US-R Ms. Vault M. 2. D. 172 Danby

7/30/2019 US-R Ms. Vault M. 2. D. 172 Danby

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Lord Danby's Lute Book

By Tim Crawford

INTRODUCTION

The manuscript‘Lord Danby’s Lute Book’ was purchased by the Sibley Library, Eastman School of Music, Rochester,New York, from the Berlin dealer Liepmannsohn, in September 1930. The manuscript, a small oblongquarto (c 20 x 15cm) of 72 leaves bound in 18th-century marbled boards, quarter magenta calf, nowbears the call-mark Vault M 2.1 D 172. Apart from two flyleaves and a pastedown at the beginning,and a single flyleaf and pastedown at the end, it consists of paper printed with five 6-line staves per page. On the first flyleaf is written the ownership note: ‘My Lord Danby his book’. The manuscript hasbeen paginated by the library in a somewhat unusual manner: the flyleaves are unnumbered, and thepagination begins on the verso of the first leaf of music paper, where the music actually begins;

the recto of this leaf contains printed staves only.The manuscript had formed part of lot 449 at the auction of the library of Hornby Castle in Yorkshire,the seat of the Dukes of Leeds, in June 1930, together with another lute manuscript, now in TheLibrary of Congress, Washington, DC. ‘Lord Danby’ can be identified without doubt as William HenryOsborne, Earl of Danby (see below). He is known to have been a keen lutenist, and to have boughtmusic for his instrument as well as having regular lessons while living with his brother on theContinent between 1706 and his death in 1711. There is every reason to suppose that the book wascompiled during these years and there is nothing in the manuscript which suggests that this is not thecase. Various factors further narrow the likely time of compilation to the last two years of the period.

Four musical copyists contributed to the book: two (A & D) are competent professional musicians,and provided the bulk (all but five pieces); B, again a competent scribe (the same as that of a lute MSin Vienna from the same period) added one piece (11); C, probably Lord Danby himself, mostinadequately wrote in three fragments and one gigue (47) which lacks any rhythm signs. Although

the last to appear in the sequence of the manuscript, it is clear that D copied in his music before A,who has made corrections and alterations to several pieces written by D. A curious feature of themake-up of the book is that extra music paper, the same as that used throughout, has been glued onto the bottom of some pages to avoid page- turns in long pieces (all in D’s hand). In two cases (thetwo Handel overtures, 12 & 92), a single sheet has been fixed across the bottom of a whole openingso as to give an extra 15 staves; in 12 this extra paper actually crosses between two gatherings,showing that the book was bound before the music was copied in, and that D had access to stocks of this printed paper. 9, entitled in the MS ‘Gigue de Mylord Danby’, is in hand A, so this scribe musthave been an acquaintance, perhaps the lute teacher , of Lord Danby. It is possible that Lord Danbyfirst acquired the book containing the pieces in hand D only, and that it was subsequently added toby himself (C), his lute teacher (A) and a friend or another teacher (B).

Lord DanbyThe title Earl of Danby was granted in 1674 by Charles II to his Chief Minister, Thomas Osborne; thistitle passed by courtesy in 1689 to his son, the distinguished naval officer Peregrine Osborne. Thetitle then passed to his two grandsons, William Henry (Earl of Danby 1694), and Peregrine HydeOsborne (Earl of Danby 1711). The latter’s son, Thomas, was born Earl of Danby, becoming Marquisof Carmarthen at the age of 16, and 4th Duke of Leeds in 1731 while a student at Christ ChurchCollege, Oxford. The title Earl of Danby then fell into abeyance.

In December 1706 the Duke of Leeds, an old man in retirement but still not without politicalambitions, sent his grandsons aged 16 and 13 to Utrecht in Holland, ostensibly for their education,but also, it seems, to shield them from a scandal involving their father and a certain ‘Mrs Morton’.Further possible motives were for the Duke to keep in touch with the rapidly, moving events of Marlborough’s campaign in Flanders and to remind the Hanoverian heirs to the English throne of his

former service to their cause (see below). He engaged a reliable governor, one Louis Bérard,formerly of the Duke of Devonshir e’s household at Chatsworth, who reported the young Lords’progress in a remarkable series of weekly letters which has been preserved almost intact. With these



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letters were sent detailed financial accounts, and they also contain comprehensive reports of politicaland military news and rumours. The letters contain a wealth of information about the education of thetwo young men, which included music as part of the curriculum, and about the places visited and‘persons of quality’ met. Payments were made for daily music lessons and for instruments, music andstrings bought, as well as repairs, instrument cases and even ‘2 desks for Musick’. It is quite clear

from the Bérard letters that Lord Danby’s instrument was the lute, which already in February 1707‘his Lordship learns as fast as any body can do, & will certainly play as well as any person of hisquality can pretend.’ After some initial resistance from his grandfather, Lord Peregrine was allowed tolearn the bass viol and the flute (presumably the recorder , although ‘a German flute for Ld. Peregr.’was bought in May 1710; at least seven other ‘flutes’ were bought for him during the period); as thecautious Bérard explains: ‘I would not have him to stick altogether to the flute, lest he should chanceto Impair his lungs by blowing too much.’ At various times there are references in the letters to music-making with other amateur players, and with their teachers and professionals engaged specially for the purpose. These soirées eventually took the form of regular weekly concerts to which ‘persons of quality’ were invited, others paying an entrance fee to defray expenses.

After spending some three-and-a-half years in Utrecht, with frequent excursions to other Dutchtowns, the party travelled in September 1710 to Hanover to pay their respects to the ElectressSophia (1630-1714), heir apparent to the English throne since the 1702 Act of Settlement, and her

son, the Elector Georg Ludwig (1660-1727), who later became King George I of England on Queen Anne’s death in 1714. The Duke of Leeds had been partly responsible for the marriage of Williamand Mary in 1677, and thus had materially assisted the Hanoverian cause, so the young Lords werewell received at the Hanover court. During this stay in Hanover their time was largely taken up withsocial activities, but after the Carnival in the New Year they resumed their musical studies inFebruary 1711. In November 1710, while the court went hunting, they had visited Hamburg for aboutfive weeks, where they were well looked after by the English Resident, John Wich, who gave ‘everyday a concert to their Lordships, knowing they are lovers of Musick.’ While in Hamburg they tookfurther lessons on their instruments, and Lord Danby bought a ‘Lute, Musickbook & Strings’ for £71.10.0 (in ‘Dutch money’—£6.10.0 in English currency). The very high price compared with their other purchases of instruments raises the possibility that Lord Danby might have bought a lute by thegreat Hamburg instrument-maker Joachim Tielke (1641-1724), but this cannot be verified. Accordingto Bérard’s accounts, they visited the Hamburg opera 11 times during this stay.

