A Neglected Source of Monody and Madrigal

Author(s): Pamela J. Willetts

Source: Music & Letters, Vol. 43, No. 4 (Oct., 1962), pp. 329-339
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/732343
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 A NEGLECTED SOURCE
OF MONODY AND MADRIGAL

BY PAMELA J. WILLETTS

A MISLEADING catalogue entry has diverted attention fr

and important manuscript volume of Italian and Latin
motets and monodies which has been preserved in the Bri
since 1881, when it was purchased from Julian Marshall.
script, Add. 31,440, was described over half-a-century
British Museum catalogue of manuscript music as "M
bass... for harpsichord or organ, in score, by Pie
(d. 1685). Autograph; signed by the composer on f. 5
among other references, rather more cautiously as "S
bass for harpsichord, in score, by P. Reggio. Autogra
surprising that these descriptions appear to have be
almost without question, until the present date, alth
contain two completely unfounded statements: first, that
in the volume are by Reggio, and secondly, that the man
his handwriting.2
The second assumption can be disproved at once. Th
signature on fo. 157 is the name 'P. Reggio' which occurs
of the song 'As water fluid is', entered on the previously
half of the double opening, and the whole of this item is
different and later hand than the rest of the volume. No
the manuscript does Reggio's name occur nor is this han
be found again. It happens that in the Harley Collec
British Museum there is a volume of Italian songs, H
which has a much sounder claim to be considered Re
graph. At the end of the latter volume are the word
richesta di Monsieur Didie In Londra. Anno Domini. i68i. Pietro
Reggio", and the style of notation and handwriting accord well with
the dates of Reggio's sojourn in England (before 1677 to his death in
I685). The handwriting of Harley I50I has no similarity to the
addition on fo. I56v7 of Add. 31,440 or to the main hand in this

1 A. Hughes-Hughes, 'Catalogue of Manuscript Music in the British Museum'

(1906-9), i, p. 287; ii, p. 486.
2 G. E. P. Arkwright, 'Catalogue of Music in the Library of Christ Church Oxford'
(1915), i, p. 97, notes that three motets also to be found in a Christ Church manuscript
are attributed to Reggio by the British Museum catalogue, "but the reasons are not
conclusive".

329

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330 MUSIC AND LETTERS

volume. The characteristics of this main hand make the Reggio

attribution improbable. It is true that at first sight it appears to be
the work of an Italian; there are no elementary spelling errors of the
kind frequently found in English copies of Italian madrigals in the
sixteenth and seventeenth centuries, and all directions, such as "Qui
incominciano le nove stanze" (fo. I v) and the index tables dis-
persed through the volume are written in Italian. However, the
style of the text- and, particularly, the music-writing, which includes
passages in white notation and coloration, suggests a date in the first
half of the seventeenth century.
The item in Add. 31,440 which first caught my eye was a five-part
madrigal near the end of the volume, 'Crud' Amarilli', which I had
no difficulty in recognizing as the work of Monteverdi. Working
from this discovery I identified no fewer than twenty-eight items by
Monteverdi, as will be seen from the list of contents printed as an
appendix to this article.3 Of these 'Ch'io t'ami', with its second and
third sections, is found not only in the five-part version (fo. I9Iv-4)
printed in 'I1 Quinto Libro de Madrigali' (I605), but also in an
arrangement for two voices only and bass (fo. 6oV-3), while 'Ecco
Silvio', with its five sections, occurs only in a similarly condensed
two-part version with bass (fo. 53V-9) instead of the familiar five-part
setting printed in 'I1 Quinto Libro'. Although in the more homo-
phonic passages these new versions consist mostly of the top two
voices and a bass part following the bass vocal line (or incorporating
the alto or tenor parts where these formed the temporary bass of the
five-part setting), in the polyphonic passages considerable re-arrange-
ment is found and, for instance, the end of 'Ecco piegando' (section
four of 'Ecco Silvio') is completely rewritten.
None of the items in the main part of Add. 31,440 are attributed
to composers, and, as will be seen, the majority remain to be identi-
fied by scholars more conversant with the vast repertory of Italian
vocal music. I am tempted to wonder whether they include any
fragments of the missing operatic music which we know Monteverdi
composed, from his references to it in letters.4 The manuscript does
contain (fo. 44v-7) a copy of Olympia's lament 'Voglio morire',
recently published from the copy in Add. 30,49I.5
3 Miss Gloria Rose independently recognized the high Monteverdi content of
Add. 31,440 when she was working recently in the British Museum. I find it difficult to
believe that the nature of the volume has escaped the notice of all other scholars, but I
have found no published reference to it. The further associations of Add. 31,440 which I
shall note are, I believe, new information.
4 See, for example, G. F. Malipiero, 'Claudio Monteverdi' (1929), passim.
5 In W. Osthoff, 'Monteverdi. I2 Composizioni Vocali' (I957). The editor does not
refer to the copy in Add. 31,440.

