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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. " 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



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 27 of 120)