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The instruments employed in the orchestra are flutes, horns, clarinets,
oboes, trumpets, drums, bassoons, and strings. Characters : Messala,
Irvino, Vellino, Modred, Evelina, Arviro, and a Bard, with Choruses
(double in the first scene) of Druids, etc.

Additional 15997.

Paper; ff. 240. About 1794. Oblong quarto.

" Penelope " : Opera in 2 Acts, with symphonies and accompani-
ments for flutes, oboes, clarinets, horns, trumpets, bassoons, trombones,
drums, and strings, in score, by Cimarosa [1794]. Copied for —
Bonoris-Zappi. The alterations on f. 109 are apparently autograph.
Characters : Penelope, Evenore, Arsinoe, Telemacco, Ulisse, and
Perimede.

Additional 31738, 31739.

Paper ; fi. 225, 172. About 1794 (?). Oblong folio.

" Penelope " : another version of the .same Opera. The orchestra
in the present MS. contains neither trumpets nor trombones, and
the whole Opera differs very considerably from the preceding MS.,
Add. 15997.

Additional 11591, flP. 23-66 passm.

Paper ; after 1794 (see below). Oblong quarto. See also under Songs (below),
and Treatises (in vol. iii).

Numbers from Operas, in full score, transcribed by Dr. Charles
Burney, apparently at Naples.

1. "Berenice, ove sei": scena from



" Vologeso." " Anto[nio] Sacchini,



1764 (?)." f. 23.
2. "Povero cor, tu palpiti " : scena



OPERAS.



315



from " Nitetti " (sic). By the same
[1774]. f. 39.
3. "Donzelle semplici " : aria [from
"Iphig^nie en Tauride," 1779, by
Gluck]. This and no. 4 were copied



from Lady Clarges' MS. at Naples, in
1793. f . 58.
4. " Se un core annodi " : aria with
chorus from "Achille in Sciro."
'<Gioseppe Millico." f . 63.



Additional 31665, ff. 16-33.

Paper; after 1794 (watermark). Oblong quarto. The MS. was given by the
original owner to [her sister Katharine Prances] Mrs. Peploe [who married in
1796 Samuel Peploe^ of Garnstone, co. Hereford]. See also below, under Songs.

Numbers from Opei'as, with symphonies and accompaniments for
flutes, clarinets, horns, and strings, in score. Apparently copied by
F[rances] E[lizabeth] Cornewall [who married in 1805 Henry Fleming
Lea, 14th Viscount Hereford].



1. "Qui '1 regno del coutento" : duet
[from "Armida e Rinaldo," 1785].
^'[Giuseppe] Sarti." f . 16.



2. " Che ascoltai " : trio from " II Sacri-
iizio d' Iffigenia [in Aulide]." " Cheru-
bini"[1787]. f . 24.



Additional 31724, passim.



Paper; after 1794 (see below).
Songs.



Oblong octavo. See also below, under



Arias from Operas, with accompaniments for guitar and (in nos. 1,
3, and 5) violin, in score. Anonymous (with one exception).



1. " Deh, vieni alia fiuestra " [from
"Don Giovanni," 1787, by Mozart].
f . 12b.

2. " Pa[d]rona compatimi." f. 14b.

3. "II mio ben quando verra"; from
"'Nina ' o ' La Pazza per Amore.'"
By G. Paisiello [1787]. f. 16b.

4. "Nei piu vaghi sogg[i]orni dell'
Asia." f. 22.

5. " Ho perduto il mio contento " ; from
" L'avviso ai maritati " [1794]. " [Ni-



colo] Isouard." f. 27b.

6. "Numi, se giusti siete." The words
from " Adriano in Siria." f. 33.

7. "Vous I'ordonnez." The words are
from Framery's version of Beaumar-
chais' "Le Barbier de Seville," but
the music is not Paisiello's. f . 46b.

8. "0 toi, Rose cherie." f. 54b.

9. " Fies vous aux vains discours des
hommes " ; from an Opera in which
one of the characters is Lise. f . 72b.



Additional 15983.

Paper ; ff. 327. About 1795. Oblong quarto.

