y FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY SCL) SitfZ ' m Si^HnriThrt^ ■ pl^^ Wr S^T^ £<*«*& Mv &&4ry&6 **1 "3- / :=tt J < ftfl IllWfi W 'it — ai37 English Carols OF THE FIFTEENTH CENTURY FROM A MS. ROLL IN THE LIBRARY OF TRINITY COLLEGE, CAMBRIDGE EDITED BY J. A. FULLER MAITLAND, m.a., f.s.a. WITH ADDED VOCAL PARTS BY W. S. ROCKSTRO. London : THE LEADENHALL PRESS, E.C. NOVELLO, EWER & CO. SIMPKIN, MARSHALL, HAMILTON, KENT & CO, LIMITED. NEW YORK: CHARLES SCRIBNER'S SONS, 743 & 745 BROADWAY. CONTENTS. Page Introduction, ......... v. The Carols in their Original Form and Notation, i The Carols Translated into Modern Notation, with Additional Parts written by W. S. Rockstro, - - 30 Appendix on the "Agincourt Song," No. VII., - - 59 Digitized by the Internet Archive in 2013 http://archive.org/details/englishcarolsoffOOfull_0 INTRODUCTION. COMPARATIVELY few persons, even among antiquaries and historians, have the crver ::" iisterr.ir.;; the beauty v-hitr i- he.i :: ur.ierlie the _r:i_:ti:r.s ::' the earliest peri: is :f artistic level turn cr.t ye: if such beauty hi r:t exist the influence exercised by these works upon later achievements would be quite inexplicable. It is obvious that Cimabue's Madonnas have now very few attractions for those v.-h: are net sruier.ts ::" the his: try :f art : yet the rejtitirrs t accompanied in its progress through the streets of Florence to its resting-place in Santa Maria Xtve :i:::ere. Frtm the iest t: the iatest tirr.es. ah true art is hut the attempt maie m:re : r i ;--; suttessfully. t: realiue ar.i : _ : : heari in the imarinatitr.. As tirr these attempts bettme eve: .r ar.i mtre assured ; the conventionalities which the earlier artists used to express themselves are iistariei. ari greater freeitm - . - greater its...: is attained Tie ;:: :h iies bet-veer, the abanitnment tithe = symhcis ar.i the ftrmulatitr ::' i - f tun iei uptr. yust ar.i cultivate i :hse: .tier has a ery special interest ir. the h .st : ry : :" all : Ir. musi: tie ycurgesc :f the sisterhtcd tils star: ::" ieveltpmert "?.s ::' : curse than in the others. The hideous trganum,"7 or "diaphcry. for examrle — a mere - ruer.ce ::" :::tse:utive dfths fturths ari iccaves — remained in use Itrr aiter tainters had discovered that the Byzantine masters' representation of the human eye was not the most beautiful or veracious that could be attained by the graphic art This * organum " is the r tint cf depamure fer the rr stems tf harm try ani ctunter: and it is evider.: that : :e lavs :f these :e gradually . :"r:m ver.- reunh terirr.ir.rs T . :/..-- t. . r \ periti in the develrpment :f an art that a: lenrtit rcrciuced such ~: rrc-cus rest as - the English madrigals of the sixteenth century, cannot be without interest to musicians. rite series ft.-. - : :a : - :- s - : :f ::u v ".: :-rv i ruiimercary ceriicicr. and frcm mar res it is hear ti tt : : ■ organum " was still strongly felt by the composer, rev of the songs have absolute melodic beauty such as would make them popular nowadays, er even as much as is possessed by the rota, " Sumer is icumen in," which was probably written some two hundred years before these the light They have a special value, ho since they are almost the only existing specimens of English music of the period, or at all events the only specimens which have not been tampered with before reaching us in their modem dress They are especially valuable, moreover, as being almost without a doubt the work of one composer, and as enabling the rules by which their structure is : 1 y slr.gle specimen :f s dent 1 ■ «k«, t\ m i i ■ i -sf ■■ ■ - r ■ ^ ■» ■■ V ii ■ ■ *- - - Tim * . • - - ■ • ....... I :-.:--;::-;;;-: ^ ; - : - : . ^ ; . : ~ . : - : - : . : . : - ; : \ - : . ; : . :. .-;.-: >: . ;: ; ;; ~. . ; - ; ; ; :..= - :>:-: ^r :i - .;:;.: : : ; ; : ;_* ?rr: —C- "-" - -" - • -'-" " - - : : _ ; . ; : _ -.-: : ; / : ~. r. - : : ; ^.- ~ ..-;>;- :.:;.::. re.-- .. : ;- :; :; :; ••; - r: ;--. ;:" ;r- r»r.5ti.": : :r:.: : > . -^: ::_::; I ::-.;:.: : ~; .- ;;..;. ;;: ; .> ; ^ ;: : \;~ :_:_;-::-' "_; ; : l ; - ::. :: r _:.- - - ; ~~ :_ ".; :r; : :•_; :;: e bLgiimius c£ H_ sppeass beiov tke wards of H. vithoat any ;-.--.--;;.. . - • "_ : 7 : ; : ' . ii : . ■ : • ... ; . -. . : •: :.-- ::' .: . ! . r ; r.i.~: -. : ~ . -_ : -: - : ±; ..:. ::" v; ::.::; ::" ..r ... - - Ln W. Oar: zz: !:;._-• I II . r . 5 :.-. ; r j . -. . ... ..:.-:-:-:: - : . - : re.:: t^e -:-•: ::" ; . . =s _... -- : y.z-i ::' ±= :o:k :-: -.iiz-i "-" -:: i-"-- ■ :-_- :.-: .n ::..:. •. . :r :: z l_ " . . ' !•;."_" ".'-. \ ." . . T 1 LAWS OE C0UNTZ7ual mfasnr** is the * prolation of the more " (three minims ) ; but cases : found of ■ perfect time " emibrevesX * imperfect time * (two senubrevesX and the B prolation of the lesf tntnimj i .range proportions are not nearly so common . became some fifty or --. : ..- ' — Xc II., bar 3 .-: .";: 71": ari ::" ... ; :::".:. .:.::: somewhat less so. See the beginning of No. II. in the earlier section of the book the upper part has the points of augmentation e the lower contains, after : :::.- a r:;r_: ::" altera:!: =:.: =:":t: ::.e i: er.ti ar.i ::ir.:h . r iir.t? ::" i;v:si:n e left to be supplied by the laws of Car: .. 7 ::_ - 7 : are :-. -.:._:".: : : the tart: ::::: : : ; ;„: ;\;. . . . ■ „ acrifke of harmonious effect made . . to secure a continuous and flowing In :::':= attentat: 7 be same rules are observed in all the carols. The sim7 : n certain passages so remarkable (compare the openirc bars ::" Xos. VIII. and XIII.. Sec. 1 that there can little doubt that the roll is a genuine transcript of original works by one composer, not a — :::■ : : . : ::. ::" -:n_ ;7e:.s z : z _.i: z.z :!.: :i~ e The three-part writing ir 77; 1 "11 and 111 bears a very close analogy to that in 7 _ ;:a: .e r 1 7. i 1 e7a rizr.r.z:! ::: Sret'r.ar. 1 1: re".:: i De la Musique au XVe. siecle,' Pa: .jry of music; although the la: moother and more njoniou- at of the roll, and contains points of imitation such as are absent from the carols, the form of cadence above mentioned, and other char:. : features, are common to both, and the ossibility of the whole set being by Dunstable. IX. NOTES ON THE TEXTS OF THE CAROLS, (" Orig." refers to the first part of the book ; " mod." to the secor. I. The lower part in the original evidently lacks a few notes at the beginning. These have been supplied conjecturally, as well as the clefs, which do not appear in the MS. until the third line of No. II. II. The " sesquialtera " in bar 3 (mod.) has been