Drexel 4257
| Drexel 4257 | |
|---|---|
| New York Public Library for the Performing Arts | |
 | |
| Also known as | John Gamble his booke |
| Type | Commonplace book |
| Date | Uncertain |
| Place of origin | England |
| Language(s) | English |
| Size | 227 leaves |
Drexel 4257, also known by an inscription on its first page, "John Gamble, his booke, amen 1659" is a music manuscript commonplace book.[1] It is the largest collection of English songs from the first half to the middle of the 17th century,[2][3] and is an important source for studying vocal music in its transition from Renaissance music to Baroque music in England. Many songs also provide commentary on contemporary political events leading up to the Restoration.
Belonging to the New York Public Library, it forms part of the Music Division's Drexel Collection, located at the New York Public Library for the Performing Arts. Following traditional library practice, its name is derived from its call number.[4]
Historical context
Before researchers took active interest in it, the field of 17th-century British song had not been investigated. Music historian Charles Burney had a negative opinion towards British vocal music in this period.[5] That attitude was carried through the beginning of the 20th century, where in the first edition of the Oxford History of Music, Hubert Parry stated that English composers' sense of musical line was deficient.[6]
Vincent Duckles thought one reason for the negative attitude might have been the lack of published sources: Between 1627 (the publication date of John Hilton's Ayres or Fa-las) and 1651 (John Playford's Musical Banquet), there appeared only a single publication of British vocal music: Walter Porter's Madrigales and Ayres of 1632.[7]
Scholarly work on Drexel 4257 was one of the major reasons for a change in attitude. With over 320 songs, 250 of which contain music, it is "the largest single body of early 17th-century English songs that we know."[2] "The composers ... all belonged to the small world of court musicians that suffered disruption during the English Civil War and the Commonwealth of England. Some began their careers late in the reign of James I, most saw service in court of Charles I, and a few survived to return to their posts at the invitation of Charles II." For the most part, their active careers were over by 1660 or shortly thereafter.[8]
The compiler (or compilers) was not an antiquarian: this collection of songs was intended for practical use, and represents the generation of English composers active between 1630 and1660.[9] As such, Drexel 4257 "stands as the record of English musical and literary taste as it developed over a period of some thirty years," moving from the late Jacobean era to Restoration periods.[10] Though its musical contents may sometimes be variable, its main interest is that, as a document of its time, it reflects contemporary taste, offering comments on contemporary events and references to the past.[11]
By virtue of its repertoire and of the period covered, Drexel 4257 is closely related to other 17th-century English music manuscripts: 2240 (British Library Deposit), Drexel 4041 (New York Public Library), Don.c.57 (Bodleian Library), Add. 29,396 (British Library), Add. 11,608 (British Library), MS B.1 (Bodleian Library), Add. 31432 (British Library), Add. 10337 (British Library), F.5.13 (Trinity College, Dublin), Egerton 2013 (British Library), Drexel 4175 (New York Public Library), Add 29381 (British Library), MS 1041 (Lambeth Palace Library), and MS 87 (Christ Church Library).[12]
General and physical description
The binding of Drexel 4257 measures 30.3 × 20 × 4.7 centimetres (11.9 × 7.9 × 1.9 in). It contains 227 leaves[13] which measure 29.5 × 19 centimetres (11.6 × 7.5 in) (the leaves' varying length can add or subtract several millimeters to their respective measurement). As the image at left indicates, the volume was rebound on December 6, 1944 by Neumann Leathers of Hoboken, New Jersey. The folios are not numbered, but each song is numbered. Using different methods of enumeration, scholars have disagreed on how many songs are contained in the manuscript. Hughes wrote that the collection contained 246 songs, 146 of which are by unidentified composers, but he was only counting songs with "a musical setting sufficiently complete to make identification possible."[14] Duckles claimed there were 325 different songs numbered 1 through 329: two songs occur twice ("Keepe on yor vayle and hide yor Eye" nos. 134 and 237, and "If thou wilt loue me I'le loue thee" nos. 174 and 215). Additionally, nos. 275 ("Stay, stay, prate noe more") and 324 ("I haue reason to Fly thee") are satirical replies to anti-Royalist lyrics not included in the manuscript.[15] No. 206 is blank and not identified in the index, and the song "Why sligh'stt thou her whome I aproue" is both nos. 222 and 223.[16] There are also two songs listed in the index for which no space was allotted. For Duckles, eighty-five of the 325 songs are lacking music and have either just titles, or titles and lyrics only. Elise Bickford Jorgens counted 327 songs, including songs listed in at least one of the two tables of contents but for which there is no music. (This article and the table below uses Jorgens' enumeration.)[3]
The breakdown of the 97 songs by known composers is as follows: John Gamble (28), Henry Lawes (28), William Lawes (10), John Wilson (11), William Webb (8), Thomas Brewer (3), Robert Smith (2), Nicholas Lanier (2), Walter Youckney[17] (2), Robert Johnson (1), John Withy (1), and Charles Coleman (1).[14]
Folio 1 verso contains a bawdy lyric followed by the inscription written twice, "John Gamble his booke amen 1-6-5-9 an[n]o Domini."[15] The material on Folio 2 recto is from a later date. The upper half of the page contains an engraved portrait of Gamble, printed by W. Richardson in 1795, pasted in. The lower portion contains a brief biographical inscription concerning Gamble in the hand of the former owner, Edward F. Rimbault.[18] A note giving a brief description of the contents has been tipped in near the center of the binding.
There are two tables of contents. The first, with the heading "The Cattalogue" on folios 3r-5r, is a numbered list of songs from 1 through 266. Starting with song no. 201, the style of enumeration varies inconsistently: no. 201 is listed as 2001, 220 is listed as 20020. Additionally, there is a group of songs incorrectly altered to 300s.[19] The second table, on folios 5v-8r, has no heading but is an alphabetical grouping of songs where in each letter the songs are listed sequentially. This list was apparently compiled after the manuscript was completed and includes all songs except nos. 314-317. It is written by the same hand as the enumerator of songs 177-266 in "The Cattalogue."[18]
The manuscript as currently bound (the date accompanying the binding information on the inside rear cover is stamped Dec. 6, 1944) has some songs out of sequence (nos. 331-340), surrounded by no. 311 and 312.[19]
Dating
The date of 1659 (from Gamble's inscription on 1v) has been a source of puzzlement to those who have studied the manuscript. Willa McClung Evans, consulting Edward Heawood's study of watermarks (used to date paper), noted the watermark, a fleur-de-lis, was of undetermined origin, but was also used in Fuller's "Holy State" of 1652, and Denis Petau "History of the World" of 1659.[20] Charles W. Hughes believed the book was begun around the turn of the 17th century - a hypothesis rejected by Jorgens who notes that it contains works by Henry Lawes, born in 1596.[3] Hughes believed the terminal date was at least 1660, as some of the songs refer to Charles II who assumed the throne in 1660.[14] Duckles noted that the earliest lyrics were from England's Helicon (1600) and Davison's Poetical Rhapsody (1602).[2] Duckles felt that 1659 is close to the terminal date, noting that no songs had been added after the Commonwealth period, and no younger composers were included in the collection.[21]
Provenance
Though writers disagree on details of the handwriting (see the section on handwriting below), they all agree that the handwriting of the latter portion of Drexel 4257 is probably that of John Gamble, given that there is a concentration of his work in that part of the manuscript.[22][19] This suggests that the book was begun by someone else (whom Lynn Hulse recognized as Thomas Jordan; see below[23]). Duckles surmised that Gamble came into possession of the book in 1642–43 when the musicians of the Royal Chapel were dispersed as a result of the English Civil War.[24] Although Gamble lost most of his possessions in a fire in 1666, this book appears to have survived. He made out his will on June 30, 1680 in which he bequeathed his grandson (also named John Gamble) all his books of music.[25]
After Gamble's death in 1687, nothing is known of the manuscript for over 150 years. The first published reference to it comes in 1846, where it is mentioned in volume 19 of the Percy Society's Early English Poetry, Ballads, and Popular Literature of the Middle Ages as being in the possession of one of the editors of the series, Edward Francis Rimbault.[26] An organist and musicologist, Rimbault took a keen interest in English music and voraciously collected rare books, scores, and valuable manuscripts. Upon his death, his extensive and valuable library was auctioned by Sotheby's over the course of five days. The Rimbault auction catalog entry for the Gamble manuscript reads:
A collection of upwards of 300 songs by Wilson, Lawes, Johnson, Gamble, and other English composers, containing also the autograph inscription, "John Gamble his book, Amen. 1659 Anno Domini"[27]
Hughes quotes a contemporaneous report of the hammer price and comment: "Thirteen guineas, for America."[14] The reference was to the Philadelphia-born financier Joseph W. Drexel who had already amassed a large music library and purchased about 300 lots from the Rimbault auction. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the Astor Library to become the New York Public Library, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 4257 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at Lincoln Center.
