- 1703. The History of the Rebellion and Civil Wars in England . Oxford. 1703, Edward Earl of Clarendon, II, 392–93..
- 1645. 1645, British Library, Thomason Tracts E279 (6), inscribed 26 April, London..
- Hulse, Lynn , 1994. ‘Matthew Locke: Three Newly Discovered Songs for the Restoration Stage’ , Music and Letters 75 (1994), 200–13; Lynn Hulse, ‘The King's Entertainment by the Duke of Newcastle’, Viator, 26 (1995); Matthew Locke, The Rare Theatrical: New York Public Library. Drexel MS 3976, introduced by Peter Holman ('Music for London Entertainment 1660–1800’, A/iv) (London: Stainer and Bell, 1989), p. xxi..
- ‘The King's Entertainment’. , For more information on Rolleston see Hulse.
- 1995. Chelys 24 (1995), Newcastle's instruments are discussed in my forthcoming article in..
- Pinks, William J. , 1865. The History of Clerkenwell . London. 1865. pp. 95–98, by Edward J. Wood, pp. Among the list of keyboard instruments on folio 2r of the inventory is the reference ‘Att bolsouer 1 harpsicall’..
- , British Library, Add. MS 70499, fols 196, 198–200..
- 1667. The Life of the Thrice Noble High and Puissant Prince William Cavendishe . London. 1667. p. 140, Margaret, Duchess of Newcastle, p.; Martin Butler, ‘Entertaining the Palatine Prince: Plays on Foreign Affairs 1635–37’, English Literary Renaissance, 13 (1983), 319–44. Charles Louis apologised to his mother Queen Elizabeth of Bohemia on 8 September 1636 for his negligence in writing that summer, ‘caused by a perpetual hunting and changing of lodgings’ (Sir George Bromley, A Collection of Original Royal Letters (London, 1787), p. 81)..
- , BL, Add. MS 70499, fol. 214..
- 1963. Some British Collectors of Music c. 1600–1960 . 1963. p. 10, Alec Hyatt King, (Cambridge: Cambridge University Press,), p..
- 1986. Sundry sorts of music books: Essays on The British Library Collections presented to O. W. Neighbour on his 70th birthday . 1986. pp. 146–182, The numbers are taken from John Milsom, ‘The Nonsuch Music Library’, ed. by Chris Banks, Arthur Searle and Malcolm Turner (London: British Library, 1993), pp. Lynn Hulse, ‘Hardwick MS 29: A New Source for Jacobean Lutenists’, The Lute, 26, 63–72, Michael G. Brennan, ‘Sir Charles Somerset's Music Books (1622)’, Music and Letters, 74 (1993), 501–18..
- 1614. The first set of English madrigals to 3, 4, 5, and 6. voices . London. 1614, Arundel Castle Archives letterbook 1587–1617, nos 189–90, Cavendish to the Countess of Shrewsbury, 17 April; John Wilbye, (1598)..
- Philipps, Glen A. , 1977. ‘John Wilbye's Other Patrons: The Cavendishes and their Place in English Musical Life during the Renaissance’ , Music Review 38 (1977), p. 28, 81–93 (p. 85). A copy of the tenor part-book, bound in brown calf with the armorial stamp of the Seventh Earl of Shrewsbury, is preserved in the Victoria and Albert Museum, shelfmark Clements SS20 (see John P. Harthan, Bookbindings, 2nd edn (London: HMSO, 1961), p. and pl. 33)..
- Howarth, David J. , 1971. "‘Lord Arundel as a Collector and Patron 1604–1646’ (unpublished doctoral thesis, University of Cambridge, 1979), pp. Margaret, Duchess of Newcastle". In: The Life of…William Cavendishe . 1971. pp. 6–8, 3; J. Irene Whalley, ‘Italian Art and English Taste: An Early-Seventeenth-Century Letter’, Apollo (Sept.,), 184–91..
- 1956. An Elizabethan: Sir Horatio Pallavicino . 1956. p. 33, In his will, Pallavicino stipulated that his son Henry was to be educated in the household of his godfather the Seventh Earl of Shrewsbury (Lawrence Stone, (Oxford: Clarendon Press,), p.). The Tuscan poet Antimo Galli, who lived ‘sotto la pretezione e padronanza’ of Lady Elizabeth Grey, Shrewsbury's daughter, may also have served in the earl's Nottinghamshire household (Rime di Antimo Galli all'Illustrissima Signora Elizabetta Talbot-Grey (London, 1609); John Orrell, ‘Antimo Galli's description of The Masque of Beauty’, Huntington Library Quarterly, 43 (1979), 13–23 (p. 14))..
