465:, typical of organ and virginal music of the time. He also noted that works in the manuscript are organized by key, leading him to propose that the manuscript was created by or for a teacher for pedagogical purposes. Advancing this idea, Mark surmised that the few works which do not adhere to this scheme were probably later additions entered on what was originally blank pages. Bailey also observed the arrangement by key, adding that—within each key—works were organized by composer. Unlike most English keyboard manuscripts of the time, Bailey noted that Drexel 5611 carries composer attributions for every work (even though some of these attributions are in error). (Composer attributions were to become prevalent later in the 17th century.) She observed the kind of music contained in Drexel 5611 ranges from simple settings of popular tunes to more complex works with varied repeats.
359:
volume) was Thomas
Heardson. Klakowich stated that the first copyist was responsible for nos. 1-76 and 78-86. Klakowich observed that the manuscript's attributions to Heardson lack the title "Mr." which strongly suggests that Heardson himself was author and copyist. Bailey noted that, although the name Thomas Heardson is associated with the manuscript, there were several people with that name from which to choose. Basing her research on that of Klakowich, Bailey narrowed down the choice to one person, information about whom is elusive. He was organist at Ludlow Parish Church 1637–42, and possibly the author of the three-voice song "Gloria Patri" that appears in John Hilton's 1652 publication
441:
68, 70, 71), "First, second, third" (nos. 28, 29, 31) and two have unique titles ("Gerrard's Tune" no. 30 and "Queen's
Command" no. 67). Combining designated works with those exhibiting particular dance characteristics, Klakowich observed that Drexel 5611 contains 31 almands, 43 corants, 8 sarabands, and 1 galliard. Before no. 77 Klakowich observes that organization of movements is not consistent. But after no. 77, he observes the frequency of the three-movement organization almand-corant-saraband. This three-movement organization also exists with the works by Benjamin Rogers (nos. 32-34) and a four-movement structure for the works by Mercure (nos. 42-45).
477:. She noted that the emphasis placed on dance movements "is new" as is their ordering. Assuming the copyist was Heardson, Bailey observed that the manuscript begins with works by Heardson, Roberts and Facy, the latter two of whom Bailey suggested might have been colleagues. She surmised that Heardson must have had brief access to works of Benjamin Rogers early during the manuscript's compilation, for his works appear (pages 58–60) but then cease while the works by Roberts and Facy continue.
454:
417:
289:
509:. Bailey considered Facy's works were "part of the final vestiges of the contrapuntal tradition of the virginalists and evince a kinship with similar pieces by John Lugge, possibly resulting from a personal relationship with Lugge, who lived relatively nearby in Exeter." The organ works by Hugh Facy included in Drexel 5611 contribute to our understanding of organ literature at a time when organs were banned in churches and cathedrals.
481:
time. She noted the two works by Thomas
Tomkins on pages 90 and 92 show a significantly more intricate keyboard technique, in contradistinction to the surrounding works by Orlando Gibbons and others. Although several works by La Barre and Tesure appear, they appear with less organization than the works by Mercure and Cobb. The variety of composers in this section suggests that Heardson had access to a considerable amount of music.
33:
322:. A musicologist and a voracious collector of British manuscripts, it is not surprising that the manuscript would become one of his holdings. After Rimbault's death in 1876, the manuscript was listed as lot 1394 in the 1877 auction catalog of his estate. Purchased for £16 10s, the manuscript was one of about 600 lots acquired by
358:
Scholars have identified three different hands in the manuscript. Their lack of a definitive identity has given musicologists a chance to evaluate and hypothesize based on available evidence. Most scholars suspect that the first scribe (who entered most of the works and the index at the front of the
279:
Robert
Klakowich believed that the paper of Drexel 5611 was probably of French or German origin. He based this assumption on knowing that Holland was the main paper distributor for Europe during the mid-17th century, importing paper from France, Switzerland, Germany and Italy, and then redistributing
166:
manuscript Add. 31723, and that the latter source was copied from the former. A note in the Add. 31723 manuscript indicates: "transcribed from an ancient ms. of 1657." Bailey wonders that, if Drexel 5611 is that 1657 manuscript, does the date mentioned in the note represent a beginning or termination
468:
Bailey theorized about the volume's organization based on the order of the works it contains. She saw a first section starting from the volume's initial page and continuing through page 65. In this section she observed that the copyist must have had access to contemporary modern music of the period
440:
The majority of the eighty-nine works within Drexel 5611 are dance works. Of these dance works, sixty-seven carry titles which clearly indicate their dance associations. The other sixteen contain dance characteristics but are either untitled or titled "Toy" (nos. 12, 13, 27), "For the hand" (nos.
