Osborn MS 515, A Guardbook of Restoration Instrumental Music

Osborn MS 515, A Guardbook of Restoration Instrumental MusicAuthor(s): Robert FordSource: Fontes Artis Musicae, Vol. 30, No. 4 (Oktober-Dezember 1983), pp. 174-184Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23505464 .

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174

Osborn MS 515, A Guardbook of Restoration Instrumental Music Robert Ford (Berkeley, California)

The Osborn collection of Yale University's Beinecke Library includes a large group of

musical manuscripts whose importance is only slowly being perceived.1 Osborn MS 515, a

guardbook of bass parts measuring 32.5 by 21.5 cm., has recently received attention as a

source of Lawes, Jenkins and Purcell.2 Unfortunately, MS 515's companion volumes have

been lost, and some of its contents are at present tantalizing fragments of otherwise unknown

compositions. The manuscript's importance remains undiminished nonetheless, and it seems

appropriate to subject it to a more thorough examination than has been previously at

tempted. The recent history of Osborn MS 515 is well documented. The bookplate of W.H. Cum

mings may be seen on folio i, and he has written some notes on folio ii. The current binding also seems to date from the time of Cummings' ownership, though the guard-sheets both

back and front are original. From Cummings the book passed to W.W. Manning (a note of

his dated 'August 5,1948' is kept with the volume) and thence to the Osborn collection. Any obvious clues about the previous owners seem to have been lost with the covers.

Scattered throughout MS 515 are various fanciful claims that this or the other work is in

the hand of Blow, Purcell, Humfrey or Croft. These seem to be Manning's notations, not

Cummings', as Diane Boito believed.3 Cummings' assertions, on folio ii, to which Manning has added some of his own, are limited to assigning to Purcell the copying of folios 8, 9, 19

and 20 and the note "Ex:" on folio 33. Recently, Alan Browning has maintained that folio

19 is indeed an autograph from Purcell's earliest years —

though without mentioning Cum

mings' having previously recorded this or that the other pages are in the same hand.4 As

suredly both of these facts are worthy of notice. While I see no reason for assigning the nota

tion on folio 33 to Purcell, and folio 8 is certainly not in his hand, folios 9, 19, 20 (the Pavin

only), and 20' were undeniably copied by the composer. An important point not mentioned

by Browning, and to which we will return, is that none of the ascriptions to Purcell are the

composer's; all are in the hand of the volume's compiler. The handwriting on folio 20 and its

verso is less bold and just possibly slightly later than that on folios 9 and 19. We shall return

to Purcell's contributions to this manuscript after an analysis of the other contents and their

scribes.

Six men were involved in copying the various single sheets, bifolia and larger signatures which have been bound to create MS 515 as it now exists. A great number of different papers were used even in those sections copied by the compiler who wrote the index and annotated

throughout the book. Clearly these disparate elements were brought together only after hav

ing been copied or acquired by this man over a long period of time. I give as Appendices I

and II transcripts of the compiler's index as found on folio 1' and my own more detailed

analysis of the manuscript's contents.

1 See Diane Boito's Manuscript Music in the James Marshall and Marie-Louise Osborn Collection, in: M LA Notes 27,2 (Dec. 1970), pp. 237-244. 2 See Andrew Ashbee's John Jenkins, 1592—1678, and the Lyra Viol, in: MTcxix, no. 1627 (Oct. 1978), pp. 840—43, David Pinto's edition of William Lawes, Consort Sets in Five and Six Parts (London: Faber, 1979), Michael Tilmouth's review of this edition in MT cxxi, no. 1649 (July 1980), pp. 446-7, and Alan Browning's Purcell's "Staire Case Over ture", in: MT cxxi, no. 1654 (Dec. 1980), pp. 768—69. Gloria Rose mentions this source in her A New Purcell Source, in: JAMS XXV, 2 (Summer 1972), pp. 230-36. 3 Cf. note 1. 4 Cf. note 2.



