I. PRINTED.
The earliest appearance is given.
Hear the voice and prayer ('a Prayer').
O Lord in thee is all my trust ('a Prayer').
Remember not, O Lord God ('the Anthem').
If ye love me ('the Anthem').
I give you a new Commandment.[1]
(All for four voices. Printed in John Day's 'Morning and Evening Prayer and Communion,' 1560?)
Man blest no doubt, 1st tune.
Let God arise, 2nd do.
Why fumeth in fight, 3rd do.
O come in one, 4th do.
Even like the hunted hind, 5th do.
Expend, O Lord, 6th do.
Why bragst in malice high, 7th do.
God grant with grace, 8th do.
Come, Holy Ghost, eternal God.
(All for four voices, in John Day's 'Whole Psalter' 1563? The 8 tunes (in the Tenor part) are in the 8 modes, 1 in each. No. 8—a Canon 2 in 1, sung upside down—is the tune usually sung to 'Glory to Thee, my God this night.' [App. p.798 "omit the words sung upside down"])
Salvator mundi, à 5. No. 1 (Burney, iii. 76). Adapted to 'With all our hearts,' by Barnard. Also (?) to 'Teach me, O Lord,' Ch. Ch., and 'When Jesus.'
Absterge Domine, à 5. No. 2 (Hawkins, iii. 267). Adapted to 'Wipe away,' by Barnard. Also to 'Discomfit them, O Lord' (1588?) and 'I look for the Lord.'
In manus tuas, à 5. No. 3.
Mihi autem nimis, à 5. No. 7. Adapted to 'Blessed be thy name,' by Barnard. Also to 'Great and marvellous,' by Motett Society.
O nata lux (Hymn), à 5. No. 8.
O sacrum convivium, à 5. No. 9. Adapted to 'I call and cry,' by Barnard.
Derelinquit impius, à 5. No. 13 (Burney. iii. 80).
Sabbathum dum transisset, à 5. No. 14.
Virtus, honor et potestas, à 5. No. 15.
Illæ dum pergunt (Hymn), à 5. No. 16 (? has a 2nd part, Rex Christe).
Procul recedant(Hymn), à 5. No. 20.
Salvator Mundi, à 5. No. 21 (different from No. 1).
Facti sunt Nazarei, à 5. No. 22.
In jejunio et fletu, à 5. No. 26.
Suscipe quæso, à 7. No. 27.
Si enim (2da pars), à 7. No. 28.
Miserere nostri, à 7. No. 34 (Hawkins. iii. 276).
(All from the Cantiones sacræ, etc. 1575.)
'First Service, or 'Short Service'—in D dor. Venite, Te Deum, Benedictus, Kyrie, Creed, Sanctus, Gloria in Excelsis, Magnificat, Nunc Dimittis; all à 4.
'First preces.'
First Psalm to do. (Ps. cxix.) 'Wherewithal,' a chant harmonised.
Second do., 'O do well,' do.
Third do. 'My soul cleaveth,' do. all four à 4.
Responses, Lord's Prayer, and Litany à 5.
(Anthem) O Lord, give thy Holy Spirit, à 4. (Adapted from Latin, according to Tudway.)
With all our hearts, à 5 (Salvator Mundi, No. 1).
Blessed be thy name, à 5 (Mihi autem nimis).
I call and cry, à 5 (O sacrum convivium).
Wipe away my sins, à 5 (Absterge Domine).[2] See 'Forgive me,' MS.
(All from Barnard's 'First Book of Selected Church Music. 1641.)
Litany, Preces, and Responses, à 4. In Rimbault's 'Full Cathedral Service of Thomas Tallis'; and Jebb's 'Choral Responses and Litanies' (1847).
Like as the doleful dove, à 4. In Hawkins, Appendix.
All people that on earth do dwell, à 4. In Arnold's Cathedral Music, vol. 1.
Hear my prayer, à 4. In 'Anthems' and Services for Church Choirs. Burns, 1846, vol. i. 15.
Blessed are those, à 5. In Motett Society's Collection, iii. 131.
Great and marvellons, à 5. Ibid. iii. 99, adapted from 'Mihi autem nimis,' Cantio 7; and 'Blessed be thy Name,' in Barnard.