The party returned to Utrecht in July 1711 and plans were made for trips to Antwerp and Brussels.But this highly successful Continental sojourn was tragically cut short by Lord Danby’s death in asmallpox epidemic in Utrecht soon after his 21st birthday in August 1711. Peregrine, who nowassumed his brother’s title, and Bérard at once returned to England. It is most unlikely, givenPeregrine’s preference for the viol and the flute, and the fact that he held the title for a year onlybefore becoming Marquis of Carmarthen on his grandfather’s death, that he was the ‘Lord Danby’ of the lute book; the same applies to his son, known as Lord Danby only until the age of 16.

The musicThere are 92 complete pieces in Lord Danby’s Book, and three fragments. They are all written inFrench tablature for the 11-course Baroque lute in the standard ‘D minor’ tuning of the time. Like

most sources of Baroque lute music, the manuscript is arranged in groups of pieces according to thetuning of the diapasons, but not very systematically. The two principal hands are confident and easyto read, suggesting, if not the work of professional scribes, very experienced and competent copyingconsistent with the collection’s possible use as teaching material. There are, however, no fingeringindications for the left hand, nor are there diagrams or comments which would further suggest adidactic purpose. Rather it appears to be an anthology of attractive music compiled for a competentplayer. Of the two hands, D is the more elegantly formed, but A is generally more reliable musically,especially in the matter of rhythmic notation which is so often deficient in lute manuscripts of allperiods. A habit common to both scribes is the frequent omission of rhythm signs on the upbeatnotes to allemandes, courantes and so on. Both hands use the same technical and ornament signs(see below) with the exception of the small cross (x) used for a trill in three consecutive pieces inhand A (30-32); these three pieces were probably copied from the same source.

The music can be divided by concordances or internal technical features into two quite distinct

categories: music composed and conceived for the lute, and arrangements for lute of music originallycomposed for another medium. The ‘pure’ lute music mainly seems to belong to the late -17th-century



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Austrian/Bohemian tradition of Count Losy and his contemporaries. There are a few pieces in theFrench style of the period, and three are by the Parisian court musician, Robert de Visée. But asmany as nine pieces can be ascribed to Losy with some confidence, and a further three or four arepossibly his as well; several more pieces can also be found elsewhere in lute manuscripts from thesame tradition. The initiative in lute music had shifted from Paris to Vienna and Prague following the

decline in the instrument’s popularity from about 1680. De Visée (c1660-c1720), who excelled on thelute’s more fashionable rival, the guitar, was engaged by the Parisian court as a guitarist andtheorbist rather than as a lutenist, but he must have played the lute as well; all the pieces in LordDanby’s Book by him had, however, appeared in guitar versions and in score in the 1680s.

At the time of writing, the identity, or even the nationality, of the composer of no. 22, concealedbeneath the initials ‘C. N.’, remains unknown. The suite in F minor (23 -26) that follows could be bythe same composer, since the music is in a very similar style, reminiscent of that of the late-17th-century luthistes Charles Mouton (1626-after 1699) and Jacques de Gallot (fl 1670-1686). There are afurther two airs ascribed only to ‘N’ (18 & 88) which are also in hand D, though whether the y are bythe same composer is difficult to assess, since they appear to be transcriptions of vocal pieces (seebelow).The rest of the music in the book, including that by Handel, can safely be assumed to have beenarranged from other media, vocal or instrumental. Seven pieces come from operas: two very popular

Lully extracts (21 & 77), an Entrée by Campra (28) and four items from Handel’s firstopera Almira (12, 20, 55 & 90). The Ritornello and Air (78 & 78a), based on material re-used byHandel in arias in Serse and Joshua, is almost certainly an operatic extract. Most of the 11 other pieces marked ‘air’ or ‘aria’ may also be derived from operas, though their general brevity makes thisless likely; while two airs (74 & 82) are clearly instrumental dance movements. Probably theanonymous Chaconne (55) and certainly the Jig (89) from Purcell’s Abdelazer are orchestral inorigin, perhaps having gone through an intermediate keyboard or other arrangement.Most of these arrangements are of dance music, which may have been orchestral pieces for dancesor court balls, or which could have been conceived for keyboard or chamber ensemble. A HandelGavotte (45) exists in both keyboard and four-part score versions; the unascribed Menuet (81),probably by Handel, appears in variant form, definitely by him, both as a keyboard piece and as asonata movement for flute and continuo.

Six pieces are ascribed in the MS to Handel or to ‘H’ (12, 13, 15, 20, 45 & 92) and a further six maybe confidently atributed to him by exact or near concordances, largely thanks to his habit of reusingearly ideas in later music. More tentatively, it is possible to identify strong Handelian traits in a further nine pieces, one of which (73) may indeed carry a Handel ascription in its cryptic title. Two minuets(71 & 75) are attributed to Handel in this edition with some diffidence, since these, althoughmelodically reminiscent of his style, also occur anonymously in another lute source of the sameperiod; their Handelian appearance may be merely superficial.

The presence of music by Handel in the earlier hand (D) makes it unlikely that this layer of the MSwas compiled in Utrecht, since his music would not have been known there by 1711. The onlyHandel piece in hand A, which corrected errors in pieces in hand D, is an improved version of aGavotte (45) also present in hand D at the very end of the book (p. 137). So hand A couldconceivably belong to a lute teacher in Utrecht, but hand D could not. The two places visited by theyoung Lords that are more plausible as sources for the book are Hamburg and Hanover.

