Folger Shakespeare Library
CELM

Bibliothèque Nationale, Paris, Département de la Musique

  • MS Conservatoire Rés. 1186

    A virginal book.

    Compiled by one R: Cr. (Robert Creighton).

    c.1635-8.
    • GrF 2 f. 6v

      Copy of the incipit of an early version, here Who euer thinks or hopes, in a musical setting by John Dowland.

      This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 75. Wilkes, I, 81-2.

      Fulke Greville, Caelica, Sonnet v ('Who trusts for trust, or hopes of loue for loue')
    • PlG 11 f. 11r

      Copy of the incipit, here His golden locks, in a musical setting by John Dowland.

      This setting first published in John Dowland, First Booke of Songes or Ayres (London, 1597).

      First published as an appendix to Polyhymnia (London, 1590). Edited by D.H. Horne in Prouty, I, 244. The sonnet probably written by Sir Henry Lee: see Horne, pp. 169-70, and Thomas Clayton, Sir Henry Lee's Farewel to the Court: The Texts and Authorship of His Golden Locks Time Hath to Silver Turned, ELR, 4 (1974), 268-75.

      George Peele, A Sonet ('His Golden lockes, Time hath to Silver turn'd')
    • B&F 199 f. 13r

      Copy, in a musical setting by Dowland.

      Part of John Dowland's song Wilt thou unkind thus reave me of my heart. Quoted in The Knight of the Burning Pestle. Bowers, I, 396-7.

      Francis Beaumont and John Fletcher, Song ('But yet or ere you part (oh cruell!)')
    • CmT 207 f. 15r-v

      Copy of the first line, with a musical setting by one R: Cr. (? R. Creighton).

      This MS recorded in Greer, p. 309.

      Possibly first published as a late 16th-century broadside. Philotus (Edinburgh, 1603). Richard Alison, An Howres Recreation in Musicke (London, 1606). Davis, p. 473. The different versions and attributions discussed in A.E.H. Swaen, The Authorship of What if a Day, and its Various Versions, MP, 4 (1906-7), 397-422, and in David Greer, What if a Day — An Examination of the Words and Music, M&L, 43 (1962), 304-19.

      Thomas Campion, 'What if a day, or a month, or a yeare'
    • SoR 141 f. 23r

      Copy of line 25, here With my loue my life was rested, untitled, in a musical setting by Thomas Morley.

      This setting first published in Thomas Morley, First Booke of Ayres (London, 1600). See Doughtie, Lyrics from English Airs, pp. 138, 494-6.

      First published in Saint Peters Complaint, 1st edition (London, 1595). Brown, pp. 45-6.

      Robert Southwell, S.J., Catholic Saint, Marie Magdalens complaint at Christs death ('Sith my life from life is parted')
    • ShW 32.8 f. 56v

      Copy of the incipit only of lines 517-22, here A 1000 kisses winne my heart from mee, in a musical setting.

      This MS discussed, with a facsimile, in David Greer, An Early Setting of Lines from Venus and Adonis, M&L, 45, No. 2 (April 1964), 126-9.

      First published in London, 1593.

      William Shakespeare, Venus and Adonis ('Even as the sun with purple-coloured face')
    • SoR 142 f. 57r-v

      Copy of line 25, here With my loue my life was nestled, untitled, in a musical setting by Thomas Morley.

      First published in Saint Peters Complaint, 1st edition (London, 1595). Brown, pp. 45-6.

      Robert Southwell, S.J., Catholic Saint, Marie Magdalens complaint at Christs death ('Sith my life from life is parted')
    • B&F 202 f. 119r

      Copy, in a musical setting.

      Quoted in The Knight of the Burning Pestle. Bowers, III, 496-500.

      Francis Beaumont and John Fletcher, Song ('Go from my window')

  • MS Conservatoire Rés. 2489

    Portion of a folio songbook compiled by John Playford (1623-86?).

    c.1660.
    • ToA 6 item 4

      Copy, in a musical setting by Henry Lawes.

