Folger Shakespeare Library
CELM

Bodleian Library, Music MSS

  • MS Mus. b. 1

    A large folio volume of songs in musical settings by John Wilson (1595-1674), composer and musician, vi + 214 leaves (plus some blanks), gilt-edged, in contemporary black morocco elaborately gilt, lettered on each cover DR. / I.W, with silver clasps.

    Possibly Wilson's formal autograph MS or else in the hand of someone similarly associated with Edward Lowe (c.1610-82).

    c.1656.

    Complete facsimile in Jorgens, Vol. 7 (1987). Discussed in John P. Cutts, Seventeenth Century Lyrics: Oxford, Bodleian, MS. Mus. b. 1, MD, 10 (1956), 142-209.

    • CmT 85 f. 15v

      Copy of the first strophe in a musical setting by John Wilson, untitled.

      This MS collated in Davis, pp. 494-5.

      First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xv. Davis, p. 105.

      Thomas Campion, 'So many loves have I neglected'
    • FlJ 2 f. 16r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 156).

      First published (anonymously) in Walter Porter, Madrigales and Ayres (London, 1632). Ascribed to J. Fletcher in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). English Madrigal Verse, ed. E.H. Fellowes, et al., 3rd edition (Oxford, 1967), p. 644.

      John Fletcher, 'Hither we come into this world of woe'
    • StW 1013 f. 16v

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 184); recorded in Forey, p. 334.

      First published in A Banquet of Jests (London, 1633). Dobell, p. 47. Forey, p. 211. The poem also discussed in C.F. Main, Notes on some Poems attributed to William Strode, PQ, 34 (1955), 444-8 (p. 446-7).

      William Strode, A Sonnet ('My Love and I for kisses played')
    • B&F 17 f. 19v

      Copy in a musical setting by John Wilson, untitled.

      Wilson's setting first published in John Playford, Select Musicall Ayres (London, 1652). Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 1 (collated p. 114), and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 21.

      Dyce, X, 459. Jump, p. 67. Bowers, X, 237. The first stanza first published in Shakespeare's Measure for Measure (First Folio, 1623), IV, i. Authorship discussed in Jump, pp. 105-6 (first stanza probably by Shakespeare, second by Fletcher).

      Francis Beaumont and John Fletcher, The Bloody Brother, V, ii, 21-32. Song ('Take o take those lipps away')
    • MiT 29 f. 21r

      Copy of a three-strophe version of Isabella's song in a musical setting by Robert Johnson (as edited by John Wilson), untitled.

      This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 7, 122-3.

      Bullen, V, 386. Malone Society edition, p. 25, lines 590-7. Oxford Middleton, p. 1141.

      Thomas Middleton, The Witch, II, i, 131-7. Song ('In a maiden-time profest')
    • B&F 80 ff. 27v-8

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 71-2 (collated pp. 161-2).

      First published in Comedies and Tragedies (London, 1647). Dyce, VI, 115-212 (pp. 171-2). Bullen, III, 111-219, ed. R.W. Bond (p. 174). Bowers, V, 11-98, ed. Robert K. Turner (pp. 58-9).

      Francis Beaumont and John Fletcher, The Mad Lover, III, iv, 49-63. Song ('Go, happy heart! for thou shalt lie')
    • B&F 65 f. 28v

      Copy of Piorato's song, in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 110 (collated pp. 188-9), and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 24; collated in Williams, p. 108.

      First published in Comedies and Tragedies (London, 1647). Dyce, IX, 105-95 (p. 149). Bowers, III, 12-93, ed. George Walton Williams (p. 48). This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, Love's Cure, III, ii, 118-225. Song ('Turn, turn thy beauteous face away')
    • RnT 534 f. 31r

      Copy, in a musical setting by John Wilson.

      Edited, and tentatively attributed to Randolph, in Moore Smith (1927), p. 115.

      Thomas Randolph, A Sonnet ('Come, silent night, and in thy gloomy shade')
    • HeR 293 ff. 33v-4r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Martin.

      First published, in a musical setting, in Walter Porter, Madrigales and Airs (London, 1632). Martin, p. 443 (in his section Not attributed to Herrick hitherto). Not included in Patrick.

      Robert Herrick, Advice to a Maid ('Love in thy youth fayre Mayde bee wise')
    • B&F 160 f. 37v

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 75 (collated pp. 164-5).

      First published in Comedies and Tragedies (London, 1647). Dyce, V, 393-486 (p. 448). Bowers, VIII, 10-93, ed. Robert K. Turner (p. 57).

      Francis Beaumont and John Fletcher, The Queen of Corinth, III, ii. Song ('Weep no more, nor sigh, nor groan')
    • B&F 165 f. 38r

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 76 (collated pp. 165-6).

      Dyce, V, 448.

      Francis Beaumont and John Fletcher, The Queen of Corinth, III, ii, 15-22. Song ('Court ladies, laugh and wonder: here is one')
    • B&F 194 ff. 38v-9r

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 86-7 (collated pp. 173-4).

      First published in Comedies and Tragedies (London, 1647). Dyce, VII, 1-94 (p. 50). Bowers, V, 448-529, ed. Hans W. Gabler (p. 489).

      Francis Beaumont and John Fletcher, Women Pleased, III, iv. Song ('Oh, fair sweet face! oh, eyes celestial bright')
    • HeR 370 f. 39v

      Copy, in a musical setting by John Wilson, untitled.

      This MS collated in Martin.

      First published in The Academy of Complements (London, 1650). Martin, p. 442 (in his section Not attributed to Herrick hitherto). Not included in Patrick.

      Robert Herrick, A Song ('Loose no time nor youth but be')
    • B&F 56 f. 40r

      Copy of the Boy's song in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 88 (collated p. 174).

      First published in Comedies and Tragedies (London, 1647). Dyce, VI, 213-306 (p. 234). Bullen, IV, 1-90, ed. M. Luce (pp. 23-4). Bowers, VIII, 123-202, ed. Robert K. Turner (pp. 137-8).

      Francis Beaumont and John Fletcher, The False One, I, ii, 35-44. Song ('Look out, bright eyes, and bless the air')
    • B&F 191 f. 43r

      Copy of the Boy's song in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 90 (collated pp. 176-7).

      First published in London, 1652. Dyce, VIII, 101-206 (p. 202). Bowers, VI, 242-335, ed. Fredson Bowers (p. 331).

      Francis Beaumont and John Fletcher, The Wild-Goose Chase, V, vi, 11-15. Song ('From the honour'd dead I bring')
    • HeR 60 f. 45r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Martin.

      First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

      Robert Herrick, The Curse. A Song ('Goe perjur'd man. and if thou ere return')
    • B&F 3 f. 45v

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 93 (collated p. 178). Collated in Bowers, p. 352.

      Bowers, III, 264-5. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song ('Cast our Caps and cares away!')
    • JnB 48 ff. 48v-9r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated (but overlooking two minor variants) in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 167). Facsimile in Jorgens, VII.

      First published in The Vnder-wood (xi) in Workes (London, 1640). Herford & Simpson, VIII, 150-1.

      Ben Jonson, The Dreame ('Or Scorne, or pittie on me take')
    • HrG 69 ff. 50v-1r

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), pp. 240-1; Music edited in André Souris, Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains (Paris, 1961), pp. 20-3; not recorded in Hutchinson.

      First published in The Temple (1633). Hutchinson, pp. 68-9.

      George Herbert, Content ('Peace mutt'ring thoughts, and do not grudge to keep')
    • HrE 46 ff. 51v-3r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209, (p. 168).

      First published in Occasional Verses (1665). Moore Smith, pp. 43-4.

      Edward, Lord Herbert of Cherbury, The Thought ('If you do love, as well as I')
    • PeW 287 ff. 54v-5r

      Copy in a musical setting by John Wilson, untitled.

      This MS recorded in Krueger.

      Poems (1660), p. 75, superscribed P.. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition as by Henry Reynolds.

      William Herbert, third Earl of Pembroke, A Sonnet ('So glides a long the wanton Brook')
    • CwT 536 ff. 67v-8r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209, (p. 173).

      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')
    • FeO 38 ff. 68v-70r

      Copy of the song, the First Part (lines 1-16), followed by a Second Part (15 lines beginning Why by such a brittle Stone), both parts, in Wilson's musical setting, untitled.

      This MS discussed, and the Second Part attributed to Felltham, in John P. Cutts, Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b. 1, Musica Disciplina, 10 (1956), 173-4. The MS cited in Pebworth & Summers.

      A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.

      Owen Felltham, On a Jewel given at parting ('When cruel time enforced me')
    • FeO 25 ff. 70v-1r

      Copy, in Wilson's setting, untitled.

      This MS collated in Pebworth & Summers.

      First published in Lusoria (London, 1661). Pebworth & Summers, p. 18.

      Owen Felltham, A Farewell ('When by sad fate from hence I summon'd am')
    • FeO 51 ff. 71v-2r

      Copy in Wilson's setting, untitled.

      Edited from this MS in Ault, in Cutts, and in Pebworth & Summers.

      First published in Norman Ault (ed.), Seventeenth Century Lyrics from the Original Texts (London, 1928), p. 291. Pebworth & Summers (1973), p. 79, among Manuscript Poems Attributed to Felltham. Attributed to Felltham in John P. Cutts, Seventeenth-Century Lyrics: Oxford, Bodleian, Ms. Mus. b. 1, Musica Disciplina, 10 (1956), 174.

