Drexel 4302 - Knowledge (XXG)

291: 268: 351: 244: 218:. Ten of these are perfect (meaning that no leaves were removed or were added to the gathering), implying they were copied by professional copyists. The remaining eleven gatherings are now imperfect with diverse structures (meaning that leaves were removed or added). The outer leaves of all the gatherings show greater wear than the inner leaves, indicating that the gatherings were originally separate and used independently. Only later were they brought together and bound to create an aggregate volume. 207: 159: 276: 33: 287:(1715–1806). It reads: "All the following Music was wrote out of the Vatican (or Pope's Library) at Rome." This is followed by a statement signed by "Rev. John Parker": "I do not find any authority for this assertion by Dr. Alcock.". Persons identifies Parker as the vicar of St. George's, London, who "copied out madrigals for himself." 462:

were printed by Phalesius, and that he edited one of Phalesius' anthologies, implying a close relationship between composer and the firm. These publications were significant sources to the copyists of Drexel 4302. Carter posits that the copyist of Drexel 4302 apparently knew Phalesius' 1601 anthology

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on pages 502–18 (nos. 105–15). This copyist created a three-part setting of the work by taking only three of the six parts. Carter observed that this procedure noting some "curious gaps" in the voicing. Rather than copy out the slightly altered repeat, the copyist substituted repeat signs, resulting

230:

Until Thompson's article, most writers assumed the final date of copying of the manuscript close to Tregian's death. Since Thompson discredited the hypothesis of Tregian's involvement, she suggested that an estimation of date need not be influenced by Tregian's death date. Based on Persons' thesis,

221:

Although many music manuscripts of this time are laid out page by page, the scores in Drexel 4302 are generally laid out across two facing pages. This means that a line of music will begin on a verso of a leaf and continue to the recto of the following leaf before continuing on the previous verso.

358:

In discussing the handwriting, Thompson differentiates between abrupt and gradual changes of script (both indicating a different scribe). She noted thirty changes of script (seven sudden and twenty-three gradual). In conjunction with her analysis of Egerton 3665, she noted that Drexel 4302 shares

198:

drawings used Düring paper with a similar (but not identical) watermark, all connected to the court and dating 1619–1624. Thompson concluded: "All the manuscripts containing such papers are found in documents relating to the cultural activities or the official business of the royal courts. Thus a

8652:

Since Ruby Reid Thompson's work appeared in print, a number of scholars have argued in favour of the traditional view that the music in Drexel 4302 and the other relevant sources mentioned below were copied by one scribe, namely Francis Tregian the Younger. For instance, see David J. Smith, 'A

362:

Because they believed that it was in the same hand as the Fitzwilliam Virginal Book and Egerton 3665, Schoefield and Dart thought Drexel 4302 should be considered a continuation of the latter. Thompson has shown that only nine scribal hands are shared between Drexel 4302 and Egerton 3665 (the

256:(a later owner) had written on the first page that Sambrook died in 1660 and was buried at Salisbury. But Bertram Schofield and Thurston Dart wrote that there was apparently another Francis Sambrook who was Clerk of Records to the Bishop of Salisbury Courts in 1662 to whom composer 202:

Originally of German Regal size (a standard used at the time), the height of the folios indicate they have been only slightly trimmed. Their height range from 405 to 415 millimetres (15.9 to 16.3 in) and the width ranges from 268 to 280 millimetres (10.6 to 11.0 in).

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This list is based on the online RISM database (see External links below), Persons's thesis, and an examination of the microfilm of the manuscript. With the exception of the initial heading, all subsequent headings are in the manuscript.

298:

It is not known how Edward F. Rimbault came to own the manuscript, although it is not surprising considering he owned many unique English manuscripts. After his death in 1876, it was listed in the catalog of his estate as lot 1379:

408:

Because many of the writings on Drexel 4302 appeared before Ruby Reid Thompson's 1992 and 2001 articles discrediting a single copyist for Drexel 4302 and Egerton 3665, writers often made comparisons between the two manuscripts.

290: 251:

The earliest identified owner of Drexel 4302 was Francis Sambrook who inscribed his name on various parts of the manuscript, including the front cover. Exactly which Francis Sambrook this was is an open question.

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Catalogue of the valuable library of the late Edward Francis Rimbault, comprising an extensive and rare collection of ancient music, printed and in manuscript (London: Sotheby, Wilkinson & Hodge, 1877), p.

