Musica (image 3, page 1r)Galliard (image 3, page 1r)Prelude (image 3, page 1r)Prelude 

(image 3, page 1r)Pavan (image 4, page 1v)Galliard to the flat pavan (image 4, page

1v)Pavan (image 5, page 2r)Galliard (image 5, page 2r)Passymeasures pavan (image 5,
page 2r)De la Court pavan (image 6, page 2v)My heart is surely set (image 6, page
2v)Go from my window (image 7, page 3r)Duke of Milan's dump (image 8, page
3v)Divisions on a ground (image 8, page 3v)Coranto for Mrs Elizabeth Murcott  (image 8,
page 3v)Galliard (image 9, page 4r)Mrs Elizabeth Murcott's delight (image 9, page
4r)Galliard (image 9, page 4r)Pavan dolorosa (image 10, page 4v)Mrs Elizabeth Murcott's
galliard (image 11, page 5r)Mr Timothy Wagstaff's content of desire (image 12, page
5v)The Lord Hastings' good morrow (image 12, page 5v)George Pilkington's funeral 
(image 13, page 6r)Galliard (image 12, page 5v)Pavan (image 14, page 6v)Pavan Helena 
(image 16, page 7v)Untitled (image 16, page 7v)Galliard (image 16, page 7v)Dargason 
(image 17, page 8r)Galliard (image 17, page 8r)Goodnight (image 18, page 8v)Loth to
depart (image 19, page 9r)The Scottish hunt's up (image 20, page 9v)Ploravit pavan 
(image 21, page 10r)Almain (image 21, page 10r)Mr Strang's Gregory Hits (image 21,
page 10r)Pavan (image 22, page 10v)Bona speranza pavan (image 23, page 11r)Pavan 
(image 23, page 11r)Pavan (image 24, page 11v)Melancholy galliard (image 25, page
12r) Divisions on a ground (image 26, page 12v)The hunt's up (image 27, page 13r)La sol
la pavan (image 28, page 13v)Pavan (image 28, page 13v)My Lord Willoughby's Welcome
Home - Roland (image 30, page 14v)Untitled (Prelude?) (image 30, page 14v)Doctor
Case's pavan (image 30, page 14v)Fantasia (image 31, page 16r)Fantasia (image 31,
page 16r)Fantasia (image 32, page 16v)Ma pauvre bourse (image 33, page 17r)Untitled 
(image 34, page 17v)Fantasia (image 35, page 18r)Fantasia (image 36, page 18v)In
nomine (image 37, page 19r)Verbum iniquum (image 38, page 19v)Avec vous mon
amour finera (image 39, page 20r)Un jour passe (image 40, page 20v)Toy (image 40,
page 20v)Fatntasia? (image 41, page 21r)Fantasia (image 42, page 21v)Fantasia (image
43, page 22r)Mrs White's nothing (image 43, page 22r)Miserere (image 44, page
22v)Fantasia (image 45, page 23r)Susanne une jour (image 46, page 23v)A jig - Doctor
Bull's Myself (image 47, page 24r)Si vous voulez (image 48, page 24v)Le content est
riche (image 49, page 25r)Fantasia (image 50, page 25v)Fantasia (image 51, page
26r) Fantasia (image 52, page 26v)Jour désiré (image 53, page 27r)Fantasia (image 54,
page 27v)Fantasia (image 55, page 28r)Fantasia (image 56, page 28v)J'attend secours 
(image 57, page 29r)Galliard on Walsingham  (image 57, page 29r)Battle galliard (image
58, page 29v)Prelude (image 61, page 31r)Pavan (image 61, page 31r)Quadro pavan 
(image 62, page 31v)Last will and testament pavan (image 63, page 32r)Quadro galliard 
(image 64, page 32v)Playfellow (image 64, page 32v)Galliard (image 65, page
33r) Monsieur's almain (image 66, page 33v)Slight conceit (image 67, page 34r)Pavan 
(image 68, page 34v)Fantasia (image 69, page 35r)Almain (image 69, page 35r)Tres
choses (image 70, page 35v)Pavan (image 71, page 36r)The Night Watch almain (image
71, page 36r)La vecchia pavan (image 72, page 36v)Pavan (image 73, page 37r)Prelude 
(image 73, page 37r)Fantasia (image 74, page 37v)Pavan (image 74, page 37v)A toy 
(image 74, page 37v)Pavan (image 75, page 38r)Galliard (image 75, page 38r)Almain 
(image 75, page 38r)Lady Russell's pavan (image 76, page 38v)Galliard (image 76, page
38v)Galliard (image 77, page 39r)Fantasia (image 78, page 39v)Fantasia (image 79,
page 40r)Earl of Essex's galliard / Can she excuse (image 80, page 40v)Frog galliard  
(image 80, page 40v)My Lord of Dehim's Lamentation (image 80, page 40v)Prelude 
(image 80, page 40v)French galliard (image 81, page 41r)Galliard (image 81, page
