List of Sources

MANUSCRIPTS

Great Britain

Cambridge, Fitzwilliam Museum, Mus. 734

Cambridge, Magdalene College, Pepys Library, MS 2591

Cambridge, Magdalene College, Pepys Library, MS 2803

Carlisle Cathedral, Dean and Chapter Library, MSS Box B1

Edinburgh, University Library, Main Library, MS La.III.483 (JnB 35)

University of Edinburgh, Centre for Research Collections, Mus. m. 1 (formerly Reid Music Library, P637 R787.1)

Glasgow, Euing Music Library, MSS R.d.58–61

Glasgow, Euing Music Library, MS R.d.94

London, British Library, Add. MS 10444

London, British Library, Add. MS 11608

London, British Library, Add. MS 15117 (JnB 17)

London, British Library, Add. MSS 17786–91

London, British Library, Add. MS 24665

London, British Library, Add. MS 29386

London, British Library, Add. MS 29396

London, British Library, Add. MS 29481

London, British Library, Add. MS 31432

London, British Library, Add. MS 31806

London, British Library, Add. MS 31815

London, British Library, Add. MS 53723

London, British Library, Add. MS 56279

London, British Library, MS Egerton 2013

London, British Library, MS Egerton 3665

London, Royal College of Music, II.c. 15

London, Royal Academy of Music, MS 603

Oxford, Bodleian Library, Don.c.57

Oxford, Bodleian Library, MS Mus. Sch. C.142 (JnB 325)

Oxford, Bodleian Library, MS Mus.b.1 (JnB 718)

Oxford, Bodleian Library, Tenbury MS 1018

Oxford, Christ Church, Mus. 44

Oxford, Christ Church, Mus. 87

Oxford, Christ Church, Mus. 439

Oxford, Christ Church, Mus. 736–8

Ireland

Dublin, Trinity College, MS 412

United States of America

Los Angeles, University of California at Los Angeles, William Andrews, Clark Memorial Library C6967M4

New York, New York Public Library, Drexel MS 4041

New York, New York Public Library, Drexel MS 4175

New York, New York Public Library, Drexel MS 4257

PRINTED BOOKS

Dowland, J. (1597), The First Book of Songs and Ayres

Rosseter, P. [and T. Campion], (1601), A Book of Ayres

Youll, H. (1608), Canzonets to Three Voices

Ferrabosco II, A. (1609), Ayres

Dowland, R. (1610), Variety of Lute-Lessons

Brade, W. (1617), Newe ausserlesene liebliche Branden (Hamburg and Lübeck)

Peerson, M. (1620), Private Music, or the First Book of Ayres and Dialogues

Adson, J. (1621), Courtly Masquing Ayres

Simpson, T. (1621), Taffel-Consort (Hamburg)

Starter, J. J. (1621), Friesche Lust-Hof (Amsterdam)

Playford, J. (1651), The English Dancing Master

(1652), Select Musical Ayres and Dialogues

(1653), Select Musical Ayres and Dialogues

Lawes, H. (1655), The Second Book of Ayres and Dialogues

Playford, J. (1659), Select Ayres and Dialogues

Hilton,J. (1667), Catch that Catch can: or The Musical Companion

Lawes, H. (1669), The Treasury of Music, 2 vols.

Playford, J. (1672), An Introduction to the Skill of Music

(1673), The Musical Companion

D’Urfey, T. (1719), Wit and Mirth

Andrews, Mr ([c. 1730?]), Drink to me only with thine Eyes

Anon. ([c. 1730?]), To Celia, A Song

Oswald, J. ([c. 1762?]), The Thirsty Lover

Anon. [?Henry Harington] ([c. 1780?]), Drink to me only with thine eyes

Linley, T. (c. 1800), The Posthumous Vocal Works

SOURCE DESCRIPTIONS

MANUSCRIPTS

GREAT BRITAIN

Cambridge, Fitzwilliam Museum, Mus. 734 (formerly 24.E.13–17). Five early seventeenth-century quarto partbooks from an original set of six, in their original calf bindings with the arms of James I impressed on the sides and lettered C[anto], A[lto], Q[uinto], S[est], and B[asso] respectively. The Tenor book has been lost since at least 1849 when the set was auctioned by Puttick and Simpson (lot 549) as part of the library of the impresario and writer William Ayrton (1777–1858). The set as it now stands was purchased from Maggs by the Fitzwilliam Museum in December 1917. It seems that the set was begun for use by royal musicians during the reign of James I, and that it continued to be used and added to after the Restoration.

The second sequence includes arrangements of three dances tentatively associated with two of Jonson’s masques. Mus. 734 is a primary source for the first main masque dance (M.6.3 (Full score   , MIDI   )) from The Masque of Queens (1609), and for two of the main masque dances from Oberon (1611) (M.7.4(b) (Full score   , MIDI   ) andM.7.6(b) (Full score   , MIDI   )). The six-part, two-treble scoring of the dances indicates that they are for wind band (the royal violin band at this time played music scored for five parts, with a single treble line).

Cambridge, Magdalene College, Pepys Library, MS 2591. Manuscript volume of ‘Songs & other Compositions Light, Grave, & Sacred, for a Single Voice. Adjusted to the particular compass of mine; with a Thorough-Base on y^e Ghitarr by Cesare Morelli’. The volume contains songs, arranged for bass voice, guitar (in tablature), and figured bass, by Cesare Morelli for Samuel Pepys. It is written in Morelli’s distinctive, large hand, and contains songs of various types and languages (e.g. ‘Beauty retire’, ‘Amanti, fuggite’, ‘Les cocus sont bons’, ‘To be or not to be’ (recitative setting), and most of the choral parts of The Book of Common Prayer). The volume is handsomely bound in black morocco, partly blind-tooled and partly in gilt tooling and red morocco inlaid. There is a ‘Table’ of contents, which lists all but two songs (one in Latin, the other in Spanish) which were later added to the volume. The volume is dated 1693, although this is likely to refer to the binding date. Morelli left England in 1682, and the manuscript appears to have been compiled c. 1680.

Morelli (fl . late 1660s–86) was an Italian singer, lutenist, and composer of Flemish origin (see Grove Music Online). He entered the service of Pepys in 1675, arriving in London in April of that year. The appointment came about through the recommendation of the merchant Thomas Hill, a friend of Pepys, who had encountered Morelli in Lisbon. Morelli remained in England until his return to Flanders in 1682, though his Catholicism forced him to spend much of his time away from London. Morelli taught Pepys to play the guitar, and in 1680 published a tutor, A Table to the Guitar. He is last heard of in 1686 asking Pepys to secure him a place in James II’s chapel. Morelli copied a large number of songs for Pepys (including some of his own compositions), arranged for his bass voice and set to a simple guitar accompaniment. They survive in four manuscripts, now in the Pepys Library: MSS 2591, 2802, 2803, and 2804.

MS 2591 includes Pepys’s quasi-recitative setting of the first soliloquy from Catiline: His Conspiracy (P.6.1/1 (Full score   , MIDI   )). According to his diary, the setting was composed over several months in 1666. In December of the same year, the court musician and composer, John Hingeston (d. 1683), added a bass to Pepys’s vocal line. The simple, chordal guitar accompaniment was added by Morelli.

Cambridge, Magdalene College, Pepys Library, MS 2803. Manuscript containing songs, arranged for bass voice, guitar (in tablature), and figured bass, by Cesare Morelli (fl . late 1660s–86) for Samuel Pepys. Copied c. 1680, the manuscript is bound with an edition of Pietro Reggio’s Songs set by Signior Pietro Reggio (1680). Pepys also had Morelli transpose the songs from Reggio’s book from soprano to bass to suit his (bass) vocal range (MS 2804). MS 2803 includes a setting by Morelli (P.6.1/2 (Full score   , MIDI   )) of the first soliloquy from Catiline: His Conspiracy, probably composed c. 1680. Pepys had also made a setting of the same text (P.6.1/1 (Full score   , MIDI   )); it seems that he had Morelli compose his own arrangements of Pepys’s favorite verses.

Carlisle Cathedral, Dean and Chapter Library, MSS Box B1 (Bishop Smith’s Partsong Books). Two partbooks (Altus/Triplex and Bassus) of an original set of three, known as ‘Bishop Smith’s Partsong Books’. A note inside the front covers reads ‘Thomas Smith Jan: 8. An: 1637’, although some of the music is much earlier. ‘Roger Smith, his Booke’ is inscribed in the Bassus book, in an earlier hand. The manuscript is mostly in the hand of Thomas Smith (1614–1701). In 1637 he was a Fellow and Tutor at Queen’s College, Oxford. He later became Canon (1660), Dean (1671), and Bishop of Carlisle (1684–1701). Nothing is known of the manuscript’s subsequent whereabouts until the early twentieth century, when it came into the possession of James Walter Brown. He received it in February 1917 from the widow of a friend who had found it among her late husband’s possessions. Brown recalled that his friend had claimed to have bought the manuscript at a book-stall, probably in Edinburgh. He first described the manuscript in two articles in the 1920s, and had intended it to be housed in the Bodleian Library: they remain in the Cathedral Library at Carlisle.

The partbooks contain two voices of 73 part-songs, mainly in English including a partsong cycle by Richard Nicholson (c. 1570–1639), first Heather Professor of Music, Oxford, and pieces composed upon the death of Prince Henry in 1612. Composers represented are John Bennett, William Byrd, William Child, Richard Dering, Michael Este, Alfonso Ferrabosco II, Nicholas Lanier, Henry Lawes, Thomas Morley, Richard Nicholson, Martin Peerson, Arthur Phillips, Thomas Weelkes, and John Wilbye (for inventory, see Cutts, 1972). Each partbook also includes some songs for treble and bass, set out in choir-book layout on facing pages. At the end of the Bassus book there are also some scales and exercises for bass viol and for voice, suggesting that the manuscript had a pedagogical function. The manuscript is a unique source for Alfonso Ferrabosco II’s setting of the poem ‘The Hourglass’ (N.3.5 (Full score   , MIDI   )). The setting is incomplete, lacking one part, and pre-dates the publication of the poem in The Underwood by at least 15 years.

Edinburgh, University Library, Main Library, MS La.III.483 (JnB 35). Three partbooks (Cantus, Tenor, and Bassus) from an original set of five, bound as a single volume. Known as the ‘St Andrews Psalter’, the books were compiled c.1562/66–90 by Thomas Wode (d. 1592), a vicar of St Andrews. Two complete copies of his partbooks were made. The sets are now housed in libraries in Ireland, the UK, and in the United States: Dublin (Trinity College; Quintus); Edinburgh (University Library; both Cantus and Bassus books, and one of the Tenors); London (British Library; Altus); and Georgetown (University Library; duplicate Altus). Two volumes are lost (duplicate Tenor and Quintus). The partbooks primarily comprise sacred songs and instrumental pieces (for complete inventory and transcriptions, see Hutchison, 1957). The Bassus manuscript of the set contains the bass part for a highly ornamented setting of ‘Have you seen but a white lily grow’ (P.8.1(e) (Full score   , MIDI   )) from The Devil Is an Ass (1616). The corresponding treble part is found in IRL-Dublin, Trinity College, MS 412. This is one of many lute-songs and catches added to MS 412 and MS LA.III.483 by a second scribe in the 1620s or 1630s (though not all of the bass parts were copied). The lute-songs are primarily by Thomas Campion and Robert Jones, and several of the catches were printed in Pammelia (1609).

University of Edinburgh, Centre for Research Collections, Mus. m. 1 (formerly Reid Music Library, P637 R787.1) (Magdalen Cockburn MS). Upright folio manuscript collection of vocal and instrumental music, probably copied c. 1671. Seventeenth-century brown leather binding, with blind-tooled borders, stamped on front and rear, in gilt tooling, ‘I F’. There appear to be two paper types in the manuscript, both typical of post-Restoration manuscripts: a seven-point foolscap watermark countermarked ‘P B’, and a slightly smaller seven-point foolscap with no countermark. The manuscript contains different rulings, which supporting the suggestion that it was copied, at least partly, before binding (see Stell, 1999). On the inside front board is the inscription, ‘magdalen cockburn Iohn’. The book was evidently owned by the Carre family by the early eighteenth century: the bookplate of ‘Mr George Carre Advocate’ is pasted on the inside of the front board. Evelyn Stell has suggested that the bookplate dates from the nineteenth or twentieth centuries, but it is more likely to date to the early eighteenth. The rear inside board is crudely inscribed ‘I F 1671’ and also features a bookplate indicating the book’s purchase by the Reid Music Library in 1947. The manuscript was compiled by no fewer than three copyists. Stell identified the lyra-viol copyist as that found in several of the Panmure manuscripts. She further suggests that the book or part of it was re-bound for ‘I F’ in 1671; however, among the lyra-viol pieces there is an arrangement of Matthew Locke’s ‘Macbeth’ tune, which dates from the late 1660s.

Much of the manuscript consists of solo lyra-viol music in tablature by anon., John Esto, Mr [Thomas?] Gregory, John Grome, George Hudson, Simon Ives, John Jenkins, John Lillie, Matthew Locke, John Moss, Christopher Simpson, and William Young: much of this dates to the 1650s and 1660s. The lyra-viol music is followed by keyboard arrangements of music, some attributed to Louis Grabu, others incomplete and unattributed. At the end of the manuscript there are eight unattributed songs for (treble) voice and bass, including William Lawes’s popular settings of Robert Herrick’s ‘Gather ye Rosebuds’ and ‘O my Clarissa’ (both probably copied from John Playford’s printed collections), a setting (possibly by William Lawes) of Thomas Carew’s poem ‘Secrecy Protested’, and ‘How cool and temp’rate am I grown’ by Henry Lawes. The sequence also includes, and is the copy-text for, a setting of ‘Have you seen but a white lily grow’ (P.8.1(b) (Full score   , MIDI   )) from The Devil Is an Ass (1616). All of the songs in this sequence date from the period c. 1616–40, though were copied much later.

