Unmasking ‘Thomas Tudway’: A New Identity for a Seventeenth-Century Windsor Copyist

1999 ◽  
Vol 32 ◽  
pp. 89-117
Author(s):  
Keri Dexter
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
British Library ◽  
Christ Church ◽  
And Function

Almost thirty years ago John Morehen noted the presence of a common hand in four important pre-Commonwealth sources of sacred music: Pembroke College, Cambridge MSS Mus. 6.1–6 (six part-books; hereafter Cpc 6.1–6); St George's Chapel, Windsor MSS 18–20 (three partbooks; WRch 18–20); British Library, Harley MS 4142 (a wordbook; Lbl Harl. 4142); and Christ Church, Oxford Mus. 1220–4 (five partbooks; Och 1220–4). All four sources appeared to date from the early 1640s. Morehen also observed that the same scribe subsequently copied the earliest post-Restoration part-books at Windsor (WRch 1 and 2). Identifying the copyist(s) is a crucial stage in the study of the sources, with important implications for provenance, date and function, as well as their authority relative to other sources of the period.

Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177

1999 ◽  
Vol 32 ◽  
pp. 119-135 ◽  
Author(s):  
Candace Bailey
Keyword(s):  
Seventeenth Century ◽  
British Library ◽  
Keyboard Music ◽  
Christ Church

The circumstances surrounding the compilation of many seventeenth-century English keyboard manuscripts remain unknown. The most concrete information exists for the early-seventeenth-century repertory, and scholars have also identified several copyists from sources dating from the end of the century. Without considering the question of repertory, the focus on the earlier manuscripts can be explained in part for the following reasons. A few volumes are associated in some way or another with famous composers (for example, Thomas Tomkins and his autograph Conservatoire National de Musique (in Bibliothèque Nationale), Paris, (F-Pc) MS Rés. 1122), and others are noteworthy for their expansive contents (Fitzwilham Museum, Cambridge MS Mu 128, the famous ‘Fitzwilliam Virginal Book‘). Others are well known because their copyists are familiar personalities, such as British Library, London (Lbl) RM MS 23.1.4 and F-Pc MS Rés. 1185—both connected with Benjamin Cosyn, organist of Dulwich College and conspicuous for his knowledge of John Bull's music. However, the copyists of most mid-century keyboard manuscripts remain unidentified. Concrete information concerning the copyists of a few sources exists, but most identified copyists are unknown men or women—keyboard music in the hand of a prominent musician is quite rare.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Alessandro Grandi: A Case Study in the Choice of Texts for Motets

1988 ◽  
Vol 113 (2) ◽  
pp. 274-305
Author(s):  
Jerome Roche
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Vocal Music ◽  
Literary Texts ◽  
Sacred Texts ◽  
The One ◽  
The Way ◽  
Musical Styles

It is perhaps still true that research into sacred types of music in early seventeenth-century Italy lags behind that into madrigal, monody and opera; it is certainly the case that the textual aspects of sacred music, themselves closely bound up with liturgical questions, have not so far received the kind of study that has been taken for granted with regard to the literary texts of opera and of secular vocal music. This is hardly to be wondered at: unlike great madrigal poetry or the work of the best librettists, sacred texts do not include much that can be valued as art in its own right. Nevertheless, if we are to understand better the context of the motet – as distinct from the musical setting of liturgical entities such as Mass, Vespers or Compline – we need a clearer view of the types of text that were set, the way in which composers exercised their choice, and the way such taste was itself changing in relation to the development of musical styles. For the motet was the one form of sacred music in which an Italian composer of the early decades of the seventeenth century could combine a certain freedom of textual choice with an adventurousness of musical idiom.

Seventeenth-Century Keyboard Music. Vol. 2: London, British Library MS Add. 40080

Notes ◽  
1991 ◽  
Vol 47 (4) ◽  
pp. 1288
Author(s):  
Lionel Party ◽  
Alexander Silbiger ◽  
Bruce Gustafson
Keyword(s):  
Seventeenth Century ◽  
British Library ◽  
Keyboard Music

scholarly journals Scribal Intrusion in the Texts of Gamelyn

2010 ◽  
Vol 46 (2) ◽  
pp. 3-20
Author(s):  
Nila VáZquez
Keyword(s):  
Detailed Analysis ◽  
British Library ◽  
Bodleian Library ◽  
Cambridge University ◽  
Corpus Christi ◽  
University Library ◽  
Christ Church ◽  
Physical Elements

Scribal Intrusion in the Texts of Gamelyn One of most important steps in the process of editing a manuscript is the identification and correction of the mistakes made by the scribe or scribes involved in its copying process in order to obtain the best text. In some cases, the changes introduced by the scribe, or by the editor who was supervising his work, can easily be noticed because we find out "physical" elements throughout the folio, such as dots under a word as a sign of expunction or carets indicating that a missing word is being added. However, there are many instances of scribal intrusion where only a detailed analysis of the text itself, or even the comparison of different manuscripts, can lead us to the identification of a modified reading. For instance, orthographical changes due to the dialectal provenance of the copyist, or altered lines with a regular aspect. The purpose of this article is to analyse the scribal amendments that appear in some of the earliest copies of The tale of Gamelyn: Corpus Christi College Oxford MS 198 (Cp), Christ Church Oxford MS 152 (Ch), Fitzwilliam Museum McClean 181 (Fi), British Library MS Harley 7334 (Ha4), Bodleian Library MS Hatton Donat. 1 (Ht), British Library MS Lansdowne 851 (La), Lichfield Cathedral MS 29 (Lc), Cambridge University Library Mm. 2.5 (Mm), Petworth House MS 7 (Pw) and British Library MS Royal 18 C.II (Ry2).

