An oblong folio of catches and songs, 46 leaves, in a single hand.
c.1835.Copy.
Quoted in The Knight of the Burning Pestle. Bowers, II, 432. The Melvill Book of Roundels, ed. Granville Bantock and H. Orsmond Anderton (London, 1916), pp. 13, 52-3.
A folio music book, 162 pages.
Copy of the Masque, in a musical setting by Henry Purcell.
First published in London, 1678. Summers, III, 183-275.
A folio songbook, in a single formal rounded secretary hand, with rubrication and colour decoration of initial letters, 145 vellum leaves, in old red morocco gilt.
c.1500s.Inscribed (f. 1r), probably by the compiler or commissioner of the volume, Robertus Fayrfax Doctor in Musicis iacet sepidtus in Ecclesia Monasteriali Scj Albani
: i.e. by Robert Fairfax (1464-1521), Gentleman of the Chapel Royal, composer. Later owned and inscribed by Ralph Thoresby (1658-1725), Yorkshire antiquary and topographer.
Copy of a 62-line version, in a four-part musical setting by William Cornish, untitled.
Edited from this MS in Hawkins; in Dyce; and in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 92-7.
Skelton wrote a Wofully araid but it is uncertain whether his version can be identified with any extant poem incorporating these words: see Canon, L118, pp. 32-3. First published in Sir John Hawkins, General History of the Science and Practice of Music (London, 1776), III, 2. Dyce (1843), I, 141-3.
Copy of a 62-line version, in a three-part musical setting by John Browne, untitled.
Skelton wrote a Wofully araid but it is uncertain whether his version can be identified with any extant poem incorporating these words: see Canon, L118, pp. 32-3. First published in Sir John Hawkins, General History of the Science and Practice of Music (London, 1776), III, 2. Dyce (1843), I, 141-3.
Copy, in a musical setting by William Cornish, untitled.
Edited from this MS in Hawkins; in Dyce; and in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 128-30.
Canon, C37, p. 11. First published in Sir John Hawkins, A General History of the Science and Practice of Music (London, 1776), III, 2. Dyce, I, 28-9. Scattergood, pp. 35-6.
Copy, in a musical setting by William Cornish.
Edited from this MS in Stevens.
Canon, R62, p. 20. Edited in Sir John Hawkins, A General History of the Science and Practice of Music (London, 1776), III, 2. In a musical setting by William Cornish, in Early Tudor Songs and Carols, ed. John Stevens, Musica Britannica XXXVI (London, 1975), pp. 132-4.
MS prepared by Vincent Novello (1781-1861) for his edition of Henry Purcell's works.
Early-mid 19th century.Copy, transcribed from a Volume of curious Manuscripts that were formerly in the possession of Mr. Hamilton, Junr. of whom they were purchased by the Editor
.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
A folio virginal book, largely in a single italic hand, written from both ends, with a list of contents (f. 1r), 60 leaves, in old brown calf gilt.
Inscribed (f. 1v), probably by the compiler, Elizabeth: Rogers hir virginall booke. ffebruarye ye 27: 1656
.
Also inscribed (f. 1r, twice) Elizabeth Fayre
. Later owned by Richard Heber (1774-1833), book collector. Sotheby's, February 1836 (Heber sale), lot 1151.
A facsimile of ff. 20v-3r, 26v-7r, 35v-7r, 46v-60r of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986).
Copy of an untitled version beginning Ly still my Deare, why dost thou rise
, in a musical setting.
This MS collated in Doughtie, pp. 610-11. Recorded in Gardner, p. 245.
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.
Copy, in a musical setting by Richard Balls, untitled.
Edied from this MS (erroneously cited as Add. 11337
) in Cutts, Musique de la troupe de Shakespeare, pp. 62-4 (collated pp. 156-8).
Dyce, VI, 180-1. Bullen, III, 184. Bowers, V, 67-8.
Copy, in a musical setting, untitled and here beginning Thinke not deare loue that Ill reueale
.
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).
Copy of the first strophe, in a musical setting, untitled.
This MS collated in Davis, p. 495.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xviii. Davis, pp. 109-10.
Copy, in a musical setting by Nicholas Lanier, untitled.
Edited from this MS in Spink. Collated in Davis, pp. 497-8.
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.
Copy of an untitled version, in a musical setting, beginning Deerest loue I doo not goe
.
Edited from this MS in André Souris, Poèmes de Donne Herbert et Crashaw mis en musique par leur contemporains (Paris, 1961), pp. 2-3. Recorded in Gardner, p. 239, and in Shawcross.
First published in Poems (1633). Grierson, I, 18-19. Gardner, Elegies, pp. 31-2. Shawcross, No. 42.
Autograph songbook by George Jeffreys (c.1610-85), composer and organist, in his cursive italic hand, with an index (ff. 2r, 3r), 275 leaves, in modern half red morocco.
c.1662.Later owned by Richard Heber (1774-1833), book collector. Sotheby's, February 1836 (Heber sale), lot 1156; by Edmund Thomas Warren Horne, publisher; and by Thomas Oliphant (1799-1873), music editor and cataloguer.
Copy, in a musical setting by George Jeffreys, untitled.
This MS recorded in Thorn-Drury.
First published in Poems (1638). Thorn-Drury, p. 87.
Copy, in a musical setting by George Jeffreys, headed Song Coy Caelia
.
This MS recorded in Thorn-Drury.
First published in Poems (1638). Thorn-Drury, pp. 86-7.
Copy, in a musical setting by George Jeffreys, here beginning Say Daunce how shall wee goe
, subscribed The Maskque of Vices
.
Edited from this MS in John P. Cutts, The Masque of Vices, N&Q, 197 (8 November 1952), 492.
First published (with Poems) Oxford, 1638. Hazlitt, I, 173-266 (p. 192).
Copy, in a musical setting by George Jeffreys, headed Song Nymphe & Sheaphard
.
This MS recorded in Thorn-Drury.
First published in Poems (1638). Thorn-Drury, pp. 85-6.
Copy, in a musical setting by George Jeffreys. headed Febisse / Endimion / Dialogue
.
Edited from this MS in Moore Smith and in Thorn-Drury.
First published and attributed to Randolph in Moore Smith (1925), p. 248. Thorn-Drury, p. 164.
A square-shaped folio volume of musical works, in one cursive rounded hand but for ff. 1r-2v, 59r-61v, 107 leaves, in modern halff red morocco.
Late 17th century.According to a note by W. Kitchiner, later owned by Dr Arnold; bought at his sale by Mr Bartleman, and then bought at his sale in February 1822 by Kitchiner. Bookplate of Robert Smith. Bought from Thomas Rodd, bookseller, 18 December 1838.
Copy of five songs in the masque (lines 976-99, 230-43, 859-66, 958-75, 1012-23), in musical settings by Henry Lawes, the lyrics in a cursive italic hand, headed Five Songs Set for a Mask presented at Ludlo Castle, before the Earl of Bridgewater Lord President of the Marches. October 1634
, on two folio leaves tipped-into the volume. Mid-17th century.
Edited from this MS in Sprott and in Andrew J. Sabol, Songs and Dances for the Stuart Masque (Providence, Rhode Island, 1959), pp. 91-9. Facsimile in Illinois, I, 340-4. Collated in Columbia, I, 474-577. Discussed in John T. Shawcross, Henry Lawes's Settings of Songs for Milton's Comus, Journal of the Rutgers University Library, 28 (1964), 22-8.
First published, as A Maske presented At Ludlow-Castle, 1634, in London, 1637. Poems (1645). Columbia, I, 85-123. Darbishire, II, 171-203. Carey & Fowler, pp. 168-229. John Milton, The Masque of Comus. The Poem, originally called A Mask Presented at Ludlow Castle, 1634, &c., ed. E.H. Visiak (Bloomsbury, 1937). John Milton, A Maske: The Earlier Versions, ed. S.E. Sprott (Toronto, 1973). Various texts also discussed in A Maske at Ludlow, ed. John S. Diekhoff (Cleveland, Ohio, 1968), [see esp. pp. 251-75].
A folio songbook, in two or more predominantly italic hands, written from both ends, 87 leaves, in remains of contemporary vellum within modern half red morocco.
Possibly compiled in part by one T. C.
Inscribed (f. 1v) R. Guise [of Abbey] Feb: 12. 1760
. Purchased from Thomas Thorpe, bookseller, 17 June 1839.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 4 (New York & London, 1986).
Copy, in a musical setting by William Lawes, headed A Dialogue Betweene Strephon & Daphne
.
First published in Poems (London, 1646). Armstrong, p. 6. Also in The Cardinal, Act V, scene iii, printed in Six New Playes (London, 1652-3). Gifford & Dyce, V, 271-352 (pp. 344-5). Musical setting by William Lawes published in Select Musicall Ayres and Dialogues (London, 1652) and in John Playford, The Musical Companion, 2nd edition (London, 1673). Edited from the latter in James Shirley, The Cardinal, ed. E.M. Yearling (Manchester, 1986), p. 162.
Copy in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, pp. 23-4.
Copy, in a musical setting by Henry Lawes, untitled.
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.
Copy of a version beginning Amarillis by a springe
, in a musical setting by Henry Lawes, untitled.
First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.
Copy, in a musical setting.
Published, and attributed to Randolph, in Moore Smith (1927), pp. 96-7.
Copy of the song, in a musical setting by Robert Johnson, untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 140-2.
Dyce, V, 297. Bullen, IV, 302. Bowers, IV, 360-1.
Copy of Apollo's song, in a musical setting by Nicholas Lanier, untitled.
Edited from this MS in Sabol, 400 Songs & Dances, No. 33. Discussed in MacDonald Emslie, Three Early Settings of Jonson, N&Q, 198 (November 1953), 466-9.
First published in London, 1622. Herford & Simpson, VII, 623-47.
Copy of the song, in a musical setting by Robert Johnson, headed Myne Osts songe. Sung in ye Mad Lover
.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 102 (collated pp. 184-5).
Dyce, XI, 75. Bowers, X, 483.
Copy of both parts of the song, in a setting by John Wilson.
This MS cited in Pebworth & Summers.
A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.
Copy, in a musical setting by Robert Ramsey, untitled.
This MS recorded in Spink.
First published in Latham (1929). Latham (1951), p. 52. Rudick, No 51, p. 124.
Of doubtful authorship according to Latham, pp. 145-6, and Lefranc (1968), p. 84.
Copy of an untitled version beginning Cloris sigh'd, & sung, & wept
, in a musical setting by Mr Balls
.
This MS recorded in Krueger.
First published in [John Gough], Academy of Complements (London, 1646), p. 170. Poems (1660), p. 104, superscribed P.
. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
.
Copy, in a musical setting, headed By his Maiesty
and here beginning Marke how ye blushfull Morn in vayne
.
This MS recorded in Dunlap, pp. 291-2. The setting is ascribed to Nicholas Lanier in Playford's Select Ayres and Dialogues, The Second Book (London, 1669).
First published in Poems (1640). Dunlap, p. 42.
Copy, in a musical setting.
Edited, and tentatively attributed to Randolph, in Moore Smith (1927), p. 115.
Copy, in a musical setting by Charles Coleman, untitled and here beginning The parcht Earth drinkes the Raine
.
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).
Copy, in a musical setting by John Hilton, untitled and here beginning Yee violetts, yt first appeare
.
First published (in a musical setting) in Michael East, Sixt Set of Bookes (London, 1624). Reliquiae Wottonianae (London, 1651), p. 518. Hannah (1845), pp. 12-15. Some texts of this poem discussed in J.B. Leishman, You Meaner Beauties of the Night A Study in Transmission and Transmogrification, The Library, 4th Ser. 26 (1945-6), 99-121. Some musical versions edited in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), Nos. 66, 122.
Copy, in a musical setting, untitled and here beginning Yee meaner beauties of the night
, subscribed Bassus per T: C:
.
First published (in a musical setting) in Michael East, Sixt Set of Bookes (London, 1624). Reliquiae Wottonianae (London, 1651), p. 518. Hannah (1845), pp. 12-15. Some texts of this poem discussed in J.B. Leishman, You Meaner Beauties of the Night A Study in Transmission and Transmogrification, The Library, 4th Ser. 26 (1945-6), 99-121. Some musical versions edited in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), Nos. 66, 122.
Copy of the first Scholar's song, in a musical setting, untitled and here beginning Come my Lads that love Canarie
, subscribed Bassus composit p T: C:
.
First published in London, 1630. Hazlitt, I, 1-34.
Copy, in a musical setting by John Wilson, untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 114-15.
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).
Two copies, one inverted, of the first strophe, in a musical setting by Nicholas Lanier, for cantus and bassus parts, untitled.
This MS recorded in Davis, p. 499.
First published in Alfonso Ferrabosco, Ayres (London, 1609). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book IV, No. ix. Davis, p. 177. Doughtie, p. 295.
Copy, in a musical setting by Nicholas Lanier, headed Cælia. A Love Song
.
First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).
Copy of the three-stanza version, in a musical setting by John Wilson, untitled.
This MS collated in Pebworth & Summers.
First published in Lusoria (London, 1661). Pebworth & Summers, p. 8.
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 290.
First published (stanzas 1-2), in a musical setting, in Walter Porter, Madrigales and Ayres (London, 1632). Complete in Poems (1640). Dunlap, p. 18. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in a musical setting by Nicholas Lanier, untitled.
First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).
Copy of the Graces' song, in a musical setting by Henry Lawes (three-part setting f. 81r, solo version f. 80v).
This MS recorded in Herford & Simpson, XI, 606. Facsimile in Jorgens, IV.
First published together with The Masques of Blackness and Beauty (London, [1608]). Herford & Simpson, VII, 243-63 (p. 252).
A folio songbook, in probably two secretary and italic hands, 25 leaves, in a recycled contemporary vellum indenture within modern half red morocco.
c.1614-30.Inscribed (f. 1v) John Shurlane His Booke
, and (f. 24v rev.) This Book Do[ ] / Hugh ffloyd / Domn: 11
, with dates 28 Nov. 1630
and 1633
. Purchased from Thomas Rodd, bookseller, 13 April 1844.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).
Copy of one or two Psalms, in musical settings.
Psalms 1-43 translated by Sidney. Psalms 44-150 translated by his sister, the Countess of Pembroke. First published complete in London, 1823, ed. S.W. Singer. Psalms 1-43, without the Countess of Pembroke's revisions, edited in Ringler, pp. 265-337. Psalms 1-150 in her revised form edited in The Psalms of Sir Philip Sidney and the Countess of Pembroke, ed. J.C.A. Rathmell (New York, 1963). Psalms 44-150 also edited in The Collected Works of Mary Sidney Herbert Countess of Pembroke (1988), Vol. II.
Copy of the incipit only, in a musical setting, untitled.
First published in A Booke of Ayres (London, 1601), No. ii. Davis, pp. 20-1.
Copy of a version in a musical setting by Thomas Morley, untitled.
Edited from this MS in Davis, pp. 479-80.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xii. Davis, pp. 100-1.
Copy of lines 1-52, in a musical setting, headed A dialogue
.
This MS collated in Sandison.
First published in Francis Davison, A Poetical Rapsody (London, 1602). Sandison, No. [98], pp. 118-23.
Copy of lines 21-30, in a musical setting by Robert Johnson, untitled and here beginning Haue you seene but a Whyte Lillie grow
.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 54-5. Recorded in Herford & Simpson, XI, 609. Facsimile in F.H. Potter, Reliquary of English Song (London, 1935), facing p. x.
First published (all ten poems) in The Vnder-wood (ii) in Workes (London, 1640). Herford & Simpson, VIII, 131-42 (pp. 134-5). Lines 11-30 of poem 4 (beginning Doe but looke on her eyes, they do light
) first published in The Devil is an Ass, II, vi, 94-113 (London, 1631).
Copy of Desdemona's willow song, in a five-strophe version in a musical setting, untitled and here beginning The poore soule sate sighinge by a Sickamore tree, Singe willo willo willo
.
Printed from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 1-2, 115-19, and in F.W. Sternfeld, Music in Shakespearean Tragedy (London, 1963), 39-44 (with facsimiles).
Copy, in a musical setting, untitled.
