Abstract

This article traces the vicissitudes of the “Libro de Tonos de Joseph Marín” a manuscript of special relevance in the history of Spanish vocal music. The official account was that of a shrewd British Hispanist, JBT, who, almost by chance, stumbles upon a Spanish manuscript in a London antique shop and acquires it at a bargain price. The facts described here, however, tell a very different story: the manuscript was stolen from Biblioteca Nacional de España, and the aforementioned British Hispanist was perfectly aware of its illicit origin when he acquired it in London from the antiquarian booksellers Maggs Bros. The suspicions of a Spanish musicologist forced him to conceal it until his death, after which it became part of the collection of a British private museum where it remains to this day. The notable coincidences surrounding that acquisition, in light of the provided documentation, fit into a scenario in which the Hispanist was, furthermore, an active participant in a theft that would be laundered with the complicity of Maggs Bros., a firm with a history of opaque transactions ideal for laundering thefts through simulated purchases.

Resumen

Este artículo recorre la los avatares del “Libro de Tonos de Joseph Marín”, un manuscrito de especial relevancia en la historia de la música vocal española. El relato oficial era el de un sagaz hispanista británico, JBT, que, casi por casualidad, se topa con un manuscrito español en un anticuario londinense y lo adquiere a precio de ganga. Los hechos aquí descritos cuentan, sin embargo, una historia muy diferente: el manuscrito fue robado de la Biblioteca Nacional de España y el citado hispanista británico conocía perfectamente su origen ilícito cuando lo adquirió en Londres a los anticuarios Maggs Bros. Las sospechas de un musicólogo español le obligaron a esconderlo hasta su muerte, tras la cual entró a formar parte de la colección de un museo privado británico donde permanece hasta el día de hoy. Las notables coincidencias que rodearon a aquella adquisición, a la luz de la documentación aportada, encajan en un escenario en el que hispanista fue, además, parte activa de un robo que sería blanqueado con la complicidad de Maggs Bros., una firma con un historial de transacciones opacas ideal para blanquear robos mediante compras simuladas.

Index

Part A: Immoral and illegal acquisition of the Libro de Tonos de Joseph Marín by John Brande Trend

Introduction

The first part of this paper presents a series of documented facts surrounding the “Libro de Tonos de Joseph Marín” (LTJM) manuscript. These facts establish through evidential analysis that the acquisition of this manuscript by John Brande Trend (JBT) in 1928 violated both ethical standards and legal statutes in force in the United Kingdom at that time. Through chronological examination of primary sources and contemporary documentation, this section demonstrates the manuscript’s legitimate ownership by the Biblioteca Nacional de España (BNE) prior to its appearance in London, and establishes Trend’s prior knowledge of its provenance and status.

1. The manuscript history before entering BNE collection

Fact 1. Francisco Uhagón, the first known modern owner of the LTJM, gave it as a gift in May 1884 to Francisco Asenjo Barbieri

Date: May 1884

The LTJM was in possession of Francisco Uhagón who gave it to Francisco Asenjo Barbieri as a gift in 1884 as indicated in ii-v¹.

Ms title:

 Este Libro es de D. Mig.l Martin Musico de su Magestad en el qual se incluyen Los tonos sig.tes  
 escritos por Fr. Martin Garcia de Olague religiosso de La San.ma Trinidad y horganista insigne de  
 dicho Comb.to Y compuestos por D.n Joseph Marin

Ms folio ii-r:

 Joseph Martin y Banez

Ms folio ii-v:

 Me regaló este manuscrito el señor D. Francisco Uhagón, en Madrid, mayo de 1884.  

 Fran. A. Barbieri [rubricado].  

 (ojo) Este Fray Martin era organista mayor de la catedral de Cuenca en el año 1695.

 B.  [rubricado]

Fact 2. Francisco Asenjo Barbieri has a record of stealing some manuscripts from public archives

It has been known for a while that Francisco Asenjo Barbieri stole several manuscripts from different archives has been known for a while. However, to say that was somehow a sensitive subject as Barbieri was a pioneer in Spain’s national musicology and making such accusations is not easy.

Alejandro Vera, points this out, in a politely way, when he formulates the most probable hypothesis for Libro de tonos humanos’ provenance: Madrid convent → Salamanca convent → Archivo Histórico Nacional → Barbieri borrows it from Archivo Histórico Nacional → BNE².

But facts are facts and now these appropriations are being investigated in an academic and systematic way³. There is even unofficial acknowledgement from BNE: an article published online in 2022 about romantic bibliophiles includes Pascual Gayangos and Francisco Asenjo Barbieri:

Pascual Gayangos […] que no tenía demasiados escrúpulos a la hora de tomar “prestados” libros ajenos y después “olvidar” que tenía que devolverlos.

[…] Barbieri sustrajo piezas únicas en sus merodeos por las salas de la antigua sede de la BNE en la calle Arrieta […]⁴

It is also true, as stated in the article quoted above, that both Gayangos and Barbieri, somehow tried to amend their faults by donating to BNE not only those stolen manuscripts but their entire collections.

Fact 3. Francisco Asenjo Barbieri died on 19th February 1894. In his will, he bequeathed his library to BNE

Francisco Asenjo Barbieri made his will on 18th February 1894, one day before dying. It was registered by the public notary Antonio Rodriguez de Galvez. In clause 5 he bequeathed all his library, excluding his own works, to the BNE. He designated his friends Marcelino Menéndez Pelayo, Darío Cordero Camarón and Luis Carmena y Millán to take care of all the administrative work to make this happen:

Quinta. Lego a la BNE de Madrid todos los libros, impresos y manuscritos que comprenden la Biblioteca del Excmo. Señor compareciente, a excepción de sus obras, dejando al cuidado de sus buenos amigos D. Marcelino Menéndez Pelayo, D. Darío Cordem Camarón y D. Luis Carmena y Millán todas las diligencias que deban practicarse hasta dejar hecha la entrega del referido legado⁵.

Fact 4. In 1894 a lawsuit is presented about Barbieri’s inheritance.

Only 8 days after Francisco Asenjo Barbieri’s death, his wife and only heir, Joaquina Peñalver de la Sierra, passed away on 27th February 1894⁶. Soon after, María Antonia de Hoyos, claiming to be Joaquina Peñalver’s closest relative, filed a lawsuit about Barbieri’s inheritance.

Due to this lawsuit the judge ordered Vicente González y Urrutia, Barbieri’s will executor, to put all goods from Barbieri and Joaquina Peñalver under the court custody⁷.

Fact 5. In 2nd November 1894 Francisco Asenjo Barbieri library, including the LTJM, is inventoried and valued as part of the ab intestato process conducted by Juzgado de 1ª instancia del distrito de la Inclusa

As Barbieri’s widow died without having written her will, an ab intestato process was started. For this process all goods belonging to the legal society formed by Barbieri and his wife were inventoried and valued, including his library. This inventory was signed by Marcelino Menéndez Pelayo, Darío Cordero Camarón and Luis Carmena y Millán. The inventory list at folio 106v the LTJM:

Marin (D. Joseph): M.S. en 8" letra de fines del siglo XVII que contiene 51 tonos ó pasacalles. 1 volumen, encuadernación la piel. Signatura: Estante G, Tabla 6ª, nº 1. Tasación: 12 pesetas

This judicial inventory was later copied and authenticated by new signatures from Menéndez Pelayo, Cordero Camarón and Carmena y Millán to be used as registry of the Barbieri’s library incorporated to BNE⁸.

Fact 6. in 19 February 1895, Barbieri’s library, including the LTJM, was transferred to BNE sub judice, until the resolution of the lawsuit

The delay of Barbieri’s library incorporation into BNE became a matter of national concern and in January 1895 the Ministro de Fomento resolved that, while waiting for the judicial resolution, the Barbieri’s library should remain at BNE⁹.

Following this resolution BNE director requested on 8th February 1895 from the court the transfer of the collection¹⁰. Finally on 19th February 1895 the judge agrees and sent an authenticated copy of the inventory to the BNE¹¹, ordered the transfer and asked BNE to confirm the reception of the whole library¹².

Finally, on 21st March 1895, BNE directors sent a letter to the judge confirming the reception “of the books listed on the inventory”¹³.

At this point, following a custody chain from Barbieri’s will executor and the court, verified by Marcelino Menéndez Pelayo, Darío Cordero Camarón, Luis Carmena y Millán and Manuel Tamayo y Baus, the LTJM was safely held by BNE. As an example of how Barbieri collection was entirely incorporated into BNE collection Appendix VII shows all the manuscripts from Barbieri’s library section G with their correspondent modern signature: from the entire sampled items the only one missing is the LTJM¹⁴

In 1899, the court dismissed all claims from María Antonia de Hoyos over Barbieri’s library, and BNE became the final legal owner of it¹⁵.

2. Felipe Pedrell studies the LTJM at BNE and references it in his books and articles

Fact 7. In April 1985 Felipe Pedrell asks Marcelino Menéndez Pelayo about a copy from a book in Barbieri’s library

As BNE’s new building at Paseo de Recoletos didn’t open to the public until 16th February 1896¹⁶, Pedrell asked Marcelino Menéndez Pelayo if he had a manuscript copy (“doble”) of Venegas de Henestrosa’s Libro de Música para tecla, arpa y vihuela that was part of Barbieri’s library. In a letter from Pedrell writes:

Muy Sr. mio de toda mi distinción y afecto: no recuerdo si me dijo V. que entre los dobles del amigo Barbieri tenia V. el libro de Música para tecla, arpa y vihuela de Venegas de Henestrosa (1557). En caso afirmativo ¿podría V. prestármelo, previo recibo en forma, durante brevísimo tiempo? Dígamelo V., le ruego pues urge estudiar a fondo la documentación nutridísima del referido libro¹⁷.

Two days later, Marcelino Menéndez Pelayo wrote back to Pedrell, with a negative answer, the only copy of the book he had seen is the one owned by Barbieri that was incorporated into the BNE:

Muy Sr. mio de toda mi distinción y respeto: no figura en mi colección el rarísimo libro de Venegas de Henestrosa, del cual no recuerdo haber visto más ejemplar que el que perteneció a nuestro inolvidable amigo Barbieri y ha pasado a la BNE¹⁸

Fact 8. During 1896 and Felipe Pedrell investigates Spanish lyric theatre history at BNE and find some previously unknown music, including some by José Marín.

On 1895 Felipe Pedrell discussed with Marcelino Menéndez y Pelayo his intentions of working on a publication about Spanish lyrical theatre history following some documentation that Barbieri knew¹⁹.

Months later, in a letter sent from Madrid in 1896, Felipe Pedrell asked Marcelino Menéndez y Pelayo for a recommendation letter to present to BNE’s director Manuel Tamayo y Baus²⁰.

Four days later, Menéndez y Pelayo sent the recommendation letter that granted Pedrell access to BNE collections²¹.

In 1897, an excited Pedrell reports to Menéndez y Pelayo the result of his investigations at BNE. He writes about the discovery of some previously unknown music that he will publish in his upcoming Teatro Lírico vol III:

Y lo que vale más que todos los testamentos, ha aparecido mucha música del siglo XVII de la cual no sabiamos nada, pero nada, música de Comedias y bailes del Retiro, Cuadros de empezar, Fragmentos de la vida de S. Alejo (Moreto), de la zarzuela de Bances Candamo, Fieras de celos y amor, toda la música de las comedias y zarzuelas, de Calderón, Darlo todo y no dar nada, Ni amor se libra de amor, estrofas del Austria en Jerusalen, fragmentos de Elegir al enemigo (Salazar y Torres) y algo más que verá V. pues todo se publicará en el próximo vol. III.
[…]
¿Y cómo andamos á todo esto de indigenismo musical, de pura raza? Solo le diré que los galanes ydamas de Calderon, las Dafne las Nise y las Amarillas cantan en música de peteneras y pleyeras transformadas. La última conquista del arte parecia el canto popular transformado en pura materia lírico dramática. Cierto. De misas nos lo dirán aquellos Patiño, Roncero, Marin, Hidalgo, Juan de Navas y demás musicantes del siglo XVII que han salido ahora á la superficie, para avergonzarnos.²²

Fact 9. In 1897-1898 Felipe Pedrell publishes Teatro Lírico Español, where José Marín maintains a prominent presence and the LTJM from BNE is fully described

Date: 1897 and 1898

In 1897 Felipe Pedrell published the 3^rd volume of his Teatro Lirico Español anterior al siglo XIX²³. This volume includes in section III the description of the four manuscripts Pedrell used as sources for Vol III and the upcoming vol IV:

Todas las composiciones publicadas en este volumen y las que publicaré en el siguiente proceden de tres libros manuscritos que pertenecieron á Barbieri, y de un legajo que Gallardo […] calificó de tonadillas.

The “Tonadillas legajo” (unbinded bundle of papers) is described by Pedrell as:

un legajo que Gallardo (Ensayo de una biblioteca de libros raros y curiosos, tomo lí, apéndice, pag. 74) calificó de tonadillas. No toda la música de este legajo es de Hidalgo (tonadas, duos, y música de comedias y zarzuelas) sino de otros autores, profanos y religiosos, como Patiño, Garay, Torre (Jerónimo de la) Marin etc.

This bundle, was listed in the unofficial BNE manuscript catalog from 1862 under three different entries, all of them with the old BNE shelfmark Aa, 211:

• Torre (Jerónimo de la): Tonadillas y letrillas sacras, puestas en música.
• Patiño (Carlos): Tonadillas y letrillas en música
• MÚSICA [6th entry]: Colección de tonadillas y letrillas , puestas en música por diferentes maestros.

At some point, the bundle was separated into individual folders that were assigned new shelfmarks under the root one MC/3880.

Book #1 is described by Pedrell as:

Libro manuscrito de música, pautado á mano, en folio de 255 hojas que perteneció a
la Biblioteca de D. Pascual Gayangos y este regaló á Barbieri.
Encuadernado en pasta moderna española, el volumen ostenta en el lomo el título de Mú-
sica Antigua.

It corresponds to Barbieri’s library manuscript with shelfmark A-6ª-23 titled as “Música Antigua” in 1894 inventory. Like all the manuscripts from Barbieri’s collection it was still uncatalogued by BNE when Pedrell consulted it and didn’t have a modern shelfmark. This manuscript is nowadays commonly referred as “Manuscrito Gayangos-Barbieri” and the current BNE shelfmark is E-Mn M/13622²⁴.

Book #2 is described by Pedrell as:

Libro de tonos humanos en fol. grande manuscrito en partitura de música de atril, hecho

«En Madrid á 3 | de Septiembre de 1655 años (por) Diego P. Barro | capón. Ay en esta tabla (la que precede á esta inscripción) ducientos y quatro tonos | . Ay otra tabla | á lo ultimo | deste libro.

Llega la primera tabla ó índice liasta el número 234. Al fin del libro, escribe el amanuense:

Tabla de otros tonos (en número de dieciseis). Tiene este libro 222 tonos. Acabóse á 3 de Febrero año 1636.

It corresponds to Barbieri’s library manuscript with shelfmark G-1ª-23 titled as “Libro de tonos humanos (M.S. con 222 tonos) 1656” in the 1894 inventory. Like all the manuscripts from Barbieri’s collection it was still uncatalogued by BNE when Pedrell consulted it and didn’t have a modern shelfmark. The current one is E-Mn M/1262²⁵.