      Owen Felltham, Song ('Away, away, vex me no more')
    • FeO 53 ff. 72v-3r

      Copy in Wilson's setting, untitled.

      This MS collated in Pebworth & Summers.

      First published in Lusoria (London, 1661). Pebworth & Summers, p. 23.

      Owen Felltham, The Spring in the Rock ('Harsh Maid! suppose not this clear Spring')
    • CwT 40 ff. 73v-4r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209, (p. 174).

      First published in Poems (1640). Dunlap, p. 26.

      Thomas Carew, Celia bleeding, to the Surgeon ('Fond man, that canst beleeve her blood')
    • RaW 298 f. 77r-v

      Copy of lines 1-12, 19-24, in a musical setting by John Wilson, untitled.

      Edited from this MS in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 185; recorded in Latham, pp. 119-120.

      First published in A.H. Bullen, Speculum Amantis (London, 1889), pp. 76-7. Latham, pp. 21-2. Rudick, Nos 43A and 43B (two versions, pp. 112-14).

      Sir Walter Ralegh, A Poem of Sir Walter Rawleighs ('Nature that washt her hands in milke')
    • FeO 7 f. 80r-v

      Copy of the three-stanza version, in a musical setting by John Wilson, headed A Dialogue.

      This MS collated in Pebworth & Summers.

      First published in Lusoria (London, 1661). Pebworth & Summers, p. 8.

      Owen Felltham, The Appeal ('Tyrant Cupid! I'le appeale')
    • JnB 324 ff. 81r-3r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 176). Facsimile in Jorgens, VII.

      First published in The Vnder-wood (iii) in Workes (London, 1640). Herford & Simpson, VIII, 143-4.

      Ben Jonson, The Musicall strife. In a Pastorall Dialogue ('Come, with our Voyces, let us warre')
    • KiH 548 ff. 83v-4r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 177; recorded in Crum.

      First published in Poems (1657). Crum, pp. 147-8.

      Henry King, Sonnet ('Dry those faire, those Christall Eyes')
    • KiH 580 ff. 84v-5r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 177; recorded in Crum.

      First published in Wits Recreations (London, 1641). Poems (1657). Crum, p. 149.

      Musical setting by John Wilson published in Select Ayres and Dialogues (Oxford, 1659).

      Henry King, Sonnet ('I prethee turne that face away')
    • KiH 612 ff. 89v-90r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated (no variants) in Cutts, MD, 10 (1956), p. 179; recorded in Crum.

      First published in Walter Porter, Madrigales & Ayres (London, 1632). Poems (1657). Crum, p. 149.

      Henry King, Sonnet ('Tell mee you Starrs that our affections move')
    • KiH 44 ff. 91v-2r

      Copy in a musical setting by John Wilson, headed Second Part, following the First part (ff. 90v-1r), Why lovely Boy why flyst thou me.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 179); recorded in Crum.

      First published in The Academy of Complements (London, 1646). Poems (1657). Crum, p. 151. The text almost invariably preceded, in both printed and MS versions, by (variously headed) A Blackmore Mayd wooing a faire Boy: sent to the Author by Mr. Hen. Rainolds (Stay, lovely Boy, why fly'st thou mee). Musical settings by John Wilson in Henry Lawes, Select Ayres and Dialogues (London, 1669).

      Henry King, The Boy's answere to the Blackmore ('Black Mayd, complayne not that I fly')
    • KiH 637 ff. 93v-4r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 180; recorded in Crum.

      First published in Poems (1657). Crum, p. 148.

      Henry King, Sonnet ('When I entreat, either thou wilt not heare')
    • FoJ 12 f. 99r

      Copy of the Boy's song in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 181).

      Dyce, I, 95. Bang, p. 77 (lines 2437-46).

      John Ford, The Lover's Melancholy, V, i. Song ('Fly hence, shadows, that do keep')
    • KiH 595 ff. 101v-2r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated (no variants) in Cutts, MD, 10 (1956), p. 181); recorded in Crum.

      First published in Poems (1657). Crum, p. 158.

      Henry King, Sonnet ('Tell mee no more how faire shee is')
    • CwT 521 ff. 102v-3r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 183).

      First published in Poems (1640). Dunlap, p. 102.

      Thomas Carew, On sight of a Gentlewomans face in the water ('Stand still you floods, doe not deface')
    • FeO 57 ff. 104v-5r

      Copy, in Wilson's musical setting, untitled.

      This MS cited in Pebworth & Summers.

      First published, in a musical setting by John Wilson, in his Cheerfull Ayres or Ballads (Oxford, 1660), pp. 96-7. Lusoria (London, 1661). Pebworth & Summers, p. 5.

      Owen Felltham, The Sun and Wind ('Why think'st thou (fool) thy Beauties rayes')
    • DaW 56 ff. 105v-6v

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Berry and in Gibbs.

      First published in Herbert Berry, Three New Poems by Davenant, PQ, 31 (1952), 70-4. Gibbs, pp. 317-21.

      Sir William Davenant, To a Gentleman at his uprising ('Soe phoebus rose, as if he had last night')
    • HeR 311 ff. 110v-11r

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Ault, and in Martin.

      First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), pp. 238-9. Martin, pp. 440-1 (in his section Not attributed to Herrick hitherto). Not included in Patrick.

      Robert Herrick, The Eclipse ('Vaile thou thine eyes a while my Deare')
    • KiH 567 ff. 111v-12r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 184; recorded in Crum.

      First published in Poems (1657). Crum, p. 162.

      Henry King, Sonnet ('Go Thou, that vainly dost mine eyes invite')
    • CwT 743 f. 113v

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in John P. Cutts, Seventeenth Century Lyrics; Oxford, Bodleian Ms. Mus. b. 1, MD, 10 (1956), 142-209 (pp. 184-5), and in Scott Nixon, Aske me no more and the Manuscript Verse Miscellany, ELR, 29/1 (Winter 1999), 97-130 (p. 109).

      First published in a five-stanza version beginning Aske me no more where Iove bestowes in Poems (1640) and in Poems: by Wil. Shake-speare, Gent. (London, 1640), and edited in this version in Dunlap, pp. 102-3. Musical setting by John Wilson published in Cheerful Ayres or Ballads (Oxford, 1659). All MS versions recorded in CELM, except where otherwise stated, begin with the second stanza of the published version (viz. Aske me no more whether doth stray).

      For a plausible argument that this poem was actually written by William Strode, see Margaret Forey, Manuscript Evidence and the Author of Aske me no more: William Strode, not Thomas Carew, EMS, 12 (2005), 180-200. See also Scott Nixon, Aske me no more and the Manuscript Verse Miscellany, ELR, 29/1 (Winter 1999), 97-130, which edits and discusses MSS of this poem and also suggests that it may have been written by Strode.

      Thomas Carew, A Song ('Aske me no more whether doth stray')
    • StW 898 f. 121v

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 184); collated in Forey.

      First published in The Academy of Complements (London, 1650). Forey, p. 209.

      William Strode, A song ('Thoughts doe not vexe me while I sleepe')
    • DaW 44 ff. 128v-9r

      Copy, with the preliminary refrain Awake, awake, the morne will never rise..., in a musical setting by John Wilson, untitled.

      Edited from this MS in Gibbs, pp. 322-4.

      First published (with the refrain) in John Wilson, Cheerful Ayres or Ballads (Oxford, 1659). published (without the refrain) in Works (London, 1673). Gibbs, p. 173.

      Sir William Davenant, Song ('The Lark now leaves his watry Nest')
    • LoR 8 f. 130r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated, with a facsimile, in Willa McClung Evans, The Rose: A Song by Wilson and Lovelace, MLQ, 7 (1946), 269-78; Edited from this MS in John P. Cutts, John Wilson and Lovelace's The Rose, N&Q, 198 (April 1953), 153-4.

      First published in Lucasta (London, 1649). Wilkinson (1925), II, 21-2. (1930), pp. 23-4.

      Richard Lovelace, Ode. To Lucasta. The Rose ('Sweet serene skye-like Flower')
    • BrN 64 f. 135r

      Copy in a musical setting by John Wilson, headed Lady of the May.

      Wilson's setting first published in Henry Playford, Select Musicall Ayres and Dialogues (London, 1653). Edited from this MS in Spink; collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 195).

      First published as The Plowmans Song in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to N. Breton; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).

      Nicholas Breton, Phillida and Coridon ('In the merry moneth of May')
    • JnB 718 ff. 137v-8r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in John P. Cutts, Seventeenth Century Lyrics, MD, 10 (1956), 142-209 (p. 196).

      First published in Workes (London, 1641). Herford & Simpson, VII, 1-49.

      Ben Jonson, The Sad Shepherd, I, v, 65-80. Song ('Though I am young, and cannot tell')
    • CrR 206 ff. 138v-9r

      Copy in a musical setting by John Wilson, untitled.

      Edited from this MS in Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains, ed. André Souris (Paris, 1961), pp. 12-14.

      First published, among The Delights of the Muses, in Steps to the Temple (London, 1646). Martin, p. 190.

      Richard Crashaw, Out of the Italian ('Love now no fire hath left him')
    • FeO 69 f. 145r

      Copy in Wilson's setting, untitled.

      This MS collated in Pembroke & Summers.

      First published in Lusoria (London, 1661). Pebworth & Summers, p. 45.

      Owen Felltham, Upon a breach of Promise. Song ('I am confirm'd in my belief')
    • KiH 627 f. 150r-v

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 200; recorded in Crum.