As we have seen, Lord Danby bought a lute in Hamburg together with a book of music, probably for the instrument, but a more important aspect of the visit to Hamburg is that Handel had been livingthere a few years before. He had even given harpsichord lessons in 1704 to Cyril, son of John Wich,the English Resident who later received Danby and his brother so graciously. Some time towards theend of 1706 Handel left for Italy, but his good friend, the composer and writer on music, JohannMattheson (1681-1764), remained as Cyril’s tutor and his father’s secretary, a position he held from1706 until 1741, by which time Cyril had succeeded to his father’s post. Mattheson, who became oneof the most important figures in 18th-century German music, was undoubtedly involved in the musicalentertainments mounted by John Wich for the young English lords; but sadly neither his name, nor that of Handel, features in Bérard’s correspondence, addressed as it is t o the Duke of Leeds, whowas unlikely to be concerned with the names of mere secretaries or musicians.

Of the six pieces ascribed to Handel in the MS, one of the substantial overtures and very probablythe other are reductions from orchestral scores composed for stage works. The final piece in theedition, an unusual overture in G minor (92), could perhaps have come from one of the three lost



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Hamburg operas, Nero (first produced 26 February 1705), Florindo or Daphne (both produced in1708, after Handel had left Hamburg), none of which achieved the success of his first. Almira (firstproduced 8 January 1705) had been an immediate hit, and was revived in 1732 by Telemann (whosealterations can be seen in the surviving manuscript score). The other Handel overture (12) in LordDanby’s book is an arrangement of a second overture to Almira (still unpublished, not the one in B

flat printed in Chrysander’s edition of the opera) which appears at the beginning of the manuscriptscore. As well as this overture, the lute book contains arrangements of a gigue (20) and, unascribed,two further numbers from Almira, the ‘Ritornello’ to an aria, here called a minuet (54), and the aria‘No, non voglio’ (90). The score versions of two dances, a gavotte (45) and an air (74) have recentlybeen tentatively identified as fragments of the ballet music to Florindo and Daphne, respectively.(See critical notes.)While the dances and even the overtures may have been reused in other stage productions, it ismore likely that this music passed into the domestic repertoire of the intensely musical Hamburgsociety. In this respect, Lord Danby’s Lute Book is a unique document for Hamburg musical history incontaining such arrangements of music composed in Hamburg by Handel. Even though he left thecity more-or-less for good in 1706, some of Handel’s music (aside from the 1708 operas) is known tohave remained popular in intellectual circles there; it was even played on the lute by one eminentHamburg personality, the wife of the poet Brockes.

Fr om what we know of Handel’s travels at this period, it seems likely that the English party justmissed him in Hanover. Handel came there from Italy to take up his post as Kapellmeister to theElector by June 1710, but had certainly left for England (via Halle and Düsseldorf) by the time theyfirst arrived in September. The piece by ‘Farinell’ (43) in hand A may suggest a Hanover scribe, sinceJean-Baptiste Farinel (1655-c 1720) was maestro di concerto of the Hanover court orchestra at thetime; a lutenist named Pignietta had been appointed to the orchestra in 1695. Lord Danby and hisbrother spent the period December 1710 - June 1711 at Hanover, at first participating enthusiasticallyin the Carnival (mid-December - late February), then resuming their musical studies and ‘learningItalian from a Roman Gentleman that belongs to Court’. As we have seen above, the young Lords took part in concerts of chamber music with friends,teachers and professional musicians. The repertoire of their meetings can only be guessed at, butthe possibility must be allowed that Lord Danby would have played the lute in ensemble as well as ina solo capacity. And this may not just have been as a continuo player; many manuscript sources of

lute music from the time show that they could be used with accompanying parts for at least a violin or flute and a bass instrument, although these extra parts rarely survive. In almost all such cases thelute parts are self-sufficient as solos—indeed the ensembles were often arranged from solos byadding the other instruments. There is a possibility that Lord Danby’s Lute Book was at least partlyintended for ensemble use. Two concordant sources (see concordances to nos. 4, 34, 36 and 39)are clearly chamber music collections, and it could be argued that the second Handel overturecontains passages which could be improved by supplying a few notes in a ‘missing’ 2nd violin part.(See no. 92, bars 30, 52, 53, 56 & 57). The first violin part would double the lute at the upper octave,which is the normal procedure in such an ensemble. But, lacking the confirmation of the missingparts, this must remain conjecture.



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Lord Danby's Lute Book: Inventory

Item

MS page

numbers Hand Titles in the MS

1 pp. 1-2 A Al lemande Comte Logy

2 pp. 3-4 A Courante

Concordance: i) NYPL, f 55v (anon) [Holland 77]

2a pp. 5-6 A Le Double

3 p. 7 A Bourée

Concordances: i) Knie, f. 264v (anon)

ii) Wars56 , p. 19 (anon)

iii) Wars57 , p. 17 (anon)

[cf Wash, f. 15v (anon) — only 1st strain

is identical]

4 pp. 9-10 A Gigue

Concordances: i) Hin1699, p. 17, ‘Gigue

d’H[interleithner]’ — last mvt of Konzert

V

ii) Kre83, f. 41v, ‘Gigue sopra la furie

della battaglia’ (anon) [Flotzinger 831]

5 p. 11 A Air La Favor i te du Roy

de France

6 p. 12 A Gavotte la belle

Ang lo ise



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7 pp. 13-14 A Gigue Flammande

8 pp. 15-16 A L’Entrée en Angleterre

9 pp. 17-18 A Gigue de Mylord Danby

10 pp. 19-20 A Menuet

11 p. 21 B Menuette

Concordances: i) Vie18761, f. 3 (anon — copied by the

same scribe) [Maier 464]

ii) Pra76 , f. 53v (violin), 65v (guitar) — in

E minor

[On p. 22 is a

fragment—a

single strain?—of

a piece in C

major in hand C]

12 pp. 23-24 D Ouverture des sig:

Hendell

Concordance: i) Ber9050 , f.00 (score à 4) — possibly

the original overture to Almira (1705)

(see Introduction) [Baselt HWV XXXXX]

[The first seven bars are substantially the

same as those of the sinfonia to

Handel’s anthem, The Lord is my

Light (Handel Chandos, p. 151); the

fugal section is related to the

corresponding section in the overture tohis last oratorio, The Triumph of Time

and Truth (Handel Triumph, p. 2), which

is largely based on music from before

1710.]