Music for Martyrs

2021 ◽  
Vol 38 (4) ◽  
pp. 436-478
Author(s):  
Kimberly Beck Hieb
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Roman Emperor ◽  
Left Behind ◽  
Local Practices ◽  
Counter Reformation ◽  
Liturgical Practice ◽  
Papal Court

This article interrogates sacred repertoire produced in late seventeenth-century Salzburg as a reflection of a local Catholic piety that centered on sacrifice, especially the ultimate sacrifice of martyrdom. As an individual principality that was subject to both the Papal court in Rome and the Holy Roman Emperor, Salzburg provides a meaningful case study in the heterogeneous regional post-Tridentine Catholic practices that musicologists and historians alike have only begun to explore. Compositions by Andreas Hofer (1629–84) and Heinrich Biber (1644–1704) present a prime example of sacred music’s ability to manifest a region’s distinct piety. Supported by their patron Prince-Archbishop Maximilian Gandolph von Kuenburg (r. 1668–87), Hofer and Biber left behind musical evidence of this exceptional Catholicism in the feasts they elaborated with substantial concerted compositions as well as the distinct texts they set, which do not align with prescribed liturgies and likely reflect persistent local practices that resonated with the prince-archbishop’s Counter-Reformation agenda. Printed liturgical books and emblems celebrating Maximilian Gandolph further support the claim that throughout the seventeenth century liturgical practice and sacred music in Salzburg maintained a local flavor that concentrated on themes of sacrifice and martyrdom.

Meeting Lydgate’s Ghost: Building Medieval History in Seventeenth-Century England

2019 ◽  
Vol 71 (299) ◽  
pp. 251-271
Author(s):  
Mimi Ensley
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
British Library ◽  
John Lydgate ◽  
Medieval Romance ◽  
English History ◽  
The Past ◽  
Documentary Sources ◽  
The Reformation ◽  
Historical Resources

Abstract This article examines a manuscript poem composed by the seventeenth-century author John Lane. Writing in what is now London, British Library, Harley MS 5243, Lane revives the medieval poet John Lydgate in order to re-tell the story of Guy of Warwick, famous from medieval romance. In Lane’s poem, Lydgate returns from beyond the grave to proclaim the historicity of Guy’s legend and simultaneously preserve his own reputation as a chronicler of English history. While some scholars suggest that Lydgate’s popularity declined in the post-Reformation period due to his reputation as the ‘Monk of Bury’, and while it is true that significantly fewer editions of Lydgate’s poems were published in the decades after the Reformation, Lane’s poem offers another window into Lydgate’s early modern reputation. I argue that Lane’s historiographic technique in his Guy of Warwick narrative mirrors Lydgate’s own poetic histories. Both Lane and Lydgate grapple with existing historical resources and compose their narratives by compiling the accreted traditions of the past, supplementing these traditions with documentary sources and artefacts. This article, thus, complicates existing scholarly narratives that align Lydgate with medieval or monastic traditions, traditions perceived to be irrecoverably transformed by the events of the Reformation in England.

Praedatrix Praeda Fit Ipsa Suae: Mary Magdalen, Federico Borromeo And Henry Constable's Spirituall Sonnettes

1987 ◽  
Vol 18 (3) ◽  
pp. 227-236
Author(s):  
Frank Salmon
Keyword(s):  
Seventeenth Century ◽  
Early Years ◽  
British Library ◽  
Roman Catholicism ◽  
Mary Magdalen

THERE EXISTS, in Harleian MS. 7553 of the British Library, a set of seventeenSpiritual1 Sonnettes to the honour of God and hys Sayntes by H. C..In his 1812 edition of the manuscript, Thomas Park attributed these poems to the Elizabethan courtier-poet and later recusant Henry Constable on the grounds of the ‘regular Italian structure, and the sainted names of those addressed’.’ Three years later, in hisHeliconia,Park substantiated his attribution by reference to Constable's known Roman Catholicism and to a recantation found at the end of his secular sonnet cycleDianain Dyce MS. 44: ‘When I had ended this last sonet and found that such vayne poems as I had by idle houres writ did amounte iust to the climatericall number 63, me thought it was high tyme for my follie to die and to employe the remnant of my wit to other calmer thoughts lesse sweet and lesse bitter’. The Dyce manuscript-like the Harleian-is not in Constable's own hand, and one scholar has recently thrown doubt on the authenticity of the recantation. Nevertheless, theSpirituall Sonnetteshave without question continued to be considered as Constable's following Park's broad biographical and stylistic outline. The Harleian manuscript appears to date from the early years of the seventeenth century, and this has been assumed to be the likely date of composition for the sonnets as well.

Music in a time of war : the efforts of Saxon Prince Johann Georg II to establish a musical ensemble, 1637-1651

2017 ◽  
Vol 30 ◽  
pp. 33-68
Author(s):  
Mary E. Frandsen
Keyword(s):  
Seventeenth Century ◽  
Sacred Music ◽  
Musical Life

Elector Johann Georg II of Saxony (r. 1656-1680) is primarily remembered today for his cultivation of elaborate court festivals and a lavish musical life at the Dresden court throughout his twenty-four-year reign. He played an important role in the development of sacred music in seventeenth-century Germany and privileged music in the modern Italian style. This article tells about the efforts of Saxon Prince Johann Georg II in establishing a musical ensemble between 1637 and 1651, hampered by the 30 Years‘ War (1618-1648).

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