Escolar Documentos
Profissional Documentos
Cultura Documentos
Rev. John Bowie acq. before 5 Jun 1783 South Africa, Cape Town University, Manuscripts and Archives
Department, Bowie-Evans collection, MS Bibliotheca Bowleana f.36r
sold 19 Jan 1790 British Library shelfmark 129.1.14.(2), lot no. 4196
Thomas Allen sold 1 Jun 1795 British Library shelfmark S.-C.S. 27.(8.), lot no. 723, purchased by Edward
Jones
Edward Jones sold 9 Feb 1824 British Library shelfmark S.-C.S.134.(6.), lot no. 552, purchased by Thomas
Thorpe, bookseller
Richard Heber sold 8 Dec 1834 British Library shelfmark S.-C.E.53.(i.), lot no. 1199, purchased by Thomas
Lloyd
Thomas lioyd sold 7 May 1840 British Library shelfmark S.-C.S.227.(10), lot no. 341
Thomas Jolley sold 15 March 1844 British Library shelfmark S.-C.S.25i.(2.), lot no. 845
Thomas Thorpe sold 1850 A Catalogue of most choice, curious and excessively rare books..., no. 375
Thomas Corser sold 13 Feb 1871 British Library shelfmark S.-C.S.644.(1.), lot no. 194, purchased by J.
Pearson & Co., booksellers
Henry Huth acq. before his death A Catalogue of the Printed Books, Manuscripts, Autograph Letters,
in 1878 and Engravings collected by Henry Huth, iii (London, 1880), 782
sold by his son Alfred British Library shelfmark 11902.1.5., part IV, lot no. 4070, purchased
7 July 1914 by Dobell booksellers and sold to a private owner, identity unknown
6th Duke of Portland acq. 1935 from Dobell A Catalogue of a Collection of Poetical, Dramatic and Other Manuscripts on
sale at Dobell's Antiquarian Bookstore (Tunbridge Wells, 1935), no. 24
Nottingham Univ. acq. on loan 1949 from 7th Duke of Portland
accepted by the nation
in lieu of tax 1986 and
allocated to the Dept.
of MSS and Special
Collections, Hallward
Library 1987
the London bookseller, Benjamin White, who was Richard Heber. The volume was subsequently
also responsible for auctioning the contents of included in Thorpe's 1850 Catalogue of most choice,
Bowie's library on 19 January 1790. The volume curious, and excessively rare books...recently pur-
changed hands at least 15 times in the ensuing 160 chased from the sale at Brockley Hall in the county of
years. Among its more notable owners were the Somerset, and from other collections. A note on the
Welsh musician and writer Edward Jones (1752- verso of the first flyleaf—'375 - 10/10/0'—corre-
1824), appointed bard to the Prince of Wales in sponds with his catalogue number and offer price.
1783;6 Richard Heber (1773-1833), who has been Dobell purchased the volume in the Huth auction of
described as 'one of the high priests of early nine- July 1914, selling it on to a private owner, who as yet
teenth century bibliomania';7 and the book collec- cannot be identified. The literary scholar George
tors the Rev. Thomas Corser (1793-1876) and Henry Thorn-Drury (1860-1931) was given access to it some
Huth (1815-78), whose marks of ownership are pre- time after this date, when he noted concordances
served on the front pastedown.8 from the manuscript in his 1874 copy of the anthol-
The volume was also purchased twice each by the ogy Rump: Or An Exact Collection of the Choycest
booksellers Thomas Thorpe (d 1851) and the firm of Poems & Songs, relating to the late times, originally
Dobell.9 Thorpe acquired it for the first time in 1824 published in London in 1662.10 The volume again
from the Jones sale, probably on behalf of his client passed through Dobell's hands in or shortly before
1935, when it was sold for £.16 to the collector William Horton's A Collection of Songs By Severall Masters
Arthur Cavendish-Bentinck, 6th Duke of Portland." (1704). 12
Of the 13 songs that are dated in the manuscript, 12
Thomas Jordan as scribe were written towards the end of the Commonwealth
The manuscript layer of PwViS, which lacks a title- period, between 20 February 1656/7 (no.23) and 19
page, is a fair copy with only a handful of corrections March 1658/9 (no.34). No.33, entitled 'A Catch 1642',
and emendations. The lyrics are written in a neat and must have been composed at the start of the Civil
often compact secretary hand (illus.i). Italic script is War. No.32, 'The Heyre', is dated 8 December 1658,
reserved for titles, proper names and Latin phrases, but there is good reason to believe that the piece was
and to highlight key words. The musical hand is con- written at least a year later (see below).