" Gl' Artigiani " : Opera in 2 Acts, with symphonies and accom-
paniments for horns, oboes, flutes, and strings, in score, by Pasquale
Anfossi [1793]. The present transcript appears to have been made for
a performance at Venice in 1795. Characters : Rosina, Angiolina,
Giannino, Bernardo, Titta, Fabrizio, and Costanza.



316 VOCAL MUSIC— SECULAR.

Additional 32189, ff. 5, 24, 58, 62.

Paper; a.d. 1795, etc. Oblong folio. See also below, under Songs (1829).

Arias, etc., with pianoforte accompaniment (unless the contrary is
stated), in score, in the hand, and apparently (nos. 1, 2 certainly) the
composition of, Johann Nepomuk Hummel.

1. "Peuple, nagueres si sensible." f. 5. Finished in 1795. f . 58.

2. " Keiu eiuziger von jenen Trieben " : 4. " Per te d' eterni allori " ; with horns,
romance in " Angelica," 1812. Two trumpets, oboes, flutes, bassoons and
copies, ff. 22, 24. j strings, f. 62.

3. " Figlio, le f emmine sono f alsissime."

Additional 22270.

Paper ; ff . 196. About 1795-1796. Oblong folio. Belonged in 1796 to [Lady]
Eliza[beth] C[atharine] C[aroline] Hervey, afterwards wife of Charles Rose Ellis,
1st Baron Seaford.

"Palmira, Regina di Pei'sia. . .Del Signore Antonio Salieri [1795]
.... Accommodata per il Clavicembalo Dal Signore Taddeo Weigh Coll'"
aprobazione del sopradetto Maesti'o, Vienna." In 2 Acts. Characters :
Dario, Gran Sacerdote, Rosmino, Alderanno, Oronte, Alcidoro, Palmira
and two Attendants, Arconte, etc. ; with numerous Choruses (chiefly
attached to solos).

Printed Book, E. 318 (f. lb, at end).

Paper; about 1796 (date of following leaf). Oblong folio. The principal
contents of the volume are A Collection of Favorite Glees . . . 1800. . . . Printed
for C. Kmjvett. See also under Sougs (below) and Pianoforte Solos (in vol. iii).

" I HAVE a silent sorrow " ; with pianoforte accompaniment, in score.
" Sung in ' the Stranger ' ; the Air by the Duchess of Devonshire "
[probably Georgiana, first wife of William Cavendish, 5th Duke].

Additional 16007.

Paper ; ff. 331. About 1796. Oblong quarto.

" Li Orazi e Curiazi " : tragedy in 3 Acts, in score, by Cimarosa,
written for the Fenice theatre at Venice, 1796. Copied by, or for,
Carlo Carpanin, of Venice (cf. Add. 16003, 16004, above, p. 312).
The instruments employed are trumpets, horns, flutes, oboes, clarinets,
bassoons, drums and strings, with a figured bass for hai'psichord or
pianoforte. Characters : M. and P. Orazio, Orazia, Curiazio, Sabina,
Licinio, and 1' Auguro, with Chorus (generally for 3 voices) of Orazij,
Curiazij, Priests, etc.

Additional 16017.

Paper; ff. 172. About 1796 (see below). Oblong quarto.

" La Prova dell' Opera " [otherwise known as " La prova d' un'
Opera seria " or " La Prova degli ' Orazij e Curiazij ' "] : Parsa In



OPERAS.



317



Musica Per II . , . Teatro di S. Gio. Grisostomo [at Venice] Del
Maestro Francesco Gnecco." Cimarosa's " Gli Orazij e Curiazij "
appeared in 1796. The greater part of the MS. is evidently autograph.
The symphonies and accompaniments are for oboes, corno inglese,
clarinets, horns, clarini, trumpets, bassoons, drums, and strings, in
score. Characters : Gorilla, Metilde, Petruccio, Fischietto, Fastidio,
and Criticone.

Additional 16149,

Paper ; ff. 136. a.d. 1796. Oblong quarto.

" II Trionfo d' Arsace " : Opera for solo voices, with symphonies
and accompaniments for flutes, oboes, clarinets, horns, and strings, in
score, by Gaetano Andreozzi. Act ii only. The present copy appears
to have been made for a performance at the Argentina, Rome, in 1796;
but the woi'k is supposed to have been originally produced there in
1782. Characters : Arsace, Ircano, Arbante, Emira, Feraspe, Ismeno,
and Fatima.



