1 Carl Winter, The Fitzwilliam Museum: An Illustrated Survey (Clairvaux, 1958), 2–3; Charles Cudworth, ‘A Cambridge Anniversary: The Fitzwilliam Museum and its Music-Loving Founder’, Musical Times, 107 (1966), 113–17, 209–10; R. G. Thorne, The History of Parliament: The House of Commons, 1790–1820, 5 vols. (London, 1986), iii, 774–5; B. H. Blacker, ‘Fitzwilliam, Richard, Seventh Viscount Fitzwilliam of Merrion (1745–1816)‘, rev. John D. Pickles, The Oxford Dictionary of National Biography, ed. H. C. G. Matthew and Brian Harrison, 61 vols. (Oxford, 2004; <www.oxforddnb.com/view/article/9660>, accessed 9 October 2004).,+accessed+9+October+2004).>Google Scholar

2 Winter, The Fitzwilliam Museum; Treasures of the Fitzwilliam Museum: An Illustrated Souvenir of the Collections (Cambridge, 1982); website: <www.fitzmuseum.cam.ac.uk>..>Google Scholar

3 Winter, The Fitzwilliam Museum, 5.Google Scholar

4 Alec Hyatt King, Some British Collectors of Music, c.1600–1900 (Cambridge, 1963), 36–7, 147. For the music collections, see John Alexander Fuller-Maitland and Arthur Henry Mann, Catalogue of the Music in the Fitzwilliam Museum, Cambridge (London, 1893); A Short-Title Catalogue of Music Printed before 1825 in the Fitzwilliam Museum, Cambridge, ed. Valerie Rumbold and Iain Fenlon (Cambridge, 1992).Google Scholar

5 The building now houses the Whipple Museum of the History of Science.Google Scholar

6 Winter, The Fitzwilliam Museum, 1.Google Scholar

7 William Sheldon and Edward Roberts of Messrs Oddies to the Vice Chancellor of the University of Cambridge, 26 February 1816 (Cu, CUR 30.1, item 5, unfoliated).Google Scholar

8 Cudworth, ‘A Cambridge Anniversary’, 209, states that the catalogue was drawn up shortly after Fitzwilliam's death at his house at Richmond by James Bartleman and fair-copied by ‘the Revd J. Turle’. Bartleman's involvement in the drawing up of the catalogue is plausible, as he was a leading collector of music in addition to being a singer and impresario, but cannot be established by any of the evidence available to the present writers. By ‘the Revd J. Turle’, Cudworth presumably meant James Turle (1802–82), who in 1831 became organist of Westminster Abbey. It is possible that Turle fair-copied the catalogue, as Cudworth asserts, but he would have been only 14 years old at the time, and he was never (pace Cudworth) in holy orders. Intriguingly, at this time he was a treble in the Portuguese embassy chapel choir under Novello: see Wesley to Novello, [15 January 1816] (LSW, 261 and n. 1).Google Scholar

9 Sheldon to John Kaye, Master of Christ's College, 17 August 1816 (Cu, CUR 30.1, item 20, unfoliated). Novello later stated in the Preface to The Fitzwilliam Music that he had seen a catalogue of the collection before he had inspected it himself.Google Scholar

10 William Weber, The Rise of Musical Classics in Eighteenth-Century England: A Study in Canon, Ritual, and Ideology (Oxford, 1992); Thomas Day, ‘A Renaissance Revival in Eighteenth-Century England’, Musical Quarterly, 57 (1971), 575–92; Percy Lovell, ‘“Ancient” Music in Eighteenth-Century England’, Music and Letters, 60 (1979), 401–15. For the later eighteenth century, see also Simon McVeigh, Concert Life in London from Mozart to Haydn (Cambridge, 1993).Google Scholar

11 Charles Burney, A General History of Music, from the Earliest Ages to the Present Period, 4 vols. (London, 1776–89), ed. Frank Mercer, 2 vols. (London, 1935; repr. New York, 1957).Google Scholar

12 John Hawkins, A General History of the Science and Practice of Music (London, 1776; new edns London, 1853, repr. New York, 1963; London, 1875, repr. Graz, 1969).Google Scholar

