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transcribed from Add. 12219 (above,
p. 238). ff. 57-95.

3. " Look down, yee blest": described
as ' ' procession in ' Y° Spanish Fryar ' "
[1696?]. f. 139.

4. " She heard the summonds" : "pro-
cession iu ' Aurenge Zebe ' " [1698 ?].
f . 139b.

5. "I lov'd and am belov'd again":
dialogue iu " Y" Adventures of five
hours " [about 1700]. f. 140b.



6. "Hark, y' big drums" : duet with
accompaniments for trumpets, drums,
etc., in "Pyrrhus, King of Epire,"
1695. f. 143.

7. Song, " Fair Belinda's Youtbfull
charmes " ; duet, " Look down, great
Hymen"; and dialogue, "Oft have
you told me." In "She Ventures,
and He Wins," 1696. ff . 149, 150,
151.

8. Song for three witches, with chorus,
beg. " Sisters, whilst thus I wave my
wand"; song, "Hark, the trumpets
and the drums"; and song, "Oh,



OPERAS.



243



take him gently." With accompani-
ments for trumpets, etc. In "Cyrus
the Great," 1696. ff. 154b, 157, 159.

9. Duet, " Let us revell," sung by two
bullies in "¥<' Lovers' Luck," 1696.
f . 160b.

10. "Faith and troth": dialogue in
" Y<= Citty Lady," 1697. f. 161b.

11. "Why so coy": dialogue in "¥•=
Husband his own cuckold," 1696.
f. 164.

12. Three dialogues, with chorus,
" Shou'd I not lead a happy life";
" Hark you, Madam " ; and " Pretty
Miss, let us talk together." In
"Love's a jest," 1696. ff. 167, 170b,
174.

13. "For you who are rid": duet in



"Y« Unnaturall Brother," 1697.
f. 177b.

14. "Bej'ond the desart mountains":
song in "Y"= Married Beau," 1694.
With instrumental accompaniments.
f.l79.

15. "Her eyes are like y' morning":
song with accompaniments for flutes,
violins, etc. In "The Novelty,"
1697." f. 181.

16. "Fill all the glasses": duet in
"King Harry y^ 5th" [about 1702].
f. 188.

17. ' ' The Mask in ' Y' Pilgrim '" ; with
accompaniments for trumpets, vio-
lins, etc. "D[aniel] Purcell," 1700.
f. J94.



Additional 31405, ff. 134-143.

Paper ; early 18th cent. Folio. See also under Anthems (vol. i, p. 48).

Separate numbers from dramatic works by English composers, with
insti'umental symphonies, etc., in score.



1. Part of the "Libertine," from the
"Ball Song," beg. "Nymphs and
Shepherds," to the end of the chorus
" In these delightfuU pleasant
Groves." By H. Purcell. [1676.]
f. 134.

2. "Song with violins on a ground,"
beg. " Here y= Deities approve."



Anonymous, f. 138.
3. "Ball-song, No. y' 7th, 1706," beg.
" Shepheards, tune your pipes."
"D. Purcell." It is divided into
several verses for treble solo, against
which the initials of the original (?)
performers are placed, and it ends
with a chorus, f . 140.



Additional 31448, f. 31.
Paper; early 18th cent. Folio. See also above, under Odes (p. 214).

" Celemene, pray tell me " : duet, with a bass, in score, by Henry
Purcell. Sung by "Jemy Bowin " and Mrs. Cross. The words by
Durfey.



Additional 31452, ff. 1, 28b, 40.

Paper; early 18th cent. Folio. Bookplate and signature of James Kent,
organist at Trinity College, Cambridge (before 1737). See also above, under
Odes (p. 215).

Incidental music by Henry Purcell, with symphonies and accom-
paniments for instruments, in score. Transcribed by Dr. William
Croft, possibly from Add. 31447 (below, p. 246).

1. " Masque in 'Timen (sic) of Athens.'" ( 2. "Bonduca." [1695.] f. 2Sb.
[1678.] With oboes, e^c. f. 1. ! 3. " GEdipus." [1692.] f. 40.

R 2



2U



YOCAL MUSIC— SECULAR.



Additional 31453, ff. 39-1 83b, passim.