Additional 32181, ff. 50-24 2b passm.

Paper ; a.d. 1796, etc. Oblong folio. The MS. belonged to J. N. Hummel.
It also contains numerous other sacred and secular compositions and Instrumental
Music, described elsewhere.

Fragments of Operas, with instrumental accompaniments, in score,
by Franz Xaver Siissmayr. Autograph.



1. Sinfonia, " Ein Geist " (duet), and
"Vor etwa dreysrg Jahren" (aria);
from " Der Wildfang," comic opera
in 2 Acts, the text arranged by Franz
Xaver Huber from the original by
Kotzebue, 1796. ff. 50-95b.

2. Duet from a German opera. Imper-
fect at beginning and end. ff . 97-98b.

3. Aria from an Italian opera. Imper-
fect at beginning and end. ff . 99 "102b.



4. "Pensieroso il vostro sposo"; with
horns, oboes, bassoons, and strings.
From Act i of " Gli Equivoci " [1796].
Imperfect at the end. ff. 103-llOb.

5. Two short pieces, the first ("no. 7")
for basset horns, hunting horns, and
bassoons; the second (to follow "no.
8 ") for instruments whose names are
not given. Possibly from the same
Opera as no. 4. f. 242.



Additional 16002.

Paper; ff. 198. After 1796 (?), Oblong quarto.

" ' I Nemici generosi' osia 'II Duello'": farce, with symphonies
and accompaniments for horns, oboes, clarinets, bassoons, and strings,
in score, by Domenico Cimarosa [1796]. Characters: Leonella,
Gentilino, Lelio, Don Grufo, Faustina, il Capitano, and Lisetta.

The air " Quel beg]' occhi " (at f. 108) is described as " Aria nuova
composta da Cimai'osa in vece della prima."



Additional 30960, fF. 10-1 lb.

Paper; a.d. 1797 (?). Octavo. See also below, under Table Entertainments
(1789-1805).

"A LOYAL Effusion," by [Charles] Dibdin. The beginning of the
libretto.



318



VOCAL MUSIC— SECULAR.



Additional 31669, passim.

Paper; a.d. 1797. Quarto. See also under Cantatas (above, p. 18), anct
Chamber Duets (in vol. iii).

Duets, with a, figured bass for harpsichord, in score, from Operas
by English composers of the 18th cent. In the hand of R. J. S.
Stevens, of the Charterhouse, by whom they were presented to the
Misses Jefiery in January, 1797. Unless the contrary is stated, they
are by Dr. [Thomas Augustine] Arne.



1. "Hail to thy living light"; from
"Elfrida" [1772]. f . lb.

2, 3. "Seek you, Majesty," and "Nay,
nay, you must not stay " ; from " The
Fairy Prince " [1771]. ff. 13, 16b.

4. ' ' Let fops pretend " ; from " Thomas
and Sally" [1743]. f. 19b.

5. "So faithful to my fair I'll prove " ;
to the air by [Turlough] Carolan,
known as " Carolan's receipt for
Drinking." [Introduced in Dr.
Samuel Arnold's " Castle of Andalu-
sia," 1782.] f. 26b.

6. " Though Fortune cloud hope's
friendly ray" ; from "The Flitch of
Bacon " [by W. Shield, 1778]. f . 28.



7. "While Blood does flow"; from
" The Tempest " [1756]. " [J. Chris-
topher] Smith." f. 30.

8, 9. " Here, take my band," and
"Gentle Shepherd, tell me"; from
a piece in which are the characters
Jessy, Edward, Laura, and Oatly.
" R. J. S. Stevens." fE.32b, 34.

10. "Of plighted faith"; from "The
Seige (sic) of Belgrade" [1791]..
" [Stephen] Storace." f . 37.

11. " Fair Aurora, prithee, stay" [from
"Artaxerxes," 1762]. f.41b.

12. " Prepare then, ye immortal choir " ;
from " Semele " [1743]. "Handel."
f . 45b.



Additional 31740, 31741.