      First published in Poems (1657). Crum, pp. 158-9.

      Henry King, Sonnet ('Were thy heart soft, as Thou art faire')
    • KiH 651 ff. 159v-60r

      Copy in a musical setting by John Wilson, untitled.

      This MS collated in Cutts, MD, 10 (1956), p. 203; recorded in Crum.

      First published in Poems (1657). Crum, pp. 167-8.

      Henry King, Sonnet. The Double Rock ('Since Thou hast view'd some Gorgon, and art grow'n')

  • MS Mus. c. 5

    A folio volume of glees with music, 16 leaves.

    18th century.
    • StW 1479.8 f. 5r-v

      Copy, in a musical setting by Henry Lawes.

      Dobell, pp. 215-16. Musical setting by Henry Lawes first published in his Ayres and Dialogues…The Third Book (London, 1658).

      William Strode, The Floating Island, Act IV, scene xiv. Song ('Once Venus cheekes that sham'd the morn')
    • ShW 89.5 f. 10r

      Copy, in a musical setting by John Wilson.

      William Shakespeare, The Tempest, I, ii, 400-9. Song ('Full fathom five thy father lies')

  • MS Mus. c. 16

    A folio music book, comprising William Davis's autograph collection of his own musical compositions, i + 234 leaves (with inserted oblong quarto leaves ff. 10-11, 47-55), in half-red calf marbled boards.

    Early 18th century.
    • SaG 18 f. 98r-v

      Copy of the first stanza of Psalm 17, headed A devine song Out of Sandses translation sett for three ladys and beginning Lord lord grant my just request O heare my Crie, in a musical setting by William Davis.

      First published in London, 1636. Hooper, I, 91-195; II, 195-310.

      Some of Henry Lawes's musical settings published in A Paraphrase upon the Divine Poems (London, 1638). Musical settings by Henry and William Lawes also published in Choice Psalmes Put into Musick for Three Voices (London, 1648).

      George Sandys, A Paraphrase upon the Psalms of David ('That man is truly bless'd who never strays')

  • MS Mus. c. 26

    A folio songbook, of works chiefly by Henry Purcell, 143 leaves.

    End of 17th century.
    • HeR 61 ff. 134r-9r

      Copy, in a musical setting by John Blow.

      First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

      Robert Herrick, The Curse. A Song ('Goe perjur'd man. and if thou ere return')

  • MS Mus. c. 27

    A folio volume of songs and musical works, chiefly by Henry Purcell, 49 leaves.

    End of 17th century.
    • LeN 14 ff. 33r-6r

      Copy of the opening chorus (I, i, 1-5: Prepare, prepare! the Rites begin) and the Priests' chorus (I, i, 321;70: Canst thou, Marina, leave the World), in musical settings by Purcell.

      First published, with some of Henry Purcell's music as an appendix, in London, 1680. Stroup & Cooke, II, 229-314.

      Nathaniel Lee, Theodosius: or, The Force of Love

  • MS Mus. c. 28

    A folio volume of vocal compositions largely by Henry Purcell, 126 leaves.

    End of 17th century.

    Once owned by James Pears. Bought at the Dr Samuel Arnold sale 24 May 1803 by W. Russell. Puttick & Simpson's, 22 December 1869, lot 613.

    • SdT 9 ff. 19r-39r

      Copy in a musical setting by Henry Purcell.

      First published in Poems on Affairs of State, The Second Part (London, 1697). Summers, V, 345-6. Published in a musical setting by Henry Purcell in The Works of Henry Purcell, Vol. XI, Birthday Odes for Queen Mary, Part I (London, 1902), pp. 1-35.

      Thomas Shadwell, Ode on the Anniversary of the Queen's Birth ('Now does the glorious Day appear')
    • CoA 45.5 ff. 101v-2r

      Copy of a musical setting for this poem (without the text).

      First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 435-40. Sparrow, pp. 169-74.

      Abraham Cowley, The Complaint ('In a deep Vision's intellectual scene')
    • SaG 8 ff. 109v-11r

      Copy of Chapter X in a musical setting by Henry Purcell.

      This MS recorded in Zimmerman.

      First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

      George Sandys, A Paraphrase upon Job ('In Hus, a land which near the sun's uprise')
    • SaG 12 f. 115v

      Copy of Chapter XIV, beginning Ah! few, and full of sorrows, are the days, in a musical setting by Henry Purcell.

      This MS recorded in Zimmerman, No. 130.

      First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

      George Sandys, A Paraphrase upon Job ('In Hus, a land which near the sun's uprise')

  • MS Mus. c. 107

    A large folio composite volume of music, iii + 107 leaves, in half-calf marbled boards.

    Early 18th century.

    Later owned by Mr. E. Goddard, Portland Place, London, and by T. W. Bourne.

    • CgW 39 f. 5r

      Copy in a musical setting, untitled, in a quarto booklet of songs (1r-11v).

      First published in Poetical Miscellanies: The Fifth Part [by John Dryden et al.] (London, 1704). Summers, IV, 77. Dobrée, p. 244. McKenzie, II, 324.

      William Congreve, Song ('Cruel Amynta, can you see')
    • CgW 59 f. 10v

      Copy of Juno's song in an anonymous musical setting, untitled, in a quarto booklet. of songs (ff. 1r-11v).

      Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.

      William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song ('Let Ambition fire thy mind')

  • MS Mus. d. 8

    An oblong folio songbook of glees and madrigals, chiefly written by the composer Philip Hayes (1738-97), 78 leaves.

    Mid-late 18th century.
    • BrN 61.5 f. 3v

      Copy, in a musical setting by Michael East.

      First published as The Plowmans Song in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to N. Breton; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).

      Nicholas Breton, Phillida and Coridon ('In the merry moneth of May')
    • DaS 13.5 f. 9r

      Copy, in John Farmer's musical setting.

      Grosart, I, 259-60. Sprague, p. 36. Doughtie, Lyrics from English Airs, pp. 310-11. This setting published in John Farmer, First Set of English Madrigals (London, 1599).

      Samuel Daniel, Delia. An Ode ('Now each creature ioyes the other')
    • LoT 2.5 f. 14v

      Copy, in a musical setting by Thomas Ford, here beginning Now I see thy looks were feigned.

      First published in The Phoenix Nest (London, 1593). Phillis: Honoured with Pastorall Sonnets, Elegies, and amorous delights (London, 1593). Gosse, II, (p. 58). The song-version beginning Now I see thy looks were feigned first published in Thomas Ford, Musicke of Sundrie Kindes (London, 1607).

      Thomas Lodge, An Ode ('Now I find thy lookes were fained')
    • CoA 263 ff. 44r-5v

      Extract(s) from work(s) by Cowley.

      Abraham Cowley, Extracts

  • MS Mus d. 10

    A folio volume of anthems, motets, hymns, etc.96 leaves.

    Early 18th century.
    • StW 33.5 ff. 52v-3v

      Copy, in a musical setting by Isaac Blackwell.

      First published in James Clifford, Divine Services and Anthems (London, 1663). Dobell, pp. 53-4. Forey p. 188.

      William Strode, An Anthem for Good Friday ('See, sinfull soul, the Saviours sufferings. see')

  • MS Mus d. 177

    An oblong narrow volume of musical glees, catches, rounds, etc., in two hands, 96 leaves and pages (plus numerous blanks), in reversed calf.

    c.1765.

    Inscribed inside the front cover Gilbert Heathcote.

    • OtT 6 f. 17r

      Copy of the song, in a musical setting by Henry Purcell, untitled.

      A song attributed to Otway in early printed sources and possibly by him. First published, in a musical setting by Henry Purcell, in The Theater of Music, The Second Book (London, 1685).

      Thomas Otway, 'Would you know how we meet'

  • MS Mus. d. 194

    An oblong quarto-size music book, in a single hand, 91 pages, in 19th-century half-morocco.

    18th century.
    • WaE 734.6 pp. 4-6

      Copy, in a musical setting, headed Henry Lawes. Lines to a Lady singing by Edmund Waller.

      First published in Workes (1645). Thorn-Drury, I, 127. A musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).

      Edmund Waller, 'While I listen to thy voice'

  • MS Mus. d. 238

    A folio music part book (2nd treble part), viii + 218 pages, in contemporary calf.

    Compiled by Edward Lowe (c.1610-82), organist and composer.

    c.1650s.

    Bookplate of Povert Henley.

    • ShJ 32 p. 34

      Copy, in a musical setting by William Lawes.

      First published in Poems (London, 1646). Armstrong, p. 1.

      James Shirley, Good Morrow ('Good morrow unto her, who in the night')
    • B&F 47 pp. 44-5

      Copy, here beginning Sing, That do keep our flocks, in a musical setting by William Lawes.

      Bowers, III, 505-6.

      Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, ii, 29-42. Song ('Sing his praises that doth keepe')
    • B&F 195 pp. 46-7

      Copy, in a musical setting by John Wilson.

      First published in Comedies and Tragedies (London, 1647). Dyce, VII, 1-94 (p. 50). Bowers, V, 448-529, ed. Hans W. Gabler (p. 489).

      Francis Beaumont and John Fletcher, Women Pleased, III, iv. Song ('Oh, fair sweet face! oh, eyes celestial bright')
    • B&F 155 p. 69

      Copy of a version of Stephano's song, here beginning Downe bee still you Seas, in a musical setting by John Wilson.

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      First published in Comedies and Tragedies (London, 1647). Dyce, VIII, 1-99 (p. 57). Bowers, VI, 121-205, ed. Cyrus Hoy (p. 166).