Glasgow, Euing Music Library, MSS R.d.58–61 (Playford’s Musical Companion autograph). Four duodecimo partbooks in vellum covers, containing 108 partsongs (for two, three, and four voices), dialogues and catches mostly in the hand of John Playford (d. 1686/7), copied c. 1657–62. Each partbook bears his initials, ‘I. P.’, on the cover. According to a note in the Cantus Secundus book, the set was later owned by the Church of England clergyman and musician James Clifford (d. 1698) who ‘bought this sett of musick books of Mr Rich. price’s widow Mrs Dorothy Price for 7s.-6d’; Clifford also dated the inscription ‘Decemi. 30.1674’. The set were acquired by the Glasgow University Library in December 1936, when they were transferred from the Royal Technical College (formerly Anderson’s College). This was one of a number of manuscripts bequeathed to the College by the Glasgow insurance broker William Euing (1788–1874) upon his death, now designated the Euing music collection (see the website of the Special Collections department at Glasgow University Library, <http://special.lib.gla.ac.uk>). It is not known when or how Euing acquired the Playford partbooks.

Glasgow, Euing Music Library, MS R.d.94. Oblong folio manuscript, in the hand of the organist and composer Richard John Samuel Stevens (1757–1837). Stevens used the first ruled page before p. 1 as a title-page: ‘Catches and Glees / Composed by / R. J. S. Stevens’, above which he signed ‘RJS Stevens / Charterhouse / 1796’. The manuscript contains 58 catches and glees for three, four, and five voices (all by Stevens), setting various authors including Anon., Francis Beaumont, Abraham Cowley, John Fletcher, J. Haylock, Ben Jonson, John Milton, Alexander Pope, Shakespeare, and William Shenstone. It is clearly a fair copy collection, and over 30 of the pieces were published between 1789 and 1808. Many pieces in the manuscript include revisions by Stevens, as well as his retrospective comments on composition and publication dates, and performers etc. Comments are included with the pieces; the ‘Index’ (at the front of the manuscript) also gives details of publications. Much of the information given in the manuscript about dates of publication and revisions are corroborated in his ‘Recollections’ (written in between 1808 and 1828), and could be used to corroborate or expand upon some the information given in the recollections. The manuscript is the unique source for a five part setting lines from Jonson’s ‘Epitaph on Elizabeth L. H.’ (N.1.1 (Full score   , MIDI   )), from the Epigrams (1616). Stevens begins with the third line of the poem, ‘Underneath this stone’ (pp. 39–41), and introduces a number of textual variants. The setting has been crossed-out (with a large X through each stave, though the music is still entirely legible), with the following note at the end (p. 41): ‘Reset Page 51. / Vol. 1’. The implication is that it was transferred to another manuscript, possibly with revisions. The identity of that manuscript is unknown.

MS R.d.94 was acquired by the Glasgow University Library in December 1936, when it was transferred from the Royal Technical College (formerly Anderson’s College). It was one of a number of manuscripts bequeathed to the College by the Glasgow insurance broker William Euing (1788–1874) upon his death, now designated the Euing music collection (see the website of the Special Collections department at Glasgow University Library <http://special.lib.gla.ac.uk>). It is not known when or how Euing acquired the manuscript.

London, British Library, Add. MS 10444. Small oblong quarto guardbook comprising two distinct collections of two-part music (tune and bass). The first contains Jacobean masque dances, copied c. 1625; the second contains suites 1–3 and 6–8 from Matthew Locke’s ‘Consort for Several Friends’, copied c. 1650s? Now in modern British Library bindings, it is bound with Add. MS 10445, which contains music (also in two parts) by John Coprario, John Jenkins, William Lawes, Mathew Locke, and Jean-Baptiste Lully. The music historian, Charles Burney (1726–1814) owned both manuscripts in the eighteenth century (he annotated Add. 10445, fol. 40). They were acquired by the British Museum in 1836. Despite some arguments to the contrary, there is little evidence to suggest that Burney did not simply bundle together the earlier (Jacobean period) masque music with the later music (which dates from the 1630s, 1640s, 1660s, and 1680s). The surviving two-part format of the masque music represents only an outline of the original scoring, which was typically in five parts with a single treble line. They are, however, complete in that they represent how they would have been composed. The outer parts were composed first, and the task of compiling the inner parts usually fell to a second person (for a detailed discussion of the process, see Holman, 1993, 186–96). The treble parts of the masque dances were copied by Sir Nicholas le Strange (1603–55); the identity of the bass part copyist is unknown. Add. 10444 is one of the most important sources of the masque dance repertory, and much ink has been spilt by musicologists and literary scholars attempting to establish connections between the dances and their original context simply by relating titles. In this edition 18 items from Add. 10444 have been tentatively connected with six Jonsonian masques. The manuscript is a secondary source for M.3.1–4 (Full score   , MIDI   ) from Hymenaei (1606); a secondary source for M.6.1(a) (Full score   , MIDI   ) and the copy-text for M.6.2 from The Masque of Queens (1609); a secondary source for M.7.2 (Full score   , MIDI   ), M.7.4 (Full score   , MIDI   ), M.7.6 andM.7.8 (Full score   , MIDI   ) and the unique source forM.7.3 from Oberon (1611); the unique source for M.8.1 from Love Freed From Ignorance and Folly (1611); the unique source for M.10.1–4 (Full score   , MIDI   ) from For the Honour of Wales (1618); the unique source for M.11.1 (Full score   , MIDI   ) from News from the New World Discovered in the Moon (1620); the copy-text for M.12.1 (Full score   , MIDI   ) from The Gypsies Metamorphosed (1621).

London, British Library, Add. MS 11608. Small folio manuscript containing a large collection of songs by Alfonso Balls [or Bales], Thomas Blagrave, Thomas Brewer, Thomas Campion, Charles Coleman, Richard Dering, Thomas Ford, T. G. [Thomas Gregory?], John Hilton, Thomas Holmes, Simon Ives, Robert Johnson, Nicholas Lanier, Henry Lawes, William Lawes, Robert Ramsay, and John Wilson. Almost a third of the songs are by John Hilton (d. 1657). One of the largest collections of mid-seventeenth-century English songbooks (copied c. 1640–60), Add. 11608 is especially interesting for its written-out embellishments. Three copyists are evident, one of whom is presumably Hilton himself: Hand A (?John Hilton): fos. 2–11, 15–51, and 79–86v (INV.); Hand B: fos. 11v–14v; Hand C (‘T. C.’): fos. 51v–78, and 81v–3 (INV.), it is noteworthy that Hand C added several bass lines and choruses of his own. The date 1656 is found following Hilton’s name on fos. 64 and 70, which has led some commentators to suggest that the collection was compiled during the 1650s. However, Mary Chan (1979b) has convincingly suggested that most of its contents were entered over the period from 1641 to around the time of Hilton’s death, in 1657. Chan further suggests that the volume was a collaborative effort, perhaps by a performing group with which Hilton was associated. The various additions and notes strongly suggest that the manuscript was regularly used as a performance text. Now in a modern British Library binding, a fragment of the original vellum cover is pasted onto the front flyleaf. The watermarks are of the ‘Grapes’ type. By 1760 the manuscript was owned by R. Guise of Abbey (fol. 1v is thus signed, and dated 12 February 1760): this was presumably Richard Guise (d. 1806), Gentleman of the Chapel Royal and Master of the Children at Westminster Abbey. It was acquired by the British Museum from ‘T. Thorpe’ on 17 June 1839. Thomas Thorpe (1791–1851) was a London bookseller; his shop was no. 178 Piccadilly, opposite Burlington House. Thorpe published an extensive sale catalogue of over 1,700 items in 1839, though none of the descriptions seems to match Add. 11608.

The manuscript contains several Jonsonian songs. It is a secondary source for M.5.1/1(a) (Full score   , MIDI   ) and a unique source for M.5.1/2 (Full score   , MIDI   ), both late settings of ‘Beauties, have you seen a toy’ from The Haddington Masque (1608). The first is a three-part setting by Henry Lawes (here unattributed); the second is an anonymous two-part setting. They were entered by Hand A (?Hilton) in the catches section of the manuscript. The three-part version was entered first, with the two-part version added across the top of the page. Chan has argued that the catches section was entered at around the same time as the main section of the manuscript (i.e. early 1640s). The manuscript is also the unique source for M.13.3 (Full score   , MIDI   ), a setting of ‘Do not expect to hear of all’ from The Masque of Augurs (1622), attributed to Nicholas Lanier (also copied by Hand A).

London, British Library, Add. MS 15117 (JnB 17). Small folio manuscript, apparently copied no later than 1616, containing songs for treble voice with lute accompaniment (in French tablature). The British Library online catalogue gives a date of c. 1630, presumably taken from the notes at the end of the manuscript; however, a date of c. 1616 is much more likely. The songs were entered by a single scribe. The texts are mostly in a secretary hand, with some italic writing. At the beginning of the manuscript there are several instrumental pieces in tablature, and madrigals or sacred songs arranged as solo songs. The latter part of the manuscript is comprised of solo songs: composers represented include John Dowland, Robert Jones, ‘Mr Candishe’ [?Michael Cavendish], Thomas Morley, Thomas Tallis and William Byrd. On fol. 24 there is a table of contents for Richard Allison’s Psalms of David in Meter (1599), suggesting that Add. 15117 once contained a handwritten copy of the psalms. The manuscript contains settings of texts by Sidney, Thomas Campion, and Jonson; it is also the source for the famous ‘Willow Song’ from Shakespeare’s Othello (fol. 18). There are notes of various kinds at either end of the manuscript. The names of two seventeenth-century owners are inscribed: John Swarland (fol. 1v) and Hugh Floyd (fol. 25v). In the early nineteenth century it was owned by a Thomas Dodd, from whom it was purchased by the British Museum on 13 April 1844. This was presumably the bookseller Thomas Dodd (1771–1850), who in the late 1790s supplied the infamous Shakespeare forger William Henry Ireland with flyleaves excised from old books (see ODNB). It is not clear how Dodd came to be in possession of Add. 15117. By the 1840s his fortunes were in reverse, and he was forced to take several jobs as a cataloguer: he catalogued Lord Yarborough’s collection for sale by Colnaghi; the Francis Douce collection for the Bodleian Library; Horace Walpole’s collections at Strawberry Hill for the auctioneer George Robins. The volume is in a British Museum binding, with the original vellum binding preserved at the end of the manuscript. The watermarks are of the ‘Pot’ type found in several Jacobean manuscripts.

London, British Library, Add. MSS 17786–91. Set of six oblong quarto partbooks containing vocal and instrumental music in five, six, and seven parts, mostly by English composers from the late sixteenth and early seventeenth centuries. The partbooks have strong associations with New College, Oxford, and its sister college at Winchester. The two best-represented composers of the vocal pieces are William Wigthorpe (organist of New College, 1598–1610) and Thomas Weelkes (organist of Winchester College, who received his BMus degree at New College in 1602) (see Monson, 1972). The manuscript appears to have been copied by a single scribe over a period of time – probably c. 1620–30 – which resulted in a change in some aspects of the hand. These changes can be generally observed as a move from the more formal, calligraphic hand of the earlier sections, to a less formal style in the later sections. The most notable changes between the two styles can be observed in the treble clefs and in the formation of upright single quavers. The manuscript appears to have been copied in stages: adding sets of pieces at a time, and then later adding to these sections. The watermarks are of the ‘Pot’ type (initialled ‘P O’, and ‘PB/O’), found in several Jacobean manuscripts. The set are now bound in a modern British Library binding; there is no indication of the original binding, and the leaves have been mounted. Nothing is known of the manuscript’s provenance before its purchase by the British Museum from Puttick’s on 25 June 1849 (lot 578). The set is the unique source of a five-part consort version of the highly popular ‘The First Witches’ Dance’ (M.6.1(a) (Full score   , MIDI   )) from The Masque of Queens (1609). The style of the dance is typical of antimasque dances, and it is certainly possible that the Add. 17786–91 version is (or is closely related to) the version heard in the performance of the masque.

London, British Library, Add. MS 24665 (Giles Earle’s Book). Oblong octavo songbook copied c. 1610–26, containing English and Latin songs (voice and unfigured bass) and Latin mottoes, and a mock Welsh-English song to ‘cussin Tafee’ (fol. 82v; text only). The manuscript is inscribed ‘Giles Earle his Booke / 1615’ (fol. 3), and ‘Egidius Earle heene lirium / possidet qui compaetus suit / mense Septembris./1626/’ (fol. 1); fol. 3 also contains six entries for ‘1610’. The watermarks (‘Pillars’ and ‘Grapes’, both marks from Norman mills) also indicate that the paper of the manuscript dates from the first quarter of the century. A single copyist entered the music. The otherwise unknown Giles Earle presumably entered some of the texts at either end of the volume. The manuscript consists of blank pages, on which were drawn staves (individually) as needed; a rastrum was not used, a practice which is also indicative of the earlier part of the century. The treble and bass parts are given on facing pages, suggesting that the book was used for performance. The red leather binding with gold tooling dates to the mid-nineteenth century; one of the front flyleaves has a watermark dated 1859. The manuscript was purchased by the British Museum on 17 May 1862 from the London bookseller Joseph Lilly (traded 1831–68; several other manuscripts came to the British Library via Lilly).