Paper ; early 18th cent. Small folio. The IMS. also contains other com-
positions, vocal and instrumental, all described elsewhere.

Incidental music by vax-ious composers, and in various hands, in
score.



, "Indian Queen Musick." [1692.]
"Henery Purcell." Some of the
instrumental dances, etc., printed by
Goodison [1790?] are omitted. At
the end (f . 69) is a "Last Act"
[? masque in Act v] by " Daniel Pur-
cell " [1696], "Mr. Henery Purcell
being dead." fi. 39-83.

, Two overtures and other instru-
mental numbers (Siciliana, Gavotte,
hornpipe, concerto, minuet, etc.),
from a 3-Act drama without title or
composer's name. In the same hand
as the Ode to St. Cecilia, which
follows it (f. 133), and which is
possibly by John Eccles. ff. 84-132.

, "A song in 'The Pretenders,'" beg.
"All things seem deaf " ; with a bass.
By John Eccles. f . 150b.

, "Restless in thought" [from " She
ventures, he wins "] ; with figured
bass. Imperfect. By the same.
This and no. 3 are printed in Eccles'



General Collection of Songs, 1703,
f. 151b.

5. A Masque ["Venus and Adonis ? "],
apparently copied at a later date by
the same transcriber [ — Dolbin] as
Add. 22100 (above, p. 230). Imperfect
at the end. Partly " from Mr. Ben-
ford's score." ff. 152-168b.

6. " See, where repenting Caelia lyes "
sung by Mrs. Ayliff, in " The
Married Beau." [1694.] "Hen.
Purcell." This and nos. 7-9 have
figured basses, f. 171.

7. " Oh, lead me to some peaceful
gloom"; from " Bonduca." [1695.]
By the same. f. 172b.

8. " Since times are so bad " : dialogue
in " Don Quixot," Part ii. Act iv.
By the same. [1694.] f. 173b.

9. " A Lass there lives upon the
green" ; from " Oroonoko." [By the
same, 1695.] f. 182b.



Additional 31488, ff. 46-55.

Paper; early 18th cent. Oblong folio.

" NoN han core " : recitatives and arias, with a figured bass for
harpsichord, by [Alessandro ?] Scarlatti. Probably from Act iii of " La
Rosaura" [about 1690]. Alluded to in the introduction to the
Gesellschaft flir Musikforschungs edition of that Opera.



Additional 31495.

Paper ; ff. 61. Early 18th cent. Oblong folio. Bookplate of Thomas
Bever, LL.D.

" La Lotta d' Alcide, con Acheloo. Drama per il Teatro
Ellettorale d' Hannover. .. 1689." Written for solo voices (Alcides,
Deianira, Achelous and CEneus), with overture, symphonies, dances, etc.
for flutes and strings, in score, by Steffani.



OPERAS.



245



Additional 31513.

Paper ; ff. 148. Early 18th cent. Obloug folio. Belonged in the 18th cent.
to [William (?)] Savage, and in 1817 to R. J. S. Stevens.

" La Rosaura " ; in 3 Acts, with instrumental symphonies and
accompaniments, including a figured bass for harpsichord, in score, by
Alessandro Scarlatti. The words by Abbate Giovanni Battista Lucini.
About 1690. Characters : Venere (in the Prologue), Celindo, Elmiro,
Chmene, Rosaura, and Lesbo.



Additional 31517, ff. 1, 27.

Paper ; early 18th cent. Oblong folio. The MS. also contains a Song (1722),
described below, and Pianoforte Instructions, in vol. iii.



Portions of Operas, in score.

1, " Le Nozze col nemico" (Act i, and
apparently part of Act ii) ; with sym-
phonies and accompaniments for
strings, and a figured bass for harp-
sichord. "[Alessandro] Scarlatti."



About 1700. ff. l-22b.
2. " Tu vuoi ch' io viua, o cara " : duet,
with flute and a bass for harpsichord.
"Leonardo Vinci." [From "Arta-
serse," 1730.] ff . 27-34.



Sloane 3752, flP. 2-3, 7, 29b-31b.

Paper; about 1700. Duodecimo,

Songs, etc., inserted, without the music, in a volume of alchemical
and chemical processes and experiments.



