages unchanged, but they can be rotated for easierviewing on the screen by clicking on the ‘document’ menu and then ‘rotate pages’.Note that it may be necessary to scroll down to see some small images which have beencentred on the page.

For the anonymous tablature lists the ‘D’, ‘E’ or ‘F’ at the beginning of each tuningprovides a three-fold division of the basic index, which is further subdivided by theensuing letters/tuning. Again tunings spanning more than ten pages are given more thanone bookmark.

To save space (and money) in the printed version of the Index some pages incorporatedtwo or more composers, causing some names to appear out of their alphabeticalsequence. On the CD-ROM these multi-composer pages have been divided and eachcomposer now appears separately in correct alphabetical order.

Also the anonymous tablature pages were numbered according to the sequence in whichthey were catalogued in the VdGS card index. Following consultation, the sequence hasbeen re-arranged alphabetically according to tuning to make each tuning easier to find.Although this upsets the original numerical sequence a list has been provided to showboth.

Libraries are identified using the appropriate RISM sigla, a list of which is given. Fullreferences to books, articles and editions mentioned on the Index pages are to be foundin the Bibliography. It is difficult to keep up with the flow of new editions and wewould be glad to hear of any (including appropriate VdGS numbers).

For those wishing to print pages, it is suggested that where it is intended to put them ina file with punched holes, a margin of 1.5 to 2 cm. is created: on the left for recto pages

and on the right for verso ones. For full pages a top margin of 0.5 cm will matchGordon’s original tables.

ARRANGEMENTIntroductionAcknowledgementsExplanatory KeyList of LibrariesBibliography: (a) book and articles

(b) Early and facsimile prints(c) Publishers and modern prints(d) Index of authors for (a)

Annual lists of revised and new pages since 2004Modern publications (mostly transferred from Index pages)

file 02 Anon: staff notationA-2: two-part worksA-2BC: works for 1 or 2 trebles/violins, bass viol and organ/continuoA-3: three-part worksA-4: four-part worksA-5: five-part worksA-6: six-part worksA-B2: works for two or more bass violsA-BA: works for bastardaA-B1: works for solo bass violA-CS: consort songsA-DI: Divisions on a groundA-Kbd-B-1: Keyboard and bass viol

file 03: Anon (with introduction); tablature tunings beginning with ‘d’file 04: Anon; tablature tunings beginning with ‘e’file 05: Anon; tablature tunings beginning with ‘f’file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staffnotation); Playford T (= tablature pieces)

Alphabetical Index by Composer files A-Z

THE VIOLA DA GAMBA SOCIETYOF GREAT BRITAIN

THEMATIC INDEXOF

MUSIC FOR VIOLS

On-Line Edition 2008

Update: July 2011

COMPILED BY

GORDON DODD

WITH REVISIONS AND ADDITIONS BY

ANDREW ASHBEE

1

CONTENTSIntroduction 3

Acknowledgements 5Key 7List of Libraries 9Bibliography 13Author Index for Bibliography 55Revised and New Pages added since 2004 60

file 02 Anon (a) (staff notation)2:two-part works

A-2BC: works for treble/violin, bass viol and organ/continuo

3:three-part works

four-part works

five-part works

six-part works

A-B2: works for two or more bass viols

A-BA: works for bastarda

A-B1: works for solo bass viol

A-CS: consort songs

A-DI: Divisions on a ground

file 03: Anon (with introduction); tablature tunings beginning with ‘d’

file 04: Anon; tablature tunings beginning with ‘e’

file 05: Anon; tablature tunings beginning with ‘f’

file 06: Select tables: Hengrave Hall MSS; Le Strange MSS; Playford A (= airs, staff notation); Playford T (= tablature pieces)

files A-Z: Alphabetical Index by Composer

2

2

INTRODUCTION

(by Gordon Dodd)

Indexing within the Viola da Gamba Society began with the gift by Robert Donington of the card index which he had assembled while writing his thesis on English instrumental music,1 and which was maintained by Nathalie Dolmetsch until, in 1965, the material was entrusted to Gordon Dodd.

Much welcome influence and impetus came from Ernst H. Meyer’s catalogue of 19342 and his book of 19463. From 1965 onwards, thematic index sheets in tabular form were issued in the Society’s Bulletin and, from 1969, in its journal, Chelys. These were known collectively as the Provisional Index.

Subsequent development of the Provisional Index owed much to the Society’s deliberate policy of maintaining contact within its field, and to the welcome flow of information, gratefully acknowledged on another page, which ensued. The happy position was ultimately reached, of being able to give information as well as to receive it.

The aim was to amend and amplify the Provision Index sheets and to republish them, together with much new data, in collected form, known as the Thematic Index or Index. As complete and simultaneous publication always appeared impracticable, issue by cumulative loose-leaf instalments was put in hand; six instalments were produced by Gordon Dodd between 1980 and 1992.

Effort has been concentrated mainly on English music, but the proportion of Continental music has risen, markedly so since the recent revelation of the vast quantity, reported by François-Pierre Goy, of concordances between the English lyra-viol and French lute repertoires. Most of the English music in tablature for viol has been included.

A reasonably comprehensive account of consort songs and verse anthems for voice and viols is given.

The policy, based on our experience of indexing the music of Jenkins and Lawes, of opening our doors to the generality of airs and dances for bowed strings, is confirmed and continued.

(Addition by Andrew Ashbee)

Following publication of the Sixth Instalment in 1992, Gordon resigned from the

1 CONSORTS D (See Bibliography for codes)2 MEYER S3 MEYER ECM, revised as MEYER EECM

project, although he continued to note further amendments in a master copy until prevented by increasing illness. The master copy, together with other papers on the Index, was transferred to the care of Andrew Ashbee by Gordon, in the knowledge that work was about to commence on the Society’s parallel Index of Manuscripts Containing Consort Music. A seventh instalment of the Thematic Index was produced in 2002 as a CD-ROM. This included many of Gordon’s last amendments as well as some new pages, but excluded any new work on the Anonymous pages. The CD-ROM format allows the flexibility which Gordon was careful to initiate in his loose-leaf printed series. Work will continue and I will be pleased to receive further information at aa0060962@blueyonder.co.uk, or 214, Malling Road, Snodland, Kent, England ME6 5EQ.

In 2004 a complete re-issue of the Thematic Index was made on a CD-ROM with all amendments then known, together with some further new pages. In 2008 the Committee gave permission for the whole Index to be placed on-line with free access to all and this is planned to appear first in the winter of 2008-9. The CD-ROM can still be made available for those preferring that format. It is intended to up-date the Index annually.

Some changes will occur. Space limitations mean that it is becoming increasingly difficult to record modern publications on the Index pages and instead these will now be listed separately within the prefatory material. (However, the old material will not be deleted unless the space is required for new work.) It has been the custom to provide new and revised pages annually on the Society’s web-site so that users can up-date their copies. With the on-line Index this practice becomes redundant, so annual lists within the introduction will show which are the new and revised pages for each year. An author index for books/articles cited has been added after the Bibliography and it is hoped later to provide a subject index too. In order to give as complete coverage of contents as possible, it has been decided to include more non-viol (or mixed viol and violin) music found in string manuscripts prior to 1700.

ANDREW ASHBEE

2008

ACKNOWLEDGEMENTSThe information in these index sheets has been assembled after countless library

visits on the part of Gordon Dodd and many other members of the Society, by comparison with theses and dissertations, and by direct exchange of information with researchers in our field.

The Society is grateful for the kind assistance given to its members by the staffs of libraries which are listed on another page, and for the many useful and welcome contributions made by the following individuals:

Richard Andrewes Andrew Ashbee Clifford Bartlett Bruce Bellingham John Bennett Virginia Brookes Howard Meyer Brown Joan Cameron Richard CarterRichard Charteris Stuart Cheney Carolyn Coxon Tim Crawford Anne CrossMargaret Crum Charles Cudworth Mark Davenport Derek Davidson W. H. Davies Nathalie Dolmetsch Robert Donnington Warwick Edwards Christopher Field Carol Gartrell Pierre Gazères Margaret Gilmore François-Pierre Goy

John HarperIan Harwood Michael Heseltine Naomi Hirschfield Michael Hobbs Peter Holman George Hunter Lynn HulseJohn Jennings Norman Josephs Ruth KellyJineen Krogstad-

HeimanRhona Lever Arthur Marshall Hazelle Miloradovitch Craig Monson John Morehen Stephen Morris Graham Nelson Richard Nicholson Marco Pallis Ian PayneElizabeth Phillips David PintoDiana Poulton Ulrich Rappen

Janet Richards Layton RingAndrew RobinsonLucy Robinson Adrian RoseJohn Sawyer Bernard Schmidt Dierk Schulz David Scott Lawrence Selman Helen Simpson Robin de SmetDouglas Alton Smith Robert Spencer Matthew Spring Evelyn Stevens Michael Stevens Christopher Stewart Ila StoltzfusFrank Traficante Margaret Urquhart Kees Vellekoop Jonathan Wainwright Alan WardRobert Warner Peter WallsPeter WattsJoan Wess

Pamela Willetts John Wing

Brian Woods

6

KEY

References in the Index are given thus:

To the Select Bibliography: e.g. JENKINS Al (no hyphen).

To a page in the Index: JENKINS-1 (with hyphen).Incipits are given in modern form. Note values are original, but original clefs and

time-signatures have been freely followed or ignored, to facilitate presentation on a single staff. Time signatures, normally, are unless otherwise shown. Titles of works such as Fantasy, Pavan, etc. are in most cases conventionally spelt or abbreviated.

Tables of sources. Libraries are identified by RISM sigla which are listed on another page.

Position-in-source is indicated by a number in the table which is defined at the head of its column by ‘f’ (folio), ‘p’ (page), ‘no’ (number in source), ‘seq’ (serial order in an unnumbered source) or ‘fr’ (microfilm frame). If no number of any sort can be quoted, a tick, indicating mere presence, is given.

Folios. For example, 36 or 36r denotes the recto of f.36, and f.36' or 36v the verso. ‘inv’ (inverted) and ‘rev’ (reversed) are self-evident. f.36:1, 36:2, etc. denote the first, second, etc., pieces that start on the recto of f.36 (similarly with pages).

Numbers in sources. An un-bracketed number, under a heading ‘no’, is a number found in the source. In sources with more than one sequence of numbers, I/2, II/7 denote no 2 in the first series, no 7 in the second series, etc.. As already noted, numbers in curved brackets, headed by ‘seq’ indicate serial order in an unnumbered source. Curved brackets are used elsewhere to signify positive identifications. Square brackets denote the extension of a source-numbering or an interpolation within it, or an editorial insertion.

Incompleteness. An entry unqualified in any way normally denotes a complete version. If ‘B only’, ‘Tr lacking’ etc is entered, the piece is complete up to that standard in that source. ‘F’ is reserved for truly fragmentary cases where one or more parts are defective. The underlining of the VdGS number of a piece, or occasionally its title, denotes, following Edwards, that the piece has survived incomplete, but this procedure was introduced only in the Third Instalment.

Attribution. ‘A’ = ‘Anonymous’; ‘Ap’ = ‘Anonymous, but attributed to this composer by virtue of position in the source’.

Abbreviations: Consort parts, normally self-evident. Songs, following Monson: cs (consort song), cd (Consort duet), ct (consort trio). i, ii etc: 1st, 2nd etc sections of a verse anthem.

Society numbering of pieces. Existing series of numbers have been adopted, e.g. ‘VdGS (Meyer) No. 6’, and, in particular:

A (= Ashbee), Jenkins airs, see page JENKINS-1.C (= Charteris), Coprario’s works, see page COPRARIO-1. CLF (= Corpus des Luthistes Francais), see CLF.

7

E (= Edwards), Elizabethan consort music, see CONSORTS El. R (= Ruden), music in Swedish sources: see SWEDEN R.RC (= Richards) English bass viol music, numbered by composer. RT (ditto), numbered by theme.w (= Weidner), Tye’s works: see TYE W.

LIST OF LIBRARIES(Compiled by Gordon Dodd)

This is a list of libraries containing all printed and manuscript sources known to the Society which include music written or transcribed for viols, including consort songs. Not all yet appear in the Index.

A-AUSTRIA

ETGöess Ebenthal, Privatsämmlung GöessGö Gottweig, Benediktinerstifts Bibliotek, Musikarchiv.KN Klosterneuberg, Augustiner-ChorherrenstiftSPL St Paul, StiftWgm Wien, Gesellschaft der Musikfreunde.Wn Wien, Österreichische National Bibliothek.

B-BELGIUM

Bc Brussels, Conservatoire.Br Brussels, Bibliothèque Royale Albert 1er

CH-SWITZERLAND

BEsa Bern, Staatsarchiv des Kantons.

CS-CZECHOSLOVAKIA

KRa Kromĕřiž: Liechenstein-Kastelkorn collectionPnm Praha: Narodni Muzeum.

D-GERMANY

B Berlin, Staatsbibliothek Preussicher Kulturbesitz.Bds Berlin, Deutche StaatsbibliothekDl Dresden, Bibliothek und Museum LöbauDS Darmstadt, Hessische Landes- und HochschulbibliothekHs Hamburg, Staats-un Universitatsbibliothek.F Frankfurt-am-Main, Universitätsbibliothek Johann Christian

SenckenbergKl Kassel, Landesbibliothek.LEm Leipzig, Musikbibliothek der Stadt.Mbs Munich, Bayerische StaatsbibliothekMÜs Münster, Santini-Bibliothek.OB Otterbeuren, Benediktinerabtei, Musik archiv.RH Rheda, Fürst zu Bentheim-Tecklenburgische BibliothekROu Rostock, UniversitätsbibliothekSwl Landesbibliothek Mecklenburg-Vorpommern, SchwerinTu Tubingen, Universitätsbibliothek.Usch Ulm, van Schermar'sche Familienstiftung.

9

W Wolfenbuttel, Herzog-August Bibliothek.WRtl Weimar, Thuringische Landes bibliothek, Musiksammlung

DK-DENMARK

Kk Kobenhavn, Det Kongelige bibliothek.

E-SPAIN

SE Segovia, Catedral

IRL-EIRE

Dm Dublin, Archbishop Marsh's Library.Dtc Dublin, Trinity College Library.

F-FRANCE

B Besancon, Bibliothèque Municipale.Nm Nantes, Bibliothèque Municipale.Pc Paris, Conservatoire (MSS at Pn)Pcnrs Paris, Centre National de la Recherche Scientifique.Pn Paris, Bibliothèque Nationale.Psg Paris, Bibliothèque Sainte-Geneviève.

GB-GREAT BRITAIN

AB Aberystwyth, National Library of Wales.BEV Beverley, East Riding of Yorkshire CRO.CAR Carlisle Cathedral Chapter Library.Cfm Cambridge, Fitzwilliam Museum.Cjc Cambridge, St. John's College Library.Ckc Cambridge, King's College, Rowe Music Library. Cp Cambridge, Peterhouse College Library. Cpc Cambridge, Pembroke College Library. Cpl Cambridge, Pendlebury Music Library.Ctc Cambridge, Trinity College Library.Cu Cambridge, University College Library.CF Chelmsford, Essex CRO.CHEr Chester, Cheshire CRO, Leycester of Tabley Archives. DRc Durham Cathedral Library.DU Dundee, Public Library.EL Ely Cathedral Library (MSS deposited at Cu).En Edinburgh, National Library of Scotland.Eu Edinburgh, University Library.Ge Glasgow, University Library, Euing Collection. GUm Guildford, Museum & Muniments.HAdolmetsch Haslemere, Dolmetsch Library. Lam London, Royal Academy of MusicLbl London, British Library.

Lcm London, Royal College of Music Library. Lgc London, Guildhall, Gresham Library.Lkc London, King's College [in the Strand]. Llp London, Lambeth Palace LibraryLms London, Madrigal Society (deposited at Lbl)Lpro London, Public Record Office.Lva London, Victoria and Albert Museum LI Lincoln, Cathedral Library.LVp Liverpool, Public Libraries, Central Library.MA Maidstone, Centre for Kentish Studies (formerly Kent Archives Office) Mch Manchester, Chetham's Library. Mp Manchester, Central Public Library, Henry Watson CollectionNO Nottingham, University Library.NTu Newcastle-upon-Tyne, University Library.Ob Oxford, Bodleian Library.Och Oxford, Christ Church Library.Rr Reading, Berkshire CRO.SA St Andrews University LibraryT Tenbury, St. Michael's College (MSS at Ob)W Wells, Cathedral Library.Y York Minster Library

J-JAPAN

Tm Tokyo, Tokyo Musashino Ongaku Daigaku

N-NORWAY

Ou Oslo, Universitetsbiblioteket

NL-NETHERLANDS

DHgm The Hague, Gemeente MuseumLt Leiden, Bibliotheca Thysiana

PL-POLAND

GD Gdansk, Biblioteka Polskiej, Akademii Nauk.Kj Krakow, Biblioteka Warszaw skiego Towarzystwa Muzycznego. LZu Lodz, Biblioteka Uniwersyteka.

S-SWEDEN

K Kalmar, Stifts -och Gymnasiebiblioteket.(Kl) Kalmarlans Museum.L Lund, Universtitetsbiblioteket.N Norrköpings State LibrarySkma Kungliga Musikaliska akademiens biblioteket, Stockholm. Uu Uppsala, Universitetsbiblioteket.

11

US-USA

AAu Ann Arbor, University of MichiganBp Boston, Mass., Public Library, Music Dept.Bh Boston, Harvard Music Association.CA Cambridge, Mass., Harvard University Library.CLwr Cleveland, Ohio, Western Reserve University Library. Cn Chicago, Newberry LibraryLAuc Los Angeles, University of California, William Andrewes Clark

Memorial Library.NH New Haven, Conn., Yale University, Library of the School of Music. NYp New York, Public Library (in the Lincoln Arts Center).OAm Oakland, Calif., Mills College.R Rochester, New York State, Eastman School of Music, Sibley Music

Library.SM San Marino, Huntington Library.U Urbana, University of Illinois, Music Library. Wc Washington, Library of Congress.Ws Washington, Folger Shakespeare Library.

USSR

Lan Leningrad, Biblioteka Akademii Nauk SSSR

SELECT BIBLIOGRAPHY

The Bibliography is in process of being re-ordered into three categories: I: Books and Articles; II: Early Prints and Facsimiles; III: Publishers and Modern Editions. Section III is more selective than is eventually intended. In spite of this deficiency it is felt that to include some information at this stage is better than none.

I: BOOKS AND ARTICLES

ABEL H …. Peter Holman: ‘Charles Frederick Abel’s Viola da Gamba Music: A New Catalogue’, VdGS Journal, IV (2010), 36-73.

ABEL K .... Walter Knape: Bibliographisch-thematisches Verzeichnis der Kompositionen von Karl Friedrich Abel (1723-87), (Cuxhaven, 1971).

BACH CPE H …. Ernest Eugene Helm, Thematic Catalogue of the Works of Carl Philipp Emanuel Bach (New Haven and London: Yale U.P., 1989)

BALDWIN B .... Roger Bray: ‘British Museum MS Royal 24 d 2 (John Baldwin’s Commonplace Book), an index and commentary’, RMARC 12, 137-151.

BALDWIN B2 .... Roger Bray: ‘The part-books, Oxford, Christ Church MSS 979-83: an index and commentary’, MD xxv (1971), 179-197.

BALTZAR H .... Peter Holman: ‘Thomas Baltzar (?1631-1663), the “incomperable Luciber on the violin”’, Chelys 13 (1984), 3-38.

BALTZAR W .... Thomas G. Wood: The consort music of Thomas Baltzar, (unpublished Master’s diss., University of Cincinnati, 1985).

BARNARD W .... Pamela J. Willetts: ‘John Barnard’s collection of viol and vocal music’, Chelys 20 (1991), 28-42.

BARYTON G .... Carol Gartrell: The baryton, its history and music), (unpublished Ph D thesis, Surrey, 1983).

BARYTON G2 .... Carol Gartrell: ‘The origins and development of the baryton’, Chelys 11 (1982), 4-7.

BARYTON H .... Peter Holman: ‘“An Addicion of Wyer Stringes beside the Ordenary Stringes”: The Origin of the Baryton’, Companion to Contemporary Musical Thought, ed. J. Paynter and others (London, 1992), ii, 1098-1115.

BASS B .... H. Bol: La basse de viole du temps de Marin Marais et d’Antoine Forqueray, (Bilthoven, A.B. Creyghton, 1973).

BASS H .... Peter Holman: ‘Preliminary checklist of music for one or more bass viols with or without continuo printed before 1800’, Chelys 5 (1973-4), 62-65.

BASS H2 …. Peter Holman: ‘Continuity and Change in English Bass Viol Music’, VdGSJ, 2 (2008), 20-50.

BASS J .... Edward Huwys Jones: ‘To sing and play to the base violl alone - the bass viol in English 17th-century song’, LSJ 17 (1975), 17-23.

BASS R .... Janet M. Richards: A study of music for bass viol written in England in the 17th century (unpublished B Litt thesis, Oxford (Somerville), 1960-1).

BASS S .... Julie-Ann Sadie: The bass viol in French baroque chamber music, (UMI Research Press: Studies in Musicology, No. 26, Ann Arbor, 1980).

BASS SI .... M. Sicard: École Francaise de viole de gambe de Maugars … Marin Marais, (unpublished Doctorat, Paris, 1979).

BASS WH .... Wendy E. Hancock: The origins of the basso continuo in England, 1585-1625,

13

(unpublished M Phil thesis, Nottingham, 1982).

BDECM .... Andrew Ashbee and David Lasocki with Peter Holman and Fiona Kisby: A Biographical Dictionary of English Court Musicians 1485-1714, (Aldershot, 1998).

BIBL K .... A. Hyatt King, Some British Collectors of Music, (Cambridge, 1963).

BIBL R .... J. Rutledge: ‘A viol bibliography’, VdGSAJ XVI (1979), 47-71.

BING F .... Christopher D. S. Field: ‘Stephen Bing’s copies of Coprario fantasia-suites’, Early Music, 27 (May 1999), 311-17.

BING S .... Harold Watkins Shaw: The Bing-Gostling Part-Books at York Minster: A Catalogue with Introduction, Church Music Society, The Royal School of Church Music, London, 1986.

BING W .... Pamela J. Willetts: ‘Stephen Bing, a forgotten violist’, Chelys 18 (1989), 3-17.

BODLEIAN G .... Cathie Miserandino-Gaherty: ‘The codicology and rastrology of GB-Ob Mus. Sch. MSS c.64-9: Manuscripts in support of transmission theory’, Chelys 25 (1996/1997), 78-87.

BOLLES U .... Margaret Urquhart: ‘Sir Robert Bolles Bt. of Scampton’, Chelys 16 (1987), 16-29.

BOWS R .... Hans Reiners: ‘Baroque Bows’, Chelys 28 (2000), 59-76.

BRADE H .... Calvin Raymond Huber: ‘Life and Music of William Brade’, (unpublished Ph D diss., University of North Carolina at Chapel Hill, 1965).

BRITISH LIBRARY .... see under Lbl.

BROWNE A .... Andrew Ashbee: ‘Instrumental music from the library of John Browne (1608-91), Clerk of the Parliaments’, ML 58/i (1977), 43-59.

BROWNE FF .... Nigel Fortune and Iain Fenlon: ‘Music manuscripts of John Browne (1608-91) and from Stanford hall, Leicestershire’, in Source materials and the interpretation of music: a memorial volume to Thurston Dart, ed. Ian Bent (London, 1981), 155-168.

BROWNING B1 .... David and Jennifer Baker: ‘The Browning (I)’, Chelys 10 (1981), 4-10.

BUILDING T .... Frank Traficante: ‘Procrustean pairing of sentiment and tune: a seventeenth century English strophic song’, in Essays in Musicology: a tribute to Alvin Johnson, ed. LewisLockwood and Edward Roesner, (American Musicological Society, 1990), 177-191.

BULL D .... Gordon Dodd: ‘Coperario or Bull?’ Chelys 1 (1969), 41.

BUTLER P1 .... Elizabeth Phillips: The divisions and sonatas of Henry Butler, (unpublished Ph D diss., Washington University in St. Louis, 1982).

BUTLER P2 .... Elizabeth Phillips: ‘Henry Butler and the early viol sonata’, VdGSAJ XXI (1984), 45-52.

BUXTEHUDE L .... Eva Linfield: Dietrich Buxtehude’s sonatas: a historical and analytical study, (unpublished Ph.D. diss., Brandeis University, 1984).

BYRD F .... Edmund H. Fellowes: William Byrd, (London, 1936, 1948).

BYRD H .... John Harley: William Byrd: Gentleman of the Chapel Royal (Aldershot, 1997).

BYRD N .... Oliver Neighbour: The consort and keyboard music of William Byrd, (London, 1979).

BYRD N2 .... Oliver Neighbour: ‘New consort music by Byrd’, MT (June 1967), 506-508.

BYRD P .... Ian Payne: ‘”The first that ever he made”: Byrd’s first pavan and galliard, and techniques of transcription and reconstruction in the “lost” consort dances’, Chelys 28 (2000), 28-58.

BYRD T1 .... Richard Turbet: ‘Writings about Byrd’s consort music, a bibliographic note’, Consort 41 (1985), 74-75.

BYRD T2 .... Richard Turbet: William Byrd, a guide to research, (New York and London, 1987).

BYRD T3 .... Richard Turbet: A hundred years of Byrd criticism 1883-1983, an annotated bibliography, (M Litt thesis, Aberdeen, 1983).

BYRD ST .... Alan Brown and Richard Turbet (eds.): Byrd studies, (Cambridge, 1992). [NB contributions by John Bennett and John Irving noted separately].

BYRD V …. [various articles in The Viol, 1 (Winter 2005-6)]

BYRD V2 …. [various articles in The Viol, 5 (Winter 2006-7)]

CAMBRIDGE C .... Matthew Holmes (compiler): Cambridge Consort Books (GB-Cu MSS Dd.3.18 (lute),Dd.5.20 (bass viol), Dd.5.21 (recorder), Dd.14.24 (cittern).

CAMBRIDGE H .... Ian Harwood: ‘The Origin of the Cambridge Lute MSS’, LSJ 5 (1962), 32-48.

CAMBRIDGE H1 …. Ian Harwood: ‘“A Lecture in Musick, with the Practice thereof by Instruments in the Common Schooles”, Mathew Holmes and Music at Oxford University c.1588-1627’, LSJ XLV, (2005), 1-70.

CAMBRIDGE P .... Ian Payne (ed.), Cambridge Consorts, Corda Music, CMP 418 (1991), being an edition and reconstruction of music in British Library Add. MSS 30826-8.

CAVENDISH H .... Lynn Hulse: ‘Apollo’s Whirligig: William Cavendish, Duke of Newcastle and his Music Collection’, The Seventeenth Century, ix (1994), 213-46.

CAVENDISH H2 .... Lynn Hulse: ‘The Duke of Newcastle and the English viol’, Chelys 29 (2001), 28-43.

CELLO S .... Mark Smith: ‘The ‘cello bow held the viol-way; once common, but now almost forgotten, Chelys 24 (1995), 47-61.

CHARPENTIER T …. Shirley Thompson: ‘Marc-Antoine Charpentier and the viol’, Early Music (2004), 497-510.

CHELYS .... CHELYS, the Journal of the Viola da Gamba Society of Great Britain (London, annual).

CLARK C .... Richard Charteris: ‘A rediscovered source of English consort music’, Chelys 5 (1973-4), 3-6.

CLARK C2 .... Richard Charteris: ‘Four Caroline Part-Books’, ML 59 (1978), 49-51.

COLISTA WK .... Helene Wessely-Kropik: Lelio Colista: ein Römischer meister vor Corelli: leben und umwelt, (Vienna, 1961).

CONSORT .... The Consort, Journal of the Dolmetsch Foundation (Godalming, annual).

CONSORTS A …. Andrew Ashbee: ‘Manuscripts of consort music in London, c.1600-1625: some observations’, VdGSJ, 1 (2007), 1-19.

CONSORTS C .... Tim Crawford: ‘An unusual consort revealed in an Oxford manuscript’, Chelys 6 (1975-6), 61-8.

CONSORTS D .... Robert Donington: English instrumental music from the Reformation to the Restoration, with particular reference to the 17th century, (unpublished B Litt thesis, Oxford (Queen’s), 1945-6).

CONSORTS DA .... R. Thurston Dart: ‘Jacobean consort music’, PRMA 81 (1954-5), 63-76.

CONSORTS E1 .... Warwick Edwards: The sources of Elizabethan consort music, (unpublished Ph D thesis, Cambridge, 1974).

CONSORTS E2 .... Warwick Edwards: ‘The performance of ensemble music in Elizabethan England’, PRMA 97 (1970-1), 113-123.

15

CONSORTS F .... Christopher D. S. Field: The English consort suite of the 17th century, (unpublished Ph D thesis, Oxford (New College), 1971).

CONSORTS M .... Ernst H. Meyer: ‘Form in the instrumental music of the seventeenth century’, PRMA 65 (1939-40), 45-61.

CONSORTS P .... Marco Pallis: ‘The instrumentation of English viol consort music’, Chelys 1 (1969), 27-35.

COPRARIO C1 .... Richard Charteris: John Coprario (unpublished Ph D thesis, Canterbury, New Zealand, 1976).

COPRARIO C2 .... Richard Charteris: John Coprario - a thematic catalogue of his music with a biographical introduction, (New York, 1977).

COPRARIO C3 .... Richard Charteris: ‘Autographs of John Coprario’, ML 56 (1975), 41-46.

COPRARIO C4 .... Richard Charteris: ‘John Coprario’s five- and six-part pieces: instrumental or vocal?’, ML 57 (1976), 370-378.

COPRARIO C5 .... Richard Charteris: ‘A postscript to “John Coprario - a thematic index”’, Chelys 11 (1982), 13-19.

COPRARIO C6 .... Caroline Cunningham: ‘John Coprario’s “Rules how to compose’ and his Four-Part Fantasias: Theory & Practice Confronted’, Chelys 23 (1994), 37-46.

COPRARIO C7 .... Caroline Cunningham: ‘Variety and unity in the fantasias of John Coprario’, Chelys 26 (1998), 69-77.

COPRARIO S ... Gordon Sanford: ‘Coprario’s cadence: some thoughts on Coprario’s four-part fantasia C21’, Chelys 23, 44-48.

CORELLI M .... Hazelle Miloradovitch: ‘Eighteeenth-century manuscript transcriptions for viols of music by Corelli and Marais in the Bibliothèque Nationale, Paris: sonatas and pièces de viole’, Chelys 12 (1983), 47-73.

CORKINE N .... Graham Nelson: An introduction to and study of the lyra-viol music of William Corkine (unpublished partial MA diss., Queens University, Belfast, 1982) [Copy at Central Library, Royal Avenue, Belfast.]

CORKINE N2 .... Graham Nelson: ‘The lyra-viol variation sets of William Corkine’, Chelys 17 (1988), 16-23.

COSYN W .... Pamela Willetts: ‘Benjamin Cosyn: Sources and circumstance’, Sundry sorts of music books (Essays on the British Library Collections presented to O.W.Neighbour), (The British Library, London, 1993), 129-145.

COURT A .... Andrew Ashbee: Lists of payments to the King’s Musick in the reign of Charles II (1660-1685), (Snodland, 1981). [Replaced by RECM V].

CRANFORD W .... P. Watts: A critical edition of the works of William Cranford..., (M.Mus. thesis, Auckland, New Zealand, 1979).

CUTTING H .... Lynn Hulse: ‘Francis and Thomas Cutting: father and son?’, LSJ XXVI, Part 2 (1986), 73-74.

DEERING P1 .... Peter Platt: Richard Deering: an account of his life and work, (B Litt thesis, Oxford (Magdalen), 1951-2).

DENMARK B .... John Bergsagel: ‘Danish musicians in England 1611-14: some recent discoveries’, Dansk Aerbog for Musikforsking vii (1973-6), 9ff.

DIEUPART H …. Matthew Hall, ‘Charles Dieupart’s Six Suites (1701-1702) and the en concert Performance Tradition’, VdGS Journal, IV (2010), 6-35

DOLLÉ G .... Robert Green: ‘Charles Dollé’s first work for pardessus de viole’, VdGSAJ 18 (1981),

67-75.

DOLLÉ R .... Adrian P. Rose: ‘Another collection of pieces by Charles Dollé’, Chelys 11 (1982), 32-35.

DOLLÉ R2 .... Adrian P. Rose: ‘Music for the dessus and pardessus de violes, published in France ca. 1650-1770’, VdGSAJ 16 (1979), 40-41.

DOW .... David Mateer: ‘Oxford, Christ Church Music MSS 984-8, an index and commentary’, RMARC 20 (1986-7), 1-18.

DOWLAND C .... Richard Charteris: ‘Manuscript additions of music by John Dowland and his contemporaries in two 16th-century prints’, Consort 37 (1981), 399-401.

DOWLAND H .... Peter Holman, Dowland: Lachrimae (1604), (Cambridge University Press, 1999).

DOWLAND P .... Diana Poulton: John Dowland (London, 1972; 2nd. ed. 1982).

DOWLAND W .... John Ward: ‘A Dowland miscellany’, Journal of the Lute Society of America 10 (1977) ?

DREXEL F .... David Fallows: ‘The Drexel Fragments of Early Tudor Song’, RMARC 26 (1993), 5-18.

DREXEL G .... Hilda F. Gervers: A Seventeenth-Century Manuscript of English Keyboard Music: The New York Public Library Drexel Manuscript, Drexel 5612, (unpublished Ph. D. diss., University of New York, 1974).

DUBLIN C1 .... Richard Charteris: Consort manuscripts in the Marsh Library, Dublin..., (unpublished M.A. thesis, Canterbury, New Zealand, 1972).

DUBLIN C2 .... Richard Charteris: ‘Consort music manuscripts in Archbishop Marsh’s Library, Dublin’, RMARC 13, 27-63.

DUBLIN C3 .... Richard Charteris: ‘Music manuscripts and books missing from Archbishop Marsh’s Library, Dublin’, ML 61 (1980), 310-317.

DUBLIN C4 .... Richard Charteris: A catalogue of the printed books on music, printed music and music manuscripts in Archbishop Marsh’s Library, Dublin, (Clarabricken, 1982).

DUBLIN C5 .... Richard Charteris: ‘New information about some of the consort music MSS in Archbishop Marsh’s Library, Dublin’, Consort 43 (1987), 38-39.

DUBLIN P .... David Pinto, ‘Marsh, Mico and attributions’, Chelys 27 (1999), 40-58.

DUBLIN T .... Robert Thompson: ‘A further look at the consort music manuscripts in Archbishop Marsh’s Library, Dublin’, Chelys 24 (1995), 3-18.

DUBLIN W .... John Ward: ‘The lute-books of Trinity College, Dublin: II: MS D.1.21: the so called Ballet lute book’, LSJ 10 (1968), 15-32. [Contains index information on lyra-viol music].

DUBUISSON C1 .... Stuart Glenn Cheney: Dubuisson: a study of his music for solo bass viol, (unpublished Master’s diss., University of North Texas, 1988).

DUBUISSON C2 .... Stuart Glenn Cheney: ‘A summary of Dubuisson’s life and sources’, VdGSAJ 27 (Dec 1990), 7-21.

DUBUISSON K .... Gordon Kinney: ‘Writings on the viol by Dubuisson, de Machy, Roland Marais and Etienne Louiez’, VdGSAJ 13 (1976), 17-55.

DURHAM C .... Brian Crosby: A catalogue of Durham Cathedral music manuscripts, (Oxford, 1986).

DURHAM E .... Peter Evans: The 17th-century chamber music manuscripts in Durham Cathedral Library, (unpublished M.A. thesis, Durham, 1953).

17

DURHAM H .... R. Alec Harman: A catalogue of printed music...in Durham Cathedral Library, (Oxford, 1968).

DUTCH R1 .... Rudi Rasch: ‘Seventeenth-century Dutch editions of English instrumental music’, ML 53 (1972), 270-273.

EAST E .... Joan A. Evans: The life and work of Michael East (c.1580-1648), (unpublished Ph D diss., Boston, 1984).

EBENTHAL S .... Douglas Alton Smith: ‘The Ebenthal lute and viol tablatures’, EM 4 (1982), 462-468.

EGERTON C .... Mary Cyr: ‘A 17th-century source of ornamentation for voice and viol: British Museum MS Egerton 2971’, RMARC 9, 53-72.

ELIZ B .... Morrison Comegys Boyd: Elizabethan music and musical criticism, (Philadelphia, 1940; 2nd rev. ed. 1962).

ELIZABETHAN .... for other Elizabethan entries see CONSORTS

ENG MUS .... P. E. Mueller: The influence and activities of English musicians on the Continent during the late 16th and early 17th centuries (unpublished Ph.D. diss., Indiana University, 1954).

FALLE U .... Margaret Urquhart: ‘Prebendary Philip Falle (1656-1742) and the Durham bass viol manuscript A.27’, Chelys 5 (1973-4), 7-20.

FANSHAWE A .... John Aplin: ‘Sir Henry Fanshawe and the two sets of early 17th-century part books at Christ Church, Oxford’, ML 57/i (1975), 11-24.

FANTASIA N .... E. Nelson: An introductory study of the English 3-part string fancy (unpublished Ph D diss., Cornell, 1960).

FANTASIA W .... Joan Wess: ‘Musica Transalpina, parody and the emerging Jacobean viol fantasia’, Chelys 15 (1986), 3-25.

FANTASY P .... David Pinto: ‘The fantasy manner: the seventeenth century context’, Chelys 10 (1981), 17-28.

FANTASY S1 .... Graham Strahle: Fantasy and music in 16th and 17th century England, (unpublished Ph D thesis, Adelaide, 1987).

FANTASY S2 .... Graham Strahle: ‘Fantasy and music in 16th and 17th century England’ [a summary of FANTASY S1], Chelys 17 (1988), 28-32.

FANT-SUITE J .... Jane Troy Johnson: The English fantasia-suite c.1620-60 (unpublished Ph D diss., California at Berkeley, 1971). [see also CONSORTS F]

FERRABOSCO C .... Richard Charteris: ‘Autographs of Alfonso Ferrabosco I-III’, EM 10 (Apr 1982), 208-211.

FERRABOSCO I C .... Richard Charteris: ‘New information about the life of Alfonso Ferrabosco the elder (1543-88)’, RMARC 17 (1981), 97-114.

FERRABOSCO I C2 .... Richard Charteris: Alfonso Ferrabosco (1543-88): a thematic catalogue of his music with a biographical calendar (New York, 1984).

FERRABOSCO II B .... Bruce Bellingham: ‘Alfonso Ferrabosco II: the art of the fantasia’, Chelys 26 (1998), 1-25.

FERRABOSCO II D .... Gordon Dodd: ‘Alfonso Ferrabosco II - the art of the fantasy’, Chelys 7 (1977), 47-53.

FERRABOSCO II F .... Christopher Field: ‘The Composer’s Workshop: Revisions in the Consort Music of Alfonso Ferrabosco the Younger’, Chelys 27 (1999), 1-39.

FERRABOSCO II L .... Edward Lowinsky: ‘Echoes of Adrian Willaert’s chromatic ‘duo’ in 16th

and 17th-century compositions’, in Studies in Music History: Essays for Oliver Strunk (Princeton, 1968), 183-238.

FERRABOSCO II V .... Raymond Vaught: The fancies of Alfonso Ferrabosco II, (unpublished Ph D diss., Stanford, 1959).

FINGER M .... Arthur Marshall: ‘The viola da gamba music of Godfrey Finger’, Chelys 1 (1969), 16-26.

FINGER M2 .... Arthur Marshall: ‘The chamber music of Godfrey Finger’, Consort 20 (1970), 423-32.

FINGER R …. Robert Rawson, From Olomouc to London: the early music of Gottfried Finger (c.1655 –1730), (unpublished PhD thesis, Royal Holloway, U. of London, 2001).

FORQUERAY R .... S. Lucy Robinson: The Forquerays and the French viol tradition, (unpublished Ph D thesis, Cambridge (New Hall), 1981).

FORQUERAY R1 …. Lucy Robinson: ‘Forqueray Pièces de Viole (Paris, 1747): an enigma of authorship between father and son’, Early Music (2006), 259-276.

FRANCE MS .... Mark Summers: ‘La morte de la viole en France pendant le dix-huitième siècle: an enquiry into the viol’s fall from grace’, Chelys 29 (2001), 44-61.

FRANCE S1 .... M. Sicard: ‘The French viol school before 1650’, VdGSAJ 18 (1981), 76-83.

FRANCE S2 .... M. Sicard: ‘The French viol school: the repertory from 1650 to Ste-Colombe (c.1680)’, VdGSAJ 22 (1985), 42-55.

GERMANY OL …. Michael O’Loghlin: Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School, (Aldershot, Ashgate, 2008).

GERMANY E .... R. Bodig (tr.): ‘A Einstein: “German literature for the viola da gamba in the 16th and 17th centuries”‘, VdGSAJ 23-26 (1986-1989).

GERMANY F .... Fred Flassig: Die solistische Gambenmusik in Deutschland im 18. Jahrhundert, (Göttingen, Cuvillier Verlag, 1998).

GERMANY MF …. Michael Fuerst: ‘The Partitur Ludwig: An Introduction and Thematic Catalogue, VdGS Journal, IV (2010), 74-102.

GERMANY O .... Samantha Owens: ‘The Viol at the Württemberg Court c.1717: Identification of the Hand Gamba’, Chelys 30 (2002), 47-59.

GERMANY R …. Michael Robertson: The Consort Suite in the German-Speaking Lands 1660-1705, (unpublished Ph. D. thesis, University of Leeds, 2004

GERMANY S .... B. Schwendowius: Die solistiche gambenmusik in Frankreich von 1610 bis 1740, (Regensburg, 1970).

GIBBONS C R .... Clare Rayner: A little-known 17th-century composer, Christopher Gibbons (1615-1676), (unpublished Ph. D. diss., Indiana, 1963).

GIBBONS B1 .... Francis Baines: ‘Fantasias for the Great Dooble Base’, Chelys 2 (1970), 37-38.

GIBBONS B2 .... Francis Baines: ‘The consort music of Orlando Gibbons’, EM 6 (Oct 1978), 540-543.

GIBBONS D .... R. Thurston Dart: ‘The printed fantasies of Orlando Gibbons’, ML 37 (1956), 342-349.

GIBBONS F .... Edmund H. Fellowes: Orlando Gibbons, (London, 2nd. ed., 1951; reprinted USA 1970).

GIBBONS H2 .... John Harper: ‘The distribution of the consort music of Orlando Gibbons in 17th

19

century sources’, Chelys 12 (1983), 3-18.

GIBBONS H3 .... John Harper: ‘Orlando Gibbons: the domestic content of his music and Christ Church MS 21’, MT 124 (1983), 767-770.

GIBBONS HY .... John Harley: Orlando Gibbons and the Gibbons Family of Musicians (Aldershot, 1999).

GIBBONS N .... Oliver Neighbour: ‘Orlando Gibbons (1582-1625): the Consort Music’, EM 11 (July 1983), 351-7.

GIBBONS McG .... David McGuinness: ‘Gibbons’s solo songs reconsidered’, Chelys 24 (1995), 19-33.

GIBBONS N .... Richard Nicholson: ‘A note on Gibbons and the anonymous 6-part fantasies in Christ Church Library’, VdGS Bulletin (London, July 1967).

GIBBONS T .... W. M. Triplett: Orlando Gibbons: his life and music, (unpublished Ph D diss., S. California, 1959-60).

GOLDING H …. Alan Howard: ‘Manuscript Publishing in the Commonwealth Period: A Neglected Source of Consort Music by Golding and Locke’, ML 90/i (2009), 35-67.

GREGORY R1 .... James W. Riley: ‘The identity of William Gregory’, ML 48/iii (1967), 342-346.

GREGORY R2 .... James W. Riley: William Gregory the younger..., (unpublished Ph D diss., Rochester, N.Y., 1959).

GROVE .... Stanley Sadie (ed.): The New Grove Dictionary of Music and Musicians, 20 vols. (1980; 2nd edn. 2001).

HACQUART C A .... P. Andriessen: Carel Hacquart (1640-1701?), een biographische bijdrage: het werk, (Brussels 1974). [Reviewed by J. R. Parker, EM 5/iv (1977), 565 and 567].

HAMBURG C ... Richard Charteris: ‘A rediscovered manuscript source with some previously unknown works by John Jenkins, William Lawes and Benjamin Rogers’, Chelys 22 (1993), 3-29.

HARP C1 …. John P. Cunningham: ‘A Tale of Two Harps: Issues arising from recordings of William Lawes’s Harp Consorts’, Early Music Performer, 21 (2007), 13-24

HARP C2 …. John P. Cunningham: ‘”Irish harpers are excellent, and their solemn music is much liked of strangers”: The Irish Harp in Non-Irish Contexts in the Seventeenth Century’, in Music, Ireland and the Seventeenth Century, ed. B. Boydell and K. Houseton, IMS 10 (Dublin, 2009), 62-80.

HARP H .... Peter Holman: ‘The harp in Stuart England: new light on William Lawes’s harp consorts’, EM 15/ii (1987), 188-203.

HATFIELD C .... Richard Charteris: ‘Jacobean musicians at Hatfield House’, RMARC 12, 116-136.

HATTON P .... David Pinto: ‘The music of the Hattons’, RMARC 23 (1990), 79-108.

HATTON W .... Jonathan Wainwright: The Musical Patronage of Christopher, First Baron Hatton (1605-1670), (unpublished Ph.D. thesis, Cambridge, 1992).

HATTON W2 .... Jonathan P. Wainwright: Musical Patronage in Seventeenth-Century England: Christopher, First Baron Hatton (1605-1670), (Aldershot, 1997).

HAYES V .... Gerald R. Hayes: The Viols and other bowed instruments, (London, 1930).

HINGESTON B .... Emil W. Bock: The string fantasies of John Hingeston (c.1610-1683), (unpublished Ph D diss., State University of Iowa, 1956).

HINGESTON H .... Lynn Hulse: ‘John Hingeston’, Chelys 12 (1983), 23-42.

HUME H1 .... Colette Harris: The First Part of Ayres by Tobias Hume..., (unpublished M.Mus thesis, London (King’s), 1970).

HUME H2 .... Colette Harris: ‘Tobias Hume - a short biography’, Chelys 3 (1971), 16-18.

HUME J .... Sterling Scott Jones: ‘The use of motivic and thematic material in the music of Tobias Hume’, VdGSAJ 33 (1996), 15-29.

HUME S .... W. Sullivan: ‘Tobias Hume’s First Part of Ayres (1605)’, VdGSAJ 5, (1968), 5-15 and subsequent issues to vol. 9.

HUNTINGDON C .... Richard Charteris: ‘The Huntingdon Library part books, Ellesmere MSS EL 25A 46-51, The Huntingdon Library Quarterly 50/1 (Winter 1987), 59-84.

HUTTON C .... Richard Charteris: ‘Matthew Hutton (1638-1711) and his MSS in York Minster Library’, GSJ XXVIII (1975), 2-6.

HUTTON I .... John Irving: ‘Matthew Hutton and York Minster MSS M.3/1-4(S)’, MR 44 (1983), 163-177.

HUYGENS, C .... Tim Crawford: ‘Constantin Huygens and the “Englische Viool”’, Chelys 18 (1989), 41-60.

ICONOGRAPHY F .... Michael Fleming: ‘Paintings of Viols in England c.1580-1660’, Chelys 25 (1996/1997), 3-21.

IN NOM B .... Virginia Brookes: The ‘In Nomine’ from Taverner to Purcell: its sources and development, (unpublished M Phil thesis, Southampton, 1984).

IN NOM B1 ... Virginia Brookes: ‘In Nomine: an obscure designation’, Chelys 30 (2002), 4-10.

IN NOM W .... Robert W. Weidner: The early In Nomine, (unpublished Ph D diss., Rochester, N.Y., 1960).

ITAL-ENG B .... Derry Bertenshaw: The influence of the late 16th century Italian polyphonic madrigal on the English viol consort, c.1600-45: a background study, (unpublished Ph D thesis, Leicester, 1992).

ITAL-ENG B2 .... Derry Bertenshaw: ‘Madrigals and madrigalian fantasies: the five-part consort music of John Coprario and Thomas Lupo’, Chelys 26 (1998), 26-51.

ITAL-ENG H1 .... Lydia Hamessley: The reception of the Italian madrigal in England: a repertorial study of manuscript anthologies, ca.1580-1620 (Ph.D. diss., University of Minnesota, 1989).

ITAL-ENG H2 .... Lydia Hamessley: ‘The Tenbury and Ellesmere part-books: new findings on manuscript compilation and exchange, and the reception of the Italian madrigal in Elizabethan England’, ML 73/ii (Apr 1992), 177-221.

ITALY H …. Bettina Hoffmann: ‘The Nomenclature of the Viol in Italy’, Viola da Gamba Society Journal, 2 (2008), 1-16.

IVES K .... Ruth Kelly: The lyra viol music of Simon Ives (1600-62), (M.Mus thesis, Adelaide, in progress).?

JAGIELLONSKA C .... Richard Charteris: ‘New connections between Eastern Europe and works by Philips, Dowland, Marais and others’, Chelys 29 (2001), 3-27.

JEFFREYS A1 .... Peter Aston: ‘George Jeffreys’, MT 110 (July 1969), 772-6.

JEFFREYS A2 .... Peter Aston: George Jeffreys and the English baroque, (unpublished Ph D thesis, York, 1970).

JEFFREYS H .... Peter Holman: ‘George Jeffries and the “great dooble base”‘, Chelys 5 (1973-4), 79-80.

JEFFREYS W .... Jonathan Wainwright: ‘George Jeffreys’ copies of Italian music’, RMARC 23 (1990), 109-124.

JENKINS A1 .... Andrew Ashbee: The four-part instrumental compositions of John Jenkins,

21

(unpublished Ph D thesis, London, 1966).

JENKINS A2 .... Andrew Ashbee: ‘John Jenkins’s fantasia-suites for treble, two basses and organ’, Chelys 1 (1969), 3-15, and 2 (1970), 6-17.

JENKINS A3 .... Andrew Ashbee: ‘Towards the chronology and grouping of some airs by John Jenkins’, ML 55/i (1974), 30-44.

JENKINS A4 .... Andrew Ashbee: ‘Music for treble, bass and organ by John Jenkins’, Chelys 6 (1975-6), 25-42.

JENKINS A5 .... Andrew Ashbee: ‘The six-part consort music of John Jenkins - an editor’s view’, Chelys 7 (1977), 54-68.

JENKINS A6 .... Andrew Ashbee: ‘John Jenkins (1592-1678) and the lyra viol’, MT 119 (Oct 1978), 840-843.

JENKINS A7 .... Andrew Ashbee: ‘John Jenkins (1592-1678): the viol consort music in 4, 5 and 6 parts’, EM 6 (Oct 1978), 492-500.

JENKINS A8 .... Andrew Ashbee: The Harmonious Musick of John Jenkins: the fantasias for viols, (Surbiton, 1992).

JENKINS A9 .... Andrew Ashbee: ‘John Jenkins: 1592-1678’, Consort 34 (1978), 265-273.

JENKINS A10 .... Andrew Ashbee: ‘Genealogy and John Jenkins’, ML 46 (1965), 225-230.

JENKINS A11 .... Andrew Ashbee: ‘John Jenkins (1592-1678); tradition and innovation’, Consort 48 (1992), 1-5.

JENKINS A12 .... Andrew Ashbee: ‘The late fantasias of John Jenkins’, Chelys 25 (1996/1997), 53-64.

JENKINS AH .... Andrew Ashbee and Peter Holman: John Jenkins and His Time: Studies in English Consort Music, Oxford, 1996.

JENKINS C1 .... Carolyn Coxon: John Jenkins: a critical study...of his instrumental music, (unpublished Ph D thesis, Edinburgh, 1969).

JENKINS C2 .... Carolyn Coxon: ‘A handlist of the sources of John Jenkins’s vocal and instrumental music’, RMARC 9, 73-89.

JENKINS H .... Peter Holman: ‘Suites by Jenkins rediscovered...’, EM 6/i, (Jan 1978), 25-35.

JENKINS J .... Jane Troy Johnson: ‘How to “humour” John Jenkins’ three-part dances: performance directions in a Newberry Library manuscript’, JAMS (1967), 197-208.

JENKINS M .... Rev. F. Hugh Mountney: ‘Lady Katherine Audley’s Bells’, VdGS Bulletin, 19 June 1963, 4-7.

JENKINS PW .... Pamela J. Willetts: ‘Autograph music by John Jenkins’, ML 48/ii (Apr 1967), 124-126.

JENKINS S .... Helen J. Sleeper: ‘John Jenkins and the English fantasia-suite’, Bulletin of the American Musicological Society 4 (1940), 34-37.

JENKINS S2 .... Helen J. Sleeper: her collection of MSS notes, thematic lists, transcriptions, etc. are at the Pendlebury Library, Cambridge.

JENKINS U .... Margaret Urquhart: ‘Musical research in Durham Cathedral Library: Mr John Jenkins in particular’, Durham Cathedral Lecture (Durham Cathedral, 1979).

JENKINS W1 .... Robert A. Warner: The fantasia in the works of John Jenkins, (unpublished Ph D diss., Michigan, 1951).

JENKINS W3 .... Robert A. Warner: ‘Jenkins, four-part fancy, Meyer 14 - an enharmonic

modulation round the key-circle’, MR 28/i (Feb 1967), 1-20.

KASSEL C .... Richard Charteris: ‘English music in the library of Moritz, Landgrave of Hessen-Kassel, in 1613’, Chelys 15 (1986), 33-37.

KASSEL W .... Christopher Wool: A critical edition and historical commentary on Kassel 4o MS Mus 125, (unpublished M Mus thesis, London, Royal Holloway College, 1983).

KEYBOARD B .... Virginia Brookes: British Keyboard Music to c.1660: Sources and Thematic Index, (Oxford, 1996).

KEYBOARD-VIOL S …. David J. Smith: ‘The English Pavan and Galliard for Viols and the Art of Keyboard Intabulation’, The Viol, No. 12 (Autumn, 2008), 14-19.

LAWES A .... Andrew Ashbee (ed.): William Lawes 1602-1645: Essays on his Life, Times and Work, (Aldershot, 1998).

LAWES C1 …. John P. Cunningham: ‘Music for the Privy Chamber: Studies in the Consort Music of William Lawes (1602-1645)’, (unpublished Ph D dissertation, Leeds, 2007).

LAWES C2 …. John P. Cunningham: ‘“Let Them be Lusty Smart-Speaking Viols”: William Lawes and the Lyra Viol Trio’, JVdGSA 43 (2006); published 2008), 32-68.

LAWES C3 …. John P. Cunningham: ‘“Some Consorts of Instruments are sweeter than others”: Further Light on the Harp of William Lawes’s Harp Consorts’, GSJ 61 (2008), 147-76.

LAWES C4 …. John P. Cunningham: The Consort Music of William Lawes 1602-1645 (Woodbridge, 2010).

LAWES D .... Gordon J. Dodd: ‘William Lawes - Royall Consort Suite No. 9 in F’, Chelys 6 (1975-6), 4-9.

LAWES D2 .... Gordon J. Dodd: ‘A study in consort interpretation: William Lawes’s six-part consort set in G minor’, Chelys 20 (1991), 52-61.

LAWES L1 .... Murray Lefkowitz: William Lawes, (London, 1960).

LAWES L4 .... Murray Lefkowitz: William Lawes, his life and works, (unpublished Ph D diss., S California, 1963).

LAWES MD .... Mark Davenport: The Dances and Aires of William Lawes (1602-1645): context and style, (unpublished Ph D diss., University of Colorado at Boulder, 2001)

LAWES P1 .... David Pinto: ‘William Lawes’s consort suites for the viols and the autograph sources’, Chelys 4 (1972), 11-16.

LAWES P2 .... David Pinto: ‘William Lawes’s music for viol consort’, EM 6/i (Jan 1978), 12-24.

LAWES P3 .... David Pinto: ‘William Lawes at the siege of York, 1644’, MT 127 (1986), 579-583.

LAWES P4 .... David Pinto: For ye violls: The consort and dance music of William Lawes, (London, 1995).

LAWES P5 .... David Pinto: ‘New Lamps for Old: The Versions of the Royall Consort’, in Andrew Ashbee (ed.), William Lawes 1602-1645: Essays on His Life, Times and Work (Aldershot, 1998), 251-281.

LBL B .... L. Baillie (ed.): The catalogue of printed music in the British Library to 1980, 62 vols. (London, etc., 1981).

LBL HH .... Augustus Hughes-Hughes: Catalogue of manuscript music in the British Museum: III: Instrumental music, (London 1909; repr. 1965).

LBL I .... John Irving: ‘A note on British Library Add MSS 30826-8’, Consort 43 (1987), 17-23.

LBL P .... Ian Payne: ‘British Library Add MSS 30826-8, a set of part books from Trinity College,

23

Cambridge?’, Chelys 17 (1988), 3-15.

LBL W .... Pamela J. Willetts: The British Museum handlist of music manuscripts acquired 1908-67, (London, 1970).

LE BLANC 1740 .... Hubert Le Blanc: Défense de la Basse de Viole Contre les Entréprises du Violon et les Prétensions du Violoncel, (Amstredam, 1740).

LE BLANC 1740/1 .... Facsimile reprint of the above (STIMU, The Hague, 1983).

LE BLANC J .... B.G.Jackson: ‘Hubert Le Blanc’s “Défense de la viole”’, JVdGSA X (1973), 11, 69; XI (1974), 17; XII (1975), 14 [English translation and commentary].

LE STRANGE A .... Andrew Ashbee: ‘A further look at some of the Le Strange manuscripts’, Chelys 5 (1973-4), 24-41.

LE STRANGE F .... Christopher D. S. Field: ‘Musical observations from Barbados, 1647-50’, MT 115 (July 1974), 565-567.

LE STRANGE W1 .... Pamela J. Willetts: ‘Sir Nicholas Le Strange and John Jenkins’, ML 42/I (1961), 30-43.

LE STRANGE W2 .... Pamela J. Willetts: ‘Sir Nicholas Le Strange’s collection of masque music’, British Museum Quarterly XXIX (1965), 79-81.

LEYCESTER A .... H. Abbey: ‘Sir Peter Leycester’s book on music’, VdGSAJ 21 (1984), 28-44.

LEYCESTER C …. Richard Carter: ‘Peter Leycester and “A Book of Lessons for the Lyro=Viol to play alone in severall Tunings’, The Viol, 2 (Spring 2006), 8-15. [Postscript in The Viol, 3, p.9]

LILLY W .... Pamela J. Willetts: ‘John Lilly, musician and copyist’, Bodleian Library Record 7, No. 6 (Feb 1967), 307-311.

LILLY W2 .... Pamela J. Willetts: ‘John Lilly, a re-dating’, Chelys 21 (1992), 27-37.

LOCKE F .... Christopher D. S. Field: ‘Matthew Locke and the consort suite’, ML 51/i (Jan 1970), 15-25.

LOCKE H .... Rosamund Harding: A thematic catalogue of the works of Matthew Locke, (Oxford, 1971).

LOCKE L .... Murray Lefkowitz: The life and works of Matthew Locke (Div. of music, Boston University).

LOCKE L2 .... Murray Lefkowitz: ‘Matthew Locke at Exeter’, Consort 22 (1965), 5-16.

LOCKE T2 .... Michael Tilmouth: ‘Matthew Locke (1622-77)’, MT 118 (Apr 1977), 295-298.

LOCKE T3 .... Michael Tilmouth: ‘Revisions in the chamber music of Matthew Locke’, PRMA 98 (1971-2), 89-100.

LOCKE Th .... Robert Thompson: ‘The Sources of Locke’s Consort ‘for seaverall friends”’, Chelys 19 (1990), 16-43.

LULLY S .... H. Schneider: Chronologisch-thematiches sämlicher werke von Jean-Baptiste Lully, (Tutzing, 1981).

LUPO B .... Derry Bertenshaw: ‘Another Five-Part Piece by Thomas Lupo?’, Chelys 23 (1994), 17-36.

LUPO J1 .... John Jennings: The viol music of Thomas Lupo, (M Mus thesis, Sydney, 1967).

LUPO J2 .... John Jennings: ‘The fantasias of Thomas Lupo’, Musicology III (1968-9), 34-48; reprinted in Chelys 3 (1971), 3-15.

LUPO J3 .... John Jennings: ‘Thomas Lupo revisited - is key the key to his later music?’, Chelys 12

(1983), 19-22.

LUTE S .... Matthew Spring: The Lute in Britain (Oxford, 2001).

LUTE/VIOL G .... François-Pierre Goy: ‘Seventeenth-century viol pieces in settings for plucked strings (c.1625-c.1700)’, Chelys 23, 30-43.

LUTE/VIOL S .... Matthew Spring, ‘The English lute “fantasia-style” and the music of Cuthbert Hely’, Chelys 25 (1996/1997), 65-77.

LYRA Cu …. John P. Cunningham: ‘Lyra Viol Ecclesiastica: A Neglected Manuscript Source in Archbishop Marsh’s Library, Dublin’, VdGS Journal 3 (2009), 1-54.

LYRA CW … John Cunningham and Andrew Woolley: ‘A Little-Known Source of Restoration Lyra-Viol and Keyboard Music, Surrey History Centre, Woking, LM/1083/91/35’,RMARC 43 (2010), 1-22.

LYRA Cy .... Mary Cyr: ‘Ornamentation in English lyra viol music, part I: slurs, juts, thumps, and other “graces” for the bow’, VdGSAJ 34 (1997), 48-66; part II ditto: ‘shakes, relishes, falls, and other “graces” for the hand, VdGSAJ 35 (1998), 16-34.

