MS Mus. b. 1
A large folio volume of songs in musical settings by John Wilson (1595-1674), composer and musician, vi + 214 leaves (plus some blanks), gilt-edged, in contemporary black morocco elaborately gilt, lettered on each cover ‘DR. / I.W’, with silver clasps. Possibly Wilson's formal autograph MS or else in the hand of someone similarly associated with Edward Lowe (c.1610-82). c.1656.
Complete facsimile in Jorgens, Vol. 7 (1987). Discussed in John P. Cutts, ‘Seventeenth Century Lyrics: Oxford, Bodleian, MS. Mus. b. 1’, MD, 10 (1956), 142-209.
f. 15v
• CmT 85: Thomas Campion, ‘So many loves have I neglected’
Copy of the first strophe in a musical setting by John Wilson, untitled.
This MS collated in Davis, pp. 494-5.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xv. Davis, p. 105.
f. 16r
• FlJ 2: John Fletcher, ‘Hither we come into this world of woe’
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 156).
First published (anonymously) in Walter Porter, Madrigales and Ayres (London, 1632). Ascribed to J. Fletcher in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). English Madrigal Verse, ed. E.H. Fellowes, et al., 3rd edition (Oxford, 1967), p. 644.
f. 16v
• StW 1013: William Strode, A Sonnet (‘My Love and I for kisses played’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 184); recorded in Forey, p. 334.
First published in A Banquet of Jests (London, 1633). Dobell, p. 47. Forey, p. 211. The poem also discussed in C.F. Main, ‘Notes on some Poems attributed to William Strode’, PQ, 34 (1955), 444-8 (p. 446-7).
f. 19v
• B&F 17: Francis Beaumont and John Fletcher, The Bloody Brother, V, ii, 21-32. Song (‘Take o take those lipps away’)
Copy in a musical setting by John Wilson, untitled.
Wilson's setting first published in John Playford, Select Musicall Ayres (London, 1652). Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 1 (collated p. 114), and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 21.
Dyce, X, 459. Jump, p. 67. Bowers, X, 237. The first stanza first published in Shakespeare's Measure for Measure (First Folio, 1623), IV, i. Authorship discussed in Jump, pp. 105-6 (first stanza probably by Shakespeare, second by Fletcher).
f. 21r
• MiT 29: Thomas Middleton, The Witch, II, i, 131-7. Song (‘In a maiden-time profest’)
Copy of a three-strophe version of Isabella's song in a musical setting by Robert Johnson (as edited by John Wilson), untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 7, 122-3.
Bullen, V, 386. Malone Society edition, p. 25, lines 590-7. Oxford Middleton, p. 1141.
ff. 27v-8
• B&F 80: Francis Beaumont and John Fletcher, The Mad Lover, III, iv, 49-63. Song (‘Go, happy heart! for thou shalt lie’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 71-2 (collated pp. 161-2).
First published in Comedies and Tragedies (London, 1647). Dyce, VI, 115-212 (pp. 171-2). Bullen, III, 111-219, ed. R.W. Bond (p. 174). Bowers, V, 11-98, ed. Robert K. Turner (pp. 58-9).
f. 28v
• B&F 65: Francis Beaumont and John Fletcher, Love's Cure, III, ii, 118-225. Song (‘Turn, turn thy beauteous face away’)
Copy of Piorato's song, in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 110 (collated pp. 188-9), and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 24; collated in Williams, p. 108.
First published in Comedies and Tragedies (London, 1647). Dyce, IX, 105-95 (p. 149). Bowers, III, 12-93, ed. George Walton Williams (p. 48). This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
f. 31r
• RnT 534: Thomas Randolph, A Sonnet (‘Come, silent night, and in thy gloomy shade’)
Copy, in a musical setting by John Wilson.
Edited, and tentatively attributed to Randolph, in Moore Smith (1927), p. 115.
ff. 33v-4r
• HeR 293: Robert Herrick, Advice to a Maid (‘Love in thy youth fayre Mayde bee wise’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Martin.
First published, in a musical setting, in Walter Porter, Madrigales and Airs (London, 1632). Martin, p. 443 (in his section ‘Not attributed to Herrick hitherto’). Not included in Patrick.
f. 37v
• B&F 160: Francis Beaumont and John Fletcher, The Queen of Corinth, III, ii. Song (‘Weep no more, nor sigh, nor groan’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 75 (collated pp. 164-5).
First published in Comedies and Tragedies (London, 1647). Dyce, V, 393-486 (p. 448). Bowers, VIII, 10-93, ed. Robert K. Turner (p. 57).
f. 38r
• B&F 165: Francis Beaumont and John Fletcher, The Queen of Corinth, III, ii, 15-22. Song (‘Court ladies, laugh and wonder: here is one’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 76 (collated pp. 165-6).
Dyce, V, 448.
ff. 38v-9r
• B&F 194: Francis Beaumont and John Fletcher, Women Pleased, III, iv. Song (‘Oh, fair sweet face! oh, eyes celestial bright’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 86-7 (collated pp. 173-4).
First published in Comedies and Tragedies (London, 1647). Dyce, VII, 1-94 (p. 50). Bowers, V, 448-529, ed. Hans W. Gabler (p. 489).
f. 39v
• HeR 370: Robert Herrick, A Song (‘Loose no time nor youth but be’)
Copy, in a musical setting by John Wilson, untitled.
This MS collated in Martin.
First published in The Academy of Complements (London, 1650). Martin, p. 442 (in his section ‘Not attributed to Herrick hitherto’). Not included in Patrick.
f. 40r
• B&F 56: Francis Beaumont and John Fletcher, The False One, I, ii, 35-44. Song (‘Look out, bright eyes, and bless the air’)
Copy of the Boy's song in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 88 (collated p. 174).
First published in Comedies and Tragedies (London, 1647). Dyce, VI, 213-306 (p. 234). Bullen, IV, 1-90, ed. M. Luce (pp. 23-4). Bowers, VIII, 123-202, ed. Robert K. Turner (pp. 137-8).
f. 43r
• B&F 191: Francis Beaumont and John Fletcher, The Wild-Goose Chase, V, vi, 11-15. Song (‘From the honour'd dead I bring’)
Copy of the Boy's song in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 90 (collated pp. 176-7).
First published in London, 1652. Dyce, VIII, 101-206 (p. 202). Bowers, VI, 242-335, ed. Fredson Bowers (p. 331).
f. 45r
• HeR 60: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).
f. 45v
• B&F 3: Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song (‘Cast our Caps and cares away!’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 93 (collated p. 178). Collated in Bowers, p. 352.
Bowers, III, 264-5. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
ff. 48v-9r
• JnB 48: Ben Jonson, The Dreame (‘Or Scorne, or pittie on me take’)
Copy in a musical setting by John Wilson, untitled.
This MS collated (but overlooking two minor variants) in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 167). Facsimile in Jorgens, VII.
First published in The Vnder-wood (xi) in Workes (London, 1640). Herford & Simpson, VIII, 150-1.
ff. 50v-1r
• HrG 69: George Herbert, Content (‘Peace mutt'ring thoughts, and do not grudge to keep’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), pp. 240-1; Music edited in André Souris, Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains (Paris, 1961), pp. 20-3; not recorded in Hutchinson.
First published in The Temple (1633). Hutchinson, pp. 68-9.
ff. 51v-3r
• HrE 46: Edward, Lord Herbert of Cherbury, The Thought (‘If you do love, as well as I’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209, (p. 168).
First published in Occasional Verses (1665). Moore Smith, pp. 43-4.
ff. 54v-5r
• PeW 287: William Herbert, third Earl of Pembroke, A Sonnet (‘So glides a long the wanton Brook’)
Copy in a musical setting by John Wilson, untitled.
This MS recorded in Krueger.
Poems (1660), p. 75, superscribed ‘P.’. Listed in Krueger's Appendix I: ‘Spurious Poems in the 1660 Edition’ as by Henry Reynolds.
ff. 67v-8r
• CwT 536: Thomas Carew, Parting, Celia weepes (‘Weepe not (my deare) for I shall goe’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209, (p. 173).
First published in Poems (1640). Dunlap, pp. 48-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
ff. 68v-70r
• FeO 38: Owen Felltham, On a Jewel given at parting (‘When cruel time enforced me’)
Copy of the song, the ‘First Part’ (lines 1-16), followed by a ‘Second Part’ (15 lines beginning ‘Why by such a brittle Stone’), both parts, in Wilson's musical setting, untitled.
This MS discussed, and the ‘Second Part’ attributed to Felltham, in John P. Cutts, ‘Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b. 1’, Musica Disciplina, 10 (1956), 173-4. The MS cited in Pebworth & Summers.
A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.
ff. 70v-1r
• FeO 25: Owen Felltham, A Farewell (‘When by sad fate from hence I summon'd am’)
Copy, in Wilson's setting, untitled.
This MS collated in Pebworth & Summers.
First published in Lusoria (London, 1661). Pebworth & Summers, p. 18.
ff. 71v-2r
• FeO 51: Owen Felltham, Song (‘Away, away, vex me no more’)
Copy in Wilson's setting, untitled.
Edited from this MS in Ault, in Cutts, and in Pebworth & Summers.