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Unidentified monody, possibly in the handwriting of Walter Porter
(Add. 31,440, fo. 33V). Reproduced by courtesy of the Trustees of the
British Museum.

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 Autograph dedication of Walter Porter (Bodleian, MS. Mus.
Reproduced by courtesy of the Bodleian Library.

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A NEGLECTED SOURCE OF MONODY AND MADRIGAL 33I

The first item in Add. 31,440 is another lame

solo, Tornate Augelli al nido', in the Monteverdi t
refrain 'Lasciatemi morire'-a common enough p
the very words of the opening of Monteverdi'
Apart from Monteverdi the only other composers
been identified in Add. 31,440 are Alessandro
Tarquinio Merula (one) and Raffaello Rontan
qual vivo sole' (fo. I30v-I40v) also occurs in Ad
been attributed, together with the rest of the con
script, to Henry Lawes, apparently on the ground
the manuscript is thus assigned by the copyist.6 L
that there can be no suggestion that any part
written by Monteverdi himself; the handwriting
that of his letters or of any of the music manusc
various times been attributed to his hand.7 Fo
however, the volume does not seem to be merely
cial copy of items fr6m the contemporary rep
from current printed and manuscript sources. Firs
is unusual, suggesting that this is the collection b
for his own use; secondly, in a few of the items v
been added by the same writer (see the illustra
thirdly, the same handwriting is to be found
part-books containing both manuscript and pri
Church 878-80), and the associations of this set are
Christ Church 878-80 consist, in the words of a
eighteenth-century catalogue of Richard Goodson's and Dean
Aldrich's music collections compiled by John Baptist Malchair, of
"Mr. Jeffries Coll: of Songs-verry imperfect-in the first page of
one of the books... it appears that he was Organist of Christ
Church. M.S. Dr Wilsons Psalterium Carolinum printed Mr Walter
Porters Motetts-printed Thorough Bass to the Prince of Venosa 5
parts &c. M.S. a strange meddley".8 All these items are bound
together in their relevant part-books and have apparently been
associated together for a considerable time. 'Mr. Jeffreys' can be
readily identified as George Jeffries, described by Anthony Wood as
"steward to the lord Hatton of Kirbie in Northamptonshire and
organist to K.Ch.I at Oxon.", 9 and the handwriting of much of the

6 A. Hughes-Hughes, 'Catalogue of Manuscript Music in the British Museum'

(1906), i, p. 158. The volume is incorrectly described as the autograph of Henry Lawes.
7 See Malipiero, op. cit., p. 21, and G. Benvenuti, facsimile edition of 'L'incoronazione
di Poppea' ( 938).
8 London, Royal College of Music, MS. 2125, p. 36 of the section on Aldrich.
9 'Life and Times of Anthony Wood', ed. Clark (I892), i, p. 274.