13 William Boyce, Cathedral Music, being a Collection in Score of the Most Valuable and Useful Compositions for that Service, by Several English Masters of the Last 200 Years, 3 vols. (London, 1760–73). See also H. Diack Johnstone, ‘The Genesis of Boyce's “Cathedral Music”‘, Music and Letters, 56 (1975), 26–40.Google Scholar

14 Weber, The Rise of Musical Classics, 56–74; on the private/public question, see ibid., 59. See also McVeigh, Concert Life, 2–3 and passim.Google Scholar

15 For programmes of two concerts from the 1756–7 and 1790–1 seasons, see McVeigh, Concert Life, 244–5. Further evidence of the repertory of the concerts is contained in Words of Such Pieces as are Most Usually Performed by the Academy of Ancient Music (2nd edn, London, 1768); Weber conjectures (p. 63, n. 134) that this publication may represent the contents of the Academy's library more than its actual repertory. We are grateful to Tim Eggington for making copies of Academy of Ancient Music programmes available, and to William Weber and Harry Johnstone for information on the Academy's activities.Google Scholar

16 It was also sung as a grace at meetings of the Catch Club. We are grateful to Brian Robins for this information. On its authorship, see Brett, Philip, ‘Did Byrd Write “Non nobis, Domine”?‘, Musical Times, 113 (1972), 855–7.Google Scholar

17 Weber, The Rise of Musical Classics, 147–9. See also Brian Robins, Catch and Glee Culture in Eighteenth-Century England (forthcoming).Google Scholar

18 Weber, The Rise of Musical Classics, 193. Weber's discussion of these institutions is largely in terms of their membership, and a comprehensive survey of the music performed at their meetings has yet to be published.Google Scholar

19 Weber, The Rise of Musical Classics, 193. See also Mark Argent, Recollections of R. J. S. Stevens: An Organist in Georgian London (London, 1992), 291 and passim.Google Scholar

20 McVeigh, Concert Life, 22–7 and passim; Weber, The Rise of Musical Classics, 143–97. The phrase quoted is McVeigh's (p. 22). See also Fiona M. Palmer, ‘The Ancient Concerts’, Dragonetti in England 1794–1846: The Career of a Double Bass Virtuoso (Oxford, 1997), 122–41.Google Scholar

21 For a sample programme from the 1790–1 season, see McVeigh, Concert Life, 245.Google Scholar

22 Weber, The Rise of Musical Classics, 103–42; McVeigh, Concert Life, 28–32.Google Scholar

23 The prospect of the considerable earnings to be made from lecturing in London was probably an important factor in Crotch's decision to move from Oxford to London in late 1805: see Olleson, Philip, ‘Crotch, William (1775–1847)‘, The Oxford Dictionary of National Biography (<www.oxforddnb.com/view/article/6810>, accessed 9 October 2004)., accessed 9 October 2004).' href=https://scholar.google.com/scholar?q=The+prospect+of+the+considerable+earnings+to+be+made+from+lecturing+in+London+was+probably+an+important+factor+in+Crotch's+decision+to+move+from+Oxford+to+London+in+late+1805:+see+Olleson,+Philip,+‘Crotch,+William+(1775–1847)‘,+The+Oxford+Dictionary+of+National+Biography+(,+accessed+9+October+2004).>Google Scholar

24 William Crotch, Specimens of Various Styles of Music Referred to in a Course of Lectures Read at Oxford & London, 3 vols. (London, 1808–10). The original texts of Crotch's lectures are at NWr, MSS 11063–7, 11228–33). He later published a version of them as Substance of Several Courses of Lectures on Music, Read in Oxford and in the Metropolis (London, 1831).Google Scholar

25 A Selection of Sacred Music from the Works of the Most Eminent Composers of Germany and Italy, 6 vols. (London, 1806–25). For Latrobe, see Cowgill, Rachel, ‘The Papers of C. I. Latrobe: New Light on Musicians, Music and the Christian Family in Late Eighteenth-Century England’, Music in Eighteenth-Century Britain, ed. David Wyn Jones (Aldershot, 2000), 234–58.Google Scholar

