Lynn Hulse
'Musick & Poetry, Mixed':
Thomas Jordan's manuscript collection
Lynn Hulse is a research fellow at Clare
Hall, Cambridge, and editor o/Chelys,
journal of the Viola da Gamba Society.
She has written several articles on music
in English noble households, 1558-1660,
and is author of Cavalier songs:
Thomas Jordan's collection.
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uring the turbulent years which immediately preceded the birth of
D Henry Purcell many Royalist poets and sympathizers gathered
together collections of songs and poems illustrating major events in
Britain's political history between the outbreak of the Civil War in 1642
and the restoration of the Stuart monarchy 18 years later. In 1949 the
University of Nottingham acquired one such collection, a manuscript
of 34 Cavalier poems with music (see table 1), compiled by the poet and
actor, Thomas Jordan (c.1620-1685).' Bound during the 18th century
with Jordan's 1637 publication Poeticall Varieties: or, Varietie of Fancies,
the anthology was one of several hundred literary manuscripts pre-
sented to the university by the 7th Duke of Portland, and now bears the
shelfmark PwVi8.2
The current catalogue entry to the volume—'1637 Tho. Jordan:
Poeticall varieties (printed; with manuscript additions) (small qto.
vol.)'—belies the significance of PwVi8. The manuscript layer, which
extends to 124 pages (pp.112-23 are blank), contains a mixture of polit-
ical medleys and ballads, love poems and jigs, many of which are new to
the corpus of 17th-century English song. The texts are set to anonymous
popular tunes and to the airs of John Wilson, Thomas Gibbes, Davis
Mell, John Gamble, Mr [?John] Taylor and W[alter] Y[ockney]. Fur-
thermore, the discovery of the manuscript identifies Jordan as the first
textual scribe of John Gamble's famous songbook,3 and places him
within the literary circle connected with London's theatre musicians
and composers during the middle decades of the 17th century.
The chain of provenance of PwVi8 is an intricate one (see table 2).
The volume's earliest identifiable owner was the Cervantean scholar,
the Rev. John Bowie (1725-88), whose bookplate can be found on the
front pastedown.4 Bowie's primary area of study lay in the romance
languages; his edition of Don Quixote was published in 1781. He also
accumulated a substantial library of early modern English literary
works, and wrote on a wide range of subjects, including music; for
example, his 'Remarks on some antient Musical Instruments men-
tioned in Le Roman de la Rose' were published in the 1785 issue of the
antiquarian journal ArchaeologiaJ Bowie acquired Jordan's collection
of Cavalier verse some time before 5 June 1783, the date on which he
entered the manuscript, bound with Poeticall Varieties, in his library
catalogue. He may have purchased the volume through his agent,
EARLY MUSIC FEBRUARY 1996 7
 Table 1 Contents of PwVi8

No. Pages Title First line

1 i-4 A Medley Roome for a Gamster

2 5-7 The votress Towle Towle
3 8-io A Dreame Late being tyr'd out in tedious March
4 11-17 A Medley ffoorth from my denn
5 18-19 The Farewell ffayre Fidelia leave me now
6 20-26 The Sence of the Contry Now that thanks to the powers below
7 27-9 The Resolution Aske me no more why there appears
8 30-35 Medley ffrom the dungeon vpp to the throne
9 36-9 A Medley Barr boy cease to roare
10 40-42 The Feaver Begon, thou fatall fyrey feaver now begon
li 42-3 The Irish Lamentation Oh hone oh hone the holy fyrebrand
12 43-4 The Courtier Be not affrayd
13 44-5 The woman's Answeare Nay pish, Nay fie
14 46 The Repulse By a Lady Your love if virtuous will shew forth som fruits of devotion
15 46-7 His Answeare My Love's as virtuous as yours is where you frame affection
16 47-52 A Medley of Seaven Nations in Eight Ayres I am a Bonny Scot Sir
(25 May 1657)
17 53-7 A Medley Answeareing the Seaven Nations Let the Trumpets sownd
with Eight Ayres (Aprill 1658)
18 58-61 The Love-sott (15 Nov. 1657) I doate I doat
19 62-7 An Eclogue Betwixt A Contryman A Cittizen ffrom How d'ye cal't Town in What cal y'um Shire
and A Souldjer (22 July 1658)
20 68-9 The Dominion of the Sword (2 Aug. 1658) Lay by your Pleading Law lyes a bleeding
21 70-73 The Leaguer 2 parts Joyn thy enameld Cheek to myne
22 73-7 The Convert A Medley of six Aires Noe more/ Cupid's dull dietie will I adore
(13 Aug. 1658)
23 78-80 The Scotch Cronide (20 Feb. 1656/7) When first the Scottish warr began
24 81-2 The Royall Complaynt I am a poore and patient King
25 82-3 The fowle Fayre Now that the holy warrs are don
26 84-7 The Coronation of Canary Let vs purge our brayns
27 87-9 The Frollick A Medley of 3 Ayres A qualm corns over me drawer! bring
28 89-91 The Secret Would I reveal my mind
29 91-3 A Song Consisting of three distinct voyces Come let vs Concord
(10 Nov. 1658)
30 94-7 The Fudling Funerall A Medley (19 Nov. 1658) Come faith now let's frollick
3i 97-9 Mardyke (1 Dec. 1658) When brave Mardyke was made a Prey
32 100-103 Th e Heyre A Medley of Six Ayres (8 Dec. 1658) Let's call and drink the Cellar drye
33 103 A Catch 1642 Let the Drawer run down
34 104-10 An Eclogue Musically recited betwixt A Lawer, ffarewell the Learning and the Law
A Souldjer A Cittizen, And a Contryman
(19 March 1658/9)
35 [111] - Whilst sighting [sic] at you feet I lye
[124] A Table of the Songs Contained in this Book

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 Table 2 Provenance history of PwVi8

Owner Date acquired/sold Source

Rev. John Bowie acq. before 5 Jun 1783 South Africa, Cape Town University, Manuscripts and Archives
Department, Bowie-Evans collection, MS Bibliotheca Bowleana f.36r
sold 19 Jan 1790 British Library shelfmark 129.1.14.(2), lot no. 4196
Thomas Allen sold 1 Jun 1795 British Library shelfmark S.-C.S. 27.(8.), lot no. 723, purchased by Edward
Jones
Edward Jones sold 9 Feb 1824 British Library shelfmark S.-C.S.134.(6.), lot no. 552, purchased by Thomas
Thorpe, bookseller
Richard Heber sold 8 Dec 1834 British Library shelfmark S.-C.E.53.(i.), lot no. 1199, purchased by Thomas
Lloyd
Thomas lioyd sold 7 May 1840 British Library shelfmark S.-C.S.227.(10), lot no. 341
Thomas Jolley sold 15 March 1844 British Library shelfmark S.-C.S.25i.(2.), lot no. 845
Thomas Thorpe sold 1850 A Catalogue of most choice, curious and excessively rare books..., no. 375
Thomas Corser sold 13 Feb 1871 British Library shelfmark S.-C.S.644.(1.), lot no. 194, purchased by J.
Pearson & Co., booksellers
Henry Huth acq. before his death A Catalogue of the Printed Books, Manuscripts, Autograph Letters,
in 1878 and Engravings collected by Henry Huth, iii (London, 1880), 782
sold by his son Alfred British Library shelfmark 11902.1.5., part IV, lot no. 4070, purchased
7 July 1914 by Dobell booksellers and sold to a private owner, identity unknown
6th Duke of Portland acq. 1935 from Dobell A Catalogue of a Collection of Poetical, Dramatic and Other Manuscripts on
sale at Dobell's Antiquarian Bookstore (Tunbridge Wells, 1935), no. 24
Nottingham Univ. acq. on loan 1949 from 7th Duke of Portland
accepted by the nation
in lieu of tax 1986 and
allocated to the Dept.
of MSS and Special
Collections, Hallward
Library 1987

the London bookseller, Benjamin White, who was
also responsible for auctioning the contents of
Bowie's library on 19 January 1790. The volume
changed hands at least 15 times in the ensuing 160
years. Among its more notable owners were the
Welsh musician and writer Edward Jones (1752-
1824), appointed bard to the Prince of Wales in
1783;6 Richard Heber (1773-1833), who has been
described as 'one of the high priests of early nine-
teenth century bibliomania';7 and the book collec-
tors the Rev. Thomas Corser (1793-1876) and Henry
Huth (1815-78), whose marks of ownership are pre-
served on the front pastedown.8
The volume was also purchased twice each by the
booksellers Thomas Thorpe (d 1851) and the firm of
Dobell.9 Thorpe acquired it for the first time in 1824
from the Jones sale, probably on behalf of his client
Richard Heber. The volume was subsequently
included in Thorpe's 1850 Catalogue of most choice,
curious, and excessively rare books...recently pur-
chased from the sale at Brockley Hall in the county of
Somerset, and from other collections. A note on the
verso of the first flyleaf—'375 - 10/10/0'—corre-
sponds with his catalogue number and offer price.
Dobell purchased the volume in the Huth auction of
July 1914, selling it on to a private owner, who as yet
cannot be identified. The literary scholar George
Thorn-Drury (1860-1931) was given access to it some
time after this date, when he noted concordances
from the manuscript in his 1874 copy of the anthol-
ogy Rump: Or An Exact Collection of the Choycest
Poems & Songs, relating to the late times, originally
published in London in 1662.10 The volume again
passed through Dobell's hands in or shortly before

