1

Lord Danby's Lute Book
By Tim Crawford

INTRODUCTION

The manuscript
‘Lord Danby’s Lute Book’ was purchased by the Sibley Library, Eastman School of Music, Rochester, New York, from the Berlin dealer Liepmannsohn, in September 1930. The manuscript, a small oblong quarto (c20 x 15cm) of 72 leaves bound in 18th-century marbled boards, quarter magenta calf, now bears the call-mark Vault M 2.1 D 172. Apart from two flyleaves and a pastedown at the beginning, and a single flyleaf and pastedown at the end, it consists of paper printed with five 6-line staves per page. On the first flyleaf is written the ownership note: ‘My Lord Danby his book’. The manuscript has been paginated by the library in a somewhat unusual manner: the flyleaves are unnumbered, and the pagination begins on the verso of the first leaf of music paper, where the music actually begins; the recto of this leaf contains printed staves only. The manuscript had formed part of lot 449 at the auction of the library of Hornby Castle in Yorkshire, the seat of the Dukes of Leeds, in June 1930, together with another lute manuscript, now in The Library of Congress, Washington, DC. ‘Lord Danby’ can be identified without doubt as William Henry Osborne, Earl of Danby (see below). He is known to have been a keen lutenist, and to have bought music for his instrument as well as having regular lessons while living with his brother on the Continent between 1706 and his death in 1711. There is every reason to suppose that the book was compiled during these years and there is nothing in the manuscript which suggests that this is not the case. Various factors further narrow the likely time of compilation to the last two years of the period. Four musical copyists contributed to the book: two (A & D) are competent professional musicians, and provided the bulk (all but five pieces); B, again a competent scribe (the same as that of a lute MS in Vienna from the same period) added one piece (11); C, probably Lord Danby himself, most inadequately wrote in three fragments and one gigue (47) which lacks any rhythm signs. Although the last to appear in the sequence of the manuscript, it is clear that D copied in his music before A, who has made corrections and alterations to several pieces written by D. A curious feature of the make-up of the book is that extra music paper, the same as that used throughout, has been glued on to the bottom of some pages to avoid page-turns in long pieces (all in D’s hand). In two cases (the two Handel overtures, 12 & 92), a single sheet has been fixed across the bottom of a whole opening so as to give an extra 15 staves; in 12 this extra paper actually crosses between two gatherings, showing that the book was bound before the music was copied in, and that D had access to stocks of this printed paper. 9, entitled in the MS ‘Gigue de Mylord Danby’, is in hand A, so this scribe must have been an acquaintance, perhaps the lute teacher , of Lord Danby. It is possible that Lord Danby first acquired the book containing the pieces in hand D only, and that it was subsequently added to by himself (C), his lute teacher (A) and a friend or another teacher (B).

Lord Danby
The title Earl of Danby was granted in 1674 by Charles II to his Chief Minister, Thomas Osborne; this title passed by courtesy in 1689 to his son, the distinguished naval officer Peregrine Osborne. The title then passed to his two grandsons, William Henry (Earl of Danby 1694), and Peregrine Hyde Osborne (Earl of Danby 1711). The latter’s son, Thomas, was born Earl of Danby, becoming Marquis of Carmarthen at the age of 16, and 4th Duke of Leeds in 1731 while a student at Christ Church College, Oxford. The title Earl of Danby then fell into abeyance. In December 1706 the Duke of Leeds, an old man in retirement but still not without political ambitions, sent his grandsons aged 16 and 13 to Utrecht in Holland, ostensibly for their education, but also, it seems, to shield them from a scandal involving their father and a certain ‘Mrs Morton’. Further possible motives were for the Duke to keep in touch with the rapidly, moving events of Marlborough’s campaign in Flanders and to remind the Hanoverian heirs to the English throne of his former service to their cause (see below). He engaged a reliable governor, one Louis Bérard, formerly of the Duke of Devonshire’s household at Chatsworth, who reported the young Lords’ progress in a remarkable series of weekly letters which has been preserved almost intact. With these

2

letters were sent detailed financial accounts, and they also contain comprehensive reports of political and military news and rumours. The letters contain a wealth of information about the education of the two young men, which included music as part of the curriculum, and about the places visited and ‘persons of quality’ met. Payments were made for daily music lessons and for instruments, music and strings bought, as well as repairs, instrument cases and even ‘2 desks for Musick’. It is quite clear from the Bérard letters that Lord Danby’s instrument was the lute, which already in February 1707 ‘his Lordship learns as fast as any body can do, & will certainly play as well as any person of his quality can pretend.’ After some initial resistance from his grandfather, Lord Peregrine was allowed to learn the bass viol and the flute (presumably the recorder, although ‘a German flute for Ld. Peregr.’ was bought in May 1710; at least seven other ‘flutes’ were bought for him during the period); as the cautious Bérard explains: ‘I would not have him to stick altogether to the flute, lest he should chance to Impair his lungs by blowing too much.’ At various times there are references in the letters to music making with other amateur players, and with their teachers and professionals engaged specially for the purpose. These soirées eventually took the form of regular weekly concerts to which ‘persons of quality’ were invited, others paying an entrance fee to defray expenses. After spending some three-and-a-half years in Utrecht, with frequent excursions to other Dutch towns, the party travelled in September 1710 to Hanover to pay their respects to the Electress Sophia (1630-1714), heir apparent to the English throne since the 1702 Act of Settlement, and her son, the Elector Georg Ludwig (1660-1727), who later became King George I of England on Queen Anne’s death in 1714. The Duke of Leeds had been partly responsible for the marriage of William and Mary in 1677, and thus had materially assisted the Hanoverian cause, so the young Lords were well received at the Hanover court. During this stay in Hanover their time was largely taken up with social activities, but after the Carnival in the New Year they resumed their musical studies in February 1711. In November 1710, while the court went hunting, they had visited Hamburg for about five weeks, where they were well looked a fter by the English Resident, John Wich, who gave ‘every day a concert to their Lordships, knowing they are lovers of Musick.’ While in Hamburg they took further lessons on their instruments, and Lord Danby bought a ‘Lute, Musickbook & Strings’ for £71.10.0 (in ‘Dutch money’—£6.10.0 in English currency). The very high price compared with their other purchases of instruments raises the possibility that Lord Danby might have bought a lute by the great Hamburg instrument-maker Joachim Tielke (1641-1724), but this cannot be verified. According to Bérard’s accounts, they visited the Hamburg opera 11 times during this stay. The party returned to Utrecht in July 1711 and plans were made for trips to Antwerp and Brussels. But this highly successful Continental sojourn was tragically cut short by Lord Danby’s death in a smallpox epidemic in Utrecht soon after his 21st birthday in August 1711. Peregrine, who now assumed his brother’s title, and Bérard at once returned to England. It is most unlikely, given Peregrine’s preference for the viol and the flute, and the fact that he held the title for a year only before becoming Marquis of Carmarthen on his grandfather’s death, that he was the ‘Lord Danby’ of the lute book; the same applies to his son, known as Lord Danby only until the age of 16.