      This MS recorded in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp.?). Edited in part from this MS in Brown.

      First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 3. Chambers, pp. 6-7. Brown, pp. 43-5.

      Aurelian Townshend, A Dialogue betwixt Time and a Pilgrime ('Aged man, that mowes these fields')
    • CaW 95 ff. 254r-5r

      Copy of the song, in a musical setting.

      Henry Lawes's musical setting of the first six lines first published in his Select Ayres and Dialogues (London, 1659), p. 26. Evans, p. 205.

      William Cartwright, The Royal Slave, Act I, scene ii, lines 167-79. The Priest's song ('Come from a Dungeon to the Throne')
    • DnJ 2953 p. 269 [f. 10v]

      Copy of a two-stanza version, here beginning Sweet stay a while why doe you Rise, in a musical setting by Henry Lawes.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 125-6).

      First published (in a two-stanza version) in John Dowland, A Pilgrim's Solace (London, 1612) and in Orlando Gibbons, The First Set of Madrigals and Mottets (London, 1612). Printed as the first stanza of Breake of day in Poems (London, 1669). Grierson, I, 432 (attributing it to Dowland). Gardner, Elegies, p. 108 (in her Dubia). Doughtie, Lyrics from English Airs, pp. 402-3. Not in Shawcross.

      John Donne, Song ('Stay, O sweet, and do not rise')
    • PsK 249 p. 273

      Copy of the first stanza in a musical setting, headed on the Death of an Infant and subscribed Hen: Lawes.

      This MS recorded (without identification of the poem) in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 126). Identified and discussed, with a facsimile, in Joan S. Applegate, Katherine Philips's Orinda upon Little Hector: An Unrecorded Musical Setting by Henry Lawes, EMS, 4 (1993), 272-80. Facsimile also in Elizabeth H. Hageman, Making a Good Impression: Early Texts of Poems and Letters by Katherine Philips, the Matchless Orinda, South Central Review, 11 (Summer 1994), 39-65 (p. 46).

      First published, as Orinda upon little Hector Philips, in Poems (1667), pp. 148-9. Saintsbury, pp. 590-1. Hageman (1987), p. 599. Thomas, I, 220, poem 101.

      Katherine Philips, On the death of my first and dearest childe, Hector Philipps, borne the 23d of Aprill, and dy'd the 2d of May 1655, set by Mr Lawes ('Twice Forty moneths in wedlock I did stay')
    • WaE 232 pp. 274-5 [f. 13r-v]

      Copy in a musical setting by Henry Lawes.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 126).

      First published in Workes (1645). Thorn-Drury, I, 91. A musical setting by Henry Lawes published in Select Ayres and Dialogues (London, 1669).

      Edmund Waller, Of Mrs. Arden ('Behold, and listen, while the fair')
    • CwT 155 p. 280 [f. 16r]

      Copy, in a musical setting by Henry Lawes, untitled.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 127).

      First published in Poems (1640). Dunlap, pp. 16-17. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

      Thomas Carew, A deposition from Love ('I was foretold, your rebell sex')
    • CwT 535 p. 287 [f. 19v]

      Copy, in a musical setting by Henry Lawes.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 127-8).

      First published in Poems (1640). Dunlap, pp. 48-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).

      Thomas Carew, Parting, Celia weepes ('Weepe not (my deare) for I shall goe')
    • DaW 111 p. 290 [f. 21r]

      Copy of Cupid's song, in a musical setting by Henry Lawes.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (p. 128).

      Dramatic Works, I, 333-4. Lefkowitz, pp. 130-1. Gibbs, p. 219.

      Henry Lawes's musical setting published in The Treasury of Musick, Book 2 (London, 1669). Reprinted in Sabol, 400 Songs & Dances from the Stuart Masque, No. 45.

      Sir William Davenant, The Triumphs of the Prince d'Amour. Song ('Whither so gladly, and so fast')
    • StW 1305 p. 293 [f. 22v]

      Copy, in a musical setting, untitled.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 129).

