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" 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



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