335:
175:
302:
violin, two violas and bass is commonly found in seventeenth-century dance music, particularly in the courts of France, Sweden as well as German and
Austrian courts. More importantly, this was the scoring used by the violin band of the English court known as the Twenty-Four Violins. Holman surmised that the manuscript was probably derived from the repertory of the Twenty-Four Violins who played both theatrical and non-theatrical music. Although Holman could not say exactly when chamber music shifted from having two violas to having two violins, he observed that the four works in Drexel 3976 that also appear in
121:
343:
26:
392:(consisting of two contrasting parts). Despite this French influence, Locke's works in "The Rare Theatrical" are labeled "curtain tunes." Beginning in the 1680s would English composer use the word "overture" with greater frequency. Holman found greater interest in those curtain tunes that do not conform to the French form.
93:, considered by some to be "the father of all Restoration dramatic music." The manuscript is a significant source of Locke's instrumental dramatic music with many works not known through any other source, although the contexts of the individual works and the names of the plays which they are from has not been documented.
396:
suggests that if Locke did not designate the collection with that title (not impossible, given his apparently high opinion of himself), it could have derived from an early owner of the collection. Holman states the possibility that Edward Jones might have rescued the original title when he had the collection rebound.
416:
in two sections. This is also the pattern used by many of Locke's contemporaries. Placing Locke's branles in context, Holman concluded that Locke successfully integrated the
English disjunct melodic style with the French sense of elegance and predictable patterns. The form would find full flower in
369:
Holman described the copyist as an experienced copyist who was working "two stages removed" from Locke's manuscript scores. Based on his experience in observe contemporaneous scores starting with works in G major and G minor, Holman reasoned that the copyist was working from incomplete sources. (The
140:
Jones once owned the manuscript and had it bound or rebound. (The current owner, the New York Public
Library, had the volume rebound in 1937 and no evidence of previous bindings exist. Jones's written comments have been preserved and are pasted on new flyleaves at the beginning of the volume.) Jones
301:
Almost all the music in Drexel 3976 is scored for four parts using treble, alto, tenor and bass clefs. Based on a contemporary document, Holman explained that this scoring would result in six violins, six countertenors, six tenors and six basses. The rationale for this is that scoring for a single
152:
strongly cast doubt on the 18th century dating based on three reasons. First, Holman described the very orderly progression of works by key as being typical of the
Restoration period; such organization had ceased by 1700. Secondly, characteristics of the handwriting in its notation of music and in
318:
specifically describes the position of the instruments including "harpsicals" and a theorbo, other evidence shows that theater music did not always include continuo players. Noting that Drexel 3976 does not contain any figured bass, Holman concludes that the Twenty-Four
Violins did not play with
276:
Although the name of the copyist is unknown, Holman derived information about him from various sources. He noted that it is the same copyist as another volume in the New York Public
Library, Drexel 5061 and that the provenance of that volume is similar to Drexel 3976, stemming from William Hayes.
272:
Holman surmised that the manuscript was probably written by a near-contemporary of
Matthew Locke. His support for this hypothesis is based on a uniform watermark throughout the manuscript, that of a seven-pointed foolscap, typically found in French and Dutch paper of the late seventeenth century.
182:
Holman observed that the title "The Rare
Theatrical" was written in Edward Jones's hand and that in this case, Jones's use of the word "rare" refers not to scarcity, but to unusually high quality. He concluded that the title probably originated with the copyist and that Jones's inscription could
395:
Of the title, the meaning of the word "theatrical" refers to a collection music from the theatre, perhaps characteristic of grammatical irregularities sometimes found in the
Restoration period. The word "rare" was used in the seventeenth century to indicate "uncommon excellence or merit." Holman
219:
Edward
Francis Rimbault was a musicologist and a voracious collector of British manuscripts, so it is not surprising that the manuscript would eventually become one of his holdings. After Rimbault's death in 1876, the manuscript was listed as lot 1373 in the 1877 auction catalog of his estate.
2645:
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
376:
Holman was frustrated by the organization of "The Rare Theatrical." He knew that composers did not feel a need to maintain the same key for music heard during the intervals. But "The Rare Theatrical" is organized by key. Holman reasoned that, just as the copyist was a few stages away from the
252:
The manuscript measures 32.1 cm × 21 cm × 0.9 cm (1.053 ft × 0.689 ft × 0.030 ft). With its current binding it measures 32.8 cm × 21.8 cm × 1.5 cm (1.076 ft × 0.715 ft × 0.049 ft).
284:
Holman infers that the copyist could be a member of the family of composer Bartholomew Isaack, noting that one of his brothers, William, was a professional copyist (William Isaack was the copyist of a large collection of anthems now in the Fitzwilliam Museum as Music MS 117).
380:
Holman observed that three of the original seven sections of the manuscript are missing. He hypothesized that it once could have contained as many as twenty-three theatre suites, and thus could have made a near-comprehensive collection of Locke's theatre music.