First published in Norman Ault (ed.), Seventeenth Century Lyrics from the Original Texts (London, 1928), p. 291. Pebworth & Summers (1973), p. 79, among ‘Manuscript Poems Attributed to Felltham’. Attributed to Felltham in John P. Cutts, ‘Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b. 1’, Musica Disciplina, 10 (1956), 174.
ff. 72v-3r
• FeO 53: Owen Felltham, The Spring in the Rock (‘Harsh Maid! suppose not this clear Spring’)
Copy in Wilson's setting, untitled.
This MS collated in Pebworth & Summers.
First published in Lusoria (London, 1661). Pebworth & Summers, p. 23.
ff. 73v-4r
• CwT 40: Thomas Carew, Celia bleeding, to the Surgeon (‘Fond man, that canst beleeve her blood’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209, (p. 174).
First published in Poems (1640). Dunlap, p. 26.
f. 77r-v
• RaW 298: Sir Walter Ralegh, A Poem of Sir Walter Rawleighs (‘Nature that washt her hands in milke’)
Copy of lines 1-12, 19-24, in a musical setting by John Wilson, untitled.
Edited from this MS in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 185; recorded in Latham, pp. 119-120.
First published in A.H. Bullen, Speculum Amantis (London, 1889), pp. 76-7. Latham, pp. 21-2. Rudick, Nos 43A and 43B (two versions, pp. 112-14).
f. 80r-v
• FeO 7: Owen Felltham, The Appeal (‘Tyrant Cupid! I'le appeale’)
Copy of the three-stanza version, in a musical setting by John Wilson, headed ‘A Dialogue’.
This MS collated in Pebworth & Summers.
First published in Lusoria (London, 1661). Pebworth & Summers, p. 8.
ff. 81r-3r
• JnB 324: Ben Jonson, The Musicall strife. In a Pastorall Dialogue (‘Come, with our Voyces, let us warre’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 176). Facsimile in Jorgens, VII.
First published in The Vnder-wood (iii) in Workes (London, 1640). Herford & Simpson, VIII, 143-4.
ff. 83v-4r
• KiH 548: Henry King, Sonnet (‘Dry those faire, those Christall Eyes’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 177; recorded in Crum.
First published in Poems (1657). Crum, pp. 147-8.
ff. 84v-5r
• KiH 580: Henry King, Sonnet (‘I prethee turne that face away’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 177; recorded in Crum.
First published in Wits Recreations (London, 1641). Poems (1657). Crum, p. 149.
Musical setting by John Wilson published in Select Ayres and Dialogues (Oxford, 1659).
ff. 89v-90r
• KiH 612: Henry King, Sonnet (‘Tell mee you Starrs that our affections move’)
Copy in a musical setting by John Wilson, untitled.
This MS collated (no variants) in Cutts, MD, 10 (1956), p. 179; recorded in Crum.
First published in Walter Porter, Madrigales & Ayres (London, 1632). Poems (1657). Crum, p. 149.
ff. 91v-2r
• KiH 44: Henry King, The Boy's answere to the Blackmore (‘Black Mayd, complayne not that I fly’)
Copy in a musical setting by John Wilson, headed ‘Second Part’, following the ‘First part’ (ff. 90v-1r), ‘Why lovely Boy why flyst thou me’.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 179); recorded in Crum.
First published in The Academy of Complements (London, 1646). Poems (1657). Crum, p. 151. The text almost invariably preceded, in both printed and MS versions, by (variously headed) ‘A Blackmore Mayd wooing a faire Boy: sent to the Author by Mr. Hen. Rainolds’ (‘Stay, lovely Boy, why fly'st thou mee’). Musical settings by John Wilson in Henry Lawes, Select Ayres and Dialogues (London, 1669).
ff. 93v-4r
• KiH 637: Henry King, Sonnet (‘When I entreat, either thou wilt not heare’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 180; recorded in Crum.
First published in Poems (1657). Crum, p. 148.
f. 99r
• FoJ 12: John Ford, The Lover's Melancholy, V, i. Song (‘Fly hence, shadows, that do keep’)
Copy of the Boy's song in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 181).
Dyce, I, 95. Bang, p. 77 (lines 2437-46).
ff. 101v-2r
• KiH 595: Henry King, Sonnet (‘Tell mee no more how faire shee is’)
Copy in a musical setting by John Wilson, untitled.
This MS collated (no variants) in Cutts, MD, 10 (1956), p. 181); recorded in Crum.
First published in Poems (1657). Crum, p. 158.
ff. 102v-3r
• CwT 521: Thomas Carew, On sight of a Gentlewomans face in the water (‘Stand still you floods, doe not deface’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 183).
First published in Poems (1640). Dunlap, p. 102.
ff. 104v-5r
• FeO 57: Owen Felltham, The Sun and Wind (‘Why think'st thou (fool) thy Beauties rayes’)
Copy, in Wilson's musical setting, untitled.
This MS cited in Pebworth & Summers.
First published, in a musical setting by John Wilson, in his Cheerfull Ayres or Ballads (Oxford, 1660), pp. 96-7. Lusoria (London, 1661). Pebworth & Summers, p. 5.
ff. 105v-6v
• DaW 56: Sir William Davenant, To a Gentleman at his uprising (‘Soe phoebus rose, as if he had last night’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Berry and in Gibbs.
First published in Herbert Berry, ‘Three New Poems by Davenant’, PQ, 31 (1952), 70-4. Gibbs, pp. 317-21.
ff. 110v-11r
• HeR 311: Robert Herrick, The Eclipse (‘Vaile thou thine eyes a while my Deare’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Ault, and in Martin.
First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), pp. 238-9. Martin, pp. 440-1 (in his section ‘Not attributed to Herrick hitherto’). Not included in Patrick.
ff. 111v-12r
• KiH 567: Henry King, Sonnet (‘Go Thou, that vainly dost mine eyes invite’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 184; recorded in Crum.
First published in Poems (1657). Crum, p. 162.
f. 113v
• CwT 743: Thomas Carew, A Song (‘Aske me no more whether doth stray’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in John P. Cutts, ‘Seventeenth Century Lyrics; Oxford, Bodleian Ms. Mus. b. 1’, MD, 10 (1956), 142-209 (pp. 184-5), and in Scott Nixon, ‘“Aske me no more” and the Manuscript Verse Miscellany’, ELR, 29/1 (Winter 1999), 97-130 (p. 109).
First published in a five-stanza version beginning ‘Aske me no more where Iove bestowes’ in Poems (1640) and in Poems: by Wil. Shake-speare, Gent. (London, 1640), and edited in this version in Dunlap, pp. 102-3. Musical setting by John Wilson published in Cheerful Ayres or Ballads (Oxford, 1659). All MS versions recorded in CELM, except where otherwise stated, begin with the second stanza of the published version (viz. ‘Aske me no more whether doth stray’).
For a plausible argument that this poem was actually written by William Strode, see Margaret Forey, ‘Manuscript Evidence and the Author of “Aske me no more”: William Strode, not Thomas Carew’, EMS, 12 (2005), 180-200. See also Scott Nixon, ‘“Aske me no more” and the Manuscript Verse Miscellany’, ELR, 29/1 (Winter 1999), 97-130, which edits and discusses MSS of this poem and also suggests that it may have been written by Strode.
f. 121v
• StW 898: William Strode, A song (‘Thoughts doe not vexe me while I sleepe’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 184); collated in Forey.
First published in The Academy of Complements (London, 1650). Forey, p. 209.
ff. 128v-9r
• DaW 44: Sir William Davenant, Song (‘The Lark now leaves his watry Nest’)
Copy, with the preliminary refrain ‘Awake, awake, the morne will never rise...’, in a musical setting by John Wilson, untitled.
Edited from this MS in Gibbs, pp. 322-4.
First published (with the refrain) in John Wilson, Cheerful Ayres or Ballads (Oxford, 1659). published (without the refrain) in Works (London, 1673). Gibbs, p. 173.
f. 130r
• LoR 8: Richard Lovelace, Ode. To Lucasta. The Rose (‘Sweet serene skye-like Flower’)
Copy in a musical setting by John Wilson, untitled.
This MS collated, with a facsimile, in Willa McClung Evans, ‘The Rose: A Song by Wilson and Lovelace’, MLQ, 7 (1946), 269-78; Edited from this MS in John P. Cutts, ‘John Wilson and Lovelace's “The Rose”’, N&Q, 198 (April 1953), 153-4.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 21-2. (1930), pp. 23-4.
f. 135r
• BrN 64: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)
Copy in a musical setting by John Wilson, headed ‘Lady of the May’.
Wilson's setting first published in Henry Playford, Select Musicall Ayres and Dialogues (London, 1653). Edited from this MS in Spink; collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 195).
First published as ‘The Plowmans Song’ in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to ‘N. Breton’; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).
ff. 137v-8r
• JnB 718: Ben Jonson, The Sad Shepherd, I, v, 65-80. Song (‘Though I am young, and cannot tell’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in John P. Cutts, ‘Seventeenth Century Lyrics’, MD, 10 (1956), 142-209 (p. 196).
First published in Workes (London, 1641). Herford & Simpson, VII, 1-49.
ff. 138v-9r
• CrR 206: Richard Crashaw, Out of the Italian (‘Love now no fire hath left him’)
Copy in a musical setting by John Wilson, untitled.
Edited from this MS in Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains, ed. André Souris (Paris, 1961), pp. 12-14.
First published, among The Delights of the Muses, in Steps to the Temple (London, 1646). Martin, p. 190.
f. 145r
• FeO 69: Owen Felltham, Upon a breach of Promise. Song (‘I am confirm'd in my belief’)
Copy in Wilson's setting, untitled.
