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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly.
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The Manuscripts of Tallis's Forty-Part Motet
Author(s): Bertram SchofieldSource: The Musical Quarterly, Vol. 37, No. 2 (Apr., 1951), pp. 176-183Published by: Oxford University PressStable URL: http://www.jstor.org/stable/739894Accessed: 13-04-2015 10:01 UTC
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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THE MANUSCRIPTS OF TALLIS'S
FORTY-PART MOTET
By
BERTRAM
SCHOFIELD
Q
E
of
the
compensations
or
the
tedium
of administrative
duties that
fall
to the lot
of
the
librarian s
the
occasional
rediscovery
f
long-lost
reasures.
n an earlier issue'
it
was
my
fortune
o describe
recently
ound
valuable
manuscript
f
15th-
centurymusic
acquired
by the BritishMuseum,about whose ex-
istence nd
history
o
mention
n
print
s
known
from he
time t
was writtendown
to the
present
day.
More
recently
n
equally
fortunate
hancehas
brought
o
light
he so-called
original
manu-
script
of
Tallis's famous
forty-part
otet
Spem
in
alium,
which,
although
well
known
o
18th-century
istorians
f
music,
had
disap-
peared
from
ight
for
lmost
two hundred
years.
About it the
most
recent ditors
of
the work
wrote,
It is
now
impossible
o
recover
the originalwhichbelongedto JamesHawkins of Ely ,2but, far
from
hat
being
so,
t has now
found ts
way
to
the
British
Museum,
where
t
will henceforth
ear
the
number
Egerton
MS
3512.
Our earliest
knowledge
f
the
manuscript
omes
from series
of
letters
rom
Dr. Thomas
Tudway,
Professor
f Music
in the Uni-
versity
f
Cambridge,
o
Humfrey
Wanley,
the
indefatigable
nd
industrious
ibrarian
o the
first
nd
second
Earls
of Oxford.
udway
was
an
early
example
of
the
ardentmusical
researcher
ho
sought
out eagerly he relicsoftheEnglishheritagen Cathedral ibraries.
At the desire
of
Edward,
Lord
Harley,
who
succeeded
his father
s
second
Earl of Oxford n
1724,
he
made
copies
of
many
ervices
nd
anthems f Tudor
composers
nd their uccessors
rom
manuscripts
in
those
repositories.
he six thick
uarto
volumes,
now numbered
Harley
MSS
7337-7342
n
the
British
Museum,
remain
permanent
record
of his
labors,
nd are
a further
eminder
hat,
s
Professor
J.
A.
Westrup
has
pointed
out,3
he accusation
f total
neglect
f
the
1 The Musical Quarterly,XXXII (1946),
509.
2
Tudor
Church
Music,
Vol. VI
(Thomas
Tallis),
published
for
the
Carnegie
United
Kingdom
Trust,
Oxford
University
ress,
1928, p.
xxxiii.
3
The Musical
Quarterly,
XXXV
(1949),
490.
176
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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The
Manuscripts
of
Tallis's
Forty-Part
Motet
177
glories
of
Elizabethan music
prior
to the
2oth-century
revival
is
completely
unjustified.
In a lettertoWanley dated 1 May 1718 Tudway
wrote:
4
I'm
very
glad
that
my
friendMr.
James
Hawkins5
has
ye
good
fortune
o
get
into his hands
ye original
coreof Mr.
Tallis's
40
parts
Anthem,
tis a unic made
&
scor'd
in
Queen
Elizabeths
time. I think t
will
incomparably
e
proper
to
go
along
wth
hat
great
body
of
compositions
wch
I
have
prepared
for
my
Lord,
& a
greater arity
here annot be in its
kind,
t
haveing
neverbeen
attempted
y any
one,
8c s indeed fittesto be
laid
up, among
so
many
valuable
manuscripts
eh
ou
have Wth o
much
udgmt,
pains
8c
Industry
rocur'd
for
my
Lord. The
designe
of
composeing
t
was
not,
we
may
be
sure,
to be
perform'd;
ut to
remain
Memo-
riall of
ye
greatskill8c billityofye composer,whowas able to findwayesfor o
manyparts
to move
differently,
n
their wn
spheres.
had
been
often old of
this
Composition,
ut
I
coud never
beleive therwas
any
such
thing.
have
ventur'd o
promise
to
bring
Mr
Hawkins
to
my
Lord,
when we shall
have
ye happines
to
see
again
my
Lord at
Wimple;6
but
you
shall be sure to
see
it,
by
one
means or
other
first,
henever
you
come
again
to
Cambridge.