169:
The Rare Theatrical, & other Compositions by Mr. Matthew Lock, transcribed in Score from various M.S. – viz. Overtures, Symphonies, Brawles, Gavotts, Fantasticks, Corants, act Tunes, Curtain Tunes, Sarabands, Almands, Galliards, Lilks, Hornpipes, & other
357:
Locke was known to have written music for at least eleven and possibly as many as twenty dramatic works, which would have resulted in over 100 instrumental movements.Bruce Wood, "The Rare Theatrical: New York Public Library, Drexel MS 3976 by Matthew Locke,"
365:
Holman observed that the copyist was probably working from scores (rather than parts) in creating Drexel 3976. He notes that on a few occasions the copyist erroneously copied the wrong part in to the score, and chose to cross out the score and start again.
195:
Upon Jones's passing his collection was sold at auction in 1825. In the auction catalog of Jones's library, this volume is identified as lot 452. Musicologist Robert Klakowich hypothesized that it could have been purchased from the Jones's auction by
411:
Locke's branles exhibit a similar formal structure: they open with two six-bar phrases in duple time, then a "second brawl" of eight measures in triple time, followed by a "leading brawl" of two six-bar sections. The suites conclude with a
240:, the Drexel Collection became the basis for one of its founding units, the Music Division. Today, Drexel 3796 is part of the Drexel Collection in the Music Division, now located at the New York Public Library for the Performing Arts at
2882:
The Dancing Master: or, Plain and Easie Rules for the Dancing of Country-Dances, with the Tunes to Each Dance, to Which is Added the Tunes of the Most Usual French Dances, and also Other New and Pleasant English Tunes From the
145:(1706–1777), which would mean the work dates from the mid-18th century. (Jones's binding is no longer extant; the current binding was created by the Library.) While acknowledging that Hayes might have owned the manuscript,
204:(1773–1837). Holman was able to examine Sotheby's copy of the catalogue which contained the names of the buyers. The buyer for this manuscript is identified only as "Palmer" who purchased this volume along with Locke's
3021:
Cholij, Irena (1990), "The Rare Theatrical by Matthew Locke; Choice Ayres, Songs and Dialogues by John Playford; Pyramus and Thisbe by John Frederick Lampe; Three Birthday Odes for Prince George by William Boyce",
2602:
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,
313:
Whether continuo instruments (harpsichord and theorbo) accompanied the theatrical music, Holman found sources with somewhat conflicting information. While noting that Thomas Shadwell's version of the play
136:
This Book was Purchased from the Collection of the Late Dr. Wm. Hays of Oxford: who caused these Compositions to be fairly transcribed in Score, from various scarce MS. & Ed. Jones, had it thus bound.
191:
Holman doubted Jones's attribution of Hayes as the compiler since the manuscript displays notational and organizational characteristics of 17th century manuscripts, rather than that of the 18th century.
373:
From its title we know that "The Rare Theatrical" contains music for theatre works. The lack of identifying titles for each work makes it hard to associate any composition with any specific play.
124:
Opening inscription On Drexel 3976 by Edward Jones attributing the work to William Hays. "1373" is the lot number under which the manuscript was sold at the sale of Edward F. Rimbault's library
3170:
322:
As to whether Baroque oboe and recorder were used, based on evidence of practice in contemporary theatrical works, Holman concludes "...it is likely that some of the pieces in
334:
3311:
105:
232:, 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
3163:
404:
From Jones's description we know that Drexel 3976 also contains works that do not have theatrical origins. "The Rare Theatrical" contains six "brawls" (or
3301:
3156:
3054:
261:
Holman determined that the manuscript's handwriting indicates it was written in the late seventeenth century. Conventional symbols such the type of
174:
388:
and were to be played prior to the stage action. In terms of their structure, Holman noted that many of them resemble the typical form found in
157:
indicating French or Dutch paper of the late 17th century. Holman hypothesized that the manuscript was written by a near-contemporary of Locke.
2898:
Tripla Concordia, or, A Choice Collection of New Airs in Three Parts, for Treble and Basse-Violins by Several Authors, Never Before Published
3306:
408:). Branles were not used for theatre music; the ones in Drexel 3976 were not included by Locke in his collections of chamber music.
3296:
3091:
2847:
178:
Second inscription on Drexel 3976 by Edward Jones providing the name "The Rare Theatrical" and a brief description of its contents
277:
Thus he derived information about the copyist of Drexel 3976 from Drexel 5061. Noting that the copyist must have copied works of
3196:
3267:
3086:, Music for London Entertainment, 1660–1800. Series A. Music for plays, 1660–1714, vol. 4, London: Stainer & Bell,
2910:
Cupid & Death : a Private Entertainment Represented With Scenes and Music, Vocal & Instrumental : a Masque
2870:
Apollo's Banquet: Short Rules and Directions for Practitioners on the Treble Violin, With a Collection of Old Country Dances
281:
directly from the composer's manuscript, Holman hypothesizes that the copyist might have been in direct contact with Locke.
377:
original manuscripts, so too the organization of the various works was also at some remove from their original contexts.
