Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-24T19:14:13.580Z Has data issue: false hasContentIssue false
  • English
  • Français

British Museum Add Ms. 15117: A Commentary, Index and Bibliography

Published online by Cambridge University Press:  01 January 2020

Mary Joiner
Get access

Extract

The British Museum manuscript Additional 15117 is well known to scholars and students and many pieces from it have been referred to or transcribed. The collection is usually described as simply a miscellaneous collection of songs and instrumental pieces ranging in date from the 1560s to about 1620. The British Museum catalogue itself suggests that the manuscript contains a very diverse and rather arbitrary collection of music. In the discussion which follows I suggest that the manuscript repays consideration as a complete collection, one compiled possibly over quite a brief period of time and reflecting a single interest: an interest in the music used in and associated with the popular theatre. Any conclusions one is tempted to draw about the total plan and intention of the collection from a study of individual pieces and their relation to one another must, of course, be tentative. However, several of the pieces in the collection - some of them well known from other sources - exist in rather unusual versions or forms and this requires explanation. The cumulative evidence of the conclusions one is led to draw about individual pieces does seem significant and therefore worth recording here even if only as hypothesis.

Type
Research Article
Information
R.M.A. Research Chronicle , Volume 7 , 1969 , pp. 51 - 109
Copyright
Copyright © Royal Musical Association, 1969

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Sources

Edwards, Richard. The excellent comedie of two the moste faithfullest freendes, Damon and Pithias … London, 1571, Sig. D. 1. (words only).Google Scholar
“A Newe Ballade of a Louer Extollinge his Ladye. To the Tune of Damon and Pithias.” London, 1568. M. Osb[orne]. Facsimile of the broadside ballad in the article by John Ward, J. A. M S. X / 3, facing page 168, see below.Google Scholar
B. M. MS Vesp. A xxv. f.135 (words only).Google Scholar
“Awake, ye woeful wights.” ed. Warlock, P., from B.M. MS Add. 15117. Curwen ed. no. 2448. London, n. d.? 1929.Google Scholar
“Awake, ye woeful wights.” ed. Warlock, P., for chorus. Curwen ed. no. 71690. London, n. d.Google Scholar

References

Robinson, Clement. A Handefull of Pleasant Delites. London, 1584. ed. Rollins, H.E., Cambridge, Mass. 1924. No. 24. “The Lamentation of a Woman, Being Wrongfully Defamed” To the Tune of ‘Damon and Pithias'. The song begins “You Ladies, falsely deemed”.Google Scholar
Phillips, John. Pacient … Grissill. London, c.1566, Sig. C.4. The tune of “Damon and Pithias” is named for singing “Can my poore harte be still”. See also Michael Shapiro, below.Google Scholar
Elviden, Edmund. Historie of Pesistratus and Catanea. London, c.1570, Sig.C.l.Google Scholar
Ward, John. “Music for A Handefull of Pleasant Delites.” J. A. M. S. X / 3 (1957), p. 167.CrossRefGoogle Scholar
Simpson, Claude. The British Broadside Ballad and its Music. New Brunswick, New Jersey, 1966, pp. 157–59.Google Scholar
Ward, John. “Apropos The British Broadside Ballad and its Music.” J. A. M.S. XX/1 (1967), p. 36.CrossRefGoogle Scholar
Long, John H. “A Song in Damon and Pithias.” M & L XLVIII / 3 (1967), pp. 247–50, and XLVIII /4 (1967), Correspondence, p. 412.Google Scholar
Joiner, Mary, “A Song in Damon and Pithias.” M & L XLIX/1 (1968), Correspondence, pp. 98–100.Google Scholar
Shapiro, Michael, “A Song in Damon and Pithias.” M & L XLIX/3 (1968), Correspondence, pp. 304–306.Google Scholar
f. 3v. O Deathe, rock me a sleepe.Google Scholar