LYRA D .... Gordon Dodd: ‘Matters arising from the examination of some lyra viol manuscripts’, Chelys 9 (1980), 23-27, and 10 (1981), 39-41.

LYRA H .... Colette Harris: ‘The viol lyra-way’, Chelys 4 (1972), 17-21.

LYRA J .... J. Lejeune: La lyra-viol en Angleterre (1601-82), (unpublished Mémoire de licence, 3 vols., Liège, 1973).

LYRA MJ .... M. Joiner: ‘GB-Lbl Add MS 15117, a commentary, index and bibliography’ RMARC 7, [n.d.], 51-109.

LYRA N .... Graham Nelson, ‘A case for the early provenance of the Cartwright lyra-viol manuscript’, Chelys 25 (1996/1997), 107-115.

LYRA O1 .... Annette Otterstedt: Die Englische Lyra-Viol: Instrument und Technik, (Bärenreiter, 1989)

LYRA O2 .... Annette Otterstedt: ‘The spoon to the soup: an approach to the lyra viol’, Chelys 20 (1991), 43-51.

LYRA R …. John Robinson: ‘John Leyden’s Lyra Viol Manuscript in Newcastle University Library and George Farquhar Graham’s Copy in the National Library of Scotland’, Viola da Gamba Society Journal, 2 (2008), 17-57.

LYRA S .... John Sawyer: An anthology of lyra viol music in Oxford, Bodleian Library MSS Mus Sch D.245-7, (unpublished Ph D diss., Toronto, 1972).

LYRA ST1 .... Ila H. Stoltzfus: The lyra viol in consort with other instruments, (unpublished Ph.D. diss., Louisiana State College and Agricultural and Mechanical College, 1982).

LYRA ST2 .... Ila H. Stoltzfus: ‘“The lyra viol in consort”: an example form Uppsala, Univ. bibl. IMhs 4:3’, VdGSAJ 17 (1980), 47-59.

LYRA T1 .... Frank Traficante: The Mansell lyra viol tablature, (unpublished Ph D diss., Pittsburgh, 1967).

LYRA T2 .... Frank Traficante: ‘Lyra viol tunings: “All Ways have been Tryed to do It”‘, AcM XVII (1970), 183-205.

LYRA T3 .... Frank Traficante: ‘Music for the lyra viols: the printed sources’, VdGSAJ 5 (1968); and LSJ 8 (1966), 7-24.

LYRA T4 .... Frank Traficante: ‘Music for the lyra viols: the manuscript sources’, Chelys 8 (1978-9), 11-22.

25

LYRA W .... Peter Walls: ‘Lyra viol song’, Chelys 5 (1973-4), 68-73.

MADRIGAL K ... Joseph Kerman: The Elizabethan Madrigal: a Comparative Study, (New York, 1962).

MAKERS F …. Michel J. Fleming: ‘Viol-Making in England c.1580-1660’ (Ph D thesis, Open University, 2002; published as CD-ROM by the author, 2002).

MANCHESTER F .... Paul L. Furnas: The “Manchester Gamba Book”: a primary source of ornaments for the lyra viol, (unpublished Ph D diss., Stanford, 1978).

MANCHESTER T .... Frank Traficante: ‘The Manchester lyra viol tablature; further information’, VdGSAJ 3 (1966), 52-55.

MARAIS B .... Garrett H. Bowles: The computer-produced thematic catalog: an index to the “pièces de violes” of Marin Marais volume 1, (unpublished Ph.D. diss., Stanford University, 1978).

MARAIS L .... Francois Lesure: ‘Marin Marais: sa carriére, sa famille’, RBM 7 (1953), 129-136.

MARAIS McD .... B. McDowell: Marais and Forqueray, a historical and analytical study of their work for solo basse de viole, (unpublished Ph D diss., Columbia University, 1974).

MARAIS N .... R. Newton: ‘Hommage … Marin Marais’, Consort (1952), 14 ff.

MARAIS S .... Julie-Ann Sadie: ‘Marin Marais and his contemporaries’, MT 119 (Aug 1978), 672-674.

MARAIS T .... Clyde H. Thompson: The music of Marin Marais, (unpublished Ph D diss., Michigan, 1958).

MARAIS Te .... A. Tessier: ‘L’oeuvre de Marin Marais’, Bulletin de la Societé de l’Histoire de l’Art Francais, (1924), 76-80.

MARAIS W .... F. Winzap: ‘Marin Marais - violiste a la cour du Roi-Soleil’, Revue musical de la Suisse Romande 26/1 (1973), 10-12.

MASQUE K .... Jean Knowlton: ‘Dating the Masque Dances in British Museum Additional MS 10,444’, British Library Quarterly 32 (1967), 99-102.

MASQUE W .... Peter Walls: Music in the English Courtly Masque, 1604-1640 (Oxford, 1996).

MERRO W .... Pamela J. Willetts: ‘Music from the circle of Anthony Wood at Oxford’, British Museum Quarterly XXIV, no. 3-4 (1961), 71-75.

MEYER ECM .... Ernst H. Meyer: English Chamber Music (London, 1946).

MEYER EECM .... Ernst H. Meyer: Early English Chamber Music (London, 1982). [Revision of MEYER ECM].

MEYER S .... Ernst H. Meyer: Die mehrstimmige spielmusik des 17 jahrhunderts in nord und mitteleuropa, (Cassel, 1934).

MICO B-W .... John S. Bennett and Pamela J. Willetts: ‘Richard Mico’, Chelys 7 (1977), 24-46.

MICO-B .... John Bennett: ‘Byrd and Jacobean consort music: a look at Richard Mico’, in BYRDST, 129-140.

MICROFILM .... David Charlton: ‘A national catalogue of music microfilms’ RMARC 11, 1-70.

MONTECLAIR S .... Julie-Ann Sadie: ‘Montéclair, the viol player’s composer’, VdGSAJ 15 (1978), 41-50.

MORLEY J .... P. Jenkins: The life and works of Thomas Morley, (unpublished M.A. thesis, Aberystwyth, 1966).

MUNDY B .... G. Blount: The instrumental ensemble music of John and William Mundy, (? Music

Dept., S. California).

MUNDY R .... R. Reeve: The life and works of William Mundy, (unpublished Ph D thesis, London (Royal Holloway College), 1980).

MYRIELL W1 .... Pamela J. Willetts: ‘Musical connections of Thomas Myriell’, ML 49/i (Jan 1968), 36-42.

MYRIELL W2 .... Pamela J. Willetts: ‘The identity of Thomas Myriell’, ML 53/iv (Oct 1972), 431-433.

NAU –B …. Brian Brooks: ‘Étienne Nau, Breslau 114 and the early 17th-century violin fantasia’, Early Music (2004), 49-73.

NORTH W .... John Wilson (ed.): Roger North on Music, (London, 1959).

NORWAY G .... François-Pierre Goy: ‘The Norwegian Viol Tablatures’, Chelys 23 (1994), 55-72.

NOTATION D L .... E. David and M. Lussy: Histoire de la Notation Musicale, (Paris, 1882), copy at US-CLwr [See TI: page TYE-4].

ORGAN G .... Dominic Gwynn, ‘The sound of the seventeenth-century chamber organ’, Chelys 25 (1996/1997), 22-31.

ORGAN O .... Annette Otterstedt, ‘The compatibility of the viol consort with the organ in the early seventeenth century’, Chelys 25 (1996/1997), 32-52.

ORGANISTS S .... Harold Watkins Shaw: The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c.1538, Clarendon Press, Oxford, 1991.

OSBORN F …. Robert Ford, ‘Osborn MS 515: a Guardbook of Restoration Instrumental Music’, Fontes Artis Musicae 30 (1983), 174-184.

OXFORD A ....G. E. P. Arkwright: Catalogue of Music in the Library of Christ Church Oxford (Oxford, 1915; reprinted 1971).

OXFORD C1 .... Margaret Crum: ‘The consort music from Kirtling, bought for the Oxford Music School from Anthony Wood, 1667’, Chelys 4 (1972), 3-10.

OXFORD C2 .... Margaret Crum: ‘Early lists of the Oxford Music School collection’, ML 48/i (Jan 1967), 23-34.

OXFORD G .... Richard L. Greaves: ‘Music at Puritan Oxford’, MT 110 (Jan 1969), 26-

OXFORD M .... Falconer Madan: A Summary Catalogue of Western Manuscripts in the Bodleian Library at Oxford, 6 vols. (Oxford, 1895-1935).

PANMURE C .... P. Cadell: ‘La musique francais classique dans la collection des Comtes de Panmure’, RMFC XXII (1984), 50-58.

PANMURE McC .... Calum McCart: ‘The Panmure manuscripts, a new look at an old source of Christopher Simpson’s music’, Chelys 18 (1989), 18-40.

PAPER T .... Robert Thompson: English music manuscripts and the fine paper trade, 1648-1688, (unpublished Ph D thesis, London (King’s), 1988).

PAPER T2 .... Robert Thompson: ‘Some late sources of music by John Jenkins’ in Andrew Ashbee and Peter Holman (eds.), John Jenkins and His Time: Studies in English Consort Music (Oxford, 1996), 271-308.

PAPER T3 .... Robert Thompson: ‘Paper in English Music Manuscripts: 1620-1645’ in Andrew Ashbee (ed.), William Lawes 1602-1645: Essays on his life, times and work (Aldershot, 1998), 143-154.

PARDESSUS G .... Robert Green: ‘The pardessus de viole and its literature’, EM 10 (July 1982), 300-307.

27

PARDESSUS R1 .... Adrian P. Rose: ‘The solo repertoire for dessus and pardessus de viole published in France c.1650-C.1770: a list of works, with introduction’, Chelys 9 (1980), 14-22. [See DOLLÉ R2, of which this is a reprint]

PARDESSUS R2 .... Adrian P. Rose: ‘The Pardessus de viole: Notes for a master’s thesis’, Chelys 24 (1995), 34-46.

PARDESSUS S …. Richard Sutcliffe, ‘The Pardessus Book of Mademoiselle Rochette’, Viola da Gamba Society Journal 2, ii (July 2009), 1-14 [with inventory on pp. 15-55, compiled by Andrew Ashbee]

PARIS E .... J. d’Écorcheville: Catalogue du Fonds de Musique Ancienne de la Bibliothèque Nationale, (8 vols), (Paris, 1907). [On GB-Ob, open shelves; at Lbl, Hirsch 292.]

PARSLEY M .... John Morehen: ‘The instrumental consort music of Osbert Parsley’, Consort 30 (1974), 67-71.

PARSONS B .... David Baker: ‘The instrumental consort music of Robert Parsons’, Chelys 7 (1977), 4-23.

PASTON B .... Philip Brett: ‘Edward Paston (1550-1630) a Norfolk gentleman and his musical collection’, Transactions of the Cambridge Bibliographical Society IV, Part I (1964), 51-69.

PASTON M .... S. McCoy: Some aspects of the Paston lute books, (unpublished M Mus. thesis, King’s College, London, 1985).

PATRONAGE H .... Lynn Hulse: The Musical Patronage of the English Aristocracy, c.1590-1640, (unpublished Ph.D. thesis, King’s College, London, 1993).

PEERSON C .... Richard Charteris: ‘Another six-part fantasy by Martin Peerson?’, Chelys 9 (1980), 4-9.

PEERSON H .... Julia J. Heydon: ‘Martin Peerson’s “Private Musicke”, VdGSAJ 29 (1992), 1-26.

PEERSON J .... A. Jones: The life and works of Martin Peerson, (unpublished M Litt thesis, Cambridge (Girton), 1956-7).

PLAYFORD F .... [Letter]: Michael Fleming: ‘A bookseller’s catalogue of 1657’, Chelys 29 (2001), 61-63.

PLAYFORD M .... Peter A. Munstedt: John Playford, music publisher: a bibliographical catalogue, (unpublished Ph.D. diss., University of Kentucky, 1983).

PLAYFORD T .... Robert Thompson: ‘Manuscript Music in Purcell’s London’, EM 23 (1995), 605-618.

POOLE A …. Patxi X. del Amo Irribarren, 'Anthony Poole (c.1629-1692), the Viol and exiled English Catholics' (unpublished Ph D dissertation, University of Leeds, 2011).

PULVER .... Jeffrey Pulver: A biographical dictionary of old English music, (London, 1927).

PURCELL A .... Martin Adams, Henry Purcell: The origins and development of his musical style (Cambridge, 1995).

PURCELL B .... Ellen TeSelle Boal: ‘Tempo indications in Purcell’s fantasias and sonatas’, VdGSAJ 31 (1994 ), 9-

PURCELL H1 .... Peter Holman, Henry Purcell (Oxford, 1994).

PURCELL H2 .... Peter Holman, ‘Henry Purcell and Joseph Gibbs: A new source of the three-part fantasias Z732 and Z734’, Chelys 25 (1996/1997), 97-100.

PURCELL Pi .... David Pinto, ‘Purcell’s In nomines: A tale of two manuscripts (perhaps three)’, Chelys 25 (1996/1997), 101-106.

PURCELL Pr .... Curtis Price (ed.), Purcell Studies (Cambridge, 1995).

PURCELL ST …. Robert Shay and Robert Thompson, Purcell Manuscripts. The Principal Musical Sources, (Cambridge, 2000).

PURCELL Th1 .... Robert Thompson, The Glory of the Temple and the Stage: Henry Purcell (1659-1695), (London, 1995).

PURCELL Th2 .... Robert Thompson, ‘The sources of Purcell’s fantasias’, Chelys 25 (1996/1997), 88-96.

PURCELL T .... Michael Tilmouth; ‘The technique and form of Purcell’s sonatas’, ML 59/ii (Apr 1959), 109-121.

PURCELL W .... Jack A. Westrup: Purcell (London, 1937; rev. 1965).

PURCELL Z .... Franklin B. Zimmerman: Henry Purcell (1659-95), an analytical catalogue of his music, (London, 1963).

PURCELL Z2 .... Franklin B. Zimmerman: Henry Purcell, 1659-1695, his life and times (Pennsylvania, 2nd. ed. 1983).

RAVENSCROFT P .... Ian Payne: ‘The sacred music of Thomas Ravenscroft’, EM 10/iii (Jul 1982), 309-314.

RECM .... Andrew Ashbee: Records of English Court Music.

Vol. I (1660-1685) (Snodland, 1986)

Vol. II (1685-1714) (Snodland, 1987)

Vol. III (1625-1649) (Snodland, 1988)

Vol. IV (1603-1625) (Snodland, 1991)

Vol. V (1625-1714) (Aldershot, 1991)

Vol. VI (1558-1603) (Aldershot, 1992)

Vol. VII (1485-1558) (Aldershot, 1993)

Vol. VIII (1485-1714) (Aldershot, 1995)

Vol. IX Index (Aldershot, 1996)

RENAISSANCE B .... Howard M. Brown: Instrumental music printed before 1600, (Cambridge, Mass., 1965).

RENAISSANCE N .... Jeremy Noble: ‘Le repertoire instrumental Anglais: 1550-85’, La Musique Instrumental de la Renaissance (Paris, 1955), 91-114. [Includes list of contents of GB-Lbl Add MS 31390.]

RENAISSANCE R .... Gustav Reese: Music in the Renaissance, (London, 1954).

RESEARCH W .... Ian Woodfield: ‘Recent research on the viol’, VdGSAJ 25 (Dec 1988), 53-56, thenceforward annually.

RISM-TABL .... W. Boetticher (ed.): Handschriften Uberlieferte Lauten und Gitarren tablaturen des 15 bis 18 Jahrhunderts, (Munich, 1978). [Includes details of some lyra viol tablatures].

ROGERS R .... Richard Rastall: ‘Benjamin Rogers (1614-98): some notes on his instrumental music’, ML 46 (1965), 237-242.

ROSSETER H .... Ian Harwood: ‘Rosseter’s Lessons for Consort of 1609’, LSJ 7 (1965), 15-23.

ROUSSEAU N …. Shaun K. F. Ng: ‘Réponce de Monsieur Rousseau’, Viola da Gamba Society Journal 2, ii (July 2009), 56-77.

ST BARBE U .... Margaret Urquhart: Sir John St Barbe, Bt, (Southampton, 1983).

29

SCHENCK L .... S. Luttman: ‘The music of Johann Schenck: some observations’, VdGSAJ 18 (1981), 94-120.

SIMPSON C .... Richard Charteris: ‘A Newly-Discovered Manuscript Copy of Christopher Simpson’s The Division-Viol’, Chelys 23 (1994), 47-54.

SIMPSON Con .... Ted Conner: ‘The groundbreaking treatise of Christopher Simpson’, VdGSAJ 36 (1999), 5-39.

SIMPSON M .... M. Meredith: Christopher Simpson and the consort of viols, (unpublished Ph D thesis, Cardiff, 1969).

SIMPSON R .... J. Rae: Christopher Simpson - Months and Seasons, (unpublished Master’s diss., Cincinatti, 1972).

SIMPSON S .... Ilse Stoltzfus: ‘Christopher Simpson’s “Little Consort”‘, VdGSAJ 21 (1984), 53-63.

SIMPSON U .... Margaret Urquhart: ‘The handwriting of Christopher Simpson’, Chelys 15 (1986), 62-63.

SIMPSON U2 .... Margaret Urquhart: ‘Was Christopher Simpson a Jesuit?’, Chelys 21 (1992), 3-26.

SIMPSON U3 .... Margaret Urquhart: ‘A possible trace of Christopher Simpson’, Chelys 27 (1999), 59-61).

SOMERSET B .... Michael G. Brennan: ‘Sir Charles Somerset’s Music Books (1622)’, ML 74 (1993), 501-518.

STERNE B …. Claire Berget: Laurence Sterne, ‘Charles Frederick Abel and the Viol’, Viola da Gamba Society Journal, 2 (2008), 67-75.

STERNE … H: Peter Holman: ‘Laurence Sterne the Musician’, Viola da Gamba Society Journal, 2 (2008), 58-66.

STIRROP W .... Pamela J. Willetts: ‘Silvanus Stirrop’s Book’, RMARC 10, 101-107.

STUART C .... Edward Corp: ‘The Musical Manuscripts of “Copiste Z”’, Revue de Musicologie 84/i (1998), 37-62.

SUTHERLAND .... GB-En Sutherland Papers, No. 314, deposit 28 (on loan).

SWEDEN-TABL .... J. Ruden: Music in tablature in Sweden, (Stockholm, 1981).

SYMPHONY .... Peter Holman: ‘The Symphony’, Chelys 6 (1975-6), 10-24.

TAILOUR G .... David Allen Gerig: An analysis of two English pre-Restoration devotional collections: Robert Tailour’s “Sacred Hymnes...1615” and John Amner’s “Sacred Hymnes...1615”, (unpublished D.M.A. diss., University of Illinois at Urbana-Champaign, 1987).

TAILOUR T .... C. Thomas: “Sacred Hymns by Robert Tailour, a critical study and transcription, (unpublished M Mus thesis, London (King’s), 1983).

TALLIS M .... John Milsom: ‘A Tallis fantasia’, MT 126 (1985), 658-662.

TELEMANN K .... Gordon Kinney: ‘Telemann’s use of the viol as a solo or concertante instrument’, VdGSAJ 17 (1980), 5-27. [Includes a list of works.]

THESES ENG .... Ian Bartlett and Benedict Sarnaker (eds.): ‘Register of dissertations and theses on music in Britain and Ireland: cumulative list of accepted dissertations and theses to 1991 together with Supplement 1’, RMARC 25 (1992).

THESES AMS .... The International Index of dissertations and musicological works in progress, (American Musicological Society et al, 1977).

TOMKINS B …. Anthony Boden: Thomas Tomkins: The Last Elizabethan, Ashgate, Aldershot,

2005.

TOMKINS C .... John Caldwell: British Museum Add MS 29996, (unpublished Ph D thesis, Oxford (Keble), 1964-5).

TOMKINS I1 .... John Irving: ‘Consort playing in mid-17th century Worcester; Thomas Tomkins and the Bodleian part-books Mus Sch E.415-8’, EM 12/iii (Aug 1984), 337-344.

TOMKINS I2 .... John Irving: ‘Oxford, Christ Church MSS 1018-20, a valuable source of Tomkins’s consort music’, Consort 40 (1984), 1-12.

TOMKINS I3 .... John Irving: The instrumental music of Thomas Tomkins (1572-1636), (New York, 1989).

TOMKINS I4 .... John Irving: ‘Byrd and Tomkins: the instrumental music’, in BYRD-ST, 141-158.

TOMKINS I5 .... John Irving: ‘Thomas Tomkins’s copy of Morley’s ‘A Plaine and Easy Introduction to Practical Music’, ML 71/iv (Oct 1990), 483-493.

TOMKINS P …. David Pinto [letter]: ‘Thomas Tomkins and a copyist associated with him’, M&L 72 (1991), 517-18.

TOMKINS S .... Denis Stevens: Thomas Tomkins, (New York, 1967).

TREBLE C .... Mary Cyr: ‘Solo music for the treble viol’, VdGSAJ 12 (1973), 4-13.

TREGIAN B-L .... P. Boyan and G. Lamb: Francis Tregian, Cornish recusant, (London, 1955). [Mainly concerns Tregian I, but mentions Tregian II.]

TREGIAN C1 .... Elizabeth Cole: ‘In search of Francis Tregian’, ML 33 (1952), 28-32.

TREGIAN C2 .... Elizabeth Cole: ‘Seven problems of the Fitzwilliam Virginal Book’, PRMA 79 (1952-3), 51-64.

TREGIAN Cu .... A. Cuneo: ‘Francis Tregian the Younger: Musician, Collector and Humanist?’, ML 76 (1995), 398-404.

TREGIAN D .... Bernard Schofield and R. Thurston Dart: ‘Tregian’s anthology’, ML 32 (1951), 205-216.

TREGIAN S …. David J. Smith: ‘Francis Tregian the younger as music copyist’, MT 143 (Summer 2002), 7-16.

TREGIAN T .... Ruby Reid Thompson: ‘The “Tregian” Manuscripts: A Study of their Compilation’, British Library Journal 18 (1992), 202-4.

TREGIAN T2 .... Ruby Reid Thompson: ‘Francis Tregian the Younger as Music Copyist: a Legend and an Alternative View’, ML 82 (2001), 1-31.

TREGIAN W .... Pamela J. Willetts: ‘Tregian’s part-books’, MT 104 (1963), 334-335.

UPPSALA M .... J. Mracek: Seventeenth century instrumental dances in Uppsala Library Imhs 409..., (unpublished Ph D diss., Indiana, 1965).

VdGSJ …. Viola da Gamba Society Journal

VIOL F .... Michael Fleming: ‘Unpacking the “Chest of Viols”’, Chelys 28 (2000), 3-19.

VIOL F2 .... Michael Fleming: ‘How long is a piece of string? Understanding seventeenth-century descriptions of viols’, Chelys 31 (2003), 18-35.

VIOL H …. Peter Holman: Life after Death: the Viola da Gamba in Britain from Purcell to Dolmetsch (The Boydell Press, 2010).

VIOL M .... Tilman Muthesius: ‘The English Chest of Viols’, Chelys 28 (2000), 20-27.

VIOL O .... Annette Otterstedt: The Viol: History of an Instrument, (Kassel, 2002).

31

VIOL W .... Ian Woodfield: The early history of the viol, (Cambridge, 1984).

VIOLIN C .... Mark Caudle: ‘The English repertory for violin, bass viol and continuo’, Chelys 6 (1975-6), 69-75.

VIOLIN H .... Peter Holman: ‘The English Royal Violin Consort in the sixteenth century’, PRMA 109 (1982-3), 39-59.

VIOLIN H2 .... Peter Holman: Four and Twenty Fiddlers. The Violin at the English Court 1540-1690 (Oxford, 1993).

VOICE/VIOL D …. Ross W. Duffin, ‘New light on Jacobean taste and practice in music for voices and viols’, in Le Concert des voix et des instruments a la Renaissance: actes du XXXIVe Colloque Renaissance, 1-11 juillet 1991, 601-618.

VOICE/VIOL M .... Craig Monson: Voices and Viols in England, 1600-50, (Ph D diss., California at Berkeley, 1974).

VOICE/VIOL M2 .... Craig Monson: Voices and Viols in England, 1600-1650, the sources and the music, (UMI Research Press, Studies in Musicology No. 55, 1982).

VOICE/VIOL S .... Kathryn E. Smith: Music for voices and viols: a contextual study and critical performing edition of verse anthems in Christ Church (Oxford) MSS 56-60, (unpublished D.M.A. diss., University of Illinois at Urbana-Champaign, 1988).

WALSINGHAM E .... Warwick Edwards: ‘The Walsingham consort books’, ML 55/ii (Apr 1974), 209-214.

WARD B .... Virginia Brookes: ‘The four-part fantasias of John Ward: one composer or two?’, Chelys 26 (1998), 52-68.

WARD F .... Robert Ford: ‘John Ward of Canterbury’, VdGSAJ 23 (1986), 51-63.

WARD P1 .... Ian Payne: ‘The handwriting of John Ward’, ML 65/ii (Apr 1984), 176-199.

WARD P2 .... Ian Payne: ‘John Ward (c. 1589-1638): The Case for One Composer of the Madrigals, Sacred Music and Five- and Six-Part Consorts’, Chelys 23 (1994), 1-16.

WARD S .... Christian Strover: John Ward’s fantasias and In Nomines, (B Litt thesis, Oxford (Hertford), 1956-7).

WASHINGTON D .... Gordon J. Dodd: ‘The Coprario-Lupo five-part books at Washington’, Chelys 1 (1969), 36-40.

WEELKES B .... David Brown: Thomas Weelkes, (London, 1969).

WEELKES D .... Gordon J. Dodd: ‘Mr Weelkes His Second Pavin’, Chelys 9 (1980), 31-32.

WHITE R S .... Irwin Spector: Robert White, composer; between two eras, (unpublished Ph D diss., New York, 1952).

WHITELOCK .... Andrew Ashbee: ‘A not unapt scholar: Bulstrode Whitelock (1605-75)’, Chelys 11 (1982), 24-31.

WITHIE T .... Robert Thompson: ‘“Francis Withie of Oxon” and his commonplace book’, Chelys 20 (1991), 3-27.

WOOD B .... Bruce Bellingham: ‘The musical circle of Anthony Wood in Oxford during the Commonwealth and Restoration’, VdGSAJ 19 (1982), 7-70.

WOOD S .... John Derek Shute: Anthony a Wood and his manuscript Wood D 19(4) at the Bodleian Library, Oxford: an annotated transcription, (unpublished Ph D diss., International Institute for Advanced Studies, Clayton, Missouri, 1979).

WOODFILL .... Walter Woodfill: Musicians in English society from Elizabeth to Charles I, (Princeton, 1953).

YALE-FILMER .... Robert Ford: ‘The Filmer MSS - a handlist’, Notes, 34, No. 4 (June 1978), 814-825.

YOUNG D .... Gordon J. Dodd: ‘William Young - airs for solo viol’, Chelys 9 (1980), 33-35.

YOUNG M .... Stephen Morris: The life and work of William Young (?-1662), “Englander”, composer and gambist to the Archduke Ferdinand Karl of Innsbruck’, (unpublished Ph D diss., University of Washington, 2004).

YOUNG M2 …. Stephen Morris: ‘William Young “Englishman”’, VdGS Journal, 1 (2007), 51-65.

YORK G1 .... David Griffiths: A catalogue of the printed music published before 1850 in York Minster Library, (York, 1977).

YORK G2 .... David Griffiths: A catalogue of the music MSS in York Minster Library, (York, 1981).

ZIEGLER T .... Frank Traficante: ‘An extant copy of J. C. Ziegler’s ‘Intavolatura zur viola da gamba’’, Chelys 8 (1978-9), 64

II: EARLY EDITIONS AND FACSIMILES

ABBÉ 1761 .... l’Abb é le fils: Principes du violon (Paris, 1761).

ABEL CF 1760 .... Carl Friedrich Abel: [Sonatas for VdG] (1760?).

ABEL CF 1770 .... C. F. Abel: [Pieces for VdG] (1770).

ABEL CF 1771 .... C. F. Abel: [6 easy sonatas] (Amsterdam, 1771).

ABEL CH 1677 .... Clamor Heinrich Abel: 3 Theil Musicalische Blumen... (Frankfurt a/M, 1677).

ADSON 1621 .... John Adson: Courtly Masquing Ayres (London, 1621).

AGOSTINI 1583 .... L. Agostini: Il Nuovo Echo a cinque voic .... Libro Terzo Opera Decima

(Ferrara, 1583).

AHLE JG 1681 .... J. G. Ahle: Anmuthige Zehn vierstimme violdigamspiele ([Muhlhausen?], 1681).

AHLE JR 1650 .... J. R. Ahle: Dreifaches Zehn allerhand neuer Sinfonien ... a3, 4, 5 (Erfurt, 1650).

AHLE JR 1654 .... J. R. Ahle: Neuer Sonaten, Paduanen ... a2, 3, 4, 5 (Erfurt, 1654).

AMBROGIO 1599 .... [included in BELLANDA 1599].

AMNER 1615 .... John Amner: Sacred Hymns of 3, 4, 5, & 6 parts (London, 1615).

ARNOLD 1659 .... G. Arnold: Canzoni, Ariae et Sonaten a 1-4 violis cum B... Op. 3 (Innsbruck, 1659).

ARIVABENE 1540.... A. Arrivabene (publ.): Musica Nova... (Venetia, 1540), (21 pieces by various composers).

ATTAIGNANT 1530 (1) .... P. Attaignant (publ.): Six Gaillards et Six Pavanes.. a quatre parties.. (Paris [1530]), [25 pieces by various composers].

ATTAIGNANT 1530 (2) .... P. Attaignant (ed.): Neuf basse danses, etc etc ... a quatre parties... (Paris, 1530), (51 dances).

ATTAIGNANT 1547 .... P. Attaignant (publ.): Second livre contenant trois Gaillardes... etc ... a quatre parties (Paris, 1547), (50 pieces).

AVENARIUS 1630.... T. Avenarius: Convivium musicale... Paduanas, Galliards.. [a4, a5] (Hamburg und Hildesheim, 1630).

33

BALLARD 1613, 1626 .... P. Ballard (publ): Airs à quatre de differents auteurs (Paris, 1613, 1626).

BALLARD 1659 .... R. Ballard, (publ): II. Livre d'Airs de differents autheurs a deux parties (Paris, 1659) [= RISM B/I 1659.4]

BALLARD R 1662 .... R. Ballard (publ): Livre de chansons pour danser et pour boire (Paris, 1662).

BALLARD P 1675 .... P. Ballard (publ): Receuil des chansonettes... (Paris 1675).

BANCHIERI A 1595 .... A. Banchieri: Concerti Ecclesiastici a otto voci... (Venice, 1595).

BANCHIERI A 1596 .... A. Banchieri: Canzoni alla Francese a quattro voci per sonare... (Venice, 1596) (11 pieces a4).

BANISTER 1678.... J. Banister and T. Low (publ.): New Ayres and Dialogues...by Sundry Authors (London 1678).

BARLEY 1596 .... W. Barley: A new booke of tabliture (London, 1596).

BARNARD 1641 .... John Barnard: First book of selected church music (London, 1641).

BARRIÈRE 1739 .... J. Barrière: Sonates pour le Pardessus de viole avec la Basse Continue, Livre V (Paris, 1739).

BASSANO C 1585 .... Fantasie a tre voci... (Venice, 1585).

BASSANO C 1591 .... Motetti, Madrigali et Canzoni ... Diminuiti per sonar... [a3-6] (Venice, 1591).

BECK 1670 .... J.H. Beck: Continuatio Exerciti musica secunda (1670).

BECK 1671.... J.H. Beck: Allemanden, Giguen, Couranten und Sarabanden auf der Viola da Gamba zu streichen von etlichen Accorden. (Strasburg, 1677).

BECKER 1668 .... D. Becker: Sonaten fur Violin (VdG, BC), über Chorallieder. (Hamburg [?], 1668).

BECKER 1674 .... D. Becker: Erster Theil/Zwei-stimmigerlSonaten und Suiten/Nebest emem gedoppelten Bc (Hamburg, 1674).

BELLANDA 1599 .... L. Bellanda: Canzonette spirituali a due voci con altra a tre & a quattro da sonare (1599) (incl. 2 a3 by Ambrogio Bresciano).

BENDUSI 1553 .... F. Bendusi: Opera Nova di Balli...a quatro voci... (Venetia, 1553) (24 dances).

BENSBERGH 1676: see page GAULTIER-2.

BERNABEI 1698 .... J. Bernabei: Orpheus Ecclesiasticus (Nüremberg, 1698) (12 symph. a 2BV/Bc).

BLAINVILLE 1750 .... C. de Blainville: Premier livre de Sonates pour le dessus de viole avec la Basse Continue (Paris, 1750).

BLEYER 1628 .... N. Bleyer: Erster Theil newer Pad., Gall etc. mit 5 stimmen (Hamburg 1628).

BLEYER 1642 .... ditto (Leipzig 1642).

BOESSET 1624 .... Boesset: Quatrieme Livre d'Airs de cour a 4-5 parties (Paris?, 1624).

BOISMORTIER 1725 .... J. de Boismortier: Sonates a deux Violes, Op. 10 (Paris, 1725).

BOISMORTIER 1729 .... J. de Boismortier: Vingt-sixième oeuvre ... contenant VI Sonates (Paris, 1729) (cello, viol or bassoon).

BOISMORTIER 1730 (1) .... J. de Boismortier: Trentième oeuvre ... contenant diverses pièces de viole (Paris, 1730).

BOISMORTIER 1130(2) .... J. de Boismortier: Trente et unième oeuvre... contenant diverses pièces de viole avec la basse chiffre (Paris, 1730).

BOISMORTIER 1731 .... J. de Boismortier: Premier livre de Pièces pour la Viole (Paris, c.1730).

BOISMORTIER 1732 .... J. de Boismortier: XL Oeuvre contenant six Sonates... (Paris, 1732) (2 bassoons, celli, viols).

BOISMORTIER 1734 .... J. de Boismortier: Oeuvre cinquantième ... contenant VI Sonates (Paris, 1734) (cello, bassoons, viols, a2-3).

BOISMORTIER 1736 .... J. de Boismortier: Six Sonates pour le pardessus de viole avec la basse, soixante-unième oeuvre (Paris, 1736).

BOISMORTIER 1737 .... J. de Boismortier: Petites Sonates, op. 66 (Paris, 1737) (2 bassoons, celli, viols).

BRADE 1609, 1614, 1617, 1619, 1621 .... W. Brade: various editions of airs and dances, some in modern editions.

BUONA 1592 .... V. Buona:Il Secondo Libro delle canzonette a tre voci...(Venice, 1592) (12 a3).

BUUS 1541 .... J. Buus: Superius Recercar...Libro Primo a Quatro Voci ... (Venice, 1547) (10 a4).

BUUS 1549 ... J. Buus: Superius Il Secondo Libro de Recercari... a quatro voci... (Venice, 1649) (8 a4).

BUXTEHUDE 1694.... D. Buxtehude: VII Sonate... (Hamburg & Lubeck, 1694) (7 Sonate a2 vln, VdG, bc, Op 11).

BUXTEHUDE 1696 .... ditto (Hamburg 1696).

BUXTEHUDEWV …. D. Buxtehude: Sonaten für Violine, Gambe und Cembalo, ed. M. Seiffert, DDT, xi (1903, rev. 2/1957 by H. J. Moser)

BYRD 1575 .... W. Byrd: Cantiones Sacrae (London, 1575).

BYRD 1588 .... W. Byrd: Psalmes, Sonets and Songs... (London, 1588).

BYRD 1589 .... W. Byrd: Songs of Sundrie Natures (London, 1589).

BYRD 1605 .... W. Byrd: Gradualia (London, 1605).

BYRD 1611 .... W. Byrd: Psalmes, Songs and Sonnets... (London, 1611).

de CAIX 1145 .... B. de Caix: VI Sonates pour deux Pardessus de Viole a Cing Cordes, Violins ou Basses de Viole... (Paris, Lyon, c.1745)

CAIX d'HERVELOIS 1710 .... L. de Caix d'Hervelois: Premier livre de Pièces de Viole (Paris, 1710).

CAIX d'HERVELOIS 1717 .... L. de Caix d'Hervelois: Second...do. (Paris, 1717).

CAIX d'HERVELOIS 1717/1: Second livre de pièces de viole (Paris, 1717); facsimile reprint, ed. James Caldwell

CAIX d'HERVELOIS 1731 .... L. de Caix d'Hervelois: Troisième oeuvre contenant quatre suites de pièces (Paris, 1731).

CAIX d'HERVELOIS 1731/1: Troisième oeuvre contenant quatre suites de pièces pour la viole avec la basse chifr‚ en partition (Paris, 1731); facsimile reprint, ed. J-L Charbonnier (Paris, 1974). [BV, Bc]. [46 pieces].

CAIX d'HERVELOIS 1740 .... L. de Caix d'Hervelois: Quatrième Livre de Pieces a deux violes (Paris, 1740).

CAIX d'HERVELOIS 1748/1: Cinquième livre de pièces de viole (Paris, 1748); facsimile reprint,

35

ed. J-L Charbonnier (?) [BV, Bc]. [63 pieces].

CAIX d'HERVELOIS 1748 .... L. de Caix d'Hervelois: Cinquième livre de pièces de viole (Paris, 1748).

CAIX d'HERVELOIS 1751 .... L. de Caix d'Hervelois: Sixième livre de pièces pour Un pardessus de viole... avec la basse... Neuvième oeuvre (Paris, 1751).

CAIX d'HERVELOIS 1751: VIe Livre. Pièces pour un Pardessus de Viole a cinq et six cordes avec la Basse... (Paris, 1751).

CAIX d'HERVELOIS 1753 ... L. de Caix d’Hervelois: Cinquième livre de pièces pour Un pardessus de viole...avec la basse ... dixième oeuvre (Lyon, 1753).

CAMPION 1613 .... T. Campion: First and second books of ayres (London, 1613?).

CAPPUS 1730 .... Premier Livre de Pièces de Viole (Paris, 1730).

CAROLO 1710 .... See [ROSIER].

dalla CASA 1584 .... G. dalla Casa: Il vero modo di diminuir (Venetia, 1584) (25 bastarda settings of various composers' madrigals etc.).

du CAURROY .... E. du Caurroy: Fantaisies a III, IV, V et VI parties (Paris, 1610).

CAVACCIO 1597 .... G. Cavaccio: Musica ... A Quattro Voci (Venice, 1597) (25 named pieces, a4).

de CAUS 1615 .... S. de Caus: Institution Harmonique (Frankfort, 1615).

CHAMBONNIÈRES 1670 ....J.C.de Chambonnières: Pièces de clavessin, Livre II (Paris, 1670); i.e. RISM A/I C 1786.

CHRISTENIUS 1619(1) .... J. Christenius: Omnigen Mancherley manier newer welti. Lieder, Paduanen... (Erfurt, 1619) (15 a5).

CHRISTENIUS 1619(2) .... J. Christenius: Pfeil in welchen befinder Newe weltl. Lieder... (Leipzig, 1619) (6 a4).

CIMA 1598.... G. Cima (12 a2 in GASTOLDI 1598).

CLAMER 1682 .... A. Clamer: Mens harmonica ... 42 varioribus sonatinis (Salzburg 1682).

COMPLEAT V .... Anon.: The Compleat Violist... (London, c.1700).

COMPLEAT V/1 .... H. Klemt: Anon.: The Compleat Violist... (London, c.1700), facsimile reprint.

CORKINE 1610 ....W. Corkine: Ayres to sing and play to the lute and basse violl (London, 1610).

CORKINE 1610/1 .... W. Corkine: Ayres to sing and play to the lute and basse violl, facsimile reprint (Menston, 1970).

CORKINE 1612 .... W. Corkine: The second book of ayres (London, 1612).

CORKINE 1612/1 .... W. Corkine: The second book of ayres, facsimile reprint (Menstone, 1970).

CORRETTE ND(1) .... N. Corrette: Les Délices de la Solitude... (sonatas for cello, viol or bassoon, with Bc) (Paris, no date).

CORRETTE ND(2) .... N. Corrette: Le Phénix... concert pour quatre violoncelles, violes ou bassons (Paris, no date).

COSYN J 1585 .... J. Cosyn: Musicke of six andfive parts... on the common tunes (London, 1585).

COUPERIN F 1724 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts (Paris, 1724).

COUPERIN F 1724/1 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts, facsimile reprint

(Geneva, 1979).

COUPERIN F 1728 .... F. Couperin: Pièces de Viole... (Paris, 1728).

COUPERIN F 1728/1 .... S.L. Robinson (ed.): F. Couperin: Pièces de Viole..., modern edition (Paris, 1972).)

CRACOW BV/1 .... Gordon Dodd (ed.), facsimile reproduction of a MS, at one time in Cracow University Library, now at Warsaw (Pt-Wtm).

DAY 1560 .... J. Day: Certaine Notes... (London, 1560).

DEMANTIUS 1601 .... J. C. Demantius: Sieben und Siebenzig newe auss. lieb. ... tanze (a5) (Nuremberg, 1601).

DEMANTIUS .... J. C. Demantius: Fasciculus Chorodiarum (dances a4-5) (Nuremberg, 1613). DOLL É 1737(1) .... C. Dollé: Pièces de viole, op. 2 (Paris, 1737).

DOLLÉ 1737(2) .... C. Dollé: Sonates ..., op. 4 (duos etc. in F-Pn Vm7 6304) (Paris, 1737).

DOLLÉ 1754 .... C. Dollé: Sonates..., op. 6 (2 pardessus de viole, in F-Pn Vm76305) (Paris, 1754).

DOWLAND 1604 .... Dowland: Lachrimae, or Seaven Teares figvred in Seaven Passionate pauans, with diuers other Pauans, Galiards, and Almands, set forth for the Lute, Viols, or Violins, in fiue parts (London, 1604).

DOWLAND 1604/1 .... Dowland: Lachrimae..., facsimile reprint, ed. Warwick Edwards, (Boethius Press, Leeds, 1974; 2nd. rev. ed. Severinus Press, Newbury, 1992).

DOWLAND R 1610(1) .... R. Dowland: A Musicall Banquet (London, 1610).

DOWLAND R 1610(2) .... R. Dowland: Variety of Lute Lessons (London, 1610).

DRETZEL 1620 .... V. Dretzel: Serulum Musicale (a4, a8) (Nuremberg, 1620).

DUMONT 1657 .... H. Dumont: Meslanges a ii, iii et v parties (Paris, 1657).

EAST 1610 .... M. East: The Third Set of Bookes... (London, 1610).

EAST 1618 .... M. East: The Fift Set of Bookes.. (London, 1618).

EAST 1624 .... M. East: The Sixt Set of Bookes... (London, 1624).

EAST 1638 .... M. East: The Seventh Set of Bookes... (London, 1638).

ELIZABETHAN: for other Elizabethan entries see CONSORTS.

ENGEUWIN 1616, 1617, 1622 .... Engelmann: Fasciculus 5 voc... (Leipzig 1616, 1617, 1622).

ERLEBACH 1694.... P.H. Erlebach: VI Sonate a v... (vln, VdG, Bc) (Nurnberg, 1694).

ESTREES 1559(1), (2), (3) .... J. D'Estrees: Premier...Second...Tiers Livre de Danseries ... a quatre parties (Paris, 1559).

EX MUS 1660 .... Anon: Exercitium Musicum (113 3-part dances) (Frankfurt, 1660).

FALCONIERI 1650 .... A.Falconieri: Il primo libro... (Naples, 1650).

FARINA 1626, 1621, 1628 .... C. Farina: Libro Primo.. Ander Theil...Terzo.. Quarto...Funften (Dresden 1626, 1627, 1627, 1628, 1628).

FARNABY 1625-39 .... G. Farnaby: The Psalmes ofDavid, to fower parts, for viols and voyce, the first book Doricke Mottoes, the second, Divine Canzonets (London, between 1625 and 1639).

FERRABOSCO II 1609 .... Alfonso Ferrabosco II: Lessons for 1, 2 and 3 viols (London, 1609).

FERRABOSCO II 1609/1: Lessons for 1, 2 and 3 viols (London, 1609); facsimile reprint (New

37

York, 1973).

LE FÈVRE [1703] .... Le Fèvre: Suittes faciles (Amsterdam, no date [1703]).

FINGER 1688 .... G. Finger: Sonatae XII Pro Diversis Instrumentis... ad Basin Continuum pro Organo seu Clavicymbalo formantur (Op. 1, 1688).

FIORÉ 1698 .... A. M. Fioré: Trattenimenti da camera a due stromenti (Lucca, 1698).

FONGHETTI 1598 .... P. Fonghetti: Capricii et madrigali... a due voci (Verona, 1598) (16 instrumental pieces, named).

FORD 1607 .... T. Ford: Musicke of Sundrie Kindes (London, 1607).

FORD 1607/1: Musicke of Sundrie Kindes (London, 1607); facsimile reprint, ed. David Greer (Scolar Press, Menston, 1971).

FORMSCHNEIDER 1538 .... H. Formschneider (publ.): Tenor Trium vocum Carmina... (Nuremberg 1538), (100 unattributed trios).

FORQUERAY 1741(1) .... A. & J-B Forqueray: Pièces de viole avec la Basse Continue composées par Mr Forqueray le père (Paris, 1747).

FORQUERAY 1747(1)/1: Antoine and Jean-Baptiste Forqueray: Pièces de viole avec la Basse Continue composes par Mr Forqueray le père (Paris, 1747); facsimile reprint (Geneva, 1976).

FORQUERAY 1747(2) .... ditto ‘mise en pièces de clavecin par Mr Forqueray le fils’ (Paris, 1747).

FRANCK 1603-23 .... (10 volumes of dances a4-6, publ. 1603-23).

FRESCOBALDI 1608 .... G. Frescobaldi: Il primo libro delle fantasie a quattro (Milan, 1608).

FRESCOBALDI 1615 .... G. Frescobaldi: Recercari, et canzoni franzese...libro primo (Roma, 1615).

FRESCOBALDI 1628 .... G. Frescobaldi: Il primo libro delle canzoni (al-4) (Roma 1628).

FRESCOBALDI 1634 .... G. Frescobaldi: Canzoni da sonare (al-4 plus Bc) (Venezia, 1634).

FRITSCH 1606 .... B. Fritsch: Primitiae musicales... (dances a4) (Frankfort am Main, 1606).

FUHRMANN 1615 .... C.L. Fuhrmann: Testudo gallo-germanica ([Nuremberg?], 1615).

FULLSACK 1607 .... Z. Fullsack & C. Hildebrand: Ausserlesener Paduanen... (Heidelberg, 1607).

FUNCK 1617 .... D. Funck: Stricturae Violdegambicae (Leipzig, 1677).

GABRIELI 1581 .... A. & G. Gabrieli: Concerti.. Libro et secondo... (Venetia, 1587) (incl. 1 ric. per sonar by A. Gabrieli).

GABRIELI A 1589 .... A. Gabrieli: Madrigali et Ricercari...a Quattro Voci... (Venetia, 1589).

GABRIELI A 1590 .... A. Gabrieli: Madrigali et Ricercari...a Quattro voci (Venetia, 1590).

GABRIELI-PADOVANO .... A. Gabrieli & A. Padovano: Dialoghi Musicali (Venetia, 1590).

GABRIELI G 1591 .... G. Gabrieli: Sacrae Symphoniae (1597).

GABRIELI G 1608 ... G. Gabrieli: (6 canzoni, 1608).

GABRIELI G 1615 ... G. Gabrieli: Canzoni et Sonate (1615).

GALILEI 1584 .... V. Galilei: Contrapunti a due voci... (Fiorenza 1584).

GALLUS 1598 ... J. Gallus: Totius Libri primie.. (Mediolani, 1598).

GANASSI 1542 .... S. Ganassi: Regole Rubertina (Venetia, 1542).

GARDANE 1551 .... A Gardane or Gardano (publ.): Fantasie, Recercari, Contrapunti a Tre voci.. (Venetia, 1551).

GASTOLDI 1598 .... G. Gastoldi and others:. .Il primo Libro della musica a due voci (Milan, 1598).

GAULTIER D LG/1 F. Lesure & F.-P. Goy (eds.), G. Gastoldi and others:... Il primo Libro della musica a due voci, facsimile ed. from original in D-Bkk MS 78.C.12 Geneve 1991.

GERLE 1532.:.. H. Gene (ed.): Musica Teusch... (Nuremberg, 1532) (including 17 songs a4).

GERLE 1546 .... H. Gene (ed.): Musica und Tablatur... (augmented version of GERLE 1542) (Nürnberg, 1546).

GERVAISE 1550(1) .... C. Gervaise (ed.): Quart livre de danceries a quatre parties contenant xix pavanes & xxxi gaillardes... (Paris, 1550).

GERVAISE 1550(2) .... C. Gervaise (ed.): Cinqiesme livre de danceries ... a quatre parties... (53 Bransles a4) (Paris, 1550).

GERVAISE 1555 .... C. Gervaise (ed.): Sixieme Livre de danceries quatre parties ... (50 Bransles a4) (Paris, 1555).

GERVAISE 1557 .... C. Gervaise (ed.): Troisieme Livre de danceries á quatre et cinq parties... (42 dances a4-5) (Paris, 1557).

GETZMANN 1613 .... W. Getzmann: Phantasiae sive cantiones (Frankfurt am Main, 1613). GIBBONS 1620 .... Orlando Gibbons: Fantazies of Three Parts (London, c.1620)

GORTON 1701 .... W. Gorton: A choice collection of new ayres...for two bass viols (London, l701).

GROH 1603 .... J. Groh: 36 neue ... Intraden a5 (Nuremberg, 1603.

GROH 1604 .... J. Groh: Dreisig neue auss. pav. & gall. (Nuremberg, 1604).

GROH 1612 .... J. Groh: Dreisig...pav. & gall... (Nuremberg, 1612).

GUAMI 1588 .... F. Guami: Ricercari a due voci... (Venetia, 1588) (23 duets).

GUILLET 1610 .... C. Guillet: Vingt quatre fantasies a quatre parties, disposées selon l'ordre des douze modes (Paris, 1610).

GUMPELZHAIMER 1595 .... A. Gumpelzhaimer: Compendium Musicae Latino Germanicum... (1595) (6 Ricercari by various composers).

HACQUART C 1686(1) .... C. Hacquart: Chelys, op. 3 (Amsterdam, 1686).

HACQUART C 1686(2) .... C. Hacquart: Harmonia Parnassia sonatarium trium... Op.2 (Utrecht,

1686).

HACQUART C 1700-10 .... C. Hacquart: 12 sonatas for 2 VdG (Amsterdam c.1700-10).

HADRIANIUS 1600 .... E. Hadrianius: Pratum Musicum (Antwerp, 1600).

HAGIUS 1604 .... C. Hagius: Neue deutsche Tricinen (Heidelberg 1604).

HAGIUS 1610 .... C. Hagius: Ander Theil (Frankfurt, 1610).

HAGIUS 1617 .... C. Hagius: Neue kunstliche Musik, Intraden etc.(Nürnberg, 1617).

HAMMERSCHMIDT 1636 .... A. Hammerschmidt: Erster Fleiss ... Paduanen (5 viols & Bc) (Freiberg, 1636).

HAMMERSCHMIDT 1639 .... A. Hammerschmidt: Ander Theil.. .neuer Paduanen, Canzonen... (Freiberg, 1639).

39

HAMMERSCHMIDT 1643 .... A. Hammerschmidt: Ander Theil weitliche Oden oder Liebegesange (incl. VdG obbligato) (Freiberg, 1643).

HAMMERSCHMIDT 1650 .... A. Hammerschmidt: Dritter Theil...neuer Paduanen... (Leipzig, 1650).

HASE 1610 .... G. Hase: Newe froliche...Tanz (Nürnberg, 1610).

HASSLER 1601(1) .... H. Hassler: Lustgarten... (Nürnberg, 1601).

HASSLER 1601(2) .... H. Hassler: Sacri Concentus... (Nürnberg, 1601).

HAUSMANN 1598, 1599 .... V. Hausmann: Neue artige ... Tanze (Nürnberg, 1598 and 1599 (same contents)).

HAUSMANN 1602 .... V. Hausmann: Venusgarten (Nürnberg, 1602).

HAUSMANN 1603 .... V. Hausmann: Rest. von Poln. etc ... Tanzen (Nürnberg, 1603).

HAUSMANN 1604 .... V. Hausmann: Neue Intrade (Nürnberg, 1604).

HESSEN 1555 .... P. Hessen & Bartholomeus (eds.): Etlicher gutter Teutscher und Polnischen Tentz... (155 pieces a4-5) (Breslaw, 1555).

HEUDELINNE 1701 .... L. Heudelinne: Trois Suites de Pièces a Deux Violles (Paris, 1701; Amsterdam 1708).

HEUDELINNE 1705 .... L. Heudelinne: Second Livre de Pièces (Paris, 1705, 1710).

HEUDELINNE 1705/1: Louis Heudelinne, Second Livre de Pièces (Paris, 1705,1710); facsimile reprint (Geneva, 1989).

HILDEBRAND 1609 .... C. Hildebrand: Ander Theil, ausserlesener lieblicher Paduanen, und ... Galliarden, mitfünff stimmen... (Hamburg, 1609)

HÖFFLER 1695 .... C. Höffler: Primae Chelicae... (Nurnberg, 1695).

HOLBORNE 1597 .... A. Holborne: The Cittharne School (London, 1597).

HOLBORNE 1599 .... A. Holborne: Pavans, Galliards, Almains... (London, 1599).

HOLBORNE 1599/1 .... S. Beck (ed.): ditto, modern edition (New York, 1940).

HOLBORNE 1599/2 .... B. Thomas (ed.): ditto, modern edition (London, 1980).

HOVE 1612 .... J. van den Hove: DelitiaeMusicae (Antwerp 1612).

HUGARD 1750 .... Hugard: ‘La Toilette’, pieces nouvelles pour le pardessus de viole à cinq cordes (with Bc) (Paris, c.1750).

HUME 1605 .... T. Hume: First Part ofAyres (London, 1605).

HUME 1605/1 .... F. Traficante (ed.): ditto, facsimile reprint (Menston, 1969).

HUME 1607 .... T. Hume: Captain Hume’s Poeticall Musicke (London, 1607).

HUME 1607/1 .... F. Traficante (ed.): ditto, facsimile reprint (Menston, 1969).

INGEGNIERI 1579 .... M’A. Ingegnieri Il secondo Libro de Madrigali... (incl. 2 Canzoni a4) (Venetia, 1579).

JONES 1601 .... R. Jones: The Second Booke of Songs and Ayres (London, 1601).

JONES 1608 .... R. Jones: Ultimum Vale, or The Third Booke of Ayres (London, 1608).

JULIO 1540 .... Julio da Modena: (13 Ricercari a4) (1540).

KELZ 1669 .... Kelz: Epidigma harmoniae novae variae ... a Violino, e Viola da Gamba... (1669).

A KEMPIS 1644, 1647, 1649 .... N. A Kempis: Symphoniae ... Op. 1, Op. 2 Lib. I, Op 3 (Antwerp 1644, 1647, 1649).

KINDERMANN 1653 .... J.E. Kindermann: Canzoni, Sonatae Una Duabus, Tribus & Quaturo violis... Pars Prior (Nurnberg, 1653.

KON FANT 1648 .... XXKonincklyken Fantasien om op 3 Fioolen de Gamba... (Amsterdam, 1648).

KON FANT 1648/1 .... E. Schreurs & M. Sanders: ditto, facsimile reprint (Peer, 1987).

KON FANT 1648/2 .... H. Mönkemeyer: ditto, facsimile reprint (Celle, 1985).

KONWALINKA 1673 .... P. Konwalinka: Jenische Abendmusik... (Jena, 1673).

KREMBERG 1686 .... J. Kremberg: Musicalische Gemüths Ergotzung (40 accompanied songs; viol (10 tunings) & lute tablature) (Dresden 1689),

KRIEGER 1688 .... J. Krieger: 12 sonate a2 ... Op. 1 (Nürnberg, 1688).

KRIEGER 1693 .... J. Krieger: 12 sonate a2 (Nürnberg, 1693).

KROMBHORN 1612 .... T. Krombhorn: Neue Paduanen... (Liegnitz, 1612).

KÜHNEL 1698:.... A. Kühnel: Sonate o Partire ad una o due Viole da Gamba, con il Basso Continuo (Cassel 1698).

KÜHNEL 1698/1 .... ditto, facsimile reprint (Peer, 1984).

LASSO 1577 .... O. di Lasso: Novae Aliquot... ad duas voces... Cantiones... (24 pieces a2) (1577).

LICINO 1545 .... A. Licino: Primo libro di duo cromatici... (20 canons a2) (Venetia, 1545).

LOCKE 1656 .... Matthew Locke his Little Consort of Three Parts (London, 1656).

LOCKE 1656/1 .... I. Gammie (ed.): ditto, modern edition (Harpenden, no date).

LOCKE 1673 .... M. Locke: The Present Practice ofMusick Vindicated (London, 1673).

LOW 1678 .... Low & Banister (publ.): New Airs & Dialogues (London, 1678).

LOWE 1664 .... J. Lowe: Sonaten, Canzonen & Capriccen (incl. duets for violin and viol) (Jena, 1664).

LUPACHINO 1559 .... B. Lupachino & J. Tasso:Il Primo Libro a Due Voci... (incl. 13 by Lupachino, 15 by Tasso) (Venetia, 1559).

LUPACHINO 1565 .... B. Lupachino & J. Tasso: Il primo libro a note negre a due voci... (Venetia, 1565.

LUTKEMAN 1597 .... P. Lutkeman: Der Erste Theil...Paduanen und Galliarden ... mit 5, 6 & mehrstimmen... (Stettin, 1597).

LYTTICH 1610 .... J. Lyttich: Venus Glocklein oder newe welt Gesange... (Jena, 1610).

MACE 1676 .... T. Mace: Musick’s Monument (London, 1676).

MACE 1676/1 .... ditto, facsimile reprint (Paris, 1958).

DE MACHY 1685 .... De Machy: Pieces de Violle (Paris, 1685).

DE MACHY 1685/i .... ditto, facsimile reprint (Geneve, 1973).

MAINERO 1578 .... G. Mainero: Ilprimo libro de Balli a quattro voci... (Venetia, 1578).

MALVEZZI 1577 .... G. Malvezzi: Ilprimo libro de Recercari a Quattro Voci... (Perugia, 1577).

MARAIS 1686 .... M. Marais: Pièces à une et à Deux Violes (Paris, 1686; ‘Basse-continues’ added in 1689) (also Amsterdam, 1701).

41

MARAIS 1686/i .... ditto, facsimile reprint...

MARAIS 1686/2 .... J. Hsu (ed.): ditto, modern edition (New York, 1980).

MARAIS 1692 .... M. Marais: Pièces en trio (Paris, 1692; also Amsterdam, 1697).

MARAIS 1692/i .... ditto, facsimile reprint...

MARAIS 1701 .... M. Marais: Second Livre de Pièces de Viole (Paris, 1701; also Amsterdam, 1702).

MARAIS 1701/i .... ditto, facsimile reprint...

MARAIS 1701/2 .... J. Hsu (ed.): ditto, modern edition (New York, 1986).

MARAIS 1711 .... M. Marais: Troisieme Livre de Pièces de Viole (Paris, 1711; also Amsterdam, c.1712).

MARAIS 1711/i .... ditto, facsimile reprint.

MARAIS 1717 .... M. Marais: Quatrieme Livre de Pièces a une et a trois violes (Paris, 1717; also Amsterdam, before 1737).

MARAIS 1717/i .... ditto, facsimile reprint...

MARAIS 1723 .... M. Marais: La gamme et autres morceaux de symphonie (Paris, 1723).

MARAIS 1723/i .... ditto, facsimile reprint...

MARAIS 1725 .... M. Marais: Cinquième Livre de Pièces de Viole (Paris, 1725).

MARAIS 1725/i .... ditto, facsimile reprint.

MARAIS R 1735 .... R. Marais: Premier livre de Pièces de Viole avec la basse chiffré... (Paris, 1735).

MARAIS R 1735/1 .... ditto, facsimile reprint (Génève, c.1984).

MARAIS R 1735/2 .... ditto, facsimile reprint (Oberlin, 1985)

MARAIS R 1738 .... R. Marais: Second livre de pièces de Viole... (Paris, 1738).

MARAIS R 1738/1 .... J-L. Charbonnier (ed.): ditto, facsimile reprint (Paris, 1981).

MARAIS R 1738/2 .... ditto, facsimile reprint (Génève c.1984).

MARAIS R 1738/3 .... ditto, facsimile reprint (Oberlin, 1985).

MARC 1724 .... T. Marc: Suitte de pièces de dessus et de pardessus de viole et trois Sonates, avec les

basses continue (Paris, 1724).

MARC 1724/1 .... ditto, facsimile reprint (Génève, 1988).

MARC 1724/2 .... A.P. Rose (ed.): ditto, modern edition (Ottawa, 1983).

MASCHERA 1584 .... F. Maschera: Libro primo de Canzoni da Sonare a Quattro Voci... (21 canzoni a4) (Brescia 1584).

MATHEW 1652 .... R. Mathew: The Lute’s Apology (London, 1652).

MAYNARD 1611 .... J. Maynard: XII Wonders of the World (London, 1611).

MAYNARD 1611/1 .... ditto, facsimile reprint (Menston,...).

MAZZI 1596 .... L. Mazzi: Ricercari a Quattro et Canzoni a quattro, a cinque et a otto voci... (Venetia, 1596).