      Francis Beaumont and John Fletcher, The Pilgrim, III, vii, 107-18. Song ('Down, ye angry waters all!')
    • CmT 86 p. 73

      Copy of the first strophe in a musical setting by John Wilson.

      First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xv. Davis, p. 105.

      Thomas Campion, 'So many loves have I neglected'
    • B&F 171 p. 74

      Copy in a musical setting by John Wilson.

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      First published in Comedies and Tragedies (London, 1647). Dyce, V, 207-316 (p. 243). Bullen, IV, 207-321, ed. R.G. Martin (pp. 247-8). Bowers, IV, 276-380, ed. Robert K. Turner (pp. 307-8). The musical setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, Valentinian, II, v, 4-23. Song ('Now the lustry spring is seen')
    • B&F 66 p. 76

      Copy, in a musical setting by John Wilson.

      First published in Comedies and Tragedies (London, 1647). Dyce, IX, 105-95 (p. 149). Bowers, III, 12-93, ed. George Walton Williams (p. 48). This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, Love's Cure, III, ii, 118-225. Song ('Turn, turn thy beauteous face away')
    • StW 1014 p. 79

      Copy in a musical setting by John Wilson, untitled.

      First published in A Banquet of Jests (London, 1633). Dobell, p. 47. Forey, p. 211. The poem also discussed in C.F. Main, Notes on some Poems attributed to William Strode, PQ, 34 (1955), 444-8 (p. 446-7).

      William Strode, A Sonnet ('My Love and I for kisses played')
    • HeR 229 p. 81

      Copy in a musical setting by William Lawes, untitled.

      First published in The Academy of Complements (London, 1646). Hesperides (London, 1648). Martin, p. 84. Patrick, pp. 117-18. Musical setting by William Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

      Robert Herrick, To the Virgins, to make much of Time ('Gather ye Rose-budd while ye may')
    • LoR 29 p. 85

      Copy in a musical setting by John Wilson.

      First published in Lucasta (London, 1649). Wilkinson (1925), II, 70-1. (1930), pp. 78-9. Thomas Clayton, Some Versions, Texts, and Readings of To Althea, from Prison, PBSA, 68 (1974), 225-35. A musical setting by John Wilson published in Select Ayres and Dialogues (London, 1659).

      Richard Lovelace, To Althea, From Prison. Song ('When Love with unconfined wings')
    • B&F 77 p. 86

      Copy of the third soldier's song in a musical setting by John Wilson.

      Dyce, VI, 68-9. Bullen, III, 304. Bowers, V, 217. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, The Loyal Subject, III, v, 24-33. Song ('Will ye buy any honesty? come away')
    • ShW 91 p. 87

      Copy in a musical setting by Robert Johnson (as edited by John Wilson).

      William Shakespeare, The Tempest, I, ii, 400-9. Song ('Full fathom five thy father lies')
    • ShW 100 p. 88

      Copy in a musical setting by Robert Johnson (as edited by John Wilson).

      William Shakespeare, The Tempest, V, i, 88-94. Song ('Where the bee sucks, there suck I')
    • B&F 36 p. 89

      Copy of the first stanza in a musical setting by Robert Johnson (as edited by John Wilson).

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Bowers, I, 624-5.

      Francis Beaumont and John Fletcher, The Captain, IV, iv, 85-104. Song ('Come hither you that love, and heare me sing')
    • B&F 10 pp. 90-1

      Copy of Higgen's song in a musical setting by Nicholas Lanier (as edited by John Wilson).

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Bowers, III, 277.

      Francis Beaumont and John Fletcher, Beggars' Bush, III, i, 4-15. Song ('Have ye any worke for the Sow-gelder, hoa')
    • CwT 744 pp. 96-7

      Copy in a musical setting by John Wilson.

      First published in a five-stanza version beginning Aske me no more where Iove bestowes in Poems (1640) and in Poems: by Wil. Shake-speare, Gent. (London, 1640), and edited in this version in Dunlap, pp. 102-3. Musical setting by John Wilson published in Cheerful Ayres or Ballads (Oxford, 1659). All MS versions recorded in CELM, except where otherwise stated, begin with the second stanza of the published version (viz. Aske me no more whether doth stray).

      For a plausible argument that this poem was actually written by William Strode, see Margaret Forey, Manuscript Evidence and the Author of Aske me no more: William Strode, not Thomas Carew, EMS, 12 (2005), 180-200. See also Scott Nixon, Aske me no more and the Manuscript Verse Miscellany, ELR, 29/1 (Winter 1999), 97-130, which edits and discusses MSS of this poem and also suggests that it may have been written by Strode.

      Thomas Carew, A Song ('Aske me no more whether doth stray')
    • CmT 130 p. 101

      Copy in a musical setting.

      First published in Robert Jones, A Musical Dreame (London, 1609). Campion, Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xvi. Davis, pp. 106-7. Doughtie, pp. 319-20.

      Thomas Campion, 'Though your strangenesse frets my hart'
    • BrN 65 p. 110

      Copy in a musical setting by John Wilson.

      First published as The Plowmans Song in The Honorable Entertainment at Elvetham (London, 1591). Englands Helicon (London, 1600), <No. 12>, ascribed to N. Breton; Grosart, I (t), p. 7. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 29. A musical setting first published in Michael East, Madrigals to Three, Four, and Five Parts (London, 1604).

      Nicholas Breton, Phillida and Coridon ('In the merry moneth of May')
    • ShW 109 pp. 114-15

      Copy of Autolycus's song in a musical setting.

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      William Shakespeare, The Winter's Tale, IV, iv, 218-30. Song ('Lawn as white as driven snow')
    • FoJ 13 p. 124

      Copy in a musical setting by John Wilson.

      Dyce, I, 95. Bang, p. 77 (lines 2437-46).

      John Ford, The Lover's Melancholy, V, i. Song ('Fly hence, shadows, that do keep')
    • B&F 189 p. 144

      Copy of the Boy's song in a musical setting by John Wilson.

      This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Dyce, V, 313. Bullen, IV, 318. Bowers, IV, 376.

      Francis Beaumont and John Fletcher, Valentinian, V, viii, 37-46. Song ('God Lyaeus, ever young')
    • B&F 4 p. 150

      Copy in a musical setting by John Wilson.

      Bowers, III, 264-5. This setting first published in John Wilson, Cheerfull Ayres (Oxford, 1659).

      Francis Beaumont and John Fletcher, Beggars' Bush, II, i, 143-64. Song ('Cast our Caps and cares away!')
    • B&F 52 p. 151

      Copy of the God of the River's song in a musical setting by John Wilson.

      Bowers, III, 545. This setting first published in John Wilson, Select Ayres and Dialogues (London, 1659).

      Francis Beaumont and John Fletcher, The Faithful Shepherdess, III, i, 429-36. Song ('Do not feare to put thy feete')
    • DrM 15 pp. 184-6

      Copy, untitled, in a musical setting (set as an Oxford Act song) by Henry Bowman.

      Bowman's setting first published in his Songs for 1 2 & 3 Voices ([no place], 1677).

      First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 371.

      Michael Drayton, The Cryer ('Good Folke, for Gold or Hyre')
    • DaW 113 pp. 189-188 rev.

      Copy of the song of the Priests of Apollo in a musical setting by William Lawes.

      Edited in part from this MS in Sabol, No. 415, and in Lefkowitz, pp. 142-9.

      Dramatic Works, I, 338. Lefkowitz, pp. 134-5. Gibbs, p. 221.

      Sir William Davenant, The Triumphs of the Prince d'Amour. Song ('Behold, how this conjunction thrives!')
    • B&F 48 pp. 191-2 rev.

      Second copy in a musical setting by William Lawes.

      Bowers, III, 505-6.

      Francis Beaumont and John Fletcher, The Faithful Shepherdess, I, ii, 29-42. Song ('Sing his praises that doth keepe')
    • ShJ 33 pp. 193-192 rev.

      Second copy in a musical setting by William Lawes.

      First published in Poems (London, 1646). Armstrong, p. 1.

      James Shirley, Good Morrow ('Good morrow unto her, who in the night')
    • DnJ 203 pp. 195-193 rev.

      Copy in a musical setting by William Lawes.

      First published in Poems (1633). Grierson, I, 47-8. Gardner, Elegies, p. 43. Shawcross, No. 28.

      John Donne, The Apparition ('When by thy scorne, O murdresse, I am dead')
    • ShJ 200 pp. 196-195 rev.

      Copy of the song in a musical setting by William Lawes.

      Edited from this MS in Peter Walls, New Light on Songs by William Lawes and John Wilson, M&L, 57 (1976), 55-64 (pp. 58-61); edited in part from this MS in Sabol, 400 Songs & Dances, No. 414.

      Gifford & Dyce, VI, 281-2. Leech, p. 302, lines 719-30. Lefkowitz, p. 83. Armstrong, p. 47.

      James Shirley, The Triumph of Peace, Song 7 ('Why do you dwell so long in clouds')
    • ShJ 194 pp. 200-199 rev.

      Copy of the song, in a musical setting by William Lawes.

      This MS Edited in part in Peter Walls, New Light on Songs by William Lawes and John Wilson, M&L, 57 (1976), (pp. 62-3).

      First published, usually appended to Poems, in London, 1646. Gifford & Dyce, VI, 315-41 (p. 329). The song alone also in Armstrong, pp. 51-2.