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 i P w V i 8 , p p . l o o - i o i , 'The Heyre A Medley of Six Ayres' ( reproduced by p e r m i s s i o n ol the I I.illw.ird I ibr.irv, N o t t i n g h a m
University)

1935, when it was sold for £.16 to the collector William Horton's A Collection of Songs By Severall Masters
Arthur Cavendish-Bentinck, 6th Duke of Portland." (1704). 12
Of the 13 songs that are dated in the manuscript, 12
Thomas Jordan as scribe were written towards the end of the Commonwealth
The manuscript layer of PwViS, which lacks a title- period, between 20 February 1656/7 (no.23) and 19
page, is a fair copy with only a handful of corrections March 1658/9 (no.34). No.33, entitled 'A Catch 1642',
and emendations. The lyrics are written in a neat and must have been composed at the start of the Civil
often compact secretary hand (illus.i). Italic script is War. No.32, 'The Heyre', is dated 8 December 1658,
reserved for titles, proper names and Latin phrases, but there is good reason to believe that the piece was
and to highlight key words. The musical hand is con- written at least a year later (see below).
sistent throughout and may also be that of the tex- Mr Evans of Pall Mall, one of the auctioneers re-
tual scribe. The final 'Eclogue' on pp.104-10 is fol- sponsible for selling the Heber collection, was the
lowed immediately by an anonymous poem, 'Whilst first to suggest in print on 8 December 1834 that
sighting [sic] at your feet I lye', copied towards the PwVi8 was a Jordan autograph." Furthermore, he
end of the 17th century in what appears to be a fe- concluded that a second volume from the Heber sale
male italic hand. Musical settings of this text can be ot 10 February 1836, entitled Divine Poesie, or A Poet-
found in the second book of Comc< Ainoris; or tin1 ick Miscelanie of Sacred Fancies written by T. Jordan,
Companion of Low (London, 1688) and in Francis Cent, was also in the poet's hand. J The latter, which

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 is now in the Houghton Library of Harvard Uni-
versity,15 was copied in the early 1640s and contains Wl OTtnn.
versions of all the poems printed in Jordan's Piety,
and Poesy of 1643. The script exhibits a number of
common features with PwVi8, and may indeed be an
earlier version of the same hand.16 /7 <SJ QO
In 1850 Thorpe stated that PwVi8 was 'wholly in
the autograph of Jordan', though his assertion that
the songs were 'entirely unpublished', a fact which
we know to be untrue, calls into question his earlier
statement. Subsequent owners have taken a more
cautious view; Huth and Dobell noted that the songs
are 'supposed' or 'believed' to be in Jordan's hand-
writing. Nos.31 and 34 are initialled T.J.\ but this
alone is insufficient proof that the manuscript is an
autograph.
However, the hand occurs in at least two other
Commonwealth sources closely connected with Jor-
dan and his circle. The Bodleian Library has a fair
copy of CUPID I HIS I CORONATION I In A Mask I As it
was Presented with good Approbation I at the Spittle
diverse tymes by Masters I and yong Ladyes that were
theyre scholers I in the yeare 1654. I written By T: ]:
(illus.2).'7 The author can be identified as Thomas
Jordan; in 1657 he revised and expanded the text
for publication under the title Fancy's Festivals: A 2 Rawlinson Ms. B165, i.\\}i; Cupid his Coronation by
Masque. Thomas Jordan (reproduced by permission of the
The scribe of PwVi8 and Cupid his Coronation Bodleian Library, Oxford)
also copied part of the first catalogue and several
lyrics from Gamble's songbook, now part of the poem to the composer's 1659 book of Ayres and
Drexel collection in the New York Public Library Dialogues, Jordan addressed Gamble as my 'Honest
(illus.3).'8 The latter, dated 1659, contains over 300 Friend and Old Acquaintance', prefacing the collec-
songs composed during the Caroline and Common- tion with 'A DEFENCE FOR MUSICK In its Practique
wealth periods. Charles Hughes, the first scholar to and Theorie, occasioned upon the Publication of these
discuss the Drexel manuscript in print, maintained Poems Composed by Mr. JOHN GAMBLE'. The print
that Gamble had come into possession of a partially also contains three settings of Jordan's verse: 'Love!
filled book, a claim which Vincent Duckies later re- no I am not such a foe to my peace' from the
futed, arguing that Gamble had collaborated from poet's Claraphil and Clarinda in a Forrest of Fancies
the start with the two other scribes of the songbook. (London, c.i65o);'Join thy enamelled cheek to mine'
Duckies also postulated the view that the first copy- (see below); and 'Dear Castadorus let me rise', from
2
ist, who was responsible for the items referred to Poeticall Varieties. '
above, was Gamble's master, the London wait and The friendship between Jordan and Gamble
19
royal violinist Ambrose Beeland. However, the probably stemmed from their employment in the
hand does not match the surviving examples of Bee- Caroline theatre. Jordan trained as a boy actor
20
land's signature. with the King's Revels Company at Salisbury Court.
The likely presence of Jordan's hand in Gamble's His name appears in two cast lists dating from the
songbook is easily explained. In a commendatory mid-i63os, Nathan Richards's Messalina, printed in

EARLY MUSIC FEBRUARY 199-6 11

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 v;|EW- r r-~-~--s- -.
•j
;HI- ri

£
ft? :• • I , s

£ jew-*- '

•••'(

*4
•vV
c <; ...,
f^1 /1 r*v ;\

ifllflifl '*ti 3 Drexel Ms. 4257. the

'•"'"'ifl first catalogue ftfrom
... • ''»;; lohn Gamble's so song-
15feStf l
book (reproduced by
'| permission of the New
jft York Public Libran i