MERCKER 1609 .... M. Mercker: 20 Neue ... Paduanen & Galliarden... (Helmstedt, 1609).

MERULO 1574 .... C. Merulo: Il primo libro de Ricercari ... a quattro voci... (Venetia, 1574).

MÉTRU 1642 .... N. Métru: Fantasies à Deux Parties pour les Violles... (Paris, 1642).

MODERNE 1545 .... J. Moderne (publ.): Musique de Joye... (51 pieces a4 by Willaert, Julius de Modena etc) (Lyon, c.1545).

MÖLLER 1610 .... J. Möller: Neue Paduanen... (Frankfurt, 1610).

MONTECLAIR 1697 .... M. Monteclair: Serenade (Paris, 1697).

MOREL 1709 .... Morel: Premier Livre de Pièces de Viole (Paris, 1709).

MORLEY 1595 .... T. Morley: The First Booke of Canzonets to two Voyces (London, 1595).

MORLEY 1595(1)/i .... E.H. Fellowes (ed.): ditto, modern edition (London, 1928).

MORLEY 1595(1)/2 .... G. Hunter (ed.): ditto, facsimile reprint (Urbana, 1990).

MORLEY 1595(2) .... T. Morley: Canzonets or little short songs to three voices (London, 1595).

MORLEY INTRO .... T. Morley: A Plaine and Easie Introduction to Practicall Musicke (London, 1597).

MORLEY INTRO/i .... E.H. Fellowes (ed.): ditto, facsimile reprint (London, 1937).

MORLEY INTRO/2 .... A. Harman (ed.): ditto, modern edition (London, 1952).

MOSS 1671 .... J. Moss: Lessons for the Bass Viol (London, 1671).

MOULINI É 1629 .... [Lute Airs, Book III, 1629].

MOULINI É 1639 .... E. Moulinié: Cinquiesme Livre d’Airs de Cour a quatre et cinq parties... (Paris, 1639).

MOULINI É 1658 .... E. Moulinié: Meslanges... (11 pavans for VdG and lute) ([Paris?], 1658).

MOY 1631 .... L. de Moy: La petit Boucquet... (Emden, 1631).

MYRIELL 1616 .... T. Myriell: Tristitiae Remedium (GB-Lbl Add MSS 29372-77).

NEVELL 1591 .... J. Baldwin (scribe): My Ladye Nevells Book (MS, 1591).

NEVELL 1591/1 .... H. Andrews (ed.): ditto, modern edition (London, 1926).

NICOLAI 1675 .... J. Nicolai: Erster Theil... (Augsburg, 1675).

OROLOGIO 1597 .... A. Orologio II: Intradae ... quinque & sex vocibus, Liber Primus... (8 a5, 20 a6) (Helmstadt, 1597).

ORTIZ 1553 .... D. Ortiz: Trattado de Glosas Clausulas (Rome, 1553).

ORTIZ 1553/1 .... M. Schneider (ad.): ditto, modern edition (Kassel, 1967).

OTTO 1611 .... Otto: Neue Pad., Gall... (Leipzig, 1611).

PEETRINO 1583 .... J. Peetrino: Il primo libro de Madrigali a quatro voci... (Venetia, 1583).

PETERSEN 1683 .... D. Petersen: Speel Stuckan... (Amsterdam, 1683).

PEUERL 1611, 1613, 1620, 1625 .... P. Peuerl: (4 editions of dances).

PHALESE 1571 .... P. Phalèse & J. Bellère (publ.): Liber Primus Leviorum Carminum... (103 dances) (Lovani, 1571).

PHALESE 1583 .... P. Phalèse & J. Bellère (publ.): Chorearum Molliorum Collectanaa... (Antwerp,

43

1583).

PHALESE 1590 .... P. Phalèse & J. Bellère (publ.): Bicinia... (about 20 duets by various composers) (Antwerp, 1590).

PHILIDOR 1700 .... A-D. Philidor: Pièces a deux basses de viola, bass de violon at basson (Paris, 1700).

PHILIDOR 1700/1 .... ditto, facsimile reprint (Geneva, 1988).

PILKINGTON 1605 .... F. Pilkington: The first booke of songs or ayres of four parts (London, 1605).

PILKINGTON 1624 .... F. Pilkington: The Second Set of Madrigals (includes the six-part fantasy) (London, 1624).

PILKINGTON 1624/1 .... E.H. Fellowes: ditto, modern edition The English Madrigalists 26 (London, 1920, rev. T. Dart).

PLAYFORD .... J. Playford (publ., London).

PLAYFORD BI 1654, 1662 .... A Breefe Introduction to the Skill of Musick (London, 1654 and 1662).

PLAYFORD CA 1655 Court Ayres (London, 1655).

PLAYFORD CMA 1662 Courtly Masquing Ayres (London 1662).

PLAYFORD DIV VLN 1685 etc The Division Violin (London, 1685 etc., various editions until c.1730.

PLAYFORD EDM 1651-1728 The English Dancing Master (many editions from 1651 to 1728).

PLAYFORD LCG 1652 A booke of new lessons for the cittern and gittern (London, 1652).

PLAYFORD MDC 1666 Musick’s Delight on the Cithren (London, 1666).

PLAYFORD MB 1651 A Musicall Banquett. Part 1: lyra viol lessons. Part 2: Musica Harmonia (as below). Part 3: Musick and mirth, rounds or catches a3.

PLAYFORD MH 1651 Musica Harmonia, or choice Almans, Corants and Sarabands.

PLAYFORD MH 1663, 1678 Musick’s Handmaide (London, 1663, 1678).

PLAYFORD MR 1689 The second part of Musick’s Hand-maid (London, Henry Playford, 1689).

PLAYFORD MRLV 1652/5 Musick’s Recreation on the Viol, Lyra-Way (London, 1652 or 1655).

PLAYFORD MRLV 1661, 1669, 1682 ditto (London 1661, 1669, 1682).

PLAYFORD MRLV 1682 D .... N. Dolmetsch (ad.): facsimile reprint of the harp-way sharp pieces in MRLV (London, 1960).

POSCHIO 1618, 21, 26 .... I. Poschio: 3 editions of dances (Regensburg 1618; Nürnberg, 1621, 1626).

PRAETORIUS 1612 .... M. Praetorius: Terpsichore... (Wolfenbuttel, 1612).

PRAETORIUS 1612/1 .... B. Thomas (ed.?): ditto, modern edition (London,...)

PURCELL 1683 .... H. Purcell: Sonnata’s ofIII Parts... (London, 1683).

PURCELL 1683/1 .... R. Luckett: ditto, facsimile reprint (London, 1975).

PURCELL 1683/2 .... Purcell Society (ed. M. Tilmouth): ditto, modern edition (London, 1990).

PURCELL 1697 .... H. Purcell: Sonnata’s ofIV Parts... (London, 1697).

PURCELL 1697/1 .... Purcell Society (ed. M. Tilmouth): modern edition (London, 1990).

RAVAL 1593 .... S. Raval:Il Primo Libro di Canzonette a quattro voci... (incl. 3 ricarcari) (Venetia, 1593).

RAVAL 1596 .... S. Raval:Il Primo Libro di Ricercari a quattro voci cantabili par Liuti, Cimbali at Viola d’arco... (Palermo, 1596).

REINCKEN 1687.... J. Reincken: Hortus Musicus... (works for V V VdG) (1687).

RIVANDER 1613 .... P. Rivander: Prati Musich, Andar Theil, (Ansbach, 1613).

RIVANDER 1614 .... P. Rivander: Neue lustige Courante... (Ansbach, 1614).

ROBERDAY 1660 .... F. Roberday: Fugues at caprices a quatre parties (Paris, 1660) (at F-Pn, Vm7 1812; for organ but playable on viols).

ROBINSON 1603 .... T. Robinson: The Schoole ofMusicke (London, 1603).

ROGER 1703 .... E. Roger (ad.) Suittes faciles pour un violon ou une flute at une basse continue (Amsterdam (c.1703).

ROGET 1739 .... C. Roget: Sonatas pour deux Pardessus de Violas, flutes ou violons Op. 1 (Paris, c.1739).

ROSENMÜLLER 1645.... J. Rosenmüller: Paduanen...etc (Leipzig, 1645).

ROSENMÜLLER 1654 .... J. Rosenmüler: Studentenmusik... (Leipzig, 1654).

[ROSIER] 1710 .... Carolo [Rosier] X Sonata... (Amsterdam, c.1710) (for 2 bass viols and Bc).

ROSSETER 1609 .... P. Rosseter: Lessons for Consort (London, 1609) (dances a4-5).

ROTH 1624 .... C. Roth: Couranten-Lustgartlein... (Dresden, 1624).

RUDENIUS 1600 .... J. Rudenius: Floras Musicae (Heidelberg, 1600).

RUFFO 1564 .... V. Ruffo: Capricci in Musica a tre voci (Milan, 1564).

RUFFO 1564/1 .... R. Bodig (ad.): ditto, facsimile reprint and modern edition (Miami, 1984).

STE-COLOMBE ND .... Sainte-Colombe: Concerts à deux Violes Esgales (F-Pn Res Vma ms.866).

STE-COLOMBE ND/i .... P. Hooreman (ed.): ditto, modern edition (Paris, 1973).

SCALETTA 1590 .... O. Scaletta: Il secondo libro de Madrigaletti a cingue voci... con una canzone Francese... (Venetia, 1590).

SCHÄFFER 1622 .... Schäffer: Pratum musicale flosculis (58 a4) (Leipzig, 1622).

SCHÄFFER 1626 .... Promuldis Epuli musicalis (36 a3) (Leipzig, 1626).

SCHEIDT 1621, 1622, 1625, 1627 .... S. Scheidt: Paduana...(1621, 1 & 2 pars ludorum (1622), 3 pars... (1625), 4 pars... (1625) (Hamburg).

SCHEIN 1609 .... J. Schein: Venuskrantzlein... (Wittenberg, 1609).

SCHENCK 1688 .... J. Schenck: Uytgevondene tyd en Konstoeffeningen (15 Sonatas, Op 2, Amsterdam, 1688).

SCHENCK 1688/1 .... P. Stryckers (ed.): ditto, facsimile reprint (Peer, 1986).

SCHENCK 1691 .... J. Schenck: Il Giardino armonico (Amsterdam, 1691 or 1692.

SCHENCK 1692 .... J. Schenck: Scherzi Musicali op. 6 (Amsterdam, 1692).

SCHENCK 1692/1 .... ditto, modern edition: Vereniging voor Nederlandse Musikgeschiedenis -28.

45

SCHENCK 1692/2 .... ditto, facsimile reprint (Beziers ... ).

SCHENCK 1694(1) .... J. Schenck: Le Nymphe di Rheno Op. 8 (Amsterdam, c .1694).

SCHENCK 1694(l)/i .... ditto, modern edition, EDM44 (1956).

SCHENCK 1694(2) .... J. Schenck: L’Echo du Danube, Op. 9 (Amsterdam, c.1694).

SCHENCK 1694(2)/i .... ditto, facsimile reprint (Oberlin).

SCHENCK 1694(2)/2 .... ditto, modern edition, EDM67.

SCHENCK 1703 .... Anon (compiler): Select Lessons for the Bass Viol of Two parts Collected... out of the works of...Giovanni Schenck (London,’ [1703?]) [31 airs from SCHENCK 1692..

SCHENCK 1715 .... J. Schenck: Les Fantaisies Bizarrées de la Goutte, Op. 10 (Amsterdam, c.1715).

SCHMELZER 1664 .... Schmelzer: Sonatae unarum fidium (1664).

SCHERER 1680 .... S. Scherer: Sonatae a3... (VdG part lost) (Ulm, 1680).

SCHOP 1634 .... J. Schop: Erster...Theil neuer Paduanen... (Hamburg, 1634).

SCHOP 1646 .... J. Schop: (23 preludes, etc) (Hamburg, 1634.

SCHULZ 1617 .... J. Schulz: 40 neuer auss. schone liebl. Pad., etc... (Hamburg, 1617).

SCHULZ 1622(1) .... J. Schulz: Musicalischen Lustgarte... (more than 13 pieces a2-6) (Liineberg, 1622).

SCHULZ 1622(2) .... J. Schulz: Intrade a4 (1622).

SIEFERT 1651 .... P. Siefert: Psalmorum Davidicorum (Danzig, 1651).

SIMPSON CPM .... C. Simpson: A Compendium of Practical Musick (London, 1665, 1667, 1668).

SIMPSON CPM/1 .... P. Lord (ed.): ditto, modern edition (Oxford, 1970).

SIMPSON DIV VLN .... C. Simpson: The Division Violin (London, 1685).

SIMPSON DV .... C. Simpson: The Division Viol(ist) London, (1659, 1667, 1712).

SIMPSON DV/i .... N. Dolmetsch (ed.): ditto, facsimile reprint of the 2nd edition (London, 1955).

SIMPSON SN .... The Seasons, facsimile reprint (Génève).

SIMPSON T 1610 .... T. Simpson: Opusculum (Frankfurt-am-Main, 1610).

SIMPSON T 1617 .... T. Simpson: Opus Newer Paduanen, Galliarden, Intraden... (Hamburg, 1617).

SIMPSON T 1617/i .... B. Thomas (ed.): ditto, modern edition (London).

SIMPSON T 1621 .... T. Simpson: Taffel Consort... (Hamburg, 1621).

SNEP 1698 .... J. Snep: Sonate, Allemande, Op. 1 (Amsterdam, c.1698).

SPONGA 1595 .... F. Sponga: Ricercari et Arie Francesi a Quattro Voci... (16 ricercari, 4 arie) (Venetia, 1595).

STADEN .... (6 collections of dances) (Nürnberg, 1606-43).

STEUCCIUS 1602, 1604Amorum ac. Leporum Pars 1, 2 (Wittenberg 1602; pars 3, 1604).

SUSATO 1551 .... T. Susato: Het derde musick boexten (157 dances) (Antwerp, 1551).

SUTHERLAND .... GB-En Sutherland Papers, No. 314, deposit 28 (on loan).

SVET 1674 .... G. Düben (arr.): from Odae Svetlicae (Stockholm 1674).

TAILOUR 1615 .... R. Tailour: Sacred Hymns... (London, 1615).

TELEMANN 1728-9 .... G. Telemann: Der getreue Music-Meister (Hamburg 1728 and 1729).

du TERTRE 1557 .... E. du Tertre: Septième Livre de Danceries... A Quatre Parties... (27 dances) (Paris 1557).

TIBURTINO 1549 .... G. Tiburtino (publ?): Fantasie et Recerchari a tre voci... (29 pieces, some by Willaert) (Venetia, 1549).

‘T UIT KAB 1654 .... ‘T Uitnement Kabinet, vol pavanes, alamanden, sarabanden... (Amsterdam, c.1654).

‘T UIT KAB 1654/i .... ditto, modern edition (Amsterdam, 1973).

VALERIUS 1626 .... A. Valerius: Nederlandische Gedenck-Clank (Haarlem, 1626).

VECCHI 1590 .... O. Vecchi: Selva di varia Ricreatione... (13 pieces a2-10) (Venetia, 1590).

VICENTINO 1572 .... N. Vicentino: Madrigali a cinque voci ... Libro Quinto (Milan, 1572).

VINCI 1560 .... P. Vinci: Il Primo Libro... a due voci (Venetia, 1560).

VINCI 1591 .... P. Vinci & A. Verso: ... Il secondo Libro di Motetti e Ricercari a Tre Voci... (14 ricercari) (Venetia, 1591).

VINTZIUS 1629 .... G. Vintzius: Intraden... (Erfurt, 1629).

VISÉE 1716 .... R. de Visée: Pièces de theorbe et de luth, mises en partition dessus et basse... (Paris, 1716).

VÖLCKEL 1613 .... S. Völckel: Newe deutsche weitliche Gesanglein (Nürnberg, 1613).

WAESICH 1632 .... C. Waesich: Canzoni... (1632).

WALSINGHAM .... The Walsingham Consort Books: GB-BEV MSS DDHO/20/1-3 (treble, flute, bass) and US-OAm, MS (cittern book).

WERL .... Albrecht Werl Lute Book, at GB-Ram (Spencer collection).

WERL S .... R. Spencer, (ed), ditto, facsimile ed., Génève.

WIDMANI 1600-1622 .... E. Widmann: (various dance collections (c. 160O, 1613, 1618, 1622).

WILLAERT 1540-1593 .... A. Willaert: (various ricercari, 1540, 1543, 1549, 1551, 1593).

YONGE 1588, 1597 .... N. Yonge (ed.): Musica Transalpina (London. Vol 1, 1588; vol 2, 1597).

YOUNG 1653 .... W. Young: Sonate a3, 4, 5 voci con Allemande, Corranti... (Innsbruck, 1653).

YOUNG 1653/i .... ditto, MS copy dated 1912-13, in GB-Lbl Add MS 38811.

YOUNG 1653/2 .... W. Whittaker (ed.): ditto, modern ed. (Oxford., 1930-31).

YOUNG 1653/3 .... G. Leonhardt (ed.): ditto, dances only, modern ed. (London, 1962).

ZACHOW 1683 .... P. Zachow: VII Branlen... (Lubeck, 1683).

ZACHOW 1693 .... P. Zachow: Verstimmter Viol di Gamba Lustspiele, ersten Theil (Lubeck, 1693).

ZIEGLER ND .... J. Ziegler: Intavolatura zur Viola di Gamba... (no date).

47

III: PUBLISHERS AND MODERN EDITIONS

This list is extracted and extended from previous versions. It does not include all editions noted in the Thematic Index, but ‘complete’ or large collections. Publishers noted in the Thematic Index pages are listed.

ADSON 1621/1 .... JOHN ADSON: Courtly Masquing Ayres, ed. Peter Walls (London Pro Musica, London, 1975-6).

ALAMIRE .... Alamire, Toekomstlaan 5 B BE - 3910 Neerpelt, Belgium (e-mail: Info@alamire.com

ANTHEMS-R .... A Collection of Anthems, ed. Edward Rimbault (Musical Antiquarian Society, 1846).

A-R .... A-R Editions, Inc., 801 Deming Way, Madison, Wisconsin 53717, USA. (internet: www.areditions.com ) .

AS .... Asclepius Editions (Brian Capleton), The Lodge, 7 Shotover Court, Old Road, Headington, Oxford OX3 8SS. (internet: www.amarilli.co.uk/ascedns

Augener .... Augener Editions

BARRINGTON SERIES

BASSANO C 1585/1 .... Fantasie a tre voci... (Venice, 1585), ed. R. Charteris (Fretwork, London & Bermuda, 1991).

BOCQUET SR .... Souris & Rollin (eds.): CLF: Oeuvres de Bocquet (Paris, 1972).

BOETHIUS .... (a) Boethius Editions (b) Musical Sources. Now published and issued by Severinus Press, Newbury, Berkshire.

BUTLER P3: Henry Butler: Collected Works, ed. Elizabeth V. Phillips, with Basso Continuo Realizations and Commentary by Jack Ashworth (A- R Editions, Inc.: Recent Researches in the Music of the Baroque Era, Vol. 66, Madison, 1991): VdGS Nos. 1-20. [Score and parts: 1-15 for BV, Cont.; 16-20 for Vln, BV, Cont.]

BYRD AB .... A. Brown (ed.): Keyboard Music of William Byrd, I, MB 27 (London, 1969); II, MB 28 (London, 1971).

BYRD COLL .... E.H.Fellowes (ed.): The Collected Works of William Byrd (London, 1937-49):

I Masses, Cantiones Sacrae (1575). V Gradualia (1605), parts 2 and 3. VIII Motets for 3, 4 and 5 parts

XIII Songs of Sundrie Natures (1589).

XIV Psalms, Songs and Sonnets (1611).

XV Consort songs.

XVII Chamber music for strings. XX Keyboard music.

BYRD ED .... The Byrd Edition (London, 1970-).

1 C. Monson (ed.): Masses.

15 P. Brett (ed.): Consort songs for voice and viols.

16 P. Brett (ed.): Madrigals, Songs and Canons.

17 K. Elliott (ed.): Consort music.

BYRD TCM 2 .... Tudor Church Music Vol 2, William Byrd, English Church Music - I (1922). BYRD TCM 7 .... ditto, Vol 7, Gradualia, I and II (1927).

BYRD TCM 9 .... ditto, Vol 9, Masses, Cantiones, Motets (1928).

Second Suite [15 pieces] from CAIX d'HERVELOIS 1751, ed. ?, DOVEHOUSE EDITIONS VdG Series, No. 19 (Toronto, ?).

CALLIOP É .... (Mary Cyr), 4 Brombal Drive, Guelph, Ontario N1G 4J6, Canada.

CAMBRIDGE P .... Ian Payne (ed.), Cambridge Consorts, Corda Music, CMP 418 (1991), being an edition and reconstruction of music in British Library Add. MSS 30826-8.

CHAMBONNIÈRES: Oeuvres Completes (Paris, 1925; reprinted 1967), ed. P. Brundel and A. Tessier.

CHELYS .... Chelys, The Journal of the Viola da Gamba Society of Great Britain (London, annual, 1969-2004).

CLF .... Corpus des Luthistes Français, national collection of lute music, in volumes, by composer: see under BOCQUET SR, DUBUT RV, DUFAUT SR, GAULTIER D T , MERCURE RV, MESANGEAU SR, PINEL RV.

CMM... Corpus Mensurabilis Musicae, editions of the American Institute of Musicology.

CNSR .... Church Music Society Reprints.

COBBOLD P1 .... Ian Payne (ed.): The Music for Five Voices and Viols by William Cobbold, Fretwork Editions, FE 20, London, 2003.

COBBOLD P2 .... Ian Payne (ed.): The Consort Songs and Consorts by William Cobbold, Fretwork Editions, FE 21, London, 2003.

COLEMAN P .... David Pinto (ed.): Charles Colman: The Four-Part Airs, Fretwork Editions, FE15, London, 1998.

ConseE .... Consortium Edition (H. Monckemeyer), Heinrichshofens.

CONSP .... Consort Publications (Ian Graham-Jones), Cedar Lodge, River Street, Westbourne, Emsworth, Hants. PO10 8TG. igraham-jones@clara.net

COPRARIO 2-4: John Coprario: The Two-, Three- and Four-Part Consort Music, ed. Richard Charteris, (Fretwork Edition FE4, London and Bermuda, 1991). [Score + Parts].

COPRARIO 5: John Coprario, the Five Part Pieces: CMM 92, ed. Richard Charteris, (American Institute of Musicology, Hänssler-Verlag, 1981). [Score].

COPRARIO 6: John Coprario, the Six-part Consorts and Madrigals, ed. Richard Charteris, (Boethius Press, Clarabricken, 1982). [Score/parts].

COPRARIO BV: John Coprario, the Fantasies for Two Bass Viols and Organ, and Eleven Pieces for Three Lyra Viols, ed. Richard Charteris, (A-R Editions, Recent Researches in Music of the Baroque Era, No. 41, Madison, 1982). [Score/parts].

COPRARIO VLN: 'John Coprario: Fantasia-Suites', MUSICA BRITANNICA 46 (London, 1980).

CORDA .... Corda Music (Ian Gammie), 183 Beech Road, St. Albans, Herts [Also incorporating Golden Phoenix Editions and King’s Musick series].

COUPERIN F 1724/1 .... F. Couperin: Les Gouts -Reunis ou nouveaux concerts, facsimile reprint (Geneva, 1979).

COUPERIN F 1728/1 .... S.L. Robinson (ed.): F. Couperin: Pièces de Viole..., modern edition (Paris, 1972).)

CRACOW BV/1 .... Gordon Dodd (ed.), facsimile reproduction of a MS, at one time in Cracow

49

University Library, now at Warsaw (Pt-Wtm).

CROMWELL .... Anne Cromwell’s Virginal Book. (Modern edn., ed. H. Ferguson, Oxford, 1974) Curwen Edition.

DH .... Dovehouse Editions (Donald Beecher and Bryan Gillingham), 32 Glen Avenue, Ottawa, Canada, K1 S 2Z7 [Supplied by Loux Music Publishing Company, at The Recorder Shop, 2 Hawley Lane, Hannacroix, NY 12087-0034, USA; internet: http//:the recordershop.com ].

DDT .... Series: Denkmäler Deutsche Tonkunst.

DOWLAND 1604/2: Lachrimae..., modern edition, ed. Peter Warlock (Oxford University Press, London, 1926).

DOWLAND 1604/3: John Dowland, Complete Consort Music, ed. Edgar Hunt, (Schott, London, 1985)

E .... Numbering by Warwick Edwards for some early consort pieces.

EAST 1610/1: Eight Fantasies of Five Parts from The Third Set of Bookes (London, 1610), ed. E. H. Fellowes, rev. R. Thurston Dart (1960).

EAST 1618/1: Twenty Light Fantasias from the Fift Set of Bookes, ed. David Goldstein, (Provincetown, Mass., 1969).

EAST 1624: The Sixt Set of Bookes (London, 1624)

EAST 1638: The Seventh Set of Bookes... (London, 1638).

ECS .... English Consort Series, ed. Richard Nicholson. From Brian Jordan, 10 Green Street, Cambridge.

EECM .... Series: Early English Church Music.

EM .... Early Music (quarterly journal)

FABER .... Faber Music Ltd., 3 Queen Square, London WC1N 3AU.

FERRABOSCO I C3: Alfonso Ferrabosco the Elder (1543-88): Omnia Opera, CMM 96, Vol. IX (1988). [Score]

FERRABOSCO II 4: 'Alfonso Ferrabosco the Younger: Four-Part Fantasias for Viols', MUSICA BRITANNICA 62, ed. Andrew Ashbee and Bruce Bellingham, (London, 1992). A companion set of parts: FERRABOSCO II 4/P.

FERRABOSCO II 5-6: 'Alfonso Ferrabosco the Younger: Consort Music in Five and Six Parts', MUSICA BRITANNICA 81, ed. Christopher D. S. Field and David Pinto, (London, 2003). A companion set of parts: FERRABOSCO II 5-6/P.

FERRABOSCO II 6: ‘The Complete Six-part works of Alfonso Ferrabosco II’, ed. David Pinto (Corda Music, St Albans, 1990)

FERRABOSCO II Hex: ‘Alfonso Ferrabosco II: Two Hexachord Fantasias’, ed. David Pinto (Corda Music, St Albans, 1992).

FÜLLSACK 1607/1: Ausserlesene Paduanen und Galliarden, Erster Theil... a5, (Hamburg, 1607). Modern editions: ed. C. Engelke, (Breslau, 1930); ed. Helmut Mönkemeyer, (Moeck Ed. No. 9005, Celle, 1986). [See also HILDEBRAND 1609/1 for a companion volume].

FW .... Fretwork Editions (Bill Hunt and Julia Hodgson), 16 Teddington Park Road, Teddington, Middlesex TW1 1 8ND

FWVB .... J.A. Fuller Maitland and W. Barclay Squire (eds.) The Fitzwilliam Virginal Book (modern edition, London, 1899; reprinted New York, 1963).

GALILEI 1584/1 .... V. Galilei: Contrapunti a due voci ..., 29 textless duets, publ. SCMA VIII.

GANASSI 1542/1 .... Schneider (ed.): S. Ganassi: Regole Rubertina, modern edition (1924).

GAULTIER D T .... A. Tessier (ed.): La Rhétorique des dieux et autres pièces pour luth de Denis Gautier (Paris, 1933).

GAULTIER V SR .... A. Souris & M. Rollin (eds.) Corpus des Luthistes Francais: Oeuvres du Vieux Gautier Paris, 2nd ed. (1980)

GIBBONS 1620/1: modern edition, ed. Edmund H. Fellowes, (Stainer & Bell, London, 1924)

GIBBONS 1620/2: modern edition, ed. George Hunter, NORTHWOOD MUSIC (Urbana, 1979). [See also KON FANT 1648].

GIBBONS H: 'Orlando Gibbons: Consort Music': MUSICA BRITANNICA 48, ed. John Harper, (Stainer & Bell, London, 1982).

GIBBONS TCM 4 .... 'Orlando Gibbons': Tudor Church Music Vol. 4 (1925).

GIBBONS V .... D. Wulstan (ed.): 'Orlando Gibbons, verse anthems', Early English Church Music iii (London, 1964).

GIBBONS V2 .... D. Pinto (ed.): ‘Orlando Gibbons: The Consort Anthems’, 3 vols., FRETWORK EDITIONS (2003).

GORTON 1701/1: Twelve Airs for two bass viols (London, 1701): DOVEHOUSE EDITIONS VdG Series, No. 2, ed. D. Beecher and B. Gillingham (Ottowa, 1979).

GROVE .... S. Sadie (ed.): The New Grove, Dictionary of Music and Musicians (London, 1980). GROVE2 .... ditto, 2ndedition, 2001.

GSJ .... The Galpin Society Journal (London, annual).

GUNTERSBERG …. Edition Güntersberg, Langgarten 13, 69124 Heidelberg, Germany (e-mail: zadow@guentersberg.de; internet: www.guentersberg.de).

HILDEBRAND 1609/1: Christian Hildebrand (publ.), Ander Theil ausserlesene Paduanen und Galliarden a5, (Hamburg, 1609). Modern edition, ed. Helmut Mönkemeyer, (Moeck Edition No. 9006, Celle, 1986).

Hinrichsen .... Hinrichsen Editions

HM .... Hortus Musicus series (Bärenreiter, Burnt Mill, Elizabeth Way, Harlow, Essex CM20 2HX).

HOLBORNE 1599/1: Anthony Holborne: Pavans, Galliards and Airs (London, 1599). Modern edition, ed. Sydney Beck (New York, 1940)

HOLBORNE 1599/2: modern edition, ed. Bernard Thomas (LONDON PRO MUSICA EDITIONS, LPM AH1, Brighton, 1980). [Score and parts: 65 pieces].

HUME 1605/1: Tobias Hume: First Part of Ayres (London, 1605); facsimile reprint, ed. Frank Traficante (Scolar Press, Menston, 1969).

HUME 1607/1: Tobias Hume: Captain Hume's Poeticall Musicke (London, 1607); facsimile reprint, ed. Frank Traficante (Scolar Press, Menston, 1969).

IVES 4D: …. Peter Holman and John Cunningham (eds): Simon Ives, The Four-Part Dances (GB-Lbl, Add. MSS 18940-4) (Launton, 2008)

JENKINS 3 .... Andrew Ashbee (ed.): ‘Consort Music of Three Parts’, (MUSICA BRITANNICA 70, 1997)

JENKINS 4a .... Andrew Ashbee (ed.): 'John Jenkins: Consort Music of Four Parts', (MUSICA BRITANNICA 26,1966; 2nd. rev. ed. 1975).

JENKINS 4b .... Andrew Ashbee (ed.): Consort Music for Viols in Four Parts, (Faber Music, London, 1978).

51

JENKINS 5 .... Richard Nicholson (ed.): John Jenkins: Consort Music in Five Parts, (Faber Music, London, 1971).

JENKINS 6 .... Andrew Ashbee and Richard Nicholson (eds.): John Jenkins: Consort Music for Viols in Six Parts, (Faber Music, London, 1976).

JENKINS 6P .... Donald Peart (ed.): 'John Jenkins: Consort Music of Six Parts', (MUSICA BRITANNICA 39, London, 1977).

JENKINS FS1 .... Andrew Ashbee (ed.): ‘John Jenkins: Fantasia-Suites I’, (MUSICA BRITANNICA 78, London, 2001).

JENKINS FS2 …. Andrew Ashbee (ed.): 'John Jenkins: Fantasia-Suites II', (MUSICA BRITANNICA 90, London, 2010).

JENKINS LC .... Frank Traficante (ed.): John Jenkins (1592-1678): The Lyra Viol Consorts, (A-R Editions Inc., Madison, 1992).

JENKINS S .... Helen Joy Sleeper (ed.): John Jenkins: Fancies and Ayres, (Wellesley Edition No. 1, Wellesley College, 1950).

JENKINS W2 .... Robert A. Warner (ed.): John Jenkins: Three-part Fancy and Air (divisions), (Wellesley Edition No. 10, Wellesley College, 1966). Revised by Andrew Ashbee: John Jenkins: Seven Fancy-Ayre Division Suites for Two Trebles, Bass and Organ, (FRETWORK, FE8, London and Bermuda, 1993).

KALMUS .... Kalmus/Universal Edition

KASSEL E .... J.Écorcheville (ed.): Vingt suites d’orchestre du XVII Siècle française; publiées ... d’après un manuscrit de la Bibl. de Cassel (Paris 1906, reprint New York 1970). (This is a diss. for Univ. of Paris, Sorbonne, 1906. Print includes editions and facsimile. Copies at GB-Lbl pr bks g.37; Hirsch M.8731).

LANDMARK PRESS (Mark Davenport), Boulder, Colorado

LAWES D2 .... Mark Davenport (ed.): William Lawes: The Three-Part Consorts for two treble viols (or violins) and bass viol, (LANDMARK Press ECS-3, Boulder, Colorado, 2002).

LAWES L2 .... Murray Lefkowitz (ed.): ‘William Lawes: Select Consort Music’, (MUSICA BRITANNICA 21, London, 1963).

LAWES P3 .... David Pinto (ed.): William Lawes: Consort Sets in Five and Six Parts, (Faber Music Ltd., 1979).

LAWES P4 .... David Pinto (ed.): William Lawes: Fantasia-Suites for violins, bass viol and organ, (MUSICA BRITANNICA 60, London, 1992)

LAWES P6a .... David Pinto (ed): William Lawes: The Royall Consort (new version), (FRETWORK FE1 1, London and Bermuda, 1995)

LAWES P6b .... David Pinto (ed.): William Lawes: The Royall Consort (old version), (FRETWORK FE12, London and Bermuda, 1995)

LPM .... London Pro Musica Edition (Bernard Thomas), P.O. Box 97, Hebden Bridge, HX7 8UZ, England (internet: www.londonpromusica.com

LUPO 3 .... R. Charteris (ed.): Thomas Lupo, Consort Music of Two and Three Parts, (Clarabricken, 1988)

LUPO 4 .... R. Charteris and J. Jennings (eds.): Thomas Lupo, the Four-Part Consort Music, (Clarabricken, 1983); also FRETWORK, FE 22, London, 2003.

LUPO 5:.... Richard Charteris (ed): Thomas Lupo: The Five-Part Consort Music, (FRETWORK, FE13, 1997 and FE14, 1998)

LUPO 6:.... Richard Charteris (ed.): Thomas Lupo: The Six-Part Consort Music, (FRETWORK, FE9, 1993)

MASQUE S .... Andrew Sabol, Four Hundred Songs and Dances from the Stuart Masque (Providence, 1978; 2nd edn. 1982).

MICO 4 .... M. Tyler (ed.): Richard Mico: The Four-Part Consort Music, (FRETWORK, London, 1992).

MICO H .... Andrew Handley (ed.): Richard Mico: Consort Music, (MUSICA BRITANNICA 65, London, 1994).

MUS BRIT or MB .... Musica Britannica (Published for the Musica Britannica Trust by Stainer and Bell) includes

1. D. Stevens (ed.): The Mulliner Book

2. E. Dent (ed.): Cupid and Death

9. T. Dart and W. Coates (eds.): Jacobean Consort Music 15. K. Elliott (ed.): Music of Scotland, 1500-1700

18. J. Stevens (ed.): Music at the Court of Henry VIII

21. M. Lefkowitz (ed.): William Lawes: Select Consort Music

22. P. Brett (ed.): Consort Songs

26. A. Ashbee (ed.): John Jenkins: Consort Music of Four Parts

31, 32 M. Tilmouth (ed.): Matthew Locke: Chamber Music I and II

39 D. Peart (ed.): John Jenkins: Consort Music of Six Parts

40 W. Edwards (ed.): Music for Mixed Consort

44, 45 P. Doe (ed.): Elizabethan Consort Music I and II

46 R. Charteris (ed.): John Coprario: Fantasia-Suites

48 J. Harper (ed.): Orlando Gibbons: Consort Music

59 J. Irving (ed.): Thomas Tomkins: Consort Music

60 D. Pinto (ed.): William Lawes: Fantasia-Suites

62 A. Ashbee and B. Bellingham (eds.): Alfonso Ferrabosco the Younger: Four-Part Fantasias

65 A. Handley (ed.): Richard Mico: Consort Music

67 I. Payne (ed.): John Ward: Consort Music of Five and Six Parts

70 A. Ashbee (ed.): John Jenkins: Consort Music of Three Parts

78 A. Ashbee (ed.): John Jenkins: Fantasia-Suites I

81 D. Pinto and C. Field (eds.): Alphonso Ferrabosco the Younger: Consorts of Five and Six Parts

83 I. Payne (ed.): John Ward: Consort Music of Four Parts

90 A. Ashbee (ed.): John Jenkins: Fantasia-Suites II

MBP .... Compatible parts for MB volumes.

MINKOFF …. A la Règle d’Or, 23 Rue de fleurus, 75006, Paris (internet: minkoff@minkoff-editions.com ).

MM .... Marks’ Music, 87 Olive Road, London, NW2 6UR

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MMF .... MMF Publications, PO Box 287, 2160 AG Lisse, The Netherlands. Music from Dutch Libraries.

Moeck Editions

MP …. Wydawnictowo Dawnej Musyki Polskiej/Editions de l’Ancienne Musique Polonaise, vol. 29.

Marcin Mielczewski, Canzona a 2: doi Violini e Basso, Krakow, 1956.

MUSICA RARA

Nagel .... Nagel Edition

NORTHWOOD .... Northwood Music (George Hunter), 1108 West Stoughton, Urbana, Illinois 61801, USA.

NOVA .... Nova Music

NOVELLO .... Novello and Co. Ltd.

PETERS .... Peters Edition

PME .... Practicall Musicke Editions (Maurice Rogers), mau-conni@oklynge83.freeserve.co.uk

PRB .... PRB Productions (Peter Ballinger), 963 Peralta Avenue, Albany, California 94706, USA. PRBPrdns@aol.com

SARABAND .... Saraband Music (Patrice Connelly), patrice@saraband.com.au

SCHIRMER .... Schirmer

Schott .... Schott & Co. Ltd., 48 Great Marlborough Street, London

Severinus Press (see under BOETHIUS)

SIMPSON T 1621/1: Thomas Simpson: Taffel Consort... (Hamburg, 1621); modern edition, ed. Bernard Thomas, (London Pro Musica, Brighton, 1988).

STIMU .... STIMU, Utrecht

TCM .... Tudor Church Music

TYE PM .... Christopher Tye: Complete Consort Music; modern edition, ed. Bernard Thomas, (London Pro Musica, Brighton)

VdGS .... Viola da Gamba Society of Great Britain

VdGSA .... Viola da Gamba Society of America

VdGS SP .... Supplementary Publications of the Viola da Gamba Society (GB). VdGS NL .... Pieces included with the Viola da Gamba Society (GB) Newsletter.

WARD P3 .... Ian Payne (ed.): John Ward: Consort Music of Five and Six Parts (MUSICA BRITANNICA 67, London, 1995).

WARD P4 .... Ian Payne (ed.): John Ward: Consort Music of Four Parts (MUSICA BRITANNICA 83, London, 2005).

WEBSTER HC …. Peter Holman and John Cunningham (eds): Maurice Webster: Complete Consort Music (Launton, 2010)

AUTHOR INDEX FOR BIBLIOGRAPHY

Abbey, Hermione LEYCESTER AAdams, Martin PURCELL Adel Amo, Patxi POOLE AAndriessen, P. HACQUART C AAplin, John FANSHAWE AArkwright, G. E. P. OXFORD AAshbee, Andrew BDECM; BROWNE A; CONSORTS A; CONSORTS A2; COURT A;

JENKINS A1 to A12; JENKINS AH; LAWES A; LE STRANGE A; LE STRANGE A2; RECM; WHITELOCK

Aston, Peter JEFFREYS A1; JEFFREYS A2; Baillie, L. LBL BBaines, Francis GIBBONS B1; GIBBONS B2Baker, David and Jennifer BROWNING B1; PARSONS BBellingham, Bruce FERRABOSCO II B; WOOD BBennett, John S. MICO B-W; MICO-BBergasel, John DENMARK BBerget, Claire STERNE BBertenshaw, Derry ITAL-ENG B; ITAL-ENG B2; LUPO BBlount, G. MUNDY BBoal, Ellen TeSelle PURCELL BBock, Emil W. HINGESTON BBoden, Anthony TOMKINS BBodig, R (transl.) GERMANY EBoetticher, W. RISM-TABLBol, Hans BASS BBowles, Garrett H. MARAIS BBoyan, P. TREGIAN B-LBoyd, Morrison Comegys ELIZ BBray, Roger BALDWIN B; BALDWIN B2Brennan, Michael G. SOMERSET BBrett, Philip PASTON BBrooker, Jeremy BARYTON BBrookes, Brian NAU-BBrookes, Virginia IN NOM B; IN NOM B1; KEYBOARD B; WARD BBrown, Alan BYRD STBrown, David WEELKES BBrown, Howard Meyer RENAISSANCE BCadell, P. PANMURE CCaldwell, John TOMKINS CCarter, Richard LEYCESTER CCaudle, Mark VIOLIN CCharlton, David MICROFILMCharteris, Richard CLARK C; CLARK C2; COPRARIO C1 to C5; DOWLAND C; DUBLIN C1

to C5; FERRABOSCO C; FERRABOSCO I C; FERRABOSCO I C2; HAMBURG C; HATFIELD C; HUNTINGDON C; HUTTON C; JAGIELLONSKA C; KASSEL C; PEERSON C; SIMPSON C

Cheney, Stuart Glenn DUBUISSON C1; DUBUISSON C2Cole, Elizabeth TREGIAN C1; TREGIAN C2Conner, Ted SIMPSON ConCorp, Edward STUART CCoxon, Caroline JENKINS C1; JENKINS C2Crawford, Tim CONSORTS C; HUYGENS CCrosby, Brian DURHAM CCrum, Margaret OXFORD C1; OXFORD C2Cuneo, Ann TREGIAN CuCunningham, Caroline COPRARIO C6; COPRARIO C7Cunningham, John P. HARP C1; HARP C2; LAWES C1; LAWES C2; LAWES C3; LAWES C4;

55

LYRA CuCyr, Mary EGERTON C; LYRA C; TREBLE CDart, R. Thurston CONSORTS DA; GIBBONS D; TREGIAN DDavenport, Mark LAWES MDDavid, E. NOTATION D LDodd, Gordon BULL D; FERRABOSCO II D; LAWES D; LAWES D2; LYRA D;

WASHINGTON D; WEELKES D; YOUNG DDonington, Robert CONSORTS DDuffin, Ross VOICE/VIOL DÉcorcheville, J. de PARIS EEddy, M Alexandra ROSTEdwards, Warwick CONSORTS E1; CONSORTS E2; WALSINGHAM EEinstein, Alfred GERMANY E Evans, Joan EAST EEvans, Peter DURHAM EFallows, David DREXEL FFellowes, Edmund H. BYRD F; GIBBONS FFenlon, Ian BROWNE FFField, Christopher D.S. BING F; CONSORTS F; FERRABOSCO II F; LE STRANGE F; LOCKE FFlassig, Fred GERMANY FFleming, Michael ICONOGRAPHY F; MAKERS F; PLAYFORD F; VIOL F; VIOL F2Ford, Robert OSBORN F; WARD F; YALE-FILMERFortune, Nigel BROWNE FFFurnas, Paul L. MANCHESTER FGartrell, Carol BARYTON G; BARYTON G2Gerig, David Allen TAILOUR GGervers, Hilda DREXEL GGoy, François-Pierre LUTE/VIOL G; NORWAY GGraf, Anne LYRA GRGrampp, Florian ITALY GGreaves, Richard L. OXFORD GGreen, Robert DOLLÉ G; PARDESSUS GGriffiths, David YORK G1; YORK G2Gwynn, Dominic ORGAN GHamessley, Lydia ITAL-ENG H1; ITAL-ENG H2Hancock, Wendy E. BASS WHHarding, Rosamund LOCKE HHarley, John BYRD H; GIBBONS HYHarman, R. Alec DURHAM HHarper, John GIBBONS H2; GIBBONS H3Harris, Colette HUME H1; HUME H2; LYRA HHarwood, Ian CAMBRIDGE H; CAMBRIDGE H1; ROSSETER HHayes, Gerald HAYES VHeydon, Julia J. PEERSON HHoffmann, Bettina ITALY HHolman, Peter ABEL H; BALTZAR H; BARYTON H; BASS H; BASS H2; DOWLAND H;

HARP H; JEFFREYS H; JENKINS AH; JENKINS H; PURCELL H1; PURCELL H2; STERNE H; SYMPHONY H; VIOL H; VIOLIN H; VIOLIN H2

Howard, Alan GOLDING HHuber, Calvin R. BRADE HHughes-Hughes, Augustus LBL HHHulse, Lynn CAVENDISH H; CAVENDISH H2; CUTTING H; HINGESTON H;

PATRONAGE HIrving, John HUTTON I; LBL I; TOMKINS I1 to I5Jackson, B. G. LE BLANC JJenkins, P. MORLEY JJennings, John LUPO J1 to J3Johnson, Jane Troy FANT-SUITE J; JENKINS J

Joiner, M. LYRA MJJones. A. PEERSON JJones, Edward Huwys BASS JJones, Sterling Scott HUME JKelly, Ruth IVES KKerman, Joseph MADRIGAL KKing, A. Hyatt BIBL KKinney, Gordon DUBUISSON K; TELEMANN KKnape, Walter ABEL KKnowlton, Jean MASQUE KLamb, G. TREGIAN B-LLasocki, David BDECMLe Blanc, Hubert LE BLANC 1740 and 1740/1Lefkowitz, Murray LAWES L1; LAWES L4; LOCKE L; LOCKE L2Lejeune, J. LYRA JLesure, François MARAIS LLinfield, Eva BUXTEHUDE LLowinsky, Edward FERRABOSCO II LLussy, M. NOTATION D LLuttman, S. SCHENCK LMadan, Falconer OXFORD MMarshall, Arthur FINGER M; FINGER M2Mateer, David DOWMcCart, Calum PANMURE McCMcCoy, Stewart PASTON MMcDowell, B. MARAIS McDMcGuiness, David GIBBONS McGMeredith, M. SIMPSON MMeyer, Ernst H. CONSORTS M; MEYER ECM; MEYER EECM; MEYER SMiloradovitch, Hazel CORELLI MMilsom, John TALLIS MMiserandino-Gaherty, Cathie BODLEIAN GMonson, Craig VOICE/VIOL M; VOICE/VIOL M2Morehen, John PARSLEY MMorris, Stephen YOUNG M; YOUNG M2Mountney, Rev. Hugh JENKINS MMracek, J. UPPSALA MMueller, P. E. ENG MUSMunstedt, Peter A. PLAYFORD MNeighbour, Oliver BYRD N; BYRD N2Nelson, E. FANTASIA NNelson, Graham CORKINE N; CORKINE N2; LYRA NNewton, R. MARAIS NNicholson, Richard GIBBONS NNg, Shaun K. F. ROUSSEAU NNoble, Jeremy RENAISSANCE NO’Loghlin, Michael GERMANY OLOrlando, Susan ITALY OOtterstedt, Annette LYRA O1; LYRA O2; ORGAN OOwens, Samantha GERMANY OPallis, Marco CONSORTS PPayne, Ian BYRD P; COBBOLD P; LBL P; RAVENSCROFT P; WARD P1; WARD P2Phillips, Elizabeth BUTLER P1; BUTLER P2Pinto, David DUBLIN P; FANTASY P; HATTON P; HATTON P2; LAWES P1 to P5;

PURCELL Pi; TOMKINS PPlatt, Peter DEERING P1Poulton, Diana DOWLAND PPrice, Curtis PURCELL PrPulver, Jeffrey PULVER

57

Rae, J. SIMPSON RRamsey, David LYRA GRRasch, Rudi DUTCH R1Rastall, Richard ROGERS RRawson, Robert G. FINGER RRayner, Clare GIBBONS C RReese, Gustav RENAISSANCE RReeve, R. MUNDY RReiners, Hans BOWS RRhodes, David J. BASS DRRichards, Janet M BASS RRiley, James W. GREGORY R1; GREGORY R2Robertson, Michael N. GERMANY RRobinson, John LYRA RRobinson, S. Lucy FORQUERAY RRose, Adrian DOLLÉ R; DOLLÉ R2; PARDESSUS R1; PARDESSUS R2Ruden, J. SWEDEN-TABLRutledge, J. BIB RSadie, Julie-Ann BASS S; MARAIS S; MONTECLAIR SSanford, Gordon COPRARIO SSawyer, John LYRA SSchneider, H. LULLY SSchofield, Bernard TREGIAN DSchwendowius, B. GERMANY SShaw, Harold Watkins BING S; ORGANISTS SShay, Robert PURCEL STShute, John Derek WOOD SSicard, M. BASS SI; FRANCE S1; FRANCE S2Sleeper, Helen JENKINS S; JENKINS S2Smit, Lambert VIOLONCELLO SSmith, Douglas Alton EBENTHAL SSmith, Kathryn E. VOICE/VIOL SSmith, Mark CELLO SSpector, Irwin WHITE R SSpring, Matthew LUTE S; LUTE/VIOL SStevens, Denis TOMKINS SStoltzfus, Ila H. LYRA ST1; LYRA ST2; SIMPSON SStrahle, Graham FANTASY S1; FANTASY F2Strover, Christian WARD SSullivan, W. HUME SSummers, Mark FRANCE MSSutcliffe, Richard PARDESSUS STessier, A. MARAIS TeThomas, C. TAILOUR TThompson, Clyde H. MARAIS TThompson, Robert DUBLIN T; LOCKE Th; PAPER T to T3; PLAYFORD T; PURCELL ST;

PURCELL Th1; PURCELL Th2; WITHIE TThompson, Ruby Reid TREGIAN T; TREGIAN T2Tilman, Muthesius VIOL MTilmouth, Michael LOCKE T2; LOCKE T3; PURCELL TTraficante, Frank BUILDING T; LYRA T1 to T4; MANCHESTER T; ZIEGLER TTriplett, W. M. GIBBONS TTurbet, Richard BYRD T1; BYRD T2; BYRD T3; BYRD STUrquhart, Margaret BOLLES U; FALLE U; JENKINS U; St BARBE U; SIMPSON U to U3Vaught, Raymond FERRABOSCO II VWainwright, Jonathan HATTON W; HATTON W2; JEFFREYS WWalls, Peter LYRA W; MASQUE WWard, Alan GOLDING HWard, John DOWLAND W; DUBLIN WWarner, Robert A. JENKINS W1; JENKINS W3

Watts, P. CRANFORD WWeidner, Robert W. IN NOM WWess, Joan FANTASIA WWessely-Kropik, Helene COLISTA WKWestrup, Jack PURCELL WWilletts, Pamela J. BARNARD W; BING W; COSYN W; GIBBONS W; JENKINS PW; LBL W;

LE STRANGE W1; LE STRANGE W2; LILLY W; LILLY W2; MERRO W; MICO B-W; MYRIELL W1; MYRIELL W2; STIRROP W; TREGIAN W

Wilson, John NORTH WWinzap, F. MARAIS WWood, Thomas G. BALTZAR WWoodfield, Ian RESEARCH W; VIOL WWoodfill, Walter WOODFILLWool, Christopher KASSEL WZimmerman, Franklin PURCELL Z; PURCELL Z2

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REVISED AND NEW PAGES ADDED SINCE 2004

2004: revised pages

A-3-1A-4-2A-4-3BULL-1Carwarden-1CobbR-1Colman-5Colman-7Colman-9Colman-11Coprario-2Coprario-4Coprario-5Coprario-7Coprario-8Deering-2Deering-3DuarteEast-3East-4Farrant-1GibbonsO-2GibbsT-1Holborne-8Jenkins-29

Jenkins-40Jenkins-43Jenkins-54Lawes-3Lawes-5Lawes-9Lawes-12Lawes-14Lawes-15Lawes-16Lawes-17Lawes-18Lawes-19Lawes-20Lawes-21Lawes-22Lawes-23Lawes-30LupoTs-2LupoTs-7LupoTs-9LupoTs-10Mando-1Marais-39MellD-2

MellD-4MellD-6Mercure-1Mico-2Mico-4Nicolai-1Nicolai-2Orn-1Parsons-3PedersenPeerson-2Purcell-2Rogers-2Sandley-1SimpsonT-2SimpsonT-3SimpsonT-4SimpsonT-5Steffkens-2Tomkins-5Tye-3Ward-3Webster-1Wilson-1

2004: New pages

A-4-7BECKER-1 TO -9Bleyer-1Borchegrevinck-1CHESHAM-1Duarte-1

Gistou-1Grabbe-1Grep-1HelyC-1Krosch-1Maerker-1

Mons-1MuddT-1Sommer-1Steffens-1Toppfer-1

2005: Revised pages

A-2-1A-3-2A-Di-1ABEL-1Jenkins-12A

Johnson-1Johnsons-1LupoJ-1Milton-1Steffkins-2

Steffkins-4Steffkins-7Tomkins-1

2005: New Pages

ABEL CH-1 Abel CH-2 Abel CH-3

Beedom-1Caurroy-1 to -4Grabu-1

Hawney-1JacksonJ-1Jennings R-1

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2006: Revised pages (no new pages this year)

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2007: Revised pages

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2007: New pages

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2008: Revised pages

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2008: New Pages

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2009: Revised Pages

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2009: New Pages

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2010: Revised Pages

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2011 New Pages

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NORCOMBE-1

LIST OF MODERN PUBLICATIONS(We would be pleased to receive notification of any omissions)

Space limitations mean that it is becoming increasingly difficult to record modern publications on the Index pages and instead these will now be listed separately here. The old material will not be deleted unless the space is required for new work, but this list should be the first point of reference.

