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For  Reference 


NOT  TO  BE  TAKEN  FROM  THIS  ROOM 


special  J^ook  CoUeclton 


"The  search  for  truth  even  unto  its  innermost  parts 


,31m  -iHcmovtatti 

The  Gift  of 
SADYE  RUBIN  MARANTZ  LEE 


The  National  Women's  Committee 
of  Brandeis  University 


CATALOGUE 


OF 


MANUSCRIPT    MUSIC 


IN  THE 


BRITISH  MUSEUM   ^e^A  ^ 


BY 

AUGUSTUS   HUGHES-HUGHES, 

ASSISTANT   IN   THE    DEPARTMENT  OP   MSS. 


VOL.  II. 
SECULAR   VOCAL   MUSIC. 


PEIXTED   BY   OEDEPt   OF   THE   TEUSTEES. 

SOLD  AT  THE  BRITISH  MUSEUM; 

AND    BY 

Longmans  and  Co.,  39  Paternoster  Eow ;  Bernard  Quaritch, 
11  Grafton  Street,  New  Bond  Street ; 
Asher  and  Co.,  13  Bedford  Street,  Covent  Garden;  and 
Henry  Frowde,  Oxford  University  Press  Warehouse,  Amen  Corner, 

LONDON. 

1908. 

\_All  rights  reserved.'] 


Music 
Eeferenae 

Lf 


LONDON:  . 
PRINTED  BY  WILLIAM  CLOWES  AND   SONS,   LIMITED, 
PUKE  STREET,   STAMFORD  STREET,   S.E.,    AND   GREAT   WINDMILL  STREET,   W. 


TABLE    OF    CONTENTS 


Ballets  (vocal),  v.  under  Madri- 
gals,    pp.  120,  174,  etc. 

(instrumental).        v.     under 

Operas,  pp.  321,  352,  387,  390, 
394-5  (3),  429,  450. 

Birth-day  Songs,  v.  under  Odes 
(English),  passim. 

BuRLETTAS.     V.  Farccs. 

Oanons.  jDp.  1-12.  V.  also  under 
Duets,  p.  53  ; — Madrigals,  p. 
173. 

Cantatas  (for  solo  voices  and 
chorus,  etc.).  pp.  13-25.  v.  also 
under  Operas,  pp.  343,  362,  363. 

■ (a  2).     v.  under  Duets,     pp. 

62  (3),  63  (2),  65  (2),  66,  72, 
76,  78,  79  (2),  86,  89  (3),  94, 
95  (2),  98  ;— Madrigals.  157, 
166. 

(a  1).     V.  under  Songs,  pas- 


sim. 
Canzonets  (harmonized),   v.  under 

Madrigals,  passim. 
Catches,     pp.  25-47. 
Chansons  (harmonized),     v.  under 

jNladrigals,  passim. 
Choruses,     pp.  47,  52. 

Dialogues,  v.  under  Duets,  pas- 
sim;— Cantatas,  p.  14; — Madri- 
gals, p.  137  ; — Songs,  j^p.  481, 
484  ;— Trios.     650. 

Duets,  pp.  52-98.  v.  also  under 
Madrigals.  pp.  156-8,  165, 
189,  etc. 

Entr'actes,     v.  Intermezzos. 


Farces,  v.  under  Operas,  pp. 
301,  302,  307,  314,  316-17  (2), 
320  (2),  322,  331,  353,  354-5, 
379,  389,390(2),  396,  400,402, 
407,  418,  435,  436,  447. 

Feen-spiel.     v.  Pantomimes. 

Glees,  jip.  98-120.  i?.  also  under 
Trios,     pij.  650,  652. 

Incidental  Music.  v.  under 
Operas,  passim. 

Interludes,     v.  Intermezzos. 

Intermezzos,  v.  under  Operas, 
pp.  239,  279,  280,  283,  305, 
344,  350,  357,  368,  369. 

Madrigals,  pp.  120-192.  v.  also 
under  Duets,  pp.  83,  90 ; — 
Songs,  pp.  465  (Vesp.  A.  xviii, 
no.  2),  502. 

Masques,  v.  under  Operas,  pp. 
226  (2),  227  (2),  228,  230,  233 
(2),  240,  241,  243  (2),  244,  246 
(2),  249,  265,  307,  325,  378, 
392,  405  (words),  431.  v.  also 
under  Songs.  pp.  470,  471, 
505. 

Melodramas,  v.  under  Operas, 
pp.  277,  393,  396,  401-2  (3), 
407,  408,  415,  435. 

Monodramas.  v.  under  Operas, 
p.  443  ; — Songs,     p.  578. 

Motets    (harmonized     and    with 

Latin  woi-ds).     pp.  193-197. 
(8'  !)•     i^-  under  Songs,  pas- 


sim. 


Pef erence 


a  2 


/~\ 


IV 


TABLE  OF  CONTENTS. 


National  Music  (melodies, 
without  words  or  aocompani- 
ments).     Danish,     p.  198. 


English. 

Finnish. 

French. 

German. 

Greek. 


pp.  198-203. 
p.  203. 
p.  203. 
p.  203. 
pp.  203-4. 


Irish,     p.  204. 
Italian,     pp.  204-5. 
Moldavian,     p.  205. 
Norwegian,     p.  205. 
Polish,     p.  205. 
Russian,     p.  206. 
pp.  206-8. 
p. 

P- 
P- 


Scotch. 

Spanish. 

Swedish. 

Turkish. 

Welsh,     p.  209 

New-Year  Songs,     v 
(English),  passim. 


206- 

208. 

209, 

209. 


under  Odes 


under  Odes 


pp. 


V. 


Occasional  Songs. 

(English),  passim. 
Odes  (with  English  words). 

210-224. 
(with    foreign   words) 

under       Cantatas,      passim ; — 

Duets,    p.  95  ;— Glees,    p.  113. 
Operas,     pp.  224-450. 

Pantomimes.  v.  under  Operas, 
pp.  320,  321,  371  (sketch),  399, 
401,  403  (Feen-spiel). 


Part-songs,    pp.  451-457.    «.  also 

under  Songs,     pp.  468-9. 
Pasticcios.     v.  under  Operas,     pp. 

233,  280,  302,  321,  331,  339. 
Pastorales,     v.  under    Cantatas. 

pp.  16,  17  ; — Operas,     pp.  237, 

333,  379. 

Quartets,     pp.  457-459. 
Quintet,     p.  459. 

Rounds,    v.  under  Catches, pass/m. 

Septet,     p.  460. 

Serenatas.  v.  under  Cantatas, 
pp.  13(2),  14(2),  15(5),  16(3), 
18(3);— Odes.     p.  221. 

Solfeggi,     pp.  460-463. 

Songs,     pp.  463-642. 

Table-Entertainments,    pp.  643- 

648. 
Tapel-Musik.     v.  under  Cantatas. 

p.  19. 
Trios,    pp.  648-659.    v.  also  under 

Madrigals,     p.  189. 

Villanellas.    v.  under  Madrigals. 
pp.  161,  165,  179. 

Welcome  Songs,     v    under  Odes 
(English),  passim. 


TABLE  OF  MANUSCRIPTS. 


Aeundel  MSS. 
Arundel  350,  ff.  45,  45b.     p.  464. 

Cotton  MSS. 

Cotton,  Julius  A.  vi,  f.  90.     p.  464. 

Titus   A.  xsvi,  ff.  3b-4b  (p.  120) ; 

5  (p.  465) ;  5b,  6  (p.  120) ;   7  (p.  465) ; 
7b  (p.  120) ;  8  (p.  465). 

Vespasian  A.  xviii,  f.  164b.  p.  465. 


Egerton  MSS. 

Egerton   274,    ff.  41    (p.  193)  ;    98-118, 
131b  (p.  464). 

814-817.     pp.  272,  528. 

995,  2Mssi}n.     p.  141. 

1198, f .  147b.     p.  193. 

1402,  f.  16b.     p.  565. 

1432,  ff.  5b-7.     p.  523. 

1519-1521,  passbn.     pp.  253,  516- 

521. 

1527,  ff.  56-5Sb  ixissim.     p.  486. 

2009-2012,  jKissim.     p.  146. 

2013,    ff.l-65b    (p.    476);     66-68 

(p.  050). 

2379,  f.  230.     p.  807. 

2422.     p.  642. 

2451,  ff.  53-61.  '  p.  192. 

2458,  ff.  2-39.     p.  324. 

2459,    ff. 172-181    (p.    192) ;    181b, 

189  (p.  659). 

■ 2462,  ff.  89-98b.     p.  641. 

2464,  ff.  2,  11.     p.  509. 

2486.     p.  165. 

2487,    ff. l-21b   (p.    76) ;     22-23b 

(p.  514). 

2488.     p.  265. 

2489-2491.     p.  848. 

2492.     p.  222. 

2493.     p.  304. 

2494.     p.  410. 

2495,  2496.     p.  399. 

2497,  2498.     p.  412. 

2499,  2500.     p.  434. 

2501,  2502.     p.  407. 

2503,  2504.     p.  435. 

2505.     p.  .304. 

■  2506.     p.  .308. 

2507.     p.  309. 

2508,  2509.     p.  388. 


Egerton  2510,  2511.     p.  351. 

2513,   ff.    3    (p.   3) ;    12b-39    (pp. 

508-9) ;  40b  (p.  203). 

2514.     p.  578. 

2571,   ff. 1,   5   (p.   192);   26,   29b, 


36b  (p.  120). 

—  2735,  ff .  1-8.     p.  24. 

—  2736,  ff. l-16b  (p.  442) ;  17-48b 
(p.  463);  49  (p.  637);  53  (p.  442); 
57,  61  (p.  637). 

—  2740.     p.  427. 

—  2741,  ff.  1-131.     p.  439. 

—  2746,  ff.  3,  3b.     p.  431. 

—  2795,  ff .  10,  10b.     p.  10. 

—  2829,  ff.6-9.     p.  428. 


Haelby  MSS. 

Harley  746,  f.  107.     p.  465. 

978,  ff.  lib  (p.  25)  ;  14b-15  (p.  460). 

1264.     p.  494. 

1265,  ff .  1  (p.  494) ;  13-36  (p.  234)  ; 

37-233  passim  (pp.  494-5)  ;    237   (p. 
59) ;  243-253  (p.  495). 

1266,   ff.l-13b    (p.   499);    14-20b 


(p.  238)  ;  21-184b  (p.  499). 

1267,  ff.  1,  6  b  (p.  650) ;  12  (p.  495) ; 


18-93  (p.  234) 

—  1208,  1209.     p.  235. 

1270,   ff.l-18b    (p.     499);    19  (p. 


239) ;    22-40b  (p.  499)  ;    41  (pp.   239, 
499)  ;  42b-56b  (pp.  499-500). 

1271.     p.  495. 

1272,  ff.  1  (p.  500) ;  lb-10  (p.  236) ; 


lOb-75  (pp.  500-1) ;  76  (p.  236) ;  76b, 
77b  (p.  60) ;  78b  (p.  236) ;  82  (p.  60) ; 
84-96  (p.  236)  ;  104b  (p.  60). 

1273,  ff.1-21  (pp.  490-1);  21b 


(p.  233);  22-33b  (p.  491);  34b,  37 
(p.  233)  ;  41-44  (p.  491) ;  45b  (p.  58) 
50b  (p.  58) ;  57  (p.  491) ;  59  (p.  58) 
69  (p.  491)  ;  71  (p.  233) ;  73  (p.  58) 
75b-79  (p.  491) ;  79b-119  (p.  233). 
1501,  ff.  1-5  (p.  56) ;  6  (p.  229) ;  9, 


10b  (p.  56) ;  12-57b  (pp.  481-2) ;  58 
(p.  229) ;  58b-61  (p.  482) ;  63b  (p.  155) ; 
60b  (p.  482) ;  e7b  (p.  229) ;  69  (p.  56) ; 
69b  (p.  482). 

1792   p  239. 

1863^  ff .  i  -lib  (p.  59) ;  13b  (p.  236) 


17b-25  (p.  59);  26-96b  (pp.  495-6) 
99b,  100b  (p.  59) ;  lOlb-122  (p.  496) 


VI 


TABLE  OF  MANUSCRIPTS. 


128  (p. 236)  ;  129b-136  (p. 496) ;  139b, 
142b    (p.    59);  145b,    150b    (p.    496); 
153b  (p.  59). 
Harley  4685,  ff.  65,  65b.     p.  501. 

4899,  ff.8b,  9.     p.  489. 

5242.     p.  122. 

6855,  art.  13,  f.  37b.     p.  146. 

6947,  ff .  368-408.     pp.  475-6. 

7337,  f.  192b.     p.  3. 

7549,  ff .  5-17  (p.  491) ;   18  (p.  58) ; 

18b-43  (pp.  491-2) ;  46b-52  (p.  461). 

7578,  S.84:-116h  passim,     p.  138. 


King's  MSS. 

King's  289,  f.  153b.     p.  488. 

319.     p.  252. 

330-337.     pp.  277,  557. 

442.     p.  324. 

Lansdowne  MS. 
Lansdowne  807,  ff .  57-77.     p.  225. 

Royal  MSS. 

Royal   8   G.   vii,   ff.  1    (p.   1)  ;    15b-17 

(p.  193) ;  50b-56  (p.  193). 
■ 11   E.   xi,  ff.  2b,   3   (p.   1)  ;   3b-9 

(p.  193). 

15  B.  xix,  ff.  125b,  128.     p.  463. 

20  A.  xvi.     p.  127. 

Appendix  23-25,  ff .  lb-34b  ixissim 

(p.  132);  36b,  37b  (p.  193). 

Appendix  26-30,  ff .  1,  lb,  3  (p.  133) ; 

5  (p.  194) ;  lh-22h  passim  (p.  133). 

Appendix  31-35,  ff.4b,  etc.  (p.  194) ; 

5b-52b  passim  (p.  133) ;  55b-'70b  pas- 
sim (pp.  133,  194). 

Appendix  36-40.     p.  129. 

Appendix  41-44.     p.  134. 

Appendix  49-54,  passivi.     p.  134. 

Appendix  55.     p.  466. 

■ Appendix  57,  ff.  9-28.     p.  135. 

Appendix  58,  ff.  l-14b  passim  (p. 

123);  16b  (pp.  1, 124) ;  ll-bbh  passivi 

(p.  124). 
Appendix  59-62,  ff.26b-44.    p.  135. 

Appendix  74,  ff.  35b,  42.     p.  127. 


Sloane  MSS. 

Sloane  292,  ff.  5b,  6.     p.  466. 

1021,  ff.  22b  (p.  208) ;  30b  (p.  204) ; 

•    51,  58  (p.  472);  58b  (p.  452);  59-60 

(p.  472);  60b  (pp.  54,  472);  61-64b 
(p.  472);  72-74b  (p.  205) ;  75b  (p.  472) ; 
77,  77b  (p.  206) ;  79b-88  (p.  472) ;  108 
(p.  4G0). 

1941,  ff.  33-34b.     p.  493. 

3752,  ff.2-3  (p.  245);  7  (p.  245); 

29b-31b  (p.  245). 

Stowe  MSS. 

Stowe  1081,  ff.  4-12  (p.  492) ;  14  (p.  84) ; 
15b-30  (p.  492). 

1083,  ff.  117-118.     p.  72. 


Additioxal  MSS. 

Additional    4388,     ff.  102b    (p.    461); 
mi-lO'd  passim  (p.  474). 

4900,  ff.  58b-65b  (p.  466) ;  66b,  67 

(p.  2). 

4910,  f.  60.     p.  2. 

4914,  ff.  8-15b.     p.  196. 

5036,  ff.28b-36  (p.  158);    36b  (p. 


195). 


5042,  f.  28.     p.  195. 

—  5050.     p.  158. 

—  5051,  ff.  3-llb.     p.  195. 

—  5052.     p.  216. 

—  5054,  ff.  7-83  passim  (p.  159) ;  97b 
(p.  69) ;  98b  (p.  3) ;  99-101  (p.  69)  ; 
151h-Vl2  passim  (p.  159). 

—  5055.     p.  69. 

—  5056.     p.  70. 

—  5057.     p.  294. 

—  5058,  f .  74b.     p.  195. 
5321,    ff.  l-102b    (p.    18);   103    (p. 


580) ;  104b  (p.  18) ;  109b  (p.  580). 

—  5.322.     p.  65. 

—  5324.     p.  325. 

—  5325.     p.  325. 

—  5328.     p.  19. 

—  5329-5332.     p.  76. 

—  5333,   ff .  4    (p.  240) ;    57   (p.  240) ; 
62-83  (p.  213). 

—  5334.     p.  325. 

—  5335.     p.  77. 
5336,  ff.  1  (p.  36) ;  2  (p.  655) ;  3-5 


(p.    36) ;    5b    (p.    655) ;    7-10  (p.  36) 
10b-18b   (pp.   36,  458);   19  (p.   177) 
20b  (p.  458) ;  21  (p.  36) ;  21b  (p.  655) 
22b  (p.  36);   23-28  (p.  177);   32-36b 
(p.  36). 

—  5337,  ff.1-42  (p.  240);  44  (p.  166) ; 
79-81  (p.  166) ;  81b-82b  (p.  34) ;  83, 
85  (p.  112). 

5465,  ff .  2b-46b  (p.  124) ;  89b-115 


(p.  124). 

—  5665,  ff.  14b  (p.  52) ;  38b  (p.  125) ; 
53b  (p.  465);  65b-68  (p.  125);  68b 
(p.  52);  71b,  72b  (p.  125);  133b  (p.  52) 
135b,  136b  (p.  125);  137b  (p.  52) 
140b-143b  (p.  125);  144b  (p.  52) 
145b,  146b  (p.  125). 

—  5666,  f.  3b.  p.  465. 

—  6145.  p.  580. 

—  6146-6149.  p.  569. 

—  6318,  ff.  29-34.  p.  575. 

—  8791,  f.  152.  p.  488. 

—  9284.  p.  219. 

■ —  10336,  f.  18.  p.  1. 

—  10337,  ff . 2b,  19b,  24b  (p.  226) ; 
'd^-52 passim  (p.  493). 

10338,  ff.  14b-24  (p.  154) ;  24b  (p. 


649) ;  26b  (p.  478) ;  28b  (p.  228)  ;  30b, 
31b  (p.  55);  33-51  (p.  228);  51b-56 
(p.  13). 

—  10444,  passim,     p.  226. 

—  10445,  ff. 103b,  104b (p. 478):  105b- 
116,  124b-136b  (p.  228). 


TABLE  OF  MANUSCRIPTS. 


Vll 


Additional  11518.     pp.  221,  325. 

11581,   ff.  13   (p.  571);  13b  (p.  4) ; 

14   (p.  32);    (reversing   the   MS.)  40 

(p.  4) ;  39  (p.  4) ;  37b  (p.  4). 

11582,   ff.65    (p.    160);    81-85    (p. 


160) ;  85b  (p.  196) ;  86b-88b  (p.  160) ; 
89b,  90b  (p.  196). 

11583,  ff.  lb-29b  passim  (p.  160) ; 

31  (p.  196) ;  33h-3Sh 2Mssim  (p.  160). 

11584,  ff.2b-4i3rt.5siw  (p.l61);  4b, 

5b  (p.  196) ;  7-28b  2)assi»i  (p.  161) ; 
29b  (p.  4);  42b-47b  (p.  161). 

11585,  ff.  2  (p.  162) ;  4b  (p.  571) ; 

8b,  12,  12b  (p.  162) ;  13b  (p.  72) ;  15- 
25b  jKissim  (p.  162) ;  26  (p.  571) ;  26b, 
33b  (p.  162) ;  38  (p.  4) ;  43b  (p.  4). 

11586,  ff.  13b,  35,  36b  (p.  162) ;  38, 

38b  (p.  571)  ;  39,  40b,  44b  (p.  162). 

11587,  ff.  17b  (p.  72);  22-30  (p.  162). 

-  11588,  ff.  16b-51b  jMSsim  (p.  163) ; 
53-55  (p.  307);  50-63  (p.  164);  64- 
65b  (p.  4) ;  66b  (p.  164) ;  67  (p.  307) ; 
70b,  71  (p.  572) ;  71b  (p.  73) ;  73b 
(p.  307);  75-76  passhn  (p.  4);  77b 
(p.  32). 

11591,  ff.23,  39  (p.  314);  43b-57b 


(p.  576) ;  58,  63  (p.  315). 

11608,  ff.  2-15b  jKtssim  (pp.  54-5, 


(p.  581) ;  121  (p.  78). 

—  14113.     p.  269. 

—  14114.     p.  262. 

—  14115.     p.  261. 

—  14116.     p.  253. 

—  14117.     p.  294. 

—  14118.     p.  251. 

—  14119.     p.  268. 

—  14120,  ff.  1-154  (p.  251) ;  155-193b 
(p.  15). 

—  14121.     p.  248. 

—  14122.     p.  16. 

—  14125,  ff.  1.39-143.     p.  581. 

—  14135,  ff.  l-62b  (p.  71) ;  63-72  (pp. 
523-4) ;  84  (p.  301) ;  88,  98  (p.  524) ; 
105  (p.  71) ;  109,  112  (p.  524)  ;  115  (p. 
71);  126,  149,  167  (p.  301). 

—  14153,  ff.  128,  135  (p.  595) ;  139- 
148  (p.  351) ;  153-166  (p.  462). 


Additional  14157,  ff.  1,  6,   10  (p.  581) ; 

16-21  (p.    326);    22    (p.    581);    30-72 

2)assim  (p.  326) ;  73-79  (p.  88) ;  80-99 

(p.  326). 
14159,  ff.  219,   236  (p.  294) ;  240- 

243b  (p.  581). 

14162,  ff. 155-161b  (p.  291) ;  162- 


192b  (p.  171). 

—  14163,  ff. l-56b  (p.  489) ;  o7-120b 
(p.  292). 

—  14164.  p.  489. 

—  14165,  ff. l-201b.  p.  514. 
14166,  ff.  43  (p.  9) ;  73-76  (p.  168) ; 


474) ;  16b  (p.  226) ;  17b  (p.  474) ;  18  ' 
(p.  226);  18b  (p.  55);  20  (p.  227); 
20b-32b  (pp.  474-5) ;  33,  34b  (p.  55) ; 
35b  (p.  227)  ;  45b-52b  (p.  475) ;  53b- 
58  (pp.  452,  475) ;  58b  (pp.  55,  452) ; 
60-65  (p.  475) ;  66b  (p.  452) ;  67b  (p. 
648);  69,  69b  (p.  475);  70-77b  (pp. 
55,  475) ;  79b,  80  (p.  26) ;  80b  (pp.  26, 
475) ;  81  (p.  648) ;  83  (p.  452) ;  84-85  i 
(p.  26) ;  85b  (p.  2) ;  86b  (p.  26). 

—  11730,  f.  134.  p.  10. 

—  12050,  ff.  l-18b.  p.  301. 

—  12219.  p.  238. 

—  12532,  passim,    p.  166. 

—  14110,  ff.  1-41  (p.  84) ;  42b  (p. 
594) ;  43-88  (p.  177) ;  93-159  (p.  462) ; 
161,  177  (p.  594). 

14112,  ff. 107  (p.  326);  111-120 


77-93  (p.  581) ;  101  (p.  64)  ;  108  (p. 
581)  ;  114  (p.  458). 

—  14167.  p.  277. 

—  14168.  p.  251. 

—  14169.  p.  278. 

—  14170.  p.  326. 

—  14171.  p.  250. 

—  14172.  p.  249. 

—  14173.  p.  250. 

—  14175.  p.  348. 

—  14178,  ff.  l-84b  (p.  90) ;  85-124 
(p.  657)  ;  125  (p.  182) ;  147  (p.  182). 

—  14180,  ff.  lb  (p.  556) ;  7-196b  (p. 
278)  ;  197,  201  (p.  556). 

—  14181.  p.  78. 

—  14182.  p.  581. 
14183,  ff.  l-90b  (p.  326) ;  120,  134 


(p.  326) ;  140,  151  (p.  582). 

—  14184.  p.  582. 

—  14185.  p.  240. 

—  14186,  ff.  1-lOOb  (p.  240) ;  101- 
105b  (p.  502). 

—  14187.  p.  60. 

—  14189,  f.  41.  p.  9. 

— •  14190,  ff. 14-40b  (p.  195) ;  41-45b 
(p.  582). 

—  14192,  ff.  59-74.  p.  352. 

—  14197,  ff .  75,  140.  p.  19. 

—  14204.  p.  327. 

—  14205.  p.  262. 

—  14206,  ff.  1-79.  p.  78. 

—  14207,  ff.  1  (p.  583) ;  9  (p.  84) ;  12 
(p.  327)  ;  31-41  (p.  583)  ;  44  (p.  327) ; 
50  (p.  84);  56  (p.  327);  62-83b  (p. 
583) ;  85-100  (p.  327) ;  110  (p.  84)  ; 
126-151  (p.  327);  159  (p.  583);  165 
(p.  327) ;  180  (p.  583) ;  186  (p.  9)  ;  188 
(p.  327)  ;  196  (p.  583). 

—  14208,  ff .  1-75  (p.  328)  ;  82  (p.  79) ; 
88  (p.  328)  ;  96  (p.  79)  ;  104-107  (p. 
178) ;  108-112  (p.  6) ;  113-159  (p.  328) ; 
161  (p.  79) ;  163-180b  (p.  568). 

—  14209,  ff.  1  (p.  583)  ;  5  (p.  79)  ;  16- 
b9  passim  (p.  583);  (jO-1 3  passim  {^. 
328) ;  83  (p.  583)  ;  85  (p.  328) ;  88  (p. 
583) ;  92-116  (p.  328) ;  124  (p.  583) ;  132 
(p.  328);  146-190  (p.  79) ;  191  (p.  328). 

—  14210.  p.  564. 

—  14211.  p.  524. 

—  14212.  p.  558. 

—  14213,  ff.  l-145b  (p.  583) ;  146- 
159b  (p.  329). 


Vlll 


TABLE  OF  MANUSCRIPTS. 


Additional  14214.     p.  584. 

14215.     p.  511. 

14216.     p.  584. 

14217.     p.  585. 

14218,  ff.  1-117  (p.  485)  ;  118-157b 

(p.  558). 

14219.     p.  283. 

14220.     p.  526. 

14221.     p.  348. 

14222.     p.  512. 

14223,  ff.  2-85  (p.    284)  ;  86,    86b 

(p.  556) ;  87,  88  (p.  66)  ;  89  (p.  556) ; 
91  (p.  66) ;  92  (p.  556)  ;  93  (p.  284). 

14224,   ff.  2-21    (p.    565)  ;    22-112 

(p.  292). 

14225,  ff. 2-105b (pp. 510-11) ;  106- 

108b  (p.  63) ;  109-124  (p.  511). 

14226,  ff.  2,  6-12b  (p.  506) ;  13  (p. 

65) ;  16-119  passim  (p.  506)  ;  120  (p. 
65)  ;  124-151  25rtssiTO  (p.  506). 

14227,    ff.  3-27b    (p.    512)  ;    28-35 


(p.  279)  ;  36-101  (p.  512). 
—  14228,  ff.  2-45b  (pp.  489-90) ;  47- 
52b  (p.  60) ;  53-105  (p.  490). 

14229,  ff.1-68  (p.  295);  69-113 


(p.  514)  ;  121-129  (p.  15) ;  129-1.38b 
(p.  651)  ;  139,  144  (p.  514) ;  148-161b 
(p.  295) ;  162-164b  (p.  63) ;  165  (p.  514). 

—  14230.  p.  329. 

—  14231.  p.  279. 

—  14232.  p.  252. 

—  14233.  p.  352. 

—  14234.  p.  352. 

—  14235.  p.  279. 

—  142.36.  p.  329. 
p.  236. 
p.  237. 
p.  252. 

—  14240.  p.  279. 

—  14241.  p.  462. 

—  14242.  p.  461. 

—  14243.  p.  502. 

—  14244,  ff.  66-74b.  p.  514. 

—  14245,  ff.  2-29b.  p.  461. 

—  14336,  ff . 2-10  (p.  156) ;  10b-17b 
(p.  59)  ;  18,  18b  (p.  496). 

—  14339.  p.  219. 


14237. 
14238. 
14239. 


14340,  ff.  40-52  (p.  116) ;  53  (p. 

576) ;  56  (p.  657). 

14.341,  f.  27b.  p.  455. 

14342,  ff.  64  (p.  188)  ;  69  (p.  117) 

71  (p.  95). 

14343,  ff.  2b  (p.  636)  ;  4b,  6  (p 


119) ;  6b  (p.  636) ;  7  (p.  97) ;  7b  (p 
636) ;  8  (p.  97) ;  9b,  lib  (p.  119)  ;  17 
(p.  119);  17b  (p.  97);  18b  (p.  636) 
21-25b  (p.  119) ;  27-29b  (p.  636)  ;  30b 
32b  (p.  119) ;  33b  (p.  659) ;  .39b,  41 
(p.  119) ;  42b,  43  (p.  636) ;  43b  (p.  119) 
45b  (p.  636) ;  53  (p.  111). 

—  14390,  f.  35b.  p.  576. 

—  14394.  p.  189. 

—  14395,  ff.  3-76.  p.  189. 

—  14396,  ff.  l-13b  (p.  394) ;  15-21b 
(p.  309). 


Additional  14398,  ff.  132-1.34  (p.  196)  ; 
143b-154  (p.  159). 

14399,  ff.  4b-31  (pp.  493-4) ;  31b 

(p.  14) ;  34b  (p.  14) ;  36b,  39  (p.  59) ; 
41b,  43b,  44b  (p.  494). 

14939.  p.  209. 

15117,  ff.  3  (p.  225) ;  3b  (p.  467)  ; 

7,  9b  (p.  150)  ;  10b,  12  (p.  53) ;  14b, 
15  (p.  467) ;  15b  (pp.  150,  467) ;  16- 
20b  (p.  467) ;  21  (p.  150) ;  22b,  23 
(p.  467). 

15118,  ff.  2b-7.  p.  470. 

15166,  ff.  70,  89b.  p.  129. 

15233,  ff.  11-28,  44-45.  p.  224. 

15318.  p.  233. 

15516.  p.  168. 

15979.  p.  310. 

15980.  p.  241. 

1.5981,  15982.  p.  352. 

15983.  p.  315. 

15985,  15986.  p.  303. 

15987.  p.  349. 

15988,  15989.  p.  312. 

15990.  p.  312. 

15991.  p.  322. 

15992.  p.  241. 

15993.  p.  241. 

15994.  p.  305. 

15995.  p.  309. 

15997.  p.  314. 

15998.  p.  313. 

15999.  p.  389. 

■ 16000.  p.  353. 

16001.  p.  307. 

• 16002.  p.  317. 

16003,  16004.  p.  312. 

16005.  p.  403. 

16006.  p.  305. 

16007.  p.  316. 

10008.  p.  370. 

16009.  p.  390. 

■ 16010.  p.  .391. 

16011.  p.  314. 

16012.  p.  389. 

■ 16013.  p.  390. 

16014.  p.  329. 

■ 16015.  p.  300. 

10016.  p.  320. 

16017.  p.  316. 

16018.  p.  .303. 

16019.  p.  388. 

• 16020.  p.  353. 

16022.  p.  353. 

16023.  p.  329. 

16024.  p.  330. 

-—  16025.  p.  302. 

16026.  p.  275. 

16027,  16028.  p.  311. 

16030-16032.  p.  330. 

10033.  p.  330. 

■  16034-16036.  p.  330. 

16037-16039.  p.  330. 

16040.  p.  331. 

16041.  p.  331. 

10042.  p.  331. 


TABLE  OF  MANUSCRIPTS. 


IX 


Additional  16043,  16044.  p.  269. 

16045.  p.  237. 

16046,  16047.  p.  308.  • 

16048.  p.  308. 

16049,  ff.  1-146  (p.  320)  ;  149-168 

(p.  409). 

16050.  p.  322. 

16051,  16052.  p.  353. 

16053,  16054.  p.  353. 

16055,  16056.  p.  354. 

16057.  p.  354. 

16058.  p.  354. 

16059-16061.  p.  854. 

16062.  p.  354. 

16063.  p.  355. 

■ 16004.  p.  355. 

•  16005.  p.  810. 

16066.  p.  250. 

16067, 16068.  p.  412. 

16069, 16070.  p.  405. 

16071,  16072.  p.  411. 


16078,  16074.  p.  416. 

■ 16075.  p.  855. 

16076-16078.  p.  855. 

16079.  p.  356. 

16080.  p.  856. 

16081.  p.  356. 

16082,  16088.  p.  356. 

•  16084,  16085.  p.  357. 

16086.  p.  357. 

1G087.  p.  357. 

16088,  16089.  p.  357. 

16090.  p.  357. 

16091.  p.  357. 

16092.  p.  358. 

16093,  16094.  p.  2,85. 

16095-16097.  p.  285. 

16098,  16099.  p.  285. 

16100,  16101.  p.  285. 

16102.  p.  279. 

■ 16103-16105.  p.  280. 

16106.  p.  280. 

16107.  p.  358. 

16108.  p.  381. 

16109.  p.  882. 

16110.  p.  239. 

16111.  p.  257. 

16112.  p.  320. 

16113.  p.  405. 

16114,  16115.  p.  358. 

16116.  p.  302. 

16117.  p.  314. 

16118.  p.  358. 

16119.  p.  358. 

16120,  16121.  p.  349. 

16122.  p.  849. 

■  16128-16125.  p.  280. 

16126.  p.  234. 

16127,  1612S.  p.  359. 

16129,  16130.  p.  359. 

16131.  p.  382. 

16182,  16183.  p.  390. 

16134.  p.  390. 

16135,  16136.  p.  359. 

16137,  16138.  p.  359. 


Additioual  16141.  p.  295. 

16142.     p.  832. 

16143.     p.  832. 

16144.     p.  332. 

16145.     p.  306. 

16146.     p.  832. 

16147.     p.  383. 

16148.     p.  385. 

16149.     p.  317. 

16150-16152.     p.  280. 

16153.     p.  281. 

■ 16154.     p.  298. 

16155,  ff.  1-72.     p.  350. 

16156.     p.  833. 

16157.     p.  893. 

16158.     p.  891. 

16159.     p.  359. 

16160.     p.  893. 

16889,   ff.  2-53b  passwi  (pp.  467- 

468) ;  54b  (p.   58)  ;   56b-104b  passi7n 
(pp.  467-8). 

17785,  passim,    pp.  64,  263,  524-5, 


652. 

—  17786-17791,  passim,     p.  187. 

—  17792-17796,  passi77i.    p.  153. 

—  17797,  passim,     p.  189. 

—  17799,  17800.     p.  227. 

—  17829,    ff.  84b,   49b,    72  (p.  604) ; 
73-76  (p.  88). 

17830,  ff.  42-52b  (p.  370) ;  54,  56b 


(p.  88) ;  58-61  (p.  604)  ;  62  (p.  370) ; 
63-65b  (p.  604)  ;  66-77  (p.  370). 

—  17881,  f.  7b.     p.  004. 

—  17835,  ff .  22b  (p.  61) ;  45b  (p.  61) ; 
89  (p.  214) ;  134  (p.  214). 

—  17836,  f.  8b.  p.  .388. 
17850,  ff.  2  (p.  27)  ;  35b  (p.  508) ; 


86b  (p.  61). 

—  17858,  f.  41b.  p.  241. 

—  17858,  ff.  3-llb.  p.  221. 

—  17860,  ff.  2-120.  p.  388. 

— ■  17991,  ff.  8,  5b  (p.  469)  ;  9b  (p. 
457)  ;  10,  11  (p.  53)  ;  12b  (p.  469)  ; 
39b  (p.  58) ;  4Ub,  41b  (p.  469) ;  42b 
(p.  58) ;  43b-64b  (p.  469) ;  65b  (p.  53). 

—  18936-18939,  p,assim.   pp.  148, 195. 
18990,  ff.  2b  (p.  26)  ;  3b-7b  (p.471) ; 


8b  (p.  54)  ;  9b  (p.  471) ;  10b  (p.  54) ; 
llb-27b  (p.  471)  ;  28b  (p.  54) ;  29b 
(p.  471) ;  30b-34b  (p.  54). 

—  19269,  ff.  52,  107,  141b.  p.  405. 

—  19569,  ff .  1  (p.  626) ;  4-5b  (p.  658) ; 
6-21b  (p.  626). 

—  19588,  ff.45b-48.  p.  128. 
19647,  ff .  1  (p.  17)  ;  15  (p.  460) ; 


27,  39  (p.  578) ;  48  (p.  109) ;  47-89b 
passim  (pp.  573-4) ;  90  (p.  17) ;  102 
(p.  34);  108  (p.  109). 

19648,  ff.  2,  7  (p.  658) ;  14  (p.  459) ; 

16,  18  (p.  117) ;  20  (p.  94) ;  25,  39  (p. 
624);  44  (p.  94);  44b  (pp.  10,  44); 
45  (p.  624). 

19759,  ff.  2-3b  (p.  482) ;  4,  4b  (p. 

56) ;  5-7b  (p.  482) ;  8  (pp.  482,  649) ; 
8b-9b  (p.  482) ;  10  (pp.  229,  482)  ; 


TABLE  OF  MANUSCRIPTS. 


lOb  (p.  482)  ;  11  (pp.  26,  483) ;  lib 
(p.  210) ;  12b-13  (p.  483) ;  13b-21b 
jjcmim  (p.  26)  ;  22-28  (pp.  26-7,  56, 
483)  ;  28b-33  (pp.  229,  483) ;  33b-38b 
(pp.  56,  483-4) ;  39-40  (p.  27)  ;  40b- 
44  (pp.  57,  484)  ;  44b,  45b  (p.  229). 

Additional  20790,  ff.  482-484b.     p.  509. 

■ ■  20793,  ff.  429.     p.  569. 

21467,  ff.  l-66b  (p.  360)  ;  107-118 

(p.  360). 

22099,  ff.  19  (p.  27) ;  26  (pp.  27, 


247) ;  29b  (p.  63) ;  30  (p.  27) ;  30b  (p. 
505) ;  32-35  (p.  247) ;  35b-62  2MSSim 
(pp.  63,  247,  505)  ;  62b,  63  (pp.  27, 
505)  ;  63b  (p.  248) ;  64  (p.  28) ;  64b 
(p.  63);  65  (p.  28);  65b  (p.  63);  66 
(pp.  28,  216)  ;  66b  (p.  63) ;  67b-69  (p. 
248) ;  69b  (pp.  248,  505) ;  70b,  71  (p. 
505)  ;  71b  (p.  63) ;  73-78  (pp.  505-6). 

22100,  ff.  3-32b  jMssim  (p.   210)  ; 

40b  (p.  57)  ;  46b  (p.  484) ;  54b  (p. 
210) ;  59  (p.  210) ;  77b  (p.  484) ;  79 
(p.  13)  ;  84  (p.  484)  ;  87  (p.  649) ;  89b 
(p.  57)  ;  92b  (p.  484) ;  94,  98b  (p.  649) ; 
103  (p.  484) ;  108  (p.  57)  ;  111  (p.  13) ; 
117b  (p.  484) ;  120  (p.  57) ;  123  (p. 
230). 

22101.     p.  241. 

— ■  22102.     p.  242. 

22103.     p.  281. 

22104,  ff.  1-84  (p.  505) ;    85-109b 


(p.  63);  110-133  (p.  245). 


22105 
22106 
22107 
22268 
22270 
22271 
22272 
22307 
22697 
22910 
22911 


23625 

—  23626 

—  23723 

—  24198 
— •  24215 

—  24293 
(p.  156). 

—  24297 

—  24301 

—  24303 

—  24304 

—  24305 
-—  24306 

—  24307 


:03) ;  400  (p.  503). 


p.  258. 

p.  258. 

p.  333. 
22269.  p.  333. 

p.  316. 

p.  15. 

p.  257. 
f.  128.  p.  595. 
fE.47-51b  (rev.). 
f.  24.  p.  475. 
ff.  456  (p.  503) ;  458b  (p. 


p.  242. 


ff.  l-07b.  p.  169. 

ff .  12b-106  jXissm.  p.  169. 

passim,     p.  470. 

f.  lb.  p.  120. 

f.  214.  p.  371. 

ff.65b-74  (p.  59);  77b,  82 


ff.  41-52.     p.  334. 
24302.     p.  304. 
p.  258. 
p.  334. 
p.  250. 
p.  334. 
ff.  3-54  2>(issim  (pp.  334-5) ; 
06  (p.  585) ;    70-93  passim  (p.  335)  ; 
96-107  (p.  585) ;    110-138  p)assim  (p. 
335). 

24308,  ff.  2-8  (p.  028) ;  11  (p.  95) ; 


13  (p.  628). 

—  24310.     p.  617. 

—  24311.     p.  559. 


Additional  24312.     p.  169. 
24431.     p.  641. 

24665,  ff.  5b-62b  (pp.  468-9)  ;  63b 

(p.  53);  65b-71b  (p.  469). 

24889,  2yassim.     p.  239. 

25072.     p.  368. 

25073,    S. 8b-17    (p.    643) ;     27-38 


passim  (p.  322)  ;  42  (p.  595). 
25074,  ff.  3b  (p.  655)  ;  5b  (p.  112)  ; 

6b-8    (p.   595);   8b-llb  (p.  323);    12 

(p.  462);    13b-37b  (pp.  595-6);   47b, 

48b  (p.  323). 
25075,  ff.  2  (p.  323) ;  3b  (p.  596) ; 

4b  (p.  36)  ;  5  (p.  323)  ;  9-19  (p.  596) ; 

19b  (p.  323);   20  (p.  84);   20b-22  (p. 

596) ;  23b  (p.  112) ;  24b  (p.  596) ;  25 

(p.  323) ;  27-30  (p.  596) ;  40b,  35,  rev. 

(p.  323). 

25076,  ff.  3-llb  (p.  323) ;   12b  (p. 


643) ;  15b  (p.  596) ;   23b  (p.  84)  ;   25, 
26  (p.  323). 

—  25077,  ff.8,  9b  (p.  596);  19b  (p. 
32.3)  ;  20  (p.  596). 

—  25078,  ff.  llb-16  (p.  596) ;  16b  (p. 
221);  17-18b  (p.  597);  19b-21  (p. 
323) ;  21b,  22  (p.  597) ;  24b  (p.  323)  ; 
25-27b  (p.  597). 

—  25484.     p.  252. 

—  25965.     p.  .371. 

—  27579,  f .  64.     p.  2. 

—  27635.     p.  217. 

—  27636,  ff.  58b,  85.     p.  218. 

—  27637.     p.  218. 

—  27638.     p.  308. 

— .  27640,  f?.  15-42b  (p.  574);  43-62 
(p.  93) ;  63,  71  (p.  574). 

—  27642,  ft.  7-21  (p.  105)  ;  23  (p. 
165) ;  27-43  passim  (p.  105)  ;  44b 
(p.  4);  45b-81  passim  (p.  105);  83 
(p.  .33) ;  85-96  (p.  106) ;  99  (p.  33) ; 
100  (p.  106);  102  (p.  33);  102b  (p. 
106) ;  103,  103b  (p.  33) ;  104,  106  (p. 
106)  ;  107b-  108b  (p.  33)  ;  109  (p.  165) ; 
112b  (p.  106) ;  113  (p.  165) ;  115-123 
(p.  106);  125  (p.  3.3);  125b-19Sb  (p. 
106) ;  200,  201b  (p.  653) ;  202  (p.  33). 

27643,  ff.2-14b  (p.  115);   15b,  17 


(p.  33) ;  18-21b  (p.  622). 

—  27644,  ff.4-45jjassMu.     p.  110. 

—  27645,  ff.  2  (p.  107)  ;  5  (p.  104) ; 
7-14  (p.  107)  ;  17  (p.  33) ;  18-22  (p. 
85) ;  23-63  (p.  107)  ;  65b-66  (p.  33) ; 
71  (p.  33) ;  12-m  passim  (p.  107). 

—  27669,  f.  36b  (rev.),     p.  44. 
27700.     p.  394. 

p.  394. 
p.  395. 

—  27703.     p.  401. 

—  27704.     p.  401. 

—  27705.     p.  402. 

—  27706.     p.  402. 

—  27707. 

—  27708. 


27701 

27702 


p.  405. 
p.  406. 

27709.  p.  406. 

27710.  p.  406. 


TABLE  OF  MANUSCRIPTS. 


XI 


Additional  27711.  p.  407. 

27712.  p.  407. 

■  27713.  p.  408. 

27714.  p.  408. 

27715.  p.  409. 

27716.  p.  412. 

27717.  p.  412. 

27718.  p.  413. 

27719.  p.  413. 

27720.  p.  415. 

27721.  p.  415. 

27722.  p.  415. 

27723.  p.  417. 

27724.  p.  417. 

■  27725,  27726.  p.  417. 

27727.  p.  421. 

27728.  p.  421. 

27729.  p.  431. 

27746-27748.  p.  414. 

27755.  p.  219. 

27756.  p.  218. 

27981,ff.2-24b(p.488);  29b  (p.  2). 

27932,  ff.  2b  (p.  560) ;  3b-13b  (p. 

281) ;  14b,  15  (p. 560) ;  15b-27 (p. 281) ; 
27b  (pp.  281,  560);  28b  (p.  203);  29 
(p.  643). 

• 28325,  ff.  95-109b.  p.  226. 

28613,  ff . 4-llb.  p.  609. 

28757,  ff.38  (p.  156) ;  45  (p.  156). 

28862,  ff.  2-37b  (p.  371) ;  38  and 


38b  (p.  42). 

—  28971,  ff. 1-58  (pp.  615-16) ;  60 
(p.  92) ;  68-96  (p.  616) ;  102-105b  (p. 
50) ;  106-124 (p. 20) ;  125-166  (p. 616) ; 
168  (p.  92) ;  172-207  (p.  616) ;  208 
(p.  92) ;  212,  216  (p.  616) ;  220  (p.  92) ; 
224  (p.  616). 

—  29240,  ff.  27b-31.  p.  148. 

—  29247,  passim,     p.  148. 

—  29248.  p.  227. 

—  29249.  p.  515. 
29274,  ff. l-58b  (p.  335);  59-66b 


(p.  586);  67-97  (p.  335). 

—  29283-29285,  passim,     p.  230. 

—  29287.     p.  369. 

—  29291,  ff.3  (p.  169) ;  6-9  (p.  453) ; 
9b  (pp.  5,  34) ;  10-12  (p.  169) ;  13  (p. 
453);  13b  (p.  5);  14  (pp.  34,  653); 
14b-15b  (pp.  34-5);  16  (pp.  5,  34); 
17-18  (p.  35)  ;  18b  (pp.  5,  35) ;  19-20 
(p.  35);  20b  (p.  453);  22  (p.  169); 
23b  (p.  35) ;  24b  (p.  5) ;  30-32b  (p.  109) ; 
34b  (p.  453) ;  37-39  (p.  35) ;  39b-48b 
(p.  169) ;  50b  (p.  71) ;  51  (p.  112)  ;  53 
(p.  35) ;  56  (p.  170). 

—  29295,  f.l06b.  p.  371. 

—  29297.  p.  304. 

—  29325,  29326.  p.  425. 

29327,  29328.  p.  425. 

29329,  29330.  p.  428. 

29331,  29332.  p. 429. 

—  29333.  p.  430. 

—  293.34.  p.  431. 

29336.  p.  432. 

—  29336.  p.  443. 


Additional  29337,  29338.  p.  4-32. 
■ 29339-29345.  p.  433. 

29.346-29349.  p.  434. 

29350-29353.     p.  439. 

29354-29360.     p.  440. 

— —  29361-4.     p.  441. 

29366-29.368,  jx/ssim.     p.  138. 

29370,    ff.8,  20    (p.    564);    33-113 

jjassim  (p.  265) ;  113b  (p.  564). 

29371,  ff.  24-34  2)assim  (pp.   199, 


204,  207);  34b-47b  (pp.  199,  207); 
48  (pp.  200,  209);  48b-65b  passim 
(pp.  200,  207) ;  66  (pp.  201,  204,  208) ; 
66b-76b  jMssim  (pp.  201,  204,  208) ; 
77-87b  2wssivi  (pp.  201,  208) ;  88-100 
passim  (pp.  202,  204,  208) ;  lOOb-104 
passim  (p.  202). 

29372-29377,  passivi.     p.  150. 

29378,  ff.  3  (p.  242) ;  57-95  (p.  242) ; 

96-138  (p.  214);  139-181  ^jassiw  (p. 
242) ;  183  (p.  61) ;  188  (p.  243) ;  190 
(p.  61)  ;  194  (p.  243). 

29380,  ff.l7b-39b  jMssiw.     p.  170. 

29381,  ff.  3-41  passim,     p.  170. 

29382,  ff.  2-28b  jiassim   (p.   170) ; 


34b  (p.  653)  ;  37b  (p.  170). 
—  29383,  ff.  2-34b  p>assi7)i  (p.  170)  ; 
40  (p.  79). 

29384,  ff.  2-15b  passim    (p.  170): 


34  (p.  653) ;  35b  (p.  170)  ;  40b  (p.  79). 
—  29385,    ff.  2-27   j^assim    (p.    170) ; 
33b    (p.    652) ;    35b,  42    (p.  170)  ;  45 
(p.  5). 

29386,  ff.3  (p.  652);  3b  (p.  568); 


4b  (p.  652) ;  5  (p.  28) ;  5b  (p.  296) ; 
6  (p.  28) ;  6b-10b  (p.  296)  ;  lib  (p. 
568);  12  (p.  71);  13-14b  (p.  568); 
15-22  (p.  28);  22b  (p.  296);  23-34 
2Kissi?n  (p.  28)  ;  34b  (pp.  3,  29) ;  35- 
42  passi7)i  (pp.  29-30) ;  42b  (p.  652)  ; 
43,  44  (p.  30) ;  44b  (p.  3)  ;  45b-49b 
2MSsim  (p.  30)  ;  50  (pp.  3,  30) ;  .50b- 
61h  2}assim  (pp.  30,  652-3) ;  (reversing 
the  MS.)  95b  (p.  653) ;  95  (p.  296) ; 
93b  (p.  30) ;  92-88  (p.  296)  ;  87-69 
passivi  (pp.  297,  568,  653). 

29387,  f.  1.     p.  627. 

29388-29392,  f.  25  (p.  194). 

29393-29395,  ff . 2-5    (p.    6) ;  6b-8 


2yassim  (p.  35) ;  9b  (p.  197) ;  10b 
(p.  171) ;  12b-15b  passwi  (p.  3-5)  ; 
llh-29h passim  (p.  171). 

29.396,  ff.Sb,  10  (p.  478);  lib  (p. 


55) ;  15, 15b  (p.  228) ;  16,  16b  (p.  478) ; 
18  (p.  649)  ;  18b-45b  2i(issim  (pp.  55, 
228,  478-9) ;  46b  (p.  452) ;  48b-84b 
2)assi'm  (pp.  55,  228,  479-80)  ;  85b 
(p.  47) ;  89b-99  (p.  480) ;  99b  (p.  55)  ; 
100b  (p.  480) ;  104b-112b  2)»ssim  (pp. 
228,  480). 

29397,  ff.  3,  3b  (p.  57) ;  4,  4b  (p. 

484)  ;  5  (p.  27)  ;  6b  (p.  484) ;  6b,  7b 
(p.  27) ;  8b  (p.  484) ;  9b,  10b  (p.  57)  ; 
lib  (p.  484) ;  12b  (p.  57)  ;  13b  (p.  14) ; 
15b  (p.  484) ;  16b  (p.  57) ;  17b  (p. 


Xll 


TABLE  OF  MANUSCRIPTS. 


484) ;  18b  (p.  57) ;  22  (p.  484) ;  23- 
24  (p.  27)  ;  24b  (p.  484) ;  25  (p.  230)  ; 
27  (p.  57);  29-30  (p.  484);  30b  (p. 
27) ;  31b,  33  (p.  484)  ;  33b,  36b  (p. 
57) ;  37b  (p.  27) ;  38b-42b  (p.  484)  ; 
(reversing  the  ]\IS.)  96b  (p.  57)  ;  94b 
(p.  14) ;  89b,  88b  (p.  57) ;  85b  (p.  484) ; 
83b  (p.  57)  ;  82  (p.  230) ;  80b  (p.  453) ; 
78b,  76  (p.  485) ;  74  (p.  649) ;  71,  68b 
(p.  485) ;  67  (p.  27) ;  66b,  66  (p.  485)  ; 
62b,  60b  (p.  57)  ;  58-43b  passim  (pp. 
27,  485). 
Additional  29398.     p.  246. 

29399.     p.  214. 

29400.     p.  171. 

29401-29405,    ff.  2-37b  jMSshn  (p. 

50);    38b    (p.    195);    39b-44b  passim 
(p.  150). 

29427,  ff.  13-16b  p^assim  (p.  138) ; 


41b-44  (p.  138) ;  74-76  (p.  138) 

29481,  ff.  2-9  (p.  471) ;  10  (p.  54) 


ll-13b   (p.   471) ;  14  (pp.  155,  471)  ; 
15-25b    (pp.    471-2);    32b    (p.    155); 
39b,  44  (p.  650). 
29484.     p.  560. 

29801,  ff. 1-37  (p.  399) ;  39-62  (p. 

573) ;  62b  (p.  47) ;    68b-120b  passim 
(p.  573) ;  142b  (p.  5)  ;  153b  (p.  4.58). 

29802.     p.  411. 

29803,  f.  5.     p.  638. 

29961,    ff.2-31b    (p.    79);    32-49b 


(p.  654) ;  50,  54  (p.  458). 
—  29962,    ff.  34-56b  (p.    561) ;  57-70 
(p.  257). 

29963,  ff.2-50b  (p.  509);    51-59b 


(p.  65);  60-133  (p.  509). 

29964,    ff. 17    (p.    72);   25-154    (p. 


360). 


29965.     p.  286. 

—  29966.     p.  299. 

—  29967.     p.  360. 

—  29987,  ff.2b-69b  passiw.     p.  120. 

—  29996,  ff .  53b-83  2Mssivi  (p.  452) ; 
llOh-liGh 2^0 ssim  (p.  154). 

—  29997,   ff.  10  (p.  9) ;  14   (p.  399) ; 
25b,  26b  (p.  399) ;  31  (p.  626)  ;  39  (p.  9). 

—  29999,  f.  2.     p.  625. 

—  80016.     p.  182. 

—  30017,   ff. 2b   (p.  615) ;  3-59b  (pp. 
183-7). 

—  30018.     p.  182. 

—  30019,  ff.  1,  lb   (p.   183)  ;    2b   (p. 
615)  ;  3-51b  (pp.  183-7). 

—  30020,  30021.     p.  182. 

—  30091,  ff.lb,  3.     p.  52. 

—  30148,  ff.  2b-17  (p.  623) ;    17b-22 
(p.  51). 

—  30166-30169.     p.  371. 

80245.     p.  034. 

30246,  ff.  l-6b  (p.  459) ;  7-13b  (p. 


629) ;  14-16b  (p.  659) ;  18-22b  (p.  23) ; 
23-27b  (p.  414). 

—  30272,  passim,     p.  198. 

—  30273,  ff.  4,  5b  (p.  118)  ;  6b-29  (p. 
45) ;  29b  (pp.  45,  420) ;  30-53  (p.  45). 


Additional   30310,    ff .  2-12b    (p.    507); 
13-38  (p.  288). 

30342,  ff.  143,  143b.     p.  2. 

30361-30366,  f . 14b.  p.  194. 

30382,  ff.  2  (p.  452) ;  5,  6  (p.  498) ; 

29  (p.  13)  ;  31b  (p.  56) ;  33  (p.  452)  ; 
35,  36  (p.  56)  ;  38-42b  (p.  452)  ;  43 
(p.  498);  49b,  50b  (p.  56). 

30389,  ff.  145-169.  p.  223. 

30392,  ff.  20b-22  (p.  5)  ;  23b-30 


(p.  48). 

—  30393,  ff.  95-100.  p.  373. 

—  30396.  p.  222. 

— ■  30480-30484  passim,     p.  139. 

—  30491,  ff. 39-42  (p.  225) ;  42-43 
(p.  467) ;  43b  (pp.  225,  467) ;  44-45 
(p.  225) ;  50  (p.  225). 

—  30513,  f.  lb.  p.  127. 
30521,  ff.l  (p.  44);  3,  5  (p.  658) ; 


7  (p.  630);  8  (p.  658):  10b,  12  (p 
630);  13  (p.  058);  17-18b  (p.  630); 
19  (p.  113). 

—  30790.  30791.  p.  435. 

—  30792-30794.  p.  350. 

—  30795,  30796.  p.  301. 

—  130798-30800.  p.  282. 

—  30816-30819.  p.  140. 
— .  .30820-30822.  p.  130. 

—  30823-30825.  p.  142. 

—  30826,  f.  lib.  p.  651. 

—  30827,  f.  10b.  p.  651. 

—  30828,  f.  10b.  p.  651. 

—  ,30835-30837.  p.  136. 

—  30838.  p.  263. 

—  30840-1.  p.  06. 

—  30842.  p.  112. 

—  30859.  p.  404. 
— .  30901a.  p.  435. 

—  30901b.  p.  429. 

—  .30902,  30903.  p.  435. 

—  30904,  30905.  p.  436. 

—  30906-30908.  p.  413. 

—  30909,  30910.  p.  415. 

—  30911-30913.  p.  436. 

—  30914,  30915.  p.  420. 

—  30916,  30917.  p.  418. 

—  30918-30920.  p.  421. 

—  .30921.  p.  423. 

—  30922,  30923.  p.  444. 

—  30924.  p.  418. 

—  ;30930,  f .  6.  p.  649. 

—  30931,  f.  157b.  p.  586. 

—  30933,  ff .  121-135.  p.  3. 

309.34.  p.  211. 

30950,  ff.  1,  6  (p.  373) ;  135b  (p 

643)  ;  136  (p.  112) ;  136b,  139  (p.  373) 

30951,  ff.  1-55  (pp.  373-4,  644) 

57b  (p.  604) ;  59  (p.  644) ;  61,  67  (p 
374) ;  71,  73  (p.  644) ;  77-92  (p.  374) 
94-97  (p.  219) ;  98  (p.  374)  ;  99b  (p 
604) ;  100b  (p.  374)  ;  101-111  (p.  644) 
116  (p.  .374) ;  117  (p.  644)  ;  119-125 
(p.  374) ;  127,  130  (p.  644)  ;  136b-148 
(p.  374) ;  150  (p.  604)  ;  151,  152  (p. 
374) ;  154  (p.  644) ;  1-56,  158  (p.  374)  ; 


TABLE  OF  MANUSCRIPTS. 


XIU 


160  (p.  644);  164  (p.  374);  166,  168 
(p.  644);  170-173  (p.  604);  174-185 
(p.  644) ;  187,  188  (p.  374) ;  190b  (p. 
604) ;  191b  (p.  88) ;  192  (p.  644) ;  194 
(p.  374). 

Additional  30952,  ff.  lb  (p.  644) ;  3  (p. 
374)  ;  5  (p.  644) ;  6,  9  (p.  374)  ;  13  (p. 
644) ;  15  (p.  374)  ;  17b  (p.  219) ;  19  (p. 
374) ;  21  (p.  644) ;  23  (p.  374) ;  26b  (p. 
604) ;  28-34  (pp.  374-5) ;  36  (p.  644) ; 
39  (p.  604) ;  41b  (p.  644) ;  43  (p.  375) ; 
44  (p.  644);  46  (p.  219);  48-67  (p. 
375);  69  (p.  644);  71  (p.  375);  73b 
(p.  644) ;  74b  (p.  88) ;  75-116  jMSsim 
(pp.  375,  645) ;  117  (p.  604)  ;  119-179 
jMSsim  (pp.  375,  645);  180-192  (p. 
645). 

30953,  ff.  1  (p.  645)  ;  4  (p.  375) ;  7 

(p.  645) ;  11  (p.  375)  ;  16  (p.  645) ;  18 
(p.  220) ;  20,  22  (p.  645) ;  23  (p.  375) ; 
25  (p.  645) ;  29  (p.  220) ;  29b  (p.  49)  ; 
82  (p.  220);  34-69b  (pp.  375-6);  71 
(p.  645) ;  72-78  (p.  376) ;  82-90b  (p. 
645)  ;  92  (p.  605)  ;  94,  98  (p.  645) ;  99 
(p.  376) ;  103-109b  (p.  645) ;  111b  (p. 
605)  ;  112b  (p.  88) ;  113,  115  (p.  645)  ; 
121-lU  jyassiin  (pp.  376,  645-6) ;  147, 
149  (p.  646);  151  (p.  605);  153-168 
(pp.  376,  646) ;  172-8  (p.  646)  ;  183 
(p.  88) ;  187,  193  (p.  646)  ;  194b,  196b 
(p.  605);  198,  200  (p.  646);  202  (p. 
376)  ;  204-210  (p.  646). 

30954,  ff.  1,  3  (p.  646) ;  4-20 passi7n 


(pp.    376,    646) ;  22    (p.    605)  ;  24    (p 
646) ;  25-93  2Mssi7n   (pp.   376,   646)  ; 
95b  (p.  605)  ;  96b  (p.  89)  ;  97-162  pas- 
sim (pp.  376-7,  646-7) ;  166-189  p)as- 
sim   (p.   647) ;  191    (p.  605)  ;  193  (p. 
647) ;  195  (p.  377) ;  197,  199  (p.  647) ; 
200,  204b  (p.  377) ;  205b  (p.  89) ;  206b 
(p.  605) ;  208  (p.  377). 
—  30955,   ff.  1  (p.  377) ;  4  (p.  647) 
6-13  passim  (p.  377) ;  15,  18  (p.  605) 
19  (p.  647) ;  20  (p.  005) ;  23  (p.  647) 
25   (p.  377);  27  (p.    605);  30,  34    (p. 
647) ;  36-43  (p.  377) ;  46  (p.  647)  ;  49 
(p.  605) ;  50-84  (p.  377) ;  87  (p.  605) ; 
88-105  (pp.  377-8) ;  107-133  (pp.  378, 
647) ;  134-158  (p.  378) ;  163b  (p.  208)  ; 
164,  164b  (p.  605) ;  167-172  (p.  378)  ; 
173  (p.  647) ;  174,  176  (p.  378) ;  179 
(p.  605). 

30956,  ff.  1  (p.  378) ;  12,  14  (p 


605) ;  15,  15b  (p.  42) ;  16,  26  (p.  378) ; 
27  (p.  643) ;  28,  34  (p.  378) ;  38  (p. 
606);  39-51b  (p.  378);  53b,  55  (p. 
606) ;  56  (p.  378) ;  60b  (p.  606) ;  62- 
65  (p.  378) ;  71  (p.  606) ;  72  (p.  643) ; 
74-89b  (p.  378). 

30957,  ff.  1   (p.  42) ;  2  (p.  656) ;  3 

(p.  113) ;  4  (p.  42) ;  5b,  12b  (p.  113) ; 
18,  26  (pp.  42,  379) ;  30  (p.  648) ;  32 
(p.  113) ;  34  (p.  379) ;  35, 39b  (p.  113)  ; 
41,  43  (p.  379);  46b  (p.  42);  48  (p. 
650) ;  50b  (p.  113) ;  54,  56  (p.  43)  ;  57 


(p.  379) ;  67  (p.  648) ;  70  (p.  43)  ;  71b 
(p.  379) ;  72  (p.  49) ;  72b  (p.  606)  ;  73 
(p.  49);  74  (p.  379);  78  (p.  606). 
Additional  30958,  30959,  jxissim.      pp. 
006, 647. 

30960,   ff . 10-llb.      p.  317.      For 

other  folios  see  pp.  606,  647. 

30961,  30962,  j:iassiw.   pp.  606, 647. 

30963-30966,  passim..      pp.  379, 

606,  647. 

• 30967,  ^)assz TO .  pp.  606,  647. 

30973.  p.  293. 

30974.  p.  431. 

30975-30978.  p.  444. 

■  30979.  p.  436. 

30980.  p.  445. 

30999,  ff.  45-53b.  p.  392. 

31024.  p.  443. 

31119.  p.  350. 

31121.  p.  178. 

■ ■  31122.  p.  179. 

31154,  ff. 1-203.  p.  335. 

31155.  p.  350. 

31217.  p.  577. 

31222,  ff.  27b  (p.  105) ;  28b,  29  (p. 

32);  29b,  31b  (p.  105);  32b,  35  (p. 
113);  36b  (p.  105);  37,  39b  (p.  113); 
41  (p.  105) ;  47b  (p.  571) ;  48  (p.  73) ; 
50b,  52b  (p.  113). 

31226,  ff.  1-62.  p.  586. 

31227.  p.  409. 

31307,  ff.  13-61b.  p.  17. 

31308.  p.  297. 

31310,  ff . 37-40  (p.  586) ;  41-46 

(p.  182). 

31311.  p.  28. 

31389,  ff.  17,  18.  p.  466. 

31393.  p.  171. 

31398,  ff .  52-75  passim   (p.   159) ; 

76-80  (p.  568). 

81399,  ff.  100,  102  (p.  180). 

81405,    ff. 134-143    (p.    243) ;    144 

(p.  503) ;  145  (p.  214) ;  151b  (p.  61)  ; 
153  (p.  214). 

il40Q>,  passim,     p.  171. 

31407,  ff.  1  (p.    172) ;    3b  (p.  80)  ; 

(j-10&  passim  (p.  172). 

31409,  ff.8b  (p.   172);    21-25b  (p. 


172)  ;  28b  (p.  6)  ;  29b-153  (p.  172) 

—  31410.     p.  182. 

—  31411.     p.  155. 

—  31412,  ff.  2  (p.   75)  ; 
8b-9b  (p.  18);    10,   14, 


7b  (p.  653) 
19  (p.   165) 
165);  45b  (p 
73b  (p.   75) 


23b  (p.  577) ;  24-43  (p 

577)  ;   46,  54  (p.   165) ; 

74  (pp.  165,  577) ;  74b-76  (p.  577) 

—  31413,  ff .  l-71b  passim,     p.  174. 

—  31414.     p.  188. 

31415  (part  i),  ff.  l-5b  passim  (p. 

190) ;    6b-21    passim    (pp.    118,    190, 
455) ;  21b-30b  pass i??j  (p.  190). 

—  81415  (part  ii),  ff.  l-2b  (p.  190); 
3b-16b  passim  (pp.  118,  190.  455) ; 
17,  18  (p.  190) ;  18b  (p.  425) ;  20b-24b 
(p.  190). 


XIV 


TABLE  OF  MANUSCRIPTS. 


Additional  31415  (part  iii),  ff.  l-5b  (p. 

190) ;  6b    (p.    191) ;    7,   7b    (p.    118)  ; 

8-13  (p.   190)  ;    13b-19b  (p.  190) ;  20 

(p.  425);    22b,  23b    (p.   190);    24    (p. 

425) ;  26-81  j^ssim  (p.  190) ;   32  (p. 

11)  ;  34  (p.  118). 
81415  (part  iv),  ff .  l-5b  (p.  190); 

6b-42b    2)assi7n    (pp.    118,    190,    425, 

455) ;  4.3b  (p.  11) ;  44b  (p.  118). 

31415  (part  v),  ff.  l-2b  (p.    190) ; 


4-8b  2MSsim  (pp.  118,  190);  9  (p. 
190);  9b  (p.  425);  llb-16  (p.  190); 
16b  (p.  425) ;  18b  (p.  190)  ;  19  (p.  11) ; 
20  (p.  118). 

—  31415  (part  vi),  ff.  l-5b  (p.  190); 
6-39b  2^('ssim  (pp.  118,  190,  425, 
455). 

—  31418,  f.  70b.     p.  7. 

—  81419.     p.  191. 

—  31425,  passim,     p.  229. 

—  81431,  f.  63.     p.  229. 
31432,  ff.2b  (p.  54);  7b  (p.  648): 


8-12  (p.  473)  ;  12b  (p.  54) ;  14b  (p. 
473);  15  (p.  648);  16-18  (p.  473); 
18b  (p.  648);  19,  19b  (p.  473);  20b 
(p.  54)  ;  21b  (p.  648) ;  22  (p.  473) ; 
'22b  (p.  648);  24-25b  (p.  473);  26 
(p.  226);  26b,  27b  (p.  54);  28b-34 
(p.  473) ;  34b  (p.  54)  ;  36-39  (p.  473)  ; 
39b  (p.  648);  41-43  (p.  473);  48b 
(p.  54)  ;  44b-47b  (p.  478). 

—  81434,  passim,     p.  156. 

—  31436,  ff .  118-149b. 
31488,  ff.  51b  (p.  227) ;  60b-63  (p. 


154). 


31439,  ff. 3,  3b  (p.  487);  4b  (p. 
53) ;  5b,  6b  (p.  487) ;  7  (p.  58) ;  7b-15 
passim  (p.  487). 

31440,  ff .  l-50b  jMssim  (p.    486) 


53b-95b  2Mssim  (p.  57);  100b-145b 
(p.  650) ;  149b  (p.  155) ;  156b  (p.  57) ; 
lolh-ldih p)assim  (p.  155). 

—  81441,  ff.27-78b  (p.  80);  79  (p. 
654)  ;  79b  (p.  174)  ;  80  (p.  654) ;  80b 
(p.  6);  81-104. passim  (p.  174). 

—  81442,  2^0'Ssim.     p.  174. 
31447,  ff.  2-64  (p.   246);    65-147b 


(p.  215);  148-151b  (p.  246). 

—  81448,  ff. l-30b  (p.   214) ;    81    (p. 
24.3). 

—  31449.     p.  232. 

—  31450.     p.  307. 
31451,    ff.l    (p.    421);    65-88b  (p. 


223);  89  (p.  421). 
—  31452,    ff.  1    (p.    243) ;    15-28    (p. 
215) ;    28b    (p.    215)  ;    40    (p.    243) ; 
'll-Q^h  passim  (p.  215). 

31453,    ff.  2    (p.    212);    .39-132    (p. 


244) ;  138  (p.  212) ;  150b-168b  passim 
(p.  244) ;  169-170b  (p.  503) ; 171-173b 
(p.  244) ;  177-178b  (p.  503) ;  179  (p. 
61) ;  181  (p.  503) ;  181b  (p.  212) ;  182b 
(p.  244) ;  184,  192  (p.  503). 

—  81454.     p.  392. 

—  31455   (part   i),  ff.  2-5b  (p.   249)  ; 


7b  (p.  15) ;   8b-llb  passim  (p.  216)  ; 

18  (p.  249) ;  13b  (p.  217). 
Additionar31455  (part   ii),  ff.  2-7b  (p. 

249)  ;    llb-14   passim   (p.    216) ;    16 
(p.  249) ;  17  (p.  217). 
81455    (part   iii),   ff.  2-9  (p.   249) ; 

11  (p.   15);    lib,  12  (p.   68);    13-16b 

(p.  216) ;  18  (p.  63) ;  19  (p.  217)  ;  21b 

(p.  249) ;  22b  (p.  510)  ;  26  (p.  217)  ;  27b 

(p.  63). 

31455  (part  iv),  ff.  2-18b  (p.  249) : 


23b  (p.  15)  ;  25,  26b  (p.  63)  ;  27b  (p. 
68);  41  (p.  510);  49,  53b  (p.  249); 
61  (p.  63). 

—  81456.     p.  216. 

—  31457,    ff.  1-10   (p.    212) ;    10b   (p. 
496)  ;  11-44  (p.  212). 

—  81460,  ff.  70,  96b.     p.  501. 
31461,  ff. 68-83  (p.   503);    88b  (p. 


61) ;  84b-86  (p.  503) ;   89-93  (p.  61) ; 
93b-101b  (p.  504). 

81462,  ff.  lb-13    (p.    37);    13b    (p. 


861)  ;  15-32b  passim  (p.  37) ;  33  (pp. 
7,  37)  ;  34-39b  passim  (p.  37) ;  40b 
(p.  7);  41b,  42b,  45  (p.  37);  46b  (p. 
7) ;  49-56b  passivi  (p.  37) ;  57  (p.  7) ; 
57b,  60  (p.  37) ;  61,  64b  (p.  7)  ;  66b, 
67  (p.  180)  ;  67b  (p.  458)  ;  68b-71b 
passim  (p.  37)  ;  72b,  73  (p.  7) ;  73b- 
74b  (p.  38). 

—  31463,  ff .  2-19b  (p.  88) ;  20  (p.  7)  ; 
20b-81  (p. 88) ;  31b  (p. 861) ;  32b-47b 
(p.  89) ;  48  (p.  7) ;  48b-66  (p.  39) ;  66b 
(p.  7) ;  67-8  (p.  40) ;  68b-70b  (p.  453) ; 
71-80b^asswj  (p.  40). 

31464.     p.  44. 

81467,  ff.  108b-lll  (p.  627)  ;  117b, 


rev.  (p.  406). 

—  31471,  f.  142.  p.  6. 

—  81472,  f.  72.  p.  15. 

—  31473.  p.  14. 

—  31481,  ff.  82-85b.  p.  189. 

—  81487,  ff. 1-169  (p.  504) ;  170-197 
(p.  62). 

31488,  ff.  2-36  (p.  504)  ;  46-55  (p. 


244) ;  56-87  (p.  15) ;  88-115  (p.  62) ; 
116-185  (p.  504). 

—  31489,  piassim.     p.  586. 

—  31490,  ff.  2,  7,  14  (p.  336) ;  20-45b 
(p.  175) ;  46-50  (p.  330) ;  62-73b  (p. 
487);  82  (p.  386);  85-125b  passim 
(p.  80). 

31491,    ff.  2-119   passim   (p.   65); 


142,  144  (p.  282) ;  147  (p.  66). 

—  31492.     p.  73. 

—  31493,  ff.  8-93.     p.  80. 

—  81494.     p.  81. 

—  81495.     p.  244. 

—  31496,  ff.  2b,    12b  (p.   654)  ;    27b- 
112b  (p.  81). 

31497,  ff.  1-24  (p.  587)  ;  82,  37  (p. 


81) 


81502,  ff.  2-102  (p.  513) ;  104-107b 


(p.  251) ;  108-176b  (p.  513). 
—  31503,  ff .  2-59b.  p.  501. 


TABLE  OF  MANUSCRIPTS. 


XV 


Additional  31504,  f!.  3-15b  (pp.  268, 
527) ;  16b  (p.  64) ;  18-83  imssim  (pp. 
268,  527-8);  83b  (p.  217);  84-128b 
passim  (pp.  269,  528);  148b  (p.  217). 

31505,  ft.  2-73  (p.  62) ;  74-201  (p. 

651). 

31506,  ff.  2-103b  passim   (pp.  587- 

588) ;  104  (p.  81)  ;  112b-164b  passim 
(p.  588) ;  165-175b (p. 336) ;  176-185b 
(p.  176). 

31507.  p.  507. 

31508,  ff.  2-65b.  p.  588. 

31509.  p.  588. 

31510,  31511.  p.  516. 

31512.  p.  588. 

31513.  p.  245. 

31514.  p.  282. 

31515,  ff.  1-92  (p.  336) ;  93-123 

(p.  91). 

31516,  ff.  1-31  (p.  337) ;  32-83  (p. 


524) 

-  31517,  ff .  1  (p.  245) ;  23-25  (p.  514) ; 
27  (p.  24.5). 

-  31518.  p.  561. 
31520.  p.  247. 

31527.  p.  337. 

31529.  p.  176. 

31530.  p.  253. 

31534.  p.  156. 

31535,  f.  65b.  p.  157. 

31536.  p.  157. 

31537.  p.  158. 

31538.  p.  180. 

31539,  ff. 9-108b  (p.  180) ;  109- 

174  (p.  85). 

31540.  p.  216. 

31541.  p.  337. 

31542.  p.  338. 

31543.  p.  338. 

31544.  p.  338. 

31545.  p.  589. 

31546.  p.  590. 

31547.  p.  561. 

■  31549,  ff.  l-3b.  p.  510. 

■  31551.  p.  258. 

■  31552,  ff.  4-46.  p.  82. 

31555,  ff.  1-98  (p.  445) ;  99  (p.  24) ; 


109-125b  (p.  445) ;  127  (p.  98) ;  157- 
229  (p.  641);  230  (p.  24);  252-284b 
(p.  641). 

—  31556.     p.  439. 

—  31561.     p.  18. 

—  31562.     p.  338. 

—  31563.     p.  445. 

—  31564.     p.  361. 

—  31565.     p.  338. 

—  31566.     p.  339. 

—  31567.     p.  19. 

—  31569.     p.  339. 

—  31571.     p.  339. 

—  31572,  ff. l-171b  (p.  261) ;  172- 
178b  (p.  16). 

31573,  ff .  53b  rev.  (p.  98) ;  54-56b 


p,assim    (pp.    24,  446,   642)  ;    80,   80b 
(pp.  24,98);  81  (pp.  98,  641);   82  (p. 
24);  84  (p.  642). 
Additional  31574.     p.  564. 

31576,  ff.  83-118  2)«.ssiw.     p.  286. 

31577,  ff. 42-49b.     p.  262. 

31578.     p.  312. 

31585.     p.  82. 

31588,  ff .  13-90. 

31591.     p.  606. 

31592,  ff .  3  (p.  562) : 

282)  ;  127  (p.  562). 

31593,   ff . 1-12    (p.   340) ;    13-23b 

(p.  590) ;  24-127  passim  (p.  340). 

31594,  ff.5-6b  (p.  562);  7,  11  (p. 


p.  250. 

12-126b    (p. 


283) ;  15-22  (p.  562) ;  22b  (p.  66) ;  23 
(p.  283) ;  26-36  (p.  562)  ;  37  (p.  283)  ; 
41-52  (p.  562). 

-  31595.     p.  261. 

31596.     p.  26S. 

31597.     p.  276. 

— -  31598.     p.  289. 

31599.     p.  351. 

31600.     p.  380. 

-  31601,  31602.     p.  206. 

31603.     p.  286. 

31604,  ff.2-17  (p. 527) ;  18  (p. 265) ; 

22,  28-31  (p.  527);  32-104  passim 
(pp.  265-6);  108-115b  (p.  527). 

31605.     p.  341. 


31606. 

P- 

253. 

31607. 

P- 

258. 

31617, 

ff.l 

-73. 

p.  461. 

31618. 

P- 

590. 

31619- 

31624.  p 

270. 

31625, 

ff . 18-122. 

p.  341. 

31626. 

P- 

526. 

31631. 

P- 

342. 

31632. 

P- 

287. 

31633. 

P- 

295. 

31634. 

P- 

297. 

—  31637,  ff.  1,  8  (p.  342)  ;  10  (p.  590) ; 
17-21b,  74-109  passim  (p.  342) ;  113 
(p.  590). 

—  31638,  ff .  1-52  (p.  591) ;  52b-54b 
(p.  82). 

31639,  ff. 2-7b  (p.  507) ;  9-44b  (p. 


293) ;  45-49b  (p.  74). 

31640.     p.  208. 

31641,  f.  10b.     p.  311. 

31644.     p.  343. 

31645,  31646.     p.  291. 

31647.     p.  277. 

31648.     p.  259. 

31649,    ff .  1-95  passim    (p.    259) ; 

105  (p.  691) ;  115b  (pp.  6,  591) ;  117- 
1%5  passim  (p.  260). 

— -  31650.     p.  259. 

31651,   ff.  2-107  passim   (p.  298)  ; 


passim   (p.  446) ;    57-67  (pp.  641-2)  ; 
68  (p.  446) ;  69-70  (p.  642) ;  70b-79b 


108-125  (p.  591) ;  126-135  (p.  298). 
— .  31652,  31653.     p.  299. 

—  31654.  p.  290. 

—  31655.  p.  275. 

—  31657.  p.  302. 

—  31664.  p.  283. 


XVI 


TABLE  OF  MANUSCRIPTS. 


Additional    31665,    ff.  2-15     (p.    576) ; 
16-33  (p.  315). 

31667,  ff.  l-61b  (pp.  300-1)  ;   62- 

77b  (p.  591)  ;  78-148  (p.  301). 

31669,  ff.  lb  (p.  318) ;  i-llh  iMssim 

(p.  75)  ;  13,  16b,  19b  (p.  318) ;  21b 
(p.  75) ;  26b-37  (p.  318) ;  39,  40b  (p. 
75) ;  41b  (p.  318) ;  43  (p.  18) ;  45b  (p. 
318). 

31671,    ff.  1-14    (p.    48) ;     15b-29 


2MSsim  (p.  31);  29b  (p.  7);  30-33 
passim  (p.  31);  34  (p.  164);  38,  40 
(p.  Ill);  42,  45b  (p.  165);  48b-71b 
2xissim  (p.  Ill) ;  72-86b  (p.  217). 

—  31672.     p.  361. 

—  31673.     p.  362. 

31674,  ff.  1-56  (p.  343) ;  57  (p.  82) ; 

65-122  (p.  343). 

.31675.     p.  71. 

31676,  ff .  4b-12b  (pp.  591-2) ;  14- 


64:h  passim  (pp.  343-4)  ;  65b  (p.  592) ; 
66b-74  (p.  344) ;  74b,  76  (p.  592). 

—  31677,  ff.  2b-12b  jMssim  (p.  291) ; 
13  (pp.  291,  565) ;  13b-21b  (pp.  291- 
292) ;  24  (p.  565) ;  24b-38  (p.  292) ;  38b 
(p.  565);  41b-46  (p.  292);  56b  (p. 
565) ;  57  (p.  292). 

—  31678,    ff.  4b-47b    (p.    566)  ;    48b 


(p.  71) ;  49b-53b  (p.  566) ;  55b  (p.  71)  ; 
56-82b  (pp.  566-7)  ;  84  (p.  294)  ;  88- 
122b  (pp.  566-7)  ;  123b,  124b  (p.  294) ; 
125-138b  (pp.  567-8) ;  139b  (p.  71) ; 
140b-142b  (p.  568). 
—  31688.     p.  302. 

p.  344. 

p.  344. 

p.  345. 

ff.  1-23    (p.    592) ;  24-176 


—  31689. 

—  31690. 

—  31691. 

—  31692, 
(p.  345). 

—  31693. 

—  31700. 
31704, 


p.  221. 
p.  270. 
ff.  l-23b    (p.    75);    24    (p. 


362)  ;  64  (p.  362). 

—  31705.     p.  362. 

—  31709,  ff.  2,  40.     p.  362. 

—  31712.     p.  362. 

—  31713,  ff.  2  (p.  94) ;  12b  (p.  94) ; 
14,  18,  28  (p.  392);  32  (p.  94);  68 
(p.  392) ;  71-87  (p.  622). 

—  31715,  ff.  2-42  passim  (p.  Ill); 
46  (p.  187) ;  50  (p.  Ill) ;  55  (p.  187) ; 
m-'d^  passim  (p.  111). 

31716,  ff.  2  (p.   116) ;   6   (p.  188) ; 


V1-9S passim  (p.  116). 

—  31717,  ff.   l-103b   (p.   345) ;  104- 
127  (p.  592). 

—  31718,  31719.     p.  300. 
31723,  ff.  1-5  (p.  188) ;  7  (p.  110) ; 


9-17b  (p.  592);  18b  (p.  82);. 23b,  27 
(p.  592) ;  30  (p.  654)  ;  36  (p.  82) ;  38 
(p.  592);  40  (p.  654);  41b  (p.  363); 
43  (p.  592) ;  47  (p.  363). 

—  31724,  passim,    pp.  315,  576-7. 

31726,  31727.     p.  363. 

—  31728,  31729.     p.  363. 


Additional  31730.     p.  363. 

31731.     p.  89. 

31732,  ff.  4-13.     p.  84. 

31733.     p.  89. 

31734,  ff.  1-20  (p.  89) ;  21-109  (p. 

381). 


31735.     p.  364. 

—  31736,  317.37.     p.  312. 

—  31738,  31739.     p.  314. 

—  31740,  31741.     p.  318. 

—  31742,  ff .  1-llb  (pp.  592-3)  ;  12- 
18  (p.  83) ;  19,  21  (p.  593) ;  25-33b 
(p.  346). 

—  31743-31745.  p.  306. 

—  31746.  p.  309. 

—  31747.  p.  381. 

—  31751.  p.  463. 

— 31753,  ff.2-37b  (p.  72);  38-46b 
(p.  572). 

31754,  ff.  135  (p.  597) ;  140  (p.  92) ; 


143b  (p.  621). 

—  31755-31757.  p.  610. 

31758,  ff.  lb-12b  (pp.  568-9) ;  14b- 


22  (p.  71) ;  22b,  24  (p.  569)  ;  24b  (p 
71);  25b,  27  (p.  569);  28-31b  (p 
297). 

—  31759.  p.  611. 

—  31760,  ff .  1-24  (p.  607) ;  27-30  (p. 
89) ;  31-58  (p.  607). 

—  31763,  ff .  8b,  40b.  p.  570. 

—  31764,  ff.  8-9.  p.  607. 

31765.  p.  621. 

31767.  p.  393. 

31768.  p.  391. 

31769,  ff.  2  (p.  381) ;  22-41  (p.  613) ; 


42-89  (p.  381) 

31771.  p.  400. 

31772.  p.  414. 

31773,  31774.  p.  437. 

31775,  31776.  p.  403. 

31777,  31778.  p.  408. 

31780,  31781.  p.  437. 

31792-31795.  p.  437. 

31804,  ff.  2-45b  passim  (p.  100) 

47b  (p.  85)  ;  49-96  passivi  (p.  100) 
98b  (p.  85)  ;  101-137  passim  (p.  100) 
139  (p.  48) ;  144  (p.  100). 

31805,  ff.  2-87  passim  (p.  101) ;  91 


(p.  85) ;  92-97b  passivi  (p.  101) ;   99 
(p.  364) ;  102b-133  (p.  101) ;  137b  (p. 
85) ;  138  (p.  40) ;  139-173  passim  (p. 
102)  ;    175   (p.  85)  ;    176-193  passim 
(p.  102)  ;  195  (p.  364)  ;  200,  202b  (p. 
85);  204-226  i^assim  (p.  102). 
—  31806,   ff.  3b-29  passim   (p.   98) 
3.3b  (p.  85) ;  35  (p.  99)  ;  42  (p.  655) 
43b  (p.  181) ;  46b  (p.  99) ;  50b  (p.  364) 
51b  (p.  31) ;  52  ^p.  454) ;  54  (p.  31) 
54b  (p.  364) ;  56,  57b  (p.  99) ;  58b  (p 
31) ;  59,  61b  (p.  99) ;  64b,  65b  (p.  655) 
66b    (p.    454);  68b  (p.  364);    75b   (p 
181) ;  78-80b  (p.  655)  ;  81b  (p.  458) 
83  (p.  99) ;  84b  (p.  655) ;  85b  (p.  365) 
86b  (p.  99) ;  89-90b  (p.  31) ;  91b  (p 
655) ;    93  (p.  31)  ;  93b  (p.  454) ;  94b 


TABLE  OF  MANUSCRIPTS. 


xvu 


A 


(p.  31)  ;  95  (p.  85)  ;  96b  (p.  99) ;  98b, 
99  (p.  31)  ;  99b  (p.  181) ;  102-116  (p. 
99) ;  117b  (p.  31) ;  118  (p.  181) ;  121 
(p.  99)  ;  125b  (p.  181) ;  127  (p.  99) ; 
129-131  (p.  31) ;  131b  (p.  99) ;  133b- 
135  (p.  31) ;  135b  (p.  181) ;  136  (p.  32) ; 
137b  (p.  181) ;  139b-141  (p.  32) ;  141b 
(p.  181) ;  147  (p.  32) ;  150b  (p.  181) ; 
155-171  (p.  32);  191b  (p.  181);  197 
(p.  365);  198  (p.  181). 

Additional  31807,  ff.  1-60  jMssim  (pp. 
103-4);  65  (p.  656);  70-178  ^Mssim 
(p.  104). 

— -  31808,  ff.  2h-94:passim  (pp.  107-8) 
97  (p.  656) ;  100-115  ^mssiDi  (p.  108) 
116b  (p.  7) ;  117-144b  2Mssim  (p.  108) 
146b  (p.  181);  148b,  150b  (p.  103) 
152  (p.  454);  154b,  155b  (p.  108) 
169b-161  (p.  40)  ;  161b,  164b  (p.  108) 
166  (p.  181) ;  167b  (p.  108). 

31809,  ff.  1  (p.  113) ;  4b  (p.  182' 


9b  (p.  113) ;  10  (p.  43)  ;  16b  (p.  113) 
22  (p.    113);  24,  24b  (p.    43);  25-36 
2}assim  (p.  113)  ;  39  (p.  182). 

31810,  S.  1-210  jjassim.     p.  102. 

31811,  ff.  lb-67  (pp.  40-1,  109, 


181);  67b  (p.  597);  68-81  (pp.  41, 
109)  ;  82b  (p.  181) ;  84  (p.  41) ;  85- 
100b  (p.  109) ;  101  (pp.  109,  181) ;  103 
(p.  181) ;  104,  105  (p.  8)  ;  106,  106b 
(p.  41) ;  107b  (p.  8)  ;  109-127  (p.  109) ; 
128-149  (p.  41);  160  (p.  109);  152b, 
154b  (p.  8)  ;  156b  -(p.  41)  ;  158  (p.  8) ; 
160b  (p.  41) ;  162b  (p.  8) ;  164b  (p. 
109) ;  160,  169  (p.  181). 

31812,  ff.  1-50  (p.  223) ;  51  (p.  320) ; 


78,  82b  (p.  188) ;  84b  (p.  454) ;  86-118 
passim  (p.   114);   119  (p.  320);  120b 
(p.  630) ;  121  (p.  578) ;  135  (p.  320) 
136-140  (p.  578) ;  142  (p.  188) ;  147 
151    (p.    578);    153-155    (pp.    320-1) 
157-159  (p.  578) ;  160  (p.  321). 

81813,  ff.  lb  (p.  656) ;  2b  (p.  607) 


3b  (p.  75) ;  5  (p.  105) ;  7  (p.  220) ;  9 
13  (p.  321) ;  25-5Q passim  (pp.  43,  321) 
61,  71-83  (p.  321);  84,  99  (p.  220) 
107-127b  (p.  321) ;  128  (p.  221) ;  129 
129b,  130b  (p. 321) ;  131, 131b (p. 607) 
132  (p.  321);  133  (p.  221);  146-153 
(p.  607);  155  (p.  75);  156  (p.  454) 
159-164  (p.  607). 

—  31814,  ff .  l-20b (p.  217) ;  21 (p. 571) 
43b-54b  (p.  74)  ;  57-61b  (p.  571) 
m-(S5  passim  (p.  34) ;  69-78b  (p.  461) 
31815,  ff .  55-64b  (p.  48) ;  65-84  (p, 


390);  Q5~1W  passim  (p.  114). 

—  31816.     p.  89. 

—  31817,  ff.  lb  (p.  86) ;  10b  (p.  86) ; 
12-27b  (p.  365) ;  28  (p.  656) ;  30-157b 
(p.  365) ;  159  (p.  656)  ;  160b,  163  pas- 
sim (pp.  365-6);  165  (p.  597);  166, 
167  (p.  366);  175,  176  (p.  597). 

—  31818,  ff.  53  (p.  182)  ;  73b  (p.  613). 

—  31819,  ff.  2,  3b  (p.  9) ;  4  (p.  43) ; 
13  (p.  9). 

II 


Additional  31820,  ff.  5-6.    p.  20. 

31822,  ff.  5  (p.  407) ;  5b-6b  (p.  613). 

31859,  ff.  3b,   4b  (p.  625)  ;  5b   (p. 

404)  ;    7b,    8b    (p.    625) ;    9b,    19  rev. 
(p.  404). 

31900. 

31901. 


p.  593. 

p.  192. 

—  31922,  ff .  4b-20b  passim  (p.  125) ; 
21b,  22  (p.  26)  ;  22b,  23b  (p.  126) ; 
24b-26  passim  (p.  26);  27b-29b  (p. 
126);  30b  (p.  53);  32b-74b  passim 
(p.  126);  7yb,  80  (p.  26);  84b-87b 
(p.  126) ;  90b,  91  (p.  2) ;  94b,  96b  (p. 
126) ;  98  (p.  26) ;  99b,  100b  (p.  126) ; 
103  (p.  26)  ;  106b-124b  passim  (p. 
126). 


31987,  ff.  1-15.     p.  640. 

—  31992,  passim,     p.  130. 

—  31993,  ff.  6-50  (p.  248) ;  50b-55b 
(p.  510) ;  56  (p.  248) ;  57b  (p.  510)  ; 
64b-78  (p.  248)  ;  79  rev.  (p.  62). 

—  31995,  ff .  18,  19.     p.  8. 

—  32017,  passim,     p.  455. 

—  32018,  ff .  50,  56.     p.  624. 
32019,  ff.  1-8  (p.  624) ;  11  (p.  419) ; 


14-55  (pp.  624-5) ;  56  (p.  96) ;  59  (p 
96) ;  63  (p.  43). 

—  32020.     p.  191. 

—  32021,  ff.  2b-15  passim  (p.    115 
18b    (p.    44)  ;  19b.  23b,  25b  (p.  115' 
27b  (p.  44) ;  28  (p.  115) ;  30b  (p.  44)  ; 
31b-38b  (p.    115)  ;  43b  (p.  44) ;  46b 
53    (p.   115) ;  56b   (p.    44)  ; 
115);  64b   (p.    44);  65,    07 
68b  (p.  44). 

—  32025.     p.  277. 

—  32026.     p.  290. 


57-62    (p 
(p.    115); 


32027.  p.  275. 

32028,  32029.     p.  295. 
32030.     p.  300. 


32031. 
32035. 
32036. 
32037. 
32038. 


303. 

8. 

158. 

400. 

366. 


p.  366. 


(P 


11  (p.  49) ;  26 


32040,  ff.  l-38b. 

32041.  p.  321. 
32044,  ff.  1  (p.  49) 
91) ;  32-40  (p.  613) ;  51  (p.'  91)  ; 

61-69b  (p.  657) ;  70,  76  (p.  613). 

—  32045,  f.  51?.  p.  607. 

—  32061-32063.  p.  300. 

—  32064.     p.  369. 
p.  369. 

369. 

369.  : 

370. 
p.  370. 

—  32072,  ff.  90b-108  passim,     p. 

—  32073,  ff.  169-180b.     p.  608. 

—  32079,  ff.  l-103b  (p.  366) ;  104-142 
(p.  614). 

—  32081.  p.  381. 

—  32138,  f.  297b.  p.  48. 

—  32142,  32143.  p.  382. 

h 


32065. 
32066. 
32067. 
32068. 
32069. 


P- 
P- 
P- 


288. 


XVIU 


TABLE  OF  MANUSCRIPTS. 


Additional  32144.     p.  272. 

32145.  p.  301. 

82146.  p.  292. 

32149.  p.  351. 

32151,  ff.  l-16b  (p.  95) ;  17-24 

(p.  382). 

32153.  p.  450. 

32154.  p.  446. 

32158,  n.  1-21  passim,     p.  641. 

32160,  ff .  lb  (p.  593) ;  59,  58b,  57, 


rev.  (p.  654). 

—  32169,  ff.  1  (p.  83) ;  5b  (p.  83) ; 
lOb-89  passim  (p.  382);  94-135b 
(p.  83) ;  143-185b  i^assiw  (p.  382). 

—  32170,  ff.  34,  42.     p.  346. 

—  32172.     p.  305. 
32173,    ff.  1    (p.    572);    3    (p.  74); 


7-24  (p.  48) ;  25-32b  (p.  572). 

—  32174,    ff.  33-72  passim  (p.  305); 
147-206  (p.  594) ;  207,  214  (p.  305). 

—  32175.     p.  351. 

—  32176,  32177.  p.  36G. 
32178,  ff.  1-51,  56  (p.  367) ;  68-69b 


(p.  608) ;  70-111  (p.  367). 

—  32179, f . 65.  p.  G35. 

—  32181,  ff.  l-12b  (pp.  597-8) ;  15, 
16  (p.  9) ;  17  (p.  598) ;  19  (p.  50)  ;  20 
(p.  454) ;  22b  (p.  9) ;  23b-26b  (p.  86) ; 
27  (p.  18) ;  36  (p.  18) ;  50-95b  (p.  317) ; 
96  (p.  50)  ;  103-llOb  (p.  317) ;  111 
(p.  18)  ;  242  (p.  317). 

32182,  ff.  l-179b  (p.  3G7) ;  180-215b 


(p.  598)  ;  216-260b  (p.  19). 

—  32183,  ff .  1-48  (p.  20) ;  49,  66,  89 
(p.  383) ;  154  (p.  630) ;  157  (p.  454) ; 
160-166b  (p.  630). 

—  32188,  ff . 2-32b (p. 628) ;  33 (p. 459) ; 
35  (p.  628);  41-67b  (p.  425);  68 
(p.  628);  90-96b  (p.  459). 

—  32189,  ff.  1-62  passim  (pp.  316, 
632);  74-104b  (p.  51);  105-142 
(pp.  632-3). 

32190,  ff.  1-36  (p.  386) ;  37  (p.  459) 


39,  42  (p.  50) ;  46  (p.  659) ;  48  (p.  11) 
51-58b  (p.  624)  ;  59  (p.  20) ;  76  (p.  20) 
90,  91  (p.  624)  ;  93-114  (p.  386) ;  116 
(p.  50) ;  120  (p.  624) ;  125,  129  (p.  50). 

32191.  p.  21. 

32192.  p.  21. 

-  32193^  ff.'l-98b  (p.  22) ;  99-153 
(p.  578). 

— .  32194.  p.  21. 

32195.  p.  20. 

32196.  p.  402. 

32197.  p.  318. 

32198.  p.  403. 

32199.  p.  400. 

32200.  p.  402. 

32201,  32202.  p.  395. 


32203,  32204.  p.  386. 

32205.  p.  386. 

32206.  p.  387. 

32207,  32208.  p.  393. 

32209.  p.  395. 

32210.  p.  387. 


Additional  32211,  ff .  1-9G  (p.  429) ;  97 
(p.  608). 

.32212,  32213.  p.  401. 

32214,  32215.  p.  399. 

32216,  ff.  l-116b.  p.  420. 

■ 32217,  ff.  26-41.  p.  420. 

32229,  f.  146  (p.  608)  ;  151  (p.  38.3). 

32236,  f.  16b.  p.  383. 

32237,  ff.  3-44  (p.  608) ;  46-56  (p. 

319);  49-52  (p.  608);  58  (p.  458); 
59-67  (p.  319)  ;  69  (p.  198) ;  70  (pp. 
43,  90,  319) ;  71  (pp.  203,  204)  ;  73 
(pp.  205,  209)  ;  73b  (pp.  205,  209)  ; 
74-75b  (p.  205)  ;  77  (p.  205)  ;  77b 
(pp.  49,  206) ;  78,  78b  (p.  206) ;  79  (p. 
209)  ;  85  (p.  319) ;  110  (p.  319). 

32238,  ff.  94-lOOb.  p.  631. 

32313.  p.  94. 

32314,  ff.  2,  4  (p.  446) ;  8-25b  (p. 


642). 


32339.  p.  496. 
—  .32343,  ff.  6b  (p.  617) ;  8  (p.  392)  ; 
11,  12  (p.  472). 

32377,  ff.  5  (p.  130) ;  67b  (p.  193) ; 


78-7 9b  (p.  130). 

-  32378.  p.  383. 

-  32383,  ff.  1,  108.  p.  422. 

-  32385.  p.  23. 

-  32387.  p.  51. 

-  32391,  ff.  l-96b  (p.  25);  97-lOOb 
(p.  192). 

-  .32394,  ff.  1-23.  p.  642. 

32396,  ff.  l-37b.  p.  424. 

32397,  ff.  25-48.  p.  415. 

32402.  p.  303. 

-  32403,  32404.  p.  367. 

32405.  p.  443. 

32406,  32407.  p.  391. 

32408.  p.  387. 

32409,  ff.  1-17.  p.  17. 

32410,  ff.  1-36.  p.  440. 

32411,  f.  32b  (p.  205) ;  33  (pp.  204, 

205);  33b  (pp.  51,  206);  49  (p.  10); 
64-66  (p.  406). 

32429,  ff.  99b,  107-111  p>assim. 

p.  454. 

32430.  p.  16. 

32434.  p.  462. 

32435,  ff.  1-156  (p.  384) ;  157-162b 


(p.  570). 

32436,  ff. 17-19b  (p.  346);  91-107 


(p.  52). 

—  32437 

—  32460 


p.  387. 
p.  346. 


32461.  p.  .394. 

32462.  p.  22. 


p.  418. 


32580,  ff.  39-145b. 

32581.  p.  232. 
p.  259. 
p.  346. 
ff.  103-107  (p.  86);  108 


—  .32582. 

—  32583. 

—  32584, 
(p.  622). 

32585. 


p.  410. 

—  32586,  ff.  3,  6,  8  (p.  629) ;  10  (p. 
96) ;  14-32  (p.  629) ;  33  (p.  658) ;  36 


TABLE  OF  MANUSCRIPTS. 


XIX 


(p.  629) ;  38  (p.  96) ;  40-70  (p.  629) ; 
72  (p.  463). 
Additional   32587,   ff.  25b  (p.   446) ;    26 
(p.  47);  28-45b  (p.  119). 

32588,  S.  37-68b  (p.  593)  ;  113-130 

(p.  388). 

32589.     p.  368. 

32590,  32591.     p.  401. 

32594,  ff.  8,  21.     p.  19. 

32596.     p.  598. 

■ 32664-7.     p.  447. 

32668.     p.  448. 

32669,  ff.  2b  (p.  635) ;   3b-28  (pp. 

425-6) ;  29b  (pp.  426,  636) ;  30-113b 
(p.  426). 

32670,  ff.  l-6b  (p.  427) ;  7  (p.  635) ; 

7b-47  (p.  427). 

32671,    ff.  1-29   2'x^'^^i"''   (P-    430) ; 


30b  (p.  636);   31-4  (p.  430);   37b  (p. 
22);  38-43b  ^jassi??!  (p.  430). 

—  32672,  ff.  1-58  jyassim  (pp.  432-3) ; 
58b-63  (p.  638) ;  65-76  (p.  433) ;  88b 
(p.  23)  ;  94  (p.  433). 

—  32673,   ff.  l-54b   (p.    83) ;    55-97b 


(p.  654). 

-  32674.     p.  384. 

-  32675,  2}ctssi7)i.     p.  385. 

-  32676.     p.  385. 

-  32677,  ff.  61-64.     p.  456. 

-  33205,  ff .  356-358.     p.  456. 

-  33234,  ff .  3  (pp.  154,  480) ;  3b  (p. 
452)  ;  6b,  7b  (p.  480) ;  10b  (p.  154) ; 
17-20  (p.  480) ;  21  (p.  210) ;  26b-34 
(p.  481)  ;  34b  (p.  229) ;  35  (p.  210)  ; 
38-59b  j^assivi  (pp.  56,  481)  ;  82  (p. 
56) ;  83  (p.  481) ;  115b  (p.  154) ;  118b- 
125b  (p.  481) ;  127b-129  (p.  56) ;  129b 
(p.  481);  135  (p.  13);  140b,  142  (p. 
481) ;  143  (p.  13) ;  145b,  147  (p.  481) ; 
148b  (p.  56);  149b  (p.  481);  151  (p. 
649) ;  161b,  166-167b  (p.  481) ;  168b 
(p.  56);  169b-171b  (p.  481);  172b 
(p.  210) ;  174  (p.  56). 

— •  33235,  ff.  14b  (p.  650) ;  46b  (p.  60) ; 
47,  50  (p.  498)  ;  53,  54,  55b  (p.  60) ; 
57b  (p.  14) ;  63b  (p.  498) ;  67b  (p.  60) ; 
74,  75b  (p.  155) ;  77,  79  (p.  60)  ;  82 
(p.  155);  99  (p.  14);  102  (p.  155); 
144  (p.  498). 

33236,    ff. lib    (p.    498) ;    67b-69b 

(p.  238);  72b  (p.  498). 

33237,  ff.  3-121  (p.  311) ;  123,  147 

(p.  220) ;  168  (p.  311)  ;  185  (p.  220)  ; 
200  (p.  75)  ;  204b  (p.  220) ;  220  (p. 
220)  ;  229-238  (p.  41). 

33238,  ff.  2-43b.  p.  347. 

33239,  f.  148b.  p.  10. 

33240,  ff.  1-5  (p.  211) ;  24b  (p.  92). 

33287,  ff.  2  (p.  60) ;  3b  (p.  14) ;  5b 

(p.  60)  ;  8b  (p.  650)  ;  10b,  12  (p.  498) ; 
14b  (p.  212) ;  17b  (p.  14)  ;  19b  (p.  60) ; 
21b  (p.  212) ;  22b,  24b  (p.  498)  ;  26b 
(p.  212);  31b  (p.  14);  37  (p.  212); 
44b-51b  (p.  498) ;  53-229b  (p.  212). 

33297.     p.  418. 


Additional  33298-33300.     p.  409. 
33301,  33302.     p.  414. 

33303,  33304.     p.  416. 

33305.     p.  432. 

33306,  33307.     p.  426. 

33308,  33309.     p.  418. 

33310,  ff.  1-12  (p.  50) ;  13-17b  (p. 

614) ;  18-30b  (p.  50) ;  31-47  (p.  614) 
48  (p.  657) ;  63,  69  (p.  50)  ;  78  (p.  614) 
82-84b  (p.  50)  ;  88  (p.  657) ;  95  (p.91) 
96b,  97  (p.  614) ;  100  (p.  50) ;  106-109 
(p.  614) ;  110  (p.  91) ;  116-149  (p.  614). 

33311,   ff. l-82b   (p.    21);    83-108 


(p.  459) ;  109  (p.  657) ;  119  (p.  614) 
124  (p.  657). 

-  33351,  ff.  2b  (p.  593) ;  4b  (p.  347) 
5-10  (p.  593);  lib  (p.  83);  13b  (p 
593) ;  14b-16b  (p.  347)  ;  17b,  18b  (p 
593) ;  20b  (p.  347)  ;  22  (p.  35) ;  22b 
23  (p.  594);  26,  29b  (p.  347);  33b 
(p.  594)  ;  34b,  35b  (p.  347) ;  37,  39b 
(p.  83);  40b  (p.  453);  41b  (p.  83); 
42b  (p.  453);  46b  (p.  83);  48b  (p. 
453) ;  49b  (p.  347) ;  52  (p.  83) ;  53-55 
(p.  594)  ;  55b  (p.  83) ;  56b,  57b  (p. 
347);  58b-60b  (p.  594);  61  (p.  347); 
62  (p.  594);  62b  (p.  347);  63b  (p. 
594) ;  65  (p.  83) ;  67b  (p.  347). 

33352.  p.  324. 

33301-33364.  p.  448. 

33365.  p.  437. 

33366,  33367.  p.  450. 

■  33483,  ff.  377,  377b.  p.  348. 

33535a,  b.  p.  441. 

33536.  p.  448. 

33570,  ff. 1-138  (p.  416) ;  184-210 

(p.  23)  ;  211-216b  (p.  52). 

33799,  33800.  p.  404. 

33801,  passim,     p.  424. 

33802-33805.  p.  422. 

33806-33809.  p.  422. 

.33810-33814.  p.  410. 

33815.  p.  419. 

33816-33819.     p.  419. 

33933,  ff .  60  (p.  130) ;   77-79b  (p. 

130) ;  81b-84b  (p.  451) ;  85  (pp.  138, 
451);  85b-90b  (p.  451). 

33951.     p.  449. 

33965,  f.  73b.     p.  638. 

•  33966.     p.  599. 

34001,  34002,  ff.  17b,  18b.     p.  194. 

34004.     p.  267. 

34007,  ff.  47  (p.  620)  ;  51  (p.  114) ; 

55-75  (p.    620)  ;    77   (p.    93)  ;    81,    83 
(p.  620). 

34050,  passivi.     p.  143. 

34052,  passim,     p.  11. 

34053.  p.  562. 

34054,  ff.  11-14.  p.  91. 

34055.  p.  563. 

34056,  34057,  passim,     p.  507. 

34058.     p.  157. 

— -  34071,  ff .  4-32  passim  (p.  176) ; 
35b  (p.  35) ;  40-46b  passim  (p.  177) ; 
48-49b  (p.  655) ;  50,  51  (p.  177). 


XX 


TABLE  OF  MANUSCRIPTS. 


Additional   34073,   ff.7-60b    (p.    656); 

97b  (p.  113). 
34074-5,    ff.8b-10    (p.    86);     18b 

(p.  600) ;  28b  (p.  368)  ;  31b  (p.  600). 

34076,  ff.  lib,  16b  (p.  600). 

■ •  34090-34094.     p.  438. 

34126,  ff.  3b,  15,  16b,  17b  (p.  574) ; 


20b-22b  (p.  110) ;  24  (p.  33) ;  24b 
(p.  310) ;  25b  (p.  574) ;  27  (p.  310) ; 
27b,  29b  (p.  574) ;  30b  (p.  310) ;  31-34 
(p.  574)  ;  34b  (p.  74) ;  35b  (p.  110)  ; 
36b  (p.  574);  38  (p.  110);  39b-43b 
(p.  574);  44b  (p.  310);  46-52b  (p. 
574) ;  53b,  54b  (p.  310) ;  55b  (p.  74) ; 
56b  (p.  674) ;  57  (p.  110) ;  59b-62 
(pp.  574-5) ;  62b  (p.  33)  ;  63b  (p.  575) ; 
64b  (p.  310) ;  67-73  (p.  575) ;  75  (p. 
74);  76b  (p.  33);  77b,  79  (p.  575); 
79b  (p.  310);  81b-85b  (p.  575);  86b 
(p.  310);  88-96b  (p.  575). 

34200,  ff.  57-60  (p.  120). 

34202,  ff.  1-41  (pp.  608-9) ;  44 

(p.  90);  47-80  (p.  609);  83  (p.  90); 
85  (p.  609). 

-  34204,  f.  21.  p.  507. 

34211.  p.  449'. 

— -  34226.  p.  449. 

34227,  34228.  p.  309. 

34229,  34230.  p.  438. 

34231,  34232.  p.  449. 

34234-34236.  p.  450. 

34238.  p.  389. 

34267,  ff.  5-llb.  p.  455. 

34279b,  ff .  68-88.  p.  429. 

34291,  ff.  l-4b  (p.  504);  5-22b 


(p.  95) ;  17-26b  (p.  627) ;  31  (p.  95) ; 

32  (p.  627) ;  33b  (p.  117) ;  31 -Gi x>assim 

(pp.  96,  627-8) ;  65b  (pp.  10,  628) ; 

66b  (p.  628);  67  (p.  117);  86-93 

(p.  384). 
Additional  34804,  ff.3-11  (p.  628);  30 

(p.  636);  32  (p.  11). 

34996,  f.  28b.  p.  594. 

34998,  ff.  6b  (p.  32) ;  30b  (p.  570) ; 

31  (p.  304) ;  34  (p.  32)  ;  58  (p.  304) ; 

63  (p.  570). 

34999,  ff.  125  (p.  571) ;  180  (p.  97) ; 


(p.  62). 

—  34295,  ff. 1  (p. 389) ;  16-26b  (p. 90) ; 
27  (p.  389) ;  41-76  (p.  609). 

34298,  ff.  3-107  (pp.  563-4) ;  111- 


116b  (p.  457);  121  (p.  564). 

—  34299,  34300.  p.  438. 

—  34543,  ff.  90-94.  p.  98. 

—  34607,  ff . 197, 204,  210,  216.  p. 192. 

—  34608,  ff.  3,  4b,  6b  (p.  164) ;  7b 
(p.  573) ;  lib  (p.  5) ;  12  (p.  308) ;  24b 
(p.  209)  ;  25,  rev.  (p.  308) ;  25b,  rev. 
(p.  204) ;  26b-32b,  rev.  (pp.  164,  308, 
573);  3.3b,  rev.  (p.  108). 

34609,  ff.  13  (p.  600) ;  15  (p.  42)  ; 


53b    (p.    112);  73b    (p.    181);    76    (p. 
462) ;  78  (p.   600) ;    79b,  80  (p.  112)  ; 
81b  (p.  600) ;  83-86  (p.  402). 
—  34610,    ff.  31-34    (p.    188) ;    35   (p. 
117)  ;  ■dl~iOh2Mssivi  (pp.  117,  188). 
34725,  ff.  77b-110b  (p.  388) ;  111, 


118  (p.  615) ;  121  (p.  114)  ;  127b-141b 
(p.  388);  142b  (p.  43);  147-153  (p. 
388). 

—  34726,  ff.  41,  44.  p.  565. 

—  34800a,  ff.50-47b  (rev.),  p.  153. 

—  34800b,  ff.  52-49b  (rev.),  p.  153. 

—  34800c,  ff.  3  (p.  492) ;  52-49b,  rev. 
(p.  153). 

34803,  ff.2,  5b,  6b  (p.  627);  8 


180b  (p.  571). 

—  35003,  ff . 32-34  (p.  575) ;  35  (p. 
74) ;  37  (p.  463) ;  38,  40  (p.  575)  ;  42- 
48  (p.  313) ;  49-58  (p.  575) ;  59  (p.  94) ; 
61  (p.  10  ;  63  (p.  657) ;  69  (p.  110) ; 
75-95  (p.  116)  ;  97  (p.  110) ;  99-llOb 
(p.  49);  111-116  (p.  313);  118  (p. 
575);  119,  120  (p.  313);  121-132 
(p.  217) ;  135-153b  (p.  223). 

35004.  p.  224. 

35005,  ff.l-21b  (p.  222);  22  (p. 


95) ;  39  (p.  324) ;  45,  48  (p.  453) ;  49- 
59  (p.  116);  61  (p.  191);  66,  68,  69 
(p.  572);  72  (p.  324);  75-114b  (p. 
623);  115  (p.  116);  118b  (p.  623); 
119-123b  (p.  95) ;  124  (p.  623) ;  127- 
19.3b  (p.  197). 

35023,  ff.  6-20  (p.  223) ;  21  (p.  636) ; 


22b  (p.  429) ;  2.3b,  25  (p.  636). 

35024,  f.  21.  p.  600. 

35025,  ff.  26b,  28b.  p.  73. 

35026,  ff.9  (p.  224);  10  (p.  11); 

19b  (p.  659);  21  (p.  430);  42-59 
passim  (pp.  11,  430,  635);  65b  (p. 
457);  66-69  (pp.  11,430). 

35027,  ff.  4,  39b.  p.  635. 

35028,  ff.  4-15  (p.  119) ;  16  (p.  659) ; 

18-29b  (p.  119)  ;  30  (p.  97) ;  33  (p.  47) ; 
34  (p.  97)  ;  37-62  (p.  638). 

35038,  ff.  45  (p.  8) ;  46  (p.  95) ; 

51-60b  (p.  626)  ;  61  (p.  658). 

35040,  ff.  32b  (p.  3);  36b  (p.  3); 


43b-48b  (p.  570) 

35043,  ff.  5b-18  passim   (pp.  230, 


487) ;  18b  (p.  58) ;  20  (p.  231)  ;  22b 
(p.  58)  ;  23b  (p.  231) ;  24:\,-l Ah  passim 
(pp.  231-2,  487) ;  75b-105  ^x^ssim 
(p.  232) ;  106b  (p.  211) ;  122  (p.  487) ; 
122b  (p.  211). 

—  35087,  piassim.     p.  128. 

—  35119,  35120.  p.  442. 

—  35121.  p.  368. 

—  35155,  ff.  145-156b.  p.  622. 

—  35156.  p.  434. 

—  35270.  p.  631. 

—  35271.  p.  630. 

—  35272,  ff.  l-6b  (pp.  92,  617) ;  7-20 
(pp.  617-618) ;  21  (p.  92) ;  21b  (pp.  92, 
618) ;  22b  (p.  618). 

35273,  ff.  2-29b  (p.  618) ;  30b-91b 


(p.  95) ;  lib  (p.  658) ;  15  (p.  627)  ;  16 


passim  (pp.  93,  618-619). 
— -  35274,  ff .  l-6b  (pp.  93, 620)  ;  7-15b 
(p.  620) ;  16-44b  (pp.  93,  620-621). 


TABLE  OF  MANUSCRIPTS. 


XXI 


Additional  35275,  ff.  l-26b    x>'^ss^^"'  (PP- 
94,  621) ;  28-42  (p.  621). 

35276,  jMssim.     pp.  86,  600-601. 

35277,  ff. lb-3  (p. 601) ;  3b (p. 601) ; 

5h-S3  jMssim  (pp.  87,  601-602)  ;  33b- 
49  (p.  602). 

35278,   ff.  l-50b   passim   (pp.   87, 

603);  51-66b  (p.  603). 

35279,  ff .  1-13  iMSsim.    pp.  87,  604. 

35347.     p.  221. 

■  36484,  ff.  l-4b  (p.  144) ;  5,  5b  (p. 

451);    6-llb    (p.    144);    18    (p.   194); 
21b-71  (p.  144). 

36524,  ff.  l-6b.     p.  191. 

36526a,  ff.  1-6  (p.  132) ;  7  (p.  460) ; 

8-9b  (p.  132). 

•  36572-36574.     p.  423. 

36575-36577.     p.  424. 

36652,  ff. 18-19b  (p.    113) ;    20-22 


(p.  391). 
—  36710.     p.  16. 

36739,   ff. 1-75    (p.    444);    75b  (p. 


640) ;  76-196b  (p.  444). 

36740,  ff . 29 (p. 24) ;  30-80b  (p. 97) ; 


81-136b  (p.  640). 

-  36741,  ff.  l-:30  (p.  444) ;  31-56  (p. 
97)  ;  57,  58  (p.  640). 

— ■  36742,  f.  45b.     p.  640. 

36747,  ff.  46  (p.  91)  ;  48  (p.  615). 

36877,  passim,     pp.  58,  492. 

36929,  f .  59.     p.  648. 

36938-36960.  p.  395. 

36961.  p.  222. 

36962,  ff. 1,  26  (p.  395) ;  75-92 

(p.  51). 

-  36963-36965.  p.  395. 

36966,  ff.2-11  (p.  118);  12-24  (p. 

96)  ;  25-88  (p.  633) ;  96-109b  (p.  118) ; 
110,  1:33,  154  (p.  633)  ;  161,  170-180 
(p.  96) ;  181  (p.  22). 

36967,  ff.  2-11  (p.  118) ;  12-93  (p. 

634) ;  100,  108  (p.  96)  ;  115  (p.  22)  ; 
137-142b  (p.  118);  14:3-186  (p.  634); 
190  (p.  96) ;  196-205b  (p.  118). 


Additional    36968,    ff.  1    (p.  634) ;    5  (p. 

96);    16-46  (p.  634);  61  (p.  96);  70, 

78    (p.    118)  ;    100-146  (p.  634) ;    151 

(p.  96);    164-192    (p.    6:34);     200    (p. 

118)  ;    214  (p.  634) ;  218  (p.  96) ;    225- 

250  (p.  634). 
.37025,  ff .  2-9b  (p.  522) ;  11  (p.  651) ; 

12-59b  (p.  522) ;  61  (p.  651) ;  61b-121 

(pp.  522-3). 

37046,  ff.  19-46  (p.  6.39)  ;  46b-lll 


p)assim   (pp.    456-7,   6:39)  ;    lllb-129 
(pp.  639-40). 
■ •  37074,  ff.  7-8b.     p.  522. 

37211-37213.     p.  441. 

37232,  ff.  1:3-16  (p.  625);  22  (p.  .502). 

37265.     p.  442. 

37322.     p.  443. 

Printed  Books,  Department  of. 

Press  Mark,  557*.  d.  34  (end),  f.  1.     p. 
594. 

785.  A.  9,  ff.  48-51b.     p.  28. 

11738.  cc.  40  (4),  p.  45.     p.  303. 

A.  909,  pp.  Ill,  120  (p.  578) ;  122 

(p.    76);    126-128    (p.   206);    129-1:36 
(pp.  198,    206) ;    137    (pp.    207,  324)  ; 
138  (p.  198) ;  139  (pp.  198,  207) ;  140- 
142  (p.  198) ;  143  (pp.  198,  203,  207) 
144  (p.  198) ;  145-147  (pp.  204,  207) 
148  (pp.  204,  207) ;  149  (pp.  198,  20:3) 
150  (pp.  198,  324) ;  151  (pp.  198,  207) 
152  (pp.  203,  204,  207) ;  153,  154  (p. 
207). 

■  D.  212.  c,  vol.  i,  ff.  65b  (p.  47) ;  67 

(p.  47). 

D.  212.  c,  vol.  ii,  ff .  58b  (p.  53); 


62  (p.  47). 

—  D.  212.  c,  vol.  iii,  f.  68.     p.  47. 
— ■  D.  272  (3).     p.  400. 

—  E.  318  (at  tbe  end),  ff.  lb  (p.  316) ; 
4  (p.  577). 

— •  K.  1.  e.  1  (at  the  end),     p.  122. 

—  K.   7.    f.  16  (beginning  and  end), 
p.  6:37. 


CORRECTIONS. 


7.  Add.  31462.    In  col.  2,  between  11.  2  and  3,  insert  "  Donnez  a  boire."  f.  48. 
10.  Add.  32411.     For  F.  A.  HiUer,  read  J.  A.  Hiller. 
18.  Add.  -32181.     In  no.  1,  for  Ritter,  read  Eetter. 
21.  Add.  33311.     In  11.  2,  5,  for  1809,  read  1806. 

27.  Add.  19759  (no.  6) ;  29397  (no.  1)  ;  22099  (no.  1).      "  Fie,  nay,  prithee, 
John,"  is  also  attributed  to  Purcell. 

29.  In  no.  24,  for  sung,  read  rung. 

,,     No.  27  is  also  attributed  to  Blow. 

30.  In  no.  81,  for  sing,  read  ring. 

„     In  no.  116,  for  1588,  read  1580. 

37.  In  1.  6,  after  110,  add  and  113. 

39.  No.  45  is  also  attributed  to  Blow. 

43.  Add.  31813.     No.  5  is  also  attributed  to  Blow. 

45.  In  no.  12,  after  Blow,  add  or  Purcell. 
,,     No.  34  is  by  W.  Hayes. 

46.  No.  49  is  by  W.  Hayes. 
,,     No.  57  is  by  J.  Jenkins. 

50.  Add.  32190.     In  1.  2,  after  1804,  add  etc. 

52.  Add.  30091.     In  1.  3,  after  songs,  add  or  motets. 

62.  Add.  34291.     In  1.  2,  for  early,  read  late. 

64.  Add.  14166.     After  Scarlatti,  add  or  F.  Durante. 

67.  No.  7  is  by  Aubert. 

70.  Add.  5056.     In  no.  9,  for  di,  read  ti. 

75.  Add.  31704.     In  11.  7-8,  omit  "  Marcia Palermo." 

79.  Add.  29961.     In  1.  3,  for  1756,  read  1751. 

82.  Add.  31552.     In  1.  7,  after  f.  42b,  add  and  those  of  nos.  1,  2  and  4. 
„     Add.  31723.     In  no.  1,  07mt  or  Clark. 

83.  Add.  33351.     No.  1  is  adapted  from  Handel. 
87.  Add.  35278.     In  no.  25,  for  heu,  read  hen. 

97.  Add.  34999.     For  2  voices,  with  a  bass,  read  3  voices. 

108.  Add.  31808.     No.  42  is  a  madrigal. 

122.  1.  35.     For  k.  i.  e.  1,  read  k.  1.  e.  1. 

128.  Add.  19583.     In  no.  4,  omit  [de  Gero]. 

136.  Add.  30835-7.     In  1.  3,  after  2-4,  add  and  9. 

141.  Add.  30816-19.     In  no.  37,  for  1597,  read  1587. 

142.  Add.  30823-5.     No.  18  is  by  B.  Donato. 

143.  Add.  34050.     Nos.  16  and  23  may  be  taken  from  an  earlier  edition. 
151.  In  1.  1,  for  the  second  set,  read  Wilbye's  second  set. 

153.  Add.  34800.     No.  1  is  by  T.  Wilkinson. 

169.  Add.  23626.     In  1.  6,  for  19,  read  12. 

177.  Add.  5336.     In  no.  2,  for  sweet,  read  white. 


xxiv  CORRECTIONS. 

p.  181.  Add.  31808.     No.  1  is  by  F.  Hutcheson. 
,,    187.  In  no.  150,  for  faire,  read  pairc. 
„    207.  A.  909.     In  nos.  20,  21,  for  189,  read  139. 
,,   209.  Add.  29371.     In  1.  4,  for  198,  read  199. 

„     „      In  1.  6,  before  35274,  insert  28613  (early  19th  cent.). 

„   212.  Add.  31453.     In  no.  2,  for  no.  3,  read  the  air  on  f.  150b. 

„    214.  Add.  31405.     No.  1  is  by  J.  Eccles. 

„    21G.  Add.  5052.     After  Devonshire,  culd  (d.  1707). 

„   219,  Add.  9284.     In  no.  2,  for  My,  read  Thy. 

„   222.  Add.  35005.     The  watermark  of  no.  1  is  1794. 

„  231.  Add.  35043.     No.  14  is  by  J.  Eccles. 

„     „      In  no.  21,  for  1678,  read  1694  ? 

„     „      In  no.  25,  for  1677,  read  1695  ? 

pp.  2.32,  239,  240.    For    amended    dates    of     Purcell's    operas,    see    article    by 
W.  Barclay  Squire  in  the  Quarterly  Magazine  of  the  Internationale 
Musikgesellschaft,  July-September,  1904.     pp.  489-564. 
p.  242.  For  Additional  22759,  read  Additional  22597. 
„    243.  Add.  31405.     In  no.  1,  for  1676,  read  1692  ? 

,,     ,,      No.  2  is  by  Purcell. 

„     „      Add.  31448.     This  duet  is  from  "  Oroonoko,"  1695. 

„     „      Add.  31452.     In  no.  1,  for  1678,  read  1694  ? 

„   244.  Add.  31453.     In    no.  1,  for    1692,  read   1695  ?     No.  5   is   probably   by 

Dr.  Pepusch. 
„   246.  For  amended  dates  of  Purcell's  operas,  see  above,  under  pp.  232,  etc. 
„    247.  Add.  22099.     In  1.  2,  for  1707,  read  1709  ;  and  dele  (see  below). 

,,     ,,      In  no.  7,  the  words  only  are  from  Durfey's  work  [1709]. 

„     „      In  no.  12,  for  1090,  read  1695  ? 

„     „      In  no.  13,  for  1678,  read  1694? 

249.     For  amended  dates  of  Purcell's  operas,  see  above,  under  pp.  232,  etc. 
Add.  24303.     In  1.  3,  for  James,  read  Edward. 
In  no.  76,  for  Du6,  read  Dou6. 

Add.  31602.     In  no.  14,  for  Bergolese,  read  Pergolese. 
Add.  31504.     In  no.  23,  for  la  sguardo,  read  lo  sguardo. 
Add.  31624.     No.  21  is  by  Galuppi. 
,,     ,,      Eg.  814-817.     In  1.  3,  before  Operas,  insert  French. 
,,   274.  Eg.  817.     In  no.  6,  dele  jun. 

„   275.  No.  29  is  by  J.  B.  LuUy. 

„    277.  King's  330-337.     In  1.  3,  before  Operas,  insert  French. 
„    289.  Add.  31598.     In  no.  21,  for  Fille,  read  Dille. 
„    302.  Add.  31657.     In  1.  9  (end),  for  J.,  read  G. 
pp.  .307,  310,  311.     For  amended    dates  of   Purcell's   operas,    see   above,    under 
pp.  232,  etc. 

p.  316.  E.  318.     In  1.  2,  for  1796 leaf),  read  1798  (date  of  play). 

„   317.  Add.  30960.     For  1789-1805,  read  18th-19th  cent. 
„    320.  Add.  16112.     In  1.  4,  after  Marco,  add  Antonio. 
„   323.  Add.  25076.     In  no.  15,  1.  4,  for  15,  read  16. 
„   324.  Eg.  2458.     Before  "  Ottone,"  insert  Handel's. 
„    325.  King's  442.     For  copied,  read  identified. 

„    330.  Add.  16024.     In  11.  11-12,  omit  The  MS amanuensis. 

„    336.  Add.  31490.     In  no.  4,  before  "  Tenducci,"  insert  Sung  (?)  by. 
,,     ,,      Add.  31515.     For  ea  (last  word  on  page),  recul  ha. 
,,    338.  Add.  31565.     In  1.  7,  after  Smith,  add  the  younger. 


)p. 

248. 

p- 

258. 

n 

264 

)> 

267, 

)) 

269 

272, 

CORRECTIONS.  xxv 

I.  340.  Add.  31593.     In  no.  2,  for  f.  4,  read  f.  24. 

,   847.  Add.  33238.     In  1.  2,  for  presented,  read  bequeathed. 

,   355.  Add.  16064.     In  1.  6,  for  1709,  read  1799. 

,   374.  No.  37  is  from  "The  Round  Robin." 

,   409.  Add.  27715.     In  no.  1,  for  Charles,  read  William. 

,     ,,      Add.  16049.     In  1.  5,  after  Rosemberg,"  add  by  P.  Generali, 

,   413.  Add.  27719.     No.  1  is  adapted  from  Auber. 

,   414.  Add.  30246.     In  1.  7,  after  "  Ivanhoe  "  [,  add  libretto. 

452.  Add.  11608.     In  no.  4,  for  58b,  read  59. 

465.  Vesp.  A.  xviii.     No.  2  is  possibly  a  motet  or  madrigal. 
,,      Titus  A.  xxvi.     In  no.  4,  Gie  se\i&T: prohabhj  =  Je  sais  faire. 

473.  In  no.  10,  for  Cupids,  weary,  read  Cupid  's  weary. 

475.  Add.  11608.     In  no.  34,  for  F.  read  T. 
,,      In  no.  49,  for  part-song,  read  trio. 

480.  Add.  33234.     No.  4  is  by  Reggio. 

481.  No.  32  is  by  Lully. 

485.  Add.  14218.     In  no.  9,  for  restita,  read  vestita. 

,,      In  no.  32,  /o7'  ripose,  read  ti  pose. 

489.  Add.  14228.     In  no.  2,  for  Manconi,  read  Mancini. 
491.  Harley  7549.     In  1.  4,  for  p.  59,  read  p.  58. 
493.  Add.  10337.     In  no.  12,  for  fellow,  read  pellow. 
496.  Far  Additional  34457,  read  Additional  31457. 
503.  Add.  31453.     No.  8  is  by  Jer.  Clark. 

508.  Eg.  2513.     In  no.  5,  for  Auffenhalte,  read  Auffen[t]halt  der. 

509.  Add.  29963.     In  1.  3,  for  p.  248,  read  p.  65. 

,,      In  no.  26, /or  Aquellino,  read  Agnellino. 

513.  Add.  14222.     No.  13  is  by  Marcello. 

515.  Add.  29249.     In  no.  12,  for  I.  2G,  read  f.  76. 

523.  For  Egerton  432,  read  Egerton  1432. 

527.  Add.  31504.     In  no.  5,  for  detto,  read  detta. 

528.  In  no.  34,  for  vaglio,  read  voglio. 

529.  In  no.  10,  after  vous,  omit  the  comma. 

530.  In  no.  89,  for  pauure  Francois,  read  pauures  fran^ois. 
533.  In  no.  225,  foi-  composer,  read  poet. 

543.  In  no.  106,  for  J'en  ay,  read  Je  n'ay. 

550.  In  no.  89,  for  fleuvre,  read  fieuve. 

552.  In  no.  210,  for  vos,  read  nos. 

558.  King's  337.     In  no.  20,  for  f.  169b,  read  Q.  169b,  186b. 

561.  Add.  31518.     In  no.  3,  for  tue,  read  sue. 

562    Add.  34053.     In  no.  1,  for  9,  read  8. 

566.  In  no.  44,  for  Venez,  read  Tenez. 

574.  Add.  34126.     In  no.  1,  after  duet,  add  from  Handel. 

,,      No.  4  is  by  W.  Defesch. 

583.  Add.  14209.  In  no.  1,  for  1703,  read  1713. 
592.  Add.  31742.  In  no.  1,  for  16,  read  lb. 

598.  In  no.  4,  for  56,  read  5b. 

603.  In  art.  II.,  after  Songs,  add  by  Kozeluch  (above,  p.  601). 

616.  In  no.  49,  for  Birds,  read  Bards. 

628.  Add.  30148.     In  1.  4,  for  Mosson,  read  ]Moisson. 

641.  Add.  32158.     In  1.  4,  after  see,  add  (in  vol.  iii). 


II 


MANUSCEIPT     MUSIC 


IN  THE 


BRITISH    MUSEUM 


PART    11. —VOCAL    MUSIC— SECULAR. 


SECTION   I.— CANONS. 


Royal  Appendix  58,  f.  16b. 

Paper ;  early  16th  cent.     Oblong  octavo.     See  also  below,  under  Madrigals. 
Canon  without  words,  by  John  Ambrose. 

Additional  10336,  f.  18. 

Paper ;  after  1500.     Duodecimo.     See  also  under  Treatises,  in  vol.  iii. 

Composition  without  words,  written  out  at  length  on  a  stave  of 
4  lines. 

Royal  11  E.  xi,  ff.  2b,  3. 

Vellum;  a.d.  1516.    Large  folio.     See  also  under  Motets  (vol.  i,  p.  259). 

Bass  and  contra-tenor  parts  of  "  Salue,  radix  varies  producens 
germine  ramos,"  described  as  "  canon  fuga  in  diatessaron,"  in  honour 

of  Henry  YIII.     "  Me  fieri  ac  componi  fecit  P  O  [sc.  Peto],  1516." 

Royal  8  G.  vii,  f.  1. 

Paper  ;  after  1544  (see  below).     Polio.     See  also  under  Motets  (vol.  i,  p.  259). 

"  HoNi  soit  qui  mal  y  pense  "  :  puzzle-canon  in  8  parts,  composed 
by  [Clement?]  Morel  [fl.  1543-1549],  in  honour  of  [Henry  Fitzalan] 
Earl  of  Arundel  [K.G.  in  1544]. 

II  B 


2  VOCAL  MUSIC— SECULAR. 

Additional  31922,  ff.  90b,  9L 

Vellum ;  temp.  Henry  VIII.     Small  folio.     See  also  below,  under  Madrigals. 

Three  canons  without  words,  of  which  the  first  has  no  description, 
the  second  is  a  "  Songe  .  .  .  iij  parts  in  one,"  and  the  third  "  Duas 
partes  in  vnum."     Anonymous. 

Additional  4900,  ff.  66b,  67. 
Paper ;  after  1600.     Small  folio.     See  also  under  sacred  Songs  (vol.  i,  p.  425). 
Canons,  without  words. 


1.  In    3    parts,    in   quasi-score. 
F[errabosco?]."     f.  66b. 


2.  Two    parts    in    one.      Anonymous, 
f.  67. 


Additional  27579,  f.  64. 

Paper;  a.d.1606.     Octavo.     See  also  under  Harmony  (1605),  and  Drawings 
of  Musical  Instruments  (1602,  1603),  described  in  vol.  iii. 

"Canon   a    4,"  by   Thomas   Mancinus,    senior,    1606.     From   the 
Album  Amicorum  of  Johannes  Cellarius  of  Nuremberg. 

Additional  11608,  f.  85b  (reversed). 
Paper ;  a.d.  1656-1659.     Small  folio.     See  also  below,  under  Songs. 
Two  Canons  for  3  voices. 


1.  "I  am  so  weary"  ("5th  below  and 
4th  above  ").     By  Thomas  Ford  (?). 

2.  "VT    REleuet    MIserum    FAtum 


SOLitumque  LAborem  "  ("  5th  above 
and  4th  belowe,  rising  a  note  "). 
"  Jo.  Hilton." 


Additional  4910,  f.  60. 

Paper ;  a.d.  1669.     Folio.     See  also  under  Treatises  (1673),  in  vol.  iii. 

Two  3-PART  Canons,  in  score,  by  Matthew  Locke.  Auto(jra;ph. 
Without  words.  Given  by  the  composer  to  Silas  Domvill  al.  Taylor, 
in  1669. 

Additional  27931,  f.  29b. 

Paper;  before  1695  (?).    Large  quarto.     See  also  below,  under  Songs. 

"  Joannes  Paulus  de  Columnis  faciebat "  :  3-part  Canon,  described 
as  "Fuga  legata  all'  Unisono,"  by  Giovanni  Paolo  Colonna  (d.  1695). 

Additional  30342,  ff.  143,  143b. 

Paper;  17th  cent.  Octavo.  The  ]\IS.  also  contains,  besides  miscellaneous 
matter,  fragments  of  Solos  for  the  Lute  and  Spinet,  specimens  of  Notation, 
Drawings  of  INIusical  Instruments,  etc.,  described  in  vol.  iii. 

Two  Canons  without  words;  the  first  (f.  143),  in  8  parts,  written 


CANONS.  3 

on  four  circular  5-line  staves,  marked  "  Superius,"  "  Contratenor," 
"Tenor,"  and  "Bassus";  the  second  (f.  143b)  in  6  parts,  on  a  single 
circular  stave,  with  the  solution  below  on  ordinary  6-line  staves.  In  a 
French  hand. 

Additional  30933,  flf.  121-135. 

Paper ;  early  ISth  cent.    Folio.     See  also  under  Anthems  (vol.  i,  p.  48). 

Canons,  in  score. 

1.  "So  Peaceful  Rests  without  a  stoue  "      3.  "  Joy,  mirth,  Tryumphs  I  doe  dofie." 
(3  voices).    "  Dr.  M.  Greene."    f.  121.   i       "Hen.  PursoU."     f.l24. 


2.  "Hey  Ho,  to  y'  Greenwood"  (2 
voices).  Beginning  only.  By  W. 
Byrd.     f.  121b. 


4.  "No,  Luciuda;  I  sware "  (3  voices). 
"Dr.  Blow."     f.lSOb. 


Egerton  2513,  f.  3. 

Paper ;  about  1711.    Oblong  duodecimo.     See  also  below,  under  Songs. 
Canon  in  4  parts,  wi-itten  out  in  extenso  in  a  German  Album. 

Harley  7337,  f.  192b. 

Paper ;  a.d.  1715.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  53). 

"  I  AM  so  weary  "  :  Canon  in  3  parts,  attributed  in  Hilton's  Catch 
that  catch  can  to  Thomas  Ford,  but  here  to  Thomas  Morley. 

Additional  5054,  £.  98b. 
Paper  ;  before  1760.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  68). 

"  Cantan  fra  rami  gli   augelletti  vaghi " ;  described  as  "  Fuga  di 
mez[z]o  tempo,  una  e  ottava  piii  alto,"  by  Giovanni  Matteo. 

Additional  29386,  ff.  34b,  44b,  50. 

Paper  ;  about  1762.     Quarto.     See  also  below,  under  Catches. 
Canons  for  3  or  (no.  1)  4  voices,  in  score. 

1.  "If  all    be    true    as  women    say."  T.  Tallis.     f. 44b. 

Anonymous,     f.  34b.  3.  "  Ah    me !      What    Perils."      "  Jn. 

2.  "Heydownl    Behold  and  see."     By  j       Travers."     f.  50. 

Additional  35040,  ff.  32b,  36b. 
Paper ;  about  1773.     Oblong  folio.     See  also  under  Pianoforte  Solos,  in  vol.  iii. 
Canons,  without  words,  in  the  hand  of  Samuel  Wesley. 

1.  In  unison,  in  F.   Anonymous,   f.  32b.   i  3,4.  InAminor(?).  Anonymous,  f.  36b. 

2.  In  unison,  in  F.  "  Sympson."   f.  32b.   | 

B    2 


4  VOCAL  MUSIC— SECULAR. 

Additional  11581,  passim. 

Paper ;  about  1780.     Quarto.    See  also  under  Anthems  (vol.  i,  p.  71). 

Canons  in.  3  parts,  unless  the  contrary  is  stated,  transcribed  by 
Dr,  Charles  Burney. 


1.  "  [P.]  Mo[u]lu's  canon  continued  "  ; 
without  words,     f.  13b. 

2.  "Canon  a  5  in  unison";  without 
words.  "  Claude  Le  Jeune...  1598." 
f.  40  (reversed). 

3.  "Canon  a  5";  without  words.  "Zac- 


coni  "  (from  Pratica  di  Musica,  1592). 
f.39  (rev.). 
4.  "Canon  3  in  one."     [From  Miscel- 
lanea  musicale,    by  Angelo]   "  Ber- 
ardi,  1689."    f.  37b  (rev.). 


Additional  11584,  f.  29b. 

Paper ;  before  1782  (see   below).      Oblong  quarto.      See   also   under   Motets 
(vol.  i,  p.  313). 

Canon  for  3  voices,  without  words,  by  Johannes  Ockenheim.  Taken 
from  Glarean  by  Dr.  Burney  and  inserted  in  vol.  ii  of  his  History  of 
Music,  1782. 

Additional  11585,  ff.  38,  43b. 

Paper;  before  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  314). 

Two-part  Canons,  without  words,  by  Pierre  de  la  Rue  (f.  38),  and 
Jacob  Obrecht  (f.  43b). 

Additional  11588,  ff.  64-65b,  75-76  passim. 

Paper  ;  about  1783.     Quarto.     See  also  below,  under  Madrigals. 

Canons  in  the  hand  of  Dr.  Charles  Burney,  forming  part  of 
vol.  vii  of  his  "Musical  Extracts." 

1-10.  " Dimostratione    de  tutti  i   Ca-  I  voices.     "Romano  Michele "  [about 

noni   sopra   il   Canto   fermo.     Dalle  i  1615].     f.  75. 

Bcgolc  di  Musica,  Di  Rocco  Rodio.  '  12,13.  Two  canons  for  4  voices.  "Adri- 

Ristampate  .   .  .   1608 "  ;   consisting  ;  ano  Banchieri."     f.  75b. 


of  canons  for  3  voices,  but  without 
words,  in   unison,  and  in   the   2nd, 
3rd,  4th,  and  5th,  above  and  below. 
ff.64-65b. 
11.  "  Canone    del    Metallo  "  ;    for    3 


14.  "Ah,  dolente  partita."     "  Giaches 
de  Wert."     f.  76. 

15.  "  Canon  a  6  voci."    Anonymous. 
f.76. 


Additional  27642,  f.  44b. 

Paper  ;  a.d.  1784.    Oblong  quarto.    See  also  under  sacred  Canons  (vol.  i,  p.  120). 

"  Ah,  Lover,  shouldst  thou  try  "  :  Canon  for  3  voices  (3  in  1),  by 
Dr.  J.  W.  Callcott,  1784.     Autograph. 


CANONS.  5 

Additional  29801,  f.  142b. 

Paper  ;  about  1784-1800.    Oblong  folio.     See  also  below,  under  Songs. 

Beginning  of  [Mozart's]  "  O  du  eselhafter  Martin  "  ;  for  4  voices, 
in  score,  in  the  hand  of  L.  van  Beethoven. 

Additional  34608,  f.  lib. 

Paper ;  about  1789.    Oblong  octavo.     See  also  under  Anthems  (vol.  i,  p.  74). 

Canon  for  4  voices,  in  score,  without  words,  by  [Francesco]  Turini, 
Brescia,  1643.     From  Burney's  History  of  Music,  vol.  iii,  1789. 

Additional  30392,  flP.  20b-22. 

Paper;  a.d.  1791.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  75). 

Canons,  mostly  without  words,  apparently  by  Dr.  William  Crotch. 
Autograjpli. 


1.  "  Four  in  1,"     Dated  in  pencil,  1791. 
f .  20b. 

2,  3,  "Three  in  1."    f.20b. 


4.  "I  laugh,  I  cry."     f.21. 

5,  6.  Three  in  1.     ff.  21b,  22. 


Additional  29291,  ff.  9b-24b  passim. 
Paper;  18th  cent.    Folio.     See  also  under  sacred  Canons  (vol.  i,  p.  123). 
Canons,  for  3  voices,  in  score. 


1.  "Long  live  King  Charles"  (in  the 
5th  and  8th).  Anonymous  [from  the 
Musical  Companion,  1667].     f.  9b. 

2.  "UT  EEleuet  MIserum  FAtum 
SOLitumque  LAborem"  (in  the  5th 
above  and  4th  below).  "  John 
Hilton."     f.  13b. 

3.  "Hey   down   a  down!    Behold  and 


see."     "T.  Tallis."     f.  16. 

4.  A  canon  without  words ;  dated 
"[17]79."     Anonymous,     f .  18b. 

5.  "lam  so  weary"  (5th  below  and 
4th  above).  "J.  Hilton"  or  "  T. 
Ford."  [Attributed  to  the  latter  in 
Catch  that  catch  can,  1652.]     f.  24b. 


Additional  29385,  f.  45. 

Paper ;  18th  cent.    Narrow  oblong  duodecimo.     See  also  under  Motets  (vol.  i, 
p.  323). 

"  Pi  ETAS  omnium  virtutum  Parens  et  Fundamentum  "  :  apparently 
a  Canon  for  3  voices,  in  score,  written  in  pencil.  Probably  composed 
by  John  Immyns,  in  whose  hand  it  appears  to  be. 


VOCAL  MUSIC— SECULAR. 


Additional  29393-29395,  ff.  2-5. 

Paper ;   18th   cent.      Oblong  duodecimo.      See  also  under  sacred  Choruses 
(vol.  i,  p.  162). 

Canons  for  3  voices,  in  parts,  by  [John]  Travers.     The  folios  are 
the  same  in  each  volume,  with  one  exception,  indicated  below. 


1.  "  In  amore  hma  omnia  insunt  vitia." 
f.2. 

2.  "  Nemo  vir  magnus."     f.  3b. 

3.  "Maxima    debetur    Pueris    Reuer- 


entia."     i,  ii,  f.  3b;  iii,  f.  4. 

4.  "  Oderunt  peccare  boni."     f.  4b. 

5.  "  Proximus  a  tectis  Ignis."     f.  5. 


Additional  31409,  f.  28b. 
Paper ;  18th  cent.    Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  326). 

"  Baisez  moi "  :  chanson  set  as  a  Canon  (3  in  6),  by  Josquin  des 
Pres,  1544. 

Additional  31441,  f.  80b. 

Paper  ;  18th  cent.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  32G), 

*'  Hey  hoe,  to  the  Green  wood  "  :  Canon  in  unison  for  3  voices,  by 
William  Byrd. 

Additional  31471,  f.  142. 

Paper  ;  18th  cent.     Folio.     See  also  under  sacred  Canons  (vol.  i,  p.  123),  etc. 

"  DuRATE  et  vosmet  rebus  servate  secundis  "  ;  apparently  written 
for  6  voices,  by  Adrian  Willaert. 

Additional31649,  f.  115b. 

Paper ;  18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1730-1833). 

"To  THEE  'twas  giv'n  to  live":  Canon  in  the  unison,  for  3  voices. 
Anonymous. 

Additional  14208,  ff.  108-112. 

Paper;    late    18th    cent.      Oblong    folio.      See    also    below,    under   Operas 
(18th  cent.). 

"  XII  Canoni  a  Tre  voci,"  by  Pietro  Metastasio. 


1.  "  No,  non  parlar  d' amore."     f.  108b. 

2.  "  Sempre  saro  costante."     f.  108b. 

3.  "  Amare  un  infedel."     f.  109. 

4.  "  Come  il  candors  d'  intatta  neve." 
f .  109b. 

5.  "  Mi  giuri  che  m'  ami."     f.  109b. 

6.  "  E  pena  troppo  barbara."     f.  110. 


7.  "  Ti  lascio,  Irene."    f.  110b. 

8.  "  Perche  mai,  ben  mio."     f.  110b. 

9.  "  Sei  tradito."     f.  111. 

10.  "Belle    Ninfe,    6    nato    Aprile." 
f.  111b. 

11.  "  0  Crudelta  tiranna."     f.  111b. 

12.  "  Ah,  che  il  destine."     f.  112. 


CANONS.  7 

Additional  31418,  f.  70b. 

Paper ;  late  18th  cent.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  90). 

Resolution  of  the  Canon  on  the  frontispiece  of  Sir  William 
Leighton's  Tears  or  Lamentations  of  a  Sorrowful  Soul,  1614;  set  to 
the  words  "  Resolutio  of  the  Rota,"  etc.,  by  E.  T.  W[arren  Home]. 

Additional  31463,  ff,  33-73  passim. 

Paper ;  late  18th  cent.    Large  oblong  octavo.     See  also  under  sacred  Canons 
(vol.  i,  p.  124). 

Canons,  etc.,  in  score  or  parts.  The  first  two  and  the  last  three 
are  for  4  voices,  the  others  for  3  voices.  Nos.  4-9  are  properly  catches 
with  Italian  words  and  are  written  out  in  full.  Nos.  4—6  are  by 
"  Dr.  [Maurice]  Green[e]." 


1.  "  If   all   be    true    as  women  say." 
Anonymous,     f.  33. 

2.  "  Long  live  King  George  "  ;  in  score, 


3.  "Hey  ho,  to  the  Greenwood";  in 
score.     "Bird."     f.  46b. 

4.  "Chi  va  piano."     f .  57. 


altered  by  Dr.  Boyce   from  "Long  5.  "  0  primavera."     f.  61. 

live  King  Charles,"  which  appeared  6.  "  Alia  madre  di  tutti  santi."     f.  64b. 

anonymously  in   the   Musical  Com-  7-9.  "  Grazie  agl' inganni  tuoi "  (3  set- 
X)anion,  1G67 .    f.  40b.  tings).     Anonymous.     fi.l2h,lB,  ib. 


Additional  31463,  ff.  20,  48,  66b. 

Paper ;  late  18th  cent.     Oblong  octavo.     See  also  under  sacred  Canons  (vol.  i, 
p.  125). 

Three  Canons  written  out  in  full.  Anonymous.  The  first  two 
are  for  4  voices,  the  third  for  3  voices.  Nos.  1  and  3  were  "  collected 
in  1580." 


1.  "  Donnez  a  Boire."     f.  20. 

2.  "  Grazie  agl'  inganni  tuo[i]."     f.  48. 


3.  "  Hey  Ho,  to  the  Green  Wood."  By 
W.  Byrd.     f.  66b. 


Additional  31671,  f.  29b. 

Paper ;  late  18th  cent.    Oblong  quarto.    See  also  below,  under  Catches  (1766- 
1813). 

"  Come,  creeping  sleep  "  ;  for  3  voices  (in  the  4th  and  8th  below). 
Anonymous.  An  "  attempt  ...  to  blend  somewhat  of  Canon,  Catch, 
and  Glee  together."  Inserted  among  some  catches,  etc.,  by  Samuel 
Webbe. 

Additional  31808,  f.  116b. 

Paper;  late  18th  cent.     Quarto.     See  also  below,  under  Glees  (1784-1826). 

"  UT  RElevet  MIserum  FAtum  SOLitosque  LAbores  " ;  for  4  voices, 
in  score.     Anonymous. 


VOCAL  MUSIC— SECULAR. 


Additional  31811,  ff.  1 04-1 6 3b  |)assm. 

Paper ;  late  18th  cent.    Oblong  folio.     See  also  below,  under  Catches. 

Canons  for  3  voices  (unless  the  contrary  is  stated),  in  score. 
Nos.  2-4  are  anonymous,  being  apparently  by  candidates  for  the  prize 
medal  [of  the  Catch  Club  ?]. 


1.  "Hey  ho,  to  the  greenwood,"  By 
W.  Byrd.  In  the  hand  of  R.  J.  S. 
Stevens.     f£.  104,  105. 

2.  "  Under  this  stone  my  wife  does  lie  " 
(a  4).     f.  107b. 

3.  "For  me  deceas'd  weep  not"  (a  4). 


f .  152b. 

4.  "  Come,      thou      laughter  -  loving 
power."     f.  154b. 

5.  "  Chloe,  new  married  "  (a  4).    f.  158. 

6.  "Ah,  louer,  shouldst  thou  try."     By 
J.  W.  Callcott.     "1785."     f.  162. 


Additional  31995,  ff.  18,  19. 

Paper ;  la.te  18th  cent.     Oblong  octavo.    The  MS.  also  contains  sacred  Canons 
(vol.  i,  p.  125)  and  other  examples  of  Harmony  described  in  vol.  iii. 

Canons  for  3  voices,  in  scoi-e,  by  an  anonymous  German  composer. 


1.  In  F.   Beginning  and  end  only,   f .  18. 

2,  3.  Two  in  the  unison,     f.  18b. 

4.  In  G.     "Die  nachfolgende  stimme 


noch  so  langsam."     f.  19. 
5.  A  perpetual  Canon,     f.  19. 


Additional  32035. 

Paper  ;  ff .  83.     Late  18th  cent.     Oblong  quarto. 

"  Canoni  a  Tre  Voci  del  Sig''.  Ab[b]ate   Metastasio.     In  Napoli. 
Presso  Luisri  Marescalchi."     In  score. 