The music
There are 92 complete pieces in Lord Danby’s Book, and three fragments. They are all written in French tablature for the 11-course Baroque lute in the standard ‘D minor’ tuning of the time. Like most sources of Baroque lute music, the manuscript is arranged in groups of pieces according to the tuning of the diapasons, but not very systematically. The two principal hands are confident and easy to read, suggesting, if not the work of professional scribes, very experienced and competent copying consistent with the collection’s possible use as teaching material. There are, however, no fingering indications for the left hand, nor are there diagrams or comments which would further suggest a didactic purpose. Rather it appears to be an anthology of attractive music compiled for a competent player. Of the two hands, D is the more elegantly formed, but A is generally more reliable musically, especially in the matter of rhythmic notation which is so often deficient in lute manuscripts of all periods. A habit common to both scribes is the frequent omission of rhythm signs on the upbeat notes to allemandes, courantes and so on. Both hands use the same technical and ornament signs (see below) with the exception of the small cross (x) used for a trill in three consecutive pieces in hand A (30-32); these three pieces were probably copied from the same source. The music can be divided by concordances or internal technical features into two quite distinct categories: music composed and conceived for the lute, and arrangements for lute of music originally composed for another medium. The ‘pure’ lute music mainly seems to belong to the late -17th-century

3

Austrian/Bohemian tradition of Count Losy and his contemporaries. There are a few pieces in the French style of the period, and three are by the Parisian court musician, Robert de Visée. But as many as nine pieces can be ascribed to Losy with some confidence, and a further three or four are possibly his as well; several more pieces can also be found elsewhere in lute manuscripts from the same tradition. The initiative in lute music had shifted from Paris to Vienna and Prague following the decline in the instrument’s popularity from about 1680. De Visée (c1660 -c1720), who excelled on the lute’s more fashionable rival, the guitar, was engaged by the Parisian court as a guitarist and theorbist rather than as a lutenist, but he must have played the lute as well; all the pieces in Lord Danby’s Book by him had, however, appeared in guitar versions and in score in the 1680s. At the time of writing, the identity, or even the nationality, of the composer of no. 22, concealed beneath the initials ‘C. N.’, remains unknown. The suite in F minor (23 -26) that follows could be by the same composer, since the music is in a very similar style, reminiscent of that of the late-17thcentury luthistes Charles Mouton (1626-after 1699) and Jacques de Gallot (fl1670-1686). There are a further two airs ascribed only to ‘N’ (18 & 88) which are also in hand D, though whether the y are by the same composer is difficult to assess, since they appear to be transcriptions of vocal pieces (see below). The rest of the music in the book, including that by Handel, can safely be assumed to have been arranged from other media, vocal or instrumental. Seven pieces come from operas: two very popular Lully extracts (21 & 77), an Entrée by Campra (28) and four items from Handel’s first opera Almira (12, 20, 55 & 90). The Ritornello and Air (78 & 78a), based on material re-used by Handel in arias in Serse and Joshua, is almost certainly an operatic extract. Most of the 11 other pieces marked ‘air’ or ‘aria’ may also be derived from operas, though their general brevity makes this less likely; while two airs (74 & 82) are clearly instrumental dance movements. Probably the anonymous Chaconne (55) and certainly the Jig (89) from Purcell’s Abdelazer are orchestral in origin, perhaps having gone through an intermediate keyboard or other arrangement. Most of these arrangements are of dance music, which may have been orchestral pieces for dances or court balls, or which could have been conceived for keyboard or chamber ensemble. A Handel Gavotte (45) exists in both keyboard and four-part score versions; the unascribed Menuet (81), probably by Handel, appears in variant form, definitely by him, both as a keyboard piece and as a sonata movement for flute and continuo. Six pieces are ascribed in the MS to Handel or to ‘H’ (12, 13, 15, 20, 45 & 92) and a further six may be confidently atributed to him by exact or near concordances, largely thanks to his habit of reusing early ideas in later music. More tentatively, it is possible to identify strong Handelian traits in a further nine pieces, one of which (73) may indeed carry a Handel ascription in its cryptic title. Two minuets (71 & 75) are attributed to Handel in this edition with some diffidence, since these, although melodically reminiscent of his style, also occur anonymously in another lute source of the same period; their Handelian appearance may be merely superficial. The presence of music by Handel in the earlier hand (D) makes it unlikely that this layer of the MS was compiled in Utrecht, since his music would not have been known there by 1711. The only Handel piece in hand A, which corrected errors in pieces in hand D, is an improved version of a Gavotte (45) also present in hand D at the very end of the book (p. 137). So hand A could conceivably belong to a lute teacher in Utrecht, but hand D could not. The two places visited by the young Lords that are more plausible as sources for the book are Hamburg and Hanover. As we have seen, Lord Danby bought a lute in Hamburg together with a book of music, probably for the instrument, but a more important aspect of the visit to Hamburg is that Handel had been living there a few years before. He had even given harpsichord lessons in 1704 to Cyril, son of John Wich, the English Resident who later received Danby and his brother so graciously. Some time towards the end of 1706 Handel left for Italy, but his good friend, the composer and writer on music, Johann Mattheson (1681-1764), remained as Cyril’s tutor and his father’s secretary, a position he held from 1706 until 1741, by which time Cyril had succeeded to his father’s post. Mattheson, who became one of the most important figures in 18th-century German music, was undoubtedly involved in the musical entertainments mounted by John Wich for the young English lords; but sadly neither his name, nor that of Handel, features in Bérard’s correspondence, addressed as it is to the Duke of Leeds, who was unlikely to be concerned with the names of mere secretaries or musicians. Of the six pieces ascribed to Handel in the MS, one of the substantial overtures and very probably the other are reductions from orchestral scores composed for stage works. The final piece in the edition, an unusual overture in G minor (92), could perhaps have come from one of the three lost