13 p. 25 D Gavott H:

14 p. 26 D Menuet

15 pp. 26-27 D Bourée H



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16 p. 28 D Gigue

17 p. 29 D Sarabande plaignante N

17a p. 30 D Double

18 p. 31 D Air N

[On p. 32 is an

unintelligible

fragment in hand

C]

19 pp. 33-4 D Al lemande

Concordances: i) deV1686 , pp. 18-19 (guitar tabl) [de

ViséeG, p. 62]

ii) deV1686 , pp. 54-5 (score à 2)

20 pp. 35-6 D Gigue H

Concordance: i) Handel Almira, p. 82, Act III scene 4

[no. 54]: ‘Gigue. (Tanz von Charletans)’(à 2) [BaseltHWV XXXXX]

21 pp. 37-8 D Pascaille de l’Opera

d’Armide

Concordances: i) Lully Armide, p. 232, Act V scene 2:

‘Les plaisirs ont choisi’

[Schneider LWV 71/62]

ii) (Several kbd versions; see GustafsonI, p. 299)

22 pp. 39-40 D Allemande. La fidele

Uranie. C. N.

23 pp. 41-2 D Allemande. Le tr iste

depart

24 pp. 43-4 D Courante



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25 p. 44 D Sarabande

26 pp. 45-6 D Gigue

27 p. 47 D Aria

28 pp. 49-50 A La Loure

Concordances: i) Campra Europe, p. 125, Troisiéme

Entrée scene II, ‘Premier Air, pour les

Espagnols’

ii) Country Dancing Master 1698, p. 47,

‘A new Spanish Entrée … danced byMonsieur L’Abbé before His Majesty at

Kensington, and at the theatre in Little

Lincoln’s Inn Fields, with great applause’

[Barlow 398]

iii) Sto176 , f. 20v, ‘Air pour les

Espagnols’ (for kbd) [Rudén 3573]

29 pp. 51-2 A La belle tai l le [written at

the top of p. 51 in hand

of ownership note onflyleaf, in

pencil:] di f ic i le [in

ink:] pour la m ait resse

de Monsr Schutz (see

CrawfordH, p. 26)

30 p. 55 A Air

31 p. 56 A Menuet

32 pp. 57-58 A Menuet Royale

33 pp. 59-60 A Gigue

34 pp. 61-2 A Al lemande

Concordances: i) Kal4a, f. 23v, ‘Suite de

Mons. Comte Logis. Allemande’ (for kbd

— in G) [VoglM 108; Rudén 3012]



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ii) Wars37 , f. 24, ‘Concentus 15. NB viol

d.gb Allemande’ (anon — for lute with

other instruments including ?viola da

gamba)

iii) Harr , pp. 52-3 (anon)

35 p. 63 A Cour:

Concordances: i) Kal4a, f. 24v (see 34

above) [VoglM 109; Rudén 3765]

ii) Harr , p. 54 (anon)

36 p. 64 A Sarrabande

Concordances: i) Wars37 , f. 25 (anon —

see 34 above)

ii) Harr , p.55 (anon)

37 p. 65 A Menuet

Concordances: i) Kal4a, f. 18v (anon — for kbd — in G)

ii) Harr , p. 56

38 p. 66 A Bourée

Concordances: i) Klag , f. 23v, ‘Borée’

(anon — 2nd strain has variants)

[modern ed. KlimaK , p. 13]

ii) Krak , f. 30, ‘Marche’ (anon — 2nd

strain has variants)

39 pp. 67-8 A Echo

Concordances: i) Kal4a, f . 22v, ‘Echo de

Mons. Comte Logie’ (for kbd — in G)

[VoglM 113; Rudén 3897]

ii) Wars37 , f. 26v, ‘Echo’ (anon — see



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34 above)

iii) Harr , pp. 54-5, ‘Echo’ (anon)

40 pp. 69-70 A Gigue

Concordance: i) Kal4a, f. 17v, ‘Gigue de

Mr. Comte Logie’ (for kbd — in G)

[VoglM 111; Rudén 3186]

41 pp. 71-2 A Ouverture

42 pp. 73-4 A Cour:

Concordance: i) Brno371, f.55 , ‘Cour’

(anon)

43 pp. 75-6 A Sarrabande de Farinell

44 pp. 77-8 A Gigu e de Corell i

Concordances: i) Corelli Op. V , p. 32,

final mvt of Sonata 5, ‘Giga Allegro’

ii) Ros53, f. 11v, ‘Giuge [sic ] de M.

Corelli’ (a different lute arr.)

iii) BrnoVerdenberg , ff. 17v-18, ‘33

Gigue’ (same arr. as ii)

45 p. 79 A Gavotte del Sig: Hendel

Concordances: i) LonRM18 , f. 4v

[Handel] (for kbd)

ii) LonRM18 , f. 76v [Handel] (score à 4)

[possibly from Daphne (1708); see

Baselt p. 000]

iii) This MS, no. 93, p. 137, ‘Gavott: H.’

(in hand D)

[On p. 80 is an

unintelligiblefragment in hand



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C.]

46 pp. 81-2 A Tombeau du Roy

d’Orange

Concordances: i) DufautW , no. 66

(listing six concordant versions not

included here; withdouble)

ii) Ros54, p. 111, ‘Saraband de du Faut’

iii) BerStock , no. 88, ‘Sarabande’ (anon

— with double)

iv) Ber40600 , f. 42v-3, ‘Sarabande’

(anon)

v) Brus276 , f. 83v (anon)

vi) Vie17706 , f. 9, ‘Sarabande’ (anon —

with double) [Maier 374]

vii) Darm17 , f. 9v, ‘Sarabande’ (anon —

for kbd; barred differently, treating firstchord as an upbeat)

William III, King of England and Prince of

Orange, died on 8 March 1702; his

father, William II, Prince of Orange (d.

1650), was Stadhouder of the United

Provinces, but never actually a king.