Although the manuscript does not contain composer attributions, many of the items can be identified as by John Dowland, Thomas Campion, John Danyel, Philip Rosseter, Robert Jones, Thomas Morley, William Byrd, Alfonso Ferrabosco II, Daniel Batchelar, and John Bartlett. Many of the songs include written-out ornaments, which are of particular interest. A table of contents is given on fos. 4v–5; however, as Elise Jorgens has noted, the contents are only accurate ‘once its “Pag” numbers are read as song numbers . . . except for its inclusion of songs that are no longer present’ (Jorgens, 1986–9, 1.v). There are several pages (and thus songs) missing: for example, the treble of no. 26 now faces the bass of no. 31; the page containing no. 33 is listed in Hughes-Hughes, 1906–9 but has since been abstracted.

   The manuscript is the unique source for P.2.1/1 (Full score   , MIDI   ), an anonymous setting of ‘If I freely may discover’ from Poetaster (1601): the only song of the play for which music has survived. Given its date, the Add. MS 24665 setting is likely to have been associated with an early performance of the play. Next to ‘If I freely may discover’ there is also a setting of ‘The Dark is my Delight’ from John Marston’s The Dutch Courtesan (1603–4). The Dutch Courtesan and Cynthia’s Revels were both written for the same company of child actors: the Children of the Chapel, or the Children of the Queen’s Revels. David Fuller (1977) has plausibly suggested that Giles Earle may have acquired a manuscript of music from the company when it disbanded around 1616. The manuscript also contains a concordance (Cantus and Bassus) for John Dowland’s popular song ‘Sleep, wayward thoughts’ (The First Book of Songs and Ayres (1597), no. 13), a snatch from which is referred to in Eastward Ho! (1605).

London, British Library, Add. MS 29386. Upright quarto manuscript (in a modern British Library binding; original binding not preserved; leaves mounted), containing glees, catches, airs, etc. (in score) by Henry Aldrich, John Blow, William Byrd, Philip Hayes, Matthew Locke, Henry Purcell, Benjamin Rogers, Henry Thames, and others. In the reverse end of the manuscript there are similar pieces as well as Italian songs and instrumental pieces (mainly minuets and gavottes) by G. F. Handel arranged for organ. The manuscript itself dates from the late eighteenth century, and was purchased by the British Museum at Puttick’s on 24 April 1873. The main copyist is Edmund Thomas Warren-Horne (c. 1730–94), secretary of the Nobleman’s and Gentleman’s Catch Club (known as the Catch Club) from its foundation in 1761 until his death. He dedicated much of his life to the collection and publication of music. His collection of glees, canons, catches and madrigals published c. 1775, A Collection of Vocal Harmony consisting of Catches, Canons and Glees never before publish'd to which are added several Motetts and Madrigals Composed by the best Masters selected by Thos. Warren, is dedicated to the Catch Club. Warren-Horne also was probably also responsible for compiling much of the contents of the six-volume collection of choral pieces The Apollonian Harmony (1795?–98?), which included many sixteenth-century madrigals as well as Thomas Augustine Arne’s setting of the Satyr’s catch from The Fairy Prince (1771), an opera largely based on Jonson’s Oberon (see the appendix to the present edition). Add. 29386 is the unique source for an anonymous setting of ‘Drink to me only with thine eyes’ (N.2.1/2 (Full score   , MIDI   )). Although the next song in the manuscript is dated ‘1751’, the setting of ‘Drink to me only’ probably dates from c. 1730 on stylistic grounds (though it was copied much later).

London, British Library, Add. MS 29396. Large folio manuscript commonplace book of Edward Lowe (c. 1610–82), compiled c. 1631–80. Lowe was organist of the Chapel Royal from 1661 until his death in 1682; at the same time he was also the Professor of Music at Oxford University, succeeding the court musician and composer John Wilson. The manuscript was partly copied by Lowe, and contains 105 English songs and dialogues by Edmund Chilmead, Pelham Humphrey, Henry Lawes, Matthew Locke, John Wilson, Michael Wise, and others. It was once owned by Eleanor Bursh, whose seal of arms is found on fol. 56. The table of contents and several annotations are by the antiquary Thomas Oliphant (d. 9 March 1873), who catalogued some of the music for the British Museum. Oliphant’s music collection was sold by Puttick and Simpson in April 1873; the British Museum acquired the manuscript on 24 April 1873 (lot 574).

The manuscript contains a catholic mixture of dialogues, partsongs, numerous theatre songs, as well as some sacred and political songs, catches, pastorals, laments, and love songs typical of the continuo song. The volume is noteworthy because of the wide chronological span of its contents. The spread of the contents suggests that Lowe entered the songs as he came upon them over a period of several decades, perhaps beginning in the 1630s; the watermarks are the ‘Pillars’ and ‘Pot’ marks commonly found in music manuscripts of the 1630s. Nevertheless, the contents are not all in chronological order, and some later additions are crammed into free spaces throughout the manuscript. A number of songs were also added by yet unidentified hands. The manuscript is the unique source for Edmund Chilmead’s late setting of ‘Why, this is sport’ (M.12.4 (Full score   , MIDI   )) originally from The Gypsies Metamorphosed (1621).

London, British Library, Add. MS 29481. Small oblong folio manuscript containing secular and sacred vocal music from the first quarter of the seventeenth century, and from the late seventeenth century (at the reverse end). The manuscript also contains some instrumental music and occasional tuning instructions etc. Now in a British Museum binding, the original leather covers are preserved on the inside of the modern covers; another vellum cover is also preserved at the front of the manuscript. The original covers are leather with gold tooling and bear the initials A. B. The identity of A. B. is unknown. Hughes-Hughes (1908) suggested Adrian Batten (1591–1637), a Vicar Choral of St. Paul’s and lay vicar of Westminster Abbey. Another, more likely, possibility is Alfonso Balls (or Bales) (d. 1635), who was appointed as a musician to Charles, Prince of Wales in 1617 and was one of the elite ‘Lutes, Viols and Voices’ formed upon his accession to the throne. Balls also appears to have been appointed to the London Waits in 1603, serving until his death. There are many scribbles and practice signatures throughout the manuscript, as well as occasional instructions. Richard Elliott, who owned the manuscript in 1655, appears to have been a child. There are also frequent notes and marginalia in an eighteenth-century hand, perhaps that of the William Wilkins who owned the manuscript in the early 1740s. Hughes-Hughes suggested that the composer and musicologist John Stafford Smith (1750–1836) may have owned it in the early nineteenth century, as two songs from the manuscript are found in his Musica Antiqua (1812). It was purchased by the British Museum from Puttick and Simpson on 30 June 1873. The main watermark is the ‘Grapes’ type found in several early Jacobean manuscripts.

The main song section (fos. 1–26v) was probably copied c. 1620, though some of the music is much older. It includes two songs from John Dowland’s The First Book of Songs and Ayres (1597) and a highly corrupt version of an Italian song from Robert Dowland’s Musical Banquet (1610); also included are songs by John Bartlett and Thomas Campion. The manuscript also includes psalms and anthems by anon., William King, Dr Benjamin Rogers, Daniel Roseingrave, and Michael Wise (fos. 27–43v (INV.)): much of the music at the reversed end dates from the Commonwealth and Restoration (for example, Rogers’s doctorate, which he received in 1669, is acknowledged in ascriptions). The last page (fol. 44v) contains lyra-viol tuning legends and the start of a diagram of the scale, suggesting a pedagogical function. The manuscript also contains a set of solo bass viol divisions in the style of Christopher Simpson. There are several scribes. Hand 1 (an early seventeenth-century secretary hand) copied fos. 2–26. Hand 2 entered the anthems on fos. 27–43v (INV.). The incomplete piece ‘Hear my prayer, O God’ on fol. 26v is written in a similar hand to that of the second scribe, but the hand is immature and seems to be in imitation (perhaps Richard Elliott imitating his teacher). The song ‘Fly, Boy, Fly’ on fol. 44 (INV.) was entered by another early hand (but does not appear to be Hand 1). The lyra-viol tuning legends on fol. 44v were entered by Hand 1. The entries on the verso leaves appear to be later additions, using up free space.

The manuscript contains a concordance (Cantus and Bassus, only; score) for John Dowland’s popular song ‘Sleep, wayward thoughts’ (P.3.1 (Full score   , MIDI   )), a snatch from which was referred to in Eastward Ho! (1605). More importantly, it is a secondary source for an ornamented version of ‘Have you seen but a white lily grow’ (P.8.1(b) (Full score   , MIDI   )).

London, British Library, Add. MS 31432. Large upright folio songbook in the hand of William Lawes (1602–45), compiled c. 1639–41; bound in brown calf leather, with the coat of arms of Charles I on both covers. The watermark throughout the manuscript is the ‘Peacock in a circle’ type; the watermark of the flyleaves is a stylized ‘pot’, common in 1630s. Names of several former owners are given on the inside cover: Richard Gibbon (d. 1652), ‘J. R.’, Thomas Fidge (b. 1637/8), John Sargenson (1639–84), Rev. William Gostling (1696–1773), Robert Triphook (1782–1868), Aristide Farrenc (1794–1865), and Julian Marshall (1836–1903). The British Museum acquired it with the Marshall collection in 1881 (for full provenance and inventory, see Cunningham 2010).

London, British Library, Add. MS 31806. Late eighteenth-century, large oblong folio guardbook (222 fos.), primarily containing catches, glees, canons, motets, and partsongs (some crossed-out) by eighteenth-century composers including Thomas Augustine Arne, Jonathan Battishill, William Boyce, John Wall Callcott, Maurice Green, Henry Harrington, William Hawes, William Hayes, William Lindley, Richard John Samuel Stevens, and Samuel Webbe; also includes some seventeenth-century partsongs by Thomas Ford, John Hilton, and Simon Ives, as well as some songs in Italian. The manuscript is a guardbook collection on various papers, with index at front, bound in modern British Library binding (dated 1881); there are several original paginations throughout the volume, reflecting its guardbook description. The majority of the items are attributed, and seemingly accurately. The compiler was evidently associated with the Nobleman’s and Gentleman’s Catch Club; several of the composers represented were members, and a number of glees contain notes referring to their candidature for prizes or their reward for prizes. Many items are initialled ‘V. S.’ at the end, presumably the initials of the copyist. The manuscript is one of a set of five volumes, now Add. MSS 31804–8, which were acquired by the British Museum as part of the Julian Marshall collection (Add. MSS 31384–823). It is the unique source for M.12.6A, a three-voice catch setting by Samuel Webbe (1740–1816) of ‘To the old, long life and treasure’ from The Gypsies Metamorphosed (1621); the setting is dated 1774. Also of interest in the volume is a catch for three voices, in score titled ‘Epitaph on Ben Johnson’ attributed to James Hawkins senior (1662/3–1729) (fol. 94v) (see Introduction to the present edition).

London, British Library, Add. MS 31815. Oblong folio manuscript compiled in the late eighteenth and early nineteenth centuries, containing miscellaneous autograph vocal music in score by Richard John Samuel Stevens (1757–1837). The manuscript includes ‘The Witches’ Song’ (fol. 55), a five-part glee setting (M.6.7 (Full score   , MIDI   )A) of the witches’ chorus from The Masque of Queens (1609). The setting is dated 1 February 1799. It is a fair-copy; there several minor variants between it and the version of the glee printed by Stevens in Seven Glees with a Witches Song & Chorus, And two Glees from Melodies by Henry Lawes ([1808]). The manuscript was acquired by the British Museum on 10 July 1880, as part of the Julian Marshall Collection.

London, British Library, Add. MS 53723. Large upright folio songbook in the hand of Henry Lawes (1596–1662). The 325 items in the volume comprise almost all of Lawes’s solo songs. They were entered piecemeal, in approximate chronological order (except for individual pieces later added onto unused staves at the bottom of pages), from before 1626 to 1652 (or perhaps as a late as 1662). The manuscript has been extensively studied by various scholars (notably Applegate, 1966; Willetts, 1969; Spink, 2000a). Willetts (1969) suggests that Lawes began entering the songs when he joined the Chapel Royal (1626) and continued to add them until sometime around 1652, when John Playford began publishing them. The position of the songs from Milton’s Comus (nos. 74–8) and of several songs containing contemporary allusions to events of the 1630s and 1640s supports a chronological ordering. However, it is also true that many of songs are collected into groups set to poems by a single poet. Some songs were entered later at the bottom of pages either on unused staves or on new hand-drawn staves. Some songs contain slight revisions, though in general the manuscript gives the impression of a fair-copy (rather than compositional sketch). Lawes signed his name at the top of each song; such signatures are more usually found at the end of pieces. The manuscript was rebound at some point. The boards of original binding, covered in brown leather, blind-ruled and title panel (‘HENRY ׀ LAWES’S ׀ M.S.S. ׀ SONGS ׀ 1634’; the date presumably refers to Comus) from the spine, are stored with the manuscript (large folio). The ‘Peacock in a circle’ watermark found throughout the ruled pages seems to be of Venetian origin, and is generally found in similarly high quality paper.