Organization
Duckles noted that there are subsidiary groups organized by composer: Henry Lawes (nos. 26-36), William Webb (nos. 160-166), Robert Smith (nos. 237-238),Thomas Brewer (nos. 244-245), Robert Johnson (nos. 108-109), and John Gamble (nos. 292-319). Similarly is the group of three songs set by John Wilson for Richard Brome's play "The Northern Lass" (nos. 45, 46, and 47).[28]
The first 47 songs are love lyrics by poets of the Jacobean Court including Ben Jonson, William Shakespeare, Robert Herrick, Thomas Carew, John Suckling, Beaumont and Fletcher. After no. 47 a new spirit is suggested by song no. 48 "You madcapps of England that merry will make," a lusty drinking song that indicates a political shift after 1640.[29] Deliberate segregation is in evidence between songs nos. 48 and 80, where there are a series of 32 ballads and popular songs, in contrast to the art lyrics of the first few songs. There is a brief return to the elevated nature in songs nos. 154-76. Thereafter, popular and sophisticated songs are mixed.[30]
Handwriting
Hughes and Duckles both believed that the manuscript was written by at least two individuals.[14][18] Hughes characterized the first hand as a "neater, older hand" dating from either at the end of the 16th century or beginning of the 17th century (a date disputed by subsequent writers - see above). The second hand copied the newer songs (including some by Gamble) and were written in a more careless hand.[14] Hughes believed that this evidence suggested that the manuscript was begun by an unidentified person and was continued by John Gamble himself commencing with song no. 177.[22]
Following Hughes's view, Duckles also believed the manuscript was written in two hands. In his view, the first hand wrote the titles for songs nos. 1-176 of the Cattalogue, and the second hand, probably that of Gamble himself, wrote of nos. 177-266 (leaving space left to accommodate future additions) as well as the alphabetical index.[18] Duckles described the writing style of Hand 1 as favoring "round, compact letter forms, vertical alignment, calligraphic flourishes on capitals and heavy down strokes," when writing with a broad pen. Duckles admits that Hand 1 has "two forms":[31] "When the hand writes with a finer quill, the letter forms are more loosely connected, the flourishes a little more pronounced, and there is a slight inclination to the right." Hand no. 2 has a "pronounced slant to the right, letter forms are thin and elongated and the pen is a fine one."[31] Duckles observed that hand no. 2 participated slightly in the preparation of part 1 (nos. 1-176) with only six songs, but all of the text incipits. Likes Hughes, Duckles also felt that Hand 2 is probably that of Gamble.[32]
Duckles hypothesized that the first hand might have been that of Ambrose Beeland, with whom Gamble apprenticed and is believed to have been his teacher.[24] Lynn Hulse refutes this, saying that the handwriting does not match existing Beeland manuscripts.[23]
Jorgens disagreed with both Hughes and Duckles and saw three different hands.[3] Based on the two tables of contents, Jorgens surmised that all three copyists had access to the book at one time.[19] She characterized the first hand as "firm, bold but well-controlled secretary hand," the second hand as "looser and somewhat lighter secretary hand" beginning with song no. 38, and a third hand, "rougher, slanted, inclined towards the Italian style" that begins with song no. 46. All three roughly equal; by no. 177 the first two have dropped out.[3] Hand Three has entered all of Gamble's songs and is probably his.[19] It also has entered text incipits. Since these incipits do not correspond with other known songs, they are probably the work of Gamble.[19]
Hulse identified the first hand of the Gamble manuscript is probably that of poet Thomas Jordan (ca. 1612–1685), the same hand as manuscript PwV18 in the University of Nottingham, as well as other Jordan manuscripts in Harvard University and Bodleian Library.[33] Hulse showed that Jordan and Gamble were involved in the same London circle of theatre musicians and composers for many years, culminating in Jordan's preface for Gamble's A Defence for Musick published in 1659. She identifies songs nos. 4, 16, 32, 45, 47, 99, 154, 155, 169, 170, 175, 176 and the text incipit of 96 as being copied by Jordan.[34]
Politics
The lyrics to a number of songs have references to contemporary politics and events. "Since Itt hath bin lately inacted high Treason" (no. 313) carries a strong suggestion of reaction to contemporary British history.[35] One song, "Beat on, proud billows," was known to have been written by Roger L'Estrange while he was imprisoned in Newgate Prison during Oliver Cromwell's rule (1645–1648).[2]
Some songs express regret for a better past. "Listen iolly gentlemen Listen & be merry" (no. 63) praises the reign of Charles I (indirectly criticizing the then-current regime).[36] The lyric of "Reioyce all England" contrasts the 13th-century hero Guy of Warwick with current rulers.[14] One song alludes to the marital difficulties between Charles II and his Portuguese wife, Catherine of Braganza. Another example of distrust of foreigners can be seen in the lyric "Harke harke Ile tell you news from the Cort ... all ye french ... now are all sent back to France."[36] Charles II also figures in "God bless our noble king," which comically describes the king's progress from Whitehall to St Paul's Cathedral.[36]
"You madcaps of England" describes frivolous English soldiers at the Siege of La Rochelle, including characters named "Wentworth" (referring to Thomas Wentworth, 1st Earl of Strafford) and "Murrey" (referring to Robert Moray). Other names mentioned include: Wilmot, Weston, George Symon, Steadlinge, Hugh Pollerd, and "Game" possibly John Gamble.[37]
Some songs reveal prejudice against Puritans. No. 92, ""Cock Lorrell inuited ye diuell his gestt," concerns Cock Lavorel, known as a rogue and highway robber, as friends with the devil. "The purelings of the Citty" (no. 70) is an exception, praising a Protestant service.[36]
Duckles took note of the bold lyrics to song no. 73:
Ye giddy poets that purloin
from sea and land the greatest store
to deck her ffading wenches fine,
what would you do with such a whore?
