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f. 35 (reversed).

6. "Naval March." First seven bars.
From " Feudal Times " (see No. 1).
f. 40b (reversed).

which this copy appears to be taken)
as "Song in the New Comedy of
' The Heiress "... adapted to an
Air of Paisiello, by Mr. [Thomas]
Linley" [1786]. f. 8b.

12. " What avails it to me." f. 9b.

13. Twelve bars of the opening sym-
phony of a song, "sung by Miss
Romanzini." f. 10.

14. "The topsails shiver in the wind."
f. 10b.

15. " Love, sweet poison." The melody
by "Handel" [adapted from "Verdi
prati," in " Alcina"]. This and no.
15 are introduced in " The Castle of
Andalusia," by S. Arnold [1782].
f. 11.

16. "My fair one." f. lib.

17. " As I hoop round my Cask " ; from
"The Magic Cavern," by W. Shield
[1784]. f. 25.

18. Air (Julie), beg. " Lison dormait."
f.26.



W. Shield and W. Reeve [1791].
f . 19b.

roof I knew," and " Rest, beauteous
fiow'r." [From "The Lord of the
Manor."] By W. Jackson of Exeter
[1780]. ff. 20b, 21, 24b.



Y 2



324 VOCAL MUSIC— SECULAR.

Additional 35005, ff. 39, 72.

Paper ; a.d. 1799, etc. Quarto. See also below, under Songs (1783-1785).
Dramatic Fragments by Samuel Wesley. Autograph.



1. Chorus for " Comus," beg. "Away,
to Comus' Court repair " ; with
accompaniments for trumpets,
drums, oboes, and strings, in full
score, ff . 39-44b.

2. Air (Charlton), " Gentle warblings " ;
apparently from an opera called



" Clara," dated 1799. With a bass
for pianoforte, and ^accompaniments
for 2 flutes, in score. Belonged in
1843 to Vincent Novello and in 1880
to Dr. W. J. Westbrook. (See also
Add. 35003, f. 45). ff. 72-74b.



Additional 33352.

Paper ; ff. 158. About 1799 or 1800. Folio. Belonged in 1888 to Dr. F. J.
Furnivall.

" Hermann von Unna : Schauspiel in fiinf Acten mit Choren und
Tanzen von Abt [Georg Joseph] Vogler." Composed in 1799 or
1800.

The above Licidental Music consists of an overture, marches and
dances, with occasional solos for Ida and choruses, generally for 4
voices, in score. The orchestra is composed of trumpets, drums, horns,
flutes, oboes, clarinets, bassoons, trombones, and strings, with the
occasional addition of basset-horns, harp, tamboui'ine, and triangle.

The directions for performance, etc., which are interspersed
throughout the work, are apparently atitograj)h.



Printed Book A. 909, pp. 137, 150.

Paper; 18th cent. Oblong octavo. See also under sacred Songs (vol. i, p. 440).

Melodies of the following vocal pieces : —

1. "Hearts of Oak "[from "Harlequin's I 2. "Rule Britannia" [from " Alfred"],
Invasion"], by Dr. William Boyce byDr. Thomas Augustine Arne [1740].

[1759]. p. 137. I p. 150.

Egerton 2458, ff. 2-39.

Paper ; 18th cent. Oblong quarto.

Original form of the air afterwards introduced into " Ottone " as
" Vieni, O figlio." See vol i, pp. 440-1.

King's 442.

Paper ; ff. 2. 18th cent. Duodecimo.

Words of two songs, composed by Handel to replace two others
originally published in his " Giulio Cesare " [1723], as certified by



OPERAS. 325

a note, dated 1857, in the hand of [Michael] Rophino Lacy, who
probably copied them from a MS. at Buckingham Palace.

1. "Parolette, vezzi e sguardi"; instead 2. " lo v6 di duolo in duolo " ; instead
of tho aria, " Tutto puo, Donna uez- j of the aria, " Pianger6 la sorte mia"
zosa" (Act i, sc. 7). f. 1. i (Act iii, sc. 3). f.2.

Additional 5324.

Paper; if. 97. 18th cent. Oblong quarto. Bookplate, with arms, of [Charles]
John Stanley, the blind musician, who was a pupil of the composer.

" Phcebe : a Pastoral Drama " in 3 Acts, with overture, symphonies,
and accompaniments for flutes, horns, oboes, and strings, and a figured
bass for harpsichord, in score, by Dr. [Maurice] Greene [1748]. The
words are by Dr. John Hoadly. Characters : Phcebe, Sylvio, Amyntas,
Celia, Linco ; with Choruses of Hunters, Shepherds, etc.

Additional 5325.

Paper ; fi. 59. 18th cent. Oblong quarto. Bookplate of [Charles] John
Stanley.

" Floeimel," or " Love's Revenge" : a Pastoral Drama in two parts,
with symphonies and accompaniments for horns, oboes, bassoons, and
strings, and a figured bass for harpsichord, in score, by Dr. [Maurice]
Greene [1737]. The words are by Dr. John Hoadly. Character.s :
Cupid, Florimel, Myrtillo, and a Satyr.

Additional 5334.

Paper ; ff. 91. 18th cent. Quarto.

" II Sylla " : Opera in 3 Acts, with overture, symphonies and
accompaniments for trumpets, oboes, flutes, bassoons and string.s, and
a figured bass for harpsichord, in score, by Giovanni Buononcini.
The MS. is in the hands of W. T. (see: f. 26b). Characters: Coelia,
Flavia, Lepidus, Metellus, Claudius, Sulla, Scabrus, Roman Senators
and Populace, Lictors, Slaves, Soldiers, etc.



Additional 11518.

Paper ; ff. 107. 18th cent. Quarto. Bookplate of Eobert Smith [of St. Paul's
Churchyard]. Other owners were Dr. [Samuel] Arnold, [James] Bartleman, and
W. Kitchiner (1822).

" CoMUS " : two settings of Milton's Masque.

1. Five songs, with a bass, in score, as l "Now my task is smoothly done."
written for the original representa- | " Henry Lawes." ff. l-2b.
tion at Ludlow Castle in 1634, viz. : \ 2. Another setting, in 3 Acts, for solo



"From the Heav'ns now I fly";
"Sweet Echo"; " Sabrina fair";
"Back, Shepherds, back"; and



voices and 4-part chorus, with sym-
phonies and accompaniments for
trumpets, horns, flutes, oboes, bas-



326



VOCAL MUSIC— SECULAR.



soons, strings, and drums, and a
figured bass for harpsichord, in score,
by Dr. Thomas Augustine Arne
[1738], who has appropriated ff. 58-



71 bodily from Handel's "L' Alle-
gro," of which work he has inserted
several numbers from a contemporary
printed edition, fi. 3-107b.



Additional 14112, f. 107.

Paper; 18th cent. Oblong quarto. See also under sacred Songs (vol. i, p. 442).

" Parto ; non. ti sdegnar " : aria, with strings, in score, by
Leonardo Leo. [From " Ciro riconosciuto," 1727.]



Additional 14157, passim.

Paper; 18th cent. Oblong folio. See also under Oratorios (vol. i, p. 374),
Duets (above, p. 88), and Songs (18th cent.), below.

Recitatives, Arias, etc., with accompaniments for strings and other
instruments named below, in score.



1. "Dolci fresche aurette": recitative
and aria [from "Polifemo," 1734].
' ' Nicolo Porpora." ff . 16-21.

2. " Deh uieni, Idolo mio " : recitatives
and duet, by the same. f. 30.

3. "Quando sara quel dl" [from "La
Clemenza di Tito," 1752]. Copied in
1754. This and nos. 4-6 are by " Ni-
col6 Jommelli." f. 38.

4. "Chi mai d' iuiqua stella provo
tenor" [from " Temistocle," 1757].



ff. 42-47.

5. "Al caro Idolo mio" [from "Eu-
mene," 1746]. f. 53.

6. "Al volto or ui rassembro " ; with
oboes, horns, etc. ff. 57-72.

7. "Che cefifi orribili." This and nos.
8-10 are from an Opera, or Operas,
by " Antonio Palella." f . 80.

8. " D' una villana tapina." f. 88.

9. " Tv stai malissima." f. 94.

10. "A pensier cosi funesto." f. 99.



Additional 14170.

Paper ; ff . 172. 18th cent. Oblong folio.

" La Caduta d[e]i Decemuiri " : Opera in 3 Acts, with symphonies
and accompaniments for trumpets and strings, in score, by Alessandro
Scarlatti [1706], the words by Silvio Stampiglia. Characters, as
above, p. 279.