Robert Ford: Osborn MS 515 175

Scribe A, who copies Matthew Locke's 'Curtaine Tune' from the Tempest (1674) on folio

1, is one of the several copyists represented in Yale University's Filmer MS 7, a bass book of

theatre tunes and such like. On folios 21'—24 of that manuscript Scribe A copies the first ten

pieces of Locke's music to the Tempest, oddly enough ascribing the works to Locke at the

beginning and to Robert Smith at the end. (This last was probably just a slip, as other works

of Smith are in close proximity.) This manuscript can be dated with some certainty to the

year 1674, the date of the works' composition, and folio 1 of MS 515 is certainly coeval. The

readings of the two copies of the 'Curtaine Tune' match exactly and, moreover, differ from

those in the printed version.

Portions of Filmer MS 7 are in the hand of Sir Robert Filmer, second baronet, of East

Sutton, Kent, who was an avid amateur musician and a frequenter of the London social and

cultural scene. The Kentish connection — Filmer, his manuscript and Osborn MS 515 — is

noteworthy, as we shall see. It was normal for 'countrymen' to associate with each other, even when in the metropolis. And then again, the Filmers knew many of the prominent musi

cians at the Kentish cathedrals of Canterbury and Rochester, besides patronizing such Lon

don musicians as William Turner and Francis Forcer.5

Scribe B, who copies on folio 8-8' a set of theatre tunes ascribed (but only in the compiler's

index) to Robert Wren, is none other than the composer himself, as a comparison between

the script of these folios and that of a petition from Wren to the Dean and Chapter of Canter

bury Cathedral shows.6 For indeed, there is another Kentish connection here. Wren spent his whole career at Canterbury. He was born there in 1654, served as a chorister at the

cathedral from 1662 to 1671, as a substitute from 1671 to 1672, and as a lay clerk and organist from 1672 until his death in 1691. His only other known compositions are a service and three

anthems partially preserved in the cathedral's manuscripts (one of which can be completed from its other source, Tenbury MSS 1176-1182) and a song ('Mine own Sabina') on folio 15'

of BL Add. MS 29397 which was printed anonymously in Playford's Choice Songs and Ayres of 1673 (Day and Murrie 35 and 40/42). Wren's sacred compositions may be dated to the late

1670s or early 1680s by their positions in the Canterbury manuscripts, and the archives there

show in any case that by the mid-1680s he was no longer a well man. Thus it is quite likely that the tunes in MS 515 were a product of the earlier 'secular' period

— the mid-1670s, dur

ing which it is possible Wren tried to make his way in the London musical world, but without

success.

Scribe C, who copies the Act Music to Henry Purcell's Timon of Athens (1694?) and a set

of as yet unidentified playhouse tunes by Daniel Purcell on folios 15 to 18, writes consider

ably later than Scribes A and B, and thereby expands the time during which Osborn MS

515's compiler must have been active. The scribe, whose name is not known, was one of the

more important professional copyists in London during the decade before and the decade

after the turn of the century. Notable among his various manuscripts are the music by Daniel

Purcell (in Tenbury MS 1175, Purcell's score) to John Oldmixon's The Grove, or Love's

Paradise (1700) in RCM MS 988 and the same composer's Ode on the birthday of Princess

Ann of Denmark (later Queen Anne) of 6 February 1699/1700, "Again the welcome morn

we sing" in BL Add. MS 30934. In this last the scribe collaborates with the composer himself,

filling in some parts of the preliminary Trumpet Sonata and copying most of the Ode after

folio 39'. Furthermore, parts of the printed series of theatre music, Harmonia Anglicana,

issued by John Walsh in the first decade of the eighteenth century, were either engraved by or after the manner of Scribe C, who thus may well have been a copyist in the establishment

of the publisher.7 The two bifolia in Osborn MS 515 are quite probably commercial 'copy to

5 My forthcoming book on the Filmers and their collection will discuss these matters at greater length.

6 Canterbury Cathedral Dean & Chapter Manuscripts, Fabric Box, document 26, undated.

7 For a list of the contents of Harmonia Anglicana, see Curtis Price, Music in the Restoration Theatre (UMI Research

Press, 1979), Appendix II, A List of Sets of Act Music published by John Walsh 1701-1710, pp. 237-43.1 know of no

detailed study on the musical engravers and copyists who worked for Walsh.