427:

Bertram Schofield and Thurston Dart noted that both Drexel 4302 and Egerton 3665 consist primarily of English and Italian madrigals. They observed that a marginal note in Egerton 3665 regarding the setting

194:, Thompson found no other music manuscripts that used either of these papers. Expanding her search, she found use of these papers in England and its use on the continent was scarce. She found that three of 517:

Possible source: Persons proposed various printed sources for works included in the manuscript. In some cases he found no printed source so he mentioned contemporaneous manuscripts that include the work

432:("ex libris Henr. 8, circa annum 1520") is the same note found in a marginal note of an anonymous motet of Drexel 4302 and conclude that the same source was used for the fantasies by Philip van Wilder. 96:

containing vocal and keyboard music from Italian and British composers, documenting the transition from Renaissance to Baroque music. Though literature on the manuscript has assumed the copyist was

447:(junior) (died 1652)). Both Egerton 3665 and Drexel 4302 indicate "il padre" and "il figliuolo" in titles and "Alfonso Ferrabosco senior" and "Alfonso Ferrabosco junior" for individual pieces. 9278: 307:--Autographs of Francis Sambrook (ob. 1660), by whom the collection was probably transcribed, and John Alcock, 1745—Manuscript notes by Dr. Alcock, Rev. John Parker, and Dr. Rimbault, 283:

Subsequent owners are known from their inscriptions on the manuscript's initial pages. The first is signed "Dr. Allcock" who Jerry C. Persons identifies as the organist and composer

267: 9414: 454:

and its transmission, Tim Carter noted the importance to Drexel 4302 of publications from the publishing firm Phalesius. The firm was founded in the 16th century by

435:

Richard Charteris noted that one of the significant features of Drexel 4302 (and Egerton 3665) are the designations of the three composers named Alfonso Ferrabosco (

335: 116: 24: 322:, who had already amassed a large music library. Upon Drexel's death, he bequeathed his music library to The Lenox Library. When the Lenox Library merged with the 9271: 334:

became the basis for one of its founding units, the Music Division. Today Drexel 4302 is part of the Drexel Collection in the Music Division, now located at the

150:

has shown that not only is this attribution extremely unlikely, but that the basis for the belief of Tregian's to the manuscript was also very tenuous.

9409: 9264: 511:

Scoring: Following conventional abbreviations (s=soprano; a=alto; t=tenor; b=bass; two or more letters indicate multiple section of that vocal range)

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Carter observed that both Drexel 4302 and Egerton 3665 were important to the transmission of "Amarilli, mia bella." The song was first published in

458:, whose sons continued it in the 17th century (at the time the manuscript would have been copied). Carter noted that all publications of composer 9439: 9419: 166:

Thompson found that Drexel 4302 consists of original 257 folios. Five of these sheets are of high quality paper made by the Düring family of

264:. Exact identification awaits further investigation as there were several people named Francis Sambrook active during the mid-17th century. 363:

cumulation of both indicate seventeen different hands) and that these hands are not the same as that of the Fitzwilliam Virginal Book.

468:

Ghirlanda di madrigalia sei voci, di diversie eccellentissimi autori de nostri tempi, raccolta di giardini di fiori odoriferi musicali

9404: 495:"Drexel no." These numbers are those penned by the copyists who numbered each work (each part of a work received a separate number) 138:

The origins of Drexel 4302 or reasons why it came into existence are unknown. For many years it was thought to have been copied by

146:

from about 1608 until his death in 1618. Based on a physical analysis of the manuscript (and an analysis of writings on Tregian),

8903: 9304: 1316:

Egerton 995, Additional 29427, Additional 29327-77, Christ Church Oxford MS 56–60, Bodleian Library, Oxford, MSS C45-47, 49, 50

9375: 564: 440: 354:

Example of change in handwriting in Drexel 4302 (compare the notation above and below the text "If such on earth were found")

9434: 2134: 436: 350: 199:

corresponding connection may exist between the four music manuscripts and the musical activities of the English court.

8606: 139: 132: 97: 514:

Notes in manuscript: Persons transcribed when the copyists included an authorial attribution or included other notes

9424: 455: 471: 178:. (Most of the paper used in English manuscripts can be traced to France and Italy, and to a lesser extent in the 7215: 1141: 183: 9200:

Thompson, Ruby Reid (2001), "Francis Tregian the Younger as Music Copyist: A Legend and an Alternative View",

424:) provided evidence for the dissemination of the new practice of using scores in early 17th century England. 412:

Much of the music from the early 17th century, whether printed or in manuscript, is available only in parts.