Duckles clarified the meaning: "The outspoken vulgarity was not necessarily result of personal taste but a reflection of Royalist protest against Puritan morality, intended to shock the taste of Parliamentarians."[38]
Topical or literary content
Hughes argued that, unlike a textbook compilation of exemplars, Drexel 4257 shows a variety of good and mediocre poetry.[39] Most songs deal with love, and range from flowery rhetoric to frank accounts of love-making.[40] A few, however, deal with topical matters. There are two songs related to Christmas: "Beate upp a dromm" depicts feasters in a mock battle with the cold in which the feasters win,[39] and "Christmas is my name ffar have I gone" was a popular ballad which appeared in a number of 17th-century sources. In this song, the personification of Christmas comes from far away to discover that his friends and other residents have deserted the country in favor of the city. The song concludes with a lament that universal welcome is gone because the Protestants and Puritans disassociate themselves from Christmas.[41] Similarly (with fewer political overtones), the song "Ladies you loose yor time" expresses preference for city life over that of the country.[37]
The song "Oh yt mine eyes", a graphic meditation on the Crucifixion of Jesus, is the only song in the collection to deal with a religious subject.[42]
The song "Nor loue nor fate dare I" by John Wilson bears the inscription "composed for the comedy The Northern Lass".[35] Although this is the only song that the manuscript indicates is from a drama, at least 26 songs have texts from dramas or masques, attesting to Gamble's association with the theatre.[43]
The songs composed by Gamble are best characterized as drolls. Drolls were collections of "cavalier wit, much of it trivial, repetitious and derivative, but at the same time containing some work of genuine literary value. Their tone was seldom dignified, often frankly sexual, and characterized by a persistent undertone of anti-Puritan feeling."[44] Similar examples can be found in the work of Ben Jonson, Thomas Carew and John Suckling.
Musical content and style
Hughes cursorily observed that Drexel 4257 contains no naturals—sharps are used to cancel flats, and flats are used to cancel sharps.[45] He noted that technical blunders such as parallel fifths and octaves are to be found as well as other kinds of mistakes.[45]
Duckles's dissertation explores the transition from the lute song, representing an older style of composition appropriate to the waning of Renaissance music, to the continuo song, reflecting newer Baroque music practice. It's not always an easy form of composition to assess: lutes were not always used for songs, and sometimes were used even after ascendancy of the continuo song.[2] General characteristics of the lute song are smooth, flowing, and restrained lines, while the continuo song is more vigorous, abrupt and discontinuous. The harmonies in lute songs are an outgrowth of their melodic lines, while in continuo songs they define the structure. Lute songs tend to be loose and melismatic with frequent repetitions of verse fragments, while continuo songs are more closely tied to the rhythm of the text. Dissonance and chromaticism are used sparingly in lute songs while continuo songs show increasing use of chromaticism for more dramatic rather than pictorial underscoring. Generally, English composers were more concerned with capturing verbal rhythms than producing dramatic effects.[46](Hughes noted that Restoration lyrics typified Baroque figures of speech in their use of florid lyrics.)[40] Use of these techniques in England indicate their adoption from Italy, where they were first used. Previously, it had been thought that English composers either didn't know about them, or weren't interested.[47] But a comparison of Drexel 4257 with another of Gamble's books in the British Library, Additional 11608, where some of the songs appear in an embellished form, indicate that British composers and singers did occasionally adopt a more florid style.[48]
Duckles examined the song "If Loue loues truth then woemen doe not loue" by Thomas Campion which appears as no. 10 of Drexel 4257 and was also published in Campion's Third Book of Ayres from about 1617. Campion was generally a conservative composer.[49] In the version present in Drexel 4257, the melody is slightly altered to provide greater sensitivity to the declamatory text, so that the speed of the verse accelerates naturally, an alteration which Duckles finds an improvement over the original.[50] Many songs are recitative-like. In some of these songs, the bar is enlarged as it approaches the cadence, suggesting a ballad singer who briefly pauses to catch his breath.[51] The hemiola a consistent practice in English music of this time.
Many songs are 6/4 meter, while some suggest that they are adaptations from violin tunes.[37] Yet, the barline does not always reflect the verbal rhythm.[45] In comparing the song "Ballowe my babe lye still and sleepe", no. 46 of Drexel 4257, with the version that appears in Elizabeth Roger's Virginal Book, Duckles notes that the (earlier) virginal version is in duple meter with no trace of hemiolas, while the version in the Gamble manuscript has them, suggesting a modernization of an older song.[52] Another example of continuo style is "Like Hermitt poore in pensiue place obscure" (no. 15), a lyric attributed to Sir Walter Raleigh and dating from 1591.[53] In comparing Alfonso Ferrabosco's setting from his Ayres of 1609 to one by Nicolas Lanier in Drexel 4257, Duckles admits the possibility that Lanier's may have been inspired by that of Ferrabosco. But the musical characteristics of the Lanier setting, including simplicity of texture, distinct phrases, use of an échappée, and the suggestion of a rhythmic motif through use of a recurring pattern of eighth notes, point to contemporary text setting techniques.[47] The song "Drowsie sun, why dostt thou stay" by Thomas Brewer (no. 253) shows expressive false relations and harmonic word painting, foreshadowing later developments in British sacred music. Brewer's songs are among the earliest examples of the Italian pathetic style in English music[54] and represent the mature style of continuo song.[55] Devices such as an octave leap look away from lute song to continuo song.[50]
Not all songs with recitative-like musical lines indicate modernism.[53]There are dance songs that contain elements of an ostinato bass, passamezzo antico and the romanesca—all characteristics of Renaissance rather than Baroque periods.[56] Several tunes and texts are of 16th-century origin had long been in the repertoire, among them: "Greensleeves," "O mistress mine," and "Back and sides go bare."[57] With these exceptions, the earliest songs date from Jacobean period.[21] A comparison with anthologies published by John Playford in 1652, 1653 and 1659 indicates particular songs were popular. That selections were copied into the book attests to their popularity even after tastes had changed due to the Restoration.[14] Similarly, the song "I went from England into ffrance," a satirical narrative, refers to the song "John Dory," indicating that song's continued popularity. (It had appeared in Thomas Ravenscroft's "Deuteromelia" of 1609, though probably dates earlier).[11] "When ye Chill Charockoe blowes" is a song containing both declamatory and tuneful styles.[58] It is a drinking song, whose erratic harmony suggests frequent cadences, and whose angular melody which "moves with great vigor," This is in contradistinction to the lute song that emphasized continuous flow and smooth melodic motion.[46]
Duckles identifies two styles of songs of the collection: "The declamatory air" (reflecting modern style),[59] and "the tuneful air" (reflecting the older style, a vestige of Renaissance musical practice).[60] The tuneful air could be composed based on a preexisting tune or a tune intended to be a dance form. In examining lyric forms, Duckles identified the ballad as one type of lute song. The ballads found in Drexel 4257 are all of a sophisticated type in which satire and parody are important elements. The ballad as simple narrative or topical ballad are not represented.[61]
Warning that one must be wary of the fluid nature of musical genres,[54] Duckles categorized the following songs from Drexel 4257 as ballads: 46, 48, 49, 51, 53, 55, 56, 58, 59, 60, 62, 63, 64, 66, 67, 68, 70, 74, 76, 79, 92, 103, 104, 105, 116, 119, 120, 121, 123, 131, 142, 144, 145, 146, 147, 186, 214, 271, 272.[62]
Duckles identified these songs as being in the declamatory style: 4, 12, 15, 20, 22, 26, 30, 31, 33, 83, 89, 108, 132, 160, 161, 162, 164, 168, 172, 182, 188, 198, 206, 238, 239, 240, 243, 247, 249, 253, 256, 260, 261, 262, 269, 274, 277, 280, 284, 285, 292, 299, 306, 311, 315, 316, 317, 323, 326.[63]
Duckles observes that by 1651, the transition from the lute song to the continuo song was complete. Printed versions of songs can not be entirely trusted to represent what was sung, since, in order to keep engraving costs manageable, they would economize on written vocal embellishments. That's why manuscript sources are crucial to our understanding of transition to Baroque vocal styles.[64] Duckles concludes by warning that those who study early 17th century lyric poetry must do so in conjunction with their intended musical settings, since words and music are inseparable.[65]
Significance
In his dissertation, Duckles summed up Gamble and his manuscript:
There seems to be little doubt but that Gamble's fame will rest upon his work as a compiler of an important song collection, not on his work as a composer. As a musician he was distinctly second-rate, but one can appreciate him as a man with a keen sense of the musical currents (page 138) of his time, an opportunist, who knew what the public wanted and how to turn public taste to his own professional uses ... By shrewdness and wit he managed to establish a place for himself in the rough-and-tumble world of mid-17th century music. His songs were soon forgotten, but in his "Commonplace book," compiled without any thought for posterity, he succeeded in presenting one of the most valuable sources we have of the musical taste and musical thought of his time. It is for this reason that an obscure court musician of some 300 years ago remains very much alive in the minds of students of English music history.[66]
List of songs
This table is based on the table of contents listed in Jorgens, supplemented with composer, lyricist attributions and other remarks from Duckles 1953.
