the oxford music school in the late 17th century

The Oxford Music School in the Late 17th CenturyAuthor(s): Wyn K. FordSource: Journal of the American Musicological Society, Vol. 17, No. 2 (Summer, 1964), pp.198-203Published by: University of California Press on behalf of the American Musicological SocietyStable URL: http://www.jstor.org/stable/829980 .

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198 JOURNAL OF THE AMERICAN MUSICOLOGICAL SOCIETY

festivities of Edward VI ( 55 ) incorporated a "Kettel Drom with his boye,"41 and timpani may have been used in the grands ballets de cour of the fifteenth and sixteenth centuries.42 They were used in Wiirttemberg churches in the sixteenth and seventeenth centuries.43 It would not be an impossible conjecture that the two tamburi used in the battle scene in the fourth of the Cofaneria intermedii of i565 were timpani, particularly since the term "tamburi" for timpani was used even as late as the time of J. S. Bach.

In The Rare Triumphs of Love and Fortune, given in London in 1589, timpani are mentioned by name.44 Timpani parts could be implied in earlier music (as Titcomb suggests the use of timpani in Dufay's "Gloria ad modum tubae") 45 but this is perhaps the first time that the timpani were mentioned as part of an orchestral group. Descriptions of timpani in the orchestra do not occur until the early seventeenth century46 and the first written timpani part, for not one but two pair of timpani, appears in the Mass for Fifty-Three Voices by Orazio Benevoli in i628. Needless to say, the oft-repeated statement that the timpani were introduced into the orchestra by Locke or Lully is inaccurate.47

University of Tennessee REY M. LONGYEAR

41 See H. G. Farmer, "The Turkish In- fluence on Military Music" in Handel's Kettledrums, p. 42. 42 Henri-Marie-Frangois Lavoix, His- toire de l'instrumentation (Paris, 1878), p. 159.

43 Josef Sittard, Zur Geschichte der Musik am Wiirttembergische Hofe (2 vols., Stuttgart, I890-91), I, pp. 13, 41.

4 Weaver, op cit., p. 378. 45 Caldwell Titcomb, The Kettledrums

in Western Europe: Their History Out- side the Orchestra (Harvard University Diss., 1952), pp. 251-52.

46 Michael Praetorius, Syntagma Musi- cum (Wolfenbiittel, 1619), III, pp. 134- 35; Guido Adler, preface to Orazio Benevoli: Messe und Hymnus (Denkmd'-

ler der Tonkunst in Oesterreich XX, p. x); Percival Kirby, "The Kettledrums: An Historical Survey," Music and Let- ters IX (I928), PP. 38-39; Titcomb, op. cit., pp. 236, 245.

47For examples, see Karl Geiringer, Musical Instruments: Their History in Western Culture (London, 1943) p. 188; Lavoix, op. cit., p. 159; William Denny, "Percussion Instruments" in Willi Apel (ed.), Harvard Dictionary of Music (Cambridge, 1947), p. 564; Tit- comb, op. cit., p. 259.

THE OXFORD MUSIC SCHOOL IN THE LATE I7TH CENTURY

WHEN WILLIAM HEYTHER endowed the chair of Music at Oxford in i626, he provided for both theoretical and practical instruction in the art. To this end both books and instruments were provided, and these Heyther ordained should be cared for and should not be taken outside the Music School.' This original endowment was enriched after the Restoration by a number of

1 Cf. Nan Cooke Carpenter, "The Study of Music at the University of Ox- ford in the Renaissance (145o-600) ", Musical Quarterly XLI (I955), PP. 194f.



STUDIES AND ABSTRACTS 199

private gifts; for example, John Hingston gave a set of part books containing his own works (Bodl. MSS Mus. Sch. d. 205-211) during Edward Lowe's tenure of the chair, commenting on Lowe's "care, diligence and industry." A further series of books given at this period (1660-1685) carried the inscription: "Mr William Isles sent thes ten Bookes to Dr Fell Deane of Ch: Ch: for ye use of the publik musick scoole in Oxford whereof 5 of them are of one sort, & ye other 5 of another, . . .;" it appears that only four books of this benefaction have survived: Bodl. MSS Mus. Sch. d. 245-7 and f. 575, numbered 7-1o in the original series, which all contain instrumental music. Perhaps it was the Dean's attention to the discipline of his college that was the reason why the books were consigned to him; there appears to be no reason to suppose that Dr. Fell had the musical interests of one of his suc- cessors, Henry Aldrich, although his sympathies were wide.