26 A Collection of Sacred Music, as Performed at the Royal Portuguese Chapel in London, Composed, Selected, & Arranged with a Separate Accompaniment for the Organ or Piano Forte and Dedicated to his Friend the Rev.d W. V. Fryer by V. Novello, Organist to the Portuguese Embassy, 2 vols. (London, 1811). This publication is contextualized as a case study in Fiona M. Palmer, Vincent Novello (1781–1861): The Career of an English Musical Philanthropist (in preparation).Google Scholar

27 Philip Olleson, ‘Samuel Wesley and the English Bach Awakening’, The English Bach Awakening: Knowledge of J. S. Bach and his Music in England, 1750–1830, ed. Michael Kassler (Aldershot, 2004), 249–311; SWMM, 66–86, 89 and passim.Google Scholar

28 Olleson, ‘Samuel Wesley and the English Bach Awakening’, 306–8; SWMM, 145–6; see also Yo Tomita, ‘Bach's Credo in England: An Early History’, Irish Musical Studies, 8 (2004), 205–27.Google Scholar

29 Cu, CUR, Grace Book N, 8 December 1824.Google Scholar

30 Novello to Hunt, 28 July 1823 (Lbl, Add. MS 38108, f. 304). As Novello went on to state later in the same letter, he had in mind the post of Music Librarian at the British Museum, which was vacant at the time. For his aspirations in this direction, see King, Alec Hyatt, Printed Music in the British Museum: An Account of the Collections, the Catalogues, and their Formation up to 1920 (London, 1979), 25–6.Google Scholar

31 For Novello's depression, the first onset of which appears to have followed the death of his son Sydney at the age of four in 1820, see Clarke, Mary Cowden, Life and Labours of Vincent Novello (London, 1864), 23. Wesley was sufficiently concerned about the state of Novello's digestion at the end of 1824 to urge him in a number of letters to consult John Abernethy, the leading specialist in digestive disorders of his day: see Wesley to Novello, [13 December 1824], 20 December [1824], 21 December [1824], 8 January 1825 (LSW, 344–5, 345–6, 346–7, 349–50).Google Scholar

32 Cu, CUR 30.1, item 60x, 10 March 1825.Google Scholar

33 Novello to Thomas Le Blanc, 27 January 1825 (Cu, CUR 30.1, item 60).Google Scholar

34 Some light on the dates of Novello's visit is shed by Wesley's letters to him of 22 December 1824 and 8 January 1825 (LSW, 347–9 and 349–50), written to him in London respectively before his departure for Cambridge and after his return.Google Scholar

35 Novello to Le Blanc, 27 January 1825.Google Scholar

36 Lcm, MS 5246, where it appears bound in at the end of the volume.Google Scholar

37 Alumni Cantabrigienses, Part II: 1752–1900, ed. J. A. Venn, 6 vols. (Cambridge, 1940–54), ii, 219. Dampier's brother Henry Thomas (d. 1831), a Prebendary of Ely Cathedral, was also a Fellow there.Google Scholar

38 Dampier to Novello, 18 January 1825 (LEbr, Novello Cowden Clarke Collection, Letters A–K).Google Scholar

39 Novello to Le Blanc, 27 January 1825.Google Scholar

40 Cu, Grace Book N, 18 March 1825.Google Scholar

41 Lcm, MSS 5242–7, Lbl, Add. MS 65476.Google Scholar

42 Wesley's transcriptions have not survived. For his activities in Cambridge at this time, including a performance with Novello of his Confitebor in an arrangement for organ duet to an invited audience in the chapel of Trinity College on 1 August 1825, see Wesley to Sarah Suter, 1 August 1825 (Lbl, Add. MS 35012, f. 109, summarized in SWSB, 430); SWMM, 183–4.Google Scholar

43 ‘The Fitzwilliam Music’, dated May 1825 and signed by Novello (Cu, CUR 30.1, item 60.2).Google Scholar

44 Exceptions are Lbl, Add. MS 65476, bound in 1831, and Lcm, MS 5250, bound in 1832.Google Scholar

45 Lcm, MS 5250 (‘Italian Madrigals &c from the Fitzwilliam Museum‘). Dates include 4 July 1830 and 7 July 1830.Google Scholar