Finally book #3 is describred by Pedrell as:

Libro manuscrito regalado á Barbieri por el Sr. D. Francisco Uhagón en Madrid, Mayo de 1884. Dice la portada:

Este libro es de D. Miguel Martin músico de Su Magestad en el qual se incluyen Los tonos siguientes escritos por Fray Martin García de Olagae (1), religioso de la Santa Trinidad y horganista insigne de dicho Convento y compuestos por Don Joseph Marín.

Sigue la Tabla de los primeros versos de los Tonos ó Pasacalles como los titula el que hizo el manuscrito. Según dicha Tabla ios Tonos contenidos en el libro son 50. (Al fin) Finis corona opus. Scriptum est ab Antonio de Epile.

Forma el libro un vol. en 4." muy bien escrito de 110 hojas numeradas por una cara.

Los Tonos están escritos sobre un pautado ordinario y en claves de Sol ó de Do, y debajo de la línea destinada al canto á una sola voz un acompañamiento de guitarra cifrado como de ordinario. La guitarra es de cinco órdenes afinada, arbitrariamente, según la tessitura de la voz, en — re— sol — si — mi, re — sol — si— mi— la, re — sol — do— mi— la, sol— do—fa— la — re etc.

Dos Pasacalles de esta colección inserto en el presente volumen. He descifrado el acompañamiento de guitarra dejándolo en la tessitura escrita convencional. El lector recordará perfectamente que el efecto real de la nota escrita para este género de instrumentos corresponde á la de la octava inferior.

It corresponds to Barbieri’s library manuscript with shelfmark G-6ª-1 titled as “Marin (D. Joseph). M.S. en 8º letra de fines del siglo XVII que contiene tonos o passacalles” in the 1894 inventory. Like all the manuscripts from Barbieri’s collection it was still uncatalogued by BNE and didn’t have a modern shelfmark. Now this manuscript is missing from BNE.

Pedrell’s Teatro Lírico Vol. III includes Jose Marín’s biography in pages XXVII and XXVIII, the longest of all the biographies included. He also explains that after finding Marin’s Así Moriré in one of the manuscripts he was captivated by it in such a way that he started to look for more of that genius and modern composer, finding finally the LTJM:

[…] El mérito extraordinario de la tonada á solo Así moriré (2), que hallé en uno de los volúmenes manuscritos de que hablo en otra parte, avivó mi curiosidad. Dime á buscar composiciones de un músico que se revelaba tan genial y tan adelantado á su época, y hallé toda una colección de composiciones suyas con acompañamiento de guitarra (1) y no pocas en papelas sueltas y manuscritos (2).

In vol III Pedrell fully transcribed three works by Marín:

• Así moriré (page 46), transcribed from “Manuscrito Gayangos-Barbieri” f. 43²⁶.
• Diz que era como una nieve Marica (page 47) transcribed from the LTJM f. 11²⁷
• Aquella Sierra Nevada (page 48) transcribed from the LTJM f. 4v²⁸.

In vol IV Pedrell fully transcribed nine works by Marín:

• Del silencio de mis penas (page 46) transcribed either from “Tonadillas legajo” or from an unmentioned and unknown source²⁹
• Desengañemonos ya (page 70) transcribed from LTJM f. 1³⁰
• Amante ausente (page 71) transcribed from LTJM f. 3³¹
• Qué bien canta un ruiseñor (page 72) transcribed from LTJM f. 25³²
• Mi señora Mariantaños (page 74) transcribed from LTJM f. 24³³
• Ahora que estáis dormida (page 75) transcribed from LTJM f. 52³⁴
• No piense Menguilla (page 75) transcribed from LTJM f. 9³⁵
• Corazón que en prisión (page 76) transcribed from LTJM f. 17³⁶
• Ya no puedo más, señora (page 77) transcribed from LTJM f. 37³⁷

In summary, José Marín (and LTJM) presence in Pedrell’s Teatro Lírico³⁸ are prominently featured: 12 works transcribed, spanning 13 pages (second only after Hidalgo), 109 lines devoted to his biography (five times more than the lines for the second one, Durón) and the most praising words (“Agotaría los elogios si no contuvieran mi pluma”, “llamado […] a ser conocido dentro y fuera de España por su rara habilidad en la composición”, “mérito extraordinario”, “genial”, “tan adelantado á su época”, “composiciones tan adelantadas”, “inspiradamente popular”, “deliciosos Pasacalles”, “el archifamoso Marín el músico de pelo en pecho de quien tanto he hablado”, “tiernisima melodía”, “de sentimiento tan intenso y profundo”, “uno de los mejores de su siglo”, “preciosos Pasacalles”).

Fact 10. In 1903, Felipe Pedrell publishes a thorough paper on Spanish theatrical music from 17^th century in a top tier international musical journal.

Date: 1903

Felipe Pedrell’s long article (44 pages), written in French, is published in the volume 5 of the Sammelbände der Internationalen Musikgesellschaft under the title of “La Musique indigène dans le théâtre espagnol du XVIIe siècle”³⁹.

The article includes 17 musical examples⁴⁰. None of the composers selected by Pedrell have more than one work inclued, except José Marín that gets three:

• Así moriré (same transcription from Teatro Lírico vol. III)
• Dizque era como una nieve (same transcription from Teatro Lírico vol. III)
• Aquella Sierra Nevada (same transcription from Teatro Lírico vol. III)

3. International widespread publication describes the LTJM

Fact 11. A reference and influential French encyclopedia published between 1914 and 1920 describes BNE’s the LTJM

Date: 1914-1920

The Encyclopédie de la musique et dictionnaire du Conservatoire was published in France in weekly instalments starting in 1913. Fascicle 60 and following comprise La Musique en Espagne written by Rafael Mitjana. Mitjana’s more than 400 pages were later compiled (with the addition of two small articles and a section about Portugal) in the volume IV of the Encyclopédie published in 1920⁴¹. With several re-editions, this encyclopedia remained as one of the reference works in the area influential during the first half of 20^th century.

In the chapter about 17th century Spanish music Mitjana writes extensively about José Marin works and describes the LTJM as part of the BNE collection:

National Library in Madrid holds a manuscript volume in quarto sheet from Barbieri’s collection which has the following inscription:

“Este libro es de D. Miguel Martin músico de Su Magestad en el qual se incluyen los tonos siguientes escritos par Fray Martin Garcia de Olague religioso de la Sanctissima Trinidad y horganista insigne de dicho Conbento (sic) y compuestos por Don Joseph Marin.”

As at the end of the volume it is declared scriptum est ab Antonio de Epila, we believe that the indication must mean that the poems of the tonos were written by the organist Garcia de Olague, who in 1695, held the organ in the cathedral of Cuenca. This collection includes 50 Tonos and Pasacalles accompanied by the guitar⁴².

Gerardo Arriaga, on his recapitulation of publications including Marin’s works, considers Encyclopédie publication as valuable news informing the LTJM is in 1920 still at BNE⁴³. However considerations need to be made about this.

Even if Encyclopédie vol. IV was published in 1920, Mitjana worked on the text between 1909 and 1914 and signed it as “R. MITJANA. 1914.”⁴⁴ so, in any case, the information about the presence of “Libro de Tonos de Joseph Marín at BNE could only be dated between the 1909-1914.

The large experience and passion investigating in libraries around the world on Rafael Mitjana’s record⁴⁵ should be enough for anyone to assume from Mitjana words “National Library in Madrid holds a manuscript […]” that he inspected the manuscripts in person. However, this artcle is written on the basis of checking and verifying every single fact presented on it. For that reason, and considering that all information about the LTJM published by Mitjana could have been gathered from Pedrell’s published works the concordance of Mitjana’s descriptions and listings with those by Pedrell, including the replication of mistakes on names and attributions made by Pedrell⁴⁶, we cannot take Mitjana’s La Musique en Espagne as a proof of the LTJM remaining at BNE any time in between 1909 and 1914. It is, however, an undeniable fact that with this publication the description reached a wide international audience.

4. JBT awareness of José Marín works and the LTJM manuscript

Fact 12. In 1920-1921 JBT was more than aware of Felipe Pedrell’s Spanish early music publications that included works by José Marín and a detailed description of the LTJM.

Date: 1920-1921

On 3rd December 1920, JBT sent a letter to Felipe Pedrell.

From this letter we know that:

1. JBT wrote a review for The Times of Felipe Pedrell’s Cancionero Musical Popular Español⁴⁷.
2. JBT had a knowledge about Pedrell’s Spanish early music writings deep enough to allow him evaluating British musical world’s interest on them⁴⁸.

Later, on 24^th March 1921 Trend sent another letter to Felipe Pedrell. In this letter, he mentions previous communications, indicating a continuous flow of personal communication with Pedrell. From this letter we know that Trend worked as an intermediary in prospective tasks with British editors for the publication of Pedrell essays⁴⁹.

Fact 13. In 1921 JBT published a book showing scholar knowledge of Felipe Pedrell’s Teatro Lírico

Date: 1921

In his book, “A picture of modern Spain”, published in 1921, Trend referenced several times Pedrell’s works, including “Teatro Lírico Español”, where the LTJM is described several times as part of the Barbieri legacy at BNE⁵⁰.

The book also includes, from page 202 to page 212, a Bibliographical guide to Spanish secular music with 214 entries. The two authors with more entries in the guide are Felipe Pedrell (25 publications, including Teatro Lírico and Cancionero Popular) and Rafael Mitjana (7 publications, including La musique en Espagne).

Fact 14. In 1926 JBT published a book quoting multiple times Felipe Pedrell early music publications and Rafael Mitjana’s La Musique en Espagne (a work where the LTJM is extensivele described, including it’s location at BNE)

Date: 1926

In in book from 1926 “The music of Spanish History to 1600”, Trend references twice Mitjana’s La Musique en Espagne, a work were the LTJM is described as part of the BNE collection.

In fact, Trends mentions Mitjana 19 time on his book. The second most referenced scholar only after Felipe Pedrell (24 times)⁵¹.

5. JBT hands on with the music manuscripts at BNE

Fact 15. JBT had privileged access to most relevant and restricted music collections in Spain

Dates: 1919-1928

Between 1919 and 1928 Trend spent large periods of time in Spain transcribing musical manuscripts from libraries in different cities including Madrid, Barcelona, Ávila, Granada, Seville, Toledo, El Escorial, etc…. Those transcriptions were bound in 8 volumes that are now at Fitzwilliam Museum.

Since his first visit to El Escorial library in 1919 Trend learned his way to get privileged access to these musical manuscripts: getting a recommendation letter from Manuel de Falla⁵². He repeated the process for many other libraries⁵³ and became an expert in locating and accessing the most restricted manuscripts anywhere in Spain.

On Trend’s obituary published in The Cambridge Review on 31st May 1958, after the main text written by Helen Grant, Charles Cudworth (librarian at the Pendlebury music library) and Roberto Gerhard⁵⁴ added some lines about Trend including these words describing Trend’s relationship with music manuscripts “hunting”:

In his zeal to seek out original texts he visited many remote Iberian libraries, and often his natural charm succeeded in opening many a stubborn library door, sometimes where not even Spanish scholars had managed to effect an entrance. He took an almost juvenile delight in this, like a naughty boy who has scaled a neighbour’s wall and managed to get away with some choice apples and he used to recount with a chuckle how the nuns at one remote convent always called him “Don Juan Inglés”, but nevertheless still allowed him to copy their precious manuscripts.⁵⁵

Su encanto natural le abrió muchas puertas en bibliotecas a las que a veces ni siquiera los investigadores españoles habían logrado entrar. Disfrutaba con ello casi como un adolescente, como un niño travieso después de trepar por el muro del vecino y conseguir llevarse algunas manzanas escogidas; y solía contar entre risas cómo las monjas de un remoto convento siempre le llamaban «el don Juan inglés», y aun así le permitían copiar sus preciados manuscritos.

On his visits to those libraries and archives Trend transcribed a great amount of Spanish secular vocal music⁵⁶.

Fact 16. Between 1920 and 1927 JBT visited BNE several times to copy Spanish early music works following the manuscript sources used and described by Pedrell in his Teatro Lirico

Date: 1920-1927

A considerable amount of the Trend’s music transcriptions collected during his visits to Spain were made from BNE music manuscripts collection. Three out of the eight volumes he compiled, those with current shelf-marks GB-Cfm MU.MS.719, GB-Cfm MU.MS.720 and GB-Cfm MU.MS.721, contain Trend’s transcriptions made at BNE España⁵⁷.

A small detail in the list of compositions transcribed by Trend reveals that he followed Pedrell’s Teatro Lirico as an index to find the corresponding source manuscripts at BNE:

• From Pedrell Teatro Lírico he found “Libro de Tonos Humanos” at BNE and transcribed 4 works from it.
• From Pedrell Teatro Lírico he found the “Tonadillas legajo” at BNE and transcribed 27 works from it
• From Pedrell Teatro Lírico he found the “Romances y letras a tres vozes” volumes at BNE and transcribed 25 works from it.
• From Pedrell Teatro Lírico he couldn’t find the “Musical Antigua” manuscript (“Gayangos-Barbieri”) because it was lost inside the own BNE until 1989 “rediscovery” by Carmelo Caballero⁵⁸. That’s why Trend copied José Peyró’s “Ay misero de ti” from Pedrell’s Teatro lírico vol. 3⁵⁹, the only transcription in the set that is not from the an original source.

Fact 17. In 1923 JBT copied one of José Marín works from one of the manuscripts described by Pedrell

Data: 1923

One of the transcriptions made in 1923 by JBT at BNE included on the volume held at Fitzwilliam Museum with shelf-mark MU.MS.719, in folios f.1v, f.2r and f.2v, is José Marín Duo “Aquella sierra nevada”⁶⁰. He transcribed it from BNE “Tonadillas Legajo” now in a separate file with shelf-mark MC/3881/33⁶¹.

Fact 18. By 1927, JBT was quite familiar with the music manuscripts collections at BNE

By examining the transcription work that JBT did at BNE (see Appendix II) we can learn that Trend had to spend, at least, several weeks at BNE to copy those works. Also, the specificity of the works copied, (mostly tonos related to theatrical works and solo songs with a preponderance of those with text by Spanish Golden Age big names as Calderón and Lope de Vega) and the range of different manuscript sources he used reveal that he knew the music section of the library from top to bottom, even those not yet catalogued.

JBT was also the author of the Spain section in article “Libraries and Collections of Music” included in the 3rd edition of Grove’s Dictionary of Music and Musicians⁶². He includes information based on its own experience as the “Introduction advisable” he indicates for El Escorial library (see Fact 15) and gives good account of BNE specificities ("The music is in the ‘Sección de Bellas Artes’; but tablatures are under ‘Raros.’”) and operational issues (“catalogue not accessible.”).

Fact 19. In 1927 JBT wrote Grove’s Dictionary of Music and Musicians entry for José Marín where he reveals his explicit knowledge about the LTJM, the location of his manuscripts at BNE and an informed personal opinion about Marin music

Date: 1927

In the Grove’s Dictionary of Music and Musicians 3^rd edition published in 1927 the José Marín entry is written by J.B. Trend⁶³. The article shows a good knowledge of José Marín biography. It also mentions the examples published by Pedrell and the known location of his manuscripts (“his MSS. Are preserved in the Blibl. Nac., Madrid[…]”). The reference to the manuscript in Biblioteca Marciana was taken from Rafael Mitjana’s La Histoire de la Musique.