153:
particular key signatures and time signatures is typical of the 17th century. Lastly, Holman observed a consistent paper
310:, Locke's successor at court, are primarily for two violins and viola, indicating the transition was nearly completed.)
120:
3316:
306:
have two violins and a single viola, indicating that the transition had begun to take place. (Similar works by
142:
90:
70:
201:
237:
197:
97:
129:
109:
3024:
351:
266:
3227:
2900:(London : Printed by Tho. Ratcliffe and Nath. Thompson, and are to be sold by John Carr ..., 1677)
3100:
Wood, Bruce (1990), "The Rare Theatrical: New York Public Library, Drexel MS 3976 by Matthew Locke",
338:"The Opera Tune by Mr. Lock" as it appears in the 1669 edition of Apollo's Banquet, as a melodic line
3274:
3254:
2616:
Keyboard Sources in Mid-Seventeenth-Century England and the French Aspect of English Keyboard Music
3111:
3071:
3041:
3010:
2840:
A Thematic Catalogue of the Works of Matthew Locke with a Calendar of the Main Events of his Life
3102:
3260:
3133:
3087:
2843:
2649:
326:
were played with wind instruments, presumably doubling the outer parts in the French manner."
213:
101:
165:
The following page also contains an inscription by Jones which Holman identified as a title:
3189:
3063:
3033:
2972:
229:
86:
44:
389:
2825:
The third definition provided by Oxford Dictionaries is "Unusually good or remarkable."
2618:
Ph.D. dissertation (Buffalo, NY: State University of New York at Buffalo, 1985), p. 58.
342:
241:
3290:
3203:
307:
278:
233:
3148:
225:
221:
149:
146:
3037:
3247:
3242:
3237:
3232:
3222:
3217:
2627:
Rimbault owned at least two additional volumes that came from Jones's library,
370:
manuscript itself does not show evidence of having its initial pages removed.)
3128:
346:"The Opera Tune" as it appears in Drexel 3976, page 104, for four string parts
3067:
2973:
Mus 1066, manuscript in Christ Church Library, University of Oxford, England
385:
288:
Wood noted that the copyist, although experienced, was not always accurate.
154:
2885:(London: Printed by W. G. and are sold by J. Playford and Z. Watkins, 1665)
2653:
220:
Purchased for £5/5s the manuscript was one of about 600 lots acquired by
3014:
2629:
Dictionarium Musica: Being a Complete Dictionary, or, Treasury of Music
25:
3045:
413:
405:
108:. Following traditional library practice, its name is derived from its
3115:
3075:
2952:
Melothesia or, Certain General Rules for Playing Upon a Continued-Bass
3137:
265:, the shape of the notes and double bars are characteristic of the
3052:
Lefkowitz, Murray (1986–1987), "Review: Dramatic Music by Locke",
3001:
Bailey, Candace (2000), "New York Public Library Drexel MS 5611",
2635:
by John Potter (1762). Both are now part of the Drexel Collection.
341:
333:
173:
119:
384:
Homan noted that many of Locke's "curtain tunes" functioned like
85:(based on an inscription from a former owner), is a 17th-century
2648:(London: Sotheby, Wilkinson & Hodge, 1877), p. 93, lot 1373.
2534:
262:
212:(formerly thought to be composed by Locke but now attributed to
3152:
2912:(manuscript in the British Library, call number Ms. Add. 17799)
1234:
Add. 31431, folios 62v-3, "Curtaine tune / Mathew Locke" (a3)
3084:
The Rare Theatrical: New York Public Library, Drexel MS 3976
643:(1677), no. 7, "M. Lock" (a3 in g, first two sections only)
128:
A handwritten statement (now pasted on the initial leaf) by
2087:
Mus. Sch. C 44, folios 2, 10, 12, 14–16, "Courante" (a3);
2704:
2702:
2700:
2633:
Observations on the Present State of Music and Musicians
2809:
2807:
2805:
2803:
2801:
2773:
2771:
2733:
2731:
2729:
2675:
2673:
620:(1672, 1680, 1682), no. 26, "Gavot by Mr. Math. Locke"
2788:
2786:
2941:
Add. 31431, manuscript in the British Library, London
2585:
2583:
2581:
2579:
2547:
2545:
2543:
2518:
2516:
2514:
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2560:
362:
71, no. 4 (November 1990), p. 614.</ref>
66:
58:
50:
40:
32:
18:
2829:, Oxford University Press, accessed 24 March 2016.
2537:, rule 6.2.2.7, option c (access by subscription).
319:continuo players, even when they were available.
3032:(4), London: Oxford University Press: 655, 657,
354:in 1660, Locke was England's leading composer."
3110:(4), London: Oxford University Press: 613–616,
269:. (By 1700 these symbols had become obsolete.)