375:
The third scribe entered works by
Albertus Bryne, nos. 87-89 on pages .... This is particularly intriguing not just because of consecutive works by the same composer, but also because, as observed by Klakowich, the scribe appears to be the same one who penned the manuscript Ob. Mus. Sch. Ms. D.219
367:
mentions that
Heardson was master of the song school at that church 1642–49.) Comparing Drexel 5611 with a document produced by the Thomas Heardson of Ludlow Parish Church, Bailey concludes that they are the same hand, revealing the identify of Thomas Heardson. (She also suggests that he might be a
480:
Bailey saw a second section from pages 66 through 130, characterized by a change of repertory that included works by foreign composers. That
Heardson places the works by John Mercure and those attributed to John Cobb together suggested to Bailey that he had access to these works for only a brief
403:
The number of conflicts in Drexel 5611 has led scholars to question the attributions altogether. For example, in his edition of keyboard works by
Orlando Gibbons, editor Gerald Hendrie discounts all of Drexel 5611's attributions. Klakowich takes particular interest in no. 38. In Drexel 5611 the
2688:
Catalogue of the
Valuable Library of the Late Edward Francis Rimbault, Comprising an Extensive and Rare Collection of Ancient Music, Printed and in Manuscript ... which will be sold by auction, by Messrs. Sotheby, Wilkinson & Hodge ... on Tuesday, the 31st of July, 1877, and five following
407:
Klakowich notes that the version in Drexel 5611 is a reworking of a piece by
Orlando Gibbons. He therefore solves the discrepancy by theorizing that the attribution of Christopher Gibbons may refer to him as an arranger (in this case, having made an arrangement of one of his father's works).
296:
Jeffrey Mark observed that seven of the final ten works in Drexel 5611 were composed by Albertus Bryne. He thus surmised that the manuscript was once owned by Bryne, who became organist of Westminster Abbey after 1666. That the signature of no. 83 is less neat than that of the copyist of the
371:
Klakowich observed that the second copyist was responsible for only no. 77 on page 142 (a work by Matthew Locke). He suggested that this copyist might have been an associate of Heardson's which Bailey considers a "reasonable proposal" (particularly as no other evidence presents itself).
380:. Since all of the third copyist's work is that of composer Albert Bryne, Klakowich adopted Hendrie's belief and felt that Bryne is the copyist. (Klakowich felt that only the final three works are in Byrne's hand, which explains why some of the preceding works include the title "Mr.")
428:
In her 2003 study, Bailey described Drexel 5611 as heralding a new style in 17th-century British keyboard music. She based her observation on the manuscript's musical content, noting that the copyist had access to some of the most contemporary keyboard works of the period between the
383:
Barry Cooper disagreed with Klakowich because of different forms of the name. Bailey attempted to reconcile the two conflicting viewpoints, noting that both manuscripts have a similar provenance (both are from Oxford), lending much weight to Bryne as the third copyist.
117:
period (when collections of keyboard music were rare), it is an important source for English keyboard music. It also includes a handful of works by French composers, reflecting the growing interest among English musicians in contemporary French keyboard music.
444:
The six non-dance works are three voluntaries (nos. 5, 55 and 56), one cantus firmus work (no. 6), the work entitled "Division" (no. 66, attributed in the manuscript to John Bull but probably composed by Orlando Gibbons), and the ground by Arthur Phillips.
517:
This table is based on Bailey whose list numbered each musical work consecutively. Page 124 in the manuscript is mistakenly labeled 125; succeeding pages continue the scribe's erroneous count. Page numbers listed here adhere to the erroneous count.
488:
followed by ten works by Bryne. Though it might be logical to assume that all of Bryne's works are in the same hand, they are not, some being in Heardson's hand and others being in the same hand as in manuscript Mus. Sch. MS D.219 in the
161:
In her discussion of the manuscript, Candace Bailey noted that Gerald Hendrie (editor of an edition of Orlando Gibbons's keyboard music) observed that Gibbons's composition "The Queen's Command" exists both in Drexel 5611 and in
157:
suggested that the bulk of the manuscript dates from approximately 1655–1670 with the final thirteen works dating later. Surveying numerous manuscripts containing French harpsichord music, Bruce Gustafson suggested "circa 1664?"
145:
Jeffrey Mark, a librarian with the New York Public Library and the first to write about Drexel 5611, observed that the manuscript contains three works by French composers, indicating that it was compiled during the reign of
182:
The manuscript's title page is preceded by a tipped-in image of Gibbons by engraved by J. Caldwell and published about 1750—apparently the work of a later owner. (The engraving is the same as included in John Hawkins's
2663:
A Catalogue of the ... Library of ... Mr. Edward Jones, Bard to the King, Containing an Extremely Rare Collection of Music and Works on Music, Pageants and Archery ... Sold by Auction, by Mr. Sotheby ... Feb. 7th,
504:
Bailey noted that works of composers John Roberts and Albertus Bryne appear to have been influenced by French keyboard style. She noted that Drexel 5611 is one of only a few manuscripts that contain works by
437:, the frequency of dance movements, and the organization by key, composer and dance order. The manuscript's singularity stems from including the earliest known keyboard works of Matthew Locke.
