The Lyrics of Henry VIII/Appendix 2

Textual Witnesses

CFitz Cambridge, Fitzwilliam Museum MS 1,005

• A single sheet with two fragments of lyrics and music, from the early sixteenth century. The fragments of Wells, CFitz, and NYDrex are interrelated; see Fallows (“Drexel Fragments” 5-6, 15-16). Formerly known as Fitzwilliam Museum 784. Witness: “Svmwhat musyng” (149): H1,2,3 (120v-122r), LFay1,2,3 (33v-35r), Wells1,2,3 (1r-2r; ll. 28-40 Wells1, ll. 9-40 Wells2), CFitz (1r; ll. 1-9 and 22-3), NYDrex (1r; ll. 1-19).
  

CGon Cambridge, Gonville & Caius College MS 383/603

• A fifteenth century student’s commonplace book, with notes in Latin, French, and English. Witness: None; Cooper’s “Alone I leffe alone” (H 22r) listed as as the name of the air for “Wan ic wente byyonde the see” CGon (41).
  

CPet Cambridge, Peterhouse MS 195

• A collection, chiefly in Latin, of matter by Roger Bacon, Aristotle, Richard of Killington, written fourteenth and fifteenth century hands. Verse, on occasion. Witness: “QUid petis o fily” (147): H1,2,3,4 (112v-116r; ll. 1-9 and 14-19 H3; ll. 1-9 H4), CPet (inside front cover; ll. 1-3).
  

CTri Cambridge, Trinity College MS O.2.53

• A miscellany of verse and prose in Latin and English, fifteenth and sixteenth centuries. All English verse dates from the early sixteenth century. Formerly known as Trinity College MS #1157. Witness: “My loue sche morneth for me” (120): H1 (30v-31r; ll. 1-6 H2,3), CTri (45v; ll. 1-3).
  

DBla Dublin, Trinity College MS 160

• A composite volume, the first two parts of which contain a lament of the virgin and Peter Idley’s Instructions, both from the fifteenth century. Fols. 57-186 contain the Blage MS, a verse miscellany with poetry chiefly by or associated with Wyatt, compiled by John Mantell from ca. 1534-41 and George Blage ca. 1545-48. Witness: None; with relation to Henry’s “Alac alac what shall I do” (H 35v), the incipit “Alasse a lasse what shall I doo” is listed as part of the contents of DBla (59r).
  

EPan Edinburgh, National Library of Scotland, Panmure MS 9,450

• Commonplace book of Robert Edward (1616-96) and, prior to that, his father, Alexander of Dundee. The volume consists mainly of songs, psalms, notes, and separate instrumental and poetic items. Formerly known as Panmure MS 11. Witness: None; the music of Henry’s “Pastyme with good companye” (H 14v-15r), without lyrics, appears in EPan (late sixteenth century) under the heading “Passe tyme withe good companie” (10r).
  

L1587 London, BL Harleian MS 1587

• A grammar book with exercises in penmanship, dating from the fifteenth century to ca. 1550. Witness: “Deme the best of euery dowt” (140): H1,2,3 (79v), L15871,2 (2/4 16, 212r), OxRawl86 (31), OxHill (200v).
  

L18752 London, BL Additional MS 18,752

• Latin and English prose and verse from the fourteenth through sixteenth centuries; English verse transcribed from several sources in the 1530s by several hands; many later additions. Witness: None; related handling of “Iff I had wytt for to endyght” ('H' 34v-35r; L18752 58v).
  

LDev London, BL Additional MS 17,492

• The Devonshire MS, a verse miscellany containing works by Wyatt and his circle, members of Henry VIII’s court, and associated with Henry Fitzroy (Henry VIII’s illegitimate son), Mary Shelton, Thomas Howard, Anne Boleyn, and others; it was transcribed in several hands between 1532 and ca. 1539 (with one addition ca. 1562) and includes extracts of Middle English verse, Chaucer among them. Witness: “A robyn gentyl robyn” (132): H1,2,3 (53v-54r; ll. 1-3 H2,3), LDev(1) (22v; ll. 1-7), LDev(2) (24r), LEge (37v). “Iff I had wytt for to endyght” (123): H1,2,3 (34v-35r; ll. 1-5 H2,3), LR58 (5v), LDev (58v).
  

LEge London, BL Egerton MS 2,711

• The Egerton MS, a collection of English poetry by Wyatt (some in his hand, before his death in 1542) and contemporaries, pre-1588, with ascriptions by Nicholas Grimald ca. 1549, and later Elizabethan additions. Witness: “A robyn gentyl robyn” (132): H1,2,3 (53v-54r; ll. 1-3 H2,3), LDev(1) (22v; ll. 1-7), LDev(2) (24r), LEge (37v).
  

LFay London, BL Additional MS 5,465

• The Fayrfax MS, compiled 1501-4 by Robert Fayrfax in one hand, possibly that of Fayrfax, likely in London or Windsor. As noted by Bowers, “the book was compiled for use if not within Henry VII’s own court itself, then within a closely kindred establishment for which the court of Prince Arthur at Ludlow seems a very likely candidate (“Early Tudor Courtly Song” 195). English lyrics—carols and songs, religious and secular—and musical settings by members of Henry VII’s court, and seemingly intended for use therein. In the possession of Charles Fairfax (exact relation to R. Fayrfax unknown) until after 1618. Witness: “Svmwhat musyng” (149): H1,2,3 (120v-122r), LFay1,2,3 (33v-35r), Wells1,2,3 (1r-2r; ll. 28-40 Wells1, ll. 9-40 Wells2), CFitz (1r; ll. 1-9 and 22-3), NYDrex (1r; ll. 1-19).
  

LR58 London, BL Royal Appendix 58

• Collection of liturgical, religious, and secular pieces with musical settings by composers of Henry VIII’s court; transcription begun after 1507, continued ca. 1520, completed after 1547, with most ca. 1515-40. Apparently a commonplace book in which several professional musicians associated with the court entered popular or useful pieces. Possibly owned later by Henry Fitzalan, 12th Earl of Arundel (as with H). Witness: “A the syghes that cum fro my hart” (122): H1 (32v-33r; ll. 1-4 H2,3), LR58 (3r). “ Blow thi hornne hunter” (127): H1,2,3 (39v-40r; ll.1-6 H2,3), LR58 (7v; ll.1-6). “Downbery down” (119): H1 (25r), LR58 (4v). “Iff I had wytt for to endyght” (123): H1,2,3 (34v-35r; ll. 1-5 H2,3), LR58 (5v), LDev (58v).
  

LRit London, BL Additional MS 5,665

• The Ritson MS, transcribed with (possibly) the involvement of Thomas Packe shortly before 1511 in one main hand and several others, likely at a Franciscan monastery in Devonshire but designed for lay services, possibly at Exeter Cathedral. Pieces ranging 1470-1510. Latin and English sacred music, French and English secular lyrics with settings, chiefly by members of Henry VII and Henry VIII’s court. Witness: “Pastyme with good companye” (116): H1,2,3 (14v-15r; ll. 1-10 H2,3 ), LRit(1)1,2,3 (136v-137r; ll. 1-10), LRit(2)1,2,3 (141v-142r).
  

LTho London, BL Egerton MS 3,537

• The Thoresby Park Papers, volume 21, a memorandum book of William Rayne compiled 1522-1578. The poems, copied among memoranda and exercises, are ca. 1553-4. Witness: “And I war a maydyn” (145): H1,2,3,4,5 (106v-107r; ll. 1-4 H2,3,4,5), LTho (59r; ll. 1-4).
  

LVes London, BL Cotton MS Vespasian A.xii

• Joannis Rossi Warwicensis historia, a Bruto ad tempora Henrici VII; viz. ad nativitatem Principis Arthuri, filii primogeniti Regis illius, anno 1486.” Witness: Robbins (Index & Suppl. 3193.5) notes that a witness to “Svmwhat musyng” (H 120v-122r) appears in LVes (170v), but this editor has been unable to locate that witness as per Robbins’ directions.
  

NYDrex New York Public Library, Drexel MS 4,185

• Part-books of seventeenth century songs, the bindings of which contain fragments of texts and settings copied ca. 1525 - 1550. The fragments of Wells, CFitz, and NYDrex are interrelated; see Fallows (“Drexel Fragments” 5-6, 15-16). Witness: “Svmwhat musyng” (149): H1,2,3 (120v-122r), LFay1,2,3 (33v-35r), Wells1,2,3 (1r-2r; ll. 28-40 Wells1, ll. 9-40 Wells2), CFitz (1r; ll. 1-9 and 22-3), NYDrex (1r; ll. 1-19).
  

OxAsh Oxford, Bodleian MS Ashmole 176

• The third part of a composite volume from the papers of Elias Ashmole and William Lily. A collection of poems, most composed in the 1520s, were copied ca. 1525-50. Witness: “Adew adew my hartis lust” (118): H1,2,3 (23v-24r), OxAsh (100r).
  

OxEP Oxford, Bodleian MS English Poetry E.1

• Carols and songs, religious and other, in English, macaronic English and Latin, and Latin alone, copied ca. 1525-50 (Boffey) or 1460-80 (Madan 29734). Possibly collected for use by a professional minstrel. Witness: None; “And I war a maydyn” (H 106v-107r): “Swet Iesu is cum to vs / this good tym of crystmas” (OxEP 45v-47v; Greene #93) is stated to be “A song in the tune of / And y were a mayden.”
  

OxHill Oxford, Balliol College MS 354

• Commonplace book of Richard Hill, a grocer in London, containing English and Latin prose, verse, historical and familial materials. Fols. 7-178v were copied between 1503-4, the remainder between then and 1536. Authors copied include Lydgate, Chaucer, Gower, and Dunbar; many traditional and anonymous lyrical works, such as “The Nutbrown Maid.” Witness: “Deme the best of euery dowt” (140): H1,2,3 (79v), L15871,2 (2/4 16, 212r), OxRawl86 (31), OxHill (200v).
  

OxRawl86 Oxford, Bodleian Rawlinson C.86

• A collection of English and Latin prose and verse, including The Northern Passion (a translation of the introduction to Higden’s Polychronicon) and Middle English verse (Lydgate, Chaucer, and others) on morals subjects and others transcribed in the late fifteenth century. Verse, unconnected with that of the rest of the manuscript, is entered on fol. 31 in an early sixteenth century hand. Item 30 (fol. 155v-156r), is a poem with incipit “Myne hert is set uppon a lusty pynne,” attributable to Henry VII’s wife, Elizabeth of York. Witness: “Deme the best of euery dowt” (140): H1,2,3 (79v), L15871,2 (2/4 16, 212r), OxRawl86 (31), OxHill (200v).
  

PBLe Legenda aurea.

• Jacobus de Voragine, translated and printed in 1493, likely by Caxton. [Huntington Printed Book 69798; Pollard/STC 24875]. On fol. gg4v, there are extracts of poems copied ca. 1500-1525. Witness: “O my hart and o my hart” (118): H1,2,3 (22v-23r), PBLe (gg4v).
  

Wells Wells Cathedral Library, Music MSS: Fayrfax Fragment

• An end paper in a law book, discovered ca. 1880. The fragments of Wells, CFitz, and NYDrex are interrelated; see Fallows (“Drexel Fragments” 5-6, 15-16). Witness: “Svmwhat musyng” (149): H1,2,3 (120v-122r), LFay1,2,3 (33v-35r), Wells1,2,3 (1r-2r; ll. 28-40 Wells1, ll. 9-40 Wells2), CFitz (1r; ll. 1-9 and 22-3), NYDrex (1r; ll. 1-19).

Musical Witnesses

• Am162 Amiens, Bibliothèque Municipale, MS 162: Collection of sacred music (with one secular Italian piece), copied ca. 1500, presumably French in origin. Witness: “Dulcis amica” (117v).
• B22 Basel, Universitätsbibliothek MS F.IX.22: The Kotter lute tablature copied by Hans Kotter and others, ca. 1513-32. Witness: “Benedictus” (#17).
• B32 Basel, Universitätsbibliothek MS k.k II.32: A 1510 imprint, Vanzoni nove con alcune scelte . . . (Andrea Antico), which contains a manuscript fragment. Witness: “Benedictus” (43v; in 4 voices).
• Br228 Brussels, Bibliotheque Royale de Belgique, MS 228: Large quarto songbook, originating in the Franco-Flemish court area ca. 1516-23 and with connections to Margaret of Austria. Witness: “Ffors solemant” (17v-18r).
• Br11239 Brussels, Bibliotheque Royale de Belgique, MS 11,239: Songbook with contents in the Franco-Netherlandic tradition, likely compiled in the court of Philibert II le Beau, in Savoy, ca. 1500. Witness: “Alles regretz” (2v-4r).
• B78.B.17 Berlin, Staatsbibliothek, Preussischer Kulturbesitz Kupferstichksabinett MS 78.B.17: The chansonnier of Cardinal de Rohan, a small poetry manuscript, copied ca. 1470, likely in Paris. Witnesses: “De tous bien plane” (184r-v; text only); “Iay pryse amours” (160r; text only).
• B40021 Berlin, Staatsbibliothek, Preussischer Kulturbesitz Musikabteilung MS 40,021: Songbook with chiefly Germanic sacred music, compiled ca. 1485-1500. Witness: “Benedictus” (110v-111r [full Missa Quant J’ai au Cueur 103r-112r]).
• BQ16 Bologna, Civico Museo Bibliografico Musicale, MS Q16: Songbook, with contents in the Franco-Netherlandic tradition, compiled in Florence or Naples ca. 1487-90. Witness: “Fortune esperee” (117v-118r); “De tous bien plane” (133v-134r); “Iay pryse amours” (138v-139r).
• BQ17 Bologna, Civico Museo Bibliografico Musicale, MS Q17: A songbook with contents in the Franco-Netherlandic tradition, compiled in or around Florence in ca. mid-1490s. Witness: “Alles regretz” (30v-31r).
• BQ18 Bologna, Civico Museo Bibliografico Musicale, MS Q18: Songbook, copied in Northern Italy (Bologna or Mantua) ca.1502-6. Witness: “Benedictus” (63v-64r; in 4 voices); “De tous bien plane” (48r).
• C291 Copenhagen, Kongelige Bibliotek, MS Thott 291: The Copenhagen Chansonnier, copied ca. 1470 in the Loire Valley. Witnesses: “De tous bien plane” (4v-5r).
• C1848 Copenhagen, Kongelige Bibliotek, Ny. Kgl. Samlung, MS 1,848bis: Songbook, copied ca. 1520-5, likely in Lyons. Witnesses: “Alles regretz” (414); “Dulcis amica” (413); “Ffors solemant” (102-3); “En frolyk weson” [“Qu’en dictes vous”] (373, 418); “La season” (396).
• CaP1760 Cambridge, Magdalene College, MS Pepys 1,760: A chansonnier likely belonging at one time to Prince Arthur, Henry VIII’s elder brother; copied ca. 1503-, in France. Witnesses: “Dulcis amica” (2r); “Ffors solemant” (58v-60r).
• Cb124-8 Cambrai, Bibliothèque Municipale, MS 124-8: Songbook, likely copied in Bruges, 1542. Witness: “Dulcis amica” (133v).
• CCap Chicago, Newberry Library, Capirola Lute MS: A lute book containing the compositions of Vincenzo Capirola, copied likely in Venice ca. 1517. Capirola may have visited the English court ca. 1515 (Grove 5.91), and it is possible that one or more parts of this book were presented to Henry VIII ca. 1527-9 (see Slim). Witnesses: “Alles regretz” (#21); “Dulcis amica” (16-17); “De tous bien plane” (20v-22r).
• CT3.b.12 Cape Town, South African Library, MS Grey 3.b.12: A mixed secular and religious songbook, ca. 1500 from northern Italy. Witnesses: “Fortune esperee” (79v-80r); “De tous bien plane” (84v-85r).
• Di517 Dijon, Bibliothèque Municipale MS 517: Songbook, likely originating in the Loire Valley ca. 1470. Witnesses: “De tous bien plane” (11v-12r); “Iay pryse amours” (2r).
• Fl107 Florence, Biblioteca Nazionale Centrale, MS Magliabecchiana XIX.107bis: Songbook, compiled in Florence post-1503, likely ca. 1510-13. Witnesses: “Benedictus” (20v); “Alles regretz” (43v-44r).
• Fl117 Florence, Biblioteca Nazionale Centrale, MS Magliabecchiana XIX.117: Songbook, of composite construction, chiefly in Florence ca. 1515 (perhaps also in Rome and Paris). Witness: “Alles regretz” (38v-39r).
• Fl121 Florence, Biblioteca Nazionale Centrale, MS Magliabecchiana XIX.121: The chansonnier of Marietta Pugi, compiled in Florence ca. 1510. Witness: “Fortune esperee” (25v-26r); “De tous bien plane” (24v-25r).
• Fl178 Florence, Biblioteca Nazionale Centrale, MS Magliabecchiana XIX.178: Songbook compiled in Florence, ca. 1490s. Witnesses: “Alles regretz” (42v-43r); “La season” (26v-27r); “De tous bien plane” (34v-35r).
• Fl229 Florence, Biblioteca Nazionale Centrale, MS Banco Raro 229: Songbook, compiled in Florence ca. 1492. Witnesses: “Benedictus” (9v-10r); “Alles regretz” (242v-243r).
• FlC2439 Florence, Biblioteca del Conservatorio Luigi Cherubini, MS 2,439: Songbook, copied ca. 1508 in Brussells. Witness: “Adew mes amours et mon desyre” (LXIIIIv-LXVr; LXVv-LXVIr); “Belle sur tautes” (63v-64r).
• FlP27 Florence, Biblioteca Nazionale Centrale, Panciatichi MS 27: Songbook, compiled in northern Italy (likely Mantua) in the late fiteenth - early sixteenth century, and later circulated in Florence. Witnesses: “Benedictus” (17v-18r; in 4 voices); “Fortune esperee” (22v-23r); “Alles regretz” (97v-98r); “Iay pryse amours” (41v).
• FlR2356 Florence, Biblioteca Riccardiana, MS 2,356: Songbook copied in Florence ca. 1480-5. Witness: “Alles regretz” (91v-92r); “De tous bien plane” (26v-27r).
• FlR2794 Florence, Biblioteca Riccardiana, MS 2,794: Songbook, copied, in stages, during the 1480s. Witness: “Alles regretz” (58v-59r); “De tous bien plane” (18v-19r); “La season” (66v-67r).
• Fr20 Frankfurt am Main, Stadt- und Universitätsbibliothek, Fragm. Lat. VII 20: Three parchment quarto binding-leaves, ca. 1500, at the back and front of Thomas Aquinas’ Summa Theologia 2.1 (Venice: de Ragazonibus, 1490). Witnesses: “Fortune esperee” (1r).
• Heil Heilbronn, Stadtarchiv, Musiksammlung MS X.2: Partbook copied ca. 1550, likely in Frankfurt. Witnesses: “Benedictus” (#9; bass only); “Adew mes amours et mon desyre” (10r; bass only).
• J31 Jena, Universitätsbibliothek, MS 31: Massbook, copied ca. 1500-20 in Wittenburg. Witness: “Benedictus” (full Missa Quant J’ai au Cueur 36v-50r).
• L35087 London, British Library Additional MS 35,087: A collection of motets and chansons from composers associated with the Netherlands school, copied perhaps at Bruges ca. 1505-6. Witnesses: “Fortune esperee” (11v-12r); “Dulcis amica” (61v-62r); “Ffors solemant” (80v-81r).
• LCA.xxvi London, BL Cotton MS Titus A.xxvi: Collection, compiled in stages in northern Italy, the first (ff. 20-60) ca. 1420, with additions 1444-9. Witness: “En frolyk weson” [“Se une fois avant que mourir”] (4v-5r).
• Le1494 Leipzig, Universitätsbibliothek, MS 1,494: Mixed songbook from the collection of Magister Nikolaus Apel von Könighofen and possibly compiled at U Leipzig, ca. 1490-1504. Witnesses: “Fortune esperee” (62r, 162v).
• LH5242 London, British Library Harley MS 5,242: Songbook of chiefly secular pieces, copied in France ca. 1509-14. Witness: “Adew mes amours et mon desyre” (30v-32r).
• Li529 Linz, Bundesstaatliche Studienbibliothek, MS 529: A collection of formerly-bound fragments, copied ca. 1490, likely in Innsbruck. Witnesses: “Iay pryse amours” (1r, 5r).
• LLa380 London, British Library Lansdowne MS 380: Miscellany, chiefly in French, copied early sixteenth century. Witness: “Ffors solemant” (251r); “Iay pryse amours” (242v).
• LR20 London, British Library Royal 20 A.XVI: Songbook originating in French royal circles ca. 1483-1500. Witness: “Alles regretz” (20v-21).
• M2268 Milan, Archivio della Fabbrica del Duomo Mus 2,268: Choirbook copied in Milan ca. 1490-1500 for use in the catherdral. Witness: “Benedictus” (150v-151r [full Missa Quant J’ai au Cueur 144v-151r]).
• Mo871 Montecassino, Biblioteca dell’Abbazia MS 871: A mixed choirbook, likely originating in Naples ca. 1478-80. Witnesses: “De tous bien plane” (#85).
• Mu326 Munich, Universitätsbibliothek 8 Cod. MS 326: A collection of mixed sacred and secular pieces, likely copied in Augsburg ca. 1543. Witness: “Dulcis amica” (13v).