This MS collated in Pembroke & Summers.
First published in Lusoria (London, 1661). Pebworth & Summers, p. 45.
f. 150r-v
• KiH 627: Henry King, Sonnet (‘Were thy heart soft, as Thou art faire’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 200; recorded in Crum.
First published in Poems (1657). Crum, pp. 158-9.
ff. 159v-60r
• KiH 651: Henry King, Sonnet. The Double Rock (‘Since Thou hast view'd some Gorgon, and art grow'n’)
Copy in a musical setting by John Wilson, untitled.
This MS collated in Cutts, MD, 10 (1956), p. 203; recorded in Crum.
First published in Poems (1657). Crum, pp. 167-8.
MS Mus. c. 5
A folio volume of glees with music, 16 leaves. 18th century.
f. 5r-v
• StW 1479.8: William Strode, The Floating Island, Act IV, scene xiv. Song (‘Once Venus cheekes that sham'd the morn’)
Copy, in a musical setting by Henry Lawes.
Dobell, pp. 215-16. Musical setting by Henry Lawes first published in his Ayres and Dialogues…The Third Book (London, 1658).
f. 10r
• ShW 89.5: William Shakespeare, The Tempest, I, ii, 400-9. Song (‘Full fathom five thy father lies’)
Copy, in a musical setting by John Wilson.
MS Mus. c. 16
A folio music book, comprising William Davis's autograph collection of his own musical compositions, i + 234 leaves (with inserted oblong quarto leaves ff. 10-11, 47-55), in half-red calf marbled boards. Early 18th century.
f. 98r-v
• SaG 18: George Sandys, A Paraphrase upon the Psalms of David (‘That man is truly bless'd who never strays’)
Copy of the first stanza of Psalm 17, headed ‘A devine song Out of Sandses translation sett for three ladys’ and beginning ‘Lord lord grant my just request O heare my Crie’, in a musical setting by William Davis.
First published in London, 1636. Hooper, I, 91-195; II, 195-310.
Some of Henry Lawes's musical settings published in A Paraphrase upon the Divine Poems (London, 1638). Musical settings by Henry and William Lawes also published in Choice Psalmes Put into Musick for Three Voices (London, 1648).
MS Mus. c. 26
A folio songbook, of works chiefly by Henry Purcell, 143 leaves. End of 17th century.
ff. 134r-9r
• HeR 61: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)
Copy, in a musical setting by John Blow.
First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).
MS Mus. c. 27
A folio volume of songs and musical works, chiefly by Henry Purcell, 49 leaves. End of 17th century.
ff. 33r-6r
• LeN 14: Nathaniel Lee, Theodosius: or, The Force of Love
Copy of the opening chorus (I, i, 1-5: ‘Prepare, prepare! the Rites begin’) and the Priests' chorus (I, i, 321;70: ‘Canst thou, Marina, leave the World’), in musical settings by Purcell.
First published, with some of Henry Purcell's music as an appendix, in London, 1680. Stroup & Cooke, II, 229-314.
MS Mus. c. 28
A folio volume of vocal compositions largely by Henry Purcell, 126 leaves. End of 17th century.
Once owned by ‘James Pears’. Bought at the Dr Samuel Arnold sale 24 May 1803 by W. Russell. Puttick & Simpson's, 22 December 1869, lot 613.
ff. 19r-39r
• SdT 9: Thomas Shadwell, Ode on the Anniversary of the Queen's Birth (‘Now does the glorious Day appear’)
Copy in a musical setting by Henry Purcell.
First published in Poems on Affairs of State, The Second Part (London, 1697). Summers, V, 345-6. Published in a musical setting by Henry Purcell in The Works of Henry Purcell, Vol. XI, Birthday Odes for Queen Mary, Part I (London, 1902), pp. 1-35.
ff. 101v-2r
• CoA 45.5: Abraham Cowley, The Complaint (‘In a deep Vision's intellectual scene’)
Copy of a musical setting for this poem (without the text).
First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 435-40. Sparrow, pp. 169-74.
ff. 109v-11r
• SaG 8: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)
Copy of Chapter X in a musical setting by Henry Purcell.
This MS recorded in Zimmerman.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.
f. 115v
• SaG 12: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)
Copy of Chapter XIV, beginning ‘Ah! few, and full of sorrows, are the days’, in a musical setting by Henry Purcell.
This MS recorded in Zimmerman, No. 130.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.
MS Mus. c. 107
A large folio composite volume of music, iii + 107 leaves, in half-calf marbled boards. Early 18th century.
Later owned by Mr. E. Goddard, Portland Place, London, and by T. W. Bourne.
f. 5r
• CgW 39: William Congreve, Song (‘Cruel Amynta, can you see’)
Copy in a musical setting, untitled, in a quarto booklet of songs (1r-11v).
First published in Poetical Miscellanies: The Fifth Part [by John Dryden et al.] (London, 1704). Summers, IV, 77. Dobrée, p. 244. McKenzie, II, 324.
f. 10v
• CgW 59: William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song (‘Let Ambition fire thy mind’)
Copy of Juno's song in an anonymous musical setting, untitled, in a quarto booklet. of songs (ff. 1r-11v).
Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.
MS Mus. d. 8
An oblong folio songbook of glees and madrigals, chiefly written by the composer Philip Hayes (1738-97), 78 leaves. Mid-late 18th century.
f. 3v
• BrN 61.5: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)
Copy, in a musical setting by Michael East.
First published as ‘The Plowmans Song’ in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to ‘N. Breton’; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).
f. 9r
• DaS 13.5: Samuel Daniel, Delia. An Ode (‘Now each creature ioyes the other’)
Copy, in John Farmer's musical setting.
Grosart, I, 259-60. Sprague, p. 36. Doughtie, Lyrics from English Airs, pp. 310-11. This setting published in John Farmer, First Set of English Madrigals (London, 1599).
f. 14v
• LoT 2.5: Thomas Lodge, An Ode (‘Now I find thy lookes were fained’)
Copy, in a musical setting by Thomas Ford, here beginning ‘Now I see thy looks were feigned’.
First published in The Phoenix Nest (London, 1593). Phillis: Honoured with Pastorall Sonnets, Elegies, and amorous delights (London, 1593). Gosse, II, (p. 58). The song-version beginning ‘Now I see thy looks were feigned’ first published in Thomas Ford, Musicke of Sundrie Kindes (London, 1607).
ff. 44r-5v
• CoA 263: Abraham Cowley, Extracts
Extract(s) from work(s) by Cowley.
MS Mus d. 10
A folio volume of anthems, motets, hymns, etc.96 leaves. Early 18th century.
ff. 52v-3v
• StW 33.5: William Strode, An Anthem for Good Friday (‘See, sinfull soul, the Saviours sufferings. see’)
Copy, in a musical setting by Isaac Blackwell.
First published in James Clifford, Divine Services and Anthems (London, 1663). Dobell, pp. 53-4. Forey p. 188.
MS Mus d. 177
An oblong narrow volume of musical glees, catches, rounds, etc., in two hands, 96 leaves and pages (plus numerous blanks), in reversed calf. c.1765.
Inscribed inside the front cover ‘Gilbert Heathcote’.
f. 17r
• OtT 6: Thomas Otway, ‘Would you know how we meet’
Copy of the song, in a musical setting by Henry Purcell, untitled.
A song attributed to Otway in early printed sources and possibly by him. First published, in a musical setting by Henry Purcell, in The Theater of Music, The Second Book (London, 1685).
MS Mus. d. 194
An oblong quarto-size music book, in a single hand, 91 pages, in 19th-century half-morocco. 18th century.
pp. 4-6
• WaE 734.6: Edmund Waller, ‘While I listen to thy voice’
Copy, in a musical setting, headed ‘Henry Lawes. Lines to a Lady singing by Edmund Waller’.
First published in Workes (1645). Thorn-Drury, I, 127. A musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
MS Mus. d. 238
A folio music part book (2nd treble part), viii + 218 pages, in contemporary calf. Compiled by Edward Lowe (c.1610-82), organist and composer. c.1650s.
Bookplate of Povert Henley.
p. 34
• ShJ 32: James Shirley, Good Morrow (‘Good morrow unto her, who in the night’)
Copy, in a musical setting by William Lawes.
First published in Poems (London, 1646). Armstrong, p. 1.
pp. 44-5
• B&F 47: Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, ii, 29-42. Song (‘Sing his praises that doth keepe’)
Copy, here beginning ‘Sing, That do keep our flocks’, in a musical setting by William Lawes.
Bowers, III, 505-6.
pp. 46-7
• B&F 195: Francis Beaumont and John Fletcher, Women Pleased, III, iv. Song (‘Oh, fair sweet face! oh, eyes celestial bright’)
Copy, in a musical setting by John Wilson.
First published in Comedies and Tragedies (London, 1647). Dyce, VII, 1-94 (p. 50). Bowers, V, 448-529, ed. Hans W. Gabler (p. 489).
p. 69
• B&F 155: Francis Beaumont and John Fletcher, The Pilgrim, III, vii, 107-18. Song (‘Down, ye angry waters all!’)
Copy of a version of Stephano's song, here beginning ‘Downe bee still you Seas’, in a musical setting by John Wilson.