46 Lcm, MS 5247, unfoliated, item 1. The ‘bel Quadro di Titiano’ (sic) was Venus and Cupid with a Lute-Player, the only painting by Titian in the collection at the time.Google Scholar

47 All but one are in Tudway's anthology (Lbm, Harl. MS 7338); the remaining one is at Lbl, Add. MS 31399. See Shay, Robert, ‘Aldrich, Henry’, The New Grove Dictionary of Music and Musicians (2nd edn, London, 2001), vi, 879. Novello doubtless knew of this collection from Burney's discussion of it in A General History of Music, iii, 601 (ed. Mercer, ii, 79).Google Scholar

48 John Garth and Charles Avison, The First 50 Psalms Set to Music by Benedetto Marcello… and Adapted to the English Version, 8 vols. (London, 1757), an adaptation of Marcello's Estro poeticoarmonico (Venice, 1724–6).Google Scholar

49 Richard John Samuel Stevens, Sacred Music for One, Two, Three & Four Voices, from the Works of the Most Esteemed Composers, Italian and English (London, [1798–1802?]).Google Scholar

50 Joseph Corfe, Sacred Musical Extracts, Consisting of Twelve Pieces, Selected from the Compositions of the Most Eminent Authors, and Adapted to the Psalms for One, Two or Three Voices (London and Dublin, [1813]); Sacred Music… in Two Volumes Consisting of a Selection…from the Te Deum, Jubilate, Anthems, & Milton's Hymn, Adapted to… Music of…Jomelli, Pergolesi, Perez, Martini, Perti, Scolari, &c. by J. Harris. Arranged and published by J. Corfe (London, [1800?]); A Treatise on Singing… Interspersed with Original Examples… Selected… from the most Eminent Authors… Particularly Some… Vocal Pieces of Sacred Music, from the MSS. of Jomelli, and Sacchini, Never Before Published (London and Bath, [1799]).Google Scholar

51 The Fitzwilliam Music, Preface, vi.Google Scholar

52 Ibid.Google Scholar

53 The Preface is dated December 1825. Some indication of the dates of publication of individual volumes is given by the dates of reviews in the Harmonicon and Quarterly Musical Magazine and Review: see notes 56 and 57 below.Google Scholar

54 See the review of vol. 4 in the Harmonicon for May 1827, which stated that the fifth and final volume had by this time been published, and would be reviewed in the June number. This review cannot have been written later than about 25 April, as it is clear from internal evidence that the Harmonicon appeared on or around the first day of the month, with a press date no more than four or five days earlier.Google Scholar

55 Owen Rees, ‘Adventures of Portuguese “Ancient Music” in Oxford, London, and Paris: Duarte Lobo's Liber missarum and Musical Antiquarianism, 1650–1850‘, Music and Letters, 86 (2005), 42–73.Google Scholar

56 Harmonicon, 4 (1826), 32–5 (vol. 1); 5 (1827), 9–11 (vols. 2–3), 88–9 (vol. 4) and 112–13 (vol. 5). These were the numbers for February 1826, January 1827, May 1827 and June 1827 respectively.Google Scholar

57 QMMR, 8 (1826), 107–13 (vol. 1) and 343–52 (vol. 2); 9 (1827), 230–8 (vols. 3–5). Notwithstanding the ‘official’ dates of publication on their wrappers, these numbers were probably published in July 1826, December 1826 and October or November 1827 respectively: see Langley, Leanne, ‘The English Musical Journal in the Early Nineteenth Century’ (Ph.D. diss., University of North Carolina at Chapel Hill, 1983), 228–9.Google Scholar

58 Harmonicon, 4 (1826), 32.Google Scholar

59 Harmonicon, 5 (1827), 113.Google Scholar

60 QMMR, 7 (1825), 95–101. Wesley's outraged reactions to the reviews of the Service in F in the Harmonicon and more particularly in QMMR, his attempts to discover the identity of their authors, and his increasingly abusive references to Horsley once he had satisfied himself that he was the author of the QMMR review, run obsessively through his letters of 1825 to Novello: see SWMM, 173–5, 180–2 and 184–5; LSW, 349–400, passim. Some similar discussion of the reviews of The Fitzwilliam Music would no doubt have featured in letters between Wesley and Novello in 1826 and 1827 had there been any, but by this time the two men had quarrelled and had broken off all communication.Google Scholar