Paper ; ff. 157, 197. About 1797 (?). Oblong folio.

'^- " Gli Orazi e Curiazi " ; by Domenico Cimarosa, in score, Venice,.
1797 [composed in 1796]. For another copy of the Opera, see Add.
16007, above, p. 316.

Additional 32197.

Paper ; ff. 197. a.d. 1797, etc. Oblong folio.

Portions of two Operas, with occasional symphonies and accom-
paniments for horns, oboes, flutes, bassoons, strings, and (in the case
of no. 1) clarinets, trumpets and drums, in score. [By J. N. Hummel.].
Autograph.



1. "II viaggiator ridicolo." 1797.
Roughly speaking, in each Act the
recitativi secchi are put first, then
the arias, and lastly the numbers
with orchestral accompaniment.
Characters : Emilia, Giacinto, Livi-
etta, Cavaliere Gandolfo, Don Fa-
brizio, La Marchesa, and II Conte.
fi. 1-134.



2. "Levicended'Amore"[1804]. After-
wards (1806) performed in German
as "Die vereitelten Ranke " (see
Add. 32207, 32208). A corno inglese
and harpsichord are employed occa-
sionally in the accompaniments.
Characters : La Baronessa, Don Pic-
cariglio, Don Alonso, Pinadoro and
Elvira, ff. 135-197b.



OPERAS.



31&



Additional 32237, passim.

Paper ; about 1797-1828. Oblong folio, etc. Otber compositions (vocal and
instrumental) contained in this MS. are described elsewhere in the present
volume of the Catalogue, and in vols i and iii, passim.

Fragments or sketches of airs, etc., most of them without accom-
paniment, from dramatic works, almost entu-ely in the hand, and
presumably the composition, of J. N. Hummel.

I. From an Opera in which the principal characters are Lisette,
Johann (as the Marquis Ventil), Werner, etc. S. 3-16. Included are
the trio, " Die Frauen in der Stadt " (f. 3) ; " rondo polacca," beg. " Ja, mit
dir," with flute (?) obbligato (f. 5) ; the duets, " Auf einen Ball in Wien "
(f. 7), " Nein und Nimmermehr " (f. 9), and " Nur verderb' mir nicht den
Plan " (f. 11) ; and the arias, " Ma Deesse " (f. 13), " Wie reizend schon"
(f. 15), and " Allmachtig ist die Liebe" (f. 16).

II. From a pastoral drama in which the principal characters are
Eucharis and Daphne, if. 17-27. Included are the aria, " Ja, auch in
der Gotter Herzen " (ff. 17, 18), and the duet, " Nie hat noch mit so
heissen Triebe " (ff. 18b, 20, 24).

III. Fragment of a full score, in which the name Katherine occurs.
f. 28.

IV. From a work in which the principal characters are Nikolo,
Simone, Paf . . ., and Rosine. ff. 30-43b. It contains an aria, " Come
il Porto di Livorno," with symphonies and accompaniments for drums,
trumpets, oboes, horns, flutes, bassoons, and strings, in full score (f . 3 1 ) ;
and another, " II mio caro amato sposo," with a partly figured bass
(f. 39) ; and two long scenas, in which most of the characters take part
(ff. 40, 41b).

V. Single numbers from Operas, viz. : —



1. " Sprezza il furor del vento." The
words from Metastasio's "Adriano."
f.46.

2. "Soave sia il vento": trio. The
words are from " Cosi fan tutte," but
the music is not from Mozart's setting
of that Opera, f. 53.

3. " Pace, Amor." The words probably
from " Attilio Regolo." f. 54.

4. "Ne' giorni tuoi felici": duet with
pianoforte accompaniment, in score.
The words from Metastasio's "L'
Olimpiade." f. 56.

5. " Sento che in petto" ; for 4, 3, or 2
voices, in score. [? From " II viaggi-
ator ridicolo," 1797.] f . 59.

6. " Se m' accesi " : cavatina, in score.
[? From the same work.] f. 59b.

7. Duet (?). The words only partially
given, f. 60.

8. " Aure belle " : aria. f. 61.

9. " Innocente donzelletta " : canzo-



netta [from " Le vicende d' amore,"
1804]. f.62b.