• Mu1516 Munich, Bayerische Staatsbibliothek, Mus. MS 1,516: A collection of mixed sacred and secular pieces, likely copied in Augsburg ca. 1540. Witness: “Ffors solemant” (#29).
• NH91 New Haven, Yale U, Bieneke Library for Rare Books and Manuscripts, MS 91: The Mellon Chansonnier, copied ca. 1475 in Naples in the Burgundian tradition. Witnesses: “De tous bien plane” (42v-43r).
• P676 Paris, Bibliothèque Nationale, MS 676: Songbook compiled October 1502, at Mantua or Ferrara. Witnesses: “Benedictus” (77v-78r); “Fortune esperee” (24v-25r); “De tous bien plane” (42v-43r).
• P1597 Paris, Bibliothèque Nationale, f. fr. MS 1,597: The Lorraine Chansonnier, copied ca. 1500-, perhaps for a duke of Lorraine. Witnesses: “Alles regretz” (11v-12r); “Dulcis amica” (4v-5r); “Ffors solemant” (36v-37r; 60v-61r); “La season” (21v-22r).
• P1719 Paris, Bibliothèque Nationale, f. fr. MS 1,719: Collection of French poetry, likely ca. mid-1480s, bound ca. 1495-1501. Witnesses: “Alles regretz” (30v, 144v); “Ffors solemant” (34r).
• P1722 Paris, Bibliothèque Nationale, f. fr. MS 1,722: A collection connected to Margaret d’Orléans (sister of Francis I), perhaps originating in Cognac, post-1500. Witnesses: “Belle sur tautes”; “La season” (73r).
• P2245 Paris, Bibliothèque Nationale, f. fr. MS 2,245: Songbook, likely prepared for Louis D’Orléans, copied ca. 1490s. Witnesses: “Alles regretz” (17v-18r); “Dulcis amica” (31v-32r); “La season” (12v-13r).
• P2973 Paris, Bibliothèque Nationale, Rothschild 2,973: Chansonnier of Jean de Montchenu, an elegant, heart-shaped songbook, copied ca. mid-1470s, perhaps in Geneva. Witnesses: “De tous bien plane” (25v-26r); “Iay pryse amours” (23v-24r).
• P9346 Paris, Bibliothèque Nationale, f. fr. MS 9,346: The Chansonnier de Bayeux, with contents ca. 1450-95 and dedication to Charles de Bourbon, who assumed control of his household at 13 in 1503. Witnesses: “H Elas madam cel que ie metant” (44v-45r).
• P10660 Paris, Bibliothèque Nationale, nouv. acq. fr. MS 10,660: A single-leaf fragment, ca. 1420-30. Witnesses: “En frolyk weson” [“Se une fois avant que mourir”] (47r).
• P12744 Paris, Bibliothèque Nationale, f. fr. MS 12,744: Songbook, likely post-1500; strong content overlap with P9346. Witnesses: “Gentyl prince de renom” [“Gentil duc de Lorainne, prince de grant renom”] (97r).
• P15123 Paris, Bibliothèque Nationale, f. fr. MS 15,123: The Chansonnier Pixérécourt, copied perhaps ca. mid-1480s in Florence. Witnesses: “De tous bien plane” (105v-106r); “Iay pryse amours” (21v-22r).
• Pa9822/3 Paderborn, Erzbischöflische Akademische Bibliothek, Fürstenbergiana, MS 9,822/23: A two-part collection vocal pieces, ca. 1550. Witness: “Ffors solemant” (23r-24r).
• Pav362 Pavia, Biblioteca Universitaria MS Aldini 362: Songbook, copied ca. 1460s? in Piedmont or Savoy. Witnesses: “De tous bien plane” (34v-35r).
• PBA31 Pierre Attaingnant, Treze Motetz Musicaulx avec ung Prelude: A lute tablature, printed 1531. Witness: “Dulcis amica” (106v-107v).
• PBCan Ottaviano Petrucci, Canti C Numero Cento Ciquanta: Printed collection of 1504 (Venice). Witnesses: “Fortune esperee” (126v-127r); “Belle sur tautes” (161v-162r); “Iay pryse amours” (89v-90r).
• PBCha A. Antico and L.A. Giunta, Chansons a troys: Printed collection of 1520 (Venice). Witness: “Ffors solemant” (4r-v, 52v-53r; 10v-11r, 60r-v). References: 229.
• PBFm Hieronymus Formschneider, Trium Vocum Carmina: Printed collection of three part books containing 100 textless pieces, of 1538 (Nuremberg). Witnesses: “Benedictus” (#30); “Alles regretz” (#7); “Belle sur tautes” (#84); “Ffors solemant” (#31; #46).
• PBG33 Hans Gerle, Tabulatur auff die Laudten: Printed collection of intabulations, 1533 (Nurenberg). Witness: “Alles regretz” (#34).
• PBIsa Ottaviano Petrucci, Misse Henrici Izac: Printed collection of 1506 (Venice). Witness: “Benedictus” (B1v, F1v , G4v [full Missa Quant J’ai au Cueur, in the three voices, Aa7r-BbB2v, EeE7v-FfF2r, GgG6v-HhHr]).
• PBJard Le Jardin de plaisance et fleur rethoricque: Print collection of poetry, mostly lyrics, of 1501 (Paris [Antoine Verard]). Witnesses: “Iay pryse amours” (71v).
