BourgeoisGentilV1, Istex, Corpus, bibRecord, 000406

The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. 2. Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright.

Identifieur interne : 000406 ( Istex/Corpus ); précédent : 000405; suivant : 000407

The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. 2. Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright.

Auteurs : David Pinto

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Music and Letters [ 0027-4224 ] ; 2009-05.

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DOI: 10.1093/ml/gcn116

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<p>This second instalment in a very open-ended project begins to show more clearly the extent of its ambitions. It has the same focus as the first, on sources belonging to English copyist-collectors of instrumental repertories for the viola da gamba. They range from solo music (including—an anomaly by the general terms of reference—a single bandora ensemble book inherited by a collector of ensemble music, then expanded with lyra viol parts) to six-part ensemble with keyboard accompaniment. For the moment, though, the three compilers have bypassed most of the outstanding collections not yet listed from the earlier seventeenth century, to pursue trends in its second half, after the decline in larger-scale chamber polyphony. A more disparate period is spanned, from <italic>c</italic>
.1590 to 1739. Owners were still often copyists, but the two tend to be more distinct in the later, generally more cosmopolitan repertory, French and German as well as Italian. There is greater genre diversity, and more donkey work for single-line basso continuo. In the well-known quip, the horse designed by a committee is the camel; but here a camel is the ideal vehicle for a cargo of exotic goods conveyed from inaccessible areas. No other combination of talents could have given such personal scrutiny to the far-flung sources or achieved so serviceable a result. Listings of content are supplemented (as in vol. 1) by extensive sections on hands and watermarks in facsimile, both produced to higher standards than before. Its value can only accumulate as extra volumes are added. Assessing the scope of this combined expertise adequately has to be selective for any single reviewer.</p>

<p>One of the two sources listed pre-dating 1600 (actually, part of a collection discussed in vol. 1) has a fascinating mixture: canzoni by Merulo, ricercari and vocal pieces (largely untexted) by Diomedes Cato, and two perhaps by Cipriano de Rore that defy genre placement, one of them put in a category of ‘valde dubium’ in Bernhard Meier's <italic>Opera Omnia</italic>
 for Rore: Corpus Mensurabilis Musicae 14, vol. 8 (Stuttgart, 1977). Cato seems the only figure to occur in Britain otherwise, in two sources at the Fitzwilliam Museum, Cambridge: the ‘Bull MS’ (Mus. 782), and Lord Herbert of Cherbury's Book (Mus. 689), with one ricercar in a cognate lute version. This is one of many entries highlighting a source that deserves wider notice. At the other end of the time period there is also good news: the attention paid to lesser-known resources of Durham Cathedral Library, listing contents in more detail than Brian Crosby's very serviceable catalogue. The varied haul there, acquired by or produced for Prebend Philip Falle (d. 1742), a native of Jersey with access to France and the Low Countries, has copies of Carolus Hacquart, Marin Marais, Jean de Ste-Colombe, and Johannes Schenk that may not be unique, but also rarer items such as works by the little-known Jesuit Anthony Poole. Another way that the compendium of information breaks ground is in gathering previous studies by the compilers, and broadening an approach to sources. It benefits post-Restoration copyists, including one whose parts, in guard-books now in the British Library (acquired from the late Victorian collector Julian Marshall), show wide access to foreign music, as well as suites by John Jenkins for three trebles (apparently violins) and Matthew Locke. Also, it is progress to have isolated work by a hand that had access to ‘Mr Purcells Score Book’, for purposes of checking Locke's output. Extensive work is summarized on player-copyists in the possibly crypto-Catholic Withy family, who link Purcell's era to one at Worcester and the circle of Thomas Tomkins.</p>