41r) Hunting of the mouse (image 81, page 41r)Pavan (image 82, page 41v)Galliard to
the pavan (image 83, page 42r)Galliard (image 84, page 42v)Clement's squirrel (image
84, page 42v)Pavan (image 85, page 43r)Sedit sola pavan (image 86, page 43v)Galliard 
(image 87, page 44r)Heart's ease - The Honeysuckle (image 87, page 44r)Prelude (image
87, page 44r)Mr. Chidley's farewell (image 87, page 44r)Pavan (image 88, page
44v)Galliard (image 89, page 45r)Almain (image 89, page 45r)Cradle pavan (image 90,
page 45v)Pavan (image 91, page 46r)Galliard (image 92, page 46v)Piper's pavan (image
92, page 46v)Almain (image 93, page 47r)The long pavan (image 94, page 47v)Lady
Leighton's pavan / A dream (image 95, page 48r)Lady Leighton's almain (image 95, page
48r) Untitled (Jig?) (image 95, page 48r)Pavan (image 96, page 48v)Lord Russell's
galliard (image 97, page 49r)Progress (image 97, page 49r)Decrevi Pavan (image 98,
page 49v)Squire's galliard (image 98, page 49v)Galliard (image 100, page 50v)Catin 
(image 100, page 50v)Fantasia (image 100, page 50v)Cradle pavan (image 102, page
51v)Galliard (image 102, page 51v)Untitled (Toy?) (image 102, page 51v)Viscount Lisle's
galliard - Susanna galliard (image 103, page 52r) Galliard (image 103, page 52r) Galliard 
(image 103, page 52r) Galliard (image 103, page 52r) Fantasia (image 104, page 52v)Jig? 
(image 104, page 52v)Piper's galliard (image 105, page 53r)Robin is to the Greenwood
Gone / Bonny Sweet Robin / Robin Hood (image 105, page 53r)Galliard (image 106, page
53v)Galliard on Go from my window (image 106, page 53v)Galliard (image 106, page
53v)Divisions on a ground (image 107, page 54r)Ut Re Mi Fa Sol La (image 108, page
54v)Rose (image 108, page 54v)New Year's gift galliard (image 108, page 54v)My lady
P's pavan (image 109, page 55r) Galliard (image 110, page 55v)Galliard (image 110, page
55v)Orlando sleepeth (image 110, page 55v)Captain Cavendish's galliard (image 111,
page 56r)Fortune my foe / Complaint (image 111, page 56r)Tarleton's jig (image 111,
page 56r)Gathering peascods (image 111, page 56r) Galliard (image 111, page
56r) Pavan (image 112, page 56v)Galliard (image 112, page 56v)Pavan (image 113, page
57r) Lady Russell's pavan (image 113, page 57r) Last will and testament pavan (image
114, page 57v)Lady Clifton's spirit / Katherine Darcy's spirit (image 115, page 58r) Fr.
Dac. galliard (image 115, page 58r) Lord Strang's March (image 115, page 58r) Solus cum
sola (image 116, page 58v)Lord Willoughby's welcome home / Roland (image 116, page
58v)Queen Elizabeth's Galliard (image 117, page 59r)Almain (image 117, page 59r)The
Gordian knot (image 118, page 59v)Almain (image 119, page 60r)Jig (image 119, page
60r) Galliard (image 119, page 60r) Farewell all (Welsh almain) (image 119, page
60r) Almain (image 120, page 60v)Clark's Galliard / Jest (image 120, page 60v)Cradle of
conceits pavan (image 121, page 61r)Hillary march (image 121, page 61r) Pavan (image
121, page 61r)Au joli bois (image 121, page 61r) Earl of Derby's Coranto / French King's
Masque (image 122, page 61v)Queen's galliard (image 123, page 62r)Galliard (image
123, page 62r)New Year's gift galliard  (image 123, page 62r) Earl of Essex's galliard 
(image 124, page 62v)Passymeasures pavan (image 124, page 62v)Pavan (image 125,
page 63r)Galliard (image 125, page 63r)Ahi se la donna mia (image 125, page
63r) Almain (image 126, page 63v)Mrs White's Choice / Thing (image 126, page
63v)Holborne's farewell (image 126, page 63v)La vecchia (pavan) (image 127, page
64r) Galliard (image 127, page 64r) Go merrily wheel (image 127, page 64r) Long pavan 
(image 128, page 64v)Fantasia (image 129, page 65r) Lullaby (image 129, page
65r) Passymeasures pavan (image 130, page 65v)Bonny sweet boy (image 131, page
66r) Robin is to the Greenwood Gone / Bonny Sweet Robin / Robin Hood (image 131, page
66r) Playfellow jig (image 131, page 66r) To Westminster (image 132, page 66v)Spanish
pavan (image 132, page 66v)Pavan (image 133, page 67r)Galliard (image 133, page
67r) Fantasia (image 134, page 67v)Galliard (image 134, page 67v)Southwell's galliard 
(image 135, page 68r) Trellyll (image 135, page 68r) Pavan (image 136, page 68v)Wilson's
wild (image 136, page 68v)Pavan (image 137, page 69r) Coranto - Volt (image 137, page
69r) Quadro pavan (image 138, page 69v)Galliard to the quadro pavan (image 138, page
69v)Downright Squire (image 139, page 70r) Almain (image 139, page 70r) Quadro pavan 
(image 140, page 70v)Pavan (image 141, page 71r)Squire's galliard (image 142, page
71v)Galliard (image 142, page 71v)Pavan (image 143, page 72r) Clark's Galliard / Jest 
(image 144, page 72v)Sir Robert Sidney's Galliard (image 144, page 72v)Coranto (image
144, page 72v)La volta (image 145, page 73r) E. Porter's pavan (image 145, page 73r) In
nomine (image 146, page 73v)Galliard (image 146, page 73v)John petit John (image 147,
page 74r)Passymeasures pavan (image 148, page 74v)The Countess of Ormond's Galliard
/ Light of Love (image 148, page 74v)Galliard (image 149, page 75r) Almain (image 149,
page 75r)La volta (image 149, page 75r) Lachrimae pavan (image 150, page
75v)Mignarda (galliard) (image 151, page 77r)Pavan (image 151, page 77r)The squirrel's
toy (image 151, page 77r) Pavan (image 152, page 77v)Chow Bente (image 153, page
79r) Song (image 153, page 79r)Sir Walter Raleigh's galliard (image 154, page 79v)Fancy 
(image 154, page 79v)Robin Hood / Toy (image 155, page 80r) Galliard (image 155, page
80r) Galliard (image 155, page 80r) A fancy (image 156, page 80v)Over the broom Bessy 
(image 156, page 80v)Toy (image 156, page 80v)Hornpipe (image 157, page
81r) Coranto (image 157, page 81r)Lachrimae pavan (image 158, page 81v)Bugle bow 
(image 159, page 82r) Captain Digorie Piper's pavan (image 159, page 82r)Galliard on
Walsingham (image 160, page 82v)De la tromba pavan (image 160, page 82v)Patience
pavan (image 161, page 83r) Passion galliard (image 161, page 83r)Passymeasures
pavan (image 162, page 83v)Passymeasures pavan (image 163, page 84r)Sans per
pavan (image 164, page 84v)Lachrimae pavan (image 164, page 84v)Fantasia (image
165, page 85r)Mrs Anne Harcourt's galliard (image 165, page 85r)Fantasia (image 166,
page 85v)Sir Philip Sidney's Lamentation (image 166, page 85v)Scottish galliard (image
167, page 86r)Good night and good rest (image 167, page 86r)Pavan (image 168, page
86v)Flat pavan (image 169, page 87r) Galliard (image 169, page 87r) Primero (image 170,
page 87v)Pavan (image 171, page 88r) Old medley (image 172, page 88v)Galliard to the
pavan (image 173, page 89r) Passymeasures pavan (image 174, page 89v)Galliard to the
passymeasures (image 175, page 90r)Quadro pavan (image 178, page 91v)Frog galliard 
(image 181, page 93r) Galliard to the quadro pavan (image 182, page 93v)A down (image
183, page 94r)Fantasia (image 184, page 94v)Galliard (image 185, page 95r)Galliard 
(image 185, page 95r) Hamburg march (image 186, page 95v)Galliard (image 186, page
95v)Walsingham  (image 187, page 96r) Walsingham (image 188, page 96v)Preludium 
(image 189, page 97r) Fragment (image 189, page 97r)Fragment (image 189, page
97r) Galliard (image 189, page 97r) Pavan (image 190, page 97v)Walsingham  (image 191,
page 98r)Jig (image 191, page 98r)Pavan (image 192, page 98v)Lord Burgh's Galliard /
Johnson's Jewel Galliard (image 193, page 99r)Hamburg march galliard (image 193, page
99r) To plead my faith galliard (image 194, page 99v)Kemp's jig - The Parliament (image
194, page 99v)Almain (image 195, page 100r)Jig (image 195, page 100r)Fantasia (image
196, page 100v)Mrs Nichols' almain (image 196, page 100v)Almain or masque tune 
(image 196, page 100v) Divisions on a ground (image 197, page 101r) Galliard (image
198, page 101v)Tuning and prelude (image 198, page 101v)