Only the latter could have been intended

by Dufaut (who died c 1669), but the

piece (whose dedication only appears in

this source) could have been

‘rededicated’ to William III by someone

else after 1702.

47 p. 82 C gu ique

Concordances: i) Göttw , f. 99 (anon)

ii) Göttw , ff. 100v-101 (anon)

48 p. 83 A Gigue



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49 p. 84 A Gique

50 p. 85 A Menuet

51 p. 86 A Menuet

Concordances: i) Kre77 , f. 40v (anon)

[Flotzinger 467]

ii) Kre82 , f. 16 (anon) [Flotzinger 467]

iii) Knie, f. 213v, ‘Canarie’ [sic ] (anon)

iv) Ber40149, pp. 36-7, ‘Gauotta’ [sic ]

(anon)

v) Wars55 , p. 23, ‘Fuga’ [sic ] (anon)

52 pp. 87v-8 A Gigue

53 p. 89 D Air

[Here occurs no.

61 (see below) in

the MS]

54 pp. 93-4 D Menuet

Concordance: Handel Almira, p. 111,

Act III scene 15, Ritornello to [no. 70],

‘Spielet, ihr blitzenden Augen’

55 pp. 95-6 D Chiacone

56 p. 97 D Marche

57 p. 98 D Menuet de Mist : Mor is

Cunis

58 p. 99 D Marche

59 pp. 101-2 D Al lemande



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Concordances: i) Kal21072 , ff. 90v-1,

‘Allemande du Comte Logy’ [Rudén 23]

ii) Krak , ff. 51v-3, ‘Partita de Monsieur

Loggi. Allamande [sic]’ [Vogl Anth, p. 17]

60 pp. 103-4 D Courante

Concordances: i) Kal21072 , ff. 91v-92,

‘Courante du meme [i. e. Losy]’ [Rudén

1006]

ii) Krak , ff. 112v-114 (anon) [NB the

courante (VoglM 11) immediately

following no. 59 in this source is a

different piece — cf Vogl Anth, p. 19]

61 pp. 91-2

[occurs after

no. 53 in the

MS]

D Gigue

Concordances: i) Kal21072 , f. 92v,

‘Gigue du meme [i. e. Losy]’ [Rudén 5]

ii) Ros52 , f. 92v, ‘Bohmien Gigue] (anon

— adjacent to a Losy item; see

CrawfordL, p. 61, no. 39)

iii) BrnoVerdenberg , ff. 26v-7v, ‘Gigue

du Ph. Weilland’

62 p. 105 D Menuet


64 p. 106 D Bourée

Concordances: i) Knie, f. 287 (anon)

ii) Klag , ff. 4v-5 [or, reversing the

volume, ff. 89-88v] (anon)

iii) Klos, pp. 144-3 [sic] (anon — lacking

rss)



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65 p. 107 D Menuet

Concordance: i) A variant version, clearly

derived from the same piece, appears

in Straube(copied c1760), f. 16,

‘Men[uet]’:

66 p. 108 D Bourée

Concordance: i) Samuel , p. 177 (anon)

67 p. 108 D Menuet

68 p. 109 D Menuet

69 p. 110 D Menuet


71 p. 112 D Menuet

Concordances: i) Göttin, f. 84 [i] (anon)

72 p. 113 D Menuet

Concordances: i) LonRM19, f. 12v

[Handel] (for kbd — no. 2 of a set of 3

minuets) [Baselt HWV 535a]

ii) [A variant version (Baselt HWV 535b)

appearing in six slightly later keyboard

MSS named in two of them as ‘Princess

Sophia’s favourite’]

[The presence of the early version in

Lord Danby’s Lute Book suggests that

the title of ii refers to the Electress

Sophia in Hanover in 1710, rather than

to her granddaughter. See BaseltHH, III,

p.306.]

73 p. 114 D LAir Mi: promettee h:

Notes: The ‘h’ in the title may imply anascription to Handel; this seems to be



15

confirmed by the style of the piece.

74 pp. 115-16 D Air

Concordance: i) LonRM18 , f. 64,

‘Allemande’ [Handel] (score à 4) [Baselt

HWVXXX]

[Probably from Florindo (1708) (see

Baselt, p.000).]

74a p. 116 D Trio

75 p. 117 D Menuet

Concordance: i) Göttin, f. 84 [ii] (anon)

76 pp. 117-18 D Air

77 p. 118 D Song es agreable [s ic ]

Concordances: i) Lully Atys, Act III

scene 4, ‘Entrée des songes agreables’

[Schneider LWV 53/58]

ii) Vie1813, f. 3v, ‘Les Songes

aggreables du vieux G[allot?]’ (for ?violin

& ?lute)

iii) Göttw , f. 64v-65, ‘Songes Agreables

d’Atys’

iv Saiz , p. 185, ‘Les Songes Agreables

d’Atys’

v) (Several kbd versions; see Gustafson,

I, p. 300)

78 p. 119 D Ritornello [See 78a

below]

78a p. 119-20 D Air

Concordances: i) cf Handel Serse, p. 18,

Act I scene 4, Atalanta’s aria



16

(Larghetto), ‘Sì, sì, sì’ (in F# minor)

[BaseltHWV XXXX]

ii) cf Handel Joshua, p. 132, aria

(Larghetto), ‘As chears the sun’

[BaseltHWV XXXX]

79 p. 121 D Gigue

Concordances: i) deV1686 , p. 22 (guitar

tabl) [deViséeG, p. 65]

ii) deV1686 , p. 57 (score à 2)

iii) deV1717 , p. 14 (score à 2)

80 p. 122 D Air


Concordances: i) cf LonRM18 , f. 91

[Handel] (for kbd) — this minuet also

appears in MSS and Walsh’s 1733

collection, as the final mvt of a Handelkbd suite (H. G. , vol II, p. 68) instead of

the usual gigue [BaseltHWV XXXX]

ii) cf Six Solos, p. 8: ‘Minuet’ [Handel] (in

E minor — for flute & bc) [H. H. A., vol

IV, p. 55; BaseltHWV XXXX]

[See CrawfordH, p. 49.]