1.  "No,  uon  parlar  d'  amore."     f.  2b. 

2.  "  Sempre  saro  costaute."     f.  3b. 

3.  "  In  amor  chi  mai  fin'  ora."     f.  4b. 

4.  "  Amare  un  infedel."     f .  7. 

5.  "Come  il  candore  d'  intatta  neve." 
f.8b. 

6.  "Che   cangi   tempre    mai    pin   non 
spero."     f.  10. 

7.  "  Mi  giuri  che  m'  ami."     f.  12. 

8.  "  Al  bosco,  cacciatori."     f.  13b. 

9.  "  Sciogliero  le  mie  catene."     f.  14b. 

10.  "Perche  mai,  ben  mio."     f.  16b. 


11.  "  S'  io  t'  amo,  oh  Dio."    f.  17b. 

12.  "Tilascio,  Irene."     f.  19. 

13.  "  Se  viver  non  poss'  io."     f.  20. 

14.  "  Perche,  se  mio  tu  sei."     f.  23b. 

15.  "  So  che  vanti  un  core  ingrato." 
f.26. 

16.  "Vol  sole,  0  Luci  belle."     f. 28b. 

17.  "  Nel    mirarvi,   o   Boschi    amici." 
f .  30b. 

18.  "  Se    lontan,    Ben    mio,    tu    sei." 
f.31b. 


Additional  35038,  f.  45. 

Paper ;  late  18th  cent.    Quarto.     See  also  under  Anthems  (vol.  i,  p.  100). 

"  Hic   Jacet   in  Tumba  Rosa  mundi "  :  puzzle-canon,  in  3  parts. 
[By  Charles  Wesley.]     Autograph. 


CANONS.  9 

Additional  14189,  f.  41. 

Paper  ;  18th-19th  cent.    Oblong  octavo.   See  also  under  Masses  (vol.  i,  p.  230), 

"  Se  a  ciascun   1'  inferno  affanno " ;   for  4   voices,  by   Zingarelli. 
Inserted  among  some  Motets  (see  vol.  i,  p.  338)  by  the  same  composer. 

Additional  14207,  f.  186. 

Paper  ;  18th-19th  cent.    Oblong  quarto.    See  also  below  under  Operas  (18th 
cent.). 

"  Ah,  loin  de  rire,  pleurons  "  ;  described  as  "  Canon  a  quatre  voix  et 
a  la  quinte."     By  Jean  Philippe  Rameau. 

Additional  29997,  ff.  10,  39. 

Paper;  18th-19th  cent.    Oblong  folio.    See  also  under  String  Quartets  (182G), 
in  vol.  iii. 

Sketches  [by  Ludwig  van  Beethoven]  of  what  appear  to  have  been 
intended  for  Canons. 


1.  Words  illegible,     f.  10. 

2.  "Lerne     Schvveigen,     0    Freund." 
Different  from  the  canon  to  those 


V7ords    which     appeared    in    1815. 
f.  39. 


Additional  14166,  f.  43. 

Paper ;  early  19th  cent.    Oblong  quarto.    See  also  under  Motets  (vol.  i,  p.  343). 

"  Canon  in  ettacordo,"  for  2  voices,  by  Alessandro  Scarlatti.  In 
the  hand  of  G.  Sigismondo. 

Additional  32181,  f.  15. 

Paper;  a.d.  1803,  etc.     Oblong  folio.     See  also  below,  under  Operas  (1796). 

Sketches  of  two  Canons  for  3  voices,  in  score,  by  F.  X.  Siissmayr, 
1803.  Autograph.  They  are  "  Perche  mai,  ben  mio,"  and  the 
answer,  "  Perche  sento  un  foco  in  me." 

Additional  31819,  fF.  2,  3b,  13. 

Paper  ;  a.d.  1809.    Obloug  folio.     See  also  under  Hymns  (vol.  i,  p.  187). 

Canons,  inserted  in  a  volume  of  compositions  apparently  sent  in  by 
candidates  for  the  prize  medal  of  the  Catch  Club. 


1,  "  I  am  so  weary  "  (3  in  1).     "  Thos. 
Ford."     f.  2. 

2.  "  Do  fa  sol  la  "  (5  in  2).   Anonymous. 
f.3b. 


3.  "Britannia  mourns"  (3  in  1). 
"R.  Cooke,"  1809.  Autograph  {!). 
f.  13. 


10  VOCAL  MUSIC— SECULAR. 


Additional  35003,  £.61. 

Paper;    about   1812    (watermark).      Oblong   folio.      See   also   under   Motets 
(vol.  i,  p.  349). 

"  Canon,  three  in  one,"  inserted  in  a  volume  of  compositions  by 
Samuel  Wesley,  who  was  presumably  the  author. 


Additional  32411,  f.  49. 

Paper;  about  1818.     Oblong  octavo.     See  also  under  Chorales  (vol.  i,  p.  157). 

"  O  DU  Nase "  :  Canon  by  F.  A.  Hiller,  in  the  hand  of  Johann 
Christian  Lobe. 

Additional  34803,  f.  65b. 

Paper;    a.d.    1824  (?)    (see   f.  63b).     Quarto.     See   also    below,   under   Songs 
(1820-1824). 

Canon  for  alto,  tenor  and  bass,  but  without  words,  by  John  Lodge 
Ellerton.     Autograph. 

Egerton  2795,  ff.  10,  10b. 
Paper ;  about  1825.     Octavo,     See  also  under  String  Quartets,  in  vol.  iii. 

"  Alle  gewaltsame  That  misfiillt  ja  den  Gottern.  Tugend  ehren 
.  .  .  nur  und  Gerechtigkeit  nlitzt  den  Menschen " ;  in  a  sketch- 
book of  Ludwig  van  Beethoven,  and  apparently  intended  to  be  sung  to 
some  musical  notes  in  the  key  of  F  (f  time). 

Additional  33239,  f.  148b. 
Paper ;  about  1832.     Oblong  folio.     See  also  under  Anthems  (vol.  i,  p.  102). 
"No,  Lucinda"  :  Canon  for  3  voices,  by  Dr.  Blow. 

Additional  11730,  f.  134. 

Paper ;  a.d.  1833.     Oblong  folio. 

"Enigmatical  Canon  in  3  parts,"  without  words,  by  I[gnaz] 
Moscheles,  1833.  Autograph.  Enclosed  in  a  letter  to  Vincent 
Novello. 

Additional  19648,  f.  44b. 

Paper ;  about  1833  (see  f,  44).     Quarto.     See  also  below,  under  Glees  (1810). 

"  If  all  be  true  as  women  say " ;  for  4  voices  in  one,  in  score. 
Anonymous.     From  Playford's  Musical  Companion,  1667. 


CANONS.  11 

Additional  32190,  f.  48. 

Paper ;  a.d.  1834.    Oblong  folio.    See  also  below,  under  Operas  (early  19th  cent.). 

"  MuNTRE  Garten  lieb'  ich  mir "  :  Canon  for  3  voices,  by  J.  N. 
Hummel,  founded  upon  the  melody  of  a  secular  trio  (described  below) 
by  the  Archduchess  Maria  Pawlowna. 

Additional  31415  (part  iii,  f.  32  ;  iv,  f.  43b;  v,  f.  19). 

Paper  ;  after  1835.     Oblong  octavo.     See  also  below,  under  Madrigals. 

"  They  who  trust  in  womankind  "  ;  described  as  "  Canon  for  4  equal 
voices,  by  Eisenhofer,  words  by  T[homas]  0[liphant],  1835."  The 
part  for  the  4th  voice  has  been  omitted. 

Additional  35026,  fl:  \0h-Q8 passim. 

Paper  ;  a.d.  1836-1854.    Quarto.     See  also  under  Albums  (1886-1895),  in  vol.  iii. 

Canons,  for  2  voices,  and  autograph,  unless  the  contrary  is  stated. 
Most  of  them  are  without  words. 


1.  "Moderate,"  in  C  minor  (|  time). 
"  Robt.  Lindley."     f.  10b.       . 

2.  "Wer  dieseu  canon  singenkaun": 
enharmonic  canon  for  4  voices.  "  J. 
Staudigl,  London,  20  July,  [1]843." 
f.  45. 

3.  " In  questa  vita."  "Mario,  London, 
19  July,  1854."     f .  56. 

4.  "Ah,  chi  sa  se  mai  "  ;  for  4  voices. 
"Alfredo  Piatti,  Londra,  il  12  Feb- 
brajo,  1854."     f.  59. 


5.  A  quasi-canon,  in  B  minor  (common 
time),  described  as  "Quartett?  Mode- 
rate." "Felix  Mendelssohn  Bar- 
tholdy,  London,  7'"  Sept.  1837." 
f.  66. 

6.  In  D  (I  time).  "Louis  Spohr, 
London,  den  29sten  Juui,  1843." 
f.  67. 

7.  '-'Canon  a  4,"  in  G,  "Bernhard 
Molique,  London,  the  24th  of  Slay, 
1852."     f .  68. 


Additional  34804,  f. 


o 


o 


Paper ;  a.d.  1855.     Oblong  folio.     See  also  below,  under  Songs  (1820-1824). 
"  My  love  is  dead  "  :  Canon  (4  in  2)  by  James  Coward,  1855. 

Additional  34052,  passim. 

Paper  ;  19th  cent.     Quarto.     The  MS.  belonged  to  Miss  S.  S.  Banks.     It  also 
contains  a  few  sacred  Canons  (see  vol.  i,  p.  129). 

"  Raccolta  di  Cantici  e  Canoni  di  varii  Autori  "  :  a  collection  of 
Canons  in  the  unison,  or  catches,  in  score.  Nos.  3-10,  12—20,  are  for 
4  voices;  no.  11  for  6  voices;  nos.  21  and  28  for  5  voices;  the  rest 
are  for  3  voices.  Except  where  the  contrary  is  stated,  they  are 
anonymous. 


1.  "II  Vin  m'  ha  dato  in  Testa."   f.  5b. 

2.  "Tu  sei  vaga";  by  a  French  com- 
poser,    f.  6b. 


3.  "L'  altro   giorno  un  bel  lepretto." 
f.9. 

4.  "  Amar  vorrei  la  bellaNina."  f.  10b. 


12 


VOCAL  MUSIC— SECULAR. 


5.  "Trova   un   sol,   mia   bella    Clori." 
f.  11. 

6.  "II  maestro  m'  insegno  (sic)  do  re." 
f.l2. 

7.  "Mio  ben,  lo  moro."     "  Gio.  Bat- 
t[ist]a  Borri."     f.  12b. 

8.  "  Canta  pur,  caro  mio  ben."   By  the 
same.     f.  13. 

9.  "Non  posso  piu  cantar."     By  the 
same.    f.  13b. 

10.  "  Delle  donne  1'  amicizia."    By  the 
same.     f.  14. 

11.  "  Vivande  al  fuoco."   By  the  same, 
f.  14b. 

12.  "  Gia  che  viene  la  stagione  d'  andar 
a  caccia."     f.  16. 

13.  "  Vivat   in    eternum   Londinum." 
"  P.  Martini  da  Bologna."    f.  19. 

14.  "E   troppo    dolore."     "Gio.   Bat- 
t[ist]a  Borri."     f.  21. 

15.  "  Tai  tai  tai  ta  la  la  ra  ta  ra  ta  ta, 
lo  Canto."     f.22, 

16.  "  Dirai  di  me  pietosa."     f.  23. 

17.  "  Dair  amoroso  ardor."     f.  24. 

18.  "losono  in  allegria."     "  Pitoni." 
f.  25, 

19.  "Do  re  mi  fa  mi  vien'  a  noia." 
"Bassetti."     f .  25b. 

20.  "  Fa  fe  fi  fo  fu;"     f .  26b. 

21.  "  Puggite    amor."      "  Gasparini," 
f.27. 

22.  " Pupille  care,  voi dormite."  "Gio. 
Batt[ist]a  Borri."     f.  30. 

23.  "  Che  sent'  tut'  languir."     f.  30b. 

24.  "Lacarozza  del  Dottore."     "Gio. 
Batt[ist]a  Borri."     f.  31b. 

25.  "  Cara  Nina,  sto  aSannata."  f.  32b. 

26.  "Fortuna,  fammi  far  felice  fine." 
"  Gio.  Batt[ist]a  Borri."     f.  33. 

27.  Another  setting  of  the  same  words. 
By  the  same.     f.  34. 

28.  "II  Merluzzo,  il  Salmone."  By  the 
same,     f .  34b. 

29.  "lo    peno,    io    moro."     "Quirino 
Colombani."     f.  36. 

30.  "In   baize   orrende."     "Gio.   Bat- 
t[ist]a  Borri."     f.  37. 

31.  "  Se  tu  mi  vuoi  bene."     f.  38b. 

32.  "  Dimmi  una  volta  almeuo."   "  Ar- 
resi."     f.  39b. 


33.  "Io  peno,  e  moro."     "Gio.  Bat- 
t[ist]a  Borri."     f.  41. 

34.  "  La  mia  Gallina."     f.42. 

35.  "  Per  te,  mio  ben,  Io  moro."  "  Gio. 
Batt[ist]a  Borri."     f.  42b. 

36.  "Cara  vita,  mio  bene."     By  the 
same,     f .  43b. 

37.  Belle  Ninfe,  scherzando  danzate." 
f .  44b. 

38.  "Parole  poco  pensate."    f. 45. 

39.  "  Torna  la  primavera."     f .  46. 

40.  "  Per  voi  mi  struggo."     f.  47. 

41.  "  Chi  vuol  conciar  le  scarpe  rotte." 
f.48. 

42.  "Allegramente  tutti  noi."  f.  48b. 

43.  "  Io  moro,  Io  spasimo."     f .  49b. 

44.  "  Alma  di  questo  sen."     f.  50b. 

45.  "  Fra  I'altre  cose."     f.  51. 

46.  "  Serbami  la  tua  fe,"     f.  52. 

47.  "0  noiosi  Ciceroni."     f.  52b. 

48.  "  Contento  di  tua  fe,  Roma  Cara." 
f.  53. 

49.  "  Chi    nasci    matto    non  guarisce 
mai."     f.  53b. 

50.  "lomenevoglioandaraCasa."  f.  54. 

51.  "La  mia   Signora  vuole."     "Flo- 
riano  Arresti."     f .  54b. 

52.  "  Col  Nome  d'  :Amore,"     By    the 
same,    f .  55. 

53.  "  Scusi,  perdoni."    "  P.  Martini  da 
Bologna."     f .  57b. 

54.  "  Penando  Io  moro."     f .  58b. 

55.  "Ecco,  quel  fiero  istante."    f .  59b. 

56.  "E  che  diro."     f.  60b. 

57.  "  Povero  mero  zoppo."     f .  61b. 

58.  "Levati   di  qui,  Signor  Dottore." 
"  Floriano  Arresti."     f .  63. 

59.  "  Donne  chi  vuol  comprar."  Anony- 
mous,    f.  63b. 

60.  "  Bevete  voi,  no."     f.  64. 

61.  "Andiamo,     beviamo,    cantiamo." 
f .  64b. 

62.  "Canoni  voi    volete,   caro   Signor 
Marchese."     f .  65. 

63.  "  Caro  bell'  Idol  mio."     f.  66. 

64.  "  No,  non  parlar  d' amore."    f.  67. 

65.  "  Vuoi  tu  venir  meco."     f.  68. 

06.  "  0  quauto."     "  P.  Martini  da  Bo- 
logna."    f.  68b. 


CANTATAS.  13 


SECTION  II.— CANTATAS 


INCLUDING   SHORTER    WORKS    FOR    SOLO    VOICES   AND    CHORUS    WITH 

ORCHESTRA. 


Additional  10338,  flf.  51b-56. 
Paper ;  after  1669.     Small  folio.     See  also  uuder  Motets  (vol.  i,  p.  283). 

"  Felice  Pastorella " ;  consisting  of  solos,  duet,  trio,  and  5-part 
choruses,  with  symphonies  for  5  strings,  in  score,  by  George  Jeffreys. 
Aidogra]}h. 

Additional  30382,  f.  29. 

Paper ;  A.D.  1678-1686.    Folio.     See  also  under  Motets  (vol.  i,  p.  285). 

"  Amanti,  che  dite"  :  a  fragment  of  the  last  chorus  (for  3  voices), 
with  a  bass  for  harpsichord,  in  score,  from  the  serenata  "  I  naviganti," 
by  Giacomo  Carissimi. 

Additional  33334,  ff.  135,  143. 

Paper  ;  a.d.  1680-1682.    Folio.     See  also  below,  under  Songs. 

Compositions,  in  score,  apparently  in  the  hand  of  Charles  INIorgan, 
of  Magdalen  College,  Oxford. 


1.  Another  copy  of  the  chorus  as  above, 
Add.  30382.     "Carissimi."     f.  135. 

2.  "  As  on  Septimius'  panting  breast": 
cantata  for  3  solo  voices  and  3-part 


chorus,  with  a  bass.  "Dr.  John 
Blow."  For  the  symphonies,  see 
Add.  22100,  f.  Ill  (below),     f.  143. 


Additional  22100,  fiP.  79,  111. 
Paper ;  about  1682.     Folio.     See  also  under  Anthems  (vol.  i,  p.  28). 
Compositions,  in  score,  apparently  in  the  hand  of  —  Dolbin. 


1.  "  Awake,  awake,  fair  goddess  of  this 
place " ;  for  solo  voices  and  3-part 
chorus,  with  a  bass.     "  Hall."     f.  79. 

2.  "As  on  Septimius'  panting  breast"  ; 


with  symphony,  etc. ,  for  strings.  "Dr. 
Blow."  (The  symphonies  given  here 
are  fuller  than  those  published  in  the 
Avq^hion  Anglicus,  1700.)     f.  111. 


14  VOCAL  MUSIC— SECULAR. 


Additional  29397,  ff.  13b,  94b. 

Paper  ;  about  1682-1690.    Narrow  oblong  duodecimo.     See  also  below,  under 
Songs. 

Compositions    for    solo    voices    with    chorus,    in    score,    without 
accompaniment. 

f.  13b. 


1.  "A  beart  in  love's  empire";  for 
two  shepherdesses  and  a  shepherd, 
with  2-part  chorus,     "  Rob.  Smith." 


2.  "  As  on  Septimius'  panting  breast." 
"  Dr.  Blow."     f.  94b  (reversed). 


Additional  14399,  ff.  31b,  34b. 
Paper  ;  second  half  of  17th  century.     See  also  below,  under  Songs. 

Two  compositions  for  2  or  3  voices  and  3-part  chorus,  with  a  bass 
for  harpsichord,  in  score,  by  Dr.  [John]  Blow. 


1.  "As  on  Septimius'  panting  Breast." 
f.  31b. 

2.  "Greate  Queen  of  Love,  behold": 


described   as   a   "  dialogue   between 
Cupid  and  Venus."    ff.  34b-36. 


Additional  31473. 

Paper ;  ff.  20.    Late  17th  cent.     Small  oblong  folio.    The  LIS.  belonged  to 
Joseph  Warren. 

"  I  Naviganti  "  :  serenata  for  2  trebles  and  a  bass,  consisting  of 
solos,  duets,  and  trios  or  3-part  chorus,  with  figured  bass,  in  score, 
by  Carissimi.     Begins,  "  Sciolto  hauean  dall'  alte  sponde." 


Additional  33235,  ff.  57b,  99. 

Paper ;  late  17th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  38). 

Compositions  for  solo  voices  and  chorus,  in  score. 

1.  "Mr.    Cowley's    complaint";    beg.   j       "H[enry]  P[urcell]."     ff.  57b-63. 
"In    a    deep   vision's    intel[l]ectual   ,  2.  "  Amanti,    che     dite  "  :     from    "I 


scene " ;    for    bass    solo  and    3-part 
choruses,    with    a    basso    continue. 


Naviganti."        "  Carissimi."        (See 
Add.  31473,  above.)     f.  99. 


Additional  33287,  ff.  3b,  17b,  31b. 
Paper  ;  late  17th  cent.     Large  folio.     See  also  below,  under  Odes. 

Cantatas  for  solo  voices  and  chorus,  with  symphonies  and  accom- 
paniments for  strings. 

1.  "Whilst  (sc.  As)  on  Septimius'  pant-  Turner."    f.  17b. 

ing    Breast."      "Dr.    John    Blow."      3.  "If  ever  I  more  riches  did  desire." 
f.3b.  "  Henry  Purcell."     f.31b. 

2.  "  'Tis  you,  great  Ceres."     "  William 


CANTATAS.  15 

Additional  14229,  fF.  121-129. 

Paper;    17th-18th    cent.      Oblong    folio.      See    also    below,    under     Songs 
(1723-1732). 

["  I  Naviganti  "]  :  serenata,  with  a  bass  for  harpsichord,  in  score, 
by  Carissimi.  Add.  31488  (below)  contains  a  movement  which  is 
omitted  (after  f.  121b)  in  the  present  copy. 


Additional  31472,  f.  72. 

Paper ;  early  18th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  295). 

"  Amante  (sic),  che  dite "  ;  with  a  bass  for  harpsichord  or  organ, 
in  score,  from  the  preceding  serenata,  by  Carissimi. 

Additional  31488,  ff.  56-87. 

Paper ;  early  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  I  Nauiganti  " ;  with  a  figured  bass  for  harpsichord,  in  score,  by 
Carissimi. 

Additional  14120,  ff.  155-1 93b. 

Paper ;  a.d.  1712.     Oblong  folio.     See  also  below,  under  Operas  (1720). 

Part  II  of  a  Cantata  in  honour  of  the  Emperor  Charles  VI,  beg 
"  Quando  il  sole  e  ancor  nascente,"  with  symphonies  and  accompani- 
ments   for    oboes    and    strings,   and    a   figured    bass   for    harpsichord, 
in  score  [by  Nicolo  Porpora],  Rome,  29  October-2  November,   1712. 
Autograjpli.     Characters  :  Gloria,  Genio,  Fortuna,  Valore. 

Additional  31455  (part  i,  f.  7b  ;  iii,  f.  11 ;  iv,  f.  23b). 

Paper ;  after  1713.     Small  folio.     See  also  below,  under  Operas. 

Second  treble,  bass,  and  first  treble  parts  of  "  Amante  (sic),  che 
dite,"  from  Carissimi's  "  I  Naviganti." 

Additional  22271. 

Paper;  fi.  117.    About  1716?  (see  below).     Oblong  quarto. 

"  Rid  A  il  mar  "  :  serenata  for  4  solo  voices,  with  symphonies  and 
accompaniments  for  flutes,  oboes  and  strings,  and  a  bass  for  harpsi- 
chord, in  score,  by  Domenico  Sarri.  Apparently  composed  in  joint 
honour  of  the  Emperor  Charles  VI  and  his  infant  son  Leopold,  who 
only  survived  his  birth  (13  April,  1716)  a  few  months  (see  ff.  72, 
101b,  etc.). 


16 


VOCAL  MUSIC— SECULAR. 


Additional  36710. 

Paper ;  ff .  126.    Before  1732.    Folio. 

"  Acis  [and  Galatea],"  described  on  the  original  cover  (now  pasted 
inside  the  upper  cover)  as  "  Mr.  Handle's  pastoral.  The  First 
Compleat  Score  that  ever  was  wrote  out."  At  f.  3  is  "  The  Story  of 
Acis  ....  made  into  a  pastoral  by  Mr.  Pope "  (really  by  Gay), 
followed  at  f.  6b  by  the  "  Persons  consarnd  in  y^  vocal  performance  " 
("  Pallexiion,"  Damon,  ""Corridon,"  Strephon,  etc.),  and  "The  order  and 
method  of  y^  performance,  also  an  Indix  to  the  whole " ;  from  which 
it  appears  that  the  greater  part  of  the  work  is  accompanied  by 
2  violins,  2  oboes,  and  a  thorough-bass  for  harpsichord,  with  the 
occasional  addition  of  2  flutes  and  (in  the  accompaniments  to  Poly- 
phemus' later  songs)  a  "  duble  curtal "  (a  sort  of  bassoon).  The 
chorus  setting  of  the  words  "  Happy  we,"  which  was  added  by  Handel 
at  the  time  of  the  revival  of  the  work  in  1732,  is  omitted  here. 


Additional  31572,  ff.  172-178b. 

Paper ;  after  1734.    Oblong  folio.    See  also  below,  under  Operas. 

Two  ARIAS,  with   symphonies  and  accompaniments  for  strings,  in 
score,  from  the  serenata,  "  Parnasso  in  Festa"  [1734],  by  Handel. 


1.  "  Circondin  lor  vita  le  grazie  florite." 
f.  172. 


2.  "Tornipure."     f.  175b. 


Additional  14122. 

Paper ;  ff.  140.    a.d.  1736.     Oblong  folio. 

Two  SEBENATAS  for  solo  voices  and  4-part  chorus,  with  symphonies 
and  accompaniments  for  horns,  trumpets,  oboes,  strings,  and  a  figured 
bass  for  harpsichord,  in  score,  by  Nicolo  Porpora.  Part  of  the  first 
and  the  whole  of  the  second  are  autograph. 

1.  "  Odi  mi,  Alcide."     f.  1.  of  the  marriage  of  Frederic,  Prince 

2.  "  Dalla  gemmata  oriental  pendice " ;  of  Wales,  and  the  Princess  Augusta 
with  flutes,  bassoons,  drums,  etc,  of  Saxe-Coburg  in  1736  (see  ff.  56b, 
Said  to  be  written  on  the  occasion  64,  102,  etc.),    f.  49. 


Additional  32430. 

Paper ;  ff.  115.     a.d.  1743  (?).     Oblong  quarto. 

"  Cantata  a  3  Voci  con  Violini,  Trombe,  Oboe,  e  Corni  da  Caccia," 
flutes  and  a  figured  bass  for  harpsichord,  in  score,  by  Giovanni  Battista 
Costanzi ;  composed  in  1743  for  Cardinal  [Trojano]  Acquaviva.  Correc- 
tions and  additions  in  the  composer's  autograph  are  interspersed  through- 
out the  MS.  The  Cantata  is  divided  into  two  parts,  the  words,  com- 
mencing "  Genio  diletto,"  being  by  Metastasio.  Principal  characters  : 
Gloria,  Genio  Romano,  and  Tempo. 


CANTATAS. 


17 


Additional  14162,  fF.  162-1 92b. 
Paper ;  a.d.  17C8.    Oblong  quarto.    See  also  under  Motets  (vol.  i,  p.  33i). 

"  Alto  Olimpo  "  ;  in  score,  by  Rafaele  Auletta,  1768,  Autograph. 
Though  described  as  a  "  Mottetto,"  the  work  appears  to  be  rather  of 
the  nature  of  a  Cantata.  It  begins  with  a  4-part  chorus,  which  is 
followed  by  recitatives  and  arias  for  soprano,  alto,  and  bass  solo  voices. 
The  symphonies  and  accompaniments  are  for  trumpets,  oboes,  strings, 
and  organ. 


Additional  19647,  flP.  1,  90. 

Paper ;  a.d.  1783,  etc.    Oblong  folio  and  folio.     See  also  below,  under  Songs 
(1786-1789). 

Portions  of  two  works  for  solo  voices,  with  symphonies  and 
accompaniments  for  oboes,  trumpets,  horns,  drums,  strings  and  other 
instruments  named  below,  in  score,  composed  by  J[ames]  Hook  for 
Vauxhall  Gardens.     Autograph. 


1.  "  The  Love  Wrangle,  a  Pastoral 
Interlude,"  beginning  "  Once  on  a 
time,  no  matter  when."  Dated 
"  1783  "  ;  sung  by  Mesdames  Weich- 
sell  (the  mother  of  Mrs.  Billington), 
Wrighten,  Kennedy,  Arrowsmith, 
and     [Elizabeth]     Billington,    and 


Messrs.    Billington     and    Howard. 
Imperfect  at  the  end.     ft.  l-14b. 
2.  "  Since  wedlock's  in  Fashion  "  :  now 
finale  (1797)  to  "Maids  and  Bache- 


lors " ;    with 
ff.  90-lOlb. 


flutes,    bassoons,    etc. 


Additional  32409,  ff.  1-17. 


Paper ;  about  1784.    Oblong  quarto, 
for  Orchestra,  described  in  vol.  iii. 


The  MS.  also  contains  some  Entr'actes 


"  Intrattimento  Musicale,  Per  ....  Ernesto,  Duca  Regnante  di 
Saxe  Gotha,  Altenboui^g,  etc."  beg.  "  Sempre  di  verdi  allori."  It  consists 
of  a  cavatina  and  4-part  choruses,  with  an  introductory  march  and 
accompaniments  for  oboes,  horns,  drums,  and  strings,  in  full  score,  by 


Angelo  Tarchi. 


Additional  31307,  ff  13-6 lb. 

Paper;  after  1786  (see  below).    Folio.    See  also  under  Masses  (vol  i,  p.  226). 

"  Cantus  lugubris  in  obitum  Friderici  Magni  Borussorum  Regis 
ad  voces  alternas  magnamque  Orchestram  accomodatus  et  in  sollem- 
nibus  Exsequiis  die  v  ante  Idus  Septembris  mdcclxxxvi  Potsdami 
celebratis,  peractus  praecipiente  Joanne  Friderico  Reichardt,  Concentus 
aulici  Magistro  " ;  for  solo  voices  and  4-part  chorus,  with  symphonies 
and  accompaniments  for  flutes,  clarinets,  bassoons,  horns,  trombones, 
drums,  strmgs,  and  organ,  in  score.     Begins  "  Quern  virum  aut  heroa." 

II  c 


18  VOCAL  MUSIC— SECULAR. 

Additional  31669,  f.  43-47. 

Paper ;  a.d.  1797.     Quarto.     See  also  below,  under  Operas. 

"■  Let's  Imitate  her  notes  above  "  :  duet,  with  a  figured  bass  for 
harpsichord,  in  score,  by  Handel.  [From  "  Alexander's  Feast,  1736."] 
In  the  hand  of  R.  J.  S.  Stevens. 

Additional  31412,  ff.  8b-9b. 
Paper;  a.d.  1798.     Oblong  quarto.     See  also  under  Oratorios  (vol.  i,  p.  373). 

"  Amanti,  che  dite  "  ;  with  a  bass,  in  score,  from  "  I  Naviganti,"  by 
Carissimi.     In  the  hand  of  Dr.  Crotch,  1798. 

Additional  32181,  ff.  27,  36,  111. 

Paper  ;  a.d.  1798.     Oblong  folio.     See  also  below,  under  Operas  (1796). 

Cantatas,  two  of  them  imperfect,  in  score,  by  F.  X.  Siissmayr. 
Autofjrajph. 

1.  Recitative  and  aria,  without  words,   i       of  Freifrau   Anna  Maria  von   Lang, 
from  "  Der  Ritter  in  Gefahr,"  with   :        1798.     ff.  36-49b. 

symphonies  and  accompaniments  for  I  3.  Chorus  of  Shepherds  and  Shepherd- 
clarinets,  oboes,  horns,  and  bassoons.  I  esses,  "  Fra  si  dolci  amene  rive"; 
ff.  27-35.  ,  with  flutes,  oboes,  horns,  and  strings, 

2.  "  Sey  uns   dreymal   hoch  willkom-  j  from  "Alcidoro  e  Dalisa,"  or  "  Gli 


men,"  described  as  "  Jubelfeyer,"  for 
solo  and  chorus,  with  similar  accom- 
paniments,  sung  on  the  name-day 


amanti  in  Tempe."    Imperfect  at  the 
end.    ff.  lll-114b. 


Additional  5321,  ff  1-1 02b,  104b. 
Paper ;  18th  cent.    Oblong  quarto.     See  also  below,  under  Songs. 
Compositions,  in  score,  by  Handel. 

1.  •'  Acis  and  Galatea "  ;   serenata  for  I  is  here  written  in  the  soprano  clef 

solo  voices  and  5-part  chorus  (the  3  '  and  assigned  to  Glori.     f.  l.i 
middle    parts   assigned    in    the    1st       2.  "  Come  la  Rondinella "  :  aria,  with 

chorus  to  alto  and  2  tenors,  in  the  accompaniments  for  archlute,  violins, 

others  to  3  tenors),  with  symphonies  i  etc.,  in  score,  from  the  Cantata  for  3 

and  accompaniments  for  flutes,  oboes,  [  voices,    "  Conosco    che    mi    piaci." 

and    strings,    in    score.      The    aria,  ,  f .  lOdb. 

"  Consider,  fond  shepherd  "  (at  f.  67),  I 

Additional  31561. 

Paper  ;  ff .  159.     18th  cent.     Oblong  quarto. 

"Acis  and  Galatea":  serenata,  in  score,  by  Handel.  Unlike  the 
copy  in  Add.  5321  (above),  the  aria,  "Consider,  fond  Shepherd,"  at 
f.  99b,  is  here  written  in  the  tenor  clef  and  assigned  to  Damon  ;  the 
first  chorus  is  also  directed  to  be  sung  by  a  canto,  3  tenors,  and  a  bass. 
Apparently  in  the  hand  of  John  Christopher  Smith. 


CANTATAS.  19 

Additional  5328. 

Paper ;  f£.  26.    18th  cent.    Quarto. 

"  The  choice  of  Hercules " ;  for  solo  voices  and  4-part  chorus, 
with  overture  and  accompaniments  for  trumpets,  horns,  oboes,  bassoons, 
strings,  and  organ,  in  score,  by  [Charles]  John  Stanley,  whose  book- 
plate, with  arms,  is  at  the  beginning  of  the  MS.  A  much  shorter 
work  than  Handel's  serenata  with  the  same  title. 

Additional  31567. 

Paper  ;  ££.  161.     18tb  cent.     Oblong  quarto. 

"  II  Convito  d'  Alessandro  "  ;  sc.  an  Italian  version  of  "  Alexander's 
Feast,"  for  solo  voices  and  choruses  of  4  and  6  voices,  with  overture 
and  accompaniments  for  trumpets,  horns,  flutes,  oboes,  bassoons,  and 
strings,  and  a  figured  bass  for  harpsichord  or  organ,  in  score,  by 
Hendel,  sc.  Handel. 

Additional  32594,  ff.  8,  21. 

Paper ;  18th  cent.    Folio.     See  also  under  Motets  (vol.  i,  p.  363). 

"  Huldigung's  Music,"  in  honour  of  the  Elector  [Friedrich  August 
III  1]  of  Saxony,  written  for  solo  voices  and  4-part  chorus,  with  sym- 
phonies and  accompaniments  for  flute  or  oboe,  trumpets,  drums,  and 
strings,  with  a  bass  for  harpsichord  or  organ,  in  score,  by  —  Hicht. 
AutograjjJi.     The  work  consists  of  : — 


1.  "  Siehe,  es  wird  ein  Konig  regieren  " ; 
described  as  "  Kircben-Music."     f.  8. 


2.  "Das  Regiment  auf  Erden " ;   de- 
scribed as  "  Tafel-Music."    f.  21. 


Additional  14197,  ff.  75,  140. 

Paper ;  late  18tb  cent.     Oblong  quarto.     See  also  under  sacred  Songs  (vol.  i, 
p.  435). 

Instrumental  parts  of  two  compositions,  consisting  chiefly  of 
recitatives  and  arias,  and  ending  with  a  quartet  or  a  chorus.  Each  is 
divided  into  two  parts.     Anonymous. 


1.  Oboes,  trumpets,  and  strings.  With- 
out words,     ff.  75-130. 

2.  Parts  for  2  oboes.     The  first  words 


of  most  of  the  numbers  are  given,  as 
"Lo  sciempio,"  etc.    ff.  140-151. 


Additional  32182,  ff.  216-260b. 

Paper ;  late  18th  cent.     Oblong  folio.     The  MS.  belonged  to  J.  N.  Hummel. 
It  also  contains  part  of  an  Opera  and  a  Song,  described  below. 

"  0  vol  deir  Istro  fortunate  piaggie."  This  Cantata  appears  to  have 
been  used  in  the  composition  of  "  Der  Ritter  in  Gefahr  "  (see  Add.  32181, 
f.  27,  above,  p.  18).     Written  upon  the  combined  occasions  of  the  birth 

c  2 


20  VOCAL  MUSIC— SECULAR. 

of  a  second  royal  archduchess,  and  of  several  victories  gained  by  the 
Austrian  arms  [?  Verona,  1799]  ;  the  words  by  Conte  Giovanni  Arriva- 
bene,  the  music  by  Franz  Xaver  Sussmayr.  It  is  for  solo  voices  (Fame, 
a  Shepherdess,  and  Pallas),  with  symphonies  and  accompaniments  for 
flutes,  oboes,  horns  (English,  etc.),  bassoons,  and  strings,  in  score. 

Additional  32183,  ff.  1-48. 

Paper;  18th-19th  cent.     Oblong  folio.     See  also  under  Masses  (vol.  i,  p.  231). 

"  Perlen  gliinzen  auf  der  Flur  "  :  Cantata  for  solo  voices  and  3-part 
chorus,  with  symphonies  and  accompaniments  for  flutes,  oboes,  clari- 
nets, bassoons,  horns,  and  strings,  in  score,  by  [Joseph]  Tribensee. 
Autograph. 

Additional  31820,  ff".  5-6. 

Paper;  early  19th  cent.     Oblong  folio.     See  also  under  Anthems  (vol.  i,  p.  96). 

"  Prepare  then,  ye  immortal  choir " :  duet  for  2  sopranos,  in 
score,  by  Handel    [from    "  Semele,"   1743],    transcribed   by  R.  J.  S. 

Stevens. 

Additional  32195. 

Paper ;  ff.  219.     Early  19th  cent.     Oblong  folio. 

"  Irene  "  :  Cantata,  beg,  "  Der  Welten  grosser  Herrscher,"  for 
solo  voices  and  4-part  chorus,  with  overture,  symphonies,  and 
accompaniments  for  flutes,  oboes,  clai'inets,  bassoons,  horns,  trumpets, 
drums,  triangles,  and  strings,  in  score,  by  J.  N.  Hummel.  The 
overture  appears  to  be  borrowed  from  his  ballet,  "  Helene  et  Paris." 

Additional  28971,  ff".  106-124. 

Paper ;  a.d.  1800.     Oblong  folio.     See  also  below,  under  Songs. 

Two  "New  Finales  for  Vauxhall,  1800";  for  solo  voices,  with 
symphonies  and  accompaniments  for  flutes,  trumpets,  horns,  bassoons, 
drums,  and  strings  in  score,  by  J[ames]  Hook.     Autograph. 


1.  "  May,"  beg.  "The  Daiseys  peep  "  ; 
for  4  voices,  the  upper  part  being  sung 
by  the  three  sopranos  in  unison. 
The  words  by  "  Peter  Pindar"  {sc. 


John  Wolcot).     f.  106. 
2.  "The    Suitors,"   beg.    "We    come, 
....  fair  maids,  to  sue  for  Love  "  ; 
for  6  voices,     f.  112. 


Additional  32190,  ff.  59,  76. 

Paper ;  a.d.  1804.     Oblong  folio.     See  also  below,  under  Operas. 

"  MusiQUE  [d'occasion]  "  ;  for  solo  voices  and  chorus,  with  pianoforte 
accompaniment,  in  compressed  score,  by  J.  N.  Hummel.     Autograph. 

1.  "Le  boncheur  de  virere  (sic)  au  nous  chantons  la  plus  belle  ";  written 
village";  written  for  Count  Charles  i  in  honour  of  Princess  Leopold  Eszter- 
Zichy.  "  12''"  (sic)  Dec.  [1]804."  f.  59.  ■       hazy.     "15  Nov.  [1]804."     f.  76. 

2.  "  Des   Berger[e]s   de    nos    hamoaux 


CANTATAS. 


21 


Additional  32191. 

Paper ;  ff.  343.     a.d.  1806,  1807.     Oblong  folio. 

Two  Cantatas  for  solo  voices  and  4-part  chorus,  with  overture  (or 
introduction)  and  accompaniments  for  flutes,  oboes,  clarinets,  bassoons, 
horns,  trumpets,  basset-horn  (or  corno  Inglese),  drums,  and  strings,  in 
score,  the  drums  and  some  of  the  wind  instruments  being  generally  in 
a  separate  score.     By  J.  N.  Hummel.     Autograph. 

1.  "Diana  ed  Endimione,"  beg.  "Si  "  Der  Ki-anz  von  grosser  Ahnenthat 
stanchin  le  fiere."     "  [1]806."     f.  1.            umlaubt."    "  [1]807,  Marzo."    f.  225. 

2.  "Das  Lob  der  Freundschaft,"  beg. 


Additional  32192. 

Paper;  ff.  180.     a.d.  1807.     Oblong  folio. 

Cantata  for  solo  voices  and  4-part  chorus,  with  ovei'ture  and 
accompaniments  for  trumpets,  horns,  clarinets,  oboes,  flutes,  bassoons, 
drums,  harp,  and  strings,  in  score,  with  a  separate  score  for  some  of 
the  wind  instruments  ;  the  words  written  by  F.  W.  Tesche  in  honour 
of  the  name-day  of  Prince  Prosper  von  Sinzendorf,  the  music  by 
J.  N.  Hummel.     Autograph.     Begins  "  Herbei,  ihr  Freunde." 

Additional  33311,  ff.  l-82b. 

Paper ;  about  1809.     Oblong  folio.     The  MS.  also  contains  a  Quartet  and  a 
Song  (early  19tli  cent.)  and  Trios  (1802),  described  below. 

"  Inno  Osia  Cantata  a  quattro  voci,  con  strumenti  Per  la  Battaglia 
di  Maida  [1809].  Composto  da  [John  Fane]  Lord  Burghersh  [Earl  of 
Westmorland  1841]  Assistente  Agiutante  Generale  "  ;  with  symphonies 
and  accompaniments  for  strings,  oboes,  and  horns,  in  score.  Auto- 
graph. Begins  "  Midst  these  scenes  of  Antient  Story " ;  and  in  the 
Italian  version,  "  Scene  che  un  di  L'  antica  storia  fece  Teatro." 


Additional  32194. 

Paper  ;  ff.  265.     a.d.  1810-1827.     Oblong  folio. 

Four  Cantatas  for  solo  voices  and  4-part  chorus,  with  symphonies 
and  accompaniments  for  flutes,  oboes,  clarinets,  bassoons,  horns, 
trumpets,  drums,  strings  (except  in  no.  3),  and  other  instruments 
mentioned  below,  in  score ;  by  J.  N.  Hummel.     Autograph. 

1.  "  Chantons,  c616brons  la  journee  "  ; 
performed  at  the  French  Embassy  at 
Vienna  in  honour  of  the  marriage 
of  Napoleon  and  Marie  Louise  of 
Austria  [1810J ;  with  a  pianoforte  or 
harp  part  in  one  of  the  numbers. 
Op.  37.  Followed  (at  f.  85)  by  a 
pianoforte  part.    f.  1. 


2.  "  Vernahmest  du  gleich  uns,  o 
Orpheus  "  ;  in  memory  of  J.  Haydn. 
"[1]813."     f.  116. 

3.  "  Kehrt  der  frohe  Tag  uns  wieder  "  ; 
with  cymbals,  etc.  In  honour  of 
Goethe's  birthday.  "  1827."  Vn- 
finished.     1. 168. 

4.  "Wie   schon,   wie   wonnig,   strahlt. 


22  VOCAL  MUSIC— SECULAR. 

0    Tag,   dein  Glanz";   with   trom-  Feb"  1827."    One  of  the  numbers 

bones,  etc.    Written  in  honour  of  the  ,       (at    f.  237)    is    borrowed    from    the 

birthday  of  [Karl  August]  hereditary  cantata  "Diana  ed  Endimione  "  (see 

Grand  Duke  of  Saxe- Weimar.   "25  j       Add.  32191,  f.  1,  above,  p.  21).    f.  192. 

Additional  32193,  ff.  l-98b. 

Paper;  a.d,  1812,  efc.     Oblong  folio.     See  also  below,  under  Songs  (1799). 

Two  Cantatas  for  solo  voices  and  4-part  chorus,  with  symphonies 
and  accompaniments,  for  flutes,  oboes,  bassoons,  horns,  trumpets, 
strings,  and  other  instruments  mentioned  below,  in  score.  By  J.  N. 
Hummel. 

1.  "Euterpens  Abschied";    with  tri-  '  "EntflohensinddiefrohenStunden." 

angles,    tambourines,  etc.      Written  |  f.  1. 

by  —  Gotz    for   the  "Reunion"  at  2.  "  Heil  diesem  Tag  ";  with  clarinets, 

Vienna.     "Marz,    [1]812."     Begins  i  trombones,  drums,  eic.     f .  56. 

Additional  32462. 

Paper ;  ff .  97.     About  1815.     Oblong  folio. 

"  Kampf  und  Sieg  "  :  Cantata  in  celebration  of  the  battle  of  "Waterloo, 
the  words  by  Wohlbriick,  the  music  by  Carl  Maria  von  Weber. 
Written  for  solo  voices  and  4-part  chorus,  with  introduction  and 
accompaniments  for  flutes,  oboes,  clarinets,  horns,  bassoons,  trumpets, 
drums  and  strings,  in  score,  and  trombones  in  a  separate  score. 

Additional  36966,  f.  181  ;  36967,  f.  115. 

Paper ;  a.d.  1830,  1831.     Oblong  folio.    See  also  under  Songs. 

Two  compositions  for  solo  voices  with  chorus,  accompanied  by  flutes 
(ottavino  and  traverse),  oboes,  bassoons,  long-drum  or  bass-drum, 
cymbals,  side-drum,  triangle,  kettle-drums,  trombones,  trumpets,  horns, 
clarinets,  and  strings,  and  (in  the  first  piece)  by  a  "  Pavilion  Chinois," 
in  two  separate  scores.  Written  by  [Sir]  Henry  R[owley]  Bishop  for 
Yauxhall  Gardens.     Autograph. 

36966.  "Finale    .  .  .    1830,"    entitled  i   36967.  "Concerted  piece    .  .  .   1831," 
"The  halt   of    the    Caravan,"    beg.  entitled  "  The  Welcome,"  beg.  "  The 


"  Halt  1  halt  1  halt !    Now  the  sun 
is  at  its  height."     f.  181. 


winter  is  o'er."     f.  115. 


Additional  32671,  f.  37b. 

Paper;    about  1842-1843.     Oblong  quarto.    See  also  below,  under  Operas 
(1837-1843). 

"  Plan  of  [a]  Cantata,"  by  Michael  William  Balfe,  in  which  the 
singers  were  [Mme.  Pauline]  Garcia  Viardot,  —  Dupont,  [Gilbert] 
Duprez,  [Willoughby  Hunter]  Weiss  [who  made  his  debut  in  1842], 
the  composer,  and  his  wife.     Autograph. 


CANTATAS. 


23 


Additional  30346,  ff.  18-22b. 

Paper ;  first  half  of  19th  cent.    Oblong  folio.    See  also  below,  under  Operas 
(1826). 

"  O  GiORNo  sereno  "  :  short  Cantata  for  tenor  and  bass  solo  voices 
and  4 -part  chorus,  with  accompaniments  for  trumpets,  flutes,  clarinets, 
bassoons,  trombones,  ophicleide,  and  bass-drum,  in  score,  and  a  separate 
pianoforte  accompaniment,  by  Rossini.     Autoorapli. 


Additional  31311. 

Paper ;  fi.  86.     First  half  of  19th  cent.     Oblong  folio. 

"  Deutschlands  Retter "  ;  the  words  by  Philipp  Baren  (?),  the 
music  by  Abbe  [Joseph]  Mainzer.  The  symphonies  and  accompani- 
ments are  for  flutes,  oboes,  clarinets,  bassoons,  horns,  trumpets, 
trombones,  drums  (timpani  and  tamburo)  and  strings,  in  score. 
Begins  "  Bang  klirrt  das  Erz." 


Additional  33570,  ff.  184-210. 

Paper ;  first  half  of  19th  cent.    Oblong  folio.    See  also  below,  under  Operas 
(1828). 

"Years  have  past,  fair  Waterloo";  for  solo  voices  and  4-part 
chorus,  with  trumpets,  horns,  clarinets,  flutes,  oboes,  bassoons  and 
strings,  in  score,  and  a  separate  score  for  drums  and  trombones,  by 
Sir  H.  R.  Bishop. 

Additional  32385. 

Paper ;  ff.  72.    a.d.  1858,  e^c.     Oblong  folio. 

Two  compositions  for  solo  voices  and  4-part  chorus,  with 
symphonies  and  accompaniments,  in  full  score,  by  [Sir]  Michael 
Costa.     Autogra2)h.     The  words  are  by  W.  Bartholomew. 


1.  "The  Dream":  a  serenata,  beg. 
"0  tell  me,  gentle  orb  of  night"; 
with  flutes,  oboes,  clarinets,  horns, 
cornets,  bassoons,  trombones,  ophi- 
cleide, harp,  drums  and  strings. 
Written    for    the    marriage    of    the 


Princess  Koyal,  1858.  f.  1. 
2.  "  Ethelberga  "  :  a  Cantata,  beg.  "  If, 
lady,  thou  art  still  awake " ;  with 
the  same  instruments,  written  for 
the  marriage  of  the  Prince  of  Wales, 
1863.     f.  37. 


Additional  32672,  f.  88b. 

Paper  ;  about  1862.     Polio.     See  also  below,  under  Operas  (1843-1861). 

Sketch  of  "  Come,  drink  to  the  brave  and  the  fair  "  :  chorus  from 
Mazeppa."     [By  Michael  William  Balfe,  1862.]     Autograph. 


24 


VOCAL  MUSIC— SECULAR. 


Egerton  2735,  ff.  1-8. 
Paper;  about  1870.    Folio.    See  also  under  Pianoforte  Solos  (1882),  in  vol.  iii. 

"ZuR  Beethoven-Cantate  Vorspiel,"  by  F[ranz]  L[iszt]  :  the 
unpublished  overture  to  the  Cantata  "  Zur  Sacular-Feier  Beethovens," 
beg.  " Sternenschimmei'nde  eisesflimmernde  Winter,"  which  appeared  in 
1870.  Written  for  oboes,  clarinets,  l^assoons,  horns,  trumpets,  harp, 
drums  (timpani  and  Posaunen)  and  strings,  in  score.  At  the  head  are 
the  words,  "  Dirigatur  oratio  mea  sicut  incensum  in  conspectu  tuo," 
and  at  the  end  "  1  Mars." 

Additional  36740,  f.  29. 

Paper ;  about  1892.    Quarto.    See  also  under  Anthems  (vol.  1,  p.  112). 

Fragment  of  the  pianoforte  score  of  "  The  Swan  and  the 
Skylark,"  in  the  hand  of  Arthur  Goring  Thomas,  the  composer  of  the 
work,  who  left  it  unfinished  at  his  death  in  1892. 

Additional  31555,  flf.  99,  230. 

Paper ;  19th  cent.    Quarto.     See  also  below,  under  Operas. 

Portions  of  Cantatas,  etc.,  in  score,  by  Handel. 

1.  Duet,  "  Sorge  ildi"  (f.  99),  and  arias,   |  "Aci,   Galatea,  e  Polifemo"  [1708]. 

"Nou  sempre,  no,  crudele"  (f.  101),  ff.  99-108. 

"Se  m'  ami,  0  caro"  (f.  102),  "Mi   '  2.  Cantata,  "0  come  chiare  e  belle"; 

palpita  il  cor"  (f.  104),  and  "Affanno    |  for  3  solo  voices.     [1708?]     ff.  230- 

tiranno  "  (f.  105b) ;  from  the  serenata    '  251b. 


Additional  31573,  fi".  70b-82. 
Paper ;  19th  cent.     Quarto.     See  also  under  Oratorios  (vol.  i,  p.  386). 

Fragments  of  Cantatas  and  serenatas,  with  accompaniments  for 
oboes  and  strings,  in  score,  by  Handel ;  transcribed  by  Michael 
Rophino  Lacy  from  the  original  sketches  at  Buckingham  Palace. 


1.  "  Meglio  spiega  i  tuoi  sensi  "  :  recita- 
tive from  the  serenata  "  Aci,  Galatea, 
e  Polifemo."     f.  70b. 

2.  "  Amo  Tirsi "  :  aria  from  the  cantata 
for  3  voices  "  Conosco  che  mi  piaci." 
f.71. 

3.  4.  Beginning  of  duet,  "  Non  piu  bar- 
baro  furore,"  and  alto  aria,  "Con 
linfe  dorate " ;  from  the  cantata  for 
3  voices  "Giove"  (see  the  Handel- 
Gesellschaft's  publications,  vol.  lii*). 


f.73. 

5.  Trio,  "Vivere  e  non  amar";  from 
the  same  cantata  from  which  no.  2 
is  taken,     f.  78. 

6.  Opening  bars  of  movements  in  the 
cantata  "  Conosco  che  mi  piaci  "  (see 
nos.  2  and  5),  with  flutes,  etc.  ff.  80, 
80b. 

7.  "  Cease,  Galathea"  :  recitative  from 
the  serenata  "Acis  and  Galatea." 
f.82. 


CATCHES.  25 

Additional  32391,  flF.  l-96b. 

Paper  ;  19th  cent.    Oblong  folio.    See  also  under  Motets  (vol.  i,  p.  363). 

"  Serenata  componirt  zur  Feier  der  Geburt  des  Erzh.  Kronerben 
Carl  VI  [?  a  son,  who  died  in  infancy,  of  the  Emperor  Charles  VI],  im 
Jahr  1716,  von  Alessandro  Scarlatti";  for  solo  voices  and  5-part 
chorus,  with  symphonies  and  accompaniments  for  flutes,  oboes, 
trumpets,  and  strings,  scored  from  the  original  parts  in  the  Kiese- 
wetter  Libi'ary  [?  now  at  Munich].  The  characters  who  appear  in  it 
are  Jupiter  and  the  four  Seasons.  Begins  "  Nato  e  gia  1'  Austriaco 
sole." 


SECTION  III.— CATCHES. 
Under  this  heading  Rounds  are  also  included. 


Harley  978,  f.  lib. 

Vellum ;  after  1226  (obit  of  Abbot  Symon,  f.  16).  Octavo.  The  same  part  of 
the  MS.  also  contains  a  sort  of  Miracle-Play  (vol.  i,  p.  242),  Motets  (p.  253),  sacred 
Songs  (p.  423) ;  see  also  under  Solfeggi  (below),  and  under  Harmony  and  Treatises 
(in  vol.  iii). 

"  Rota  "  or  Round,  written  in  long  lines  with  plain  blue  or  red 
initials,  at  Reading  Abbey  (see  Calendar,  ff.  15b,  16).  Under  the 
English  words,  "  Svmer  is  icumen  in,"  are  written  Latin  words  beg. 
"  Perspice,  Christicola."  The  following  instructions  are  given  in  the 
original  hand  :  "  Hanc  rotam  cantare  possunt  quatuor  socii.  A 
paucioribus  autem  quara  a  tribus  vel  saltern  duobus  non  debet  dici, 
preter  eos  qui  dicunt  pedem.  Canitur  autem  sic.  Tacentibus  ceteris, 
unus  inchoat  cum  hiis  qui  tenent  pedem.  Et  cum  uenerit  ad  primam 
notam  post  crucem,  inchoat  alius ;  et  sic  de  ceteris.  Singuli  uero 
repausent  ad  pausaciones  scriptas  et  non  alibi  spacio  unius  longe  note." 
After  this  follows  the  "  Pes  "  or  ground-bass  referred  to  above,  written 
in  2  parts,  in  score,  and  accompanied  by  instructions  where  to  make 
the  necessary  pauses  in  singing. 

The  notes  are  square  or  diamond-shaped,  written  on  a  stave  of 
5  red  lines,  with  the  C  B[7  signature,  and  with  quasi-bars.  Some  of 
them  have  been  altered,  especially  in  the  fourth  stave,  apparently  in  a 
contemporary  hand. 

Among  some  poems  of  Walter  Map  which  occur  elsewhere  in  the 
MS.  in  a  late  13th  centuxy  hand  is  one,  apparently  by  that  author 
(f.  85,  col.  1,  1.  6),  in  which  the  late  William  Chappell  has  discovered 
a  punning  allusion  to  "rotunde"  or  rounds,  showing  that  form  of 
music  to  have  been  popular  in  England  many  years  before  this  MS. 
was  written. 


26 


VOCAL  MUSIC— SECULAR. 


Additional  31922,  passim. 
Vellum ;  temi),  Henry  VIII.    Folio.     See  also  below,  under  Madrigals. 
Rounds  wi'itten  out  at  length — for  how  many  voices  is  not  stated. 


1.  "  Hey     nowe "     (without     words). 
"  Kempe."     f.  21b. 

2.  "Alone  I  leSe."     "  Doctor  Cooper." 
f.  22. 

3.  "  Aboffe  all  thyngc."     "Faredyngo." 
f.  24b. 

4.  "  Downbery  down,  now  am  I  exild." 
"  Wylliam  Daggere."     f.  25. 

5.  "Hey      now"      (without      words). 
' '  Thomas  Faredyng. "     f .  25b. 


6.  "In  May,  that  lusty  sesone."    By 
the  same.     f.  26. 

7.  "Deme    the    best,"      "J.   Fluyd." 
f .  79b, 

8.  "Heytroly  loly,  my  love  is  lusty." 
Anonymous,     f .  80. 

9.  "Now  .  .  .  .  "     Anonymous,    f. 98. 

10.  "  Pray  we  to  god."    (For  the  king.) 
Anonymous,     f.  103, 


Additional  18990,  f.  2b. 

Paper ;  about  1628-1634.     Oblong  octavo.     See  also  below,  under  Songs. 

Two  Rounds,  sc.  "  Dronche  drinche,  en  te  slaepen  gaen,"  and  "  Niet 
te  scheijden,"  apparently  in  the  hand  of,  and  composed  by,  Libertus 
Opstraet  van  der  Moelen,  in  whose  "  Album  amicorum "  they  are 
inserted. 


Additional  11608,  ff.  79-86b  (reversed)  passim. 

Paper  ;  a.d.  1656-1659.     Small  folio.     See  also  below,  under  Songs. 

Catches  for  3  voices,  composed  (except  no.  7)  by  John  Hilton.    All 
(except  no.  10)  are  in  Catch  that  catch  can,  1658. 


1.  "There  was  an  old  man  at  Walton- 
Cross  "  (a  catch  in  a  catch),     f.  79. 

2.  "The  Scotch  Catch,"  beg.  "Pratty 
Naun."     f.  79b. 

3.  "Listen    neere    to    the    ground." 
f . 79b. 

4.  "Why  should  wee  not  all  be  merry." 
f.80. 

5.  "  As  there  be  3  blew  beanes."     f.  80. 

6.  "If  yow  will  drinke  for   pleasure." 
f . 80b. 


7.  "If  yow  will  drinke  Canary."   "Wm. 
Lawes."     f.80b. 

8.  "Here     lyes     a    woman."      ff.  83b 
(scdte),  84. 

9.  "The    Cryer,"    beg.    "  Oyes,   Oyes, 
Oyes.     If  there  be  any  man."    f.  84b. 

10.  "  Will    it    please    yow,    Mistris." 
f . 84b. 

11.  "  Me  thinkes  y'  I  doe  hecre."    f.  85. 

12.  "  Arme,  for  our  ancient  foe."    f.  85. 

13.  "Mongst  all  those  precious  Juices." 
f . 86b. 


Additional  19759,  ff.  \l-iO passim. 
Paper  ;  about  1681.    Small  folio.    See  also  below,  under  Songs. 
Catches,  apparently  all  for  3  or  4  voices. 

1.  "Jone,  Jone,  for  your  part"  (a  3).  |  3.  "Tom    Jolly's    nose."      "Allders." 
"Dr.  Blow."     f.ll.  '       f.l4. 

2.  "  Jone  has  been  galloping."    By  the  |  4.  "  0  the  merry  Christ  Church  Bells." 
same,     f .  13b.  |       By  the  same.    f.  15. 


CATCHES. 


27 


5.  "Augusta    is    inclin'd    too    fears."  f. 26. 
Anonymous,     f.  18. 

6.  "  Fye,  nay,  prethy,  John."  Ascribed 
here  to  "Mr.  Fishborn,"  but  more 
probably  the  words  are  by  him  and 
the  music  by  Dr.  Blow  (see  Add. 
22099,  f.  19,  e^c).     f.  24b. 

7.  "  He  tell  my  mother."  By  Dr.  Blow, 
f.  25b. 

8.  "Tis  Easie  to  force  to  the  watter  |       f.  40 
your  horse"  (a  4).     "  [H.?]  Pursell."    ' 


9.  "  Yoimg  John,  the  Gardiner"  (a  4). 
By  the  same,     f .  39. 

10.  "  Since  the  Duke  is  return'd  "  (a  4). 
By  the  same,    f .  39b. 

11.  "  John  ask'd  his  Landlady."    "Dr. 
Blow."     f.  40. 

12.  "Since    women    so    false    and   so 
jiltish  are  grown."    "  [H.?]  Pursell." 


Additional  29397,  ff.  5-67  passivi. 

Paper  ;  about  1682-1690.    Narrow  oblong  duodecimo.    See  also  below,  under 
Songs. 

Catches,  most  of  them  appai^ently  for  3  voices,  and  probably  taken 
from  the  Pleasant  Musical  Companion,  1686. 


1.  "  Fy,  nay,  preethee,  John."  By  Dr. 
Blow,    f .  5. 

2.  "  Y"  smoakeing  catch,"  beg.  "Good, 
good  indeed ;  The  herb's  good  weed  " 
(a  4).     "  Dr.  Alldridge."     f.  6b. 

3.  "The  Small  Beer  catch,"  beg.  "If 
all  true  friends  to  good  Liquor."  [By 
the  same.]    f .  7b. 

4.  "Yomig  John,  y*   Gardner"  (a   4). 


"H.  Pursell."    f.23. 

5.  "John  ask't  his  Landlady"  (a  4). 
"Dr.  Blow."     f.23b, 

6.  "There    are    a    sort    of    Rogues." 
Anonymous,     f.  24. 

7.  "W[h]o  comes  there."     "  H.  P[ur- 
cell]."     f.  30b. 

8.  "Y"    may    talk    of    brisk    claret." 
"  Tom.  Tud[way]."     f.37b. 


Nos.  9-15,  reversing  the  volume,  are  by  Henry  Purcell : — 


9.  "  My  wife  has  a  Tonge."     f.  67. 

10.  "  To  All  Lovers  of  musick."     f.  56. 

11.  "Wine  in  a  morning."     f .  48. 

12.  "Drink  on  till  night."     f.  47. 


13.  "Sir  Walter."     f.46. 

14.  "  Great  Apollo  and  Bacchus."  f .  44. 

15.  "Since  time   so    kind  to  vs  do's 
prove."     f.  43b. 


Additional  17850,  f.  2. 

Paper  ;  early  18th  cent.     Large  folio.     See  also  under  Hymns  (vol.  i,  p.  184). 
Two  Catches,  in  score,  by  W[illijim]  Gorton.     Autograph. 


1.  "The  Wise-Man    hath    tould   us" 
(a  3). 


2.  "Heare  lyes  the  Body  of  Daniel! 
Saul"  (a  4). 


Additional  22099,  ff.  19-66  passim. 
Paper  ;  about  1704-1707.    Folio.    See  also  below,  under  Operas. 
Catches,  mostly  for  3  voices,  in  score. 

Dr. 


1.  "  Fy,    nay,    prithee,   John." 
Blow."     fi.  19,  52b. 

2.  "Honest    Tom    was    a  Merchant's 
man."     Anonymous,    f.  26. 


3.  "Once,  twice,  thrice  I  Julia  tryd," 
"  H.  P[urcell]."     f .  30. 

4.  "Hark,     y^    bonny     Christ-church 
Bells."     "  Dr.  A[ldrich]."     f.62b. 


28 


VOCAL  MUSIC- SECULAR. 


5.  "Would  you  know  how  we  meet." 
By  H.  Purcell.  The  words  by  Otway. 
f.63. 

6.  "  Souldier,  souldier,  take  of  thy 
wine."     [By  the  same.]     f.  64. 

7.  "Call    for  y"   Reckning."      By  the 


same,    f .  65. 

8.  "If  all  be  true."  [By  the  same.] 
f.65. 

9.  "  Sit  nemo  morosus  "  ;  with  transla- 
tion, "  Let  none  be  incivil."  "Good- 
son."     f.  66. 


Printed  Book,  785.  A.  9,  fF.  48-51b. 
Paper;  about  1730.     Oblong  octavo.     See  also  under  Treatises  (in  vol.  iii). 

Eight  Catches  for  3  voices,  in  score.  According  to  Sir  John 
Hawkins,  nos.  1  and  3-8  are  by  [Joshua]  Steele ;  but  they  are  mox'e 
probably  by  James  Hamilton,  Viscount  Paisley,  afterwards  7th  Earl  of 
Abercorn. 


1.  "Long   Live    our   King."    Anony- 
mous,   f .  48. 

2.  "Enlivening    Musick."      By   J.    C. 
Pepusch.    f.  48b. 


3-7.  Catches      without      the     words. 

fi. 49^51. 
8.  "  Hark,  how  the  Ringers."     f.  51b. 


Additional  29386,  passim. 

Paper;  about  1762  (latest  date — see  f. 49,  etc.).  Quarto.  Bookplate,  with 
arms,  of  the  transcriber.  The  MS.  also  contains  sacred  Canons  (vol.  i,  p.  117), 
numbers  from  Oratorios  (p.  369),  secular  Canons  (above,  p.  3),  Duets  (below),  e<c. 

Catches,  Rounds,  etc.,  for  3  voices  (unless  the  contrary  is  stated), 
in  score.  Most  of  them  are  in  the  hand  of  Edmund  T.  Warren 
Home ;  some  of  them,  beginning  with  no.  4,  were  "  corrected  [in] 
1756." 


1.  "Tobacco  is  but  a  vapor"  (a  4). 
"Ed.  Nelham."     f.  5. 

2.  "Hey  ho,  what  shall  I  say  "  (a  9). 
Anonymous.     "  1580."     f.  5. 

3.  Round,  beg.  "  Underneath  lodges 
Nathaniel  Hodges."  Anonymous. 
f.6. 

4.  "  Sitting  by  the  fire  "  (a  5).  Anony- 
mous,    f.  15. 

5.  "Ring,  Ring  the  bells."  "Dr.  Blow." 
f . 15b. 

6.  "  Come  hither,  Tom."  "  Cranford." 
f.l6. 

7.  "True  Englishmen."  "Hen.  Pur- 
cell."    f.l6. 

8.  "  The  London  constable,"  beg.  "Who 
comes  there."     By  the  same.     f.  16b. 

9.  "  Tom  making  a  Mantua."  By  the 
same.     f.  17. 

10.  "  My  dame  has  in  her  Hut."  Anony- 
mous,    f.  17. 

11.  "Strange  news  from  the  Rose." 
"  Mich.  Wise."    f.  17b. 


12.  "  Sir  Walter."  "Hen.  Purcell." 
f.  17b. 

13.  "Prithee,  fill  the  bowl."  Anony- 
mous,    f.  17b. 

14.  "  Confusion  to  the  pow'r  of  Cupid." 
"  Jn°  Eccles."     f.  18. 

15.  "  When  Judith  had  laid."  "Mich. 
Wise."     f.  18. 

16.  "Here's  a  Health  to  the  King." 
"  Jere[miah]  Clark."     f.  18b. 

17.,  "  In  drinking  full  Bumpers."  By 
the  same.     f.  19. 

18.  "Hark,  Harry."  "  Jn°  Eccles." 
f.  19. 

19.  "  Sum  up  all  the  delights."  "  Hen. 
Purcell."     f.  19b. 

20.  "  Under  this  stone  lies  Gabriel 
John."     By  the  same.     f.  20. 

21.  "'Tis  too  late  for  a  coach."  By 
the  same.     f.  20. 

22.  "Let's  Live  good  Honest  Lives." 
By  the  same  [from  Cranford] . 
f.  20b. 


CATCHES. 


29 


23.  "  God  preserve  his  majesty.  Amen" 
(a  4).     "Dr.  Blow."     f .  20b. 

24.  "Well    sung,    Tom    Boy"    (a   4). 
"Miller."     f.21. 

25.  "Young      John,     the     Gard'ner " 
(a  4).     "H.  Purcell."     f.21. 

26.  "  How  shall  we  speak  thy  praise." 
"  Dr.  Blow."    f.  21b. 

27.  "Fye,  nay,  prithee,  John."     "  H. 
Purcell."     f.  21b. 

28.  "Hark,  the  bonny  Christ  Church 
Bells."     "  Dr.  H.  Aldrich."     f.  22. 

29.  "  When  ever  I  marry."     "  Hilton." 
f.22. 

30.  "Soldier,  take  of  thy  wine"  (a  4). 
"  H.  Purcell."     f.  23. 

31.  "  'Tis  women  makes  us  love  "  (a  4). 
By  the  same,     f .  23. 

32.  "  Now  we  are  met."     By  the  same. 
f .  23b. 

33.  "  Wou'd  you  know  how  we  meet." 
By  the  same.     f.  23b. 

34.  "  Room  for  th'  express."    By  the 
same,    f .  24. 

35.  "  Thus  saith  the  wiseman."  "  Ives," 
f.24. 

36.  "  I    hate    dissembling    Courtiers." 
"  Creed."     f.  24b. 

37.  "  Cuckow,  good  neighbour."   "  Nel- 
ham."     f.24b. 

38.  "  Come,  honest  friends."    "  Ives." 
f .  25. 

39.  "The  glass  was  just  tim'd."  "H. 
Purcell."     f.  25b. 

40.  "  This  Tomb  be  thine,  Anacreon." 
"Dr.  Hayes."    f .  26. 

41.  "The  wise  men  were  but  sev'n." 
"  Wm.  Lawes."     f.  26. 

42.  "  Boy,  go  down."     "Ives."     f .  26b. 

43.  "Boy,  Come  back."     "  Cranford." 
f .  26b. 

44.  "The    Macedon    Youth"     (a    4). 
"  Hen.  Purcell."     f.  27. 

45.  "  The  pot,  the  piper  "  (a  4).    "Wm. 
Lawes."     f.  27. 

46.  "The  Surrender  of  Lim'rick."  "H. 
Purcell."     f.  27b. 

47.  "Hie     Jacet      Tom     Shorthose." 
Anonymous,    f.  27b. 

48.  "  At  the  song  of  my  Lady's  lace." 
"  Turner."     f.  28. 

49.  "The   Miller's    Daughter."      "H. 
Purcell."     f.  28b. 

50.  "Here  are  the  Rarities  of  the  whole 
Fair  "  (a  4).     "  Dr.  Blow."     f.  28b. 


51.  "  See,  how  in  gath'ring  of  theMay." 
"W"  Lawes."     f.  29. 

52.  "  Young     Anthony."     "  Turner." 
f.  29b. 

53.  "If  all  be  true  that  I  do  think." 
"H.  Purcell."     f.  29b. 

54.  "Drink  on  till  night."  By  the 
same,    f .  30. 

55.  "  To  thee,  to  thee  and  to  a  maid." 
By  the  same,    f .  30. 

56.  "  Once,  twice,  thrice."  By  the 
same.     f.  30b. 

57.  "  Here  lies  a  woman."  "  Hilton." 
f .  30b. 

58.  "Jack,  Sam  and  Dick."  "Cran- 
ford."    f.  31. 

59.  "  Come,  let  us  drink."  "  H.  Pur- 
cell."    f.  31b. 

60.  "  Joan  has  been  galloping."  "  Dr. 
Blow."     f.  32. 

61.  "I'll  tell  my  mother."  By  the 
same.     f.  32. 

62.  "  Good,  good  indeed ;  the  Herbs 
good  weed"  (a  4).  "Dr.  Aldrich." 
f . 32b. 

63.  "0  hold  your  hands"  (a  4).  By 
W.  Byrd.     f.  33. 

64.  "Once  in  our  lives."  "  H.  Pur- 
cell."    f.33b. 

65.  "  Since  time  so  kind  to  us  doth 
prove."     By  the  same.    f.  33b. 

66.  "Call  George  again."  "Hilton." 
f.34. 

67.  "Call  for  the  Reckning."  "Hen. 
Purcell."     f.  34. 

68.  "  Let's  have  a  Peal  for  John 
Cook's  soul "  (a  9).  By  T.  Ravens- 
croft,     f.  34b. 

69.  "Go  to  Joan  Glover"  (a  4).  By 
the  same.  From  Deuteromelia,  1614. 
f . 34b. 

70.  "Take  a  pound  of  butter"  (a  4). 
"Nelham."     f.  34b. 

71.  "My  Man  John."  "  Jn"  Eccles." 
f.35. 

72.  "Come,  drink  to  me  "(a  4).  "  Wm. 
Bird."     f.35b. 

73.  "  Ding  ding,  ding  dong,  bell "  (a  4). 
"  [W.  ?]  Stonard."     f .  36. 

74.  "  Hold  thy  peace."  By  T.  Ravens- 
croft.    From  Deuteromelia.    f.  36. 

75.  "Ize  ga  with  thee."  "Jno.  Hil- 
ton."    f.36b. 

76.  "Come,  let  us  all  amaying  go." 
By  the  same.     f.  37. 


30 


VOCAL  MUSIC -SECULAR. 


77.  "  This  ale,  my  bonny  lad."     "  Cran- 
ford."     f.37. 

78.  "If  any  so  wise  is."     "Dr.  Wm. 
Child."    f.  37b, 

79.  "  Come,   follow  me,   and    we  will 
to  the  tavern."    "  Jn"  Hilton."   f.  38. 

80.  "  There  was  three  Cooks."     By  the 
same.     f.  38. 

81.  "Hark,  how  the  woods  do  sing." 
"White."     f.38b. 

82.  "  The  wily,  wily  Fox."   "  Nelham." 
f .  38b. 

83.  "Down    in    a    dungeon."      "Ju" 
Hilton."     f.39. 

84.  "Methinks  that  I  do  hear."     By 
the  same,     f .  39. 

85.  "  The  silver  swan."     "  Jn°  Smith." 
f . 39b. 

86.  "  'Tis  Amarilis  walking  all  alone." 
"  Thos.  Brewer."     f.  39b. 

87.  "I  can  mend  your  Tubs."    "W.  P." 
f.40. 

88.  "Come,   follow  me."      "Jn°  Hil- 
ton."    f.40. 

89.  "  Have    you    any    work    for    the 
Tinker."     "Nelham."     f.40b. 

90.  "0   Dick  and    Strephon."      "Jn° 
Hilton."     f.  40b. 

91.  "  Come,    let    us    cast    the    dice." 
"Wm.  Lawes."     f.  41. 

92.  "  My  lady  and  her  maid."     "  Wm. 
Ellis."    f.41. 

93.  "Hang  sorrow."     "Wm.  Lawes" 
[or  Purcell].     f.  41b. 

94.  "  Come,    jump     at     thy     cousin." 
"Jn»  Hilton."     f .  41b. 

95.  "'Mongst     other     Roses."       "Dr. 
Boyce."     f.42. 

96.  "Merry  have  we  met  "(a  4).  "Cox." 
f.42. 

97.  "0  my  fearfuU  dream."     Anony- 
mous,    f .  43. 

98.  "From  Twenty  to  Thirty."     "  M. 
Wise."     f.43. 

99.  "  I  gave  her  Cakes."     "  H.  Purcel." 
f .  43b. 

100.  "Here's   that   will    challenge   all 
the  Fair."     "  H.  Purcel."     f.  44. 

101.  "Ut   re   mi  fa  mi   re  ut"  (a  4). 
Anonymous,     f .  45b. 


102.  "Boy,  go  up,"  "Jn°  Hilton." 
f.46. 

103.  "  A  jolly  shepherd."  Anonymous, 
f .  46. 

104.  "  'Twas  you,  Sir."  "  Lord  Morn- 
ington."     f.  46b. 

105.  "Lady,  come  down  and  sec" 
(a  4).     By  T.  Ravenscroft.     f.  46b. 

106.  "Joan,  come  kiss  me."  [By  the 
same.]     f.  47. 

107.  "Jenkin,  the  Jester"  (a  5).  By 
the  same  (from  Pammelia).    i.  47. 

108.  "  I  lay  with  an  old  man."  By 
the  same,  "1611"  (from  Melismata). 
f.47. 

109.  "Ut  re  mi  fa  sol  la"  (a  5). 
Anonymous,     f.  47b. 

110.  "  Lye  still."     Anonymous,      f.  48. 

111.  "Ut  re  mi  fa  sol  la"  (a  5). 
Anonymous,     f.  48b. 

112.  "  Doubtless  the  Pleasure."  "  Jn' 
Travers."     f.  49. 

113.  "Here  Innocence  and  Beauty 
lies."     By  the  same.     f.  49b. 

114.  "  Underneath  thismarble  Hearse." 
By  the  same.     f.  49b. 

115.  "Life  is  a  Jest"  (a  4).  By  the 
same,     f .  50. 

116.  "  Sing  ye  now  after  me "  (a  5). 
Anonymous.     Before  1588.     f.  50b. 

117.  "Hey  hoi  nobody  at  home"  (a  5). 
By  T.  Ravenscroft.     f.  52. 

118.  "What  care  had  I."  By  the 
same.     f.  52. 

119.  "  Let  Lobcock  leave  his  wife " 
(a  5).    Anonymous,     f.  52b. 

120.  "AUegra  Anglia."  Anonymous. 
"  Collected  by  J.  Lant  in  1580."  f.  55. 

121.  "Follow  me,  my  jovial  Boys." 
"  Ed.  Nelham."     f.  64. 

122.  "Brooms  for  old  shoes"  (a  4). 
"Thos.  Ravenscroft,  1611"  (from 
Melismata).     f.  64b. 

123.  "All  into  service."  Anonymous. 
"Collected  by  J.  Lant  in  1580." 
f . 66b. 

124.  "Kit  and  Tom,"  Anonymous. 
"1611."     f.67. 

125.  "Browning,  Madam."  By  T. 
Ravenscroft  (from  Deutcroviclia, 
1614).    f,  93b  (reversed). 


CATCHES. 


31 


Additional  31671,  ff.  15b-33  ^assm. 

Paper;  about  1766-1813  (see  below).  Oblong  quarto.  The  MS.  appears  to 
have  belonged  to  the  Society  of  Concentores  Sodales,  started  by  William  Horsley 
in  1798  (see  f.  71b).  It  also  contains  a  Canon  (above,  p.  7),  a  Chorus  (18th  cent.), 
Glees  (1794-1811),  Madrigals  (1785-1802),  and  an  Ode  (1784),  described  below. 

Catches,  for  3  voices  (unless  the  contrary  is  stated),  in  score. 
Nos.  1-11  are  most  of  them,  if  not  all,  by  Samuel  Webbe  [sen.],  many 
of  them  being  autograpli. 

1.  "Dear  Father,  the  Girl  you  design   :   8.  "  In  vain  you  would  blow  up."    f.  27. 
me."     f.  15b.  9.  "Tell  me  what  healing  Medicine." 

2.  "  To  the  old,  long  life."    [1774.]     In!       "  Prize  medal,  1792."     f .  28. 
duplicate,     ff .  17,  18.  j   10.  "The    quaker's    wedding";     beg. 

3.  "Music   does   all   our  joys  refine."   |       "  Sister,  oh  say."    By  H.  Harrington. 
Anonjnnous.     f .  19.  \       f .  29. 

4.  "I  love  to  be  merry"  (a  4).    "1766."   !   11.  "  Agreed,  my  Friends."     f.  30. 

f.  20b.  I   12.  "Quoth    Richard    in    jest."       By 

5.  "See,   from    afar   what   streams   of  '       J.  W.  Holder,     f.  32. 

fire  "(a  5).     Composed  "During  the   ;   13.  "When    Nell,   giv'n   o'er    by    the 
Riot,  1780."     f.22b.  |       doctor"   (a  4).     In  the  same   hand. 

6.  "'Tis    time    sure    to    call   for    the  i       f.  32b. 

Coffee."     Watermark,  1813.     f .  24b.      |   14.  "  Poor  Hal  caught  his  death."     In 

7.  "  The  news  is  bad."     Dated  "1781."   j       the  same  hand.    f.33. 
In  duplicate,    fi.  26,  31.  I 


Additional  31806,  fF.  51b-171  passim. 

Paper ;   about  1774  (f .  134).      Oblong  folio.     The   MS.   also   contains   sacred 
Canons  (vol.  i,  p.  119),  Motets  (p.  337),  secular  Duets  (below),  etc. 

Catches,  for  3  voices  (unless  the  contrary  is  stated),  in  score. 

"Dr. 


1.  "  How  great  is  the  pleasure." 
Harrington."     f.  51b. 

2.  "When  Troy  town  "(a  4).  "Alcock." 
f.54. 

3.  "  Tomorrow  I  will  live."    By  Thomas 
Ford.     f.  58b. 

4.  "I  lov'd  Thee,  beautifull  and  kind." 
"  Battishill."     f.89. 

5.  "Ye  birds,  for  whom  I  rear'd  this 
grove."    By  the  same.     f.  89b. 

6.  "  To  our  Musical  Club."    "Warren." 
f.90. 

7.  "'Tis    thus    and    thus":    epitaph. 
"Dr.  Boyce."     f.90b. 

8.  "Happy  the  youth  "  (a  4).    "  Long." 
f.  92b. 

9.  "  0  Beauteous  Eyes."    Anonymous. 
f.93. 

10.  "Wilt  thou  lend  me  thy  mare." 
"  Dr.  Nares."     f.  94b. 

11.  "Here  lies  Johnson":  epitaph  on 


Ben  Jonson.      "J.  Hawkins,   sen." 
f . 94b. 

12.  " Come,  honest  Friends."  "Simon 
Ives."     f.  98b. 

13.  "Here's  a  health  to  all  honest  men." 
"Dr.  Alcock."     f .  99. 

14.  "A  yawning  Catch,"  beg.  "'Tis 
Humdrum."  "  Dr.  Har[r]iugton." 
f . 117b. 

15.  "  Sister,  oh  say."  By  the  same, 
f . 129. 

16.  "Hail,  hail,  green  Feilds."  "Dr. 
Green."     f.  129b. 

17.  "  Poor  Jonny's  dead."  "  Dr. 
Hayes."     f.  131. 

18.  "  Sweet  enslaver  "  :  round.  "Tho' 
Atterbury."     f.  131. 

19.  "  Mr.  Speaker,  tho 'tis  late."  "los. 
Baildon."     f.  133b. 

20.  "  To  the  old,  long  life."  "S.  Webbe, 
1774."     f .  134. 


32 


VOCAL  MUSIC— SECULAR. 


21.  "My  sledge  and  hammer":  epitaph. 
"I.  Baildon."     f.  134b. 

22.  "  Comincio  solo."  Anonymous, 
f.  135. 

23.  "  Perche,  vezzosi  rai."  Anonymous, 
f .  186. 

24.  "Care,  the  Canker  of  our  Joys." 
Anonymous,     f.  136. 

25.  "  Chi  mai  d'iniqua  Stella."  Anony- 
mous,    f . 139b. 

26.  "Rural  sports"  (a  4).  "Altered 
from  Mons'  L'Clere."     f.  140. 

27.  "Open  your  eyes":  round.  "  S. 
Webbe,  [17]71."     f.  140. 

28.  "  Jack,  thou'rt  a."  "  J.  B.  MareUa," 
f.l41. 

29.  "  Three  Bulls  and  a  Bear."  Anony- 
mous. Very  like  the  Catch  in  Add. 
34998,  below,  by  S.  Wesley,     f.  147. 

30.  "Give  me  the  sweet  delights  of 
Love."     "  D' Harrington."     f.  155. 


31.  "  Look,  Neighbours."  By  the  same, 
f.  155b. 

32.  "Come,  let  us  all  a  maying  go." 
"J.Hilton."     f.  155b. 

33.  ' '  Come  hither,  boy."  By  the  same, 
f.  156. 

34.  "Hey  hoe,  Hey  hoe.  Heart's  de- 
light."    "J.Cobb."     f.l56. 

35.  "Have  you  never  seen  the  Man." 
"Elton."     f.  156b. 

36.  "Giocondie  felice "  (sic).  "D' 
Arne."     f .  157. 

37.  "The  Cock  Match";  beginning 
"I'll  back  the  mealy  grey"  (a  4). 
"Ben.  Cooke."     f.  157b. 

38.  "  London  Crys  "  ;  beg.  "A  quart  a 
penny"  (a  4).     Anonymous,     f.  158. 

39.  "This  Song  goes  hard"  (written 
out  at  length).  "  John  Hilton,  1652." 
f.  171. 


Additional  34998,  ff.  6b,  34. 

Paper ;  about  a.d.  1774-1775.     Oblong  folio.     See  also  under  Anthems  (vol.  i, 
p.  70). 

Two  Catches  for  3  voices,  by  Samuel  Wesley.     Autograph. 

1.  "  Three  bulls  and  a  bear."    f.6b.         |   2.  "Whoesthere?— AGranidier."  f.34. 

Additional  11581,  f.  14. 

Paper ;  about  1780.     Quarto.     "  Ex  Libris  C.  C.  C."    See  also  under  Anthems 
(vol.  i,  p.  71). 

"  Hey  down,  cl[own],  cl[own],  cl[own],  sing  ye  now  after  me " : 
Round  of  4  bass  voices  to  the  plainsong  which  is  written  in  the  C  clef. 
Anonymous.     In  the  hand  of  Dr.  Charles  Burney. 

Additional  31222,  ff.  28b,  29. 

Paper ;  about  1781.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  312). 

Catch,  "  Nella  casa  troverete"  :  two  settings  for  3  voices,  in  score, 
by  Samuel  Wesley.     Autograph. 


Additional  11588,  f.  77b. 
Paper  ;  about  1783.     Quarto.     See  also  below,  under  Madrigals. 

"Let's  have  a  toast";  written  for  20  voices,  by  [Dr.]  C[harles] 
B[urney].     Autograj^h. 


CATCHES. 


33 


Additional  27643,  fF.  15b,  17. 

Paper  ;  a.d.  1783.     Quarto.     See  also  below,  under  Glees  (1803-1812). 
Catches,  in  score,  by  Dr.  J.  AV.  Callcott,  1783.     Antociraph. 


1.  "To  Wasteall,  whose  eyes  were  just 
closiug  in  death  "  (a  4).     f.  15b. 


2.  "  Here    lies     the     wife    of    Simon 
Stokes"  (a  3).     f.  17. 


Additional  27645,  ff.  17,  65b-66,  71. 

Paper;  a.d.   1783,   1791.      Oblong  quarto.      See   also   under   sacred   Canons 
(vol.  i,  p.  122). 

Catches  for  3  and  4  voices,  in  scoi-e.     Nos.  1-4  are  by  Dr.  J.  W 
Callcott.     Aittograjih. 


1.  "  Here     lies    the    wife     of     Simon 
Stokes"  (a  3).     "1783."     fT.  17,  17b. 

2.  "  0  how  charming  "  (a  4).     "  1791." 
f.  65b. 

3.  "  How  charming  the  fair  one  "  (a  4). 


f .  65b. 

4.  "  The  Farmers  Old  Cat  "  (a  3).    f.  66. 

5.  "Would  you  know  my  Celias 
charms  "  (a  4).  "  [S.]  Webbe  [sen.]." 
f.71. 


Additional  27642,  ff.  83-1 08b  ^rtss/m,  125,  202. 

Paper ;   a.d.   1784,   1786.      Oblong   quarto.      See   also   under   sacred   Canons 
(vol.  i,  p.  120). 

Catches,  in  score,  composed  in  1784  and  (nos.  9,  10)  1786,  by 
Dr.  J.  W.  Callcott.  Autograph.  Nos.  1-3  and  7  are  for  4  voices,  the 
others  for  3. 


1.  "  0   Let   me   haunt   this   PeacefuU 
shade  "  :  round,     f.  83. 

2.  "To  Waste-all,  whose  eyes."     f.  99. 

3.  "  How    pleasd    within    my    native 
Bowrs  "  :  round,     f.  102. 

4.  "  Come,  let  us  be  jolly."     f.  103. 

5.  "An  old  woman  baited  the  Mouse- 
trap."    f.  103b. 

6.  "  We  be  knaves  all  three."     f .  107b. 


7.  "The    Trumpet's    note    invites    to 
war  "  :  'round,     f.  108. 

8.  "Come  and   let   sing   this   Catch." 
f.  108b. 

9.  "  Here  rests  his  head  upon  the  Lap 
of  earth."     "1786."     f.  125. 

10.  "Sir,  have  you  the  papers  read." 
"1786."     f.202. 


Additional  34126,  ff.  24,  62b,  76b. 
Paper ;  about  1789.     Oblong  octavo.     See  also  below,  under  Songs. 
Catches  for  3  voices  (with  one  exception),  in  score. 

1.  "Three  blind   mice."  Anonymous.   '    3.  "Goto  Joan  Glover"  (a  4).     By  T. 
f.  24.  Ravenscroft.     f.  62b. 

2.  "The  maid  is  willing."  Anonymous.    '    4.  "Had  she    not    care  enough."     By 
fi.  62b,  84b.  J.  Savile.     f.  76b. 

II  D 


34  VOCAL  MUSIC— SECULAR. 


Additional  31814,  ff.  63-65  passim. 

Paper  ;  after  1789?  (see  below).  Oblong  folio.  The  MS.  also  contains  secular 
Duets  (below)  and  other  compositions  (vocal  and  instrumental)  described 
elsewhere. 

Rounds  and  Catches,  in  score,  by  [W.]  Savage  (d.  1789),  collected 
and  transcribed  by  his  pupil  R.  J.  S.  Stevens,  probably  after  the 
composer's  death.  The  first  three  are  Rounds  for  6  voices  ;  the  others, 
unless  the  contrary  is  stated,  for  4  voices.  Most  of  them  are  London 
street  cries, 

1.  "Muffins  and  crumpets."     "1780."    ]    7.  "  Hot  loaves,  hot  loaves."     f .  64. 
f.  63.  '   8.  "Half  an  hour  past  Eleven  0  clock": 


2.  "Muffins  ho."     "1780."     f.  63. 

3.  "  Do  you  want  any  very  good  mat- 
ches."    "1780."     f.63. 

4.  "  Ripe  sparagrass."    "1750."  f.63b. 

5.  "  Come,    buy     my    water-cresses." 
f.  63b. 

6.  "Dead  drunk   here  Elderton  doth 
lie":  epitaph,     f .  63b. 


round  (a  5).     "1784."     f .  64b. 

9.  "  Come,  who  will  buy  a  jack-line"  : 
round,     f.  64b. 

10,  11.  "Hares  skins  or  rabbit  skins"  : 
rounds.     Two  settings,     f.  65. 

12.  "A  Welch  Epitaph,"  beg.  "A  virgin 
so  lovely."     "1788."     f.  65. 


Additional  19647,  f.  102. 

Paper  ;  a.d.  1798.     Oblong  folio.     See  also  below,  under  Songs  (1786-1789). 

''I'll  give  you  a  Toast"  ;  for  3  voices,  with  symphony  and  accom- 
paniments for  oboes,  horns,  bassoons,  and  strings,  in  score,  written  for 
Vauxhall  by  James  Hook.     Aidograph. 

Additional  5337,  ff.  81b-82b. 

Paper;  18th  cent.     Folio.     See  also  under  Oratorios  (vol.  i,  p.  367). 

Catches  by  anonymous  composers,  the  first  two  from  Pammelia, 
1609,  and  for  4  voices. 

1.  "  Jack,  boy;  ho,  boy."     f.81b. 

2.  "  Sing  we  this  roundelay."     f.  82, 


3.  "  Here,  Draw'r,  come  bring  us  some 
Port  "  (a  3).     f.  82. 


Additional  29291,  ff.  9b-39  2X(ssim. 

Paper;  18th  cent.     Folio.     See  also  under  sacred  Canons  (vol.  i,  p.  123). 

Catches  for  3  voices,  and  (except  nos,  21-32)  in  score,  Nos.  1-6 
and  10-12  are  from  The  Musical  Companion,  1667;  nos.  8,  9,  13, 
17,  18,  20,  and  33,  from  T.  Ravenscroft's  Pammelia,  1609;  and 
nos.  21-32,  from  John  Hilton's  Catch  that  catch  can,  1658.  These  last 
are  not  scored. 

1.  "Let  poets  ne'er  puzzle":  epitaph   \    3.  "Come,   let   us    all   a-maying  go." 
on  Ralph  Amner,  1664.    "  D'  Child."    [       By  the  same.     f.  14b. 

f.9b.  4.  "  Some  drink,  boy."    "  W-"  Lawes." 

2.  "  When  ever  I  marry."  ' '  J°  Hilton."  f .  14b. 
f .  14, 


CATCHES. 


35 


5.  "There  was  an  invisible  Fox  "  (a  4). 

"J.Hilton."     f.  14b. 
G.  "  Hey,  down,  clown   ....   shall  I 

go  with  my  true  love."     "Edmund 

Nelham."  '  f.  15. 

7.  "  Why  should  we  not  all  be  merry." 
"J.Hilton."     f.  15. 

8.  "  As  I  me  walked  "  (a  4).     f.  15b. 

9.  "Lady,  come  down"  (a  4).     f .  16. 

10.  "  Come  hither,  boy."    "J.  Hilton." 
f.l7. 

11.  "  Great  Tom  is  cast."    "  [Matthew] 
White."     f.  17. 

12.  "  Come,  follow  me."     "J.  Hilton." 
f.l7. 

13.  "  A  Jolly  shepherd."     f.  17b. 

14.  "Here     lies     a     Woman."        "J. 
Hilton."     f.  17b. 

15.  "Come,    pull    away,    boys."      By 
G.  Holmes,     f.  18. 

IG.  Catch  (?)  without  words.     Anony- 
mous,    f .  18b. 


17.  "Blow     thy     Horn,     thou     Jolly 
hunter  "  :  round  (a  4).     f.  19. 

18.  "  All  into  service."     f.  19b. 

19.  "  Come,    my    hearts ;     play    your 
parts."     "H.  Purcell."     f .  20. 

20.  "0  my  fearful  dreams."     f.  23b. 
21,22.  "Now   that    the   spring,"    and 

"  Turn  Amarillis."    f.  37.    (For  score 

of  the  former,  see  f.  53). 
23-25.  "As  there  be  three  blew  beans," 

"Jenny   she   now   smiles,"   and  "0 

Ale  ab  Alendo."     f.  37b. 
26,27.  "Arm,   for    our    antient   foe," 

and  "  Your  merry  poets."     f.  38. 
28-30.  "  Here  is  an  old  ground,"  "  Me 

thinks  that  I  do  hear,"  and  "  I  poor 

and  well."     f.  38b. 
31,  32.  "Mongst    all     those     pretious 

juices,"  and  "  Pratty  Naun."     f.  39. 
33.  "The      Nightingale,     the     Pritty 

Nightingale."     f.  53. 


Additional  29393-29395,  ff.  6b-l  4b  passm. 

Paper;    18th  cent.      Oblong  duodecimo.     See  also  under   sacred   Choruses 
(vol.  i,  p.  162). 

Catches,  in  parts.     The  first  three  are  by  [John]  Travers;  the 
others  by  [William  ?]  Hayes. 


1.  "Doubtless  the  pleasure"  (a  3). 
Vols,  i-iii,  f .  6b. 

2.  "Underneath  this  marble  hearse" 
("from  the  Spectator ").  Vols,  i-iii, 
f.7. 

3.  "Here    Innocence    and     Beauty." 


Vols,  i-iii,  f.  8. 

4.  "Let's  drink  and  let's  sing"  (a  4). 
Vols,  i,  ii,  f.  12b ;  iii,  ff.  12b,  13. 

5.  "Here,   Waiter,    bring    a    Bottle" 
(a  3).     Vols,  i,  ii,  f.  15b  ;  iii,  f.  14b. 


Additional  33351,  f.  22. 

Paper ;  18th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 

"  Ring  the  bells  !  Hark,  Great  Vernon  he  is  come  with  conquest 
home  "  :  apparently  a  Catch  for  4  voices.  Anonymous.  The  event  referred 
to  is  the  capture  of  Porto  Bello  by  Admiral  Edward  Vernon  in  1739. 


Additional  34071,  f.  35b. 

Paper;    2nd  half   of  18th   cent.      Oblong  quarto.      See  also   under   Motets 
(vol.  i,  p.  331). 

"  Oh,  follow  me,  Tom  " ;  for  8  voices  in  score,  by  John  Maynard, 
1611. 

p  2 


36 


VOCAL  MUSIC— SECULAR. 


Additional  5336,  passim. 

Paper;    late    IStli   cent.      Obloug    folio.      See    also    under    sacred    Canons 
(vol.  i,  p.  124). 

Rounds  and  Catches.  Nos.  1-9,  12,  13,  IG,  18,  24,  31,  34,  36,  and 
38  are  for  4  voices ;  the  others  for  3  voices  (unless  the  contrary  is 
stated).  Nos.  1-19,  21-31,  are  in  score,  and  are  taken  from  three 
works  by  Thomas  Ravenscroft,  viz.  : — Pconmelia  (1609),  Deuteromelia 
(1609),  and  MeJismata  (1611). 


1,  2.  "  Trole  the  bowl,"  and  "  Farewell, 

mine  own."     f.  1. 
3,  4.  "Brooms  for  old  shoes,"  and  "  My 

mistress  will  not."     f.  3. 
5,  6.  "  Musing  mine  own  self,"  and  "  To 

Portsmouth."     f.  .3b. 
7,  8.  "Let's  have  a  peal  for  Jn°  Cookes 

soul,"  and  "Love,  love,  sweet  love, 

for  evermore  farewell."     f.  4. 

9.  "  I  lay  with  an  old  man."     f.  4b. 

10,  11.  "  New    oysters,"    and    "  What 
hap  had  I."     f.  5. 

12.  "Blow  thy  horn."     f.  7. 

13.  "Hey   down,    adowu.    Heave    and 
ho."     f.  7b. 

14,15.  "There   lies   a    pudding,"    and 
"  Go  no  more  to  Brentford."     f.  8b. 

16.  "  The  wind  blows  out  of  the  west." 
ff.9,  11,  18. 

17,  18.  "I  am  athirst,"  and  "  The  Lark, 


Linnet  and  Nightingale."     f.  9b. 

19.  "Hey   down,    adown,    behold    and 
see."     f.  10. 

20.  "Let's  be  merry."     By  S.  Webbe, 
sen.     f.  lib. 

21.  "As   I   went   by   the   way"  (a    5). 
f.  12b. 

22.  23.  "Glad    am    I,"    and    "Oaken 
leaves."     f.  15. 

24.  "  Ut  re  mi  fa  sol  la."     f.  15b. 

25.  "  Now  kiss  the  cup."     f.  18. 
26,27.  "0   my   fearful   dreams,"   and 

-'My    dame     has    in     her     hutch." 

f.  18b. 
28,29.  "  Dery    ding    Dasson.       I    am 

John  Cheston,"   and   "  I   pray   you, 

good  mother."     f.  21. 
30,31.  "Joan,    come    kiss    me,"    and 

"Banbury  Ale."     f.  22b. 


The   remaining  numbers  are  written   out  at   length  in  a  different 
hand,  and  are  anonymous. 

32,  .33.  "Take  a  ladle,"  and  "  Hey  hoe  I  i   41.  "What's  the  matter  "  (a  5).     f.  34. 

nobody     at     home"     (altered     from  ]    42,43.  "  Fryar     Bacon"    (a     7),    and 

T.  Ravenscroft).     f.  32.  |       "  Sweet  sugar'd  Sue."     f .  34b. 

34-37.  "Peter  Pluff,"  "  Up  and  down,"  '   44.  "Glad  am  I  "  (altered  from  no.  22), 

"Sweet    boys,   rise,"   and    "Sitting  ;       and  "  Tom,  follow  Will  "  (a  9).    f.  35. 

by  the  fire "  (a  5).     f.  .32b.  45.  "Some  thirty  or  forty."     f.  35b. 

.38.  "Why  may   not   my   goose   feed."      46.  "OldObadia."     f .  36. 


f.33. 
39,  40.  "  Come,    come    away,    Boys," 
and  "Barrels  thirty  six."     f.  33b. 


47.  "Bonny  lads,  sith  we're  bin  met." 
f .  36b. 


Additional  25075,  f.  4b. 

Paper;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1799). 

"  Never  from  thee  will  I  part "  ;  for  3  voices,  in  score.    Apparently 
part  of  a  Catch.     Anonymous. 


CATCHES. 


37 


Additional  31462,  2)assm. 

Paper;  late  18th  cent.     Large  oblong  octavo.     See  also  under  sacred  Canons 
(vol.  i,  p.  124). 

Catches  and  Rounds  in  the  hand  of  E.  T.  Warren  Home  :  a 
collection  very  similar  to  that  in  Add.  31463  (below),  except  that 
nos.  2,  9,  36,  37  and  99  to  110  of  the  latter  MS.  are  omitted  here, 
while  the  following  pieces,  omitted  in  Add.  31463,  are  included. 
Nos.  6,  13,  20,  26,  are  for  4  voices;  the  rest,  unless  the  contrary  is 
stated,  are  for  3  voices.  The  initial  words  of  the  whole  of  the 
contents,  with  references,  are  given  in  the  Index  to  the  present 
Catalogue. 


1.  "  Ring  the  bells  and  the  glasses  pull 
away."     "  Dr.  Blow."     f.  lb. 

2.  "How  shall  we  speak  thy  praise." 
By  the  same.     f.  2. 

3.  "  Who  comes  there  ?    Stand."    "H. 
Purcell."     f.  3b. 

4.  "Strange    news    from    the    Rose." 
"M.Wise."     f.9b. 

5.  "When  Judith  had  laid."     By  the 
same.     f.  12. 

6.  " 'Tis  women  makes  (sic)  us  Love." 
"  Hen.  Purcell."     f.  13. 

7.  "  Wou'd  you  know  how  we  meet." 
By  the  same.     f.  15. 

8.  "This   tomb   be   thine,   Anacreon." 
"Dr.  Hayes."     f.  15b. 

9.  "The  surrender  of  Lim'rick."  "Hen. 
Purcell."     f.  17b. 

10.  "To  thee,  to  thee  and  to  a  maid." 
By  the  same.     f.  24b. 

11.  "Call   George  again."     "Hilton." 
f.25. 

12.  "  'Tis  Amarillis,  walking  all  alone." 
"  Tho' Brewer."     f.  25b. 

1.3.  "  Take  a  pound  of  butter."    "Edw" 
[sc.  Edmund  ?)  Nelham."     f.  26. 

14.  "  I  can  mend  your  Tubs."    "W.P." 
f.  28b. 

15.  "The   wily,   wily   Fox."      "  Edm" 
Nelham."     f.  29. 

16.  "Hark,  how  the  woods  do  ring." 
"White."     f.29. 

17.  "O    Dick   and   Strephon."      "Jn° 
Hilton."     f.  32. 

18.  "  Call  for  the  Reck'ning."     "  Hen. 
Purcell."     f.  32b. 

19.  "My  lady  and   her  maid."     "  W™ 
Ellis."     f.  33. 

20.  "The  pot,  the  pipe."  "  W™  Lawes." 
f.  34. 


21.  "If  any  so  wise  is."  "  D--  W" 
Child."     f.  34b. 

22.  "There  was  three  cooks  in  Cole- 
brook."     "Jn"  Hilton."     f.  35. 

23.  "Hang  sorrow."  "  W'"  Lawes." 
(Attributed  to  Purcell  in  Add.  30273.) 
f.  36. 

24.  "I  cannot  get  up."  "R.  Price." 
f.  38b. 

25.  "Come,  buy  my  fine  Wares." 
"Dr.  Hayes."     f .  39b. 

26.  "Here  lies  Judge  Boat."  By  the 
same.     f.  41b. 

27.  "  Epitaph  on  Menander,"  beg. 
"The  very  Bees."  By  the  same, 
f.  42b. 

28.  "Here,  waiter,  bring  a  bottle." 
By  the  same.     f.  45. 

29.  "  What  care  had  I."  Anonymous. 
"Collected  by  J.  Lant  in  1580." 
f.  49. 

30.  "Is  he  not  drunk,  Sir"  (a  5). 
Anonymous,     f.  50b. 

31.  "  Sitting  by  the  fire  "  (a  5).  Anony- 
mous,    f . 51b. 

32.  "On  the  poor  confin'd  Debtors." 
"Dr.  Green."     f.  53. 

33.  "As  Thomas  was  Cudgel'd  one 
day."     By  the  same.     f.  56b. 

34.  "I've  lost  my  mistress."  By  the 
same.     f.  57b. 

35.  "  So  peaceful  rests  without  a  stone." 
By  the  same,     f .  60. 

36.  "  Come,  Friends  and  Companions." 
"Berg."     f.68b. 

37.  "  Let  us  drink  and  be  merry."  By 
the  same,     f .  09. 

38.  "How  happy  arc  we."  By  the 
same,     f .  69b. 

39.  "As  Jenny  one  morning."  By 
the  same.     f.  71b. 


38 


V^OCAL  MtJ8IC— secular. 


40.  "  Some  say  that  Signor  Bononcini."   I       Cooke,     f.  74. 
Anonymous,     f .  73b.  '   42.  "Some     Ages    in    story."       "  R. 


41.  "  The     longitude."       By     Dr.    B. 


Price."     f.  74b. 


Additional  31463,  pass! 


III. 


Paper;  late  18th  cent.     Oblong  octavo.     See  also  under  sacred  Canons  (vol.  i, 
p.  125). 

Catches  and  Rounds  :  a  collection  .similar  to  the  preceding  and 
in  the  same  hand.  Nos.  14,  17,  2G,  28,  30,  36,  64-66,  69,  73,  75, 
80,  89,  90,  92,  93,  103,  104,  108,  109,  111,  112,  are  for  4  voices; 
the  others  are  for  3  voices,  unless  the  contrary  is  stated.  Most  of 
the  earlier  numbers  are  in  John  Hilton's  Catch  that  catch  can,  1652. 
Those  marked  "1580"  were  copied  from  a  collection  begun  in  that 
year  by  John  Lant,  organist  of  Winchester  Cathedral  (see  Add. 
31462,  f.  48). 

1.  "Hail,     bright      Cecilia."        "Dr.  !  19.  "Boy,  come   back."     "Cranford." 
Nares."     f.  2.  i  f.  13. 

2.  "  Row      the      boat,      Whitington."  j  20.  " 'Tis  too  late  for  a  Coach."     "  H. 
Anonymous,     f.  2.  I  Puree]."     f .  13b. 

3.  "  Mortals,     learn     your     lives     to  !  21.  "  When    ever    I    marry."       "  Jn" 


measure."     "Dr.  GreenCe]."     f.  2b. 

4.  "Let's  have  a  Peal  for  John  Cook's 
soul"  (a  9).  By  T.  Ravenscroft. 
f.3. 

5.  "Come,  honest  friends."  "Ives." 
f.3b. 

G.  "If  all  be  true."  "H.  Purcel." 
f.4b. 

7.  "  Come  hither,  Tom."  "Cranford." 
f.5b. 

8.  "Cuckoo!  Good  neighbour,  help." 
"Nelham."     f .  G. 

9.  "'Tis   thus":    epitaph.     "  Boyce."   |    27.  "  Mark,  how  these  knavish  rests." 
f.  6b.  ■       By  W.  Cranford.     f.  17b. 

10.  "Come,    jump."      "  Jn"   Hilton."       28.  "As  I  me   walked."     Anonymous. 
f.7b.  I        "1580."     f.l8. 

11.  "Once  in  our  lives."    "H.  Purcel."   I    29.  "I    hate    dissembling    courtiers." 
f.8.  "Creed."     f.  18b. 

12.  "Under    this    stone    lies    Gabriel      30.  "  Young  John,  the  Gard'ner."   "H. 
John."     By  the  same.     f.  8b.  Purcel."     f.  19b. 

13.  "True   Englishmen,   drink."      By       31.  "How    soft    the    delights."       Dr. 
the  same.     f.9b.  Green[e].     f.  20b. 

14.  "  God  preserve  his  Majesty."    "Dr.       32.  "  The    Miller's    daughter."       "  H. 


Hilton."     f.  14. 

22.  "  Come,  come,  all  noble  souls." 
"  Dr.  Gree]i[e]."     f.  14b. 

23.  "Prithee,  fill  the  bowl."  Anony- 
mous,    f.  15. 

24.  "Here's  a  Health  to  the  King." 
"  Jere.  Clarke."     f.  15b. 

25.  "Let's  live  good  honest  lives." 
[Adapted  by  H.  Purcell  from  W.] 
"Cranford."     f.  16b. 

26.  "Go  to  Joan  Glover."  By  T. 
Ravenscroft.     f.  17. 


Blow."     f.  10. 

15.  "Tom,  making  a  mantua."     "  H. 
Purcel."     f.  10b. 

16.  "Confusion  to  thepow'rof  Cupid." 
"  Jn"  Eccles."     f.  lib. 


Purcel."     f .  21b. 

33.  "Sir     Walter."       By    the     same, 
f.  22b. 

34.  "The  Wise  men  were  but  sev'n." 
"W'Lawes."     f.  23. 


17.  "Well  rung,  Tom  Boy."    "Miller."       .35.  "Hark,  the  Bonny  Christ  Church 
f.l2.  Bells."     "  Dr.  Aldrich."     f .  2.3b. 

18.  "  Boy,  go  down."     "Ives."     f.  12b.       86.  "  Merry  have  we  met."    By  —  Cox. 

f.24. 


CATCHES. 


39 


37.  "A  Blooming   Youth":    epitaph. 
"Dr.  Boyce."     f.  24b. 

38.  "Here  lies  a  woman."     "Jn"  Hil- 
ton."    f .  25. 

39.  "Hail,   hail,  green  fields."     "Dr. 
GreenCe]."     f.  25b. 

40.  "White   wine   and    sugar"    (a   5). 
Anonymous.     "1580."     f.  26. 

41.  "Hark,    Harry,    'tis   late."      "Jn° 
Eccles."     f .  26b. 

42.  "All  into   service."      Anonymous. 
"1580."     f.  27. 

43.  "  Room    for    th'    express."      "  H. 
Purcel."     f.  27b. 

44.  "Jack,  Sam  and  Dick."      "  Crau- 
ford."     f.  28b. 

45.  "Fye,  nay,  prithee,  John."     "  H. 
Purcel."     f.  29b. 

46.  "  Come,  let  us  all  a  niaying  go." 
"  Jn"  Hilton."     f.  30. 

47.  "  Come,    let     us    laugh."       "  Dr. 
Green[e]."     f.  30b. 

48.  "  Allegra    Anglia.       Vivat     Eliza- 
betha."    Anonymous.    "1580."   f.  81. 

49.  "  Here     dwells    a    pretty    maid." 
"  Cranford."     f.  32b. 

60.  "  Hey  ho,  hey  ho,  hearts  delight." 
"  Jn"  Cobb."     f.  33. 

61.  "Drink  on  till  night."     "  H.  Pur- 
cel."    f.  33b. 

52.  "Fill   up   the   Glass."      "  Nares." 
f.  34b. 

53.  "Now,   now  we   are   met."      "  H. 
Purcel."     f .  35b. 

54.  "  Follow    me,    my    jovial    Boys." 
"  Edm"  Nelham."     f.  36. 

55.  "  'JMongst  other  Roses."    "  Boyce." 
f.  36b. 

66.  "  Sing  ye  now  after  me."     Anony- 
mous.    "  1580."     f.  37. 

57.  "In      drinking     full      Bumpers." 
"  Jere.  Clarke."     f.  37b. 

58.  "Alass,   poor   Heart."     "  Jn"   Hil- 
ton."    f.  38. 

59.  "  Jolly  mortals,  fill  your  glasses." 
"  Dr.  Green[e]."     f.  38b. 

60.  "  Come,  let  us  drink."     "  H.  Pur- 
cel."    f . 39b. 

61.  "At  the  song  of  my  Lady's  lace." 
"  Turner."     f.  40b. 

62.  "  See,    how    in    gath'riug    of    the 
May."     "Laws."     f.  41b. 

63.  "  Prithee,     foolish     Boy."       "  Dr. 
Green[e]."     f .  43b. 


64.  "  Soldier,    soldier,    take    off    your 


wme. 


H.  Purcel."     f .  44b. 


65.  "Jack,  Boy,  come.  Boy."  Anony- 
mous.    "  1580."     f.  45. 

66.  "Here  are  the  Rarities."  "Dr. 
Blow."     f.  45b. 

67.  "  Hey  ho,  what  shall  I  say"  (a  9). 
Anonymous.     "  1580."     f.  46. 

68.  "Ize  ga  wi'  thee."  By  J.  Hilton, 
f.  46b. 

69.  "  The  Macedon  Youth."  "  H.  Pur- 
cel."    f.  47b. 

70.  "  Young  Anthony."  "  Turner." 
f.  48b. 

71.  "  Methinks  that  I  do  hear."  "  Jn" 
Hilton."     f.49b. 

72.  "The  glass  was  just  tim'd."  "  H. 
Purcel."     f.  50. 

73.  "  Ding  ding,  ding  dong,  Bell." 
"  Stonerd."     f.  50b. 

74.  "  Long  live  our  King  and  Queen." 
Anonymous,     f.  51. 

75.  "0  hold  your  hands."  "Bird." 
f .  51b. 

76.  "Joan  has  been  galloping."  "Dr. 
Blow."     f.52. 

77.  "  Once,  Twice,  Thrice."  "  H.  Pur- 
cel."    f.  52b. 

78.  "HicjacetTomShorthose."  Anony- 
mous. (See  pencil  note  iu  Add. 
31462,  f.  28b.)     f .  53. 

79.  "  Great  Bacchus  born  in  thunder." 
"  Dr.  Greeu[e]."     f.  53b. 

80.  "Tobacco  is  but  a  Vapour."  "Edm. 
Nelham."     f.  54. 

81.  "John  Cooper."  "Dr.  Boyce." 
f . 54b. 

82.  "  The  silver  swan."  "  Jn"  Smith." 
f.  55b. 

83.  "  Since  time  so  kind  to  us  doth 
prove."     "  H.  Purcel."     f.  56. 

84.  "My  man  John."  "  Ju^  Eccles." 
f.  56b. 

85.  "  ril  tell  my  mother."  "  Dr. 
Blow."     f.  57b. 

86.  "  Down  in  a  Dungeon."  "  Ju" 
Hilton."     f.  58. 

87.  "Thisale,my  bonny  Lad."  "Cran- 
ford."    f . 58b. 

88.  "  Thus  saith  the  wise  man."  "Sim. 
Ives."     f.  59. 

89.  "Come  drink  to  me."  "  Wm. 
Bird."     f.  59b. 

90.  "Long  live  king  George."  "Dr. 
Boyce."     f.  60b. 


40 


VOCAL  MUSIC— SECULAR. 


91.  "Sum  up  all  the  delights."     "H. 
Purcel."     f.  61b. 

92.  "Good,  good  indeed."     "Dr.  Aid- 
rich."     f.  62b. 

93.  "O  fairest  Maid."      "Dr.  Nares." 
f.  63b. 

94.  "  Turn  Amarillis."     "  Jn"  Hilton." 
f.64. 

95.  "Have  you  any  work  for  the  Tin- 
ker."    "  Edm'>  Nelham."     f.  64b. 

96.  "Come,   let    us    cast    the    Dice." 
"Lawes."     f.  65b. 

97.  "Come,   follow  me."      "  Jn°   Hil- 
ton."    f.  66. 

98.  "Sing    we    now  merrily"    (a   10). 
Anonymous.     "1580."     f .  67. 

99.  "Fill,  fill,  fill  a  brimming  glass." 
Anonymous,     f.  67b. 

100.  "B  U  bu,  Z  A  za."     Anonymous. 
f.68. 

101.  "Come  hither,  Boy."     "Jn»  Hil- 
ton."    f.  71. 

102.  "'Twas  you,  Sir."      "Lord  Mor- 
nington."     f.  71b. 


103.  "  Poor  Ralpho."  "  Savage." 
f .  72b. 

104.  "  Half  an  hour  past  twelve." 
"Sig'-Marclla."     f.  73. 

105.  "  Dolly's  Eyes."  "  Sig--  Abel." 
f.  73b. 

106.  "I  gave  her  cakes."  "H.  Purcel." 
f .  74b. 

107.  "  Beneath  this  stone  the  Earl  of 
Lincoln  lies."     Anonymous,     f.  75b. 

108.  "Here  on  his  back  doth  lay  Sir 
Andrew  Keeling."  "  Jon"  Battishill." 
f.  76b. 

109.  "Dear  Welsh."  "  Sig--  Marella." 
f .  77b. 

110.  "  Ye  learned,  wise  Mortals." 
"Hughes."     f.78b. 

111.  "  These  are  the  cries  of  London." 
"JnoCobb."     f.79b. 

112.  "My  Dame  hath  a  lame  tame 
Crane."     "White."     f.  80. 

113.  "Perche,  vezzosi  rai."  Anony- 
mous,    f.  80b. 


Additional  31805,  f.  138. 

Paper;  late  18th  cent.    Oblong  folio.    See  also  below,  under  Glees  (1775-1822). 

"  For  ever  I  with  fierce  desire  could  gaze   on  Thee  "  :  Round  for 
3  voices,  in  score,  by  Samuel  Webbe,  composed  "  for  Mr.  Smart." 

Additional  31808,  ff.  1 59b-l  61. 
Paper;  late  18th  cent.     Quarto.     See  also  below,  under  Glees  (1784-1826). 
Catches  or  Rounds  for  3  voices,  in  score. 

1.  "  I  lov'd  thee  Beautiful  and  khid."  bass.     Anonymous,     f.  157. 

By  J.  Battishill.     f.  156b.  j   3.  "  Mr.      Speaker,     tho'     'tis     late." 

2.  "From  flowry  Meads";  with  figured    i        "  Baildon."     f.  158. 


Additional  31811,  passim. 

Paper;  late  18th  cent.,  etc.  Oblong  folio.  The  MS.  also  contains  a  Motet 
(vol.  i,  p.  337),  secular  Canons  (above,  p.  8),  and  Glees  (1785-1818),  etc.,  described 
below. 

Catches  and  Rounds,  for  3  voices  (unless  the  contrary   is  stated), 
in  score. 

1-4.  "  How  soft  the  delights,"  "  Come,  |        "  Dr.  [William]  Hayes."     f.  3b. 
let  us  laugh,"  "  Great  Bacchus,"  and       6,  7.  "  Caro,  vioni,"  and   "  This  Tomb 

"Mortals,    learn."      "Dr.    Greene."  j        be   thine,  Anacroon."     By  the  same, 
fi.  lb-3.  ff.  5,  5b. 

5.  Let's   drink   and   let's  sing"  (a  4).       8.  "Come,      follow     me,    my     Lads." 


CATCHES. 


41 


"  [Thomas]    Warreu   Home."      Two 
copies.     f£.  9,  82. 

9.  "  Ding  ding,  ding  dong,  bell"  :  Round 
(a  4).  "  Stoner[d],  1652."  Four 
copies,     ff.  37,  40-42. 

10.  "  Adam  catch'd  Eve."  By  Baildon. 
f.62. 

11.  "My  stubborn  heart."  "S.W[ebbe, 
jun.]."     Autograpli.     f .  68. 

12.  "Mr. ,  will  you  do  us  the  fa- 
vour " ;  with  a  figured  bass.  "  [S.] 
Webbe,  [sen.]."     f.  71b. 

13.  "  0  let  the  merry  peal  go  on." 
"  Danby."     f.  77. 

14.  "  I  lov'd  thee  beautiful  "  :  Round. 
"  Battishill."    Four  copies,  ff.  78-81. 

15.  "  Turk  was  a  faithful  dog"  (a  4)  ; 
"  written  by  Haydn  extempore,  when 
visiting  Rauzzini  at  Bath."  From 
the  Harmonicon,  January,  1827.  f .  84. 

16-18.  "Hot  spice,"  "Within  this 
tomb,"  and  "  Hark,  the  nightingale." 
Anonymous,     ff.  106,  106b. 

19.  "Lets  have  a  peal"  (a  9).  By  T. 
Ravcnscroft.     f.  128. 

20.  "Take  this."    Anonymous,  f.  129b. 

21.  "Hark,  the  Bells  have  done." 
Anonymous,     f.  131. 

22.  "  How  pleasd  within  my  native 
bowrs"  (a  4).  By  J.  W.  Callcott. 
"1785."     f.  132. 

23.  "MaltouFair,"  beginning  "  Jockey 


and  I."     Anonymous,     f.  133b. 

24.  "  Come,  let  us  chaunt  a  catch." 
Anonymous.    "1779."     f .  135. 

25.  "Dy'e  mean  to  affront  me."  By 
J.  W.  Callcott.     "1785."     f.  137. 

26.  "The  trumpet's  notes":  Round. 
By  the  same.     "  1785."     f.  138. 

27.  "  We  be  knaves."  By  the  same. 
"  1785."     f.  139. 

28.  "  Come  and  let  us  sing  this  catch." 
By  the  same.     "1785."     f.  140. 

29.  "  Pry'thce,  Tom,  tell  me."  Anony- 
mous,    f.  141. 

30.  "  Tom,  who  do  you  vote  for." 
Anonymous,     f.  143. 

31.  "  The  Bottle's  out."  By  S.  Webbe, 
sen.     f.  144. 

32.  "  Don't  push  "  (a  4).  Anonymous. 
"Extempore.  On  hearing. .  .the. . . 
oratorio  of  Golia[t]h  ;  at  High  wy- 
combe."     f .  145. 

33.  "  Sir  Timothy  mounted "  (a  4). 
Anonymous,     f.  147. 

34.  "Joan  said  to  John."  By  Atter- 
bury.     f.  148. 

35.  "You  have  heard  that  your  Bro- 
ther" (a  4).  Anonymous.  Imperfect. 
f.  49. 

36.  "Which  is  the  Season"  (k  4). 
Anonymous,     f.  156b. 

37.  "I  love  young  Daphne."  Anony- 
mous,    f.  160b. 


Additional  33237,  flf.  229-238. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1791). 

Catches   for   3    voices,    by   Henry   Purcell,   transcribed   by   J.  P. 
Hobler. 


1.  "  I  gave  her  cakes."     f.  229. 

2.  "Wine,  wine  in  a  morning  makes 
us  frolic  and  gay."     f.  229b. 

3.  "  Prithee,  ben't  so  sad  and  ser'ous." 
f .  230. 

4.  "Since    time   so    kind    to   us   does 
prove."     f.  230. 

5.  "My     ladies     Coachman,     John." 
f .  230b. 

6.  "He     that     drinks    is    immortal." 
f.  230b. 

7.  "Let   us   drink   to    the    Blades   in- 
trench'd  on  the  Shannon."     f.  231. 

8.  "When  V  and   I   together    meet." 
f.  231. 


9.  "  Of  all  the  Instruments."    f.  231b. 

10.  "  Call  for  the  reck'ning."     f.  232. 

11.  "One  industrious  insect";  de- 
scribed as  "A  Rebus  upon  J\Ir. 
Anthony  Hall  who  keept  the  Mare- 
maid  Tavern  in  Oxford,  by  Mr. 
Tomlinson."     f.  232. 

12.  "Full  bags."     f.232b. 

13.  "IsCharleroy'sseigecome."  f.  232b. 

14.  "  As  Roger  last  night."     f.  233. 

15.  "Here's  a  health,  a  health."  f .  233. 

16.  "At  the  close  of  the  cv'ning." 
f.  233b. 

17.  "To  thee,  to  thee  and  to  a  maid." 
f . 234. 


42  VOCAL  MUSIC— SECULAR. 

18.  "  Would  you  know  how  we  meet."  f.  236. 

f.  234.  25.  "  Uuder    this    stoue    lies    Gabrie 

19.  "  Pale  faces,  stand  by."     f.  234.  John."     f.  236. 

20.  "Here's   that  will   chal[l]enge   all  26.  "Who     comes     there?       Stand." 
the  Fair."     f.  234b.  ;       f.  236b. 

21.  "The  Miller's  Daughter  riding  to  i   27.  "  Drink  on,  drink  on."     f.  237. 
the  Fair."     f.  235.  28.  "  Tis  too  late  for  a  coach."    f.  237. 

22.  "Now,  now  we  are  met."     f .  235b.  29.  "Soldier,    soldier,     take     off    thy 

23.  "If  all  be  true  that  I  do  think."  wine."     Unfinished,     f .  237b. 

f.  235b.  30.  "  Room  for  th'  Express."     f.  238. 

24.  "Let's    live    good    honest    lives." 

Additional  34609,  f,  L5. 

Paper;  late  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  92). 

"  Let  Rufus  weep  "  ;  foi'  3  voices,  apparently  by  J.  Stafford  Smith, 
in  whose  hand  it  is  Avritten. 


Additional  28862,  ft".  38  (reversed),  38b. 
Paper ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Three  Rounds  or  Catches,  in  score,  at  the  end  of  a  volume  of 
selections  from  dramatic  works  by  R.  J.  S.  Stevens,  but  in  a  different 
hand. 


1.  "Thus  saith  the  wise  man"  (a  3). 
"  [S.]  Ives."     f.  38. 

2.  "  Haste  ye,  soft  gales  "  (a  3).  Anony- 


mous,    f.  38. 
3.  "  God  save  the  King"  (a  6).    Anony- 
mous,    f.  38b. 


Additional  30956,  ff.  15,  15b. 

Paper  ;  18th-19th  cent.     Oblong  quarto.     See  also  below,  under  Operas. 
Three  Rounds  for  3  voices,  in  score,  apparently  by  Charles  Dibdin. 


1,2.  "Away,   fond    youth,"    and    "It 
blew    a    hard     storm."       Imperfect. 


f.  15. 
3.  "  None  without  hope."     f.  15b. 


Additional  30957,  passim. 

Paper  ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Glees. 

Catches  composed,  or  collected,  by  Charles  Dibdin,  and  apparently 
intended  for  insertion,  with  instrumental  accompaniments,  in  some  of 
his  dramatic  works.  They  are  for  3  voices  and  in  score,  unless  the 
contrary  is  stated. 

1.  "Alas,  poor  Nick"  (a  4).     Anony-  \  graph.     Watermark,  1806.     f.  18. 
mous.     f.  1.  ;  4.  "Hark,   the   bonny   Christ   Church 

2.  "Come,    honest    friends."      By    S.  ;  Bells."     By   Dr.  H.    Aldrich.     Four 
Ives.     f.  4.  copies,     ff .  26-29. 

3.  "  Give    to    the    Commodore     three  5.  "  Sir,   you   are   a   Comical   fellow." 
cheers."     "  Charles  Dibdin."     Auto-  ,  Anonymous,     f.  46b. 


CATCHES.  43 

6.  "  Soldier,  soldier,  talie  off  thy  wine  "  "  C.  Dibdin."  Aiotograph.  Two  copies, 
(ad).     By  H.  Purcell.     Two  copies.           ff .  56,  57. 

ff.  54,  55.  8.  "  The   victory's    gained."      By    the 

7.  "The    Grog's    poured   out   sound."  same.     Autograph,     f .  70. 

Additional  31809,  ff.  16,  24,  24b. 

Paper ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Glees. 
Catches,  in  score. 


1.  "  Ding  ding,  ding  dong,  bell  "  (a  4). 
"  Stoner[d]."     f.  16. 

2.  "Have  you  Sir  John  Hawkins'  his- 


t'ry  "  (a  3).     "  J.  W.  Calcot."     f.  24. 
3.  "  Che  pena,  ch'  affauno  "  (a  3).    "  F. 
Giardini."     f.  24b. 


Additional  31813,  ff'.  28-35,  etc. 

Paper;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1798). 

Rounds  and   Catches  for  3  voices,  in  score,  by  Henry  Purcell,  in 
the  hand  of  R.  J.  8.  Stevens. 


1.  "Now,   now   we   are    met."      Four 
copies,     a.  28,  31b,  39,  50. 


Fair."     Three  copies,     ff.  32,  43,  54. 
4.  "  Under     this    stone     lies     Gabriel 


2.  "  Soldier,  soldier,  take  off  thy  wine."  John."    Three  copies,   ff.  34,  47b,  57. 
Three  copies,     ff.  29,  40,  51.                     |   5.  "  Fye,  nay,  prithee,   John."     Three 

3.  "  Heres  that  will  challenge  all  the    '       copies,     ff.  35,  48,  58. 

Additional  31819,  f.  4. 

Paper;  18th-19th  cent.     Oblong  folio.     See  also  under  Hymns  (vol.  i,  p.  187). 

"  To  ME  'twas  giv'n  "  ;  for  3  voices.  Anonymous.  From  a  volume 
of  compositions  mostly  by  candidates  for  the  Prize  Medal  (?  of  the 
Catch  Club),  1785,  etc. 

Additional  32237,  f.  70. 

Paper ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1797- 
1828). 

The  melody  of  the  3-part  Round,  "  How  Great  is  the  pleasure,"  by 
"  Harrison,"  sc.  Dr.  Henry  Harington  of  Bath.  In  the  hand  of  J.  N. 
Hummel. 

Additional  32019,  f.  63. 

Paper ;    early   19th   cent.      Oblong   quarto.      See   also    below,   under   Songs 
(1814-1853). 

"  Day  is  done  "  :  Round  for  3  voices,  with  pianoforte  accompaiiimeiit, 
by  Thomas  Miles.     Autograph. 

Additional34725,  f.  142b. 

Paper  ;  early  19th  cent.     Oblong  quarto.     See  also  below,  under  Operas. 

"  Come  all  ye  pretty  maidens  "  :  Round  for  3  voices,  in  score,  by 
H.  R.  Bishop.     Autograjjh. 


44  VOCAL  MUSIC— SECULAR. 

Additional  27669,  f.  36b  (reversed). 
Paper  ;  about  1802.     Octavo.     See  also  under  Dictionaries  (1797-1807),  in  vol.  iii. 

"■  Let's  drink  and  let's  sing  together  "  ;  for  4  voices,  by  Dr.  William 
Hayes. 

Additional  32021,  fF.  18b-68b  passim. 

Paper ;  a.d.  1805-1850.     Oblong  quarto.     See  also  below,  under  Glees  (1806- 
1850). 

Catches  for  3  voices,  unless  the  contrary  is  stated,  by   Thomas 
Miles.     Autograph. 

1.  "Here   lies  poor   Thomas   and    his    i       f .  30b. 

wife  "(a  4).     V  mm.  The  Tour  of  Dr.  ,5.  "Oh!     what     a    nose!"      "1824." 

Syntax.     "1816."     f.  18b.  |       f.  43b. 

2.  "Give  the  toast,  my  good   fellow."  6.  "Good-night!  Parting  is  such  sweet 
The     words     by     —     Cunningham.  sorrow."     "1826."     f .  56b. 
"1805."     f.  27b.  7.  "Huzza  for  the  Queen  "  (a  4):    "A 

3.  "  O  Love  I  for  Sylvia  let  me  gain  the  Jeu  d'Esprit  on  passing  events,  1850." 
prize."       From     Pope's     "Spring."  f.  64b. 

"1821."     f.  27b.  I   8.  "Why    roves    the   dear,    the   lovely 

4.  "  The  tears  of  Constance."    "1821."  maid."     "1836."     f.68b. 

Additional  31464. 

Paper;  ff .  39.     After  1812  (watermark).     Narrow  oblong  octavo. 

Catches  for  3  voices  (with  one  exception),  in  score,  transcribed  by 
Thomas  Oliphant. 

1.  "As  Dolly  and  Nan  were  sweeping."   ;       spinnet."     "  I.  Isum."     f.  21. 

"  Earl  of  Mornington."     f.  1.  i    8.  "Lie  still,  my  dear."     Anonymous. 

2.  "Here's  a  tale."     Anonymous,     f.  4.   '       f.  23. 


3.  "  My  Man  Jno."    By  J.  Eccles.    f.  8. 

4.  "Had  she  not  care  enough."     "H'' 
Purcell."     f.  13. 


9.  "Says  Sue  to  Prue."     Anonymous, 
f.  24. 

10.  "Quoth  Hodge,  my  fortune's  made." 


5.  "Adam  catch'd  Eve."     By  J.  Bail-    \       Anonymous,     f.  27. 

don.     f.  14.  '    11.  "When  is  it  best"  (a  4).    "J.  Bail- 


6.  "  Hark  you,  my  dear."    "  Dr.  Arne." 
f.  16. 


don."     f.  32. 
12.  "Pretty   maidens."     "Atterbury." 


7.  "As    Celia    was     learning     on    the  f.  35. 

Additional  30521,  f.  1. 

Paper ;  a.d.  1824.     Quarto.     See  also  below,  under  Songs. 

"  Wine,  beauty,  smiles  and  social  Mirth  "  ;  for  3  voices,  in  score,  by 
Matthew  Cooke,  1824.  Autograph.  The  words  are  from  "[Robert] 
Bloomfield's  Remains." 

Additional  19648,  f.  44b. 

Paper  ;  about  1833  (see  f.  44).     Quarto.     See  also  below,  under  Glees  (1810). 

"'Tis  Amarillis  walking  all  alone";  for  3  voices,  in  score,  by 
Thomas  Brewer,  1667. 


CATCHES. 


45 


Additional  30273,  ff.  6b-53. 

Paper;   about    1833    (watermark).      Narrow  oblong  octavo.      The   MS.   also 
contains  a  sacred  Canon  (vol.  i,  p.  128).     See  also  below,  under  Glees  and  Operas. 

Rounds,  Catches,  cries,  etc.,  in  score,  except  nos.  55-57,  74-79, 
81-83,  92,  which  are  written  out  at  length.  Nos.  27-34,  69,  75  are  for 
4  voices ;  the  others,  unless  the  contrary  is  stated,  are  for  3  voices. 


1.  "Zephyr,  I  can  tell  you  where": 
Catch.     *'S.  Webbe,  Sen'-."     f.  6b. 

2.  "Zephyr,  breathe  soft":  Round. 
Anonymous,     f.  7. 

3.  "Who  was  it  that  sat":  Round. 
"Danby."     f.  7b. 

4.  "Alas,  cried  Damon":  Catch. 
"  Cal[l]cott."     f.Sb. 

5.  "She,  who  alone":  Catch.  "  S. 
Webbe,  Sen'."     f.  9b. 

6.  "Stay,  Daphne":  Round.  By  the 
same,     f .  10b. 

7.  "Neighbours,  come  round  me": 
Catch.     By  the  same.     f.  11. 

8.  "Tread soft"  (epitaph).  "J.  Danby." 
f.  lib. 

9.  "Here  lies  a  woman"  (epitaph). 
"J.Hilton."     f.llb. 

10.  "Sir,  you're  a  Rascal":  Catch. 
By  J.  S.  Smith,     f.  12. 

11.  A  Yawning  Catch,  beg.  "  'Tis  hum- 
drum."    "  Dr.  Harrington."     f.  13. 

12.  "Fie,  nay,  prithee,  John"  :  Catch. 
By  J.  Blow,     f .  13b. 

13.  "'Twas  you.  Sir":  Round.  By 
Lord  Mornington.     f.  14. 

14.  "Give  me  the  sweet  delights  of 
love"  :  Round.  "Harrington."  f.  14b. 

15.  "By  two  black  eyes  my  heart  was 
won":  Catch.  "Stafford  Smith." 
f.l5. 

16.  "To  the  old,  long  life":  Round. 
"  S.  Webbe,  Sen^"     f.  15b. 

17.  "  Ah,  how,  Sophia  "  :  Catch.  "  Dr. 
Cal[l]cott."     f.  16b. 

18.  "Surly  Giles's  old  Cat":  Catch. 
"S.  Webbe."     f.  17b. 

19.  "  I  lov'd  thee  "  :  Round.  "Battis- 
hill."     f.  18b. 

20.  "Joan  said  to  John":  Round. 
"Atterbury."     f .  19. 

21.  "One  a  penny,  two  a  penny":  a 
"  Cry."     By  the  same.     f.  19b. 

22.  "Oh,  if  you  see  that  Lady  gay": 
Catch.     Anonymous,     f.  20b. 


-,  will   you  do 


Hayes."     f.21b. 

24.  "Mr.  ,  Mr. 

us  the  favor":  Round.    "S.  Webbe, 
Sen^"     f.  22b. 

25.  "Poor  Absalom  is  dead":  Round. 
"Harrington."     f.  23b. 

26.  "One,  two,  three"  :  Catch.  "Pur- 
cell."     f.  24b. 

27.  "  Come,  buy  my  cherries  "  :  Round. 
"Stevenson."     f.  25. 

28.  "Would  you  know  my  Celia's 
charms"  :  Catch.  "  S.  Webbe  [sen.]." 
f.  25b. 

29.  "  Buz,  quoth  the  blue  Fly  "  :  Round. 
"Dr.  Arne."     f.  26. 

30.  "London  cries,"  beg.  "A  quart  a 
penny."     Anonj^mous.     f.  26b. 

31.  "  My  sickly  spouse."  Anonymous, 
f.  26b. 

32.  "The  bottle's  out":  Round.  "S. 
Webbe,  Sen'."     f .  27. 

33.  "When  Nell  giv'n  o'er  by  the 
doctor."   By  J.  W.  Holder  (?).    f.  27b. 

.34.  "Let's  drink  and  let's  sing." 
Anonjaiious.     f.  28. 

35.  "Hang  sorrow":  Round.  "Pur- 
cell."  Attributed  to  W.  Lawes  in 
Add.  31462,  above,  p.  37.     f.  29. 

36.  "Jack,  thou'rt  a  toper":  Catch. 
"  H.  Purcell."     f.  29b. 

37.  "Come,  my  hearts":  Round. 
"J.Hilton."     f.30. 

38.  "As  now  we're  met":  Round. 
"H.  Purcell."     f .  30b. 

39.  "Pale  faces,  stand  by":  Round. 
By  the  same,     f .  31b. 

40.  "Drink  on  'til  night  be  spent": 
Round.     By  the  same.     f.  32. 

41.  "  Come,  pull  away,  boys  "  :  Round. 
"  G.  Holmes,  1725."     f.  32b. 

42.  "  Look,  neighbours,  look  "  ;  Round. 
"  Harrington."     f.  33. 

43.  "Let's  be  mer[r]y  and  banish 
care  "  :   Round.      "  S.  Webbe,  Sen"-." 


f .  33b. 
23.  "  Pretty  maidens "  :   Round.    "Dr.    i   44.  "The  Laughing   Catch,"  beg.     "I 


46 


VOCAL  MUSIC— SECULAR. 


cannot  sing  this  catch."  "Harring- 
ton."    f.  34. 

45.  "  Heigho,  says  Jenny  "  :  Round. 
"  S.  Webbe,  Sen^"     f .  34b. 

4G.  "  Sweet  enslaver  "  :  Round.  "  Atter- 
bury."     f.  35. 

47.  "Mr.  Speaker,  tho'  'tis  late."  By 
J.  Baildon.     f.  35b. 

48.  "  Wind,  gentle  evergreen  "  ;  Round. 
"Dr.  Hayes."     f.  3G. 

49.  "Poor  John  is  dead":  Round. 
Anonymous,     f.  36b. 

50.  "  This  ale,  my  bonny  lad  "  :  Round. 
"  Cranford."     f.  37. 

51.  "Down  in  a  dungeon":  Round. 
"Hilton."     f.37b. 

52.  "Boy,  go  down":  Round.  By 
S.  Ives.     f.  37b. 

53.  "Boy,  come  back":  Round. 
"  Cranford."     f.  38. 

54.  "Have  you  any  work  for  the 
tinker "  :  Round.  "  Edmund  Nel- 
ham."     f.  38b. 

55.  "  Call  for  the  ale  "  :  Round.  "  W" 
Lawes."     f.  39. 

56.  "  The  wise  men  were  but  seven": 
Round.     By  the  same,     f .  39. 

57.  "  A  boat,  a  boat !  Haste  to  the 
ferry."     Anonymous,     f.  39. 

58.  "Ye  learned  wise  mortals."  By 
—  Hughes,     f .  39b. 

59.  "Now  we  are  met."  Anonymous. 
f.40. 

60.  "Come,  honest  friends":  Round. 
By  S.  Ives.     f.  40b. 

61.  "  Wilt  thou  lend  me  thy  mare." 
By  J.  Nares.     f.  41. 

G2.  "Fill  me  a  bumper":  Round. 
"  S.  Webbe,  Sen'."     f .  41b. 

63.  Let  us  drink  and  be  merry  "  :  Round. 
"Berg."     f.42. 

64.  "Fill,  fill,  fill  a  brimming  glass"  : 
Round.     Anonymous,     f.  42b. 

65.  "  Since  now  we  are  met "  :  Round. 
"Chatterton,  Father  of  the  Poet." 
f.43. 

66.  "  Would  you  know  how  we  meet  "  : 
Round.     "H.  Purcell."     f .  43b. 

67.  "In  drinking  full  bumpers": 
Round.     "Jer*- Clark."     f.  44. 

68.  "Care,  thou  canker  of  our  joys"  : 
Round.     Anonymous,     f.  44b. 


69.  "  A  Fig  for  care  "  :  Round.    Anony- 
mous,    f .  45. 

70.  "  Come,  come  away  to  the  Tavern  "  : 
Round.     Anonymous,     f.  45b. 

71.  "Slaves   to   the  world":     Round. 
Anonymous,     f .  45b. 

72.  "Had     she    not     care    enough": 
Round.     "  Jer.  Saville."     f.  46. 

73.  "Come,  follow  me":   Round.     By 
J.  Hilton,     f.  46. 

74.  "  Wars    are    our    delight "    (a    5). 
"Wm.  Lawes."     f.46b. 

75.  "  My     dame     hath    a    lame    tame 


crane. 


White."     f.  46b. 


76.  "Now,  my  lads,  let's  be  merry." 
"  Henry  Lawes."     f.  46b. 

77.  "Fa  la  la":  described  as  "Sara- 
band."    "Simon  Ives."     f .  47. 

78.  "  Hey  down,  a  down  derry." 
"  Edmund  Neldham."     f.  47. 

79.  "Go  no  more  a  maying."  "W"" 
Lawes."     f.  47. 

80.  "Come,  let  us  all  a  maying  go": 
Round.     By  J.  Hilton,     f.  47b. 

81.  "  Tipple  away."  Anonymous.  f.47b. 

82.  "Go  to  Joan  Glover."  By  T. 
Ravenscroft.     f.  47b. 

83.  "  Joan's  ale."    Anonymous,   f.  47b. 

84.  "Call  George  again":  Round. 
"  Hilton."     f.  48. 

85.  "Quoth  Jack  on  a  time"  :  Round. 
By  the  same,     f .  48. 

86.  "Come,  come,  let  us  drink": 
Round.     "H.  Purcell."     f.  48b. 

87.  "  Come,  drink  about  Tom."  Anony- 
mous,    f .  49. 

88.  "Hark,  Harry":  Round.  "John 
Eccles."     f.  49b. 

89.  "  Frank,  what  shall  we  do  " :  Round. 
"  Willis."     f.  50. 

90.  "  'Tis  too  late  for  a  coach  "  :  Round. 
"  H.  Purcell."     f.  50. 

91.  "Peter  White."  Anonymous,  f.  50b. 

92.  "Let  us  be  merry  in  our  old 
cloaths  "  :  Round.  "  Edmund  Gre- 
gory."    f.  50b. 

93.  "A  southerly  wind  " :  described  as 
"  Hunting  Rondo.  Adapted  from 
Ferrari."     f.  51. 

94.  "  Three  Blind  ]\Iice."  Anonymous, 
f.  51b. 

95.  "  Old  Goody  Grimshaw."  "  G.  L." 
f .  52b. 


CHORUSES.  47 

Additional  32587,  f.  26. 

Paper  ;  a.d.  1841.     Quarto.     See  also  below,  under  Glees. 

"  Sure  Chloe  is  the  sweetest  lass  "  :  Catch  for  4  voices,  in  score,  the 
words  by  J.  R.  Stevens,  the  music  by  William  P.  Stevens,  1841. 
Autograph. 

Additional  35028,  f.  33. 

Paper  ;  a.d.  18G0.     Quarto.     See  also  below,  under  Songs. 

"  Nella  Casa  troverete  tout  ce  que  vous  pouvez  Souhaiter  " ;  for  3 
voices,  by  Samuel  Wesley. 


SECTION  IV.— CHORUSES 

OR   SHORT    DETACHED    CHORAL    WORKS   WITH    INSTRUMENTAL 

ACCOMPANIMENT. 


Additional  29396,  f.  85b. 

Paper ;  about  1678-1682.     Folio.     See  also  below,  under  Songs. 

"Bee  quick,  my  Boyes"  :  so-called  "chorus"  for  2  voices  with  solo 
and  with  a  bass  for  harpsichord,  in  score.  Possibly  intended  for  2  solo 
voices.     Anonvmous. 

Printed  Book,  D.  212.  c.  (3  vols.),  passim. 

Paper;  17th  cent.     Small  quarto.     See  also  under  Motets  (vol  i,  p.  280). 

Portions  of  two  anonymous  martial  songs  in  MS.,  apparently  for 
several  voices,  with  a  figured  bass  for  harpsichord  ;  but  the  parts  have 
not  all  of  them  been  filled  in. 


1.  "  Was  soUen  nun  mehr  beginnen." 
i,  f. 65b  (cantus  part);  iii,  f .  68  (part 
of  the  words  only). 


2.  "  Nun  hatt  sich  Blattlein  vmbge- 
wandt  "  (2nd  cantus  and  altus  parts), 
i,  f.  67;  ii,  f.62. 


Additional  29801,  f.  62b. 

Paper  ;  about  1784-1800.     Oblong  folio.     See  also  below,  under  Songs. 

Chorus,  beginning  "  O  care  Selve  " ;  for  4  voices,  with  a  bass  for 
harpsichord,  in  compressed  score,  in  the  hand  of  Ludwig  van  Beet- 
hoven, and  apparently  his  composition. 


48  VOCAL  MUSIC— SECULAR. 


Additional  32138,  f .  297b. 

Paper ;  about  1785.     Oblong  octavo.     See  also  under  sacred  Choruses  (vol.  i, 
p.  160). 

"  Kein  Ritterguth  "  :  aria  for  4  voices,  in  score,  by  [George  Peter] 
Weimar.     The  accompaniment  is  omitted. 


Additional  30392,  ft.  23b-30. 

Paper;  a.d.  1790-1791.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  75). 

"  Chorus  to  Humanity — Mason's  Elfrida,"  set  by  W.  C[rotch]  for 
4  voices,  with  accompaniments  for  2  flutes,  2  violins,  viola,  and  bass,  in 
full  score.     Begun  30  Oct.  1790,  ended  25  May,  1791.     Autograph. 

Additional  32173,  ft".  7-24. 

Paper;  after  1791  (? — supposed  date  of  composition).     Oblong  folio.     See  also 
under  sacred  Cantatas  (vol.  i,  p.  130). 

"  Der  Sturm  "  :  chorus  for  4  voices,  with  symphony  and  accom- 
paniments for  trumpets,  drum,  horns,  oljoes,  clarinets,  trombones,  flutes, 
bassoons,  and  strings,  in  .score,  by  Joseph  Ha3'dn.  The  music  for  the 
wind  instruments,  for  some  of  the  .strings,  and  on  the  whole  of  the 
last  page  is  auiograjjh.  The  chorus  begins  "  Hort !  die  Winde  furchtbar 
heulen,"  but  the  music  was  originally  composed  to  English  words. 

Additional  31815,  ft".  55-64b. 

Paper;  a.d.  1795.     Oblong  folio.     See  also  under  Oratorios  (vol.  i,  p.  373). 

The  witches'  song,  from  Ben  Jonson's  Masque  of  Queens,  1609,  beg. 
"  T  have  been  all  day  looking  after  a  raven  "  ;  written  as  a  5-part  chorus 
with  solos  and  a  figured  bass  for  pianoforte,  in  score,  by  R.  J.  S.  Steven.s, 
1795.     Autograph. 

Additional  31671,  ft".  1-14. 

Paper  ;  18th  cent.  Oblong  quarto.  Belonged  to  Robert  Smith,  St.  Paul's 
Churchyard.     See  also  under  Catches  (above,  p.  31). 

"What  is  become  of  all  those  Dames";  for  4  voices,  with 
instrumental  accompaniments,  in  score,  by  Travers. 

Additional  31804,  f.  139. 

Paper ;  late  18th  cent.  Oblong  folio.  See  also  below,  under  Glees 
(1771-1803). 

"  Hand  in  hand  with  fairy  grace  "  :  so  called  "  glee,"  with  5-part 
chorus,  by  Dr.  [Benjamin]  Cooke.     The  bass  part  is  figured, 


CHORUSES.  49 

Additional  35003,  ff.  99-1 10b. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  349). 

"Thus  through  successive  ages  stands";  for  4  voices,  with  ac- 
companimeuts  for  trumpets,  drums,  liorns,  strings  (and  organ?),  in 
score,  by  Samuel  Wesley.     Probably  an  early  composition.     Autograph 

Additional  30953,  f.  29b. 

Paper ;  ISth-lQth  cent.     Quarto.     See  also  below,  under  Operas. 

"  Now  let  us  consecrate  the  day  "  ;  for  2  voices,  with  a  bass  for 
harpsichord  or  pianoforte,  in  score,  by  Charles  Dibdin.  From  The 
Musical  Mentor  [1805?].     Autograph. 

Additional  30957,  ff.  72,  73. 

Paper  ;  ISth-lQth  cent.     Oblong  folio.     See  also  below,  under  Glees. 

Bass  and  second  treble  parts  of  "  Viva  {sic)  tutte  le  vezzose,"  by 
[?  John]  Bannister. 

Additional  32237,  f.  77b. 

Paper ;    ISth-lQth   cent.      Oblong   octavo.      See   also   below,   under   Operas 
(1797-1828). 

Sketch  of  what  appeal's  to  be  a  choral  work  founded  on  a 
"russi-sche  Lied  a  4  Voci " ;  dedicated  to  Monsieur  de  Schulzin, 
Head  of  the  Police  at  Moscow,  by  J.  N.  Hummel. 

Additional  32044,  ff.l,  11. 

Paper ;  early  19th  cent.     Folio.     See  also  below,  under  Songs. 

Two  secular  vocal  compositions  for  4  voices,  with  pianoforte  accom- 
paniment, by  W.  [F.  E.]  Bach.     Autograph. 


1.  "  Der  Yorsatz,"  beg.  "  Wie  sehr  lieb 
ich  niein  Miidchen  nicht  "  ;  in  parts, 
f.  1. 

2.  "  Erinnerungan  Schillers  Sterbetag" 
(1805),    beg.    "  Den     Schmerz,    den 


Trost  "  ;  in  score.  The  words  by 
Herr  von  Held.  At  the  end  are 
separate  parts  for  three  of  the  singers, 
Herren  Ambrosch,  Labes,  and  Greibe. 
ft.  11-25. 


Additional  33310,  passim. 

Paper  ;  early  19th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

Choruses  with  instrumental  accompaniments  (in  nos.  5  and  6,  piano- 
forte only),  in  score.     Nos.  2-4,  and  probably  the  others  also,  are  by 
[John  Fane]  Lord  B[urghersh,  Earl  of  Westmorland  in  1841].     Except 
II  E 


50 


VOCAL  MUSIC— SECULAR. 


where  the  contrary  is  stated,  they  are  written  for  4  voices,  with  strings, 
oboes,  and  horns.  The  words  of  the  first  three  are  taken  from  plays 
by  Metastasio. 


1.  "  Grazievi  rendo"  :  scena  and  chorus, 
with  flutes,  bassoons,  etc.  From 
"  Attilio  Regolo."     ff.  1-12. 

2.  "  Vivi  a  noi  "  ;  with  flutes,  trumpets, 
etc.     [From  "  Adriano."]     ff.  18-30b. 

3.  "  Che  del  del,  che  degli  Dei."    [From 


"  La  clemenza  di  Tito."]     f.  63. 

4.  "  Del  forte  Licida."     f.  69. 

5.  "  Viva    augusto,     eterno    Impero." 
ff. 82-84b. 

6.  "  Vivi  a  noi."     Different  from  no.  2. 
f.  100. 


Additional  28971,  ff.  102-1 05b, 

Paper ;  a.d.  1800.     Oblong  folio.     See  also  below,  under  Songs. 

"  Sweet  is  the  vale  "  ;  for  3  voices,  with  symphony  and  accompani- 
ments for  flutes,  horns,  bassoons,  and  strings,  in  score,  by  J[ames] 
Hook.     Described  as  "  Glee  for  Yauxhall,  1800." 


Additional  32181,  ff.  19,  96. 

Paper  ;  a.d.  1800,  etc.     Oblong  folio.     See  also  below,  under  Operas  (1796). 

Choruses  for  4  voices,  with  accompaniments,  in  score,  by  F.  X. 
Siissmayr.     Aiitograjjh. 