ANONYMOUS

Divisions (7 sets) (bass viol) VdGS ME 1376 Greensleeves VdGS ME 69367 Sound out my voice VdGS ME 1286505 lyra viol VdGS ME 896599 3 Airs for 2 lyras VdGS ME 131709-11and 713-715 3 airs and 3 almains a2 VdGS ME 188741 piece a2 [Mico?] VdGS ME 215602-8 7 duos VdGS ME 203903-4 2 fantasias a3 VdGS ME 1461337-9 3 fantasias a4 VdGS ME 2141340-1343 3 fantasias and 1 pavan a4 VdGS ME 2251615-16 2 fantasias a5 VdGS ME 1471655-6, 1665 3 fantasias a5 VdGS ME 2171607, 1625 2 fantasias a5 VdGS ME 162/1771611-14 4 pavans a5 VdGS ME 1491546 [untitled] a5 VdGS ME 2082142-2274 Masque airs a2 MASQUE

ALLISON, Richard (fl. 1592-1601)

E601 De la Tromba pavin MORLEY 1599/1, no. 3E602 Response pavin MORLEY 1599/1, no. 25; MB 40, no. 1E604 Alison’s knell pavin MORLEY 1599/1, no. 11E605 Bachiler’s delight MORLEY 1599/1, no. 24E607 Go from my window MORLEY 1599/1, no. 12E674 Quadro pavin MORLEY 1599/1, no. 1E833 -galliard MORLEY 1599/1, no. 2E673 Mr Alisons Almayne Musica Britannica 40, no. 4E701 Paven dolorosa Musica Britannica 40, no. 3E603 The sharp pavin Musica Britannica 40, no. 2E606 The Lady Frances Sidneys Almayne Musica Britannica 40, no. 5E244 In Nomine a 5 Musica Britannica 45, no. 150

ALLWOODIn Nomine a4 VdGS ME 182

AMNER, John (1579-1641)

Pavan a5 Corda Music CMP 418Galliard a 5 Corda Music CMP 418

BACH, C.P.E. (1714-1788)

Sonata in C Alamire D/1990/4169/5Güntersberg G050Dovehouse, Baroque no. 23

Sonata in D Alamire D/1990/4169/5Güntersberg G046Peters 4287

Sonata in g Alamire D/1990/4169/5

1

Güntersberg G080Schott VAB2

BACHELOR, Daniel (c.1574-1610)

E609 Sir Francis Walsingham’s good night Musica Britannica 40, no. 6E610 The Lady Frances Sidneys felicitye Musica Britannica 40, no. 8E612 Daniells triall Musica Britannica 40, no. 10E614 The widows mite Musica Britannica 40, no. 11E703 Sir Francis Walsinghams good

morrow Musica Britannica 40, no. 7E611 The Lady Walsinghams conceits Musica Britannica 40, no. 9E613 Daniell’s Almayne Musica Britannica 40, no. 12

BALDWIN, John (before 1560-1615)

E3 In manus tuas, Domine Musica Britannica 45, no. 117E109 Coockow as I me walked Musica Britannica 45, no. 125

London Pro Musica, EM14E110 A browninge of 3 voc. Musica Britannica 45, no.124

London Pro Musica, EM14Northwood Music BR-1 [1st issue]

E128 Upon In Nomine [a4] Musica Britannica 45, no. 131Bärenreiter, Hortus Musicus, 134

E245 In Nomine [a5] Musica Britannica 45, no. 152

BALTZAR, Thomas (c.1631-1663)

84 Almond [solo violin] Geschichte der Musicke in Beispielen, 237

BASSANO, Giovanni

1-20 Fantasias [a3] [1585] FretworkNos. 1, 8, 10, 12, 13, 15, 18 Bärenreiter, Hortus Musicus 16Nos. 2, 4, 6, 7 Bärenreiter, Hortus Musicus, 64

BASSANO, Augustine (c.1526-1604)

1-5 Pavans and Galliards a5 Nova Music

BASSANO, Jerome (Hieronimus) (1559-1635)

1-4 Fantasias a5 Nova Music

BATEMAN, Robert (d.1618)

1-2 Galliards a5 Moeck, MMP VI4, 8, 9 Almain, Volta, Näglein Blumen London Pro Musica, Brade, 16176 The Cadua Londn Pro Musica, T. Simpson, 1621

BENNET, John

- Eliza, her name gives honour Musica Britannica 22, no. 47- Venus’ birds Musica Britannica 22, no. 48

BEVIN, Elway (c.1554-1638)

- Browning a3 Musica Britannica 9, no. 15Northwood Music BR-1Saraband Music, SM22

1 In Nomine a5 Musica Britannica 45, no. 153Sul Tasto

2 In Nomine a5 Musica Britannica 45, no. 154Sul Taso

2

BLANKES, Edward

1-6 Fantasias a3 Musica Britannica 45, nos. 118-123VdGSA ‘F’ Series nos. 3-8London Pro Musica, VML183

E56 Fantasia a5 Musica Britannica 45, no. 138VdGS ME 216

BLEYER, Nicolaus

1-6 LPM: SIMPSON T, 1621

BORCHGREVINCK, Melchior

1-3 Moeck MMP IV1 VdGS ME 1494-5 Moeck MMP VI

BRADE, WilliamPavans and galliards (1607) London Pro Musica, TM24Pavans and Galliards (1609) London Pro Musica, WB11617 collection London Pro Musica1614 collection a6 London Pro Musica, MP3

BREWER, Thomas

15-21 Four-part airs VdGS ME 158

BREWSTER (BRUSTERS)

E219 In Nomine a4 Musica Britannica 45, no. 132E248 In Nomine a5 Musica Britannica 44, no. 14

VdGS ME 183

BROWNE, JohnIn Nomine fantasy and air a5 VdGS ME 207

BUCKE, John

E220 In Nomine a4 Musica Britannica 45, no. 133

BROWNE, John

1 In Nomine and Air a5 VdGS ME 207

BULL, JohnFantasia a3 and a4; In Nomine a5 Northwood Music JB-1

E21 Fantasy a3 Musica Britannica 9, no. 73 Dorick fantasias trtrTB Corda Music CMP401

E249 In Nomine a5 Musica Britannica 9, no. 50Bärenreiter, Hortus Musicus 5

E33 Fantasy a4 MEYER EECM, p.299Peters (ed. Beck)

Anthem Almighty God TCM 91

BUTLER, Henry (d.1652)All in BUTLER P

BUXTEHUDE, DietrichSeven Op. 1 sonatas Güntersberg G118Seven Op. 2 sonatas Güntersberg G119

266 Sonata Güntersberg G133267 Sonata Güntersberg G127

3

268 Sonata Güntersberg G065269 Sonata Güntersberg G134271 Sonata Güntersberg G135272 Sonata Güntersberg G129273 Sonata Güntersberg G126

BYRD, William1 Fantasia 1 a3 BYRD COLL XVII, 2

BYRD ED 17, 2Bärenreiter, Hortus Musicus 14, 1Northwood Music, WB-3

2 Fantasia 2 a3 BYRD COLL XVII, 4BYRD ED 17, 4ECS, new series, 21Northwood Music, WB-3

3 Fantasia 3 a3 BYRD ED 17, 6Northwood Music, WB-3

4 Fantasia 4 a3 BYRD COLL XVII, 6Northwood Music WB-3BYRD AB, 27 [keyboard]

1 Fantasia 1 a4 BYRD COLL XIV, 35BYRD COLL XVII, 10BYRD ED 17, 7Peters Edn. 6176Northwood Music, WB-4

2 Fantasia 2 a4 BYRD COLL XVII, 118BYRD ED 17, 11Northwood Music, WB-4

3 Fantasia 3 a4 BYRD TCM 7, 163BYRD COLL V, 111BYRD COLL XVII, 118BYRD ED 17, 147Northwood Music, WB-4

Four fantasias a4 VdGS ME 2301 In Nomine a4 BYRD COLL XVII, 10

BYRD ED 17, 80ECS 20, 10Northwood Music, WB-4

2 In Nomine a4 BYRD COLL XVII, 14BYRD ED 17, 83ECS 20Northwood Music, WB-4

1 In Nomine a5 BYRD COLL XVII, 49BYRD ED 17, 86ECS, 20, 9Northwood Music WB-5

2 In Nomine a5 BYRD COLL XVII, 62BYRD ED 17, 90ECS 20, 7Northwood Music WB-5

3 In Nomine a5 BYRD COLL XVII, 66BYRD ED 17, 94ECS 20Northwood Music WB-5

4 In Nomine a5 BYRD COLL XVII, 53BYRD ED 17, 98ECS 20, 8Northwood Music WB-5

5 In Nomine a5 BYRD COLL XVII, 58BYRD ED 17, 103

4

ECS 20Northwood Music WB-5

E58 Fantasy a5 BYRD COLL XVII, 20BYRD ED 17, 19BYRD AB [keyboard], 26Northwood Music, WB-5

E108 Prelude and Ground a5 BYRD COLL XVII, 38BYRD ED 17, 29BYRD AB [keyboard], 42Northwood Music, WB-5

E112 Browning a5 BYRD COLL XVII, 20BYRD ED 17, 19BYRD AB [keyboard], 26Northwood Music, WB-5

E444 Pavan a5 BYRD COLL XVII, 30BYRD ED 17, 39Northwood Music, WB-5

E83 Fantasia 1 a6 BYRD ED 17, 73BYRD AB [keyboard], 29aNorthwood Music, WB-6

E84 Fantasia 2 a6 BYRD COLL XVII, 92BYRD ED 17, 48BYRD TCM 9, 105BYRD ED 1, 82Kraus, Cantantibus Organis XVI, p.33Northwood Music, WB-6

E85 Fantasia 3 a6 BYRD COLL XVII, 70BYRD ED 17, 63BYRD COLL XIV, 166Kraus, Cantantibus Organis XVI, p.38Northwood Music, WB-6

E402 Pavan a6 BYRD ED 17, 75BYRD COLL XVII, 99Northwood Music, WB-6

E501 Galliard a6 BYRD ED 17, 78BYRD COLL XVII, 101Northwood Music, WB-6

Consort Songs BYRD ED 15Consort Hymns BYRD ED 17

T. C. Fantasy a4 VdGS ME 32

CARLTON, Richard (c.1558-?1638)Pavan a5 VdGS ME 153

du CAURROYthe 1610 publication (fantasias a 3-6) LPM; Guntersberg

CHETWOOD, Mr.1-4 Fantasias a3 Asclepius Editions1 ditto VdGS ME 19

COBBOLD, William (1560-1639)E60,61 In Nomine a5 Musica Britannica 45, no. 139E59 Sub diversis speciebus Musica Britannica 45, no. 140

FretworkFive consort songs in Musica Britannica 22

COCKE, Arthur (d.1604)

5

In Nomine a5 Musica Britannica 45, no. 155VdGS ME 183

COLEMAN, Charles (d.1664)1 Fantasia for 2 bass viols VdGS ME 14

Dovehouse Editions, VDG14Fantasia a5 VdGS ME 96

1-5 Fantasias a6 PRB Productions, VCO461 Fantasia a6 VdGS ME 673 Fantasia a6 VdGS ME 814 Fantasia a6 VdGS ME 127

Three-part Airs (Book 1) Corda Music, CMP490Four-part Airs Fretwork, FE15

COPRARIO, John1-6 Two-part Fantasias Northwood Music JC-2a/2b

Fretwork FE4bFantasia 1 a2 Musica Britannica 9, no. 1Fantasias 2-3 a2 VdGS/Schott [ME] 13

1-10 Fantasias a3 VdGS ME 33Corda MusicFretwork FE4b

6 Fantasias a3 Northwood Music JC-3Fantasia 4 a3 Musica Britannica 9, no. 8

4, 6 Fantasias 4 and 6 a3 Nagel Edition 5631-7 Fantasias a4 Northwood Music JC-4

Fretwork FE4bFantasias 4, 6, 7 a4 VdGS ME 3, 31, 18Fantasias 3 and 5 a4 Musica Britannica 9, nos. 19-20

1-52 Fantasias a5 COPRARIO 5 [score]Fretwork [score and parts]Corda Music [score]

Fantasias 7 and 9 a5 VdGS ME 63, 53Fantasias 6, 10, 48-49 a5 Musica Britannica 9Fantasias 5, 21, 47 a5 ECSFantasia 11 a5 Hinrichsen Edition 578aFantasia 53 a5 VdGS ME 224

1-8 Fantasias a6 COPRARIO 6PRB Productions, VC027

Fantasias 2 and 6 a6 Musica Britannica 9Fantasias 3 and 4 a6 VdGS ME 22

1-12 Fantasias for 2bv and organ Dovehouse Editions, VDG6A-R Editions B41PRB Productions, VC054

Fantasia 7 for 2bv and org. Musica Britannica 9, no. 1011-16 Setts for vln, bv and organ COPRARIO-VLN

Nos. 9 and 12 Musica Britannica 9, nos. 98-991-8 Setts for 2 vln, bv and organ COPRARIO-VLN

Nos. 4 and 7 Musica Britannica 9, nos. 102-1031-11 Airs for 3 lyra viols A-R Editions B4131-32 Airs a2 MASQUE

CORELLI, Arcangelo6 & 9 Sonata op. 5, nos. 11 and 6 VdGS ME 136

COSYN, JohnFour consort songs Musica Britannica 22

CRANFORD, WilliamThree-part consorts PRB Productions, VC029

6

Fantasias 1-2 a3 VdGS ME 172 Almain a3 Curwen 93027Four-part consorts PRB Productions, VC033 Fantasias 1-4 a4 VdGS ME 80 Walsingham variations a4 VdGS ME 109Five-part consorts PRB Productions, VC031 Fantasia 1 a5 VdGS ME 70 Fantasia 2 a5 VdGS ME 161 Variations: go from my window VdGS ME 106

1-6 Fantasias a6 PRB Productions, VC027 No. 1 VdGS ME 66Passamezzo pavan a6 VdGS ME 176Quadran pavan a6 VdGS ME 175

CUTTING, FrancisAir ‘for the tenor and violle’ VdGS ME 88

DAMAN, WilliamUt re my a3 Musica Britannica 44, no. 1

1 Fantasia a6 Musica Britannica 45, no. 191PRB Productions, VC065

2 Fantasia a6 [6 trebles] London Pro Musica, EM19Musica Britannica 44, no. 67Mapa Mundi, H1

DERING, Richard (d.1630)1-8 Fantasias a5 PRB Productions, VC019

Fantasia 4 a5 Musica Britannica 9, no. 38Fantasias 5, 7-8 a5 VdGS ME 112, 113, 44Fantasias 5-8 a5 ECS 12

1-6 Fantasias a6 PRB Productions, VC024 Nos. 1 and 5 a6 VdGS ME 93, 122 Nos. 4 and 6 a6 VdGS ME 165

1-2 In Nomines a6 [anon.] PRB Productions, VC012VdGS ME 164

4 Pavan-Almain a5 ECS 127 Pavan a5 ECS 7

DETHICK, ?Pavan a5 Corda Music, CMP 418

DOWLAND, JohnLachrimae [complete] Fretwork, FE26Music in 4 parts (trTTB) Corda Music CMP444

DUARTE, LeonoraSinfonie a5 Corda Music CMP448

DUMONT, HenriThe Symphonias, Pavanes and Allemandes a3 and a4 from 1652, 1657 and 1668 collectionsDovehouse, no. 39

EAST, Michael1-20 Fantasias a3 [1618] EAST 1618/11-8 Fantasias for 2 bass viols Northwood Music ME-3

Dovehouse VDG501-9 Fantasias a3 [1638] VdGS ME 731-12 Fantasias a4 [1638] Dovehouse Editions, VDG501-8 Fantasias a5 [1610] EAST 1610/1

Stainer and Bell [parts]

7

Fantasia a5, no. 1 SchottWhen Israel came ANTHEMS-RWhat aileth thee ANTHEMS-RTurn thy face ANTHEMS-RO give me the comfort ANTHEMS-RAs they departed ANTHEMS-RBut what went you out to see ANTHEMS-RFor this is he ANTHEMS-RI have roared ANTHEMS-RI am brought ANTHEMS-RMy loins are filled ANTHEMS-RSing we merrily ANTHEMS-RTake the psalm ANTHEMS-RBlow up the trumpet ANTHEMS-R

EGLESTONE, John1-2 In Nomines a5 Musica Britannica 45, 156-157

FARNABY, GilesMaske a4 Consortium Edn. 1009

FARRANT, RichardFour-note pavan a5 Musica Britannica 9, no. 62Ah, alas you salt sea gods Musica Britannica 22, no. 7O Jove Musica Britannica 22, no. 8

FERRABOSCO, ALFONSO [I]All in FERRABOSCO I C3Pavan a5 VdGS ME 159

1-3 In Nomines a5 VdGS ME 159C216 Duo Alfonso Musica Britannica 45, no. 115E27 Ut re mi no. 2 Musica Britannica 44, no. 2E41 Fantasia a4 Musica Britannica 45, no. 127

VdGS ME 135E88 Fantasia a6 VdGS ME 135

Musica Britannica 45, no. 192E89 Fantasia a6, no. 2 Musica Britannica 45, no. 68

FERRABOSCO, Alfonso [II]1-24 Fantasias a4 Musica Britannica 62 [+ parts]

Nos. 1, 2, 4, 13 ECS 5No. 5 VdGS ME 2No. 6 VdGS ME 48Nos. 6-9,16,21,23,24 VdGS ME 157No. 7 VdGS ME 49Nos. 7, 13, 15, 20-21 Consortium D-2332No. 8 VdGS ME 55No. 9 VdGS ME 56Nos. 11-13, 17 Musica Britannica 9No. 15 Peters Edn. (ed. Beck)No. 16 VdGS ME 58Nos. 18-20 ECS 4No. 18 VdGS ME 59No. 21 VdGS ME 60No. 23 VdGS ME 65No. 24 VdGS ME 75

All five-part Musica Britannica 81 [+ parts]5-part pavans and almans Northwood Music Af-Pav

1-2 In Nomines a5 Consortium 25281 In Nomine Musica Britannica 9, no. 51

8

2 In Nomine VdGS/Schott 41-9 Pavans ECS 9a-b1 Pavan [VdGS 155] 3 lyras VdGS ME 1141, 4 Pavans Musica Britannica 9

Hexachord fantasia, part ii Musica Britannica 9, no. 391-4 Almains ECS 9a-b4 Almain Musica Britannica 9, no. 65/114All six-part Musica Britannica 81 [score]

Corda Music [parts]2, 7 Fantasia a6 Musica Britannic 9, nos. 78, 793, 6 Fantasia a6 Consortium Edition1 In Nomine a6 Musica Britannica 9, no. 85138 Lyra viol VdGS 89155 Lyra viol VdGS 114

FINGER, Godfrey2, 4 Sonatas Dovehouse Editions, no. 403, 6 Sonatas Fentone Music

Suites in D and e Dovehouse Editions, no. 24Sonata in B-flat Dovehouse Edition, no. 18

FORD, ThomasAir a4 VdGS ME 62

1-6 Fantasias a5 VdGS ME 1481 Fantasia a5 Musica Britannica 9, no. 401-4 Tablature duets Musica Britannica 9, nos. 126-7

Lyra viol duets A-R Editions B90

GIBBONS, ChristopherFantasia 22 Hortus Musicus 7

39-41 Fantasias a3 VdGS ME 180Airs a3: 47, 50,69-70, 72-3 Musica Britannica 2

81-2 Fantasias a4 VdGS ME 142

GIBBONS, EdwardIn Nomine a5 VdGS ME 211

GIBBONS, OrlandoAll in Musica Britannica 48

1-6 Fantasias for two trebles Northwood Music OG-2/2Tn1-9 Fantasias a3 Stainer & Bell

Northwood Music OG-3Nagel, 563 and 565

2 a3 with ‘Great dooble base’ VdGS ME 123, 7 ditto Hortus Musicus 144 ditto Musica Britannica 9, no. 96 ditto Meyer ECM

All Fantasias and In Nomine a4 Northwood Music OG-41-2 Fantasias a4 Stainer & Bell

VdGS ME 11In Nomine a4 Musica Britannica 9, no. 28

1-3 In Nomines and pavan a5 Northwood Music OG-51, 3 In Nomines a5 VdGS ME 78 and 772 ditto Musica Britannica 9, no. 521-6 Fantasias a2 Heinrichshofen1,3,5 ditto Musica Britannica 9

Galliard a3 Musica Britannica 9, no. 17Pavan ‘Deleroye’ a5 VdGS ME 195Cries of London Novello (ed. Bridge, 1919)

Novello (ed. Stevens, 1956)

9

Schott (ed. Just, 1933)Musica Britannica 22

Fantasias a6 [anon, attrib. OG] Faber Music6 fantasias, pavan and galliardAnd ‘Go from my window’ a6 Northwood Music OG-6

2,5,6 ditto PRB Productions3-part fantasias with great bass viol Northwood Music OG-3/GB

GIBBONS, Richard1-2 Fantasias a4 VdGS ME 179

GIBBSIn Nomine a5 Musica Britannica 45, no. 159

GILES, NathanielCease now vain thoughts a5 Musica Britannica 22, no. 15

GILL, GeorgeIn Nomine a6 PRB Productions, VC023

VdGS ME 206GIOVANNELLI, Ruggiero

Ut re mi & ‘For verie grief’ a5 VdGS ME 210

GISTOU, Nicolas1-4 Pavans and galliards a5 Moeck MMP VI

GOLDARE223 In Nomine a4 Musica Britannica 45, no. 134

GORTON, William1-12 a1 and a2 all in Dovehouse Editions VDG2

Prelude for bass viol VdGS ME 87

GIOVANELLIUt-re-mi a5 VdGS ME

GRABBE, JohannIntrada, Paduan, Canzon LONDON PRO MUSICA TS1

GRAUN, Johann GottliebConcerto for violin, gamba and orchestra Guntersberg G069Sonata in b for gamba and cembalo Guntersberg G150Trio in C for cembalo, gamba and bc Guntersberg G042Trio in F for gamba and cembalo Guntersberg G057Trio in F for cembalo, gamba and bc Guntersberg G058Trio Concertante in D for 2 gambas and bc Guntersberg G039Trio Concertante in G for 2 gambas and bc Guntersberg G040Trio in G for 2 gambas and bc Guntersberg G131

GRECKE, PeterTwo suites for 2 bass viols Dovehouse Editions VDG42

GREP, Benedict1-6 Moeck MMP V (1-2) and VI (3-6)

HACQUART, Philip1-16 Bass Viol solos PRB Productions, B017

HAKE, EdwardIn Nomine a5 Musica Britannica 45, no. 160

10

HAMMER, Franz XaverFive Sonatas for VdG, ‘Cello or Bass PRB Productions

HARDING, James1-2 Fantasias a 4 Musica Britannica 45, nos. 128-9

LONDON PRO MUSICA EM16

HELY, Benjamin1-9 Solo bass viol Corda Music1-6 Sonatas for 2 basses and bc Corda Music KM2

HILTON, JohnPrelude and fantasias a3 Consortium 1022

1-8 Ayres a3 Practicall Musicke

HINGESTON, JohnRC1-4 2 fantasias a2 VdGS ME 36/45RC9-12 Suite 3 a2 VdGS ME 129RC13-15 Suite 4 q2 VdGS ME 1301-9, 11-15 Fantasias and airs for 3 bass viols Dovehouse VDG38

Fantasia, almande and corant (tr,b) VdGS ME 45Group I PRB Productions VC047Group VII. PRB Productions VC020Group VIII PRB Productions VC025Group II PRB Productions VC022Group X PRB Productions VC014Group XI PRB Productions VC006 No. 1 VdGS ME 35Group XII PRB Productions VC006

HOLBORNE, Anthony1599 book LONDON PRO MUSICA AH1Nos. 5-9, 23-4, 27-8 ECS 1aNo. 46 ECS 1bNos. 40, 59 Musica Britannica 9, nos. 66-7

1-2 Fantasias a4 Schott

HOLMES, JohnPiece a5 VdGS ME 208

HOLMES, Thomas1-5 Airs a3 VdGS ME 168

HOTMAN, NicolasSkolding wife suite for solo b viol VdGS ME 85

HUDSON, GeorgeLyra viol consort (vln, lyra, theorbo) Dovehouse 35

21-28 Airs a 3 in D Practicall Musicke PM11861-69 Airs a 3 in F Practicall Muscike PM117

HUME, Tobias1605 book HUME 1605/11607 book HUME 1607/1

IVES, Simon1-25 Airs a4 Edition HH Ltd.

Nos. 10-16,22,23 LAWES L3No. 18 Musica Britannica 83, p.92

11

Nos. 18, 20, 22 MASQUENo. 23 VdGS ME 62 a4

1-9 Airs for two bass viols PRB Productions VC011Airs a2, nos. 1-2, 5 MASQUE

1-4 Fantasias a4 Peters Edition P6176No. 3 VdGS/Schott ME 18In Nomine a5 VdGS ME 211

1 Fantasia a6 VdGS ME 1662 Fantasia a6 VdGS ME 71

Lyra viol nos. 43,50,113,124,127,147 MASQUELyra viol 124 Musica Britannica 83 (Appendix)

JEFFREYS, GeorgeFantasias a3 Practicall Musicke PM 110No. 1 VdGS ME 133No. 5 Hortus Musicus 14, no. 5

JENKINS, John1-21 Fantasias a3 Musica Britannica 70

Nos. 3-4, 9-10, 20 JENKINS SNos. 3,5,8,11,13,19 Hortus Musicus 149No. 18 Hortus Musicus 14

Meyer EECM, Appendix1-17 Fantasias a4 JENKINS 4b (Faber)

No. 1 Meyer ECM/EECM, AppendixNo. 3 AugenerNo. 5 Peters Edition P6176Nos. 7,9,15-16 JENKINS 4a (Musica Britannica 26)No. 7 JENKINS W3No. 17 VdGS ME 82

1-3 Pavans a5 Faber: JENKINS 5; Fretwork FE30 (with 4th reconstructed pavan)

1-17 Fantasias a5 Faber: JENKINS 5; Fretwork FE29 and FE 30Nos. 1,5,8,10 JENKINS SNo. 15 Schirmer

1-2 Pavans a6 Faber: JENKINS 6Musica Britannica 39

1-12 Fantasias a6 Faber: JENKINS 6Musica Britannica 39

1-2 In Nomines a6 Faber: JENKINS 6Musica Britannica 39

1-28 Fantasias and pavan trtrB,Org Musica Britannica 70Nos. 1-9 VdGS ME 26-28, 43, 79, 104, 108, 117-

1182 bass viols and organ

Nos. 1-2,11-13, 14-17 Fretwork FE21Nos. 18-21, 37-8, 44-6, 63-64 Fretwork FE27Nos. 1-2 Dovehouse 14Nos. 37-38, 44-46, 63 Dovehouse 7No. 19 Dovehouse 3Nos. 24-36 Ogni Sorte

Sonata in d, vln, B, organ Hinrichsen 559b; Schott 10624Aria in A, vln, B, organ Hinrichsen 559aDivisions 1 and 2, tr B, organ [Anon., attrib. Jenkins] VdGS ME 223Fantasia-Suites Divisions 3 and 4, tr B, organ [Anon., attrib. Jenkins] VdGS ME 228

Group I No. 4 Stainer & Bell No. 5 OUP Musica da Camera Nos. 12, 17 JENKINS S

12

Group II Complete Musica Britannica 78 No. 5 Stainer & BellGroup III Complete Musica Britannica 90 Nos. 1 and 7 Corda Music (Golden Phoenix)Group IV Complete PRB Productions VC010Group V Complete Musica Britannica 26Group VI Complete JENKINS W2; Fretwork FE8Group VII Complete Musica Britannica 78 Nos. 4,10,14 JENKINS SGroup VIII No. 7 Early Music January 1978, 31-5

32 Ayres trtrBB, organ Musica Britannica 26Newark Siege VdGS ME 25

Airs in two parts trBNos. 14-15,30-1,40-44,61-4,86-7, 154-7 Corda Music (Golden Phoenix)

1-10 Airs in three parts Tr,T,B VdGS ME 132Airs in three parts trtrB

Nos. 1-6 PRB Productions VC017Nos. 35-44, 15-21 PRB Productions VC021Nos. 7-14, 53-59 PRB Productions VC028Nos. 60-67, 71-74 PRB Productions VC071Nos. 68-70 Corda Music (Golden Phoenix)Nos. 85-90, 92, 102-103 VdGS ME 222Nos. 93-103 VdGS ME 229

Airs in four partsNos. 1-2,8,31,45-6,50-1 VdGS ME 167Nos. 4,9-12,18-21,23,27-30,34-7 Corda Music CMP 419Nos. 3,5-7,13-14,22,24,38-9,41-2 Corda Music CMP 423a + no. 10 of dubiaNos. 15-17,25-6,32-2,40,43-4,49,52 Corda Music CMP 423bNo. 1 ECS 15Nos. 1,14,23-4,30,32,49 ZfS (Moeck)Nos. 5,22 VdGS ME 11Nos. 3,24,32,49,52 JENKINS SNos. 4,7,10-11,25,31,38-9,41,46-7,51 Musica Britannica 26

Lyra Consorts (tr,lyra,b,kbd)All complete pieces in JENKINS LC

Lyra viol soloNos. 234,321,397,504 VdGS ME 144

JOHNSON, EdwardPaduana a5 Fullsack 1607/1Eliza is the fairest Musica Britannica 22

JOHNSON, Robert [I]In Nomine a4 or a5 Musica Britannica 1

Musica Britannica 15Hortus Musicus no. 3Curwen 90824

Johnson’s Knell Musica Britannica 44, no. 39Ditto and pavan a5 VdGS ME 199

JOHNSON, Robert [II]Satyr’s dance a4 Consortium 1009; MASQUE 249The Temporiser; The Witty Wanton a4 Musica Britannica 9, nos. 31-32Air in tablature VdGS ME 88

KROSCH, Johann1-3 Airs a4 LONDON PRO MUSICA: T Simpson 1621

13

LAWES, WilliamRoyal Consort Fretwork [old and new versions]Consort Music a5 Faber [LAWES P3] 68-71, 74 Musica Britannica 21 75 VdGS ME 38 78-80 VdGS ME 10Consort Music a6 Faber [LAWES P3] 96, 97-100, 104-105 Musica Britannica 21 84-86 VdGS ME 97 87-89 VdGS ME 100 90-93 VdGS ME 52 101-103 VdGS ME 91 85-86 Schirmer 101, 103 Universal EditionFantasias a4 108-113 [all] Dovehouse VDG45 110 VdGS SP 8 [in d]Fantasia-Suites [all] Musica Britannica 60 1, 7-8 with one vln Musica Britannica 21 5 Stainer & Bell 5418 1, 6-7 with two vlns Musica Britannica 21 2 VdGS ME 125 4 VdGS ME 42 5 Stainer & Bell 5421Harp Consorts 162-191 [all] PRB Productions VC062 188-190 Musica Britannica 21Airs 10-13, 26, 28, 75, 80, 83, 206-8, 226-8, 261-3, 311-12, 320-1, 339, 342-3, 345 LaNDMarK Press ECS-3 209, 231, 345 LAWES L3 208, 226, 320-1 VdGS ME 38 [a3] 304 VdGS ME 34 306, 110 VdGS ME 197 318 VdGS ME 75 [a4] 336, 318 VdGS ME 196 337 Universal EditionXxxx MASQUELyra Viol 567 LAWES L3 568, 573 Musica Britannica 21

LOCKE, Matthew1-54 For Severall Friends Musica Britannica 31

Duets for TB or BB Corda Music CMP4921-12 Duos for two bass viols Musica Britannica 31

Hortus Musicus 167Corda Music KM1

1-40 The Little Consort Musica Britannica 31Corda Music GP3a-b

1-24 The Flatt Consort Musica Britannica 311-12 Hortus Musicus 180

1-24 Broken Consort [part i] Musica Britannica 321-20 Broken Consort [part ii] Musica Britannica 321-24 Consort of four parts Musica Britannica 32

Sets 1-3 [1-12] Schott 2311a; Chester 252 a-cSets 4-6 [13-24] Schott 2311b; Chester 252 d-f

14

LOOSEMORE, GeorgeFantasia a3 VdGS ME 152Lyra consort [tr, lv, bass] VdGS ME

LUPO, ThomasFantasias and airs a3 Fretwork FE18b2, 14, 17-20, 24 Nagel 5637, 9, 16 Nagel 5653, 5, 26 Musica Britannica 98 Meyer ECM, p.14415, 25-6 Northwood Music Tl315 Hortus Musicus 1410-12, 14 Hortus Musicus 642, 4, 6, 8-9 VdGSA Series ‘F’18, 20, 26 SchottPavans a3 LUPO 3

ECS 111, 3 Schott1 Musica Britannica 9, no. 16Fantasias a6 Fretwork FE95 Musica Britannica 9, no. 801, 6 VdGS ME 50 and 61Fantasias and airs a4 Fretwork FE22b1 Musica Britannica 92-3 VdGS ME 46 and 418, 11 ECS 11Fantasias a5 Fretwork FE 13, FE 1411-12, 24 Musica Britannica 925-27 ECS 3 [new series]Airs a2 and a33-4 MASQUE

De MACHY, Le Sieur29-56 bass viol Dovehouse Edition

MAERKER, Matthäus1-10 airs a5 Moeck MMP V and VI

MALLORIE/MALERYIn Nomine, Miserere, Sol re sol a5 Musica Britannica 44, nos. 51, 42, 69

MANDO, PatrickLike as the day Musica Britannica 22, no. 12

MARC26-38 treble/pardessus VdGS ME 173-4

MASON1-8 Pavans a5 Corda Music CMP 418

MAYNARD, John7 pavans for lyra viol and bass PRB Productions VC041

MERICOCKE, ThomasIn Nomine a5 Musica Britannica 45, no. 161

MELL, Davis5, 11, 24, 39 MASQUE

MICO, Richard

15

All in Musica Britannica 65 [MICO H]5 duos for trB VdGS ME 215

2-4 Pavans a4 ECS 7aTwo pavans a4 LONDON PRO MUSICA VML146

Consorts a4 [all] Fretwork FE7bFantasias a43, 18, 19 ECS 7b4, 8, 15 Schott 10582-45 OUP EM 24

1-2 Fantasia a5 ECS 2; VdGS ME 134In Nomine a5 ECS 2

1-3 Pavans a5 ECS 2Latral [i and ii] Consortium

MILTON, John [I]3 Fantasias a5 PRB Productions, VC030Fantasia 1 a5 Musica Britannica 9, no. 44In Nomine a6 VdGS ME 204

MONS., ThomasPavan and galliard a5 Moeck MMP V

MORLEY, Thomas1-9 Fantasias a2 Northwood Music TM2

Two fantasias a5 LONDON PRO MUSICA VML207

MOSS, John2 bass viols: suites 1-13 Dovehouse Editions VdG61A2 bass viols: suites 14-26 Dovehouse Editions VdG61B

MOULINIÉ, Étienne1-3 Fantasias a4 Practicall Musicke

MUDD, HenryIn Nomine a4 Musica Britannica 44, no. 15

VdGS ME 182In Nomine a5 Musica Britanncia 44, no. 52

MUNDY, John1-3 In Nomines a5 Musica Britannica 451-2 In Nomines a6 Musica Britannica 45

Sing Joyfully TCM 92

MUNDY, WilliamO Mater Mundi Musica Britannica 44, no. 32Fantasia Musica Britannica 44, no. 33Sermone Blando Musica Britannica 44, no. 43

1-2 In Nomines a5 LONDON PRO MUSICA EM17In Nomine [E272] Musica Britannica 44, no. 53In Nomine [E271] Musica Britannica 44, no. 54Fie fie my fate Musica Britannica 22, no. 30

NAU, Stephen14-19 Airs a5 KASSEL E

NICOLAI, Johann Michael2 Sonata Güntersberg G0413-10 Sonatas and airs Güntersberg G047

NICHOLSON, Richard

16

9 Consort songs Musica Britannica 22Cuckoo Chester edition 230When Jesus sat at meat (verse anthem) VdGS ME 221

NORCOMBE, DanielNine divisions for bass viol: PRB Productions B0161, 5, 8, 13, 16, 20, 25, 28, 31

OKER/OKOVER, John1-10 Fantasias a3 Barrington Series

Nos. 1-3 VdGS ME 1541-2 Pavans a5 PRB Productions, VC044

No. 2 Musica Britannica 9, no. 701-7 Fantasias a5 PRB Productions, VC044

No. 5 Musica Britannica 9, no. 45

ØRN, JacobPavan a6 DENMARK B

PARSLEY, OsbertSalvator Mundi a3 EM adds

Musica Britannica 441-2 In Nomines a4 EM adds

Musica Britannica 44, Nos. 16-17No. 1 Curwen 93103No. 2 VdGS ME 198In Nomine No. 1 a5 EM adds

Musica Britannica 44, No. 55Two pieces a5 LONDON PRO MUSICA VML177Persley’s Clocke a5 EM adds

Musica Britannica 44, no. 44Curwen 90827

Spease Noster EM addsMusica Britannica 44, no. 45

Super Septem PARSLEY TCM Appendix

PARSONS, Robert1-2 In Nomines a4 Musica Britannica 44, nos. 18-19

LONDON PRO MUSICA VML187No. 1 VdGS ME 198Ut re mi a4 Musica Britannica 44, no. 12Songe a5 Musica Britannica 44, no. 35De la Court [two parts] Musica Britannica 44, no. 34In Nomine a5 Musica Britannica 44, no. 56

BYRD COLL XX, no. 150US-NYp edition (1937)FWVB, no. 140

Song called trumpets a6 Musica Britannica 44, no. 70Partita editionLONDON PRO MUSICA EM13

1-2 In Nomines a7 Musica Britannica 44, nos. 74-75VdGS ME 24

Pour down you powers Musica Britannica 22, no. 6Enforced by love and fear Musica Britannica 22, no. 5

PATTRICK, NathanielClimb not too high Musica Britannica 22, no. 32Send forth thy sighs Musica Britannica 22, no. 10Prepare to die Musica Britannica 22, no. 11

17

PEDERSØN, Magnus1-2 Pavans a5 Corda Music CMP 418

PEERSON, MartinFantasia a5: Attendite VdGS ME 83

1-7 Fantasias and Almains a6 PRB Productions VC39CNo. 1 VdGS ME 5Nos. 2, 5 SchottNo. 3 VdGS ME 101No. 4 Musica Britannica 9No 6 VdGS ME 39No. 7 VdGS ME 138Blow out the trumpet Schott 10604

PHILIPS, PeterPavan Pagget; Galliard 10; Pavan 21a5 Musica Britannica 9, nos. 71-2, 90Almain Tr[egian] a5 RENAISSANCE N

PICFORTHIn Nomine a5 Musica Britannica 44, no. 57

PIETKIN, LambertTwo sonatas a4 ttt, bass, bc PRB Productions, B049

PILKINGTON, FrancisFantasia No. 1 a6 VdGS ME 171

POLEWHELE/SIMPSONDivisions on Polewhele’s ground VdGS ME 140

POOLE, AnthonyDivisions for solo viol, no. 7 VdGS ME 139/90

POYNTEIn Nomine a4 Musica Britannica 44, no. 20In Nomine a5 Musica Britannica 44, no. 58

PRESTON, ThomasO lux a3 Musica Britannica 44, no. 5In Nomine a4 Musica Britannica 44, no. 21

PRIMROSEAlmain, Corant, Saraband a3 VdGS ME 103

PURCELL, HenryAll consorts in PURCELL SFantasias and In Nomines a3 – a7 Nagel Edition, Nos. 58, 113

1-3 Fantasias a3 Northwood Music HP-14-13 Fantasias a4 Northwood Music HP-2

Fantasia on one note and In Nominesa6 and a7 Northwood Music HP-3

I-XII Sonatas of three parts PRB Productions VC058 and 59I-X Sonatas of 4 parts Purcell Society (Novello, 1981)

PYTTYNS, RichardRuger Musica Britannica 44, no. 87

WARD D

RANDALL, William

18

In Nomine a5 Musica Britannica 45, no. 164

RAVENSCROFT, ThomasFantasias a5 PRB Productions VC0351 Schott/VdGS 122 VdGS ME 983 VdGS ME 1104 Schott/RMS 142, no. 25

Verse anthems [all below in] RAVENSCROFT P1O Jesu sweet CMSR 3Ah, helpless wretch CMSR 3All laud and praiseO Lord, in thee is all my trustO woeful ruins of JerusalemWrapt up, O LordO clap your hands togetherO let me hear thy loving kindnessThis is the day when firstIn thee, O Lord have I put my trust

READ, RichardPavan and Galliard for 2 lyra viols VdGS ME 131

ROGERS, Benjamin81-89 9 Muses a4 VdGS ME 160

SADLER, JohnIn Nomine a5 Musica Britannica 45, no. 165

SCHAFFRATH, Christophduet for two viola da gambas Guntersberg 087solo in B-flat: viola da gamba, continuo Guntersberg 049sonata in A: viola da gamba, cembalo Guntersberg 048

SCHENCK, JohannSix sonatas op. 9, vdg and cont. Das Erbe Deutcher Musik 67/8 (1973)Two sonatas for 2 bass viols PRB Productions B004Le Nymphe di Rheno PRB Productions B036

12-15 Sonata IV VdGS ME 111

SCHMELZER, HenirichDuodena Delectarum Sonatorum 2 vlns, bass and bc (1659)Sacro-Profanus Concentus Musicus (1662) DTÖ cxi-cxii (1965)

SCHULTZ, Jacob1-2 Galliards a5 Moeck MMP

SIMMES, William1-7 Fantasias a5 PRB Productions VC005

No. 1 Musica Britannica 9, no. 46

SIMPSON, ChristopherNo. 23: Divisions for bass viol VdGS ME 1405 duets for division viols (VdGS 24-8) VdGS ME 220Divisions for treble and bass Dovehouse Editions, no. 11Divisions in F major Saraband Music SM4The Months trBBBc Dovehouse editionsThe Seasons SIMPSON SN

19

1-20 20 ayres for 2 trebles and 2 basses VdGS ME 2261-22 Airs a3 trtrB Dovehouse Editions1-26 Little Consort tr, lyra, B, Bc PRB Productions, VC043a-c

Six ayres for lyra viol and bass PRB Productions, VC037

SIMPSON, ThomasAll in LONDON PRO MUSICA, MP9Volta ConsortiumAllemande, Ricercar, Malcontent Musica Britannica 9, nos. 105-7

SOMMER, Johann1-11 Pavans and galliards a5 Moeck MMP V and VI

STANNAR, WilliamIn Nomine a5 Musica Britannica 45, no. 166

VdGS ME 183STEFFENS, Johann1-10 Pavans and Galliards a5 Moeck MMP VI

STONINGS, HenryIn Nomine a4 Musica Britannica 44, no. 22In Nomine a5 Musica Britannica 44, no. 59 No. 2 VdGS ME 183Miserere a5 Musica Britannica 44, no. 46

EM seriesBrowning a5 Musica Britannica 44, no. 40

EM seriesLONDON PRO MUSICA VML112

STONNARD, WHearken all ye people Concordia Edition

STROGERS, Nicholas1-3 In Nomines a5 Musica Britannica 44, nos. 60-62

In Nomine a6 Musica Britannica 44, no. 73In Nomine Pavin MORLEY 1599/1A doleful deadly pang Musica Britannica 22, no. 9Mistrust not truth Musica Britannica 22, no. 21O heavenly God and father dear Musica Britannica 22, no. 22

SUMARTE, Richard16-19 3 pieces for tenor lyra viol VdGS ME 102

TALLIS, ThomasIn Nomine a4 Musica Britannica 44, no. 23In Nomine a5 Musica Britannica 44, no. 24(both the above) VdGS ME 13A solfinge songe Musica Britannica 44, no. 36

TAVERNER, JohnIn Nomine a5 Musica Britannica 44, no. 25

Musica Britannica 1, no. 35 (kbd)TAVERNER TCM 1, p. 148TAVERNER TCM 3, p. 199Hortus Musicus 134

Quemadmodum a6 Musica Britannica 44, no. 71TAVERNER TCM 3, p. 117LONDON PRO MUSICA EM15

TOMKINS, ThomasComplete consort music in Musica Britannica 59

20

Fantasias and In Nomines a3No. 2 (In Nomine) Hinrichsen H558aNo. 3 (Fantasia) VdGS ME 84Nos. 4-5, 10-12, 16 Consortium D-2331/N 1142No. 8 Schott 10645No. 9 Stainer & Bell 5236No. 10 ECS 11No. 12 Schott 6193Nos. 13, 15 VdGS ME 189No. 14 VdGS ME 47No. 16 VdGS ME 2

Musica Britannica 9, no. 13No. 17 Stainer & Bell 5234

Five-part music Northwood Music, TT-5Fantasia a5 Musica Britannica 5, no. 33 (kbd)Pavans a5Nos. 1, 6-8 Moeck, ZfS; ECS 5 (6)No. 5 VdGS ME 145No. 6 Musica Britannica 5, no. 56 (kbd)

Musica Britannica 9, no. 73Ut re mi a4 Musica Britannica 5, no. 35 (kbd)Almain a4 Musica Brtiannica 9, no. 33

Six-part works Northwood Music, TT-6Fantasias a6Nos. 1, 4 ConsortiumNo. 2 Stainer & BellPavan and Galliard Musica Brtiannica 9, nos. 91-2

Verse anthemsThou art my king, O God EECM 9, no. 21Sing unto God EECM 9, no. 20O Lord, let me know mine end EECM 9, no. 16Above the stars EECM 9, no. 14

TOMKINS, John or ThomasO thrice blessed earth bed Musica Britannica 22, no. 40

TÖPPFER, Christian1-5 airs a4 LONDON PRO MUSICA, Simpson 1621

TYE, ChristopherAll in LONDON PRO MUSICA M1; Musica Britannica 45

Two In Nomines a5 LONDON PRO MUSICA VML129Lawdes Deo a5 Chester

WARD, JohnFantasias and In Nomine a5 all in Musica Britannica 67

No. 1 VdGS ME 40No. 2 VdGS ME 6No. 3 VdGS ME 105No. 4 VdGS ME 76No. 5 VdGS ME 115No. 6 VdGS ME 54No. 7 VdGS ME 57No. 8 VdGS ME 120Nos. 9-10 Musica Britannica 9, nos. 47, 46No. 13 VdGS ME 95In Nomine VdGS ME 15Eight Fantasias and In Nomine Northwood Music JW-5Italian Madrigal fantasias a5 Northwood Music JW-Mad

21

Fantasias and In Nomines a41-6 Musica Britannica 83

PRB Productions VC015Nos. 1, 6 Musica Britannica 9, nos. 27, 25No. 2 Stainer & Bell 5238Nos. 7, 11, 16 VdGS ME 7/30

1-5 In Nomines Musica Britannica 83PRB Productions VC009

No. 5 Musica Britannica 9, no. 296-20 [‘Paris’ fantasias] Musica Britannica 83

PRB Productions VC016, VC018No. 6 VdGS ME 14No. 7 VdGS ME 30No. 8 Musica Britannica 9Nos. 13, 16 VdGS ME 7

1-6 Airs for two bass viols and organ Musica Britannica 83Dovehouse Edition VDG5

No. 2 Musica Britannica 9, no. 6Fantasias and In Nomines a6 Musica Britannica 67

Northwood Music JW-6No. 1 VdGS ME 51Nos. 2-3 Musica Britannica 9, nos. 81-2No. 5 VdGS ME 126No. 6 VdGS ME 121In Nomine 1 VdGS ME 64In Nomine 2 Musica Britannica 9, no. 86Verse Anthems Corda Music CMP 429

WEBSTER, MauriceComplete Consort Music Editions HH Ltd.

WEELKES, ThomasConsort Works a4, a5 and a6 Northwood Music TW-1 to TW-3In Nomine a4 Musica Britannica 45, no. 136

VdGS ME 198In Nomine no. 2 a5 Musica Britannica 45, no. 186

1-2 Pavans a5 VdGS ME 723-4 ditto VdGS ME 163

No. 2 ECS 12No. 5 Musica Britannica 9No. 6 WEELKES GFantasia a6 RENAISSANCE RCries of London Musica Britannica 22, no. 66

WHITBROOKIn Nomine a4 VdGS ME 182

WHITE, RobertAll instrumental music in A-R Editions R12

1-6 Fantasias a4 Musica Britannica 441-4 In Nomines a4 Musica Britannica 44

No. 1 Musica Britannica 1Hortus Musicus 134

Christe qui lux no. 1 a4 Musica Britannica 45, no. 2Christe qui lux no. 2 a4 TCM VIn Nomine a5 Musica Britannica 44, no. 63Mr Whyte his Songe a5 Musica Britannica 44, no. 37

WHITE, WilliamTwo Fantasias for two bass viols Dovehouse, no. 14Fantasia no. 2 for 2 bass viols Musica Britannica 9, no. 5

22

Fantasia a3 trtrB Musica Britannica 9, no. 14VdGS ME 169

Fantasias 1 and 3 a5 Peters Edn. 7168Two Diapente fantasias a5 Saraband Music SM16 No. 2 Musica Britannica 9

1-6 Fantasias a6 Dovehouse Edition VDG36 No. 2 Musica Britannica 9, no. 83 No. 5 VdGS ME 92Fantasia and 2 Pavans a6 PRB Productions VC013 Pavan no. 2 Musica Britannica 9, no. 93

WIGTHORPE, WilliamSmiths are good fellows (voice+5) Musica Britannica 22, no. 57Were I made juror (voice+4) Musica Britannica 22, no. 56; ES 1I am not I (voice+4) Musica Britannica 22, no. 55

WILBYE, JohnNe reminiscaris Domine a5 Musica Britannica 22, no. 45Fantasia a6 Musica Britannica 9, no. 84; VdGS ME 227

WHITBROOKEIn Nomine a4 Musica Britannica 44, no. 31

WITHY, EdwardTrumpet Tune VdGS ME 86

WITHY, JohnTreble and bass divisions VdGS ME 9419 fantasias for 2 bass viols Dovehouse VDG13Fantasia a4; In Nomine a5 VdGS ME 212

WOODCOCK, Clement1-3 In Nomines, Hackney, Browning Musica Britannica 44

Hackney Curwen; LONDON PRO MUSICA VML 112

Browning VdGS ME 74; LONDON PRO MUSICA

WOODESON, Leonard1-4 In Nomines a5 Musica Britannica 45

YOUNG, William1-9 Fantasias a3 (trtBbc) VdGS ME 150-1511-11 Sonatas (1653) a3-5 OUP (1930-1)

DTÖ (1983)8-9 2 sonatas a4 in G & F VdGS ME 178/181

19 airs (1653) (trtrBbc) OUP (1930-1)Universal (ed. Leonhardt, 1962)

Sonata in D (vln,B,bc) Schott29 pieces for solo bass viol Dovehouse, 46Airs and dances for 2 bass viols PRB Productions VC038Coranto and Masque a2 VdGS ME 184Six dances a3 VdGS ME 185Six Allemands a3 VdGS ME 187

ZYKA, Joseph BenediktTrios in C, D, F: violin, 'cello, bass viol PRB CL009Trios in G, A, B-flat: violin, 'cello, b. viol PRB CL010

23

ANON: TWO-PART TREBLE AND BASSLbl, Add. MS 10,444VdGSNo. fol.

2203 30r

2204 31v

2205 32r

2206 32v

2207 32v

2207 32v

2209 33r

2210 33v

2211 33v

2212 34v

2213 34v

2214 35r

2215 35r

2216 35r

II/54 The Lord Hays his Masque[Thomas Lupo]; Rossiter1609/8

II/57 The Fairey MasqueAdd. 38539, f.10r

II/58 The Pages Masque

II/59 A Masque

II/60 The Gypsies masque

II/61 Black Fryars Masque

II/61b [no bass part]

II/62 The Tempest

II/63 A Masque

II/65 A Masque

II/66 The Sheapheards Masque

II/67 Durrance Masque

II/68 The Lord Hayes his firstMasque

II/69 The Second

September 2007 A-2-17

ANON: TWO-PART TREBLE AND BASSLbl, Add. MS 10,444VdGSNo. fol.

‘VB’ = V.Brookes: BritishKeyboard Music to c.1660: Sourcesand Thematic Index

2217 86r

2218 35v

2219 35v

2220 36v

2221 36v

2222 37r

2223 37r

2224 37v

2225 37v

2226 38r

2227 38v

2228 39r

2229 40v

2230 40v

2231 40v

2232 41r

II/70[a] The Third [Bass only]

II/70 [b] The May-Pole[VB 690] Brade 1617/18

II/71 The Amazonians Masque

II/72 The Furies

II/73 The Cuckolds MasqueBrade 1617/45

II/74 The first of the Ladyes, after theCuckolds

II/75 The Second

II/76 The Third

II/77 The Fourth

II/78 A Masque

II/79 Good Words for your Mony

II/80 The Second

II/82 The Lady Lucies Masque

II/86 Mary Maudling Masque

II/78 The First of the Temple

II/79 The Second of the Temple

September 2007 A-2-18

ANON: TWO-PART TREBLE AND BASSLbl, Add. MS 10,444VdGSNo. fol.

‘VB’ = V.Brookes: BritishKeyboard Music to c.1660: Sourcesand Thematic Index

2233 41r

2234 41v

2235 41v

2236 43r

2237 43v

2238 43v

2239 44r

2240 44v

2241 44v

2242 45r

2243 45r

2244 45v

2245 45v

2246 46r

II/89 The Third of the Temple

II/90 The French Morris

II/91 Graysin Anticke Masque

II/96 Fly Foul SoulLbl: Add. 29481/24v

II/97 A Masque

II/98 The Antick Masque at Court

II/99 Graysinne Masque[VB 762]

II/100 York House Masque

II/101 The Mountebanks Dance atGrayes Inne

II/102 The Standing Masque[VB 760]

II/103 The May-pole Dance at GrayesInne

II/104 The Goates Masque

II/105 The First of the Princes Masques

II/106 The Second

September 2007 A-2-19

ANON: TWO-PART TREBLE AND BASSLbl, Add. MS 10,444VdGSNo. fol.

‘VB’ = V.Brookes: BritishKeyboard Music to c.1660: Sourcesand Thematic Index

2247 46r

2248 46r

2249 46v

2250 46v

2251 47v

2252 47v

2253 48r

2254 48v

2255 49r

2256 49r

2257 49v

2258 49v

2259 50r

2260 50v

2261 51r

2262 51v

II/107 The Third

II/108 The Kings Mistresse

II/109 Wilsons Loue

II/111 Waters his Loue

II/112 Broxboorn Berry Masque

II/113 The New Yeares Gift

II/115 Squiers Masque

II/116 The First of the Temple[VB 768]

II/117 The Second[VB 752]

II/118 The Third

II/119 The First of Sr John Paggingtons

II/120 The Second

II/121 The Third

II/124 The First of the TempleMasques

II/125 The Second

II/126 The Third

September 2007 A-2-20

ANON: TWO-PART TREBLE AND BASSLbl, Add. MS 10,444VdGSNo. fol.

‘VB’ = V.Brookes: BritishKeyboard Music to c.1660: Sourcesand Thematic Index

2263 51v

2264 52r

2265 52r

2266 52v

2267 52v

2268 53r

2269 53v

2270 53v

2271 54r

2272 54r

2273 54v

2274 54v

II/127 The First of the Prince hisMasque

II/128 The Second

II/129 The Third

II/130 Lincolnes Inne Masque

II/131 The Prince his Masque

II/132 The Apes Dance at the Temple

II/133 Grayes Inne MasqueBrade 1617/38

II/134 Grayes Inne Masque

II/135 The First of the Prince his[Masque] [Robert Johnson][VB 1838] Brade 1617/31

II/136 The Second[VB 311] Brade 1617/32

II/137 The ThirdBrade 1617/33

II/138 [no title] Brade 1617/19

September 2007 A-2-21

ANON. Airs for treble and bass

VdGS No.

2275 [Saraband]

2276 [Jig]

2277 [Air]

2278 [Corant]

2279 The RunningAlmand

2280 The Port

2281 Almain

2282 [Almain]

2283 Saraband

2284 [Saraband]

2285 [Air]

2286 [Air]

February 2008 A-2-22

US-

NH

,Film

er3.

Tre

ble

&ba

ss

f.

90v

85v

76r

76r

75v

75v

74v

74v

74r

74r

64r

64r

ANON. Airs for Treble and Bass

VdGS No.

2287 [Air]

2288 [Saraband]

2289 The Globe Antick

2290 Courant

2291 [Saraband]

2292 The Grand Masque

2293 [Jig]

2294 Almain

2295 Ayre

2296 Courant

2297 Saraband

February 2008 A-2-23

US-

NH

,Film

er3:

trebl

e&

bass

f.

63v

63v

62v

62r

62r

59v

58r

57r

57r

56v

56v

ANON. Treble and BassMostly, if not all, French

VdGS No.

2298 [Air]

2299 A FrenchAyre

2300 A FrenchAyre

2301 MoutarteNouvelle

2302 Tricotes

2303 Triottesde blois

2304

2305 LaPrincesse

Sir E F2306 his French

Ayre

Courante2307 de

Tranelinne

2308

2309Larobichonne

February 2008 A-2-24

US-

NH

,Fi

lmer

3

GB-

En,P

an-

mur

e2,

3,12

fol.

16v

17r

17r

17r

17v

17v

17v

17v

18r

69v

69v

69r

ANON. Treble and BassMostly, if not all, French

VdGS No.

2310 La Boureede Robichon

2311 LeBoguinet

2312 Courante

2313 Courante

2314MoleneriserLedernier

February 2008 A-2-25

US-

NH

,Fi

lmer

3

GB-

En,P

an-

mur

e2,

3,12

fol.

69r

69r

68v

68v

68r

ANONYMOUSPieces for violin, bass viol and continuoprobably of continental originVdGS No.

801 Sonata C

802 Sonata D

803 [Sonata] a

804a [Suite]Allemande A

804b Courante A

804c Ballet A

804d Sarabande A

804e Gigue A

805 [Sonata] d

806 Sonata a

807 Sonata a

GB

-DR

c,D

2

GB

-DR

c,D

5

GB

-Ob,

Mus

.Sch

.C.8

0

GB

-Ob,

Mus

.Sch

.D.2

49

F-Pn

,Rés

Vm

767

3

no.

15

24

no.

5

9

9

9

9

9

no.

2

no.

8

13

no.

43

A-2/bc-1

2003

ANONYMOUSPieces for violin, bass viol and continuoprobably of continental originVdGS No.

808 [Sonata Cand suite]

809 Symphonia G

810 Symphonia a

811 Sonata a

812 [Sonata] d

813* [Sonata] d

814 [Sonata] a

815† Sonata d

816 Sonata g

* Also in S-Uu, IMhs 11:1† Also in Exercitum Musicum (Frankfurt, 1660), No. 5

GB

-Lbl

,Add

.314

23

GB

-HA

dolm

etsc

hII

.c.2

5

GB

-Ob,

Mus

.Sch

.D.2

49

GB

-Lbl

,RM

20.h

.9

F-Pn

,Rés

Vm

767

3

no.

231v

228v

229v

no.

10

11

12

no.

14

no.

102

no.

40

45

70

A-2/bc-2

January 2009

GB

-DR

c,D

2

no.

27

ANONYMOUSPieces for violin, bass viol and continuoprobably of continental originVdGS No. Key

817 Sonata a

818 Sonata G

819 Sonata a

820 Sonata Bb

821 Sonata D

822 Sonata D

S-UuIMhs

D-W

,Cod

.Gue

lf.34

.7.

Aug

2o

11:9

11:4

11:10

11:3

11:6

no./p.

5/13

A-2/bc-2a

January 2009

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No.

831 Sonata g

832 [Sonata] d

833 [Sonata] G

834 [Sonata] D

835 [Sonata] D

836 Sonata a

837 Sonata d

838 Sonata F

839 La Castellina d

840 Sonata a

841 ‘adagio’ A

*ANDREAS OSWALD842 Variata Aria d

F-Pn

,Rés

Vm

767

3

GB

-HA

dolm

etsc

hII

.c.2

5

no.

1

3

8

11

14

15

19

26

27

28

29

30

no.

22

no.

10

no./page

51[b]/81

*54/88

A-2/bc-3January 2009

Exer

citu

mM

usic

um(F

rank

furt

,166

0)

D-W

,Cod

.Gue

lf.34

.7.A

ug.2

o

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No.

843 [Sonata] d

844 [Sonata] a

845 Variationes D

846 Sonata d*G.B.BUONAMENTE

847 [Sonata] e

848 [Sonata] D

849 [Sonata] F

850 [Sonata] a

851 ‘adagio’ C

852 [Sonata] F‘Violino è Viold’amor’

853 [Sonata] G

854 [Sonata] C

F-Pn

,Rés

Vm

767

3

no.

31

36

46

51

54

55

58

69

71

78

84

85

no.

24

no.

11

13

A-2/bc-4January 2009

GB

-HA

dolm

etsc

hII

.c.2

5

Exer

citu

mM

usic

um(F

rank

furt

,166

0) S-Uu,

imhs

1:9*

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No.

855 [Sonata] a

856 [Sonata] e

857 [Sonata] d

858 [Sonata] d

859 [Sonata] e

860 [Sonata] d

861 ‘adagio’ e

862 [Sonata] F‘Viola d’amour èViolino’

863 [Sonata] A

864 La Chorista D

F-Pn

,Rés

Vm

767

3

no.

89

90

91

94

97

98

104

110

111

115

A-2/bc-52003

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No.

865 [Sonata] D

866 [Sonata] F

867 [Sonata] d

868 [Sonata] F

869 [Sonata] C

870 [Sonata] C

871 [Sonata] a

872 [Sonata] d

873 [Sonata] d

874 [Sonata] F

875 [Sonata] Bb

876 [Sonata] a

F-Pn

,Rés

Vm

767

3

no.

118

119

122

123

125

126

127

130

132

134

135

145

A-2/bc-6January 2009

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No.

878 Canon per arsinet thesin G

879 Symphonia D

880 Sonata D

881 Sonata G* BERTALI

882 Sonata Bb

883 Sonata a

884 Sonata D

885 Bergamasco D

886 Sonata D

887 Sonata e

888 Sonata g

889 Upon a ground

GB

-HA

dolm

etsc

hII

.c.2

5

no.

6

7

16

18

19

23

25

26

27

29

f.

217v

233v

232v

218v

no.

13

1

2

no./p.

38/49*

A-2/bc-7January 2009

GB

-DR

c,D

2

GB

-Lbl

,Add

.314

23

D-W

,Cod

.Gue

lf.34

.7.A

ug2o

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No. key

890 Upon a grounde

891 Sonata C

892 Sonata Eb

893 Sonata a

894 Sonata C

GB

-DR

c,D

2

no.

10

11:9

13:10

11:12

11:7

A-2/bc-8January 2009

S-UuIMhs

2 violins, viola da gamba and continuo

2 violins, viola da gamba or trombone and bc

2 violins, viola da gamba or bassoon and bc

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No. key

900 Sonata

901 Sonata

March 2009 A-2BC-9

GB-Cfm:Mu.1167

no.

(1)

(2)

ANON. Trios Tr Tr BMostly, if not all, French

VdGS No.

980 [Air]

981 [Air]

982 [Courant]

983 Saraband

984 Simphonia

985 Air

986 Courant

987 Saraband

988 Fantasie

989 Air

990 Gigue

991 Saraband

992 Pavan A-3-7

GB

-En,

Panm

ure

2,3,

12

no.

1

2

3

4

5

6

7

8

9

10

11

12

13

Pages are torn out, so Treble I, nos.1-2 and most of no. 3 and Treble II.nos. 1-11 are missing.

February 2008

ANON. Trios Tr Tr BMostly, if not all, French

VdGS No.

993 Air

994 Courant

995 Saraband

Iantha or Princess Royal996 La Princesse in Playford DM, Apollo’s

Banquet, etc.

997

998 Bouree deArvis

999 La Galliard

1000 GrandBouree

1001 Balliris

1002 BoureeRoyale

1003 Rondeau

1004 Air

1005 Air

A-3-8

GB

-En,

Panm

ure

2,3,

12

no.

14

15

16

17

18

19

20

21

22

23

24

25

26

February 2008

ANON. Trios Tr Tr BMostly, if not all, French

VdGS No.

1006 [Air]

1007 [Air]

1008 [Air]

1009 Branlesimple

1010 Gaij

1011 Amenet

1012 Gavot

1013 Courant

1014 Saraband

1015 Courant Second treble only

1016 [Saraband] Second treble only

A-3-9

GB

-En,

Panm

ure

2,3,

12

no.

27

28

29

30

31

32

33

34

35

36

37

February 2008

ANONTrios Tr Tr B

VdGS No.

1020. Adagio

1021. Giga

1022. Sarabanda

1023 Adagio

1024 Balletto

1025 Sarabande

1026 Giga

1027 Adagio

1028 Balletto

1029 Giga

1030 Scalanda

1031 Adagio

1032 Balletto

GB

-Lbl

,A

dd.3

1424

f.

45r

45v

46r

46v

46v

47r

47v

48r

48v

49r

49r

49v

49v

September 2008 A-3-10

ANONTrios Tr Tr B

VdGS No.

1033. Giga

1034. Sarabanda

1035. Adagio

1036. Balletto

1037. Corrente

1038. Sarabanda

1039. Adagio

1040. Balletto

1041. Corrente

1042. Sarabanda

1043. Adagio

1044. Balletto

1045. Giga

1046. Sarabanda

GB

-Lbl

,A

dd.3

1424

f.

50r

50v

50v

51r

51v

51v

52r

52r

52v

52v

53r

53r

53v

54r

September 2008 A-3-11

AnonymousThree parts

1047 Sonata a S-Uu, 11:5

three viola da gamba

A-3-12January 2009

ANONYMOUS four-parts

1378 Fuga G

1379 Sonata C

1380 Sonata F

1381 Sonata e

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

85/172

86/174

87/177

88/179

4 viola da gamba, bc

violin, 2 viola da braccio, violone, bc

2 violins, viola da gamba, violone or bassoon, bc

2 violins, trombone, bassoon, bc

A-4BC-1January 2009

ANONYMOUS five-parts

1696 CanzonaC

1697 Sonataa

1698 SonataC

1699 Sonataa

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

85/172

86/174

87/177

88/179

violin, 2 viola da braccio, violone, bc

A-5BC-1January 2009

‘5 instruments’, bc

2 violins, 2 viola da braccio, violone or bassoon, bc

3 violins, 2 viola da braccio, violone, bc

2 violins, 2 viola da braccio, bassoon, bc

ANONYMOUS six parts

3007 Sonata g

3008 Sonata C

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

97/197

104/225

A-6BC-1January 2009

2 violins, 3 viola da braccio, violone, bc

2 violins or cornetts, 3 trombones, bassoon, bc

Additions to A-defhf-3

No. 7018: other versions at 7095, 7421, 8207, 8307, 8308.No. 7020: ‘The Kings Kettie’ in GB-En, P637 R787.1, f. 1v, seq. (3)No. 7022: ‘Mackbeth’ in GB-En, P637 R787.1, f. 2r, seq. (5)

November 2008 A-defhf-3a

ANONYMOUS fdedf tuning

[Ayre], 1 part, c minor, A-ETgoëss MS ‘C’, seq. (34)[= JENKINS 546: GB-Mp, Br M 832 Vu 51: XVIII, 1, p.186]

February 2010 A-fdedf-1

ANONYMOUS fedef tuning

VdGS No. Title GB-Lbl, MS D-Kl Ms. 4o

Mus. 249 Mus. 108.7(seq.) fol.

9742 Air 55 =Anon 96589743 Air/Alm* 56 2r9744 Air 589745 Air 599746 Allemande 1v =former Anon 8731

* Concordances are Simon Ives a2 (VdGS 1): SymphonyColeman VdGS 15Sumarte VdGS 29 (The King’s Maske)

March 2010 fedef-6

The Viola da Gamba Society - Publications - Thematic Index of music for viols

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

About us Information Membership Publications Viols Meetings Events Concert listing Links

Overview Dow Facsimile Music Editions Thematic Index Chelys VdGS Journal The Viol

Thematic Index of music for violsTablature Manuscripts

To the main Thematic Index page

TABLATURE SOURCES FOR LYRA VIOL MUSIC

INTRODUCTION

The Society's Index of Manuscripts Containing Consort Music, now in progress, generally excludes sources of tablaturepieces. One or two exceptions have been made where these can be linked to a particular owner/copyist like John Browne, orwhere the tablature pieces are part of a composite collection like GB-Ob, MSS Mus. Sch. D.245-7, by John Merro (noted asIMCM in the list below).Indexing lyra viol music is fraught with difficulties because the various manuscripts throw up numerous discrepancies. Onepiece might be assigned to several composers, appear in more than one tuning, or present variant readings, all of whichhinder making a positive identification. In recent years Richard Carter has done much valuable work on the tablature music inthe Thematic Index, pointing out corrections and finding concordances.It has been proposed that an index for lyra viol music be created, listing pieces by source, similar to the published IMCMabove. As work progresses we will place it on the Society's web-site Revision and correction will thus be relatively easy tomanage. It is intended to show the concordances for each piece. The aim will be to provide a link to each manuscript fromthe list below.Much work has already been done, although it will take time to create and co-ordinate the various files. Initially we havedraft lists by Richard Carter, John Cunningham, the late Gordon Dodd, and John Robinson, which will provide a very firmfoundation as the project gets under way.