3050:
179:
The dimensions of Drexel 5611 measures 11.5 × 7.75 × .75 inches (29.2 × 19.7 × 1.9 cm). It contains 89 works written out over 159 pages.
304:
and was listed as lot 634 in the auction of his estate. He hypothesized that Burney might have come into possession of the manuscript during the third quarter of the 18th century.
3191:
408:
Klakowich therefore opens up the possibility that some of the attributions in Drexel 5611, rather than exclusively indicating composers, may sometimes refer to arrangers.
343:
130:
24:
330:, 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
3043:
342:
became the basis for one of its founding units, the Music Division. Today, Drexel 5856 is part of the Drexel Collection in the Music Division, now located at the
364:
2541:(Hilversum: The Paper Publication Society, 1950) and #62 from Edward Ard Heawood, "Papers Used in England After 1600: the Seventeenth Century to c. 1860,"
3181:
3036:
3186:
167:
date? Bailey observed that if the 1657 termination date is correct, Drexel 5611 represents the earliest sources of music composed by
3176:
2626:
2220:
2202:
3076:
3147:
318:, although Klakowich made an educated guess that it could have been purchased from the Jones's auction by Rimbault's father,
2304:
2239:
154:
3196:
484:
Bailey identified the final section starting at page 131 and continuing through the end, beginning with a suite by
485:
421:
404:
attribution is to Christopher Gibbons, whereas in other sources the composer is identified as Orlando Gibbons.
168:
501:
Musicologists have noted the inclusion of foreign music in the manuscript.(Klakowich, Gustafson, Cooper 1989)
319:
1417:
title and attribution from index ; Gerald Hendrie states the work is most likely French, La Barre or Tresure
1291:
title and attribution from index; Gerald Hendrie states the work is most likely French, La Barre or Tresure
474:
434:
335:
315:
122:
110:
89:
2322:
Mark, Jeffrey (1925), "The Orlando Gibbons Tercentenary: Some Virginal Manuscripts in the Music Division",
1433:
title and "Orlando" from index ; Gerald Hendrie states the work is most likely French, La Barre or Tresure
1402:
title and "Orlando" from index; Gerald Hendrie states the work is most likely French, La Barre or Tresure
308:
134:
1793:
1752:
280:
it. (Holland would not be a paper manufacturer until the last two decades of the seventeenth century.)
147:
114:
3107:
72:
3 anonymous copyists (the first thought to be Thomas Heardson, the third thought to be Albertus Byrne)
3154:
3134:
2315:
Keyboard Sources in Mid-Seventeenth-Century England and the French Aspect of English Keyboard Music
453:
2257:
2182:
416:
2297:
French Harpsichord Music of the 17th Century: a Thematic Catalog of the Sources with Commentary
307:
The reprint of Burney auction catalog indicates that the manuscript was purchased for 5s 6d by
3140:
3018:
2692:
2622:
2300:
2284:
2269:
2235:
2216:
2198:
470:
430:
339:
126:
3069:
490:
377:
327:
102:
80:
11.5 × 7.75 × .75 inches (29.2 × 19.7 × 1.9 cm)
46:
2621:, edited by A. Hyatt King, Auction catalogues of music v. 2 (Amsterdam: Frits Knuf, 1973).
288:
163:
2197:, Detroit studies in music bibliography, vol. 38, Detroit, MI: Harmonie Park Press,
368:
brother or relative of John Heardson, organist at Lincoln Cathedral Choir in the 1630s.)
457:
Allmaine by a composer identified as Mercure, exhibiting the French style of composition
32:
1244:
Possibly an arrangement by Christopher Gibbons of a work by his father Orlando Gibbons
347:
301:
215:
Foolscap with seven-point bell collar, facing right, with figure "4" and three circles
3170:
3083:
462:
331:
171:. Bailey concluded her discussion by establishing dating at "1650s or early 1660s."
3028:
323:
151:
3127:
3117:
3112:
3102:
3097:
3092:
392:
Klakowich identifies two main issues regarding the attributions in Drexel 5611:
2619:
Catalogue of the Music Library of Charles Burney, sold in London, 8 August 1814
424:, one of his earliest known keyboard works, found in the manuscript Drexel 5611
292:
Allmaine by Thomas Heardson, the first work found in the manuscript Drexel 5611
270:
Large post (single-handled, right) with U-shaped top, initials not discernable
248:
Large posts with grapes (fir cone?) and trefoil crown; no discernable initials
3013:
2248:
Cooper, Barry (1972), "The Keyboard Suite in England Before the Restoration",
506:
2299:, Studies in musicology, vol. 11, Ann Arbor, MI: UMI Research Press,
2288:
2696:
2566:
Edward Ard Heawood, "Further Notes on Paper Used in England After 1600,"
106:
2186:
133:. Following traditional library practice, its name is derived from its
2261:
3022:
259:
Large pot (single-handled, left) with U-shaped top, initials "O R"
2173:
Bailey, Candace (2000), "New York Public Library Drexel MS 5611",
461:
Mark was the first to note that Drexel 5611 used a six-line music
452:
415:
287:
195:
Bruce Gustafson identified six watermarks present in Drexel 5611:
2691:(London: Sotheby, Wilkinson & Hodge, 1877), p. 93, lot 1394.