1.  "HeildemJungling"(a8).  "[1]800." 
The  following  solo  and  chorus  (with 
pianoforte  accompaniment),  "  So  iibst 
du  sie  durch  harmonie,"  and  the  4- 
part  chorus,  "  0  konnten  wir  Korper- 
Gesundheit   dir    geben,"   appear    to 


form  part  of  the  same  composition, 
possibly  intended  for  a  cantata,  f .  19. 
2.  "  Lob  der  Hasslichkeit  "  ;  with  sym- 
phonies for  strings.  In  four  strophes, 
without  the  words,     f.  96. 


Additional  32190,  ff.  39-129  ^mssm. 

Paper;  a.d.  1804.     Oblong  folio.      See  also  below,  under  Operas  (early  19th 
cent.). 

Choruses,  etc.,  most  of  them  for  4  voices  and  interspersed  with 
solos,  with  pianoforte  accompaniment,  in  score,  in  the  hand  of  J.  N. 
Hummel,  and  in  all  probability  his  composition. 


1.  Two  songs  written  by  Goethe  in 
honour  of  Madame  IMara ;  the  first, 
"  Klarster  Stimme,"  set  as  a  chorus, 
referring  to  her  debut  (1771) ;  the 
second,  "  Sangreich  war  deiu  Ehren- 
weg,"  a  quartet,  referring  to  her 
82nd  birthday  (1831).     ff.  40,  42. 

2.  "  Heil,  dieses  Tages  Stern";  with 
accompaniments  for  flutes,  oboes, 
clarinets,  bassoons,  horns,  trumpets. 


drums,     trombones,     cymbals,     and 
strings,     f.  116. 
3.  "  Wieder  seh  ich's."    "1804."    f.  122. 
'   4.  "  Landestreue,"    beg.    "  Mit    neuer 
Kraft."     "  [1]835."     f.  125. 
5.  "  Auf,    Burger,  auf  "  ;  with   accom- 
paniments for  flutes,  oboes,  clarinets, 
bassoons,    horns,    tiumpets,    drums, 
trombones    (wanting),    and    strings 
f.  129. 


CHORUSES.  51 

Additional  30148,  ff.  17b-22. 

Paper;  [about  1813].     Oblong  quarto.     See  also  below,  under  Songs. 

Compositions  for  3  voices,  with  pianoforte  accompaniment,  in  score, 
by  Hortense,  wife  of  Louis  Bonaparte,  King  of  Holland. 
1.  "  Le  Cbamp  d'asile,"  beg.  "  Vn  cbef   |   2.  "  Champ  Prancais,"  beg.  "  L'orage  a 
de  baunis  courageux."     f.  17b.  I       frapp6  notre  Arm6e."     f .  20b. 

Additional  32189,  ff.  74-104b. 

Paper;  a.d.  1818.     Oblong  folio.     See  also  below,  under  Songs  (1829). 

"  PoLYMELOS.  Russischer  Nationallieder  "  :  being  apparently  a 
string  of  Russian  songs,  arranged  for  solo  voices  and  chorus,  with 
introductory  symphony  and  accompaniments  for  flutes,  oboes,  clarinets, 
bassoons,  horns,  trumpets,  drums,  and  strings,  in  score,  by  J.  N. 
Hummel,  1818.  Antograpli.  Begins  "  Ach,  es  klopft  mein  Herz " 
("  11,bI;  .III  ubI;  tiikii  "). 

Additional  32411,  f.  33b. 

Paper  ;  about  1818.     Oblong  octavo.     See  also  under  Chorales  (vol.  i,  p.  157). 

Beginning  of  the  first  of  two  "  Russische  Soldatenlieder " ;  for  3 
voices,  in  score.  The  words  and  accompaniment  are  omitted.  Anony- 
mous.    In  the  hand  of  Johann  Christian  Lobe. 

Additional  36962,  ff.  75-92. 

Paper ;  a.d.  1827,  1828.     Oblong  folio.    Bequeathed  in  1904  by  Edward  Wrey 
Whinfield,  Esq.     See  also  below,  under  Operas. 

"  Songs  for  Spring  Mornings,"  etc.,  with  a  pianoforte  accompani- 
ment, in  score,  harmonized  or  arranged  by  Sir  Henry  Rowley  Bishop. 
Nos.  1,  2,  4  are  for  4  voices;  nos.  3,  5  and  6,  for  3  voices.  All,  except 
the  last,  are  dated  1828. 

1.  "Though    the    summer    may   have   !   4.  " My  garden  once  display'd."     f.83. 
roses."     f.  75.  i   5.  "  The  last  golden  sheaf."     f.  85. 


2.  "Alas!  Youth's  gay  Spring  moments 
pass."     f .  78.  ■ 

3.  "  Spring  flowers."     f.81. 


G.  "  Oh  I  where   do   fairies    hide   their 
heads."     "1827."     f.88. 


Additional  32387. 

Paper  ;  fi.  16.     a.d.  1845.     Folio. 

"  La  Carita  " ;  written  originally  for  3  female  voices  with  solo,  by 
Gioachino  Antonio  Ros.sini,  1845.  In  the  present  version  3  vocal 
parts  for  male  voices  have  been  added  by  [Sir]  M.  Costa,  together  with 
symphonies  and  accompaniments  for  flutes,  oboes,  clarinets,  horns, 
trumpets,  cornets,  bassoons,  trombones,  ophicleide,  drums,  and  strings. 
In  score,  in  the  hand  of  the  arranger. 

E  2 


52  VOCAL  MUSIC— SECULAR. 


Additional  33570,  ff.  2n-216b. 

Paper ;  first  half  of  19th  cent.     Oblong  folio.     See  also  below,  under  Operas 
(1828). 

"  To  ARMS,  to  arms ;  and  banners  wave " ;  arranged  from  the 
"National  air  of  the  Greeks"  for  4-part  chorus  and  solos,  with 
symphonies  and  accompaniments  for  drums,  trumpets,  horns,  clarinets, 
flutes,  oboes,  bassoons,  and  strings,  in  score,  and  a  separate  score  for 
trombones,  apparently  by  Sii*  H.  E.  Bishop. 


Additional  32436,  ff.  91-107. 

Paper;  a. D.  1859.     Quarto.     See  also  under  Motets  (vol.  i,  p.  330). 

"  Und  bi'auset  der  Sturmwind  des  Krieges  heran  " ;  war-song  in 
4  parts  for  male  voices,  with  symphonies  and  accompaniments  for 
trumpets,  horns,  bugle  (Fliigelhorn),  ti'ombones,  euphonium,  and 
bombardon,  in  score,  by  A.  M.  Storch.  The  words  are  by  Moritz 
Arndt,  to  whom  this  setting  is  dedicated.     Autograph. 


SECTION  v.— DUETS. 


Additional  30091,  ff.  lb,  3. 

Vellum;  13th  cent.     Duodecimo.     See  also  under  Motets  (vol.  i,  p.  253). 

Two  French  songs  for  2  voices,  apparently  written  in  France, 
and  introduced  among  some  Latin  sequences,  which  are  in  the  same 
hand.     The  2nd  part  (bass)  is  sung  to  Latin  words. 


1.  "  En  Mai,  quant  rose  est"  ;  with  a 
pes,  or  burden,  at  the  end,  "Flos 
filius  ejus,"  during  which  the  same 
melody  is  repeated  twice,     f.  lb. 


2.  "  Ne  sal  ke  je  die,  tant  voi  uilonnie  "  ; 
with  a  burden  beg.  "  Johanue,"  of  a 
somewhat  similar  nature  to  that 
described  above,     f.  3. 


Additional  5665,  ff.  14b,  68b,  133b,  137b,  144b. 
Paper ;  temp.  Henry  VIII.    Quarto.     See  also  under  Motets  (vol  i,  p.  260). 
Duets,  by  English  composers,  in  parts.     Anonymous. 


1.  "In  euery  state,  in  euery  degre,  the 
mene  ys  the  beste."     f.  14b. 

2.  "  The  hye  desire  that  y  haue."   f .  68b. 

3.  "  Alone,  alone,  mornyng  alone."  At 
the  end  are  the  initials  "T.  B."  The 
music  to  the  words  "  Fortune  ys  my 
fo,"  which  occur  in  the  first  verse, 


has  no  resemblance  to  that  of  the 
well-known  tune  of  that  name  (see 
W.  Chappell's  Popular  Music,  ed. 
Wooldridge,  1893,  i,  p.  76).     f.  133b. 

4.  "So  put  ynfere."     f.  137b. 

5.  "  Votre  trey  dowce  regaurt."   f.  144b. 


DUETS.  53 

Additional  31922,  f.  30b. 

Vellum  ;  ternp.  Henry  VIII.     Small  folio.     See  also  below,  under  Madrigals. 

"  My   loue  she  morneth " ;    for   2  voices,  in   parts,  by  [William] 
Cornyshe. 

Printed  Book,  D.  212.  c,  vol.  ii,  f.  58b. 

Paper;  after  1613.     Small  quarto.     See  also  under  Motets  (vol.  i,  p.  280). 

"  Florem  juventfe  "  ;  one  part  only,  without  accompaniment.      In 
a  German  hand.     Anonymous. 

Additional  15117,  ff.  10b,  12. 

Paper;  after  1614.     Small  folio.     See  also  under  Anthems  (vol.  i,  p.  10). 

Two  dialogues ;  the  melody  with  lute  accompaniment,  in  tablature. 
Anonymous. 


1.  "Come,  gentle  heardman,  sitt  with 
me."  [In  Davison's  Poetical  Bliap- 
sody,  1602.]     f.  10b. 


2.  "  Saye,  fonde  love,  what  seekes  thowe 
heere."     f.  12. 


Additional  16889,  f.  54b. 

Paper  ;  about  1615-1618.     Oblong  duodecimo.     See  also  below,  under  Songs. 

"  II  n'est  point  des  plaisirs  veritables  "  :  described  as  "  Chanson  a 
Deux  "  ;  apparently  in  canon.     Anonymous. 

Additional  24665,  f.  63b. 

Paper ;  about  1615-1626.     See  also  below,  under  Songs. 

"Wilt  thou  daunce  and  singe,  my  loue":  dialogue,  without 
accompaniment,  in  score.     Anonymous. 

Additional  17991,  ff.  10,  11,  39b,  42b,  65b. 

Paper  ;  about  1620-1621.     Small  oblong  quarto.    See  also  below,  under  Songs. 

Vocal  compositions  in  2  ^^arts,  in  score,  apparently  intended  for 
duets,  but  the  lower  line  may  possibly  ])e  an  instrumental  bass. 
Anonymous. 


1.  "  Petit  Enfant."     f .  10. 

2.  "En  fin  la  voicy."     f.  11. 

3.  "  Jeunes  tyrans."     f.  S'Qb. 


4.  "Ruisseaux   plains   de    malheurs." 
f.  42b. 

5.  "  Cruel  honneur."     f.  65b. 


54  VOCAL  MUSIC— SECULAR. 

Additional  18990,  passim. 

Paper  ;   about  1628-1634.     Oblong  octavo.     See  also  below,  under  Songs. 

SuPERius  and  (in  nos.  1-4)  bassus  parts  of  the  following 
unaccompanied  compositions,  apparently  in  the  hand  of,  and  composed 
by,  Libertus  Opstraet  van  der  Moelen,  of  Utrecht. 

1.  "  Achl.ach!    .    .     .    fiere    mort."       4.  "  Si    le    del,    amy     clc    I'empire." 
ff.  8b,  30b.  ff.  28b,  31b. 


2.  "  De   quelle    ingrate    recompense." 
ff.  10b,  32b. 

3.  "  Amarillis  d'vn  traict  de  ses  beaux 
yeux."     ff.  10b,  32b. 


5,6.  "  Sortez,  mes  voix,"  and  "A  vn 

matin  la  belle."     f.  33b. 
7.  "  Enfin,  mou  beau  soleil."     f.  34b. 


Additional  29481,  f.  10. 

Paper ;    about  1630.      Small  oblong  folio.     See  also  under  Anthems  (vol.  i, 
p.  40),  and  Songs  (1630,  below). 

"  How  NOW,  shepard  1  What  menes  that  "  ;  with  a  bass,  in  score. 
Described  in  Percy's  BeUqties  of  Ancient  Poetry  as  "  '  The  Willow  Tree  '  : 
a  pastoral  dialogue."     Anonymous. 

Sloane  1021,  f.  60b. 

Paper ;  about  1640.     Small  quarto.     Sec  also  below,  under  Songs. 

"  Keine  Nacht,  kein  Tag  vergehet " ;  for  2  trebles,  without  ac- 
companiment, in  quasi-score.  [By  Heinrich  Albert,  from  his  Arien, 
pt.  i,  about  16-40.] 

Additional  31432,  tf.  2b-43b  passim. 
Paper  ;  first  half  of  17th  cent.     Folio.     See  also  below,  under  Songs. 
Dialogues  for  2  voices,  with  a  thorough-bass,  in  score. 


1.  "Why  in  this  shad[e]  of  night": 
described  as  "An  Elegiack  on  the 
sad  losse  of  his  .  .  friend,  Mr. 
William  Lawes,  seruant  to  his 
Maicsty  "  ;  with  3-part  chorus. 
"[John]  Jenkins."  Two  copies,  the 
first  incomplete,     ff.  2b,  3b. 

2.  "  When  death  shall  snatch  us  from 
these  kidds."     This  and  nos.  3-7  are 


by  "  Wil[liam]  Lawes."     Autograph, 
i.  12b. 

3.  "What   softer   sounds   are    these." 
f.  20b. 

4.  "  Come,  heauy  hart."     f.  26b. 

5.  "  Tis  not.  Boy,  thy  Amorous  Looke." 
f.27b. 

6.  "  Charon,  O  Gentle  Charon."    f.  34b. 

7.  "  Come,  my  Daphne."     f.  43b. 


Additional  11608,  passim. 

Paper  ;  a.d.  1656-1659.     Small  folio.     See  also  below,  under  Songs. 

Duets  and  dialogues,  the  latter  with  a  bass,  in  score. 

1.  Dialogue  (Strephon  and  Daphne),  i  2.  Another  (treble  and  bass),  beg. 
beg.  "Come,  my  Daphne."  "  Wil-  \  "What  if  I  dye."  By  the  same, 
liam  Lawes."     f.  2.  I       f.  7b. 


DUETS. 


55 


3.  "  Come,  Cloris  ;  hye  wee  to  y" 
Bower."     "  Henry  Lawes."     f .  8b. 

4.  Dialogue  (Phyllis  and  Strephon), 
beg.  "  Shepherd,  in  faith  I  cannot 
stay."     "  Nicholas  Laneir."     f .  9b. 

5.  Another  (Hobson  and  Charon),  beg. 
"  Charon,  come  hither."  Ivipcrfect 
at  the  end.     "  Jo.  Hilton."     f.  13b. 

6.  Another  (Nymph  and  shepherd), 
beg. ' '  Tell  me.  Shepherd."  ' '  Nicholas 
Laneir."  The  grace-notes  at  the  end 
are  by  —  Gibbons,     f.  18b. 

7.  Another  (Phyllis  and  Clorillo),  beg. 
"  I  prethy,  keepe  my  sheepe."  By 
the  same.     f.  3-3. 

8.  "  Arise,  arise,  fair  sun."  "  Jo. 
Hilton."     f.  34b. 

9.  "0  my  Clarissa."     "  Wm.  Lawes." 


f .  58b. 

10.  "  When  first  I  gaz'd  on  Ccelia's 
face";  the  air  by  "John  Hilton, 
1656  "  ;  the  bass  apparently  by  T.  C, 
who  appears  to  have  transcribed  the 
greater  part  of  the  volume  in  1659, 
and  is  responsible  also  for  the 
addition  made  in  nos.  11-13.     f.  70. 

11.  "  Goe,  faire  Inchantresse  "  ;  the  air 
by  "Hen.  Lawes,"  with  a  bass  added, 
f.  72. 

12.  Dialogue  (Strephon  and  Colin),  beg. 
"  Colin,  say,  why  sitst  thou  soe  ?  " 
"Nicholas  Laneir."  A  3-part  chorus 
has  been  added,     f .  73. 

13.  "Alas,  poore  Cupid";  the  air  by 
Henry  Lawes,  with  a  bass  added. 
f.75. 


Additional  10338,  ff.  30b,  31b. 

Paper;  after  1669.     Small  folio.     See  also  under  Motets  (vol.  i,  p.  288). 

Dialogues,  with    a    basso   contiiiuo,  in   score,  by  Geoi'ge  Jefireys. 
Autogrcvpli. 

1.  "Why  sigh  you,  swayne?"     f.  30b.      |    2.  "Lovely  Sheaphard."     f.  31b. 


Additional  29396,  passim. 

Paper  ;  about  1678-1682.     Folio.     See  also  below,  under  Songs. 

Compositions  for  2  voices,  in  score.  Except  where  the  contrary  is 
stated,  they  are  anonymous.  Nos.  2-7  have  a  bass  for  harpsichord  ;  the 
others  are  unaccompanied. 


1.  "Leuellers  Songe,"  beg.  "To  the 
Hall."     f.  lib. 

2.  "  CoUen,  say  why  sitts't  thou  soe  "  : 
dialogue  between  Strephon  and  "  Col- 
len,"  with  2-part  chorus.  Only  the 
bass  is  given  to  "  CoUens  answer." 
By  N.  Laniere.     f.  21. 

3.  "  I  look'd  vpon  my  true  loues  eye." 
f .  24b. 

4.  "Tell  me  no  more  of  Giues  of 
Brasse."     f.  33b. 

5.  "Hast  ye.  Nymphs."  By  H.  Lawes. 
f.  42b. 

6.  "What  if  I  dye  for  loue  of  thee." 
By  W.  Lawes.     f.  53. 

7.  "Coy    Ccelia":     dialogue.       "  [E.] 


Chilmeade."     f.  68b. 

8.  "  Stay,  shutt  y<=  gate."     f.  75b. 

9.  "  Replicauan  las  Campaniglias  in  las 
eglesias  de  Leon."     f.  77. 

10.  "  The  thirsty  earth  sucks  vp  y" 
rayne."  Originally  written  for  a  bass 
voice,  with  chorus,  by  Roger  Hill 
[Select  Ay  res  and  Dialogues,  1669]. 
It  "was  giuen  Mr.  Houghton  [?fl. 
1665],  by  Mr.  Caue  [?  John  Cave, 
gentleman  of  the  Chapel  Royal  in 
1661]  ...  I  [Edward  Lowe]  sett  an 
vpper  part  to  it  the  27"'  of  Jauu: 
1677  (?)."  Lowe  has  written  his 
initials  at  the  end  of  the  part  added 
by  him.     f .  99b. 


At  f.  78b  are  the  words  of  a  dialogue,  "  When  death  shall  snatch 
us"  [set  by  M.  Locke,  in  1676]. 


56 


VOCAL  MUSIC— SECULAR. 


Additional  30382,  ft:  3lh-50h  passim. 

Paper  ;  a.d.  1678-1686.     Folio.     See  also  under  Motets  (vol.  i,  p.  285). 
Duets,  in  score. 

1.  "Go,  perjured  man";  with  instru-   I        "Pursell."     f .  36. 

ments.     "  C  Blow."     f .  31b.  i    4.  "  Amanti,   sentite   Amor."     Anony- 

2.  "In    some     kind     dream."       "H.  nious.     f.  49b. 

P[urcell]."     f.  35.  5.  "lo  mi  sonto  morir."     "  Eovetta." 

3.  "Go,  tell  Aminta,   Gentle   Swain."  f.  50b. 


Additional  33234,  passim. 
Paper  ;  a.d.  1680-1682.     Folio.     See  also  below,  under  Songs. 
Duets,  in  score. 
1.  "Often  I  am  by  the  women  told."   1   6.  "Why   does   the   morn   in    blushes 


"  Pietro  Reggio."     f .  39. 

2.  "Goe,  perjurd  man"  ;  with  instru- 
mental symphonies.  "  D""  John 
Blow."     f.  49. 

3.  "lo  mi  sento  morir";  with  a  bass. 
"  Rovetta."     f.  52b. 

4.  "Alass,   alass,   how    barbarous    are 


rise. 


Hen.  Purcell."     f.  128. 


7.  "Whilst  our  flocks  feed."     "  James 
Hart."     f.  129. 

8.  "Old      Chiron      thus      preach't." 
"  Wise."     f.  148b. 

9.  "  Ghear  up,  my  friends  "  ;  the  first 
3  bars  only.     iVnonymous.     f.  168b. 

wee  ";  with  a  bass.    "  Hen.  Purcell."    |   10.  "  Tronchi   si    pensi[c]r  "  ;    with   a 


f.82. 
5.  "In    uain,    in    uain,    brisk    God." 
"D-- J.  Blow."     f.  127b. 


bass.         Unfinished.        Anonymous, 
f.  174. 


Harley  1501,  ff.  1-5,  9,  10b,  69. 

Paper  ;  a.d.  1681.     Folio.     See  also  below,  under  Songs. 

Six  Duets,  the  first  two  for  2  sopranos,  the  others  for  soprano 
and  bass,  with  a  figured  bass  for  harpsichord,  in  score,  by  Luigi 
Rossi. 

1.  "  Vorrei  scoprirti."     f.  1.  4.  "  Spiega  un  nolo  cosi  altero."     f .  9. 

2.  "  Tu  sarai  sempre  .  .  .  il  mio  bene."  5.  "  Tu  giuri  che  e  mio."     f.  10b. 
f.  3.  6.  "Dite,  6  Cieli."     f.69. 

3.  "Pene,  che  voletc."     f .  5.  i 


Additional  19759, 

Paper ;  about  1681.     Small  folio. 
Unaccompanied  Duets,  mostly  in 


1.  "I  find   my  Vgenia";  treble  only. 
"  Will.  Turner."     f.  4. 

2.  "He  tell  thee,  my  Silvia."     By  Dr. 
John  Blow.     f.  4. 

3.  "Whilst  others   on   downy   nests." 
"  N.  (?)  Stagings."     f.  4b. 

4.  "Shall  all  the   buds";  treble  part 
only.     By  Dr.  John  Blow,     f .  22. 


fF.  4-43  pyasshn. 
See  also  below,  under  Songs. 
score. 

.  "Could  man  his  wish  obtaiue." 
"  Peasebell "  {sc.  Paisible  ?).     f.  25. 

.  "Whilst  our  flocks  feed";  treble 
part  only.     By  James  Hart,     f .  33b. 

.  A  dialogue  between  Phyllis  and 
Strcphon,  beg.  "Ah,  what  Can  mean 
that  Eager  Joy."  Anonymous, 
f.  35b. 


DUETS. 


57 


8.  "In  vaine,   in  vaine,   brisk    God  of   i    10.  " Lovers,  who  in  sillent  Anguish." 


loue."     "  D-- John  Blow."     f.  3Sb. 
9.  "From  that  one  Glance."     Anony- 
mous,    f.  40b. 


Anonymous,     f.  41. 
11.  "Goe,  perjur'd  man"  ;  treble  only. 
"D--B10W."     f.  43. 


Additional  22100,  ff.  40b,  89b,  108,  120. 
Paper ;  about  1682.     Folio.     See  also  under  Anthems  (vol.  i,  p.  28). 
Vocal  compositions  for  2  voices,  in  score. 

1.  "Go,  perjur'd  man";  with  instru-  i  but  were  perhaps  written  on  the 
mental  symphony,  cfc,  "  D"' Blow."  !  occasion  of  the  celebration  of  their 
f .  40b.  1  funeral  at  Colchester  in  1661.    f.  89b. 

2.  Dialogue  for  2  voices,  with  a  bass,  ;  3.  Dialogue  (Orpheus  and  Charon),  beg. 
beg.    "  Alass,    alass,   who    has    been  '  "Hast,  hast,  gentle  Charon";  with 


here."  "  M.  Lock."  The  words 
refer  to  the  death  of  Sir  Charles 
Lucas  and  Sir  George  Lisle  in  1648, 


a  bass.     "Purcell."     f .  108. 
4.  "Shall  all  y^  buds";   with  a  bass. 
"D'Blow."     f.  120. 


Additional  29397,  2yo-ssim. 

Paper ;  about  1682-1690.     Narrow  obloug  duodecimo.     See  also  below,  under 
Songs. 

Duets,  in  score,  without  accompaniment. 


1.  "  Smiling  Phillis."    "Turner."    f.  3. 

2.  "He  tell  thee,  my  Celia."  By  Dr. 
Blow.     f.  3b. 

8.  "Though  our  pockets  are  out." 
"  J.  Bluu[devill]."     f.  9b. 

4.  "The  juice  of  y^  grape."  By  the 
same.     f.  10b. 

5.  "  Could  man  his  wish  obtain."  By 
Paisible.     f .  12b. 

6.  Dialogue  (Nature  and  Sorrow),  beg. 
"0    sorrow,   sorrow!    say."     "Rob. 

Reversing  the  volume. 

11.  Dialogue  (Orpheus  and  Eurydice), 
beg.  "  Eurydice,  my  fair."  "  D" 
Blow."     f.  96b. 

12.  "  Why  do's  y°  morn  in  blushes 
rise."  Attributed  here  to  "  D'  Blow," 
but  more  probably  by  Henry  Purcell. 
f.  89b. 


Smith."     f.  16b. 

7.  Dialogue  (Thyrsis  and  Doriuda),beg. 
"  When  death  shall  part  us."  "  Math. 
Locke."     f.  18b. 

8.  Dialogue  (Philomel  and  Charon), 
beg.  "Charon,  0  gentle  Charon." 
"W.  L[awes]."     f.  27. 

9.  "  Cheer  vp,  my  friends."  "  [W.] 
Turner."     f.  33b. 

10.  "Happy  is  y'  country  life."  "J. 
Hart."     f.  30b. 


13.  "Ditti  (sic),  oCieli."  By  L.Rossi  (?). 
f .  88b. 

14.  "  In   vain,    in   vain,  brisk    God    of 


wme. 


D--  Blow."     f.  83b. 


15.  "Whilst  our  flocks  feed."     "Jam. 
Hart."     f.  62. 

16.  "  Old  Chiron."     "Wise."     f.60b. 


Additional  31440,  fF.  53b-95b  ^wss/m,  156b. 

Paper;  before  1685  (?).     Folio.     See  also  under  Motets  (vol.  i,  p.  287). 

Duets,    having,    with  the   exception  of    the    last    one,   a   bass  for 
harpsichord,  in  score,  by  P.  Reggio.     Autograph  (?). 

1.  "  Ecco  Siluio."     f.  53b.  3.  "  Ferma,  ferma,  Caroute."     f.  63b. 

2.  "  Ch'  io  t'  ami."     f.  60b.  4.  "  Che  fai,  alma."     f.  65b. 


58  VOCAL  MUSIC- SECULAR. 

5.  "  O  stelle  omicide."     f.  75b.  12.  "  Non  vedro  mai  le  stelle."     f.  87b. 

6.  "  0  come  sei  gentile."     f.  76b.  13.  "  Soaue,  soaue,  libertate."     f.  89b. 

7.  "  lo  son  pur  vezzosetta."     f.  78b.  ^    14.  "  Ah,  che  non  si  conuiene."    f.  90b. 

8.  "  Tra  doglie."     f.  80b. 

9.  "  0  viua  fiamma."     f.  81b. 

10.  "  Vorrei  baciarti."     f.  83b. 

11.  "  Dice   la   mia  bellissima  Licori." 
f .  85b. 


15.  "  Ecco  vicine,  6  bella."     f.  92b. 

16.  "  Interrote  speranze."     f.  94b. 

17.  "  Percbe  fuggi  tra  salci."     f.  95b. 

18.  "  As  water  fluid  is."     f.  156b. 


Additional  31439,  ff.  4b,  7. 

Paper;  about  1691  (see  f.  15).     Oblong  octavo.     See  also  below,  under  Songs. 

Two  Duets  for  treble  and  bass,  in  score,  by  John  Courtiville,  with 
dedication  to  the  Honourable  Bennett  Sherard  [cr.  Baron  Sherard  1714, 
and  Earl  of  Harborough  1719].  Autograph.  The  lower  part  is  figured 
for  harpsichord  accompaniment. 

1.  "When  first  I  saw  Clorinda's  charm- 
ing eyes."     f.  4b. 


2.  "Fain  I  would  have  leave  to  tell." 
f.7. 


Additional  35043,  ff.  18b,  •22b. 

Paper;  about  1695.     Small  folio.     See  also  below,  under  Operas  (1694-1697). 

Pastoral  dialogues  for  2  voices. 

1.  "  When  Death  shall  drive  our  Soules       2.  "  Charon,  O  Gentle  Charon."     "  W" 
away";    with    figured    bass.      "  G.  Lawes."     f.  22b. 

Finger."     f.  18b. 

Harley  1273,  ff.  45b,  50b,  59,  73. 

Paper  ;  after  1699.     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

Duets,  with  a  figured  bass  for  harpsichord,  in  score.  Nos.  1-3  are 
sometimes  attributed  to  Agostino  Steflani. 

1.  "OfeliceF  onda."     "Carlo  Pietra-       3.  "Chidir;iche  nel  veleno."     "Ales- 
grua "  (sc.  C.  L.  Pietro  Grua).   f.  45b.  sandro  Stradella."     f .  59. 

2.  "Lontan   dal   suo   bene."      By  the  j   4.  "  Caro  ...  ad   Altri   tu   mi   cedi." 
same.     f.50b.  I       "Bononciui,  1695."     f.73. 

Harley  7549,  f.  18. 

Paper ;  17th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 

Melody  of  "  Con  bell  sigilla  (sic),"  which  appears  as  a  Duet  in 
Playford's  Select  Musicall  Ayres  and  Dialogues,  1653.     Anonymous. 

Additional  36877,  passim. 

Paper ;  17th  cent.     Octavo.     See  also  below,  under  Songs. 

Collection  of  songs,  with  an  accompaniment  for  Spanish  guitar, 
apparently  by  Giovanni  Casalotti.  It  includes  the  following  for  2 
voices : — 


1.  "  Quando  miro  il  uago  uolto."    f.  15. 

2.  "  La  mia  Clori  vezzosa."     f.  39. 


3.  "  Ay,  como  las  esperanzas."     f.  50b. 

4.  "  Ecco  la  Primauera."     f .  89b. 


DUETS. 


53 


Additional  14399,  ff.  36b,  39. 

Paper ;  second  half  of  17th  century.     Folio.     See  also  below,  under  Songs. 

Two  DIALOGUES,  with  a  bass  fur  harpsichord,  in  .score,  by  Dr.  John 
Blow. 


1.  "  Stay,  stay,  gentle  Eccho."     f .  36b. 

2.  "  Euridice,  my  Fair."    [In  The  Ban- 


quet of  Mtisic,  1688.]     f!.  39-41. 


Harley  1265,  f.  237. 

Paper ;  late  17th  cent.     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

"Son  disperato";  with  a  figured  bass  for  harpsichord,  in  score,  by 
Giovanni  Francesco  TenagHa. 

Harley  1863,  li".  1-25  and  99b-156b^rtssi»H. 

Paper  ;  late  17th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 

Duets,  with  a  figured  bass,  in  score,  by  Italian  composers  of  the 
second  half  of  the  17th  century. 


1.  "Spiega     un     volo     cosi     altiero." 
"  Luiggi  Rossi."     f .  lb. 

2.  "  Oc[c]hi  quai  vaghi  azuri."   Anony- 
mous,    f .  4b. 

3.  "  Tu  sarai  senipre  .  .  .  il  mio  bene." 
"  Luigi  Rossi."     f .  8b. 

4.  "0    Cieli,    pieta."     By   the    same, 
f . lib. 

5.  "  Soccor[r]ete  mi,  per  pieta."    "  Ja- 
camo  Carissimi."     f.  17b. 

6.  "  Vorrei       scopri[r]ti."        "  Luiggi 
Rossi."     f.  20b. 


7.  "  Se  dardo  puugeute."     Anonymous, 
f .  2.3b. 

8.  "  Gite  pur  per  1'  Aria."    "Carlo  Am- 
brosio  Lonati."     f.  99b. 

9.  "Son     disperato."       "Gio.    Franc" 
Tenaglia."     f.  106b. 

10.  "  Guarda  ben. .  .mio  cor."    Anony- 
mous,    f.  139b. 

11.  "Cieco    Dio,    che    vuoi    da    me." 
Anonymous,     f .  142b. 

12.  "Pieta,   spietati   Lumi."      "Luigi 
[Rossi  (?)]."     f.  153b. 


Additional  14336,  ff.  10b-17b. 

Paper;  late  17th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  291). 
Italian  Duets,  with  a  bass  for  harpsichord,  in  score.     Anonymous. 


1.  "  Dormite,  pensiere."     f .  10b. 

2.  "Si  tocchi  tamburo."     f.  12. 

3.  "Sempre  .  .  .  nel  seuo."     f.  14. 

4.  "Vittoria  .  .  ,  diviua."     f .  15b. 


5.  "Pieta,  spietati  lumi."  Attributed 
above,  in  Harley  1863,  to  Luigi  Rossi, 
f . 16b. 


Additional  24293,  flf.  65b-74. 

Paper ;  late  17th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  292). 
Duets,  with  a  bass  for  harpsichord,  in  score.     Anonymous. 


1.  "Chivuol  haver  feliceelietoil  core." 
f.65b. 

2.  "lo  mi  sento  morir."     By  G.  Ro- 
vetta.     f .  68. 


3.  "  Uccidetemi  pur."     f.  70. 

4.  "Non  e  di  gentil  core."     f.  71b. 

5.  "  0  come  sei  gentile."    ByP.  Reggio. 
f.  74. 


60 


VOCAL  MUSIC— SECULAR. 


Additional  33235,  ff.  46b-79  passim 
Paper;  late  17th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  38). 
Duets,  in  score. 


1.  "  Dite,  o  cieli."  By  L.  Rossi  (?). 
Printed  in  the  Baiuiuet  of  Music, 
1688.     f.  46b. 

2.  "  Chear  up,  my  freinds."  By  W. 
Turner.  (For  symphonies  and  ac- 
companiments see  below,  Add.  33287, 
f.  5b).     f.  53. 

3.  ' '  Above  the  tumults  of  a  busy  state  " ; 
with  a  bass.  "  Henery  Purcell." 
f.  54. 


4.  "Shall  all  y^  buds."  By  Dr.  J. 
Blow,     f .  55b. 

5.  "Go,  Perjurd  man";  with  ritour- 
nelles,  etc.,  for  3  strings.  "  Dr.  Blow." 
f .  67b. 

6.  "lo  mi  sento  morir."  By  G.  Ro- 
vetta.     f.  77. 

7.  "Vano  e  il  desio."  Anonymous. 
f.79. 


Additional  33287,  ff.  2,  5b,  19b. 

Paper;  late  17th  cent.,  etc.     Large  folio.     See  also  below,  under  Odes. 
Duets,  with  symphonies  and  accompaniments  for  strings,  in  score. 


1.  "Goe,  Perjur'd  man."     "Dr.  John 
Blow."     f.  2. 

2.  "  Chear  up,  my  freinds."    "  William 


Turner."     f.  5b. 
3.  "See,   where    she    sitts."     "Henry 
Purcell."     f.  19b. 


Harley  1272,  ff.  76b,  77b,  82,  104b  (reversed). 
Paper  ;  17th-18th  cent.    Narrow  oblong  octavo.    See  also  below,  under  Songs. 
Duets,  with  a  bass  (figured  in  no.  1),  for  harpsicliord,  in  score. 

1.  "Restate  immobili,  stelle  nel  ciel."  Stradella."     At  f.  76b  are  seven  bars 


In  the  hand,  and  probably  the  com- 
position, of   Bernard  Martin  Beren- 
clow.     f .  lOib. 
2.  "L'Amore   e  lo  sdegno,"  beg.  "La 

"  Alessandro 


of   introductory  symphony.     In  the 
hand  of  Humphrey  Wanley.     f.  82. 
3.  "Senza  speme  di    farmi  contento." 
"  Giovanni  Bononcini."   In  the  same 
hand.     f.  77b. 


Additional  14228,  ff  47-52b. 

Paper;  17th-18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1698). 

"  Vn  TORMENTO  6  la  .speranza  "  ;  for  soprano  and  contralto,  with  a 
figured  bass  for  harpsichord,  in  score,  by  F.  A.  P[istocchi]. 


Additional  14187. 

Paper ;  ff.  45.     Early  18th  cent.     Oblong  folio. 

Duets,  with  a  figured  bass  for  harjjsichord,  in  score,  by  Giovanni 
Buononcini. 


1.  "  Chi  d'  Amor  tra  le  catene."     f.  1. 

2.  "  II  nume  d'  Amore."     f.  6. 


3.  "  Se  bella  son  lo."     f .  10. 

4.  "  Bellezza  fedele."     f.  13b. 


DUETS.  61 

5.  "  Quanto  ^  cara  la  liberta."     f.  16b.        8.  "  Oh  che  lacci  lo  sento."     f .  31b. 

6.  "  Prigionier  d'  un  bel   sembiaute."      9.  "  Si  fugga,  si  sprezzi."     f.  36. 

f.  22.  10.  "Chi    di    gloria     ha     bel     desio." 

7.  "  Sempre  piango."     f.  28.  f.40b. 

Additional  17835,  fF.  22b,  45b. 
Paper;  early  18th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  294). 
Duets,  with  a  bass,  in  score. 


1.  "  Chi  dira  che  nel  veleno."     "  Stra- 
della."     f.  22b. 

2.  "  Amor  senzasperanza."  "[Antonio] 


Gianuettini,  M[aes]tro  di  Capella  a 
Modena."     f .  45b. 


Additional  17850,  £.  36b. 

Paper ;  early  18th  cent.     Large  folio.     See  also  under  Hymns  (vol.  i,  p.  184). 

"  Let  Love  and  Wine  in  active  joyes  agree  "  :  song  for  2  voices,  in 
score,  by  "VV[il]iam]  G[orton].     Autograph. 

Additional  29378,  fF.  183,  190. 
Paper ;  early  18th  cent.     Folio.     See  also  below,  under  Operas. 
Two  DUETS,  with  a  bass,  in  score,  by  John  Eccles. 


1.  "Dialogue  between  two  Chearmen 
waiting  at  a  Tavren  Door,"  beg. 
"Hey   hoel  .  .  .   the  clock  has  just 


strook  four."     f.  183. 
2.  "How  long  .  .  .  must  I  the  hours 
employ."     f.  190. 


Additional  31405,  f.  151b. 

Paper ;  early  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  48). 

"  The  Passing  Bell "  :  duet  for  treble  and  bass,  with  a  figured  bass 
for  harpsichord,  probably  by  John  Eccles.  It  begins  with  the  words, 
"  Hear  ...  ye  midnight  Fantomes."     Imperfect  at  the  end. 

Additional  31453,  f.  179. 

Paper ;  early  18th  cent.     Small  folio.     See  also  below,  under  Operas. 

"  Phillis,  we're  not  griev'd  "  :  song  for  2  voices,  with  a  figured  bass, 
in  score,  by  Ralph  Courtiville. 

Additional  31461,  fF.  8.3b,  89-93. 

Paper  ;  early  18th  cent.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  50). 

Duets,  with  basses  in  score,  in  the  hand  of  James  Kent,  unless  the 
contrai'y  is  stated. 

1.  "Dite,  6  Cieli."     By  L.  Rossi  (?).   ,    2.  "Hail,    happy    Britain."       Auony- 


f.83b.  mous.     f.89. 


62 


VOCAL  MUSIC— SECULAR. 


3.  "0  for  a  Muse  of  Fire."      Anonj-- 
mous.     f .  90b. 

4.  "How  sweetly  does  Maria's  charms 


(sic)  surprise  "  ;  in  the  hand  of 
Daniel  Purcell,  and  probably  his 
composition,     f.  92. 


Additional  31487,  ff.  170-197. 

Paper ;  early  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Chi  dira  che  nel  veleno  "  :  Italian  cantata  for  a  treble  and  a 
bass,  with  a  figured  bass  for  harpsichord^  in  score,  by  Alessandro 
Stradella. 

Additional  31488,  ff.  88-115. 

Paper ;  early  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Amiga  hora  che  Aprile " :  Italian  cantata  for  2  trebles,  with 
ritournelles  and  accompaniments  for  strings  (?)  and  a  figured  bass  for 
harpsichord,  in  score,  by  Alessandro  Scarlatti. 


Additional  31505,  ff.  2-73. 

Paper ;  early  18th  cent.  Oblong  folio.  On  the  covers  are  the  arms  of  a 
French  or  Italian  (?)  bishop,  the  first  and  fourth  quarters  being  France  and 
England  quarterly.  The  MS.  belonged  afterwards  to  G.  L.  Benson,  of  Salisbury 
(bookplate).     See  also  below,  under  Trios. 

Duets,    with   a   bass    (partly   figured)   for  harpsichord,    in   score. 
Anonymous. 


1.  "Si6n6."     f.2. 

2.  "  Rondinella  che  d'  intorno  "  ;  in  two 
parts,     f .  6. 

3.  "No,  no,  mi  rapite  gia."     f.  10. 

4.  "  Aspre  cure  "  ;  in  two  parts,     f .  14. 

5.  "  Lo  splendor  di  due  begl'  occhi  "  ; 
in  five  parts,     f .  20. 


I    6.  "Al  fin  le  neui  algenti  "  ;  in  three 

1        parts,     f .  40. 

I    7.  "  Son  gia  prigion  d'  amore."     f.  53. 

8.  "  Quel  chiarmarti  crudele."     f.  57. 

9.  "Gran  bellezza."     f.Gl. 

10.  "  Spesso   amor   dicemi "  ;    in    two 
parts,    f.  66. 


Additional  31993,  f.  79  (reversed). 
Paper  ;  early  18th  cent.     Oblong  quarto.     See  also  below,  under  Operas  (1712). 

"  Old  Chiron  thus  preach'd  to  his  pupil  Achilles  "  ;  for  a  treble 
and  bass,  in  score.     [By  Michael  Wise.] 

Additional  34291,  ff.  5-22b. 

Paper;    early   18th   cent.      Oblong   folio.      The   MS.    was   presented   by   the 
transcriber  to  the  Rev.  Edward  Goddard.     See  also  below,  under  Songs. 

Two   Italian  cantatas  for   2   voices,   in  score,  transcribed   by   the 
Abbate  F.  Santini. 


1.  "In   carcere   penoso."      "  Agostino 
Tinazzoli."     f.6. 


2.  "  Dalle  tenebre  orrende."    "Giorgio 
Federico  Handel."     f.  13b. 


DUETS. 


63 


Additional  22104,  ff.  85-109b. 

Paper  ;  about  1700  (?).     Oblong  quarto.     See  also  below,  under  Songs. 

"E    PUR    vuole    il    Cielo " :    Italian  cantata  £oi'  2  voices,  with    a 
figured  bass  for  harpsichord,  in  score,  by  Alessandro  Scarlatti. 

Additional  22099,  ff.  29b-73  passim. 

Paper  ;  about  1704-1707.     Folio.     See  also  below,  under  Operas. 

"  Double  songs,"  or  Duets,  most  of  them  with  a  figured  bass,  in 
score. 


1.  "Were   I   to   choose."     "  H.   P[ur- 
cell]."     f.  29b. 

2.  "  Lost  is  my  quiet."     By  the  same, 
f.  29b. 

3.  "  Pretty   swallow."      "  Christopher 
Bassauo."     f .  35b. 

4.  "Love,  thou  art  best."     "  H.  P[ur- 
cell]."     f.43b. 

5.  "Man's  life  is  but  vain";  without 
a  bass.     "Wise."     f.  47. 

6.  "  Julia,  your  unjust  disdain."  "Pur- 
cell."     f.  48b. 

7.  "Jam  satis  terris";  apparently  for 
2    voices,   without    a    figured    bass. 


"Dr.  Blow."     f.57b. 

8.  "When  Myra  sings."  "H.  Pur- 
cell."     f.  64b. 

9.  "  Old  Chiron  thus  preach'd  "  ;  with- 
out a  bass.  "Wise."  Attributed 
to  H.  Purcell  in  a  Collection  of 
Printed  Songs  (press-mark,  H.  1601, 
p.  351).     f.65b. 

10.  "Dulcibella,  whene're  I  sue." 
"H.  Purcell."     f .  66b. 

11.  "Go,  perjur'd  man";  with  pre- 
lude, etc.,  for  violins.  "Dr.  Blow." 
f.71b. 


Additional  14229,  ff  162-1 64b. 

Paper  ;  about  1709.     Oblong  folio.     See  also  below,  under  Songs  (1723-1732). 

Dialogue  between  Dorinda  and  Fileno,  beginning  "  Traditor 
disleale/'  with  a  bass  (in  the  solo  parts)  for  harpsichord  or  violoncello, 
in  score,  by  Francesco  Gasparini,  Rome,  1709. 

Additional  31455  (parts  iii,  iv),  passim. 
Paper;  after  1713.     Small  folio.     See  also  below,  under  Operas. 
Bass  and  thorough-bass  parts  of  the  following  Duets  : — 


1.  "  Old  Chiron."    "Wise."    iii,f.llb; 
iv,  f.  25. 

2.  "Goe, perjur'd  man."     "Dr.  Blow." 
iii,  f .  12  ;  iv,  f .  26b. 

3.  "The   passing    Bell,"   beg.   "Hear, 


ye  midnight  Phantoms."    "Eccles." 
iii,  f.  18. 
4.  "Dite,  o  cieli."      By  L.  Rossi  (?). 
iii,  f.27b;  iv,  f.61. 


Additional  14225,  ff.  106-1 08b. 

Paper ;  first  quarter  of  18th  cent.     Oblong  folio.     See  also  below,  under  Songs 
(1715-1724). 

"  Vn  vento  lusinghier  "  ;  with  a  violin  part  and  a  bass,  in  score. 
Apparently  the  beginning  of  an  Italian  cantata  for  2  voices. 
Anonymous. 


64 


VOCAL  MUSIC— SECULAR. 


Additional  14166,  f.  lOL 

Paper ;  a.d.  1731.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  343), 

"  QuESTO    silentio    ombroso "  ;    with    a    figured   bass,  in  score,  by 
Alessanclro  Scarlatti.     Apparently  aniograpli. 


Additional  17785,  jxtssim. 

Paper ;  after  1737.     Small  quarto.     See  also  below,  under  Operas. 

"  Airs  a  boire,"  etc.,  without  accompaniment,  in  score.     They  are, 
with  the  few  exceptions  noted  below,  anonymous. 

1.  "Nepour[r]ai-jesortir."     f.  19b.  i       f.  14.3b. 

2.  "  Charmant  Bacchus."     f.  51.  20.  "  Je  ne  reconnois  plus  mon  aimable 

3.  "  Malgr6  sa  trahison  cruelle."     f.  52,  Lisette."     f .  151b. 

4.  "Mon    cceur    n'est    plus    trouble."  i   21.  "Gr^goire  vantoit  a  Colin."    f.  IGO. 


f .  78b. 

5.  "  0  charmante  bouteille."     f.  82. 

6.  "  Esprits  de  haine."     f.  84b. 

7.  "  Un  petit  air  a  boire."     f.  87b. 

8.  "  Que  de  jeunes  beaut^s."     f.  88b. 

9.  "Bacchus,  c'est  toi  que  je  chante." 
f.94. 

10.  ' '  Quel  tonnerre  ^clatant !  "     f .  95. 

11.  "  La  barbe  ue  croist  pas  dans  I'eau." 
f . 102. 

12.  "  Si  je  fais  I'amour."     "  Sagiony." 
f .  105b. 

13.  "  Quel    plaisir   de   boire    du   vin." 
"  [Jacques  ?]  Aubert."     f.  110. 

14.  "Eh,  palsangu6,  Piarot."     f.  112b. 

15.  "  Lucas  pour  se  gausser  de  nous." 
f.  116b. 

16.  "  Tendre   amour,   qu'il   est  doux." 
"Patin."     f.  134. 

17.  "A  Bacchus  je  suisfidelle."  f.  13Sb. 

18.  "Doux  charme  de  la  vie."     f.  142. 

19.  "  Versus  (sic)  ce  champagne  divin." 


22.  "  Colas  disoit  a  Michelle."     f.  167. 

23.  "  Laquais,  viste,  du  vin."  "Morel." 
f.  168b. 

24.  "  Ch^rissons  une  chaine  si  belle." 
f . 170. 

25.  "Mars,   laisse    reposer    Bellonne." 
f .  170b. 

26.  "  Vous,    qui    pour    un    bonheur." 
f.  174. 

27.  "  Tous  les  bergers,  dans  la  saison 
nouvelle."     f.  175b. 

28.  "Ton  vin,  Champagne   adorable." 
f.  177. 

29.  "  Dans      le       calme       nouveau." 
"  [Nicholas  ?]  Bernier."     f.  186. 

30.  "  J'ai  perdu  I'ap^tit."     f.  188b. 

31.  "  J'aime  Phil[l]is  ;    elle  m'aime." 
f .  203b. 

32.  "  Un    jour     le     grand     collecteur 
Blaise."     f.  204b. 

33.  "Tout  renaist  dans  ce  beau  s6jour." 
f .  211b. 


Additional  31504,  f,  16b. 

Paper  ;  after  1740.     Folio.     See  also  below,  under  Songs. 
"  Vanne  e  sofFri "  ;  ^\^th  figured  bass,  by  Nicolo  Porpora. 

Additional  31534 ;  31535,  AT.  2-60. 

See  below,  under  Madrigals  (after  1741). 


Additional  34058. 

See  below,  under  Madrigals  (after  1743). 


DUETS.  65 

Additional  31537. 

See  below,  under  Sladrigals  (after  1747). 

Additional  5322. 

Paper ;  ff.  73.     First  half  of  18th  cent.     Oblong  folio.     Bookplate  of  [Charles] 
John  Stanley. 

Twelve  Duets,  with  a  bcass  for  harpsichord,  in  score,  by  Handel. 
Nos.  1-11  are  supposed  to  have  been  composed  at  Hanover  in  1710- 
1712.  They  are  included,  but  in  a  different  order,  in  the  first  series 
published  by  the  Hiindel-Gesellschaft.  No.  12  is  there  replaced  by 
"  Langue,  geme "  (no.  11);  it  is  also  excluded  from  the  second  series 
published  by  the  same  society.  The  autograph  of  it  is  at  Buckingham 
Palace,  where  a  transcript  of  part  of  it  (now  Add.  31573,  f.  53b)  was 
made  by  Michael  Rophino  Lacy  (below,  p.  98  ;  cf.  vol.  i,  p.  386). 

1.  "  Amor  gioie  mi  porgi."     f.  4b.  7.  "  Che  vai  pensando."     f .  40b. 

2.  "  Conservate,  raddoppiate."     f .  10.  8.  "  Caro  autor."     f.  47. 

3.  "  Sono  liete."     f.  14.  9.  "Tacete,  ohime."     f.  52. 

4.  "  Troppo      cruda,      troppo     fiera."  10.  "Quando  in  calma  ride  il  mare." 
f.  18b.  f.  59. 

5.  "  Va,  speme  infida."     f .  25b.  11.  "  Tanti  strali."     f .  05. 

6.  "  A  mirarvi  io  sono  intento."   f .  33b.  12.  "  Spero  iudarno."     f.  72b. 

Additional  14226,  If.  13,  120. 

Paper  ;  first  half  of  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

Two  CANTATAS  for  a  soprano  and  a  contralto,  with  figured  bass  for 
harpsichord,  in  score.     Anonymous. 

1.  "AUe  piume,   6   bella."      Imperfect    \  2.  "Care    pupille,     addio."       ff.  120- 
at  the  end.     ff.  13-15.  I       123b. 

Additional  29963,  fi".  51-59b. 

Paper ;  first  half  of  the  18th  cent.  Oblong  folio.  See  also  below,  under 
Operas  (1712). 

"  In  quelle  Luci  care "  :  Italian  cantata  for  a  soprano  and  a 
bass,  with  a  bass  for  violoncello  or  harpsichord,  in  score,  by  [M.  A.] 
Buononcini,  "  The  Brother  of  him  that  was  in  England." 

Additional  31491,  passim. 

Paper  ;  first  half  of  18th  cent.  Oblong  folio.  The  MS.  also  contains  sacred 
Duets  (vol.  i,  p.  174),  and  others  from  an  Oratorio  (p.  368),  and  from  Operas 
(described  below). 

Collection  of  Duets,  etc.,  with  basses,  in  many  cases  figured  for 
harpsichord,  in  score. 

1.  "  Ben  talora  in  Ciel."     Anonymous.       2.  "Mira,  Dori."    "  Carlo  Pietragrua  " 
f.  2.         .  (sc.  C.  L.  P.  Grua).     f.  10. 

II  F 


66 


VOCAL  MUSIC— SECULAR. 


3.  "  Lontan  dal  suo  Bene."  By  the 
same.  Sometimes  attributed  to 
Steffani.     f.  18. 

4.  "  Chi  solcar  brama  nel  mare."  By 
the  same.     f.  26. 

5.  "  Quanto  care  al  cor."  This  and 
the  four  following  Duets  are  by 
"  Abbate  Steffani."     f .  30. 

6.  "  Occhi,  perche  piangete."     f.  82. 

7.  "  Speranze  del  mio  core."     f.  38. 

8.  "  E  r  amor  un  arciere."     f.  39. 

9.  "  Se  pill  d'  una  amo."     f.  40. 

10.  "Col  pensiero  ui  bacio."  "Bene- 
detto Marcello."     f.  46. 

11.  "Piaugi,  6  core."  "Bernardo 
Sabadini."     f,  52. 

12.  "  Lontano  dal  mio  bene."  Anony- 
mous,    f .  58. 

13.  "  Prigioniero,  io  chiudo  in  petto." 
Anonymous,     f.  66. 

14.  "A  penare,  o  mio  core."  Begin- 
ning only.     In  the  same  hand  as  the 


preceding  number,     f .  72b. 

15.  "To  mi  parto,  6  cara."  "  Abbatte 
Steffani."     f .  73. 

16.  "  Lidio  mio."    By  the  same.    f.  77. 

17.  "  Sapessi  almen."  This  and  the 
two  following  Duets  are  described 
as  Cantatas.  "Fran"  Gasparini." 
f.82. 

18.  "E  pur  uuole  il  Cielo."  "Aless. 
Scarlati."     Sometimes  attributed  to 

F.  Durante,     f.  92. 

19.  "E  quando  mai."  Anonymous, 
f.  102. 

20.  "La  povera  mia."  "  Stradella." 
f.  110. 

21.  "Ahi,  che  in  sentirlo."  By  the 
same.     f.  115. 

22.  "  Non  ti  doler  "  :  cauzonetta.  "Clio. 
Ant"  Costa."     f.  119. 

23.  "  Chi  d'  Amor  tra  le  catene."     By 

G.  B.  Buononcini.     f.  147. 


Additional  31594,  f.  22b. 

Paper ;  first  half  of  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

DuETTiNO,  beginning  "  Gia  risplendc  nel  mio  seno  la  speranza "  ; 
with  a  bass  for  harpsichord,  in  score.  Anonymous.  It  follows  an 
aria  by  [?  G.  B.]  Buononcini,  and  may  possibly  form  the  middle 
movement  of  a  short  Italian  cantata  by  him. 


Additional  14223,  if.  87,  88,  91. 

Paper ;  middle  of  18th  cent.     Oblong  folio.     See  also  below,  under  Ojperas. 
Three  duets  for  soprano  voices,  in  score,  without  accompaniment. 


1.  "  Vn  girar  di  dolci  pupille."    "  Fran- 
cesco Lecce."     Aittograp]i(?).     f.  87. 

2.  "  Sospiri,   volate    sul    cor    del   mio 


ben."     Anonymous,     f.  88. 
3.  "  Che  pena  barbara."     Anonymous, 
f.  91. 


Additional  30840 ;  30841. 

Paper  ;  ff.  107,  99.     a.d.  1757.     Oblong  octavo.     Belonged  to Moreau  and 

afterwards  to  John  Lodge  Ellerton  (bookplate). 

"Recueil  de  Duo[s].  .  .  .  En  May,  1757."  Without  accompani- 
ment. In  two  V(jlumes,  of  which  the  first  contains  the  vipper  part  and 
the  second  the  lower.  Anonymous.  There  are  several  gaps  in  the 
lower  part,  single  leaves  being  lost  after  ff.  22,  46,  51  and  63  ;  and  two 
leaves  after  ff.  59,  99. 


1.  "  Chantonsl'amour."     i,  ii,  f.  8. 

2.  "  Le  langage  des  Soupirs.     i,  ii,  f.  9. 


3.  "Pour  mettre  le  Repos."     i,  ii,  f.  9. 

4.  "Chasse  I'Ennuy."     i,  ii,  f.lO. 


DUETS. 


67 


5.  "  Cherissons  vne  chaiue  si  belle." 
i,  ii,  f.  10b. 

6.  "Vuidons  les  pots  et  la  Bouteille." 
i,  ii,  f.  11. 

7.  "  Quel  plaisir  de  boire."    i,  ii,  f.  lib. 

8.  "Mon  Coeur,  dans  vos  liens."  i,  ii, 
f.  12b. 

9.  "J'esperois  voir  finiu  le  malheur." 
i,  ii,  f.  13. 

10.  "La  Sommeliere."     i,  ii,  f.  14. 

11.  "Mon  cceur  n'est  plus  trouble." 
i,  ii,  f.  15. 

12.  "  Etre  a  table."     i,  ii,  f.  15b. 

13.  "  L'amour  m'auimc."     i,  ii,  f.  16. 

14.  "  Aupres  d'vnc  jcunc  Merveille." 
i,  ii,  f.  16b. 

15.  "Si  je  te  plais."     i,  ii,  f.  17b. 

16.  "Je  veux  toujours  boire."  i,  ii, 
f . 18b. 

17.  "  Dep[u]is  que  la  grosse  Isabeau." 
i,  ii,  f.  19. 

18.  "  Vous  terminez."     i,  ii,  f.  19b. 

19.  "  Aimez  moy  comme  je  vous  aime." 
i,  ii,  f.  20. 

20.  "  Bac[c]hus  par  tes  Bienfaits."  i,  ii, 
f.  20b. 

21.  "Ah,  che  je  suis  charme."  i,  ii, 
f.21. 

22.  "  Si  tu  voulois."     i,  ii,  f.  21b. 

23.  "  Chantons  tour  a  tour."  i,  ii,  f.  22. 

24.  "Vive  Lucas."     i,  ii,  f.  22b. 

25.  "  Bac[c]hus  a  comble  uos  Desirs." 
i,  f.23. 

26.  "  Quel  triomplie  uouveau."  i, 
f.  23b  ;  ii,  f.  23  {imperfect  at  the  be- 
ginning). 

27.  "Ah  morgue,  Piarot."  i,  f.  25;  ii, 
f.24. 

28.  "  Nocte  dieque  Bibamus."  i,  f.  25b  ; 
ii,  f,  24b. 

29.  "Mon  cher  Tircis."  The  lower 
voice  sings,  "Viens,  mon  Iris."  i, 
f.  26;  ii,  f.25. 

30.  "  Paroissez,  jus  charmant."  i, 
f.  26b  ;  ii,  f.  25b. 

31.  "  Quand  on  prend  trop  d'amour." 
i,  f.27b;  ii,  f.  26b. 

32.  "Charmant  amour."  i,  f .  28  ;  ii, 
f.27. 

38.  "Aimons  nous."  i,  f.  28b;  ii,  f.  27b. 

34.  "  Quel  caprice."     i,  f.  29  ;  ii,  f.  28. 

35.  "Morgue,  l'amour."  i,  f .  30 ;  ii, 
f.29. 

36.  "Bac[c]hus,  je  cheris."  i,  f.  31 ; 
ii,  f.  30. 


37.  "Scavez  vous  que  cette  liqueur." 
i,  f.  32  ;  ii,  f.  31. 

38.  "M'aimes  tu,  Mon  Berger."  i, 
f .  32b  ;  ii,  f.  31b. 

39.  "  Je  ne  scais  ce  que  je  dois."  The 
lower  voice  sings,  "  Le  dieu  de  I'amou- 
reux  mystere."     i,  f.  33b ;  ii,  f.  32b. 

40.  "  Quel  triomphe,  quelle  victoire." 
i,  f.34;  ii,  f.33. 

41.  "Partez,  guerriers."  i,  f .  34b ;  ii, 
f .  38b. 

42.  "Blaise,  NouvelEpoux."  i,  f.35b; 
ii,  f.  34b. 

43.  "Coulez,  liqueur."  i,  f .  36 ;  ii, 
f.  35. 

44.  "  Le  Eossignol,  qui  par  son  doux 
Ramage."     i,  f.  37  ;  ii,  f.  36. 

45.  "La  Sombre  tristesse."  i,  f.  37b; 
ii,  f.  36b. 

46.  "  Ecoutons  ...  la  fleurette."  i, 
f.  38  ;  ii,  f.  37. 

47.  "  Buvons,  aimons."  i,  f.  39;  ii, 
f.38. 

48.  "Allerte,  allerte."  i,  f.  39b ;  ii, 
f.  38b. 

49.  "Morgue,  disait  Lucas."  i,  f.  40  ; 
ii,  f.39. 

50.  "D'un  rouge  bord."  i,  f .  41b ;  ii, 
f .  40b. 

51.  "  Regue,  amour,  sur  nos  ames." 
i,  f.  41b  ;  ii,  f.  40b. 

52.  "La  plus  aimable."  i,  f .  42b ;  ii, 
f . 41b. 

53.  "Pour  qui  Colin  me  prend  il."  i, 
f.  43  ;  ii,  f.  42. 

54.  "Ledieudu  vin."  i,  f.  44;    ii,  f.  43. 

55.  "  Au  milieu  de  leur  gloire."  i,  f.  45  ; 
ii,  f.44. 

56.  "  Pour  la  fete."     i,  f.45b;  ii,  f.  44b. 

57.  "Puissant  Bac[c]hus."  i,  f.  46  ; 
ii,  f.  45. 

58.  "  Lucas,  pour  se  gausser."  i,  f.  47  ; 
ii,  f.  46. 

59.  "  Non !  jc  ne  scais  qu'aimer."  i, 
1. 47b  ;  ii,  f.  46b  [imperfect  at  the  end). 

60.  "L'amour  est  une  amusette."  i, 
f.  48b. 

61.  "Morgue,  Colin."     i,  f.  49  ;  ii,  f.  47. 

62.  "  Dieu  du  jour."  i,  f.  49b  ;  ii,  f .  47b. 

63.  "Amy,  prends  vite  vu  verre."  i, 
f .  50b ;  ii,  f .  48b. 

64.  "Lucas  au  Cabaret."  i,  f.  51 ;  ii, 
f.49. 

65.  "  Ah, quel  abus  D'aimer  sans  boire." 
i,  f.  52  ;  ii,  f.  50. 

P  2 


68 


VOCAL  MUSIC— SECULAR. 


66.  "Vn     jour     le    grand     CoUecteur  f .  74 ;  ii,  f.  68. 

Blaise."     i,  f.  53;  ii,  f.  51.  96.  "Pour   terminer   mes   jours."      i, 

67.  "  L'amour  pour  Blesser."    i,  f.  54.  f.  74b ;  ii,  f.  68b. 

68.  "Mars,   Ennemi   Du   Repos."      i,  97.  "Pour  remporter  sur  Bac[c]hus  la 
f .  55  ;  ii,  f.  52.  Victoire."     i,  f.75  ;  ii,  f.69. 

69.  "  Les  doux  plaisirs."     i,  f.  55b;  ii,  98.  "  Versez  ce  champagne  Divin."     i, 
f.  52b.  f .  75  ;  ii,  f.  69. 

70.  "  Sejour  des  flots."  i,  f .  56  ;  ii,f.53.  99.  "Amour,  fais   Eclater."      i,  f .  76  ; 

71.  "DeladeessedeCythere."  i,f.56b;  ii,  f.70. 

ii,  f.53b.  ,   100.  "  Bac[c]hus,  c'est  toy."     i,  f.76b; 

72.  "Scais  tu  bieu,  mon  cher  Cama-  ii,  f.  70b. 

rade."     i,  f.  57;  ii,  f .  54.  ,   101.  "Quelle    coulcur    est    plus    ver- 

73.  "  Colin,  mangeant  Des  artichaux."  meille."     i,  f.  77  ;  ii,  f.  71. 

i,  f.  57b  ;  ii,  f.  54b,  \   102.  "  Mars,  laisse  reposer."     i,  f.  77b  ; 

74.  "L'amour  m'enflamme."     i,  f. 58;  ;       ii,  f.  71b. 

ii,  f.  55.  103.  "Jardins,  que   la  nature  et  I'art 

75.  "Victoire,  amis."  i,f.  58b;  ii,f.  55b.  out  Embellis."     i,  f.  78  ;  ii,  f.  72. 

76.  "  Salamalee."     i,  f.  59b;  ii,  f.  56b.  104.  "  Jeune    Iris,    mon    amour."      i, 

77.  "Pour    me    rendre   sensible."      i,  f .  78b ;  ii,  f.  72b. 

f.60;  ii,  f.  57.  i   105.  "  Bac[c]hus,  a  moy."     i,  78b;  ii, 

78.  "La  nuit,  couche  pres  de  Margot."  |       f.  72b. 


i,  f.61b;  ii,  f.58b. 

79.  "L'univers  te  doit  des  autels."     i, 
f.62;  ii,  f.  59. 

80.  "Nocte    dieque    Bibamus."      Dif- 
ferent from  no.  28.     i,  f .  63. 

81.  "  L'amour  et  Bac[c]lius."     i,  f.  63b. 


106.  "Venez,   dieu    des    plaisirs."      i, 
f.79b;  ii,  f.73b. 

107.  "L'amour  a  de   quoy  charmer." 
f ,  f.  80 ;  ii,  f.  74. 

108.  "  Amants    trop    Empresses."      i, 
f .  80b ;  ii,  f .  74b. 


82.  "J'ai   fait    gloire."      i,   f. 64b;    ii,   ,   109.  "Venus,   Reine   des    co3urs."      i, 
f.  60  (imperfect  at  the  beginning).  f.  81 ;  ii,  f.  75. 

83.  "  Tonuez,  fiers  Ennemis."     i,  f.  66  ;       110.  "  Consolons    nous    au    Cabaret." 


ii,  f.  61. 

84.  "  Amour,  Amour,   apres    tant    de 
bienfaits."     i,  f.  67  ;  ii,  f.  62. 

85.  "  VnccBurquisoupire."  The  second 
'voice  sings  "Tu  finirois."     i,  f. 67b; 

ii,  f.  62b. 

86.  "Quand   tous   deux."     i,  f.  68 ;  ii, 
f.63. 

87.  "Regne,  amour,  dans  nos  ames." 
i,  f.69. 

88.  "Mon   p'tit   Catin."     i,  f.69b;   ii, 
f.  64  (imperfect  at  the  beginning). 

89.  "  Bvitons  le  Compere  Blaise."     i, 
f.  70 ;  ii,  f.  64. 

90.  "Ah,  que  la  paresseuse."     i,  f.  71 ; 
ii,  f.  65. 

91.  "Doux   Charmes  de   la  Vie."      i, 
f.  71b ;  ii,  f.  65b. 

92.  "Enfln,  ma  Constance."     i,  f.72; 
ii,  f.66. 

93.  "  Aux   armes   ....  chers   amis." 
i,  f.72b;  ii,  f.66b. 

94.  "En  vain,  pour  oublier."     i,  f.  73; 
ii,  f.  67. 

95.  "Dans   I'horreur   de   la  nuit."     i. 


i,  f.  82  ;  ii,  f.  76. 

111.  "Que    nous    vuiderons    de    Bou- 
teilles."     i,  f.82b;  ii,  f.76b. 

112.  "Dieu  du  Vin  .  .  .  C'est  a  toy." 
i,  f.83;  ii,  f.77. 

113.  "Morgue,  Piarot."     i,  f.  83b  ;   ii, 
f . 77b. 

114.  "Eh,  Palsaugu^,  Piarot."  i,  f.  84; 
ii,  f.  78. 

115.  "  Charmaut    Bac[c]hus,   pere    de 
I'allegresse."     i,  f.  84b  ;  ii,  f.  78b. 

116.  "Ah,  que  je   suis  Malheureuse." 
i,  f.85;  ii,  f.  79. 

117.  "Adorable  dieu:de  la  treille."     i, 
f.86;  ii,  f.80. 

118.  "Tendres    Coeurs."     i,  f.  86b  ;   ii, 
f .  80b. 

119.  "  Au  chant  du  Rossignol."  i,  f.87; 
ii,  f.81. 

120.  "Jai  passe  la  saison   de   plaire." 
i,  f.88;  ii,  f.82. 

121.  "  Ton  Vin,  champagne."   i,  f.88b; 
ii,  f.  82b. 

122.  "Quel  orage  imprevu."      i,  f.  89  ; 
ii,  f.83. 


DUETS. 


69 


123.  "  Les  jeux  et  les  plaisirs."  i,  f.  89b; 
ii,  f.83b. 

124.  "  Reveillez    vous   .  .  .    Mechants 
buveurs."     i,  f.  90b ;  ii,  f.  84b. 

125.  "  Amour,  si   tu   veux."     i,  f.  91 ; 
ii,  f.85. 

12G.  "  Christine  et  Nicolas."     i,  f.  91b  ; 
ii,  f.  85b. 

127.  "Charmant  Bac[c]hus,  pour  toy." 
i,  f.92;  ii,  f.8G. 

128.  "Vue  femme  est  un  Embarras." 
i,  f.  92b ;  ii,  f.  8Gb. 

129.  "Dans  la  jour  f aire  I'amour."     i, 
f.  93  ;  ii,  f.  87. 

180.  "Volez  .  .  .  tendres  amours."     i, 
f.  93b ;  ii,  f.  87b. 

131.  "Vive  Bac[c]hus,  vive  Gregoire." 
i,  f.94;  ii,  f.  88. 

132.  "  Les  Roys  d'Egypte."     i,  f.  94b  ; 
ii,  f.  88b. 

133.  "  Dangereuses  Beaut6s."  i,  f.  94b; 
ii,  f.  88b. 

134.  "Sure   de  ta   foy."     i,  f.  95b ;    ii, 
f .  89b. 

135.  "Dieu  du  Vin,  je   suis  outrag6." 
i,  f.96;  ii,  f.  90. 

136.  "Le  Savetier  de  uotre  coin."     i, 
f.  96b ;  ii,  f.  90b. 

137.  "Poin   de  la  Paix."     i,  f .  97 ;    ii, 


f.91. 

138.  "  Si  je  meurs  a  force  de  Boire." 
i,  f .  97b ;  ii,  f .  91b. 

139.  "  Bac[c]hus   a   comble    Nos   sou- 
haits."     i,  f.  98  ;  ii,  f.  92. 

140.  "  Prenons   tous   le   pannier."      i, 
f.  98b ;  ii,  f.  92b. 

141.  "Partageons  la  Vie."     i,  f.  99  ;  ii, 
f.93. 

142.  "Hanneton,  vole."      i,  f.  99b  ;  ii, 
f.  93b. 

143.  "Lorqu'  amour  et  Bac[c]hus  viv- 
voient  (sic)."     i,  f.  100  ;  ii,  f.94. 

144.  "  Triompbez  de  I'amour."  i,  f.  101 ; 
ii,  f.  95. 

145.  "  Dans  les  plaisirs,  loin  de  I'orage." 
i,  f.lOlb;  ii,  f.95b. 

146.  "Le  Cabaret   a  de  quoy  plaire." 
i,  f.  102  ;  ii,  f.  96. 

147.  "  Iris,  puisque  tu  veux."  i,  f.l02b; 
ii,  f .  96b. 

148.  "  Qui,  le  dieu  de  Paphos."  i,  f.  103  ; 
ii,  f.  97. 

149.  "  Sensible  a  mes  tendres  soupirs." 
i,  f.  104  ;  ii,  f.  98. 

150.  "Frere   Thibault."      i,  f.  105;  ii, 
f.99. 

151.  "Est  il  endormi."     i,  f.  106. 


Additional  5054,  ff.  97b,  99-101. 

Paper ;  before  1760.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  68). 

Duets,  in  score. 

1.  "  Non  si  vedra  giam[m]ai  stancane  "       3.  "  Contentez  vous,  amy,  de  la  pens^e." 
(sc.  stancare).  "Giovan.Gero."  f.97b.  Anonymous,     f .  100. 

2.  "  Vous  perdez  temps."   Anonymous.  |   4.  "  Mon  coeur  se  recommand' a  vous." 
f.99.  I       "  Gerardus  Turnhout."     f.  100b. 


Additional  5055. 

Paper ;  ff .  174.     Before  1760,  etc.     Quarto.     Bookplate  of  James  Mathias. 

Duets,  with  a  bass,  occasionally  figured,  for  harpsichord,  in  score. 
They  are,  with  a  few  possible  exceptions  indicated  below,  by  Abbate 
Agostino  Steffani.  The  last  twelve  are  in  the  hand  of  John  Immyns  ; 
the  others  in  that  of  Henry  Needier  (d.  1760). 

1.  "  Mi  Voglio  far  intendere."     f.  3.  6.  "  Pria  chio  faccia."     f.  21b. 


2.  "  E   perche   non   m' uccidate"    {sc. 
uccidete).     f.  7. 

3.  "  E  cosi  mi  compatite."     f.  10b. 

4.  "Su,  ferisci."     f.l5. 

5.  "Ribellativi"  (sic),     f.  18b. 


7.  "Saldi  marmi."     f .  25b. 

8.  "  Rauvedite  [sic)  mio  core."     f.  33. 

9.  "  Vorrei  dire."     f.  38. 

10.  "  Tengo  per  infallibile."     f.  44. 

11.  "  Quanto  care  al  cor."     f.  50. 


70 


VOCAL  MUSIC—SECULAR. 


12.  "Questofior."     f.  55. 

13.  "Gelosia,  che  vuoi."     f.  59b. 

14.  "  Cangia  . .  .  pensier."     f.  64b. 

15.  "Ho  scherzato."     f.  68. 

16.  "  Ah,  che  r  ho  sempre  detto."    f .  73. 

17.  "Nod  vene  state."     f.  79. 

18.  "  Sia  maledetto  amor."     f.  85b. 

19.  "Gelosia,    che    vuoi."       Different 
from  no.  13.     f.  91b. 

20.  "  Che  volete,  o  crude  pene."    f.  97b. 

21.  "Inquieto  mio  cor."     f.  101b. 

22.  "  Non  so  chi  mi  piago."     f.  106. 

23.  "  Quando  mai  . . .  verra."     f.  111. 

24.  "  Nel  tempo  ch'  amai."     f.  IIG. 

25.  "  Soavissime  catene."     f.  118. 

26.  "  Senza  affanni."     f.llBb. 

27.  "  Luugi  dal  Idol  mio."     f.  121. 

28.  "  Dir  che  giovi."     f .  125b. 


29.  "  Occhi,  perche  piangete."     f.  129b. 

30.  "Rio  destin."     f.  134. 

31.  "  Placidissime  catene."  Attributed 
in  Add.  31493  (below,  p.  80)  to  P. 
Torri.     f.  136b. 

32.  "0  felice  1'  onda."  Attributed  in 
Add.  31441  (below,  p.  80)  to  C.  L.  P. 
Grua.     f .  142. 

33.  "  M'  ai  (sc.  hai)  da  piangere."  f.  148. 

.34.  "  Chi  dira  che  nel  veleno."  Attri- 
buted in  Add.  17835  (above,  p.  61)  to 
A.  Stradella.     f.  151. 

35.  "Gran  tormento."     f.  IGlb. 

36.  "  Aure,  voi  che  volate."     f.  1G4. 

37.  "lomi  rido."  Attributed  in  Add. 
31493  to  C.  L.  P.  Grua.     f .  169. 

38.  "  Vuoi  il  ciel."     f.  172. 


Additional  6056. 

Paper  ;  ff .  109.     Before  1760.     Quarto.     Bookplate  of  James  Mathias. 

DuET.s,  with  ba.sses  for  h.ai'psichord,  in  score,  in  the  hand  of  Heniy 
Needier  (d.  17G0).  Unles.sthe  contrary  is  stated,  they  are  l)y  Agostino 
Steffani. 


I.  "  Son  lontano  da  chi  adore."     f.  2. 
2,3.  "E   un  inferno."     Two  settings. 

ff .  3b,  4. 

4.  "  Troppo  cruda."     f .  5. 

5.  "Occhi,  perche  piangete."     f.8. 
0.  "Rio  destin."     f.  lib. 

7.  "  Quando  un  Eroe."     f.  12b. 

8.  "  0  care  . . .  catene."     f.  17. 

9.  "  Quando  di  stringo."     f.  18b. 

10.  "  Combat[t]on  .    .    .   quest' alma." 
f.  20b. 

II.  "  Dolce  labro."     ff.  21b,  97. 

12.  "In  amarti."     f.  24. 

13.  "Vo    dicendo    al    mio    pensiero." 
f . 25b. 

14.  "  Voi  vene  pentirote."     f.  30. 

15.  "  Liberta,  liberta."     f.  34b. 

16.  "  Turbini  tempestosi."     f.  36. 

17.  "  Porto  ne  lumi  un  Mare."     f.  40. 

18.  "  Chi   non   sa   che  cosa   e   duolo." 
f.  42b. 

19.  "  No,  non  voglio  se  devo  amore." 
f.44. 

20.  "Tien  mi  il  cor  la  gelosia."    f.  46b. 

21.  "Omiavita."     f.  48. 

22.  "  Gia  tu  parti."     f .  49. 

23.  "  No,  mai  nol  diro."     f.  50. 


24.  "  Son  erede  di  tormenti."     f.  51. 

25.  "Non  voglio."     f.  54. 

I   26.  "  Piagg[i]e  fiorito."     This  and  nos. 
27-32  are  by  "  Pietro  Torri."     f.  56b. 

27.  "  Per  te,  mio  bene."     f.  61b. 

28.  "  Dall'  arco  d'  un  bel  ciglio."    f.  64b. 

29.  "  Odi,  o  Lilla."     f.  66b. 

30.  "Dame  lungi."     f.  71b. 

31.  "  Valli  secrete."     f.  77b. 

32.  "  Vivo  in  pene."     f.  79b. 

33.  "Troppo     grave."        "Stradella." 
f.81. 

34.  "M'    incateno  cupido."      "  Pistoc- 
chi."     f.  83b. 

85.  "Chesaradi  te."    "  Feroci."    f.85. 

36.  "  D' improviso     riede."        Bj'     the 
same.     f.  86b. 

37.  "  E    destino."       "  Bernardo    Pas- 
quini."     f.  88. 

38.  "  lo  mi  parte,  o  cara."     f.  90. 

39.  "  Dolce  e   per  voi  sotrire  {sc.  soff- 
rire)."     f.  94. 

40.  "  Conduceti  (sic)  mi  verso  il  Porto." 
f.99. 

41.  "  Sol  negl' occhi."     f.  101. 

42.  "  Ho    (sc.   No)    che   lungi   de   quel 
Volto."     "Ant°Lotti."     f.  105. 


DUETS.  71 

Additional  31678,  ff.  48b,  55b,  139b. 

Paper  ;  a.d.  1760,  etc.     Small  qixarto.     See  also  below,  under  Songs. 

Two  DUETS,  in  score,  without  accompaniment.     Anonymous. 

1.  "II  faut,  quand  on  aime  une  fois."   I   2.  "  Vne  6gale  tendresse."     f.  139b. 
n.  48b,  55b.  I 

Additional  29291,  f.  50b. 

Paper;  about  1762.     Small  folio.     See  also  under  sacred  Canons  (vol.  i,  p.  123). 

"  Op  all  joys  we  are  possess'd  "  :  2-pai't  song,  without  accompani- 
ment, in  score,  by  [James]  Corfe.     Published  about  1735. 

Additional  29386,  f.  12. 

Paper  ;  about  1762.     Quarto.     See  also  below,  under  Catches. 

"  Be  still,  0  ye  Winds  "  :  dialogue,  with  figured  bass  for  harpsi- 
chord, in  .score.     [By  Dr.  Arne?J  1751. 

Additional  14135,  ff.  1~125  passim. 
Paper ;  about  1763,  etc.     Oblong  folio.     See  also  below,  under  Operas  (1768). 
Italian  duets,  in  score. 


1-12.  "  DuETTi  Da  Camera,  consagrati 
Air  Altezza  Reale  Elettorale  di 
Maria  Antonia  di  Baviera,  Princi- 
pessa  Elettorale  Di  Sassonia,  Da 
Fr.  Giambattista  Martini  de'  Minori, 
Conventuale  Accademico  nell'  Isti- 
tuto  delle  Scienze,  e  Filarmonico." 
Published  in  1763.  They  are  accom- 
panied by  a  bass  for  harpsichord,  in 
score.     The  initial  words  are  given 


in    the     Index    to    this    Catalogue. 
S.  l-62b. 

13.  "  Tu  si  gruosso  (sc.  grosso  ?)  "  ;  with 
accompaniments  for  instruments 
(strings  only?).  "  Gio.  Battista 
Pergolesi."     ff.l05-108b. 

14.  "Per  te  ho  io  nel  core";  with 
similar  accompaniments.  By  the 
same.     ff.  115-125. 


Additional  31675. 

Paper  ;  ff.  53.     About  1763.     Oblong  folio. 

"  DuETTi  XII.  A  due  Voci  e  Cembalo,  Del  P[adre]  Fra  Luigi  [or 
rather  Giovanni  Battista]  Martini."  Published  in  1763.  Cf. 
Add.  14135  above,  which  contains  another  copy  of  the  work.  The 
initial  words  are  given  in  the  Index. 

Additional  31758,  ff  14b-22,  24b. 

Paper ;  about  1763.     Oblong  folio.     See  also  below,  under  Operas. 

"  DuETTi,"  some  of  them  with  a  bass  for  harpsichord,  in  score. 
Probably  by  Mattia  Vento,  who  wrote  the  compositions  on  ff.  27,  28, 
which  are  in  the  same  hand. 


1.  "  0  bella  Nice."     f.  15. 

2.  "D'  unbelriuo."     f.  15b. 


3.  "  Pensa  a  serba[r]mi."     f.  16b. 

4.  "  Caro,  son  la,  tua  Clpri."     f.  17b, 


72 


VOCAL  MUSIC— SECULAR. 


5.  "  Se     amor    per    me     nou     senti." 
f.  18b. 

6.  "  Se  pieta  da  uoi  nou  trouo."    f.  19b. 


7.  "  A  Fillide."     f.  20b. 

8.  "  Ecco,  quel  fiero  istante."     f.  22. 

9.  "  lo  nou  couosco  amore."     f.  24b. 


Additional  29964,  f.  17. 

Paper ;    about    1775.       Obloug   folio.      See   also   below,   under   Operas   (late 
18th  cent.). 

"  NoN  DAN  pace  ai  miei  pensieri,"  known  in  England  to  the  words 
"  Sweet  is  the  bi-eath  of  morn  "  ;  for  2  treble  voices,  with  symphonies 
and  accompaniments  for  flutes  and  strings,  in  score,  by  Nicolo 
Jommelli. 

Stowel083,ff'.  117-118. 

Paper  ;  a.d.  1776  (?).     Oblong  folio. 

"  Piu  ch'  a  te  penso " ;  with  a  bass  for  harpsichord,  in  score. 
Described  as  "  Duettino  del  Signor  — ,"  to  which  the  name  "  Ottaiia  " 
has  been  added  by  another  hand,  together  with  the  note,  "written  by 
Jean  Jacques  Rousseau  de  Geneve,  Paris,  4  Sept'  1776,  and  sent  by 
Mr.  Twiss  to  Miss  Ancell."  At  the  end  in  Rousseau's  hand  is  written 
"  E.  34.     J.  J.  R." 

Additional  31753,  ft'.  2-37b. 

Paper;  a.d.  1781,  etc.     Oblong  folio.     The  MS.  also  contains  a  fragment  of  a 
Service  (vol.  i,  p.  410),  and  Songs  (1783)  described  below. 

Two  Italian  cantatas  for  2  solo  voices,  in  score,  by  Charles  Wesley. 
Autograph. 

1.  "The    western     skj^    was     purpled  2.  "Shepherd,     wouldst     thou     here 

o'er  "  ;  with  flute  (solo),  horns,  oboes,  obtain   Pleasure  "  ;    with   pianoforte 

strings,  and  figured  bass  for  pianoforte  accompaniment,     f.  28. 

or  harpsichord.     Dated  1781.     f.  2.  | 


Additionalll585,  f.  13b. 

Paper;  before  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  314). 

"  E(iLi  e  pur  troppo  vero "  :  duet  with  bass,  apparently  by 
Tarquinio  Merula. 

Additionalll587,  f.  17b. 

Paper  ;  before  1782.     Oblong  quarto.     See  also  under  Anthems  (vol.  i,  p.  72). 

"  O  TU  qui  dans  .  .  .  oracvila  "  :  two-part  song  by  Sir  John  Harington, 
commonly  known  as  the  "  Black  Sauutus."  For  an  account  of  it,  see 
Oliphant's  Catalogue  of  Manuscript  Music,  1842,  p.  89. 


DUETS.  73 

Additional  31222,  f.  48. 

Paper  ;  about  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  312). 

"Sweet  constellations";  for  2  voices,  with  a  bass  foi*  harpsichord, 
in  score,  by  Samuel  Wesley.     Autograph. 

Additional  11588,  f.  71b. 

Paper ;  about  1783.     Quarto.     See  also  below,  under  Madrigals. 

"  L'  Amore  e  lo  sdeguo,"  beginning  "  La  ragion  ni'  as.sicura  " ;  with 
a  bass,  preceded  by  a  few  bars  of  .symphony  for  four  instruments,  in 
score,  by  Alessandro  Stradella. 

Additional  35025,  ff.  26b,  28b. 

Paper ;  a.d.  1783,  etc.     Oblong  folio.     See  also  under  Pianoforte  Solos  (1783), 
in  vol.  iii. 


Two  DUETS,  with  a  bass,  in  score. 

1.  "  Anima      mia,      dolce      Nerina." 
Anonymous,     f .  2Gb. 

2.  "  Sperate  miseri  .  .  .  cavete  felices." 


"S.Wesley  .  .  .  1783."    Autograph. 
f.  28b. 


Additional  31492. 

Paper  ;  fi.  115.     a.d.  1786.     Oblong  folio.     Bookplate  of  Dr.  Thomas  Bever. 

Italian  Duets,  with  a  bass,  occasionally  figured,  for  harpsichord,  in 
score,  from  a  collection  in  the  possession  of  Peter  Stapel,  President  of 
the  Academy  of  Ancient  Music.  Copied  in  1786  by  Edmund  Olive, 
organist  of  Bangor  Cathedral. 

1.  "  D' improviso  ricde  il  riso."    "Fe-  same.     f.  58. 

roci."     f.  3.  11.  "  Cessate  di  piagarmi."     Both  the 

2.  "Che   sara  di   te."     By  the   same,   i       music   and   words   of   this   and    the 


five  following  numbers  are  by  "  Ben° 
Marcello."     f.  02. 

12.  "  Se  morto  mi  brami."     f.  66b. 

13.  "  Che  volete  di  piu  care."     f.  71. 

14.  "In  quel  sol che trabocca."     f.  77b. 


f.5b. 

3.  "  M' incateno  Cupido."  "Pistocchi." 
f.8. 

4.  "  E  dcstino."  "  Bernardo  Pasquini." 
f.  lib. 

5.  "Ho   [sc.   No]   che   lungi."     "Ant°  15.  "  AM  quanto  e  fiero."     f.  85. 
Lotti."     f.  15b.  16.  "  Come  Augel."     f.  93. 

6.  "Troppo  grave."  "Stradella."  f.  22b.  17.  "Vaghe    Luci."      By   Steffani  (?). 

7.  "Da   me   lungi."      "Petro   Torri."  f.  100b. 

f.  28.  18.  "Valli   secrete."      "Petro    Torri." 

8.  "Lontan  dal  suo  bene."     By  C.  L.  f.  104. 

P.  Grua  or  Steffani.     f .  43.  19.  "Caugia     pensier."      By    Steffani. 

9.  "  Perche  dunque,  6  mio  tesoro."    By  f.  109b. 

Steffani  (?).     f.  51b.  20.  "  Senza  affauni."    By  the  same  (?). 

10.  "Fortunate   che   prova."     By  the  f.  112b. 


74  VOCAL  MUSIC— SECULAR. 

Additional  34126,  ff.  34b,  55b,  75. 
Paper ;  about  1789.     Oblong  octavo.     See  also  below,  under  Songs. 
Three  duets,  or  2-part  .songs,  in  score. 

1,  "How   sweet   in    the   Woodlands."    |        Anonymoiis.     f .  55b. 

"  Harington,  of  Bath."     f.  34b.  \    3.  "  Rodney    for    ever,"    beg.    "Again, 

2.  "  Music,  how  powerful  is  thy  charm."    1       Britannia,  smile."  Anonymous,  f.  75. 

Additional  31814,  ff.  43b-54b. 

Paper;  after  1789  (?).     Oblong  folio.     See  also  under  Catches  (above,  p.  34). 

Duets,  translated  from  the  Italian,  with  a  figured  bass  for  harpsi- 
chord, in  score,  by  [William]  Savage.     In  the  hand  of  R.  J.  S.  Stevens. 

1.  "  The  night  approaches."     f.  43b.  sigh."     f.  49b. 

2.  "  Soon  as  I  close  my  eyes,     f .  45b.  5.  "  Think,  my  Phillis."     f.  53. 

3.  "Why  pant'st  thou."     f .  47.  6.  "  Once  again,  my  Cloris."     f.54b. 

4.  "For   you,    fair  nymph,    let  others 

Additional  35003,  f.  35. 

Paper;  a.d.  1792.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  349). 

"Chanson  d'Henri  quatre,"  beginning  "  La  belle  Gabrielle"  ;  with 
figured  bas.s,  by  Samuel  We.sley,  1792.     Autograph. 

Additional  31639,  ff.  45-49b. 

Paper ;  about  179G.     Oblong  octavo.     See  also  below,  under  Operas. 

"  Sei  Duetti  di  Bonifazio  Asioli,  composti  per  uso  della  Damigella 
Cornewall  "  ;  with  accompaniment  for  harp  or  harpsichord,  in  score. 
Autograph  (?).     Nos.  3-5  were  published  in  1796. 

1.  "  Se  tu  mi  sprezzi,  Nice."     f.  45.  4.  "  Perche,  vezzosi  rai."     f .  47. 

2.  "In  amor,  chi  mai  fin' ora."     f.  45b.    >    5.  "  Sempre  sar6  costante."     f .  48. 

3.  "  S'  io  t'  amo,  oh  Dio."     f.  46b.  i   6.  "  Sei  Tradito."     f.  48b. 

Additional  32173,  f.  3. 

Paper ;  a.d.  179G.  Oblong  folio.  See  also  under  sacred  Cantatas  (vol.  i, 
p.  130). 

Duet  (Nisa  and  Tir.si),  beginning  "  Guarda  qui  che  lo  vedrai  "  ;  with 
pianoforte  accompaniment,  in  score,  by  "Giuseppe"  Haydn,  1796. 
Autograph. 

Additional  31669,  passim. 

Paper ;  a.d.  1797.     Quarto.     See  also  below,  under  Operas. 

Duets,  with  a  figured  bass  for  harpsichord,  in  score,  in  the  hand  of 
R.  J.  S.  Stevens.     With  the  exception  of  no.   6,  they  are  by  William 


DUETS.  75 

Jackson,  of  Exetei',  no.  1  being  taken  from  the  1st  set  of  Twelve 
Canzonets,  published  about  1770,  and  nos.  2-5  and  7  from  the  2nd  set, 
about  1775. 


1.  "  Do  not  unbind  two  gentle  Hearts." 
f.4. 

2.  "Ye  nymphs  and  shepherds  of  the 
Dale."     f.  5b. 

3.  "  Let     Fortune's     angry     Tempest 
blow."     f.7b. 

4.  "  Love  in  thy  Eyes."     f.  9b. 


5.  "If  I  Love."     f.  lib. 

6.  "  Shall    the    Hero    Laurels    gain." 
"Dr.  Arne."     f.  21b. 

7.  "  O  Delia,  shall  some  happier  swain." 
f .  39. 

8.  "Lone  Minstrel."     f.  40b. 


Additional  31412,  ft:  2,  73b. 

Paper;  about  1798.    Oblong  quarto.    See  also  under  Oratorios  (vol.  i,  p.  373). 
Two  DUETS,  the  first  with  a  figured  bass,  in  score. 


1.  "  Questo  silentio  ombroso."    "Aless- 
andro  Scarlatti."     f .  2. 

2.  ' '  Chi  dira  che  nel  veleno  "  :  canzonet. 


"  Alessandro  Stradella."  In  the  hand 
of  Dr.  Crotch,     f.  73b. 


Additional  31813,  ff.  3b,  155. 

Paper  ;  about  1798,  etc.     Oblong  folio.     Sea  also  below,  under  Operas. 

Two  COMPOSITIONS  for  2  voices,  in  score. 

1.  "Turn,   Amarillis,   to   thy   swain."  2.  "  The  feelings  of  a  Lovesick  heart "  ; 

"Thomas  Brewer."     See  Playford's  with  a  bass  for  pianoforte.     "  [Wil- 

Select  Musicall  Ayres,  1659.     In  the  loughby  Bertie,  4th]   Earl  of  Abing- 

hand  of  R.  J.  S.  Stevens,     f.  3b.  don."     f.  155. 


Additional  31704,  ff.  l-23b. 

Paper ;    a.d.    1799.      Oblong    folio.      See    also    below,    under    Operas    (late 
18th  cent.). 

"  Arianna  Piangente,"  beginning  "  In  solitario  scoglio,"  for  2  treble 
A'oices,  with  accompaniment  for  clarinets,  oboes,  horns,  and  bassoons, 
in  score.  By  Guglielmi.  This  appears  to  be  the  composition  described 
on  the  coloured  title-page  as  "  Marcia  di  Lutto  del  Reggimento  Real'. 
Palermo.  Per  uso  di  Miledi  Amilton  "  (sc.  Emma,  wife  of  Sir  William 
Hamilton),  who  added  the  date  "  Palermo,  March  29th,  1799,"  with 
the  initials  "  E.  H." 

Additional  33237,  f.  200. 

Paper;  about  1799  (see  f.  122).     Oblong  folio.     See  also  below,  under  Operas 
(1791). 

"  Song,"  for  two  voices  with  violins,  in  score,  by  Henry  Purcell. 
Transcribed  by  J.  W.  Dodd.  The  w^ords,  beg.  "  See,  where  she  sits," 
are  from  Abraham  Cowley's  "  Mistress  (Weeping)." 


76  VOCAL  MUSIC— SECULAR. 

Printed  Book,  A.  909,  p.  122. 

Paper;  18th  cent.     Obloug  octavo.     See  also  under  sacred  Songs  (vol.  i,  p.  440). 

Duet  "  On    the  Death  of    Miss  R ,"  beyiuning  "  And  is  the 

lovely  shadow  fled " ;    with  a  bass  foi'    harpsichord    or    pianoforte,  in 
score.     Anonymous. 

Egerton  2486. 

See  below,  under  Madrigals  (18tli  cent.). 

Egerton  2487,  ft:  l-21b. 

Paper ;  18th  cent.     Obloug  quarto.     The  MS.  also  contains  a  Song,  described 
below  (1724). 

"  II  timoteo  Ouvero  Gli  Eff'etti  della  Musica  :  Cantata  a  Due  Voci 
di  .  .  .  Benedetto  Marcello "  ;  with  a  bass  for  harpsichord,  in  .score. 
It  is  an  Italian  version  of  Dry  den's  "  Alexander's  Feast,"  and  begins 
"  Celebrauasi  il  sfiorno." 


£3' 


Additional  5329-5332. 

Paper ;  fE.  88,  IIG,  108,  89.     18th  cent.     Oblong  folio. 

Duets,     with    a    bass    for    harpsichord,    in    score,     by     Steftani. 
Apparently  transcribed  for  [Chai'les]  John  Stanley  (bookplate). 

5329.  Vol.  I.     Duets  for  soprano  and  bass,  except  nos.  1  and  4, 
which  are  for  contralto  and  bass. 

1.  "  Sia  maledetto  Amor."     f.4.  |    13.  "  E' spcnto  1' ardore."     f.  55b. 

2.  "  Gelosia,  che  vuoi."     f.  12.  I    14.  "  Nel  tempo  ch' amai."     f.  57. 

3.  "  Tengo  per  iufallibile."     f.  20.  15.  "  Fulminate,  saettate."     f.  58. 

4.  "  Aure,  vol  che  volate."     f.  27b.  16.  "Pin  non  amo."     f .  61b. 

5.  "Nonvoglio."     f .  38b.  17.  "  Quel  belfoco."     f .  62b. 

6.  "  Siete    11    piu     bizzarro     umore."       18.  "  Luci  belle,  done  siete."     f.  65. 
f.  37b.  19.  "  La  ragion  mi  porge."     f.  68b. 

7.  "  Dir  che  giovi."     f.  39b.  20.  "  Cupido  vuol  pace."     f .  72 

8.  "  In  amor  chi  vuol  godere."     f.  42b.        21.  "  Quest' e  1' ultima."     f.  74. 

9.  "  Non  telo  dissi."     f.  45b.  22.  "  Mia  speranza  illanguidita."    f.  76. 

10.  "Luci    belle,    non    tauta  fretta."       28.  "  Oh  che  voi  direste."     f.  78. 
f.47b.  24.  "Lilla  mia."     f.  80b. 

11.  "  La  fortuna  su  la  ruota."  f.  49b.         25.  "M' ingannasti."     f.  82. 

12.  "  Labri  belli."     f .  52b.  26.  "Torna  a  dar  vita  al  core."     f.  84. 

5330.  Vol.  II.    Duets  for  soprano  and  contralto.    At  the  beginning 
(ff.  3-7b)  are  printed  "  Memoirs  of  the  Life  of  Sig.  Agostino  Steftani." 

1.  "  Inquieto  mio  cor."     f .  9b.  ;   7.  "  In  amarti,  o  bella  Clori."     f.  31. 

2.  "  Non  so  chi  mi  piago."     f.  14b.  i    8.  "  Liberta,  libertti."     f.  33b. 

3.  "  Seuza  affanni."     f.  20b.  ,   9.  "  Turbini  tempestosi."     f.  36b. 

4.  "  Son  lontauo  da  chi  adoro."    f.  22b.       10.  "Chi   non   sa   che   cosa   e   duolo." 

5.  "  Quaudo  ti  striiigo."     f.  24b.  j        f.  42. 

6.  "  Dolce  labro."     f.  27.  |    11.  "  Gia  tu  parti."     f .  44b. 


DUETS. 


77 


12.  "No,  mai  nol  diro."     f.  46. 

13.  "  Son  erede  di  tormenti."     f.  47. 

14.  "  Lungi  dal  idol  mio."     f.  52. 

15.  "  Che  volete,  o  crude  pene."    f.  5Sb. 

16.  "  Occhi,  perche  piangete."     f.  64. 

17.  "Riodestin."     f.  70. 

18.  "  Placidissimc  catene."  Attributed 
ill  Add.  31493  (below,  p.  80)  to  P. 
Torri.     f.  74. 

19.  "0  felice  1' ouda."  Attributed  in 
Add.  31441  (below,  p.  80)  to  C.  L.  P. 
Grua.     f .  80b. 


20.  "  M'  ai  da  piangere."     f.  88. 

21.  "  Gran  tormeuto."     f.92b. 

22.  "  Cor  vagante."     f.94. 

23.  "  lo  mi  rido."     Attributed  in  Add. 
31493  (below)  to  C.  L.  P.  Grua.  f.  95b. 

24.  "  Liberta  non  posso  soffrir."     f .  99. 
"  S'  io  vivo  per  mirarti."     f.  101b. 

Crude  amor."     f.  103. 

Sol  uegl'  oechi."     f.  108. 
"  Porto  r  alma."     f.lll. 
"  Pensa  0  core."     f.  113b. 


25. 
26. 
27. 
28. 
29. 


5331.     Vol.  III.     Duets  for  soprano  and  tenor,  except  nos.  74,  75, 
Avhich  are  for  contralto  and  tenor. 


1.  "  V6    dicendo    al     mio     pcusicro." 
f.4b. 

2.  "  E  perclie  non  m'  uccidete."    f.  lib. 

3.  "  E  cosi  mi  compatitc."     f.  17b. 

4.  "  Questo  fior."     f.  23b. 

5.  "  Vorrei  dire  un  non  so  che."     f.  29. 

6.  "Gelosia,  che  vuoi."    Different  from 
Add.  5329,  no.  2  (above),     f.  35. 

7.  "  Ah,  che  r  6  scmpre  detto."     f.  41. 

8.  "  Nou  vene  state  a  ridere."     f.  48. 

9.  "  Quando  mai  verra."     f.  57. 

10.  "Dolce  e  per  voi  soffrire."     f.  62b. 


11.  "  Forma  un  mare."     f.67. 

12.  "  Sc     potcssi     almeno     stringere." 
f.  74. 

13.  "II  mio  seno."     f .  80b. 

14.  "  Id  voglio  provar."     f .  83b. 

15.  "Navicella,  che  ten  vai."     f.  86. 

16.  "lomiparto."     f .  88. 

17.  "PeraClori."     f .  91b. 

18.  "  Cruda  Lilla."     f.  95. 

19.  "  Mi  voglio  far  intendere."     f.  97. 

20.  "Voi vene  pentirete."     f.  100b. 


5332.     Vol.  IV.     Duets  for  two  sopranos. 


f.4b. 
di  quel  pensiero." 

verso     il      porto." 

f.  13b. 


1.  "Vuolilcicl." 

2.  "Che   sara  .  . 
f.7b. 

3.  "Conducetcmi 
f.  10b. 

4.  "Parlo  e  rido." 

5.  "  Troppo  cruda."     f.  15b. 

6.  "  Quando  un  Eroe."     f.  21b 

7.  "  O  care  catene."     f.  27b. 

8.  "  Porto  ne  lumi."     f.  30. 

9.  "No,  non  voglio."     f.  33b. 

10.  "  Tien  mi  il  cor."     f.  36b. 


f.  38b. 
f.  40b. 
f .  45b. 


11.  "Omiavita." 

12.  "  Su,  ferisci." 

13.  "  Ribellatevi." 

14.  "  Pria  che  faccia."     f.  49b. 

15.  "  Saldi  marmi."     f.  55. 

16.  "  Ravvediti  mio  core."     f.  65. 

17.  "  Se  a  morire  mi  condanna." 

18.  "  Quanto  care  al  cor."     f.  72. 

19.  "  Cangia  pansier."     f .  78b. 

20.  "Ho  scherzato."     f .  83. 

21.  "  Soavissime  catene."     f .  88b. 


f.69. 


Additional  5335. 

Paper ;    ff.  114.     18th  cent.     Oblong  quarto.      Bookplate   of   [Charles]   John 
Stanley. 

Duets  for  soprano  and  another  voice,  with  a  bass  for  harpsichord, 
in  score,  in  the  same  hand  as  Add.  5329-5332  (above).  Nos.  1-8 
are  by  [Pietro]  Torri;  nos.  14-19  by  [?G.]  Feroci. 


1.  "  Piaggie  fiorite."     f.  4. 

2.  "  Per  te,  mio  bene."     f .  11. 

3.  "Dair  arco."     f.  16. 


4.  "Odi,  o  Lilla."     f .  18b. 

5.  "Dame  lungi."     f.26b. 

6.  "Valli  secrete."     f.  35. 


78 


VOCAL  MUSIC— SECULAR. 


7.  "Vivo  ill  pene."     f.  38. 

8.  "  Sol  di  pianto  "  (Eraclito  e  Demo- 
crito).     f.  -lOb. 

9.  "Chi  dira  che  nel  veleno."     "  Stra- 


12.  "  Prendi,     amor."        "  Veracini." 
f . 76b. 

13.  "  M' incanteno  Cupido."     "  Pistoc- 
chi."     f.  90. 

della."       Sometimes    attributed    to       14.  "  D' improvise  riede  il  riso."   f.  92b. 
Steffani.     f.  51b.  i    15.  "  Amor,  che  far  degg' io."     f .  91. 

10.  "Troppo    grave."      By    the   same,    j    16.  "  Che  sara  di  te."     f.  98. 
f.  63.  i   17.  "Am-e  care."     f.  100b. 


11.  "Pria  ch'  adori."     "  [?  G.  E.]  Bar- 
nabei."     f.  67b. 


18.  "Nel  seno  d'  Amore."     f.  108. 

19.  "Dalmio  sen."     f .  110. 


Additional  14112,  £.  12L 

Paper  ;  18th  cent.     Oblong  quarto.     See  also  under  sacred  Songs  (vol.  i,  p.  442). 

"  On  nio  e  nautro  parla " :  Italian  cantata,  apparently  in  the 
Neapolitan  dialect,  for  2  voices  with  accompaniments  for  strings,  in 
score,  by  Leonardo  Leo. 

Additional  14181. 

Paper  ;  ft.  105.     18th  cent.     Oblong  folio. 
Duets,  with  a  bass  for  harpsichord,  in  score,  by  Steffani. 


1.  "Lunggi   dair  idol  mio " ;    in   two 
parts,     ff .  2,  71b. 

2.  "Troppo  e  cruda";   in  two  parts. 
f.  7. 

3.  "Nou   so   chi   mi    piago";    in   two 
parts,     f.  12b. 

4.  "Occhi,  picta."     f.  16. 

5.  "Begl' occhi,  oh  Dio";  in  two  parts, 
f.  18. 

6.  "Pria  ch' io  faccia."     f.23. 


parts,     f.  42. 

11.  "Rio  dcstin"  ;  in  two  parts,  ff.  51b, 
87b. 

12.  "  Ah  !  che  1'  ho  sempre  detto." 
f . 56b. 

13.  "  Sia  maledetto  amor."     f.  63. 

14.  "  Che  volete,  6  crude  pene."      f.  75. 

15.  "  Placidissime  cattene."  Attri- 
buted in  Add.  31493  (below,  p.  80) 
to  P.  Torri.    f.  81. 


7.  "  Quanto    care    al    Cor";    in    two  16.  "  Dolce  e  per  voi  soffrire."     f .  92. 
parts,     f.  28.  17.  "  Saldi    marmi  "  ;    in    two    "parts. 

8.  "  Questo  fior  "  ;  in  two  parts,    f.  33b.  ff.  96,  102. 

9.  "  Occhi,  perche  piangete."     f.  36b.  18.  "  Troppo  cruda."     f .  98. 

10.  "  M'  hai  da   piangere "  ;   in   three  I 


Additional  14206,  ff.  1-79. 

Paper;  IStli  cent.     Oblong  folio.     See  also  under  Passion  Music  (vol.  i,  p.  .388). 

Italian  cantatas  for  2  voices,  chiefly  soprano  and  contralto,  with 
a  bass  for  harpsichord,  in  score.  Anonymous.  Supposed  to  be  by 
Clari  (see  f.  1). 


1.  "  Io  saru  sempre  costante."     f.  1. 

2.  "Ninfe,  piangete."     f.  10b. 

3.  "Amor,  che  uuoi  di  pin."     f.  19b. 

4.  "  Cor  mio,  so  che  non  uuoi  tornare." 
f.26. 

5.  "  Son  pur  care  le  catene."     f.  36. 


6.  "Clori,  tu  parti."     f.  44b. 

7.  "Quando  un  Eroe,"  f .  50.  This 
has  a  considerable  resemblance  to 
the  duet  to  the  same  words  by 
Agostino  Steffani  in  Add.  5332,  f .  21 
(above,  p.  77).     f.  50. 


DUETS.  79 

8.  "  Dimmi,  crudele."     f.  57.  10.  "Non    era    lungi    dall'   occaso    il 

9.  "Quando   luugi  e  il   mio   Fileno."    i        sole."     f.  71b. 
.     f.64b.  I 

Additional  14208,  ff.  82,  96,  161. 
Paper  ;  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 
Duets,  with  a  bass  (figured  in  no.  1),  in  score. 


1.  "In     carcere     penoso  "  :     cantata. 
"  Agostino  Tinnazzoli."     f.  82. 

2.  "  Anio  pill  la  lontananza."    "Abbate 


[M.  A.]  Ziani."     f .  96. 
3.  "Narrate,  6  miei  sospiri":  duettino. 
"Francesco  Cipolla."     f.  161. 


Additional  14209,  11".  5,  U6-190. 

Paper  ;  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Five  Duets,  with  a  Ijass  (figured  in  nos.  2  and  3)  for  harpsichord, 
in  score,  by  anonymous  composers. 


1.  The  part  of  "  Tirsi  "  from  an  Italian 
cantata,  "La  Danza,"  beg.  "Ah 
Nice,  ah  gia  rosseggia."     ff.  5-15. 

2.  "  Adorate  mio  bellezze."     f .  146. 

3.  "  Semplicetta  belta."     f.  152. 


i.  "  Stringete  pur."     f.  159. 

5.  "  Diche  ui  tuibate,  miecarepupille." 

In  the  same  hand  as  the  preceding. 

ff. 172-190. 


Additional  15516. 

See  below,  under  Madrigals  (18th  cent.). 

Additional  29383-29385  (i,  f.  40 ;  ii,  40b ;  iii,  f.  37). 

Paper;  18th  cent.     Narrow  oblong  duodecimo.     See  also  under  Motets  (vol.  i, 
p.  323). 

"  E  PERCHE  non  m'  uccidate  "  (sic) ;  for  alto  and  tenor,  with  a  basso 
continuo,  in  parts,  by  Abbate  Sleffkni. 

Additional  29961,  ffi  2-32. 

Paper  ;  18th  cent.     Oblong  folio.     On  the  cover  is  the  name  of  J.  P.  Lampe 
(d.  1756).     The  MS.  also  contains  Quartets  and  Trios,  described  below. 

Twelve  Duets,  witli  a  bass  (figured  in  the  first  six),  for  harpsichord, 
in  score,  by  Benedetto  Marcello. 

1.  "Porto  negl' occhi."     f .  2b.  7.  "  Vn  guardo  solo."     f .  20. 

2.  "Che  uolete  di  piu.  Care  pupille."    j   8.  "  Ahi,    che    in    sentirlo    io    more." 
f.5.  I        f.22. 

3.  "  In  quel  sol  che  trabocca."     f.  7b.       [    9.  "  Pur  ch'  io  ritorni  a  te."     f.  24. 

4.  "  Se  morto  mi  brami."     f.  10b.  10.  "  Fu  miracolo  d' Amore."     f.  26b. 


5.  "  Raddoppiate,     6     Cari     sguardi." 
f.l2b. 

6.  "  E  pur  dolce,  e  pur  soaue."     f .  15. 


11.  "  Farfal[l]etta  semplicetta."     f.  28. 

12.  "  Qui  ueggo  i  fior'."     f.  30b. 


80 


VOCAL  MUSIC— SECULAR. 


Additional  31407,  £.  3b. 

Paper  ;  18th  cent.     Oblong  duodecimo.     See  also  under  Motets  (vol.  i,  p.  325). 

"  Oh  !  could  I  flow  like  thee "  ;  without  accompaniment,  by  John 
Immyns.  Autograph.  The  words  taken  from  Sir  John  Denham's 
"  Cooper's  Hill." 

Additional  31441,  ff.  27-78b. 

Paper  ;  ISth  cent.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  326). 

Duets,  with  a  bass  (occasionally  ligured),  in  score,  by  Steffani,  with 
the  possible  exception  of  nos.  10,  11,  here  attributed  to  Carlo  Luigi 
Pietragrua  [sc.  Pietro  Grua). 


1.  "Forma  un  mare."     f .  27. 

2.  "Rauvedite  (sic),  mio  Core."     f .  83. 

3.  "Vorrei   dire.  .  .  un   non   so  che.'' 
Imperfect.     1. 38. 

4.  "Saldi  marmi."     f .  41b. 

5.  "  Mi  voglio  far  intendere."     f.  48b. 


6.  "  E  perchc  non  m'  uccidate."     f.  53. 

7.  "  E  cosi  mi  compatite."     f.  57b. 

8.  "Suferisci."     f .  60. 

9.  "Pria  ch'  io  faccia."     f.  65. 

10.  "  Lontan  dal  suo  bene."     f.  69. 

11.  "0  Felice  L' Ouda."     f.  74b. 


Additional  31490, 

aper ;  18th  cent.     Oblong  quarto. 
Duets,  with  basses,  occasionally 

1.  "Se  cosi  dolce  e  il  duolo."  This  1 
and  the  jBve  following  numbers  are  i 
by  "  Diogenio  Bigaglia."     f.  85. 

2.  "  Asciugate  i  begl'  occhi."     f.  89. 

3.  "Se  taccio,  il  duol'  s'  auuanza."  1 
f.  93. 

4.  "Se  la  mia  morte  brami."     f.  97.         j 

5.  "Come  esser  puo  ch'  io  uiua."  i 
f.lOl. 

6.  "  Tu  m'  uccidi,  6  crudele."     f.  105. 


ff.  8  5-1 2  5b  ^asstm. 
See  also  below,  under  Madrigals, 
figured,  for  harpsichord,  in  score. 

7.  "  Gelosia,  chc  vuoi."  By  A.  Steffani. 
f .  107. 

8.  "No,  che  luugi  da  quel  volto." 
"AnfLotti."     f.  111. 

9.  "  Ferma,  6  caro."    "  Feroci."   f.  115. 

10.  "V'hodetto  tante  volte."  "  Ant" 
Lotti."     f.  119. 

11.  "E  pur  wole  il  cielo."  "Aless" 
Scarlatti."  Ascribed  in  Add.  32313, 
f.  32  (below,  p.  94),  to  F.  Durante, 
f .  123. 


Additional  31493,  fi'.  8-93. 

Paper  ;  18th  cent.  Oblong  folio.  The  ]\IS.  also  contains  a  Motet  (vol.  i, 
p.  362).  It  appears  to  have  belonged  at  one  time  to  Peter  Noaille  (f.  18).  At  the 
beginning  is  a  printed  life  of  Steffani,  said  to  be  by  Sir  John  Hawkins. 

Duets,  with  a  bass  for  harpsichord,  in  score.     Unless  the  contrary 
is  stated,  they  are  by  Steffani. 


1.  "  Lungi  dair  Idol  mio."     f.  8. 

2.  "  Che  volete,  6  crude  pene."     f.  15b. 

3.  "  Occhi,  perche  piangete."     f.  22. 

4.  "  Placidissime  Catene."  "Pietro 
Tor[r]i."  Attributed  in  Add.  14181, 
f.  81  (above,  p.  78),  to  Steffani.    f.  29. 

5.  "Kio  dcstin."     f .  36. 


6.  "0  felice  L'  onda."  Attributed  in 
31441,  f.74b  (above),  to  C.  P.  Pietra- 
grua.    f .  39b. 

7.  "  M' hai  da  piangere."     f .  47b. 

8.  "  Chi  dira  che  nel  veleno."  "AUes- 
andro  Stradella."     f.  53. 

9.  "  Gran  torraento."     f.  67b, 


DUETS. 


81 


10.  "  Aure,  voi  che  volate."     f.  71. 

11.  "  lo  mi  rido."  "  Carlo  Grua." 
Attributed  iu  the  index  (f.  lb)  to 
"Steffani."     f .  78b. 


12.  "V[u]olilCiel."     f.83. 

13.  "O  care  cateiie."     f.  87. 

14.  "  Son  lontauo  da  chi  adoro."    f.  90. 

15.  "  Uu  iuferno  di  sciagure."     f .  93. 


Additional  31494. 

Paper  ;  ff.  102.     18th  cent.     Oblong  folio. 

Italian  Duets,  with  a  bass  for  harpsichord,  in  score,  by  Steffani. 
The  tirst  twelve  form  "  Libro  Secondo,"  the  twelve  (?)  Duets  by  Steffani 
in  the  preceding  volume  pro):)ably  constituting  "  Libro  Primo." 


1.  "Saldi  marmi."     f.3. 

2.  "  Che  sara  di  quel  pensiero."    f.  ICb. 

3.  "Epur  dolce."     f.  23. 

4.  "  Conducetemi     verso      il      porto." 
ff.  27b,  85b  (reversed). 

5.  "  Liberta  non  posso  soffrir."     f.  32. 

6.  "  Occhi,  perche  piangete."     f .  36b. 

7.  "Begl' occhi,  pieta."     f.45b. 

8.  "Dolce  e  per  voi  soffrire."     f.  51. 

9.  "  Cor  vagante."     f .  59b. 


10.  "  Combatton  quest' alma."     f.63b. 

11.  "  Liberta  dolce  c  gradita."     f.  6Sb. 

12.  "Lillamia."     f.77. 

13.  "  Lungi  dair  Idol  mio."     f.  79b. 

14.  "  Teugo  per  infallibile."     f.  82b. 

15.  "  M'  hai  da  piangere."     f.  89b. 

16.  "Troppo  cruda  e  la  mia  sorte  "  ; 
with  second  part,  "  Passo  i  giorui," 
described  as  "Cantata  Quinta." 
Autograph  {"!).     ff.95,  97b. 


Additional  31496,  ff.  27b-112b. 

Paper ;  18th  cent.     Oblong  folio.     See  also  below,  under  Trios. 

Thirteen  Duets,  with  a  bass,  partly  figured,  for  harpsichord,  in 
score.  Most  of  them,  if  not  all,  by  "Stephani"  {sc.  Steffani).  Nos.  2, 
3,  and  1 1  are  sometimes  attributed  to  Carlo  L.  P.  Grua. 


1.  "Su,  ferisci."     f.  27b. 

2.  "  Lontan  dal  suo  bene."     f.32b. 

3.  "0  felicel'  onda."     f.  42b. 

4.  "  Fortunato  chi  prova."     f.  48. 

5.  "  Teugo  per  infallibile."     f.  51. 

6.  "  Cangia  pensier."     f.  59b. 

7.  "  Ho  scherzato."     f.64b. 


8.  "lomi  parto."     f.  71. 

9.  "Crudo  Amor."     f.78. 

10.  "Sol  negl'  occhi."     f.86b. 

11.  "Jo  mi  rido."     f .  92b. 

12.  "  Tu  m'  aspettasti."     f.  100b. 

13.  "Porto  L'  Alma."    f.  107b. 


Additional  31497,  ff  32,  37. 

Paper ;  18th  cent.    Oblong  quarto.     See  also  below,  under  Songs. 
Two  Duets,  with  a  figured  bass,  in  score,  by  Steffani. 
1.  "  Dolce  e  per  voi  soSrire."     f.  32.         |   2.  "  Saldi  marmi."     f.  37. 


Additional  31506,  f.  104. 

Paper  ;  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Amiga,  hora  che  Aprile  "  ;  for  2  sopranos,  with  violins  and  figured 
bass  for  harpsichord,  in  score,  by  Alessandro  Scarlatti. 

II  G 


82  VOCAL  MUSIC— SECULAR. 

Additional  31552,  &.  4-46. 

Paper ;  18th  cent.     Oblong  folio.     See  also  under  Pianoforte  Solos  in  vol.  iii. 

Twelve  Duets,  with  a  bass  for  harpsichord,  in  score,  here 
erroneously  attributed  to  Domenico  Scarlatti,  but  in  reality  by 
Francesco  Durante.  The  Duets  have  been  [?  re-Jpublished  by  Breitkopf 
and  Hartel.  The  melody  of  the  last  one,  "  Alfin  m'  ucciderete " 
(f.  42b),  is  by  A.  Scarlatti.     The  initial  words  are  given  in  the  Index. 

Additional  31585. 

Paper ;  ff.  68.     18th  cent.     Oblong  folio.     The  MS.   belonged  successively  to 
James  Mathias  (d.  1782),  Gabriel  Mathias  and  Robert  Cooke  (1795). 

Duets,  most  of  them  with  a  figured  bass  for  harpsichord,  in  score, 
by  Benedetto  Marcello. 


1.  "  Cerco  ogn'  or."     f.  2b. 

2.  "Chi  puo  resister."     f.  6. 

3.  "  Ecco  il  petto."     f .  10b. 

4.  "  Vaghe  calme  d'  amor."     f.  15. 

5.  "  Che  dolce  mirare."     f.  21. 

6.  "0  beatofortunato."     f.27. 

7.  "  Col  pensiero  vi  baccio."     f.  33. 


8.  "Ah,  che  non  pu(!)  piu  vivere."    f.  39. 

9.  "  Ahi,  quanto  ^  fiero."     f.  44, 

10.  "0    Fortunato    quel    fiumicello." 
f.48. 

11.  "Vna  farfallacupida."     f.52b. 

12.  "  Fermatevi,  bei  lumi."     f .  57b. 

13.  "  Piagarmi  non  pu6."     f.  62b. 


Additional  31638,  ff.  52b-54b. 

Paper  ;  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Vo  cercando  fra  quest'  ombre  "  ;  for  2  sopranos,  with  a  figured 
bass  for  harpsichord,  in  score,  apparently  by  Baron  Emanuele 
d'  Astorga,  being  the  last  of  a  set  of  twelve  vocal  compositions 
transcribed  at  Rome  by  Giuseppe  Golart,  a  Spaniard. 

Additional  31674,  f.  57. 

Paper ;  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

"  Placidissime  catene  "  ;  with  a  bass  for  harpsichord,  in  score,  here 
attributed  to  Steflfani. 

Additional  31723,  ff.  18b,  36. 

Paper  ;  18th  cent.     Folio.     See  also  under  Oratorios  (vol.  i,  p.  377). 
Duets,  with  accompaniments,  in  score. 


1.  "Immortal  love";  with  strings. 
"Ro  Clack"  or  "Clark."  Early 
18th  cent.     f.  18b. 

2.  "Who  is  it  that  this  dark  night"; 


with  pianoforte  accompaniment. 
Composed  for  Miss  Anna  Maria 
Jeffery,  about  1794  (f.  35b).  "  R.  J.  S. 
Stevens."     f.  36. 


DUETS.  83 

Additional  31742,  ff.  12-18. 
Paper ;  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Speranze  mie,  quanto  infelici  siete  " ;  for  contralto  and  tenor 
voices,  with  a  bass  for  harpsichord,  in  scoi'e,  by  Antonio  Lotti. 

Additional  32169,  fF.  1,  5b,  94-1 35b. 

Paper;  18th  cent.    Oblong  folio.     See  also  under  Oratorios  (vol.  i,  p.  364). 

Duets,  with  a  bass,  in  score.  The  first  two  are  by  Alessandro 
Stradella,  the  others  by  Benedetto  Marcello,  in  whose  hand  they  all 
appear  to  be.  Two  pieces  according  to  the  original  numeration  are 
missing  after  no.  10. 

1.  "Ahi,  die  posar."     f.  1.  [   9.  "Bevo  da  tuoi  bei  lumi."     f.ll5. 

2.  "  La  dolcissima  speranza."     f .  5b.  10.  "  Spieggasti   tropp' alto   mio  cor." 


3.  "  Loutan  dall'  idol  mio."     f.  94. 

4.  "  Per  saettarmi."     f.96b. 

5.  "  Chi  puo  resister."     f .  101b. 


f.  119b. 
11.  "  Madrigale,"  beg.  "  Giu  ne  tartarei 
Regni."     f.  125. 


6.  "Porto     luugli     (sic)     le     piante."    I   12.  " Tacete,  amanti."     f.  128b. 
f.  105. 

7.  "  Deh,  quando  afflitti  lumi."    f.  109. 


13.  "Se    uon    volete   la  morte  mia." 
f.  132. 


8.  "Lontauanza  me  troppo  accerba."    .   14.  "  A  voi,  donna,  volando."     f.  134. 
f .  112.  I 

Additional  32673,  ff.  l-54b. 

Paper ;  18th  cent.    Oblong  folio.    See  also  below,  under  Trios. 

Duets,  with  a  bass,  figured  in  pencil,  for  harpsichord,  in  score,  by 
Benedetto  Marcello.  The  first  six  (ff.  2-31)  ai-e  here  called  "  Canzoni," 
the  others  (ff.  31-54b)  "  Arie."  The  contents  are  the  same  as  those 
of  Add.  29961,  5^2-32  (above,  p.  79).  The  initial  words  are  given 
in  the  Index. 

Additional  33351,  ff.  l\h-Q5 passim. 
Paper ;  18th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 
Duets,  or  two-part  songs,  most  of  them  unaccompanied. 

1.  "When    Phebus":    hunting    song,       5.  "Old   Chiron."      "Michael   Wise." 


with  a  bass  in  unison  with  the  alto 
part.     Anonymous,     f .  lib. 


2.  "From   love,   from    thought,   from 


f.  4Gb. 
6.  "Should  I  die  by  the  force  of  good 
wine."     "Leveridge."     f.  52. 
buisness  free."     Anonymous,     f.  37.      !   7.  "What     can     aswage     the    pain." 

3.  "  Plenty,  mirth   and  gay  delights."    i       "  I.  Barker."     f.55b. 
Anonymous,     f .  39b.  I   8.  "  You  damsels  who  sleep."     Auony- 

4.  "Go,     soft     spell."        Anonymous.  mous.     f.  65. 
f,  41b.                                                             ' 

G    2 


84  VOCAL  MUSIC— SECULAR. 


Additional  31732,  ff.  4-13. 

Paper ;  second  half  of  the  18th  cent.     Oblong  folio.     See  also  under  sacred 
Trios  (vol.  i,  p.  464). 

"  DuETTiNi  Notturni  "  for  2  trebles,  with  a  bass  for  harpsichord, 
in  score,  by  Johann  Gottlieb  Naumann.     Autograph. 


1.  "  Ombre  care."     f .  4b. 

2.  "  Bel  piacer  saria."     f.  5b. 

3.  "  Gia  la  notte  s'  avvicina."     f.  6b. 

4.  "Ragion  chi  pretende."     f.  7b. 

5.  "Non  sperar."     f.  8. 

6.  "No,  non  vedrete  mai."     f .  9. 


7.  "II  vago  augellino."     f .  9b. 

8.  "  Care  luci,  amati  rai."     f.  10. 

9.  "  Veggo  I'aria."     f .  10b. 

10.  "  Vorrei  poterti  amar."     f.  lib. 

11.  "  Pupille  belle."     f .  12. 

12.  "  Dolce  souno."     f.  12b. 


Stowe  1081,  f.  14. 

Paper  ;  late  18th  cent.     Quarto.     See  also  below,  under  Songs. 

"Quel  bruict  sous  ce  tombeau  "  ;  for  a  treble  and  bass,  in  score, 
without  accompaniment.     Anonymous. 


Additional  14110,  ff.  1-41. 

Paper  ;  late  18th  cent.     Oblong  quarto.     The  MS.  also  contains  sacred  Songs 
(vol.  i,  p.  446),  Madrigals,  and  secular  Songs  (below),  etc. 

Ten  of  the  set  of  twelve  Duets,  with  a  figured  bass  for  harpsichord, 
in  score,  by  Francesco  Durante.  See  the  description  of  Add.  31552 
(above,  p.  82).     The  initial  words  are  given  in  the  Index. 

Additional  14207,  S.  9,  50,  110. 

Paper ;  late  18th  cent.  Oblong  quarto.  See  also  below,  under  Operas 
(18th  cent.). 

Duets,  with  accompaniments,  in  score. 

1.  "  Duettino  Moderno  A  due  Soprani  l  2.  "  Deh,  placati,  6  caro  Amor  "  ;  with 

Obligati,"  beg.  "Ah,   la  mia  gloria,  '  strings.     "  Gasparo  Spano."     f .  50. 

6    Nice";    with    a    bass    for    harp-  I  3.  "  Ecco,  1'  infausta   aurora";   with 

sichord.      "Giuseppe   Millico,  detto  i  flutes,  oboes,  horns,  e^c.   "Lucchesi." 

II  Moscovito."     f.  9.  f.  110. 


Additional  25075,  f.  20  ;  25076,  f.  23b. 

Paper;  late  18th  cent.     Oblong  folio.  See  also  below,  under  Operas  (1799). 
Duets  to  English  words. 

1.  "By  those  eyes  whose  sweet  expres-  [  my  flowing  Hair"  ;  with  a  bass  for 
sion";  in  compressed  score.  Anony-  |  pianoforte,  in  score.  From  the  first 
mous.     Add.  25075,  f.  20.  |        set  of  Tivelvc  Canzonets  by  William 

2.  The  words  and  the  first  three  bars  i  Jackson  of  Exeter,  about  1778.  Add. 
of  the  music  of  "  Time  has  not  thin'd   !       25076,  f.  28b. 


DUETS.  85 


Additional  27645,  ff.  18-22. 

Paper ;   late   18th   cent.      Oblong   quarto.      See   also   under  sacred  Canons 
(vol.  i,  p.  122). 

Three  Duets,  with  a  bass  for  pianoforte,  in  scoi*e,  by  J.  W.  Callcott. 
AutograijJi. 


1.  "Where    didst    thou     hide    thee. 
f.l8. 

2.  "Ye  chrystal  fountains."     f.  20. 


3.  "Ah,  let  me  take  my  simple  reed.' 
f.21. 


Additional  31539,  fF.  109-174. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Madrigals. 

Twelve  "  Duetti  Serii";  with  figured  bass  for  harpsichord,  by 
Durante.  See  the  description  of  Add.  31552  (above,  p.  82).  The 
initial  words  are  given  in  the  Index  to  the  present  Catalogue. 


Additional  31804,  fi".  47b,  98b. 

Paper ;     late     18th    cent.      Oblong    folio.       See    also    below,    under    Glees 
(1771-1803). 

Two  Duets,  unaccompanied,  in  score. 

1.  "Wine     and     good     chear."       "^S.   I       described      as     a      "  Chansonette." 
Webbe."     f.  47b.  i       "  Webbe."     f.  98b. 

2.  "There  behold  the  mighty  bowl  "  :    | 


Additional  31805,  ff.  91-202b  j?assim. 

Paper ;     late    18th    cent.       Oblong    folio.       See    also    below,    under    Glees 
(1775-1822). 

Compositions    for    2    voices,    in    score.     No.    4    has    a   bass   for 
harpsichord  ;  the  others  are  unaccompanied. 


1.  "  Surely  that's  the  Charming  Maid  ": 
canzonet.     "  S.  Webbe."     f!.  91,  199. 

2.  "Oh    hope,   thou    soother    sweet." 
By  the  same.     f.  137b. 

3.  "When  Bibo  thought  fit "  :  two-part 
song.      "Travers."      The  words   by 


Matthew  Prior,     f.  175. 

4.  "Those     gaudy     trinkets."       "Dr. 
Arne."     f.  200. 

5.  "Alas  1  that  e'er  I  knew  this  Hour." 
"S.  Webbe."     f .  202b. 


Additional  31806,  ff.  33b,  95. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  under  Catches  (above,  p.  31). 
CoMPOSiTiQXS  for  2  voices,  without  accompaniment,  in  score. 

1.  "There  behold  the  Mighty  Bowl "  :    .   2.  "  When  Bibo  thought  fit."    "  [J.(?)] 
canzonet.     By  S.  Webbe.     f.  33b.         '       Travers."     f.  95. 


86  VOCAL  MUSIC— SECULAR. 

1  Additional  31817,  ff.  lb,  10b. 

Paper ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Two  Duets,  with  figured  bass,  in  score,  in  the  hand   of    R.  J.   S. 
Stevens. 


1.  "Soldi  pianto  "  (Eraclito  e  Demo- 
crito).     "  Pietro  Tor[r]i."     ff .  lb-5. 

2.  "  Dite,  O  cieli";    transcribed  from 
Dr.   Philip   Hayes's   MS.,   where   it 


appears  to  be  attributed  to  "  Jacomo 
Carissimi."  More  probably  by  L. 
Rossi  (see  Harley  MS.  1501,  f.  69, 
above,  p.  56).     f .  10b. 


Additional  32181,  fF.  23-26b. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1796). 

"  Lb  ninpe  al  Mare  "  :  short  Italian  cantata  for  2  voices  and  chorus, 
with  harpsichord  accompaniment,  in  score,  by  Franz  Xaver  Siissmayr. 
Autograph.     Begins  "  Alia  sorgente." 

Additional  32584,  ff.  103-107, 

Paper;  late  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  76). 

"  Time  has  not  thin'd  my  flowing  hair  "  :  Duet,  with  a  bass,  in 
score,  by  William  Jackson,  of  Exeter.  Autograph.  To  the  original 
composition,  which  is  no.  1  of  the  first  set  of  Tivelve  Canzonets  for  two 
voices,  published  about  1770,  the  composer  has  here  added  a  chorus  to 
the  same  words,  with  accompaniments  for  2  violins,  viola,  violoncello, 
etc. 

Additional  34074-34075,  ff.  8b-10. 
Paper ;  late  18th  cent.     Quarto.     See  also  below,  under  Songs. 
English  Duets,  mostly  anonymous,  in  parts. 


1.  "  Go,  false  Damon,  go."     f.  8b. 

2.  "When  first  I  saw  thee  graceful 
move " ;  for  1st  and  2ud  treble, 
with  two  additional  flute  parts,    f .  9. 

3.  "When    Phoebus   the  tops  of    the 


hills    does    adorn " ;    for   2    trebles. 
"Handell."     f .  9b. 
i.  "Bacchus,  Jove's  delightful  Boy"; 
for  2  trebles.   From  Anacreon.    f.  10. 


Additional  35276,  passim. 
Paper ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Scots  Songs  " ;  with  symphonies  and  accompaniments  for  violin 
and  pianoforte,  in  score,  by  [Ignaz]  Pleyel.  Almost  entirely  autograph. 
For  the  violoncello  parts,  see  Add.  35278,  ff.  l-3b  passim  (below).  The 
following  are  for  2  voices  ; — 


1.  "  What  beauties  does  Flora  disclose." 
f.3b. 

2.  "My  Patie  is  a  lover  gay."     f.  9b. 


3.  "Ah,  Cloris,  could  I  now  but  sit." 
f.  12b. 

4.  "Farewell,  thou  fair  day."     f.  15b. 


DUETS. 


87 


5.  "Shepherds,!  have  lost  my  love." 
f.  18b. 

6.  "Your  wel  Come  to  Paxton,"  beg. 
"Oh,  had  I  a  cave."     f .  22b. 


7.  "The  lawland  lads."     f.  25b. 

8.  "The  yellow   hair'd   Laddie,"    beg. 
"In  April,  when  primroses."     f. 29b. 

9.  "  There's  Auld  Rob  Morris."    f.  32b. 


Additional  35277,  ff.  5b-33  passim. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Scottish  Songs  " ;  with  symphonies  and  accompaniments  for 
pianoforte,  in  score,  and  additional  vioUn  and  violoncello  parts  (see 
Add.  35278,  fF.  4-26,  below).  Composed  by  [Leopold]  Kozeluch  for 
George  Thomson  [of  Edinburgh].  Autograph.  The  following  are  for 
2  voices  : — 


1.  "Here's  a  health  to  ane  I  lo'e  dear." 
f.5b. 

2.  "  The  lazy  mist."     f .  6b. 

3.  "The  day  returns."     f.8. 

4.  "Come,   let    me    take   thee   to   my 
breast."     f.  11. 

5.  "Katherine  Ogie,"  beg.  "Ye  banks 


and  braes  and  streams."     f.  13. 

6.  "  Ye  banks  and  braes  o'  bonie  Doon." 
f.  15b. 

7.  "  0  Logie  o'  Buchan."     f.  16b. 

8.  "Thou  art  gane  awa."     f.  17. 

9.  "  Adieu,  ye  streams."     f .  22b. 

10.  Without  title,     f.  33. 


Additional  35278,  ff.  l-50b  passim. 

Paper ;  late  18th  cent.,  etc.     Oblong  folio.     See  also  below,  under  Songs. 

Duets,  with  pianoforte  accompaniment,  in  score,  and  separate 
violin  and  violoncello  parts,  by  [Leopold]  Kozeluch  (except  Nos.  1-9). 
Autograph. 


1-9.  The  violoncello  part  of  the  Scottish 
airs  in  Add.  35276,  ff.  3b-32b  passim 
.(above).     "  Pleyel."     S..l-d\)  passim. 

10-19.  The  yiolin  part  and  two  copies 
of  the  violoncello  part  of  the  Scottish 
airs  in  Add.  35277,  ff.  5b-33  passim 
(above).  "Kozeluch."  ff . 4-26^assm. 

20-24.  Irish  melodies,  with  symphonies, 
etc.,  "composed  for  George  Thomson 
in  1809,"  viz.  -.—"When  cups  are  full" 
(ff.29b,  35,  37);  "Planxty  Kelly" 
(ff.30,  35,  37);  "Killeavy"  (ff.33, 
36,  38);  "The  brown  maid"  (ff.  33b, 


36,  38);  and  "The  Pox's  sleep" 
(ff.  34,  36,  38). 
25-27.  Welsh  airs,  received  by  G. 
T[homson],  3  June,  1809,  viz. :— "  [Yr] 
heu  Sibyl,"  beg.  "Away,  let  nought 
to  loue  displeasing  my  Winifreda 
moue "  (ff. 41b,  58,  63) ;  "The  length 
of  the  pipe,"  beg.  "0  where  dost 
thou  bide"  (ff.47,  59b,  64b);  and 
"The  lamentation  of  Cambria,"  beg. 
"Ye  banks  of  Dark  Conway  "  (ff.  50b, 
60b,  65b). 


Additional  35279,  ff.  2b,  9b. 

Paper  ;  late  18th  cent.    Folio.    The  MS.  also  contains  Songs  (described  below) 
and  Trios  for  pianoforte  and  strings  (in  vol.  iii). 

Violin  and  violoncello  parts,  to  the  Scottish  air  in  Add.  35277, 
f.  33  (see  above),  composed  by  Kozeluch,  for  George  Thomson,  of 
Edinburgh. 


88  VOCAL  MUSIC— SECULAR. 


Additional  14157,  ff.  73-79. 

Paper;    18th-19th    cent.      Oblong    folio.      See    also    below,    under    Operas 
(18th  cent.). 

"  SoNNO  Amico":  madrigal  for  2  sopranos,  with  a  figured  bass  for 
harpsichord,  in  score,  by  Nicolo  Jommelli.     Said  to  be  in  the  hand  of 


[Gasparo]  Selvaggi  [1763-1847]. 


Additional  17829,  ff.  73-76  ;  17830,  ff.  54,  56b. 

Paper ;  18th-19th  cent.  Quarto  and  oblong  quarto.  These  MSS.  also  contain 
a  sacred  Trio  (vol.  i,  p.  464)  and  fragments  of  Operas,  Songs,  and  instrumental 
music,  described  below  and  in  vol.  iii. 

Sketches  of  Duets,  with  pianoforte  accompaniment,  in  score-.     [By 
Domenico  Dragonetti.] 

17829.  Vol.  L 

1.  "Di  tante  sue  procelle."     f.  73. 

2.  "  Vieni,  vieni,  vieni ;  t'  appella,  caro, 
il  mio  cor."     f .  74. 

17830.  Vol.  II. 

1.  An    imperfect     sketch    of     "Vieni, 
vien  "  (see  above),     f .  64. 


3.  "Amor   pietoso " ;    possibly   a   con- 
tinuation of  the  preceding,     f .  75. 


2.  "A  ninhuma  outra  pastora";  with 
a  bass,     f .  56b. 


Additional  30951,  f.  191b. 

Paper  ;  18th-19th  cent.     Quarto.     See  also  below,  under  Operas. 

"A  BEGGAR  saw  three  boys  at  play";  with  a  bass  for  harpsichord 
or  pianoforte,  by  Charles  Dibdin.  Autograjih.  From  The  Musical 
Jfewtor  [1805?],  p.  16. 

Additional  30952,  f.  74b. 

Paper ;  18th-19th  cent.     Quarto.     See  also  below,  under  Operas. 

"  Which  is  the  sweetest  time  of  day  "  ;  with  a  bass  for  harpsichord 
or  pianoforte,  in  score,  by  Charles  Dibdin.  AiUograph.  From  The 
Musical  Mentor,  p.  92. 

Additional  30953,  ff.  112b,  183. 

Paper ;  18th-19th  cent.     Quarto.     See  also  below,  under  Operas. 

Two  Duets,  with  a  bass  for  pianoforte,  in  score,  by  Charles  Dibdin. 
Autograph. 

1.  "Welcome,  welcome,  dearest  friend"       2.  "  What,  brother  Ned."     f.  183. 
(from  Tlic  Musical  Mentor),     f.  112b. 


DUETS.  89 

Additional  30954,  ff.  96b,  205b. 

Paper ;  18th-19th  cent.     Quarto.     See  also  below,  under  Operas. 

Two  short  Duets,  with  a  bass  for  pianoforte,  in  score.     From  Tlie 
Musical  Mentor,  pp.  12,  48,  by  Charles  Dibdin.     Autograph. 


1.  "  The  sun  has  made  his  daily  span." 
f . 96b. 


2.  "Sweet     home,     sweet     pleasure, 
f . 205b. 


Additional  31731. 

Paper;   ff.  23.     18th-19th   cent.     Oblong   folio.     Belonged   to  R.  Gordon  (of 
Naples  ?). 

Two  DUETTINOS  for  2  treble  voices,  with  instrumental  symphonies 
and  accompaniments,  in  score,  by  Giovanni  Paisiello. 


1.  "  Ah,  voi  dite,  erbose  sponde  "  ;  with 
horns  and  violins,     f .  2. 


2.  "  Selua    romita  "  ;    with    clarinets, 
horns,  etc.     f.  14. 


Additional  31733. 

Paper ;  ff .  62.     18th-19th  cent.     Oblong  folio. 

"  Oreste  "  :  Italian  cantata  for  2  voices  (Elettra  and  Oreste),  with 
symphonies  and  accompaniments  for  2  violins  and  a  violoncello,  in 
score,  by  Nicolo  Zingarelli.     Begins  "  Vengo  a  te." 

Additional  31734,  ff.  1-20. 

Paper  ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

"  Alceste  "  :  Italian  cantata  for  2  voices  (Alceste  and  Ammeto), 
with  a  bass  for  harpsichord,  in  score,  by  Nicolo  Zingarelli.  Apparently 
in  the  hand  of  Giuseppe  Cecchi. 

Additional  31760,  ff.  27-30. 

Paper  ;  18th-19th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 

"  Ti  LASCio,  Irene  ;  addio  " :  duettino,  with  guitar  accompaniment, 
in  score.     [By  G.  Fortunato.] 

Additional  31816. 

Paper ;  ff .  139.     18th-19th  cent.     Oblong  folio. 

Duets,  with  a  figured  bass  for  harpsichord,  in  score,  Ijy  Steffani, 
transcribed  by  R.  J.  S.  Stevens  from  MSS.  in  the  possession  of 
Dr.  Bever,  William  Savage,  [?  J.  P.]  Street,  and  others.  Nos.  8-12,  18, 
21-23,  25-27,  29,  and  31,  are  described  as  Cantatas. 

1.  "  Palesar  vu6  la  mia  doglia."     f.  lb.  |   5.  "Tempeste  serene."     f.  7. 

2.  "  Combatton  quest' alma."     f.  3b.  6.  "  Mi  struggo."     f .  8. 

3.  "  Cor  vagante."     f.  5.  7.  "  Lilla  mia."     f .  9. 

4.  "  Speranze  nel  mio  core."     f.  6.  !   8.  "  Inquieto  mio  cor."     f.  10b. 


90 


VOCAL  MUSIC— SECULAR. 


9.  "Gelosia,  che  vuoi  "  ;  the  words  by 
D'Ariberti.     f.  14. 

10.  "Questo     fior";      the    words     by 
[Carlo  Alessandro  ?]  Guidi.     f .  19. 

11.  "  Quando  maiverra";  the  words  by 
the  same,     f .  23b. 

12.  "  Non  so  chi  mi  piago  "  ;  the  words 
by  [?Pietro  d']  Averara.     f .  29. 

13.  A  duet,  without  words,     f.  34. 

14.  "  Quanto  care  al  cor."     f.  37b. 

15.  "  Rav[v]editi,  mio  core."     f.  43. 

16.  "  Che  volete,  O  crude  pene."     f.  49, 

17.  "  Pria  oh'  io  faccia."     f.  52b. 

18.  "  Ribellatevi,  O  pensieri."     f.  56b. 

19.  "E  perchi  (sic)  non  m'  uccidete." 


f.  61b. 


20.  "  Forma  un  mare."     f.  67b. 

21.  "Vorrei  dire."     f.  73b. 

22.  "Saldi  marmi."     f.  78b. 

23.  "  Mi  voglio  far  intendere."      f.  87b. 

24.  "  E  cosi  mi  compatite."     f.  93b. 

25.  "Tuferisci."     f.  98. 

26.  "  Tu  m' aspettasti."     f. 

27.  "Begl'  occhi,  oh  Dio." 

28.  "M'  hai  da  piangere." 

29.  "lomiparto."     f.  121. 

30.  "  Troppo  e  cruda."     f.  125b. 

31.  "  Navicella,  che  ten  vai."     f.  130b. 

32.  "  Pene,  che  volete."     f.  133b. 

33.  "Non  mi  lusingar."     f .  135b. 

34.  "  Fermatevi,  foUi  pensieri."    f.  137. 


104. 
f.  108b. 
f.118. 


Additional  32237,  f.  70. 


Paper;    18th-19th    cent.      Oblong    folio.      See    also    below,    under    Operas 
(1797-1828). 

"  Could  a  man  be  secure  "  :  the  melody  of  the  first  four  bars.     [By 
S.  Goodwin  ?]     In  the  hand  of  J.  N,  Hummel. 


Additional  34202,  ff.  44,  83. 

Paper  ;  18th-19th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 

Two  Italian  ariettas  for  2  treble  voices,  with  guitar  accompaniment, 
in  score. 


1.  "  Supra  lu  scogghiu  di  mustazzola  "  ; 
in  the  Sicilian  dialect.  Anonymous, 
fi.  44-46. 


2.  "  Ti  lascio,  Irene."  By  G.  Fortunate. 

a. 83-84. 


Additional  34295,  ff.  16-26b. 

Paper ;    beginning   of    19th   cent.      Oblong  folio.      See   also   below,   under 
Operas  (1802). 

"  VI.  DuETTlNi     No[t]turni " ;  with     a    bass    for    harpsichord    or 
pianoforte,  in  score,  by  Johann  Gottlieb  Naumann. 


1.  "  Un  guardo  sol."     f .  16b. 

2.  <'  Piu  bella  Aurora."     f.  17b. 

3.  "In  questa querela  annosa."    f.  18b. 

4.  "  Quando    turba    al    ciel     sereno." 


f .  20b. 

5.  "  Sotto  quel  faggio  ombroso."     f.  23. 

6.  "Ah,    chi    di    verdi    fronde"   (sic). 
f .  24b. 


Additional  14178,  fi".  l-84b. 

Paper  ;  early  19th  cent.     Oblong  quarto.     See  also  below,  under  Madrigals. 

Duets,  with  a  bass  for  harpsichord,  in  score,  by  Antonio  Lotti.     In 
the  hand  of  G.  Sigismondo.     Described  as  "  XII.  Madris^ali  a  2.  Voci." 


1.  "  Tirsi,  che  fa  il  tuo  core."     f.  lb. 

2.  "  No  che  lungi  da  quel  volto."     f.  8. 


3.  "  Due  cori  a  me  fan  guerra."     f.  15. 

4.  "  Al  cor  di  donna  amante."     f.  25. 


DUETS.  91 

5.  "  Ben  dovrei,  occW  leggiadri."    f.  31.       9.  "  Speranze  mie."     f.  62. 


6.  "Amor,  se  pur  ti  duol."     f.  38. 

7.  "  Se  con  stille  frequenti."     f .  46b. 

8.  "  V  ho  detto  tante  volte."     f.  56. 


10.  "Niso,  non  posso  pin."     f.  68. 

11.  "  Vol,  che  cercate  amore."     f.  74. 

12.  "  Poss'  io  morir."     f.  80. 


Additional  32044,  ff.  26,  51. 

Paper ;  early  19th  cent.     Octavo  and  oblong  folio.     See  also  below,  under  Songs. 

Two  DUETS  for  tenor  and  bass,  with  pianoforte  accompaniment,  in 
parts,  by  W.  [F.  E.]  Bach.     Autograph. 

comic  duet,  beg.  "  Sie  lebt";  with 
a  separate  part  for  "  Der  Abrufende," 
sc.  a  street-crier  (?).     f.  51. 


1.  "  Die  Rube  des  Lebens,"  beg. 
"Schon,  0  schon  ist  diese  Welt." 
f .  26. 

2.  "  Der  Dichter  und  der  Komponist  "  : 


Additional  33310,  ff.  95,  110. 

Paper ;  early  19th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

1.  "0  COME  volano  i  bei  momeuti " ;  j  strings  and  bassoon  in  score.  By 
with  pianoforte  accompaniment,  in  ;  John  Fane,  Lord  Burghersh.  Atdo- 
score.  Probably  by  the  same  com-  i  graph.  The  words  are  from  Metas- 
poser  as  no.  2.     ff.  95-96.  tasio's  "  Adriano."     f.  110. 

2.  "  Se    non    ti    moro   allato";    with 

Additional  34054,  ff.  11-14. 

Paper ;  early  19th  cent.     Oblong  folio.     Presented  to  the  Rev.  Edw.  Goddard 
by  the  Abbate  F.  Santini.     See  also  under  Motets  (vol.  i,  p.  295). 


" 


Scherzo.  .  .  .fatto  ai  Cappuccini  di  Pozzuoli,"  beg.  "  Veneraliilis 
barba  inculta  Cappucinorum  "  ;  for  2  voices,  without  accompaniment, 
in  score,  by  Pergolesi. 

Additional  36747,  f.  46. 

Paper ;  early  19th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  La  Cachucha  Espaiiola " ;  with  pianoforte  accompaniment,  in 
score.     Anonymous.     Begins  ''■  Tengo  yo  una  cachuchita." 

Additional  31515,  ff.  93-123. 

Paper ;  about  1800.  Oblong  folio.  Nos.  1-9  were  presented  to  Dr.  Crotch  by 
[James]  Bartleman  in  1800 ;  no.  10  (f.  121b)  was  copied  by  Crotch  from 
'*  Mr.  Malchair's  set,"  from  which  the  other  numbers  were  also  corrected.  See 
also  below,  under  Operas  (18th  cent.). 

Ten  out  of  the  set  of  twelve  "  Duetti  da  Camera  per  Soprano  e 
Contralto  con  Cembalo  obbligato,"  contained  in  Add.  31552  (above, 
p.  82) ;  in  score,  by  Francesco  Durante.  The  initial  words  are  given 
in  the  Index. 


92  VOCAL  MUSIC— SECITLAR. 

Additional  33240,  f.  24b. 

Paper  ;  about  1800  (see  f.  24).     Quarto.     See  also  under  Anthems  (vol.  i,  p.  98). 

"The  Macedon  youth  left  behind  him  this  truth  "  :  beginning  of 
a  Duet  for  alto  and  tenor^  with  a  bass  (?),  iu  the  hand  of  Samuel 
Wesley,  and  probably  his  own  composition.  Possibly  the  bottom  line 
was  intended  for  the  3rd  voice  in  a  trio. 

Additional  28971,  fF.  60,  168,  208,  220. 
Paper  ;  a.d.  1800-1803.     Oblong  folio.     See  also  below,  under  Songs. 

Duets  for  soprano  and  tenor,  with  symphonies  and  accompaniments 
for  flutes,  horns,  and  strings  and  other  instruments  mentioned  below, 
written  by  James  Hook  to  be  sung  at  Vauxhall  by  [Charles]  Dignum 
with  Mrs.  Cooke  (no.  1)  or  Miss  Daniels  (nos.  2-4). 

1.  "Your  charms,  my  dear   Molly":    '   3.  "Come,     come,     my     dear     girl." 
dialogue,  1800;  with  trumpets,  bas-    :       "1803."     ff.  208-211. 

soous,  drums,  cic.   ff.  60-G7b.  j   4.  "  A    tight    young    lad."       "1803." 

2.  "My   sweet   little   girl."      "1802."    ;       ff.  220-223. 
ff. 168-171.  i 

Additional  31754,  f.  140. 

Paper;  about  1801  (watermark).     See  also  under  Anthems  (vol.  i,  p.  70). 

Elegy,  beginning  "  Here  resignation  pensive  sad " ;  for  2  voices, 
with  a  figured  bass,  by  C[harles]  W[esley].     Autograph. 

Additional  35272,  ff.  \-2\h  passim. 

Paper  ;  about  1803,  etc.     Oblong  folio.     See  also  below,  under  Songs. 

Scotch  airs  arranged  as  Duets,  with  .symphonies  and  accompani- 
ments for  violin,  violoncello,  and  pianoforte,  in  score,  by  [Franz 
Joseph]  Haydn.  Nos.  1-5  are  in  the  hand  of  his  amanuensis,  J. 
Radnitzky ;  the  others  are  in  a  different  hand,  and  consist  of 
additional  symphonies  written  by  the  composer  at  the  request  of 
George  Thomson,  of  Edinburgh,  who  published  most  of  the  present 
collection  (nos.  6  afld  7  in  1803).     No.  6  is  partly  autograph. 