1. "The Songs In y^ Theater of Musick"
[published by Henry Playford, 1685],
including (a-c) Three songs in " The
Disappointment, or The Mother in
fashon." [Set to music by Captain
Henry Pack and Robert King.]
fi.2-3;— (d) "Awake, oh Constan-
tine " ; from Act i of " Constantine."



[Set by Thomas Farmer.] f. 7.
2. Part of the dialogue in Shakespeare's
" A Midsummer Night's Dream,"
selected and slightly altered for
insertion in an Opera called " The
Fairy Queen." [(?) Henry Purcell's
setting], ff . 29b-31b.



Additional 22104, ff. 110-133.

Paper ; about 1700 (?). Oblong quarto. See also below, under Songs.

Arias, with symphonies and accompaniments for strings (in no. 1, for
trumpets also), and a figured bass for harpsichord, in score. The first
four are by Alessandro Scarlatti, and are taken from " II prigionier for-
tunato," 1698, except perhaps no.
16126 (above, p. 234).



3, which does not appear in Add.



1. " Povera Pellegrina." f.llO.

2. "Cangiailcielo." f. 120.

3. " Del caro mio tesoro." f. 123.



4. "Conlusinghe." f . 127b.

5. "Diro che non sonquella." Anony-
mous, f . 131.



246



VOCAL MUSIC— SECULAR.



Additional 29398.



Paper ; ff. 44, About 1700.
of St. Paul's Churchyard.



Polio. Bookplate, with arms, of Robert Smith,



" The Judgment of Paris " : a masque for solo voices and 4-part
chorus, with symphonies and accompaniments for trumpets, oboes,
flutes, strings, and kettle-drum, and a figured bass for harpsichord, in
score; composed by Daniel Pui'cell in 1699 or 1700, and performed in
1701 (see f. lb). Characters : Mercury, Paris, Juno, Pallas, Venus, etc.



Additional 31447, ff. 2-64, 148-151b.

Paper ; about 1700. Folio. Inside the cover is written in pencil the name
J. Pears, Bath. The MS. also contains some of Purcell's Odes (above, p. 215).

Incidental Music, with symphonies and accompaniments for
instruments, in partially compressed score, by Henry Purcell. Where
the instruments employed, other than violins, are mentioned, they are
indicated below.



1. "GEdipus" [1692]; consisting of
nine bars of Prelude, "Hear, ye
sullen Powrs " (solos and chorus),
" Musick for a while " (alto solo), and
"Come away; do not stay" (bass solo
and chorus), ff. 2, 3, 3b.

2. The masque in "Timon of Athens"
[1678] ; with accompaniments for
flutes, oboes, etc. The names of the
singers, George, Jacob, and [Richard]
Leveridge are added in pencil in a
later hand. f. 5.

3. " Bonduca " [1695] : "Hear us, great
great Rugwith " (solos and chorus),
"Hear, yee Gods of Brittain" (bass
recit.), " Sing, yee Druids " (duet and
chorus), "Divine Andates" (tenor
recit.), "To arms! your Ensigns
strait display" (duet), " Britains,
strik[e] home" (duet and chorus),
ff. 13, 14, 14b, 16, 16b, 17.

4. " King Arthur " [1691] ; with accom-
paniments for oboe, flutes, trumpets,
etc. Other numbers given in Rim-
bault's and Arkwright's editions are
missing here, as well as the overture
which commences the opera in Goodi-
son's edition [1790?]. The order of
the three numbers which follow the
chorus, "Round thy coasts," is dif-
ferent from that of the printed
editions, f . 18b.



5. "Circe" [1676?]: a Prelude of six
bars, "We must assemble" (bass air
and chorus), "The Aire with Musick
gently wounds" [sic) (alto air and
chorus), " Come, ev'ry Daemon "
(tenor air), "Circe, the daughter of
y= Sun" (chorus), "Lovers who "(tre-
ble recit.), " Great minister of Fate "
(chorus), short dance of Magicians,
and "Pluto, arise " (bass air). iJ. 47,
48, 48b, 49, 49b, 50, 50b.

6. "Indian Queen" [1692]; with ac-
companiments for trumpets, flutes,
kettle-drum, etc. It contains all the
music published by Goodison [1790?],
except the duet, "If so your good-
ness," and the instrumental music
at the end, and has, in addition, the
masque added by Daniel Purcell in
1696. ff. 51-64.

