1 See: P.J. Willetts, “Autograph Music by John Jenkins”, ML, 1967. Christopher Field has observed that the Ch. Ch. part books are in the same hand as the organ book in the British Museum.CrossRefGoogle Scholar

2 See: P.J. Willetts, “Sir Nicholas L'Estrange and John Jenkins”, ML, 1960.Google Scholar

3 For an account of the connection between the Chicago Parts and the Christ Church score see: A. Ashbee, The Four Part Instrumental Compositions of John Jenkins, unpublished Ph. D. thesis, London, 1967.Google Scholar

4 e.406–9 also contain music by Cooke, and Mus. Sch. c. 89–91 and c.100–101 and BM Add. 31416, uniform with the Jenkins vols, contain music by W. Lawes, Brewer and Coperario.Google Scholar

5 See: M. Crum, “Early Lists of the Oxford Music School Collection”, ML, 1967.CrossRefGoogle Scholar

6 See: The Life and Times of Anthony à Wood, ed. Clarke, Vol. I, p. 108–9.Google Scholar

7 He was appointed Jenkins’ attorney in 1664. See: H.C. De Lafontaine, The King's Musick, Novello, 1909, s.v. Lilley and Jenkins.Google Scholar

8 Professor at the public music school from 1662.Google Scholar

9 Willetts, P.J., “John Lilley, Musician and Music Copyist”. Bodleian Library Record, Vol. VII, Feb. 1967.Google Scholar

10 A tradition that this scribe was Dean Aldrich appears to have no foundation. The books belonged to his collection and there are some annotations in his hand.Google Scholar

11 A single part book, illustrated in Roger North on Music, ed. J. Wilson, Novello 1959, opp. p.4.Google Scholar

12 See: P.J. Willetts, “Sir Nicholas L'Estrange and John Jenkins”, ML, 1960.Google Scholar

13 This MS later belonged to some member of the circle of musical amateurs flourishing in Oxford in the 1660s, and is discussed again in the fourth class.Google Scholar

14 See: Roger North on Music, op. cit. p.347.Google Scholar

15 See: A. Ashbee: The Four Part Instrumental Compositions of John Jenkins, unpublished, Ph. D. thesis, London, 1967.Google Scholar

16 Both MSS later belonged to members of the Oxford Circle in the 1660s, the BM MS being annotated in the hand of Dr. Matthew Hutton, Rector of Aynhoe from 1677. See: P.J. Willetts, “Music from the circle of Anthony Wood at Oxford”, BM Quarterly, Vol.24, 1961.CrossRefGoogle Scholar

17 Warner, R. A., “John Jenkins’ Four Part Fancy in C Minor - an enharmonic modulation around the key circle”, MR, Feb. 1967.Google Scholar

18 See above n.16 and P.J. Willetts, op.cit.Google Scholar

19 e.g. some airs by Lully.Google Scholar

20 Viola da Gamba Society numbering for this set follows the order of the Fantasias in BM Add. MS 29290Google Scholar

21 Two of these airs, apparently arranged by Benjamin Cosyn, appear anonymously in Ch. Ch. MS. Mus. 44. Cf. Viola da Gamba Society unpublished checklist and A. Ashbee, “The Four part Consort Music of John Jenkins” in P. R. M. A., 1970.Google Scholar

22 See A. Ashbee: “John Jenkin's Fantasia-Suites for Treble, two Basses and organ”, Chelys, Vol. I, 1969 (pt. II of this article is to appear in Chelys, Vol. II, 1970).Google Scholar

23 For a discussion of the relationship between the Ch. Ch. score and the Newberry parts See Ashbee, A., The Four Part Instrumental Compositions of John Jenkins, unpublished Ph.D. thesis, London, 1967Google Scholar

24 See: Note 1 on p. 86.Google Scholar

25 This MS has been catalogued as a lute book.Google Scholar

26 “We can be merry as the best of you we can i'faith and sing A Boat, a boat, or Here's a health unto his Majesty, with a fa, la, la, lero”. (Timothy in Shadwell's “The Miser”, first perf., London 1672.)Google Scholar

27 Reprinted in Saintsbury, Minor Poets of the Caroline Period 1905, Vol. I.Google Scholar