1.  "  Wae's  my  heart."     f.  1.  !       "  Gin  ye  meet  "  (see  Add.  35273,  f.  46, 

2.  "  Down  the  burn,  Davie."     f.  2b.  below),    f.  21. 


3.  "  The  broom  of  Cowdcnknows,"  beg. 
"  How  blythe  ilk  morn."     f.  3b. 

4.  "The   ewie  wi'  the  crooked  horn," 
beg.  "  0  were  I  able."     f .  6. 

5.  "Ay  waking  0!"     f.  6b. 

6.  "Fy,  gar  rub  her  o'er  wi'  strae  "  or 


7.  ["There's  auld  Rob  Morrice."]  (See 
Add.  35273,  f.  64.)     f.  21b. 

8.  ["Peggy  I  must  love  thee."]  (See 
Add.  35273,  f.  89b.)     f.  21b. 

9.  ["The  death  of  the  linnet,"  beg. 
"But  lately  seen."]  (See  Add.  35273, 
f.  91b.)     f.  21b. 


DUETS.  93 

Additional  35273,  flf.  30b-91b  passim. 

Paper ;  about  1803.     Oblong  octavo.     See  also  below,  under  Songs. 
Scotch  airs  :  a  similar  collection,  by  the  same,  in  the  hand  of  his 


amanuensis. 


nos.  10,    11,  see  Add.   35272,   f .  21b 
(above),     f.  64. 
7.  "Will  you  go  to  the  ewe  bughts." 


1.  "Here  awa,  there  awa."     f.  30b. 

2.  "Oran    Gaoil,"   beg.   "Behold,    the 
hour."     f.  42. 

3.  "  Cauld  kail  in  Aberdeen."     f .  49b.       j       Published  in  1803.     f .  67b. 

4.  "The  Sutor's  daughter,"  beg.  "  Wilt    '   8.  "  My  Nanie  0."     f.  82. 
thou  be  my  dear."     f.  50b. 

5.  "Robin  Adair,"   beg.    "0   had  I  a 
cave."     f.  55. 

6.  "There's  auld  Rob  Morrice."     For 
autograph  corrections  in  this  and  in 


9.  "  Polwarth    on     the     green,"     beg. 
"  Hail,  beauteous  stranger."     f.  88. 

10.  "  Peggy,  I  must  love  thee."    f.  89b. 

11.  "  But  lately  seen."     f.  91b. 


Additional  27640,  if.  43-62. 

Paper  ;  a.d.  1804.     Oblong  folio.     See  also  below,  under  Songs  (1786-1815). 

"  Far  from  the  world  "  ;  with  symphonies  and  accompaniments  for 
horns,  oboes,  and  .strings,  in  score,  by  Dr.  [John  Wall]  Callcott, 
written  for  [Samuel]  Harrison  and  [James]  Bartleman  in  1804. 
Autograph.     Two  copies,  the  first  unfinished. 

Additional  34007,  f.  77. 

Paper ;  a.d.  1804.     Oblong  folio.     See  also  below,  under  Songs. 

"  Pretty  maiden,  will  you  wed  "  :  Duet,  with  accompaniments  for 
flutes,  violins,  horns,  tenor,  bassoons,  and  bass,  in  score,  by  James 
Hook,  sung  by  [Charles]  Dignum  and  Mrs.  Bland  at  Vauxhall  in 
1804. 

Additional  35274,  passim. 

Paper;  a.d.  1804  (see  f.  1).     Oblong  octavo.     See  also  below,  under  Songs. 

"  Welsh  Airs,"  with  one  exception  (no.  1,  which  is  Scottish),  with 
pianoforte  accompaniments,  in  score,  by  Haydn,  in  the  hand  of  J. 
Radnitzky.  At  the  beginning  is  written  in  the  composer's  hand,  "Har- 
monized by  Dr.  Haydn,  1804."  Most  of  them  were  published  by  George 
Thomson,  of  Edinburgh.  For  the  additional  violin  and  violoncello 
parts,  see  Add.  35275,  flf.  l-26b  passim  (below). 


1.  ["  What  ails  this  heart."]     f.  1. 

2.  "  The  flowers  of  Loudon."     f.  3b. 

3.  "The     whirling     of    the     spinning 
wheel."     f.  4. 

4.  "  The  door-clapper."     f.  5. 


7.  "Winifreda."     f.  18. 

8.  "  The  rising  sun."     f.  20. 

9.  "Ar  hyd   y   nos" — "  The  live-long 
night."     f.23. 

10.  "  The    lamentation    of    Britain  "  ; 


5.  "The    [note   of    the]    black   cock."    ;        with  additional  violin  and  violoncello 


f.6b. 
6.  "  The  crystal  ground."     f.  16. 


parts,     ff.  2.3b,  43b. 
11.  "  Venture,  Gwen."     f.  27b. 


94  VOCAL  MUSIC— SECULAR. 

12.  "Of    noble    race    was    Shenkin."  wood."     f.  39b. 

f.30b.  IG.  "  Adieu  to  Llangollen."    Published 

13.  "  Come  to  battle."     f .  32b.  to  the  words,  "No,  Henry;  I  must 

14.  "  The  lambs' fold."     f .  38b.  not."     f.  41. 

15.  "  The  Song  of  the  old  man  of  the 

Additional  35275,  fF.  l-26b  passim. 

Paper ;  a.d.  1804.     Oblong  octavo.     See  also  below,  under  Songs. 

Violin  and  violoncello  parts  to  the  duets  by  Haydn  in  the  pre- 
ceding volume. 

Additional  32313. 

Paper ;  ff.  45.     a.d.  1806  (?— see  f.  1).     Oblong  quarto. 

"  DuETTi "  ;  with  a  bass  for  harpsichord,  in  score,  by  Francesco 
Durante,  apparently  transcribed  at  Naples  in  1806.  Nos.  8,  9,  and  11 
are  usually  ascribed  to  A.  Scarlatti. 

1.  "  Dormono  r  aure."     f .  lb.  i    6.  "  Deh,  mio  ben."     f.  25. 

2.  "Fiero,  acerbo  destin."     f .  7.  7.  "  Dunque,  mio  core,  all' armi."  f.  29. 

3.  "Dolce    piange    romito    usignolo."    i    8.  "  E  pur  vuole  il  Cielo."     f.  32. 


f.  13b. 

4.  "Or  mentre  io  dormo."     f.  17b. 

5.  "  Cosi  pietade  in  van  ricerca."  f.  21b. 


9.  "  In  si  duro  martire."     f.  36b. 

10.  "Oh  penosa  loutananza."     f.  40. 

11.  "  Questo  silenzio  ombroso."    f.  44b. 


Additional  31713,  ff.  2,  12b,  32. 

Paper;   about  1807  (watermark),  etc.     Oblong  folio.     See  also  below,  under 
Songs. 

Duets,  with  pianoforte  or  harpsichord  accompaniment,  in  score. 


1.  "  Saper  vorreisem'  ami."  "  Haydn." 
f.2. 

2.  "  Duettino  Siciliano,"  beg.    "O  bi- 
anca  lucidissima  luna."  Anonymous. 


f.  12b. 
3.  "  Cantata"  (Eloisaed  Abelardo),  beg. 
"  Se    in     queste    spiaggie      amene." 
"  [Ferdinaudo]  Per  "  {sc.  Paer).  f.  32. 


Additional  35003,  £.  59. 

Paper ;  a.d.  1809.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  349). 

"  See,  the  young,  the  rosy  Spring  "  ;  with  pianoforte  accompani- 
ment, by  Samuel  Wesley,  1809.  Copied  apparently  by  Vincent 
Novello,  to  whom  the  MS.  belonged  in  1843. 

Additional  19648,  ff.  20,  44. 

Paper ;  about  1810.     Quarto.     See  also  below,  under  Glees. 


Two  DUETS. 

1.  "Sweet  minstrel  of  the  pensive 
Grove  "  ;  with  pianoforte  accompani- 
ment, in  score.  "  D.  Bruguier." 
Autograph  (>).     f .  20. 


2.  The  flute  and  horn  parts  of  a  duet, 
"  Fabio  (?)  and  Lorenza."  Anony- 
mous.    (In  the  same  hand  ?)     f .  44. 


DUETS.  95 

Additional  32151,  ff.  1-1 6b. 

Paper;  about  1812  (watermark).     Oblong  folio.     See  also  below,  under  Operas. 

Four  duets,  with  pianoforte  accompaniment,  in  score.  Nos.  1,  2 
and  4  are  by  Bonif  azio  Asioli,  of  Correggio,  and  no.  3  by  Luigi  Asioli,  of 
the  same  place. 

1.  "  Bella  Nice  "  ;  in  dialogue,     f.  1.  3.  "  Se  amor  fa  il  nido."     f.  11. 

2.  "Veh,   come    i    lampi    strisciano." 
f.6b. 


4.  "Del  mare  all'  onda."     f.  13b. 


Additional  14342,  f.  71. 

Paper ;  about  1813.     Oblong  folio.     See  also  under  Masses  (vol.  i,  p.  234). 

"Why  should  we  shrink  from  life's  decline":  described  as 
"  Harvest  Cantata,"  for  treble  and  tenor,  with  accompaniments  for 
horns,  flutes,  oboes,  bassoons,  and  strings,  in  score ;  composed  for 
Mr.  and  Mrs.  Vaughan  by  Samuel  Wesley,  1813. 

Additional  36005,  ff.  22,  11 9-1 23b. 

Paper  ;  a.d.  1813,  etc.     Quarto.     See  also  below,  under  Songs  (1783-1787). 

Compositions  for  2  voices,  with  accompaniments,  in  score,  in  the 
hand  of  Samuel  Wesley. 

1.  "  Why,  why  should  we  shrink  from 
Life's  Decline  "  ;  with  horns,  flutes, 
oboes,  bassoons,  and  strings. 
"  S[amuel]  Wesley  .  .  .  1813  "  (see 
Add.  14342,  above),     f.  22. 


2-4.  Concluding  portions  of  three 
Italian  duets  with  pianoforte  accom- 
paniments. Anonymous.  About 
1823  (watermark),     ff.  119,  121,  123. 


Additional  35038,  f.  46. 

Paper;  about  1818.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  100). 

"  At  Charlotte's  Tomb  "  :  short  ode  for  2  voices  with  pianoforte 
accompaniment,  in  score,  on  Queen  Charlotte  (d.  1818),  by  Charles 
Wesley,  "  organist  in  ordinary  to  His  Majesty." 

Additional  24308,  f .  1 1 . 

Paper;  about   1822   (watermark).     Oblong  quarto.      See   also   below,   under 
Songs  (1821). 

"  Trova  un  sol  mia  bella  Clori " ;  for  soprano  and  contralto,  with 
pianoforte  accompaniment,  in  score,  by  Michael  Kelly. 

Additional  34803,  ff.  8-55  passim. 

Paper ;  a.d.  1822-1823.     Quarto.     See  also  below,  under  Songs. 

Italian  Duets  with  pianoforte  accompaniment,  by  John  Lodge 
Ellerton.     Autograph. 

1.  "Cantata"  (Daliso  and  Silvia),  beg.  by  Zappi.     f .  8. 

"Vorrei  un  zeffiretto."      The  words       2.  "  Oh  cara  selve  "  (sic),     f.  16. 


96  VOCAL  MUSIC— SECULAR. 

3.  "  Mentre  dormi  amor."     f.  31.  j   7.  "  Quel  labro  adorata"  (sic),     f .  40. 

4.  "  Pensa  che  sei  crudel."     f .  37.  '   8.  "  Daltuogentilsembiante."    "  Dedi 

5.  "  Non  so  f renare  il  pianto."     f.  38.  cated  to  the  Miss  Lushingtons."  f.  55. 

6.  "  lo  ti  lascio,  e  questo  addio."     f.  39. 


Additional  32586,  &.  10,  38. 

Paper  :  a.d.  1824,  etc.     Oblong  folio.     See  also  below,  under  Songs  (1823-1826). 

Two  Duets,  with  pianofoi'te  accompaniment,  in  score,  by  John 
Barnett.     Autograph. 

1.  "As  it   fell   upon  a   day";   altered  David  Barber."     f.  11. 

into  "Follow  to  the   elfin  Bow'rs,"    i  2.  "  The  Maid  and  the  Minstrel,"  beg. 
1824.       Dedicated    "To    his    friend  "  Awake,  aged  minstrel."    f.  38. 

Additional  32019,  ff.  56,  59. 

Paper ;  a.d.  1825.     Folio.     See  also  below,  under  Songs  (1814-1853). 

Two  Duets,  with  pianoforte  accompaniment,  by  Thomas  Miles. 
Autogrfqjh. 

1.  "The  Rose,  of  Flora's  blue-arched       2.  "  0  Memory  !  thou  faithful  shade." 
hall."     f.56.  f.59. 

Additional  36966-36968,  passim. 

Paper  ;  a.d.  1830-1833.     Oblong  folio.     See  also  below,  under  Songs. 

Duets,  written  or  arranged  by  Henry  R[owley]  Bishop  for  Vaux- 
hall  Gardens,  with  symphonies  and  accompaniments  for  trumpets, 
horns,  clarinets,  flutes  (ottavino  and  traverse),  oboes,  bassoons,  and 
strings,  and  occasionally  also  for  bass-drum,  cymbals,  triangle,  kettle- 
drums and  bell.     Generally  in  two  separate  scores.     Autograph. 

36966. 

1.  "The   Sisters,"   beg.      "Silent   fall   [       "  There's  Will  of  the  Mill."    "1830." 
the   shades  of   Evening."      "1830."   I       f.  161. 

fi.  12-24.  3.  "You  look  very  queer."     Arranged 

2.  "  The    Light    of    the    Moon,"   beg.    |       by  Bishop.     "  1830."     ff.  170-180. 

36967. 

1.  "The    vallies    of    the    Deep,"   beg.    ,       the  bay."     "1831."     ff.  108-114. 

"  Our  merry  ship."     "1831."     f.  100.    [   3.  "  Haste,  dearest   Emma."     "1832." 

2.  "  When  the    grass-hopper   sings   in   ;       f.  190. 

36968. 

1.  "As    Cupid    one    day."      "1834."  163b. 

ff.  5-15.  4.  "The     Sisters     of     Charity,"     beg. 

2.  "  Shall  we  sing  of  the  days  that  are  "  Sister,  hark  ;  the  convent  chimes." 
now  bygone."     "1833."     ff.  61-69b.  "1833."     ff.  218-224. 

3.  "  Swiftly  we  fly."     "  1834."     ff.  151- 


DUETS. 


97 


Additional  14394. 

See  below,  under  Madrigals  (after  1831). 

Additional  34999,  f.  180. 

Paper;    about  1834  (watermark).     Quarto.      See  also  under  Hymns   (vol.,i 
p.  194). 

"  Beneath  a  sleeping  Infant    lies "  :   epitaph  by  Charles  Wesley, 
set  to  music  by  Samuel  Wesley,  for  2  voices,  with  a  bass,  in  score. 


Additional  14343,  ff.  7,  8,  17b. 

Paper;   about  1839.     Oblong  folio.     See  also  below,  under  Glees  (pp.  Ill,  eic). 

Duets,    in   score,    by    Samuel   Wesley,   in   the   hand   of   Vincent 
Novello. 


1.  "  La  Belle  Gabrielle " ;  with  a 
figured  bass.     "  1793-."     f.7. 

2.  "  See,  the  young,  the  rosy  spring"  ; 
with  pianoforte  accompaniment. 
From  Anacreon,  translated  by  Moore. 


f.  8. 
3.  "  Of  all  the  joys  were  e'er  possest." 
The  bass  is  partly  figured.     "1801." 
f.  17b. 


Additional  35028,  ff.  30,  34. 

Paper ;  a.d.  1860.     Quarto.     See  also  below,  under  Songs, 
Duets,  with  a  bass  for  harpsichord,  in  score,  by  Samuel  Wesley. 

"1782." 


1.  "  Since  pow'rful  Love  directs  thine 
eye."     "1788(?)."     f .  30. 


2.  "Sweet    Constellations." 
f.34. 


Additional  36740,  ff.  30-80b  ;  36741,  ff  31-56. 

Paper ;  about  1880-1890.     Folio  and  oblong  folio.     For  36740,  see  also  under 
Anthems  (vol.  i,  p.  112)  ;  and  for  36741,  below  under  Operas  (1885-1892). 

Portions  of  Duets,  some  of  them  only  sketched,  in  score,  by  Arthur 
Goring  Thomas.  Autograph.  Nos.  2-4  were  composed  about  1890. 
Nos.  1-3,  6,  are  in  full  score,  the  instruments  employed  including 
flutes,  oboes,  clarinets,  strings,  and  others  mentioned  below.  Nos.  1-5 
are  in  Add.  36740  ;  no.  6  in  Add.  36741. 


1.  Duet  known  as  "Sous  les  6toiles," 
beg.  "La  Chaleur  du  jour  est 
calm^e  "  [1880] ;  with  bassoons,  etc. 
The  pencil  sketches  on  ff.  22b-28b 
appear  also  to  refer  to  this.     f.  30. 

2.  "  Night  Hymn  at  sea  "  ;  with  horns, 
trumpets,  trombones,  harp,  drums, 
etc.     f.  42. 

3.  "Amours  Villageois";  with  horns, 
cornets,  harp,  triangle,  drums,  etc. 
II 


f.48. 

4.  "  L'Aurore  "  [1891] ;  the  voice-parts 
only,  in  score.  Partly  in  duplicate, 
ff.  70,  76. 

5.  "  Toi,  6  mon  ame ;  "  with  pianoforte 
accompaniment.  Dedicated  to  Mme. 
Melba  and  Mons.  Lassalle.   ff.  77-80b. 

6.  "L'Aurore";  with  bassoons,  horns, 
cornets,  corno  Inglese,  trombones, 
drums,  harp,  e<c.    "1891."    ff.  31-56. 


98  VOCAL  MUSIC— SECULAR. 

Additional  34543,  ff.  90-94. 

Paper;   a.d.    1893.     Quarto.     The   MS.   also    contains   Instrumental    Music, 
described  in  vol.  iii. 

"  God  bless  you,  Prince  and  Princess  "  :  Duet,  with  pianoforte 
accompaniment,  in  score,  beg.  "  God  gives  a  bourn  to  sorrow,"  with 
the  alternative  words,  "  O  lark  !  from  morning's  gateway,"  and  the 
tonic  sol-fa  notation  added  in  red  ink,  by  Sir  W.  G.  Cusins.  Finished 
June  8,  1893.  Autograph.  The  words  are  by  the  Rev.  Frederick 
Langbridge,  and  were  written  for  the  marriage  of  H.R.H.  the  Duke 
of  York. 

Additional31555,  f.  127. 

Paper ;  19th  cent.     Quarto.     See  also  below,  under  Operas. 

"  Apollo  e  Dafne  "  :  a  "^  cantata,"  beg,  "  La  terra  e  liVjerata,"  with 
Symphonies  and  accompaniments  for  oboes,  bassoons,  and  strings,  in 
score,  by  Handel.  Transcribed  by  Michael  Rophino  Lacy  from  the 
original  at  Buckingham  Palace. 

Additional  31573,  ff.  53b  (reversed),  80,  etc. 

Paper;  19th  cent.     Quarto.     See  also  under  Oratorios  (vol.  i,  p.  386). 
Portions  of  compositions  by  Handel. 


1.  Pianoforte  or  harpsichord  part  of 
the  chamber  duet,  "  Spero  indarno." 
f.53b. 

2.  The   opening    bars    of    the   various 


movements  in  the  cantata  "  Arresta 
il  passo"  ;  with  accompaniments  for 
strings,  in  score,     ff.  80,  80b,  81. 


SECTION    VI.  — GLEES.* 


Additional  31806,  passim. 

Paper;  about  1763  (f.  140b)-1818  (watermark,  f.  202).     Oblong  folio.     See  also 
under  Catches  (above,  p.  81). 

Glees,  for  3  voices,  unless  the  contrary  is  stated,  in  score.     Many 
of  them  were  written  for  the  Prize  Medal  of  the  Catch  Club. 

1.  "  As  Nancy  danc'd."   "  [S.]  Webbe."   I        By  the  same.     f.  5. 

f.  3b.  3.  "Soft  and  sweet  "(a  4).  "P.Welch." 

2.  "  Let  Harmony  sweetly  resounding."  f.^7. 


*  A  few  compositions  for  solo  voices  with  chorus,  and  some  also  with  piano- 
forte accompaniment,  described  by  their  writers  as  "  Glees,"  have  been  included 
under  this  heading,  besides  a  few  quasi-Glees  with  foreign  words. 


GLEES 


99 


4.  "  Wou'd  you  engage."  Anonymous, 
f.  15. 

5.  "  Tell  me  where  is  fancy  bred  "  (a  4). 
"Stevens."     Autograph,     f.  18. 

6.  "  The  Persians  stretch  their  votive 
arms"  (a  4).     Anonymous,     f .  20. 

7.  "  Shepherds,  deck  your  Crooks." 
Anonymous,     f.  22. 

8.  "Sister  of  Phoebus."  "  Dibdin." 
f.  25b. 

9.  "Down  in  the  gleamy  Vale  "  (a  4). 
"W.  Lindley."     f.  29. 

10.  "Now  the  blue  Ply's  gone"  (a  4). 
By  the  same.     f.  35. 

11.  "  Soft  Cupid."     "Travers."    f.  46b. 

12.  "  Consign'd  to  Dust."  "  Battishill." 
f.56. 

13.  "A  Hogshead  was  of!er'd  to 
Bac[c]hus."     By  the  same.     f.  57b. 

14.  "Fair  the  op'ning  Lilly  blows" 
(a  4).     "Dr.  Arne."     f .  59. 

15.  "Where'eryoutread."  "[S.]Long." 
[1764.]     f .  61b. 

16.  "How  harmless  and  free"  (a  4). 
"  Wallington."     f.  83. 

17.  "  On  softest  Beds."  "Berg."  f .  86b. 

18.  "Hush,  Hush;  the  God  of  Love." 
"Long."     f.96b. 

19.  "  Sweet  Muse,  inspire  "  (a  4).  "  Dr. 
Arne."     f .  102. 

20.  "While  fools  their  time  in  stormy 
strife  employ"  (a  4).  "  Jn°  Staff'" 
Smith,  1776."     f.  105b. 

21.  "A  full  true  and  particular 
account."  "  [Samuel]  Peg[ge,  jun.]." 
f . 108b. 

22.  "  AU  in  the  downs."  "Harmonized 
by  Francis  Ireland."     f.  112. 

23.  "Great  God  of  sleep."  By  the 
same.     f.  113. 

24.  "  We'll  drink  and  we'll  never  have 
done"  (a  4).  "Dr.  AUcock,  1774." 
f.  116. 

25.  "Jolly  Bacchus."  "  Fra'  Ireland, 
1772."     f.  121. 

26.  "O'er  William's  Tomb  "(a  4).  "On 
the  death  of  the  Duke  of  Cumberland 
[1765]."     "  Tho' Norris."     f .  127. 

27.  "  Turn,  Amarillis."  Adapted  for  4 
voices  from  the  trio  by  Brewer  (f.  42). 
f.  131b. 

28.  "  When  here,  Lucinda,  first  we 
came."      Adapted  by  "  Dr.  Hayes  " 


from  "  [H.]  Holcombe."     f.  136b. 

29.  "Melting  airs"  (a  4).  "Dr.  [W.] 
Hayes  [sen.],  1763."     f.  140b. 

30.  "Come,  live  with  me  "(a  4).  "Sam' 
Webbe."     f.  144b. 

31.  "Fair  Susan "  (a 4).  "  Benj-  Cooke." 
f.l47b. 

32.  "Could  Gold  prolong  my  fleeting 
breath."     "  Fran' Ireland."     f .  152b. 

33.  "Alas,  what  boast":  described  as 
"elegiac  on  K[itty]  F[ishe]r."  "  Dr. 
Harington."     f.  158b. 

34.  "  When  gay  Bacchus."  "Jos'"  Bail- 
don,  1766."     f.  159b. 

35.  "To  me  the  wanton  girls."  "  S' 
Webbe  [sen.]."     f.  162b. 

36.  "Discord,  dire  Sister"  (a  4).  By 
the  same.     "1772."     f.  164b. 

37.  "A  Gen'rous  Friendship"  (a  5). 
By  the  same.     "1768."     f .  167. 

38.  "  Welcome,  friendly  gleams  of 
Night."     "S.  Webbe."     f.  168. 

39.  "As  o'er  the  varied  Meads."  By 
the  same.     f.  169. 

40.  "How sleep  the  Brave"  (a  4).  "B. 
Cooke,  1771."     f.  171b. 

41.  "In  the  merry  month  of  May"  (a 
4).     By  the  same.     "1773."     f.  174. 

42.  "You  gave  me  your  heart"  (a  5). 
"  S.  Webbe  [sen.],  1776."     f.  179. 

43.  "Now  I'm  prepar'd  "  (a  4).  By  the 
same.     "1774."     f.  180b. 

44.  "Rise,  my  joy"  (a  4).  By  the  same. 
"1777."     f.  185b. 

45.  "Quando  il  mar  biancheggia  "  (a  5). 
"S.  Webbe."     f.  187. 

46.  "  When  shall  we  three  meet  again." 
By  the  same.     f.  189b. 

47.  "If  love  and  all  the  world"  (a  4). 
By  Samuel  Webbe,  sen.,  1782.  f.  195. 

48.  "Come  hither,   Shepherds"  (a  5) 
"  R.  J.  S.  Stevens."     f.  199. 

49.  "Drink,  drink  about."  By  W. 
Russell,     f .  205. 

50.  "Far  from  the  world"  (a  5).  By 
the  same.     f.  207. 

51.  "By  winding  streams."  By  the 
same.     f.  212b. 

52.  "  Hark,  the  bugle  horn  sounds 
clear"  (a  4).     By  the  same,     f .  215. 

53.  "Let  me,  while  on  earth  I  live" 
(a  4).     By  the  same.     f.  218b. 

H    2 


100 


VOCAL  MUSIC— SECULAR. 


Additional  31804,  passim. 

Paper ;  a.d.  1771-1803,  etc.    Oblong  folio.    The  MS.  also  contains  a  sacred  Trio 
(vol.  i,  p.  464),  a  Chorus  (above,  p.  48),  and  Duets  (p.  85). 

Glees,  in  score,  mostly  by  candidates  for  the  Prize  Medal  of  the 
Catch  Club.  Except  where  the  contrary  is  stated ^  they  are  for  4 
voices. 


1.  "Rejoice,  our  brethren  all"  (a  3). 
Anonymous.     "1771."     f.  2. 

2.  "Resound,  ye  hills."  "  Callcott, 
1785."     Autograph,     f.  5. 

3.  The  beginning  of  "  Bear  me,  ye 
winds  "(a  3).  By  the  same.  "1785." 
Autograph,     f .  6. 

4.  "  'Tis  Beauty  calls  "  :  prize  ode,  for 
solo  voices  and  chorus.  "  S.  Webbe 
[sen.],  1776."  In  the  hand  of  John 
Danby.     f.  10. 

5.  "The  thirsty  Earth."  "  [R.  J.  S.] 
Stevens."     Autograph,     f.  15. 

6.  "  Hither  your  wreaths."  "Holder." 
Autograph  (?).     f.  19. 

7.  "  To-morrow  with  its  cares."  By  R. 
J.S.Stevens.     Autograph,     f.  21. 

8.  "  Hail,  Diana."    Anonymous,    f .  23. 

9.  "In  awful  pause"  (a  5).  "J.  W. 
Callcott."     Autograph,     f.  25. 

10.  "In  care  and  sorrow"  (a  3).  Anony- 
mous,    f .  29. 

11.  "  What  shall  we  sing  "  (a  3).  "  Dr. 
Harrington."     f.  31. 

12.  "Sweet  stream."  By  S.  Webbe, 
jun.     Autograph,     f.  33. 

13.  "The  death  of  fair  Adonis"  (a  5). 
"  S.  Webbe."     f.  35. 

14.  "  Hail,  hallow'd  vault."  "Webbe." 
f.37. 

15.  "  Hail,  young  spring."  By  the  same, 
f.  40. 

16.  "Care  sleeps."  "Holder."  Auto- 
graph {'>).     f.43. 

17.  "Hence, corroding  cares"  (a  3).  By 
the  same.     Autograph.     1. 45b. 

18.  "Rem  bene  si  memini "  (a  5). 
"  Sam' Webbe,  1803."     f .  49. 

19.  "  Instant  let  yonder  youth  impart." 
"[R.  J.  S.]  Stevens."  Autograph. 
f.  52. 

20.  "  Go,  happy  flower  "  (a  5).  By  the 
same.     Autograph,     i.  55. 

21.  "  The  fragrant  painting  of  the 
flow'ry  fields."  "S.  Webbe  [sen.], 
1784."     f .  58b. 


22.  "Saw  ye  pass  by  the  weird  Sisters."' 
Anonymous,     f.  62. 

23.  "Go,  tell  Amynta."     "J.Elliott." 
f.70. 

24.  "Who  is  Sylvia."     By   the   same. 
f.73. 

25.  "Glide    swiftly   on."      By    J.   W. 
Callcott.     "1785."     f.  77. 

26.  "How    happy    my    days"    (a    3). 
Anonymous,     f.  80. 

27.  "Silent  nymph."  By  J.  W.  Callcott. 
"1785."     f.82. 

28.  "  Dull,  repining  Sons  of  Care."    By 
the  same.  "  1785."  Autograph,    f.  85. 

29.  "  When  I  drain  the  rosy  bowl"  (a 
3).     Anonymous,     f .  89. 

30.  "  When  shall  we  three  meet  again  " 
(a  3).     "[S.]  Webbe."     f.94. 

31.  "  Ye  shepherds  and  Nymphs." 
Anonymous,     f.  96. 

32.  "With  freedom  blest  "  (a  3).  "  S. 
Webbe."     f.  101. 

33.  "Then  let  us  all  in  Friendship 
Live."     Anonymous,     f.  102b. 

34.  "  Now  the  spring  again  returns  " 
(a  3).     Anonymous.    "1775."    f.  106. 

35.  "  Wealth,  Sire  of  flatt'ry."  Anony- 
mous,    f.  111. 

36.  "  When  the  Nightingale  doth  sing  " 
(a  5).  By  J.  W.  Callcott.  "  1785." 
f . 113. 

37.  "How  sweet  the  air."  Anonymous. 
"1781."     f.  115. 

38.  "To  me  the  wanton  girls"  (a  3). 
"  [S.]  Webbe  [sen.]."     f .  117b. 

39.  "  The  man  who  in  his  breast  con- 
tains" (a  3).    "  S.  W[ebbe]."    f.  119b. 

40.  "  Come,  MelanchoUy  "  (a  3).  "  [W.] 
Russell."     Autograph  (?).     f.  121. 

41.  "Lone  Minstrel."  By  the  same. 
Autograph  {7).     f .  122b. 

42.  "Go,  Damon,  go."  Attributed  to 
"  [S.]  Paxton  "  in  the  index.  In  the 
hand  of  Dr.  Ayrton.     f .  125. 

43.  "  W^hile  others  labour  to  be  great  " 
(a  3).     Anonymous.    "1781."    f.  127. 


GLEES. 


101 


44.  "  Let  kings  for  Empire  "  (a  3).    "  S. 
Webbe."     f.  129b. 

45.  "As  Nancy  danc'd "  (a  3).     By  the 
same.     f.  131b. 

46.  "  Come  to  the  greenwood."  Anony- 
mous,    f.  133. 

47.  "As   the  moments   roll."      By  S. 


Webbe,  jun.     Autograph,     t.  135b. 

48.  "A  plague  on  Egypt's  art."  "  Steph" 
Paxton."  In  the  hand  of  Dr.  Ayrton. 
f .  137. 

49.  "  When  to  the  Muses'  haunted 
hill "  ;  for  solo  voices  and  chorus. 
By  S.  Webbe.     f.  144. 


Additional  31805,  passim. 

Paper ;  a.d.  1775  (f.  163b)-1822  (f.  67b),  etc.  Oblong  folio.  The  MS.  also  con- 
tains a  Catch  (above,  p.  40),  Duets  (p.  85),  and  parts  of  Operas  (late  18th  cent.), 
described  below. 

Glees,  etc. ;  a  collection  similar  to  the  preceding. 


1.  "Tis  Love  and  Harmony"  (a  3).  To 
be  repeated  in  chorus.  Anonymous. 
In  the  hand  of  E.  Warren  Home,  f .  2. 


Anonymous,     f.  58. 
19.  "Delusive,   sightless    God." 
Webbe."     f.60b. 


2.  An  "  Epicedium,"  beg.  "The  Death   \   20.  "Come,  ye  party  jangling  swains." 


of  fair  Adonis  "  (a  5).     "  S.  Webbe." 
f.4. 

3.  "The  Star  that  bids  the  Shepherd 
fold."  By  J.  W.  Callcott.  "  1785." 
Autograph,    f .  6. 

4.  "The  glorious  Sun."  "  [S.  (?)] 
Webbe."     f.  10. 

5.  "  Do  not  ask  me,  charming  Phillis." 
"S.  Webbe,"     f.l2. 

6.  "The  Partial  Muse."  By  J.  W. 
Callcott.     "  1785."     f.  14. 

'7.  "  Chant  we  the  Requiem."  In 
memory  of  Samuel  Webbe  [sen.  (?)]. 
"  [C.  S.]  Evans,  1817."     f.  18. 

8.  "  Sweet  are  the  banks."  "  Bayley." 
f .  24b. 

9.  "You  spotted  snakes."  "  W.  B. 
Earle."     f.  29. 

10.  "  Beneath  a  churchyard  Yew." 
"  Mich' Rock."     f.33. 

11.  "Have  you  seen  the  virgin  snow." 
"Dr.  Cooke."     f .  35. 

12.  "  True  as  the  Needle  "  (a  3).  "  [S.] 
Webbe."     f.  39. 

13.  "  Great  Bacchus,  0  aid  us  "  (a  5). 
"  [S.]  Paxton,  1778."     f .  41b. 

14.  "Cupid,  my  Pleasure."  "S.Webbe." 
f .  46b. 

15.  "The  Blossom  so  pleasing"  (a  5). 
"Webbe."     f .  47b. 

16.  "  A  thick  twisted  brake."  Anony- 
mous.    "  1780."     f.  50. 

17.  "A  Wizard  Dame."  "Callcott, 
1785."     Autograph,     f.  54. 

18.  "  Come     live     like     me  "     (a     3). 


"Danby."     f.63. 

21.  "  See,  our  bark  scuds  o'er  the 
main  "  (a  3,  with  pianoforte  accom- 
paniment).    "  Dr.  Stevenson."    f.  65. 

22.  "Come,  Lucy,  my  Love."  "J. 
Jolly,  1822."  Presented  to  the  Con- 
centores  in  1824.     f .  69. 

23.  "  With  breath  the  spacious  organ 
fill."     "Webbe."     f.74. 

24.  "When  whisp'riug  strains"  (a  4). 
Anonymous,     f.  76. 

25.  "  To  Fortune  give  immortal  Praise  " 
(a  3).     Anonymous,     f .  80. 

26.  "  Living  let  me  pleasure  have " 
(a  3).     Anonymous.     "1777."     f.  82. 

27.  "Haste,  my  fair"  (a  5).  "J.  C. 
Pring,  M.B."     f .  83. 

28.  "  Hence,  hence,  avaunt :  'tis  holy 
ground"  (a  5).  By  the  same, 
f.  87. 

29.  "My  little  heart"  (a  3).  "Webbe." 
f.  92. 

30.  "  Shed  roses."  "  Callcott,  1785." 
f.93. 

31.  "  To  the  Gods  of  the  Ocean"  (a  5). 
"Webbe."     f.97b. 

32.  "Ye  meadows  so  lovely"  (a  3). 
Anonymous,     f.  102b. 

33.  "  Consign'd  to  dust."  "  Battis- 
hill."     f.  104b. 

34.  "What  tho'  no  weeping  loves": 
elegy.     "  Callcott,  1785."     f.  106. 

35.  "  Shepherd,  wouldst  thou  here  ob- 
tain "  (a  3).  By  the  same  according 
to  Add.  27642,  f.  65,  but  ascribed  to 


102 


VOCAL  MUSIC— SECULAR. 


"  Danby  "  in  the   index  to  the  pre- 
sent MS.).     "1785."    f.  108. 

36.  "Swiftly  from  the  Mountain's 
Brow."     "Webbe."     f.  111b. 

37.  "  The  mighty  Conqueror."  "  Sam' 
Webbe."     f.  115. 

38.  "  Bear  me,  ye  winds  "  (a  8).  "  Call- 
cott,  1785."     Autograph,     f.  117. 

39.  "How  sweet  to  sense"  (a  3). 
Anonymous.     "  1775."     f.  119. 

40.  "Lady  Anne  Bothwell's  lament," 
beg.  "Balow,  my  babe."  "Jos. 
Corfe."     f.  121. 

41.  "Olay  me  near"  (a  5).  By  Call- 
cott.     "  1785."     f.  123. 

42.  "O  Memory,  Celestial  Maid." 
"  Stevens."     f.  125. 

43.  Another  setting  by  the  same.  Auto- 
graph,   i.  127. 

44.  "OThou  who  badst  thy  Turtles" 
(£l3).     ByCallcott.     "1785."    f .  130. 

45.  "0  waft  me  to  the  joys  of  love." 
Anonymous,     f.  133. 

46.  "Place  me  where  never  summer 
Breeze"  (a  5).  "Stevens."  Auto- 
graph,    f.  139. 

47.  "  Shall  I  then  hope  "  (a  3).  Anony- 
mous,    f.  141. 

48.  "Ye  Sons  of  Elegance."  Anony- 
mous,    f.  143. 

49.  "Wine  gives  the  Lover  vigour." 
"Webbe."     f.  145b. 

50.  "Winter  with  his  dismal  train" 
(a  3) :  described  as  "  Ode  for  the  New 
Year  (1817)."  "Cutler"  (see  index, 
f.  1).     f.  147. 

51.  "Down  in  the  gleamy  vale  "  :  elegy. 
"W.  Linley."     f.  149. 

52.  "Let  India  boast."  "Webbe." 
Watermark  1805.     f.  153. 

53.  "Let  not  rage  thy  bosom  firing." 
"  Dr.  Arne."     f.  158. 


54.  "Winds  whisper  gently"  (a  3). 
Anonymous.     "  1775."     f.  163. 

55.  "  There's  a  difference  "  (a  3).  Anony- 
mous,    f.  164. 

56.  "Consign'd  to  Dust":  epitaph, 
apparently  on  Thomas  Brown,  "  Org" 
of  St.  Gabriel  Fenchurch,. .  .who 
dyed . . .  1776,  etat.  18."  Anonymous, 
f.  166. 

57.  "What  shepherd  or  nymph  "  (a  3). 
Anonymous,     f.  170. 

58.  "How  sweet  amidst  the  calm."' 
By  Callcott.     f.  173. 

59.  "In  Airy  Dreams"  (a  5).  Anony- 
mous,    f.  176. 

60.  "  In  these  deep  Solitudes."  Anony- 
mous.    "  1785."     f.  178. 

61.  "  The  Cloudcapt  Tow'rs."  Anony- 
mous,    f.  182. 

62.  "  Eevered  Shade."  Anonymous., 
f .  186. 

63.  "Tell  me,  lovely  Shepherd"  (for 
2  choirs  of  4  voices  each).  Anony- 
mous,    f.  188. 

64.  "What  a  frail  life  "(a  5).  "Stevens." 
Autograph,     f.  193. 

65.  "  When  to  the  Muses'  haunted  hill "' 
(for  solo  voices  and  5-part  chorus), 
"J.S.Smith."     f.  204. 

66.  "When  winds  breathe  soft"  (a  5). 
"  S.  Webbe,  1784."     f.  209. 

67.  "Blest  as  th'  immortal  Gods." 
"  Stevens."     Autograph,     f.  215. 

68.  "If  love  and  all  the  world  were, 
young."  "  Sam'  Webbe,  1782."  f.  219. 

69.  "In  paper  case":  epitaph  on  a 
dormouse.     "  Dr.  Cooke."     f.221b. 

70.  "Thy  voice,  0  Harmony."  Pro- 
bably by  S.  Webbe  jun.  Auto- 
graph,    f.  223. 

71.  "  Come  live  with  me  and  be  my 
dear  "  (a  3).     Anonymous,     f.  226. 


Additional  31810. 

Paper ;  ff.  214,     About  1777  (f.  lb)-1821  (see  below).     Oblong  folio. 

Glees,  in  score,  by  R.  J.  S.  Stevens.  Most  of  them  were  revised 
at  Lambeth  or  Chartei'house  in  1819  or  1821.  Unless  the  contrary 
is  stated,  they  are  for  5  voices  and  autograph.  Some  are  in  duplicate 
and  triplicate. 

1.  "Prithee,    foolish    boy,    give   o'er"  "1780."       The    words    by    Cowley. 
(a  3).     [1777.]     f.  1.                                         ff.  3,  4. 

2.  "Love   in   her   sunny  eyes"   (a  4).       3.  "  Blest  as  th' immortal  Gods  "  (a  4).. 


GLEES. 


103 


"1784."    The  words  from  Phillips' 
"Sappho."     f.  7. 

4.  "  Beneath  an  Infant  sleeping  lies." 
"1785."     f.  12. 

5.  "'Tis  mirth  that  fills  the  veins" 
(a  4).  "  1785."  The  words  from 
Beaumont  and  Fletcher's  "  Knight 
of  the  burning  Pestle."     f.  15. 

6.  "  Place  me  where  never  Summer 
breeze."     "  1786."     f.  18. 

7.  "  Go,  happy  flower."    "  1786."    f.  22. 

8.  "  0  thou  who  drew'st  in  tears." 
"1786."     f.26. 

9.  "  0  mistress  mine."  "1788."  ff.28, 
31,  33. 

10.  "To  be  gazing  on  those  charms." 
"1789."     f.36. 

11.  "Although  soft  sleep."  "1789." 
f.  89. 

12.  "  Go,  lovely  Rose  "  (a  4).  "  1790." 
f.41. 

13.  "  Thy  form  has  a  resistless  grace." 
"1791."     f.45. 

14.  "  Charming  to  Love  is  morning's 
hour."     "  1791."     f.  48. 

15.  "  Balmy  Gale,  I  prithee  say  "  (a  3). 
"1791."     f.52. 

16.  "  Send  home  my  long  strayed  eyes  " 
(a  3).     "1792."     f.55. 

17.  "Now  the  hungry  Lion  roars" 
(a  4).     "1792."     f.  57. 

18.  "  Belinda,  see  from  yonder  flowers  " 
(a  4).     "1793."     f.62. 

19.  "  Sober  lay"  (a  3 — solo  and  chorus). 
"  1794."  The  words  are  by  Samuel 
Birch,     f.  64. 

20.  "0  thou  that  rollest  above." 
"1794."     f.68. 

21.  "Call  forth  the  song."  "1794." 
f.75. 

22.  "  Come  hither,  Shepherd's  swain." 
"1795,"  etc.     ff.80,  94. 

23.  "  Pack  Clouds  away."  "  1796." 
S.  85,  193. 

24.  "Tho  from  thy  Bank  of  velvet." 
"1797."    Co2}y.    f.  88. 


25.  "  If  in  that  Breast "  (a  3).  "  1799," 
etc.  The  words  are  by  Sir  Henry 
Moore,     ff.  99,  161,  213b. 

26.  "  All  my  sense  thy  sweetness 
gained."     "  1799."     f.  101. 

27.  "Hence  away,  ye  Syrens"  (a  4). 
"  1806."  The  words  are  by  George 
Wither,  1614.     f .  106. 

28.  "  0  how  the  spring  of  Love  "  (k  4). 
"  1807,"  etc.     ff.  109,  114,  129. 

29.  "Whence  comes  my  love"  (a  4). 
"1808."  The  words  are  by  John 
Harington,  1564.     ff.  119,  124. 

30.  "  0  gentle  sleep."  "  1814."  ff.  133, 
137. 

31.  "  Oh  Nightingale,  best  Poet  of  the 
Grove  "  (a  4).  "  1814."  ff.  141,  145, 
149. 

32.  "Sad  winter  passed"  (a  3).  [1819.] 
f.  152, 

33.  "  Saw  you  the  Nymph."  "  1821." 
ff .  155,  158. 

34.  "Ill  fated  Carthage."  Watermark 
1798.  The  words  from  Hoole's 
translation  of  Tasso.  ff.  163, 168, 173, 
179-183  (vocal  parts). 

35.  "  To  me  boon  nature  frankly 
yields  "  :  so-called  "  fugue  "  for  4  solo 
voices  and  chorus.  In  the  hand  of 
[Miss  A.  M.]  Jeffery.     f.  184. 

36.  "Mark'd  you  her  eye"  (a  3).  In 
the  same  hand.     f.  191. 

37.  "The  cloud-cap't  Towers"  (a  6). 
In  the  same  hand.  Watermark  1798. 
f .  196. 

38.  "  Floreat  seternum  Carthusiana  do- 
mus";  for  4  solo  voices  and  chorus. 
f.  199. 

39.  "No,  'twas  neither  shape  nor 
feature."  Arranged  for  Miss  Jeffery  as 
a  glee  for  3  voices  with  pianoforte  duet 
accompaniment,  from  "  lo  ti  lascio," 
an  air  by  [?  J.  C]  Bach.  Co2}y.  f.  200. 

40.  "  Blow,  blow,  thou  winter  wind " 
(a  4).  In  the  hand  of  [J.  P.]  Street. 
Watermark  1819.     f .  210. 


Additional  31807,  passim. 

Paper;  a.d.  1779  (f.  147b)-1823  (f.  24b).     Quarto.     The  MS.  also  contains  a 
sacred  Canon  (vol.  i,  p.  125)  and  a  secular  Trio  (below). 

Glees,  in  score.     Except  where  the  contrary  is  stated,  they  are  for 
4  voices  and  anonymous. 


1.  "Here  I'll  meditate "  (k  5).     f.  1. 

2.  "Hark!    hark!    the   Lark."      "Dr. 


Cooke."     f.  3. 
3.  "  Come,  thou  Monarch  of  the  Vine' 


104 


VOCAL  MUSIC— SECULAR. 


(a  3).     By  the  same.     f.  4. 

4.  "So  full  of  life "  (a  3).     ff . 5b,  165. 

5.  "  Tweedside  "  ;  beg.  "What  Beauties 
does  Flora  disclose."  Harmonized 
for  3  voices,  with  pianoforte  accom- 
paniment, by  T.  B.  Everett  [organist 
of  Tonbridge],  a  pupil  of  Saml.  Webbe, 
sen.,  in  1820.     Autograph,     f.  9. 

6.  "Come,  rosy  God"  (a  3).  By  the 
same.  "1809."  The  words  are  by 
J.  Blacklock.     f.ll. 

7.  "How  goodly  seems  it."     f.  16. 

8.  "Hither,  all  ye  loves"  (a  3).  By 
S.  Webbe.    f.  18. 

9.  "Friendship  is  the  joy  of  reason." 
f.20. 

10.  "Yield  thee  to  Pleasure,  old  Care." 
"Wm.  Crotch,  1808."  Autograph. 
The  words  are  by  Robt.  Bloomfield. 
f.22. 

11.  "  Home,  sweet  home."  Harmonized 
in  1823  by  T.  B.  Everett.  Autograph. 
f.24. 

12.  "Tell  me,  thou  dear  departed 
shade"  (a  3).     "John  Dyne."     f.28. 

13.  "Tell  me,  Shepherds,  have  you 
seen"  (a  3).     "Geo.  Berg."     f.  30. 

14.  "How  sleep  the  brave"  (a  3). 
"Francis  Ireland."     f. 34. 

15.  "To  these  lone  shades."  "Geo. 
[Berg?]."     f.86. 

16.  "Waste  are  those  walls"  (a'  3). 
"  Battershall "  {sc.  Battishill  ?).  f.  38. 

17.  "Riches  chance  may  take."     f. 39. 

18.  "Fear  no  more  the  heat"  (a  3). 
"Dr.  Nares."     f.41. 

19.  "Fruitful  Earth  drinks  up  the 
Eain."     f.  45. 

20.  "Fain  would  I  in  lofty  verse  "  (a  3). 
f.47. 

21.  "Think  not,  dear  Phebe."     f.  51. 

22.  "The  maid  who  modestly  conceals." 
f.53. 

23.  "Come,  ye  nymphs  and  swains." 
f . 55b. 

24.  "Stretch'd  on  the  Bier."  "Dr. 
Alcock."     f.57b. 

25.  "Hark!  the  merry  Tabor  strikes" 
(a  3).     f.  60. 

•26.  "  Now  the  Glasses  they  are  empty  " 
(a  3).     f.  70. 

27.  "  Bacchus,  Jove's  delightfull  Boy" 
(a  3).     f.  72b. 

28.  "0  Harmony  ...  to  thee."  "L. 
Atterbury,  1796."     f.  74. 


29.  "Come,  oh  come,  Etherial  Guest" 
(a  3).     "[B.]  Cooke,  1785."     f .  76. 

30.  "If  'tis  joy  to  wound  a  Lover" 
(a  3).     By  the  same.     f.  80. 

31.  "  Up  the  Hill  or  cross  the  Lawn." 
f.82. 

32.  "Go,  gentle  gales";  with  violon- 
cello accompaniment,     f.  85. 

33.  "Go,  tell  Amynta  "  (a  3).  "Maria 
Hester  Park."     f.  90b. 

34.  "Mark,  how  the  bashful  morn" 
(a  3).     f.92. 

35.  "0  mistress  mine  "  (a  5).     f.  93. 

36.  "  Nymph,  over  Thee  "  (a  5).     f.  97. 

37.  "Forth  from  yonder  sable  cloud." 
f.99. 

38.  "  He  on  whose  birth."     f.  103. 

39.  "  Farewell,  a  long  farewell."   f.  105. 

40.  "Blest  as  th'  immortal  Gods" 
(a  3).     f.  107. 

41.  "He  that  loves  a  rosy  Cheek." 
f.  109. 

42.  "My  bosom  glow'd"  (a  3).    f.  111b. 

43.  "Tell  my  Strephon."  By  John 
Hindle.     f.  113b. 

44.  "  Discord,  dire  sister."  "  Webbe." 
f.  118. 

45.  "0  lead  me  to  some  peaceful 
Gloom";  with  figured  bass.  "Fran- 
cis Ireland."     f.  120. 

46.  "Oh  all  ye  Blest  Harmonious 
Quire."     f.  125. 

47.  "  0  sleep,  thou  flatterer."     f.  127. 

48.  "Wives  by  the  dozen,"  beg.  "0 
Death,  how  thou  spoilst"  (a  3). 
f.  131. 

49.  "Hark, hark,  from  the  woodlands " 
(a  5).     f.  133. 

50.  "0  Night  more  pleasing."  "  S. 
W[ebbe?]."     f.l37. 

51.  "Oh  gentle  Love."  By  John 
Danby.     f.  139. 

52.  "Pleasures  enchanted  ground." 
"  J""  Hindle,  1791."     f.  142. 

53.  "  She's  gone ;  lament  ye  fair  "  (a  3) : 
elegy  on  Miss  Maria  Linley  (d.  1787). 
f.  145, 

54.  "Melpomene,  thy  loss."  On  the 
death  of  David  Garrick,  1779.  Auto- 
graph,    f.  147. 

55.  "Time  is  old"  (a  8).     f.  149. 

56.  "To  soften  care."  "Dr.  Arne." 
f .  151b. 

57.  "Tell  me  then  the  Reason  why" 
(a  3).     "  LufE"  Atterbury."     f.  153b. 


GLEES. 


105 


58.  "This  Tomb  be  thine,  Anacreon." 
f .  155. 

59.  "Thee  the  voice,  the  dance,  obey." 
ByJ.W.  Callcott(?).    "1785."   f.l57. 

60.  "Say,  gentle  Nymphs."     f.  161. 

61.  "I  scorn  the  chilling  wind."     By 
J.  W.  CaUcott.     "1785."     f.  168. 


62.  "If  gold  could  wasted  Life  restore  " 
(a  3).     "  Jos"  Baildon."     f.l71. 

63.  "In  vain  you  tell  "(a  3).    "Francis 
Ireland."     f.  174. 

64.  "Is  there  no  Balsam"  (a  5).    f .  177. 

65.  "  Oh  England,  oh  my  native  Isle  !  " 
(a  3).  "Clement  Smith,  M.D."  f.  178. 


Additional  31222,  fF.  27b-46  passim. 
Paper;  a.d.  1781,  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  312). 
Glees,  in  score,  by  Samuel  Wesley.     Autograph. 

1.  "  Goosy,  Goosy,  Gander  "  (a  2,  with  f.  31b. 

a  bass  for  harpsichord),     f.  27b.  '   4.  "  Circle  the  bowl"  (a  4).     f.36b. 

2.  "  Adieu,    ye    soft     scenes  "    (a    3).  5.  "  Whilst  Prussia's  warlike  monarch 
"1781."     f.29b.  blusters "  (a  4).     "1782."     f.41. 

3.  "When  Orpheus  went  down"  (a  3). 


Additional  27642,  passim. 

Paper ;    a.d.   1783-1801.     Oblong  quarto.     See   also    under    sacred  Canons 
(vol.  i,  p.  120). 

Glees,  cheerful  and  serious,  for  4  voices  (unless  the  contrai-y  is 
stated),  in  score,  by  Dr.  John  Wall  Callcott.  Autograph.  Nos.  7-13 
are  dated  1790;  nos.  17-38  and  40-47,  1784;  nos.  49,  50,  52-70  and 
72,  1786  ;  and  nos.  73-76  and  78-89,  1785;  the  dates  of  the  others, 
where  indicated,  are  given  below. 


1.  "  Hear,  how  the  nightingales  "  (a  5). 
f.7. 

2,  3.  "Yes,  my  country,  boldly  tread" 
and  "  To  mortal  man  "  (a  3).  "1799." 
The  words  from  Potter's  Euripides. 
if.  9,  10. 

4.  "If  happily  ye  wish  to  live"  (a  3). 
"  1801."  Words  by  "  Peter  Pindar." 
f.ll. 

5.  "  Eternal  Hope."     "1801."     f.  13. 

6.  "Ye  barren  rOcks  "  (a  3).  "1799." 
f.  15. 

7.  "Lo,  where  this  silent  marble 
weeps"  (a  3).     f.  17. 

8.  "Dauntless  on  his  native  sands." 
f.l9. 

9.  "Your  Paeans  change"  (a  3):  dirge 
in  William  Hayley's  Eudora.     f.  21. 

10.  "Oh,  why  so  mute,  my  gentle 
Lyre."     f.  27. 

11.  "Sweetly  breathing  vernal  air" 
(a  5).     f.  32. 

12.  "Where  thro'  the  curtains  of  the 
night."     f.  36. 


13.  "  Come,  balmy  Hope  "  (a  3).     f.  38. 

14.  "  Lo,  where  incumbent  o'er  the 
shade"  (a  3).     f .  39. 

15.  "0  Thou,  the  Nymph  with  placid 
Eye"  (a  3).     "1791."     f.41. 

16.  "Hail,  Queen  of  Thought."  "1782" 
(probably  intended  for  "1784"). 
f.43. 

17.  "High  on  a  Mountain's  Lofty 
Brow"  (a  3).     f.  45b. 

18.  "  Silent  Nymph,  here  sunk  to 
rest."     f.  47. 

19.  "  The  Partial  Muse."     f.48b. 

20.  "The  Star  that  bids  the  Shepherd 
fold."     f.  51. 

21.  "In  these  delightful  solitudes" 
(Eloisa  to  Abelard).     f.  53. 

22.  "Oh,  Eloisa,  art  thou  still  the 
same  "  (Abelard  to  Eloisa).     f.  55. 

23.  "  Sad  is  my  Day  "  (a  5).     f.  57. 

24.  "  A  wizard  dame."     f.  59. 

25.  "0  Thou,  who  badst  thy  Turtles" 
(a  3).     f.  61. 

26.  "  Lo,  on  yon  Pyramid."     f.  63. 


106 


VOCAL  MUSIC— SECULAR. 


27.  "Shepherd,  wouldst  thou  here 
obtain"  (a  3).     f.65. 

28.  "  Search  where  Ambition  rag'd " 
(a  3).     f.67. 

29.  "  I  scorn  the  chilling  wind."    f.  69. 

30.  "When  the  Nightingale  doth 
sing"  (a  5).     f.71. 

31.  "  0  Venus,  Regina  Cnidi."     f.  73. 

32.  "  Say,  lovely  Youth."     f.  75. 

33.  "  Hail,  Golden  Star  "  (a  3).     f.  77b. 

34.  "  Shed  Roses."     f.  79. 

35.  "  Star  of  descending  night."      f.  81. 

36.  "  Sweet  Nymph,  around  thy 
hallowd  Shrine "  (a  3) :  elegy  on 
Miss  Maria  Linley.     f.  85. 

37.  "  Bear  me,  ye  winds  "  (a  3).     f.  87. 

38.  "What  tho  no  weeping  Loves": 
elegy,     f .  88b. 

39.  "  0  Lay  me  near  some  Limpid 
Stream"  (a  5).     "1783."     f .  90. 

40.  "Oh  think  not  the  Maid"  (k  3). 
f.  91. 

41.  "Glide  swiftly  on,  thou  purling 
Stream."     f .  91b. 

42.  "In  yon  deep  Bed":  ode  on  the 
death  of  [James  ?]  Thomson,     f .  94. 

43.  "  Ah,  hills  belov'd  "  (a  5).     f.  96. 

44.  "  Resound,  ye  hills."     f.  100. 

45.  "  Let  Sol  his  annual  Journies  run  " 
(a  3).     f.  102b. 

46.  "  Pompey  was  a  madman."     f.  104. 

47.  "When  Arthur  first  in  court 
began  "  (a  3).     f.  106. 

48.  Hence,  away,  despondent  Care" 
(a  5).     Imperfect  at  the  end.     f.  112b. 

49.  "  The  minutes,  the  hours  "  (a  3). 
f.  115. 

50.  "  Forlorn  from  shade  to  shade  I 
rove."     f.ll6. 

51.  "  Dear  Youth,  tho'  hence  I  wander 
far."     f.  116b. 

52.  "  Ye  distant  spires."     f.  118. 

53.  "  Fill  your  glasses  ;  banish  Grief  " 
(a  3).     f.  120. 

54.  "  Ah,  tell  me  why  should  silly 
man  "  (a  3).     f.  122. 

55.  "  Oh  thou,  who  sittst  a  smiling 
bride."     f.  123. 

56.  "  See  in  the  morning."     f.  125b. 

57.  "The  sun  sets  in  night"  (a  3). 
f.  127. 

58.  "Let  Vanity  adorn  the  marble 
Tomb."     f.  127b. 

59.  "  Shall  I  wasting  in  despair"  (a  3). 
f . 129b. 


60.  "  Queen  of  the  Lyre."     f.  131. 

61.  "0   Qui    me   gelidis   in  vallibus" 
(a  3).     f.l32. 

62.  "Take,  oh   take  those  lips  away"' 
(a  5).     f.l33. 

63.  "On     Pleasure's    smooth    wings"' 
(a  3).     f.l35. 

64.  "The     Queen     of     Love"    (a    3). 
f.  136. 

65.  "Hide  me,   oh  Hide  me   in  this 
cooling  cave."     f.  138. 

66.  "Sweet     Offspring    of    enraptured 
May"  (a  3).     f.  139. 

67.  "Here    end    my    chains"    (a    3). 
f .  139b. 

68.  "My   sheep    I    neglected"    (a    3). 
f .  140. 

69.  ' '  When  Paridel  trys  in  the  Dance  '* 
(a  3).     f.l41b. 

70.  "Zephyr,  with  thy  downy  wing."" 
f .  143. 

71.  "How    sweet     amidst     the    calm 
serene."     f.  144. 

72.  "Those    gay  .  .  .  ."       Unfinished^ 
f .  152. 

73.  "Oh    Love,     how    swift"    (a    5). 
f .  169. 

74.  "Ye  fields  with   blighted  herbage 
brown."     f.  171. 

75.  "0     dear     remembered    scenes." 
f.l72. 

76.  "  0[e]r  Paraclete's  sequestred  cell"' 
(a  3).     f.  175. 

77.  "0    thou,    the    friend    of    man." 
f.  176. 

78.  "  Man's  feeble  Race."     f.  177. 

79.  "Where   is  the  Breast  can  rage." 
f.  179. 

80.  "How   lov'd,   how  valued"   (a  5). 
f.  180. 

81.  "  Led  by  the  Muse  "  (a  3).     f.  181. 

82.  "  Descend,  ye  storms."     f.  182. 

83.  "How    dreadful    is    their   doom."' 
f .  183. 

84.  "Hark,    from     the     sacred    oak."' 
f.l85. 

85.  "Where     by     remorse     impell'd." 
f.  186. 

86.  "Say,     Father     Thames"     (a    5). 
f.  188. 

87.  "  Come,  Gentle  Spring."     f.  190. 

88.  "  Fear   no   more   the   heat  of  the 
sun."     f.  195. 

89.  "Farewell    to    Lochaber"    (a    3). 
f.  198b. 


GLEES. 


107 


Additional  27645,  passim. 

Paper  ;   a.d.    1783-1806.      Oblong  quarto.      See  also  under  sacred   Canons 
(vol.  i,  p.  122). 

Glees   (for  4  voices,  unless  the  contrary  is  stated),  in  score,  by 
J.  W.  Callcott.     Autograph. 


1.  "  Go,  plaintive  Breeze  "  (a  5).     f.  2. 

2.  "Adonis  is  no  more."     f.  7. 

3.  "  She,  midst  the  Lightning's  Blaze." 
f.9. 

4.  "  Venit  summa  dies."     f.  11. 

5.  "Hear  how  the  Nightingales "  (a  5). 
"1798."     f.  12. 

6.  "Ah,  hills  belovd"  (a  5).     "1788." 
f.l4. 

7.  "  'Tis    the    soft    descending   rain." 
"1793."     f.23. 

8.  "  Sisters  in  sorrow."    "1793."    f.25. 

9.  "Mona,  Pure  as  this  glittring  race 
of  light."     "1786."     f.27b. 

10.  "Sweet     Bard":      elegy     (a     6). 
"  1786."     f.  29. 

11.  "My    Phillida,    a    dieu":     elegy. 
"1787."     f.39. 

12.  "Fragrant    Flora"    (a    8— double 
quartet).     "1786."     f.  41. 

13.  "No  more,  fond  youth."     "1785." 
f.46. 

14.  "Sigh   not,    ye   winds."      "1791." 
f.56. 

15.  "  Return,  Alpheus  "  (a  3).    "  1791." 


f.58. 

16.  "Ye    beauteous    nymphs"   (a    5). 
"1791."     f.  60. 

17.  "Oh  thou,  err  what  remaynes  of 
thee."     "1789."     f.63. 

18.  "Triumphant      Love."         "Prize 
medal,  1791."     f.  72. 

19.  "  0  thou,  whereer  (thie  bones  att 
reste)."     "1789."     f.  74. 

20.  "  Oh  mother,  mother,  now  advise  " 
(a  3).     "1799."     f.77. 

21.  "Fill    the    horn    of    glossy  hue."" 
"  1799."     f.  80. 

22.  "  Why  does  beauteous  Lina  weep  " 
(a  5).     "1799."     f.  82. 

23.  "  Dull,    repining    Sons    of    Care." 
"  1784."     (Prize  medal,  1785.)     f.  86. 

24.  "As  I  was  going  to  Derby"  (a  3). 
"1790."     f.88. 

25.  "  Green     thorn     of     the     hill     of 
ghosts."     "  1801."     f.  90. 

26.  "  Now  the  spirits   plastic  might." 
"1806."     f.94. 

27.  "My     flocks     feed     not"     (a     3). 
"1799."     f.98. 


Additional  31808,  passim. 

Paper  ;  about  1784  (f.  123)-1826  (f.  49),  etc.  Quarto.  The  MS.  also  contains 
a  secular  Canon  (above,  p.  7),  Catches  (p.  40),  and  Madrigals,  etc.  (late  18th  cent.), 
described  below. 

Glees,  for  3  voices  and  anonymous  (unless  the  contrary  is  stated),. 
in  score. 


1.  "To  the  pale  tyrant"  (a  4).  "  S. 
Webbe."     f.  2b. 

2.  "Just  like  love."  "  Har[monize]d 
by  V.  Novello."     f .  5. 

3.  "If  the  Glasses,  boy,  are  empty." 
Two  copies,  the  second  with  figured 
bass.     fi.  8,  161b. 

4.  "  Let  not  rage  "  (a  4).  "  Set  by  D' 
Arne  ...  for  the  Earl  of  Eglinton." 
f.  11. 

5.  "'Tis  Eve"  (a  4).  "  ReV"  C.  J. 
Smyth."     f.  14. 


6.  "I  gave  my  harp"  (a  4,  beginning 
with  bass  solo).  "I.  W.  Holder,  m.b." 
(in  1792).     f.  16. 

7.  "Faire  Daffodilles."  "  W"  S. 
Stevens,  1821."  Autograph.  Pre- 
sented to  Mr.  Hawes.     f.  22. 

8.  "Sweetly  dawns  the  early  Day." 
"Clement  Smith,  m.d."  (in  1800). 
f.25. 

9.  Love,  inform  thy  faithfull  Creature  "' 
(a  4).     "  [P.]  Hellendaal."     f.28. 

10.  "A    Gen'rous    Friendship"    (a  5).. 


108 


YOCAL  MUSIC— SECULAR. 


"  [S.]  Webbe  [sen.]."     fi.  32b,  156b. 

11.  "The  Greenland  Hunter,"  beg. 
"  Cold  are  the  breezes."  "  D'  Chard." 
f.34. 

12.  "Come  to  the  Greenwood."  "I. 
Worgan,  b.m."  (Mus.  Doc.  in  1775). 
f.  40. 

13.  "Adieu!  sweet  Shades."  "Atter- 
bury."     f.  42. 

14.  "Come,  dear  Pastora."  By  the 
same,     f .  43. 

15.  "Oh  gentle  Love,  assist"  (a  4). 
"Danby."     f.  45b. 

•16.  "The  Bonnie  wee  Wife,"  beg. 
"She's  a  winsome  wee  thing"  (a  4). 
"  Harmonized. .  .by  J.  A.  Tattet. . . 
1826."     The  words  by  Burns,     f.  49. 

17.  "Gazing  on  th'  enliv'ning  Bowl" 
(a  4).     "Alcock."     f.52. 

18.  "Go,  tuneful  Bird"  (a  4).  "  Call- 
cott."     f.  55. 

19.  "Ah,  hills  belov'd"  (a  5).  By  the 
same.     f.  57b. 

20.  "What  time  the  jocund"  (a  4). 
By  the  same.     f.  61b. 

21.  "  May  Harmony  and  mutual  love  " 
(a  4).     "D' Alcock."     f.  65. 

22.  "Hither,  hither,  all  ye  loves." 
"Webbe."     f.  66. 

23.  "Here,  ye  Pow'rs,  0  let  me  rove" 
(a  4).     "Alcock."     f .  68. 

24.  "  Drinking  is  an  English  diversion  " 
(a  4).     By  the  same.     f.  69. 

25.  "  Fill,  fill,  my  Friend,  the  foaming 
Bowl."     f.71. 

26.  Prize  ode,  beg.  "  Tis  Beauty  calls" 
(a  4 — solo  and  chorus).  "[S.]  Webbe 
[sen.],  1776."     f.  77. 

27.  "If 'tis  Joy."  "  Benj°  Cooke."  f.  83. 

28.  "Blest  pair  of  Syrens"  (a  4). 
"Alcock."     f.85. 

29.  "  Breathe  soft,  ye  winds."     f.  92. 

30.  "Her  Eye  proclaims  her  sprung 
from  Jove."     f.  94. 

31.  "Weep,  all  ye  Muses"  (a  4);  with 
an  {autograph  ?)  emendation,  fi.  100, 
101. 


32.  "While  George  in  sorrow  bows": 
epitaph  on  General  Wolfe,     f.  103. 

33.  "Alas,  what  boast":  described  as 
"Elegiac  on  seeing  the  Celebrated 
K[itty]  F[ishe]r  in  her  Coffin." 
"  Dr.  Harington."     f.  105b. 

34.  "Ye  woods  and  ye  valleys,  la- 
ment "  :  elegy,     f.  107. 

35.  "  A  Lover  once  I  did  espy."    f.  109. 

36.  "What  chilling  Thought"  (a  4). 
f.  111. 

37.  "Peace  to  thy  feeling  Heart"  (a  4). 
f.  115. 

38.  "As  the  fond  Mother"  (a  4).  On 
the  death  of  Dr.  Johnson,    f.  117. 

39.  "While  the  "Vine's  balmy  Juice." 
f .  119. 

40.  "  With  two  black  eyes."     f.  121b. 

41.  "Let  the  Waiter  bring  clean 
Glasses."  "John  Soaper,  1784." 
f.l23. 

42.  "When  charming  Chloe"  (a  6). 
"S.  Webbe."     f.l25. 

43.  "  Me  non  sdegni."    "1789."    f.  130. 

44.  "Welcome,  welcome,  ev'ry  guest." 
f.  133. 

45.  "  It  is  not  that  winds  loudly  roar  " 
(a  4).     f.  137b. 

46.  "Peace.  .  .  to  the  souls  of  the 
Heroes."  "I.  W.  Callcott,  m.b."  (in 
1785).     f.  141b. 

47.  "Come,  live  with  me"  (a  4). 
"  Samuel  Webbe."     f .  144b. 

48.  "  Great  God  of  sleep."  "Worgan." 
f.  148b. 

49.  "  Hush  !  Hush  !  the  God  of  Love." 
"  [S.  (?)]  Long."     f.  150b. 

50.  "In  vain  you  tell"  (a  4,  with  a 
bass  for  harpsichord),     f.  154b. 

51.  "  Voglio  andare."     f .  155b. 

52.  "Adieu  to  the  Village."  By  J. 
Baildon.     f.  161b. 

53.  "Collabottigliainmano."  "Cocchi." 
f.  164b. 

54.  "  Hence,  all  ye  vain  delights  "  (a  6). 
"  S'  Webbe."     f.  167b. 


Additional  34608,  f.  33b  (reversed). 

Paper;  about  1785-1789.     Oblong   octavo.     See   also   under  Anthems  (vol.  i, 
p.  74). 

"  When    Troy   town   had   for  ten    years  past "  ;    for   4   voices,   in 
score,  in  the  hand,  and  probably  the  composition,  of  J.  Stafford  Smith. 


GLEES. 


10& 


Additional  31811,  passim. 

Paper;  a.d.  1785  (f.  29b)-1818  (f.  73),     Oblong  folio.     See  also  under  Catches 
(above,  p.  40). 

Glees,  for  4  voices  and  in  score  (unless  the  contrary  is  stated). 


1.  "  Turn,  Amarillis."  "  Thos.  Brewer." 
f.  6. 

2.  "  Adieu  to  the  Village  "  (a  3).  "  Jos. 
Baildon."     f.  11. 

3.  **  Ah  !  fading  joy  "  ;  the  bass  part  to 
be  doubled  by  a  violoncello  or  piano- 
forte.    "  I.  Tyndall,  1785."     f.  29, 

4.  "  To  fair  Fidele's  grassy  tomb  "  (a  3), 
The  melody  by  [Rev,  — ]  Carter. 
"Harmonized  by  R.  J.  S.  Stevens." 
The  words  by  William  Collins,  of 
Chichester,     f.  60. 

5.  "Hush!  ev'ry  rude  and  vulgar 
noise."  By  Samuel  Pegge.  Water- 
mark 1794.     f .  63. 

6.  "  A  gen'rous  friendship"  (a  5).  In 
compressed  score.  "  [S.]  Webbe 
[sen]."     f.67. 

7.  "Sweet  stream."  "Sam.  Webbe, 
Jun'."  Autograph.  Unsuccessfully 
performed  at  his  father's  benefit 
(see  note  by  R.  J.  S.  Stevens  at  end), 
f.  69. 

8.  "  You  pretty  birds."  "  W"  Horsley." 
Watermark  1818.  The  words  are  by 
Dryden.     f .  73. 

9.  "An  awful  gloom."  "  F.  H.  Bar- 
thelemon,  1797."     ff.  85,  85b. 

10.  "  Sweet  muse,  who  lovst  the  Virgin 
Spring"  (a  5 — solo  and  chorus).  In 
parts.     In   the   hand,   and  probably 


the  composition,  of  R.  J.  S.  Stevens. 
f.87. 

11.  "Anti  Syrens,"  beg.  "Think  not 
true  pleasure "  (a  3).  "  Stafiord 
Smith."     f.  95. 

12.  "Hark,  the  hollow  woods";  with 
an  additional  first  soprano  part  and 
horn  parts.  By  the  same.  fE.  97- 
101. 

13.  "  Gentle  swains,  unseal  your  eyes  " 
(a  5).     Anonymous,     f.  109. 

14.  "  Push  the  rosy  goblet  round  "  (a  3). 
Anonymous,     f.  111. 

15.  "  When  shall  we  three  meet  again  " 
(a  3— bass  part).  By  S.  Webbe.  Im- 
perfect,    f.  116. 

16.  "  Search  where  ambition  rag'd " 
(a  3).  By  J.  W.  CaUcott,  "  1785." 
f.  117. 

17.  "Say,  lovely  Youth."  By  the 
same,  "1785."     f.ll9. 

18.  "  Make  there  my  tomb."  Anony- 
mous,    f.  125. 

19.  "Music,  the  fiercest  grief"  (a  3). 
Anonymous,     f.  127. 

20.  "  Wheree'er  my  Delia  comes." 
Anonymous,     f.  150. 

21.  "Breathe  soft,  ye  winds"  (a  3). 
Anonymous.  The  words  from  Au- 
brose  Philips'  Pastorals.     1. 164  b. 


Additional  19647,  S.  43,  108. 

Paper ;  a.d.  1786,  etc.     Oblong  folio  and  folio.     See  also  below,  under  Songs 
(1786-1789). 

Vocal  compositions  for  3  voices,  in  score,  by  J[ames]  Hook. 


1.  "TheReveillee,"  beg."  Rise,  Cynthia, 
rise":  "Glee,"  with  symphony  and 
accompaniments  for  flutes,  horns, 
and  strings,  in  score,  "  1786."  Azito- 
graph.     The  words  are  by  the  Earl 


of  Orford.     Sung  by  [Charles]  Incle- 
don,  and  others,     ff .  43-46b. 
2.  "  Golden  Sun  "  :  described  as  "  can- 
zonett,"    without     accompaniment. 
f.  108. 


110 


YOCAL  MUSIC— SECULAR. 


Additional  34126,  fF.  20b-57  passim. 
Paper ;  about  1789.     Oblong  octavo.     See  also  below,  under  Songs. 
Glees,  for  3  voices,  in  score. 


1.  "Gripe'm    greedy."     "  W.   Tansur, 
Senr."     f.  20b. 

2.  "Ye  tbat  in  Concert  sing."     By  tbe 
same.     f.  21b. 

3.  "Fair  Venus."    Anonymous,    f.  22b. 

4.  "  Ob  ye  wbo  bathe  in  Courtly  bliss." 


Anonymous.      The     words     are     by 
Dodsley.     f .  35b. 

5.  "Beneath    the    silent    rural   Cell." 
"Harington."     f.  38. 

6.  "  Gentle  Sighs  my  Soul  discover." 
By  the  same.     f.  57. 


Additional  27644,  passim. 

Paper;    a.d.    1789-1799.      Oblong   quarto.      The   MS.   belonged   to   William 
Hutcbins  Callcott.     See  also  under  Anthems  (vol.  i,  p.  95). 

Glees,  for  3  voices  (unless  the  contrary  is  stated),  in  score.     They 
are,  with  the  exception  of  no.  21,  by  Dr.  J.  W.  Callcott.     Autograph. 

12.  "Are  the  white  hours  for  ever  fled  " 
(a  4).     "1789."     f.22. 

13.  "You  gentlemen  of  England." 
"1792."     f.  24. 

14.  "From  the  chambers  of  the  east." 
"1799."     f.25. 

15.  "See,  with  ivy  chaplet  bound." 
"  1791."     (Prize  medal,  1792.)     f.  27. 

16.  "Go,  Idle  Boy"  (a  4).  "Prize 
Medal,  1789."     f.  29. 

17.  "  Lovely  seems  the  moon's  fair 
lustre  "  (a  4).     "  1790."     f.  81. 

18.  "  0  snatch  me  swift  from  these 
tempestuous  scenes  "  (a  5).  "  1790." 
f.88. 

19.  "Triumphant  Love  "(a  4).  "1790." 
(Prize  Medal,  1791.)     f.  88. 

20.  "  Father  of  Heroes  "  (a  5).  "1791." 
(Prize  Medal,  1792.)     f.  40. 

21.  "  The  leaf  that  falls  in  autumn's 
hour  "  (a  5).  "  Sir  A.  W.  Callcott." 
Atitograph.     f.  45. 


1.  "Forgive,  blest  shade."  "1795." 
f.4. 

2.  "It  was  a  fryer  of  order  gray." 
"1795."     f.  4b. 

3.  "Quando  ben  finises."  "1799." 
f.6. 

4.  "  Aldiberontiphoscophoruio."  Im- 
perfect.    [1799.]     f.  6b. 

5.  "  Desolate  is  the  dwelling  of  Morna." 
"1799."     f.  7. 

6.  "The  Red  Cross  Knight,"  beg. 
"  Blow,  warder,  blow."    "1797."   f .  9. 

7.  "Who  comes  so  dark."  "1791." 
f.l3. 

8.  "Peace  ...  to  the  souls  of  the 
heroes."  This  and  nos.  9-11  appear 
to  have  been  written  originally  for  1 
voice,     f.  15. 

9.  "  In  the  lonely  vale  of  streams  "  (a  4). 
"1798."     f.  17. 

10.  "Mark  the  merry  elves."     f.  19. 

11.  "  Ah,  why  this  boding  start  "  (a  4). 
"1796."     f.  20. 


Additional  31723,  f.  7. 

Paper  ;   about  1790  (supposed  date  of  publication).      Folio.      See  also  under 
Oratorios  (vol.  i,  p.  377). 

"  Daughter  sweet  of  voice  and  "air  "  ;  for  5  voices,  in  score,  by 
Samuel  Webbe  [jun.  1].     Apparently  autograph. 

Additional  35003,  ff.  69,  97. 

Paper;  a.d.  1791.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  849). 

"  Say,  can  pow'r  and   lawless   wealth " ;    for  3   voices,  by  Samuel 
Wesley,  1791.     Autograph.     In  parts  (fF.  69-74),  and  in  score  (f.  97). 


GLEES. 


Ill 


Additional  31671,  fF.  38-7 lb  passim. 

Paper;  about  1794-1811  (see  below).  Oblong  quarto.  No.  8  belonged  to 
Thomas  Greatorex ;  no.  9  was  presented  by  its  composer  to  the  Ooncentores 
:[Sodales].     See  also  under  Catches  (above,  p.  31). 

Glees,  for  3  voices  (unless  the  contrary  is  stated),  in  score. 

1.  "  Why  should  the  lover."  By  John 
Davy.     Aiitograph.     f .  38. 

2.  "  Ah,  better  far  beneath  the  spread- 
ing shade."  By  the  same.  Auto- 
graph,    i.  40. 

3.  "Slow,  fresh  fount"  (a  4).  "Wm. 
Horsley."     Autograph,     f .  48b. 

4.  "Go,  tuneful  Bird"  (a  4).  Water- 
mark 1794.  This  and  nos.  5-7  are 
by  "  Dr.  Crotch."     f.  53. 


5.  "  To  love  thee,  0  my  Emma."    f.  56. 

6.  "  Hence,  Bacchus."     f.  59. 

7.  "  Nymph,  with  thee  at  early  dawn." 
f.61b. 

8.  "Low  in  a  vale."  "  W.  Hawes." 
f.64. 

9.  "Take,  0  Take,  those  lips  away" 
(a  4).  "Jas.  Elliott."  Watermark 
1811.     f.69. 


Additional  31715,  passim. 

Paper ;    a.d.   1797-1811.      Oblong   folio.      See   also   below,   under   Madrigals 
(1802,  1805). 

Glees,   for   3  voices  (unless  the  contrary  is  stated),  in  score,  by 
WilHam  Linley.     Autograph. 


1.  "  Sweet  warbler."     "1797."     f.2. 

2.  "  Sweet  Echo  sleeps  "  (a  4).     f.  5. 

3.  "  DovTn  in  the  gleamy  vale"  (a  4). 
"1799."     f.  11. 

4.  "  In  secret  pining."     "  1800."    f.  15. 

5.  "Rosy    God    of    wine."      "1800." 
f . 19b. 

6.  "  Come,  Chloe,  fill  the  genial  Bowl." 
"  1800."     f.  24. 


Sway."     "  1805."     f.  50. 

11.  "  Have   you  not   seen."      "  1805." 
f.60. 

12.  "  How    sweetly    could    I    lay   my 
head."     "1805."     f.64. 

13.  "Lone  Bird  of  Eve  "(a  4).    "1805." 
f.67. 

14.  "Chloris,     I     swear":      epigram. 
"1806."     f.72b. 


7.  "0    fairest    of    the    virgin   Band."  |  15.  "Your     mother     says."      "1809." 
"1800."     f.28.  !       f.74. 

8.  "Thou    to    whom    the   World   un-  i  16.  "  0  Virgin  pale."     "1810."     f .  76. 
known"  (a4).  "1800."  FromCollins'  |  17.  "  Hail,  great  Apollo  "  (a  4).   "1810." 
"Ode  to  Fear."     f.32.  f.82. 


9.  "Poor   Adelaide"    (a   4).      "1800." 
f.42. 

10.  "  How  sweet  is  Love's  first  gentle 


18.  "  How  can  I  sing."    "1811."    f .  89. 

19.  "Fill    high    the    Cup."      "1811." 
f.92. 


Additional  14343,  f.  53. 

Paper  ;  a.d.  1798.     Oblong  folio.     See  also  below,  p.  119. 

"  Roses,  their  sharp  Spines  being  gone " ;  for  3  voices,  in  score, 
by  Samuel  Wesley.  Autograph.  "Received  Aug.  29,  [17]98."  The 
words  are  from  Beaumont  and  Fletcher's  "Two  Noble  Kinsmen." 


112  VOCAL  MUSIC— SECULAR. 

Additional  5337,  fF.  83,  85. 
Paper;  18th  cent.     Quarto.     See  also  under  Oratorios  (vol.  i,  p.  367). 
Two  Compositions  for  3  voices,  in  score. 


1.  Glee  in  praise  of  Sack,  beg.  "Sack 
is  the  prince  of  wines."  "D'  Jn° 
Wilson."     f.  83. 


2.  "Elegy,"     beg.     "View     here     the 
Youth."     "W-^Boyce."     f .  85. 


Additional  29291,151. 

Paper;  18th  cent.     Small  folio.     See  also  under  sacred  Canons  (vol.  i,  p.  123). 
Glees  for  3  voices,  by  James  Corfe. 


1.  ["Fill  the  bowl."]  The  last  fourteen 
bars  only.  Published  posthumously 
by   the   composer's   nephew,  Joseph 


Corfe,  in  1800. 
2.  "  Come,  Damon,  leave  thy  sadness.'' 


Additional  30842. 

Paper ;  ff.  5.     Second  half  of  the  18th  cent.     Quarto.     Presented  by  Major- 
G.  A.  Crawford. 

"Queen  of   fancy";    for    3    voices,   in    score,  by  Thomas    Carter, 
AutograpJi. 

Additional  25074,  f.  5b  ;  25075,  f.  23b. 

Paper;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas  (1799). 

"  Adieu    to    the    Village " ;    in   compressed    score.      [By   Joseph 
Baildon.]     Two  copies. 

Additional  34609,  ff.  53b,  79b,  80. 

Paper ;  late  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  92). 
Original  sketches  of  Glees,  in  short  score,  by  J.  Stafford  Smith. 


1.  "The   roving   bee   at   early  dawn." 
f.  53b. 

2.  "  Hark,  y  hollow  woods  resounding." 
Different    from    the    glee    to    those 


words   in   Add.   31811,   f .  97    (above^ 
p.  109).     f.  80  (reversed). 
3.  "Happy   are   we   met."     f.  79b   (re- 
versed). 


Additional  30950,  f.  136. 

Paper ;  18th-19th  cent.     Quarto.     See  also  below,  under  Operas. 
Sketch  of  a  Glee,  without  words,  by  Charles  Dibdin.     Autograph. 

Additional  30957,  passim. 

Paper ;  18th-19th  cent.     Oblong  folio.    The  MS.  also  contains  Catches  (above, 
p.  42),  a  Chorus  (p.  49),  and  other  compositions,  described  below. 

Glees  composed  or  collected  by  Charles  Dibdin,  apparently  intended 
for  insertion,  with  instrumental  accompaniments,  in  his  dramatic  works, 


GLEES. 


113 


Nos.  1,  4  and  5  are  autograph.     Unless   the  contrary  is   stated,  they 
are  for  3  voices,  and  in  score. 


1.  "Break  off,  break  off."  A  single 
part.     f.  3. 

2.  "Would  ye  know  where  freedom's 
found."     f.  5b. 

3.  "Give  me  the  man  who  freely 
quaffs."  Two  3rd  voice  parts  and 
one  4th  voice  part.     ff.  12b-17. 

4.  "Do  re  mi  fa  sol  la."     f.  32. 


5.  "Hither    come    and    follow    me." 
f.  32b. 

6.  "Kind     relief."      Tenor    and    bass 
parts,     ff.  35,  37. 

7.  "Love    delights    the    Giddy   Lad" 
(a  2).     f.39b. 

8.  "Sister   of    Phoebus."      2nd    tenor 
and  bass  parts,     ff.  60b,  52b. 


Additional  31809,  passim. 

Paper ;  18th-19th  cent.  Oblong  folio.  The  MS.  also  contains  Catches  (above, 
p.  43),  Madrigals,  Songs  (1761),  both  described  below,  and  Pianoforte  Solos 
(in  vol.  iii). 

Glees,  for  4  voices  (unless  the  contrary  is  stated),  in  score.  The 
gi-eater  part  of  the  MS.  is  in  the  hand  of  —  Foulis,  probably  the 
amanuensis  of  that  name  employed  by  R.  J.  S.  Stevens  (see 
Add.  31811,  f.  28b). 


1.  "As  now  the  shades  of  Eve."  "Dr. 
Cooke."     f.  1. 

2.  "When  winds  breathe  soft"  (a  5). 
"Sam'Webbe."     f .  9b. 

3.  "When  to  the  Muses' haunted  Hill"  : 
described  as  "Occasional  Ode,"  for 
solo  voices  and  5-part  chorus.  "  J. 
S.  Smith."     f.  16b. 

4.  "Slender's  Ghost,"  beg.  "Beneath 
a  churchyard  yew."     "Mich'  Rock." 


f.22. 

5.  "Hail,  hallow'd  Fane."     "Earl  of 
Mornington."     f.  25. 

6.  "Sweet  Thrush."     "  Jno.   Danby." 
f.  28b. 

7.  "Come,     fairest    Nymph"     (a    3). 
"  Earl  of  Mornington."     f.  32b. 

8.  "  Sweet  Muse,  inspire  thy  suppliant 
Bard."     "  Dr.  Arne."     f.  36. 


Additional  36662,  ff.  18-19b. 

Paper ;    beginning  of   19th  cent.     Oblong  folio.      See  also  under  Oratorios 
(vol.  i,  p.  378), 

"  Ye  darksome  Woods " ;  for  3  voices,  with  a  few  occasional 
notes  of  symphony,  apparently  for  organ  or  pianoforte,  in  score. 
Anonymous.     The  words  are  by  Robert  Bloomtield. 


Additional  30521,  f.  19. 

Paper;  early  19th  cent.     Quarto.     See  also  below,  under  Songs  (1824). 

"  Love   in   a  shower " ;    for    3    voices,  in   score,   by   R.   A.   Firth. 
Autograph  (?). 

Additional  34073,  f.  97b. 

Paper  ;  early  19th  cent.     Oblong  folio.     See  also  under  Anthems  (vol.  i,  p.  97). 

Sketch,  unfinished,  of  a  "  Serious  Glee  on  the  Death  of  [James] 
Thomson,  Author  of  the  Seasons,  by  Mr.  Collins."     In  the  hand  of 
n  I 


114  VOCAL  MUSIC— SECULAR. 

Vincent  Novello,  who  is  probably  its  composer.     For  4  voices,  in  score. 
Begins  "  In  yonder  gi'ave  a  Druid  lies." 


Additional  34725,  £.121. 

Paper  ;  early  19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

"  Awake,  my  Harp,  some  joyful  measure  "  :  Glee  for  2  sopranos 
and  bass,  with  pianoforte  accompaniment,  in  score,  by  Henry  Rowley 
Bishop.  Autograph.  In  the  latter  part,  the  bass  has  not  been 
filled  in. 

Additional  31812,  ff.  86-118  passim. 

Paper  ;  a.d.  1800  (f.  100)-1837  (^Yatermark,  f.97).  Quarto.  Most  of  the  pieces 
in  the  MS.  appear  to  have  been  belonged  to  R.  J.  S.  Stevens.  It  also  contains 
Madrigals  (1813),  Odes  (1828),  Songs  (1798),  and  other  compositions,  described 
below,  and  in  vol.  iii. 

Glees,  for  4  voices  and  in  score,  unless  the  contrary  is  stated. 

1.  "Fill  all  the  glasses."     "  C.  Evans."    [       In  parts.     "  R.  J.  S.  Stevens,  1800." 
[1812].     Autograph  C?) .     f.  86.  Originally  sung  by  [Reginald]  Spof- 


2.  "When  should  lovers  breathe  their 
vows"  (a  5).  "T.  F.  Walmisley." 
f.90. 

3.  "  Hail,  lovely  Shade  "  (a  3).  "Rev" 
Mr.  Jenner."     f.  98. 

4.  "  Raise  the  song  of  mourning  "  (a  5) : 


forth,  [Samuel]  Webbe  [jun.]  and 
[James]  Bartleman.  The  words  from 
Ossian.     f.  100. 

5.  "  Whence  comes  my  love  ?  "     By  the 
same.     f.  113. 

6.  "  To  the  pale  Tyrant."     Unfinished. 


described  as   "Glee  and   Cho[ru]s."  By  Samuel  Webbe.     f.  118. 

Additional  31815,  passim. 

Paper ;  a.d.  1800,  etc.     Oblong  folio.     See  also  under  Oratorios  (vol.  i,  p.  373). 

Compositions  for  solo  voices  and  chorus,  without  accompaniments, 
in  parts,  by  R.  J.  S.  Stevens.  Autograph.  Nos.  1  and  2  are  described 
as  "  Odes." 

1.  "Raise    the    song   of    mourning";  ter-tenor,  1st   and    2nd    tenor,   and 
three  more  copies  of  no.  4  of  the  pre-  bass),     f.  109. 

ceding  MS.     g.85,  94,  102.  |   3.  "Come,  oh  come,  etherial  Guest" 

2.  "Hail,  meek  ey'd  mercy"    (?  for  6  (for  5  voices — counter-tenor,  3  tenors, 
voices — 1st  and  2nd  soprano,  coun-   i       and  bass),     f.  120. 

Additional  34007,  f.  51. 

Paper;  a.d.  1802.     Oblong  folio.     See  also  below,  under  Songs  (1804). 

"Oberon":  Glee  for  5  voices,  beg.  "Hither,  hither,  spoi'tive 
maids";  written  by  James  Hook  for  Vauxhall  in  1802.  Autograph. 
There  are  accompaniments  for  flutes,  violins,  horns,  tenor,  and  bass, 
in  score. 


GLEES. 


115 


Additional  27643,  ff.  2-1 4b. 

Paper ;  about  1803-1812.  Quarto.  The  MS.  belonged  to  William  Hutchins 
Callcott.  It  also  contains  a  sacred  Canon  (vol.  i,  p.  120),  a  sacred  Song  [ib. 
p.  451),  Catches  (above,  p.  33),  and  a  secular  Song  (1810),  described  below. 

Glees,  in  score,   by   Dr.    J.  W.   Callcott.     Autograph.     The  first 
three  are  for  3  voices. 


1.  "Ye  Mariners  of  England."    "1810." 
f.  2. 

2.  "When    Time   was   entwining    the 
garland."     "1803."     f.  4. 


3.  "Soft  blows  the  wind."  "1812." 
f.6. 

4.  "See,  baleful  Iris"  (double  quartet). 
The  initials  at  the  beginning  are 
evidently  those  of  the  singers,     f .  8. 


Additional  32021,  passim. 

Paper;  a.d.  1806-1850.  Oblong  quarto.  The  MS.  also  contains  sacred  Canons, 
(vol.  i,  p.  127),  a  sacred  Chorus  {ib.  p.  166),  a  sacred  Quartet  (ib.  p.  4),  Catches 
(above,  p.  44),  and  a  Pianoforte  Solo  (1825),  in  vol.  iii. 

Glees,  for  4  voices  (unless  the  contrary  is  stated),  in  score,  by 
Thomas  Miles.  Autograph.  The  names  of  the  authors  of  the  words, 
etc.,  are  generally  given  in  brackets. 


1.  "Hail,  Innocence,  celestial  maid" 
(a  3).     "1807."     (Ogilvie.)     f.  2b. 

2.  "Within  this  cot."     [1807.]     f.  5. 

3.  "  0  sacred  solitude."  "  1806." 
(Dr.  Young.)     f.  6b. 

4.  "Pride,  pomp,  and  pleasures  of  the 
world."     "1811."     f.  11. 

5.  "What,  tho'  around  the  warrior's 
bed":  dirge.  "1815."  (Charlotte 
Nooth.)     f.  13. 

6.  "  Far  in  some  shady  blest  retreat." 
"1812."     (Ogilvie.)     f.  15. 

7.  "Hail  to  this  happy  day"  (a  3). 
[1816.]     f.  19b. 

8.  "  Beneath  those  rugged  elms  "(a  5). 
"1821."     (Gray's  "  Elegy.")     f.  23b. 

9.  "  Of  all  the  birds  on  bush  and  tree  " 
(a  3).     (Scott's  Kenihvorth.)     f.25b. 


Opera  of  Love  in  a  Village  Harmon- 
ized ...  by  Thomas  Miles."  The 
so-called  opera  was  a  pasticcio 
compiled,  about  1790,  from  works  by 
the  composers  mentioned  below,  and 
many  others.  "  [S.]  Howard." 
f . 46b. 

15.  "  How  blest  the  maid  "  (a  3). 
"1823."     "Galuppi."     f .  47b. 

16.  "Oh,  how  shall  I  in  language 
weak."     "1824."     "Carey."     f .  48b. 

17.  "Gentle  youth,  ah  tell  me  why." 
[1826.]     "D^Arne."     f .  50b. 

18.  "Let  gay  ones  and  great"  (a  3). 
"1850."     "Baildon."     f .  51b. 

19.  "Drink  ye  to  her  that  each  loves 
best."  "1824."  (Thomas  Campbell.) 
f.53. 


10.  "The  Sun,   when  rising  from   his      20.  "  Bring  the  bowl  which  you  boast " 


bed."     "1819."     f.  28. 

11.  "There  came  three  merry  men" 
(a  3).  "1820."  (Scott's  Ivanhoe.) 
f.  31b. 

12.  "Come,  fill  the  bowl."  "1823." 
(Henry  Neele.)     f.  35. 

13.  "  Ye  gentle  muses  "  (a  5).  "1823." 
(Pope's  "  Winter.")     f.  38b. 

14.  "0  had  I  been  by  Fate  decreed." 
"1823."  This  and  Nos.  15-18  are 
headed    "  Sis    (sic)    Airs    from    the 


(a  3).     "1826."     (Scott's  Woodstock.) 
f.57. 

21.  From  that  celestial  orb."     "  1826." 
f.  59. 

22.  "Balmy   pledge   of   love   sincere." 
"1828."     f.  62. 

23.  "I  think  the   Prog  A  jolly  dog" 
(a  3).     "1845."     f.65. 

24.  "  What    is    Beauty  ?       Who    can 
show?"  (a  3).     "1850."     f.67. 

I  2 


116 


VOCAL  MUSIC— SECULAR. 


Additional  14340,  ff.  40-52. 

Paper ;  a.d.  1807.     Quarto.     See  also  under  Motets  (vol.  i,  p.  318) 

Glees,  in  score,  by  Samuel  Wesley. 

1.  "What  Bliss  to  Life  can  Autumn 
yield"  (a  3).  "1807."  Autograph. 
The  words  from  Dr.  Johnson's 
"Autumn."     f .  40. 

2.  "If  in    fighting   foolish    Systems" 


(a  3).     "1807."     Autograph,      f .  46b. 
3.  "Life  is  a  jest"  (a  4).     Apparently 
in    the    hand    of     Matthew    Cooke. 
f.51. 


Additional  35005,  ff.  49-65b,  115. 

Paper  ;  a.d.  1807-1836.     Quarto.     See  also  below,  under  Songs  (1783-1785). 
Glees  for  3  voices,  in  score,  by  Samuel  Wesley.     Mostly' autograph. 

1.  "What   bliss   to    life   can   Autumn       4.  "Here  shall  the  Morn  "  (a  4).     The 
yield."     "1807."     f.  49.  |       words   from   Pope's   "Elegy   on    an 

2.  "While   ev'ry   short-liv'd    Flow'r."    |       unfortunate  Lady."     f .  59. 

[1822.]     f.  53.  !   5.  "Part  of  the  41st  Ode  of  Anacreon." 

8.  "  Goosy,    goosy,    Gander."       About   j       ["Hilaroi  piomen,"  see  Add.  14343, 
1836  (watermark),     f.  57.  I       below,  p.  119].     Copy.     f.ll5. 


Additional  31716,  passim. 

Paper;  a.d.  1808-1819.     Oblong  folio.     The  MS.  also  contains  a  Madrigal 
(1812),  described  below. 

Glees  for   4  voices  (unless  the  contrary  is  stated),   in    score,   by 
William  Linley.     Autograph. 


1.  "No,  never  shall  my  soul  forget." 
"1812."     f.  2. 

2.  "  Phillis,  you  little  rosy  Rake  "  (a  3). 
"1813."     f.l2. 

3.  "  God  of  the  Bow  "  (a  3).  "1815." 
f.l4. 

4.  "There  is  strange  Music"  (a  3): 
elegy.     "1816."     f.  18. 

5.  "If  ought  of  oaten  stop"  (a  3). 
"1816."  From  Collins's  "Ode  to 
the  Evening."     f.  22. 

6.  "lam  the  Comforter  of  those  that 
mourn ":  elegy.     "1816."     f.  27. 

7.  "Go,  musing  Traveller."  "1817." 
f.32. 

8.  "Chant  we  the  Requiem."  "1817." 
f.  38. 

9.  "At  that  dread  Hour."  "1818." 
Gained  Prize  Medal  of  Catch  Club 
in  1821.     f.  46. 


10.  "Frolick  and  free."  "1819." 
f.  55. 

11.  "Ere  yet  we  Slumbers  seek." 
"1819."     f.63. 

12.  "  Ye  little  Troops  of  Fairies  "  (a  3). 
This  and  the  remaining  numbers 
appear  to  be  taken  from  Fairy 
Fantasies,  1808-1809.     f .  67. 

13.  "  Hark  1  from  yon  ruin'd  Abbey 
Walls."     f.71. 

14.  "Zephyr,  whither  art  thou  stray- 
ing" (a  3).     f.78. 

15.  "Sweet,  airy  Being."  The  words 
by  Thomas  Moore,     f.  82. 

16.  "Would  you  the  Fairy  Regions 
see"  (a  8).    f .  89. 

17.  "  Now  the  blue  Fly's  gone  to  Bed." 
f.92. 

18.  "  On  the  Down  of  a  Thistle  I  fly." 
f .  98. 


GLEES,  117 


Additional  19648,  ff.  16,  18. 

Paper ;  a.d.  1810.  Quarto.  The  MS.  also  contains  sacred  Canons  (vol.  i,  p.  128), 
a  secular  Canon  (above,  p.  10),  Catches  (p.  44),  Duets  (p.  94),  and  other  compositions 
described  below  and  in  vol.  iii. 

Glees  for  3  voices,  in  score,  in  the  hand  of  D.  Bruguier,  to  whom 
the  volume  appears  to  have  originally  belonged. 


1.  "To  sing  of  Love's  passion."     "D. 
Bruguier,  1810."     f.  16. 

2.  "  0  young   Lochinvar  !  "     Adapted 


by   the  same  from   "  T.   Attwood." 
f.  18. 


Additional  35003,  fF.  75-98b. 

Paper ;  a.d.  1811-1822.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  349). 

Glees  by  Samuel  Wesley.     Unless  the  contrary  is  stated,  they  are 
for  3  voices,  in  score,  and  autograph. 


1.  "The  Rights  of  Man,"  beg.  "  While 
others,  Delia,  use  their  Pen."  About 
1811  (watermark),     f .  75. 

2.  "Now  the  trumpets'  martial  sound  " 
(a  4).  "1815."  On  the  Peace  of 
1814.     f.  79. 

3.  "While  evry  short-liv'd  Flower" 
(a  4).     "1822."     f.  83. 

4.  "There  are  by  fond  Mama  supplied 
Six  reasons  against  Sammy's  ride  "  ; 
with  a  bass.     An  early  composition. 


f.86. 

5.  "On  the  salt  wave  we  live";  with 
accompaniment  apparently  for  2 
violins  and  a  bass,     f .  88. 

6.  "  When  Friendship,  Love,  and  Truth 
abound."     f.  91. 

7.  "Roses,  their  sharp  spines  being 
gone."  The  words  from  Beaumont 
and  Fletcher's  "Two  Noble  Kins- 
men."    f.  95. 


Additional  34610,  ff.  35,  37-40b  passim. 

Paper;  about  1812  (see  ff.  31,  32).     Quarto.     See  also  under  Anthems  (vol.  i, 
p.  93). 

"  Retirement  "  :  a  serious  glee  for  4  voices,  beg.  "  To  these  lov'd 
shades,"  by  Matthew  Cooke.  Autograph..  In  score  (f.  35),  followed  by 
the  single  parts  (ff.  37b,  38b,  39b  and  40b). 

Additional  14342,  f.  69. 

Paper ;  a.d.  1813.     Oblong  folio.     See  also  under  Masses  (vol.   ,  p.  234). 

"  Old  King  Cole  "  ;  for  3  voices,  in  score,  by  Samuel  Wesley,  1813. 
Autograph. 

Additional  34803,  ff.  33b,  67. 

Paper ;  A.D.  1822.     Quarto.     See  also  below,  under  Songs  (1820-1824). 
Glees  for  4  voices,  by  John  Lodge  Ellerton.     Autograph. 

1.  "  Wreath[e]  the  bowl  with  flowers  of  I       apparently   a  glee  for  soprano,  two 
soul."     In  score.     "1822."     f.  33b.  tenors  and  bass.     In  parts,     f.  67. 

2.  "Far  in  the  chambers  of  the  west "  : 


118 


VOCAL  MUSIC— SECULAR. 


Additional  36966-36968,  passim. 

Paper  ;  a.d.  1830-1834.     Oblong  folio.     See  also  below,  under  Songs. 

"  Glees,"  for  3  voices  (unless  the  contrary  is  stated),  composed  by- 
Henry  R[o\vley]  Bishop  for  Vauxhall  Gardens.  With  symphonies  and 
accompaniments  for  horns,  clarinets,  flutes  (ottavino  and  traverso), 
oboes,  bassoons,  trumpets,  kettledrums  and  strings,  and  occasionally 
also  bass-drum,  cymbals,  triangle  and  trombones.  In  the  seventh, 
piece  (36968,  f.  78)  side-drum,  bell  and  "  crash "  are  also  used. 
Generally  in  two  separate  scores.     Autograph. 


86966.  1.  "  The  Palmer  Knights." 
"1830."     ff.2-11. 

3696Y.  1.  "The  Thistle,  the  Sham- 
rock and  Rose,"  beg.  "In  a  lovely 
bow'r  one  day."     "1831."     ff.2-11. 

2.  "The  Fisherman's  Good  Night" 
(a  4),  beg.  "  Lo!  the  day's  champion." 

36968.       1.  "  AU    in     the     greenwood 

shade."     "1833."     f .  70. 
2.  "The  Enraged  Musician  "  (a  4),  beg. 

"0!  pray  have  you  never   heard  of 


2.  "Four  merry  boys  are  we"  (a  4). 
"1830."     tf.96-109b. 

"1832."     ff.l37-142b. 

3.  "Bacchanalian,"  beg.  "0!  were  the 
sea  a  sea  of  wine."  "1832."  ff.  196- 
205b. 


Signer  Scratchimento"  (a 4).  "1834." 
ff.  78-99. 
3.  "When  the  moon  is  riding  high" 
(for  3  sopranos).  "1834."  ff.  200-213. 


Additional  30273,  ff.  4,  5b. 

Paper;  about  1833  (watermark,  f.  35).     Narrow  oblong  octavo.    See  also  under 
Catches  (above,  p.  45). 

Glees  for  3  voices,  iu  score,  by  Dr.  Henry  Harington. 

1.  "  What  shall  we  sing  now."     f.  4.  met."     f.  5b. 

2.  "Sing  old  Rose,"  beg.  "Now  we're 


Additional  31415,  passim. 
Paper ;  after  1835.     Oblong  octavo.     See  also  below,  under  Madrigals. 

Glees,  in  parts.     Nos.  1   and  8-10   are  for  4  voices;  the  others, 
for  5. 


1.  "  Awake,  Eolian  lyre."  "J.Danby." 
i,  f.6b;  ii,  f.  3b;  iv,  f .  6b  ;  vi,  f.  6. 

2.  "You  gave  me  your  heart."  "  S. 
Webbe,  1776."  i,  f.  7  ;  ii,  f.  5b ;  iv, 
f.8b;  V,  f.4;  vi,  f .  8. 

3.  "  0  Bird  of  Eve."  "Lord  Morning- 
ton."  i,  f.7b;  ii,  f.6;  iv,  f .  10  ;  v, 
f .  5b ;  vi,  f.  9b. 

4.  "  It  was  a  lover."  "  R.  J.  S.  Stevens, 
1786."  i,  f .  8  ;  ii,  f .  6b ;  in,  f .  7b ;  iv, 
f.lOb;  vi,  f.9b. 

5.  "Amidst  the  myrtles."  "Jon.Bat- 
tishiU."  i,  f.  12b ;  ii,  f .  11 ;  iv,  f.  14b ; 
V,  f.  6 ;  vi,  f.  13. 


6.  "  A  gen'rous  Friendship."  "  S. 
Webbe."  [1768.]  i,  f.l5;  iii,  f.  13; 
iv,  f.  16b  ;  V,  f.  7  ;  vi,  f.  15b. 

7.  "Mark'dyouhereye."  "Spof^orth." 
i,  f .  21 ;  ii,  f .  16b ;  iv,  f.  23 ;  v,  f .  8b  ;, 
vi,  f.21. 

8.  "Grabbed  age  and  youth."  "  R.  J. 
S.  Stevens."  ii,  f.  4b;  iv,  f.  7b;  v„ 
f.  3b ;  vi,  f.  7. 

9.  "  Melting  Airs."  "  Dr.  Hayes,  1763." 
iii,  f.  7  ;  iv,  f.  9b  ;  v,  f.  5b ;  vi,  f.  9. 

10.  "When  despairing  Cupid  stealeth."' 
Anonymous,  iii,  f.  3  ;  iv,  f.  44b  ;  v,. 
f.20;  vi,  f. 


GLEES. 


119 


Additional  14343,  passim. 

Paper;  about  1839  (see  f.46).  Oblong  folio.  The  MS.  also  contains  a  sacred 
Quartet  (vol.  i,  p.  391),  Duets  (above,  p.  97),  another  Glee  (p.  Ill),  and  other 
compositions,  described  below  and  in  vol.  iii. 

Glees,  for  3  voices  (with  two  exceptions  noted  below),  in  score,  by 
Samuel  Wesley.  In  the  hand  of  Vincent  Novello,  from  MSS.  belonging 
to  Charles  Stokes,  etc. 


1.  "  While  others,  Delia,  use  their 
Pen."     "1800."     f .  4b. 

2.  "  Sol,  Do,  Re,  Mi  "  :  a  fantasia,    f .  6. 

3.  "When  Bacchus,  Jove's  immortal 
Boy."     "1806."     f.9b. 

4.  "Hilaroi  piomen."  "1800."  The 
words  are  from  Anacreon.     f.  lib. 

5.  "When  down  his  throat."  The 
words  by  Madan.     f.  17. 

6.  "  Now  the  trumpet's  martial  sound" 
(a  4).  On  the.  Peace  of  1814.  The 
words  by  W.  B.  Kingston,     f.  21. 

7.  "  Goosy,    Goosy,    Gander";     with 


figured  bass.     f.  25. 

8.  "While   ev'ry  short   liv'd   Flower" 
(a  4).     "  1822."     f.  25b. 

9.  "  Say,  can  Pow'r."     f.  30b. 

10.  "Beneath,  a  sleeping  Infant  lies." 
f.  32b. 

11.  "  Happy  the  man."  The  words  from 
Dryden's  Horace,     f.  39b. 

12.  "O  Sacred  Bird."     The  words  by 
Dr.  Akenside.     f.  41. 

13.  "Roses,  their   sharp   spines   being 
gone."     "1798."     f.  43b. 


Additional  32587,  ff.  28-45b. 

Paper  ;  a.d.  1841-1852.  Oblong  quarto.  The  MS.  also  contains  a  Catch  (above, 
p.  47),  a  fragment  of  an  Opera  (19th  cent.),  described  below,  and  Pianoforte 
Solos,  in  vol.  iii. 

Glees  for  4  voices,  in  score,  by  William  P.  Stevens.     Autograph. 


1.  "Bless'd   as    th'   immortal    Gods." 
"1850."     f.  28. 

2.  "Lov'd    tho'   thou    art."      "1841." 
Words  by  Thomas  B.  Shaw.     f.  30. 


3.  "On  a  day,  alack  the  day."  With 
pianoforte  accompaniment.  Prize 
Glee.     f.  37. 

4.  "  Why  so  pale  ?  "     "1852."     f.  41. 


Additional  35028,  S.  4-15,  18-29b. 

Paper  ;  a.d.  1860.     Quarto.     See  also  below,  under  Songs. 

Glees,  for  3  voices  (unless  the  contrary  is  stated),  in  score,   by 
Samuel  W^esley. 


1.  "Circle  the  bowl"  (a  4).  "1782." 
f.4. 

2.  "Thou  happy  wretch."  "1783." 
The  words  are  from  Young's  "  Night 
Thoughts."     f.  12. 

3.  ' '  There  are  by  fond  Mama  supplied." 
About  1778.     f.  14. 

4.  "  Goosy,    goosy,  Gander."       About 


1781.     f.  18. 

5.  "A-dieu,  ye  soft  scenes  of  delight." 
f.l9. 

6.  "  When  Orpheus  went  down."  About 
1781.     f.  21. 

7.  "When  first  thy  soft  lips."  "  1783." 
f.25. 


120  VOCAL  MUSIC— SECULAR. 

Egerton  2571,  ff.  26,  29b,  36b. 

Paper ;  19th  cent.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  362). 
Glees,  in  score,  by  Samuel  Wesley. 


1.  "  0  sacred  bird  "  (a  3).     f.  26. 

2.  "  Say,  can  pow'r  or  lawless  wealth  " 


(a  3).     f.29b. 
3.  "Life  is  a  jest  "  (a  4)  :  air.     f.  86b. 


SECTION   VII.— MADEIGALS 

INCLUDING   Ballets,  early   Chansons   or    Canzonets   for   several 
VOICES,  Villanellas,  and   a  few  compositions    of   the    early 

PART     OF    THE    1  7tH     CENTURY    WHICH     HAVE    SOME     RESEMBLANCE 

to  Partsongs. 


Additional  24198,  f.  lb. 

Vellum;  14th-15th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  256). 
"  Trop  est  fol  ky  me  bayle  sa  femme."     Only  one  part. 

Additional  34200,  ff.  57-60. 
Paper  ;  early  15th  cent.     Octavo.     See  also  under  Treatises,  in  vol.  iii. 
Chansons  for  3  voices,  in  parts.     Anonymous. 


1.  "II  (?)  veul   prendre."     The   treble 
wanting,     f .  57. 

2.  "  Sans  amer  home."     f.  57b. 


3.  "Quant  vous."     f .  58b. 

4.  "Bonum     vinum     cum      sapore. 
f.  59b. 


Cotton,  Titus  A.  xxvi,  ff.  3b-7b  passim. 

Paper  ;  about  1448  (see  f.  3).     Octavo.     See  also  below,  under  Songs. 

Chansons  for  2  or  3  voices,  in  parts,  apparently  written  in  the 
north  of  Italy.     Anonymous. 


1.  "Jour  a  iour"  (a  3).     f .  3b. 

2.  "  Qu'en  puisie  "  (a  2).     f.4. 

3.  "Vne  fois  auant  que  mourir"  (a  3). 
f.4b. 

4.  "  Je  me  recommande  "  (a  3).     f.  5b. 


5.  Without  words  (a  2).     f.  6. 

6.  Without  words  (apparently  a  8,  with 
an  alternative  2nd  contra-tenor  part). 
f.7b. 


Additional  29987,  ff.  2b-69b  ^assm. 

Vellum  ;  15th-16th  cent.  Octavo.  The  MS.  appears  to  have  been  written 
for  a  member  of  the  Medici  family  (see  arms  on  f .  2) ;  it  belonged  in  i670  to 
Carlo  di  Tommaso  Strozzi,  who  added  an  index  of  names  (f.  1).  It  contains  other 
compositions,  etc.,  described  elsewhere. 

"  Madriali,"    "  Ballate,"    "  Caccie,"    etc.,   -by    little-known    Italian 
composers  of  the   15th  century.     There  are  similar  collections  in  the 


MADRIGALS. 


121 


Biblioteca  Laurenziana  at  Florence  (87)  and  in  the  Bibliotheque 
Nationale  at  Paris.  Unless  the  contrary  is  stated,  the  compositions 
are  for  2  voices  and  anonymous.  Most  of  them  have  a  ritornello  or 
refrain  at  the  end  of  each  verse. 


1.  "  0  dolcie  (sic)  apresso  un  bel." 
ff.  2b,  4b. 

2.  "Di  nouo  e  gionto  un  caualier." 
"Magister  Jacobus  de  Bolonia." 
f.3b. 

3.  "0  Perla  gentil "  ;  with  the  same 
refrain  as  no.  1.     f.  5b. 

4.  "Apres' una  (sic)  fiume."     f.  6b. 

5.  "  Per  allegrezza."     f.  7. 

6.  "0  tu  chara  scientia."  "Magister 
Johannes  de  Frorentia  "  (sc.  Floren- 
tia).     f.7b. 

7.  "Si  chome  (sc.  siccome)  al  canto." 
"  Magister  Jacobus  de  Bolonia."  f .  8b. 

8.  "Sedendo  a  lonbra."  "Magister 
Johannes  de  Frorentia."     f.  9. 

9.  "Si  dolce  no[n]  so"  (a  3).  "Ma- 
gister Franciscus  de  Frorentia." 
f.9b. 

10.  "Mvsican  (sic)  son."  By  the 
same,     f .  10b. 

11.  "Al  bacho."  "  Frater  Bartolinus 
de  Padoua."     f.  12b. 

12.  "Prima  uertute."  "Magister 
Jachobus  de  Bolonia."     f.  18b. 

13.  "Mille  mer9e  de  Amore."     f.  14. 

14.  "  Qvando  la  terra."  "  Frater  Barto- 
linus de  Padoua."     ff.  14b,  21b. 

15.  "La  dolce  cera"  (a  3).  By  the 
same.     f.  15b. 

16.  "Vseletto  seluagio."  "Magister 
Jachobus  de  Bolonia."     f.  16b. 

17.  "Vn  bel  parlare."  By  the  same. 
f.l7b. 

18.  "Piu  no  mi  churo."  "Maestro 
Giouanni  de  Chascina."     f.  18b. 

19.  "  I[o]  credo  ch' i  dormiua."  "  Ser 
Lorenzo."     f.  19b. 

20.  "Qual  legie  moue."  "Frater 
Bartolinus  de  Padoua."     f.  20b. 

21.  "  Per  isparverare."     f .  22b. 

22.  "  Non  aurama  (sic)  pieta "  (a  8). 
f.  23b. 

23.  "  Donna,  sito  falito."     f .  24. 

24.  "Guard'  una  volta"  (4  8).      f.  24b. 

25.  "  I  son  vn  pellegrin."     f.  25. 

26.  "  Percbedinouosdegno."  Only  one 
part.  "Francescho  de  Frorencia." 
f.  25b. 

27.  "Tosto   che   lalba"  :  a  "chaccia" 


or  hunting-song.    "Ser  Gheradello." 
f.26. 

28.  "  L'  aspido  sordo."     f.  26b. 

29.  "  La  dona  mia  uole."     f.  27. 
80.  "Non  senti,  donna."     f .  27b. 

31.  "Se  pronto  non  sara."     f.28. 

32.  "Nella  piu  chara  parte."  "Ma- 
gister Franciscus  de  FroreuQia." 
f .  28b. 

88.  "Sia  quel  chesser."  "Frate 
Andrea  de  Servi."     f.  29. 

84.  "Gran  pianta "  (a  3).  "Magister 
Francisus  de  Froren(?ia."     f.  29b. 

85.  "A  Dyou,  a  dyou."  By  the  same. 
f.80. 

86.  "Parte  si  con  dolore  "  (a  8).  By 
the  same.     f.  30b. 

87.  "  I  son  tuo,  donna."  "  Ser  Nicholo 
del  Proposto."     f.  31. 

88.  "  Lamantachassera  "  (sic),     f.  31b. 

89.  "Informa  quasi  tral  uegliare": 
a  "Chaccia."     ff.82,  69b. 

40.  "Piu  bella  donna."  "Maestro 
F[r]ancescho  di  Firenge."     f.  32b. 

41.  "  Donna,  non  fu  giamay."  "Bona- 
uitus  Corsini,  pit[t]or."     f.  88. 

42.  "Vid[d]i  nell  o[m]bra."  "Ser 
Lorenzo,  prete."     f.  83b. 

43.  "Plata  (sic)  ti  moua."  "  Bonaui- 
tus  Chorsini,  pitor."     f.  34b. 

44.  "Amor,  tu  uedi."  By  the  same. 
f.85. 

45.  "  Povero  (jappator."  "  Ser  Lorenzo 
di  Fio[renze]."     f.  35b. 

46.  "I  fu  gia  bianch' ucciel."  "Ser 
Donatio  da  Chascina."     f.  36b. 

47.  "Po[i]che  datte  mi  chonuieu 
partir."     f.  37. 

48.  "lo  uegio  in  gran  dolo."  "Ser 
Nicholo  dell  Proposto."     f.  39. 

49.  "  Chosi  pensoso."     f.  39b.    . 

50.  "  Chil  ben  sofri."     f .  40. 

51.  "Neir  aqua  chiara."  "Frate 
Vincengo."     f.  40b. 

52.  "  Dapoy  chel  sole."  "  Ser  Nicholo 
del  Proposto."     f.  41b. 

58.  "State  su,  donne."     By  the  same. 

f.  42b. 
54.  "  Ittase    nera    star."       "Ser    Lo- 

ren90."     f.  48b. 


122 


VOCAL  MUSIC— SECULAR. 


55.  "  No  di  spregiarui."  "  Ser  Nicholo 
del  Proposto."     f.  44b. 

56.  "Ittase  nera  star."  "Maestro 
Vincentij."     f.  45. 

57.  "Sotto  uerdi  frascetti."  "Ser 
Gheradello."     f.  45b. 

58.  "Mentr'  che  vagho  uiso."  "Ser 
Nichollo  del  Proposto."     f.  46. 

59.  "La  neve,  el  ghiaccio."  "Fratte 
Guigliemo  di  Sco.  Spirito."     f.  46b. 

60.  "  I  pregho  amor."     f.  47b. 

61.  "Come  tradi[r]  pe[n]sasti."  "Ja- 
chopo  Pianel[l]aio  de  Firen9e."    f.  48. 

62.  "  Lasso  per  mie  "  (a  3).     f.  48b. 

63.  "  Quanto  piu  charo  fay"  (a  3). 
"  Fra[n]cescho  de  Froren(;ia."   f .  49b. 

64.  "Per  Uafruencja."  "Francescho 
[Landino]  Degli  Orghanni."     f.  50b. 

65.  "  Se  non  ti  piaque."  "Don 
Paghollo."     f.  51b. 

66.  A  few  bars  of  a  madrigal,  without 
words.  "  Ser  Nicholo  del  Proposto." 
f.  52b. 

67.  "Donna,  i  prego  amore "  (a  3). 
f .  53b. 

68.  "Benche  partir  da  te."  "Ser 
Nicholo  del  Proposto."     f.  54. 

69.  "  Posando  lonbra."     f .  54b. 

70.  "  Ben  ch'  io  serua  con  fe."     f.  55. 

71.  "  Donna,  tu  pur."     f.  55b. 

72.  "  Gia  perchi  pensso."     f.  59b. 

73.  "  Bench'  amar,  crudel."     f.  60. 

74.  "  Ciascum  (sic)  faccia  per  se."  "Ser 


Nichollo  del  Proposto."     f.  70b. 

75.  "Giporte"  (sic),     f.  71. 

76.  "Con  leuriere."  "Ser  Gherard- 
ello."     f.71b. 

77.  "  Tremando  piu  che  foglia." 
"  Rosso  de  Chollegrana."     f .  72b. 

78.  "  Chosa  non  necha  "  (sc.  nega)  ;  a  3. 
f.  73b. 

79.  "Non  piu  diro."  "Ser  Nicholo 
del  Proposto."     f .  74. 

80.  "El  gradisio"  (sc.  II  gran  desio) ; 
a  3.     f.74b. 

81-84.  The  tenor  of  four  short  "  Chan- 
9onete  tedesche,"  without  words. 
f.75. 

85.  "  Lalma  mia  piangie  "  (a  3). 
"M[agister]  Franciscus."     f.  75b. 

86.  "  Nessum  pongha  speran^a"  (a  3). 
f.  76b. 

87.  "  Or  sus  uous  dormet  "  (a  3). 
f .  77b. 

88.  "Segugi  a  corde."     f .  78b. 

89.  "  Comtenplar  le  gran  chose  " 
(a  3).     "Francescho."     f.79. 

90.  "  Dolce  signore."  By  the  same, 
f.  79b. 

91.  "La  dolcie  uista."  By  the  same, 
f.  80. 

92.  "  Lucea  nel  prato."  By  the  same, 
f .  80b. 

93.  "  Per  um  verde  boschetto."  "Fra 
Bartolino."     f.  81b. 


Printed  Book,  K.  i.  e.  1  (at  the  end). 

Paper ;  early  16th  cent.  Small  oblong  octavo.  The  first  part  of  the  book 
consists  of  printed  "  Songes,  ix  of  iiii  partes  and  xi  of  thre  partes,"  by  English 
composers,  1530. 

Compositions  probably  for  3  or  4  voices.     Alto  part. 

1.  "Behold  and  see  how  byrds  dothe  mestres  of  alle  musyk  "  ;  and  third 
fly."  "  Samoht  Notterts,"  sc.  part,  "None  may  with  hym  compare." 
Thomas  Stretton.  A  song  in  praise  of  "  y"  defender  of 

2.  "  By  a  banke  as  I  ley  "  ;  with  second  owr  feythe,"  sc.  Henry  VIII.  Anony- 
part,  "The  nyghtyngalle,  y^  lady  and  mous. 


Harley  5242. 

Vellum;  fi.  48.     Early  16th  cent.     Octavo. 

Chansons,  for  3  voices  (with  one  exception),  in  parts,  with  illumi- 
nated initials  and  occasionally  an  illuminated  border  in  which  occur 
the  letters  F  F  (Franyoise,  to  whom  several  of  the  verses  are  addressed), 


MADRIGALS. 


123 


and  a  monogram,  probably  intended  for  M  A  M  I  E.    The  only  composer 
named  (£.  5b)  is  Antoine  de  Fevin  (fl.  1514). 


1.  "  Vray  dieu  damours."     f.  lb. 

2.  "Seigneurs  que  dieu  vous  gard"; 
with  second  part,  "  Et  pour  vous  faire 
entendre"  (a  2).     f .  3b. 

3.  "  Jelelairray"  (sc.  laisserai).  "Anth. 
de  Feuin."     f .  5b. 

4.  "Maulditz  soient  ces  mariz  jaloux." 
f.  7b. 

5.  "  Non  mudera  ma  Constance."  Im- 
perfect at  the  end.     f.  9b. 

6.  "  Pensez  de  faire  garnison."     f.  lib. 

7.  "  Si  jeusse  Marion."     f.  12b. 

8.  "  Tres  doulce  dame."     f.  13b. 

9.  "  Le  bon  espoir  que  mon  cueur  a  "  ; 
with  second  part, ' '  Jay  endure  paine." 
f.  15b. 

10.  "  Souvent  je  mesbatz."     f.  17b. 

11.  "  Celle  qui  ma  demande."     f.  18b. 

12.  "  Dieu  la  gard  la  bergerotte." 
f.  19b. 

13.  "Adieu,  solaz."     f .  20b. 

14.  "  Si  iay  perdu."     f.  21b. 

15.  "  [S]i  Jaime  mon  amy."  Superius 
only.     f.  22b. 

16.  "En  despit  des  faulx  mesdisans." 
Superius  wanting,     f.  23. 

17.  "  Hellas,  jen  suis  marri."     f .  24b. 


18.  "  II  ny  a  yci  celuy."     f.  26b. 

19.  "  Petite  fleur  cointe  et  jolie." 
f.  27b. 

20.  "A  vous  non  aultre."     f.  28b. 

21.  "A  Dieu,  mamour  et  mon  desir." 
f .  30b. 

22.  "Royne  des  flours  la  plus  belle." 
f .  32b. 

23.  "Royne  des  flours  que  jay  tant 
desiree."     f.  33b. 

24.  "Royne  des  flours  que  je  desire." 
f.  35. 

25.  "Lamour  de  moy."     f .  36b. 

26.  "II  fait  bon  aimer  loysellet " ; 
with  a  second  part,  "II  fait  bon 
escouter."     f.  38b. 

27.  "  [N]on  mudera  ma  Constance " 
(different  from  no.  5).     f.  40b. 

28.  "[0]n  a  mal  dit  de  mon  amy." 
f.  41b. 

29.  "[M]ais  que  ce  fust  le  plaisir 
delle."     f.  43b. 

30.  "  [D]ieu  gard  celle  de  deshonneur." 
f.45b. 

81.  "  [V]ray  dieu,  qui  my  confortera." 
Imperfect  at  the  end.     f .  47i). 


The  music  of  nos.  1,  13,  15  and  28  occurs  (with  slight  variations) 
in  the  rather  later  MS.,  Add.  35087  (below,  p.  128),  as  do  also  the 
words  of  several  others  of  the  Chansons, 


Royal  Appendix  58,  passim. 

Paper;  early  16th  cent.  Oblong  octavo.  The  MS.  contains  other  music, 
sacred  and  secular,  described  elsewhere.  A  note  on  f.  3  connects  it  with  the 
diocese  of  Exeter ;  and  another  on  f.  39b,  with  the  town  of  Cardiff.  It  belonged 
formerly  to  Dominus  Johannes  B y  (f.  59b). 

Vocal  compositions  :  one  part  only  (except  in  no.  27),  chiefly  tenor. 
Unless  the  contrary  is  stated,  they  are  anonymous. 


1.  "A[h],  the  syghes  that  come  fro  my 
hert."     By  W.  Cornish,     f.  1. 

2.  "Though  that  she  cannot  Redresse." 
f.  3b. 

3.  "  Colle  to  me  the  Rysshes  greene." 
f.4. 

4.  "  Down  bery  down  "  :  a  "  Rownde." 
f.4b. 

5.  "  Westron  wynde."     f.  5. 

6.  "  Iff  I  hade  wytt."     f.  5b. 


7.  "Why  soo  vnkende."     f.  6. 

8.  "  Kytt  hathe  lost  hur  key."     f.  6b. 

9.  "  [B]low  thy  home,  hunter."    By  W. 
Cornish,     f.  7b. 

10.  "Alone,  alone  ...  in  wyldernys." 
f.8. 

11.  "The    lyttell    prety    nygtyngale." 
ff.  8b,  9b. 

12.  "  Cum  home,  swet  hart."     f.  8b. 

13.  "Nay,  Mary."     f.8. 


124 


VOCAL  MUSIC— SECULAR. 


14.  "  To  leve  alone."     f .  10. 

15.  "By  a  bancke  as  I  lay."     f.  10b. 

16.  "  Tbys   yenders    nygbt    I    berd   a 
wygbt."     f.  12b. 

17.  "Nay,  Mary"   (different  from  no. 
13).     f.  13. 

18.  "  Coll   to   me   tbe   russbes  grene" 
(different  from  no.  3).     f.  14b. 

19.  *"0    my    lady    dure."       "Parker, 
monke  of  Stratforde."     f .  16b. 

20.  "  Rasyd  ys  my  mynde."     f.  17. 

21.  "  Now    fayre,    fay  rest     off     euery 
fayre."       Supposed     to    bave     been 


written  on  tbe  marriage  of  Margaret, 
sister  of  Henry  VIII,  to  James  IV, 
of  Scotland,  in  1503.     f.  17b. 

22.  "  Tbose  I  doo  syng."     f.  18b. 

23.  "Petyously    constraynyd    am    I." 
"  Docter  Copere."     f.  19b. 

24.  "When  fortune  bad  me  avaunsyd." 
f.  21b. 

25.  " Frere  Gastkyn."     "Raff  Drake." 
f . 24b. 

26.  "The  wbele  off  fortune."     f.  50. 

27.  "My  lytell   fole  ys  gon  to   play" 
(a  3).     f.55b. 


Additional  5465,  ff.  2b-46b,  89b-115. 

Vellum;  early  16tb  cent.     Quarto.     See  also  under  Carols  (vol.  i,  p.  139). 

Compositions,  in  parts,  by  English  musicians  of  the  end  of  the 
15th  and  beorinniug  of  the  16th  centuries.  Nos.  1-12  are  for  2  voices 
(treble  and  contra-tenor  or  tenor)  ;  the  others  for  3  voices. 

go."      "William 


1.  "The    farther    I 
Newark."     f.  2b. 

2.  "A[h]  myherte,  I  knowe  yow  well." 
Anonymous,     f.  3b. 

3.  "What  causytbme  wofuU  thoughtis." 
"  William  Newark."     f.  4b. 

4.  "So  fer  I  trow."  By  tbe  same. 
f.6b. 

5.  "My  wofull  hart."  "  Sheryngam." 
f.7b. 

■6.  "  Demyd  wrongfully."  Treble  only. 
Anonymous,     f.  9b. 

7.  "0  my  desyre."  "William  New- 
ark."    f.  10. 

8.  "Lett  serch  your myndis."  Contra- 
tenor  only.     "Hamshere."     f.  11. 

9.  "  Love  fayne  would  I."  Treble  only 
of  1st  verse.     Anonymous,     f.  lib. 

10.  "  Nowe  tbe  lawe  is  led."  Tenor 
only.     "  Rycardus  Davy."     f.  12. 

11.  "That  was  my  woo."  "R.Fayrfax." 
f.  12b. 

12.  "  Benedicite  1  whate  dremyd  I." 
Anonymous,     f .  13b. 

13.  "To  complayne  me,  alas."  Anony- 
mous,    f . 15b. 

14.  "Alas,  it  is  I."     "Turges."    f.  17b. 

15.  "I  am  he  that  hath  you  dayly 
servyd."  Treble  and  part  of  bass  of 
1st  verse.  "  Edmund  Turges."  f .  19b. 

16.  "I  pray  daily  ther  paynys  to  as- 
swage."  Contra-'tenor  and  end  of 
tenor.     Anonymous.     f.20. 


17.  "But  why  am  I  so  abusyd,"  with 
second  part,  "I  wote  nott  where." 
"  William  Newarke."     f.  20b. 

18.  "  Yowre  counturfetyng  "  ;  with 
second  part,  "  Hit  were  to  grete  pite." 
By  the  same.     f.  22b. 

19.  "Thus  musyng."  By  tbe  same, 
f.  24b. 

20.  "Mostclere  of  colour."  "  Robard 
Fayrfax  "  (whose  arms  are  introduced 
in  the  illuminated  initials),     f.  26b. 

21.  "I  loue,  loued  and  loued  wolde  I 
be."     By  the  same.     f.  28b. 

22.  "  Alas,  for  lakof  her  presens."  By 
the  same.     f.  30b. 

23.  "  That  was  my  Joy."  Anonymous, 
f .  31b. 

24.  "  Sum  what  musyng  "  ;  with  second 
part,  "Me  thynkyth  truly."  "Ro- 
berd  Fayrfax."     f.33b. 

25.  "Madam,  def  rayne  "  ;  with  second 
part,  "I  tbynk  suerly,"  and  third 
part,  "  I  bave  yow  lent."  Anony- 
mous,    f.  35b. 

26.  "0  rote  of  trouth."  "Tutor." 
f.  38b. 

27.  "I  loue,  I  loue ;  and  whom  loue  ye  "  ; 
with  second  part,  "  Ther  is  afloure"  ; 
third  part,  "  On  that  I  loue  "  ;  fourth 
part,  "I  chese  a  floure  "  ;  fifth  part, 
"The  rose  it  is  a  ryall  floure"  ;  and 
sixth  part,  "I  loue  the  rose."  "  Syr 
Thomas  Pbelyppis."     f.  40b. 


MADRIGALS. 


125 


28.  "  Complayne  [I]  may  " ;  with  second 
part,  "  I  wass,  yet  will  I  not."  Anony- 
mous,    f . 46b. 

29.  "Margarit  make";  with  second 
part,  "That  goodly  las";  third 
part,  "Her  lusty  chere "  ;  and  fourth 
part,  "My  margarit  I  can  not  mete." 
"Browne."     f.  89b. 

30.  "  Jhoone  is  sike";  with  second 
part,  "She  is  my  litell  praty  on." 
"  Eychard  Dauy."     f.  93b. 

31.  "  Ay,  besherewe  you  "  ;  with  second 
part,  "Be  god,  ye  be  a  praty  pode"  ; 
and  third  part,  "  Walke  forth  your 
way."  "William  Cornyssh,  Junior." 
f . 96b. 

32.  "Who  shall  haue  my  fayre  lady." 
Anonymous,     f.  99b. 

33.  "Hoyda,  hoyda,  joly  rutterkyn." 
"  William  Cornyssh,  Junior."  f.  101b. 

34.  "From    stormy    wyndis  "  ;     with 


second  part,  "  0  blessid  lord  of 
heuyn  "  ;  third  part,  "  Wherfore,  good 
lord"  ;  and  fourth  part,  "Now,  good 
lady"  (in  honour  of  Prince  Arthur). 
' '  Edmund  Turges."  The  date  ' '  1501 " 
on  f.  105  is  apparently  in  a  later  hand, 
f . 104b. 
85.  "This  gentill  day  daw[n]es  "  ;  with 
second  part,  "  In  a  glorious  garden  "  ; 
and  third  part,  "In  that  garden  be 
flouris."     Anonymous,     f.  108b. 

36.  ' '  Smale  pathis  "  ;  with  second  part, 
' '  Loue  is  naturall "  ;  third  part, ' '  One 
is  good";  and  fourth  part,  "But  I 
will  do  as  I  saide."  Anonymous, 
f.lllb. 

37.  "Enforce  yourselfe"  ;  with  second 
part,  "  Soverayn  lord"  (sc.  Henry 
VII);  and  third  part,  "God  hath 
gyfl  you."  "  Edmund  Turges." 
f .  115b. 


Additional  6665,  ff.  38b,  65b-68,  71b,  72b,  135b-148. 

Vellum  and  paper  ;  temp.  Henry  VIII.    Large  octavo.     See  also  under  Motets 
(vol.  i,  p.  260). 

Three-part   vocal   compositions,   in  parts,  by   English   composers. 
Anonymous  (except  no.  8). 

sc.  by  Henry  VIII  (see  Chappell's 
Popular  Music,  ed.  Wooldridge,  1893, 
vol.  i,  p.  42).     fi.  136b,  141b. 

9.  "Alone,  alone!  here  y  am  my  sylf 
alone."     f.  140b. 

10.  ' '  In  wyldernes  there  f ounde  I  besse . " 
InRitson.     f.  141. 

11.  "Come  ouer  y  burne,  besse"  (see 
Chappell,  vol.  i,  p.  121).     f.  143b. 

12.  "Vp   y   arose   in  verno   tempore." 
f.  145b. 

13.  "Hay  how,  the  mavys."     f.  146b. 


1.  "How  shall  y  piece  a  creature  vn- 
certeyne."     f.  38b. 

2.  "  My  wofuU  hert."     f.  65b. 

3.  "  Be  pes,  ye  make  me  spille  my  ale." 
In  Ritson's  Ancient  Songs,     f.  66b. 

4.  "Absensof  5eu."     f.  67b. 

5.  "Now  helpe,  fortune."     f.  71b. 

6.  "  Fayre  and  discrete."     f.  72b. 

7.  "Myherte  ys  yn  grete  mournyng." 
f.  135b. 

8.  "  Passetyme  with  goode  cumpany  "  : 
described  as  "  The  Kynges  Balade," 


Additional  31922,  passim. 

Vellum;    temp.  Henry  VIII.      Small  folio.      The   MS.  also  contains  secular 
Canons  (above,  p.  2),  Rounds  (above,  p.  26),  String  Trios  and  Quartets,  etc. 

Compositions  for  3  voices  (unless  the  contrary  is  stated),  in  parts, 
apparently  written  early  in  the  reign  of  Henry  VIII  (see  Catalogue  of 
Additions  for  1882-1887,  p.  7). 


1.  "Fortune  esperee"  (a  4).     Without 
words.     Anonymous,     f.  4b. 

2.  "AUes,    regretz."      Without  words. 


Anonymous,     f.  5b. 
3.  "Een     frolyk     weson."      Without 
words.     Anonymous,     f.  6b. 


126 


VOCAL  MUSIC— SECULAR. 


4.  "Pastyme  with  good  companye " 
(a  4),     "  H[eiiry]  VIII."     f.  14b. 

5.  "  Adew,  mes  amours  "  ;  with  second 
part, ' '  Pardon  a  moy."  ' '  Cornysche." 
f.  15b. 

6.  "  Adew,  madam  "  (a  4).  "H[enry] 
VIII."     f.  17b. 

7.  "Helas,  madam"  (a  4).  By  the 
same.     f.  18b. 

8.  "Alas,  what  shall  I  do  "  (a  4).  By 
the  same.     f.  20b. 

9.  "  0  my  hart."    By  the  same.    f.22b. 

10.  "A  dew,  a  dew,  my  hartis  lust." 
"Cornysch."     f.  2.3b. 

11.  "Whoso  that  wyll  bym  selff 
applye"  (a  4).      "Kysbye."      f.  27b. 

12.  "  The  tyme  of  youthe."  "  H[enry] 
VIII."     f.  28b. 

13.  "The  thowght  within  my  brest." 
"T.  Fardyng."     f.  29b. 

14.  "A[hl]  the  syghs."  "  W.  Corn- 
ysshe."     f.  32b. 

15.  "  With  sorowfull  syghs."  "T.  Far- 
dynge."     f.  33b. 

16.  "If  I  had  wytt."  Anonymous, 
f.  34b. 

17.  "Alac,  alac,  what  shall  I  do." 
"  H[enry]  VIII."     f.  35b. 

18.  "Grene  growith  y"  hol[l]y."  By 
the  same.     f.  37b. 

19.  "Who  so  that  wyll  all  feattes 
optayne."     By  the  same.     f.  38b. 

20.  "Blow  J)'  hornne,  hunter."  "  W. 
Cornyshe."     f.  39b. 

21.  "  De  tons  bien  plare."  Without 
words.     Anonymous,     f.  40b. 

22.  "  lay  pryse  amours."  Without 
words.     Anonymous,     f.  41b. 

23.  "  A  dew,  corage."  "W.  Cornyshe." 
f.  42b. 

24.  "Trolly  lolly  loly  lo  syng."  By  the 
same,     f .  43b. 

25.  "I  loue  trewly."  "  T.  Fardynge." 
f .  44b. 

26.  "Yow  and  I  and  Amyas."  "  Cor- 
nysh."     f.  45b. 

27.  "Ougb,  warder,  mount"  (a  4). 
Without  words.    Anonymous,   f.  46b. 

28.  "La season "  (sic).  Without  words. 
Anonymous,     f .  47b. 

29.  "If  love  now  reynyd."  "H[enry] 
VIII."     f.  48b. 

30.  "Gentyl  prince  de  renom  "  (a  4). 
Without  words.    By  the  same.   f.  49b. 

31.  "Sy  fortune."    Anonymous,    f .  50b. 


32.  "  Wherto  shuld  I  expresse." 
"  H[enry]  VIII."     f.  51b. 

33.  "ARobyn."  "  [W.]  Cornysh."  The 
words  "  I  can  not  think"  appear  to 
be  sung  by  the  tenor,  unless  they 
begin  a  second  part,     f .  53b. 

34.  "Whill  lyue  or  breth."  By  the 
same.     f.  54b. 

35.  "  Thow  that  men  do  call  it  dotage." 
"  H[enry]  VIII."     f.  55b. 

36.  "  Departure  is  my  chef  payne."  By 
the  same.  The  words  "  It  is  to  me  a 
ryght  gret  joy  "  appear  to  be  sung  by 
the  medius  voice,     f .  60b. 

37.  "I  have  bene  a  foster."  "D[octor?] 
Cooper."     f.65b. 

38.  "Fare  well  my  joy";  with  second 
part,  "Though  {>"  depart."  By  the 
same.     f.  66b. 

39.  "With  owt  dyscord."  "  H[enry] 
VIII."     f.  68b. 

40.  "  I  am  a  joly  foster  "  ;  in  two  parts. 
Anonjonous.     f.  69b. 

41.  "Though  sum  saith  that  youth 
rulyth  me "  ;  in  two  parts.  Anony- 
mous,    f.  71b. 

42.  "  Madame  damours  "  (a  4).  Anony- 
mous,    f.  73b. 

43.  "  Adew,  adew,  le  company."  Anony- 
mous,    f.  74b. 

44.  "Whoso  that  wyll  for  grace  sew." 
"  H[enry]  VIII."     f.  84b. 

45.  "  [E]n  vray  amoure  "  (a  4).  With- 
out words.     By  the  same,     f .  86b. 

46.  "  Let  not  vs  that  yongmen  be." 
Anonymous,     f.  87b. 

47.  "  Lusty  yough,"  with  apparently  a 
I  second  part,  "How  shuld  yough," 
!  of  which  only  the  tenor  is  given. 
1       "  H[enry]  VIII."     f .  94b. 

48.  "  With  goode  order  "  (a  4).  Anony- 
mous,    f.  96b. 

'   49.  "Elle  sur  tautes "  (sic);  with   the 
I       words  "  Tota  pulcra  es  "  in  the  bass. 
Anonymous,     f .  99b. 

50.  "Englond  be  glad."  Anonymous, 
f.  100b. 

51.  "And  I  war  a  maydyn"  (a  4). 
Anonymous,     f.  106b. 

52.  "Why  shall  not  I."  Anonymous, 
f.  107b. 

53.  "What  remedy";  in  two  parts. 
Anonymous,     f.  108b. 

54.  "  Wherbeye.mylove."  Anonymous, 
f.  110b. 


MADRIGALS. 


127 


55.  "  My  thought  oppressed."     Anony- 
mous,    f.  116b. 

56.  "  Svmwhat  musyng  "  ;  in  two  parts. 
Anonymous,     f.  120b. 


57.  "I  loue  vnloued  "  ;    in   two  parts. 
Anonymous,     f .  122b. 

58.  "Hey  trolylolylot  mayde,  whether 
go  you."     Anonymous,     f.  124b. 


Additional  30513,  f.  lb. 

Paper ;   late  Henry  VIII.     Oblong  octavo.      See  also  under  Organ  Solos  in 
vol.  iii. 

"  The  hier  y  the  ceder  ti'ee  "  :  a  very  short  composition  for  4 
voices,  in  quasi-score,  by  T[homas]  M[ulliner].  At  the  top  of  the  page 
is  written  "  Labell  fyne,"  i.e.  la  belle  fine  (?).  See  Royal  Appendix  58, 
ft:  39b,  40. 

Royal  Appendix  74,  ft".  35b,  42. 

Paper ;   a.d.   1547-1548.      Large   oblong   octavo.      See   also   under   Anthems 
(vol.  i,  p.  1). 

Vocal  compositions  ;  only  two  parts  given. 


1.  "When  shall  my  sorowfuU  sythyng 
slake  "  ;  in  parts.  The  words  wanting. 
ByTallis(?).     f.35b. 


2.  "Jay  veu  le  cerf  "  ;  in  score,     f .  42 
(reversed). 


Royal  20.  A.  xvi. 

Vellum;  fi.36.  16th  cent.  (1st  half?).  Octavo.  On  fi.  l-3b  are  some 
miniatures  in  a  Flemish  hand,  and  a  border,  in  which  occur  the  initials  AA, 
connected  by  a  knot. 

Chansons  for  several  voices,  in  parts.  Except  where  the  contrary 
is  stated,  they  are  for  3  voices  and  anonymous.  The  contra-tenor  is 
sometimes  called  "  Concordans." 


1.  "Leure  est  venue."  By  Josquin 
des  Pr^s.  See  Add.  11585,  f .  23b 
(below),     f.  lb. 

2.  "  Despitant  fortune."     f.2b. 

3.  "A  la  mignonne  de  fortune";  in 
two  parts,    f .  3b. 

4.  "Se  vous  voulez  m'estre  loyale " ; 
in  two  parts,     f .  5b. 

5.  "En  actendant  (sic)  la  grace  de  ma 
dame."     f.  7b. 

6.  "  II  nest  viuant."     f.  8b. 

7.  "Vostrebeaulte."     f.  9b. 

8.  "Cestmal  cherc[h]e."  By  Agricola. 
f .  10b. 

9.  "  En  efiait,  se  ne  repreues."     f.  lib. 

10.  "Par  vng  Jour  de  matinee."    f.  12b. 

11.  "Pour  faire  larlkymie  damours"; 
in  two  parts,     f.  13b. 

12.  "  Soit  pres  ou  loing."     f.  15b. 

13.  "  Se  je  vous  eslongne."     f .  16b. 


14.  "Helaz,  de  vous  je  me  doy  bien 
complaindre."     f.  17b. 

15.  "  Ce  nest  pas  jeu."     f.  18b. 

16.  "  Elle  en  est  hors  du  cueur."    f.  19b. 

17.  "Al[l]ez,  regret."     f .  20b. 

18.  "  De  vous  amer."     f.  21b. 

19.  "  La  Regretee."    "  Heyne."    f.  22b. 

20.  "Je  nay  dueil"  (a  4);  in  three 
parts,     f.  23b. 

21.  "Royne  des  flours  que  ie  desire." 
f . 26b. 

22.  "Mon  souuenir  me  fait  morir." 
"Heyne."     f .  27b. 

23.  "A  I'eure  que  premier  vous  vis." 
"Bouuel."     f.28b. 

24.  "Sire,  se  vous  ne  pouruoyez." 
"  Crespieres."     f.  29b. 

25.  "Que  vous  madame,"  with  the 
words  "In  pace"  in  the  bass;  in 
two  parts.     "Josquin."     f.  30b. 


128 


VOCAL  MUSIC— SECULAR. 


26.  "Je    say    tout";    in    two     parts,   j   28.  "Mes   pensees."     By  Josquin  (see 
f.  31b.  I       Add.  11585,  f.  26b,  below),    f.  34b. 

27.  "Nuit  at  jour."     f .  33b.  |   29.  "  Mon  loyal  cueur."     f .  35b. 


Additional  19583,  ff.  45b-48. 

Vellum  ;  first  half  of  16th  cent.     Oblong  octavo.     See   also   under   Motets 
(vol.  i,  p.  261). 

Compositions  for  several  voices.     One  part  only. 


1.  "En    lamour   dune   dame."     Altus 
part.     "P.  De  la  rue."     f.  45b. 

2.  "  Buuons,    ma    commere."       Altus 
part.     "P.  Gannain."     f.  46. 


3.  "  Guides  vous  que  dieu  uous  faille." 
Soprano.     Anonymous,     f.  46b. 

4.  "Jay    veu     le     regnart."       Treble. 
"  M[aitr]e  Jan  [de  Gero]."     f.  47b. 


Additional  35087,  passim. 

Vellum  ;  first  half  of  16th  cent.     Large  octavo.     See  also  under  Motets. 

Chansons  for  3  voices,  in  parts,  by  Flemish  composers,  mostly- 
anonymous.  The  v^^ords  of  nos.  7,  12,  15,  58,  64,  65  are  in  Gastort 
Paris'  Chansons  du  15'  siecle,  1875. 


1.  "  Du  bon  du  cuer."     f.  4b. 

2.  "  Myn  morken  gaf  my."     f.  5b. 

3.  "Ic  weet  een  molenarrynne."    f.  6b. 

4.  "  Quant  je  vous  voye."     f.  7b. 

5.  "  A  Dieu,  mamour."     f .  9b. 

6.  "  Fortuna  desperata."     f .  lib. 

7.  "En lombre dung buissonet."    f .  12b. 

8.  "Do[o]rt  deruen  van  v,  myn  lief." 
f.  13b. 

9.  "Myns   liefkins   claer   anscauwen." 
f.  14b. 

10.  "Ic  truere."     f.  15b. 

11.  "Myns     liefkins    bruun    ooghen." 
f.  19b. 

12.  "  Mon  mary  m'a  diffamee."     f .  21b. 

13.  "  Ma  maitresse,  mamye."     f .  22b. 

14.  "Helas,   dame,   que  jayme   tant." 
f . 23b. 

15.  "  Se  jayme  mon  amy  trop."    f.  24b. 

16.  "  Wan  ic  ghedincke."     f.  25b. 

17.  "Mi  heeft  een  piperken."      f.  26b. 

18.  "Consummo    {sic)    la    mia    vita." 
f .  27b. 

19.  "Mon  souuenir  me  faict  languir." 
By  Heyne.     f.  28b. 

20.  "Mais  que  che  fut  secretement." 
f . 29b. 

21.  "Nest    il     pas     bien    Infortune." 
f .  30b. 

22.  "  Nostre  saison  est  bien  fortunee." 
f.  31b. 

23.  "  Lessies  parler."     f.  32b. 


24.  "Verlanghen  ghy  doet  mynder 
herten  pyn."     f.  33b. 

25.  "Een  boer,  een  boer,  so  willie 
waghen."     f.  35b. 

26.  "  Coment  peult  avoir  Joye."  "  Jo. 
de  Vyzeto."     f.  36b. 

27.  "  Cest  mal  sarchie  "  (sic).  "  [Alex- 
ander ?]  Agricola."  A  copy  of  this  is 
in  the  Codex  Casanatensis  at  Rome, 
f.  37b. 

28.  "  Verlanghen  ghy  doet  myn  herte 
pyn."     Different  from  no.  24.    f.  38b. 

29.  "Die  crudekins  die  spruten." 
f .  40b. 

30.  "Waerishy."  "  Laurentius  d[er  ?] 
a[eltere?]."  Founded  on  the  Canon 
"  Qui  me  sequitur."     f.  41b. 

31.  "  Qui  est  celuy  qui  dira  mal." 
f .  42b. 

32.  "  Je  voy,  je  viens."     f.  43b. 

33.  "Jayme  bien  mon  amy."  "  Ver- 
bonnet."     f.  44b. 

34.  "  Wy  en  sullen  niet  bedien."  f.  45b. 

35.  "Ic  ben  zo  nav  bedwonghen." 
f . 46b. 

36.  "  Ghistern  auent."     f.  47b. 

37.  "  [A]  Dieu,  myn  lief."     f.  48b. 

38.  "  Tout  plain  dennuy."     f.  49b. 

39.  "Eylas,  ey  my."     f .  51b. 

40.  " 'T  meiskin  was  jonck  wel  van, 
passe."     f.  52b. 

41.  "Adieu,  solas."     f .  53b. 


MADRIGALS. 


129 


42.  "0    Veuus    vrau    wat   dedic   (sic) 
gheboren."     f.  54b. 

43.  "James  {sc.   Jamais)   n'aymeray." 
"Jo.  Mouton."     f.55b. 