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
First published in Comedies and Tragedies (London, 1647). Dyce, VIII, 1-99 (p. 57). Bowers, VI, 121-205, ed. Cyrus Hoy (p. 166).
p. 73
• CmT 86: Thomas Campion, ‘So many loves have I neglected’
Copy of the first strophe in a musical setting by John Wilson.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xv. Davis, p. 105.
p. 74
• B&F 171: Francis Beaumont and John Fletcher, Valentinian, II, v, 4-23. Song (‘Now the lustry spring is seen’)
Copy in a musical setting by John Wilson.
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
First published in Comedies and Tragedies (London, 1647). Dyce, V, 207-316 (p. 243). Bullen, IV, 207-321, ed. R.G. Martin (pp. 247-8). Bowers, IV, 276-380, ed. Robert K. Turner (pp. 307-8). The musical setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
p. 76
• B&F 66: Francis Beaumont and John Fletcher, Love's Cure, III, ii, 118-225. Song (‘Turn, turn thy beauteous face away’)
Copy, in a musical setting by John Wilson.
First published in Comedies and Tragedies (London, 1647). Dyce, IX, 105-95 (p. 149). Bowers, III, 12-93, ed. George Walton Williams (p. 48). This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
p. 79
• StW 1014: William Strode, A Sonnet (‘My Love and I for kisses played’)
Copy in a musical setting by John Wilson, untitled.
First published in A Banquet of Jests (London, 1633). Dobell, p. 47. Forey, p. 211. The poem also discussed in C.F. Main, ‘Notes on some Poems attributed to William Strode’, PQ, 34 (1955), 444-8 (p. 446-7).
p. 81
• HeR 229: Robert Herrick, To the Virgins, to make much of Time (‘Gather ye Rose-budd while ye may’)
Copy in a musical setting by William Lawes, untitled.
First published in The Academy of Complements (London, 1646). Hesperides (London, 1648). Martin, p. 84. Patrick, pp. 117-18. Musical setting by William Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
p. 85
• LoR 29: Richard Lovelace, To Althea, From Prison. Song (‘When Love with unconfined wings’)
Copy in a musical setting by John Wilson.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 70-1. (1930), pp. 78-9. Thomas Clayton, ‘Some Versions, Texts, and Readings of “To Althea, from Prison”’, PBSA, 68 (1974), 225-35. A musical setting by John Wilson published in Select Ayres and Dialogues (London, 1659).
p. 86
• B&F 77: Francis Beaumont and John Fletcher, The Loyal Subject, III, v, 24-33. Song (‘Will ye buy any honesty? come away’)
Copy of the third soldier's song in a musical setting by John Wilson.
Dyce, VI, 68-9. Bullen, III, 304. Bowers, V, 217. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
p. 87
• ShW 91: William Shakespeare, The Tempest, I, ii, 400-9. Song (‘Full fathom five thy father lies’)
Copy in a musical setting by Robert Johnson (as edited by John Wilson).
p. 88
• ShW 100: William Shakespeare, The Tempest, V, i, 88-94. Song (‘Where the bee sucks, there suck I’)
Copy in a musical setting by Robert Johnson (as edited by John Wilson).
p. 89
• B&F 36: Francis Beaumont and John Fletcher, The Captain, IV, iv, 85-104. Song (‘Come hither you that love, and heare me sing’)
Copy of the first stanza in a musical setting by Robert Johnson (as edited by John Wilson).
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
Bowers, I, 624-5.
pp. 90-1
• B&F 10: Francis Beaumont and John Fletcher, Beggars' Bush, III, i, 4-15. Song (‘Have ye any worke for the Sow-gelder, hoa’)
Copy of Higgen's song in a musical setting by Nicholas Lanier (as edited by John Wilson).
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
Bowers, III, 277.
pp. 96-7
• CwT 744: Thomas Carew, A Song (‘Aske me no more whether doth stray’)
Copy in a musical setting by John Wilson.
First published in a five-stanza version beginning ‘Aske me no more where Iove bestowes’ in Poems (1640) and in Poems: by Wil. Shake-speare, Gent. (London, 1640), and edited in this version in Dunlap, pp. 102-3. Musical setting by John Wilson published in Cheerful Ayres or Ballads (Oxford, 1659). All MS versions recorded in CELM, except where otherwise stated, begin with the second stanza of the published version (viz. ‘Aske me no more whether doth stray’).
For a plausible argument that this poem was actually written by William Strode, see Margaret Forey, ‘Manuscript Evidence and the Author of “Aske me no more”: William Strode, not Thomas Carew’, EMS, 12 (2005), 180-200. See also Scott Nixon, ‘“Aske me no more” and the Manuscript Verse Miscellany’, ELR, 29/1 (Winter 1999), 97-130, which edits and discusses MSS of this poem and also suggests that it may have been written by Strode.
p. 101
• CmT 130: Thomas Campion, ‘Though your strangenesse frets my hart’
Copy in a musical setting.
First published in Robert Jones, A Musical Dreame (London, 1609). Campion, Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xvi. Davis, pp. 106-7. Doughtie, pp. 319-20.
p. 110
• BrN 65: Nicholas Breton, Phillida and Coridon (‘In the merry moneth of May’)
Copy in a musical setting by John Wilson.
First published as ‘The Plowmans Song’ in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to ‘N. Breton’; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).
pp. 114-15
• ShW 109: William Shakespeare, The Winter's Tale, IV, iv, 218-30. Song (‘Lawn as white as driven snow’)
Copy of Autolycus's song in a musical setting.
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
p. 124
• FoJ 13: John Ford, The Lover's Melancholy, V, i. Song (‘Fly hence, shadows, that do keep’)
Copy in a musical setting by John Wilson.
Dyce, I, 95. Bang, p. 77 (lines 2437-46).
p. 144
• B&F 189: Francis Beaumont and John Fletcher, Valentinian, V, viii, 37-46. Song (‘God Lyaeus, ever young’)
Copy of the Boy's song in a musical setting by John Wilson.
This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
Dyce, V, 313. Bullen, IV, 318. Bowers, IV, 376.
p. 150
• B&F 4: Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song (‘Cast our Caps and cares away!’)
Copy in a musical setting by John Wilson.
Bowers, III, 264-5. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).
p. 151
• B&F 52: Francis Beaumont and John Fletcher, The Faithful Shepherdess, III, i, 429-36. Song (‘Do not feare to put thy feete’)
Copy of the God of the River's song in a musical setting by John Wilson.
Bowers, III, 545. This setting first published in John Wilson, Select Ayres and Dialogues (London, 1659).
pp. 184-6
• DrM 15: Michael Drayton, The Cryer (‘Good Folke, for Gold or Hyre’)
Copy, untitled, in a musical setting (set as an Oxford Act song) by Henry Bowman.
Bowman's setting first published in his Songs for 1 2 & 3 Voices ([no place], 1677).
First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 371.
pp. 189-188 rev.
• DaW 113: Sir William Davenant, The Triumphs of the Prince d'Amour. Song (‘Behold, how this conjunction thrives!’)
Copy of the song of the Priests of Apollo in a musical setting by William Lawes.
Edited in part from this MS in Sabol, No. 415, and in Lefkowitz, pp. 142-9.
Dramatic Works, I, 338. Lefkowitz, pp. 134-5. Gibbs, p. 221.
pp. 191-2 rev.
• B&F 48: Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, ii, 29-42. Song (‘Sing his praises that doth keepe’)
Second copy in a musical setting by William Lawes.
Bowers, III, 505-6.
pp. 193-192 rev.
• ShJ 33: James Shirley, Good Morrow (‘Good morrow unto her, who in the night’)
Second copy in a musical setting by William Lawes.
First published in Poems (London, 1646). Armstrong, p. 1.
pp. 195-193 rev.
• DnJ 203: John Donne, The Apparition (‘When by thy scorne, O murdresse, I am dead’)
Copy in a musical setting by William Lawes.
First published in Poems (1633). Grierson, I, 47-8. Gardner, Elegies, p. 43. Shawcross, No. 28.
pp. 196-195 rev.
• ShJ 200: James Shirley, The Triumph of Peace, Song 7 (‘Why do you dwell so long in clouds’)
Copy of the song in a musical setting by William Lawes.
Edited from this MS in Peter Walls, ‘New Light on Songs by William Lawes and John Wilson’, M&L, 57 (1976), 55-64 (pp. 58-61); edited in part from this MS in Sabol, 400 Songs & Dances, No. 414.
Gifford & Dyce, VI, 281-2. Leech, p. 302, lines 719-30. Lefkowitz, p. 83. Armstrong, p. 47.
pp. 200-199 rev.
• ShJ 194: James Shirley, The Triumph of Beauty. Song (‘Cease warring thoughts, and let his brain’)
Copy of the song, in a musical setting by William Lawes.
This MS Edited in part in Peter Walls, ‘New Light on Songs by William Lawes and John Wilson’, M&L, 57 (1976), (pp. 62-3).
First published, usually appended to Poems, in London, 1646. Gifford & Dyce, VI, 315-41 (p. 329). The song alone also in Armstrong, pp. 51-2.
MS Mus. e. 20
A quarto songbook, compiled by an Oxford University man, ii + 32 leaves, imperfect, in modern calf. c.1753-4.
f. 14r
• CgW 60: William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song (‘Let Ambition fire thy mind’)
Copy of Juno's song in a musical setting, untitled.
Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.
MS Mus. f. 7-10
A set of four oblong quarto music part books (Cantus, Quintus, Altus, Tenor and Bassus), including verses, ranging from 24 to 30 leaves each, in half-red calf marbled boards. Compiled chiefly by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkdons, Suffolk. c.1630s.