What
happened
as
a
result
of
this
etter s not
known,
but
the
manuscript
id not
immediately
eave
its
owner's
possession.
n the
19th
May
Tudway again
writes:7
It
is
utterly mpracticable
to
transcribe
his
[Hawkins's]
manuscript
f 40
parts,
nto
my
Lords
volumes,
&
I
Judg
t rather
better o be laid
up
in
my
Lords
Library
n
ye
Original
MSS. because
of
ye
Antiquity
f
it
than
to have it
copied;
my
Ld
shall be sure
to
have whateverMr.
Hawkins
has,
or
can
procure,
wch
may
be
worthy
f
my
Lords
haveing.
More than month ater
Tudway again
returns o the
charge:8
Mr. Hawkins's
peice
of
forty arts
s I beleive
ye
same
weh
you
have
seen,
&
is,
as
he
assures
me,
a
Unic;
I
got
a
sight
of
it,
8c how'd
t
to Dr
Covel,9
who is
charm'dwth t, 8cwoud, to be sure,put a greatervalue upon it, were it his,
than
my
friend
Jamespretends
o
do;
I
very
much
hope
yt my
Lord will
like
to
ad
it to his musick
collection,
that
therby
he
may reap
some
benefit
for
y*
servicehe has done
in
assisting
me so
effectually,
n
makeing
his
ollection.
Finally
on
August
24th:'
I
can't
readily
recollect
ye
severall
particulars
f what I
have
to write
to
you,
4
British
Museum,
Harley
MS
3782,
f.
95-
5
James
Hawkins
d. 1729),organist
f
Ely
Cathedral.
6
Wimpole,
he
Cambridgeshire
ome f Edward
Harley,
ndEarlofOxford.
7
Harley
MS
3782,
.
96.
8
Ibidem,
f.
98.
9
Dr.
John
Covel,
Master
of
Christ's
College,
Cambridge.
o10
bidemn,
.
102.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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178
The Musical
Quarterly
it
s so
long
ince had
ye
favr
f a line from
ou;
that
wCh
irst
ccurrs,
whose
Interest
have
much t
Heart,
s Honest
James
Hawkins's ffair.
hope you
have
appriz'dmy
Lord of his Music
Manuscript
f
forty arts,
wch
e
avers o
be a Unic.,& if tproveye amewch ouhave een shall oncludet to be so;
If
you'lplease
to nfluence
y
ord to
buy
t of
him,
t
willbe
ye
greatest
ind-
nes to
me n
ye
world,
or t
will
n
some
measure reeme
from
e
many
Obli-
gations
have to
him n
ye
whole ourse
f
my
work,
n
my
Lord
Service
..
I
hope
you
will
n
friendship
o
me,
promote
his ffair
th
my
Lord,
& then f
you
don't come down to
Wimple
before
Mickms,
will venture
o
introduce
himto
my
Lordwith
his
MSS.
Tho
it s
not
trictly
hurch
music,
et
methinks
a
Curiosity
f
thatKind shouldbe nowhere ut
n
my
Lords
Library,
ch
oes
and
will
abound
wth
v'rything
hatsvaluable&
curious;
show'd
t
to
Dr.
Covel
who
protests ifyt signifiesnything)
hat t
is
as
great Curiosity
s
everhe saw.
From this
point
there s
no
further eference o this
manuscript
in
the
Tudway-Wanley
orrespondence.
ccording
o
John
Haw-
kins, however,
writing
n
1776,
James
Hawkins
actually
presented
it to the Earl of
Oxford,
ut
it
could
not at that
date
be found
n
the
Harleian
collection,
whichhad
by
thenbeen
acquired
by
the
British
Museum.
Dr.
Charles
Burney,
however,
tatesl2
hat
after
being
in
the
possession
f
the
Earl,
it was attracted nto the vortex
of
Dr.
Pepusch ,
nd
was
later
the
property
f Robert
Bremner,
he Strand
music
publisher.
Some
support
to
Burney's
tatement
s
given
by
anotherand later
copy
of the
work which was afterwards
n
the
possession
f
the
Madrigal
Society.
his
manuscript,
ritten
n
1751
by
John
mmyns,
he founder f
the
Society,
ore
on
the
title-page
the note
This Motett f
forty
arts
was first
omposed
o the Latin
words
ollowing y
Thomas
Tallis,
gentleman
Master
f
the
Chap-
pell
to
K.Henry
ye
8th,
K.Edward
ye
6th,
Q.Mary
&
Q.Elizabeth
sup-
posed to be fitted o the above Englishwords n
ye
Reign ofJames
ye
Ist
by
Orlando
Gibbons,
M.D.,
only
t the
writing
ver
this core
in
ye
year
1751
ye
words
[Prince Charles]
were
altered
to
[King
George]
13-an
inscription
hich,
s
we
shall
see,
s similar
n
some
respects
o
that
on the Hawkins
manuscript.
ow
John
mmyns,
n
addition
to
being
copyist
o the
Academy
f Ancient
Music,
was also
amanuensis o Dr.
