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Published online by Cambridge University Press: 01 January 2020
Much has been written about the Italian madrigal and its effect upon the musical life of sixteenth- and early seventeenth-century England. That the Italian vogue was indeed strong can be observed most dramatically in English printed and manuscript sources of the period; yet the obvious and dazzling effect this foreign idiom had upon many aspects of Elizabethan and Jacobean music is balanced by the equally important and more deeply-rooted connection that England enjoyed with her nearer Continental neighbours, France and the Low Countries. The following index documents this musical connection by presenting a list of the Franco-Netherlandish chansons that appeared in English manuscript sources dating from c. 1530 to c. 1640.
1 This index is a revised and expanded version of the one appended to my thesis, ‘The Chanson in England 1530–1640: A Study in Sources and Styles’ (Ph.D. dissertation, University of California, Berkeley, 1974). I wish to thank John Milsom for sharing with me his discovery of the manuscript fragments in Oseh 10–11, and for his many valuable suggestions in the preparation of this index.Google Scholar
2 With a few exceptions, notably Y M91 (S), the manuscript sources mentioned below are discussed in detail in my dissertation, ‘The Chanson in England 1530–1640: A Study in Sources and Styles'.Google Scholar
3 Iain Fenlon, ‘La chanson continentale en Angleterre', La chanson à la Renaissance, ed. Jean-Michel Vaccaro (Tours, 1981), 186–7, mentions that the bindings, which carry the coat of arms of Elizabeth I, were produced by the Antwerp printer Christophe Plantin. More recently, Kristine K. Forney, in her unpublished paper, ‘Antwerp's Role in the Reception and Dissemination of the Madrigal in the North’ (presented at the XIV Congress of the International Musicological Society in Bologna, August 1987), draws attention to scribal concordances among WC and two other Netherlandish sources, Stonyhurst and I-Bc Q 26. She furthermore speculates that WC was a gift to Elizabeth by King Erik XIV of Sweden.Google Scholar
4 John Milsom is now working on a detailed study of this source.Google Scholar
5 This time-period expands the possibilities of the original provenance of the partbooks from Queen Mary, which I asserted in my dissertation (p.56ff.), to other earlier Tudor owners. I am grateful to the late Howard M. Nixon for this information. A recent article by Cheryl Noden-Skinner, ‘A Tudor Chansonnier: British Library Royal Appendix MSS 41–44', Current Musicology, 36 (1984), 101–12, is based on Chapter Two of my dissertation.Google Scholar
6 See Warren, Charles, ‘Music at Nonesuch', The Musical Quarterly, 64 (1968), 47–57.Google Scholar
7 Sears Jayne and E.R. Johnson, The Lumley Library, the Catalogue of 1609 (London, 1956).Google Scholar
8 Philip Brett, ‘Edward Paston: A Norfolk Gentleman and his Musical Collection', Transactions of the Cambridge Bibliographical Society, 4 (1964), 51–69.Google Scholar
9 See my article, ‘Lassus in English Sources: Two Chansons Recovered', Journal of the American Musicological Society, 27 (1974), 315–25. The two chansons, Heureux qui met and Ce que tu peux, also appeared as German contrafacta in the Neue teutsche Lieder, geistlich und weltlich (Munich, 1583). My thanks to Bartlett Butler for this information. These two chansons are included in volumes 11 and 12 of my edition, Orlande de Lassus, The Sixteenth-Century Chanson (New York, 1987).Google Scholar
10 Warwick Edwards, ‘The Performance of Ensemble Music in Elizabethan England', Proceedings of the Royal Musical Association, 97 (1970–1), 113–23.CrossRefGoogle Scholar
11 Detailed discussion of Lbl 31390 and other manuscripts containing consort music appears in Warwick Edwards, ‘Instrumental Consorts in England from the Accession of Henry VIII to the Commonwealth’ (Ph.D. dissertation, Cambridge University, 1974). On Philip van Wilder, see my article, ‘Philip Van Wilder and the Chanson in Tudor England', Musica Disciplina, 33 (1979), 55–75. My edition, Philip Van Wilder: The Collected Works, will appear soon as volumes 4 and 5 in the Masters and Monuments of the Renaissance series, published by The Broude Trust. On Lbl 31390 itself, see Noble, Jeremy, ‘Le réper-toire instrumental anglais: 1550–1585', La musique instrumentale de la Renaissance (Paris, 1954), 91–114Google Scholar
12 John Ward and Music 200, ‘The Lutebooks of Trinity College, Dublin, I; MS D.3.30/I: the So-called Dallis Lutebook’ Lute Society Journal, 10 (1968), 17–40.Google Scholar
13 John Ward, ‘The Fourth Dublin Lutebook', Lute Society Journal, 11 (1969), 28–46.Google Scholar
14 William Byrd, Keyboard Music: II, ed. Alan Brown, Musica Britannica, 28 (1976), 198.Google Scholar
15 See Fenlon, ‘La chanson continentale en Angleterre'.Google Scholar
16 For a list of Scottish manuscripts see Shire, HelenaMennie, Song, Dance and Poetry of the Court of Scotland Under King James VI (Cambridge, 1969), 265–6.Google Scholar
17 Fenlon, ‘An Imperial Repertory for Charles V, Studi Musicali, 13 (1984), 221–40.Google Scholar
18 Fenlon, ‘La chanson continentale en Angleterre', 185.Google Scholar
19 My thanks to Professor Brown for sending me a copy of his inventory before its publication.Google Scholar