61 We are grateful to Stanley Pelkey for first alerting us to the existence of this copy, and to Katherine Axtell and David Peter Coppen of the Sibley Library for providing information that confirms Horsley's authorship of the Fitzwilliam Music review.Google Scholar

62 QMMR, 9 (1827), 236.Google Scholar

63 Ibid., 237. Three obvious typographical errors have been corrected without comment.Google Scholar

64 Clarke, Life and Labours of Vincent Novello, 18–20. She also drew attention to the speed of his copying, citing as an example an occasion when on a visit to York in 1828 he was able to transcribe four anthems by Purcell and the whole of his Evening Service in G minor, Z231, from the manuscripts in the Minster in a single day.Google Scholar

65 Ibid., 19.Google Scholar

66 Novello later presented them to the British Museum, and they are now Lbl, Add. MS 11729. As is clear from his letter of presentation and from the letters themselves, there were many letters that he did not preserve. All those that survive are included in LSW.Google Scholar

67 Alumni Cantabrigienses, ed. Venn, vi, 307.Google Scholar

68 SWMM, 200–7. He appears to have been involved in a number of shady business ventures, some allusions to which are to be found in Wesley's letters, and he was declared bankrupt in 1832.Google Scholar

69 Wait to Wesley, 11 May 1825 (Lbl, Add. MS 11729, f. 258, summarized in SWSB, 420). Wesley subsequently forwarded this letter to Novello.Google Scholar

70 Cfm, MU MS 114: see Fuller Maitland and Mann, Catalogue of the Music in the Fitzwilliam Museum, Cambridge, 58–9. Dating from around 1740, it consists of 21 folios in score, is inscribed simply ‘Guglielmo Byrde’, and bears the signature and date ‘R. Fitzwilliam 1771‘. Nothing is known about its earlier provenance. It contains 21 items, all in four parts: the first 19 items (i.e. all the four-part pieces) from Book II of Gradualia, Quotiescumque manducabitis from Book I of Gradualia, and one piece (Quia illic interrogaverunt nos) that is not by Byrd at all but is a four-part section from Victoria's eight-part motet Super flumina Babylonis.Google Scholar

71 Now Lbl, Add. MS 35001, items 4–21, ff. 86–144^v: see Augustus Hughes-Hughes, Catalogue of the Manuscript Music in the British Museum, 3 vols. (London, 1906–9), i, 345–6, where they are erroneously described as being by Wesley himself. The surviving manuscript does not contain all the items in the Fitzwilliam manuscript, but there can be little doubt that Wesley did in fact transcribe it in full, and that sowme portions, the largest containing the whole of the first item (Puer natus est nobis) and the greater part of the second (Viderunt omnes fines terrae), have subsequently been lost.Google Scholar

72 Wesley to Samuel Sebastian Wesley, 1 August 1825 (LSW, 380).Google Scholar

73 Wesley to Novello, 14 September [1825] (LSW, 393–4).Google Scholar

74 Wesley to Novello, 23 November [1825] (LSW, 399–400).Google Scholar

75 Wesley to Novello, 12 December [1825] (LSW, 401).Google Scholar

76 Ibid.Google Scholar

77 LSW, xlviii–lii; SWMM, 186, 189–90. Light on some aspects of this quarrel may be shed by a letter from an anonymous correspondent signing himself ‘Jubal’ that appeared in the June 1826 number of the Harmonicon and alleged that Wesley had improperly muscled in on Novello's activities. It has not possible been to establish Jubal's identity or the nature of his relationship (if any) to Novello.Google Scholar

78 Wesley to Robert Glenn, 4 April 1826 (LSW, 443).Google Scholar

79 Wesley to Sarah Wesley, 27 April [1826] (Mr MARC, DDWF 15/33, summarized in SWSB, 444).Google Scholar

80 Wesley to Sarah Wesley, 14 June [1826] (Mr MARC, DDWes 6/38, summarized in SWSB, 448–9).Google Scholar

81 Wesley to Jackson, 19 December 1826 (LSW, 416).Google Scholar

82 As we have seen above (note 71), Wesley appears to have transcribed all 21 items in the Fitzwilliam manuscript. It is difficult to explain the discrepancy except in terms of a lapse of memory on his part.Google Scholar