already pointed out Line 3, bar 7, upper part (mod.), exhibits an instance of the licence called " nota cambiata." The correct text of the last line of stanza 2 is found to be, " To sle so ientyl a noweL" The word " sle," Mr Bradley informs me, is a common enough form of "slay." The consecutive fifths in bar 16 are strictly in accordance with precedent III. The word "Alleluia,'1 at the top of p. 7 (mod.), and in the corresponding place in the later stanzas, has been supplied conjecturally. In T. Wright's " Songs and Carols of the Fifteenth Century'1 (Sloane MS., Warton Club, 1856; another version of the words is given, as follows : — " As I lay upon a nyzt My thowt was on a mayde bryzt That men callyn Mary of myzt Redemptoris mater. " To here cam Gabriel so bryzt And seyde Heyl Mari full of:. To be cald thou art a i Redemptoris ma. . " After that word that mayde brj tl Anon conseyvyd God of myzt And therby wyst men that che hyzt Redemptoris mater. " Ryzt as the sunne schynit in glas, So Jhesu in his moder was And therby wyst men that che was Redemptoris mater •' Now is bom that babe of t And quene of heuene is (his ?) moder is And therefore think men that che is Redemptoris ma " .After to heuene he tok his f. And there he sit with his fader of : With Hym is crownyd that lady bry:: Redemptoris mat. IV. The two penultimate bars in the lower part (mod.) have been added ; it is evident that the red ligature inserted in our version of the original must have been forgotten by the writer when filling in the red notes. Line 4 01 stanza 3, "We may be rith kalar.ge b'.ys 5 thus literally rendered by Mr Bradley : " We may by right challenge bliss," V. Notice the particularly prominent consecutive fifths in bar 6. The direction, " Da capo," is conjectured from the fact that the words, " Be mery," are placed at the end of the first stanza in the original. VI. The alteration in the tenor part at the words " rex pacificus," line 2, bar 3, is noted in the modern part of the book. This is one of the most instructive passages in the roll, as it shows us the exact amount of appreciation for smoothness that the author possessed. The quotations from well-known Latin hymns will not escape attention. VII. For remarks on this song, and for the other version of it, see Appendix. IX. This, it will be perceived, has been translated into notes of half the original length. It is just possible that the consecutive fifths, eight bars from the end, arise from a clerical error, and that the last two notes in the middle part should be D and C. X. The metre of line 3 of stanza 4 demanded some alteration in order to fit it for the music. Either the omission suggested in the modern part of the book, or that of the words " he said," must be made. XI. The alternation of English and Latin lines in this carol recalls the old Latin and German song, " In dulci jubilo." No music is given for the " Amen " at the end, and it will be better in performance to leave it out. A few remarks as to the performance of the songs may not be out of place. They may be sung by one or more voices to each part ; if it is desired to obtain the actual effect of original compositions, only the parts in large type must be sung, and the added parts omitted altogether. An effect more tolerable to modern ears will be obtained by singing all the parts together, but without accompaniment. Failing this, the condensed score which appears below the vocal parts may be treated as an accompaniment while the original (large type) parts are sung, but it must be borne in mind that the effect of the frequent dissonances, when played on a keyed instrument tuned in equal temperament, is far worse than when the parts are sung. It will require a little attention to fit the words of the stanzas other than the first to the music, but no great difficulty should be felt in doing this by singers of ordinary intelligence. My thanks arc mainly due to Mr Rockstro for the pains he has taken to ascertain the exact laws which govern the composition of the carols, and for the skill with which he has accomplished the difficult task of filling up the additional parts. To the fellows of Trinity College, Cambridge, (or permission to copy the roll, and to the Librarian, the Rev. Robert Sinker, M.A. ; to Mr Rogers, of the University Library, Cambridge, who prepared an accurate working copy of the MS. ; to Miss Alice E. G. Carthew for assistance in making XI. the facsimile ; to J. Godfrey Luard, Esq., by whom the Oxford version of the " Agincourt " song was copied from the original MS. in the Bodleian Library ; to F. J. H. Jenkinson, Esq., M.A., University Librarian, Cambridge ; and to Henry Bradley, Esq., for valuable help, I have to offer sincerest thanks. Students of poetry will perhaps expect me to apologize to them for having treated the words of the carols as of secondary importance, but it must be remembered that collections of early poetical efforts are a good deal more numerous than collections of ancient music ; and that while the words of these songs are a very slight addition to the poetry of the period, their music is almost all that musicians possess of English origin between the years 1250 and 1 500. The Carols in the Original Form, I HE -o- zz: - Jo ZEE zz: T^^i N S ^ ^^# i O O £7, <> ^ o ° en ks ^ -o — ^ — o- ^ 3 1 :zz: ^ — «*- U » U — j=fc ^ « Hail Mary ful of grace modyr in virgyny y te e ^ i O -" & ^ o — >d o g c at ■ g J . -Tf-^ i «d e tfle Bfpe. £#er ^i eonpe wonpng ie Of f#rd- v^ .&> O ■O- O &> Q 8 ie fiorn owr goo emanueP. 3n Beseem ^te fierce of Ppf 3e Born of tnarpe mapojm ano n?pf. IJe ie fiotfje goo £ man 3 ecifrpf. QtoweP notveP. 2%0 prince of peee raP 0efjm aP &tv%f a wone wpffl t?0 perpefueP. £0is cf^Po raP 6e» i?0 wptfy fye fiPopo (#no fie napPpd t^? on f#e ropo 6^0 raunoum pa0vf3 <*P er&Pp gopo. (HoweP noweP aPPa© c\wat wvf0 oar fie 00 n?opo. £0 ©Pe 00 ienfpP a noweP. Q[5e 0p0 powofe #e 0i0 emprp© £c0aP faRe fro flePPe a* ^0 pprp© anb eaut manRenoe x>p on t§\& n?j>0. QToweP noweP £#110 ttU(t)t§ t>0 *0e propflec^. f 0af 0e i© R^ng of fleuen <* flePPe. £0i0 ntapoenp© ©one to ^0 empere £>c0aP 0(ep to fytutnt fie ^0 poroere 0p0 0oPp 300* t?0 aPPe raP fere. (JtoweP noweP. [ ] artb t%t faopr in feere. ^cfluP regne 0 goo tfyis Peue 3 wePP. (pray n?e f0i0 cflpPo w$rf0 5000 tnttnt. 3n our oeping 0e vc pre0enf On to ^0 faopr omnipotent QtoweP noweP. Z§t ftvttt fpopngi© of t$ie ttBtcmtnt fironrtfl to t)0 etpnt gafirgeP. III. jJJJ"J>J^ysooJjjsf^ ^WjJoJjjJjJ i ^•^gyjg^jg 5* -W o ■WUr 4> >jJ1wJj O £? gd r/>Jg» -eh rj ^ i\ rJ ^ rJ < %—w Alma a redemptoris ma tor As I lay upon a nyth. My thowth was on s ,,, k S s K " > h > IK • ^\ «"* » *■»■ <"* ^'tf'* JC Ip * rJ l<> "-»■>».