7. "The Libertine" [1676]; with ac-
companiments for trumpets, etc. It
consists of "Nymphs and Sheperds "
(treble air), followed by "We come,
we come" (chorus), "In these de-
lightful! pleasant groves" (chorus),
"Prepare now, ghosts" (bass recit.
with chorus), and "In mischeife
they've all" (alto recit.), followed by
"Let 'em come" (chorus), ff. 148,
148b, 149, 150, 151, 151b.



OPERAS.



247



Additional 31520.

Paper; ff. 37. About 1704 (see fly-leaf). Oblong folio.

Collection of airs and duets, with a figured bass for harpsichord
and occasionally a part for a violin, in score ; apparently from an Opera
in which the characters are Tomiri, Artaserse, Oronte, etc. (see f. 20),
probably " Tomiri, regina di Scitia," composed by Giovanni Battista
Buononcini and performed in 1704.



Additional 22099, ff. 26-69b passim.

Paper ; about 1704-1707 (see below). Folio. The MS. also contains Anthems,
Hymns, sacred Songs, Catches, Duets, an Ode, secular Songs, Harpsichord Solos
and String Trios ; all described elsewhere.

Fragments of Incidental Music, mostly with a bass, in score ;
apparently in the hand of a musician named Clark (but not that of
Jeremiah Clark), whose name is found on fi". 9, 55, and 90 at the end
of pieces by other composers. The collection in which they appear
was probably made soon after the publication of Francis Horton's
Collection of songs by several masters, 1704, which contains many of the
tunes.



1. "The Beaux' character" : song beg.
"A Wig that's full." [From " Hamp-
sted Heath."] "Ramondon." f.26.

2. "So fair yong Cselia does appear."
[From "The Triumph of Virtue."]
"D. P[urcell]." f. 32.

3. "Let the dreadful engines": song.
[From "Don Quixote," 1694.] " H.
P[urcell]." f. 32b.

4. "Far from thee be anxious care" :
song from the " Judgment of Paris."
"[J.] Weld[on," 1702]. f. 34.

5. " Let all mankind the pleasure
share": duet. [From " Diocletian,"
by H. Purcell, 1690.] f. 35.

6. "Haste, brother King": duet.
[From " Tyrannic Love," 1686.] By
the same, f . 38b.

7. "Celadon, when spring came on" :
song. [From "The Old Mode and
the New." By the same. f. 40b.

8. "Must then a faithful lover go":
song. [From "The Mad Lover,"
1701.] " [J.] Eccles." f.43.

9. "Genius of England": song, with
trumpet obligato. [From " Don
Quixote, 1694.] " H. P[urcell]."
f. 44b.

10. "I burn, I burn": song. [From
"Don Quixote," 1694.] " [J.] Eccles."
f . 45b.



11. "Jack, thou'rt a Toper": catch.
[From "Bonduca," 1695.] " H.
P[urcell]." f. 46.

12. "Dear, pritty youth": song. [From
the " Tempest," 1690.] By the same,
f. 46b.

13. " Come, let us agree " : duet. [From
" Timon of Athens," 1678.] By the
same. f. 47b.

14. " May the God of wit": trio.
[From "The Fairy Queen," 1692.]
By the same. f. 47b.

15. "Stay, ah! stay": song. [From
" The Fair Penitent."] 1703. "[J.]
Eccles." f. 49b.

16. "0 ravishing delight": song.
[From " The Judgment of Paris,"
1700.] " D. Purcell." f. 50b.

17. " Celia has a thousand charms":
song. [From "The Rival Sisters,"
1695.] "H. Purcell." f . 51b.

18. ' ' Celia, my heart has often rang'd " :
song. [From "She would and she
wouldn't," 1703.] "[John] Weldon."
f.52.

19. "While gentle Parthenissa walks " :
song, [From the "Tender Husband."]
"D. PurcelL" f . 53b.

20. "Oh! lead me to some peaceful
gloom": song. [From " Bonduca,"
1695.] "H. Purcell." f . 58b,



248



VOCAL MUSIC— SECULAR.



21. " Ah, how sweet it is to love " ; song.
[From " Tyrannic Love," 1686.] By
•the same. f. 59.

22. "From Rosy Bow'rs " : song.
[From "Don Quixote," 1694.] By
the same, f . 60b.

23. Overture, " Brittans (sic), strike
home" (chorus), and "To arms"
(duet); from " Bonduca." [1695.]
By the same. ff. 61b, 62.

24. " Fairest isle " : duet. [From King
Arthur, 1691.] By the same, f . 62.

25. " Sound, Fame" : song with trum-
pet obligate. [From "Diocletian,"



1690. By the same. f. 63b.

26. "As soon as the chaos": duet.
[From "The Marriage-hater," 1692.]
By the same. f. 67b.

27. "Come, let us leave the town":
duet. [From "The Fairy Queen,"
1692.] By the same. f. 68b.

28. "I see she flys me " : song. [From
" Aurenge-zebe," 1676.] By the
same. f. 69.

29. "Love is an empty, airy name":
song. [From "The City Lady,"
1697.] " [J.] Eccles." f . 69b.



Additional 14121.

Paper ; ff. 158. About 1711. Oblong folio.

" [Flavio Anicio] Olibrio," Acts i and ii ; with symphonies and
accompaniments foi' strings (including lute and archlute), and a figured
bass for harpsichord, etc., in score. [By N. A. Porpora, 171 L] Most
of the first 29 leaves are in the hand of an amanuensis ; the rest
autograph. Characters : Olibrio, Fedele, Placidia, Ricimero^ Olderico,
Teodolinda, and Perletta.



Additional 31993, £F. 6-50, 56, 64b-78.

Paper ; about 1712. Oblong quarto. The MS. also contains a Duet (above,
p. 62), Songs (below), and Chamber Duets, described in vol. iii.

Operatic songs, with a bass, generally figured, for harpsichord, in
score, by anonymous composers flourishing about 1712, in which year
selections from all the operas named were already published by J.
Walsh. See frontispiece to The Songs in the Opera of Hamlet, 1712.



1. " Spento quel mostro Indegno." f. 6.

2. " Con danze belle scherzan gl'
amori " : chorus. The melody only.
f.7b.

3. "Love wou'd invade me." [From
"Thomyris," by G. B. Buononcini,
A. Scarlatti, etc., Loudon, 1707.] f. 8b.

4. "Tho' to conquer proud love is pre-
paring." [From "Love's Triumph,"
by F. Gasparini, etc., 1708.] f. 9b.

5. " La speme lusinghiera " ; from"Ete-
arco." [? By G. B. Buononcini, 1707.]
f.ll.

6. " Since in vain I strive to gain yow."
[From "Thomyris."] f. 13.

7. "Whilst distrust my soul's assail-
ing" ; from " Clotilda." [ByF. Conti,
1709.] f . 15.

8. " Think not that I will all ways love



the[e] " (" Rimirarvi ") ; from the
same. f. 16b.

9. " To slight my love " ; from " Alma-
hyde." [By an unknown composer,
1710.] f. 17b.

10. " Empia stella" ; from " Hydaspes."
[By F. Mancini, 1710.] f. 19b.

11. "Ritorna gia nelviso"; from the
same. f. 21b.

12. "Vifara pugnando strada"; from
the same, f . 23b.

13. " Molto Voglio " ; from " Rinaldo."
[By Handel, 1711.] f. 25.

14. " Si Candida e Sibella " ; from
" Antiochus." [By F. Gasparini,
1705. Performed in London, 1711.]
f. 27.

15. " Si lietto {sic), si contento" ; from
the same. f. 28b.



OPERAS.



249



16. "Abruggio {sic), av[v]ampo e fre-
mo " ; from ' ' Riualdo." f . 31.

17. " Ah, neueryett was known." [From
"Camilla," by M. A. Buononcini,
1693. Performed in London, 1706.]
f.33.

18. " Love and ambition." [From the
same.] f. 35.

19. " Yes, yes ; 'tis all I want." [Prom
the same.] f. 37.

20. "Tho' over all mankind besides."
[From "Caligula," by R. Leveridge,
1698.] f. 39.