      First published, in Wits Recreations (London, 1640). Dobell, p. 48. Listed, without text, in Forey, p. 339.

      William Strode, A Lover to his Mistress ('Ile tell you how the Rose did first grow redde')
    • HyT 10 pp. 294-5 [f. 23r-v]

      Copy of a sixteen-line version of the tavern song, in a musical setting by John Wilson.

      Edited from this MS in John P. Cutts, Thomas Heywood's The Gentry to the King's Head in The Rape of Lucrece and John Wilson's setting, N&Q, 206 (October 1961), 384-7.

      Dramatic Works, V, 190. Holaday, lines 1148-71.

      Thomas Heywood, The Rape of Lucrece. Song ('The Gentry to the Kings head')
    • StW 769 p. 296 [f. 24r]

      Copy, in a musical setting by John Hilton.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 129).

      First published in Walter Porter, Madrigales and Ayres (London, 1632). Dobell, p. 41. Forey, pp. 76-7. The poem also discussed in C.F. Main, Notes on some Poems attributed to William Strode, PQ, 34 (1955), 444-8 (pp. 445-6), and see Mary Hobbs, Early Seventeenth-Century Verse Miscellanies and Their Value for Textual Editors, EMS, 1 (1989), 182-210 (pp. 199, 209).

      William Strode, Song ('I saw faire Cloris walke alone')
    • B&F 92 pp. 301-3 [ff. 26v-7v]

      Copy of the Orpheus-Charon duet, in a musical setting by Richard Balls, headed A Dialogue between Charon & a Louer.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (pp. 129-30).

      Dyce, VI, 180-1. Bullen, III, 184. Bowers, V, 67-8.

      Francis Beaumont and John Fletcher, The Mad Lover, IV, i, 45-68. Song ('Charon, oh, Charon, Thou wafter of the souls to bliss or bane!')
    • CoA 12 p. 310 [f. 31r]

      Copy in a musical setting by Charles Coleman, headed A.2 voc: Translate: Anacrons Greek Ode.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 130-1).

      First published in Wits Interpreter (London, 1655). Among Miscellanies in Poems (London, 1656). Waller, I, 51. Sparrow, p. 50.

      Musical setting by Silas Taylor published in Catch that Catch Can: or the Musical Companion (London, 1667). Setting by Roger Hill published in Select Ayres and Dialogues (London, 1669).

      Abraham Cowley, Anacreontiques. II. Drinking ('The thirsty Earth soaks up the Rain')
    • ShJ 140 p. 336 [f. 44r]

      Copy of the first stanza of the dirge, in a musical setting by Edward Coleman.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Res. 2489, MD, 23 (1969), 117-39 (p. 134).

      Gifford & Dyce, VI, 396-7. Armstrong, p. 54. Musical setting by Edward Coleman published in John Playford, The Musical Companion (London, 1667).

      James Shirley, The Contention of Ajax and Ulysses for the Armour of Achilles, Act III, Song ('The glories of our blood and state')
    • ShJ 141 p. 340 f. [46r]

      Copy of the complete dirge, in a musical setting by Edward Coleman.

      This MS collated in Cutts, p. 134.

      Gifford & Dyce, VI, 396-7. Armstrong, p. 54. Musical setting by Edward Coleman published in John Playford, The Musical Companion (London, 1667).

      James Shirley, The Contention of Ajax and Ulysses for the Armour of Achilles, Act III, Song ('The glories of our blood and state')
    • HeR 375 p. 353 [f. 51v]

      Copy of the first stanza, in a musical setting by John Hilton.

      This MS collated in John P. Cutts, Seventeenth-Century Songs and Lyrics in Paris Conservatoire MS. Rés. 2489, MD, 23 (1969), 117-39 (pp. 138-9).

      First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 134. Martin, p. 421. Patrick, pp. 553-4.

      Robert Herrick, To a disdaynefull fayre ('Thou maist be proud, and be thou so for me')

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