10. "...lasposa — lo sposo." f . 63b.

11. " Ci mancava la Madama " [from
" II viaggiator ridicolo "]. f. 64.

12. " Come un gatto innamorato." f. 65.

13. " Pare apunto un amorino." f. 66.

14. Scene from an Opera in which two
of the characters are Sabina and
Emirena. f . 67.

15. " Where the bee sucks" [from " The
Tempest," by Arne, 1746]. Melody
only of opening bars. f. 70.

16. "With lowly suit & {sc. out) of
' No song no supper ' " [by S. Storace,
1790]. f. 70.

17. Trio from " L' Inganno felice."
Pencil sketch without words. Water-
mark (on f . 87) 1828. f . 85.

18. " Echo zur ' Sentinelle ' " : a frag-
mentary sketch, f. 110.



320 VOCAL MUSIC— SECULAR.

Additional 16016.

Paper ; f!. 216. About 1798. Oblong quarto.

" Carolina e Filandro " : a farce, with symphonies and accompani-
ments for oboes, clarinets, horns, bassoons, and strings, in score, by
Francesco Gnecco [1798].

Characters : Carolina, Filandro, Doralice, Vespina, Ficchetto, il
Barone, and Armonico.

Additional 16049, ff. 1-146.

Paper ; about 1798. Oblong quarto. See also below, under a.d. 1821.

" ' Il Segreto ' : Farsa Giocosa Posta in Musica Dal Sig'^' Simon
Mayer Nel Teatro In S. Moise, 1798 " (? first performed there in 1797) ;
with symphonies and accompaniments for flutes, oboes, clarinets, bas-
soons, horns, and strings, in score.

Chai^acters : Valerio, Lucilla, Papone, Costanzo, and Angelica.

Additional 16112.

Paper ; ff. 295. a.d. 1798, etc. Oblong folio.

" Fernando Nel Messico : Dram[in]a serio [in 3 Acts] da recitarsi
In Venezia nel Teatro in S. Benetto Nel Carnovale. Musica di Marco
Portogallo al servizzio {sic) di S. M. F. . . . 1798." Partly autograph,
with additions made in another hand, evidently for the performance of
the Opera in London in 1803, when Mrs. Billington took the principal
part (see f. 125b). The MS. is in a rather mutilated condition. The
overture, symphonies and accompaniments are for flutes, oboes, clari-
nets, horns, coi-no inglese, trumpets, bassoons, drums and strings, with
a figured bass for harpsichord, in score.

Characters : Zorambo, Fernando, Aciloe, Zulmira, Telasco, Tlasca-
lesi (? another form of the preceding name), and Alvaro.

Additional 31812, fi:: 51, 119-160 j^assm.
Paper ; a.d. 1798, etc. Quarto. See also under Glees (above, p. 114).

Selections from Operas, etc., in score. Except where the contrary
is stated, they have only a bass for harpsichord or pianoforte.



1. Tbe music in the pantomime, "Rites
of Hecate " ; with oboes, trumpets,
horns, bassoons, strings, etc. "Jona-
than Battishill " [1764]. Transcribed
by R. J. S. Stevens about 1802 (water-
mark), f. 51.

2, 3. " To meet her Mars " [from " The
Loves of Mars and Venus," 1696], and
"Cloe found Love" [from "The
Agreeable Disappointment"]. "J.
Eccles." In the hand of — Caldecott,



1822. f. 119.

4. "Peaceful slumb'ring" [from "The
Pirates," 1792, by R. Spofforth]. f. 135.

5. "Or che il cielo " [from " Ales-
sandro nelle Indie," 1789]. " Tarchi."
Of this and no. 6 (transcribed by
Stevens in 1798) only the melody is
given, f . 153.

6. " Partiro dal caro bene." " Cima-
rosa." f. 154.

7. " Senza te, bell' Idol " ; with piano-



OPERAS.



321



forte accompaniment. From " Ze-
mira e Azor." "Bertoni." f. 155.
8. " Lungi dal caro bene " ; with piano-



forte accompaniment. [From " Giulio
Sabino," 1781, by G. Sarti]. f. 160.



Additional 31813, passim.