4

Hamburg operas, Nero (first produced 26 February 1705), Florindo or Daphne (both produced in 1708, after Handel had left Hamburg), none of which achieved the success of his first. Almira (first produced 8 January 1705) had been an immediate hit, and was revived in 1732 by Telemann (whose alterations can be seen in the surviving manuscript score). The other Handel overture (12) in Lord Danby’s book is an arrangement of a second overture to Almira (still unpublished, not the one in B flat printed in Chrysander’s edition of the opera) which appears at the beginning of the manuscript score. As well as this overture, the lute book contains arrangements of a gigue (20) and, unascribed, two further numbers from Almira, the ‘Ritornello’ to an aria, here called a minuet (54), and the aria ‘No, non voglio’ (90). The score versions of two dances, a gavotte (45) and an air (74) have recently been tentatively identified as fragments of the ballet music to Florindo and Daphne, respectively. (See critical notes.) While the dances and even the overtures may have been reused in other stage productions, it is more likely that this music passed into the domestic repertoire of the intensely musical Hamburg society. In this respect, Lord Danby’s Lute Book is a unique document for Hamburg musical history in containing such arrangements of music composed in Hamburg by Handel. Even though he left the city more-or-less for good in 1706, some of Handel’s music (aside from the 1708 operas) is known to have remained popular in intellectual circles there; it was even played on the lute by one eminent Hamburg personality, the wife of the poet Brockes. From what we know of Handel’s travels at this period, it seems likely that the English party just missed him in Hanover. Handel came there from Italy to take up his post asKapellmeister to the Elector by June 1710, but had certainly left for England (via Halle and Düsseldorf) by the time they first arrived in September. The piece by ‘Farinell’ (43) in hand A may suggest a Hanover scribe, since Jean-Baptiste Farinel (1655-c1720) was maestro di concerto of the Hanover court orchestra at the time; a lutenist named Pignietta had been appointed to the orchestra in 1695. Lord Danby and his brother spent the period December 1710 - June 1711 at Hanover, at first participating enthusiastically in the Carnival (mid-December - late February), then resuming their musical studies and ‘learning Italian from a Roman Gentleman that belongs to Court’. As we have seen above, the young Lords took part in concerts of chamber music with friends, teachers and professional musicians. The repertoire of their meetings can only be guessed at, but the possibility must be allowed that Lord Danby would have played the lute in ensemble as well as in a solo capacity. And this may not just have been as a continuo player; many manuscript sources of lute music from the time show that they could be used with accompanying parts for at least a violin or flute and a bass instrument, although these extra parts rarely survive. In almost all such cases the lute parts are self-sufficient as solos—indeed the ensembles were often arranged from solos by adding the other instruments. There is a possibility that Lord Danby’s Lute Book was at least partly intended for ensemble use. Two concordant sources (see concordances to nos. 4, 34, 36 and 39) are clearly chamber music collections, and it could be argued that the second Handel overture contains passages which could be improved by supplying a few notes in a ‘missing’ 2nd violin part. (See no. 92, bars 30, 52, 53, 56 & 57). The first violin part would double the lute at the upper octave, which is the normal procedure in such an ensemble. But, lacking the confirmation of the missing parts, this must remain conjecture.

5

Lord Danby's Lute Book: Inventory
MS page Item numbers 1 2 pp. 1-2 pp. 3-4
Concordance:

Hand A A
i) NYPL, f 55v (anon) [Holland 77]

Titles in the MS Allemande Comte Logy Courante

2a 3

pp. 5-6 p. 7
Concordances:

A A
i) Knie, f. 264v (anon) ii) Wars56, p. 19 (anon) iii) Wars57, p. 17 (anon) [cf Wash, f. 15v (anon) — only 1st strain is identical]

Le Double Bourée

4

pp. 9-10
Concordances:

A
i) Hin1699, p. 17, ‘Gigue d’H[interleithner]’ — last mvt of Konzert V ii) Kre83, f. 41v, ‘Gigue sopra la furie della battaglia’ (anon) [Flotzinger 831]

Gigue

5

p. 11

A

Air La Favorite du Roy de France Gavotte la belle Angloise

6

p. 12

A

6

7 8 9 10 11

pp. 13-14 pp. 15-16 pp. 17-18 pp. 19-20 p. 21
Concordances:

A A A A B
i) Vie18761, f. 3 (anon — copied by the same scribe) [Maier 464] ii) Pra76, f. 53v (violin), 65v (guitar) — in E minor

Gigue Flammande L’Entrée en Angleterre Gigue de Mylord Danby Menuet Menuette

[On p. 22 is a fragment—a single strain?—of a piece in C major in hand C]

12

pp. 23-24

D

Ouverture des sig: Hendell

Concordance:

i) Ber9050, f.00 (score à 4) — possibly the original overture to Almira (1705) (see Introduction) [Baselt HWV XXXXX] [The first seven bars are substantially the same as those of the sinfonia to Handel’s anthem, The Lord is my Light (Handel Chandos, p. 151); the fugal section is related to the corresponding section in the overture to his last oratorio, The Triumph of Time and Truth (Handel Triumph, p. 2), which is largely based on music from before 1710.]