Also inscribed ‘Marie Hammond’.
(i) fol. 2v; (ii) fol. 3v; (iii) fol. 3v; (iv) fol. 5v
• GrF 3: Fulke Greville, Caelica, Sonnet v (‘Who trusts for trust, or hopes of loue for loue’)
Copies of an early version, untitled and here beginning ‘Who euer thinks or hopes of loue for loue’, in a musical setting by John Dowland.
This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 75. Wilkes, I, 81-2.
(iii) fol. 7v
• EsR 93: Robert Devereux, second Earl of Essex, ‘Can she excuse my wrongs with vertues cloake’
Copy, in a musical setting.
First published in John Dowland, The First Booke of Songes or Ayres (London, 1597). Discussed and attribution to Essex rejected in May, Poems, pp. 114-15. EV 4476.
(i) fol. 11r; (ii) fol. 10v; (iii) fol. 11r; (iv) fol. 13r
• PlG 13: George Peele, A Sonet (‘His Golden lockes, Time hath to Silver turn'd’)
Copies, in a musical setting by John Dowland, untitled.
This MS version collated in Clayton.
First published as an appendix to Polyhymnia (London, 1590). Edited by D.H. Horne in Prouty, I, 244. The sonnet probably written by Sir Henry Lee: see Horne, pp. 169-70, and Thomas Clayton, ‘“Sir Henry Lee's Farewel to the Court”: The Texts and Authorship of “His Golden Locks Time Hath to Silver Turned”’, ELR, 4 (1974), 268-75.
f. 7, fol 12
• B&F 200: Francis Beaumont and John Fletcher, Song (‘But yet or ere you part (oh cruell!)’)
Copy, in a musical setting by Dowland.
Part of John Dowland's song “Wilt thou unkind thus reave me of my heart”. Quoted in The Knight of the Burning Pestle. Bowers, I, 396-7.
(i) fol. 12v; (ii) fol. 11v; (iii) fol. 12v; (iv) fol. 14v
• GrF 4.2: Fulke Greville, Caelica, Sonnet lii (‘Away with these self-louing lads’)
Copy of stanzas 1-2 in a musical setting by John Dowland, untitled.
This MS collated in Doughtie, Lyrics from English Airs, p. 469.
This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 104. Wilkes, II, 114-15.
(i) fol. 18r; (ii) fol. 14v; (iii) fol. 17v; (iv) fol. 20r
• CmT 67: Thomas Campion, ‘Now let her change and spare not’
Copies, in a musical setting by Francis Pilkington.
This MS recorded in Doughtie, p. 537.
First published in Francis Pilkington, First Booke of Songs or Aires (London, 1605). Campion, The Third and Fourth Booke of Ayres (London [1617]), Book III, No. ii. Davis, pp. 134-5. Doughtie, pp. 216, 227.
(i) fol. 22r; (ii) fol. 18v; (iii) fol. 21v; (iv) fol. 24r
• LoT 10: Thomas Lodge, Phoebes Sonnet a replie to Montanus passion (‘Downe a downe: / Thus Phillis sung’)
Copies, in a musical setting by Francis Pilkington.
This MS collated in Doughtie, Lyrics from English Airs, p. 539.
First published in Rosalynde. Euphues golden legacie (London, 1590). Gosse, I (Rosalynde, p. 47). The musical setting first published in Francis Pilkington, The First Booke of Bongs or Ayres (London, 1605). EV 18870.
MS Mus. f. 11-15
A set of five oblong quarto music part books (Cantus/Bassus, Quintus, Altus, Tenor, Bassus), including verses, chiefly in two hands, ranging from 34 to 63 leaves each, in half-red calf marbled boards. Compiled largely by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkdons, Suffolk. c.1630s.
f. 11 (Cantus/Bassus) inscribed ‘Edmond Stapley’.
(i) fols 33ar-abr; (ii) fols 23r-4r; (iii) fols 13r-14r; (iv) fols 29r-30r; (v) fols 33ar-33br
• RaW 237: Sir Walter Ralegh, On the Life of Man (‘What is our life? a play of passion’)
Copies, in a musical setting by Orlando Gibbons, untitled.
First published, in a musical setting, in Orlando Gibbons, The First Set of Madrigals and Mottets (London, 1612). Latham, pp. 51-2. Rudick, Nos 29A, 29B and 29C (three versions, pp. 69-70). MS texts also discussed in Michael Rudick, ‘The Text of Ralegh's Lyric “What is our life?”’, SP, 83 (1986), 76-87.
(i) fols 50v-1r; (ii) fol. 41v; (iii) fols 31v-2r; (v) fols 50v-1r
• DrM 41: Michael Drayton, Mr. M.D. To the Author (‘Such was old Orpheus cunning’)
Copies, in a musical setting by Thomas Ravenscroft, untitled.
Edited from this MS in Hebel, I, 493.
First published in Thomas Morley, First Booke of Balletts to Five Voyces (London, 1595). Hebel, I, 493.
MS Mus. f. 16-19
A set of four oblong quarto part books of vocal music, in Latin and English, numbered 2-5, comprising Quintus, Altus, Tenor and Bassus parts (lacking the original Cantus), iii + 30 leaves, 86 leaves, 54 leaves, and 84 leaves respectively, in 19th-century half-calf gilt. Compiled by Thomas Hammond (d.1662), of Cressners, in the parish of Hawkedon, near Bury St Edmunds, Suffolk (the Quintus volume inscribed by him with the date August 1656 and the Altus volume inscribed ‘Thomas Hamond his Booke. 1641’).16. c.1641-62.
The ‘Monser myngo’ song here discussed in John P. Cutts, ‘The Original Music of a Song in 2 Henry IV’, SQ, 7 (1956), 385-92, and in Frederick W. Sternfeld, ‘Lasso's Music for Shakespeare's “Samingo”’, SQ, 9 (1958), 105-16.
(iii) fols 50v-51r
• NaT 7.1: Thomas Nashe, ‘Monsieur Mingo for quaffing doth surpass’
Copy, in a musical setting by Orlando de Lassus, untitled, in the Altus volume.
First published, as ‘The Song’, in Nashe's ‘Pleasant Comedie’ Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.
(iv) fols 21v-22r
• NaT 7.2: Thomas Nashe, ‘Monsieur Mingo for quaffing doth surpass’
Copy, in a musical setting by Orlando de Lassus, untitled, in the Tenor volume.
First published, as ‘The Song’, in Nashe's ‘Pleasant Comedie’ Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.
(v) fols 50v-51r
• NaT 7.3: Thomas Nashe, ‘Monsieur Mingo for quaffing doth surpass’
Copy, in a musical setting by Orlando de Lassus, untitled, in the Bassus volume.
First published, as ‘The Song’, in Nashe's ‘Pleasant Comedie’ Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.
MS Mus. f. 20-24
A set of five oblong quarto music part books (Cantus, Altus, Sextus, Tenor, Bassus), ranging from 40 to 110 leaves each (including blanks), in half-red calf marbled boards. Compiled largely by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkedon, near Bury St Edmunds, Suffolk. 1630-3.
Bequeathed in 1800 by Osborne Wight, of New College, Oxford.
Discussed in M.C. Crum, ‘A Seventeenth-Century Collection of Music Belonging to Thomas Hamond, a Suffolk Landowner’, BLR, 6, No. 1 (October 1957), 373-86, and in Ian Payne, ‘George Kirbye (c. 1565-1634): Two Important Repertories of English Secular Vocal Music Surviving Only in Manuscript’, MQ, 73, No. 3 (1989), 401-16.
(i) fols 11v-12r; (ii) ff. 12v-13r; (iv) fols 11v-12r; (v) fols 11v-12r
• DrM 69: Michael Drayton, ‘Upon a Banke with Roses set about’
Copies, in a musical setting by John Ward, untitled.
First published in Englands Helicon (London, 1600). Musical setting of first stanza published in John Ward, First Set of English Madrigals (London, 1613), No. xviii. Hebel, II, 525 (lines 105-28 of The Second Eclogue of Pastorals).
(i) fol. 56v; (iv) fol. 56v; (v) fol. 55v
• DnJ 2958: John Donne, Song (‘Stay, O sweet, and do not rise’)
Copies of a version, here beginning ‘Ah dear heart’, in a musical setting by Orlando Gibbons.
First published (in a two-stanza version) in John Dowland, A Pilgrim's Solace (London, 1612) and in Orlando Gibbons, The First Set of Madrigals and Mottets (London, 1612). Printed as the first stanza of Breake of day in Poems (London, 1669). Grierson, I, 432 (attributing it to Dowland). Gardner, Elegies, p. 108 (in her ‘Dubia’). Doughtie, Lyrics from English Airs, pp. 402-3. Not in Shawcross.
See also DnJ 428.
(i) fols 79v-80r; (iii) fols 25v-6r; (iv) fols 79v-80r; (v) fols 78v-9r
• DrM 38: Michael Drayton, ‘If the deep sighs of an afflicted breast’
Copies, in a musical setting by John Ward.
First published in John Ward, First Set of English Madrigals (London, 1613), xxiii-xxiv. First attributed to Drayton in Thomas Oliphant, La Musa Madrigalesca (London, 1837), p. 286. English Madrigal Verse 1588-1632, ed. E.H. Fellowes et al., 3rd edition (Oxford, 1967), pp. 270-1.