82 p. 124 D Air

83 pp. 125-6 D Tomb eau Mazarini

Concordances: i) Saiz , p. 167 (anon)

ii) Kre79, f. 89v, ‘Le Tombeau de

Mazarini’ (anon) [Flotzinger 970]

iii) Vie17706 , p. 34 (anon) [Maier 395]



17

iv) Ros53, f. 38 (anon)

v) Knie, f. 44v-45 (anon)

vi) Goëss, f. 85v, ‘T. M.’ (anon)

84 p. 126 D Sarabande

Concordances: i) cf Kre79, f. 90v (anon)

[Flotzinger 972]

85 p. 127 D Menuet

86 pp. 127-8 D Gavot te

Concordances: i) deV1682 , pp. 25-6

(guitar tabl — in D minor) [deViséeG,

p. 19]

ii) deV1682 , pp. 72 (score à 2 — in D

minor)

iii) deV1717 , pp. 86 (score à 2 — in D

minor)

iv) Par , f. 48, ‘Gavotte de Muton’ (in A

minor)

v) Sto228 , f. 36v (anon — for kbd in A

minor) [Rudén 3499]

87 p. 128 D Gavot te

88 pp. 129-30 D Air N

89 p. 130 D Gigue

Concordances: i) Purcell Abdelazer , p.

000, ‘Jig’ [Zimmermann 570/7]

ii) Country Dancing Master 1701, p.

000, ‘New Whitehall’ [Barlow 460]



18

iii) 50 Aires (à 2 — in D minor)

iv) (Several kbd versions — see

Zimmermann T686)

90 pp. 131-2 D Air No No etc:

Concordances: i) Handel Almira, p. 55.

Act II scene 7 [no. 35], aria, ‘No, non

voglio’ [BaseltHWV XXXX]

91 p. 133 D Prelude

92 pp. 135-6; D Ouverture des Sig: Hendell :

Concordances: The opening idea bears

a close resemblance to that used, in G

major, in: a) The aria ‘Vacíllo’ in

Handel Donna, p. 9; b) a sinfonia in

Handel Giulio Cesare, p. 122. [See

CrawfordH.]

93 p. 137 D Gavot t : H. ( = this MS,

no. 45, q. v.)



19

BIBLIOGRAPHY

i) Literature (sigla entirely in roman type)

Baron Ernst Gottlieb Baron, Study of the Lute (Redondo Beach, 1976),translated from Untersuchung des Instruments der Lauten (Nuremburg, 1727)

by Douglas Alton Smith

Baselt Berndt Baselt, ‘Wiederentdeckung von Fragmenten aus Händels

verschollen Hamburger Opern,’ Händel-Jahrbuch, xxix (1983), p. 7

BaseltHWV Berndt Baselt, Händel-Handbuch, vols 1-3 [Thematic catalogueof Handel’s works] (Leipzig, 197X-86)

BoetticherZ Wolfgang Boetticher, ‘Zur inhaltlichen Bestimmung des für Laute intavolierten Handschriftenbestands’, Acta Musicologica, li (1979(, p.193; includes addenda to RISM BVII (q. v.)

Browning Andrew Browning, Thomas Osborne, Earl of Danby and Duke of Leeds (3 vols., Glasgow, 1944-51)

CrawfordD Tim Crawford, ‘Lord Danby, Lutenist of "Quality" ’, The Lute:The Journal of the Lute Society, xxv/2 (1985), p. 53

CrawfordH Tim Crawford, ‘Lord Danby’s Lute Book: a new source of

Handel’s Hamburg music’, Göttinger Händel-Beiträge, ii (1986), p. 19

D. N. B. Dictionary of National Biography

Eg3339 British Library, London, Department of Manuscripts, MS Egerton3339; a collection of 94 letters from Louis Bérard to the Duke of Leeds, 1706-11 [cf Pf744, below]

Engel Carl Engel, ‘Recent Accessions to the Music Collections of the Libraryof Congress, Washington; The Sibley Library, Rochester , N. Y. …’, Acta

Musicologica, v (1933), p. 19

Ferguson Howard Ferguson, Keyboard Interpretation from the 14th to the19th Century (Oxford, 1975)

Fischer Georg Fischer, Musik in Hannover (Hanover, 1903)



20

Flotzinger Rudolf Flotzinger, Die Lautentabulaturen des Stiftes Kremsmünster: Thematischer Katalog (Vienna, 1965); numbers quoted areincipit numbers from the catalogue.

Gustafson Bruce Gustafson, French Harpsichord Music of the 17thCentury (3 vols, Ann Arbor, 1979)

H. M. C. Historical Manuscripts Commission

Holland Jeanette B. Holland, ‘An 18th Century Lute Manuscript in the New

York Public Library’, Bulletin of the New York Public Library, 68/7 (Sept1964), p. 415; numbers quoted are incipit numbers from the thematicinventory.

Hornby Sale Catalogue of a selected portion of the Valuable Library at Hornby Castle, Bedale, Yorks: the Property of His Grace the Duke of Leeds,(Sotheby’s sale catalogue, 2, 3 & 4 June 1930)

KlimaH Josef Klima, Die Lautenhandschrift im Archiv Graf Harrach, Wien… Themenverzeichnis (Verlag Wiener Lautenarchiv 9, Maria Enzersdorf beiWien, 1976)

KlimaV Josef Klima, Die Handschrift der Österreichischen

Nationalbibliothek Suppl. mus. 1813 (Verlag Wiener Lautenarchiv 10, MariaEnzersdorf bei Wien, 1976)

Leeds Sale Catalogue of an Important Collection of Autograph Letters &Historical Papers Illustrative of an Eventful and Interesting period of BritishHistory (Sotheby’s sale catalogue, 5-10 April 1869); the collection was clearlya portion of the Leeds family’s papers.

Maier Elisabeth Maier, Die Lautentabulaturhandschriften der Österreichischen Nationalbibliothek (17. und 18. Jahrhundert) (Vienna,

1974); numbers quoted are incipit numbers from the thematic inventory.