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 1640, and the anonymous manuscript play The
Waspe. Jordan's first comedy, Money is an Asse, writ-
ten for a troupe of boys c.1635 but not published
until 1668, was probably staged by the King's Revels
Company, which contained a much larger propor-
tion of boy actors than was customary in men's com-
panies. Following the closure of the theatres during
the plague of May 1636—October 1637, Jordan may
have joined the playwright James Shirley at the
Werburgh Street Theatre in Dublin, returning to
London some time before August 1641, when his
second play, The Walks ofIslington and Hogsdon, was
licensed for performance.22
On completion of his apprenticeship, Gamble too
joined one of the London theatres. Anthony Wood
in his brief notes on the composer does not identify
the playhouse, but there is good reason to believe
that he was employed by the King's Men, with whom
his master, Ambrose Beeland, is known to have
served. Moreover, Gamble's songbook contains a
number of play songs connected with that com-
pany's productions.23 We do not know if Gamble
himself was employed by the King's Revels Com-
pany during the years leading up to the Civil War,
but the cast of The Waspe included one 'Ambrose',
who has been identified as Ambrose Beeland.24
The continuity in handwriting between PwVi8
and the other sources connected with Jordan and his
circle—Divine Poesie, Cupid his Coronation and
Gamble's songbook—lends considerable weight to
Thorpe's assertion that the manuscript is in the
poet's hand. Moreover, Jordan's authorship of most,
if not all, of the verses in the anthology strongly
reinforces this view.
Curiously, the manuscript was prefaced for a
number of years by the 1622 title-page of Juvenilia. A
collection of those poemes heretofore imprinted and
written by G. Wither. Sotheby's, in its 1824 auction
catalogue of Jones's library, presumed erroneously
on the basis of this orphaned leaf that the songs
which followed were from Wither's publication.25
Evans attempted to explain this anomaly ten years
later in his December 1834 Heber sale catalogue:
Jordan's Poeticall varieties (1637) ... The MS poems at the
end, after the engraved title to Wither's Juvenilia, 1622 are
probably all by Jordan, and several of the songs and medleys
are to be found in his pageants.1*
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Indeed, over half the poems in PwVi8 were pub-
lished by Jordan between 1657 and 1679. Fifteen were
printed in the second part of his A Royal Arbor of
Loyal Poesie, Consisting of Poems and Songs. Digested
into Triumph, Elegy, Satyr, Love & Drollery (London,
1663; another edition 1664) and in the related an-
thologies A Rosary of Rarities Planted In a Garden of
Poetry (London, 1663-4) and Musick & Poetry, Mixed
in Variety of Songs, and Poems (London, after 1660).
Jordan's later pageant pamphlets of the 1670s con-
tain three songs from PwVi8. One of these texts had
already been published in 1657 in the poet's Spittle
masque Fancy's Festivals. Sixteen of the lyrics in
PwVi8 were also printed anonymously as ballads
and in verse miscellanies, including Wit Restor'd
(London, 1658), Wit and Drollery (London, 1661,
1682), Merry Drollery (London, 1661), An Antidote
against Melancholy (London, 1661), Rump (1662),
Poems Lyrique (London, 1664), Merry Drollery, Com-
plete (London, 1670) and The Loyal Garland (Lon-
don, 1673, 1686). Several of these lyrics have since
been attributed to Jordan.
Jordan's knowledge of music provoked one of his
admirers to comment:
With Poetry you have Musick, and as soon
As you have made the Song, you set the Tune;
Where both in measure so exactly dance,
Numbers court Numbers, Ayrs do Words advance.17
Jordan's delight in music and poetry, which he
described as the 'Twins of Fancy',28 inspired PwVi8
and the three printed anthologies derived from it,
but the former is not a songbook in the traditional
sense. The manuscript was conceived primarily as an
anthology of Cavalier verse. None of the texts is
underlaid; the tunes (notated in the treble clef with-
out accompaniment) are appended to the poems,29
or in the case of medleys and jigs, interspersed
between the verses.30 The only exception is no.i,
which is prefaced by a page of music headed 'Rome
for a Gamester the Note 6 Aires'.31 Staves were ruled
for nos.2-15, presumably with the intention of enter-
ing at a later date the tunes to which these lyrics were
to be sung. They remain blank, though settings of at
least four of the texts do survive elsewhere. No stave
provision was made for nos.29 and 33, but it is clear
from the titles and from the printed concordances of
these pieces that both were set to music.
EARLY MUSIC FEBRUARY 1996 13
 With its emphasis on text rather than musical set- sented by Industry and Honour), was not performed
ting, PwVi8 resembles the closing section of British at the inaugural banquet in the Guildhall, but writ-
Library, Harleian Ms. 6947, containing 43 poems ten for a later company feast.36
with music by Gamble.32 Dobell described the Jor- The manuscript also contains most of the banquet
dan manuscript as 'a very charming collection, music sung at Londons Resurrection to Joy and Tri-
apparently prepared for publication'. If this was umph, Jordan's earliest Lord Mayor's Show, and the
the poet's original plan, the projected volume would first to be staged for six years following the plague
have substantially pre-dated the analogous 1685 and the great fire of London. Written in 1671 for Sir
anthology of political verse entitled A Choice Col- George Waterman of the Skinners Company, the tri-
lection of 180 Loyal Songs...To which is added, The umph was a high point in Jordan's career. The ban-
Musical Notes to each Song. quet was attended by the king and queen, the Duke
of York and Prince Rupert, the Council of State and
Pageant songs in Jordan's manuscript collection the lords and ladies of the court.37 Waterman and his
In the context of Julia Wood's article on music on royal guests were entertained initially at the Guild-
the Thames and Michael Burden's survey of Lord hall feast by the city waits, who performed a 'variety
Mayor's triumphs in the last issue of Early music, it is of excellent Musick both Loud and Soft, Vocal and
a happy coincidence that PwVi8 should include a Instrumental'.38 Among the songs which 'receive[d]
handful of songs written for London civic entertain- the regard of [their] Attention' was a version of
ments during the late Commonwealth and Restora- PwVi8, no.29, Jordan's Commonwealth song 'Come
tion periods. let us Concord', described with a measure of licence
Jordan published in a wide range of literary as 'purposely composed for my Lord Mayors table'.
genres, but he was recognized by his contemporaries Neither Jordan's manuscript nor the 1671 print con-
chiefly as a pageant poet. For example, in Thomas tains the music to which the piece was sung, though
Rawlins's comedy Tom Essence: or, The Modish Wife it was not uncommon for the lyrics of his civic en-
(published 1677) Tom confides in Mr Loveall his tertainments to be set to popular tunes. A few minor
hope to be 'Alderman, and ride in Scarlet, and have adjustments were made to the 1658 copy to reflect
the Blew-coat Boys sing Jordans Poetry before me the change in the political climate. The post-monar-
to the Spittle'?* Between 1671 and 1684 Jordan chical imagery of the Commonwealth song:
composed 13 Lord Mayor's triumphs.34 He began his Dame London's secure, the Sword soe hath kept her
career as a civic poet shortly before the Restoration, ffor a very long Sword makes a very strong Septer
writing musical entertainments for the livery com- And who can the power of the Citty withstand
panies and for the sheriffs of London. Two of his When the Sword bearer's hilts in the Sword wearer's
early 'representations' were published in A Royal hand»
Arbor of Loyal Poesie: 'An Eclogue ... in four Parts gave way to royal supremacy in the 1671 print:
composed for the Lord Major, Sir Tho. Allen, and Dame London's secure, the King so hath kept her
Sung by the City Musick, Decemb. 18th 1659' and Therefore let her Sword submit to his Scepter:
'The Cheaters Cheated ... made for the Sheriffs of Then who can the power of my Lord Mayor withstand,
London'.& Whilst he doth present the great Lord of the Land.40

PwVi8 includes at least one earlier datable piece
sung at a Commonwealth civic banquet: no.29, 'A
Song Consisting of three distinct voyces, with a
Chorus to each for the Lord Maior's table' ('Come
let vs Concord', 10 November 1658), was probably
composed for Sir John Ireton of the Clothworkers
Company. It is likely that Jordan's song, dated al-
most two weeks after the Lord Mayor's Show of 29
October (John Tatham's Londons Tryumph, pre-
Before the second course was served, 'the Consort
of Musick play[ed] two or three sutes [sic] of Airs;
which being ended, they [made] provision for a
piece of Drollery to be sung in Parts, and Shapes by
... Hoyden, the Country-man of the West. Freeman,
the Citizen, [and] Billet the Souldier'.41 Jordan's
'piece of Drollery' is akin to the jig or ballad-drama,
and features the traditional country clown. 'Hoyden'
seems to have been in use for a rude, ignorant or

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 awkward fellow since the 1590s: its etymology is un- JbvixitJt'Gntrvman. fjjt (
known. Jordan's character Tom Hoyden, who JJ Scicftje
speaks in a West Country dialect, owes his more im-
mediate ancestry to Tom Hoyden of Taunton Deane
from Richard Brome's comedy, Sparagus Garden
written for the King's Revels Company in 1635.42
Jordan's 1671 drollery is a slightly reworked ver-
sion of PwVi8, no.19, 'An Eclogue Betwixt A Contry-
man A Cittizen and A Souldjer', dated 22 July 1658
(illus.4). The eclogue, which was printed anony-
mously in the 1661 Merry Drollery and again in Merry
Drollery, Complete, may have been written for an
earlier civic entertainment, though so far no record
has come to light.43
The musical directions printed in Londons Resur-
rection ('The Tune alters' and 'The Tune changeth')
correspond with the manuscript copy of the text. It
is reasonable therefore to conclude that PwVi8 con-
tains the music to which the piece was set in 1671:
lines 1-21 in the Jordan manuscript were sung to the
tune of 'A Ballad of the Courtier and the Country
Clown';44 lines 22-53 to 'New Rant' by Thomas
Gibbes; lines 59-86 to 'Souldiers Life'; and lines
87-101 to 'The New Figgary'.45 There is no indication
in the pageant pamphlet if the duet after line 53 and
the final chorus were sung to different tunes, though Betwixt A C^ontryman A
their metres suggest a new tune is necessary and Cittizen and A Souldjer'
PwVi8 contains blank staves after both, implying a
change of air. printed anonymously in three miscellanies pub-
Jordan returned once again to an earlier work for lished before the 1679 pageant pamphlet, Merry
the banquet song performed during the 1679 Lord Drollery, Merry Drollery, Complete and The Loyal
Mayor's Show, London in Luster, written for Sir Garland.4* A collection of political songs dating from
Robert Clayton of the Drapers Company: the Commonwealth now in the British Library also
contains a copy of the text by the curious title 'Bour-
His Lordship and the Guests being all seated, the City Music
begin to touch their Instruments, with very Artful Fingers, ree D'Artus'.49 Neither of Jordan's prints refers to
and after a Consort Lesson or two being played, and their the tune to which 'The Coronation of Canary' was
Ears as well feasted as their Pallats, an Accute Person with set, though the version copied in PwVi8 was sung
good Voice, brisk humour and Audible utterance (the better to the 'Duke of Yorks march'.50
to provoke Digestion), sings this pertinent Frolic, called, THE
CORONATION OF CANARY. 46
London's civic dignatories were not the only sub-
jec of Jordan's pen. In the spring of 1660 he wrote a
'The Coronation of Canary' was widely known. Jor- number of livery company entertainments in hon-
dan's 'Frolic' was first published in Fancy's Festivals, our of General Monck, who was instrumental in
being one of the 'many various and delightful new bringing about the Restoration.5' On 13 April the
Songs' added by the poet to the revised edition of his chronicler Thomas Rugg noted in his diurnall,
Spittle masque.47 PwVi8 also includes the song as 'Mercurius Politicus Redivivus':
no.26, but with different words in the first two His Excellency with the Councill of State dined att on of the
verses. The manuscript version of the text was Halls in London [Fishmongers Hall], and now by this time

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 havcing dined att 9 of the cheifest Halls in London; and att
every Hall theire ware after diner a kind of stage play and
many prety anticks, som the cittizan and soldier, others the
country Tom and citty Dick, att many Hall[s] ware dancing
and singing, many shapes and ghostes and the like, and all to
please his Excellency, Lord General!."
Jordan wrote speeches or songs for at least five of
the company feasts, held at Drapers Hall (28 March),
Skinners Hall (4 April), Goldsmiths Hall do April),
Vintners Hall (12 April) and Fishmongers Hall (13
April).53 The Goldsmiths' records contain the most
detailed account of the musical preparations.54 At
their court on 26 March the company resolved to
follow the example of the other guilds and agreed to
invite Monck and his wife, his 60 field officers and
the Council of State to dine in the hall. A committee
was appointed to consult with the Drapers Company
about their entertainment, which included Jordan's
'A Dialogue Betwixt Tom and Dick, the former a
Country-man, the other a Citizen', referred to above
in Rugg's diurnal.
Theophilus Fitz, one of the city waits, was em-
ployed by the Goldsmiths in the role of impresario.
EARLY MUSIC SUMMER SCHOOL
10th-17th August 1996
A residential study week held at Keele
University, Staffordshire.
A practical course for those interested in playing and
singing music of all kinds from Medieval to Classical
periods.
Directors: Graham Treacher and Raymond Fearn
Tutors: Malcolm Bothwell, Stuart Deeks, James
Johnston, Pamela Thorby and Graham Treacher
For further details please contact: Angela Davies,
Centre for Part-time and Continuing Education, Keele
University, Keele, Staffordshire, ST5 5BG. Telephone
(01782)625116
16 EARLY MUSIC FEBRUARY I996
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On 2 April he was invited to the court meeting,
where it was agreed to have
24 Vyolins, and to performe the entertaynment with wynde
Instrumentes and others, & voyces & other songs aswell as
any other Musique whatsoever And to attend heere from 11
of the Clock vntill they bee licenced by the Mr and Wardens
to departe for which they are to have xx 1 '...
The band of musicians included the 'Citty
Musique'—Fitz, Ambrose Beeland, John Yockney,
William Saunders, Nicholas Sanderson, Isaac Stag-
gins, Francis Walsall and Marmaduke Wright.
On 3 April Fitz introduced to the company 'Mr
Jorden a poet', who was 'directed to prepare a speech
at Dynner suitable to the entertainment without of-
fence to any'. Two days later Jordan presented to the
court a copy of his speech, which met with their ap-
proval. It was agreed at the meeting that he should
instruct Mr Batterton, who had also been recom-
mended by Fitz, in the delivery of the speech.
The court minutes for 10 April contain a detailed
account of the event:
When the Tables in the Hall are furnished with the meate
than the Mr and Aldermen with the Stewardes, & Cheife
ANDREW WOODERSON
EARLY KEYBOARD INSTRUMENTS
Maker of harpsichords and clavichords.
Also hire for concerts and recordings.
maintenance, repair and restoration.
rulh overhauled second-hand instruments for sale.
5 Bourne Road. Bexley. Kent DA5 ILG. England
Telephone (II U 2 558326 or 01322 52555S 1 also F:a\
 Carver, vsher the guestes from the great chamber downe into
the Hall and see them sett to dynner
The Assistantes and Livery are to dyne, and rise from dyn-
ner by that tyme the second course in the Hall is served in
and immediatly after the welcome cupp is presented and
gone about And the song and speech ended which is pre-
pared to bee spoken Then the Assistantes and Livery in an
orderly manner repaire into the Hall and goe to the vpper
Table and make obeysance to the generall and the rest of the
cheife guestes and haveing gon round the Hall passing by the
other Tables and the guestes there they retire themselves to
the roome from whence they came or where they please
This last clause was omitted being obstructed by continu-
ing of the Songes and musick goeing round the Hall which
prevented the Song of 4 partes and the Seamans speech vntill
the dynner was donne and grace said and then the Hall was
soefilledthat the Livery could not come into the Hall in any
orderly way as was intended
But before the Lord generall rose from Table, the songe of
4 partes was sunge, and in the Close the Seaman entred and
spake as followeth ...
The seaman's speech was printed, but, so far as we
know, the song in four parts does not survive.55
Three days later Jordan entertained General
Monck at Fishmongers Hall with a speech of wel-
come given by 'one habited properly for the Ghost of
Massianello Fisherman of Naples',56 followed by 'a
Song of difference betwixt the Lawyer, the Souldier,
the Cittizen, and the Country-man'. The song was 5 PwViS, p.iO4, 'An Eclogue Musically recited betwixt A
never published, but a version survives in PwVi8 as l.awer, A Souldjer A Cittizen, and A Contryman'
no.34, 'An Eclogue Musically recited betwixt A
Lawer, A Souldjer A Cittizen, and A Contryman', anonymously by Jordan in 1648 as 'The Anarchie
dated 19 March 1658/9 (illus.5). The piece may have Or the blessed Reformation since 1640 being a new
been written for an earlier civic entertainment, and Caroll wherein the People expresse their thankes and
was sung to three airs, including Tie never love thee pray for the Reformers',6' jeers at the threatening
more',57 used by Jordan for 'A Dialogue Betwixt Tom democracy:
and Dick' at Drapers Hall on 28 March, and 'Al la Com Clowns & com boyes
Mode de France'.58 Com Habberde hoyes
Com females of each degree
The ballads in Jordan's collection Stretch out you throats
Bring in your Votes
PwVi8 is representative of the literary genres which
To make good the Anarchy.''2
preoccupied Jordan in the middle decades of the 17th
century. In addition to the civic entertainments dis- Similarly, PwVi8, no.23, 'The Scotch Cronicle',
cussed above, the manuscript contains the words of dated 20 February 1656/7, traces the history of the
at least ten ballads printed between 1643 and Jordan's Scots from the war of 1640. Entered in the Stationers
death in c.1685.59 Throughout the Civil War and Register on 16 July 1657 as 'Jockies Lamentation
Commonwealth periods many Royalist poets wrote Whose Seditious work was the loss of his Country
political ballads, seeing them as an effective weapon and his KIRK' (illus.6),63 the ballad was sung to 'a
against Parliament and for the king.60 For example, stately new Scottish Tune' which can be identified
PwVi8, no.6, 'The Sence of the Country', published from PwVi8 as 'Coll. Middleton's March'.64

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 6 Oxford, Bodleian. Lib-
rary, Wood 401, f.1511',
'Jockies Lamentation'
Jockies Lamentation,
V Vh*fe foditious work was the lofs of his Country, and his
KIRK.
To aftately sew Scottish Tuae.

Joseph Ebsworth suggested that 'The Noble Prod-
igal', the ballad version of PwVi8, no.32,'The Heyre
A Medley of Six Ayres', was composed for a city ban-
quet in 1660, and perceptively attributed the piece to
Jordan.65 The 8 December 1658 dating of the medley
recorded in PwVi8 is at odds with the reading of the
text. Jordan toasts General Monck in the second
verse, but it was not until the winter of 1659 that the
actions of the former Parliamentarian officer paved
the way for Charles IPs return. 'The Heyre' must
therefore have been written at least a year after the
date given in Jordan's manuscript:
Heer's a health to him that may
Do an Act that shall
Advance yee all
And beget a very joviall day
ffill another bowle to hee
That hath drank by stealth
His Landlord's health""
If his Spirit and his tonge agree
The Land will celebrat his fame
All the world embalm his name
Not a royall right good fellow
But will sackify the same.""
The Heyre' is a typical example of the medley
form, derived from the jig and comprising several
verses set to different tunes.68 The names of the six
airs to which the text was sung are printed in the bal-
lad—'The Jew's Coran[to]\ 'Princess Royal', 'Come
hither, my own sweet Duck', 'French Tricatees',
'French Tricatees' and 'A new Country-dance'—and
correspond with the tunes copied in PwViS
(illus.1).6"
'The votress', the first of several love poems
included in PwVi8 (no.2), appeared in print in 1643
as the ballad 'The Discontented Lover', sung 'to a
pleasant new court tune'."" The air is not preserved
in the Jordan manuscript, though an anonymous
setting of the text is to be found in the songbook
Dublin, Trinity College, Ms. 4ii. r '
No.10, The Feaver', was a particularly well-
known lyric, made popular by the 1656 ballad ver-
sion, The Love-Sick Maid; Or, Cordelia's Lamenta-
tion for the absence of her Gerhard'.;; The poem
survives in at least nine English verse anthologies
and three music manuscripts dating from the second
half of the 17th century. In 1664 Henry Bold also
published the ballad with his parodies on it in Poems
Lyrique.~s Bold's direction to a 'playhouse tune' led

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 Ebsworth to suggest that the original song was writ-
ten for a lost drama.74 The tune was not entered in
PwVi8, but Jordan may have intended using the
popular anonymous setting found in Gamble's
songbook and other contemporary sources.75
Jordan attributed the air of PwVi8, no.18, 'The
Love-sott', dated 15 November 1657, to one 'WY:'
(illus.7). The text, which concludes with a toast to
the exiled Charles II—'Heers a health toth' King,
how now? / I'm dronk & speake treason I vow'—was
widely disseminated during the late Commonwealth
and Restoration periods:
I doate I doat
But am a Sou to show't
I was a very foole to let her know't
ffor now she doth too cunning grow
And proves a ffriend worse then a foe
She will not hold me fast nor let me goe
She tells me I can not for sake hir
And strayt I endeavour to leave hir
But to make me stay
Throws a kiss in my way
Oh! then 1 could tarry for ever.76

Copies of the poem, also known by the titles 'The
drunken Lover' and 'Drunk with Love', survive in at
least five other manuscript anthologies and in the
printed miscellanies Wit Restor'd, Merry Drollery and
Merry Drollery, Complete.77 Part of the text was also
sung by Sir John Noddy in the Duke of Newcastle's
comedy The Triumphant Widow, staged in 16747s
The ballad was entered in the Stationers Register on 1
March 1675 as'The louers madd fitts [and fancies]'.79
Authorship of the text remains in doubt; the work is
not part of Jordan's published canon.80
Jordan's circle of musicians
We can identify 'W.Y.' as the violinist Walter Yock-
ney (d 1665),81 who was acquainted with Jordan
around the time when PwVi8 was compiled. Two of
his songs—'Paint, paint no more' and 'Since it hath
been lately enacted high treason'—are included
in Gamble's songbook.82 Moreover, Yockney was
involved in at least three of the civic entertainments
staged by Jordan for Monck in 1660. His presence
may have been due in part to his association with the
Farriers Company. On 13 November 1637 he was ap-
prenticed for eight years to his elder brother, John
Yockney, a freeman of the guild.83 Walter Yockney,
7 FwVi8, p.61, 'The Love-sott', 'the Ayre by WY:'
among others, formally welcomed the General to
Drapers Hall and Goldsmiths Hall, and on 13 April at
Fishmongers Hall he delivered Jordan's speech,
dressed as 'the ghost of Massianello'.84
PwVi8, no.21, 'The Leaguer 2 parts', was set to
music by Gamble in his second book of Ayres and
Dialogues as 'Sacks Flavour' (illus.8).85 Jordan's note
'2 parts' refers to Gamble's setting for cantus and
bassus. The tune in PwVi8 alternates between the
treble and bass clefs as in the printed version of the
song, but the bassus part of the closing duet, marked
'Together' in Gamble's print, is omitted from the
Jordan manuscript. Drexel Ms. 4041, a mid-i7th cen-
tury Royalist songbook associated with the Ferrers of
Staunton Harold in Leicestershire, contains a copy
of Gamble's setting, untitled and misattributed to
'John Pamball'.86 However, the text differs substan-
tially from the version in PwVi8, particularly in the
third and fourth verses. Jordan's royalist sympathies
underlie the latter, but the Ferrers source explicitly
mourns Charles I's execution—'wher many royall
teares are wept for the king that is gon'—and pro-
claims his son king.

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 When Jordan published the text of PwVi8, no.28,
'The Secret', in A Royal Arbor of Loyal Poesie he
noted 'The Air composed by Mr. Taylor' (ex.i). The
Ojn thy cnunell'd CbceV to min.-, l'le bring dtcevtliere i* R
poem is the second of two works in the 1663 print set
to Taylor's airs: 'The discontented Cavalier', written
on 4 January 1661/2, was sung to 'an Alman and
Seriban.9" Both the tune in PwVi8 and the dances
Wioe;andnbcrc a loving Lcijur'skcpi,whertrrutiyTJoUfdt«(tare wcp( tor(hcCjDnh*i referred to in A Royal Arbor may have been com-
posed by the royal lutenist John Taylor (d ?before
1660), whose works can be found in several mid-
i7th-century manuscript and printed sources. Tay-
Tlni is here; joy and grief, in iTtjcwe will wifli. There we ftudic Revenge*. lor's possible theatrical connections during the 1630s
and early 1640s may account for the appearance of
his music in PwVi8.9'
The tune to which Jordan intended the answer-
plots without hinges- More black ibeoibcfidh of Ntvembtr's. Whh Pipt, P a , ind Cap,
poems The Repulse by a Lady' and 'His Answeare'
to be sung was not entered in PwVi8,92 but according
UoieUatkrbenrheStliof Nnmkrt. Wirh pipe, P«, lod d p .
to the printed version of the texts, 'The Air [was]
composed by Mr. William Lawes, Servant to his late
e up,till our Eyejdo appear like the Emb:n. Majesty'.9* However, the musical setting of'The Re-
pulse' in Drexel Ms. 4041 is ascribed not to William
3 we rake up, till our EyesdoippculiketbcEinbcn. Lawes, but to his older brother, Henry.94 Elise Jor-
n. gens, in her commentary on the Garland facsimile
There with a Sack-incenfed F»«,
In fpeckkd Sute andflimingGrace,
series of English songbooks, preferred the Ferrers at-
Widi dabbi'd Doublet doth ippcai
1 be COTJII front of Orclccr tribution.95 Henry Lawes was a member of the poet's
With a Bole:
FntlofSack/ixhucaii
In the mod dying mail
circle. Many of his songs were copied by Jordan in
Railc a SouL
Gamble's songbook, and 'By all the glories willingly I
8 lohn Gamble, Ayres and Dialogues (London, 1659), p.48, go', which has been ascribed to the poet, was set to
'Sacks Flavour' (reproduced by permission of the British music by Henry Lawes.9IS Although Jordan's printed
Library) works do contain factual or typographical errors his
reference to William Lawes should not be dismissed
Jordan chose the melodies of two three-part airs out of hand. For example, Jordan's 1672 commenda-
by John Wilson for the setting of PwVi8, no.25, 'The tory poem, 'To my Industrious Friend Mr John Play-
fowle Fayre', written some time after the battle of ford on his Musical Companion', suggests a degree
Naseby (June 1645)—'When Troy Town for ten of familiarity with the composer:
years wars' (verse 1) and 'From the fair Lavinian
I gratefully remember, in those daies
shore' (verses 2-4). Given that the Wilson songs are When penitential Purity did raise
paired together in a number of contemporary Rebellion gainst the best of Princes, and
sources, including Playford's Select Ayres and Pious Confusion had untun'd the Land;
Dialogues (London, 1659) and the composer's own When by the Fury of the Good old Cause
Will Lawes was slain, by such whose Wills were Laws.'"
Cheerfull Ayres, or Ballads (Oxford, 1659),"" it seems
likely that Jordan copied the tunes from a printed Furthermore, Jordan's political pamphlet Rules to
edition, though he may have known Wilson person- know a Royall King from a Disloyall Subject, printed
ally from the 1630s, when both men were working in 1642 and reissued in 1647, contains a 'Sonet to a
in the theatre.1"1 Gamble's songbook, too, contains tune by W.L.'. It is therefore conceivable that
several pieces by the composer, 12 of which are in William Lawes composed the Ferrers setting of
Jordan's hand.*'1' Jordan's answer poems.