Andrew AshbeeMarch 2011

SOURCE LIST

(a) PRINTED SOURCES

Hume, Tobias The First part of Ayres.., 1605 Hume, Tobias Captain Humes Poeticall Musicke, 1607

Ford, Thomas Musicke of Sundrie Kindes, 1607 .pdf195KB

Ferrabosco, Alfonso [II] Lessons for 1. 2. and 3. viols, 1609 Corkine, William Ayres to Sing and Play to the Lute and Basse Violl, 1610 .pdf 97KB Corkine, William The Second Booke of Ayres, 1612

The Viola da Gamba Society - Publications - Thematic Index of music for viols

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

Playford, John A Musicall Banquet, 1651 Playford, John Musick's Recreation on the Lyra Viol, 1652 Playford, John Musick's Recreation on the Lyra Viol, 1661 Playford, John Musick's Recreation on the Lyra Viol, 1669 Playford, John Musick's Recreation of the Lyra Viol, 1682 Moss, John Lessons for the basse viol, 1672

(b) MANUSCRIPT SOURCES

Austria A-ET, goess MS 'A' A-ET, goess MS 'B' A-ET, goess MS 'C' Germany

D-Kl, Ms. 4 Mus. 108 .2 .pdf184KB

D-Kl, Ms. 4 Mus. 108 .3 .pdf185KB

D-Kl, Ms. 4 Mus. 108 .4 D-Kl, Ms. 4 Mus. 108 .5 D-Kl, Ms. 4 Mus. 108 .6 D-Kl, Ms. 4 Mus. 108 .7 D-Kl, Ms. mus. 61.1(1) D-Kl, Ms. mus. 61.1(2) LUh, David von Mandelslaw Eire IRL-Dm, MS Z.3.4.13 IRL-Dm, MS Z.3.5.13 [see VdGS Journal III] IRL-Dtc, 408/1 [William Ballet] France

The Viola da Gamba Society - Publications - Thematic Index of music for viols

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

F-Pn, Res 1111 Great Britain GB-CHEr, MS DLT/B31 [Peter Leycester] GB-Cu, Dd.5.20 GB-Cu, Dd.6.48 GB-Cu, Dd.5.78GB-Cu, Dd.9.33 .pdf 51KB GB-Cu, Hengrave Hall Deposit 77 (1) GB-Cu, Hengrave Hall Deposit 77 (2) GB-Cu, Add. MS 9284 GB-Cu, [to check - single sheet or double fold] GB-DU, Mus. 10445 [Andrew Bla[i]kie] GB-En, Dep. 314/24 GB-Er, MS 787.1 GB-Eu, Reid Library, Mus.m.1 GB-HAdolmetsch, MS II B 3 GB-Lam, MS 600 [John Browne] [IMCM 2] GB-Lbl, Add. MS 15117 GB-Lbl, Add. MS 15118 GB-Lbl, Add. MS 17795 [IMCM 1] GB-Lbl, Add. MS 31432 Cunningham/Lawes] GB-Lbl, Add. MS 56279 [Silvanus Stirrop] GB-Lbl, Add. MS 59869 [Cartwright] [IMCM 1] GB-Lbl, Add. MS 63852 [Griffith Boynton]

GB-Lbl, Egerton 2971 .pdf109KB

GB-Lbl, Harley 7578 GB-Lbl, Mus. 249 GB-Lcm, C41/1 [formerly II F 10 ] GB-Mp, BRm/832 Vu51 [facsimile; see VdGSJ III]

The Viola da Gamba Society - Publications - Thematic Index of music for viols

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

GB-NTu Bell-White 46 [VdGSJ II] GB-Ob, Ob MS Mus Sch C.61 [IMCM II] GB-Ob, MS Mus Sch D.217 GB-Ob, MS Mus Sch D.221 GB-Ob, MS Mus Sch D.233, 236 GB-Ob, MS Mus Sch D.245-247 [IMCM I] GB-Ob, MS Mus. Sch. F.572 GB-Ob, MS Mus. Sch. F.573 GB-Ob, MS Mus. Sch. F.575 GB-Ob, MS Mus. Sch. F.578 GB-Ob, MS Mus. Sch. b.15 GB-Och, Mus 439 GB-Och, Mus 531-532 GB-Och, Mus 725-727 GB-Och, Mus 1014 GB-SA, MS 38470/2 GB-WOhc, MS LM/1083/91/35 [see RMARC 43] [TW m] Tunbridge Wells, Richard MacNutt privatecollection

Norway N-Tu, XA HA Mus. 1:2 [see Chelys 23] N-Tu, XA HA Mus. 1:1 [see Chelys 23] N-Ou, MS 294 [see Chelys 23] Sweden S-[K1], MS 21.068 S-L, MS Wenster G. 28 S-L, MS Wenster G.35 S-N, Finspang 9096.3 S-Skma, MS Tablatur No. 3

The Viola da Gamba Society - Publications - Thematic Index of music for viols

http://www.vdgs.org.uk/tab_mss.html[07/08/12 04:14:10]

United States of America US-Ca, MS Mus. 70 [William Lawes] [Cunningham/Lawes] US-LAuc, MS M286M4L992 [Mansell] US-NH, Misc. MS 170, Filmer Ms 3 US-NYp, Drexel 4175 [Anne Twice] US-SM, MSS EL25/A/46 US-Wc M2. I.T217C Case

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MVSICKE / OF / SVNDRIE / KINDES, / Set forth in two Bookes. / THE FIRST WHEREOF ARE, / Aries for 4. Voices to the Lute,Orphorion, / or Basse- Viol, with a Dialogue for two / Voices, and two Basse Viols in parts, / tunde the Lute way. / THE SECOND ARE /Pauens, Galiards, Almaines, Toies, / Iigges, Thumpes and such like, for two / Basse- Viols, the Liera way, so made as the / greatest numbermay serue to play alone, very / easie to be performde. / Composed by THOMAS FORD. Imprinted at London by IOHN WINDET at the Assignes /of WILLIAM BARLEY and are to be sold by IOHN BROWNE / in Saint Dunstons churchyard in Fleetstreet 1607.

Facsimile: London, Scholar Press, 1978. Copies in: GB-Lbl [K.9.a.19]; GB-Gu [Euing R.x.5]; US-CAh [STC 11166]; US-Ws [STC 11166]Oleg V. Timofeyev (ed.) Thomas Ford: Lyra Viol Duets, Recent Researches in the Music of the Baroque Era 90 (Middleton, Wisconsin: A-R Editions Inc., 1998)

[ISBN 978-0-89579-412-3].

no. sig.. title: PRIMA PARS. title: SECVNDA PARS VdGS [Ford] no.1 G2v-H1r A Pauen./ M. Southcotes Pauen. [fefhf] A Pauin./ M. Southcotes Pauin. [fefhf] I

GB-Ob Mus.Sch.D.245, p. 38 Pavine [fefhf] GB-Ob Mus.Sch.D.246, p. 38 Pavine [fefhf]MB IX, no 126

2 H1v-H2r The Galliard. [fefhf] The Galliard. [fefhf] IIGB-Ob Mus.Sch.D.245, p. 33 Galliarde [fefhf] GB-Ob Mus.Sch.D.246, p. 33 Galliarde [fefhf]MB IX, no 127

3 H1v-H2r An Almaine./ M. Westouers farewell. [fefhf] An Almayne./ M. Westouers fare well. [fefhf] IIIGB-Ob Mus.Sch.D.245, p. 34 Alman: [fefhf] GB-Ob Mus.Sch.D.246, p. 34 Alman: [fefhf]

4 H2v-I1r A Pauen./ M. Maynes Choice. [fefhf] A Pauen./ M. Maines Choice. IV5 I1v-I2r The Galliard. [fefhf] The Galliard. [fefhf] V

GB-Ob Mus.Sch.D.246, p. 30 Galliarde [fefhf] GB-Ob Mus.Sch.D.245, p. 30 Galliarde [fefhf]6 I1v-I2r Forget me not. [fefhf] Forget me not. [fefhf] VI

F-Pc Rés.1111, f. 173v Aria [fefhf] GB-Ob Mus.Sch.D.245, p. 35 Forget me not [fefhf]GB-Cu Nn.6.36, f. 15r iii [defhf]GB-Ob Mus.Sch.D.246, p. 35 Forget me not [fefhf]

7 I2v-K1r A Pauen./ Sir Richard Westons delight [fefhf] A Pauen./ Sir Richard Westons delight [fefhf] VII8 K1v-K2r An Almaine./ Mounsieur Lullere his choice. [fefhf] An Almaine./ Mounsieur Lullere his choice. [fefhf] VIII

GB-Ob Mus.Sch.D.246, p. 31 Almaine [fefhf] GB-Ob Mus.Sch.D.245, p. 31 Almaine [fefhf]9 K1v-K2r The wild goose chase./ Sir Iohn Philpots delight. [fefhf] The wild goose chase./ Sir Iohn Philpots delight. [fefhf] IX

GB-Ob Mus.Sch.D.246, p. 40 The wildgoose chase [fefhf] GB-Mp BRm 832 Vu 51, p. 44 14. Mr. G. / Coranto / Willis [fefhf]- GB-Ob Mus.Sch.D.245, p. 40 The wildgoose chase [fefhf]

10 K2v-L1r What you will. [fefhf] What you will. [fefhf] X11 K2v-L1r And if you do touch me ile cry./ Sir Richard Tichbornes toy. [fefhf] And if you do touch me Ile cry. / Sir Richard Tichbornes toy. [fefhf] XI

GB-CHEr Ms. DLT/B 31, f. 47v Syr Rich: Titchbournes Toy GB-Ob Mus.Sch.D.246, p. 35 And if you do touch ile Cry [fefhf]GB-Lbl Add.56279, f. 8r [no title] [fefhf] IRL-Dtc 408/I p. 58 untitled [fefhf]GB-Ob Mus.Sch.D.245, p. 35 And if you do touch ile Cry [fefhf]

12 L1v-L2r The Baggepipes./ Sir Charles Howards delight [fefhf] The Baggepipes./ Sir Charles Howards delight [fefhf] XIIGB-Ob Mus.Sch.D.246, p. 39 Sir Charles Howards delight [fefhf] GB-Ob Mus.Sch.D.245, p. 39 Sir Charles Howards delight [fefhf]

13 L1v-L2r Why not here./ M. Crosse his choice. [fefhf] Why not here. M. Crosse his choice. [fefhf] XIIIF-Pc Rés.1111, f. 247v [Courantta] [fefhf] GB-Ob Mus.Sch.D.245, p. 39 whi not heare [fefhf]

GB-Ob Mus.Sch.D.246, p. 39 whi not heare [fefhf]14 L2v-M1r Chang of Ayre. [fefhf] Chang of Ayre. [fefhf] XIV

GB-Ob Mus.Sch.D.246, p. 32 Change of Ayre [fefhf] GB-Ob Mus.Sch.D.245, p. 32 Change of Ayre [fefhf]15 L2v-M1r Whipit and Tripit./ M. Southcotes Iig. [fefhf] Whipit and Tripit. / M. Southcotes Iigge [fefhf] XV

GB-Ob Mus.Sch.D.245, p. 32 whip it and trip it [fefhf] GB-Ob Mus.Sch.D.246, p. 32 whip it and trip it [fefhf]16 M1v-M2r Cate of Bardie / The Queenes Iig. [fefhf] Cate of Bardie / The Queenes Iig. [fefhf] XVI

GB-Ob Mus.Sch.D.246, p. 36 The Queenes Jedge [fefhf] GB-Ob Mus.Sch.D.245, p. 36 The Queenes Jedge [fefhf]GB-Cu Dd.5.20, f. 25r untitled [fefhf] IRL-Dtc 408/I p. 59 A Jigg [fefhf]

17 M2v A snatch and away./ Sir Iohn Paulets toy. [fefhf] A snatch and away. / Sir Iohn Paulets toy. [fefhf] XVIIF-Pc Rés.1111, f. 175r Saraband [fefhf] GB-Ob Mus.Sch.D.245, p. 34 A snatch and away [fefhf] [=Playford T 142]GB-Lbl Add.56279, f. 7r ii [no title] [fefhf] IRL-Dtc 408/I p. 58 Sir / Iohn paulete / toye [fefhf]GB-Ob Mus.Sch.D.246, p. 34 A snatch and away [fefhf]Playford MRLV 1652, p. 6 Coranto [fefhf]Playford MRLV 1669, p. 16 [defhf]Playford MRLV 1682, p. 33 Saraband. [defhf]

18 M2v A pill to purge Melancholie./ M. Richard Martins Thumpe. [fefhf] A pill to purge Melancholie. / M. Richard Martins Thumpe [fefhf] XVIIIGB-CHEr Ms. DLT/B 31, f. 47r A Pill to purge Melanchollye. [=Playford T 248]

otherwise known as Sr. Rich. Martins Thumpe [fefhf] GB-Ob Mus.Sch.D.245, p. 34 A pill to purge mellancholy [fefhf]GB-Lbl Add.56279, f. 8r [no title] [fefhf] IRL-Dtc 408/I p. 39 untitled [fefhf]GB-Mp BRm 832 Vu 51, p. 43 M r Tho: / A thumpe. / Martine. [fefhf] IRL-Dtc 408/I p. 57 untitled [fefhf]GB-Ob Mus.Sch.D.246, p. 34 A pill to purge mellancholy [fefhf]GB-Cu Nn.6.36, f. 15v untitled [fefhf]Playford MRLV 1652, p. 6 A Pill to Purge Melancholy. [fefhf]

February 2011

AYRES, / TO / SING AND PLAY / TO THE LVTE AND / BASSE VIOLL. / With Pauins, Galliards, Almaines, and / Corantos for the Lyra / VIOLL. / By William Corkine. /

LONDON / Printed by W. Stansby for Iohn Browne, and are to be sold at his / Shop in Saint Dunstanes Church-yard in Fleete-streete. / 1610. Facsimile: Scolar Press 1978.

copies in: GB-Gu [Euing R.x.66 imperfect, lyra viol music lacking]; GB-Lbl [K.8.h.4]; GB-Lcm [1.G.38]; US [private collection of Robert S. Pirie, Hamilton, MA]

[inventory by John H Robinson, February 2011]Lessons for the Lyra Viall. no. sig. title VdGS no.[tuned: ffhff] Corkine1 E1r Almaine. 12 E1v Pauin. 23 E1v Coranto. 34 E2r Almaine. 45 E2r Coranto. 56 E2v Pauin. 67 E2v Coranto 78 F1r Galliard. 89 F1r Galliard. 910 F1v-F2r Whoope doe me no harme goodman. 10

cognate: GB-Mp BRm 832 Vu 51, pp. 14-15 Whoope doe me / no harme. R[icharde]. S[umarte]. [ffeff]11 F2r Galliard. 1112 F2v-G1r Fortune. 12

cognate: GB-Mp BRm 832 Vu 51, pp. 12-13 Fortune / R[icharde]. S[umarte]. [ffeff]

THE / SECOND BOOKE, / OF / AYRES, / Some, to sing and play to the / Base-Violl alone: / Others, to be sung to the Lute and / Base Violl. / With new Corantoes, Pauins, Almaines; / as also diuers new Descants vpon old Grounds, / set to the Lyra-Violl. / By William Corkine. / LONDON: / Printed for M.L.I.B. and T.S. / Assigned by W. Barley. / 1612. Facsimile: Scolar Press 1977.

copies in: GB-Lbl [K.8.h.5]; US-SM [Huntington 13571];US [private collection of Robert S. Pirie, Hamilton, MA]

[inventory by John H Robinson, February 2011]Lessons for the Lyra Violl. no. sig. title VdGS no.[tuned: ffhfh] Corkine1 G1r Lesson for two Lyra Violls./ Lesson for two Lyra Violls. 132 G1v If my Complaints. 143 G2r Perlude. 154 G2v-H1r Come liue with me, and be my loue. 165 H1r Perlude. 17

concordance: GB-Ob Mus.Sch.D.245, p. 112 untitled [ffhfh]6 H1v-H2r Walsingham. 187 H2r Coranto. 198 H2v-I1r Mounsiers Almaine. 209 I1r Coranto. 2110 I1v The Punckes delight. 22[tuned: fhfhf]11 I2r Pauin. 2312 I2v Almaine. 24

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D-Kl Ms. 4° Mus. 108 .2

INVENTORY by Richard Carter, September 2008, checked and revised May 2011.

This inventory is based on that in the catalogue of manuscripts held in the Kassel libraries (Gesamthochschulbibliothek Kassel, Landesbibliothek & Murhardsche Bibliothek derStadt Kassel), Clytus Gottwald, Harrassowitz, 1997, pp.624-631. Foliation modern. Gottwald lists very few concordances.The key is given for pieces with the solo part in normal viol way tuning, except for the psalms; for pieces in other tunings it is only given if it is determined by a staff notation basspart.

NO. / TITLE TUNING/KEY COMPOSER VdGS No. COMMENTS/CONCORDANCES

1r - 6v empty7r incomplete pen and ink drawing7v single stave, bass clef, with note names written as an ascending and descending scale8r A Toy fefhf Anon. 8215 No indication of tuning

GB-Lbl Add. Ms. 5118 fo:31r:18v Sarabande fefhf Anon. 8216

Air ffeff d Anon. 60519r Allem(ande) d Anon. 60529v 4. Sarabande F Anon. 6053

Skolding wife/School ground d Nicolas Hotman 36 Final bar spills over onto fo.10r

Many concordant versions; see the Thematic Index .10r 5. Air d Anon. 6054

10v Sarabande & Var: fefhf Anon. 8217 No indication of tuning

11r A ground g Anon. 6055 Staff notation on 5-line stave, bass clef.Fragment, no barlines ffeff g Anon. In a different hand, 6th staff line added later?

11v Boŭrrée F Lully (6056) LWV 31/1712r Menuest D Lully (6057) LWV 42/2012v The Italian Rant d Anon. 7805 Playford T167 MRLV 1669 no.73 The Italian Rant (edfhf)

GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:115v:113r Auff meinen lieben Gott a Anon. 6058 Tune Zahn1 no. 2164, here with chords13v Auff meinen lieben Gott a Anon. Single melody line except for final cadence14r Basse (Auff meinen lieben Gott)14v Psalm 42 Wie nach einer Wasserquelle Lobwasser 16812 605915r 42. Ps: Basse:15v Ps: 16 Lobwasser 1681 606016r Ps: 16 Basse

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16v - 19r empty

19v Psal: 27 Lobwasser 1681 607120r Bass: Ps: 27 Does not fit the psalm tune: the rhythm matches, but the pitches

rapidly lose touch. The melody ends the two sections in differentkeys (F and C), the bass ends both in G.

20v Psalm 51Herr Gott nach deiner großen gütigkeit Lobwasser 1681 607221r Basse 5121v Ps: 84 Gott der du ein heerfürst bist Lobwasser 1681 607322r Basse 8422v Ps 116 Ich lieb den Herrn Lobwasser 1681 607423r Basse Ps 11623v PS. 19 Die Himmel alzumahl Lobwasser 1681 607524r Basse Ps 1924v PS. 22 Mein Gott, mein Gott ach wie Lobwasser 1681 607625r Basse Ps 2225v PS 23 Mein Hüter und mein Hirt Lobwasser 1681 607726 r Basse PS 2326v PS 24 Dem Herren der Erdkreis zusteht Lobwasser 1681 607827r Basse P 2427v PS 25 Zu dir mein Herz erhebe Lobwasser 1681 607928r Basse 2528v PS: 28 Zu dir schreÿ ich Lobwasser 1681 608029r Basse Ps 2829v PS 30 Ich will dich preisen Herre Gott Lobwasser 1681 608130r Basse Ps 3030v PS 31 Auff dich setz ich etc: Lobwasser 1681 608231r Basse Ps 3131v PS. 32. O seelig muß ich diesen etc: Lobwasser 1681 608332r Basse Ps 3232v PS:33. Wolauff ihr Heiligen und frommen etc Lobwasser 1681 6084

PS 34. Ich will nicht lassen ab etc Lobwasser 1681 608533r Basse Ps 33

Basse Ps 3433v 36 Ps Auß des Gottlosen thun und werck Lobwasser 1681 608634r Basse Ps 3634v PS. 37 Erzürne dich nicht über die Gottlosen Lobwasser 1681 608735r Basse Ps 3735v PS 43. Richt mich Herr Gott und halte mir recht Lobwasser 1681 6088

- 3 -

36r Basse 43

36v gige: Willem deútekom fedfh d Willem Deutekom 11 D-Kl Ms. 4° Mus. 108.3 fo:29v 52. Gigŭe Willem Dútekom (ffeff)D-Kl Ms. 4° Mus. 108.4 fo:20v:2 52. Gigŭe (staff bass part)D-Kl Ms. 4° Mus. 108.3 fo:31v 56. Gigŭe (fedfh)D-Kl Ms. 4° Mus. 108.4 fo:21v:2 56. Gigŭe (staff bass part)

37r Sarabande: Stofken fedfh d Dietrich Steffkens 102 A-ETgoëss (A) fo:43r Sarabande StefkensA-ETgoëss (A) fo:44r Doubles de la SarabandeA-ETgoëss (B) fo:70 r Sarabande D StöeffkenD-Kl Ms. 4° Mus. 108.3 fo:30r 53. Sarab: Stöffken (ffeff)D-Kl Ms. 4° Mus. 108.4 fo:21r:1 53. Sarab: Stöfke (staff bass part)D-Kl Ms. 4° Mus. 108.3 fo:32r 57. Sarabande StebkensD-Kl Ms. 4° Mus. 108.4 fo:22r:1 57. Sarab. Stöbkens (staff bass)GB-Lbl Add. Ms. 59869 (Cartwright) fo:25 r:1IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:22 r Mr Stephkins

Präl(udium) ffeff d Anon. 608937v - 38r ruled, no music38v PS. 40 Ich hab gewart des Herren stetiglich Lobwasser 1681 609039r Basse Ps 4039v PS. 119 Lobwasser 1681 609140r Basse Ps 11940v La Sisonne a Anon. 6092 Gottwald has La Bibonne. Both words exist in French, but as

Sisonne is a dance step it is perhaps more likely.6104 Not concordant, see fo:48v below8913 D-Kl Ms 2° Mus 61:1 (1) fo:15 r:2 (Baryton)

41r Basse La SisonnePrelude D Anon. 6093 Four bar fragment, more like an extended cadence

41v Psalm: 103 Nun preiß mein Seel Lobwasser 1681 609442r Basse Ps 10342v Psalm 101Ich hab mir vorgesetzt Lobwasser 1681 609543r Basse Ps 10143v Psalm: 110 Der Herr zu meinem Herrn Lobwasser 1681 609644r Basse Ps 11044v PS 121 Mein augen ich gen berg aufricht Lobwasser 1681 609745 r Basse Ps 12145v two empty staves

Ritornelle C Anon. 609846r Aria Basse e Anon. 6099 Bass to a missing piece at 45v:1?

Ritornelle Basse Bass to 45v:2

- 4 -

46v untitled d Anon. 6100 later insertion in a different handAria F Anon. 6102

47r Ballet Basse Bb Anon. 6101 Bass to a missing piece at 46v:1?Aria Basse Bass to 46v:2

47v Salomons deligt F Joseph-Francois 6103 See also 52r:248r Salomons deligt Basse Salomon?48v 3. Prince Ruperts March d Anon. 6104 Not La Sisonne again, despite initial similarity.

See e.g. Playford CDM 165149r Basse49v 4. Allem(ande) d Anon. 610550r Basse50v 5. Sarabande C Anon. 6106

6. Boŭree Roÿale des Dames G Anon. 6107 see also fo:53v

51r Basse SarabandeBasse Boŭrèe

51v 7. Menuet G Anon. 61088. Salomons deligt C Anon. 6103 Transposed version, see fo:47v

52r Basse (Menuet)Basse (Salomons deligt)

52v 9. Ritornelle D Lully (6109) LWV 39/453r Basse53v 10. Bourée A Anon. 6110 Transposed and slightly different version of 6107, fo:50v:254r Basse54v 11. Boŭree g Anon 6111 Two versions, the second with double stops.55r Basse55v 12. La Menuet d’auphin DB[?] a Anon. 6112 poss. Du Buisson?56r Basse56v - 57r 13. Eccho D Lully (6113) LWV 39/1357r Lamento d Daniel Eberlin 8 D-Kl Ms. 4° Mus. 108.3 fo:81v 138. Lamento a doi Di D. Eb:

D-Kl Ms. 4° Mus. 108.4 fo:50v 138. Lamento D S. Eb: (staff bass)57v 14. Gaillarde La Valette A Anon. 611558r Aria d Daniel Eberlin 7 D-Kl Ms. 4° Mus. 108.3 fo:80v 137. Aria di D. Eb:

D-Kl Ms. 4° Mus. 108.4 fo:50v 137. Aria di D. Eb (staff bass part)58v 15. Piece F Anon 6117

Piece d’un autre ton G (6117) Transposed. Gottwald notes only one version.59r 16. Sarabande A Anon. 611859v 17. Allem(ande) d Anon. 6119 A-ETgoëss Ms. (C) seq.(3) [not concordant with Hotman VdGS 3]60r 18. Aria d Anon. 612060v 19. Sarab(ande) & Var: d Anon. 6121

- 5 -

6203 D-Kl Ms. 4° Mus. 108.3 fo:2r 3. SarabandeD-Kl Ms. 4° Mus. 108.4 fo:1v 3. Sarabande (staff bass part)

[6375 Apparent concordance lasts only two bars]61r 20. Sarab(ande) d Anon. 612261v 21. Allemande F Anon. 612362r 22. Allem(ande) d Anon. 612462v 23. Sarabande g Anon. 6125

24. Sarabande g Anon. 612663r 25. Sarab(ande) d Anon. 6127 D-Kl Ms. 4° Mus. 108.3 fo:49v 83. Sarab:

63v 26. A Toy fefhf Daniel Farrant 1 Tuning chart by octaves at end of piece64r 27. Sarabande fefhf Anon. 8218

64v 28. PS 130 ffeff Lobwasser 1681 612865 r Basse Ps 13065v 29. Bourree C Anon. 6129

A 9601 D-Kl Ms. 4° Mus. 108.3 fo:76v 131. Boŭrée Verstimbt (efffe)D-Kl Ms. 4° Mus. 108.4 fo:47v 131. Boŭrée (staff bass part)

66r Basse [6129 & 9601 are independent arrangements]66v 30. Sarab(ande) Spagnuole d Anon. 613067r Sarab(ande) Spagnŭole Basse67 v Sar(abande) a Pinel 4 ex anon 6131

Gavotte Roÿale a Pinel 5 ex anon 61326302 D-Kl Ms. 4° Mus. 108.5 fo:11v, in a, incomplete

D-Kl Ms. 4° Mus. 108.5 fo:12 v, in d, complete68r Sar: Basse

Gavotte Roÿale Basse68v Allemande d Anon. 6133 D-Kl Ms. 4° Mus. 108.3 fo:45v 74. Allem

D-Kl Ms. 4° Mus. 108.4 fo:26r 74. Allem: (staff bass part)68v - 69r Sarab(ande) d Pierre Dubut 2 (ex 6134) D-Kl Ms. 4° Mus. 108.3 fo:45v 76. Sarab

D-Kl Ms. 4° Mus. 108.4 fo:26v 76. Sarab: (staff bass part)8916 D-Kl Ms. 2° Mus. 61.1(1) fo:21v (Baryton, fedfh)

69v 37. Sar(abande) D Anon. 6135 D-Kl Ms. 4° Mus. 108.3 fo:46r 78. Sarab:D-Kl Ms. 4° Mus. 108.4 fo:26v 78. Sarab: (staff bass part)

70r 38. Sarabande DB [?] Simplified version of no. 37. poss. Du Buisson?70v 39. Warumb betrübstu dich mein Hertz a Anon. 613671r 40. Gigue d Anon. 6137 a contre partie?71v 41. Allem(ande) D Du Buisson 91 (ex 6138)

8572 D-Kl Ms. 2° Mus. 61.1(1) fo:23v:1 (Baryton, fdefh)72r 42. Sarab(ande) D Du Buisson 9 (ex 6139) PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:35r Sarabande

US-Wc Ms. M2.1.T2.17C.Case fo:9v Sarabande D.B.

- 6 -

72v 43. Gigue D Anon. 6140 No final barline, but apparently complete.73r 44. Sarab(ande) D Anon. 614173v 45. Gavotte a Lully (6142) LWV 42/2874r 46. Ballett g Anon. 614374v 47. Coquille C Du Buisson 35 (ex 6144) F-Pc Ms. Rés. 1111 no.[205] fo:189v Aria75r 48. Pelerains C Lully (6145) LWV 17/2175v 49. Sarab(ande) d Lully (6146) LWV 75/37

50. Boŭrrée d Anon. 614776r 51. Boŭrrée Mad: d Anon. 6148 Mad: (Madame?)76v 52. Sarab(ande) d Strobel 2 ex anon. 614977r 53. Bourrée des Moscow[?]: DB[?] g Anon. 6150 poss. Du Buisson?77v 54. Les Canaries d Anon. 615178r 55. Gavotte F Anon. 615278v 56. Sarab(ande) F Anon. 615379r 57. Sarabande F Anon. 6154 [6154 & 9602 are independent arrangements]

A 9602 D-Kl Ms. 4° Mus. 108.3 fo:77r 132. Sarab: (efffe)D-Kl Ms. 4° Mus. 108.4 fo:77r 132. Sarab: (staff bass part)

79v 58. Bourée de St: Germain a Lully (6155) LWV 40/7

80 r Stimmŭng defhf Tuning chart by unisons59. Almaine defhf Robert Taylor 11 GB-Lbl Ms. Mus. 249 seq.(32)

IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:70rinv Mr Taylor80v 60. Courente defhf Anon. 709181r 61. Sarab(ande) defhf Robert Taylor 12 D-Kl Ms. 4° Mus. 108.3 fo:65r 112. Sarab:

IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:69vinv Mr Taylor

81v 62. Sarab(ande) d Anon. 615663. Sar(abande) d Anon. 6157

82r 64. Gavotte c Anon. 615882v - 83r 65. Allem(ande) a Anon. 615983v 66. Sarab(ande) a Anon. 6160 D-Kl Ms. 4° Mus. 108.3 fo:9v 9. Sarabande

D-Kl Ms. 4° Mus. 108.4 fo:3v 9. Sarab (staff bass part)84r 67. Allemande d Pinel 6 ex anon. 616184v 68. Sarab(ande) d François Dufaut 3 ex anon. 616285r 69. Gigue D Anon. 6163 [Does not concord with Du Buisson 74]

8575 D-Kl Ms. 2° Mus. 61.1(1) fo:24v:1 Gigue (Baryton, fdefh)85v 70. Gigue G Anon. 616486r Gigue Basse86v Air d Anon. 616587r Air Basse87v empty page

- 7 -

88r Gavotte d Anon. 616688v - 89r Gavotte F Anon. 616789v - 90r Duble This is a tripla of the preceding Gavotte.90r La follia, ground only. G clef on the bottom line of the tablature staff, note names written in instead of notes.90v - 91r Gavotte d Anon. 6168

6334 D-Kl Ms. 4° Mus. 108.5 fo:33v untitled91v Gavotte F Anon. 6169

6323 D-Kl Ms. 4° Mus. 108.5 fo:28v Gavotte & Variatio[6389 The apparent concordance lasts less than 2 bars]

92r Gavotte F Anon. 617092v - 93r Gique F Anon. 617193v - 94v Sarabande en Rondeau C Lully (6172) LWV 71/26. Gottwald points out that the double stops are

added in different ink. See also fo:103v - 104r

95r empty page, not ruled95v Sarab(ande) d Anon. 617396r Sarab(ande) D Anon. 617496v Giqŭe D Anon. 617597r 1. Menŭet A Anon. 617697v 2. Menŭet A Anon. 617798r 3. Menŭet A Anon. 617898v 4. Boŭrree A Anon. 617999r 5. Menŭet A Anon. 618099v 6. Menŭet A Anon. 6181100r 7. Boŭrrée a Anon. 6182100v Menŭet D Anon. 6183 Duple metre with crotchet upbeat.101r Menŭet D Anon. 6184101v Ritornelle F Lully (6185) LWV 59/3102r Menŭet F Lully (6186) LWV 59/7102v Bouree DB[?] G Anon. 6187 Index has [Gavotte]. poss. Du Buisson?103r empty page, not ruled103v - 104r Rondeaŭ C Lully (6188) LWV 71/26 here without double stops. See fo:93v - 94v

104v Gavotte Basch d Anon. 6189 D-Kl Ms. 4° Mus. 108.5 fo:27v GavotteD-Kl Ms. 4° Mus. 108.5 fo:39v Gavotte

105r gtre partie Gavotte D-Kl Ms. 4° Mus. 108.5 fo:40r gtre partie Gavotte[These are three independent intabulations, with variant rhythms and fingerings]

105v Sarabande d Anon. 6190106r gtre partie106v Chanson Liebster Jesu Trost des Herzen a Anon. 6191 Tune Zahn1 no. 6908107r Chanson d’ŭn aŭtre ton3 D Anon. 6192 No final barline, but seems complete.

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107v Sarabande g Lully (6193) LWV 53/48Playford T283 MRLV 1682 no.10 Minuet, by Mr Baptist (edfhf)

108r Ballet G Anon. 6194 Index has [Gavotte]108v - 115v empty pages

NOTES:1 Die Melodien des deutschen evangelischen Kirchenlieder aus den Quelle geschöpft und mitgeteilt von Johannes Zahn, a collection of 8,806 church tunes published in 6 volumesby Johannes Christoph Andreas Zahn (1817-1895). Gottwald points out that Liebster Jesu first appeared in the Frankfurt Gesangbuch only in 1711.2 Ambrosius Lobwasser (1515-1585) made a German translation of the psalms based on the French version in the Geneva Psalter. First published in 1573, it was reprinted over 100times and set to music (some editions are in the form of four part books); it continued to be used into the early 18th century. A scan of the 1679 print held by The Herzog AugustBibliothek in Wolfenbüttel is online at <http://diglib.hab.de/wdb.php?dir=drucke/xb-1304-2>. According to Gottwald the versions of the melodies which are here transcribed forviol first appeared in the 1681 reprint (Die CL Psalmen Davids nach Frantzös. Melodey in Teutsche Reimen gebracht durch Ambrosius Lobwasser…Marburg, Jod. Kürßner,1681).3 In the Kassel tablatures this phrase is usually used to signal a transposed version of the previous piece, but here it is a different psalm tune.

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D-Kl Ms. 4° Mus. 108.3

INVENTORY by Richard Carter, April 2008, checked and revised May 2011

This inventory is based on that in the catalogue of manuscripts held in the Kassel libraries (Gesamthochschulbibliothek Kassel, Landesbibliothek & Murhardsche Bibliothekder Stadt Kassel), Clytus Gottwald, Harrassowitz, 1997, pp.635-638. Foliation modern. Gottwald lists only very few concordances.D-Kl Ms. 4° Mus. 108.4 is a companion volume containing mainly staff notation bass parts, which are cross-referenced here where appropriate.The key is given for all pieces with the solo part in normal viol way tuning; for pieces in other tunings it is only given if it is determined by a staff notation bass part.

No. / TITLE TUNING COMPOSER VdGS BASS PART COMMENTS/CONCORDANCES/KEY No. IN VOL. 4

Ir s. o.Iv - IIv empty1r 1. Allemande ffeff d Anon. 6201 1r Also at no. 75, fo:44v

1v - 2r 2. Coŭr(ante) d François Dufaut 4 1r ex anon. 62022r 3. Sarabande d Anon. 6203 1v Here without the double

6121 D-Kl Ms. 4° Mus. 108.2 fo:60v 19. Sarab: & Var.[6375 Apparent concordance lasts only two bars]

2v - 6r 4. Ballet (‘Skolding Wife’) d N. Hotman 36 - Many concordances, see the Thematic Index6v - 7r 5. Allem(ande) F Anon. 6204 2v

7v 6. Sarab(ande) F François Dufaut 5 2v ex anon. 62058r 7. Entrée G Anon. 6206 3r

8v- 9r 8. Sarab(ande) F François Dufaut 6 3r ex anon. 62079v 9. Sarabande a Anon. 6160 3v D-Kl Ms. 4° Mus. 108.2 fo:83v 66. Sarab:10r 10. Gigŭe d Anon. 6208 3v

10v 11. Ballet D Anon. 6209 4r

11r 12. Sarab(ande) D Anon. 6210 4r

11v 13. Gavotte D Anon. 6211 4r D-Kl Ms. 2° Mus. 61.1(1) fo:24v:214. Aria D Anon. 6212 4v

12r 15. Sarab(ande) d Jean Mercure 3 4v ex anon. 621312v - 13r 16. Allem(ande) A Anon. 6214 4v

13r 17. Aria A Anon. 6215 5r

18. Sarab(ande) A Anon. 6216 5r

13v 19. Gavotte F Anon. 6217 5v

13v - 14r 20. Sarabande Bb Anon. 6218 5v

14v 21. Ballet A Anon. 6219 5v

15r 22. Sarabande A Anon. 6220 6r

15v 23. Courante [?] d Anon. 6221 6r Index suggests Sarabande16r 24. Gavotte G Anon. 6222 6v

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16v 25. Ballet D Du Buisson 36 (ex 6223) 6v F-Pc Ms Rés. 1111 fo:190v no.[206] BalletPL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:36r Ballet

8574 D-Kl Ms. 2° Mus. 61.1(1) fo:24r:2 Ballet (fdefh, Baryton)17r 26. Abendlied G Anon. 6224 6v Title from Vol. 417v 27. Psalm: 16 Anon. 6225 -18r 28. Ich rŭff zŭdir Herr JesŭChrist g Anon. 6226 -18v 29. Sarabande d Anon. 6227 7r

19r 30. Allem(ande) d Anon. 6228 7r

19v 31. Serenade d Lully (ex 6229) 7v LWV 14/28748 F-Pc Ms. Rés. 1111 fo:25v

29. Nun ist alle meine Lust (fedfh)20r 32. Courente D. B. d Du Buisson 3 7v PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:5v Courante

US-Wc Ms. M2.1.T2.17C.Case fo:3v Courante D.B.20v 33. Sarab(ande) D. B. d Du Buisson 4 8r PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:6 r Sarabande

US-Wc Ms. M2.1.T2.17C.Case fo:4v Sarabande D.B.21r 34. Boŭrrée D. B. D Du Buisson 23 8r

Air D. B. D Du Buisson 24 -21v 35. The Queens Masque G Simon Ives 50 (T262) 8v Playford MRLV 1661 no.7 A Masque Mr Sim. Ives (defhf)

Playford MRLV 1669 no.40The Queens Mask Mr Simon Ives

D-Kl Ms. 4° Mus. 108.3 fo:53v 89. Allem.F-Pc Ms. Rés. 1111 fo:18v 19. Nun schlaft sie schönGB-CHEr DLT/B 31 (Peter Leycester) fo:10r

GB-Cu Ms. Dd 6.48 fo:30v

GB-Lbl Add. Ms. 59869 (Cartwright) fo:8r:1 (attr. Lawes)GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:39r:2GB-Ob Ms. Mus. Sch. F.578 fo:21r

S-[K1] Ms. 21.068 fo:26v

S-L Ms G.35 p.6US-NH Ms. Filmer 3 fo:21v of BUS-NYp Ms. Drexel 5609 p.29

22r 36. Aria Scavez voŭs la belle d Anon. 6230 8v

22v 37. Gavotte D. B. D Du Buisson 25 9r

23r 38. Ballet 1 D Anon. 6231 9r

39. Ballet 2 D Anon. 6232 9r

23v 40. Ballet 3 D Anon. 6233 9v

41. Ballet 4 D Anon. 6234 9v

24r La Follia g Anon. 6235 -24v 42. Allemande d Ch. Coleman 292 9v Exercitium musicum (Frankfurt a.M., 1660) no. 68 (a3)

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Playford CMA 1662 no. 49Playford CA 1665 no. 2GB-Lbl Add. Ms. 31438 no. 16 attr. LockeGB-Ob Ms. Mus. Sch. D.220 no. 17 p.7GB-Och Mss 1006-9 p.2:1GB-Och Ms. 1022 no. 9US-NH Ms. Filmer 3 fo:inv61r:2

25r 43. Courr(ante) Haŭt: d Nicolas Hotman 23 10r F-Pc Ms. Rés. 1111 fo:263r no.[256] Courant25v 44. Sarab(ande) Haŭtt d Nicolas Hotman 28 10r F-Pc Ms. Rés. 1111 fo:268r no.[261] Sarab

GB-Ob Ms. Mus. Sch. F.574 p.426 r 45. Sarab(ande) d Nicolas Hotman 29 10v F-Pc Ms. Rés. 1111 fo:269r no.[263] Sarab & Variatio

PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:67r

Sarabande & Variation26v 46. Coŭrente d Anon. 6236 10v

[No. 47 missing here. In Vol. 4 no. 47 is an unrelated solo piece in staff notation entitled Piece]27r 48. numbered and ruled, no music27v 49. Sarab(ande) D D. Steffkens 58 11r [all tablature concordances tuning fdefh]

A-ETgoëss Ms. (A) fo:4r & fo:9r Sarab Stefken + DoubleA-ETgoëss Ms. (B) fo:61r SarabandeF-Pc Ms. Rés. 1111 fo:31v 35. SarrabandGB-Lbl Add. Ms. 59869 (Cartwright) fo:25 r:3GB-Lbl Ms. Mus. 249 seq.(4) SarabandeGB-Ob Ms. Mus. Sch. F.573 f.19v:1 (violin)IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) no. 5 fo:31v

S-L Ms. G.28 p.108:228r 50. Sarabande d Anon. 6237 -28v - 29r 51. Sonata A Anon. 6238 20v

29v 52. Gigŭe Willem Dútekom d W. Deutekom 11 20v D-Kl Ms. 4° Mus. 108.2 fo:36v gige: Willem deútekomD-Kl Ms. 4° Mus. 108.3 fo:31v 56. Gigŭe (both fedfh)

30r 53. Sarab(ande) Stöffken d D. Steffkens 102 21r [all concordances tuning fedfh]A-ETgoëss Ms. (A) fo:43r Sarabande StefkensA-ETgoëss Ms. (A) fo:44r Doubles de la SarabandeA-ETgoëss Ms. (B) fo:70r Sarabande D StöeffkenD-Kl Ms. 4° Mus. 108.2 fo:37r Sarabande: StofkenD-Kl Ms. 4° Mus. 108.3 fo:32r 57. Sarabande StebkensGB-Lbl Add. Ms. 59869 (Cartwright) fo:25:1IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:22 Mr Stephkins

30v 54. Gigŭe Stöffk D D. Steffkens 71 21r A-ETgoëss Ms. (A) fo:8v Gigue de Stefken (fdefh)D-Kl Ms. 2° Mus. 61.1(1) fo:23r

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F-Pc Ms Rés. 1111 fo:41v 47. Gigue (fdefh)31r 55. Allemande d Anon. 6239 -

31v 56. Gigŭe fedfh d W. Deutekom 11 21v Also at no. 52, fo:29v (ffeff) q.v. for concordances32r 57. Sarabande Stebkens d D. Steffkens 102 22r Also at no. 53, fo:30r (ffeff) q.v. for concordances32v - 33r 58. Allem(ande) d Anon. 8721 22r

33r 59. Sarab(ande) ffeff D Anon. 6240 22v

33v 60. Gavotte g Anon. 6241 22v

34r 61. Chançon D Anon. 6242 22v

34v 62. Sarabande d Anon. 6243 23r Also at no. 72, fo:42v

35r 63. Chanson a Anon. 6244 23r

35v 64. Lamento e Anon. 6245 23v D-LEm MS II.6.24 fo:98v

36r Lamento Basso Nos 64-68 & 71-73: Basses, here in tablature, match Vol. 436v 65. Sarabande e Anon. 6246 23v

37r Sarabande Basse37v 66. Ballo Salomon C Anon. 6247 24r (Joseph-Francois Salomon?)38r Salomon Basse38v 67. Volti(geure) C Lully (6248) 24r LWV 42/2939r Basse Voltigeure39v 68. Les Esclaves C Lully (6249) 24v LWV 42/3040r Basse40v 69. Ballo e Anon. 6250 -41r 70. Gavotte d Anon. 6251 - [Untitled]

6321 D-Kl Ms. 4° Mus. 108.5 fo:26v Gavotte41v 71. Chanson D Anon. 6252 25r

42r Chanson Basse42v 72. Sarab(ande) d Anon. 6243 25v Also at no. 62, fo:34v

43r Sar(abande) Basse43v 73. Chanson a Anon. 6253 25v

44r Chanson Basse44v 74. Allem(ande) d Anon. 6133 26 r D-Kl Ms. 4° Mus. 108.2 fo:68v:1 Allemande44v - 45 r 75. Allem(ande) d Anon. 6201 26r Also at no. 1, fo:1r

45v 76. Sarab(ande) d Pierre Dubut 2 (ex 6134) 26v D-Kl Ms. 4° Mus. 108.2 fo:68v:2 Sarab8916 D-Kl Ms. 2° Mus. 61.1(1) fo:21v (Baryton, fedfh)

46r 78. Sarab(ande) D Anon. 6135 26v - 27rD-Kl Ms. 4° Mus. 108.2 fo:69v Sar46v 79. Ballet F Anon. 6254 27r

47r 80. Gavotte F Anon. 6255 27v

47v 81. Sarab(ande) F Anon. 6256 27v

48r Sarabande Bb (6256) - Transposed version of No. 8148v - 49r 82. Libertas C Anon. 6257 28r D-Kl Ms. 2° Mus. 61.1(1) fo:8r:2 (Baryton, fedfh)

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D-Kl Ms. 2° Mus. 61e fo:3-8v (a5)F-Pn Ms. Rés. F.494 (a5)S-Uu IMhs 409 (a5)

49v 83. Sarab(ande) d Anon. 6127 - D-Kl Ms. 4° Mus. 108.2 fo:63r 25. Sarab50r 84. Sarabande C Anon. 6258 - F-Pn Ms. Rés. 1402 p.1 A l’imperio d’amore [and others]50v - 51r 85. Gigŭe d Anon. 6259 -51v - 52r 86. Rondeau C Anon. 6260 -52r 87. numbered and ruled, no music52v - 53r 88. Courante C Anon. 6261 - GB-Llp Ms. 1041 fo:62 r Pensieri quietato

53v 89. Allem(ande) defhf F Simon Ives 50 35v The Queens Masque See no. 35 fo:21v for concordancesStimmung defhf

54r 90. Coŭr(ante) - [attr. Hudson] 117 - GB-Lbl Add. Ms. 59869 (Cartwright) fo:7r:2GB-Ob Ms. Mus. Sch. F.575 fo:83v:2 Cora(nto)IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:67vinv

54v 91. Sarab(ande) - [attr. Deutekom] 5 - D-Kl Ms. 4° Mus. 108.5 fo:45v:1 SarabandF-Pc Ms. Rés. 1111 fo:19r 20. SarrabandGB-Ob Ms. Mus. Sch. F.578 fo:23v Sarband

92. Ballet - Anon. 7095 - GB-En Sutherland House p.4:1 Whom [serve?] yea7018 (T166) Playford MRLV 1669 no. 2 Maying Time

Playford MRLV 1682 no. 2 Fain I would7421 GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:117rinv:1

Sheapherds Hay8207 (T183) Playford MRLV 1652 no. 1 May Time (fefhf)8307 IRL-Dtc Ms. 408/1 (William Ballet) p.57:2 (fefhf)8308 IRL-Dtc Ms. 408/1 (William Ballet) p.59:1 (fefhf)

55r 93. The Chimes - Simon Ives 31 (T139) - Playford MRLV 1652 no. 41 [42] La ClochePlayford MRLV 1661 no. 15 La Cloche Mr Simon IvesPlayford MRLV 1669 no. 27 Second Lesson, With a ThumpPlayford MRLV 1682 no. 47 SarabandF-Pc Ms. Rés. 1111 fo:71v SarabandaGB-Cu Ms. D.d 6.48 fo:2v La ClocheGB-Lbl Add. Ms. 59869 (Cartwright) fo:13 r:2GB-Lbl Add. Ms. 63852 (Griffith Boynton) fo:86v

GB-Mp Ms. 832 Vu 51 (Manchester) p.133:1La Cloche Mr Simon Ives

GB-Ob Ms. Mus. Sch. F.575 fo:12r

The Chimes Mr Simon IvesGB-Ob Ms. Mus. Sch. F.575 fo:89vinvGB-Ob Ms. Mus. Sch. F.578 fo:6 r (efdef)

- 6 -

GB-Ob Ms. Mus. Sch. F.578 fo:23r CourantS-[K1] Ms. 21.068 fo:27rinv } Engelske/EnglischeS-L Ms. G.28 p.6:2 } glocken/KlockenS-Skma Ms. Tablatur nr. 3 fo:64rinv }

55v 94. Ps: 116 verstimbt defhf F Anon. 7096 32v Ich Lob den Herren56r 95. Ps: 24 edfhf f Anon. 7831 33r

56v 96. Chanson edfhf g Anon. 7832 33v Was Gott gefelt, [mein frommes Kind]57r 97. Ps: 84 defhf - Anon. 7097 -57v 98. Ps: 34 Ich will nicht laßen abedfhf f Anon. 7833 34r

58r 99. Aria edfhf - Anon. 7834 -58v 100. Sarabande edfhf - Simon Ives 83 (T48) - Playford MRLV 1652 no. 59 [63] Saraband

Playford MRLV 1661 no. 48 [49] Saraband M EstoPlayford MRLV 1661 no. 65 [67] Saraband Mr Simon IvesA-ETgoëss Ms. (B) fo:9r SarabandeF-Pc Ms. Rés. 1111 fo:3v 3. SarrabandGB-CHEr DLT/B 31 (Peter Leycester) fo:10r:3GB-Mp Ms. 832 Vu 51 (Manchester) p.124:2

Saraband Mr Simon Ives59r 101. Gigŭe edfhf f Anon. 7835 35r

59v 102. Allem(ande) edfhf f Anon. 7836 35v

60r 103. Sarab(ande) edfhf f Anon. 7837 35v - 36v

60v 104. Sarab(ande) edfhf - Anon. 7838 -

61r 105. Ballet ffeff e Anon. 6262 -61v - 62r 106. Ps: 32 O Seelig mus ich defhf - Anon. 7101 -62v 107. Ballet - Anon. 7102 -63r 108. Ballet - Anon. 7103 -63v 109. Ballet - Anon. 7104 -64r 110. The King enjoyes his own - Anon. 7003 (T196) - Playford MB 1651 no. 5 (fefhf)

Playford MRLV 1652 no. 7 The K. enjoyes &c. (fefhf)Playford MRLV 1661 no. 3 When the King Enjoyes, &c.Playford MRLV 1669 no. 8 The King enjoyes His ownPlayford MRLV 1682 no. 6 The King enjoyes his ownF-Pc Ms. Rés. 1111 fo:14v 15. GavotteGB-Cu Ms. D.d 6.48 fo:22v

GB-En Sutherland House p.1:1GB-En P637 R787.1 (Reid) seq.(4) fo:1v

When the King enjoyes his owneGB-Ob Ms. Mus. Sch. F.572 p.81

A-240 GB-Cfm MU Ms. 647 p.inv52 (solo bass viol, staff notation)

- 7 -

64v - 65r 111. Allem(ande) - Anon. 7105 -65 r 112. Sarab(ande) - Robert Taylor 12 - D-Kl Ms. 4° Mus. 108.2 fo:81r 61. Sarab:

IRL-Dm Ms. Z3.5.13 (Narcissus Marsh) fo:69vinv Mr Taylor65v - 66r 113. 114. ruled and numbered, no music

66v 115. Allemande ffeff d Anon. 6268 -67r 116. Gavotte D Lully (6269) - LWV 22/21

D-Kl Ms. 2° Mus. 61.1(1) fo:25r:2 (Baryton, fedfh)67v - 68r 117. Allem(ande) D. B. a Du Buisson 12 - PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:22r Allemande

US-Wc Ms. M2.1.T2.17C.Case fo:13v Allemande D.B.68v - 69r 118. Courente D. B. a Du Buisson 13 - PL-Wtm Ms. In.377/No.221 (Cracow BV1) fo:22v Courante

US-Wc Ms. M2.1.T2.17C.Case fo:14v Courante D.B.69r - 69v 119. Sarab(ande) D. B. a Du Buisson 14 - US-Wc Ms. M2.1.T2.17C.Case fo:15v Sarabande D.B.70r 120. Not entered, the remaining space on 69v and the whole of 70r are filled with an incomplete piece, VdGS 6270, in a different hand.70v - 71r 121. Sarab(ande) H. d Nicolas Hotman 8 43r A-ETgoëss Ms (B) fo:39v Sarabande

F-Pc Ms. Rés. 1111 fo:55v 60. Sarraband71v - 72r 122. Jeŭnes Zephirs D J. C. de Chambonnières 1 43v (ex 6271)72r 123. Sarabande D Pierre Dubut 1 (ex 6272) 44r [6272 & 6376 are independent versions]

ex 6376 D-Kl Ms. 4° Mus. 108.6 fo:37v Cour: (solo)D-Kl Ms. 4° Mus. 108.6 fo:38r Cour: (bass)

72v - 73r 124. Ritoŭrnelle g Lully (6273) 44v - 45rLWV 53/4773v 125. Allemande D. Eb d Daniel Eberlin 1 45v Nos. 125 - 128 have figured bass parts74r 126. Courante D. Eb d Daniel Eberlin 2 45v - 46r

74v 127. Sarabande D. E d Daniel Eberlin 3 46r

75r 128. Giqŭe d Daniel Eberlin 4 46v

75v 129. Allemande D Anon. 6274 47r

76r 130. Sarab(ande) D Anon. 6275 47v

76v 131. Boŭrrée Verstimbt efffe A Anon. 9601 47v - 48r

77r 132. Sarab(ande) A Anon. 9602 48r

77v 133. Allemande Eb: ffeff A Daniel Eberlin 5 48v

78r 134. Gavotte Eb: A Daniel Eberlin 6 49 r

78v 135. Sarabande A Anon. 6276 49v bass part in vol. 4 marked Viola 2da79r (Sa)rabande d Anon. 6277 -79v - 80r 136. Giqŭe A Anon. 6278 49v - 50r bass part in vol. 4 marked Viola 2da80v 137. Aria di D. Eb: d Daniel Eberlin 7 50v D-Kl Ms. 4° Mus. 108.2 fo:58r Aria81r Aria del Basso81v 138. Lamento a doi Di D. Eb: d Daniel Eberlin 8 50v D-Kl Ms. 4° Mus. 108.2 fo:57r Lamento82r Lamento Basso82v 139. Sarab(ande) D. Eb. d Daniel Eberlin 9 51r

83r Sarab(ande) Basse

- 8 -

83v 140. Gigŭe D. S. Eb. d Daniel Eberlin 10 51r

84r Gigŭe Basse

84v Stimmŭng efhff84v - 85r 141. Aria – Variatio efhff - Anon. 9351 -85r 142. Sarab(ande) 9352 -85v 143. Courente 9353 -86r 144. Gavotte 9354 -86v 145. Gigue 9355 -87v - 88v empty pages

Cambridge, University Library [GB-Cu] MS Dd.9.33, c. 1600-1605no. f. title VdGS no. 1 95v Untitled [ffeff] 6501

GB-Cu Dd.5.20, f. 19v untitled [ffeff]

The third of Mathew Holmes' lute manuscripts, containing a single piece for lyra viol on the last folio of music.

London, British Library [GB-Lbl], Egerton MS 2971: 'Songs Etc. 17th Century'See EGERTON C .... Mary Cyr: ‘A 17th-century source of ornamentation for voice and viol: British Museum MS Egerton

2971’, RMARC 9, 53-72 for a full list of contents and concordances for the vocal music

no. p. mod. f. VdGSflyleaf recto Robius Downes

Texted songs with lyra viol [tuning?] tablature [5-line] accompaniment in score:1 88-89 24v-25r Dolcissimo sospiro [Caccini]2 - 25v-26r Ma grideran per me lepiagg'i Mont'e queste3 91 27r Parlera, nel mio uoluo la pietat'el dolore4 92-93 27v-28r Crud' Amarilli5 94-95 28v-29r Amarilli mia bella [Caccini]

Solo lyra viol tuned fefhf [5-line tablature]:6 129 33r Alman Coperario [fefhf] solo Alm 25

130 33v [tuning indication]: fefhf Leiro7 131 34r A toy by D. Farrant [fefhf] Toy 1

D-Kl 4o Mus.108 II, no. 26, f. 63v untitled [fefhf]F-Pc Rés. 1111, no. 190, f. 174v Courant [fefhf]IRL-Dtc 408/I, p. 40 header: for the Leereowe violl [fefhf]IRL-Dtc 408/I, p. 40 & 60 a Toye [fefhf]GB-CHEr DLT/B 31, f. 45v iii untitled [fefhf]GB-Cu Dd.5.20, f. 25v untitled [fefhf]GB-Lbl Add.15118, f. 31r ii Thumpe [fefhf]

8 131 34r Alman [fefhf] Alman 2 March 2011

ANONYMOUSPieces for two violins and bass/continuoprobably of continental originVdGS No. key

900 Sonata

901 Sonata

March 2009 A-2BC-9

GB-Cfm:Mu.1167

no.

(1)

(2)

ABEL, Carl Friedrich(1723-1787)

This Catalogue is compiled by Peter Holman. The introduction is cut down from the full expla-nation in ABEL-H (q.v.). The Catalogue replaces that of ABEL-K and it is suggested that ‘A’ pre-fixes the catalogue numbers for general use. See also VIOL-H, chapters 5-6.

Charles Frederick Abel was probably the most prolific composer for the viola da gamba after theBaroque period. We have ninety-five surviving works featuring the gamba in solo or obbligatoroles: thirty pieces for unaccompanied gamba (plus three short cadenza-like passages); forty-ninesolos or sonatas and two separate minuets for gamba and bass; four duets for gamba andvioloncello; a gamba part possibly from a sonata with obbligato harpsichord; two incompletetrios for flute, gamba and bass; a quartet for flute, violin, gamba and violoncello; two quartets forgamba, violin, viola and violoncello; and an aria with gamba obbligato. In addition, there are anumber of surviving violoncello parts that may originally have been intended for the gamba, andwe know from newspaper advertisements and other documentary sources that many other worksonce existed.

Most of Abel’s viola da gamba music was catalogued and published in modern editions by WalterKnape in the 1960s and early 70s, though his work (ABEL K) is unsatisfactory in severalrespects. A number of pieces were omitted from his catalogue, some of which were known whenit was compiled, there are many errors in the listing of sources and in the incipits of the pieces,and he is not a reliable guide to Abel’s hand, failing to recognize genuine examples and wronglyclaiming copies made by others as autographs. In what follows Abel’s gamba music is groupedinto eight categories by scoring:

1. Unaccompanied viola da gamba2. Viola da gamba and bass/continuo3. Viola da gamba and violoncello4. Viola da gamba and ?harpsichord5. Flute, viola da gamba and bass/continuo6. Flute, violin, viola da gamba and violoncello7. Viola da gamba, violin, viola and violoncello8. Soprano, viola da gamba, two violins, viola and bass/continuo

Within each category the works are presented in the order they appear in the primary sources,and the sources are ordered by the alphabetical order of their RISM library sigla, with (in the caseof Category 2), the printed collection coming first in the sequence. Knape’s catalogue numbers(WKO) have been included, but since a number of works are not in WKO new numbers havebeen allocated in the form 1:4 (i.e. the fourth piece in Category 1) or 7:2 (the second in Category7), thus allowing for extra pieces to be added as they come to light.

Abel wrote his viola da gamba parts mostly in the treble clef, expecting it to be played at thelower octave—a feature preserved in the incipits. Occasionally, as in 4:1, 7:1 and 7:2, the partsare written in the alto and bass clefs, as in modern practice, which suggests the intervention of acontemporary copyist or arranger. A distinction is made between solo gamba works that have asimple accompaniment, occasionally figured and usually labelled ‘Basso’ (Category 2), and duetsspecifically for gamba and violoncello (Category 3) in which the violoncello presumably has amore active role—though the four works concerned are not available for study. The titles of thepieces are given in the form they appear in the principal source; Holman has given appropriatetitles to untitled pieces in square brackets. The incipits have been transcribed directly from thesources with a minimum of editorial changes and additions, though a few obvious errors havebeen corrected without comment; the exact placing and duration of slurs is sometimes open toquestion and may differ slightly from modern editions. Holman has only included fingerings that

February 2011 ABEL CF-1

he believes to be autograph. Holman writes: ‘I have tried to list all modern editions, and wouldbe glad to hear of any I have missed—or of any other omissions and errors.’

Library Sigla (Following the RISM system used in Grove Music Online)

A-HE Heiligenkreuz, Musikarchiv des ZisterzienserstiftesA-LA Lambach, Benediktiner-Stift Lambach, BibliothekAUS-NLwm Nedlands (Perth), Wigmore Music Library, University of WesternAustraliaCZ-Pnm Prague, Narodní MuzeumD-B Berlin, Staatsbibliothek zu Berlin Preuβischer Kulturbesitz,MusikabteilungD-Dl Dresden, Sächische Landesbibliothek, Staats- undUniversitätsbibliothek DresdenDK-Kk Copenhagen, Det Kongelige Bibliotek SlotsholmenGB-Ckc Cambridge, Rowe Music Library, King’s CollegeGB-Lbl London, The British LibraryGB-Lna London, The National ArchivesGB-Lu London, University of London, Senate House LibraryUS-NYp New York, NY, New York Public Library at Lincoln Center, Music Division

Publisher Abbreviations

CAP Charivari Agréable Publications, OxfordDE Dovehouse Editions, Ottawa, Viola da gamba seriesFretwork Fretwork Editions, LondonEG Edition Güntersberg, HeidelbergHM Hortus Musicus, Bärenreiter, KasselKnape C. F. Abel, Compositionen, ed. Walter Knape, CuxhavenPRB PRB Productions, Albany CAUO Ut Orpheus Edizioni, Bologna

Sources

The Favourite Songs in the Opera Sifari, 2 vols. (London: Welcker, [1767]). A selection of arias fromthe opera in full score. 8:1 is in vol. 1, pp. 2-7; copy consulted: GBLbl, G.206.k.(2).