      James Shirley, The Triumph of Beauty. Song ('Cease warring thoughts, and let his brain')

  • MS Mus. e. 20

    A quarto songbook, compiled by an Oxford University man, ii + 32 leaves, imperfect, in modern calf.

    c.1753-4.
    • CgW 60 f. 14r

      Copy of Juno's song in a musical setting, untitled.

      Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.

      William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song ('Let Ambition fire thy mind')

  • MS Mus. f. 7-10

    A set of four oblong quarto music part books (Cantus, Quintus, Altus, Tenor and Bassus), including verses, ranging from 24 to 30 leaves each, in half-red calf marbled boards.

    Compiled chiefly by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkdons, Suffolk.

    c.1630s.

    Also inscribed Marie Hammond.

    • GrF 3 (i) fol. 2v; (ii) fol. 3v; (iii) fol. 3v; (iv) fol. 5v

      Copies of an early version, untitled and here beginning Who euer thinks or hopes of loue for loue, 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')
    • EsR 93 (iii) fol. 7v

      Copy, in a musical setting.

      First published in John Dowland, The First Booke of Songes or Ayres (London, 1597). Discussed and attribution to Essex rejected in May, Poems, pp. 114-15. EV 4476.

      Robert Devereux, second Earl of Essex, 'Can she excuse my wrongs with vertues cloake'
    • PlG 13 (i) fol. 11r; (ii) fol. 10v; (iii) fol. 11r; (iv) fol. 13r

      Copies, in a musical setting by John Dowland, untitled.

      This MS version collated in Clayton.

      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 200 f. 7, fol 12

      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!)')
    • GrF 4.2 (i) fol. 12v; (ii) fol. 11v; (iii) fol. 12v; (iv) fol. 14v

      Copy of stanzas 1-2 in a musical setting by John Dowland, untitled.

      This MS collated in Doughtie, Lyrics from English Airs, p. 469.

      This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 104. Wilkes, II, 114-15.

      Fulke Greville, Caelica, Sonnet lii ('Away with these self-louing lads')
    • CmT 67 (i) fol. 18r; (ii) fol. 14v; (iii) fol. 17v; (iv) fol. 20r

      Copies, in a musical setting by Francis Pilkington.

      This MS recorded in Doughtie, p. 537.

      First published in Francis Pilkington, First Booke of Songs or Aires (London, 1605). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. ii. Davis, pp. 134-5. Doughtie, pp. 216, 227.

      Thomas Campion, 'Now let her change and spare not'
    • LoT 10 (i) fol. 22r; (ii) fol. 18v; (iii) fol. 21v; (iv) fol. 24r

      Copies, in a musical setting by Francis Pilkington.

      This MS collated in Doughtie, Lyrics from English Airs, p. 539.

      First published in Rosalynde. Euphues golden legacie (London, 1590). Gosse, I (Rosalynde, p. 47). The musical setting first published in Francis Pilkington, The First Booke of Bongs or Ayres (London, 1605). EV 18870.

      Thomas Lodge, Phoebes Sonnet a replie to Montanus passion ('Downe a downe: / Thus Phillis sung')

  • MS Mus. f. 11-15

    A set of five oblong quarto music part books (Cantus/Bassus, Quintus, Altus, Tenor, Bassus), including verses, chiefly in two hands, ranging from 34 to 63 leaves each, in half-red calf marbled boards.

    Compiled largely by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkdons, Suffolk.

    c.1630s.

    f. 11 (Cantus/Bassus) inscribed Edmond Stapley.

    • RaW 237 (i) fols 33ar-abr; (ii) fols 23r-4r; (iii) fols 13r-14r; (iv) fols 29r-30r; (v) fols 33ar-33br

      Copies, in a musical setting by Orlando Gibbons, untitled.

      First published, in a musical setting, in Orlando Gibbons, The First Set of Madrigals and Mottets (London, 1612). Latham, pp. 51-2. Rudick, Nos 29A, 29B and 29C (three versions, pp. 69-70). MS texts also discussed in Michael Rudick, The Text of Ralegh's Lyric What is our life?, SP, 83 (1986), 76-87.

      Sir Walter Ralegh, On the Life of Man ('What is our life? a play of passion')
    • DrM 41 (i) fols 50v-1r; (ii) fol. 41v; (iii) fols 31v-2r; (v) fols 50v-1r

      Copies, in a musical setting by Thomas Ravenscroft, untitled.

      Edited from this MS in Hebel, I, 493.

      First published in Thomas Morley, First Booke of Balletts to Five Voyces (London, 1595). Hebel, I, 493.

      Michael Drayton, Mr. M.D. To the Author ('Such was old Orpheus cunning')

  • MS Mus. f. 16-19

    A set of four oblong quarto part books of vocal music, in Latin and English, numbered 2-5, comprising Quintus, Altus, Tenor and Bassus parts (lacking the original Cantus), iii + 30 leaves, 86 leaves, 54 leaves, and 84 leaves respectively, in 19th-century half-calf gilt.

    Compiled by Thomas Hammond (d.1662), of Cressners, in the parish of Hawkedon, near Bury St Edmunds, Suffolk (the Quintus volume inscribed by him with the date August 1656 and the Altus volume inscribed Thomas Hamond his Booke. 1641).16.

    c.1641-62.

    The Monser myngo song here discussed in John P. Cutts, The Original Music of a Song in 2 Henry IV, SQ, 7 (1956), 385-92, and in Frederick W. Sternfeld, Lasso's Music for Shakespeare's Samingo, SQ, 9 (1958), 105-16.

    • NaT 7.1 (iii) fols 50v-51r

      Copy, in a musical setting by Orlando de Lassus, untitled, in the Altus volume.

      First published, as The Song, in Nashe's Pleasant Comedie Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.

      Thomas Nashe, 'Monsieur Mingo for quaffing doth surpass'
    • NaT 7.2 (iv) fols 21v-22r

      Copy, in a musical setting by Orlando de Lassus, untitled, in the Tenor volume.

      First published, as The Song, in Nashe's Pleasant Comedie Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.

      Thomas Nashe, 'Monsieur Mingo for quaffing doth surpass'
    • NaT 7.3 (v) fols 50v-51r

      Copy, in a musical setting by Orlando de Lassus, untitled, in the Bassus volume.

      First published, as The Song, in Nashe's Pleasant Comedie Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.

      Thomas Nashe, 'Monsieur Mingo for quaffing doth surpass'

  • MS Mus. f. 20-24

    A set of five oblong quarto music part books (Cantus, Altus, Sextus, Tenor, Bassus), ranging from 40 to 110 leaves each (including blanks), in half-red calf marbled boards.

    Compiled largely by Thomas Hamond (d.1662), of Cressners, in the parish of Hawkedon, near Bury St Edmunds, Suffolk.

    1630-3.

    Bequeathed in 1800 by Osborne Wight, of New College, Oxford.

    Discussed in M.C. Crum, A Seventeenth-Century Collection of Music Belonging to Thomas Hamond, a Suffolk Landowner, BLR, 6, No. 1 (October 1957), 373-86, and in Ian Payne, George Kirbye (c. 1565-1634): Two Important Repertories of English Secular Vocal Music Surviving Only in Manuscript, MQ, 73, No. 3 (1989), 401-16.

    • DrM 69 (i) fols 11v-12r; (ii) ff. 12v-13r; (iv) fols 11v-12r; (v) fols 11v-12r

      Copies, in a musical setting by John Ward, untitled.

      First published in Englands Helicon (London, 1600). Musical setting of first stanza published in John Ward, First Set of English Madrigals (London, 1613), No. xviii. Hebel, II, 525 (lines 105-28 of The Second Eclogue of Pastorals).

      Michael Drayton, 'Upon a Banke with Roses set about'
    • DnJ 2958 (i) fol. 56v; (iv) fol. 56v; (v) fol. 55v

      Copies of a version, here beginning Ah dear heart, in a musical setting by Orlando Gibbons.

      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')
    • DrM 38 (i) fols 79v-80r; (iii) fols 25v-6r; (iv) fols 79v-80r; (v) fols 78v-9r

      Copies, in a musical setting by John Ward.

      First published in John Ward, First Set of English Madrigals (London, 1613), xxiii-xxiv. First attributed to Drayton in Thomas Oliphant, La Musa Madrigalesca (London, 1837), p. 286. English Madrigal Verse 1588-1632, ed. E.H. Fellowes et al., 3rd edition (Oxford, 1967), pp. 270-1.

      Michael Drayton, 'If the deep sighs of an afflicted breast'
    • HrJ 261 (v), fol. 108v

      Copy of a version beginning Some say treason is unlawful; what's the reason?

      First published in 1615. 1618, Book IV, No. 5. McClure No. 259, p. 255. This epigram also quoted in a letter to Prince Henry, 1609 (McClure, p. 136). Kilroy, Book III, No. 43, p. 185.

      Sir John Harington, Of Treason ('Treason doth neuer prosper, what's the reason?')

  • MS Mus. Sch. B. 2

    A large folio autograph songbook of the composer William Lawes (1602-45), viii + 114 pages, various leaves excised, in contemporary calf gilt bearing the royal arms.

    c.1638-45.
    • DaW 80 pp. 16-18

      Copy of the chorus of poets and Fame, Galatea's song and the Valediction, in a musical setting by William Lawes, headed The King's Masque.

      Edited from this MS in Sabol, 400 Songs and Dances for the Stuart Masque, Nos. 49-51, and in Lefkowitz, pp. 211-43 (with a facsimile of p. 17 after p. 26, plate XI); recorded in Gibbs, p. 447.