Paper; about 1798 (watermark of most of the pieces), cfc. Oblong folio. The
MS. also contains other secular music, described elsewhere in the present volume.
See also under Pianoforte Solos (18th-19th cent.) in vol. iii.

Incidental Music, portions of Operas, etc. Unless the contrary is
stated, they are accompanied by a bass, in most cases figured, and are
in score. Nos. 1-8 are, with the possible exceptions indicated below,
by Henry Purcell ; nos. 9-15 by Jeremiah Clark,



1. " CEdipus " ; with strings. The
music to Act iii. f . 9.

2. "Timon of Athens" [1694?]; with
flutes, oboes, etc. The Masque only.
f.l3.

3. " Come unto these yellow sands,"
and " Full fathom five thy father
lies": solos with chorus from " The
Tempest," supposed to have been
composed by Purcell in 1695. With
duplicate parts in the hand of
R. J. S. Stevens, who is the tran-
scriber of the remainder of the MS.
fi. 25-27, 33, 46, 46b.

4. " To arms ! Your ensigns strait
display" (a 2), and "Britons, strike
home " (a 2, originally a 4) : choruses
[from "Bonduca"]. Two scores.
ff . 36-37, 59-60 ; — and a single (upper)
part, f . 49.

5. " What shall I do to shew how
much I love her": air from " Dio-
clesian," 1690. Two copies, fi. 41b,
42; 52-53b.

6. "Fairest Isle"; harmonized for 3
voices, without accompaniment, by
Dr. William Hayes. [From the air
in "King Arthur."] ff. 44b, 45b,
55-56b.

7. " King Arthur " [Act i, without
the overture], f. 61.

8. Dialogue (Montesmo, Llelissa and



Urganda), beg. "With this sacred
charming-wand" [from "Don Qui-
xote," part i] ; with separate parts
of the concerted portions of the
scene, ff. 71-83.

9. Jeremiah Clark's contribution to the
pasticcio " The World in the Moon "
[1697], the remainder of which was
composed by Daniel Purcell. The
symphony and accompaniments are
for trumpet, flutes, and strings, with
a figured bass for harpsichord.
f£. 107-126, 130b (second copy of
the air, " Divine Astraea," described
as " sung by Mrs. Cross ").

10. "Lord, what's come to my
mother " : air from Durfey's comedy,
" The Bath," or " The Western Lass,"
sung by Mrs. Lucas [1702 ?]. f. 127.

11. " Hark ! The cock crow'd." [From
" The Country Farmer."] f. 127b.

12. " The bonny grey-ey'd morn " [from
the "The Fond Husband," 1698?].
f. 129.

13. "When maids live to thirty"
[from " The Cornish Comedy."
1700(?)]. f. 129b.

14. " While the lover is thinking "
[from " The Amorous Miser "]. f. 130.

15. "The Rosy Morn": described as
" a Scotch song in ' Love at first
sight.' " f. 132.



Additional 32041.

Paper ; ff . 119. a.d. 1798. Large quarto.

" Ballet Pantomime," consisting of an overture and forty- three
dances, etc., for trumpets, horns, clarinets, flutes, oboes, bassoons,
drums, and strings, in score, by W. [Friedrich Ernst] Bach. Dated

II y



322



VOCAL MUSIC— SECULAR.



"Berlin ... [17]98." Autograph. Characters: Beatrix, Lorenzo,
Comte cV Olivas, Le baylli, etc.

Additional 15991.

Paper ; ff. 283. About 1799. Oblong quarto.

" La Merope " : Opera in 2 (?) Acts, by [Francesco] Bianchi [1799],
with symphonies and accompaniments for flutes, oboes, clarinets,
trumpets, horns, bassoons, drums, and strings, and a bass, occasionally
figured, for harpsichord or pianoforte, in score. Characters : Merope,
Adrasto, Polifonte, Euriso, Ismene, Egisto, and Narbate.

Additional 16050.

Paper ; ff . 228. About 1799. Oblong quarto.

"L'Avaro": a 1-Act farce, by Simon Mayer, 1799; with
symphonies and accompaniments for flutes, oboes, clarinets, bassoons,
horns, trumpets, strings, and drums, and a figured bass for harpsichord,
in score, most of the music for the wind instruments being written in
a separate score at the end. Characters : Armelina, Boboli, Don
Ambrogio, Eugenia, [U] Tenente, and [II] Conte.



