| Movements/SectionsMov'ts/Sec's
|
94 items: 79 solos, 1 consort part, for 6-9 course renaissance lute (apart from 3 in transitional tunings), 12 for lyra viol, 2 for keyboard:
- Possible composer/arranger:
- Daniel Bacheler (1572-1619)
- Baruch Bulman (17th. c.)
- Nicolas Confesse (fl. 17th century)
- Francis Cutting (c.1550-1596)
- John Dowland (c.1563-1626)
- John Ford (c.1580-1648)
- James Harding (c.1560-1626)
- Anthony Holborne (1545-1602)
- Charles de Lespine (16..? - 17..)
- Andrew Marks (fl.1610-1620)
- Mercure d' Orléans (fl.c.1590–c.1619)
- Robert Johnson (c.1583-c.1633)
- Julien Perrichon (1566-c.1600)
- Joseph Sherly (1587?-16..)
- William Simmes (c.1575-c.1625)
- John Sturt ((?-1625)
Content:
- Earl of Derby's galliard (pp.3-3) (John Dowland)
- Galliard (pp.4-4) (James Harding)
- Earl of Derby's galliard (pp.5-5) (John Dowland). f.2r a nd form The Erle of Darbies galliard by Mr Jo Dowland
- Pavan (pp.6-7) (Daniel Bacheler). Note: the piece starts on f.2v, followed (sign) by f.3r bottom. f.3r Pauana. D B
- Woodicock (pp.7-7) (N.N.). f.3r wooddicoc
- Singer's jig (pp.7-7) (N.N.). f.3r Singers Jigge
- The Boores Dance (pp.7-7) (N.N.). f.3r The Boores Dawnce
- Llantiero (pp.7-7) (N.N.). f.3r Llantiero
- Canaries (pp.7-7) (N.N.). f.3r Canaries
- Galliard (pp.8-8) ?(Daniel Bacheler)
- Galliard (pp.9-9) (Daniel Bacheler). f.4r Mr D B
- Pavan (pp.10-11) (Daniel Bacheler). f.5r Pauan Mr D. B.
- Galliard (pp.12-12) (Daniel Bacheler). f.5v Mr D B.
- Galliard (pp.13-13) (Daniel Bacheler). f.6r Mr D B.
- Galliard (pp.14-15) (Daniel Bacheler). f.7r Mr D B.
- Galliard (pp.16-16) (Daniel Bacheler). f.7v Mr D B.
- Volta (pp.17-17) (Daniel Bacheler). f.8r Volta
- Courant (pp.17-17) (N.N.). f.8r Curranta
- Pavan (pp.18-19) (Daniel Bacheler). f.9r Pavana Mr D Bacheler
- A French toy (pp.19-19) (N.N.). f.9r A french toy
- Pavan (pp.20-21) (Daniel Bacheler). f.10r Pavana Mr D B
- Up tails all (pp.22-22) (N.N.)
- My Lady Mildmay's Delight (pp.23-23) (Robert Johnson). f.11r Galliard Ro. Johnson
- Pavan (pp.24-25) (Daniel Bacheler). f.12r Mr D B. Pavana.
- Pavan (pp.26-27) (Daniel Bacheler). f.13r Mr D B
- Pavan (pp.28-29) (?Daniel Bacheler)
- Clark's galliard (pp.30-30) (Anthony Holborne). f.14v Clarks Galliard
- Almain (pp.31-31) (N.N.). Note: One stave only; tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]
- Fortune (pp.31-31) (N.N.). Note: tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]. f.15r fortune
- Forget me not (pp.31-31) (Thomas Ford). Note: First part of duet; tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]. f.15r Almaine
- A toy (pp.31-31) (N.N.). Note: tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]. f.15r A Toy g k.
- Almain (pp.31-30) (N.N.). Note: This piece starts on the last two staves of f.15r and continues at the bottom of f.14v.; tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]. f.14v Allmain
- Almain (pp.32-32) (N.N.). Note: tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]
- A pill to purge melancholy (pp.32-32) (Thomas Ford). Note: tablature for lyra viol tuned 'leero way' [Traficante 25: fefhf]
- The prince's almain (pp.32-32) (Robert Johnson). f.15v The pr: Allm
- Galliard (pp.33-33) (N.N.). Note: For 7-course lute in cordes avallée tuning fefhfc
- Courant (pp.33-33) (N.N.). f.16r Curranta
- Courant (pp.34-34) (N.N.). f.16v Curranta
- Galliard (pp.34-34) (James Harding)
- Almain (pp.35-35) (N.N.). f.17r Mrs E B teares
- Tears (pp.36-37) (N.N.). f.18r Teares
- Adieu for Oliver Cromwell (pp.37-38) (John Dowland). f.18v resolucion
- The third of the Prince's masque (pp.38-38) (?Robert Johnson) Note: written for Ben Jonson's maske Oberon. f.18v Maske
- Masque (pp.38-38) (N.N.). f.18v Maske
- Walsingham (pp.39-39) (N.N.). Note: tablature for lyra viol tuned 'lute way' [Traficante 33: ffeff]
- Robin is to the greenwood gone (pp.40-41) (N.N.). Note: tablature for lyra viol tuned 'lute way' [Traficante 33: ffeff]: f.20r Robin
- Bara Faustus's Dream (pp.41-41) (N.N.)