17(5 Robert Ford: Osborn MS 515

order' manuscripts of the sort Walsh frequently supplied. Scribe C may also have been as

sociated with the Theatre Royal, Drury Lane, the source for most of the music in Walsh's

series as well as the establishment to which Daniel Purcell was for a time attached as 'house

composer.' All of this serves to show that the compiler of Osborn MS 515 was clearly still

actively engaged in music-making c. 1695—1705, despite the presence of music and copies from the 1670s.

Of Scribes D and EI have little to relate. David Pinto has found D's William Lawes copies

very useful in his edition of the Consorts for five and six parts, but neither he nor his reviewer

(Michael Tilmouth) has advanced any evidence about the provenance or date of these signa tures (as opposed to those of the manuscript as a whole). Scribe E's two sets of Jenkins'

pieces for a 'Treble and two basses' (actually for treble, lyra and bass, apparently) and for a

treble, two lyras and bass, have yet to be found elsewhere. Andrew Ashbee thinks them

good examples of Jenkins' latest style.8 Osborn MS 515's compiler himself added a number of different items to his guardbook

before binding it up. The two works from Kircher's Musurgia Universalis attest to a certain

degree of education on their copyist's part; he supplies a Latin heading for them. Among the

modern works he includes are the otherwise unknown sonatas by Anthony Poole (one of

them on the same bifolium as the hit tune, 'Mortali che fate') and pieces by Nicola Matteis.

From two older generations (musically at least) there are Purcell's 'Chaconne' from The Gor

dian Knot Unty'd (1691) and sonatas and dances by Diedrich Becker, some, but not all, from

his Musicalische Frülings-Früchte (Hamburg 1668). A version of Jenkins' Newark Siege in

the compiler's hand recalls an even earlier era.

The span of time covered by the contents of MS 515 is notable enough, but the diversity of the performance media required by its pieces is even more peculiar to this book. There

are in this 'bass' part figured and un-figured thorough-basses, some almost certainly in

tended, at least originally, for the basse de violon (though these were of course easily enough

adapted to the bass viol), and there are obbligato gamba parts (as in the 'Staircase Overture') more or less independent of the fundamental bass. And then there is genuine consort music

for viols. Two points are implied. Firstly, the eclecticism of the compiler in his taste for the

music of and probably his performing ability on instruments of various sorts. And secondly, the variability of the society that made up his consort. This was an era of transition. Neither

the chest of viols nor the component parts of the trio sonata texture was so well established

as to dictate a 'norm' for musical gatherings. It was to this uncertainty and instability that

Restoration music and music-making owed so much of its vigour.

Although it has not proven possible to identify the compiler and principal scribe of MS

515, it can now be shown who owned the volume immediately after him. The 1777 auction

catalogue of the musical prints and manuscripts of William Gostling, minor canon of Canter

bury Cathedral, includes as part of Lot 13 of the second day's sale: 'Jenkins's, Purcell's, &c.

&c. Sonatas and Overtures, with Kircher's extolled Sonata, MS.'9 This description fits the

Osborn manuscript extraordinarily well - certainly few enough volumes of the time would

have combined these composers' works. It seems probable that the manuscript had previ

ously been in the possession of the Reverend John Gostling, William's famous father, though there are no traces of his handwriting in the volume. John Gostling was a favourite bass

singer at the Chapel Royal, and was also a minor canon of both St. Paul's and Canterbury Cathedrals until his death in 1733. Gostling's viol-playing proclivities are germane to the