44.  "  Je  le  la[i]ray,  puis  quil  my  bat." 
f .  56b. 

45.  "  Troest  my,  my  lief."     f.  57b. 

46.  "  Een  sotte  cluytte."     f.  59b. 

47.  "  Ric  god,  wie  sal  ic  claghen."  f .  62b. 

48.  "  Ic  west  een  vrauken."     f .  64b, 

49.  "  Quant  je  vous  voy."     f.  66b. 

50.  "  Que  nest  II  vray."     f.  68b. 

51.  "Ryckgod,  uv  moet  Ic  trueren." 
f .  69b. 

52.  "  Sourdes  regretz."     f.  71b. 

53.  "  [D  ?]och     weet     Ic      een      jonc 
vraukin."     f.  73b. 

54.  "  Buuons,  ma  commere."     "  Bene- 
dictus  Appe[n]scelders."     f .  78b. 

65.  "  Helas,     pour     quoy     me     suige 


Mariee."     f .  79b. 

56.  "Pors  {sic)  seulement  rat[t]ente." 
f .  80b. 

57.  "  Cest  done  par  moy."  By  Ninon 
le  Petit,     f.  81b. 

58.  "  Vray  dieu  damour."     f .  84b. 

59.  "Plaine  dennuy."  These  words 
begin  thecontra-tenorand tenor  parts, 
but  the  bass  has  the  Latin  words 
"  Anima  mea  liquefacta  est."  "  Loy- 
set  Compere."     f .  86b. 

60.  "  Petite  camusette."     f .  87b. 

61.  "  Fuyes,  regretz."  "  Anthoine 
Feuin."     f.  88b. 

62.  "Amy,  I'aurez  vous  done  fortune." 
f . 89b. 

63.  "  Je  my  soloye."     f.  90b. 

64.  "Dieugard  demal."     f.91b. 

65.  "  On  a  mal  dit  de  mon  amy."  f.  93b. 


Additional  15166,  ff.  70,  89b. 
Paper ;  after  1567  (?).     Oblong  octavo.     See  also  under  Anthems  (vol.  i,  p.  2). 

Treble  part  of  two  vocal  compositions,  of  which  the  other  parts 
are  lost. 

1,  "Vaine.vaine. .  .all  worldly  pleasure  shrill  doe  sounde."  In  a  later  hand 
is  but  vaine."  "  [J.  ?]  Sheperd."  |  than  the  last.  By  W.  Byrd,  from 
f-  70.  ,       his  Psalmes,  Sonets  and  Songs,  1588. 

2.  "In  fields  abroade  where  trumpets  f.  89b. 


Royal  Appendix  36-40. 

Paper;  fi. 49,  48  (vols.  ii-v).  a.d.  1568.  Oblong  octavo.  Belonged  to  [John, 
Baron]  Lumley,  who  married  Joanna,  daughter  of  Henry  [Fitzalan,  18th]  Earl  of 
Arundel,  mentioned  below. 

"  CA>rTiONES ....(...  IMadrigali)  Ad  quinque  voces,  Composite  ab 
Innocentio  Alberti  de  Taruisio .  .  .  musico ....  Alfonsi  Ducis  Ferrai'i^e 
et  ab  illo  notate  ac  scripte.  Anno  Domini  MDLxviii.  Pro,  .  ,  .Henrico 
Comitj  de  Arundelle."  In  parts.  Most  of  them  are  in  two  divisions  j 
the  first  lines  of  both  are  given  in  the  Index. 


1.  "Se  da  begli  occhi."     i,  f .  4b  ;  ii-v, 
f.2b. 

2.  "  Leggiadra    pastorella."      i,   f.  6b; 
ii-v,  f .  4b. 

8.  "  Qvesta  di  lieti  et  odorati  fiori.  ,  . . 
vaga  ghirlanda."     i,  f.  8b  ;  ii-v,  f.  6b. 

4.  "La  verginella."     The  words   from 
Ariosto.     i,  f .  9b  ;  ii-v,  f.  7b. 

5.  "Qvanto   sei  piu."     i,  f.  10b;    ii-v, 
f.  8b. 

II 


6.  "Lieto,    felice,"      i,    f.  12b  ;     ii-v, 
f.  10b. 

7.  "Deh,  potess'    io."     i,  f.  14b;   ii-v. 
f.  12b. 

8.  "II   di   che   pria   de  uostr'  occhi." 
i,  f.  15b  ;  ii-v,  f .  13b. 

9.  "Gli  atti;  donna  gentil."     i,  f.l7b  ; 
ii-v,  t.  15b. 

10.  "Crescan    pur."      i,    f .  19b ;     ii-v,. 
f.  17b. 

K 


130 


YOCAL  MUSIC— SECULAR. 


11.  "Nova  Angioletta,"    i,  f . 21b ;  ii-v, 

f . 19b.  I 

12.  "  Qui,  doue  corre."     i,  f.  23b  ;  ii-v,   ' 
f.  21b. 

13.  "  Vattene. . .  .pur  superb',  altaFer- 
rara."     i,  f.  25b ;  ii-v,  f.  23b. 

14.  "Per  un'  alma  gentil."     i,  f .  27b  ; 
ii-v,  f.  25b. 

15.  "Chiari    lumi."      i,    f .  29b ;    ii-v, 

f .  27b.  I 

16.  "S'  io  son  alia  dole'  ombra."      i, 
f .  31b  ;  ii-v,  f .  29b. 

17.  "Mentre    fermo   '1    pensier'."       i, 
f .  33b ;  ii-v,  f .  31b. 

18.  "La  partita  crudel."     i,  f.  35b;  ii- 


V,  f.  33b. 

19.  "  Tvtto  '1  di  piango."     i,  f.  37b ;  ii- 
V,  f.  35b. 

20.  "In  qual  parte  del  del."     i,  f.  39b ; 
ii-v,  f.37b. 

21.  "Tanta   doglia."      i,    f.  41b  ;    ii-v, 
f .  39b. 

22.  "  Disperato  dolor."     i,  f.  43b;  ii-v, 
f .  41b. 

23.  "Nasce  da  bella  fiamma."    i,  f.  44b  ; 
ii-v,  f .  42b. 

24.  "  Locar  soura  gli  abissi."     i,  f.  46b ; 
ii-v,  f.  44b. 

25.  "Per   secreto   diuino."      i,   f.  48b; 
ii-v,  f .  46b. 


Additional  33933,  ff.  60,  77-79b. 
Paper  ;  about  1575-1578.     Octavo.     See  also  under  Anthems  (vol.  i,  p.  2). 
Compositions  for  4  or  (no.  3)  5  voices.     Contra-tenor  part. 


1,  "When  shall  my  sorov^f-[full  sighing 
slack]."     ByTallis.     f.60. 

2.  "Oparsisparsi."    Anonymous,    f.  77. 
8.  "Susan[n]evniour."  By  O.di  Lasso. 


f.  77b. 

4.  "Vniour."     Anonymous,     f.  78b. 

5.  "Ecco  d'  oro  1'  eta."     Anonymous, 
f.  79b. 


Additional  32377,  ff.  5,  78-79b. 

Paper  ;  about  1584.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  264). 

Treble  parts  o£  the  following  vocal  compositions.     Nos.  3  and  4 
are  anonymous. 

1.  "Ut  re  my  fa  sol  la"  (for  4  voices).   ;    4.  "  Corri,  corri,  corri,  mamma  doro." 
"Parsons."     f .  5.  i        f .  78b. 


2.  "Utmy  re."     "Byrd."     f.  5. 

3.  "Io  uo  gridando."     f .  78. 


5.  "Nas[c]e  la  doglia  mia."     By  G.  di 
Macque  (?).     f.  79b. 


Additional  31992,  passim. 

Madrigals,  etc.,  for  4,  5,  and  6  voices,  by  William  Byrd  and  other 
composers,  mostly  foreign,  of  the  second  half  of  the  16th  century.  See 
under  Lute  Solos  (after  1589),  in  vol.  iii. 


Additional  30820-30822. 

Paper  ;  ff.  47.     After  1597  (see  f.  17b).     Oblong  octavo. 

"  LiQUiDE  perle  "  :  a  collection  of  Madrigals  for  5  voices,  without  the 
words,  by  Benedetto  Pallavicino  and  other  composers  of  the  end  of 
the  16th  century.  Treble,  tenor  and  bass  parts.  The  dates  appended 
below  are  those  of  the  first  editions  in  which  the  Madrigals  in  question 


MADRIGALS. 


131 


are  known  to  have  been  published, 
volume. 

1.  "  Liquide  perle."  "  LucaMarenzio." 
[1580.]     f.  1. 

2.  " Dolci alyestre (sc. alpestri)  [parole]." 
Probably  by  G.  B.  Mosto,  1583. 
f.lb. 

3.  "  Tu  as  tout  seul."     "  Verdoncque."    I 
f .  2b. 

4.  "Quelle  Eose."  "Felice  Enerio 
(sc.  Anerio)."     [1589.]     f.  3b. 

5.  "Arte  mi  siano."  "  Palevicino." 
[1588.]     f.  4b. 

6.  "Amorosette  [ninfe]."  By  the  same. 
[1593.]     f .  5b. 

7.  "Levoconla  [sua  man o]."  By  the 
same.     [1593.]     f .  6b. 

8.  "  0[c]chi  quelle."   Anonymous.  f.7b. 

9.  "Con  che  soavita."  "Palevicino." 
[1588.]     f.  9. 

10.  "  Chiedeipiangendo."  By  the  same. 
f.9b. 

11.  "Natura  non  mi  fe."  By  the 
same.     [1590.]     f.  10b. 

12.  "Gia  non  fia  [ver]."  "Alfonso 
[Ferrabosco,  1587]."     f.  lib. 

13.  "Poi  chio  non  [posso]."  By  the 
same.     [1587.]     f.  12b. 

14.  "  Tra  bei  rubini  " ;  in  two  parts. 
Anonymous,     f.  13b. 

15.  "  Vdite,  amanti."  "  Josef oGuami." 
Published,  in  1592,  as  by  Francesco 
Guami.     f.  15b. 

16.  "  Voi  che  gia  [stanchi]."  "Horatio 
Vecchi."     [1587.]     f.  16b. 

17.  "Che  noua  [Cinthia] " ;  in  two 
parts.    By  the  same.    [1597.]    f.  17b. 

18.  "Di  mi,  donna."  "Claude  le 
Jeune."     [1585.]     f.  19b. 

19.  "Face  donques";  in  two  parts. 
"Swelincke."     f .  20b. 

20.  "La  belle  que."  "Verdoncq." 
f.  22b. 

21.  "Bene  ragion."  [?  B.  Pallavicino, 
1588.]     f.  23b. 


The  foliation  is  identical  in  each 

22.  "Do.nna  Cardente  (sic)."  "Al- 
fonso [Ferrabosco,  1587]."     f.  24b. 

28.  "Signor,  la  vostra  [fiamma]."  By 
the  same.     [1587.]     f .  25b. 

24.  "Nel  piu  fiorito."  By  the  same. 
[1587.]     f.  26b. 

25.  "Non  mi  ferir."  "Palevicino." 
[1588.]     f .  27b. 

26.  "  Deggio  dunque."  "  Marenz[i]o." 
[1581.]     f.  28b. 

27.  "Damor  le  ricche  [gemme]."  By 
A.  Stabile,  1583  (?).     f.  29b. 

28.  "Si,  mi  dicesti."  "Palevicino." 
[1588.]     f.  30b. 

29.  "Non  mirar."  By  the  same. 
[1588.]     f .  31b. 

30.  "Filli,  r  alme."  By  the  same, 
f.  32b. 

31.  "Tu  pur  ti  parte  {sic)."  [By  the 
same,     1593.]     f.  33b. 

32.  "  Se  pur  offesa."  Anonymous, 
f.  34b. 

33.  "Sedemiei."   Anonymous,   f .  35b. 

34.  "Chi  per  voi  [non  sospira]." 
By  N.  Faignent,  1583.     f.  36b. 

35.  "Dolce  mia  ,  .  ."  Anonymous, 
f.  37b. 

36.  "Ardiegela."   Anonymous,   f .  38b. 

37.  "Careselue."    Anonymous,    f .  39b. 

38.  "Chi  per  voi  [non  sospira]." 
Anonymous,     f .  40b. 

39.  "Donna,  se  voi  [m' odiate]."  By 
Pallavicino,  1593.     f .  41b. 

40.  "Amor  io  [non  potrei]."  By  Luca 
Marenzio,  1581.     f.  42b. 

41.  "  Mentre  che  [qui  d' intorno]." 
By  Pallavicino,  1590.     f .  43b. 

42.  "Force  (sic)  cagion."  ByB.  Spon- 
tone,  1592.     f.  44b. 

43.  "Oscura  notte."  By  F.  Sariano, 
1597  (?).     f.  45b. 

44.  "Dolce  mio  duol."  Anonymous, 
f . 46b. 


Additional  36526,  A,  passim. 

Paper;   after  1597.     Oblong  octavo.     The  MS.   also  contains  Hymns  (vol.  i, 
p.  183),  String  music,  etc. 

Compositions  to  English  words.     Imperfect  parts  (tenor  and  bass, 
unless  the  contrary  is  stated).     ISTos.  3-15  (alto,  or  treble,   and  bass 

K  2 


132 


VOCAL  MUSIC— SECULAR. 


parts)  are  taken  from  John  Dowland's  First  BooTce  of  Songes  or  Ayres 
of  foure  parts,  1597.     The  words  of  nos.  4-6  are  given  on  f.  7b. 


1.  "In  going  to  my  naked  bed." 
Attributed  to  R.  Edwards,     ff.  1,  6. 

2.  "  My  little  lamb  "  (treble  and  bass). 
Anonymous,     ff.  1,  6. 

3-5.  "Who  ever  thinks  [or  hopes  of 
love],"  "If  my  complaints,"  and 
"Can  she  [excuse  nay  wrongs]." 
ff.2,  8. 

6-8.  "Now,  o  now  [I  needs  must  part]," 
"  Burst,  burst  forth  [my  teares],"  and 
"Come  awaie  [come,  sweet  love]." 
fi.  2b,  8b. 

9.  "  Rest  awhile."     ff.  3,  8b. 

10,  11.  "  Sleep,  waiward  thoughts,"  and 
"All  ye  [whom  love  of  fortune]." 
fE.3,  9. 


12.  "  Come  againe,  sweet  love."  ff .  3b,  9. 

13.  "His  golden  locks  "  (bass),     f.  9. 

14.  "Awake,  sweete  love."     if. 3b,  9b. 

15.  "  Deare,  if  you  chaunge."     f.  9b. 

16.  "Balow  .  .  ."  (bass)— not  the  well- 
known  "  Balow,  my  babe."     f.  5. 

17.  18.  "Whither  shall  I  hy,"  and 
"Come  [love?],  lets  walke  into  the 
spring"  (bass).  The  latter  is  not 
H.  Youll's  setting  of  those  words. 
f.56. 

19.  "I  sigh"  .  .  .  (bass),     f .  6. 

20.  "Jone,  quoth  John,  when  will  it 
be  "  (tenor) — not  the  setting  of  those 
words,  temp.  Henry  VIII.     f.  6b. 


Royal  Appendix  23-25. 

Paper  ;  ff .  lb-34b  passim.    16th  cent.     Oblong  octavo.     See  also  under  Motets 
(vol.  i,  p.  267). 

Chansons  and  Madrigals  from  a  MS.  which  belonged  to  Derick 
Gerrard  or  Gerarde,  who  is  probably  the  composer  of  most,  if  not  all, 
of  them.  Imperfect.  Unless  the  contraiy  is  stated,  the  parts  which 
remain  are  superius  (vol.  i),  contra-tenor  (vol.  ii),  and  tenor  (vol.  iii). 
Nos.  17—23  occur  on  the  same  folio  in  each  volume. 


1.  "  Reuiens  vers  moy."     i,  ii,  f.  2  ;  iii, 
f.l. 

2.  "  Pandalidon."     i,  ii,  f.  2b ;  iii,  f.  lb. 

3.  "  Soions  Joieulx."     i,  f.  5b;  ii,  f.  6b; 
iii,  f .  5. 

4.  "  Joieusement  il  faict  bon  viure."     i, 
f .  6b ;  ii,  f.  7  ;  iii,  f.  5b. 

5.  "  Le  bergier  et  la  bergiere."     i,  ii, 
f.  7b ;  iii,  f.  6b. 

6.  "  Ce  mois  de  May."     i,  ii,  f.9b;  iii, 
f.8b. 

7.  "  Je  ue  suis  pas  de  ces  gens  la."     i, 
f.  lib  ;  ii,  f.  15b  :  iii,  f.  10b. 

8.  "  Prenez  plaisir."  i,  f.  Ub;  ii,  f.  18b; 
iii,  f.  17b. 

9.  "  Oncques  amour  ne  fust."  i,  f.  15b; 
ii,  f.  lib  ;  iii,  f.  13b. 

10.  "  Tant  que  en  amour."  i,  f.  16b;  ii, 
f.l2b;  iii,  f.  15b. 

11.  "Amour  au  coeur"  (superius  and 


contra-tenor),     i,  f.  17b  ;  ii,  f.  13b. 

12.  "Par  vous    seule"    (superius    and 
tenor),     i,  f.  18b  ;  iii,  f.  16b. 

13.  "Si    jay  du  mal."      i,   f.l9b;    ii, 
f.l9;  iii,  f.  18. 

14.  "  En  attendant."    i,  f.  20;  ii,  f.  19b; 
iii,  f.  19. 

15.  "  Don[n]ez  secours."     i,  f.  20b;  ii, 
iii,  f .  20. 

16.  "Tousmes  amis."     i,  f .  21 ;  ii,  iii, 
f.  20b. 

17.  "  Ta  bonne  grace."     f.  21b. 

18.  "Je     ne     scay    pas     com[m]ent." 
f . 22b. 

19.  "  Je  ne  desire  que  la  mort."    f.  23b. 

20.  "A    dieu     celle     que    jai    seruy." 
f . 24b. 

21.  "Je  suis  aimez"  (sic),     f .  25b. 

22.  "  Mon  coeur  chante."     f.  31. 

23.  "  La  neue  i  monti  intorno."    f.  34b. 


Royal  Appendix  26-30,  passim. 

Paper;  16th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  268). 

Chansons,  etc.,  for  4,  5,  and  6  voices,  in  parts,  by  Derick  Gerarde. 
Autograph  (?).     The  five  volumes  contain  respectively  "  superius,"  contra- 


MADRIGALS. 


133 


tenor  (and  "  medius "),  tenor  (and  2nd  bass),  bass,  and  "  quintus " 
(and  "  sextus ")  parts.  Unless  the  contrary  is  stated,  they  are  for 
5  voices. 


1.  "Die  lume";  with  second  part, 
"Questi  ad  un  col."     i-v,  f.  1. 

2.  "Amor  inangeua";  with  second 
part,  "  E  la  banda."     i-v,  f.  lb. 

3.  ' '  Gia  piansi "  ;  with  second  part,  ' '  E 
si  miseramente."     i-v,  f.  3. 

i.  "II  foco  ch'  io  sentia"  (a  4);  with 
second  part,  "E  quando  io  spero." 
i,  iv,  f .  7b  ;  ii,  iii,  f .  8b. 

5.  "Amy,  soufrez."  i,  ii,  iv,  v,  f.  12b; 
iii,  f.  13. 

6.  "Petitte  fleur"  (a  6).  i,  f.  13b;  ii, 
V,  f.  14;  iii  (2  parts),  iv,  f.  14b. 

7.  "  Ceste  belle  petite  bouche"  (a  6). 
i,  ii  (2  parts),  v,  f.  14b  ;  iii,  f.  15b ;  iv, 


f.l5. 

8.  "  Bon  Jour,  Mamye."  i,  v,  f.  15  ;  ii, 
iv,  f .  15b  ;  iii,  f.  16. 

9.  "Jay  veu  le  temps."  i,  ii,  iv,  v, 
f.  15b  ;  iii,  f.  16b. 

10.  "Est  il  possible."  i,  v,  f .  15b ;  ii, 
iv,  f.  16  ;  iii,  f .  16b. 

11.  "  J'attens  secours"  (a  6).  i,  ii,  iv, 
v  (2  parts),  f .  16b  ;  iii,  f.  17b. 

12.  "A  dieu  mon  esperance  "  (a  6).  i, 
ii,  iv,  f.  17;  iii,  f .  18 ;  v  (2  parts), 
f.  17b. 

13.  "Je  I'aime  Men."  i-iv,  f.  21b;  v, 
f .  22b. 


Royal  Appendix  31-35,  passim. 
Paper;  16th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  269). 

Chansons  and  Madrigals,  in  parts,  apparently  all  by  Derick  Gerarde, 
though  his  initials  are  only  appended  to  a  few.  The  live  volumes  con- 
tain respectively  the  treble,  alto,  tenor,  bass,  and  "quintus"  parts; 
nos.  8  and  25-34  have  a  "  sextus  "  part  (generally  contained  in  vol.  v); 
and  nos.  35-37  have  also  7th  and  8th  parts  (in  vols,  ii  and  iii). 

1.  "Se  (sic)  dire  ie  1'  osoie."     i-iii,  v,  f .  23b  ;  iv,  f.  22b;  v,  f .  23. 

f.6b;  iv,  f.  5b.  14.  "  Ge  mois  de  may";  containing  a 

2.  "Viure  ne   puis."      i-iii,   f.  7b ;    iv,   \       canon.      i,  iii,   f.  24b  ;    ii,    f.  25 ;    iv, 
f.6b;  V,  f.5b.  I       f.  23  ;  v,  f .  23b. 

3.  "Jenescay  pas  cement."   i-iii,  f.  8b;  15.  "  Puisquelle  a  mis  a  deulx."     i-iii, 
iv,  V,  f.  7b.  f.  25b  ;  iv,  f.  23b  ;  v,  f.  24b. 

4.  "  Dictes  pour  quoy."   i-iii,  f. 14;  iv,  16.  "Monc[o]eur  chante."  i-iii,  f.  26b  ; 
f .  13 ;  V,  f .  12b.  iv,  f.  24b  ;  v,  f.  25b. 

5.  "  Viuons  joieusement."   i-iii,  f.l4b;  17.  "  Yf  Phebus  stormes."  i-iii,  f.27b; 


iv,  V,  f.  13b, 

6.  "  A  dieu  lespoir."     i-iii,  f.  15  ;  iv,  v, 
f.  14. 

7.  "A    dieu    mon    esperance."      i-iii, 
f.  15b ;  iv,  V,  f .  14b. 


iv,  f .  25b  ;  v,  f.  26b. 

18.  "Le  bergiere  {sic)  et  la  bergierre." 
i-iii,  V,  f .  28b ;  iv,  f.  26b. 

19.  "  Aiez  pitie  de  votre  amant."    i-iii, 
V,  f.  29 ;  iv,  f.  27. 


8.  "Oncques   amour    ne    fust."     i-iii,   '   20,  "Viure  ne  puis."     Different  from 


f.  18  ;  iv,  f.  17  ;  v,  f.  16b  (2  parts). 

9.  "  Amour  au  coeur,"    i-iii,  f.  18b;  iv, 
V,  f.  17b. 

10.  "  Jay  si  fort  battaillez."  i-iii,  f.  19b; 
iv,  V,  f .  18b. 

11.  "En    attendant    secours."       i-iii, 
f.  20b  ;  iv,  v,  f.  19b. 

12.  "  Je  ne  suis  pas  de  ses  gens."    i,  iii, 
f,23b;  ii,  f.  24b;  iv,  f.22;  v,  f.  22b. 

13.  "  Pour  vne  seuUe,"     i,  iii,  f.  24  ;  ii. 


no,    2.       i-iii,    f.  30b  ;    iv,   f .  29  ;    v, 
f.  31. 

21.  "  Je   ne   me  puis  tenir."     i-iii,  v, 
f .  31b  ;  iv,  f .  29b, 

22,  "Tous  mes  amys."      i,  f.  34b;    ii, 
iii,  V,  f.  34  ;  iv,  f.  32. 

23,  "  Je  suis  amoureulx."  i-iii,  v,  f.  37  ; 
iv,  f .  35. 

24.  "  Le  souuenir  d'aimer."     i,  iii,  v, 
f .  38 ;  ii,  f .  38b  ;  iv,  f ,  36. 


134 


VOCAL  MUSIC— SECULAR. 


25.  "  Reueillez  vous."     i-iii,f.  42b;  iv, 
f.  40b ;  V,  f .  44b. 

26.  "Je   suis  desheritee."     i-iii,  f.  43; 
iv,  f .  41 ;  V,  f .  45b. 

27.  "Puis  que  fortune."     i-iii,  f.  43b; 
iv,  f.  41b  :  V,  f.  46b. 

28.  "Pour  vne,  las,  j'endure."      i-iii, 
f.  44 ;  iv,  f .  42  ;  v,  f.  47b. 

29.  "  Reiouissons  nous."     "  D.  G."    i- 
iii,  f.  44b ;  iv,  f.  42b ;  v,  f.  48b. 

30.  "Plaisir  nay  plus."     i-iii,  f .  45b  ; 
iv,  f.  43b  ;  v,  f .  50b. 

31.  "Tant   ay  souffert."     i-iii,  f.46b; 
iv,  f .  44b ;  v,  f .  52b. 


32.  "Mon  ceur  cbante."  "  D.  G."  i- 
iii,  f.49b;  iv,  f.  47b  ;  v,  f .  58b. 

33.  "Hellas,  Hellas,  quel  jour."  "  D. 
G."    i-iii,  f.  50b ;  iv,  f.  48b ;  v,  f.  60b. 

34.  "Le  rossignol  plaisant."  i-iii, 
f .  51b  ;  iv,  f.  49b ;  v,  f .  61b. 

35.  "  Auecques  vous  mon  amour  finera." 
i,  f.  65  ;  ii,  iii,  f.  61b  ;  iv,  f.  61 ;  v, 
f.  68b. 

36.  "Jay  tant  chasse."  i,  f.  65b;  ii, 
iii,  64b  ;  iv,  f .  61b  ;  v,  f.  71b. 

37.  "  Soions  Joyeulx."  i,  f.  65b;  ii,  iii, 
f.  63b  ;  iv,  f.  62  ;  v,  f .  70b. 


Royal  Appendix  41-44. 

Paper ;  fE.  17.     16th  cent.     Oblong  octavo.     With  the  royal  arms  stamped  on 
the  covers. 

Chansons  for  4  voices,  in  parts.     Anonymous.     The  references  to 
the  folios  of  each  part  are  the  same. 


1.  "  Puis  ne  me  peult  venir."     f.  lb. 

2.  "  Vous  vsurpes.  Dames."     f .  2b. 

3.  "  Plus  nul  regretz."     f .  3b. 

4.  "  Mon  ceur  chante."     f.  4b. 

5.  "  Vous  scaues  bien,"     f .  5b. 

6.  "  Sur  tous  regretz."     f.  6b. 

7.  "  Se  (sic)  dire  je  I'ossoie."     f.  7b. 


8.  "  Si  par  souffrir."     ff.  8b,  lib. 

9.  "  II  nest  sy  doulce  vie."     f.  9b. 

10.  "  Deuil,  double  deuilz."     f.  10b. 

11.  "  Pourquoy  me  vient  tu."     f.  12b. 

12.  "  Mort  et  fortune."     f.  14b. 

13.  "  Ches  facheux  sotz."     f.  15b. 

14.  "  Changer  ne  puis."     f.  16b. 


Royal  Appendix  49-54,  passim. 

Paper;  16th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  270). 

Chansons  and  Madrigals  for  6,  7  and  8  voices,  in  parts.     Unless 
the  contrary  is  stated,  they  are  for  6  voices. 


"Latfeur." 
"D. 


1.  "  J'attens     secours." 
i-vi,  f.  lb. 

2.  "Bon  jour,  bon   an"    (a   7) 
Hauericq."     i-vi,  f.  lb. 

3.  "  Cest  grand  plaisir."  "  Morel." 
i-vi,  f.  2. 

4.  "  Si  mon  traueil  vous  puisse."  "  D. 
Hauericq."  i-iii,  v,  f.  10 ;  iv,  f .  9b ; 
vi,  f .  8b. 

5.  "Au  joly  hois."  "N.  Gombert." 
i-iii,  V,  f .  10b  ;  iv,  f.  10 ;  vi,  f .  9b. 

6.  "  Changons  propos."  By  the  same, 
i-iii,  V,  f.  11 ;  iv,  f.  10b ;  vi,  f.  10. 

7.  "  Mon  petit  c[o]eur."  By  the  same, 
i,  iv,  f.  lib ;  ii,  iii,  v,  f.  12  ;  vi,  f.  11. 

8.  "  Comme  le  cerf."  "  Jacobus 
Clemens."  i,  iv,  f.  12 ;  ii,  iii,  v, 
f.  12b  ;  vi,  f.  lib. 


9.  "  Eaison  le  veult."  "N.  G[ombert]." 
i,  f.  12b;  ii,  iii,  v,  f .  lib  ;  iv,  f.  11 ; 
vi,  f.  10b. 

10.  "Retirer  il  me  fault."  "Thomas 
Criquillion."  i-iii,  v,  f.  13  ;  iv,  f.  12b  ; 
vi,  f .  12. 

11.  "Paine  et  traueil."  "N.  Gom- 
bert." i-iii,  V,  f.  13b;  iv,  f .  13 ;  vi, 
f.  12b. 

12.  "  Qui  pouldroit  dire."  By  the  same, 
i-iii,  v,  f.  14 ;  iv,  f .  13b ;  vi,  f .  13. 

13.  "Jay  mis  mon  ceur"  (?  a  7). 
Anonymous,  i-iii,  v,  f.  14b ;  iv,  f.  14  ; 
vi,  f .  13b. 

14.  " Joissancevousdonneray."  "Gom- 
bert." i-iii,  V,  f.  15;  iv,  f.  14b;  vi, 
f.l4. 

15.  "Mille    regres."       By    the    same. 


MADRIGALS. 


135 


i-iii,  V,  f.  15b  ;  iv,  f.  15  ;  vi.  f.  14b. 

16.  "  Si  inon  traueil  vous  peult."  By 
the  same,  i,  ii,  iv,  f.  15b,  iii,  v,  f.  16  ; 
vi,  f.  15. 

17.  "  Je  prens  congie"  (a  8).  By  the 
same.  i-iii,  v,  f.  16b ;  iv,  f.  16;  vi, 
f.  15b. 

18.  "  Viurenepuis."  "  N.  de  Wismes." 
i,  ii,  v,  f .  18 ;  iii,  f .  18b ;  iv,  vi,  f .  17b. 

19.  "  Las,  voules  vous."  "D.  G[erard]." 
i,  ii,  V,  f.20b;    iii,   f.  21 ;    iv,  f .  19b ; 


vi,  f.  20. 

20.  "Cest  grand  plaisir."  By  the 
same.  i,  ii,  v,  f.  21;  iii,  f.  21b;  iv, 
f.20;  vi,  f.20b. 

21.  "Hatezvous."  By  the  same,  i,  ii, 
V,  f.21b;  iii,  f.  22  ;  iv,  vi,  f.  21. 

22.  "  Or  est  venu  le  printemps  "  ;  with 
second  part,  "  Car  ce  jour  dhuy."  By 
the  same,  i,  ii,  v,  f.  22 ;  iii,  f.  22b  ; 
iv,  vi,  f.  21b. 


Royal  Appendix  67,  ff.  9-28. 

Paper;  16th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  270). 

Chansons  and  Madrigals.  Single  voice  parts  (generally  bass). 
The  number  of  voices  for  which  the  first  and  the  last  two  were  written 
does  not  appear.     Nos.  2-18  are  for  6  voices. 


1.  ["  Adieu  mon  esp^rance."]  Imperfect 
at  the  beginning.  "  Theodoricus 
Gerardj."     f.  9. 

2.  "Cest  grand  plaisir."  "  Damianus 
Hauericq."     f.  9b. 

3.  "  Si  mon  traueil."  By  the  same, 
f . 10b. 


ianus  Hollandre."     f.  19b. 

12.  "Dueil,  double  dueil."    "Jo.  Lupi." 
f .  20b. 

13.  "  Me    retirer  delle."      Anonymous. 
f.21b.  . 

14.  "Pour  vne,  las,  j'endure."    "  Theo- 
doricus Gerardj."     f.  22b. 


4.  "  Jattens      secours."        "  Latfeur."       15.  "  Tant  ai  souffert."     By  the  same. 


f.llb. 
5.  "  ResueiUez    vous    tous."       "  Theo- 
doricus Gerardj."     f.  12b. 


f.23b. 
16.  "  Jesuisdesheritee."     By  the  same. 
f.24b. 


6.  "  A  qui  me  doibs  retirer."   "Clemens      17.  "Puis  que  fortune."     By  the  same. 


Non  papa."     f.  13b. 

7.  "  A  dieu  soulas."     "  Caron."     f.  14b. 

8.  "  Viure   ne   puis."       "  Nicolaus    de 
Wismes."     f.  15b. 

9.  "Or  est  venu  le  printemps  "  ;  in  two 
parts.  "Theodoricus Gerardj."  f.  16b. 

10.  "  Celle  qui   ma   tant   pourmenez." 
Anonymous,     f .  18b. 

11.  "  Quant  je  voi  son  ceur."     "  Christ- 


f .  25b. 

18.  "  Resiouissons  nous."  By  the 
same.     f.  26b. 

19.  "...  com'  ancide."  "  Orlando  di 
Lassus."  Bnjperfcct  at  the  beginning, 
f.  28. 

20.  "Tra  bei  rubin'  e  perle."  By  the 
same.      Imperfect  at  the  end.     f .  28b. 


Royal  Appendix  59-62,  ff.  26b-44. 

Paper ;  16th  cent.  Octavo.  The  MS.  formerly  belonged  to  [Henry  Fitzalan, 
18th  Earl  of]  Arundel  [d.  1580],  and  afterwards  to  [his  son-in-law,  John,  Baron] 
Lumley  [d.  1609].     It  also  contains  String  Quartets  (see  vol.  iii). 

Neapolitan  songs  or  Madrigals,  in  parts,  the  four  volumes  con- 
taining respectively  the  treble,  alto,  tenor,  and  bass  parts.  Anonymous. 
They  are  all  (except  no.  21)  for  3  voices  (cantus,  tenor  and  bassus). 


1.  "Madonna,  io  mi  vor[r]ai  innamo- 
rare."     i,  iii,  iv,  f.  26b. 


2.  "  Tv  mi  fai  star  content'."    i,  iii,  iv, 
f.27. 


136 


YOCAL  MUSIC- SECULAR. 


3.  "  Per  disperato  mene  vogl' andare." 
i,  iii,  iv,  f.  27b. 

4.  "  Mai  me  pensaua."     i,  iii,  iv,  f.  28. 

5.  "L'atra  traitora."     i,  iii,  iv,  f.  28b. 

6.  "  Beato    chi    d' amor."     i,    iii,    iv, 
f.29. 

7.  "  Poi  ch' il   mio   core."      i,    iii,    iv, 
f.  29b. 

8.  "  Occhi  leggiadri."     i,  iii,  iv,  f.  30. 

9.  "Madonna  mia,  a  te."      i,   iii,   iv, 
f .  30b. 

10.  "Si  (sic)  tu  mi  fai  gridar."     i,  iii, 
iv,  f.  31. 

11.  "T'    baggio    stipata."      i,    iii,   iv, 
f .  31b. 

12.  "  Quel  foco,  quelli  raggi."    i,  iii,  iv, 
f.32. 

13.  "Quando  voleua   gia."      i,  iii,  iv, 
f .  32b. 

14.  "Vita  mia  bella."     i,  iii,  iv,  f.  33. 

15.  "  Ov'  il  bel  vise."     i,  iii,  iv,  f.  33b. 

16.  "  Sempre   la  vita  mia."     i,  iii,  iv, 
f.34. 

17.  "  Ahi,  vita  mia."     i,  iii,  iv,  f.  34b. 

18.  "  Se  tu  non  v[u]oi  ch'  io  mora."    i, 
iii,  iv,  f.  35. 

19.  20.  Two  pieces   without   words   or 
titles,     i,  iii,  iv,  ff.  35b,  36. 

21.  "  Dames  d'onneur  "  (a  4).    i,  iii,  iv, 


f.36b;  ii,  f.26b. 

22.  "  Vorrai  che  tu  cantasse."    i,  f.  37b; 
iii,  iv,  f.  37. 

23.  "  Io  piango."    i,  f.  38  ;  iii,  iv,  f.  37b. 

24.  "Si  (sic)  quando  sto  sveigliato."  i, 
f.  38b  ;  iii,  iv,  f.  38. 

25.  "Privo  son  d'  ogni  ben."     i,  f .  39 ; 
iii,  iv,  f.  38b. 

26.  A  piece  without  words  or  title,     i, 
f.  39b  ;  iii,  iv,  f.  39. 

27.  "Mai   posso  far  collata."     i,  f.40; 
iii,  iv,  f.  39b. 

28.  "Son  mort'   et   moro."     i,  f .  40b  ; 
iii,  iv,  f .  40. 

29.  "0  tu,  0  tu,  consta."     i,  f .  41 ;  iii, 
iv,  f.  40b. 

30.  "Mille   volte,   mille   volte   m'   hai 
fatto."     i,  f.41b;  iii,  iv,  f.  41. 

31.  "Non  so  pensare."     i,  f. 42;  iii,  iv, 
f .  41b. 

32.  "  0  dio  perche  non  vedi."   i,  f.  42b ; 
iii,  iv,  f.  42. 

83.  "Donna,  possa  partir   morte."      i, 
f.  43 ;  iii,  iv,  f.  42b. 

34.  "Vida  da  minha  alma."     i,  f .  43b  ; 
iii,  iv,  f.  43. 

35.  "Minima   fermeza."      i,  f .  44  ;   iii, 
iv,  f.  43b. 


Additional  30835-30837. 

Paper  ;  ff.  32,  31,  30.     Early  17th  cent.     Octavo. 

Collection  of  Madrigals  for  5  voices,  said  here  to  be  by  L[uca] 
Marenzio ;  but  nos.  2-4  are  attributed  in  Add.  31506  to  M.  A.  Ro.ssi. 
Treble,  alto,  and  bass  parts.  None  of  them  are  included  in  any 
known  collection  of  Marenzio's  madrisfals. 


1.  "  Che  pensi,  che  pensi,  cor  di  tigre," 
in  two  parts,     i-iii,  f.  1. 

2.  "Ecosipur'languendo."    i-iii,  f.  2b. 

3.  "Per  non  mi  dir."     i-iii,  f.  3b. 

4.  "0  prodighi  di  fiamme."      i,  f.  4b  ; 
ii,  iii,  f.  4. 

5.  "Come  sian  dolorose."     i,  f .  5b ;  ii, 
iii,  f.  5. 

6.  "  Stratiami  (sic)  pur.  Amor  "  ;  in  two 
parts,     i,  f.  6b  ;  ii,  iii,  f.  6. 

7.  "Era  1'  anima  mia."     i,  f.  8;  ii,  iii, 
f.7. 

8.  "Occhi  un  tempo."      i,  f.  8b;  ii,  iii, 
f.7b. 

9.  ' '  Langue  al  uostro  languir."   i,  f .  9b  ; 
ii,  iii,  f.  8. 


10.  "0   miseria  d'  Amante " ;    in   two 
parts,     i,  f.  10b ;  ii,  iii,  f.  9. 

11.  "  Hor' che  la  notte  "  ;  in  two  parts, 
i,  f.  lib;  ii,  iii,  f.  10. 

12.  "  Ciechi  desir  "  ;   in  two  parts,     i, 
f.  13;  ii,  iii,  f.  lib. 

13.  "Credetel'    uoi."      i,    f.  14  ;    ii,  iii, 
f.l2b. 

14.  "Cor  mio,  deh,  non  languire."     i, 
f.  14b  ;  ii,  iii,  f.  13b. 

15.  "Pal[l]ida  gelosia";  in  two  parts, 
i,  f.  15b  ;  ii,  iii,  f.  14. 

16.  "Ah,  dolente  partita."     i,  f.  17  ;  ii, 
iii,  f.  15b. 

17.  "  Ohime,  se  tanto  amate."   i,  f.  17b  ; 
ii,  iii,  f.  16b. 


MADRIGALS. 


137 


18.  "Cura  gelata."      i,    f.  18b ;    ii,   iii, 
f.  17b. 

19.  "Si,  mi  dicesti."      i,  f .  19b ;  ii,  iii, 
f.  18b. 

20.  "Amor',  ioparto."    i,  f.  20b;  ii,  iii, 
f .  19b. 

21.  "  Voi  uolete  ch'  io  Mora"  ;   in  two 
parts,     i,  f.  21b ;  ii,  iii,  f.  20b. 

22.  "Morto  mi  uede."    i,  f.  22b  ;  ii,  iii, 
f.  21b. 

23.  "  Tu  parti,  tu  parti,  a  pena  gionto." 
i,  f.23b;  ii,  iii,  f.  22b. 

24.  "Con  che  soauita."     i,  f .  24  ;  ii,  iii, 
f.23. 


25.  "Alma   afflitta."      i,   f .  25 ;   ii,  iii, 
f.  24. 

26.  "  Moribondo  mio  pianto."    i,  f.  25b ; 
ii,  iii,  f .  24b. 

27.  "  Io  d'  altrui  se  uolessi."     i,  f.  26b  ; 
ii,  iii,  f.  25b. 

28.  "  Vna  farfalla";    in  two  parts,     i, 
f.  27  ;  ii,  f .  26b  ;  iii,  f .  26. 

29.  "Clie   dura   legge."      i,    f.  28d;    ii 
f.28;  iii,  f.  27b. 

30.  "  Quanto  per  uoi  sofferse"  ;  in  two 
parts,     i,  f.  29b  ;  ii,  f.  29  ;  iii,  f.  28b. 

31.  "Mentre   d'   ampia  uoragine   ton- 
ante."    i,  f.  30b  ;  ii,  f.  30b  ;  iii,  f.  29b. 


Additional  17786-17791,  passim. 

Paper ;  early  17tb  cent.     Oblong  octavo.     The  MS.  also  contains  Anthems 
(vol.  i,  p.  5),  Carols  {ib.  p.  142),  Chamber  trios,  etc. 

Madrigals,  etc.,  by  English  composers  of  the  end  of  the  16th  and 
beginning  of  the  17th  century,  in  parts,  the  six  volumes  containing 
respectively  the  "  superius,"  "  medius,"  contra-tenor,  tenor,  "  sextus," 
and  bass  parts.  Unless  the  contrary  is  stated,  they  are  for  5  voices, 
the  part  contained  in  vol.  v  being  a  duplicate  of  one  of  the  parts  in  a 
preceding  volume,  with  the  words  added. 


1.  "My  little  sweet  Darlinge."  "W. 
Byrd."     i-iv,  vi,  f.  6 ;  v,  f.  2. 

2.  "  Pandulpho  "  ;  beginning  "Powre 
downe  .  .  .  your  eares."  "Rob. 
Parsons."     i-iv,  vi,  f.  6b  ;  v.  f.  2b. 

3.  "  0  Joue,  from  stately  throne." 
"Richard  Farrant."  i-iv,  vi,  f .  7b  ; 
v,  f .  3b. 

4.  "Joane,  quoth  John":  dialogue. 
"[Richard  ?]  Nikcolson."  i-iv,  vi, 
f.8;  V,  f.4. 

5.  "  Dowland's     sorrow  "  ;     beginning 


parts.    By  the  same,    i-iv,  vi,  f.  lib  ; 
V,  f.  8. 

10.  "Were  I  made  Jurer."  By  the 
same,     i-iv,  vi,  f .  12  ;  v,  f.  8b. 

11.  "To  plead  my  faith."  Here  attri- 
buted to  the  same,  but  in  R.  Dow- 
land's Musicall  Banquet,  1610,  to 
D.  Batchelor.  i-iv,  vi,  f .  12b ;  v, 
f.9. 

12.  "What  meate  eates  the  Spaniard" 
(a  6).     Anonymous,     i-iv,  vi,  f.  13b 
V,  f .  9b. 


"  Sorrow, 


come. 


William   i   13.  "I   am   not   I   of    such   beleefe " 


Wigthorp."     i-iv,  vi,  f.  9  ;  v,  f.  4b. 
6.  "Eliza    her    name    giues    honor." 


dialogue.      "  W.  Wigthorpe."      i-iv 
vi,  f .  13b  ;  V,  f.  10. 


"Jo.   Bennet."      i-iv,    vi,   f .  9b ;    v,       14.  "Of  all   ioUy   pastimes."     Anony- 
f .  5b.  mous.     i-iv,  vi,  f .  15b  ;  v,  f .  10b. 


7.  "Resurrexit  a  mortuis,  this  holy  St. 
Frauncis."  Anonymous,  i-iv,  vi, 
f . 10b. 


15.  "Send   foorth  thy  sighes."     "Na^ 
thanaell  Patricke."     i-iv,  vi,  f.  16b 
V,  f.ll. 


8.  "  Come  hither  ..."  :  dialogue  (a  6).    I   16.  "  Grace,  my  lovely  one."    "Thomas 


"W.  Wigthorp."     i-iv,    vi,  f.ll;    v, 
f.7b. 
9.  "  Smithes  are  good  fellowes  "  ;  in  two 


Weelkes."     i-iv,  vi,  f.  17b. 
17.  "Wilt  thou,  unkind,  now  leave  me  " 
(a  6).     "Robert  Ramsey."     i-iv,  vi 
f . 34b  ;  V,  f .  17b. 


138 


VOCAL  MUSIC— SECULAR. 


Additional  29366-29368,  passim. 
Paper;  early  17th  cent.     Oblong  folio.     See  also  under  Anthems  (vol.  i,  p.  5). 
Madrigals  to  English  words.     Treble,  bass,  and  "  quintus  "  parts, 


unless  the  conti'ary  is  stated. 

1.  "Cruell,  vukind,  adue."  "  Palavi- 
cino."     i-iii,  f.  12b. 

2.  "0  how  fortunate  they"  (for  5 
voices).  "  Ro.  Ramsey."  i,  f.  18;  ii, 
f.  17  ;  iii,  f.  18. 

3.  "Cease  now  thy  greife."  By  the 
same,     i,  f.  18b;  ii,  f.l7b;  iii,  f.  18b. 

4.  "  Stay,  Daphne."  Cantus  and  "  quin- 


tus "  parts.   Anonymous,  i,  iii,  f .  20b. 

5.  "0  louely,  loueless  sweet."  "  Tho. 
Wilkin  [son?]."     i-iii,  f.  21. 

6.  "Since  no  desert  can  move  thee." 
"Robert  Ramsey."  i,  ii,  f .  2-lb  ;  iii, 
f.22b. 

7.  "In  vaine,  poore  eyes."  The  music 
has  not  been  filled  in.     ii,  f.  19b. 


Additional  29427,  ff.  13,  13b,  14b,  16b,  41b-44,  74-76. 
Paper;  early  17th  cent.     Small  folio.     See  also  under  Anthems  (vol.  i,  p.  6). 
Madrigals  for  5  and  (no.  4)  6  voices.     Alto  part. 


1.  "Cease     now,     vaine     though[t]s." 
"Gyles."     f.l3. 

2.  "0   thrice  blessed."     "Tho.   [John 
in  Add.  29372-6]  Tomkins."     f.  13b. 

3.  "Come,  tread  the  path."      Anony- 
mous,    f .  14b. 

4.  "  Cease  now  delighte."  By  T.Weelkes. 
f .  16b. 


5.  "  The  country  cryes."  "Deereing." 
f .  41b. 

6.  "Cryes  of  London"  ["A  good  hot 
sausage,"  etc.']  ;  with  second  part 
["God  give  you  good  morrow,  my 
masters"].  "Orlando  Gibbons.'* 
f.48. 


Additional  33933,  f.  85. 

Paper;  early  17th  cent.     Octavo.     See  also  Anthems  (vol.  i,  p.  2). 
"Come   againe,  sweet   lov."     [By  John   Dowland,  1597.]     Contra- 


tenor  part. 


Harley  7578,  ff.  84-1 16b  passm. 


Paper;  teinp.  Elizabeth  (f.  110b).  Oblong  octavo.  The  MS.  was  given  to 
Humfrey  Wanley  by  James  Mickleton,  of  Grays  Inn,  17  Feb.  1717-18  (see 
f.  117b),  and  appears  to  have  previously  belonged  to  Thomas  Awdcorne  or  Old- 
corne.  The  first  83  leaves  of  it  contain  chiefly  poems  in  English,  in  15th  and 
16th  century  hands  ;  the  last  6,  Lute  Solos  in  an  early  17th  century  hand.  The 
same  collection  also  contains  Anthems  (vol.  i,  p.  3),  Motets  (ib.  p.  265),  a  sacred 
Trio  (ib.  p.  463),  String  Quintets,  etc. 

Vocal  part-music,  mostly  anonymous,  apparently  connected  with 
the  neighbourhood  of  Durham.  Only  one  part  remains,  though  some 
of  the  pieces  were  written  for  as  many  as  5  voices. 

Printed    by   Ritson,  Ancient  Songs, 
1790,  p.  134.     f.  100b. 
5.  "In    Creat,    when     Dedylus    fyrst 
began."     Imperfect,     f.  103. 


1.  "[Whether  of  these  tow]  Lytell 
byrdes  flatterith  most."  Imperfect. 
f.84. 

2.  "My  lady  is  a  prety  on."     f.  85. 

3.  "When  trewth  is  tryed."     f.  93b. 

4.  "Hey  downe,  downe,  downe,  .  .  .  . 
these    women    all."      "M'  Heath." 


6.  "  If  I  be  wanton,  I  wotte  welle  why.' 
f .  105b. 

7.  "Alone  walking  and  oft  musing" 


MADRIGALS. 


139 


containing  allusions  to  many  towns 
and  villages  to  the  north  and  west  of 
Durham,     f.  106. 

8.  "Ty  the  mar[e],  tomboy."  Printed 
by  Ritson,  oj>.  cit.  p.  130.     f.  111. 

9.  "  Aryse,  aryse,  aryse,  I  say."  f.  114. 

10.  "That  of  wysse  men  maykes  worsse 
then  swyne."     f.  114b. 

11.  "Houghe  the  tankerd  "  ("  triplex" 


part).     f.ll5b. 

12.  "What  tyme  Appelles."     f.  116. 

13.  "I  may  well  banne  that  I  poor 
Nanne."     f .  116. 

14.  "  Take  hede  bytyme."     f .  116b. 

15.  "Fylle  the  poot  (sic),  mayd." 
Printed  by  Ritson,  op.  cit.  p.  136. 
f .  116b, 


Additional  30480-30484,  passim. 

Paper;  iewj>.  Elizabeth.   Oblong  octavo.    See  also  under  Anthems  (vol.  i,  p.  3). 

Vocal  part-music  by  English  composers,  mostly  for  4  or  5  voices, 
in  parts. 

be  "chaplain  to  Queue  Anne  Bullen." 
i,  f.63;  ii,  f.68b;  iii,  f.63b;  iv,  f.65b; 
V,  f . 10b. 

9.  "Com  agayne sweet  natur's 

traseur."  "E.  Johnson."  i,  f.63; 
ii,  f.eSb;  iii,  f.63b  (here  attributed 
to  Phillypes) ;  iv,  f .  65b  ;  v,  f .  10b. 

10.  "With  out  redressee  (sic)  I  wast[e] 
my  mynde."  For  4  voices.  Anony- 
mous, i,  f.  74b;  ii,  f.79b;  iii,  f.73b; 
iv,  f.76b. 

11.  12.  "D'ung  noveau  dart  je  suis 
frap[p]e"  (two  versions?).  For  5 
voices.  By  P.  Phillips,  i,  ff.  78b,  79 ; 
ii,  ff.83b,  84;  iii,  ff .  77b,  78;  iv, 
ff . 80b,  81 ;  V,  f .  14b. 

13.  "Mistruste     oft     tymes     amise." 

Anonymous,     i,  f.  87b ;   ii,  f.  92b ;  iii, 

f.  86  ;  iv,  f .  89. 
14 (?  2nd  verse)  "  By  art  of  .  .  .  ." 

ii,  f .  93. 
15.  "As  one   in   care  I   doe  lament." 

Anonymous,     v,  f.  10, 


1.  "0   death rock  me  asleep." 

For  5  voices.    Anonymous,    i,  f .  37b ; 
ii,  f.40b;  iii,  f.38b;  iv,  f.41;  v,  f.l9b. 

2.  "Com,  palefaced  death."  For  4 
voices.  "Johnson."  i,  f .  38 ;  ii, 
f.  41b ;  iii,  f.  39 ;  iv,  f.  41b. 

3.  "When  shall  my  sorowfull  syghinge 
slake."  ' '  Tallys."  i,  f .  48  ;  ii,  f .  54 ; 
iii,  f .  50 ;  iv,  f .  53. 

4.  "Defiled is  my  name."  "  [R.]  John- 
sone."  i,  f.  49b  ;  ii,  f.  56b  ;  iii,  f.  52b ; 
iv,  f .  55b. 

5.  "Vt  re  mi  fa"  (a  solfa-ing  song). 
In  4  parts.  "Parsons."  i,  f .  57b  ; 
ii,  f.63b;  iii,  f.59b;  iv,  f .  66. 

6.  "Triumphe,  Triumphe,  with  ple- 
saunte  melodie."  For  5  voices. 
"[William]  Bird."  i,  f.60;  ii,  f.67; 
iii,  f.  62  ;  iv,  f .  64  ;  v,  f .  9b. 

7.  "Susanna  fayer."  Imperfect  at  the 
end.    By  A.  Ferrabosco,  sen.    i,  f .  62. 

8.  "Elisa  ....  is  ye  fayrest  queue." 
"Johnson,"  stated  in  a  later  hand  to 


Additional  17797,  passim. 

Paper ;  after  1600  (see  below).    Small  oblong  quarto.    See  also  under  Anthems 
(vol.  i,  p.  7). 

Madrigals  for  5  voices,  in  parts ;  by  Richard  Nicholson,  whose 
name  is  appended,  except  in  the  case  of  those  marked  anonymous  and 
no.  2,  which  is  known  to  be  his  composition.  The  folios  refer  respec- 
tively to  the  cantus,  altus,  tenor,  bassus,  and  quintus  parts. 


1.  "And    so    an    end."      Anonymous, 
ff .  lb,  19b,  37b,  55b,  73b. 

2.  "  Cuckow   ...  so    merrily    sings." 
[1600.]     ff.  3b,  21b,  39b,  57b,  75b. 

3.  "In   the    merry  month    of    May." 


ff .  4,  22,  40,  58,  76. 

4.  "No  more,  good  herdsman."     ff.  4b, 
22b,  40b,  58b,  76b. 

5.  "I  am  not  I  of  such  beleefe."     ff. 5, 
23,  41,  59,  77. 


140 


VOCAL  MUSIC— SECULAR. 


6.  "  What  sudden  change."    ff.  5b,  23b, 
41b,  59b,  77b. 

7.  "Thou  marvailst  much."  fi.  7b,  25b, 
43b,  61b,  79b. 

8.  "  Sweet  needle."  Anonymous,  fi.  8b, 
26b,  44b,  62b.  80b. 

9.  "  Muse  not,  faire  loue."  Anonymous. 
ff.9b,  27b,  45b,  63b,  81b. 

10.  "  Sweet,  they  say  such  vertue  lies." 


f£.  10b,  28b,  46b,  64b,  82b. 

11.  "Farewell  the  joyes."  fi.  13b,  31b, 
49b,  67b,  85b. 

12.  "Come,  infirmity."  Anonymous, 
fi.  14b,  32b,  50b,  68b,  86b. 

13.  " .  .  .  .  And  hath  good  grace." 
Quintus  part  only.  Spaces  have  been 
left  for  the  other  parts,  but  they  have 
not  been  filled  in.     f.  87b. 


Additional  30816-30819. 

Paper;  fi.  48,  48,  48,  48.     After  1601  (see  f.  33b).     Oblong  octavo. 

"  Le  Belle  Nimfe "  :  a  collection  of  Madrigals  for  6  voices,  made 
apparently  at  the  beginning  of  the  17th  cent,  and  evidently  taken 
from  works  then  engraved,  especially  from  II  lauro  verde,  which  first 
appeared  in  1583.  The  dates  appended  below  are  those  of  the  first 
editions  in  which  the  Madrigals  in  question  are  known  to  have  been 
published.  First  and  second  treble,  alto  and  bass  parts.  The  words 
are  wanting.     The  foliation  is  the  same  in  each  part. 


1.  "  Stella  crudel."  "  Claudin  le  Jeune." 
[1585.]     f.  1. 

2.  "Amanti  miei."  By  the  same. 
[1585.]     f.  lb. 

3.  "Parto  da  voi."  "  Claudio  [Meru- 
lo]  da  Correggio."     f.  2. 

4.  "Tra  pure  neui."  By  the  same. 
[1579.]     f.  2b. 

5.  "Amor,  che  v[u]oi  ch'."  "Pietero 
Philipe."     [1591.]     f.  3b. 

6.  "Poidisse."  "  Tiburtio  Massaino." 
[1579.]     f.  4b. 

7.  "Sperar  non  si  [potea] "  ;  in  two 
parts.  "Andrea  Gabrieli."  [1579.] 
f.5b. 

8.  "Liete  le  muse."  "Francesco 
Eouigo."     [1583.]     f.  7b. 

9.  "  Cessi  .  .  .  ."     Anonymous,     f .  8b. 

10.  "  Quaudo  .  .  .  ."    Anonymous,    f.9. 

11.  "Ch'  io  scriua."  "Philipe  de 
Monte."     [1569.]     f .  9b. 

12.  "Come  il  [lauro]."  By  L.  Mira. 
[1583.]     f.  10b. 

13.  "Amor,  che  vid'."  "  Pietro  Phil- 
lipi."     [1591.]     f.  lib. 

14.  "Vorria  parlare."  "  Gio.  Turn- 
hout."     [1591.]     f.  12b. 

15.  "Ahi,  che  [fuggite]."  "  Julio  Here- 
mita."     [1584.]     f.  13b. 

16.  "Prendi  1'  aurata  [lira]."  "Or- 
lando "  [di  Lasso,  1587].     f.  14b. 

17.  "Non  mi  togl'."  Anonymous, 
f . 15b. 


18.  "Forsidite."    Anonymous,    f.  16b. 

19.  "Occhimiei."  "Bacucius."  [1591.] 
f.  17. 

20.  "  Se   voi   s[i]et'."     "  Gio.  Battista 
Mosto."     [1579.]     f.  17b. 

21.  "Questa   fera    [gentil]."      "Joane 
Ferret[t]i."     [1567.]     f.  18b. 

22.  "Parto   da   voi."     "  Luca   Maren- 
z[i]o."     [1585  ?]     f.  19b. 

23.  "Ovetral'herbe."  "  Jouan.  Croce." 
[1592.]     f.  20b. 

24.  "Solo  e  penso[so] '" ;  in  two  parts. 
Anonymous,     f .  21b. 

25.  "Eran    [le]    Ninfe."     "  Alesandro 
Strig[g]io."     [1592.]     f.  23b. 

26.  "Verde      lauro."       "Philipe      de 
Monte."     [1583.]     f .  24b. 

27.  "Non    so    s'   amor."       "  Stephan 
Felix."     [1579.]     f.  25. 

28.  "Deh,scem' il  [foco]."     ByB.  Pal- 
lavicino  (?).     [1587.]     f .  25b. 

29.  "  O  gratiosa  e  cara."  "Joan.  Croce." 
[1590.]     f.  26b. 

30.  "Verde  lauro."  "  Anuibal.  Stabile." 
[1583.]     f.  27b. 

31.  "Sonno    diletto."      "Andrea    Ga- 
brielis."     [1580.]     f.  28b. 

32.  "En  las  Riveras";  in  two  parts. 
"  Pedro  Rimonte."     f.  29b. 

33.  "Chi    crederia."      "Joan.  Croce." 
[1590.]     f.  31b. 

34.  "  Poi   che   '1  mio    [largo  pianto]." 
"  Filippo  de  Monte."    [1569.]    f.  32b. 


MADRIGALS. 


141 


35.  "Talche      douunque."       By      L. 
Marenzio.     [1587.]     f.  33. 

36.  "Madonna,  con  quest'."     "  Pietro 
Swe[e]liDg."     [1601.]     f .  33b. 

37.  "Voi  volete  [ch' io]."     "Alfonso" 
[Ferrabosco,  sen.,  1597].     f.  34:b. 

38.  "El   que   partir";    in   two   parts. 
"Pedro  Rimonte."     f.  35b. 

39.  "Se   pensand'    al   partir."      "  Gio. 
Piero  Manenti."     [1574.]     f.  37b. 

40.  "Valli  profunda   al   sol";  in  two 
parts.    "  Joan.  Croce."  [1590.]  f .  38b. 

41.  "Donna      crudel."       Anonymous, 
f.  40b. 

42.  "Piantagentil."  "Nicole  Peruue." 


[1583.]     f.41. 

43.  "  Ecco,  ch'  io."  Anonymous. 
[1583  ?]     f .  41b. 

44.  "La  doles  vista."  "  Pbilipe  da 
Monte."     [1569.]     f.  42b. 

45.  "Solo  e  pensoso";  in  two  parts. 
Anonymous.  (Different  from  no.  24.) 
f .  43b. 

46.  "Ne  mai  piu  vag' "  ;  in  two  pards. 
"  Teburcio  Massiano."  [1579.]  f .  45b. 

47.  "  Chiudea  le  luci."  Anonymous, 
f.  47b. 

48.  "Qual  vine."  By  L.  Marenzio. 
[1583.]     f.  48b. 


Egerton  995,  passim. 

Paper  ;  after  1604  (see  f.  6b).     Quarto.      See  also  under  Anthems  (vol.  i,  p.  7). 

Madrigals,  mostly  by  Italian  composers,  but  with  English  words, 
taken  from  the  collections  by  T.  Watson  (1590),  N.  Yonge  {Musica 
Transalpina,  1588,  1597),  and  T.  Morley  (1597).  Unless  the  contrary 
is  stated,  they  are  for  5  voices.  Four  parts  only,  generally  treble,  alto, 
"  quinto,"  and  bass. 


1.  "  Sound  out,  my  voice."  "  Gianetto 
Palest[r]ina."     ff.  4b,  46b,  76b,  118b. 

2.  "  0  my  louinge."  "  Luca  Marenzio." 
ff.  5b,  47b,  77b,  119b. 

3.  "  Strainge  weare  the  liefe."  "Tho. 
Bateson."  [1604.]  ff .  6b,  48b,  78b, 
120b. 

4.  "Susanna  fayre."  "Orlando  di 
Lasso."     ff.  8b,  50b,  80b,  122b. 

5.  "The  faire  yonge  virgin";  in  two 
parts.  "William  Byrde."  ff .  9b, 
51b,  81b,  123b. 

6.  "  Such  pleasant  bougbes."  "Alfonso 
Ferabosco."     ff.  12b,  54b,  84b,  126b. 

7.  "Sweetly  pleasing  singest  thou." 
"Battista  Mosto."  ff.  13b,  55b,  85b, 
127b. 

8.  "I  thinck  that  if  the  hills."  "Al- 
fonso Ferabosco."  ff.  14b,  56b,  86b, 
128b. 

9.  "What  doth  my  prety  dearlinge." 
"Luca  Marenzio."  ff.  16b,  58b,  88b, 
130b. 

10.  "  Sleepe,  .  .  .  myne  onely  Jewell"  ; 


in    two    parts.      "  Stephano   Felis." 
ff.  17b,  59b,  89b,  131b. 

11.  "  Liquid  and  watry  pearles." 
"  Luca  Marenzio."  ff.  19b,  61b,  91b, 
133b. 

12.  "  Somtyme  my  hoape."  "Alfonso 
Ferabosco."     ff .  22b,  64b,  94b,  136b. 

13.  "0  sweete  kiss."  By  the  same, 
ff.  23b,  65b,  95b,  137b. 

14.  "  Sweete  hart,  aryse."  "Luca  Ma- 
renzio."    ff.  24b,  66b,  96b,  138b. 

15.  "AUyee.  .  .  that  ioy  in  waylinge." 
"  Giou.  Maria  Nanino."  ff.  25b,  67b, 
97b,  139b. 

16.  "I  must  depart."  "Luca  Maren- 
zio."    ff.  27b,  69b,  99b,  141b. 

17.  "I  sawe  my  lady  weeping";  in 
two  parts.  "Alfonso  Ferabosco." 
ff .  28b,  70b,  100b, 142b. 

18.  "  Lady,  if  you  so  spight  race."  By 
the  same,     ff .  31b,  73b,  103b,  145b. 

19.  "  Fly,  if  thou  wilt."  "  Giulio 
Eremita."     ff.  32b,  74b,  104b,  146b. 


The  following  17  are  for  4  voices  : — 


20.  "  Eury     singing     bird."       "Luca 
Marenzio."     ff.  34b,  106b,  148b. 

21.  "  Alas,  what  a  wretched  liefe."    [By 


the  same.]     ff .  35b,  107b,  149b. 
22.  "  0  griefe,  if  yett  my  griefe."  "Bal- 
desar  Donato."     ff.  36b,  108b,  150b. 


142 


VOCAL  MUSIC— SECULAR. 


23.  "Since   that   the  tyme."     "  Giou- 
anni  Croce."     ff.  38,  110,  152. 

24.  "White    lillies."      By    the    same, 
ff.  38b,  110b,  152b. 

25.  "Flora,  fayre  love."    "Felice  Ane- 
rio."     ff.  39,  111,  153. 

26.  "Long    hath    my   love."     By    the 
same,     ff .  39b,  111b,  153b. 

27.  "Cease,  shepards,  cease."     By  the 
same.     ff.  40,  112,  154. 

28.  "When  loe  by  breake  of  morning." 
By  the  same.     ff.  40b,  112b,  154b. 

29.  " Daphne  the  brighte."  "Giouanni 
Croce.     ff.  41,  113,  155. 


30.  "  Ladie,  lett  mee  behould."  By  the 
same.     ff.  42,  114,  156. 

31.  "Lo,  lady,  for  your  love."     By  the 
same,     ff .  42b,  114b,  156b. 

32.  "  Come,  shepards  god."     "  Horatio 
Vecchi."     ff.  43,  115,  157. 

33.  "Weary   and   wyndles."      By  the 
same.     ff.  43b,  115b,  157b. 

34.  "  Miraculous      loues     wounding." 
"Felice  Anerio."     ff.  44,  116,  158. 

35.  ' '  Pearle,  Christall,  gould  and  Ruby." 
By  the  same.     ff.  44b,  116b,  158b. 

36.  "  Faine  would  I  dye."     "Lodouico 
Viadana."     ff.  45,  117,  159. 


Additional  30823-30825. 

Paper  ;  ff.  47,  47,  47.     After  1604  (see  below).     Oblong  octavo. 

Madrigals  for  3  voices,  in  parts,  without  words.  The  dates  given 
below  are  those  of  the  earliest  editions  in  which  they  are  known  to 
have  appeared ;  but  the  present  parts  were  probably  copied  from  later 
editions.  No  composers  are  named  in  the  MS.  ;  but  the  names  of 
those  which  it  has  been  possible  to  supply  with  any  degree  of  certainty 
have  been  appended  below.  Nos.  2,  4,  8  and  13-18  are  probably 
from  the  1597  reprint  of  Madrigali  a  Tre,  originally  published  in 
1551  ;  nos.  30-33  from  Canzonetti  a  tre,  1587  ;  and  nos.  40-46  from 
the  1604  reprint  of  the  Fiori  Musicali,  of  which  book  i  was  originally 
published  in  1590,  and  book  ii  in  1598.  Two  or  three  of  the  com- 
positions are  possibly  of  a  sacred  character.  The  foliation  is  identical 
in  all  the  parts. 

f.l7b. 

18.  "0   felice   [colui]."     By   J.   Gero. 
f.  18b. 

19.  "Sa  quest'."     f .  19b. 

20.  "Or  sus,  amour."     f .  20b. 

21.  "Jour  desire"  (sic),     f.  21b. 

22.  "Plust  a  Dieu."     By  N.  Gombert. 
f .  22b. 

23.  "  Pere  de  nous."     f.  23b. 

24.  "Jamais  n'auoir."     f.  24b. 

25.  "  Qual  viue";  apparently  adapted 
from  Marenzio.     f .  24b. 

26.  "  S'  altra  fiamma."    By  F.  Bellasio, 
1590.     f .  25b. 

27.  "Dormiua    dolcemente."      By    F. 
Stivorio,  1590.     f.  26b. 

28.  "Queste   note    vi   dono."     By   G. 
Guami,  1598.     f.  27b. 

29.  "Morir  non."     f.  28b. 

30.  "  Sta  notte  [mi  sognava]."     By  G. 
Boni.     f.  29b. 

31.  "Non   vedi,   amore."      By   Giulio 
Renaldi.     f.  30b. 


1.  "  A  ce  bon  an." 

2.  "  Se  per  colpa." 
f.2b. 

3.  "  Si  me  tenez." 


f.  lb. 

By  Jan  Gero,  1551. 

f.3b. 

4.  "Alassalir."    By  Lupacchino,  1551. 
f .  4b. 

5.  "Helas,  amy."     f .  5b. 

6.  "  En  languissant."     f .  6b. 

7.  "Come  donna."     f.  7b. 

8.  "  Alia  dol[c]e  [ombra]."    By  J.  Gero, 
1551.     f.  8b. 

9.  "  Dormend'  vn  [giorno  "  ?].     f.  9b. 

10.  "  Tant  bien."     f.  10b. 

11.  "  Vostre  rigueur."     f.  lib. 

12.  "  lo  credea."     By  V.  Ferro,  1562. 
f.  12b. 

13.  "Raregratie."    By  J.  Gero.    f.l3b. 

14.  "  Valli  vicine."     By  P.  Animuccia. 
f.l4b. 

15.  "Le  treccie."     By  J.  Gero.     f.  15b. 

16.  "  Perch' al  [viso]."  By  Lupacchino. 
f.  16b. 

17.  "Vel   puo   giurar."     By  V.  Ferro. 


MADRIGALS. 


143 


32.  "  Vn  giorno  [passeggiando]."     By 
A.  Barbato.     f.  31b. 

33.  "Godi[a]m'  adesso."    By  L.  dalla 
Balla.     f.  32b. 

34.  "Dolci  colli."     f.  33b. 

35.  "Ben  sperai."     f .  34b. 

36.  "La  mia  spietata  sorte."     f .  35b. 

37.  "Cruda   e   bella";   in   two    parts, 
f.  36b. 

38.  "Signo[r?]  mio."     f.  38b. 

39.  "Vnbel  vis  .  .  .  "     f.  39b. 

40.  "Lascian  le  [fresche]."     By  G.  M. 
Nanino,  1590.     f .  40b. 


41.  "  Lunge  da  gl'  occbi  [vostri]."     By 
F.  di  Gregorii,  1590.     f .  41b. 

42.  "Ma      che     squallido."        By     I. 
Baccusi,  1598.     f.  42b. 

43.  "Voi    bramate."      By    G.    Grace, 
1598.     f.  43b. 

44.  "  Gia  fu  mia."     By  G.  Florio,  1590. 
f . 44b. 

45.  "  Basciami,    vita    [mia]."      By    G. 
Grace,  1590.     f.  45b. 

46.  "  Vezzosi  augelli."   By  G.  M.  Asola, 
1598.     f.  46b. 


Additional  34050,  passim. 

Paper;   after  1604  (date  of  latest  known  publication — see  below).      Oblong 
octavo.     See  also  under  Motets  (vol.  i,  p.  278). 

Madrigals,  apparently  all  written  for  5  voices,  in  England. 
Tenor  part.  The  words  are  omitted  in  most  cases.  Nos.  2-10  are 
by  B.  Pallavicino,  nos.  2-4  being  published  in  1588,  and  nos.  5-7 
in  1593. 

By  L.  Maren- 


1.  "Bascia  e  ribascia 
zio(?),  1593.     f.l, 

2.  "  Mentre  che  [qui  d'  intorno]."   f.  lb 

3.  "Non  mirav."     f.  2b. 

4.  "Non  mi  ferir."     f.  3b. 

5.  "Donna,  se  voy  [m'odiate]."     f .  4b. 

6.  "  Filli,  tu  pur  [sei  quella]."     f.  5b. 

7.  "Tupur  ti  parti."     f.  6b. 

8.  "  Si,  mi  dicesti."     [1588.]     f.  7b. 

9.  "  Ben  r  alme."     [1593.]     f .  8b. 

10.  "  Artemisiano."     [1588.]     f.  9b. 


11.  "  Quelle  rose."     By  F.  Anerio  (?), 
1596.     f.  10b. 

12.  "Amorosette      [ninfe]." 
Pallavicino,  1593.     f.  lib. 

13.  "Lena    con    la    sua  mano."      By 
the  same,  1593.     f.  12b. 

14.  "Rimaser    [le     parole]."      By    G. 
Groce,  1593.     f.  13b. 

15.  "Ghi    [?    per    voi    non]    sospira." 
Anonymous,     f.  15b. 

10.  "Hor  veggio."     By  B.  Pallavicino, 

1604.     f.  16b. 
17.  "  Dolce  mia."    Anonymous,    f.  18b. 


B.  Pallavicino,  1588.     f .  20b. 

20.  "Hor  lieto."  By  the  same,  1588. 
f.21b. 

21.  "La  tua  cara."  By  the  same, 
1588.     f.  22b. 

22.  "Amorosa  .  .  .  .  "  Anonymous, 
f . 23b. 

23.  "Dolce  mia  cara."  By  B.  Palla- 
vicino, 1604.     f.  24b. 

24.  "  Se  Gioue."  By  0.  Ballis  (?),  1598. 
f . 25b. 

25.  "Le  belle."  By  A.  Ferrabosco. 
f . 26b. 

By     B.    '   26.  "  II  sangue  a  pena."     By  L.  Via- 
I        dana(?),  1597.     f .  27b. 

27.  "O  tu  che  ale"  [?  =  "  0  tu  che 
fra  le  selve"].  By  L.  Marenzio, 
1590.     f . 28b. 

28.  "lo  seguo  ardente."  Anonymous, 
f.  29b. 

29.  "  Zefiro  torna."  By  A.  Ferrabosco, 
1587.     f . 30b. 

30.  "Non  mi  fuggir."      By  the  same, 
-  1587.     f.  31b. 


18.  "Chime..."    Anonymous,   f .  19b.    '  31.  "No  trust  ther  is."     Anonymous. 

19.  "Se  vois[i]ete  [il  mio  core]."     By   '       f.  33. 

The  following  numbers  (except   nos.   33  and  39)  are  accompanied 
by  words ;  nos.  34-39  are  anonymous. 


32.  "Gompell  the  hauke."  By  W. 
Byrd,  from  Soiigs  of  sundrie  natures, 
1589.     f .  33b. 


33.  "Delight  is  dead."     By  the  same, 
f . 34b. 

34.  "  Among  the  Roses  "  ;  with  second 


144 


VOCAL  MUSIC— SECULAR. 


part,  "  Wherat  the  Nymphe."     f.  35. 

35.  "  Love  is  a  pleasure."     f.  36b. 

36.  "  Farwell  al  fancyes."     f.  37b. 

37.  "What  joy,  delight  and  pleasure." 


f.  38b. 

38.  "How    high    was   Csesar    placed." 
f . 39b. 

39.  "  How  finely  fortune."     f.  40b. 


Additional  36484,  passim. 

Paper;  after  1604  (see  below,  after  no.  107).  Small  oblong  folio.  From  the 
similarity  of  some  of  the  contents,  it  seems  likely  that  the  MS.  was  known  to  the 
John  Forbes,  of  Aberdeen,  whose  Songs  and  Fancies  were  published  in  1662,  and 
to  the  compiler  of  the  later  portions  of  Add.  33933.  See  also  the  Catalogue  of 
Additions  for  1900-1903,  p.  120.  It  also  contains  Anthems,  Hymns,  sacred  and 
secular  Motets,  etc. 

Vocal  compositions,  apparently  in  the  hand  of  David  Melvill  alias 
Mel  vine,  whose  name  is  written  in  a  contemporary  hand  at  the  bottom 
of  every  page.  Unless  the  contrary  is  stated,  they  are  for  4  voices. 
Bass  part.     The  composers'  names  are  not  given. 


1.  "When  sail  my  sorovfull  siching 
slaik."     [Tallis.]     f.l. 

2.  "Suport  5our  servand,  pierles  para- 
mure."     f.  lb. 

3.  "Only  to  50W,  my  ladey  bricht." 
f.2. 

4.  "  Richt  soir  oprest  am  I."     f.  3b. 

5.  "In  throw  the  vondouis  (sc.  win- 
dows) of  my  eies."     f.  4b. 

6.  "I  joy  not  in  no  earthlie  bliss." 
[W.  Byrd,  1588.]     f.  6. 

7.  "Wher  fancie  fond";  for  5  voices. 
By  the  same,  1588.     f.  6b. 

8.  "Susanna  [fair  sometime  of  love 
assaulted  was]  "  ;  for  5  voices.  [0. 
di  Lasso,  from  Musica  Transal- 
pina,  1588.]     f.  7. 

9.  10.  "Musick  fyne,"  and  "Lytill 
blak."     f .  8. 

11,  12.  "O  mortall  man,"  and  "My 
delyt."     f .  8b. 

13.  "Vn  jour  vis."  (For  the  contra- 
tenor  part,  see  Add.  33933,  f .  78b, 
above,  p.  130).     f.  11. 

14,  15.  "My  luiff,"  and  "  Adew." 
f.  21b. 

16.  "Clarinda  fals,  Adew."  This  and 
no.  17  are  from  Thomas  Morley's 
Madrigals,  1594.     f.  24. 

17.  "Why  sit  I  heir,  Alace."     f.  24b. 

18.  "  O  loue,  thou  art  enraiged."     f.  25. 

19.  "Cum,  my  deir."     f.  25b. 

20.  "In  dew  of  roises  [sic)."  [T.  Morley, 
1594.]     f.  26. 

21.  "O  cum  away,  my  deirest  deir." 
f.27. 


22.  "  Delay  of  tym  hes  wrocht  my  wo." 
f .  27b. 

23.  "I  will  no  moir  my  siching  slaik." 
[T.  Morley,  1594.]     f.  28. 

24.  "  Tu  as  tut  seul";  for  5  voices. 
[C.  Verdonck.]     f.  28b. 

25.  "  Constant  Penelope  "  ;  for  5  voices. 
[W.  Byrd,  from  Psalms,  Sonets  and 
Songs  of  Sadnes  and  Piety,  1588.] 
f.  29. 

26.  "In  fieldis  abrod "  ;  for  5  voices. 
[By  the  same,  from  the  same  work.] 
f .  29b. 

27.  "  The  quhyt  sueit  singing  death  "  ; 
for  5  voices,     f.  30. 

28.  "  Zephirus  bringis  the  tyme";  for 

5  voices.   [A.  Ferrabosco,  from  Musica 
Transalpina,  1597.]     f.  30b. 

29.  "  Hard  by  a  cristall  fontane"  ;  for 

6  voices.     [G.  Croce,  from  the  same 
work.]     f.31. 

30.  "Apryl  is  in  my  maistres  face." 
[T.  Morley,  Madrigals,  1594.]     f.  31b. 

31.  "Pausing  in  spreit."     f.  31b. 

32.  "  Cinthia,  thy  song  and  chanting." 
[G.  Croce.]  This  and  nos.  33-38  are 
from  Musica  Transaljiina,  1597,  and 
are  written  for  5  or  (in  the  case  of 
no.  38)  6  voices,     f.  32. 

33.  "Flie,  giue  thow  wilt."  [G.  Ere- 
mita.]     f.  32b. 

34.  "In  flour  of  Apryll."  [A.  Ferra- 
bosco.]    f.  33. 

35.  "Hillis  and  woods."  [L.  Quin- 
zani.]     f.  33b. 

36.  "  Sueit  sparkle  ofi  luifis  fyre."     [G. 


MADRIGALS. 


145 


M.  Nanimo.]     f .  34. 

37.  "Sueit  eyis  admyring."  [S.  Ven- 
turi.]     f.  34b. 

38.  "  Beautie  (prvperly  Dainty)  quhyt 
pearle."     [A.  Bicci.]    f.  35. 

39.  "Besydis  a  fountain."  [T.  Morley, 
Madrigals,  1594.]     f.  35b. 

40.  "Sidessus."     f .  36. 

41.  "When  I  wald  the[e]  Imbraice." 
[G.  B.  Pinello,  from  Mtisica  Trans- 
alpina,  1588.]     f .  36b. 

42.  "Yow  prettie  flouris."  This  and 
the  next  are  by  John  Farmer,  1599. 
f.37. 

43.  "  Now  each  creatur."     f.37b. 

44.  "  Ladie,  let  me  behold."  [G.  Croce, 
from  Morley's  Italian  Canzonets, 
1597.]     f.  38. 

45.  "  Evin  sighes  I  send."     f.  38b. 

46.  "  Ye  pearce  my  hairt."     f.  39. 

47.  "Tresbeuxgeux(sc.  yeux)."    f.  39b. 

48.  ' '  Sie  {sc.  see),  sie,  myne  owne  sueit." 
This  and  nos.  49-57  are  from  Canzo- 
nets . ...  to  8  voyces,  by  Thomas 
Morley,  1593.     f.  40. 

49.  "Joy,  joy  doth  so  aryse."     f.  40b. 

50.  "  Ladie,  those  eyes  of  yours."    f.  41. 

51.  "  Crewell,  yow  pull  away  to[o]  soine 
your  sueit  lipis."     f.  41b. 

52.  "  Whether  away  so  fast."     f.  42b. 

53.  "  Blow,  shepherds,  blow."     f.  43b. 

54.  "  God  morrow,  fair  ladies."     f.  44. 

55.  "0  flye  not,  0  tak  some  pittie." 
f .  44b. 

56.  "Thirsis,  0  let  pittie  moue  the." 
f.  45. 


57.  "Aryse,  get  wp,  my  deir."     f. 45b. 

58.  "Why  do  I  thus  complaine";  for 
3  voices,     f.  46b. 

59.  "Lo,  lady,  for  your  loue."  [G. 
Croce,  from  Morley's  Italian  Can- 
zonets.']   f .  48. 

60.  "The  flaming  fyre."     f.  48b. 

61.  "  Hark,  Joly  Shipherds."  [T.  Mor- 
ley, Madrigals,  1594.]     f.  49. 

62.  "Present  now  must  I  bee."    f.  49b. 

63.  "As  every  flour  doth  spring  in 
may."     f.  50. 

64.  "I  die,  alaice,  throuch  your  disdain- 
ing."    f.  50b. 

65.  "Vor[r]ia...."     f .  50b. 

66.  "  0  cairfull  catiue."     f.  51b. 

67.  "  Whairfoir  is  this,  my  lady  sueit." 
f.52. 

68.  69.  "  What  plesure  haue  gryt 
princes,"  and  "My  mynd  to  me 
a  kingdome  is."  These  and  nos.  70, 
71  are  by  W.  Byrd,  from  his  PsalmeSy 
Sonets,  and  Songs.  ..of  6  parts,  1588. 
f.  52b. 

70,  71.  "Fairweill,  fals  loue";  and 
"  The  match  that  is  maid."     f.  53. 

72,  73.  "  Ane  Italian  song,"  and  "  Adiw, 
sueit  hairt."     f.  55b. 

74.  "My  plesour."     f .  56. 

75.  "Ardoch"  [sc.  Ardo  che  ?) ;  for  3 
voices,     f .  56b. 

76,17.  "Puis  que  ne  ueux  escouter," 
and  "  Si  ie  trepasse."     f.  57. 

78,  79.  "Je  vaw  (sc.  vols?),"  and 
"Ausew"  {sc.  "Aux  yeux  " ) .     f .  57b. 


Nos.  80-87  are  by  Bernardino  Mosto,  from  his  collection  of  5-part 
Madrigals,  1588. 


80,  81.  "L'  Aurora  [e '1  giorn'],"  and 
"  Cantano  j  piu  [graditi]."     f.  58. 

82,83.  "Felice  [e  lo  mio  core],"  and 
"  Crudell  [perche  mi  fuggi]."     f.  58b. 

84,85.  "Zeffiro  [torna],"  and  "  Notte 


felice  [aventurosa]."     f .  59. 
86,    87.  "Ploue    {sc.    piove)     da     glie 
occhi,"    and   "  Da    bei    voster    {sic). 
[occhi]."     f.  59b. 


Nos.  88-107  are  by  Ruggiero  Giovanelli,  from  Books  i-iii  of  his 
5-part  Madrigals,  published  in  1586,  1593  and  1599. 


88,  89.  "  Dunque,  Aminta,"  and  "Dalle 

[labbia  rosate]  spira."     f .  60. 
90,  91.  "  Cara    dolce     [favella],"     and 

"  Dono  licori  [a  Tirsi]."     f.  60b. 
92,  93.  "  Chime    [perche    mi    fuggi]," 

and   "I    piu    candide   {sic)   [gigli]." 

f.61. 

II 


94.  "Ardo,  si,  ma  non  [f  amo],"  with 
second  part,  "  Ardi  e  gella"  {sic). 
f . 61b. 

95.  "  Nell  foco  [d'  un  bel  lauro]."  f.  62. 
96,97.  "Mi   sfidate,"    and   "  lo    sequo 

{sic)  [!'  orm'  invauo]."     f.  62b. 
98,  99.  "  C    timida    le    prata    {sc.    le- 


146 


VOCAL  MUSIC— SECULAR. 


pretta),"    and  "  Sei   tu,   mio  [cor]." 
f.63. 

100.  "  Donna,  la  bella  [mano]."     f.  63b. 

101,  102.  "  Come  potro    giamai,"    and 
-    "Tirsi,  io  mi  parta"  (sic),     f .  64. 
103.  "  Lalina  {sc.   L'  alma)   guerriar " 


(sic),     f.  64b. 
104,  105.  "  Viddi    filli,"   and   "  Dolcis- 
simo  [legame]."     f.  65. 

106.  "  Tu  nascesti  [di  furto]."     f.  65b. 

107.  "  Wth  (sc.  Ut)   re  mi   fa  sol  la." 
f .  66. 


Nos.  108-117  are  from  the  set  of  Madrigals  published  by  Michael 
Este  in  1604.     The  first  six  are  for  3  voices. 


108.  "In  the  merry  month  of  may"; 
with  second  part,  "  Coridonvvold  kise 
her  then."     f.  66b. 

109.  "  0  come  again,  my  Loue."     f.  67. 

110.  "  Yomig  cupid  hath  proclaimd  a 
bloody  wair."     f.  67b. 

111.  "  To  bed,  to  bed  sche  cals."     f.  68. 

112.  "  Oh  doe  not  run  away  from  me." 
f .  68b. 

113.  "In  ane  euening  late   as   I  was 


walking."     f.  69. 

114.  "  Pitie,  dear  Loue."     f.  69b. 

115.  "  When  on  my  dear  I  do  demaund 
the  due."     f.  70. 

116.  "  All  yee  that  Joy  in  wailling "  ; 
for  5  voices,     f.  70b. 

117.  "  The  spring  is  past "  ;  for  5  voices. 
Part  ii  of  "  My  prime  of  youth." 
f.71. 


Harley  6855,  Art.  13,  f.  37b. 
Paper  ;  a.d.  1610.     Small  folio. 

"  Awake  softly  with  singing  Oriana  sleeping "  ;  for  4  voices,  in 
parts,  by  H[enry]  Pecham.  Headed  "King  lames  his  quier."  It  is 
added  (in  the  same  hand)  at  the  end  of  what  appears  to  be  the  original 
draft  of  Pecham's  "  BacrtXiKov  A.o}pov  Ets  Ta  EfxjSXrjixaTa  BacriXiKa  totum 
versum,"  which  is  dedicated  to  James  I.  At  the  beginning  of 
this  MS.  it  is  described  as  "  Ad  Regem  .  .  .  cantio  votiva,  seu  con- 
gratulatoria,  ab  alumnis  Quatuor  Regnorum,  Anglo  sc,  Scoto,  Gallo, 
et  Hibernico  concinenda."  The  presentation  copy  (Royal  12.  A.  Ixvi), 
which  is  dedicated  to  Prince  Henry  (see  also  f.  36b  of  the  present  MS.), 
does  not  contain  the  Madrigal. 


Egerton  2009-2012,  passim. 

Paper;  after  1611  (see  below,  no.  39).  Oblong  duodecimo.  Vols,  i,  iii,  and 
iv  belonged  in  1669  to  Stephen  Aldhouse  of  Matlask,  co.  Norfolk.  The  MS.  also 
contains  Anthems  (vol.  i,  p.  8),  Carols  (ib.  p.  143),  and  a  Motet  (ib.  p.  279). 

Madrigals,  etc.,  by  anonymous  English  composers.  In  four  volumes 
(treble,  alto,  "  medius,"  and  bass  parts).  The  number  of  voices  for 
which  they  are  written  is  not  given,  but  nos.  1  and  2  are  known  to  be 
for  4  voices,  and  the  other  Madrigals  whose  composers  are  identified 
below  are  for  5  voices.  The  tenor  is  wanting ;  the  alto  part  (vol.  ii), 
though  partly  in  the  same  hand  and  very  similar  in  contents,  originally 
formed  part  of  another  collection. 


1.  "Whyle  y'  y»  sunne."  [W.  Byrd, 
1589.]     i,  iii,  iv,  f .  lb. 

2.  "  From  Citheron "  ;  with  second 
part,  "There  carelesse  thoughts"; 
and  third  part,  "  If  loue  be  Just."  [By 


the  same,  1589.]     i,  iii,  iv,  f .  2. 

3.  "  When  Flora  fayre  "  ;  with  second 
part,  "All  creatures  then."  i,  iii,  iv, 
f .  4b ;  ii,  f .  9b. 

4.  "From  my  delight";  with  second 


MADRIGALS. 


147 


part,  "  0  sighes,  o  sobbes."     i,  iii,  iv, 
f.6b;  ii,  f.  1.  I 

5.  "  In  trust  is  hidden  treason,"  i,  iii, 
iv,  f.7b;  ii,  f.  35b. 

6.  "He  that  inioyed";  with  second 
part,  "  For  when  y'  he  had  tasted." 
i,  iii,  iv,  f.  9;  ii,  f.  6b. 

7.  "Howhappie  is  y' sheperd."  i,  iii, 
iv,  f.  10b ;  ii,  f.  38b. 

8.  "  She  that  was  named  Queene  " 
(Lady  Jane  Grey),  i,  iii,  iv,  f.  lib ; 
ii,  f.37b. 

9.  "  Wher  Troy  stood."  i,  iii,  iv,  f.  12b; 
ii,  f.25b. 

10.  "0  loue,  thy  fyre  excedeth."  i,  iii, 
iv,  f.  13b;  ii,  f.  lib. 

11.  "  My  hart  is  fire."  i,  iii,  iv,  f.  14  ; 
ii,  f.  12b. 

12.  "  In  fountaine  clere  "  ;  with  second 
part,  "Actgeon."  i,  iii,  iv,  f.  15;  ii, 
ff.  26b,  39. 

13.  "  How  shall  he  sing."  i,  iii,  iv, 
f .  15b ;  ii,  f .  32b. 

14.  "  Uppon  a  stage  of  sylver  "  ;  with 
second  part,  "  Her  hands  full  sore  she 
wringed";  third  part,  "0  Rychard 
cruell  Tyrant "  (Richard  III)  ;  and 
fourth  part,  "How  didst  thou  slay 
my  children."  i,  iii,  iv,  f.  16b;  ii, 
f .  13b. 

15.  "  Lyst  not  to  syrens."  [A.  Ferra- 
bosco.]     i,  iii,  iv,  f.  18b ;  ii,  f.  8b. 

16.  "  Cambises  somne"  (sc.  son),  i,  iii, 
iv,  f.  19b  ;  ii,  f.  7b. 

17.  "  Ye  shepeards  of  feilds  and  moun- 
taynes  "  ;  with  second  part,  "  By  fair 
Aurora's  springing."  i,  iii,  iv,  f.  20b; 
ii,  f.  86b. 

18.  "  0  spightfull  loue."  i,  iii,  iv,  f .  21b ; 
ii,  f.  19b. 

19;  "  You  that  doe  stand."  (Soliloquy 
of  Henry  VI.)  i,  iii,  iv,  f .  22b  ;  ii, 
f.  20b. 

20.  "  0  sighes  by  loue  inflamed."  i,  iii, 
iv,  f.  23b  ;  ii,  f.  29b. 

21.  "Elysa  faire  "  ;  with  second  part, 
"  If  great  Renowne."  i,  iii,  iv,  f.  24b  ; 
ii,  f.  17b. 

22.  "What  Rose  is  like  the  virgen  "  ; 
with  second  part,  "0  beawtie  most 
admired."     i,  iii,  iv,  f.  26b ;  ii,  f.  27b. 

23.  "I  saw  not  loue."  i,  iii,  iv,  f.  28b ; 
ii,  f .  40b. 

24.  "The  nightingall  [so  pleasant]." 
[A.  Ferrabosco,  1588.]     f .  29b. 


25.  "The  Nimphes  y'  in  y°  groves." 
i,  iii,  iv,  f.30b;  ii,  f.3b. 

26.  "  Phyllys  a  heardmayd  "  ;  with 
second  part,  "  Thyrsis  this  said."  [A. 
Ferrabosco.]  i,  iii,  iv,  f.  31b;  ii, 
f.l5b. 

27.  "In  loue  wher  is  denieng."  i,  iii, 
iv,  f .  33  ;  ii,  f .  2b. 

28.  "  What  thing  more  rare."  (Relates 
to  Jane  Shore.)  i,  iii,  iv,  f.  33b ;  ii, 
f.5. 

29.  A  piece  without  words,  i,  iii,  iv, 
f.35. 

30.  "  From  stately  Tow'r  "  ;  withsecond 
part,  "With  her  sweete  lookes."  i, 
iii,  iv,  f.35b;  ii,  f.  41b. 

31.  "  The  Phrigiau  Knight."  i,  iii,  iv, 
f.37;  ii,  f .  39b. 

32.  "  Crowned  with  flowers  and  lyllies  " ; 
with  second  part,  "  O  worthy  queen  " 
(Mary  I),    i,  iii,  iv,  f.  37b;   ii,  f.30b. 

33.  "Penelope  euer  was  praysed." 
[W.  Byrd,  1589.]  i,  iii,  iv,  f.  39b  ;  ii, 
f .  33b. 

34.  "  Who  trusts  to  fortune's  smyling"  ; 
with  second  part,  "Of  Cupid." 
f.  40b. 

35.  "Though  tyme  hath  torne."  (Re- 
lating to  Thomas  Cromwell's  death.) 
i,  iii,  iv,  f.41b;  ii,  f.  21b. 

36.  "  Crowned  with  flowers  ...  I  saw 
faire  Amarillis."  i,  iii,  iv,  f.  42b  ;  ii, 
f.  24b. 

37.  Another  setting  of  the  same  words. 
[W.  Byrd,  1611.]     f.  43b. 

38.  "Crowned  with  flowers  and 
lyllies " ;  in  two  parts,  i,  iii,  iv, 
f.44b;  ii,  f.  22b. 

39.  "Wedded  to  will."  [W.  Byrd, 
1611.]     i,  iii,  iv,  f.  46b. 

40.  "  0  sweete  deceyte";  with  second 
part,  "  Like  Harpias  {sic)  vile."  [W. 
Byrd.]     i,  iii,  iv,  f .  47b. 

41.  "  The  fayre  young  virgen  "  [sc.  "  La 
Virginella").  [W.  Byrd,  1588.]  i,  iii, 
iv,  f.  50b. 

42.  "Come  to  me,  greefe."  (Funeral- 
song  of  Sir  Philip  Sidney.)  [By  the 
same,  1588.]     i,  iii,  iv,  f.  51b. 

43.  "Oh  .  .  that  we woofull wretches." 
[By  the  same.]     i,  iii,  iv,  f.  51b. 

44.  "  Why  doe  I  vse  my  paper."  This 
and  nos.  45-48  are  from  Psalmes, 
Sonets  and  Songs,  by  W.  Byrd,  1588. 
i,  iii,  iv,  f.  53b. 

L   2 


148 


VOCAL  MUSIC— SECULAR. 


45.  "My  mind  to  me  a  kingdome  is "  ; 
with  alterations,     i,  iii,  iv,  f.  55b. 

46.  "In    fields    Abrode."      i,    iii,    iv, 
f . 56b. 

47.  "What      pleasure      haue       great 
princes."     i,  f.  57  ;  iii,  iv,  f.  56b. 

48.  "All  as  a  sea."     i,  iii,  iv,  f.  57b. 


49.  "When    I    was   otherwise."      [W. 
Byrd,  1589.]     i,  iii,  iv,  f.  58. 

50.  "Ambitious  love."     [By  the  same, 
1588.]     i,  iii,  iv,  f .  58b. 

51.  "What  vaileth  it  to  rule."     i,  iii, 
iv,  f .  60b  ;  ii,  f .  43b. 


Vol.  II.  also  contains  the  altus  part  of  the  following : — ■ 

52.  "FairePhillida."     ii,  f.  4b.  I       quillon.]     ii,  f .  46b. 

53.  "0  Bright   and   shinning"   (sic),    i   55.  "  Cy  je  ne  plais."     ii,  f.  47b. 

ii,  f.44b.  I   56.  "  Ce  vostre  beaute."     [P.  Phillips.] 

54.  "Pis    ne    me    peut."       [T.     Cre-   I       ii,  f.48. 


Additional  29246,  fF.  27b-31 ;  29247,  passim. 

Paper  ;  after  1611.     Oblong  quarto. 

Madrigals  by  W.  Byrd,  F.  di  Monte,  and  other  composers, 
chiefly  of  the  second  half  of  the  16th  century.  See  under  Lute  Music, 
in  vol.  iii. 

Additional  18936-18939,  passim. 

Paper  ;  after  1612.     Oblong  octavo.     See  also  under  Masses  (vol.  i,  p.  215). 

Vocal  compositions,  in  parts,  Nos.  1-13  are  for  3  voices, 
nos.  14-20  apparently  for  4  voices,  and  the  rest  for  5  voices. 


1.  "Say,  Galatea,  since  our  comminge 
hither."  "  [T.]  Wilkinson  "  (Madri- 
gals, Book  ii).     i,  ii,  iv,  f.  3. 

2.  "A  sea  Nymph  sate  vpon  y'  shore." 
Anonymous,     i,  ii,  iv,  f.  3b. 

3.  "Your  shininge  eyes."  "  Tho. 
Bateson"  (Madrigals,  1604).  i,  ii, 
iv,  f .  4. 

4.  "Stryke  vp  the  Tabor."  This  and 
nos.  5-13  are  by  "  [Thomas]  Weilkes  " 
(from  Ayeres,  1608,  except  nos.  6, 13). 
i,  ii,  iv,  f .  4b. 

5.  "Four  armes,  two  necks."  i,  ii,  iv, 
f.4b. 

6.  "Thus  sings  my  dearest  Jewell." 
i,  ii,  iv,  f.  5. 

7.  "Late  in  my  rash  accounting." 
i,  ii,  iv,  f.  5. 

8.  "  Come,  sirha  Jackho."   i,  ii,  iv,  f.  5b. 

9.  "Tantara  ran  tan  tan,  cryes  Mars." 
i,  ii,  iv,  f.  6. 

10.  "  O  when  I  thinke."     i,  ii,  iv,  f.  6b. 

11.  "  Some  men  desire."    i,  ii,  iv,  f.  7. 

12.  "  Aye  me  !  alas  I  hey  ho  !  .  .  .thus 
doth  Messalyna  goe."     i,  ii,  iv,  f.  7b. 

13.  "  Cease  sorrowes."  [Madrigals, 
1597.]     i,ii,  iv,  f.  8. 


14.  "Quando.  .  .  ."  "Philippi  de 
Monte."     i,  ii,  iv,  f.  20b;  iii,  f.  3b. 

15.  "Vaults,  graues  and  tombes." 
Anonymous,     i,  ii,  iv,  f.  21 ;  iii,  f.  4. 

16.  "Alas,  I  faynte."  Anonymous, 
i,  ii,  iv,  f.  21b;  iii,  f.  4b. 

17.  "  0  my  hart."  Anonymous.  Three 
parts  only,     i,  ii,  iv,  f.  22. 

18.  "  Mi  parto."  Anonymous,  i,  ii,  iv, 
f.  22b ;  iii,  f.  5b. 

19.  "  Chi  mi  consola."  Three  parts 
only.     Anonymous,     i,  ii,  iv,  f.  23. 

20.  "Amor  [se  i  bei  rubini  ?]  " ;  with 
second  part,  "Perchi  [non  posso?]." 
Three  parts  only.  "  Pietro  Philippi, 
Anglise  "  (?  from  Madrigals  a  4, 
1591).     i,  ii,  iv,  f.  23b. 

21.  "  0  tell  me,  sweet  heart."  Anony- 
mous,    i,  ii,  iv,  f.  37  ;  iii,  f.  19. 

22.  "What,  shall  I  part."  [G.  Kirbye, 
1597.]     i,  ii,  iv,  f.  37b  ;  iii,  f.  19b. 

23.  "Phillis,  a  heardmayd  dayntye." 
"Alfonso  [Ferrabosco]."  i,  ii,  iv, 
f.  38 ;  iii,  f.  20. 

24.  "Di  questi  hondi "  (sic).  By  the 
same,     i,  ii,  iv,  f.  38b ;  iii,  f.  20b. 

25.  "  Le   belle."     By  the  same,     i,  ii, 


MADRIGALS. 


149 


iv,  f.  39  ;  iii,  f.  21. 

26.  "La  bella."  " [B.]  Paleuicino." 
i,  ii,  iv,  f .  39b  ;  iii,  f .  21b. 

27.  "0  comma  ..."  "Orlando  [di 
Lasso]."     i,  ii,  iv,  f.  45b  ;  iii,  f.  27b. 

28.  "  Delight  ys  dead."  "Byrd."  i,  ii, 
iv,  f.46;  iii,  f.  28. 

29.  "By  force  I  liue."  By  the  same, 
i,  ii,  iv,  f.  46b ;  iii,  f .  28b. 

30.  "Live  longe  desyre."  Anonymous, 
i,  ii,  iv,  f.  46b ;  iii,  f.  28b. 

31.  "From  a  starre."  "  Cobbold." 
i,  ii,  iv,  f.  47 ;  iii,  f.  29. 

32.  "See,  see  those  sweet  eyes." 
"Byrd."  [1589.]  i,  ii,  iv,  f.  47; 
iii,  f .  29. 

33.  "Syth  y'  y'  tree."  Anonymous. 
[?  By  the  same.]  i,  ii,  iv,  f.  47b ; 
iii,  f.  29b. 

34.  "Let  fortune  f ayle  "  ;  with  second 
part,  ' '  My  yeares  doe  seeke  her 
stepps."  "Byrd."  i,  ii,  iv,  f.  47b; 
iii,  f.  29b. 

35.  "Whom  hatefuU  harmes."  By 
the  same,     i,  ii,  iv,  f.  48 ;  iii,  f.  30. 

36.  "Crowned  with  starres "  ;  with 
second  part,  "Oh  worthie  queene." 
By  the  same,  i,  ii,  iv,  f.  48b ;  iii, 
f .  30b. 

37.  "  As  Csesar  wept."  "Tallis."  i,  ii, 
iv,  f.  49  ;  iii,  f.  31. 

38.  "  List  not  to  Syrens."  "Alphonso 
[Ferrabosco]."  i,  ii,  iv,  f.  49b;  iii, 
f .  31b. 

39.  "Mount,  hope,  aboue  the  skyes." 
By  the  same,     i,  ii,  iv,  f .  50 ;  iii,  f.  32. 

40.  "The  whytest  snow."  By  the 
same,     i,  ii,  iv,  f.  53  ;  iii,  f .  35. 

41.  "Penelope";  with  second  part, 
"Wanton  wyngs."  "Byrd."  i,  ii, 
iv,  f.  53b ;  iii,  f .  35b. 

42.  "  Non  lasso  martires  "  (sic). 
"Alfonso  [Ferrabosco]."  i,  ii,  iv, 
f .  53b ;  iii,  f .  35b. 

43.  "  Lors  que  Je  uoy."  "  Philippo  De 
Monte."     i,  ii,  iv,  f.  54  ;  iii,  f.  36. 

44.  "Pis    ne    me."     "  Cy-'quillo "    (sc. 


Cr^quiUon).      i,    ii,    iv,    f .  54b ;    iii, 
f .  36b. 

45.  "The  crye  of  London  "  ;  beginning 
"Ny  oysters."  "Weilkes."  i,  ii, 
iv,  f .  55  ;  iii,  f .  37. 

46.  Another  setting.  Anonymous,  i, 
f.56b;  ii,  iv,  f .  56  ;  iii,  f.  38. 

47.  "New  fashions."  In  four  parts. 
"William  Cobbold."  i,  f.58;  ii, 
iv,  f.  57  ;  iii,  f.  39. 

48.  "For  death  of  her"  (Mary  Gas- 
coygne,  d.  1588).  By  the  same,  i, 
f.61;  ii,  iv,  f .  59  ;  iii,  f .  41. 

49.  "Ye  mortal  wights."  By  the 
same,  i,  f .  61b ;  ii,  iv,  f .  59b ;  iii, 
f.  41b. 

50.  "Sighes,  doe  your  part."  By  the 
same,    i,  f .  62 ;  ii,  iv,  f .  60  ;  iii,  f.  42. 

51.  "I  plunged  our  poore  wreach." 
By  the  same,  i,  f.  62b  ;  ii,  iv,  f.  60b  ; 
iii,  f.  42b. 

52.  "Jamyes  (sc.  Jamais)  amant "  or 
"Jamie's  a  man."  By  the  same. 
i,  f .  63 ;  ii,  iv,  f.  61 ;  iii,  f .  43. 

53.  "  Amids  my  bale."  By  the  same. 
1,  f.  63 ;  ii,  iv,  f.  61 ;  iii,  f.  43. 

54.  "The  haughtye  harts."  By  the 
same,  i,  f.  63b ;  ii,  iv,  f.  61b ;  iii, 
f .  43b. 

55.  "0  froward  fate."  By  the  same. 
i,  f.  63b ;  ii,  iv,  f.  61b ;  iii,  f.  43b. 

56.  "The  rare  affects."  By  the  same, 
i,  f.64;  ii,  iv,  f.  62  ;  iii,  f.44. 

57.  "As  phisicks  skill."  Anonymous. 
i,  f .  64b ;  ii,  iv,  f.  62b  ;  iii,  f.  44b. 

58.  "  Countrye  Crye"  ;  beg.  "  God  giue 
yougodmorowe,  SirRees."  "Richard 
Deringe."  i,  f.  67b  ;  ii,  iv,  f.  65b ;  iii, 
f.  47b. 

59.  "Sacred  Pan."  " Nath.  Pattricke." 
i,  f .  70 ;  ii,  iv,  f .  68  ;  iii,  f .  50. 

60.  "0  death  [rock  me  asleep]." 
Anonymous.  (The  same  as  in  Add. 
30480,  f .  37b,  but  different  from  the 
tune  in  Chappell's  Popular  Music, 
ed.  Wooldridge,  1893.)  i,  f.  70b  ;  ii, 
iv,   f.  68b  ;  iii,  f.  50b. 


Additional  29401-29405,  ff.  2-44b  passim. 

Paper;  after  1613  (see  f.  44b).      Oblong  duodecimo.     The  MS.  also  contains 
Anthems  (vol.  i,  p.  8),  Carols  (ib.  p.  143),  a  secular  Motet  and  String  Quintets. 

Madrigals  for  5  voices,  in  parts.  Except  nos.  6  and  17-32,  which 
are  by  uncertain  composers,  they  are  known  to  be  by  W.  Byrd,  though 
no  names  are  mentioned.     The  five  volumes  contain  respectively  the 


150 


VOCAL  MUSIC— SECULAR. 


cantus,  medius,  tenor,  bassus  and 
being  identical. 

1.  "I  ioy  not  in  noe  earthly  bliss." 
f.2. 

2.  "  Where  fancie  fond."     f.  2b. 

3.  "  0  deere  life."     f.  3b. 

4.  "  When  I  was  otherwise."     f.  4b. 

5.  "Ambitious  love";  in  two  parts. 
f.5b. 

6.  "  Euen  as  in  seaes."     f.  7b. 

7.  "  0  you  that  heare  y"  voice."     f.  8b. 

8.  "What  pleasure  haue  greate 
Princis."     f.  9b. 

9.  "All  as  a  sea."     f .  10b. 

10.  "Oh  that  we  woe-full  wretches." 
f.llb. 

11.  "Come  to  me,  greefe  "  (said  to  be 
on  the  death  of  Sir  Philip  Sidney), 
f.  13b. 

12.  "The  faire  young  virgin."     f.  14. 

13.  "  0  sweete  deceite  "  ;  in  two  parts, 
f.  15b. 

14.  "Yea,  sacred  Muses"  (on  the  death 
of  Tallis).  Probably  by  W.  Byrd. 
f .  17b. 

15.  "  In  feilds  abrode."     f.  18b. 

16.  "  Wedded  to  Will."     f.  19b. 

17.  "The  nimphs  y'  in  y'  groues." 
f .  20b. 

18.  "  Though  I  bee  browne."     f.  21b. 

19.  "An   aged   dame";    probably    by 


quintus  parts,  the  foliation  in  each 

W.  Byrd.     f.  22b. 

20.  "Crowned  with  flowers  and 
Lillies "  (on  the  death  of  Queen 
Mary) ;  in  two  parts,     f .  23b. 

21.  "  Truth  at  the  first."     f.  25b. 

22.  "The  Noble,  famous  Queene  " 
(Mary,  Queen  of  Scots),     f.  28b. 

23.  "  He  that  all  earthlie  pleasure 
scorns."     f.  29b. 

24.  "In  Angells  weede"  (on  the  death 
of  Mary,  Queen  of  Scots),     f.  30b. 

25.  "Where  the  blinde  .  .  ."  (without 
words).     f.31b. 

26.  "I  will  not  say  what  I  haue  seene." 
f.  32b. 

27.  "My  Mistress  had  a  litle  Dogg"; 
in  two  parts,     f.  3Bb. 

28.  "  Content  is  ritch."     f.  35b. 

29.  "I  that  sometime"  (on  the  death 
of  Queen  Elizabeth),     f.  36b. 

30.  "Sithence  death  of  all  shall  haue 
the  spoyle."  Probably  by  W.  Byrd. 
f.  37b. 

31.  "  With  lillies  white."     f.  39b. 

32.  "Wretched  Albinus."     f.  40b. 

33.  "  Care  for  thy  soule."     f.  41b. 

34.  "  Why  do  I  vse  my  paper."     f.  42b. 

35.  "Faire  Brittan  lie"  (on  the  death 
of  Prince  Henry,  1613).     f.  44b. 


Additional  15117,  ff.  7,  9b,  15b,  2  L 

Paper ;  after  1614.     Small  folio.     See  also  under  Anthems  (vol.  i,  p.  10). 

Melody  w^ith  lute  accompaniment,  in  tablature,  of  the  following 
compositions  : — 


1.  "  Sleepe,  wayward  thoughts."  [J. 
Dowland,  First  Booke  of  Songes, 
1597.]     f.  7. 

2.  "Aprill  is  my  mistres  face."  [T. 
Morley,  Madrigals,  1594.]     f.  9b. 

3.  "ThepeacefuUwesternewinde."  The 
words  are  supposed  to  be  by  Thomas 
Campion,  who  set  them  to  other 
music  in  his  Second  Booke  of  Ayres, 
1610 ;  the  music  here  is  by  Thomas 


Morley,  in  whose  First  Booke  of 
Ballets,  1595,  it  appears  to  the  words 
"  Nowe  is  the  monthe  of  mayinge," 
which  are  given  here  as  an  alterna- 
tive,    f.  10. 

,  "  If  my  complaints."  [J.  Dowland, 
as  in  no.  1.]     f.  15b. 

,  "  It  was  a  tyme  when  Sillye  Bees. 
[By  the  same.  Third  .  .  .  Booke  of 
Songes,  1603.]     f.  21. 


Additional  29372-29377,  passim. 

Paper ;  a.d.  1616.     Small  folio.     See  also  under  Anthems  (vol.  i,  p.  10). 

Madrigals,  partsongs,  etc.,  for  4,  5,  and  6  voices,  in  parts.     Nos. 
1-7   are    for    4    voices ;    nos.    8-46    for    5    voices ;    and    the    rest    for 


MADRIGALS. 


151 


6  voices.     Nos.   1—5  are  from  the 
in  1609. 

1.  "When  Gloris  heard  of  her  Amyntas 
dyeing."     "  Jo.  Wilby."     i-iv,  f .  2. 

2.  "  Hap[py]  streams  whose  trembling 
fall."     By  the  same,     i-iv,  f .  2b. 

3.  "  Change  me,  0  heauens,  into  the 
Eubystone."  By  the  same,  i-iv, 
f.3b. 

4.  "Loue  me  not  for  comely  grace." 
By  the  same,     i-iv,  f .  4b. 

5.  "I  loue,  alas,  yet  am  not  loued." 
By  the  same,     i-iv,  f.  5b. 

6.  "Loe,  here  my  hart  I  leaue  with 
her  remayning."  "  George  Kirby  " 
[1597].     i-iv,  f.  6b. 

7.  "  Adieu,  adieu,  adieu,  sweet  Ama- 
riUis."    "John  Wilby."     i-iv,  f.  13b. 

8.  "A  Pastoral,"  beg.  "Sweet  muses, 
nymphs  and  shepherds  sporting  "  (for 
solo  voices  and  chorus) ;  with  second 
part,  "Aye  me. .  .wherefore  sighes 
the  faire  Syluia " ;  and  third  part, 
"  My  peace  and  my  pleasure."  "Mi- 
chael Easte."      i-iv,  f.  23b;  v,  f.  lib. 

9.  "0,  0,  thrice  blessed  earthbed." 
"John  [Thomas  in  Add.  29427, 
above,  p.  138]  Tomkins."  i-iv,  f .  27 ; 
V,  f .  15. 

10.  "God  giue  you  good  morrow"; 
with  second  part,  "A  good  sausage, 
and  it  be  roasted."  "Orlando  Gib- 
bons."    i-iv,  f.  32  ;  v,  f.  20. 

11.  "  Wake,  sorow."  Written  "  In 
memory  of  y'  La[dy]  Ar[a]bella."  By 
Martin  Pierson.    i-iv,  f.  45b  ;  v,  f.  32b. 

12.  "Arbella. .  .sole  paragon."  By  the 
same,     i-iv,  f.  46b  ;  v,  f.  33b. 

13.  "  Cease  now  vaine  thoughts." 
"Nathanael  Gyles."  i-iv,  f .  50  ; 
V,  f.  37. 

14.  "God  giue  you  good  morrow,  Sir 
Rice":  "  Country  cries."  "Richard 
Deering."     i-iv,  f.  50b ;  v,  f.  37b. 

15.  "My  louely wanton  Jewell" :  Ballet. 
"Thomas  Morley."  i-iv,  f.  52b;  v, 
f . 39b. 

16.  "Leaue,  alas,  this  tormenting": 
Ballet.  By  the  same,  i-iv,  f .  53b ; 
V,  f .  40b. 

17.  "  Why  weepes,  alas,  my  lady  loue  "  : 
Ballet.  By  the  same,  i-iv,  f .  54 ; 
V,  f.41. 

18.  "  Giue  me  my  heart  and  I  will  goe." 


second   set  of  Madrigals  published 


I       "Thomas    Weelkes."      i-iv,    f.54b; 
!       V,  f.41b. 

19.  "Come,  clap  thy  hands,  thou 
sheppards  swaine"  ;  with  second 
part,  "Phillis  hath  sworne " :  Bal- 
let. By  the  same,  i-iv,  f .  55b ;  v, 
f .  42b. 

20.  "  Sound  out  my  voice  with  pleasant 
tunes."  "  Gianetto  Palsestina."  i-iv, 
f . 56b ;  V,  f .  43b. 

21.  "I  must  depart  all  haples." 
"Luca  Marenzio."  i-iv,  f.  57  ;  v, 
f.44. 

22.  "  Life,  tell  me  what  is  the  cause." 
"Horatio  Vecchi."  i-iv,  f.  57b;  v, 
f .  44b. 

23.  "Flora,  faire  nymph,  whilst  silly 
lambes  are  feeding."  ' '  John  Warde." 
i-iv,  f .  58  ;  v,  f .  45. 

24.  "  Sweet  hony  sucking  Bees"  ;  with 
second  part,  "  Yet,  Sweet,  take  heed." 
"John  Wilbye."  i-iv,  f .  58b  ;  v, 
f .  45b. 

25.  "  Weepe. .  .mine  eyes;  my  hart  can 
take  no  rest."  By  the  same,  i-iv, 
f .  60  ;  V,  f .  47. 

26.  "  Downe  in  a  valley ;  "  with  second 
part,  "Hard  Destinies."  By  the 
same,     i-iv,  f .  60b  ;  v,  f .  47b. 

27.  "  Alas  .  .  .  where  is  my  loue  ?  " 
"Thomas  Bateson."  i-iv,  f.  62b  ; 
V,  f.  49b. 

28.  "Harke,  heare  you  not  a  heauenly 
harmony"  ("  Oriana's  Farewell"). 
By  the  same,     i-iv,  f .  63b ;  v,  f.  50b. 

29.  "Dolorous  mournfull  cares." 
"Luca  Marenzio."  i-iv,  f. 64b;  v 
f .  51b. 

30.  "There,  where  I  saw  her  louely 
beauty."  "John  Wilby."  i-iv, 
f.70b;  V,  f.  57b. 

31.  "All  pleasure  is  of  this  condition." 
By  the  same,     i-iv,  f.  71b  ;  v,  f.  58b., 

82.  "  So  far,  Deare  life,  from  thy  bright 
beams."  "Giulio  Eremita."  i-iv, 
f .  73 ;  V,  f .  60. 

33 .  "If  silent,  then  greif e  torments  me." 
"Alfonso  Ferabosco."  i-iv,  f .  73b  ; 
v,  f.  60b. 

34.  "  I  languish  to  complaine  me."  By 
the  same,     i-iv,  f.  74  ;  v,  f.  61, 

35.  "What  doe   ye   lack."     "Richard 


152 


VOCAL  MUSIC— SECULAR. 


Deeringe."     i-iv,  f.  84b;  v,  f.  71b. 

36.  "The  white  delightful!  swanne." 
"  Hora.  Vecchi "  [adapted  from  Arca- 
delt].     i-iv,  f .  89 ;  v,  f.  76. 

37.  "  Zephirus  brings  the  time." 
"  Alfonso  Ferabosco."  i-iv,  f.  89b  ; 
V,  f .  76b. 

38.  "I  saw  my  lady  weeping";  with 
second  part,  "  Like  as  from  heauen 
the  dew."  By  the  same.  i-iv, 
f.94b;  V,  f.81b. 

39.  "When  shall  I  cease  lamenting." 
"  Noe  Faignient."  i-iv,  f.  96b  ;  v, 
f .  83b. 

40.  "  0  my  louing  sweethart."  "  Luca 
Marenzio."     i-iv,  f.  103  ;  v,  f.  90. 


41.  "Delight  is  dead."  By  the  same, 
i-iv,  f.  106b ;  v,  f .  98b. 

42.  "Now  is  my  Cloris  fresh  as  May  "  : 
Ballet.  "Tho.  Weelkes."  i-iv,  f.l08b; 
v,  f.  95b. 

43.  "  Vnto  our  flockes  sweet  Corolus  "  ; 
Ballet.  By  the  same,  i-iv,  f.  109b ; 
v,  f.  96b. 

44.  "  The  nightingale  that  sweetly. . . , 
doth  complaine."  "Peter  Philips." 
i-iv,  f.  112b  ;  v,  f.  99b. 

45.  "Hope  of  my  heart."  "John 
Ward."     i-iv,  f .  113b ;  v,  f.  100b. 

46.  "  Vpon  a  bank  with  roses  set 
about."  By  the  same,  i-iv,  f.  114b; 
V,  f.  101b. 


The  following  partsongs  are  for  6  voices  : — 


47.  "Cease  now  delight":  an  Elegy. 
"Thomas  Weelkes."  i-iv,  f.  121b; 
V,  f .  108b ;  vi,  f .  3b. 

48.  "0  wretched  man,  why  lou'st  thou 
earthly  life."  "JohnWilby."  i-iv, 
f.  123b  ;  V,  f.  110b  ;  vi,  f.  5b. 

49.  "  Where  most  my  thoughts."  By 
the  same,  i-iv,  f.  124;  v,  f.  Ill;  vi, 
f.6. 

50.  "Draw  on,  sweet  Night."  By  the 
same,  i-iv,  f.  124b ;  v,  f .  111b  ;  vi, 
f.6b. 

51.  "  Softly  drop,  mine  eyes,  least  you 
bedrie."  By  the  same,  i-iv,  f.  125b; 
V,  f .  112b  ;  vi,  f .  7b. 

52.  "Long  haue  I  made  theise  hils." 
By  the  same,  i-iv,  f .  126b ;  v,  f.  113b  ; 
vi,  f.  8b. 

53.  "0  gratious  and  worthiest  of  each 
creature."  "  Giouanni  Croce."  i-iv, 
f .  127b ;  V,  f .  114b  ;  vi,  f .  9b. 

54.  "  Shall  I  liue  so  far  distant." 
"Luca  Marenzio."  i-iv,  f.  128b;  v, 
f.  115b;  vi,  f.  10b. 

55.  "  Dainty  white  Pearle."  "Antonio 
Bicci."  i-iv,  f.  129 ;  v,  f.  116  ;  vi, 
f.ll. 

56.  "Hard  by  a  christall  fountaine." 
"  Giouanni  Croce."  i-iv,  f.  129b;  v, 
f .  116b ;  vi,  f .  lib. 

57.  "  Faire  Hebe  when  Dame  Flora 
meets."  "  Thomas  Bateson."  i-iv, 
f.l32b;  V,  f.ll9b;  vi,  f .  14b. 

58.  "  Thirsis,  on  his  faire  Phillis'  breast 
reposing."  By  the  same.  i-iv, 
f .  183b ;  V,  f .  120b ;  vi,  f .  15b. 


59.  "Faire  Orian  in  the  morne." 
"John  Milton."  i-iv,  f.  134b  ;  v, 
f .  121b  ;  vi,  f.  16b. 

60.  "  Those  Spots  upon  my  ladies  face." 
"  Thomas  Weelkes."  i-iv,  f.  136  ;  v, 
f.  123  ;  vi,  f.  18. 

61.  "Retire,  my  thoughts,  unto  your 
rest  againe."  By  the  same,  i-iv, 
f .  136b  ;  V,  f .  123b  ;  vi,  f.  18b. 

62.  "  Stay,  Coridon,  thou  Swaine." 
"John  Wilby."  i-iv,  f .  145b ;  v, 
f.  132b ;  vi,  f .  27b. 

63.  "Loue,    quench   this    heate    con- 


summg. 


Benedetto  Palauicino." 


i-iv,  f.  146b  ;  v,  f.  133b  ;  vi,  f.  28b. 

64.  "  Cruell,  cruell,  why  dost  thou  flie 
me."  By  the  same,  i-iv,  f.  147b; 
V,  f.  134b  ;  vi,  f.  29b. 

65.  "So  far  from  my  delight";  with 
second  part,  "She  onely  doth  not 
feele  it."  "  Alfonso  Ferabosco."  i-iv, 
f.  149b ;  V,  f .  136b  ;  vi,  f.  31b. 

66.  "Now  must  I  part,  my  Darling." 
"Luca  Marenzio."  i-iv,  f.  151b;  v, 
f .  138b ;  vi,  f.  33b. 

67.  "I  soung  sometime. .  .the  freedom 
of  my  fancy " ;  with  second  part, 
"Because  my  loue  too  lofty."  By 
the  same,  i-iv,  f.  152  ;  v,  f.  139  ;  vi, 
f.  84. 

68.  "0  heare  me,  heauenly  powers." 
By  the  same,  i-iv,  f .  154b  ;  v,  f .  141b ; 
vi,  f.  38b. 

69.  "In  chaynes  of  hope  and  feare." 
By  the  same,  i-iv,  f .  155  ;  v,  f .  142 ; 
vi,  f.  37. 


MADRIGALS. 


153 


70.  "  Vnkind,  6  stay  thy  flieing."  By 
the  same,  i-iv,  f .  155b ;  v,  f .  14:2b ; 
vi,  f .  37b. 

71.  "Retire,  my  troubled  soule."  "John 
Ward."  This  and  nos.  72-79  were 
published  in  1613.  i-iv,  f .  162b ;  v, 
f.  149b ;  vi,  f .  44b. 

72.  "Out  from  the  vale  of  deepe 
despaire."  By  the  same,  i-iv,  f.  163  ; 
v,  f.  150  ;  vi,  f.  45. 

73.  "Oft  haue  I  tendred  tributary 
teares."  By  the  same,  i-iv,  f.  163b ; 
V,  f.  150b ;  vi,  f.  45b. 

74.  "0  diuine  loue."  By  the  same, 
i-iv,  f.  164b ;  v,  f .  151b ;  vi,  f.  46b. 

75.  "If  the  deepe  sighs  of  an  afflicted 
brest";  with  second  part,  "There's 
not   a   groue   that   wonders  not  my 


woe."     By  the  same,     i-iv,  f .  165b  ; 
V,  f.  152b  ;  vi,  f.  47b. 

76.  "Weepe  forth  your  teares."  By  the 
same,  i-iv,  f .  167b ;  v,  f.  154b ;  vi, 
f.  49b. 

77.  "Dye  not,  fond  man."  By  the  same, 
i-iv,  f .  168b  ;  v,  f .  155b ;  vi,  f .  50b. 

78.  "Come,  sable  night."  By  the  same, 
i-iv,  f .  169b  ;  v,  f .  156b ;  vi,  f .  51b. 

79.  "I  haue  intreated."  By  the  same. 
i-iv,  f.  170b ;  v,  f.  157b ;  vi,  f.  52b. 

80.  "Noe  obiect  dearer."  By  the 
same,  i-iv,  f .  173b ;  v,  f .  160b  ;  vi, 
f .  55b. 

81.  "Oft  did  I  mar'll"  (sc.  marvel). 
"Tho.  Tomkins."  i-iv,  f.  175b;  v, 
f.  162b ;  vi,  f.  57b. 


Additional  34800,  A,  ff.  50-47b  ;  B,  C,  ff.  52-49b  (reversed). 
Paper  ;  after  1618.  Small  octavo.  See  also  under  Motets  (vol.  i,  p.  282). 
Compositions  for  3  voices,  in  parts.     Anonymous. 


1.  "  Say,   Galatea,  since   our   cominge 
hither."     A,  f.  50  ;  B,  C,  f.  52. 

2.  "A  sea  nimph  sat  ypon  y'=  shore." 

A,  f .  49b  :  B,  C,  f .  51b. 

3.  "The   pleasant  flowers."     A,   f.49; 

B,  C,  f.  51. 


4.  "  Whether  away,  my  deare."  A,  f .  4:8b ; 
B,  C,  f . 50b. 

5.  "All     creatures     now     with     harts 
rejoyce."     A,  f .  48  ;  B,  C,  f .  50. 

6.  "  Leaue  me  alone."     A,  f.  47b ;  B,  C, 
f.  49b. 


Additional  17792-17796,  passim. 

Paper  ;  after  1624.     Small  oblong  quarto.     See  also  under  Anthems  (vol.  i,p.  13). 

Madrigals,  for  5  voices  (unless  the  contrary  is  stated),  in  parts, 
the  five  volumes  containing  respectively  the  cantus,  altus,  tenor, 
quintus,  and  bassus. 

1.  "0  Griefe"  (a  4).  [Bald.  Donato,  i,  f.  62  ;  ii,f.65b;  iii,f.  69;  iv,  f .  31b  ; 
1588.]     i,  v,  f .  20b  ;  ii,  iii,  f .  21b.  v,  f.  61b. 

2.  "  My  harte  doth  pante."  Anony-  7.  "  Susanna  faire  som  time  assaultid 
mous.  i,v,  f.60b;  ii,  f.64;  iii,  f.  67  ;  was"  [1588].  i,  f.63;  ii,  f.  66;  iii, 
iv,  f .  30.  f .  69b  ;  iv,  f .  32  ;  v,  f .  62. 

8.  "Why  doe  Ivse"  [1588].     This  and  8.  "My  minde  to  me."     Anonymous, 

nos.  4-7  are  by  "  [WiUiam]  Birde."  i,   f.63b;    ii,   f.66b;    iii,   f.  69b;    iv, 

i,  v,  f .  61 ;  ii,  f .  64  ;  iii,  f .  67b ;  iv,  f .  30b.  f .  32b  ;  v,  f .  62. 

4.  "Mee  thought  of  late."  i,  f.  61b;  ii,  9.  "  Vezzosette  nimphe."  Anonymous, 
f .  64b  ;  iii,  f .  68  ;  iv,  f.  31 ;  v,  f .  61.  i,  f .  63b  ;  ii,  f .  67  ;  iii,  f .  70 ;  iv,  f.  33  ; 

5.  "Though  Amarillis  daunce  "  [1588].  v,  f.  62b. 

i,  V,  f.  61b;   ii,  f .  65  ;    iii,  f.  68b;    iv,      10.  "Piacher"  {sic).      Anonymous,     i, 
iv,  f.  31.  f.  64  ;  ii,  f.  67b ;  iii,  f.  70b ;  iv,  f.  33b  ; 

6.  "When  I  was  otherwise"   [1589].  v,  f.62b. 


154 


VOCAL  MUSIC— SECULAK. 


11.  "  Browninge  .  ,  .  The  leaues  be 
greene."  [W.  Byrd.]  i,  f.  64b  ;  ii, 
f.  68 ;  iii,  f.  70b  ;  iv,  f.  34  ;  v,  f .  63. 

12.  "The  Country  Cry,"  beginning 
"God giue  you goodmorrow,  S' Rise." 
[R.  Dering.]  i,  f.  106b ;  ii,  f.  108b  ; 
iii,  f.  111b ;  iv,  f.  98b  ;  v,  f.  104b. 

13.  "The  first  London  Crie,"  begin- 
ning "  God  giue  you  goodmorroe,  my 


masters";  with  second  part,  "Will 
you  goe  with  mee."  [0.  Gibbons.]  i, 
f.  109b ;  ii,  f.  111b  ;  iii,  f.  114  ;  iv, 
f . 101b  ;  V,  f .  106b. 
14.  "The  second  London  Crie,"  begin- 
ning "  0  yes,  can  any  man."  Anony- 
mous, i,  f .  111b  ;  ii,  f .  114b  ;  iii, 
f .  116 ;  iv,  f .  104b ;  v,  f .  109. 


Additional  29996,  flf.  llOb-1 46b  passim. 
Paper  ;  a.d.  1647,  etc.     Small  folio. 

Madrigals,  by  W.  Byrd,  T.  Morley,  and  J.  Farmer.     See  under 
Organ  Solos,  in  vol.  iii. 


Additional  31438,  ff.  60b-63. 

Paper;  after   1660  (f.  75b).     Oblong  octavo.     See  also  under  Motets  (vol.  i, 
p.  262). 

Chansons  and  Madrigals.  Alto  or  tenor  part  only.  They  are  all 
(vpith  the  possible  exception  of  no.  2)  for  5  voices.  Nos.  1,  3  and  4  are 
by  Orlando  di  La.sso  [1562]  ;  nos.  5,  6  by  Cipi'iano  di  Rore  [1548]. 


1.  "  Le  ros[s]ignol  plaisant."     f.  60b. 

2.  "  Secour  moy,  ma  damme."     Anony- 
mous [probably  by  Lasso],     f.  61. 

3.  "  ]\Ion  cueur  se  recommaud  a  vous." 


f .  61b. 

4.  "  Susanne  vng  iour."     f.62, 

5.  "  Virgine  Saggia."     f.  62b. 

6.  "  II  di  S'  appresse  "  (sic),    f.  63. 


Additional  10338,  ff.  14b-24. 

Paper  ;  after  1669.     Small  folio.     See  also  under  Motets  (vol.  i,  p.  283). 

Madrigals  (?),  for  3  voices,  in  score,  by  George  Jeffreys.     Auto- 
graph.    Nos.  10-12  are  accompanied  by  a  basso  continuo. 


1.  "  Le  parole  soavi."     f .  14b. 

2.  "  0  vaghe,  0  care  stelle."     f.  15. 

3.  "  Donna  crudel  . . .  piu  non  ti  chieg- 
gio."     f.  15b. 

4.  "  Quand'  io  miro  le  rose."     f.  16. 

5.  "Air  ombra  degli  allori."     f.  16b. 

6.  "  Si  (sic)  miro  il  tuo  bel  viso."     f.  17. 


7.  "Occhi,  stelle  mortali."     f.  17b. 

8.  "  Crudel  tu  per  fug[g]ire."     f.  18. 

9.  "Donna,  s'  io  miro  voi."     f.  18b. 

10.  "Felice  Pastorelle  (sic),  ch'  in  com- 
pagnia  di  Clori."     f.  19b. 

11.  "  Provate  la  mia  Fiamma."    f.  20b. 

12.  "  Che  nove  Arti  son  queste."    f.  22. 


Additional  33234,  ff.  8,  10b,  115b, 

Paper  ;  a.d,  1680-1682.    Folio.     See  also  below,  under  Songs, 
Madrigals,  with  a  bass,  in  score. 

1.  "  Nominative  Hie  haec  hoc."     "[C]  f .  10b. 

Merula."     f .  3.  3.  "Lontani  del  core"  (a  3).      By  A^ 

2.  "  Nominativo  Quis."     By  the  same.   '        Stradella.     f.  115b. 


MADRIGALS. 


155 


Harley  1501,  f.  63b. 

Paper  ;  a.d.  1681.    Folio.     See  also  below,  under  Songs. 

"  Si,  mi  dicesti  " ;  a  3,  with  a  figured  bass  for  harpsichord,  in  score. 
Anonymous. 


Additional  31440,  ff.  1 49b-l  94b  passim. 

Paper;  before  1685  (?).     Folio.     See  also  under  Motets  (vol.  i,  p.  287). 

Madrigals  for  5  voices,  and  unaccompanied  (unless  the  contrary  is 
stated),  by  P.  Reggio.  Autograph  (1).  Nos.  4,  5  are  for  4  voices,  with 
a  bass  for  harpsichord ;  in  nos.  6-1 5  the  words  are  for  the  most  part 
omitted. 


1.  "  Son  si  avezzo  alle  pane."    f .  149b. 

2.  "  0  donna,  vn  solo  amante."    f.  157b. 

3.  "lo  tidisfido."     f.  159b. 

4.  "  Crudelissima  Dori."     f.  172b. 

5.  "  0  sguardo  incauto."     f.  174b. 

6.  "  Voi  pur  da  me  partite."     f.  181b. 

7.  "  Cor  mio  mentre."     f.  182b. 

8.  "  Oime  !  Deb,  perche  fato."     f.  185. 


9.  "Sich'  io..."     f.l85b. 

10.  "Abi...deduo."     f.  187b. 

11.  "Troppo...  ."     f.  188b. 

12.  "  T'  amo,  mia  vita."     f.  189b. 

13.  "  Ab,  dolente  partita."   2.191, 193b. 

14.  "Cb'  io  t'  ami."     f.  191b. 

15.  "  Grud' Amarilli."     f .  194b. 


Additional  33235,  ff.  74-102  ^assm. 
Paper ;  late  17th  cent.    Folio.     See  also  under  Anthems  (vol.  1,  p.  38). 
Madrigals,  in  score. 

1.  "  Cor[r]ete,  amanti "  (a  3).  Anony-    ■  3.  "Lontani  del  core"    (a  3).     "Ales- 
mous.     f .  74.                                                     sandro  Stradella."     f .  82. 

2.  "Sospiri,  Che  fate"  (a  3).  Anony-    ;  4.  "Mortali,  che  fate"  (a  3).     Anony- 
mous,    f.  75b.  i       mous.     f.  102. 

Additional  29481,  ff.  14,  32b. 

Paper ;  17th  cent.     Oblong  folio.     See  also  under  Anthems  (vol.  i,  p.  40). 

1.  "If  my  complaints";  the  melody  with  a  bass,  in  score,  by  J. 
Dowland,  from  his  First  Book  of  Songs,  etc.,  1597.  First  half  of  17th 
cent.     f.  14. 

2.  The  treble  part  of  "  Amor  me  rere  (sic)  che  d'  amor,"  probably 
the  beginning  of  a  Madrigal.     Late  17th  cent.     f.  32b. 


Additional  31411. 

Paper ;   0. 16.     17th  cent.     Folio. 

Madrigals,  etc.,  for  5   voices   (with  one  exception),  in   score,  by 
Italian  composers  of  the  end  of  the  16th  cent. 


1.  "In      queste      selue."       "  Scipione 
Dentice,"  from  Book  ii  [1596].     f.  1. 

2.  "Ne'  bei  vostr' occhi."     "Vincenzo 


Neriti,"  from  Book  i  of  the  Canzo- 
nette  a  4  [1593].     f.  2b. 
3.  "Hor    ua,   canzona    mia."      "Gio- 


156 


VOCAL  MUSIC— SECULAR. 


van  Ferretti,"  from  Book  i  of  the 
Canzoni  [1568].     f.  3b. 

4.  "  Mentre  1'  aura  spiro."  "  Luca  Ma- 
renz[i]o,"  from  Lauro  secco  [1582], 
f.5. 

5.  "  Cara  stagion."  "  Rodiano  Barera," 
from  Book  i  [1596].     f.  6. 

6.  "Cantin    liete    le    Ninfe."     "Ales- 


sandro  Sauioli,"  from  Book  i  [1595]. 
f.8b. 

7.  "La  bella  Flora."  "Pietro  Paulo 
Quartieri,"  from  Book  i  [1592].    f.  11. 

8.  "Usciua  homai."  "  Stefano  Ven- 
turi  del  Nibbio,"  from  Book  i  [1592]. 
f . 13b. 


Additional  31434,  passim. 

Paper ;  17th  cent.     Small  folio.     See  also  under  Motets  (vol.  i,  p.  288). 

Compositions  for  5  voices,  with  a  figured  bass  for  harpsichord,  in 
parts,  by  Henry  Lawes.     Apparently  autograph. 


1.  "Negatemi  pur,  cruda."     ff.  8,  20b, 
32,  44,  57,  68b. 

2.  "  Donna,  mentr'  jo  ui  miro."     ff.  8b, 


20b,  32b,  44b,  57b,  69. 
3.  "0  Vergine  felice."     ff.  9,  21b,  33, 
45,  58,  69b. 


Additional  14336,  ff.  2-lOb. 

Paper;  late  17th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  291). 
Compositions  for  3  voices,  with  a  bass  for  harpsichord,  in  score. 


Anonymous ;  possibly  by  H.  du  Mont. 


1.  "Arme  ....  a  la  mano."     f .  2. 

2.  "  Nel  regno  damore."     f .  3b. 

3.  " Pianti,  fermati  (sic)  ui."     f.5. 


4.  "  Non  credet'  a  donne."     f.  6. 

5.  "  Duna  bella  infidele."     f.  7. 

6.  "  Ahi,  cosi  va  costei."     f.  8. 


Additional  24293,  ff.  77b,  82. 
Paper  ;  late  17th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  292). 
Madrigals  for  3  voices,  with  a  figured  bass,  in  score.     Anonymous. 
1.  "Diagnea  Donna  crudele."     f.  77b.      |   2.  "  Parlo  misero."     f.  82. 

Additional  28757,  ff.  38,  45. 

Paper ;  early  18th  cent.     Oblong  duodecimo.     See  also  under  Choruses  (vol.  i, 
p.  158). 

Madrigals  for  3  voices,  in  score. 

1,  "  Come,  Shepheard  Swains."     "Jno.      2.  "Thirsis,  let  pity  .  .  .  move  thee." 
Wilby."     [1609.]     f.38.  "  Thos.  Morley."     [1593.]     f.  45. 


Additional  31534. 

Paper;  ff. 42.      After   1741   (see  below).      Oblong  quarto.      Given   to   Julian 
Marshall  by  R.  Aspa,  of  Leamington. 

"  Madrigali  a  2  voci " ;  with  a  bass  for  harpsichord,  in  score,  by 


MADRIGALS. 


157 


Giovanni  Carlo  Maria  Clari.     Nos.   1-5  are  taken   from  Book  i  of  his 
Madrigals,  which  appears  to  have  been  published  in  1741. 


1.  "Dov'  e  .  .  .  quel  Usignolo."     f.  2b. 

2.  "  Nel  suo  bel  Prato."     f.  8, 

3.  ' '  Lontan  dalla  sua  Fille."    Imperfect 
in  the  middle,     f.  13. 

4.  "In  sogno  mi  parea."     f.  14b. 

5.  "Clori,  deh,  mira."     f.21. 

6.  "  Piangete,  o  Violoni "  ;  followed  by 


another  copy  (in  a  different  hand), 
on  which  it  is  described  as  a  madrigal 
or  duetto  bufio  "Per  la  Partenza  di 
Pisa  del  Sig'  Fran<^°  Morini,  Virtuoso 
di  Violoncello  del  Don  Ciccio."  fE.  28, 
35. 


Additional  31536. 

Paper ;  S.  65.     After  1741  (see  below).     Oblong  quarto. 

"Madrigali  a  due,  Del  Sig-^^  Gio.  Carlo  Ma.  Clari,"  1740,  1741, 
and  a  cantata  for  2  voices  by  the  same  composer ;  with  a  bass  for 
harpsichord,  in  score. 


1.  "Fuoco...e    la    chioma    bionda." 
f.2. 

2.  "  Quando  col  mio."     f.  7b. 

8.  "Dov'e.  .  .  quell' Vsignolo."  f.  lib. 

4.  "  Nel  suo  bel  prato."     f.  16b. 

5.  "Voile  . . .  speranza  ardita."     f. 20b. 

6.  "Lontan  dalla  sua  Fille."     f.  25b. 


7.  "  Cantando  un  di."     f.  30b. 

8.  "Spesso  Amor."     f .  34b. 

9.  "  Quando  tramonta  il  sole."     f.  38. 

10.  "In  sogno  mi  parea."     f.  42. 

11.  "  Al  bosco  al  prato."     f.  47b. 

12.  "  Clori,  deh,  mira."     f.  51b. 

13.  "  Gioite  pur  "  :  cantata,     f.  60. 


Additional  31536. 

Paper;  fi.  96,     After  1743  (see  below).     Oblong  quarto. 

"  Madrigali  a  3  voci  del  Sig^e  Gio.  Carlo  Ma.  Clari,"  1742,  1743 ; 
with  a  bass  for  harpsichord,  in  score.  In  the  same  hand  as  the 
preceding  volume. 


1.  "  Doue,  ah  doue,  o  Pastori."     f.  2. 

2.  "Con  Fille  un  giorno."     f.  10. 

3.  "  Quant' e  soaue  amore."     f.  20. 

4.  "Fra  Mille  dubbi."     f.27. 

5.  "Bella  sorte."     f .  35. 

6.  "  Nice,  da  Te  lontano."     f.  43. 


7.  "  E  ver. .  .che  Dori  e  beUa."     f.  49. 

8.  "Ecco,  Amor."     f .  57. 

9.  "DalNilo."     f.  65. 

10.  "  Si  lodi  pur  amore."     f.  73. 

11.  "  Addio,  Campagne  amene."  f.  81. 

12.  "  Con  bel  diletto."     f .  89. 


Additional  34058. 

Paper ;  ff .  90.     After  1743.     Oblong  quarto. 

"  Madrigali  Di  Diversi  Autori  messi  in  musica  A  Due  Voci 
Dal  Sigr  Gio.  Carlo  M"  Clari .  .  .  Per .  .  .  la .  .  .  Marchese  Giulia  Durazzo 
ne'  Grimaldi  .  .  .  mdccxhii  "  ;  with  a  bass  for  harpsichord,  in  score. 
The  contents  are  the  same  as  those  of  Add.  31535  (nos.  1-12),  above, 
which  appear  to  have  been  published,  in  1741,  as  compositions  of 
Clari.     Annotated  by  W.  H[awes?]  in  1824  (see  f.  27b). 


1.  "  Cantando  un  di."     f.2. 

2.  "  Nel  suo  bel  prato."     f.  9. 

3.  "Voile  . . .  speranza  ardita." 


f.l6. 


4.  "  Fuoco  , 
f .  23b. 

5.  "Dov'  e 


e   la   chioma  bionda. 


.  quell'  usignolo."      f.  32. 


158 


VOCAL  MUSIC— SECULAR. 


6.  "Spesso  amor."     f.  39b. 

7.  "  In  sogno  mi  parea."     f.  45. 

8.  "Clori,  dehmira."     f .  53b. 

9.  "  Lontan  dalla  sua  Fille."     f.  61b. 


10.  "  Quaudo  col  mio."     f .  69. 

11.  "  Quando  tramonta  il  sole."   f .  74b. 

12.  "  Al  bosco  al  prato."     f.  82b. 


Additional  31537. 

Paper ;  ff.  62.     After  1747  (see  below).     Oblong  quarto. 

"Madrigali  a  2  voci  Del  Sig-«  Gio.  Carlo  Ma.  Clari,"  1745-1747; 
with  a  bass  for  harpsichord,  in  score.  In  the  same  hand  as  Add. 
31535,  31536,  above,  p.  157. 

1.  "II   Soldato  Poltrone,"  beg.    "Ola,   :  7.  "  La  Moglie  Gelosa,"  beg.  "No,  no, 


chi  mi  risueglia."     f .  2. 

2.  "  II  Musico  Ignorante,"  beg.  "  Do,  re, 
mi,  fa,  sol,  la;  cbe  bella  cosa  k  la 
musica."     f.  9. 

3.  "L' Amante  disperato,"  beg.  "Ofem- 
mina  mendace."     f.  15. 

4.  "Amante  di  Donna  Vecchia,"  beg. 
"  Amor,  tu  me  1'  hai  fatta."     f.  23. 

5.  "II  Poeta  spiantato,"  beg.  "Musa, 
tu  uuoi  ch'  io  canti."     f.  28. 

6.  "II  Giocatore  Sfortunato,"  beg. 
•'  Scelerata  fortuna."     f.  33. 


soffrir  non  posso."     f.  39. 

8.  "  II  Pellegrino,"  beg.  "  Giro  e  rigiro 
atondo."     f .  43. 

9.  "II  Vanesio,"  beg.  "Non  v' e  nella 
terraquea  mole."     f.  47. 

10.  "  L'  Ambizioso      indigente,"     beg. 
"  Consorte,  non  bo  lucro."     f.  51. 

11.  "II  Pazzo  Innamorato,"  beg.  "  Tu 
mi  riduci  in  cenere."     f.  55. 

12.  "  II    Maestro    di    Cappella,"    beg. 
"  Quegli  che  par  si  bello."     f.  59. 


Additional  32036. 

Paper;  ff. 7.     About  1749  (see  f.  1).     Small  folio.     See  also  under  Choruses 
(vol.  i,  p.  159). 

'•'  Morir5,  cor  mio  "  ;  for  4  voices,  in  scoi'e,  with  additional  separate 
contra-tenor,  2nd  tenor,  bass,  and  basso  continuo  parts,  by  Francesco 
Farina  [1591]. 

Additional  5036,  ff.  28b-36b. 

Paper ;  before  1760.     Quarto.     See  also  under  Motets  (vol.  i,  p.  303). 

Madrigals  for  several  voices,  in  score^  transcribed  by  Henry 
Needier  (d.  1760)  from  MSS.  at  Christ  Church,  Oxford. 


1.  "  Eran    le    vostre    lagrime "    (a   5). 
"  Gio.  PierLuigi  Prenestini."    f.28b. 

2.  "  S'  io  esca  vivo  "  (a  6).    "  Orlando  di 
Lasso."     f.31. 


3.  "  Per  pianto   la  mia   came   si   dis- 
tilla"(a4).     By  tbe  same.     f.34. 

4.  "  Hor  poi  mia  trista  sorte  "    (a  4). 
"  [A.]  Ferabosco,  Sen."     f.  85. 


Additional  5050. 

Paper ;  ff.  62.     Before  1760.     Quarto. 

"  Il  Primo  [Libro]  de  Madrigali  A  Cinque  Voci  De  Don  Aurelio 
Delia  Faya  .  .  .  Maestro  di  Cappella  della  Citta  di  Lanciano.  Nova- 
mente  Composto  e  dato  in  Luce.  Con  Privilegio.  In  Venetia,  Appresso 
Francesco  Rampazetto."  With  dedication  to  Giovanni  Battista  Marina, 


MADRIGALS. 


159 


1564.     In  score,  in  the  hand  of  Henry   Needier.     The  first  lines  of 
the  Madrigals  are  given  in  the  Index. 

Additional  5054,  ff.  7-172  passim. 

Paper;  before  1760.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  68). 

Madrigals,  in  score,  for  5  voices,  unless  the  contrary  is  stated. 
In  the  hand  of  H.  Needier. 


1.  "La  Spagnola  "  (a  3),  beg.  "  Al  rigor 
d' un  bel  Sembiante"  ;  with  the 
alternative  words  "  Al  splendor  di 
due  pupille "  written  underneath. 
"  Agostino  Stefiani."     f.7. 

2.  "  Gettauo  il  Re  dal  soglio."  By  the 
same.     f.  18b. 

3.  "  Ogni  loco  mi  porge  doglia."  "  Gia- 
netti  Palestrina."     f.  38. 

4.  "Dissi  a  I'amata"  (a  4).  "  Luca 
Marenzio."     f.  38. 

5.  "Mori  quasi  il  mio  core"  (a  4). 
"  J.  P.  A.  PrEenestini."     f.  83. 

6.  "Penelope   y'   longed  for  the  sight 


of  her  Ulisses."  This  and  nos.  7-9 
are  from  So7igs  of  Sundrie  natures, 
by  W.  Byrd,  1589.  (No.  xxvii.) 
f.  151b. 

7.  "Compel  the  Hawke  to  sit."     (No. 
xxviii.)     f.  154b. 

8.  "If  in  thine  heart  thou  nourish"  (a  6). 
(No.  xliv.)     f .  157b. 

9.  "  Love  would  discharge  the  beauty 
of  his  heart."     (No.  xxxiv.)     f.  160b. 

10.  "Dolorosi 'martir   (sic)."      "Luca 
Marenzio."     f.  169. 

11.  "  Cruda  Amarilli."    "  Paolo  Petti." 
f.  172. 


Additional  31398,  ff.  52-75  passim. 

Paper ;  a.d.   1761,   etc.     Oblong   quarto.      See  also   under   sacred  Madrigals 
(vol.  i,  p.  204). 

Madrigals,  in  score,  for  4  voices,  except  nos.  8-10,  which  are 
for  3.  Nos.  1-7  are  by  Palestrina,  but  the  words  have  not  been 
filled  in. 


1.  ["  Amor,  ben  puoi  tu."]     f.  52. 

2.  ["  Perche  s' annida  amore."]    f.  53b. 

3.  ["Amor  quando  fioria."]     f.  55. 

4.  ["  Veramente  in  amore."]     f.  56b. 

5.  ["Mori  quasi  il  mio  core."]     f.  57b. 

6.  ["0  che  splendor."]     f.  59. 

7.  ["I  vaghi  fiori."]     f .  60. 

8.  "Your  sparkling  eyes."     "Thomas 
Bateson  "  (about  1600).     f.  69. 


9.  "A  Sea-Nymph  sat  upon  a  Shore." 
Anonymous,     f.  70b. 

10.  "How  merrily  we  live."    "  Michael 
Este."     [1606.]     f.  72. 

11.  "  Cruel,  unkind."     "J.  Bennet,  in 
1599."     f.  73b. 

12.  "  Quail  piucrudelmartire."  Anony- 
mous,    f.  75. 


Additional  14398,  &.  143b-154. 

Paper;  a.d.  1770.     Quarto.     See  also  under  Motets  (vol.  i,  p.  310). 
Madrigals  for  5  voices,  in  score. 


1.  "Piangete,  o  Muse";  with  second 
part, ' '  Doletevi."  ' '  Giovanni  Lochen- 
burgo."     f.  143b. 

2.  "Solo  e  pensoso";  with  second 
part,  "Si  ch'  io  mi  cred'  homai." 
"  Giovanni  Nasco,  1564."     f.  146b. 


3.  "  Cura  che  di  timor  ti  nutri  "  ;  with 
second  part,  "  Sui  (sc.  Ivi)  senza 
riposo  i  giorni  mena."  "Francesco 
Roselli."     f.  150b. 

4.  "  Ben  ho  del  car'  oggetto  i  sensi 
privi."     By  the  same.     f.  153. 


160 


VOCAL  MUSIC— SECULAR. 


Additional  11582,  ff.  65,  81-92. 

Paper  ;  before  1782.     Quarto.     See  also  under  Masses  (vol.  i,  p.  222). 

Madrigals,  etc.,  for  5  voices  (unless  the  contrary  is  stated),  scored 
by  Dr.  Chai'les  Burney.  No.  1  is  from  Book  ii  of  Madrigals  by 
Cipriano  di  Rore  and  others,  Venice,  1544  ;  the  rest  from  Books  iv-ix 
of  Chansons  for  4  to  7  voices,  published  by  Tylman  Susato  at  Antwerp 
in  1544,  1545. 


1.  "  S' infinita  bellezza."  "Archadelt." 
f.65. 

2.  "N'esse    {sic)   pas    ung    grant   des- 
plaisir."     "  Jusquin  de  Pres."     f.  81. 

3.  "  Par  faulte  d'argent."  "Jo.  Gallus." 
f.  81b. 

4.  "  Eeconfortez      le      petit      cueur." 
"  Cornelius  Canis."     f.  82. 

5.  "Gens  qui   parlez  mal."      By   the 
same,     f .  82b. 

6.  "Ta  bonne  grace."     By  the  same. 
f.83. 

7.  "  Tous   mes   amis."     By  the  same. 


f . 83b. 

8.  "Tout    a    rebours,"    beg.    "  Sy   des- 
haulx  cieulx."    "Jo.leCocq."    f.  84. 

9.  "  Congie  je  prens."    "  Jo.  Courtois."' 
f.  84b. 

10.  "  En  non  saichant."     "  Josquin  de 
Pres."     f.  85. 

11.  "  Le  temps  qui  court  "  (a  4).    "  Jo. 
Bichafort."     f.  86b. 

12.  "Rejouissons  nous  a  cest  heure " 
(a  4).     "  Giprianus  de  Rore."     f.  88. 

13.  "  Si  mon  travail."     "Pier  Manchi- 
court."     f.  88b. 


Additional  11683,  passim. 

Paper ;  before   1782  (see   below).      Oblong  quarto.      See   also   under  Motets 
(vol.  i,  p.  313). 

Madrigals  and  Chansons  for  2  or  more  voices,  in  score.  Nos.  1-5 
are  for  2  voices,  and  nos.  6-10  for  3  voices;  they  are  scored  from  Add. 
5465  (above,  p.  124).     Nos.   11-17  are  for  5  voices. 


1.  "  Ha,  my  herte."  Anonymous,   f .  lb. 

2.  "What  causyth  me  wofuUthoughtis." 
"William  Newark."     f.  2b. 

3.  "So  far  I  trow."  By  the  same. 
f.3b. 

4.  "  My  wofull  hart."  "  Sheryngam." 
(Published  by  Dr.  Burney  in  vol.  ii 
of  his  History  of  Music,  1782).     f.  4b. 

5.  "  That  was  my  woo."  "R.  Fayrfax." 
The  words  are  supposed  to  refer  to 
the  accession  of  Henry  VII.     f.  5b. 

6.  "  Benedicite  !  what  dremyd  I." 
Anonymous,     f.  6b. 

7.  "Alas,  it  is  I."  "  [Edmund]  Turges." 
f.7b. 

8.  " Yowre  counturfetyng."  "William 
Newark."     f.  9. 

9.  "Madam  Defrayne."  Anonymous, 
f . 10b. 

10.  "0    rote    of    trouth."      "Tutor." 


f.  12b. 

11.  "  Ogni  loco  mi  porge  "  ;  with  second 
part,  "  Poscia  che  per  mio  mal." 
"  Gianetto  da  Palestrina,  1559." 
f .  27b. 

12.  "Sound  out  my  voyce  "  ("Vestiva 
i  colli").    1588.   By  the  same,   f .  29b. 

13.  "Invidioso  amor."  "Alessandro 
Striggio,  1559."     f.  33b. 

14.  "Sans  lever  le  pied."  "Clemens 
non  Papa."  Prom  Chansons  Fran- 
coises, book  xiii.     f .  35b. 

15.  "Adieu,  celle  que  jay  servy." 
"Gerardus."  From  the  same  work, 
f .  36b. 

16.  "La  belle  Margarite."  "Jacobus 
Clemens  non  Papa."  From  the  same 
work,  book  xii,  1550.     f.  37b. 

17.  "  Susanne  un  jour."  "Orlando  di 
Lasso,  1592."     f.  38b. 


MADRIGALS. 


161 


Additional  11584,  passim. 

Paper  ;  before  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  313). 

Chansons,  etc.,  mostly  for  4  voices,  scored  from  early  editions  by 
Dr.  Burney. 

donna,  1'  arte  nostra."     "  Perissone 
Cambio,  1558."     f.  7. 

6.  "Villota,"  beg.  "  Ve  voglio  dire, 
donne."     By  the  same,  1558.     f.  7b. 

7.  "  Canzone  Villanesche,"  beg.  "Chi  la 
Gagliarda."  "Baldassare  Donate, 
1558."     f.  8. 

8.  "Te  parlo;  tu  me  ridi."  By  the 
same,  1558.     f.  8b. 


1.  "  Queste    uon    son    piu    lagrime." 
' '  Rolando  di  Lassus,  1555."     f .  2b. 

2.  "  Sto,  core  mio."  By  the  same,  1555. 
f.3. 

3.  "  Tu,  traditora."   By  the  same,  1555. 
f.3b. 

4.  "En  espoir  vis."  By  the  same,  1555. 
f.  4. 

5.  "Canzona   Villanesca,"   beg.   "  Ma- 


Nos.  9-15  are  from  the  first  book  of  Cliansons  printed  at  Lou  vain 
in  1558,  by  Pierre  Phalaise ;  and  nos.  16-20  appear  to  be  from  a 
second  collection  by  the  same,  Louvain,  1559. 

9.  "  Cessez,  mes  yeulx,  de  tant  vous  tor-       17.  "Si  par  fortune."     "  Geraert   Ho- 
menter."     "  Crequillon."     f .  13b.  brecht."     f.  21b. 

10.  "  Cessez,  mes  yeulx.  La  coustume."       18.  "  Toutes    les   nuyctz."      "Josquin 
A   reply    to    no.    5.      "Jan    Loys."   ,       Baston."     f.  23b. 


19.  "Bon  jour,  mamie."     "  Claudin  le 
Jeune."     f.  24b. 

20.  "  Le  feu  qui  m'ard."    By  the  same, 
f.  25b. 

21.  "Puisqu'il     convient."       "Petrus 
Heylanus,  1554."     f.  26b. 

22.  "Partropaymer."  "Manchicourt." 
f . 27b. 

23.  "Sans   Libert^."     "Jan    Gerard." 
f .  28b. 


f.l4. 

11.  "Donnes  secours,  ma  doulce  amye." 
"  Petit  Jan  de  Latre."     f.  15b. 

12.  "  Vivous,  vivons  joyeusement." 
"Morel."     f.  16b. 

13.  "  Fille  qui  prend  facieulx  mary." 
"Crespel."     f.  17b. 

14.  ' '  Misericorde,  misericorde  au  martir 
amoureulx."  "  Clemens  non  Papa." 
f.  18b. 

15.  "Puisque  voulez que  je  vous  laisse."      24.  "  I[o]  vid[d]i  in  terra";  with  second 
By  the  same,     f .  19b.  part,  "  Amor,  senno"  (a6).  "Adriano 

16.  "  Avant  mes  Jours."      "  Claudin  le   ■       Willaert."     From  Gardano's  Musica 
Jeune."     f.  20b.  I       Nova,  1559.     f.  42b. 

Nos.  25-27  are  scored  from  Arcadelt's  Madrigali  novissimi,  Venice, 
1541,  the  first  two  from  Book  iii,  and  the  last  from  Book  iv. 

25.  "Lief  e    seren."      "J.   Arcadelt."  j       flow'ry  vale."     "  Constantio  Festa." 
f.  46b.  I       f.  47. 

26.  "Quandoritrovo  lamia  pastorella";  i   27.  "  Cosi  soav' e '1  fuoco."  By  the  same, 
commonly   known   as   "Down   in   a  f.  47b. 


Additional  11585,  ff.  2-34  passim. 

Paper;  before  1782.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  314). 
Madrigals,  etc.,  in  score.     Unless  the  contrary  is  stated,  they  are 


for  3  voices  and  unaccompanied. 

1.  "Che  {sic)  prend'  amor  a  gioco"; 
with  accompaniments  for  2  strings 
II 


and  a  figured  bass   for  harpsichord. 
"  Cavalier  Tarquinio  Merula,  maestro 

M 


162 


VOCAL  MUSIC— SECULAR. 


di  capella  nella  Chiesa  Maggiore  di  S. 
Maria  di  Bergamo."  From  Book  ii 
of  the  Musiche  Concertate,  op.  x,  1635. 
f.2. 

2.  "  Nominativo  hie  hfec  hoc"  (a  4); 
with  figured  bass.    By  the  same.    f.  5. 

3.  "Nominativo  quis  quel  [sc.  vel) 
qui "  (a  4) ;  with  figured  bass.  By  the 
same,     f .  8b. 

4.  "Rosebeate."  "AlessandroGrandi." 
From  Book  ii  of  the  Madrigali  con- 
certati,  op.  xi,  Venice,  1626.  This 
and  nos.  5,  6  are  for  2  voices,  with 
a  figured  bass.     f.  12. 

5.  "  Se  desiate,  o  bella  diva."  "  Morula." 
From  the  same  work  as  no.  1.    f.  12b. 

6.  "  Dormivo  e  mi  baciasti."  "  Giovanni 
Ferrari,  Pisano,  maestro  di  capella 
del  .  .  Gran  Duca  di  Toscana,  nel 
Duomo  di  Livorno."  From  Madrigali, 


Book  i,  1628.     f.  15. 

7.  "Mordi,  ben  mio  "  (a  4).  By  the 
same.     From  the  same  work.    f.  15b. 

8.  "  Deliette  mignonette  "  (a  4). 
"  Eustache  du  Caurroy."     f.  18b. 

9.  "  L'eure  est  venue."  Attributed  by 
Dr.  Burney  to  Josquin  des  Pr^s. 
This  and  nos.  10-12  are  copied  from 
Royal  MS.  20  A.  [xvi],  above,  p.  127. 
f.  23b. 

10.  "A  l'eure  que  premier  vous  vis." 
"Bouvel."     f.  24b. 

11.  ["Que vous, Madame."]  "Josquin." 
f.  25b. 

12.  "  Mes  pens^es."  By  the  same. 
f.  26b. 

13.  "The  farther  I  go,  the  more  be- 
hynde"  (a  2).  "William  Newark." 
Copied  from  "  the  Fayrfax  MS."  (now 
Add.  5465,  above,  p.  124).     f.  33b. 


Additional  11586,  passim. 

Paper;   before   1782   (see   below).     Oblong   folio.     See   also   under   Anthems 
(vol.  i,  p.  71). 

Compositions  for  5  voices,  in  score,  in  Dr.  Charles  Barney's  hand. 


1.  "  Enforcid  by  love  and  feare." 
"Robert  Parsons."  (Inserted  in 
Burney's  History  of  Music,  vol.  ii, 
1782).     f.  13b. 

2.  "With  wreathes  of  Rose."  , 
"William  Cobbold."  From  The  \ 
Triumphs  of  Oriana,  1601.    ff.  35,  36b. 

3.  "Hence,  stars;  you  daz[z]le." 
"Michael  Este."     From   the   same    i 


work,     f .  39. 

4.  "All  creatures  now."  "John 
Benet."  From  the  same  work, 
f .  40b. 

5.  "When  fancy  fond  for  pleasure 
pleads."      "William   Byrd."     From 

Psalmes,  Sonets  and  Songs 1588. 

f.  44b. 


Additional  11587,  ff.  22-30. 

Paper;  before  1782.     Oblong  quarto.     See  also  under  Anthems  (vol  i,  p.  72). 

Madrigals,  etc.,    in    score,    transcribed  by    Dr.    Charles    Burney. 
Nos.  1,  4-7  are  for  3  voices. 


1.  "As  I  went  walking."  "John 
Mundy."  From  Songs  and  Psalmes, 
1594.     f.  22. 

2.  "  In  deep  distresse  "  (a  4).  By  the 
same.     From  the  same  work,    f .  22b. 

3.  "  Fayre  Orian  in  the  morn"  (a  6). 
"  John  Milton."  From  The  Tri- 
umphs of  Oriana,  1601.     f.  23b. 

4.  ["  Cease,   cease,  tormenting   love."] 


The  beginning  lost.  "  Tho' Tomkins." 
f.25. 

5.  "  Our  hasty  life."  By  the  same. 
From  Songs  of  3,  4,  5  and  6  parts, 
1622.     f.  25b. 

6.  "  Dear  pittie,  how  i"  ah  how  ?  wouldst 
thou  become  her."  "  John  Wilbye." 
In  the  First  Set  of  English 
Madrigals,  1598.     f.  26b. 


MADRIGALS. 


163 


7.  "  My  flockes  feed  not "  ;  with  second 
part,  "  Love  hath  forlorne  me  "  ;  and 
third  part,  "  Cleere  wells  spring  not 


chearfully."       "  Thomas    Weelkes.' 
Published  in  1597.     f.  27b. 


Additional  11588,  ff.  16b-66b  passm. 

Paper  ;  about  1783  (see  f.  41).     Quarto.     The  MS.  also  contains  sacred  Canons 
(vol.  i,  p.  120),  and  other  compositions  described  below  and  in  vol.  iii. 

Madrigals,  eAc,  in  score,  transcribed  by  Dr.  Charles  Burney,  and 
included  in  vol.  vii  of  his  "  Musical  Extracts."  Nos.  4-9  (a  4)  are  from 
Di  Cipriano  et  Annihale  Madrigali .  .  .1561,  and  are  mostly  accompanied 
by  short  biographical  notes  of  their  composers;  nos,  11-34,  from 
Costanzo  Festa's  Madrigali  A  tre  Voci.  .  .1551,  book  i,  of  which  they 
form  the  greater  part ;  nos.  36-49,  from  the  5-part  Madrigals  of  Carlo 
Gesualdo,  Principe  di  Venosa  (book  i,  1585;  book  ii,  1594;  book  iv, 
1596;  book  vi,  1611 — or  from  later  editions). 


1.  "Charita  di  signore  "  (a  4).  "  Ci- 
priano de  Rore."   Book  i,  1551.   f .  16b. 

2.  "  Mentre  la  prima  mia  novell' 
etade  "  (a  4).  By  the  same. 
Book  ii,  1557.     f.  17. 

3.  A  composition  by  "Gianetto"  (sc. 
Palestrina),  taken  from  the  same 
collection  as  the  preceding  Madrigal, 
where  it  is  described  as  "  Canzon 
.  .  .  sopra  di  '  Pace  non  trouo.'  "  It 
is  divided  into  fourteen  stanzas, 
namely  : — "  Da  fuoco  cosi  bel  " 
(f.  17b);  "Rapace,  ingord'"  (f.  18)  ; 
"  Amo  e  non  nacque  "  (f.  18b)  ; 
"[D]a[l]l'  empia  Gelosia"  (f.  19) ; 
"  Si  (sic)  mi  vince  tal'  hor  "  (f.  19b)  ; 
"  O  effetto  rio  "  (f.  20) ;  "  Amor  non 
volev'  io  "  (f.20b) ;  "  Non  mi  sferr'  il 
crudel"  (f.  21) ;  "Poi  che  la  vista" 
(f.  21b)  ;  "  Io  non  ho  lingua  "  (f.  22)  ; 
"L'  alta  cagion"  (f.  22b) ;  "Misero 
stato"  (f.  28);  "  Fuggir  devriassi  " 
(f.  23b);  and  "  Satio  di  tormentarm' 
amore"  (f.  24). 

4.  "  A  qualunque  animal."  "Annibale 
Padoauo,  1575."     f.  24b. 

5.  "  Con  lei  foss'  io  "  (the  sixth  stanza 
of  the  preceding  work),     f.  25. 

6.  "Madonna,  poi  ch'  uccider." 
"Claudio  [Merulo]  da  Correggio." 
f.26. 

7.  "  Col  seno  pien  di  rose " ;  with 
second  part,  "  II  capo  levi."  "  Joan. 
Contino."     f.  26b. 

8.  "  Chi  desia  di  veder  "  ;  with  second 
part,  "  0  leggiadre,  amoroso  e  care 
doglie."  "Perissone[Cambio]."  f.27b. 


"  Alessandro  Strig- 
Costantio 
medico." 


9.  "  Gravi  pene, 
gio."     f.  28b. 

10.  "  Amorose  viole  "  (a  4).    ' 
Porta."     f.  29. 

11.  "  Madonn',    io    son    un 
f.30. 

12.  " Madonn', ilvostr'orgoglio."  f.30b. 

13.  "Ingiustissimo  Amor."     f.  31. 

14.  "  Ogni  loco  m'  at[t]rista."     f.  31b. 

15.  "  Se  mai  vedet'  Amante."     f.  32. 

16.  "  Deh,  piacci'  al  cielo."     f.  32. 

17.  "  Qual  saramaisi  miserabil  canto." 
f . 32b. 

18.  "  Madonna,  al  volto."     f.  33. 

19.  "  Lieto  non  hebbi  mai  un  giorno." 
f .  33b. 

20.  "  Madonna,  io  v'  am'."     f.  34. 

21.  "  Che  si  puo  piu  vedere."     f.  34b. 

22.  "Venuf  era  madonna."     f.  35. 

23.  "  Venit',  amant',  insieme."     f.  35b. 

24.  "  Se  come  [sc.  siccome)  s[i]ete  bella." 
f.36. 

25.  "  Ogni  belta,  madonna."     f.  36b. 

26.  "  Che  parlo  ?  o  dove  son."     f.  37. 

27.  "  Madonn',  io  mi  consumo."    f.  37b. 

28.  "  Non  mi  par  che  sia  vero."     f.  38. 

29.  "Afflitti  spirti."     f .  38b. 

30.  31.  "  Se  non  fosse  il  sperar."  Two 
settings,     ff.  38b,  39. 

32.  "  Che  giova  saggittar."     f.  39b. 

33.  "Poi'  ch'  io  viddi."  "  lacomo 
Fogliano."     f.  40. 

34.  "Madonna,  io  prend'  ardire." 
Attributed  by  Burney  to  the  same, 
but  really  by  Festa.     f.  40b. 

35.  "Io  vorrei,  Dio  d'  amore"  (a  3). 
"Fogliano"  [1537].     f.41. 

M    2 


164  VOCAL  MUSIC— SECULAR. 

36.  "  Caro,  amoroso  neo  "  ;  with  second  at  "La morte  mia."    (Book  vi.)   f.  50. 
part,   "Ma  se   tale  ha  costei  "  ;  and  48.  "Moro  lasso."     (Book  vi.)     f.  50b. 
third    part,    "Hai   rott'  e   sciolto."  49.  "Tu  piangi,  o  Fille."      (Book  vi.) 
(Book  i,  1603.)     f .  42.                                      f.  51b. 

37.  "  Sento  che  nel  partire."     (Book  i,  50.  "LaBattaille  (deMarignan,  1515)," 
1594.)     f.  44b.  beg.  "  Escoutez,  tons  gentilz  Gallois." 

38.  "  Dair  odorate  spoglie."    From  the  "Clement  Jannequin."      (From  his 
same,     f .  45b.  CJiansons  a  4,  book  x,  1545.)     With 

39.  "Madonna,  io  ben  vorrei."     (Book  a  fifth  ijart  added  by  "Phili.  Verde- 
ii.)     f.46.                                                          lot."     f.56. 

40.  "Sparge     la    mort'."     (Book    iv.)  51.  "  Douleur  me  bat "  (a  6).    "Adrian 
f .  46b.  Willaert."      {Chansons   a  5  et  a  6, 

41.  "  Questa crudele."  (Bookiv.)  f.  47b.  book  v,  1544.)     f.  61. 

42.  "Belta.poichet'assenti."   Beginn-  52.  "Je  ne  scay  pas  comment"  (a  6). 
ing  only.     (Book  vi.)     f.  48.  By    the     same.       (From    the    same 

43.  "  Se   la   mia  morte."      Beginning  work.)     f .  62b. 

only.     (Book  vi.)     f .  48.  53.  "  Douleur  me  bat "  (a5).  "  Josquin 

44.  "  Ahi,  gia  mi  discoloro."  (Bookiv.)          de   Pres."     (From   the  same   work.) 
f.  48b.  f.  68. 

45.  "  Resta  di  darmi  noia."  (Book  vi.)       54.  "  I  bei  legami "  (a  3,  with  a  ritour- 
f.  49.  nelle     for     8     strings).       "  Claudio 

46.  "  Dolcissimo  sospiro."     (Book   iii.)  Monteverde."        (From      the      1615 
f .  49b.  edition     of     his     Scherzi    musicali, 

47.  "0  Dolce  mio  tesoro,"  beginning  originally  published  in  1607.)    f .  66b. 

Additional  27645,  f.  5. 

Paper  ;  a.d.  1785.     Oblong  quarto.     See   also   under   sacred   Canons  (vol.  i, 
p.  122). 

"  Pretty  wanton,  come  away  "  ;  for  two  choirs  of  4  voices  each,  in 
score,  by  Dr.  J.  W.  Callcott. 

Additional  34608,  passim. 

Paper ;  about  1785-1789.     Oblong  octavo.      See  also  under  Anthems  (vol.  i, 
p.  74). 

Compositions  for  4  voices,  in  score,  by  [John]  Dowland  [from  The 
First  Booke  of  Songes  or  Ayres,  1597].  In  the  hand  of  J.  StaJBford 
Smith. 


1.  "  Awake,  sweet  love."     f .  3. 

2.  "Burst  forth,  my  tears."     f.  4b. 

3.  "Come  again,  sweet  love."     f.  6b. 

4.  "Away  with  those  self-loving  lads." 
Melody  and  bass  only,  f .  28  (reversed). 


5.  "Would  my   conceit."      f.  30b   (re- 
versed). 

6.  "All    ye  whome   love."      f .  32   (re- 
versed). 


Additional  31671,  flf.  34,  42,  45b. 

Paper ;  about  1785-1802  (see  below).    Oblong  quarto.    See  also  under  Catches 
(above,  p.  31). 

Madrigals,  in  score.     Autograph. 

1.  "  When  Daphne  died  "  (a  5),  "J.W.  1800.]     f.  34. 

Callcott,    M.B."    [1785;    Mus.    Doc.       2.  "  While  sighing  forth  his  wrongs  " 


MADRIGALS. 


165 


(8,5).    "  Wm.  Horsley."    Watermark       3.  "Solo   e   pensoso "    (a  4).     By   the 
1802.     f.  42.  t       same.     Same  watermark,     f.  45b. 

Additional  27642,  ff.  23,  109,  113. 

Paper;  a.d.   1786,   1790.      Oblong   quarto.      See   also   under   sacred   Canons 
(vol.  i,  p.  120). 

Madrigals,    for    5    voices,     in    score,    by     Dr.    J.    W.    Callcott. 
Autograph. 

1.  "  Giovane    Donna    sotto    uu   verde 


Lauro."     "1790."     f.  23. 
2.  "When    Daphne    died."      "1786." 


f.  109. 

3.  "  Quanto     grata     a    questo    core." 
"1786."     f.  113. 


Additional  31412,  imssim. 

Paper;  before  1798  (except  no.  13).    Oblong  quarto.    See  also  under  Oratorios 
(vol.  i,  p.  373). 

Madrigals,  etc.,  for  5  voices,  unless  the  contrary  is  stated,  in  score. 


1.  "Inteneritevoi,lacrimemie."  "Ales- 
sandro  Scarlatti."     f.  10. 

2.  "0  selce,  o  Tigre."     By  the  same. 
f.l4. 

3.  "  Sdegno   la   fiamma   estinse."     By 
the  same.     f.  19. 


9.  "lo  non  so  pero  morto"  (with  the 
bass  partly  figured).  "  Giaches  de 
Wert."     f.  40. 

10.  "Leggiadro  mio  pastor"  (with  the 
bass  partly  figured).  "  Gio.  Bernardo 
Colombi."     f.  43. 


4.  "  Se  gia  r  amai,  Crudele  "  (a  4,  with   j   11.  "  Lontana[n]za,"    beg.      "  Mentre 


figured  bass).     Anonymous,     f.  24. 

5.  "  La  Spagnola,"  beg.  "  Al  rigor  d'  un 
bel  sembiaute "  (a  3,  with  figured 
bass).     "  Agostino  Steffani."     f.28. 

6.  "Cruda  Amarilli."  "Paolo  Petti." 
f.  32. 

7.  "  Liquide  perle."  "  Luca  Marenzio." 
f.36. 

8.  "Prima  che  spunt'  il  sol"  (a  4). 
"  Viucentio  Rufio."     f.  38. 


lunge  ti  stai  da  me  "  :  described  as 
"Canzonaa  4."  With  figured  bass. 
"Bouoncini."     f.  46. 

12.  "  Clori,  son  fido."  "  Stradella." 
f.  54. 

13.  "  Villanella  alia  Neapolitana,"  beg. 
"  Di  pianti  e  di  sospir  "  (a  3).  "Luca 
Marenzio."  In  the  hand  of  Dr. 
Crotch,     f.  74. 


Additional  31813,  f.  5. 

Paper;  about  1798  (watermark).    Oblong  folio.    See  also  below,  under  Operas. 

"  Enforced  by  love "  :  5-part  song,  in  score,  by  Robert  Parsons, 
1563.     In  the  hand  of  R.  J.  S.  Stevens. 


Egerton  2486. 

Paper ;  ff.  94.     18th  cent.    Oblong  quarto.     On  the  original  cover  are  stamped 
the  initials  "  M.  D." 

"  DuETTi  Madrigali "  for  canto  and  alto,  except  the  last,  which 
is  for  2  cantos  ;  with  a  bass  (figured  in  nos.  1  and  2),  in  score.  By 
Francesco  Gasparini. 

1.  "Lucimie."     f.  lb.  3.  "  Su  quest' amena  sponda."      f.  15b. 

2.  "  Ahi,  sorte."     f .  8.  4.  "  Sento  tal  fiamma."     f.26b. 


166 


VOCAL  MUSIC— SECULAR. 


5.  "  Nice,  s'  e  uer  che  m'  ami."     f.  33b. 

6.  "  Sospiri,  oue  n'  andate."     f.  39. 

7.  "  Tu  chiudi  in  dolce  sonno."     f.46. 

8.  "A  voi,  piante  innocenti."     f.  55. 

9.  "  Nice,  rassembri  vn  scoglio."  f .  62b. 


10.  "  Da  me,  che  piu  volete."     f.  69. 

11.  "  Sdegno  e  d'  amor."     f.  77b. 

12.  "  Cantata  Pastorale,"  beg.  "  Quanto 
felice  sei."     f .  84. 


Additional  5337,  ff.  44,  79-81b. 

Paper ;  18th  cent.     Quarto.     See  also  under  Oratorios  (vol.  i,  p.  367). 
Compositions  for  4  voices,  unless  the  contrary  is  stated ;  in  score. 


1.  "Clori,  son  fido  amante  "  (eI  5,  with 
basso  continuo).  "  Aless"  Stradella." 
f.44. 

2.  "  Au  Joly  bois."  "  Le  Tessier,  1597." 
f.79. 

3.  "  Su  la  riva  d'  il  Tebroun."  By  the 
same,     f .  79b. 

4.  Without  words.    Anonymous,    f .  80. 

5.  "  Come,  lovers,  follow  me  "  (a  3) ;  the 


first  3  or  4  bars  only.     In  two  keys. 
By  T.  Morley,  1594.    f.  80b  (reversed). 

6.  "Soft  then."  First  two  bars  only, 
f.  80b  (reversed). 

7.  "Round  about  in  a  fair  ring."  By 
John  Bennett.  [From  Ravenscroft's 
Brief  Discourse.']     f.  81. 


Additional  12532,  passim. 

Paper ;  18th  cent.     Quarto.     The  MS.  also  contains  Anthems  (vol.  i,  p.  77), 
sacred  Choruses  (ib.  p.  161),  and  Motets  (ib.  p.  320). 

Madrigals,   scored   by  John  Immyns  from  the  original    editions. 
They  are  for  5  voices,  unless  the  contrary  is  stated. 


1.  "  Quella  donna  real";  with  second 
part,  "Por[re]  in  una  sol  donna"; 
third  part,  "Bastava  ben";  and 
fourth  part,  "  Ma  dell'  error."  "  Gia- 
ches  de  Wert."  From  Madrigals  a  5, 
book  i  [1558].     f.  4, 

2.  "S'allor  che  perpigliar."  By  the 
same.     From  the  same  work,     f .  lib. 

3.  "Passa  la  nave"  ;  with  second  part, 
"  Pioggia  di  lagrimar."  By  the  same. 
From  the  same  work.     f.  14. 

4.  "0  Sonno."  By  the  same.  From 
the  same  work,     f .  17. 

5.  "  Standomi  vn  Giorno  "  ;  with  second 
part,  "Indi  per  alto  mar."  "  Orlando 
di  Lassus."  From  Madrigals  a  5, 
book  ii  [1559].     f .  20. 

6.  "Non  basta  contentarmi  di  parole" 
(a  4).  "  Horatio  Vecchi."  [From  JZ 
Convito  Musicale,  1597.]     f.  25b. 

7.  "  L' alba,  cui  dolci  "  ;  with  second 
part,  "  Almo  Pastor."  "  Giaches  de 
Wert."  From  Madrigals  a  5,  book  ii 
[1575].     f.  26. 

8.  "  Gionto  m' ha  amor."     By  the  same. 


From  the  same  work.     f.  32. 

9.  "Madonna  mia  gentil."  "Luca 
Marenzio."  [From  Madrigals  a  5, 
book  i,  1580].     f.  36. 

10.  "  Cantaua  la  piu  vaga  pastorella." 
By  the  same.  From  the  same  work, 
f .  37b. 

11.  "  lo  ardo  "  (a  3).  "  Simone  Molin- 
ario."     f.  39b. 

12.  "  Deggio  dunque  partire";  with 
second  part,  "  lo  partire  "  ;  and  third 
part,  "Ma  voi,  caro  ben."  "Luca 
Marenzio."  [From  Madrigals  a  5, 
book  ii,  1581.]     f.  40. 

13.  "Amor,  io  non  potrei."  By  the 
same.     [From  the  same  work.]     f .  44. 

14.  "Stella,  ch' in  ciel "  ;  with  second 
part,  "E  Giulia  in  ciel."  "Marc' 
Antonio  Ingegneri."  From  Madrigals 
a  5,  book  iii  [1580].     f.  47. 

15.  "Vaghi  boschetti."  By  the  same. 
From  tlie  same  work.     f.  50b. 

16.  "Ben  ch' io  sia  certo."  By  the 
same.     From  the  same  work.     f.  52. 

17.  "  Hor  ch' Amor  m' ha  slegata."     By 


MADRIGALS. 


167 


the    same.     From    the    same   work. 
f.53b. 

18.  "Go  ye,  my  canzonets"  (a  2). 
"Morley."  [From  Canzonets,  1595.] 
f.  55b. 

19.  "I  go  before  my  charmer"  (a  2). 
By  the  same.  From  the  same  work. 
f .  56b. 

20.  "Lasso  ch' io  ardo."  "  Luca  Ma- 
renzio."  [From  Madrigals  a  5,  book  i, 
1580.]     f.  57. 

21.  "Flora,  wilt  thou  torment  me" 
(a  2).  "Morley."  [From  Canzonets, 
1595.]     f .  58b. 

22.  "  Se  delle  voglie  sue."  "  Annibale 
Padovano."  From  Madrigals,  book  i 
[1564].     f.  59. 

23.  "Now  in  y^  break  of  morning" 
(a  2).     "Morley."     f.  61b. 

24.  "Fire  and  lightning"  (a  2).  By 
the  same.  [From  Canzonets,  1595.] 
f.62. 

25.  "Oh,  d' amarissime  onde."  "Or- 
lando di  Lassus."  From  II  Terzo 
libro  delle  Muse  a  Ci7ique  Voci  [1561]. 
f.63. 

26.  "I  bei  ligustri "  (a  3).  "  T. 
Weelks."    [From  4?/eres,  1608.]    f.  65. 

27.  "Say,  Phillis,  will  you  love  me" 
(a  3).     By  the  same.     f.  65b. 

28.  "  Credete  per  schernirmi"  (a  3). 
"  Simone  Molinario."     f.  67b. 

29.  "  S'  egli  e  ver."  "  Pomponio 
Nenna."  [From  Madrigals  a  5, 
book  vii,  1608.]     f.  72. 

30.  "En  m'oyant  chanter"  (a  4). 
' '  Orlande  de  Lassus."     f .  76. 

31.  "Sleep,  0  sleep,  fond  Fancy  "  (a  4). 
"Bennett."     [1599.]     f.  80. 

32.  "  Accend'  i  cor  a  I'arme"  (a  6). 
"  Giaches  de  Vuert."  From  Madri- 
gals a  6,  book  ii  [1561].     f.  84. 

33.  "Se  fra  quest' herb."  "  Gianetto 
da  Palestrina."  From  II  Terzo  Libro 
delle  Muse  a  Cinque  Voci  [1561].   f .  87. 

34.  "  Quando  la  voce";  with  second 
part,  "Con  humil  atto."  "Andrea 
Pevernage."  [From  Harmonia  Ce- 
leste, 1583.]  This  and  nos.  35-52  are 
for  4  voices,     f .  92. 

35.  "Per  divina  bellezza."  "Filippo 
de  Monte."  [From  Musica  Trans- 
al^nna,  1588.]     f .  93b. 

36.  " Non mi  togl' 11  ben mio."  "Marc' 
Antonio  Ingegneri."     [From  Madri- 


gals a  4,  book  i,  1578.]     f .  94b. 

37.  "  Donna,  la bella mano."  "Marc' 
Antonio  Pordenon."     [1580.]     f.  96. 

38.  "  Per  pianto  la  mia  came."  "Or- 
lando di  Lasso."  [From  Madrigals 
a  4,  book  i,  1560.]     f.97. 

39.  "Io  son  si  vago."  "Filippo  di 
Monte."  [From  Harmonia  celeste, 
1583.]     f.  98. 

40.  "Basciami,  uita  mia."  "Noe 
Faignient."  From  the  same  work, 
f . 99b. 

41.  "  Quando  benigna  Stella."  "Bene- 
ditto  Pallavicino."     [1579.]     f.  101. 

42.  "  Si  grand' e  il  mio  gioire."  "Marc' 
Antonio  Pordenon."     [1580.]     f.  102. 

43.  "  Ardo,  Donna,  per  voi."  "Andrea 
Peuernage."  [From  Harmonia 
celeste,  1593.]     f.  103. 

44.  "  Non  puo,  dolce  mia  vita."  "Paolo 
Masnelli."     [1582.]     f .  104. 

45.  "  Questi  ch' inditio."  "NoeFaign- 
ent."  [From  Harmonia  celeste,  1583.] 
f.  105. 

46.  "Dolce  mio  foco."  "Andrea 
Pevernage."  From  the  same  work. 
106b. 

47.  "  Appariran  per  me."  "Orlando 
[di  Lasso]."  [From  Madrigals  a  4, 
book  i,  1560.]     f.  107b. 

48.  "  Zefiro  torna."  "  Luca  Marenzio." 
[From  Madrigals  a  4,  book  i,  1585.] 
f .  108. 

49.  "Non  vegg',  ohime."  "  Gio.  di 
Macque."  [From  Madrigals  a  4, 
book  i,  1586.]     f .  110. 

50.  "Sidolcison  gli  sguardi."  "Gio. 
Battista  Moscaglia."  [From  Madrigals 
a  4,  book  ii,  1585.]     f.  111. 

51.  "April  is  in  my  mistress'  face." 
"Morley."     [1594.]     f.  112. 

52.  "Within  an  Arbour."  By  the 
same.     f.  113. 

53.  "Vezzosi  augelli"  (a  3).  "  Simone 
Molinaro."     f.  115. 

54.  "  Freno  Tirsi";  with  second  part, 
"Cosi  moriro."  "Luca  Marenzio." 
[From  Madrigals  a  5,  book  i,  1580.] 
f.  115b. 

55.  "  Donna  crudel."  Beginning  only, 
"  Giovan  Ferretti."  [From  Canzone 
alia  Napolitana,  book  i,  1568].  f.  117b. 

56.  "  Io  mi  son  Giovinetta."  "  Claudio 
Monteverde."  [From  Madrigals  a  5, 
book  iv,  1603.]     f.  118. 


168 


VOCAL  MUSIC— SECULAR. 


57.  "Come  viver  poss  'io."  "Leon 
Leoni."  [From  Madrigals  a  5,  book  iii, 
1595.]     f.  121. 

58.  "Dubbij  fra  duo."  "  Girolamo 
Casati."  [From  II  Giardino  novo, 
1605.]     f.  123. 

59.  "Ami,  Tirsi."  "  Grisostomo  Rubi- 
coni."     [1599.]     f.  125b. 

60.  "Pur  venisti,  cormio."  "  Salamon 
Rossi."  [From  TMadrigals  a  5,  book  1, 
1600.]     f .  127b. 

61.  "  Questa  che  dolce  canta."  "  Mar- 
silio  Santini."     [1602.]     f.  129. 

62.  "Dimmi,  Glori."  "Leon  Leoni." 
[From  Madrigals  a  5,  book  v,  1602.] 
f . 131b. 

63.  "  Che  non  fai."  "  Salamon  Rossi." 
[From  ]\Iadrigals  a  5,  book  i,  1600.] 
f .  133b. 

61.  "Qualdivoisied',oMuse."  "  Gio- 
vanni. Croce."     [From  Madrigals  a  5, 


book  i,  1585.]     f .  135. 

65.  "Leggiadro  mio  Pastor."  "  Gio. 
Bernardo  Colombi."     [1603.]    f .  136b. 

66.  "Rondinella  loquace."  "Gabriel 
Fattorini."  [From  Madrigals  a  5, 
book  ii,  1604.]     f.  138. 

67.  "  Cantiam  Muse."  "  Simons  Moli- 
naro."     [1599.]     f .  139b. 

63.  "Grafcie  ch'  a  poch'  il  ciel  "  (a  6). 
"  Stefano  Rossetto."  About  1566. 
f .  142. 

69.  "Vagan  per  I'aria"  (a  6);  with 
second  part,  "Ma  lass'io."  "  Agos- 
tino  Agazzari."     [1596.]     f.  144. 

70.  "  See,  see,  my  dearest  treasure " 
(a  3).     "Morley."     f.  149. 

71.  "The  Eagle's  force"  (a  3).  "  W. 
Byrd."  [From  Psalmes,  Songs,  etc., 
1611.]     f.  150. 

72.  "Las,  voulez  vous"  (a  4).  "  Or- 
lande  de  Lassus."     [1555.]     f .  151. 


Additional  14166,  fF.  73-76. 

Paper ;  18th  cent.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  343). 

"  Cor  mio,  deh,  non  languire  "  ;  for  5  voices,  in  score,  by  Alessandro 
Scarlatti;  apparently  transcribed  by  G.  F. 


Additional  15516. 

Paper ;  fi.  48.     18th  cent.     Oblong  folio.    The  MS.  belonged  to  Joseph  Kelway 
and  afterwards  (1782)  to  Dr.  Thomas  Bever. 

Madrigals  or  "  Cantate "  for  2  and  3  voices,  with  a  bass  for 
harpsichord,  in  score,  here  attributed  in  a  later  hand  to  "  Bigalio," 
sc.  Diogenio  Bigaglia,  but  more  probably  composed  by  G.  C.  M.  Clari, 
under  whose  name  they  appear  in  a  MS.  belonging  to  the  Royal  College 
of  Music,  in  which  they  are  described  as  vol.  iv  of  his  Madrigals. 
(See  also  Add.  14394,  14395,  below,  p.  189.)  Nos.  1-6  are  for 
2  voices,  the  others  for  3  voices.  A  brief  notice  of  Bigaglia,  by  Sir 
John  Hawkins,  is  inserted  at  f.  1. 


1.  "  Piange  il  Ruscello.     f.  3. 

2.  "L'  idolo    mio    si    dolcemente    in- 
fiamma."     f.  6. 

3.  "  Vago  Vsignol."     f .  9b. 

4.  "  Guerra  uoi  farmi."     f.  12. 

5.  "  Lungi  dalla  mia  bella."     f.  15b. 

6.  "  Non  ti  sdegnar."     f .  19. 


7.  "  Piango,  sospiro."     f.  22b. 

8.  "  Nel  bel  volto  di  Clori."     f.  27. 

9.  "  Riso  dell'  Idol  mio."     f.  32. 

10.  "Aluago  lacio."     f .  36. 

11.  "Lasso  adoro  una  fera."     f.  40b. 

12.  "  Zeffiretto  gentile."     f.  45. 


MADRIGALS. 


169 


Additional  23625,  ff.  l-67b. 

Paper ;    18th   cent.     Quarto.     The   MS.   belonged   at   one   time   to   William 
Chappell.     It  also  contains  some  Fantasias  (see  under  String  Duets,  in  vol.  iii). 

Canzonets,  in  score,  by  Thomas  Morley,  transcribed  by  Thomas 
Barrow  from  (1)  Canzonets,  or  Little  Short  Songs  to  Three  Voices  .  .  .  1593 
(ff.  1-48),  and  (2)  The  First  Booh  of  Canzonets  to  Two  Voices  .  .  .  1595 
(fF.  49-67b).  The  initial  words  are  given  in  the  Index  to  the  present 
Catalogue. 

Additional  23626,  ff.  Uh-IOQ  passim. 

Paper;    18th   cent.     Quarto.     See   also   under  Anthems   (vol.  i,  p.  83)   and 
Carols  (ib.  p.  145). 

"  Songs  of  sundry  natures  ...  of  3,  4,  5,  and  6  parts  .  .  .  By 
William  Bird  .  .  .  1589,"  containing,  besides  other  compositions, 
19  Madrigals,  of  which  the  initial  words  are  given  in  the  Index.  The 
whole  is  in  score,  transcribed  by  Thomas  Barrow. 


Additional  24312. 

Paper ;  ff .  40.     18th  cent.     Oblong  octavo.     Presented  by  Dr.  Philip  Hayes  to 
Dr.  Edmund  Ayrton. 

Madrigals,  in  scox'e,  by  Alessandro  Stradella.    Unless  the  contrary 
is  stated,  they  are  for  5  voices,  and  have  a  bass  for  harpsichord. 


1.  "  Pupillette  amorose";    without  a 
bass,     f .  2b. 

2.  "  Glori,  son  fido  amante."     f.  10b. 

3.  "  Piangete,  occhi  dolenti."     f.  17. 

4.  "  E  pur  giunta  "  (a  3).     f.  24. 

5.  "  Tirsi  un  giorno  piangea  "  ;  without 


a  bass.     f.  26. 

6.  "Feritevi"  (a  3).     f.  32. 

7.  "Colpo  de  bei  vostr'  occhi"  (a   3). 
f.36. 

8.  "  Aure  fresche  "  (a  2).     f.  38. 


Additional  29291,  ff.  3-56  passim. 

Paper ;  18th  cent.     Folio,  etc.     See  also  under  sacred  Canons  (vol.  i,  p.  128) 
Part  music,  for  4  voices  (unless  the  contrary  is  stated),  in  score. 

■Tho' 


1.  "Hark,  jolly  shepheards." 
Morley."     [1594.]     f.  3. 

2.  "Dare  you  haunt"  ("The  Fayries 
daunce").  "  Tho'  Ravenscroft." 
[From  A  Brief  Discourse.}  "  1614." 
f.lO. 

3.  "Awake,  sweet  Love."  This  and 
nos.  4-6  [from  the  First  book  of  So7igs, 
etc.],  by  "  John  Dowland,  1597,"  are 
quasi-partsongs.     f.  11. 

4.  "  Come  again,  sweet  love."     f.  lib. 

5.  "Away  with  these"  ("Love  for 
Love ").     The   words   by   Sir   Fulke 


Greville,     afterwards     (1621)     Lord 
Brooke,     f.  12. 

6.  "Now,  0  now,  I  needs  must  part." 
f.  22. 

7.  "Now  is  the  gentle  season."  "  T. 
Morley,  1594."     f .  30. 

8.  "Dye  now,  my  heart."  By  the 
same.     [1594.]     f.  30b. 

9.  "Come,  Lovers,  follow  me."  By 
the  same.     [1594.]     f.  32b. 

10.  "Joy,  joy  doth  so  arise":  can- 
zonet (a  3).  By  the  same.  [1593.] 
f.39b. 


170 


VOCAL  MUSIC— SECULAR, 


11.  "Lady,  those  Eyes":  canzonet. 
By  the  same.     [1593.]     f.  41. 

12.  "As  of  all  states":  described  as 
"  Melissomelos,  or  the  Bee's  Madri- 
gal." The  words  from  "[Charles] 
Butler's  Feminine  Monarchie  or 
Hist'ry  of  Bees  ....  1634."     f .  43. 

13.  ["Where  art  thou,  wanton."]     By 


T.  Morley.     [From   Canzonets   a   3, 
1593.]    Imperfect  at  beginning,    f .  47. 

14.  "  Cease,  my  eyes."  By  the  same. 
[From  the  same  work.]     f.  48b. 

15.  "Pur  venisti."  In  compressed 
score.  "Salomon  Rossi."  [From 
Madrigals,  book  i,  1600.]     f.  56. 


Additional  29380,  29381,  jyasshu. 

Paper ;  18th  cent.     Narrow  oblong  duodecimo.     The  MS.  also  contains  sacred 
Choruses  (vol.  i,  p.  161)  and  a  Motet  (ib.  p.  323). 

Chansons,  etc.,  for  3  voices,  scored  by  John  Immyns. 

29380.     Vol.  I. 


1.  "  Le  Grant  desir."    "Johannes  Mou- 
ton."     f.  17b. 

2.  "  AUons,  gay."   "  Adrianus  Willart." 
f.23. 

29381.  Vol.  IL 

1.  "Hold  out,  my  heart."     "Morley." 
[Canzonets,  1593.]     f.  3. 

2.  "Blow,  shepherds."     By  the  same. 
[From  the  same  work.]     f.  15b. 

3.  "Soave  libertate."      "  Simone   Mo- 
linario,"     f.  23b. 


3.  "lemileuay."   By  the  same.   f.  27b. 

4.  "Toutteslesuuictes."  "Crequillon." 
f .  32b. 

5.  "Tousioursleal."    "Crespel."   f.39b. 


4.  "Pleust  a  dieu."     "Nicolaus  Gom- 
bert."     f.  31b. 

5.  "  C'est  done  par  moy."     "Ninon  le 
Petit."     f.  35b. 

6.  "Amour,   amour,    tu    es    par    trop 
cruelle."  "  Clement  Janequin."  f.  41. 


Additional  29382-29S85,  passim. 

Paper ;    18th   cent.      Narrow    oblong    duodecimo.      See   also   under   Motets 
(vol.  i,  p.  323). 

Madrigals,  for  2  voices,  unless  the  contrary  is  stated,  and  in  parts. 

1.  "Now  each  creature  joys"  (a  4).  !  Morley,  1588."  i,  f.  17 ;  ii,  f.  16;  iii, 
"  [J.]  Farmer."     i-iv,  f.  2.  f.  15b  ;  iv,  f.  15. 

2.  "Where  art  thou,  wanton"  (a  3).  8.  "Oh,  how  pleasant  'tis."  Anony- 
"  Morley."     i,  iv,  f.  3b  ;  ii,  f.  4.  mous.     i,  f.  27  ;  ii,  f.  23. 

3.  "  Dissi  a  1'  amata."  "  Cornelio  \  9.  "Oh  ye  Gods!  how  sweet."  Anony- 
Verdouch."     i,  ii,  f.  6b.  mous.     i,  f.  28b;  ii,  f.  24b. 

4.  "Cruel,  you  pull  away  too  soon  10.  "Oh  fair  Daughter"  (a  3).  "  Pre- 
your  lips "  (a  3).  "Morley."  i,  ii,  nestini."  i,  f.37b;  ii,  f.38;  iv,  f.35b. 
f.8b;  iii,  f.4.  11.  "  0,  Forbear  awhile."   Anonymous. 


5.  "Cruel,  unkind"  (a  4).  "  Bennet." 
i,  f.  lib;  ii,  f.  12  ;  iii,  f.6b;  iv,  f.6. 

6.  "Cease  now  thy  mourning"  (a  4). 
"J-°  Farmer."  i,  f .  14b  ;  ii,  f .  13b  ; 
iii,  f.  12  ;  iv,  f .  10b. 

7.  "Within    an   arbour"    (a   4).      "  T. 


ii,  f.  22b;  iv,  f.  27. 

12.  "This  Tyrant  Queen"  (a  3).   Anony- 
mous,    ii,  f.  34b ;  iii,  f.  35b ;  iv,  f.  42. 

13.  "Now  in  the  break  of  morning." 
"Morley."     iii,  f .  8  ;  iv,  f.7. 


MADRIGALS. 


171 


Additional  29393-29395,  ff.  I0h-29h  passim. 

Paper;    18th   ceut.      Oblong  duodecimo.     See   also   under  sacred   Choruses 
(vol.  i,  p.  162). 

Madrigals  for  3  voices,  in  parts. 

1.  "I  saw  and  was  undone."  "Morales." 
i-iii,  f.  10b. 

2.  "In  the  merry  month  of  May"; 
with  second  part,  "  Coridon  would 
kiss  her."  "Mich'  East."  [160i.] 
i,  ff.lTb,  22;  ii,  f .  17b  ;  iii,  f .  19b. 

3.  "See,  see,  my  dearest  Treasui'e." 
This  and  nos.  4  and  5  are  by ' '  [Thomas] 
Morley."  [From  his  Canzonets,  1593.] 


i,  iii,  f.29b;  ii,  f.  28b. 

4.  "Joy,  joy  doth  so  arise."  i,  iii,  f.  28b; 
ii,  f.  27b. 

5.  "  Cruel,  you  pull  away  too  soon  your 
lips."     i,  f.  26b ;  ii,  f.  25b ;  iii,  f.  27. 

6.  "Phillis,  those  eyes  of  yours." 
Anonymous,  i,  f.  24 ;  ii,  f.  22b ;  iii, 
f .  24b. 


Additional  29400. 

Paper;  f?.  90.     18th  cent.     Oblong  octavo. 

"  Di  GiULio  Renaldi  Padouano  1°  Libr[o]  de  Madrigali  [a  quatro 
voci] ,  .  .  .  Venetia  1583."  [The  first  edition  appeared  in  1569.]  In 
score,  in  the  hand  of  John  Immyns.  Included  is  one  by  Francesco 
Pigna  (f.  72b).  Of  the  last  Madrigal,  "  Poiche  1' alto  valore,"  there 
are  two  settings  (fi".  85b,  86),  which  can  be  sung  together  as  an  8-part 
composition. 

The  first  lines  of  all  the  Madrigals  are  given  in  the  index  at  f.  1, 
and  in  the  Index  to  the  present  Catalogue. 


Additional  31393. 

Paper  ;  ff .  18.     18th  cent.     Oblong  folio. 

Madrigals,  etc.,  in  score.  ISTos.  2-10  are  from  Canzonet te  Leggiadre 
3  voc.  di  Muggier.  Trofio  (nos.  2,  5,  7,  10)  e  Gio.  Dom.  Itognoni  (nos.  3,  4, 
6,  8,  9)  .  .  .   1600. 


1.  "Musica,  dulci  sono  "  (a4).    "  Cipri- 
ano  di  Rore,  1575."     f.  1. 

2.  "A  voi,  cortese."     f.  3. 

3.  "Amor,  deh,  dimm'."     f .  3b. 

4.  "  Vanne,  mia  Canzonetta."     f.  4. 

5.  "Dole' ire."     f .  4b. 

6,7.  "Amor,  quando  fla,"    and  "  Pre- 

govi,  donna."     f.  5. 
8,9.  "  Amat'    e    cara,"    and    "  Se    per 


haverti  dato."     f .  5b. 

10.  "  S' ai  vostri  rai."     f .  6. 

11.  "Chi  per  voi   non  sospira"   (a  5). 
"Anibal  Zoilo."     f.  7. 

12.  "  Poi  che  ne  prieg'   ancor"  (a  5). 
"  Oratio  Bassani,  1605."     f.  9. 

13.  "Chi  per  voi  uon   sospira"   (a  5). 
"  Noe  Faignient."     f.  lib. 


Additional  31406,  passim. 

Paper ;  18th  cent.     Oblong  duodecimo.     The  MS.  also  contains  a  Motet  (vol.  i, 
p.  325). 

Madrigals  or  Chansons,  for  2   voices,  in  score.     Nos.   1-7  were 
copied  by  John  Immyns  from  a  MS.  dated   1551,  which  belonged  to 


172 


VOCAL  MUSIC— SECULAR, 


Walter  Erie,  formerly  Gentleman,  of  the  Bedchamber  to  Henry  VIII ; 
nos.  1-3  were  taken  from  Jan  Gero's  first  book  of  Madrigals  and 
Chansons,  1541, 

1.  "  Eefues  (sc.  r^ves  ?)  d'amours."    f.  1.  \  6.  "  Je  suys  desheritee."     Anonymous. 

2.  "  Quant  j'estoie  a  marier."     f .  3.  j       f .  13b. 

3.  "  Tant  que  viurai."     f .  6.  7.  "  Sy  mon  travail  vous  peult  donner 

4.  "Jay    tant    chasse."      Anonymous.  !       plaisir."     Anonymous,     f.  15b. 
f.8.  I  8.  "To    you,  the    fairest."      "I.  I[m- 


5.  "  Je  suys  tant  Men." 
f .  10b. 


"  Certon," 


myns]."    Autograph,    f.  21b. 


Additional  31407,  ff.  1-112  passim. 

Paper ;  18th  cent.     Oblong  duodecimo.     See  also  under  Motets  (vol.  i,  p.  325), 

Madrigals,  in  score,  in  the  hand  of  John  Immyns.  The  first  two 
are  for  2  voices,  and  are  the  composition  of  the  transcriber ;  the 
others  are  for  5  voices. 

1.  "  To  you,  the  Fairest."     f.  1.  I       Byrd."     [Psalmes,  Sonets,  and  Songs,. 

2.  "There  Ganymede  is  wrought  with   j       1588.]     f .  75. 

living  Art."  From  Dryden's  "Virgil."    i   9.  "  Dimmi,    Clori    gentil."       "Leon 
f.6.  I       Leoni."     [Madrigals,  book  v,  1602.} 

3.  "Giten,  bei  Fiori "  (a  4).      "Fran-   |       f.  78. 

cesco  Corteccia."    [Madrigals,  book  i,    i   10.  "Quell'  Augellin  che  canta."     By 
1547.]     f.  23.  the  same.     [Madrigals,  book  ii,  1591.] 

4.  "La  Giovinetta  pianta."     "Monte-  f .  84. 


verde."     [Madrigals,  book  iii,  1592.] 
f.  48. 
6.  "lo  mi  son   Giovinetta."      By  the 
same.      [Madrigals,   book   iv,   1603.] 
f.55. 

6.  "Scendi  dal  Paradiso."  "  Luca 
Marenzio."  [Madrigals,  book  iv, 
1589.]     f.  63. 

7.  "  To  nonson  peromorto."  "  Giaches 
de  Wert."  [Madrigals,  book  viii, 
1586.]     f.  69. 

8.  "  I  joy  not  in  no  earthly  bliss."    "  W. 


11.  "  Quand' io  miro  le  rose."  "Fran- 
cesco Bianciardi."  Published  in  1597, 
but  here  transcribed  from  II  Helicone, 
1616.     f.  92. 

12.  "  Questi  vivo  mio  sol'."  "  Gio. 
Piccioni."  [From  7Z  iTcKconc]  f.  95b. 

13.  "  Lady,  those  cherries."  "  Morley." 
[From  his  Ballets,  1595.]     f.  100. 

14.  "Baci  soavi."  "[Carlo  Gesualdo] 
Principe  de  Venosa."  [From  Madri- 
gals, book  ii,  1594.]     f.  106. 


Additional  31409,  passim. 

Paper;  18th  cent.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  326). 

Madrigals,  etc.,  scored  by  E.  T.  Warren  Home.  No.  1  is  for 
5  voices;  the  others  are  for  6.  Nos.  23-27,  29-41,  and  43  are  from 
U  Lauro  Verde,  1583.  The  rest  were  published  in  1591,  unless  the 
contrary  is  stated. 


1.  "  Gettano  i  Ke  dal  soglio  "  ;  with 
figured  bass.  "  Abbat.  Steffani."  f .  8b. 

2.  "  So  saith  my  fair  and  beautiful 
Lycoris";  "  englished  by  N.  Yonge 
in   the   Musica    Transal;pi7ia   [1597], 


from '  Dice  la  mia  bellissima  Licori '  " 
(given  at  f.  72).     "Luca  Marenzio." 
f.  21. 
3.  "  Dainty   white  pearl  "  ;    a   similar 
version  [of  "  Candide   perle"],  from 


MADRIGALS. 


173 


the   same   work.     "Antonio   Bicci." 
f.  23. 

4.  "Hard  by  a  chrystal  fountain." 
From  the  same  work.  "  Giovanni 
Croce."     f.  25b. 

5.  "  La  rose  du  mois  de  May "  ;  with 
canon.     "  Jn"  Mouton,  1545."    f .  29b. 

6.  "Petite  camusette  "  ;  with  canon. 
"  Josquin  de  Pres,  1540."     f.  31b. 

7.  "  De  retourner  mon  ami";  with 
canon.  "  Adriano  Willeart,  1544." 
f.33. 

8.  "  0  wretched  man."  "  Jno.  Wilbye, 
1609."     f.  35. 

9.  "Su  le  fiorite  sponda."  "  Tiburtio 
Massaino...l601."     f.  37. 

10.  "  Spargan  Flora  e  Giunon."  "  Rug- 
giero  Giovanelli."     f.  51. 

11.  "  Quand'  apparisti."  By  the  same. 
"1601."     f.54. 

12.  A  "  sestina,"  consisting  of  "  Sperar 
non  si  potea,"  by  "  Andrea  Gabrieli " 
(f.  58b)  ;  "  Sparve  ogui  nume,"  by 
"Vincenzo  Bellhaver"  (f.  60) ;  "  Tra 
pure  Nevi,"  by  "  Claudio  [Merulo]  da 
Correggio  "  (f.  62b)  ;  "  Tratto  fuora 
del  mar,"  by  "  Baldissera  Donati  " 
(f.65);  "Italia  bella,"  by  "  0  ratio 
Vecchi"  (f.66b);  and  "  Poi  disse 
hor,"  by  "Tiburtio  Massaino " 
(f.  68) ;  with  the  conclusion,  "  Va, 
musa,  in[u]anz',"  by  the  same  (f.  70b). 

13.  "  Qual  vive  salamandra."  This 
and  nos.  14-17  are  by  "  Luca  Maren- 
zio,  1589."     f.  74, 

14.  "  Posso,  cor  mio,  partire."  "1589." 
f.  75b. 

15.  "  Potro  viver  io."     "  1589."     f.  77. 

16.  "  Ne  fero  sdegno  "  ;  with  second 
verse,  "  Talche  dovunque  v6."    f.  79b. 

17.  "  Bianchi  cigni "  ;  with  second 
verse,  "  Alzate  il  novo  Lauro "  ; 
and  third  verse,  "  Guidate  dole'." 
f . 83b. 

18.  "  Mi  parto,  vita  mia."  "  Antonio 
Pace,  1589."     f.  89b. 

19.  "  Io  moriro  d'  amore."  "  Luca  Mar- 
enzio,  1594."     f.  91. 

20.  "  Parto  da  voi."  By  the  same. 
"1594."     f.92. 


I   21.  "  Se   pensand'   al  partir."      "  Gio. 

I       Pietro  Manente."     f.  93b. 

!    22.  "Vorria    parlare."      "Gio.    Turn- 

hout."     f.96b. 
1   23.  "Chi  vuol  veder."     "Antonio  Or- 

landini."     f.  98. 

24.  "La   giovinetta   scorza."      "  Lelio 
Bertani."     f.  100b. 

25.  "  Cresci,   bel  verd'."      "  Leonardo 
Meldert."     f.  104. 

26.  "  Liete    le    muse."       "  Francesco 
Rovigo."     f.  106b. 

27.  "Ecco,  il  bel  Lauro."     "  Luzzasco 
Luzzaschi."     f.  109. 

28.  "Tra  rumor  di  tamburi."      "  Hu- 
berto  Waelrant,  1590."     f.  112b. 

29.  "  L'  aura  ch'  el  verde  Lauro."  "  As- 
canio  Trombetti."     f.  115. 

30.  "Tra    verdi    rami."       "  Hippolito 
Fiorino."     f.  117b. 

31.  "  Cari,  leggiadri  et  amorosi  augelli." 
"Paolo  Isnardi."     f .  120b. 

32.  "Felice  primavera."     "Paolo  Vir- 
chi."     f.  123b. 

33.  "Mentr'  io  fuggia."     "  Alessandro 
Milleville."     f.  126b. 

34.  "  D'  un  novo  e  verde  Lauro."  "  Gio- 
anni  Cavaccio."     f.  128b. 

35.  "  Amor,  se  tua  merce."      "  Jacopo 
Corfini."     f.  130. 

36.  "  Da  questo  novo  Lauro."     "  Fran- 
cesco Soriano."     f.  131b. 

37.  "Verde  (sic)  piaggie."   "Bartolomeo 
Roy."     f.  134b. 

38.  "  Come  il  Lauro  non  perde."    "  Le- 
andro  Mira."     f.  136b. 

39.  "  Soura  le  verdi  chiome."    "Andrea 
Ruotta."     f.  139. 

40.  "  Quanto  felici  s[i]ete."     "  Filippo 
Nicoletti."     f.  141b. 

41.  "Piantagentil."  "  Nicol6Peruue." 
f.  144. 

42.  "Vientene,    Filli."      "Gio.    Piero 
Manenti,  1589."     f.  145b. 

43.  "  Gia  primavera."     "  Gio.  Battista 
Lucatello."     f.  147. 

44.  "  Gioi' al  mondo."  "  Michele  Comis, 
1590."     f.  149b. 

45.  "  Cinto  m'  avea."      "  Andrea   Ga- 
brieli, 1590."     f.  153. 


174 


VOCAL  MUSIC— SECULAR. 


Additional  31413,  ff.  l-7lh passim. 

Paper  ;  18th  cent.  Oblong  quarto.  The  MS.  appears  to  have  been  presented 
by  M[ichael]  Maybrick  to  E.  Taylor  [of  Liverpool?]  in  1840  (see  f.  75).  It  also 
contains  a  Motet  (vol.  i,  p.  326). 

Canzonets,  ballets,  etc.,  in  score,  by  Thomas  Morley.  Said  to  be 
in  the  hand  of  Dr.  John  Alcock,  but  fF.  1-11  appear  to  be  in  a  different 
hand  from  the  rest  of  the  volume. 


1-20.  Canzonets    .    .    .   to   three  voyccs 

...1593.     ff.l-40b. 
21.  "0  sleep,  fond  fancy  "  (a  3).   [From 

A  Plainc  and  Easie  Introduction. . . . 

1597.]     f.  41. 


22.  "Arise,  awake"  (a  5).  [From  The 
Triumphs  of  Oriana.]    "  1601."   f.  48. 

23-42.  [The  First  Booke  of  Ballets,  to 
five  voyces  ....  1595.]  The  last 
number  is  wanting,     fi.  45b-71b. 


The  initial  words  of  all  the  compositions  are  given  in  the  Index. 


Additional  31441,  ff.  79b-96,  98b-100. 
Paper  ;  18th  cent.     Oblong  quarto.     See  also  under  Motets  (vol.-i,  p.  326). 
Madrigals,  etc.,  in  score.     Nos.  3-7  have  a  figured  bass. 


1.  "  Com'ly  swain":  a  "fa-la"  or 
ballet.  "  John  Playford."  [From  The 
Musical  Companion,  1667.]     f.  79b. 

2.  "In  una  siepe  ombrosa "  (a  5). 
"Antonio  Lotti."     f.  81. 

3.  "Gettano  i  Re"  (a  5).  "  Abbat. 
Stefiani."     f.  89. 

4.  "Clori,  sonfido"  (a  5).  "StradeJla." 
f.  92b. 


5.  "  Al  rigor  d'  un  bel  sembiante  "  (a  3) : 
described  as  "  La  Spagnola."  "  Agos- 
tino  Steffani."     f.  98b. 

6.  "Se  gia  t'  amai,  Crudele "  (a  4). 
Anonymous,     f.  101. 

7.  "  Mentre  lunge  ti  hai  da  me": 
described  as  "  canzona  a  4."  "  Bonon- 
cini."     f.  104. 


Additional  31442,  passim. 

Paper;  18th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  326). 

Madrigals  for  4  voices.     In  four  parts  or  volumes  (treble,  alto^ 
tenor,  and  bass). 


1-17.  [Madrigalls  to  Foure  Voyces.... 
by  John  Bennet. . .  .1599.]  The  words 
of  some  of  them  have  been  slightly 
altered.  The  initial  words  are  given 
in  the  Index,  i,  ff.  4-23  ;  ii,  ff.  4-22b ; 
iii,  fi.  4-22;  iv,  ff.4-21. 

18.  "  Dissi  air  amata."  By  L.  Marenzio. 
i,  f.  28;  ii,  iii,  f .  22b  ;  iv,  f .  21b. 

19.  "Appariran  per  me."  By  Orlando 
di  Lasso,  i,  f.  24  ;  ii,  f.  23b  ;  iii,  f.  23  ; 
iv,  f.  22. 

20.  "  Poi  che  '1  mio  largo  pianto."  By 
Pevernage  or  Lasso,  i,  f.  25  ;  ii,  f.  24b  ; 
iii,  f.  24 ;  iv,  f.  22b. 

21.  "  Oh,  che  splendor."  By  Palestrina. 
i,  f .  25b ;  ii,  f.  25  ;  iii,  f .  24b  ;  iv,  f.  23. 


22.  "I  vaghi  fior[i]."  [By  the  same.] 
i,  f.26b;  ii,  f .  26 ;  'iii,  f .  25 ;  iv, 
f.24. 

23.  "Mori  quasi  il  mio  core."  [By 
the  same.]  i,  f .  27b  ;  ii,  f .  27  ;  iii,  f .  26  ; 
iv,  f.  25. 

24.  "Veramente  in  amore."  By  the 
same,    i,  ii,  f.  28  ;  iii,  f.  27  ;  iv,  f.  25b. 

25.  "  Grespi  dorati  crini."  Anonymous, 
i,  ii,  f.  29  ;  iii,  f.  28  ;  iv,  f.  26. 

26.  "Donna,  vi  vidi."  By  G.  M.  Nanino. 
i,  ii,  f.  30;  iii,  f.  28b;  iv,  f .  26b. 

27.  "  Lego  questo  mio  core."  [By  the 
same.]  i,  ii,  f.  30b ;  iii,  f.  29b  ;  iv, 
f.  27b. 

28.  "A  che,  cor  mio,  cercate."    Anony- 


MADRIGALS. 


175 


mous.     i,  f.  31b ;  ii,  f.  31 ;  iii,  f.  30  ; 
iv,  f.  28. 

29.  "  Ecco  mormorar  1'  onde";  with 
second  part,  "  Ecco  gia  1'  alba." 
Anonymous,  i,  ii,  f.  32  ;  iii,  f.  80b  ; 
iv,  f.  28b. 

30.  "  Vede  nel  primo  entrare."  Anony- 
mous,  i,  ii,  f.  33b ;  iii,  f.  32  ;  iv,  f.  29b. 

31.  "  Ardi  e  gela."  Anonymous,  i,  ii, 
f.34b;  iii,  f.  38  ;  iv,  f.  30b. 

82.  "Di  diletto  in  diletto."  Anony- 
mous, i,  f.  35b ;  ii,  f.  35  ;  iii,  f.  34  ; 
iv,  f.  31. 

83.  "Non  siachi  pensi."  Anonymous. 
i,  f .  36b ;  ii,  f .  36  ;  iii,  f.  35  ;  iv,  f .  31b. 

34.  "Nel  mezzo  del  giardin."  Anony- 
mous, i,  f.  37b  ;  ii,  f.  37  ;  iii,  f.  86  ; 
iv,  f.  32b. 

35.  "Baciami,  vita  mia."  By  N.  Faig- 
nent.  i,f.  88b;  ii,  f.  38;  iii,  f.  37b; 
iv,  f .  33b. 

36.  "  Questi  ch'  indizio  fan."  [By  the 
same.]  i,  f .  40 ;  ii,  f .  39b  ;  iii,  f .  88b  ; 
iv,  f.  84b. 

37.  "Ancor  che  col  partire."  Anony- 
mous, i,  f.  41 ;  ii,  f.  40b  ;  iii,  f.  89b  ; 
iv,  f .  35b. 

88.  "  0  graziosa  e  bella."  Anonymous, 
i,  ii,  f.41b;  iii,  f.  40b;  iv,  f.  86b. 

39.  " Morir6,  cor  mio."  "Ferina"  (sc. 
F.  Farina),  i,  ii,  f.  42;  iii,  f .  41 ;  iv, 
f.37. 

40.  "  Ahi,  che  far6."  By  R.  Giovanelli. 
i,  ii,  f.  48  ;  iii,  f.  42  ;  iv,  f.  87b. 

41.  "Prima  che  spunti  il  sol."  By 
Ruffo.    i,  ii,  f.  44;  iii,  f.  43  ;  iv,  f.  38b. 

42.  "Ben  mille  notti."  By  the  same, 
i,  ii,  f.  45  ;  iii,  f.  44  ;  iv,  f.  39. 


48.  "  Con  umil  atto."  By  A.  Pevernage. 
i,  f.  46  ;  ii,  f.  45b  ;  iii,  f.  45  ;  iv,  f.  40. 

44.  "Ardo,  donna,  per  vol."  [By  the 
same.]  i,  ii,  f.  46b ;  iii,  f.  46 ;  iv,. 
f .  40b. 

45.  "  Dolce  mio  foco."  [By  the  same.} 
i,  f.  48  ;  ii,  f.  47b ;  iii,  f,  47  ;  iv,  f.  41b. 

46.  "Chi  salira  per  me."  By  G.  de 
Wert,  i,  ii,  f.  48b;  iii,  f.  47b;  iv, 
f . 42b. 

47.  "Donna  bella  e  gentile."  By  C. 
Verdonck.  i,  -f.  50;  ii,  f.  49b;  iii, 
f.  48b  ;  iv,  f .  43b. 

48.  "  Lasso  che  per  le  piaggie."  Anony- 
mous, i,  f.  51 ;  ii,  f.  50b  ;  iii,  f.  49b ; 
iv,  f.  44. 

49.  "A  che  piu  strali."  Anonymous, 
i,  f.  52b  ;  ii,  f.  51b  ;  iii,  f.  51 ;  iv,  f.  45. 

50.  "  Nuova  leggiadra  stella."  Anony- 
mous, i,  f.  53b ;  ii,  f.  52b  ;  iii,  f.  51b  ; 
iv,  f .  46. 

51.  "  Voi  volete  ch'  io  muoia."  By  P. 
Philips,  i,  f.  54b;  ii,  f.  58b;  iii, 
f.  52b  ;  iv,  f.  46b. 

52.  "Amor,  se  i  bei  rubini "  ;  in  two 
parts.  [By  the  same.]  i,  f.  55b ;  ii, 
f.  54b ;  iii,  f.  54  ;  iv,  f.  47b. 

58.  "Era  presso  a  morire."  Anony- 
mous, i,  f.  57b ;  ii,  f.  56b;  iii,  f.  56; 
iv,  f .  49. 

54.  "Non  vidi  mai."  By  L.  Marenzio. 
i,  f.  58b ;  ii,  f.  57b ;  iii,  f.  57  ;  iv,  f.  50. 

55.  "  Qual  piu  crudel  martire."  Anony- 
mous, i,  f.  59b  ;  ii,  f.  58b  ;  iii,  f.  58  ; 
iv,  f.  51. 

56.  "  Quaudo  dagl'  occhi."  Anony- 
mous, i,  f.  60b  ;  ii,  f .  59b  ;  iii,  f.  59 ; 
iv,  f .  51b. 


Additional  31490,  S.  20-45b. 

Paper ;  18th  cent.    Oblong  quarto.    The  MS.  also  contains  sacred  Songs  (vol.  i, 
p.  444),  Duets  (above,  p.  80),  and  Operas  and  Songs,  described  below. 

Madrigals,  with  a  bass,  generally  figured,  in  score,  by  Barnabei, 
so.  Giuseppe  Ercole  Bernabei.  They  are  nos.  5-15  of  his  Concerto 
Madrigalesco  a  tre  voci  ....  1669.  In  the  hand  of  E.  T.  Wai'ren 
Home. 


1.  "Mar  accorte  (sic)  miei  lumi."  f.  20. 

2.  "Perch' iovadolontano  da  voi."  f.  22. 

3.  "Non  merita  pieta."     f.  24. 

4.  "  Ti  lascio,  anima  mia."     f.  27. 

5.  "  Ardo  tacito  amante."     f .  29b. 

6.  "Ch'  iononv'  ami."     f .  32b. 


7.  "  Spira  dagl'  occhi  suoi."     f.  83b. 

8.  "Tar  hora  intento."     f .  86. 

9.  "Ardo  e  taccio."     f .  38. 

10.  "  Bei  labri."     f.  40b. 

11.  "Oh,  se  poteste  "  ;  with  second  part 
(?),  "  Hor,  se' 1  gelo."     f.42b. 


176 


VOCAL  MUSIC— SECULAR. 


Additional  31506,  flP.  176-1 85b. 

Paper  ;  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

Madrigals  for  5  voices,  in  score,  here  attributed  to  Michelangelo 
Bossi,  but  in  Add.  30835-30837  (above,  p.  136)  to  L.  Marenzio. 

3.  "  Per  non  mi  dir."     f.  180b. 


1.  "  0  prodighi  di  fiamme."     f.  176. 

2.  "  E  cosi  pur  languendo."     f.  178. 


I 


4.  "  Langue  al  vostro  languir."  f.  183b. 


Additional  31529. 

Paper  ;  ff.  102.     18tli  cent.     Oblong  quarto. 

"  DuETTi  per  camera "  ;  with  a  bass  for  harpsichord,  in  score,  by 
Lotti.  They  are  described  as  "  Madrigali "  in  Add.  14178  (above, 
p.  90). 


1.  "  Tirsi,  che  fa'  il  tuo  core."     f.  lb. 

2.  "  N6  che  lungi  da  quel  volto."   f.  10. 

3.  "  Due  cuori  a  me  fan  guerra."   f.  18. 

4.  "  Al  cor  di  donna  amaute."     f.  29. 

5.  "Ben  dovrei,  occhi  leggiadri."    f.  36. 

6.  "  Amor,  se  pur  ti  duol."     f .  44b. 


7.  "  Se  con  stille  frequenti."     f.  55. 

8.  "  V  ho  detto  tante  volte."     f.  65. 

9.  "  Speranze  mie."     f.  73. 

10.  "Niso,  non  posso."     f.  80b. 

11.  "  Voi  che  cercate  amore."     f.  87b. 

12.  "Poss'  iomorir."     f .  95b. 


Additional  34071,  passim. 

Paper;   second   half   of   18th   cent.      Oblong  folio.     See   also   under   Motets 
(vol.  i,  p.  331). 

Chansons  and  Madrigals,  in  score.  The  earlier  ones  are  almost  all 
of  them  taken  from  the  collections  of  Gardane  and  Tylman  Susato 
(1541-1550).  Except  where  the  contrary  is  stated,  they  are  for 
5  voices. 

1.  "  D'amour  me  plains."     "  Mai[tre]  quin  de  pres."     f.  10b. 

Rogier,  1543."      This   and  nos.   2-6  11.  "  Je  ne  S(;ais  pas  comment."    "Nic. 

are  for  4  voices,     f.  4.  Gombert,  1544."     f.  11. 

2.  "  II  estait  une  fiUette."     "Cornelius  12.  "Le  monde  est  tel."     "  Tho»  Cre- 
Canis,  1544."     f.  4b.  quillon,  1545."     f.  12. 

3.  "Par     faulte     d'une."       "  Louuys  13.  "De   retourner,  mon   ami"  (a  6). 
Pieton,  1543."     f.  5.  "  Adrien  Vuillart,  1544."     f.  12b. 

4.  "  Avecque  vous  mon  amour  finera."  14.  "Sans  lever  le  pied."     "Clemens 
"  N.  Payen,  1544."     f .  6.  non  Papa,  1550."     f .  14. 

5.  "Helas,  pourquoi  fais  tu  tant  Ian-   '   15.  "Phillida    mia "    (a    2). 


"  Petrus   Lescornet,    1544." 
"  Philippe  de 


guir. 
f.6b. 

6.  "  Puisqu'ainsi  est. 
Vuildre,  1544."     f.7. 

7.  "Si  vous  n'avez,  Madame."     By  T. 
Crequillon.     "1550."     f.8. 

8.  "  Pour  ung  plaisir  qui  si  pen  dure." 
"  Tylman  Susato,  1544."     f.  9. 

9.  "  Jenemepuistenir."    "Benedictus 
[von  Appenzell  ?],  1544."     f.  9b. 

10.  "Petite  camusette"  (a  6).     "Jos- 


"Jhan 
Gero,  1545."     f.  14b.  " 

16.  "Au  jolison"  (a  2).     By  the  same. 
"1545"  (•?).     f.l5. 

17.  "Ditimi  o  si,  o  no"  (a  4).     "  Xto- 
pher  Morales,  1541."     f .  15b. 

18.  "  Qual'  aniraa  ignorante."     "  Adri- 
ano  W[illaert  ?],  1544."     f.  16b. 

19.  "  En  ce  gracieux  mois."    "Joannes 
Courtois,  1545."     f.  18b. 

20.  "Cherchant  plaisir."      "  Hanache, 
1550."     f.  19. 


MADRIGALS. 


177 


21.  "Adieu,  celle  que  j'ai  servi."  "  [D.] 
Gerardus,  1550."     f.  20. 

22.  "  Arousez  vous."    "  Benedictus  [von   i 
Appenzell?],  1544."     f.  21.  I 

23.  "Endouleur."  ••Noel  Baulduuyn, 
1545."     f.22. 

24.  "Si  je  me  plains."  "Benedictus 
[von  Appenzell  ?],  1545."     f.  22b. 

25.  "En  tons  esbas  "  (a  4).  "  Chrispel 
(sc.  Crespel?),  1549."     f.  23b. 

26.  "Cosi  soau'  il  fuoco"  (a  4).  Im- 
perfect. "Constantio  Festa,  1541." 
f.  27b. 

27.  "Quandoritrovola  miapastorella" 
(a  4).     By  the  same.    "1541."     f.  28.   { 

28.  "Se  mort'  in  me"  (a  4).  By  the 
same,     f .  29b.  j 

29.  "  Adieu,  celle  que  jai  servy."    "Eu-   ' 
[s]tatius  Barbion,  1550."     f.  30. 

30.  ""Contentounon"  (a4).  "Clement 
Morel,  1549."     f.  30b. 


31.  "Plaisir  nay  plus"  (a4).     "  Chris- 
tianus  de  Hollandre,  1549."     f.  31. 

32.  "  Paineme  tourmente  "  (a  6).    "Jo. 
Larchier,  1544."     f.  32. 

33.  "Tii-henamia."    "  Rinaldo  del  Mel, 
1590."     f.  40. 

34.  "  Su  le  fiorite  sponde  "  (a  6).     "  Ti- 
burtio  Massaino,  1601."     f.  41. 

35.  "  Spargan  Flora  e  Giunon "  (a  6). 
"  Ruggiero  Giovanelli,  1591."     f.  42. 

36.  "  Quaud'  apparisti  "  (a  6).     By  the 
same.     "1601."     f .  44. 

37.  "AM,   che   faro"    (a  4).      By   the 
same.     "1591."     f .  45b. 

38.  "Donna,  la  bella  mano."     By  the 
same.     "1596."     f .  46b. 

39.  "  Le  temps  qui  court "  (a  4).     "Jo. 
Richafort,  1545."     f.  50. 

40.  "Tant   ai   souffert."      "Jaques   le 
Roy,  1550."     f.  51. 


Additional  5336,  fF.  19,  23-28. 

Paper ;  late  18th  cent.     Oblong  folio.     See  also  under  sacred  Canons  (vol.  i, 
p.  124). 

Madrigals,  in  score,  nos.  2-4  being  taken  from  Musica  Transalpina, 
1597. 

1.  "How  merrily  we  live"  (a  3).    "Mi-      3.  "  In  flow'r  of  April"  (a  5).    "Alfonso 
chael  Este."     f.  19.  Perabosco."     f.  25b. 


2.  "The  sweet  delightful  Swan"  (a  5). 
By  0.  Vecchi.     f .  23. 


4.  "Shall  I  live  so  far"   (a  6). 
Marenzio."     f.  28. 


Additional  14110,  ff.  43-88. 

Paper;  late  18th  cent.     Oblong  quarto.     See  also  under  Duets  (above,  p.  84), 

Compositions  for  2  voices,  except  the  last,  which  is  for  3  ;  with  a 
bass  (partly  figured),  in  score.  The  name  of  the  composer  is  not  given 
here,  but  as  all  except  no.  5  are  know^n  to  be  by  Giovanni  Carlo  Maria 
Clari,  it  may  fairly  be  presumed  that  that  also  is  by  him. 


1.  "  Fuoco  la  chioma  bionda  "  ;  in  four 
parts,     f .  43. 

2.  "Quando  col  mio"  ;  in  three  paits. 
f .  46b. 

3.  "  Nel  suo  bel  prato  "  ;  in  three  parts. 
f.  49. 

4.  "Lontan  dalla  sua  Fille  "  ;   in  two 
parts,     f.  52b. 

5.  "  Poi  disse  in  brevi."     f.  55b. 

6.  "  Spess'    amor  "  ;    in    three    parts. 
f .  56b. 

7.  "  Al  bosco,  al  prato"  ;  in  four  parts. 
II 


f.59. 

8.  "Clori,  deh,  mira";   in  four  parts. 
f.62. 

9.  "  Gioite  pur  "  ;  in  three  parts,    f.  66. 

10.  "  In  sogno  mi  parea  "  ;  in  four  parts. 
f.69. 

11.  "Ola,  chi  mi  risveglia."     f.73. 

12.  "Amor,  tu  me  1'  hai  fatta."    f.  77b. 

13.  "  Musa,  tu  voi  ch'  io  canti."     f.  81. 

14.  "  Scelerata  fortuna."     f.84b. 

15.  "E  ver  che   Clori  h  bella"  (a  3). 
f.88. 

N 


178 


VOCAL  MUSIC— SECULAR. 


Additional  14208,  ff.  104-107. 

Paper ;  late  18tli  cent.    Oblong  folio.    See  also  below,  under  Operas  (18th  cent.). 

"  Passano  i  giorni  piii  lieti " ;  for  2  voices  with  a  bass,  in  score,  by 
"  P[adre]  Maestro  Martino  da  Bologna,"  sc.  Giovanni  Battista  Martini. 


Additional  31121. 

Paper  ;  ff.  139.   Late  ISth  cent.    Oblong  folio.     Belonged  to  H.  Sikes,  T.  Sikes, 
and  probably  to  James  King  (see  f.  19b). 

Madrigals  by  Luca  Marenzio,  scored  by  Edmund  Thomas  "Warren 
[Horne]  from  early  editions  of  the  parts.  The  dates  given  below  in 
this  and  the  succeeding  MS.  are  those  of  the  earliest  known  publica- 
tion of  the  respective  Madrigals.  With  the  exceptions  indicated  below, 
the  Madrigals  up  to  f.  62b  (inclusive)  are  for  5  voices ;  the  others  are 
for  6  voices. 


1.  "Coppia  di  donn'  altera."  1592. 
f.2. 

2.  "  Bascia  e  ribascia."     1593.     f.  4b. 

3.  "Rivi,fontane."     1589.     f.  6. 

4.  "  Se'  il  pensier  "  (a  8).     1590.     f.  8. 

5.  "Dissial'amata"  (a4).  1587.  f.  13b. 

6.  "  Tirsi  morir  volea  " ;  in  three  parts. 
1580.     f.  15b. 

7.  "  Spuntavan  gia";  in  two  parts. 
1580.     f.  19b. 

8.  "  Mentre  r  aura  spiro  "  ;  in  two  parts. 
1589.     f.  24. 

9.  "Quellauro"  (alO).     1582.     f .  27. 

10.  "  Giunto  a  la  tomba."   1584.  f.  86b. 

11.  "Dolorosimartir"  (sic).  1580.  f .  39. 

12.  "Fair  shepherds' Queen,"  sc.  "Ma- 
donna, sua  merce "  (a  4).  1587. 
f.  42. 

13.  "  Non  al  suo  amante  "  (a  4).  1587. 
f.43. 

14.  "0  my  loving  sweet  heart."  1598. 
f.44b. 

15.  "  Deggio  dunque  partire  " ;  in  three 
parts.     1581.     f.  46b. 

16.  "  Amor,  poi  che  non  vuoli  "  ;  in  two 
parts.     1581.     f.  51. 

17.  "Roseibianche."     1582.     f .  54. 

18.  "  Madonna,  poi  ch' uccider."  1582. 
f.56. 

19.  "Madonna  mia  gentil."  1580. 
f .  57b. 

20.  "Liquids  perl'."     1580.     f .  59b. 

21.  "Che  fa  hogg' il  mio  sole."  1580. 
f.61. 

22.  "  Hor,  pien  d'  altro  desio."  1582. 
f.  62b. 


23.  "Dice  la  mia  bellissima."  1587. 
f .  64b. 

24.  "Qual  vive  Salamandra."  1581  (?). 
f.67. 

25.  "  Posso,  cor  mio,  partire."  1585. 
f . 68b. 

26.  "  Potro  viver."     1581.     f.69b. 

27.  "Ne  fero  sdegno";  in  two  parts. 
1587.     f.  72. 

28.  "Bianchi   cigni "  ;  in  three  parts. 

1583.  f . 76. 

29.  "lo  morirod'amore."  1585.  f.  82b. 

30.  "Parto  da  voi."     1585.     f .  84. 

31.  "  Viuro  dunque  lontano  da  te." 
1591.     f.  85b. 

32.  "  Leggiadre  ninfe."  [1591].  Pre- 
ceded (at  f .  88)  by  a  3-part  arrange- 
ment,    f.  89. 

33.  "  Cantai  gia  lieto";  in  two  parts. 

1584.  f.91. 

34.  "Basti  fin  qui"  (a  10).  1588. 
f.  95b. 

35.  "L'  aura  serena";  in  two  parts. 
1581.     f.  103b. 

36.  "  Ecco,  che  '1  ciel"  ;  in  two  parts. 
1591.     f.  107b. 

37.  "Vaneggio."     1587.     f.  111b. 

38.  "Dinettare";  in  two  parts.  1587. 
f.  113b. 

39.  "Amatemi,benmio."  1591.  f.  117b. 

40.  "Nel  piu  fiorito  Aprile."  1581. 
f.  118b. 

41.  "  0  Dolorosa  sorte."  1581.    f.  120b. 

42.  "Donna,  piu  d' altr'."  1585.  f.  122. 

43.  "Giunf  a  un  bel  fonte."  1591. 
f.  123b. 


MADRIGALS. 


179 


44.  "  Qual  per  ombros'  " ;  in  two  parts. 
1585.     f.  126b. 

45.  "  Nel  dolce  seno  della  bella  Clori "  ; 
in  two  parts.    1591.    f.  129b. 

46.  "  Spiri,    dolce    Favonio";   in   two 


parts.     1591,     f .  133. 
47.  "E  pur  virtu"  (a  4) :  second  part 
of  "Apollo,  s'ancor"  (see  Add.  81122, 
f.  69,  below).     1587.     f .  138. 


Additional  31122. 

Paper ;  fE.  146.     Late  18th  cent.     Oblong  folio.     Bookplate  of  E.  T.  Warren 
Home.     Belonged  afterwards  to  H.  Sikes  and  T.  Sikes. 

Madrigals,  etc.,  by  Luca  Marenzio  :  a  second  collection  in  the  same 
hand.  Unless  the  contrary  is  stated,  they  are  for  6  voices  ;  those  for 
3  voices  are  more  properly  speaking  "  Villanelle." 


1.  "Baci  soavi";  in  five  parts.     1591. 
f.4. 

2 .  "  Leggiadrissima  eterna  primavera ' ' ; 
in  two  parts.     1591.     f.  15b. 

3.  "  Come  in[n]anti  del'  alba"  ;  in  two 
parts.     1581.     f.  19b. 

4.  "  O  quante  volte."     1585.     f .  23b. 

5.  "Mentre    sia   caldo   il  sol."     1581. 
f.25. 

6.  "Strinse  Amarilli."     1581.     f.  27b. 

7.  "  Come  fuogir."     1591.     f.29b. 

8.  "Inun  lucidorio."     1585.     f.  31b. 

9.  "Vaghicapeir."     1584.     f.  83. 

10.  "  Stringeami    Galatea";     in     two 
parts      1585.     f.  36. 

11.  "Cantate,  ninfe."     1581.     f.  38b. 

12.  "  0  che  soave  e  nou  inteso  baccio." 
1587.     f.  40b. 

13.  "  Ben  mi  credetti."     1581.     f.43. 

14.  "  Se  bramate  ch'  io  mora."     1587. 
f . 45b. 

15.  "  Vita    de    la    mia    vita."      1584. 
f.47. 

16.  "Caro    Aminta";    in    two    parts. 
1587.     f.  49. 

17.  "  Vatene,  anima  mia."    1587.    f.  51. 

18.  "Tigremia."     1585.     f.  53. 

19.  "  Tutte  sue  squadre."    1584.  f.55b. 

20.  "  Non    vidi   mai    doppo    notturna 
pioggia"  (a  4).     1585.     f.  58. 

21.  "II  ladro  ch'  a  la  strada"  (a  3). 

1584.  f .  60. 

22.  "  Veggio,   dolce   mio  bene"    (a  4). 

1585.  f.  60b. 

23.  "Veni   {sc.   Tuoni),    lampi "  (a  8). 
1587.     f.  61b. 

24.  "Amor  e   ritornato  "   (a  3).     1585. 
f.62. 

25.  "  0  bella  man' "  (a  4) ;  in  two  parts. 
1585.     f.  62b. 


26.  "  Donna,  da  vostri  sguardi"  (a  3). 
1584.     f . 66. 

27.  "Hor    vedi,    amor"   (a   4).     1585. 
f .  66b. 

28.  "  Se  gia  fatto  pittore  "  (a  3).     1585. 
f . 68b. 

29.  "Apollo,  s'ancor  viv'  "  (a  4).    1585. 
f.69. 

80.  "  Non  e  dolor  "  (a  3).    1584,    f.  70b. 

31.  "SeLe[g]getenelviso"(a3).   1587. 
f.71. 

32.  "  S'  a  veder  voi  non  vengo."     1591. 
f.  71b. 

83.  "Questa    ordi    il    laccio."      1587. 
f .  72b. 

34.  "Ahimi,     tal    fu    amore."      1581. 

35.  "In  un  bel  bosco"  ;  in  two  parts. 

1584.  f . 76. 

36.  "  Passandro  con  pensier  "  ;  in  three 
parts.     1584.     f.  80b. 

37.  "  Pilli  mia  bella."     1584.     f .  85b. 

38.  "Vaghieliete  (sic)  fanciuUi."  1581. 
f . 87b. 

39.  "  Quell' ombra  esser  vorrei."    1585. 
f.89. 

40.  "  Arsi  gran  tempo  "  ;  in  two  parts. 
1587.     f.  90b. 

41.  "  Dono  Cinthia  [a]  Damone."  1585. 
f.95. 

42.  "  Per  duo  coram."     1581.     f .  96. 

43.  "  Piangea  Filli."     1585.     f .  97b. 

44.  "  Danzava  con  maniere  "  ;    in  two 
parts.     1585.     f .  99b. 

45.  "  Dai  bei  labri."     1585.     f .  108b. 

46.  "  Con  dolce  sguardo  "  ;  in  two  parts. 

1585.  f.  105. 

47.  "  Tra  1'  herbe  "  ;  in  two  parts.  1587. 
f .  108b. 

48.  "  Deh,  rinforzate."     1581.    f.  112. 

N    2 


180 


VOCAL  MUSIC— SECULAR. 


49.  "  Cedan  r  antiche  "  ;  in  two  parts. 
1581.     f.  114. 

50.  "  Del  cibo  "  ;  in  two  parts.     1584. 
f.  118. 

51.  "  Fuggi,  speme  mia."  1584.  f.l22b. 

52.  "  Sul'  ampia  fronte  "  ;  in  two  parts. 
1585.    f.  124. 

53.  "  Satiati,  amor."    1584.    f.  127. 

54.  "  Nessun     visse     giamai."      1581. 
f . 129. 

55.  "  Non     porta      ghiaccio."       1587. 
f .  130b. 

56.  "  OccM  sereni."     1581.     f.  132b. 


57.  "  Crudel,  perche  mi  fuggi."     1587. 
f.  134. 

58.  "  lo  vidi  gia."     1584.     f .  135b. 

59.  "  Con  la  sua  man'."    1591.     f.  137. 

60.  "Non  e  questa   la  mauo."      1581. 
f . 138b. 

61.  "  Mentre  sul  far  del  giorno."    1581. 
f .  140b. 

62.  "Al  Euon  de  le  dolcissime  parole." 
1581.     f.  142. 

63.  "  La   dipartita   e    amara."      1587. 
f .  143b. 

64.  "  E  s' io  mi  doglio."    1584.     f.  145. 


Additional  31399,  if.  100,  102. 

Paper;  late  18tb  cent.     Oblong  quarto.     See  also  under  Motets  (vol.  i,  p.  335), 

Compositions   for    4   voices,  with   a   bass,  in   score.     By  Claudio 
Monteverde. 


1.  "Tudormi."     f .  100. 


2.  "Allume  (sc.  Al  lume)  delle  stelle." 
f.  102. 


Additional  31462,  ff.  66b,  67. 

Paper ;  lato  18th  cent.      Large  oblong  octavo.      See  also  under  sacred  Canons 
(vol.  i,  p.  124). 

"  The  Silver  Svva.n,"  by  Orlando  Gibbons.     Tiiird  treble  and  bass 
parts. 

Additional  31538. 

Paper ;  ff.  49.     Late  18th  cent.     Oblong  folio. 

"  Terzetti  " :  3-part    Madrigals  with    a    bass    for    harpsichord,  in 
score,  by  Clari.     See  Add.  15516,  ff.  22b-45  (above,  p.  168). 


1.  "  Piango,  sospiro."     f.  2. 

2.  "  Nel  bel  uolto  di  Clori."     f.  10b. 

3.  "  Riso  deir  idol  mio."     f.  18. 


4.  "  Al  uago  laccio."     f .  24b. 

5.  "  Lasso  Adoro  una  Fera."     f.  32b. 

6.  "  Zeffiretto  gentile."     f.  41. 


Additional  31539,  ff.  9-1 08b. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  under  Duets  (above,  p.  85). 

"  DuETTi  Serij  " ;  with  a  bass  for  harpsichord,  in  score,  by  Clari. 
Unless  the  contrary  is  stated,  they  are  divided  into  three  parts. 


1.  "  Piange  il  ruscello."     f.  2b. 

2.  "  L'    Idolo    mio    si     dolcemente." 
f .  lib. 

3.  "Vago  usignol."     f.  21. 

4.  "  Guerra  vuoi  farmi."     f.  28. 

5.  "  Lungi  dalla  mia  bella."     f.  36b. 
0.  "  Non  ti  sdegnar."     f..46. 


7.  "Gioitepur."     f.54b. 

8.  "  Al  bosco,  al  prato  "  ;  in  four  parts, 
f .  63b. 

9.  "In  sogno  mi  parea  "  ;  in  four  parts. 
f.76. 

10.  "Dov'  e  queir  Usignolo."     f.  88. 

11.  "  VoUe  speranza  ardita."     f.99. 


MADRIGALS. 


181 


Additional  31806, 

Paper  ;  late  18th  cent.     Oblong  folio. 

Madrigals,   etc.,  for  4  voices, 
score. 

1.  "Where   art   thou,  wanton"   (a  3). 
"Morley."     f .  43b. 

2.  "I  wander  up   and   down."     By  J.    [ 
Bennet.     f .  75b. 

8.  "Fair,  sweet,  cruel."     "  Tho'  Ford, 
1636."     f.  99b. 

4.  "Now     Country     sports."      "  Tho' 
Weelks,  1608."     f.  118. 

5.  "How    merrily    we    live"    (a     3). 
"  Mich.  Este,  1600."     f.  125b. 

6.  "Now   is   the   month   of    Maying" 
(a  5).     "  Thos.  Morly."     f .  135b. 


ff.  43b-198b  passim. 

See  also  under  Catches  (above,  p.  81). 
unless   the    contrary   is    stated,  in 

7.  "  Dissi  al  amata  mia."  "Luca  Ma- 
renzio."     f.  137b. 

8.  "Fair  Phillis  I  saw";  here  attri- 
buted to  "Tho»  Morley,  1596,"  but 
really  published  by  J.  Farmer  in 
that  year,  as  his  own  composition, 
f.  141b. 

9.  "When  all  alone"  (a  5).  "  Giro- 
nimo  Converso,  1580."     f.  150b. 

10.  "Let  me  careless"  (a  5).  "  [T.] 
Linley  [sen.]."     f.  191b. 

11.  "  Fa  la  la."     "  I.  Savile."     f.  198b. 


Additional  31808,  fiF.  146b,  166. 
Paper;  late  18th  cent.     Quarto.     See  also  under  Glees  (above,  p.  107). 
Madrigals,  in  score. 


1.  "Return,  return,  my  lovely  Maid" 
(a  4).     Anonymous,     f .  146b. 


2.  "When   all    alone"    (a   5). 
verso."     f.  166. 


Con- 


Additional  31811,  passim. 

Paper  ;  late  18th  cent.     Oblong  folio. 
Madrigals,  for  5  voices  (unless 
1.  "Flow,  0  my  Tears "  (a  4).     "  John 


See  also  under  Catches  (above,  p.  40). 


Bennet,  1598."      Two  copies,     fi.  9b, 
82b. 

2.  "Return,  return,  my  Lovely  Maid" 
(a  4).  "Dr.  Hutchinson"  (sc.  F. 
Hutcheson).     f .  14b. 

3.  "Ev'ry  Bush  new  springing." 
"Mich'  Cavendish,  1598."     f.  21b. 

4.  "Nowcountry  sports"  (a  4).  "Thos. 
Weelks,  1608."     f .  23. 

5.  "Fire,  fire  my  heart."  "Thos. 
Morley,  1595."     f.  26b. 

6.  "Awake,  sweet  love"  (a  4).  "Dr. 
John  Dowland,  1588."  Two  copies, 
ff.  33,  35. 

7.  "So    gracious    is    thy  sweet   self." 


the  contrary  is  stated),  in  score. 

"  Giovanni  Ferretti,  1580."     f.  38. 

8.  "When  Thoralis  delights"  (a  6). 
"  Thos.  Weelkes,  1600."     f.  43b. 

9.  "Now  is  the  month  of  maying." 
"  Thos.  Morley."  Four  copies,  and 
an  additional  soprano  part  with  a 
bass.  ff.  51-58b.  Followed  by  an 
arrangement  for  strings  and  horns 
with  a  figured  bass  for  harpsichord, 
f.  59.     See  also  ff.  101,  103. 

10.  A  composition  in  5  parts,  without 
words.     Anonymous,     f.  166. 

11.  "DuobegrOcchi."  "Gio.  Pizzoni." 
Transcribed  by  W.  Clark  in  1789. 
f.  169. 


Additional  34609,  f.  73b. 

Paper ;  late  18th  cent.     Octavo.     See  also  under  Anthems  (vol.  i,  p.  92). 

"  Rosalind's  Madrigal,"  beginning  "  Love  in  my  bosom  like  a  bee." 
The  music,  of  which  only  10  bars  have  been  written,  is  in  the  hand  of 


182  VOCAL  MUSIC— SECULAR. 

J.  Stafford  Smith,  who  is  no  doubt  also  the  composer.     The  words  are 
by  Thomas  Lodge. 

Additional  31809,  ff.  4b,  39. 

Paper;    18th-19th  cent.      Oblong  folio,  and   small  quarto.      See  also  under 
Glees  (above,  p.  113). 

Madrigals  for  5  voices,  in  score. 

1.  "Flora    now    calleth     forth     each    I   2.  "So   gracious    is    thy   sweet    self." 
Flow'r."     "J.S.Smith."     f.  4b.  |       "  Giovanni  Ferretti,  1580."     f .  39. 

Additional  14178,  ff.  125,  147. 
Paper;  early  19th  cent.     Oblong  quarto.     See  also  under  Duets  (above,  p.  90). 

Madrigals,   with    a    bass    for    harpsichord,   in   score,   by  Antonio 
Lotti. 


1.  "  In  una  siepe  ombrosa  "  (a  5) :  the 
madrigal  plagiarized  by  Buononcini. 
f.  125. 


2.  "  Piange   1'  amante    ucciso  "   (a   4)- 
f.  147. 


Additional  31310,  ff.  41-46. 

Paper;  early  19th  cent.     Oblong  octavo.     See  also  under  Magnificat  (vol.  i, 
p.  208). 

"  Si  soffre  una  tiranna  "  ;  described  as  "  Notturno  a  cinque  Voci," 
in  score,  without  accompaniment,  by  Bonifazio  Asioli. 

Additional  31410. 

Paper  ;  ff .  49.     Early  19th  cent.     Oblong  octavo. 

"Madrigali  a quattro  voci.  Libro  I"  (1-5,  13-15,  19,  22,  and  23), 
by  Luca  Marenzio  [1585],  in  score.  In  the  hand  of  [James]  Bartleman, 
with  a  few  corrections  and  additions  by  Julian  Mai-sball. 

The  initial  words  are  given  in  the  Index. 


o^ 


Additional  31818,  f.  53. 

Paper ;  early  19th  cent.     Oblong  folio.     Given  by  the  transcriber  to  R.  J.  S. 
Stevens  in  1811.     See  also  under  Anthems  (vol.  i,  p.  95). 

"  Spirto  di  Dio  "  :  described  as  "  Madrigale,  per  cantarsi  nel  Bucen- 
tauro  nel  giorno  del  Ascensione " ;  for  4  voices,  in  score,  by  Antonio 
Lotti,  1736.     In  the  hand  of  J.  P.  Street. 

Additional  30016-30021. 

Paper;  ff .  62,  60,  64,  51,  85,  16.     Transcribed  in  1800.     Oblong  folio.     Vol.  iv 
also  contains  part  of  a  Song,  described  below. 

Madrigals  for  3,  4,  5,  and  6  voices,  in  parts,  with  English  words, 
from   collections  published    in  England,     1588-1609.       In  6   volumes. 


MADRIGALS. 


183 


containing  respectively  cantus  i,  cantus  ii,  altus,  tenor  i,  tenor  ii,  and 
bassus.  In  the  hand  of  W.  Clark.  Nos.  1-44  are  for  6  voices, 
nos.  45-116  for  5  voices,  nos.  117-147  for  4  voices,  and  nos.  148-159 
for  3  voices. 


1.  "Stay, Corydon, thou swaine."  "Jn" 
Wilbye,  1609."  i,  f .  3 ;  ii,  iii,  iv,  v, 
vi,  f.  1. 

2.  "If  beauty  be  a  Treasure."  By  T. 
Weelkes.     [1597.]     i,  f.  3 ;   ii,  iii,  iv. 


f.lb;  V,  vi,  f.  1. 
3.  "Lady,   when    I    behold."      By   J. 
Wilbye.    [1598.]     i,  f .  3b ;  ii,  iii,  f .  2  ; 
iv,  V,  vi,  f.  lb. 


Nos.  4-15  are  by  Thomas  Weelkes,  1597  and  1600. 


4.  "  Three  times  a  day."  i,  f.  4;  ii,  iii, 
iv,  f.  3  ;  v,  vi,  f.  2. 

5.  "  My  Phillis  bidds  me  pack  away." 
i,  f.  4  ;  ii,  iii,  iv,  f.  3  ;  v,  f.  2b  ;  vi,  f.  2. 

6.  "  Retire,  my  thoughts."  i,  f.  4b;  ii, 
iv,  f.3b;  iii  (2  copies),  ff.  3b,  5;  vi, 
f.2b. 

7.  "  Say,  deere,  when  will  your  frowning 
leave."    i,  f.5;  ii,  iv,  v,  vi,  f.4;  iii,  f.6. 

8.  "  Those  spots."  i,  f.  5  ;  ii,  iv,  v,  vi, 
f.4;  iii,  f.6. 

9.  "My  tears  do  not  avail."  i,  f .  5b ; 
ii,  iv,  V,  vi,  f.  4b ;  iii,  f .  6b. 

10.  "  Like  two  proude  armies."   i,  f.  5b; 


ii,  iv,  v,  vi,  f.  4b  ;  iii,  f.  6b. 

11.  "  When  Thoralis  delights."  i,  f.  6  ; 
ii,  V,  vi,  f.  5 ;  iii,  f.  7 ;  iv,  f.  5b. 

12.  "What  have  the  Gods";  in  two 
parts,  i,  iv,  f.6;  ii,  vi,  f.  5b;  iii,  f.  8; 
V,  f.  5. 

13.  "Mars  in  a  furie."  i,  iv,  f .  7 ;  ii, 
vi,  f .  6 ;  iii,  f .  9b ;  v,  f.  5b. 

14.  "Thule,  the  period"  ;  in  two  parts, 
i,  f.7;  ii,  f.6;  iii,  f.  10;  iv,  f.7b;  v, 
f .  5b ;  vi,  f .  6b. 

15.  "Noell,  adew."  i,  iv,  f .  8 ;  ii,  vi, 
f.  7  ;  iii,  f.  10b ;  v,  f.  6. 


Nos.  16-28  are  (with  one  exception)  by  John  Wilbye,  1598,  1609. 


16.  "Sweet  Love,  If  thou  wilt  gain." 
i,  f.  8b;  ii,  vi,  f.  7b  ;  iii,  f.  lib  ;  iv, 
f.  9  ;  V,  f.  6b. 

17.  "  When  shall  my  wreched  Life." 
i,  f.  8b;  ii,  vi,  f.  7b  ;  iii,  f.  lib  ;  iv, 
f.  9  ;  v,  f.  6b. 

18.  "  Of  Joyes  and  pleasing  pains"  ;  in 
two  parts,  i,  iv,  f.  9b  ;  ii,  f.  8b  ;  iii, 
f.  12  ;  V,  f.  6b  ;  vi,  f.  8. 

19.  "Cruell,  behold."  i,  f.  10b  ;  ii,  iv, 
f.  10  ;  iii,  f.  13  ;  v,  f.  7  ;  vi,  f.  9. 

20.  "  Thou  art  but  yong."  i,  f.  11 ;  ii, 
iv,  f.lO;  iii,  f.  13b,  14b;  v,  f.7;  vi,  f.9. 

21.  "  Why  dost  thou  shoot."  i,  f.  11 ; 
ii,  iv,  f.lOb;  iii,  f.  13b ;  v,  f.7b;  vi, 
f.9b. 

22.  "0  wretched  man."  i,  f .  lib ;  ii, 
iv,  f.  10b  ;  iii,  f .  15  ;  v,  f .  7b ;  vi,  f.  9b. 


23.  "Where  most  my  thought";  in 
two  parts,  i,  f.  lib  ;  ii,  f.  10b  ;  iii, 
f .  15  ;  iv,  f.  11 ;  v,  f.  8  ;  vi,  f .  9b. 

24.  "Ah,  cannot  sighs."  i,  f.  12  ;  ii, 
f.  11 ;  iii,  f.  15b  ;  iv,  f.  lib  ;  v,  f.  8b  ; 
vi,  f.  10. 

25.  "A  Sparrow  Hauke."  "Weelkes, 
1600."  i,  f.  12b  ;  ii,  iv,  f.  lib  ;  iii, 
f.  16  ;  V,  f.  8b  ;  vi,  f .  10b. 

26.  "  Draw  on,  sweet  Night."  i,  f.  12b  ; 
ii,  f .  lib  ;  iii,  f .  16b  ;  iv,  f.  12  ;  v,  f,  9  ; 
vi,  f .  10b. 

27.  "  Softly,  O  softly  drop,  my  eyes." 
i,  f.  13  ;  ii,  f.  12  ;  iii,  f.  17  ;  iv,  f.  12b  ; 
v,  f.  9  ;  vi,  f.  11. 

28.  "Long  have  I  made."  i,  f .  13b ; 
ii,  f.  12b  ;  iii,  f.  17  ;  iv,  f.  13  ;  v,  f.  9b  ; 
vi,  f.  11. 


Nos.  29-36  are  from  Nicholas  Yonge's  Musica  Transalpina,  book  i, 
1588. 


29.  "I  will  goe  dye"  (lo  moriro). 
"  Luca  Marenzio."  i,  f.  14  ;  ii,  f.  13  ; 
iii,  f.  17b;  iv,  f.l3b;  v,  f.lO;  vi,  f.llb. 

30.  "These  that  bee  certains  signes  " 


(Questi  ch'  inditio).     "  Alfonso  Fera- 
bosco."     i,  f.  14  ;  ii,  f.  13  ;  iii,  f.  17b  ; 
iv,  f .  13b  ;  V,  f.  10  ;  vi,  f .  lib. 
31.  "So  farre  from  my  delight"   (Se 


184 


VOCAL  MUSIC— SECULAR. 


lungi  dal  mio  sol) ;  in  two  parts.  By 
the  same,  i,  f.  5  ;  ii,  f.  13b;  iii,  f.  18; 
iv,  f .  14  ;  V,  f .  10b ;  vi,  f.  12. 

32.  "  Loe,  heere  my  hart  "  (Ecco,  ch'  io 
lasso).  Anonymous,  i,  f.  15b;  ii,  f.  14; 
iii,  f .  18b ;  iv,  f .  14b ;  v,  f .  11 :  vi,  f .  12b. 

33.  "  Now  must  I  part "  (Parto  da  voi). 
"Luca  Marenzio."  i,  f.  15b;  ii,  f.  14b; 
iii,  f.  19  ;  iv,  f.  15  ;  v,  f.  11 ;  vi,  f.  12b. 

34.  "Zex^hirus  brings"  (Zephiro  torna); 
in  two  parts.    "  Gironimo  Conversi." 


i,  f.  16  ;  ii,  f.  14b  ;  iii,  f .  19  ;  iv,  f.  15  ; 
V,  f.  lib;  vi,  f.l3. 

35.  "I  was  full  neare  my  fall"  (Fui 
vicin' al  cader)  ;  in  two  parts.  "Al- 
fonso Ferabosco."  i,  f.  16b  ;  ii,  iv, 
f.  15b  ;  iii,  f.  19b  ;  v,  f.  12  ;  vi,  f.  13b. 

36.  "  I  soung  sometime  "  (Cantai  gia)  ; 
in  two  parts.  "  Luca  Marenzio."  i, 
f .  17  ;  ii,  f .  15b  ;  iii,  f .  20 ;  iv,  f .  16 ;  v, 
f.  12b  ;  vi,  f.  14. 


Nos.  37-44  are  from  Yonge's  Musica  Transalpina,  book  ii,  1597. 


37.  "  Love,  quench  this  heat."  "Bene- 
detto Palavacino."  i,  f .  17b  ;  ii,  f.  16 ; 
iii,  f.20b;  iv,  f.l6b;  v,  f.l3;  vi,  f.l4. 

38.  "Cruell,  why  dost  thou  fly  mee." 
By  the  same,  i,  f.  18  ;  ii,  iv,  f.  16b  ; 
iii,  f.21;  v,  f .  13  ;  vi,  f.  14b. 

39.  "0  Gracious  and  worthiest."  "Gio- 
vanni Croce."  i,  f.  18b  ;  ii,  iv,  f.  17  ; 
iii,  f.  21b  :  v,  f .  13b  ;  vi,  f .  14b. 

40.  "Shall  I  live  so  farre."  "Luca 
Marenzio."  i,  f .  18b  ;  ii,  iv,  f .  17b  ; 
iii,  f.  21b  ;  v,  f.  13b  ;  vi,  f.  15. 


41.  "So  saith  my  faire  "  (Dice  la  mia 
bellissima).  By  the  same,  i,  f .  19  ; 
ii,  iv,  f .  17b ;  iii,  f .  22 ;  v,  f .  14 ;  vi,  f .  15. 

42.  "  For  griefe  I  dye."  "  Andrea  Feli- 
ciane."  i,  f.  19b ;  ii,  iv,  f .  18 ;  iii,  f.  22 ;. 
V,  f.  14  ;  vi,  f .  15b. 

43.  ' '  Daintie,  white  pearle."  ' '  Antonio 
Bicci."  i,  f.  19b;  ii,  iv,  f.  18  ;  iii, 
f .  22b  ;  V,  f .  14b  ;  vi,  f .  15b. 

44.  "Hard  by  a  cristall  fountaine." 
"Giovanni  Croce."  i,  f .  20  ;  ii,  iv, 
f.  18b ;  iii,  f.  22b ;  v,  f.  14b ;  vi,  f.  15b. 


Nos.  45-58  are  by  Thomas  Weelkes,  1597  and  1600. 


45.  "  Your  Beauty  it  allureth."  i,  f.20; 
ii,  iv,  f.  18b  ;  iii,  f.  23  ;  v,  f.  15. 

46.  "If  thy  deceitful  lo[o]kes."  i,f.20b; 
ii,  iv,  f.  19  ;  iii,  f.  23  ;  v,  f.  15. 

47.  "Those  sweet,  delightful  Lillies." 
i,  f.20b;  ii,  iv,  f.  19  ;  iii,  f.  23b  ;  v, 
f . 15b. 

48.  "Lady,  your  spotless  feature."  i, 
f.  21 ;  ii,  iv,  f.  19b ;  iii,  f.  23b ;  v,  f.  15b. 


V,  f.  16b. 

53.  "Take  heere  my  hart."  i,  f .  22  ; 
ii,  iv,  f.  20b  ;  iii,  f.  25  ;  v,  f.  16b. 

54.  "  O  care,  thou  wilt  dispatch  mee  "  ; 
in  two  parts,  i,  f.  22b  ;  ii,  iv,  f.  21 ; 
iii,  f.  25  ;  v,  f.  16b. 

55.  "  See,  where  the  maides  are  sing- 
ing." i,  f.  23  ;  ii,  f .  21b  ;  iii,  f.  25b  ; 
iv,  f .  21 ;  V,  f .  17. 


49.  "  Make  hast,  yee  Lovers."     i,  f.  21;       56.  "  Why  are  you  Ladies  staying  "  ;  in 


ii,  iv,  f .  19b  ;  iii,  f.  24  ;  v,  f.  15b. 

50.  "What  hast,  faire  Lady."    i,  f.  21b  ; 
ii,  iv,  f .  20  ;  iii,  f .  24  ;  v,  f .  16. 

51.  "Cold   winter's  ice."     i,  f .  22  ;    ii, 
f.  20b  ;  iii,  f .  24b  ;  iv,  f .  20  ;  v,  f .  16b. 

52.  "Now  let  us  make  a  merry  greet- 
ing."   i,  f .  22  ;  ii,  iv,  f.  20b  ;  iii,  f.  24b  ; 


two  parts,     i,  f.  23  ;  ii,  iv,  f.  21b  ;  iii, 
f . 26  ;  V,  f .  17b. 

57.  "Lady,  the   Birds."     i,  f.  23b  ;   ii, 
iv,  f .  22  ;  iii,  f .  26  ;  v,  f .  17b. 

58.  "As   wanton   birds."      i,  f.  24 ;    ii, 
iv,  f .  22  ;  iii,  f.  26b  ;  v,  f.  18. 


Nos.  59-74  are  by  Johu  Wilbye,  1598  and  1609. 


59.  "  Dye,  haplesse  man."  i,  f.  '24  ;  ii, 
iv,  f.  22b  ;  iii,  f .  27  ;  v,  f .  18. 

60.  "I  fall, I  fall ;  0  stay  me "  ;  in  two 
parts,  i,  f.24b;  ii,  iv,  f.23;  iii,  f.27; 
V,  f.  18b. 

61.  "I  alwayes  beg"  ;  in  two  parts,  i, 
f.25;  ii,  iv,  f.23b;  iii,  f.  27b;  v,  f.l8b. 


62.  "  Lady,  your  words."  i,  f .  25b  ;  ii, 
f .  24  ;  iii,  f.  28  ;  iv,  f.  23b  ;  v,  f.  19, 

63.  "Alas,  what  a  wretched  Life."  i, 
f.25b;  ii,iv,  f.  24;  iii,  f.  28b;  v,  f.l9b. 

64.  "  Unkinde,  0  stay  thy  flying."  i, 
f.  26  ;  ii,  f.  24b  ;  iii,  f.  28b  ;  iv,  f.  24  ; 
V,  f .  20, 


MADRIGALS. 


185 


65.  "I  soung  sometimes  my  thoughts." 
i,  f.26;  ii,  iv,  f.24b;  iii,  f.29;  v,  f.20. 

66.  "Flora  gave  me  fayrest  flowers." 
i,  f.26b;  ii,  iv,  f .  25 ;  iii,  f.29;  v, 
f.  20b. 

67.  "Sweet,  hony-sucking  Bees";  in 
two  parts,  i,  f.  27  ;  ii,  f.  2&b  ;  iii, 
f .  29b  ;  iv,  f .  25  ;  v,  f .  20b. 

68.  "  All  pleasure  is  of  this  condition." 
i,  f.27b;  ii,  iv,  f.26;  iii,  f. 30;  v,  f.21. 

69.  "Oft  have  I  vow'd."  i,  f .  27b  ;  ii, 
f.  26b  ;  iii,  f.  30b  ;  iv,  f.  26  ;  v,  f.  21. 


70.  "Down  in  a  valley  "  ;  in  two  parts. 
i,  f.  28;  ii,  iv,  f .  26b  ;  iii,  f .  31 ;  v, 
f . 21b. 

71.  "  Weepe,  weepe,  mine  eyes."  i,  f.29; 
ii,  f.  27b  ;  iii,  f.  81b ;  iv,  f.  27  ;  v,  f.  22. 

72.  " There,  where  I  saw."  i,  f.29;  ii, 
iv,  f.  27b  ;  iii,  f .  82  ;  v,  f .  22b. 

73.  "Yee  that  doe  live  in  pleasures' 
plenty."  i,  f .  29b  ;  ii,  iv,  f .  28  ;  iii, 
f . 32b  ;  V,  f .  22b. 

74.  "A  Silly  Silvan."  i,  f.  30 ;  ii,  iv, 
f.  28b  ;  iii,  f.  32b  ;  v,  f .  23. 


Nos.  75-101  are  from  Miisica  Transalpina,  book  i. 


75.  "  From  what  part "  (In  qual  parte) ; 
in  two  parts.  "  Fillippo  di  Monte." 
i,  f.  30 ;  ii,  iv,  f.  28b  ;  iii,  f.  33  ;  v,  f.  23. 

76.  "  In  every  place  "  (Ogni  luogo).  By 
Palestrina.  i,  f.  30b;  ii,  iv,  f .  29  ;  iii, 
f .  33b ;  V, f .  23b. 

77.  "Thirsis  to  die  desired"  (Tirsi 
morir  volea) ;  in  three  parts.  "Luca 
Marenzio."  i,  f.  31 ;  ii,  iv,  f.  29b ;  iii, 
f.  .34  ;  V,  f .  23b. 

78.  "  Susanna  faire  sometime  of  love  " 
(Susann'  un  jour).  "Orlando  di 
Lasso."  i,  f.  31b;  ii,  f.30;  iii,  f.  34b; 
iv,  f .  29b  ;  v,  f .  24. 

79.  Another  setting.  "Alfonso  Fera- 
bosco."  i,  f.  31b ;  ii,  iv,  f.  30 ;  iii, 
f .  84b  ;  V,  f.  24b. 

80.  "  When  shall  I  cease  "  (Chi  per  voi 
non).  "Noo  Faignient."  i,  f.  32; 
ii,  iv,  f .  80b ;  iii,  f.  35  ;  v,  f.  24b. 

81.  "I  must  depart"  (lo  partiro). 
"Luca  Marenzio."  i,  f.  32b;  ii,  f.  31 ; 
iii,  f.  35b ;  iv,  f .  80b ;  v,  f .  25. 

82.  "I  saw  my  lady  weeping"  (Vidi 
pianger) ;  in  two  parts.  "Alfonso 
Ferabosco."  i,  f.32b;  ii,  iv,  f .  31 ; 
iii,  f.  85b ;  v,  f.  25. 

83.  "  So  gratious  is  thy  sweet  selfe  " 
(Sei  tanto  gratiosa).  "  Giovan  Fer- 
retti."  i,  f.33;  ii,  f .  32  ;  iii,  f .  36b  ; 
iv,  f .  31b ;  V,  f .  25b. 

84.  "  Cruell,  unkind "  (Donna  crudel). 
By  the  same,  i,  f.  38b ;  ii,  iv,  f.  .32  ; 
iii,  f.  36b ;  v,  f.  26. 

85.  "What  do'th  my  pretie  dearling  " 
(Che  fa  hogg'  il  mio  sole).  "Luca 
Marenzio."  i,  f.  38b;  ii,  f .  32b  ;  iii, 
f .  36b ;  iv,  f.  32  ;  v,  f .  26. 

86.  "  Sleepe,  sleepe,  mine  only  Juell  " 
(Sonno,    scendesti) ;    in    two    parts. 


"  Stefano  Felis."      i,  f.  84  ;  ii,  f.  32b ; 
iii,  f.  37;  iv,  f .  32  ;  v,  f.  26b. 

87.  "Sound  out,  my  voice"  (Vestiu' i 
colli).  "GianettoPalestina."  i,  f.34b;. 
ii,  f.  33  ;  iii,  f .  37b  ;  iv,  f .  82b ;  v,  f.  26b. 

88.  "Liquid  and  watry  pearles"  (Li- 
quide  perle).  "  Luca  Marenzio."  i, 
f.84b;  ii,  f .  33b  ;  iii,  f .  38  ;  iv,  f.33; 
v,  f .  27. 

89.  "  The  Nightingale  so  pleasant "  (Le 
Rossignol).  "Orlando  di  Lasso." 
i,  f.  35  ;  ii,  f .  33b ;  iii,  f .  38  ;  iv,  f.  33  ; 
V,  f.  27. 

90.  "Within  a  greenwood"  (In  un 
boschetto).  "Giovan  Ferretti."  i, 
f.  35;  ii,  f.34;  iii,  f.  38b;  iv,  f.  33b; 
V,  f .  27b. 

91.  "Sometime,  when  hope"  (Gia  fu 
ch'io).  "RinaldodelMelle."  i,  f.35b; 
ii,  f .  34b  ;  iii,  f.  88b ;  iv,  f .  34  ;  v,  f .  27b. 

92.  "Rubyes  and  Pearles"  (Perle,  ru- 
bini).  "Alfonso  Ferabosco."  i,  f.  36  ; 
ii,  f.34b;  iii,  f.  89;  iv,  f .  34  ;  v,  f.27b. 

93.  ' '  0  sweet  kiss ' '  (0  dolcissimo  bascio) . 
By  the  same,  i,  f.  36;  ii,  f .  35 ;  iii, 
f .  39b  ;  iv,  f .  34b ;  v,  f .  28. 

94.  "  Sometime  my  hope"  (Gia  fu  mio 
dolcespeme).  By  the  same,  i,  f.  36b  ; 
ii,  f.35b;  iii,  f.  89b;  iv,f.84b;  v,f.28. 

95.  "Lady,  that  hand"  (Donna,  la  bella 
mano).  "  Lelio  Bertani."  i,  f.37; 
ii,  f .  85b  ;  iii,  f .  40  ;  iv,  f .  85  ;  v,  f .  28b. 

96.  "My  hart,  alas"  (Alma  guidotta). 
"  Gironimo  Conversi."  i,  f .  87  ;  ii, 
f.  36 ;  iii,  f.  40b  ;  iv,  f.  35b  ;  v,  f .  28b. 

97.  "  Lady,   if    you    so    spight    mee  " 
(Donna,  se  voi  m'  odiate).     "  Alfonso  ■ 
Ferabosco."     i,  f.  37b  ;  ii,  f.  36b;  iii, 
f .  41 ;  iv,  f .  35b ;  v,  f .  29. 

98.  "When    I   would  thee    embrace" 


186 


VOCAL  MUSIC— SECULAR. 


(Quand'  io  voleua) .  ' '  Giovan  Battista 
Pinello."  i,  f.  38;  ii,  f.36b;  iii,  f.41; 
iv,  f .  36  ;  V,  f .  29b. 

99.  "Thirsis  enjoy'd"  (Godea  Tirsi). 
"Alfonso  Ferabosco."  i,  f.  38b;  ii, 
f .  87 ;  iii,  f.  42 ;  iv,  f.  36b ;  v,  f .  29b. 

100.  "The    Nightingale   so   pleasant" 


(Le  Rossignol).  By  the  same,  i,  f.  38b ; 
ii,f.37b;  iii,  f.  42b;  iv,  f.  36b;  v,  f.30. 
101.  "The  fairs  young  Virgin"  (La 
verginella) ;  in  tv70  parts.  "William 
Byrd."  i,  f .  39  ;  ii,  f.38;  iii,  f .  43  ; 
iv,  f .  37  ;  V,  f.  30b. 


Nos.  102-116  are  from  Miisica  Transaljjina,  book  ii,  1597. 


102.  "The  white  delightful  swan." 
"  Horatio  Vecchi."  i,  f.40;  ii,f.38b; 
iii,  f.  43b  ;  iv,  f.  38  ;  v,  f .  31. 

103.  "Zephirus  brings  the  time."  "Al- 
fonso Ferabosco."  i,  f.  40 ;  ii,  f.  39 ; 
iii,  f.  44;  iv,  f.  38b  ;  v,  f .  31b. 

104.  "So  farre,  deere  Life."  "  Giulio 
Eremita."  i,  f.40b;  ii,  f .  39b ;  iii, 
f.44b;  iv,  f .  39  ;  v,  f.  31b. 

105.  "  Cinthia,  thy  song."  "Giovanne 
Croce."  i,  f.40b;  ii,  f.  39b;  iii,  f.  44b; 
iv,  f .  39  ;  V,  f .  32. 

106.  "Fly,  if  thou  wilt."  "Giulio 
Eremita."  i,  f.41;  ii,  f.40;  iii,  f. 45; 
iv,  f .  39b  ;  v,  f .  32. 

107.  "At  sound  of  hir  sweet  voice." 
"Lucretio  Quintiani."  i,  f.  41b;  ii, 
f.  40b ;  iii,  f.  45b  ;  iv,  f.  39b ;  v,  f.  32b. 

108.  "Browne  is  my  love."  "Alfonso 
Ferabosco."  i,  f.  41b  ;  ii,  f.  40b ;  iii, 
f .  45b  ;  iv,  f . 40 ;  v,  f .  32b. 

109.  "The  Wine  that  I  so  dearly  got." 
By  the  same,     i,  f.  42  ;  ii,  f .  41 ;  iii. 


f .  46  ;  iv,  f .  40b  ;  v,  f .  33. 

110.  "  Dolorous,  morneful  cares." 
"  Luca  Marenzio."  i,  f .  42b  ;  ii, 
f .  41b ;  iii,  f.  46b ;  iv,  f .  40b ;  v,  f .  33b. 

111.  "In  flowre  of  Aprill."  "Alfonso 
Ferabosco."  i,  f.  43;  ii,  f .  41b  ;  iii, 
f .  46b ;  iv,  f.  41 ;  v,  f .  33b. 

112.  "Hills  and  woods."  "Lucretio 
Quintiani."  i,  f.  43  ;  ii,  f.  42  ;  iii, 
f.47;  iv,  f.41b;  v,  f.  34. 

113.  "Lady,  my  flame"  ;  in  two  parts. 
"Alfonso  Ferabosco."  i,  f .  43b  ;  ii, 
f .  42b ;  iii,  f .  47b  ;  iv,  f .  41b  ;  v,  f .  34. 

114.  "Sweet  sparkle."  "  Gio.  Maria 
Nanino."  i,  f.44b;  ii,  f.43;  iii,  f.  48; 
iv,  f .  42  ;  V,  f .  34b. 

115.  " Now  springs  each  plant."  "Lu- 
cretio Quintiani."  i,  f .  44b  ;  ii,  f.  43b ; 
iii,  f.  48b  ;  iv,  f.  42b  ;  v,  f.  35. 

116.  "Sweet  eyes."  "  Ste.  Venturi." 
i,  f.  45 ;  ii,  f.  43b  ;  iii,  f.  48b ;  iv,  f.  43  ; 
v,  f.  35. 


Nos.  117-122  are  by  Thomas  Weelkes,  1597. 


117.  "Now   ev'rie   tree."      i,  f .  45 ;  ii, 
f.44;  iii,  f.  49;  iv,  f.43b. 

118.  "Yong  Cupid."  i,f.45b;  ii,  f.44b; 
iii,  f.49b;  iv,  f.43b. 

119.  "  Aye    mee,   my   wonted   Joyes." 
i,  f .  46 ;  ii,  f .  44b  ;  iii,  f .  49b ;  iv,  f .  44. 


120.  "  Three  Virgin  Nimphes."    i,  f.  46  ; 
ii,  f.  45  ;  iii,  f.  50  ;  iv,  f.  44. 

121.  "  Our  country  Swains."     i,  f.  46b  ; 
ii,  f.  45b;  iii,  f.  50b;  iv,  f.  44b. 

122.  "Loe,   country  sports."     i,  f.47; 
ii,  f.  45b ;  iii,  f .  50b ;  iv,  f.  45. 


Nos.  123-127  are  by  John  Wilbye,  1598. 

123.  "  What  needeth  all  this  travayle  "  ;   I       ii,  f.  46b ;  iii,  f .  51b  ;  iv,  f .  45b. 

in  two  parts,     i,  f.  47b;  ii,  f.  46;  iii,   i    126.  "  Thus  saith  my  Cloris."    i,  f.  48b; 
f.  51 ;  iv,  f.  45.  I        ii,  f.  47  ;  iii,  f.  52  ;  iv,  f.  46. 


124.  "Alas,  what   hope."      i,   f.  48 ;  ii, 
f.46b;  iii,  f .  51b  ;  iv,  f .  45b. 

125.  "Lady,  when  I  behold."     i,  f.48; 


127.  "Adew,  sweet  Amarillis."  i,f.  48b; 
ii,  f.47b;  iii,  f .  52b  ;  iv,  f.46. 


No.s.  128-135  are  by  the  same,  1609. 


128.  "When   Cloris   heard."      i,  f.49; 
ii,  f .  47b ;  iii,  f .  52b ;  iv,  f .  46b. 

129.  "Happy    streams."      i,    f.49;    ii. 


f.  48  ;  iii,  f.  53 ;  iv,  f.  46b. 
130,  "  Change  me,  0  heavens."  i,f.49b; 
ii,  f.  48b  ;  iii,  f.  53b  ;  iv,  f.  47. 


MADRIGALS. 


187 


131.  "  Love  not  me  for  comely  grace."  iii,  f.  54b ;  iv,  f.  48. 

i,  f.50;  ii,  f.48b;  iii,  f.  53b;  iv,  f.  47b.   !    134.  "  As  matchlesse  beauty."     i,  f.  51 ; 


132.  "  Flye  not  so  swift."     i,  f.  50b  ;  ii, 
f.  49 ;  iii,  f.  54  ;  iv,  f.  47b. 

133.  "  I  Love,  alas."  i,  f.  50b  ;  ii,  f.  49b  ; 


ii,  f .  50 ;  iii,  f.  55  ;  iv,  f.  48. 
135.  "  Happy,  Oh  happy  he."    i,  f.  51b ; 
ii,  f.  50  ;  iii,  f.  55  ;  iv,  f.  48b. 


Nos.  136—147  are  from  Musica  Transalpina,  book  i,  1588. 


136.  "  These  that  be  certaine  signes  " 
(Questich'inditio).  "NoeFaignient." 
i,  f.52;  ii,  f.50b;  iii,  f.  55b;  iv,  f.48b. 

137.  "The  faire  Diana"  (Non  piu, 
Diana).  "  Giovan.  di  Macque."  i, 
f.52;  ii,  f.  51 ;  iii,  f .  56  ;  iv,  f .  49. 

138.  "  Joy  so  delights  my  heart  "  (Gioia 
s'  abond').  "  G.  P.  A.  Prenestino." 
i,  f.  52b ;  ii,  f.  51 ;  iii,  f.  56  ;  iv,  f.  49. 

139.  "False  Love"  (Amor  ben  puoi). 
By  the  same,  i,  f.  52b  ;  ii,  f.  51b ;  iii, 
f .  56b  ;  iv,  f.  49b. 

140.  "  0  Griefe  "  (Dolor,  se  '1  mio  dolor). 
«  Baldessar  Donato."  i,  f.  53  ;  ii,  f.  52  ; 
iii,  f .  57  ;  iv,  f .  50. 

141.  "As  in  the  night"  (Come  la  notte). 
By  the  same,  i,  f.  53b ;  ii,  f.  52  ;  iii, 
f .  57  ;  iv,  f .  50. 

142.  "  In  vayne  he  seekes  "  (Per  divina 
bellezza).     "Fillippo  de  Monte."     i, 


f.53b;  ii,f.52b;  iii,  f.  57b;  iv,  f.  50b. 

143.  "  What  meaneth  love  "  (Perche  s' 
annida  amore).  "  G.  P.  A.  Prenes- 
tino." i,f.  54;  ii,  f.  53;  iii,  f.  58;  iv, 
f .  50b. 

144.  "  Sweet  love,  when  hope  "  (Amor, 
quando  fioriua).  "  Gio.  Petraloysio 
Prenestino."  i,  f .  54  ;  ii,  f.  53  ;  iii, 
f.58;  iv,  f.  51. 

145.  "Lady,  that  hand"  (Donna,  la 
bella  mano).  "  ]\Iarc'  Antonio  Porde- 
uone."  i,f.  54b;  ii,  f .  53b  ;  iii,  f.  58b; 
iv,  f.  51. 

146.  "Who  will  ascend"  (Chi  salira). 
"  Giaches  de  Vuert."  i,  f.  55  ;  ii, 
f.  53b  ;  iii,  f.  58b  ;  iv,  f.  51b. 

147.  "  Lady,  your  looke  "  (Donna,  bella 
e  gentile).  "  Cornelio  Verdonck." 
i,  f.  55  ;  ii,  f.  54 ;  iii,  f.  59 ;  iv,  f.  51b. 


Nos.  148-151  ai-e  by  Thomas  Weelkes,  1597, 


148.  "  Sit  downe  and  sing."     i,  f.  55b  ; 
ii,  f.  54b  ;  iii,  f.  59b. 

149.  "  My  fiockes  feed  not "  ;  in  three 
parts,     i,  f.  56  ;  ii,  f.  55;  iii,  f.  59b. 


150.  "A   Country   faire."      i,  f.57;   ii, 
f.  56  ;  iii,  f.  61. 

151.  "Cease,  sorrowes,  now."    i,  f.  57b; 
ii,  f.  56b  ;  iii,  f.  61. 


Nos.  151-159  are  by  John  Wilbye,  1609. 


152.  "  Come,   shepherd    swaynes."      i, 
f.58;  ii,  f.57;  iii,  f.  61b. 

153.  "Flourish,  ye  Hillockes."  i,f.  58b; 
ii,  f.57b;  iii,  f.62. 

154.  "Ah,  cruell  Amarillis."     i,f.58b; 
ii,  f.  57b;  iii,  f .  62b. 

155.  "So   light   is   love."     i,  f.  59;   ii, 
f .  58  ;  iii,  f.  62b. 


156.  "  As   faire   as   morne."     i,  f.  59b ; 
ii,  f.58b;  iii,  f.63. 

157.  "0,  What  shall  I  doe."     i,  f.60; 
ii,  f.  59  ;  iii,  f.  63b. 

158.  "I  Live  and  yet."      i,  f.60b;  ii, 
f.59b;  iii,  f.63b. 

159.  "  There  is  a  Jewell."    i,  f.  60b ;  ii, 
f.  59b ;  iii,  f.  64. 


Additional  31715,  ff.  46,  55. 

Paper;  a.d.  1802,  1805.     Oblong  folio.     See  also  under  Glees  (above,  p.  111). 
Madrigals,  in  score,  by  William  Linley.     Autograph. 


1.  "  Let  us  dance,  let  us  sing."    "1802."       2.  "  Prithee,  youth,  I  prithee,  hear  me." 
f.46.  I        "1805."     f.  55. 


188  VOCAL  MUSIC— SECULAR. 

Additional  14342,  f.  64. 

Paper;  A. D.  1812.     Oblong  folio.     See  also  under  Masses  (vol.  i,  p.  234). 

"  O  SING  unto  mie  Roundelay  "  ;  for  5  voices,  in  score,  by  S[amuel] 
W[esley],  1812.     Autograph,.     The  words  are  by  Chatterton. 

Additional  31716,  f.  6. 

Paper;  a.d.  1812.     Oblong  folio.     See  also  under  Glees  (above,  p.  116). 

"  Ah  me  (quoth  Venus)  "  ;  for  5  voices,  in  score,  by  William  Linley. 
Autograph. 

Additional  31723,  ff.  1-5. 

Paper;    about    1812   (date   of    publication).      Small   folio.      See   also   under 
Oratorios  (vol.  i,  p.  377). 

"  When  charming  Chloe" ;  for  6  voices,  in  score,  by  Samuel  Webbe 
[sen.  (?)],  who  has  signed  it  at  the  end. 

Additional  34610,  ff.  31-34,  37-40  passim. 

Paper;  a.d.  1812.     Quarto.     See  also  under  Autbems  (vol.  i,  p.  93). 

Madrigal,  "  For  of  al  creatures  that  ever  were  gote" ;  for  4  voices, 
in  score,  by  Matthew  Cooke,  organist  of  St.  George's,  Bloomsbury. 
Autograph.  The  words  are  taken  from  Chaucer's  "A  Praise  of  Women." 
On  ff.  37,  3S,  39  and  40  are  the  single  voice  parts. 

Additional  31812,  ff  78,  82b,  141. 
Paper  ;  about  1813,  eic.     Quarto.     See  also  under  Glees  (above,  p.  114), 
Vocal  compositions  in  score. 

1.  "  Sister,  awake  "  (a  5).  "Tbomas  :  Watermark  1813.  "  Jer.  Saville, 
Bateson."     In  tbe  band   of  Joseph   \       1667."     f.  82. 

Street.     Watermark  1817.     f .  78.  j   3.  "  Al  vago  laccio"  (a  3,  witb  a  bass). 

2.  "Tbe  waitts"  (a  4) :  a  "Fa  la  la."   I       By  G.  C.  M.  Clari.     f.  141. 

Additional  31414. 

Paper;  ff.  48.     After  1825  (watermark).     Quarto. 

Madrigals,  in  score,  in  the  hand  of  J.  P.  Street.  Those  to  English 
words  are  taken  from  Musica  Transalpina,  1588  and  1597.  Nos.  1,  2, 
4,  6-9  and  11-13  are  for  5  voices  ;  the  others  for  6. 

1.  "At  sound  of  her  sweet  voice"  [Al  [  3.  "  I  wasfuUnear  my  fall"  [Fui  \icin' 
suon  d'  amata].  "  Lucretio  Quin-  :  al  cader] ;  witb  second  part,  "But 
tiani."     [1588.]     1597.    f.2.  ;       as    tbe    bird"    [Hor    come    augel]. 


2.  "  Now  springs  each  plant."     By  the 
same.     1597.     f.  6. 


"  Alfonzo  Ferabosco."     1597.     f.  12. 
4.  "  My  lady  still  abhors  me"  [Donna 


MADRIGALS. 


189 


mi  fugge,  1585].  This  and  the  re- 
maining numbers  are  by  "Giovanni 
Ferretti."  [They  appeared  originally 
in  the  various  editions  of  his  Canzmii 
alia  Napolitana.']     f.  22. 

5.  "  Corretti  (sc.  correte),  tutti  quanti." 
[1573.]     f .  26. 

6.  "  So  gracious  is  thyself"  [Sei  tanto 
gratiosa,  1563].     f.29b. 

7.  "  Donna  crudel."     [1568.]     f .  31b. 


8.  "Comeposs'iomorir."  [1568.]  f.  33. 

9.  "  Mirate  che  m'  ha  fatto."     [1568.] 
f.35. 

10.  "Un  pastor  chies'  ad  una  ninf." 
[1573.]     f.  37b. 

11.  "  Pieta  ti  mova."     [1568.]     f .  40. 

12.  "Hor  va   canzona  mia."      [1568.] 
f.  42. 

13.  "Within    a    greenwood"    [In    an 
boschetto,  1585].     f.  44. 


Additional  31481,  ff.  82-85b. 

Paper  ;  about  1826  (watermark).     Oblong  folio.     See  also  under  Motets  (vol.  i, 
p.  350). 

"  Gettano  i   Re  dal   soglio " ;  for  5  voices,   with  figured  bass,  in 
score,  by  Agostino  Stefiani. 


Additional  14394. 

Paper;    ff.88.      After    1831    (watermark).      Folio.      Presented    by    Vincent 
Novello  in  1843. 

"  DuETTi,"  with  figured  bass  for  harpsichord,  in  score ;  by  Clari. 
In  the  hand  of  William  J.  Taylor.  In  Add.  15516  (above,  p.  168) 
nos.  1-6  are  attributed  to  D.  Bigaglia,  but  they  are  described  in  a  MS. 
belonging  to  the  Royal  College  of  Music  as  part  of  vol.  iv  of  Clari's 
Madrigals,  etc.  Three  of  the  last  four  numbers  have  been  attributed 
to  Durante  (see  note  on  f.  2b) ;  but  they  are  all  given  as  Clari's  in 
Add.  31535,  31537  (above,  pp.  157,  158),  and  appear  to  have  been 
published  as  his  in  1720,  and  again  in  1823  (with  a  pianoforte  accom- 
paniment by  Francesco  Mirecki). 


1.  "  Piange  il  Ruscello."     f.  3. 

2.  "  Guerra  v[u]oi  farmi."     f.  11. 

3.  "  Lungi  dalla  mia  Bella."     f.  19. 

4.  "Non  ti  Sdegnar."     f .  27. 

5.  "L'  Idolomio."     f.35. 

6.  "Vago  Usignol."     f.  43. 

7.  ["II    soldato   poltrone"].      Begins 
"Ola,   chi   mi    risveglia?"      [1745.] 


f.50. 

8.  "II   Musico   Ignorante,"  beg.  "Do 
re  mi  fa  sol  la."     [1745.]     f.62. 

9.  "FuocoelaChiomabionda."  [1740.] 
f.71. 

10.  "  Quando    col    mio    s'  incontra." 
[1740.]     f.  81. 


Additional  14395,  fi".  3-76. 

Paper;  after  1831  (watermark).     Folio.     The  MS.  belonged  in  1843  to  Vincent 
Novello  ;  it  also  contains  a  Motet  (vol.  i,  p.  350). 

"Madrigali"  or  "Terzetti,"  with  figured  bas.s,  in  score,  by  Clari. 
In  the  hand  of  William  J.  Taylor.  Nos.  3-8  are  attributed  in  Add. 
15516  (above,  p.  168)  to  D.  Bigaglia;  but  upon  what  authority  does 
not  appear.  They  occur  in  a  MS.  belonging  to  the  Royal  College  of 
Music  as  part  of  vol.  iv  of  Clari's  Madrigals,  etc. 


1.  "  Si  lodi  pur  Amore."     [1742.]     f.  3. 

2.  "  Dove,    ah!     dove,    O    Pastori  !  " 


[1742.]     f.  13b. 
3.  "  Piango,  sospiro  ! 


f . 25b. 


190 


VOCAL  MUSIC— SECULAR. 


4.  "  Zeffiretto  gentile."     f.  35. 

6.  "Lasso  Adoro  una  Fera."     f.  44. 

6.  "  Riso  del  Idol  mio."     f.53b. 


7.  "  Al  vago  laccio."     f.  61. 

8.  "  Nel  bel  Volto  di  Clori."     f.  69. 


Additional  31415,  parts  i-vi,  passim. 

Paper;  after  1835  (see  iii,  f.  32,  etc.).     Oblong  octavo.     The  MS.  also  contains 
Anthems  (vol.  i,  p.  106),  and  other  vocal  compositions,  described  elsewhere. 

Madrigals,  etc.,  from  a  collection  of  vocal  part-music  said  to  be 
transcribed  by  Joseph  Oliphant.  Both  the  words  and  the  music  have 
been  occasionally  altered  by  Thomas  Oliphant.  Divided  into  six  parts 
or  volumes,  containing  1st  and  2nd  treble,  alto,  1st  and  2nd  teiior 
and  bass. 


1.  "Now  is  the  Month  of  Maying." 
"  T.  Morley,  1595."     i,  iii-vi,  f.  1. 

2.  "When  all  alone."  "  G°  Converse, 
1580."     i,  iii,  iv,  vi,  f .  lb  ;  ii,  f.l. 

3.  "The  Waits,"  beg.  "Fa  la  la." 
"  Jer.  Saville,  1667."    i,  iii,  iv,  vi,  f.  2. 

i.  "Down  in  a  valley."     "I.  Wilbye, 

1609."     i,  iii,  iv,  vi,  f.  2b ;  ii,  f .  lb. 
5.  "  Let  me  careless."    "  Tho'  Linley." 

i,  iii,  iv,  vi,  f .  3b  ;  v,  f .  lb. 
6.'  "Lady,  when  I  behold."     "  Wilbye, 

1598."     i,  f.4b;  ii,  f.  2b;   iii,  iv,  vi, 

f.  4b  ;  v,  f .  2b. 

7.  "  Dissi  a  1'  amata."  "  Luca  Maren- 
zio,  1599."     i,  iii,  iv,  vi,  f.  5b. 

8.  "Cynthia,  thy  song."  "G.  Croce, 
1560."  i,  f .  9b ;  ii,  f .  7b ;  iii,  f.  8 ;  iv, 
f.llb;  vi,  f.ll. 

9.  "  Sweet,  honey-sucking  bees."  "J. 
Wilbye,  1609."  i,  f.  10b;  ii,  f.8b; 
iii,  f.  9 ;  iv,  f.  12b  ;  vi,  f.  lib. 

10.  "  Welcome,  sweet  pleasure."  "  Tho' 
Weelkes,  1608."  i,  f.  13;  ii,  f.  11 ;  iii, 
f .  lib ;  iv,  f .  15  ;  vi,  f .  13b. 

11.  "So  saith  my  fair."  "Luca  Ma- 
renzio,  1580."  i,  f.  13b ;  ii,  iii,  f.  lib  ; 
iv,  f .  15  ;  V,  f .  6b ;  vi,  f .  13b. 

12.  "Due  begl'  occhi."  "  Giov.  Piz- 
zoni."  i,  f .  14b ;  ii,  iii,  f .  12b ;  iv,  f .  16  ; 
vi,  f.  14b. 

13.  "  In  pride  of  May."  "  T.  Weelkes, 
1608."  i,  f.  15b ;  ii,  f.  13  ;  iii,  f.  13b ; 
iv,  f.  17  ;  vi,  f.  15b. 

14.  "Dainty,  fine  Bird."  "  0.  Gibbons, 
1612."  i,  f.  16  ;  ii,  f.  13b ;  iii,  f.  14  ; 
iv,  f.  17b;  vi,  f .  16b. 

15.  "0  that  the  learned  poets."  By 
the  same.  "1612."  i,  f.  16b  ;  ii,  f .  14  ; 
iii,  f .  14b ;  iv,  f.  18  ;  vi,  f.  17. 

16.  "  Come,  Shepherds."    "I.  Bennett, 


1590."     i,  f.  17b ;  iii,  f.  15b  ;  iv,  f .  19 
vi,  f.  17b. 

17.  "When  flowry  meadows."  "  Gia 
netto  Prsenestini,  1590."  i,  f .  18b 
iii,  f.  16b  ;  iv,  f.  20  ;  vi,  f.  18b. 

18.  "Die  not,  fond  man."  "I.  Ward 
1608."  i,  f.  19b  ;  ii,  f.  15b ;  iii,  f.  18 
iv,  f .  21b  ;  V,  f .  7b ;  vi,  f.  20. 

19.  "Flora  gave  me  fairest  flowers.' 
"  I.  Wilbye,  1609."  i,  f.  21b ;  ii,  f.  17 
iii,  f .  19b  ;  iv,  f .  24  ;  vi,  f .  21b. 

20.  "  The  Silver  Swan."  "  0.  Gibbons 
1612."  i,  f.  22b  ;  ii,  f.  18 ;  iv,  f.  24b 
V,  f.9;  vi,  f.  22b. 

21.  "  Sweet  are  the  thoughts."  "  Giov 
Pizzoni."  The  words  from  Greene's 
Fareivell  to  Follie,  ed.  1617.  i,  f.  23b 
ii,  f.  2Db  ;  iii,  f .  22b ;  iv,  f .  28 ;  vi,  f .  25. 

22.  "Wake  now,  my  love."  "  W.  L 
Phillips,  R.A.M.,  1832."  i,  f.  24b 
ii,  f .  21b  ;  iv,  f.  29b ;  vi,  f.  26b. 

23.  "  Quando  ritrovo."  "  Const.  Festa 
1541."  i,  f.  25b ;  iii,  f.  23b  ;  iv,  f.  34b 
vi,  f.31. 

24.  "  Cosi  bella  vol  s[i]ete."  "Pom 
ponio  Nenna,  1614."  i,  f.  26 ;  ii 
f.  22b ;  iii,  f.  26  ;  iv,  f.  37  ;  vi,  f .  34. 

25.  "  Cosanonvada."  "  Orazio  Vecchi.' 
i,  iii,  f .  27  ;  iv,  f.  38 ;  vi,  f .  35. 

26.  "0  Lady  dear."  "  L.  Marenzio.' 
i,  f .  27b  ;  ii,  f .  23b ;  iii,  f .  28  ;  iv,  f.  38b 
vi,  f.  35b. 

27.  "  Come  ye  who  music  "  (Chi  la  gal 
liarda).  "  Baldassare  Donato,  1558.' 
i,  f.28b;  iii,  f.  29 ;  iv,  f .  40b ;  vi 
f.37. 

28.  "Round  about  all  in  a  ring' 
(the  Elves  dance).  "  I.  Bennet,  1614.' 
i,  f.  29  ;  ii,  f .  24b  ;  iv,  f .  41 ;  vi,  f .  37b 

29.  "My  Mistress  is  as  fair."     By  the 


MADRIGALS. 


191 


same.     "1614."     i,  f.29b;  iii,  f.30; 
iv,  f.  41b  ;  vi,  f .  38. 

30.  "  Vi  voglio  dire."  "  Perissone 
Cambio,  1551."  i,  f .  30b  ;  iii,  f.31; 
iv,  f.  42b ;  vi,  f.  39. 

31.  "Phyllis,  thy  lovely  looks."  "W. 
Beale."  iii,  f.  6b;  iv,  f.9;  v,  f.4b; 
vi,  f.  8b. 

32.  "  Tho'  my  carriage  be  but  careless." 
This  and  nos.  33-40  are  by  Thomas 
Weelkes,  from  his  Ayeres,  1608.  iv, 
f.  29  ;  V,  f.  11 ;  vi,  f.  25b. 

33.  "Come,  let's  begin."  iv,  f.30;  v, 
f.  12;  vi,  f.27. 


34.  "Ha,  ha,  this  world  doth  pass  most 
merrily."    iv,  f .  31 ;  v,  f.  12b;  vi,f.28. 

35.  "Fa  la,  now  weep,  now  sing."     iv,, 
f.  31b ;  V,  f .  13  ;  vi,  f.  28b. 

36.  "  Strike  it  up,  neighbour."  iv,  f .  32  ; 
V,  f.  13b ;  vi,  f.  28b. 

37.  "To-morrow  is  the  wedding  day." 
iv,  f .  32b  ;  v,  f .  14  ;  vi,  f .  29. 

38.  "Late    in    my  rash   accounting." 
iv,  f .  33  ;  V,  f .  15  ;  vi,  f .  30. 

39.  "Say,  Lady,   will   you   love   me." 
iv,  f.  34 ;  V,  f.  16 ;  vi,  f.  30b. 

40.  "Alas,  tarry  but   one  half   hour." 
iv,  f.39b;  v,  f.  18b;  vi,  f .  36b. 


Additional  32020. 

