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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, " 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,



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