Sources

Church, Christ, Oxford, MS Mus 371, ff. 10. v-11. v. “O death rock me aslepe” for keyboard. (This is similar to the 15117 version.)Google Scholar
Western Reserve University, MS fragment (one leaf) bound into a copy of Ernest David and Mathis Lussy, Histoire de la notation musicale, Paris, 1882. Cantus only. (This is similar to the 15117 version.) See the discussion by John Ward, below.Google Scholar
B.M. MSS Add. 18936–9 (i) f. 70v (ii) f. 68v (iii) f.50v (iv) f.68vGoogle Scholar
B.M. MSS Add. 30480–4 (i) f. 37v (ii) f.40v (iii) f.38v (iv) f.41 (v) f.19v.Google Scholar
(Both these B. M. MS versions are completely different from the 15117 version.)Google Scholar
Chappell, W. Vol. I, p. 238 (see below) refers to a version of the song in B.M. MS Add. 4900. This song no longer forms part of that collection.Google Scholar
B.M. MS Add. 2637, f. 107v (words only). The title “Vltima morientis/verba” is given in the right-hand margin. The version gives four stanzas additional to the one given in the 15117 MS.Google Scholar
Hawkins, Sir John. General History of Music. 5 Vol. London, 1776. ed. Cudworth, C., 2 Vol., Dover Publications, New York, 1963, Vol. I, p. 376 (words only).Google Scholar
Ritson, Joseph. Ancient Songs and Ballads. London, 1790, pp. 121–22. 2nd ed. London, 1829, Vol. II, pp. 12–13, ascribed to Rochford. 3rd ed. London, 1877, rev. W. C. Hazlitt, pp. 156–58, ascribed to Rochford. (All editions give words only.)Google Scholar
Rimbault, Edward. A Little Book of Songs and Ballads, gathered from ancient musick books MS and printed. London, 1851, pp. 65–6.Google Scholar
Chappell, W. Popular Music of the Olden Time. 2 Vol. London, 1855–59. ed. Sternfeld, F.W., 2 Vol., Dover Publications, New York, 1965, Vol. I, pp. 237–39.Google Scholar
Elizabethan Songs with String Quartet. ed. Warlock, P.3 Vol. London, 1926, Vol. III, no. 1. Warlock gives the music from the two British Museum manuscripts cited above.Google Scholar
“O Death rock me asleep.” ed. Warlock, P.Curwen ed. no. 2389, London, n. d.? 1928. Edited from B. M. MS Add. 15117.Google Scholar

References

Shakespeare, W. Henry IV, Part 2, II. iv. 211.Google Scholar
Nashe, Thomas. “A Choice of Valentines” in Complete Works, ed. R.B. McKerrow and F.P. Wilson, 5 Vol. Oxford, 1958. Vol. III, pp. 396–416, line 204.Google Scholar
Anon, in Blackwood's Edinburgh Magazine, XLIV (November 1838), p. 466.Google Scholar
Arkwright, G. “Early Elizabethan Stage Music.” The Musical Antiquary I (1909), p. 33.Google Scholar
Rollins, H.H. “A Note on Richard Edwards.” R. E. S. IV (1928), pp. 204–6., V (1929), pp. 55–6. (This article discusses among other things B.M. MS Add. 26737, f. 106v.-108.)CrossRefGoogle Scholar
Hebel, J.W. et al. Tudor Poetry and Prose. New York, 1953, p. 43.Google Scholar
Stevens, J.E. Music and Poetry in the Early Tudor Court. London, 1961, p. 449.Google Scholar
Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, p. 306.Google Scholar
Ward, John. “Joan qd John” pp. 837–44.Google Scholar
f. 4. O heavenlye God O Father deareGoogle Scholar

Sources

Byrd, W. Collected Works. Vol. XV, pp. 28–30. Fellowes attributes the words here to Robert Devereux, 2nd Earl of Essex. This is obviously a mistake for Walter Devereux, 1st Earl of Essex.Google Scholar
B.M. MSS Add. 29372–77 (i-iv) f.23 (v) f.ll. (ascribed to William Damon.)Google Scholar
B.M. MS Add. 31992, f.53.Google Scholar
Bodleian Library, Oxford MS Mus Sch. e. 423, f. 19v. (ascribed to Strogers.)Google Scholar
Trinity College, Dublin, MS D. 3. 30., pp. 202, 212.Google Scholar
St. Michael's College, Tenbury, MS 389, p. 103.Google Scholar
Edwards, Richard, The Paradyse of daintie Deuises. London, 1576, 1606. ed. Rollins, H.E., Cambridge, Mass. 1927, p. 95. The poem is entitled “The Complaint of a Synner” and is ascribed to F[rancis] K [inwelmarsh]. (words only.)Google Scholar
B.M. MS Vitell, C XVII f.380 (words only.)Google Scholar
B.M. MS Vesp. A XXV, f.l52v (words only.)Google Scholar
Consort Songs, p. 39.Google Scholar
Harington MS at Arundel Castle, f. 3. v. ed. Hughey, Ruth. The Arundel Haringinton MS of Tudor Poetry, 2 Vol. Columbus, Ohio, 1960, Vol. I, no. 68. See also below.Google Scholar

References

Brett, Philip. Wiliam Byrd, pp. 329–330. Dr. Brett considers the song is more likely to be the work of Nicholas Strogers than of Byrd. He claims that the most reliable source for the song is the single contra-tenor part-book in the Bodleian Library (see above) which was written between 1575 and 1586. Here the music is ascribed to Strogers. Dr. Brett discusses this further in the notes to this piece in Consort Songs. p. 180.Google Scholar
Ruth, Hughey. See above, Vol. II, pp. 68. ff. Ruth Hughey discusses the reasons in favour of attributing the poem to Walter Devereux.Google Scholar
f.4v. O Lord whos grace, no lymites comprehendeGoogle Scholar

