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Manuscripts Part Three - page 3 of 3.
Christ Church, Oxford MS.439, Stuff From Dr. Craig-McFeely's thesis and Sing Joyfully

Return to Manuscripts Part One - Jones In His Own Handwriting Part 1 and Other Manuscripts (page 1 of 3).
Return to Manuscripts Part Two - Jones In His Own Handwriting Part 2 and The Giles Earle's Songbook (page 2 of 3).

Under Construction.
This is an unfinished list that I hope to edit sometime in the future.

The Manuscript in Christ Church, Oxford - MS.439

*************** * Manuscripts * ********************

----------------------------------------------- I have never seen this manuscript or read any critique on it. I imagine that the copyist was copying from published lute books and borrowed manuscripts. Beside Jones's works, I think that the book has airs from many other song bookes. In English Lute Songs Vol. 8 the facsimiles of two anonymous songs from MS.439 are printed and a CD by Evelyn Tubb called The Dark is my Delight printed a facsimile of 'Fie, What A Coil Is Here!' also from this Christ Church, Oxford - MS.439. At the end of the first song there seems to be a signature that looks like R. I. The script which- -- The notation seems to have some points in common with Jones own handwriting from "The love of change hath changed the world throughout" Manuscript from the Folger Shakespeare Library (see above). At the moment I cannot find information on other song from other composer's song books. --. - songs seem to have been copied directly out of ----- which was printed at least -- years before the copyist copied them.

1. Did Robert Jones have anything to do with the writing of this Manuscript? 2. How much did the copyist know of Robert Jones? 3. Can we guess the author of any of the anonymous songs?

1. I would like to have a close look at the handwriting. 2. I would like to examine the song order. 3. ----, and since this is one of the greatest manuscript source, this seems to be an indication that Robert Jones wrote '---'.

P. T. C. --------------------------------------------

Handwriting in MS.439 By PTC January 14, 2002 and August 10 & 12, 2005.

The overall look
The notation resembles Jones handwriting from "The love of change hath changed the world throughout" Manuscript from the Folger Shakespeare Library.
This facsimile, of an initial, is from English Lute Songs Vol. 8 [M 1623.5 E5 No. 31 - 34] where two songs from Christ Church, Oxford, MS.439 are printed.

Dark is My Delight - CD by Evelyn Tubb These songs are also from ? (Christ Church, Oxford)? MS.439 - pre 1620
#2. Fie, What A Coil Is Here! - by Robert Jones
#7. John, You're My Husband

(also in Christ Church, Oxford MS.439 (c. 1620) is;
[Robert Jones, 1601 #4] Dreams and imaginations " ... p. 73 ; there are no verbal variants. ..."
[Robert Jones, 1601 #7] Fie what A coil is here " (c. 1620) pp. 5-6 with the treble and bass of Jones's music .. " on CD by Evelyn Tubb
[Robert Jones, 1601 #9] Now what is love "p. 35 ..."
[Robert Jones, 1601 #18] Arise, My Thoughts p. 100 "with Jones's treble and bass ... The text lacks ..."
[Robert Jones, 1605 V.] What if I sped where I least expected? Christ Church MS 439 +?)
c. 1613 Though your strangeness - T. Campion Second Booke of Ayres (c.1613) [not Jones 1609] p.26
John, You're My Husband - Anon. - that is on the CD by Evelyn Tubb (track #7).
Thomas Morley, - Will ye buy a fine Dogge. 1600 XVij. pp. 80 - 81. "The MS has music for melody and bass (apparently Morley's)"
Thomas Morley, - Sleepe slumbring eyes. 1600 XViij. pp. 1 - 2. - these two songs did not survive in the copy of Morley's printed book and so they are saved in this MS. - P. T. C.
?Well you Gwgle fine Iggo? - from one of two facsimiles in English Lute Songs Vol. 8

From Dr. Craig-McFeely's thesis at;
Swarland GB-London, British Library, Add.15117 DATE: c1615 scribes and date are discussed in Chapter 7. [Robert Jones, 1600 #18] What yf I seeke for loue of thee... 21v/2 [Jones First book of Songs (1600)] - 2nd last song in book

Wemyss GB-Edinburgh, National Library of Scotland, Dep.314, No.23 DATE: 1643-4 ... Although it falls outside the date-limits of this study ... The book is signed by Margaret Wemyss (1630-49), and probably compiled by her and other scribes. ... Very few of the Wemyss pieces are concordant with the major English v.t. sources, and most of the concordances are with contemporary Scottish manuscript ...
20/2-20v/1 though your strangness Though your Strangeness Robert Jones

Two Songs from Christ Church, Oxford MS.439

The one of the Two Songs from Christ Church, Oxford MS.439 does have initials that look like R. I. and resemble the signature that is thought to be Robert Jones¼s on The love of change manuscript.

page 1 (2nd reading with guesses)
will you bwhle fine Iggo poshbe im gie heat my be Jetlo
auth b Jildo Jildo mth b Jildo Jildo Jildo muosi ruffe ro Batoob
and find xi iptlni kywd mffbe JilJo mfe le Jildo Jildo nostb
Dildo dildo & Aand not ome poyny pomub pdeiniggi rombol
yla-bo yloub garhens yirlheb Guffeob, for Sa brilke Casbb
page 2
but & hauo o pox Iamily Iamtio hoirke flooko Nonob aud
posinge Nrikp not be Jildo Iildo Dildo Iildo Iildo Dildo
lund for le mood my probby pretty protty podp bunbox Ditoff
lund muskerodb my le Iildo my b Didlie Iullie Iildo :|
- - - n-y (e Iildo Dildo :||: Iildo m R J.