| No. | Title | Composer | Lyricist | Remarks |
|---|---|---|---|---|
| 1 | Must yor fayre enflameing eie | |||
| 2 | See the chariott at hand heere of loue | Ben Jonson | From the drama The Devil is an Ass | |
| 3 | Aske mee noe more whether doth stray | Thomas Carew | ||
| 4 | Thoughts doe not vex mee while I sleepe | John Wilson | William Strode | |
| 5 | Deare why doe you say you loue | Robert Aytoun | ||
| 6 | Not that I wish my Mistris more faire | William Herbert, 3rd Earl of Pembroke (10th Creation) | ||
| 7 | Though my Mistris seeme in shew | Thomas Heywood | ||
| 8 | In yor fayre cheekes 2 pitts doe lye | Thomas Carew | ||
| 9 | Oh that my toung had beene as dumb | |||
| 10 | If Loue loues truth then woemen doe not loue | Thomas Campion | Thomas Campion | |
| 11 | Hee yt lou's a rosy cheeke | Henry Lawes | Thomas Carew | |
| 12 | Hearke hearke how in euery groue | William Lawes? | James Shirley | |
| 13 | Goe thy wayes since thou wilt goe | |||
| 14 | Happy is he that hath yor veiw | |||
| 15 | Like Hermitt poore in pensiue place obscure | Nicholas Lanier | Walter Raleigh | |
| 16 | Take oh take those lippes away | John Wilson | William Shakespeare | From the drama Measure for Measure; also used in the drama The Bloody Brother |
| 17 | Dearest doe not now delay mee | Henry Lawes | Francis Beaumont and John Fletcher | From the drama The Spanish Curate |
| 18 | Thou sent'st to mee a hearte was crown'd | Robert Aytoun | ||
| 19 | Why should passion lead the[e] blind | William Herbert, 3rd Earl of Pembroke (10th Creation) | ||
| 20 | Two of the brightest starrs in heauen | |||
| 21 | Be not proud nor coy nor crewill | Henry Lawes | ||
| 22 | Cupid call's com Louers com | James Shirley | ||
| 23 | Loue where is now thy Deity | John Withy | Richard Brome | |
| 24 | Wt should my Mistris doe wth hayre | William Lawes | James Shirley | From the drama The Duke's Mistress |
| 25 | If I freely might discouer | Henry Lawes | Ben Jonson | From the drama The Poetaster |
| 26 | Sleepe old man lett silence charme thee | Henry Lawes | William Habington | |
| 27 | Sweete I am not com to soone | Henry Lawes | William Habington | |
| 28 | Must wee bee diuided now | Henry Lawes | ||
| 29 | Why should only man be tyed | Henry Lawes? | William Habington | |
| 30 | Greife com away and doe not thou refuse | Henry Lawes | ||
| 31 | Goe thou gentle whispering wynd | Henry Lawes | Thomas Carew | |
| 32 | In a Mayden tyme possessed | John Wilson | Thomas Middleton | From the drama The Witch |
| 33 | Selfe blinding error seazeth all those mindes | Henry Lawes | William Shakespeare | From Sonnet 126 |
| 34 | Art thou gone in hast? | Henry Lawes | John Webster | From the drama The Thracian Wonder |
| 35 | Tell mee deerest what is loue | Francis Beaumont and John Fletcher | From the drama The Captain ; also from the drama The Knight of the Burning Pestle | |
| 36 | Neuer more will I protest | Francis Beaumont and John Fletcher | ||
| 37 | Beauties haue you seene a toy | Henry Lawes | Ben Jonson | From the masque at Lord Hadington's marriage |
| 38 | Amidst the Mirtles as I walk't | Henry Lawes | Robert Herrick | |
| 39 | Thou shepheard whose intentive eye | Henry Lawes | H. Townshend | Same tune as previous song |
| 40 | Of thee kind boy I aske noe Redd and white | Nicholas Lanier | John Suckling | |
| 41 | In fayth I cannot keepe my sheepe | |||
| 42 | Fullwell I knowe my greifes alas | Same tune as No. 193 | ||
| 43 | Some say ladies are modest | Text only | ||
| 44 | Shepheard wheare hast thou ben | Text only | ||
| 45 | A bonny bird a bird I haue | John Willson | Richard Brome | From the drama The Northern Lass |
| 46 | Ballowe my babe lye still and sleepe | William Lawes? | From the drama The Northern Lass | |
| 47 | As I was gathering Aprill flowers | John Wilson | Richard Brome | From the drama The Northern Lass |
| 48 | You madcapps of England that merry will make | Text only | ||
| 49 | God bless our noble kinge | |||
| 50 | Heare's a health to all good fellows | Text only | ||
| 51 | Come hither the merriest of all the nine | Set to the same tune as no. 74 | ||
| 52 | Now out vpon this foolinge | |||
| 53 | Hey hoe Care goe get thee gon from me | |||
| 54 | Say louely Phillis since it thy will is | Henry Lawes | Corrupted and incomplete | |
| 55 | Backe and sides goe bare goe bare | |||
| 56 | Beate upp a dromm now winter Reignes | |||
| 57 | Since Fortune thou art growne soe kind | |||
| 58 | There was a mayde this other day | |||
| 59 | My Masters & Freinds who soeuer intends | |||
| 60 | Christmas is my name farr haue I gone | Treble only | ||
| 61 | In a greene meadowe / a river runinge by | |||
| 62 | I went from England into France | Richard Corbet | ||
| 63 | Lissen iolly gentlemen Listen & be merry | |||
| 64 | I am a Rogue and a stout one | |||
| 65 | Shall I be slaue vnto a womans will | |||
| 66 | The Aphorismes of Gallen I hould but a toy | Incomplete | ||
| 67 | I met with ye devell in the shape of a Ramme | Francis Beaumont and John Fletcher | From the drama Beggars' Bush | |
| 68 | Come followe followe me all you yt drunkards be | Text only | ||
| 69 | Let souldiers fight for pay and prayse | Aurelian Townshend | From the drama Lady Hatton's Masque | |
| 70 | The purelinges of the Citty | |||
| 71 | True loue noe more shall live on earth | Text only | ||
| 72 | Noe sherrie new but sherrie ould | |||
| 73 | Yee giddy Poets that purloyne | Text only | ||
| 74 | Come hither ye merriest of all ye land | Set to the same tune as no. 51 | ||
| 75 | Though Murrey be vndoubtedly his Countries cheifest witt | Peter Apsley | Text only | |
| 76 | I bring noe scurffe nor Leprosie | |||
| 77 | As I lay musing on [= one] nightt in my bed | |||
| 78 | The blushinge rose & purple flower | Philip Massinger | Dialogue; from the drama The Picture | |
| 79 | Ther was a certaine Idle kind off creature | Text incipit only | ||
| 80 | Thou art not fayre for all thy redd and white | Thomas Campion | ||
| 81 | Why should greate beauties vertuous fame desire | William Lawes | William Davenant | |
| 82 | Cause thou artt fickle shall I Loue thee | Text incipit only | ||
| 83 | Fier fier loe heere I bume in such desire | Nicholas Lanier | Thomas Campion | |
| 84 | Outt upon itt I haue Lou'd | John Suckling | Text incipit only | |
| 85 | A nymph whenas ye summers beames | |||