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 Ex.i "The Secret', PwVi8, pp.89-91

J JJ r r rr

Would I reveal my mind How my heart lov'd thee my Now I enjoyned am

I could declare Soul shall conceale To live apart
And tell you why And by what signe Least by desire
That I That thyne My fire
Com not nigh Then was myne Do conspire
You where ere you are ffaith I'le never tell To consume my heart
But must conceale my mynd Though thou hast mov'd me I am confined to
Twbrt Love and feare Ynough to reveale Smile when I smart
Dumb melancholy Where shall we find her Vnles I take hir
Nothing more strong That faithful] is Within my bounds
You and my folly All women kind are I must forsake hir
Have don me wrong Like thee in this Since ffortune frowns
To give me Love & greif and nere a And do as thou hast don kill when As Kings are forced to lay down
tongue they kiss theyr Crowns

he ownership of PwVi8 by such prominent col- The manuscript not only demonstrates Jordan's
T lectors of early modern English poetry as
Bowie, Heber, Corser, Huth and Portland attests to
relationship with several musicians and composers
working in London in the period from the 1630s
the manuscript's significance as an anthology of to the 1660s, but the presence of his hand in
Cavalier verse. The inclusion of the tunes to which Drexel Ms. 4257 calls for a re-evaluation of
over half the poems were set enhanced its appeal, Gamble's songbook. PwVi8 contains a handful of
and would explain Edward Jones's desire to unique compositions as well as lyrics new to fnusic
purchase the collection in 1795. scholars, and extends our knowledge of the music
For musicologists PwVi8 is a welcome addition written for civic entertainments in Purcell's
to the corpus of 17th-century English song. London.
The research for this article was made 1 The significance of PwVi8 as a Grove; Dictionary of national biography,
possible through a grant from The source of Royalist verse is discussed x, p.986; British Library, S. -.8.134.(6.),
Scouloudi Foundation. I am grateful to in L. Hulse, 'Cavalier songs: Thomas lot no.552.
Dr Dorothy Johnston of the Department Jordan's collection', Renaissance texts
7 S. de Ricci, English collectors of books
from manuscript, ed. J. Maule (Cam-
of Manuscripts and Special Collections, and manuscripts (1530-1930) (Cam-
bridge, forthcoming).
Hallward Library, University of Not- bridge, 1930), pp.102-5; D. Pearson,
2 R. J. Olney, 'The Portland Papers', Provenance research in book history, a
tingham, for allowing me unlimited Archives, 19/82 (1989), pp.78-87. handbook (London, 1994), p.88.
access to Portland Ms PwViS. I would 3 New York, Public Library, Drexel
like to thank the Worshipful Company of 8 W. Y. Fletcher, English book collectors
Ms. 4257.
Goldsmiths for permission to publish (London, 1902), pp.372-6,409-15;
4 Dictionary of national biography ii,
material from their records. Thanks are Ricci, English collectors, pp.149-54.
p.974; R. M. Cox, The Rev. John Bowie:
also due to Prof. Ian Spink, Dr Peter the genesis ofCervantean criticism 9 Pearson, Provenance research,
Holman, Dr Julia Wood and Jeremy (Chapel Hill, NC, 1971)- pp.157-8,167-8.
Maulefor their invaluable comments 5 V0I.7, pp.214-21. 10 Oxford, Bodleian Library, Thorn-
during the drafting of this article. 6 O. Edwards, 'Jones, Edward', New Druryd.29, p.252.