Sing Joyfully

This anthem is very segnificant because it seems to expand his composing (time) add years to Robert Jones's life beyond 1617. page 46
BM Add. MS 29427 #40 Sing Joyfully [not copied -!]

Christ Church 56-60
How a Robert Jones composition came to be in this manuscript (was perhaps a little lucky given his )?(tenuous) connections to the court ? according to Craig Monson . However Craig Monson also tells us something about the anthem and speculates that it was likely a court event that inspired the piece.

Craig Monson (links - connects) this manuscript with musicians connected with Thomas Ravenscroft and also --- P. T. C.

page 60
"a substantial number of pieces connect these [Christ Church partbooks] manuscripts with the musical circle around the court. ... two more other composers from the Christ Church partbooks reveal other more tenuous, connections with the court. The lutenist songwriter, Robert Jones, whose one manuscript anthem, Sing Joyfully, survives solely in 56-60 and BM Add. MS 29427, [footnote 53] dedicated his Ultimun Vale to Prince Henry in 1605. After 1610 Jones was instructor of the Children of the Queen's Revels. On the other hand, John Ward, [... the most prominent composer in the manuscript, very] likely came into contact with Prince Henry through his very musical employer, Sir Henry Fanshawe, remembrancer of the exchequer to the prince."

John Ward ? was he in ?Leaghton & - X no Oriana??

19 John Ward: First Set of Madrigals (1613) 38 John Ward: Madrigals and Elegies from Manuscript Sources EM38 Ward, particularly in his six-part pieces, is to be heard as an English harmonist almost to rival Monteverdi. - Thurston Dart ---------------------------

page 61
"... A few other "anthems" might in fact have served for courtly festivals:

Sing Joyfully, R. Jones
Lord remember David, M. Jeffreys
Hosanna to the son of David, T. Weelkes

The Jones piece gives special emphasis to its final phrase, "our feast day." accounting for roughly one-third of the anthem. Perhaps it [56-60] was originally inspired by some court occasion. The mention of "the God of Jacob" in the text suggests James I; the last two pieces may also have been directed at the king himself, or at one of his sons, for James apparently did not object to being linked with Old Testament monarchs.54 ..."

This is new material Expanding time of flourishing "Sing Joyfully" may be the newest composition of Robert Jones
We have documented evidence of Jones paying rent in 1617, but we from the following exerpt from --- we probably can get some idea of what he was doing artisticly "what was up-to-date in some London circles around 1620" but I did not take notes on BM Add. MS 29427 so I can't say too much.

--- P. T. C.

page 66
... 56-60 must have been completed before 1625.

... The full anthems are notably up to date, with greatest prominence going to Jacobeans such as Weelkes, Lupo, and Thomas ford, and with isolated examples by [Thomas] Warwick, R. Jones, John Mundy, [William] Corkine, Ravenscroft, and [Simon] Stubbs. Some of these manuscripts were hardly renowned as sacred composers(e.g., Jones and Corkine), ...

Aside from these up-to-date full anthems, a number of others represent the Elizabethan age. Some ...were among the most popular anthems of the age, and found their way into many pre-Restoration sources,

page 67

... but the majority, as in Myrill's sources, are by Jacobean composers. But although Myrill might still find a place for Byrd's ever-popular Christ rising Christ is risen in Trisitiae Remedium, the same was not true of the scribes of 56-60. Indeed their almost total neglect of Willian Byrd carries on the trend, aready evident in Myrill's sources away from the older composers, whose music apparently sounded increasingly archaic in secular musical circles toward the end of James's reign.
Rather, it is the more fashionable, younger generation of verse anthem composers which predominates in 56-60. The most prominent composers may vary slightly from those in [Thomas Myrill ? Trisitiae Remedium??] Myrill's sources, but their styles are essentially similar. Thus, the Christ Church source serves as an additional witness to what was up-to-date in some London circles around 1620, and it confirms the essential patterns apparent in the collection of the London clergyman.

page 10 Save me O God - [W. Bird]
page 12 Sing Joyfully - R. Jones
page 14 Alleluia, I heard a voice - T. Weelkes

page 51 W. Daman ---- prints - ? 1591- ?16?46

(six-part pieces)
page 20 Lord remember David, M. Jeffreys
(six-part pieces for two basses)
page 214 Hosanna to the son of David, T. Weelkes

This page was written & compiled by Patrick Connolly.
All materials are copyright © Patrick Thomas Connolly 2001, 2002, 2003 & 2004. April 11, 2004
August 10 & 12, 2005.
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