106:New York Public Library for the Performing Arts
3164:
2987:Ms. 5777, in the National Library of Scotland
2110:Mus 1066, folio 1v, "Saraband Mr. Math Lock"
532:(1670), no. 14, "The Opera Tune by Mr. Lock";
141:believed the manuscript was copied by or for
8:
3082:Locke, Matthew (1989), Holman, Peter (ed.),
3062:(4), London: Taylor & Francis: 335–339,
2148:Mus 1066, folio 2, "tune"/"Mr. Math Locke"
2089:Mus 1066, folio F, "Corand Mr Math Locke";
3312:Manuscripts in the New York Public Library
3171:
3157:
3149:
2968:
2966:
2964:
2962:
2960:
2068:Mus 1066, folio 1, "Allman Mr Math Locke"
15:
2983:
2981:
2865:
2863:
2861:
2859:
2857:
2855:
2029:(1670), no. 64, "She would if she could"
3055:Journal of the Royal Musical Association
2924:
2922:
2920:
2918:
424:
100:, it forms part of the Music Division's
2893:
2891:
2497:
2091:Ms. 5777, folio 5v, "Corrant Mr Locke"
3129:New York Public Library catalog record
2664:
2928:Matthew Locke, "The Broken Consort,"
2813:
2792:
2777:
2762:
2737:
2720:
2708:
2679:
2589:
2570:
2551:
89:compilation of works by the composer
7:
2691:
2522:
2167:Ms. 5777, folio 6, "Tune Mr. Locke"
2954:(London: Printed for J. Carr, 1673)
2504:Richard Luckett, "Dramatic Music,"
183:have preserved that earlier title.
2749:Peter Holman, "Locke, , Matthew,"
2431:(1670), no. 35, "A Jigg Hornpipe"
14:
542:(1677), no. 6, "Gavat" (a3 in G)
3302:Baroque music manuscript sources
3179:Baroque music manuscript sources
1038:(1678), no. 5, "A Theatre Jigg"
24:
2535:Resource Description and Access
2288:See no. 73, strains 2 & 3
1:
2375:See no. 69, lacking strain 1
2320:(1687), no. 66, "A Hornpipe"
703:(1678), no. 78, "Jane Shore"
3307:English-language manuscripts
2842:(Oxford: Blackwell, 1971).
2129:Mus 1066, folio 2, "Gavat"
1839:II, no. 9, "Galliard" (a3)
1469:, p. 18, "Jig"/"M.L."
3333:
3038:10.1093/earlyj/XVIII.4.655
2872:(London: John Playford, ).
1122:, no. 12, "Saraband" (a3)
537:(1665), no. 80, "Gavott";
3268:Livre d'orgue de Montréal
3184:
2631:by John Hoyle (1770) and
23:
3297:17th-century manuscripts
2838:Rosamund E. M. Harding,
2508:(November 1987), p. 541.
969:(1659), 12–13 (a3 in A)
202:Stephen Francis Rimbault
3197:Codex Martínez Compañón
417:Henry Purcell's music.
238:New York Public Library
198:Edward Francis Rimbault
98:New York Public Library
3068:10.1093/jrma/112.2.335
1100:, no. 11, "Ayre" (a3)
618:The Pleasant Companion
347:
339:
216:) for four shillings.
179:
172:
138:
125:
345:
337:
177:
167:
134:
123:
3003:Fontes Artis Musicae
400:Non-theatrical music
248:Physical description
132:(1752–1824) states:
3275:Parville manuscript
3140:RISM catalog record
3103:Music & Letters
2827:Oxford Dictionaries
1481:D. sol. Re. Mr Lock
360:Music & Letters
324:The Rare Theatrical
83:The Rare Theatrical
36:The Rare Theatrical
2932:vol. 32 (1971–71).
2930:Musical Britannica
2751:Grove Music Online
2614:Robert Klakowich,
2605:. : Sotheby, 1825.
1837:The Broken Consort
1815:The Broken Consort
1120:The Broken Consort
1098:The Broken Consort
535:The Dancing Master
348:
340:
304:The Broken Consort
180:
126:
3317:Music anthologies
3284:
3283:
3261:Guerra Manuscript
2489:
2488:
1817:II, no. 8, (a3)
1074:C Fa ut. Mr. Lock
421:Table of contents
214:Richard Leveridge
104:, located at the
102:Drexel Collection
96:Belonging to the
76:
75:
54:late 17th century
3324:
3255:Düben collection
3190:Bauyn manuscript
3173:
3166:
3159:
3150:
3118:
3096:
3078:
3048:
3017:
2988:
2985:
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2724:
2723:, p. xviii.
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2429:Apollo's Banquet
2318:Apollo's Banquet
2315:(1678), no. 106;
2313:Apollo's Banquet
2308:Apollo's Banquet
2027:Apollo's Banquet
1060:
1059:
1036:Apollo's Banquet
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741:
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701:Apollo's Banquet
641:Tripla Concordia
540:Tripla Concordia
530:Apollo's Banquet
425:
390:French overtures
330:Theatrical music
230:Joseph W. Drexel
228:-born financier
208:and a score for
87:music manuscript
81:, also known as
45:Music manuscript
28:
16:
3332:
3331:
3327:
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2997:
2995:Works consulted
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2979:
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2950:Matthew Locke,
2949:
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2896:
2889:
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2876:
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2837:
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2765:, p. x–xi.