| 86 | Say Celia say why wee twoe proue | |||
| 87 | I saw Faire Cloris walke alone | William Strode | Text incipit only | |
| 88 | Doe nott to a woman sue | Text incipit only | ||
| 89 | Noe ://: fayre Heretick it needes must bee | Lawes | John Suckling | From the drama Aglaura; ascribed elsewhere to Henry Lawes but possibly by William Lawes |
| 90 | Noe ://: I tell thee noe | Text incipit only | ||
| 91 | Com Eccho I thee summon | Text only | ||
| 92 | Cock Lorrell inuited ye diuell his gestt | Ben Jonson | From the drama The Gypsies Metamorphosed; text only | |
| 93 | Foolish boy Forbeare and Fly | Text incipit only | ||
| 94 | Harke ://: Ile tell you newes from the Cort | Text only | ||
| - | One blank page | |||
| 95 | Mars Bachus and the blind boy of late | Text only | ||
| 96 | From ye Faire Lauinnian shore | Text incipit only | ||
| - | One blank page | |||
| 97 | Why should I wronge my iudgmt soe | Text only | ||
| 98 | You meaner beautyes of the night | Henry Wotton | ||
| 99 | Nor Loue nor fate dare I accuse | John Wilson | Richard Brome | From the drama The Northern Lass |
| 100 | Stay oh stay why dostt thou Fly mee | John Wilson | ||
| 101 | I wish noe more thou wouldst loue me | Text only | ||
| 102 | Sweet hart come & kiss me | Text only | ||
| 103 | I tell the [ = thee] Dicke that I haue beene | John Suckling | Text only | |
| - | Three blank pages | |||
| 104 | I tell thee Jack thou hast given the king | Text only | ||
| 105 | I tell thee Foole | John Suckling | Text incipit only | |
| 106 | Fly fowle soule to some forsaken hill | From an unidentified masque | ||
| 107 | Draw nott to nere, unless you dropp a teare | William Strode | Text incipit only | |
| 108 | Come hither you yt loue and heare mee sing | Robert Johnson | Francis Beaumont and John Fletcher | From the drama The Captain ; attribution added in later hand |
| 109 | Away delight goe seeke som other dwelling | Robert Johnson | Francis Beaumont and John Fletcher | From the drama The Captain |
| 110 | Aye mee I haue loued Longe | Text incipit only | ||
| 111 | The answeare to Aye me | Listed in Cattalogue but missing from space provided for no. 111 | ||
| 112 | Sullen Care why dost thou keepe | William Lawes | ||
| 113 | Fill fill the bowIe the Lustie wine will dye | William Lawes | ||
| 114 | I am confirm'd a woman can | Henry Lawes | John Suckling | |
| 115 | There was a Lady faire and kind | |||
| 116 | Three mery ladds mett at the Rose | Text only | ||
| 117 | Reioyce all England & be merry and gladd | Text only | ||
| 118 | Long haue mine eies gaz'd with delight | Thomas Campion | ||
| 119 | When I cam first to London towne | |||
| 120 | With an old song made by an old antient pate | Text only | ||
| 121 | Of all the scienses vnder the sunn | |||
| - | One blank page | |||
| 122 | The Lastt nightt as I Lay in bed | Text incipit only | ||
| - | One blank page | |||
| 123 | Noe mominge red | William Davenant | From the drama Love and Honor; text incipit only | |
| 124 | You yt in Cupids nette | Text incipit only | ||
| 125 | Are you growne soe Fond & stupi[d] | Text incipit only | ||
| 126 | Are you growne soe mellencolly | Text incipit only | ||
| 127 | I am nott Ilfauourd [=ill favored] | Text incipit only | ||
| 128 | You godd yt walke | Text incipit only | ||
| - | One blank page | |||
| 129 | Blind Fortune iff thou wantt a guide | Text incipit only | ||
| 130 | Faire ssate ye muses yt in well chimd uerse | James Shirley | Text incipit only | |
| 131 | Amongstt ye 9 Castillian sisters | Text incipit only | ||
| 132 | How ill doth he deserue a Louers name | Henry Lawes | Thomas Carew | bass incomplete |
| 133 | Bid me but live and I will live | Henry Lawes | Robert Herrick (poet) | |
| 134 | Keepe on yor vayle and hide yor Eye | Henry Lawes | William Strode | |
| 135 | I seeke her that flyes me | |||
| 136 | 0 nowe the certaine cause I knowe | Henry Lawes | William Cartwright | treble only |
| 137 | Ould poets Hypocreene admire | Henry Lawes | Thomas Randolph | |
| 138 | Silly hartt Forbeare | Text incipit only; listed in Cattalogue as Stay silly hearte; entire song at No. 214 | ||
| 139 | Spend thy time som other way | Text incipit only | ||
| 140 | I Faine would Loue my Celia too dayse more | |||
| 141 | Gather your Rosbuds whilstt you may | William Lawes | Robert Herrick (poet) | |
| 142 | When I goe to reuill in ye nightt | Text incipit only | ||
| - | One blank page | |||
| 143 | My greiffes allas [you see are such] | Text incipit only | ||
| 144 | A Begger gott a beadle | Martin Parker | Text incipit only | |
| - | One blank page | |||
| 145 | The bestt off poetts write off Froggs | Text incipit only | ||
| - | One blank page | |||
| 146 | Listen Lordings to my story | Text incipit only | ||
| 147 | Late as I walked through Cheapside | Text only | ||
| 148 | Lye still my deare [why dost yu] | Text incipit only | ||
| 149 | I loue thee once I loue noe more | Robert Aytoun | ||
| 150 | Away False Loue [Ile never more] | Text incipit only | ||
| 151 | 0 mostt Crewell Crewell Faire | Text only | ||
| 152 | You sliuer nimphes [and rurall] | Text incipit only | ||
| 153 | In darckest shades I livd and blackest night | Incomplete | ||
| 154 | Viewst thou that poore penurious payre of Louers | John Wilson | ||
| 155 | Boast not blind boy that I'me thy prize | John Willson | ||
| 156 | Doest see how vnregaurded now | John Atkins? | John Suckling | |
| 157 | I can loue for an hower | John Atkins? | ||
| 158 | Ladyes I doe heere preesent you | |||
| 159 | Looke not on mee wth those eies | |||
| 160 | Powerfull Morpheus let thy charmes | William Webb | ||
| 161 | Oh tell mee Damon canst thou proue | |||
| 162 | I can not call my Mistris faire | |||
| 163 | Victorious beauty though yor eies | William Webb | Aurelian Townshend | |
| 164 | It is a punishment to loue | Abraham Cowley | From the drama Love's Riddle | |
| 165 | As life wt is soe sweete | William Webb | ||
| 166 | Since 'tis my fate to be thy Slaue | William Webb | ||
| 167 | Thou that lou'dst once now lou'st noe more | Robert Aytoun | ||
| 168 | Weepe noe more ://: my wearied eyes | Nicholas Lanier | Thomas Campion? | From the Masque for the Marriage of the Earl of Somerset and Lady Frances Howard; same melody as the song Bring away this sacred tree |
| 169 | I loue alas but can not shew it | John Wilson | treble only | |