« <*J • -*^ ^-1 • ^B ffj *J *» « » ^ «c flj & ^ • In & *-» ^ ^ • ^ ^^ *»- l«l ^ 112 L^ 1 ^U /jyJ.JJ* i t=2S ^<»rJ e>o.g|tv^AA— ^tVJg,, m °^,rj'^c!j ^7 a herd so brith That men clepyn niarye ful of myth Redemptoris mater. QWma re&empforie maUt. QJ* 3 fap pp on a nj>t§. Qttp t$owt§ tpae on a 6ero eo 6ri$ £0af men cfeppn marpe fuf of mpffl (Beoempfone motet. (JB)o 0ere cam a;a6rpef tppffl fytfl. and eepd Uyt 6e fflou fifpefue tppffl. £o Ben cfeppfc now art tQou tyt§ (geoempfotrie mafer. Qfc tfat nmro fgaf faop 6rp£0 ($non eoneepupo 2W «- J S k. N * N On 22Z2: gzz£ J^ |„J»^o J w i J U" - a o o c I J O A o - ^ & & g* A A TZ, i» /d O g gj ^ g Q — w" g) = — SZ g) now is bore. Wundyrful werkys he hath i wrowt. he wil not lese that was I lore. j j h r I i 3 *-* J I I l.l I I |__-r=M S i gj~gz _c'*>^c' g- g ^c^,g|g'—g'^ogl ^J - J g) ^^J_glo^ J - ^ a -o- but boldly azen it bowth. And thus it is fforsothe I wys he askyth nouth but that is hys. Sec Introduction. (Hon? map we epngjm ae it ie quod puer natue eet nofiie. £{Ke 6a6e to pe ^^ now ie 6ore. (JDundprfuf werftpe #e ^a^ i wrowt. 0e wtf not feee tfyat wae 3 fore. 6u( 6ofd% a3en i( 6owt0. ($nd tQu* i^ ie ffor eotfle 3 wpe. 0e aeftj»t6 noutfl But fM ie 0pe. Cflie cflaffare foupd 0e rit# weeC Zfyt prpe wae 0ep <* 6owt0 fuf dere Qwo wofd euffre and for pe feefe ($e dede ^a( prince wae owtjm pere ($nd t3ue it ie, (etc.) gpe rauneum for pe ^at^ 3 papd. Of reeoun tflan we owpn to 6en 0pe $5e mercp aeRpd and 0e 6e prapd. Q#e map 6e rit0 Wange 6%e. (&nd tflue it ie, (etc.) Co euwt parpoe god made man. 3 Peue weef to eafuacpoun Qtvat w&e 0ie Stood tfyat fro 0pm ran. (gut defene a3ene dampnacpoun. (&nd tflue it ie, (etc.) (2Wmg% god in trpnpte. C0£ mercp we prap wpt§ 0oo£ flerte C0p mercp map aff woo mafte fPe. ($nd daungeroue dreed fro pe do eterte. ($nd t$\i8 it ie, (etc.) 10 V. 1 JoJoJJ-XM=ri ■ ■ ^ogrr: N N Q>Jr;'gg3n >Msnn DZW <>■ ■ o JoJ°^»J-^o-^F^^ J O-vv' JT -€*- 122 o ■ ■ Be mery be mery I prey zow euery ehon A principal poynt of charitye. It is ^Jo-J-Jj;jj;,rJ-^rj.mj.;fr;J,rj^ i I mery to be. In hym that is but oon be mery 11 05* mtvp fie titer? J pup 30W euerg c#on. (5 pvincppat pojmf of cflarpfe. # ie ttterp to fie. 3n flpttt I0af ie fiuf oon. fie ttterp. jfor #e tftat ie fiuf on in 6^0 £0 t>e (Mfl sen* (He 0one 3 wpe £0 eaue ue fro our foon. $br of a tttapopn a c0i£6 waa 60m £0 eaue tttanftenoe tfyat roae for forn $lan $M *0er on. Qtow warp for tfyi sonpe eafte jlaue 0em a?fe dja* ttterffle made (&no fengeetf flofop on. 12 VI. *M£h~,L iJ - - Jt y^'Xli A ». - dg g v --^i>^: 2222 &&Z §= O- 1 A -O- X — ■»g>0 g1 w J o- o - - ■ ■ a fefc tS^g jy £*_ a ^d N i S y a a a g __ g o g o 22 -O^ g C3 | C r>o born of a madyn fre. That xal a lord and prynce be. A solis ortus cardine e. See Introduction. 13 (Uowef epng we now a? l)jjJ^ - - ^4>gJ AJL^g) izU n3i ■^^ o <-» ^ w o — ™ o Deo gracias anglia redde pro victoria Our kyng went forth to normundywyth grace ^imj-j'tbJja jjj ijtor 1 1 j&Nto 1 5 /d- — ^ *> ^ r->'&&r) =| Is 1 h. Ik K h k i _ _ ,J ,,>J *-_ f * N" 7 ^^Z^^g^ ^^Jjod^J j ^Jgv^^^ _^ ; l -" -" i'-^ f-> ■"■ ^v -*■ rv ■" ^v ^ J^jjj.j-Jlji j^r^giL^^e ett a eege for eoffle to eap Co 0arffu (ounn wptfy rvaf a raj f$af tounn #e wan and mad a frag f#af fraunee raf rewe tyf dompedap ©eo graciae, (efc.) 'Zfyan vocnt §vm forffl owr fymg comefp Jn acfymcourf fefd 0e faunffl ntanfp C0orw grace of god moet meruefowefp 0e 0ad 6of# fefd and vpctovp ©eo graciae, (efc.) Cfler rordge eerfpe and Baroun were 6fcipn and taftpn £ f$af fuf eoun (&nd eumme were 6row*0 in to fondoun (JDv^ iove (2 fifyeec and greffl renoun ©co graciae, (efc.) (RZmptfyy god 0e ftepe our ftpng. jE>pe peppf <* af 0pe weef wefymg Qlnd 3eue #em grace witfyoutpn endpng. fflan ntap we caffe (z eauefy epng ©eo graciae, (efc.) 16 VIII. J3mm.ui\ . ,$&&£ 'JA*>mA'J M Jo" zvf O'O^ri^v^- *Wja £ it «» ^ w' j^—^Z Now make we merthe al and sum. ffnr cristemesse now is I com that hath no pere. Syng we alle ^mm pv~ m.. s_K_L_lta i 1 ifen ^-g^ far So. ggsagzz: aszag^w^ O'g ^ ygW- -«- aa zbs -s< ffi c? ^^g #■ ^ "■go gg i^1^ --g?o g i ^-c o- ~CT~ O- *% - W £rL«_ <> ^ in fere. Now ioye and blysse.thei xal not mysse. that makyth good chere. Now god almythy doun hath sent JJW'®JJ ^ L q> ^ JJ ■ J° ^ ^ JJ^ JjJ^Jjr ggg) ^s! ggga ^ JJJ - goef fo 6e preeenf. Co fyrt0 in mavp ntapovn veramenf. tfyat fiar gooope ©one wtffl good enfent tfyat §e we fie no* ecflenf Co ifleeu crief 0ere eone eo knt t§ j I ■ it ill 1 J J . W ,r=o-J ■■O^OEP'OO'^g W,° J -^3 P Lo^ oorr-o-^^^opd a 4. Abyde I hope it be the beste ^ ""N o- ^pjty--= O ^O -o- w Abyde I hope it be the beste e e i=3 O'gJfllJO r^°^ ^gJo 1^-^! ^ o d«» ■ - o ^ o T-O- «> O ^t5 •^^d w £5 <> t»0 O g)-TTr P ■ O Q'g^gJ ^^ ^ g oF'Bntij o- ppao oyj^p^ tt ^ od^^^J^^^ni,^ , J^JJJorg L ft tp-^n m 2. i ■ ■o^o t> Uj ["^"o -o- a o' ^ Abyde I hope it be the beste Syn hasty man wantyth neuere woo o. Abyde I hope etc The change of clef is in the MS. 19 (Ppoe 3 flope it fie t$t fieefc. (Kbyte 3 0ope it fie t$t fieefe ^jm #ae^> wan n?an^(^ neuere woo. Bat euerp wan *0af wit §an reef (Buere fien aupepo qwaf 0e ee#af do. (Ppoe, (efc.) (proue er fflou fafte. f(Hn8 er fflou feefe 3n weef fie war er tfyou fie wo. (Ppoe, (efe.) 20 X. jqjjj^j-m=j *_& jjjjjj # ^ 2 2 ^7^ ■V gg^gjjq ^s^s1 K -J JJ^ J ^M "^° J -o- ZQI EE ^— ^ g v^ ^- Qwat tydyngis bryngyst thou massager: Of cristys berthe this zolys day A babe is born of • JJJ" .. JJ^glvJ Jj= m^. > > K ^'gg' J/JJo""g" W at zt -o- j j 4> ,iiz^y \—\- j ^ ^j »-^ o- n 3X 33 g*Q -■ 3E3V hey nature. the prince of pees that euere xal be: Of heuene and erthe he hath the cure. His lord. -®-^t g)^° v^ n> J" J J ,\JI^kU ■ ■ o ■■gy 22^2 -^~ g1 *m ^ XI IE O g tt schepe is eternyte. Swich wunder tydyngis ze may here. That man is mad now goddis pere. ^m rJ' & m1 ■ ■ '- 21 Qwaf fydvngi© Brjmgj^ tfyou ma0eager; Of crie^e fierce tfyie -$ofy& dap. (g 6a6e ie 60m of 0ep nature. f$e prince of pee© f{M euere icaf Be : Of (fcucnc -a rJ - rJ V- |JJ ^Jg>«i ^Tc <> s> Oglo -»— w- i i o- o g? r^ ■ \ »e *0af Bpe tuetpee. uf noe purged a crimine. amen. 24 xu. IP, -Wit Is S N A K N ghS? tS^S1 — W Z£h±2& " gU-^ ■ ■ gg1 zs -"gig* iy "™ HI r^" ^"v # gl In o ^~ & "" ^ <-" (-r o £r lie % *\ K>*~ >d u ° « ^ ,77?* *> 4» «J fl ^i w wa & « W" Prey for us the prynce of pees, amice cristi Iohannes. To the now cristis dere derlyn^ i On am tar JJ'JglJ I gj»Z2f^gg g^gff g * rJG-rl Or g" tf M zz ^ J ^ o g? g|<1g|*g'o g> «» gj J^ o: -o — g1 A > g . g1 ^ „, rj that were a maydyn bothe eld and zyng. Myn herte is set to the to syng. amice christi Iohannes. 