sistent throughout and may also be that of the tex- Mr Evans of Pall Mall, one of the auctioneers re-
tual scribe. The final 'Eclogue' on pp.104-10 is fol- sponsible for selling the Heber collection, was the
lowed immediately by an anonymous poem, 'Whilst first to suggest in print on 8 December 1834 that
sighting [sic] at your feet I lye', copied towards the PwVi8 was a Jordan autograph." Furthermore, he
end of the 17th century in what appears to be a fe- concluded that a second volume from the Heber sale
male italic hand. Musical settings of this text can be ot 10 February 1836, entitled Divine Poesie, or A Poet-
found in the second book of Comc< Ainoris; or tin1 ick Miscelanie of Sacred Fancies written by T. Jordan,
Companion of Low (London, 1688) and in Francis Cent, was also in the poet's hand. J The latter, which
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PwVi8 includes at least one earlier datable piece Before the second course was served, 'the Consort
sung at a Commonwealth civic banquet: no.29, 'A of Musick play[ed] two or three sutes [sic] of Airs;
Song Consisting of three distinct voyces, with a which being ended, they [made] provision for a
Chorus to each for the Lord Maior's table' ('Come piece of Drollery to be sung in Parts, and Shapes by
let vs Concord', 10 November 1658), was probably ... Hoyden, the Country-man of the West. Freeman,
composed for Sir John Ireton of the Clothworkers the Citizen, [and] Billet the Souldier'.41 Jordan's
Company. It is likely that Jordan's song, dated al- 'piece of Drollery' is akin to the jig or ballad-drama,
most two weeks after the Lord Mayor's Show of 29 and features the traditional country clown. 'Hoyden'
October (John Tatham's Londons Tryumph, pre- seems to have been in use for a rude, ignorant or
ANDREW WOODERSON
EARLY KEYBOARD INSTRUMENTS
Joseph Ebsworth suggested that 'The Noble Prod- form, derived from the jig and comprising several
igal', the ballad version of PwVi8, no.32,'The Heyre verses set to different tunes.68 The names of the six
A Medley of Six Ayres', was composed for a city ban- airs to which the text was sung are printed in the bal-
quet in 1660, and perceptively attributed the piece to lad—'The Jew's Coran[to]\ 'Princess Royal', 'Come
Jordan.65 The 8 December 1658 dating of the medley hither, my own sweet Duck', 'French Tricatees',
recorded in PwVi8 is at odds with the reading of the 'French Tricatees' and 'A new Country-dance'—and
text. Jordan toasts General Monck in the second correspond with the tunes copied in PwViS
verse, but it was not until the winter of 1659 that the (illus.1).6"
actions of the former Parliamentarian officer paved 'The votress', the first of several love poems
the way for Charles IPs return. 'The Heyre' must included in PwVi8 (no.2), appeared in print in 1643
therefore have been written at least a year after the as the ballad 'The Discontented Lover', sung 'to a
date given in Jordan's manuscript: pleasant new court tune'."" The air is not preserved
Heer's a health to him that may
in the Jordan manuscript, though an anonymous
Do an Act that shall setting of the text is to be found in the songbook
Advance yee all Dublin, Trinity College, Ms. 4ii. r '
And beget a very joviall day No.10, The Feaver', was a particularly well-
ffill another bowle to hee
known lyric, made popular by the 1656 ballad ver-
That hath drank by stealth
His Landlord's health"" sion, The Love-Sick Maid; Or, Cordelia's Lamenta-
If his Spirit and his tonge agree tion for the absence of her Gerhard'.;; The poem
The Land will celebrat his fame survives in at least nine English verse anthologies
All the world embalm his name and three music manuscripts dating from the second
Not a royall right good fellow
But will sackify the same.""