1559: 327: 215: 108: 4371: 243: 9429: 1900: 444: 284: 120: 7360: 6004: 1573:

Christ Church, Oxford MSS979-81, 983; Christ Church Oxford MS 984-88; Bodleian Library Oxford MS E. 423

303:

MOTETTS, ANTHEMS, MADRIGALS, and Instrumental Pieces...A very large collection in a thick folio volume,

191: 147: 9335: 7287: 8661:, Variorum Collected Studies Series (Farnham, Surrey: Ashgate, 2011), Addenda and corrigenda, p. 3. 7240: 6959: 5520: 9382: 9362: 5312: 187: 9217: 9168: 9102: 9038: 9009: 417: 253: 463:

because the manuscript includes arrangements of eight six-part madrigals from the publication.

206: 9368: 9241: 9119: 9074: 7076: 2770: 331: 112: 9297: 9209: 9160: 9140: 9094: 9059: 9030: 9001: 7312: 5545: 559: 319: 93: 65: 61: 8992:

Carter, Tim (1988), "Caccini's 'Amarilli, mia bella:' Some Questions (And a Few Answers)",

6621: 5979: 421: 413: 294:

Page opposite the first page of music with inscriptions John Parker and Edward F. Rimbault

9181: 2606:

Tenbury 1018, Fitzwilliam Museum MSS 24. E. 13–17, Filmer Partbooks (Yale), Add. 37402

158: 131:

For information concerning the history and discrediting of the Tregian attribution, see

1488: 339: 275: 69: 9398: 9311: 5570: 1925: 1534: 700: 459: 323: 261: 9256: 1024: 315: 143: 9151:

Smith, David J. (2002), "A legend? Francis Tregian the Younger as music copyist",

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Footnote: The piece is on a piece of paper pasted on the lower cover, upside down

9355: 9350: 9340: 9330: 9325: 9320: 1302: 257: 195: 171: 9236: 9034: 1094: 175: 101: 9144: 9063: 9005: 5291:

Footnote: Concordances in GB-Ob, Ms. Mus. Sch. E.437–42, and GB-Och, MS 423–8

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published in Antwerp in 1613—a date that suggests an approximate time frame.

9123: 9078: 32: 2629:

Tenbury 1018, Fitzwilliam Museum MSS 24. E. 13–17, Filmer Partbooks (Yale)

2560:

Tenbury 1018, Fitzwilliam Museum MSS 24. E. 13–17, Filmer Partbooks (Yale)

2539:

Tenbury 1018, Fitzwilliam Museum MSS 24. E. 13–17, Filmer Partbooks (Yale)

5556:

Footnote: f.162v: "Francesco Rivigo / piglia il lauro per la / tua Laura"

9213: 8659:

Giovanni Gabrieli and His Contemporaries: Music, Sources and Collections

5294:

Bodleian Library Oxford MSS E. 437–42, Christ Church, Oxford MSS 423–28

210:

View from the bottom edge of Drexel 4302 showing the multiple gatherings

9251: 9221: 9172: 9042: 119:. Following traditional library practice, its name is derived from its 51: 9106: 9013: 92:, based on an inscription from a former owner, Francis Sambrook, is a 9252:

DIAMM (Digital Image Archive of Medieval Music) entry for Drexel 4302

9245: 9021:

Charteris, Richard (1982), "Autographs of Alfonso Ferrabosco I-III",

9164: 5993:

Gabrieli, Canto Concerti di Andrea et di Gio. Gabrieli, Venice 1597

174:. The remaining 252 folios were made by the Wendelin Riehel mill in 9098: 100:, recent analysis has demolished that hypothesis (not without some 9131:

Schofield, Bertram; Dart, Thurston (1951), "Tregian's Anthology",

499: 349: 274: 242: 205: 179: 167: 157: 643:

Lasso, Cantionum quatuor, quinque & sex vocum, Antwerp, 1574

474:(RISM 1601). Carter noted that the copyist of Drexel 4302 copied 8625: 9260: 8818: 8816: 8753: 8751: 8749: 8573:

Marenzio, Madrigali a quatro, cinque et sei voci (Venice, 1588

271:

Signature of John Alcock on the first ruled page of Drexel 4302

1431:

Egerton 995, Additional 29427, Christ Church Oxford MSS 56–60

6587: