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accompaniments for trumpets, horns, flutes, oboes, and strings, and
a figured bass for harpsichord, in score. Autograph. Characters :
Gualtiero, Griselda, Ottone, Corrado, Roberto, Costanza, etc.

Additional 31502, ff. 104-107b.

Paper ; about 1721 (?). Narrow oblong octavo. See also below, under Songs.

" Se mi condanui " : song of two verses for a soprano voice, with a
figured bass for harpsichord in score, by Bernardo Pasquini. From the



252



VOCAL MUSIC— SECULAR.



ritournelle for 3 instruments which follows it in Harley MS. 1273,
f. 21b (above, p. 233), it would appear to be taken from an Opera.

Additional 14232.

Paper ; ff. 150. About 1723. Oblong folio.

" Partenope " : Opera in 3 Acts, with symphonies and accompani-
ments for oboes and strings, and occasionally trumpets and drums, in
score, by Leonardo Vinci (?). The signature on f. 2 is not easily legible,
but the date of this composer's "Partenope" (1723) appears to suit
the present MS., and no one else whose signature at all resembles the
above is known to have written an opera of this name. Autograph.
Characters : Partenope, Arsace, Armindo, Rosmira, Ormonte, and'
Emilio.

Additional 25484.



Paper; ff. 131. a.d. 1723
Eoffe (before 1863).



Folio. Belonged to Granville Sharps and Alfred

" The Four Chorus's in the Tragedy of ' Julius Ctesar,' written
by. . .John Sheffield, Late [1^*] Duke of Buckinghamshire, &c. Set to
Musick by J. Ernest Galliard. 1723." Autograph. The symphonies
and accompaniments are for flutes, oboes, and strings, with a figured
bass for harpsichord.

1. " Whither is Roman Honour gone ? " i 3. "Tell, Oh tell me, whence arise
f. 7. these desorders." f. 74.

2. "Lo, to prevent this Mighty Em- 4. " How great a Curse." f. 95.
pire's Doom." f. 43.

At the end (ff". 123-1 3 lb) is the printed libretto of the same com-
poser's Serenata, "Love and Polly" (dated " mdccxxxix"), between
the interludes of which the above choruses were performed.

Kings 319.

Paper ; fi. 64. About 1724, 1774. Small quarto.
Librettos of two works described as " Drama per Musica."



" II Vespasiano." [Words by N.
Haym, music by Attilio Ariosti, 1724.]
Characters : Vespasiano (Giuseppe
Boschi), Tito (Senesino), Domiziano
(Margarita Durastante), Arricida
(Francesca Cuzzoni), Gesilla (Ana-
stasia " Rombinson," sc. Robinson),
and Sergio (Gaetano Berrenstatt),eic.
fi. l-26b.



2. "II Conclave del 1774 . . . da reci-
tarsi nel Teatro delle Dame Nel Car-
nevale del 1775 ... In Roma." The
words chiefly by Pietro Metastasio,
the music by Nicolo Piccini. Cha-
racters : the Cardinals (18 of whom
are named), with a Chorus of Ser-
vants, etc. ff. 27-64.



Additional 14239.

Paper ; ff. 238. a.d. 1700-1725. Oblong folio.

" La Cassandra indouina " : Opera in 3 Acts, M'ith symphonies and
accompaniments for strings, and a figured bass for harpsichord, in score.



OPERAS. 25a

Anonymous. Probably by Nicolo Fago, 1713. Characters: Cassandra,
Clitia, Dorina, Apollo, Corebbo, and Delbo.

Additional 31530.

Paper ; ff. 163. a.d. 1700-1725. Oblong folio.

[" PoRSENNA "] : Opera in 3 Acts, with instrumental symphonies and
accompaniments (apparently strings only), in score. According to the
original fly-leaf, it was attributed to Scarlatti or Lotti. It is therefore
in all probability the opera of that name assigned by Clement and
Larousse [Dietionnaire Lyrique, p. 539) to Antonio Lotti, 1712, for
which Alessandro Scarlatti wrote some additional numbers at its per-
formance in Naples in 1713. Characters : Publicola, Oratio, Porsenna,
Publio, Mutio, Floro, Elisa, Ismeno, Valeria, Vitellia, Tarquinio, Por-
firia, and Milone.

Additional 31606.

Paper ; ff. 122. About 1725. Oblong folio.

" Elpidia " : Opera in 3 Acts, with symphonies and accompaniments
for oboes, trumpets, and strings, in score, by Leonardo da Vinci. [Com-
posed in 1723 C?)]. Performed in London, 11 May, 1725. In the hand of
John Christopher Smith. There are gaps before ff. 3, 44. Prom the
libretto published in London at the time of the performance, it appears
that several of the airs given here were cancelled. Characters : Ormonte,
Olindo, Elpidia, Vitige, Rosmilda, and Belisario.

Additional 14116,

Paper ; ff . 104. About 1726. Oblong folio.

" SiFACE " : Acts i and ii, with symjihonies and accompaniments for
oboes, trumpets and strings, and a figured bass for harpsichord, in
score. [By N. A. Porpora, 1726.] Autograph. Characters: Siface,
Erminio, Orcano, Viridate, Ismene, and Libanio,

Egerton 1519-1521, passim.

Paper ; after 1726. Folio. See also below, under Songs.

Melodies (without accompaniment) of songs adapted from Operas ;
from a collection of scurrilous political songs. The dates in square
bi'ackets are supplied from Egerton 814-817 (below, p. 272).

Egerton 1519. Vol. L
1, "St. Pauin, ce Roy de Sodome"; 1 air given to this song in Egerton 814,



to the air " Les oyseaux viuent sans
contrainte " [from "L'Eclogue de
Versailles," by J. B. Lully, 1685].
f. 21b.
2. " Je deteste comme peste," 1667 ; set
to an " air de Bal[l]et " (probably the



f.328b). f.26.

, "La Laual a dans I'ceil " [1666 (sic)] ;
to the air of [the entree of] "Les
plaisirs, De L'opera du ' Triomphe de
L'amour ' " [by J. B. Lully, 1681].
f . 60b.



254



VOCAL MUSIC— SECULAR.



4. "J'ay beau boire sans cesse " ; to
tbe air "Je m'aper^ois sans cesse,"
in "Phaeton" [by the same, 1683].
f. 106.

5. " Que le pucelage " ; from the same
opera, f . 106b.

6. "Belle Iris"; to the "air de
L'Entree de Comus de L'op6ra de
' [Acis et] Galath6e' " [by the same,
1686]. f. 109.

7. " Quoy ! Chaque coup que je boy " ;
to the "air de la marine de la
Mascarade." f. 109b,

8. " Viens, Bacchus, a mon ayde" ; to
the "air des Espagnols de la Masca-
rade." f. 111.

9. 10. "Pauure auare" ("air des vieux
fleuues du 4= acte"), and "Plus je
caresse ma pinte " (" air des Nymphes
du 5-= acte"); from " Atys " [by J.
B. Lully, 1677]. f. 112b.

11. "Amy, I'auroistupucroire" ; to the
" air de I'entr^e des pastres d' ' Achilles
[et Polyxene,' " begun by J. B. Lully
and finished by P. Colasse, 1688].
f.ll3.

12. " Encor vn coup " ; to the "air de
La Gavotte du 2^ acte de L'opera
d' ' En^e et Lavinie ' " [by the same,
1690]. f. 115.

13. 14. "Amy, que tu fais peu d'hon-
neur " ("air des dieux des bois, du
2" acte"), and" Belle Fanchon" ("air
des Bacchantes du 3" acte ") ; from
the same opera, f. 127.

15. "Cher Tircis " ; to the "air de la
Sarabande du prologue d' ' Orphee ' "
[? by L. Lully, 1690]. f. 127b.

16. "Roland en furie"; to the "air
de la Mariee de ' Roland.' " f. 128.

17. "Accorde ta musette"; to the
minuet in the same work. f. 129.

18. "C'en est fait"; to the "air des
Sourdines du 2" acte d' ' Armide ' " [by
J. B. Lully, 1686]. f. 129b.

19. "Cast Los Balbazes" [1670]; to
the air " C'est le dieu des Eaux "
[from "Isis," by the same, 1677].
f. 132.

20. "Gassion, que le Ciel fit naistre,"
1699; to the air "Vn heros que le
Ciel fit naistre, du prologue du
' Triomphe de I'amour'" [by the
same, 1681]. f. 132b.



21. " Prince Valon " [sic); to the " air
des Nymphes des Eaux," from an-
other work of the same title [? by A.
Campra, 1705]. f. 180b.

22. " D'Estrees est vainqueur " ; to the
air"Alcide est vainqueur," from
"Alceste" [by J. B. Lully, 1674].
f . 180b.

23. "St. Gelais sur les sombres bords,"
1689; to the air of the " Rigaudon
de l'opera de ' Z6phire et Flore ' " [by
L. Lully and J. B. Lully, jun.,
1688]. f.227b.

24-28. "Pata pata pan"; "La plus
belle bergere " ; "Ah, ma Climene " ;
" Quand les fureurs" ; and " Voul6s
vous, belle Siluie." Directed to be
sung to airs (of which the music is
omitted) from "Thetis et Pel6e"
[? by P. Colasse, 1689]. ff. 250, 251,
251b, 252, 252b.

29. "Jefus autres f ois enflamm^ " ; to
an air (omitted) " qui est deuant la
passacaille de ' [Acis et] Galathee ' "
[? by J. B. Lully]. f. 253.

30. "Qu'en furie Ton jure"; to the
"air des forgerons de 'Persee,' " sc.
the "Entree des Cyclopes" in Act iii
[by the same, 1682]. f. 253b.

81. "J'aime a voir vne eau claire";
to the air (omitted) of the minuet
' ' du prologue du ' Temple de la paix ' ' '
[?by the same, 1685]. f.254.

32. "Meslons a nos plaisirs " ; to the
"air des bergers heroiques d" Al-
ceste ' " [Act V, by the same, 1674].
f. 256.

33. "Je mets toute ma gloire " ; to
the "1'' air des Maures du 'Ballet
des Muses,' " not to be found in
Campra's work of that name,
f . 256b.

34. "Pent on jamais auoir du Cha-
grin " ; to the "air de la bour[r]ee du
prologue d' ' Achille [et Polyxene].' "
Cf. no. 11. f. 257.

35. 36. "Gueris toy" [1663], and "Le
tourment d'vn amant"; to " le 2"
air des statlies," from "Cadmus [et
Hermione," by J. B. Lully, 1673].
f . 258.

37. "Malgr6 tant de neige" [1675];
to the air "Malgre tant d'orages,
d' ' Alceste,' " by the same. f. 258b.



OPERAS.



255



Egerton 1520.



Vol. II.



1. " Qu'on fasse la guerre " ; to the air
" Malgr6 tant d'orage," from " Al-
ceste " [by the same], f . 7.

2. " Pour baiser " ; to the air " a quoy
bon tant de raison" [from the same
opera], f . 9.

3. " Marais, beau sejour " ; a medley of
songs, 1658-1680 (containing among
others the one beg. "Jadis Con-
stance"), to the air of "I'ouuerture
du grand ballet," called in Egerton
814 (f. 187b) " Le Marais." f. 16.

4. " Parodie de la scene d'Amisodar
dans ' Bellerophon,' qui commence,
' qve ce jardin se change,' 1679 " [by
J. B. Lully]. The present parody
begins "Que ce salon se change."
f.24.

5. "Dialogue .... sur la scene de
' Cadmus,' ' Je vais partir, belle Her-
mioue,' " beg. "Je vais passer en
Angleterre." [By J. B. Lully, 1676].
f.26.

6. " Parodie de la 8" scene de ' Thes6e,'
qui commence, ' Cess6s, charmante
EgMe ' " [by the same, 1675] ; con-
sisting of a dialogue beg. "Pour ce
Merval." f. 29b.

7. " Le plaisir de boire ensemble," 1675 ;
to the air of "I'ouuerture de ' Cham-
bord ' " [by the same ?]. f. 31b.

8. " Vartigue, Monsieur Le Cur6 " ; to
the air "L'ouuerture de 'Bellero-
phon ' " [by J. B. Lully]. f. 32b.

9. "Pour brauer I'amour"; to the air
of "I'ouuerture d' ' Isis ' " [by the
same, 1677]. f. 35b.

10. " Celebrons ce grand jour " ; to the
air of " i'ouuerture de ' Proserpine ' "
[by the same, 1680]. f. 36b.

11. "Tout cede a I'amour"; to the
air of "L'ouuerture du ' Triomphe
de I'amour ' " [by the same], f. 37b.

12. " Un jour la Lionne"; to the air
" Depesch6s, prepares ceslieux," from
" Psich6 " [by the same, 1678]. f. 38b.

13. "Noussommes quatre hommes " ;
to the "gavotte" {sc. rondeau) in
' ' Phaeton " [by the same] . f . 40.

14. "En tous lieux"; to the air of
"L'Entr^e de Proth^e," from the
same work. f. 40.

15. "Vous estes faite pour I'amour" :



a medley, 1677-1689, to the air
"Tranquilles coeurs," from "Le Tri-
omphe de I'amour" [by the same].
Among other songs it includes " Ita-
lienne de nation." f. 40b.

16. "Quel spectacle charmant " [from
"Bellerophon," by the same], f . 44b.

17. "Que peut-on faire"; to the air
"Pent on mieux faire," said to be in
"Cadmus [? et Hermione," by the
same], f. 47.

18. " Tu me dis que je ne vaux rien" ;
to the "air des Matelots," in "Al-
ceste" [by the same], f. 48b.

19. "Puissant Roy," 1677; to the
"menuet" {sc. "2° air pour les
Muses") in "Isis" [by the same].
f.52.

20. "Eniin, grace a I'amour"; to the
air "Enfin, grace au depit," from
" Alceste " [by the same], f. 53b.

21. "Labeaute la plusseuere"; from
" Aty s " [by the same] . f . 56.

22. " L'amour disait en Colere " ; to
the air "L'amour plaist " [from
" Theses," by the same], f. 57.

23. "Vos appas, belle Nannette " ; a
minuet in "Psich6" [by the same],
f . 57b.

24. " Besanpon laiss^s vous prendre,"
1674; to the air "Jeunes coeurs"
[from "Alceste," by the same]. f.58b.

25. "L'on boit en tous lieux"; to the
"air des diables de ' Psiche ' " [not
published in Lully's work of that
name], f, 59.

26. "Mon Iris, croy moy"; to the
"air de I'echo de 'la grotte de Ver-
sailles'" [by J. B. Lully, 1685].
f,59b.

27. "Deuant tes vers"; to the air
" Deuant vous tout s'abbaisse " [from
" Atys," by the same], f. 60.

28. "La Mere certain se fasche " ; to
the "air des f6es" in "Roland" {sc.
the gavotte in Act ii). [By the same,
1685.] f . 60b.

29. "C'eu est fait, belle Siluie " ; to
the "air des trembleurs d' 'Isis'"
[by the same]. The verse "Luxem-
bourg croit," 1688 (f.62b), is intro-
duced in this song, f, 62,

30. " Souuerain Juge de Police"; to



256



VOCAL MUSIC— SECULAR.



the air "Quel plaisir d'aimer " [from
" Thes^e," by the same], f. 63b.

31. "Tout peche doit icy paroistre " ;
to the "air des diables d' ' Alceste ' "
[not published in Lully's work of
that name], f. 64.

32. "Aga Pierrot"; to the air " Heu-
reux qui pent estre inconstant," in
"Proserpine " [by J. B. Lully]. f. 65b.

33. "Tu vols dedans mes yeux"; to
the air of the " Ritournelle des
magiciens de ' la Mascarade du Car-
naual ' " [by J. B. Lully, 1675]. f. 66.

84. "Estre discret"; to the "air des
rigaudons " in [the prologue to] " Acis
et Galathde" [by the same], f . 95.

35. "Ma foy, vostre Galathee " ; to the
"air des Trompettes du Carousel en
1686 " [? from the same work], f. 99b.

36. "Bacchus est aimable"; to the
minuet in [the prologue to] " Achille
[et Polyxene," begun by J. B. Lully].
f. 109.

37. " Quoy ! dans L'hiuer " ; to the air
"Quand L'Opera, air des pescheurs
de Corail du ballet des ' jeux Pi-
thiens ' " [by the same ?]. f. 110.

38. "Cher amy, que j'aime"; to the
"air des Sauuages [de I'Amerique]
du ' Temple de la paix ' " [by the
same, 1685]. f. 110.

39. " Va t'en te coucher"; to the air
of the Passepied in the same work.
f . 110b.

40. "Si le destin"; to the "air des



Pastres d' ' Achille [et Polyxene].' "
f. 111.

41. "Paris n'est qu'vn village " ; to the
air (omitted) of the scene "Viens
dans nostre village, des ' Festes de
I'amour et de Bac[c]hus ' " [by the
same, 1672]. f. 121b.

42. "La disette deschapeaux" ; to the
air (omitted) "Icy I'ombre des or-
meaux," in the same work. f. 122.