It is against this background that two duplicate catalogues of the contents of the Music School should be considered. These are undated, and were written apparently by the same hand at different dates. One of them, British Museum Additional 30493, is headed: "A Transcript of ye two paper Cat- talougs of ye instrument[s] and Books belonging to ye Musick School- intending to compare ye Cattalouge with ye Books-etc: Ist the transcript of ye Paper I presume to be my Fathers hand-writing. As follows". The other copy, British Museum Additional 33965, fols. 44-46, has the briefer title: "A Cataloug of ye books-from ye Righting of my Fathers-as follows." This latter copy bears a note in the hand of Dr. Philip Hayes to the effect that it was written by Richard Goodson, who succeeded his father as professor at Oxford in i718. The father suceeded Lowe as professor in i682, and hence the original lists compiled by him may date from some time soon after the acquisition of the books mentioned above.

The reason why Richard Goodson the younger made two copies of his father's lists is not clear. There are minor discrepancies between the two lists, which will be noticed in due place, but the general correspondence is sufficiently close to warrant the assumption either that both were copied from the same documents, or that one was copied from the other. The latter alternative would seem the more probable; what is more certain is that the notebook, Additional 30493, is earlier than the three separate leaves in Additional 33965, since only the first mentions two earlier lists. In fact, the booklet was written when Goodson had the two earlier lists in front of him. The later list was apparently written at a much later date; the marks that appear in the left-hand margin suggest that it was used for stocktaking, and perhaps it was written expressly for the purpose. The other also provided for this.

The following text follows that of the earlier list, Additional 30493. Significant variations in the other list are shown in parentheses; putative

scribal errors are included, but variations in spelling are not noted. Each copy has two columns to the right of the list, which are headed respectively "Bookes (in ye Cattalogue as wrote before)" and "Bookes now Remaining" (in the earlier list only). The second of these columns remains blank in each MS, and the quantities indicated here are those shown in the first column, with the exception of the first entry, which in the earlier list is set out as follows.




24.2M' Henry & Mr William Lawes Psalms-4 [1648] M' Locks Book of Psyche [1675] M' Salmons Compendium of Musick [D672]

Several Act Songs in loose papers with other papers.

N:B: These Books following are in y" Long Cubord M' Porters Motets two parts to y" Organ-3 [1657] Folio Books in Velim wth green strings in Omines-5 Folio Books in Vellim of Songs of several Authers-5 A sett of Books in Quarto of several Authers covered with Black leather--6 A sett of Vocall Music composed by Giovanni Croce-6 [This seems to be the first book of madrigals, for six voices, issued in 1590 and reprinted in 1618, or the fourth, for five and six voices, issued in 1607, or possibly the Messe a 5 et 6 voci of 1599-] S A sett of M' Wards and other Authers for Voices-6 [This may be John Ward's The first set of English madrigals of 1613. The words 'other Authers' may imply that MS parts were bound up with Ward's pieces Now (?) Mus. Sch. 1. 453-458.] Two setts of Books given by M' Iles-io [As we have noted above, the surviving books are four in number and are two col- lections. There may have been one set of five books, but the cataloguer may have interpreted the word "sort" in the inscription as "set".] A sett bound in Vellim in Folio of Fancies by Severall Authors-6 A sett bound in Red Leather of Vocall Musick by Severall Authers-6 [item omitted

in the second list] A set of Cansonets by Giles Farnobe-4 [1598] (N.B.) There are two or three more imperfect Setts. There are 15 pieces of Painting-A Chest of Violes [of] 6-& 5 Violins An Organ & Harpsicord And a Lute. Eleven Chaires & two Stooles. Eight Deskes.

Mr Jenkins i. His sett for one Base Viol & Violin to y" Organ-3 2. His sett for two Bases & one Violin to y" Organ-4 3. His sett for two Violins & one Base to ye Organ-4 4. His sett for two Bases & two Trebles to y" Organ-5 5. His Fancies of 4 parts to y" Organ-5 6. His Fancies of 6 parts to y" Organ--9 (7) 7. His first consort for the Harpsicon Lyra & Viol Bass & Violin-4 8. His second consort to y" same Instruments-4 9. His Fancies & Ayres Division for z Trebles & Bass-3

io. His Fancies for two Trebles & a Bass without y" Organ-3 11. His 3" Lyra Consort-4

12. M' Brewers Fancies for 4 parts to y" Organ-5 13. M' Laws his Fancies, Ayre & Galliard for two Violins & Bass Viol to ye Organ-

4 (figure erased) 14. His Fancies, Ayre & Galliard for 2 parts-3 15. Coprarios [sic) Fancies for 2 Basses to the Organ-3 16. Coperarios Fancies for 2 parts. A Treble & Bass to ye Organ are wanting-3 17. Orlando Gibbons 3 part Fancies-3 [? c. 162o4]

2 This figure appears in the earlier list only; it refers probably to the numbered sequence below.

S A more likely alternative is the Eng- lish edition of Musica Sacra, issued in 1607 and I611 (Pollard et al., A Short- Title Catalogue (London, 1926), Nos. 6040-1). I am indebted to Professor

Thurston Dart, of Cambridge, for this suggestion.

