Journal of Seventeenth-Century Music

Volume 15 (2009) No. 1

Andrew Woolley

The Harpsichord Music of Richard Ayleward (?1626–1669), “an Excellent Organist” of the Commonwealth and Early Restoration

Table 2: GB-Lcm MS 1154: Inventory of ff. 57^r–131^r

Location (ff.), Title, Key, Composer (if not Ayleward)	Dannreuther’s Numbering	Concordances (harpsichord unless otherwise stated), Comments, Edition
“Ayleward” Group (First Part)
57^r–8^r. [Allemande-Gigue] [a]	I	Richard Ayleward: Harpsichord Music, ed. Andrew Woolley (forthcoming), no. 8
59^r–60^r. [Courante] [a]	II	Ascribed “Rich: Aylward:” (f. 60^r); Woolley, no. 9
60^v. [Sarabande] [E]	[V]	f. 62^r: “for No 5 see back of p. 60”; Woolley, no. 12
61^r. [Sarabande] [a]	III	Woolley, no. 10
62^r. [Allemande or Air] [E]	IV	Woolley, no. 11
63^r–4^r. Passionat Ayre [F]	VI	Woolley, no. 13
65^r. Coranto [F]	VII	Woolley, no. 14
66^r. Saraband [F]	VIII	Woolley, no. 15
67^r. a Jigg [F]	IX	Woolley, no. 16
68^r–9^r. [Allemande-Gigue] [F]	X	Woolley, no. 17
70^r–v [Courante & Double] [F]	XI	Woolley, no. 18
71^r. Sarabande [& Double] [F]	XII	Woolley, no. 19
72^r–3^r. [Gigue] [F]	XIII	Woolley, no. 20
74^r. [Courante] [C]	XIVa	Woolley, no. 21
74^r. [Sarabande] [C]	XIVb	Woolley, no. 22
75^r. Saraband [C]	XV	Woolley, no. 23
76^r. Saraband [F]	XVI	Woolley, no. 24
77^r. [Allemande] [G]	XVII	Woolley, no. 25
78^r. [Courante] [G]	XVIII	Woolley, no. 26
79^r. [Sarabande] [G]	XIXa	Woolley, no. 27
79^r. [Gigue] [G]	XIXb	Ascribed “Richard Aylward”; Woolley, no. 28
“Continental” Group
80^r. Almand [Jonas Tresure] [a]	XX	NL-At 208 A 4, no. 4 (“Allemand Tresoor”);ⁱ GB-Ob Mus. Sch. f. 576, ff. 79^r–78^v.
81^r. Corant [?Jonas Tresure] [a]	XXI
82^r. Saraband [?Jonas Tresure] [a]	XXII	Mus. Sch. f. 576, ff. 77^r–76^v
83^r. Corant [a]	XXIII
84^r. Saraband [a]	XXIV
85^r. Allmaine [G]	XXV
86^r. Coranto [G]	XXVI
87^r–8^r. Almaine [?Jonas Tresure] [a]	XXVII
89^r. Coranto [a] [?Jonas Tresure] [a]	XXVIII	Mus. Sch. f. 576, ff. 78^r–77^v
90^r–2^r. Laviond: (Ninon de L’Enclos?) [Courante La Vignonne and double] [d]	XXVIIII	The meaning of “(Ninon de L’Enclos?),” which Dannreuther made two attempts at transcribing (one is crossed-out), is unclear
93^r. Allmande nouvelle [C]	XXX
94^r. Corant [C]	XXXI
95^r. Allemande Nouvelle (J. B. V.) [G]	XXXII
96^r. Coranto (J. B. V.) [G]	XXXIII
“Ayleward” Group (Second Part)
97^r. [Allemande] [g]	I	Woolley, no. 29
98^r. [Sarabande] [g]	II	Ascribed “Richard Aylward”; Woolley, no. 30
99^r. [Sarabande] [g]	III	Ascribed “Richard Aylward”; Woolley, no 31
100^r–100^v. [Allemande or Allemande-Gigue] [g]	IV	Similar to a piece by Pinel entitled “Gigue”: Rollin and Vaccaro,ⁱⁱ no. 82; Woolley, no 32
101^r. [Courante] [g]	V	Woolley, no 33
102^r. [Sarabande] [g]	VI	Woolley, no 34
103^r–4^r. [Allemande] [E]	VII	Woolley, no 35
105^r–105^v. [Courante] [E]	VIII	Woolley, no 36
106^r. [Sarabande] [E]	IX	Woolley, no 37
107^r. [Gigue] [E]	X	Woolley, no 38
108^r–108^v. [Allemande] [d]	XI	Woolley, no 39
109^r. [Courante] [d]	XII	Woolley, no 40
110^r. [Sarabande] [d]	XIII	Woolley, no 41
111^r. [Courante] [D]	XIV	Woolley, no 42
112^r. [Sarabande] [D]	XV	Woolley, no 43
113^r. [Sarabande] [C]	XVI	Woolley, no 44
114^r. [Gigue or Sarabande] [C]	XVII	Woolley, no 45
115^r. [Air] [C]	XVIII	Woolley, no 46
116^r. [Courante] [B flat]	XIX	Woolley, no 47
117^r. [Sarabande] [B flat]	XX	Woolley, no 48
118^r. [Courante] [C]	XXI	Woolley, no 49
119^r. [Sarabande] [C]	XXII	Woolley, no 50
120^r. Almain [D]	XXIII	Woolley, no 51
121^r. Corant [D]	XXIV	Woolley, no 52
122^r. Saraband [D]	XXV	Woolley, no 53
123^r. Jigge [D]	XXVI	Woolley, no 54
124^r. [Allemande] [A]	XXVII	Woolley, no 55
125^r. [Courante] [A]	XXVIII	Woolley, no 56
126^r. [Sarabande] [A]	XXVIIII	Woolley, no 57
127^r–127^v. [Allemande] [B]	[XXX] (“XXIX”)	Woolley, no 58
128^r–30^r. [Courante] [B]	[XXXI] (“XXX”)	Woolley, no 59
131^r. [Sarabande] [B]	[XXXII] (“XXXI”)	Woolley, no 60

ⁱ Klavierboek Anna Maria Van Eijl, ed. Fritz Noske, Monumenta Musica Neerlandica 2 (Vereniging voor Nederlandse Muzeikgeschiedenis: Amsterdam, 1959).

ⁱⁱ Œuvres de Pinel, ed. Monique Rollin and Jean-Michel Vaccaro (Paris, 1982). I am grateful to David Ledbetter for pointing out the resemblance of these two pieces.