21. " L' una e 1' altra mi rende con-
tenta"; from "Hamlett." [By P.
Gaspariui, 1705. Performed in Lon-
don at the beginning of 1712.]
f. 41b.

22. " See, Sirs, See here a doctor rare."



[From " The Quacks or Farewell,
folly."] f. 45.

23. "Dear Adonis." f . 46b.

24. " Transporting joy." f.48.

25. "Daro morte a traditori." f. 56.

26. " No, piu non bramo." f. 64b.

27. " Sai pur s' io viuo " ; with an addi-
tional part for violin or flute. Possi-
bly the second part of no. 26. f. 65b.

28. " morire, 6 il caro bene." f. 68b.

29. " Se manca la ui giada" (sc. rugiada).
f.70.

30. " Vieni, o cara e lieta." f. 71b.

31. " Se ritorni, amato bene"; with
an additional part for violin or flute.
f.73.

32. " Sole degl' occhi miei." f. 76.

33. "Torni in poi tranquille, Chiare
L'acque." f. 77b.



Additional 31455, parts i-iv, j^as-sfm.

Paper; after 1713 (see Part iv, f. 32). Small folio. The MS. also contains
Motets (vol. i, p. 295), part of a Cantata (above, p. 15), Duets (p. 63), Odes (p. 216)
and a Song, described below.

Tenor, contra-tenor, bass and thorough-bass parts of choral
numbers in Incidental Music by Henry Purcell.



1. " The Opera in ' The Indian Queen ' "
[1692]. i-iv, f . 2.

2. "The Mask in 'CEdipus'" [1692].
i, f. 2 ; ii, iii, f. 3 ; iv, f. 4b.

3. " The Libertine " [1676]. i, f.3; ii,
iii, f. 4 ; iv, f. 7.

4. "Bonduca" [1695]. i, f . 4 ; ii, iii,
f. 5b; iv, f.l2.

5. " The Mask in ' Timon of Athens ' "
[1678]. i, f. 4b; ii, f. 6; iii, f. 7 ; iv,
f.l4.

6. "Dioclesian" [1690]. i, f. 5b; ii,
f. 7b ; iii, f. 9 ; iv, f. 18b. For the



autograph dedication to this opera,
see Stowe MS. 755, f. 34.

7. ["King Arthur," 1691]: only the
trio "For folded flocks." i, f . 13 ;
ii, f.l6; iii, f . 21b ; iv, f . 53b.

8. Bass and thorough-bass parts of the
treble air "Let ambition fire thy
mind" iu "Mr. [John] Weldon's
Prize Musick,' " sc. his setting of
Congreve's Masque "The Judgment
of Paris," for which he was awarded
the 1st prize in 1700. iii, f. 6b ; iv,
f. 49.



Additional 14172.

Paper ; fi. 202. About 1714. Oblong folio.

" SciPiONE Nelle Spagne : Opera Rappresentata nel Teatro di S.
Bartolomeo Nell' anno 1714, Del Caualier Sigi® Alessandro Scarlatti";
in 3 Acts, with symphonies and accompaniments for trumpets, oboes,
lute and strings, and a figured bass for harpsichord, in score.
Characters : Scipione, Marzio, Elvira, Varrone, Sofonisba, Luceio,
Pericca, Cardenio and Trebellio.



250 VOCAL MUSIC— SECULAR.

Additional 31688, ff. 13-90.

Paper ; a.d. 1717, etc. Folio. The volume also contains printed dramatic
works.

" Pan and Syrinx, an Opera ; the words by Lewis Theobald, 1717,
set to music by Mr. [Johann Ernst] Galliard, and performed in
Lincoln's Inn Fields Theatre " ; with symphonies and accompaniments
for oboes, flutes, hunting horns, bassoons, strings, and (in the recita-
tives) a figured bass for harpsichord, in score. Characters : Pan,
Syrinx, Diana, Nymphs and Sylvans. Folios 69-90 are occupied by
" Additional Music to the Opera," in which the names of the singers
are given (fF. 72, 89b).

Additional 14173.

Paper ; f£. 195. About 1718. Oblong folio.