Willetts has thoroughly investigated the provenance of the manuscript (1969, 31–2), and her findings can be summarized as follows. During part of the eighteenth century it was in the possession of William Gostling (d. 1777), Canon of Canterbury and son of the Rev. John Gostling, singer and Gentleman of the Chapel Royal. Following the death of Gostling, it was acquired by the music historian Sir John Hawkins (sale of Gostling’s music library: sale-cat. 26 May 1777, lot 59). It seems then to have been owned by Dr Philip Hayes, Professor of Music at Oxford (d.1797). The initials ‘J. C.’, dated 1802, occur on fos. 150v, 151, 153v, 161, and 167. In the early nineteenth century it was owned by Robert Smith of 3 St Paul’s Churchyard, London; Smith inserted the Faithorne print of Lawes. The manuscript then appears to have passed to Stephen Groombridge, the astronomer and President of the Glee Club (d. 1832). By 1847 it may have come into the possession of the antiquary Edward Francis Rimbault (1816–76): it was owned by Rev. Henry Richard Cooper Smith, Rector of Basingstoke around the turn of the twentieth century. In 1949 the manuscript was deposited in the British Museum on indefinite loan (Loan MS 35) by the residuary legatees of Miss E. K. Church after failing to reach its reserve at Hodgson’s (sale-cat. 22 April 1949, lot 495). It was finally purchased by the Museum on 12 February 1966.

   Add. 53723 contains settings of verse by the foremost poets and playwrights of the seventeenth century, such as Beaumont, Carew, Cartwright, Davenant, Fletcher, Harrington, Herbert, Henry Hughes, Herrick, Jonson, Lovelace, Milton, Sandys, Shirley, Sidney, Spencer, Strode, Suckling, Townsend, and Waller. Lawes had a particular liking for Hughes’s pastoral lyrics. The manuscript is the unique source for P.1.2/2 (Full score   , MIDI   ), a late setting of ‘O that joy so soon should waste’ from Cynthia’s Revels (1600) and of P.2.1/2(a) (Full score   , MIDI   ), a late setting ‘If I freely may discover’ from Poetaster (1601). It is also the primary source for M.5.1/1(b) (Full score   , MIDI   ), a late setting of ‘Beauties, have you seen a toy’ from The Haddington Masque (1608).

London, British Library, MS Egerton 2013. Small upright folio manuscript collection of (primarily English) songs, mostly in the hand of a single unidentified copyist. The manuscript is bound in a modern British Library binding. The watermark is the ‘Angoumois fleur-de-lys’ type (fleur-de-lys on a shield surmounted by a crown); there are no maker’s initials or countermark. The manuscript was purchased for the British Museum at Puttick and Simpson’s on 2 March 1866 (lot 230).

   Egerton 2013 is the unique source for M.9.1(a) (Full score   , MIDI   ), ‘I was not wearier where I lay’ from The Vision of Delight (1617), a setting often attributed to Nicholas Lanier, which appears to have been transcribed by ear or from memory. Also included is a crude lute-song version of Alfonso Ferrabosco II’s setting of ‘Hear me, O God’ (see N.3.1 (Full score   , MIDI   )).

London, Royal College of Music, II.c. 15. John Hilton’s Catch That Catch Can (1652), with manuscript additions by a single copyist (48 folios, oblong duodecimo) bound in at the end. The additions were apparently copied from the second edition of Catch That Catch Can (1667); they include catches and rounds etc. by various English composers: Thomas Brewer, John Cobb, William Cranford, John Hilton, George Holmes, Thomas Holmes, Robert Johnson, William Lawes, John Lugge, Edmund Nelham, William Smethergell, John Smith, William Webb, and Matthew White. The manuscript includes a concordance for Edmund Nelham’s catch ‘“Buzz”, quoth the blue fly’ (M.7.1 (Full score   , MIDI   )) from Oberon (1611), which despite the poor quality may well have been used in the masque. The copy in II.c. 15 was derived from the 1667 print or some closely related source.

London, Royal Academy of Music, MS 603 (Robert Spencer Collection) (Margaret Board MS). Manuscript lute tutor bound in gilt tooled leather, owned and mostly compiled c. 1610 by Margaret Board who seems to have been a pupil of John Dowland. Some of the music (fos. 12v and 83v) and the table on the front flyleaf is in Dowland’s hand. Aside from Dowland, there are at least three hands in the manuscript. Margaret Board signed the book several times on the front flyleaves, where the name ‘Beniamyn’ [Benjamin] Dehn also appears. The manuscript (previously owned by Lt Col N. Tindall-Carill-Worsley) was bought by Robert Spencer (1932–97) from Maggs in 1973; Spencer was one of the most influential figures in the twentieth-century revival of lute in Britain. In 1998 the manuscript was acquired by the Academy of Music as part of Spencer’s collection of sixteenth- and seventeenth-century English manuscripts, printed music, and books. It includes arrangements for solo lute of several pieces tentatively associated with four of Jonson’s masques: M.6.1(b) (Full score   , MIDI   ) (concordance), andM.6.6(a) (Full score   , MIDI   ) (unique source) from The Masque of Queens (1609); M.7.4(b) (Full score   , MIDI   ) (two concordances) from Oberon (1611); M.12.1 (Full score   , MIDI   ) (concordance) from The Gypsies Metamorphosed (1621); and M.13.1 (Full score   , MIDI   ) (concordance) from The Masque of Augurs (1622).

Oxford, Bodleian Library, Don.c.57. Small upright folio manuscript containing over 150 songs and dialogues, bound in dark brown hard leather, with blind tooling; some blind and gold tooling evident along the edges of the covers. The manuscript appears to have been compiled c. 1620–50, by a single unknown scribe. There is also a group of songs (some without music), prose extracts, and ‘Stops upon the Theorbo’ in an eighteenth-century hand entered on fos. 145v–53. Little is known of its provenance. It was apparently in the possession of Colonel W. G. Probert of Bevills, Bures, Suffolk and consulted there by the musicologist Edmund H. Fellowes (1870–1951) in the mid-1920s. It was acquired by the Friends of the Bodleian Library in May 1937. The manuscript is comprised of at least three kinds of paper: the watermarks (‘Pot’, lettered ‘A D [?]’; ‘Fleur-de-lys’; ‘Pillars’, lettered ‘I O [?]’; ‘Pot’, lettered ‘R O’) are of types commonly found in manuscripts from the second quarter of the century.

Most of the songs in the manuscript are for treble-range voice and unfigured bass, and were composed in the second quarter or so of the century. There are several songs with French tablature accompaniment (for theorbo or lute in transition tunings) at the end of the volume. Six of the first eight songs are attributed to Robert Ramsey (d. 1644), who otherwise appears only once more in the manuscript. Although few of the other songs contain attributions, concordances identify many as by Henry Lawes and John Wilson (the best-represented composers in the volume). There are also songs by Thomas Campion, John Hilton, Robert Johnson, Nicholas Lanier, William Lawes, Stephen Mace, and William Webb. The songs set the words of many of the finest poets of the day. Robert Herrick and Thomas Carew predominate, though Cavalier poets are well represented: Beaumont and Fletcher, James Shirley, Francis Quarles, William Strode, Abraham Cowley, Ben Jonson, and others. There are also earlier texts by Sir Walter Raleigh, Thomas Campion, and Shakespeare. Around 1800, a horticultural calendar was written over the original contents in a heavier ink, in a large, bold hand. The calendar was generally inserted in the spaces between the staves, but occasionally encroaches over the music.

The manuscript is the unique source for two anonymous settings of Jonson’s lyrics: M.15.1/1 (Full score   , MIDI   ), a setting of ‘Come, noble nymphs, and do not hide’ from The Fortunate Isles and their Union (1625); and N.3.4/1 (Full score   , MIDI   ), a setting of the poem ‘The Musical Strife’ printed in The Underwood (1641), ‘Come, with our voices let us war’. The manuscript also includes the first stanza of ‘Rouse up thyself my gentle muse’, Henry Wotton’s poem that was included in The Underwood.

   The songs in the first three-quarters or so of the manuscript were quite well known, and also appear in other song manuscripts. The remainder (in many of which lute tablature is added to the tune and bass framework) are mostly unique. The manuscript includes three settings of texts by Jonson. It is the unique source for P.9.1/1 (Full score   , MIDI   ), a setting (dialogue and chorus) of ‘Though I am young and cannot tell’ from The Sad Shepherd (1641), and for N.3.6 (Full score   , MIDI   ) the only known setting of the poem ‘The Dream’ (‘Or scorn or pity on me take’) printed in The Underwood (1641). It is also the copy-text for N.3.4/1 (Full score   , MIDI   ), Wilson’s setting of ‘The Musical Strife’ (‘Come, with our voices let us war’); this seems to have been the source for the performing parts preserved in Oxford, Bodleian Library, MS Mus. Sch. C.142.

Oxford, Bodleian Library, Tenbury MS 1018. Large oblong folio manuscript compiled c. 1615–25, containing secular and scared vocal music (with Latin, Italian, and English texts) and a dozen instrumental pieces, by Italian, Franco-Flemish, and English composers of the late sixteenth and early seventeenth centuries, mainly Giovanni Giacomo and Alfonso Ferrabosco II. Tenbury 1018 is now preserved as one fascicle of a guardbook (in modern binding) which also holds Tenbury MSS 1015, 1016, 1017, and 1019: all leaves have been mounted. The manuscripts appear to have originated as a single set (or perhaps more accurately a pile of unbound sheets). They are similarly sized and copied stratigraphically (across a whole opening), which probably implies that it was used for organ accompaniment (cf. London, British Library, MS Egerton 3665). Although the pages are now presented as large oblong folios, there is a crease down the centre of the pages making two smaller upright folios. The manuscripts are unlikely to have been bound as small folios, rather this seems to have been where they were folded. In Tenbury 1018 the copyist was apparently concerned with space, as he began each new song immediately after the previous one. The manuscript was, nevertheless, carefully copied in a neat hand. Tenbury 1018–19 seem to have been acquired by Sir Frederick Ouseley (1825–89) as a batch of unbound gatherings. Both were compiled by the same unknown copyist, on paper from the same mill (watermarks are of the ‘Pillars’ type, lettering undetermined). Ouseley bequeathed the manuscripts to his foundation, St Michael’s College, Tenbury Wells; they were transferred to the Bodleian Library in 1985, upon the closure of St Michael’s.

Tenbury 1018 is the unique source for several of Alfonso Ferrabosco II’s songs from Jonson’s two 1611 masques: ‘Nay, nay, You must not stay’ (M.7.5 (Full score   , MIDI   )) and ‘Gentle knights’ (M.7.7 (Full score   , MIDI   )) from Oberon; ‘Oh, what a fault, nay, what a sin’ (M.8.2 (Full score   , MIDI   )) and ‘How near to good is what is fair!’ (M.8.3 (Full score   , MIDI   )) from Love Freed From Ignorance and Folly. It is also the unique source for ‘Senses by unjust force banish’d’ (M.8.4A), which although not included in the masque text has been suggested as part of Love Freed, and has been included in this edition for the sake of completeness. The manuscript also includes a concordance for Ferrabosco’s setting of ‘Hear me, O God!’ (N.3.1 (Full score   , MIDI   )). Copied as a compressed four-stave score, its purpose is unclear; it may have been used by an organist for accompaniment.

Oxford, Christ Church, Mus. 44. Upright folio manuscript bound in mid-seventeenth century limp vellum, mostly containing five- and six-part Jacobean fantasias copied by Thomas Myriell (d. 1625). Benjamin Cosyn (d. 1653) added several vocal and instrumental pieces, including several of his own compositions mostly in keyboard scores; these appear to have been added 1626–43, when Cosyn was organist of Charterhouse, London. Many of the pieces contain annotations referring to further copies of the same pieces in the ‘Leat[he]r book’, which is generally thought to refer to another, now lost, Myriell manuscript. It was acquired by Christ Church Library in the early eighteenth century through the Henry Aldrich (1648–1710) bequest. Among the later pieces in the manuscript is a secondary source (keyboard) for M.12.1 (Full score   , MIDI   ), the ‘Gypsies’ Masque’ tentatively associated with The Gypsies Metamorphosed (1621).

   The manuscript is the unique source for an important setting of Jonson’s famous lyric ‘Have you seen but a white lily grow’ from The Devil Is an Ass (1616) (P.8.1(c) (Full score   , MIDI   )). The setting is one of the most ornamented versions of the song and is an important indicator of how such songs were performed. Because several of the songs in the manuscript are settings of lyrics from Jacobean plays, it is tempting to suggest that there is some connection with the theatre.

Mus. 439 contains nine songs associated with Jonson’s plays and masques. It is the unique source for P.1.2/1 (Full score   , MIDI   ), the anonymous setting of ‘Oh, that joy so soon should waste!’ that is likely to have been used in early performances of Cynthia’s Revels (1600). It also includes concordances for the two popular John Dowland songs to which Jonson referred to in Eastward Ho! (1605), P.3.1 (Full score   , MIDI   ),P.3.5. The manuscript is also a secondary source for six songs by Alfonso Ferrabosco II from four masques: M.2.1 (Full score   , MIDI   ) from The Masque of Blackness (1605); M.4.2–4 (Full score   , MIDI   ) from The Masque of Beauty (1608); M.5.2(b) (Full score   , MIDI   ) from The Haddington Masque (1608); and M.6.5 (Full score   , MIDI   ) The Masque of Queens (1609). All six songs were printed in Ayres (1609). The Mus. 439 versions lack the lute accompaniment given in the print and contain ornamented versions of some of the vocal lines, and some are transposed. Elizabeth Kenny (2008) has convincingly suggested that the ornamented versions are a closer approximation of what was heard in the masques and that the printed versions represent simplification for an amateur audience. Mus. 439 is closely but not directly related to Ferrabosco II’s Ayres.