Paper ;  ff .  22.     a.d.  1836-1845.     Oblong  quarto.     Presented  by  Arthur  Miles, 
son  of  the  composer. 

Madrigals  for  4  voices,  unless  the  contrary  is  stated,  in  score,  by 
Thomas  Miles.     Autograph. 


1.  "  Thou  cruel  fair,  ah  !  why  delay  ?  " 
"1837."     f.l. 

2.  "Away,  Lo,  Sol  old  Winter  driveth." 
"1837."     f.  2. 

3.  "Lady,  I  view  that  form  and  face." 
"1837."     [Published  1851.]     f.6. 

4.  When  lovely  May"  (a  8).     "1837." 
f.7b. 


5.  "  The  gayest  flow'rs."     f.  13b. 

6.  "Sweet  Lady,  thou'rt   fair"    (a  3). 
"1841."     f.l4b. 

7.  "Ah,  why  does  my  Oorydon  rove" 
(a  6).     "1836."     f.  16. 

8.  "My  love  is   dead"  (a  5).     [1845.] 
f.20. 


Additional  36524,  fF.  l-6b. 

Paper  ;  before  1837  (when  the  composer  sold  Willsbridge).     Oblong  folio. 

"  O  !  ye  Roses  so  blooming  and  fair "  ;  for  6  voices,  in  score,  by 
R[obert]  L[ucas]  de  Pearsall,  "of  Willsbridge."     Autograph. 

Additional  35005,  f.  61. 

Paper ;  A.D.  1837.     Quarto.     See  also  below,  under  Songs  (1783-1785). 

"  O  SING  unto  my  Roundelaie " ;  for  5  voices,  with  pianoforte 
accompaniment,  in  score,  by  Samuel  Wesley.  Transcribed  by  the 
composer  in  1837  from  the  original  (now  Add.  14342,  f.  64,  above, 
p.  188),  dated  1812. 


Additional  31419. 

Paper ;  ff.  26.     Before  1844  (see  below).     Oblong  quarto. 

"  Airs,  or  Fa  la's,  for  three  Voices  ....  1627,"  by  John  Hilton, 
scored  by  Joseph  Warren  from  the  original  work  for  the  edition 
issued  by  the  Musical  Antiquarian  Society  in  1844. 

The  initial  words  are  given  in  the  Index. 


192  VOCAL  MUSIC— SECULAR. 

Additional  34607,  ff.  197,  204,  210,  216. 
Paper ;  a.d.  1855.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  353). 

Canzone,  without  words,  apparently  for  2  choirs  of  4  voices  each, 
with  instrumental  accompaniments,  by  Giovanni  Francesco  Anerio. 
Violin,  cornet,  lute,  and  theorbo  parts  only. 

Egerton  2451,  flf.  53-64. 

Paper;  19th  cent.     Oblong  octavo.     See  also  under  Motets  (vol.  i,  p.  358). 

"  Spirto  di  Dio  "  ;  for  4  voices,  with  pianoforte  accompaniment, 
in  score,  composed  by  Antonio  Lotti  [in  1736?],  to  be  sung  before  the 
Doge  of  Venice.     Apparently  in  the  hand  of  Abbate  F.  Santini. 

Egerton  2459,  ff.  17 2-1 8 lb. 

Paper;  19th  cent.     Oblong  quarto.     See  also  under  Masses  (vol.  i,  p.  238). 

"  Zefpiretto  gentile " ;  for  3  voices,  with  a  figured  bass  for 
harpsichord,   in   score,    by   Giovanni   Maria  Clari,  in  the   same   hand 

as  the  last. 

Egerton  2571,  ff.  1,5. 

Paper  ;  19th  cent.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  362). 

Madrigals  for  5  voices,  in  score,  by  Samuel  Wesley. 

1.  "I  follow  to  the  footing."     f.  1.  2.  "Arise,  awake."   First  10  bars  only. 

f.5. 

Additional  31901. 

Paper  ;  ff .  13.     19th  cent.     Oblong  folio. 

Madrigals,  in  score,  by  Antonio  Lotti,  in  a  German  hand. 

1.  "In    una    siepe    ombrosa "    (a    5).       2.  "Piange  1'  amante   ucciso "    (a   4). 
f.  2.  I       f.  10. 

Additional  32391,  ff.  97-lOOb. 

Paper ;  19tb  cent.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  363). 

"  No  CHE  LA  su  ne  cori  almi "  :  a  "  Burla  "  for  5  voices,  in  score, 
composed  by  Benedetto  Marcello. 


MOTETS.  193 


SECTION"   VIIL— MOTETS. 


Egerton  274,  f.  41. 

Vellum;  late  13th   cent.     Duodecimo.     For   other  contents  of   the  MS.,  see 
under  sacred  Songs  (vol.  i,  p.  423). 

"  MuNDUS  a  Munditicia  "  {sc.  Munditia),  headed  "  De  prelatis  "  : 
one  of  the  dicta  of  "  Ph[ilippe  de  Greve]  cancellarius  Parisiensis,"  set 
for  2  voices,  in  quasi-score.  The  notes  are  square  and  diamond-shaped, 
on  two  staA'es  of  5  red  lines  each,  with  the  C  and  F  signatures. 

Royal  11  E.  xi,  ff.  3b-9. 

Vellum  ;  about  1516.   Large  folio.   See  also  under  sacred  Motets  (vol.  i,  p.  259). 

"  Psal[i]ite,  felices  protecti  culmine  rose  purpuree  "  (sc.  the  Tudor 
rose,  of  which  there  is  a  drawing  on  f.  2)  :  a  long  composition  for 
4  voices,  in  parts,  in  honour  of  Henry  VIII,  by  M[agister  ?]  Sampson. 

Royal  8  G.  vii,  ff.  15b-17,  50b-56. 

Vellum ;  about  1519-1533.   Folio.    See  also  under  sacred  Motets  (vol.  i,  p.  259). 

Motets  for  4  voices,  in  parts.     Anonymous. 

1.  "Fama  malum  quo  uon  aliud  velo-   j   2-6.  "  Dulces  exuuie."     Five  different 
cius  ullum."     f.  15b.  I        settings,     ff.  50b-56. 

Egerton  1198,  f.  147b. 

Paper;  a.d.  1581.     Octavo.     In  the  Album  amicorum  of  Johannes  Molitor  or 
Muller,  of  Nuremberg. 

"  Planta  fuit  quercus  "  ;  for  4  voices,  in  parts,  by  Georg  Korber, 
of  Nuremberg,  here  said  to  have  died  in  1604. 

Additional  32377,  f.  67b. 

Paper  ;  about  1584.    Oblong  octavo.   See  also  under  sacred  Motets  (vol.  i,  p.  264). 

"  MusiCA  Dei  "  :  upper  part.  Anonymous.  The  number  of  voices 
for  which  it  was  written  is  not  specified. 

Royal  Appendix  23-25,  ff.  36b,  37b. 
Paper  ;  16th  cent.   Oblong  octavo.    See  also  under  sacred  Motets  (vol.  i,  p.  267). 

SuPERius,  contra-tenor,  and  tenor  parts,  of  the  following  anonymous 
compositions : — 


1.  "  Omnibus  in  rebus  laudatur  maxime 
(sic)  constans."     f.  86b. 


2.  "Ex      animo     cuncti     cogitemus." 
f.  37b. 


11  O 


194  VOCAL  MUSIC— SECULAR. 

Royal  Appendix  26-30,  f.  5. 

Paper ;  16th  cent.    Oblong  octavo.    See  also  under  sacred  Motets  (vol.  i,  p.  268). 

"  DuLCES    exuviee  "  ;    with  second  part,   "  Urbem  preclaram  "  ;   for 
5  voices,  in  parts,  by  Derick  Gerarde.     Autograph  (?). 

Royal  Appendix  31-35,  passim. 

Paper ;  16tli  cent.    Oblong  octavo.    See  also  under  sacred  Motets  (vol.  i,  p.  269). 

"FoRTEM  vocemus":  two  settings,  in  parts,  apparently  by  Derick 
Gerarde. 


1.  For  5  voices.     Vols,  i-iii,  f.  4b;  iv,  v, 
f.3b. 


2.  For    4    voices.       Vol.   i,   f .  59b ;   ii, 
f .  58b  ;  iii,  f .  57b  ;  iv,  f .  55b. 


Additional  30361-30366,  f.  14b. 

Paper  ;  16th-17tli  cent.     Oblong  octavo.     See  also  under  sacred  Motets  (vol.  i, 
p.  273). 

"  Anteuenis  virides";  with  second  part,  "  Respice  fatorum  domi- 
trices " ;  for  6  voices,  in  parts.  Anonyjnous.  Addressed  to  a  Duke 
of  Bavaria. 

Additional  29388-29392,  f.  25. 

Paper ;  early  17th  cent.     Oblong  octavo.     See  also  under  sacred  Motets  (vol.  i, 
p.  275). 

"  C^SAiiis  auspitiis"  ;  for  6  voices,  in  parts  (of  which  the  cantus  is 
missing).     By  T.  Crequillon  (?). 

Additional  34001,  34002,  ff.  17b,  18b. 

Paper  ;  early  17th  cent.     Oblong  octavo.     See  also  under  sacred  Motets  (vol.  i, 
p.  276). 

Second  cantus  and  tenor  parts  of  the  following  compositions, 
probably  by  Giovanni  Gabrieli : — 


1.  "  Edite  Gsesareo  Boiorum  sanguine 
princeps  Bauarise  gentis  spes  "  ;  with 
second  part,  "  Obscura  sub  nocte 
micans  princeps  Alberte "  (d.  1579). 
f .  17b. 

2.  "  Vindelicse  taedas  musse  quassatse 
{sic)  jugales  Fuggaridum   princeps." 


Apparently  from  the  Sacrx  Sym- 
plionise  of  Giovanni  Gabrieli,  who 
dedicated  the  first  part  of  that  work 
to  Count  Georg  Fugger,  in  1597  (see 
Grove's  Diet,  of  Music,  i,  p.  572). 
f .  18b. 


Additional  36484,  f.  18. 

Paper ;  after  1604.    Small  oblong  folio.    See  also  under  Madrigals  (above,  p.  144). 

Bass  part  of  an  anonymous  secular  composition  for  6  voices,  beg. 
"  Anna  {sc.  Queen  Anne  of  Denmark,  d.  1619),  veni ;  sequimur  "  ;  with 
second  part,  "  Macte  animo,  Iacobe  decus." 


MOTETS.  195 

Additional  18936-18939,  passim. 
Paper;  after  1612.     Oblong  octavo.     See  also  under  Masses  (vol.  i,  p.  215). 
Latin  compositions  to  secular  words,  in  parts. 


1.  "  Dulcior  melle  "  (a  3).    Anonymous, 
i,  ii,  iv,  f.  16. 

2.  "Sub    diuersis    speci[e]bus"    (a   5). 
"William  Cobbold."     i,  ii,  iv,  f.43b; 


iii,  f .  25b. 
3.  "  Mars  et  Marte"  (a  5).     "  Alphonso 
[Ferrabosco]."     i,   ii,   iv,  f.  54b;   iii, 
f.  36b. 


Additional  29401-29405,  f.  38b. 
Paper  ;  after  1613.  Oblong  duodecimo.  See  also  under  Madrigals  (above,  p.  149). 

"  Quis  me  statim  rupto  vetat  fato  mori "  ;  for  5  voices,  in  parts, 
probably  by  W.  Byrd  (see  Add.  5058,  f.  74b,  below). 

Additional  5036,  f.  36b. 

Paper;  before  1760.     Quarto.     See  also  under  sacred  Motets  (vol.  i,  p.  303). 

"  MusiCA  Iseta  "  ;  for  5  voices,  in  score.  Anonymous.  Transcribed 
from  a  MS.  at  Christ  Church,  Oxford. 

Additional  5042,  f.  23. 

Paper ;  before  1760.     Quarto.     See  also  under  sacred  Motets  (vol.  i,  p.  305). 

"  Hec  que  ter  triplici  cecinerunt  ordine  quondam  "  ;  for  3  voices,  in 
score,  by  Orlando  di  Lasso.  From  Moduli,  published  at  Paris  in  1576. 
In  honour  of  the  brothers  William,  Ferdinand,  and  Ernest,  Counts 
Palatine  of  the  Rhine. 

Additional  5051,  ff.  3-llb. 

Paper;  before  1760.     Quarto.     See  also  under  sacred  Motets  (vol.  i,  p.  306). 

"  Salve  quae  roseo  " ;  with  second  part,  "  Hunc  tibi  ille  pater  potens 
Olympi "  ;  for  5  voices,  in  score,  by  Tylman  Susato,  1546.  Addressed 
to  the  town  of  Antwerp. 

Additional  5058,  f.  74b. 

Paper  ;  before  1760.     Quarto. 

"  Quis  me  statim  rupto  vetat  [fato]  mori " ;  for  5  voices,  in  score. 
Included  in  a  collection  of  sacred  Motets  (vol.  i,  p.  307),  most  of  which 
were  composed  by  William  Byrd  in  1589. 

Additional  14190,  ff.  14-40b. 

Paper ;  a.d.  1762.     Oblong  folio.     See  also  under  Masses  (vol.  i,  p.  235|, 

"  Sacro  lauro  coronate";  a  so-called  Motet  for  solo  voices  and 
2  choirs  of  4  voices  each,  with  accompaniments  for  flutes,  oboes   horns 

0  2 


196  VOCAL  MUSIC— SECULAR. 

trumpets,  and  strings,  with  a  figured  bass  for  the  organ,  in  score,  by 
Pasquale  Cafaro,  1762.     Autograph. 

Additional  14398,  ff.  132-134. 

Paper ;  A.D.  1770.     Quarto.     See  also  under  sacred  Motets  (vol.  i,  p.  310). 

"  Mus^  Jovis  "  :  monody  on  the  death  of  Josquin  des  Pres  (d.  1521), 
by  Benedictus  [Ducis,  1545 — see  Add.  11582,  below].  For  4  voices, 
in  score. 

Additional  11582,  ff.  85b,  90b. 

Paper  ;  before  1782.     Quarto.     See  also  under  Masses  (vol.  i,  p.  222). 

"  In  Josquinum  a  Prato,  Musicorum  principem,  Monodipe."  [Fi'om 
Tylman  Susato's  Chansons,  book  vii,  1545.]    See  also  Add.  14398,  above. 

1.  "Musas  Jovis"  (a  4).     "Benedictus   \       Viuders."     f .  89b. 

[Ducis]."     f.85b.  j   3.  "  Musfe    Jovis"    (a    6).     "  Nicolaus 

2.  "  0  morsinevitabilis"  (a7).    "  Jeron   |       Gombert."     f.  90b. 

Additional  11583,  f.  31. 

I  Paper;  before  1782.     Oblong  quarto.     See  also  under  sacred  Motets  (vol.  i, 
p.  313). 

"FoRMOSO  vermi,"  with  .second  part,  "Adsit  amor":  "epithalamium" 
for  5  voices,  in  score,  by  Jachet,  sc.  Jacob  van  Berghem.  From  the 
1st  book  of  Motets  by  Cipriano  di  Rore  and  others,  published  by 
Antonio  Gardane  at  Venice,  1544. 

Additional  11584,  ff.  4b,  5b. 

Paper ;  before  1782.     Oblong  quarto.     See  also  under  sacred  Motets  (vol.  i, 
p.  313). 

Two  four-part  Motets,  scored  by  Dr.  Burney  from  the  parts 
published  by  Tylman  Susato,  at  Antwerp,  in  1555. 

1.  "Alma  nemes"  (sc.  Venus).     "Or-    ,  2.  "Calami    sonum    ferentes."      "  Ci- 
lando  di  Lasso."    f.  4b.  i       priano  di  Eore."     f.  5b. 

Additional  4914,  ff.  8-1 5b. 
Paper;  18th  cent.     Folio.      See  also  under  Treatises,  in  vol.  iii. 

Settings  of  works  by  classical  authors,  for  4  equal  voices,  scored 
from  Brevis  Musicae  Isagoge,  Joanne  Frisio  Tigurino  author e .  .  .  .1555. 
From  the  printed  edition,  the  dedication  of  which  is  dated  1554,  it 
appears  that  only  one  of  the  parts  (retained  from  the  original  edition 
of  1550)  was  by  Frisius  himself,  the  other  three  being  added  by  his 


MOTETS.  197 

friend  Henricus  Textor.  The  words  of  nos.  1-19  are  from  Horace's 
Odes  ;  a  list  being  given  of  the  other  odes  to  which  the  music  may 
be  sung. 


^&' 


1.  "Mecsenas    atauis    edite    regibus." 
f.  8. 

2.  "  Jam  satis  terris."     f .  8b. 


ebur."     f.  lib. 
12.  "  Miserarum  est  neque  amori  dare 
ludum."     f.  12. 


3,4.  "Sic  te  diua  potens  Cypri,"  and  13,14.  "  Diffugete    (sic)    niues,"    and 

"  Soluitur  acris  Hyems."     f.  9.  "  Ibis  Liburnis."     f.  12b. 

5.  "  Qvis  multa  gracilis  te  puer  in  rosa."  '   15.  "Pecti,  nihil  me,   sicut  antea,  iu- 

f.  9b.  vat."     f.l3. 


6.  "  Sc[r]iberis  vario  fortis."     f .  10. 
7,8.  "Laudabunt  alii,"    and  "  Lydia, 

die,  per  omnes  Te  decs  oro."    f.  10b. 
9.  "  Vides  ut  alta  stet  nine  candidum." 

f.ll. 


16.  "  Horrida    tempestas   coelum   con- 

traxit."     f.  13b. 
17,18.  "Mollis  inertia,"  and  "Altera 

iam  teritur."     f.  14. 
19.  "  Jam,  iam  efficaci  do  manus  scien- 


10,  11.  "  Tu  ne  qusesieris,"  and  "  Non    •       tise."     f .  14b. 

The  words  of  nos.  20,  21  (specimens  of  "  Phalecii  carminis  modulatio") 
are  from  Catullus  and  Martial ;  those  of  nos.  22,  23  ("  Elegiaci  car- 
minis  modulatio ")  are  from  Ovid  ;  and  those  of  no.  24  ("  Heroici 
carminis  harmonia  ")  are  from  Virgil. 


20,21.  "Jam  uer  egelidos  refert  te- 
pores,"  and  "Vitam  quae  faciunt 
beatiorem."    f.  14b. 

22,  23.  "  Ingenium     quondam     fuerat 


preciosius  auro,"  and  "Hanc  tua  Pe- 
nelope."    f.  15. 
24.  "  Arma  uirumque  cano."     f.  15b. 


Additional  29393-29395,  f.  9b. 

Paper ;    18th   cent.      Oblong  duodecimo.      See   also   under  sacred   Choruses 
(vol.  i,  p.  162). 

"  Ceduntur  gladiis  "  (a  3),  by  Adrian  Willaert. 

Additional  35005,  ff.  127-1 93b. 
Paper;  early  19th  cent.     Quarto.     See  also  below,  under  Songs  (1783-1785). 

"  Deusii  (sic)  Laudes  [Horace,  Odes,  iv,  4].  Modis  musicis  illu- 
stratie,"  beg.  "  Qualem  ministrum  '' :  quasi-motet  with  Latin  words, 
written  for  6  voices,  without  accompaniment,  by  Samuel  Wesley.  Two 
scores,  of  which  the  first  is  imperfect  at  the  end,  and  5  vocal  parts. 


198  YOCAL  MUSIC— SECULAR. 


SECTION   IX.— NATIONAL   MUSIC. 

Melodies  of  various  European  nations,  without  "Words  or 

Accompaniments.* 


Danish. 
Additional  32237,  f.  69. 

Paper ;  18th-19th  cent.     Oblong  folio. 

"  Danische    Original-Melodie."      See   under    Pianoforte   Solos,     in 
vol.  iii. 

English. 

Additional  30272,  passim. 

Paper  ;  about  1799-1802.     Oblong  octavo. 

English  airs  without  accompaniment,  by  J.  B.  Crotch,  etc.  See 
under  Violin  Solos,  in  vol.  iii. 

Printed  Book,  A.  909,  pp.  129-154  passm. 

Paper ;  18th  cent.     Oblong  octavo. 

English  tunes,  forming  part  of  a  miscellaneous  collection  in  MS., 
bound  up  with  a  printed  volume  (see  vol.  i,  p.  440,  under  sacred 
Songs). 


1.  "The  Marquis  of  Granbys  delight." 
p.  129. 

2,  3.  "When  absent  from  the  Nymph 
Hove,"  and  "The Mill  Mill  0."  p.  130. 

4.  "  My  Friend  and  Pitcher."     p.  131. 

5.  "Her  Absence  will  not   alter  me." 
p.  134. 

6.  "  Come  ashore,  Jolly  Tar."     p.  135. 

7.  "  Maid  of  the  Mill."     p.  136. 

8-10.  "God  save  the  King"  (see  also 


12.  "  Duke  of  York's  Troope."     p.  140. 
13-15.  " Nancy Dawsone,"  "Rose Tree," 

and  "Tattoo."     p.  141. 
16,  17.  "God  save  the  Queen"   (quite 

different  from  the  National  anthem), 

and  "  Oak  Stick."     p.  142. 
18.  "  The  Beds  of  Roses."     p.  143. 
19,20.    "Jacky    Tar,"    and    "Princess 

Royall."     p.  144. 
21.  "A  Soldier  lam."     p.  149. 


p.   154),    "The    Lass   of   Richmond  22.  "Come, Rouse, brother  Sportsman." 

Hill,"  and  "  Lovely  Nancy."    p.  138.  |  p.  150. 

11.  "0!  The  Roast  Beef  of  Old  Eng-  \  23.  " Money  in  both  pockets."     p.  151. 

land."     p.  139.  1 


*  Melodies  with  words  or  accompaniments,  or  with  both,  are  described  under 
Songs,  Pianoforte  Solos,  etc.,  cross-references  to  them  being  given  here. 


NATIONAL  MUSIC. 


199 


Additional  29371,  ff.  'li-lOi  passim. 

Paper ;  18th  cent.  Small  quarto.  The  MS.  belonged  to  Thomas  Hammersley. 
It  also  contains  other  National  music  (Irish,  Scotch,  and  Welsh),  Dance  music, 
and  Pianoforte  Solos,  described  elsewhere. 

A  COLLECTION  of  tunes  well  known  in  the  British  Isles,  chiefly  of 
the  second  half  of  the  17th  century  and  the  first  half  of  the  18th 
century.     The  following  are  English  : — 

41,   42.  "Intreuge"   (sic);   and  "  Ful- 
beck  Maggott."     f .  33. 


1-4.  "Slip   it  in  Easy";    "Hay  to  y= 

Cooper";    "Boreing  the  Gimblet  "  ; 

and  "  Barley  Cake."     f.  24. 
5,   6.  "Barley     Sugar";     and    "New 

Camargo."     f.  24b. 
7,8.  "Tale   Toddle";   and  "  Boscomb 

Bucks."     f.  25. 

9.  "Camargo."     f.  25b. 

10.  "  Buttered  Pease."     f .  26. 

11-14.  "Tit  for  Tat "  (see  also  f.  102b)  ; 

' '  Princess  Amelia's  Birthday  " ;  "  Kiss 

Quick";  and  "Christmas  is  acoming" 

(originally  described  as  "Punchanel- 

lo's  Hornpipe  ").     f .  26b. 
15-17.  "  I  will  have  a  wife  "  (incorrect); 

"Ward's   Pill";    and    "  The  Happy 

Pair."     f.  27. 
18,  19.  "Drown  Drowth  "  ;  and  "  Pump 

Room."     f.27b. 
20,  21.  "  St.  James's  Bason  "  ;  and  "A 

Health  to  y<=  Tackers."     f.  28. 
22.  "La  Fete  Champetre."     f.  28b. 
23,24.  "Jack   Latine  "  ;  and   "Kate." 

f.  29. 

25.  "  Whip  her  and  Gird  her."     f.  29b. 

26,  27.  "New  Pierot  "  ;  and  "New  way 
of  wooing."     f.  30. 

28.  "What   a  beau  my  Granny  was." 

f.30b  (see  also  f.  106b). 
29-31.  "King's  Arms";  "A  trip  to  y= 

Lawndry  "  ;  and  "  Ragg."     f.  31. 
32-35.   "Bow   wow  "  ;    "  S"-  Miles  for 

ever";     "The    make    shift";     and 

"Nancy  Dawson."      f.  31b   (see  also 

f.  102  b). 


43.  "Tale  Toddle  "  (c/.  f.  25).     f.  34. 

44-46.  "  [One  long]  Whitson  Hollidays  " 
(sic)  [?  by  H.  Purcell] ;  "Mother, 
quoth  Hodg"  ;  and  "  Tibalt's  Row." 
f . 34b. 

47-49.  "Bath  Medley  "  ;  "Three  Coney 
walk,"  or  "  Number  three  "  ;  and  "0 
mother,  a  Cock."     f.  35. 

50-53.  "Coffee  and  Tee";  "Merry 
Wakefield  "  ;  "The  Dru[m]mer  "  ; 
and  "  Butter'd  Buns."     f.  35b. 

54,  55.  "Early  Glass";  and  "Tam- 
bourine."    f.  36. 

56,  57.  "Only  think  on  it";  and 
"Aston  Hall."     f.  36b. 

58-60.  "  Lucy's  Delight  on  y«  Villa  "  ; 
"Fair  Quaker  of  Deal"  (Shadwell's 
play  with  this  title  appeared  in  1710) ; 
and  "Old  wife  behind  y°  fire." 
f.  37. 

61-63.  "Richard  Snary";  "Three 
Sheep  Skins";  and  "Puddings  and 
Pies."     f.  37b. 

64-67.  "  Run[n]ing  Footman";  "0 
Mother,  a  Hoope"  ['?by  —  Brail- 
ford];  "Thomas,  I  cannot";  and 
"Doll's  my  Favorite."  No.  66,  to- 
gether with  nos.  122,  123,  165,  below, 
was  introduced  in  "  The  Beggar's 
Opera,"  1727.     f.  38. 

68-70.  "You  must  not  kiss  on  Sun- 
day"; "Black  Dish  Bottom";  and 
"Haymakers."     f .  38b. 


36,  37.  "  Bread  and  Chees  ";  and  "  Buff   ;   71,  72.  "  Dutches[s]    of   Bedford's   De- 


to    Blankett,"    or    "All     alive     and 
merry."     f.  32. 


light";   and   "My   Love   is   passing 
by  me."     f.  39. 


38-40.  "Fairly  Shut  of  her";    "The   ;  73-75.   "Jack    on  y«   Green 


One 


Craftsman  " ;  and  "  New  Year's  Gift." 
f.  32b. 


in  six";    and  "Fox  Hunter's  Jigg." 
f . 39b. 


A  leaf  has  been  torn  out  here.     See  the  index  at  the  beginning  of 


the  MS. 

76-79.  "One  in  Ten";  "Old  Ox- 
ford"; "Gentleman's  Farewell"; 
and  "  Country  Bumpkin."     f.  40. 


80,    81.    "Joe  Bent";    and    "Country 

Girll."     f.  40b. 
82.  "  Pearo  "  (sc.  Pierrot),     f .  41. 


200 


VOCAL  MUSIC— SECULAR. 


83.  "We   will    be    merry  in    our    old   '   134-136.  "Bury   Pair";    "Richmond 


Clothes."     f.  41b. 


Ball "  ;  and  "  Mad  Moll."     f.  50. 


84,85.  "  Mr.  Mayor's  Rigadoon  "  ;  and   '   137-140.  "  Cheshire  Rounds  ";"  Beaux 


"Blousa  Bella"    [the   air   by  G.  B. 

Buononcini].     f .  42. 
86-89.  "This  world's  but  a  Trouble"; 

"Three    merry    Devils";     "Hobby 

Horse";  and  "Come,  Sweet  Lass" 

[by  Jer.  Clarke],     f.  42b. 
90,91.  "Confederacy";  and  "Baulk." 

f.  43. 
92,   98.  "Salt    Pish  and   Dumplins " ; 

and     "Black      Mary's     Hornpipe." 

f.  43b. 
94-98.    "Joan's     Placket";      "Prince 

Rupert's    March";     "Buff    Coat"; 

"Watton      Townsend";      and     "A 

Health  to  Betty."     f.  44. 
99-103.    "The   Frier   and   the   nun"; 

"  Bobbing  Joe  "  ;  "Hemp  Dresser"; 

"Saylor's  Delight";   and  "Hey   to 

the  Camp."     f.  44b. 
104-107.  "No Body's  Jigg";  "[?Nicho- 

las]  Staggin's  Jigg";  "Parson  upon 

Dorothy";  and  "Under  the  Green- 
wood Tree."     f .  45. 
108-110.     "Christ      Church      Bells"; 

"Love     for    ever";     and     "Jack's 

Health."     f.  45b. 
111-113.    "Excuse     me";      "Miller's 

Jigg";     and    "New     Markett,"    or 

"  Johnny,  cock  thy  Beaver."     f.  46. 
114-116.  "  Black  and  Grey  "  ;  "Country 

Farmer's  Daughter  "  ;  and  "  Knot." 

f.  46b. 
117-119.    "  Jenny,      Come      tye      my 

Cravat";    "Four    pence    halfpenny 

Farthing,"   or   "Periwigg  maker   of 

Derby";  and   "Ladies  of  London." 

f.  47. 
120-123.  "Cold  and   Raw";    "Dutch 

Skipper";  "  Lilli   Burlero "    [by   H. 

Purcell] ;     and     "  Emperor    of    the 

Moon."     f.47b. 
124-126.  "  Old  Rigadoon  " ;  "  Fry[i]n[g]- 

pan  Pudding,"  or  "  I  of[t]en  for  Jenny 

Strove  "  ;  and  "  Daniel  Cooper."  f.  48. 
127,  128.  "  Whim  "  ;  and  "  Red  House." 

f.  48b. 
129-131.    "Mad      Robin";      "Lane's 

Minuett"  ;  and  "  Pope  Joan."    f.  49. 
132,  133.    "St.   Martin's   Lane";   and 

"A    Soldier   and    a    Saylor"    [from 

•'  Love  for  love,"  by  J.  Eccles,  1695]. 

f . 49b. 


Delight,"  or  "  Rogger  and  James  "  ; 
"Portsmouth";  and  "Quaker's 
Dance."     f.  50b. 

141,  142.  "  [William,  4th?]  Lord 
Byron's  Maggot "  (?  about  1700) ;  and 
"  Moll  Peatley."     f.  51. 

143-145.  "Enfield  Common";  "Indian 
Queen";  and  " Carpenter's Maggott." 
f.51b. 

146,147.  "A  Trip  to  the  Jubilee"; 
and  "America."     f.  52. 

148-151.  "Begger's  (sic)  in  the  Barn"  ; 
"Hunt  the  Squirrill "  ;  "Well  Done, 
Jack  "  ;  and  "  New  Roger  [de  Cover- 
ley],"  or  "  Don  Boin,"  or  "  Kate  in 
y"  west."     f.  52b. 

152,153.  "Old  Roger";  and  "Prince 
Eugene's  March."     f.  53. 

154-156.  "  Devil  in  the  Bush,"  or 
"Walton  Abby  "  ;  "  Rumor  "  ;  and 
"Grigg's  Maggott."     f .  53b. 

157-159.  "Monk's  March";  "Queen 
Besse's  Dame  of  Honour  "  ;  and  "  A 
Trip  to  Mary  le  Bone."     f.  54. 

160-163.  "In  the  Fields  in  Frost  and 
Snow";  "Miss  Hoyden";  "Would 
you  have  a  young  Virgin " ;  and 
"  Sword  Dance."     f .  54b. 

164-166.  "Soldier's  live  merry  life's" 
(sic);  "Recruiting  Officer,"  or 
"  Balk  "  (different  from  no.  91) ;  and 
"  Sheep  Shearers."     f.55. 

167-169.  "  Britannia  "  ;  "A  Health  to 
all  honest  men";  and  "Tenth  of 
June,"  or  "  King  of  Sweedland." 
f.  55b. 

170-173.  "  I'll      Raing[e]      around  "  ; 
' ' Cook's  Humour  " ;  "Happy  Clown," 
or  "Dicky  in  y'   wood"  ;  and  "  A 
Beg[g]ing  we  will  go."     f.  56. 

174-176.  "Epsom  Wells";  "Free 
Mason's";  and  "Hedge  Lane." 
f .  56b. 

177,  178.  "  Shuffie  and  Cut";  and 
"New  York."     f.  57. 

179,180.  "Gun  Fleet";  and  "Drops 
of  Brandy."     f.  57b. 

181-183.  "  Key  of  y»  Seller";  "Bungy^ 
Eye  "  ;  and  "Piper's  Maggott."  f.  58. 

184-186.  "Latter  part  of '  y'  Clown '  "  ; 
"John,  y  Mad  man  "  ;  and  "Prince 
of  Wails'  Birth  Day."     f.  58b. 


NATIONAL  MUSIC. 


201 


187-189.  "Nither  hear  nor  their"  (see 

also    f.  68h);     "  Choakelate    Pote  "  ; 

and  ' '  Cheston  Wells."     f .  59. 
190-192.  "  Star    at     Lewis,"    or    "y" 

Scheme";      "Drunken     Peasant"; 

and  "  [?  Richard]  Chark's  Hornpipe." 

f.  59b. 
193-195.  "Take  my   bitt "  ;    "Ragged 

Sailor"      (see      also     f .  61b) ;      and 

"Wanton  God."     f.  60. 
196-198.  "The   Tiger";    "  Ridotta  "  ; 

and  "Drop."     f.  60b. 
199.  "  Black  as  a  Cole."     f.61. 
200-202.  "A   Trip   to   Bath";    "How 

can   I   keep  my  maiden   Head,"   or 

"  y»  Rarity  "  ;  and  "  Astrope  Wells." 

f.  61b. 
20.3,  204.  "  Mansell,"  or  "My  Loveing 

Cuzen  "  ;  and  "  Butcher's  Hornpipe." 

f.62. 
205-207.  "Four      Drunken     Maids"; 

"Red      Ribband";       and      "Born 

Drunk."     f.  62b. 

208.  "Hawkey,"  or  "  Hoggy  ovre  y' 
water."     f.  63. 

209.  "  Porte  a  Bello."     f .  63b. 

210.  211.  "  Matthew  Briggs  "  ;  and 
' '  Pauntus  Pilate's  Rant."     f .  61. 

212,213.     "Frisk   it";    and   "Barley 

Straw."     f.64b. 
214-216.  "Green  man";  "Bob  in   y» 

Bed  "  ;  and  "  Tatnam  Fair."     f.  65. 
217,  218.  "  Hare  in  y''  Corn  "  ;  and  "  The 

Unfortunate  Joake."     f.  65b. 

219.  "  Tambourine  Matlote."     f.66. 

220,  221.  "Pve  forgott  the  name 
on't";  and  "Pig  in  y'=  parlour." 
f . 66b. 

222-225.  "  Princess  of  Hesse  "  ;  "  The 

Merry  Thought "  ;  "  Worm  Doctor  "  ; 

and  "  What  Ship."     f.67. 
226,  227.  "Patty's      Delight";      and 

"  Foston  Meadows."     f.  67b. 
228-230.  "Winchester    wedding,"     or 

"  Lankersire  witches  "  ;  "  the  Careless 

Lovers";  and  "Robing  in  a  Bedd." 

f.68. 
231-233.  "  The  Drum[m]er,"  in  D  flat 

(the  second  part  differs  from  no.  52) ; 

"Lemington";      and     "  S'     Giles' 

Pound."     f .  68b. 
284.  "  Fox  Huntter's  Hornpipe."    f.  69. 
235-237.  "Skip    it    about   Nimbley " ; 

"  Stapleford  Hall  "  ;  and  "  Cotillion, 

by  Robingson"  (sic),     f ,  70b. 


238-240.  "  Lord  Del[a]mere's  Rant,"  or 
"  y'  Cooler";  "Lancashire  Horn- 
pipe," or  "Yorkshire  Hornpipe,"  or 
"  Lancashire  Witches  "  ;  and  "  John 
Barton."     f.  71. 

241.  "  Captain's  Lady."     f.71b. 

242,  243.  "Stanton's  Mer[r]iment,"  or 
"Mr.  Snart's  Resurrection";  and 
"She  wou'd  not,  and  she  wou'd." 
f.  72. 

244,  245.  "  Eltham  Asembly  "  ;  and 
"  The  4th  of  September."     f.  72b. 

246-249.  "The  Hertingfordbury  Tam- 
bourine," or  "  Mesell "  ;  "  Daffidown 
dilly";  "  Staggs  knattered,"  or 
"Snake  band";  and  "Rakes  of 
Mellow."     f.  73. 

250-252.  "Bumpers,  Squire  Jone[s] "" 
[from  "  The  Provoked  wife,"  1744] ; 
"Always  Drunk  and  never  Sober";: 
and  "  Dick's  Fancy."     f.  73b. 

253,  254.  "  Brisk  and  Smart";  and 
"  Trip  to  Scarborough."     f.  74. 

255-258.  "  Quite  Prodigious";  "I 
wou'd,  but  I  dare  not,"  or  "The 
Rakes  of  Foston"  ;  "  Fausan's  Mag- 
got "  ;  and  "  Just  a  Going."     f .  74b. 

259.  "  Miss  Drake's  Delight."     f.  75. 

260-264.  "The  Ring,"  or  "Ring";, 
"Kick  the  Rogues  out";  "My  Daddy 
he  kiss'd  my  Mother  "  ;  "  Modest 
Dolly,"  or  "  Mars[h]all  Wade  "  ;  and 
"lyle  of  May"  (sc.  Man),  or  "Duke 
of  Cumberland."     f.  75b. 

265-267.  "  Merry  Parson  "  ;  "  Hull  As- 
sembly," or  "  Nottingham  As- 
sembly"  ;  "Wimble's  Rant,"  or 
"  Kingston's  Rant."     f.  76. 

268-270.  "  Mr.  Handele['s]  Hornpipe  "  ; 
"Taber  and  pipe,"  or  "Lord  Bur- 
leigh," or  "[William]  Felton's  Ga- 
votte "  ;  and  "  Jenny's  Taste."  f.  76b. 

271,272.  "  Hey  for  Lincolnshire  "  ;  and 
"  Kentish  Cricketters."     f.  77. 

273-275.  "  Egginton  Rakes  "  ;  "  What's 
that  to  you";  and  "Pray,  S"",  be 
Civile."     f.77b. 

276.  "Ben  Wait's  that[c]h'd  House." 
f.  78. 

277-280.  "  Female  Rant  "  ;  "  Cap' 
Davis  "  ;  "  Stir  the  guile  "  ;  and 
"  What  do  you  think  of  He."     f.  78b. 

281-284.  "  Deborah,"  "  The  Fly,"  "  The 
Jolly  Buck "  ;  and  "  The  Stadt- 
holder."     f.  79. 


202 


VOCAL  MUSIC— SECULAR. 


285.  "  Kiss  her  behind  the  Garden 
Gate."     f .  79b. 

286.  "Petticoat  Loose,"  or  "How  do 
you  like  it."     Two  copies,     f.  80. 

287-289.  "  Topsey  Torvey "  (see  also 
f.  83b)  ;  "  Rakes  of  Eocehester  "  ; 
and  "  Jollity."     f.81. 

290,  291.  "The  Eagle"  ;  and  "  Prety 
Bell."     f.  81b. 

292.  "  E.  0."     f.  82. 

293,  294.  " Blooming  Hedges";  and 
"  Saw  ye  my  Sister  Sarah,"  or  "  Gayly 
yet."     f.82b. 

295.  "Frolick."     f.  88. 

296,  297.  "  Merry  Couucellours  "  ;  and 
"  Trip  up  stairs."     f.  83b. 

298,  299.  "  Tar  water";  and  "New 
way  ©f  y'=  world."     f.  81. 

300.  "  British  Heroe."     f.  84b. 

301,  802.  "  Aurett's  Dutch  Skipper"; 
and  "  Bottle  and  Friend."     f.  85. 

■308-805.  "By  slip,"  or  "Merry  begot- 
ten "  ;  "  Squire  Whimsical  "  ;  and 
"  Contrary  wind,"  or  "  Quit[e]  Con- 
trary," or  "  Le  vent  Contraire."  f.  85b. 

306.  "  Tom  Jones."  f.  86  (see  also 
f.  89). 

307.  "  Old  Age  and  Young."     f.  86b. 
308-310.  "  North    Aston        Frolick  "  ; 

"Corporal";  and  "Beverly  As- 
sembly."    f.87. 

:311,  312.  "Prancing  Dick";  and  "Tent 
and  Brandy."     f .  87b. 

313.  "Folly."     f.88. 

■314.  "  Miss  Gun  [n]ing."  f.  88b  (see  also 
f.89. 

315.  "  Pattie's  whim."     f.  89. 

316.  "  Lads  and  Lassies."     f.  89b. 

317-819.  "  Merry  Traveler  "  ;  "  '  Pea- 
sant's Dance,'  or  '  Johnny  Commen- 
da,'  in  'Queen  Mabb'"  (two  copies, 
see  also  f.  92)  ;  and  "  Daniel  Cooper" 
(different  from  no.  126).     f.  90. 

320.  "Chaplet."     f.90b. 

321-323.  "  As  ye  like  it";  "New 
Tambourine  "  ;  and  "  Sailor's  Rant." 
f.  91.- 

324,  325.  "  Family  Tune";  and  one 
without  name,     f .  91b. 

326-328.  "D[o]uble  Entender "  ;  and 
"  Twickenham  Meads,"  or  "  Give 
me  Love  and  Liberty";  and  "The 
Grove  "  (see  also  f.  101b).     f.  92. 


329,  330.  "  Matilok       Whim  "  ;       and 

"Cream  Pott."     f .  92b. 
331,  832.  "  I  would,   But   I   cannot  "  ; 

and  "  Hertford  Assembly."     f.  93. 
333,  884.  "  Gidian's    Triumph";     and 

"  Trip  to  Bath  "  (different  from  no. 

200),  or  "  Britches  Loose."     f.  93b. 
385,336.  "WoodLarke";  and  "Christ- 
mas Gambble."     f .  94. 
337-389.  "  Ash  Wednesday  "  ;    "  Jack's 

Alive  "  ;  and  "  The  Sette[e]."  f.  94b. 
340.  "  Much  ado  about  Nothing."  f.  95. 
341-348.  "The  Card";  "Poor  Dick"; 

and  "  We  can't  help  it  now."  f.  95b. 
844,  845.  "  Figaranthe  "  ;     and    "  Old 

Roger  [de  Cover] ey],  the  new  way." 

f.96. 
346,  847.  "  Cottillion  "    [introduced    in 

"  The  Beggar's  Opera,"   1727] ;    and 

"  Lee  [sic]  Bon  Gout."     f.  96b. 
348-351.  "Have     at      the     French"; 

'Black      Leggs";     "Hey     Makers 

Dance  "  ;  and  "  Brick  Maker."    f.  97. 

352.  "  I  wonder  at  it."     f.  97b. 

353.  "  No  catchee,  no  Havee."     f.  98. 

354.  355.  "  Antigua  Billy  "  ;  and  "  Hull 
Assembly"  (different  from  no.  266). 
f.  98b. 

856,  357.  "  Bull    Waggy    Bow  "  ;    and 

"  Windsor  Forest."     f.  99. 
358,  359.  "  Humours     of     Wapping"; 

and  "  Catches  and  Glees."     f.  99b. 
360.  "  Sucky  bids  me."     f.  100. 
361-864.  "  Lewis  Bourge  "  ;  "  Jack  on  y= 

Green  "  (different  from  no.  73)  ;  "  Red 

Lyon   Hornpipe  "  ;    and  "  So  merily 

dance  the  Quaker."     f.  100b. 
365-868.  "  Trip  to  Virginia  "  ;  "  Trip  to 

Haragate  "  ;     "  Hawk's     Humour  "  ; 

and  "  S'  Bride's  Bells."     f .  101. 
869-371.  "  Yorkshire  Buffs  "  ;  "  Duke  of 

York's  Delight  "  ;  and  "The  Citty." 

f.  101b. 

372.  "  Ballance,  A  Straw."     f.  102. 

373.  "Quibeck's  taken  "[1759].  f.  102b. 
374-376.  "  The  young  Lady's  Fancy  "  ; 

a  tune  without  name ;  and  "  Tip- 
staff."    f.  103. 

377-379.  "  Short  Apron";  Adagio,  by 
"  Geo.  Wetherill  "  ;  and  "  Corn 
market."     f.  103b. 

380.  "  Voulez  vous  Dancer,  Mademois- 
elle."    f.  104. 


NATIONAL  MUSIC.  203 

Additional  32237,  f.  71. 

Paper ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Two  MELODIES  in  the  hand  of  Johann  Nepomuk  Hummel,  who  has 
described  them  as  "  Englisch." 

1.  In  A  minor  (|  time).  |   2.  In  G  minor  (|  time).   A  hornpipe  (?). 

Finnish. 
Additional  14390,  f.  35b. 

Paper ;  after  1802.     Folio. 

Finnish  "  Runa,"  with  a  modern  bass.  See  below,  under  Songs 
(1795,  etc). 

French. 

Printed  Book,  A.  909,  pp.  143,  U9,  152. 

Paper  ;  18th  cent.     Oblong  octavo.     See  also  under  sacred  Songs  (vol.  i,  p.  440). 

Melodies  of  "Mall  Brook,"  sc.  "Marlbrouck"  (ff.  143,  152),  and 
of  "  Pauvre  Madelon  "  (f.  149).     Anonymous. 

Additional  27932,  f.  28b. 

Paper  ;  late  18th  cent.     Octavo.     See  also  below,  under  Operas. 
Melody  of  "  Belleisle  March." 

For  other  French  National  Music,  see  below,  under  Songs,  Egerton 
1519-1521  (after  1726),  Egerton  814-817  (after  1744),  King's  330- 
337  (after  1749),  Add.  31678  (a.d.  1760,  etc.),  and  Egerton  2154 
(18th  cent.). 

German. 

Egerton  2513,  f.  40b. 

Paper ;  about  1711.     Oblong  duodecimo.     See  also  below,  under  Songs. 

"  March  Eugenii "  :  melody  only,  from  a  German  musical  album. 
Anonymous. 

Greek. 

Additional  22911,  f.  458b. 

Paper  ;  early  18th  cent.     Oblong  duodecimo.     See  also  below,  under  Songs. 

Melody  of  what  appears  to  be  a  Greek  tune,  probably  in  the 
hand  of  the  Rev.  Dr.  John  Covel. 


204  VOCAL  MUSIC— SECULAR. 

Additional  32411,  f.  33. 

Paper  ;  about  1818.     Oblong  octavo.     See  also  under  Chorales  (vol.  i,  p.  157). 

"  Geiechisches  Lied,  welches  in  der  Moldau  gesungen  wird  " ;  ia 
the  hand  of  Johann  Christian  Lobe.     The  melody  only. 

Irish. 
Printed  Book,  A.  909,  pp.  148,  152. 

Paper  ;  18tli  cent.     Oblong  octavo.     See  also  under  sacred  Songs  (vol.  i,  p.  440). 

Melodies    of    the    anonymous    Irish    songs   "  Anna "    and    "  Irisb 
Lilt." 

Additional  29371,  fF.  27-100. 

Paper;  18th  cent.     Small  quarto. 

Irish    tunes    forming    part    of    the    miscellaneous    collection    as- 
above,  p.  199. 


f.  100). 
7.  A  tune  without  name.     f. 


1.  "Cork."     f.27. 

2.  "  Larry  Grogan."     f .  28b. 

3.  "  Irish  Hoboy."     2.  33b,  34  (see  also      8.  "  Castle  Downe."     f.  91b. 
f.95).  i   9.  "  Irish  Vaux  HaU."     f .  94. 

4.  "  Cath  Wallagoon."     f.66. 

5.  "  Castle  Barr."     f.  75. 

6.  "Sheela  na  gig."     f.  76b   (see  also 


10.  "Irish  Hero,"  or  "  Blak[e]ney  for 
ever."     f.  96b. 


Additional  32237,  f.  71. 

Paper  ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Melody  in  B  flat  (|  time)  in  the  hand  of  J.  N.  Hummel,  who 
describes  it  as  "  Irisch." 

For  other  Irish  National  Music  see  above,  under  Duets  (p.  87), 
Add.  35277,  35278  (late  18th  cent.);  below,  under  Songs,  Add.  35277, 
35278  (late  18th  cent.),  35273  (about  1803),  35274  (a.d.  1804),  and 
32189  (1829,  etc.) ;  and  in  vol.  iii,  under  Pianoforte  Solos,  Add. 
25073  (about  1790),  and  Violin  Solos,  Add.  30272  (about  1799-1802), 

Italian. 
Sloane  1021,  f.  30b. 
Paper ;  about  1640.     Small  quarto. 
Venetian  air.     See  under  Lute  Solos,  in  vol.  iii. 

Additional  34608,  f.  25b  (reversed). 

Paper;  about  1785-1789.     Oblong  octavo.     See  also  under  Anthems  (vol.  i,  p.  74). 

"  Neapolitan  air  play'd  in  the  streets  [at]  Wilton."    In  the  hand  of 
J.  Stafford  Smith. 


NATIONAL  MUSIC.  205 

Additional  34202,  ff.  1-17,  22-48. 
Paper  ;  18th-19th  cent.     Oblong  octavo. 
Neapolitan  and  Sicilian  Songs.     See  below,  under  Songs. 

Additional  31755-31757,  31759. 

Paper ;  early  19th  cent.     Oblong  folio. 

Venetian  and  other  Italian  songs,  with  guitar  accompaniment. 
See  below,  under  Songs. 

Moldavian. 
Additional  32411,  flP.  32b-33. 

Paper;  about  1818.     Oblong  octavo.     See  also  under  Chorales  (vol.  i,  p.  157). 

"  MoLDAUisCHE  Hochzeit-Musik,  ohne  Worte":  a  series  of  five 
melodies,  including  a  Greek  one  sung  in  Moldavia,  collected,  if  not 
partly  composed,  by  Johann  Christian  Lobe. 

Norwegian. 
Additional  32237,  ff.  73,  73b. 

Paper  ;  18th-19th  cent.     Oblong  duodecimo.     See  also  below,  under  Operas. 

Three  Norwegian  melodies  in  |  time,  in  the  keys  of  D  minor,  G, 
and  G  minor.     Transcribed  by  J.  N.  Hummel. 

Polish, 

Sloane  1021,  ff.  72-7 4b. 

Paper ;  about  1G40.     Small  quarto. 
Polish  dances,  etc.     See  under  Lute  Solos,  in  vol.  iii. 

Additional  32237,  ff  74-75b,  77. 

Paper ;  18th-19th  cent.     Oblong  octavo,  etc.     See  also  below,  under  Operas, 
and  under  Pianoforte  Solos,  in  vol.  iii. 

Polish  melodies  in  the  hand  of  J.  N,  Hummel. 

1.  "Hochzeits    Lied    in    Pohlen — alia   ]       "Nicht   zu  gebrauchen,  wegen   den 


Mazur[ka]."     f.74. 
2-5.  "  Crakowiaka   von    mir    selbst  "  ; 
"Mazur";     and     "  Kosziusko    und 
Dombrovskische  Themas."     Against 
the  last  the   composer  has   written 


politischen  Verhiiltnissen   Pohlens." 

f.75. 
6,7.  "Mazur";     and    "  Crakoviaka." 

f.  75b. 
8.  Viola  part  of^  a  march  in  A.     f .  77. 


206  VOCAL  MUSIC— SECULAR. 

Russian. 
Sloane  1021,  ff.  77,  77b. 
Paper  ;  about  1640.     Small  quarto. 
Russian  (Lithuanian)  airs.     See  under  Lute  Solos,  in  vol.  iii. 

Additional  14390,  passim. 

Paper ;  about  1795,  etc.     Folio. 

Russian  melodies,  with  modern  accompaniments.  See  below,  under 
Songs. 

Additional  32237,  ff.  77b-78b. 

Paper ;  18th-19th  cent.     Oblong  octavo.     See  also  below,  under  Operas. 

Three  Russian  melodies,  for  the  first  of  which  (f.  77b)  see  above, 
under  Choruses  (p.  49),  and  for  the  second  (f.  78)  see  under  Pianoforte 
Music  in  vol.  iii.     The  last  (f.  78b)  is  described  as  "  HsymKa"  (?). 

Additional  32189,  ff.  105-107. 

Paper ;  early  19tb  cent.     Oblong  folio. 

"  RussiscHER  original  Lieder  "  ;  with  basses  by  J.  N.  Hummel,  See 
below,  under  Songs. 

Additional  32411,  f.  33b. 

Paper  ;  about  1818.     Oblong  octavo.     See  also  under  Chorales  (vol.  i,  p.  157). 

The  second  of  two  "  Russische  Soldaten-lieder "  ;  without  the 
words.  Anonymous.  The  other  is  described  under  secular  Choruses 
(above,  p.  51).     In  the  hand  of  Johann  Christian  Lobe. 

Scotch. 

Printed  Book,  A.  909,  pp.  12Q-154:  passim.. 

Paper ;  18tb  cent.     Oblong  octavo. 

Scotch  tunes  forming  part  of  a  MS.  collection  bound  up  with  a 
printed  volume  (see  vol.  i,  p.  440,  under  sacred  Songs,  and  above,  p.  198). 


1.  "Johnny's  Grey  Breeks."     p.  126. 

2,3.  "My  own  Kind  Dearie";  and 
"  Jocky  to  the  Fair."     p.  127. 

4,5.  "I  have  a  bonny  Wife  of  my 
Own  "  ;  and  "March  way  of  '  Jenny's 
Babie.'  "     p.  128. 

6,7.  "  Sae  merry  as  we  have  been"; 
and  ' '  Keep  the  Country,  bonny  Las- 
sie."    p. 129. 


8,9.  "Miss  Wright's  Reel";  and  "The 
Lass  of  Patie's  Mill."     p.  131. 

10.  "  Anderson's  Fareweell."     p.  132. 

11,  12.  "  The  Aberdeen  Volunteers* 
March";  and  "Miss  Clark's  Reel." 
p.  133. 

13,14.  "Miss   Jessie   Smith's    Reel"; 

and  "Violet  Anderson's  Reel."  p.  134. 

15.  "Miss  M.  Playfair's  Reel."     p.  135. 


NATIONAL  MUSIC. 


2or 


16,  17.  "The  Highland  Laddie";  and 
"  Lochaber  no  more."     p.  136. 

18,  19.  "Bonny  Jean  Gordon  of  Aber- 
deen"; and  "Saw  ye  nae  my  kind 
Peggy."     p.  137. 

20,  21.  "Miss  Gordon's  Reel";  and 
"  Roslin  Castle."     p.  189. 

22.  "The  Flowers  of  Edinburgh." 
p.  143. 

23-25.  "  Scot's  Blue  Bonnet "  ;  "  Lady 
Harriet  hope's  Reel "  ;  and  "  Because 
He  was  a  Bonny  Lad."     p.  145. 

26-28.  "  O'er  the  Hills  and  far  away  "  ; 


"The   King's    Gig";    and    "Jenny 

Nettles."     p.  146. 
29-31.  "  0,  its  Braw  to  be  Married  a 

Maiden";    "  TuUoch  Goram  "  ;  and 

"  Dainty  Davie."     p.  147. 
32,  33.  "  John  Anderson,  my  Jo  "  ;  and 

"  Calidonian  Hunt's  Delight."  p.  148. 

34.  "  The  Marquis  of  Huntly's  March.'" 
p. 151. 

35.  " 'White  Jock."     p.  152. 

36.  37.  "  Banks     of    the    Dee "  ;     and 
"  Logan  Water,"     p.  153. 

38.  "  White  Cocade."     p.  154. 


Additional  29371,  ff.  24b-100  passim. 

Paper  ;  18th  cent.     Small  quarto. 

Scotch  tunes  forming  part  of  the  miscellaneous  collection  as  above, 
p.  199. 


1.  "  Scotch  Contention."     f .  24b. 

2.  "New  Scotch  Contention."     f .  25b. 
3-5.  "  Steward's      Rant  "  ;       "  Willy 

Wilky  "  ;  and  "Andrew  Kerr."    f.  26. 
6,  7.  "Bessy     Bell";      and     "Dusty 

Miller."     f.  27b. 
8,  9.  "  Sandy,  Laddy" ;  and  "  Highland 

Laddy."     f.  28. 
10,11.  "My   ain    kind   Deary";    and 

"Jenny  Bang  [sc.  dang)  y"  weaver." 

f.  28b. 

12.  "  Border  Reel."     f .  29. 

13.  "Bonny  Lass  of  our  Town." 
f .  29b. 

14-16.  "Lady  Terfichent's  {sc.  Torphi- 
chen's)  Rant";  "I  was  a  Bonny 
Lad";  and  "Lads  of  Dunce." 
f . 30b. 

17.  "  Soldier  Lad[d]ie."     f .  31. 

18.  "Welcome  here  again."     f.  32. 

19.  "  The  merry  maids  of  Wagginton," 
or  "  Kirk  Gate  Rakes."     f.  33. 

20.  21.  "  Athol  Braes  "  ;  and  "  Saw  ye 
not  my  Moggy."     f.  33b. 

22,23.  "Strickland,"  or  "A  trip  to 
Filo  "  ;  and  "  Scotch  Pedlar."     f.  34. 

24,25.  "Bonny  Laddy";  and  "  Mac- 
donald's  Rant."     f.  36b. 

26.  "Old  Highland  Dance."     f.  37. 

27.  "Brae  mare."     f.  37b. 

28.  "  Mac  Pherson's  Farwell."     f.  38b. 

29.  "  Scotch  wedding."     f .  39. 

30.  "Cady  Laddy."     f.  39b. 

31.  32.  "Up  went  Aily";    and  "New 


Highland  Dance  "  (cf.  f.  83).     f.  41. 
33,    34.    "Colliers     Daughter'^;     and 

"  Ranting  Roring  Willy."     f.  41b. 
35,  36.  "True  Joak "  and  "Black  Joak." 

f.43. 
37,   38.    "White     Joak"    and    "Joan 

Sanderson."     f.  43b. 

39.  "Green  Sleeves."     f.  46. 

40.  "  Bonney  Dundee."     f .  47. 

41.  "  De'll  take  the  wars."     f.  50. 

42.  "Lumps  of  Pudding."     f.  51, 

43.  "Dainty  Davy."     f.  52. 

44.  "O'er   the   Hills   and   Far  away." 
f.  53. 

45.  "  Gallaway  Tom."     f .  57. 

46,47.  "Lady   Jane    Hume's    Reel"; 
and  "  Lasses  of  Berwick."     f.  57b, 

48.  "Gang  to  y=  Coy."     f.  58b. 

49.  "A  Trip  to  Merry  Land."     f.  59. 

50.  51.  "  Ranting  Highland  man  "  ;  and- 
"John  Black's  Daughter."     f.  61. 

52.  "0,    over    y'    water   to    Charley." 
f.62. 

53.  "[Weel     may     the]    Keel     Row." 
f . 62b. 

54-56.  "The  Scots  Fuziliers";  "Deel 

Stick  y"=   minester  "  ;    and  "Jack  of 

Perth."     f.  63. 
57,  58.    "Jack    Hume's    Reel";     and 

"Rattling  Roaring  Willie"   {cf.  no. 

34).     f.63b. 
59,  60.  "[Over]  the  Hills  and  away  to 

New   Rigging";   and  "The    Carle." 

f.64. 


208 


VOCAL  MUSIC— SECULAR. 


61,  62.  "  Corn  Riggs  are  Bonny  "  ;  and 

"  Berwick  Jocky."     f.  65b. 
€3.  "  Banks  of  Forth."     f.66. 
€4.  "  The  Lads  of  Leath."     f.  67b. 
i65.  "Lord   Simples   {sc.  Sempil's)  Le- 

mentation  after y"  Highlanders."  f.68. 
'66.  "  Jockey  has  Gotten  a  wife."  f.  69. 
€7.  "Robing  a  Roye."     f.  69b. 

68.  "  Barwick  Lasses."     f.  72. 

69,  70.  "The  Campbells  are  coming"; 
and  "  Lasses  a  (sc.  of)  Dunce."    f.  75. 

71.  "  The  high  way  to  Eglington"  (see 
also  f.  89b).     f.78. 

72,  73.  "  Mis[s]  Macdonald's  Delight "  ; 
and  "  Merry  Scot."     f .  79b. 

74-76.  "Aylisey  Marley";  "Green 
Growes  the  Rushes  " ;  and  "  The  Berks 
of  Abergild."     f.  80b. 

77.  "  Scotch  Bounett."     f.Sl. 

78.  "  Flower  of  Edinburgh."     f.  81b. 

79.  "  New  Highland  Laddy."     f.  82. 

80.  81.  "  Up  and  war  them  aw,  Willy  "  ; 
and  "Over  y^  water."     f. 83. 

82.  "Hot  Cocklis."     f .  83b. 

83,84.  "Scot[c]h  Jigg,"   or   "y«  D'ls 


Dead  "  ;  and  "  Mock  Highland  man." 
f.  84. 

85.  "  Down  y«  Bank."     f.  84b. 

86,  87.  "  Slepy  Moggy  "  ;  and  "  Scotch 
Lady."     f.  85. 

88,  89.  "  Cameronian  Rant "  ;  and 
"Miss  Macdonal's  Reel,"  or  "Miss 
Floro  (sic)  McDonald's  Reel."      f.  86. 

90,  91.  "  Lady  Makentosh's  Reel  "  ;  and 
"  Bonny  Kate  of  Aberdeen."     f.  86b. 

92,  93.  "  She's  o'er  young  to  marry 
yet  "  ;  and  "  AUister."     f.  87b. 

94.  "  Miss  Frazier's  Reel."     f.  88. 

95,  96.  "  Lads  of  Aire  "  ;  and  "  Ranting 
Highland  man"  (very  like  no.  50). 
f . 88b. 

97.  "  Lowland  Lad."     f.  89b. 

98.  "  TuUuck  Goram"  (two  copies), 
f .  90b. 

99.  "  Eight  men  of  Moidart."     f.  95b. 

100.  "Miss  Cresty's."     f .  96b. 

101.  "  Northland  Jockey."     f .  98. 

102.  103.  "  Genny  nettles  "  ;  and  "  Moll 
Ross."     f.  99b. 

104.  "  The  Birks  of  Aberfeldie."    f.  100. 


Additional  30955,  f.  163b. 

Paper  ;  18th~19th  cent.     Quarto. 

"  Here  awa,  there  awa " ;  fi'om  a  collection  of  songs  by  Charles 
Dibdin. 

For  other  Scotch  National  Music  see  above,  under  Duets  (pp.  86,  87), 
Add.  35276-35278  (late  18th  cent.),  35272,  35273  (about  1803); 
below,  under  Songs,  Add.  25073-25075  (about  1790),  35276-35278 
(late  18th  cent.),  28971  (a.d.  1800-1803),  35272,  35273  (about  1803), 
35274  (a.d.  1804),  35271  (about  1825),  35270  (about  1826-1831),  and 
32188  (a.d.  1829,  etc.);  and,  in  vol.  iii,  under  Flute  Solos,  Add.  34204 
(about  1700),  Pianoforte  Solos,  Add.  25703-25705  (about  1790),  and 
Violin  Solos,  Add.  30272  (1799-1802). 

Spanish. 
Sloane  1021,  f.  22b. 

Paper ;  about  1640.     Small  quarto. 
Spanish  air.     See  under  Lute  Solos,  in  vol.  iii. 


Additional  31640. 

Paper ;  ff .  128.     a.d.  1732.     Oblong  octavo. 

Spanish  "  Passacalles,"  etc.,  for  the  guitar,  by  Santiago  de  Murzia. 
;See  under  Guitar  Solos,  in  vol.  iii. 


NATIONAL  MUSIC.  209 

Swedish. 

Additional  32237,  f.  73b. 

Paper ;  18th-19th  cent.     Oblong  duodecimo.     See  also  below,  under  Operas. 

Melody  of  the  Swedish  song  "  Neckens  Palska  " ;  in  the  hand  of 
J.  N.  Hummel. 

TUEKISH. 

Additional  32237,  f.  79. 

Paper ;  18th-19th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

Melodies  of  two  "  Aufsiitze  zu  Schnell-Marsche  fiir  turkische 
Musik  "  ;  in  the  hand  of  J.  N.  Hummel. 

Welsh. 
Additional  14939. 

Paper ;  ff .  35.     a.d.  1742-1779.     Folio. 

MS.  additions  by  Richard  Morris  to  Antient  British  Music,  Part  i, 
1742,  compiled  by  John  Parry  and  Evan  Williams.  See  under  various 
headings  in  vol.  iii. 

Additional  34608,  f.  24b. 

Paper ;  about  1785-1789.   Oblong  octavo.   See  also  under  Anthems  (vol.  i,  p.  74). 

Short  extracts  from  "  E.  Jones's  Welch  airs.  1783.  Anc*."  In 
the  hand  of  J.  Stafford  Smith. 

Additional  29371,  f .  48. 

Paper ;  18th  cent.     Small  quarto. 

Welsh  tune,  "  [Of]  Noble  Race  was  Shinkin " ;  included  in  the 
miscellaneous  collection,  as  above,  p.  198. 

For  other  Welsh  National  Music  see  above,  under  Duets  (p.  87),  and 
below,  under  Songs,  Add.  35274,  35275  (a.d.  1804),  35278  (a.d.  1809) ; 
and  in  vol.  iii,  under  Harp  Solos,  Add.  14905  (temp.  Charles  I), 
Pianoforte  Solos,  Add.  34290  (about  1834),  and  Violin  Solos,  Add. 
30272  (about  1799-1802). 


II 


210  VOCAL  MUSIC— SECULAR. 


SECTION   X.— ODES. 

Compositions  mostly  written  for  solo  voices,  chorus,  and  orchestra, 
TO  English  words,  in  celebration  of  events  in  the  history 
OF  the  royal  family,  and  including  Birthday  Odes,  New 
Year's  Songs,  Welcome  Songs,  etc.* 


Additional  33234,  ff.  21,  35,  172b. 
Paper  ;  a.d.  1680-1G82.     Folio.     See  also  below,  under  Songs. 
Two  Odes  and  a  fragment  of  a  third. 

1.  "Awake,  awake,  my  Lyre,  and  tell  solo  voices,  duet  and  chorus,  with  a 
thy  silent  Master's  humble  tale  "  ;  for  '       bass.     In  score.     "  M.  Lock."    f.  35. 
solos  and  chorus,  with  instrumental  ;   3.  "  Let  Cassar  and  Urania  Hue  ":  duet, 
symphonies  and  ritournelles.    In  full  1       with  a  bass,  from  "  Sound  the  Trum- 
score.     "John  Blow."     f.  21.                        pet,  beat  the  Drum."     In  a  rather 

2.  "All    things    their   certain   periods  later  hand  than  the  last.     "  H.  Pur- 
haue";    "A  New  Year's  song,"  for  ,       cell."     f.l72b. 

Additional  19759,  f.  lib. 

Paper ;  about  1681.     Small  folio.     See  also  below,  under  Songs. 

"  Awake,  awake,  my  lyre,  and  tell  "  :  a  song,  without  accompani- 
ment, from  an  Ode  by  Dr.  John  Blow. 

Additional  22100,  ff.  3-73  passim. 

Paper;  about  1682.     Folio.     See  also  under  Anthems  (vol.  i,  p.  28). 

Songs  with  chorus,  etc.,  for  various  occasions,  with  accompaniments 
for  strings  (unless  the  contrary  is  stated),  in  score.  Except  no.  1, 
they  are  by  Dr.  John  Blow. 

1.  "A    Song    to    welcome    home    his    I       strings,     f .  26. 

Majesty  from   Windsor,  1680,"   beg.  |   4.  "Awake,  my  lyre";    written  appa- 

"  Welcome  vicegerent  of  the  Mighty  rently  on  the  death  of  a  musician. 

King."     "Pm-cell."     f.3.  f .  32b. 

2.  "A  song  on  New  Year's  Day,  1681,"  j   5.  "A  song  for  y^  Queen's  Birth  Day," 
beg.   "Great  Sir,  y°  joy  of   all   our  '       beg.  "Illustrious  day";   for   a   solo 


hearts."     f .  13b. 
3.  A  Marriage  Ode,  beg.  "  Fair  nymphs, 

y»  to  y"  wanton  winds  display  "  ;  for  a    j       "  The  Birth  of  Jove."     f .  59 
solo  voice  and  3-part  chorus,  without    | 


voice,  with  a  bass,     f .  54b. 
6.  "A  song  for  y^  29th  of  May,"  beg. 


*  For  foreign  Odes,  see  above,  under  Cantatas. 


ODES. 


211 


Additional  33240,  fF.  1-5. 

Paper;  a.d.  1683  (see  f.  1).  Small  folio.  Presented  [apparently  with  the 
other  parts]  to  the  Library  of  the  Musical  Antiquarian  Society  by  Vincent 
Novello,  in  1843,  with  remainder  to  the  British  Museum  (see  note  on  f.  1).  See 
also  imder  Anthems  (vol.  i,  p.  98). 


"Ode   for    St.   Cecilia's   day,   1683"    [beg.   "Welcome  to  all 
pleasures  "],  by  Henry  Purcell.     Organ-part.     Autograph. 


the 


Additional  30934. 

Paper ;  ff.  104.     a.d.  1689,  etc.     Small  folio.     The  names  of  James  Kent  and 
Vincent  Novello  are  on  f .  lb. 

Odes  in  full  score.     The  titles  below  are  taken  from  descriptions 
in  the  hand  of  Dr.  Croft. 


1.  "'Come,  come  along... for  a  dance 
and  a  song  '  ;  composed  by  Mr. 
Jeremiah  Clarke  upon  y°  death  of  y^ 
famous  Mr.  Henry  Purcell  and  per- 
form'd  upon  y'  stage  in  Druery  Lane 
play  house  "   [1695].     At  the  top  of 

f.  26b  is  written :  "Mr.  Purcell's fare- 

s 
well."  Autograph  (?).  The  instru- 
ments employed  are  trumpets,  flutes, 
oboes,  strings,  kettle-drum  and  harp- 
sichord. The  names  of  the  singers 
given  are  Messrs.  Freeman,  [Richard] 
Leveridge  and  Bowen,  and  Mrs. 
Cross.  "Mr.  Clark's  Cebell"  (sc.  ga- 
votte) is  included  (f.  13)  in  this  com- 
position,    f.  3. 

2.  "  '  Again  the  welcome  morn  ' :  song 
...by  Mr.  Dan.  Purcell  upon  y'^ 
Birth  Day  of. .  .Princess  Ann  of  Den- 
mark...Feb.  6th  i^."  The  only 
instruments  named  are  trumpets  and 
violins.  The  names  of  the  singers 
appear  to  have  been  Messrs.  "  Hews," 
[J.]  Laroon,  Bourdon  and  "Magnes"  ; 
those  of  Messrs.  Pate,  Woodson  and 


Freeman    are    struck    out.      Partly 
autograph,     f .  36. 

3.  "'Begin!  begin  and  strike  the  har- 
monious lyre  '  :  song,  composd  by 
Mr.  Dan.  Purcell  and  perform'd  upon 
St.  Ceecilia's  Day  att  Stationers' 
Hall."     f.  58. 

4.  "  '  Who  can  from  joy  refraine  '  "  song. 
Composd  by. .  .Hen.  Purcell  [in  1695] 
and  p''formd  upon  y"  Duke  of  Glou- 
cester's Birth  Day  "  [b.  1689] ;  with 
accompaniments  for  trumpets,  oboes, 
strings,  eic.  Autograph.  The  singers' 
names  given  are  Howell,  [Alexander] 
Damascene, ' '  Robeart "  and  Freeman. 
f.79. 

5.  "'The  loud'  tougu'd  warr ' :  com- 
posed by  Mr.  Dan.  Purcell  upon  King 
William's  return  from  Flanders " 
[1697]  ;  with  accompaniments  for 
trumpets,  oboes,  strings  and  kettle- 
drum. The  only  singer's  name  given 
is  that  of  Mr.  Freeman.  Allograph. 
f.94. 


Additional  35043,  fF.  106b,  122b. 
Paper ;  about  1697  (see  f.  105).     Small  folio.     See  also  below,  under  Operas. 
Portions  of  two  Odes. 


1.  Flute  or  violin  part  of  "Mr.  Lenton's 
Tunes  playd  before  y'  King  at  his 
Returne  "  :  overture  and  9  airs,  with- 
out words,     f.  106b. 


2.  Melody,  with  words,  of  the  solos  in 
the  ode,  "Awake,  awake,  my  lyre,  and 
tell."     By  Dr.  John  Blow,     f.  122b. 

p  2 


212 


VOCAL  MUSIC— SECULAR. 


Additional  31453,  fF.  2,  133,  181b. 
Paper ;  a.d.  1699,  etc.     Small  folio.     See  also  below,  under  Operas. 
Odes,  or  fragments  of  Odes,  in  score. 


1.  Ode  for  St.  Cecilia's  day,  beginning 
"Hail,  bright  Cecilia";  with  sym- 
phonies and  accompaniments  for 
trumpets,  oboes,  flutes,  strings  and 
kettle-drum.  "  Henry  Purcell." 
[1692.]  Transcribed  in  Jan.  1699, 
in  the  same  hand  as  Fitzwilliam 
MS.  30  G.  10,  which  is  (?  erroneously) 
ascribed  to  Dr.  Blow.  The  names 
given  do  not  appear  to  be  those  of 
the  original  singers,     ff .  1 -37b. 

2.  Ode  for  St.  Cecilia's  day,  beg. 
"  Patron  of  the  tuneful  Nine  "  ;  with 
symphonies  and  accompaniments  for 


trumpets,  horns,  flutes,  oboes,  and 
strings.  The  name  Excell  on  f .  134 
may  be  meant  for  [John]  Eccles, 
who  is  the  composer  of  no.  3. 
ff. 133-149. 
3.  "A  Song  sung  before  y°  Queen  on 
her  birthday"  [1693],  beg.  "Cele- 
brate this  Festival  "  :  being  an 
arrangement  for  a  treble,  with  figured 
bass,  of  the  first  part  of  the  ode 
beginning  with  those  words  (c/. 
Add.  22099,  f .  66,  below,  p,  216). 
"  Hen.  Purcell."     f.  181b. 


Additional  31457,  ff.  1-44. 

Paper  ;  late  17th  cent.      Folio.     See  also  under  Services  (vol.  i,  p.  402). 
Odes,  in  score. 


1.  Ode  for  St.  Cecilia's  day,  beg. 
"  Welcome,  welcome,  every  guest "  ; 
difierent  from  the  ode  beginning 
with  those  words  in  the  Atnphion 
Anglicus, 1700.  "Dr.  Blow."  Aido- 
graph.     f.  1. 

2.  Ode  (?  for  the  Duke  of  Nassau's 
birthday),  beg.  "Welcome,  welcome, 


Genial  Day."  Presumably  also  by 
Dr.  Blow.  Imperfect  at  the  end. 
f.ll. 
3.  Ode  for  William  Ill's  birthday, 
beg.  "  Welcome,  wellcome,  happy 
day."  Possibly  this  is  a  continuation 
of  no.  2.     f .  26b. 


Additional  33287,  ff.  14b,  21b,  26b,  37,  53-229b. 

Paper;  late  17th  cent.  etc.  Large  folio.  The  MS.  was  bequeathed  by 
William  Henry  Husk.  It  also  contains  Cantatas  (above,  p.  14),  Duets  (p.  60), 
and  Songs  and  Trios,  described  below. 

Odes  and  Occasional  Songs,  with  instrumental  accompaniments,  in 
full  score.  The  names  of  the  instruments  employed  are  not  given, 
except  where  stated  below. 


1.  "Hark,    how    the    wild    Musitians 
sing."     "  Henry  Purcell."     f .  14b. 

2.  " 'Tis    not     to    add     new     glorys." 
"William  Turner."     f.  21b. 

3.  "Raise,   raise    y*  voice"  :    ode    to 


St.  Cecilia  [1683].     Imperfect  at  the 
end.     "H.  Purcell."     f.  26b. 
4.  "Celestial    musick " :    "Mr.   Maid- 
well's   Ode"    [1689].     By  the   same. 
In  a  rather  later  hand.     f.  37. 


The  following  numbers  consist  of  IS'ew  Year  Songs,  Birthday 
Songs,  Welcome  Songs,  and  Odes  for  St.  Cecilia's  Day.  Nos.  5-25  are 
(with  two  exceptions)  addressed  or  dedicated  to  Charles  II,  the 
remainder  to  James  II. 

Jove."       By    the 


5.  "  Great  Janus."     "  Dr.  John  Blow." 
f.53. 


6.  "The    Birth    of 
same,     f .  58. 


ODES. 


213 


7.  "How  does  the  New  born  Infant 
Year."    1685.     By  the  same.     f.  63. 

8.  "See,  mighty  S',  the  day  appears." 
"  Pelham  Humpherys."     f.  69b. 

9.  "When  from  his  Throne."  By  the 
same.     f.  72. 

10.  "Dread  S"",  the  Prince  of  Light." 
"  Dr.  John  Blow."     f.  75. 

11.  "Swifter,  Isis,  swifter  flow." 
1681.  With  accompaniments  for 
flutes,  oboes,  etc.  "Henry  Purcell." 
f.  78b. 

12.  "Arise,  great  Monarch."  "Dr. 
John  Blow."     f.  84b. 

13.  "Oh,  mighty  Prince,  whose  Loud 
or  Dreaded  Name."  "  William  Tur- 
ner."    f.  89b. 

14.  "The  New  Year  is  begun."  "Dr. 
John  Blow."     f.  98. 

15.  "Welcome  to  all  the  pleasures": 
for  St.  Cecilia's  day,  22  Nov.  1683. 
"  Henry  Purcell."     f .  96b. 

16.  "  Begin  the  song ;  your  Instruments 
advance  "  :  for  St.  Cecilia's  day,  1684. 
"  Dr.  John  Blow."     f.  103. 

17.  "Great  Sir,  the  joy  of  all  our 
hearts."   16[81].   By  the  same.  f.  112. 

18.  "My  trembling  song,  awake." 
1684.     By  the  same.     f.  118. 


19.  "Dread  Sir,  Father  Janus."  By 
the  same.     f.  125. 

20.  "Fly,  bold  Rebellion."  1683. 
"  Henry  Purcell."     f.  130b. 

21.  "Hail,  Monarch  [James  II]  sprung 
of  Race  Divine."  January  1st, 
1686[-7].     Dr.  John  Blow.     f.  138b. 

22.  "What,  what  shall  be  done  in 
behalf e  of  the  Man":  "A  welcome 
song  perform' d  before  James,  Duke 
of  York,  on  his  return  from  Scotland, 
1682  "  ;  with  symphony  and  accom- 
paniments for  flutes,  etc.  "Henry 
PurceU."     f.  148b. 

23.  "The  summer's  absence."  Octo- 
ber 21st,  1682.     By  the  same.    f.  155. 

24.  "  From  hardy  Climes,"  "performed 
to  George,  Prince  of  Denmark,  upon 
his  marriage  with  y°  Lady  Ann, 
daughter  to  James  D[uke]  of  York" 
[1683].     "  Henry  Purcell."     f .  162. 

25.  "  From  those  serene  and  rapturous 
joyes."  1684.  By  the  same, 
f .  168b. 

26.  "Why,  why  are  all  the  Muses 
mute."  1685.  By  the  same.  The 
hand  changes  in  the  middle  of  this 
article,     f.  177. 


The  remaining  numbers  are  in  different  and  rather  later  hands. 


27.  "  SounS.  y°  trumpet.  Beat  y» 
Drum."  1687.  "Henry  Purcell." 
The  names  of  the  original  singers  are 
given  :  [  John  ]  Abell,  —  Robeart, 
[Alphonso]  Marsh  [jun.],  [John] 
Bowman,"  and  [William]  Turner, 
f.  187b. 

28.  "Yee  tunefuU  Muses."  1686.  By 
the  same.  The  solos  were  taken  by 
Messrs.  Abell  and  Turner,     f .  198. 

29.  "Yee  sons  of  Pheabus  "  ;  with 
accompaniments  for  trumpets,  flutes. 


violins,  eic.  "  Dr.  John  Blow,"  The 
singers'  names  given  are  Messrs. 
Abell,  Turner,  Bowman  and  Gosling, 
f . 209b. 
30.  "  From  Harmony."  [Dryden's  Ode 
for  St.  Cecilia's  day,  1687].  With 
accompaniments  for  trumpets,  violins, 
etc.  Imperfect  in  the  middle  and 
at  the  end.  By  G.  B.  Draghi  (?). 
The  only  singer  named  is  Abell. 
f .  221b. 


Additional  5333,  ff.  62-83, 

Paper ;  early  18th  cent.     Small  folio.     See  also  below,  under  Operas. 

"A  Song  compos'd  by  Mr.  H.  Purcell  for  y^^  Yorkshire  Feast'' 
[1689];  with  symphony  and  accompaniments  for  trumpets,  flutes,  oboes, 
and  strings,  in  full  score.  Transcribed  by  Dr.  William  Croft.  Begins 
"  Of  old,  when  heroes." 


214 


VOCAL  MUSIC— SECULAR. 


Additional  17835,  ff.  89,  134. 

Paper;  early  18th  cent.     Folio.     See  also  under  Motets  (vol.  i,  p.  294). 
Two  Odes  or  Bii-thday  Songs,  in  full  score. 


1.  "Celebrate  this  Pestivall " ;  in 
honour  of  Queen  Mary  [1693].  For 
5  solo  voices  and  4-part  chorus,  with 
accompaniments  for  trumpets,  oboes, 
flutes,  and  violins.  "Hen.  Purcell." 
f.  89. 


2.  "  Hail,  happy  day,  auspicious  light "  ; 
in  honour  of  Queen  Anne.  For  solo 
voices  and  chorus,  with  accompani- 
ments for  oboes  and  violins.  "  [Tho- 
mas] Tudway."     f.  134. 


Additional  29378,  ff.  96-138. 

Paper  ;  early  18th  cent.     Folio.     See  also  below,  under  Operas. 

"Europe's  Revells  on  y^  Peace"  [of  Ryswick,  1697],  beg.  "Arm, 
arm,  arm,  Bx'ittians  "  (sic)  ;  with  symphonies  and  accompaniments  for 
trumpets,  drums,  flutes,  etc.,  in  score,  by  John  Eccles.  Among  the 
singers  were  Mrs.  Willis  and  Mr.  Wiltshire  (see  f.  123). 

Additional  29399. 

Paper ;   ff.  49.     Early  18th  cent.     Folio.     Bookplate  of  Edmund  P.  Warren 
Home. 

"A  Song  sung  att  Ceciha's  Feast"  [1692],  beg.  "Hail,  bright 
Cecilia " ;  with  accompaniments  for  trumpets,  oboes,  flutes,  violins, 
and  kettle-drum,  in  full  score,  by  Henry  Purcell.  The  only  singer 
named  is  —  Woodson. 


Additional  31405,  ff.  145-153. 
Paper  ;  early  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  48). 
Two  Odes,  in  score. 


"A  Song  on  her  majestie's  Birth 
Day"  (in  honour  of  Queen  Anne), 
beg.  "  Blest  day,  arise."  With  figured 
bass,  and  ocasionally  parts  for  oboe, 
etc.  In  score.  Anonymous,  ff .  145- 
147b. 

.  A  Marriage  Ode,  beg.  "Bring,  shep- 
heards,  bring  the  kids";  with 
accompaniments    for     trumpet    and 


strings,  in  score.  By  Dr.  Blow. 
This  copy  appears  to  end  with  an 
alto  solo,  "For  frute  we'll  invoke" 
(which  is  not  given  in  Amjjhion 
Angliciis),  instead  of  the  chorus, 
"  Sing,  ye  muses,  and  revere,"  with 
which  the  copy  in  Add.  31452,  f.  67b 
(below,  p.  215),  ends.     fi.  153-158b. 


Additional  31448,  ff  l-30b. 

Paper  ;  early  18th  cent.     Folio.     See  also  below,  under  Operas. 
Two  Odes  to  St.  Cecilia,  in  score,  by  Henry  Purcell. 


1.  "Hail,  bright  Cecilia"  [1692];  with 
accompaniments  for  trumpets,  oboes, 
flutes,  violins,  and  kettle-drum, 
fi. l-25b. 


2.  "  Wellcom  to  all  the  pleasures" 
[1683] ;  with  accompaniments  for  vio- 
lins, etc.     ff.  26-30b. 


ODES. 


215 


Additional  31452,  ff.  15-100. 

Paper  ;  early  18th  cent.     Folio.     See  also  below,  under  Operas. 

Odes,  with  symphonies  and  accompaniments  for  trumpets,  strings, 
etc.,  in  score.  Transcribed  by  Dr.  William  Croft,  with  the  exception  of 
the  last.     Nos.  2,  3  (?),  4  and  5  are  by  Dr.  John  Blow. 


1.  "  Ode  for  the  Duke  of  Gloster's  birth- 
day ..  .  July  24th,  1695."  With 
accompaniments  for  oboes,  etc. 
"  Henry  Purcell."  Begins  "  Who 
can  from  joy  refrain."    ff.  15-28. 

2.  "Welcom,  welcome,  every  guest": 
styled  in  the  index  "  opera,"  but  in 
Add.  31457,  f.  1  (above,  p.  212),  "  Ode 
for  St.  Cecilia's  day."  Among  the 
instruments  for  which  it  is  written 
are  flutes,     f.  47. 

3.  "The  nymphs  of  y'=  wells";  with 
accompaniments  apparently  for 
violins  only.  Apparently  a  Birthday 
Ode  for  King  Charles  II,  unless  it  is 
a  continuation  of  no.  2,  which  is 
hardly  probable ;  it  is,  however,  not 
mentioned  in  the  index,     f.  54b. 

4.  "  Bring,  sheaperds,  bring  y"  kids  "  : 
a  Marriage  Ode,  ending  with  the 
chorus  "  Sing,  yee  muses,  and  reuere," 
which  is  not  given  in  Ampliion  An- 


glicus.  The  present  version  differs 
in  many  respects  from  the  one  given 
there,     f.  62. 

5.  "Hail,  y"  Infant  year":  described 
in  the  index  as  "  A  Bearthday  Song," 
but  really  for  the  New  Year.     f.  71. 

6.  "Barbadoes  Song,"  beg.  "No  more, 
great  Rulers  of  y^  sky";  written  on 
the  occasion  of  a  great  hurricane 
in  the  island  (before  the  well-known 
one  in  1780).  It  has  a  prelude  for 
trumpets,  oboes,  strings,  kettle-drum 
and  theorbo.  According  to  the 
index  (which  appears  to  be  in  the 
same  hand)  it  was  composed  by  J.  K. 
[?  James  Kent,  who  owned  the 
volume  before  1737]  or  J.  R.  This 
is  probably  a  mistake  for  J.  C,  sc. 
Jeremiah  Clarke,  who  is  known  to 
have  written  a  Barbadoes  song.  For 
the  writing  compare  Add.  31449  and 
Add.  30934,  f.  3.     f.  82b. 


Additional  31447,  flf.  65-1 47b. 

Paper  ;  about  1700.     Folio.     See  also  below,  under  Operas. 

Odes  by  Henry  Parcel],  in  slightly  compressed  score.  They  are  all 
written  with  symphonies  and  accompaniments  for  strings,  and  in  most 
instances  for  trumpets  and  oboes  also.  Other  instruments  mentioned 
will  be  indicated  where  they  occur. 


1.  "St.  Ca3cilia's  Song,  1692,"  beg. 
"Hail,  bright  Csecilia"  ;  with  flutes, 
kettle-drum,  etc.     i.  65. 

2.  "Yorkshire  Song,"  beg.  "Of  old 
when  Heroes."  "  March  27,  1690." 
f.79. 

3.  "Du[ke]  of  Gloucester's  Birth-Day's 
Song"  [1695],  beg.  "Who  can  from 
joy  refrain."     f.  87. 

4.  "  A  wellcom  Song  ....  1687,"  beg. 
"Sound  the  trumpet";  with  the 
names  of  the  original  singers,  Messrs. 
[John]  Abell,  —  Robart,  [Alphonso] 
Marsh  [jun.],  [John]  Bowman,  and 
[William]  Turner,     f .  94. 


5.  "Queen's  Birth-Day's  Song,"  beg. 
"  Celebrate  this  Festivall."  "April 
30,  1693."     f.  100. 

6.  "  A  Welcome  Song  at  the  Prince  of 
Denmark's  comeing  home"  [1689], 
beg.  "Welcome,  vicegerent."     f.  107. 

7.  "Queen's  Birth-day  Song,  1691," 
beg.  "Welcome,  welcome,  glorious 
morn."     f.  112. 

8.  "Queen's  Birth-day's  Song,  1690," 
beg.  "  Arise,  my  muse."  The  words 
by  T.  D'Urfey.     f.  121b. 

9.  "Queen's  Birth-Day's-Song,  1692," 
beg.  "Love's  Goddess."     The  words 

by  Charles  Sedley.     f.  130. 


216 


VOCAL  MUSIC— SECULAR. 


10.  "A  Commemoration  Song  Perform'd 
att  Christ  Church  in  Dublin,  Jan''  y' 
9, 169J,"  for  the  University  Centenary. 


It  begins  "Great  Parent  hail,"  and 
is  written  for  flutes,  etc.     f.  140. 


Additional  31456. 

Paper  ;  fi.  29.     a.d.  1703.     Small  folio. 

"  Inspire  us  .  .  .  genius  of  y«  day  "  :  Ode  "  for  the  [Queen's]  birth- 
day," 1703,  with  symphonies  and  accompaniments  for  oboes,  strings,  etc., 
in  score,  by  John  Eccles.  Apparently  autograph,  and  in  the  same  hand 
as  the  "  Macbeth  "  music  in  Add.  12219  (see  below,  under  Operas).  The 
names  of  the  [original  ?]  singers  given  are  [Richard]  Elford,  [Alexander] 
Damascene,  [Daniel]  Williams,  —  Robert,  and  —  Cook.  Apparently 
begun  in  honour  of  William  III,  discontinued  at  his  death  on  8  March, 
1702,  and  finally  completed  in  1703  in  praise  of  Queen  Anne. 


Additional  31540. 

Paper ;  ff.  94.  About  170.3  (see  below).  Folio.  The  MS.  appears  to  have 
belonged  successively  to  Joseph  Warren,  Rev.  John  Parker,  William  Russell  of 
Deptford,  and  V[incent]  Novello  (1830). 

'*0de  to  Harmony,"  beg.  "Awake  ....  Celestial  Harmony";  for 
solo  voices  and  choruses  of  4,  5,  and  6  voices,  with  symphonies  and 
accompaniments  for  trumpets,  oboes^  and  strings,  and  a  figured  bass 
for  organ,  in  score.  Composed  by  Philip  Hart,  whose  signature  is 
at  the  end  (f.  94).  Evidently  the  "  Ode  in  Praise  of  Musick  "  written 
by  him  in  1703. 

Additional  22099,  f.  66. 

Paper  ;  about  1704-1706.     Folio.     See  also  below,  under  Operas. 

"  Celebrate  this  Festival,"  by  Henry  Purcell.  Described  in 
Orpheus  Britnnnicus  as  "  A  song  sung  before  the  Queen  on  Her  Birth- 
day "  [1693],  being  an  arrangement  for  a  single  voice  of  the  more 
elaborate  Ode  which  is  given  in  full  in  Add.  17835,  f.  89.  etc.  (above, 
p.  214). 

Additional  5052. 

Paper ;  ff .  26.     [a.d.  1707  ?— see  below.]     Oblong  folio. 

"  '  Britannia  and  Augusta ' :  an  Ode  in  honour  of  the  late  [William 
Cavendish,  1st]  Duke  of  Devonshire,  written  by  Mr.  John  Hughes,  set 
to  music  by  M.  Jn°  Christ.  Pepusch  ";  for  2  solo  voices,  with  Introduction 
and  accompaniments  for  flutes,  oboes,  and  strings,  in  score.  Begins  "  Ye 
Gen'rous  Arts." 

Additional  31455,  parts  i-iv,  passim. 
Paper ;  after  1713.     Small  folio.     See  also  below,  under  Operas. 

Tenor,  counter-tenor,  bass  and  thorough-bass  parts,  of  the  principal 
vocal  numbers,  other  than  solos,  in  the  following  Odes  : — 

1.  "The     Yorkshire     [Feast]      Song."  iii,  f .  15 ;  iv,  f.  27b. 

"[H.]  Purcell."     i,  f.  8b;    ii,  f.  lib ;       2.  "Dr.  Croft's   Act   Musick,"  sc.  one 


ODES. 


217 


of  the  two  odes  [beg.  "  With  noise 
of  cannon  "]  performed  for  his 
Doctor's  degree  in  1713.  Written 
in  honour  of  the  Peace  of  Utrecht 
and  published  at  the  time,  along 
with  a  Latin  Ode  composed  on  the 
same  occasion,  as  Musicus  Apparatus 
Academicus.  i,  f.  9b  ;  ii,  f.  12b ;  iii, 
f .  16b  ;  iv,  f .  32. 
3.  "A  Song  on  the  Queen's  Birthday," 
[beginning?]    "Prepare,   ye   sons   of 


art."      "Dr.  Crofts."      i,   f.  10b;  ii, 
f .  9b ;  iii,  f .  13  ;  iv,  f .  49b. 

4.  "A  Song  on  New  Year's  day  For 
King  Charles  the  2*,"  beg.  "How 
does  y'  new  born  Infant  year." 
"Dr.  Blow."  i,  f.llb;  ii,  f .  14  ;  iii, 
f .  19  ;  iv,  f .  35b. 

5.  "A  Song  on  Queen  Mary's  Birth 
Day,"  beg.  "Arise,  my  muse." 
"[H.]  Purcell."  i,  f ,  13b  ;  ii,  f .  17  ; 
iii,  f .  26  ;  iv,  f .  54b. 


Additional  31504,  ff.  83b,  148b. 

Paper  ;  after  1740.     Polio.     See  also  below,  under  Songs. 
Portions  of  Odes,  with  figured  basses,  in  score,  by  Handel. 


1.  "Come   and    trip   it   as    you  go"; 
from  "  [II]  Penseroso  "  [1740].   f.  83b. 

2.  "Kind    health    descends":    treble 


solo  with  2  violins,  written  "upon 
the  Queen  Ann's  hearth  {sic)  day." 
"Handle."     f.l48b. 


Additional  31814,  fi".  l-20b. 

Paper ;  a.d.  1761.     Oblong  folio.     See  also  under  Catches  (above,  p.  34). 

"  Hark  !  thro  yon  fretted  vaults " ;  for  solo  voices  and  4-part 
chorus,  with  overture  and  accompaniments  for  trumpets,  flutes,  horns, 
bassoons  and  strings,  and  a  figured  bass  for  organ,  in  score,  by  William 
Savage.     Autograph. 

Additional  35003,  £F.  121-132. 

Paper;  a.d.  1782.     Oblong  folio.     See  also  under  Motets  (above,  p.  349). 

"  On  the  Death  of  Mr.  William  Kingsbury,"  beg.  "  And  is  he 
then  set  free ; "  for  1  and  2  voices,  with  a  figui'ed  bass,  in  score,  by 
Samuel  Wesley,  May  30,  1782. 

Additional  31671,  flf.  72-86b. 

Paper ;  a.d.  1784.     Oblong  folio.     See  also  under  Catches  (above,  p.  31). 

"  Hail,  Festive  Day,  that  glads  the  circling  year  "  :  Ode  com- 
posed "  for  the  Chapel  Royal  Feast,  July  30th,  1784."  By  Thomas 
Sanders  Dupuis.  Autograph.  For  solo  voices  (Messrs.  Dyne  and 
Bellamy,  etc.)  and  chorus,  with  pianoforte  accompaniment,  in  score. 


Additional  27635. 

Paper  ;  ff.  141.     a.d.  1785.     Oblong  folio. 

Ode  to  the  Humane  Society,  beg.  "  Religion,  hail  "  ;  for  solo  voices 
and   5-part    chorus,    with    overture    and    accompaniments    for   drums, 


218  VOCAL  MUSIC— SEOUL AE. 

trumpets,  horns,  oboes,  flutes,  bassoons,  and  strings,  and  a  bass  (partly 
figured)  for  harpsichord  and  organ,  in  score.  The  words  by  Edward 
Burnaby  Greene,  the  music  by  J[ohn]  [Wall]  Callcott.  Autograph. 
Two  songs,  "  Many  a  wretch  "  (f.  137b)  and  "Amid  the  conscious  host" 
(f.  138b),  appear  to   have   been  added  "for  Mr.  [John]  Sale,"  in  1786. 


Additional  27636,  S.  58b,  85. 

Paper  ;  a.d.  1785.     Oblong  quarto.     See  also  under  Anthems  (vol.  i,  p.  73). 

Odes,  for  4  solo  voices  and  chorus,  with  accompaniments  for  oboes, 
horns,  2  violins,  viola,  violoncello  solo,  and  bass  for  bassoons  and 
double  bass.  The  second  Ode  has  also  parts  for  flutes,  trumpets,  and 
drums.     In  score.      By  J.  W.  Callcott.     Autograph. 

1.  "If  ought  of  oaten  stop  or  pastoral  j  [Benjamin]  Cooke  playhig  the  organ, 

song":  "  Ode  to  Evening,  by  [Wil-  |  f.  58b. 

liam]  Collins,"  composed  in  January-  j  2.  [Thomas]  Warton's  "  Ode  to  Fancy," 

March,   1785,   and    "performed    for  |  beg.  "  0  Parent  of  each  lovely  Muse," 


the   first    time  at    the   Academy  of 

Ancient  Music  ...  14  April,  1785." 

The   1st  violin   part    was   taken  by 

[Luigi]   Borghi,   the    violoncello   by 

[Stephen  ?]    Paxtou,    the    principal 

vocalists    being   [James]   Bartleman 

(then  soprano),  [John]  Dyne,  [John?]    !       played  the  organ,     ff.  85-128b. 

Hindle,  and  [Richard]  Bellamy,  Dr. 


composed  by  Callcott,  1785,  as  an 
exercise  for  his  Bachelor  of  Music's 
degree  at  Oxford  (see  f.  1  and  Add. 
27635,  f.  lb,  above).  The  chorus  is  for 
5  voices,  [J.  P.]  Salomon  was  1st 
violin    and     [Dr.    J.    C]    Beckwith 


Additional  27637. 

Paper  ;  ff.  74.     a.d.  1786.     Oblong  folio. 

"The  Bard":  Ode  [by  Thomas  Gray],  beg.  "Ruin  seize  thee, 
ruthless  king " ;  for  solo  voices  and  4-part  chorus,  with  symphonies 
and  accompaniments  for  drums,  trumpets,  horns,  oboes,  bassoons,  and 
strings,  and  a  bass  (partly  figured)  for  harpsichord,  in  score.  [By  J.  W. 
Callcott.]     "June  17,  1786."     Autograph. 

Additional  27756. 

Paper  ;  ff.  98.  a.d.  1788  (see  end).  Oblong  folio.  The  MS.  belonged  to  Daniel 
Carnley,  of  Hull,  in  1834,  and  was  "  presented  to  the  .  .  .  British  Museum,  according 
to  the  desire  of  the  late  Sir  George  T.  Smart,  by  P.  M.  Smart,  executrix,  1867." 

"  Ode  to  the  Genius  of  Britain,  composed  by  T.  S[anders]  Dupuis, 
written  by  the  Rev'^  Tho^  Skelton  Dupuis,  A.B.,  perform'd  in  the 
Music  School  at  Oxford  as  an  Exercise  for  the  Degrees  in  Music 
[25  June,  1790]."  It  is  in  full  score  and  begins  "Immortal  Harmony." 
The  names  of  the  singers  apparently  at  the  first  performance  and  on 
one  or  two  subsequent  occasions  are  given.  Among  them  are  Mrs. 
Storace,  James  Bartleman,  Michael  Kelly,  Charles  Knyvett,  and  Miss 
Theodosia  Abrahams. 


ODES.  219 

Additional  27755. 

Paper ;  ff.  148.     About  1788.     Quarto.     Bequeathed  by  Sir  George  T.  Smart. 

"  Ode  to  the  Genius  of  Britain  "  :  a  neat  contemporary  copy  of  the 
above  (Add.  27756). 

Additional  9284. 

Paper;  ff.  16.  a.d.  1794  (see  f.  1).  Oblong  quarto.  Presented  in  1821  by 
T.  Monzani,  the  flute-player,  to  whom  it  had  been  given  by  the  Earl  of  Abingdon 
(see  below). 

Two  NUMBERS  from  an  unfinished  composition  for  solo  voices  and 
chorus  with  accompaniments  for  trumpets,  drums,  horns,  oboes,  flutes, 
clarinets,  bassoons,  and  strings,  in  score,  by  G.  (sc.  Franz  Joseph)  Haydn. 
Autograph.  The  words  are  taken  from  Needham's  "  Invocation  of 
Neptune  "  prefixed  to  Selden's  Mare  Clausum,  and  were  set  to  music  at 
the  request  of  [Willoughby  Bertie,  4th]  Earl  of  Abingdon. 

1.  Bass   solo  (Neptune),  "  Nor    can    I   :  2.  Chorus   for   two   sopranos   and   two 
think  my  suit  is  vain."     f.  2.  I       tenors,  "  My  great  endeavours."   f.  7. 

Additional  14339. 

Paper ;  ff.  122.  a.d.  1794.  Quarto.  Belonged  to  Charles  Stokes,  and  given 
by  his  widow,  in  1839,  to  Vincent  Novello. 

"  Begin,  begin  the  noble  song  "  :  Ode  to  St.  Cecilia,  for  solo  voices 
and  5-part  chorus,  with  symphonies  and  accompaniments  for  drums, 
trumpets,  horns,  oboes,  bassoons,  and  strings,  and  a  bass  (partly 
figured)  for  organ,  in  score.  By  "  S.  Wesley,  finished  October  21,  1794." 
Autograph. 

Additional  30951,  ff.  94-97. 

Paper  ;  about  1795.     Quarto.     See  also  below,  under  Operas. 

"  Begone,  disperse  like  air "  :  fragment  with  a  bass  and  accom- 
paniments for  two  flutes,  in  score,  hj  Charles  Dibdin.  Autograph. 
[From  the  Ode  "in  Honour  of  the  Nuptials  of  the  Prince  and  Princess 
of  Wales,"  1795.] 

Additional  30952,  fi*.  17b-46. 

Paper ;  about  1795.     Quarto. 

Recitatives  and  airs,  "Hail,  lovely  wonder,"  and  "In  gliding 
measure,"  with  accompaniments  for  a  flute  (?)  and  pianoforte,  in  score 
[from  the  Ode  as  above.  Add.  30951],  by  Charles  Dibdin.     Autograph. 


220 


VOCAL  MUSIC— SECULAR. 


Additional  30953,  ff.  18,  29,  32. 

Paper  ;  about  1795.     Quarto.     See  also  below,  under  Oi^eras. 

Portions  of  Odes,  with  accompaniments  for  pianoforte  or  harpsi- 
chord and  (?)  violin,  in  score,  by  Charles  Dibdin.     Autograpli. 

clarinets,  horns,  bassoons,  and  (?) 
trombones,  from  an  "  ode  in  honour 
of  his  Majesty's  birthday."  f.  29. 
3.  "Descend  and  consecrate";  from 
the  same  work  from  which  no.  1  is 
taken.     Two  settings,     ff.  32,  33. 


1.  "Nor  thou,  Thalia,"  [from  the  ode 
"  in  Honour  of  the  Nuptials  of  the 
Prince  and  Princess  of  Wales,"  1795]. 
f.  19. 

2.  "  What  need  from  the  Pierian 
choir "  ;    followed    by  a   March    for 


Additional  33237,  ff.  123-228  passm. 


Paper;    about   1796-1799   (see  ff.  122, 
under  Operas. 


184).      Oblong  folio.      See  also  below. 


Occasional  songs  for  solo  voices  and  chorus,  with  accompaniments 
for  strings  and  other  instruments,  in  score,  by  Henry  Purcell.  ISTos.  1 , 
2  are  in  the  hand  of  J.  P.  Hobler  ;  the  rest  in  that  of  J.  W.  Dodd,  the 
original  owner  of  the  volume  (see  f.  122). 

beg.  "From 


1.  "Queen  Mary's  Birth-day  Song" 
[1693],  beg.  "Celebrate  this  Festi- 
val "  ;  with  symphony  and  accom- 
paniments for  trumpets,  oboes,  etc. 
fi.  123-146b. 

2.  "  The  Song  sung  at  the  Yorkshire 
Feast,  1689,"  beg.  "Of  old,  when 
heroes  "  ;  for  the  same  instruments, 
ff . 147-167b. 

3.  "  A  Song  perform'd  to  Prince  George 
[of  Denmark]  upon  his  marriage  with 


the  Lady  Anne"  [1683], 
hardy  climes."     f.  185. 

4.  "A  Song  that  was  perform'd  at  Mr. 
INfaidwell's,  a  Schoolmaster,  on  the 
5th  of  Aug'*,  1689,  the  words  by  one  of 
his  Scholars  "  ;  with  accompaniments 
for  flutes,  etc.  Begins  "  Celestial 
Music."     f.204b. 

5.  Ode,  "  Hark,  hark,  how  the  wild 
musicians  sing."     f .  220. 


Additional  31813,  ff  7,  84-1 06b,  128,  133. 
Paper  ;  about  1798.     Oblong  folio.     See  also  below,  under  Operas. 


Odes,  or  portions  of  Odes,  in  score. 

1.  Chaconne  (the  one  to  which  Handel 
wrote  62  variations),  and  bass  air, 
"  While  Caesar  like  y°  morning  star," 
from  "a  Wellcome  Song"  ["Sound 
the  trumpet,"  1687],  "  by  H.  Purcell." 
The  chaconne  and  the  accompani- 
ments to  the  air  appear  to  have  been 
written  for  4  strings,     f.  7. 

2.  "  0  Harmony,  where's  now  thy 
power":  "A  song  on  New  Year's 
Day,  1706"  ;  with  flutes,  strings,  and 
figured  bass  for  harpsichord  or  organ, 
several  of  the  parts  being  supplied  by 
the  transcriber.     The  names  of   the 


principal  performers  are  given, 
[John]  Banister  (principal  violin), 
and  [Richard]  Elford,  —  Mason, 
[John]  Church,  —  Freeman,  and 
—  Williams.  This  and  nos.  3,  4  are 
by  Jeremiah  Clarke,  and  in  the  hand 
of  R.  J.  S.  Stevens,     f.  84. 

.  "  Welcome,  Beauty  "  ;  with  trumpet, 
strings,  and  figured  bass  for  harpsi- 
chord or  organ.  Copied  "From 
[William  ?]  Savage's  Manuscript." 
ff .  99-106b. 

.  "  Whilst  the  French  their  Arms 
discover  "  :  song  with  bass  [from  the 


Ode    on    the    Union    of    King    and 
Parliament,  1700].     f.  128. 
5.  "Here    shall    soft   charity":    duet, 
with     accompaniments    for    strings. 


ODES.  221 

and  a  figured  bass  for  harpsichord 
or  organ  [from  the  Leicester  Ode]. 
"  [Br.  William]  Boyce."     ff.  133-139. 


Additional  11518,  ff.  58-71. 

Paper  ;  18th  cent.     Quarto. 

Portions  of  Handel's  "  L' Allegro,"  introduced  by  Dr.  Arne  into 
his  "  Comus."     See  below,  under  Operas. 

Additional  17858,  ff.  3-llb. 

Paper ;  18th  cent.     Oblong  folio.     Presented  in  1849  by  Vincent  Novello. 

Addison's  Ode,  "  The  Spacious  firmament  on  high  "  ;  for  solo  voices 
and  chorus,  with  instrumental  accompaniments,  in  score,  by  Dr. 
[JMaurice]  Greene. 

Additional  31693. 

Paper ;  fi.  68.     18th  cent.     Quarto. 

"  High  on  the  bounding  Bark  "  :  Ode  for  solo  voices  and  4-part 
chorus,  with  symphonies  and  accompaniments  for  flutes,  horns,  oboes, 
trumpets,  drums,  bassoons,  and  strings,  in  score,  by  J[ohn  ?]  Worgan. 


Additional  35347. 

Paper ;  ff .  32.  18th  cent.  Quarto.  The  MS.  belonged  to  Dr.  J[ohn]  Randall 
and  latterly  to  the  [Rev.]  J[ohn]  R[obert]  Lunn,  who  appears  to  have  acquired 
it  from  Dr.  [Thomas  Attwood]  Walmisley.  Presented  by  Augustus  Hughes- 
Hughes,  Esq. 

"Serenata  on  Queen  Ann's  Bii'th  Day,  1714,"  sc.  the  Birthday 
Ode  performed  before  the  Queen,  6  Feb.  1714.  It  begins  "Eternal 
Source  of  Light  Divine,"  and  is  written  for  solo  voices  and  double 
chorus,  with  symphonies  and  accompaniments  for  trumpets,  oboes, 
bassoons,  and  strings,  in  score,  by  [George  Frederic]  "  Handell."  The 
present  MS.  closely  resembles  that  in  Christopher  Smith's  hand,  but  in 
one  or  two  passages  follows  more  nearly  the  autograph  (see  the 
account  of  the  composition  in  the  Handel  Gesellschaft's  publications, 
vol.  xlvi^). 

Additional  25078,  f.  16b. 

Paper  ;  late  18th  cent.     Oblong  folio.     See  also  below,  under  Operas. 

"  Thou  soft  flowing  Avon  " ;  with  a  bass  for  harpsichord,  in  score 
[from  the  "  Ode  ...  to  Shakespeare,"  by  T.  A.  Arne,  1769]. 


222 


VOCAL  MUSIC— SECULAR. 


Egerton  2492. 

Paper ;  ff.  126.     a.d.  1812.     Quarto. 

"  O  Gaurdian  (sic)  oi  that  sacred  land":  Ode  "to  the  Witches 
and  Fairies  of  Shakespeare,"  composed  [1776]  for  solo  voices  and  4-part 
chorus,  with  overture  and  accompaniments  for  drums,  trumpets,  horns, 
oboes,  and  strings,  and  a  figured  bass  for  harpsichord,  in  score,  by 
Thomas  Linley,  jun.  An  account  of  him  is  given  on  ff.  2  and  126, 
by  Matthew  Cooke,  who  transcribed  the  MS.  in  1812, 

Additional  30396. 


Paper;   ff.30. 
of   the   golden    lyre " 


A.D.  1820.     Folio. 


"  Spirit  of  the  golden  lyre " :  "  Ode  on  the  King's  Accession 
[George  IV],  May,  1820";  for  solo  voices  and  4-part  chorus,  with 
symphonies  and  accompaniments  for  trumpets,  drums,  trombones,  flutes, 
oboes,  clarinets,  horns,  bassoons,  strings,  and  pianoforte,  in  score,  by 
Dr.  William  Crotch.  Autograph.  The  words  by  the  Rev.  J[ohn  Josias] 
Conybeare,  Professor  of  Poetry  [at  Oxford].  The  soloists  were  Miss 
Stephens,  Mrs.  Salmon,  Master  Marshall,  W.  Knyvett,  [William] 
Hawes,  [Thomas]  Vaughan,  [James]  Bartleman,  and  [Richard] 
Bellamy. 


Paper;  ff.68. 
Whinfield. 


Additional  36961. 

A.D.  1821.    Oblong  folio.   Bequeathed  in  1904  by  Edward  Wrey 


"  Grand  Triumphal  Ode.  In  Honour  of  the  First  Anniversary  of 
His  Majesty's  Accession.  .  .  .  Performed  at  the  Oratorios,  Theatre 
Royal,  Co  vent  Garden,  March  9th,  1821.  Composed  by  Henry 
R[owley]  Bishop.  The  Poetry  by  R[obert]  Sou  they  .  .  .  andW[illiam] 
F[rederick]  Collard;"  Written  for  solo  voices  and  4-part  chorus, 
with  prelude,  symphonies,  and  accompaniments  for  drums,  trombones, 
trumpets,  horns,  clarinets,  flutes,  oboes,  bassoons,  and  strings,  in  score ; 
with  a  separate  score  at  the  end  for  2  harps.  Autograph.  Begins 
"  Lord  God  of  Hosts." 


Additional  35005,  fi".  l-21b. 
Paper;  about  1823  (watermark).     Quarto.     See  also  below,  under  Songs. 
Portions  of  three  Odes. 


1.  Parts  for  violoncello,  2nd  oboe,  and 
2  trumpets,  of  the  Ode  on  St.  Cecilia's 
day  (see  Add.  35004,  below,  p.  224),  by 
Samuel  Wesley.     Autograph,    f .  1. 

2.  Fragments  of  the  vocal  score,  with 
pianoforte  accompaniment,  of  the 
chorus  "Join  with  thee  calm  Peace," 
and  the  air  "  To  live  with  her,"  from 


Handel's  "L'  Allegro,  il  Penseroso,  ed 
il  Moderate."  In  the  hand  of  S. 
Wesley,  f.  17. 
8.  Melody  and  pianoforte  part  of  a 
composition,  in  the  middle  of  which 
occur  the  words  "Now  methinks." 
f.20. 


ODES.  223 

Additional  35023,  fF.  6-20. 

Paper ;  about  1823  (watermark).      Quarto.      See  also  under  Anthems  (vol.  i, 
p.  100). 

Pianoforte  score  of  the  following  airs  from  "  Dryden's  Ode  on  St. 
Cecilia's  Day/'  by  Handel.     In  the  hand  of  Samuel  Wesley. 

1.  "What     Passion     cannot     Musick  I  4.  "The     Trumpet's     loud     clangor." 
raise."     f.  6.  '       f.  16. 

2.  "  The  soft  complaining  Flute."    f.  9.  ]  5.  "But    01    what    Art    can    teach." 

3.  "  Sharp  violins  proclaim."     f.  12.  i       f.  19. 

Additional  31812,  ff.  1-50. 

Paper;  a.d.  1828.     Quarto.     See  also  under  Glees  (above,  p.  114). 

Ode,  and  portions  of  tw^o  other  Odes,  for  solo  voices  and  4-part 
chorus,  with  accompaniments  for  strings,  and  a  figured  bass  for  harpsi- 
chord, in  score.  Nos.  1,  2  are  by  Jeremiah  Clarke  and  have  additional 
accompaniments  for  trumpets,  oboes,  flutes,  and  drums ;  they  were 
transcribed  by  R.  J.  S.  Stevens  in  1828. 


1.  "On  Henry  Purcell's  death,"  beg. 
"Come,  come  along";  composed  in 
1706.    f.  1. 


the  end.     f.  32. 
3.  "Ye   skowling  Shades":    recitative 
and    air    from    an   Ode   (apparently 


2.  "On  Queen   Ann's   Birthday,"  beg.   i       "Imogen").     By  Dr.  Boyce.     f .  44. 
"  Let   nature    smile."     hnperfect  at   | 

Additional  35003,  ff.  135-1 53b. 

Paper;  a.d.  1828.     Oblong  folio.     See  also  under  Motets  (vol.  i,  p.  349). 

Six  fragments,  including  the  title-joage,  of  the  original  score  of 
Samuel  Wesley's  "  Ode  to  St.  Cecilia's  Day,"  dat.  "  St.  Cecilia's  Day, 
22  Nov.  1828,"  a  complete  copy  of  which  is  in  Add.  35004  (below, 
p.  224).  The  fragment  which  precedes  (ff.  133,  134)  appears  to  be  part 
of  the  score  of  a  double  chorus  with  organ  accompaniment,  but  has  no 
apparent  connection  with  the  Ode. 

Additional  31451,  ff.  65-88b. 

Paper  ;  after  1833  (watermark).     Oblong  folio.      See  also  below,  under  Operas. 

"  Such  part  of  the  Music  in  the  '  Yorkshire  Feast  Song  '  as  is  not 
contained  in  the  '  Orpheus  Britannicus,'  composed  by  Henry  Purcell  "  ; 
with  symphony  and  accompaniments  for  trumpets  and  strings,  in  full 
score. 

Additional  30389,  ff.  145-169. 

Paper  ;  a.d.  1834.     Folio. 

"  When  these  are  days  of  old  " ;  for  solo  voices  and  chorus,  with 
symphonies   and   accompaniments  for  trumpets,   drums,   flutes,  oboes. 


224  VOCAL  MUSIC— SECULAR. 

clarinets,  horns,  bassoons,  trombones,  and  strings,  in  full  score,  by 
W.  Crotch,  Mus.D.  Dated  22  March,  1834.  Autograph.  The  words 
are  by  Rev.  J.  Keble,  Professor  of  Poetry  at  Oxford.  Composed  for 
the  installation  of  the  Duke  of  Wellington  as  Chancellor  of  the 
University  of  Oxford  in  1834,  and  performed  at  the  same  time  as 
Crotch's  oratorio,  "The  Captivity  of  Judah"  (see  vol.  i,  p.  382,  Add. 
30389). 

Additional  35004. 

Paper;  ff.  145.     About  1836  (watermark).     Oblong  folio. 

"  An  Ode  to  S*^  Cecilia.  The  Words  written  By  the  Rev<i  Samuel 
Wesley,  A.M.,  Rector  of  Epwoath  (sc.  Epworth,  co.  Line),  and  set  to 
Music  by  his  Grandson,  Samuel  Wesley."  Composed  for  solo  voices 
and  4-part  chorus  with  accompaniments  for  flutes,  oboes,  horns, 
trumpets,  drums,  and  strings,  and  occasionally  also  bassoons,  in  full 
score.  The  opening  words  are  "  Begin,  begin  the  noble  song."  The 
autograph  fragments  in  Add.  35003  (above,  p.  223)  are  dated  1828. 

Additional  35026,  f.  9. 

Paper ;  a.d.  1836.     Quarto.     See  also  under  Albums,  in  vol.  iii. 

"Orpheus  could  lead  the  savage  Race":  song  from  "  Dryden's 
Ode  on  S*  Cecilia's  Day,"  with  pianoforte  accompaniment,  in  score,  by 
S[amuel]  Wesley,  1  July,  1836. 


SECTION  XL— OPERAS 


WITH     OTHER     MUSICAL      AND      DRAMATIC      WORKS,     INCLUDING      BaLLETS, 

Entr'actes,  Farces,  Incidental  Music,*  Intermezzos,  Masques, 
Pantomimes,  Pasticcios,  ETC.f 


Additional  15233,  ff.  11-28,  44-45. 

Paper  ;  middle  of  16th  cent.     Oblong  octavo.      See  also  under  Organ  Solos, 
in  vol.  iii. 

Words  of  plays  by  "  Master "  John  Bedford,  who  probably  also 
wrote,  or  intended  to  write,  the  incidental  music  to  them.  The  first 
ten  leaves  of  the  MS.  are  occupied  by  organ  fantasias  by  the  same 
composer.     Apparently  autograph. 

1.  "The   Play  of  Wyt   and   Science":    chiefly  dialogues   between   Reason  and 
Instruction,  Wit  and  Honest  Recreation,  Idleness  and  Ignorance,  Experience 


*  Under  Incidental  Music,  single  songs,  etc.,  from  plays  are  entered. 

t  For  lists  of  Operas,  see  under  Histories  of  Music  (1734  and  1776)  in  vol.  iii. 


OPERAS. 


225 


and  Science,  etc.  Imperfect  at  the  beginning.  At  the  end  is  written  ' '  Heere 
cumth  in  fowre  wyth  violes  and  syng  '  remembreance,'  and  at  the  last  quere  all 
make  cur[t]sye  and  so  goe  forth  syngyng."     f£.  ll-27b. 

The  three  songs  "  Gyue  place,  gyue  place  to  honest  recreacion"  (f.  44),  "  Ex- 
ceedyng  mesure  with  paynes  continewall"  (f.  44b),  and  "  Welcum,  myne 
owne,"  beg.  "  0  ladye  deere,  be  ye  so  neere  "  (f.  45),  were  written  for  insertion 
in  the  same  play. 

2.  The  last  page  of  another  play.     At  the  end,  "  Here  the[y]  syng,  'Heynony, 
nonye,'  and  so  go  furth  syngyng."     f .  28. 


Lansdowne  807,  ff.  57-77. 

Paper;    16th-17th   cent.      Small    folio.      Book-plates   of    John    Warburton, 
Somerset  Herald  [1720],  and  [the  first  or  second  Earl  of]  Shelburne  [1753-1784]. 

Play  in  five  Acts,  entitled  (in  a  later  hand)  the  "  Buggbears," 
apparently  translated  from  the  Italian  in  the  reign  of  Queen  Elizabeth, 
in  the  hand  of  "  Johannus  (sic)  JefFere."  Included  are  the  following 
numbers  with  music  :— 


1.  "Lend  me,  you  lovers  all";  with 
2-part  chorus,  "And  therfore  away 
care,"  the  solo  being  written  "for 
Iphiginia."  In  score.  "Giles  Pep- 
prer'(?).     f.76. 


2.  "The  old  folkes  care  hath  end"; 
with  3-part  chorus,  "  Sith  all  our 
greefe  is  turnd  to  blyss."  Described 
as  "  The  last  song."     f.76b. 


Additional  30491,  ff.  39-50  passim. 

Paper  ;   after  1607  (?).     Folio.     The  MS.  also  contains  a  Song,  an  Organ  Solo, 
String  Quartets,  etc.,  described  elsewhere. 

SoNGSj  apparently  from  Operas,  with  a  bass  for  hai'psichord  or 
virginal,  in  score.  The  cryptograph  on  f.  2  reads  "  Questo  libro  lo  fece 
fare  il  duco  (sic)  di  Traetta  (sc.  Trajetto)  per  me  Luigi  Rossi,"  who 
describes  himself  in  another  cryptograph  on  f.  1  as  a  pupil  of  Giovanni 
di  Macque  (many  of  whose  compositions  are  contained  in  the  MS.), 
and  as  "  Sf ortunato .  .  .  .  poiche  14  anni  in  corte  e  stato  ne  pur  un 
mezzo  (?)  gi'osso  mai  a  alquistato." 

1-9.  The  celebrated  Lament,  "  Lascia- 

temi  morire,"  and   the   other  songs 

of  Arianna  which  immediately  follow 

it;   from    "Arianna."       "  [Claudio] 

Monte  Verde."     [1607.]     ff .  39-41b. 
10.  "0  del  bel  Oriente  giocondissima 

luce."     Anonymous,     f.  41b. 


11.  "Nou  moro,  no."  Anonymous. 
f.42. 

12.  "Voglio  morir;  uan'  h  '1  conforto 
tuo  "  ;  from  an  Opera,  in  which  one 
of  the  characters  is  Bireno.  "  Monte 
Verde."     ff.  43b-45,  50. 


Additional  15117,  f.  3. 

Paper;  after  1614.     Small  folio.     See  also  under  Anthems  (vol.  i,  p.  10). 

"  Awake,  ye  wofull  weights  "  (sic)  :  melody  of  a  song  with  lute 
accompaniment,  in  tablature.  The  words  are  from  "  Damon  and 
Pythias,"  which  was  set  to  music  by  Richard  Edwards  and  performed 
at  Court  about  1566. 


226 


VOCAL  MUSIC— SECULAR. 


Additional  10444,  passim. 

Paper;  after  1635  (?).     Oblong  octavo. 

Masque   tunes,   chiefly  performed  at  Whitehall   and   the  Inns  of 
Court.     See  under  String  Duets,  in  vol.  iii. 


Additional  28325,  ff.  95-109b. 

Paper;    a.d.  1644,  1647.      Small  quarto.     The   MS.  also   contains   dramatic 
works  without  music. 

Two  short  one-act  plays,  interspersed  with  music.     Anonymous. 


1.  "La  conuersion  de  S"  Brigide." 
Characters  :  The  Saint,  Uranie,  Hipo- 
crene,  and  Astr^e.  Melodies  are 
given  for  the  songs  "  Le  monde  ne 
m'est  rien,"  and  "Cher  espoux  de 
nos  ames."  Written  in  1647  at  the 
request  of  the  nuns  of  the  Congrega- 
tion of  Nostre  Dame,  for  performance 
by  four  of  their  pupils  at  the  Carnival 
in  1648.     f.  95. 

2.  "  Hilaria  Dramatica  In  Ipsis  Bac- 
canalibus    Exhibita   Augustse    Prse- 


torise  {sc.  Aosta)  in  aula  majori  S" 
Francisci  Coram  111""'  Episcopo  Au- 

gustensi 1644."      Characters  : 

Carnaval,  Le  jeu,  La  Sottise,  etc. 
The  names  of  the  actors  are  given 
at  the  beginning,  f .  98.  The  only 
numbers  set  to  music  are  the  4-part 
choruses  "Quel  plaisir  estre  aux 
Soldats "  (f.  102),  "Pone  metum  fati  " 
(f.  106),  and  "  Ne  craignez  pas,  o 
grand  guerrier  "  (f.  106b).  Of  the 
last  only  the  superius  part  remains. 


Additional  31432,  f.  26. 

Paper  ;  first  half  of  17th  cent.     Folio.     See  also  below,  under  Songs.         * 

"  In  envye  of  the  night "  :  air  for  a  treble  voice  with  a  bass  part, 
in  score,  by  William  Lawes.  Autograph.  At  the  top  of  the  page  is 
written  "  Amphilucfe  :  in  a  Maske." 

Additional  10337,  ff.  2b,  19b,  24b. 

Paper;  before  1656.     Small  folio.     See  also  under  Virginal  Music,  in  vol.  iii. 

"  Maskes  "  :  three  virginal  pieces  so  entitled,  the  first  being  more 
particularly  described  as  "  Nanns  Maske."  The  melodies  are  probably 
from  some  favourite  masque,  or  masques,  of  the  period. 


Additional  11608,  ff.  16,  18,  20,  35b. 

Paper  ;  A.D.  1656-1659.     Small  folio.     See  also  below,  under  Songs. 
Incidental  music,  etc.,  with  figured  bass,  in  score. 


1 .  "  Care-charminge  sleepe  " ;  the  words 
from  Fletcher's  "  Valentinian,"  pro- 
duced before  March,  1619.  "  Robert 
Johnson."     f.  16b. 

2.  "Newly  from  a  Poatch't  Toad": 
described  as  "  Oberon  (or)  the  Mad- 


man's songe.  Sung  in  a  Comedy 
at  Cambridge  before  y'  King  and 
Queeue  by  y^  Author."  "Thomas 
Holmes."  f.  18. 
3.  " 'Tis  late  and  cold":  described  as 
"Myne   Ost's  songe"   in  Fletcher's 


OPERAS.  227 

Mad    Lover"    (sc.   "Lover's   Pro-   \       logue   between   Juno,  Venus,  Pallas 


gress  "),  produced  before  March,  1619. 
"  Robt.  Johnson."     f .  20. 
4.  "Rise,   Princely   Shepherd":    dia- 


and   Paris,   consisting  of  solos   and 
quartets.     "Jo.  Hilton."     f .  35b. 


Additional  17799,  17800. 

Paper ;  ff.  3G,  41.  a.d.  1659,  etc.  Octavo  and  Quarto.  Vol.  i  appears  to 
have  belonged  successively  to  Hannah  Lanier,  Dr.  [Philip  ?]  Hayes,  and  Edward 
Jones.  In  1825,  it  was  sold  at  Sotheby's  auction-room,  and  was  probably  pur- 
chased by  Sir  H.  R.  Bishop. 

"  Cupid  and  Death  :  a  Masque  by  J[ame]s  Shirley,  1653."  Presented 
before  the  Portuguese  Ambassador,  on  the  26th  of  March  of  that  year. 
The  music  by  Matthew  Lock  and  [Christopher]  Gibbons.  The  charac- 
ters are  a  Host,  a  Chamberlain.  Cupid,  Folly,  Madness,  Despair,  Death, 
Nature,  a  Lover,  Two  Old  Men  and  Women,  a  Satyr,  Mercury  and 
a  4-part  chorus.  Vol.  I  contains  a  transcript  made  by  Lock,  for 
a  later  representation  at  the  Military  Ground  in  Leicester  Fields, 
in  1659,  and  bears  his  initials  on  the  cover.  Vol.  II  contains :  (a)  A 
copy  made  apparently  by  Edward  Jones  [bard  to  the  Prince  of  Wales], 
in,  or  soon  after,  1816  (watermark),  ff.  1-28  ; — (b)  A  modern  arrange- 
ment of  the  first  Entry,  or  scene,  for  horns,  flutes,  oboes,  bassoons,  and 
strings,  in  score  [by  Sir  Heniy  Rowley  Bishop],     ff.  29-41. 


Additional  31438,  f.  51b. 

Paper  ;  after  1660.     Oblong  octavo. 

"  Mascharada,"  by  Gregorius  Zubern.  Cantus  part.  See  under 
String  Quartets,  in  vol.  iii. 

Additional  29248. 

Paper;    fi. 82.     After  1663   (see   below).      Oblong  quarto.      Bookplate   (with 
arms)  of  Henry  Hase. 

"  La  Dori  " :  Opei-a,  consisting  of  prologue  and  three  acts,  by 
Marcantonio  Cesti,  1663.  The  instruments  employed  in  the  introductory 
sinfonia,  the  ritornellos,  and  the  accompaniment  to  the  concluding 
sextet  are  evidently  strings,  the  recitatives,  airs,  etc.,  being  accompanied 
by  a  figured  bass  for  harpsichord,  in  scoi'e.  The  characters  are : 
La  Corte  and  Momo  (in  the  Prologue) ;  Ali,  Celinda,  Arsinoe,  Bagoa, 
Erindo,  the  Ghost  of  Parisatide,  Tolomeo,  La  Dori ;  Dirce,  Oronte, 
Erasto ;  Arsete  ;  Golo  and  Artaserse.  At  the  beginning  is  a  short 
account  of  the  work  and  its  composer,  taken  principally  from  Burney's 
History  of  Music,  by  Joseph  Warren. 


Egerton  2013,  passim. 

See  below,  under  Songs  (after  1669). 

Q   ? 


228 


VOCAL  MUSIC— SECULAR. 


Additional  10338,  ff.  28b,  33-5 L 

Paper  ;  after  1669.     Small  folio.     See  also  under  Motets  (vol.  i,  p.  283). 

Dramatic  compositions  with  a  basso  continue,  in  score,  by  George 
Jeffreys.     Autograph. 

hath  together  tyed."  f.  39b. 
.  "Songs  made  for  Dr.  Hausted's 
Comedy  called  y'  Riuall  Freinds. 
Acted  before  y'=  Kinge  and  Queene 
[at  Cambridge],  An.  1631, 19  March." 
They  consist  of  a  "Dialogue  (Venus, 
Thetis,  and  Phoebus),"  beg.  "Drowsy 
Phoebus,  come  away,"  solos,  and 
5-part  choruses,     ff.  43-51. 


1.  "  Say,  Daunce,  how  shall  we  goe": 
3-part  song,  from  the  "  Maskque  of 
Vices."     f.  28b. 

2-5.  "  Songs  made  for  some  Comedyes 
A  4  Voc.  1631  [the  words  by]  S' 
E[ichard]  Hatton,"  viz.  :  "You  that 
have  been  this  Evening's  light." 
f .  33 ; — "  Fond  Maydes,  take  warninge, 
while  you  may."  f .  34b  ; — "Cupid 
blushes  to  behold."  f .  36b ;—"  Hymen 


Additional  10445,  ff.  105b-116,  124b-136b. 

Paper;  after  1673  (?).     Oblong  octavo.     See  under  String  Quartets,  in  vol.  iii. 

Instrumental  arrangements   of  two  ballets  by  "Jean  Baptiste," 
sc.  Lully,  1670,  1671.     See  under  String  Quartets,  in  vol.  iii. 


Additional  29396,  passim. 

Paper ;  about  1678-1682.     Folio.     See  also  below,  under  Songs. 

Airs,  etc.,  apparently  forming  part  of  the  incidental  music  to 
English  plays  of  the  17th  century.  Except  where  the  contrary  is 
stated,  they  are  for  one  voice,  with  a  bass  for  harpsichord,  in  score. 


1.  "Come  from  y'  Dungeon  to  the 
Throane."  From  William  Cart- 
wright's  play  "The  Royal  Slave," 
1636.     "Hen.  Lawes."     f .  15. 

2.  "  Hayle,  thou  great  Queene."  From 
Dr.  William  Strode's  play  "The 
Floating  Island,"  1636,  By  the 
same  (?).     f .  15b. 

3.  "  Drinke  to  day  and  drowne  all 
sorrowe  "  :  duet.  From  "  The  bloody 
brother,"  attributed  to  John  Fletcher, 
the  music  being  probably  written  for 
the  revival  of  the  play  in  1636-7. 
"  [E.]  Chilmead."     f.  18b. 

4.  "My  Limbs  I  will  fiinge"  ;  without 
accompaniment.  From  the  same 
play  as  no.  2.  By  H.  Lawes  (?). 
f.27. 

5.  "  'Tis  late  and  Cold."  From  "The 
Lover's  Progress,"  a  play  supposed 
to  have  been  left  unfinished  by 
Fletcher  in  1625.  By  R.  Johnson. 
f . 39b. 


6.  "How  vnhappy  a  Louer  am  I." 
The  words  from  Dryden's  "The 
conquest  of  Granada,"  part  ii,  1672. 
By  N.  Staggins.  In  Choice  Songs  and 
Ayres,  1673.     f.  67b. 

7.  "Why,  this  is  a  sport";  sung  by 
the  Gipsies,  Patrico  and  Jackman. 
"Chilmeade."     f .  71b. 

8.  "  I  keepe  my  horse."  The  words 
are  from  "  The  Widow,"  probably 
written  by  Thomas  Middleton  about 
1616.     "  Will.  Lawes."     f.  77b. 

9.  "0,  howl  abhorr  the  tumults  and 
smoake  of  the  towue."  From  Thomas 
Shad  well's  "  Epsom  Wells,"  1673. 
"Rob.  Smith."     f.  104b. 

10.  "  Full  fathom  fiue."  By  J.  Banister. 
This  and  nos.  11-13  are  unaccom- 
panied, and  are  from  "The  Ariel's 
Songs  in  the  Play  call'd  the  Tem- 
pest," 1676,  as  altered  from  Shake- 
speare's play  by  Dryden  and  Dave- 
nant.     f.  110. 


OPERAS. 


229 


11.  "  Where  the  bee  sucks."  ByPelham 
Humfrey.     f.  110b. 

12.  "  Adue  to  the  pleasures  and  foUeis 


of  love."     By  James  Hart.     f.  111. 
13.  "  Drye  those  eyes."    By  John  Ban- 
ister,    f.  112b. 


Additional  31425,  passim. 

Paper ;  about  1679.     Oblong  folio. 

Arrangements  of  numbers  from  Operas  by  J.  B.  Lully,  etc.,  for 
2  strings  and  harpsichord.     See  under  Chamber  Trios,  in  vol.  iii. 

Additional  31431,  f.  63. 

Paper  ;  about  1680.     Oblong  octavo. 

"CuRTAiNE  tune,"  by  Matthew  Locke.     See  under  String  Trios,  in 
vol.  iii. 

Additional  33234,  f.  34b. 

Paper  ;  a.d.  1680-1682.     Folio.     See  also  belovr,  under  Songs. 

"  Beneath  a  shady  willow  "  :  a  song  [with  bass]  in  "  Madam  Fickle." 
By  [William]  Turner. 


Harley  1501,  ff.  6,  58,  67b. 

Paper;  a.d.  1681.    Folio.    See  also  below,  under  Songs. 

Single  numbers,  apparently  taken  from  Operas,  with  a  figured  bass 
for  harpsichoi'd,  in  score. 


1.  "0  Misera  Dorinda "  :  duet  from 
"  II  Pastor  fido."  "  Pietro  Reggio." 
Autograph,     f .  6. 

2.  "Che  mi  gioua  in  alto  soglio": 
"Aria  di  un'  Opera"   (not   named). 


f.58. 
3.  "Amor,  chi  ti  die  1'  all  "  :  aria  from 
"L'Egisto."  "  Pietro  Reggio."  Auto- 
graph,    f.  67b. 


Additional  19759,  fi".  10,  28b,  29b,  32,  44b,  45b,  46. 

Paper  ;  about  1681.     Small  folio.     See  also  below,  under  Songs. 

Single  numbers  from  Operas,  mostly  in  score,  but  without  accom- 
paniment. 


1.  "Beneath  a  shady  willow."  From 
"  Madam  Fickle."  "  Will.  Turner." 
f.lO. 

2.  "Nowtryumph,  Macedon  "  :  4-part 
chorus.     "Lock."     f .  28b. 

3.  "Hark,  my  Damilcar":  described 
as  "Song  by  spirits  in  '  Tyranick 
love '  or  the '  Royall  Martyr.' "  Anony- 
mous,    f.  29b. 

4.  "Damon,   turn   thine  eyes"   (a   3). 


Anonymous.      In   a   different   hand. 
f.32. 

5.  "Tell  mee,  Thirsis,  tell  your  An- 
guish": "Song  (sc,  duet)  in  the 
'  Duke  of  Guise  '  "  [1683].  "  C[a]pt. 
[Henry]  Pack."     f.  44b. 

6.  "Hark,  the  cock  crowd  "  :  song  from 
the  "  Country  Farmer  "  [1710  ?].  By 
Jeremiah  Clark  (?— see  Add.  22099, 
f.  5,  below,  p.  247).     f.  45b. 


230 


VOCAL  MUSIC— SECULAR. 


Additional  22100,  f.  123. 

Paper;  about  1682.     Folio.     See  also  under  Anthems  (vol.  i,  p.  28). 

"  A  Masque  for  y*  entertainment  of  the  King  "  ;  by  Dr.  Blow,  with 
accompaniments  for  several  instruments,  in  score.  It  consists  of  an 
overture,  with  incidental  music  to  the  Prologue  and  the  three  Acts.  The 
principal  characters  are  Cupid  ("  Lady  Mary  Tudor,"  natural  daughter 
of  Charles  II,  who  bestowed  that  surname  on  her  in  1680),  Venus 
("Mrs.  Davys,"  probably  Mary  Davis,  the  mother  of  Lady  Mary),  and 
Adonis.  There  are  also  choruses  of  Shepherds,  Hunters,  Cupids, 
and  Graces,  for  most  of  whom  dances  are  provided.  Prologue  begins 
"  Behold  my  Arrowes  and  my  Bow." 


Additional  29283-29285,  passim. 


Paper;   about  1682-1684. 
vol.  iii. 


Oblong  octavo.      See  also  under  String  Trios,  in 


Tunes  from  plays  in  a  collection  of  pieces  for  2  trebles  and  a  bass 
viol,  in  parts.     The  plays  are  : — • 

1.  "'Venice  preeserved '  or  'A  Plot  3.  "  S^  Timothy  Treatall."  "[Solomon] 
discovered.'"  "Sol.  Egle's  "  (sc.  Egles."  i,  f.G5b  ;  ii,  f.  64b;  iii,  f.  61b. 
Eccles).     i,  f .  15b ;  ii,  iii,  f .  14b.  4.  "' Y'' Disappointment' or 'Y^  Mother 

2.  "  Y-^  Princess  of  Cleve."  "  [T.]  Far-  in  fashion,'  1684."  "[Louis]  Graboe  " 
mer."     i,  f.  62b  ;  ii,  f.  61b ;  iii,  f.  68b.  {sc.  Grabu).     i,  ii,  f.  74b  ;  iii,  f.  70b. 


Additional  29397,  ff.  25,  81b. 

Paper ;  about  1682-1690.     Narrow  oblong  duodecimo.     See  also  below,  under 
Songs. 

Two  unaccompanied  songs  from  plays. 


1.  "Tell  me,  Thirsis " ;  with  2-part 
chorus.  From  the  "Duke  of  Guise, 
1683."     "Capt.  Pack."     f.  25. 


2.  "Lovely  Celina."  Said  to  be  "in 
Lee's '  Princess  of  Cleve,'  1681."  "  Dr. 
Blow."     f.  82  (reversed). 


Additional  35043,  ff.  1-105  passim. 

Paper ;  about  1694-1697.  Small  folio.  The  MS.  belonged  to  Alex.  Tytler  [in 
1779],  and  to  Alfred  Moffat,  of  Edinburgh,  in  1896.  It  also  contains  Duets 
(above,  p.  58),  Odes  (p.  211),  Songs  (1694-1697)  described  below,  and  Instrumental 
compositions  (in  vol.  iii). 

Numbers  from  Incidental  Music  by  English  composers  of  the  end 
of  the  17th  century.  Only  the  treble  or  1st  violin  (or  flute)  part  is 
given,  unless  the  contrary  is  stated.  From  a  collection  begun  by 
John  Channing  in  1694  of  pieces  composed,  or  arranged,  for  violin  or 
flute.  Many  of  them  appear  to  have  been  arranged  as  lessons  or 
suites. 


1.  "Let  y'  Soldiers  Rejoyce "  [in  " Dio- 
cletian," 1690].  By  H.  Purcell. 
f.  5b. 


2.  "The  Danger  is  ouer":  song  [in 
"  The  Fatal  Marriage,"  1694].  By  the 
same.     f.  6. 


OPERAS. 


231 


3.  Song  in  "'Love  Triumphant'  or 
'Nature  will  prevaile.' "  "John 
Eccles."     [?  1694.]     f.  6b. 

4.  "A  song  in  'The  Marriage  hater 
Match't.'"  "  Tho.  ToUett."  [?1692.] 
f.  6b. 

5.  "Of  noble  race  was  Shimkin  "  : 
song,  with  bass,  in  "The  Richmond 
Heiress."  By  H.  Purcell  (?).  [1693.] 
f.6b. 

6.  Two  songs  in  "  Y«  Old  Batchelour." 
By  the  same.     [1693.]     f .  7. 

7.  Two  songs  in  "  The  Double  Dealer." 
By  the  same  and  "  [H.  ?]  Bowman." 
[1694.]     ff.  7b,  8. 

8.  "Come,  come,  Let  us  Leaue  the 
Towne"  [in  the  "Fairy  Queen"]. 
By  H.  Purcell.     [1692.]     f.  10. 

9.  "  What  shall  I  do  to  show  how  much 
I  love  her"  [in  "Diocletian"].  By 
the  same.     [1690.]     f.  11. 

10.  Melody  and  bass,  with  the  words,  of 
three  songs,  and  "A  Dialogue  sung 
by  Mr.  Dogget  and  Mrs.  Hudson,  in 
y°  New  Masque  calld  '  The  Rape  of 
Europa.'"  [?  1694.]  "J.  Eccles." 
ff.  llb-14. 

11.  "  Good  Neighbour,  why  do  you  look 
awry  "  :  dialogue,  with  bass,  in  "  '  The 
Canterbury  Guests '  or  '  The  Bar- 
gain-Brokers.'"  "[H.  ?]  Purcell." 
[1695.]     f.  14b. 

12.  "A  song  [with  bass]  in  y''  2nd  part 
of  '  Don  Quixote.'  "  "  [H.]  Purcell." 
[1694.]     f.  17b. 

13.  "By  those  Pigs  neyes  "  (sic)  :  dia- 
logue sung  by  Mr.  Dogget  and  Mrs. 
Bracegirdle  in  "  Y^  Richmond 
Heiress."  With  a  bass.  "John 
Eccles."     [1693.]     f .  20. 

14.  "  Y"  Milk  Maid,"  and  "  Twas  Early 
in  y'=  morning":  songs  in  "Don 
Quixote."  By  Henry  Purcell  (?). 
[1694.]     f.  2.3b. 

15.  "Oh  fye !  what  mean  I":  song, 
with  bass,  in  "The  Married  Beau." 
"  Jn"  Eccles."     [1694.]     f .  25b. 

16.  "Whilst  I  with  greif "  :  song,  with 
bass,  in  "  The  Spanish  Fryer." 
"  Henry  Purcell."     f .  26b. 

17.  "I  burne ;  my  brain  consumes"; 
in  "Don  Quixote,"  part  ii.  "Jn" 
Eccles."     [1694.]     f.  29b. 

18.  "Genius  of  England":  dialogue 
sung  by  Mr.  Freeman  and  Mrs.  Cib- 


ber,  with  trumpet  obligate  and  bass, 
in  "Don  Quixote,"  part  ii.  "  [H.] 
Purcell."     [1694.]     f.  31. 

19.  Overture  and  four  other  movements 
in  C.  Anonymous.  This  and  other 
overtures,  etc.,  which  follow  may 
possibly  not  be  dramatic,     f .  34b. 

20.  "A  Symphony  for  '  Alexander  y" 
Great.'  "     By  D.  Purcell.     f.  36b. 

21.  "The  Tunes  in  .  .  .  '  Timon  of 
Athens.'  "  By  Henry  Purcell.  [1678.] 
f.37. 

22.  "  Overture  in  '  Y"  Tragedy  of  Bon- 
duca.'  "  By  the  same.  [1695.] 
f.  37b. 

23.  "The  Tunes  in  '  Y"  Vertuous  wife.'  " 
"  [Jer.]  Clarke."     [?  1680.]     f .  38. 

24.  "The  Tunes  in  'Mons"  Raggen'  or 
'The  Old  Troop.'"  "Morgan." 
&.  39b,  40,  41b. 

25.  "Tunes  to  '  Abdelazer.'"  "Pur- 
cell."    [1677.]     ff.  40b,  43b  (?). 

26.  "Mr.  [Robert  (?)]  King's  Tune  to 
'Y'=  Spanish  Fryar.'"  [?1681.] 
f .  41b. 

27.  "Several  movements  in  different 
keys,  including  a  "  Curtain  Tune." 
Anonymous.     fE.  43b-45. 

28.  "Tunes  in  '  Y°  Mock  Marriage.'" 
"Morgan."     [?1695.]     f.  45b. 

29.  "First  and  second  Musicks,"  Over- 
ture, and  4  Act  Tunes.  Anonymous, 
f . 47b. 

30.  Overture  in  A  minor.  Anonymous. 
f.49. 

31.  Overture,  2  rondeaux,  and  passa- 
caglia,  in  G.     Anonymous,     f.  50b. 

32.  "March  in  '  Y'^  Rivall  Sisters.'" 
"H.  Purcell."     [1695].     f.  57. 

33.  Overture  and  4  Act  Tunes.  Anony- 
mous,    f.  57b. 

34.  Overture  and  4  Act  Tunes ;  ap- 
parently arranged  by  "  Peasable  "  for 
flutes,  in  G  minor,     f .  59. 

35.  Overture,  3  trumpet  tunes,  and  5 
other  airs  in  G.     Anonymous,    f .  60b. 

36.  "Tunes  to  Mr.  [Hildebrand]  Hor- 
den's  Play  by  Mr.  P[urcell  ?]," 
arranged  as  3  lessons  in  Bt^.     f .  63b. 

37.  Two  movements  in  common  time 
and  2  Act  Tunes,  in  D,  followed  by  a 
few  bars  of  symphony  in  C.  Anony- 
mous,    f .  64. 

38.  Four  Act  Tunes,  in  F  and  D  minor. 
Anonymous,     f .  65b. 


232 


VOCAL  MUSIC— SECULAR. 


39.  [Overture  (?)],  2  Act  Tunes,  and  2 
other  movements  in  G  minor.  Anony- 
mous,    f.  66. 

40.  "Mr.  Paisable's  T[unes]  in  '  Timon 
of  Athens '  "  :  2  lessons  and  a  move- 
ment in  I  time,  in  F.     f.  66b. 

41.  "A  Symphony"  (sc.  overture),  in 
G  minor.     Anonymous,     f.  67. 

42.  A  composition  [Overture  ?  ]  in  0. 
Anonymous,     f .  67b. 

43.  Incidental  music,  including  a  2nd 
Act  Tune.     Anonymous,     f .  68b. 

44.  "  Overture  to  '  Timon.'  "  By  Henry 
Purcell(?).     [1678.]     f.  70. 

45.  "A  trumpet  Overture  in  '  Y^  Indian 
Queen.'"  By  the  same.  [1692.] 
f.  70b. 

46.  "Mr.  [Jeremiah]  Clarke's  1st 
Trebles  in  y«  Farce  Called  '  A  Wife 
for  Any  Man.'  "     f.  71. 

47.  "Mr.  Morgan's  Musick  at  S' 
Csecilia's  Feast,  1696  "  ;  including  an 
air,  "  Room  for  Cuckolds."     f.  72b. 

48.  "  Mr.  Morgan's  First  Trebles"  :  over- 
ture and  8  airs  in  D  minor,     f.  75b. 

49-51.  "  Mr.:Finger's  1st  Trebles  in  '  Y« 
She  Gallants,'  '  The  City  Lady ' 
[1697?],  and  'The  Husband  his  own 
Cuckold,'  "  [1696  ?].     ff.  77b,  79,  80b. 

62.  "Mr.  H.  Purcell'a  Musick  in  '  Y" 
India[n]  Queen.'  "     [1692.]     f.  82. 


53.  Overture  and  another  number  in  A. 
Anonymous,     f .  83. 

54.  "  Mr.  Eccles'  First  Trebles  "  :  over- 
ture and  10  other  airs  in  E  minor, 
f.  83b. 

55.  "  [William  4th  (?)]  Lord  Biron's  1st 
Trebles  in  ...  '  Woman's  Witt '  or 
'  Y"  Lady  in  Fashion.'  "     f.  85. 

56.  "Mr.  Orme's  Tunes  in  'The  Mis- 
takes.' "     f.  88. 

57.  "  Mr.  Morgan's  First  Trebles  in  '  Y= 
Maiden  Queen '  "  :  overture,  prelude, 
hornpipe,  etc.,  in  B^^.     f.  89. 

58.  "Mr.  Lenton's  1.  Trebles":  over- 
ture, ei'c,  in  Btr.     f.  90b. 

59.  Overture  and  8  airs  in  Bb.  Anony- 
mous,    f .  91b. 

60.  "Mr.  Clark's  Tunes  in  y^  Opera 
."     f.  92b. 

61.  Overture  and  8  airs  in  C  minor. 
Anonymous,     f .  94. 

62.  "Mr.  Cottrell's  1.  Trebles":  over- 
ture and  8  airs  in  Blr.     f.  95. 

63.  "  Mr.  ToUett's  Tunes  in  '  Y=  Lover's 
Luck '  "  :  overture  and  8  airs  in  D. 
[?  1696.]     f .  102. 

64.  "Musick  in  .  .  .  'Sawney  the 
Scot '  or  '  Y'  Tameing  of  y"  Shrew.'  " 
By  Daniel  Purcell  (?).     f.  104. 

65.  "Le  Ruch's  Tunes  on  S' Csecilia's 
Day,  1697."     f.  105. 


"  Briseide 

per  il 


Additional  32581. 

Paper ;  ff.  100.     About  1696.     Oblong  folio. 
Drama  per  Musica  da  recitarsi  nel  Teatro  Elettorale  d' 


Sig'^  Conte 


Haniiover  per  il  Carnevale  dell'  Anno  1696.  Poesia  da 
Palmeri,  Musica  dell'  Sig''  Pietro  Torri "  ;  in  3  Acts,  with  overture, 
symphonies,  and  accompaniments  for  flutes,  oboes,  bassoons,  and 
strings  (including  viola  di  gamba),  and  a  bass  for  harpsichord,  in 
score.  In  a  French  hand.  Characters  :  Clitemnestra,  Erasto,  EuriVjate, 
Agamemnone,  Calcante,  Terramene,  Oronte,  Alcea,  Briseide,  and 
Minete. 

Additional  31449. 

Paper  ;  ff.  69.     After  1696  (see  below).     Folio. 

Music  in  "  The  Indian  Queen "  ;  v^ith  overtures  and  accompani- 
ments for  trumpets,  oboes,  flutes  and  strings,  in  score,  by  Henry 
Purcell,  1692.  It  contains  the  s^ioken  dialogues  as  well  as  almost  all 
the  symphonies  and  all  the  airs  in  Goodison's  edition  (1790  ?),  except 
Mrs.  Cross'  song,  "  They  tell  us  that  yon  mighty  Pow'rs,"  at  the  end  of 
Act  iii.     The  dances  given  here  at  the  end  of  the  second  and  beginning 


OPERAS.  233 

of  the  third  Acts  do  nob  appear  to  be  in  the  printed  edition.  At  f.  59 
is  added  in  the  same  hand  what  is  called  in  Add.  31453  (below,  p.  244) 
"  Last  Act,"  but  is  really  a  Masque  in  Act  v,  written  by  Daniel 
Purcell  in  1696.  Apparently  transcribed  by  Jeremiah  Clarke  {cf. 
Add.  15318,  below,  and  Add.  31452,  f.  82b,  below,  p.  243).  The  names 
of  the  performers  for  whose  use  the  copy  was  evidently  prepared  wei'e 
Messrs.  Mills,  [William  ?]  Powell,  Harland,  Disney,  Bowen  and 
[Richard]  Leveridge,  and  M'"'^'  Km[ght]  and  Roge[rs  1]. 