• PBLau Ottaviano Petrucci, Laude Libro Secondo: Printed collection of 1507 (Venice). Witness: “Dulcis amica” (20r).
• PBLiv Guillame Vorsterman, Livre Plaisant et Tres Utile: Printed collection of 1529 (Antwerp). Witness: “En frolyk weson” [“Mes ieuix ont veu une plaisant figure”] (D1r-D2v).
• PBMiss Pierre Attaingnant and H. Jullet, Missarum Musicalium Quatuor Vocum cum Suis Motetis. Liber Tertius: Printed collection of 1540 (Paris). Witness: “Dulcis amica” (4v).
• PBMot Andrea Antico, Motetti et Carmina Gallica: Printed collection of 1521 (Rome). Witness: “Dulcis amica” (16v).
• PBN36 Hans Newsidler, Ein Newgeordnet Künstlich Lautenbuch: A lute tablature, printed 1536 (Nurenberg). Witness: “Benedictus” (#49).
• PBOdh Ottaviano Petrucci, Harmonice Musices Odhecaton A: Printed chansonnier of 1501 (Venice). Witnesses: “Benedictus” (82v-83r); “Alles regretz” (62v-63r; 53v-54r [Agricola]); “Gentyl prince de renom” (95r); “De tous bien plane” (22v-23r).
• PBP504 Paris, Bibliothèque Nationale, Rés. 504: Compiled by Christian Egenolff, a collection printed ca. 1535 (Frankfurt); three part books without title page. Witnesses: “Benedictus” (3, #46); “Alles regretz” (3, #26); “Adew mes amours et mon desyre” (3, #LXVII; bass only); “Ffors solemant” (1, #31; 3, #51).
• PBPre A. Le Roy and R. Ballard, Premier Livre de Chansons: Printed collection of 1578 (Paris). Witness: “Ffors solemant” (12v-13r).
• PBRha Georg Rhaw, Symphoniae Iucundae atque adeo breves quatuor vocum: Printed collection of 1538 (Wittenberg). Witness: “Dulcis amica” (#3).
• PBS07 Francesco Spinacino, Intabulatura de Lauto: Two book (Libro Primo, Libro Secondo) of a lute tablature, printed by Ottavio Petrucci (Venice, 1507). Witnesses: “Benedictus” (I #2); “Fortune esperee” (I #29); “De tous bien plane” (I #19); “Iay pryse amours” (I #12, II #8).
• PBTie A. Le Roy and R. Ballard, Tiers Livre de Chansons: Printed collection of 1553 (Paris). Witness: “Ffors solemant” (#11).
• PBTre Pierre Attaingnant, Trez Breve et Familiere Introduction pour Entendre & Apprendre . . . du Lutz: A lute book of 1529-30 (Paris). Witness: “Dulcis amica” (7v-8r).
• PBTri J. Petreius Trium Vocum cantiones: Printed collection of 1541 (Nuremberg). Witness: “Ffors solemant” (#73).
• Pe431 Perugia, Biblioteca Comunale, MS 431: Songbook, copied in Naples ca. 1490. Witness: “Fortune esperee” (93v-94r [entered and then deleted], 94v-95r); “De tous bien plane” (70v-71r); “Iay pryse amours” (75v-76r).
• Ps1144 Pesaro, Biblioteca Comunale Oliveriana, MS 1,144 (Formerly 1,193): Heart-shaped lute tablature, copied in Italy ca. 1500, in the French tradition. Witnesses: “Fortune esperee” (25-7, 31-5); “De tous bien plane” (65-8); “Iay pryse amours” (61-5).
• PT1 Paris, Bibliothèque Nationale, Music, Rés. Vmd MS 27: Lute tablature collection, probably Venetian ca. 1505-10. Witness: “Benedictus” (#14, #109); “Fortune esperee” (#103).
• R940/41 Regensburg, Bischoeflich Proske’sche Musikbibliothek MS A.R.940-941: Partbooks of sacred and secular music, copied in Wittenberg and Regensberg, mid-sixteenth century. Witness: “Benedictus” (#190).
• RC2856 Rome, Biblioteca Casanatense, MS 2,856: Songbook compiled in Ferrara ca. 1480-90. Witnesses: “Fortune esperee” (147v-149r); “Alles regretz” (96v-98r); “La season” (73v-74r); “De tous bien plane” (66v-67r).
• RG27 Rome, Biblioteca Apostolica Vaticana, Cappella Giulia MS XIII.27: The Capella Giulia Chansonnier, compiled for Giuliano de’ Medici in Florence ca. 1492-4. Witnesses: “Benedictus” (50v-51r / 57v-58r); “Fortune esperee” (56v-57r / 63v-64r); “Alles regretz” (20v-21r / 27v-28r; 71v-72r / 78v-79r [Agricola]); “Ffors solemant” (97v-98r / 104v-105r); “En frolyk weson” [“Se une fois avant que mourir”] (9v / 16v); “De tous bien plane” (64v-65r); “Iay pryse amours” (59v-60r).
• RS35 Rome, Biblioteca Apostolica Vaticana, Cappella Sistina MS 35: Songbook, copied for use in the chapel, 1487-90, with additions 1492-9. Witness: “Benedictus” (34v-35r [full Missa Quant J’ai au Cueur 28v-37v]).
• S/P Seville, Biblioteca Colombina, MS 5-I-43 / Paris, Bibliothèque Nationale, nouv. acq. frç., MS 4,379: Songbook, compiled possibly ca. 1480 in Naples. Fos. 1-42 are in Paris. Witness: “Fortune esperee” (n11v-n12r); “De tous bien plane” (n39r); “Iay pryse amours” (h8v-h9r; o1v-o2r).