In the Grove article Trend describes Marin’s songs as having “continuo or with accompaniment definitely written for the guitar”. As the only source of Marin songs with guitar accompaniment is the LTJM manuscript and all published references at the time to this guitar accompaniment (Pedrell, Teatro Lírico and Mitjana Histoire) were as part of the description of the LTJM there is no doubt that when Trend wrote this article he was quite aware of the existence of the LTJM, its description, its contents and its location.

The section “Spain and the Basque Country” included in the entry for “Song”⁶⁴, also written by Trend, mentions the existence of a manuscript with the surviving works of Marin for bass or guitar (as opposed to those written with figured bass), again showing good knowledge of the existence of the LTJM and the works included in it.

In both articles Trend goes beyond the descriptive mention of Marin works with guitar accompaniment and he also includes his own artistic consideration about the quality of these compositions: “[…] have something approaching the quality of Purcell” and “show a considerable and original talent”.

The 168 biographical articles written by JBT for the 3rd edition of the Grove’s Dictionary of Music and Musicians⁶⁵ are mostly written in a descriptive indirect style are rarely show any personal opinions. In those articles there are very few examples of personal appreciations about the quality of a composer like the entry for Francisco Guerrerro ("His writing is always suave and often beautiful but it leaves on the mind the effect of an exercise in counterpoint"). In this context, Trend’s words in the article about Marín “His songs, with continuo, or with accompaniment definitely written for the guitar, have something approaching the quality of Purcell” show that Marín was regarded by Trend as one of the best and he was very fond of him.

6. The LTJM was stolen from BNE

Fact 20. At an unknown date before 22th February 1928 the LTJM was stolen from BNE

The music manuscript collection at BNE was not fully inventoried until in the 1920s years. Therefore there is no missing report recording the disappearance of the LTJM.

However the fact that the manuscript was stolen is undeniably inferred by the subsequent facts that shows it on sale by a foreign private company. The rules of BNE didn’t allow the sale of this kind of unique manuscript or it being used as part of an exchange with another institution.

Fact 21. Music manuscripts are not a common target in libraries thefts

Musical manuscripts are not present on the list of the list of stolen books and manuscripts from Biblioteca Real in 1905: only one music printed book from a total of 51 printed books and 6 manuscripts⁶⁶.

All known thefts after 1900 from BNE, have consisted of incunabula books, engravings, drawings or maps. The only music manuscript theft would have been the LTJM. This can be attributed to the fact that incunabula books and engravings can be more easily sold in the regular market (and exchanged for other copies to avoid tracking) compared to an unique manuscript⁶⁷. On the other hand drawings and maps are a more common target because when they are inserted on larger volumes they are more easy to steal⁶⁸. Finally, if a manuscript had to be stolen, there were many more valuable manuscripts at BNE to be chosen as a target.

7. JBT acquisition of the LTJM from Maggs Bros.

Fact 22. According to an invoice hold at Fitzwilliam Museum of Cambridge, JBT acquired the LTJM manuscript from Maggs Bros. in London on 22 February 1928 for less than the equivalent in 2024 of 341€

The invoice of Trend’s acquisition of the LTJM has been obtained from Cambridge University after a Freedom of Information (FOI) request make on 26 July 2024 under the terms of UK Freedom of Information Act (FOIA). The request was handled by the University of Cambridge under the reference FOI-2024-666 and responded on 15th August 2024. The information included on the response is enumerated on Appendix IV.

The documentation attached to the response was delivered with the notice “attached documentation should not be copied, reproduced or used except in accordance with the law of copyright”. According to Spanish copyright law (the jurisdiction this article is published under) a purchase receipt does not fall into the category of a creative work (Ley de Propiedad Intelectual, article 10) and is not covered by copyright protection and therefore can be reproduced here:

The invoice is issued on 22nd February 1928 by Maggs Bros. in London to “J. B. Trend, Esq.”. The “Esq.” after the name is the abbreviation for esquire, that in the UK, was a title added after the name on envelopes and official documents.

In the invoice the LTJM is described as “MUSIC MANUSCRIPT / 8vo. [=octavo] old calf. [=old calligraphy] / N.P. [=No place] circa, 1695.”. The book was purchased along with a copy of Julian de Chia’s La Música en Gerona published in 1886.

There is also an official record paper with number #1512 recording the transaction on account of Maggs Bros. The record is stamped with a 2 penny stamp (a requirement for official records as per the UK Stamp Act 1891) but shows a date different from the one in the purchase invoice: “23 Feb 1928”

8. Critical Deduction: JBT acquired the LTJM from Maggs Bros. with the full knowledge that it was a manuscript stolen from BNE

By 1927 JBT knew thoroughly Pedrell publications (Fact 12, Fact 13, Fact 14, Fact 16) that described thoroughly the LTJM including the full list of its contents (Fact 9).

By 1927 JBT knew thoroughly Rafael Mitjana’s La Musique en Espagne (Fact 16) that described thoroughly the LTJM as part of the collection at BNE (Fact 11)

By 1927 JBT knew well José Marín music with guitar accompaniment present at the LTJM (Fact 19)

Any educated university professor with a minimum knowledge of BNE, as JBT was (Fact 16, Fact 17 and Fact 18), would have known that by its mission and principles, BNE would have never sold (or exchanged with another library) a unique rare manuscript from a Spanish composer and it could have only reached the market after having been stolen.

In 1928 JBT purchased the LTJM (Fact 21)

Therefore, when JBT acquired the LTJM, in 1928, he knew it was a stolen manuscript from BNE. By acquiring the manuscript in such circumstances he committed a criminal offence⁶⁹.

Part B: Evidence of Coordinated Acquisition: Beyond Coincidence

Introduction

Building upon the established illegality of Trend’s acquisition, this second part examines additional documented anomalies surrounding the acquisition of the LTJM by JBT. While each irregularity might be individually attributed to coincidence, their cumulative pattern suggests a more systematic explanation. This section analyses these contextual factors, including the unusual commercial circumstances of the sale and Trend’s subsequent behavior when questioned about the manuscript’s provenance. This factual analysis conducts to the formulation of the only logical hypothesis that could be considered as a plausible explanation for this pattern of anomalies: the involvement of JBT in the disappearance of the LTJM from the BNE and the later simulation of a sale in collaboration with Maggs Bros.

1. Red flags about the sale of the manuscript

Fact 23. The election of an antiquarian in London to sell a Spanish music manuscript as the LTJM did not follow any market logic

The fact that the LTJM thief, a proxy person or any subsequent owner, chose to sell it at London is an strange choice and hard to explain by any profit maximalism rule.

At the time of the sale, there was not a significant market for Spanish early music manuscripts in the United Kingdom. Most of the recorded sales of old Spanish music manuscript took place in Germany by German music antiquarians. For example, the Stuttgart based antiquarian Friederich Liesching travelled Spain during the 1840s buying music manuscripts that he later sold to the Bavarian State Library. Later, the Leipzig antiquarian Karl Hiersemann acquired the Olmedo music manuscripts and sold them to Hispanic Society of America’s founder⁷⁰ (and kept publishing catalogues for Spanish related books and manuscripts⁷¹). The antiquarian music business in Germany was backed by scholar interest about tonos and villancicos⁷². Therefore, selling the LTJM to an bookseller in London it is a rare choice for a thief that is only after maximizing the benefit from his heist.

Fact 24. The price paid by JBT for the acquisition of the LTJM from Maggs Bros. Ltd. was unusually low for a manuscript like that.

The total amount paid for both items was 5.5 GBP. The Bank of England calculation⁷³for “What would goods and services costing 5.5 GBP in 1928 cost in 2024” gives a result of 289.41 GBP, approximately 341€ at the time of this writing.

There are no equivalent items to the LTJM (music, manuscript, from Spain, unica, 17th century) sold during the 1920s decade by Maggs Bros to do a direct price comparison. Similarly there are not enough items that match partially the defined characterization to build a dataset that could produce reliable results from statistical analysis.

As the closest approximation we can consider the set of books that are:

• either printed or manuscript
• from Spain
• containing music or about music
• written in the 16th, 17th or 18th century

The list of the items matching those requirements from Maggs Bros. catalogue #495 from 1927⁷⁴

cat. num.	author and title	price
87	Bermudo, Juan: declaracion de instrumentos. 1555	150
170	Cerone, Pedro: El Melopeo y Maestro. 1613	165
221	Cervera, Juan: Arte y summa de canto llano. 1595	35
369	Fernandez de Huete: Zifras armonicas para Harpa. 1704	12
392	Fuenllana, Miguel: Orphenica Lyra. 1554	350
437	Guerrero, Francisco: Sacrae cantiones 4 and 5 voices. 1555	75
630	Monserrate, Andres de: Arte breve […] del canto llano. 1614	25
922	Salinbas, Francisco. De musica libri septem. 1577	105
950	Santa Maria, Fray Thomas de. Arte de tañer Fantasía. 1565	75
988	Soler, Antonio: Llave de la modulación. 1762	6
1013	Tapia, Martin de: Vergel de Musica Spiritual. 1570	52
1029	Torres, Melchior de: Arte ingeniosa de musica. 1566	48
1039	Ulloa, Pedro de: Musica universal. 1717	7

The arithmetic mean for this set is 85 GBP and the median is 52 GBP. Both, one order of magnitude above the price paid the following year for the LTJM.

Fact 25. Maggs Bros. advertisement and sales documentation from the time reveal that their usual procedures conducted for every item on sale were more than enough to reveal the stolen provenance of the LTJM

By carefully looking at how Maggs Bros. advertised the music related books on their sale catalogues we can learn about their modus operandi, the references they used, and the depth of investigations they carried out.

From the catalogue dedicated to musical items from 1926, No. 476, by looking at entry #51⁷⁵ we learn that:

1. They went through the entire Francisco Guerrero biography in “Critical and bibliographical notes on early Spanish Music” by Julián Riaño and concluded that the book work was not recorded there.
2. They checked the collection of printed music that the British Museum (collection now held at the British Library).
3. They consulted Felipe Pedrell’s Hispaniae schola musica sacra Guerrero’s volume (published in 1894 by Breitkopf & Härtel)
4. They checked Library of the Congress Catalogue of Music
5. They checked Guerrero’s article in the Grove (the 2nd edition)

Similarly they checked the Grove’s article for other entries (Galliculus, Claudin Le Jeune, Martini, Palestrina, Davide Perez or George Rhau). Other interesting points are comments for Processionarum ordinis fratrum praedicatorum which include: “The only copy known in Spain is in the National Library, Madrid” revealing that they have information available about the collections held in libraries.

Moving to the next Maggs Bros. catalogue dedicated to music, No. 512 from 1928⁷⁶, the same year of the acquisition of the LTJM, the content confirms that they were already using the latest edition from the Grove, the third, published in 1927.

Even more, Maggs Bros. quoted the 3rd edition of the Grove for a total of 40 entries⁷⁷, making it the most referenced work in the entire catalogue. For the 170 pre-19th century works included in the catalogue it was referenced in 38 of them.

We have only written record of Maggs Bros. usage of the Grove’s 3rd edition as first hand consultation work for early music affairs starting from mid-1928. However, taking into account that it was published one year earlier and that by mid 1928 Maggs Bros. were already selling it as “The last and best” it is the most likely scenario that in February 1928 the Grove was part of the house toolkit. So when they put their hand on the LTJM and saw the names written on the front page, by looking them up in the Grove they would have learned about José Marín, and about the last known location of his guitar manuscript at BNE.

Fact 26. JBT, someone who never purchased music manuscripts, found, next to home, the manuscript of his life.

JBT was not comparable to a manuscript collector, a bibliophile or even a casual old books buyer. Other that the LTJM he only owned a few manuscripts with music composed by one of his direct ancestors. His printed music collection, bequeathed to the Fitzwilliam museum, was rejected after being considered “of the slightest financial value”.

When JBT visited in February 1928, right after his last visit to Spain, a conveniently close-to-home antiquarian he found not only an unique manuscript that he already knew but also one by a composer that was on the top of his personal preferences. And that manuscript, that was also Felipe Pedrell’s favourite songbook, was being sold at a bargain price: only a few shillings more than the price Maggs Bros. were asking for Felipe Pedrell’s own Catàlech⁷⁸

To crown this remarkable series of coincidences: when JBT walked through Maggs Bros.’ door to discover the LTJM, he was the very same person who had authored the Grove article that Maggs Bros. employees had likely consulted while researching the manuscript they were preparing to sell.

Fact 27. The time from acquisition of the LTJM by Maggs Bros. and its sale to JBT was unusually short

The timeline of the acquisition and sale of the LTJM was rare for Maggs Bros. standards. Cross referencing the music books on sale in 1927 with the catalogue #512 from 1928⁷⁹ we find that:

• Melchior de Torres: Arte ingeniosa de musica
• Francisco Salinas: De musica libri septem
• Pedro Cerone: El Melopeo y Maestro
• Andres de Monserrate: Arte breve de las dificultades […] del canto llano
• Fernandez de Huete: Zifras armonicas para Harpa
• Antonio Soler: Llave de la modulación

remained unsold from a period of almost two years⁸⁰. However, the LTJM found a buyer so fast that Maggs Bros. didn’t even have time to include it on their sales catalogues.

Fact 28. Maggs Bros. Ltd. has failed to answer legit concerns raised about the provenance of the LTJM

Dates: 1970-2024

John E. Varey and N. D. Shergold, for their edition of Los Celos hacen Estrellas in 1970*⁸¹, looked for the manuscripts at BNE mentioned by Pedrell on his Teatro Lírico.

About the LTJM they noticed that it was not at BNE anymore but at Fitzwilliam Museum. and add a note about their failed effort to get any information from Maggs Bros. about how the manuscript could have arrived in London:

Debemos agradecer aquí a nuestro amigo Sr, D, John Maggs, de la casa
de Maggs Brothers, el haber tentado de establecer, desafortunadamente
la manera cómo el manuscrito pudo haber llegado a Londres.

In 1997, Alicia Lázaro stated on her edition of José Marín “51 Tonos for voice & guitar”⁸²

We lose track of the Spanish manuscript until about 1928. On 22 February of that year, J.B. Trend purchased the manuscript at Maggs Brothers in London. Maggs Brothers had not been able to establish how the manuscript had reached England.

For this article, Magg Bros. were contacted on 1st Aug 2024, trying to get confirmation of the transaction sale of the LTJM and any information they could have about the provenance of the manuscript. The two asked questions were:

1. Do you acknowledge the commercial transaction claimed by JBT in the form of an invoice corresponding to a purchase from Maggs Bros. London of the manuscript referred at [1] and “La música en Gerona” for a total price of £5,50 on the date of 22nd February 1928?

2. If you acknowledge such a transaction: what information did you have about the provenance of the manuscript referred at [1]?

[1]: Libro de Tonos de José Marín, now at Fitzwilliam Museum. See https://idiscover.lib.cam.ac.uk/permalink/f/t9gok8/44CAM_ALMA71400963160003606

Maggs Bros. Ltd. refused to answer both of these questions.

2. Enquiries to JBT about the LTJM provenance

Fact 29. While living at Residencia de Estudiantes in Madrid between 1925 and 1933, Jesús Bal y Gay got acquainted with JBT and started working together on an edition Lope de Vega songs

In 1925 Jesús Bal y Gay was accepted as a student at Residencia de Estudiantes. During his formative years at Residencia he met other students as Adolfo Salazar, Federico García Lorca or Rafael Alberti and got acquainted with Residencia’s visiting scholars as JBT.