- Walsingham (pp.42-43) (N.N.). Note: tablature for lyra viol tuned 'lute way' [Traficante 33: ffeff]
- Jig (pp.43-43) (N.N.). f.21r A jigg
- Packington's Pound (pp.43-43) (N.N.). Note: cf. Francis Cutting? f.21r Pack. Pound
- Jig (pp.44-44) (N.N.). f.21v A jigg
- Come away (pp.44-44) (John Dowland). f.21v Come away
- Galliard (pp.45-45) (N.N.)
- Pavan (pp.46-47) (?William Simmes). f.23r Sims
- Spanish pavan (pp.48-48) (N.N.)
- Mistress Anne Rogers' choice (pp.49-49) (Baruch Bulman). Note: Bars 1-40 missing. f.24r Mris An Rogers Choice
- Almain (pp.49-49) (N.N.). f.24r Allmaine
- The fairy's dance (pp.50-50) (Robert Johnson)
- Courant (pp.50-50) (N.N.). f.24v Currant
- Galliard (pp.51-51) (N.N.)
- Courant (pp.52-52) (Mercure d'Orléans). f.25v Currante.
- Courant (pp.52-52) (Mercure d'Orléans). f.25v Currant
- Courant (pp.53-53) (John Sturt). f.26r Currant Jo Sturt
- Courant (pp.52-53) (N.N.). Note: The piece starts on f.26r, and continues (sign) on f.25v. f.25v Currant
- Courant (pp.54-54) (N.N.). f.26v Currante
- Volta? (pp.55-55) (John Sturt). f.27r Volte Jo St.
- Ballet (pp.55-55) (Charles de Lespine). f.27r Ballet
- Prelude (pp.55-55) (N.N.)
- Courant (pp.56-56) (John Sturt). f.27v Currante Jo St
- Passamezzo pavan treble (pp.57-57) (N.N.). Note: mensural notation for keyboard
- Quadran pavan treble (pp.58-58) (N.N.). Note: mensural notation for keyboard; incomplete
- Galliard (pp.59-59) (?William Simmes). f.29r Sims
- Fantasia (pp.60-61) (John Dowland)
- Fantasia (pp.61-61) Perrichon, Julien, 1566-approximately 1600. f.30r A fancy
- Trenchmore (pp.62-63) (N.N.)
- Galliard (pp.64-64) Sherly, Joseph (15..?-16..) Note: tablature for lyra viol tuned Alfonso way' [Traficante 36: ffhfh]. f.31v Jos: Shirly
- Pavan (pp.65-65) (Andrew Marks). Note: tablature for 9-course renaissance lute. f.32r An: Marks
- Put up thy dagger Jamie (pp.66-67) (N.N.). Note: tablature for lyra viol tuned Alfonso way' [Traficante 36: ffhfh]. f.33r Jamy
- Courant (pp.68-68) (Charles de Lespine); (Nicolas Confesse). Note: A courant by Charles de Lespine used by Nicolas Confesse. f.33v Coranto Confes
- Earl of Essex's galliard / Can she excuse (pp.69-69) (John Dowland). Note: consort lute part
- Pavan (pp.70-71) (Daniel Bacheler). f.35r Mr D B
- Prelude (pp.71-71) (?Daniel Bacheler). f.35r preludium Deus misereatur nostri
- Galliard (pp.72-72) (Daniel Bacheler). f.35v Mr D B.
- Galliard (pp.73-73) (Daniel Bacheler). f.36r Mr D B
- Galliard (pp.74-74) (?Daniel Bacheler)
- Pavan (pp.74-75) (Daniel Bacheler). f.37r Mr D B.
- Galliard (pp.76-76) (Daniel Bacheler). f.37v Mr D B
- Volta (pp.77-77) (N.N.). f.38r Volta
- Prelude (pp.77-77) (N.N.). f.38r Preludium
- Pavan (pp.78-79) (Daniel Bacheler). f.39r Mr D B
- Pavan (pp.80-81) (Daniel Bacheler). f.40r Mr D B
- Pavan (pp.82-83) (Daniel Bacheler). f.41r Mr D B
- Pavan (pp.84-85) (?Daniel Bacheler). Note: 9-course lute in cordes avallée tuning fefhd
- Galliard (pp.86-86) (?Daniel Bacheler) Note: 9-course lute in cordes avallée tuning fefhd
|
| Extra Information
|
In the 1960s Ian Harwood (1931-2011) assigned 9 manuscripts to be copied by Mathew Holmes probably in the time from 1588, when he was Precentor and Singingman of Christ Church in Oxford, along 1597, when he went to Westminster Abbey in London and there until his death in 1621. Thereof 4 manuscripts can be seen as the source for the renaissance (solo) lute in Britain.
There are several items where a real or virtual "?" should be added, caused by a disputable origin. Going to the linked place at the Cambridge University Library, clicking on "show the metadata" may help sometimes to broaden the information.
Old manuscripts are often damaged somehow, and they are sometimes rebound later on, causing trouble if the folios are assorted in a different way as before. It is not always going straight on with a piece, e.g. from folio 20r to 20v. As well, in the 4 volumes a few fragments are included that can't really be seen as a whole piece.
If there is text, Holmes added it often (but not always) at the end of the piece.
In the listing used here e.g. "(pp.99-100)" locates the place in the pdf-file. If there is e.g. a "f.21v Fantazia. Alfonso Ferabosco" at the end of an item, a (re-/decrypted) handwritten text is located at folio 21v. To make it not that easy: yes, in the manuscript there might be a doubled numbering with a pencil and you have to find out which is the right one! ;-)
The information collected at the Cambridge University Library comes from John H. Robinson (Lute Society) and, of course, it is based on the knowledge and work of a number of others.
|