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332 MUSIC AND LETTERS

manuscript sections of Christ Church 878-80 is in Jeffries's auto-

graph. 0 The handwriting of the end of Christ Church 880, contain-
ing the basso continuo part for the madrigals and motets by Gesualdo
and other composers, is the same as that of Add. 31,434, the con-
cordance for 'Splendea qual vivo sole'.11 The writing of a few folios at
the beginning of the Christ Church set is unknown to me, although it
is contemporary with the other hands, and the remainder of the
manuscript sections of these volumes, namely, fo. 3 -8 in 878 and fo.
31-42 in 880 is the same as the main hand in Add. 31,440. The music
copied in this latter hand is of similar type to that in Add. 31,440,
although limited to two- and three-part settings; it includes three-part
versions of Monteverdi's 'Ahi com'a un vago sole', 'T'amo la mia
cara vita' and 'Crud' Amarilli' (bass part only), all printed as five-
part madrigals in 'I1 Quinto Libro'. Christ Church 880 also includes
a bass part of the anonymous 'Fiume e fonti' found in Add. 31,440
(fo. I8v-I9). Several other items which appeared from the catalogue
descriptions to be concordances with Add. 31,440 turned out to be
different settings of the same texts, for instance 'Intenerite voi' and
the dialogue 'Che fai alma'. The other concordances shown in the
appendix to this article are with items in Christ Church 880 written
in the same hand as Add. 31,434.
Who was this compiler of Add. 31,440 and part of Christ Church
878-80, who shows an acquaintance with Monteverdi's work
unusual in English circles in the first part of the seventeenth century?
Walter Porter is the first name to suggest itself. He is traditionally
supposed to have visited Italy and studied with Monteverdi. Indeed,
as Arkwright pointed out, the three copies of Porter's 'Motetts'
(1657), preserved in Christ Church Library, have contemporary
manuscript insertions of the word 'Monteuerde' after the reference
in the address to "that unparallel'd Master of Musick, my good
friend and Maestro".'2 One set of the Christ Church 'Motetts' and
one in the Bodleian Library have autograph dedications from
Porter to 'Mr. Webb', presumably William Webb, the song-writer,
and Dr. John Wilson (see the illustration facing p. 33I), whom
10 By comparison with the many volumes of Jeffries's autograph music in the British
Museum: Add. 10,338, I7,816, 30,829-30, 29,282, 31,479.
n The statement in G. E. P. Arkwright, 'Catalogue of Music in the Library of Christ
Church Oxford' (1923), ii, p. 94, that Christ Church 878-80 are "in Dean Aldrich's
hand-writing" appears to be incorrect. There are several hands in these books and although
the end of Christ Church 880 has some similarity to Christ Church 2, which has also been
attributed to Aldrich, I must confess that I seriously doubt the attribution of the music, as
distinct from the titles, in Christ Church 2 to Aldrich's pen, and cannot accept it for
Christ Church 880 or, it follows, for Add. 3I,434.
12 G. E. P. Arkwright, 'An English Pupil of Monteverdi', in The Musical Antiquary, iv
(I912-I3), p. 24I.

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A NEGLECTED SOURCE OF MONODY AND MADRIGAL 333

Porter addresses as his "loveing Cous", and

specimens of Porter's handwriting availabl
Here the argument must rest at present. The
dedications, written, naturally enough, in
similarities to Add. 31,440 and the releva
Church 878 and 880, which are all written
plates provided sceptics may like to exami
capital 'I', small 'p', the various forms of s
dedication, two in the music) and the non-ital
also remember that the dedications were written near the end of
Porter's life (he died in 1659), when he was old and ailingl4, while
the music, if indeed it is his, would probably have been copied in
his prime.
APPENDIX

Contents of Add. 31,440.

Note: The items are written across the double page opening
for occasional overlapping folio references.