25 (prep for ue t$t prpnce of peee. amtce criefi Joflannee. Co *0e now crtefte oere oerfjmg f#af were a tnapopn 6o$e eft £ 3png. (Tttjm #erfe ie eef fo tfyt to 0^ng. amice cflrtsft Jofyannte, $br f#ou were 00 cfene a mag C0e preugfee of fytvLtnt foreotfje f0ou eap Owan on crpefv© firee* f$ou fav. ($mice c^rurti Joflannee. Owan crpe* 6eforn ipptat was 6row#* C#ou cfene mapopn foreoR 0pm nouffl, Zo oepe wvffl §vm w at fjl? fflowt^, ®mice c^rieft Joflanne©. £rvefve moder was f0e 6e fafte. a mapopn (0 fie a mapoenpe mafte C#ou fie oure flefpe we fie not foreafte. ($mice cflmft Joflannee. 26 XIII. W^ I Is h^^ zj0a'&&' & & O ■ ■ g? g o: ^ z2 ^ =S=s: -&-Z-- r-A&^*' 1 is rJ *z &■ 1 -o- 22: IE «» - - ?5 i -O- 331 -er*u a& ie ge roee *0a£ fiar ifleeu. QJJMupa. jfor in ^ie roee confejmpo was fleuene g erffle in fyt$ epace. (Kes miranoa. Q§fe t^af roee we map wee? eee ffler fie o god in pereonpe fflre. pare© forma. Zfyc a\m%dv& mncgn t$t ec^eperdte to (Bforia in ereefeie oeo. (Baudeamue. (£)eue we af t$i& werofg mer*#e ano fofwe we tQie tonfuf fierce £raneeamue. The Carols in Modern Notation With ^Additional 'Parts (ad libitum?) BY W. S. ROCKSTRO. 30 Alto. Tenor I. («™ lower.) TtNOR II. \$v- lower 2T bars added at the beginning) Bass. (added part.) ACCOMPT: (ad lib.) i (Mod* /.) a 4. I. Arranged forA.T.T.B. iHh^ ° ^ e ^-f M. f ■«•- 3 o «» of # -o- ^L <^^ grace,. 351 -O- grace, ^ ^ F=* * J J J ^=? -©- 3E ;j >) gl J J J ■f ^f ^ -o- fg *> ZEE! i ^ *zii MoT" gi - %j le ther. T5" ty! TTT :£ 3X -O^ %L TT xs: # Mo ther gi - tv! ifc IE Q O -O^ -©- Mo ther.. in. vir - gi 3 ~r*~ ^ ^^~ P^f -3 o — cr - tv! Lo~ B. 3E f -O- Mo ther in. vir . . gi i ty! i3= ^f f ^^ ^ ?3 27 s oo :& ^=J i^S M -r»~ at a ^** IE r- -^ a 3. =B== iii P^P^ ^ The ~0~ Ho H (added part.) - ly Ghost -€>■ to thee J. tJ ^^^ sent ^— ^r J ro: -o- M The Ho . ly Ghost to thee sent ZEE W$ Ho iy to thee The Ghost I a - sent 3=^ M ' J . J 2 g '♦ J ■■joT-^—^ iJ: 3E «► «» r- 3DC 31 d & ~m- i wy *±~ From the Fa tht-r. om tent. Now T^^ £ . • o th. Fa - trier om po tent. Now ^ £ ^ & & ZZ1 tent. From the Fa then. om po N'ow P^P^ m -**- i j j. e± jh rj h «** H — j — «♦- ij^ ^ -«>- X£I F an . gel said "27 A 77 77 in thee went; The "cr X5I ? -♦>- 3E -O- thee went; Tht an . gel said A 1 TT O" an . gel -O- thee went; The said A I 4 J =? °j J .. up oo ^ s "«T^ -^ -O^ Hail Mary, full of grace,- 1. The Holy Ghost is to thee sent From the Father omnipotent, Now is God within thee went; The angel said Ave. 2 When the angel Ave began Flesh and blood together ran; Mary bare both God and Man, Through virtue and pure dignity. 3. So saith the gospel of Saint John God and Man is made but one, In flesh and blood, body and bone, One God in Persons three. Mother in virginity! i. And the Prophet Jeremy Told in his prophecy That the son of Mary Should die for us on the rood- tree. 5. He to us much joy did grant And of peace on earth no want, Since the birth of this infant In the land of Galilee. 6. Mary grant to us thy bliss Where thy Sonnes dwelling is, For what we have done amiss Pray for grace for charity. Amen. 32 Soprano. Alto. (added part.) Tenor. i (Mode VIII) a 4. 11. Arranged for S.A.T.B. << Bass. added part.) rt - , 5L No 1 a , - it fc.F.) No . No (3): :\ .=: V 2 wel, no wel, no -O- i wel, no 33= -&*- S i wm n f r r =? o-^ i frrr^ -o- f¥^ -^ -t tS^1 f f w ■ B -o^ born God ma nu el. i ^ 4 J i 4 if ¥ w — o~ -© — God "xr ~0~ . ei. E - i^P IE -O- 3DE -^M- is born our God . nu el. '■J v m f -o- -©- el. born. God £ . m ^m Pt=d $• • -o- rr r— f-* TTTJ "O" -o- tot J. ZZTE II TT ~rr ^ ■r i r -o- r -©- i 1 ^ m i ^s1-^ «vy * ^^# xn g — * Z2 -o- life, Is born of maiden andkvife. He man~T... I schrife. In Bethlemthis berd of Mi both God and i ? # ? i i f ^P PS f O" berd of -* life, Is born of «Hd Xf In Bethlemthis i i Mary maLden and wife. H< is both God and k I schrife. P Pbo TV~& ^p *S JTT^? 221 n I < >gy M g» - -o- o-» j J ^ "XT" 1 ~0~ 4 1 -O-^ V f pi A -o- 3E a P ^f f^ -o- 33: -*»- Nowel, nowel, nowel. To us is born our God, Emanuel. 1. In Bethlehem, this berd1 of life Is born of Mary maiden and wife, He is both God and man I schrife? (Nowel, nowel) This Prince of Peace shall heal all strife, And dwell with us perpetual. 2. This Child shall buy us with His blood And shall be nailed on the rood His ransom passeth all earthly good, (Nowel, nowel) Alas, what wight dare be so wood3 To slay so gentle a Nowel. 3. By His power He His prize Shall take from hell when He shall rise And save mankind upon this wise, (Nowel, nowel) Thus tellen us the prophecies, That He is King of heaven and hell. This maiden's son unto His right Shall pass to heaven by His might, His Holy Ghost shall give us light, (Nowel, nowel) And with the Father in heaven bright Shall reign, one God, this trust I well. 5. Pray we this Child with good intent, In our dying He us present Unto His Father omnipotent, (Nowel, nowel) The first tidings of His testament Brought to us Saint Gabriel. child 2write 3mad 4The 'nowel' seems here to be regarded as a personification of Christ. 34 Soprano. Alto . (added part) Tenor. Bass. (added part) (Made XIII.) a 4. Arranged for S.A.T.B. m -o-=- lif * dei % to ris m Ma ten g O Re . ? i de/np to f € ^ ,*/a 3! rr ter ££ £ 3LTI -O- /?* demp to * ,\ " ^r 3! -o- t 3E V /fV temp . ^l/rt. <^r it f ^^ ^ .. J J J J J j "rz v * ,, " 5. r JE g ^ =8= HE!: f am -T \i a 3. ^: f 22 P P Q? *# -O^ 9 fi>' on a -O- As lay up - on night, My. thought was herd so bright i £ JE it ^f As I 1 f f^£ thought was f berd so up on night, M lay. Mv. on a i bright g 221 IE XE -O^ ^ -O^ ^ ^ II SlftJ -o- o.n a berd so bright As I lay up a night, My thought was S m « ■A ^ 1 A r -o- ff r i £? O ' ^O^ 3DE IS *^ ^ J^ i -* a J *> ^ ti <> ---g- & TT -&^ O ' i might, -^- 331 /P^o', fin p. ■O- "cr £0 . ris a ^ & fer. it P f ./fr. df nip - -o- Ada a -& s § -o- 331 -O- m might, Rf -dfinp to . ri.s Aia V - J J ^ /cr. £ -o- 3E 331 +5> "TF" full of might, Rf.dfinp. to . riis i-Ma - ter Re.demp-to-ris Ala . ter. ^-tr* £ TTTjOT ^^ ^§— ?r g m i zo: -o- 3E J"- J- J =g: ZOO! 3E xn :=: r TT r r Alma Rfdfmptoris Afater. 1. As I lay upon a night, My thought was on a berd1 so bright (Alleluia) That men clepyn2 Mary full of might, Rfdfmptoris Aiatfr. 4. Lo here came Gabriel with light, And said, "Hail be thou, blissful wight, (Alleluia) To be clepyd3 now art thou dight4 Rfdfmptoris Afatfr." 