Verba mea auribus, à 5. In Rochlitz's Sammlung. A retranslation of 'I call and cry.'
'Come, Holy Ghost, our souls inspire.' Parish Choir.
II. MANUSCRIPT (NOT PRINTED).
Ch. Ch. = Christ Church Library, Oxford. M.S.O. = Music School, Oxford. R.C.M. = Library of Royal College of Music. Add. MS. = Additional MSS. British Museum. F.W. = Fitzwilliam Museum, Cambridge. O. = Library of Rev. Sir F. A. G. Ouseley. Bt. P.H. = Peterhouse, Cambridge.
'Second Psalms' to Preces, viz. Pss. cx. and cxxxii. Probably Chants harmonised.
'Third Psalms' to Preces, viz. Ps. cxix. 145–176. Do.
(Both these are in a Bass part book, formerly Juxon's, in the Library of St. John's Coll., Oxford.)
Service 'of five parts, two in one' in D dor., containing Venite, Te Deum, Benedictus, Kyrie, Nicene Creed, Sanctus, Gloria in Excelsis, Magnificat, and Nunc Dimittis. Bass part in Juxon book, St. John's, Oxford. No other parts yet known.
Adesto nunc, à 5. Ch. Ch.
Ad nihilum deductus, à 5. 2nd Part of 'Domine quis.' Add. MSS. 5,059.
A new commandment (?)[3]
Arise, O Lord, P.H.
Ave Dei patris, à 3. R.C.M.
Ave Domini filia, à 3. Do.
Ave mulieris, à 3. Do.
Ave plena gratia, à 2. Do.
Ave rosa, à 2. Do.
Blessed are those that are undefiled, à 5. M.S.O.
De lamentatione (Gimel, Daleth), à 5. Ch. Ch. Add. MS 5,059.
Deliver me, God. St. Paul's list.
Discomfit them, O Lord, adapted (?1588) from 'Absterge Domine.' Ch. Ch.
Domine quis habitabit, à 5. Ch. Ch. Add. MS. 5.059.
Dominus tecum, à 3. R.C.M.
Ecce tempus, à 4. Add. MS. 30,513.
Et benedictus, in Lute tablature. Add. MS. 29,246.
Ex more docti mistico. Add. MS. 30,513.
'Fancy' for the Organ in A minor. Ch. Ch.
Felix namque, No. 1, for Virginals. Virginal Book, Fitzwilliam Library, Cambridge.
Felix namque, No. 2. for do. Do.
Felix namque, No. 3. 'Mr. Thos. Tallis Offetary,' for do. Add. MS. No. 30.485.
Fond youth is a bubble, à 4. Add. MS. 30,513.[4]
Forgive me, Lord, my sin, Clifford's list. This is probably only a variant of 'Wipe away my sins.'
Gaude gloriosa, à 5. Ch. Ch.
Gaude gloriosa. à 3. R.C.M.[5]
Gaude Virgo Maria, à 6. M.S.O.
Gloria tibi Trinitas, à 4(?) Ch. Ch.
Gloria tibi Domine, à 5 (?) O.
Hec deum celi, à 5. Ch. Ch.
How long, à 4(?) In Lute tablature, Add. MS. 29,247; 31,992.
If that a sinner's sighs, à 5. O.
I look for the Lord, à 5. Ch. Ch. An adaptation of 'Absterge Domine.'
Incipit lamentatio (Aleph, Beth), à 5. Do. Add. MS. 5,059.
In nomine, à 4. M.S.O.
In nomine, à 4. Do.
In nomine, Lute tablature. Add MSS. 29,246.
I will give thanks, St. Paul's list.
I will cry unto God, Do.
Laudate Dominum, à 5. Ch. Ch.
Let the wicked forsake his way. Calvert's list. [App. p.798 "add that 'Calvert's list' refers to his anthem book, published 1844.]
Magnificat anima mea à 6. Ch.Ch.
Maria Stella, à 3. R.C.M.
Miraculum videte, à 5. Ch. Ch.
Natus est nobis à 2. Add. MS 30.513.
Nunc dimittis Domine, à 6. Ch. Ch.
O give thanks, MS. by A. Batten, O.
O God be merciful, P.H.