half of the 17th century. In 1664 Henry Bold also
published the ballad with his parodies on it in Poems
The Heyre' is a typical example of the medley Lyrique.~s Bold's direction to a 'playhouse tune' led
Copies of the poem, also known by the titles 'The 7 FwVi8, p.61, 'The Love-sott', 'the Ayre by WY:'
drunken Lover' and 'Drunk with Love', survive in at
least five other manuscript anthologies and in the among others, formally welcomed the General to
printed miscellanies Wit Restor'd, Merry Drollery and Drapers Hall and Goldsmiths Hall, and on 13 April at
Merry Drollery, Complete.77 Part of the text was also Fishmongers Hall he delivered Jordan's speech,
sung by Sir John Noddy in the Duke of Newcastle's dressed as 'the ghost of Massianello'.84
comedy The Triumphant Widow, staged in 16747s PwVi8, no.21, 'The Leaguer 2 parts', was set to
The ballad was entered in the Stationers Register on 1 music by Gamble in his second book of Ayres and
March 1675 as'The louers madd fitts [and fancies]'.79 Dialogues as 'Sacks Flavour' (illus.8).85 Jordan's note
Authorship of the text remains in doubt; the work is '2 parts' refers to Gamble's setting for cantus and
not part of Jordan's published canon.80 bassus. The tune in PwVi8 alternates between the
treble and bass clefs as in the printed version of the
Jordan's circle of musicians song, but the bassus part of the closing duet, marked
We can identify 'W.Y.' as the violinist Walter Yock- 'Together' in Gamble's print, is omitted from the
ney (d 1665),81 who was acquainted with Jordan Jordan manuscript. Drexel Ms. 4041, a mid-i7th cen-
around the time when PwVi8 was compiled. Two of tury Royalist songbook associated with the Ferrers of
his songs—'Paint, paint no more' and 'Since it hath Staunton Harold in Leicestershire, contains a copy
been lately enacted high treason'—are included of Gamble's setting, untitled and misattributed to
in Gamble's songbook.82 Moreover, Yockney was 'John Pamball'.86 However, the text differs substan-
involved in at least three of the civic entertainments tially from the version in PwVi8, particularly in the
staged by Jordan for Monck in 1660. His presence third and fourth verses. Jordan's royalist sympathies
may have been due in part to his association with the underlie the latter, but the Ferrers source explicitly
Farriers Company. On 13 November 1637 he was ap- mourns Charles I's execution—'wher many royall
prenticed for eight years to his elder brother, John teares are wept for the king that is gon'—and pro-
Yockney, a freeman of the guild.83 Walter Yockney, claims his son king.
J JJ r r rr
he ownership of PwVi8 by such prominent col- The manuscript not only demonstrates Jordan's
T lectors of early modern English poetry as
Bowie, Heber, Corser, Huth and Portland attests to
relationship with several musicians and composers
working in London in the period from the 1630s
the manuscript's significance as an anthology of to the 1660s, but the presence of his hand in
Cavalier verse. The inclusion of the tunes to which Drexel Ms. 4257 calls for a re-evaluation of
over half the poems were set enhanced its appeal, Gamble's songbook. PwVi8 contains a handful of
and would explain Edward Jones's desire to unique compositions as well as lyrics new to fnusic
purchase the collection in 1795. scholars, and extends our knowledge of the music
For musicologists PwVi8 is a welcome addition written for civic entertainments in Purcell's
to the corpus of 17th-century English song. London.
The research for this article was made 1 The significance of PwVi8 as a Grove; Dictionary of national biography,
possible through a grant from The source of Royalist verse is discussed x, p.986; British Library, S. -.8.134.(6.),
Scouloudi Foundation. I am grateful to in L. Hulse, 'Cavalier songs: Thomas lot no.552.
Dr Dorothy Johnston of the Department Jordan's collection', Renaissance texts
7 S. de Ricci, English collectors of books
from manuscript, ed. J. Maule (Cam-
of Manuscripts and Special Collections, and manuscripts (1530-1930) (Cam-
bridge, forthcoming).
Hallward Library, University of Not- bridge, 1930), pp.102-5; D. Pearson,
2 R. J. Olney, 'The Portland Papers', Provenance research in book history, a
tingham, for allowing me unlimited Archives, 19/82 (1989), pp.78-87. handbook (London, 1994), p.88.
access to Portland Ms PwViS. I would 3 New York, Public Library, Drexel
like to thank the Worshipful Company of 8 W. Y. Fletcher, English book collectors
Ms. 4257.
Goldsmiths for permission to publish (London, 1902), pp.372-6,409-15;
4 Dictionary of national biography ii,
material from their records. Thanks are Ricci, English collectors, pp.149-54.
p.974; R. M. Cox, The Rev. John Bowie:
also due to Prof. Ian Spink, Dr Peter the genesis ofCervantean criticism 9 Pearson, Provenance research,
Holman, Dr Julia Wood and Jeremy (Chapel Hill, NC, 1971)- pp.157-8,167-8.
Maulefor their invaluable comments 5 V0I.7, pp.214-21. 10 Oxford, Bodleian Library, Thorn-
during the drafting of this article. 6 O. Edwards, 'Jones, Edward', New Druryd.29, p.252.
46 London in Luster, p.19. 61 Thomason tracts 669, £11(114), Our Denner recorder is
dated 11 January 1647/8, and 669, f.13
47 Fancy's Festivals, sig. C2r-C3r.
(60), dated 24 December 1648. Also
ideal for the virtuoso
48 Merry Drollery, part I, pp.114-16; known as 'The Rebellion', the text was repertoire of the high
Merry Drollery, Complete, pp.ui-24; printed in Merry Drollery (part 1, Baroque. Made of select
The Loyal Garland, sig. E3r-E4r. pp.156-60), Rump (part 1, pp.291-4) European boxwood with
49 Harleian Ms. 3991, ff.28r-29r. and Merry Drollery, Complete (pp.166-
70). The piece is discussed in M. A. double holes, its clear,
50 MusicksHand-maide(London, Doody, The daring muse: Augustan bright tone, easy response
1663), no.22. poetry reconsidered (Cambridge, 1983), & superb articulation make
51 R. Hutton, Charles the Second King PP-34-5- it the choice of many
of England, Scotland and Ireland 62 PwVi8, p.20, H.11-16. professionals.