3. At that word that lady bright Anon conceived God full of might (Alleluia) Then men wist well that she hights Redemptoris Afater. When Jesus on the rood was pightj Mary was doleful of that sight, (Alleluia) Till she saw Him rise upright, Rfdfmptoris Afater. 5. Jesu that sittest in heaven light Grant us to come before Thy sight (Alleluia) With that berd that is so bright Redemptoris .Mater. 'maid 2call called 4worthy 5was named "placed (lit pitcfi'd) 36 Mode I. a 4. IV. iLTO. Tenor I. (added part) Tenor II. Bass. (added part) I ~& O £ I Now may we a - -2l ^ «j Now (C P.) "CtT" sing.en 2^- e; Now may we T i -*> 5 XIZ72Z sing.en no- sing, en TT~7? tS1 — 0 is, Quod is, Quod is, Quod 7ZZL 4t Arranged for A.T.T. B. XEZZZ jdw- «-r *» rj /jw - t-r XE /"'■ ^=*3 mi - tu> V- mT3 * nn . tu* **- na _ <: * g^ir ^ € c.y* HH t.v^ «o XX i f.s/. -o- 3i§ -O- i -o^ 5 H /,/, asz: 6m bis. rO^ Now may we sing.en as it is. Quod pu . er /u ^//•v e.vrf «o 6?'i 1 n - £ * {i :3 * 2r X» — 73 Si 5 XE=3 o bc 5 I W SJ ?f S iJ **- -o~ r r w U> B -o- s FflT rr ? re ff= P «: f1 J4y ^ P s "IF S U- XH This -O- now. born, babe to that is Won - der - . ful ST work . es He ri n xe: ^^ gZZ2 3E I This babe to that born, Won .der - ful work . es He 9J 9) -— & -€>- XT -€*- zz: -€>^ rJ rj ^j This babe to that born, Won. der . ful work . es He -o- £ 1 3 m ^ ? o • ^« S (9 V This babe to us that now born, Won . der. ful work, es He X Ha ,i j li ^ I I iSE 5 o • J 7TO- — V^ » O I ^J pp -o- r=f^ i5) f i hath w -& wrought, He --O would not 3X -O- =tM -o- TT lose what for lorn, But bold Sir " jCE hath y wrought, He i XE -o- ZZ-. arx: would not lose what for . But bold . sLx & -o- t> &1 -€>^ XX hath 3? wrought, He would not lose what m - t ^^ ^ i ^ tat ■« for lorn, But bold . 3 hath y . wrought, He would not lose what for . lorn, But 171 bolr 1 g i r ~BT r «- r 3T ^ ■O- ^ f J. w .1 ^ J ^p^ -o- t> 3E ^ DEE -O^ r- r r r :n i -©- + gain bought, \\n\ thus if 5 "ST"" wis, "27 it ^ a For •.ooth ^£^ - r^ o ■" lv gain bout \ n. I is, 5, 1, ,th # § -O- t& EE XT gain >ought, And thu- sooth wis, g J feEi fe -O- -o- r: gam it bought. And thus it IS, Fur sooth WIS, I i i i p^i Pip fTr rT r r, m Of/J - J r r ^ r r r =± :§: * 2 rr r i Xfl 22 XE ^V that 27" His, "27 He ^ — - — &C nought but IF ask - eth nought but ask •th that m i £ £ His. 3E -O- t -& ifkr eth # nought but that His, He ask. eth nought but that His. 22: jS> — o- xs: £ XT -^^- O- nought but -O- His. ask _ eth nought but that is His, He ask eth that m m i SE I ■*-f-WT 131 £ f f -O- 3E ask . et -^' h nought but that is His, He ask . eth nought but that is i i His. § Pi s XE « 3E f FT r _£*_ X5 — C rr XT 1 TIP -O- I Tr h* ■i-j^t r -©- r c r s P pigp XE F^ ^ oo 3E XE -o- r Now may we singen as it is, Quod puer natu.s est nobis 1. This babe to us that now is born, Wonderful workes He hath ywrought, He would not lose what was forlorn, But boldly again it bought; And thus it is For sooth I wis, He asketh nought but that is His. 2. This bargain loved He right well, The price was high and bought full dear, Who would suffer and for us feel As did that Prince withouten peer? And thus it is, etc. 3. His ransom for us hath ypaid. Good reason have we to be His. Be mercy asked and He be prayed We may deserve the heavenly bliss. And thus it is, etc. To some purpose God made man; I trust well to salvation. What was His blood that from Him ran, But fence against damnation? And thus it is, etc. 5. Almighty God in Trinity, Thy mercy we pray with whole heart Thy mercy may all woe make flee And dangerous dread from us to start. And thus it is, etc. 'For unto us a child is born. 38 Mode I. a 4. Soprano. Alto. (added part) Tenor. Bass. (added part) mt Be 3= 2 f 3 (C. F.) Be m \ H V. Arranged forS.A.T. B. merry, be m: merry, 3T merry, Be IE merry, -©- merry, IE £ merry, — S pray f o- pray IE 22 pray mer _ ry, bt merry, £ pray if a = i 9 I - "1 u i s -o- u 2E -O- :££ I i r O T "O- ^- ¥ Fitted Z2 -o- If you, be ~CE ev'. i one. A. T. f ^1^ j i j. • i SB you, mer . r>' ry one. P 4 * S -o- JLE you, be ry. ev . m ^ ry one. -o- -o- "' you, be ry ev' ry 1 ii J- P rTf "31 ~ IT- r r r "XT 3E u uu 5± r * ^ OO' r r (' r f f ^_ Fi/w^y f A prin cna~ ci _ pal point. of. ty. A. f fff^ point of I ri . pal prin cha - ty- ^ -cv 33: ci . pal prin point of cha ie ty. m <1 J J j "CT * — * © ?•• J J r- U j-kLj- i j # hJ ^ i -o- A. in IE 3 is i -»- ry to I in J^=? HinT! 39 I th.it is mer : Him. P that ? IT i XE xe 1 ry o be Hun that In Him. i that f i f i 3T r r f- , r rT7TT rrr-^f * y J. -o- j ^=4 ' * f- T i DaCapo. Him. but that one. i»^f i=f if f is but one, in Him that is but one. IE IE ¥ but one, in that ^ one. -o- -©- -o^ but Him.. that but. I J- J J 1 one |2W f FTr ^~ a £ rr i w ^a ^ =g= P ^ oo f f r -o- Z?<7 r#/w. Be merry, be merry, I pray you, be merry every one. 1. A principal point of charity, It is merry to be In Him that is but one. Be merry. 2. For He that is but One in bliss To us hath sent His Son, I wis, To save us from our fone1. Be merry. For of a maiden a Child was born To save mankind that was forlorn Man think thereon. Be merry. 4. Now Mary, for Thy Sonne's sake Save them all that mirth do make, And hold the longest on. Be merry. foes 40 *- Soprano. Alto. (added part) Tencr. Bass. (added part) S x" « Mode I. a 4. VI. Arranged for S.A.T. B. H ^ 27" No ¥== tm No ^^ jg=ff= p a - wel now No we! now Sr sine XE ^ sing s fe£5 all. and-- all ~73 — and XE ^ all and No . w< sing we all. and T. ro — :zr r t i% «- £ i T&0 (9- • 0 I xe some, o • some, 35: some, some, IE -*»- i^j_ it i p§ -o- «; 1 For /?e^ pa . fi CMS .... 5 come. ^ ? fl # For ,/rV.r joa y>- cw.vTTT.... is come. 22 -€*- come. m For irV.r pa. - fi F=^= -«*- -o- \~ For TtV /i come. ^^ n t^t^t o a r; r jEE JE J J T5 ¥ OO' f ^_ a 3. 3 22 22 H #— # xe XE IE i5* ci In Beth . Tern that fair ty. A child was ? f^I f^ff f A rf -»- fair ci i^ In Beth . lem that i ty- child was H XE 22= =n IT XE In Beth . fem in that fair ty- child was m $ 33C 3E • fd Trm 3Z r rrr -o- r ^ f -«*- r r -O- ££. -o- r m -«*- r The tenor part in this bar originally stood thus. f~~ii ^ The alteration to the present reading is in different ink and is evidently due to a desire for greater smoothness of effect. 11 s. born of l'hat shall a Lord an* 4- J J—J 5r= — -=: — o — — I i TT 3DE 3TJC f rr r r -o- I i J^W % ±LL{+ m -©- i ^° P be, A Z3 I Prin tus di :^y Pi in - ce^rrr^.. f^ ■^3? v- so . . lis be, tus. car . . dl . sm £ i# ^g be, Prin so . lis tus. di . i N^=i XT ° 4 J^ J J wm rrr TT -O- r r f f f a ^ ■ -o- £ -o- ^^ -o- Nowel sing we now all and some, For Hex pacific us1 is come. 1. In Bethl'em in that fair city, A child was born of a maiden free, That shall a Lord and Prince be, A. soli's ortus cardine. 