Lord Danby's Lute Book: Inventory



Item MS page numbers Hand Titles in the MS
1 pp. 1-2 A Allemande Comte Logy
2 pp. 3-4 A Courante
Concordance: i) NYPL, f 55v (anon) [Holland 77]
2a pp. 5-6 A Le Double
3 p. 7 A Bourée
Concordances: i) Knie, f. 264v (anon)
ii) Wars56, p. 19 (anon)
iii) Wars57, p. 17 (anon)
[cf Wash, f. 15v (anon) — only 1st strain is identical]
4 pp. 9-10 A Gigue
Concordances: i) Hin1699, p. 17, ‘Gigue d’H[interleithner]’ — last mvt of Konzert V
ii) Kre83, f. 41v, ‘Gigue sopra la furie della battaglia’ (anon) [Flotzinger 831]
5 p. 11 A Air La Favorite du Roy de France
6 p. 12 A Gavotte la belle Angloise
7 pp. 13-14 A Gigue Flammande
8 pp. 15-16 A L’Entrée en Angleterre
9 pp. 17-18 A Gigue de Mylord Danby
10 pp. 19-20 A Menuet
11 p. 21 B Menuette
Concordances: i) Vie18761, f. 3 (anon — copied by the same scribe) [Maier 464]
ii) Pra76, f. 53v (violin), 65v (guitar) — in E minor
[On p. 22 is a fragment—a single strain?—of a piece in C major in hand C]
12 pp. 23-24 D Ouverture des sig: Hendell
Concordance: i) Ber9050, f.00 (score à 4) — possibly the original overture to Almira (1705) (see Introduction) [Baselt HWV XXXXX]
[The first seven bars are substantially the same as those of the sinfonia to Handel’s anthem, The Lord is my Light (Handel Chandos, p. 151); the fugal section is related to the corresponding section in the overture to his last oratorio, The Triumph of Time and Truth (Handel Triumph, p. 2), which is largely based on music from before 1710.]
13 p. 25 D Gavott H:
14 p. 26 D Menuet
15 pp. 26-27 D Bourée H
16 p. 28 D Gigue
17 p. 29 D Sarabande plaignante N
17a p. 30 D Double
18 p. 31 D Air N
[On p. 32 is an unintelligible fragment in hand C]
19 pp. 33-4 D Allemande
Concordances: i) deV1686, pp. 18-19 (guitar tabl) [de ViséeG, p. 62]
ii) deV1686, pp. 54-5 (score à 2)
20 pp. 35-6 D Gigue H
Concordance: i) Handel Almira, p. 82, Act III scene 4 [no. 54]: ‘Gigue. (Tanz von Charletans)’ (à 2) [Baselt HWV XXXXX]
21 pp. 37-8 D Pascaille de l’Opera d’Armide
Concordances: i) Lully Armide, p. 232, Act V scene 2: ‘Les plaisirs ont choisi’ [Schneider LWV 71/62]
ii) (Several kbd versions; see Gustafson I, p. 299)
22 pp. 39-40 D Allemande. La fidele Uranie. C. N.