• SAM Segovia, Catedral, Archivo Musical MS s.s: Choirbook of secular and sacred music, copied in Spain (likely for the court, at Segovia) ca. 1500-3. Witnesses: “Benedictus” (full Missa Quant J’ai au Cueur 45v-54r; in 4 voices); “Fortune esperee” (115v-116r, 174r, 182r); “Alles regretz” (163v); “Ffors solemant” (92r); “Iay pryse amours” (118v).
• SG461 St. Gall, Stiftsbibliothek MS 461: The Sicher Liederbuch, copied post-1510, likely in St. Gall. Witness: “Alles regretz” (82-3 [Agricola]); “Ffors solemant” (2-3; 8-9).
• SG462 St. Gall, Stiftsbibliothek MS 462: The Heer Liederbuch, copied in Paris ca. 1510 and later, containing mostly Germanic songs of the early 16th century. Witnesses: “Benedictus” (7v-8r; in 4 voices); “Fortune esperee” (20r-21r); “Dulcis amica” (9r); “Belle sur tautes” (37r); “En frolyk weson” [“Ein frolich wesen”] (28v-29r); “La season” (93r).
• SG463 St. Gall, Stiftsbibliothek MS 463: The Tschudi Liederbuch, an anthology of Swiss origin, ca. 1540. Witnesses: “Fortune esperee” (#144); “Dulcis amica” (#140); “Ffors solemant” (#46); “En frolyk weson” [“Ein frolich wesen”] (#153).
• T27 Turin, Biblioteca Nazionale, Riserva Musicale, MS I.27: Songbook copied in Piedmont in the early sixteenth century. Witnesses: “Benedictus” (35r); “Alles regretz” (12v); “Dulcis amica” (35v).
• T/Br Tournai, Bibliotheque de la Ville, MS 94 / Brussels, Bibliotheque Royale de Belgique, MS IV.90: Partbooks, copied in Bruges in 1511. Witnesses: “Alles regretz” (#1); “Ffors solemant” (22r-v / 22v-23r); “En frolyk weson” [“Een vraulic wesen”] (15v-16r; 26v-27r).
• Tu26 Tübingen, Universitätsbibliothek, Bln. Keller, MS 4 Z 26 (now Berlin Staatsbibliothek MS Mus. 40026): Organ tablature, compiled by L Klaber in Pfzorheim, 1521-24. Witnesses: “En frolyk weson” [“Ein frolich wesen”] (26v).
• U237 Ulm, Bibliothek der Von Schermar’schen Familienstiftung MS 237: Songbook, central German in origin, ca. 1530-40. Witness: “Benedictus” (22r, 20r-20v, 21r-21v).
• Up76a Uppsala, Universitetsbiblioteket, MS 76a: Anthology of Franco-Flemish songs, copied ca. 1500 (1490-1520) in south-west France (Toulouse or Lyon). Witness: “Alles regretz” (1r); “Dulcis amica” (55v-56r); “De tous bien plane” (15v-16r).
• Up76e Uppsala, Universitetsbiblioteket, MS 76e: Songbook of ca. 1500 with origin in Frauenberg. Witness: “Benedictus” (#3).
• V757 Verona, Biblioteca Capitolare MS 757: Songbook, without text, compiled likely in northern Italy ca. 1490. Witnesses: “Benedictus” (29v-30r; in 4 voices); “Alles regretz” (28v-29r).
• V11883 Vienna, Oesterreichische Nationalbibliothek, Handschriften-und Inkunabelsammlung, MS 11,883: Sacred songbook, likely copied ca. 1500-30 in the Low Countries for the Netherlandic court. Witness: “Benedictus” (full Missa Quant J’ai au Cueur 42v-51r).
• W287 Wolfenbüttel, Herzog August Bibliothek, MS Guelf. 287 Extrav.: The Wolfenbüttel Chansonnier, a songbook copied ca. 1467, likely in the Loire Valley. Witnesses: “De tous bien plane” (52v-53r); “Iay pryse amours” (37v-38r).
• W2016 Warsaw, Uniwersitiet, Muziekolowskiego Institut MS mf. 2016 (Formerly Breslau, Musikalisches Institut bei der Universitaet, MS 2016, and Breslau, Biblioteca Uniwersytecka MS, 58.): Songbook copied ca. 1500 in the region of the Silesian-Bohemian border. Witness: “Benedictus” (55v-56r).
• WLab Washington, Library of Congress MS M 2.1 L25 Case: The Laborde Chansonnier, copied in the Loire Valley, ca. 1465-80s. Witnesses: “Alles regretz” (140v-142r); “Dulcis amica” (139v-140r); “Ffors solemant” (99v-100r); “La season” (142v-143r); “De tous bien plane” (62v-63r); “Iay pryse amours” (31v-32r).
• WWlf Washington, Library of Congress MS M 2.1.M.6: The Wolffheim Fragment, compiled in northern Italy ca. 1495; originally part of BL Egerton MS 3051. Witness: “Benedictus” (88v-89r).
• Zw78 Zwickau, Ratschulbibliothek MS 78/3: Three partbooks, copied Zwickau post-1520 (?1535-45) likely from PBOdh. Witnesses: “Benedictus” (3, #9); “Fortune esperee” (2, #54); “Alles regretz” (#11).