2371:
3032:
1796:) attributes to Portman, but Hendrie follows it based on style
314:
It is not known how the manuscript came into the possession of
297:
surrounding works led Mark to assume it was Bryne's signature.
300:
Klakowich discovered that the manuscript had once belonged to
2283:, Musica Britannica, vol. 20, London: Stainer and Bell,
2578:
2576:
2521:
2519:
2994:
2992:
2990:
2871:
2869:
2867:
2752:
2750:
2737:
2735:
2733:
2731:
2401:
2399:
2232:
English Solo Keyboard Music of the Middle and Late Baroque
2977:
2975:
2973:
2971:
2537:
Similar to those listed as #2776 in Edward Ard Heawood,
399:
Works found in other sources with different attributions
2934:
2932:
2830:
2828:
2767:
2765:
2268:
Gibbons, Orlando (1924–1925), Glyn, Margaret H. (ed.),
2718:
2716:
2482:
2480:
2478:
2476:
2474:
2472:
2470:
2468:
2455:
2453:
2440:
2438:
2436:
2434:
2432:
2430:
2428:
2426:
185:
A General History of the Science and Practice of Music
2386:
2384:
2382:
2380:
2213:
English Keyboard Music Before the Nineteenth Century
84:
76:
68:
60:
52:
42:
18:
2374:, rule 6.2.2.7, option c (access by subscription).
2539:Watermarks, Mainly of the 17th and 18th Centuries
2317:(Ph.D.), State University of New York at Buffalo
2279:Gibbons, Orlando (1962), Hendrie, Gerald (ed.),
344:New York Public Library for the Performing Arts
131:New York Public Library for the Performing Arts
25:New York Public Library for the Performing Arts
3044:
396:Discrepancies between the index and the works
365:Church of St. Mary Magdalene, Newark-on-Trent
8:
2195:Seventeenth-Century British Keyboard Sources
1861:; listed in index as two corants by Tresure
237:Horn in crowned wreath with initials "IGD"
88:1888 by the Lenox Library (now part of the
3192:Manuscripts in the New York Public Library
3051:
3037:
3029:
15:
2998:
2962:
2923:
2887:
2875:
2858:
2846:
2819:
2756:
2741:
2675:
2650:
2638:
2606:
2594:
2582:
2554:
2525:
2510:
2405:
1813:Attributed to "Mounsier Tresor" in index
1776:(published in 1621), CVB and Drexel 5612
858:incorrect title in index, refers to #18
520:
197:
125:, it forms part of the Music Division's
2981:
2417:
2340:
2324:Bulletin of the New York Public Library
2950:
2938:
2911:
2834:
2807:
2795:
2783:
2771:
2707:
2486:
2459:
2444:
2359:
2347:
1772:this work is attributed to Gibbons in
1792:title from index *Only Och 1177 (in
109:. Dating from either the end of the
7:
2899:
2722:
2498:
2390:
493:. That Bailey calls this an enigma.
14:
1496:title and attribution from index
1480:title and attribution from index
1338:title and attribution from index
105:compilation of works written for
3182:Baroque music manuscript sources
3059:Baroque music manuscript sources
31:
2372:Resource Description and Access
1755:) attribute to Orlando Gibbons
363:. (The Knowledge (XXG) article
1131:attributed to Rogers in index
617:title: Hugh: Facy: Voluntary?
1:
3187:English-language manuscripts
2545:11 (March 1930), p. 285-286.
2274:, London: Stainer & Bell
201:Gustafson watermark number
3213:
2313:Klakowich, Robert (1985),
1639:"and division" from index
251:Possibly of German origin
3148:Livre d'orgue de Montréal
3064:
2666:. : Samuel Sotheby, 1825.
2295:Gustafson, Bruce (1979),
2226:(reprint of 1973 edition)
2160:Possibly in Bryne's hand
2144:Possibly in Bryne's hand
2128:Possibly in Bryne's hand
875:title from index for #17
533:Attribution in manuscript
30:
23:
3177:17th-century manuscripts
2193:Bailey, Candace (2003),
1114:number-title from index
1082:number-title from index
1066:number-title from index
320:Stephen Francis Rimbault
309:Edward Jones (1752-1824)
3077:Codex Martínez Compañón
2271:Complete Keyboard Works
2211:Caldwell, John (1985),
1878:Page 124 mislabled 125
1671:attribution from index
1655:attribution from index
475:Commonwealth of England
336:New York Public Library
316:Edward Francis Rimbault
123:New York Public Library
90:New York Public Library
2230:Cooper, Barry (1989),
458:
425:
293:
56:late 1650s-early 1660s
2570:5 (1947), p. 119-120.