This MS recorded in Ringler, p. 566, and in Robertson, p. 452.
Ringler, p. 75-6. Robertson, pp. 190-1.
Copy, in a musical setting, untitled.
This MS collated in Davis, pp. 499-500, and in Doughtie, pp. 517-18.
First published in John Dowland, Third Book of Aires (London, 1603). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book IV, No. xvii. Davis, pp. 184-5. Doughtie, p. 179.
Copy, in a musical setting, untitled.
Ringler, pp. 202-3. Edited from this MS in John P. Cutts, Falstaff's Heauenlie Iewel
: Incidental Music for The Merry Wives of Windsor, SQ, 11 (1960), 89-92. Recorded in Ringler, p. 480.
Ringler, pp. 202-3.
Copy, in a musical setting by Alfonso Ferrabosco, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 3-5, and in Doughtie, pp. 563-4.
First published in Volpone, III, vii, 166-83 (London, 1607). The Forrest (v) in Workes (London, 1616). Herford & Simpson, VIII, 102. Doughtie, Lyrics from English Airs, p. 294.
Copy of the first three stanzas, in a musicial setting, untitled.
This MS text recorded in May, p. 111.
First published, in a musical setting by John Dowland, in his The Third and Last Booke of Songs or Aires (London, 1603). May, Poems, No. IV, pp. 62-4. May, Courtier Poets, pp. 266-9. EV 12846.
A folio volume of music and verse, in several secretary and italic hands, 46 leaves (plus numerous blanks), in 19th-century half brown calf on marbled boards.
Early 17th century.Inscriptions including (f. 1v) Richard Shinton his booke Witnis Thomas ffowke
; (f. 40r, in a court hand) Thomas Shinton of Woluerhamt
; (f. 42v) Richard Shinton this Booke did owe. And John Congreue the Same doth know / 1633
, Richard Congreve
, Jane Hart is my name
; and (f. 44v) Martha Congreve
, and Elizabeth Congreve Writ this
. Purchased from Thomas Rodd, bookseller, 13 April 1844.
Copy, in a musical setting, in an italic hand, untitled.
This MS collated in May, pp. 123-4.
3 lines. but deade to thee
First published, with a musical setting, in Robert Dowland, A Musicall Banquet (London, 1610). May, Poems, No. 4, pp. 45-6. May, Courtier Poets, pp. 252-3. EV 4594.
Copy, in a musical setting, in the secretary hand of Thomas Fowke (name above), untitled.
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.
Copy of the Tenth Song, in a secretary hand, words only, untitled here beginning O deare life, when shall it be
.
Ringler, pp. 225-7.
Copy, in a secretary hand, words only, untitled, with a general heading in the margin Varietie of Catches
.
First published in Henry Fitzsimon, S.J., The Justification and Exposition of the Divine Sacrifice of the Masse (Douai, 1611). 1615. 1618, Book IV, No. 9. McClure No. 263, p. 256. Kilroy, Book IV, No. 30, p. 220.
Copy, in a secretary hand, words only, untitled.
First published in 1615. 1618, Book IV, No. 22. McClure No. 276, p. 261. Kilroy, Book IV, No. 82, p. 239.
Copy, in a secretary hand, words only, headed in the margin An English ma and a Welsh Lasse
.
Kilroy, Book IV, No. 38, p. 224.
A set of six oblong quarto part-books of principally vocal music, largely in a single italic hand, each volume in modern half-morocco.
Early 17th century.Copies of the incipit only, in a musical setting, untitled.
These MSS collated in Davis, p. 498.
First published in Robert Jones, Ultimum Vale (London, 1605). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book IV, No. vii. Davis, pp. 174-6. Doughtie, p. 212.
Copy, chiefly of the incipit only, (v) f. 9r including the complete text, all in a musical setting by W. Wigthorp, untitled.
Edited from MS (v) in May, Courtier Poets.
May, Poems, No. 5, p. 46. May, Courtier Poets, p. 253.
Copies of the incipit only, in a musical setting, untitled.
Edited from these MSS in Andrew J. Sabol, Two Songs with Accompaniment for an Elizabethan Choirboy Play, SR, 5 (1958), 149-59.
Bullen, I, 24.
A set of five oblong quarto partbooks of vocal and instrumental music, respectively Cantus, Altus, Tenor, Quintus, and Additional, in two or more neat secretary and italic hands, respectively 177, 183, 181, 170, and 172 leaves (plus blanks), each in contemporary calf with initials I M
stamped in gilt within modern half dark red morocco.
Puttick and Simpson's, 25 June 1849, lot 599.
Copies, of the incipit or first few lines only, in a musical setting.
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.
An oblong octavo volume of madrigals and motets, generally arranged for five voices, the lyrics in a single cursive italic hand, 90 leaves, in modern half red morocco.
Early 17th century.Puttick & Simpson's, 25 June 1849, lot 521.
Copies of the first lines (and, f. 76r, chorus), in a musical setting for four voices by Richard Nicholson, untitled, here beginning In a mery May morne
.
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).
A folio MS of the music for a revival of the masque in 1659 written by Matthew Locke and Christopher Gibbons, largely in a single cursive mixed hand, 34 leaves, in contemporary brown calf gilt, the initials M L
stamped in gilt on each cover.
Locke's predominantly autograph copy, including instrumental dances, recitatives, choruses, &c. and five songs, headed The Instrumentall and Vocall Musique in the Morall representation att the Millitary Ground jn Lescester ffields 1659
.
Once owned by Hannah Lanier. Bought at Dr Hayes's sale, Oxford, by Edward Jones. Sotheby's, 1825 (E. Jones sale), in lot 476. Puttick & Simpson's, 25 June 1849, lot 576.
Edited from this MS (with facsimiles of ff. 3, 9 and 20) by Edward J. Dent in Musica Britannica, 2 (London, 1951). See also R.G. Howarth, Shirley's Cupid and Death, TLS (15 November 1934), p. 795;, and Bentley, Jacobean & Caroline Stage, V, 1102-4.
First published in London, 1653. Gifford & Dyce, VI, 343-67. Edited by B.A. Harris in A Book of Masques in Honour of Allardyce Nicoll (Cambridge, 1967), pp. 371-403.
A folio songbook, in several hands, one italic hand predominating, with (f. 1v) a list of contents, 46 leaves, in modern half red morocco.
Inscribed (f. 1r), possibly by the compiler, Charles Campelman his book June ye 9. 1681
(God give him grace 1682
added in another hand).
Sotheby's, 20 January 1854, lot 1138.
Copy, in a musical setting by John Blow, untitled.
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).
Copy of a song here ascribed to Mr Shadwell
, in a musical setting, untitled.
Edited from this MS in D.M. Walmsley, Two Songs Ascribed to Thomas Shadwell, RES, 1 (1925), 350-2, and in Summers, with a facsimile after p. 384.
First published in Summers (1927), V, 384.
Of doubtful authorship.
Copy of a song here ascribed to Mr Shadwell
, in a musical setting.
Edited from this MS in D.M. Walmsley, Two Songs Ascribed to Thomas Shadwell, RES, 1 (1925), 350-2, and in Summers, with a facsimile after p. 384.
First published in Thomas D'Urfey, A New Collection of Songs and Poems (London, 1683). Summers, V, 383. The poem probably by D'Urfey and the musical setting perhaps by Shadwell: see D.M. W[almsley], A Song of D'Urfey's Wrongly Ascribed to Shadwell, RES, 4 (1928), 431.
Copy, in a musical setting, headed The Concealment by Mr Cowley
.
First published in The Mistresse (London, 1647). Waller, I, 99-100. Collected Works, II, No. 31, pp. 59-60.
Copy, in a musical setting by John Abell, untitled.
This MS recorded in Day, pp. 186-7.
First published in John Shurley, The Compleat Courtier (London, 1683). Poetical Miscellanies: The Fifth Part (London, 1704). Kinsley, IV, 1776. Hammond & Hopkins, II, 149. Musical setting by John Abell published in Choice Ayres and Songs (London, 1683).
Copy, in a musical setting by James Hart, untitled.
Edited from this MS in Harris.
First published in Choice Ayres and Songs (London, [1684]). Harris, pp. 79-80.
Copy, in a musical setting by John Blow, untitled.
This MS recorded 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).
Copy, in a musical setting, headed Song in the Duke of Guise
, subscribed Cpt Pack
: i.e. ? Richardson Pack (1682-1728), army officer and writer.
Written in collabotation with Nathaniel Lee. First published in London, 1683. California, XIV (1992), pp. 205-305 (pp. 290-1). Kinsley, I, 330. Hammond & Hopkins, II, 144-5.
Copy (words only).
California, XVI, 63. Scott-Saintsbury, VIII, 196. Kinsley, II, 577. Hammond & Hopkins, III, 266-7.
A tall folio book of chiefly vocal music, the lyrics in a cursive italic hand, with (ff. 91r-2r) a later index, 92 leaves, in contemporary calf gilt within modern half red morocco.
c.1700s.Putttick & Simpson's, 25 August 1857, lot 269.
Copy of the song, in a musical setting by Henry Purcell.
Recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 290.
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).
Copy, in a musical setting by Henry Purcell.
This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 406.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
A tall folio songbook, the lyrics in a cursive italic hand, with (f. 2r-v) a brief table of contents, 149 leaves (plus numerous blanks), in modern half red morocco.
Compiled by John Walter, organist of Eton College (in 1681-1705) and possibly erstwhile chorister in the Chapel Royal (c.1674-7).
c.1682-1700s.Inscribed (last page, inverted) Mr Dolbins book Anno domini 1681/2
and (on the penultimate page) Mr Dolbens Booke
and Mr James Hart
. Bookplate of Robert Smith and (f. 1r) a note signed by him dated 4 June 1813.
This volume discussed in Bruce Wood, A Note on Two Cambridge Manuscripts and their Copyists, M&L, 56 (1975), 308-12.
Copy, in a musical setting by John Blow, untitled.
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).
Copy, in a musical setting by John Blow, untitled.
This MS recorded 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).
Copy, in a musical setting by William Turner (1651-1740), headed Song
.
First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.
Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.
Copy, in a musical setting by John Blow, untitled and here beginning As on Septimus panting breast
.
First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.
Musical setting by John Blow published in The Theater of Music (London, 1685).
An oblong quarto songbook, the lyrics largely in a single italic hand, with (ff. 4v-5r) a table of contents, 84 leaves, in 19th-century red morocco gilt.
Inscribed (f. 3v), evidently by the compiler, Giles Earle his booke 1615
(with other notes dated 1610) and (f. 1v) Egidius Earle hunc librum possidet qui compactus fuit mense Septembris. 1626.
, f. 81r subscribed Anno Dni: 1623 / Mense Augusti: Finis
.
Acquired from Joseph Lilly, bookseller, 17 May 1862.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).
Copy, untitled.
First published, as The Church Papist, in Wits Recreations (London, 1640). Reprinted as The Jesuit's Double-faced Creed by Henry Care in The Popish Courant (16 May 1679): see August A. Imholtz, Jr, The Jesuits' Double-Faced Creed: A Seventeenth-Century Cross-Reading, N&Q, 222 (December 1977), 553-4. Dobell, p. 111. Listed, without text, in Forey, p. 339.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 495.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. xviii. Davis, pp. 109-10.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 492.
First published in A Booke of Ayres (London, 1601), No. iii. Davis, pp. 22-3.
Copy, in a musical setting, untitled.
Printed from this MS in Vivian and in Davis.
First published in Vivian (1909), p. 356. Davis, p. 479.
Copy, in a musical setting, inscribed Cantus & Bassus
, untitled.
This MS collated in Doughtie, p. 527.
First published in Robert Jones, Ultimum Vale (London, 1605). Davis, p. 477. Doughtie, pp. 205-6.
Copy of the Mariner's song (Cynthia queene of seas and landes), in a musical setting, untitled.
This song first published, in a musical setting, in Robert Jones, Ultimum Vale (London, 1605); Doughtie, Lyrics from English Airs, pp. 210-11. This MS recorded in Krueger, p. 410.
The fullest text of what are taken to be the extant portions of the Entertainment at Harefield, 31 July-2 August 1602, is edited in The Complete Works of John Lyly, ed. R. Warwick Bond (Oxford, 1902), I, 491-504, where it is suggested that probably the prose and the Mariner's song were written by Lyly and the rest chiefly by Davies (see I, 534-5). Krueger, following Grosart, accepts the prose too as Davies's (see Krueger, pp. 409-11). It is argued that Davies probably wrote all of the Harefield entertainment
in Gabriel Heaton, Writing and Reading Royal Entertainments (Oxford, 2010), pp. 100-16.
Copy of a two-strophe version, in a musical setting, untitled.
Edited from this MS in Peter Warlock, Giles Earle his Booke (London, 1932), p. 34, and in Swaen, pp. 404-5. Recorded in Greer, p. 308.
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.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 506.
First published in A Booke of Ayres (London, 1601), Part II, No. xviii. Davis, p. 459.
Copy of the first strophe, in a musical setting, untitled.
This MS collated in Davis, p. 492.
First published in A Booke of Ayres (London, 1601), No. ii. Davis, pp. 20-1.
Copy of the song, in a musical setting.
First published, as The Song
, in Nashe's Pleasant Comedie
Summers last will and Testament (London, 1600). McKerrow, III, 264. EV 14798.
Copy, in a musical setting, untitled.
This MS collated in John P. Cutts, Sir John Harington's Epigrammatic Lyric, N&Q, 205 (February 1960), 60-1.
First published in 1615. 1618, Book III, No. 3. McClure No. 201, p. 230. Kilroy, Book IV, No. 84, p. 201.
Copy, in a musical setting, untitled.
This MS collated in May, p. 123.
May, Poems, No. 5, p. 46. May, Courtier Poets, p. 253.
Copy, in a musical setting for treble and bass.
First published in 1615. 1618, Book III, No. 3. McClure No. 201, p. 230. Kilroy, Book IV, No. 84, p. 201.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 498.
First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xxvi. Davis, p. 162.
Copy of the first strophe, in a musical setting, untitled.
This MS collated in Davis, p. 508.
First published in More Lyrics from the Song-Books of the Elizabethan Age, ed. A.H. Bullen (London, 1888), pp. 6-7. Davis, p. 478.
Copy of the first strophe, in a musical setting by Alfonso Ferrabosco, untitled.
This MS recorded in Davis, p. 499, and in Doughtie, p. 564.
First published in Alfonso Ferrabosco, Ayres (London, 1609). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book IV, No. ix. Davis, p. 177. Doughtie, p. 295.
Copy, in a musical setting, untitled and here beginning Nowe I see thy lookes were fayned
.
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).
Copy of Franceschina's song, in a musical setting, untitled.
Edited from this MS in Andrew J. Sabol, Two Unpublished Stage Songs for the Aery of Children
, RN, 13 (1960), 222-32 (p. 230). Recorded in Wine and in Davison.
First published in London, 1605. Bullen, II, 1-103 (p. 19). Edited by M.L. Wine (London, 1965), pp. 19-20. Edited by Peter Davison (Edinburgh, 1968), p. 29.
Copy, in a musical setting, untitled.
Edited from this MS in David Fuller, Ben Jonson's Plays and their Contemporary Music, M&L, 58 (1977), 60-75 (p. 65). Recorded in Herford & Simpson, XI, 605-6. Facsimile in Willa McClung Evans, Ben Jonson and Elizabethan Music (Lancaster, Philadelphia, 1929), frontispiece.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 497.
First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xvii. Davis, pp. 152-3.
Copy, in a musical setting, untitled.
The text corrected from this MS in Davis.
First published in A Booke of Ayres (London, 1601), Part II, No. xx. Davis, p. 460.
Copy of an eight-strophe version, in a musical setting, here beginning Goe silly note to ye eares of my deare
.
Edited from this MS in Peter Warlock, op. cit., pp. 89-92. Recorded in Greer, p. 308.
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.
Copy of lines 517-22 (words only), untitled and here beginning A thousand kisses wynns my hearte from mee
.
Edited from this MS in John P. Cutts, Venus and Adonis in an Early Seventeenth-Century Song-Book, N&Q, 208 (August 1963), 302-3, and see also 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.
Copy (words only), untitled and here beginning A Puritan of late & eke a holy sister
.