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2727:
2719:
2715:
2711:, p. xvii.
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2316:
2311:
2310:(1670), no. 34;
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988:
987:
967:Cupid and Death
960:
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206:Cupid and Death
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59:Place of origin
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11:
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3123:External links
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2831:
2818:
2816:, p. xvi.
2797:
2782:
2780:, p. xiv.
2767:
2755:
2742:
2740:, p. xix.
2725:
2713:
2696:
2694:, p. 615.
2684:
2682:, p. xii.
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2525:, p. 614.
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2399:
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2329:
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2300:
2297:
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2290:
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2278:
2275:
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2265:
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2260:
2257:
2253:
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2250:
2247:
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2239:
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2232:
2229:
2227:
2224:
2222:
2219:
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2208:
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2203:
2202:
2200:
2197:
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2179:
2176:
2173:
2169:
2168:
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2160:
2157:
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2146:
2143:
2140:
2137:
2135:
2131:
2130:
2127:
2124:
2121:
2118:
2116:
2112:
2111:
2108:
2105:
2102:
2099:
2097:
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2092:
2085:
2082:
2079:
2076:
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2070:
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2063:
2060:
2057:
2054:
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2049:
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2038:
2035:
2031:
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2024:
2021:
2019:
2016:
2013:
2009:
2008:
2006:
2003:
2000:
1997:
1994:
1990:
1989:
1987:
1984:
1981:
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1932:
1929:
1927:
1924:
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1911:
1908:
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1902:
1898:
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1796:
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1702:
1701:
1699:
1696:
1694:
1692:
1689:
1685:
1684:
1682:
1679:
1678:Running Almand
1676:
1673:
1670:
1666:
1665:
1663:
1660:
1657:
1654:
1651:
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1628:
1627:
1625:
1622:
1619:
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1613:
1609:
1608:
1606:
1603:
1602:Running Almand
1600:
1597:
1594:
1590:
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1587:
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1579:
1576:
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1571:
1569:
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1497:
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1471:
1470:
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1399:
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1189:
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1128:
1124:
1123:
1117:
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1109:
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1095:
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1079:
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1018:
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1007:
1005:
1002:
999:
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992:
984:
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975:
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964:
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948:
945:
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921:
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918:
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904:
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868:
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834:
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831:
823:
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689:
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664:
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638:
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632:
629:
626:
622:
621:
615:
612:
609:
606:
603:
599:
598:
596:
593:
592:Running Almand
590:
587:
584:
580:
579:
577:
574:
571:
568:
566:
563:
562:
560:
557:
556:The Fantastick
554:
551:
548:
544:
543:
527:
524:
521:
518:
516:
513:
512:
510:
507:
505:
502:
500:
497:
496:
494:
491:
488:
485:
483:
480:
479:
477:
474:
471:
468:
466:
463:
462:
460:
458:
457:A re. Mr. Lock
455:
452:
449:
445:
444:
441:
438:
435:
432:
429:
422:
419:
401:
398:
331:
328:
298:
295:
293:
290:
258:
255:
249:
246:
242:Lincoln Center
236:to become the
188:
185:
162:
159:
117:
114:
74:
73:
68:
64:
63:
60:
56:
55:
52:
48:
47:
42:
38:
37:
34:
30:
29:
21:
20:
13:
10:
9:
6:
4:
3:
2:
3329:
3318:
3315:
3313:
3310:
3308:
3305:
3303:
3300:
3298:
3295:
3294:
3292:
3277:
3276:
3272:
3270:
3269:
3265:
3263:
3262:
3258:
3256:
3253:
3249:
3246:
3244:
3241:
3239:
3236:
3234:
3231:
3229:
3226:
3224:
3221:
3219:
3216:
3214:
3211:
3210:
3208:
3206:
3205:
3204:Dow Partbooks
3201:
3199:
3198:
3194:
3192:
3191:
3187:
3186:
3183:
3174:
3169:
3167:
3162:
3160:
3155:
3154:
3151:
3144:
3139:
3135:
3132:
3130:
3127:
3126:
3122:
3117:
3113:
3109:
3105:
3104:
3098:
3095:
3093:9780852497685
3089:
3085:
3080:
3077:
3073:
3069:
3065:
3061:
3057:
3056:
3050:
3047:
3043:
3039:
3035:
3031:
3027:
3026:
3019:
3016:
3012:
3008:
3004:
2999:
2998:
2994:
2984:
2982:
2978:
2974:
2969:
2967:
2965:
2963:
2961:
2957:
2953:
2947:
2944:
2938:
2935:
2931:
2925:
2923:
2921:
2919:
2915:
2911:
2906:
2903:
2899:
2894:
2892:
2888:
2884:
2883:Treble-Violin
2878:
2875:
2871:
2866:
2864:
2862:
2860:
2858:
2856:
2852:
2849:
2848:9780950211701
2845:
2841:
2835:
2832:
2828:
2822:
2819:
2815:
2810:
2808:
2806:
2804:
2802:
2798:
2795:, p. xv.