Oxford, Christ Church, Mus. 736–8. Three upright folio manuscript partbooks, originally a set of four (736, ‘Contratennor’; 737, ‘Tennor’; 738, ‘Bassus’) now lacking the basso continuo book. They were rebound in limp vellum covers in the early twentieth century. The set was copied by two unidentified scribes in the mid-1630s or so, and contains sacred and secular vocal music mostly by John Jenkins and Thomas Ford. David Pinto (1990) has tentatively suggested that the second copyist also copied some of Christ Church, Mus. 56–60 and that the set may have been acquired by Christ Church from the Hatton collection (it is listed in the early eighteenth-century catalogue of the collection). The manuscript is the unique source for N.3.7 (Full score   , MIDI   ), the only known setting of Jonson’s poem ‘A Song’ from The Underwood (‘Come, let us here enjoy the shade’). The setting is attributed to Thomas Ford (d. 1648), who joined the Royal Music (in Prince Henry’s household) in 1611. A large number of similar three-part songs by Ford, secular and sacred, survive in manuscripts. There is little to suggest when Ford’s setting was composed, although in terms of style it is unlikely to be much later than c. 1625.

IRELAND

Dublin, Trinity College, MS 412 (formerly MS F.5.13). Small upright quarto manuscript in a repaired brown leather binding, the Quintus book of Thomas Wode’s partbooks. Known as the ‘St Andrews Psalter’, the books were compiled c.1562/66–90 by Thomas Wode (d. 1592), a vicar of St Andrews. Two complete copies of his partbooks were made. The sets are now housed in libraries in Ireland, the UK, and in the United States: Dublin (Trinity College; Quintus); Edinburgh (University Library; both Cantus and Bassus books, and one of the Tenors); London (British Library; Altus); and Georgetown (University Library; duplicate Altus). Two volumes are lost (duplicate Tenor and Quintus). The partbooks primarily comprise sacred songs and instrumental pieces (for complete inventory and transcriptions, see Hutchison, 1957). MS 412 includes the treble part to many lute-songs by Thomas Campion and Robert Jones, and several later composers as well as some catches from Pammelia (1609) added by a second scribein the 1620s or 1630s. Many of the songs have elaborate written-out vocal ornaments, suggesting that they are attempts to notate the songs (by ear or from memory) as they were performed. The bass part for some of the songs is bound in with Wode’s Psalter in Edinburgh, Edinburgh University Library, MS LA.III.483. There appears to be some close connection between MS 412 and several other sources, indicating a common Scottish provenance: the ‘John Bull Manuscript’, Fitzwilliam Museum Mu. MS 782 (formerly MS.52.D); Oxford, Bodleian Library, Tenbury MS 1018; John Leyden’s Lyra Viol Manuscript, Robinson Library of Newcastle University, Bell-White 46; and John Forbes’s Songs and Fancies (Aberdeen, 1662, 1666, 1682). Among the later songs (not in the duplicate set) is a highly ornate version of ‘Have you seen but a white lily grow’ (P.8.1(e) (Full score   , MIDI   )) from The Devil Is an Ass (1616). This is one of the earliest sources for the song, its chronological proximity to first performances of the play suggest that some incarnation of the setting was used therein, though the use of elaborate vocal ornaments in such performances is a matter of debate.

UNITED STATES OF AMERICA

Los Angeles, University of California at Los Angeles, William Andrews Clark Memorial Library, C6967M4. Upright folio manuscript collection primarily consisting of solo songs with unfigured bass. The date of ‘June the ffirst 1639’ on the front flyleaf most likely refers to when the book was obtained by the copyist (rather than a terminus ad quem). The manuscript includes two instrumental duos, and two part-song fragments (one published in Richard Dering’s Cantica sacra (1662)). The watermarks of the ruled pages are the ‘Pot’ type (initialled ‘R O’) common in manuscripts of the 1630s. All except one of the pieces in the manuscript are unattributed. Four are by Henry Lawes (one of which is ascribed ‘M^r [Henry] Lawes’), five are by William Lawes, and one by Alfonso Balls [or Bales]. The composers of the remaining four songs are unknown, though one can be attributed to Robert Johnson. The songs are settings of texts by Thomas Carew, Francis Davison, Edward Herbert, Robert Herrick, Ben Jonson, and William Strode. C6967M4 is one of three Caroline partbooks housed in the Clark Memorial Library which were compiled by the same scribe and which were identically bound in brown leather with gilt filleting. C6967M4 bears no other relationship to the other two volumes, now catalogued together as C6968M4. The partbooks were purchased in 1960, from the bookseller Kenneth Mummery (who operated from his house at 9 St Winifred’s Road, Bournemouth, England); nothing else is known of their provenance. Another partbook related to C6968M4 is King’s College, Cambridge, Rowe Music Library, MS 321.

   The manuscript is the unique source for P.8.1(d) (Full score   , MIDI   ), a slightly corrupt version of ‘Have you seen but a white lily grow’ from The Devil Is an Ass (1616). The copyist also included in block text a parodic version of the stanza (‘Have you seen the black little maggot’), which can also be sung to the same tune.

New York, New York Public Library, Drexel MS 4041. Small upright folio containing 148 songs (four have texts only), mostly for solo voice with bass accompaniment by anon., John Atkins, John Atkinson [Atkins?], Thomas Brewer, Thomas Charles, Charles Coleman, Richard Dering, Mr Eyves [Simon Ives?], T. H. [Tobias Hume?], John Gamble, Robert Johnson, Nicholas Lanier, Henry Lawes, William Lawes, John Taylor, John Wilson, John Withy, and Walter Yoacknee. Drexel 4041 appears to have been compiled c. 1640–50, by a single unidentified copyist. The provenance of the manuscript is unclear, although it appears to have first belonged to the staunchly royalist Ferrers family. By the nineteenth century it came into the possession of the antiquarian Edward Francis Rimbault (1816–76); his anthology Musical Illustrations of Bishop Percy’s Reliques of Ancient English Poetry (1850) included an arrangement of Jonson’s ‘Still to be neat, still to be dressed’, taken from the manuscript (p. 104). Much of the marginalia (as well as many of the ascriptions) in Drexel 4041 are in Rimbault’s hand. His library was sold on 3 July 1877 and following days. Lots 1387 (Drexel 4257), 1388 (Drexel 4041), and 1389 (Drexel 4257), were purchased for the Joseph Drexel Collection, and acquired by the New York City Library in 1888 as a part of the Drexel bequest. The manuscript has been significantly repaired and rebound in modern oasis morocco (1973). The watermarks (‘Grapes’, ‘Pillars’ and ‘Pot’) are typical of those found in similar manuscripts from the 1630s.

Drexel 4041 can be divided into two sections. The first contains solo songs; the second, songs for more than one voice. The numbering sequences in the manuscript have proved problematic to scholars. There are two incomplete (and corrupt) contemporary tables of contents; the situation is further complicated by the abstraction of at least a dozen leaves. The contents were added piecemeal and give the impression of a commonplace book of favourite songs, which in turn suggests a theatre-lover. There are lyrics set from almost 30 different plays, performed over a thirty-year period. Many of the songs contain some attribution, usually in the form of initials, suggesting that the composer was well-known to the copyist; many are also found in other sources, with and without attributions. However, the attributions are occasionally problematic. One suspects that the compiler was relying heavily on memory, which would at least explain some of the inconsistencies of attributions found in other sources.

The manuscript is the copy-text for P.5.1/1 (Full score   , MIDI   ), William Lawes’s late setting of ‘Still to be neat, still to be dressed’ from Epicene (1609); here unattributed. The setting is also found in New York, New York Public Library, Drexel MS 4257.

New York, New York Public Library, Drexel MS 4175 (Ann Twice’s Book). Small upright folio manuscript containing 29 solo songs. It is inscribed ‘Ann Twice her booke’ on the original front cover and ‘Songs vnto the violl and lute’ on the inside. Many leaves have been abstracted; a table of contents near the end of the manuscript lists a further 29 songs now missing. The provenance of the manuscript is unclear. Ann Twice lived in Gloucester c. 1620. At some point, she went to Bristol leaving the manuscript in the custody of her cousin. The first flyleaf, reads ‘my Cosen Twice / <…> this Booke with me when she went to Broistl / which is to be returne to her <……> when she Come to Glost’. The composer and musicologist John Stafford Smith (1750–1836) owned the manuscript in the early nineteenth century. Upon his death, Smith’s vast music library passed to his daughter. She was declared insane in 1844, and the library (2191 volumes of music, including 578 manuscripts) was sold off indiscriminately on 24 April 1844 to pay for her hospitalization. It is unclear whether the antiquarian Edward Francis Rimbault (1816–76) acquired the manuscript at this point, though it seems likely. The manuscript was examined by Thomas Oliphant (presumably loaned to him by Rimbault), who catalogued the manuscript and printed music in the British Museum between 1841 and 1850. Oliphant made several annotations, mostly written on separate pieces of paper now incorporated into the binding. Rimbault’s library was sold on 3 July 1877 and following days. Lots 1387 (New York, New York Public Library, Drexel 4257), 1388 (Drexel 4041), and 1389 (Drexel 4175), were purchased for the Drexel Collection, and were acquired by the New York City Library in 1888 as a part of the Drexel bequest. In 1981, the manuscript was repaired and rebound in quarter Hewit calfskin with hand-marbled paper sides and vellum corners. The original covers (leather on boards, blind-tooled with a central floral design) are preserved with the manuscript. The watermarks are of the ‘Pillars’ type. As with many similar volumes, the pages were not ruled with a rastrum: each stave was individually drawn, as needed.

The contents list in Drexel 4175 promises four settings related to Jonson, though only one is still present. This is a secondary source for P.8.1(b) (Full score   , MIDI   ), a setting of the popular lyric ‘Have you seen but a white lily grow’ from The Devil Is an Ass (1616). Among the items missing from the volume are another setting of ‘Have you seen but a white lily grow’, apparently with a lute accompaniment, and a setting of ‘I was not wearier where I lay’ (M.9.1 (Full score   , MIDI   )) from The Vision of Delight (1617). The loss of the latter setting is particularly frustrating given that it uniquely survives in a highly ornamented setting with no bass line (M.9.1(a) (Full score   , MIDI   )). Of less importance is the lost setting of Thomas Campion’s ‘Mistress, since you so much desire’ (P.3.3 (Full score   , MIDI   )), a snatch of which is sung in Eastward Ho! (1605). The Drexel 4175 setting is likely to have been copied from Campion’s printed volume. That said, the lost settings are frustrating, as this manuscript appears to date to c. 1625 and thus may have contained settings of the songs related to early performances of plays etc.

New York, New York Public Library, Drexel MS 4257 (John Gamble’s Commonplace Book). Small upright folio manuscript containing the largest collection of mid-seventeenth-century English solo songs. It contains 249 songs by many of the most important song composers of the period as well as several lesser-known composers: anon., John Atkins, Thomas Brewer, Thomas Campion, John Cave, Thomas Charles, Charles Coleman, Edward Coleman, John Gamble, Robert Johnson, Nicholas Lanier, Henry Lawes, William Lawes, Robert Smith, John Taylor, William Webb, John Wilson, John Withy, and Walter Yoacknee. Of these, the Lawes brothers, John Wilson, and Gamble himself are the best represented. There are texts (some just incipits) for a further 78 songs. Although most songs are unattributed, identification is possible in many cases through concordances. Gamble’s name and the date ‘1659’ are found on the title-page, although the manuscript was presumably in use for many years either side of this date. Many of the songs were composed in the 1630s and 1640s and several others contain topical political references to events in the Commonwealth and early Restoration periods. The manuscript was once owned by the antiquarian Edward Francis Rimbault (1816–76). Rimbault’s library was sold on 3 July 1877 and following days. Lots 1387 (Drexel 4257), 1388 (New York, New York Public Library, Drexel 4041), and 1389 (Drexel 4175), were purchased for the Joseph Drexel Collection, and acquired by the New York City Library in 1888 as a part of the Drexel bequest. The manuscript was bound in chrome tanned leather on 6 December 1944; there is no indication of previous bindings. The watermark throughout is a fleur-de-lys in a circle. The pages were not ruled with a rastrum; as one often sees in commonplace books, each line was individually drawn as needed.

Drexel 4257 was copied by three scribes. Two are unidentified; Hand 3 is Gamble. The three scribes overlap to some degree in the first half of the volume, but after item 177 Hand 3 appears exclusively. The implication is that the manuscript was begun before it was acquired by Gamble. The strong presence of songs by Nicholas Lanier, William and Henry Lawes, and John Wilson suggests a date no earlier than c. 1625 (and probably later). Indeed it is unclear whether the manuscript was compiled in chronological order. There are two tables of contents. First, ‘The Cattalogue’, which gives a sequential list through to no. 266; second, a table listing the contents sequentially but in alphabetical groups. The latter lasts to the end of the manuscript but omits four songs. Nos. 1–179 of ‘The Cattalogue’ were entered by Hand 1. This includes many songs that were copied into the manuscript by Hand 2, and 38 songs entered by Gamble (some only in incipits). The rest of ‘The Cattalogue’ and the second table were written by Gamble (Hand 3), who was also responsible for copying all of the text incipits with no music throughout the manuscript.