First published (13-line version) in The Epigrams of Sir John Harington, ed. N.E. McClure (Philadelphia, 1926), but see
Copy (words only), headed A letter from a louer to his beloued
, here beginning O Loue whose power & might none yet withstood
, followed (f. 82r) by Her answeare
.
This MS cited in Osborn.
Osborn, p. 301.
A large square-shaped folio composite volume of largely vocal music, in several hands and paper sizes, 61 leaves, mounted on guards, in a recycled vellum indenture within modern quarter vellum boards.
c.1762.Inscribed (f. 1r) R Guise Oct: 1762
. Puttick & Simpson's, 20 December 1872.
Copy, in a musical setting by John Dowland.
This sonnet first published in John Dowland, First Booke of Songes or Ayres (London, 1597). Bullough, I, 104. Wilkes, II, 114-15.
Copy of Nashorat's catch, in a musical setting by William Lawes, untitled. Mid-late 17th century.
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).
A set of six folio musical part books, namely (i) Cantus, (ii) Altus, (iii) Tenor, (iv) Bassus, (v) Quintus and (vi) Sextus, the lyrics in a neat predominantly italic hand, respectively 176, 175, 176, 176, 163 and 58 leaves (plus numerous blanks), each volume in contemporary calf elaborately gilt with the initials T M
on the covers.
Each volume with an engraved title-page: Tristitiæ Remedivm Cantiones selectissimæ, diuersoru tu authorum, tum argumentoru; labore G manu exaratæ THOMÆ MYRIELL. A.D. 1616.
Puttick & Simpson's, 24 April 1873.
Copies, largely of the incipit only, MS (i) with the full text, all in a musical setting by Alfonso Ferabosco.
J. Reichard, N&Q, 228 (1983), 147-8.
First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.
A folio volume of vocal music principally by John Eccles, the lyrics largely in a single cursive hand, with (f. 2r) an index, 205 leaves, in contemporary reversed brown calf (rebacked), stamped on the front cover volvm III
.
Inscribed (f. 1v) J.W Windsor Bath 1802
; (inside cover) Vincent Novello [(1781-1861), music publisher] / 66 St. Queen Street / Lincolns Inn / purchased of Mr Hamilton Jun March 28 1829
, with (f. 1r) an affixed letter by Novello dated 28 March 1848. Puttick & Simpson's, 24 April 1873.
Copy of the music score by John Eccles (with words to songs and choruses), apparently transcribed from
First published in London, 1673. Dramatic Works, V, 295-394. Edited by Christopher Spencer (New Haven, 1961).
A square-shaped folio volume of vocal and instrumental music, in two or more cursive italic hands, written from both ends, with (ff. 1v-2v, 96v rev) a table of contents, 97 leaves, in modern half red morocco.
c.1760s.Bookplate of Edmund Thomas Warren Horne, publisher, and probably the compiler. Puttick & Simpson's, 24 April 1873.
Copy of the song, in a musical setting by Henry Harrington.
First published in The Forrest (ix) in Workes (London, 1616). Herford & Simpson, VIII, 106.
Copy, in a musical setting by Henry Lawes, headed To a Lady pulling off his Veil / Words Dr. Stroud
and here beginning Keep on your Veil and hide your eye
.
First published, in a musical setting by Henry Lawes, in Ayres and Dialogues (London, 1653). Wits Interpreter (London, 1655). Dobell, pp. 3-4. Forey, pp. 88-9.
Copy of the opening lines, in a musical setting, headed In praise of his Mistress / Words Mr. Townsend
.
This MS recorded in Brown.
First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 20. Chambers, pp. 9-10. Brown, pp. 57-9.
Copy, in a musical setting, headed To a Lady Weeping / Mr Cartwright
.
First published in Willa McClung Evans, PMLA, 54 (1939), 406-11. Evans, p. 568.
Copy of the version beginning Sing fair Clorinda...
, in a musical setting by Lawes, headed Words Sir Wm. Davenant
.
First published in Herbert Berry, Three New Poems by Davenant, PQ, 31 (1952), 70-4. Gibbs, pp. 275-6. A variant version, beginning Sing fair Clorinda
, published, in a musical setting, in Henry Lawes, Ayres and Dialogues (London, 1653). Gibbs, pp. 303-8.
Copy, in a musical setting by Lawes.
First published (in Lawes's musical setting) in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). Works (London, 1673). Gibbs, pp. 168-70, 311-12.
Copy, in a musical setting by Henry Lawes, untitled.
First published in Hesperides (London, 1648). Martin, p. 31. Patrick, p. 45. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
Copy, in a musical setting by Henry Lawes, untitled, here beginning Beauties have ye seen a Toy
.
First published together with The Masques of Blackness and Beauty (London, [1608]). Herford & Simpson, VII, 243-63 (p. 252).
First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).
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).
Copy, in a musical setting, headed Words Jno Grange
and subscribed collected 1580 by J. Lawes
.
First published in Henry Lawes, Third Book of Ayres and Dialogues (1658), ascribed to Mr John Grange. Listed in Krueger.
Copy, in a musical setting by Henry Lawes.
First published, in a musical setting by Henry Lawes (1592-1662), in Select Musicall Ayres and Dialogues in Three Bookes (London, 1653). Last Remains (London, 1659). Clayton, pp. 89-90.
Probably written by Henry Hughes.
Copy of the second stanza, beginning The Macedon youth left behind
, in Purcell's musical setting.
Beaurline, Plays, p. 201. The second stanza, in a musical setting by Henry Purcell, published in The Second Book of the Pleasant Musical Companion (London, 1686).
Copy of the song, in a musical setting by Henry Purcell.
Recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 290.
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).
A folio songbook, almost entirely in a single rounded italic hand, with (ff. 3r-7v) a table of contents, 113 leaves, in 19th-century half dark red morocco.
Compiled by Edward Lowe (c.1610-82), organist and composer (his signature f. 2v).
c.1654-70s.Arms of Eleanor Bursh on a seal affixed to f. 56r. Later owned and annotated in pencil by Thomas Oliphant (1799-1873), music editor and cataloguer.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 5 (New York & London, 1986).
Copy of the opening lines, in a musical setting, headed Aurelian Townshend. to his daughter. Mris Kirke
.
This MS recorded in Brown.
First published, in a musical setting by Henry Lawes, in John Playford, Select Musical Ayres (London, 1652), p. 34. Chambers, p. 3. Brown, pp. 66-7.
Copy of the song, in a musical setting by Henry Lawes, untitled.
This MS recorded in Evans, p. 594.
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.
Copy of the Boy's song, in a musical setting by Henry Lawes, headed In Dr Strodes Play acted before ye Kinge
.
Dobell, p. 169.
Copy, in a musical setting by William Lawes, untitled.
This MS collated in Martin.
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).
Copy of the drinking song, in a musical setting (? probably by John Wilson), untitled, subscribed Mr Chilmead
.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 83-4 (collated pp. 170-1).
First published in London, 1639. Dyce, X, 371-467 (p. 400). Edited by J.D. Jump, as Rollo Duke of Normandy (Liverpool, 1948), (p. 21). Bowers, X, 166-245 (p. 186), as Rollo, Duke of Normandy, ed. George Walton Williams.
Copy, in a musical setting by Robert Johnson, untitled and here beginning Deare doe not yr fayre beauty wronge
.
First published, in a version beginning Deare, doe not your fair beauty wrong
, in Thomas May, The Old Couple (London, 1658), p. 25. Attributed to Randolph in Parry (1917), p. 224. Thorn-Drury, p. 168.
Copy, in a musical setting by Henry Lawes, headed Hilario's Songe
.
Dobell, p. 151.
Copy of a version beginning Amarillis by a springe
in a musical setting by Henry Lawes.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.
Copy, in a musical setting by Nicholas Lanier, untitled and here beginning Like Hermitt poore, in pensive place obscure
.
This MS recorded in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 7.
First published in Brittons Bowre of Delights (London, 1591). Latham, pp. 11-12. Rudick, Nos 57A and 57B (two versions, pp. 135-6).
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, pp. 23-4.
Copy, in a musical setting by Thomas Charles, untitled; the text followed (f. 38r) by a Reply (here beginning I sweare hadst thou not bin forsworne
) subscribed Mr. Hen. Ventrice
.
This MS recorded in Wilkinson.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 24. (1930), pp. 26-7. A musical setting by Thomas Charles published in Select Musicall Ayres, and Dialogues (London, 1652).
Copy, in a musical setting by Robert Johnson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 100-1 (collated pp. 184-5).
Dyce, XI, 75. Bowers, X, 483.
Copy, in a musical setting by John Wilson, untitled.
First published in Walter Porter, Madrigales & Ayres (London, 1632). Poems (1657). Crum, p. 149.
Copy of the song, in a musical setting, untitled.
California, XI, 166-7. Kinsley, I, 135-6. Hammond & Hopkins, I, 244-5.
Copy, in a musical setting by Edmund Chilmeade, headed Sheapherd
, with an additional passage of reply and a Chorus.
This MS recorded in Thorn-Drury.
First published in Poems (1638). Thorn-Drury, pp. 86-7.
Copy, in a musical setting by Edmund Chilmeade, untitled.
First published, as The Rapture, by J.D.
, in Robert Chamberlain, The Harmony of the Muses (London, 1654), pp. 3-4 [unique exemplum in the Huntington edited in facsimile by Ernest W. Sullivan (Aldershot, 1990)]. Cupids Master-Piece (London, [?1656]). Dunlap, p. 192.
Copy of the song sung by Patrico and Jackman, in a musical setting by Edmund Chilmead, untitled.
Edited from this MS in Sabol, 400 Songs & Dances, No. 30; collated in Greg; recorded in Herford & Simpson, XI, 607. Facsimiles in Cole, pp. 16-18; in Greg, plate V; and in Jorgens, V.
Herford & Simpson, lines 706-31. Greg, Windsor version, lines 508-26.
Copy, in a musical setting by William Lawes, untitled.
Printed from this MS and collated in Cutts, Musique de la troupe de Shakespeare, pp. 57, 153-4.
First published in London, 1652. Bullen, V, 117-235 (pp. 168-9). Edited by Robert T. Levine (Salzburg, 1975). Oxford Middleton, pp. 1078-1123 (pp. 1098-9).
Copy of a version of the first eleven lines (words only), headed Dialouge: Thirsis & Dorinda
and here beginning When death shall snatch us from thes Kidds
.
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.
Copy, in a musical setting by John Wilson, untitled.
This MS collated 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.
Copy, in a musical setting by John Wilson, untitled.
First published in Poems (1657). Crum, pp. 147-8.
Copy, in a musical setting by Thomas Stafford, untitled.
First published in A Collection of Poems, Written upon several Occasions (London, 1672). Thorpe, p. 26.
Copy, in a musical setting, 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.
Copy of both parts of the song, in a musical setting by John Wilson, untitled.
This MS cited in Pebworth & Summers.
A sixteen-line version first published in Lusoria (London, 1661). Pebworth & Summers, p. 11.
Copy, in a musical setting by Captain Henry Cooke, untitled.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 39-42. Sparrow, pp. 43-6.
Copy, in a musical setting by Roger Hill and Edward Lowe, superscribed This songe was giuen Mr Houghton, by Mr Caue: it was to bee sunge by a Single Base. Except ye Chorus for two parts. I sett an vpper part to it the 27th of Janu. 16[ ]
and here beginning The thirsty Earth sucks up ye rayne
.
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).
Copy, in a musical setting by Pelham Humfrey, headed Song
.
First published in Poems, by Several Persons (Dublin, 1663). Verses, Lately Written upon several Occasions (London, 1663). Waller, I, 411-13.
Musical setting by Pelham Humfrey published in Choice Songs and Ayres for One Voyce (London, 1673).
Copy of the Fiddler's song, in a musical setting by Robert Smith, untitled.
Summers, II, 95-182 (pp. 139-40).
Copy, in a musical setting, untitled.
Printed from this MS in Macdonald Emslie, A New Song by Rochester, TLS (26 February 1954), p. 137; edited in part from this MS in Vieth; collated in Walker.
First published in A New Collection of the Choicest Songs (London, 1676). Vieth, pp. 83-4. Walker, pp. 42-3. Love, p. 34, as Songe of the Earle of Rochesters.
Copy, in a musical setting by Robert Johnson, untitled.
Copy, in a musical setting by Robert Johnson (as edited by John Wilson), untitled.
A narrow oblong duodecimo music book, probably in a single cursive hand, with (ff. 2r-v, 98r-97r rev.)a table of contents, written from both ends, i + 98 leaves, in modern red morocco.
c.1682-90.Bookplate of Ralph Sympsun Esqr. Puttick & Simpson's, 24 April 1873.
Copy, in a musical setting by John Abell, untitled.
This MS recorded in Day, pp. 186-7.
First published in John Shurley, The Compleat Courtier (London, 1683). Poetical Miscellanies: The Fifth Part (London, 1704). Kinsley, IV, 1776. Hammond & Hopkins, II, 149. Musical setting by John Abell published in Choice Ayres and Songs (London, 1683).
Copy, in a musical setting by Matthew Locke.
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.
Copy, in a musical setting, untitled.
First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.
Musical setting by John Blow published in The Theater of Music (London, 1685).
Copy, in a musical setting by William Lawes, headed A dialogue between Phylomel & Charon
.
This MS collated in Martin.
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).
Copy, in a musical setting by Henry Purcell, headed The Ground & song To O! Solitude
.
This MS recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
Copy, in a musical setting by T. Judway, untitled.
First published in Poems on Several Occasions (Antwerp
, 1680). Vieth, p. 32. Walker, p. 36. Love, pp. 19-20.
Copy in a musical setting by Henry Purcell.
This MS recorded in Purcell Society edition (1928).
First published in The Mistresse (London, 1647). Waller, I, 144-5. Sparrow, p. 145. Collected Works, II, No. 79, pp. 116-17.
Musical setting by Henry Purcell published in Choice Ayres and Songs (London, 1683). Works of Henry Purcell, XXV (London, 1928), pp. 156-8.
Copy, in a musical setting by John Blow, untitled.
This MS recorded 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).
Copy in a musical setting by John Blow, untitled and here beginning As on Septimus panting breast
.
First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.
Musical setting by John Blow published in The Theater of Music (London, 1685).
A large square-shaped folio full score of the opera by Daniel Purcell, the lyrics in a single cursive italic hand, 54 leaves (the last one vellum), in modern half red morocco.
Early 18th century.Bookplate of Robert Smith, of St Paul's Churchyard. Puttick & Simpson's, 24 April 1873.
First published in London, 1701. Summers, III, 79-86. Dobrée, pp. 187-95. McKenzie, II, 227-35.
A set of five oblong octavo music part books for five voices, namely (i) Cantus, (ii) Medius, (iii) Tenor, (iv) Bassus, and (v) Quintus, the lyrics in a single neat italic hand, respectively 58, 56, 56, 56, and 56 leaves, each volume in modern red morocco.
Early 17th century.Puttick & Simpson's, 24 April 1873.
Copies, largely of the incipit only, (i) with the full text, all in a musical setting by William Byrd, untitled.
Byrd's setting first published in his Songs of sundrie natures (1589). This MS recorded in Ringler, pp. 447, 566.
Ringler, pp. 225-7.
Copies, largely of the incipit only, (i) with the full text, all in a musical setting by William Byrd, untitled.
Byrd's setting first published in his Psalmes, Sonets, & songs of sadnes and pietie (1588). These MSS recorded in Ringler, pp. 447, 566.
Ringler, pp. 215-17.
A tall folio part book of vocal music, for the Altus voice, the lyrics in several italic and secretary hands, one formal italic hand predominating, 78 leaves, mounted on guards, in quarter vellum boards.
Early 17th century.Puttick & Simpson's, 29 April 1873.
Copy of the first two stanzas, in a musical setting, subscribed Martin Pierson: Ba: Mu:
.
This MS collated in Crowley, with a facsimile of f. 20v on p. 609.
First published in Poems (1633). Grierson, I, 424-6 in his Appendix B, as Probably by Francis Davison
. Discussed, and the case for Donne's authorship reviewed, in Lara Crowley, Donne, not Davison: Reconsidering the Authorship of Psalme 137, Modern Philology, 105, No. 4 (May 2008), 603-36.
Copy of the incipit only, in a musical setting by Alfonso Ferrabosco.
First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.
An oblong folio songbook, the lyrics in two or more secretary and italic hands, 44 leaves, in contemporary vellum within brown calf gilt, stamped with the initials A. B.
, now within modern half red morocco.
Inscribed (f. 1r) Richard Elliotts his Booke
and William Wilkins 1743
. The cover initials A. B.
conjecturally attributed to Adrian Batten (1591-1637), composer. Puttick & Simpson's, 30 June 1873.
Facsimile of ff. 2r-26v in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).
Copy of the Madman's song, in a musical setting by Robert Johnson, untitled.
Lucas II, 95. Edited from this MS in John P. Cutts, Two Jacobean Theatre Songs, M&L, 33 (1952), 333-4. Collated in Cutts, Musique de la troupe de Shakespeare, pp. 143-4.
Cambridge edition, I, 541.
Copy of the Welsh Gentlewoman's song, in a musical setting, untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 144-6. See also Cutts, The Music for A Chaste Maid in Cheapside, Appendix II in Parker, pp. 84-5, 128-37.
First published in London, 1630. Bullen, V, 1-115 (pp. 80-1). Edited by R.B. Parker (London, 1969), (pp. 84-5). Oxford Middleton, pp. 912-58 (p. 943). An eleven-line version of lines 1-9 of this song occurs in More Dissemblers besides Women (I, iv, 89-99).
Copy of an untitled version beginning Sweet staie awhile whie doe you rise
, in a musical setting.
This MS collated in Doughtie, pp. 609-11. Recorded in Gardner.
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.
Copy, in a musical setting by John Bartlet, 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 (p. 11).
First published in The Strange Fortunes of Two Excellent Princes Fantiro and Perillo (London, 1600). Grosart, II (d), p. 22. The setting published in John Bartlet, A Booke of Ayres (London, 1606).
Copy of lines 1-4, in a musical setting, untitled and here beginning Ist for a grace or ist for some mislicke
.
Edited from this MS in Cutts, N&Q (1960), 60-1.
First published in 1615. 1618, Book III, No. 3. McClure No. 201, p. 230. Kilroy, Book IV, No. 84, p. 201.
Copy of the first strophe, in a musical setting, untitled.
Printed from this MS in Davis, p. 153, and collated, p. 497.
First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xvii. Davis, pp. 152-3.
Copy of lines 21-30, in a musical setting by Robert Johnson, untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, pp. 150-3.
First published (all ten poems) in The Vnder-wood (ii) in Workes (London, 1640). Herford & Simpson, VIII, 131-42 (pp. 134-5). Lines 11-30 of poem 4 (beginning Doe but looke on her eyes, they do light
) first published in The Devil is an Ass, II, vi, 94-113 (London, 1631).
Copy, in an incomplete musical setting, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, p. 103 (collated pp. 184-5).
Dyce, XI, 75. Bowers, X, 483.
A folio music book of vocal compositions, the lyrics in English and Latin almost entirely in a single italic hand, with a contemporary index (f. 93r), 94 leaves, in 19th-century half red leather.
Compiled by the composer Henry Bowman, those songs set by himself listed by him on f. 93r.
c.1678-80s.Bookplate of Katherine Sedley (1657-1717), daughter of Sir Charles Sedley and later Countess of Dorchester, of Southfleet, Kent. Inscribed (f. 93r) John James
. Purchased from J. Harvey, 13 July 1877.
Copy, in a musical setting by John Blow, untitled.
This MS recorded 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).
Copy, in a musical setting by Henry Bowman, untitled.
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).
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 497.
First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). The Works of Henry Purcell, XXII (London, 1922), pp. 59-61. Thorpe, p. 34.
Copy, in a musical setting by Henry Purcell, untitled.
This MS collated in California. Recorded in Kinsley.
First published in Sylvae (London, 1685). Kinsley, I, 441. California, III, 89-90. Hammond & Hopkins, II, 388. Musical setting by Robert King published in The Theater of Music (London, 1685), I, 30. Day, pp. 73-5. Musical setting by Henry Purcell published in Orpheus Britannicus, 3rd edition (London, 1721). Works of Henry Purcell, XXII (London, 1922), pp. 133-6.
Copy, in a musical setting by Henry Bowman, untitled.
First published, at the end of the essay Of Liberty, among Several Discourses by way of Essays, in Verse and Prose in Works (London, 1668). Waller, II, 386.
Copy, in a musical setting by Henry Bowman, untitled.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 55-6. Sparrow, p. 55.
Musical setting by Henry Purcell published in Comes Amoris (London, 1687). Works of Henry Purcell, XXII (1922), pp. 55-8.
Copy of the last stanza, in a musical setting by Henry Bowman, imperfect, lacking stanzas 1-3.
Edited from this MS in Sola Pinto, I, 272-3.
First published in A Collection of Poems (London, 1672). Miscellaneous Works (London, 1702). Sola Pinto, I, 19.
Two MS volumes of church music used at Durham Cathedral.
c.1664, 1670.Volume (i) belonged in 1664 to George Davenport, chaplain to John Cosin, Bishop of Durham; Volume (ii) belonged in 1670 to Isaac Basire (d.1676), Prebendary of the seventh stall in Durham Cathedral.
These MSS recorded in Forey, p. 325.
Copies in a musical setting by Richard Gibbs.
First published in James Clifford, Divine Services and Anthems (London, 1663). Dobell, pp. 53-4. Forey p. 188.
An oblong quarto virginal book, largely in a single hand, 129 leaves, in remains of a recycled 15th/16th-century vellum document in contemporary blind-stamped leather.
Inscribed (f. 2r) Sum liber thomae mullineri iohanne heywoode teste
: i.e. compiled by Thomas Mulliner (fl.1545-75).
Owned and annotated in 1776 by John Stafford Smith (1750-1836), musician and musical antiquary, who also records (f. 110r) lending it in 1774 to Sir John Hawkins (1719-89), music scholar and lawyer. Item 873 in an unidentified sale catalogue. Purchased from William Hayman Cummings, FSA (1831-1915), singer and musical antiquary, on 10 November 1877.
Copy of the incipit, here My friends
, in a musical setting.
This MS discussed, with a facsimile, in Mumford; edited in The Mulliner Book, ed. Denis Stevens, 2nd edition, Musica Britannica, I (London, 1973), p. 50.
First published at the end of Book III in William Baldwin, A treatise of Morrall phylosophye (London, 1547/8). Songes and Sonettes (London, 1557). Padelford, No. 41, p. 94. Jones, pp. 34-5.
The texts discussed in J.M. Evans, The Text of Surrey's The Meanes to Attain Happy Life, N&Q, 228 (1983), 409-11; in W.D. McGaw, The Text of Surrey's The Meanes to Attain Happy Life -- A Reply, N&Q, 230 (December 1985), 456-8; and in A.S.G. Edwards, Surrey's Martial Epigram: Scribes and Transmission, EMS, 12 (2005), 74-82.
Copy of the incipit, in a musical setting by John Shepherd.
Edited from this MS in The Mulliner Book, ed. Denis Stevens, 2nd edition, Musica Britannica I (London, 1973), pp. 81-2. Discussed, with a facsimile, in Mumford. Recorded in Rollins, II, 143. Another setting of the song O ye happy dames, possibly the same poem, is on f. 3r-v (see Stevens, p. 1).
First published in Songes and Sonettes (London, 1557). Padelford, No. 21, pp. 71-2. Jones, pp. 21-2. Edited, and tentatively attributed to John Harington (1520?-82), in Hughey, Harington of Stepney, pp. 131-2, 286-9.
A large folio volume of autograph vocal and instrumental music by Henry Purcell (1659-95), with a title-page The Works of Hen, Purcell Anno Dom. 1680, ii + 72 leaves (plus numerous blanks, in 19th-century half red morocco.
c.1680.Thomas James sale, February 1826, item 187. Bookplates of the Rev. John Parker and of Edmund Thomas Warren Horne, publisher (whose collection of music books was sold on 3 July 1794). Also inscribed by Joseph Warren (1804-81), composer and music editor. Purchased on 27 July 1878 from Julian Marshall (1836-1903), music and print collector and writer.
Copy of Chapter XIV, in a musical setting by Henry Purcell, untitled.
This MS recorded in Zimmerman.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.
Copy of Chapter X, in a musical setting by Henry Purcell, untitled.
This MS recorded in Zimmerman.
First published in A Paraphrase upon the Divine Poems (London, 1638). Hooper, I, 1-78.
A volume of anthems by various composers, 172 leaves.
Late 17th-early 18th century.Copy, in a musical setting by Henry Purcell.
Recorded by Franklin B. Zimmerman in Henry Purcell: An Analytical Catalogue (London & New York, 1963).
Published, as one of the Festival Hymns, in The Golden Grove (London, 1655).
A folio autograph songbook by William Lawes (1602-45), composer, 49 leaves, in contemporary calf stamped in gilt with arms of Charles I.
c.1638-45.Inscribed (f. 1v) Richard Gibbon his booke giuen to him by Mr William Lawes all of his owne pricking and composeing
, and Giuen to me J R by his widdow mris Gibbon J R:
, and Borrowed of Alderman Fidye by me Jo: Surgenson
. Bookplates of William Gostling (1696-1777), antiquary and topographer, and of Julian Marshall (1836-1903), music and print collector and writer.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986). Discussed in John P. Cutts, British Museum Additional MS. 31432 William Lawes' writing for the Theatre and the Court, The Library, 5th Ser. 7 (1952), 225-34, and in Margaret Crum, Notes on the Texts of William Lawes's Songs in B.M. MS. Add. 31432, The Library, 5th Ser. 9 (1954), 122-7.
Autograph copy by Lawes of Grainevert's song in Lawes's musical setting, untitled.
Edited from this MS in Cutts, The Library (1952), p. 228, and in Jorgens, Part 12 (1989), p. 2. Collated in Beaurline.
Beaurline, Plays, p. 100.
Autograph copy by Lawes, in his musical setting, untitled.
This MS collated in Clayton.
First published in Fragmenta Aurea (London, 1646)and in The Academy of Complements (London, 1646). Clayton, pp. 47-8.
Autograph copy by William Lawes of a four-stanza version, in a musical setting by him, untitled and here beginning Aske Me noe More wher Joue bestowes
.
Lyrics and setting edited from this MS in Scott Nixon, Aske me no more
and the Manuscript Verse Miscellany, ELR, 29/1 (Winter 1999), 97-130 (p. 108).
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.
Autograph copy by Lawes, in his musical setting, untitled and here beginning O Thinke not Phoebe
.
First published in Samuel Pick, Festum Voluptatis (London, 1639). Thomas Carew, Poems (London, 1640). Shirley, Poems (London, 1646). Armstrong, p. 2.
Autograph copy by Lawes of lines 1-22 and a fourteen-line version of lines 23-48, in his musical setting, headed Dialogue: Thirsis: Dorinda
.
Edited from this MS in John P. Cutts, Marvell's Thyrsis and Dorinda, TLS (8 August 1952), p. 517 and in Cutts, The Library (1952), pp. 229-30. Discussed in Margoliouth, I, 247-8.
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.
Autograph copy by Lawes, in his musical setting, untitled.
Edited from this MS in Gibbs, p. 293.
First published (in Lawes's musical setting) in Henry Lawes, Second Book of Ayres and Dialogues (London, 1655). Gibbs, pp. 277, 309-10.
Autograph copy by Lawes, in his musical setting, untitled.
Edited from this MS in Cutts, The Library, 5th Ser. 7 (1952), 230.
Dyce, III, 70.
Autograph copy by Lawes, in his musical setting, untitled.
This MS recorded in Cutts, The Library (1952), p. 231.
First published in London, 1639. Dyce, III, 1-99 (pp. 40-1). De Vocht, pp. 329-408 (p. 363, lines 1011-26).
Autograph copy by Lawes of the opening song, in his musical setting, headed Dialogue
.
This MS discussed in Cutts, The Library (1952), p. 231.
Autograph copy by Lawes, in his musical setting, untitled.
This MS collated in Beaurline.
Beaurline, Plays, p. 144.
Autograph copy by Lawes, in his musical setting, headed Amphilucæ: in a Maske
.
Edited from this MS in Cutts, The Library (1952), p. 232; in Lefkowitz, William Lawes, p. 218; in Sabol (1959), pp. 89-90; in Lefkowitz, Trois Masques, pp. 106-8; and in Sabol, 400 Songs & Dances, No. 39.
Gifford & Dyce, VI, 282-3. Leech, p. 303, lines 747-56. Lefkowitz, p. 84. Armstrong, p. 47.
Autograph copy by Lawes of an early two-stanza version, in his musical setting, untitled.
Edited from this MS in Cutts, The Library (1952), p. 232.
First published in Poems (London, 1646). Armstrong, p. 1.
Autograph copy by Lawes, in his musical setting, untitled.
This MS collated (and the second stanza printed) in Martin, p. 469.
First published in Hesperides (London, 1648). Martin, p. 74. Patrick, p. 107.
Autograph copy by Lawes, in his musical setting, headed Perswasions not to loue
.
This MS collated (and the second stanza printed) in Martin, pp. 474-5.
First published in Hesperides (London, 1648). Martin, pp. 102-3. Patrick, pp. 142-3. See also Louise Schleiner, Herrick's Songs and the Character of Hesperides, ELR, 6 (1976), 77-91 (pp. 83-5).
Autograph copy by Lawes, in his musical setting, headed To the Desert
.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 50. Patrick, p. 71.
Autograph copy by Lawes, in his musical setting, headed On the Lillyes
.
First published in Hesperides (London, 1648). Martin, p. 74. Patrick, p. 106. Musical setting by Nicholas Lanier published in Henry Lawes, The Treasury of Musick, part II (London, 1669), p. 58.
Autograph copy by Lawes, in his musical setting, untitled.
This MS collated in Martin.
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).
Autograph copy by Lawes, in his musical setting, headed To the Sicamour
.
First published in Hesperides (London, 1648). Martin, p. 158. Patrick, p. 214.
Autograph copy by Lawes, in his musical setting, headed Dialogue Charon and ye Nitingale
.
This MS collated in Martin.
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).
Autograph copy by Lawes of the first six lines, in his musical setting, untitled.
First published in London, 1615. Dyce, II, 349-449 (pp. 364-5). Bowers, II, 333-414, ed. Fredson Bowers (p. 341).
Autograph copy by Lawes, in his musical setting, untitled.
Edited from this MS in Gibbs, pp. 294-5.
Published in Works (1673) as a separate song headed Song to Two Lovers Condemn'd to die. Gibbs, p. 156. Dramatic Works, III, 173-4. William Lawes's musical setting first published in New Ayres and Dialogues (London, 1678).
Autograph copy by Lawes, in his musical setting, untitled.
Edited in part from this MS in Gibbs, pp. 298-302.
First published in London, 1643. Dramatic Works, III, 11-90 (p. 78). Gibbs, p. 145.
Lawes's musical setting published in New Ayres and Dialogues (London, 1678).
Autograph copy by Lawes, in his musical setting, headed A Dialogue
.
First published in Poems (London, 1646). Armstrong, p. 6. Also in The Cardinal, Act V, scene iii, printed in Six New Playes (London, 1652-3). Gifford & Dyce, V, 271-352 (pp. 344-5). Musical setting by William Lawes published in Select Musicall Ayres and Dialogues (London, 1652) and in John Playford, The Musical Companion, 2nd edition (London, 1673). Edited from the latter in James Shirley, The Cardinal, ed. E.M. Yearling (Manchester, 1986), p. 162.
Autograph copy by Lawes, in his musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 123.
A folio volume of vocal musical works by Henry Lawes, the lyrics in a single mixed hand, that of Stephen Bing, 72 leaves (plus blanks), in 19th-century half red morocco.
Mid-17th century.Bookplate of Julian Marshall (1836-1903), music and print collector and writer. Purchased from him in 1881-2.
Copies, in a five-part musical setting by Henry Lawes.
This MS collated in Dunlap and recorded p. 292. Facsimile of f. 1r in Scott Nixon, Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron, HLQ, 62 (1999), 233-72 (p. 238).
First published, in a musical setting by Henry Lawes, in his Select Psalmes of a New Translation (London, 1655), pp. 1-3 [unique exemplum in the Huntington]. Dunlap, pp. 149-50. Edited from Lawes in Scott Nixon, Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron, HLQ, 62 (1999), 233-72 (pp. 270-1).
Copies, in a five-part musical setting by Henry Lawes.
This MS collated in Dunlap and recorded p. 292.
First published, in a musical setting by Henry Lawes, in his Select Psalmes of a New Translation (London, 1655), pp. 4-6 [unique exemplum in the Huntington]. Hazlitt (1870), pp. 181-4. Dunlap. pp. 139-42. Edited from Lawes in Scott Nixon, Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron, HLQ, 62 (1999), 233-72 (pp. 265-6).
A large folio volume of vocal music by Henry Purcell (1659-95), in a neat italic hand, 151 leaves, in 19th-century half dark red morocco.
c.1700.Bookplate of Julian Marshall (1836-1903), music and print collector and writer. Acquired from him 10 July 1880; 26 March and 9 April 1881.
Copy of the Masque, in a musical setting by Henry Purcell.
First published in London, 1678. Summers, III, 183-275.
Copy, in a musical setting by Henry Purcell, headed Queen's Birth=day Song 1691
.
First 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. 72-116. Summers, V, 369-70.
Copy, in a musical setting by Henry Purcell, headed Queens Birth=Days = Song 1692 Written by Sr Charles Sedley
, with (f. 139r) a pencil note copied the year it was composed
.
First published in The Gentleman's Journal (May 1692), p. 1. Miscellaneous Works (London, 1702). Sola Pinto, I, 26-7. Musical setting by Henry Purcell published in The Works of Henry Purcell, XXIV (Purcell Society, 1926), Part II, pp. 1-35.
A folio volume of vocal music, 100 leaves.
18th century.Bokplate of James Kent, organist of Winchester Cathedral.
Copy of the Masque, in a musical setting by Henry Purcell.
First published in London, 1678. Summers, III, 183-275.
A set of part books of vocal music, 137 folio leaves.
Early 18th century.Copy of parts of the Masque, in a musical setting by Henry Purcell.
First published in London, 1678. Summers, III, 183-275.
An oblong folio music book, compiled by Simon Child, organist of Christ Church, Oxford, 98 leaves.
c.1700.Extract(s) from work(s) by Cowley.
Copy, in a musical setting by Henry Purcell.
Recorded by Franklin B. Zimmerman in Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 191.
Published, as one of the Festival Hymns, in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).
The first of a set of five volumes of glees and other vocal music, in several hands, 148 oblong folio leaves.
c.1775.Copy, in a musical setting.
Recorded in Day, p. 166.
First published in Sylvae (London, 1685). Kinsley, I, 441. California, III, 89-90. Hammond & Hopkins, II, 388. Musical setting by Robert King published in The Theater of Music (London, 1685), I, 30. Day, pp. 73-5. Musical setting by Henry Purcell published in Orpheus Britannicus, 3rd edition (London, 1721). Works of Henry Purcell, XXII (London, 1922), pp. 133-6.
An oblong folio volume of part-songs, madrigals, glees, etc., the second in a set of three part books, in a single hand, 214 leaves, in 19th-century half-morocco.
c.1780-1833.Bookplate of Julian Marshall (1836-1903), music and print collector and writer.
Copy, in a musical setting, headed Glee for 4 Voices/ The Poetry from Cowley/ R J Thoms 1780 Lambeth/ 1821 Revised
.
First published in The Mistresse (London, 1647). Collected Works, II, Part 1, No. 9, pp. 32-3.
Copy of the song, in a musical setting, headed Glee for five Voices/ 1788
.
The Clown's song.
Copy, in a musical setting, headed Glee for four Voices
.
First published, as On the Rose, in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 128. Setting by Henry Lawes published in The Second Book of Ayres, and Dialogues (London, 1655).
Copy, in a musical setting, headed Glee for four Voices/ the Poetry by George Wither 1614. Music by R.J. Stevens 1800
, subscribed Revised 1819 by R.J. Thoms
.
First published in Fidelia (London, 1619).
An oblong folio book of vocal music, largely in one hand, 165 leaves, in modern half red morocco.
Mid-18th century.Acquired from Julian Marshall (1836-1903), music and print collector and writer, 1880-81.
Copy, in a musical setting by William Lawes.
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).
Copy, in a musical setting by Henry Lawes.
Recorded in Wilkinson (1925), I, 23.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 24. (1930), pp. 26-7. A musical setting by Thomas Charles published in Select Musicall Ayres, and Dialogues (London, 1652).
Copy of the song in a musical setting.
An oblong folio of vocal compositions by the composer Richard John Samuel Stevens (1757-1837), 124 leaves.
Late 18th-early 19th century.Copy of the Witches' chants (lines 155-204) in a musical setting.
First published in London, 1609. Herford & Simpson, VII, 265-317.
A folio volume of vocal and instrumental music, in a single formal secretary hand, with colour decorations of initial letters, 130 leaves, in contemporary vellum within modern half red morocco.
Early-mid-16th century.Inscribed (ff. 129v-30r), among other scribbling, Vynsent Wydderden
, Syr John Lede
, and Dauey Jonys
, all of Benenden, Kent, and Jane Reve
of Mownfyld
(i.e. Mountfield, Sussex). Bookplates of Thomas Fuller M.D. (inscribed Stephen Fuller of Hart Street Bloomsbury 1762
) and of Archibald Montgomery, MP (1726-96), eleventh Earl of Eglinton, soldier. Purchased from Quaritch, 22 April 1882.
Copy of lines 1-12, in a musical setting by William Cornish, untitled and here beginning A robyn gentyl robyn
.
Edited from this MS in J.E. Stevens, Music and Poetry in the Early Tudor Court (London, 1961), p. 405, and in Muir & Thomson, p. 309. Discussed, with a facsimile, in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L, 37 (1956), 315-22. Edited and discussed in R.G. Siemens, New Evidence on Wyatt's A Robyn in British Library Additional MS 31,922, N&Q, 244 (June 1999), 189-91. Facsimile also in Foxwell, I, after p. 62. This text possibly the popular song which was the basis for Wyatt's version.
Not published (in this form) in the 16th century. Muir & Thomson, pp. 41-2.
An oblong folio volume of musical works, the lyrics almost entirely in a single neat italic hand, with (ff. 1r-2r, 99r-v) a table of contents, 99 leaves, in contemporary brown calf, both covers stamped in gilt Edwardvs Paston
.
Sotheby's, 28 November 1882.
Copy of the incipit only, in a musical setting by William Byrd.
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.
Copy of thie incipit only (here Joly Robyn
), in a musical setting.
This MS discussed in Mumford, op. cit., p. 316, and in Mumford, Sir Thomas Wyatt's Songs: A Trio of Problems in Manuscript Sources, M&L, 39 (1958), 262-4. See
Not published (in this form) in the 16th century. Muir & Thomson, pp. 41-2.
Copy of the incipit only, in a musical setting by William Byrd.
This MS recorded in Ringler, pp. 447, 566.
Ringler, pp. 225-7.
Copy of the incipit only, in a musical setting by William Byrd.
First published in Brittons Bowre of Delights (London, 1591). May, Poems, No. III (pp. 40-1). May, Courtier Poets, p. 284. EV 11604.
Copy of the incipit only, in a musical setting by William Byrd.
This MS recorded in Ringler, pp. 447, 566.
Ringler, pp. 215-17.
Copy of the incipit possibly of a version of this poem (here No peace I find and foes I cannot face
), in a musical setting.
This MS discussed in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L, 37 (1956), 315-22 (p. 321), and in Mumford, Sir Thomas Wyatt's Songs: A Trio of Problems in Manuscript Sources, M&L, 39 (1958), 262-4 (where it was argued that this song may not be the same as Wyatt's poem). Recorded in Muir & Thomson.
First published in Songes and Sonnettes (London, 1557). Muir & Thomson, pp. 20-1.
Copy of the incipit (here What vaileth
), in a musical setting by William Byrd.
This MS discussed in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L, 37 (1956), 315-22 (p. 321), and in Mumford, Sir Thomas Wyatt's Songs: A Trio of Problems in Manuscript Sources, M&L, 39 (1958), 262-4 (where it was argued that this song may not be the same as Wyatt's poem).
First published in Songes and Sonettes (London, 1557). Muir & Thomson, pp. 1-2.
A folio volume of vocal music, probably in a single cursive hand, 190 leaves, in remains of vellum boards within modern half red morocco.
c.1682.Inscribed (f. 1*r) P. Fussell Winton
, Liber Caroli Morgan e Coll Magd Decmo: 6to Die 7bris: Anno Domini 1682
, and Vincent Novello [(1781-1861), music publisher] The gift of his kind friend Wm Patten
.
Copy, in a musical setting by Pietro Reggio, untitled.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 56. Sparrow, p. 56.
Musical setting by Henry Purcell published in The Banquet of Musick (London, 1692). Works of Henry Purcell, XXII (London, 1922), pp. 100-3.
Copy, in a musical setting by Pietro Reggio, untitled.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 50. Sparrow, p. 49.
Musical setting by Pietro Reggio published in Songs [London, 1680].
Copy, in a musical setting by Pietro Reggio, untitled.
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).
Copy, in a musical setting by John Blow, headed Song
.
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).
Copy of Don John's song, in a musical setting by John Banister, untitled.
First published in London, 1669. Dramatic Works, V, 1-107 (pp. 67-9). Gibbs, pp. 268-9.
Copy of the song by Pompey's ghost, in a musical setting by John Banister, untitled.
This MS recorded in Mambretti's 1979 dissertation.
A recitative air sung by Pompey's ghost. Saintsbury, pp. 611-12. Thomas, I, 244-5, poem 120. Thomas, III, 55-6. This song originally set to music by Dr Peter Pett (1630-99).
Copy, in a musical setting by John Blow, 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).
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Zimmerman; also in Mabretti's 1979 dissertation.
First published, as Upon the graving of her Name upon a Tree in Barnelmes Walks, in Poems (1667), p. 137. Saintsbury, p. 583. Thomas, I, 208, poem 91. Musical setting by Henry Purcell published in The Works of Henry Purcell, XXII, ed. W. Barclay Squire and J.A. Fuller-Maitland (London, 1922), pp. 153-4.
Copy, in a musical setting by John Blow, untitled.
First published in Poems by Several Hands (London, 1685). At the end of Sylva in Works (London, 1711). Waller, II, 489.
Musical setting by John Blow published in The Banquet of Musick (London, 1688).
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Purcell Society edition.
First published in The Mistresse (London, 1647). Waller, I, 144-5. Sparrow, p. 145. Collected Works, II, No. 79, pp. 116-17.
Musical setting by Henry Purcell published in Choice Ayres and Songs (London, 1683). Works of Henry Purcell, XXV (London, 1928), pp. 156-8.
A large folio music book, almost entirely in a single rounded hand, 146 leaves, in 19th-century half red morocco.
c.1700.Notes (f. 2r) by a son of Dr Williams recording his purchase of the volume from the widdow of Simon Child, organist of New College, Oxford. Inscribed (f. 1v) Phil: Hayes 1757
and The Gift of Mrs Cave
. Bookplates of the Rev. John Parker and Stephen Groombridge, FRS. Bought at Groombridge's sale by J. Smith of Deptford and presented by him in November 1832 to Vincent Novello (1781-1861), music publisher. Acquired by his bequest on 21 March 1887.
Copy, in a musical setting by Henry Purcell, inscribed Mr. Cowley's Complaint set by H P.
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.
Copy, in a musical setting by John Blow, untitled.
This MS recorded 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).
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
Copy, in a musical setting by Henry Purcell.
Published, as one of the Festival Hymns, in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).
A large folio book of mainly instrumental music, text almost entirely in a single cursive hand (ff. 70v-2r in an italic hand), 73 leaves, in 19th-century half red morocco.
c.1700.Inscribed (f. 1v) by Vincent Novello (1781-1861), music publisher, March 28. 1829. purchased of Mr Hamilton Junr.
Acquired by Novello's bequest 21 March 1887.
Copy, in an italic hand, in a musical setting by Henry Purcell, untitled.
This MS recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
A large folio volume of vocal music, the lyrics in two or more cursive hands, with (ff. 1v, [52bisv]) a table of contents, 229 leaves, in 19th-century half dark maroon morocco.
c.1716.Bequeathed by William Henry Husk, 10 November 1887.
Copy, in a musical setting by John Blow, 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).
Copy, in a musical setting by John Blow, untitled.
First published, among Verses written on several occasions, in Works (London, 1668). Waller, I, 419-20. Sparrow, pp. 167-9.
Musical setting by John Blow published in The Theater of Music (London, 1685).
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Purcell Society edition (1922).
First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.
Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.
Copy, in a musical setting by Henry Purcell, untitled.
First published, in the essay Of Greatness, among Several Discourses by way of Essays, in Verse and Prose, in Works (London, 1668). Waller, II, 428.
Copy, in a musical setting by John Blow, headed Great Janus = A birth days Song May the 29: 16
.
First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 206-8.
Copy, in a musical setting by Draghi, untitled and incomplete.
This MS collated in California; recorded in Brennecke.
First published (as a single half-sheet) in London, 1687. Examen Poeticum (London, 1693). Kinsley, II, 538-9. California, III, 201-3. Hammond & Hopkins, III, 185-91. The original musical score by Giovanni Baptista Draghi (c.1640-1708) discussed in Ernest Brennecke, Jr, Dryden's Odes and Draghi's Music, PMLA, 49 (1934), 1-36.
An oblong quarto songbook, in two or more hands, 68 leaves, in modern half brown morocco.
c.1724.Inscribed (f. 34r) Challis Mather 1742
. Acquired from R.N. James, 6 April 1888.
Copy of lines 1-8, 17-24, in a musical setting, headed An Adress to Vulcan
.
First published in Poems on Several Occasions (Antwerp
, 1680). Vieth, pp. 52-3. Walker, pp. 37-8. Love, pp. 41-2, as Nestor.
Copy of a song in a musical setting, ascribed to Vanbrugh.
Unpublished?
An octavo musical part book, for the counter-tenor, of the St Andrews Psalter (the Scottish Metrical Psalter of 1566 etc. by Thomas Wode, afterwards Vicar of St Andrews), copied c.1575-8, with a series of secular songs added later (ff. 81v-93v) in a secretary hand, 93 leaves, in old blind-stamped calf.
For three other part books of this Psalter, see
Purchased from Mrs H.S. Andrews, 14 November 1890.
Copy of a two-strophe version, in a musical setting.
Edited from this MS in Swaen, pp. 400-1. Recorded in Greer, pp. 306, 316.
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.
Copy of the first line, in a musical setting.
This MS recorded in Davis, p. 494.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. ix. Davis, p. 95.
Copy of the first line, in a musical setting.
This MS recorded in Davis, p. 494.
First published in Two Bookes of Ayres (London, [c.1612-13]), Book II, No. i. Davis, p. 85.
Copy of the first line, in a musical setting.
This MS recorded in Davis, p. 495.
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.
Copy of the incipit only, in a musical setting.
This MS discussed with a facsimile, in Mumford.
First published in Songes and Sonettes (London, 1557). Padelford, No. 28, pp. 80-2. Jones, pp. 14-16.
Copy of the incipit only, with a musical setting.
This MS recorded (but not seen) in Doughtie (p. 481).
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.
A folio music book, in probably a single hand, 125 leaves, in contemporary brown blind-stamped calf within modern half red morocco gilt.
Owned and probably compiled by one John Channing, whose label IOHN CHANNING 1694
was on the original spine.
Inscribed in pencil (f. 1r) Alex Tytler 1779
. Label on a flyleaf of Alfred Moffat. Edinburgh. 1896
.
Copy of the musical setting by Henry Purcell (without words), headed The knotting song. set by mr Purcell
.
First published, as Phillis Knotting, in The Gentleman's Journal (August-September 1694), p. 233. Miscellaneous Works (London, 1702). Sola Pinto, I, 34-5. Musical setting by Henry Purcell published in Thesaurus Musicus…the third book (London, 1695).
Copy, in a musical setting by Henry Lawes, headed Charon & Philomil A Dialogue by mr 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).
Copy, in a musical setting by Henry Purcell, headed A Song uppon a Ground by mr Henry Purcell
.
This MS recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
Copy in a musical setting by John Blow, with a pencil note The words of this air are the beautiful ode in Cowley's Davideis Book 3 which David sings under the window of his Mistress Michol
.
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).
A small oblong folio part book, for the Bass voice, of vocal and instrumental music, the lyrics in a single formal secretary hand, 71 leaves, in modern half dark red morocco.
Compiled (and signed at the foot of every page) by David Melvill, of Aberdeen, brother of James Melvill (1556-1614), Professor of Hebrew and Oriental Languages.
Early 17th century.Inscribed (f. 1r) William Forbes [? of Tolquhon, near Aberdeen] Ought this Book 1705
. Bookplate of W. H. S. F[orbes] L[eigh]
.
Copy of the incipit only (here Fairweill fals loue
), in a musical setting.
First published, in a musical setting, in William Byrd, Psalmes, Sonets & songs (London, 1588). Latham, pp. 7-8. Rudick, Nos 10A (complementing Sir Thomas Heneage's verses beginning Most welcome love, thow mortall foe to lies
) and 10B, pp. 11-13.
The poem based principally on a poem by Philippe Desportes: see Jonathan Gibson, French and Italian Sources for Ralegh's Farewell False Love, RES, NS 50 (May 1999), 155-65, which also cites related MSS.
Copy, in a musical setting, untitled.
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).
MS volume of musical pieces.
Late 16th-early 17th century.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.
Copy of lines 1-5, untitled, written at the end of a stave of music.
This MS collated in Clayton and in Hughey.
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.
A large folio volume of autograph vocal music by Henry Lawes (1596-1662), ix + 184 leaves, in modern black morocco gilt.
Comprising over 300 songs and musical dialogues by Lawes, probably written over an extended period (c.1626-62) in preparation for his eventual publications, including settings of 38 poems by Carew, fourteen poems by or attributed to Herrick, and fifteen by Waller.
Mid-17th century.Bookplates of William Gostling (1696-1777), antiquary and topographer; of Robert Smith, of 3 St Paul's Churchyard; and of Stephen Groombridge, FRS (1755-1832), astronomer. Later owned, until 1966, by Miss Naomi D. Church, of Beaconsfield, Buckinghamshire. Formerly British Library Loan MS 35.
Recorded in IELM, II.i-ii (1987-93), as the Henry Lawes MS
:
Copy, in Lawes's musical setting.
This MS recorded in Ringler, p. 566, and in Robertson, p. 455.
Ringler, p. 81. Robertson, pp. 210-11.
Copy, in Lawes's musical setting.
This MS recorded in Herford & Simpson, XI, 606.
Copy, in Lawes's musical setting.
This MS recorded in Herford & Simpson, XI, 605-6.
Copy, in Lawes's musical setting.
This MS collated in Krueger.
Poems (1660), pp. 50-2, superscribed P.
. Krueger, pp. 44-6, among Pembroke's Poems
.
Copy, in Lawes's musical setting.
This MS recorded in Krueger.
First published in [John Gough], Academy of Complements (London, 1646), p. 233. Poems (1660), p. 52, superscribed P.
. Krueger, p. 47, among Pembroke's Poems
.
Copy of an untitled beginning Sweet staye a whyle whye doe you Rise
, in Lawes's musical setting.
Edited from this MS in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 37. Recorded in Gardner, p. 245. Facsimile in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XI.
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.
Copy of lines 1-2 in the song version of John Dowland (first stanza only) (see
This MS recorded in Ringler, p. 566, and in Robertson, p. 447. Facsimiles in Willa McClung Evans, Henry Lawes (New York & London, 1941), p. 20, and in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XIII.
Ringler, pp. 68-9. Robertson, pp. 166-7. Dowland's song (in a musical setting) published in The Second Booke of Songs or Ayres (London, 1600).
Copy, in Lawes's musical setting.
This MS recorded in Krueger.
First published in Poems (1660), pp. 53-4. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
as by John Grange.
Copy, in Lawes's musical setting, untitled.
Facsimile of this MS in Willa McClung Evans, Henry Lawes (New York & London, 1941), p. 67.
Variorum, Minor Poems, II, 198.
Copy of Psalm 120 (v.5), here beginning Woe is mee, woe is mee, yt I from Israell
, in Lawes's musical setting.
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).
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 292.
First published in Poems (1640). Dunlap, pp. 48-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy of book II, Song 1, line 242 et seq., here beginning Slyde Softe, yea Siluer floods
, in Lawes's musical setting.
Edited from this MS in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 41.
Book I first published London, 1613. Book II first published London, 1616. Goodwin, Vol. I.
Copy, in Lawes's musical setting.
First published in Hesperides (London, 1648). Martin, pp. 130-1. Patrick, p. 177.
Copy, in Lawes's musical setting (1596-1662), untitled.
First published, in Wits Recreations (London, 1640). Dobell, p. 48. Listed, without text, in Forey, p. 339.
Copy, in Lawes's musical setting.
This MS recorded in Krueger.
Poems (1660), pp. 38-9, superscribed P.
. Krueger, p. 32, among Pembroke's Poems
. Edited, and tentatively attributed to Randolph, in G.C. Moore Smith, Thomas Randolph (Warton Lecture on English Poetry, read 18 May 1927), Proceedings of the British Academy, 13 (1927), 79-121 (pp. 115-16).
Copy, in Lawes's musical setting.
This MS recorded in Herford & Simpson, XI, 606; facsimiles in Willa McClung Evans, Henry Lawes (New York & London, 1941), p. 27, and in Jorgens, III.
First published together with The Masques of Blackness and Beauty (London, [1608]). Herford & Simpson, VII, 243-63 (p. 252).
Copy of five songs in the masque (lines 976-99, 230-43, 859-66, 958-75, 1012-23) in musical settings by Henry Lawes, headed the 5 songes followinge, were sett for A Maske, presented at Ludlo Castle, before ye Earle of Bridgwater Lord president, of ye Marches. October. 1634
.
Edited from this MS in Visiak (the songs ed. Hubert J. Foss) and in Sprott. Facsimile examples in McClung Evans, p. 103; in Willetts, Plate XXI; and in DLB 126: Seventeenth-Century British Nondramatic Poets, Second Series, ed. M. Thomas Hester (Detroit, 1993), p. 196. Discussed in John T. Shawcross, Henry Lawes's Settings of Songs for Milton's Comus, Journal of the Rutgers University Library, 28 (1964), 22-8.
First published, as A Maske presented At Ludlow-Castle, 1634, in London, 1637. Poems (1645). Columbia, I, 85-123. Darbishire, II, 171-203. Carey & Fowler, pp. 168-229. John Milton, The Masque of Comus. The Poem, originally called A Mask Presented at Ludlow Castle, 1634, &c., ed. E.H. Visiak (Bloomsbury, 1937). John Milton, A Maske: The Earlier Versions, ed. S.E. Sprott (Toronto, 1973). Various texts also discussed in A Maske at Ludlow, ed. John S. Diekhoff (Cleveland, Ohio, 1968), [see esp. pp. 251-75].
Copy, in Lawes's musical setting, untitled.
This MS collated in Clayton.
First published, untitled, in Wit and Drollery (London, 1656). Last Remains (London, 1659). Clayton, pp. 55-6.
Copy of the first two stanzas, in Lawes's musical setting, untitled.
Lawes's version first published in his Ayres and Dialogues (London, 1651), Part I, p. 30. This MS recorded in Evans, p. 595.
Evans, pp. 212-13.
Copy, in Lawes's musical setting, untitled, subscribed this songe was sunge in A playe cald ye Royall Slaue, written by mr william Cartwright, present by the Scollers of Christchurch in Oxford before their Majestys. 1636
.
This MS collated in Evans.
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.
Copy of the Attendant's song, in Lawes's musical setting, headed Dispaires Banquet
, with a note This songe was sunge in A play cald ye pasions written by Mr William Strowd, presented by ye schollers of Christchurch before both their Majestyes 1636
.
Dobell, pp. 228-9. Musical setting by Henry Lawes first published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, inscribed Cupid to ye Knights Templers in a Maske at ye Midle Temple
.
This MS recorded in Sabol.
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.
Copy, in Lawes's musical setting, headed Henry Lawes. A Bacchanall Songe in A maske before their Majestys 1636
.
Edited from this MS in Brown, with a facsimile.
First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 9. Chambers, pp. 7-8. Brown, pp. 115-16.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Martin (1956), p. 420. Patrick, pp. 68-9.
Copy, in Lawes's musical setting (1596-1662).
Edited from this MS in Clayton.
First published in The Academy of Complements (London, 1646). Clayton, pp. 96-7.
Henry Lawes's musical setting published in Select Musicall Ayres and Dialogues (London, 1652).
Copy, in Lawes's musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 83.
Copy, in Lawes's musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 91. A musical setting by Henry Lawes published in Select Ayres and Dialogues (London, 1669).
Copy, in Lawes's musical setting, untitled.
This MS collated in Clayton.
First published in Aglaura (London, 1638), Act IV, scene iv, lines 4-23. Fragmenta Aurea (London, 1646). Clayton, pp. 63-4.
A musical setting by Henry Lawes (1592-1662) published in Select Musicall Ayres and Dialogues (London, 1652). See also John P. Cutts, Drexel Manuscript 4041, MD, 18 (1946), 151-202 (p. 166), where it is argued that the setting is probably by William Lawes (1602-45).
Copy of the first stanza of David's lamentation for Saul and Jonathan (II Samuel I, beginning Thy beauty, Israel, is fled
), in Lawes's musical setting.
First published with A Paraphrase upon the Psalms of David (London, 1636). Hooper, II, 373-402.
Copy, in Lawes's musical setting (1596-1662), here beginning Keep on yor veile & hyde yor Eye
.
First published, in a musical setting by Henry Lawes, in Ayres and Dialogues (London, 1653). Wits Interpreter (London, 1655). Dobell, pp. 3-4. Forey, pp. 88-9.
Copy of lines 7-14, in Lawes's musical setting, untitled and here beginning O Now the Certaine cause I know
.
First published in Works (1651), p. 214. Evans, pp. 465-6.
Copy, in Lawes's musical setting, untitled.
First published in Henry Lawes, Third Book of Ayres and Dialogues (1658), ascribed to Mr John Grange. Listed in Krueger.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 110.
Copy in a musical setting adapted by Henry Lawes.
Printed from this MS in John P. Cutts, Musique de la troupe de Shakespeare, p. 96 (collated pp. 181-3).
First published in Comedies and Tragedies (London, 1647). Dyce, VIII, 371-495 (p. 429). Bullen, II, 101-228, ed. R.B. McKerrow (pp. 158-9). Bowers, X, 301-95, ed. Robert K. Turner (p. 335). This song first published, ascribed to Henry Harrington, in Henry Lawes, Ayres and Dialogues (London, 1653).
Copy of the Musitian's song, in Lawes's musical setting.
Dobell, p. 210.
Copy of the Musitian's song, in Lawes's musical setting.
Dobell, pp. 215-16. Musical setting by Henry Lawes first published in his Ayres and Dialogues…The Third Book (London, 1658).
Copy, in Lawes's musical setting.
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.
Copy, in Lawes's musical setting.
This MS recorded in Krueger.
First published in Wits Recreations Augmented (London, 1641), sig. V7v. John Playford, Select Ayres and Dialogues (1652), Part II, p. 28. Poems (1660), pp. 79-81, unattributed. Prince d'Amour (1660), p. 123, ascribed to J.G.
. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
as by John Grange.
Copy, in Lawes's musical setting.
First published, as a Song, in Thomas Carew, Poems (London, 1640). Shirley, Poems (London, 1646). Armstrong, p. 3.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published, among verse By other Gentlemen
, in Poems written by Wil. Shake-speare. Gent. (London, 1640). Hesperides (London, 1648). Martin, p. 63. Patrick, pp. 91-2. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 113.
Copy, in Lawes's musical setting, untitled.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 50. Patrick, pp. 70-1.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, pp. 26-7. Patrick, pp. 39-40.
Copy, in Lawes's musical setting, untitled.
Edited from this MS in Evans and in Martin. Facsimiles in Evans, p. 159, and in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XXII.
First published, and attributed to Herrick, in Willa McClung Evans, Henry Lawes (New York, 1941), pp. 157-8. Martin, p. 440. Not included in Patrick.
Copy of a version beginning Amarillis, by A Springes
, in Lawes's musical setting.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.
Copy, in Lawes's musical setting, headed A New Yeares Guifte for Mres Porter
.
First published in Madagascar (London, 1638). Gibbs, p. 43.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, pp. 108-9. Patrick, pp. 149-50. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 31. Patrick, p. 45. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
Copy, in Lawes's musical setting, untitled.
This MS collated in Martin.
First published in Thomas Carew, Poems (London, 1640). Hesperides (London, 1648). Martin, pp. 106-7. Patrick, p. 147. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).
Copy (words only), headed A Second Dittye to the former Ayre
.
Edited in part from this MS in Brown, with a facsimile.
First published, in a musical setting by Lawes, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 20. Chambers, pp. 9-10. Brown, pp. 57-9.
Copy, in Lawes's musical setting.
This MS not recorded in Hutchinson.
First published in The Temple (1633). Hutchinson, pp. 172-3.
Copy, untitled, in Lawes's musical setting.
First published in Works (1651), p. 219. Evans, p. 472.
Copy, in Lawes's musical setting, untitled.
This MS collated in Krueger.
First published, in a musical setting, in Henry Lawes, Ayres and Dialogues (1653), Part I, p. 23. John Cotgrave, Wits Interpreter (London, 1655), p. 64. Poems (1660), p. 23, headed Sonnet. P.
. Krueger, p. 25, among Pembroke's Poems
.
Copy, in Lawes's musical setting, untitled.
Edited in part from this MS in Brown, with a facsimile.
First published, in a musical setting by Lawes, in Henry Lawes, The Second Book of Ayres and Dialogues (London, 1655), p. 19. Chambers, p. 12. Brown, p. 61.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Thomas Carew, Poems (London, 1640) and, among verse By other Gentlemen
, in Poems written by Wil. Shake-speare. Gent. (London, 1640). Hesperides (London, 1648). Martin, p. 208. Patrick, pp. 276-7. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
Facsimile of f. 83 of this MS in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate I.
First published in Occasional Verses (1665). Moore Smith, pp. 47-8.
Copy, in Lawes's musical setting, untitled.
First published, in a musical setting, in Playford, Select Musicall Ayres and Dialogues (1652), I, 12. Poems (1660), pp. 86-7, beginning A Restless Lover I espy'd, superscribed P.
. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
, and in Krueger's Appendix II list of poems by John Grange.
Copy, in Lawes's musical setting, untitled.
Edited in part from this MS in Brown, with a facsimile.
First published, in a musical setting by Lawes and headed Youth and Beauty
, in Henry Lawes, Ayres and Dialogues, Book I (London, 1653), p. 29. Chambers, p. 5. Brown, pp. 62-3.
This MS recordeded in Krueger.
First published, in a musical setting, in Henry Lawes, Ayres and Dialogues (1653), Part I, p. 16. John Cotgrave, Wits Interpreter (London, 1655), p. 45. Poems (1660), pp. 90-1, superscribed P.
Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
as probably by Sir Thomas Neville.
Copy, in Lawes's musical setting.
First published in Workes (1645). Thorn-Drury, I, 127. A musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
First published in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 98. A musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
First published, as The Melancholy Lover, in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 101. A musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
First published, headed The Reply on the Contrary, in Wits Recreations (London, 1645). Workes (1645). Ascribed to Tho. Batt.
in Francis Beaumont, Poems (London, 1653). Thorn-Drury, I, 100.
Copy, in Lawes's musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 97.
Copy, in Lawes's musical setting, untitled.
First published, as The cunning Curtezan, in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 84.
Copy of lines 37-48, untitled and here beginning Those Curious locks soe Aptly twynde
, in Lawes's musical setting.
