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British Museum Add Ms. 15117: A Commentary, Index and Bibliography

Published online by Cambridge University Press:  01 January 2020

Mary Joiner
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The British Museum manuscript Additional 15117 is well known to scholars and students and many pieces from it have been referred to or transcribed. The collection is usually described as simply a miscellaneous collection of songs and instrumental pieces ranging in date from the 1560s to about 1620. The British Museum catalogue itself suggests that the manuscript contains a very diverse and rather arbitrary collection of music. In the discussion which follows I suggest that the manuscript repays consideration as a complete collection, one compiled possibly over quite a brief period of time and reflecting a single interest: an interest in the music used in and associated with the popular theatre. Any conclusions one is tempted to draw about the total plan and intention of the collection from a study of individual pieces and their relation to one another must, of course, be tentative. However, several of the pieces in the collection - some of them well known from other sources - exist in rather unusual versions or forms and this requires explanation. The cumulative evidence of the conclusions one is led to draw about individual pieces does seem significant and therefore worth recording here even if only as hypothesis.

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Research Article
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R.M.A. Research Chronicle , Volume 7 , 1969 , pp. 51 - 109
Copyright
Copyright © Royal Musical Association, 1969

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References

Sources

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References

Robinson, Clement. A Handefull of Pleasant Delites. London, 1584. ed. Rollins, H.E., Cambridge, Mass. 1924. No. 24. “The Lamentation of a Woman, Being Wrongfully Defamed” To the Tune of ‘Damon and Pithias'. The song begins “You Ladies, falsely deemed”.Google Scholar
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Sources

Church, Christ, Oxford, MS Mus 371, ff. 10. v-11. v. “O death rock me aslepe” for keyboard. (This is similar to the 15117 version.)Google Scholar
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“O Death rock me asleep.” ed. Warlock, P.Curwen ed. no. 2389, London, n. d.? 1928. Edited from B. M. MS Add. 15117.Google Scholar

References

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Sources

Byrd, W. Collected Works. Vol. XV, pp. 28–30. Fellowes attributes the words here to Robert Devereux, 2nd Earl of Essex. This is obviously a mistake for Walter Devereux, 1st Earl of Essex.Google Scholar
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References

Brett, Philip. Wiliam Byrd, pp. 329–330. Dr. Brett considers the song is more likely to be the work of Nicholas Strogers than of Byrd. He claims that the most reliable source for the song is the single contra-tenor part-book in the Bodleian Library (see above) which was written between 1575 and 1586. Here the music is ascribed to Strogers. Dr. Brett discusses this further in the notes to this piece in Consort Songs. p. 180.Google Scholar
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Sources

The Psalms of Sir Philip Sidney and the Countess of Pembroke. ed. Rathmell, J. C. A. New York, 1963, psalm 51, pp. 120–121 (words only).Google Scholar
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Sources

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Sources

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References

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Sources

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References

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References

Every Woman in Her Humour. London, 1609, Sig. B. 1v.Google Scholar
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Sources

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Reference

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Sources

Campion, Thomas. Rosseter's Ayres. London, 1601, no. 2. E. S. L. S. 2nd series.Google Scholar
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Reference

Day and Murrie 3330.Google Scholar
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Source

Fitzwilliam Museum, Cambridge, MS of Edward, Lord Herbert of Cherbury. (No shelf-mark, on permanent exhibition), f. 2v-3.Google Scholar
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Sources

Campion, Thomas. Second Book of Ayr es. London, c.1613. E.S. L.S. 2nd series. The words in the 1613 version of the song are set to the music of the song “Move now with measured sound” in Campion's Lord Hayes’ Masque, London, 1607.Google Scholar
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References

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Sources

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References

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Sources

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Reference

Ward, John. “Joan qd John”. p. 842, footnote 35a.Google Scholar
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Sources

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Source

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Source

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Source

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Source

Leighton, Sir William. Teares, or Lamentacions… London, 1614, Sig. G. 1v–G. 2. Ascribed to Robert Johnson.Google Scholar
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Sources

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Reference

Ward, John. “Joan qd John”, p. 841, footnote 33, and p. 842, footnote 35a.Google Scholar
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Sources

B.M. MS Add. 30513, f. 78v-79; “Defiled is my name.” “Vnto my fame” occurs in the 2nd part of “Defiled is my name”. ed. Stevens, Denis, The Mulliner Book, Musica Britannica, I. London, 1951, no. 80, p. 59, ascribed to Robert Johnson.Google Scholar
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Sources

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Reference

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Reference

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Sources

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