On 14th April 1933, El Sol newspaper published an special issue celebrating the two year anniversary of Spain’s Second Republic. That issue inluded an article by Bal’s friend, Adolfo Salazar, announcing the collaboration between Jesús Bal y Gay and JBT on a new edition of Cancionero de Palacio (known as “Cancionero de Barbieri” by that time)⁸³. But, either they article was wrong (it is written assuming that “JB Trend” are two people) or the authors quickly changed the project into editing a collection of songs based on Lope de Vega’s poems that would be part of 1935 celebrations around Lope de Vega anniversary.

Fact 30. When JBT shared a transcription from the LTJM he got enquired about its provenance

On the 2nd October 1933 JBT sent a letter to Jesús Bal y Gay⁸⁴ with the news of his recent election as “catedrático de Español” at Cambridge University. That position would not allow Trend any time to work on the songs and he asks Bal to carry on with the project on his own doing whatever he wants with the transcriptions already made by Trend. At this stage the project doesn’t have editor.

Those transcriptions made by JBT for the Lope de Vega edition are indeed easily spotted in the Bal’s collection of manuscripts related to this edition⁸⁵. The clean rounded handwritten of Trend, the musical papers with a sailing ship on the left bottom corner and the detailed transcription of all the features included on the original sources allow us to recognize the following songs as Trend’s transcriptions:

• Al son de los arroyuelos / (Lope de Vega). / JOSEPH MARIN. / (MS.)
• Molinillo que mueles amores. / (Lope de Vega: “San Isidro Labrador de Madrid”) / Juan del Vado [Annotation by Bal: Apéndice]
• VILLANCICO / Pedro Rimonte / DUO. / Madre, la mi madre […] / Bibl. Christ Church, Oxford [Annotation by Bal: Subir un semitono / A / B / C / D / E / F / G / FIN ]
• [without title] COPLA / Como es el amor / DUO / Parnaso español | de Madrigales, y Villancicos | a quatro, cinco et seys | compuesto por Pedro Rimonte, Maestro de Musicas de la | Camera de los ser.mos Principes Alberto y Doña Isabel Clara Eugenia | Archiduques de Austria. / En Amberes: en casa de Pedro Phalesio al Rey David. MDXIV. / (Bibl. Christ Church Oxford)
• En dos partes del cielo / Company
• Por la puenta, Juana (Lope de Vega) / Laserna / Acto 3º … de la Barca / Si no acavado de pasar la mientras esta musica se repetira otra vez con ritornelo. / Biblioteca Municipal, MS.

Bal y Gay worked over Trend’s transcriptions (copying several updated versions). As he was aware of Mitjana writings describing some of the sources used by Trend for his transcriptions, including the LTJM and its last know location at BNE he asked Trend about the sources of two of his transcriptions⁸⁶.

Fact 31. JBT hid the truth when answering the enquires about the LTJM provenance

After Bal y Gay’s enquires, Trend probably understood that Bal was connecting “his” Marín manuscript with the Marín manuscript described by Pedrell and Mitjana. He replied on the 23rd October 1934⁸⁷ with an evasive letter that hid the truth, including false dates and avoided giving any specific details about the manuscript:

23rd October, 1934

My dear Bal,

I was very glad to hear that you and Rosita are well, after so much “paqueo”.
The photos of “Susana” are taken from the Gesamtusgabe edited by Sandberger, but the MS. of Marín is mine: I bought it from Maggs in about 1927⁸⁸ in London. As it is still in London in my rooms there, I cannot give you the exact title now; but it is a collection of songs by Marín, with tablatura (cifra) for guitar. “Al son de los arroyuelos” is the only on of which I have been able to identify the author of the words.

Hoping to see you both in Madrid in December,
     I am,
               Yours very sincerely,

                         [signed JB Trend]

From that moment on, JBT didn’t share anything else related to the LTJM. It is not until JBT’s death that scholars and musicians got any further notice about the LTJM. For many extra years most of its content remained unpublished.

With that response from Trend, Jesús Bal y Gay was extremely honest regarding the information he had, hiding nothing, assuming nothing, and on the edition of “Treinta canciones de Lope de Vega” published finally by the Residencia de Estudiantes 1935 he wrote:

Al son de los arroyuelos. La transcripción de este pasacalle ha sido hecha sobre una copia del original, amablemente facilitada por Mr. J. B. Trend, propietario del manuscrito de Marín. En éste consta solamente la primera estrofa; las restantes, que van entre corchetes, las hemos tomado de la edición de La Dorotea.

[…]

Libro de Tonos de Joseph Marín. Segunda mitad del siglo xvii. Según puede leerse en Mitjana (Encyclopédie de la Musique, de Lavignac, tomo dedicado a España y Portugal, página 2080), Barbieri poseía un volumen manuscrito que ostentaba la siguiente inscripción: «Este libro es de D. Miguel Martin musico de Su Magestad en el qual se incluyen los tonos siguientes escritos por Fray Martin García de Olague religioso de la Sanctissima Trinidad y horganista insigne de dicho Conbento y compuestos por Don Joseph Marín». La presente transcripción de Al son de los arroyuelos ha sido hecha sobre una copia del original adquirido en Londres por el profesor J. B. Trend el año 1927.

Bal y Gay said, without filling the last connecting dots, what Trend was trying to avoid. The book came out in April 1935⁸⁹.

Also in April 1935, JBT offered Bal a position as lecturer at Cambridge University⁹⁰. During 1938 and 1939, JBT played a critical role escorting Bal’s wife, Rosa García Ascot, to reunite with Bal in Mexico on a complicated journey from France avoiding German and British companies and any stop in Franco’s Spain⁹¹. In Mexico, Bal y Gay continued working on Spanish early music editing “Romances y villancicos españoles del siglo XVI” and the first modern edition of “Cancionero de Uppsala”. He never wrote again or transcribed any music by José Marín.

From this event and until the death of JBT there are no more traces or records about the LTJM.

3. JBT’s bequest to the Fitzwilliam Museum

Fact 32. JBT died on 20th April 1958, bequeathing the LTJM to Fitzwilliam Museum in Cambridge

The Times edition of April 21, 1958 published on page 10 the obituary of “DR. J.B. Trend”⁹².

On 12th May 1958, Frere, Chomeley & Nicholsons Solicitors (FCN Solicitors from now on), on behalf of the executors of JBT will, write a letter to Fitzwilliam museum curator, Carl Winter (CW from now on)⁹³, informing him of:

Professor Trend by his Will bequeathed by clause 3 thereof free of all Death Duties “Music printed and manuscript before 1800” to the Fitzwilliam Museum, Cambridge.

They also asked if they could meet on 15th May to collect the music.

Fact 33. The process for the incorporation of the LTJM into the Fitzwilliam Museum collection was not up to the level expected from an institution holding world treasures

On 15th May 1958, Fitzwilliam Museum director, CW, and Mr. Holder collected from Mr. Palmer the music bequeathed by JBT. After that, the director wrote a note⁹⁴ describing the manuscript music as:

“MS. Transcriptions made by Professor Trend from music MSS. In Spanish libraries, together with some photographs of MSS. The bulk of the material is unbound”

Then he adds that most of the material would better fit Pendebury Library rather than the Fitzwilliam museum, with the exception of a set of 8 small volumes bound in black cloth that would come to the scope of the Fitzwilliam Music collection. He, internally, asks about a ruling procedure to perform the redistribution of funds.

At this point, the director of the museum, had failed to recognize an original manuscript from 17th century.

On a surprising note dated on 16/5/1958 the director writes:

“Mr. Cudworth has prior brought in another volume of music which was found after we had taken the other material”.

Mr. Cudworth was the Pendlebury Librarian, so if was he one bringing back to the Fitzwilliam Museum any music from JBT bequeath, it means that the Fitzwilliam Museum, by 15/5/1958, had already transferred to the Pendlebury Library the parts of the bequeathed collection they were not interested in. This was done prior to museum syndicate meeting on 29/5/1958⁹⁵ that was the only entity with legal powers to accept, reject or transfer any part of the bequeath and also before the required authorization from JBT will executors for such transfer. In fact, it is in a letter written two weeks later when CW ask for such permission from the will executors for the transfer⁹⁶. That authorization was granted on 05/06/58⁹⁷

At the end of the note, the director adds his own description of the LTJM:

“It is a MS Spanish song-book compiled by Fray Miguel Martin, organist of the Cathedral of Cuenca in 1695, very neatly written, with the words of the songs in a very charming hand. This is unquestionably our sort of book and will be a valuable addition to the music collection”

After the Fitzwilliam museum syndicate accepted the bequeath of the LTJM on a meeting on 29/5/1958⁹⁸ the manuscript entered the collection and was recorded with the accession number MU-4-1958, ass seen written on label stuck to the book plate⁹⁹ that also includes the date “May 1958”. Attached to the book there is a piece of paper described in the FOI response by Cambridge University as “handwritten note on earlier provenance”¹⁰⁰. This note was transcribed by Rita Goldberg¹⁰¹ in the following way:

1. Don Joseph Martin y Banez (sic)  
2. Don Miguel Martin  
3. Don Francisco Vhagón who presented it in 1884 to  
4. Francisco A. Barbieri  
5. Maggs Bros.  
6. Bought by Professor J.B. Trend, 22 Feb 1928  

 

Joseph Marin, mentioned on f. iii, See Grove, vol. 5 p. 579:  
b. Madrid, 1619; d. Madrid, 17 Mar. 1699. Spanish tenor singer  
and composer. Mentioned by diarist as notorious highwayman.  
Songs with continuo or with accompaniment definitely written for guitar.

Goldberg doesn’t say it but she transcribed the two sides of the note, the six numbered lines from the front side and the rest from the back side. She also missed the grouping of first two lines by a curly bracket labelled “order?” and the “P.T.O.” indication at the end of the front side of the note. Despite this P.T.O. indication, meaning “Please, turn over” the University of Cambridge didn’t turn the note over to include the relevant back side of the note on their FOI request response. However, machine learning background removal and colour tweaking can generate a pretty accurate image of that back side of the note.

Comparing the generated reconstruction of the back side of the note with Goldberg’s transcription we can see that she also missed “(Article by J.B. Trend)”.

Finally Goldberg stated that the note was written by JBT, implying in the following paragraphs that Trend didn’t know anything about José Marín and that he didn’t know either Pedrell’s work where the book was described. However Goldberg was wrong and the note was not written by Trend for several reasons:

1. The back side of the note content is: “Joseph Marin, mentioned f. iii” + Reference to Marin’s article in the Grove + Some quotes from that article. That article was written by JBT just one year before he acquired the manuscript (see Fact 19). He would have not needed to write that down.
2. The reference to the Marin’s Grove article “See Grove, vol. 5 p. 579”, it is not the reference that someone would have written in 1928, as the available edition at that time, the 3rd, had Marin’s article at vol. 3 p. 324. The reference vol. 5 p. 579 is for the fifth edition of the Grove¹⁰²
3. The handwriting on the note doesn’t match the one by JBT

The handwriting on the note matches, indeed, the one in the book plate with the accession number. So the note was written by someone at the Fitzwilliam Museum who did not consult the basic bibliography available about Spanish 17th century music and just looked it up on the Grove. Either a very poor work for a provenance investigation or a deliberated “I don’t wanna know” behaviour.

There is one final chapter in the story of the LTJM incorporation to the Fitzwilliam Museum collection. On a letter dated 02/07/58 FCN Solicitors asked the Fitzwilliam Museum to fill a form required by the Estate Duty exception that JBT family wanted to claim. This exception allowed heirs to avoid paying taxes over the goods that were donated to museums. The form included a declaration of observance of the requirements listed in the section 48 of the Finance Act 1950 for objects of national, scientific, historic or artistic interest:

• (a)the objects will be kept permanently in the United Kingdom, and will not leave it temporarily except for a purpose and a period approved by the Treasury; and
• (b)reasonable steps will be taken for the preservation of the objects; and
• (c)reasonable facilities for examining the objects for the purpose of seeing the steps taken for their preservation, or for purposes of research, will be allowed to any person authorized by the Treasury so to examine them.

With those requirements, something you would expect from any museum to do by default, and just two fields remaining to be filled¹⁰³, Fitzwilliam director sent a reply letter¹⁰⁴ with an arrogant tone refusing to do such paperwork, undermining JBT bequeath value and criticizing the family right to claim the exception:

“I am surprised that it should have been thought worth while to submit such a claim for a collection of mere transcripts which can only be of the slightest financial value”.

About the LTJM he wrote:

“I have no idea of the financial value of the Spanish Song Book but do not imagine that, compared with the more precious of our music manuscripts, this can be very great”

As today, the LTJM, which was stolen from BNE, and illegally acquired by JBT, remains at Fitzwilliam Museum.

Fact 34. The many unusual events from the theft of the LTJM from BNE to its acquisition by JBT had already raised concerns

All scholars that have studied and written about the LTJM after it was acquired by JBT, except one, have raised concerns about the strange and hard to explain combination of events that led to his acquisition¹⁰⁵.

John E. Varey and N. D. Shergold’s inquires to Maggs Bros. were described in Fact.28. They didn’t question, however, any aspect of the acquisition by John Branded Trend. Both, Varey and Shergold, were former pupils of JBT¹⁰⁶.

Jesús Bal y Gay’s concerns and inquiries to Trend were addressed in Fact.29.

John Baron seems to be the only scholar studying and editing music from the LTJM who didn’t indicate the connection with the original location at BNE manuscript nor expressed concerns about its provenance. He is also the only one identifying the manuscript as “The Trend Manuscript”¹⁰⁷.

Louise Stein, in her article about Spanish baroque accompaniment and continuo, studied the manuscript but she omits any description of it under the announcement of a future edition she was preparing with Gerardo Arriaga¹⁰⁸.

Rita Goldberg raised concerns about how the manuscript ended up in possession of Maggs Bros. She tried to explain the provenance by presenting a hypothesis:

1. Barbieri could have returned the gift to the person who gave it to him as a gift: Francisco Uhagón
2. Francisco Uhagón sold his library months before his death in 1927
3. The sale date of Uhagón’s library in 1927 makes it possible for Trend to buy it from Maggs Bros. in 1928

From those, propositions 1) and 3) are are wrong. Barbieri never returned the manuscript (we even know from Fact.2 that Barbieri was not the kind of person returning manuscripts but the one not returning them) as it entered the BNE (Fact.5 and Fact.6). Uhagón sold his library to Pedro Vindel Álvarez¹⁰⁹ who, after publishing a catalogue with 100 rare books from it, sold it as a whole to Ramón Rodríguez y Fernández¹¹⁰.

In 1986 the edition of “Cancionero musical de Lope de Vega” volume I included the tono Al son de los arroyuelos, indicating as musical source “Ms. Mu-4-1958 del Fitzwilliam Museum de Cambridge (Inglaterra)” and L. Gasser. as the transcriber.

In 1988 Miguel Querol edited “Canciones a solo y dúos del siglo XVII” a compilation which included the tono Todo eres contradicciones. Describing the concordances of that tono he wrote:

De este tono existe otra version para voz y guitarra, de J. Marin, en un manuscrito que adquirio el musicologo ingles J. B. Trend, actuamente en el Fitzwilliam Museum de Cambridge (Inglaterra). Este manuscrito, cuando todavia estaba en España fue descrito por F. Pedrell en su Teatro Lirico Español anterior al siglo XIX (La Coruña, 1897) vols. IV y V.