13 14 15

p. 25 p. 26 pp. 26-27

D D D

Gavott H: Menuet Bourée H

7

16 17 17a 18

p. 28 p. 29 p. 30 p. 31
[On p. 32 is an unintelligible fragment in hand C]

D D D D

Gigue Sarabande plaignante N Double Air N

19

pp. 33-4
Concordances:

D
i) deV1686, pp. 18-19 (guitar tabl) [de ViséeG, p. 62] ii) deV1686, pp. 54-5 (score à 2)

Allemande

20

pp. 35-6
Concordance:

D
i) Handel Almira, p. 82, Act III scene 4 [no. 54]: ‘Gigue. (Tanz von Charletans)’ (à 2) [BaseltHWV XXXXX]

Gigue H

21

pp. 37-8

D

Pascaille de l’Opera d’Armide

Concordances:

i) Lully Armide, p. 232, Act V scene 2: ‘Les plaisirs ont choisi’ [Schneider LWV 71/62] ii) (Several kbd versions; see Gustafson I, p. 299)

22

pp. 39-40

D

Allemande. La fidele Uranie. C. N. Allemande. Le triste depart Courante

23

pp. 41-2

D

24

pp. 43-4

D

8

25 26 27 28

p. 44 pp. 45-6 p. 47 pp. 49-50
Concordances:

D D D A
i) Campra Europe, p. 125, Troisiéme Entrée scene II, ‘Premier Air, pour les Espagnols’ ii) Country Dancing Master1698, p. 47, ‘A new Spanish Entrée … danced by Monsieur L’Abbé before His Majesty at Kensington, and at the theatre in Little Lincoln’s Inn Fields, with great applause’ [Barlow 398] iii) Sto176, f. 20v, ‘Air pour les Espagnols’ (for kbd) [Rudén 3573]

Sarabande Gigue Aria La Loure

29

pp. 51-2

A

La belle taille [written at the top of p. 51 in hand of ownership note on flyleaf, in pencil:] dificile [in ink:] pour la maitresse de Monsr Schutz (see CrawfordH, p. 26) Air Menuet Menuet Royale Gigue Allemande

30 31 32 33 34

p. 55 p. 56 pp. 57-58 pp. 59-60 pp. 61-2

A A A A A
Concordances: i) Kal4a, f. 23v, ‘Suite de Mons. Comte Logis. Allemande’ (for kbd — in G) [VoglM 108; Rudén 3012]

9

ii) Wars37, f. 24, ‘Concentus 15. NB viol d.gb Allemande’ (anon — for lute with other instruments including ?viola da gamba) iii) Harr, pp. 52-3 (anon)

35

p. 63

A
Concordances: i) Kal4a, f. 24v (see 34 above) [VoglM 109; Rudén 3765] ii) Harr, p. 54 (anon)

Cour:

36

p. 64

A
Concordances: i) Wars37, f. 25 (anon — see 34 above) ii) Harr, p.55 (anon)

Sarrabande

37

p. 65

A
Concordances: i) Kal4a, f. 18v (anon — for kbd — in G) ii) Harr, p. 56

Menuet

38

p. 66

A
Concordances: i) Klag, f. 23v, ‘Borée’ (anon — 2nd strain has variants) [modern ed. KlimaK, p. 13] ii) Krak, f. 30, ‘Marche’ (anon — 2nd strain has variants)

Bourée

39

pp. 67-8

A
Concordances: i) Kal4a, f. 22v, ‘Echo de Mons. Comte Logie’ (for kbd — in G) [VoglM 113; Rudén 3897] ii) Wars37, f. 26v, ‘Echo’ (anon — see

Echo

10

34 above) iii) Harr, pp. 54-5, ‘Echo’ (anon)

40

pp. 69-70

A
Concordance: i) Kal4a, f. 17v, ‘Gigue de Mr. Comte Logie’ (for kbd — in G) [VoglM 111; Rudén 3186]

Gigue

41 42

pp. 71-2 pp. 73-4

A A
Concordance: i) Brno371, f.55 , ‘Cour’ (anon)

Ouverture Cour:

43 44

pp. 75-6 pp. 77-8

A A
Concordances: i) Corelli Op. V, p. 32, final mvt of Sonata 5, ‘Giga Allegro’ ii) Ros53, f. 11v, ‘Giuge [sic] de M. Corelli’ (a different lute arr.) iii) BrnoVerdenberg, ff. 17v-18, ‘33 Gigue’ (same arr. as ii)

Sarrabande de Farinell Gigue de Corelli

45

p. 79

A
Concordances: i) LonRM18, f. 4v [Handel] (for kbd) ii) LonRM18, f. 76v [Handel] (score à 4) [possibly from Daphne (1708); see Baselt p. 000] iii) This MS, no. 93, p. 137, ‘Gavott: H.’ (in hand D)

Gavotte del Sig: Hendel

[On p. 80 is an unintelligible fragment in hand

11

C.]

46

pp. 81-2

A

Tombeau du Roy d’Orange

Concordances: i) DufautW, no. 66 (listing six concordant versions not included here; withdouble) ii) Ros54, p. 111, ‘Saraband de du Faut’ iii) BerStock, no. 88, ‘Sarabande’ (anon — with double) iv) Ber40600, f. 42v-3, ‘Sarabande’ (anon) v) Brus276, f. 83v (anon) vi) Vie17706, f. 9, ‘Sarabande’ (anon — with double) [Maier 374] vii) Darm17, f. 9v, ‘Sarabande’ (anon — for kbd; barred differently, treating first chord as an upbeat) William III, King of England and Prince of Orange, died on 8 March 1702; his father, William II, Prince of Orange (d. 1650), was Stadhouder of the United Provinces, but never actually a king. Only the latter could have been intended by Dufaut (who died c1669), but the piece (whose dedication only appears in this source) could have been ‘rededicated’ to William III by someone else after 1702.

47

p. 82

C
Concordances: i) Göttw, f. 99 (anon) ii) Göttw, ff. 100v-101 (anon)

guique

48

p. 83

A

Gigue

12

49 50 51

p. 84 p. 85 p. 86

A A A
Concordances: i) Kre77, f. 40v (anon) [Flotzinger 467] ii) Kre82, f. 16 (anon) [Flotzinger 467] iii) Knie, f. 213v, ‘Canarie’ [sic] (anon) iv) Ber40149, pp. 36-7, ‘Gauotta’ [sic] (anon) v) Wars55, p. 23, ‘Fuga’ [sic] (anon)

Gique Menuet Menuet

52 53

pp. 87v-8 p. 89
[Here occurs no. 61 (see below) in the MS]

A D

Gigue Air

54

pp. 93-4

D
Concordance: Handel Almira, p. 111, Act III scene 15, Ritornello to [no. 70], ‘Spielet, ihr blitzenden Augen’

Menuet

55 56 57

pp. 95-6 p. 97 p. 98

D D D

Chiacone Marche Menuet de Mist: Moris Cunis Marche Allemande

58 59

p. 99 pp. 101-2

D D

13

Concordances: i) Kal21072, ff. 90v-1, ‘Allemande du Comte Logy’ [Rudén 23] ii) Krak, ff. 51v-3, ‘Partita de Monsieur Loggi. Allamande [sic]’ [Vogl Anth, p. 17]

60

pp. 103-4

D
Concordances: i) Kal21072, ff. 91v-92, ‘Courante du meme [i. e. Losy]’ [Rudén 1006] ii) Krak, ff. 112v-114 (anon) [NB the courante (VoglM 11) immediately following no. 59 in this source is a different piece — cf Vogl Anth, p. 19]

Courante

61

pp. 91-2 [occurs after no. 53 in the MS]

D

Gigue

Concordances: i) Kal21072, f. 92v, ‘Gigue du meme [i. e. Losy]’ [Rudén 5] ii) Ros52, f. 92v, ‘Bohmien Gigue] (anon — adjacent to a Losy item; see CrawfordL, p. 61, no. 39) iii) BrnoVerdenberg, ff. 26v-7v, ‘Gigue du Ph. Weilland’

62 63 64

p. 105 pp. 105-6 p. 106

D D D
Concordances: i) Knie, f. 287 (anon) ii) Klag, ff. 4v-5 [or, reversing the volume, ff. 89-88v] (anon) iii) Klos, pp. 144-3 [sic] (anon — lacking rss)

Menuet Menuet Bourée

14

65

p. 107

D
Concordance: i) A variant version, clearly derived from the same piece, appears in Straube(copied c1760), f. 16, ‘Men[uet]’:

Menuet

66

p. 108

D
Concordance: i) Samuel, p. 177 (anon)

Bourée

67 68 69 70 71

p. 108 p. 109 p. 110 pp. 111-12 p. 112

D D D D D
Concordances: i) Göttin, f. 84 [i] (anon)

Menuet Menuet Menuet Menuet Menuet

72

p. 113

D
Concordances: i) LonRM19, f. 12v [Handel] (for kbd — no. 2 of a set of 3 minuets) [Baselt HWV535a] ii) [A variant version (Baselt HWV 535b) appearing in six slightly later keyboard MSS named in two of them as ‘Princess Sophia’s favourite’] [The presence of the early version in Lord Danby’s Lute Book suggests that the title of ii refers to the Electress Sophia in Hanover in 1710, rather than to her granddaughter. See BaseltHH, III, p.306.]

Menuet

73

p. 114

D
Notes: The ‘h’ in the title may imply an ascription to Handel; this seems to be

LAir Mi: promettee h:

15

confirmed by the style of the piece.

74

pp. 115-16

D
Concordance: i) LonRM18, f. 64, ‘Allemande’ [Handel] (score à 4) [Baselt HWVXXX] [Probably from Florindo (1708) (see Baselt, p.000).]

Air

74a 75

p. 116

D D
Concordance: i) Göttin, f. 84 [ii] (anon)

Trio Menuet

p. 117

76 77

pp. 117-18 p. 118

D D
Concordances: i) Lully Atys, Act III scene 4, ‘Entrée des songes agreables’ [SchneiderLWV53/58] ii) Vie1813, f. 3v, ‘Les Songes aggreables du vieux G[allot?]’ (for ?violin & ?lute) iii) Göttw, f. 64v-65, ‘Songes Agreables d’Atys’ iv Saiz, p. 185, ‘Les Songes Agreables d’Atys’ v) (Several kbd versions; see Gustafson, I, p. 300)

Air Songes agreable [sic]

78

p. 119

D

Ritornello [See 78a below] Air

78a

p. 119-20

D
Concordances: i) cf Handel Serse, p. 18, Act I scene 4, Atalanta’s aria

16

(Larghetto), ‘Sì, sì, sì’ (in F# minor) [BaseltHWV XXXX] ii) cf Handel Joshua, p. 132, aria (Larghetto), ‘As chears the sun’ [BaseltHWV XXXX]

79

p. 121

D
Concordances: i) deV1686, p. 22 (guitar tabl) [deViséeG, p. 65] ii) deV1686, p. 57 (score à 2) iii) deV1717, p. 14 (score à 2)

Gigue

80 81

p. 122 pp. 123-4

D D
Concordances: i) cf LonRM18, f. 91 [Handel] (for kbd) — this minuet also appears in MSS and Walsh’s 1733 collection, as the final mvt of a Handel kbd suite (H. G. , vol II, p. 68) instead of the usual gigue [BaseltHWV XXXX] ii) cf Six Solos, p. 8: ‘Minuet’ [Handel] (in E minor — for flute & bc) [H. H. A., vol IV, p. 55; BaseltHWV XXXX] [See CrawfordH, p. 49.]

Air Menuet

82 83

p. 124 pp. 125-6

D D
Concordances: i) Saiz, p. 167 (anon) ii) Kre79, f. 89v, ‘Le Tombeau de Mazarini’ (anon) [Flotzinger 970] iii) Vie17706, p. 34 (anon) [Maier 395]

Air Tombeau Mazarini

17

iv) Ros53, f. 38 (anon) v) Knie, f. 44v-45 (anon) vi) Goëss, f. 85v, ‘T. M.’ (anon)

84

p. 126

D
Concordances: i) cf Kre79, f. 90v (anon) [Flotzinger 972]

Sarabande

85 86

p. 127 pp. 127-8

D D
Concordances: i) deV1682, pp. 25-6 (guitar tabl — in D minor) [deViséeG, p. 19] ii) deV1682, pp. 72 (score à 2 — in D minor) iii) deV1717, pp. 86 (score à 2 — in D minor) iv) Par, f. 48, ‘Gavotte de Muton’ (in A minor) v) Sto228, f. 36v (anon — for kbd in A minor) [Rudén 3499]

Menuet Gavotte

87 88 89

p. 128 pp. 129-30 p. 130

D D D
Concordances: i) Purcell Abdelazer, p. 000, ‘Jig’ [Zimmermann 570/7] ii) Country Dancing Master 1701, p. 000, ‘New Whitehall’ [Barlow 460]

Gavotte Air N Gigue

18

iii) 50 Aires (à 2 — in D minor) iv) (Several kbd versions — see Zimmermann T686)

90

pp. 131-2

D
Concordances: i) Handel Almira, p. 55. Act II scene 7 [no. 35], aria, ‘No, non voglio’ [BaseltHWVXXXX]

Air No No etc:

91 92

p. 133 pp. 135-6;

D D

Prelude Ouverture des Sig: Hendell:

Concordances: The opening idea bears a close resemblance to that used, in G major, in: a) The aria ‘Vacíllo’ in Handel Donna, p. 9; b) a sinfonia in Handel Giulio Cesare, p. 122. [See CrawfordH.]

93

p. 137

D

Gavott: H. ( = this MS, no. 45, q. v.)

19

BIBLIOGRAPHY i) Literature (sigla entirely in roman type)
Baron Ernst Gottlieb Baron, Study of the Lute (Redondo Beach, 1976), translated from Untersuchung des Instruments der Lauten (Nuremburg, 1727) by Douglas Alton Smith Baselt Berndt Baselt, ‘Wiederentdeckung von Fragmenten aus Händels verschollen Hamburger Opern,’ Händel-Jahrbuch, xxix (1983), p. 7 BaseltHWV Berndt Baselt, Händel-Handbuch, vols 1-3 [Thematic catalogue of Handel’s works] (Leipzig, 197X-86) BoetticherZ Wolfgang Boetticher, ‘Zur inhaltlichen Bestimmung des für Laute intavolierten Handschriftenbestands’, Acta Musicologica, li (1979(, p. 193; includes addenda to RISM BVII (q. v.) Browning Andrew Browning, Thomas Osborne, Earl of Danby and Duke of Leeds (3 vols., Glasgow, 1944-51) CrawfordD Tim Crawford, ‘Lord Danby, Lutenist of "Quality" ’, The Lute: The Journal of the Lute Society, xxv/2 (1985), p. 53 CrawfordH Tim Crawford, ‘Lord Danby’s Lute Book: a new source of Handel’s Hamburg music’, Göttinger Händel-Beiträge, ii (1986), p. 19 D. N. B. Dictionary of National Biography Eg3339 British Library, London, Department of Manuscripts, MS Egerton 3339; a collection of 94 letters from Louis Bérard to the Duke of Leeds, 170611 [cf Pf744, below] Engel Carl Engel, ‘Recent Accessions to the Music Collections of the Library of Congress, Washington; The Sibley Library, Rochester, N. Y. …’, Acta Musicologica, v (1933), p. 19 Ferguson Howard Ferguson, Keyboard Interpretation from the 14th to the 19th Century (Oxford, 1975) Fischer Georg Fischer, Musik in Hannover (Hanover, 1903)

20

Flotzinger Rudolf Flotzinger, Die Lautentabulaturen des Stiftes Kremsmünster: Thematischer Katalog (Vienna, 1965); numbers quoted are incipit numbers from the catalogue. Gustafson Bruce Gustafson, French Harpsichord Music of the 17th Century (3 vols, Ann Arbor, 1979) H. M. C. Historical Manuscripts Commission Holland Jeanette B. Holland, ‘An 18th Century Lute Manuscript in the New York Public Library’, Bulletin of the New York Public Library, 68/7 (Sept 1964), p. 415; numbers quoted are incipit numbers from the thematic inventory. Hornby Sale Catalogue of a selected portion of the Valuable Library at Hornby Castle, Bedale, Yorks: the Property of His Grace the Duke of Leeds, (Sotheby’s sale catalogue, 2, 3 & 4 June 1930) KlimaH Josef Klima, Die Lautenhandschrift im Archiv Graf Harrach, Wien … Themenverzeichnis (Verlag Wiener Lautenarchiv 9, Maria Enzersdorf bei Wien, 1976) KlimaV Josef Klima, Die Handschrift der Österreichischen Nationalbibliothek Suppl. mus. 1813 (Verlag Wiener Lautenarchiv 10, Maria Enzersdorf bei Wien, 1976) Leeds Sale Catalogue of an Important Collection of Autograph Letters & Historical Papers Illustrative of an Eventful and Interesting period of British History (Sotheby’s sale catalogue, 5-10 April 1869); the collection was clearly a portion of the Leeds family’s papers. Maier Elisabeth Maier, Die Lautentabulaturhandschriften der Österreichischen Nationalbibliothek (17. und 18. Jahrhundert) (Vienna, 1974); numbers quoted are incipit numbers from the thematic inventory. Marx Hans Joachim Marx, ‘New Research on Handel’s Almira’, forthcoming Mattheson Johann Mattheson, Das neu-eroffnete Orchestre (Hamburg, 1713) Morrison Sale [] (Sotheby, Wilkinson & Hodge sale catalogue, 1917-19) PF744 Carl H. Pforzheimer Library, New York, Misc. MS 744; a collection of 94 letters from Louis Bérard to the Duke of Leeds, 1706-11 [cf Eg3339, above]