3. Children were slain full great plenty, Jesu, for the love of Thee, Wherefore their souies saved be, Hostis Herodes impie3. As the sun shineth through the glass, So Jesu in His mother was, Thee to serve now grant us grace, 0 lux beata Trinitas. 4. Now God is come to honour us Now of Mary is born Jesus, Make we merry among us, Exultet coelum laudihus. The King of Peace. 2From the rising of the sun. 3Herod thou wicked foe.'O Trinity most blessed light. 5Let heaven rejoice with praises. 42 Soprano. Alto. (added part) Tenor. Bass. (added part) Mode I. VII. &m Arranged for S.A.T. B. ¥ D* m '»)•• :> X M £2^ . ft' . as O g 5722 i ^cr/V/ . ^? - (T.9 if ZZ £ •^"g* - li a Red 1 Rrd Rrd f #^ # -©- o>.. 3E //TO fIC ^T#" 33: ^ro itc -©- ^* P to XT" to . Tnr a. S T^r/. *V.. jt^ro «'c _ /o r? _ a. m 3: =£ "O — 5 4i i i££ ^p mm j- ? 1 WIS- * T :m WC m * r ~:*^V ft i ^ ^ Ifi-Q ilA 7d K^ IE 22 3X z? & 22~ Our » . grace king went forth to Nor man dy. With and might of 3E m mmht of 3E 0 O Nor - - man — O — With Our king went forth to iiN dy. grace and - -o- -©- 022: Z2I _ p *©- Our king went forth to Nor. man 1 i dy. With grace and might oi m ^ m^ ^=fi xn f i ^ ff f^TT Tfff iiii fTT o a £ o ^ i LO_ £ £ § 22 fr*-* "72 rh 1 - . val . 22 22 There God. for him wrought marv . lous ^ iy- Where r^ f i ff Where . chi va rY- There God for. him wrought marv'. lous 'y- 3CE £ i ^s- -o- chi - val 2? 22 1 There God for him. wrought marv". lous i ^ Where fr f f fL|^ r n' f-^rrr r j r t #-^ _ ^ ^TT p^ r »TT "Tf~ r fr |g _ — <9- fco call ^7 cry ^ ' ^hrii^ 43 -tv i fore Eng may •End /> . gra - ft" ^^t; i f^f ? <7 ? fore En g- and may .... and ■<9- cry I)> t grc £ X»" ' m -»- ^ «> -o- fore Eng . land may call and /> . o wm ^^ gra . ti P^~\ J =f r rr rTT^f rr fTTT nr? -«*- ¥ T* r -o- ir I ^ 3? P «» "TI" f a 4. 1 n 22 "ST x*~ o gra -O- !F ~TT Red de pro to wm pro vie m 5Mi: iP f>2^ gra ti . a.s- to ^? a. IE XH .22 22 T5 o gra ^^ r7 - at Fed -de to a . «*- * § m e -o- i Z>^_ o gra.ti . as Ang . ti . a Red. de pro vie. to . ri ■ HP 1 ^ ^ Wr V - 5J K fTff J F a. *-* — ' — i: r rTi R 0=8= JUiJ rpr r ~rr xe: £ s -o- s& r- T -o- X?'-o gratias Atiglia Itedae pro victoria1. 1. Our king went forth to Normandy With grace and might of chivalry, There God for him wrought marvellously, Wherefore England may call and cry Deo gratias etc. 4. He set a siege, for sooth to say, To Harfleur town with royal array, That town he won and made a fray That France shall rue till doomesday. Deo gratias etc. 3. Then went him forth our king comely, In Agincourt field he fought manly, Through grace of God most marvellously He had the field and victory. Deo gratias etc 'England give thanks to God for the victory.* See Appendix. There many a Lord, Earl, and Baron Were slain and taken and that full soon And some were brought into London With joy and bliss and great renown. Deo gratias etc. 5. Almighty God, 0 keep our king, His people and all those well willing, And give them grace without ending; Then may we call and safely sing Deo gratias etc. 44 (Mode XIII.) VIII. Arranged for A.T.T. B. Alto. Tenor I. (added part) Tenor II. Bass. (added part) m Now make \vt m 3 «» rj~ Now make w (C. F.) X liX ^ ^: Now make we r m # a mer . ry f=f=2- mer . ry O- mer . ry g-j 1 E ^f all. and » J J J J- J all and ft -O- all $ 5=£ sr and 7? — B: ^-& — some, it 22 some, g £ "S> — some, ^s <5J* re For Christ . . mas ■O- m For Christ Now make we mer. ry all and some, For Chri^ 3 J3L « — © mas ^S now is m now is F^9 now is Ti± M ^ come. ^- come. -« — mas now is come -*L (Mode I.) a 3. f Now Now God Al m l 3=^Q might . v down hath i U +*- sent, 1 o The H< ^ >5^-^ i m ly Gho-t to ^^ S be pro a 15 r -s*' — sent, To fe= r ^ ■o- £ ■ ff1^ ^ God Al . might - y down hath sent. The Ho Ghost to b w pro sent, To :i - r^ <> a ^ XE f O ft> £ O 69 ^ <*- Now God Al . might, y down hath sent, The Ho. Ghost to b< pre _ sent, T< =B=-= ^m m IPi m i i -o- =5= m 1&7 rf ffff nrr a ^D a ^=^ W£ jJj. m i r rrf rrr f F £i m I I £ 1 2: Now make we merry all and some For Christmas now is come That hath no peer. Sing we all in fere1. Now joy and bliss They shall not miss That make good cheer. 1. Now God Almighty down hath sent The Holy Ghost to be present, To light on Mary maiden verament, That bare the Son of God with good intent. That hath no peer, etc. 3. Now Goddes Son omnipotent In Mary mild He here hath ta'en Flesh and blood, for He hath meant Man to restore unto his gain, That hath no peer, etc. To Mary mild our heart be bent, That blissful lady so be bent To pray that we be not undone, Through Jesus Christ her gentle Son. That hath no peer, etc. 'together 46 Soprano. Alto. Tenor. (Mode V.) a 3. IX. Arranged for S.A.T. B. (C. F.) <> g B g g 22: 3= P XE A - bide, I hope it be the best, I hope it be the best. =£ £ £££ H^ p—r* £ £££ ^ Hn 1 5 $ XE -«•-•■ 221 XE « — # tne A bide I hope it the best, I hope. be. best. 5 ^ the i XE hope it be the A . bide I be 2 best, I hope . fe best. XE =* PO" XE P XE ^ _• -©- w XE 1 A . bide I hope it thi best, I hope.. it be the S ■ f ■ best. S m m ^~n r ~rr o fw — - — m a r (9- -O- r ^ r f r r £ fe 3E -O-- -O- a 4. Iess pf -o- ^ tS»- E ■ 22Z ## XE (added part) A bide I hope it tht best, Since has . ty man, Since i has . ty man want . eth ne . . ver 3 f f has . - ty ^ f * ,J*> be tht "X*- want - eth A bide I o hope best, Since has . 75" '23' ty man,Since man ne. woe. ^ ^ - i «- XE22 221 E XE IE pe- ZZ O g -o- JX- A. bide I (uMfil part) hope it be tht best, Since has . ty man,Since has - ty man want - _ eth -o — &■ i VP -o- □ si -o- fc HI -o- -o- "O *» — '' o. A. bide I hope t be the best,Since has. ty man,Since has . ty man want, eth never woe. 4 SB I m i ? SF^jf XE r ■o -©» ^ ^ * * J n: ^i ^m -o- J -o- i rr i^ -o- XT '*> -o- Tf~ FP -o^ TT^ 47 i= 2Z A A . bide I O SZ bide I O ~?y ^ =2^ be. tin t 32: be the -O- I 3£ best, best. m *o- 3 i .Since Sinct 30C ■«*-:■ has S has IT ty # # tv ! i A . bide I hope it be the best,. Since has ty i n ■ r\ ii «M> jV 4i Q. ~rr 1= #-# rmrp r rrtr -o- r £ £ 'O £ 3 -*L i ^' -I P IT -O- H -O- 22 XE man want - eth ne . . ver woe, A bide hope be the best. 1 man want - eth "IT" ne 2T . ver -O- bide I hope. ... it be the A i$ " i £ best. -O- fe= IE -O- 331 man wants. ne - ver woe, hope it be best. g :!:J>J J ^S 3T ^ frO ^ v — a TTt ^Trr -«*- r rrrf -©- ix- LO_ -*»-' -O- Abide, I hope it be the best. 1. Abide, I hope it be the best, Since hasty man wanteth never woe. Abide, etc. 2. Let every man that will have rest Ever be advised what he shall do. Abide, etc. 3. Prove ere thou take, think ere thou feast, In weal beware lest thou have woe. Abide, etc. 48 (Mode XIII) a 4. X Arranged for A.T. T. B. Alto. Tenor I. (added part) Tenor II. Bass. (added part) WT2 ' 4. What ^=^ T? ■e- What # (C. F.) ■a — 02 ^ What 3 ^ 0 - O G ticLin XX t tid.ings -&- tid.ings ir JJ** bringest thou (9- bringest thou I £ iS>- bringest thou i # # i mes _ sen I mes . sen _ £ 22 mes . sen . i& m ^v ger, -©- gei -O-^- ger, -0-= Of Of Of ?