4Cf. Thurston Dart, "The Printed Fantasies of Orlando Gibbons", Music and Letters XXXVII (1957), PP- 342ff. It is possible that this publication ap- peared again in 1630 (Pollard, Nos. 11824-5).



STUDIES AND ABSTRACTS 20I

i8. D' Gibbons 3 part Fancies Allmain & Corant to the Organ-4 19. M' Sylvanus Taylors Pavan's & Ayres for 2 Treb (les) & Bass-5

[Now (?) Bodl. Mus. Sch. MSS 1. 429a-e.] 20. M' Simsons Consort wt a Lyra Bass-4 21. M' Oldis Ayres for 3 & 4 parts

in a Spanish Leather Bagg-4 22. Two setts of Dr Gibbons-7 23. Mr Locks Paven Ayre & Corant 3 parts in Vellim-4

A set of Mr Hingestons works for 4, 5 & 6 parts-7 M' William Lawes his 3 parts-4

25. A sett call'd y" New Consort Books-4 A sett of Book's fillited wth Gold of severall Authors Workes, with a Through Bass in a blew paper B-5 M' Simsons Months & Seasons for 3 parts-4 [? Now Bodl. Mus. Sch. MSS c. 54-58.1 A sett of Books bound in Vellam of Mr Rogers's Ayres for 4 Parts

26. & Mr Jenkins's Divisions for 2 & 3 parts with (an) y" Organ part coverd wtb white paper-5 M' Simpsons Division Book [1659, 1667.]

(not in later list) N:B: Thus far is transcrib'd from a Cattalogue (Iudge to be) of My Father's Hand- writing. (not in later list) A Coppie of annother & smaller Cattalouge in a Quarto peice of paper woh I guess might be wrote before y* former as follows Loose papers in y" Cubbord Vocal 5 papers all y" parts of Dr Childs O bone Jesu 4 parts A score paper of Matt Locks Anthem for 2 Bases .. .And a Voice came out of y* Throne ... 3 papers of Amante Gentile for two voices O quam pulchra es-for 2 Means wth a Through-Bass Cantate in papers for 2 or 3 of Mr Bowmans Usque quo ................ Mr Bowmans His Miserere-in loose papers with a Through Bass (wth a through Base in loose

papers) His Tribulatur alsoe in loose papers.

Instrumental 4 (14) severall sheets of Mr Halls Aires Folio 4 more papers in Quarto of y" same 3 papers of 6 Airs of Mr Rich: Cobb in A Songe & Ayres of Mr Blundevill's of

Windsor Mr Goodsons Ayres in Loose papers Two loose papers belonging to M* Baptist set of Ayres 3 several sorts (sets) of Instrumentall Ayres of Mr Kellers his owne pricking Loose papers of Mr Oldis Ayres 4 papers of an Italian's Latin songe O dulcis Jesu wch was (I) had from Mr Jeffreys Loose papers-All the parts (papers) of Mortale qui fata. N.B. Here ends the second list or Cattalouge of Books, which is wrote by a different Hand & I judge if it was wrote before y* other. [Omitted in second list.] (Some Books in y* Collection not mentioned in y* Former Cattalogues-Two Scores of Fancies H.L.-W.L. [Lawes? ] Instrumental Musick 8 pts by L. Viadan-9.) [If this should be Viadana's Cento Concerti, of which the first book was published in 16o02, the second in 1607, the third in 1609, and the complete work in 1613, and which was reprinted subsequently, there seems to be a mistake: the work was




neither in 8 parts, nor was it entirely instrumental. There seems to be no alternative, however.]

From this catalogue it appears that the Oxford Music School was pos- sessed of a very varied collection at the end of the 17th century. From the dates inserted here, it is evident that little of the music listed had survived the Commonwealth; Gibbons is represented, but not Byrd; Farnaby, but not Tomkins, Bateson or Wilby. Yet a reference to Fellowes's list in The English Madrigal Composers (Appendix C) shows that works by all these composers and others are included in the Music School collection at the Bodleian

Library. It would seem that Richard Goodson's catalogue was not exhaustive, but further investigation is needed on this point.5

On the other hand, it is clear from this catalogue that the works of

contemporary musicians were well represented. The collection contained works not only of established composers like Jenkins but also pieces by ama- teurs: "Mr Oldis" is presumably Valentine Oldis, the London chemist who contributed to Playford's Court Ayres in 1655, and "Mr. Bowman" is very probably Henry Bowman, the "Philo-Musicus" whose songs were published in 1678 by the Oxford bookseller Thomas Bowman; he very possibly was a close relative of Henry, as this seems to have been issued at the end of his life, apparently as his sole publication of this kind.6