John Christopher
epusch,
himself
n
enthusi-
astic
collector
f
early
English
music.
Moreover
t
is
knownthat
n
11 J.
Hawkins,
A
General
History
of
the
Science
and Practice
of
Music,
(ed.
1875),
I,
456.
12
C.
Burney,
A
General
History
of
Music,
III
(1789),
74.
13
Motet
for
40 Voices
by
Thomas
Tallis
edited
by
A.
H.
Mann,
London,
1888.
Preface,
p.
ii.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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The
Manuscripts
f
Tallis's
Forty-Part
Motet
179
1763
Robert
Bremner
purchased
the famous
Fitzwilliam
Virginal
Book
at
the sale of
Pepusch's
ibrary,
nd it is
possible
that
other
manuscriptsrom hesamesourcecame into his possession.On the
other
hand,
a
still ater
manuscript
f the
motet,
now
in
the
Royal
Music
Library,'4
has
on
the
last
page
the words This
belongs
to
Robert
Bremner,
music
publisher,
ondon ,
and at the
top
of
the
first
age
As
in
the
original .
t also
bears
the
note,
Tho8
Tallis,
Gentleman of
King
Henry
the
Eights
Chapel,
King
Edward and
Queen
Mary,
8c
of
her
Majesty
that
now
is
Queen
Elizabeth,
the
Maker
of
this
Song
of
forty
arts .This
inscription
s
word forword
identicalwith
one
at
the
end of
the Hawkins
Manuscript,
nd it will
be seen
that t has
significant
ariations
rom hat of
the
Madrigal
Society
volume,
notably
he inclusion
of
the words
of her
Majesty
that now
is . It differs rom
he
former n
that
the
Latin,
not the
English
words,
are written
under the music.
Since, however,
he
placing
f
the
words,
ccording
o
the
editors
f the
Carnegie
dition,
is
obviously
aulty,'5
t
is
more
than
ikely
that
this
copy
was,
ike
the
Madrigal Society
copy,
made
directly
rom he
manuscript
f
James
Hawkins,
perhaps
when
t
was
in Bremner's
ossession.
Fromthis imenothingmore s known fthe
history
f theHaw-
kins volume until
t
was
submitted o
the
British
Museum,
n
1947,
on
behalf
f
a
lady
resident
n
Kings
Lynn,
Norfolk,
n
whose
family
it had
remained
or
manyyears.
t
consists
f
six
folios,
nd to obtain
a
page
sufficiently
arge
to
take
the
40
parts
n full
score,
ach-folio
has been
made to
consist
of
two
sheets
of
paper
attached
to
one
anotherfoot to
head,
the whole
measuring
o01/2
n.
x 11
in. It
is
bound
in
a
green
embossed
paper
cover,
on the back of which are
thewords Mr. Tho. Tallis's, Songof
40
Parts -thehand is none
other
than
that of
Dr.
Thomas
Tudway
himself,
nd it is
this that
identifies he
manuscript
s the one
previously
elonging
o
James
Hawkins.
Underlying
hemusic re the
English
words,
s
in
Immyns's
copy,
n
honor of
Princes
Henry
nd
Charles:
Sing
and
glorifie
eavens
igh
Maiesty
Author
f this
lessed
armony
Sound
devyne
raises
Withmelodious races
This is the
day,
holy ay,
happy ay
For
ever
give
t
greeting
14
British
Museum,
R.M.
4
g.1.
15
Tudor
Church
Music,
VI,
xxxiii.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
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180 The
Musical
Quarterly
Love and
coy
hart
&c
oice
meeting
Lyve
Chary
les
Princly
nd
mighty
SHarryv
long
in
thy
Creation
happy.
Charles
yv
ong
Y
The
arrangement
of
the voices
is
by
groups
of
eight
equally
pitched
voices,
not in
eight
hoirs
f
five
ifferent
oices,
nd
in the
middle,
fter
he
twentieth
oice,
s
an
accompaniment
f a
thorough
bass.16
Above the
latter,
n
f.I,
is written
he
complete
ext
of
the
original
Latin motet
Spem
in
alium,
and below
it
the
complete
English text. The eight cantus or treble partshave been numbered
in the
original
hand
1,6,11,16,21,26,31,36;
the altos
2,7,12,17,22,
27,32,37,
and
so on for the other
voices. The bars
were numbered
in
quintuple,
viz.
below
each set of
eight
voices,
nd
renumbered
n
groups
of
two,
thus:
1 2 3
4
5
6
7
8
9
.
On the last
page,
at the
top,
2
3
4
5
were
the
words,
now
partly
ost,
This
dytty
f this
ong
of
40
parts
[was
first
made]
in
Lattyn ,
and
lower
down the
sentence
referring
to
Tallis
which has
already
been
quoted
from
the
copy
in
the Brem-
ner
MS. In
spite
of
the
words that
now
is
as
applied
to
Queen
Elizabeth,
the references o the Princesmake it clear that themanu-
script
cannot be
Tallis's
original
manuscript,
nor
can
it have been
written
arlier
than
the
beginning
f
the
reign
of
James
.
On
the
other
hand,
the
inscription
makes
it
probable
that
the
scribe
was
copying
from an
Elizabethan
manuscript,
ossibly
from
Tallis's
original.
A
number
of
errors
n
transcription,
ainly rising
rom
confusion of
the
many
parts,
have been
corrected
by
the
scribe
on
strips
of
paper
glued
to
the
manuscript
over
the
incorrect
passages.
Similarly
from
f.2
onwards
parts
30
and
35
were
wrongly
copied
and
confused,
nd
a
note
at the
foot
f
f.I
b
reads: The
figuring
f
the
35
must
be
for
the
30,
but
its
[sic]
was
mistaking
the
figures.
A
few
words
must
now
be
said about
a
volume
n
the
Library
f
Gresham
College
that
was
used
as
the
best
available
authority
for
the
musical
extfor
he
edition n
the
eries
f
Tudor
Church
Music.
This
volume
was not
mentioned
y
Mann in
his istof
extantmanu-
scripts
of
the work.
By
an
oversight
t
was included in
the sale of
the
property
of
Sir
Frederick
Bridge,17
who
had been
Librarian to
the
16
The
thorough
bass
is in
one
part only
and is
not
figured.
t is
written
n
the
same hand
as the rest
of the
MS
and,
like
it,
must date from
not
later
than
1612.
17
Hodgson's
sale-catalogue,
3
July 1924,
ot
532.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
7/9
The
Manuscripts
f
Tallis's
Forty-Part
Motet
181
College,
and it
was then
boughtby
Alderman
John
Brook
of South-
port.is
When
its
history
became
known,
the latter
n
1933
generously
restored heerring olume to itsoriginal wners.Bythecourtesyf
the Gresham
Committee,
t was
temporarilyeposited
n
theBritish
Museum for
my
use,
and a fuller
escription
hanhas hitherto
een
available
can.now
be
given.
The volume
consists of
twenty-two
eaves,
12
in.
by 7
in.,
in a
19th-century
ardboard
binding.
Each of
the
forty
arts
s written
on a
separatepage
in
the
order
of
first
reble,
hird
reble,
fourth
treble,
econd
treble,
iftho
eighth
rebles;
irst
o
eighth
ltos;
con-
tratenors;enors;bassus,
while
on
the ast
eaf
s
A
thorough
asse
to
ye
song
of
forty
arts
for
yeOrgan .
The
title-page
bears the
words,
in a
contemporary
and,
The
song
of
40
parts
with
Thorow
Base,
made
by
Mr
Tho:
Tallis.
All
the
parts
are here sowen
together,
wch
may
be
often
eene,
but
seldome
ung .
The
same
page
also has the
signature
E. T.
Warren -presumably
dmund Thomas
Warren,
Secretary
f
the
Catch
Club,
who
died
in
1794-and
a
19th-century
note: N.B.
All
the
parts
are
here
stitch'd
ogether.
he under-
lying
ext
onsists
f
the
song
n honorof Princes
Henry
nd
Charles,
as in thenewBritishMuseumManuscript, ut theLatin textSpem
in
alium is
copied
on a number f
pages
throughout
he MS.
A
fur-
ther
resemblance o the
Museum
MS is
the occurrence
n several
places
of
the
words: This
song
of
40
parts
was firstmade
in Latin
by
Mr.
Tho:
Tallis ,
The dittie
of
this
song
of
40
parts
was first
made
in
Latin
with other
variations,
nd also Mr. Tho:
Tallis,
Gentleman f
king Henry
ye
Eights
Chapple,
king
Edward,
Queene
Mary
and
Queen
Elizabeth,
the maker
of this
Song
of
40
parts -
also withvariations. t would thereforeeemprobablethatone of
these
manuscripts
was
copied
from
the other.