Alicia Lázaro’s concerns has been described in Fact.24¹¹¹

Gerardo Arriaga, using rhetorical questions, pointed out the reasons why it was hard to believe that JBT didn’t know about the manuscript and BNE’s legitimate ownership:

¿Quién lo sustrajo de la BNE? ¿No había leído el musicólogo e hispanista Trend la Histoire de Mitjana, ocho años después de su publicación? Y después de haber adquirido el manuscrito, ¿no se interesó en buscar datos sobre José Marín entre lo poco disponible entonces, de lo cual lo más compendioso y fácil de conseguir era la Histoire de Mitjana? ¿No se dio cuenta entonces de que el manuscrito había pertenecido a la Nacional de Madrid?¹¹².

Arriaga also mentions the concerns published by Rita Goldberg (and dismisses as well her hypothesis) and the ones by John E. Varey and N. D. Shergold.

Francisco Valdivia is straightforward (bold is ours):

Procede de la colección de Francisco Asenjo Barbieri y, según Rafael Mitjana, estaba en la BNE hacia 1920. Pero en 1928 es adquirido por el hispanista británico John B. Trend a una casa de libreros de Londres¹¹³.

4. The hypothesis

Rita Goldberg did what is expected from any scholar following scientific principles: when observing an abnormal situation, use the available data and tools to find an explanation for that situation. At this point we know that Goldberg’s hypothesis was not the correct one, therefore, following the same scientific principles a new hypothesis must be formulated that could explain the abnormal situation.

Based on all the available evidence presented in this study, there is only one plausible scenario that could explain all the unusual events that concurred in the JBT acquisition of the LTJM in 1928: JBT involved in the subtraction of the LTJM from the BNE and arranged with Maggs Bros. a simulated sale with the intention of hiding the trails of his misconduct.

An argument for changing the status quo

The current status of the Libro de Tonos de Joseph Marín (LTJM) raises significant considerations beyond questions of rightful ownership. While legal and ethical debates regarding cultural patrimony continue, a more immediate scholarly concern is critical in this case.

In this digital age, the physical ownership of a book or a manuscript, bibliophilia aside, is relevant only because the owner is the one setting the terms on how the digital representation of the item can be accessed. The BNE follows the open knowledge policies that are common across all EU public institutions, granting free access to most of its collections. On the other hand, the Fitzwilliam Museum and the Cambridge University operate under more restrictive access models with the major part of their collections accessible only through commercial intermediaries such as Gale Primary Sources via institutional subscriptions that are affordable only for elitist universities.

While repatriation remains a complex issue influenced by legal frameworks and institutional policies, the more fundamental concern for musicological scholarship is that this music manuscript, an important piece of the Spanish musical heritage, cannot be studied by many scholars that have an legitimate interest in it.

 

 

 

 

Bibliography

ANSTEE, Margaret Joan: JB. An Unlikely Spanish Don. The Life and Times of Professor JBT. Liverpool 2013

BAL Y GAY, Jesús: manuscritos relativos a la publicación de Treinta canciones de Lope de Vega. [1933-1935]. Archivo Jesús Bal y Gay, serie Manuscritos de Jesús Bal at Archivo de la Residencia de Estudiantes. Signature 280790340/BAL/13/1

BAL Y GAY, Treinta canciones de Lope de Vega. Madrid, 1935

BARON, John H.: Spanish Art Song in the Seventeenth Century. Madison Wisconsin, 1980.

CABALLERO Fernández-Rufete, Carmelo: El manuscrito Gayangos-Barbieri. Revista de musicología, Vol. 12, Nº 1, 1989, págs. 199-268

DELGADO, María Teresa and ESCRIBANO, Juan Bautista: Una aproximación crítica a la biblioteca de Barbieri. En Allegro cum laude, Madrid, 2014

DENNIS, Nigel: Manuel de Falla-John B. Trend: Epistolario (1919-1935). Granada 2007.

GEIGER, Albert: Die spanischen Ccs 133/199 der Münchner Staatsbibliothek. Eine vorläufige Studie. In Zeitschrift für Musikwissenschaft vol. 5. 1922–1923

GEIGER, Albert: Spezielles über Form und Inhalt der spanischen Münchener Kodizes. S. 240. In Zeitschrift für Musikwissenschaft vol. 6. 1923–1924

GOLDBERG, Rita: El Cancionero de Cambridge. Anuario musical: Revista de musicología del CSIC, ISSN 0211-3538, Nº 41, 1986, págs. 172-190

GRANT, Helen: Obituary for Professor JBT. GBR/0271/GCPP Grant 4/14

GRANT, Helen / CUDWORTH, Charles / GERHARD, Roberto: “Obituary Professor J.B. Trend”. The Cambridge Review, Issue from 31 May 1958. Cambridge.

GROVE, George: Grove’s Dictionary of music and musicians. Third edition. New York 1927. Volumes I-V. Digital copies available at

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GROVE, George: Grove’s dictionary of music and musicians. Fith edition. New York 1954. VolumeV. Digital copy available at https://archive.org/details/grovesdictionary0005grov

IGLESIAS Martinez, Nieves: La Música de Francisco Asenjo Barbieri en la BNE : localización de fuentes y catálogo de libretos, partituras y grabaciones sonoras, Madrid 1998

KNIGHTON, Tess: JBT (1887-1958) and his musical ‘Iter Hispanicum’. Part of Music and Letters, Volume 95, Issue 4, November 2014, Pages 550–583.

LOPEZ COBO, Azucena: Jesús Bal y Gay en la casa de España en México. Part of Los refugiados españoles y la cultura mexicana. México, 2008

LOPEZ-VIDRIERO, Maria Luisa: Naturalismo Bibliófilo: El portentoso hurto de la Real Biblioteca Particular de su Majestad. In “Bibliofilia y nacionalismo: nueve ensayos sobre coleccionismo y artes contemporáneas del libro”. págs. 86-146. Salamanca, 2011

MAGGS Bros.: Catalogue No. 476. Music. Books, Manuscripts, Autographs and engravings. London, 1926

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MAGGS Bros.: Catalogue No. 512. Music. Early Books, Manuscripts, Portraits and Autographs. London 1928

MARÍN, José / LÁZARO, Alicia: 51 Tonos for voice & guitar. Ohio, 1997.

MARÍN, José / ARRIAGA, Gerardo: Tonos y villancicos estudio y edición / José Marín ; estudio y edición crítica, Gerardo Arriaga. Madrid, 2008

MITJANA, Rafael: La Musique en Espagne. In Encyclopédie de la musique et dictionnaire du Conservatoire, coordinated by Albert Lavignac and, Lionel de La Laurencie. Volume IV: Espagne et Portugal. Paris, 1913-1920. Available at: https://archive.org/details/encyclopdiedel04lavi

MENÉNDEZ y Pelayo, Marcelino. Aplec de correspondència rebuda de Marcelino Menéndez y Pelayo. Madrid, 1895-1899 . Fons Felip Pedrell. Biblioteca de Catalunya. M 964/997. Available at https://mdc.csuc.cat/digital/collection/felippedrell/id/16147/

PARDO CAYUELA, Antonio A.: Rafael Mitjana (1869-1921): Trayectoria de un musicólogo, compositor y diplomático regeneracionista. Tesis Doctoral presentada para la obtención del Título de Doctor. Universitat de Barcelona, 2013.

PEDRELL, Felipe: Teatro lírico español anterior al siglo XIX; documentos para la historia de la música española. Vol I-V. La Coruña, 1897-1898. Available at https://archive.org/details/teatrolricoesp00pedr

PEDRELL, Felipe: “La Musique indigène dans le théâtre espagnol du XVIIe siècle”. In Sammelbände der Internationalen Musikgesellschaft. Band 5. 1903. Pages 46-90. Available at https://archive.org/details/SammelbndeDerInternationalenMusikgesellschaft051903-04

RAYON, José Sancho. Bibliófilos románticos. Published at BNE online blog: https://www.bne.es/es/blog/blog-bne/bibliofilos-romanticos

REVUELTA Sañudo, Manuel: Epistolario. Vol. 13. Junio 1894 - Junio 1896 / Marcelino Menéndez y Pelayo. Available at https://www.cervantesvirtual.com/descargaPdf/epistolario-vol-13-junio-1894-junio-1896--0/

REVUELTA Sañudo, Manuel: Epistolario. Vol. 14. Julio 1896 - Octubre 1898 / Marcelino Menéndez y Pelayo. Available at https://www.cervantesvirtual.com/descargaPdf/epistolario-vol-14-julio-1896-octubre-1898--0/

ROS-FÁBREGAS, Emilio: La biblioteca musical de Federico Olmeda (1865-1909) en la Hispanic Society of America de Nueva York. Revista de Musicología, XX/1 (1997), pp. 553-570

SALAZAR, Adolfo: La República y el Cancionero de Barbieri. In Diario Sol issue from 14th April 1933. Madrid.

STEIN, Louise: Accompaniment and Continuo in Spanish Baroque Music. In “España en la música de occidente: actas del congreso internacional celebrado en Salamanca, 29 de octubre-5 de noviembre de 1985” Vol. 1, 1987, págs. 357-370

TREND, John Brande: Aplec de correspondència rebuda de J[ohn] B[rande] Trend. 1920-1921. Fons Felip Pedrell. Biblioteca de Catalunya. M 964/1481. Available at https://mdc.csuc.cat/digital/collection/felippedrell/id/24906

TREND, John Brande: A picture of modern Spain. Lonson 1921. Digistal copy Available at https://archive.org/details/pictureofmoderns00trenuoft

TREND, John Brande: The music of Spanish History to 1600. Oxford 1926. Digital copy Available at: https://archive.org/details/musicofspanishhi0000jbtr

TREND, John Brande: Letter to Jesús Bal y Gay from 2/10/1993. Archivo Jesús Bal y Gay, serie Manuscritos de Jesús Bal at Archivo de la Residencia de Estudiantes. Signature 280790340/BAL/3/253/2

VALDIVIA, Francisco: Tonos humanos inéditos en cifra de punteado. Separata de Hispanica Lyra 23. Madrid, 2017

VAREY, John E. and SHERGOLD, N. D: Los Celos hacen Estrellas. Tamesis Books, London 1970.

VERA, Alejandro. Música vocal profana en el Madrid de Felipe IV: el Libro de Tonos Humanos (1656). Lleida 2002

 

 

Appendix I List of works transcribed by Felipe Pedrell in his publications about Spainish lyric theatre

Teatro Lirico vol 3 (1897). All transcriptions from BNE manuscripts:

Num.	Title	Composer	Source
1	De su propia resistencia (from San Alejo)		Ms Gayangos-Barbieri f.179
2	Para ser de amor envidia (from San Alejo)		Ms Gayangos-Barbieri f.181
3	Ausente dueño mio (from San Alejo)		Ms Gayangos-Barbieri f.181
4	Llorando noches y días (from San Alejo)		Ms Gayangos-Barbieri f.181
5	Ay dulces prendas (from San Alejo)		Ms Gayangos-Barbieri f.182
6	Peregrino extranjero (from Fieras de celos y amor)		Ms Gayangos-Barbieri f.187
7	Viva el gran principe nuestro (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.177
8	Sobre los muros Roma (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.177
9	A Nise adoro (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.177
10	Condicion y retrato (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.178
11	Solo silencio testigo (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.178
12	escollo armado (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.178
13	en repúblicas de amores (from Darlo todo y no dar nada)		Ms Gayangos-Barbieri f.179
14	Ay misera de ti (from El Austria en Jerusalen)	Miguel Ferrer	Ms Gayangos-Barbieri f.237
15	Salve santa ciudad (from El Austria en Jerusalen)	Miguel Ferrer	Ms Gayangos-Barbieri f.226
16	Misericordia Dios (from una “comedia de Navas”)	José Peyró	Ms Gayangos-Barbieri f.224
17	Donde esquiva adorada	Juan de Navas	Ms Gayangos-Barbieri f.42
18	Si sabes glorioso hijo (from “comedia del retiro”)	Sebastián Durón	Ms Gayangos-Barbieri f. 63
19	Con el retrato de Adonis (from Elegir al enemido)		Ms Gayangos-Barbieri f. 183
20	Ay misero de ti ay (from El Jardin de Falerina)	José Peyro	Ms Gayangos-Barbieri f. 183
21	Ola hao desdichada barquilla		Ms Gayangos-Barbieri f. 212
22	Quien habrá que Venus triunfos		Ms Gayangos-Barbieri f.42
23	Don Pedro a quien los crueles		Ms Gayangos-Barbieri f. 211
24	No nos prendan miren	Juan Hidalgo	Ms Gayangos-Barbieri f. 229
25	Los rigores las iras		Ms Gayangos-Barbieri f. 73 y f. 126
26	Si te dieron celos	Jeronimo de la Torre	Ms Gayangos-Barbieri f. 223
27	En la triste soledad		Ms Gayangos-Barbieri f. 64
28	Luchando va con las olas	Jose Bassa	Ms Gayangos-Barbieri f. 79
29	Embarcar quiere Fileno	Carlos Patiño	Libro de tonos humanos f.168
30	A donde vas zagala	Mateo Romero	Libro de tonos humanos f.131
31	Hoy con hierbas de Filis (from Baile del herbolario)	Jeronimo de la Torre	Ms Gayangos-Barbieri f. 78 y f. 222
32	Suelta ingrata (from Baile de Tirso y Angelica)	Jeronimo de la Torre	Ms Gayangos-Barbieri f. 184
33	Siempre de las esquivas		Ms Gayangos-Barbieri f. 95
34	Si de amarilis los ojos (from “baile de comedias del Retiro”)	José Bassa	Ms Gayangos-Barbieri f. 191
35	Amor rendido	Sebastián Durón	Ms Gayangos-Barbieri f. 36
36	Barbaro perfido sabe		Ms Gayangos-Barbieri f. 36
37	Es tu lisonja el ser mio homicida		Ms Gayangos-Barbieri f. 18
38	No hay que decirle el primor (coplas dela jácara “Florecitas que al alba”)		Libro de tonos humanos f.246
39	con las mozas de Vallecas	Fr. Manuel Correa	Libro de tonos humanos f.215
40	Salvas del clarín	Sebastián Durón	Ms Gayangos-Barbieri f. 35
41	Empezó la noche toda	Juan Hidalgo	Ms Gayangos-Barbieri f. 201
42	Así moriré	José Marín	Ms Gayangos-Barbieri f. 43
43	Dizque era como una nieve	José Marín	Librode tonos de Joseph Marin f. 11
44	Aquella sierra Nevada	José Marín	Librode tonos de Joseph Marin f. 4
45	Buscaba el amor	Juan de Navas	Ms Gayangos-Barbieri f. 40

Teatro Lirico vol 4 (1898). All transcriptions from BNE manuscripts except #17 (and maybe #25):