(Oxford, 1991), pp.126-31.
63 Stationers Register, ii, p.137,16 July
52 W. L Sachse, The Diurnal of
Thomas Rugg 1659-1661 (Camden
1657; The Bagford Ballads: illustrating
the last years of the Stuarts, ed. J. W.
VON HUENE
Society, 3rd series, vol. xci, London,
1961), p.71.
Ebsworth, 3 vols (Hertford, 1876-80), i, WORKSHOP, INC.
pp.330-34. Ebsworth believed, how-
53 Jordan, A Royal Arbor, pp.1-10; ever, that the ballad dated from 1651. 59-65 Boylston Street
British Library, Thomason tracts 669, 64 Apollo's Banquet (London, [1669]), Brookline, MA 02146 USA
f.24. (49 and 61). no.37. A copy of this rare print can be (617) 277-8690 Ftx (617) 277-7217
54 The following references are taken found in the Wighton collection at
PROVENCE
BIBLIOTHEQUE INGUIMBERTINE - CARPENTRAS
Due to the lack of modern editions, many music The manuscripts from the Bibliotheque Inguimber-
manuscripts are inaccessible to performers. This col- tine of Carpentras, which constitute a unique set of
lection, devoted to 18th century France, is designed works of a remarkable quality, inaugurate the collec-
to fill in this gap and contributes to a valorization of tion, the first of which will be devoted to Provence.
the musical patrimony. Each volume is preceded by an introduction by Marc
It offers to musicians and musicologists facsimiles of Signorile (French/English).
unpublished manuscripts by known and unknown The musical texts are perfectly readable and can be
composers who worked throughout the country. performed directly from the facsimile.
1.- AUDIFFREN.- Magnificat... Fac-simile du ms 11.- ETIENNE.- Dixit a grand choeur et simphonie.
1019. FF 100.- ms 1028. FF 160.-
2.- AUPHAND.- Magnificat, a grand choeur et 12.- FANTON.- Deus venerunt gentes mottet a
symphonic 1783- Fac-simile du ms 1024. FF 175.- grand choeur... Fac-simile' du ms 1026. FF 340.-
3.- AUPHAND.-Magnificat sans symphonic 1758. 13.- HUGUES.- Magnificat en symphonic 1780.
Fac-simile" du ms 1024. FF 115.- Fac-simile du ms 1032. FF 190.-
4.- BELISEN.- Magnificat... Fac-simile' du ms 1025. 14.- LEVENS.- Dixit a 4 sans symphonie. Fac-simile'
FF 340.- du ms 1028. FF 145.—
5.- BERTHON.- Te Deum Laudamus. Compost vers 15.- MALLET.- Magnificat en symphonie et a grand
1786. Fac-simile' du ms 1025. FF 430.- choeur. Copie par Bonnet en avril 1845 pour la Bibio-
theque de Carpentras. Fac-simile du ms 1028. FF 175.-
6.- BLANCHARD, Esprit.- Conserva me Domine,
mottet a grand choeur et symphonic.. Fac-simile du 16.- MONDONVILLE, J.J. Cassanea d c - Cantate
ms 1025'. FF3O5.- Domino... Fac-simile du ms 1029. FF 340.-
7.- BOUDOU.- Beams Vir a grand choeur et sym- 17.- MO1STDONVILLE, J.J. Cassanea d c - Dominus
phonie... Fac-simile du ms 1025. FF 175.- regnavit... Fac-simile du ms 1029- FF 320.—
8.- BOUDOU.- Hymne pour la Dddicace en sym- 18.- MONDONVILLE, J.J. Cassanea d c - Jubilate
phonic.. Fac-simile'du ms 1025. FF 115.- Deo omnis terra, motet. Fac-simile du ms 1029-
FF 340.-
9.- BOUDOU.- Hymne pour les fetes de la Pente-
cote sans symphonic.. Fac-simile' du ms 1025. 19.- MONDONVILLE, J.J. Cassanea de.- Magnus
FF 160.- Dominus, motet. Fac-simile du ms 1029- FF 410.—
10.- BOUDOU.- Litanie de la tres Ste Vierge... Fac- 20.- VALLIERE.- Magnificat a 4. 1788. Fac-simile du
simile" du ms 1025. FF130.- ms 1032. FF130.-
Publication: during 1996-1997. collection a suivre
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