Sources

The Psalms of Sir Philip Sidney and the Countess of Pembroke. ed. Rathmell, J. C. A. New York, 1963, psalm 51, pp. 120–121 (words only).Google Scholar
Bodleian Library, MS Rawl. Poet. 23. p. 114. Entitled “Miserere mei. Psalm 51”. (words only.)Google Scholar
f. 5v. From depth of greifeGoogle Scholar

Sources

The Psalms of Sir Philip Sidney and the Countess of Pembroke. ed. Rathmell, J.C.A. New York, 1963, psalm 130, pp. 304–5 (words only.)Google Scholar
f.6. Miserere my makerGoogle Scholar

Sources

Caccini, Giulio. Le nuove musiche. Venice, 1602, Sig. B.2-B.2v. “Amarilli mia bella.” (15117 is based on Caccini's music.)Google Scholar
Dowland, Robert. A Musicall Banquet. London, 1610, no.XIX, Sig. L.lv-L.2. “Amarilli mia bella. “Google Scholar
B. M. MS Royal Appendix 55, f. 7v-8. “Amarilli mia bella. “Google Scholar
Fitzwilliam Virginal Book, Vol. I, pp. 329–331. “Amarilli di Julio Romano”: an arrangement for keyboard by Peter Phillips dated 1603.Google Scholar
St. Michael's College, Tenbury, MS 1018, f.39. “Amarilli mia bella. “Google Scholar
King's College, Cambridge, Francis Turpyn Book of Lute Songs, Rowe MS 2, no. 8. This gives different music from that in the 15117 MS and two additional stanzas.Google Scholar
Christ Church, Oxford, MSS Mus 56–60, no. 31. (i) p. 151 (ii) p. 135 (iii) p. 31 (iv) p. 141 (v) p. 151 (vi) Bassus part missing. Ascribed to “Thomas Foorde.” The music is different from both the 15117 version and the Rowe MS version.Google Scholar

References

Oboussier, Phillippe. “Turpyn's Book of Lute-Songs.” M & L XXXIV (1953), 145–49; This discusses only the version in the Rowe MS, see especially p. 149.Google Scholar
Ward, John. “Joan qd John” p. 842, footnote 35. a.Google Scholar
f.6v. Alack, when I look backGoogle Scholar

Sources

Byrd, W. Collected Works. Vol. XI, p. 98. Words ascribed to Hunnis.Google Scholar
Christ Church, Oxford MS Mus 1001, f. 56.Google Scholar
St. John's College, Oxford, MS 180, f. 58.Google Scholar
Royal College of Music, London, MS 1048, f. 17v.Google Scholar
Royal College of Music, London, MS 1051, f. 23v.Google Scholar
Lambeth Palace Library MS 764, f. 120v.Google Scholar
Durham Cathedral Library MSS c. 4., 5., 7., 9., 10., (i) f. 49 (ii) f. 47 (iii) f. 235 (iv) f. 27 (v) f. 35.Google Scholar
St. Michael's College, Tenbury, MS 791, f. 72v.Google Scholar
St. Michael's College, Tenbury, MS 1382, f. 17.Google Scholar
Edwards, Richard. The Paradyse of daintie Deuises. London, 1576, 1606. ed. Rollins, H.E. Cambridge, Mass., 1927, p. 107. Ascribed to William Hunnis (words only.)Google Scholar
Hunnis, William. Comfortable Dialogs. London, 1583, Sig. G. 8v. (words only.)Google Scholar
B. M. MS Eg. 2403, f. 35 (words only). Ascribed to “Tho: Wenman.”Google Scholar
B. M. MS Harl. 6346, f.27v. (words only.)Google Scholar
Bodleian Library, MS Rawl. Poet. 23, p. 114 (words only). Ascribed to W. Bird.Google Scholar

References

Frost, M. English and Scottish Psalm and Hymn Tunes. London, 1953, p. 467.Google Scholar
Brett, Philip. William Byrd. pp. 297–8.Google Scholar
Ward, John. “Joan qd John”, p. 842, footnote 35a.Google Scholar
f. 7. Sleepe wayward thoughtsGoogle Scholar

Sources

Dowland, John. The First Book of Ayres. London, 1597, 1600, 1603, 1606, 1613, no. 13. E.S.L.S. 1st series. Dowland 4, no. 13, p. 21.Google Scholar
A Briefe Introduction to the Skill of Musick. London, 1660, 1662. p. 41.Google Scholar
Forbes, John. Songs and Fancies. Aberdeen, 1662, 1666, 1682, no. 20.Google Scholar
Forbes, John. Songs and Fancies. (see above), no. 13. The words of the song “If floods of tears” from John Dowland's Second Book of Ayres (1600) no. 11 are set to the present melody.Google Scholar
B.M. MS Add. 15117, f. 22v, for keyboard.Google Scholar
B. M. MS Add. 15118, f.4v.Google Scholar
B. M. MS Add. 24665, f. 28v.Google Scholar
B. M. MS Add. 29481, f. 2.Google Scholar
B. M. MS Add. 36526, tenor and bass parts only, ff.3 and 9.Google Scholar
Christ Church, Oxford, MS 439, p. 46.Google Scholar
Bodleian Library MSS Mus. f. 7–10, no.7. (i) f. 7v. (ii) f.6v. (iii) ff.6v-7. (iv) f. 9v.Google Scholar
Bodleian Library MS Douce 280, f. 67v (words only).Google Scholar
Bodleian Library MS Harl. 3511, f.l. (words only).Google Scholar
E. M. V. p. 461.Google Scholar