Num.	Title	Composer	Source
1	Venid hermosuras felices (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 51
2	Porque Venus envidia (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 51
3	¿Quién nos busca? (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 52
4	Todo Bella Psiquis (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 52
5	Ten noble y tan ilustre (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 53
6	Venus bella no procures (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 53
7	Cuatro eses ha de tener (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 54
8	En hora dichosa vengan (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 54
9	Y en fin en sus espacios (from Ni amor se libra de amor)	Juan Hidalgo	Ms Gayangos-Barbieri f. 55
10	Quedito pasito (from Psiquis y Cupido)	Juan Hidalgo	Ms Gayangos-Barbieri f. 49 y f. 211
11	Celebren por las selvas (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/38
12	Tonate Dios (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/22
13	Estrellas, luceros, plantas (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/16
14	Venid a este sitio (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/17
15	De las luces que en el mar (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/8
16	Poreque a pesar del recelo (from Los celos hacen estrellas)	Juan Hidalgo	MC/3880/18
17	El Zarambeque (from las Amazonas)		He might have copied from copied from Mariano Soriano Fuertes’ “Historia de la música española desde la venida de los fenicios hasta el año de 1850”, vol 3, plate 14 of from the original (unknown) manuscript mentioned by Soriano Uncertain114
18	Al villano se la dan ventura		From Romances y letras a tres vozes (M/1370, M/1371, M/1372 f.97)
19	A vencer blancas auroras	Carlos Patiño	Libro de tonos humanos f.40
20	Cantar las gracias de Flora	Carlos Patiño	Libro de tonos humanos f.202
21	Pastorcillo triste	Carlos Patiño	Libro de tonos humanos f.125
22	Labradora de Loeches	Carlos Patiño	Libro de tonos humanos f.43
23	Que entonadilla que estaba	Manuel Machado	Libro de tonos humanos f.194
24	Enojado está el Abril	Francisco Navarro	Libro de tonos humanos f.42
25	Del silencio de mis penas	José Marín	It could have been part of the bundle with old signature (Aa 211) that later became the files uner MC/3880, MC/3881 and MC/5001 that would be lost now as suggested by Gerardo Arriaga. However, as Pedrell doesn’t list it on his account of Marin works in that bundle he might had transcribed from some undeclared source (as he did in this volume with El Zarambeque and Al villano se la dan). Lost/Unknown115
26	Tortolilla que lloras		Ms Gayangos-Barbieri f. 41
27	Selva apacible	Juan de Navas	Ms Gayangos-Barbieri f. 23
28	Todo es amor	Juan de Serqueira	Ms Gayangos-Barbieri f. 24
29	Ay del amor que en el incendio	Miguel Marti Valenciano	Ms Gayangos-Barbieri f. 44
30	Ay de aquel desdichado	José Justo	Ms Gayangos-Barbieri f. 46
31	Desde el tronco esquivo	Juan de Navas	Ms Gayangos-Barbieri f. 85
32	Graciosa moda esa	Sebastián Durón	Ms Gayangos-Barbieri f. 28
33	Quieres que te diga Filis	Manuel de Villaflore	Ms Gayangos-Barbieri f. 26
34	Arroje las flechas	Sebastián Durón	Ms Gayangos-Barbieri f. 30
35	Bosque frondoso, aves risueñas	Antonio Literes	Ms Gayangos-Barbieri f. 29
36	Al son de las prisiones	Francisco Mojo	Ms Gayangos-Barbieri f. 31
37	Ay que mal ay que rabia	Francisco Berxes	Ms Gayangos-Barbieri f. 37
38	De tus amores [rigores] Menguilla		Ms Gayangos-Barbieri f. 80
39	Nadie se compadezca de mi dolor	Sebastián Durón	Ms Gayangos-Barbieri f. 81
40	¿Corazón qué os quejáis?	José Asturiano	Ms Gayangos-Barbieri f. 82
41	Traición idolatrada	Sebastián Durón	Ms Gayangos-Barbieri f. 116
42	Desengañemonos ya	José Marín	LTJM f. 1
43	Amante ausente	José Marín	LTJM f. 3
44	Qué bien canta un ruiseñor	José Marín	LTJM f. 25
45	Mi señora Mariantaños	José Marín	LTJM f. 24
46	Ahora que estáis dormida	José Marín	LTJM f. 52
47	No piense Menguilla	José Marín	LTJM f. 9
48	Corazón que en prisión	José Marín	LTJM f. 17
49	Ya no puedo más, señora	José Marín	LTJM f. 37

Sammelbänden Internationalen Musik Gesellschaft. Fünfter Jahrgang 1903 – 1904. All transcriptions except #2 and #15 are reused from BNE ones included in Teatro Lírico Vol. 3:

Num.	Title	Source
1	Así moriré	Teatro Lirico III.42
2	Romerico tú que vienes	From Barbieri’s edition of Cancionero de Palacio New transcription116
3	Ola hao desdichada barquilla	Teatro Lirico III.21
4	Con las mozas de Vallecas	Teatro Lirico III.39
5	No hay que decir el primor	Teatro Lirico III.38
6	Ay, dulces prendas	Teatro Lirico III.5
7	Peregrino extranjero	Teatro Lirico III.6
8	Llorando noches y días	Teatro Lirico III.4
9	A Nise adoro	Teatro Lirico III.9
10	Solo el silencio testigo	Teatro Lirico III.11
11	Buscaba el amor	Teatro Lirico III.45
12	Con el retrato de Adonis	Teatro Lirico III.19
13	Si de Amarilis los ojos	Teatro Lirico III.34
14	Es tu lisonja el ser mio homicida	Teatro Lirico III.37
15	[vihuela piece from Miguel Fuenllana Orphenica Lyra]	From his own transcription published in Ilustración Musical Hispano-Americana 156 (1896) New transcription117
16	Dizque era como una nieve	Teatro Lirico III.43
17	Aquella Sierra Nevada	Teatro Lirico III.44

Cancionero Popular Volumen IV (1922) [17th century vocal music section]. All transcriptions reused from BNE ones included in Teatro Lírico Vol.3 and Vol.4 except #2, #4, #15, #16

Num.	Title	Source
1	Ola hao desdichada barquilla	Teatro Lírico III.21
2	Está violento el estrago de tus ojos	Probably adapted from Mariano Soriano Fuertes’ “Historia de la música española desde la venida de los fenicios hasta el año de 1850”, vol 4, plate 1. Soriano transcribed it, without naming the author, from Francesc Valls’ Mapa Armónico Práctico (Manuscript currently at Universitat de Barcelona library E-Bu M783). New transcription118
3	Labradoras de Loeches	Teatro Lírico IV.22
4	Loa de la comedia El Jardín de Falerina	from a manuscript from Diputació de Barcelona Library (Now a Biblioteca de Catalunya E-Bc M 747/4) new transcription119
5	Quedito pasito	Teatro Lírico IV.10
6	A Nise adoro	Teatro Lírico III.9
7	Llorando noches y días	Teatro Lírico III.4
8	Ay dulces prendas (from San Alejo)	Teatro Lírico III.5
9	Solo silencio testigo (from Darlo todo y no dar nada)	Teatro Lírico III.11
10	Peregrino extranjero (from Fieras de celos y amor)	Teatro Lírico III.6
11	Es tu lisonja el ser mio homicida	Teatro Lírico III.37
12	Si de amarilis los ojos (from “baile de comedias del Retiro”)	Teatro Lírico III.34
13	con las mozas de Vallecas	Teatro Lírico III.39
14	No hay que decirle el primor (coplas dela jácara “Florecitas que al alba”)	Teatro Lírico III.38
15	De tu vista celoso paso	from Jesus Aroca’s Cancionero de la Sablonara transcription New transcription120
16	Yo te quiero Gileta	Probably adapted from Mariano Soriano Fuertes’ “Historia de la música española desde la venida de los fenicios hasta el año de 1850”, vol 3, plate 9. Soriano transcribed from a Teixidor manuscript that included this music following some Sebastián Durón anecdotes New transcription121
17	Nadie se compadezca de mi dolor	Teatro Lírico IV.39
18	Quieres que te diga Filis	Teatro Lírico IV.33
19	Buscaba el amor	Teatro Lírico III.45
20	Desde el tronco esquivo	Teatro Lírico IV.31
21	Así moriré	Teatro Lírico III.42

 

 

Appendix II: List of works copied by JBT between 1923 and 1927 at Madrid BNE

1. MU.MS.719
   1. Duron’s Pues al alva despierta from BNE M/1365 Muerte en amor es la ausencia
   2. José Marín’s Dúo Aquella sierra nevada from BNE legajo MC/3881/33
   3. Gigante cristalino from BNE Libro de Tonos humanos M/1262
   4. del Vado’s Molinillo que mueles amores from BNE legajo MC/3881/33
   5. La verde primavera from BNE Romances y letras de a tres vozes M/1370-M/1273
   6. Mañanicas floridas from BNE Romances y letras de a tres vozes M/1370-M/1273
   7. Hermosas alamedas from BNE Romances y letras de a tres vozes M/1370-M/1273
   8. Como retumban from BNE Romances y letras de a tres vozes M/1370-M/1273
   9. En dos partes del cielo from BNE Romances y letras de a tres vozes M/1370-M/1273
2. MU.MS.720
   1. A de la barca, barquero, from BNE Libro de Tonos humanos M/1262
   2. Por mirar de Belisa unos ojos from BNE Libro de Tonos humanos M/1262
   3. Galan’s aria benignissima from BNE MC/4205/37
   4. Hidalgo’s Jilguerillo que al alba from BNE legajo MC/3881/46
   5. Hidalgo’s Paxarillo que cantas alegre from BNE MC/5001/15.
   6. Ardanaz’s Orfeo volante from BNE legajo MC/3881/13
   7. Abril’s Copla en la Comedia Eco y Narcizo from BNE MC/4204/32
   8. Hidalgo’s Perdone el amor from BNE MC/3880/21
   9. Hidalgo’s Buelve tirano aligero from BNE MC/3880/44
   10. 14 parts from Hidalgo’s Los Celos hazen Estrellas from BNE MC/3880/38, MC/3880/8, MC/3880/9, MC/3880/10, MC/3880/11, MC/3880/12, MC/3880/13, MC/3880/14, MC/3880/15, MC/3880/16, MC/3880/17, MC/3880/18, MC/3880/19, MC/3880/20
   11. Galan’a Ya los cavallos from BNE MC/3881/20
   12. Alerta que de los bosques from BNE MC/3880/5
   13. Galan’s Veneno de los sentidos from BNE MC/3881/33
   14. parts from BNE MC/4204/26, MC/4204/29 and M/1263.
   15. Cómo retumban los remos from BNE Romances y letras de a tres vozes M/1370-M/1273
   16. Mirando esta el reu from BNE Romances y letras de a tres vozes M/1370-M/1273
   17. Por la puerta del Cambrón from BNE Romances y letras de a tres vozes M/1370-M/1273
   18. Verde primavera from BNE Romances y letras de a tres vozes M/1370-M/1273
   19. A francisco la puntiya from BNE Romances y letras de a tres vozes M/1370-M/1273
   20. Ventecito murmurador from BNE Romances y letras de a tres vozes M/1370-M/1273
   21. Rio Manzanares from BNE Romances y letras de a tres vozes M/1370-M/1273
   22. Ventecito murmurando from BNE Romances y letras de a tres vozes M/1370-M/1273
3. MU.MS.721
   1. Hidalgo’s Viva la flor de lo lindo from BNE Legajo MC/3881/13
   2. Sereno’s Alabare Deus from BNE Legajo Mc/3881/8
   3. A vosa porta Maria from Libro de Tonos humanos M/1262
   4. La Torre’s Ce, ce, ce luces divinas from BNE MC/3882/15
   5. Rio Manzanares from BNE Romances y letras de a tres vozes M/1370-M/1273
   6. José Peyró’s Ay misero de ti from ‘El Jardin di Falerina’ copied from Pedrell’s Teatro lírico español anterior al siglo XIX, v. 3.
   7. Al villano se la dan from BNE Romances y letras de a tres vozes M/1370-M/1273
   8. Lo mejor de mi vida : En el campo florido from BNE Romances y letras de a tres vozes M/1370-M/1273
   9. Válame Dios que los ángeles buelan from BNE Romances y letras de a tres vozes M/1370-M/1273
   10. En Belén están mis amores from BNE Romances y letras de a tres vozes M/1370-M/1273
   11. Ay qué buena ventura from BNE Romances y letras de a tres vozes M/1370-M/1273
   12. Siete años de pastor Jacob servía from BNE Romances y letras de a tres vozes M/1370-M/1273
   13. Agora que nazes niño from BNE Romances y letras de a tres vozes M/1370-M/1273
   14. El tardo buey atado a la coyunda from BNE Romances y letras de a tres vozes M/1370-M/1273
   15. Pues os llaman mis suspiros from BNE Romances y letras de a tres vozes M/1370-M/1273
   16. Amor loco, yo por vos y vos por otro from BNE Romances y letras de a tres vozes M/1370-M/1273
   17. Desde las sobierbias torres de la infelice Cartago from BNE Romances y letras de a tres vozes M/1370-M/1273

 

 

Appendix III: List of biographical articles written by JBT for the 3rd Edition of the Grove Dictionary of Music and Musicians (not including those that he only revised)