- Kerman, Joseph , 1962. The Elizabethan Madrigal . 1962. pp. 48–57, (American Musicological Society—Studies and Documents, no. 4,), pp. A musician named Thomas Yonge, possibly a relative of the anthologist, was employed in the Cavendish household (Longleat, Seymour papers, vol. xxii fol. 7V, dated Sept. 1609; Nottinghamshire Archives DDP26/1–2, dated December 1617). Thomas Yonge may be identified with the Sixth Earl of Shrewsbury's employee, who in 1590 desired to remain in the service of the Talbots following his master's death (Lambeth Palace Library, MS 3199, p. 221)..
- The Life of…William Cavendishe . pp. 2–3, Margaret, Duchess of Newcastle, pp..
- , See, for example, Lambeth Palace Library, MS 3203, fol. 282 (1604), and MS 694, fol. 90 (February 1611)..
- 1977. Balletti a cinque voci . 1977. pp. 704–11, A copy of Gastoldi's which may have belonged to the Cavendishes, is listed in the 1719 sale catalogue Bibliotheca Nobilissimi Principis Johannis Ducts de Novo-Castro, &c. Being a large Collection of Books Contain'd in the Libraries of the most Noble William and Henry Cavendish, and John Hollis, Late Dukes of Newcastle, 26, no. 287 ‘Gastoldi (Giac.), sui Balletti [Venice] 1598’. The date of publication would appear to be a printing error; the Balletti, which runs to several editions, was not published in this year at either Venice or Antwerp (see RISM series A/1 and Emil Vogel, Alfred Einstein, François Lesure and Claudio Sartori, Bibliografia della Musica Italiana Vocale Profana Pubblicata dal 1500 al 1700,1, rev. edn (Pomezia: Minkoff,), pp. The 1719 sale catalogue also contains Cipriano de Rore's II primo libro de madrigali a quatro voci…novamente…cogni diligentia ristampati (Venice: Antonio Gardano, 1557) (ibid., p. 26, no. 286)..
- Kerman, , The Elizabethan Madrigal . pp. 160–61.
- , Philipps, ‘Wilbye's Other Patrons’, 81–83..
- Gage, John , 1822. The History and Antiquities of Hengrave in Suffolk . London. 1822. p. 184, The limitations in favour of Sir Charles did not take effect. Cavendish predeceased his mother-in-law and the Kytson estates descended to the younger daughter Mary Countess Rivers..
- , Lambeth Palace Library, MS 3198, fol. 172..
- The Life of…William Cavendishe . pp. 2–3, According to the Duchess of Newcastle, Sir Charles encouraged his older son ‘to follow his own Genius’, and was particularly delighted when in his adolescence he spent £50 on a singing boy instead of investing his wealth in land (pp.—, 141–42). See also Lynn Hulse, ‘Musical Apprenticeship in Noble Households’, John Jenkins and his time: Studies in English Consort music, ed. by Andrew Ashbee and Peter Holman (Oxford: Oxford University Press, forthcoming), chap. 2..
- Wilks, Timothy V. , 1988. 1988. pp. 81–82, ‘The Court Culture of Prince Henry and his Circle, 1603–1613’ (unpublished doctoral thesis, University of Oxford,), pp. Arundel Castle Archives letterbook 1587–1617, no. 205, n.d. but c. 1615. Lady Elizabeth Grey's servant, Antimo Galli, was also a close friend of Prince Henry's Paduan singer-lutenist Angelo Notari, author of Prime Musiche Nuove (London, 1613)..
- Hulse, , , ‘Hardwick MS 29’, 69–72..
- Trease, Geoffrey , 1979. Portrait of a Cavalier: William Cavendish, First Duke of Newcastle . 1979. pp. 27–30, (London: Macmillan,), pp. Pauline Croft, ‘The Parliamentary Installation of Henry, Prince of Wales’, Historical Research, 65 (1992), 177–93 (p. 190)..
- Hulse, , , ‘Hardwick MS 29’, 63–64..
- Trease, , 1989. Portrait of a Cavalier . 1989. pp. 32–100, John Stoye, English Travellers Abroad 1604–1667 rev. edn (New Haven and London: Yale University Press,), pp. 99-; Mark Girouard, Robert Smythson & The Elizabethan Country House (New Haven and London: Yale University Press, 1983), pp. 182–85.
- Trease, , Cavalier . p. 33.
- Olney, R. J. , 1989. ‘The Portland Papers’ , Archives 19 (1989), 78–87..
- Poulton, Diana , 1982. John Dowland . 1982. pp. 47–48, 2nd edn (London: Faber,), pp.—, 330–36, 421–22..
- Hulse, , , ‘Hardwick MS 29’, 64..
- Greer, David , L‘“…Thou Court's Delight”: Biographical Notes on Henry Noel’ , The Lute Society Journal 17, , (31975), 49–59..
- 1923. HMC Portland Manuscripts . 1923. pp. 83–84, IX (London: HMC,), 88–91; P. R. Seddon, ‘Letters of Sir John Holies 1587–1637’, Thoroton Society Record Series, 31 (1975), xxxiii-xxxvi; Wallace T. MacCaffrey, ‘Talbot and Stanhope: an Episode in Elizabethan Polities’, Bulletin of the Institute of Historical Research, 33 (1960), 73–85 (pp.—); Gage, The History and Antiquities of Hengrave in Suffolk, pp. 184–86. Noel sat as MP for Cricklade in the 1593 House of Commons alongside Cavendish ('The House of Commons 1558–1603’, The History of Parliament, ed. by Peter W. Hasler, 3 vols (London: History of Parliament Trust, 1981), I, 565–66 and III, 134–35)..
- 1790. Thoroton's History of Nottinghamshire . Nottingham. 1790, Nottinghamshire Archives, DDP 28/3/1; 2nd edn, rev. by John Throsby, 3 vols, III, 370–71..
- , Nottinghamshire Archives, DDP 28/4/1–2..
- , Nottinghamshire Archives, DD4P 46/25..
- Trease, , Cavalier . p. 44.
- , Farthing is not listed among the servants employed by Jane's brother-in-law the Seventh Earl of Shrewsbury; however, only a handful of chequerrolls survive from the Jacobean period (see Lambeth Palace Library, MS 694, fol. 116; MS 706, fols 140v-41; MS 708, fols 99v-100; MS 3203, fols 282, 505 and 582)..
- RISM , See the various editions of this work in series A/I, L902, L909, L917, L957, L962, L992, L1017 and L1025..
- 1961. Spanish Cathedral Music in the Golden Age . 1961. pp. 316–18, Infantas, the son of a prominent Cordoba family, moved to Rome in 1572 where he remained for twenty-five years. Following his ordination to the priesthood in 1584, he became chaplain to a small church in the suburbs of the city (Robert Stevenson, (Berkeley and Los Angeles: University of California Press,), pp.—)..
- RISM , Bookes II and III in five and six parts respectively were published in Venice in 1578 and 1579 by Girolamo Scotto (series A/I, 138 and 139)..
- 1918. Plura modulationum genera . 1918. p. 82, Fourteen of the exercises were composed during his adolescence and the remainder between 1576 and 1579 when he was working at a hospital for the poor in Rome. Only two copies of the…are known to survive. The Augsburg Staats-und Stadtbücherei copy of the print is bound with the tenor parts of the Sacrarum, books II and III (Rafael Mitjana, Don Fernando de las Infantas teólogo y músico (Madrid: Centro de Estudios Historicós,), p.). An eighteenth-century manuscript copy exists in the Royal College of Music, London, MS 1194. According to Sir John Hawkins, this manuscript is in the hand of the Drury Lane theatre musician Ephraim Keiner, amanuensis to Dr Pepusch (Royal College of Music, MS 1194, flyleaf; Hawkins, A General History of the Science and Practice of Music, II (London, 1875), 908)..
- Don Fernando . pp. 81–91, Mitjana, pp..
- Brett, Philip , 1964–1968. ‘Edward Paston (1550–1630): a Norfolk Gentleman and his Musical Collection’ , Transactions of the Cambridge Bibliographical Society 4 (1964–1968), 51–69..
- Clulow, Peter , 1966. ‘Publication Dates for Byrd's Latin Masses’ , Music and Letters 47 (1966), p. 188, 1–9; Joseph Kerman, The Masses and Motets of William Byrd (London: Faber, 1981), p..
- Kerman, , 1963. Masses and Motets . 1963, chaps 3 and 5; James L. Jackman, ‘Liturgical Aspects of Byrd's Gradualia’, Musical Quarterly, 49, 17–37..
- Scholes, Percy A. , 1969. The Puritans and Music . 1969. p. 142, (Oxford: Oxford University Press, repr.), p. Dering (c. 1580–1630) served as organist in the Roman Catholic chapel of Henrietta Maria..
- 1989. Chelys 18 (1989), Hulse ‘Hardwick MS 29’, 69. See also Tim Crawford, ‘Constantijn Huygens and the “Engelsche Viool’”, 41–60 (p. 44)..
- 1937. CSP Dom. 1591–1594 . 1937. pp. 174–17, Several members of the Cavendish-Talbot family circle were suspected recusants. Sir Henry Pierrepont, Cavendish's brother-in-law, was removed from his office as J.P. on suspicion of Roman Catholicism because he and his wife Frances had not attended divine service as required by law (Lambeth Palace Library, MS 3199, pp. 463, 469 and 493). During the 1620s Lady Frances was prosecuted several times for her popery (Alfred C. Wood, Nottinghamshire in the Civil War (Oxford: Clarendon Press,), p. 187; Philipps, ‘Wilbye's Other Patrons’, 91). Sir Charles's brother Henry Cavendish was implicated in the Bye Plot to overthrow James I (David N. Durant, Bess of Hardwick: Portrait of an Elizabethan Dynast, rev. edn (Newark: Cromwell Press, 1988), pp. 216-). Contrary to the view expressed by Philipps, Sir Charles's mother Bess of Hardwick was not a Roman Catholic (Durant, Bess of Hardwick, p. 87). The decoration of the low chapel at Hardwick Hall—‘a Crucefixe of imbrodered worke, too pictures of our Ladie the Virgin Marie and the three Kinges, the salutation of the Virgin Marie by the Angle’— is entirely in keeping with the doctrinal sensibility of early Jacobean Arminians avant la lettre (Durant, Bess of Hardwick, p. 216; Lindsay Boynton, The Hardwick Hall Inventories of 1601 (London: Furniture History Society, 1971), p. 30; Nicholas Tyacke, Anti-Calvinists: The Rise of English Arminianism c. 1590–1640 (Oxford: Clarendon Press, 1987), p. 4). See also the early Jacobean chapel at Hatfield (Lynn Hulse, ‘The Musical Patronage of Robert Cecil, First Earl of Salisbury (1563–1612)’, Journal of the Royal Musical Association, 116 (1991), 24–40 (p. 39))..
- p. 817, Lambeth Palace Library, MS 3199, p..
- Jackman, , "‘Liturgical aspects of Byrd's". In: Gradualia’ . p. 51, 33; Kerman, The Masses and Motets of William Byrd, p..
- , Lambeth Palace Library, MS 3203, fol. 342..
- Bossy, John , 1962. ‘The Character of English Catholicism’ , Past and Present 21 (1962), 39–59..
- CSP Dom. 1611–1618 , British Library, Add. MS 32464, fols 46v-48r. In 1618 Lady Shrewsbury was imprisoned in the Tower for refusing the oath of allegiance and, according to Chamberlain, was liable to lose all her property as well. She was eventually let off with a fine of £20,000 (pp. 560, 565)..
- 1608. 4 (1608), Music may have formed part of the household devotions at Welbeck. During the early years of James's reign, Sir Charles was seeking a household organist. In a postscript to a letter dated 19 March, the singer and violist Martin Otto, formerly in service to the Seventh Earl of Shrewsbury, claimed, ‘I have allmost a promise of [] organist…to Sr Charles whatsoever he supposes at first I know him honest religious and exceeding studious’ (Lambeth Palace Library, MS 3203, fol. 574). The calendar of the Talbot papers gives the year of this source as 1609, but Otto's letter was written shortly before taking up his appointment in the Danish royal chapel on 1st April 1608 (Gordon R. Batho, ‘A Calendar of the Talbot Papers in the College of Arms’, Derbyshire Archaeological Society Record Series (1971), 298; John Bergsagel, ‘Danish Musicians in England 1611–1614: Newly-Discovered Instrumental Music’, Dansk aarbog for musikforskning, 7 (1973–1976), 9–20 (p. 17))..
- 1982. Northampton: Patronage and Policy at the Court of James I . 1982. p. 9, Quoted in Linda Levy Peck, (London: Allen and Unwin,), p. Liber primus sacrarum was dedicated to Shrewsbury's close friend Edward Somerset, Fourth Earl of Worcester, who was described by Elizabeth as one who reconciled what she thought irreconcilable, ‘a stiff papist to a good subject’ (Brennan, ‘Sir Charles Somerset's Music Books’, 507)..
- Kerman, , The Masses and Motets of William Byrd . p. 51.
- Chaney, Edward , 1985. The Grand Tour and the Great Rebellion . 1985. p. 309, Biblioteca del Viaggio in Italia, 19 (Geneva: Slatkine,), p..
- Jacquot, Jean , 1917. ‘Sir Charles Cavendish and his Learned Friends’ , Annals of Science 8 (1917), (1952), 13–27 and 175–91; Richard Flecknoe, A relation often years travells in Europe, Asia, Affrique, and America (London, [? 1656]) and The portrait of William Marquis of New-Castle (London, 1660); Margaret Urquhart, ‘Was Christopher Simpson a Jesuit?’, Chelys, 21 (1992), 3–26; The Dictionary of National Biography, ed. by Leslie Stephen and Sidney Lee, 22 vols (London: Oxford University Press,), V, 965, 967 and XVI, 174..
- 1644. The Answer of Ferdinando Lord Fairfax to a Declaration of William Earle of Newcastle . 1644, See, for example, (London, 3rd March 1642/3); A Declaration Of the Lords and Commons Assembled in Parliament, for the vindication of Ferdinando Lord Fairfax and divers other Knights and Gentlemen (London, [?2nd February 1642/3]); A New-come Guest to the Tourne (London, 5 June)..
- , British Library, Add. MS 70499, fol. 198v.
- Chaney, , The Grand Tour and the Great Rebellion . pp. 309–10.
- 1996. Newcastle's plays and entertainments in the Portland collection . 1996, Portland MS PwV26, fols 146–50. A diplomatic edition of the text will appear in my forthcoming book (Oxford: Malone Society,). K. S. S. Train, ‘Lists of the Clergy of North Nottinghamshire’, Thoroton Society Record Series, 20 (1961), 143..
- The Grand Tour and the Great Rebellion . p. 310, Quoted in Chaney, p..
- 1988. A Declaration…For his Resoluton of Marching into Yorkeshire . 1988. p. 13, Newcastle, p. Clarendon observed that Newcastle supported the orthodox Church of England ‘without any other passion for the particular Opinions which were grown up in it, and distinguished it into Parties’ (The History of the Rebellion, II, 392). In his advice to Charles II, Newcastle wrote, ‘…popery and presbytery, though they look diverse ways with their heads, are yet tied together like Samson's foxes by their tails, carrying the same Firebrands of covetousness and ambition to put everything that will not submit to them into a combustion wheresover they go’ (Gloria Italiano Anzilotti, An English Prince. Newcastle's Machiavellian Political Guide to Charles II (Pisa: Giardini,), p. 99)..
- Shaw, Watkins , 1991. The Succession of Organists of the Chapel Royal and the Cathedrals of England and Wales from c. 1538 . 1991. pp. 7–8, (Oxford: Oxford University Press,), pp.—, 172, 261 and 356; Denis W. Stevens, Thomas Tomkins 1572–1656 (London: Macmillan, 1957), pp. 8–14; Public Record Office, LC5/132, fol. 358..
- Tomkins . p. 19, For example, in 1634 Salisbury Cathedral complained about Giles Tomkins's lengthy absences to the court (Stevens, p.)..
- 1994. The Correspondence of Thomas Hobbes . 1994, British Library, Add. MS 70499, fol. 214. See also ed. by Noel Malcolm, 2 vols (Oxford: Clarendon Press,), I, 39..
- 1661. 1661, Rolleston counted at Welbeck in 1636 fifteen viols in varying states of repair. The Michaelmas accounts include a half-year payment of £15 to a violist named Mr Young (Portland MS, Pw1/670)..
- Holman, Peter , 1993. Four and Twenty Fiddlers: The Violin at the English Court 1540–1690 . 1993. p. 256, (Oxford: Clarendon Press,), p.; Records of English Court Music (RECM), ed. by Andrew Ashbee, 7 vols (Snodland: Ashbee, 1986–91; Aldershot: Scolar Press, 1991–93), III, 85 and IV, 112..
- Field, Christopher D. S. , 1992. "‘Consort Music I: up to 1660’". In: The Blackwell History of Music in Britain: The Seventeenth Century . 1992. pp. 197–244, by lan Spink (Oxford: Blackwell,), pp.—(p. 224)..
- The Division Violist . p. 21, Simpson, preface and p..
- 1980–92. Thematic Index of Music for Viols . 1980–92. p. 98, Gordon Dodd, (London: Viola da Gamba Society,), Webster-1; Durham Cathedral Library, MS D. 10, p. and New York Public Library, MS 3551, p. 40.
- Dodd, , Index , Norcombe 1–2..
- Holman, , Four and Twenty Fiddlers . pp. 205–209.
- , Urquhart, ‘Was Christopher Simpson a Jesuit?’..