Additional 14183, ff. l-90b, 120, 134.

Paper; 18th cent. Oblong folio. See also sacred Songs (vol. i, p. 442), and
secular Songs (below).

Single numbers from Operas, with accompaniments for strings,
and occasionally other instruments, in score.



1. "Faro che al tuono orribile " ; with
horns, in separate parts. This and
nos. 2-8 are by " Gironimo," or
"Girolamo," "Abos." f. 1.

2. "Quel fausto segno"; with dupli-
cate violin parts, f. 12.



3. "Si vavofora" (sic) ; with duplicate
violin parts, f. 21.

4. " Se amore a questo petto"; with
flutes, in score, and duplicate 1st
violin part. [From "Alessandro
nelle Indie."] f. 30.



OPERAS.



327



5. " Se mai freme il Uesuvio." f. 42.

6. " Cara gioia saporita." f. 46.

7. "logia sto." f. 50.

8. "Uh, che friddo " ; with separate
viola obbligata part. fi. 54, 62.

9. "Volete il recipe." "Pellegrino
Tomeoni, detto il Locchesino [i.e.
Lucchesino]." f. 58.

10. "Penza, don Marcantonio " ; with
separate strings, in duplicate. "Gero-



nimo Abos." f. 63.

11. "Nel pugnar col mostro infido."
By the same. f. 79.

12. " Figlio, forniscela." f.87.

13. " Se il ciel mi divide " ; with oboes.
[From " Alessandro nell' Indie."]
" Giouauni Bach." f . 120.

14. " Confusa, smarrita." [Prom " Ca-
tone in Utica," 1758.] By the same,
ff. 134-139b.



Paper ; ff. 268. 18th cent
arms of a French Marquis.



Additional 14204.

, Oblong folio. On the richly tooled covers are the



" Il Girello " : Opera in 3 Acts, the words by Cavaliere Filippa
Acciaioli, the music by Giacomo Melani ; with an introductory Sinfonia,
ritornellos, and accompaniments for strings and a figured bass for
harpsichord, in score. Characters : Plutone, Prosei'pina, Vendetta,
and Inganno (in the Prologue) ; Doralba, Mustafa, Erminda, Ormondo>
Tartaglia, Pasquella, Odoardo, Filone, II Girello, and a Magician.



Additional 14207, passim.

Paper ; 18th cent. Oblong quarto. See also Canons (above, p. 9), Duets
(p. 84), and Songs (below).

Vocal compositions, apparently all of them taken from Operas,
with accompaniments, mostly in score. Unless the conti'ai'y is stated,
they are for a single voice, with accompaniments for strings.



1. "Tergi quegl' occhi belli": chorus,
with oboes, horns, bassoons, etc.,
from "La Zelinda, 1786." "Giu-
seppe Millico." f. 12.

2. "Mi dona, mi rende, quell' alma."
" Giov. Batt[ist]a Pescetti." f. 44.

3. " Ecco il forte braccio " ; with a
bass for harpsichord. " Gierosa."
f.56.

4. "Non son tiranno." "Michel'
Angelo Valentino." f . 85.

5. "Serbami, 6 cara, intanto." By
the same, 1756. f. 91.

6. "In questo core piu ua crescendo."
By the same, f . 97.

7. " Lieta veggo la placida calma";
with oboes, horns, etc. "Giacomo
Tritto." f. 100.

8. "Ah, nel lasciarti, o cara." "Luc-
chesi." f. 126.

9. "Ch'ioparto reo lo vedi." [From



" La Clemenza di Tito."] " Gennaro
Manna." f. 131.

10. "Ebbi da te la vita": aria. By
the same. f. 137.

11. " Douea svenarti" [from "Catone
in Utica," about 1738]. "Dvni."
f. 141.

12. " Quel nero turbine " : aria. "Gia-
cinto Caldarara." f. 147.

13. "Per lei fra 1' armi " : aria [from
" Demofoonte," 1765.] "Andrea
Bernasconi." f. 151.

14. " Or che il ciel a me ti rendi " : aria,
with oboes, horns, etc. [From
"Alessandro nell' Indie," 1788.]
" Franc[e3c]o Bianchi." f. 165.