8 Cf. note 2, Pinto, Tilmouth and Ashbee. I'd like to thank Dr. Ashbee for sharing some of his thoughts on these pieces and this manuscript with me. The incipits for the Jenkins works appear in the Viola da Gamba Society of Great Britain's Thematic Index of Music for Viols (first instalment), compiled by Gordon Dodd (1980), on p. 60 of the section devoted to Jenkins. 9 A Catalogue Of the Scarce, Valuable and Curious Collection of Music, Manuscript and Printed, Of the Reverend and Learned William Gostling . . . Which will be sold by Auction, By Mess. Langford . . . On Monday the 20th of this Instant May 1777, and the following Day. Only copy at the British Library, Hirsch IV. 1083. See p. 14.




issue at hand. The well-known anecdote given by Sir John Hawkins accords well with the

presence of 'old-fashioned' works by Lawes and Jenkins:

The reverend Mr. Subdean Gostling played on the viol da gamba, and loved not the instrument more than Purcell hated it. They were very intimate, as must be supposed, and lived together upon terms of

friendship; nevertheless, to vex Mr. Gostling, Purcell got some one to write the following mock

eulogium on the viol, which he set in the form of a round for three voices.

Of all the instruments that are, None with the viol can compare: Mark how the strings their order keep, With a whet whet whet and a sweep sweep sweep; But above all this still abounds, With a zingle zingle zing, and a zit zan zounds.10

I would suggest that the compiler of Osborn MS 515 was an educated friend and fellow

consorteer of John Gostling's in London/Westminster or Canterbury. Gostling could well

have served as intermediary in the transmission of Robert Wren's little-circulated music to

London, as he became a gentleman of the Chapel Royal in 1679, and had been known in

metropolitan circles for at least four or five years previously. Or Robert Wren may have en

joyed Gostling's hospitality in London. Scribe C was definitely a Londoner, and Scribe A, despite his Filmer connections, was as likely a denizen of the capital as not. But it remains a

possibility that our educated (clerical?) compiler was not an official at the Chapel Royal or

St. Pauls, but a Minor Canon or Prebendary of Canterbury Cathedral. Presumably then, Os

born 515 passed to John Gostling after the original owner's death - sometime in the first

two decades of the eighteenth century? - and he in turn left it, along with the rest of his

books and music, to his son William.11 This compiler, whoever he was, must have been active

as early as the mid-1670s, given the presence of early Purcell autographs, and he must have

continued so into the first decade of the eighteenth century.

A few more notes on the works ascribed to or copied by Purcell in Osborn MS 515 are

apropos. 'The Staire Case Overture' discussed by Alan Browning provides a good starting

point. Philip Hayes, copyist of the Tatton Hall source for this work, is known to have ac

quired a number of Gostling's manuscripts at this sale.12 It is not improbable that MS 515

was among these, along with its companion partbooks; Browning notes the near identity of

the readings between the Osborn original and the Hayes transcription.13 But as we noted at

the beginning of this account, all of the ascriptions to Purcell in this manuscript are in the

handwriting of the compiler. Can we trust him? Are this Overture or the otherwise unknown

works either ascribed to Purcell or in their proximity, including those copied by the compiler,

also his?

Obviously, these questions of ascription cannot be definitively answered as things stand

now. A contemporary musician, unlike a modern antiquary, would have had little reason

willfully to misattribute these works. But then perhaps his memory was uncertain, even re

garding a man whose later fame was so great. These could after all be Purcell's copies of

other men's music — several other examples of which are known. My inclination, however,

is to believe that these bass parts are authentic examples of early Purcell, materials used at

10 In the first edition, 1776, Volume IV, p 505; Book XVI, Chapter CLV. 11

My dissertation, Music and Musicians at Canterbury Cathedral, 1660 to 1760 (University of California, Berkeley:

1983) includes a great deal more information on the Gostlings, their lives, musical collections, and milieu. 12 Folio 78' of BL Add. MS 30931, first volume of the Flackton Collection, includes a note by Flackton: 'This Copied

from a M.S. in the Revd Mr. Jno. Gostling (sic) possession & of Mr. Purcells hand writing. 1776 W.F.' To this is added:

'Now in my possession Phil: Hayes.' 13 The catalogue of the sale of the libraries of Philip and William Hayes, however, does not seem to have any refer

ence to the set of which Osborn 515 was part. (Copy at the British Library, C.61.h.l, vol. 2, no. 1 has the purchases

of G.F. Smart marked.) Several items in this catalogue are or can be identified as stemming from Gostling's collection.