      First published in London, 1637 [i.e. 1638]. Dramatic Works, III, 245-300 (pp. 286-90). Trois Masques a la Cour de Charles Ier d'Angleterre, ed. Murray Lefkowitz (Paris, 1970), pp. 171-243 (pp. 205-9). Stephen Orgel and Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (Sotheby Parke Bernet, University of California Press, 1973), II, 662-7 (pp. 666-7). Gibbs, pp. 223, 225-6.

      Sir William Davenant, Britannia Triumphans. Songs ('Britanocles, the great and good appeares')
    • ShJ 195 pp. 35-6

      Copy of the song in a musical setting by William Lawes, untitled, deleted.

      Edited from this MS in Murray Leflkowitz, William Lawes (London, 1960), pp. 231-3; Edited in part in Walls, p. 62.

      First published, usually appended to Poems, in London, 1646. Gifford & Dyce, VI, 315-41 (p. 329). The song alone also in Armstrong, pp. 51-2.

      James Shirley, The Triumph of Beauty. Song ('Cease warring thoughts, and let his brain')
    • CwT 704 p. 37

      Copy of the last six lines, here beginning Only this meanes, in a musical setting by William Lawes, deleted.

      This MS recorded in Dunlap, p. 290.

      First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).

      Thomas Carew, Secresie protested ('Feare not (deare Love) that I'le reveale')
    • CwT 703 p. 37

      Copy (words only), untitled, deleted.

      First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).

      Thomas Carew, Secresie protested ('Feare not (deare Love) that I'le reveale')
    • ShJ 197 p. 38

      Copy of the incipit in a musical setting by William Lawes, headed First Song of the Innis of Court Masque The howres descending.

      Edited from this MS in Edward J. Dent, Foundations of English Opera (Cambridge, 1928), pp. 30-2; in Andrew J. Sabol, Songs and Dances for the Stuart Masque (Providence, Rhode Island, 1959), pp. 78-80; in Lefkowitz, pp. 89-91; and in Sabol, 400 Songs & Dances, No. 36.

      First published in London, 1633 [i.e. 1634]. Gifford & Dyce, VI 253-85 (p. 274). Edited by Clifford Leech in A Book of Masques in Honour of Allardyce Nicoll, ed. T.J.B. Spenser & S.W. Wells (Cambridge, 1967), pp. 275-313 (p. 296, lines 491-502). Edited by Murray Lefkowitz in Trois Masques à la Cour de Charles Ier d'Angleterre (Paris, 1970), pp. 27-109 (p. 76). Edited by Stephen Orgel & Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (Sotheby Parke Bernet, University of California Press, 1973), II, 536-66. The song alone also in Armstrong, p. 45.

      James Shirley, The Triumph of Peace. Song 1 ('Hence ye profane, far hence away')
    • ShJ 198 pp. 39-40

      Copy of the incipit in a musical setting by William Lawes.

      Edited from this MS in Dent, pp. 32-4 (transcription corrected in Murray Lefkowitz, William Lawes (London, 1960), p. 217); in Sabol (1959), pp. 81-3; in Lefkowitz, Trois Masques, pp. 92-6; and in Sabol, 400 Songs & Dances, No. 37.

      Gifford & Dyce, VI, 274. Leech, p. 296, lines 504-15. Lefkowitz, pp. 76-7. Armstrong, pp. 45-6.

      James Shirley, The Triumph of Peace. Song 2 ('Wherefore do my sisters stay?')
    • ShJ 199 pp. 39-40

      Copy of the incipit in a musical setting by William Lawes (1602-45).

      Edited from this MS in Dent, pp. 34-7 (and see also Murray Lefkowitz, William Lawes, p. 217); in Sabol, (1959), pp. 84-8; in Lefkowitz, Trois Masques, pp. 97-104; and in Sabol, 400 Songs & Dances, No. 38.

      Gifford & Dyce, VI, 275. Leech, p. 297, lines 523-44. Lefkowitz, pp. 77-8. Armstrong, p. 46.

      James Shirley, The Triumph of Peace. Song 3 ('Think not I could absent myself this night')
    • ShJ 204 p. 41

      Copy of the incipit in a musical setting by William Lawes, incomplete, headed The Last Part of the Innis of Court Masque.

      Edited from this MS in Lefkowitz, pp. 108-9, and in Sabol, 400 Songs & Dances, No. 416.

      Gifford & Dyce, VI, 283. Leech, pp. 303-4, lines 760-79. Lefkowitz, pp. 84-5. Armstrong, p. 47.

      James Shirley, The Triumph of Peace, Song 9 ('Come away, away, away')
    • DaW 114 pp. 41-2

      Copy in a musical setting by William Lawes.

      Edited from this MS in Sabol, No. 46

      Dramatic Works, I, 338. Lefkowitz, pp. 134-5. Gibbs, p. 221.

      Sir William Davenant, The Triumphs of the Prince d'Amour. Song ('Behold, how this conjunction thrives!')
    • DaW 116 pp. 42-3

      Copy of the songs of valediction and final chorus sung by the Priests of Mars, Venus and Apollo, here beginning The angry steed..., in a musical setting by William Lawes (d.1645).

      Edited from this MS in Sabol, No. 47, and in Lefkowitz, pp. 150-69; recorded in Gibbs, p. 446.

      Dramatic Works, I, 339. Lefkowitz, pp. 135-6. Gibbs, pp. 221-2.

      Sir William Davenant, The Triumphs of the Prince d'Amour. Song ('The furious steed, the Phyph and Drum')
    • SuJ 165 p. 107

      Copy of the incipit of Nashorat's catch in a musical setting by William Lawes (1602-45).

      This MS collated in Beaurline.

      First published, with a separate title-page, in Fragmenta Aurea (London, 1646). Beaurline, Plays, pp. 121-82 (pp. 142-3).

      Henry Lawes's musical setting published in John Playford, Catch that Catch Can (London, 1667).

      John Suckling, The Goblins, Act III, scene ii, lines 28-34. Song ('Some drinke, what Boy, some drinke')

  • MS Mus. Sch. C. 12-19

    A set of six folio music part books of Latine & English Songs...by the best Italian and English Authors, ranging from 96 to 162 pages each.

    Compiled by Edward Lowe (c.1610-82), organist and composer, with further copies added by Richard Goodson (c.1655-1718), organist and composer.

    c.1663-77.
    • HeR 62 (i) pp. 84-5; (iii) p. 118 rev., (v) pp. 29-30; (vi), pp. 6 and 16; (vii) pp. 6 and 29; (viii) pp. 112-13

      Copies, in a musical setting by John Blow, untitled.

      First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

      Robert Herrick, The Curse. A Song ('Goe perjur'd man. and if thou ere return')

  • MS Mus. Sch. C. 41

    A folio music book, i + 49 leaves.

    First half of 18th century.
    • CgW 61 f. 16r

      Copy of Juno's song, in an anonymous musical setting.

      Summers, III, 83-4. Dobrée, p. 192. McKenzie, II, 232.

      William Congreve, The Judgment of Paris: A Masque, lines 75-94. Song ('Let Ambition fire thy mind')

  • MS Mus. Sch. C. 95

    A folio music book, ii + 262 pages.

    Early 18th century.
    • HeR 63 p. 116

      Copy, in a musical setting by John Blow.

      First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

      Robert Herrick, The Curse. A Song ('Goe perjur'd man. and if thou ere return')
    • HeR 32 p. 226

      Copy, in a musical setting by William Lawes.

      First published in Hesperides (London, 1648). Martin, p. 248. Patrick, p. 327. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

      Robert Herrick, Charon and Phylomel, A Dialogue sung ('Charon! O gentle Charon! let me wooe thee')
    • CgW 67 p. 233

      Copy of the song, in a musical setting by Henry Purcell.

      First published in London, 1693. Summers, I, 155-255 (p. 186). Davis, pp. 28-113 (pp. 59-60). McKenzie, I, 47-48. Musical settings of the two songs by Henry Purcell published in [first song] Joyful Cuckoldom (London, [1690s]), and [second song] Orpheus Britannicus (London, 1698). The Works of Henry Purcell, XXI (London, 1917), pp. 33-4, 35-7.

      William Congreve, The Old Batchelour, II, ix, lines 5-17. Song ('Thus to a ripe, consenting Maid')
    • CgW 65 p. 237

      Copy of the ballad, in a musical setting by John Eccles.

      Summers, II, 141. Davis, pp. 274. McKenzie, I, 332-3.

      William Congreve, Love for Love, III, xv, lines 44-75. Ballad ('A Souldier, and a Sailor')

  • MS Mus. Sch. C. 96

    A folio songbook, 64 leaves.

    Late 17th century.
    • HeR 64 ff. 5v-6r

      Copy in a musical setting by John Blow, untitled.

      First published in Hesperides (London, 1648). Martin, p. 49. Patrick, p. 69. Musical setting by John Blow published in John Playford, Choice Ayres and Songs (London, 1683).

      Robert Herrick, The Curse. A Song ('Goe perjur'd man. and if thou ere return')
    • MaA 7 ff. 6v-7r

      Copy in a musical setting by Matthew Locke.

      Locke's setting published in John Playford, Choice Ayres (London, 1675), pp. 80-4.

      First published, in a musical setting by John Gamble, in his Ayres and Dialogues (London, 1659). Miscellaneous Poems (London, 1681). Margoliouth, I, 19-21. Lord, pp. 261-2, as of doubtful authorship. Smith pp. 244-5. The authorship doubted and discussed in Chernaik, pp. 207-8.