References

Every Woman in Her Humour. London, 1609, Sig. B. 1v.Google Scholar
Eastwood Ho in The Works of John Marston. ed. Wood, H. Harvey, 3 Vol. Edinburgh, 1934–9, Vol. III, p. 94.Google Scholar
Day and Murrie, 2999.Google Scholar
f. 7v. O God geiue eare and do applyeGoogle Scholar

Sources

Byrd, William. Psalms, Sonets and Songs. London, 1588, in Byrd, Collected Works, Vol. XII, p. 2.Google Scholar
B. M. MSS Add. 29401–5 (i–v) f. 12v.Google Scholar
B. M. MS Add. 31992, f. 7v.Google Scholar
B. M. MS Add. 29247, f.47v.Google Scholar
B. M. MSS Egerton 2009, 2011, 2012, f.54v.Google Scholar
St. Michael's College, Tenbury, MS 1382, f.40.Google Scholar
Bibliotèque Royale, Brussels MS II. 4109, p. 158.Google Scholar
New York Public Library MSS Drexel 4180–5, (i) f. 23v (ii) f. 24 (iii) f. 25 (iv) f. 22v (v) f.l.Google Scholar
Harvard College Library MS Mus 30, f. 7v.Google Scholar

Reference

Brett, Philip. William Byrd, p. 328.Google Scholar
f. 8. Thoughe you are younge and I am oldeGoogle Scholar

Sources

Campion, Thomas. Rosseter's Ayres. London, 1601, no. 2. E. S. L. S. 2nd series.Google Scholar
Lawes, Henry. Select Ayres and Dialogues. London, 1669, p. 76. (Music ascribed to J. Playford.)Google Scholar
An Introduction to the Skill of Music. London, 1672, Part I, p. 67. (Music ascribed to J. P.).Google Scholar
B.M. MS Add. 24665, f.30v.Google Scholar
Christ Church MS Mus 439, p. 11.Google Scholar
Bodleian Library MS Ashmole 36, 37, f.145 (words only).Google Scholar
Bodleian Library, MS Douce f.5. f.20v (words only).Google Scholar
E. M. V. pp. 654–5.Google Scholar

Reference

Day and Murrie 3330.Google Scholar
f. 8v. Vt re my fa sol laGoogle Scholar

Source

Fitzwilliam Museum, Cambridge, MS of Edward, Lord Herbert of Cherbury. (No shelf-mark, on permanent exhibition), f. 2v-3.Google Scholar
f. 9v. Aprill is in my mistres faceGoogle Scholar

Sources

Morley, Thomas. First Book of Madrigals for Four Voices. London, 1594, 1600, no. 1. E. M. S.Google Scholar
Vecchi, Orazio. Canzonette a sei voci … Libro primo. Venice, 1587, no. 15, “Nel vis'ha un vago Aprile” (words by Livio Celiano). Morley's madrigal verse is a translation of these words.Google Scholar
E. M. V. p. 139.Google Scholar
f.10. The peacefull westerne windeGoogle Scholar

Sources

Campion, Thomas. Second Book of Ayr es. London, c.1613. E.S. L.S. 2nd series. The words in the 1613 version of the song are set to the music of the song “Move now with measured sound” in Campion's Lord Hayes’ Masque, London, 1607.Google Scholar
Morley, Thomas. First Book of Ballets to Five Voices. London, 1595, 1600, no. 3. E. M. S. This gives the 15117 music, but sets the words “Now is the month of maying”. These are the words given in the 15117 MS as an alternative to (?) Campion's words.Google Scholar
Vecchi, Orazio. Selva di varia ricreatione. Venice, 1590, no. 3. Morley's ballet is a translation of “So ben mi c'ha bon tempo”.Google Scholar
Rosseter, Philip. Lessons for Consort. London, 1609, no. 5. “Now is the month of May. “Google Scholar
Forbes, John. Songs and Fancies. Aberdeen, 1662, 1666, 1682, no. 10: “Now is the month of maying.”Google Scholar
The Musical Companion. London, 1673, p. 105: “Now is the month of maying. “Google Scholar
An Introduction to the Skill of Musick. London, 1672, 1674, Part I, p. 64; 1679, Part I, p. 63: “Now is the month of maying. “Google Scholar
Vivian, Percival (ed). Campion's Works. London, 1909, 1966. “The peaceful western wind.” pp. 139 and 364 (words only). The words of the (?) 1613 version are given on p. 139 and of the 15117 MS version on p. 364.CrossRefGoogle Scholar
E.M.V. p. 384, “The peaceful western wind:” p. 148, “Now is the month of maying. “Google Scholar

