Lyra Viol Source List

A list of all known sources with music for lyra viol and other music for viol in tablature
by Joëlle Morton

This work, compiled by Joëlle Morton with the help of Bettina Hoffmann, lists all the known printed and manuscript sources that include music for the English lyra viol, as well as continental music written for viola da gamba in French tablature. It records more than 20 printed and more than 100 manuscript sources. It will include bibliographical information and indexes of authors, scordaturas, ornamentation signs and other symbols found in each source. In particular, it aims to provide links to facsimiles available online to enable everyone to consult the sources directly. The version published here is a work in progress which will be completed over time.

 

Printed Sources

21 sources, in chronological order

  • Jones, Robert, The Second Book of Songs and Ayres | Set Out to the Lute, the Base Violl | the playne way, or the Base by tablature after the leero fashion, London, 1601
    Content: 21 English songs
    Scoring: All songs for cantus (medium high voice) and bassus (bass voice), with any combination of a 7-course lute, lyra viol and bass viol in normal tuning as accompaniment options.
    Layout: All songs notated on 2 facing pages: on the left page the treble voice part with lute part in tablature, on the right page the bass voice part (with text underlaid), and the lyra viol part in tablature (“The tablature Base”).
    Tuning: fefhf, with top string tuned to e’Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #7, 1971
    Facsimile online: Early English Books Online
    More bibliographical information: Catalogue Hoffmann
    Index: Included in the published editions by PRB Productions, 2012, and Green Man Press, 2005.
  • Robinson, Thomas, The Schoole of Musicke wherein is taught, the perfect method, of true fingering of the lute, pandora, orpharion, and viol de gamba, London, 1603
    Facsimile edition: Theatrum Orbis Terrarum, 1973
    Facsimile online: IMSLP
    More bibliographical information: Catalogue Hoffmann
    Content: 5 short exercises and 8 psalm songs, in the section Rules to instruct you to Sing, fol. Nv-Ov.
    Scoring: The pieces, written both in staff notation and in tablature, are for voice and lyra viol unison, the viol is used for pitch guidance while learning to sing. The voice parts are without text; the ranges are for soprano, alto and bass (clefs: G2, C1, C3, F4).
    Tunings: ffeff, with top string tuned to d’ and to g’.
    Ornaments and other symbols: Fingerings are notated throughout. No ornament signs, no slurs, no holds.
  • Hume, Tobias, The First Part of Ayres, French, Pollish, and others together, some in Tabliture, and some in Pricke-Song; With Pavines, Galliards, and Almaines for the Viole de Gambo alone, and other Musicall Conceites for two Base Viols, expressing five partes, with pleasant reports one from the other, and for two Leero Viols, and also for the Leero Viole with two Treble Viols, or two with one Treble. Lastly for the Leero Viole to play alone, and some Songes to bee sung to the Viole, with the Lute, Also an Invention for two to play upon one Viole. London, 1605
    Content: 125 pieces.
    Scoring: 63 pieces for solo lyra viol; 5 pieces for voice (different ranges) and lyra viol; 4 pieces for 2 lyra viols; 1 piece for a treble instrument and lyra viol; 1 piece for 3 lyra viols (2 treble viols and 1 bass viol or 1 treble viol and 2 bass viols); 1 piece for 2 players on 1 lyra viol. In addition to the pieces in tablature, the volume contains 36 pieces for solo viol in staff notation.
    Tunings: ffeff, ffefh, fefhf (“Bandora set”). Hume does not verbally address the tuning for the viol, but from the ensemble pieces with parts written in staff notation, it can be inferred that the pitch of the first string is sometimes d’ (bass viol) and sometimes g’ (tenor viol). 2 of the vocal pieces (Soldiers Song and Fain Would I change that note) require a g-tuned instrument, while the 3 others (Tobacco, What greater grief and Alas poor men) require a D-tuned instrument. Piece #108, a trio for 3 lyra viols all tuned in bandora set, requires ‘trebles’ for at least one, if not both of the top parts. In order to work, all 3 instruments must be tuned to the same nominal pitches, probably in D.
    Facsimile edition: Hebden Bridge, Ruxbury Publications, 2002
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
    Notes:  Tobias Hume uses the term “Leero Viole” only for parts with scordatura.
  • Hume, Tobias, Captaine Hume’s Poeticall Musicke. Principally made for two Basse-Viols, yet so contrived, that it may be plaied 8, several waies upon sundry Instruments with  much facilitie.
    1 The first way or musicke is for one Bass-Viole to play alone in parts. Which standeth always on the right side of this Booke.
    2 The second musicke is for two Basse-Viols to play together.
    3 The third musicke, for three Basse-Viols to play together.
    4 The fourth musicke. For two Tenor Viols and a Basse-Viole.
    5 The fift musicke. For two Lutes and a Basse-Viole.
    6 The sixt musicke for two Orpherions and a Basse-Viole.
    7 The seventh musicke. To use the voice to some of these musicks, but especially to the three Basse-Viols, or to the two Orpherions with one Basse-Viole to play the ground.
    8 The eight and last musicke, is consorting all these Instruments together with the Virginals, or rather with a winde Instrument and the voice
    London, 1607
    Content: 25 pieces, of which 22 instrumental and 3 vocal.
    Scorings. All instrumental pieces: 2 lyra viols (tablature) and bass (staff notation). 2 vocal pieces: voice, 2 lyra viols (tablature) and bass (staff notation). 1 vocal piece: voice alternated to some measures for lyra viol.
    Instrumentation: The 22 instrumental pieces can be performed by solo lyra viol, by 2 lyra viols or by 2 lyra viols and bass viol (instrumentations no. 1-4 of the title). 2 vocal pieces can be performed with voice, 2 lyra viol and bass viol (instrumentation no. 7) or with a mixed ensemble (instrumentation no. 8). 1 vocal piece is for voice and 1 lyra viol. The other instrumentations (no. 5 and 6) do not imply the lyra viol.
    Tunings: ffeff. The pitch of the first string for most of the tablature in this book is g’ (tenor viol), with staff notation parts for a bass instrument accompaniment pitched accordingly. The 3 songs reflect more variety, and one implies a top string tuned to d (bass viol).
    Facsimile edition: Hebden Bridge, Ruxbury Publications, 2004
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Ford, Thomas, Music of Sundrie Kindes, Set forth in Two Bookes. The First Whereof are Aries for 4. Voices to the Lute, Orphorion, or Basse-Viole, with a Dialogue for two Voices, and two Basse Viols in parts, tunde the Lute way. The Second are Pavens, Galiards, Almaines, Toies, Jigges, Thumpes and Such like, for two Basse-Viols, the Lieraway, so made as the greatest number may serve to play alone, very easie to be performde, London, 1607
    Content and scoring: In book 1, A Dialogue for soprano, tenor and 2 lyra viols. In book 2, 18 Lessons for 2 lyra viols.
    Tunings: ffeff, fefhf. At the end of M Southcote’s Paven, the first piece in Book 2, in a copy of the book someone has written both the tuning in fret numbers and in pitches, (d a f c F C). This, and the Dialogue in Book 1, confirm that Ford was envisioning bass D-sized instruments.
    Ornaments and other symbols: holds and thumpes
    Facsimile edition: Performer’s Facsimiles #219, 1998
    Facsimile online: Early English Books Online
    Modern edition: A-R Editions (Oleg Timofeyev), 1998
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Ferrabosco, Alfonso II, Lessons for 1, 2 and 3 Viols, London, 1609
    Content and scoring: 53 pieces for solo lyra viol, 12 pieces for 2 lyra viols, 2 pieces for 3 lyra viols
    Tunings: fefhf, ffhfh, fhfhf
    Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #20, 1978
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Corkine, William, Ayres to Sing and Play to the Lute and Basse Violl. With Pavins, Galliards, Almaines, and Corantos for the Lyra Violl, London, 1610
    Content: 12 lessons for lyra viol
    Scoring: Solo lyra viol
    Tuning: ffhfh
    Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #11, 1978
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
    Notes: Moreover, the book contains 12 lute songs for voice, lute and bass viol in staff notation.
  • Maynard, John, The XII Wonders of the World. Set and composed for the Violl de Gambo. The Lute, and the Voyce to Sing the Verse, all three iointly, and none several: also Lessons for the Lute and Base Violl to play alone: with some Lessons to play Lyra-wayes alone, or if you will, to fill up the parts, with another Violl set Lute-Way, London, 1611
    Content and scoring: 7 pavins for lyra viol (tablature) with bass viol accompaniment (staff notation).
    Tunings: fefhf, ffhfh. Four pavins require fefhf tuning. Three of them require a top string tuned to e in order to work with the bass parts as printed. The fourth, however, requires top d, as do the 3 pieces in ffhfh.
    Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #32, 1978
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Corkine, William, The Second Booke of Ayres, Some, to Sing and Play to the Base-Violl alone: Others, to be sung to the Lute and Base Violl. With new Corantoes, Pavins, Almaines; as also divers new Discants upon old Grounds, set to the Lyra-Violl, London, 1612
    Content: 12 lessons for lyra viol. Moreover, the book contains 18 songs with accompaniment by lute or bass viol in staff notation.
    Scoring: 1 lessons for 2 lyra viols, 11 lessons for solo lyra viol
    Tunings: ffhfh, fhfhf
    Facsimile edition: Scolar Press, A Collection of Facsimile Reprints #12, 1977
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Tailour, Robert, Sacred Hymns. Consisting of fifti select Psalms of David and others, Paraphrastically turned into English Verse. And by Robert Tailour, set to be sung in Five parts, as also to the Viole, and Lute or Orph-arion. Published for the use of such as delight in the exercise of Music in hir original honour, London, 1615
    Content: 12 hymns/psalm settings
    Scoring: All pieces are scored for 5 voices, lyra viol and lute. The vocal parts are labeled treble (G2), meane (C2), countertenor (C3), tenor (C4), base (F4). Only the top voice (treble) has text underlaid. The lyra viol and lute parts are not identical, and may be intended as compliment to each other.
    Tunings: ffeff, ffefh
    Ornaments and other symbols: holds
    Facsimile edition: Theatrum Orbis Terrarum, 1973
    Facsimile online: IMSLP
    Modern edition: Joëlle Morton, IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Playford, John, A | Musicall Banquet, | Set forth in three choice Varieties of MVSICK. | The first Part presents you with Excellent new Lessons for the Lira Viol, set to severall | New Tunings. | The second a Collection of New and Choyce Allmans, Corants, and Sarabands for one | Treble and Basse Viol, composed by Mr. William Lawes, and other Excellent Authours. | The third Part containes New and Choyce Catches or Rounds for three or foure | Voyces. To which is added some few Rules and Directions for such as | learne to sing, or to play on the Viol, London, T. H., John Benson, John Playford, 1651
    Composers: Charles Coleman (1 piece), George Hudson (2 pieces), Simon Ives (3 pieces), John Jenkins (2 pieces), John Lillie (1 piece), William Paget (1 piece), William Young (2 pieces), anonymous (15 pieces)
    Content: 27 pieces for solo lyra viol. Moreover the book contains 31 pieces for treble and bass viols and 9 songs for 3 voices, all in staff notation.
    Tunings: defhf (harpe way sharpe), edfhf (harpe way flat), fefhf (lyra way)
    Ornaments and other symbols: Examples. Straight lines are used commonly throughout the lyra viol pieces, and are perhaps sometimes intended as slurs, not holds.
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Playford, John, Musicks Recreation | ON THE | LYRA VIOL. | Being a choice Collection of New and Excellent Lessons for the Lyra Viol, both easie and delight- | full for all yong Practitioners. To which is added some few plain Directions as a Guide | for Beginners, London, John Playford, 165[?]
    Date: The final number of the date is missing or illegible in all the extant copies and for many years was listed as 1652. Pullen (Five Collections of Lyra Viol Music, dissertation, University of British Columbia, 1979, pp. 14-21) has shown it more likely to have been 1655, by which time all three sections of Palyford’s Musicall Banquet (1651) had been separated into new and expanded volumes.
    Composers: Thomas Ford (2 pieces), William Lawes (6 pieces), Charles Coleman (15 pieces), Ives (14 pieces), George Hudson (8 pieces), William Young (2 pieces), John Lillie (1 piece), John Jenkins (8 pieces), Withie (3 pieces), Thomas Gregory (1 piece), John Esto (5 pieces), Thomas Bates (3 pieces), Paget (1 piece), anonymous (40 pieces)
    Content: 108 pieces for lyra viol
    Scoring: All pieces are for lyra viol solo, but 2 pieces are texted.
    Tunings: defhf, edfhf (Harp way flat), fdefh (high Harp way sharp), fedfh (high Harp way flat), fefhf (Lyra Way), Bagpipe tuning (= fhn). The bagpipe tuning is not spelled by letter, but by the instruction: “The Bag-pipe Tuning. changing the 5. string into the fourth strings place, and Tune it an eighth to the 3. String.”
    Ornaments and other symbols: Examples. Straight lines are probably intended as slurs, not holds. On p. 29 Playford clarifies that the 3 dots are to be “Struck with the finger and not with the Bow”.
    Facsimile edition: Faksimile-Edition Rara, 34. Stuttgart, 2000
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Playford, John, Musicks Recreation | ON | The Viol, Lyra-way. | Being a Collection of New LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners, London, W. Godbid, John Playford, 1661
    Composers: Thomas Bates (3 pieces), Charles Coleman (6 pieces), John Esto (14 pieces), Gaultier (1 piece), William Gregory (6 pieces), George Hudson (8 pieces), Simon Ives (16 pieces), John Jenkins (25 pieces), William Lawes (7 pieces), John Lillie (2 pieces), Paget (1 piece), Christopher Simpson (7 pieces), Dietrich Steffkens (1 piece), John Withy (9 pieces), William Young (2 pieces), Anonymous (12 pieces)
    Content: 123 pieces for lyra viol. A few of these pieces have duplicates; some also appeared in Playford’s earlier collections.
    Scoring: All pieces are for lyra viol solo.
    Tunings: Tunings: defhf (Harp way sharp), edfhf (Harp way flat), fdefh, fedfh (high Harp flat), Bagpipe tuning (= fhn)
    Ornaments and other symbols: In the preface Playford explains that a straight line is “for one drawing of the bow” i.e. a slur. In the preface he also shows the sign for a thump, but he does use it in the music. Examples.
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Playford, John, Musicks Recreation | ON | The VIOL, Lyra-way. | Being a Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some brief Rules and Instructions for young Practitioners, London, W. Godbid, John Playford, 1669
    Composers: Thomas Bates (11 pieces), Charles Coleman (4 pieces), John Esto (14 pieces), Thomas Ford (1 piece), Thomas Gregory (7 pieces), George Hudson (11 pieces), Simon Ives (14 pieces), John Jenkins (10 pieces), John Lillie (2 pieces), John Moss (17 pieces), Paget (1 piece), John Withy (9 pieces), William Young (2 pieces), anonymous (49)
    Content: 152 pieces for lyra viol. Some of these pieces also appeared in Playford’s earlier collections.
    Scoring: All pieces are for lyra viol solo.
    Tunings: Tunings: defhf (Harp way sharp), edfhf (Harp way flat), fdefh (High harp-way sharp), fedfh (high Harp-way flat)
    Ornaments and other symbols: In the preface Playford explains that a straight line is a slur. However, there are quite a few pieces where the line extends across the same note, so this symbol must also now be considered a ‘hooked’ bowing (see example on p. 25). Examples.
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Moss, John, LESSONS / FOR THE / BASSE-VIOL / ON / The Common=Tuning, and many other New=Tunings: / CONTAINING / Almanes, Corants, Sarabands, Jigg Allmans; in all the usual Keys / of the scale of MUSICK; together with a Thorough-Bass. / Composed by JOHN MOSS, for the Use of his SCHOLARS, London, W. Godbid, Author, John Playford, 1671
    Title of the part book of the bass: The / THOROUGH-BASE / To the LESSONS on the / BASSE-VIOL, / ON / The Common=Tuning, and many other New=Tunings: / Composed by John Moss, London, W. Godbid, Author, John Playford, 1671
    Content: 104 pieces, grouped by key and tuning into 26 sets or suites of 4 dances each (alman, corant, saraband and jigg)
    Scoring: lyra viol with thorough bass accompaniment
    Tunings: ffeff, ffedf, ffefh, ffede, ffefc, ffeec
    Ornaments and other symbols: Straight lines are seemingly used both as slurs and as holds, but no explanation is given. Curved lines are only employed above the staff as ties for rhythmic notation. Examples. No other ornament symbols are employed.
    Facsimile online: Gallica, IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Mace, Thomas, Musick’s Monument / OR, A / REMEMBRANCER / Of the Best / Practical Musick, / Both DIVINE, and CIVIL, that has ever / been known, to have been in the World. / Divided into Three Parts […] In the Third PART, / The Generous Viol, in Its Rightest Use, is Treated upon; with / some Curious Observations, never before Handled, concerning It, and / Musick in General. By Tho. Mace, one of the Clerks of Trinity Colledge, in the / University of Cambridge, London, T. Rathcliffe, N. Thompson, 1676
    Content: 3 pieces for lyra viol
    Scoring: The three pieces are for lyra viol solo, but one is given, for illustrative purposes, also for treble and bass in staff notation, with the addition of a second treble.
    Tunings: defhf (Harp-Way-Tuning Sharp), ffeff, ffefh
    Ornaments and other symbols: Holds, pauses, loud, soft and organ shake are explained close to the lyra viol pieces (pp. 253, 255, 264) examples; other symbols are explained in the lute section of the book.
    Facsimile edition: Éditions du Centre national de la recherche scientifique, 1958
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Simpson, Christopher, The Principles of Practical Musick, London, W. Godbid for Henry Brome, 1665
    Reprinted as A Compendium of Practical Musick, London, W. Godbid for Henry Brome 1678
    Note on the editions: Simpson’s book appeared in different editions, with various modifications (including the title) between 1665 and 1775. The 1665 and 1678 editions are not identical, but are the only ones that contain the pieces for lyra viol. The music plates of these pieces have been reset in a different type for the 1678 edition, but the music is identical.
    Note on the composer: The six pieces should all be by Christopher Simpson, author of the entire treatise, but the sixth bears the initials “J. B.” which could refer to a different composer, or possibly be identified with the dedicatee of the pieces, Sir John St. Barbe.
    Content: 6 ayres for lyra viol and bass, “For Sir John St. Barbe, Baronet”
    Scoring: lyra viol with bass accompaniment in staff notation
    Tuning: ffeff
    Ornaments and other symbols: none
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Playford, John, Musick’s Recreation | ON | The VIOL, Lyra-way: | Being a choice Collection of LESSONS Lyra-way. To which is added a PREFACE, | Containing some Brief Rules and Instructions for young Practitioners | The Second Edition, Enlarged with Additional New LESSONS, London, A. G., John Playford, 1682
    Composers: John Banister (2 pieces), Thomas Bates (2 pieces), Charles Coleman (5 pieces), John Esto (10 pieces), Thomas Ford (1 piece), George Hudson (3 pieces), Simon Ives (15 pieces), John Jenkins (4 pieces), John Moss (3 pieces), Paget (1 piece), William Young (2 pieces), anonymous (69)
    Content: 117 pieces for lyra viol. Many of these pieces also appeared in Playford’s earlier collections.
    Scoring: All pieces are for lyra viol solo.
    Tunings: defhf (Harp way sharp), edfhf (Harp way flat)
    Ornaments and other symbols: In the preface Playford explains that a straight line is a slur. However, there are a few pieces where the line extends across the same note, so this symbol must also now be considered a ‘hooked’ bowing. Examples.
    Facsimile edition: Hebden Bridge, Ruxbury Publications, 2002
    Facsimile online: Early English Books Online
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Ziegler, Johann Christoff, Intavolatura zur Viola di Gamba besthend in Entraten, Allemanden, Correnten, Sarabanden, und Capriccien Allen dieses Instruments Liebhabern zur Übung und Ergözligkeit auff gessetzt und herausgegeben Von Johann Christoff Zieglern Acad. Witteb. Mus. Direct. et Org., 1680
    Content: 30 pieces grouped into 6 sets, each is in its own tuning, with 5 pieces each, all titled Entrata, Allemanda, Corrente, Sarabanda and Capriccio.
    Scoring: “Viola di Gamba” solo
    Tunings: defhf; edfhf, fdefh, efdef, dfedf, ffeff (“L’accorde Ord.[inaire]”)
    Facsimile online: IMSLP
    Index: Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • De Machy (Demachy), Le Sieur, Pieces de Violle / En Musique et en Tablature, differentes les unes des / autres, et sur plusieurs Tons. / Elles contiennent deux Livres, et sont les premiers qui jusques / à present ayent paru au jour / Composées par Mr. Demachy, Paris, Bonneüil, 1685
    Content: 28 movements grouped by key into 4 sets or suites, for 7-string viol, in tablature. Moreover the book contains 4 suites for 7-string viol in staff notation. The structure of the suite is clearly observed by the succession of the movements and by the keys, although Demachy does not distinguish them by any term.
    Scoring: 7-string viol solo.
    Tuning: ffefff
    Ornaments and other symbols: Symbols are explained in two tables of the preface, both in staff notation, and tablature. Examples of their use in music.
    Facsimile online: Gallica
    Index and discussion: Shaun Kam Fook Ng, Le Sieur de Machy and the French solo viol tradition, Viola da Gamba Society of Great Britain
    More bibliographical information: Catalogue Hoffmann
  • Kremberg, Jacob, Musicalische Gemüths Ergötzung oder Arien, Dresden, 1689
    Content: 40 German arias
    Scoring: The arias are all written for soprano voice and figured bass (both in staff notation) and for lute, angelique, viola da gamba and guitar (all in tablature). As the author himself specifies on the title page, they can be performed by voice and instruments together or separately; the tablatures in fact incorporate both the vocal line and the bass, so will also be found to serve on their own as solo pieces.
    Tunings: defhf, dfefh, efdef, efdhf, fedfh, ffdef, ffefd, ffeff, ffefh, fgdff, fgdfh
    Facsimile online: IMSLP
    Index: www.researchcatalogue.net
    More bibliographical information: Catalogue Hoffmann

 

Manuscript Sources

110 sources, in alphabetical order by nations and towns of the hosting library

 

Austria

Schloss Ebenthal, Carinthia (A-ET)
  • A–ET Goëss Ms. A
    Place: Utrecht
    Date: 1664. The indication on the manuscript «a Utrecht le de[cem]bre 1664» is thought to be the time of binding, not of the compilation.
    Composers: Christian Herwich, Nicolas Hotman, Constantijn Huygens, Simon Ives, John Jenkins, Dietrich Stoeffken, Friedrich Stoeffken, [Johann Christoph] Wolff, William Young and anonymous
    Tunings: fdefh, fedef, fedfh, ffeff, fhfde, ffefh, efdef, edefh, defhf, defde
    Content: 134 pieces for lyra viol
    Scoring: In the manuscript all pieces are for solo lyra viol, but one piece by William Young is known through a different source in a version for two viols.
    Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
    Facsimile edition: Tree Edition
    Facsimile online: Lute Society
    Indexes: Tree Edition online has full index; Index of VdGSGB in preparation; a complete catalogue by Francois-Pierre Goy in preparation.
  • A-ET Goëss Ms. B
    Place: Utrecht
    Date: 1668. The indication on the manuscript «a Utrecht le 6 de May 1668» is thought to be the time of binding, not of the compilation.
    Composers: Ambrosius Scherle, Charles Coleman, John Lillie, John Jenkins, Christian Herwich, William Young, Simon Ives, William Lawes, Nicolas Hotman, Nicolas de Merville, François Dufaut, Dubuisson, John Price, Jean Mercure, Denis Gautier, Bocquet, Dietrich Stöeffken, anonymous.
    Tunings: fdefh, fedfh, ffeff, ffefh, edfhf, defhf
    Content: 93 pieces for lyra viol
    Scoring: All pieces are for solo lyra viol.
    Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
    Facsimile edition: Tree Edition, 1997
    Facsimile online: Lute Society
    Indexes: Tree Edition online has full index; Index of VdGSGB in preparation; a complete catalogue by Francois-Pierre Goy in preparation.
  • A-ET Goëss Ms. II
    Date: ca. 1660-70. Unlike Goëss A and B, this manuscript has no inscription or date at the beginning, but the composers it represents are similar to those in the other 2 vols. The Gautier piece marking Christina of Sweden’s entry to Paris (Sept 8, 1656) serves as a terminus post quem.
    Composers: Nicolas Hotman, William Young, Christian Herwich, Denis Gautier, Betkofsky, Wolff, Ditrich Stöeffken, John Jenkins, Du Buisson (?), anonymous
    Tunings: ffeff, fdedf, ededf
    Content: 49 pieces for lyra viol
    Scoring: All pieces are for solo lyra viol.
    Ornaments and other symbols: Examples. Slurs are notated both under and over the letters; holds are indicated with a straight diagonal line under the letters.
    Facsimile edition: Tree Edition
    Facsimile online: Lute Society
    Indexes: Tree Edition online has full index; Index of VdGSGB in preparation; a complete catalogue by Francois-Pierre Goy in preparation.

 

Belgium

Brussels, Conservatoire Royale de Musique (B-Bc)
  • B-Bc MS Litt. XY 24910
    Composer: «GL» (George Loosemore, active 1638-ca. 1682)
    probable autograph
    Content: 6 untitled pieces in G major a 3, for an unspecified treble instrument, lyra viol and bass
    Scoring: treble instrument, lyra viol, bass instrument
    Layout: Separate parts. These pieces are bound into a collection of mostly later music, none for viol.
    Date: 1670s
    Tuning: defhf (not specified)
    Ornaments and other symbols: No ornament signs, but slurs
    Index: No index VdGSGB, but full details in JVdGS vol 5, 2011 and in A. Ashbee, edition
    Notes: Should not be mistaken for a second manuscript in the same library, that is a 19th century copy.

 

France

Paris, Bibliothèque Nationale (F-Pn)
  • F-Pn Rés. 1111
    Title: Pièces pour la viola da gamba
    Date: 1674
    Composers named in the manuscript: Nicolas Hotman, Dubuisson, August Verdufen
    Composers identified from concordances: William Young, Tobias Hume, Thomas Ford, Daniel Farrant, Charles Coleman, John Jenkins, Simon Ives, George Hudson, Dietrich Stöeffken, Willem Deutekom, François Dufaut
    Content: 259 pieces for lyra viol in tablature, besides 14 pieces for viol in staff notation
    Tunings: defhf, dfedf, edefh, edfhf, efdef, fdefh, fedef, fedfh, fefde, fefhf, ffeff, fhfhf. Several times string pitches are notated next to the scordatura indicating a first string in d’.
    Scoring: All 273 pieces are for solo viol, but 4 of them are marked as duos, and 60 are marked as ensemble parts. The other parts, however, are not included in this manuscript.
    Ornaments and other symbols: Examples
    Facsimile edition: prepared by F.-P. Goy for Minkoff, but not ever published.
    Facsimile online: Gallica
    Index: Viola da Gamba Society of Great Britain

 

Germany

Berlin, Staatsbibliothek Preussischer Kulturbesitz (D-B)
  • D-B Mus ms. autogr. Hove 1
    First owner (and probably scribe): Joachim van den Hove
    Place of origin: Leiden
    Date: 1615 circa
    Composers: Alfonso Ferrabosco II, anonymous. The source does not provide names of authors for the 4 lyra viol pieces, but one of them is attributed to Alfonso Ferrabosco II thanks to its concordance with a piece published in his Lessons, 1609.
    Content: The manuscript is mainly a lute book, among its 108 pieces only 4 are for lyra viol solo, the remaining for lute.
    Index: Viola da Gamba Society of Great Britain
    Tunings: ffefh, fhfhf, fefhf
    Ornaments and other symbols: Dots. The sign appears in all 4 lyra pieces, but also in the lute pieces. For the viol, it’s probably a bowing indication (pull bow) because it appears on weak beats both in the viol and the lute pieces.
    Facsimile edition: Glinde, Jarchow Verlag, 2006
Kassel, Landesbibliothek und Murhard’sche Bibliothek (D-Kl)
Lübeck, Bibliothek der Hansestadt (D-LÜh)
  • D-LÜh Ms. hist. 8° 24, Stammbuch David von Mandelsloh
    Composer: Walter Rowe
    Date: 1614 («4 Agustus 1614»)
    Place: Hamburg
    Facsimile online: D-LÜh
    Content: One single piece (Coranto), p. 470. This is the only music in the volume.
    Tuning: ffhfh
    Ornaments and other symbols: Fingerings indicated in great detail.
Weimar, Klassik Stiftung Weimar, Herzogin Anna Amalia Bibliothek (D-WRz)

 

Great Britain

Cambridge, Fitzwilliam Museum (GB-Cf)
  • GB-Cf Ms 645
    Composers: John Jenkins, Christopher Simpson, anonymous
    Content: bass part only (7 pages) to 9 Jenkins lyra ensemble pieces at GB-Ob C.88.
Cambridge, University Library (GB-Cu)
  • GB-Cu Ms. Add 10356
    Composers: Ives, Jenkins, Lawes
    Notes: Formerly at Haslemere, Dolmetsch Library (GB-HAd) MS II B 3
  • GB-Cu Dd.5.20 Mathew Holmes
    Composers: Coprario, Farrant, Johnson, Sherly, anonymous
  • GB-Cu Dd.5.78 (III), Mathew Holmes Lute Book II
    Composer: anonymous
    Date: ca. 1595
    Facsimile online: GB-Cu
    Index: Viola da Gamba Society of Great Britain
  • GB-Cu Dd.6.48 (F)
    Date: 1671
    Composers: Butler, Coleman, Ives
    Index: Viola da Gamba Society of Great Britain
  • GB-Cu Dd.9.33, Mathew Holmes Lute Book III
    Composer: anonymous
    Date: Feb 28, 1600
    Facsimile online: GB-Cu
    Index: Viola da Gamba Society of Great Britain
  • GB-Cu Nn.6.36, Mathew Holmes Lute Book IV
    Date: ca. 1615
    Facsimile online: GB-Cu
    Index: Viola da Gamba Society of Great Britain
  • GB-Cu Hengrave Hall Deposit 77 (1)
    Composers: Simon Clarke (3 pieces), William Drew (14 pieces), John Jenkins (6 pieces), Christopher Simpson (6 pieces), John Withy (17 pieces), William Young (3 pieces), anonymous (24 pieces)
    Date: mid 17th century (provisional date based on composers and styles of music)
    Content: 73 pieces
    Scoring: 63 pieces are for solo lyra viol; 10 pieces are divisions for lyra viol (in efffe tuning) and bass (staff notation). The first piece by Jenkins bears the instructions “for 2 violes” and “to play alone”. Only a single part exists; probably a second part was omitted intentionally.
    Tunings: fdefh, feded, fedfh, ffdef, ffedf, fffed, ffhfh, edfhf, efffe, effff, effhf, eff??, defhf
    Ornaments and other symbols: Examples. Very few ornaments in the whole manuscript.
    Index: Viola da Gamba Society of Great Britain
  • GB-Cu Hengrave Hall Deposit 77 (2)
    Composers: John Jenkins, anonymous
    Date: mid 17th century (provisional date based on composers and styles of music)
    Content: only two pieces, 1 Coranto by Jenkins and 1 anonymous almain.
    Tuning: fhfhf
    Ornaments and other symbols: none
    Index: Viola da Gamba Society of Great Britain
    Notes: The manuscript consists of 2 pages only.
  • GB-Cu MS Add 9283
    Content: 5 pieces for lyra viol
  • GB-Cu Add. MS 9284
    Title: «Auff der Viol de Gambe. 2. partey | Adamus Wolray (?)/Kerstone (?)»
    Names in the manuscript, possibly referring to composers: (William?) Lawes, I. P. Gertner
    Composers identified from concordances: Thomas Gregorie, Simon Ives, William Lawes.
    Content: 10 pieces
    Scoring: All 10 pieces are for a single lyra viol, but that part is one of an ensemble of 2/3 lyras. The other parts are not extant in this collection.
    Tunings: fdefh, fedfh, efdef, edfhf
    Ornaments and other symbols: Examples
    Index: Violanet
    Notes: Previously in private ownership by Robert Spencer. Mentioned in John Cunningham, Lyra Viol Ecclesiastica, JVdGS vol. 3
Cheshire, Record Office (GB-CHEr)
Dundee, Public Libraries (GB-DU)
  • GB-DU Mus 10445, Andrew Bla[i]kie
    Date: copy of 1692
    Index: Viola da Gamba Society of Great Britain
    Notes: The first Blaikie ms (dated 1683, once owned by Lady Katherine Boyd, daughter of William, first Earl of Kilmarnock) is no longer extant. This version is a copy of several surviving copies, made by Andrew John Wighton, ca. 1866 or earlier.
Durham, Cathedral Library (GB-DRc)
  • GB-DRc Bamburgh Mus 179-180
    Composers: John Jenkins, possibly others.
    Content: 36 pieces, all attributed to Jenkins in the collection. Only half of them are complete, the other half has the treble and lyra viol parts but is missing its bass. The pieces are seemingly grouped in sets of 6, comprising a total of 6 suites, each in its own tonality, and with different lyra viol tunings.
    Scoring: unspecified treble instrument, lyra viol, unspecified bass instrument.
    Bibliography: mentioned in Chelys 6, 1975-76; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68 1992; Ila Stolzfus, The Lyra Viol in Consort With Other Instruments, dissertation, 1982; Brian Crosby, Durham Cathedral Music Manuscript catalogue, 1986.
    Tunings: dehfh, edfhf, fdefh, fedfh, ffdef, ffedf
    Symbols: Occasional slurs, double dots which appear many times in this ms, always in places where their function as rests is obvious. See GB-Ob C.84.
  • GB- DRc Ms Mus A 27, Philip Falle
    Date: ca. 1722-39 (years when the ms. was compiled or completed)
    Composer: Christopher Simpson, Thomas Mace
    Copyist: Philip Falle
    Content: 4 pieces of this manuscript, here in staff notation, are copied from pieces for lyra viol: on pp. 107-108, 3 pieces transcribed from Christopher Simpson, A compendium of Practical Musick, 1678; on pp. 80-81, 1 piece transcribed from Thomas Mace, Musick’s Monument, 1676. The rest of the very sizable manuscript is bass viol music, in staff notation.
    Original descriptions of sources: «Transposed from Tablature – Simpson’s Pract. Comp. Apparuit p. 172», «Transposed from Tablature – ibid. p. 174», «Transposed from Tablature – ibid. p. 176», «Mace Musick’s Monument pag 253».
    Scoring: Solo lyra viol, without the bass part extant in the Compendium.
    Ornaments and other symbols: No ornament signs. Lacks a few slurs from Simpson’s 1678 original; lacks the many holds in Mace’s 1676 original.
    Index: Viola da Gamba Society of Great Britain
Edinburgh, National Library of Scotland (GB-En)
  • GB-En Advocates Ms 5.2.19
    copy of BG-NTu Bell-White 46 Leyden
    Title: «Copy of the Tunes in Tablature in Doctor John Leyden’s Manuscript Lyra-Viol Book»
    Date: 1843-1844
    Composers: all anonymous
    Content: 83 short tunes. The copy contains only the portion for lyra viol of original Leyden manuscript.
    Scoring: solo lyra viol
    Tunings: defhf, edfhf
    Ornaments and other symbols: Examples. In the instructions, it is explained that the three dots represent thumps.
    Copyist: George Farquhar Graham
    Index: JVDGS, vol. 2-1, 2008-2009, pp. 35-52
  • GB-En Dep. 314/24, Sutherland Lyra Viol Manuscript
    Date: circa 1660-70
    Composers (all attributed thanks to concordances): William Young (2 pieces), Simon Ives (2 pieces), John Dowland (1 transcribed piece), Richard Sumarte (1 piece, uncertain attribution), anonymous
    Content: 40 pieces for lyra viol. 18 of the pieces appear in volumes by John Playford.
    Scoring: solo lyra viol
    Tunings: defhf, edfhf, edefh
    Ornaments and other symbols: Examples.
    Owner: This volume is part of the Sutherland Papers. The initials «L / M C» impressed on front and back original leather covers are thought to indicate ownership by Lady Margaret Cochrane, eldest daughter of William, Lord Cochrane (1605-1685).
    Index: Viola da Gamba Society of Great Britain
  • GB-En Mus. m.1, Magdalen Cockburn music booke
    Date: ca. 1660-80
    Index of VdGSGB in preparation (current TI link is broken)
    Notes: formerly P637 R787.1
London, British Library (GB-Lbl)
  • GB-Lbl Add. 15117
    Composers: Hume, anonymous
    Date: ca. 1614-16
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol. 1. Facsimile: Harvester Microform Collection, R14
    Facsimile online: GB-Lbl
  • GB-Lbl Add. 15118, Richard Shinton
    Date: 1633
    Facsimile: Harvester Microform Collection, R14
  • GB-Lbl Add. 17795, Merro
    Date: after 1624
    Facsimile: Harvester Microform Collection, R16
    Index: Viola da Gamba Society of Great Britain
  • GB-Lbl Add. 29481
    Date: ca. 1630
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 1
  • GB-Lbl Add. 31431 (i and ii), Sir Gabriel Roberts
    Date: 1680
  • GB-Lbl Add. 31432, Richard Gibbon
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 2. Facsimile: Harvester Microform Collection, R31
    Notes: William Lawes Autograph
  • GB-Lbl Add. 36993
    Date: mid 17th century
  • GB-Lbl Add. 38783
    20th century transcription of GB-Mp BRm/832 Vu51 Manchester lyra viol book: transcription in staff notation and arrangements of some pieces for chamber ensemble.
    Scribe: Thomas Lea Southgate
    Date: 1913
    For composers, contents and tunings see the original manuscript GB-Mp BRm/832 Vu51.
    Notes: Contains information concerning the origins of the original manuscript. For some materials relating to Southgate’s transcription see Add. 50781.
  • GB-Lbl Add. 39555
    Notes: 20th century transcription of Hengrave Hall 77 (1), made by Florence “Chrystabel” G. Attenborough.
    For composers, contents and tunings see the original manuscript Hengrave Hall 77 (1).
  • GB-Lbl Add. 39556
    20th century copy of GB-Mp BRm/832 Vu51 Manchester lyra viol book.
    Scribe: Thomas Lea Southgate
    Date: 1913
    For composers, contents and tunings see the original manuscript GB-Mp BRm/832 Vu51.
    Notes: Being an exact copy of GB-Mp BRm/832 Vu51, with text, tablature and page numbers faithfully duplicated, it is particularly useful for completing some of the left margin text that is cut off in the microfilm produced by the library. It also clarifies which pages in the original manuscript were left blank.
  • GB-Lbl Add. 50781
    Content: No music, but 20th century notes and materials referring to Add. 38783
    Scribe: Thomas Lea Southgate
    Date: various, but mostly 1914
  • GB-Lbl Add. 56279, Silvanus Stirrop
    Scribes and owners: There are many names associated with this commonplace book, but the name Silvanus Stirrop is emblazoned prominently on its own page (‘Silvanus Stirrop His Booke’ on fol. 12, rebound in incorrect order) and his initials (SS) appear after the first lv piece.
    Date: prior 1629
    Composers: The first piece for lyra viol is by Silvanus Stirrop, the following pieces are anonymous in this source, but from concordances some composers have been identified: Thomas Ford, Tobias Hume, Gaultier or De Moy.
    Content: 20 pieces for lyra viol. Moreover the manuscript contains songs for voice and bass.
    Tunings: fefhf, ffeff, ffhfh, fhn
    Ornaments and other symbols: Examples
    Facsimile: Harvester Microform Collection, R38
    Index: Viola da Gamba Society of Great Britain
    Bibliography: Pamela Willetts, Silvanus Stirrop’s Book, R.M.A. Research Chronicle, vol. 10 (1972), pp. 101-107 (with index)
  • GB-Lbl Add. 59869, Cartwright manuscript
    Facsimile online: Newtunings
    Index of VdGSGB in preparation
    Notes: Bound in the back of a copy of Simpson’s Division Viol
  • GB-Lbl Add. 63852, Griffith Boynton
    Facsimile online GB-Lbl
    Index of VdGSGB in preparation
  • GB-Lbl Egerton 2971, Robius Downes
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol. 1. Facsimile: Harvester Microform Collection, R3
    Index: Viola da Gamba Society of Great Britain
  • GB-Lbl Harley 7578
    Composers: Coprario, Ferrabosco
    Date: 1655
    Facsimile: Harvester Microform Collection, R5
    Facsimile online: http://www.bl.uk/manuscripts/Viewer.aspx?ref=harley_ms_7578
  • GB-Lbl Mus. 249
    Composers: John Jenkins, John Esto, Dietrich Steffkins, William Young, Simon Ives, Thomas Mace, John Taylor, Charles Coleman, William Lawes, Nicolas Hotman. Only the names of Esto, Jenkins and Hotman are marked in the manuscript, the other authorships are deduced from concordances. One piece bears the indication “par De Londi”, which may be the name of an otherwise unknown composer.
    Content: 62 pieces (preludes, allemandes, courantes, sarabandes, airs) of which 3 are duplicates
    Scoring: solo lyra viol
    Tunings: defhf, ededf, edeff, edefh, edfhf, efdef, fdefh, fedef, fedfh, fefff, ffeff
    Ornaments and other symbols: Examples.
    Facsimile online: Newtuning
    Index: Robert Smith, JVdGS 2013
London, Royal Academy of Music (GB-Lam)
  • GB-Lam MS 600, John Browne (Braye/Bowne)
    Date: ca. 1625-1630
    Front cover: Initials T B embossed on the front cover. Inside front cover is a bookplate of Lord Braye of Stanford, Leicestershire.
    Scribes: The collection was started by Thomas Browne (1567-1621), and passed to his son John who used and expanded it, adding much of the lyra viol materials, while a music student at the Middle Temple in the 1620s. The lyra viol pieces are written in 3 different hands.
    Content: 62 pieces for lyra viol; the rest of the ms is for bandora.
    Scoring: solo lyra viol
    Composers: Alfonso Ferrabosco II, John Jenkins, Robert Taylor, Stifkin/Stoëffkens, William Lawes, Simon Ives, John Coprario, Thomas Gregorie, Robert Johnson, William Byrd, anonymous
    Tunings: defhf, defhh, edfhf, edfhh, efdef, efffe, efhfh, fdefh, fedfh, ffefh, ffhfh, fhfhf
    Ornaments and other symbols: Examples. The plethora of symbols and ornaments that are scattered throughout the lyra viol pieces makes this a particularly noteworthy collection.
    Facsimile online: Internet Archive
    Index: Viola da Gamba Society of Great Britain
    Notes: formerly in the possession of Robert Spencer
London, Royal College of Music (GB-Lcm)
  • GB-Lcm C41/2
    Composer: Moss and others
    Facsimile online: Internet Archive
    Index: Viola da Gamba Society of Great Britain. For the pieces by Moss see Viola da Gamba Society of Great Britain
    Notes: Formerly catalogued as GB-Lcm II.F.10. Manuscript bound at the back of a copy of Christopher Simpson, The Division-Violist, London, 1659. The manuscript has no tablature, but copies in staff notation of some pieces for lyra viol, for example by John Moss, from his Lessons for the Basse-Viol, London, 1671.
Manchester, Central Public Library (GB-Mp)
  • GB-Mp BRm/832 Vu51, Manchester lyra viol book
    Date: mid-17th century
    Composers: Anthonye, Thomas Bates, Thomas Birche, Charles Coleman, Elliot of Oxford, John Esto, Hugh Facie, Alfonso Ferrabosco ii, Gervise Gerrarde, Stephen Goodall, Thomas Goodge, Thomas Gregorie, William Gregorie, George Hudson, Simon Ives, Simon Ives Jr., John Jenkins, William Kinglake, John Laurence, William Lawes, Lillie, Thomas Martine, Oxosbey, Henri Read, John Read, Roger Read, Thomas Read, Joseph Sherlie, Christopher Simpson, Richard Sumarte, Thomas Taylor, Peter Warner, G. Willis, John Withie, Thomas Woodington, Thomas Woodson, William Young.
    Content: 246 pieces for lyra viol. Moreover, the manuscript contains 12 pieces for bass viol in staff notation.
    Scoring: Solo lyra viol
    Tunings: ffeff, ffefh, fefhf, ffhfh, fhfhf, fhn, fff, fdefh, fedfh, fdedf, ffcdh, efhfh, efdef, edfhf, edefh, edeff, ededf, edfed, efffe, defhf, dfedf, hh(haa)
    Ornaments and other symbols: The page Graces on the Violl at the beginning of the manuscript lists 16 ornaments and more symbols by name, with a written notation for how they are to be played: «A beate, A fall, A back-fall & beate, A double back-fall, A [back-]fall & [relishe], A relishe, An elevation, A shake, A shake wth the bowe, A pawse, A hold for the finger, A thumpe wth ye fore-finger, A thumpe wth ye middle finger, A thumpe wth ye ringe finger, So many letters as are bound in wth these markes muste be slurde in one bowe, A slurre with sobbinge or iuts at everie letter so inclosed.»
    Facsimile edition: Peacock Press, 2003
    Facsimile online: IMSLP
    Index: Peacock Press (Paul Furnas)
    Bibliography: Richard Carter, Journal of VdGS, vol 3-2, p. 169.
    Notes: For a 20th century transcription of the whole manuscript with some useful additional information see here above GB-Lbl Add. 38783, 39556 and 50781.
Newcastle Upon Tyne, University (GB-Ntu)
  • GB-Ntu Bell-White 46, Leyden viol manuscript
    Date: after 1688 (provisional hypothesis, based on contents and paper)
    Composers: all anonymous
    Content: 84 short tunes for lyra viol.
    Scoring: solo lyra viol
    Tunings: defhf, edfhf. Moreover, the tunings fdefh and fedfh are named in the instructions, though they are not used in the music.
    Ornaments and other symbols: Examples. In the instructions, it is explained that the three dots represent thumps. The commas are added later, by a different hand.
    Index: JVDGS, vol. 2-1, 2008-2009, pp. 35-52; Viola da Gamba Society of Great Britain
    Bibliography: John H. Robinson, John Leyden’s Lyra Viol Manuscript in Newcastle University Library and George Farquhar Graham’s Copy in the National Library of Scotland, JVDGS, vol. 2-1, 2008-2009, pp. 17-57
    Notes: The manuscript was acquired by John Leyden in 1800 circa. It was formerly catalogued as White ms. 42. The prefatory instructions are copied word-for-word from Playford’s Musicks Recreation, 1682 edition.
Oxford, Bodleian Library (GB-Ob)
  • GB-Ob MS Mus Sch b.15, Mark Coleman
    Notes: 2 pages only
  • GB-Ob MS Don. C.57, Colonel Probert’s ms
    ca. 1625-50
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6
  • GB-Ob MS Mus Sch C.61, Francis Withy’s scorebook
    Title: Divitions for ye Bass Violl / Decemb. 3d. Anno Domini / 1687
    Composer: Thomas Mace
    Copyist: Francis Withy
    Date: copied circa 1688-1700
    Content: Only 2 pages of the manuscript (fol. 85) contain music in tablature for lyra viol, copied from Thomas Mace, Musick’s Monument, 1676, pp. 252-253. Apart from that, the manuscript contains music in staff notation by a wide variety of English composers of the second half of the 17th century (Withy himself, Purcell, Young, Matteis, Finger, Corelli, Jenkins, Blow, Lully, Simspon).
    Scoring: solo lyra viol, with additional transcriptions into treble and bass staff notation.
    Tuning: ffeff
    Ornaments and other symbols: Withy, on fol. 85, copied only a few ornaments of the 15 that were defined and explained in Mace, pp. 106-107. Examples.
    Facsimile: Harvester Microform Collection, R2
    Index: Viola da Gamba Society of Great Britain, pp. 138-143
  • GB-Ob MS Mus Sch C.84
    Title: Mr J Jenkins his Ayres for the Harpsecon Lyra Viole Base Vyole and Vyolin
    Composer: John Jenkins
    Content: 14 pieces for lyra ensemble
    Scoring: All pieces for violin, lyra viol, bass viol and harpsichord. The manuscript consists of 4 partbooks.
    Facsimile: Harvester Microform Collection, R5
    Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol. 67-68, 1992
    Tuning: dehfh for all pieces. An inscription on the first page of the lyra viol part reads: “Tune Gamut string to Gamut upon the HarpRecall”.
    Ornaments and other symbols: Occasional slurs, no other symbols, except these dots in The Sixe Bells, at the end of the Mourners’ section, mm. 103-106, where everyone has the same rhythm with a rest at the beginning of each bar. The dots do not appear in the violin, bass viol or harpsichord parts. It is unlikely to be an indication of rests as they appear in many other places in the lyra viol part without this symbol.
    Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
  • GB-Ob MS Mus Sch C.85
    Composer: John Jenkins
    Content: 12 pieces for lyra ensemble: 6 pieces (pavine, almaine, almaine, coranto, coranto, saraband) in G minor, 6 pieces (pavine, aire, aire, coranto, coranto, saraband) in G major.
    Scoring: All pieces for unspecified treble, lyra viol, unspecified bass, unspecified keyboard. The manuscript consists of 4 partbooks.
    Tunings: defhf, edfhf
    Ornaments and other symbols: There are occasional slurs. A diagonal slash (presumed to be a hold) appears in the first piece, but nowhere else. There are no other symbols in the lyra viol part.
    Facsimile: Harvester Microform Collection, R5
    Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68 1992.
    Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
  • GB-Ob MS Mus Sch C.88
    Composer: John Jenkins
    Content: 18 pieces for lyra ensemble
    Scoring: All pieces for unspecified treble, lyra viol, unspecified bass and harpsichord. The manuscript consists of 4 partbooks labelled Treble Parte, Base Parte, Lyra Parte, Harpsecord Parte.
    Tunings: fdefh, fedfh
    Ornaments and other symbols: There are occasional slurs. A diagonal slash (presumed to be a hold) appears in quite a few places. There are no other symbols in the lyra viol part.
    Facsimile: Harvester Microform Collection, R5
    Indexes: Viola da Gamba Society of Great Britain; Frank Traficante, A-R Editions, Recent Research in the Music of the Baroque Era, Vol.67-68 1992.
    Note: The manuscript is one of several purchased from “Mr. Wood” by Oxford University in 1667. Of those volumes, three contain lyra consorts by Jenkins, that were likely copied for use by the North family at Kirtling, where Jenkins worked during the 1650s, and was formally employed 1660-c1669.
  • GB-Ob MS Mus Sch D.217, F[rancis] W[ithy]
    Date: 1681-1703
    Index: GB-Ob
  • GB-Ob MS Mus Sch D.221, Richard Langley
    Composers: Gregorie, Jenkins, Ives
    Content: pieces for 2 lyra viols
    Index: Viola da Gamba Society of Great Britain
  • GB-Ob MS Mus Sch D.233, 236, Mr. Younge
    Dates: 1636, 1641
    Facsimile: Harvester Microform Collection, R10
  • GB-Ob MS Mus Sch D.245-247, Merro partbooks
    Copyist: John Merro (?-1639). The 25 pieces in a different hand at the very end of the manuscript, thought to have been added by John Withy (?-1685), are not for lyra viol but in staff notation. The name Mr. William Iles on the frontispiece of each book was later added, when the collection passed to Oxford.
    Date: late 1620s – early 1630s
    Notes on dating: A flyleaf annotation in Merro’s hand at back of D.245 refers to an event of 1633. The date 1673 on the frontispiece of each book was later added when, after Merro’s death, the collection passed to Oxford.
    Composers: Bosley (3 pieces), William Byrd (2 pieces), Colledge (2 pieces), John Coprario (3 pieces), William Corkine (1 piece), William Cranford (3 pieces), Crosby (1 piece), Cutinge (1 pieces), John Dowland (1 piece), Michael East (1 piece), Daniel Farrant (2 pieces), Alfonso Ferrabosco (31 pieces), Thomas Ford (15 pieces), Thomas Gregorie (20 pieces), Tobias Hume (14 pieces), Simon Ives (11 pieces), John Jenkins (6 pieces), Johnson (1 piece), William Lawes (3 pieces), John Maynard (2 pieces), Daniel Norcombe (3 pieces), Thomas Rede (2 pieces), Joseph Sherlie (10 pieces), Robert Taylor (3 pieces), John Withy (1 piece), Thomas Woodington (2 pieces), anonymous (99 pieces)
    Content: circa 241-250 pieces in tablature. A few of these pieces are duplicated. Moreover, pieces for consort in staff notation.
    Scoring: Pieces for solo lyra viol, for 2 lyra viols, for 3 lyra viols and for lyra viol with bass accompaniment
    Tunings: defhf, defhh, edeff, edfhf, efhfh, fedfh, fefhf (Leero), fefhh, ffefh, ffeff, ffhfh (5te, Alfonso sett), fhfhf (8ts). 2 pieces are for “tenor violl” in tablature, ffeff tuning, with bass accompaniment in staff notation.
    Ornaments and other symbols: Examples.
    Facsimile: Harvester Microform Collection, R11
    Index: Viola da Gamba Society of Great Britain
  • GB-Ob MS Mus Sch E.410-414
    Title: «Richard Rhodes, Sept. 7, 1660»
    Composers: anonymous.
    Date: Sept 7, 1660
    Content: 26 pieces for lyra viol consort, in part books
    Scorings: 13 pieces for an ensemble of 2 unspecified treble instruments, lyra viol, lute and unspecified bass; 13 for an ensemble of 1 unspecified treble instruments, lyra viol, lute and unspecified bass.
    Bibliography: Tim Crawford, An Unusual Consort Revealed in an Oxford Manuscript, Chelys 6, 1975-1976; Ila Stolzfus, The Lyra Viol in Consort With Other Instruments, dissertation, 1982
    Facsimile: Harvester Microform Collection, R12
  • GB-Ob MS Mus Sch E.430, Francis Withye
    Title: Mr Sympson’s Little Consort. Prickt & given mee by Mr Francis Withye. 11 Jan : 1672/3
    Composer: Christopher Simpson
    Date: 1672/3
    Content: 26 numbered pieces which may be grouped into 4 suites according to their tuning and tonality
    Scoring: unspecified treble instrument, lyra viol, unspecified bass instrument, basso continuo. Partbooks are labeled Treble, The Lyra Part, Basse, Bassus Continuus
    Tunings: defhf, edfhf,  fdefh, fedfh
    Ornaments and other symbols: Examples. Occasional slurs, sometimes with articulations; occasional fingerings; a number 2 to denote a rhythmic motive that repeats.
    Facsimile: Harvester Microform Collection, R13
    Index: Viola da Gamba Society of Great Britain
  • GB-Ob MS Mus Sch F.572, King of Sweden
    Index of VdGSGB in preparation
  • GB-Ob MS Mus Sch F.573
    Date: 1690 circa
    Composers: All pieces are anonymous in this manuscript, but thanks to concordant versions names of Steffkens, Philip Hacquart, John Jenkins, Charles Coleman, Simon Ives have been identified.
    Content: The manuscript contains no music for lyra viol, but transcriptions for treble (violin) of pieces for lyra viol. So far 19 pieces have been identified as transcriptions of lyra viol music; the remaining 55-60 pieces for treble are thought to also have their origins as lyra viol music. Moreover, the manuscript contains pieces for solo bass viol, for two bass viols, and for chamber ensembles.
    Scoring: The pieces known to be originally for lyra viol are here transcribed for a solo treble instrument (probably violin, possibly in scordatura), notated in staff notation.
    Facsimile: Harvester Microform Collection, R19
    Indexes: Bodleian Library; Gordon Dodd in Chelys 9, article 4.
    Bibliography: Peter Holman, Thomas Baltzar (?1631-1663): The Incomperable Luciber on the Violin, in Chelys 13
  • GB-Ob MS Mus Sch F.575, Mr. William Iles
    Date: 1673
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6
    Index: Viola da Gamba Society of Great Britain
  • GB-Ob MS Mus Sch F.578
    Composers: Simon Ives, John Jenkins, William Deutekom, anonymous
Oxford, Christ Church Library (GB-Och)
  • GB-Och Mus. 87, Elizabeth Davenant
    Date: 1624
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 7
    Index: Christ Church Library
  • GB-Och Mus. 439, Robert Taylor autograph
    Date: 1634
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 6. Facsimile: Harvester Microform Collection, R18
    Index: Christ Church Library. Index of VdGSGB in preparation
  • GB-Och Mus. 531-532
    Content: lyra viol ensembles
    Facsimile: Harvester Microform Collection, R22
    Index: Christ Church Library. Index of VdGSGB in preparation
  • GB-Och Mus. 725-727
    Content: lyra viol ensembles
    Facsimile: Harvester Microform Collection, R28
    Index: Christ Church Library.
  • GB-Och Mus. 1005
    Composer: John Jenkins
    Content: 17th century copy of Jenkins’ lyra ensemble
    Facsimile: Harvester Microform Collection, R35
    Index: Christ Church Library. Viola da Gamba Society of Great Britain
  • GB-Och Mus. 1006-1009
    Composer: John Jenkins
    Content: Pieces for lyra ensemble
    Facsimile: Harvester Microform Collection, R35
    Index: Christ Church Library
  • GB-Och Mus. 1014, Mr. Rogier
    Facsimile: Harvester Microform Collection, R36
    Index: Christ Church Library
St. Andrews, University Library (GB-SA)
Woking, Surrey History Centre (GB-WOhc)
  • GB-WOhc MS LM/1083/91/35, Loseley manuscript
    Date: 1687-8
    Content: Pieces for keyboard and lyra viol
    Bibliography: AndrewWoolley and John Cunningham, A Little-Known Source of Restoration Lyra-Viol and Keyboard Music: Surrey History Centre, Woking, LM/1083/91/35, RMA, 2010, pp. 1-22
    Index of VdGSGB in preparation
    Notes: Formerly in Guildford, catalogued as BG-Gum
formerly: Tunbridge Wells, Richard MacNutt private collection (GB-TWmacnutt)
  • Ms. without shelf mark, Prissylla Herbert
    Title: «Prissylla Herbert her book 1655»
    Date: 1655
    Composer: anonymous
    Content: 2 short pieces on fol. 45r and 45v; otherwise, the manuscript contains music for virginal.
    Scoring: solo lyra viol
    Tuning: defhf
    Ornaments and other symbols: No ornament signs, only a few slurs
    Modern edition: Joëlle Morton, IMSLP
    Notes: The current whereabouts for the manuscript is unknown, but the lyra viol pieces have been copied by Frank Traficante.

 

Ireland

Dublin, Archbishop Marsh’s Library (IRL-DM)
Dublin, Trinity College Library (IRL-Dtc)
  • IRL-Dtc 408/1, (formerly D.1.21) William Ballet
    Title: «William ballet his book wittns william vines»
    Date: first decades of XVII century
    Composers (mostly inferred from concordances): Jeremy Chamberlaine, John Dowland, Daniel Farrant, Alfonso Ferrabosco, Thomas Ford, Gervise Gerrarde, Tobias Hume, Thomas Paye, Richard Pickeringe, Joseph Sherlie, Sylvanus Stirrop, Robert Tayler, anonymous
    Content: 69 pieces with lyra viol, besides pieces for lute.
    Scoring: 66 pieces for solo lyra viol, 1 duet for 2 lyra viols (missing second part), 2 pieces for voice and lyra viol
    Tunings: efhfh, fefhf, ffeff, ffhfh, fhfcf, fhfhf, hfhfh, efhfh
    Ornaments and other symbols: Examples. Playing instruction: «For the Back of ye bow» (p. 68)
    Facsimile online: IRL-Dtc
    Index: Viola da Gamba Society of Great Britain

 

Norway

Oslo, Universitetsbibliotak, Norsk Musikksamling (N-Ou)
  • N-Ou M294 a/b, Peter Bang notebook
    Date: 1679
    Facsimile online: Newtunings
    Tunings: defhf, edfhf, fdefh
Trondheim, Universitetsbiblioteket i Trondheim (N-Tu)
  • N-Tu GUNNERUS XA HA; Mus. 1:1
    Composers: Schenck, Kühnel
    Facsimile online: N-Tu
    Index: Violanet
  • N-Tu XA HA Mus.1:2
    Composers: Schenck, anonymous
    Facsimile online: N-Tu
    Index: Violanet

 

Russia

St. Petersburg Academy of Sciences (RUS-SPan)
  • RUS-SPan O No 124, Swan Lute manuscript
    Date: ca. 1630-1655
    Composer: anonymous
    Content: 2 pieces Auf der Viol, fol. 84-85. The manuscript contains mostly tablatures for lute, keyboard instrument and baryton.
    Scoring: solo lyra viol
    Tuning: efdef
    Ornaments and other symbols: No slurs, no holds, no ornament signs
    Facsimile edition: Editions Orphée, 1994
    Facsimile online (pages with viol music only): Violanet
    Index: Viola da Gamba Society of Great Britain

 

Sweden

Kalmar, Kalmarlaäns Museum (S-Kl)
Lund, Universitetsbiblioteket (S-L)
Norrköpings, State Library (S-N)
Stockholm, Musik och teaterbiblioteket (S-SKma)
Uppsala, Universitetsbiblioteket (S-Uu)
  • S-Uu Inst. mus.hs 4:3a
    Composer: George Hudson
    Date: 1640s
    Content: Music for lyra ensemble (lyra viol, violin and theorbo)
    Facsimile online: S-Uu
  • S-Uu Inst. mus.hs 4:3: 1-2
    Composer: George Hudson
    Date: 1640s
    Content: Music for lyra ensemble (lyra viol, violin and theorbo)
    Facsimile online: S-Uu

 

USA

Cambridge, Harvard University Music Library (US-CA)
  • US-Ca MS Mus. 70, William Lawes autograph
    Date: ca. 1620-1645
    Facsimile online: US-CA
Chicago, Newberry Library
Los Angeles, University of California
New Haven, Yale University, School of Music (US-NH)
  • US-NH Misc. 170, Filmer Ms. 3
    Composers: Ives, Coleman, anonymous
    Date: 1639
New Haven, Yale University, Beinecke Library (US-NHb)
New York, Public Library (US-NYpl)
  • US-NYpl Drexel 4175, Anne Twice
    Date: before 1630
    Facsimile edition: English Song 1600-1675, New York, Garland, 1986-9, vol 11
San Marino, Huntington Library (US-SM)
  • US-SM Ellesmere EL 25/A/46-52
    Date: ca. 1660
    Bibliography: Richard Charteris, The Huntington Library Part Books, Ellesmere MSS EL 25 A 46-51, Huntington Library Quarterly, Vol. 50, No. 1 (Winter, 1987), pp. 59-84. https://www.jstor.org/stable/3817348
Washington, Library of Congress (US-Wc)
  • US-Wc M2.1.T2 (17C) Case
    Composer: Dubuisson
    Date: 1666
    Facsimile edition: Minkoff, 1998
    Index: in Minkoff edition
  • US-Wc M140.F675 (Case)
    Notes: copy of Blaikie/Wighton ms, made by Alfred Moffat (1863-1950)

 

 

created May 2022
last update August 2022

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