43. " Reueillons nous"; to the "air
des demons," in [Act ii of] "Pers^e"
[by the same composer], f. 122b.

44. " Les deux Moreaux " ; to the
" 2° air de la haine d' ' Armide ' "
[Act iii, by J. B. Lully]. f. 122b.

45. "Nous auons pleine vendange " ;
to the " air de la Loure du ' Temple
de la paix ' " [by the same], f. 123.

46. " Phil[l]is, j'aime bien mieux " ;
to the "air des Echos de ' Zephire
et Flore ' " [by L. Lully and J. B.
Lully, jun.]. f. 123b.

47. " Raisin encore " ; to the air
" Guerrier terrible," in " Achille [et
Polyxene]." f. 123b.

48. "Amis, je boy"; to an air des-
cribed as ' ' Parodie sur le Choeur des
diuinit^s des sombres bords du 3°
acte d' ' Alcide '" [ ? by L. Lully and
M. Marais, 1693]. f. 193b.

49. "Ah, Tontine"; to the air
(omitted) " des Matelots d' ' Arianne
[? et Th6see,' " by J. J. Mouret, 1717].
f. 201.



Egei'ton 152L



Vol. III.



1. "Enfin, grace a Fourbin"; to the
air (omitted) " Enfin, grace au depit "
[from " Alceste," by J. B. Lully].
f.81.

2. " Je me fais vn plaisir Extreme";
to the air (omitted) " des bergers
heroiques." f. 81b.

3. " C'est icy I'hostel de misere " ; to
the air (omitted) " des diables
d' ' Alceste ' " (see vol. ii, f. 64).
f.81b

4. " Dis moy, mon cher Doiiartigny " ;
a medley, 1689— about 1703, to the
air (omitted) " Tranquilles cceurs "
[from " Le Triomphe de I'amour," by
J. B. Lully]. f.84.

5. " Sort^s, Pinon" (music omitted);



described as " Parodie sur la scene de
L'opera de ' Med^e ' {sc. ' Th^s^e ')
qui commence ' Sortes, ombres ' "
[? by J. B. Lully, 1675]. f. 86b.

6. " Enfin, grace a Jeannot " ; same air
as at f. 81 (here omitted), f. 87b.

7. "Martinet, autrefois grand vaurien" ;
to the air (omitted) of the minuet in
"Isis" [?by J. B. Lully]. f. 91.

8. "Belle Comtesse, dites nous"; to
the air (omitted) of "La bour[r]6e
d'Auuergne." f. 92.

9. " Ches la Vienne " ; to the air
(omitted) of " Les oyseaux viuent "
(see above. Eg. 1519, no. 1). f. 94b.

10. " Vous qui sans choix " ; to the
air (omitted) of the saraband in:



OPERAS.



257



"Iss6" [?by A. C. Destouches, 1697].
f. 101b.

11. "Voules vous, jemie brunette" ;
to the air (omitted) " Qu'a I'enuie
chacun s'empresse," from " Acis et
Galath6e " [? by J. B. Lully]. f. 102.

12. "Vos beaux yeux " ; to the air
(omitted) " des bergers du prologue
de ' Cadmas [?et Hermione,' " by
J. B. Lully]. f. 105b.

13. "Loin des facheux"; to the air



"Roland en furie " (see Eg. 1519,
no. 16). f. 106.

14. " Non, non, je ne suis pas le seul a
m6dire " ; to an air (omitted) in the
" Ballet [? des amours] des dieux "
[? by J. J. Mouret, 1727]. f. 108b.

15. "Ah! que I'amour"; to the air
(omitted) "des porteurs de pr6sens,
3" acte de 'Phaeton'" [?by J. B.
Lully]. f.l76b.



Additional 16111.

Paper ; ff. 172. About 1727. Oblong folio. Belonged to William Spencer
(see ff. 73, 172).

" Meride e Selinunte, Dramma per musica " ; in 3 Acts, with
symphonies and accompaniments for horns, trumpets, and strings, and
a figured bass for harpsichord, in score. By Nicolo Porpora [1727] ;
the words by Apostolo Zeno. Evidently in the hand of the composer's
amanuensis (c/'. Add. 14113, below, p. 269). Characters: Timocrate,
Nicandro, Areta, Dionisio, Ericlea, IVIeride, and Selinunte.



Additional 29962, ff. 57-70.