(v), fol. 108v
• HrJ 261: Sir John Harington, Of Treason (‘Treason doth neuer prosper, what's the reason?’)
Copy of a version beginning ‘Some say treason is unlawful; what's the reason?’
First published in 1615. 1618, Book IV, No. 5. McClure No. 259, p. 255. This epigram also quoted in a letter to Prince Henry, 1609 (McClure, p. 136). Kilroy, Book III, No. 43, p. 185.
MS Mus. Sch. B. 2
A large folio autograph songbook of the composer William Lawes (1602-45), viii + 114 pages, various leaves excised, in contemporary calf gilt bearing the royal arms. c.1638-45.
pp. 16-18
• DaW 80: Sir William Davenant, Britannia Triumphans. Songs (‘Britanocles, the great and good appeares’)
Copy of the chorus of poets and Fame, Galatea's song and the Valediction, in a musical setting by William Lawes, headed ‘The King's Masque’.
Edited from this MS in Sabol, 400 Songs and Dances for the Stuart Masque, Nos. 49-51, and in Lefkowitz, pp. 211-43 (with a facsimile of p. 17 after p. 26, plate XI); recorded in Gibbs, p. 447.
First published in London, 1637 [i.e. 1638]. Dramatic Works, III, 245-300 (pp. 286-90). Trois Masques a la Cour de Charles Ier d'Angleterre, ed. Murray Lefkowitz (Paris, 1970), pp. 171-243 (pp. 205-9). Stephen Orgel and Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (Sotheby Parke Bernet, University of California Press, 1973), II, 662-7 (pp. 666-7). Gibbs, pp. 223, 225-6.
pp. 35-6
• ShJ 195: James Shirley, The Triumph of Beauty. Song (‘Cease warring thoughts, and let his brain’)
Copy of the song in a musical setting by William Lawes, untitled, deleted.
Edited from this MS in Murray Leflkowitz, William Lawes (London, 1960), pp. 231-3; Edited in part in Walls, p. 62.
First published, usually appended to Poems, in London, 1646. Gifford & Dyce, VI, 315-41 (p. 329). The song alone also in Armstrong, pp. 51-2.
p. 37
• CwT 704: Thomas Carew, Secresie protested (‘Feare not (deare Love) that I'le reveale’)
Copy of the last six lines, here beginning ‘Only this meanes’, in a musical setting by William Lawes, deleted.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).
See also Introduction.
p. 37
• CwT 703: Thomas Carew, Secresie protested (‘Feare not (deare Love) that I'le reveale’)
Copy (words only), untitled, deleted.
First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).
See also Introduction.
p. 38
• ShJ 197: James Shirley, The Triumph of Peace. Song 1 (‘Hence ye profane, far hence away’)
Copy of the incipit in a musical setting by William Lawes, headed ‘First Song of the Innis of Court Masque The howres descending’.
Edited from this MS in Edward J. Dent, Foundations of English Opera (Cambridge, 1928), pp. 30-2; in Andrew J. Sabol, Songs and Dances for the Stuart Masque (Providence, Rhode Island, 1959), pp. 78-80; in Lefkowitz, pp. 89-91; and in Sabol, 400 Songs & Dances, No. 36.
First published in London, 1633 [i.e. 1634]. Gifford & Dyce, VI 253-85 (p. 274). Edited by Clifford Leech in A Book of Masques in Honour of Allardyce Nicoll, ed. T.J.B. Spenser & S.W. Wells (Cambridge, 1967), pp. 275-313 (p. 296, lines 491-502). Edited by Murray Lefkowitz in Trois Masques à la Cour de Charles Ier d'Angleterre (Paris, 1970), pp. 27-109 (p. 76). Edited by Stephen Orgel & Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (Sotheby Parke Bernet, University of California Press, 1973), II, 536-66. The song alone also in Armstrong, p. 45.
pp. 39-40
• ShJ 198: James Shirley, The Triumph of Peace. Song 2 (‘Wherefore do my sisters stay?’)
Copy of the incipit in a musical setting by William Lawes.
Edited from this MS in Dent, pp. 32-4 (transcription corrected in Murray Lefkowitz, William Lawes (London, 1960), p. 217); in Sabol (1959), pp. 81-3; in Lefkowitz, Trois Masques, pp. 92-6; and in Sabol, 400 Songs & Dances, No. 37.
Gifford & Dyce, VI, 274. Leech, p. 296, lines 504-15. Lefkowitz, pp. 76-7. Armstrong, pp. 45-6.
pp. 39-40
• ShJ 199: James Shirley, The Triumph of Peace. Song 3 (‘Think not I could absent myself this night’)
Copy of the incipit in a musical setting by William Lawes (1602-45).
Edited from this MS in Dent, pp. 34-7 (and see also Murray Lefkowitz, William Lawes, p. 217); in Sabol, (1959), pp. 84-8; in Lefkowitz, Trois Masques, pp. 97-104; and in Sabol, 400 Songs & Dances, No. 38.
Gifford & Dyce, VI, 275. Leech, p. 297, lines 523-44. Lefkowitz, pp. 77-8. Armstrong, p. 46.
p. 41
• ShJ 204: James Shirley, The Triumph of Peace, Song 9 (‘Come away, away, away’)
Copy of the incipit in a musical setting by William Lawes, incomplete, headed ‘The Last Part of the Innis of Court Masque’.
Edited from this MS in Lefkowitz, pp. 108-9, and in Sabol, 400 Songs & Dances, No. 416.
Gifford & Dyce, VI, 283. Leech, pp. 303-4, lines 760-79. Lefkowitz, pp. 84-5. Armstrong, p. 47.
pp. 41-2
• DaW 114: Sir William Davenant, The Triumphs of the Prince d'Amour. Song (‘Behold, how this conjunction thrives!’)
Copy in a musical setting by William Lawes.
Edited from this MS in Sabol, No. 46
Dramatic Works, I, 338. Lefkowitz, pp. 134-5. Gibbs, p. 221.
pp. 42-3
• DaW 116: Sir William Davenant, The Triumphs of the Prince d'Amour. Song (‘The furious steed, the Phyph and Drum’)
Copy of the songs of valediction and final chorus sung by the Priests of Mars, Venus and Apollo, here beginning ‘The angry steed...’, in a musical setting by William Lawes (d.1645).
Edited from this MS in Sabol, No. 47, and in Lefkowitz, pp. 150-69; recorded in Gibbs, p. 446.
Dramatic Works, I, 339. Lefkowitz, pp. 135-6. Gibbs, pp. 221-2.
p. 107
• SuJ 165: John Suckling, The Goblins, Act III, scene ii, lines 28-34. Song (‘Some drinke, what Boy, some drinke’)
Copy of the incipit of Nashorat's catch in a musical setting by William Lawes (1602-45).
This MS collated in Beaurline.
First published, with a separate title-page, in Fragmenta Aurea (London, 1646). Beaurline, Plays, pp. 121-82 (pp. 142-3).
Henry Lawes's musical setting published in John Playford, Catch that Catch Can (London, 1667).
MS Mus. Sch. C. 12-19
A set of six folio music part books of ‘Latine & English Songs...by the best Italian and English Authors’, ranging from 96 to 162 pages each. Compiled by Edward Lowe (c.1610-82), organist and composer, with further copies added by Richard Goodson (c.1655-1718), organist and composer. c.1663-77.
(i) pp. 84-5; (iii) p. 118 rev., (v) pp. 29-30; (vi), pp. 6 and 16; (vii) pp. 6 and 29; (viii) pp. 112-13
• HeR 62: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)
Copies, in a musical setting by John Blow, untitled.
First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).
MS Mus. Sch. C. 41
A folio music book, i + 49 leaves. First half of 18th century.
f. 16r
• CgW 61: William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song (‘Let Ambition fire thy mind’)
Copy of Juno's song, in an anonymous musical setting.
Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.
MS Mus. Sch. C. 95
A folio music book, ii + 262 pages. Early 18th century.
p. 116
• HeR 63: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)
Copy, in a musical setting by John Blow.
First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).
p. 226
• HeR 32: Robert Herrick, Charon and Phylomel, A Dialogue sung (‘Charon! O gentle Charon! let me wooe thee’)
Copy, in a musical setting by William Lawes.
First published in Hesperides (London, 1648). Martin, p. 248. Patrick, p. 327. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
p. 233
• CgW 67: William Congreve, The Old Batchelour, II, ix, lines 5-17. Song (‘Thus to a ripe, consenting Maid’)
Copy of the song, in a musical setting by Henry Purcell.
First published in London, 1693. Summers, I, 155-255 (p. 186). Davis, pp. 28-113 (pp. 59-60). McKenzie, I, 47-48. Musical settings of the two songs by Henry Purcell published in [first song] Joyful Cuckoldom (London, [1690s]), and [second song] Orpheus Britannicus (London, 1698). The Works of Henry Purcell, XXI (London, 1917), pp. 33-4, 35-7.
p. 237
• CgW 65: William Congreve, Love for Love, III, xv, lines 44-75. Ballad (‘A Souldier, and a Sailor’)
Copy of the ballad, in a musical setting by John Eccles.
Summers, II, 141. Davis, pp. 274. McKenzie, I, 332-3.
MS Mus. Sch. C. 96
A folio songbook, 64 leaves. Late 17th century.
ff. 5v-6r
• HeR 64: Robert Herrick, The Curse. A Song (‘Goe perjur'd man. and if thou ere return’)
Copy in a musical setting by John Blow, untitled.