2234:, New York: Garland,
1794:Christ Church, Oxford
1753:Christ Church, Oxford
1751:*CVB and Mus. 47 (in
869:Allmaine and division
456:
419:
291:
148:Charles II of England
2175:Fontes Artis Musicae
1906:Mr. Benjamin Coosens
361:Catch That Catch Can
187:published in 1776.)
175:Physical description
113:period or the early
3155:Parville manuscript
3014:NYPL catalog record
2250:Music & Letters
2215:, New York: Dover,
1161:Mr: Benjamin Rogers
204:Visual description
1984:Mr: Albertus Bryne
1903:Coranto: Mr. Lawes
497:Foreign influences
459:
426:
294:
101:is a 17th-century
3197:Music anthologies
3164:
3163:
3141:Guerra Manuscript
2164:
2163:
1829:title from index
1544:title from index
1512:title from index
1465:title from index
1354:title from index
1196:title from index
1003:title from index
987:title from index
939:title from index
923:title from index
793:title from index
787:Lesson & hand
760:title from index
744:title from index
712:title from index
600:title from index
584:title from index
568:title from index
471:English Civil War
431:English Civil War
340:Drexel Collection
277:
276:
129:, located at the
127:Drexel Collection
121:Belonging to the
96:
95:
3204:
3135:Düben collection
3070:Bauyn manuscript
3053:
3046:
3039:
3030:
3002:
2996:
2985:
2979:
2966:
2965:, p. 33-34.
2960:
2954:
2953:, p. 65-67.
2948:
2942:
2936:
2927:
2921:
2915:
2914:, p. 60-61.
2909:
2903:
2897:
2891:
2885:
2879:
2873:
2862:
2856:
2850:
2844:
2838:
2832:
2823:
2817:
2811:
2810:, p. 59-60.
2805:
2799:
2793:
2787:
2781:
2775:
2769:
2760:
2754:
2745:
2739:
2726:
2720:
2711:
2705:
2699:
2685:
2679:
2673:
2667:
2660:
2654:
2648:
2642:
2636:
2630:
2616:
2610:
2604:
2598:
2597:, p. 16-19.
2592:
2586:
2580:
2571:
2564:
2558:
2552:
2546:
2535:
2529:
2523:
2514:
2508:
2502:
2496:
2490:
2484:
2463:
2457:
2448:
2442:
2421:
2415:
2409:
2403:
2394:
2388:
2375:
2369:
2363:
2357:
2351:
2345:
2331:
2318:
2309:
2291:
2275:
2264:
2244:
2225:
2207:
2189:
1588:Mr: Tho: Tomkins
1572:Mr: Tho: Tomkins
628:Ave Maris stella
521:
513:List of contents
491:Bodleian Library
378:Bodleian Library
328:Joseph W. Drexel
326:-born financier
207:Possible source
198:
103:music manuscript
47:Music manuscript
35:
16:
3212:
3211:
3207:
3206:
3205:
3203:
3202:
3201:
3167:
3166:
3165:
3160:
3060:
3057:
3010:
3005:
2997:
2988:
2980:
2969:
2961:
2957:
2949:
2945:
2937:
2930:
2926:, p. 49ff.
2922:
2918:
2910:
2906:
2898:
2894:
2886:
2882:
2874:
2865:
2857:
2853:
2845:
2841:
2833:
2826:
2818:
2814:
2806:
2802:
2794:
2790:
2782:
2778:
2770:
2763:
2755:
2748:
2740:
2729:
2721:
2714:
2706:
2702:
2686:
2682:
2674:
2670:
2661:
2657:
2649:
2645:
2637:
2633:
2617:
2613:
2605:
2601:
2593:
2589:
2581:
2574:
2565:
2561:
2553:
2549:
2536:
2532:
2524:
2517:
2509:
2505:
2497:
2493:
2485:
2466:
2458:
2451:
2443:
2424:
2416:
2412:
2404:
2397:
2389:
2378:
2370:
2366:
2358:
2354:
2346:
2342:
2338:
2321:
2312:
2307:
2294:
2278:
2267:
2247:
2242:
2229:
2223:
2210:
2205:
2192:
2172:
2169:
2167:Works consulted
1789:Orlando Gibbons
1766:Queenes Command
1145:Mr: Ben: Rogers
936:Mr: Jo: Roberts
920:Mr: Jo: Roberts
872:Mr: Jo: Roberts
855:Mr: Jo: Roberts
581:Mr. Jo: Roberts
515:
499:
451:
414:
390:
356:
286:
273:no information
262:no information
240:English origin
229:no information
226:Cardinal's hat
218:no information
193:
177:
164:British Library
143:
61:Place of origin
38:
12:
11:
5:
3210:
3208:
3200:
3199:
3194:
3189:
3184:
3179:
3169:
3168:
3162:
3161:
3159:
3158:
3151:
3144:
3137:
3132:
3131:
3130:
3125:
3120:
3115:
3110:
3105:
3100:
3095:
3087:
3080:
3073:
3065:
3062:
3061:
3058:
3056:
3055:
3048:
3041:
3033:
3027:
3026:
3025:Catalog record
3016:
3009:
3008:External links
3006:
3004:
3003:
2999:Klakowich 1985
2986:
2984:, p. 103.