Paper ; about 1727 (see below). Oblong folio. Belonged to John Hullah,
See also below, under Songs, and in vol. iii, under Pianoforte Solos.

Arias, with a bass, generally figured, from Operas apparently
written for the San Gioxanni Grisostomo and San Samuele theatres at
Venice. Nos. 1-5 are by Nicolo Porpora.



1. "E pur uezzoso." From " Meride
e Selinunte (?)," 1727 (see f.63).
f.57.

2. " Dalla Cuna." From " Siface (?),"
1726 (see f.63). f . 59.

3. " E destin del nostro core." [From
the same work.] f . 61.

4. 5. "Non credo a la speranza," and
" Noi sianio quelle." Prom the 2nd
opera performed at the S. Giovanni
Grisostomo in 1726-7 [?" Meride



e Selinunte" see Fdtis, art. Porpora].
ff . 63, 65.

6. " Povera Peccorella." "Gio. Porta."
From the 3rd opera performed at
the S. Giovanni Grisostomo in 1727
[?"Aldeso"]. f.67.

7. " Che dolce cosa sia I'amar."
" Tomaso Albinoni." From an opera
performed at the San Samuele in
1727 [? " L'incostanza schernita "].
f.69.



Additional 22272.

Paper ; ff. 38. About 1729. Oblong folio.

Introductory symphony and solos in " Onorio," Opera in 3 Acts,
by Francesco Ciampi, performed at the San Giovanni Grisostomo
theatre [Venice, 1729]. The instruments employed in the accompani-
ments, etc., are oboes and strings, with a bass occasionally figured for
harpsichord. In score. Characters mentioned : Fermanzia, Stilicone,
Eucherio, and Placidia.

n S



258 VOCAL MUSIC— SECULAR.

Additional 22105.

Paper ; ff. 122. About 1730. Oblong folio.

" L' ANDROMACCA " : Opera in 3 Acts, with sympiionies and accom-
paniments for horns, oboes, strings, and harpsichord, in score, by
Francesco Feo, written for the Teatro della Yalle [at Rome], in 1730.
The recitativi secchi are omitted.

Additional 24303.

Paper ; ff. 143. About 1780. Oblong folio. The MS. appears to have belonged
successively to [Charles James Stuart] the [Young] Pretender, [Thomas] Greatorex,
T. 0[liphant], 1882, and Dr. H. Gauntlett.

" Andromacca." Another copy, with the recitativi secchi, and
with the names of the characters : Telemac[c]o, Astianatte, Andro-
mac[c]a, Ermione, Pirro and UJisse.

Additional 22106.

Paper ; ff . 182. About 1730. Oblong folio. Bookplate of Earl Cowper.

" Artaserse " : Opera in 3 Acts, ^\'ith symphonies and accompani-
ments for trumpets, horns, oboes, and strings, in score, composed by
Leonardo Vinci, for tlie Alle Dame theatre at Rome, 1730. The
recitativi secchi are omitted. The only singer named is Carestina.

Additional 31551.

Paper ; ff . 150. About 1730. Oblong folio.

" Ormisda " : Opera in 3 Acts, with symphonies and accompaniments
for trumpets, bassoons, and strings, and a figured bass for harj^sichord,
in score, [composed in 1730] by [Francesco] Conti. See note by Victor
Schoelclier on f. 1, and Catalogue of Additions for 1876-1881, p. 207.
The two overtures and the final chorus are arranged for harpsichord.
Characters : Ormisda, Pahnii'a, Artenice, Cosroe, Arsace, and Eris-
meno.

The Opera appears to have been arranged for performance by
Handel, the present copy being evidently in the hand ot: J. Christopher
Smith, his amanuensis.

Additional 31607.

Paper ; ff . 151. About 1730. Oblong folio.

" La Didone [abbandonata] " : Opera in 3 Acts, with symphonies
and accompaniments for horns, oboes, trumpets, and strings, and a
bass, occasionally figured for harpsichord, in score, by Leonardo Vinci
[1730.] In the hand of John Christopher Smith, with a few autograph,
alterations and connections by Handel (ff". 82, 97b, and 145), as certified
by Victor Schoelcher, who describes the work on f. 1 as " Pasticcio
donne par Handel le 18 Avril 1727," though he does not allude to it in



OPERAS.



259



his Life of the latter composer. There are also notes on f . 1 in the
hand of Dr. Samuel Arnold, at whose death, in 1803, the MS. was
acquired by W. Russell. Characters : Enea, Selene, Osmida, Didone,
larba, and Araspe.