Mathew Holmes lute books (MS Dd.2.11)

Dd.2.11 is the first and largest of the four Mathew Holmes lute books, copied probably
1588-1595. Nine music manuscripts in Cambridge University Library were shown by Ian
Harwood in the 1960s to have been copied by Holmes who was Precentor and Singingman
of Christ Church in Oxford from 1588 and then in Westminster Abbey in London from 1597
until his death in 1621. Four of the manuscripts, with the shelfmarks
Dd.2.11, Dd.5.78.3, Dd.9.33 and Nn.6.36, form a chronological series largely devoted to
tablature for the renaissance lute. The four comprise the most extensive and important
source of English lute music to survive in the world, totalling over 650 separate items,
some duplicated within or between manuscripts, crammed into all available space of more
than 300 folios (600 pages) in total. The manuscripts are the major source of the music of
all the great English renaissance lute composers and preserve a complete cross-section of
the repertoire in common use in England for the period 1580 to 1615. The other five
manuscripts copied by Mathew Holmes are one for solo cittern (Dd.4.23), and four part
books for the characteristic English mixed consort of lute (Dd.3.18), bass viol (Dd.5.20),
recorder (Dd.5.21) and cittern (Dd.14.24), with part books for bandora and treble viol now
lost.
Holmes seems to have copied the four lute books sequentially, probably with some
overlap, the first two manuscripts in Oxford from the late 1580s continuing with the last
two into the second decade of the seventeenth century after he moved to Westminster
Abbey. It is noticeable that his handwriting is bold and clear in the first manuscript, but
gradually deteriorates throughout the series, accompanied by fewer titles and with
composers’ names reduced to initials, together with progressive use of abbreviated
notation of rhythm signs in the later manuscripts. The consort part books he also copied
are presumed to have been used for teaching the choristers in his care and other pupils at
Oxford and Westminster Abbey, but the purpose of the solo lute books is not at all clear. It
is most likely that he chose to collect and record for his private use the lute music in
circulation in the capital, which he first must have had access to when in Oxford and surely
did when he moved to the centre of court life at Westminster Abbey. He may well have
been acquainted with most of the resident and visiting composers still living, and could
have been trusted to borrow their lute books long enough to copy a selection of his choice.
From the high quality of much of the music, it seems he could play the lute to a high
standard of proficiency and for his own personal recreation. Thankfully his hobby of filling
up the four manuscripts obsessively with the huge amount of contemporary music that he
laid hands on over a quarter of a century has turned out to be an invaluable legacy for the
lute revival nearly 400 years later.
The Holmes lute books are the first English sources to abandon the predominant influence
of Italian musicians on the earlier Tudor court in favour of the characteristic forms of
English pavans, galliards, almaines and sets of variations on popular ballad tunes, and so
collectively preserve the flowering of the Golden Age of English lute music. The 324 items
in Dd.2.11 are for solo renaissance lute mainly of 6 courses, except for 55 bandora solos
and 1 bandora consort part. The contributor of the most music is Anthony Holborne with
28 lute solos and 19 for bandora. He was a highly praised musician and styled himself
'Gentleman and servant to her most excellent Majestie' (Elizabeth I) in his book of cittern
solos published in 1597. However, the 20 lute solos by John Johnson, 21 by Francis
Cutting and 38 by John Dowland are a very significant part of the music Holmes collected
for his first manuscript, mainly copied in Oxford. It is a major source for the music of
Richard Allison (8) and Francis Pilkington (8), and many others are represented by one or
a few items each, ranging from the great to the obscure and including English composers
from much of the Elizabethan period: Robert Ascue (2), Edward Blankes (1), William Byrd
(2), Michael Cavendish (1), Edward Collard (2), Mr Lusher (2), John Marchant (1), Robert
Parsons (1), Peter Philips (1), Edward Pierce (1), Thomas Robinson (1), Nicolas Strogers
(1), John Taverner (1), John Whitfield (1). The genres are also largely typical of English
lute music and are dominated by pavans and galliards (26 fantasias, 83 pavans, 84
galliards, 19 almaines, 8 jigs and settings of 15 popular ballad tunes, some in the
characteristically English form of a set of variations).
In addition to English music, Holmes also copied music by continental composers employed
at the English court, including the Italians Augustine Bassano (1), Lodovico Bassano (3),
Alfonso Ferrabosco the Elder (13), Renaldo Paradiso (1), and the Flemish Philip van Wilder
(3). Music by composers with no obvious association with England also found its way into
his hands, including one each from the continental printed collections by Emmanuel
Adriaenssen, Joan Maria da Crema, Melchior Neusidler and Matthäus Waissel, as well as
fantasias by Francesco da Milano (4), and lute intabulations of vocal music by the Flemish
and French composers Jacob Arcadelt (1), Derick Gerarde (1), Orlando de Lassus (3) and
Claudin de Sermisy (1), as well as the Spanish composer Cristobal Morales (1). Apart from
the largest single collection of English lute solos, Dd.2.11 is also the largest of only seven
known sources of music for the wire strung 7-course bandora, and includes all the known
bandora solos ascribed to Anthony Holborne (19), together with a few by Alfonso
Ferrabosco (6), Richard Allison (2) and Mr Valentyne (1). The remainder are anonymous,
or bear the names of John Dowland (3), John Johnson (2) and Francis Cutting (1). It
seems likely that Holborne composed for the bandora, but it is not clear how many of the
other bandora pieces were written for the bandora rather than arranged from lute solos of
the named composers.
Many lute solos in the Holmes manuscripts have titles with the names of dedicatees,
including royalty, nobility, members of the merchant class, academics or actors from the
London theatres. The more famous can be easily identified and patronage often runs in
families, but it is only rarely that the date or the occasions for which the music was written
can be identified. Composers were probably either commissioned to write appropriately
merry or sorrowful music for events such as marriages or funerals, or else they submitted
music with the offer of a dedication to honour a patron or for direct financial reward, in the
same way that they dedicated whole printed books of music to notable figures to
acknowledge patronage or for financial gain. The 50 or so dedications in the Holmes lute
books include in Dd.2.11 a galliard on fol. 72v by an unnamed composer dedicated to Sir
Robert Sidney (1563-1626). On fol. 85v is Sir Phillip Sydneys Lamentacion by an unnamed
composer, dedicated to Robert’s brother Philip Sidney (1554-1586), poet, courtier and
soldier. On fols 40v and 62v, John Dowland’s very popular Earl of Essex Galliard is
dedicated to Robert Devereux, Queen Elizabeth's favourite from 1587 who was executed
for treason in 1601. The tune became a favourite well into the seventeenth century under
the title Can she excuse from the related song Dowland published. The dedicatee of
Francis Pilkington’s George Pilkingtons Funerall on fol. 6r was presumably the composer’s
brother or other family member, but the date of his death is not known. A piece written for
a specific event that can be dated is the anonymous lute solo titled Mr Chidleys farewell on
fol. 44r, probably marking the departure of John Chidley and Andrew Meyrick from
Plymouth with three ships in 1589, a voyage which came to utter disaster and probably
ruined the Chidley family. Finally several jigs are dedicated to famous comic actors,
presumably celebrating such events as their rise to fame or their retirement from the
stage, and it is likely that the actors danced the jigs to the music on stage. Dd.2.11
includes versions of jigs probably for the actors Richard Tarleton (d. 1588) on fol. 56r,
Robert Wilson (d. 1600) on 68v, and William Kemp (d. 1603) on 99v.
John H. Robinson, Lute Society
Information about this document

Physical Location: Cambridge University Library




Classmark: MS Dd.2.11




Subject(s): Lute music; Bandora music




Origin Place: Oxford




Date of Creation: c. 1588-1595 C.E.




Associated Person(s): le Bé, Nicolas; Gonault, Jean




Extent: a-d + i + 102 + e-h Leaf height: 350 mm, width: 229 mm. Staff height:
15 mm, width: 192-206 mm.




Collation:

The manuscript consists of 8 quires as follows:

Four modern paper flyleaves (fols a-d)

1 paper flyleaf (fol. i)
Quire 116 (fols 1-16; fol. 15 is missing)
Quire 210 (fols 17-26)
Quire 314 (fols 27-40)
Quire 410 (fols 41-50)
Quire 512 (fols 51-62)
Quire 612 (fols 63-74)
Quire 712 (fols 75-86; fols 76, 78 are missing)
Quire 814 (fols 87-100)
2 single folios (fols 101-102)
Four modern paper flyleaves (fols e-h)




Signatures added in pencil at the centre of the bottom of the first leaf of each quire
(ai, bi, ci etc.) and the recto of the central opening of each quire is marked by a
'+'. In the seventh quire, the '+' is marked on fol. 82r when it should be on
fol. 81r.




Material: Paper with two distinct watermarks of mills located in the vicinity of

Troyes in the Champagne region of France. The leaves of quires 1-5 and 8 bear
various marks of Nicolas le Bé, consisting of a capital B on a shield topped by a
crown with his name in capitals on a scroll beneath. The marks vary, even within a
single quire. On occasion the name is reversed or inverted and sometimes takes
the form 'Nicolas'. This suggests that although from same source, the sheets were
not taken from a single paper stock. Nicolas le Bé's paper is found in other English
lute books and is used exclusively throughout the 'Wickhambrook' lute manuscript.
Quires 6 and 7 bear a different watermark in the form of a bunch of grapes with
the initials I G at the bottom. François Le Clert identified this as the mark of Jean
Gonault.




Format: Codex




Condition:

The manuscript has suffered considerable water staining and damage. Most of the
leaves are stained at the top and the damage at the beginning and end of the
volume has resulted in losses of portions of the first and last few leaves. Fols 15,
76 and 78 are missing.




Binding:
 

Bound in 2006 at Cambridge University Library in an Espinosa limp vellum style

binding, sewn on seven split alum-tawed supports laced through limp vellum
covers with an alum-tawed spine, fastened with two bone clasps.

The manuscript was previously bound in 1918 by the Cambridge firm Stoakley. It
was half-bound in goatskin with marbled paper sides, sewn on five supports with
false raised bands.




Script:

A single hand is responsible for the words and music throughout, identified as
that of Mathew Holmes. The opening epigram and rubrics are written
in secretary hand.




Music notation:

French tablature on 6-line staves copied by Mathew Holmes.




Foliation:




"fol. i" in ink by Holmes in the top right corner of the first folio.

Modern pencil foliation in the bottom right hand corner of each recto.





Layout:


Each page from 1r-101v is marked with twelve 6-line staves ruled without a
rastrum. Vertical lines are marked down the right and left margins of the page to
enclose the staves.




Additions:

On the verso of the first flyleaf (fol. iv), Holmes has added an inscription >("Musica
mentis medicina mæstæ") and two pairs of hexameter verse, set out to show the
concordant syllables:
Quos anguis dirus tristi dulcedine pavit
Hos sanguis mirus Christi mulcedine lavit.

Qui capit uxorem poenam capit atque dolorem

Qui caret uxore poena caret atque dolore.

On the recto of the flyleaf at the end of the manuscript (fol. 102r), is an aphorism
in three parts in Holmes' hand.
Marke this lesson
Serue God euer

Credit not all that thow hearest

Say not all that thow thinkest
Desire not all that thow seest
Spend not all that thow hast
Doe not all that thow maist

But of all thinges take heed of the beginninge

See the middle and praise the endinge
Doo that which is good, say that is true
Cherish old frendes, chaung for no new.

There is a fragment of lute tablature at the bottom right corner of fol. 102r which

is not in Holmes' hand.

The shelfmark "Dd-2-11" has been added in ink at the top of the opening leaf in an
eighteenth-century hand.

On the front flyleaf (fol. ir) are the inscriptions "44 135" in ink and "Dd-2-11"in
pencil.




Provenance:
 

Ian Harwood identified Mathew Holmes as the copyist of CUL MS Dd.2.11 and
several other lute books in 1963. It has been possible to place Holmes' books in
chronological order and Dd.2.11 is the first. It was probably substantially copied at
Oxford where Holmes was precentor and singingman at Christ Church between
1588 and 1597. On fol. 22r, John Dowland is described as "Bacheler of Musicke";
he received his degree at Oxford in 1588 suggesting that this piece was not copied
before this date. On fol. 56v, Edward Pierce is described as >"Regie Capellae",
suggesting that this piece was written in or before 1600 when Pierce left the
Chapel Royal to go to St Paul's.

Harwood (2010) suggests that Holmes took his books to Westminster Abbey in
1597 when he became 'chanter' and singingman. Some of his later manuscripts
were certainly copied there and it seems likely that all the manuscripts were
together in Westminster at the time of Holmes' death in 1621. It is not known
when or by what means they entered the University Library. The first reference to
Dd.2.11 is in CUL MS Oo.7.53, a manuscript catalogue of the library compiled in
1753.




Data Source(s): This catalogue entry is based with permission on the

introduction and inventory of the manuscript prepared by John H. Robinson for the
Lute Society facsimile edition: Ian Harwood, John H. Robinson and Stewart
McCoy, The Mathew Holmes Manuscripts I: Cambridge University Library MS
Dd.2.11 (Albury: Lute Society, 2010).