Though it remains possible that Hayes copied the Tatton Hall manuscript of the 'Staire Case Overture' from the books

while they were in another's possession, it should be noted that the sales catalogue noted above contains few instrumen

tal works, which suggests that another private sale may have taken place.



178 Robert Ford: Osborn MS 515

the private meetings at which both he and Osborn 515's compiler - and probably Gostling

as well at some point — were present. For one thing, the bass lines are more than sufficiently

wayward in places to be the product of the ambitious and imaginative young composer of the

early anthems and the viol fantasies. To this end I supply the incipits of the suspect works in

case anyone should have the good fortune of matching them with their treble parts (Appen dix III).

It is engaging to hypothesize a period — c. 1675 -1680 — during which Purcell was as hard at work learning the more approachable instrumental styles of the Lullian Overture and the

string symphony in verse anthems as he would later be at pains to search out the intricacies

of the polyphonic style of the Fantasias. We can easily imagine a score-book filled with Over

tures, 'Pavanes' and their accompanying tripla, from which the separate parts now surviving were copied for trial performances. Having attained mastery at the one level, the young Pur

cell would naturally have moved on to the next, leaving behind his days of composing inde

pendent orchestral movements just as he later left off the writing of viol works, his artistic

palette enriched by both.

APPENDIX I — Compiler's Index, folio i'

Curtain-tune. Mat. Lock 1. 2. Sonata's out of Kircher 2. 2. Sonata's. Poole 5. Ouverture, & set of Ayrs. Rob. Wren 8 4. Pavans & Chicones. Hen. Purcel. 9. Newark set. a.4. Jo. Jenkins 13.

Ayrs. Henry & Dan. Purcell 19. Pavins &c. Hen. Purcell 19. Sonata's a 5. Becker 21. Nicola's Ground, a 4. 23. Sonata & Ayr. a 4. Nicola 24. Sonata's. Ayrs &c. a 3. 4. & 5. Becker 25 Fancyes, Pavins, Ayrs. a 5. W. Lawes. 35 Base, Treble, 2 lyra's. 14. Jo. Jenkins. 44. 29. Treble 2 bases, divisions. J. Jenk. 49.

APPENDIX II - Analytical List of Contents and Notes on Papers*

Handwriting W.H. Cummings Bookplate Compiler's Index Note by Cummings, with additions by W.W. Manning blank

Bass Curtaine Tune Mr. Math: Locke A To The Tempest, 167414

* The compiler's annotations to works he did not copy himself are indicated in the section headings by their placement within parentheses. Comments by Cummings and Manning have been omitted. The identity of the scribe of each sec tion is indicated in the right-hand column. I have thought it necessary to include as much description of works otherwise not known to me as possible, hence the notes on tonalities and time signatures. In these descriptions, commas divide movements, but not sections within them. Finally, where the reference is to 'Dodd', see note 8 for the full publication data on the Viola da Gamba Society Index edited by Gordon Dodd. 14 See Peter Dennison's edition of Matthew Locke, Incidental Music to the Tempest (OUP, 1978.) The significant vari ants between the Filmer manuscript and the Osborn manuscript and the print should be taken into account in per formances of this work. One of the most notable of these is the presence in the first two sources of low Bbs in the 'Curtaine Tune'. These strengthen the comparisons Browning makes between this work and the 'Staire Case Overture', which also plumbs these depths. (The Filmer MS even calls for a low A in the 'Lilk'.)




V blank

2 Desumpt. ex Kirchero. pro cantu omnib[us] numeris absoluto Bass[us] 3. parts. Compiler

From Athanasius Kircher, Musurgia Universalis sive Ars Magna consoni et dissoni. . . (Romae: ex Typographia Haeredem Francisci Corbelletti,

MDCL), I, pp. 311-313: "Paradigma Melothesias omnibus numeris absoluta."