Additional  15318. 

Paper  ;  ff.  65.     About  1699.     Folio. 

"  '  The  Island  Princess '  or  '  Generous  Portuguese  '"  :  a  pasticcio 
in  5  Acts  by  Daniel  Purcell,  [Jeremiah]  Clarke,  and  [Richard] 
Leveridge,  the  words  adapted  by  P[ierre]  A[nthoine]  Motteux  from  the 
play  by  Fletcher.  The  Opera  was  written  for  solo  voices  and  chorus, 
with  symphonies  and  accompaniments  for  trumpets,  oboes,  strings,  and 
drums,  in  score,  and  the  names  of  the  actors  are  given  (f.  3,  etc.)  as  in 
the  original  printed  edition  of  the  libretto  (1699). 

The  greater  part  of  the  Opera,  including  the  Masque  in  Act  ii,  was 
the  work  of  D.  Purcell ;  Leveridge  is  responsible  for  the  Dialogue  and 
"  The  Enthusiastic  Song  "  in  Act  iv,  and  one  or  two  other  numbers, 
and  Clarke  for  the  Interlude  which  follows  Act  v  (f.  49).  The  MS.  is 
in  Clarke's  hand. 

Harley  1273,  ff.  21b,  34b,  37,  71,  79b-119. 

Paper  ;  after  1699.     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

Arias,  etc.,  with  symjjhonies  and  accompaniments  for  strings  and, 
in  most  cases,  a  figured  bass  for  harpsichord,  in  score,  apparently  taken 
from  operas.  Other  instruments  employed,  when  indicated  in  the  MS., 
are  mentioned  below.  Nos.  5-24  are  by  Alessandro  Scarlatti,  nos.  6-20 
and  24  being  taken  from  "II  prigioniero  fortunato  "  [1699]. 

1.  "Se   mi   coudanui."     "Bern"   Pas- 
quini."     f.  21b. 

2.  "Dorman  gl'  occhi."     Anonymous, 
f.  34b. 

3.  "Non  semp re  porta  Amor."    Anony- 
mous,    f.  37. 

4.  "  E  pur  grave  martir."    Anonymous, 
f.  38b. 

5.  "Per  me  non  la  [sic)  so."     f.  71. 

6.  "  Ferma  per  mi  momento."     f.  79b. 

7.  "  Tempests    funeste  "  :    duet,    with 
trumpets,  etc.     f.  81b. 

8.  "Queir  esser  misero  "  ;  with  flutes, 
lute,  etc.     f .  84b. 

9.  "  Miei  pensieri."     f.  87b. 

10.  "  Troppo  presto  ti  lego."     f.  89. 

11.  "Sinch' il  martire."     f.  90. 

12.  "Mi  tormenta."     f .  93b. 


13.  "Prima  vedro."     f.95. 

14.  "  Povera  Pellegrina."     f.96. 

15.  " Ondeggiante,      agitato";       with 
trumpets,  etc.     i.  99. 

16.  "  Cangia  il  Cield."     f .  102b. 

17.  "  Amor  mi  traffiggesti."     f.  104. 

18.  "Belle   fonti " :    duet,   with    lute, 
etc.     I.  106. 

19.  "  Gran  tormento."     f.  107b. 

20.  "  Quanto  sarei  beata."     f.  109b. 

21.  "  Son  tirauni  d'  Amor."     f.  110b. 

22.  "  Serbar  nel  petto."     f.  111b. 

23.  "Amor,  se  mi  feristi."     f.  112b. 

24.  "Ne  men  per  gioco."     f.  114b. 

25.  "  Sono  guerriera."     f.  116. 

26.  "  Tacere  e  sospirar."     Anonymous. 
f.  117b. 


234 


VOCAL  MUSIC— SECULAR. 


Paper  ;    ff .  144. 
Dragonetti  in  1846. 


Additional  16126. 

After   1699.      Oblong  quarto. 


Bequeathed   by   Domenico 


"  II  Prigionier  Fortunate " ;  in  3  Acts,  with  symphonies  and 
accompaniments  for  flutes,  oboes,  trumpets,  bassoons,  lute  and  other 
strings,  and  figured  basses  for  harpsichord  (occasionally  two  harpsichords), 

score,    by    Alessandro    Scarlatti,    1699.       The    words    by    Abbate 


m 


Francesco  Maria  Paglia.     The  principal  characters  are  Elvira,  Alindo 
Doricle,  Feraspe,  Clearte,  Lucilla,  Aceste,  Evandro,  and  Delbo. 


Harley  1265,  ff.  13-36. 

Paper ;  late  17th  cent.     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

Arias,  apparently  from  Operas,  with  figured  bass  for  harpsichord, 
in  score. 


1.  "N6,  lo  niego."     "  Carlo  Ludovici." 
f.  13. 

2.  "E   che   si,   ch'  io  u'  abbandono." 
By  the  same.     f.  20. 


3.  "  Cieco  amor."     "  Dom"  Gabrielli." 
f.26. 

4.  "Steso    gia     la    notte."       "Mario 
Marazzoli."     f.  29. 


Paper ;  late  17th  cent. 
and  Trios. 


Harley  1267,  ff".  18-93. 
Narrow  oblong  octavo.     See  also  below,  under  Songs 


Arias  with  a  figured  bass  for  harpsichord,  and,  in  a  few  cases, 
accompaniments  for  strings  also,  in  score ;  most  of  them,  if  not  all, 
from  Operas. 


1.  Selection  from  "  Seleuco,"  attributed 
to  Bernardo  Pasquini  in  the  Catalogue 
of  the  Harleian  MSS.,  by  Humphrey 
Wanley,  who,  however,  thinks  "  the 
style  .  .  .  more  easy  than  his."  The 
libretto  is  probably  by  Nicolo  Minato, 
whose  words  were  set  to  music  by 
Antonio  Sartorio  in  1666  and  Antonio 
Draghi  in  1675.  ff .  18-38  (and  possibly 
some  of  the  following  folios). 

2.  "  Cupido  spietato."     f.  38b. 

3.  "  Fiamme  altere."     f .  40b. 

4.  "  Amore,  hai  uinto."     f .  42. 

5.  "Astri,  voi  ch'  in  Ciel  dormite." 
f.44. 

6.  "Crude  Parca."     f.  45b. 

7.  "Dimmi,  bella."     f .  47. 

8.  "  Di,  mio  cor — di,  che  farai."    f.  48b. 

9.  "  La,  negl'  antri  di  Cocito."     f.  50. 

10.  "  Tutte  s[i]ete  pazzarelle."     f.  51b. 

11.  "Ridi,  6  sorte,  al  mio  tormento." 
f .  53b. 


12.  "Quanto  puo  nerapupilla."    f.  55b. 

13.  "  Se  noi  Femine  uediamo."     f.  57b. 

14.  "Cieli,  guidatemi."     f.  59. 

15.  "Lo  strale  fatale";  from  "Ales- 
sandro Amante"  [?  by  G.  Antonio 
Boretti,  1667].  Probably  some  of  the 
following  airs  are  from  the  same 
opera,     f.  61b. 

16.  "  Aure  spirate,  fiati  soaui."     f.  63. 

17.  "  Speranze  che  m'  andate."     f.  64b. 

18.  "0  care  catene."     f.  66b. 

19.  "  Per  pieta  datemi  morte."     f.  68. 

20.  "  Tra  speranzaetra  timore."    f .  73b. 

21.  "0  morire  6  non  amar."     f.  75b. 

22.  "  Amoretti,  a  r  armi."     f.  78. 

23.  "Notte  amica."     f.  80b. 

24.  "  A  la  sorte  de  uiuenti."     f.  82. 

25.  "  Partite  da  me,  memorie  gradite." 
f .  83b. 

26.  "  Fuggi  dal  mio  Cor."     f .  85. 

27.  "  Senza  speranza,  ahi  me."    f.  86b. 

28.  "  Eiposo  non  ha  la  uita."     f .  87b. 


OPERAS. 


235 


29.  "  Chi  non  gode  in  giouentu."    f.  89. 

30.  "  Cosi  Amor  mi  fai  languir."  f.  90b. 

31.  "  Che  tormento  son  costretta  a  sos- 


tener."     f.  92. 
32.  "Ignoto  dolore." 
end.     f .  93b. 


Imperfect  at  the 


Harley  1268,  1269. 

Paper ;  f!.  55,  49.     Late  17th  cent.     Narrow  oblong  octavo. 

Numbers  (for  one  voice,  unless  the  contrary  is  expressed),  with  a  bass 
for  hai'psichord,  in  score,  from  unnamed  Operas,  by  anonymous  com- 
posers. The  names  of  La  Menariua  and  Sig[nora]  Rosana,  which  are 
given  in  vol.  i,  f.  32,  and  which,  with  that  of  Signor  "Chechin"  {sc. 
Ceccino  Massimo  ?),  occur  frequently  in  vol.  ii,  and  probably  also  those 
of  Ferdinando  and  Spironcino,  in  vol.  ii,  ff.  43,  44,  appear  to  be  those 
of  sinijers. 


Harl.  1268.     Vol.  I. 

1.  "  S'  il  mio  cor,  bella,  uedessi."     f.  1. 

2.  "  D'  un  bel  uiso  in  un  momento." 
f.  3. 

3.  "  Le  zitelle  d'  oggi  di."     f.  5. 

4.  "So  ben  io  che  sul  mio  crine."    f.  7. 

5.  "  S'  il  Ciel  non  m'  e  crudele."      f.  9. 

6.  "  Consolati ;  non  piangere."     f.  11. 

7.  "  Haur6  sempre  nel  petto  costanza." 
f.l3. 

8.  "Dicoair  alma."     f.  15. 

9.  "  Stringilo  pur  al  sen."     f.  17. 

10.  "Deb,  rendi  al  cor  la  pace."     f.  19. 

11.  "Miauita,  placati."     f.  21. 

12.  "  Sentivo  fra  ramo  e  ramo  1'  aure." 
f.22. 

13.  "Lascia,  oh  Dio."     f.  24. 

14.  "  Se  speri  di  bacciar  quegl'  occhi." 
f.26. 

15.  "Crudeli,  si."     f.  28. 

Harl.  1269.     Vol.  II. 

1.  "  Crude  stelle."     f.  1. 

2.  "  Volo  a  stringere  il  bel  crin  d'  oro." 
This  and  nos.  11,  13  and  14  were 
sung  by  "  Siguor  Chechin  "  in  the 
character  of  Claudio,  possibly  from 
"Claudio  Cesare,"  by  G.  A.  Boretti, 
1672.     f.  3. 

3.  "  Dimmi  pur,  dolce  mia  uita."     f.  5. 

4.  "Pur  ch'  iogoda."     f.  6. 

5.  "  Amarti  il  cor  non  puo."     f.  8. 

6.  "Care  tenebre."     f .  9. 

7.  "  Mie  speranze."     f.  11. 

8.  "  Nou  mi  parto  da  te."     f.  13. 

9.  "  Sparge  al  ueuto  le  querelle."  f.  15. 

10.  "  Rendeteui,  6  pensieri."     f .  17. 

11.  "A  quel  crine."     f.l9. 


16.  "  Vederui  e  non  penare."     f .  30. 

17.  "  Lacci  d'  Amor":  duet  sung  by 
La  Menarina  and  Rosana.     f .  32. 

18.  "N6,  no,  non  mi  lasciar."     f .  34. 

19.  "  Poi  che  il  fato  uuol  cosi."     f.  36. 

20.  "  Son  dolente."     f.38. 

21.  "  Parlami  pur  d'  amore."     f .  40. 

22.  "  Belle  ueneri."     f.  41. 

23.  "Destin,  se  uuoi."     f.  43. 

24.  "  Se  uuoi  cb'io  troui  pace."     f.  45. 

25.  "  Gioue  h  dio  che  tutto  sai "  [sic). 
f.47. 

26.  "  Non  uagheggiarti,  6  bella."  f .  48. 

27.  "  Voi  che  giusti  fulminate."      f.  50. 

28.  "Sol  mi  resta  un  furto."  At  the 
beginning  are  the  initials  S  (?).  G.  G. 
f.52. 

29.  "Dal  ciel  che  tutto  fa  sperar." 
f.  54. 


12.  "Degl'  allori  io  son  contenta." 
f.  21. 

13.  "  Mi  regna  nel'  core  amore."    f.  23. 

14.  ' '  Sappi  resistere,  6  bella  costanza  "  ; 
preceded  (at  f .  25)  by  a  recitative. 
f.27. 

15.  "Parto;  ma  Pargoletto  da  me  non 
parte  amor."     f.  30. 

16.  "Al'  aurora."  Prom  the  allusion 
to  Giimio  in  this  aria,  it  is  possible 
that  it  is  taken  from  the  opera 
"  Giimio  Bruto  "  by  G.  F.  Tosi,  1686, 
rather  than  from  G.  B,  Draghi's 
"  La  varieta  di  fortuna  in  Lucio 
Giunio  Bruto,"  the  German  version 
of  which  does  not  appear  to  contain 


236 


VOCAL  MUSIC— SECULAR. 


any  song  corresponding  to  the  above. 
f.31. 

17.  "  E  foUia  di  chi  si  crede."     f.  33. 

18.  "  Rose  indegne."     f.  35. 

19.  "  Donna,  cagion  de  mali."     f.  37. 

20.  "  Fanciul,    che    porti    in    uolto." 
f.38. 

21.  "  E  miracolo  d'  amore."     f.  39. 


22.  "  Al  splendor  che  cangia  in  cenere." 
f.41. 

23.  "Hor  ch'  in  te  miro  il  mio  bene." 
f.  43. 

24.  "Son  uassalo  di  cupido."     f.  44. 

25.  "  Ti  dono  un  baccio  "  :  duet.    f.  46. 

26.  "  S6  ben  io  oh'  a  la  bellezza."   f.  48. 


Harley  1272,  fF.  lb-10,  7 Q-9Q  passim. 

Paper ;  late  17th  cent.     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

Aeias,  etc.,  apparently  taken  from  Operas,  with  basses  (generally 
figured)  for  harpsichord,  in  score.  Other  instruments  employed  are 
mentioned  below.  Nos.  5  and  6  are  in  the  hand  of  Humphrey 
Wanley ;  the  others  in  that  of  B.  M.  Berenclow. 


1.  "  Venticelli  che  tacete  "  ;  with  arch- 
lute.  "[Domenico?]Gabrielli."  f .  lb. 

2.  "Vinto  hai  gia."  "Bernd"  Pas- 
qvini."     f.  4b. 

3.  "Almeno  un  pensiero."  "Caris- 
simi."     f.  5b. 

4.  "Iltacer."     "  All"  Melani."     f.  8b. 

5.  "  Soavi  Respiri  "  :  duet  (Armida  and 
Rinaldo).     By  the  same.     f.  76. 

6.  "Vanne  invitto":  duet.  "Ales- 
sandro  Scarlatti."  This  and  nos.  7-11 
have  accompaniments  for  violins,  etc. 


i.  78b. 

7.  "Al     fulgor     d'un     serto     aurato." 
Anonymous,     f .  84. 

8.  "Nondar  piu  pene."     Anonymous. 
f.86. 

9.  "Con    tromba    sonora."      "Beren- 
clow."    f.88. 

10.  "Al    dispetto     ancor    d'    amore." 
Anonynlous.     f .  92. 

11.  "Echinonv'ameria."  Anonymous. 
f.96. 


Harley  1863,  ff.  13b,  128. 

Paper  ;  late  17th  cent.     Oblong  octavo.     See  also  below,  under  Songs. 
Operatic  numbers,  with  a  figured  bass,  in  score. 

gioua."      Anonymous. 


1.  "0  misera  Dorinda."  [Prom  "II 
pastor  fido."]  "  Pietro  Reggio." 
f . 13b. 


2.  "Che     mi 
f.  128. 


Additional  14237. 

Paper ;    ff .  144.     Late  17th  cent.      Oblong  folio.     In   richly  tooled  morocco 
binding  (Italian),  with  a  shield  of  arms. 

"  Il  Caligola  "  :  Opera  in  3  Acts,  with  symphonies  and  accompani- 
ments for  strings  (?)  and  a  figured  bass  for  harpsichord,  in  score. 
Anonymous.  In  the  same  hand  as  Add.  14238,  below,  and  probably 
by  the  same  composer  [?  G.  A.  Boretti].  The  characters  are  :  Gelosia, 
Costanza  and  Delirio  (in  the  prologue) ;  Caligola,  Artabano,  Teosena, 
Gelsa,  Nesbo,  Claudio,  Domitio,  Cesonia  and  Tigrane. 


OPERAS. 


237 


Additional  14238. 

Paper  ;  S.  117.      Late  17th  cent.     Oblong  folio.     In  binding  similar  to  that  of 
Add.  14237,  above. 

"  Ercole  in  tebbe  "  :  Opera  in  3  Acts,  with  symphonies  and  accom- 
paniments for  strings  (?)  and  a  figured  bass,  for  harpsichord,  in  score. 
In  one  scene  a  flourish  of  trumpets  is  introduced.  Anonymous. 
Probably  by  G.  A.  Boretti,  1671.  An  alternative  ending  is  added  at 
f.  111b.  Characters  :  Ercole,  Ilo,  Pelio,  Aristeo,  lole,  Megara,  Clitarco, 
Caronte,  Tersillo,  Pluto,  Proserpina,  Venere,  Teseo,  and  Tiferne. 


Paper;    ff .  283. 
Dragonetti. 


Additional  16045. 

Late    17th    cent.      Large    folio.      Belonged    to  Domenico 


Dramatic  compositions  in  French,  with  overtures,  ritournelles, 
symphonies,  etc.,  and  accompaniments  for  strings,  flutes,  oboes  (nos.  5-7), 
and  trumpets  and  drums  (no.  6),  with  a  figured  bass  for  harpsichord, 
in  scoi-e.  By  Jean  Bafjtiste  Lully.  They  are  his  eight  earliest  works, 
but  are  not  arranged  in  chronological  order.  Unless  the  contrary  is 
stated,  they  are  in  5  Acts,  preceded  by  a  Prologue. 


1.  "  La  Mascarade  "  (sc.  "Le  carnaval," 
Oct.,  1675) :  a  pastorale  in  4  scenes. 
Characters  :  Le  Carnaval,  La  Galan- 
terie,  Three  Spaniards  (who  sing  in 
Spanish),  Musicians,  Basques,  and 
Chorus  of  Pleasures ;  Thyrsis,  File- 
nus,  Lichas,  etc.     f.  2. 

2.  "La f este de I'amour et de Bac[c]hus " 
[1672] :  pastorale  in  2  (?)  Acts.  Cha- 
racters :  Polymnia,  Melpomene,  and 
Euterpe  ;  Thyrsis,  Lycastus,  Menan- 
der,  Clymene,  Callisto,  Silvander, 
F[l]orestan,  Damon,  Chloris,  Areas, 
Shepherds  and  Shepherdesses,     f .  23. 

3.  "  Psyche  "  [1678] :  tragedy  in  3  Acts. 
Characters :  Flora,  with  Chorus  of 
Nymphs,  etc. ;  Aglaure,  Cydippus, 
Vulcan,  a  Cyclops,  Venus,  Apollo, 
Momus,  Muses,  Silenus,  Satyrs,  etc. 
In  the  1st  Act  (at  f .  53b)  is  introduced 
a  "  Plainte  Italienne  Chantee  par 
deux  hommes  afflig^z  et  par  vne 
femme  desoldie."     f.  45. 

4.  "Cadmus  [et  Hermione,  1673]": 
tragedy.  Characters  :  Pallas,  Melissa, 
Pan,  the  Sun,  and  Chorus  of  Shep- 
herds ;  Hermione,  a  Grace,  Aglante 
and  her  Nurse,  three  Africans,  a  Giant, 
Arbas,  Cadmus,  Love,  two  Tyrian 
Princes,  the  High  Priest  of  Mars, 
Mars  himself,  Juno,  Pallas,  Jupiter, 


Hymen,  etc.     t.  73. 

5.  "Thes6e"  [Jan.,  1675]:  tragedy. 
Characters :  Chorus  of  Graces  and 
Pleasures,  Venus,  Mars,  Chorus  of 
Reapers,  Ceres,  and  Bacchus  ;  ^gle, 
Cleone,  Areas,  Theseus,  High  Priestess, 
Medea,  Dorina,  two  Old  Men,  Inhabi- 
tants of  Enchanted  Isle,  etc.     i.  115. 

6.  "  Alceste  "  [1674] :  tragedy.  Charac- 
ters :  Nymphs  of  the  Seine  and  the 
Marne,  and  of  the  Tuileries,  La 
Gloire,  Tritons,  etc. ;  Alcides,  Lichas, 
Strato,  Cephissus,  Lycomedes,  Chorus 
of  Thessalians,  Soldiers,  Admetus, 
Thetis,  the  Winds,  iEolus,  Aquilo, 
Zephyrus,  Pheres,  Alcestes,  Clean- 
thes,  Apollo,  Diana,  Charon,  Alecto, 
Pluto  and  his  Followers,  Proserpine, 
etc.     f.  157. 

7.  "Atys"  [1676]:  tragedy.  Charac- 
ters :  Time;  Flora,  Spring,  Zephyrs, 
and  Melpomene ;  Atys,  Idas,  Sanga- 
rides,  Cybele,  Celenus,  King  of  Phry- 
gia,  Melissa,  Chorus  of  Phrygians, 
Doris,  Morpheus,  Fancy,  Phobetor, 
Sangarius,  Corybantes,  etc.  This  copy 
differs  considerably  from  Add.  24304 
(see  below),  which  is  much  fuller, 
f.  214. 

8.  "  Isis  "  [1677]  :  tragedy.  Characters  : 
Neptune  and  Tritons,  Renown,  Apollo. 


238  VOCAL  MUSIC— SECULAR. 

Calliope,   and  Melpomene  ;    Hierax,   |       Syrinx,  the  three  Fates,  lo,  Juno,  etc. 
Pyrantes,     Mercury,    Jupiter,     Isis,  f.  261. 

Hebe,    two    Nymphs,    Argus,    Pan,   | 

Additional  31436,  ff.  11 8-U9b. 

Paper;    late  17th  cent.     Folio.     The  MS.  also  contains  Chamber  Trios  and 
Quartets  and  String  Trios  (see  vol.  iii). 

Instrumental  parts  of  an  anonymous  Opera  in  3  Acts  :  an  imperfect 
set,  consisting  of  the  tenor,  bass,  and  basso  ripieno  parts  of  Act  i,  the 
tenor  and  bass  parts  of  Act  ii,  and  the  tenor  and  bass  parts  of  nos.  1 
and  7  and  another  (unnumbered)  of  Act  iii. 

Additional  33236,  ff.  67b-69b. 

Paper ;  late  17th  cent.    Folio.     See  also  under  sacred  Songs  (vol.  i,  p.  431). 

Dialogue,  "  You  say  'tis  love  "  ;  by  Henry  Purcell.  [From  "  King 
Arthur,"  1691.] 

Additional  12219. 

Paper ;  ff.  42.     End  of  17th  cent.     Small  folio.     The  MS.  was  purchased  in 
1841  from  Thomas  Rodd,  who  acquired  it  at  James  Bartleman's  death  in  1821. 

Incidental  music  to  Macbeth,  with  symphonies  and  accompani- 
ments for  serpent  and  otlier  instruments,  in  score,  in  the  same  hand  as 
the  Ode  by  John  Eccles  in  Add.  31456  (above,  p.  216),  and  apparently 
autograph.  In  Add.  29378,  ff.  57-95  (below,  p.  242),  consisting  almost 
entirely  of  works  by  Eccles,  the  composition  of  this  music  is  ascribed 
to  him  without  reserve.  The  copy  in  the  latter  MS.  was  evidently 
taken  from  the  present  one,  probably  before  the  mutilation  of  the  last 
page,  which  may  possibly  have  contained  the  composer's  name.  The 
resemblance  of  the  music  to  that  popularly  known  as  Matthew  Lock's 
is  very  slight.  For  a  further  description  of  the  MS.,  see  Oliphant's 
Catalog7i.e  of  MS.  Music  in  the  British  Museum,  1842.  Besides  the 
singers  mentioned  there,  the  present  MS.  contains  the  names  of  — 
Nicholson,  a  tenor,  and  —  Wiltshire,  a  bass  (fl.  1697).  For  the  former 
the  name  of  —  Short  was  substituted,  apparently  in  a  contemporary 
hand,  and  for  the  latter  that  of  —  Cook,  which  has  been  put  in  the 
place  of  each  of  the  other  4  basses  in  turn. 

Harley  1266,  ff.  14-20b. 
Paper ;  17th-18th  cent.     Narrow  oblong  octavo.    See  also  below,  under  Songs. 

Two  SONGS  for  a  soprano  voice,  with  symphonies  and  accompani- 
ments for  strings,  in  score.  Anonymous.  After  no.  1,  three  songs 
appear  to  have  been  removed. 

1.  "  Da  r  armi  d'  vu  volto  riparo  non  I       racters  is  Placidia,  but  not  from   P. 
c'  e":  aria,     f .  14.  A.  Bernardoni's  play  of  that  name, 

2.  "  Lasciatemi,  inhumani  "  ;  from  an  published  in  1706.     hnperfect  at  the 
Opera,    in   which    one   of    the   cha-  end.     f£.  18-20b. 


OPERAS.  239 

Harley  1270,  ff.  19,  41b. 

Paper  ;  17th-18th  cent.     Narrow  oblong  octavo.    See  also  below,  under  Songs. 
Songs,  apparently  from  Operas,  in  score. 


1.  "Semi  condanni "  ;  with  a  figured 
bass  for  harpsichord,  and  at  the  end 
a  ritornello  for  3  strings.  "  Ber"  Pas- 


quini."     S.  19. 
2.  "  Deh,  reudi  al  Cor  la  pace";  with 
a  bass.     Anonymous,     f .  41b. 


Harley  1792. 

Paper;  fi.  51.     17th-18th  cent.     Oblong  octavo. 

"  Intermedio  (sc.  Intermezzo)  a  cinque,  con  Instromenti,  Rinaldo, 
Armida,  Vbaldo,  Carlo,  e  Ninfa.  Mvsica  del  Sig.  Alessandro  Melani, 
Parole  del  Sig.  Pietro  Cenciani  "  ;  with  figured  bass,  in  score.  Probably 
entitled  "  Armida"  or  "  Rinaldo  ed  Armida." 

Additional  16110. 

Paper ;  ff.  322.     17th-18th  cent.     Oblong  quarto. 

Opera,  in  3  Acts,  with  Sinfonia  and  accompaniments  for  oboes, 
flutes,  bassoons,  and  strings,  and,  as  usual  in  the  solos,  a  figured  bass 
for  harpsichord,  in  score.  According  to  a  pencil  note  on  f.  136,  and 
another  on  f.  1  of  Add.  16109  (with  which  Act  i  appears  to  have  been 
originally  bound  up,  see  below),  it  is  "La  Proserpina"  by  [? Carlo 
Francesco]  Polaroli.  Apparently  autograph  (see  f .  1 1 2b,  etc.).  Characters : 
Pluto,  a  Demon,  Toralbo,  Ormino,  Alcasto,  Clori,  Nerea,  Silvia,  Endi- 
mione,  Proserpina,  Giove,  Cerere,  Nettuno,  with  Choruses  (genex'ally 
for  3  voices)  of  Nymphs,  Shepherds,  celestial  and  marine  Deities, 
infernal  Spirits,  etc. 

Additional  24889,  'passim. 

Paper;  beginning  of  the  18th  cent.,  etc.     Folio. 

Arrangements  for  strings  (in  parts)  of  portions  of  dramatic  works, 
includins:  the  followinar : — 


1.  "  [The]  Wives' Victory."  "[Godfrey] 
Finger."     ff .  4,  27,  52,  72. 

2.  "The  Moor  of  Venice."     "J.  Len- 
ton."     ff.  6,  29,  54,  74. 

3.  "Mustapha."    Anonymous,  ff.  7,  30, 
55,  75. 

4.  "Lovers' Luck."  "T.Tollett."  ff.lO, 
85,  58,  78. 

5.  The  "Storm"(?).    "Gillier."    f.  12, 
37,  80. 


Baptist  [Draghi  or  LuUy]."  ff.  16,  41. 
60,  84. 

11.  "New  Market  (?)."  Anonymous, 
ff.  19,  44,  64,  87. 

12-17.  "Indian  Queen"  [1692],  "The 
Richmond  Heiress"  [1693],  "Dio- 
cletian" [1690],  and  "The  Mock 
Marriage"  [1695],  all  by  Henry  Pur- 
cell;  and  "  The  Married  Beau  "  and 
"  Don  Quixote  "  [1694],  by  John  Ec- 


6-10.  Five  (?)   works    unnamed.      "J.    I       cles.     A  pot-pourri,     ff.  21,  46,  66,  89. 

For  a  further  description  of  the  above,  see  vol.  iii,  under  Quartets 
for  Strings  and  for  Pianoforte  with  Strings  ;  also  under  String  Trios 
(18th  cent.). 


240 


VOCAL  MUSIC— SECULAR. 


Additional  5333,  ff.  4,  57. 

Paper ;  early  18th  cent.     Small  folio.     See  also  above,  under  Odes  (p.  213). 

Deamatic    compositions,    with    instrumental    accompaniments,    in 
score,  by  Henry  Purcell :  transcripts  by  Dr.  William  Croft. 


.  "King  Arthur"  [1691].  Wanting 
some  of  the  numbers  given  in  Rim- 
bault's  and  Arkwight's  editions,  viz., 
Overture,  Military  symphony  in  Act  i, 
Introduction  to  Act  ii,  hornpipes  at 
ends  of  Acts  ii  and  iii,  Duet  "  Tvyo 
daughters  of  this  aged  stream"  in 
Act  iv.  Trio  "  In  vain  are  our  faces," 
etc.  (end  of  Act  iv),  'Symphony  (Bri- 


tannia rises)  in  Act  iv,  and  the 
greater  part  of  the  Masque  in  Act  v. 
Only  the  first  verses  are  given  of  the 
tenor  airs  with  chorus,  "  Come,  if  you 
dare,"  and  "How  blest  are  shep- 
herds."    ff .  4-56b. 

,  The  music  in  the  "Libertine  "  [1676], 
as  in  Add.  31447,  ff .  148-151b  (below,, 
p.  246).     ff.  57-61b. 


Additional  6337,  ff.  1-42. 

Paper ;  early  18th  cent.    Small  folio.     See  also  under  Oratorios  (vol.  i,  p.  367). 

Incidental  music,  by  Henry  Purcell,  in  score.  The  symphonies  are 
written  for  flutes,  oboes,  strings,  etc.,  and,  in  the  case  of  no.  2,  for 
trumpets  also. 

1.  [The  Masque  in]"  Timon  of  Athens"  Add.  31447,  below).     [1695.]     Appa- 
[1678].     f.  1.  rently  in  the  hand  of  Dr.  Blow  (c/. 

2.  "  The  Musick  in  '  Bonduca  '  "  (as  in  Add.  31457,  f.  1,  etc.).     ff .  27-42. 


Additional  14185. 

Paper  ;  ff .  239.     Early  18th  cent.     Oblong  folio. 

"  II  Trionfro  (s/c)  di  Camilla  :  Opera  Del  Sig^^  Giou.  Bono[ncin]i "  ; 
in  3  Acts,  with  symphonies  and  accompaniments  for  strings,  and  a  bass 
(occasionally  figured)  for  a  harpsichord  and  in  one  number  for  2  harpsi- 
chords, in  score.  Apparently  the  same  as  the  opera  described  in 
Riemann's  Opern-Handhuch  (2nd  supplement)  as  "  Camilla,  regina  de' 
Volsci.  .  .von  M.  Ant.  Buononcini.  .  .  .  (Wien,  1697)."  This  latter  date 
is  corroborated  by  Add.  14186  (below),  which  contains  airs  from  the 
same  opera ;  it  is,  however,  there  (as  in  the  present  MS.  and  Add. 
31542,  below)  ascribed  to  Giovanni  Buononcini  (see  description  of  the 
latter  MS.  in  the  Catalogue  of  Additions,  and  Burney's  History  of  Music, 
vol.  iv,  p.  210).  Charactei-s  :  Camilla,  Linco,  Prenesto,  Mezio,  Lavinia, 
Tullia,  Turno,  Latino,  Sabino,  etc. 


Additional  14186,  ff.  1-1 00b. 

Paper ;  early  18th  cent.     Oblong  folio.     See  also  below,  under  Songs. 

"  Arie  del  opera  della  '  Camilla,'  musica  del  Sig'"''  Giouanni  [Battista] 
Bononcino,  1697";  with  instrumental  accompaniments,  in  score  (c/. 
Add.  14185,  above). 


OPERAS.  241 

Additional  15980. 

Paper  ;  ff.  4i.     Early  18th  cent.     Oblong  quarto. 

"  Second  Interlude  conformable  to  the  parts  as  originally  clone," 
beginning  "  The  sun  hath  Climb'd  y'^  burning  Steep  " ;  with  symphonies 
and  accompaniments  for  French  horns,  oboes,  flutes,  bassoons,  and 
strings,  in  score.  In  the  Catalogue  of  Additions  for  184G  said  to  be  by 
J.  E.  Galliard  or  Dr.  Pepusch.  It  is  probably  part  of  the  Masque  of 
"  Myrtillo,"  by  the  latter  composer  [1716].  Characters:  Florimel, 
Myrtillo,  Cupid,  and  Satyr. 

Additional  15992. 

Paper  ;  ff .  156.     Early  18th  cent.     Oblong  quarto. 

"  TuRNO  Aricino  "  :  musical  drama  in  3  Acts,  with  symphonies  and 
accompaniments  for  trumpets,  "  schalmaux  "  or  "  chalamaux  "  {sc.  cha- 
lumeaux),  flutes,  oboes,  bassoons,  and  strings,  including  viol  d'  amore, 
and  a  figured  bass  for  harpsichord,  in  score.  The  words  by  Silvio 
Stampiglio,  the  music  by  Giovanni  Battista  Buononcini  [about  1710]. 
Characters  :  Turno  Ei'donio,  Egeria,  Livia,  Lucio  Tarquinio  Superbo, 
Geminio,  Ottavio  Mamilio,  and  Ascanio. 

Additional  15993. 

Paper  ;  ff .  133.     Early  18th  cent.     Oblong  folio.     Belonged  to  Charles  Wesley, 
and  afterwards  to  Domenico  Dragonetti. 

"  Venceslao  "  :  musical  drama  in  5  Acts,  with  symphonies  and 
accompaniments  for  oboes,  horns,  trumpets,  and  strings,  in  score.  By 
Giovanni  Maria  Capelli ;  the  words  by  Apostolo  Zeno.  Characters  : 
Ernando,  Venceslao,  Casimii'o,  Alessandro,  Gismondo,  Lucinda,  and 
Erenice,  with  a  short  4-part  Chorus  at  the  end. 

Addition  all7853,  f.  41b. 

Paper;  early  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  64),  and 
under  Pianoforte  and  Violin  Solos  (vol.  iii). 

"  No  MORE  Invaide  me  "  :  song,  with  bass,  in  score,  from  "  Renaldo  " 
[?  by  John  Eccles,  1699]. 

Additional  22101. 

Paper ;  ff.  94.     Early  18th  cent.     Oblong  folio. 

"  Arie  con  Stromenti  Dell'  Opera  intitolata  'La  Pastorella.' 
Rappresentata  da'  Puj^azzi  Nel  Palazzo  del  Sig.  Ambasciator  di 
Venezia,  1705— Atto  P[ri]mo  del  Sig.  [Carlo]  Cesarini,  Atto  2°  Del 
Sig.  Giannino  (sc.  Giovanni  detto  del  Violone),  Atto  3°  del  Sig. 
[?  Giovanni  Battista]  Bononcini  con  I'aggiunte  Del  Sig.  Alessandro 
Scarlatti " ;  with  instrumental  symphonies  and  accompaniments,  in 
n  R 


242  VOCAL  MUSIC— SECULAR. 

score.  Burney,  History  of  Music,  vol.  iv,  p.  206,  speaks  of  this 
pasticcio  as  "  Love's  Triumph,"  under  which  name  an  English  version 
was  published  in  1708,  containing  all  the  songs  in  the  present  MS. 
except  "Liso,  non  pauentar"  (f.  33),  "  Se  tu  sei  la  mia  vita"  (£.67), 
"  Vi  sento,  vi  miro  "  (f.  76),  and  "  Un  fido  cor"  (f.  91),  which  last  two 
airs  are  here  ascribed  to  Scarlatti,  together  with  other  airs  probably 
by  Francesco  Gasparini,  whose  name  Burney  mentions  as  one  of  the 
contributors  ;  he  makes  no  mention  of  Scarlatti  or  Buononcini. 
Characters :  Eurilla,  Serpetta,  Liso,  Licisca,  etc. 

Additional  22102. 

Paper ;  ff.  181.     Early  18th  cent.     Oblong  folio. 

"  II  Xerse  "  :  Opera  in  3  Acts,  with  symphonies  and  accompani- 
ments for  flutes,  strings  (lute,  archlute,  etc.),  and  a  figured  bass  for 
harpsichord,  in  score,  by  Giovanni  Battista  Buononcini  [1694]. 
Characters  :  Xerse,  Artamene,  Elviro,  Romilda,  Adelanta,  Eumene, 
Amastre,  Clito,  Aristone  and  Ariodate. 

Additional  22759,  ff.  47-51b  (reversed). 

Paper ;  early  18th  cent.     Oblong  octavo.     Inserted  iu  a  volume  of  late  16th 
cent.  Anthems  (vol.  i,  p.  4),  etc. 

"  ViCTUMNUS  (sc.  Yertumnus),  Flora,  you  that  bless  the  fields "  : 
song  written  by  Raphael  Courteville  for  Durfey's  "  Don  Quixote,"  1695, 
for  which  Purcell  wrote  most  of  the  incidental  music. 


Additional  29378,  passim. 

Paper;  early  18th  cent.  Folio.  The  MS.  belonged  to  J.  W.  Windsor,  of 
Bath,  in  1802,  and  to  Vincent  Novello  in  1816-1829.  See  also  above,  under  Duets 
(p.  61)  and  Odes  (p.  214). 

Incidental  music,  in  score,  by  John  Eccles,  with  the  exception  of 
the  last  number.  The  instruments  employed  in  the  .symphonies  and 
accompaniments,  where  given  in  the  MS.,  are  indicated  below  ;  where 
none  are  mentioned,  a  basso  continuo  is  to  be  understood. 


1.  "  Rinaldo  and  Armida,"  1699;  with 
accompaniments  for  flutes,  etc.     f.  3. 

2.  "  Macbeth  "  [about  1697] ;  evidently 
transcribed  from  Add.  12219  (above, 
p.  238).     ff.  57-95. 

3.  "  Look  down,  yee  blest":  described 
as ' '  procession  in '  Y°  Spanish  Fryar ' " 
[1696?].     f.  139. 

4.  "  She  heard  the  summonds"  :  "pro- 
cession iu  '  Aurenge  Zebe  '  "  [1698  ?]. 
f .  139b. 

5.  "I  lov'd  and  am  belov'd  again": 
dialogue  iu  "  Y"  Adventures  of  five 
hours  "  [about  1700].     f.  140b. 


6.  "Hark,  y'  big  drums"  :  duet  with 
accompaniments  for  trumpets,  drums, 
etc.,  in  "Pyrrhus,  King  of  Epire," 
1695.     f.  143. 

7.  Song,  "  Fair  Belinda's  Youtbfull 
charmes  "  ;  duet,  "  Look  down,  great 
Hymen";  and  dialogue,  "Oft  have 
you  told  me."  In  "She  Ventures, 
and  He  Wins,"  1696.  ff .  149,  150, 
151. 

8.  Song  for  three  witches,  with  chorus, 
beg.  "  Sisters,  whilst  thus  I  wave  my 
wand";  song,  "Hark,  the  trumpets 
and   the   drums";   and   song,  "Oh, 


OPERAS. 


243 


take  him  gently."  With  accompani- 
ments for  trumpets,  etc.  In  "Cyrus 
the  Great,"  1696.     ff.  154b,  157,  159. 

9.  Duet,  "  Let  us  revell,"  sung  by  two 
bullies  in  "¥<'  Lovers'  Luck,"  1696. 
f . 160b. 

10.  "Faith  and  troth":  dialogue  in 
"  Y<=  Citty  Lady,"  1697.     f.  161b. 

11.  "Why  so  coy":  dialogue  in  "¥•= 
Husband  his  own  cuckold,"  1696. 
f.  164. 

12.  Three  dialogues,  with  chorus, 
"  Shou'd  I  not  lead  a  happy  life"; 
"  Hark  you,  Madam  "  ;  and  "  Pretty 
Miss,  let  us  talk  together."  In 
"Love's  a  jest,"  1696.  ff.  167,  170b, 
174. 

13.  "For  you  who  are  rid":    duet  in 


"Y«    Unnaturall     Brother,"     1697. 
f.  177b. 

14.  "Bej'ond  the  desart  mountains": 
song  in  "Y"=  Married  Beau,"  1694. 
With  instrumental  accompaniments. 
f.l79. 

15.  "Her  eyes  are  like  y'  morning": 
song  with  accompaniments  for  flutes, 
violins,  etc.  In  "The  Novelty," 
1697."     f.  181. 

16.  "Fill  all  the  glasses":  duet  in 
"King  Harry  y^  5th"  [about  1702]. 
f.  188. 

17.  ' '  The  Mask  in  '  Y'  Pilgrim  '"  ;  with 
accompaniments  for  trumpets,  vio- 
lins, etc.  "D[aniel]  Purcell,"  1700. 
f.  J94. 


Additional  31405,  ff.  134-143. 

Paper  ;  early  18th  cent.     Folio.     See  also  under  Anthems  (vol.  i,  p.  48). 

Separate  numbers  from  dramatic  works  by  English  composers,  with 
insti'umental  symphonies,  etc.,  in  score. 


1.  Part  of  the  "Libertine,"  from  the 
"Ball  Song,"  beg.  "Nymphs  and 
Shepherds,"  to  the  end  of  the  chorus 
"  In  these  delightfuU  pleasant 
Groves."  By  H.  Purcell.  [1676.] 
f.  134. 

2.  "Song  with  violins  on  a  ground," 
beg.    "  Here    y=    Deities    approve." 


Anonymous,  f.  138. 
3.  "Ball-song,  No.  y'  7th,  1706,"  beg. 
"  Shepheards,  tune  your  pipes." 
"D.  Purcell."  It  is  divided  into 
several  verses  for  treble  solo,  against 
which  the  initials  of  the  original  (?) 
performers  are  placed,  and  it  ends 
with  a  chorus,     f .  140. 


Additional  31448,  f.  31. 
Paper;  early  18th  cent.     Folio.     See  also  above,  under  Odes  (p.  214). 

"  Celemene,  pray  tell  me  " :  duet,  with  a  bass,  in  score,  by  Henry 
Purcell.  Sung  by  "Jemy  Bowin "  and  Mrs.  Cross.  The  words  by 
Durfey. 


Additional  31452,  ff.  1,  28b,  40. 

Paper;  early  18th  cent.  Folio.  Bookplate  and  signature  of  James  Kent, 
organist  at  Trinity  College,  Cambridge  (before  1737).  See  also  above,  under 
Odes  (p.  215). 

Incidental  music  by  Henry  Purcell,  with  symphonies  and  accom- 
paniments for  instruments,  in  score.  Transcribed  by  Dr.  William 
Croft,  possibly  from  Add.  31447  (below,  p.  246). 

1.  "  Masque  in 'Timen  (sic)  of  Athens.'"   (   2.  "Bonduca."     [1695.]     f.  2Sb. 
[1678.]     With  oboes,  e^c.     f.  1.  !   3.  "  GEdipus."     [1692.]     f.  40. 

R    2 


2U 


YOCAL  MUSIC— SECULAR. 


Additional  31453,  ff.  39-1 83b,  passim. 

Paper ;  early  18th  cent.      Small  folio.      The  IMS.  also  contains  other  com- 
positions, vocal  and  instrumental,  all  described  elsewhere. 

Incidental  music  by  vax-ious  composers,  and  in  various  hands,  in 
score. 


,  "Indian  Queen  Musick."  [1692.] 
"Henery  Purcell."  Some  of  the 
instrumental  dances,  etc.,  printed  by 
Goodison  [1790?]  are  omitted.  At 
the  end  (f .  69)  is  a  "Last  Act" 
[?  masque  in  Act  v]  by  "  Daniel  Pur- 
cell "  [1696],  "Mr.  Henery  Purcell 
being  dead."     fi.  39-83. 

,  Two  overtures  and  other  instru- 
mental numbers  (Siciliana,  Gavotte, 
hornpipe,  concerto,  minuet,  etc.), 
from  a  3-Act  drama  without  title  or 
composer's  name.  In  the  same  hand 
as  the  Ode  to  St.  Cecilia,  which 
follows  it  (f.  133),  and  which  is 
possibly  by  John  Eccles.     ff.  84-132. 

,  "A  song  in  'The  Pretenders,'"  beg. 
"All  things  seem  deaf "  ;  with  a  bass. 
By  John  Eccles.     f .  150b. 

,  "Restless  in  thought"  [from  "  She 
ventures,  he  wins  "] ;  with  figured 
bass.  Imperfect.  By  the  same. 
This  and  no.  3  are  printed  in  Eccles' 


General    Collection  of    Songs,   1703, 
f.  151b. 

5.  A  Masque  ["Venus  and  Adonis  ?  "], 
apparently  copied  at  a  later  date  by 
the  same  transcriber  [ —  Dolbin]  as 
Add.  22100  (above,  p.  230).  Imperfect 
at  the  end.  Partly  "  from  Mr.  Ben- 
ford's  score."     ff.  152-168b. 

6.  "  See,  where  repenting  Caelia  lyes  " 
sung     by     Mrs.     Ayliff,     in     "  The 
Married    Beau."       [1694.]       "Hen. 
Purcell."      This  and   nos.  7-9  have 
figured  basses,     f.  171. 

7.  "  Oh,  lead  me  to  some  peaceful 
gloom";  from  "  Bonduca."  [1695.] 
By  the  same.     f.  172b. 

8.  "  Since  times  are  so  bad  "  :  dialogue 
in  "  Don  Quixot,"  Part  ii.  Act  iv. 
By  the  same.     [1694.]     f.  173b. 

9.  "  A  Lass  there  lives  upon  the 
green"  ;  from  "  Oroonoko."  [By  the 
same,  1695.]     f.  182b. 


Additional  31488,  ff.  46-55. 

Paper;  early  18th  cent.     Oblong  folio. 

"  NoN  han  core  "  :  recitatives  and  arias,  with  a  figured  bass  for 
harpsichord,  by  [Alessandro  ?]  Scarlatti.  Probably  from  Act  iii  of  "  La 
Rosaura"  [about  1690].  Alluded  to  in  the  introduction  to  the 
Gesellschaft  flir  Musikforschungs  edition  of  that  Opera. 


Additional  31495. 

Paper ;    ff.  61.     Early    18th    cent.      Oblong    folio.      Bookplate    of    Thomas 
Bever,  LL.D. 

"  La     Lotta    d'    Alcide,     con    Acheloo.     Drama    per    il    Teatro 
Ellettorale  d'  Hannover.  ..  1689."     Written  for  solo  voices   (Alcides, 
Deianira,  Achelous  and  CEneus),  with  overture,  symphonies,  dances,  etc. 
for  flutes  and  strings,  in  score,  by  Steffani. 


OPERAS. 


245 


Additional  31513. 

Paper  ;  ff.  148.      Early  18th  cent.     Obloug  folio.     Belonged  in  the  18th  cent. 
to  [William  (?)]  Savage,  and  in  1817  to  R.  J.  S.  Stevens. 

"  La  Rosaura  "  ;  in  3  Acts,  with  instrumental  symphonies  and 
accompaniments,  including  a  figured  bass  for  harpsichord,  in  score,  by 
Alessandro  Scarlatti.  The  words  by  Abbate  Giovanni  Battista  Lucini. 
About  1690.  Characters  :  Venere  (in  the  Prologue),  Celindo,  Elmiro, 
Chmene,  Rosaura,  and  Lesbo. 


Additional  31517,  ff.  1,  27. 

Paper ;  early  18th  cent.     Oblong  folio.      The  MS.  also  contains  a  Song  (1722), 
described  below,  and  Pianoforte  Instructions,  in  vol.  iii. 


Portions  of  Operas,  in  score. 

1,  "  Le  Nozze  col  nemico"  (Act  i,  and 
apparently  part  of  Act  ii) ;  with  sym- 
phonies and  accompaniments  for 
strings,  and  a  figured  bass  for  harp- 
sichord.     "[Alessandro]    Scarlatti." 


About  1700.     ff.  l-22b. 
2.  "  Tu  vuoi  ch'  io  viua,  o  cara  "  :  duet, 
with  flute  and  a  bass  for  harpsichord. 
"Leonardo   Vinci."     [From   "Arta- 
serse,"  1730.]     ff .  27-34. 


Sloane  3752,  flP.  2-3,  7,  29b-31b. 

Paper;  about  1700.     Duodecimo, 

Songs,  etc.,  inserted,  without  the  music,  in  a  volume  of  alchemical 
and  chemical  processes  and  experiments. 


1.  "The  Songs  In  y^  Theater  of  Musick" 
[published  by  Henry  Playford,  1685], 
including  (a-c)  Three  songs  in  "  The 
Disappointment,  or  The  Mother  in 
fashon."  [Set  to  music  by  Captain 
Henry  Pack  and  Robert  King.] 
fi.2-3;— (d)  "Awake,  oh  Constan- 
tine  "  ;  from  Act  i  of  "  Constantine." 


[Set  by  Thomas  Farmer.]  f.  7. 
2.  Part  of  the  dialogue  in  Shakespeare's 
"  A  Midsummer  Night's  Dream," 
selected  and  slightly  altered  for 
insertion  in  an  Opera  called  "  The 
Fairy  Queen."  [(?)  Henry  Purcell's 
setting],     ff .  29b-31b. 


Additional  22104,  ff.  110-133. 

Paper  ;  about  1700  (?).     Oblong  quarto.     See  also  below,  under  Songs. 

Arias,  with  symphonies  and  accompaniments  for  strings  (in  no.  1,  for 
trumpets  also),  and  a  figured  bass  for  harpsichord,  in  score.  The  first 
four  are  by  Alessandro  Scarlatti,  and  are  taken  from  "  II  prigionier  for- 
tunato,"  1698,  except  perhaps  no. 
16126  (above,  p.  234). 


3,   which  does   not   appear  in  Add. 


1.  "  Povera  Pellegrina."     f.llO. 

2.  "Cangiailcielo."     f.  120. 

3.  "  Del  caro  mio  tesoro."     f.  123. 


4.  "Conlusinghe."     f .  127b. 

5.  "Diro  che  non  sonquella."     Anony- 
mous,    f .  131. 


246 


VOCAL  MUSIC— SECULAR. 


Additional  29398. 


Paper ;  ff.  44,     About  1700. 
of  St.  Paul's  Churchyard. 


Polio.      Bookplate,  with  arms,  of  Robert  Smith, 


"  The  Judgment  of  Paris  "  :  a  masque  for  solo  voices  and  4-part 
chorus,  with  symphonies  and  accompaniments  for  trumpets,  oboes, 
flutes,  strings,  and  kettle-drum,  and  a  figured  bass  for  harpsichord,  in 
score;  composed  by  Daniel  Pui'cell  in  1699  or  1700,  and  performed  in 
1701  (see  f.  lb).     Characters  :  Mercury,  Paris,  Juno,  Pallas,  Venus,  etc. 


Additional  31447,  ff.  2-64,  148-151b. 

Paper ;  about  1700.     Folio.     Inside  the  cover  is  written  in  pencil  the  name 
J.  Pears,  Bath.     The  MS.  also  contains  some  of  Purcell's  Odes  (above,  p.  215). 

Incidental  Music,  with  symphonies  and  accompaniments  for 
instruments,  in  partially  compressed  score,  by  Henry  Purcell.  Where 
the  instruments  employed,  other  than  violins,  are  mentioned,  they  are 
indicated  below. 


1.  "GEdipus"  [1692];  consisting  of 
nine  bars  of  Prelude,  "Hear,  ye 
sullen  Powrs "  (solos  and  chorus), 
"  Musick  for  a  while  "  (alto  solo),  and 
"Come  away;  do  not  stay"  (bass  solo 
and  chorus),     ff.  2,  3,  3b. 

2.  The  masque  in  "Timon  of  Athens" 
[1678] ;  with  accompaniments  for 
flutes,  oboes,  etc.  The  names  of  the 
singers,  George,  Jacob,  and  [Richard] 
Leveridge  are  added  in  pencil  in  a 
later  hand.     f.  5. 

3.  "  Bonduca "  [1695]  :  "Hear  us,  great 
great  Rugwith  "  (solos  and  chorus), 
"Hear,  yee  Gods  of  Brittain"  (bass 
recit.),  "  Sing,  yee  Druids  "  (duet  and 
chorus),  "Divine  Andates"  (tenor 
recit.),  "To  arms!  your  Ensigns 
strait  display"  (duet),  "  Britains, 
strik[e]  home"  (duet  and  chorus), 
ff.  13,  14,  14b,  16,  16b,  17. 

4.  "  King  Arthur  "  [1691] ;  with  accom- 
paniments for  oboe,  flutes,  trumpets, 
etc.  Other  numbers  given  in  Rim- 
bault's  and  Arkwright's  editions  are 
missing  here,  as  well  as  the  overture 
which  commences  the  opera  in  Goodi- 
son's  edition  [1790?].  The  order  of 
the  three  numbers  which  follow  the 
chorus,  "Round  thy  coasts,"  is  dif- 
ferent from  that  of  the  printed 
editions,     f .  18b. 


5.  "Circe"  [1676?]:  a  Prelude  of  six 
bars,  "We  must  assemble"  (bass  air 
and  chorus),  "The  Aire  with  Musick 
gently  wounds"  [sic)  (alto  air  and 
chorus),  "  Come,  ev'ry  Daemon  " 
(tenor  air),  "Circe,  the  daughter  of 
y=  Sun"  (chorus),  "Lovers  who  "(tre- 
ble recit.),  "  Great  minister  of  Fate  " 
(chorus),  short  dance  of  Magicians, 
and  "Pluto,  arise  "  (bass  air).  iJ.  47, 
48,  48b,  49,  49b,  50,  50b. 

6.  "Indian  Queen"  [1692];  with  ac- 
companiments for  trumpets,  flutes, 
kettle-drum,  etc.  It  contains  all  the 
music  published  by  Goodison  [1790?], 
except  the  duet,  "If  so  your  good- 
ness," and  the  instrumental  music 
at  the  end,  and  has,  in  addition,  the 
masque  added  by  Daniel  Purcell  in 
1696.     ff.  51-64. 

7.  "The  Libertine"  [1676];  with  ac- 
companiments for  trumpets,  etc.  It 
consists  of  "Nymphs  and  Sheperds  " 
(treble  air),  followed  by  "We  come, 
we  come"  (chorus),  "In  these  de- 
lightful! pleasant  groves"  (chorus), 
"Prepare  now,  ghosts"  (bass  recit. 
with  chorus),  and  "In  mischeife 
they've  all"  (alto  recit.),  followed  by 
"Let  'em  come"  (chorus),  ff.  148, 
148b,  149,  150,  151,  151b. 


OPERAS. 


247 


Additional  31520. 

Paper;  ff.  37.     About  1704  (see  fly-leaf).     Oblong  folio. 

Collection  of  airs  and  duets,  with  a  figured  bass  for  harpsichord 
and  occasionally  a  part  for  a  violin,  in  score  ;  apparently  from  an  Opera 
in  which  the  characters  are  Tomiri,  Artaserse,  Oronte,  etc.  (see  f.  20), 
probably  "  Tomiri,  regina  di  Scitia,"  composed  by  Giovanni  Battista 
Buononcini  and  performed  in  1704. 


Additional  22099,  ff.  26-69b  passim. 

Paper  ;  about  1704-1707  (see  below).  Folio.  The  MS.  also  contains  Anthems, 
Hymns,  sacred  Songs,  Catches,  Duets,  an  Ode,  secular  Songs,  Harpsichord  Solos 
and  String  Trios ;  all  described  elsewhere. 

Fragments  of  Incidental  Music,  mostly  with  a  bass,  in  score ; 
apparently  in  the  hand  of  a  musician  named  Clark  (but  not  that  of 
Jeremiah  Clark),  whose  name  is  found  on  fi".  9,  55,  and  90  at  the  end 
of  pieces  by  other  composers.  The  collection  in  which  they  appear 
was  probably  made  soon  after  the  publication  of  Francis  Horton's 
Collection  of  songs  by  several  masters,  1704,  which  contains  many  of  the 
tunes. 


1.  "The  Beaux'  character"  :  song  beg. 
"A  Wig  that's  full."  [From  "  Hamp- 
sted  Heath."]     "Ramondon."    f.26. 

2.  "So  fair  yong  Cselia  does  appear." 
[From  "The  Triumph  of  Virtue."] 
"D.  P[urcell]."     f.  32. 

3.  "Let  the  dreadful  engines":  song. 
[From  "Don  Quixote,"  1694.]  "  H. 
P[urcell]."     f.  32b. 

4.  "Far  from  thee  be  anxious  care"  : 
song  from  the  "  Judgment  of  Paris." 
"[J.]  Weld[on,"  1702].     f.  34. 

5.  "  Let  all  mankind  the  pleasure 
share":  duet.  [From  "  Diocletian," 
by  H.  Purcell,  1690.]     f.  35. 

6.  "Haste,  brother  King":  duet. 
[From  "  Tyrannic  Love,"  1686.]  By 
the  same,     f .  38b. 

7.  "Celadon,  when  spring  came  on"  : 
song.  [From  "The  Old  Mode  and 
the  New."     By  the  same.     f.  40b. 

8.  "Must  then  a  faithful  lover  go": 
song.  [From  "The  Mad  Lover," 
1701.]     "  [J.]  Eccles."     f.43. 

9.  "Genius  of  England":  song,  with 
trumpet  obligato.  [From  "  Don 
Quixote,  1694.]  "  H.  P[urcell]." 
f.  44b. 

10.  "I  burn,  I  burn":  song.  [From 
"Don  Quixote,"  1694.]  " [J.]  Eccles." 
f . 45b. 


11.  "Jack,  thou'rt  a  Toper":  catch. 
[From  "Bonduca,"  1695.]  "  H. 
P[urcell]."     f.  46. 

12.  "Dear,  pritty  youth":  song.  [From 
the  "  Tempest,"  1690.]  By  the  same, 
f.  46b. 

13.  "  Come,  let  us  agree  "  :  duet.  [From 
"  Timon  of  Athens,"  1678.]  By  the 
same.     f.  47b. 

14.  "  May  the  God  of  wit":  trio. 
[From  "The  Fairy  Queen,"  1692.] 
By  the  same.     f.  47b. 

15.  "Stay,  ah!  stay":  song.  [From 
"  The  Fair  Penitent."]  1703.  "[J.] 
Eccles."     f.  49b. 

16.  "0  ravishing  delight":  song. 
[From  "  The  Judgment  of  Paris," 
1700.]     "  D.  Purcell."     f.  50b. 

17.  "  Celia  has  a  thousand  charms": 
song.  [From  "The  Rival  Sisters," 
1695.]     "H.  Purcell."     f .  51b. 

18.  ' '  Celia,  my  heart  has  often  rang'd  "  : 
song.  [From  "She  would  and  she 
wouldn't,"  1703.]  "[John]  Weldon." 
f.52. 

19.  "While  gentle  Parthenissa  walks  "  : 
song,  [From the  "Tender Husband."] 
"D.  PurcelL"     f .  53b. 

20.  "Oh!  lead  me  to  some  peaceful 
gloom":  song.  [From  "  Bonduca," 
1695.]     "H.  Purcell."     f .  58b, 


248 


VOCAL  MUSIC— SECULAR. 


21.  "  Ah,  how  sweet  it  is  to  love  " ;  song. 
[From  "  Tyrannic  Love,"  1686.]  By 
•the  same.     f.  59. 

22.  "From  Rosy  Bow'rs "  :  song. 
[From  "Don  Quixote,"  1694.]  By 
the  same,     f .  60b. 

23.  Overture,  "  Brittans  (sic),  strike 
home"  (chorus),  and  "To  arms" 
(duet);  from  "  Bonduca."  [1695.] 
By  the  same.     ff.  61b,  62. 

24.  "  Fairest  isle  "  :  duet.  [From  King 
Arthur,  1691.]     By  the  same,     f .  62. 

25.  "  Sound,  Fame"  :  song  with  trum- 
pet  obligate.     [From   "Diocletian," 


1690.     By  the  same.     f.  63b. 

26.  "As  soon  as  the  chaos":  duet. 
[From  "The  Marriage-hater,"  1692.] 
By  the  same.     f.  67b. 

27.  "Come,  let  us  leave  the  town": 
duet.  [From  "The  Fairy  Queen," 
1692.]     By  the  same.     f.  68b. 

28.  "I  see  she  flys  me  "  :  song.  [From 
"  Aurenge-zebe,"  1676.]  By  the 
same.     f.  69. 

29.  "Love  is  an  empty,  airy  name": 
song.  [From  "The  City  Lady," 
1697.]     "  [J.]  Eccles."     f .  69b. 


Additional  14121. 

Paper  ;  ff.  158.     About  1711.     Oblong  folio. 

"  [Flavio  Anicio]  Olibrio,"  Acts  i  and  ii ;  with  symphonies  and 
accompaniments  foi'  strings  (including  lute  and  archlute),  and  a  figured 
bass  for  harpsichord,  etc.,  in  score.  [By  N.  A.  Porpora,  171 L]  Most 
of  the  first  29  leaves  are  in  the  hand  of  an  amanuensis ;  the  rest 
autograph.  Characters  :  Olibrio,  Fedele,  Placidia,  Ricimero^  Olderico, 
Teodolinda,  and  Perletta. 


Additional  31993,  £F.  6-50,  56,  64b-78. 

Paper ;  about  1712.     Oblong  quarto.     The  MS.  also  contains  a  Duet  (above, 
p.  62),  Songs  (below),  and  Chamber  Duets,  described  in  vol.  iii. 

Operatic  songs,  with  a  bass,  generally  figured,  for  harpsichord,  in 
score,  by  anonymous  composers  flourishing  about  1712,  in  which  year 
selections  from  all  the  operas  named  were  already  published  by  J. 
Walsh.     See  frontispiece  to  The  Songs  in  the  Opera  of  Hamlet,  1712. 


1.  "  Spento  quel  mostro  Indegno."  f.  6. 

2.  "  Con  danze  belle  scherzan  gl' 
amori  "  :  chorus.  The  melody  only. 
f.7b. 

3.  "Love  wou'd  invade  me."  [From 
"Thomyris,"  by  G.  B.  Buononcini, 
A.  Scarlatti,  etc.,  Loudon,  1707.]  f.  8b. 

4.  "Tho'  to  conquer  proud  love  is  pre- 
paring." [From  "Love's  Triumph," 
by  F.  Gasparini,  etc.,  1708.]     f.  9b. 

5.  " La speme lusinghiera " ;  from"Ete- 
arco."  [?  By  G.  B.  Buononcini,  1707.] 
f.ll. 

6.  "  Since  in  vain  I  strive  to  gain  yow." 
[From  "Thomyris."]     f.  13. 

7.  "Whilst  distrust  my  soul's  assail- 
ing" ;  from  "  Clotilda."  [ByF.  Conti, 
1709.]     f .  15. 

8.  "  Think  not  that  I  will  all  ways  love 


the[e]  "    ("  Rimirarvi  ") ;    from   the 
same.     f.  16b. 

9.  "  To  slight  my  love  "  ;  from  "  Alma- 
hyde."  [By  an  unknown  composer, 
1710.]     f.  17b. 

10.  "  Empia  stella" ;  from  "  Hydaspes." 
[By  F.  Mancini,  1710.]     f.  19b. 

11.  "Ritorna  gia  nelviso";  from  the 
same.     f.  21b. 

12.  "Vifara  pugnando  strada";  from 
the  same,     f .  23b. 

13.  "  Molto  Voglio  "  ;  from  "  Rinaldo." 
[By  Handel,  1711.]     f.  25. 

14.  "  Si  Candida  e  Sibella  "  ;  from 
"  Antiochus."  [By  F.  Gasparini, 
1705.  Performed  in  London,  1711.] 
f.  27. 

15.  "  Si  lietto  {sic),  si  contento"  ;  from 
the  same.     f.  28b. 


OPERAS. 


249 


16.  "Abruggio  {sic),  av[v]ampo  e  fre- 
mo  "  ;  from  ' '  Riualdo."     f .  31. 

17.  "  Ah,  neueryett  was  known."  [From 
"Camilla,"  by  M.  A.  Buononcini, 
1693.  Performed  in  London,  1706.] 
f.33. 

18.  "  Love  and  ambition."  [From  the 
same.]     f.  35. 

19.  "  Yes,  yes  ;  'tis  all  I  want."  [Prom 
the  same.]     f.  37. 

20.  "Tho'  over  all  mankind  besides." 
[From  "Caligula,"  by  R.  Leveridge, 
1698.]     f.  39. 

21.  "  L'  una  e  1'  altra  mi  rende  con- 
tenta";  from  "Hamlett."  [By  P. 
Gaspariui,  1705.  Performed  in  Lon- 
don at  the  beginning  of  1712.] 
f.  41b. 

22.  "  See,  Sirs,  See  here  a  doctor  rare." 


[From    "  The    Quacks   or   Farewell, 
folly."]     f.  45. 

23.  "Dear  Adonis."     f .  46b. 

24.  "  Transporting  joy."     f.48. 

25.  "Daro  morte  a  traditori."     f.  56. 

26.  "  No,  piu  non  bramo."     f.  64b. 

27.  "  Sai  pur  s' io  viuo  "  ;  with  an  addi- 
tional part  for  violin  or  flute.  Possi- 
bly the  second  part  of  no.  26.     f.  65b. 

28.  "  0  morire,  6  il  caro  bene."    f.  68b. 

29.  "  Se  manca  la  ui  giada"  (sc.  rugiada). 
f.70. 

30.  "  Vieni,  o  cara  e  lieta."     f.  71b. 

31.  "  Se  ritorni,  amato  bene";  with 
an  additional  part  for  violin  or  flute. 
f.73. 

32.  "  Sole  degl'  occhi  miei."     f.  76. 

33.  "Torni  in  poi  tranquille,  Chiare 
L'acque."     f.  77b. 


Additional  31455,  parts  i-iv,  j^as-sfm. 

Paper;  after  1713  (see  Part  iv,  f.  32).  Small  folio.  The  MS.  also  contains 
Motets  (vol.  i,  p.  295),  part  of  a  Cantata  (above,  p.  15),  Duets  (p.  63),  Odes  (p.  216) 
and  a  Song,  described  below. 

Tenor,   contra-tenor,    bass     and    thorough-bass     parts     of    choral 
numbers  in  Incidental  Music  by  Henry  Purcell. 


1.  "  The  Opera  in '  The  Indian  Queen  '  " 
[1692].     i-iv,  f .  2. 

2.  "The  Mask  in  'CEdipus'"  [1692]. 
i,  f.  2  ;  ii,  iii,  f.  3  ;  iv,  f.  4b. 

3.  "  The  Libertine  "  [1676].  i,  f.3;  ii, 
iii,  f.  4  ;  iv,  f.  7. 

4.  "Bonduca"  [1695].  i,  f .  4 ;  ii,  iii, 
f.  5b;  iv,  f.l2. 

5.  "  The  Mask  in  '  Timon  of  Athens  '  " 
[1678].  i,  f.  4b;  ii,  f.  6;  iii,  f.  7  ;  iv, 
f.l4. 

6.  "Dioclesian"  [1690].  i,  f.  5b;  ii, 
f.  7b ;  iii,  f.  9  ;    iv,   f.  18b.     For  the 


autograph  dedication  to  this   opera, 
see  Stowe  MS.  755,  f.  34. 

7.  ["King  Arthur,"  1691]:  only  the 
trio  "For  folded  flocks."  i,  f .  13 ; 
ii,  f.l6;  iii,  f .  21b  ;  iv,  f .  53b. 

8.  Bass  and  thorough-bass  parts  of  the 
treble  air  "Let  ambition  fire  thy 
mind"  iu  "Mr.  [John]  Weldon's 
Prize  Musick,'  "  sc.  his  setting  of 
Congreve's  Masque  "The  Judgment 
of  Paris,"  for  which  he  was  awarded 
the  1st  prize  in  1700.  iii,  f.  6b ;  iv, 
f.  49. 


Additional  14172. 

Paper  ;  fi.  202.     About  1714.     Oblong  folio. 

"  SciPiONE  Nelle  Spagne  :  Opera  Rappresentata  nel  Teatro  di  S. 
Bartolomeo  Nell'  anno  1714,  Del  Caualier  Sigi®  Alessandro  Scarlatti"; 
in  3  Acts,  with  symphonies  and  accompaniments  for  trumpets,  oboes, 
lute  and  strings,  and  a  figured  bass  for  harpsichord,  in  score. 
Characters :  Scipione,  Marzio,  Elvira,  Varrone,  Sofonisba,  Luceio, 
Pericca,  Cardenio  and  Trebellio. 


250  VOCAL  MUSIC— SECULAR. 

Additional  31688,  ff.  13-90. 

Paper ;  a.d.  1717,  etc.  Folio.  The  volume  also  contains  printed  dramatic 
works. 

"  Pan  and  Syrinx,  an  Opera  ;  the  words  by  Lewis  Theobald,  1717, 
set  to  music  by  Mr.  [Johann  Ernst]  Galliard,  and  performed  in 
Lincoln's  Inn  Fields  Theatre  "  ;  with  symphonies  and  accompaniments 
for  oboes,  flutes,  hunting  horns,  bassoons,  strings,  and  (in  the  recita- 
tives) a  figured  bass  for  harpsichord,  in  score.  Characters :  Pan, 
Syrinx,  Diana,  Nymphs  and  Sylvans.  Folios  69-90  are  occupied  by 
"  Additional  Music  to  the  Opera,"  in  which  the  names  of  the  singers 
are  given  (fF.  72,  89b). 

Additional  14173. 

Paper  ;  f£.  195.     About  1718.     Oblong  folio. 

Il  Trionfo  Deir  Onore,  Del  Cau™  Aless"  Scarlatti,  Opera  110  ...  . 
1718  "  ;  in  3  Acts,  w^ith  symphonies  and  accompaniments  for  oboes  and 
strings,  and  a  figured  bass  for  harpsichord,  in  score.  Characters : 
Ricardo,  Capitan  Rodimarte,  Flaminio,  Leonora,  Cornelia,  Rosina, 
Erminio  and  Doralice. 

Additional  16066. 

Paper ;  ff.  178.     About  1718.     Oblong  folio.     Belonged  to  Charles  Wesley. 

"Antigona.":  Opera  in  3  Acts,  with  overtures,  symphonies  and 
accompaniments  for  trumpets  (divided  in  the  overture  into  two  "  cori  "), 
oboes  and  strings,  with  a  bass  (occasionally  figured)  for  harpsichord,  in 
score,  by  Giuseppe  Maria  Orlandini  [1718].  Characters:  Creonte 
(Cavaliere  Nicolo  Grimaldi),  Antigona  (Signora  Antonia  Merighi), 
Ceraste  (Carlo  Broschi),  Osmene  (Antonio  Bernacchi),  Evalco  (Giam- 
battista  Minelli),  Giocasta  (Signora  Teresa  Cotti)  and  Ormindo 
(Francesco  Costanzi). 

Additional  14171. 

Paper ;  ff.  215.     About  1719.     Oblong  folio. 

"Attilio  Regolo  ....  Opera  112 — Del  Caualier  Alessandro 
Scarlatti.  In  Roma,  1719":  Opera  in  3  Acts,  with  symphonies 
and  accompaniments  for  trumpets,  oboes,  horns  and  strings,  and  a 
figured  bass  for  harpsichord,  in  score.  Cliaracters  :  Fausta,  Amilcai'e, 
Santippo,  Eraclea,  Leonzio,  Emilia,  Attilio  and  Eurilla. 

Additional  24305. 

Paper;  ff.  92.     About  1719.     Folio.     Belonged  to  Charles  Hatchett. 

The  principal  arias,  and  one  quartet,  in  the  Operas  "  Lucio  Vero  " 
[1719]  and  "  Sesostri "  [1710],  by  Francesco  Gasparini,  in  score.  The 
instruments  employed  in  the  accompaniments,  etc.,  to  the  former  opera 
are  a  mandola  {sc.  cithern),  trumpets,  flutes,  and  strings,  with  a  bass. 


OPERAS.  251 

occasionally  figured,  for  harpsichord.  Characters  :  Lucio  Vero,  Aniceto, 
Berenice,  and  Vologeso.  The  instruments  in  "  Sesostri "  are  not  named, 
nor  are  the  characters.  The  selections  from  this  opera  are  interspersed 
with  those  from  "  Lucio  Vero." 

On  f.  52b  is  the  note  "  Aliberti  [probably  Giuseppe  Matteo 
Alberti,  of  Bologna]  Op'^  P'^  [Bologna,  1713],  1719";  from  which, 
coupled  with  the  fact  that  "Sesostri"  was  performed  there  in  1719,  it 
may  be  conjectured  that  this  transcript  was  made  in  that  year,  when 
both  works  were  probably  given  at  Bologna. 

Additional  14120,  fi".  1-154. 

Paper;  a.d.  1720.    Oblong  folio.    The  MS.  also  contains  a  Cantata  (above,  p.  15). 

"  Angelica  [e  Medoro] "  :  described  by  Fetis  as  an  "  Azione  tea- 
trale  " ;  in  two  parts,  with  symphonies  and  accompaniments  for  oboes 
(short  and  long),  trombe  da  caccia,  and  bassoons,  and  a  figured  bass  for 
harpsichord,  in  score.  [By  N.  A.  Porpora.]  Part  i  was  begun  on 
7  August,  and  Part  ii  (f.  74)  on  19  August,  1720.  The  words  are  by 
Metastasio,  as  are  also  those  of  the  Licenza  or  Epilogue  (f.  149), 
addressed  to  [the  Empress]  Elisa[beth  Christina],  who  was  married  in 
1708.  The  names  of  the  singers  must  refer  to  a  later  performance. 
They  are  Signora  Marianna,  [Gioacchino  Conti,  detto]  Gizziello  (b.  1714), 
Carlo]  Brosco  [al.  Broschi,  detto  Farinelli],  [La]  Rom[agnin]a,  and 
La]  March[esi]na  [probably  the  Maria  Antonia  Marchesini  detta  La 
Lucchesina,  mentioned  by  Burney  as  .singing  in  London  in  17.37-1739]. 

Additional  14118. 

Paper  ;  ff.  108.     a.d.  1721.     Oblong  folio. 

"  Gl'  Orti  Esperidi  "  :  described  by  Petis  as  an  "  Azione  teatrale  "  ; 
in  two  parts,  with  symphonies  and  accompaniments  for  trombe  da  caccia, 
oboes,  bassoons,  and  sti'ings,  and  a  figured  bass  for  harpsichord,  in 
score.  [By  N.  A.  Porpora.]  Finished  22  August,  1721.  Autograph. 
Characters :  Adone,  Venere^  Marte,  Egle,  and  Pallade. 

Additional  14168. 

Paper;  ff.  128.     a.d.  1721.     Oblong  folio. 

"  Griselda,  opera  114,  Posta  in  Musica  Dal  Cau^  Alessandro 
Scarlatti  per  sua  Eccellenza  Sig^  Principe  Ruspoli.  In  Roma, 
Xbre  1720  e  Genno  1721":  Opera  in  3  Acts,  with  symphonies  and 
accompaniments  for  trumpets,  horns,  flutes,  oboes,  and  strings,  and 
a  figured  bass  for  harpsichord,  in  score.  Autograph.  Characters  : 
Gualtiero,  Griselda,  Ottone,  Corrado,  Roberto,  Costanza,  etc. 

Additional  31502,  ff.  104-107b. 

Paper  ;  about  1721  (?).     Narrow  oblong  octavo.     See  also  below,  under  Songs. 

"  Se  mi  condanui "  :  song  of  two  verses  for  a  soprano  voice,  with  a 
figured  bass  for  harpsichord  in  score,  by  Bernardo  Pasquini.     From  the 


252 


VOCAL  MUSIC— SECULAR. 


ritournelle  for  3  instruments  which  follows  it  in  Harley  MS.    1273, 
f.  21b  (above,  p.  233),  it  would  appear  to  be  taken  from  an  Opera. 

Additional  14232. 

Paper ;  ff.  150.     About  1723.     Oblong  folio. 

"  Partenope  "  :  Opera  in  3  Acts,  with  symphonies  and  accompani- 
ments for  oboes  and  strings,  and  occasionally  trumpets  and  drums,  in 
score,  by  Leonardo  Vinci  (?).  The  signature  on  f.  2  is  not  easily  legible, 
but  the  date  of  this  composer's  "Partenope"  (1723)  appears  to  suit 
the  present  MS.,  and  no  one  else  whose  signature  at  all  resembles  the 
above  is  known  to  have  written  an  opera  of  this  name.  Autograph. 
Characters :  Partenope,  Arsace,  Armindo,  Rosmira,  Ormonte,  and' 
Emilio. 

Additional  25484. 


Paper;  ff. 131.     a.d.  1723 
Eoffe  (before  1863). 


Folio.     Belonged  to  Granville  Sharps  and  Alfred 

"  The  Four  Chorus's  in  the  Tragedy  of  '  Julius  Ctesar,'  written 
by.  .  .John  Sheffield,  Late  [1^*]  Duke  of  Buckinghamshire,  &c.  Set  to 
Musick  by  J.  Ernest  Galliard.  1723."  Autograph.  The  symphonies 
and  accompaniments  are  for  flutes,  oboes,  and  strings,  with  a  figured 
bass  for  harpsichord. 

1.  "  Whither  is  Roman  Honour  gone  ?  "  i   3.  "Tell,   Oh    tell    me,   whence    arise 
f.  7.  these  desorders."     f.  74. 

2.  "Lo,  to   prevent   this   Mighty  Em-  4.  "  How  great  a  Curse."     f.  95. 
pire's  Doom."     f.  43. 

At  the  end  (ff".  123-1 3 lb)  is  the  printed  libretto  of  the  same  com- 
poser's Serenata,  "Love  and  Polly"  (dated  "  mdccxxxix"),  between 
the  interludes  of  which  the  above  choruses  were  performed. 

Kings  319. 

Paper ;  fi.  64.     About  1724,  1774.     Small  quarto. 
Librettos  of  two  works  described  as  "  Drama  per  Musica." 


"  II  Vespasiano."  [Words  by  N. 
Haym,  music  by  Attilio  Ariosti,  1724.] 
Characters :  Vespasiano  (Giuseppe 
Boschi),  Tito  (Senesino),  Domiziano 
(Margarita  Durastante),  Arricida 
(Francesca  Cuzzoni),  Gesilla  (Ana- 
stasia  "  Rombinson,"  sc.  Robinson), 
and  Sergio  (Gaetano  Berrenstatt),eic. 
fi. l-26b. 


2.  "II  Conclave  del  1774  .  .  .  da  reci- 
tarsi  nel  Teatro  delle  Dame  Nel  Car- 
nevale  del  1775  ...  In  Roma."  The 
words  chiefly  by  Pietro  Metastasio, 
the  music  by  Nicolo  Piccini.  Cha- 
racters :  the  Cardinals  (18  of  whom 
are  named),  with  a  Chorus  of  Ser- 
vants, etc.     ff.  27-64. 


Additional  14239. 

Paper  ;  ff.  238.     a.d.  1700-1725.     Oblong  folio. 

"  La  Cassandra  indouina  "  :  Opera  in  3  Acts,  M'ith  symphonies  and 
accompaniments  for  strings,  and  a  figured  bass  for  harpsichord,  in  score. 


OPERAS.  25a 

Anonymous.  Probably  by  Nicolo  Fago,  1713.     Characters:  Cassandra, 
Clitia,  Dorina,  Apollo,  Corebbo,  and  Delbo. 

Additional  31530. 

Paper ;  ff.  163.     a.d.  1700-1725.     Oblong  folio. 

["  PoRSENNA  "]  :  Opera  in  3  Acts,  with  instrumental  symphonies  and 
accompaniments  (apparently  strings  only),  in  score.  According  to  the 
original  fly-leaf,  it  was  attributed  to  Scarlatti  or  Lotti.  It  is  therefore 
in  all  probability  the  opera  of  that  name  assigned  by  Clement  and 
Larousse  [Dietionnaire  Lyrique,  p.  539)  to  Antonio  Lotti,  1712,  for 
which  Alessandro  Scarlatti  wrote  some  additional  numbers  at  its  per- 
formance in  Naples  in  1713.  Characters  :  Publicola,  Oratio,  Porsenna, 
Publio,  Mutio,  Floro,  Elisa,  Ismeno,  Valeria,  Vitellia,  Tarquinio,  Por- 
firia,  and  Milone. 

Additional  31606. 

Paper  ;  ff.  122.     About  1725.     Oblong  folio. 

"  Elpidia  "  :  Opera  in  3  Acts,  with  symphonies  and  accompaniments 
for  oboes,  trumpets,  and  strings,  in  score,  by  Leonardo  da  Vinci.  [Com- 
posed in  1723  C?)].  Performed  in  London,  11  May,  1725.  In  the  hand  of 
John  Christopher  Smith.  There  are  gaps  before  ff.  3,  44.  Prom  the 
libretto  published  in  London  at  the  time  of  the  performance,  it  appears 
that  several  of  the  airs  given  here  were  cancelled.  Characters  :  Ormonte, 
Olindo,  Elpidia,  Vitige,  Rosmilda,  and  Belisario. 

Additional  14116, 

Paper  ;  ff .  104.     About  1726.     Oblong  folio. 

"  SiFACE  "  :  Acts  i  and  ii,  with  symjihonies  and  accompaniments  for 
oboes,  trumpets  and  strings,  and  a  figured  bass  for  harpsichord,  in 
score.  [By  N.  A.  Porpora,  1726.]  Autograph.  Characters:  Siface, 
Erminio,  Orcano,  Viridate,  Ismene,  and  Libanio, 

Egerton  1519-1521,  passim. 

Paper ;  after  1726.     Folio.     See  also  below,  under  Songs. 

Melodies  (without  accompaniment)  of  songs  adapted  from  Operas  ; 
from  a  collection  of  scurrilous  political  songs.  The  dates  in  square 
bi'ackets  are  supplied  from  Egerton  814-817  (below,  p.  272). 

Egerton  1519.     Vol.  L 
1,  "St.  Pauin,  ce   Roy  de  Sodome";   1       air  given  to  this  song  in  Egerton  814, 


to  the  air  "  Les  oyseaux  viuent  sans 
contrainte "  [from  "L'Eclogue  de 
Versailles,"  by  J.  B.  Lully,  1685]. 
f.  21b. 
2.  "  Je  deteste  comme  peste,"  1667 ;  set 
to  an  "  air  de  Bal[l]et "  (probably  the 


f.328b).    f.26. 

,  "La  Laual  a  dans  I'ceil "  [1666  (sic)] ; 
to  the  air  of  [the  entree  of]  "Les 
plaisirs,  De  L'opera  du  '  Triomphe  de 
L'amour '  "  [by  J.  B.  Lully,  1681]. 
f .  60b. 


254 


VOCAL  MUSIC— SECULAR. 


4.  "J'ay  beau  boire  sans  cesse "  ;  to 
tbe  air  "Je  m'aper^ois  sans  cesse," 
in  "Phaeton"  [by  the  same,  1683]. 
f.  106. 

5.  "  Que  le  pucelage  "  ;  from  the  same 
opera,     f . 106b. 

6.  "Belle  Iris";  to  the  "air  de 
L'Entree  de  Comus  de  L'op6ra  de 
'  [Acis  et]  Galath6e'  "  [by  the  same, 
1686].     f.  109. 

7.  "  Quoy  !  Chaque  coup  que  je  boy  "  ; 
to  the  "air  de  la  marine  de  la 
Mascarade."     f.  109b, 

8.  "  Viens,  Bacchus,  a  mon  ayde"  ;  to 
the  "air  des  Espagnols  de  la  Masca- 
rade."    f.  111. 

9.  10.  "Pauure  auare"  ("air  des  vieux 
fleuues  du  4=  acte"),  and  "Plus  je 
caresse  ma  pinte  "  ("  air  des  Nymphes 
du  5-=  acte");  from  "  Atys  "  [by  J. 
B.  Lully,  1677].     f.  112b. 

11.  "Amy,  I'auroistupucroire"  ;  to  the 
"  air  de I'entr^e  des  pastres  d' '  Achilles 
[et  Polyxene,'  "  begun  by  J.  B.  Lully 
and  finished  by  P.  Colasse,  1688]. 
f.ll3. 

12.  "  Encor  vn  coup  "  ;  to  the  "air  de 
La  Gavotte  du  2^  acte  de  L'opera 
d'  '  En^e  et  Lavinie  '  "  [by  the  same, 
1690].     f.  115. 

13.  14.  "Amy,  que  tu  fais  peu  d'hon- 
neur  "  ("air  des  dieux  des  bois,  du 
2"  acte"),  and"  Belle  Fanchon"  ("air 
des  Bacchantes  du  3"  acte  ") ;  from 
the  same  opera,     f.  127. 

15.  "Cher  Tircis  "  ;  to  the  "air  de  la 
Sarabande  du  prologue  d'  '  Orphee  '  " 
[?  by  L.  Lully,  1690].     f.  127b. 

16.  "Roland  en  furie";  to  the  "air 
de  la  Mariee  de  '  Roland.'  "     f.  128. 

17.  "Accorde  ta  musette";  to  the 
minuet  in  the  same  work.     f.  129. 

18.  "C'en  est  fait";  to  the  "air  des 
Sourdines  du  2"  acte  d'  '  Armide ' "  [by 
J.  B.  Lully,  1686].     f.  129b. 

19.  "Cast  Los  Balbazes"  [1670];  to 
the  air  "  C'est  le  dieu  des  Eaux " 
[from  "Isis,"  by  the  same,  1677]. 
f.  132. 

20.  "Gassion,  que  le  Ciel  fit  naistre," 
1699;  to  the  air  "Vn  heros  que  le 
Ciel  fit  naistre,  du  prologue  du 
'  Triomphe  de  I'amour'"  [by  the 
same,  1681].     f.  132b. 


21.  "  Prince  Valon  "  [sic);  to  the  "  air 
des  Nymphes  des  Eaux,"  from  an- 
other work  of  the  same  title  [?  by  A. 
Campra,  1705].     f.  180b. 

22.  "  D'Estrees  est  vainqueur  "  ;  to  the 
air"Alcide  est  vainqueur,"  from 
"Alceste"  [by  J.  B.  Lully,  1674]. 
f .  180b. 

23.  "St.  Gelais  sur  les  sombres  bords," 
1689;  to  the  air  of  the  "  Rigaudon 
de  l'opera  de  '  Z6phire  et  Flore  '  "  [by 
L.  Lully  and  J.  B.  Lully,  jun., 
1688].     f.227b. 

24-28.  "Pata  pata  pan";  "La  plus 
belle  bergere  "  ;  "Ah,  ma  Climene  "  ; 
"  Quand  les  fureurs"  ;  and  "  Voul6s 
vous,  belle  Siluie."  Directed  to  be 
sung  to  airs  (of  which  the  music  is 
omitted)  from  "Thetis  et  Pel6e" 
[?  by  P.  Colasse,  1689].  ff.  250,  251, 
251b,  252,  252b. 

29.  "Jefus  autres  f ois  enflamm^  "  ;  to 
an  air  (omitted)  "  qui  est  deuant  la 
passacaille  de  '  [Acis  et]  Galathee  '  " 
[?  by  J.  B.  Lully].     f.  253. 

30.  "Qu'en  furie  Ton  jure";  to  the 
"air  des  forgerons  de  'Persee,'  "  sc. 
the  "Entree  des  Cyclopes"  in  Act  iii 
[by  the  same,  1682].     f.  253b. 

81.  "J'aime  a  voir  vne  eau  claire"; 
to  the  air  (omitted)  of  the  minuet 
' '  du  prologue  du '  Temple  de  la  paix ' ' ' 
[?by  the  same,  1685].     f.254. 

32.  "Meslons  a  nos  plaisirs  " ;  to  the 
"air  des  bergers  heroiques  d" Al- 
ceste '  "  [Act  V,  by  the  same,  1674]. 
f.  256. 

33.  "Je  mets  toute  ma  gloire " ;  to 
the  "1''  air  des  Maures  du  'Ballet 
des  Muses,' "  not  to  be  found  in 
Campra's  work  of  that  name, 
f .  256b. 

34.  "Pent  on  jamais  auoir  du  Cha- 
grin "  ;  to  the  "air  de  la  bour[r]ee du 
prologue  d' '  Achille  [et  Polyxene].'  " 
Cf.  no.  11.     f.  257. 

35.  36.  "Gueris  toy"  [1663],  and  "Le 
tourment  d'vn  amant";  to  "  le  2" 
air  des  statlies,"  from  "Cadmus  [et 
Hermione,"  by  J.  B.  Lully,  1673]. 
f .  258. 

37.  "Malgr6  tant  de  neige"  [1675]; 
to  the  air  "Malgre  tant  d'orages, 
d' '  Alceste,'  "  by  the  same.     f.  258b. 


OPERAS. 


255 


Egerton  1520. 


Vol.  II. 


1.  "  Qu'on  fasse  la  guerre  "  ;  to  the  air 
"  Malgr6  tant  d'orage,"  from  "  Al- 
ceste  "  [by  the  same],     f .  7. 

2.  "  Pour  baiser  "  ;  to  the  air  "  a  quoy 
bon  tant  de  raison"  [from  the  same 
opera],     f .  9. 

3.  "  Marais,  beau  sejour  "  ;  a  medley  of 
songs,  1658-1680  (containing  among 
others  the  one  beg.  "Jadis  Con- 
stance"), to  the  air  of  "I'ouuerture 
du  grand  ballet,"  called  in  Egerton 
814  (f.  187b)  "  Le  Marais."     f.  16. 

4.  "  Parodie  de  la  scene  d'Amisodar 
dans  '  Bellerophon,'  qui  commence, 
'  qve  ce  jardin  se  change,'  1679  "  [by 
J.  B.  Lully].  The  present  parody 
begins  "Que  ce  salon  se  change." 
f.24. 

5.  "Dialogue  ....  sur  la  scene  de 
'  Cadmus,'  '  Je  vais  partir,  belle  Her- 
mioue,' "  beg.  "Je  vais  passer  en 
Angleterre."  [By  J.  B.  Lully,  1676]. 
f.26. 

6.  "  Parodie  de  la  8"  scene  de  '  Thes6e,' 
qui  commence,  '  Cess6s,  charmante 
EgMe '  "  [by  the  same,  1675] ;  con- 
sisting of  a  dialogue  beg.  "Pour  ce 
Merval."     f.  29b. 

7.  "  Le  plaisir  de  boire  ensemble,"  1675  ; 
to  the  air  of  "I'ouuerture  de  '  Cham- 
bord '  "  [by  the  same  ?].     f.  31b. 

8.  "  Vartigue,  Monsieur  Le  Cur6  "  ;  to 
the  air  "L'ouuerture  de  'Bellero- 
phon '  "  [by  J.  B.  Lully].     f.  32b. 

9.  "Pour  brauer  I'amour";  to  the  air 
of  "I'ouuerture  d'  '  Isis '  "  [by  the 
same,  1677].     f.  35b. 

10.  "  Celebrons  ce  grand  jour  "  ;  to  the 
air  of  "  i'ouuerture  de  '  Proserpine '  " 
[by  the  same,  1680].     f.  36b. 

11.  "Tout  cede  a  I'amour";  to  the 
air  of  "L'ouuerture  du  '  Triomphe 
de  I'amour '  "  [by  the  same],     f.  37b. 

12.  "  Un  jour  la  Lionne";  to  the  air 
"  Depesch6s,  prepares  ceslieux,"  from 
"  Psich6  "  [by  the  same,  1678].  f.  38b. 

13.  "Noussommes  quatre  hommes  "  ; 
to  the  "gavotte"  {sc.  rondeau)  in 
' '  Phaeton  "  [by  the  same] .     f .  40. 

14.  "En  tous  lieux";  to  the  air  of 
"L'Entr^e  de  Proth^e,"  from  the 
same  work.     f.  40. 

15.  "Vous  estes  faite  pour  I'amour"  : 


a  medley,  1677-1689,  to  the  air 
"Tranquilles  coeurs,"  from  "Le  Tri- 
omphe de  I'amour"  [by  the  same]. 
Among  other  songs  it  includes  "  Ita- 
lienne  de  nation."     f.  40b. 

16.  "Quel  spectacle  charmant "  [from 
"Bellerophon,"  by  the  same],  f .  44b. 

17.  "Que  peut-on  faire";  to  the  air 
"Pent  on  mieux  faire,"  said  to  be  in 
"Cadmus  [?  et  Hermione,"  by  the 
same],     f.  47. 

18.  "  Tu  me  dis  que  je  ne  vaux  rien"  ; 
to  the  "air  des  Matelots,"  in  "Al- 
ceste"  [by  the  same],     f.  48b. 

19.  "Puissant  Roy,"  1677;  to  the 
"menuet"  {sc.  "2°  air  pour  les 
Muses")  in  "Isis"  [by  the  same]. 
f.52. 

20.  "Eniin,  grace  a  I'amour";  to  the 
air  "Enfin,  grace  au  depit,"  from 
"  Alceste  "  [by  the  same],     f.  53b. 

21.  "Labeaute  la  plusseuere";  from 
"  Aty s  "  [by  the  same] .     f .  56. 

22.  "  L'amour  disait  en  Colere "  ;  to 
the  air  "L'amour  plaist "  [from 
"  Theses,"  by  the  same],     f.  57. 

23.  "Vos  appas,  belle  Nannette "  ;  a 
minuet  in  "Psich6"  [by  the  same], 
f .  57b. 

24.  "  Besanpon  laiss^s  vous  prendre," 
1674;  to  the  air  "Jeunes  coeurs" 
[from  "Alceste,"  by  the  same].   f.58b. 

25.  "L'on  boit  en  tous  lieux";  to  the 
"air  des  diables  de  '  Psiche '  "  [not 
published  in  Lully's  work  of  that 
name],     f,  59. 

26.  "Mon  Iris,  croy  moy";  to  the 
"air  de  I'echo  de  'la  grotte  de  Ver- 
sailles'" [by  J.  B.  Lully,  1685]. 
f,59b. 

27.  "Deuant  tes  vers";  to  the  air 
"  Deuant  vous  tout  s'abbaisse  "  [from 
"  Atys,"  by  the  same],     f.  60. 

28.  "La  Mere  certain  se  fasche  "  ;  to 
the  "air  des  f6es"  in  "Roland"  {sc. 
the  gavotte  in  Act  ii).  [By  the  same, 
1685.]     f .  60b. 

29.  "C'eu  est  fait,  belle  Siluie " ;  to 
the  "air  des  trembleurs  d'  'Isis'" 
[by  the  same].  The  verse  "Luxem- 
bourg croit,"  1688  (f.62b),  is  intro- 
duced in  this  song,     f,  62, 

30.  "  Souuerain   Juge   de   Police";  to 


256 


VOCAL  MUSIC— SECULAR. 


the  air  "Quel  plaisir  d'aimer  "  [from 
"  Thes^e,"  by  the  same],     f.  63b. 

31.  "Tout  peche  doit  icy  paroistre  "  ; 
to  the  "air  des  diables  d'  '  Alceste  '  " 
[not  published  in  Lully's  work  of 
that  name],     f.  64. 

32.  "Aga  Pierrot";  to  the  air  "  Heu- 
reux  qui  pent  estre  inconstant,"  in 
"Proserpine "  [by  J.  B.  Lully].   f. 65b. 

33.  "Tu  vols  dedans  mes  yeux";  to 
the  air  of  the  "  Ritournelle  des 
magiciens  de  '  la  Mascarade  du  Car- 
naual '  "  [by  J.  B.  Lully,  1675].    f.  66. 

84.  "Estre  discret";  to  the  "air  des 
rigaudons  "  in  [the  prologue  to]  "  Acis 
et  Galathde"  [by  the  same],     f .  95. 

35.  "Ma  foy,  vostre  Galathee "  ;  to  the 
"air  des  Trompettes  du  Carousel  en 
1686  "  [?  from  the  same  work],   f.  99b. 

36.  "Bacchus  est  aimable";  to  the 
minuet  in  [the  prologue  to]  "  Achille 
[et  Polyxene,"  begun  by  J.  B.  Lully]. 
f.  109. 

37.  "  Quoy  !  dans  L'hiuer  "  ;  to  the  air 
"Quand  L'Opera,  air  des  pescheurs 
de  Corail  du  ballet  des  '  jeux  Pi- 
thiens '  "  [by  the  same  ?].     f.  110. 

38.  "Cher  amy,  que  j'aime";  to  the 
"air  des  Sauuages  [de  I'Amerique] 
du  '  Temple  de  la  paix ' "  [by  the 
same,  1685].     f.  110. 

39.  "  Va  t'en  te  coucher";  to  the  air 
of  the  Passepied  in  the  same  work. 
f .  110b. 

40.  "Si  le  destin";    to  the  "air  des 


Pastres  d'  '  Achille  [et  Polyxene].'  " 
f.  111. 

41.  "Paris  n'est  qu'vn  village "  ;  to  the 
air  (omitted)  of  the  scene  "Viens 
dans  nostre  village,  des  '  Festes  de 
I'amour  et  de  Bac[c]hus ' "  [by  the 
same,  1672].     f.  121b. 

42.  "La  disette  deschapeaux"  ;  to  the 
air  (omitted)  "Icy  I'ombre  des  or- 
meaux,"  in  the  same  work.     f.  122. 

43.  "  Reueillons  nous";  to  the  "air 
des  demons,"  in  [Act  ii  of]  "Pers^e" 
[by  the  same  composer],     f.  122b. 

44.  "  Les  deux  Moreaux  "  ;  to  the 
"  2°  air  de  la  haine  d' '  Armide  '  " 
[Act  iii,  by  J.  B.  Lully].     f.  122b. 

45.  "Nous  auons  pleine  vendange  "  ; 
to  the  "  air  de  la  Loure  du  '  Temple 
de  la  paix '  "  [by  the  same],     f.  123. 

46.  "  Phil[l]is,  j'aime  bien  mieux  "  ; 
to  the  "air  des  Echos  de  '  Zephire 
et  Flore ' "  [by  L.  Lully  and  J.  B. 
Lully,  jun.].     f.  123b. 

47.  "  Raisin  encore  "  ;  to  the  air 
"  Guerrier  terrible,"  in  "  Achille  [et 
Polyxene]."     f.  123b. 

48.  "Amis,  je  boy";  to  an  air  des- 
cribed as  ' '  Parodie  sur  le  Choeur  des 
diuinit^s  des  sombres  bords  du  3° 
acte  d'  '  Alcide  '"  [  ?  by  L.  Lully  and 
M.  Marais,  1693].     f.  193b. 

49.  "Ah,  Tontine";  to  the  air 
(omitted)  "  des  Matelots  d' '  Arianne 
[?  et  Th6see,'  "  by  J.  J.  Mouret,  1717]. 
f.  201. 


Egei'ton  152L 


Vol.  III. 


1.  "Enfin,  grace  a  Fourbin";  to  the 
air  (omitted)  "  Enfin,  grace  au  depit " 
[from  "  Alceste,"  by  J.  B.  Lully]. 
f.81. 

2.  "  Je  me  fais  vn  plaisir  Extreme"; 
to  the  air  (omitted)  "  des  bergers 
heroiques."     f.  81b. 

3.  "  C'est  icy  I'hostel  de  misere  "  ;  to 
the  air  (omitted)  "  des  diables 
d'  '  Alceste  '  "  (see  vol.  ii,  f.  64). 
f.81b 

4.  "  Dis  moy,  mon  cher  Doiiartigny  "  ; 
a  medley,  1689— about  1703,  to  the 
air  (omitted)  "  Tranquilles  cceurs  " 
[from  "  Le  Triomphe  de  I'amour,"  by 
J.  B.  Lully].     f.84. 

5.  "  Sort^s,   Pinon"  (music  omitted); 


described  as  "  Parodie  sur  la  scene  de 
L'opera  de  '  Med^e '  {sc.  '  Th^s^e ') 
qui  commence  '  Sortes,  ombres '  " 
[?  by  J.  B.  Lully,  1675].     f.  86b. 

6.  "  Enfin,  grace  a  Jeannot  "  ;  same  air 
as  at  f.  81  (here  omitted),     f.  87b. 

7.  "Martinet, autrefois  grand vaurien"  ; 
to  the  air  (omitted)  of  the  minuet  in 
"Isis"  [?by  J.  B.  Lully].     f.  91. 

8.  "Belle  Comtesse,  dites  nous";  to 
the  air  (omitted)  of  "La  bour[r]6e 
d'Auuergne."     f.  92. 

9.  "  Ches  la  Vienne  "  ;  to  the  air 
(omitted)  of  "  Les  oyseaux  viuent  " 
(see  above.  Eg.  1519,  no.  1).     f.  94b. 

10.  "  Vous  qui  sans  choix " ;  to  the 
air    (omitted)    of    the    saraband    in: 


OPERAS. 


257 


"Iss6"  [?by  A.  C.  Destouches,  1697]. 
f.  101b. 

11.  "Voules  vous,  jemie  brunette"  ; 
to  the  air  (omitted)  "  Qu'a  I'enuie 
chacun  s'empresse,"  from  "  Acis  et 
Galath6e  "  [?  by  J.  B.  Lully].     f.  102. 

12.  "Vos  beaux  yeux "  ;  to  the  air 
(omitted)  "  des  bergers  du  prologue 
de  '  Cadmas  [?et  Hermione,' "  by 
J.  B.  Lully].     f.  105b. 

13.  "Loin   des   facheux";    to  the   air 


"Roland   en   furie "   (see   Eg.   1519, 
no.  16).     f.  106. 

14.  "  Non,  non,  je  ne  suis  pas  le  seul  a 
m6dire  "  ;  to  an  air  (omitted)  in  the 
"  Ballet  [?  des  amours]  des  dieux  " 
[?  by  J.  J.  Mouret,  1727].     f.  108b. 

15.  "Ah!  que  I'amour";  to  the  air 
(omitted)  "des  porteurs  de  pr6sens, 
3"  acte  de  'Phaeton'"  [?by  J.  B. 
Lully].     f.l76b. 


Additional  16111. 

Paper ;  ff.  172.      About  1727.     Oblong  folio.     Belonged  to  William   Spencer 
(see  ff.  73,  172). 

"  Meride  e  Selinunte,  Dramma  per  musica  "  ;  in  3  Acts,  with 
symphonies  and  accompaniments  for  horns,  trumpets,  and  strings,  and 
a  figured  bass  for  harpsichord,  in  score.  By  Nicolo  Porpora  [1727]  ; 
the  words  by  Apostolo  Zeno.  Evidently  in  the  hand  of  the  composer's 
amanuensis  (c/'.  Add.  14113,  below,  p.  269).  Characters:  Timocrate, 
Nicandro,  Areta,  Dionisio,  Ericlea,  IVIeride,  and  Selinunte. 


Additional  29962,  ff.  57-70. 

Paper  ;   about  1727  (see  below).     Oblong  folio.     Belonged   to   John   Hullah, 
See  also  below,  under  Songs,  and  in  vol.  iii,  under  Pianoforte  Solos. 

Arias,  with  a  bass,  generally  figured,  from  Operas  apparently 
written  for  the  San  Gioxanni  Grisostomo  and  San  Samuele  theatres  at 
Venice.     Nos.  1-5  are  by  Nicolo  Porpora. 


1.  "E  pur  uezzoso."  From  "  Meride 
e  Selinunte  (?),"  1727  (see  f.63). 
f.57. 

2.  "  Dalla  Cuna."  From  "  Siface  (?)," 
1726  (see  f.63).     f .  59. 

3.  "  E  destin  del  nostro  core."  [From 
the  same  work.]     f .  61. 

4.  5.  "Non  credo  a  la  speranza,"  and 
"  Noi  sianio  quelle."  Prom  the  2nd 
opera  performed  at  the  S.  Giovanni 
Grisostomo    in    1726-7    [?"  Meride 


e  Selinunte"  see  Fdtis,  art.  Porpora]. 
ff .  63,  65. 

6.  "  Povera  Peccorella."  "Gio.  Porta." 
From  the  3rd  opera  performed  at 
the  S.  Giovanni  Grisostomo  in  1727 
[?"Aldeso"].     f.67. 

7.  "  Che  dolce  cosa  sia  I'amar." 
"  Tomaso  Albinoni."  From  an  opera 
performed  at  the  San  Samuele  in 
1727  [?  "  L'incostanza  schernita  "]. 
f.69. 


Additional  22272. 

Paper  ;  ff.  38.     About  1729.     Oblong  folio. 

Introductory  symphony  and  solos  in  "  Onorio,"  Opera  in  3  Acts, 
by  Francesco  Ciampi,  performed  at  the  San  Giovanni  Grisostomo 
theatre  [Venice,  1729].  The  instruments  employed  in  the  accompani- 
ments, etc.,  are  oboes  and  strings,  with  a  bass  occasionally  figured  for 
harpsichord.  In  score.  Characters  mentioned  :  Fermanzia,  Stilicone, 
Eucherio,  and  Placidia. 

n  S 


258  VOCAL  MUSIC— SECULAR. 

Additional  22105. 

Paper  ;  ff.  122.     About  1730.     Oblong  folio. 

"  L'  ANDROMACCA  "  :  Opera  in  3  Acts,  with  sympiionies  and  accom- 
paniments for  horns,  oboes,  strings,  and  harpsichord,  in  score,  by 
Francesco  Feo,  written  for  the  Teatro  della  Yalle  [at  Rome],  in  1730. 
The  recitativi  secchi  are  omitted. 

Additional  24303. 

Paper  ;  ff.  143.  About  1780.  Oblong  folio.  The  MS.  appears  to  have  belonged 
successively  to  [Charles  James  Stuart]  the  [Young]  Pretender,  [Thomas]  Greatorex, 
T.  0[liphant],  1882,  and  Dr.  H.  Gauntlett. 

"  Andromacca."  Another  copy,  with  the  recitativi  secchi,  and 
with  the  names  of  the  characters :  Telemac[c]o,  Astianatte,  Andro- 
mac[c]a,  Ermione,  Pirro  and  UJisse. 

Additional  22106. 

Paper ;  ff .  182.     About  1730.     Oblong  folio.     Bookplate  of  Earl  Cowper. 

"  Artaserse  "  :  Opera  in  3  Acts,  ^\'ith  symphonies  and  accompani- 
ments for  trumpets,  horns,  oboes,  and  strings,  in  score,  composed  by 
Leonardo  Vinci,  for  tlie  Alle  Dame  theatre  at  Rome,  1730.  The 
recitativi  secchi  are  omitted.     The  only  singer  named  is  Carestina. 

Additional  31551. 

Paper ;  ff .  150.     About  1730.     Oblong  folio. 

"  Ormisda  "  :  Opera  in  3  Acts,  with  symphonies  and  accompaniments 
for  trumpets,  bassoons,  and  strings,  and  a  figured  bass  for  harj^sichord, 
in  score,  [composed  in  1730]  by  [Francesco]  Conti.  See  note  by  Victor 
Schoelclier  on  f.  1,  and  Catalogue  of  Additions  for  1876-1881,  p.  207. 
The  two  overtures  and  the  final  chorus  are  arranged  for  harpsichord. 
Characters  :  Ormisda,  Pahnii'a,  Artenice,  Cosroe,  Arsace,  and  Eris- 
meno. 

The  Opera  appears  to  have  been  arranged  for  performance  by 
Handel,  the  present  copy  being  evidently  in  the  hand  ot:  J.  Christopher 
Smith,  his  amanuensis. 

Additional  31607. 

Paper  ;  ff .  151.     About  1730.     Oblong  folio. 

"  La  Didone  [abbandonata]  "  :  Opera  in  3  Acts,  with  symphonies 
and  accompaniments  for  horns,  oboes,  trumpets,  and  strings,  and  a 
bass,  occasionally  figured  for  harpsichord,  in  score,  by  Leonardo  Vinci 
[1730.]  In  the  hand  of  John  Christopher  Smith,  with  a  few  autograph, 
alterations  and  connections  by  Handel  (ff".  82,  97b,  and  145),  as  certified 
by  Victor  Schoelcher,  who  describes  the  work  on  f.  1  as  "  Pasticcio 
donne  par  Handel  le  18  Avril  1727,"  though  he  does  not  allude  to  it  in 


OPERAS. 


259 


his  Life  of  the  latter  composer.  There  are  also  notes  on  f .  1  in  the 
hand  of  Dr.  Samuel  Arnold,  at  whose  death,  in  1803,  the  MS.  was 
acquired  by  W.  Russell.  Characters :  Enea,  Selene,  Osmida,  Didone, 
larba,  and  Araspe. 

Additional  32582. 

Paper  ;  ff.  185.     About  1730.     Oblong  folio.     Belonged  to  Dr.  William  Crotch 
in  1811. 

"  Artaserse  "  :  Opera  in  3  Acts,  with  symphonies  and  accompani- 
ments for  horns,  oboes,  and  strings,  in  score,  by  Johann  Adolf  Hasse 
[1730],  the  words  by  Abbate  Pietro  Metastasio.  Characters  :  Mandane, 
Arbace,  Artabano,  Megabise,  Semira  and  Artaserse. 


Additional  31648,  31649  passim,  31650. 

Paper;  about  1730-1833  (see  below).     Oblong  folio.     Add.  31649  also  contains 
sacred  and  secular  Canons  and  secular  Songs. 

Arias,  etc.,  from  Operas,  with  symphonies  and  accompaniments  for 


strings  and,  in  most  cases,  wind  instruments. 


In  vol.  1,  nos. 


1,  3,  5, 


9,  11,  13;  vol.  ii,  nos.  1,  3-5,  7,  11,.  13,  16;  and  vol.  iii,  nos.  1,  6-9; 
horns  and  oboes  are  employed.  Other  instruments  mentioned  are 
indicated  below.  In  various  hands,  mostly  contemporary  with  the 
original  works. 


31648.     Vol.  I. 

1.  Recitative  and  Rondo  or  Cavatina, 
"  Idol  mio,  che  fiero  istante,"  1772. 
"  Galuppi  detto  Buranello."     f.  4. 

2.  "  Se  vol  (sic)  quaudo  amor,"  1770. 
By  the  same.     f.  15. 

3.  "Se  cerca"  [from  "  L'Olimpiade," 
about  1775].     By  the  same.     f.  21. 

4.  "  A  tanto  amore "  ("What  sweet 
sensation");  with  flutes,  horns,  e^c. 
[From  "Ali  Baba,"  1833.]  "Luigi 
Cherubini."  Said  by  "W.  A."  to  be 
autograph,     f.  31. 

5.  "  Superbo  di  me  stesso"  [from 
"L'Olimpiade,"  1784].  "  Cimorosa." 
f.  39. 

6.  Cavatina,  "  Non  v'e  cosa  piu  gus- 
tosa";  vrith  horns,  flutes,  etc.  By 
the  same.     f.  56. 

7.  "  Se  il  ciel  mi  divide"  [from  "  Ales- 
sandro  nello  Indie  "].  "  David 
Perez."     f.  58. 

8.  "Son  confusa  pastorella";  with 
flutes,  horns,  etc.     [From  the  same.] 

31649.     Vol.  II. 

1,  2.  "  Sento  un  afianno,"  and  quartet, 
"  Dolce  sonno  "  (La  Rose,  Don  Lopez, 


By  the  same,     f .  65. 

9.  Scena,  "  Qual  mi  veggo,"  1766. 
"Tranchi."     f.  81. 

10.  Duet  and  trio  (Rosina,  Angiolina, 
Gianuino),  "Tulosai."  "Floriano 
Gasman."     f.  101. 

11.  Trio,  "  Al  mio  rivale  "  ;  with  flutes, 
etc.     "Anfossi."     f.  119. 

12.  Trio,  "  Tu  che  puoi  "  ;  with 
clarinets,  horns,  etc.  Anonymous. 
Autograph  (?).     f.  140. 

13.  Trio  (Drus. .  .  . ,  Cind. . . . ,  al.  Ber- 
nardone,  B.  F.),  "Dolce  e  caro." 
"Vincenzo  Ciampi."  Autographic), 
i.  144. 

14.  "  Tuona  a  destra";  with  horns, 
etc.     "  Antonio  Puppi."     f.  150. 

15.  "  Quel  labbro  adorato  "  ;  with 
flutes,  horns,  etc.  [From  "  Demetrio," 
about  1765.]     "Paisiello."     f.  162. 

16.  "Dei  dementi";  with  flutes, 
clarinets,  horns,  etc.  By  the  same, 
f.  170. 


Brunoro,    James) ;    with   horns,   etc. 
"  Giuseppe  Gazaniga,  1772."   ff.  1, 11. 

S   2 


260 


VOCAL  MUSIC— SECULAR. 


3.  Scena,  "Andromeda  infelice"  ;  with 
flutes,  etc.  [Froni  "  Andromeda  e 
Perseo,"  1775.]  By  the  same. 
f.21. 

4.  Rondo,  "Nellasciarti,  amato"  ;  with 
bassoons,  etc.  [From  "  Ifigenia  in 
Tauride,"  1785.]  "  Angelo  Tarchi." 
f.25. 

5.  "Ti  seguiro."  "Paesiello."  This 
and  no.  6  were  transcribed  in  England 
by  —  Micheli.     f.  47. 

6.  "Mentre  ti  lascio " ;  with  flutes, 
horns,  etc.  [?From ' '  Alessandro  nolle 
Indie."]     By  the  same.     f.  61. 

7.  "Mi  Dona";  with  horns,  flutes, 
bassoons,  etc.     Anonymous,     f .  88. 

8.  "Le  donue  ban  tanti  inganni"; 
with  flutes,  bassoons,  etc.  "Giu- 
seppe Schuster."     f .  95. 

9.  "  Chi  ne  chiama  menzognere  "  ;  with 
flutes,  etc.  "Tomaso  Trajetta." 
f.  117. 

10.  "  Ombra      che      pallida  "      [from 

31650.     Vol.  in. 

1.  Duet  (Adelina,  Gualtieri),  "Perma 
. . .  ahime"  ;  with  trumpets,  bassoons, 
etc.     "  Angelo  Tarchi."     f .  2. 

2.  Scena  and  duet,  "  Se  mai  turbo"; 
with  bassoons,  e^c.  [From  "Alessandro 
nelle  Indie."]     By  the  same.     f.  22. 

3.  Duet,  "Ho  nel  core  "  ;  with  harpsi- 
chord, etc.  Sung  by  Signori  Penni 
and  Laschi  [in  "La  Calamita  de' 
cuori,"  1752].     "  Galuppi."     f .  48. 

4.  Duet  (Dorina,  Alfonso),  "Che  il  mio 
caro."     "  Pietro  Guglielmi."     f .  56. 

5.  Duet,  "  Sappi  che  al  nascer"  [from 
"Giro  riconosciuto "].  Anonymous. 
f.88. 

6.  Trio,  "Che  ascoltai";  with  flutes, 
clarinets,  horns,  etc.   [From  ' '  Ifigenia 


"  Berenice,"       1730].       "  Francesco 
Araja."     f.  128. 

11.  Cavatina,  "Per  quel  paterno  am- 
plesso  "  [from  "  Artaserse  "].  Anony- 
mous,    f.  132. 

12.  "Voi  leggete";  with  harpsichord, 
etc.  [From  "  Zenobia."]  "  Giov. 
Giorgio  Lang."     f.  138. 

13.  Recitative  and  aria,  "  Squarciami 
pur,"  1751;  with  horns,  etc.  "Do- 
menico  Terradellas."     f.  151. 

14.  Recitative,  "0  temerario  Arbace," 
and  aria,  "Per  quel  paterno  am- 
plesso  "  ;  with  flutes,  etc.  [From 
"Artaserse,"  1768.]  "A.Sacchini  (?)." 
f.  167. 

15.  "  Oh  Dio,  mancar  mi  sen  to  "  [from 
"Adriano  in  Siria  "].  "  Niccolo 
Conforti."     f.  179. 

16.  "  So  che  pieta  "  ;  with  flutes,  horns, 
etc.  [From  "  Catone  in  Utica,"  1770.] 
"NicoloPiccini."  Apparently  written 
for  Anna  Giacobina  Salomon!,    f .  185. 


in    Aulide,"    1787.]       "Cherubini." 
f.96. 

7.  Trio,  "Son  prigioner";  with  trum- 
pets, etc.  [From  "Alessandro  nelle 
Indie."]     "Angelo  Tarchi."     f.  104.  i 

8.  Prayer  and  chorus,  "  La,  dall'  eterne 
sfere  "  ;  with  bassoons,  etc.  Sung  by 
Gasparo  Pacchierotti  [in  "I  giochi 
d'  Agrigenti"],  1792.  "Giovanni 
Paisiello."     f.  126. 

9.  Finale  (Agnesina,  Zon-zon,  Gemi- 
niano,  etc.),  "Nume  terribile,"  1772. 
"Baldassar  Galuppi  d.  Buranello." 
f.  137. 

10.  Chorus,  "Vieni,  6  Real  Donzella" 
[from  "  I  giochi  d'  Agrigenti  "],  1792. 
"Giovanni  Paisiello."     f.  160. 


Additional  31549,  ff.  4-10. 

Paper ;  a.d.  1732.     Oblong  folio.     Given  by  Aloys  Fuchs  to  Dr.  von  Gassner, 
of  Carlsruhe,  in  1842. 

"  Amor  del  gran  Sancio  "  :  concluding  chorus  (a  4),  with  accompani- 
ment foi*  strings,  in  score,  from  the  opera  "  Sanzio  "  (sc.  "  Sancio  Pansa  "), 
1732,  by  Antonio  Caldara.     Autograph,  as  attested  by  Aloys  Fuchs. 


OPERAS. 


261 


Additional  31595. 

Paper  ;  ff.  82.     a.d.  1732,  etc.     Oblong  folio.     Belonged  to  William  Breton. 

Sixteen  arias  and  a  duet  (no.  17),  with  instrumental  accompani- 
ments for  strings  only  (?)  and  a  bass,  occasionally  figured,  for  harpsi- 
chord, in  score,  by  Johann  Adolf  Hasse  (nos.  1-8)  and  other  composers 
(Italian)  of  the  first  half  of  the  18th  cent. 


1.  "  Non  ha  piu  pace."     f.  2. 

2.  "  Sara  vezzosa."     f.  9. 

3.  "Non  mi  chiamar  crudele."     f.  13. 

4.  "  Garo  sposo,  amato  oggetto."     f.  21. 

5.  "  Luci  belle,  non  i)iangete."     f.  27. 

6.  "Vorrei  goder."     f.  31. 

7.  "Dal  Labro  tuo  vezzoso."  [From 
"  Semiramide,"  1747.]     f .  35. 

8.  "  Voi  che  credete  ai  pianti";  dated 
1732.     f.39. 

9.  "  Freddo  improviso  gelo  "  ;  written 
by  "  Domenico  Sarro  "  for  the  Teatro 
Argentina,  1732.     f.  45. 

10.  "Parto,  ti  lascio,  o  cara  "  ;  from 
"Germanico,"  1732.  "  [N.  A.]  Por- 
pora."     f.  51. 

11.  "  Cbi  vidde  mai."  "  Egidio  Duni." 
f.  55. 


12.  "£  pur  vezzoso."  "Niccola  Por- 
pora."     f.  59. 

13.  "Ah,  non  lasciarmi,  no."  [From 
"  Didone  abbandonata,"  attributed 
in  pencil  in  the  index  to  Porpora, 
whose  Opera  of  that  name  was 
written  about  1740.]     f.  63. 

14.  "E  foUia  se  nascondete."  [From 
"Catone  in  Utica,"  1727.]  "Leo- 
nardo Vinci."     f .  65. 

15.  "  Sentirsi  il  petto  accendere  "  ;  from 
"Gismondo"  [?  " Sigismondo,"  1727]. 
By  the  same,     f .  69. 

16.  "La  fiamma  che  v'  accende." 
"Niccola  Porpora."     f.  73. 

17.  "  Dimmi  una  volta  addio  "  :  duet. 
"  Leon"  Vinci."     f.  77. 


Additional  14115. 

Paper ;  ff .  143.    About  1738,  1734.     Oblong  foho. 

Portions  of  two  Operas,  with  symphonies  and  accompaniments  for 
horns,  flutes,  oboes,  bassoons,  and  strings,  and  a  figured  bass  for  harji- 
sichord,  in  score,  by  Nicolo  Antonio  Porpora.     Autograph. 


1.  Acts  ii  and  iii  of  "Mitridate"  [1733]. 
Characters  :  Mitridate,  Seniandra, 
Sifare,  Farnace,  Ismene  and  Arcante. 
f.l. 


2.  Actiiiof"Polifemo"[1734].  Charac- 
ters :  Polifemo,  Aci,  Galatea,  Calipso, 
Ulisse,  and  Nerea.     f.  84. 


Additional  31572,  fi".  1-1 7 lb. 

Paper;  after  1734  (date  of  latest-known  composition).     Oblong  quarto.     The 
MS.  also  contains  part  of  a  Cantata  (above,  p.  16). 

Selections  from  Operas^  all  (with  one  exception)  by  Handel,  in 
score.  Unless  the  contrary  is  stated,  they  are  arias,  with  symphonies 
and  accompaniments  for  strings.  Almost  all  of  them  were  published 
by  Walsh.  Nos.  1-9,  11-22  (some  described  as  "Additional  Songs"), 
46-50  ("  Additional  Songs  ")  are  from  "  Ottone  "  [1722]. 

A  note  on  f.  lb  by  P[hilip]  H[ayes],  1777,  states  that  the  MS.  was 
"  written  from  the  Author's  Scores." 

1.  "Pur   che   regni  il  figlio   amato";       3.  "  Peusa  ad  amare."     f .  6b. 

with  oboes,  etc.     f.  2.  4.  "  Del  miuacciar  del  vento."     f.  10. 

2.  "  Ben  che  mi  sia  crudele."     f .  4.  j    5.  Duet,  "  Notte  cara."     f.  14. 


262 


VOCAL  MUSIC— SECULAR. 


6.  "  Deir  onda  ai  fieri  moti."     f.  18. 

7.  "  Tanti  affanni."     f .  22. 

8.  "Vieni,  o  figlio."     f.  24b. 

9.  "Alia  fama  dimmi  11  vero."     f.  26b. 

10.  "A  te,  che  sei  sua  sposa";  from 
"  Coriolano  "  [1723].  By  Attilio 
Ariosti.     f.  30. 

11.  "  Afiauni  del  pensier."     f .  33b. 

12.  "Deh,  nondir."     f .  36b. 

13.  Duet,  "  A  teueri  affetti."     f.  38b. 

14.  "Goder  alma."     f .  42. 

15.  "DoppoT  orrore."     f.  46. 

16.  "No,  non  temer."     f .  50. 

17.  "  Spera  si,  mi  dice  il  core."     f.  53. 

18.  "  Tra  queste  care  ombre."     f .  56. 

19.  "  Trema,  tiranno."     f.  58. 

20.  "  La  speranza  e  giunta  in  porto." 
f .  61b. 

21.  "  Tu  puoi  strazzarmi."     f .  63b. 

22.  "D'  innalzar  i  flutti."     f.  66. 
23-45.  Twenty-tbree  out  of  the  twenty- 
four   arias   and    duets  in   "Flavio" 


[1723],  originally  published  by  Walsh, 
ff. 68b-138b. 

46.  "  lo  sperai  trovar  riposo."     f .  139. 

47.  "  Un  disprezzato  afietto."     f .  141b. 

48.  "  Di  far  le  sue  vendette."     f.  144b. 

49.  "Cervo  altier."     f.  148. 

50.  "  Vinto  e  1'  amor."     f.  152. 

51.  "Mostratevi  serene"  [from  "  Am- 
meto,"  1726],  wrongly  described  as 
from  "  Alceste."     f.  155. 

52.  "Volate  piu  dei  venti " ;  with 
bassoons,  oboes,  etc.  Here  described 
as  "  Additional  Song  in  '  Admetus,'  " 
but  originally  in  "Muzio  Scevola" 
[1721].     f.  156b. 

53.  "Dal  labbro  tuo  vezzoso "  ;  from 
the  pasticcio,  "  Semiramis  "  [1733]. 
This  is  the  only  number  in  the  collec- 
tion which  appears  to  be  unpublished, 
f.  161. 

54.  Trio,  "Consolati,  o  bella";  from 
"Orlando"  [1732].     f.  166. 


Additional  31577,  ff.  42-49b. 

Paper  ;  after  1734.     Oblong  folio. 

Harpsichord    arrangements    from    "  Amadigi "    and    "  Otho,"    by 
Handel.     See  under  Pianoforte  Solos,  in  vol.  iii. 


Additional  14114. 

Paper  ;  S.  152.     a.d.  1735,  etc.     Oblong  quarto. 

Portions  of  three  Operas,  with  symphonies  and  accompaniments  for 
oboes  (in  nos.  2  and  3),  trumpets  (in  no.  3),  strings,  and  a  figured  bass 
for  harpsichord,  in  score,  by  Porpora.  Nos.  1,  2  are  entirely  a !«to</rap^, 
as  also  most  of  no.  3. 


1.  Act  ii  of  "Ifigenia  [in  Tauride] "  ; 
18-22 April,  1735.  Characters:  Ulisse, 
Agamennone,  Clitennestra,  Ifigenia, 
Calcante,  Achille.     f.  1. 

2.  Act  ii  of "  Arianna  e  Teseo  "  [Vienna, 
1714,  and  London,  1733].   Characters, 


Alceste,  Teseo,  Arianna,  Miuosse, 
Tauride  (?),  Caribda.  f .  40. 
3.  Act  iii  of  "Sirbace"  [?  =  "  Eosbale," 
1736].  Characters:  Sirbace,  Lesbano, 
Nirena,  Eosbale,  Astarbo,  Eurene. 
f.  99. 


Additional  14205. 

Paper  ;  ff.  271.     After  1735.     Oblong  quarto. 

''  Angelica  ed  Orlando  "  :  Opera  in  3  Acts,  with  symphonies  and 
accompaniments  for  trumpets,  oboes,  flutes,  horns,  and  strings,  in  score, 
by  Gaetano  Latilla,  1735.  Characters  :  Angelica,  Orlando,  Macchione, 
Quaquacchio,  Medoro,  Silvia,  Lidia,  Emilia,  and  Armindo. 


OPERAS. 


263 


Additional  30838. 

Paper ;  ff.  192.     About  1736  (date  on  cover).     Oblong  folio.     Belonged  in  1822 
to  T.  Millar,  of  Grafton  Street,  and  afterwards  to  J.  H.  Deane. 

"  Alessandro  JSTeir  Indie,  Dramma  Per  Musica,  Poesia  Del  Sig' 
Pietro  Metastasio,  Poeta  di  8.  M.  C.  C,  Musica  Del  Sig'"  Gio.  Adolfo 
Hasse  ....  Maestro  del  Pio  Ospital  dell'  Incurabili  di  Venezia  " ;  in 
3  Acts,  with  symphonies  and  accompaniments  for  flutes,  oboes,  trombe 
da  caccia,  and  strings,  in  score.  Characters  :  Poro,  Gandarte,  Timagene, 
Alessandro,  Erissena,  and  Cleofide.  Performed  at  Dresden  in  1731  as 
"  Cleofide." 

Additional  17785,  imsshn. 

Paper  ;  after  1737  (see  f.  103b).     Small  quarto.     The  MS.  also  contains  Duets 
(above,  p.  64),  Songs,  Trios,  Violin  Solos,  etc. 

Airs  (and  other  numbers  indicated  below)  from  French  Operas. 
Except  where  the  contrary  is  stated,  they  are  by  Jean  Baptiste  Lully, 
and  unaccompanied.     The  bass,  where  given,  is  usually  figured. 


1.  "  Ritournelle  "  for  2  violins,  with  a 
figured  bass.     f.  21. 

2.  "Poursuivons  jusqu'autrepas":  duet 
from  "  Armide  "  [1686].     f.  34b. 

3,4.  "  Le  printems,  quelquefois,  est 
moins  doux,"  and  "  Que  I'Amour  a 
d'attraits";  from  "  Atys "  [1676]. 
ff.  35b,  36. 

5,6.  Two  airs  "pour  les  Egyptiens  "  ; 
melody  with  bass  only,  from  Act  v  of 
"Isis"  [1677].     ff.BSb,  37. 

7-10.  Instrumental  numbers  [for  strings, 
etc.']  from  "  Atys,"  viz.  "  Pdtournelle  " 
from  Act  iii ;  another  from  Act  v ; 
"Meniiet  du  Prologue,"  and  "Pre- 
lude "  from  Act  ii.    ff.  37b,  63, 64,  65b. 

11.  A  long  scene,  "  Pteconnoissance 
d'Oreste,"  beg.  '.'  C'est  au  pied  du 
rocher,"  with  bass  ;  from  "  Iphig(5nie." 
"  [Andr6]  Campra "  and  "[Henri] 
Desmarest"  [1704].     ff .  66-76b. 

12.  "Prelude,"  with  strings,  etc.  ;  from 
Act  V  of  "Isis."     f.  77. 

13.  "Ritournelle,"  with  strings,  etc.; 
from  Act  ii  of  "  Atys."     f.  79b. 

14.  "  Le  Branle  de  Forges,"  beg. 
"Ecoutes  mon  ^nigme":  described 
as  taken  from  "  Le  Divertissement 
donne  a  S.A.S.  madame  la  Duchesse 
. .  .a  Forges,  le  11  aoust,  1737,"  acted 
by  members  of  the  French  aristocracy, 
whose  names  are  given,     f.  103b. 

15.  "  Pour  vous,  quand  il  vous  plaist  "  ; 
from  "  Armide."     f.  100. 


16.  "  Le  Soleil  chasse  les  ombres"; 
from  "Les  Festes  [de  I'amour  et]  de 
Bacchus  "  [1673  ?].     f.  106. 

17,  18.  Duet,  "  Quand  le  vent  rit  sur 
I'onde,"  and  air,  "  Noirs  orages,"  with 
bass ;  from  "  Med6e  et  Jason  "  [by  — 
Salomon,  1713].     ff.  106b,  107b. 

19.  "  Born6s  vous  vos  desirs";  from 
"Armide."     f.  108. 

20.  "  Heureux  qui  pent  voir  durivage," 
with  a  bass  ;  from  "  Phaeton"  [1683]. 
f.  108b. 

21.  "Que  pent  de  la  raison";  from 
"  Achille  [et  Polyxene],"  1687,  by  Pas- 
chal Colasse.     f.  109b. 

22.  "  Rossignols  amoureux  "  ;  from 
"Hypolite  et  Aricie."  By  J.  P. 
Rameau.     [1733.]     f.  115b. 

23.  "  Que  tout  TUnivers  se  pare,"  with 
bass;  from  "Isis."     f.  118. 

24-28.  "Ouverture,"  "Entree,"  Ga- 
votte, "Marche,"  "Prelude,"  and 
Chaconne,  from  "Roland"  [1685]. 
The  melody  only.     ff.  118b-122. 

29.  "  Au  milieu  d'une  paix  profonde"; 
from  the  prologue  to  "  Roland." 
f . 122b. 

30,  31.  Two  "Airs  [de  danse],"  for 
violins,  with  bass  ;  from  "  Isis." 
ff.  123,  123b. 

32-34.  Two  airs,  "La  beaute  la  plus 
severe  "  and  "  L'himen  seul  ne  stjaur- 
oit  plaire,"  and  a  duet,  "  D'une  con. 
stance  extreme,"  with   basses ;  from 


264 


VOCAL  MUSIC— SECULAR. 


"  Atys."     All   are  preceded   by  sym- 
phonies for  flutes,  etc.     ff.  126-130. 

35.  "Quel  bien  dev6s  vous  attendre": 
duet  with  bass,  from  "Isis."    f.  130b. 

36.  "Prelude,"  for  2  instruments  ;  from 
Act  iv  of  "  Atys."     f.  131b. 

37.  38.  Two  "Airs  des  Parques,"  for 
violins  and  bass  ;  from  Act  iv  of 
"Isis."     ff.  132b,  138b. 

39,  40.  "Entree  des  Nymphes,"  from 
Act  V,  and  "Prelude  du  prologue,"  of 
"Atys"  ;  for  2  instruments,  ff.  134, 
135b. 

41.  "  Ritournelle,"  for  strings,  etc. -^ 
from  Act  iii  of  ' '  Isis."     f .  135b. 

42.  "  Symphonic,"  for  2  instruments ; 
from  the  prologue  to  "  Atys."   f.  136b. 

43.  ' '  Symphonic,"  for  strings,  etc. ;  from 
Act  ii  of  "  Isis."     f.  137. 

44.  45.  "Ouverture"  and  "Prelude," 
for  strings,  etc. ;  from  Act  i  of "  Atys." 
fi.  146,  149. 

46.  "  Regne,  Amour,  regne  sur  nos 
ames  "  ;  from  "  Tancrede."  By  Andre 
Gampra.     [1702.]     f.  153b. 

47,  48.  Duet,  "Dans  nos  climats,"  and 
air, ' '  C'estl'Amour  qui  nous  menace  " ; 
from  "Roland."     ff.  155b,  156b. 

49.  "  Symphonic  "  forviolius  (in  unison) 
and  "Basse  continue."  Anonymous. 
f .  157b. 

50.  Air,  "Ah  I  quel  tourment "  ;  from 
"Roland."     f .  158b. 

51.  "Ven^s,  reconnoiss6s  votre  nouvel 
Empire,"  with  bass;  from  "  Zephir 
et  Flore."  By  L.  Lully  and  J.  B. 
Lully,  jun.     [1688.]     f.  162. 

52.  "A  quoi  bon,  tant  de  raison  "  ;  frona 
"Alceste"  [1674].     f.  163. 

53.  "  Heureuse  mort,"  with  bass  ;  from 
"  Bellerophon  "  [1679].     f.  163b. 

54,55.  "  Folatrons,"  and  "  Je  cherche 
am^dire";  from"Psiche"  [1678]. 
ff.  164b,  165. 

56,  57.  "  Bergers,  reiinissons  nos  voix," 
and  "Quoiqu'un  juste  depit  m'in- 
spire,"  with  bass;  from  "Zephir  et 
Flore."     ff.  165,  165b. 

68.  ' '  Toi  qui  porte  par  tout,"  with  bass ; 
from  "Atys."     f.  169b. 

59-61.  "Entree  de  pastres "  (melody 
only),  duet,  "  Viv6s  en  paix,"  and  air, 
"Ah!  j'atteudrai  longtems  "  ;  from 
"Roland."     fi.  179b,  181b. 


62-64.  Three  numbers  from ' '  Atys,"  viz. 
"  Ritournelle  "  for  strings,  etc.,  from 
Act  iv ;  "  Entree  de  Phrygiens  "  ;  and 
"  Second  Air  des  Phrygiens,"  for  2 
instruments,     ff.  182,  ib.,  183. 

65.  "Air  des  Sj'lvains  et  des  Satyres," 
with  strings,  etc. ;  from  "  Isis."  f.  183b. 

66,  67.  "Air  pour  les  Nymphes  de 
Flore,"  and  Gavotte ;  from  the  pro- 
logue to  "Atys."     ff.  184b,  185. 

68.  "  Dieu  d'Amour,  pour  nos  Aziles," 
with  strings;  from  "  Hypolite  et 
Aricie."     f.  190. 

69.  "Les  plaisirs  les  plus  doux,"  with 
bass;  from  "Isis."     f.  191b. 

70.  "Prelude.  Le  Sommeil,"  for  flutes, 
strings,  cic. ;  from  "Atys."     f .  192b. 

71.  72.  "Ritournelle"  (from  Act  v)  and 
"  Entreepour  la  Jeunesse,"  for  strings, 
etc.  ;  from  "Isis."     ff.  198b,  199b. 

73,  74.  Two  numbers  from  "Atys,"  viz. 
duet,  "  Allons,  allons,  accour6s  tons," 
and  "  R6citatif  a  la  loiiange  du  Roy, 
Loiiis  XIV,"  from  the  Prologue, 
ff . 200,  200b. 

75.  Air  for  strings,  etc.;  from  "Isis." 
f.  201b. 

76.  "Dieu  d'Amour,  sous  tes  loix " ; 
from  "Le  Jugement  de  Paris."  By 
T.  Bertin  de  la  Due.     [1718.]     f.  202. 

77-80.  Four  numbers  from  "Isis,"  viz. 
"  Marche "  from  Act  iii,  "Ritour- 
nelle" in  F,  and  "Entree  des  For- 
gerons,"  for  strings,  etc.,  and  duet, 
"  Aim6s,  profites  du  terns,"  with  bass, 
ff . 206-210. 

81,  82.  Two  "  Symphonies,"  for  2  oboes 
with  a  "  basse  continue."  Anonymous- 
ff.  211,  212b. 

83.  "  Ritournelle,"  apparently  for  2 
violins,     f.  213. 

84.  "  C'est  dans  nos  flots  "  ;  from  "The- 
tis et  P^lee."  By  P.  Colasse.  [1689.] 
f.  215. 

85.  "Non,  non,  nous  n'aurons  point  de 
bruit";  from  "Cadmus  [et  Hermi- 
oue,"  1673.]     f.  216b. 

86.  87.  Duet,  "  Ah  1  qu'il  est  beau," 
and  trio,  "Deesse  des  appas,"  with 
the  bass  figured;  from  "Les  Festes 
de  Bacchus  "  (sc.  "  Les  fetes  d'amour 
et  de  Bacchus").  By  Lully,  1672. 
ff.  217,  218. 


OPERAS. 


265 


Egerton  2488. 

Paper  ;  fi.  177.     About  1737-8.     Oblong  quarto.    Belonged  to  Frederick  Nicolay. 

"IlVello  d'oro,  Opera";  in  3  Acts,  with  overture,  symphonies, 
and  accompaniments  for  flutes,  oboes,  horns,  trumpets,  bassoons  and 
strings,  and  a  figured  bass  for  harpsichord,  in  score,  by  Giovanni 
Battista  Pescetti,  London,  173|-.  Characters  :  JEito  (sic),  Medea, 
Absirto,  Giasone,  Peleo,  Ifite,  Isipile,  and  a  Naiad. 


Paper ; 


Additional  29370,  ff.  33-U3  passim. 
about  1737-1746.     Quarto.     See  also  under  Anthems  (vol.  i,  p.  65). 


Incidental  music,  in  full  score,  unless  the  conti'ary  is  stated,  by 


Dr.  Thomas  Augustine  Arne. 

1.  "Music  in  ' Rosamond,'  1733  "  ;  con- 
sisting of  6  songs  and  3  duets.  The 
first  song  begins,  "How  unhappy  is 
he  who  is  ty'd  to  a  she."     f.  33. 

2.  "Music  in  'The  Tempest'"  [pub- 
lished   in    1746],   consisting    of    the 

-  song,  "Come  unto  these  yellow 
sands,"    and  the   Masque,  in  which 


the  characters  are  Juno,  Ceres,  Iris, 
and  Chorus  of  Nymphs,  etc.  Imper- 
fect in  the  middle,  f.  86. 
3.  "Sing  and  spread  the  joyfull  news 
around "  :  the  last  movement  from 
the  last  chorus  in  "The  Judgment 
of  Paris  "  [published  in  1740].  Auto- 
graph,    f.  112. 


Additional  31604,  passim. 
Paper ;  about  1739.     Oblong  folio.     See  also  below,  under  Songs. 

Two  DUETS  (nos.  1  and  2)  and  fifteen  arias,  with  symphonies  and 
accompaniments  for  strings  (and  in  no.  10  oboes  also),  and  a  bass, 
occasionally  figured,  for  harpsichord,  in  score.  Apparently  from 
Operas,  l)y  Hasse  and  other  Italian  composers  of  the  first  half  of  the 
18th  century.  Nos.  2-9  are  by  Johann  Adolf  Hasse  ;  and  of  these, 
nos.  5-8  appear  to  have  been  performed  at  the  San  Giovanni  Griso- 
stomo  theatre  in  1739,  nos.  5,  7,  and  8  being  described  as  "  [Opera]  3a," 
and  no.  6  as  "  [Opera]  prima." 


1.  "E  Puoi,  Crudel,  lasciarmi."  "Leon 
Vinci."     f.  18. 

2.  "Deh,  t'  acchetta."     f.  32. 

3.  "  Almen  la  parca."     f .  40. 

4.  "Digli  ch' io  son  Pedele."     [Prom 
"  Alessandro  nell'  Indie,"  1731.]  f.  43. 

5.  "  Rendimi  i  lacci  miei."     f.  47. 


at  Padua  in  1739.     f.  72. 

11.  "Io  veggio  in  lontananza."  [Prom 
"Dario."]  There  appears  (see  f .  1) 
to  have  been  a  separate  horn  part  to 
this  aria,     f .  78. 

12.  "  Quanto  mai  felici  siete."  [Prom 
"Ezio,"  1737.]     By  the  same.     f.84. 


6.  "  L' atroce  affanno."     This  and  no.  7    i    13.  "  Ritorna  al  caro  bene";  sung  by 


were  sung  by  Faustina  [Hasse].  f .  51. 

7.  "Si,  quel  ferri."     f.  55. 

8.  "  Non  scherzar  cosi."     f.  59. 

9.  "Spesso  tra  vaghe  rose";  sung  by 
Parinelli.     f.  63. 

10.  "  Tormento  il  piu  crudele."  This 
and  no.  11  were  composed  by  "  Gio. 
Battista  Lampugnani,"  and  performed 


[From    ' '  La    cameriera 
"  Andrea    Bernasconi." 


Faustina, 
accorta."] 
f.  88. 
14.  "  Su  quelle  Luci."  This  and  nos. 
15,  16,  are  also  by  Bernasconi,  and 
were  performed  at  the  San  Giovanni 
Grisostomo  theatre  in  1739,  being 
described  as  "  [Opera]  2'^^"     f.  92. 


266 


VOCAL  MUSIC— SECULAR. 


15.  "  Cara  madre,  io  riconosco."     f.  96. 

16.  "  Nou  ho  iu  petto  "  ;  sung  by  Faus- 
tina,    f.  100. 


17.  "Dille  che  si  consoli."  [From 
"Achillo  in  Sciro,"  1739.]  "  Pietro 
Chiarino."     f.  104. 


Additional  31601,  31602. 

Paper ;    2. 112,  118.      After   1739.      Oblong   folio.      Belonged   to   B[enjamin] 
Stillingfleet,  and  afterwards  to  [Dr.]  Philip  Hayes. 

Collection  of  arias,  etc.,  from  Oj^eras,  with  symphonies  and  accom- 
paniments for  strings  and  a  bass  (occasionally  figured)  for  harpsichord, 
in  score.     In  two  volumes. 


Add.  31601.     Vol.  L 

1.  "Per  quell'  affetto."  From  "  Arta- 
serse"  [1730].  "Leonardo  Vinci." 
f.2. 

2.  "Lo  sposo  va  a  morte."  "  Gio. 
Adolfo  Hasse."     f.  8. 

3.  "Fissa  nei  squardi  miei."  By  the 
same.     f.  15. 

4.  "  Gia  che  ui  place,  6  Dei."  "Gio. 
Battista  Pergolese."     f.  21. 

5.  "  Idol  mio,  nel  caso  amaro."  "  Gaet- 
tano  Lattilla,  1739."     f.  27. 

6.  "  Garo,  son  tua."  [From  "  L'  Olim- 
piade,"  1735.]     "Pergolese."     f.  33. 


7.  "Se  mai  perdete  1' Idol."  "  Dauid 
Perez."     f.  39. 

8.  Duet,  "  Ne'  giorni  tuoi  felici."  [From 
"  L'  Olimpiade."]  "  Pergolese,  1735." 
f.44. 

9.  "  Se  troua  ritegno."  From  "  Ne- 
rone"[1735].    "  Egidio  Duni."   f .  50. 

10.  "  Dal  sen  del  caro  sposo."  [From 
"Vologeso."]  "  Rinaldo  di  Capua, 
1739."     f.  56. 

11.  "  Tutte  le  piu  vezzose  armi."  By 
[G.  M.]  Orlandini  (see  index  on  f.  1). 
f.  62. 


Nos.  12-17  are  by  Gaetano  Latilla,  dated  1738,  Rome:  nos.  15 
and  17,  and  presumably  also  the  others,  are  from  "Don  Calascione  " 
(see  Le  Delizie  delV  opera,  vol.  vi). 


12.  "Ah,  frenate  11  pianto."     f.  68. 

13.  "  Suela,  se  m'  ami."     f.  72. 

14.  "Sol  duericordi."     f .  78. 

15.  "Cola,  sul  praricello "    (sc.   prati- 
ceUo).     f.81. 

16.  "  Non  son  di  quelle."     f.  87. 

Add.  31602.      Vol.  IL 

1.  "Benche  turbar  si  tieda."  [From 
"Vologeso."]     Rome,  1739.     f.  3. 

2.  "  Caro  sposo,  amato  oggetto."  [From   J 
"  CajoFabrizio,"  1731.]  "  Gio.  Adolfo 
Hasse."     f.  15.  , 

3.  "Deh,  se   placer  mi  uuoi."     From   i 
"La  clemenza  di  Tito."  [1738.]     By 
the  same.     f.  21. 

4.  " Luci  belle."  [From  "  Vologeso."] 
"  Rinaldo  di  Capua,  1739."     f .  25. 

b.  "  Per  quel  paternoamplesso."  [From 
"  Artaserse."]    "  Leon"  Vinci."    f.  31. 

6.  "  Quando  sara  quel  di."  From 
"La   clemenza   di   Tito."      "Adolfo 


17.  "  Signor  Pancrazio."     f.92. 

18,  19.  Scenes  viii  and  ix  [from 
"Vologeso"],  including  the  aria, 
"  Ombra  che  pallida."  "  Rinaldo  di 
Capua."     Rome,  1739.     ff.  98,  109. 


Hasse."     f.35. 

7.  "  Reca  la  pace  in  dono."  By  the 
same.     f.  43. 

8.  "  Se  troppo  crede  al  ciglio."  [From 
"Alessandro  nelle  Indie,"  1729.] 
"Leonardo  Vinci."     f.  49. 

9.  "  Superbo  di  me  stesso."  [From 
"L' Olimpiade."]  1735.  "  Gio.  Bat- 
tista Pergolese."     f .  55. 

10.  "Se  a  m^  torranno  i  Dei."  From 
"  Caio  Fabricio."  "  Gio.  Adolfo 
Hasse."     f.  61. 

11.  "  Scieglier  fra  mille."  [From  "  Te- 
mistocle."]    "  Leonardo  Leo."    f.  67. 


OPERAS. 


267 


12.  "  Sul  mio  cor."  [From  "  Adriano 
in  Siria,"  1734.]  By  Pergolese  (see 
index  at  f.  2).     f .  73. 

13.  "  Sentirsi  dire  dal  caro  bene." 
[From  "  Semiramide  riconosciuta," 
1729.]     By  Leonardo  Vinci,     f.  81. 

14.  "  Torbido  in  volto."  From  "  L' 
Olimpiade."  "  Gio.  Battista  Bergo- 
lese  "  [1735].     f.  89. 


15.  "  Tu  di  saper  procura."    [From  the 
same  Opera.]     f.  95. 

16.  "Vo'sperar;  ti  ueggo."     "  Rinaldo 
da  Capua."     Rome,  1739.     f.  101. 

17.  "Vedil'amatafiglia."  "Gio.Adolfo 
Hasse."     f.  107. 

18.  "Vedrai  morir  costante."      By  the 
same.     f.  113. 


Paper;  3.188. 
F.  Smee. 


Additional  34004. 

After  1739  (see  f.  31).     Oblong  octavo.    From  the  collection  of 


Collection  of  airs,  duets,  choruses  (frequently  with  one  of  the  parts 
omitted),  etc.,  from  dramatic  works  by  French  composers  of  the  end  of 
the  17th  and  the  first  half  of  the  18th  centuries.  Only  the  vocal  parts 
are  given,  which,  in  the  case  of  the  concerted  numbers,  are  in  score, 
but  without  accompaniment.  The  selections  are  mostly  divided  into  two 
series,  the  second  (f.  107)  supplying  deficiencies  in  the  first. 


1.  Eighteen  scenes  or  numbers  from 
"Isis"  [1677].  By  Jean  Baptiste 
Lully.  Differing  considerably  from 
the  copy  of  "Isis"  in  Add.  16045 
(above,  p.  2.37).     ff.  1-25,  107-116. 

2.  "  Goutons  bien  les  plaisirs "  (a  2), 
"Dans  ces  deserts  paisibles "  (solo), 
and  "Les  oiseaus  vivent  sans  con- 
trainte  "  (a  2) ;  from  the  "  Grotte  de 
Versaille  "  (sc.  "  L'Eglogue  de  Ver- 
sailles ").  By  the  same.  [1685.] 
ff.  25b,  116,  116b. 

3.  Sixteen  numbers  or  scenes  from 
"Phaeton."  By  the  same.  [1683.] 
ff.  26b-30b, 117b-128b. 

4.  Ten  "Airs  des  'Festes  d'H6be  '  ou 
'  les  Talens  Liriques.' "  By  Jean 
Philippe  Rameau.  [1739.]  ff.  31-36, 
129-131b. 

5.  Seven  ' ' '  Airs  D'  '  Acis  et  Galatee.'  " 
By  Lulli.  [1686.]    ff.  36b-39,  132-136. 

6.  Eighteen  airs  from  "  Iss6."  ByAndrd 
Cardinal  Destouches.  [1697.]  ff.  39b- 
57b, 136-144. 

7.  Twelve  airs  from  "Tancrede."  By 
Andre  Campra.  [1702.]  ff.  58-65b, 
144b-149. 

8.  Four  airs,  "  Par  d'innocens  plaisirs," 
"Amants  heureux,"  "Dans  les  Con- 
certs," and  "Dans  L'horreur  d'une 
nuit  terrible  "  ;  from  "Ihphigenie  [en 
Tauride]."  By  the  same  and  Henri 
Desmarets.    [1704.]   ff.  66,  66b,  149b, 


150. 

9.  "  Ten  numbers  or  scenes  from 
"Idomene[e].  By  Campra.  [1712.] 
ff.67-72,  105b  (?— an  air,  "  Gloire 
brillaute").    150b-152b,  183-184b. 

10.  Nine  numbers  from  "Hippolyte 
et  Aricie."  By  Rameau.  [1733.] 
ff. 72b-70b,  152b-161. 

11.  Two  airs,  "A  L'amour  offrez  tons 
vos  voeux"  and  "  Enchantez  mes 
Regards";  from  the  Ballet  "  [Le 
triomphe]  des  Sens."  "[Joseph] 
Mouret."     [1732  (?).]     ff .  77,  77b. 

12.  Four  airs,  "  L'onde  se  presse," 
"Jeunes  coeurs,"  "  Le  heros  que 
j'attends,"  and  "  C'est  la  saison 
d'aimer "  ;  from  "Alceste."  By 
Lully.     [1674.]     ff .  78b,  79, 162, 163b. 

13.  "  Air,  "  Revenez,  amours,  and  three 
duets  or  2-part  choruses,  "L'amour 
plaist,"  "Les  plus  rudes  chaisnes," 
and"  Que  nos  prairies  serontfleuries." 
[From  "Th6s6e,"  1675.]  By  the 
same,     ff .  79,  81,  81b,  164. 

14.  Twenty  numbers  or  scenes  from 
"Atis."  By  the  same.  [1676.]  ff.82- 
89,  166-177. 

15.  Eighteen  "Airs  d'  '  Armide  [et  Re- 
naud']."  By  the  same.  [1686.] 
ff .  89b-105,  177-182b. 

16.  Air,  "Ma  chere  Liberie";  from 
"Proserpine."  By  the  same.  [1680.] 
f.  161. 


268 


VOCAL  MUSIC— SECULAR. 


Additional  14119. 

Paper  ;  ff.  97.     About  1740.     Oblong  folio. 

"  DiDONE  "  :  Acts  ii  and  iii,  with  symphonies  and  accompaniments 
for  oboes,  trumpets,  and  strings,  and  a  figured  bass  for  harpsichord,  in 
score.  [By  Porpora,  about  1740.]  Autograi^h.  Characters:  larba, 
Araspe,  Selene,  Didone,  Osmida,  and  Enea. 


Additional  31596. 

Paper  ;  ff.  125.     About  1740.     Oblong  folio. 

Operatic