2794:
2789:
2787:
2783:
2779:
2774:
2772:
2768:
2764:
2759:
2756:
2752:
2746:
2743:
2739:
2734:
2732:
2730:
2726:
2722:
2717:
2714:
2710:
2705:
2703:
2701:
2697:
2693:
2688:
2685:
2681:
2676:
2674:
2670:
2667:, p. 51.
2666:
2661:
2658:
2655:
2651:
2647:
2641:
2638:
2634:
2630:
2624:
2621:
2617:
2611:
2608:
2604:
2598:
2595:
2592:, p. xi.
2591:
2586:
2584:
2582:
2580:
2576:
2572:
2567:
2565:
2563:
2561:
2557:
2554:, p. ix.
2553:
2548:
2546:
2544:
2540:
2536:
2531:
2528:
2524:
2519:
2517:
2515:
2511:
2507:
2501:
2498:
2491:
2485:
2482:
2480:
2477:
2474:
2471:
2470:
2467:
2464:
2462:
2459:
2456:
2453:
2452:
2449:
2446:
2444:
2441:
2438:
2435:
2434:
2430:
2427:
2424:
2422:
2419:
2417:
2415:
2414:
2411:
2408:
2406:
2403:
2400:
2397:
2396:
2393:
2390:
2388:
2385:
2382:
2379:
2378:
2374:
2371:
2369:
2366:
2363:
2360:
2359:
2356:
2353:
2351:
2348:
2345:
2342:
2341:
2338:
2335:
2333:
2330:
2327:
2324:
2323:
2319:
2314:
2309:
2306:
2303:
2301:
2298:
2295:
2292:
2291:
2287:
2284:
2282:
2279:
2276:
2273:
2272:
2269:
2266:
2264:
2261:
2258:
2255:
2254:
2251:
2248:
2246:
2243:
2240:
2237:
2236:
2233:
2230:
2228:
2225:
2223:
2221:
2220:
2217:
2214:
2212:
2209:
2207:
2205:
2204:
2201:
2198:
2196:
2193:
2191:
2189:
2188:
2185:
2182:
2180:
2177:
2174:
2171:
2170:
2166:
2163:
2161:
2158:
2155:
2152:
2151:
2147:
2144:
2141:
2138:
2136:
2133:
2132:
2128:
2125:
2122:
2119:
2117:
2114:
2113:
2109:
2106:
2103:
2100:
2098:
2095:
2094:
2086:
2083:
2080:
2077:
2075:
2072:
2071:
2067:
2064:
2061:
2058:
2055:
2052:
2051:
2048:
2045:
2042:
2039:
2036:
2033:
2032:
2028:
2025:
2022:
2020:
2017:
2014:
2011:
2010:
2007:
2004:
2001:
1998:
1995:
1992:
1991:
1988:
1985:
1982:
1979:
1976:
1973:
1972:
1969:
1966:
1964:
1961:
1958:
1955:
1954:
1951:
1948:
1946:
1943:
1940:
1937:
1936:
1933:
1930:
1928:
1925:
1922:
1919:
1918:
1915:
1912:
1909:
1906:
1903:
1900:
1899:
1896:
1893:
1890:
1887:
1884:
1881:
1880:
1877:
1874:
1871:
1868:
1865:
1862:
1861:
1858:
1855:
1852:
1849:
1846:
1843:
1842:
1838:
1835:
1832:
1830:
1827:
1824:
1821:
1820:
1816:
1813:
1810:
1807:
1804:
1801:
1798:
1797:
1794:
1791:
1788:
1785:
1782:
1779:
1778:
1775:
1772:
1770:
1767:
1764:
1761:
1760:
1757:
1754:
1751:
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1738:
1735:
1732:
1729:
1726:
1723:
1722:
1719:
1716:
1713:
1710:
1707:
1704:
1703:
1700:
1697:
1695:
1693:
1690:
1687:
1686:
1683:
1680:
1677:
1674:
1671:
1668:
1667:
1664:
1661:
1658:
1655:
1652:
1649:
1648:
1645:
1642:
1639:
1636:
1633:
1630:
1629:
1626:
1623:
1620:
1617:
1614:
1611:
1610:
1607:
1604:
1601:
1598:
1595:
1592:
1591:
1588:
1585:
1583:
1580:
1577:
1574:
1573:
1570:
1567:
1565:
1562:
1559:
1556:
1555:
1552:
1549:
1547:
1544:
1542:
1540:
1539:
1536:
1533:
1531:
1528:
1526:
1524:
1523:
1520:
1517:
1515:
1512:
1510:
1508:
1507:
1504:
1501:
1498:
1495:
1492:
1489:
1488:
1485:
1483:
1480:
1477:
1475:
1473:
1472:
1468:
1465:
1462:
1460:
1457:
1454:
1451:
1450:
1447:
1444:
1442:
1439:
1436:
1433:
1432:
1429:
1426:
1424:
1421:
1418:
1415:
1414:
1411:
1408:
1405:
1402:
1400:
1398:
1397:
1394:
1391:
1389:Leading Brawl
1388:
1385:
1383:
1381:
1380:
1377:
1374:
1371:
1368:
1366:
1364:
1363:
1360:
1357:
1354:
1351:
1348:
1345:
1344:
1341:
1338:
1336:
1333:
1330:
1327:
1326:
1323:
1320:
1317:
1314:
1312:
1310:
1309:
1306:
1303:
1301:Leading Brawl
1300:
1297:
1295:
1293:
1292:
1289:
1286:
1283:
1280:
1278:
1276:
1275:
1272:
1269:
1266:
1263:
1260:
1257:
1256:
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1238:
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1233:
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1227:
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1218:
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1209:
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1203:
1200:
1199:
1196:
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1190:
1187:
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1180:
1177:
1174:
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1168:
1165:
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1158:
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1138:
1135:
1132:
1129:
1126:
1125:
1121:
1118:
1115:
1113:
1110:
1107:
1104:
1103:
1099:
1096:
1093:
1091:
1088:
1085:
1082:
1081:
1078:
1076:
1073:
1070:
1068:
1066:
1065:
1062:
1054:
1051:
1048:
1045:
1042:
1041:
1037:
1034:
1031:
1029:
1026:
1023:
1020:
1019:
1016:
1008:
1006:
1003:
1000:
997:
996:
993:
985:
982:
979:
976:
973:
972:
968:
965:
957:
954:
951:
949:
947:
946:
943:
935:
932:
929:
926:
923:
922:
919:
911:
908:
905:
902:
899:
898:
895:
887:
884:
881:
878:
875:
874:
871:
869:
867:
864:
862:
860:
859:
856:
848:
845:
842:
839:
836:
835:
832:
824:
821:
818:
815:
812:
811:
808:
800:
797:
794:
792:
790:
789:
786:
778:
776:
773:
771:
769:
768:
765:
757:
754:
751:
749:
747:
746:
743:
735:
732:
729:
726:
723:
722:
719:
717:
715:B mi Mr. Lock
714:
711:
709:
707:
706:
702:
699:
696:
693:
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71:Matthew Locke
69:
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35:
33:Also known as
31:
27:
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17:
3273:
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3212:
3202:
3195:
3188:
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3083:
3059:
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3023:
3009:(1): 51–67,
3006:
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2951:
2946:
2937:
2929:
2909:
2905:
2897:
2881:
2877:
2869:
2839:
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2758:
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2716:
2687:
2660:
2644:
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2615:
2610:
2601:
2597:
2573:, p. x.
2530:
2505:
2500:
2428:
2317:
2312:
2307:
2142:Curtain Tune
2026:
1891:Curtain Tune
1836:
1814:
1466:
1248:Curtain Tune
1228:Curtain Tune
1191:Curtain Tune
1136:Curtain Tune
1119:
1097:
1052:Curtain Tune
1035:
983:Curtain Tune
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443:Concordance
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226:Philadelphia
222:Joseph Sabin
218:
209:
205:
200:'s father,
194:
190:
181:
168:
164:
150:Peter Holman
147:Musicologist
139:
135:
130:Edward Jones
127:
95:
82:
78:
77:
3025:Early Music
2665:Bailey 2000
2506:Early Music
352:Restoration
267:Restoration
257:Handwriting
224:acting for
110:call number
79:Drexel 3976
19:Drexel 3976
3291:Categories
3145:Categories
2814:Locke 1989
2793:Locke 1989
2778:Locke 1989
2763:Locke 1989
2738:Locke 1989
2721:Locke 1989
2709:Locke 1989
2680:Locke 1989
2590:Locke 1989
2571:Locke 1989
2552:Locke 1989
2492:References
1467:Melothesia
694:Jane Shore
187:Provenance
3228:4180–4185
2692:Wood 1990
2523:Wood 1990
1853:Hornepipe
1372:2d Brawle
1284:2d Brawle
490:2d Brawle
386:overtures
155:watermark
67:Author(s)
3015:23509042
2654:11988908
2104:Saraband
1789:Saraband
1621:Saraband
1058:♭
1012:♭
989:♭
961:♭
955:Saraband
939:♭
915:♭
909:Galliard
891:♭
852:♭
846:Saraband
828:♭
804:♭
782:♭
761:♭
755:2d Brawl
739:♭
676:Act Tune
657:Symphony
634:Symphony
431:Harding
350:"By the
3209:Drexel
3046:3127999
2478:116–117
2460:114–115
2404:112–113
2386:111–112
2367:108–110
2349:106–107
2280:102–103
2262:101–102
2244:100–101
1499:Brawles
1355:Brawles
1267:Brawles
733:Brawles
473:Brawles
428:Number
414:gavotte
406:branles
316:Macbeth
297:Scoring
292:Content
210:Macbeth
62:England
3138:102435
3136:
3116:736869
3114:
3090:
3076:797946
3074:
3044:
3013:
2846:
2652:
2226:99–100
2123:Gavott
2081:Corant
2062:Almand
2043:Corant
2002:Corant
1983:Almand
1910:Corant
1733:Corant
1714:Almand
1659:Corant
1640:Almand