<p>The advanced user will doubtless check every detail with point of origin before incorporating the information, but there are two errors glaring enough for mention. One affects a copyist. On page 161, Edward Lowe is credited with the hand of plate 18(a–c) as Scribe D for the source Oxford, Bodleian Library, Mus. Sch D.241–4, and his unidentified associate Scribe A, with 18(d–e). The reverse is true (or else Lowe should be called A and vice versa). The other, on page 155, is a printed source with a section of hand-copied items, Oxford, Bodleian Library, MS Mus. Sch. C.71 (another rare source for Anthony Poole, incidentally), misidentified somehow as Christopher Simpson's <italic>A Compendium of Practical Musick</italic>
 (1667). The lapse is odd, given that the <italic>Compendium</italic>
 is octavo, a fiddly size for manuscript additions. It is the second edition of Simpson's <italic>The Division-Viol</italic>
 (1665, or shortly thereafter), used here for binding in extra personal copy—it invited expansion of that sort by its folio format.</p>

<p>Constraints of size have imposed limits on the achievable in other areas: an initial conspectus of sources, the cited bibliography, and the discussions of context, concordances, and even provenance at times. It is not always clear how previous work is being interpreted, as with the only major earlier seventeenth-century collector treated in this instalment, John Browne, Clerk of the Parliaments. It is clear, as stated on page 1, ‘that the bulk if not all of Browne's music was compiled by the time of the Civil War’, despite his long life (he died in 1691). To say ‘all’ would be no exaggeration, on the evidence of the extant music. But then neither of the two articles cited here suggests anything of the sort. One even claims the contrary: that Browne could have been at the Oxford Civil War court and participated in its hypothetical music-making—an unsupportable claim on any available evidence, since he was a pillar of the Parliamentary opposition in London. As before, there is citation of articles by a code that users are presumed to know: it correlates with the Viola da Gamba Society's <italic>Thematic Index</italic>
. This affects eight cited articles and publications not found in the short bibliography for this instalment. Again, citation of libraries by RISM sigla is not always self-evident by cross-referencing to headline descriptions. ‘B-Bc’ and ‘Lpro’ may be opaque to those not familiar with the sigla for the Conservatoire at Brussels and the Public Record Office in London.</p>

<p>As before, there is enough variability in entries for one to suspect that not all have benefited by collaborative criticism. The figure dominant (so to speak) by absence in most turns out to be Edward Lowe, whose manuscripts go back to the 1630s. Unusually accident-prone, but also symptomatic of problems and choices created by the cataloguing methods, is one that he reworked over about forty years: Oxford, Bodleian Library, MS Mus. Sch. E.451: in the description page 112 is omitted altogether, and with it a ‘Gloria patrj’: not the one accredited to (Thomas) Heardson in the partbook's front index, on p. 106. So is an untitled basso part for ‘La Folia’, added casually in a later hand on p. 124; so too the content of p. 197, a misplaced duplicate copy of the Galliard in C from Matthew Locke's Broken Consort Part 2, also found on p. 119. Another set associated with Lowe listed in this instalment, Mus. Sch. E.431–6, has three pieces at its end (431/434/436, pp. 360–1) attributed there by Lowe as a group to ‘Battist’. While that is recognized as referring to Lully, the detail unrecorded is that they concord with pieces on pp. 195–6 in E.451, ‘The 3 thinges I brought from Court in B [flat major]’. No origin is given for the pieces either, but they equate with 33/1, 33/3, and 32/11, from <italic>La Pastorale comique</italic>
 (1667) and <italic>Ballet des muses</italic>
 (1666) in Herbert Schneider, <italic>Chronologisch-Thematisches Verzeichnis Sämtliche Werke von Jean-Baptiste Lully</italic>
 (Tutzing, 1981). Carl B. Schmidt listed them in his additions to this catalogue, ‘Manuscript Sources for the Music of Jean-Baptiste Lully’, <italic>Notes</italic>
, 2nd ser. 44 (1987–8), 7–32 (though their presence in Mus. Sch. E.451 passed him by too). At original pp. 203–5 in E.451, small errors pile up. Footnote 21 is footnote 19 erroneously repeated; text references to it apply to footnote 20. Source no. 19 on (manuscript) p. 204 is not the ‘Ayre [in D]’ by William Lawes named, Viola da Gamba Society no. 248, which is unnumbered [no. 20]. Preceding it and numbered as 19, but unlisted here, is a ‘Morris’ based on VdGS no. 41. ‘Gloria patris’ on p. 249 misrenders ‘patrj’ (with terminal j as found elsewhere). The four dances by William Lawes on pp. 347–8 reversed are likely to be all in a four-part scoring for 2Tr-T-B-bc, in which they all occur in E.431–6 contiguously, in exact reverse order (the fact that the included dance VdGS no. 323 is identical with no. 322 is a catalogue oversight not picked up here). A little after that, on pp. 356–60 and 377–83 reversed, sections from the ‘Royall Consort’ by Lawes are almost certainly in that same scoring with a residual tenor line found in its so-called ‘old version’, and not, as indicated here, the ‘new’ (in which a bass replaces tenor).</p>