23 pp. 41-2 D Allemande. Le triste depart
24 pp. 43-4 D Courante
25 p. 44 D Sarabande
26 pp. 45-6 D Gigue
27 p. 47 D Aria
28 pp. 49-50 A La Loure
Concordances: i) Campra Europe, p. 125, Troisiéme Entrée scene II, ‘Premier Air, pour les Espagnols’
ii) Country Dancing Master1698, p. 47, ‘A new Spanish Entrée … danced by Monsieur L’Abbé before His Majesty at Kensington, and at the theatre in Little Lincoln’s Inn Fields, with great applause’ [Barlow 398]
iii) Sto176, f. 20v, ‘Air pour les Espagnols’ (for kbd) [Rudén 3573]
29 pp. 51-2ALa belle taille [written at the top of p. 51 in hand of ownership note on flyleaf, in pencil:] dificile [in ink:] pour la maitresse de Monsr Schutz (see CrawfordH, p. 26)
30 p. 55 A Air
31 p. 56 A Menuet
32 pp. 57-58 A Menuet Royale
33 pp. 59-60 A Gigue
34 pp. 61-2 A Allemande
Concordances: i) Kal4a, f. 23v, ‘Suite de Mons. Comte Logis. Allemande’ (for kbd — in G) [VoglM 108; Rudén 3012]
ii) Wars37, f. 24, ‘Concentus 15. NB viol d.gb Allemande’ (anon — for lute with other instruments including ?viola da gamba)
iii) Harr, pp. 52-3 (anon)
35 p. 63 A Cour:
Concordances: i) Kal4a, f. 24v (see 34 above) [VoglM 109; Rudén 3765]
ii) Harr, p. 54 (anon)
36 p. 64 A Sarrabande
Concordances: i) Wars37, f. 25 (anon — see 34 above)
ii) Harr, p.55 (anon)
37 p. 65 A Menuet
Concordances: i) Kal4a, f. 18v (anon — for kbd — in G)
ii) Harr, p. 56
38 p. 66 A Bourée
Concordances: i) Klag, f. 23v, ‘Borée’ (anon — 2nd strain has variants) [modern ed. KlimaK, p. 13]
ii) Krak, f. 30, ‘Marche’ (anon — 2nd strain has variants)
39 pp. 67-8 A Echo
Concordances: i) Kal4a, f. 22v, ‘Echo de Mons. Comte Logie’ (for kbd — in G) [VoglM 113; Rudén 3897]
ii) Wars37, f. 26v, ‘Echo’ (anon — see 34 above)
iii) Harr, pp. 54-5, ‘Echo’ (anon)
40 pp. 69-70 A Gigue
Concordance: i) Kal4a, f. 17v, ‘Gigue de Mr. Comte Logie’ (for kbd — in G) [VoglM 111; Rudén 3186]
41 pp. 71-2 A Ouverture
42 pp. 73-4 A Cour:
Concordance: i) Brno371, f.55 , ‘Cour’ (anon)
43 pp. 75-6ASarrabande de Farinell
44 pp. 77-8 A Gigue de Corelli
Concordances: i) Corelli Op. V, p. 32, final mvt of Sonata 5, ‘Giga Allegro’
ii) Ros53, f. 11v, ‘Giuge [sic] de M. Corelli’ (a different lute arr.)
iii) BrnoVerdenberg, ff. 17v-18, ‘33 Gigue’ (same arr. as ii)
45 p. 79 A Gavotte del Sig: Hendel
Concordances: i) LonRM18, f. 4v [Handel] (for kbd)
ii) LonRM18, f. 76v [Handel] (score à 4) [possibly from Daphne (1708); see Baselt p. 000]
iii) This MS, no. 93, p. 137, ‘Gavott: H.’ (in hand D)
[On p. 80 is an unintelligible fragment in hand C.]
46 pp. 81-2 A Tombeau du Roy d’Orange
Concordances: i) DufautW, no. 66 (listing six concordant versions not included here; with double)
ii) Ros54, p. 111, ‘Saraband de du Faut’
iii) BerStock, no. 88, ‘Sarabande’ (anon — with double)
iv) Ber40600, f. 42v-3, ‘Sarabande’ (anon)
v) Brus276, f. 83v (anon)
vi) Vie17706, f. 9, ‘Sarabande’ (anon — with double) [Maier 374]
vii) Darm17, f. 9v, ‘Sarabande’ (anon — for kbd; barred differently, treating first chord as an upbeat)
William III, King of England and Prince of Orange, died on 8 March 1702; his father, William II, Prince of Orange (d. 1650), was Stadhouder of the United Provinces, but never actually a king. Only the latter could have been intended by Dufaut (who died c1669), but the piece (whose dedication only appears in this source) could have been ‘rededicated’ to William III by someone else after 1702.