2V—3 a.4. Bassus 4 parts: Compiler

Idem, I, pp. 487-494: "Paradig. 1 Symphonia pro chelybus omnibus numeris absolutissima", by "D. Gregorio Allegri."

blank

(title to folio 4V:) Sonata. A. Poole. a.3. Compiler

Poole. a.3. Compiler

An apparently unique piece by Anthony Poole in 4 C Major sections:

<£ (3 strains), 3i, <f; figured bass. Cf. Groves VI and Dodd, Poole.

5V, 4 Mortali che fate Compiler

Anonymous Canzonet for SSB Chorus and Bass with Basso Continuo verses.15

6 blank

6V—7 (Poole; cf. compiler's index) Compiler

Another Sonata by Poole, in 7 A Major sections: 3i, <t, (<t) 'Adagio'

(2 strains), 'largo' 2> 4. figured bass.

T blank

8-8" (compiler's index: Ouverture. & set of ayrs. Rob. Wren). Bassus In D: B (Wren)

5 pieces, 1—4 in d minor, 5 in F Major: 3i, 'Ouverture' élit.*.?,.

'Roundo' j.. All unique.

9 Pavana / Allegro (compiler's ascription: H. Purcell.) Purcell

A suite in 2 movements in f minor: 'Pavana' 3i (acutally <t !) and

'Allegro' 3i, both in two strains. The Pavana is heavily figured.

9V blank

10 Chacone Compiler

Henry Purcell, The Gordian Knot Unty'd (1691), Z 597/6.

10v blank

15 This piece was printed in the Choice Ayres & Songs, book II (Day and Munie 48, 1679), and the second part of

the Pleasant Musical Companion (Day and Munie 85/93, 1686/1687), and also occurs in a number of English manu

scripts: BL Add. MS 33235, f. 102, Oxford, Christ Church MS 350, f. 58 and MSS 623—626, p. 85 (in all of these

anonymously), and in Tenbury MS 900, p. 28 (ascribed to the printer Alessandro Vincenti).




11 a.4. (compiler's ascription: H. Purcell.) Compiler

An overture in 3 sections, in C Major: <t, 'vivace' 4, 'grave' <f. Unique.

1 lv (It is uncertain whether the compiler meant to include this work among the Compiler "4. Pavans & Chicones. Hen. Purcel. 9." given in the index.)

Piece in b minor, copied at the bottom of the page, with blank space

atop. 2 strains, both <f. Purcell? Unique?

12-12" blank

15—16" Mr. Henry Purcell C

Incidental Music to Timon of Athens (1694?), Z 632,1,3,2,4-9:

'Ouverture', 2 'Jigg', 3,4,5 'Minuett', 6,7,8,9. The ascription at the

head of this set of tunes implies that they are all by Purcell, but this is

scant evidence against the existent proof that numbers 2—9 are actually

by James Paisable.

17-18 Mr. Daniel Purcell C

A set of theatre music in d minor (except 5 in F Major) as yet not

identified elsewhere: 'Overture' 3i C, 2 <t, 3 3i, 4 <f, 5 <(?, 6 [<t], 7 8 't

is" blank

19 (compiler's ascription: Purcell.) The Stairre Case Overture in B me Purcell

Work in Bb Major in 3 sections (the second in two strains): <t 3i <f. See Browning, note 2.

19" blank

20 A Pavin (compiler's ascription: H. Purcell.) Purcell

Work in 3 sections — actually an overture? — in f minor: 3)

'very slow'. Unique.

20 a.3. Prelude Compiler

Work in one b minor section: <f. Purcell? Unique?

20" Overture / Allegro Purcell

Suite of 2 pieces: 'Overture' in 3 sections, the first two of which are in

C Major, the third in c minor: <t 'grave' [<t] 'vivace' [<£] 'Piano'; 'Allegro' p

of two strains in C Major: 3 j. Unique.