<p>It is only fair to add that, in the rest of this particularly diverse source, the contributors have gone to much untrumpeted trouble to specify the origins of its vocal repertory. But with reference again to Lowe, the context of the instrumental set E.431–6 (pp. 187 ff.), considered in isolation again, leaves avenues underexplored. A suggestion, repeated here, that its principal musical hand belonged to Thomas Jackson, an Oxford singing-man working in the Commonwealth era, was made a decade ago by Robert Thompson and has great plausibility. Slightly misleading, though without a fuller discussion, is the incidental suggestion that this ‘Jackson’ hand ‘also copied most of John Wilson's song-book’, now Bodleian Library, MS Mus. b.1, where Wilson himself, apart from writing the opening section of lute tablature for fantasias or preludes, did little more than make small running corrections. The rest is more involved than stated. Lowe was the principal architect of Wilson's songbook, the sole and total supplier of the verbal text: all the verse underlay and ascriptions for the songs. On that basis, seemingly, he portioned it out in separate quires for copyists to add musical notation. The contribution to that by ‘Jackson’ was largest, about two-fifths; Lowe provided roughly 35 per cent, and a third hand the rest. Two of the distributed quires have a variant form of its paper fleur-de-lis watermark: see the introduction by Elise Bickford Jorgens to the facsimile edition, <italic>English Song 1600–1675 … 7/II Manuscripts at Oxford, Part II</italic>
 (New York and London, 1987). That point could be taken further in clarifying its relationship to the purely instrumental E.431–6, where Lowe exercised some similar overseer role. His titling additions, though not specified here, are visible in the facsimiles: pl. 20(a, c). In this set, though, the Jackson hand copied the dance suites first, and habitually supplied a written colophon to each piece; Lowe's main intervention was to add all the section-headings listing instrumentation and (usually) composer.</p>

<p>The underlying though unavoidable complication is not just the genre jumble in E.451, a ragbag that includes continuo parts, table-book layout, and compressed vocal score. It is that, outside of a total coverage for Edward Lowe, no discussion would be quite adequate. He is presumably not quite categorizable as a copyist-collector in his own right, since he spent his later life as Professor at Oxford building up the holdings associated with the Music School of the day. Two sets of his that overlap with E.451, D.241–4 and E.431–6, <italic>are</italic>
 included. To have listed D.233–6 as well for comparison would have given greater clarity: they do contain amongst other things some parts for Lawes items mentioned above that would contribute to precision. The cost would be a great deal more duplication, and listing of vocal repertory. This, however, seems to be part of the price in the choices when the sources have diversified in the variety of repertory and media that they are copied for. It is in fact hard to see the ideal circumstances in which Lowe could be included comprehensively, since so much of his work spans genres that no longer crossed into instrumental categories. Possibly some day there may be a much-needed study of his considerable work from the mid-1650s on: in fact the ongoing website catalogue of the music at Christ Church in Oxford by John Milsom is already astutely assembling such a list for Lowe's work in that collection, his own college. But the Viola da Gamba Society Index as begun is already becoming a point of first reference. Whatever the conveniences for amplification and correction offered by an electronic database, book form has a sheer ease of use for the intended purpose of facilitating comparison between hands and sources. It cannot otherwise be matched, and it is much to be hoped that will persist in this usable format.</p>

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The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. 2. Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright.

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