| 170 | Since Loue hath brought thee and I haue caught thee | John Wilson | treble only | |
| 171 | Faith be noe longer coy but letts enioy | William Lawes | ||
| 172 | Iff when I dye to hells etemall shade | William Fowler | ||
| 173 | Once I lou'd ye Fairestt Lass | |||
| 174 | If thou wilt loue me I'le loue thee | Listed in Cattalogue but missing in ms.; song given at no. 216 | ||
| 175 | When the cleare Sunn with his beames hott | John Wilson | ||
| 176 | In a vale with flowretts spangled | John Wilson | ||
| 177 | To the old longe life and treasure | Ben Jonson | From the drama The Gypsies Metamorphized | |
| 178 | Pleasure, bewtie youth atend yee | William Lawes | John Ford | From the drama The Lady's Trial |
| 179 | Still to bee neate, still to bee drestt | William Lawes | Ben Jonson | From the drama Epicœne, or The silent woman |
| 180 | Whatt though my mistres frowne on mee | |||
| 181 | lIe nott repine though shee bee proud | same tune as No. 180 | ||
| 182 | Iff ye quick spirett in your eye | Henry Lawes | Thomas Carew | |
| 183 | Dearestt all faire is in your brow | William Lawes | ||
| 184 | Tell mee noe more her eyes are like | William Lawes | ||
| 185 | Thou yt excellestt, & sweeter smellestt | William Lawes | ||
| 186 | Beegon thou fatale fierey feauour | |||
| 187 | Fair archibella, to thine eyes | John Tailor | ||
| 188 | Noe noe, I neuer was in loue | Henry Lawes | ||
| 189 | Noe more thou litle winged archer | Thomas Wortley | Text only | |
| 190 | Againe, thou wittie cruell wanton | Text only | ||
| 191 | Noe more Clarinda shall thy Charmes | |||
| 192 | Oh stay by mee, doe nott fly mee | |||
| 193 | Deare lett mee now, this eu'eninge dye | William Davenant | Same tune as No. 42 | |
| 194 | Cloris now thou artt fled away | Henry Lawes | Henry Hughes | |
| 195 | May I find a woman faire | Francis Beaumont and John Fletcher | Text only | |
| 196 | Upp ladies up, prepare your takinge faces | William Lawes | ||
| 197 | Haue you obseru'd ye hermitt, when hee runns | John Gamble | ||
| 198 | By all thy glories willingly I goe | Henry (or William) Lawes? | Thomas Jordan | |
| 199 | I loue thee for thy ficklenes, and greate inconstancie | Henry (or William) Lawes? | ||
| 200 | Suppose her faire, supose I know'itt | William Lawes | ||
| 201 | Whatt spell houlds thee my sunn from risinge | John Gamble | Edward Filmer, translator | Text only |
| 202 | How was amintas blestt, whos death butt fained | John Gamble | Edward Filmer, translator | Text only |
| 203 | Siluia, nott longe since halfe afrighted | John Gamble | Edward Filmer, translator | Text only |
| 204 | To your sportts & delights yee blith lasses | John Gamble | Edward Filmer, translator | Text only |
| 205 | Know my dear Idoll Cloris, yt all zealous | John Gamble | Edward Filmer, translator | Text only |
| - | No song listed in Cattalogue nor in manuscript | |||
| 206 | Noe I will sooner trustt ye wind | Charles Coleman | Thomas Stanley | |
| 207 | On this swellinge bank | Henry Lawes | Thomas Stanley | |
| 208 | Lett other bewties haue the power | Text only | ||
| 209 | Lett other buttkes [= buttocks] haue ye power | Text only | ||
| 210 | Wronge nott deare empriss off my hart | Robert Aytoun | ||
| 211 | Wea'rtt thou more fairer then thou art | Thomas Stanley | ||
| 212 | Neither sighes nor teares nor mouminge | Nicholas Lanier | Attributed to Nicholas Lanier in printed sources | |
| 213 | Silley hartt forbeare those are murdringe eyes | Nicholas Lanier | ||
| 214 | When Loue wth unconfined wings | Richard Lovelace | Text only | |
| 215 | Iff thou wiltt loue mee ile loue thee againe | |||
| 216 | Com dear phillis letts bee goeinge | |||
| 217 | God off warr to Cupid yield | James Shirley | From the drama Love Tricks, or The School of Compliment | |
| 218 | You thatt sportt like uenus doues | Text only | ||
| - | Next thirty-four items incorrectly altered in Cattalogue to 30020, etc. | |||
| 219 | Why should'stt thou sweare I am forswome | Thomas Charles | Richard Lovelace | |
| 220 | Com prethee fancie letts consultt | Text incipit only | ||
| 221 | Iff to bee absentt were to bee, away from thee | Henry Lawes | Richard Lovelace | |
| 222 | Why sligh'stt thou her whome I aproue | John Atkins? | Henry King | |
| - | Continuation of No. 223 | |||
| 223 | Unfould thine armes and lett mee goe | Henry Lawes | ||
| 224 | Though Cupid bee a god alas hees butt a boy | Henry Lawes | ||
| 225 | Hee yt will courtt a wench yt is coy | Text incipit and stanzas two and three only | ||
| 226 | Prodegale faire beef ore to Late | |||
| 227 | Bringe us up sum sacke and clarett | John Gamble | ||
| 228 | I pray you louers giue mee leaue | |||
| 229 | Tormentt off absence and delay | John Gamble | Thomas Stanley | Treble only |
| 230 | With endles teares yt neuer cease | Robert Johnson | ||
| - | Two blank pages | |||
| 231 | A shepherd satt and did complaine him | |||
| 232 | Greatt and proud iff shee deride mee | |||
| 233 | Oh mee ye time is com to pass | |||
| 234 | Come oh com I brooke noe stay | Henry Lawes | William Cartwright | From the drama The Ordinary |
| 235 | Hee yt did euer scome Loues mightt | Robertt Smith | ||
| 236 | Shee wch would nott, I would choose | Robertt Smith | Thomas Randolph | |
| 237 | Keepe on your vaile & hide your eye | Henry Lawes | William Strode | Same as no. 134 |
| 238 | Oh now I find tis noughtt butt fate | Henry Lawes | Henry Hughes | |
| 239 | Poore pensiue I orecharg'ed wth woe | Henry Lawes | ||
| 240 | Oh giue mee Leaue to gaze a while | |||
| 241 | You blushinge roses happie are | William Webb | William Habington | |
| 242 | Yes I could Loue could I butt find | Thomas Brewer | ||
| 243 | Tell nott I dye, or yt I liue by thee | Thomas Brewer | John Tatham | From the drama Ostella |
| 244 | Shall I thinke beecause som Cloud | James Shirley | ||
| 245 | Whatt charmes thou hastt faire nimph | William Webb | ||
| 246 | Looke backe Castara from thine eye | William Webb | William Habington | |
| 247 | Marke how ye bashfull morne in uaine | Nicholas Lanier | Thomas Carew | Treble only; attributed to Nicholas Lanier in printed sources |
| 248 | When bleatinge Lambs shall Chase ye hungrey fox | |||
| 249 | Greaue nott deare Loue, although wee often part | Henry Lawes | George Digby, 2nd Earl of Bristol | |
| 250 | Rose buds thats gather'd in ye springe | John Gamble | ||