Aguiar, Alexandre de: Volume 1, p.49

Aguilera de Heredia, Sebastián: Volume 1, p.49-50

Alalá: Volume 1, p.53

Albéniz, Isaac: Volume 1, p.54-5

Alborada: Volume 1, p.59

Aldomar: Volume 1, p.61-2

Alfonso el Sabio: Volume 1, p.65-6

Almeida, Fr. Fernando de: Volume 1, p.72

Almeida, Francisco Antonio de: Volume 1, p.72

Almeida, P. Ignacio Antonio de: Volume 1, p.72

Almeyda, Carlos Francisco de: Volume 1, p.73

Almorox, Juan: Volume 1, p.73

Alvarenga, Francisco Xavier de: Volume 1, p.75

Amat, Juan Carles: Volume 1, p.77

Ambiela, Miguel: Volume 1, p.78-9

Anchieta, Juan de: Volume 1, p.85

Anjos, Fr. Diniz de: Volume 1, p.93

Annunçiação, Fr. Gabriel da: Volume 1, p.93

Annunçiação, Philippo de: Volume 1, p.93

Aranaz, Pedro: Volume 1, p.104-5

Aranda, Luis de: Volume 1, p.105

Aranda, Mateo de: Volume 1, p.105

Aranies, Juan: Volume 1, p.105

Ardanaz, Pedro: Volume 1, p.108

Arizo, Miguel de: Volume 1, p.113

Astorga, Emanuele Giochino Cesare Rincón: Volume 1, p.133

Avilez, Manoel Leita‹o de: Volume 1, p.143

Badajoz: Volume 1, p.191

Baena, Lope de: Volume 1, p.192

Baguer, Carles: Volume 1, p.196

Barbieri, Francisco Asenjo: Volume 1, p.222

Bermudo, Juan de: Volume 1, p.362

Bernal, Antonio de: Volume 1, p.363

Bernal, José: Volume 1, p.363

Blas de Castro, Juan: Volume 1, p.389

Bontempo, Joa‹o Domingos: Volume 1, p.413

Brito, Esteva‹o de: Volume 1, p.474

Brudieu, Joan: Volume 1, p.483

Cabanilles, José: Volume 1, p.525

Cabanilles, Juan: Volume 1, p.525

Cabezón, Antonio de: Volume 1, p.525-6

Cabezón, Juan de (526

Cabo, Francisco: Volume 1, p.526

Campo, Conrado de: Volume 1, p.543

Cante Hondo: Volume 1, p.550-1

Cardoso, Manuel: Volume 1, p.557

Carvalho, Joa‹o da Sousa: Volume 1, p.573

Caseda, Diego: Volume 1, p.576

Cassaó, Joaquín: Volume 1, p.577

Castillo, Diego del: Volume 1, p.579

Cevallos, Francisco: Volume 1, p.595

Cevallos, Rodrigo: Volume 1, p.595

Christo, Esteva‹o de: Volume 1, p.644

Christo, Fr. Luiz de: Volume 1, p.644

Clave, Anselmo: Volume 1, p.660

Codax, Martin: Volume 1, p.677-8

Coelho, Pe. Manoel Rodrigues: Volume 1, p.678

Cornago, Fr. Juan: Volume 1, p.726

Correa, Fr. Manoel: Volume 1, p.731

Correa, Henrique Carlos: Volume 1, p.731

Correa de Araujo, Francisco: Volume 1, p.731

Costa, André de: Volume 1, p.734

Costa, Affonso Vaz de: Volume 1, p.734

Cuellar, Ramón: Volume 1, p.765

Daza, Esteban: Volume 2, p.26

Doisi de Velasco, Nicolas: Volume 2, p.75

Durón, Sebastián: Volume 2, p.119

Elche, Mystery of : Volume 2, p.149

Enríquez de Valderrábano, Enrique: Volume 2, p.168-9

Enzina, Juan del: Volume 2, p.169-70

Escobar: Volume 2, p.176

Escobar, André de: Volume 2, p.176

Escobar, Joa‹o de: Volume 2, p.176

Escobedo, Bartolomeo: Volume 2, p.176

Escribano, Juan: Volume 2, p.177

Esquivel, Juan Barahona de: Volume 2, p.178

Esteve y Grimau, Pablo: Volume 2, p.179

Eximeno, Antonio: Volume 2, p.182-3

Falla, Manuel de: Volume 2, p.192-3

Fárábí (Al-), Abu Nasr Muhammad: Volume 2, p.197

Faraj (Abu’l), ‘Alí Al-Isfahání (197

Fernández de Castilleja, Pedro: Volume 2, p.216

Ferreira, Manuel: Volume 2, p.220

Ferrer, Mateo: Volume 2, p.220

Flecha, Mateo: Volume 2, p.253

Font y de Anta, Manuel: Volume 2, p.266

Frovo, João Alvares: Volume 2, p.317-8

Fuenllana, Miguel de: Volume 2, p.319

Gabriel: Volume 2, p.331

Galán, Cristóbal: Volume 2, p.339

Garzón, Diego: Volume 2, p.352

Ginés Pérez, Juan: Volume 2, p.385

Gómez Camargo, Miguel: Volume 2, p.413

Granados, Enrique: Volume 2, p.431-2

Guerrero, Francisco: Volume 2, p.475-77

Guerrero, Pedro: Volume 2, p.477

Heredia, Pedro: Volume 2, p.615

Hidalgo, Juan: Volume 2, p.629

Infantas, Fernando de las: Volume 2, p.709

Isháq, Al-Mawsilí: Volume 2, p.743-4

John IV: Volume 2, p.781)Volume 5: Song to Z

Lima, Jeronymo Francisco de: Volume 3, p.199

Literes, Antonio: Volume 3, p.217

Lobo, Alfonso: Volume 3, p.222

Lobo, Duarte: Volume 3, p.222

López de Velasco, Sebastián: Volume 3, p.234

Lusitano, Vicente: Volume 3, p.251

Magalhães, Filippe de: Volume 3, p.285

Marín, José: Volume 3, p.324

Mende’s, Manuel: Volume 3, p.435

Milan, Luis: Volume 3, p.459

Misson, Luis: Volume 3, p.473

Mitjana y Gordon, Rafael: Volume 3, p.473

Morales, Cristóbal: Volume 3, p.510-12

Morales, Olallo Juan Magnus: Volume 3, p.512

Morales, Pedro García: Volume 3, p.512

Morata, Ginés de: Volume 3, p.512

Mudarra, Alonso de: Volume 3, p.571

Narvaez, Luys de: Volume 3, p.604

Nasarre, Fr. Pablo: Volume 3, p.604

Navarro, Juan de: Volume 3, p.608

Nebra, José de: Volume 3, p.609-10

Olmeda, P. Federico: Volume 3, p.687

Ordóñez, Pedro: Volume 3, p.735

Ortiz, Diego: Volume 3, p.775

Pahissa, Jaime: Volume 4, p.13

Patiño, Carlos: Volume 4, p.83

Pedrell, Felipe: Volume 4, p.97-8

Peñalosa, Francisco: Volume 4, p.99

Peñalosa, Juan: Volume 4, p.99

Pérez Casas, Bartolomé: Volume 4, p.103

Peyro, José: Volume 4, p.120-1

Pisador, Diego: Volume 4, p.187

Pizarro, Diego: Volume 4, p.193

Pujol, Joan: Volume 4, p.285

Ramirez de Arellano, Alonso: Volume 4, p.322

Ramos de Pareja, Bartolomé: Volume 4, p.322

Raval, Sebastián: Volume 4, p.329

Rebello, Joa‹o Soares de: Volume 4, p.336

Rey Colaço, Alejandro: Volume 4, p.375

Riaño, Juan Facundo: Volume 4, p.383

Ribera, Antonio de: Volume 4, p.384

Ribera, Bernardino de: Volume 4, p.384

Ríos, Alvaro de los: Volume 4, p.402-3

Robledo, Melchor: Volume 4, p.409

Roda, Cecilio de: Volume 4, p.411

Rodríguez de Hita, Antonio: Volume 4, p.412

Romero, Mateo: Volume 4, p.424

Ruimonte, Pedro: Volume 4, p.487

Ruiz de Ribayaz, Lucas: Volume 4, p.487

Safi ed-Din, ‘Abd El-Mu¤min al-Baghdádí: Volume 4, p.498

Salinas, Francisco de: Volume 4, p.510

Santa María, Fr. Thomas de: Volume 4, p.519

Sanz, Gaspar: Volume 4, p.522

Soler, Fr. Antonio: Volume 4, p.800

Soto de Langa, Francisco: Volume 4, p.82-3

Valenzuela, Pedro: Volume 4, p.433

Valverde, Joaquín: Volume 4, p.439

Vasconcellos, Joaquim de: Volume 4, p.456

Vasquez, Juan: Volume 4, p.456

Venegas de Henestrosa, Luys: Volume 4, p.468

Vieira, Ernesto: Volume 4, p.502

Vihuela: Volume 4, p.508-9

Vila, Pedro Alberto: Volume 4, p.509

Villalba, P. Luis: Volume 4, p.509-10

Villancico: Volume 4, p.510

Viñes, Ricardo: Volume 4, p.513

Ziryáb, ‘Ali Ibn Náfi: Volume 4, p.787

 

 

Appendix IV: FOI Request made to Cambridge University on 26 July 2024 under the terms of UK Freedom of Information Act (FOIA).

Dear sir or madam,

Under the Freedom of Information Act, I would like to request the following information:

all the records and documentation hold by the Fitzwilliam Museum, the Cambridge University Library or any other institution part of the Cambridge University about the provenance of the manuscript with shelfmark MU.MS.727 (previously MS.MU-4-1958) currently hold at the Fitzwilliam Museum Dept. of Manuscripts & Printed Book. These records should include those created by the University at the time of its acquisition in 1958 from Prof. J.B. Trend’s bequest and any other record or receipt from Prof. J.B. Trend about its purchase.

I would like you to provide the information in the following format:

digital copies of the scanned documents/records in pdf format.

 

 

Appendix V: List of documents included by the Cambridge University as reponse of the FOI Request with reference FOI-2024-666

Description of the documents by Cambridge University. Further description or comments inside brackets.

1. Notice of bequest in the Fitzwilliam Museum Annual Report for 1958 [printed in 1959]
2. Relevant Fitzwilliam Museum Syndicate minutes [dated 29 May, 1958]
3. Original invoice of acquisition of the manuscript by J.B. Trend, from Maggs Brothers[=Maggs Bros.], dated 22 February 1928 [with the new MU.MS. 727 signature written in black ink]
4. [Magg Bross. transaction record #1512 stamped and dated 23 Feb 1928]
5. handwritten note on earlier provenance
6. Bookplate with dated accession number [including accession number MU4-1958]
7. Correspondence from 1958, in date order, about the bequest and its execution
   1. [Letter dated 12/05/58 from FCN Solicitors to FM. Includes a handwritten comment by LAH]. Fitzwilliam ref 00658
   2. [Letter dated 14/05/58 from CW to FCN Solicitors. Fitzwilliam ref 00658]
   3. [Letter dated 15/05/58 from FCN Solicitors to CW. Fitzwilliam ref 00658]
   4. [note dated 15/05/58 by The Director. Fitzwilliam museum ref 00658]
   5. [note dated 16/05/58 by The Director Fitzwilliam museum ref 00658]
   6. [undated and unsigned note addressed to TD. Fitzwilliam museum ref 00658]
   7. [letter dated on 31/05/58 from CW to FCN Solicitors. Fitzwilliam ref 00658]
   8. [letter dated on 03/06/58 from FCN Solicitors to CW Fitzwilliam ref 00658]
   9. [letter dated on 05/06/58 from FCN Solicitors to CW Fitzwilliam ref 00658]
   10. [letter dated on 10/06/58 from CW to FCN Solicitors. Fitzwilliam ref 00658]
   11. [undated and unsigned note with the recommedation to keep for the Fitzwilliam Mudem the MS. Spanish Song Book and the 8 bounded volume with Professor Trend transcriptions. Probably authored by TD and dated before 7.6. Fitzwilliam ref 00658]
   12. [Application form for exemption and undertaking under Section 48 of finance Act, 1950. 3 out of the 5 fields were prefilled by FCN Solicitions. Fitzwilliam ref 00658]
   13. [letter dated on 02/07/58 from FCN Solicitors to CW. Fitzwilliam ref 00658]
   14. [letter dated on 05/07/58 from CW to FCN Solicitors. Fitzwilliam ref 00658]

Appendix VI: Direct quotes from the 3rd edition of Grove Dictionary of Music and Musicians included on Maggs Bros sales catalogue No. 512 from 1928

1. 1487 A.D. [8] BURTIUS (Nicolaus). MUSICES OPUSCULUM
   […] A page from this book is reproduced in Grove’s Dictionary of Music.[…]
2. 1488 A.D. [9] (HUGO SPECHTSHART VON REUTLINGEN). FLORES MUSICE OMNIS CANTUS GREGORIANI.
   […] Grove’s Dictionary of Music, new edition, 1927, writes the following […]
3. 1501 A.D. [18] WOLLICK (Nicolas). Opus aureum. Musicae
   […] Grove’s Dictionary of Music, new edition, 1927, writes the following […]
4. 1512 A.D. [24] COCHLAEUS (otherwise Johannes Dobnek, of Wendelstein). TETRACHORDUM MUSICES
   […] Grove’s Dictionary of Music, third edition, writes the following […]
5. 1513 A.D. [26] QUERCU (Simon Brabantinus de, alias Duchesne, a Belgian). Opusculum Musices
   […] Grove’s Dictionary of Music, third edition, writes the following […]
6. 1515 A.D. [31] LUSCINIUS (Ottmarus). Musicaz Institutiones
   […] Grove’s Dictionary of Music, third edition, writes the following […]
7. 1516 A.D. [35] GLAREANUS (Henricus). Isagoge in Musicen
   […] Grove’s Dictionary of Music, third edition, writes the following […] […] Grove’s states the Isahoge in musicen […]
8. 1529 A.D. [41] FOGLIANO (Lodovico). Musica THEORICA,
   […] Grove’s writes of this author that he was born at Modena […]
9. About 1530 A.D. [42] AGRICOLA (Martin). Von pen Proporcionibus
   […] Grove’s Dictionary of Music, new edition, 1927, writes the following […]
10. 1533 A.D. [45] VANNEUS (Stefanus). Recanetum de Musicae Aurea
    […] According to Grove’s this didactic treatise ranks with the best of its time.
11. 1545 A.D. [48] AARON (Pietro). Lucidario in musica
    […] Grove’s Dictionary of Music says […]
12. 1555 A.D. [54] VICENTINO (Nicola). L’antica musica ridota
    […] Grove’s Dictionary of Music, third edition, writes the following […]
13. 1562 A.D. [58] AIGUINO DA BRESSA (Frate Illuminato). La illuminata de tutti tuoni
    […] Grove’s Dictionary of Music, third edition, writes as follows […]
14. 1565 A.D. [59] SANCTA MARIA (Fray Tomaso de), of Madrid. Libro Llamado, Arte de tañer fantasia
    […] Mr, J. B, Trend, in Grove’s Dictionary of Music, writes as follows […]
15. 2575. A.D. [63] PACE (Antonio). Ir primo (and il secondo) librode madrigali a sei voci
          […] According to Grove’s Dictionary of Music, third edition, […]
16. 1578 A.D. [65] CABEZON (Antonio de). Obras de musica para tecla arpa y vihuela
    […] Grove’s Dictionary of Music, latest edition […]
17. 1577 A.D. [66] SALINAS (Cardinal Francis). De Musica libri septem
    […] Grove’s Dictionary of Music, latest edition, writes […]
18. 1582 A.D. [68] BALTAZARINI alias BEAUJOYEULX (de Balthasard). Balet Comique de la Royne
    […] Grove’s Dictionary of Music, third edition, writes the following […]
19. 1586 A.D. [68b] BELLI (Girolamo). Il secondo libro de madrigali a cinque voci
    […] Grove’s Dictionary of Music, third edition, writes the following […]
20. 1596 A.D. [72] ZACCONI (Lodov.). Prattica di musica
    […] Grove’s Dictionary of Music, third edition, writes as follows […]
21. 1597 A.D. [75] KIRBYE (George). The first set of English madrigalls, to 4,. 5 & 6 voyces
    […] Grove’s Dictionary of Music, third edition, writes the following […]
22. 1597 A.D. [76] FABER (Heinrich). Compendiolum musicae pro incipientibus
    […] Grove’s Dictionary of Music, third edition, writes as follows […]
23. 1659 A.D. [97a] SIMPSON (Christopher). The Division Violist
    […] composer of * Fancies.(Grove’s Dictionary of Music, third edition).
24. 1673 A.D. [108] BONONCINI (Giov. Maria). Musico prattico
    […] Grove’s Dictionary of Music, third edition, writes the followin […]
25. 1679 A.D. [107] PERRINE. Livre DE MUSIQUE POUR LE LUT.
    […] According to Grove’s Dictionary of Music, Perrine was […]
26. 1687 A.D. [109a] WALTHER (Johann Jacob). Scherzi da violino solo con il basso
    […] Grove’s Dictionary of Music, third edition, writes the following […]
27. 1694 A.D. [110] GUERAU (Francisco). POEMA HARMONICO,
    […] Mr. J. B. Trend, in Grove’s Dictionary of Music, writes […]
28. 1718 A.D. [123] POLAROLI (Carlo Francesco). ARIODANTE.
    […] Groves Dictionary of Music writes […]
29. 1729 A.D. [177] GASPARINI Francesco). L’ARMONICO PRACTICO AL CIMBALO
    […] its position in Italy." (Grove’s Dictionary.). Grove’s Dictionary of Music writes […]
30. 1731 A.D. [128] [PEPUSCH (Joh. Chr.).] A Treatise on harmory.
    […] Grove’s Dictionary of Music writes […]
31. 1731 A.D. [128A] HOLDER (William). A Treatise of the natural grounds, and principles of harmony.
    […] Grove’s Dictionary of Music, third edition, writes the following […]
32. 1739 A.D. [133B] PESCETTI (Giovambattista). Sonate per gravicembalo.
    […] Grove’s Dictionary of Music, third edition, writes the following […]
33. 1752 A.D. [140a] (ALEMBERT, Jean Le Rond d’). Elémens de Musique
    […] Grove’s Dictionary of Music, third edition, writes the following […]
34. 1755 A.D. [142] PEREZ (David). Allesandre nell Indie,
    […] (Grove’s Dictionary of Music). For the libretto see No. 143 in this Catalogue.
35. 1762 A.D. [150] SOLER (Antonio). Llave de la modulacion
    […] Mr. J, B. Trend, in Grove’s Dictionary of Music, writes […]
36. 1770 A.D. (Circa) [1534] VENTO (Mathias). Six Canzonets
    […] According to Grove’s Dictionary of Music, third edition, Mathias Vento, […]
37. 1777 A.D. [157A] MANCINI (Giambattista). RIFLESSIONI PRATICHE SUL CANTO FIGURATO.
    […] Grove’s Dictionary of Music, third edition, writes the following […]
38. 1799 A.D. [170A] SABBATINI (Luigi Ant.). La vera idea […]
    […] Grove’s Dictionary of Music, Third Edition, writes as follows […]
39. 1801 A.D. (Circa) [174] PAER (F.). Camilla
    (April 2, 1810). “Camilla,” according to Grove’s Dictionary, “was […]
40. 1831 A.D. [201] ASIOLI (Bonifacio). Principios elementares de musica
    […] Grove’s Dictionary of Music, third edition, writes the following […]