83 A set of partbooks of Cantiones sacrae I (1589), now Lbl, Madrigal Society A57–61. They are not included in the 1816 index, and so were presumably acquired by the society between then and the date of Wesley's letter.Google Scholar

84 Wesley to Street, 25 May 1830 (LSW, 448–50). This letter was first printed in Musical Times, 64 (1923), 567.Google Scholar

85 Richard Turbet, ‘The Fall and Rise of William Byrd, 1623–1901’, Sundry Sorts of Music Books: Essays on the British Library Collections, Presented to O. W. Neighbour on his 70th Birthday, ed. Chris Banks, Arthur Searle and Malcolm Turner (London, 1993), 119–28 (pp. 120–5). See also Richard Turbet, ‘Byrd Throughout All Generations’, Cathedral Music, 35 (1992), 19–24.Google Scholar

86 Turbet, ‘The Fall and Rise of William Byrd’, 120.Google Scholar

87 Ibid., 121.Google Scholar

88 For Hawkins's ownership of Gradualia, see note 98 below. Boyce's library included an unidentified ‘Latin trio’ and a manuscript copy of Gradualia I in score. Burney's library included both a complete and an incomplete set of Gradualia II and a complete set of the 1589 Cantiones sacrae. For Boyce and Burney as collectors, see King, Alec Hyatt, Some British Collectors of Music, c.1600–1900 (London, 1963), 20, 30–2, 132, 133. A marked-up copy of the catalogue of Boyce's sale, held by Christie and Ansell on 14–16 April 1779, is at Christie's; further copies are in the Taphouse Collection at Leeds Public Library and in the Gerald Coke Handel Collection, since 2004 housed at the Foundling Museum. We are grateful to Ian Bartlett for making a photocopy of the catalogue available to us. A marked-up copy of Burney's sale catalogue has been reprinted as Catalogue of the Music Library of Charles Burney, Sold in London, 8 August, 1814, with an introduction by Alec Hyatt King (Amsterdam, 1973).Google Scholar

89 Cfm, MU MSS 31 and 112. We are grateful to Harry Johnstone for this information.Google Scholar

90 The English pieces were Bow thine Ear, O Lord my God and The Eagle's Force.Google Scholar

91 Lbl, Madrigal Society, F1 (Records and Attendances, 1744–57) and F2 (Records and Attendances, 1757–70).Google Scholar

92 Lbl, Madrigal Society, F21.Google Scholar

93 Lbl, Madrigal Society, A52–6.Google Scholar

94 Lbl, Madrigal Society, A22–7.Google Scholar

95 Lbl, Madrigal Society, A52–9.Google Scholar

96 Lbl, Madrigal Society, B1–10.Google Scholar

97 Lbl, Madrigal Society, A16–21.Google Scholar

98 Lbl, Madrigal Society, C28 and C29. Both date from about 1780 and are in the hand of the Roman Catholic musician John Danby (c.1757–98). The score of Gradualia I is annotated ‘from an ancient copy in score in the possession of Sir John Hawkins’, and that of Gradualia II ‘from the MSS parts in the possession of Sir John Hawkins’.Google Scholar

99 This score is no longer in the Madrigal Society's collection.Google Scholar

100 Richard Turbet, ‘The Musical Antiquarian Society’, Brio, 29 (1992), 13–20.Google Scholar

101 The Fitzwilliam Music, Never Published: Three Hymns, the Words by the Late Revd Charles Wesley, A.M., … and Set to Music by George Friderick Handel, Faithfully Transcribed from his Autography in the Library of the Fitzwilliam Museum, Cambridge, by Samuel Wesley, and Now Very Respectfully Presented to the Wesleyan Society at Large (London, [1826]).Google Scholar

102 Handel's Three Hymns from the Fitzwilliam Library, Arranged in Score for the Convenience of Choirs (London, [1827]). For a modern facsimile edition of both editions with supporting materials, see Burrows, Donald, George Frideric Handel: The Complete Hymns and Chorales (London, 1987).Google Scholar

103 SWMM, 191–4.Google Scholar