Six Easy Sonattas for the Harpsichord, or for a Viola da Gamba, Violin or German Flute, with a Thorough-Bass Accompaniment ([?London, ?1772]). It consists of 2:1-6 in score. The only surviving copy is D-Dl, Mus. 3122-R-2. There is a facsimile with an introduction by Michael O’Loghlin (Heidelberg,2005), EG, G501.

Les Suites des trios primieres: trios pour le violon, violoncello, et basso (London: Longman, Lukey and Co.,[1772]). It consists of parts of 5:1, 5:2 and a variant of Six Sonatas for a Violin, a Violoncello, & Base,with a Thorough Base for the Harpsichord, op. 9 (London, 1772), no. 5. The only known copies are atGB-Ckc (violoncello and basso parts) and AUS-NLwm (violoncello part).

A-LA, oblong-quarto manuscript parts of 7:1 and 7:2, copied by an unidentified hand. Theultimate source was clearly Abel’s Six Quartettos for Two Violins, a Tenor and Violoncello Obligati, op.8 (London, 1769), nos. 5 and 2, though the fact that they are numbered 1 and 3 in themanuscripts rather than 5 and 2 suggests that there was at least one intermediate source.

D-B, KHM 25 a/b. Folio scores of 2:7 and 2:8 copied by an unidentified late eighteenth-centuryGerman hand. It is not autograph, as claimed by Knape: the handwriting is quite different fromAbel’s known autographs, such as GB-Lbl, Add. MS 31,697, Items 1-5 and the first section ofUS-NYp, Drexel MS 5871, the composer is given the formal title ‘Sigr Abel’ (he signed his work‘C. F. Abel’), and the viola da gamba part is mostly written in the alto clef; the composer wrote

February 2011 ABEL CF-2

his gamba music in the treble clef.

D-B, Mus. Ms. 253/10. Folio parts of the three-movement version of 6:1, copied on paperstamped ‘J J / Berlin’ by the same late nineteenth-century copyist as part of D-B, Mus. Ms. 263and Items 1 and 2 of D-B, Mus. Ms. Slg. Klg. 2. He may be the Braunschweig cellist and gambaplayer Johann Klingenberg (1852-1905) since D-B, Mus. Ms. Slg. Klg. 2 came from hiscollection.

D-B, Mus. Ms. 263. Folio scores and gamba parts of 2:10 and 2:7, copied by two late nineteenth-century hands. The first, possibly Johann Klingenberg, also copied D-B, Mus. Ms. 253/10 andItems 1 and 2 of D-B, Mus. Ms. Slg. Klg. 2. The second hand used paper stamped ‘C. PetersMünchen’. They are edited for performance with added dynamics and a keyboard realization ofthe bass.

D-B, Mus. Ms. Slg. Klg. 2. Folio scores of 2:10, 1:3 and 1:4 (Item 1), 6:1 (Item 2), 2:7 and 2:8(Item 4), as well as Abel’s two sonatas for violoncello and bass WKO 147 and 148 (Item 3), fromthe collection of Johann Klingenberg. The hand of Items 1 and 2, possibly Klingenberg himself,also copied D-B, Mus. Ms. 253/10 and part of D-B, Mus. Ms. 263.

GB-Lbl, Add. MS 31,697. A scrapbook containing seven separate items, the first five of whichare Abel’s autographs of 2:9, 1:1, 1:2, 1:3, and 1:4. Items 6 and 7 are manuscripts each containingsequences of 15 sonatas by Abel for viola da gamba and bass (2:10-21, 23, 25-26 and 2:27-41), aswell as, in Item 6, the individual minuets 2:22 and 2:24. They were copied by an unidentifiedhand probably in the 1770s from Abel’s autographs. Most if not all the items were owned byElizabeth, Countess of Pembroke (1737-1831), and it was probably assembled in its present formby the artist and gamba player Thomas Cheeseman (1760-?1842).

GB-Lu, MS 944/2/1-3. Three late eighteenth-century folio manuscript part-books containing, inthe earliest layer, trio sonatas by Maximilian Humble and anonymous, as well as (in the firstviolin and bass parts) a set of early eighteenth-century sonatas composed or arranged for viola dagamba and bass; the gamba part of 4:1 comes at the end of this sequence, though there is nocorresponding part in the bass part-book. The part-books seem to have been owned in turn byJohn Williamson (1740-1815), a Canterbury surgeon; his son John (1790-1828), also a Canterburysurgeon; the organist Stephen Elvey (1805-1860); and his brother Sir George (1816-1893); theywere given to London University Library in 1925 as part of the Elvey Collection.

US-NYp, Drexel MS 5871. An oblong large-quarto manuscript beginning with 29 pieces forunaccompanied viola da gamba (1:5-33) in Abel’s autograph, as well as containing copies ofCorelli’s trio sonatas op. 1, nos. 1-2 and op. 3, nos. 1-5 in a different hand, and an anonymous‘Solo per il Cembalo’ that appears to be in Abel’s autograph and may be by him. The manuscriptsubsequently belonged to Joseph Coggins (1786-1866) and Edward Rimbault (1816-1876),passing into the Drexel Collection after the sale of Rimbault’s library in 1877. There is a facsimilewith an introduction by Walter Knape (Peer: Alamire, 1993), Facsimile series, 21, and another inMusic for Solo Viola da Gamba , CAP040 (2007).

Collection of the late Edgar Hunt, manuscript parts of 6:1. They have not been available forstudy, but a note in the ‘VIOLA (or Viola da gamba)’ part of Hunt’s edition (Schott, 10190)states: ‘The MS part (in the editor’s possession) is headed “Viola da gamba” whereas in the title itis given as “Violetta”. The part is written an octave higher in the treble clef in accordance withAbel’s custom when writing for the Viola da gamba’.

Private collection, part-autograph folio manuscript containing ten sonatas for viola da gamba andbass (2:42-51) and four duets for gamba and violoncello (3:1-4). It has not been available forstudy, though a certain amount can be learned about it from the descriptions in sale catalogues:Puttick and Simpson, 27 November 1882, lot 508; Sotheby’s 17 June 1947, lot 241; and Sotheby’s26 May 1994, lot 97. It belonged to Elizabeth, Countess of Pembroke (1737-1831), EdwardPayne (1844-1904) and Arthur Frederick Hill (1860-1939).

February 2011 ABEL CF-3

Category 1: Unaccompanied Viola da Gamba

1:1 [Te]mpo di Menuet, G major, WKO 153.Source: GB-Lbl, Add. MS 31,697, f. 6v (Item 2).Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042.

Comment: slightly related to 1:24.

1:2 Tempo minuetto, D major, WKO 154.Source: GB-Lbl, Add. MS 31,697, f. 7 (Item 3).Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042.Comment: related to 1:22.

1:3 Sonata, G major, WKO 155.Sources: GB-Lbl, Add. MS 31,697, ff. 8-9 (Item 4); D-B, Mus. Ms. Slg. Klg. 2, Item 1, pp. 6-7.Editions: Knape, xvi; Schott, 10353; EG, G142; CAP, 041, 042.Comment: A later hand added ‘Composed for the Lady Pembroke’ on GB-Lbl, Add. MS 31,697,

f. 8. D-B, Mus. Ms. Slg. Klg. 2 was presumably copied directly or indirectly from GB-Lbl, Add. MS 31,697. 1:3/1 is related to 1:4.

[Ada]g[io]

Allegro

Menuet

1:4 Adagio, G major, not in WKO.Source: GB-Lbl, Add. MS 31,697, f. 9v (Item 5).Edition: Schott, 10353; EG, G142; CAP, 041, 042.Comment: related to 1:3/1.

ABEL CF-4February 2011

C. F. ABEL

C. F. ABEL

1:5 Allegro, D major, WKO 186.Source: US-NYp, Drexel MS 5871, p. 1.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 042.

1:6 [Adagio or Andante], D major, WKO 187.Source: US-NYp, Drexel MS 5871, p. 2.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:7 Tempo di Minuet, D major, WKO 188.Source: US-NYp, Drexel MS 5871, p. 3.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:8 Adagio, D major, WKO 189.Source: US-NYp, Drexel MS 5871, p. 4.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:9 Vivace, D major, WKO 190.Source: US-NYp, Drexel MS 5871, p. 5.Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:10 Andante, D major, WKO 191.Source: US-NYp, Drexel MS 5871, p. 6.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

Comment: the opening is related to Louis Caix d’Hervelois, Musette in D major for bass viol andcontinuo, Troisième oeuvre (Paris, 1731), 14-15.

ABEL CF-5February 2011

C. F. ABEL

1:11 [Allegro], D major, WKO 192.Sources: US-NYp, Drexel MS 5871, p. 7.Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:12 [Minuet], D major, WKO 193.Source: US-NYp, Drexel MS 5871, p. 8.Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:13 [Flourish or Cadenza], D major, not in WKO.Source: US-NYp, Drexel MS 5871, p. 8.Edition: UO, HS99; CAP, 041, 042.

1:14 [Prelude], D major, WKO 194.Source: US-NYp, Drexel MS 5871, p. 8.Edition: UO, HS99; CAP, 041, 042.

1:15 [Allegro], D major, WKO 195.Source: US-NYp, Drexel MS 5871, p. 9.Edition: Knape, xvi; UO, HS99; CAP, 041, 042.

1:16 Fuga, D major, WKO 196.Source: US-NYp, Drexel MS 5871, pp. 10-11.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.Comment: the subject is taken from Corelli’s Concerto Grosso in D major, op. 6, no. 1.

February 2011 ABEL CF-6

C.F. ABEL

1:17 [Adagio ], D major, WKO 197.Source: US-NYp, Drexel MS 5871, p. 11.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:18 Allegro, D major, WKO 198.Source: US-NYp, Drexel MS 5871, pp. 12-13.Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:19 [Minuet], D major, WKO 199.Source: US-NYp, Drexel MS 5871, p. 13.Editions: Knape, xvi; DE, 22; CAP, 041, 042.

1:20 [Flourish or Cadenza], D major, not in WKO.Source: US-NYp, Drexel MS 5871, p. 13.Edition: CAP, 041, 042.

1:21 Tempo di Minuet [en rondeau], D major, WKO 200.Source: US-NYp, Drexel MS 5871, p. 14.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:22 Tempo di Minuet, D major, WKO 201.Source: US-NYp, Drexel MS 5871, p. 15.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.Comment: related to 1:2.

February 2011 ABEL CF-7

C. F. ABEL

1:23 [Minuet en rondeau], D major, WKO 202.Source: US-NYp, Drexel MS 5871, p. 16.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:24 [Minuet with two variations], in D major, WKO 203, 204.Source: US-NYp, Drexel MS 5871, p. 17.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.Comment: slightly related to 1:1.

1:25 [Flourish or Cadenza], D major, not in WKO.Source: US-NYp, Drexel MS 5871, p. 17.Edition: UO, HS99; CAP, 041, 042.

1:26 [Prelude], D minor, WKO 205.Source: US-NYp, Drexel MS 5871, p. 18.Editions: Knape, xvi; UO, HS99; CAP, 041, 042.

1:27 [Minuet], D minor, WKO 206.Source: US-NYp, Drexel MS 5871, p. 18.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:28 Allegro, D minor, WKO 207.Source: US-NYp, Drexel MS 5871, p. 19.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

February 2011 ABEL CF-8

C. F. ABEL

1:29 [Allegro], D minor, WKO 208.Source: US-NYp, Drexel MS 5871, pp. 20-21.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:30 Adagio, D minor, WKO 209.Source: US-NYp, Drexel MS 5871, p. 22.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:31 Tempo di Minuet, D major, WKO 210.Source: US-NYp, Drexel MS 5871, p. 23.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:32 Allegretto, A major, WKO 211.Source: US-NYp, Drexel MS 5871, pp. 24-25.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

1:33 [Rondo], A major, WKO 212.Source: US-NYp, Drexel MS 5871, p. 25.Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042.

February 2011 ABEL CF-9

C. F. ABEL

Category 2: Viola da Gamba and Bass/Continuo

2:1 Sonata, C major, WKO 141.Source: Six Easy Sonattas, no. 1, pp. 2-5.Editions: Knape, xvi; HM, 39; EG, G062.

Vivace

Adagio

Minuetto

2:2 Sonata, A major, WKO 142.Source: Six Easy Sonattas, no. 2, pp. 6-9.Editions: Knape, xvi; HM, 39; EG, G062.

Allegro

Siciliano

Tempo di Minueto

2:3 Sonata, D major, WKO 143.Source: Six Easy Sonattas, no. 3, pp. 10-12.Editions: Knape, xvi; HM, 39; EG, G062.

Allegro

Adagio

February 2011 ABEL CF-10

C. F. ABEL

Minuetto

2:4 Sonata, G major, WKO 144.Source: Six Easy Sonattas, no. 4, pp. 13-16.Editions: Knape, xvi; HM, 40; EG, G063.

Allegro

Adagio

Minuetto

2:5 Sonata, A major, WKO 145.Source: Six Easy Sonattas, no. 5, pp. 17-20.Editions: Knape, xvi; HM, 40; EG, G063.

Allegro

Andante

Minuetto

February 2011 ABEL CF-11

C. F. ABEL

2:6 Sonata, E minor, WKO 146.Source: Six Easy Sonattas, no. 6, pp. 21-24.Editions: Knape, xvi; HM, 40; EG, G063.

Moderato

Adagio

Minuetto

2:7 Sonata, E minor, WKO 150.Sources: D-B, KHM 25a; D-B, Mus. Ms. 263; D-B, Mus. Ms. Slg. Klg. 2, Item 4.Editions: Knape, xvi; Schott, ES1373; EG, G090.

Siciliano

Allegro

Presto

2:8 Sonata, G major, WKO 149.Sources: D-B, KHM 25b; D-B, Slg. Klg. 2, Item 4.Editions: Knape, xvi; EG, G090.

Adagio

Allegro

February 2011 ABEL CF-12

C. F. ABEL

Allegro ma non presto

2:9 Sonata, G major, WKO 152.Source: GB-Lbl, Add. MS 31,697, ff. 3-6 (Item 1).Editions: Knape, xvi; PRB, CL015; EG, G188.

[A]llegretto

Adagio

[A]llegro

2:10 Sonata, C major, WKO 151.

Sources: GB-Lbl, Add. MS 31,697, ff. 10v-13 (Item 6, no. 1); D-B, Mus. Ms. 263; D-B, Mus.Ms. Slg. Klg. 2., Item 1, pp. 1-5.

Editions: Knape, xvi; PRB, CL015.Comment: the Cantabile, arranged for gamba, violin and violoncello probably by Johannes

Klingenberg, also appears in the D-B, Mus. MS 253/10 version of 6:1. The D-B manuscripts were presumably copied directly or indirectly from GB-Lbl, Add. MS 31,697.

Allegro

Cantabile

Tempo di Minuetto

February 2011 ABEL CF-13

C. F. ABEL

2:11 Sonata, D major, WKO 156.Source: GB-Lbl, Add. MS 31,697, ff. 13v-15 (Item 6, no. 2).Editions: Knape, xvi; PRB, CL013.

Allegro

Minuetto

2:12 Sonata, G major, WKO 157.Source: GB-Lbl, Add. MS 31,697, ff. 15v-17 (Item 6, no. 3).Editions: Knape, xvi; PRB, CL013.

Moderato

Tempo di Minuetto

2:13 Sonata, D major, WKO 158.Source: GB-Lbl, Add. MS 31,697, ff. 17v-19 (Item 6, no. 4).Editions: Knape, xvi; PRB, CL014.

Moderato

Minuetto

2:14 Sonata, G major, WKO 159.Source: GB-Lbl, Add. MS 31,697, ff. 19v-21 (Item 6, no. 5).Editions: Knape, xvi; PRB, CL014.

Allegro

February 2011 ABEL CF-14

C. F. ABEL

Minuetto

2:15 Sonata, D major, WKO 160.Source: GB-Lbl, Add. MS 31,697, ff. 21v-23 (Item 6, no. 6).Editions: Knape, xvi; PRB, CL014.

Allegro

Minuetto

2:16 Sonata, D major, WKO 161.Source: GB-Lbl, Add. MS 31,697, ff. 23v-25 (Item 6, no. 7).Editions: Knape, xvi; PRB, CL015.

Allegro

[Minuet]

2:17 Sonata, C major, WKO 162.Source: GB-Lbl, Add. MS 31,697, ff. 25v-27 (Item 6, no. 8).Editions: Knape, xvi; PRB, CL013.

Allegro

Vivace

February 2011 ABEL CF-15

C. F. ABEL

2:18 Sonata, A major, WKO 163.Source: GB-Lbl, Add. MS 31,697, ff. 27v-29 (Item 6, no. 9).Editions: Knape, xvi; PRB, CL014.

Allegro

Tempo di Minuetto

2:19 Sonata, A major, WKO 164.Source: GB-Lbl, Add. MS 31,697, ff. 29v-31 (Item 6, no. 10).Editions: Knape, xvi; PRB, CL015.

Allegro

Minuetto

2:20 Sonata, D major, WKO 165.Source: GB-Lbl, Add. MS 31,697, ff. 31v-34 (Item 6, no. 11).Editions: Knape, xvi; PRB, CL014.

Allegro

Adaggio

Tempo di Minuetto

February 2011 ABEL CF-16

C. F. ABEL

2:21 Sonata, D major, WKO 166.Source: GB-Lbl, Add. MS 31,697, ff. 34v-36 (Item 6, no. 12).Editions: Knape, xvi; PRB, CL014.

Allegro

Andante

Minuetto

2:22 Tempo di Minuetto, C major, not in WKO.Source: GB-Lbl, Add. MS 31,697, f. 37.Edition: PRB, CL014.

Comment: treated as the third movement of 2:21 in PRB, CL014, but the discrepancy of keysmakes this unlikely.

2:23 Sonata, G major, WKO 167.Source: GB-Lbl, Add. MS 31,697, ff. 37v-38v (Item 6, no. 13).Editions: Knape, xvi; PRB, CL013.

Allegro

Tempo di Minuetto

2:24 Tempo di Minuetto, D major, not in WKO.Source: GB-Lbl, Add. MS 31,697, f. 39.Editions: Knape, xvi; PRB, CL013.Comment: treated as the third movement of 2:23 in Knape, xvi and PRB, CL013. This isunlikely unless a da capo to 2:23/2 is intended, though it is not indicated in the manuscript.

February 2011 ABEL CF-17

C. F. ABEL

2:25 Sonata, D major, WKO 168.Source: GB-Lbl, Add. MS 31,697, ff. 39v-42 (Item 6, no. 14).Editions: Knape, xvi; PRB, CL013.

Allegro

Allegro

Minuetto

Minuetto

2:26 Sonata, D major, WKO 169.Source: GB-Lbl, Add. MS 31,697, ff. 42v-44 (Item 6, no. 15).Editions: Knape, xvi; PRB, CL013.

Allegro

Minuetto

Allegretto

2:27 Sonata, C major, WKO 170.Source: GB-Lbl, Add. MS 31,697, ff. 45v-48 (Item 7, no. 1).Editions: Knape, xvi; PRB, CL014.

Moderato

February 2011 ABEL CF-18

C. F. ABEL

Andantino

Allegro

2:28 Sonata, G major, WKO 171.Source: GB-Lbl, Add. MS 31,697, ff. 48v-51 (Item 7, no. 2).Editions: Knape, xvi; PRB, CL014.

Vivace

Cantabile

Vivace

2:29 Sonata, D major, WKO 172.Source: GB-Lbl, Add. MS 31,697, ff. 51v-54 (Item 7, no. 3).Editions: Knape, xvi; PRB, CL014.Comment: the second movement is wrongly given in the source with only two sharps.

Allegro

Adaggio

Minuetto

February 2011 ABEL CF-19

C. F. ABEL

2:30 Sonata, A major, WKO 173.Source: GB-Lbl, Add. MS 31,697, ff. 54v-57 (Item 7, no. 4).Editions: Knape, xvi; PRB, CL014.

Allegro

Cantabile

Tempo di Minuetto

2:31 Sonata, G major, WKO 174.Source: GB-Lbl, Add. MS 31,697, ff. 57v-60 (Item 7, no. 5).Editions: Knape, xvi; PRB, CL013.

Moderato

Cantabile

Vivace

2:32 Sonata, C major, WKO 175.Source: GB-Lbl, Add. MS 31,697, ff. 60v-63 (Item 7, no. 6).Editions: Knape, xvi; PRB, CL013.

Allegro

Adaggio

February 2011 ABEL CF-20

C. F. ABEL

Tempo di Minuetto

2:33 Sonata, A major, WKO 176.Source: GB-Lbl, Add. MS 31,697, ff. 63v-66 (Item 7, no. 7).Editions: Knape, xvi; PRB, CL013.

Allegro

Andantino

Allegro

2:34 Sonata, A major, WKO 177.Source: GB-Lbl, Add. MS 31,697, ff. 66v-69 (Item 7, no. 8).Editions: Knape, xvi; PRB, CL015.

Allegro

Andante

Allegro

2:35 Sonata, G major, WKO 178.Source: GB-Lbl, Add. MS 31,697, ff. 69v-71 (Item 7, no. 9).Editions: Knape, xvi; PRB, CL013.

Allegro

February 2011 ABEL CF-21

C. F. ABEL

Minuetto

2:36 Sonata, A major, WKO 179.Source: GB-Lbl, Add. MS 31,697, ff. 71v-73 (Item 7, no. 10).Editions: Knape, xvi; PRB, CL013.

Allegro

Andante

Minuetto

2:37 Sonata, D major, WKO 180.Source: GB-Lbl, Add. MS 31,697, ff. 73v-75 (Item 7, no. 11).Editions: Knape, xvi; PRB, CL015.

Allegro

Siciliano

Minuetto

February 2011 ABEL CF-22

C. F. ABEL

2:38 Sonata, D major, WKO 181.Source: GB-Lbl, Add. MS 31,697, ff. 75v-77 (Item 7, no. 12).Editions: Knape, xvi; PRB, CL015.

Allegro

Minuetto [and two variations]

2:39 Sonata, G major, WKO 182.Source: GB-Lbl, Add. MS 31,697, ff. 77v-79 (Item 7, no. 13).Editions: Knape, xvi; PRB, CL015.

Allegro

Adaggio

Minuet

2:40 Sonata, A major, WKO 183.Source: GB-Lbl, Add. MS 31,697, ff. 79v-81 (Item 7, no. 14).Editions: Knape, xvi; PRB, CL015.

Allegro

Adaggio

Minuetto

February 2011 ABEL CF-23

C. F. ABEL

2:41 Sonata, C major, WKO 184.Source: GB-Lbl, Add. MS 31,697, ff. 81v-83 (Item 7, no. 15).Editions: Knape, xvi; PRB, CL015.

Moderato

Tempo di Minuetto

2:42 Sonata, E major, not in WKO.Source: part-autograph manuscript, private collection, no. 3.Edition: none.

Allegro

Adagio

Tempo di Minuet

2:43 Sonata, E¨ major, not in WKO.Source: part-autograph manuscript, private collection, no. 4.Edition: none.

VivaceAdagioMenuet

2:44 Sonata, B¨ major, not in WKO.Source: part-autograph manuscript, private collection, no. 5.Edition: none.

ModeratoAdagioTempo di Menuet

2:45 Sonata, B¨ major, not in WKO.Source: part-autograph manuscript, private collection, no. 6.Edition: none.

VivaceAdagioTempo di Menuet

February 2011 ABEL CF-24

C. F. ABEL

2:46 Sonata, B¨ major, not in WKO.Source: part-autograph manuscript, private collection, no. 7.Edition: none.

AllegroAdagioMenuet

2:47 Sonata, F major, not in WKO.Source: part-autograph manuscript, private collection, no. 8.Edition: none.

ModeratoAdagioMen[uet]

2:48 Sonata, G major, not in WKO.Source: part-autograph manuscript, private collection, no. 9.Edition: none.

AllegroAdagioTempo di Menuetto

2:49 Sonata, D major, not in WKO.Source: part-autograph manuscript, private collection, no. 10.Edition: none.

ModeratoAdagioMen[uet]

2:50 Sonata, D major, not in WKO.Source: part-autograph manuscript, private collection, no. 13.Edition: none.

AllegroAdagioAllegretto

2:51 Sonata, A major, not in WKO.Source: part-autograph manuscript, private collection, no. 14.Edition: none.

ModeratoAdagioTempo di Menuet

February 2011 ABEL CF-25

C. F. ABEL

Category 3: Viola da Gamba and Violoncello

3:1 Duetto, D major, not in WKO.Source: part-autograph manuscript, private collection, no. 1.Edition: none.

AllegroRondeau

3:2 Duetto, D major, not in WKO.Source: part-autograph manuscript, private collection, no. 2.Edition: none.

AllegroAdagioTempo di Menuet

3:3 Duetto, G major, not in WKO.Source: part-autograph manuscript, private collection, no. 11.Edition: none.

Poco allegroUn poco adagioRondeau alegretto

3:4 Duetto, G major, not in WKO.Source: part-autograph manuscript, private collection, no. 12.Edition: none.

Un poco allegroAndanteTempo di Minuet

February 2011 ABEL CF-26

C. F. ABEL

Category 4: Viola da Gamba and ?Harpsichord

4:1 [Sonata], C major, not in WKO.Source: GB-Lu, MS 944/2/1-3, part 1, pp. 30-31.Edition: none.Comment: only the gamba part survives, entitled ‘F. Abel per il Viol di Gambo’, though itsstyle suggests that it comes from an accompanied sonata with obbligato harpsichord ratherthan one for gamba and bass; see Holman, Life after Death, 226-227.

[Allegro]

[Andante]

[Minuet]

Category 5: Flute, Viola da Gamba and Bass/Continuo

5:1 Trio, F major, not in WKO.Les Suites des trios primieres, pp. 8-9 in each part, no. 4.Edition: none.

Comment: only the gamba and figured bass parts survive, in a publication said to be ‘Pour le VIO-LON, VIOLONCELLO, et BASSO’. From the documents relating to Abel’s lawsuit againstLongman, Lukey and Co. in 1773 we know that it was written ‘about 10 years ago’ (i.e.around 1763) and was originally composed ‘for a Flute, Viol di gamba and a Bass’; seeHolman, Life after Death, 224-226.

Moderato

Andante

Menuetto

February 2011 ABEL CF-27

C. F. ABEL

5:2 Trio, G major, not in WKO.Les Suites des trios primieres, pp. 9-10 in each part, no. 5.

Edition: none.Comment: only the gamba and figured bass parts survive, in a publication said to be ‘Pour le

VIOLON, VIOLONCELLO, et BASSO’. From the documents relating to Abel’s lawsuitagainst Longman, Lukey and Co. in 1773 we know that it was written ‘about 10 yearsago’ (i.e. around 1763) and was originally composed ‘for a Flute, Viol di gamba and aBass’; see Holman, Life after Death [VIOL H] , 224-226.

Allegro

Andante

Menuetto

Category 6: Flute, Violin, Viola da Gamba and Violoncello

6:1 Quartet, G major, WKO 227.Sources: manuscript in the possession of the late Edgar Hunt; D-B, Mus. Ms. Slg. Klg. 2,

Item 2; D-B, Mus. Ms. 253/10.Editions: Schott, 10190; PRB, CL007.Comment: the Edgar Hunt and D-B manuscripts preserve independent versions, published

respectively by Schott and PRB; the one in D-B, Mus. Ms. Slg. Klg. 2 may derive from amanuscript, now lost, that was offered for sale in Hamburg in 1783 as ‘Abel, I Quatuor.Viola da Gamba Fl. Violin & Violoncel G dur’. In addition, the version in D-B, Mus. Ms.253/10 has a central ‘Cantabile’ described as an insertion (‘Einlage’); it is an arrangement,possibly made by Johann Klingenberg, of 2:10/2; see Holman, Life after Death, 227-228.The two-movement version is found as the outer movements of a flute quartet in CZ-Pnm,XXII A7, while the Allegretto also serves as the finale of the string quartet op. 12, no. 6,WKO 72/3.

Allegro Moderato

Cantabile: see 2:10/2

February 2011 ABEL CF-28

Category 7: Viola da Gamba, Violin, Viola, Violoncello

7:1 Quarteto N: 1, A major, not in WKO.Source: manuscript parts at A-LA.Edition: none.

Comment: An arrangement of no. 5 of Abel’s Six Quartettos, op. 8, WKO 65, with the gamba tak-ing the first violin part down the octave. The part is written in the alto clef, which suggeststhat the arrangement was not made by Abel himself.

Un poco Vivace

Adagio ma non Tropo

Allegro assai

7:2 Quarteto N. 3, B¨ major, not in WKO.Source: manuscript parts at A-LA.Edition: none.

Comment: An arrangement of no. 2 of Abel’s Six Quartettos, op. 8, WKO 62, with the gamba tak-ing the first violin part down the octave. The part is written in the alto clef, which suggeststhat the arrangement was not made by Abel himself.

Allegro con Spirito

Adagio

Tempo di Menueto

February 2011 ABEL CF-29

C. F. ABEL

Category 8:Soprano, Viola da Gamba, Two Violins, Viola and Bass/Continuo

8:1 ‘Frena le belle lagrime’, B¨ major, not in WKO.Source: The Favourite Songs in the Opera Sifari, vol. 1, pp. 2-7.Modern edition: Fretwork, FE2.

Cantabile

See ABEL-H Appendix 1 for a discussion of lost or unidentified works by Abel

February 2011 ABEL CF-30

ABEL, Clamor Heinrich (1634-1696)‘Sonata sopra CucCuc’ in G major for violin, bass viol and continuo

GB-DRc, D2, no. 19 [H. Abell]GB-HADolmetsch, II.c.25, no. 9 [Clamor Hen

Abell]GB-Lbl, Add. 31423, ff. 230/249/261v (no. 14)

[Anon.]

for 2 violins and continuo

[Sonata] F-Pn, Rés Vm7 673, no. 45

[Sonata] F-Pn, Rés Vm7 673, no. 86

January 2009 ABEL CH-1

Further information from Richard Carter:

Clamor Heinrich Abel's "Musicalische Blumen" was published in three parts:

Part One (52 pieces, 1674) and Part Two (59 pieces, 1676, dedication dated1675) - both titled "Erstlinge Musicalischer Blumen" - contain suites for fourinstruments (most probably violin band with two treble violins) and harpsi-chord continuo.

Part Three (61 pieces, 1677, dedication dated 1676) - "Dritter Theil Musical-ischer Blumen" - contains eight suites (Allemanda/Courante/Sarabanda/Gique) for violin and harpsichord, plus a further seven suites for violin, lyraviol ("verstimbte Violadagamba") and harpsichord, of which the last is alsofor scordatura violin. No copy of the viol partbook is known to survive.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674)

1. Praeludium.

Adagio.

Sonatina.

Allegro.

2. Allemanda.

3. Corrante.

4. Sarabanda.

5. Giqve.

Adagio

6. Praeludium.

adagio.

Sonatina.

Allegro.

7. Allemanda. 8. Corrante.

9. Sarabanda.

10. Giqve.

11. Sarabanda.

12. Giqve.

13. Praeludium.

Adagio.

Sonatina.

Allegro.

14. Allemanda. 15. Corrante.

16. Sarabanda.

17. Giqve.

18. Praeludium.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674)

Adagio.

Allegro.

Sonatina.

19. Allemanda. 20. Corrante.

21. Sarabanda.

22. Giqve.

23. Praeludium.

Adagio.

Allegro.

Sonatina.

24. Allemanda. 25. Corrante.

26. Sarabanda.

27. Giqve.

28. Praeludium.

Adagio.

Allegro.

Sonatina.

29. Allemanda. 30. Corrante.

31. Sarabanda.

32. Giqve.

33. Praeludium.

Adagio.

Allegro.

Sonatina.

34. Allemanda.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1674)

35. Corrante.

36. Sarabanda.

37. Giqve.

38. Praeludium.

Adagio.

Allegro.

Sonatina.

39. Allemanda. 40. Corrante.

41. Sarabanda.

42. Giqve.

43. Praeludium.

Adagio.

Allegro.

Sonatina.

44. Allemanda.

45. Corrante.

46. Sarabanda.

47. Giqve.

48. Praeludium.

Adagio.

Allegro.

Sonatina.

49. Allemanda. 50. Corrante.

51. Sarabanda.

52. Giqve.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6)

1. Praeludium.

2. Allemanda.

3. Corrante.

4. Sarabanda.

5. Giqve.

6. Allemanda.

7. Corrante.

8. Sarabanda.

9. Giqve.

10. Praeludium.

11. Allemanda.

12. Corrante.

13. Sarabanda.

14. Giqve.

15. Praeludium.

16. Allemanda.

[note: this key sig. in PARS PRIMA only, in error]

17. Corrante.

18. Sarabanda.

19. Allemanda.

20. Corrante.

21. Sarabanda.

22. Giqve.

23. Praeludium.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6)

24. Allemanda.

25. Corrante.

26. Sarabanda.

27. Allemanda.

28. Corrante.

29. Sarabanda.

30. Giqve.

31. Praeludium.

32. Allemanda.

allegro

adagio

33. Corrante.

34. Sarabanda.

35. Giqve.

#

36. Praeludium.

37. Allemanda.

adagio

38. Corrante.

39. Sarabanda.

40. Giqve.

41. Praeludium.

Clamor Heinrich Abel - Erstlinge Musicalischer Blumen (1675/6)

42. Allemanda.

43. Corrante.

44. Sarabanda.

45. Giqve.

46. Praeludium.

47. Allemanda.

48. Corrante.

49. Sarabanda.

50. Giqve.

51. Sonata Battaglia.

52. Allemanda.

53. Ballo presto.

54. Corrante.

55. Gavotte.

56. Sarabanda.

57. Ballet.

adagio

NOTE: for nos. 56-59 the second part is missing.

58. Sarabanda.

59. Giqve.

piano

ACHILLEO, Paolo

2 vln, bc

[Sonata] F-Pn, Rés Vm7 673, no. 131

January 2009 ACHILLEO-1

ADSON, Johnc.1586-1640)

1

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

17

18

19

20

21

32

ADSON-1January 2009

ADSON, John (1586/7-1640)Courtly Masquing Ayres (1621)

Five-part pieces

1. Adsonns Masque*2. Mr Adson Masque3. Adsons Masque4. Essex Anticke Masque5. The First of my Lord of Essex6. The Second7. The Third8. The Second [Temple Antick]9. The First of the Temple Antick10. The First Witches Dance [Robert Johnson]11. Broxboorn berry Maske12. Broxboorn berry Maske13. Williams his Loue14.15. Van-weelly16.17.18.19.†20.†21.†*titles from GB-Lbl, Add. 10444†‘for Cornets and Sagbuts’

Six-part pieces†

1.2.3.4.5.6.7.8.9.10.

32. Corant C/a

GB-Lbl,Add. 10444

(a2: Treble/Bass)

f./no.

15v;70v/939v;90r/8339v;90r/8442r;92r/9242v;92r/9342v;92v/9442v;92v/95

51r;100r/12350v;100r/12221r;74v/2513r;67v/513r;67v/4

47r;96v/110

34r;85r/64

38v;89v/81

treble; bassonly

GB-Ob,Mus. Sch.

D.220

p.39, no.36a2: bass only

GB-Lbl,Add.

38539

[Lute]

f.30v

ADSON-2January 2009

ARNOLD, Gregory

Canzona

Canzona

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

67/120

77/149

ARNOLD-1January 2009

2 violins, bassoon, bc

2 violins, viola da braccio, bastarda, bc

John ATKINSONPerhaps the Court musician (died 1671)

VdGS No.

1. Saraband C GB-Ob, MS Mus. Sch. D.220,p. 81, no. 60 (bass only)

7th instalment 2002 ATKINSON-1

BACH, Carl Philipp Emanuel (1714-1788)

Helm numbers (in BACH CPE H) See GERMANY OL

Solo in C, VdG, Bc B-Bc, 5634H 558 D-B, Sig. Klg. 6

Solo in D, VdG, Bc B-Bc, 5364H 559 D-B, Sig Klg. 6

Trio in g, VdG and Cembalo obbligato A-Wgm, XI 36270A-Wn, 16786B-Bc, 5635D-B, ms. autogr. Bach

P357D-B, SA 3627/1

February 2011 BACH CPE-1

BACH, HEINRICH(1615-1692)

2 vln, 2 viola da braccio, violone

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 92, p. 186

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 93, p. 188

January 2009 BACH H-1

Mr BARRAT

VdGSNo.

1. Ambuscado GB-Ob, MS Mus. Sch. D.220,p. 85, no. 79

7th Instalment, 2002 BARRAT-1

Robert BATEMAN(d. 1618)

VdGSNo

VdGS Nos. 1-2 have pavans placed before them attributed to ‘Johann Thomas’ (an Englishman?).VdGS No. 4 is called ‘Stephen Thomas his 2[nd]’ in GB-Lbl, Add. 10,444.

1 Galliard G

2 Galliard a

3. Almain C

4. Almain G

5. Bateman’sMasque a

6. The Caduaa

7. The FatesMasque. g

8. Volta D

9. NägleinBlumen g

HIL

DE

RB

RA

ND

1609

no.

10

14

BR

AD

E16

17

no.

23

14

44

SIM

PSO

NT

1621

no.

50

GB

-Lbl

,Add

.104

44

f.,no.

5v,12

7v,25

18v,17

23v,32

48v,114

US-

NY

p,D

rexe

l561

2

p.,no.

Other sources attribute thispiece to Robert Johnson:Princes Almain

KEY

BO

AR

D

2003 BATEMAN-1

THOMAS BATESON (d.1630)

CSIf floods of tearsa4

Second set of Madrigals (1618),no. 12. Publ. EM xxii (2/1960)

BATESON-1August 2004

BECKEN, Pleikardus Carolus (fl. 1650s)Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u.Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts onlysurvive in GB-Lbl, Add. MS 31438, as listed below.VdGS No.

1. Allemand

2. [Allemand]

3. Allemand

4. Courant

5. Saraband

6. Ballet

7. Ballet

8. Courant

9. Saraband

10. Aria

11. [Allemand]

12. Courant

13. SarabandBECKEN-1

March 2008

f.

63v

63v

64r

64r

64v

64v

64v

65r

65r

65v

65v

65v

66r

BECKEN, Pleikardus Carolus (fl. 1650s)Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u.Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts onlysurvive in GB-Lbl, Add. MS 31438, as listed below.VdGS No.

14. [Allemand]

15. Aria

16. [Allemand]

17. Courant

18. Saraband

19. Ballet

20. Schick

21. Courant

22. Courant

23. Allemand

24. Allemand

25. Schick

26. CourantBECKEN-2

March 2008

f.

66r

66v

66v

66v

67r

67r

67v

67v

67v

68r

68r

68v

68v

BECKEN, Pleikardus Carolus (fl. 1650s)Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u.Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts onlysurvive in GB-Lbl, Add. MS 31438, as listed below.VdGS No.

27. Saraband

28. Allemand

29. Courant

30. Saraband

31. Allemand

32. Courant

33. Saraband

34. Allemand

35. Gavot

36. Gavot

37. Gavot

38. Gavot

39. Brandle BECKEN-3

April 2008

f.

68v

69r

69r

69v

69v

70r

70r

70r

70v

70v

70v

70v

70v

BECKEN, Pleikardus Carolus (fl. 1650s)Airs a 3 apparently from his lost 1. Th. neuer Allem. Ball. Arien, Schicken, Cour. u.Sarab. etc … m[it] 2. Violinen und einem Bass. (Strasburg, 1655) Single treble parts onlysurvive in GB-Lbl, Add. MS 31438, as listed below.VdGS No.

40. Bransle

41. Bransle

42. Bransle

January 2009

f.

71r

71r

71r

BECKEN-4

DIETRICH BECKER (1623-1679)

Pieces for two violins, bass and continuo

Sonata a3

Sonata a3

Sonata a3

Sonata a3

Sonata

Allmandt

Courant

Saraband

Giguæ

Sonata

BEC

KER

166

8

BEC

KER

167

4

GB

-Lgc

, G. M

us. 4

69-7

1

US-

NH

b O

sbor

n 51

5

no.

1

2

3

4

no.

1

2

3

4

5

6

no.

1

2

3

4

5

6

f.

32v

2nd

viol

in o

nly

bass

or b

c on

ly

2004

BECKER-1

DIETRICH BECKER (1623-1679)

Pieces for two violins and continuo

Allmandt

Courant

Saraband

Giguæ

Sonata

Allmandt

Courant

Saraband

Giguæ

Sonata

BEC

KER

167

4

GB

-Lgc

, MSS

G.4

69-7

1

no.

7

8

9

10

11

12

13

14

15

16

no.

7

8

9

10

11

2004

BECKER-2

2nd

viol

in o

nly

DIETRICH BECKER (1623-1679)

Pieces for two violins and continuo

Allmandt

Courant

Saraband

Giguæ

Sonata

Brandle simple

Gay

Amener

Gavott

Courant simple

Courant simple

BEC

KER

1674

no.17

18

19

20

21

22

[b]

[c]

[d]

23

24

2004

BECKER-3

DIETRICH BECKER (1623-1679)

Pieces for two violins and continuo

Sarabanda

Sonata

Allmandt

Courant

Saraband

Giguæ

Sonata

Ariæ

Courant

Saraband

Giguæ

BEC

KER

1674

no.25

26

27

28

29

30

31

32

33

34

35

2004

BECKER-4

DIETRICH BECKER (1623-1679)

Pieces for two violins and continuo

Sonata

Allmandt

Courant

Saraband

Giguæ

Pieces for violin, viola da gamba and continuo

Sonata

Allmandt

Courant

Sarabande

Giguæ

BEC

KER

1674

no.36

37

38

39

40

41

42

43

44

45

no.

25

2004

BECKER-5

GB

-DR

cM

S D

2

DIETRICH BECKER (1623-1679)

Four-part pieces for two violins, viola,violon and basso continuo

Sonata

Allmand

Courant

Saraband

Gigue

Sonata

Allmand

Courant

Saraband

Gigue

BEC

KER

166

8

US-

NH

b O

sbor

n 51

5

no.

5

6

7

8

9

10

11

12

13

14

f.

25'

26:1

26:2

26:3

26:4

26':1

26':2

27:1

27:2

27:3

bass

onl

y

2004

BECKER-6

F-Pn

, Rés

Vm

7 67

3

no.

101

DIETRICH BECKER (1623-1679)

Four-part suites for violin, viola,viola da braccio, violon and basso continuo

Brandle

Gay

Amener

Gavott

Courant

Brandle

Gay

Amener

Gavott

Courant

BEC

KER

166

8

US-

NH

b O

sbor

n 51

5

no.

29

[b]

[c]

[d]

[e]

30

[b]

[c]

[d]

[e]

f.

27':1

27':2

27':3

27':4

27':5

28:1

28:2

28:3

28:4

28:5

bass

onl

y

2004

BECKER-7

DIETRICH BECKER (1623-1679)

Five-part pieces

Sonata 2 violins, viola, viola dabraccio, violon, bc

Paduana

Paduana

Sonata

Sonata 4 violins, violon, bc

Ariæ 2 violins, 3 viola da gamba, bc

Ballet

Sarband

Sonata 2 violins, viola, viola dabraccio, violon, bc

Allmand

BEC

KER

166

8

US-

NH

b O

sbor

n 51

5

no.

15

16

17

18

19

20

21

22

23

24

f.

31

28':1

28':2

29

31'

29':1

29':2

30:1

30:2

30'

bass

onl

y

2004

BECKER-8

DIETRICH BECKER (1623-1679)

Five-part pieces

Courant 2 violins, viola, viola dabraccio, violon, bc

Sarband

Gique

Canzon 2 violins, 2 cornetto, violon ófagotto, bc

BEC

KER

166

8

US-

NH

b O

sbor

n 51

5

no.

25

26

27

28

f.

30:2

30'

31

32

bass

onl

y

2004

BECKER-9

Ambrose BEELAND (1597-c.1678)

Airs [GB-Ob, Mus. Sch. D.220 assumed in two parts;GB-Lbl, Add. 31429 for two trebles and bass]

VdGS No.

GB

-Ob,

MS

Mus

.Sc

h.D

.220

(bas

son

ly)

p./no.

16/I:47

19/I:54

19/I:55

19/I:56

24/I:77

37 &41/

II:26 &40

37 &41/

II: 27 &41

45/III:5

45/III:6

45/III:7

45/III:8

GB

-Lbl

,Add

.31

429

(TrT

rB)

7th Instalment, 2002 BEELAND-1

1. CountryDance G

2. Toy G

3. CountryDance G

4. The CommonHunt G

5. CountryDance g

6. Almain a

7. Saraband a

8. Almain Bb

9. Toy Bb

10. Corant Bb

11. Saraband Bb

London city wait from 1631 and tenorviolinist at the English Court 1639-1671.

AMBROSE BEELAND

Airs in two parts

VdGS No.

12 Bow bells rungbackward

13 Corant

14 [Corant]

15 [Corant]

February 2008 BEELAND-2

GB

-Ob,

MS

Mus

.Sc

h.D

.220

(bas

son

ly)

p./no.

88/V;89

88/V:90

US-

NH

,Film

er3

(treb

le&

bass

)

f.

85r

85rAp

BENDA, Franz (1709-1786)

Solo in F major, viola da gamba andcontinuoD-B, KHM 6208A-SPL

June 2011 BENDA-1

Nicolaus BLEYER(1591-1658)

All published LPM

1. Paduan

2. Courant

3. Ballet

4. Volta

5. Courant

6. Mascarada

(see also T SIMPSON 1617, No. XXI: ‘Bleyer’s Armbande’)

2004 BLEYER-1

TSI

MPS

ON

1621

no.

9

12

22

35

43

49

Melchior BORCHGREVINCK(c.1570-1632)

All published Moeck MMP

1. Paduana

2. Paduana

3. Galliard

4. Paduana

5. Galliard

2004 BORCHGREVINCK-1

FUL

LSA

CK

1607

I/I

IV/I

IV/ii

VI/I

VI/iiH

ILD

ER

BR

AN

D16

09

= Ex Anon 1613 and1690 (q.v.)

BRADE, William (d.1630): ‘Newe lustige Volten, Coranten, [...]’, 1621, a5

No. Title*I PaduanII [Galliard]III [Corant]IV [Air]V [Corant]VI [Corant]VII [Corant]VIII [Corant]IX [Galliard]X [Galliard]XI [Almain]XII [Galliard]XIII [Galliard]XIV [Galliard]XV [Galliard]XVI [Galliard]XVII [Almain]XVIII [Corant]XIX [Air]XX [Corant]XXI [Almain]XXII [Almain]XXIII [Corant]XXIV [Galliard]XXV [Corant]XXVI [Corant]XXVII [Corant]XXVIII [Corant]XXIX [Corant]XXX [Corant]XXXI [Corant]XXXII [Corant]XXXIII [Corant]XXXIV [Galliard]

* No attempt has been made to assign titles such as ‘volta’, mascherada, etc.which Brade may well have used. ‘Corant’ is assigned to triple-time pieces in 6/4; ‘Galliard’to triple-time pieces in 3/2.

2003 BRADE-12

BRIEGEL, Wolfgang Carl(1626-1712)

Sonata A

Allemand d

Courant d

D-W,Cod.

Guelf.34.7.

Aug 2o

violin and bc

viola da gamba and bc ‘ground’

no./p.

33/36

29/33

30/34

BRIEGEL-1January 2009

Airs for 2 trebles and a bass Och379-81

no.67A

68A

69A

treble 1 (fragment) andbass only

bass only

bass only

Pavan

Almain

Corant

J. BROWNE-1August 2004

BULL, John

Two-part: Treble and Bass

Bull’s Toye Lbl, Add. 10,444, f.8v

August 2007 BULL-2

BUONAMENTE, Giovanni Battista(d. 1642)

Sonata a

F-Pn

,Rés

Vm

767

3

1:9

BUONAMENTE-1January 2009

S-Uu,

imhs

GB

-HA

dolm

ests

chII.

C.2

5

no.

51A

no.

24A

Exer

citu

mM

usic

um(F

rank

furt,

1660

)

no.

11A

ex anon.846

BUXTEHUDE, Dietrich(1637-1707)

BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957)

VII Suonate for violin, viola da gamba and bc(Lübeck, ?1694)

252 I F

253 II G

254 III a

255 IV Bb

256 V C

257 VI d

258 VII e

BUXTEHUDE-1January 2009

BUXTEHUDE, Dietrich(1637-1707)

BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957)

VII Suonate for violin, viola da gamba and bc(Lübeck, 1696)

259 I Bb

260 II D

261 III g

262 IV c

263 V A

264 VI E

258 VII F

BUXTEHUDE-2January 2009

BUXTEHUDE, Dietrich(1637-1707)

BuxWV no. [see New Grove]. See also DTT xi (1903; rev. 1957)

266 Sonata C

267 Sonata D

268 Sonata D

269 Sonata F

271 Sonata G

272 Sonata a

273 Sonata Bb

270 Sonata F Bass only

13:27

13:24

13:23

13:28

13:26

13:25

1:12

S-Uu,imhs

BUXTEHUDE-3January 2009

2 violins, viola da gamba, bc

viola da gamba, violone, bc

viola da gamba, bc

GB-Ob

Mus.Sch.

D,249

p.

128-9

2 violins, viola da gamba, bc

violin, viola da gamba, bc

‘2 violins’, bc

WILLIAM BYRD(1540-1623)

In assessing the contributions of scholars and musicians to the revival of EnglishGolden-Age music in general, and of music for viols in particular, our early attentionis fixed on the work of Dr E. H. Fellowes and of the publisher, Stainer & Bell Ltd.,who brought out his editions of the English Madrigal School and of the collectedworks of William Byrd.

Long before the generality of viol consort editions began to appear in quantity, allFellowes’s editions were in print: a creditable achievement. Fellowes, moreover, hadthe music sung and played; although Byrd’s consort music may have been transposed,halved in note-values and played by the violin family, the music was given an airing,and we are becoming more aware, nowadays, that the treatment described, thoughunfashionable, was not totally unrepresentative of l7th-century practice.

More recent work on Byrd’s music and sources has been done by Brett, Edwards,Elliott and Neighbour (the first three of whom have contributed to The Byrd Edition,under Brett’s general editorship, with which Stainer & Bell are currently replacing theFellowes/Dart revised edition). In making up the Society’s records, the compiler wasaware of the volume and quality of published information. Although he took note ofthe sources that he saw, it did not seem to him necessary to tread the whole path allround the libraries merely to check work already known to be accurate.

These index sheets of William Byrd, therefore, like those of several othercomposers in the second instalment, rely to an appreciable extent on publishedinformation, for which the Society is grateful to the authorities named above.However, the compiler ventures to hope that added value is being given, firstly by thecompleteness of the record, secondly by the collation and exhibition of the variousnumbering systems.

In this index, the symbols BYRD ED 1 etc., with their Arabic numerals, distinguishThe Byrd Edition, mentioned above, from its predecessor, The Collected Works ofWilliam Byrd to which the symbols BYRD COLL I etc., with their Roman numerals,are assigned.

Since the above was written the appearance of BYRD H has added significantly tothe Byrd biography, whilst also providing a new survey of the composer’s music.

BYRD-1

CAPRICORNUS,Samuel Friedrich(1628-1665)

Ciaccona D

Sonata a

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

37/47

CAPRICORNUS-1January 2009

violin, viola da gamba, bc

3 violins, 2 viola da braccio, 2 viola da gamba, bass, organ

S-Uuimhs

1:13

CHAILO, Carlo2 vlns, bass and bc

Sonata B-Bc, XY 29,410, seq. (6)

January 2009 CHAILO-1

Alexander CHESHAM (d.1625)

T. SIMPSON 1621, No. 21 (a4)Courant Published by LPM

2004 CHESHAM-1

Edmund CHILMEAD(1610-1654)

VdGSno./key

Three-part airs for two trebles and bass

1. C

2.* F *Included here on grounds ofstyle and place

7th Instalment 2002 CHILMEAD-1G

B-L

bl,

Add

.314

29

f./no.

43v/32

44v/33A

CLAMER, Andreas Christophorus

Mensa harmonica XLII. Rarioibus Sonatinis instructa. Septem in Partes, seu Tonos distributa(Salzburg, 1682). [DTÖ 129 (1979)]Partita

I G Intrada/Giga/Sarabanda/Balletto/Lamento/Saltarello

II A Intrada/Courante/Sarabanda/Aria/Giga/Saltarello

III g Intrada/Moresca/Courante/Moresca/Sarabanda/Scherzo

IV G Intrada/Courante/Sarabanda/Gigue/Balletto/Saltarello

V Bb Bransle/Gaye/Amenis/Gavotte/Moresca/Gigue

VI F Intrada/Svitte/Courante/Svitte/Sarabanda/Saltarello

VII D Intrada/Courante/Sarabanda/Intrada/Courante/Sarabanda

August 2007 CLAMER-1

CLAUSSEN, J.

VdGSNo.

1. Sonata a2 violino e viola [da gamba and continuo], G major

DRc, D2, No. 5

2003 CLAUSSEN-1

CLAYTON, William (c.1636-1697)

Airs a2 and a3

VdGS No.

a21. Prelude

2. Coranto

3. Coranto

a3:4. Long time

5.[Corant]

6. [Corant]

7. [Corant]

US-

NH

,Fli

mer

4

f./no.

35v/1

35v/2

36r/3

36r/4

f.

7v:1

7v:2A

8A

March 2008 CLAYTON-1

IR-D

m,M

SZ

4.2.

16(S

core

,Tr&

B)

CLAYTON, William (c.1636-1697)

Airs a3 in E minor

VdGS No.

E1.

E2

E3a*. *Treble notidentified (orillegible)

E3b*

E3c.*

E4.

E5.

E6. Saraband

E7.

E8.

E9.

E10.

E.11

GB

-W,V

ic.C

h.7-

8Tr

eble

2&

Bas

s

p/no.

26/1

27/2

36/-

35/-

34/-

27/4

28/5

28/6

29/7

29/8

30/[9]

31/[10]

31/[11]

March 2008 C LAYTON-2

CLEMENTIS

Sonata d

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

84/170

CLEMENTIS-1January 2009

2 violins, viola da gamba, violone, bc

JOHN COPRARIO(c.1575—1626)

In the following index pages our earliest chickens come home to roost. OurProvisional Index began, in Bulletin No. 24 of December 1965, with 5 pages ofCoperario which were added to in later issues; the present task is to revise and redrawthem.

Much has happened, however, in the intervening period. Richards had alreadystudied and catalogued the bass viol works (see BASS R). Charteris completed adoctorate thesis (COPRARIO C1), published his catalogue of the complete works(COPRARIO C2) and a series of editions of the music, and discovered the autographat Hatfield House, successfully identifying it with the hand of ‘Rules how tocompose’. To much of this work the Provisional Index was an input; from much of it,the present revision has drawn appreciable benefit.

A word on numbering is necessary. We started with Meyer’s numbers, but reasonsaccumulated—Tregian’s score being one—why a different system should be sought.At first sight, Charteris’s catalogue, in which the whole repertoire was numberedstraight through, as in our Lawes index but with no gaps, appeared to provide asatisfactory system. However, his editions of the important collections of music beganto appear; because these emanated from different publishers, each—notunexpectedly—was numbered consecutively from 1. As those are the numbers whichwill appear in programmes and lists of recordings, and by which the public will be ex-pected to know the works, the compiler has thought it prudent to adopt them inpreference to the ones in the catalogue. Nevertheless, all the numbering systems aregiven, for cross-referencing purposes, those in the catalogue being prefixed ‘C’, andMeyer’s numbers being prefixed ‘M’.

By the way, Giovanni ‘Coperario (who by the way was plain Cooper but affectedan Itallian termination)’ — NORTH W p. 288 — has officially become ‘JohnCoprario’, as insisted upon by the authorities, on the strength of the autograph and thecontemporary printed editions.

For a minor clash of attribution involving Coprario, see page TYE-4.

Works dropped from the original index pages are:

Fantasy a4, Meyer 7 — to Bull (q.v., and see BULL D).Fantasy a4, Meyer 9 — to T.C. (q.v., and see BROWNE A, p. 51).Fantasies a5, Meyer 51, 55, 57:— to East (q.v., ‘Penitet’, ‘Credidi’ , ‘Vixi’).

See also COPRARIO C5

COPRARIO-1

John COPRARIO

Fantasia a3 St Aubyn MS, No. 11 a3VdGS No. 11 (Bass only)

Fantasia a5 US-Cl Wr f.35v, No. 53VdGS No. 53 (TrAB parts only)

January 2009 COPRARIO-18

WILLIAM CRANFORD(fl. c.1620—1640)

Cranford’s small output of string music appears mainly in the MSS of Browne,Le Strange, Merro and Marsh.

Andrew Robinson, after editing the two anonymous sets of variations, attributedthem to Cranford on grounds of style. Go from my window appears among the six-partpieces with one part apparently missing. However, at no time is the tune missing, norare the distances between parts wider than one might expect from this composer, andRobinson’s proposal to reclassify this work as a five-part piece has been accepted.

Cranford’s style is almost unique among seventeenth-century consortcomposers. The fewer the parts, the more pointilliste, as may best be appreciated bystarting with the six-part and finishing with the three-part works. The harmony isdistinctly strange and the texture is often mechanical. There are signs of either afacetious nature or an unbalanced mind.

There is one noticeable similarity of flavour, between part of Cranford’s six-partfantasy No. 1 and a passage towards the end of the six-part fantasy Chowse of MartinPeerson, that well-known practical joker; the question is: who was poking fun atwhom ?

The reason for mentioning the style in this Index is the fact that Sir Nicholas LeStrange who annotated his part-books with sub-sources and textual variants, inpainstaking detail, gave no indication whatever that the Cranfords differed in any wayfrom the soberer and more conventional works (which, incidentally, did not includeany by Peerson or Lawes) in his collection. They came from few sub-sources, as canbe verified from the Le Strange index pages, and were only lightly annotated.

The work entitled In Nomine Mr Cranford, 5 parts, 2 basses, at No. 55 in the Bcbook, EIRE-Dm 143 Z2.4.16 was found by Peter Watts not to be by Cranford; it is aBc part for Alfonso Ferrabosco II’s five-part In Nomine No. 3.

CRANFORD-1

RICHARD DEERING(c. 1580-1630)

The main references to the life and work of Dering or Deering can be found inPlatt’s introduction to DEERING P1 and in GROVE. Despite careful research, not allof Deering’s movements here and on the Continent have been satisfactorily accountedfor. The discovery that what purported to be his six-part fantasy (Meyer No. 2) provedto be the Advent motet Gaudete Omnes by Hieronymus Praetorius was mentioned inthe Society’s Bulletin No. 28 (1968); thus, when GROVE (p. 671 of the 5th Edition)was found to be saying:

It would seem ... that the musical Dr Richard During of Hamburg mentioned in aletter by Huygens may not have been related to the composer, despite his similar name...

our interest was greatly aroused, as Praetorius was a Hamburg organist for much ofDeering’s lifetime, and there may be more in the Hamburg connection than meets theeye.

One five-part fantasy, No. 5, stands out from the others; it is for two basses and isfound only in GB-Lbl Add MSS 39550-4, checked only from Harman. Comparison ofTregian’s and Le Strange’s lists is interesting; did Sir Nicholas correctly attribute thisfantasy to Deering, or does it belong to some other acknowledged two-bass composersuch as Coperario or Lupo ?

The five-part dances have been numbered so as to keep reasonably close to thesequence in GB-Lcm MS 1145, almaines being paired with their appropriate pavans.Reference to the Mico index will show how it was decided to distribute the pavans inGB-Ckc MSS Rowe 114-7 between Deering and Mico.

The anonymous six-part pieces have been indexed with a cautious attribution toDeering; if the eye be allowed to glance up to the five-part incipits, this possibilitymay seem not too far-fetched.

Although a flyleaf in GB-Lcm MS 2039 bears the inscription ‘Mr Deering’s 2 & 3parts’, the reference is to some vocal works later in the MS. The anonymous pieces atthe beginning are pavans and galliards in 4 or 5 parts, with at least a bass part missing.No. 5 is the familiar chromatic pavan of Toinkins (No. 6); there is no evidence toconnect any of the others with Deering.

It was the tabular layout of the five-part fantasies which quickly brought to thecompiler’s eye the probable identity, later confirmed beyond doubt, of the Rowe andClark partbooks: see the first two columns on page 3.

DEERING-1

JOHN DOWLAND(1563—1626)

The fine collection of Lachrimae pavans and other dances, of 1604, makes up themajor part of Dowland’s consort music; to this, several other airs have been added.

Dowland has formed the life’s work of Diana Poulton, and his career and musichave been extensively recorded by her in DOWLAND P. For many years we haveplayed ‘Lachrimae’ from Warlock’s edition of 1926; more recently, we have hadEdwards’s facsimile edition of 1974. Further information on Dowland sources wasgiven by Ward in DOWLAND W.