- 1663. A List of Officers Claiming to the Sixty Thousand Pounds &c. Granted by His Sacred Majesty for the Relief of His Truly-Loyal and Indigent Party . London. 1663, PRO SP 29/68, fol. 53v, column 24. Peter Lord gives 1643 as the date of Simpson's enlistment; Urquhart believes that he joined Newcastle's army the previous year (A Compendium of Practical Music in Five Parts, ed. by Peter Lord (Oxford: Blackwell, 1970), p. xiv; Urquhart, ‘Was Christopher Simpson a Jesuit?’, 6)..
- Compendium , A copy of Simpson's is listed in the 1719 sale catalogue of the Newcastle library ([45], no. 314)..
- Thompson, Robert , 1991. ‘”Francis Withie of Oxon” and his commonplace book, Christ Church, Oxford MS 337’ , Chelys 20 (1991), 3–27 (p. 6)..
- 1643. The Life of…William Cavendishe . 1643. pp. 39–40, Margaret, Duchess of Newcastle, pp. The duke had returned to York before 28 January (see A Sermon preached in York Minster, Before his Excellence the Marques of Newcastle Being then ready to meet the Scotch Army January 28, 1643 By the Bishop of Derry. Published by Speciall Command. Printed at York by Stephen Bulkley 1643). Newcastle spent most of his military career on campaign in the northern counties when he was not residing at York, though he must have returned briefly to Welbeck at the time of his first wife's death on 17 April (Margaret, Duchess of Newcastle, Life of…William Cavendishe, pp. 12–53)..
- Urquhart, Margaret , 1989. ‘Sir Robert Bolles Bt. of Scampton’ , Chelys 16 (1989), 16–29..
- 1665. The Division Viol . 1665, The 1719 sale catalogue of the Newcastle library includes a copy of the 1667 edition of (first published London,), Simpson's revised version of The Division Violist, which probably belonged to William Cavendish ([44], no. 297)..
- Woodfill, Walter L. , 1953. Musicians in English Society from Elizabeth to Charles I . 1953. p. 45, (Princeton: Princeton University Press,), p.; Ashbee, RECM, III, 73..
- 1991. Country Captaine . 1991. pp. 59–60, In Act IV, scene 1 of Newcastle's play The staged in c. 1640, one of the tavern fiddlers refers to ‘Master Adsons new ayres’ (William Cavendish, The Country Captaine And the Varietie, Two Comedies, Written by a Person of Honor (London, 1649), pp.—). Courtly masquing ayres could hardly have been considered ‘new’ in 1640. The fiddlers may have performed pieces composed by Adson later than the 1621 print which are no longer extant (Julia K. Wood, ‘Music in Caroline Plays’, 2 vols (unpublished doctoral thesis, University of Edinburgh,), II, 486–87)..
- Dodd, , Thematic Index of Music for Viols , Webster-1..
- Ashbee, , 1628. RECM . 1628, III, 24, appointment backdated to Michaelmas 1626. Nau was also appointed composer for his majesty's violins in April, in place of Thomas Lupo (ibid., 31)..
- Ford, Robert , 1978. ‘The Filmer Manuscripts: A Handlist’ , Notes 34 (1978), pp. 244–50, 814–25; Holman, Four and Twenty Fiddlers, pp..
- 1966. The British Broadside Ballad and its Music . 1966. p. 309, A copy of the ballad tune ‘The Highlanders’ March’ is bound into Portland MS PwV24, the second of Newcastle's literary manuscripts (Claude M. Simpson, (New Brunswick: Rutgers University Press,), p.). The seventeenth-century manuscripts acquired earlier this century by the Sixth Duke of Portland are omitted from this discussion..
- , Olney,'The Portland Papers’..
- Hulse, , "‘Matthew Locke: Three Newly Discovered Songs for the Restoration Stage’ and". In: ‘The King's Entertainment’. .
- Cheerfull Ayres , For the date of publication see the British Library copy of Wilson's shelf-mark K.2.a.2. The songs from The Varietie are printed in cantus I (pp. 53, 57 and 108), cantus II (pp. 31, 42 and 68) and bass (pp. 39, 42 and 68)..
- Cutts, John P. , 1953. ‘A Bodleian Song-Book: Don.C.57’ , Music and Letters 34 (1953), 192–211; ‘Seventeenth-Century Songs and Lyrics in Edinburgh University Library Music MS. Dc. 1.69’, Musica Disciplina, 13 (1959), 169–94; ‘Drexel Manuscript 4041’, Musica Disciplina, 18 (1964), 151–201..
- The Varietie . pp. 62–63, Cavendish, pp.—, 66–67..
- 1980. The New Grove Dictionary of Music and Musicians . 1980, Ian Spink, ‘Wilson, John’, ed. by Stanley Sadie, 20 vols (London: Macmillan,), XX, 443–44; Ashbee, RECM, III, 83; Wood, ‘Music in Caroline Plays’, II, 473–75 and 653–66..