47 p. 82 C guique
Concordances: i) Göttw, f. 99 (anon)
ii) Göttw, ff. 100v-101 (anon)
48 p. 83 A Gigue
49 p. 84 A Gique
50 p. 85 A Menuet
51 p. 86 A Menuet
Concordances: i) Kre77, f. 40v (anon) [Flotzinger 467]
ii) Kre82, f. 16 (anon) [Flotzinger 467]
iii) Knie, f. 213v, ‘Canarie’ [sic] (anon)
iv) Ber40149, pp. 36-7, ‘Gauotta’ [sic] (anon)
v) Wars55, p. 23, ‘Fuga’ [sic] (anon)
52 pp. 87v-8 A Gigue
53 p. 89 D Air
[Here occurs no. 61 (see below) in the MS]

54 pp. 93-4 D Menuet
Concordance: Handel Almira, p. 111, Act III scene 15, Ritornello to [no. 70], ‘Spielet, ihr blitzenden Augen’
55 pp. 95-6 D Chiacone
56 p. 97 D Marche
57 p. 98 D Menuet de Mist: Moris Cunis
58 p. 99 D Marche
59 pp. 101-2DAllemande
Concordances: i) Kal21072, ff. 90v-1, ‘Allemande du Comte Logy’ [Rudén 23]
ii) Krak, ff. 51v-3, ‘Partita de Monsieur Loggi. Allamande [sic]’ [Vogl Anth, p. 17]
60 pp. 103-4 D Courante
Concordances: i) Kal21072, ff. 91v-92, ‘Courante du meme [i. e. Losy]’ [Rudén 1006]
ii) Krak, ff. 112v-114 (anon) [NB the courante (VoglM 11) immediately following no. 59 in this source is a different piece — cf Vogl Anth, p. 19]
61 pp. 91-2 [occurs after no. 53 in the MS] D Gigue
Concordances: i) Kal21072, f. 92v, ‘Gigue du meme [i. e. Losy]’ [Rudén 5]
ii) Ros52, f. 92v, ‘Bohmien Gigue] (anon — adjacent to a Losy item; see CrawfordL, p. 61, no. 39)
iii) BrnoVerdenberg, ff. 26v-7v, ‘Gigue du Ph. Weilland’
62 p. 105 D Menuet
63 pp. 105-6 D Menuet
64 p. 106 D Bourée
Concordances: i) Knie, f. 287 (anon)
ii) Klag, ff. 4v-5 [or, reversing the volume, ff. 89-88v] (anon)
iii) Klos, pp. 144-3 [sic] (anon — lacking rss)
65 p. 107 D Menuet
Concordance: i) A variant version, clearly derived from the same piece, appears in Straube (copied c1760), f. 16, ‘Men[uet]’:
66 p. 108 D Bourée
Concordance: i) Samuel, p. 177 (anon)
67 p. 108 D Menuet
68 p. 109 D Menuet
69 p. 110 D Menuet
70 pp. 111-12 D Menuet
71 p. 112 D Menuet
Concordances: i) Göttin, f. 84 [i] (anon)
72 p. 113 D Menuet
Concordances: i) LonRM19, f. 12v [Handel] (for kbd — no. 2 of a set of 3 minuets) [Baselt HWV 535a]
ii) [A variant version (Baselt HWV 535b) appearing in six slightly later keyboard MSS named in two of them as ‘Princess Sophia’s favourite’]
[The presence of the early version in Lord Danby’s Lute Book suggests that the title of ii refers to the Electress Sophia in Hanover in 1710, rather than to her granddaughter. See BaseltHH, III, p.306.]
73 p. 114 D LAir Mi: promettee h:
Notes: The ‘h’ in the title may imply an ascription to Handel; this seems to be confirmed by the style of the piece.
74 pp. 115-16 D Air
Concordance: i) LonRM18, f. 64, ‘Allemande’ [Handel] (score à 4) [Baselt HWVXXX]
[Probably from Florindo (1708) (see Baselt, p.000).]