Il Trionfo Deir Onore, Del Cau™ Aless" Scarlatti, Opera 110 ... .
1718 " ; in 3 Acts, w^ith symphonies and accompaniments for oboes and
strings, and a figured bass for harpsichord, in score. Characters :
Ricardo, Capitan Rodimarte, Flaminio, Leonora, Cornelia, Rosina,
Erminio and Doralice.

Additional 16066.

Paper ; ff. 178. About 1718. Oblong folio. Belonged to Charles Wesley.

"Antigona.": Opera in 3 Acts, with overtures, symphonies and
accompaniments for trumpets (divided in the overture into two " cori "),
oboes and strings, with a bass (occasionally figured) for harpsichord, in
score, by Giuseppe Maria Orlandini [1718]. Characters: Creonte
(Cavaliere Nicolo Grimaldi), Antigona (Signora Antonia Merighi),
Ceraste (Carlo Broschi), Osmene (Antonio Bernacchi), Evalco (Giam-
battista Minelli), Giocasta (Signora Teresa Cotti) and Ormindo
(Francesco Costanzi).

Additional 14171.

Paper ; ff. 215. About 1719. Oblong folio.

"Attilio Regolo .... Opera 112 — Del Caualier Alessandro
Scarlatti. In Roma, 1719": Opera in 3 Acts, with symphonies
and accompaniments for trumpets, oboes, horns and strings, and a
figured bass for harpsichord, in score. Cliaracters : Fausta, Amilcai'e,
Santippo, Eraclea, Leonzio, Emilia, Attilio and Eurilla.

Additional 24305.

Paper; ff. 92. About 1719. Folio. Belonged to Charles Hatchett.

The principal arias, and one quartet, in the Operas " Lucio Vero "
[1719] and " Sesostri " [1710], by Francesco Gasparini, in score. The
instruments employed in the accompaniments, etc., to the former opera
are a mandola {sc. cithern), trumpets, flutes, and strings, with a bass.



OPERAS. 251

occasionally figured, for harpsichord. Characters : Lucio Vero, Aniceto,
Berenice, and Vologeso. The instruments in " Sesostri " are not named,
nor are the characters. The selections from this opera are interspersed
with those from " Lucio Vero."

On f. 52b is the note " Aliberti [probably Giuseppe Matteo
Alberti, of Bologna] Op'^ P'^ [Bologna, 1713], 1719"; from which,
coupled with the fact that "Sesostri" was performed there in 1719, it
may be conjectured that this transcript was made in that year, when
both works were probably given at Bologna.

Additional 14120, fi". 1-154.

Paper; a.d. 1720. Oblong folio. The MS. also contains a Cantata (above, p. 15).

" Angelica [e Medoro] " : described by Fetis as an " Azione tea-
trale " ; in two parts, with symphonies and accompaniments for oboes
(short and long), trombe da caccia, and bassoons, and a figured bass for
harpsichord, in score. [By N. A. Porpora.] Part i was begun on
7 August, and Part ii (f. 74) on 19 August, 1720. The words are by
Metastasio, as are also those of the Licenza or Epilogue (f. 149),
addressed to [the Empress] Elisa[beth Christina], who was married in
1708. The names of the singers must refer to a later performance.
They are Signora Marianna, [Gioacchino Conti, detto] Gizziello (b. 1714),
Carlo] Brosco [al. Broschi, detto Farinelli], [La] Rom[agnin]a, and
La] March[esi]na [probably the Maria Antonia Marchesini detta La
Lucchesina, mentioned by Burney as .singing in London in 17.37-1739].

Additional 14118.

Paper ; ff. 108. a.d. 1721. Oblong folio.

" Gl' Orti Esperidi " : described by Petis as an " Azione teatrale " ;
in two parts, with symphonies and accompaniments for trombe da caccia,
oboes, bassoons, and sti'ings, and a figured bass for harpsichord, in
score. [By N. A. Porpora.] Finished 22 August, 1721. Autograph.
Characters : Adone, Venere^ Marte, Egle, and Pallade.

Additional 14168.

Paper; ff. 128. a.d. 1721. Oblong folio.

" Griselda, opera 114, Posta in Musica Dal Cau^ Alessandro
Scarlatti per sua Eccellenza Sig^ Principe Ruspoli. In Roma,
Xbre 1720 e Genno 1721": Opera in 3 Acts, with symphonies and



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