Folio Text incipit or description Remarks: composer, con-

cordances, etc.
I Fragments of music in a late seven-
teenth-cent. hand (also to be found
on fo. 20 and I I I) and a few jottings
of titles in the main hand.

For one voice with bass:

IV-2 'Lasciatemi qui solo, Tornate Augelli Lament type.

al nido'.
2v-3 'La gran Balena.' ISt part.
'Bella Marina.' 2nd part.
2v-3 'Faretrato arcier.'
3v-4 'Non v6 piu seguire.'
4v-5 'Se mille tormenti.'
4V-5 'Non andara cosi.'
5V-6 'Che soffri 6 mio core.'
5v-6 'Tempo gia fu, ch'io vissi amante.'

13 Christ Church 8I8-23 and Bodleian, MS. Mus. Sch. d. 349.

14 Three petitions of Porter, which may or may not have been autograph, published by
Edward Pine in 'The Westminster Abbey Singers' (I953), pp. 115-9, cannot be traced
among the Westminster Abbey Muniments and Pine gives no other reference to their
location. They are all undated but were presumably written near the end of his life and
include the following description of his condition: "Yor: Petitonr: being 7o:tie and odd
yeeres of age his strength and faculties decayed, his wants dayly increased and his chari-
table freindes neere all deceased".

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334 MUSIC AND LETTERS

6v-7 'O schiere d' amanti.'

6v-7 'Voi vedet' il mio mal.'
7V-8 'Ecco ch'io verso il sangue.'
7V-8 'Aure placid'e volanti.'
8V-9 'Ascoltate i miei crucci.' Ist part. Calle<
I 'Sonetto'.
'0 Tartaree spelonche.' 2nd part.
'Udite e da l'accese arene.' 3rd part.
'Direte poi, che non ha fiamme
Averno.' 4th part.
9V-I0 'PiU non sento del tuo dardo.'
9V-Io 'Dopp6 un lungo servire.' Callec i 'Villanella reci-
tativa
I o-I I 'Non vi dolete amanti.'
I I 'Mi convien di partir.' Incon nplete.
I I 'Non sei piu bella.' Incon aplete. Also has
Latin text '0 quam tu
pulcn a es'.
Folio missing here (pp. 22-23 of original pagination).
I2 Begins imperfectly, 'Gioite del mio Incor aplete.
pianto'; 2nd verse: 'So ben, che col
mio piangere'; 3rd verse: 'Qual atra
nube'.
12 Begins, imperfectly, 'Sperar da lui Incor nplete.
merce'; 3rd verse: 'Nacque la nott'el
di'.
12V-I3 'Cor mio se questa fera.' ISt part?
'Perche mio tesoro.' 2nd part?
12V-I 'In bel seno.' See f( ). I7v for another
copy.
I3V-I4 Echo effects marked.
'Quaesivi quem diligit anima me
I13v-14
3V-I4 By R Laffaello
'Fuggi crudele Dove mi Rontani,
lasci tu?
'Varil e Musiche, Libro
quint o' (I620).
14V-I7 'Ardo misero, e sento.' Ist pa
'E tu fatta ver me cruda.' 2nd pa
'Ma dimmi anima cara.' 3rd part.
'Soavissimi lumi.' 4th part.
'Emula chioma.' 5th part.
I7 'Chiudete l'orecchi.'
I 7v- 8 'Augelletti canori.' R. R ontani, 'Le Varie
Musi,che, Libro sesto'
(1622
17v-18 'In bel seno.' See a Iso fo. 12v-I 3.
i8v-I9 'Io v6 penar, Io v6 morir.'
i8v-I9 'Fiumi e fonti, Boschi e Monti.' Also in Christ Church
880 ( anonymous).
I 9v-20 'Seguir piu non voglio.'
19V-20 'Non voglio amare.'
20V-2 I 'Udite Amanti.' Not Caccini's setting.
20V-2 I Not Caccini's setting.
'Alle gioie 6 pastori.' With a sinfonia.