21

Rathje Jürgen Rathje, ‘Zur hamburgischen Gelehrtenrepublik im Zeitalter Matthesons,’ in G. J. Buelow and H. J. Marx, eds, New Mattheson Studies (Cambridge, 1984), p. 101 RISM BVII Wolfgang Boetticher, Handschriftlich überlieferte Lauten- und Gitarrentabulaturen (Répertoire Internationale des Sources Musicales, BVII, Munich, 1978) Rudén Jan Olof Rudén, Music in Tablature (Musik i Sverige, v, Stockholm, 1981); numbers quoted are incipit numbers from the thematic index to this catalogue. Schneider LWV Herbert Schneider, Chronologisch-Thematisches Verzeichnis sämtlicher Werke von Jean-Baptiste Lully (Tutzing, 1981) SmithB Douglas A. Smith, ‘Baron and Weiss contra Mattheson: In Defense of the Lute,’ Journal of the Lute Society of America, vi (1973), p. 48 SmithE Douglas A. Smith, ‘The Ebenthal Lute and Viol Tablatures,’ Early Music, 10/4 (October 1982), p. 462 Thibedeau A. W. Thibedeau, Catalogue of the Collection of Autograph Letters and Historical Documents formed between 1865 and 1882 by A. Morrison, vol III (K-L), (1885) VoglL Emíl Vogl, ‘Johann Anton Losy, Lutenist of Prague’ Journal of the Lute Society of America, xiii (1980), p. 58 VoglM Emíl Vogl, ‘The Lute Music of Johann Anton Losy,’ Journal of the Lute Society of America, xiv (1981), p. 5 Weichmann Christian Friedrich Weichmann, ed.: Poesie der Nieder-Sachsen, vol I (Hamburg, 1721) Zimmermann Franklin B. Zimmermann, Henry Purcell, 1659-1695: An Analytical Catalogue of his Music (London, 1963)

22

ii) Musical Sources (sigla partially or wholly in italic type)

50 Aires 50 Aires angloises (Amsterdam, c1701) Ber9050 Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus. Ms. 9050; early 18th-century manuscript full score of Handel’s Almira BerW Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus. Ms. 40149; late 17th-cent. lute tabl from the library of Count Wolckenstein und Rodenegg (dates in MS: 1684, 1686). See RISM BVII, p. 26. Ber600 Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus. Ms. 40600; late 17th-cent. lute tabl. See RISM BVII, p. 35 BerStock Berlin, Germany, Staatsbibliothek, Preussischer Kulturbesitz, Mus. Ms. 40601; late 17th-cent. lute tabl. Originally owned by Ernst Stockmans. See RISM BVII, p. 35. Brus276 Brussels, Belgium, Bibliothèque Royale de Belgique, Dept. of Music, Ms. II. 276; late 17th-cent. lute tabl. See RISM BVII, p. 58. Campra Europe André Campra, L’Europe galante (Paris, 1725; facs ed Farnborough, 1967); opera, first performed Paris, 1697 Corelli OpV Arcangelo Corelli, Sonate … opera quinta (Rome, 1700) Darm17 Darmstadt, Germany, Hessische Landes- und Hochschulbibliothek, Mus. Ms. 17; German kbd tabl dated 1672. The title page states explicitly that the music is arranged for ‘spinet’ from music for lute or mandore. See Gustafson, I, pp. 41-2. deViséeG Robert W. Strizich, ed, R. de Visée, Oeuvres complètes pour guitare (Paris, 1975) deV1682 Robert de Visée, Livre de Guittarre dedié au Roy (Paris, 1682); music for guitar in tabl and in score à 2. Facs ed Geneva, 1973; complete ed in deViséeG deV1686 Robert de Visée, Livre de Pièces pour la Guittarre (Paris, 1686); music for guitar in tabl and in score à 2. Facs ed Geneva, 1973; complete ed in deViséeG

23

deV1717 Robert de Visée, Pièces de Théorbe et de Luth (Paris, 1717); music for theorbo or lute in score à 2 D. T. Ö Denkmäler der Tonkunst in Österreich DufautW André Souris, ed, Oeuvres de Dufaut (Paris, 1965; revised ed Paris, 1988) Goëss Schloss Ebenthal, Austria, private library of Count Leopold von Goëss, MS II; early 18th-cent. lute tabl. Part of a collection described in Smith; the MS numbers derive from Smith’s list. Göttin Göttingen, Germany, Niedersächsische Staats- und Universitätsbibliothek, Ms. Philos. 84k.; early 18th-cent. lute tabl. See BoetticherZ. Göttw Göttweig, Austria, library of the Benedictine monastery, Lautentabulatur Nr. 2; lute tabl. MS probably compiled in the early 18th cent., but dated 1782. See RISM BVII, pp. 127-8. H. G. Friedrich Chrysander, ed, Händel-Gesellschaft edition of Handel’s works H. H. A. Hallische Händel Ausgabe edition of Handel’s works Handel Almira Handel, Almira (opera, first produced Hamburg, 8 January 1705), H. G. vol 55. [Chrysander’s edition uses a score associated with a revival under Telemann’s directionc1735] Handel Chandos Handel, Chandos Anthems, H. G. vol. 35 Handel Donna Handel, Rudolph Ewerhart, ed, Handel, Cantata: Donna che in ciel [c1707] (Cologne, 1959) Handel Giulio Cesare Handel, Giulio Cesare (opera, first produced London, February 1724), H. G. vol 68 Handel Joshua Handel, Joshua (oratorio, first produced London, April 1748), H. G. vol 17 Handel Serse Handel, Serse (oratorio, first produced London, 1738), H. G. vol 92 Handel Triumph Handel, The Triumph of Time and Truth (oratorio, first produced London 1757), H. G. vol 20