      Andrew Marvell, A Dialogue between Thyrsis and Dorinda ('When Death, shall part us from these Kids')

  • MS Mus. Sch. C. 122

    A composite series of copies of Cowley's verses, in a musical setting by John Blow, as the Act song at Oxford for 1679, copied seven times for different vocal parts, 45 folio leaves (irregularly paginated and foliated), in modern boards.

    c.1679.
    • CoA 57.4
      No description or publication history available.

      Waller, I, 344. Sparrow, pp. 191-2.

      Musical setting by Pietro Reggio published in Songs [London, 1680]. Setting by John Blow published in Choice Ayres and Songs. The Third Book (London, 1681).

      Abraham Cowley, Davideis, Book III, Song ('Awake, awake my Lyre')

  • MS Mus. Sch. C. 142

    Copy, in a musical setting by John Wilson, used as an Oxford Act Song, i + 32 folio leaves.

    c.1660s.
    • JnB 325
      No description or publication history available.

      First published in The Vnder-wood (iii) in Workes (London, 1640). Herford & Simpson, VIII, 143-4.

      Ben Jonson, The Musicall strife. In a Pastorall Dialogue ('Come, with our Voyces, let us warre')

  • MS Mus. Sch. C. 145

    A folio music part book, 46 leaves.

    c.1670s.
    • DrM 16 ff. 2r-8r

      Copy, in a musical setting by Henry Bowman (fl.1674-80), composer and music copyist.

      First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 371.

      Michael Drayton, The Cryer ('Good Folke, for Gold or Hyre')

  • MS Mus. Sch. D. 247

    A large quarto music part book, 102 leaves.

    Mid-17th century.

    Part of a set of ten volumes, once owned by one John Merro and, in 1673, by one William Iles, who gave them to John Fell (1625-86), Dean of Christ Church and Bishop of Oxford, for the vse of the publicke Musicke Scoole.

    • CmT 31 f. 55av

      Copy of the first strophe, in a musical setting by Nicholas Lanier.

      First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xx. Davis, p. 156-8. English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 2.

      Thomas Campion, 'Fire, fire, fire, fire!'

  • MS Mus. Sch. E. 423

    An oblong quarto countertenor music part book, ii + 322 pages, in contemporary vellum.

    c.1570s-80s.

    I. P. on the cover.

    • DyE 96 p. 1

      Copy of the incipit, in a musical setting by William Byrd.

      First published in William Byrd, Psalmes, Sonets & Songs (London, 1588). May, Courtier Poets, p. 311. EV 17616.

      Sir Edward Dyer, 'Oh that most rare brest, chrystalin syncere'
    • DyE 38 p. 48

      Copy of the incipit, in a musical setting by William Byrd (1539/43-1623), composer.

      First published, as two poems (one comprising stanzas 1-4, 6 and 8. the other stanzas 9-12) in a musical setting, in William Byrd, Psalmes, Sonets & Songs (London, 1588). Sargent, No. XIV, pp. 200-1. The uncertain authorship of this poem and its textual history are discussed in Steven W. May, The Authorship of My mind to me a kingdom is, RES, NS 26 (1975), 385-94. EV 15376.

      Sir Edward Dyer, 'My mynde to me a kyngdome is'

  • MS Mus. Sch. E. 451

    An oblong quarto songbook, written from both ends, ii + 384 pages (including blanks), in contemporary vellum.

    Compiled by Edward Lowe (c.1610-82), organist and composer.

    Mid-late-17th century.
    • SaG 16 pp. 26-72, 336

      Copy of 28 Psalms, in musical settings: namely, in an irregular sequence, Psalms 2, 5, 26, 31, 38, 54, 57, 60, 67, 120, 136, 142 set by Henry lawes (1596-1662); Psalms 6, 22, 42, 47, 63, 68, 92, 95, 98, 123, 125, 129, 130, 141, 149, 150 set by William Lawes (1602-45); the first stanza of Psalm 134 set by Edward Lowe.

      First published in London, 1636. Hooper, I, 91-195; II, 195-310.

      Some of Henry Lawes's musical settings published in A Paraphrase upon the Divine Poems (London, 1638). Musical settings by Henry and William Lawes also published in Choice Psalmes Put into Musick for Three Voices (London, 1648).

      George Sandys, A Paraphrase upon the Psalms of David ('That man is truly bless'd who never strays')
    • SaG 32 p. 66

      Copy of the first stanza of Isaiah XXXVIII, beginning In the substraction of my yeares, in a musical setting by William Lawes.

      First published with A Paraphrase upon the Psalms of David (London, 1636). Hooper, II, 373-402.

      George Sandys, A Paraphrase upon the Songs Collected out of the Old and New Testaments ('The praise of our triumphant King')
    • HeR 230 p. 335

      Copy of the first two lines, in a three-part musical setting by William Lawes, untitled.

      First published in The Academy of Complements (London, 1646). Hesperides (London, 1648). Martin, p. 84. Patrick, pp. 117-18. Musical setting by William Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).

      Robert Herrick, To the Virgins, to make much of Time ('Gather ye Rose-budd while ye may')

  • MS Mus. Sch. F. 17-19

    Music part books.

    • NaT 7.4 F. 19, fol. 50v

      Copy of the refrain of Silence's song, beginning Do me right, in a musical setting.

      Discussed in John P. Cutts, The Original Music of a Song in 2 Henry IV, SQ, 7 (1956), 385-92, and in Frederick W. Sternfeld, Lasso's Music for Shakespeare's Samingo, SQ, 9 (1958), 105-16.

      First published, as The Song, in Nashe's Pleasant Comedie Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.

      Thomas Nashe, 'Monsieur Mingo for quaffing doth surpass'

  • MS Mus. Sch. F. 572

    An oblong quarto music book, 156 pages (some leaves excised).

    Late 17th century.
    • RoJ 424 p. 76

      Copy, with a musical setting, untitled.

      First published in Poems on Several Occasions (Antwerp, 1680). Vieth, p. 32. Walker, p. 36. Love, pp. 19-20.

      John Wilmot, Second Earl of Rochester, Song ('Phyllis, be gentler, I advise')

  • MS Mus. Sch. F. 575

    An oblong quarto music book, 95 leaves (ff. 32r-75v blank), in contemporary calf.

    Mid-late 17th century.

    No. 7 of a set of ten volumes, owned in 1673 by one William Iles (friend of Izaak Walton), who sent them to John Fell (1625-86), Dean of Christ Church and Bishop of Oxford, for ye vse of the publicke musicke Scoole.

    Complete facsimile in Jorgens, Vol. 6 (1987).

    • B&F 119 f. 7v

      Copy, in a musical setting, untitled.

      Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 106-7 (collated pp. 186-8).

      Bowers, VII, 468-9. This song first published in A Description of the King and Queene of Fayries (London, 1634). Thomas Middleton, The Collected Works, general editors Gary Taylor and John Lavagnino (Oxford, 2007), pp. 1698-9.

      For William Strode's answer to this song (which has sometimes led to both songs being attributed to Strode) see StW 641-663.

      Francis Beaumont and John Fletcher, The Nice Valour, III, iii, 36-4. Song ('Hence, all you vain delights')
    • DnJ 1213 f. 8v

      Copy of lines 1-6, in a musical setting.

      Edited from this MS in Gardner, pp. 242-3. Recorded in Shawcross.

      First published, in a musical setting, in Alfonso Ferrabosco, Ayres (London, 1609). Poems (1633). Grierson, I, 68. Gardner, Elegies, pp. 36-7. Shawcross, No. 75.

      John Donne, The Expiration ('So, so, breake off this last lamenting kisse')
    • StW 1375 f. 9v

      Copy, in a musical setting, untitled.

      This MS recorded in Forey.

      First published in Wit Restor'd (London, 1658). Dobell, pp. 39-40. Listed, without text, in Forey, p. 339.

      William Strode, Upon the blush of a faire Ladie ('Stay, lustie bloud, where canst thou seeke')

  • MS Mus. Sch. G. 632

    An oblong octavo music part book (tenor), 63 leaves.

    c.1680-1750.

    Once owned by Thomas and Mary Withen.

    • RnT 179.2 f. 1v

      Extract, from the first precept.

      First published in Poems (1638). Thorn-Drury, pp. 57-66.

      Thomas Randolph, Necessary observations ('First worship God, he that forgets to pray')
    • CmT 66 f. 62r

      Copy, in a musical setting.

      First published in Two Bookes of Ayres (London, [c.1612-13]), Book I, No. xi. Davis, pp. 70-1.

      Thomas Campion, 'Never weather-beaten Saile more willing bent to shore'

  • MS Mus. Sch. G. 640

    An oblong quarto music book, 39 leaves.

    Used apparently from 1673 by one Elizabeth Henthorne, who Aprell the 9: 1700: began to learn the flute.

    c.1670s-80s.
    • PsK 581 ff. 31v-30v rev.

      Copy of the song, in an anonymous musical setting.

      This MS briefly discussed, with facsimiles, in Hageman & Sununu, EMS, 4 (1993), pp. 196-7.

      Saintsbury, p. 612. Thomas, I, 245-6, poem 121. Thomas, III, pp. 72-3. This song originally set to music by Le Grand a Frenchman.

      Katherine Philips, Pompey. A Tragedy, Act IV, scene v. Song ('Proud Monuments of Royal Dust')
    • LeN 15 f. 39r rev.