The compiler was much exercised as to the presentation of concordances, in viewof the multitudinous sources of versions for solo lute, voice or voices, and plain ormixed consort. In the case of Holborne, all sources known to the Society were given;were the same policy applied to Dowland, the scope of the Index would besubstantially overreached. ‘Lachrimae Antiquae’, for example, would need aboutsixty entries, including arrangements, and the mere existence of a two-part version ofPiper’s Pavan would admit about twenty extra concordances.

After a trial tabulation of all sources, the decision was made to record only theprincipal consort sources and publications, and to give, in the first few columns, a keyto the full source-information in DOWLAND P. The columns headed ‘DOWLANDP’ refer to the separate numbers, given therein, to versions for consort, versions forsolo lute, and songs in the First Book of 1597 et seq (I), the Second Book of 1600 (II).‘A Pilgrim’s Solace’ of 1612 (PS) and ‘A Musicall Banquet’ of 1610 (AMB).

Authorities appear to be agreed that all the versions for consort, other than those inthe ‘Lachrimae’ collection, of the pieces listed are in arrangements which cannot beattributed to Dowland.

The five-part setting of ‘Lachrimae Antiquae’ in GB-Lbl Add MSS 17786-91 isapparently related to the keyboard version in FWVB 121 where it is followed, as inAdd 17786-91, by ‘James Harding’s Galliard’.

The compiler is indebted to Tim Crawford for the observation that the part givenon f.86 of Lbl Add MS 33933 (one of Thomas Wode’s part books) ‘is in the sopranoclef and is called “Contra of Lachrimae or Flow My Tears”. It is practically identicalwith the lute part in the Cambridge Consort Books i.e. that in Cu MS Dd 3.18 f.16’,published in MORLEY 1599/1 No. 7. I suspect that ‘Contra’ means something morelike Contrapartie which the French used somewhat later for a second lute part addedto a solo to make a duet, but at the same pitch so that the parts cross’.

Details of GB-Lbl Add MS 10444 will be found in LE STRANGE W2.

DOWLAND-1

JOHN DOWLAND

Three parts (altus, tenor, quintus) of ‘Lachrimae Antiquae’ (VdGS No. 1) appear in aMS addition to PL-Kj, Mus. ant. pract. H 540 at f. 1-1v (see JAGIELLONSKA C)

DOWLAND-5

DRESE, ADAM (c.1620-1701)Violin, viola da gamba, bc

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 47, p. 72

2 vln, viola da gamba, bc

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 55, p. 91

2 cornettini, 2 cornett, 2 trombone or 2 pochetti, 2 vln, 2 vla da gamba, bc

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 102, p. 214

January 2009 DRESE-1

Henri DU MONT (1610-1684)

VdGS No. (All published: Dovehouse, no. 39)

1. Pavanetr t b

2. Symphoniatr tr b

3. Allemandatr tr b

4. Symphoniatr tr t b

5. Allemandagravistr t t/b b

6. Pavanetr tr b

7. Allemandatr t b

8. Allemandagravistr t b

9. Symphoniatr tr b

10. Allemandatr tr b

April 2008

DU

MO

NT

1652

DU

MO

NT

1657

DU

MO

NT

1668

no.

23

24

25

37

40

no.

19

nonum-ber

nonum-ber

no

nonumber

nonumber.

DU MONT-1

EBERLIN, Daniel (1647—c.1714)

Sonatas for 2 vlns, bass and bcF-Pn, Rés Vm7 673, no. 150Trium mirifice (1675), no. 2‘La Eminenza’

F-Pn, Rés Vm7 673, no. 149Trium mirifice (1675), no. 3‘La Favorita’

January 2009 EBERLIN-2

William ELLIS (d. 1679). Oxford organist who organized concerts in theInterregnum.

Apart from these airs, Ellis also wrote anthems and keyboard music.

VdGS Bass parts only of two-part airsNos.

7th Instalment 2002 ELLIS-1

1. Almain d

2. Corant d

3. Almain d

4. Almain d

5. Saraband d

6. MichaelmasDay C

GB-Och,Mus.1022

No.17

18

19

20

21

22

Christian ENGLEMANNFour-part airs (both published LPM)

1. Courant T SIMPSON 1621, No. 27

2. Ballet T SIMPSON 1621, No. 47

2004 ENGELMANN-1

ERBEN, Johann Balthasar1626-1686

Sonata sopra‘ut re mi fasol la’

2 violins, bc

S-Uu,imhs

3:4

ERBEN-1January 2009

ERMISH, Caspar Jacob

Sonata a42 violins, viola, violone, bc

S-Uu,imhs

3:2

ERMISH-1January 2009

FARMER, Thomas(d.1688) Violinist and Theatre composer

Airs in D major a3 (tr tr b)

VdGS No.

D1.

D2.

D3

D4 2nd treble (1st missing)

February 2008 FARMER-2

GB

-Lbl

,Add

.314

29

f./no.

4r/1

4v/2

4v/3

4v/4

FARMER, Thomas(d.1688) Violinist and Theatre composer

Airs in G major a3 and a2

VdGS No.

G1.

G2.

G3.

G4.

G5.

G6.

G7.

G8.

G9.

G10.

G11.

February 2008 FARMER-3

GB

-Lbl

,Add

.314

29

GB

-Lbl

,Mus

.142

New

Ayr

esan

dD

ialo

gues

(a2)

f.

18r

18r

18v

18v

19r

20r

20v

no.

3

no.

1

3

5

THOMAS FARMER Theatre Airs a2 and a3 in G Minor

g1 g14

g2 g15

g3 g16

g4 g17

g5 g18

g6 g19

g7

g8

g9

g10

g11

g12

g13

February 2008 FARMER-4

THOMAS FARMERTheatre Airs a2 and a3in G minor

VdGS No.

g1.

g2.

g3.

g4.

g5.

g6.

g7.

g8.

g9.

g10.

g11.

g12.

g13.

g14.

g15.

g16.

g17.

g18.

g19

February 2008

GB-Lbl

Add

.314

29

Mus

.142

GB

-W,V

C9

New

Ayr

esan

dD

ialo

gues

(a2)

f./no.

5r/-

5v/1

6r/2

6r/3

6v/[4]

7r/5

7v/6

7v/7

8r/8

25r/1

25r/2

25v/3

25v/4

26r/5

no.

1

2

p.

48

48

49

49

50

no.

2

19

20

FARMER-5

TRE

BL

EO

NLY

ALFONSO FERRABOSCO II(1575—1628)

‘In deed I haue seene the like committed by maister Alfonso, a great musition’,wrote Morley, in 1597, of Alfonso Ferrabosco I; fantasies by Alfonso Ferrabosco II inthe Shirley partbooks, GB-Lbl, Add MSS 40657-61, in William Lawes’s hand, areheaded ‘Alfonso’. Both generations, therefore, were known affectionately by the samefirst name, and many a manuscript was labelled ‘Alfonso Ferrabosco’ without theslightest attempt to distinguish. However, in these days, it is gratuitously confusing topublish, as is sometimes done, a modern edition as by ‘Alfonso Ferrabosco’ with nodistinction, when it is so easy to follow the examples of Tregian and others, and to usethe suffixes Elder and Younger, or Senior and Junior, or Father and Son, or I and II.

The principal work on Alfonso II’s four- and six-part fantasies is that by Vaught(see FERRABOSCO II V). See also FERRABOSCO II D and TOMKINS C.

Most of Alfonso II’s four- and five-part works are found in Tregian’s score, andthus were probably composed by c.1610-1613; several of them had already appearedin the Lessons of 1609 (see FERRABOSCO II 1609).

Judging by the list of sources, and by the large number of alternative versions, thefour-part fantasies, and the five-part dances, were very popular, not only with theJacobeans but with the Carolines also. Fantasy 24, attributed ambiguously to ‘AlfonsoFerabosco’ might well have been composed by Alfonso I, perhaps with a vocal text.

Lowinsky (see FERRABOSCO II L) attributed the Hexachord Fantasy to Alfonsodella Viola, but scholars are now agreed that this is wrong.

The six-part works cannot be accurately dated, mainly because none of themappears in Tregian’s score. The earliest of their sources is GB-Och Mus. 61-6,contributed to by Myriell (d.1625), but that fact demonstrates little else than theprobability that two of the fantasies were produced during their composer’s lifetime.

A complete edition of the consort music is published in MUSICA BRITANNICA,Vols, 62 (four-part) and 81 (five- and six-part), with the lyra viol pieces planned toappear later.

FERRABOSCO II-1

FERREIRA, MiguelMusician to Queen Catherine of Braganza

Trios for two treble and a bass

VdGS No.

1. Courant

2. Allemand* * identified as by ‘f’

3. Allemand*

4. Allemand*

5. Allemand]

6. Corant

7. Saraband

8. Contredance

March 2008 FERREIRA-1

GB

-Lbl

,A

dd.3

1424

GB

-Och

Mus

.106

6

no.

16

17

18

19

f.

2r

2rA

3vA

3vA

Treb

leon

ly

FLUDD, Robert (1574-1637)

January 2008 FLUDD-1

US-NH, Filmer 3

3r

3v

3v

4v

6v

8r

8v

9v

10v

11r

11v

1. D Fludd’sdreame

2. Dr Fludd’s scale

3. Dr Fludd’sFirst Pavan

4. Dr Fludd’sSecond Pavan

5. Dr Fludd’sChanges

6. First Coranto

7. First Almayne orhis Mottle

8. Second Almaine[Coranto]

9. A Toye

10. A Brandle

11. The May Game

FORCER, Francis (c.1650-c.1704)

Airs in B-flat Major a3

VdGS No.

B1.

B2.

B3.

B4.

B5.

B6.

B7.

B8.

B9.

B10.

B11.

B12.

B13.

GB

-W,V

C9

p./no.

18/1

18/2

19/3

55/[1]

55/2

56/3

56/4

57/5

57/6

58/7

58/8

f.56v-/no.

/4

/9

/2

/3

/5

/6

/7

/8

/1

/10

February 2008 FORCER-1

Lbl,

Add

.292

83-5

FÖRSTER, Kaspar1616-1673

Sonata a3

Sonata a3

Sonata a3

Sonata a7

Sonata a3La pazza

Sonata a3

Sonata a3

S-Uu,imhs

3:6

3:7

3:7a&3:9b

3:8

3:9a

3:10

3:11

FORSTER-1January 2009

2 violins, bassoon, bc

2 violins, viola da gamba, bc

2 violins, viola, violone, 2 cornetts, bassoon, bc

2 violins, viola da gamba, bc

2 violins, viola da gamba, bc

2 violins, violone, bc

2 violins, viola da gamba, bc

FROBERGER, Johann Jacob(1616-1667)Suites for ‘Violin and viola da gamba’Are these versions of keyboard works?

1. Allemande a

2. Courant a

3. Saraband a

4. Gigue a

5. Allemande G

6. Courant G

7. Saraband G

8. Gigue G

9. Courant G

10. Sarabande G

11. Allemande D

12. Courant D

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.8/23

9/24

10/24

11/24

12/25

13/25

14/25

15/26

16/26

17/26

18/27

19/27

FROBERGER-1January 2009

FROBERGER, Johann Jacob(1616-1667)Suites for ‘Violin and viola da gamba’Are these versions of keyboard works?

13. Sarabande D

14. Gigue D

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

20/27

21/27

FROBERGER-2January 2009

FURCHHEIM,Johann Wilhelm(d. 1682)

Sonata ea2

Sonatella Aa7

Sonata Da6

Sonata aa5

Sonata Eba5

Suite a5: bPraeludium

Allemande

Courant

Sarabande

Gigue

S-Uu,imhs

3:13

3:14

3:15

3:16

3:17a&b

3:12

FURCHHEIM-1January 2009

2 violins, bc

3 violins, 2 viola, violone, bc

3 violins, 2 violas, bassoon, bc

2 violins, 2 cornets, bassoon, bc

2 violins, 2 violas, bassoon, bc

2 violins, 2 violas, violone, bc

John GAMBLE (d. 1687)

Cornettist and violinist at theEnglish Court, 1660-1684)

7th Instalment 2002 GAMBLE-1

VdGSNo.

1. Almaine c

2. Corant c

3. Saraband c

4. Almaine C

5. Saraband C

6. March F

GB

-Ob,

Mus

.Sc

h.D

.200

(bas

son

ly)

p./no.

67/4

67/5

67/6

84/72

84/73

168/60

CHRISTOPHER GIBBONS(1615-1676)

Work on Christopher Gibbons has been done mainly by Rayner (see GIBBONS CR), Field (see CONSORTS F) and Johnson (see FANT-SUTTE J). In the preparationof these index sheets, only the first two of those references were consulted. All knownsources have been inspected.

Both Rayner and Field numbered parts of the repertoire in suites; this wasconvenient up to a point, but, as can be seen from the index sheets, alternative airswere introduced here, and sundry movements were omitted there, and it now becomesnecessary to refer to movements individually as well as collectively. Although allsuite-numbering is indicated, every movement or piece, as with the Lawes fantasiesand airs, has been awarded its own separate Air-number.

During the drafting of the sheets it appeared that, for lack of space, not all thesource-columns could be properly annotated, as elsewhere in the Index. Accordingly,a list of sources was prepared and is now given on page 2; some comments followhereunder.

GB-Lbl Add MS 17799 is Matthew Locke’s autograph of Cupid and Death — withGibbons’s contributions in Locke’s hand. Add MS 17800 which appears in somesource-lists is a much later copy and has been ignored herein.

GB-Ob MS Mus Sch C.44 is a near-A4-sized book which formerly contained somefolded leaves of a larger size. These are now filed separately between two grey boardstied with white tapes. As will be remembered from OXFORD Cl, the earlier in thealphabet, the bigger the book, so the shelf mark A.641, by which these leaves must beordered, denotes a MS of the very largest class.

EIRE-Dm MS Z4.2.16 (microfilm at GB-Cpl) is known mainly as a thorough-bassbook, but the Gibbons airs therein are set out in 2-part score, Tr and B. Details of thisbook are given by Charteris in DUBLIN C2.

Only the first of the four-part fantasies (Fantasy 81) listed herein is fullyauthenticated, but the attribution to Gibbons of the other two (see page 8) appearsreasonable in the circumstances.

John Cannell has discovered that GB-Ob MSS Mus. Sch. C.138 contains playingparts of seven of Christopher Gibbons’s airs, evidently used at Oxford in music for hisAct, 11 July 1664. They are Nos. 31, 33, 47, 50, 52, 53 and 61.

2003 C. GIBBONS-1

CHRISTOPHER GIBBONS — LIST OF SOURCES OF STRING MUSIC

Source No. in MS VdGS Air No. MS contains Remarks

GB-Lbl Add MSS

17799 47, 50, 69, Score Locke autograph of 70, 72, 73 Cupid & Death, publ

in MUS BRIT 231431 134-44 13-15, 17-24 Tr 1, 2 only31435 1-12 19-30 Tr Tr B Bc

Lcm MSS

870 19-30 Tr Tr B871 1-12 Tr B Org 1662: hand resembles

that of Gb-Lbl Add MS 31423 etc

872 1-12 Tr B

Ob MSS Mus Sch

C.44 - 35-38 Tr Tr B Bc AUTOGRAPHC.44 (A.641) 81-3 Score PART AUTOGRAPH;

large unfolded leaves from C.44C.53 - 20-24, 31-34 Tr Tr B Bc AUTOGRAPH

C.102 Sets 1-4 19-30 Tr Tr B Org Lowe’s handSet 5 22, 31-34

D.231 1-11 42-3, 48-9, Tr Tr B Bc ‘Another Base of ye 3d 45, 44,46, 50, fancie of Mr Gibbons things’35-7 (25-30) in Lowe’s hand;

- 19-30 other hand(s) unknown E.443-6 1-9 42-50 Tr Tr B Bc ‘New consort bookes’ 10-19 33, 34, 31, 32, copied by Lowe from

23, 24, 26, 27 Och Mus. 1006-929, 30

Och MSS

8 - 1-12, 61-3, Score, organ13-30, 42, 48, additions49, 51, 50, in red47, 52, 81

10 - 22, 31 (fragm) Score Late C1715 - 81 (fragm) Score21 - 39-41 Score414-6 Sets 1-6 13-30 Tr Tr B

Sets 1-4 1-12- 61-3, 42,

48-51, 47, 52434 - 1-12, 61, 64, B only AUTOGRAPH

74, 75620 - 13-30 Score Given to R. Goodson, 1702778 1-12 1-12 Bc only Not Jenkins’s hand (as 777)1006-9 - 42-50, 33, 34, Tr Tr B Bc

31, 32, 23, 24,26, 27, 29, 30

1180 Sets 1-4 1, 4, 7, 10-12 Organ Aldrich’s hand. Most Sets 1-6 13-30 pieces have RH staff blank.

EIRE—Dm MSS

Z2.1.13 - 33, 53, 54 ScoreZ4.2.16 - 66-68, 64-5, Score

69, 71-2

C. GIBBONS-2

ORLANDO GIBBONS(1583-1625)

With Orlando Gibbons, the two chief points of interest are the date of the printedset of three-part fantasies, and the attribution of some of the six-part works.

Dart (see GIBBONS D) suggested that the formerly-accepted date of 1610 for theprinted fantasies could not be correct, and that a date of c1620 was more probable;this is accepted here.

Nicholson (see GIBBONS N) stated a most reasonable case for the attribution toOrlando Gibbons of five anonymous six-part fantasies and the variations on Go frommy window in GB-Och Mus. 2, and for the reclassification as untexted vocal pieces ofthree six-part ‘fantasies’ (i.e. Meyer 2, .5 and 5). We therefore accepted the soleattributed fantasy (Meyer as common ground, and, having dropped the three ‘vocal’pieces, renumbered the anonymous fantasies as Nos. 2 to 6, and listed the set ofvariations. All this was set out on page 34 of CHELYS 5 (1971), and, since nosubsequent dispute arose, we came to regard this arrangement as generally acceptable.However, since three publications adopted the GB-Och sequence, we followed suit.

More recently, however, in his complete edition—GIBBONS H—of the consortworks, Harper accepted the first two ‘vocal’ pieces as fantasies but continued, like us,to query the third, and printed all three on the reasonable grounds that, otherwise, theywould be the only substantial pieces of Gibbons unavailable in modem editions. Wehave accordingly listed them, but without reintroducing them into the numberingsystem. One reason, incidentally, for reprinting these sheets was our desire toincorporate the entries and numbering of GIBBONS H.

Both Meyer (see MEYER ECM) and Baines (see GIBBONS B1) were content toaccept the last three 3-part fantasies (with Great Dooble Base) as being by Gibbons,but the discovery, in NOTATION DL. of a fragment of Fantasy 7 (which echoes No.3 ?), attributed to Coprario, has led to re-attribution to Coprario (see GIBBONS N andan edition in COPRARIO 2-4). Holman (see VIOLIN H2) and Harley in GIBBONSHY record the presence of a ‘Great Dooble Base’ in the Hatton household, whichmight have been the inspiration for these pieces as well as for some works by GeorgeJeffreys, and also at Court. At least two sources of these fantasies incorporateadditional phrases which suggest the skeleton of an organ part; owing to this and tothe wide open spaces between the string parts, a reconstructed organ part will beneeded in modem performance.

Further comment by Baines on the consort repertoire of Gibbons will be found inGIBBONS B2.

Numerous similarities can be detected between passages in Gibbons, mainly in theprinted set, and passages in Tomkins and Lawes.

For a curious act of piracy from the printed edition of c.1620, see page BUTLER-2.

2003 O. GIBBONS-1

GIBBONS, Orlando

Almain Lbl, Add. 10,444, Section 1, no.(a2: tr/b) 14, f.6r: ‘Gibbons his Almaine’

(‘The siluer Swanne’ is Section 1, no. 11 at f.5r)

August 2007 O.GIBBONS-8

RICHARD GIBBONS

Fantasies a4 Ob Mus EIRE-Dm VdGSSch C.64-9 Z3.4.1-6 SP

no. no.

1a4 18a4 179

2 17 179

2003 R. GIBBONS-1

JOHN GIBBS GB-Ob, MSS Mus. Sch. D.212-216No. I/16 a5Published MB 45, No. 159

J. GIBBS-1

In Nomine a5 published as ME 206

August 2006 GILL-1

Madrigal to text by Livio Celiano. Ut re mi fa sol la ogn’armonia/abbraccia coldolcezza’ Ruggiero Giovanelli. Il Terzo Libro de madrigali a cinque voci (Venetia,1599, No. 10). Bass part also at Anon 1567.

Nicolas GISTOU (d. 1609)

Five-part consorts published Moeck MMP VI

VdGS No.

2004 GISTOU-1

1. Paduana

2. Galliard

3. Paduana

4. GalliardH

ILD

EB

RA

ND

1609

no.

IV/i

IV/ii

VII/i

VII/ii

ROBERT GOLDAR (GOLDER/GOWLDYN)died c.1563.

GB-Lbl, RM 24.d.2, No. 24Published MB 45, No. 134

GOLDAR-1

Johann GRABBE(1585-1655)

published LPM

2004 GRABBE-1

VdGS No.

1. Intrada

2. Paduan

3. Canzon

TSI

MPS

ON

1621

no.

2

14

38

William GREGORYAirs for solo lyra viol

VdGS defhfNo.

Ayre 1-3: A sequence from1 MRLV 1669, nos. 51-G 53

Cor2G

Sar3G

A TrumpetPreludem

4G

TrumpetAllmaine

5G

Ayre6G

Allmane7G

Saraband8G

GREGORY W-1

PLA

YFO

RD

T

GB

-En,

P637

R78

7.1

no.

257*

46

19

f.(seq.)

21r(48)Ap

21v(49)

27r(60)

34v(76)

34v(77)

November 2008

William GREGORYAirs for solo lyra viol

VdGS edfhfNo.

* 11-16: a sequence from MRLV 1661, nos. [59]-[64]

PLA

YFO

RD

T

GB

-En,

P637

R78

7.1

no.

202*

214

38

131

7

100

Tun.no:p

XI,19;120:2

XI, 21121:2

GB

-Mp,

MS

832

vu51

Ob,

MS

Mus

.Sc

h.F.

575

f.

28v

f.(seq)

7v(20)

8r(21)

Allmane18

Coranto19

GREGORY W-6November 2008

William GREGORYAirs for solo lyra viol

VdGSNo. edfhf

Sarraband20g

Prelude30g

Corranto31g

Sarraband32g

November 2008 GREGORY W-7

GB

-En,

P637

R78

7.1

f.(seq)

8v(22)

8v(23)

9v(25)

10r(26)

William GREGORYAirs for solo lyra viol

VdGS fedfhNo.

GREGORY W-8

Ob

MS

Mus

.Sc

h.F5

75

GB

-En,

P637

R78

7.1

f.

29v

30rAp

30vAp

31rAp

f.(seq.)

29r

29vAp

30r

30vAp

Benedict GREPFive-part consorts all published Moeck MMP

V and VI

VdGS No.

2004 GREP-1

FUL

LSA

CK

1607

HIL

DE

BR

AN

D16

09

1. Paduana

2. Galliard

3. Paduana

4. Galliard

5. Paduana

6. Galliard

no.

III/I

III/ii

no.

III/I

III/ii

XI/I

XI/ii

Mr GROBEPartita for viola d’amor [scordatura], viola da gamba and bc

January 2009 GROBE-1

Allemande

Courant

Gavotte

Saraband

Gigue

S-Uuimhs18:27

GROH, ‘Heinrich’‘Direct. Mus. Merseb[urg]’

Suite a5:Allamanda

Courante

Sarabande

Gigue

1:11

GROH-1January 2009

2 violins, 2 viola, violone, bc

S-Uuimhs

John GROMEMid-17th century

solos for lyra violVdGSNo.

1. Preludedefhf

2. Preludeedfhf

3. Almainfdefh

4. Corantfdefh

5. Sarabandfdefh

6. Preludefdefh

April 2008 GROME-1

Lbl,

Add

.598

69

GB

-En,

P637

R78

7.1

f.

11:2

17:1

f.

14v

14v

15v

15v

Carel HACQUART(1640-1701?)

The Durham copy of Carolus Hacquart’s Chelys Op 3 (1686) is the only copy known to thecompiler; it is for solo viol, with no accompanying basso continuo book; however, entries in amanuscript volume at Durham—GB-DRc MS A.27—clearly show that a basso continuo book musthave existed. Prebendary Falle, to whom the Durham books belonged, copied selected bass violpieces from the printed book into MS A.27, as described, with an inventory, by Urquhart in FALLEU.

As he copied each piece, Falle made an annotation, in A.27, such as ‘3/2’; this can be seen oreasily deduced from FALLE U to signify page 3 of the viol book’, and ‘page 2 of a [now missing]Bc book’, and similarly for other copies which he made, including 10 more by Hacquart.

While GB-DRc MS A.27 is under review, the organisation of the generality of basso continuoparts copied into A.27 by Falle may be of some interest.

Up to page 99, the Bc part for each piece is braced beneath the solo part, making a short score,except for pages 51-54 on which Schenck’s Sonata II from his Op. 2 (1688) is presented without Bcpart.

Between pages 101 and 319, near the end, no Bc parts are given; only the solo viol part is given,on a single staff. It is as if the household, at page 100 of the MS and half way through its musicallife, had lost a key viol or theorbo player, or as if a fashion had changed.

Between pages 320 and 327, at the end of MS A.27, the Fantasie and Passacaille from Falle’sown ‘In Genere Harmonico’ are presented, with Bc part.

1992 C. HACQUART-1

HAMMER, Franz Xaver (1741-1817)

Sonatas for Viola da Gamba and continuo

No. 1 D-Swl, 2285/1

No. 2 D-Swl, 2285/21st movt. a partial reworking ofSonata No. 1 by Andreas Lidl

3rd movt. as Lidl’s 3rd movt, withadded second episode by Hamer

February 2011 HAMMER-1

Franz Xaver HAMMER

Sonatas for Viola da Gamba and continuo

no. 3 D-Swl, 2285/3[Viola da Gamba, Violoncello, bass]

February 2011 HAMMER-2

Franz Xaver HAMMER

Sonatas for Viola da Gamba and continuo

No. 4 D-Swl, 2285/4Viola da Gamba and Violoncello[arranged, possibly from an as yetunknown sonata by Lidl]

No. 5 D-Swl, 2285/5Viola da Gamba and Violoncello[unattributed, in Hamer’s hand]

February 2011 HAMMER-3

Franz Xaver HAMMER

Viola da Gamba solo

No. 1 D-Swl, 2885/1 [after Sonata 1]

No. 2

No. 3

February 2011 HAMMER-4

HAMMERSCHMIDT, AndreasTrios

VdGS No.

1. Ballet

2. Saraband

3. Ballet

4. Aria

5. Saraband

6. Allemande

7. Saraband

8. ‘Saraband’[?]

9. Ballet

10. Allemande

11. Courant

12. Saraband

February 2008

GB

-Lbl

,Add

.MS

3143

8[T

rebl

eon

ly]

no./fol.

1/84r

2/84r

3/84v

4/84v

5/84v

6/85r

7/85r

8/85r

9/85r

10/85v

11/85v

12/85v

All probably from DritterTheil Newer Paduanen,Galliarden [etc.] mit 3. 4.und 5 Stimmen (1650). SeeGERMANY-R

HAMMERSCHMIDT-1

HANLEIN, Paul (1626-1686)

Sonata a5 S-Uu, imhs 4:1Battallia

HANLEIN-1January 2009

2 violins, 2 violas, violone, bc

HELLER, Johann Killian (?1633-1674)

[Sonata] for two violins and bassF-Pn, Rés Vm7 673, no. 72[authenticity is questioned]

January 2009 HELLER-1

C[uthbert?] HELY

Two trebles, bass and continuoMask GB-Lbl, Add. MSS 18940-4, f. 3r

Keyboard: US-NYp, Drexel 5612,p. 113 [Anon.]

July 2004 HELY C-1

HERWICH, Christian

Ruggiero D-W, Cod. Guelf 34.7. Aug 2o

p. 34, no. 31

Viola da gamba to a ground

Violin, viola da gamba, bc

Sonata D-W, Cod. Guelf 34.7. Aug 2o

p. 87, no. 53

La Chilana D-W, Cod. Guelf 34.7. Aug 2o

p. 116, no. 65

2 vln, viola da gamba, bc

Aria D-W, Cod. Guelf 34.7. Aug 2o

p. 258, no. 110

January 2009 HERWICH-2

JOHN HINGESTON(c.1610-1683)

Hingeston’s works survive in a very few MSS, principally in GB-Ob MSSMus Sch D.205-11, of which he wrote the organ part, the remainder beingcopied under his direction. His respect for Edward Lowe, who became theHeather Professor at Oxford in 1661, is pleasingly attested in the followingnote, found in those partbooks:

This set of Bookes & works of mine I freely give to ye MusiqueSchool at Oxon whereto I was ye more incouraged, from what I haveheard & seene of ye care,e Dilligence & industry, of ye presentproffessor thereof in ye Universitie, Mr Edward Lowe, my ever honoredfrind and fellow servant.

Did Lowe’s successors enjoy testimonials as fair as that ?

Attention is called to the works listed on page 7, which appear in MS E.382but not in 1455 D.205-11. E.382 is holograph, and is a reasonably completereduction of the string parts; from this it should be easy to reconstruct thestring parts of those extra pieces.

Modern studies of Hingeston in the United Kingdom fall neatly betweenRichards, who covered the works for bass viols (see BASS R), Field who dealtwith the fantasy-suites (see CONSORTS F), and Hulse who has studied thelife and works as a whole (see HINGESTON H).

Konrad HÖFFLER (1647-1705?) [12 suites for viola da gamba and con-tinuo] All in Primitiae Chelicae (Nuremberg, 1695). Published in Das Erbe DeutscherMusik, 67

1. Suite I F Prelude-Fuga;Allemand; Courant;Saraband; Giga

2 Suite II b Allemand; Corrente;Saraband; Giga

3 Suite III D Allemand; Corrente;Saraband; Giga

4 Suite IV A Preludio; Allemand;Corrente; Saraband;Giga

5 Suite V d Preludio; Allemand;Corrente; Saraband;Giga

6 Suite VI G Preludio; Allemand;Courant; Saraband;Giga

April 2008 HOFFLER-1

Konrad HÖFFLER (1647-1705?) [12 suites for viola da gamba and con-tinuo] All in Primitiae Chelicae (Nuremberg, 1695). Published in Das Erbe DeutscherMusik, 67

7. Suite VII a Allemand; Corrente;Saraband; Giga

8. Suite VIII c Allemand; Corrente;Saraband; Giga

9. Suite IX Bb Allemand; Corrente;Saraband; Giga

10. Suite X g Allemand; Corrente;Saraband; Giga

11. Suite IX C Sonata-Fuga; Allemand;Corrente; Saraband;Giga

12. Suite XII e Allemand; Courant;Saraband; Giga

April 2008 HOFFLER-2

HOFFMANN, ‘Giovanni’/Johann

Sonata d

D-W,Cod. Guelf.

34.7.Aug. 2o

no./p.

46/71

2 violins, bc

HOFFMANN-1January 2009

HÖFFNER

Sonata a8 S-Uu, imhs 4:2

HÖFFNER-1January 2009

2 violins, violetta, 2 viola da braccio, 2 trombetta, bassoon, bc

ANTHONY HOLBORNE(d.1602)

Holborne’s collection of 65 airs (see HOLBORNE 1599) is the foundation of thefirst six index sheets. Judging by the number of arrangements, for instruments otherthan the ‘Viols, Violins or other Musicall Winde Instruments’ for which they wereset, they must have been extremely popular in this country and on the Continent.

For much of the information given, the Society is indebted to Jeffery (seeHOLBORNE J1) and Edwards (see CONSORTS E1); their numbers are given in thetables in addition to the Society’s numbers which run consecutively through the 1599edition.

When two ‘Edwards’ numbers are given, the lower one usually refers to a mixedconsort setting, and this, by the nature of the sources, is often an incomplete setting.

There is a fair spread of modern publications, with little scope, if any, fornewcomers.

The final page collects together some miscellaneous works, mainly from the mixedconsort department.

Useful information concerning the plucked string sources has been set out byDiana Poulton in DOWLAND P; many of these cover both composers.

A discussion by Jeffery of the instrumentation of Holborne’s works, and of thedifferent instrumentations in the plucked string sources, appears in HOLBORNE J2.

George HUDSON

2004 HUDSON-6

GB-Ob,Mus. Sch.

D.220(bass only)

p./no.

23/70

23/71

23/72

23/73

23/74

48[a]/16

48[a]/17

48[a]/18

62/71

62/72

62/73

G minor95. Almaine

96. Saraband

97. Corant

98. Saraband

99. [Saraband]

Bb Major143. Almain

144. Corant

145. Saraband

146 Air

147. Corant

148. Saraband

George HUDSON

2004 HUDSON-7

GB-Ob,Mus. Sch.

D.220(bass only)

p./no.

68/7

68/8

68/9

68/10

68/11

C minor

10. Air

11. Corant

12. Saraband

13. Running Alman

14. Air

HUDSON, George GB-SA38470/2

tuning: [fedef] fol.

150 Prelude 1v

151 An Allmaine 2v

152 A Corant 3r

May 2007 HUDSON-8

ITALIAN MADRIGALS

Many English consort manuscripts include Italian madrigals, both texted and untexted.Alfred Einstein’s pioneering study The Italian Madrigal (Princeton, 1949) was followedby Joseph Kerman’s The Elizabethan Madrigal (MADRIGAL-K). More recently twoimportant works are ITAL-ENG H1: Lydia Hamessley, The Reception of the ItalianMadrigal in England: A Repertorial Study of Manuscript Anthologies, ca. 1580-1620(unpublished diss. University of Minnesota, 1989) and ITAL-ENG B: DerryBertenshaw: The influence of the late 16th century Italian polyphonic madrigal on theEnglish viol consort, c.1600-45: a background study, (unpublished Ph D thesis,Leicester, 1992), together with spin-off articles ITAL-ENG H2 and ITAL-ENG-B2. Theconsiderable presence of Italian madrigals within consort manuscripts makes it sensiblethat they should be noted in this Index. Few manuscripts of exclusively vocal music(such as those in the Madrigal Society collection) are included. Lute book versions areexcluded too. I leave aside the argument as to whether the madrigals were played, orsung, or played and sung from these books. The decades immediately before and after1600 saw the most copying of Italian madrigals, particularly from the printedcollections and including English versions from e.g. Musica Transalpina , ItalianMadrigals Englished and Morley’s Selected Madrigals. Thereafter they declinedgradually, but were not extinguished from the sources until the advent of the Civil War.(There are later purely vocal collections.)

English prints are identified as:

MT 1588 = Musica Transalpina, 1588MT 1597 = Musica Transalpina, 1597W 1590 = Watson: Italian Madrigals Englished , 1590Morley 1598 = Morley, Selected Madrigals, 1598

Felice Anerio

Untexted

Title First Print Other Prints GB-Lbl, Add. 37402-6*no./f.

Amor se bei rubini a5 II a5 (1585) Paradiso musicale (1596) 73/43vQuelle rose che colt’in a5 Le Gioie (1589) Paradiso musicale (1596) 69/40v

Texted

Title First Print Other Prints GB-Lcm,684

US-SM, Ellesmere 25A 46-51

Amor se bei rubini a5 II a5 (1585)[Madrigali Spirituali]

Paradiso musicale (1596) [56]/29v

Quelle rose che colt’in a5 Le gioie (1589) Paradiso musicale (1596) [58]/30vL’aura che noi cironda a6 I a6 (1590), no.2 f.133v/no.72 [75]/50vQuesta, che’l cor m’ancide a6 I a6 (1590), no.4 f.123v/no.52 [76]/51rLaura dolce a6 I a6 (1590), no.3 f.124r/no.53Godi leggiadre filli a6 I a6 (1590), no.14 f.134r/no.73Come ne caldi a6 I a6 (1590), no.15 f.134v/no.74

Giovanni Francesco Anerio

Picciola sei ma vaga, gentil I a 5 (1599): GB-Ob, Tenbury 940-4, no. 8Deh qual prova maggio flori [authorship ‘?’ in Hammesley]: GB-Ob, Tenbury 940-4, no. 136

February 2010 IM-ANERIO-1

Guilio Belli

Texted

Title First Print MorleySelected Madrigals 1598

GB-Ob,Tenbury 940-4

no.Perché v’allontanate a5 II a5&6 (1592) Hark and give ear attentive 36

Picciol premio al mio amore a5 II a5&6 (1592) 55Se diletto prendete a5 II a5&6 (1592) 56

Udite, amanti a5 II a5&6 (1592) 57

February 2010 IM-BELLI-1

Giovanni Cavaccio: madrigals for six voices

Title Print GB-Lcm, 684 US-SM,Ellesmere EL 25

A 46-51owner or copyist Hamond Herbert/Egerton

f./no. f.Guinta qui dori Il trionfo di Dori

1592, p.9135r/75 53r

February 2010 IM-CAVACCIO-1

February 2010 IM-CROCE1

Giovanni Croce

Untexted madrigals: five voices

Title First print GB-Lbl, Add. 37402-6No./fol.

US-LAuc, C6968M4 andGB-Ckc MS 321

US-NYpDrexel 4180-5

MerroCintia il tuo dolce II a5 (1592) 36/22v f.46r [English title]

Candide perl’e II a5 (1592) 45/27rSe da voi Novi pensieri musicali

(1594) a548/28v No. 29 a5

Ecco pal ma [a10] No. 8/f. 146v

Texted madrigals: five voices

Title First Print Englished Filmer 1fol.

Ellesmere 25 A 46-51no./fol.

Tenbury 940-4no.

Filmer Herbert/EgertonMeco godi un diletto I (1590) 53Se voi sete il mio cor I (1590) [60v] 78

S’hai tu, crudel I (1590) 61r 81Amor se m’accendesti I (1590) 96

Quando’io mirai I (1590) 98Odi, languid’e I (1590) 149

Cinthia il tuo dolce II a5 (1592) MT 1597 1/2r 95Candide perl’e II a5 (1592) 13/8r 121Cruda la fume II a5 (1592) 125

Tu dunque II a5 (1592) 139

February 2010 IM-CROCE2

Title First print Englished Filmer 1Fol.

Ellesmere 25 A 46-51No./fol

Tenbury 940-4No.

Cadea, nel dirmi 1594 21Chi pensa ch’ombra 1594 25Quest’aspre doglie 1594 38

Tu pur insidiosa 1594 41La misera farfalla 1594 51

Amor, ecco la mano 1594 52Amor, con quai parole 1594 63Scoprir un picciol riso 1594 67Se da voi m’allontano 1594 69

Poscia ch’amor 1594 73Tarda fosta, rispose 1594 84Ella che pur arde 1594 88Soavissimo fiato 1594 109

Perche, lasso 1594 116Amor cieco m’offesse 1594 143

Occhi bei si 1594 147

Title First print B-Br, MS II4109page

GB-Lbl, Add.29372-7Page/fol.

GB-Lcm684

GB-Och,Mus. 67

Fol.Myriell Myriell Hamond Myriell

Lady, let me behold a4 MT 1597, no. 3 72Since that the time a4 MT 1597, no. 2 74Daphne the bright a4 MT 1597, no. 20 80

February 2010 IM-CROCE3

Title First print B-Br, MS II4109page

GB-Lbl, Add.29372-7Page/fol.

GB-Lcm,684

f./no.

GB-Och,Mus. 67*

fol.

US-SM, EllesmereEL 25 A 46-51

fol.owner or copyist Myriell Myriell Hamond Myriell Herbert/EgertonO gracious and worthiest a6 MT 1597, no. 19 244/127v 98r/1Lo, where I lie in grief a6 107r/19Hard by a crystal fountain a6 MT 1597, no. 24 248/129v 116r/37Lord in thy wrath a6 Musica Sacra 1608,

no. 1250/130v

Deh non misar a6 I 1590 124v/54Bocca soave e care a6 I 1590 125r/55Adio caro il mio Tirsia a6 I 1590 127r/59 50r(i) Valli profunde a6 I 1590 131v/68(ii) Erme cam vag’ a6 I 1590 132r/69Chiudea le luci Aminta a6 I 1590 49rS’a la gelata mia timida a6 I 1590 49vOve tra l’herbe e I fiori a6 Il trionfo di Dori

159252v

Long have I languished a6 Musica Sacra 1608,no. 2

251/131r

Show mercy a6 Musica Sacra 1608,no. 7

252/131v 64v

Give me a clean heart a6 Musica Sacra 1608,no. 8

253/132r 65v

Lord in Thine anger a6 Musica Sacra 1608,no. 5

332/171v 66v

My strength even fails a6 Musica Sacra 1608,no. 6

334/172v 67v

Guilio Eremita

Textless madrigalsTitle First print GB-Cfm, Mu 782 US-CLwr f.35v

(Blossom) No./folGB-Lbl, Add. 37402-6

No./fol.US-NYp Drexel 4180-5

No./fol.Tisdale/Bull Merro

Io seguo l’ardente fiamma II a5 (1589) 1/15vO vaga tortorella II a5 (1589) 2/16v

Mentre intento mirar II a5 (1589) 7/17vSe perché cruda sete II a5 (1589) 12/18vSi rispose ben mio II a5 (1589) 5/19v

Lungi, ben mio II a5 (1589) 18/20v 54/46v [English]Fuggi, se sai fuggire II a5 (1589) 20/21v 44/26vO mio sonno dolore II a5 (1589) 6/22v

O misero mio core [a8] RISM 15968 11/149r

Texted madrigalsTitle First print Englished US-CLwr f.35v

(Blossom) No./fol.GB-Lbl, Add. 29372-7

Page/fol.GB-Ob, Tenbury

940-4Myriell

O vaga tortorella II a5 (1589) 65Lungi, ben mio II a5 (1589) MT 1597/3

So far dear life143/73r [English] 72

Fuggi, se sai fuggire II a5 (1589) MT 1597/Fly if thou wilt

79

February 2010 IM-EREMITA-1

February 2010 FELICIANI-1

Andrea Feliciani: madrigals for six voices

Title Print GB-Lcm, 684owner or copyist Hamond

f./no.Fra i vaghi e bei crin d’oro I 1586, p.4; Armonia di

scelti authori a sei voci1586, p.4

127v/60

For grief I die [Io perlanguir]

MT 1597, no. [Armonia discelti authori a sei voci1586, p.5]

February 2010 IM-FELICIANI-1

February 2010 IM-FERRABOSCO I1

Alfonso Ferrabosco I: Il Primo Libro de’ Madrigali a Cinque (1587) [* = untexted]

Title Englished GB-Cfm,52 A33-35

(3parts)

GB-Cfm,782*

GB-Lbl,MadrigalSocietyG44-47,

49

GB-Lbl,Egerton

3665(Score)

GB-Lbl,Add.

37402-6*

GB-Ob,Tenbury364-8

GB-Ob,Tenbury940-4

GB-Och,Mus

78-82

GB-Och,Mus463-7

US-SM,Ellesmere EL25 A 46-51

owner; copyist Paston Tisdale/Bull

Tregian Paston Herbert/Egerton

f. f. no. no. f. f. no. f. f. f.Se pur è ver 27 A 75v A 25v A(i) Mentre ti fui sìgrato

48v 16r A 76r A 31v*

(ii) Mentre ti fui sìcaro

49v 19 A 16v A 76v A

(iii) Hor pien d’altodesiro

50v 18 A 17 A 18 77v A 23v A 21v

(iv) Hor un laccio M1598 51v 27 17v A 30 78v A 24r A 22r(v) Lasso donque chesia

52r 79v A

(vi) Ben che senzamentire

53r 80v A

(i) Vorrei lagnarmi apieno

5v A 43v 25 24r A 117 81v A 24v A 11v*

(ii) S’io taccio 6v A 45v 26 24v A 110 82v A 25r APerle, rubino et ostro 18 33r A 83v AO dolcissimo bacio 19 84v AGià fu mia dolcespeme

20 85v A

February 2010 IM-FERRABOSCO I2

Voi volete ch’iomoia

38v A 86v A

Cara la vita mia 39v A 87v AQuant’ io soninfelice

88v A

Godea Tirsi gli amori no. 22 89v AChi ha cor da partire 36v A 90v AO crude pene mie 34v A 5r A 91v ANon fingo 35v A 30v A 92v ADonna, se voim’odiate

no. 21

Alfonso Ferrabosco I: Il Secondo Libro de’ Madrigali a Cinque (1587)

Title Englished GB-Cfm,52 A33-35

(3parts)

GB-Cfm,782*

GB-Lbl,Egerton

3665(Score)

GB-Lbl,Add.

30820-2(3 parts)

GB-Lbl,Add.

34050(1 part)

GB-Lbl,Add.

37402-6*

GB-Ob,Tenbury364-8

GB-Ob,Tenbury940-4

GB-Och,Mus

463-7

US-SM,EllesmereEL 25 A

46-51

owner; copyist Paston Tisdale/Bull

Tregian Paston Paston Paston Herbert?

f. f. no. f. f. f. no. f. f.(i) A la dolc’ombra 25v A 43(ii) Non vide il mondo 26v A 23 35v A 28v(iii) Un lauro mi difese 7v A 44(iv) Però piùferm’ogn’hor

45

(v) Selve, sassi,campagne

46

February 2010 IM-FERRABOSCO I3

(vi) Tanto mi piacque 47 35r A(i) Donna, l’ardentefiamma

MT2 57v 32 24v 36r A 49r A 49 26r A 29r

(ii) Signor, la vostrafiamma

MT2 59r 33 25v 50r A 50 26v A

(i) Scorprirò l’ardormio

48 11v A

(ii) Se voi sète il miosol

49 12v A

Non mi fuggir ben mio 50 14v A 9r A 71 7rZefiro torna MT2 28 30v 31r A 10v A 82Già non fia ver 51 11v 14v APoi ch’io non posso 52 12v 15v ABruna sei tu, ma bella MT2 29Non è lasso martire 32v A 53 37v A 7v(i) Solo e pensoso 8v A 54(ii) Sì ch’io micred’homai

M1598 55

Nel più fiorito Aprile MT2 56r 31 26v 51v A

Alfonso Ferrabosco I - Five-part Italian madrigals in MS

Title GB-Cfm,52 A 33-35

(3 parts)

GB-Lbl,Add. 29427

(Altus)

GB-Lbl,Add.

30820-2(3 parts)

GB-Lbl,Egerton 3665

(Score)

GB-Lbl,Madrigal

Society G.44-47, 49

GB-Ob,Tenbury940-4

GB-Och,78-82

GB-Och,

463-7

US-NH,Filmer 1

owner/copyist Paston Myriell Paston Tregian Filmerf. f. no. no. no. no. f.

(i) Poichè, lasso, m’è tolto 16 5 A 1 A(ii) Ch’io sento ad hora 17 6 A 2 A

February 2010 IM-FERRABOSCO I4

(iii) Come solea 7 A 3 A(iv) Ove le luci giro 8 A 4 AIo son ferito 5 Ap(i) Vidi pianger madonna 2 1 (‘A. F.’) 6 A 103v A(ii) Come dal ciel 40 2 A 7 A 104v ATu dolce anima mia 10v A 64r 12 4 A 8 A 77v A(i) Non ardo et son nel foco 5r A 35 9 A 79v A(ii) Foco è’l mio cor 4v A 36 10 A 80v ACantai un tempo 13 12 ANon ha tante 9v A 14 13 A 83v AChi per voi non sospira 40v A 34 3 A 14 A 78v A(i) Dolci ire 15 15 A 81v A(ii) Forse anchor fia 37 115 16 A 82v AAmor mi sprona 41 17 ADeh non ponete fine 42 18 A 15r A 102v A(i) Dolci, mentre il ciel volse 38 16 A 19 A 27v A 73v A(ii) Felice, ohime! 39 20 A 28r A 74v A(i) Standomi un giorno 5 21 A 28v A 84v A(ii) Indi per alto mar 6 22 A 29v A 85v A(iii) In un boschetto 7 23 A 30v A 86v A(iv) Chiara fontana 8 24 A 31v A 87v A(v) Una strania phenice 9 25 A 32v A 88v A(vi) Al fin vid’io 10 26 A 33v A 89v AHor che la notte 27 A

February 2010 IM-FERRABOSCO I5

Alfonso Ferrabosco: Six-part Italian madrigals in MS

Title GB-Cfm 24 E 13-17

(5 of 6 parts)

GB-Lbl,Add. 30816-19(4 of 6 parts)

GB-Lbl,Add. 37403(37402-6)*

GB-Ob,Tenbury 1018

(Score)

US-NH, Filmer 1 US-NYp, Drexel4302

(Score)owner/copyist Paston Filmer Tregian

p. f. f. f. no.(i) Dolce guerrieramia

15 4v A 127v A 1

(ii) Ma se con l’opre 16 5r A 128v A 2Grave pene in amor 19 2r A 3Così m’è l’aspettar 11 1v 125v A 4Interdette speranze 12 6r A 124v A 5(i) Se lungi dal miosol

3 6

(ii) Sola voi no’lsentite

4 42

(i) Ecco che un’altravolta

7

(ii) E se di vero amor 8Vergine bella [11parts]

9-19

(i) Mentre ch’il cor 131v A 20(ii) Quel foco è morto 132v A 21Se pur è ver 22Quel sempre acerbo 23(i) Io vo piangendo 24(ii) Sì che, s’io vissi 25(i) Valle, che deilamenti

26

February 2010 IM-FERRABOSCO I6

(ii) Ben riconosco inlei

27

(i) Lasso me 133v A 28(ii) Cerco fermar ilsol’

134v A 29

(i) Hor vedi, amor 30(ii) Tu sei pregion 31Non è lasso martire 32Voi volete ch’io moia 34v 33(i) Già disfatt’ha lenevi

34

(ii) Esser non può 35(i) Benedetto sia’lgiorno

129v A 36

(ii) Benedette le voci 130v A 37Ogni loco m’attrista 38Questi ch’inditio 135v A 40Con lagrime 126v A 41(i) Fui vicino a cadere 43(ii) Hor, com’augel 44Quando la bella 1*

Giovanni Ferretti

Title First print GB-Ob, Tenbury 940-4 GB-Lbl, Add. 29427Myriell

Tutte le stella V/1585 57r [textless]Una piaga mortal V/1585; Morley 1598 15 [texted]

Venite amanti V/1585; Morley 1598 7 [texted]Donna mi fugg’ogn’hora V/1585; Morley 1598 3 [texted] 57v [textless]

February 2010 IM-FERRETTI-1

February 2010 GASTOLDI-1

Giovanni Gastoldi: madrigals for six voices

Title Print GB-Lcm, 684owner Hamond

f./no.Al mormorar Il trionfo di Dori

1592, p.27126v/58

Felice amante I 1592 131r/67

February 2010 IM-GASTOLDI-1

Ruggiero Giovanelli

Title Print GB-Cfm Mu. 782 GB-Ob,Tenbury 940-4

GB-Lbl,Add. 37402-6*

US-LAuc, C6968M4and GB-Ckc MS 321

Tisdale/BullSel vaggia anima mia I/1586 13v 10

Misera, che faro? I/1586 119Ohime perche mi fuggi I/1586 60Occhi miei che miraste II/1593 9v

Se di farmi morire II/1593 10vO come vaneggiate Donna II/1593 11v

Voi volete ch’io nuoia II/1593 37Tu nascesti di furto II/1593 no.47/f.28 59

Morirò di dolor II/1593; Morley 1598 12v 105O timida lepretta II/1593; Morley 1598 7v

Mi sfidate II/1593; Morley 1598Come potrò, giamai II/1593; Morley 1598 8v 2

Cor mio, deh non piangete III/1599 106T’amo, mia vita III/1599 107

Cor mio, benchè lontana III/1599 118Com’odiarvi poss’io Filli III/1599 26

Sei tu, cor mio III/1599 102Vidi Filli partire III/1599 76

February 2010 IM-Giovanelli-1

Luzzasco Luzzaschi

Tra le dolcezze La gloria musicale … a cinque voci (1592/14), p. 10in GB-Lbl, Add. 37402-6, f.29v [textless]

February 2010 IM-LUZZASCHI-1

Giovanni/Jean de Macque

Hor un laccio 1582/4 = Dolci affeti madrigali a cinque voci (Venice)1585/19 = Symphonia angelica (Antwerp)1598 = Morley, Selected Madrigals [‘My sweet Lais’]

Se d’altro mai 1594/7 = Melodia Olympica (Antwerp)GB-Lbl, Add. MS 29427, no. 64, f.46 [textless]

February 2010 IM-de MACQUE-1

February 2010 IM-MARENZIO1

Luca Marenzio: Il Primo Libro de Madrigali (1580) for five voices

Title Englished GB-Cfm,Mu. 782*

GB-Lbl,Add.

37402-6*

GB-Lbl,Royal

24.d.2*

GB-Ob,Tenbury940-4

US-NH,Filmer 1

US-NYpDrexel4180-5

US-SM,Ellesmere EL25 A 46-51

owner Tisdale/Bull Baldwin Filmer Merro Herbert/Egertonf. no./f. f. no. f. f. f.

Liquide perle Amor MT 1588 29v 1Spuntavan già W 1590 30v(ii) Quando’l miovivo

W 1590 31v

Dolorosi martir MT 1597 34v 21r 15 73r 65r* 13vChe fa hoggi MT 1588 3/3rMadonna mia gentil W 1590 33v

MT 1588 has five pieces from this book; W 1590 has 10

February 2010 IM-MARENZIO2

Luca Marenzio: Il secondo libro de madrigali (1581) for five voices

Title Englished GB-Cfm,Mu. 782*

GB-Lbl,Royal

24.d.2*

GB-Ob,Mus. Sch.C45-50

GB-Ob,Tenbury

302*

GB-Ob,Tenbury940-4

US-NH,Filmer 1

US-SM,Ellesmere EL25 A 46-51

owner Tisdale/Bull Baldwin Barnard? Filmer Herbert/Egertonf. f. f. no. f. f.

Amor poiche nonvuole

38v

(ii) Chi strinse mia 44Fillide mia 39vO voi che sospirate 37v 20v 46v 2 136/98v 14rMi fa lasso languire 36v 145/107vGià torna a rallegrar 35v ‘10’

(seq.42)100 128/91v

February 2010 IM-MARENZIO3

Luca Marenzio: Il terzo libro de madrigali (1582) for five voices

Title Englished GB-Cfm,Mu. 782*

GB-Ob,Tenbury940-4

GB-Och,Mus 2*(Score)

GB-Och,Mus 403-

8*

GB-Och,Mus 436*(organ)

GB-Och,Mus 67*(organ)

US-NH,Filmer 1

owner Tisdale/Bull Hatton Hatton Hatton Myriell Filmerf. no. f. f.

Caro dolce mio ben Morley1598

41v 120 109v 2v 40 35v 106v

Rose bianche evermiglie

40v

Se la mia fiammaardente

42v

February 2010 IM-MARENZIO4

Luca Marenzio: Il quarto libro de madrigali (1584) for five voices

Title Englished GB-Lbl,Add.

37402-6*

US-NH,Filmer 1

owner Filmerno./f. f.

Giunto a la tomba 4/3v 70v(ii) Non di morte seitu

71v

(iii) Ongli lor tu 72r(iv) Ed amando morrò 72v

February 2010 IM-MARENZIO5

Luca Marenzio: Il quinto libro de madrigali (1585) for five voices

Title Englished GB-Ob,Tenbury940-4

US-NH,Filmer 1

owner Filmerno. f.

Se voi sete cor mio 22 60vBasciami, basciami,mille mille volte

59

February 2010 IM-MARENZIO6

Luca Marenzio: Il sesto libro de madrigali (1594) for five voices

Title GB-Lbl,Add.

29427*(altus)

GB-Lbl,Add.

37402-6*

GB-Lbl,Add.

40657-61*

GB-Och,Mus 2*(Score)

GB-Och,Mus 403-

8*

GB-Och,Mus436*

(organ)

GB-Och,Mus 67*(organ)

US-NH,Filmer 1

US-SM,Ellesmere EL25 A 46-51

owner Myriell Shirley Hatton Hatton Hatton Myriell Filmer Herbert/Egertonf. no./f. f. f. f. f. f. f. f.

Udite lagrimosiSpiriti d’Averno

33r 13r

(ii) Che se tu 40v 110r 3r 51r 34r 41v 12rRimanti in pace 27/18v 39v 108v 1v 49v(ii) Ond’ei di morte 63v 28/19r 40r 109r 2r 50r 32r 12v & 33r*

February 2010 IM-MARENZIO7

Luca Marenzio: Il settimo libro de madrigali (1595) for five voices

Title GB-Lbl,Add.

37402-6*

GB-Lbl,Add.

40657-61*

GB-Ob,Tenbury940-4

GB-Och,Mus 2*(Score)

GB-Och,Mus 403-

8*

GB-Och,Mus436*

(organ)

GB-Och,Mus 44*

GB-Och,Mus 67*(organ)

GB-Och,Mus 527-30,

1024

owner Shirley Hatton Hatton Hatton Myriellno./f. f. no. f. f. f. f. f. f.

Deh poi ch’era 1/1r 41v 137 117r 8r 57v 32vQuell’augellin 42r 126 118r 9r 58vCruda Amarilli 141(ii) Ma grideran perme

118v 9v 59r

O disaventurosa 45vAl lume delle stelleTirsi

49v

Ami Tirsi 116v 7v 57rArda pur sempr’omora

39v 108r 1r 49r 5v

February 2010 IM-MARENZIO8

Luca Marenzio: Il nono libro de madrigali (1599) for five voices

Sole e pensoso: GB-Lbl, Add. 40657-61, f.43rGB-Ob, Tenbury 302, f.46

Luca Marenzio: Madrigali … libro primo (1588) for four, five and six voices

Title GB-Lbl,Royal 24.d.2

owner Baldwin(all a5): f.Fuggito è ’l sonno 3rSenza il mio vago 3v(ii) O giorno 4vFiere Silvestre 5vEcco che un’altra volta 7rE se di vero Amor 9rCom’ogni rio che d’acque 9vValli riposte 11vBasti fin qui le pene 13rO fere stele 17rSe la mia vita 18rPiango ch’Amor 18vAffliger chi per voi 19v

February 2010 IM-MARENZIO9

Title Print US-NH, Filmer 1Hor pien d’altro (a5) Dolci affetti madrigali 1582, p.5 no. 34, f. 13r

Luca Marenzio: Madrigals for six voices

Title Print GB-Lcm,684

GB-Ob, Mus. Sch. MSSC.45-50

US-NH,Filmer 1

owner Hamond Filmerf./no. no. (page) no./f.

Se bramate chia mora IV a6 1587;Antwerp 1594, f.5r

1 (65)

(i) Ecco che’l ciel V a6 1591, p.6 125v/56 2 (66)(ii) Ecco che mill’augel V a6 1591, p.7 126r/57(ii) Mentre novella alma vittoria I a6 1581;

Antwerp 1594, f.46r3 (67)

Donna più d’altri adorna II a6 1585;Antwerp 1594, f.4r

4 (68)

(i) Baci soavi e cari V a6 1591, p.16 135v/76 5 (69)(ii) Baci amorosi e belli V a6 1591, p.17 6 (70)(iii) Baci affamati e’ngordi V a6 1591, p.18 136v/78 7 (71)(i) Leggiadrissima eterna primavera V a6 1591, p.1 8 (72)(ii) Già le muse e le gratie V a6 1591, p.2 9 (73)Occhi sereni e chiari I a6 1581

Nuremberg 1589, no.21128r/61 10 (74)

Crudell perche mi fuggi IV a6 1587Antwerp 1594, f.36r

14 (78)

Nel più fiorito Aprile I a6 1581;Nuremberg 1589, no.20

153/112r

February 2010 IM-MARENZIO10

Piangea Filli e rivolte III a6 1585;Antwerp 1594, f.27

122r/49

(i) Laura serena I a6 1581 122v/50(ii) Le quale spargea I a6 1581 123r/51(v) Baci mentre V a6 1591, p.20 136r/77(iv) Baci cortesi e grati V a6 1591, p.19 137r/79(vi) Baci ohime non mirate V a6 1591, p.21 137v/80(i) Come inanti de l’aba Antwerp 1594, f.48v 128v/62(ii) Cosi questa Antwerp 1594, f.49r 129r/63Donò Cinthia a Damone III a6 1585;

Antwerp 1594, f.40r129v/64

Per duo coralli ardenti I a6 1581;Antwerp 1594, f.11v

130r/65

Paulo Masnelli

Title Print GB-Lbl,Add. 37402-6* [fol.]

GB-Lbl,Add. 29427*

[no./fol.]

US-CLwr,f.35.v* [no./fol.]

MyriellSoavissimo adore II/1596 33rOcchi cari et amati II/1596 33v

Non vi bastava II/1596 32v 96/63r 9/9rAh disleale II/1596 34r

A che tormi il benmio

II/1596 34v

February 2010 IM-MASNELLI-1

February 2010 IM-MELDERT-1

Leonardo Meldert: madrigals for six voices

Title Print GB-Lcm, 684owner or copyist Hamond

f./no.Cresci bel Verdi Alloro Il lauro verde 1583, f.9 133r/71

MONTEVERDI, Claudio

Title Print

La Giovanetta pianta III/1592O come è gran martire III/1592Sovra tenere herbetta III/1592O dolce anima mea III/1592Stracciami pure il core III/1592O rossignol III/1592La tra’l sangu’e III/1592O primavera III/1592Perfidissimo volto III/1592Ma dove, o lasso me III/1592Rimanti in pace III/1592Ond’ei di morte III/1592

Luci seren’e chiara IV/1603Voi pur da me partire IV/1603Cor mio mentre IV/1603Cor mio non mori [Frag.] IV/1603La piaga IV/1603Volgea l’anima [Frag.] IV/1603

* = textless

February 2010

US-

SM

,Elle

smer

e25

A46

-51

GB-Lbl

Add

.294

27*

Add

.374

02-6

*

Add

.40

657-

61*

2*

GB-Och

403-

8*

436*

44*

527-

30,1

024*

67*

I-Dm

,Z.