21-21" Becker. Basso. Sonata, a.5. Compiler

Five movement suite by Diedrich Becker in e minor, the first

'Sonata, a.5.' in four sections, the succeeding 4 works each of 2 strains:

<t (2 sections) 4 <t, 'Almand.a.4.' <f, 'Corant', 3i, 'Gavot' j), 'Sarab.' 3i.

Heavily figured. Not known to me from other sources.

22 Becker. Sonata.a.5. Compiler

Sonata in C Major in four sections (plus a repeat of the first) by

Diedrich Becker: <£, [<£] 'adagio', [<t] 'allegro', 'Conclude w,h ye ist

straine'. Heavily figured. Not known to me from other sources.




22v—23 Nicola's Ground.a.4 Compiler

A ground in F Major by Nicola Matteis, 13 sections in <t, the last

'Adagio'. Unique?

23v-24 Sonata a 4. Nicola Compiler

A suite of 2 movements in F Major by Nicola Matteis, the first part in

three sections, the second through-composed: <t (part marked 'presto',

part 'adagio') 3i <t, <t (two portions marked 'presto'). Heavily figured.

Unique?

24v blank

25 (title:) Sonate a.3.4. & 5 / Basse / Diedrick Becker Compiler

These pieces are all found in Becker's Musicalische Frülings-Früchte

(Hamburg: 1668) ; the Phalèse print of 1673 is less complete. I give here

the numbers of the works as found in the print. All are binary dances

(except the Branles) unless otherwise indicated.

25v 1. Sonata.a.4. (three sections) c minor no. 5

26 2. Allmandt. no. 6

3. Courant. no. 7

4. Sarband. no. 7

5. Gigue. no. 9

26v 6. Sonata, a.4. (three sections, repeat of first) e minor no. 10

7. Alman. no. 11

27 8. Corante no. 12

9. Sarab. no. 13

10. Gigue. no. 14

2T 11. Branle.a.4. C Major no. 29

12. Gay. 13. Amener.

14. Gavot. 15. Corant.

28 16. Branle. Bb Major no. 30

17. Gay. 18. Amener.

19. Gavotte. 20. Corant.

28v 21. Pavin.a.5. 2. treb. cont. ten. basse g minor no. 16

22. Pavin.a.5 A Major no. 17

29 23. Sonata.a.5. (five sections) Bb Major no. 18

29v 24. Ayre.a.5. 2 tenors. 2 treb. (three sections) D Major no. 20

25. Ballet.a.5. no. 21

26. Sarab. no. 22

27. Sonata.a.5. 2 treb. cont. ten. base G Major no. 23

(seven sections)




30" 28. Almand.a.5. no. 24 29. Corant. no. 25 30. Sarab. no. 26

31 31. Gigue. no. 27

31-31" 32. Sonata.a.5. (five sections) F Major no. 15

31"—32 33. Sonata.a.5.4 trebles, (five sections) g minor no. 19

32-32" 34. Canzon.a.5. 4 trebles, (four sections) C Major no. 28

32"-33 35. a.3.2. trebles (four sections) G Major no. 1

33"-34" blank

All the parts in this section are for bass viol; as they are not exactly the same as the versions found in the print, some one or more intermediate

manuscripts must have existed.

35-41 (compiler's ascription: A.5. Will. Lawes.) D

15 of the 16 works by Lawes for five-part consort (all but the work 'on the plainsong'), grouped in the usual suites and numbered 1 through 15. See Holman (note 2) and Dodd, Lawes p. 6. Number 3 (f.36) is entitled 'Aire' and f.41 has the word 'ffinis'; these are the only examples of scribe E's text-hand.

41v—42" blank

43 (title:) 4.pm E

43v-48 Base, to a treble & 2 lyra's. 14. Joh. Jenkin's (f.48) Mr. Jenkins E 14 apparently unique works. See Dodd, Jenkins p. 60.

48" blank

49-61 (Index: 29. Treble 2 bases, divisions.) (f.61:) Mr. Jenkin's E 29 apparently unique works. See Dodd, Jenkins p. 60.