Drexel 4257 contains several late settings of Jonson’s lyrics. It is the unique source for P.2.1/2(b) (Full score   , MIDI   ), Henry Lawes’s setting of ‘If I freely may discover’ from Poetaster (1601). The setting is also found in Lawes’s autograph songbook (London, British Library, Add. MS 53723), but the Drexel 4257 version contains enough variants to warrant separate transcription. It is also a secondary source for M.5.1/1(b) (Full score   , MIDI   ), a setting by Henry Lawes of ‘Beauties, have you seen a toy’ from The Haddington Masque (1608), and a secondary source for P.5.1/1 (Full score   , MIDI   ), William Lawes’s setting of ‘Still to be neat, still to be dressed’ from Epicene (1609). Perhaps the most interesting item in the collection pertaining to this edition is the unique setting of the poem ‘See, the chariot at hand here of Love’ (N.3.2 (Full score   , MIDI   )), better known by one of its stanzas beginning ‘Have you seen but a white lily grow’. The manuscript also contains the text of Jonson’s sardonic song ‘Cock Lorel would needs have the devil his guest’ (M.12.5 (Full score   , MIDI   )) from The Gypsies Metamorphosed (1621); the first verse is underlaid but no music has been copied (a further eight verses are given in block text). The manuscript is also the unique source for an anonymous setting of ‘To the old, long life and treasure’ (M.12.3 (Full score   , MIDI   )) from the same masque (the popular tune was published in collections such as John Playford’s English Dancing Master (1651)).

PRINTED BOOKS (chronological)

Dowland, J. (1597), The First Book of Songs and Ayres. THE | FIRST BOOKE | of Songes or Ayres | of fowre partes with Ta- | bleture for the Lute: | So made that all the partes | together, or either of them seue- | rally may be song to the Lute, | Orpherian or Viol de gambo. | Composed by Iohn: Dowland Lute- | nist and Batcheler of musicke in | both the Vniuersaties. | Also an inuention by the sayd | Author for two to playe vp- | on one Lute. (London: Printed by Peter Short, 1597). The table format devised by Dowland in this volume was used by all subsequent collections of lute-songs (i.e. all parts facing outwards on a single opening, so that the book could be performed from by being laid on a table with the musicians sitting or standing around it). The collection also had the advantage of being capable of performance by a single person singing the cantus accompanied by the lute, or as part-songs (without lute accompaniment), or with viols replacing or doubling some or all of the voices. All 21 songs are scored for four voices and lute (in tablature); all are strophic, and most contain dance rhythms and patterns. Several of the songs, such as ‘Now, Oh, now, I needs must part’ which Jonson references in Eastward Ho! (1605), also disseminated as instrumental pieces. Many of the songs were probably created by fitting words to the tunes, as was done for broadside ballads. Nevertheless, Dowland’s settings are masterful. The volume was deservedly successful, with further editions appearing in 1600, 1603, 1606, 1608, and 1613. The reference to the two songs from the collection (‘Sleep, wayward thoughts’P.3.1 (Full score   , MIDI   ), and ‘Now, Oh, now, I needs must part’P.3.5) in Eastward Ho!,and in other plays, is a testament to its popularity.

Rosseter, P. [and T. Campion], (1601), A Book of Ayres. A | BOOKE OF | AYRES, | Set foorth to be song | to the Lute, Orpherian, and | Basse Violl by Philip Rosseter | Lutenist: And are to be solde | at his house in Fleetstreete | neere to the Gray- | hound. (London: Printed by Peter Short, 1601). Philip Rosseter (1567/8–1623) served as a lutenist to James I from 1603 until his death, and from 1610 onwards appears to have been primarily active in the sphere of theatrical management. As a composer Rosseter is best remembered for A Book of Ayres.He also published Lessons for Consort (1609), a collection for mixed consort of lute, bandora, cittern, flute, treble viol, and bass viol. The Book of Ayres was dedicated to Sir Thomas Monson, a notable patron of music. It contains 21 songs each by Rosseter and his friend Thomas Campion (1567–1620). Literary scholars such as Percival Vivian have argued that Campion also wrote the texts in the Rosseter section. This is no longer generally accepted, although Campion may have been responsible for the unsigned prefatory address ‘To the Reader’. The songs in the volume are simple, mostly homophonic, and easily sung; they generally avoid madrigalian counterpoint and wordpainting, and in so abstaining follow the humanistic guidelines of the preface. The Campion section includes the song ‘Mistress, since you so much desire’, from which Jonson included a two-line snatch (‘But a little higher…’;P.3.3 (Full score   , MIDI   )) in Eastward Ho! (1605). The reference by Jonson suggests that the song was popular, although it is not found in contemporary songbooks (with the exception of a now lost setting in New York, New York Public Library, Drexel MS 4175). Notwithstanding historical accident, it is of course possible that the song was for a short time readily absorbed into the aural musical culture, partially explaining the lack of notated copies. It is perhaps also worth noting that Rosseter was associated with the Children of the Chapel, the troupe that acted the play, which may also suggest another line of dissemination.

Youll, H. (1608), Canzonets to Three Voices. CANZONETS | TO | THREE VOYCES | NEWLY COMPOSED | BY | HENRY YOVLL | PRACTICIONER IN | THE ART OF | MVSICKE. (London: Printed by Thomas Este for William Barley, 1608) [Three books: CANTVS, ALTVS, BASSVS]. Little is known of Henry Youll. It has been plausibly suggested that he was the same Henry Youll that graduated from Magdalene College, Cambridge in 1593 and who, upon his marriage, became a schoolmaster at Eye, near Diss in Norfolk. Youll the composer is known only by his Canzonets to Three Voices. He dedicated the volume to four sons of Edward Bacon of Coddenham (1548–1615), near Ipswich (‘To the virtuous Gentlemen M^r Nicholas Bacon, | M^r Phillip Bacon, M^r Nathaniell Bacon, and | M^r Lionell Bacon, Sonnes to the Worshipfull M^r Edward | Bacon Esquire, Henry Youll wisheth all happi- | nesse both herre and hereafter’). The tone of the dedication suggests that Youll may formerly have been a tutor in the household of Edward Bacon. Youll further notes that the pieces were the ‘first fruits of [his] endeuours’, and hints that they had been in preparation for some time. The volume was clearly modelled on Thomas Morley’s Canzonets or Little Short Songs to Three Voices (1593). However, as David Brown notes in the Grove Music Online entry on Youll, ‘no piece in the volume is structurally a true canzonet, and the last six pieces are balletts’. Youll was a competent, if amateurish, composer but he had little aptitude for expression (especially in the more melancholic texts). Despite its clearly amateur level of composition, the volume has a certain charm. It contains 24 pieces, although some are listed as first part, second part etc.; none of the texts are attributed. The volume is the unique source for P.1.1 (Full score   , MIDI   ), Youll’s setting of ‘Slow, slow, fresh fount, keep time with my salt tears’ from Cynthia’s Revels (1600). The setting is the most accomplished of the volume, but unlikely to have been associated with a performance of the play.

Ferrabosco II, A. (1609), Ayres. AYRES: | BY | Alfonso Ferrabosco. (London: Thomas Snodham, for John Browne, 1609). One of Ferrabosco’s two volumes published by Browne in 1609, Ayres contains 25 songs for one voice, lute, and bass viol, and 3 songs for two voices, lute, and bass viol. The other volume, containing lyra-viol music – Lessons for 1, 2, and 3 Viols – was entered in the Stationer’s Company register on 11 May 1609; there is no such record for Ayres. The volume was dedicated to the ‘Heroique Prince Henry’, to whom Ferrabosco had been an instructor since 1604. Among the prefatory material are three dedicatory poems lauding the composer, by Jonson, Thomas Campion, and Nathaniel Tomkins (in Latin); Jonson also contributed a dedicatory sonnet to Ferrabosco’s lyra-viol volume. Ayres includes settings of poems by John Donne, Campion, and Jonson. It is also one of the most important sources Jonson’s masque songs. It is the copy-text for eight songs (and the unique source for two) from four masques: M.2.1 (Full score   , MIDI   ) from The Masque of Blackness (1605); M.4.1 (Full score   , MIDI   ) (unique),M.4.2 (Full score   , MIDI   ),M.4.3 (Full score   , MIDI   ),M.4.4 (Full score   , MIDI   ),M.4.5 (Full score   , MIDI   ) (unique) from The Masque of Beauty (1608); M.5.2 (Full score   , MIDI   ) from The Haddington Masque (1608); and M.6.5 (Full score   , MIDI   ) from The Masque of Queens (1609). It is also the copy-text for P.4.1 (Full score   , MIDI   ) from Volpone (1605). The published settings (or some related source) disseminated quite widely in manuscript sources. Several of Ferrabosco’s Jonson settings are found in contemporary song manuscripts such as Oxford, Christ Church, Mus. 439 but without their lute accompaniment and often with vocal ornaments or embellishments.

Dowland, R. (1610), Variety of Lute-Lessons. VARIETIE | OF | LUTE-lessons: | Viz. | Fantasies, Pauins, Galliards, Almaines, Corantoes, | and Volts: Selected out of the best approued | AVTHORS, as well beyond the Seas as | of our owne Country. | By Robert Douland. | Whereunto is annexed certaine Ob- | seruations belonging to LVTE-playing: | by Iohn Baptisto Besardo of Visonti. | Also a short Treatise thereunto appertayning: | By Iohn Douland Batcheler of | MUSICKE. (London: Printed [by Thomas Snodham] for Thomas Adams, 1610). Robert Dowland (c. 1591–1641), son of John Dowland, is chiefly remembered as the editor of two volumes, A Musical Banquet and Variety of Lute-Lessons, both published in 1610. Both volumes contain first-rate lute music by English and continental composers, and a treatise on lute playing by John Baptisto Besardo of Visonti. The Variety contains 56 solo lute pieces by Daniel Batchelar, Cato Diomedes, John and Robert Dowland, Alfonso Ferrabosco II, Anthony Holborne, Gregorio Huwet, Lorenzino, Thomas Morley, Jacobus Reis, and René Saman. The pieces are arranged by genre: fantasias, pavans, galliards, almans, corants, and voltas. The volume includes arrangements of the three main masque dances and the witches’ antimasque dance (M.6.1 (Full score   , MIDI   ), M.6.3, M.6.4, M.6.6) tentatively attributed here to The Masque of Queens (1609). Robert Dowland is a shadowy figure about whom we know little; only four compositions are attributed to him, of which at least one is spurious. Indeed, there is good reason to think that Dowland senior was actually responsible for many of the arrangements, including the pieces here associated with Queens.

Peerson, M. (1620), Private Music, or the First Booke of Ayres and Dialogues. Priuate Musicke. | OR THE | FIRST BOOKE | of Ayres and Dialogues: | Contayning Songs of 4. 5. and 6. parts, | of seuerall sorts, and being Verse and Chorus, | is fit for Voyces and Viols. | And for want of Viols, they may be performed to | either the Virginall or Lute, where the Proficient | can play vpon the Ground, or for a shift | to the Base Viol alone. | All made and composed, according to the rules of Art, | by M. N. Batchelar of Mvsicke. (London: Printed by Thomas Snodham, 1620). Printed sometime after 15 May 1620 (the date of the dedication), Private Music was the first of Peerson’s two publications. A second entitled Mottects or grave chamber musique followed in 1630. Private Music contains 24 songs in table format: 14 songs for four voices, 8 for five voices, and 2 for six voices. Ignoring the choruses at the end of each, nos. 1–14 are essentially solo songs accompanied by instruments; the rest are duets for two trebles (nos. 15–19) or treble and tenor (nos. 20–3) with instruments. The volume is the unique source for Peerson’s setting of ‘See, see, oh, see, who here is come a-maying!’ (M.1.1 (Full score   , MIDI   )) from A Private Entertainment at Highgate (1604). The original version appears to have been in three parts, which Peerson seems to have revised for six parts (voices and instruments) for publication, presumably to allow him give it pride of place at the end of the volume (it is the last piece). Clearly proud of his brush with royalty, Peerson noted that ‘This Song was made for the King and Queenes entertaynement at High-gate on May-day. 1604’.

Concordances for several of the dances in Adson’s collection are found in London, British Library, Add. MS 10444, from which titles can be supplied (none are given by Adson). The volume is the copy-text for four dances that appear to have been performed in Hymenaei (1606): the antimasque (M.3.1 (Full score   , MIDI   )), and three main masque dances (M.3.2–4). These are nos. 4–7 of the collection, which strongly suggests that they were originally performed by violins. Adson’s collection provides a good indication of how such masque dances were originally orchestrated.