Additional 32582.

Paper ; ff. 185. About 1730. Oblong folio. Belonged to Dr. William Crotch
in 1811.

" Artaserse " : Opera in 3 Acts, with symphonies and accompani-
ments for horns, oboes, and strings, in score, by Johann Adolf Hasse
[1730], the words by Abbate Pietro Metastasio. Characters : Mandane,
Arbace, Artabano, Megabise, Semira and Artaserse.



Additional 31648, 31649 passim, 31650.

Paper; about 1730-1833 (see below). Oblong folio. Add. 31649 also contains
sacred and secular Canons and secular Songs.

Arias, etc., from Operas, with symphonies and accompaniments for



strings and, in most cases, wind instruments.



In vol. 1, nos.



1, 3, 5,



9, 11, 13; vol. ii, nos. 1, 3-5, 7, 11,. 13, 16; and vol. iii, nos. 1, 6-9;
horns and oboes are employed. Other instruments mentioned are
indicated below. In various hands, mostly contemporary with the
original works.



31648. Vol. I.

1. Recitative and Rondo or Cavatina,
" Idol mio, che fiero istante," 1772.
" Galuppi detto Buranello." f. 4.

2. " Se vol (sic) quaudo amor," 1770.
By the same. f. 15.

3. "Se cerca" [from " L'Olimpiade,"
about 1775]. By the same. f. 21.

4. " A tanto amore " ("What sweet
sensation"); with flutes, horns, e^c.
[From "Ali Baba," 1833.] "Luigi
Cherubini." Said by "W. A." to be
autograph, f. 31.

5. " Superbo di me stesso" [from
"L'Olimpiade," 1784]. " Cimorosa."
f. 39.

6. Cavatina, " Non v'e cosa piu gus-
tosa"; vrith horns, flutes, etc. By
the same. f. 56.

7. " Se il ciel mi divide" [from " Ales-
sandro nello Indie "]. " David
Perez." f. 58.

8. "Son confusa pastorella"; with
flutes, horns, etc. [From the same.]

31649. Vol. II.

1, 2. " Sento un afianno," and quartet,
" Dolce sonno " (La Rose, Don Lopez,



By the same, f . 65.

9. Scena, " Qual mi veggo," 1766.
"Tranchi." f. 81.

10. Duet and trio (Rosina, Angiolina,
Gianuino), "Tulosai." "Floriano
Gasman." f. 101.

11. Trio, " Al mio rivale " ; with flutes,
etc. "Anfossi." f. 119.

12. Trio, " Tu che puoi " ; with
clarinets, horns, etc. Anonymous.
Autograph (?). f. 140.

13. Trio (Drus. . . . , Cind. . . . , al. Ber-
nardone, B. F.), "Dolce e caro."
"Vincenzo Ciampi." Autographic),
i. 144.

14. " Tuona a destra"; with horns,
etc. " Antonio Puppi." f. 150.

15. " Quel labbro adorato " ; with
flutes, horns, etc. [From " Demetrio,"
about 1765.] "Paisiello." f. 162.

16. "Dei dementi"; with flutes,
clarinets, horns, etc. By the same,
f. 170.



Brunoro, James) ; with horns, etc.
" Giuseppe Gazaniga, 1772." ff. 1, 11.

S 2



260



VOCAL MUSIC— SECULAR.



3. Scena, "Andromeda infelice" ; with
flutes, etc. [Froni " Andromeda e
Perseo," 1775.] By the same.
f.21.

4. Rondo, "Nellasciarti, amato" ; with
bassoons, etc. [From " Ifigenia in
Tauride," 1785.] " Angelo Tarchi."
f.25.

5. "Ti seguiro." "Paesiello." This
and no. 6 were transcribed in England
by — Micheli. f. 47.

6. "Mentre ti lascio " ; with flutes,
horns, etc. [?From ' ' Alessandro nolle
Indie."] By the same. f. 61.

7. "Mi Dona"; with horns, flutes,
bassoons, etc. Anonymous, f . 88.

8. "Le donue ban tanti inganni";
with flutes, bassoons, etc. "Giu-
seppe Schuster." f . 95.

9. " Chi ne chiama menzognere " ; with
flutes, etc. "Tomaso Trajetta."
f. 117.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 30 of 120)