- Lefkowitz, Murray , 1960. William Lawes . 1960, (London: Faber,), pp. 16, 196; Ashbee, RECM, III, 82..
- 1980. 1980, The manuscript, which bears the arms of Charles I, was probably compiled after Lawes's appointment to the King's Musick, and has been dated to c.1638–45 (Peter Beal, Index of Literary Manuscripts, I-’1450–1625’ (London: Mansell,), part 2, 290)..
- 1993. The King's Entertainment at Welbeck . 1993. pp. 134–73, survives in two literary sources: Ben Jonson's 1640 Folio edition and the Newcastle manuscript, British Library, Harleian MS 4955, a contemporary source of works by Jonson and other poets associated with the Cavendish family, which predates the printed text (Hilton Kelliher, ‘Donne, Jonson, Richard Andrews and The Newcastle Manuscript’, English Manuscript Studies, ed. by Peter Beal and Jeremy Griffiths, IV (London: British Library,), pp.—). Lawes's score contains only the ‘first straine’ of the dialogue. The distribution of the text in Harleian MS 4955 (fol. 194) suggests a scoring of five voices—two soloists representing the passions Doubt and Love and a three-part chorus of affections, Joy, Delight and Jollity (the wording of the second strain implies treble, tenor and bass), each of whom has solo entries in lines 7–12 (<1> = Joy, <2> = Delight and <3> = Jollity). All three voices join together in lines 13–14. Lawes's setting is quite different: i) the dialogue between Doubt and Love is scored for the affections Joy and Delight, sung by two trebles who also perform lines 7–12 in alternating solo and duet passages; and ii) lines 13–14 are scored for four-part chorus comprising two trebles, tenor and bass. In addition, there is a significant textual varant in line 12 between Lawes's manuscript and the literary sources. Margaret Crum has suggested that Lawes changed or asked the poet to change certain words in order to avoid over-clogging of consonants ('Notes on the texts of William Lawes's Songs in B.M. MS Add. 31432’, The Library, 5th series, 9 (1954), 122–27 (pp. 123–24)). The text in Harleian MS 4955 reads ‘The Welcome of our great good King’; Add. MS 31432, ‘Welcome, welcome to our Royall King’. In fact, it is just as easy, if not easier, to sing the text in the Newcastle manuscript than the double ‘welcome’ in Lawes's setting..
- The Country Captaine , I am grateful to Julia Wood for drawing my attention to the existence of this song. The first line in reads ‘Come let us throw the dice’..
- Hulse, , ‘The King's Entertainment’. , The song text does not appear in the manuscript copy of the play, British Library Harleian MS 7650, fol. 43v, which contains only the stage direction ‘A song i'th tauerne’..
- 1986. Musical Times 127 (1986), Wood, ‘Music in Caroline Plays’, II, 656–57. There is some evidence to connect William Lawes with Newcastle during the twelve-week siege of York in the spring-summer of 1644 (David Pinto, ‘William Lawes at the Siege of York’, 579–83; A Sermon, preached in the Metropoliticall Church of York, upon the 19 Day of May…By William Ranson, Vicar of Barton upon Humber, before his Excellencie the Marques of Newcastle (York, 1644); Peter Wenham, The Great and Close Siege of York, 1644 (York: Sessions, 1970)). The Cavendishes were on close terms with William's older brother Henry Lawes. In July 1641 John Viscount Brackley, heir to Henry's patron the First Earl of Bridgewater, married Newcastle's daughter Elizabeth. Lawes composed two anniversary songs in celebration of this union (Willa McClung Evans, Henry Lawes, Musician and Friend of Poets (New York: MLA, 1941), pp. 171–73, 191–93; Henry Lawes, Ayres and dialogues (London, 1653)). Furthermore, during the period spent in England attempting to recover her husband's sequestered estates (November 1651-March 1653), Margaret and her brother-in-law Sir Charles Cavendish visited the home of Henry Lawes on three or four occasions where they were entertained with music (Margaret Cavendish, ‘A true Relation of my Birth, Breeding and Life’, Natures Pictures Drawn by Fancies Pencil to the Life (London, 1656), p. 382)..
- Trease, , Portrait of a Cavalier . p. 178.
- 1995. Early Music . Cambridge. 1995, See my forthcoming article on Jordan's autograph collection of cavalier poems and songs in (1995), and my edition of the manuscript, to be published in the series Renaissance Texts from Manuscript, ed. by Jeremy Maule..