Additional 25073-25078, imssim.

Paper ; about 1799. Oblong folio. Other compositions (vocal and instrumental)
contained in the present MSS. are described elsewhere.

Numbers from Operas ; out of a collection of vocal and instrumental
pieces, either arranged for pianoforte, or with pianoforte accompaniment
in score, apparently made by Maria Jackson, alias Egerton [? Maria,
daughter of Thomas Scott Jackson, afterwards wife of Sir John Grey-
Egerton, 8th Bart., whose nephew. Sir Philip de Malpas Grey-Egerton,
10th Bart., presented the MS. to the British Museum]. Unless the
contrary is stated, they are for a single voice. In six volumes.



25073. 1. "Lost, distress'd, Pm thus
driven from home." Adapted from
an Opera ["La cosa rara," 1785] by
"[V.] Martini [y Solar]." Tbis and
nos. 2-7 are introduced in "The
Siege of Belgrade," by S. Storace
[1791], and have the names of the
original singers attached to tbem.
f.27.

2. "All will hail the joyous day."
f . 27b.

8. " The Sapling Oak." f. 28b.

4. "Of plighted faith" : duet. f. 29b.

■5. " Lara, lara la." Adapted from "Sa-
Ueii." f. 31b.



6. " March of Turkish Soldiers." f. 32b.

7. "My plaint in no one pity moves."
f. 33b.

8. "There's a something in kissing."
This and nos. 9-12 are from " The
Woodman," by W. Shield [1791].
f . 34b.

9. "The streamlet that fiow'd round
her." f. 35b.

10. " When first I slipp'd my leading-
strings." f. 36b.

11. "Oh fear not ; my courage proved
over and over." f. 37b.

12. " By her own lovely self." f. 38.



OPERAS.



323



25074. 1. " Coti'd you to battle march
away." This and nos. 2-4 are from
"The Surrender of Calais," by S.
Arnold [1791]. f. 8b.

2. " Little think (sic) the Townsman's
wife." f. 9b.

3. "I tremble to think." f. 10b.

25075. 1. " Shelter a way-worn Travel-
ler " : quartet from an Opera
[" Feudal Times," 1799] by Michael
Kelly, f. 2.

2. "Hear me, hearme " : quartet from
"Blue-Beard," by C. F. Baumgarten
[1792]. f.5.

3. " How oft, Louisa, hast thou said" ;
from "The Duenna," by T. Linley,

25076. 1. "White man never go away."
This and nos. 2-4 are from " Inkle
and Yarico," by S. Arnold [1787].
f.3.

2. "The Achilles, tho' christen'd."
f . 3b.

3. " A voyage o'er seas." ib.

4. "Remember, when we walk'd alone."
f.4.

6. "If that's all you want"; from
"The Maid of the Mill," by S. Arnold
[1765]. f. 5.

6. Overture to "The Deserter" [adapt-
ed by C. Dibdin from P. A. Mousigny,
1778]. f.5b.

7, 8. "Fresh and strong the breeze is
blowing," and "Oh say, simple
maid." [From " Inkle and Yarico."]
fi. 6, 6b.

9. " I sit by the mossy Fount." f. 7.

10. " Oh ! when safe at home arrived."
f.7b.

11. "For tenderness form'd " : des-
cribed in the printed edition (from

25077. Five opening bars of a move-
ment in "Oscar and Malvina," by

25078. 1. "Come, let us dance and
sing" [from "Inkle and Yarico"];
by S. Arnold, f. 19b.

2-4. " Encompass'd in an angel's
frame," "When first this humble



4. " When I was at home." f. lib.

5, 6. "Have we cross'd the boistr'ous
main," and "Go and tell a hapless
Lover"; from "The Crusade," by
W. Shield [1790]. fi. 47b, 48.

7. " To mighty love " ; from " The Siege
of Belgrade," by Storace. f. 48b.

sen. [1775]. f. 19b.

4. "Welcome, mirth": from "The
Stranger." f . 25.

5. March in "Bac[c]hus and Ariadne."



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 37 of 120)