3.4.

7-12

*

9v27v

8v9r

28r3r3v

10r10v

33r

93

62

90

89

10v6v8r9r

12v11v8v13v42r10r

34r41r

34r

GB-

Ob,

Tenb

ury

940-

4

112v111v

110v

5r

4v

3v

12r11v

53v

52v

51v

62v61v

47v

3r

3v

3v

25v

26v

24v

23v

643933465885

106v

105v

US-

CLw

r,f.3

5.r(

Blos

som

)*

33r

Eger

ton

2485

*

42v

29r28v

GB-

Och

,21

p.304p.308p.302p.306

IM-Monteverdi-1

GB

-Ob,

E415

-18*

25r

Giovanni Battista Mosto

Title Print Englishprint

GB-Ob,Tenbury940-4

GB-Lbl,Add.

37402-6*

US-SMEllesmere

25 A 46-51no. no./fol. f.

Cara, dolce,noturna

II/1584 91

Deh, nonmi dar pena

II/1584 92

Dolce al-pestre parole

MelodicaOlympica

1591

Morley,1598

101 64/38r 24r

February 2010 IM-Mosto-1

Giovanni Maria Nanino: five-part madrigals

Title Print Englished GB-Ob,Tenbury 940-4

no.Dolce fiamella mia 158110 M1598 4Amore, deh dimmi come 158110 108Questo vostro fuggire II/1586 131Deh coralli ridenti II/1586 134Amore mi fà morire II/1586 103Nè mai si lieto II/1586 104L’aurora e’l giorno e’l sole II/1586 114Da bei vostri’occhi II/1586 127Credetel voi II/1586 122(ii) Ond’ei di sdegn’accesso aguerra

II/1586 42

Morir può il vostro core II/1586 24

February 2010 IM-NANINO-1

Alessandro Orologio:Five-part madrigals

Title Print Englished GB-Cfm,Mu. 782

GB-Ob,Tenbury 940-4

Tisdale/Bullf. no.

Ma se pieta I/1588 14v 74Mentre digioia

I/1588 MT2 68

Hor che suavel’aura

I/1588 MT2 112

Se mi tenete’lcore

I/1588 11

February 2010 IM-OROLOGIO-1

Giovanni Pierluigi Palestrina

Title Print US-NYp, Drexel 4180-5Virgine bella I/1581 40rVirgine saggia I/1581 40vVirgine pura I/1581 41rVergine santa I/1581 41vVergine sola I/1581 42r

Vergine chiara I/1581 42vVergine quanta lagrime I/1581 43r

30 five-part madrigals: the whole of Delle madrigali spirituali libro secundo are on ff.109r-147r of GB-Och, Mus 8.

Io son ferito a5 is in US-NH, Filmer 1, f.97v [from Il terzo libro delle Muse a cinquevoci …(Venice, 1561)]

September 2007 IM-Palestrina-1

PALLAVICINO, Benedetto

a. O saette d’amor II/1584b. Dolce mia cara mano II/1584c. Hor veggio chiar II/1584d. N’é lo star II/1584e. Natura non mi fi II/1584

f. Non mirar III/1588g. Non mi ferir III/1588h. Con che soavità III/1588

i. Donna,se voi m’odiate V/1593j. T’amo mia vita V/1593k. Donna, se quell ohimè V/1593l. Baci amorosi e cari V/1593

m. Come vivro nelle miepene VI/1600

n. Era l’anima mia VI/1600o. O come vaneggiate VI/1600p. Cor mio, deh non

languire VI/1600

q. O dolorosa morte VII/1604

* = untexted

February 2010

GB-Lbl

Add

.294

27*

Add

.374

02-6

*

Add

.406

57-6

1*

Eger

ton

3665

GB

-Ob,

Tenb

ury

940-

4

GB-Och

58v

42v41v39r38v

40r

20v

23r23v

41v

89

2832

62

117v

120r

8v7r37r

72v

11r

58r56v90r

125v

60v

2* 403-

8*

436*

xxx

x

IM-PALLAVICINO-1

PALLAVICINO, Benedetto

a. O saette d’amor II/1584b. Dolce mia cara mano II/1584c. Hor veggio chiar II/1584d. N’è lo star II/1584e. Natura non mi fe’ II/1584

f. Non mirar III/1588g. Non mi ferir III/1588h. Con che soavità III/1588

i. Donna,se voi m’odiate V/1593j. T’amo mia vita V/1593k. Donna, se quel ohimè V/1593l. Baci amorosi e cari V/1593

m. Come vivro nelle miepene VI/1600

n. Era l’anima mia VI/1600o. O come vaneggiate VI/1600p. Cor mio, deh non

languire VI/1600

q. O dolorosa morte VII/1604r. Tuttere fuoco ?

February 2010

GB-Och

67*

I-Dm

,Z.3

.4.7

-12*

US-

SM,E

llesm

ere

EL25

A46

-51

34v

30v 4v 104v

156v

US-

NY

p,D

rexe

l41

80-5

*

IM-PALLAVICINO-2

527-

30,1

024

25v26r27v26v

30r

22v

23r23v

February 2010 PHILIPS-1

Peter Philips: madrigal for six voices

Title Print GB-Lcm, 684 GB-Ob, Mus. F 1-6

owner or copyist Hamond Hamondf./no. f./no.

Poi che voi nonvolete

132v/70 65v/13

February 2010 IM-QUINTIANI1

LUCREZIO QUINTIANI

Title Print Englished GB-Cfm,Mu. 782*

GB-Lbl,Add.

29427*

GB-Lbl,Add.

37402-6*

GB-Lbl,Egerton

3665

GB-Ob,Tenbury940-4

GB-Lcm,MS 684

US-NH,Filmer 1

US-CLwr,f.35v*

(Blossom)

US-SM,Ellesmere EL25 A 46-51

owner; copyist Tisdale/Bull Myriell Tregian Hamond Filmer Herbert/Egertonfive-part f. f. f. no./f. no. f./no. f. f./no. f.

Al suond’amata

I/1588 MT 1597 23v 60v 6r 169/280v 10r/11

Monti, selve,fontane

I/1588 MT 1597 25v 21r 170/281r 13 42v/6 61v 19v

Creschin a gara I/1588 MT 1597 27v 171/282r 43 99vDi lauri e mirti I/1588 24v 21v 714/494v 14 72r/65Alto Signorche da stellanti

I/1588 715/495r

Se le virtù I/1588 29r 716/496r 78r/77Non può tanto I/1588 26v 717/495v 23 100vDolce esca delmio cor

I/1588 718/496r 101v

(ii) Dolcid’ogni mio ben

I/1588 719/496v

Sapete Amanti I/1588 720/497v 78v/78Giacominciame

I/1588 721/498r

(ii) Chi saramai

I/1588 722/497v

Voi sola, exvoi anco

I/1588 723/498v

Polimia, un chet’honora

I/1588 28v 724/499r 77v/76

Liete verdi I/1588 725/500rChe se’l grider I/1588 726/500rDimmi percorte sia

I/1588 727/500v

Dunque aminta I/1588 728/500v

February 2010 IM-QUINTIANI2

Mi piace star invita

I/1588 729/501r

Taci prendi inmio l’arco

I/1588 730/501v

Cipriano de Rore

Title Print US-NH, Filmer 1owner Filmer

f.Cantai mentre I/1542 96vSe be nil duol per voi IV/1557 94v(ii) Ben voi a più di mille IV/1557 95rAlme Susanna ben felice V/1566 95v

February 2010 IM-de RORE-1

February 2010 ROSSETTI-1

François Roussel [Francesco Rosselli]

Title Print US-NH, Filmer 1owner Filmer

five-part: no./f.Guidomi in part’ilciel

Il terzo libro delleMuse 1561, p.10

102/69v

Da indi in qua sol Il terzo libro delleMuse 1561, p.11

103/70r

Ippolito Sabino

Title Print Englished GB-Ob, Tenbury940-4 no.

Ecco i’mi discoloro VII/1589 M1598 94

February 2010 IM-SABINO-1

February 2010 STRIGGIO-1

Alessandro Striggio: madrigals for five voices

Title Print US-NH, Filmer 1owner

no./f.Anchor ch’io possa dire Melodia Olympica 1591 127/90v

madrigals for six voices

Title Print GB-Ob, Mus Sch. 45-50owner

no./p.Nasco la pena mia I 1560 13/77

February 2010 IM-VECCHI-1

ORAZIO VECCHI

Title Print Englished GB-Lbl,Add.

29427*(altus)

GB-Lbl,Add.

37402-6*

GB-Lbl,Add.

40657-61

GB-Ob,Tenbury940-4

GB-Och,Mus 67*(organ)

US-CLWr,f.35v*

(Blossom)(3 parts)

US-SM, EL 25A 46-51

Myriell Shirley Myriell Herbert/Egertonf. no./f. f. no. f. f./no. f.

Il bianco e dolcecigno

I/1589 MT2 18/14r 97 2v

Chi vi mira I/1589 61Del dimmi, vita mia I/1589 M1598 66Tremolavon le frondi I/1589 M1598On d’all’hor io,languendo

I/1589 34

Clorinda, hai vinto I/1589 61r 62/37r 40v 31v 31r/38Cara mia Dafne I/1589 31/20rO di rare eccelenze I/1589 29/19r 12Pastorellla gratiosella I/1589 30/19v 20Donna, s’io sono ilsole

I/1589 77

Al bel de tuoi capelli 1590 54

February 2010 IM-VECCHI-1

VECCHI: Madrigals for six voices

Title Print GB-Lcm, 684 GB-Ob, Mus. F 1-6owner or copyist Hamond Hamond

f./no. f./no.O che vezzosa I 1583 130v/66 73r/23

Stefano Venturi

Title Print US-SM,Ellesmere25 A 46-

51

Add37402-

6*

GB-Ob,Tenbury940-4

GB-Cfm,782*

OchMus. 33(score)

MusicaTransalpina

1597

MorleySelected

Madrigals1598

Occhi mirando I a5(1592)/5

38/20v [41]/25r 6 3v Sweet eyes

Quell’aura I a5(1592)/21

37/20r [42]/25v 3 4v As Mopsuswent

As Mopsuswent

S’un sguard un fa beato I a5(1592)/2

39/21r [43]/25v 48 5v

Occhi, se lachrimare I a5(1592)/15

6v

February 2010 VENTURI-1

February 2010 WERT-1

Giaches de Wert

Title Print US-SM, EllesmereEL 25 A 46-51

US-NH, Filmer 1

owner Herbert/Egerton Filmerfive-part: f. no./f.Fra le doratechiome

VIII 1586 25r

Quella donna real Madrigale del fiore,libro primo 1561

101/f.69r

Various settings including violin, violada gamba, ‘cello and continuo:

D-B, Sig. Klg. 63/1 (attrib. Schaffrath)GB-Lbl, Add. MS 33296 (pp.149-172)Breitkopf 2 (1762), p.80 (oboe, viola,viola da gamba, continuo)Breitkopf 3 (1763), p.106 (oboe, vln pic-colo, viola/vdg, continuo)Breitkopf 6 (1765), p.241 (oboe, vln pic-colo, viola da gamba, continuo)

Quartet in C: 2 vln, viola da gamba, con-tinuo

D-B, SA 3369 (‘Sig. Graun’)D-B, SA 3159 (attrib. Janitsch)

Quartet in D: oboe/flute, oboe/violin,viola da gamba/viola/’cello, continuo

D-B, Mus. ms 11103/24D-B, SA 3152D-B, SA 3164

June 2011 JANITSCH-1

JANITSCH, Johann Gottlieb (1708-c.1763)

For further details see GERMANY OL

Quartet in D major: flute/violin, oboe/violin, viola/viola da gamba, continuo

D-B, SA 3132D-B, SA 3162Dk-Kk, mu 6212.16.30Dk-Kk, mu 7411.1832

Quartet in A: various settings, including:

Violin, viola da gamba, ‘cello, continuoD-B, Slg. Klg. 63/2 (attrib. Schaffrath)

June 2011 JANITSCH-2

JANITSCH, Johann Gottlieb

For further details see GERMANY OL

JOHN JENKINS

(1592-1678)

The pages devoted to Jenkins set out all the works for bowed strings that are knownto the Society.

The principal work done on Jenkins is that by Ashbee (e.g. JENKINS Al), Coxon(e.g. JENKINS C1), Field (CONSORTS F), Nicholson (JENKINS 5, 6), also Peart(JENKINS 6P), Richards (BASS R), Sleeper (e.g. JENKINS 5), Warner (e.g. JENKINSW1) and Willetts (e.g. JENKINS PW) . Coxon’s comprehensive handlist (JENKINS C2),although non-thematic, has been of great assistance, for many years, to students ofJenkins.

Our numbering of the works for viol consort has departed for several reasons fromthat of Meyer; it conforms with the numbering decided on by the Society’s editors for theVdGS/Faber series of publications. However, Meyer numbers are quoted for ease ofcross-reference wherever they exist.

Our numbering of airs and suites follows the numberings of Ashbee and, whereappropriate, Field. As a consequence, the airs are separated into two-, three- and four-part collections; the indication of correspondence between these collections is facilitatedby the use of the following internal prefixes:

A/2/... = No. ... in the 2-part series (Tr B).A/5/... = No. ... in the 5-part series (Tr Tr B).A/3T/... = No. ... in the 3-part series (Tr T B).A/4/... = No. ... in the group of 52 four-part airs.

For example, as may be verified, A/3T/S = A/2/16 and A/4/37.

The identification of Jenkins’s autograph follows the suggestions and findings ofAshbee, Lefkowitz and Willetts; these are particularly helpful in the case of the bass violworks in GB-Lcm 921, where ‘Jenkins’ evidently means what it says.

The re-emergence of D-Hs ND VI 3193 has confirmed the attribution to Jenkins ofthe ten sets for three trebles and bass on page 19.

JENKINS-1

John Jenkins

510Saraband efdef tuning

Formerly at no. 205. The first four bars are identical with 205, but the remainder differs.

January 2009 JENKINS-74a

Robert JOHNSON

September 2005 JOHNSONS-3

Fantasiafor3 trebles

ffhfh14ThePrinces

US-LAuc fF1995M4, No. 18

GB-Lam MS 600 f.76' anon ffhfhGB-Cfm MSS E13-17 part 2 no 5: a6:

‘R. J. Almand’also GB-Lbl, Add. MS 63852, f. 90'inv: 2defhf A, and f.37:2 kbd and ex-Anon 6512

KERLL, Johann Kaspar (1627-1693)

[Sonata] for two violins and bassF-Pn, Rés Vm7 673, no. 12

F CS-KRa, 4:52Exercitum Musicum, no. 8

Sonata S-Uu, imhs 4:5g

2 violins, viola da gamba, bc

William KING

1. Almainebefore the song

2. Ayre

3. [Galliard]

4. [Air]

5. [Galliard]

2003 KING-1

GB-Ob,Mus. Sch.E.447-9f./seq.

33v/1

34r/2

34v/3

35r/4

35v/5

KNÖP, Lüder (d.1665)

VdGS No.

1. Ballet

2. Saraband

3. Ballet

4. Corant

5. Ballet

6. Corant

7. Ballet

8. Saraband

9. Ballet

10. Corant

11. Ballet

12. Corant

February 2008 KNOP-1

GB

-Lbl

,Add

.MS

3143

8

no./fol.

1/82v

2/82v

3/82v

4/83r

5/83r

6/83r

7/83v

8/83v

9/83v

10/83v

11/83v

12/84r

KRIEGER, Johannn Philipp (1649-1725)XII Suonate, op. 2 for violin, viola da gamba and continuo (Nuremberg, 1693)all published in DTB (New) vol. 8 (1986)

1 C

2 d

3 e

4 F

5 G

6 a

7 Bb

8 g

9 g

10 A

11 D

12 D

KRIEGER-1January 2007

KRIEGER, Johann Philipp

[Sonata] for two violins and bass/bc

F-Pn, Rés Vm7 673, no. 133

Sonata for 2 violins, viola da braccio, bassoon, bca4

S-Uu, imhs 4:9

January 2009 KRIEGER-2

Johann KROSCH (GROSCHE)(fl. 1599-1607)

four-part consorts (published LPM)

VdGS No.

1. Courant

2. Courant

3. Courant

2004 KROSCH-1

TSI

MPS

ON

1621

no.

15

25

26

WILLIAM LAWES

(1602-1645)

These pages set out all the chamber music for bowed strings of William Lawes that isknown to us. -

The principal work done on Lawes is that by Lefkowitz (e.g. LAWES L1), Field(CONSORTS F) and Pinto (e.g. LAWES P3).

To an extent not met with in Jenkins’s music, the miscellaneous airs, in many differentsettings, overlap with the main collections such as the five-part, six-part and Harpconsorts. With Jenkins, the few airs which appear in different collections have beenallowed to remain there, linked by suitable cross-references; with Lawes, each airappears once only, in what is deemed to be the most appropriate place.

Moreover, all the works are numbered serially throughout the Index, starting with theprincipal collections and finishing with the miscellaneous airs, and each piece has aunique ‘air number’ for easy reference. For example, ‘The Air from the five-partConsort in F’ identifies a particular setting; however, if only the tune—regardless ofkey or setting—is under consideration, ‘Air 80’ quickly locates it. Nevertheless, such aprocedure has obscured the grouping of several well-defined sets of airs; to make upfor this, the following list, which shows the organisation of some apparently-popularfour-part sets, is offered:

GB-Ob MSS Mus Sch E.431—6 and F.568—9Set in g: Pav 101, Air 103, Cor 338, Air 70, Cor 339.Set in G: Pav 79, Air 320, Air 80, Cor 322.

GB-Lbl Add MSS 40657-61Set in g: Air-fant 336, Air 337, Air 103, Cor 339.

The following list shows the various names by which the Royall Consort and itssubdivisions were known:

Source Name Given to SuitesC The Royall Consort 1-10D The Royall Consort 1-6F Flat Ayres; Sharp Ayres 1-3; 4-6G The Royall Consort 1-6H Mr W.L. his Consort 7-10H Mr Lawes his Great Consort 1-10K Mr William Lawes Royall Consort 1-3 etc.

Lack of space has made difficulties in showing some modern editions: Royall Consort(Old and New versions) =LAWES P6a and 6b; Complete three-part airs = LAWES D2

LAWES-1

LILIUS, Franciszek (Francis Lily)(d.1657)

Sonata a

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

61/105

LILIUS-1January 2009

violin, viola da gamba, bc

John LILLIE

fdefh continued

VdGS No.

35. Almaine

36. Almaine

37. Corranto

January 2009 LILLIE-3

GB

-En,

P637

R78

7.1

f./seq.

16r/38

16v/39

17r/40

MATTHEW LOCKE(1622-1677)

The standard works on Locke are by Harding (LOCKE H, reviewed in Chelys 5(1971) p.25), Tilmouth (LOCKE T1, reviewed in Chelys 4 (1972) p.58, and LOCKET2), and by Lefkowitz in LOCKE L.

When cataloguing Locke’s Airs, the temptation is to be drawn too far from thisIndex’s proper scope, into the generality of the theatrical music. A line has thereforebeen drawn around the repertoire presented in LOCKE T1, namely, the maincollections: For Several Friends, the bass viol duos, the Little Consort, the FlatConsort, the Broken Consort, the Concert of Four Parts, and the Oxford Suite, also theAlmand for solo bass viol and the two canons. Details of the theatrical airs are readilyaccessible, if needed, in LOCKE H.

LOCKE H and LOCKE T1 present a choice of numberings. Since LOCKE T1 isthe authoritative published text of the music, its numbering of the Suites (‘sets’herein) has been adopted, even though it differs in places from the grouping in thesources. Individual pieces, as the index pages clearly show, were numbered in mostsources with a considerable degree of accord; this numbering has been used inpreference to the lower-case letters (which are nevertheless quoted for cross-reference) in LOCKE T1. Harding’s system of numbering, which more nearlyconforms to the grouping in the sources, is given for cross-reference, the numbersbeing prefixed by ‘H.’ when abbreviation is necessary.

Additional notes on sources:

GB-Lbl, Add MSS 10444-5: see LE STRANGE W2.GB-Mch MS Mun A.2.6: See Chelys 5 (1973—4) p.78.Ob MSS Mus Sch D.235-6: as elsewhere, listed in detail so as to make plain

the organisation of the set. The apparent reason why the Flat Consort petersout in the manner shown is that it runs up against music coming the other wayin the books reversed.

US-NYp MS Drexel 5061: microfilm C.13 at GB-Cpl.US-NYp MS Drexel 3976: microfilm C.11 at GB-Cpl, identified there as

MS Drexel 1355.

LOCKE-1

JEAN-BAPTISTE LULLY(1632-1687)

Airs in C Major a3

VdGS No.

C1.

C2.

C3. 4th part added

C4.

February 2008 LULLY-3

GB

-Lbl

,Add

.314

29

f./no.

15v/1

15v/2

16r/3

16v/4

THOMAS LUPO1571-1628

Jennings’s investigations, in LUPO J1 and LUPO J2, of the Lupo family, brought to lightseveral contenders for the honour of having composed the viol consort music whichsurvives in Thomas Lupo’s name.

Thomas Lupo (senior) was the son of Joseph Lupo; he was a court musician from 1590and composer for the violins from 1621; after his death in 1628 his son, Theophilus Lupo,took his place as court musician. Thomas Lupo (junior) was a cousin, being the son of PeterLupo, who was a brother of Joseph.

Jennings attributed all the consort music to Thomas Lupo (senior).

Among the three-part works, several dances, mainly almaines, are labelled as ‘fantasies’;they are written in a light style, apparently for two violins and bass viol.

Among the three-part works are found pieces for three equal instruments - this is a rareinstance. Those for trebles and tenors are transpositions of the same work; the one for threebasses is a different fantasy.

Among the four-part works are a few pieces labelled ‘fantasy’, but these are rather of thenature of airs.

Among the five-part works are several for two basses, not represented in Tregian’s score.

A few five- and six-part fantasies embody florid division parts.

LUPO-1

Matthäus MAERKERFive-part consorts published Moeck MMP

V and VIVdGS No.

1. Paduana

2. Galliard

3. Paduana

4. Galliard

5. Paduana

6. Galliard

7. Paduana

8. Galliard

9. Paduana

10. Galliard

2004 MAERKER-1

FUL

LSA

CK

1607

HIL

DE

BR

AN

D16

09

no.

XII/I

XII/ii

no.

V/I

V/ii

IX/I

IX/ii

XIII/I

XIII/ii

XV/I

XV/ii

MAJEST:, Caesar[Emperor Ferdinand III?]

Aria

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

43/64

MAJESTY-1January 2009

violin, viola da gamba, bc

MARIN

MARAIS(1656-1728)

‘Indexing Marals’ means, chiefly, listing the contents of the five books of Pièces de Violewhich, with facsimiles and modern editions available, have been well known for many years.It also illustrates the existence of anthologies made from and outside the Pièces de Viole, andcollates their sources, some of them less well known, of which the following is a summary:

GB-DRc MS A.27. Copies by Prebendary Philip Falle (1556-1742), as described byUrquhart in FALLE U.

GB-En MSS 9465-7 (formerly Panmure MSS 21-23: see Cadell in PANMURE C). Copiesof many Pièces de Viole, and of many additional items (for which see pages MARAIS-36 to39). In the Folies, IIe Livre, VdGS (Hsu) No. 20, Panmure, like IIe Livre, has 15 Couplets, butthese differ towards the end; moreover, Panmure has 14 additional unpublished Couplets.

Many of the additional Panmure pieces are not individually attributed; however, the threeMSS form an integral set, and the legend on the cover of MS 9465 (Panmure 21) Pièces deviole de Mr Marais - helps to authenticate the attribution to Marais of the whole set.

F-Pn Vm7 6275 and Vm7 1107. These are MS copies, made by Jean-Pierre de Villeneuve,for 5-string pardessus de viole, of items liberally drawn from the Pièces de Viole, as explainedin detail, with source-tables, by Miloradovitch in MARAIS M. One or two doubles, and onepiece — La Siamoise — do not appear in the five books.

Receull d’Airs (Nevers, 1763), in private hands, and F-Pn Vmc 85 (Ex Libris Le Blanc) areboth identified by Miloradovitch (see p. 66 of MARAIS N), as sources containing copies ofworks, by Marais and others, for pardessus de viole, but their contents are not listed.

Écorcheville. Pieces listed by Écorcheville in PARIS E include a few items in sourcesother than the five books; most of them concord with pieces in the five books, butÉcorcheville does not list the concordances. The sources are F-Pn Vm7 1107 (2 pieces), andthe following 18th-century MSS: 4866 (flute) (6 pieces), 4867 (solo violin) (2 or 3 pieces) and4872 (keyboard) (1 piece).

Pièces en trio (MARAIS 1692) are not listed on this occasion.

Numbering. Where original numbering exists it has been adopted, as in the principalmodern editions. Ier Livre is the only one of the five books to have no original piece-numbering; Ve Livre is the only one of the five to have original suite numbering. Otherwisethe numbering is editorial. The ‘Additional Pieces’ beginning on page MARAIS- 36 arenumbered editorially, beginning at 151, so as to avoid confusion with the numbering of thefive books and to facilitate quotation without qualification.

Publications. Between Caldwell, Ebner and Minkoff, the facsimile reproduction of theprinted books (including La Gamme and the Pièces en Trio) is more than achieved. Moderneditions: Hsu, with Broude Bros., (MARAIS H): all the Pièces de Viole. Charbonnier(MARAIS C) and Kinney (MARAIS K) have contributed modern editions of some of thePièces de Viole.

The help given by Anne Cross in collating all this material is much appreciated.

MARAIS-1

Thomas MAYLARDMusician known to Pepys; also served Oliver Cromwell

VdGS No.

1. Almaine

2. Almaine

3. Corant

7th Instalment 2002 MAYLARD-1

GB

-Ob,

Mus

.Sch

.D

.200

(bas

son

ly)

p./no.

119/70

119/71

119/72

GB-Lbl, Add. 10,444, Section 1, no. 15‘Maynards Almaine’ (treble and bass)

August 2007 MAYNARD-1

MAYR, Rupert Ignaz (1646-1712)

Sonata for two violins and continuoF-Pn, Rés Vm7 673, no. 136(‘Ignatio Mağer’)

January 2009 MAYR-1

Thomas MUDDE [II] (d.1667)

Airs for two trebles, bass and continuo

VdGS No.

1. Ayre

2. Almain

3. Corant

4. Echo

5. Saraband

6. Corant

7 Ayre

8. Ayre

9. Echo

10. Saraband

2004 MUDDE T-1

GB

-Lbl

,A

dd.M

S18

940-

4

f.

4r:1

4r:2

4v:1

4v:2

4v:3

5r:1

5r:2

5v

6r:1

6r:2

NICOLAI, Johann Michael

Sonata

Violin, viola da gamba (*bassoon)

Sonata D-W, Cod. Guelf. 34.7 Aug 2o, no.36, p. 44

Violin, viola da gamba

Sonata D-W, Cod. Guelf. 34.7 Aug 2o, no.83, p. 167

2 vln, viola da gamba, bassoon

Sonata D-W, Cod. Guelf. 34.7 Aug 2o, no.103, p. 219

2 vln, 3 vla da braccio, violone

2 violins and viola da gamba

[Sonata] vln, 2 vla da braccio, viola da gamba

(vla 1)

[Sonata]

January 2009 NICOLAI-2

GB-HAdolmetsch, MS II.c.25, no. 32 (anon.)GB-Lbl, Add. 31423, f.221v (anon.)F-Pn, Res Vm7 673, no. 73*D-W, Cod. Guelf. 34.7.Aug 2o, p. 42, no. 35

F-Pn, Res Vm7 673, no. 21

F-Pn, Res Vm7 673, no. 25

F-Pn, Res Vm7 673, no. 82

Sonata

Sonata

[Sonata]

F-Pn, Res Vm7 673, no. 105

F-Pn, Res Vm7 673, no. 106(vln and vla 2 only)

OSWALD, Andreas(Uswalt) dates unknown

Ex Anon 842

1. Sonata e

2. Sonata D

3. Sonata A

4. Sonata D

5. Aria dvariata

6. Sonata A

7. Sonata D

8. Sonata C

9. Sonata D

10. Sonata D

violin and bc

violin, viola da gamba, bc

D-W,Cod. Guelf

34.7.Aug. 2o

no./p.

4/5

6/17

45/68

49/76

54/88

60/102

62/108

71/131

109/256

111/261

scordatura

OSWALD-1January 2009

two violins, bc

F-Pn,RésVm7

673

no.

30A

violin, viola da braccio, viola da gamba, bc

violin, trombone, bassoon, bc

OSWALD (Uswalt), Andreasdates unknown

11. Sonata G

12. Sonata D

13. Sonata F

14. Sonata e

15. Sonata d

16. Sonata D

two violins, viola da gamba, bc

violin, trombone viola da gamba, bc

D-W,Cod. Guelf

34.7.Aug. 2o

no./p.

68/121

112/264

70/128

113/266

81/160

OSWALD-2January 2009

S-UuIMhs

9:6

(gamba)

violin, 2 viola da braccio, bassoon, bc

3 violins, bc

OSWALD, Andreas ‘junior’It is presumed he is a different personfrom Andreas Oswald [I], butevidence is lacking.

Sonata G

Sonata a

violin, viola da gamba, bc

violin, viola da gamba or trombone, bc

D-W,Cod. Guelf

34.7.Aug. 2o

no./p.

48/74

52/85

OSWALD-3January 2009

PAISIBLE, James (d.1721)(d.1688) Theatre composer (wind player)

Airs in G minor a3

VdGS No.

g1.

g2.

g3.

g4.

g5.

g6. RoundO

g7.

g8. RoundO

g9.

g10.

g11.

February 2008 PAISIBLE-1

GB

-Lbl

,Add

.314

29

f./no.

8v/1

9r/2

9r/3

9v/4

9v/5

10r/6

10v/7

10v/8

11r/9

11v/10

12r/11

PAISIBLE, James (d.1721)(d.1688) Theatre composer (wind player)

Airs in G minor a3

VdGS No.

g12. Brawles

g13. [Brawle]

g14. [Brawle]

g15. [Brawle]

g16. [Brawle]

g17. [Brawle]

g18. [Brawle]

g19. [Brawle]

g20.

g21.

g22.

February 2008 PAISIBLE-2

GB

-Lbl

,Add

.314

29

f./no.

12v/1

13r/2

13v/3

13v/4

14r/5

14r/6

14v/7

14v/8

23v/10

24r/11

24v/12

PAISIBLE, James (d.1721)(d.1688) Theatre composer (wind player)

Airs in G major a3

VdGS No.

G1.

G2. RoundO

G3.

G4. RoundO

G5.

February 2008 PAISIBLE-3

GB

-Lbl

,Add

.314

29

f./no.

20v/1

21r/2

21v/3

21v/4

22r/5

PAISIBLE, James (d.1721)(d.1688) Theatre composer (wind player)

Airs in D Minor a3

VdGS No.

d1.

d2.

February 2008 PAISIBLE-4

GB

-Lbl

,Add

.314

29

f./no.

22v/6

22v/7

PAISIBLE, James (d.1721)(d.1688) Theatre composer (wind player)

Airs in F Major a3

VdGS No.

F1.

F2.

February 2008 PAISIBLE-5

GB

-Lbl

,Add

.314

29

f./no.

23r/8

23v/9

Mogens PEDERSØN ‘Magno Petreio’

Both published in CAMBRIDGE P

PEDERSØN-01July 2004

Arthur PHILLIPS Organist to Henrietta Maria; also at MagdalenCollege, Oxford, and Professor of Music at Oxford:

VdGS No. 1639-1656.

1. Almain

2. Corant

3. Saraband

4. Pavan

5. [Air]

6. [Air]

7. [Almain]

8. [Corant]

9. [Fanfare]

2004 PHILLIPS A-1

GB-Ob

E.447-9

GB-Och1022

f./seq. no.

87

88

89

29v/1

30r/2

30v/3

31v/4

31v/5

32v/6

Sebastian LA PIERREDancing master at the English Court, 1611-1642

1. Ayre GB-Ob, MS Mus. Sch. D.220p. 39, no. 34

2. Corant p. 169, no. 62

7th Instalment 2002 LA PIERRE-1

PISCATOR, George(fl. 1610-1635)

Sonata a

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

105/230

PISCATOR-1January 2009

2 cornetts, 2 violins, 3 trombones, bc

POHLE, David(1624-1695)

Sonata G

Sonata d

Sonata C

Sonata A attrib. D. P.[=Nun danket]

D-W,Cod.

Guelf.34.7.

Aug 2o

no./p.

74/137

79/154

82/164

POHLE-1January 2009

2 violins, viola da braccio, bc

2 violins, viola da gamba, violone, bc

gamba [part III]

gamba [part III]2 [scordatura] violins, bc

no.

24*

F-Pn,RésVm7

673

RICHARD, Balthasar (c.1600-after 1660)

Sonata for violin and continuoF-Pn, Rés Vm7 673, no. 78a

[‘Richardo’]

Sonata for two violins, viola da gamba and bcGB-HAdolmetsch, II.c.25, no. 21

[Anon.]GB-Lbl, Add. 31423, f. 216v

[‘Balthasar Richardt’]

Sonata for two violins, viola da gamba and bc [see also ZAMPONI]

B-Bc, XY 29,410, no. 2[in A; ‘Zamponi’]

F-Pn, Rés Vm7 673, no. 63 [Anon.]GB-HAdolmetsch, II.c.25, no. 2

[‘Balthasar Richardt’]

January 2009 RICHARD-1

ROSENMÜLLER, Johann (c.1619-1684)

2 vlns, viola da gamba and bc

Sonata GB-HAdolmetschII.c.25, no. 4 (‘Rosemulden

1666’)

Sonate da camera (1667) for two violins, two violettas and continuo [reduced to threeparts by omitting the violettas. The first movement only is copied]

no. 2 F-Pn, Rés Vm7 673, no. 100

no. 11 F-Pn, Rés Vm7 673, no. 102

no. 6 F-Pn, Rés Vm7 673, no. 120

January 2009 ROSENMULLER-1

ROSIER, Carl (1640-1725)

Sonata for two violins and continuo

F-Pn, Rés Vm7 673, no. 32

Sonata for violin and viola da gamba with continuo

F-Pn, Rés Vm7 673, no. 144

A. S.See Ambrosius Scherle

Solo in B-flat, viola da gamba,continuo

D-B, Am.B. 499/5

Duet in d, 2 viola da gambas

D-B, Am.B. 498 (Hesse andSchaffrath)

Trio in G, viola da gamba, cembalo

D-B, Am.B 581

Trio in A, viola da gamba, cembalo

D-B, Am.B. 497/17

SCHAFFRATH, Christoph (1709-1763)

For more details see GERMANY OL

SCHAFFRATH-1June 2011

Johann (Giovanni) SCHENCK (c.1660-c.1712)

SCHENCK L contains a useful summary, by Luttman, of Schenck’s music.

SCHENCK [1703], of which a copy is held at GB-Cfm, is entitled Select Lessonsfor the Bass Viol/of Two Parts/Collected by our Best Viollists out of the works of thatgreat Master/GIOVANNI SCHENCK... (GB-Cfm MU MS 882).

There are 31 pieces, for basso continuo only, lacking solo part(s). Mention of ‘TwoParts’ apparently led to an assumption that the Bc parts are from the only collection ofSchenck’s that was specifically designated for two viols, namely Op 8: Le Nymphe deRheno. They are thus quoted in GROVE and HOG.

However, from information kindly collected by Derek Davidson, it was found thatnone of the pieces concorded in any particular with Op 8, but that all of them didconcord with pieces in Op. 6, Scherzi Musicali, these being (in Op. 6, as shown in theindex pages): Nos 38-43; 11-13; 15-17; 44-45; 47-48; 21-24; 26; 51-55; 58; 60-62;64.

Some of the selections consisted of the omission of second gigues, and the isolationof chaconnes. The ‘two parts’ must have been Op. 6’s solo and continuo viol parts.

SCHENCK-1

Johann SCHENCKTwo Sonatas for Solo Bass Viol from A-Wn, Codex 16598(Both published in Das Erbe Deutscher Musik, 67)

Sonata IV Adagio-Allegro; Aria; Aria;Adagio; Tempo di gavotte;Adagio; Allegro; Giga

Sonata V Adagio; Allegro; Allemand;Courant; Giga; Aria; Aria Burlesca

April 2008 SCHENCK-17

All[emande]‘Amb’

It is suggested that A. S. is Ambrosius Scherle, a viol player at the Brandenburgcourt 1621-1646 and ‘Amb’ is a contraction of his forename. Seehttp://igor.gold.ac.uk/~mas01tc/web/ttc/RoweBaryton.html#RoweBarytonRef

October 2007 Scherle-1

(89)

SCHMELZER, Johann HeinrichSacro-Profanus Concentus Musicus (Nuremberg, 1662) [DTÖ cxi-cxii (1965)]

key

Sonata 1 C

Sonata 2 d

Sonata 3 C

Sonata 4 a

Sonata 5 g

Sonata 6 d

Sonata 7 D

Sonata 8 G

Sonata 9 d

Sonata 10 D

Sonata 11 F

Sonata 12

a8 2 trumpets,2 vlns, 4 gambas, Bc

a6 Corn. & Tromb. 1-3, or vln, gambas1-3, Bc

a6 2 vlns, 4 gambas, Bc

a6 2 vlns, 4 gambas, Bc

a6 2 vlns, 4 gambas, Bc

a6 2 vlns, 4 gambas, Bc

a5 2 vlns, 3 gambas

a5 2 vlns, 3 gambas

a5 2 vlns, 3 gambas

a4 vln, 3 gambas

a4 vln, 3 gambas

Wind instruments

SCHMELZER-3January 2009

S-UuMSS

58:10

58:13

SCHMELZER, Johann Heinrich

key

64/113

Sonata a

Sonata d

Sonata d

Sarabandvariata D

Sonata a

Sonata F

Sonata e

Sonata g

Sonata G

Sonata G

January 2009

GB

-Lbl

,Add

.31

423

GB

-HA

dolm

etsc

h,II

.c.2

5

f.

226r

222r

no.

14

31

no

4

GB

-DR

c,D

5

violin, viola da gamba and continuo

violin and continuo

2 violins and continuo

2 violins, viola da gamba and continuo

S-UuIMhs

SCHMELZER-4

8:6

58:7

8:18

8:4

8:13

8:5

8:8

8:11

8:12

D-W,Cod.

Guelf.34.7

Aug 2o

no./p.

43/64attrib.

‘CaesarMajest.’

SCHMELZER, Johann Heinrich

key

* amended from‘Bertali’

Sonata G

Sonata A

Sonata C

Sonata e

Sonata d

Sonata F

January 2009

S-U

u,IM

hs

D-W

,Cod

.Gue

lf.34

.7A

ug2

o

8:14

8:9*

8:2.03&

8:21

8:10

no./p.

40/54

41/57

2 violins, viola da gamba and continuo (‘a3’)

SCHMELZER-5

2 violins, viola da braccio/viola da gamba, viola da gambaand continuo (‘a4’)

violin, 4 viole and continuo (‘a5’)

violin, viola da gamba, bc

2 violins, bc

SCHNITTELBACH, Nathanael(1633-1667)

Violin and bc

Sonata D-W, Cod. Guelf. 34.7. Aug 2o,no. 7, p. 20

Violin, viola da gamba, bcHAdolmetsch, II.c.25, no. 1

Sonata DRc, D2, seq. (8)

January 2009 SCHNITTELBACH-1

Jacob SCHULTZ

FÜLLSACK 1607, no. I/ii1. Galliard Written to pair with Paduana

I/i by Melchior Borchgreving

FÜLLSACK 1607, no. VIII/ii2. Galliard Paired with Paduana VIII/i by

Thomas Mons.

7th Instalment 2002 SCHULTZ-1

Mr SHEPPIE

VdGS No.GB-Ob, MS Mus. Sch. D.220(bass only)

1. Almaine p. 121, no. 81

2. Aire p. 122, no. 85

7th Instalment 2002 SHEPPIE-1

CHRISTOPHER SIMPSON(c.1604-1669)

For some years the principal work on Simpson comprised that of Meredith (seeSIMPSON M) and Richards (see BASS R). This has been supplemented morerecently by Urquhart’s studies of autographs of Simpson which are now considered toinclude:

GB-T MS 390 (printers copy for the Compendium).

GB-Och MS 1183, f.28, annotations and music hand of a set of divisions, for trebleand bass, VdGS No.5.

B-Bc MS Litt. XY 24,910, playing parts of The Seasons, without continuo butotherwise complete.

Details of MSS in private hands were kindly contributed by Ian Harwood. One ofthem is a single bass part of 23 two-part airs by Simpson; its existence has promptedthe constitution of a separate list of two-part airs, despite the many correspondences -details of which are tabulated - with the three-part airs and the Little Consort.

A feature peculiar to the division viol repertoire is the proliferation of copies of TheDivision Viol into the back of which were bound leaves of manuscript paper bearingsets of divisions by numerous composers. The practice is testimony to Simpson’sacknowledged eminence in the field; it undoubtedly ensured the survival of manypapers which otherwise might have ‘taken the air in kites’, as North put it. One suchSimpson’, at US-Cn, has in its MS leaves some sets of divisions which correspond,not to other bass viol settings, but to those in Playford’s The Division Violin.

1980, rev. 1989 SIMPSON-1

SIMPSON, ChristopherMiniatures and exercises for bass viol

David Pinto has pointed out that the 1667 edition of Simpson’s The Division-Viol in-cludes a page of miniatures and exercises on page [62] (the verso after the final page oftext). These are indexed below.

1..

2.

3.

4.

5.

6.

7.

8.

September 2007 SIMPSON.C-11

THOMAS SIMPSONOpusculum Neuwer Pauanen (Hamburg, 1610)

Consorts in Five PartsVdGS No.

20 I Pavan21 II Galliard

III Pavan by John Dowland, VdGS No. 2 (q.v.)22 IV Galliard23 V Pavan ‘Sachevil’s dolorosi’24 VI Galliard

VII Pavan by Thomas Tomkins, VdGS No. 6 a5 (q.v.)25 VIII Galliard26 IX Pavan27 X Galliard

XI Pavan by John Dowland, VdGS No. [22]28 XII Galliard

XIII Pavan by John Farmer, VdGS No. 129 XIV Galliard30 XV Lazers Pavan31 XVI Galliard

XVII Pavan by John Farmer, VdGS No. 232 XVIII Galliard33 XIX Pavan34 XX Galliard

XXI Pavan by John Dowland, VdGS No. 10 (q.v.)35 XXII Galliard36 XXIII Pavan37 XXIV Galliard38 XXV Courante39 XXVI Volta40 XXVII Courante41 XXVIII Volta42 XXIX Courante43 XXX Volta

2004 T. SIMPSON-2

THOMAS SIMPSONOpus newer Paduanen, Galliarden, Intraden, Canzonen (Hamburg, 1617)

Consorts in five parts All published: Musica RaraVdGS No.

44 I Paduana45 II Intrada46 III Ricercar47 IV Canzon48 V Courante49 VI Courante50 VII Volta51 VIII Courante52 IX Allmande53 X Paduan54 XI Galliard55 XII Intrada56 XIII Ballet57 XIV Volta58 XV Courante59 XVI Volta60 XVII Courante61 XVIII Ballet: La mia Salome62 XIX Almanda63 XX Mascarada 64 XXI Bleyers Armbande (Nicolaus Bleyer, VdGS No. 1)65 XXII Pasameza

2004 T. SIMPSON-5

Johann SOMMER (d. 1627)

Five-part consorts Published in MoeckMMP V and VI

VdGS No.

1. Paduana

2. Paduana

3. Galliard

4. Paduana

5. Galliard

6. Paduana

7. Galliard

8. Paduana

9. Galliard

10. Paduana

11. Galliard

2004 SOMMER-1

FUL

LSA

CK

1607

HIL

DE

BR

AN

D16

09

no.

XIV/i

XVIII/i

XXI/ii

XXII/i

XXII/ii

XXIV/i

XXIV/ii

no.

XVI/i

XVI/ii

XVII/i

XVII/ii

to pair with E. HardenGalliard

to pair with J.Dowland Galliard

to pair with E.Johnson Pavan

Johann STEFFENS(c.1569-1616)

Five-part consorts published in Moeck MMP VI

VdGS No.

1. Paduana

2. Galliard

3. Paduana

4. Galliard

5. Paduana

6. Paduana

7. Galliard

8. Paduana

9. Paduana

10. Galliard

2004

HIL

DE

BR

AN

D16

09

no.

I/i

I/ii

II/i

II/ii

X/i

XII/i

XII/ii

XIV/i

XVIII/i

XVIII/ii

Pair for Bateman GalliardVdGS No. 1

Pair for Bateman Galliard,VdGS No. 2

STEFFENS-1

STEFFKENS and HOTMAN

Dietrich Steffkens and Nicolas Hotman qualify for mention in the same breath, onthree counts. Firstly, they are intimately connected in the Goëss MSS (A-ETgoëss MSSA to C). Secondly, it is to the same MSS that we owe our knowledge of far larger listsof works, of both oomposers, than have ever been published before. Thirdly, Steffkensand Hotman, well known to Constantijn Huygens, are mentioned, together with WalterRowe, in a single letter of Huygens, drawn to the compiler’s attention by Hirschfeld andVellekoop.

Steffkens’ works are presented here; Hotman’s start on page HOTMAN-1.

From Huygens and other sources, it is clear that Steffkens signed his name in theGerman style: ‘Stoeffken’. He was better known in the Anglicised version, Steffkens orSteffkins, and, as Steffkens is the form mostly found in the Goëss MSS, we haveadopted it. At the same time, to preserve the distinction between Dietrich and Frederick,we have taken for Frederick the spelling ‘Stepkins’ which is the one used by Falle in therelevant MS.

In LYRA D, the possibility was floated that the principal hand in the Goëss MSScould well be that of Steffkens. However, Crawford and Holman consider it certain thatthe small group of pieces from sequence no. (72) to no. (77) in Goëss ‘B’ (i.e. Airs 106,104, 103, 102, 91, 92), four of which are attributed to ‘Sto’ or ‘Stoeffken’, is in thecomposer’s hand. If that is true, another contender must be found for Hand Q, and thenames of Huygens and Hotman readily suggest themselves as possibilities.

In LYRA D, also, the link between the Goëss MSS and US-NYp MS Drexel 5551(Ms leaves bound into the back of a copy of SIMPSON 1659), in relation to Airs 1-5and 8-15, was noticed. Goëss ‘A’ is dated 19 Octobre 1664; the ten airs, present in bothsources, are marked in Drexel 3551 ‘A suite of Mr Steffkins he gave me October yr.1664’. It remains desirable to know who owned Drexel 3551 at that time.

Numerous letters to and from Huygens testify to Steffkens’ presence in theNetherlands at times between 1648 and 1659. Ashbee has located English publicrecords which indicate that Steffkens was in London c.1628-1642 and 1660-1673, andwe look to North (NORTH W p. 298) for confirmation of the friendship betweenSteffkens and Jenkins, dating, perhaps, from those years.

STEFFKINS-1

STOSS, JohannSonatas for two violins and continuo

F-Pn, Rés Vm7 673, no. 57S-Uu, IMhs 8:24a and 8:24b

F-Pn, Rés Vm7 673, no. 59

F-Pn, Rés Vm7 673, no. 83

F-Pn, Rés Vm7 673, no. 124

January 2009 STOSS-1

Richard Carter points out that the second division of Goëss (116) is identical to Christopher Simpsonno. 125 (Hengrave Hall 77(1), no.4, p.82). Was ‘Pater Switoni’ a code name for Simpson among hisCatholic associates?

April 2010 SWITONI-1

THOMAS TOMKINS(1572—1656)

The latest (and very full) account of Tomkins’s life and works is TOMKINS B. Commentson the consort music are by Denis Stevens, revised from his earlier account in TOMKINS S.

The three-part works and three of the five-part pavans can be dated before 1659, whenJohn Merro died. Pavan 6, the very well known chromatic pavan, appears both in FWVBand in Tregian’s score, and can be dated before 1619.

As some published editions of the three-part works have already employed Merro’snumbering, this is adopted herein, in preference to separate lists of In Nomines andfantasies. There seems little doubt that Fantasy 17 is by Tomkins, placed as it is with elevenother anonymous but recognisable pieces by Tomkins, forming the entire contents of GB-Och MSS 1018-20.

For recent studies of the instrumental works of Tomkins, see TOMKINS I1, I2 and I3.John Irving has edited the complete consort music as MB 59.

Tomkins is remembered not only for his own work but for his ownership and use,possibly for instruction, of an important keyboard and score book, GB-Add MS 29996; seeTOMKINS C and FERRABOSCO II D.

As noted under Gibbons, affinities exist between passages in Tomkins and passages inGibbons and Lawes.

August 2005 TOMKINS-1

TURNER, William (1651-1740)(1632-1687)

Airs in C Major a3

VdGS No.

C1. RoundO

C2.

C3.

C4.

February 2008 TURNER-1

GB

-Lbl

,Add

.314

29

f./no.

16v/1

16v/2

17r/3

17v/4

UCCELLINI, Marco (1603-1680)

Sonatas for two violins and continuo

Op. 4, no. 15 F-Pn, Rés Vm7 673, no. 35(‘Cassati’)

Op. 4, no. 20 F-Pn, Rés Vm7 673, no. 64(‘Casati’)

Op. 4, no. 17 F-Pn, Rés Vm7 673, no. 66(‘Casati’)

Op. 5, no. 13 F-Pn, Rés Vm7 673, no. 92

January 2009 UCCELLINI-1

VALENTINI, Giovanni (c.1582-1649)

Aria for two violins and continuo

F-Pn, Rés Vm7 673, no. 18(‘Valentini’)

[Aria] for two violins and continuo

F-Pn, Rés Vm7 673, no. 33(‘Io. Valentini’)

Sonata for two violins and continuo

F-Pn, Rés Vm7 673, no. 22 (anon)in five parts: D-Kl, 2o Mus 60f-y(‘Giovanni Valentini’)

Sonata for 5 instruments with violone [=a6]

D-W, Cod. Guelf. 34.7. Aug 2o

no. 95, p. 192

Sonata for 2 violins, 2 viola da braccio, bassoon, bcD-W, Cod. Guelf. 34.7. Aug 2o

no. 99, p. 203

January 2009 VALENTINI-1

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

1. Prelude

2. Pavan-Allemand

3. Allemand

4. Allemand

5. Chicone

6. Saraband

7. Prelude

8. Allemand

9. Air

10. Allemand

11. Gigue

12. Symphonia

13. Bourée

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

no.

1

2

3

4

5

6

7

8

9

10

11

12

13

no.

7

8

4

5

28

12Ap

13Ap

14

15

20

22

29

26

Treble I parts in Bc, XY24910 are Treble II inAdd. 31424. Thoseshown conform with Bc,XY 24910 and often theleading part is used forthis Index. In Add.31424 most of thesepieces are ascribed to‘L.V’ and it is assumedthat all the remainder(‘Ap’) are also by de laVollée.

B-B

c,M

SLi

ttX

Y,2

4910

f.

15vA

15vA

16vA

May 2008 VOLLÉE-1

TRE

BLE

ON

LY

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

14. Symphonia

15. Allemand

16. Chicona

17. Air

18. [Air]

19. Saraband

20. Allemand

21. Courant

22. Courant

23. Courant

24. Saraband

25. Allemand

26. Allemand

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

no.

14

15

16

17

18

19

no.

60Ap

61Ap

63Ap

1

2Ap

3Ap

6Ap

9

10Ap

11

Treble I parts in Bc, XY24910 are Treble II inAdd. 31424. Thoseshown conform with Bc,XY 24910 and often theleading part is used forthis Index. In Add.31424 most of thesepieces are ascribed to‘L.V’ and it is assumedthat all the remainder(‘Ap’) are also by de laVollée.

B-B

c,M

SLi

ttX

Y,2

4910

f.

13vA

14rA

14vA

May 2008 VOLLÉE-2

TRE

BLE

ON

LY

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

27. Suite

28. Courant

29. Courant

30. Saraband

31. Saraband

32. Sinfonie

33. Allemand

34. Prelude

35. Allemand

36. Courant

37. Saraband

38. Prelude

39. Allemand

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

no.

20

21

22

23

24

25

26

27

no.

21

23

24

25

27

48

49

47

50

51

52Ap

30

31

Treble I parts in Bc, XY24910 are Treble II inAdd. 31424. Thoseshown conform with Bc,XY 24910 and often theleading part is used forthis Index. In Add.31424 most of thesepieces are ascribed to‘L.V’ and it is assumedthat all the remainder(‘Ap’) are also by de laVollée.

B-B

c,M

SLi

ttX

Y,2

4910

f.

16vA

17rA

18vA

May 2008 VOLLÉE-3

TRE

BLE

ON

LY

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

40. Allemand

41. Fantazia

42. Courant

43. Saraband

44. Branle

45. Galliard

46. Allemand see no. 59

47. Allemand

48. Ballet see no. 60

49. Allemand *one treble only

50. Saraband

51. Allemand

52. Saraband

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

no.

27

28

29

30

31

32

33

34

35

36*

37

38

39

no.

36

35

32

34

37

44

39

43

40

42

45

46

Treble I parts in Bc, XY24910 are Treble II inAdd. 31424. Thoseshown conform with Bc,XY 24910 and often theleading part is used forthis Index. In Add.31424 most of thesepieces are ascribed to‘L.V’ and it is assumedthat all the remainder(‘Ap’) are also by de laVollée.

B-B

c,M

SLi

ttX

Y,2

4910

f.

18vA

May 2008 VOLLÉE-4

TRE

BLE

ON

LY

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

53. Gigue

54. Caprice

55. Courant

56. Sinfonia

57. Saraband

58. Courant

59. Allemand no. 33 transposed

60. Ballet no. 35 transposed

61. LaBergerette

62. Saraband

63. Gigue

64. Gavot

65. [Allemand]

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

no.

40

41

no.

33

38Ap

41

53Ap

54Ap

55Ap

56Ap

57Ap

58Ap

59Ap

62Ap

64Ap

Treble I parts in Bc, XY24910 are Treble II inAdd. 31424. Thoseshown conform with Bc,XY 24910 and often theleading part is used forthis Index. In Add.31424 most of thesepieces are ascribed to‘L.V’ and it is assumedthat all the remainder(‘Ap’) are also by de laVollée.

B-B

c,M

SLi

ttX

Y,2

4910

f.

19rA

18rA

14vA

14rA

9vA

May 2008 VOLLÉE-5

TRE

BLE

ON

LY

Jean de la VOLLÉEfl.1660s. Composer and French musicianat the court of Charles II.

VdGS No. Trios for Tr Tr B

66. [Courant]

67. [Saraband]

68. [Courant]

69. [Saraband]

70. [Allemand]

71. [Courant]

72. [Saraband]

73. [Saraband]

74. [Courant]

75. [Sinfonia]

GB

-Lbl

,Add

.31

424,

ff.85

-112

GB

-Och

,Mus

.10

66.T

rebl

eonl

y

B-B

c,M

SLi

ttX

Y,2

4910

f.

9vA

10rA

10vA

10vA

12vA

12vA

13rA

13rA

17vA

19vA

May 2008 VOLLÉE-6

TRE

BLE

ON

LY

7. [Air] US-NYp, JOG 72-50, f. 19v

8. Air f. 19v

9. Jigg f. 19v [all attrib. ‘F. W.’]

May 2008 WITHY, F-1

WOOD, Mr[not Anthony Wood] fl. c.1680.

Airs [Theatre suites?] for tr tr b

VdGS No.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13. (Keyboard)

Add

.314

29

f.

27v

28v

29r

29v

30r

30r

30v

30v

31r

31v

31v

32r

Add

.412

05

fol.

33v

GB-Lbl

February 2008 WOOD-1

WOOD, Mr[not Anthony Wood] fl. c.1680.

Airs [Theatre suites?] for tr tr b

VdGS No.

14. ‘June 1682’

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

Lbl,

Add

.292

83-5

f.10v-/no.

/1

/2

/3

/4

/5

/6

/7

/8

/9

/10

/11

/12

/13

April 2008 WOOD-2

WOOD, Mr[not Anthony Wood] fl. c.1680.

Airs [Theatre suites?] for tr tr b

VdGS No.

27.

28.

29.

Lbl,

Add

.292

83-5

f.10v-/no.

/14

/15

/16

April 2008 WOOD-3

WILLIAM YOUNG(d.1662)

William Young is best known for his work done while in the service of the Archdukeof Austria, notably the printed set of Sonatas and Airs of 1653. Recently a secondprint has been discovered containing the nine pieces for Treble, Tenor, Bass, andContinuo, hitherto called fantasias, but styled ‘Sonatas’ in the print (Innsbruck, 1659).

Receipt of later information since these pages were first drawn up has made necessarysome revision of our numbering, which where possible follows that of Richards, ofthe bass viol pieces (see BASS R). At the end of the works for two bass viols:

RC 24 has been made No. 1 of the Solo Divisions.RC 23 has been assigned to Butler and replaced by the former RC 30.RC 25 has been assigned to Jenkins (RC 63).RC 26-29, four solo dances, now appear as Prelude 16, Allemande 19, Courante 20and Sarabande 18 of the 30 airs for solo bass viol.

Stephen Morris is currently engaged on a dissertation about Young’s life and works,and we are very grateful to him for much help, not least his catalogue of Young’scompositions. ‘M’ numbers refer to the Morris Catalogue (in progress).

It is now believed that William Young of Austria composed all the music ascribed to‘Young’ in English manuscripts and that the eponymous wind player at the EnglishCourt (d.1671) can be disregarded as a possible composer of any of them.

1980, rev. 1989, 2003 YOUNG-1

ZAMPONI, Gioseffo (d.1662)

Sonata for violin, viola da gamba and bcGB-DRc, D2, no. 28 [‘B5tl2’ = Butler]GB-DRc, D5, no. 3 [‘Zamponi’]GB-DRc, D10, no. 29 [‘Singr.’ blank]GB-Lg, Gresham Mus. 369, f.91r inv.

[violin only]

Sonata for two violins, viola da gamba and bcGB-HAdolmetsch, II.c.25, no. 2[‘Balthazar Richart’]

F-Pn, Rés Vm7 673, no. 63 [Anon.]B-Bc, XY 24,910 [‘Zamponi’; in

key A]

Sonata for two violins, viola da gamba and bcF-Pn, Rés Vm7 673, no. 99

[‘Zamboni’]

Sonata for violin, viola da gamba and bcF-Pn, Rés Vm7 673, no. 45 [Anon]D-W, Cod. Guelf 34.7. Aug 2o, no.

50, p.79 [‘Sign: Schampon’]

Capriccio in F-PnMany lost works

January 2009 ZAMPONI-1

ZUBER, Gregor (fl. 1633-1673)Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck,1649) and another similar collection for four instruments and continuo (Frankfurt amMain, 1659). Both these are lost and his only surviving music is treble parts to dances,apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below.

VdGS No.

1. Allemand

2. Courant

3. Saraband

4. Ballet

5. Courant=Sar.

6. Ballet ‘a5’

7. Saraband‘2 a5’

8. Ballet ‘a5’

9. Courant

10. Mascharada

11. Saraband

12. Ballet

13. Saraband

January 2009

f.

50r

50r

50r

50v

50v

50v

51r

51r

51r

51v

51v

51v

52r

ZUBER-1

ZUBER, Gregor (fl. 1633-1673)Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck,1649) and another similar collection for four instruments and continuo (Frankfurt amMain, 1659). Both these are lost and his only surviving music is treble parts to dances,apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below.

VdGS No.

14. [Allemand]

15. Saraband

16. [Saraband]

17. Saraband

18. Ballet

19. Balletto

20. Brandle

21. Saraband

22. [Almand]

23. Courant

24. Saraband

January 2009

f./no.

52r/14

52r/15

52v/16

52v/17

52v/18

75v/1

75v/2

75v/3

76r/4

76r/5

76v/6

ZUBER-2

‘Gregorius Zubern1649 a5 Frankfurt amMain 1660’

ZUBER, Gregor (fl. 1633-1673)Published Paduanen, Galliarden, Balletten, Couranten und Sarabanden a5 (Lübeck,1649) and another similar collection for four instruments and continuo (Frankfurt amMain, 1659). Both these are lost and his only surviving music is treble parts to dances,apparently from these collections, in GB-Lbl, Add. MS 31438, as listed below.

VdGS No.

25. Saraband

26. Balletto

27. [Courant]

28. Saraband

29. Aria

30. [Almand]

31. [Courant]

32. Saraband

33. Aria

34. Ballet

35. Courant

January 2009

f./no.

76v/7

76v/8

77r/9

77r/10

77r/11

77v/12

77v/13

78r/14

78r/15

78r/16

78v/17

ZUBER-3

Trio in C, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg) Trio in D, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, KHM 5774 (bass only) D-B, Klb 77 (Klingenberg) Trio in F, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg)

ZYKA, Joseph Benedikt (c.1730-1791) For further information see GERMANY OL

June 2011 ZYKA-1

Trio in G, violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg) Trio in A. Violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg) Trio in B-flat. Violin, viola da gamba, violoncello D-Dl, Mus. 3345-P-1 D-B, Klb 77 (Klingenberg) Another version: movement II; Adagio: movement III: violin, violoncello, unfigured bass In D-B, KHM 5773

ZYKA, J. B. For further information see GERMANY OL

June 2011 ZYKA-2