74a p. 116 D Trio
75 p. 117 D Menuet
Concordance: i) Göttin, f. 84 [ii] (anon)
76 pp. 117-18 D Air
77 p. 118DSonges agreable [sic]
Concordances: i) Lully Atys, Act III scene 4, ‘Entrée des songes agreables’ [Schneider LWV53/58]
ii) Vie1813, f. 3v, ‘Les Songes aggreables du vieux G[allot?]’ (for ?violin & ?lute)
iii) Göttw, f. 64v-65, ‘Songes Agreables d’Atys’
iv Saiz, p. 185, ‘Les Songes Agreables d’Atys’
v) (Several kbd versions; see Gustafson, I, p. 300)
78 p. 119DRitornello [See 78a below]
78a p. 119-20 D Air
Concordances: i) cf Handel Serse, p. 18, Act I scene 4, Atalanta’s aria (Larghetto), ‘Sì, sì, sì’ (in F# minor) [BaseltHWV XXXX]
ii) cf Handel Joshua, p. 132, aria (Larghetto), ‘As chears the sun’ [BaseltHWV XXXX]
79 p. 121 D Gigue
Concordances: i) deV1686, p. 22 (guitar tabl) [deViséeG, p. 65]
ii) deV1686, p. 57 (score à 2)
iii) deV1717, p. 14 (score à 2)
80 p. 122 D Air
81 pp. 123-4 D Menuet
Concordances: i) cf LonRM18, f. 91 [Handel] (for kbd) — this minuet also appears in MSS and Walsh’s 1733 collection, as the final mvt of a Handel kbd suite (H. G. , vol II, p. 68) instead of the usual gigue [BaseltHWV XXXX]
ii) cf Six Solos, p. 8: ‘Minuet’ [Handel] (in E minor — for flute & bc) [H. H. A., vol IV, p. 55; BaseltHWV XXXX]
[See CrawfordH, p. 49.]
82 p. 124 D Air
83 pp. 125-6 D Tombeau Mazarini
Concordances: i) Saiz, p. 167 (anon)
ii) Kre79, f. 89v, ‘Le Tombeau de Mazarini’ (anon) [Flotzinger 970]
iii) Vie17706, p. 34 (anon) [Maier 395]
iv) Ros53, f. 38 (anon)
v) Knie, f. 44v-45 (anon)
vi) Goëss, f. 85v, ‘T. M.’ (anon)
84 p. 126 D Sarabande
Concordances: i) cf Kre79, f. 90v (anon) [Flotzinger 972]
85 p. 127 D Menuet
86 pp. 127-8 D Gavotte
Concordances: i) deV1682, pp. 25-6 (guitar tabl — in D minor) [deViséeG, p. 19]
ii) deV1682, pp. 72 (score à 2 — in D minor)
iii) deV1717, pp. 86 (score à 2 — in D minor)
iv) Par, f. 48, ‘Gavotte de Muton’ (in A minor)
v) Sto228, f. 36v (anon — for kbd in A minor) [Rudén 3499]
87 p. 128 D Gavotte
88 pp. 129-30 D Air N
89 p. 130 D Gigue
Concordances: i) Purcell Abdelazer, p. 000, ‘Jig’ [Zimmermann 570/7]
ii) Country Dancing Master 1701, p. 000, ‘New Whitehall’ [Barlow 460]
iii) 50 Aires (à 2 — in D minor)
iv) (Several kbd versions — see Zimmermann T686)
90 pp. 131-2 D Air No No etc:
Concordances: i) Handel Almira, p. 55. Act II scene 7 [no. 35], aria, ‘No, non voglio’ [BaseltHWV XXXX]
91 p. 133 D Prelude
92 pp. 135-6; D Ouverture des Sig: Hendell:
Concordances: The opening idea bears a close resemblance to that used, in G major, in: a) The aria ‘Vacíllo’ in Handel Donna, p. 9; b) a sinfonia in Handel Giulio Cesare, p. 122. [See CrawfordH.]
93 p. 137DGavott: H. ( = this MS, no. 45, q. v.)