References

Obertello, Alfredo. Madrigali italiani in Inghilterra. Milan, 1949, pp. 346–372.Google Scholar
Harwood, Ian. “Rosseter's Lessons for Consort of 1609.” Lute Society Journal, VIII (1965), pp. 15–23.Google Scholar
Day and Murrie “Now is the month of maying”, 2392.Google Scholar
f.10v. Come gentle heardman sitt with meGoogle Scholar

Sources

Land, Jan Pieter Nicolaus (ed). Het Luitboek van Thysius … Amsterdam, 1889, pp. 79–80. The music in the 15117 MS and in the Thysius MS is based on the ballad tune “Go from my window”. For further sources of this tune (but without these words) seeGoogle Scholar
Simpson, Claude M. The British Broadside Ballad and its Music. New Brunswick, New Jersey, 1966, pp. 257–9.Google Scholar
B.M. MS Egerton 3165, f. 101v. (ed) Helen Estabrook Sandison, The Poems of Sir Arthur Gorges. Oxford, 1953. “Cumme gentle heardman” is no.98, pp. 118–123. It is entitled An Ecloge betwen a Shephearde and a Heardman (words only).Google Scholar
University Library, Cambridge, MS Dd. 5. 75. f.39v. (words only).Google Scholar
Davison, Francis. A Poetical Rhapsody. London, 1602, 1621. ed. Rollins, H. E., 2 Vol. Cambridge, Mass., 1931–2, Vol. I p. 45. (words only).Google Scholar

References

Beaumont, F. and Fletcher J. The Knight of the Burning Pestle, III 496 (“Go from my window”). See also the note on this in The Dramatic Works of Beaumont and Fletcher, ed. Bowers, Fredson. Cambridge, 1966, Vol. I, p. 93.Google Scholar
Simpson, Claude M. See above.Google Scholar
Ward, John. “Joan qd John”, p. 842, footnote 35a.Google Scholar
f.12. Saye fonde love what seekes thowe heereGoogle Scholar

Sources

Dowland, John. Second Book of Ayres. London, 1600, no. 22: “Humour, say: A Dialogue.” E.S.L.S. 1st series. Dowland 4, no. 35., p. 54. The music of the song in the 15117 MS is a simplified version of Dowland's dialogue.Google Scholar
E.M.V. “Humour, say” p. 478.Google Scholar

Reference

Ward, John. “Joan qd John”. p. 842, footnote 35a.Google Scholar
f. 12v. Deliver me from myne enimiesGoogle Scholar

Sources

B.M. MS Add. 22597, f. 21.Google Scholar
B.M. MSS Add. 29372–7 (i-iv) f. 80v (v) f. 67v.Google Scholar
B.M. MSS. Add. 30478, 30479 (i) f. 32v (ii) f. 12v.Google Scholar
B.M. MS Add. 30933, f.135.Google Scholar
B.M. MS Harl. 7339, f. 36v.Google Scholar
B.M. MS Harl. 6346, f.4. (words only)Google Scholar
“Deliver me from mine enimies”. ed. Oboussier, Phillippe, Novello's Octavo Anthems, Anth. 1297. London, 1954.Google Scholar
f. 13v. Come let vs singe to God with praiseGoogle Scholar

Source

Leighton, Sir William. Teares, or Lamentacions of a Sorrowfull Soule … London, 1614, Sig. B. 2v–C. 1.Google Scholar
f. 13v. O lovinge God and Father deereGoogle Scholar

Source

Leighton, Sir William. Teares, or Lamentacions … London, 1614, Sig. B. 1v–B. 2.Google Scholar
f.14. An heart thats broken and contriteGoogle Scholar

Source

Leighton, Sir William. Teares, or Lamentacions… London, 1614, Sig. E.2v-F.l. Ascribed to “Io. Dowland, Bachelor of Musicke.”Google Scholar
f. 14. Yeeld vnto God the Lord on higheGoogle Scholar

Source

Leighton, Sir William. Teares, or Lamentacions… London, 1614, Sig. G. 1v–G. 2. Ascribed to Robert Johnson.Google Scholar
f. 14v. In youthlye yeeresGoogle Scholar

Sources

Trinity College, Dublin, Dallis lute book, MS D. 3. 30. pp. 204–207, for voice and lute. Ascribed “Qd Mr Parsons”.Google Scholar
Edwards, Richard. The Paradyse of daintie Deuises. London, 1576, 1606. ed. Rollins, H. E., Cambridge, Mass. 1927, p. 10. Attributed to “M. Edwardes.” (words only).Google Scholar

