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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

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. " 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.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 24 of 120)