O thou God Almighty, à 4. Ch. Ch. [App. p.798 "omit as it occurs again in its right place in the list"]
O praise the Lord, Adapted to 'O Salutaris.' Bass part in Barnard's MS. Coll. R.C.M.
O Salutaris, à 5. Ch.Ch.
O sing unto the Lord (Ps. cxlix), 6. M.S.O.
O thou God Almighty, à 4. Ch. Ch.
Out of the deep, à 4. Ch. Ch.
O ye tender babes, à 4. Add. MS. 30,513.
Pange lingua (no name), à 4. Do.
Pange lingua (no name), à 4. Do.
Pange lingua (no name), à 4. Do.
Per haec nos, à 3. R.C.M.
Per haec nos, à 4. Add. MS. 30,513.
Poyncte, a (for the Virginals), à 4. Do.
Quidam fuit, à 6. Ch. Ch.
Salve intemerata, à 5. Ch. Ch.
Salve intemerata, à 3. R.C.M.
[5]
Save Lord and hear us, St. Paul's list.
Solennis urgebat, à 5. Ch. Ch.
Te Deum, English, in F, à 5. Parts for 1st Countertenor, Tenor, Bass Cant., in Barnard's MS. Collection In R.C.M. An Organ part in Ch. Ch.
Teach me, O Lord, à 5. Ch. Ch.(?) adaptation of Salvator Mundi No. 1.
Teach me thy way, à 4. Ch. Ch.
Tu fabricator, à 5. Do.
Tu nimirum, à 4. Add. MS. 29,246.
Up, Lord, and help us, St. Paul's list.
Variis linguis, à 7. Ch. Ch.
Veni redemptor, à 4. Add MS. 30,513.
Veni redemptor (No 2), à 4. Do.
Verily, verily, à 4. Ely. P.H. Add. MS. 15.166.
When Jesus went into Symon the Pharisee's house, à 5. Adapted to 'Salvator mundi' (No. 21). Add. MS. 31,226.
The Editor has to express his sincere thanks to the Rev. Sir F. A. G. Ouseley, Bart.; Rev. J. H. Mee; Rev. W. E. Dickson; Mr. John Bishop; Mr. Bertram Pollock, and several others, for their kind help in making out this list.
TAMBERLIK, Enrico, born March 16, 1820, at Rome, received instruction in singing from Borgna and Guglielmi, and made his début in 1841 at the Teatro Fondo, Naples, in Bellini's
- ↑ Printed by Day with the name of Sheppard; and given in 'Parish Choir' as by Sheppard. See Add. MS. 30.513.
- ↑ Of these four 5-part anthems there are transcripts in the Fitzwilliam Museum of 'I call and cry' by Blow and by Purcell; of 'With all our heart,' 'Blessed,' and 'Wipe away,' by Blow only.
- ↑ I have not been able to discover if this is the same as 'I give you a new commandment.'
- ↑ The volumes in the Add. MSS. numbered 30,513 and 30,485 are valuable, not only because they contain works not known elsewhere, but because of the light they throw on the domestic position of music in the 16th century. They are arrangements for the Virginals—the fashionable keyed instrument of the day—exactly analogous to the arrangements for the Pianoforte of our own times; and it is startling to find that the sacred choral music of that day was the favourite music, and that the learned contrapuntal 5- and 6-part motets of Tallis, Edwardes, Farrant, Taverner, Byrde, Crequillon, Josquin, Orlando Lasso, and others, were compressed for the amusement of musical amateurs just as oratorios, operas, and operettas are now. From Add. MSS. 29,246, 29,247, another thing is plain, that these learned compositions were arranged for the Lute so that the top part could be sung solo, and the other parts played as accompaniment. An example of this may be found in the 'Echos du temps passé,' where Gibbons's 'Silver Swan' is set to French words (Le Croisé captif) as a solo with accompaniment; but it will be new to many to find the same practice in the 16th century.
- ↑ 5.0 5.1 This and 'Salve Intemerata,' for 3 voices in R.C.M., no. 1737, appear to be portions of 5-part motets to the same words, reduced to 3 parts by simple omissions of voice-parts. The same probably applies to all the 3-part motets in R.C.M. mentioned above; but they require investigation.