Marx Hans Joachim Marx, ‘New Research on Handel’s Almira’, forthcoming

Mattheson Johann Mattheson, Das neu-eroffnete Orchestre (Hamburg, 1713)

Morrison Sale [] (Sotheby, Wilkinson & Hodge sale catalogue, 1917-19)

PF744 Carl H. Pforzheimer Library, New York, Misc. MS 744; a collection of 94 letters from Louis Bérard to the Duke of Leeds, 1706-11 [cf Eg3339,

above]



21

Rathje Jürgen Rathje, ‘Zur hamburgischen Gelehrtenrepublik im Zeitalter

Matthesons,’ in G. J. Buelow and H. J. Marx, eds, New MatthesonStudies (Cambridge, 1984), p. 101

RISM BVII Wolfgang Boetticher, Handschriftlich überlieferte Lauten- und Gitarrentabulaturen (Répertoire Internationale des Sources Musicales, BVII,Munich, 1978)

Rudén Jan Olof Rudén, Music in Tablature (Musik i Sverige, v, Stockholm,1981); numbers quoted are incipit numbers from the thematic index to thiscatalogue.

Schneider LWV Herbert Schneider, Chronologisch-Thematisches Verzeichnis

sämtlicher Werke von Jean-Baptiste Lully (Tutzing, 1981)SmithB Douglas A. Smith, ‘Baron and Weiss contra Mattheson: In Defense

of the Lute,’ Journal of the Lute Society of America, vi (1973), p. 48

SmithE Douglas A. Smith, ‘The Ebenthal Lute and Viol Tablatures,’ Early Music, 10/4 (October 1982), p. 462

Thibedeau A. W. Thibedeau, Catalogue of the Collection of Autograph Letters and Historical Documents formed between 1865 and 1882 by A.

Morrison, vol III (K-L), (1885)

VoglL Emíl Vogl, ‘Johann Anton Losy, Lutenist of Prague’ Journal of the Lute Society of America, xiii (1980), p. 58

VoglM Emíl Vogl, ‘The Lute Music of Johann Anton Losy,’ Journal of the Lute Society of America, xiv (1981), p. 5

Weichmann Christian Friedrich Weichmann, ed.: Poesie der Nieder-Sachsen,vol I (Hamburg, 1721)

Zimmermann Franklin B. Zimmermann, Henry Purcell, 1659-1695: An Analytical Catalogue of his Music (London, 1963)



22

ii) Musical Sources (sigla partially or wholly in italictype)

50 Aires 50 Aires angloises (Amsterdam, c1701)

Ber9050 Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus.Ms. 9050; early 18th-century manuscript full score of Handel’s Almira

BerW Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus. Ms.40149; late 17th-cent. lute tabl from the library of Count Wolckenstein undRodenegg (dates in MS: 1684, 1686). See RISM BVII, p. 26.

Ber600 Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus.Ms. 40600; late 17th-cent. lute tabl. See RISM BVII, p. 35

BerStock Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus.Ms. 40601; late 17th-cent. lute tabl. Originally owned by Ernst Stockmans.See RISM BVII, p. 35.

Brus276 Brussels, Belgium, Bibliothèque Royale de Belgique, Dept. of Music, Ms. II. 276; late 17th-cent. lute tabl. See RISM BVII, p. 58.

Campra Europe André Campra, L’Europe galante (Paris, 1725; facs edFarnborough, 1967); opera, first performed Paris, 1697

Corelli OpV Arcangelo Corelli, Sonate … opera quinta (Rome, 1700)

Darm17 Darmstadt, Germany, Hessische Landes- und Hochschulbibliothek,Mus. Ms. 17; German kbd tabl dated 1672. The title page states explicitly thatthe music is arranged for ‘spinet’ from music for lute or mandore. SeeGustafson, I, pp. 41-2.

deViséeG Robert W. Strizich, ed, R. de Visée, Oeuvres complètes pour guitare (Paris, 1975)

deV1682 Robert de Visée, Livre de Guittarre dedié au Roy (Paris, 1682);music for guitar in tabl and in score à 2. Facs ed Geneva, 1973; complete ed indeViséeG

deV1686 Robert de Visée, Livre de Pièces pour la Guittarre (Paris, 1686);

music for guitar in tabl and in score à 2. Facs ed Geneva, 1973; complete ed indeViséeG



23

deV1717 Robert de Visée, Pièces de Théorbe et de Luth (Paris, 1717); musicfor theorbo or lute in score à 2

D. T. Ö Denkmäler der Tonkunst in Österreich

DufautW André Souris, ed, Oeuvres de Dufaut (Paris, 1965; revised ed Paris,1988)

Goëss Schloss Ebenthal, Austria, private library of Count Leopold von Goëss,MS II; early 18th-cent. lute tabl. Part of a collection described in Smith; theMS numbers derive from Smith’s list.

Göttin Göttingen, Germany, Niedersächsische Staats- undUniversitätsbibliothek, Ms. Philos. 84k.; early 18th-cent. lute tabl. SeeBoetticherZ.

Göttw Göttweig, Austria, library of the Benedictine monastery,Lautentabulatur Nr. 2; lute tabl. MS probably compiled in the early 18th cent.,

but dated 1782. See RISM BVII, pp. 127-8.

H. G. Friedrich Chrysander, ed, Händel-Gesellschaft edition of Handel’s

works

H. H. A. Hallische Händel Ausgabe edition of Handel’s works Handel Almira Handel, Almira (opera, first produced Hamburg, 8 January1705), H. G. vol 55. [Chrysander’s edition uses a score associated with arevival under Telemann’s directionc1735]

Handel Chandos Handel, Chandos Anthems, H. G. vol. 35

Handel Donna Handel, Rudolph Ewerhart, ed, Handel, Cantata: Donna chein ciel [c1707] (Cologne, 1959)

Handel Giulio Cesare Handel, Giulio Cesare (opera, first produced London,February 1724), H. G. vol 68

Handel Joshua Handel, Joshua (oratorio, first produced London, April 1748),H. G. vol 17

Handel Serse Handel, Serse (oratorio, first produced London, 1738), H. G.vol 92

Handel Triumph Handel, The Triumph of Time and Truth (oratorio, first produced London 1757), H. G. vol 20



24

Harr Vienna, Austria, Allegemeinen Verwaltungsarchiv des ÖsterreichischenStaatsarchiv, Archiv Graf Harrach Nr. 120; lute tabl c1710-37. SeeBoeeticherZ; see also KlimaH

Hin1699 Ferdinand Franz Hinterleithner, Lauthen Concert (Vienna, 1699); parts for lute (in tabl), violin and bass. (The lute parts are self sufficient assolos, and sometimes occur as such in MSS.)