EARLY MUSIC FEBRUARY 1 9 9 6 21

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 11 See the pencilled note on the back
pastedown. The Oldenburgh House bul-
INTERNATIONAL letin no.}: a catalogue of a collection of
poetical, dramatic and other manu-
COURSES scripts on sale at Dobell's Antiquarian
Bookstore (Tunbridge Wells, April
FOR EARLY MUSIC 1935), no.24. I am grateful to Arnold
Hunt for allowing me to consult his
copy of Dobell's catalogue.
PORTUGAL 12 British Library, k.7.1.2.
1 9 9 6 13 British Library, S.-C.E.53.(i.), lot
no.1199.
14 British Library, S.-C.£.54.(3.), lot
no.604.
15 Harvard University, Houghton
Library, Ms. Eng. 159.
Easter - Oporto
16 James Gourlay suggested that the
April 8 - 14
anonymous play, The Waspe, is in
application deadline March 15th Jordan's autograph, but the hand
bears no resemblance to the other
S u m m e r - Lisbon texts now thought to be copied by him
August 5 - 1 - 1 (J. Gourlay, 'The Waspe': a 17th century
playhouse manuscript (MLitt diss.,
application deadline July 1st U. of Durham at Newcastle-upon-
Tyne, 1933), pp.66-9).
MASTER CLASSES
17 Rawlinson Ms. B165, ff.iO7r-ii3r.
CHAMBER MUSIC
18 Drexel Ms. 4257, catalogue entry
nos.1-176 and song nos.1-37, 40-41, 43,
Jill Feldman 45> 47. 56-9, 80-81, 83, 89, 91, 99,108-9,
singing 115-21,149,154-70,175-6. Elise Jorgens
has referred to the script as 'a firm,
Peter Holtslag bold but well controlled secretary
recorder and traverse hand' (New York Public Library MSS,
part II, Drexel Ms 4257 (New York,
Richard Gwilt 1987), p.v).
baroque violin and viola
19 C. W. Hughes, 'John Gamble's
commonplace book'. Music and Letters,
Albert Briiggen (April) xxvi (1945), pp.215-29, at p.215; V. H.
baroque cello Duckies, John Gamble's commonplace
book: a critical edition of New York
Rainer Zipperling (August) Public Library MS Drexel 4257 (PhD
baroque cello and viola do gamba diss., U. of California, 1953), p.26.
20 See, e.g., Corporation of London
Ketil Haugsand Record Office, Chamber Acquittance
harpsichord Book, beginning Michaelmas 1660,
f.ijov.
Ana Mafalda Castro
chdmber music 21 Ayres and Dialogues, pp.3-4, 48-9,
singing class accompaniment 62-3.
22 G. E. Bentley, The Jacobean and
Caroline stage, i (Oxford, 1941), pp.678-
Information:
90, and iii (Oxford, 19561, pp.283-301;
Aiademia de Musica Amiga de l.isboa
R. Ricardu Espirilu Sanlo. 3 - 1''' E.stj The Wasp or Subject's Precedent
(Oxford, 1976), pp.xv-xvi. lordan sang
12W I.isboa - Portugal
Tel Fax 3M 1 (Hi 24 in his play Money if an ASM' in the role
of Captain Penniless. A. H. Stevenson,
22 EARLY MUSIC FEBRUARY I996
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'James Shirley and the actors at the
first Irish theater', Modern philology,
xJ (1942), pp.147-60, at pp.155-7. The
Walks of Islington was first published
in 1657: see W. W. Greg, A bibliography
of the English printed drama to the
Restoration, ii ( L o n d o n , 1951),
pp.880-81.
23 J. P. Cutts, 'New findings with
regard to the 1624 protection list',
Shakespeare survey, xix (1966),
pp.101-7, a t pp.101-2; J. R. Elliott,
'Invisible evidence: finding musicians
in the archives of the Inns of Court,
1446—1642', RMA research chronicle,
xxvi (1993), pp.45-58 at p.55.
24 J. Gourlay, letter to the editor,
Times literary supplement, 5 June 1943,
p.271.
25 British Library, S.-C.S.i34.(6.), lot
no.552.
26 British Library, S.-C.E.)3.(i.), lot
no.1199.
27 The Walks of Islington, sig. A3r, by
o n e 'R. C. in Art. Magist.'
28 ' T o m y Industious Friend M r John
Playford on His Musical C o m p a n i o n ' ,
The Musical Companion ( L o n d o n , 1672;
a n r e d . 1673), sig. A3r.
29 See nos.18, 20-21, 23-4, 26, 28,31.
30 See nos.16-17,19, 22, 25, 27,32, 34.
31 PwVi8, p.i.
32 See ff.368r-408r.
33 See p.49. Rawlins's pre-Civil W a r
tragedy, The Rebellion (London, 1640),
which was acted by the King's Revels
C o m p a n y , includes a c o m m e n d a t o r y
p o e m by Jordan.
34 R. W i t h i n g t o n , English pageantry,
2 vols (Cambridge, MA, 1918,1920), ii,
p.57; J. P. Montano, 'The quest for con-
sensus: the Lord Mayor's Day Shows in
the 1670s', Culture and society in Stuart
London, ed. G. Maclean (Cambridge,
1995), pp.31-51; L. I. Morrissey,
'Theatrical records of London guilds,
1655-1708', Theatre notebook, xxix/3
(•975). PP-99-113- Jordan's 13 triumphs
are listed in M. Burden, '"For the Lus-
tre of the Subject": music for the Lord
Mayor's Day in the Restoration', Early
music, xxiii 11995), pp.585—602, table 1.
The anonymous work The Lord
Mayor's show of 1682 has also been
attributed to lordan.
 35 Seepp.29-55-
36 S. J. Wiseman, Drama and its polit-
ical situations, 1642-1660 (PhD diss.,
London U., 1992), chap.8, at pp.296-7.
37 London Gazette, no.622 (30 O c t -
2 Nov 1671).
38 Londons Resurrection, p.6.
39 EVV18, p.93, U.44-7.
40 Londons Resurrection, p.8.
41 Londons Resurrection, p.8.
42 C. R. Baskervill, The Elizabethan jig
and related song drama (Chicago, 1929),
pp.94,178,198, 319. Brome contributed
a commendatory poem to Jordan's
Poeticall Varieties. See also M. Chan,
'Drolls, drolleries and mid-seventeenth
century dramatic music in England',
RMA research chronicle, xv (1979),
PP-117-73-
43 Merry Drollery, part 1, pp.171-5;
Merry Drollery, Complete, pp.182-7.
44 Thomas D'Urfey, Wit and Mirth:
Or Pills to Purge Melancholy (London,
1719-20), iv, p.99.
45 Copies of these tunes can be found
in Courtly Masqumg Ayres (London,
1662), no.290; The Dancing Master
(London, 1665), no.92; ibid., Select New
Tunes ... no.47. Several of the popular
tunes used by Jordan were widely
disseminated in print and manuscript
throughout the second half of the 17th
century.
46 London in Luster, p.19.
47 Fancy's Festivals, sig. C2r-C3r.
48 Merry Drollery, part I, pp.114-16;
Merry Drollery, Complete, pp.ui-24;
The Loyal Garland, sig. E3r-E4r.
49 Harleian Ms. 3991, ff.28r-29r.
50 MusicksHand-maide(London,
1663), no.22.
51 R. Hutton, Charles the Second King
of England, Scotland and Ireland
(Oxford, 1991), pp.126-31.
52 W. L Sachse, The Diurnal of
Thomas Rugg 1659-1661 (Camden
Society, 3rd series, vol. xci, London,
1961), p.71.
53 Jordan, A Royal Arbor, pp.1-10;
British Library, Thomason tracts 669,
f.24. (49 and 61).
54 The following references are taken
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by Mozarteum user
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from the Goldsmiths Company Court
Book (1657-60), ff.257v, 258V, 26ov,
261 v, 265 V, 268v-269r. VON HUENE
55 Jordan, A Royal Arbor, pp.5-7. An
annotated copy of the seaman's speech
can be found in the Goldsmiths Com-
pany Court Book (1657-1660), f.269r. II ID
ID
56 Jordan, ibid., pp.7-10. alto recorder at a=415
57 Drexel Ms. 4257, no.272.
58 The Dancing Master (1665), no.3. n
59 Nos.i, 2, 6,10,16,18, 20, 23, 31,32.
N0.1, 'Roome for a Gamster, Or a knot
of good fellowes', was entered in the
Stationers Register as required by law
ffl
on 1 August 1657 (A transcript of the
registers of the Worshipful Company of
Stationers, 1640-1708, 3 vols. (London,
1913), ii, p.140). Copies of the ballad
have not survived. For a general survey
see D. Poulton, "The black-letter
broadside ballad and its music', Early
music ix (1981), pp.427-37. Many of the
tunes referred to below are discussed in
C. M. Simpson, The British broadside
ballad and its music (New Brunswick,
1966).
60 Cavalier and Puritan, ed. H. E.
Rollins (New York, 1923), p.14. See also
L. Potter, Secret rites and secret writing:
royalist literature, 1641-1660 (Cam-
bridge, 1989), and P. Denzer, Ideologie
und literarische Strategie: die politische
Flugblattlyrik der cnglischen Biirger-
knegszeit, 1639-1661 (Tubingen, 1991).
61 Thomason tracts 669, £11(114), Our Denner recorder is
dated 11 January 1647/8, and 669, f.13
(60), dated 24 December 1648. Also
ideal for the virtuoso
known as 'The Rebellion', the text was repertoire of the high
printed in Merry Drollery (part 1, Baroque. Made of select
pp.156-60), Rump (part 1, pp.291-4) European boxwood with
and Merry Drollery, Complete (pp.166-
70). The piece is discussed in M. A. double holes, its clear,
Doody, The daring muse: Augustan bright tone, easy response
poetry reconsidered (Cambridge, 1983), & superb articulation make
PP-34-5- it the choice of many
62 PwVi8, p.20, H.11-16. professionals.
63 Stationers Register, ii, p.137,16 July