Appendix VII: Manuscripts from Barbieri’s library section G with its current location and signtature at BNE

nº	Author	Title	Barbieri’s shelfmark	BNE Shelfmark	notes
1	Sablonara (Claudio de la)	Tonos de varios autores españoles del siglo XVII. Copia M.S.	G-1ª-1	M/1263
2	Valls (Francisco)	Mapa armónico práctico Copia autografa M.S.	G-1ª-4	M/1071
3	Soler (P. Fr. Antonio)	6 quintetos … Clave obligado año 1776 Copia M.S	G-1ª-7	M/1271
4		Libro de tonos humanos (M.S. con 222 tonos) 1656	G-1ª-23	M/1262
5	Encina (Juan del)	Egogla de Cristina y Febea M.S.	G-1ª-30	MSS/13990/2
6	Nielfa (D.Lorenzo)	Misa de difuntos a 4 y a 8 a toda orquesta (M.S.)	G-1ª-31	M/1266
7	Benito (Cosme José de)	Catalogo por orden alfabético de los autores de obras musicales y del numero… Escorial. M. S.	G-2ª-2	MSS/13416
8		Cancionero del siglo XVI (copia moderna)	G-2ª-3	MSS/13418
9	Benito (Cosme José de)	Catalogo por orden alfabético de los autores de obras musicales y del numero… Escorial. 1875 M. S.	G-2ª-4	M/1281
10	Carrera y Lanchares (Fray Pedro)	Semana Santa – Psalmos puestos en musica a cuatro voces M.S.	G-2ª-5	M/763
11	Gomez de Herrera (Martin)	Advertencias sobre la centuria esclesiastica M.S.	G-2ª-6	M/1345
12	Ruiz de Robledo (Juan)	Lura de la musica esclsiastica (Copia moderna, M.S.)	G-2ª-8	M/1287
13		Varios de musica (M.S. de 204 p)	G-2ª-9	MSS/13422
14	Arteaga (Esteban)	Del Ritomo e del ritmo nella musica … M.S de letra corriente	G-2ª-11	M/760
15		Tratado de Harmonia por Catel M.S	G-2ª-12	M/1285
16	Ramoneda (Fray Ignacio)	Indice de la insigne libreria del coro del Real Monasterio del Escorial M.S	G-2ª-13	M/1283
17		Constituciones y ordenanzas de la Real Capilla S.M M.s	G-2ª-14	M/762
18		Catedral de Sevilla Noticias M.S	G-2ª-15	MSS/13606
19		Catedral de Sevilla Noticias M.S [bis]	G-2ª-16	MSS/13607
20	Soler (Fray Antonio)	Llave de la modulacion copia moderna M.S.	G-2ª-17	MSS/13997/3
21	Rodriguez	Familia religiosa de el real monasterio de San Lorenzo	G-2ª-18	MSS/13419
22		Repertorio de las informaciones de limpieza y liquidaciones	G-2ª-19	MSS/13612
23		Declaracion de los organos existentes en el monasterio de San Lorenzo (copia moderna M.S)	G-2ª-20	MSS/13610
24		Libro y memorial de los religiosos	G-2ª-21 and G-2ª-22	MSS/13591 and MSS/13592
25	Vidal	Historia y origen de la musica y canto llanbo libro 1	G-2ª-23	M/761
26	Fernandez de Vallejo	Disertaciones (V y VI) que podrán servier al que … Ioglesia de Toledo M.S.	G-2ª-24	MSS/13611
27	Quevedo (D. Bartolomé)	Apologia contra la musica (M.S en letra moderna)	G-2ª-25	MSS/13605
28	Egca (D. Pedro)	Método de solfeo	G-2ª-26	M/1016
29	Teixidor y Barcelo	Tratados de musica ineditos	G-2ª-27 y G-2ª-28	MSS/14060/14
30		Ordinario segun la costumble … San Hieronimo	G-2ª-29	MSS/13455
31		Memoria sobre medios y abritrios	G-2ª-30	MSS/13467
32		Psalmos I a 87(Codice en vitela)	G-2ª-31	M/1361
33		Ordinarium secudum (codice del siglo XV)	G-3ª-1	M/1210
34		Entremeses originales m.s (copia moderna)	G-3ª-2	MSS/14092
35		bailes originales m.s (copia moderna)	G-3ª-3	MSS/14088
36		Dramas músicos (copia mderna m.s.)	G-3ª-4	MSS/14087
37		Mojigangas m.sm (copia moderna)	G-3ª-5	MSS/14090
38		Oficios de la real Capilla de S.M. (m.s)	G-3ª-6	MSS/14091
39		Codice m.s. en vitela fgalto de principios	G-3ª-7	M/4404
40		Poesias varias delativas a la muerte de Felipe 5º y a la … M.S.	G-3ª-8	MSS/13447
41		libro de las costumbre que se obserban .. 1783	G-3ª-9	MSS/13475
42	Milan (Don Luis)	Extracto hecho por el Sr. Barbieri de su libro el Cortesano M.S.	G-3ª-10	MSS/13446
43	Barradas	Defensa apologética contra o dialog… Amphjion y Orpheo (Copia M.S)	G-3ª-11	M/1195
44	Trigueros	Originales autografoz	G-3ª-12	MSS/14092
45	La Cruz	nuevo drama cómico-harmónico intitulado quien complace a la deidad acierta a sacrificar 1757	G-3ª-13	T/11555(1)
46	Flostegui	responsion apologética al prólogo dramático-cómico-harmónicode la fiesta intitulada quien complace a la deidad acierta a sacrificar	G-3ª-13	T/11555(2)
47	Moreno	Castilla Gamatifilarmonica	G-3ª-14	MSS/13442
48		Tratado teorico de la musica aplicado a la guitarra M.S	G-3ª-15	MSS/13762
49		Descricion de toda la fabrica del monasterio de san lor..	G-3ª-16	MSS/13755
50		Operas y zarzuelas M.S. del siglo XVIII	G-3ª-17	MSS/14102
51		Tonadillas varias (4 impr. y las otras en ms)	G-3ª-18 y G-3ª-19	MSS/14095
52	Gonzalo de Bustos	La gran Rosa de Viterro Ecomedia (M.S.)	G-3ª-20	MSS/14072/2
53	Martinez	Statuto de limpieza de la santa Iglesai de Toledo (M.S.)	G-3ª-21	MSS/13443
54	Montoro (Joseph)	Obras M.S.	G-3ª-22	MSS/13445
55	Feijoo (tomas)(	Obras poeticas	G-3ª-23	MSS/14094
56		Poesias de varias arias (327)	G-3ª-24	MSS/13764
57	Cavaza (D.Manuel)	rudimentos y elementos	G-3ª-25	M/1759
58		Tratado de Canto llano (M.S.)	G-3ª-26	M/1779
59		Directorium pro visitationibus	G-3ª-27	MSS/13542
60		Loas y entremeses varios	G-3ª-28	MSS/14103
61		Poesias (varias) liricas y comicas de un … copiadas de su musica original	G-3ª-29	MSS/13544
62		vida prision y muerte del principie carlos de austria	G-3ª-30	MSS/13535
63		libro de las profesiones de los religiones … 1800 a 1824	G-3ª-31	MSS/13501
64		libro de las profesiones de los religiones … 1681 a 1720	G-3ª-32	MSS/13477
65		libro de las profesiones de los religiones … 1721 a 1799	G-3ª-33	MSS/13534
66		libro de las profesiones de los religiones … 1595 a 1681	G-3ª-34	MSS/13478
67		libro de las profesiones de los religiones … 1567 a 1594	G-3ª-35	MSS/14075/4	es cartas
68		Libro donde se escrinbe los novicios 1621 a 1735	G-3ª-36	MSS/13476
69		Romances y letras a tres voces	G-4ª-2-1, G-4ª-2-2, G-4ª-2-3	M/1370 - M/1372
70		guitarra (metodo de) M.S.	G-4ª-2-25	M/1233 M/1233
71	Texidor	Musica M.S.	G-4ª-2-26	M/1232	Texidor latorre
72	Muñoz Monserrat	Cuaderno de muysica para ejercitar en solfear	G-4ª-2-28	M/1229
73		tratado completo de composicion…	G-4ª-2-29	M/1244
74		tonos humanos	G-4ª-2-33	M/5562
75	Hereter	Musica (m.S. incompleto)	G-4ª-2-35	MC/3881/26
76	Egues	Al feliz parto de la reyna	G-4ª-2-36	MC/3881/3
77	Egues	a 3 al parto de la reina	G-4ª-2-37	MC/3881/2
78	Bomero avila (D.Geronimo)	libro segundo	G-4ª-2-42	M/1198
79	Castañeda	principio de musica (copia M.S)	G-4ª-2-43	M/1260
80		Feria pro defunctis res (M.S.)	G-4ª-2-44	M/1760
81	Mariani Luis	A maria plegaria 1876	G-4ª-2-53	M/1259
82	Kipeherius	Gemma harmonica	G-4ª-2-54	M/1203
83	Pla	Divertimenti a due violini	G-5ª-1 y G-5ª-2	M/1239 M/1240
84	Lampruker (Don Marias)	Rudimentos para forte-piano	G-5ª-3	M/1270
85	Garcia (Juan Manuel)	Arte reglas y escala para aprender a templar y puntear	G-5ª-4	M/1236
86	Martin (nicomedes)	Lamentaciones	G-5ª-5	M/1190
87	Medeck (Santiago)	Seir sonatas progresicas a tres manos	G-5ª-6	M/1193
88	Metastaasio	La partenza	G-5ª-7	M/1238
89	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (1)	G-5ª-8	MC/5285/20
90	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (3)	G-5ª-9	MC/5285/19
91	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (4)	G-5ª-10	M/1742
92	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (5)	G-5ª-11	M/1738
93	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (6)	G-5ª-12	M/1739	catalogue entry in BNE wrongly stats that cover has G-5ª-11 instead of the real G-5ª-12
94	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (7)	G-5ª-13	M/1740	catalogue entry in BNE wrongly stats that cover has G-5ª-11 instead of the real G-5ª-13
95	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (8)	G-5ª-14	M/1741
96	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (9)	G-5ª-15	M/769
97	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (10)	G-5ª-16	M/770
98	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (11)	G-5ª-17	M/1234
99	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (12)	G-5ª-18	M/1188
100	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (13)	G-5ª-19	M/1735
101	Lopez (Felix maximo)	Musica (Ms) 7 cuad 5 vol 1 leg (14)	G-5ª-20	MC/4204/30
102	Sort	LA espada y el villete	G-5ª-21	M/1235
103	Lidon	seis piezas o sonatas para organo	G-5ª-22	M/1736	catalogue entry in BNE wrongly stats that cover has G-5ª-11 instead of the real G-5ª-13
104	Lopez (Felix maximo)	glosas del pane lingua	G-5ª-24	M/1187
105	Lopez (Felix maximo)	Sieto glosas sobre el himno … Ergo de D Josef lidon	G-5ª-25	M/1737
106		Seguidillas 46	G-5ª-26	M/1189
107	Vedruma (Dolores)	musica para forte piano	G-5ª-27	M/1194
108	Ximenez	Ecos del almna	G-5ª-28	M/1250	Barbieri signature is flipped with the one below and should be G-5ª-29
109		musica (varias piezas y lecciones)	G-5ª-29	M/1241
110	Garcia (Maestro Francisco Javier)	Invitatorio y lecciones de difuntos	G-5ª-35	MC/5285/17
111	Estirado	Himno vantado … valladolid	G-5ª-36	M/1237
112	Haydn	la sette ultime	G-5ª-37	M/1197
113		Musica (16 piezas)	G-5ª-38	M/1196
114	Zayas	Escuela practica de solfar	G-5ª-39 y G-5ª-40	M/1242
115		Musica 5 piezas	G-5ª-41	MC/5285/27
116	Zaragoza	Romances (deux) aver guitarre	G-5ª-42		The only A. Perez Zaragoza guitar work at BNE seems to be MP/1293/27 but that is not a manuscript
117	Elias	Sonata de organo	G-5ª-43	M/5285/98
118	Corselli	Dos pasos organicos	G-5ª-44	MC/4213/2
119		Musica (varias piezas de)	G-5ª-45	¿MC/5004?	MC/5004 ms has G-5ª-49 barbieri signature, but that is assined in the inventory to a factical, volume of 5 16th prints, so that is wrong
120	Elias	Musica de organo	G-5ª-46	M/812
121		libro de diferentes cifras de guitarra	G-5ª-48	M/811
122		Solfeo practico	G-5ª-50	M/866
123	Baylon	Escuela completa de guitarra	G-5ª-51	M/830
124	Marin Joseph	M.S en 8ª letra de fines del siglo XVII que coniene tonos o pasacalles	G-6ª-1
125		prevenciones musicales	G-6ª-2	M/1918
126		musica para 3 y 4 voces	G-6ª-3	parts of MC/3880, MC/3881 that didn’t came from Aa 221
127		Reglas capilla descalzas reales	G-6ª-15	MSS/13874
128	Tejada	libro de musica clavicembalo	G-6ª-16	M/815
129		Cifras para arpa	G-6ª-18	M/814
130		Canciones españolas con acompañamiento guitarra	G-6ª-20	MSS/13882
131		arte de cantar por el canto de organo	G-6ª-8	M/827- M/829
132		Vida tragica de Job	G-6ª-26	MSS/19500
133	Ladron de guevara	Cuaderno para enseñanza del solfeo	G-6ª-27	M/867
134		libro de psalterio organo clave	G-6ª-28	M/2810
135		Cuaderno de música	G-6ª-29	M/880
136		libro de los monges de san lorenzo	G-6ª-30	MSS/13565	Wrongly reported as previous G-6ª-3 at BNE
137		recueil des airs et chansons choesis	G-6ª-31	MSS/13567
138	Murcia (Santiago)	Resument de acompañar	G-6ª-33	M/881
139		toques de clarin … regimiento	G-6ª-34	M/863
140		contradanzas varias	G-6ª-36	M/919
141		Motetes y musica religiosa	G-6ª-37 y G-6ª-38	M/761 (second part)