Simpson, T. (1621), Taffel-Consort (Hamburg). Taffel Consort/ | Erster Theil/ | Von allerhand | Newen Lustigen Musi- | calischen Sachen/ mit vier Stim- | men/ Neben einem General | Bass | Mit sonderlichem fleiss zusammen getra- | gen/ verfertige und publicirt | Durch |THOMAS SIMPSON Engel- | länder/ Zürstlichen Hollstein: Schaumbur- | gischen bestalten Violisten unnd | Musicum. (Hamburg: Paul Langen for Michael Hering, 1621). Thomas Simpson (1582–before 1628) was an émigré English string player, composer and music editor, who by 1608 was employed as a musician at the court of the Elector Palatine at Heidelberg. By 1615, he had moved to the court of Count Ernst III of Holstein-Schaumburg at Bückeburg, near Hanover, and was still there in 1621 when he published the third (and last) of his collections, Taffel-Consort. Simpson presumably left Bückeburg in the following year, when the Count died. He was employed at the Danish court in Copenhagen from 7 May 1622 to 4 March 1625, and was dead by 20 June 1628. Taffel-Consort contains music in four-parts (SSTB) by Simpson himself, Robert Bateman, Nicolaus Bleyer, Alexander Chesham, John Dowland, Christian Engelmann, Alfonso Ferrabosco II, Johnann Grabbe, Robert Johnson, Johann Krosh, Peter Philips, Joseph Shirley, Christian Töpffer, and Maurice Webster. Several of the dances by English composers appear to have originated in masques, or similar entertainments. However, the scorings preserved in Taffel-Consort were not those used in court masques of the time. In the masque, such pieces would have been performed by the violin band, which at the time used a five-part scoring with a single treble and three inner parts (i.e. violin, three violas, and bass violin). Simpson, however, rearranged these pieces by discarding any inner parts (should he even have had them) and composed his own four-part arrangements. He did so by adding a second treble part, which crosses and echoes the tune, and a tenor part to fill in the harmony; where necessary, the bass parts were slightly modified the bass part to allow for imitative entries. By doing so Simpson was effectively able to modernize what was still fundamentally late Renaissance dance music, written in five equally-spaced homogenous parts, by incorporating the main elements of the new Baroque style: a dialogue between equal treble parts, underpinned by the continuo chords. Although the four-part scoring does not reflect that used in the masque, Taffel-Consort has been used as the copy-text for M.7.2 (Full score   , MIDI   ), the antimasque dance of Satyrs tentatively attributed in this edition to Oberon (1611). Simpson is likely to have come across the dance in two-part format (tune and bass) much as the concordance found in London, British Library, Add. MS 10444: masque dances seem to have been primarily disseminated in this way.

Starter, J. J. (1621), Friesche Lust-Hof (Amsterdam). FRIESCHE | LUST-HOF, | Beplant met verscheyde stichtelyke | Minne-Liedekens / Gedichten / ende Boer- | tige Kluchten. | DOOR | IAN IANSZ. STARTER. SS. LL. ST. | Met schooner kopere Figueren verçierd; ende by alle onbekende wysen, | de Noten, ofte Musycke gevoeght, | Door | M^r. IAQVES VREDEMAN, Musyck-M^r. der Stadt Leeuwarden. (Amsterdam: Printed by Paulus van Ravesteyn, 1621). Jan Starter (or John Startutt) (c. 1593–1626) was born London or Amsterdam; his parents were English puritans who had fled domination of the Anglican Church and moved to the Netherlands. Starter was a well-educated frequenter of Amsterdam’s literary circles. He began as a publisher there, before moving to Leeuwarden (capital city of the northern Dutch province of Friesland), where he sold and published books and wrote poetry for weddings and other festivities. In 1617 he started a short-lived acting troupe, for which he wrote several plays; he became the most significant figure in seventeenth-century Frisian drama. Friesche Lust-Hof was first published in 1621 and went through several editions. It is one of the most important Dutch songbooks of the seventeenth century. Primarily a collection of commemorative poems, wedding songs, love songs, pastoral songs, and drinking songs, Friesche Lust-Hof is also an important source for stage jigs. Many of the songs are based on English ones, taken from sources such as Robert Jones’s The First Book of Songs and Ayres (1600) and Thomas Deloney’s The Garland of Good Will (a popular collection of ballad texts, entered in the Stationers’ register in 1593; the earliest surviving edition is that of 1626). Music for many of these texts was composed by Jacques Vredeman de Vries. Others are popular tunes from the Netherlands, France, England, Spain, Italy, and German: in the sixteenth and seventeenth centuries, many popular tunes disseminated throughout the Continent via travelling acting troupes. The volume has been used as the copy-text for the popular tune ‘Packington’s Pound’, the tune to which the ballad ‘My masters and friends, and good people draw near’ is sung in Bartholomew Fair (1614) (P.7.1/1 (Full score   , MIDI   )–2).

Playford, J. (1651), The English Dancing Master. The English Dancing Master: | OR, | Plaine and easie Rules for the Dancing of Country Dances, with the Tune to each Dance. | [Ink addition: ‘March 19^th’]. (London: Printed by Thomas Harper for John Playford, 1651). The English Dancing Master was one of Playford’s most successful publications. The first edition contained the tunes and dancing figures for 105 English country-dances. In the British Library copy the printed date ‘1651’ is changed to ‘1650’ in ink by hand: this most likely refers to the fact that 19 March would have been part of the year 1650 in the old calendar. The volume quickly went to a second edition with nine additional dances in 1652. The collection was known simply as The Dancing Master in the second and subsequent editions. The series was popular well into the eighteenth century, and grew to three volumes. The first went through eighteen editions (1651–1728), the second through four editions (1710–28), and the third through two (?1718–?26). The three volumes contain 1,053 unique dances between all editions. Many tunes in The Dancing Master were in circulation well before 1651. Three are of relevance to this edition as secondary sources. In The Gypsies Metamorphosed (1621) Jonson refers to two popular tunes. First, the popular ballad tune to which ‘Cock Lorel would needs have the devil his guest’ (M.12.5 (Full score   , MIDI   )) is sung, is found in all editions of The Dancing Master until 1698 and also in the eighteenth-century editions, titled ‘An old man is a bed full of bones’. Second, the tune of the song ‘To the old, long life and treasure’ (M.12.3 (Full score   , MIDI   )) is also found in the collection, titled ‘A Health’. Third, ‘Huff Hamukin’ is mentioned in the Office-book of the Master of the Revels, Sir John Astley (1622–3) as one of two rustic dances heard after the revels of Time Vindicated to Himself and to his Honours (1623) (Masque Archive, Time Vind., 1). This may be a reference to ‘HalfHannikin’ (M.12.5 (Full score   , MIDI   )), a widely popular tune found in all editions of The Dancing Master from 1650 to 1690.

Playford, J. (1652), Select Musical Ayres and Dialogues. SELECT | Musicall Ayres, | AND | DIALOGUES, | For one and two Voyces, to sing | to the Theorbo, Lute, or Basse Violl. | Composed by | John Wilson, | Charles Colman, | Doctours of | Musick. | Henry Lawes, | William Webb, | Gentlemen. | [rule.] | To which is added some few | short Ayres or Songs for three | Voyces, to an Instrument. (London: Printed for John Playford, 1652). Book II: The Second Booke | of| Ayres, | Containing Pastorall | Dialogues| For two Voyces, to sing either to the Theor- | bo, Harpsicon, or Basse Violl. | Also short Ayres for three Voyces, with a thorow | Basse . | Composed by many Excellent Masters in Musick , | now living. (London: Printed by Thomas Harper for John Playford, 1652). John Playford’s folio volume (the two books are considered a single volume) is dedicated to Charles Coleman, Henry Lawes, William Webb, and John Wilson, whose music comprises the bulk of the 67 continuo songs, dialogues, and partsongs contained therein. The volume also contains music by anon., William Caesar [aka Smegergill], Robert Johnson, Nicholas Lanier, William Lawes, Robert Smith, and John Taylor. Playford had a virtual monopoly on the publication of secular music during the 1650s and 1660s. The Select Musical Ayres volumes (1652 and 1653) were the first in a series of songbooks; they were continued in 1659 with Select Ayres and Dialogues. These books (typically tall upright folios) contained songs in score with treble and bass clefs, as well as dialogues in score or table format. This was less expensive than printing individual partbooks. In performance, it seems likely that singers memorized or copied out their parts from the print, leaving the book to the continuo player(s). The songs themselves are easily within the abilities of most amateurs. The majority of the composers represented in the 1652 edition were still active around the middle of the century (though Johnson died in 1633, and William Lawes in 1645). Henry Lawes is particularly well represented throughout most of the Playford songbooks. The 1652 edition is the copy-text for one of two versions of Nicholas Lanier’s setting of ‘Though I am young and cannot tell’ (P.9.1/2(a) (Full score   , MIDI   )) from The Sad Shepherd (1641). The setting is found in seven publications between 1652 and 1673, in two, three, and four parts, all derived from a common model.

Playford, J. (1653), Select Musical Ayres and Dialogues. SELECT | Musicall Ayres | AND | DIALOGUES, | In Three BOOKES. | [rule.] | First Book, containes AYRES for a Voyce alone to the | Theorbo, or Basse Violl. | Second Book, containes Choice DIALOGUES for two Voyces to the | Theorbo or Basse Violl. | Third Book, containes short AYRES or SONGS for three Voyces, | so Composed, as they may either be sung by a Voyce alone, | to an Instrument, or by two or three Voyces. | [rule.] | Composed by these severall Excellent Masters in Musick, Viz. | Dr. John Wilson, Mr. Nicholas Lanneare, | Dr. Charles Colman, Mr. William Smegergill | Mr. Henry Lawes, alias Caesar, | Mr. William Lawes, Mr. Edward Colman, | Mr. William Webb. Mr. Jeremy Savile. (London: Printed by T[homas]. H[arper]. for John Playford, 1653). This, John Playford’s second edition of Ayres and Dialogues was entered into the Stationers’ Register on 22 December 1653. It contains 80 continuo songs, dialogues, and partsongs by anon., Thomas Brewer, William Caesar [aka Smegergill], Mr Charles, Charles Coleman, Edward Coleman, Nicholas Lanier, Henry Lawes, William Lawes, Jeremy Savile, John Taylor, William Tompkins, Mr Warner, William Webb, and John Wilson. It includes a reprint from the 1652 edition of Nicholas Lanier’s setting of ‘Though I am young and cannot tell’ (P.9.1/2(a) (Full score   , MIDI   )) from The Sad Shepherd (1641). The setting is found in seven publications between 1652 and 1673, in two, three, and four parts. See also notes for the 1652 edition. Copy consulted: San Marino, Henry E. Huntington Library and Art Gallery, Rare Books 148977.

Lawes, H. (1655), The Second Book of Ayres and Dialogues. THE SECOND BOOK | OF | AYRES, | AND | DIALOGUES, | For One, Two, and Three Voyces. | BY | [engraved portrait] | HENRY LAWES Servant to his late Ma: tie | in his publick and private Musick. | [rule.] | W: Faithorne fecit. (London: Printed by T[homas]. H[arper]. for John Playford, 1655). Lawes’s second (of three: also 1652, 1658) printed book of songs is dedicated to Lady Dering (Mary Harvey). The volume contains 55 continuo songs, dialogues, and partsongs by Mary Harvey and Henry Lawes, setting texts by Anacreon, S. B., John Birkenhead, I. C., Thomas Carew, William Cartwright, Matthew Clifford, John Crofts, Sir William Davenant, Sir Edward Dering, Francis Finch, John Fletcher, I. G., John Grange, Henry Harington, Robert Herrick, Dr Henry Hughes, Ben Jonson, I. M., Sir John Mennes, N. N., Sir Christopher Nevill, Sir James Palmer, Catherine Philips, Henry Reynolds, F. S., Thomas Stanley, Aurelian Townshend, and Edmund Waller. This includes the copy-text for a three-part version of Henry Lawes’s setting of the song ‘Beauties, have you seen a toy’ (M.5.1/1(a) (Full score   , MIDI   )) from The Haddington Masque (1608).

Playford, J. (1659), Select Ayres and Dialogues. SELECT | AYRES | AND | DIALOGUES | For One, Two, and Three Voyces; | TO THE | THEORBO-LUTE or BASSE-VIOL. | [rule.] | Composed by | John Wilson | Charles Colman | Doctors in Musick. | Henry Lawes | William Lawes | Nicholas Laneare | William Webb | Gentlemen and Servants to his late | Majesty in his Publick and Private | Musick. | And other Excellent Masters of Musick. (London: Printed by W[illiam]. Godbid for John Playford, 1659). Collection of 125 songs, dialogues, and partsongs by anon., Thomas Brewer, William Caesar [aka Smegergill], John Cobb, Charles Coleman, Edward Coleman, John Goodgroome, Mary Harvey, Simon Ives, John Jenkins, Robert Johnson, Nicholas Lanier, Henry Lawes, William Lawes, John Playford, Jeremy Savile, [William?] Tompkins, Mr Warner, William Webb, and John Wilson. The collection was reprinted as Book 1 of The Treasury of Music (1669). It is a secondary source for Nicholas Lanier’s popular setting of ‘Though I am young and cannot tell’ (P.9.1/2(a) (Full score   , MIDI   )) from The Sad Shepherd (1641). The setting is found in seven publications between 1652 and 1673, in two, three, and four parts. It is also the unique source for the setting of ‘Come, noble nymphs, and do not hide’ (M.15.1/1 (Full score   , MIDI   )) originally from The Fortunate Isles and their Union (1625), by William Webb (d. 1657).