Printed from this MS in Dunlap, p. 216, and recorded p. 292.
First published in Poems (1640). Dunlap, pp. 4-6.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, p. 41.
Copy of an 18-line version, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, pp. 219, 290.
First published in Poems (1640) and in Poems: written by Wil. Shake-speare, Gent. (London, 1640). Dunlap, pp. 11-12.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640) and in Wits Recreations (London, 1640). Dunlap, p. 8.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, p. 34.
Copy, in Lawes's musical setting, untitled.
This MS collated in Dunlap and recorded p. 292.
First published in Poems (1640). Dunlap, pp. 34-5.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap. Facsimiles in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), Plate XVII, and in Scott Nixon, Henry Lawes's Hand in the Bridgewater Collection: New Light on Composer and Patron, HLQ, 62 (1999), 233-72 (p. 234).
First published in Poems (1640). Dunlap, p. 16. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1652).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, pp. 23-4.
Copy of an untlted version beginning all ye workes of Nature are
, in Lawes's musical setting.
First four lines printed from this MS in Dunlap, p. 217. Facsimile in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XV.
First published in Poems (1640). Dunlap, pp. 6-7.
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, p. 39. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy, in Lawes's musical setting, untitled.
First published, as To Chloris uppon a favour receaved, in Workes (1645). Thorn-Drury, I, 112. A musical setting by Henry Lawes published, as To a Lady, more affable since the war began, in The Second Book of Ayres and Dialogues (London, 1655).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 47.
Copy, in Lawes's musical setting, untitled.
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).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, p. 37.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, pp. 218, 291.
First published in Poems (1640). Dunlap, p. 7. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, pp. 37-9. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, p. 33.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published (stanzas 1-2), in a musical setting, in Walter Porter, Madrigales and Ayres (London, 1632). Complete in Poems (1640). Dunlap, p. 18. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap. p. 292.
First published in Poems (1640). Dunlap, pp. 46-7.
Copy of the first stanza, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published (complete) in Poems (1640). Dunlap, p. 15. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1653). The second stanza alone published in Samuel Pick, Festum Voluptatis (London, 1639), and a musical setting of it by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy of the second stanza, here beginning Young men flye
, in Lawes's musical setting.
First published (complete) in Poems (1640). Dunlap, p. 15. Musical setting by Henry Lawes published in Select Musicall Ayres, and Dialogues (London, 1653). The second stanza alone published in Samuel Pick, Festum Voluptatis (London, 1639), and a musical setting of it by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 13.
Copy, untitled, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, p. 40. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293. Facsimile in Pamela J. Willetts, The Henry Lawes Manuscript (London, 1969), plate XIV.
First published in Poems (1640). Dunlap, pp. 15-16. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
First published in Poems (1640). Dunlap, pp. 16-17. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy, in Lawes's musical setting, untitled.
Edited in part from this MS in Brown, with a facsimile.
First published in The Second Book of Ayres and Dialogues (London, 1655), p. 20. Chambers, p. 11. Brown, pp. 64-5.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 38.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1640). Dunlap, pp. 39-40. Musical setting by Henry Lawes published in The Treasury of Musick, Book 2 (London, 1669).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1640). Dunlap, p. 41.
Second copy in a variant musical setting by Henry Lawes, also untitled.
First published in Poems (1640). Dunlap, p. 11. Musical setting by Henry Lawes published in The Second Book of Ayres and Dialogues (London, 1655).
Copy of the first stanza, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, pp. 17-18. Musical setting by Henry Lawes published in The Second Book of Ayres, and Dialogues (London, 1655).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, pp. 12-13. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1642). Dunlap, p. 113.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1642). Dunlap, pp. 113-14.
Copy of lines 13-24, untitled and here beginning Sweetly breathinge vernall Aire
,, in Lawes's musical setting.
This MS recorded in Dunlap, pp. 253, 291.
First published in Poems (1640). Dunlap, pp. 77-8.
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, pp. 44-5. The eight-lline version first published in Hazlitt (1870), p. 7, and reprinted in Dunlap. p. 234.
Copy of lines 23-34, untitled and here beginning Looke sweetest Doris
,, in Lawes's musical setting.
This MS recorded in Dunlap, pp. 255, 290.
First published in Poems (1640). Dunlap, pp. 84-6.
Copy of a poem possibly by Lovelace, in Lawes's musical setting.
Edited from this MS in Evans, loc. cit., with a facsimile facing p. 129.
First published, with the supplied title To Amathea and ascribed to Lovelace, in Willa McClung Evans, To Amathea, PQ, 23 (1944), 129-34.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640) and in Wits Recreations (London, 1640). Dunlap, p. 6.
Copy, in Lawes's musical setting, untitled.
First published, in a musical setting by Henry Lawes, in Select Musicall Ayres and Dialogues (London, 1652). Poems, Eighth
edition (London, 1711). Thorn-Drury, II, 110-11.
Copy, in Lawes's musical settinhg, untitled.
Lawes's version published in his Ayres and Dialogues (London, 1653), pp. 1-7. This MS collated in Evans.
First published in Works (1651), pp. 238-42. Evans, pp. 488-91.
Copy, in Lawes's musical setting.
This MS collated in Clayton.
First published, in a musical setting by Henry Lawes (1592-1662), in Select Musicall Ayres and Dialogues in Three Bookes (London, 1653). Last Remains (London, 1659). Clayton, pp. 89-90.
Probably written by Henry Hughes.
Copy, in Lawes's musical setting, untitled.
Copy, in Lawes's musical setting, untitled and with the third stanza first (here beginning To man that was i'th Eu'ninge made
).
First published in Workes (1645). Thorn-Drury, I, 120-1.
Copy, in Lawes's musical setting.
This MS collated in Krueger.
First published, in a musical setting, in Henry Lawes, Second Book of Ayres and Dialogues (1655), p. 10, ascribed to John Grange. Poems (1660), pp. 59-60, where the stanzas by Man
are superscribed P.
and those by Woman
superscribed R.
. Listed in Krueger's Appendix I: Spurious Poems in the 1660 Edition
as probably by John Grange.
Copy, in Lawes's musical setting (1596-1662).
First published in Henry Lawes, Ayres and Dialogues (London, 1653). Grosart, p. 112.
Copy, in Lawes's musical setting, untitled.
This MS recorded in Dunlap, pp. 263, 292.
First published in Poems (1640). Dunlap, p. 102.
Copy, in Lawes's musical setting.
This MS recorded in Dunlap, p. 293.
First published in Poems (1640). Dunlap, p. 25.
Copy, in Lawes's musical setting, untitled.
Complete reduced facsimile of this MS in Wilkinson, II, between pp. 28 & 29.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 29. (1930), pp. 31-2.
Copy, in Lawes's musical setting, untitled.
Facsimile of this MS in Wilkinson, II, facing p. 19.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 18-19. (1930), pp. 20-1. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653), a facsimile of which appears in Wilkinson, II, facing p. 18.
Copy, in Lawes's musical setting, untitled.
Facsimile of this MS in Wilkinson, II, facing p. 15.
First published in Lucasta (London, 1649). Wilkinson (1925), II, 15-16. (1930), pp. 17-18.
Copy of a poem possibly by Lovelace, in Lawes's musical setting.
Edited from this MS in Evans, loc. cit., with a facsimile facing p. 12.
First published, with the supplied title Tormenting Fires and ascribed to Lovelace, in Willa McClung Evans, Tormenting Fires, MLQ, 9 (1948), 11-16.
Copy, in Lawes's musical setting.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 42. Patrick, p. 59. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
Facsimile of this MS in Wilkinson, II, facing p. 90, and in Willa McClung Evans, Tormenting Fires, MLQ, 9 (1948), 11-16 (facing p. 13).
First published in Lucasta (London, 1649). Wilkinson (1925), I, 90-1. (1930), pp. 99-100.
Copy, in a musical setting.
First published, in a musical setting, in Henry Lawes, Second Book of Ayres and Dialogues (1655), p. 15, ascribed to Mr IG
. Listed in Krueger.
Copy, in Lawes's musical setting, untitled.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 217. Patrick, pp. 287-8.
Copy, in Lawes's musical setting.
First published, as On the Rose, in Wits Recreations (London, 1645). Workes (1645). Thorn-Drury, I, 128. Setting by Henry Lawes published in The Second Book of Ayres, and Dialogues (London, 1655).
Copy, in Lawes's musical setting, untitled.
Edited from this MS in Brown, with a facsimile.
First published, in a musical setting by Henry Lawes, in John Playford, Select Musical Ayres (London, 1652), p. 34. Chambers, p. 3. Brown, pp. 66-7.
Copy, in Lawes's musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as To the same Lady singing the former Song, in Ayres and Dialogues (London, 1653).
Copy, in Lawes's musical setting.
First published in Workes (1645). Thorn-Drury, I, 93.
Copy, in Lawes's musical setting, untitled.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 161. Patrick, p. 217. Musical setting by Henry Lawes published in John Playford, Select Musicall Ayres, and Dialogues (London, 1652).
A folio music book, compiled by one William Wordsworth, with some later additions, ii + 241 leaves.
c.1771.Hodgson's, 31 March 1967, in lot 512.
Copy of the song Sweet Echo, sweetest Nymph that liv'st unseen
, in a musical setting.
Copy of Eve's speech, Book IV, lines 641-58, beginning Sweet is the breath of morn, her rising sweet
, in a musical setting.
First published in London, 1667. Columbia, II. Darbishire I. Carey & Fowler, pp. 417-1060.
A tall folio composite miscellany of chiefly music and heraldic and genealogical material, in various hands and paper sizes, 45 leaves, in contemporary leather gilt with stamped initials R A
and arms of James I within modern half morocco.
Volume XXII of the collections of Warren Royal Dawson (1888-1968), antiquary.
Associated with the Aston family of Aston, Cheshire, and probably once owned by Sir Roger Aston (d.1612), Master of the Great Wardrobe to James I and his heirs. Also inscribed with the names of [James?] Davies, an officer serving under Sir Charles Morgan during the Thirty Years War, and Thomas Davies. One section linscribed (f. 12r, c.1682-6) Sylvanus Stirrop His Booke
. Bought by Warren Dawson at Sotheby's 1931.
This volume described in Pamela J. Willetts, Silvanus Stirrop's Book, Royal Musical Association Research Chronicle, No. 10 (1972), 101-7, 156.
Copy of the second and third stanzas, in a musical setting, here beginning my foode shall bee
.
First published in Brittons Bowre of Delights (London, 1591). Latham, pp. 11-12. Rudick, Nos 57A and 57B (two versions, pp. 135-6).
Copy, in a musical setting, untitled.
First published, among Odes with Other Lyrick Poesies, in Poems (London, 1619). Hebel, II, 372.
Copy of the song, in a musical setting by Nicholas Lanier.
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).
Copy of the song in a musical setting.
Printed from this MS in Willetts, p. 107.
Dyce, V, 243-4. Bullen, IV, 248. Bowers, IV, 308.
Copy of the song, in a musical setting by Nicholas Lanier.
First published in Comedies and Tragedies (London, 1647). Dyce, V, 393-486 (p. 448). Bowers, VIII, 10-93, ed. Robert K. Turner (p. 57).
Copy of the song, in a musical setting generally attributed to Robert Johnson.
Dyce, VI, 179-80. Bullen, III, 183. Bowers, V, 66-7.
Copy of lines 1-6 in a musical setting, untitled.
Herford & Simpson, VIII, 139.
Copy, in a musical setting.
First published in The London Magazine (1734), p. 444. Listed but not printed in Latham, p. 173.
A tall folio songbook, largely in a single cursive hand, written from both ends, i + 133 leaves (including numerous blanks), in contemporary reversed calf.
The cover inscribed The Song-Book [of Mr. Montriot added in another hand].
c.1711.Formerly among Lord Leigh's muniments at Stoneleigh Abbey, Warwickshire. Christie's, 16 October 1985, lot 139.
Extracts.
Copy of the first couplet of the song, in a musical setting by John Eccles.
This MS recorded in John P. Cutts, An Unpublished Purcell Setting, M&L, 38 (1957), 1-13 (p. 11).
First published in London, 1700. Summers, III, 1-78 (p. 45). Davis, pp. 389-479 (p. 434). McKenzie, II, 95-225 (pp. 162-3).
Copy, in a musical setting by John Blow.
This MS recorded in John P. Cutts, An Unpublished Purcell Setting, M&L, 38 (1957), 1-13 (p. 9).
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).
Copy, in a musical setting by Henry Purcell, headed Oh! Solitude &c. Mr Purcell
.
This MS recorded in John P. Cutts, An Unpublished Purcell Setting, M&L, 38 (1957), 1-13 and see also p. 207; recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
Copy, in a musical setting by Henry Purcell, headed Isaiah: cap. 34. by Mr Cowley
.
First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 211-14.
Musical setting by Henry Purcell published in Harmonia Sacra, Vol. I (London, 1688).
A set of four oblong quarto musical partbooks, for (i) Superius, (ii) Altus, (iii) Medius, and (iv) Bassus, (the second originally from another set, and lacking a fifth, Tenor part), largely in a single neat italic hand, repectively 66, 49, 62, and 63 leaves, each volume in contemporary blind-stamped calf within modern half red morocco.
Early 17th century.Inscribed (i, f. 63r, and elsewhere in ii and iv) Sum è Libris Stephi Aldhouse de Maslaske [Norfolk] Annoque Dom 1669
. Puttick & Simpson's, 2 March 1866, lot 134.
Copies of the first stanza (in i) and of the incipit only (in iii-iv), in a musical setting by William Byrd, untitled.
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.
A square-shaped folio songbook, largely in a single rounded secretary hand, with (ff. 1r-v, 69r-v) a table of contents, i + 69 leaves, in modern half red morocco.
Mid-17th century.Puttick & Simpson's, 2 March 1866, lot 230.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 2 (New York & London, 1986).
Copy, in a musical setting by John Hilton, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 108-9 (collated pp. 186-8). Facsimile of f. 3v in Thomas Middleton and Early Modern Textual Culture: A Companion to The Collected Works, ed. Gary Taylor and John Lavagnino (Oxford, 2007), p. 170.
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
Copy, in a musical setting by Henry Lawes, untitled.
This MS collated in Martin.
First published in Martin (1956), p. 420. Patrick, pp. 68-9.
Copy, in a musical setting, untitled.
This MS collated in Davis, p. 498.
First published in The Third and Fourth Booke of Ayres (London, [c.1617]), Book III, No. xxi. Davis, p. 159.
Copy of the first stanza, in a musical setting by John Hilton, untitled.
This MS collated in Martin and in Patrick.
First published in Norman Ault, A Treasury of Unfamiliar Lyrics (London, 1938), p. 134. Martin, p. 421. Patrick, pp. 553-4.
Copy, in a musical setting by John Wilson, untitled.
This MS collated in Cutts, Musique de la troupe de Shakespeare, 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).
Copy, in a musical setting by John Hilton, untitled.
Edited from this MS in Gardner, Elegies, p. 246, and in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), No. 62; recorded in Shawcross.
First published in Poems (1633). Grierson, I, 369 (and variant text p. 370). Gardner, Divine Poems, p. 51. Shawcross, No. 193. Variorum, 7 Pt 1 (2005), pp. 10, 16, 26, 110 (in four sequences).
Copy, in a musical setting by Henry Lawes, untitled.
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.
Copy, in a musical setting by John Wilson, untitled.
This MS recorded in Crum.
First published in Poems (1657). Crum, p. 158.
Copy, in a musical setting by John Hilton, untitled.
This MS collated in Martin.
First published, among verse By other Gentlemen
, in Poems written by Wil. Shake-speare. Gent. (London, 1640). Hesperides (London, 1648). Martin, p. 63. Patrick, pp. 91-2. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in a musical setting.
Copy, in a musical setting by William Lawes, untitled.
This MS collated in Martin.
First published in Hesperides (London, 1648). Martin, p. 158. Patrick, p. 214.
Copy of a version beginning Amarillis, by a springe
, in a musical setting by John Wilson, untitled.
First published in Hesperides (London, 1648). Martin, p. 46. Patrick, p. 65.