61v-62v blank

63—63v blank

Notes on Papers and Rulings: 1. Folios i-ii (including the pastedown) and folio 63 (and the pastedown) are all the same

unruled paper.

2. Folios 4-5v and 21-24v are on the same paper (Poole/Mortali che fate and Becker/Matteis); these, plus folios 6-T (Poole, second sonata), are all ruled the same - 6 staves, space, 6 staves.

3. Folios 15—16v and 17— 18v, though in the same hand, are not on the same paper.

4. Folios 49-62" form a single gathering, but folios 53-58" are a different paper, which is ruled

differently, though both have 10 staves per page.

5. None of the works in Purcell's hand or ascribed to him by the compiler share the same paper.




APPENDIX III — Works possibly by Henry Purcell*

A) Works in the hand of Purcell

f. 9 Pavana

f. 9 Allegro

f. 20 A Pavin a. m

rv. t p p~.

very slow

MM —J— a

4= r ljt f

Grave

f J J

Piano

f. 20v Allegro

B) Works copied by the compiler ascribed to or on the same pages as copies by Purcell

f" ,.4.

r cu irrrrrf J7rm

See Appendix II for further details on the nature of these pieces.



184 Catherine Massip: La collection musicale Toulouse-Philidor

gmVe f ^

^

f. llv

Osborn Ms. 515 de la Beinecke Library à l'Université de Yale est une partie de basse d'oeuvres in

strumentales de divers compositeurs anglais et européens du XVIIe siècle. Quelques feuillets isolés et

groupements copiés après la Restauration par quelques cinq scribes, y compris le jeune Henry Purcell, furent réunis par un sixième scribe qui agit comme compilateur et annotateur. Cet homme semble avoir

été un ami ou un collègue du chanteur et violiste amateur connu John Gostling, entre les mains de qui les livres parvinrent plus tard, avant d'appartenir à la collection de son fils William Gostling. L'authen

ticité des unica copiés et des oeuvres supposées d'H. Purcell est discutée.

Bei dem in der Beinecke-Bibliothek der Yale-Universität befindlichen Manuskript Osborn MS 515

handelt es sich um die Baßstimme zu Instrumentalwerken verschiedener englischer und kontinentaler

Komponisten des 17. Jahrhunderts. Eine Reihe von Einzelblättern und Teile von Sammlungen, kopiert von etwa fünf Schreibern der Nach-Restaurationszeit, unter ihnen der junge Henry Purcell, wurden

zusammengebracht von einem sechsten Schreiber, der zugleich Sammler und Kommentator ist. Dieser

Mann scheint ein Freund oder Kollege des bekannten Baßsängers und Amateur-Violenspielers John

Gostling gewesen zu sein, in dessen Hände die Bücher später kamen und danach in die Sammlung seines

Sohnes William Gostling. Die Authentizität dieser seltenen Werke, geschrieben und möglicherweise auch komponiert von Henry Purcell, wird untersucht.

grave

jy$ f. nv

La collection musicale Toulouse-Philidor à la

Bibliothèque nationale Catherine Massip (Paris)*

L'entrée récente à la Bibliothèque nationale (Paris) de la partie la plus importante de la

collection Toulouse-Philidor, conservée naguère au collège de Saint Michael à Tenbury

(Grande-Bretagne), ouvre un nouveau champ d'investigation aux chercheurs.

La présence à Paris de cet ensemble, aux côtés des collections les plus riches en musique

française de la fin du XVIIe siècle et du début du XVIIIe siècle — celles du Conservatoire,

de la Bibliothèque de l'Opéra, des bibliothèques de l'Arsenal et de Versailles — autorise

désormais un travail critique et comparatif avec les autres sources imprimées et manuscrites

de la même période.

* Une partie de cet article a été publiée dans le Bulletin de la Bibliothèque nationale, 4e année no. 4, décembre 1979; nous la reproduisons ici avec l'aimable autorisation de la Bibliothèque nationale.



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Osborn MS 515, A Guardbook of Restoration Instrumental Music

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