| 251 | Why should you bee soe full of spigh'tt | Text incipit only | ||
| 252 | Oh my Clarissa thou Crewell faire | William Lawes | ||
| 253 | Drowsie sun, why dostt thou stay | Thomas Brewer | ||
| 254 | When I by thy faire shape did sweare | William Lawes | Richard Lovelace | |
| 255 | Phillis bring those willowes heither | Text only | ||
| 256 | As on a day Clorinda faire was bathinge | Henry Lawes | ||
| 257 | Shall I Like A hermitt dwell | Robert Johnson | ||
| 258 | 0 thatt mine eyes coold meltt into a floud | Thomas Brewer | ||
| 259 | Little Loue serues my turne tis soe infflaminge | Henry Lawes | ||
| 260 | When ye unfetterd subiectts off ye seas | John Atkins? | ||
| 261 | When ye Chill Charockoe blowes | John Atkins | Thomas Bonham | |
| 262 | Thou dregg's off Lethey oh thou dull | |||
| 263 | Lett nott thy bewty make thee proud | Henry Lawes | Aurelian Townshend | |
| 264 | How Coole and temprate am I growne | Henry Lawes | ||
| - | Cattalogue at beginning of manuscript ends here | |||
| 265 | Bewtie and Loue once Fell att odds | Text only | ||
| 266 | The springe is Cominge on | Text only | ||
| 267 | Change platonickts Change For shame | |||
| 268 | How happy art thee & I | Henry Lawes | ||
| 269 | Well well tis trew; I am now Falne in Loue | Alexander Brome | ||
| 270 | See see how careles men are growne | Henry Lawes | ||
| 271 | Who shall now grace our plaines | Text only | ||
| 272 | My deare and only Loue take heed | |||
| 273 | When Loue was younge and men were strange | Treble only | ||
| 274 | Ladies adue, noe more my eyes shall wander | John Gamble | ||
| 275 | Stay, stay, prate noe more | Alexander Brome | Poem without musical staff | |
| 276 | Iff thou do'st Loue mee as thou saistt | Henry Lawes | Treble only | |
| 277 | How Cloris Can I ere beeliue | Henry Lawes | Charles Cotton | |
| - | One blank page | |||
| 278 | O'fftt haue I swome I'de neuer Loue | Henry Lawes | Henry Hughes | attributed to John Wilson in manuscript |
| 279 | Did you know whatt greefe I tooke | Text only | ||
| 280 | Shees gone, and yett thes woods apeare | John Wilson | for two voices | |
| 281 | Renounce this humour and atend | Dialogue; treble only | ||
| 282 | You thatt are happie in your loues | Text only | ||
| 283 | A Chine off beife god saue us all | Edward Coleman | Thomas Flatman | With chorus for two voices |
| 284 | Clorinda when I goe away | |||
| 285 | Ladies Fly From loues smooth tale | Henry Lawes | Thomas Carew | |
| 286 | Whatt meanes this strangeness now off late | Henry Lawes | Robert Aytoun | Treble only |
| 287 | Sett twentie thousand on a row | Treble only | ||
| 288 | Ladies I once say'd you were Faire | Treble only | ||
| 289 | Noe man loues Firey passion | |||
| 290 | Cloris False loue made Clora weep | John Wilson | For two voices | |
| 291 | Nay prethee doe bee coy & slightt mee | John Gamble | Alexander Brome | |
| 292 | Mistake mee nott; I am nott off yt mind | John Gamble | Alexander Brome | |
| 293 | Ile swer they lye, who say they loue | John Gamble | Henry Bold | |
| 294 | Cloris Forbeare a while, doe nott or'e loy mee | John Gamble | Henry Bold | |
| 295 | Faith doe butt say ye word & I am gon | Henry Bold | Text only | |
| 296 | How Longe shall I a martyr bee | Henry Lawes | Henry Hughes | Treble only |
| 297 | Lett longinge louers sitt and pine | Henry Lawes | Henry Hughes | Treble only |
| 298 | Take heed Faire Cloris how you tame | Henry Lawes | Henry Hughes | Treble only |
| 299 | [Iff] welth could keepe a man aliue | John Gamble | Alexander Brome | For two voices |
| 300 | Com Chase away mad mallencolly | Henry Bold | Text incipit only | |
| 301 | Faire giue mee leaue to loue, or loue to Leaue | John Gamble | Henry Bold | Text only |
| 302 | Stay wilde sinner, Cease thy suite | John Gamble | Henry Bold | Text only |
| 303 | Ladies you loose Yor time, whilstt you're From london | Text only | ||
| 304 | I loue, butt dare nott show'tt | |||
| 305 | All ye materialls are ye same | |||
| 306 | Silence your Charminge uoyce Phillis a while | John Gamble | For two voices with chorus | |
| 307 | Now whightt halse [= Whitehall's] in a graue | John Caue | Richard Lovelace | |
| 308 | The mominge doth wastt, to the meadowes lets hastt | John Gamble | ||
| 309 | The blessed shades, unhappy made | John Gamble | ||
| 310 | Off all the rurall liues ther's none surpasses | Text only | ||
| 311 | When Firstt beefore Rosellas Face I lay | John Gamble | ||
| 312 | Fair sinthe'a [= Cynthia] twice six times | |||
| 313 | Since Itt hath bin lately in acted high Treason | Walter Youckney[67] | Alexander Brome | Treble only |
| 314 | Lett whineinge Louers magneffie; To Fortune | John Gamble | Song not listed in alphabetical table | |
| 315 | What will beecome off mee, t'me all; Off Celia | John Gamble | Song not listed in alphabetical table | |
| 316 | Were Celia butt as Chastt as Faire; Off his Faire butt Lightt mistris | John Gamble | Song not listed in alphabetical table | |
| 317 | Tis nott my [Ladies?] Face thatt makes mee Loue her | John Gamble | Alexander Brome | Treble only; song not listed in alphabetical table |
| - | One blank page | |||
| 318 | Fond Louers wt d'yee meane, to Courtt an idle Folly | William Cartwright | Text incipit only | |
| 319 | Loue thee good Faith nott I | Henry Lawes | Henry Hughes | Bass incomplete |
| 320 | Lastt parliamentt satt, & ye speaker did prate | Henry Bold | Chorus incomplete | |
| - | One blank page | |||
| 321 | Sure twas a dreame, how Longe Fond man | Text only | ||
| - | One blank page | |||
| 322 | Tis nott how wittie nor how Free | Aurelian Townshend | ||
| 323 | Spare ye deuoutt adorers off your eyes | Treble only | ||
| 324 | I haue reason to Fly thee | Poem without musical staff | ||
| 325 | Now the states braynes are adle [= addled?] | Henry Bold | Treble only; continues after Song No. 3016 | |
| 326 | Beatt on proud billowes, boreas blow | Roger L'Estrange | ||
| - | One blank page | |||
| 327 | Paintt painte noe more, noe Longer blott | Walter Youckney | Treble only |
Facsimile
A facsimile of the manuscript was published as Drexel Ms. 4257: John Gamble, "His booke, amen 1659", in English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts, vol. 10 (ISBN 978-0-8240-8240-6), by Garland Publishing of New York in 1987, with an introduction by Elise Bickford Jorgens.