      Copy of the song, in a musical setting by Henry Purcell.

      Stroup & Cooke, II, 251.

      Nathaniel Lee, Theodosius: or, The Force of Love, Song after the First Act ('Now, now the Fight's done, and the great God of War')

  • MS Tenbury 1018

    A folio volume of songs, madrigals and motets, 48 leaves, the leaves now mounted with other MSS (1015-1019) in a double-folio guardbook.

    Early 17th century.

    Formerly at St Michael's College, Tenbury Wells.

    A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 6 (New York & London, 1987).

    • BrN 26 f. 10r

      Copy in a musical setting, untitled.

      Edited from this MS in John P. Cutts, The Strange Fortunes of Two Excellent Princes and The Arbor of Amorous Deuises, RN, 15 (1962), 2-11 (pp. 9-10).

      First published in The Arbor of Amorous Deuises (London, 1597), <No. 10>. Grosart, I (d), p. 6. Authorship unknown.

      Nicholas Breton, The complaint of one being in love ('Leaue me O life, the prison of my minde')
    • DaS 52 f. 12r

      Copy of the rural marriage song in a musical setting.

      Edited from this MS in John P. Cutts, Early Seventeenth-Century Lyrics at St. Michael's College, M&L, 37 (1956), 221-33 (p. 255).

      Grosart, III, 378.

      Samuel Daniel, Hymens Triumph. III, v, 1338-43. Song ('From the Temple to the Boord')
    • WiG 1 f. 12r

      Copy in a musical setting.

      First published in Fidelia (London, 1615). Sidgwick, I, 138-9. A version, as Sonnet 4, in Faire-Virtue, the Mistresse of Phil'Arete, generally bound with Juvenilia (London, 1622). Spenser Society No. 11 (1871), pp. 854-5. Sidgwick, II, 124-6.

      For the answer attributed to Ben Jonson, but perhaps by Richard Johnson, see Sidgwick, I, 145-8, and Ben Jonson, ed. C.H. Herford and Percy & Evelyn Simpson, VIII (Oxford, 1947), 439-43. MS versions of Wither's poem vary in length.

      George Wither, The Author's Resolution in a Sonnet ('Shall I wasting in despair')
    • JnB 314 f. 31r

      Copy in a musical setting by Alfonso Ferrabosco.

      This MS collated in John P. Cutts, Early Seventeenth-Century Lyrics at St. Michael's College, M&L, 37 (1956), 221-33 (pp. 225-6).

      First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.

      Ben Jonson, A Hymne to God the Father ('Heare mee, O God!')
    • JnB 688 f. 36r

      Copy in a musical setting by Alfonso Ferrabosco.

      This MS collated in John P. Cutts, Le rôle de la musique dans les masques de Ben Jonson, Les fêtes de la Renaissance, ed. Jean Jacquot, I (Paris, 1956), 285-303 (p. 300). Edited in Sabol, 400 Songs & Dances, No. 15. Facsimile in Jorgens, VI.

      First published in Workes (London, 1616). Herford & Simpson, VII, 337-56.

      Ben Jonson, Oberon, The Fairy Prince, lines 396-406. Song ('Nay, nay, You must not stay')
    • JnB 679 ff. 36v-7v

      Copy, with an additional stanza, in a musical setting by Alfonso Ferrabosco.

      This MS collated in John P. Cutts, Early Seventeenth-Century Lyrics at St. Michael's College, M&L, 37 (1956), 221-33 (p. 227). Edited in Sabol, 400 Songs & Dances, No. 17. Facsimile in Jorgens, VI.

      First published in Workes (London, 1616). Herford & Simpson, VII, 357-71.

      Ben Jonson, Love Freed from Ignorance and Folly, lines 338-42. Song ('O What a fault, nay, what a sinne')
    • JnB 689 ff. 37v-8r

      Copy in a musical setting by Alfonso Ferrabosco.

      Edited from this MS in Cutts, op. cit., 1. 298-9. Edited in Sabol, No. 16. Facsimile in Jorgens, VI.

      Ben Jonson, Oberon, The Fairy Prince, lines 425-32. Song ('Gentle knights, Knowe some measure of your nights')
    • DnJ 3025 f. 44v

      Copy of a version, here beginning Deerest loue I doe not goe, in a musical setting.

      Edited from this MS in Gardner, p. 240, and in Shawcross, p. 100.

      First published in Poems (1633). Grierson, I, 18-19. Gardner, Elegies, pp. 31-2. Shawcross, No. 42.

      John Donne, Song ('Sweetest love, I do not goe')
    • CmT 249 f. 46r

      Copy in a musical setting.

      First published together with A Relation of the Late Royall Entertainment given By The Right Honorable The Lord Knowles (London, 1613). Davis, pp. 249-62 (p. 257). Also edited, with illustrations of costume designs [?], in Stephen Orgel and Roy Strong, Inigo Jones: The Theatre of the Stuart Court, 2 vols (University of California Press, 1973), I, 240-52.

      Thomas Campion, The Lords' Masque. Song ('Wooe her, and win her, he that can')
    • DaS 10 f. 47r

      Copy, with additional verses, in a musical setting.

      This MS recorded in John P. Cutts, Early Seventeenth-Century Lyrics at St. Michael's College, M&L, 37 (1956), 221-33 (pp. 229-30), and collated in Doughtie, p. 551.

      This sonnet first published, in Delia, in Works (London, 1601). John Daniel, Songs (London, 1606). Grosart, I, 52. Sprague, p. 177. Doughtie, Lyrics from English Airs, p. 264.

      Samuel Daniel, Delia. Sonnet XXII ('Time, cruell time, come and subdue that Brow')

  • MS Tenbury 1019

    A folio songbook, i + 6 leaves, now mounted with other MSS (1015-1019) in a double-folio guardbook.

    Early 17th century.

    Formerly at St Michael's College, Tenbury Wells.

    A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 6 (New York & London, 1987).

    • NaT 15 f. 1r

      Copy of a four-stanza version in a musical setting.

      This MS collated in Doughtie, pp. 480-2.

      First published in Poems and Sonets of sundrie other Noble men and Gentlemen appended to Sir Philip Sidney, Astrophel and Stella (London, 1591). McKerrow, III, 396 (in poems of doubtful authorship). Doughtie, Lyrics from English Airs, pp. 104-5.

      Thomas Nashe, Verses from Astrophel and Stella ('If flouds of teares could clense my follies past')
    • DnJ 2321 f. 1v

      Copy of the first stanza in a musical setting by Giovanni Coperario.

      Edited from this MS in Gardner, p. 241, and in Shawcross, p. 81.

      First published in Poems (1633). Grierson, I, 43. Gardner, Elegies, pp. 30-1. Shawcross, No. 25.

      John Donne, The Message ('Send home my long strayd eyes to mee')
    • DrM 39 f. 3r

      Copy in a musical setting by John Ward.

      This MS collated in John P. Cutts, Early Seventeenth-Century Lyrics at St. Michael's College, M&L, 37 (1956), 221-33 (p. 232).

      First published in John Ward, First Set of English Madrigals (London, 1613), xxiii-xxiv. First attributed to Drayton in Thomas Oliphant, La Musa Madrigalesca (London, 1837), p. 286. English Madrigal Verse 1588-1632, ed. E.H. Fellowes et al., 3rd edition (Oxford, 1967), pp. 270-1.

      Michael Drayton, 'If the deep sighs of an afflicted breast'
    • BrW 256 f. 6v

      Copy of the Siren's song in a musical setting possibly by Robert Johnson.

      Edited from this MS in John Cutts, Original Music to Browne's Inner Temple Masque, and other Jacobean Masque Music, N&Q, 199 (May 1954), 194-5.

      William Browne of Tavistock, The Inner Temple Masque, i, 1-10. Song ('Steer hither, steer, your winged pines')

  • MSS Tenbury 1163-1167

    A set of five quarto music part books (Altus, Tenor, Bassus, Quintus, Sextus), the last comprising 29 pages, the others ranging from 137 to 161 pages each, each in contemporary calf gilt (rebacked).

    First half 17th century.

    Formerly at St Michael's College, Tenbury Wells, Worcestershire.

    • RaW 202 (i) pp. 80-1; (ii) pp. 64-5; (iii) pp. 80-1; (iv) pp. 56-7

      Copies in a musical setting.

      This MS collated in Oakeshott, The Queen and the Poet, pp. 205-6.

      First published in Walter Oakeshott, An Unknown Ralegh MS, The Times (29 November 1952), p. 7. Rudick, No. 23, pp. 46-7.

      Sir Walter Ralegh, 'Now we have present made'

  • MS Tenbury 1175

    A large folio music book of works chiefly by Henry Purcell, v + 391 pages, in modern half-black morocco.

    A number of items Transcrib'd from the Original Score 1680.

    c.1700s.

    Bookplates of William Hawes, 1841, and Edmund T. Warren Horne.

    • SaG 13 pp. 297-301

      Copy of Chapter XIV in a musical setting by Henry Purcell, transcribed from SaG 14.

      This MS recorded in Zimmerman.

      First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

      George Sandys, A Paraphrase upon Job ('In Hus, a land which near the sun's uprise')
    • SaG 9 pp. 302-5

      Copy of Chapter X in a musical setting by Henry Purcell, transcribed from SaG 10.

      This MS recorded in Zimmerman.

      First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.

      George Sandys, A Paraphrase upon Job ('In Hus, a land which near the sun's uprise')

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