Author(s) of the Record: Suzanne Paul




Bibliography:

Modern Editions

Simpson, Claude M., The British broadside ballad and its music (New Brunswick,
N.J.: Rutgers University Press, 1966).

Jeffery, Brian (ed.), Francis Pilkington: Complete works for solo lute (London:

Oxford University Press, 1970).


Ness, Arthur J. (ed.), The lute music of Francesco Canova da Milano (1497-
1543) (Cambridge, MA: Harvard University Press, 1970).

Long, Martin (ed.), Daniel Bacheler: Selected Works for Lute (London: Oxford

University Press, 1972).

North, Nigel (ed.), William Byrd: Music for the lute (London: Oxford University
Press, 1976).

North, Nigel (ed.), Alfonso Ferrabosco: Collected works for lute and bandora. Part
1 Lute (London: Oxford University Press, 1979).

Poulton, Diana and Basil Lam, The collected lute music of John Dowland 3rd
(London: Faber & Faber,, 1981).

Charteris, Richard (ed.), Alfonso Ferrabosco the Elder (1543-1588): Opera omnia,

vol. IX Instrumental music, Corpus mensurabilis musicae vol. 96 (Neuhausen,
Stuttgart: American Institute of Musicology: Hänssler-Verlag, 1988).

Nordstrom, Lyle, The bandora: its music and sources, Detroit studies in music
bibliography ; vol. 66 (Warren, MI: Harmonie Park Press, 1992).

Robinson, John and Stewart McCoy (eds), The solo lute music of Richard Allison:
with bandora and cittern arrangements (London: Lute Society Music Editions,
1995).

Smith, David J. and John H. Robinson (eds), Lute intabulations of works by Peter

Philips, Lute Society music editions (Guildford: Lute Society,, 1998).

Burgers, Jan (ed.), John Johnson: Collected lute music (Lübeck: Tree Edition,

2001).

Burgers, Jan (ed.), Francis Cutting: Collected lute music (Lübeck: Tree Edition,

2002).


Spring, Rainer aus dem, Anthony Holborne: Music for lute and bandora Rev.
(Guildford: Lute Society, 2002).

Humphreys, David (ed.), Philip van Wilder: Music for lute and chanson
transcriptions for one and two lutes and for voice and lute (Guildford: Lute Society,
2003).

Harwood, Ian, John H. Robinson and Stewart McCoy (eds), The Mathew Holmes
Manuscripts I: Cambridge University Library MS Dd.2.11 (Albury: Lute Society,
2010).

Thematic Index of music for viols: Tablature manuscripts (Viol da Gamba Society,

2011-) http://www.vdgs.org.uk/tab.html.

Secondary Literature

Lumsden, David, The sources of English lute music (1540-1620) (PhD thesis

Cambridge: University of Cambridge, 1957).

Harwood, Ian, "The Origins of the Cambridge Lute Manuscripts", Lute Society

Journal vol. 5 pp. 32-48 (1963).

Harwood, Ian, "The Origins of the Cambridge Lute Manuscripts: A Postscript", Lute

Society Journal vol. 6 p. 29 (1964).

Nordstrom, Lyle, "The Cambridge consort books", Journal of the Lute Society of

America vol. 5 pp. 70-103 (1972).

Boetticher, Wolfgang, Handschriftlich überlieferte Lauten- und Gitarrentabulaturen

des 15. bis 18. Jahrhunderts: beschreibender Katalog, International inventory of
musical sources (RISM) B vol. 7 (München: Henle, 1978).


McFeely, Julia Craig, English Lute Manuscripts and Scribes 1530-
1630 (2000) http://www.ramesescats.co.uk/thesis/.

Spring, Matthew, The lute in Britain: a history of the instrument and its

music (Oxford: Oxford University Press, 2001).

Harwood, Ian, "A Lecture in Musick, with the Practice thereof by Instrument in the
Common Schooles, Mathew Holmes and Music at Oxford University c.1588-
1627", Lute Society Journal vol. 45 pp. 1-70 (2005).