See also
Notes
- ↑ Jeffrey Pulver, A Biographical Dictionary of Old English Music, with a new introduction and a bibliography of the writings of Jeffrey Pulver by Gilbert Blount (New York: Da Capo Press, 1973).
- 1 2 3 4 5 Duckles 1948, p. 24.
- 1 2 3 4 5 Jorgens 1987, p. v.
- ↑ Resource Description and Access, rule 6.2.2.7, option c (access by subscription).
- ↑ Duckles 1948, p. 23.
- ↑ Duckles 1948, p. 23. Quoting Parry, Oxford History of Music, vol. 3.
- ↑ Duckles 1948, p. 23. Duckles incorrectly states the date as 1639.
- ↑ Duckles 1953, p. 108.
- ↑ Duckles 1953, p. 22.
- ↑ Duckles 1953, p. 27-28.
- 1 2 Hughes 1945, p. 229.
- ↑ Duckles 1953, p. 44.
- ↑ Duckles 1953, p. 10.
- 1 2 3 4 5 6 7 8 Hughes 1945, p. 215.
- 1 2 Duckles 1953, p. 12.
- ↑ Duckles 1953, p. 14. Jorgens's table of contents assigns this song just the number 222.
- ↑ Highfill, Burnim & Langhans 1978, p. 346. Duckles was unaware of this violinist/composer and spelled his name Yeorknee.
- 1 2 3 4 Duckles 1953, p. 13.
- 1 2 3 4 5 6 Jorgens 1987, p. vi.
- ↑ Willa McClung Evans, "Lawes' Version of Shakespeare's Sonnet CXVI" Publications of the Modern Language Association of America, Vol. 51, No. 1 (Mar., 1936), p. 120–122. She cites Edward Heawood's article, "Papers used in England after 1600," The Library, Fourth Series, xi (1929), p. 263.
- 1 2 Duckles 1953, p. 21.
- 1 2 Hughes 1945, p. 222.
- 1 2 Hulse 1996, p. 11.
- 1 2 Duckles 1953, p. 26.
- ↑ Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 vol. 5 (Carbondale: Southern Illinois University Press, 1978), p. 451.
- ↑ Frederick W. Fairholt, introduction to "The Civic Garland," Early English Poetry, Ballads, and Popular Literature of the Middle Ages (London: Printed for the Percy Society by T. Richards, 1846), p. xi.
- ↑ Catalogue of the Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following days (London: Sotheby, Wilkinson & Hodge, 1877), p. 92.
- ↑ Duckles 1953, p. 28.
- ↑ Duckles 1953, p. 29.
- ↑ Duckles 1953, p. 31.
- 1 2 Duckles 1953, p. 24.
- ↑ Duckles 1953, p. 25.
- ↑ Hulse 1996, p. 10-11.
- ↑ Hulse 1996, p. 24.
- 1 2 Hughes 1945, p. 218.
- 1 2 3 4 Hughes 1945, p. 225.
- 1 2 3 Hughes 1945, p. 226.
- ↑ Duckles 1953, p. 30.
- 1 2 Hughes 1945, p. 224.
- 1 2 Hughes 1945, p. 223.
- ↑ Hughes 1945, p. 224-25.
- ↑ Hughes 1945, p. 217.
- ↑ Duckles 1953, p. 34. Duckles thought that, in the future, more of the texts in the manuscript might be identified as coming from dramas or masques.
- ↑ Duckles 1953, p. 37.
- 1 2 3 Hughes 1945, p. 228.
- 1 2 Duckles 1948, p. 39.
- 1 2 Duckles 1948, p. 30.
- ↑ Duckles 1948, p. 31-32.
- ↑ Duckles 1948, p. 26.
- 1 2 Duckles 1948, p. 28.
- ↑ Hughes 1945, p. 227.
- ↑ Duckles 1948, p. 37.
- 1 2 Duckles 1948, p. 29.
- 1 2 Duckles 1953, p. 33.
- ↑ Duckles 1953, p. 35.
- ↑ Duckles 1948, p. 36.
- ↑ Duckles does not indicate which works in Drexel 4257 are adaptations of these known songs.
- ↑ Duckles 1948, p. 38.
- ↑ Duckles 1953, p. 57ff.
- ↑ Duckles 1953, p. 79ff.
- ↑ Duckles 1953, p. 32.
- ↑ Duckles 1948, p. 33-34. He also bases his categorization on those texts which could be found in Hyder E. Rollins, "An Analytical Index to the Ballad-Entries in the Registers of the Company of Stationers of London," Studies in Philology vol. 21, No. 1 (Jan., 1924), pp. 1–324.
- ↑ Duckles 1953, p. 78.
- ↑ Duckles 1953, p. 42.
- ↑ Duckles 1948, p. 40.
- ↑ Duckles 1953, p. 137.
- ↑ Philip H. Highfill, Jr., Kalman A. Burnim, and Edward A. Langhans, A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 vol. 16 (Carbondale: Southern Illinois University Press, 1978), p. 346.
Bibliography
- Duckles, Vincent (1948), "The Gamble Manuscript as a Source of Continuo Song in England", Journal of the American Musicological Society 1 (2): 23–40, doi:10.1525/jams.1948.1.2.03a00020
- Duckles, Vincent (1953), John Gamble's Commonplace Book: A Critical Edition of New York Public Library MS Drexel 4257, University of California: Ph.D. dissertation
- Evans, Willa McClung (1936), "Lawes' Version of Shakespeare's Sonnet CXVI", Publications of the Modern Language Association of America 51 (1): 120–122, doi:10.2307/458317
- Highfill, Philip H.; Burnim, Kalman A.; Langhans, Edward A. (1978), A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800 16, Carbondale, IL: Southern Illinois University Press
- Hughes, Charles W. (Oct 1945), "John Gamble's Commonplace Book", Music and Letters 26 (4): 215–29, doi:10.1093/ml/26.4.215
- Hulse, Lynn (Feb 1996), "'Musick & Poetry, Mixed': Thomas Jordan's Manuscript Collection", Early Music 24 (1): 7–24, doi:10.1093/em/24.1.7
- Jorgens, Elise Bickford, Drexel Ms. 4257: John Gamble, "His booke, amen 1659, English Song, 1600–1675: Facsimiles of Twenty-Six Manuscripts and an Edition of the Texts 10, New York: Garland Publishing, ISBN 978-0-8240-8240-6
External links
- NYPL catalog record (Classic catalog)
- NYPL catalog record (Bibliocommons interface)
- RISM OPAC: thematic index of Drexel 4257
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