1657; The Bagford Ballads: illustrating
the last years of the Stuarts, ed. J. W.
VON HUENE
Ebsworth, 3 vols (Hertford, 1876-80), i, WORKSHOP, INC.
pp.330-34. Ebsworth believed, how-
ever, that the ballad dated from 1651. 59-65 Boylston Street
64 Apollo's Banquet (London, [1669]), Brookline, MA 02146 USA
no.37. A copy of this rare print can be (617) 277-8690 Ftx (617) 277-7217
found in the Wighton collection at
EARLY MUSIC FEBRUARY 1996 23
 Dundee Central Library. PwVi8 also
contains versions of the Royalist bal-
lads Law lies a Bleeding (Oxford, Bod-
leian Library, Wood 410, ff.i67V-j68,
dated 1659 = no.20, The Dominion of
the Sword, to the tune Dours Catastro-
phe or Lawyers leave your pleading, The
Dancing Master (1665), Select New
Tunes ... no.13) and The Soldier's For-
tune or The Taking ofMardike (The
Roxburghe Ballads, i-iii, ed. W. Chap-
pell, iv-ix, ed. J. W. Ebsworth (Hert-
ford, 1871-99), vii, pp.650-52, = no.31,
'Mardyke', to the tune of the same
name, The Dancing Master (1665),
Select New Tunes... no.20).
65 The Roxburghe Ballads, vi, pp.489—
92. The text was also printed in Merry
Drollery (part 1, pp.130-31) and Merry
Drollery, Complete (pp.138-40, verses
1—4 only) and in The Loyal Garland,
1673, sig. G7r-G8r; 1686, verses 1,3, 4, 6,
songs bux-lxxii). See also Chan,
'Drolls', p. 134, n.27.
66 The exiled Charles II.
67 PwVi8, p.101, U.19-30.
68 Chan, 'Drolls', pp.134-5.
69 Apollo's Banquet ([1669]), nos.175,
D.H.D.S.
Summer School in
Baroque Dance
HENGRAVE HALL
BURY ST EDMUNDS
SUFFOLK
26 JULY - 2 AUGUST 1996
For details send s.a.e. to
28th D.H.D.S. Summer School
Redmire, Ardley End, Hatfield
Heath, Bishop's Stortford, Herts
CM22 7AL
Reg. Charity No. 270896
24 EARLY MUSIC FEBRUARY 1996
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200; The Dancing Master (1665), Select
New Tunes..., no.16, entitled 'A New
Dance or Maheney', and no.49,
'Gavot'.
70 Stationers Register, i, p.66; The
Roxburghe Ballads, iv, pp.429-31.
71 Formerly Ms. F.5.13,
Cambridge University Library, Ms.
Dd.Vl.48, f.i5v, contains a tablature
setting entitled 'Toll toll gentle bell'.
72 Stationers Register, ii, p.35 (12 March
1655/6); The Roxburghe Ballads, vi,
pp.563-4.
73 Seep.iosff.
74 The Roxburghe Ballads, vi, p.564.
75 Drexel Ms. 4257, no.186. Copies are
also preserved in New York Public Lib-
rary, Drexel Ms. 4041, ff.48v-49r, and
Dublin, Trinity College, Ms. F.5.13,
ff.56v-57r.
76 PwVi8, p.58, U.1-11.
77 Wit Restor'd, pp.165-8; Merry
Drollery, part 2, 53-5; Merry Drollery,
Complete, pp.237-40.
78 (London, 1677), pp.52-3.
79 Stationers Register, ii, p.499; for a
copy of the text see The Bagford
Ballads, ii, pp.514-19.
80 Ebsworth suggested that the initials
'J.D.', which occur only in the Wit
Restor'd title, may belong to the poet,
but conceded that they could equally
well apply to the composer (The
Bagford Ballads, ii, p.514).
81 Yockney joined'his Mats Musitons
for the Vyolins' at the Restoration: Lists
of payments to the King's Mustek in the
reign of Charles U (1660-1685), ed. A.
Ashbee (Snodland, 1981), p.48.
82 Drexel Ms. 4257, nos.317,333.
Copies of Yockney's setting of To the
hall for justice by Alexander Brome can
be found in Drexel Ms. 4041, f.i39v,
and in Edward Lowe's songbook,
British Library, Add. Ms. 29396, f.iiv.
83 See A. Ashbee, A biographical
dictionary of English court musicians,
1485-1714 (forthcoming). I am grateful
to Dr Ashbee for this reference.
84 Thomason tracts 669, f.24 (46 and
58); Withington, English pageantry, ii,
P-57-
85 Ayres and Dialogues, pp.48-9.
86 See ff.i42r-43r. J. P. Cutts, 'Drexel
Manuscript 4041', Musica disdplina,
xviii (1964), pp.151-202.
87 Select Ayres, pp.94-5; Cheerful!
Ayres, pp.2-3. For the date of publica-
tion of the latter, see the British Library
copy, K.2.a.2, in which the printed date
of 1660 is altered to 20 September 1659.
The songs can also be found together
in Catch that Catch Can (London,
1667), pp.122-5; The Musical Compan-
ion (London, 1672 and 1673), pp.114-15;
and in Edinburgh University Library,
Ms. Dc.1.69, p.84, copied in the hand of
Edward Lowe after 1660.
88 Fora list of the plays containing
music by Wilson see J. P. Cutts,
'Thomas Heywood's "The Gentry to
the King's Head" in "The Rape of
Lucrece" and John Wilson's setting',
Notes and queries, new series vii/10
(October 1961), pp.384-7.
89 Nos.4,16,32, 45, 47, 99,154-5,
169-70,175-6. Drexel Ms. 4257 also
includes the text incipit of'From the
fair Lavinian shore' (no.96).
90 A Royal Arbor, pp.26-32.
91 I. Spink, 'Taylor, John', New Grove,
xviii, p.605; J. K. Wood, Music in
Caroline plays, 2 vols. (PhD diss.,
U. of Edinburgh, 1991), ii, pp.549, 644.
92 See table 1, nos.14-15.
93 A Royal Arbor, pp.32-33.
94 See ff.59-6or. There is also an un-
attributed copy in Edward Lowe's
songbook, Edinburgh University
Library, Ms. Dc.1.69 (p-!57> verse 2
only of The Repulse).
95 E. B. Jorgens, The texts of the songs.
Garland Facsimiles English Song,
1600-1675, xii (New York, 1989), p.554.
96 P. J. Willerts, The Henry Lawes
Manuscript (London, 1969), p.73;
British Library, Add. Ms. 53723, f.i47r,
Select Musicall Ayres and Dialogues,
(London, 1652), part 1, p.37; (1653) part
1, p.11; (1659), p.45; The Treasury of
Musick (London, 1669). Ironically, the
song is ascribed to William Lawes in
Gamble's songbook, Drexel Ms. 4257,
no.198.
97 The Musical Companion, sig. A3r.
 MANUSCRITS MUSIC AUX DES PROVINCES FRANCISES
XVIII' siecle
PROVENCE
BIBLIOTHEQUE INGUIMBERTINE - CARPENTRAS
Due to the lack of modern editions, many music
manuscripts are inaccessible to performers. This col-
lection, devoted to 18th century France, is designed
to fill in this gap and contributes to a valorization of
the musical patrimony.
It offers to musicians and musicologists facsimiles of
unpublished manuscripts by known and unknown
composers who worked throughout the country.
1.- AUDIFFREN.- Magnificat... Fac-simile du ms
1019. FF 100.-
2.- AUPHAND.- Magnificat, a grand choeur et
symphonic 1783- Fac-simile du ms 1024. FF 175.-
3.- AUPHAND.-Magnificat sans symphonic 1758.
Fac-simile" du ms 1024. FF 115.-
4.- BELISEN.- Magnificat... Fac-simile' du ms 1025.
FF 340.-
5.- BERTHON.- Te Deum Laudamus. Compost vers
1786. Fac-simile' du ms 1025. FF 430.-
6.- BLANCHARD, Esprit.- Conserva me Domine,
mottet a grand choeur et symphonic.. Fac-simile du
ms 1025'. FF3O5.-
7.- BOUDOU.- Beams Vir a grand choeur et sym-
phonie... Fac-simile du ms 1025. FF 175.-
8.- BOUDOU.- Hymne pour la Dddicace en sym-
phonic.. Fac-simile'du ms 1025. FF 115.-
9.- BOUDOU.- Hymne pour les fetes de la Pente-
cote sans symphonic.. Fac-simile' du ms 1025.
FF 160.-
10.- BOUDOU.- Litanie de la tres Ste Vierge... Fac-
simile" du ms 1025. FF130.-
Publication: during 1996-1997.
MINKOFF FRANCE
23, me de Fleurus, 75006 PARIS - Tel. (+33 1) 45 44 94 33 - Fax (+33 1) 45 44 94 30
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The manuscripts from the Bibliotheque Inguimber-
tine of Carpentras, which constitute a unique set of
works of a remarkable quality, inaugurate the collec-
tion, the first of which will be devoted to Provence.
Each volume is preceded by an introduction by Marc
Signorile (French/English).
The musical texts are perfectly readable and can be
performed directly from the facsimile.
11.- ETIENNE.- Dixit a grand choeur et simphonie.
ms 1028. FF 160.-
12.- FANTON.- Deus venerunt gentes mottet a
grand choeur... Fac-simile' du ms 1026. FF 340.-
13.- HUGUES.- Magnificat en symphonic 1780.
Fac-simile du ms 1032. FF 190.-
14.- LEVENS.- Dixit a 4 sans symphonie. Fac-simile'
du ms 1028. FF 145.—
15.- MALLET.- Magnificat en symphonie et a grand
choeur. Copie par Bonnet en avril 1845 pour la Bibio-
theque de Carpentras. Fac-simile du ms 1028. FF 175.-
16.- MONDONVILLE, J.J. Cassanea d c - Cantate
Domino... Fac-simile du ms 1029. FF 340.-
17.- MO1STDONVILLE, J.J. Cassanea d c - Dominus
regnavit... Fac-simile du ms 1029- FF 320.—
18.- MONDONVILLE, J.J. Cassanea d c - Jubilate
Deo omnis terra, motet. Fac-simile du ms 1029-
FF 340.-
19.- MONDONVILLE, J.J. Cassanea de.- Magnus
Dominus, motet. Fac-simile du ms 1029- FF 410.—
20.- VALLIERE.- Magnificat a 4. 1788. Fac-simile du
ms 1032. FF130.-
collection a suivre
EARLY MUSIC FEBRUARY 1 9 9 6 25
 Incorporating Puttick & Simpson
Founded 1794

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