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A NEGLECTED SOURCE OF MONODY AND MADRIGAL 335

2 Iv-23 Ten modi for violin on a bass.

23V-26 Twelve similar modi on a different bass.
25V-28 Ten similar modi on a different bass.
28v-29 'Fuggite gli inganni d'Amore.' Published, anony-
mously, by Playford,
'Select Ayres and Dia-
logues' (1669). Also in
Edward Lowe's song
book, British Museum,
Add. 29,396 (anony-
mous).
28V-29 'Senti Tirsi crudel.'
29"-30 'Cruda signora.' ISt part. Called 'Ciaconna.' The
'Sol per tuo amore.' 2nd part. five parts are called
'Di me ti ride.' 3rd part. modi.
'Ben son mi accorto.' 4th part.
'Hor fa, che vuoi.' 5th part.
30V-3I 'Questa crudel.' Ist part. Also in Christ Church
'Deh mira Amor.' 2nd part. 880 (anonymous).
'Rompi lo smalto.' 3rd part.
'Ma date (lasso) indarno.' 4th part.
3IV-32 'Bella Filli crudele, Se bramate.'
31 -32 'Fillide mia se di beltat.' Not Caccini's setting.
32v-33 'Occhi soli d'amore.'
33v-34 'Crud'Amarilli.' Not Monteverdi, H.
Lawes or Christ Church
88o.
34V-37 Violin and bass followed by the same,
elaborated, annotated 'La medesima
canzone passaggiata.'
36V-37 'Intenerite voi lagrime.' Published, anony-
mously, by Playford,
'Select Ayres and Dia-
logues' (1669). Not in
Christ Church 88o or
Rontani.
37V-38 'Soccorso oime ben mio.'
38v-39 'Sciogli ardito.' ist part.
'Ecco l'onda spumosa.' 2nd part.
39V-40 'O dolce anima mia.'
40V-41 'Fill' il bel volto tuo.'
41V-42 'Bel rusignuol che si soavi fai suonare.'Called 'Sonetto'.
42v-43 '0 del silencio figlio.' ISt part.
'Hor, ch' in grembo.' 2nd part.
'E vien col dolce tuo tranquill'
oblio.' 3rd part.
'Che se'n te la sembianza.' 4th part.
43v-44 'Parlo miser' 6 taccio ?' Also in Brussels Con-
servatoire, MS. 704
(anonymous).

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336 MUSIC AND LETTERS

44v-45 '( che felice giorno.' Not Caccini's setting

44V-47 'Voglio morir.' Also in British Museum
Add. 30,49I attribut
to Monteverdi.
47V Non piui strali pungenti.
48V Index to a I section.

For two voices and bass:

49 Index of a 2 section.
50V-53 'D'Amor altri si lagni.' ISt part.Only one voice part
'Nel bel Regno.' 2nd part. entered.
'I1 dimandar pieta.' 3rd part.
53V-59 'Ecco Silvio.' ISt part. Three-part arrange-
'Ma se con la pieta.' 2nd part. ment of the five-part
'Dorinda ah diro.' 3rd part. madrigal by Monte-
'Ecco piegando.' 4th part. verdi published in 'I1
Quinto Libro' (I605).
'Ferir quel petto Silvio.' 5th part.
59V-60 Instrumental. Two treble instru-
ments and bass.
60o-63 'Ch'io t'ami.' Ist part. Three-part arrange-
'Deh bella.' 2nd part. ment of the five-part
'Ma tu pi6 che mai dura.' madrigal by Monte-
verdi published in 'II
Quinto Libro' (I605).
See also fo. 19Iv-I94.
Dialogue and chorus.
63V-65 'Ferma Caronte. Chi e colui, che
grida ?' Not Henry or William
Lawes.
65v-67 'Che fai alma? Languisco.' Dialogue for 'Core' and
'Alma'. Not the same as
Christ Church 880, fo.
38.
67V-69 'Domine inclina celos tuos.' Also in British Museum,
Add. 3 ,479 (anony-
mous; copied by George
Jeffreys).
69V-70 'A la caccia Pastori.' With tablature accom-
paniment and sinfonia.
70V-72 'Hodie nobis de celo pax vero.' Also in British Museum,
Add. 31,479 (anony-
mous; copied by George
Jeffreys).
7V-73 'Quasi cedrus exaltata sum.' Not Christ Church 880.
Attributed to Tarquinio
73v-75 'Fontes, et omnia, que moventur.'
Merula in British
Museum, Add. 29,382-5
(eighteenth-cent. copy
by John Immyns). Also
in Add. 31,479 (anony-