Kal4a Kalmar, Sweden, Stangeliusskolan, Musikhandskrift 4a; kbd tablc1721. See Rudén, pp. 56-7.

Kal21072 Kalmar, Sweden, Läns Museum, MS 21,072; early 18th-cent. lutetabl, probably of Austrian origin. See Rudén pp. 25-8.

Klag Klagenfurt, Austria, Kärntener Landesarchiv, Ms. 5/37; early 18th-cent.lute tabl. Extracts in Klima K . See RISM BVII, pp. 141-2.

KlimaK Josef Klima, ed, Fünf Partien aus einem Kärntner Lautenbuch (Musik Alter Meister 16, Graz, 1965). Partial ed of Klag .

Klos Klosterneuberg, Austria, library of the monastery of the AugustinianCanons, Ms. 1255; early 18th-cent. lute tabl. See RISM BVII, pp. 142-3.

Knie Warsaw, Poland, Biblioteka Narodowa, Muz. Rekopis 396; early 18th-cent. lute tabl. Copied for Pater Hermien Knibandl of the monastery of Krzeszów (Grüssau) in Silesia. See RISM BVII, pp. 343-4 (under BadWarmbrunn).

Krak Krakow, Poland, Biblioteka Jagiellonska (formerly BerlinStaatsbibliothek Mus. Ms. 40620); lute tabl dated 1701. See RISM BVII, pp.35-6 (under Berlin).

Kre77 ; Kre78 ; Kre79 ; Kre82 ; Kre83 Kremsmünster, Austria, library of the

Benedictine monastery, Mss. L77, L78, L79, L82, L83; early 18th-cent. lutetabls. See RISM BVII, pp. 156-7 & 159-60; see also Flotzinger, pp. 37-51(description) and pp. 94-115, & 168-256 (thematic inventories).

LonRM18 ; LonRM19 London, British Library, Royal Music Collection, MSSR.M.18.b.8 and R.M.19.a.4; miscellaneous music by Handel. Two of the so-called ‘Aylesford’ MSS.

Lully Armide Lully, Armide (Paris, 1686)

Lully Atys Lully, Atys (Paris, 1676)



25

NYPL New York, U. S. A., New York Public Library, Music Division MSMusic Reserve *MYO; early 18th-cent. lute tabl, probably from Rajhraf (Raigern) monastery in Moravia (see VoglM, p. 7). See RISM BVII, p. 239;see also Holland.

Purcell Abdelazer Purcell, incidental music (1695) for AphraBehn’s Abdelazer, or the Moor’s Revenge; modern ed: Abdelazer: Incidental

Music for Strings, ed C. Hogwood (London, 1985).

Par Paris, France, Bibliothèque Nationale, Ms Rés. Vmc. ms 61; lute tabldated Venice 1712. Possibly compiled by, or for, a Polish musician. SeeRISM BVII, pp. 230-31 (under Neuilly-sur-Seine, as owned by GenevieveThibault, Comtesse de Chambure).

Prague76 Prague, Czechoslovakia, Státní knihovna CSSR, Universitníknihovna, Ms. II. Kk. 76. a & b; early 18th-cent. guitar tabl (a) and violin (b)

parts for chamber music. From the Lobkowitz family collection at Roudnice(Raudnitz).

Ros52 ; Ros53 Rostock, Germany, Universitätsbibliothek, Ms. mus. saec.XVII 522 and Ms. mus. saec. XVII 531; early 18th-cent. [ sic] lute tabls. SeeRISM BVII pp. 308-9.

Ros54 Rostock, Germany, Universitätsbibliothek, Ms. mus. saec. XVII 54;mid-17th-cent. lute tabl. See RISM BVII, p. 310. Facs ed, Leipzig, 1983.

Saiz Besançon, Bibliothèque Municipale, Ms. 279152 Rés. musique; lute tabl.dated 1699 compiled by Jean-Etienne Vaudry de Saizenay. See RISM BVII,

pp. 46-7. Facs ed, Geneva, 1980.

Six Solos Six Solos Four for a German Flute and a Bass … compos’d by Mr. Handel Sigr: Somis Sgr Geminiani Sigr: Brivio (c1730)

Sto176 ; Sto228 Stockholm, Sweden, Kungl. Biblioteket, Ms 176 and Ms 228;early 18th-cent. kbd tabls. See Rudén, pp. 70-73.

Straube London, British Library, Add. MS 31698; lute tabl compiled c1760 by Rudolf Straube and a pupil. See RISM BVII, p. 183.

Spencer Samuel Whereabouts unknown, formerly London, private collectionof Robert Spencer; early 18th-cent. lute tabl of German origin. Later ownership note: ‘Samuel Ano [ sic] 1801’



26

Vie1813 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. suppl.mus. 1813; early 18th-cent. violin (?) part, apparently for use with lute and/or other instruments. See KlimaV.

Vie17706 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. mus.17706; early 18th-cent. lute and theorbo tabl. See RISM BVII, pp. 351-2; seealso Maier, pp. 19-22 (description) & 85-99 (thematic inventory).

Vie18761 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. mus.18761; early 18th-cent. lute tabl. See RISM BVII, p. 353; see also Maier, p.24 (description) & 105-12 (thematic inventory).

Vogl Anth Emíl Vogl, ed, Z Loutnovych Ceského Baroka (Musica viva

historica 40, Prague, 1977). An anthology of Baroque lute music includingmost of the works by Losy known to Vogl.

Wars37 ; Wars55 ; Wars56 ; Wars57 Warsaw, Poland, BibliotekaUniwersytecka, Oddzial Muz. Rps mus. 37, Muz. Rps mus. 55, Muz. Rpsmus. 56 & Muz. Rps mus. 57; early 18th-cent. lute tabls from the monasteryof Krzeszów (Grüssau) in Silesia.

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