* s Christ . es ^M Chri-t . e XE Christes What ticLings bringest thou mes . sen - ger, Of Christes PS 9* birth this IE i birth this -O- birth this «» ^ jol . ly -» 0 jol . ly jol.ly -o- day? -o- day? -O- day? XE birth this jol.ly day? 4 i! :J 3 >): :i - '• ri :g= ^ ni frr XT' XE -»- f ^ r f • r -o- r XT PH 7 XE fm -©- XKE i*l f 3 f A babe born of high na O^ ture, The Prince of Peace that •v.er shall be, Of XE i# =£ 3 i 19-^- -O- #-1» -o- A babe is born of P high na ture, Tht Prince of. . Peace that ev . er shal be, Of XE 22 XE ■O- 6 y a 1 o^ • i tS1 -©- -o-1- 9= is: "XT- man Such wond . . rous tid . ings ye. may hear, i That ' -o- Such wond. - rous tid ings ye may hear, That % I &M ^JPJ n frfF « — 9 — — — w — "*■ -& -o- TV tv T T i I J J TV J r ^ a r rrr rr ^ rr rr 'rrr^ ^ XT (S1 xr-5- — zp — Whom made now God . . d< peer, fiend . 27 es.. F^f i -o- xn x-r- prey. S=3* o ' made now od . des peer, Whom had. made but fiend es prey. T. H XT XT-5- _^ 2? fiend - es XT- made now 3E God jSL . des peer, Whom sin had made but m p* ^ XT- prey. m zz: P tv. P TV T made now God des peer, Whom sin had. made but fiend - es prey. P3 i^f f m XT' 4=4 is ==i I TV. 3HE What tidings Of Christes bi 1. bringest thou, messenger, rth this jolly day? 3. A babe is born of high nature, The Prince of Peace that ever shall be Of heaven and earth He hath the cure His lordship is eternity. Such wondrous tidings ye may hear, That man is made now Godde's peer, Whom sin had made but fiendes prey. 2. A wondrous thing doth now befall, That King that formed star and sun, Heaven and earth and angels all, Now in mankind is new begun; Such wondrous tidings ye may hear, An infant of a single year, That hath been ever and shall be aye. That seemeth strange to us to see, This berd that hath this babe yborn And Lord conceived of high degree A maiden is and was beforn. Such wondrous tidings ye may hear, That maiden and mother are one in fere* And she a lady of great array. 4. That loveliest gan greet her Child, "Hail, Son! Hail, Brother! Hail, Father dear! "Hail, Daughter!" He saith,"[Hail, Sister!] Hail Mother mild!" This hailing was on quaint manner. Such wondrous tidings ye may hear, That hailing was of so good cheer That mannes pain is turned to play. 'maid together 3The words in brackets must be omitted in singing the carol. 50 ^L (Mode I.) a 4. XI. Arranged for A.T.T. B. Alto. Tenor I. (added part) Tenor II. Bass. (added part) ^ ^ Ei *"* £7 (C. F.) £7 ^^ -o- ^ - tyr *M«r _ tyr H Jf.j V AY . 3 XE .sv. >4« JtE .S7<° . /;^« i i Srv ^ Jjfia m Pray.. "^> Pray.. Pray ^/<- tyr Sfc . phu nt, Pray.. ^ 5=^ -i^r^^- H^#^ f^ r^ pE^^E r i=U .z. -H- for O pray to thee 3=i # (9 351 im €/ t- for pray to thee. -o- for we pray to thee 5^ ^m i ? ? <> 3E for us. we pray to thee. (£ '/ if P rr r TT -*^ ~xy -o- SE= , 6 J- 1 O 3X f f OO' 3SI g a 3. F IE 3CE 33: -o^ To this Mar - tyr i. pra given, Qui tri -4 * /y — (&- S r^ 4 ^ To this Mar - tyr ;■ f IE To this a IT ^ praise be H Mar - tyr praise be 3E ^ f- *. J- ^^ f» ryi given, O given, 3E «» Qui O rs> Qui tri - f-T FT -^- — cr 51 i p/ia vit ^ ^ ^^; //n -O- ett H id: _4> & And O r/(f di Ami did rain the bliss of heav'n. ii* ^ j ^ XH 7 1 r rf?W <> i in "XT' !X*_ ~»- rrr cr ii -o- £ ^' 1 5: -(9 ^^f -A © -jy gra . 1 1 S 00 ? 3E ? IE ♦ZDCSZZZ *=* # # no coe Ihs . tis gr ti - ae. D<> - no coe gra ti 331 i £ -^ m T3~ /e.v ft* . grit IT «f. £ i f i^s ^ * — m fr^ff TT ■S' 0 ~Ctr -«-^ a^ ^y ^i i^U ^u ^ -o- 3E Eia JMartyr Stephane, Pray for us, we pray to thee. 1. To this martyr praise be given, Qui triumphavit nor/if1. And did gain the bliss of heaven, Dono corlextix gratiae. 2. Stoned he was with stones great, Fervore gentix impiae. Then saw he Christ set on His seat Innixum patris dextere*. 3. Thou pray'dst Christ for thine enemies, O martyr invictissimel* Then pray for us that high justice, lit noa purget a crimine? *Amen. 'Who triumphed to day. 2By gift of heavenly grace. 3By the fury of impious folk. ''Sitting at the right hand of the Father. O unconquered martyr. r'That it may purge us from sin. 52 Alto. Tenor I. (added part) Tenor II. Bass. (added part) 6 a (Mode I.) a 4. XII. Arranged for A.T.T. B. Pray for 3t 2 o Pray for (c.F.r Prav for Er 3E V ^5 the i the -o- tht 2 Pray for ~o ^= us the. w Prince K_? of. Prince of Prince "27 of ^ Peace, A Peace, A Peace, A Prince. of Peace, tt w # ?: I! » d r F 5 J J J p^^f ^^f £ r I 13? ^7 CHri* ti Jo hurt J* firs. 33: 33: ^5>- -O- $ Chris _ // .a, hun % IT ^ Chris . // Jo han % s 4. i J if X "cr r-^ ®- i -o- -o- 33: OO' 3> i a 3. 5 -s^ 7 — Tzr- — dear dar . -O- "5? a IB To thee now, Christ ling That wert A ZL. 33: -o- f p ittr &fe To the now, Christ dear dar ling That wert IE a ■ -o- IZ2 -O- str«7 Z7 1 To thee now, Christ . i:s dear dar . ling That wert ^^P P^f ? 3 9 S ^ S= 1 i-4 r ■ r a. 27 ~5> and maid . en both old.. youn^, My heart is set tt, % f f # ^ :z? ^^ id i A * i 4 ^=4 ¥ ^^ ^ e S£ t H thet to.. sing, Chris 1 1 2 TT zr - p 3CE ?■=£ ^iy: thee.. to sing, Chris ti /tan # H ^*- -O- thee to sing, A . ■e Chris Jo han . ti iji ^m It Hi. ^^ ^fP t^f a j <>: is no io: is no it 3E Arranged for A.T. T. B. rose of rose of rose. of i ^ W * J such fr o vi r . such vir . -O- such P £ There is no rose.. of such vi r . 3 - 2 - ^ 3 - J: T5 I =22: T5 3E #^ LH r r r r P' „»' o J. ^^ I -o-5- tue. o • tue, -©-^ tue, o • tue, -«*- ~cj- ~Ti~ O ' IE ^=^# ^ As is the Rose that m su. =P= r r ' f -o- ^TT As is the Rose . that bare m IE IE ~S? — Je - As is the Rose that bare £ ^3 su. m 3E As the Rose. that bare. J* i P3 i- i j j do: I rr-T r f- -o- -o- 5± g ^~ P T^ ^ ^f r r r r r a 3. ^S^1 vir -©- There is no. rose.. of such. £ F » 3 . tue, :£=* -o- There. is no rose of such. tue, zz: P^S There is. such tue, 55 m ffir^- m ^^ As. As zai f th( v tin ^S the -^Lf---W s r^ Ros o K'.IM -O- « that d that that bare bare bare d 4 Je - f -*>-• «» su. ti: o i t "727 . ^2 m lu Al lu l pg m £=£ -*>• B. 3E 1 .4/ . /« .'// u . 1,1 $ f f ^5^3 ^W f— ~d f « f i a a~~^ ^ ^> — CT s TF~ f^ rf^^ ? rrf r i. There is no rose of such virtue, As is the Rose that bare Jesu. Alleluia. For in this Rose contained was Heaven and earth in little space. JifS mi rand al 3. By that Rose we well may see There is One God in Persons three. Pares forma'. 4. The angels sung the shepherds to, Gloria in excelsis Deo. GaudeainuH. Leave we all this worldly mirth And follow we this joyful birth. Transeamus. A wondrous thing. 20f like nature. 3Let us rejoice. 4Let us turn [from earth to heaven.] appendix. 59 ^fPPS^DIX. The Oxford Version of the " tAgincourt Song'} BURNEY, in his "History of Music," Vol. II., p. 383 et seq., gives the song, "Our King went forth to Normandy" {ante, No. VII.), in another version, together with an account of the original MS. from which he got it, and which he describes as being at that time contained in the Pepysian Library at Cambridge. " It is written," he says, " upon Vellum in Gregorian Notes, and can be little less ancient than the event which it recorded. There is with it a paper which shows that an attempt was made in the last century to give it a modern dress ; but too many liberties have been taken with the melody, and the drone base which has been set to it for the Lute is mere jargon." He tells us, also, that copies were taken of the same MS. by J. Stafford Smith, for his "Collection of Ancient English Songs" (1779), and that it was printed in Percy's " Reliques," Vol. II. (It will be found in the edition of 1889, at Vol. III., p. 29, where an absurd and gratuitous mistake has been made — whether by the compilers or the modern editors, I know not : — the staves are connected by braces, but the wrong staves are coupled together all the way down the page, so that in its present condition the music is impossible to decipher.) The Pepysian MS. is no longer to be found in the library, and the inadequate modernization of it has, of course, disappeared with it. It appears, from what Burney says, that the three copies taken from it were independent of each other ; as they unite in omitting the upper part at the beginning of the song, we may conclude that it was not in their original, and, moreover, that Stafford Smith was right in believing it to be a copy of a MS. in the Bodleian Library in Oxford. Most fortunately, he copied the reference from the Pepys MS., " Ex Bibliothec. Bodleiana, Arch. B. Seld. 10." The Bodleian MS. has been duly preserved, and a translation of the music into modern notation is here given : — 6o P m^^. ~£2 22" J2. -22. _^L ^: ^i'T f§ -^- r r r-rf^r^e^ -p q i * ' 'V*^ ^-"-57 22: ■£2 -&- ^ <-J ^- ^2. £ g f= h _ — ^_ p. — 1 I = H &= <&.- H d- clA J rJ._J J H5^ J JJ (^ 5 — * 1 1 *-& -gH ^ — (^ ?-=> ~ = m=r- SZs ■ 1 ~J — f— 1 f__j rr ir" 1 ^=S 122; ^ 3 =st I<2t =*=§£ "^T g s>- pg :g cji m -^=\ l11^^^^-^-^: ^==^= p^zzjzg^^^ 1221 Chorus. qg=:-p— re: ^ ^^ -f=-^-*- 122: "22 S3" ^zzzss: :c£ 1 I — 1 3 ?== ^: -P^-P- 122: ^ ^> r^ g M- m E22I :c2: i ^g ?=n=P= _^_^_ 5 &i Z&-- 3eM^eeee± ^ -=P 1221 <&.—&- m "22: ^2: ^ :^ -- 6i " Deo gratias anglia. redde pro victoria. " Owre kynge went forth to normandy. with grace and myzt of chyualry. ther god for hym wrouzt mervelusly. Wherfore Englonde may calle and cry. Deo gratias. " he sette a sege the sothe for to say. To harflu toune with ryal aray. that toune he wan and made a fray, that fraunce shall rywe tyl domesday. Deo gratias. (b.) "Than for a sothe that knyzt comely, yn agincourt feld he fauzt manly. Thorw grace of god most myzty. he had bothe the felde and the victory. Deo gratias. " There dukys and erlys lorde and barone. Were taken and slayne and that well done. And summe were ladde in to londone. With ioye and merthe and grete renone. Deo gratias. " Now gracious god he saue oure kynge. his peple and alle his wel wyllynge. zef him gode lyfe and gode endynge. That we with merthe mowe sauely synge. Deo gratias. (a.) "Than went oure kynge with alle his oste Thorwe fraunce for alle the frenche boste he spared no drede of lest ne moste Tyl he come to agincourt coste. Deo gratias." The verse here placed last is evidently the third ; this is probably indicated by the letters "a" and "b" in the left margin of the MS. The copies from the Pepysian MS. place it third in order, showing that their exemplar corrected the sequence of the stanzas. The notation of the original is in black diamond-headed notes, with ligatures, etc., as in our version. The use of red notes for triplets is the same as in our MS. The notes which represent the ligatures of the MS. are here connected by slurs. No accidentals have been added ; the B flat is indicated in the MS. in two places. The last two crotchets of the third bar from the end must contain a mistake in one of the lower parts. To raise the two crotchets one place, in the middle part, brings the bar into greater conformity with our version, and this is probably the right solution. In the versions of Burney, Percy, and J. Stafford Smith, there is a blank in the upper part until the words, " forth to Normandy." The Oxford original shows that the unisonous beginning, which is so remarkable a feature of the Cambridge version, is correct, and that the two voices sing together throughout. 62 The origin of the omission of the upper part is also clearly shown ; for the illuminated capital D is placed, in the Bodleian MS., against the beginning of the lower part only, and thus the transcriber doubtless thought that the line above the part so adorned belonged to the pre- ceding song. The most interesting differences between the two versions are — first, the alteration in bar 17, where the cadence, so characteristic of our whole series of Carols, is replaced by a commoner form in the Oxford version ; and second, the first notes of the triphonia, marked as "Chorus" in the Oxford MS. As we have it, the root of the harmony is D ; in the Oxford MS. it is G. With these exceptions, the two versions are practically identical. The Oxford version, in its integrity, seems not to have been published in any form, but there are several transcripts of the Pepysian version, or rather reprints of the published transcripts of the Pepysian version, and therefore descendants in the fourth degree from the Oxford original. Among these may be noticed an arrangement, for three voices throughout (excepting in the opening bars), by Morton Latham, Esq., Mus.B. As this arrangement is intended for general performance, the editor has not hesitated to alter the part -writing, but has marked every alteration with asterisks, without, however, indicating the reading of his original.