Reference

Ward, John. “Joan qd John”, p. 841, footnote 33, and p. 842, footnote 35a.Google Scholar
f. 15. Vnto my fame a mortall woundeGoogle Scholar

Sources

B.M. MS Add. 30513, f. 78v-79; “Defiled is my name.” “Vnto my fame” occurs in the 2nd part of “Defiled is my name”. ed. Stevens, Denis, The Mulliner Book, Musica Britannica, I. London, 1951, no. 80, p. 59, ascribed to Robert Johnson.Google Scholar
B.M. MSS Add. 30480–3, “Defiled is my name.” (i) f.49v (ii) f.56v (iii) f.52v (iv) f.55v.Google Scholar
Royal College of Music, London MS 722, pp. 120–1. “Defiled is my name.”Google Scholar
Royal College of Music, London, MS 1196, no. 7. “Defiled is my name.” Four part-books: (i) f. 7 (ii) f. 6v (iii) f. 9 (iv) f. 7.Google Scholar
Royal College of Music, London, MS 2111, no. 1., pp. 1–3. “Defiled is my name. “Google Scholar
Hawkins, Sir John. General History of Music. 5 Vol. London, 1776. ed. Cudworth, C., 2 Vol. Dover Publications, New York, 1963, Vol. I, p. 376. “Defiled is my name.” (words only).Google Scholar
“Defiled is my name.” ed. Elliott, K. and Shire, H. in Music of Scotland, Musica Britannica, XV, London, 1957, no. 44, pp. 165–6. The song is ascribed here to Robert Johnson and is edited from B. M. MSS Add. 30480–3.Google Scholar
f. 15v. If my complaints, could passions moveGoogle Scholar

Sources

Dowland, John. First Book of Ayres. London, 1597, 1600, 1603, 1606, 1613, no.4. E.S.L.S. 1st series. Dowland 4, no.4, p. 6.Google Scholar
Dowland. John. Lachrimae, or Seaven teares … London, 1604. Instrumental version entitled “Captaine Digorie Piper his Galliard”.Google Scholar
Morley, Thomas. The First Book of Consort Lessons. London, 1599, 1611. Reconstructed and ed. Beck, S. New York, 1959, no. 5, p. 72. “Galliard to Captaine Piper's Pavin.”Google Scholar
B. M. MS Add. 24665, f. 12v.Google Scholar
B. M. MS Add. 29481, f. 14.Google Scholar
Bodleian Library MSS Mus. f. 7–10, no. 6. (i) f. 7 (ii) f.6 (iii) f.6 (iv) ff.8v-9.Google Scholar
Christ Church, Oxford, MS Mus 439, pp. 52–3.Google Scholar
E. M. V. p. 455.Google Scholar

Reference

Poulton, Diana, “Captaine Digory Piper of the ‘Sweepstake'”. Lute Society Journal, IV (1962), 17.Google Scholar
f.15v. Treade Iunos steps who listGoogle Scholar
I have found no other sources or references for this song.Google Scholar
f. 16 Synce my ioyes thoroughe Phillis frownesGoogle Scholar

Reference

Sternfeld, F.W. “Shakespeare's Use of Popular Song” in Elizabethan and Jacobean Studies, ed. Davis, H. Oxford, 1959, p. 155.Google Scholar
f.16v. O sacrum conuivium I call and crye to TheeGoogle Scholar

Sources

Tallis, T. and Byrd, W. Cantiones quae ab Argumento Sacrae vocantur … London, 1575, no. IX, 5 parts, Latin text only. ed. in The Works of Thomas Tallis. Tudor Church Music, Vol. VI. London, 1928, pp. 210–13.Google Scholar
B. M. MS Add. 30480–4 (i) f. 67 (ii) f. 71 (iii) f. 66 (iv) f. 68 (v) f. 6v. No words are given in any part save at the beginning. This is the Latin text, though the Bassus part has also “I call and crye to ye”.Google Scholar
B. M. MS Add. 5054, f. 142v. (Latin text).Google Scholar
B. M. MS Add. 11586, f.3v. (Latin text).Google Scholar
B. M. MS Add. 23624, f.8v. (Latin text).Google Scholar
B. M. MS Add. 17784, f.39v. (English text).Google Scholar
B. M. MS Add. 22597, f.9. (English text).Google Scholar
B. M. MS Add. 29427, f.17. (English text).Google Scholar
B. M. MSS Add. 30478, 30479 (i) f. 17 (ii) f.5v. (English text).Google Scholar
Bodleian Library MSS Mus. Sch. e. 1–5 (i) f.57 (ii) f. 57 (iii) f. 57 (iv) f.55v (v) f.52v.Google Scholar
Christ Church, Oxford, MSS Mus 984–8, no.42. (i) f.42v (ii) f.41v (iii) f.39 (iv) f.38v (v) f. 41.Google Scholar
B.M. MS Add. 29247, f. 8v. Instrumental version for lute.Google Scholar
“O sacrum convivium” ed. Terry, R.R., Downside Motets, Vol. I no. 2. Publication no. 1318. London, n. d. ?1931.Google Scholar
f. 17v. Haue you seene but a whyte lillie growGoogle Scholar