First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).
ff. 6v-7r
• MaA 7: Andrew Marvell, A Dialogue between Thyrsis and Dorinda (‘When Death, shall part us from these Kids’)
Copy in a musical setting by Matthew Locke.
Locke's setting published in John Playford, Choice Ayres (London, 1675), pp. 80-4.
First published, in a musical setting by John Gamble, in his Ayres and Dialogues (London, 1659). Miscellaneous Poems (London, 1681). Margoliouth, I, 19-21. Lord, pp. 261-2, as of doubtful authorship. Smith pp. 244-5. The authorship doubted and discussed in Chernaik, pp. 207-8.
MS Mus. Sch. C. 122
A composite series of copies of Cowley's verses, in a musical setting by John Blow, as the Act song at Oxford for 1679, copied seven times for different vocal parts, 45 folio leaves (irregularly paginated and foliated), in modern boards. c.1679.
CoA 57.4: Abraham Cowley, Davideis, Book III, Song (‘Awake, awake my Lyre’)
Waller, I, 344. Sparrow, pp. 191-2.
Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).
MS Mus. Sch. C. 142
Copy, in a musical setting by John Wilson, used as an Oxford Act Song, i + 32 folio leaves. c.1660s.
JnB 325: Ben Jonson, The Musicall strife. In a Pastorall Dialogue (‘Come, with our Voyces, let us warre’)
First published in The Vnder-wood (iii) in Workes (London, 1640). Herford & Simpson, VIII, 143-4.
MS Mus. Sch. C. 145
A folio music part book, 46 leaves. c.1670s.
ff. 2r-8r
• DrM 16: Michael Drayton, The Cryer (‘Good Folke, for Gold or Hyre’)
Copy, in a musical setting by Henry Bowman (fl.1674-80), composer and music copyist.
First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 371.
MS Mus. Sch. D. 247
A large quarto music part book, 102 leaves. Mid-17th century.
Part of a set of ten volumes, once owned by one John Merro and, in 1673, by one William Iles, who gave them to John Fell (1625-86), Dean of Christ Church and Bishop of Oxford, for ‘the vse of the publicke Musicke Scoole’.
f. 55av
• CmT 31: Thomas Campion, ‘Fire, fire, fire, fire!’
Copy of the first strophe, in a musical setting by Nicholas Lanier.
First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xx. Davis, p. 156-8. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 2.
MS Mus. Sch. E. 423
An oblong quarto countertenor music part book, ii + 322 pages, in contemporary vellum. c.1570s-80s.
‘I. P.’ on the cover.
p. 1
• DyE 96: Sir Edward Dyer, ‘Oh that most rare brest, chrystalin syncere’
Copy of the incipit, in a musical setting by William Byrd.
First published in William Byrd, Psalmes, Sonets & Songs (London, 1588). May, Courtier Poets, p. 311. EV 17616.
p. 48
• DyE 38: Sir Edward Dyer, ‘My mynde to me a kyngdome is’
Copy of the incipit, in a musical setting by William Byrd (1539/43-1623), composer.
First published, as two poems (one comprising stanzas 1-4, 6 and 8. the other stanzas 9-12) in a musical setting, in William Byrd, Psalmes, Sonets & Songs (London, 1588). Sargent, No. XIV, pp. 200-1. The uncertain authorship of this poem and its textual history are discussed in Steven W. May, ‘The Authorship of “My mind to me a kingdom is”’, RES, NS 26 (1975), 385-94. EV 15376.
MS Mus. Sch. E. 451
An oblong quarto songbook, written from both ends, ii + 384 pages (including blanks), in contemporary vellum. Compiled by Edward Lowe (c.1610-82), organist and composer. Mid-late-17th century.
pp. 26-72, 336
• SaG 16: George Sandys, A Paraphrase upon the Psalms of David (‘That man is truly bless'd who never strays’)
Copy of 28 Psalms, in musical settings: namely, in an irregular sequence, Psalms 2, 5, 26, 31, 38, 54, 57, 60, 67, 120, 136, 142 set by Henry lawes (1596-1662); Psalms 6, 22, 42, 47, 63, 68, 92, 95, 98, 123, 125, 129, 130, 141, 149, 150 set by William Lawes (1602-45); the first stanza of Psalm 134 set by Edward Lowe.
First published in London, 1636. Hooper, I, 91-195; II, 195-310.
Some of Henry Lawes's musical settings published in A Paraphrase upon the Divine Poems (London, 1638). Musical settings by Henry and William Lawes also published in Choice Psalmes Put into Musick for Three Voices (London, 1648).
p. 66
• SaG 32: George Sandys, A Paraphrase upon the Songs Collected out of the Old and New Testaments (‘The praise of our triumphant King’)
Copy of the first stanza of Isaiah XXXVIII, beginning ‘In the substraction of my yeares’, in a musical setting by William Lawes.
First published with A Paraphrase upon the Psalms of David (London, 1636). Hooper, II, 373-402.
p. 335
• HeR 230: Robert Herrick, To the Virgins, to make much of Time (‘Gather ye Rose-budd while ye may’)
Copy of the first two lines, in a three-part musical setting by William Lawes, untitled.
First published in The Academy of Complements (London, 1646). Hesperides (London, 1648). Martin, p. 84. Patrick, pp. 117-18. Musical setting by William Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
MS Mus. Sch. F. 17-19
Music part books.
F. 19, fol. 50v
• NaT 7.4: Thomas Nashe, ‘Monsieur Mingo for quaffing doth surpass’
Copy of the refrain of Silence's song, beginning ‘Do me right’, in a musical setting.
Discussed in John P. Cutts, ‘The Original Music of a Song in 2 Henry IV’, SQ, 7 (1956), 385-92, and in Frederick W. Sternfeld, ‘Lasso's Music for Shakespeare's “Samingo”’, SQ, 9 (1958), 105-16.
First published, as ‘The Song’, in Nashe's ‘Pleasant Comedie’ Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.
MS Mus. Sch. F. 572
An oblong quarto music book, 156 pages (some leaves excised). Late 17th century.
p. 76
• RoJ 424: John Wilmot, Second Earl of Rochester, Song (‘Phyllis, be gentler, I advise’)
Copy, with a musical setting, untitled.
First published in Poems on Several Occasions (‘Antwerp’, 1680). Vieth, p. 32. Walker, p. 36. Love, pp. 19-20.
MS Mus. Sch. F. 575
An oblong quarto music book, 95 leaves (ff. 32r-75v blank), in contemporary calf. Mid-late 17th century.
No. 7 of a set of ten volumes, owned in 1673 by one William Iles (friend of Izaak Walton), who sent them to John Fell (1625-86), Dean of Christ Church and Bishop of Oxford, for ‘ye vse of the publicke musicke Scoole’.
Complete facsimile in Jorgens, Vol. 6 (1987).
f. 7v
• B&F 119: Francis Beaumont and John Fletcher, The Nice Valour, III, iii, 36-4. Song (‘Hence, all you vain delights’)
Copy, in a musical setting, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 106-7 (collated pp. 186-8).
Bowers, VII, 468-9. This song first published in A Description of the King and Queene of Fayries (London, 1634). Thomas Middleton, The Collected Works, general editors Gary Taylor and John Lavagnino (Oxford, 2007), pp. 1698-9.
For William Strode's answer to this song (which has sometimes led to both songs being attributed to Strode) see StW 641-663.
f. 8v
• DnJ 1213: John Donne, The Expiration (‘So, so, breake off this last lamenting kisse’)
Copy of lines 1-6, in a musical setting.
Edited from this MS in Gardner, pp. 242-3. Recorded in Shawcross.
First published, in a musical setting, in Alfonso Ferrabosco, Ayres (London, 1609). Poems (1633). Grierson, I, 68. Gardner, Elegies, pp. 36-7. Shawcross, No. 75.
f. 9v
• StW 1375: William Strode, Upon the blush of a faire Ladie (‘Stay, lustie bloud, where canst thou seeke’)
Copy, in a musical setting, untitled.
This MS recorded in Forey.
First published in Wit Restor'd (London, 1658). Dobell, pp. 39-40. Listed, without text, in Forey, p. 339.
MS Mus. Sch. G. 632
An oblong octavo music part book (tenor), 63 leaves. c.1680-1750.
Once owned by Thomas and Mary Withen.
f. 1v
• RnT 179.2: Thomas Randolph, Necessary observations (‘First worship God, he that forgets to pray’)
Extract, from the first precept. Late 17th century.
First published in Poems (1638). Thorn-Drury, pp. 57-66.
f. 62r
• CmT 66: Thomas Campion, ‘Never weather-beaten Saile more willing bent to shore’
Copy, in a musical setting.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book I, No. xi. Davis, pp. 70-1.
MS Mus. Sch. G. 640
An oblong quarto music book, 39 leaves. Used apparently from 1673 by one Elizabeth Henthorne, who ‘Aprell the 9: 1700: began to learn the flute’. c.1670s-80s.
ff. 31v-30v rev.
• PsK 581: Katherine Philips, Pompey. A Tragedy, Act IV, scene v. Song (‘Proud Monuments of Royal Dust’)
Copy of the song, in an anonymous musical setting.
This MS briefly discussed, with facsimiles, in Hageman & Sununu, EMS, 4 (1993), pp. 196-7.