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A NEGLECTED SOURCE OF MONODY AND MADRIGAL 337

mous; copied by George

Jeffreys).
75V-76 'O stelle omicide.' Not Rontani's setting.
76V-78 'O come sei gentile.' Monteverdi, 'Concerto.
Settimo libro de madri-
gali' (I619).
78V-8o Monteverdi, ibid.
'Io son pur vezzosetta Pastorella.'
8oV-8 I 'Tra doglie e dispetto.'
8IV-83 'b viva fiamma.' Monteverdi, ibid.
83V-85 'Vorrei baciarti.' Monteverdi, ibid. A slip
of paper stuck on to the
manuscript containing
the end of this madrigal
has, on the verso, in the
same hand, a fragment
of another madrigal
beginning, imperfectly,
"so e doloros' oime
sentire".
85v-87 'Dice la mia bellissima Licori.' Monteverdi, ibid.
87V-89 'Non vedro mai le stelle.' Monteverdi, ibid.
89V-9 I 'Soave libertate.' Monteverdi, ibid.
9oV-92 'Ah che non si conviene.' Monteverdi, ibid.
92v-94 'Ecco vicine 6 bella Tigre.' Monteverdi, ibid.
94V-95 'Interrote speranze.' Monteverdi, ibid.
95v-97 'Perche fuggi.' Monteverdi, ibid.
98 Index of a 5, a 4, and a 3 items. An
unidentified eighteenth-cent. hand
has added a reference to the single
Reggio item.
99 Index of a 2 items. See also fo. 49.

For three voices and bass:

Also in Oxford,
oov-I0 3 'Sempre terro memoria Del di sesto
d'Aprile.' Bodleian, MS. Mus.
Sch. c. I (anonymous;
copied by Edward
Lowe).
Io02-I05 'Dulcis Jesu pie Deus.'
Io4V-Io7 'Tollite iugum.'
I o6-Iog 'Surgamus eamus, et descendamus.'
IO9v- I I 'Ave Jesu quem vocavi.'
I II-II3v 'Jesu Rex admirabilis et trium-
phator.'
113'-118 'I crudo amore assale attera.' Called 'Battaglia
amorosa.'
117 I-9 'Canite tuba in Sion.'
I I9-I20 'O DomineJesu Christe.' Not the well-known set-
ting by Monteverdi.

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338 MUSIC AND LETTERS

120V-I22 'Deus canticum novum cantebo tibi.'

I22V-I24 'Sat est Domine.' Also in Add. 31,479
(anonymous; copied by
George Jeffreys).
I24v-I26 '0 quam dulcis es tu.' Also in Add. 31,479
(anonymous; copied by
George Jeffreys).
I26V-I28 'E cosi pur languendo.' A. Grandi, 'Madrigali
Concertati, Libro sec-
ondo' (1623). (Same
bass as the imperfect
set in the British
Museum.)
I28-I 30 '0 panis mellifluus.'
I30O-I4o0 'Splendea qual vivo sole.' Called 'Dialogo a
cinque Voci'. Also in
British Museum, Add.
31,434 (anonymous but
attributed on uncertain
grounds by Hughes-
Hughes to Henry
Lawes; copied by the
same hand as the end of
Christ Church 878-880).
I40o-I42 'Ancor, che col partire.' For bass
voice with obbligato violin part and
ritornellos in alto clef.
I42'-I44 'Io rido amanti.'
I44v-I46 'Taci Armelin.' Monteverdi, 'Madrigali
e Canzonette, Libro
nono' (I65I).
145v-I47 'Da le piume amorosetta.'
I48 Index to a 3 section.