Sources

Jonson, Ben. The Devil is an Ass. II. vi. 94. (words only).Google Scholar
Jonson, Ben. The Underwood. London, 1640, II: “A Celebration of Charis in Ten Lyrick Peeces”, 4: “Her Triumph”. The first line of the poem is “See the Chariot at hand heere of Loue”. (words only)CrossRefGoogle Scholar
See Cutts (below) for a full list of musical sources: p. 150.Google Scholar
Bodleian Library, MS Don. d. 58. f. 26v. (words only)Google Scholar
Bodleian Library MS Engl. Poet. f. 25. f.64v. (words only)Google Scholar
Bodleian Library MS Rawl. poet. 116, f.50v. (words only)Google Scholar
Bodleian Library MS Rawl. poet. 199, p. 74. (words only)Google Scholar
“Have you seen the white lilly grow.” ed. Warlock, P. London, 1929, no source given.Google Scholar
“Haue you seene but a whyte lillie grow.” ed. Cutts, J. P., in La musique de la troupe de Shakespeare. Paris, 1959, pp. 54–6.Google Scholar
f. 18. The poore soule sate sighingeGoogle Scholar

Sources

Shakespeare, W. Othello, IV, i. 41.Google Scholar
See Sternfeld (below) for a full list of sources.Google Scholar

References

Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, pp. 23–52.Google Scholar
Simpson, Claude M. The British Broadside Ballad and its Music. New Brunswick, New Jersey, 1966, pp. 788–791.Google Scholar
Ward, John. “Apropos The British Broadside Ballad and its Music.” J. A. M.S. XX/1 (1967), p. 85.CrossRefGoogle Scholar
f. 18v. My trewe love hath my hartGoogle Scholar

Sources

Sidney, Sir Philip. Arcadia (1595). ed. Feuillerat, A. in The Complete Works of Sir Philip Sidney, 4 Vol. Cambridge, 1912–26, Vol. IV, pp. 179–180 (words only).Google Scholar
Ward, John. Madrigals for 3, 4, 5, and 6 Voices. London, 1613, nos 1 and 2. E. M. S. This is a different setting from that in the 15117 MS.Google Scholar
Puttenham, G. The Arte of English Poetry. London, 1589. ed. Willcock, G.D. and Walker, A. Cambridge, 1936, p. 225 (words only). Puttenham gives two stanzas of the poem as an example of “Epimore”.Google Scholar
Bodleian Library MS e. Musaeo 37, f. 109 (words only)Google Scholar
“My true love hath my heart”. ed. Warlock, P. from the 15117 MS Curwen edition no. 2400. London, n. d. ?1928.Google Scholar
f.19. I must complaineGoogle Scholar

Sources

Dowland, John. Third Book of Ayres. London, 1603, no. 17. E. S. L. S. 1st series. Dowland 4, no.48, p. 73. This is not the 15117 version.Google Scholar
Campion, Thomas. Fourth Book of Ayres. London, c.1617, no. 17. E. S. L. S. 2nd series. This is not the 15117 version.Google Scholar
Christ Church, Oxford, MS Mus 439, pp. 62 and 68–69. This is not the 15117 version.Google Scholar
E. M. V. Campion, p. 414. Dowland, p. 487.Google Scholar
f. 19. Have I caught my heavenlye iewellGoogle Scholar

Source

Sidney, Sir Philip. Astrophel and Stella, second song. ed. Ringler, W. A. in The Poems of Sir Philip Sidney. Oxford, 1962, p. 202.CrossRefGoogle Scholar

References

Shakespeare, W. The Merry Wives of Windsor. III. iii. 45.Google Scholar
Cutts, J. P. “Falstaff's ‘Heauenlie Iewel', Incidental Music to The Merry Wives of Windsor”, Sh. Qu. XI (1960), pp. 89–92.Google Scholar
Sternfeld, F.W. Music in Shakespearean Tragedy. London, 1963, p. 303.Google Scholar
Ward, John. “Joan qd John,” p. 842, footnote 35a.Google Scholar
f. 19v. O God but God howe dare I name that nameGoogle Scholar

Sources

Byrd, W. Collected Works, Vol. XV, p. 21.Google Scholar
B.M. MS Add. 30485, f.15.Google Scholar
B.M. MS Add. 31992, f.7.Google Scholar
Bodleian Library, Oxford, MS Mus. Sch. e. 423, f. 16v.Google Scholar