24

Harr Vienna, Austria, Allegemeinen Verwaltungsarchiv des Österreichischen Staatsarchiv, Archiv Graf Harrach Nr. 120; lute tabl c1710-37. See BoeeticherZ; see also KlimaH Hin1699 Ferdinand Franz Hinterleithner, Lauthen Concert (Vienna, 1699); parts for lute (in tabl), violin and bass. (The lute parts are self sufficient as solos, and sometimes occur as such in MSS.) Kal4a Kalmar, Sweden, Stangeliusskolan, Musikhandskrift 4a; kbd tabl c1721. See Rudén, pp. 56-7. Kal21072 Kalmar, Sweden, Läns Museum, MS 21,072; early 18th-cent. lute tabl, probably of Austrian origin. See Rudén pp. 25-8. Klag Klagenfurt, Austria, Kärntener Landesarchiv, Ms. 5/37; early 18th-cent. lute tabl. Extracts in KlimaK. See RISM BVII, pp. 141-2. KlimaK Josef Klima, ed, Fünf Partien aus einem Kärntner Lautenbuch (Musik Alter Meister 16, Graz, 1965). Partial ed of Klag. Klos Klosterneuberg, Austria, library of the monastery of the Augustinian Canons, Ms. 1255; early 18th-cent. lute tabl. See RISM BVII, pp. 142-3. Knie Warsaw, Poland, Biblioteka Narodowa, Muz. Rekopis 396; early 18thcent. lute tabl. Copied for Pater Hermien Knibandl of the monastery of Krzeszów (Grüssau) in Silesia. See RISM BVII, pp. 343-4 (under Bad Warmbrunn). Krak Krakow, Poland, Biblioteka Jagiellonska (formerly Berlin Staatsbibliothek Mus. Ms. 40620); lute tabl dated 1701. See RISM BVII, pp. 35-6 (under Berlin). Kre77; Kre78; Kre79; Kre82; Kre83 Kremsmünster, Austria, library of the Benedictine monastery, Mss. L77, L78, L79, L82, L83; early 18th-cent. lute tabls. See RISM BVII, pp. 156-7 & 159-60; see also Flotzinger, pp. 37-51 (description) and pp. 94-115, & 168-256 (thematic inventories). LonRM18; LonRM19 London, British Library, Royal Music Collection, MSS R.M.18.b.8 and R.M.19.a.4; miscellaneous music by Handel. Two of the socalled ‘Aylesford’ MSS. Lully Armide Lully, Armide (Paris, 1686) Lully Atys Lully, Atys (Paris, 1676)

25

NYPL New York, U. S. A., New York Public Library, Music Division MS Music Reserve *MYO; early 18th-cent. lute tabl, probably from Rajhraf (Raigern) monastery in Moravia (see VoglM, p. 7). See RISM BVII, p. 239; see also Holland. Purcell Abdelazer Purcell, incidental music (1695) for Aphra Behn’s Abdelazer, or the Moor’s Revenge; modern ed: Abdelazer: Incidental Music for Strings, ed C. Hogwood (London, 1985). Par Paris, France, Bibliothèque Nationale, Ms Rés. Vmc. ms 61; lute tabl dated Venice 1712. Possibly compiled by, or for, a Polish musician. See RISM BVII, pp. 230-31 (under Neuilly-sur-Seine, as owned by Genevieve Thibault, Comtesse de Chambure). Prague76 Prague, Czechoslovakia, Státní knihovna CSSR, Universitní knihovna, Ms. II. Kk. 76. a & b; early 18th-cent. guitar tabl (a) and violin (b) parts for chamber music. From the Lobkowitz family collection at Roudnice (Raudnitz). Ros52; Ros53 Rostock, Germany, Universitätsbibliothek, Ms. mus. saec. XVII 522 and Ms. mus. saec. XVII 531; early 18th-cent. [sic] lute tabls. See RISM BVII pp. 308-9. Ros54 Rostock, Germany, Universitätsbibliothek, Ms. mus. saec. XVII 54; mid-17th-cent. lute tabl. See RISM BVII, p. 310. Facs ed, Leipzig, 1983. Saiz Besançon, Bibliothèque Municipale, Ms. 279152 Rés. musique; lute tabl. dated 1699 compiled by Jean-Etienne Vaudry de Saizenay. See RISM BVII, pp. 46-7. Facs ed, Geneva, 1980. Six Solos Six Solos Four for a German Flute and a Bass … compos’d by Mr. Handel Sigr: Somis Sgr Geminiani Sigr: Brivio (c1730) Sto176; Sto228 Stockholm, Sweden, Kungl. Biblioteket, Ms 176 and Ms 228; early 18th-cent. kbd tabls. See Rudén, pp. 70-73. Straube London, British Library, Add. MS 31698; lute tabl compiled c1760 by Rudolf Straube and a pupil. See RISM BVII, p. 183. Spencer Samuel Whereabouts unknown, formerly London, private collection of Robert Spencer; early 18th-cent. lute tabl of German origin. Later ownership note: ‘Samuel Ano [sic] 1801’

26

Vie1813 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. suppl. mus. 1813; early 18th-cent. violin (?) part, apparently for use with lute and/or other instruments. See KlimaV. Vie17706 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. mus. 17706; early 18th-cent. lute and theorbo tabl. See RISM BVII, pp. 351-2; see also Maier, pp. 19-22 (description) & 85-99 (thematic inventory). Vie18761 Vienna, Austria, Österreichisches Nationalbibliothek, Ms. mus. 18761; early 18th-cent. lute tabl. See RISM BVII, p. 353; see also Maier, p. 24 (description) & 105-12 (thematic inventory). Vogl Anth Emíl Vogl, ed, Z Loutnovych Ceského Baroka (Musica viva historica 40, Prague, 1977). An anthology of Baroque lute music including most of the works by Losy known to Vogl. Wars37; Wars55; Wars56; Wars57 Warsaw, Poland, Biblioteka Uniwersytecka, Oddzial Muz. Rps mus. 37, Muz. Rps mus. 55, Muz. Rps mus. 56 & Muz. Rps mus. 57; early 18th-cent. lute tabls from the monastery of Krzeszów (Grüssau) in Silesia. Wash Washington DC, U. S. A., Library of Congress, Ms. M.2.1.T2.18B.Case; lute tabl c1706-11. From the library of the Dukes of Leeds. See RISM BVII, p. 349; see also Engel, p. 16.

Sign up to vote on this title
UsefulNot useful