For five voices without bass, unless otherwise indicated:

I49V-I51 'Son si avezzo alle pene Al dolor.'

150VI 52 'Nigra sum sed formosum (a 4 with Not the well-known set-
bass). ting by Monteverdi.
Also in Christ Church
880.
I52V-I54 'Anima mea Angelorum pane' (a 4 Not the well-known set-
with bass). ting by Monteverdi.
I53v-I55 'Cum cumplerentur dies pentecostes' Also in Christ Church
(a 4 with bass). 880.
I55V-I57 'Jesu dulcissime' (a 4 with bass). Also in Christ Church
880.
I56V-I57 'As water fluid is' (a 2 with bass). Attributed to P. Reggio.
In a different hand from
the rest of the volume.

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A NEGLECTED SOURCE OF MONODY AND MADRIGAL 339

157v-159 'O donna un solo amante.'

I59v-I6I 'Io ti disfido ai baci.'
161"-162 'O pretiosum' (a 2 with bass), lead-
ing to 'Surgite esurientes' (a 5).
I62- I65 'Sancta, et venerabilis' (a 4 with
bass).
165V-68 'Venio ad te O bone Jesu' (a 4 with
bass).
168-I172 'Apollinaris incliti' (a 2 with bass
and accompaniment for two treble
instruments).
I72V-I74 'Crudelissima Dori se tal'hor mesta
piangi' (a 4 with bass).
I74V-I76 'O sguardo incauto ladro' (a 4 with
bass).
175V-I77 'Cara, e soave bocca' (a 3 with bass).
I77-179 'Vedo la donna mia' (a 3 with bass).
I79'-I8I 'Hoc tegitur sacro' (a 3 with bass).
I81 'Non nobis Domine' ('Canon a 120 Not the canon often
parti in unisono, et ogni parte resta
attributed to Byrd.
una minima l'una doppo l'altra').
18IV-I82 'Voi pur da me partite.' Monteverdi, 'I1 quarto
libro' (1603).
182v-I83 'Cor mio mentre vi miro.' Monteverdi, ibid.
I82V-I83''Cor mio non mori?' Monteverdi, ibid.
I83V-I84v'Luci seren'e chiare.' Monteverdi, ibid.
I84V-I86 'Oime se tanto amate.' Monteverdi, ibid.
I85v-I87 'Si, ch'io vorrei morire.' Monteverdi, ibid.
I86V-I87 'Era l'anima mia.' Monteverdi, 'I1 quinto
libro' (I605)
187V-I88 'Ahi com' a un vago sol.' Monteverdi, ibid. Three-
part arrangement in
Christ Church 878-880.
I88v-I9o 'Troppo ben puo.' Monteverdi, ibid.
I89V-I9go 'T'amo mia vita.' Monteverdi, ibid. Three-
part arrangement in
Christ Church 878-880.
I90-I192 'Ah dolente partita.' Monteverdi, 'I1 quarto
I93V-I95 libro' (1603). Two
copies in Add. 31,440.
19IV-I94 'Ch'io t'ami.' ist part. Monteverdi, 'I1 quinto
'Dhe [sic] bella e cara.' 2nd part. libro' (I6o5). See also
'Ma tu piui che mai.' 3rd part. fo. 60V-63.
I94v- I95 'Crud'Amarilli.' Monteverdi, ibid. Bass
part of a three-part
arrangement in Christ
Church 880. Incom-
plete in Add. 31,440.
Volume ends here imperfectly.

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