Copy, in a musical setting by John Hilton, untitled.
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).
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 38.
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1640). Dunlap, pp. 46-7.
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 13.
Copy, in a musical setting by Henry Lawes (here ascribed to Will: Lawes
), untitled and here beginning Yf, when at Noone ye Sun displaies
.
This MS recorded in Dunlap, pp. 218, 291.
First published in Poems (1640). Dunlap, p. 7. Musical setting by Henry Lawes published in Ayres and Dialogues (London, 1653).
Copy, in a musical setting by Nicholas Lanier, untitled.
This MS collated in Davis, pp. 497-8.
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.
Copy, in a musical setting, untitled.
This MS recorded in Dunlap, p. 292.
First published in Poems (1640). Dunlap, p. 19.
Copy, in a musical setting by Nicholas Lanier, untitled.
This MS recorded in Dunlap, p. 291.
First published in Poems (1640). Dunlap, p. 109. Musical setting by Nicholas Lanier published in The Treasury of Musick, Book 2 (London, 1669).
Copy of Aurora's song, in a musical setting probably by Nicholas Lanier, untitled.
Edited from this MS in J.P. Cutts, Ben Jonson's Masque The Vision of Delight, N&Q, 201 (February 1956), 64-7; in MacDonald Emslie, Nicholas Lanier's Innovations in English Song, M&L, 41 (1960), 13-27 (pp. 23-4); and in Sabol, 400 Songs & Dances, No. 26.
Copy, in a musical setting by Henry Lawes, untitled.
This MS recorded in Dunlap, p. 290.
First published in Poems (1640). Dunlap, p. 38.
Copy of the Novice's song, in a musical setting probably by Robert Johnson, untitled.
Edited from this MS in Cutts, Musique de la troupe de Shakespeare, pp. 97-9 (collated pp. 183-4).
First published in Comedies and Tragedies (London, 1647). Dyce, XI, 1-118 (pp. 71-2). Bowers, X, 436-527 (p. 480).
Copy of the first four stanzas of Isaiah XXXVIII, beginning In the Subtraction of my yeares
, in a musical setting, untitled.
First published with A Paraphrase upon the Psalms of David (London, 1636). Hooper, II, 373-402.
Copy, in a musical setting, untitled.
First published in The Psalmes of David (London, 1651). Crum, p. 190.
Copy, in a musical setting possibly by Nicholas Lanier, untitled.
First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as To the same Lady singing the former Song, in Ayres and Dialogues (London, 1653).
Copy, in a musical setting by Alfonso Ferrabosco, untitled.
This MS collated in Herford & Simpson.
First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.
Copy of the first stanza, in a musical setting, untitled.
Edited from this MS in Grierson, II, 54-5; in Gardner, p. 241; and in Shawcross, p. 91.
First published in Poems (1633). Grierson, I, 8-9. Gardner, Elegies, pp. 29-30. Shawcross, No. 33.
Copy, in a musical setting, untitled.
First published in Workes (1645). Thorn-Drury, I, 105. A musical setting by Henry Lawes published, as To the same Lady singing the former Song, in Ayres and Dialogues (London, 1653).
A folio lute book compiled by one Jane Pickering.
Inscribed on the flyleaf by the compiler Jane Pickering owe this Booke, 1616
and her unitials I. P.
stamped on covers.
Copy, in a musical setting.
This MS recorded in Greer, p. 307.
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.
Copy, in a cursive italic hand, in a musical setting by Henry Purcell, untitled, on two folio leaves (the correct sequence pp. 2-4, 1), page 2 paginated/foliated 107
, probably extracted from a larger collection.
Later owned by William Hayman Cummings (1831-1915), singer and musical antiquary. Sotheby's, 17-24 May 1917 (Cummings sale). lot 168.
First published in The Mistresse (London, 1647). Waller, I, 67-8. Sparrow, pp. 63-4. Collected Works, II, No. 2, pp. 21-2.
Musical setting by Henry Purcell published in Orpheus Britannicus (London, 1698). Works of Henry Purcell, XXV (London, 1928), pp. 67-71.
A tall folio songbook, in two or more cursive hands, written from both ends, with (f. iiir) an index, iv + 99 leaves (including indexes), in 19th-century half green morocco gilt on marbled boards.
A formal compilation, ff. 2r-44v in the hand of Henry Bowman (fl.1674-80), composer and copyist; ff. 44v-53v in a second hand; ff. 54r-65r in a third hand; with additions in one or more hands on ff. 99v-66v rev.
Late 17th century.Booklabel of William Hayman Cummings, FSA (1831-1915), singer and musical antiquary. Sotheby's, 17-24 May 1917 (Cummings sale), lot 487.
Copy, in a musical setting by Pietro Reggio, untitled.
First published (in a musical setting) in Michael East, Sixt Set of Bookes (London, 1624). Reliquiae Wottonianae (London, 1651), p. 518. Hannah (1845), pp. 12-15. Some texts of this poem discussed in J.B. Leishman, You Meaner Beauties of the Night A Study in Transmission and Transmogrification, The Library, 4th Ser. 26 (1945-6), 99-121. Some musical versions edited in English Songs 1625-1660, ed. Ian Spink, Musica Britannica XXXIII (London, 1971), Nos. 66, 122.
Copy, in a musical setting by Pietro Reggio.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 57. Sparrow, pp. 57-8.
Musical setting by Pietro Reggio published in Songs [London, 1680].
Copy in a musical setting by Pietro Reggio in a MS songbook partly compiled by Giovanni Felice Sances (c.1600-79), Kapellmeister to the Emperor Leopold I, and by the composer Henry Bowman.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 58. Sparrow, p. 58.
Musical setting by Pietro Reggio published in Songs [London, 1680].
Copy in a musical setting by Pietro Reggio, untitled.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 50. Sparrow, p. 49.
Musical setting by Pietro Reggio published in Songs [London, 1680].
Copy of Psalm 137, beginning As on Euphrates shady banks I lay
, in a musical setting by John Blow.
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).
Copy, in a musical settong by John Blow.
Waller, I, 295 et seq.
A narrow oblong octavo songbook, the lyrics in a neat italic hand, ii + 37 leaves (plus blanks), in contemporary vellum within 19th-century morocco.
Early 17th century.Inscribed (f. 1r) Robius Downes
. Bookplates of Joseph Haslewood (1769-1833), bibliographer and antiquary, and of William Hayman Cummings (1831-1915), singer and musical antiquary. Notes in 1841 (f. 2r) by Joseph Warren (1804-81), composer and music editor. Sotheby's, 9 June 1917 (Cummings sale), lot 1586, to Maggs.
A complete facsimile of this volume in English Song 1600-1675, ed. Elise Bickford Jorgens, Vol. 1 (New York & London, 1986).
Copy, in a musical setting, untitled.
This MS recorded in Doughtie, p. 531.
First published in Robert Jones, Ultimum Vale (London, 1605). Campion, The Third and Fourth Booke of Ayres (London, [c.1617]), Book IV, No. vii. Davis, pp. 174-6. Doughtie, p. 212.
Copy of the song, in a musical setting, untitled.
First published in London, 1605. Bullen, II, 1-103 (p. 19). Edited by M.L. Wine (London, 1965), pp. 19-20. Edited by Peter Davison (Edinburgh, 1968), p. 29.
Copy, in a musical setting, untitled.
First published in More Lyrics from the Song-Books of the Elizabethan Age, ed. A.H. Bullen (London, 1888), pp. 6-7. Davis, p. 478.
A large folio music book, in a single hand, now bound in two volumes (Vol. I, ff. i-iii + 1-198; Vol. II, ff. 199-523 + iv-vi), each in modern half dark red morocco.
Compiled by Francis Tregian (1574-1617), compiler of the Fitzwilliam Virginal Book.
Early 17th century.Inscribed (f.vr) ffrancis Sambrooke his Book
. Later in the Hurn Court Library of the Earl of Malmesbury. Christie's, 30-1 March 1950, lot 663.
A complete facsimile in Renaissance Music in Facsimile: Volume 7a: London, British Library, MS Egerton 3665 (The Tregian Manuscript), ed. Frank A. D'Accone, 2 vols (New York & London, 1988).
Copy of the first three lines, in a musical setting by Alfonso Ferabosco Jr.
First published in The Vnder-wood (i.2) in Workes (London, 1640). Herford & Simpson, VIII, 129-30.
An oblong quarto volume of madrigals and other musical works, the lyrics in two or more secretary hands, 60 leaves, in half-morocco, stamped in gilt on both covers 1757
.
Copy, in a musical setting, the initial letter decorated in colour with a facial portrait, untitled.
Facsimiles in Small, I, at the end, and in DLB, vol. 132, Sixteenth-Century British Non-Dramatic Writers. First Series, ed. David A. Richardson (Detroit, 1993), p. 128.
Mackenzie, No. 89, pp. 178-9.
Copy of a long version, beginning Thofe I doo syng my hert doth wepe
, in a musical setting by Robert Cooper.
Edited from this MS in Ewald Flügel, Liedersammlungen des XVI. Jahrhunderts, besonders aus der Zeit Heinrich's VIII, Anglia, 12 (1889), 225-72 (pp. 266-7).
Canon, R68, p. 22. Edited in Ewald Flügel, Liedersammlungen des XVI. Skelton, Athenaeum (29 November 1873), p. 697.
Copy of the incipit only, in a musical setting for the lute.
This MS discussed, with a facsimile, in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L (1956), 315-22.
First published in Songes and Sonettes (London, 1557). Padelford, No. 24, pp. 75-7. Jones, pp. 12-14.
Copy of the incipit only (here Yf care cause me to cry
), in a musical setting for the lute.
This MS discussed, with a facsimile, in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L (1956), 315-22.
First published in Songes and Sonettes (London, 1557). Padelford, No. 28, pp. 80-2. Jones, pp. 14-16.
Copy of lines 1-4 in a musical setting.
This MS discussed, with a facsimile, in Ivy L. Mumford, Musical Settings to the Poems of Sir Thomas Wyatt, M&L (1956), 315-22.
Not published in the 16th century. Muir & Thomson, pp. 55-6.
Stanzas 5 and 7, beginning Some haue too much yett still do craue
, added in MS in a secretary hand to the musical setting on sig. D 2v in a printed exemplum of William Byrd, Psalmes, Sonets, & Songs of sadnes and pietie (London, 1588), a quarto in modern cloth.
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.
Purcell's predominantly autograph folio Score Booke Containing Severall Anthems wth. Sy[m]phonies.
c.1690.Copy, in a musical setting by Henry Purcell.
Published, as one of the Festival Hymns, in The Golden Grove (London, 1655). A musical setting by Henry Purcell published in Harmonia Sacra (London, 1688).
Copy in a musical setting by Henry Purcell, untitled and the first line here initially given as How does ye Glorious day Appear
, in an unidentified hand.
This MS the Buckingham Palace MS.
recorded in Summers, V, 410.
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.
Copy of stanza 2, lines 1-2, here beginning Begin ye Song and strike the living Lyre
, in a musical setting by Henry Purcell.
First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 182-3. Sparrow, pp. 157-9.
Copy, in a musical setting by Henry Purcell.
First published, in the essay Of Greatness, among Several Discourses by way of Essays, in Verse and Prose, in Works (London, 1668). Waller, II, 428.
Copy, in a musical setting by Henry Purcell.
This MS recorded in Purcell Society edition.
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 26. Sparrow, pp. 33-4.
Musical setting by Henry Purcell published in The Banquet of Musick (London, 1688). Works of Henry Purcell, XXII (London, 1922), pp. 69-73.
Copy, in a musical setting by Henry Purcell.
First published, among Pindarique Odes, in Poems (London, 1656). Waller, I, 211-14.
Musical setting by Henry Purcell published in Harmonia Sacra, Vol. I (London, 1688).
Copy, in a musical setting by Henry Purcell.
This MS recorded in Works of Purcell and in Zimmerman.
First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). The Works of Henry Purcell, XXII (London, 1922), pp. 59-61. Thorpe, p. 34.
Copy, in a musical setting by Henry Purcell, untitled.
Edited from this MS in Purcell Society edition; recorded in Zimmerman.
First published in Poems (1667), pp. 170-83. Saintsbury, pp. 601-4. Thomas, III, 94-102.
A musical setting by Henry Purcell published in Comes Amoris…The First Book (London, 1687), p. 18. The Theater of Music…The Fourth and Last Book (London, 1687), p. 57. The Works of Henry Purcell, XXV, ed. Arthur Somervell (London, 1928), pp. 137-40; revised edition, ed. Margaret Laurie (1985), pp. 75-9.
Copy, in a musical setting by Henry Purcell, in an unidentified hand.
This MS recorded in Purcell Society edition.
First published in The Mistresse (London, 1647). Waller, I, 108-9. Sparrow, pp. 106-7. Collected Works, II, No. 41, p. 70.
Musical setting by Henry Purcell published in The Theater of Music (London, 1685). Works of Henry Purcell, XXV (London, 1928), pp. 171-3.
Copy, in a musical setting by Henry Purcell.
This MS recorded in Franklin B. Zimmerman, Henry Purcell: An Analytical Catalogue (London & New York, 1963), No. 362.
First published, in a musical setting by Henry Purcell, in The Theater of Music, Fourth Book (London, 1687). Thorpe, p. 33.
Copy, in a musical setting by Henry Purcell.
This MS collated in California.
First published in Sylvae (London, 1685). Kinsley, I, 441. California, III, 89-90. Hammond & Hopkins, II, 388. Musical setting by Robert King published in The Theater of Music (London, 1685), I, 30. Day, pp. 73-5. Musical setting by Henry Purcell published in Orpheus Britannicus, 3rd edition (London, 1721). Works of Henry Purcell, XXII (London, 1922), pp. 133-6.
Copy, in a musical setting by Henry Purcell.
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.
Copy, in a musical setting by Henry Purcell, untitled.
This MS recorded in Purcell Society edition.
First published in The Mistresse (London, 1647). Waller, I, 136-7. Sparrow, p. 136. Collected Works, II, No. 69, 105-6.
Musical setting by Henry Purcell published in Works of Henry Purcell, XXII (London, 1922), pp. 157-65.
Copy, in a musical setting by Henry Purcell.
This MS recorded in Purcell Society edition.
First published in The Mistresse (London, 1647). Waller, I, 119-20. Sparrow, pp. 118-19. Collected Works, II, No. 52, pp. 83-4.
Musical setting by Henry Purcell published in Works of Henry Purcell, XXV (London, 1928), pp. 124-7.
Copy, in a musical setting by Henry Purcell.
This MS recorded in Purcell Society edition (1922).
First published, among Miscellanies, in Poems (London, 1656). Waller, I, 56. Sparrow, p. 56.
Musical setting by Henry Purcell published in The Banquet of Musick (London, 1692). Works of Henry Purcell, XXII (London, 1922), pp. 100-3.
A folio songbook, the lyrics in a single formal italic hand, iii + 188 leaves, in modern half red morocco on marbled boards.
Compiled by John Baldwin, of Windsor, with (ff. iv, iiv-iiir) verse addresses by him signed as the book's owner, and (f. 173r) his inscription finis: John baldwine: 1592
.
Copy, in a musical setting by John Baldwin.
Edited from this MS, with a facsimile, in Ernest Brennecke, The Entertainment at Elvetham, 1591, Music in English Renaissance Drama, ed. John H. Long (Lexington, 1968), 32-56 (pp. 47-51).
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).
A large quarto volume of odes in musical settings by Henry Purcell, in a single neat hand, 112 leaves (plus blanks), in half red morocco on marbled boards.
Early 18th century.Inscribed (f. 1r) J Kent
.
Copy in a musical setting by Henry Purcell, headed Queen's Birth-day Song 1691
.
This MS the Buckingham Palace MS.
recorded in Summers, V, 410.
First 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. 72-116. Summers, V, 369-70.
Copy in a musical setting by Henry Purcell, headed Queen's Birth Day Song 1692
First published in The Gentleman's Journal (May 1692), p. 1. Miscellaneous Works (London, 1702). Sola Pinto, I, 26-7. Musical setting by Henry Purcell published in The Works of Henry Purcell, XXIV (Purcell Society, 1926), Part II, pp. 1-35.