Which
then is the
earlier? The
answer
is not
difficult.
n
the Gresham
manuscript
Queen
Elizabeth
s not
referred
o as
the
Queen
that
now
is ,
and
these
words
would not
have
been
added in
the
Egerton
MS
unless
the scribe
had
been
copying
directly
r
at
second hand from
n
archetype
ontaining
hese
wordswritten
n
her
reign.
Even
more
pertinent
s the
fact
haton
the
page
in
the
Gresham
MS
containing
the35thpart, n whichboththe Latin and Englishtexts re given,
a
note
reads
These
be
all
ye
ditties hat
ver
was
made to this
ong
of
40
parts ,
nd
at
the end of
the
33rd
part
This
song
was first
made toa
lattin
ditty
y
Mr.
Tho:
Tallis;
but who
put
in the
English
is
Tudor
Church
Music,
VI,
xxxiii.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
8/9
182
The
Musical
Quarterly
ditty
ame
altogether
ignorant
of .
The
Gresham
MS
is
therefore
not the
original
of
the
English
adaptation,
nd it
does not
neces-
sarilyfollow,as the editors of the Tudor Church Music have
asserted,'9
hat
the
references o
Prince
Henry
postulate
date
of
c.
1610o
or
t.
All
that can
be
deduced is
that t
was
copied
from
another
manuscript
ritten
bout that
ime;
and
from
he
similarity
of
its
annotations
o
those
n
the
recently
ediscovered
manuscript,
there
an
be
little
doubt
that
the
atter
was the
original
from
which
it
was
copied.
From
the
handwriting
t
would
appear
to
date from
about
the
end of
the
first
uarter
f
the
17th
century.
To
sum
up-we
have
thus far
described ourmanuscriptsfthe
17th-century
daptation
of
this
famous
omposition:
(a) Egerton
MS
3512,
probably
he
original
manuscript
f
the
English
version,
which
may
have
been
copied
from
Tallis's
own
Latin
original.
t
formerly
elonged
to
James
Hawkins
of
Ely,
and
is now
in
the British
Museum. t
is
the
ource,
irectly
r
indirectly,
of all
other
known
opies.
(b)
The Gresham
College
Manuscript,
robably
opied
from
the above
in thefirst alfofthe 17th entury,nd usedbytheedi-
torsof
Tudor
Church
Music
as the
basis of
their
musical
ext.
(c)
A
manuscript ormerly
n
the
possession
f
the
Madrigal
Society,
ranscribedn
1751
by
John
mmyns
rom
a).
(d) Royal
Music MS
4
g.I,
a
late
18th-century
opy,
lso
pre-
sumably
made
directly
rom
a).
To
these
can be
added a number
of
late
copies
which
are
de-
scribed
by
A. H.
Mann
in
his edition of
the motet.Some of
these
are now lost,othershave changedhands. Since theyall descend
indirectly
rom
Egerton
3512
and
throwno
light
on
the
history
f
the
Hawkins
manuscript,
here
s no
need to
enumerate
hem
here.
Two
questions,
however,
emain to
which
no
answer can
yet
be
given.
First,
who
is
the
author
of the
original 17th-century
dapta-
tion?
Various
nameshave
been
suggested,lthough
without
ny
evi-
dence
to
substantiate
hem,
ncluding
those of Orlando
Gibbons,
Thomas
Warwick,
rganist
f
Westminster
bbey,
nd
John
Amner,
organist
f
Ely
Cathedral.
Attempts
o
identify
he hand of
Egerton
3512haveso farfailed, nd
perhaps
re bound to fail untilmore s
known
of
the
handwriting
f
English
composers
f
the
16th
and
early
1th
centuries.
Secondly
and
finally,
what has
happened
to the
19
p.
xxxiii.
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7/21/2019 SCHOFIELD, Bertram - The Manuscripts of Tallis's Forty-Part Motet
9/9
The
Manuscripts
f
Tallis's
Forty-Part
Motet
183
original
autograph
manuscript
f
Tallis?
Now that t
is
probable
that Hawkins's
so-called
original
was
the
17th-century
daptation,
no mentionof Tallis's autograph s knownto exist. t can onlybe
hoped
that
n
even
more
fortunate
hance than
that
whichhas
led
to
the
discovery
f Hawkins'sfamous
manuscript
ill
one
day
bring
it
to
light.
This content downloaded from 193.136.113.58 on Mon, 13 Apr 2015 10:01:33 UTC
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