1318:Gavott
1172:Corant
1153:Corant
885:Almand
822:Corant
798:Gavott
573:Corant
523:Gavott
437:Title
3112:JSTOR
3072:JSTOR
3042:JSTOR
3011:JSTOR
2210:98–99
2178:97–98
2139:95–96
2078:92–93
2059:90–92
2040:89–90
2018:88–89
1999:87–88
1980:85–87
1926:82–83
1888:80–81
1872:Gavot
1869:79–80
1850:78–79
1828:76–78
1805:75–76
1768:73–74
1730:71–72
1711:70–71
1656:66–67
1637:64–66
1618:63–65
1599:62–63
1581:61–62
1563:60–61
1545:59–60
1513:58–59
1496:57–58
1458:56–57
1440:55–56
1422:53–55
1406:Gavot
1403:52–53
1386:51–52
1352:49–51
1334:48–49
1315:47–48
1298:46–47
1264:45–46
1245:43–44
1225:39–42
1207:38–39
1188:36–37
1169:35–36
1150:34–35
1133:31–34
1111:30–31
1089:29–30
1049:27–28
980:23–24
952:22–23
930:21–22
906:20–21
882:19–20
865:18–19
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774:14–15
730:13–14
434:Page
263:clefs
161:Title
3248:5856
3243:5611
3238:4302
3233:4257
3223:4175
3218:4041
3213:3976
3134:RISM
3088:ISBN
2844:ISBN
2650:OCLC
2646:days
2603:1825
1808:Ayre
1752:Ayre
933:Lilk
631:9–10
611:Ayre
440:Key
116:Date
51:Date
41:Type
3064:doi
3060:112
3034:doi
2475:269
2457:268
2442:114
2439:267
2420:113
2401:266
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2331:105
2328:262
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2296:261
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2259:259
2241:258
2175:257
2156:256
2056:255
2037:254
2015:253
1996:252
1977:251
1959:250
1941:249
1923:248
1904:247
1885:246
1866:245
1847:244
1825:243
1802:242
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1765:240
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1024:212
1001:211
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927:209
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840:206
816:205
727:204
670:202
651:201
628:200
608:8–9
605:199
589:7–8
586:198
570:5–6
553:4–5
550:197
520:3–4
504:2–3
470:1–2
451:196
3293::
3108:71
3106:,
3070:,
3058:,
3040:,
3030:18
3028:,
3007:47
3005:,
2980:^
2959:^
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2785:^
2770:^
2728:^
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2578:^
2559:^
2542:^
2513:^
2472:78
2454:77
2436:76
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2325:71
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2238:67
2194:98
2172:66
2159:96
2153:65
2134:64
2120:94
2115:63
2101:93
2096:62
2073:61
2053:60
2034:59
2012:58
1993:57
1974:56
1962:85
1956:55
1944:84
1938:54
1920:53
1907:82
1901:52
1882:51
1863:50
1844:49
1822:48
1799:47
1786:74
1780:46
1762:45
1749:72
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1369:51
1346:29
1328:28
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1239:26
1219:25
1201:24
1182:23
1163:22
1127:21
1105:20
1083:19
1071:29
1043:18
1032:Bb
1027:26
1021:17
1004:25
998:16
974:15
924:14
900:13
876:12
843:18
837:11
819:17
813:10
752:14
712:13
691:12
673:11
654:10
244:.
112:.
3172:e
3165:t
3158:v
3066::
3036::
2975:.
2753:.
2483:D
2465:D
2447:D
2425:D
2409:D
2391:D
2372:D
2354:D
2336:D
2304:D
2285:D
2267:D
2249:D
2231:D
2215:D
2199:D
2183:D
2164:d
2145:d
2126:d
2107:d
2084:d
2065:d
2046:d
2023:d
2005:d
1986:d
1967:d
1949:d
1931:d
1913:d
1894:d
1875:d
1856:d
1833:d
1811:d
1792:d
1773:d
1755:d
1736:d
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1681:d
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1643:d
1624:d
1605:d
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1463:C
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1321:C
1304:C
1287:C
1270:C
1251:C
1231:C
1212:C
1194:C
1175:C
1156:C
1139:C
1116:C
1094:C
1055:B
1009:B
986:B
958:B
936:B
912:B
888:B
849:B
825:B
801:B
779:B
758:B
736:B
724:9
697:A
686:8
679:a
667:7
660:a
648:6
637:a
625:5
614:a
602:4
595:a
583:3
576:a
559:a
547:2
526:A
509:A
493:A
487:2
476:A
454:1
448:1
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