Saintsbury, p. 612. Thomas, I, 245-6, poem 121. Thomas, III, pp. 72-3. This song originally set to music by ‘Le Grand a Frenchman.’
f. 39r rev.
• LeN 15: Nathaniel Lee, Theodosius: or, The Force of Love, Song after the First Act (‘Now, now the Fight's done, and the great God of War’)
Copy of the song, in a musical setting by Henry Purcell.
Stroup & Cooke, II, 251.
MS Tenbury 1018
A folio volume of songs, madrigals and motets, 48 leaves, the leaves now mounted with other MSS (1015-1019) in a double-folio guardbook. Early 17th century.
Formerly at St Michael's College, Tenbury Wells.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 6 (New York & London, 1987).
f. 10r
• BrN 26: Nicholas Breton, The complaint of one being in love (‘Leaue me O life, the prison of my minde’)
Copy in a musical setting, untitled.
Edited from this MS in John P. Cutts, ‘The Strange Fortunes of Two Excellent Princes and The Arbor of Amorous Deuises’, RN, 15 (1962), 2-11 (pp. 9-10).
First published in The Arbor of Amorous Deuises (London, 1597), <No. 10>. Grosart, I (d), p. 6. Authorship unknown.
f. 12r
• DaS 52: Samuel Daniel, Hymens Triumph. III, v, 1338-43. Song (‘From the Temple to the Boord’)
Copy of the rural marriage song in a musical setting.
Edited from this MS in John P. Cutts, ‘Early Seventeenth-Century Lyrics at St. Michael's College’, M&L, 37 (1956), 221-33 (p. 255).
Grosart, III, 378.
f. 12r
• WiG 1: George Wither, The Author's Resolution in a Sonnet (‘Shall I wasting in despair’)
Copy in a musical setting.
First published in Fidelia (London, 1615). Sidgwick, I, 138-9. A version, as ‘Sonnet 4’, in Faire-Virtue, the Mistresse of Phil'Arete, generally bound with Juvenilia (London, 1622). Spenser Society No. 11 (1871), pp. 854-5. Sidgwick, II, 124-6.
For the ‘answer’ attributed to Ben Jonson, but perhaps by Richard Johnson, see Sidgwick, I, 145-8, and Ben Jonson, ed. C.H. Herford and Percy & Evelyn Simpson, VIII (Oxford, 1947), 439-43. MS versions of Wither's poem vary in length.
f. 31r
• JnB 314: Ben Jonson, A Hymne to God the Father (‘Heare mee, O God!’)
Copy in a musical setting by Alfonso Ferrabosco.
This MS collated in John P. Cutts, ‘Early Seventeenth-Century Lyrics at St. Michael's College’, M&L, 37 (1956), 221-33 (pp. 225-6).
First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.
f. 36r
• JnB 688: Ben Jonson, Oberon, The Fairy Prince, lines 396-406. Song (‘Nay, nay, You must not stay’)
Copy in a musical setting by Alfonso Ferrabosco.
This MS collated in John P. Cutts, ‘Le rôle de la musique dans les masques de Ben Jonson’, Les fêtes de la Renaissance, ed. Jean Jacquot, I (Paris, 1956), 285-303 (p. 300). Edited in Sabol, 400 Songs & Dances, No. 15. Facsimile in Jorgens, VI.
First published in Workes (London, 1616). Herford & Simpson, VII, 337-56.
ff. 36v-7v
• JnB 679: Ben Jonson, Love Freed from Ignorance and Folly, lines 338-42. Song (‘O What a fault, nay, what a sinne’)
Copy, with an additional stanza, in a musical setting by Alfonso Ferrabosco.
This MS collated in John P. Cutts, ‘Early Seventeenth-Century Lyrics at St. Michael's College’, M&L, 37 (1956), 221-33 (p. 227). Edited in Sabol, 400 Songs & Dances, No. 17. Facsimile in Jorgens, VI.
First published in Workes (London, 1616). Herford & Simpson, VII, 357-71.
ff. 37v-8r
• JnB 689: Ben Jonson, Oberon, The Fairy Prince, lines 425-32. Song (‘Gentle knights, Knowe some measure of your nights’)
Copy in a musical setting by Alfonso Ferrabosco.
Edited from this MS in Cutts, op. cit., 1. 298-9. Edited in Sabol, No. 16. Facsimile in Jorgens, VI.
f. 44v
• DnJ 3025: John Donne, Song (‘Sweetest love, I do not goe’)
Copy of a version, here beginning ‘Deerest loue I doe not goe’, in a musical setting.
Edited from this MS in Gardner, p. 240, and in Shawcross, p. 100.
First published in Poems (1633). Grierson, I, 18-19. Gardner, Elegies, pp. 31-2. Shawcross, No. 42.
f. 46r
• CmT 249: Thomas Campion, The Lords' Masque. Song (‘Wooe her, and win her, he that can’)
Copy in a musical setting.
First published together with A Relation of the Late Royall Entertainment given By The Right Honorable The Lord Knowles (London, 1613). Davis, pp. 249-62 (p. 257). Also edited, with illustrations of costume designs [?], in Stephen Orgel and Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (University of California Press, 1973), I, 240-52.
f. 47r
• DaS 10: Samuel Daniel, Delia. Sonnet XXII (‘Time, cruell time, come and subdue that Brow’)
Copy, with additional verses, in a musical setting.
This MS recorded in John P. Cutts, ‘Early Seventeenth-Century Lyrics at St. Michael's College’, M&L, 37 (1956), 221-33 (pp. 229-30), and collated in Doughtie, p. 551.
This sonnet first published, in Delia, in Works (London, 1601). John Daniel, Songs (London, 1606). Grosart, I, 52. Sprague, p. 177. Doughtie, Lyrics from English Airs, p. 264.
MS Tenbury 1019
A folio songbook, i + 6 leaves, now mounted with other MSS (1015-1019) in a double-folio guardbook. Early 17th century.
Formerly at St Michael's College, Tenbury Wells.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 6 (New York & London, 1987).
f. 1r
• NaT 15: Thomas Nashe, Verses from ‘Astrophel and Stella’ (‘If flouds of teares could clense my follies past’)
Copy of a four-stanza version in a musical setting.
This MS collated in Doughtie, pp. 480-2.
First published in ‘Poems and Sonets of sundrie other Noble men and Gentlemen’ appended to Sir Philip Sidney, Astrophel and Stella (London, 1591). McKerrow, III, 396 (in poems of doubtful authorship). Doughtie, Lyrics from English Airs, pp. 104-5.
f. 1v
• DnJ 2321: John Donne, The Message (‘Send home my long strayd eyes to mee’)
Copy of the first stanza in a musical setting by Giovanni Coperario.
Edited from this MS in Gardner, p. 241, and in Shawcross, p. 81.
First published in Poems (1633). Grierson, I, 43. Gardner, Elegies, pp. 30-1. Shawcross, No. 25.
f. 3r
• DrM 39: Michael Drayton, ‘If the deep sighs of an afflicted breast’
Copy in a musical setting by John Ward.
This MS collated in John P. Cutts, ‘Early Seventeenth-Century Lyrics at St. Michael's College’, M&L, 37 (1956), 221-33 (p. 232).
First published in John Ward, First Set of English Madrigals (London, 1613), xxiii-xxiv. First attributed to Drayton in Thomas Oliphant, La Musa Madrigalesca (London, 1837), p. 286. English Madrigal Verse 1588-1632, ed. E.H. Fellowes et al., 3rd edition (Oxford, 1967), pp. 270-1.
f. 6v
• BrW 256: William Browne of Tavistock, The Inner Temple Masque, i, 1-10. Song (‘Steer hither, steer, your winged pines’)
Copy of the Siren's song in a musical setting possibly by Robert Johnson.
Edited from this MS in John Cutts, ‘Original Music to Browne's Inner Temple Masque, and other Jacobean Masque Music’, N&Q, 199 (May 1954), 194-5.
MSS Tenbury 1163-1167
A set of five quarto music part books (Altus, Tenor, Bassus, Quintus, Sextus), the last comprising 29 pages, the others ranging from 137 to 161 pages each, each in contemporary calf gilt (rebacked). First half 17th century.
Formerly at St Michael's College, Tenbury Wells, Worcestershire.
(i) pp. 80-1; (ii) pp. 64-5; (iii) pp. 80-1; (iv) pp. 56-7
• RaW 202: Sir Walter Ralegh, ‘Now we have present made’
Copies in a musical setting.
This MS collated in Oakeshott, The Queen and the Poet, pp. 205-6.
First published in Walter Oakeshott, ‘An Unknown Ralegh MS’, The Times (29 November 1952), p. 7. Rudick, No. 23, pp. 46-7.
MS Tenbury 1175
A large folio music book of works chiefly by Henry Purcell, v + 391 pages, in modern half-black morocco. A number of items ‘Transcrib'd from the Original Score 1680’. c.1700s.
Bookplates of William Hawes, 1841, and Edmund T. Warren Horne.
pp. 297-301
• SaG 13: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)
Copy of Chapter XIV in a musical setting by Henry Purcell, transcribed from SaG 14.
This MS recorded in Zimmerman.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.
pp. 302-5
• SaG 9: George Sandys, A Paraphrase upon Job (‘In Hus, a land which near the sun's uprise’)
Copy of Chapter X in a musical setting by Henry Purcell, transcribed from SaG 10.
This MS recorded in Zimmerman.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.