Reference

Brett, William Byrd, p. 328.Google Scholar
f.20v. Come my CeliaGoogle Scholar

Sources

Jonson, Ben. Volpone. III. vii. 165 (words only).Google Scholar
Ferrabosco, Alfonso. Ayres. London, 1609, no. 6. E. S. L. S. 2nd series.Google Scholar
Bodleian Library, MSRawl. poet. 31, f.7 “Come sweete Celia” (words only).Google Scholar
Bodleian Library, MSRawl. poet. 172, f.2. (words only).Google Scholar
“Come my Celia.” ed. Cutts, J.P. in La musique de la troupe de Shakespeare. Paris, 1959, pp. 3–5.Google Scholar

Reference

Cutts, J.P. See above: pp. 119–20.Google Scholar
f. 21 It was a tyme when sillye bees coulde speakeGoogle Scholar

Sources

Dowland, John. Third Book of Ayres. London, 1603, no. 18. E. S. L. S. 1st series. Dowland 4, no.49, p. 74.Google Scholar
Forbes, John. Songs and Fancies. Aberdeen, 1662, no.54: 1666, 1682, no.51.Google Scholar
The following sources are all in the British Museum:Google Scholar
MS Add. 5495, f. 28v (words only). Attributed to the Earl of Essex.Google Scholar
MS Add. 5956, f. 25 (words only).Google Scholar
MS Add. 15891, ff. 244–5 (words only).Google Scholar
MS Eg. 923, f. 5v-7v (words only). The poem is entitled “A Poem made on Robt Deuorex Earle of Essex by mr Henry Cuff his Chaplane”.Google Scholar
MS Harl. 2127, f. 58 (words only).Google Scholar
MS Harl. 6910, ff. 167–8 (words only).Google Scholar
MS Sloane, 1303, ff. 71–2 (words only).Google Scholar
MS Ashmole, 767, f.l. (words only).Google Scholar
MS Ashmole, 781, p. 132 (words only).Google Scholar
The following sources are all in the Bodleian Library:Google Scholar
MS Tanner 76, f. 93 (words only). Entitled “The Apologue of ye Bee”. A note at the head of the page, signed by W. Sancroft, reads: “Henry Cuff made these following verses, his Lord, and Master the Earl of Essex being then in some Disgrace”.Google Scholar
MS Tanner 306, f. 249 (words only). Attributed to “Rob: Devereux Earl of Essex”.Google Scholar
MS Douce 280, f.123 (words only). The poem is headed “E Essex” and in the left-hand margin is “R.D. E/E. “.Google Scholar
MS Eng. misc. c. 93. f. 21v (words only). Attributed to the “Erle of Essex”.Google Scholar
MS Rawl. poet. 148, f. 87 (words only). Attributed to “Mr. John Lilly”. This text begins at what is stanza 3 in the other versions.Google Scholar
MS Rawl. poet. c. 744. f.63 (words only). Entitled “Verses made by the Earle of Essex”.Google Scholar
E.M.V. p. 488.Google Scholar

References

Browne, William. Britannia's Pastorals. London, ?1613–1616. Book I, song 4, 11.683–96, especially 11. 691–96. This passage is generally believed to refer to Robert Devereux, Earl of Essex.Google Scholar
Bond, R.W. The Complete Works of John Lyly. 3 Vol. Oxford, 1902, Vol. III, pp. 445–7.Google Scholar
Day and Murrie, 3237.Google Scholar
Browne, William. Britannia's Pastorals. London, 71613-1616. Book I, song 4, 11.683-96, especially 11. 691-96. This passage is generally believed to refer to Robert Devereux, Earl of Essex.Google Scholar
Bond, R. W.The Complete Works of John Lyly. 3 Vol. Oxford, 1902, Vol. Ill, pp. 445–7.Google Scholar
Day and Murrie, 3237.Google Scholar
f. 23v. (Sleep wayward thoughts]Google Scholar
(f. 22v). See above for sources and references.Google Scholar
f. 23v. What yf I seeke for loue of theeGoogle Scholar
(f. 22v). SourcesGoogle Scholar
Jones, Robert. First Book of Songs and Ayres. London, 1600, no. 18. E. S. L. S. 2nd series.Google Scholar
E.M.V. p. 557.Google Scholar
f. 24. Faine would I chainge that noteGoogle Scholar
(f. 23). SourcesGoogle Scholar
Hume, Tobias. The First Part of Ayres, French, Pollish, and others … London, 1605, Sig. Q.1.Google Scholar
“Fain would I change that note.” ed. Warlock, P. and Wilson, P. Oxford Choral Songs from the Old Masters, no. 304. London, n.d. 71923.Google Scholar
“Fain would I change that note.” ed. Warlock, P. and Wilson, P. in English Ayres. London, 1931, Vol. IV, no. 3, p. 5.Google Scholar
E.M.V. p. 541.Google Scholar

A correction has been issued for this article:

Errata