Hilton, J. (1667), Catch that Catch can: or The Musical Companion. Catch that Catch can: | OR THE | Musical Companion. | CONTAINING | CATCHES and ROUNDS for Three and Four Voyces. | [rule.] | To which is now added a Second Book | CONTAINING | DIALOGUES, GLEES, AYRES, & BALLADS, &c. | Some for | Two | Three | Foure | VOYCES. (London: Printed by W[illiam]. Godbid for J[ohn]. Playford, 1667). Catch that Catch can wasoriginally compiled and published by John Hilton in 1652 (d. 1657). The collection became widely popular and was reprinted (revised and ‘enlarged’) by John Playford in 1658 and 1663. The 1667 and 1685 editions were issued under the title The Musical Companion. Playford dedicated the 1667 volume to the ‘Musick-Society’ of which he was an active member and whose repertoire the book represents; the society appears to have been defunct by 1665. The volume contains 228 catches, dialogues, and partsongs by anon., John Banister, Thomas Brewer, William Byrd, William Caesar [aka Smegergill], William Child, John Cobb, Edward Coleman, Henry Cooke, William Cranford, William Ellis, Freeman, John Goodgroome, William Gregory, G. H. [?George Hudson], Roger Hill, John Hilton, Leonardo Hodimonto, George Holmes, Thomas Holmes, William Howes, Simon Ives, Nicholas Lanier, Henry Lawes, William Lawes, Matthew Locke, Edward Nelham, Thomas Pierce, John Playford, Henry Purcell, Jeremy Savile, John Smith, William Stonard, John Taylor, Silas Taylor, Thomas Tempest, William Webb, William White, and John Wilson. It is the copy-text for (P.9.1/2(b) (Full score   , MIDI   )) a four-part version of Nicholas Lanier’s popular setting of ‘Though I am young and cannot tell’ from The Sad Shepherd (1641). The setting is found in seven publications between 1652 and 1673, in two, three, and four parts. It is also the copy-text for Edward Nelham’s catch ‘“Buzz”, quoth the blue fly’ (M.7.1 (Full score   , MIDI   )) from Oberon (1611).

Lawes, H. (1669), The Treasury of Music , Book 1. The Treasury of Musick: | CONTAINING | AYRES | AND | DIALOGUES | To Sing to the | THEORBO-LUTE | OR | BASSE-VIOL. | [rule.] | COMPOSED | By M^r. HENRY LAWES, late Servant to His Majesty | in His Publick and Private Musick: | And other Excellent MASTERS. | [rule.] | In Three Books. (London: Printed by William Godbid for John Playford, 1669). The Treasury of Musick was published seven years after the death of Henry Lawes. The collection comprises three books. The first is a reprint (with new title-page) of Select Ayres and Dialogues (1659). The second book, Select Ayres and Dialogues . . . by Mr Henry Lawes, seems to be a new volume of later material and songs by other composers: there is also a possibility that it is a reprint of a 1663 edition of Select Ayres of which no copies survive. The third is a reprint (with new title-page) of Lawes’s Select Ayres and Dialogues (1658). Reprinted from Select Ayres and Dialogues, the first book includes William Webb’s setting of ‘Come, noble nymphs, and do not hide’ (M.15.1/1 (Full score   , MIDI   )) from The Fortunate Isles and their Union (1625), and Nicholas Lanier’s setting of ‘Though I am young and cannot tell’ (P.9.1/2(a) (Full score   , MIDI   )) from The Sad Shepherd (1641).

Lawes, H. (1669), The Treasury of Music , Book 2. SELECT | AYRES | AND | DIALOGUES | To Sing to the | THEORBO-LUTE | OR | BASSE-VIOL. | [rule.] | COMPOSED | By M^r. HENRY LAWES, late Servant to His Majesty | in His Publick and Private MUSICK: | And other Excellent MASTERS. | [rule.] | The Second Book. (London: Printed by William Godbid for John Playford, 1669). Book 2 of The Treasury of Musick seems to be a new volume of later material and songs by composers other than Lawes; there is also a possibility that it is a reprint of a 1663 edition of Select Ayres and Dialogues of which no copies survive. The book contains 124 continuo-songs and dialogues by anon., Thomas Blagrave, Charles Coleman, Edward Coleman, John Goodgroome, William Gregory, Roger Hill, John Hilton, Simon Ives, John Jenkins, Nicholas Lanier, Henry Lawes, William Lawes, Alfonso Marsh, John Moss, John Playford, and John Wilson. The collection contains two settings of Jonson’s song texts. An anonymous setting of ‘Still to be neat, still to be dressed’ (P.5.1/2 (Full score   , MIDI   ); here titled ‘On a Proud Lady’) from Epicene (1609), which may have been used for a revival of the play in the 1660s. It also includes a concordance for Nicholas Lanier’s popular setting of ‘Though I am young and cannot tell’ (P.9.1/2 (Full score   , MIDI   )) from The Sad Shepherd (1641) was printed in seven volumes between 1652 and 1673, in two, three, and four parts.

Playford, J. (1672), An Introduction to the Skill of Music. AN | INTRODUCTION | TO THE SKILL OF | MUSICK. | [rule.] | IN TWO BOOKS. | [rule.] | THE FIRST: | The Grounds and Rules of MUSICK, | according to the Gam-vt, and other | Principlesthereof. | THE SECOND: | Instructions & Lessons for the Bass-Viol: | AND| Instructions & Lessons for the Treble-Violin. | [rule.] | By JOHN PLAYFORD. |[rule.] | To which is added, | TheART of DESCANT, | of Composing MUSICK in Parts. | By Dr. THO. CAMPION.| [rule.] | With Annotations thereon, by Mr. Chr. Simpson. | [rule.] | The Sixt Edition Corrected and Enlarged. (London: Printed by W[illiam]. Godbid for J[ohn]. Playford, 1672). This, the sixth edition of Playford’s popular book, is divided into three sections. The first part contains Playford’s basic music theory, with instructions for voice and psalm singing. It includes eleven two-part songs by anon., Thomas Brewer, John Goodgroome, Henry Lawes, William Lawes, T. M., John Playford, and B. R. [Benjamin Rogers?], as well as 16 anonymous psalm tunes with solmization symbols below each note. Second, a series of instructions for playing viols (especially the bass) and violin, which includes ten anonymous tunes for bass viol, five anonymous tunes for violin (three are given in both tablature and staff notation), and a duet for treble and bass viol by Alfonso Ferrabosco II. The third part is a reproduction of Thomas Campion’s essay on music composition (originally published c. 1614), with annotations by Christopher Simpson. The first part provides a late secondary source for P.9.1/2(a) (Full score   , MIDI   ), a two-part version of Nicholas Lanier’s popular setting of ‘Though I am young and cannot tell’ from The Sad Shepherd (1641), which was printed in seven volumes between 1652 and 1673, in two, three, and four parts.

Playford, J. (1673), The Musical Companion. THE | Musical Companion, | In Two BOOKS. | [rule.] | The First Book containing CATCHES and ROUNDS for Three Voyces. | [rule.] | The Second Book containing DIALOGUES, GLEES, AYRES and SONGS for Two, Three and Four VOYCES. | [rule.] | Collected and Published By John Playford Practitioner in MUSICK. (London: Printed by W[illiam]. Godbid for John Playford, 1673). John Playford’s large compendium contains 210 catches, dialogues, and partsongs by anon., John Banister, Thomas Brewer, William Byrd, William Caesar [aka Smegergill], Thomas Campion, William Child, John Cobb, Edward Coleman, William Cranford, Richard Dering, William Ellis, Richard Fleckno, John Goodgroome, Orlando Gibbons, William Gregory, G. H. [George Hudson?], Roger Hill, John Hilton, Leonardo Hodimonto, George Holmes, Thomas Holmes, Simon Ives, John Jenkins, Robert Johnson, Nicholas Lanier, Henry Lawes, William Lawes, Matthew Locke, Thomas Morley, Edmund Nelham, T. N., W. N., John Playford, Henry Purcell, Benjamin Rogers, Jeremy Savile, Christopher Simpson, John Smith, William Stonard, John Taylor, Silas Taylor, Thomas Tempest, Benjamin Wallington, William Webb, Mr White, and John Wilson. The volume is the unique source for the only known setting of Robert Johnson’s setting of ‘From the famous peak of Derby’ (M.12.2 (Full score   , MIDI   )) from The Gypsies Metamorphosed (1621). It is also a secondary source for the four-part version of Nicholas Lanier’s popular setting of ‘Though I am young and cannot tell’ (P.9.1/2(b) (Full score   , MIDI   )) from The Sad Shepherd (1641), which was printed in seven volumes between 1652 and 1673, in two, three, and four parts.

D’Urfey, T. (1719), Wit and Mirth. WIT and MIRTH: | OR | PILLS | TO PURGE | Melancholy; | BEING | A Collection of the best Merry BALLADS | and SONGS, Old and New. | Fitted to all Humours, having each their proper | TUNE for either Voice, or Instrument: | Most of the SONGS being new Set. (London: Printed by W[illiam]. Pearson for J[acob]. Tonson, at Shakespeare’s Head, over-against Catherine Street in the Strand, 1719). Thomas D’Urfey (c. 1653–1723), perhaps best known as a poet and playwright, was also a prolific writer of odes and lyrics. He was especially adept at fitting words to pre-existing tunes. In 1719 D’Urfey published five volumes of poems, mainly with tunes, entitled Wit and Mirth, or Pills to Purge Melancholy (also issued as Songs Compleat, Pleasant and Divertive), followed by a sixth volume in 1720; there were various reprints. In total, the collection contains over 1,000 items. He wrote most of the texts and was also responsible for some of the musical settings. The fourth volume includes two popular ballads used as copy-texts in this edition: ‘Though it may seem rude’ (M.13.2 (Full score   , MIDI   )), sung by the bearward John Urson in The Masque of Augurs (1622), set to the tune ‘Eighty-Eight’; and the coarse and satirical song of ‘Cock Lorel would needs have the devil his guest’ (M.12.5 (Full score   , MIDI   )) sung shortly before the transformation of the gypsies in The Gypsies Metamorphosed (1621).

Copy consulted: London, British Library, 1078.c.4–8.

Copy consulted: London, British Library, G.316.c.(6.).

Anon. ([ c. 1730?]), To Celia, A Song. To Celia , A Song. ([c. 1730?]). Copy-text for N.2.1/6 (Full score   , MIDI   ). Single-page broadside; no publisher or date of publication is given. This copy is one of several; it is item 123 of a bound collection of similar pieces.

Copy consulted: Oxford, Bodleian Library, Harding Mus. E.138.

Oswald, J. ([ c . 1762?]), The Thirsty Lover. ‘The Thirsty Lover’, J. Oswald, for the Temple of Apollo: Printed by Ja s . Oswald for the Temple of APOLLO and sold by him at his Musick-Shop in S t . Martin’s Church-Yard. ([c. 1762?]). Copy-text for N.2.1/4 (Full score   , MIDI   ). The Scottish musician, composer and music publisher, James Oswald (1710–69) moved to London in early 1741 where he gave music lessons and seems to have worked for John Simpson, who published some of his compositions. Oswald was in business as a music publisher from 1747–c. 1762. Straight and Skillern republished some of Oswald’s works between 1769 and c. 1778, though this setting of ‘Drink to me only with thine eyes’ does not seem to have been among them.

Anon. [?Henry Harington] ([ c. 1780?]), Drink to me only with thine eyes. DRINK TO ME ONLY WITH THINE EYES | A Favorite [sic] Glee for three Voices (London: Printed for Dale’s Music Warehouses No. 19 Cornhill & 132 Oxford Street facing Hanover Square, [c. 1791?]). This famous three-voice glee setting of Jonson’s poem ‘To Celia’ (N.2.1/1 (Full score   , MIDI   )) appears to have been first published c. 1770 and was reissued (in various arrangements) throughout the eighteenth, nineteenth, and twentieth centuries. None of the earliest prints are dated and all are clearly related. Though probably published in the early 1780s, when the setting had been in circulation for some time, this print has been chosen for the copy-text for N.2.1/1 (Full score   , MIDI   ). It was published by the musician, instrument maker, and publisher Joseph Dale (1750–1821). Dale founded his publishing business at his private house in 1783; he moved to 19 Cornhill and 132 Oxford Street facing Hanover Square early in 1791 and remained until c. 1802. In 1786 Dale moved to premises formerly owned by Samuel Babb, from whom he purchased stock and a large circulating music library. Babb issued the same setting of ‘Drink to me only with thine eyes’ c. 1780 (see Sources for N.2.1/1 (Full score   , MIDI   ) in the Textual Commentary). Much ink has been spilt in attempts to establish the identity of the composer: Henry Harington (1727–1816) seems to be the most likely candidate. The setting is followed by an arrangement of the tune ‘For two Guitars’ and an arrangement ‘For 2 Ger. Flutes’: these arrangements are found in many of the eighteenth-century prints.

Linley, T. ( c. 1800), The Posthumous Vocal Works. The Posthumous Vocal Works of Mr . Linley and Mr . T. Linley , Consisting of Songs, Duetts, Cantatas, Madrigals and Glees (London: [Thomas] Preston, of 97 Strand). RISM L2538. This two-volume collection was published around the turn of the century by Mary Linley, wife of Thomas senior (1733–95), mother of Thomas junior (1756–78). Despite his tragic death by drowning at the age of 22, Thomas junior was one of the most precocious composers and performers in eighteenth-century England. His father was a leading figure in the theatre, active as a composer, concert promoter, and vocal teacher. There were 187 subscribers to the collection, including William Jackson, James Hook, William Shield, and John Stafford Smith; 214 copies were sold. The collection contains 48 items: 13 attributed to Thomas senior and 10 to his son; the remaining 25 items are unattributed. It is the unique source for Thomas Senior’s glee setting of ‘Drink to me only with thine eyes’ (N.2.1/5 (Full score   , MIDI   )), which probably dates from c. 1760–70.