2967:
2963:Klakowich 1985
2955:
2943:
2928:
2924:Klakowich 1985
2916:
2904:
2902:, p. 851.
2892:
2888:Klakowich 1985
2880:
2876:Klakowich 1985
2863:
2859:Klakowich 1985
2851:
2847:Klakowich 1985
2839:
2824:
2820:Klakowich 1985
2812:
2800:
2788:
2776:
2761:
2757:Klakowich 1985
2746:
2742:Klakowich 1985
2727:
2725:, p. 852.
2712:
2700:
2680:
2676:Klakowich 1985
2668:
2655:
2651:Klakowich 1985
2643:
2639:Klakowich 1985
2631:
2611:
2607:Klakowich 1985
2599:
2595:Klakowich 1985
2587:
2585:, p. 181.
2583:Gustafson 1979
2572:
2559:
2557:, p. 180.
2555:Gustafson 1979
2547:
2530:
2528:, p. 179.
2526:Gustafson 1979
2515:
2513:, p. 177.
2511:Gustafson 1979
2503:
2501:, p. 854.
2491:
2464:
2449:
2422:
2410:
2408:, p. 133.
2406:Gustafson 1979
2395:
2393:, p. 853.
2376:
2364:
2352:
2350:, p. 319.
2339:
2337:
2334:
2333:
2332:
2319:
2310:
2305:
2292:
2281:Keyboard music
2276:
2265:
2245:
2240:
2227:
2221:
2208:
2203:
2190:
2168:
2165:
2162:
2161:
2158:
2155:
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2150:
2146:
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2142:
2139:
2137:
2134:
2130:
2129:
2126:
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2120:
2117:
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2112:
2107:
2105:
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2097:
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2017:
2014:
2011:
2008:
2004:
2003:
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1995:
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1988:
1987:
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1982:
1979:
1976:
1972:
1971:
1969:
1966:
1963:
1960:
1956:
1955:
1953:
1951:
1948:
1945:
1941:
1940:
1938:
1935:
1933:
1930:
1926:
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1923:
1920:
1917:
1914:
1910:
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1907:
1904:
1901:
1898:
1894:
1893:
1888:
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1880:
1879:
1876:
1875:Mr: Ben: Cosyn
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1123:
1120:
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1099:
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1077:
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934:
932:
929:
925:
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921:
918:
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901:
899:
897:
893:
892:
890:
887:
884:
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877:
876:
873:
870:
867:
864:
860:
859:
856:
853:
850:
847:
843:
842:
840:
837:
834:
831:
827:
826:
824:
821:
818:
815:
811:
810:
805:
803:
801:
799:
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794:
791:
788:
785:
782:
778:
777:
772:
770:
768:
766:
762:
761:
758:
755:
753:
750:
746:
745:
742:
739:
737:
734:
730:
729:
727:
724:
721:
718:
714:
713:
710:
707:
705:
702:
698:
697:
695:
693:
690:
687:
683:
682:
680:
677:
674:
671:
667:
666:
664:
661:
658:
655:
651:
650:
645:
643:
641:
639:
635:
634:
632:
629:
626:
623:
619:
618:
615:
612:
609:
606:
602:
601:
598:
595:
593:
590:
586:
585:
582:
579:
577:
574:
570:
569:
566:
563:
561:
558:
554:
553:
551:
548:
545:
542:
538:
537:
534:
531:
528:
525:
514:
511:
498:
495:
469:including the
450:
447:
413:
410:
401:
400:
397:
389:
386:
355:
352:
348:Lincoln Center
334:to become the
302:Charles Burney
285:
282:
275:
274:
271:
268:
264:
263:
260:
257:
253:
252:
249:
246:
242:
241:
238:
235:
231:
230:
227:
224:
220:
219:
216:
213:
209:
208:
205:
202:
192:
189:
176:
173:
142:
139:
94:
93:
86:
82:
81:
78:
74:
73:
70:
66:
65:
62:
58:
57:
54:
50:
49:
44:
40:
39:
36:
28:
27:
21:
20:
13:
10:
9:
6:
4:
3:
2:
3209:
3198:
3195:
3193:
3190:
3188:
3185:
3183:
3180:
3178:
3175:
3174:
3172:
3157:
3156:
3152:
3150:
3149:
3145:
3143:
3142:
3138:
3136:
3133:
3129:
3126:
3124:
3121:
3119:
3116:
3114:
3111:
3109:
3106:
3104:
3101:
3099:
3096:
3094:
3091:
3090:
3088:
3086:
3085:
3084:Dow Partbooks
3081:
3079:
3078:
3074:
3072:
3071:
3067:
3066:
3063:
3054:
3049:
3047:
3042:
3040:
3035:
3034:
3031:
3024:
3020:
3017:
3015:
3012:
3011:
3007:
3001:, p. 40.