- 1950. Watermarks mainly of the 17th and 18th centuries . 1950, Sloane MS 3992 is an oblong octavo score-book comprising thirty-four leaves of French paper with a Bunch of Grapes watermark, flanked by the initials MP, which resembles Edward Heawood, (Hilversum: Paper Publications Society,), no. 2176. The manuscript contains two systems of 5- and 6- lined staves per page. No. 14 is copied twice (fols 8v-9r); no. 15 has two minor variants in bars 2 and 16 of the treble part, and the lower part is missing..
- 1962. Decorative Painting in England 1537–1837 . 1962, Edward Croft-Murray, I: ‘Early Tudor to Sir James Thornhill’ (London: Country Life,), 33..
- Collins, David , 1976. ‘A 16th-century manuscript in wood: The Eglantine table at Hardwick Hall’ , Early Music 4 (1976), pp. 73–91, 275–79; A Tallis Anthology, ed. by John Milsom (Oxford: Oxford University Press, 1992), p. Other contemporary examples include the alabaster overmantel carving of Apollo and the nine muses made probably for the high great chamber at Chatsworth, Derbyshire; the frieze of the great chamber at Gilling Castle, Yorkshire (1585); the Four Ages of Man grisailles under the lower arcade of the great staircase and the alabaster overmantel of the great chimneypiece in the dining room (known today as the ballroom) at Knole, Kent (1605–08); Edward Norgate's ceiling with the figures of architecture, poetry, painting and music in the Queen's cabinet at Denmark House (1625); the plasterwork ceiling of the long gallery at Buckling Hall, Norfolk depicting the five senses; and Orazio Gentileschi's ceiling with Apollo and the nine muses in the saloon at York House, commissioned by the First Duke of Buckingham (Mark Girouard, Hardwick Hall Derbyshire: a History and a Guide (London: National Trust, 1976), pp. 90-; Croft- Murray, Decorative Painting, 197b, 185b and 202a; Knole (London: National Trust, 1982), pp. 15–16, 30–31; Blickling Hall (London: National Trust, 1982), pp. 31–32)..
- Decorative Painting , The ceiling of the companion chamber depicting the pagan view of heaven, known as the Elysium room, is copied directly from an engraving of one of Primaticcio's ceiling pieces in the Galerie d'Ulisse at Fontainebleau (Croft-Murray, I, 33)..
- Faulkner, P. A. , 1972. Bolsover Castle, Derbyshire . 1972. pp. 52–53, (London: HMSO,), pp.—, 59. Croft-Murray suggests a dating of c. 1621 (I, 33)..
- Chelys , The iconography of the ceiling is discussed in my forthcoming article on Newcastle's instrument collection (24)..
- 1980. Folk Music Journal 4 (1980), Only the F# accidental on the word ‘and’ is missing in the tenor part. Z. D. M. Bidgood, ‘The Significance of Thomas Ravenscroft’, 24–34..
- Pammelia , ‘Follow me quickly/Iacke is a pretty boy,/round about/standing stout,/singing ale in a bole,/fa la sol,/la my dirry come dandy’. This round is listed in the index to the 1618 edition of but is omitted from the body of the work..
- Newcastle's plays and entertainments in the Portland collection. , Portland MS PwV25, fols 42r-44v. For a copy of the text see Hulse.
- Cokayne, G. E. , 1910–59. The Complete Peerage . 1910–59, 13 vols (London: St Catherine's Press,), IX, 523..
- Watt, Tessa , 1991. Cheap Print and Popular Piety 1550–1640 . 1991. pp. 1–2, (Cambridge: Cambridge University Press,), pp. In A Defence of Poetry, for instance, Sir Philip Sidney confessed to being moved by ‘the old song of Percy and Douglas’, or the ballad of ‘Chevy Chase’ (Sidney: A Defence of Poetry, ed. by Jan A. van Dorsten (Oxford: Oxford University Press, 1966), p. 46)..
- 1667. A New Method, and Extraordinary Invention to Dress Horses . London. 1667. p. 240, ‘Salenger's Round’ is also mentioned in Newcastle's fencing treatise entitled ‘The Truth of the Sorde’ (British Library, Harleian MS 4206, fols 8v-9) and in the second of his horse-riding manuals, p..
- Hulse, , ‘The King's Entertainment’. .
- Anzilotti, , An English Prince . pp. 12–13, 167–68..
- Hutchinson, Lucy , 1806. Memoirs of the Life of Colonel Hutchinson . London. 1806. p. 95.
The Seventeenth Century
Volume 9, 1994 - Issue 2: The Cavendish Circle