On the whole, it seems safe to take it that the catalogue is not a complete inventory of the contents of the Music School. In addition to its apparent omissions (to which, indeed, the note appended at the end of the later list bears witness), we may notice that the catalogue itself appears to be in some disorder; the figure 24 which appears at the commencement of the earlier list seems to show carelessness, as does the inclusion of two evidently vocal pieces among the instrumental music at the end of the catalogue. Yet this catalogue carries a warning that he who would reconstruct the history of the Music School as it existed at that period should look beyond the confines of the Bodleian Library; according to Fellowes, the set of Farnaby's canzonets is no longer among the books of the Music School collection. Suggestions offered here of the possible identification of some items are only tentative, and others which may be at the Bodleian are not indicated.

In the nature of things, the date of acquisition of no item is indicated. In some cases, perhaps, that information may be gained from the books them- selves; the surviving books of Iles's gift bear the date 1673, but it is not clear whether this is the date of acquisition by the Music School. Such an investigation would offer some indication of the way in which the teaching of music at Oxford had developed at this period, since the stock of music kept at the Music School would constitute the raw material from which practical in-

5 None of this music appears in the list of John H. Mee, The Oldest Music Room in Europe (London, 1911), pp. 54ff., which deals with the history of the room built in Oxford in 1748, although songs by Purcell and Clark appear as well as a manuscript collection. Pro- fessor Dart suggests that some of the

earlier collection may have gone to for- eign libraries, notably that of the Paris Conservatorie. Mee gives some account of the Restoration festivities at pp. ix--xi. 6 It may be noted that compositions of the clerical musician Richard Mudge are included in Mee's list (pp. 57, 60).



STUDIES AND ABSTRACTS 203

struction would be given. We have already seen that this study, if it be taken ab initio from the date of Heyther's foundation, should be based on material other than that provided here.

There remains one further topic of more general musicological interest: the origins of this music, especially of that given to the School by outside in- dividuals. The back end-paper of MS d. 245, one of Iles's gifts, bears an intriguing note concerning Samuel Hoard's Gods love to mankind, published anonymously in 16337. An investigation of all such clues to the provenance of the MSS would yield interesting results.

Worthing, Sussex WYN K. FORD

7Pollard, no. 13534.

MORE ON THE WEIMAR ORIGIN OF BACH'S 0 MENSCH, BEWEIN (BWV 244/35)

Bach's elaborated Chorale O Mensch, bewein' dein' Siinde gross, in E major, was not included in the St. Matthew Passion until the late 173o's.1 It had been used, in Eb and in a slightly different version, as the opening movement of the St. John Passion about a dozen years earlier.

In the Festschrift Otto Erich Deutsch zum 8o. Geburtstag,2 I suggested that the movement may have been written some ten years earlier still-that is, in the period 1714-1716, in Weimar. The reasons for thinking so which I advanced there were:

(i) As the third note of measures 26 and 42 in the Continuo line, Bach seems to have gone out of his way to avoid a low C? in the E-major version of the St. Matthew Passion, while in the St. John version, which is in Eb, he did not avoid the corresponding low C. Similarly, as the first note of measures 33 and 49 in Violins I and II, the low g# is avoided in the St. Matthew, but not the corresponding low g in the St. John. This seemed to point to an original version of this movement in D major, in which the notes B1 and f# would have had to be avoided.

(2) Eb major was a poor key for transverse flutes in Bach's day, and there are other reasons for believing that the use of transverse flutes did not belong to the original version of the St. John Passion anyway. (These reasons are explained in the Deutsch-Festschrift article referred to.)

(3) To imagine that the flute parts were originally intended for recorders, one would have to assume that their parts were written in F major, since the lowest tone of their parts is the low tonic of the key.

(4) The combination of recorders and oboes notated in F major Tief Cammer-Ton and voices, strings, and organ notated in D major Chor-Ton

1 Cf. Philipp Spitta, J. S. Bach (Leipzig, 1873-188o), Vol. II, p. 381 and Beilage 3; and Friedrich Smend, "Bachs Matthius- Passion," Bach-Jahrbuch, 1928, pp. 86ff.

These must, however, be read in the light of Georg von Dadelsen, Beitrdge zur Chronologie der Werke Johann Sebastian Bachs, Tiibinger Bach-Studien, Heft 4/5 (Trossingen, 1958), p. iii.

2 Kassel, 1963, pp. 33-35.



the oxford music school in the late 17th century

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