3000:
2995:
2993:
2991:
2987:
2983:
2978:
2976:
2974:
2972:
2968:
2964:
2959:
2956:
2952:
2947:
2944:
2941:, p. 63.
2940:
2935:
2933:
2929:
2925:
2920:
2917:
2913:
2908:
2905:
2901:
2896:
2893:
2890:, p. 54.
2889:
2884:
2881:
2878:, p. 52.
2877:
2872:
2870:
2868:
2864:
2861:, p. 34.
2860:
2855:
2852:
2849:, p. 33.
2848:
2843:
2840:
2837:, p. 60.
2836:
2831:
2829:
2825:
2822:, p. 31.
2821:
2816:
2813:
2809:
2804:
2801:
2798:, p. 59.
2797:
2792:
2789:
2786:, p. 58.
2785:
2780:
2777:
2774:, p. 56.
2773:
2768:
2766:
2762:
2759:, p. 28.
2758:
2753:
2751:
2747:
2744:, p. 32.
2743:
2738:
2736:
2734:
2732:
2728:
2724:
2719:
2717:
2713:
2710:, p. 51.
2709:
2704:
2701:
2698:
2694:
2690:
2684:
2681:
2678:, p. 58.
2677:
2672:
2669:
2665:
2659:
2656:
2653:, p. 57.
2652:
2647:
2644:
2641:, p. 55.
2640:
2635:
2632:
2628:
2627:9789060272619
2624:
2620:
2615:
2612:
2609:, p. 17.
2608:
2603:
2600:
2596:
2591:
2588:
2584:
2579:
2577:
2573:
2569:
2563:
2560:
2556:
2551:
2548:
2544:
2540:
2534:
2531:
2527:
2522:
2520:
2516:
2512:
2507:
2504:
2500:
2495:
2492:
2489:, p. 52.
2488:
2483:
2481:
2479:
2477:
2475:
2473:
2471:
2469:
2465:
2462:, p. 62.
2461:
2456:
2454:
2450:
2447:, p. 61.
2446:
2441:
2439:
2437:
2435:
2433:
2431:
2429:
2427:
2423:
2419:
2414:
2411:
2407:
2402:
2400:
2396:
2392:
2387:
2385:
2383:
2381:
2377:
2373:
2368:
2365:
2362:, p. 74.
2361:
2356:
2353:
2349:
2344:
2341:
2335:
2330:(12): 847–860
2329:
2325:
2320:
2316:
2311:
2308:
2302:
2298:
2293:
2290:
2286:
2282:
2277:
2273:
2272:
2266:
2263:
2259:
2255:
2251:
2246:
2243:
2237:
2233:
2228:
2224:
2222:9780486248516
2218:
2214:
2209:
2206:
2204:9780899901138
2200:
2196:
2191:
2188:
2184:
2180:
2176:
2171:
2170:
2166:
2159:
2156:
2154:
2151:
2148:
2147:
2143:
2140:
2138:
2135:
2132:
2131:
2127:
2124:
2121:
2118:
2115:
2114:
2111:
2108:
2106:
2104:
2102:
2099:
2098:
2095:
2093:
2091:
2088:
2085:
2084:
2081:
2079:
2076:
2073:
2070:
2069:
2066:
2063:
2060:
2057:
2054:
2053:
2050:
2047:
2045:
2043:
2041:
2038:
2037:
2034:
2031:
2028:
2025:
2022:
2021:
2018:
2015:
2012:
2009:
2006:
2005:
2002:
1999:
1996:
1993:
1990:
1989:
1986:
1983:
1980:
1977:
1974:
1973:
1970:
1967:
1964:
1961:
1958:
1957:
1954:
1952:
1949:
1946:
1943:
1942:
1939:
1936:
1934:
1931:
1928:
1927:
1924:
1922:Mr: Phillipps
1921:
1918:
1915:
1912:
1911:
1908:
1905:
1902:
1899:
1896:
1895:
1892:
1889:
1887:
1885:
1882:
1881:
1877:
1874:
1871:
1868:
1865:
1864:
1860:
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1716:
1713:
1710:
1707:
1706:
1703:
1700:
1697:
1694:
1691:
1690:
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1600:
1597:
1594:
1593:
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1587:
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1574:
1571:
1568:
1565:
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1528:
1525:
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1511:
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1506:
1503:
1500:
1499:
1495:
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1398:
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1327:
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1317:
1314:
1311:
1310:
1307:
1304:
1302:
1300:
1298:
1295:
1294:
1290:
1288:
1286:
1283:
1280:
1279:
1276:
1274:Tho: Heardson
1273:
1270:
1267:
1264:
1263:
1260:
1257:
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1243:
1240:
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1235:
1232:
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1228:
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1210:Tho: Heardson
1209:
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1199:
1195:
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1117:
1113:
1110:
1108:
1105:
1102:
1101:
1098:
1096:Tho: Heardson
1095:
1093:Gerrards Tune
1092:
1089:
1086:
1085:
1081:
1078:
1076:
1073:
1070:
1069:
1065:
1062:
1060:
1057:
1054:
1053:
1050:
1047:
1044:
1041:
1038:
1037:
1034:
1032:Tho: Heardson
1031:
1028:
1025:
1022:
1021:
1018:
1016:Tho: Heardson
1015:
1013:
1010:
1007:
1006:
1002:
999:
997:
994:
991:
990:
986:
983:
981:
978:
975:
974:
971:
968:
966:
964:
962:
959:
958:
955:
952:
949:
946:
943:
942:
938:
935:
933:
930:
927:
926:
922:
919:
917:
914:
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152:Musicologist
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2939:Bailey 2000
2912:Bailey 2000
2835:Bailey 2000
2808:Bailey 2000
2796:Bailey 2000
2784:Bailey 2000
2772:Bailey 2000
2708:Bailey 2000
2568:The Library
2543:The Library
2487:Bailey 2000
2460:Bailey 2000
2445:Bailey 2000
2360:Bailey 2003
2348:Cooper 1972
1000:Mr: Roberts
984:Mr: Roberts
953:Mr: Roberts
889:Mr: Roberts
663:Mr: Roberts
597:Mr. Roberts
527:Work number
524:Page number
135:call number
115:Restoration
99:Drexel 5611
69:Compiled by
37:Drexel 5611
19:Drexel 5611
3171:Categories
2336:References
2306:0835710696
2256:(3): 319,
2241:0824001915
1620:Mr: Treser
1604:Mr: Treser
1241:C.Gibbons
723:A Galliard
709:La: Tresor
614:Hugh: Facy
284:Provenance
191:Watermarks
3108:4180–4185
2900:Mark 1925
2723:Mark 1925
2499:Mark 1925
2391:Mark 1925
2064:Mr. Bryne
2016:Mr. Bryne
1937:Mr. Locke
1774:Parthenia
1769:Dr. Bull
1748:Dr. Bull
1685:Mr: Gibbs
1585:Voluntary
1569:Voluntary
886:Sarabrand
611:Voluntary
507:Hugh Facy
85:Accession
2697:11988908
2187:23509042
2157:A: Bryne
2122:Allmaine
2061:Allmaine
2029:Allmaine
1981:Allmaine
1968:Mr. Lock
1965:Saraband
1826:Mr: Facy
1698:Allmaine
1541:Mr: Cobb
1509:Mr: Cobb
1493:Mr: Cobb
1462:Mr: Cobb
1447:Mr: Cobb
1444:Allmaine
1207:Allmaine
1193:Mr: Facy
1125:Allmaine
1111:Mr: Facy
1079:Mr: Facy
1063:Mr: Facy
852:Allmaine
820:Allmaine
790:Mr: facy
757:Mr: Facy
741:Mr: Facy
726:Mr: Facy
676:Allmaine
660:Allmaine
631:Mr: Facy
547:Allmaine
536:Remarks
473:and the
433:and the
354:Copyists
107:virginal
3089:Drexel
2149:158-159
2133:157-158
2116:155-156
2100:153-154
2055:149-150
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1997:Coranto
1950:Coranto
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1872:Coranto
1866:125-126
1849:118-123
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1724:104-105
1676:100-101
1633:Corant
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1384:Mercure
1368:Mercure
1365:Coranto
1351:Mercure
1321:Mercure
412:Content
376:in the
64:England
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1733:Treser
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1650:Corant
1636:Treser
1617:Corant
1318:Corant
1271:Corant
1223:Corant
1190:Lesson
1142:Corant
1128:Rogers
1029:Corant
950:Corant
836:Corant
692:Corant
338:, the
2258:JSTOR
2183:JSTOR
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530:Title
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3093:3976
3019:RISM
2693:OCLC
2689:days
2664:1825
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2000:A:B:
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