15. " lo provo in mezzo al petto":
aria, with separate violin parts.
" Franc" Zannetti." Copied by Fede-
rico Fico. f . 188.



328



VOCAL MUSIC— SECULAR.



Additional 14208, fF. l-UOh passim.

Paper; 18tli cent. Oblong folio. See also under Canons (above, p. 6), Duets
(p. 79), Madrigals (p. 178), and Songs (1762, below).

Songs, apparently taken from Operas, with accompaniments for
strings, in score (except where the contraiy is stated).

1. " Recagli quell' acciaro" : aria from 11. "Non uide ca 11' aie." " Giuseppe



"Ezio" [about 1770]. This and
nos. 2-8 are by "Antonio Sacchini."
f.l.

2. "Amor che nasce con la speranza" :
cavatina [from " Endimione "]. f. 10.

3. " Poveri affetti miei " : aria, f . 16.

4. " Lode agli Dei " : scena, with violin
accompaniment (?). Sung by [T.]
Guarducci at the Argentina, Rome,
in 1765. [?Prom " La Contadina in
Corte," 1765.] Belonged to Camillo
Pranco. f. 23.

6. " Questo che io serbo in seno " : aria.
One of the characters is Berto. f . 29.

6. " Confusa smarrita": aria [from
"Catonein Utica"]. f. 36.

7. " Ritornerd alia cara " : aria. f. 40.

8. " Idol mio, se pid non viui " : recita-
tive and rondo. [? From " Armida,"
1772.] f. 46.

9. "Oh cara immagine " : cavatina,
with pianoforte accompaniment.
" Camillo Aureli." f. 54.

10. " Doppo vn tuo sg[u]ardo" [from
"Adriano in Siria," 1740]. "Bal-
dassar Galuppi," 1759. f . 59.



Sellitti." At the end (f . 74) is the
melody of a minuet, f . 67.

12. "Mi credi spietata": aria [from
"Artaserse," 1753]. "Perez." f. 75.

13. "Non sdegnarti : a te mi fido."
[Prom "Ciro riconosciuto," 1759.]
" Niccola Piccinni." f . 88.

14. "Di queir ingiusto sdegno" : aria,
with oboes, horns, and strings, in
parts. [Prom " Demetrio," 1773.]
" Gi[u]seppe Misliwecek." f. 113.

15. " Se mai uedi il mio tesoro." Per-
formed at the S. Benedetto [Venice]
in 1773. " Amodeo (sic) Naumann."
f . 125.

16. "Nenna mia." "Nicola Logro-
scino." f. 131.

17. " Sentirsi dire dal caro Bene":
cavatina [from " Semiramide "].
" Antonio Capuzzi." f. 139.

18. "Caro mio ben, sovvengati " : aria,
with oboes, horns, etc. "Carlo
Monza." f. 143.

19. "Tu impallidisci in uolto"; with
a bass only. Anonymous. In the
same hand as no. 8. f. 159.



Additional 14209, ff. 60-131h passim, and f. 191.

Paper ; 18th cent. Oblong folio. The MS. contains also Duets (above, p. 79)
and Songs (below).

Arias, etc., with accompaniments for strings (and other instruments
indicated below), in scox'e, except the last one, which consists of parts
for 2 violins. Anonymous.



1. " Se mai piu sar6 geloso" [from
" Alessandro nelle Indie "]. f. 60.

2. Scena (Flaminia and Lucio), beg.
" E un dolce inganno d' amante core";
with mandoline, etc. i. 65.

3. " Memorie ognor dolenti " ; with
oboes, bassoons, etc. t. 69.

4. " Gia torua il uago Aprile"; with
oboes, horns, etc. f . 73.

5. "Dimmi che vaga sei" [from "En-
dimione "]. f. 85.

6. " Quante i boschi ban piante " ; pre-



ceded by a recitative, f . 92.

7. "Non ho moglie." f. 100.

8. Aria (Pastore), beg. " Quando Irato il
Toro mugge " ; with flutes, bassoons,
etc. f . 106.

9. "Mentre quel solco"; with flutes,
oboes, etc. f. 110.

10. Duet (Erm. and Pastore), beg.
" Vado al Gregge"; with oboes, etc.
i. 132.

11. "Crete fatal": recitative. Pro-
bably from " Ricimero." f. 192b.



OPERAS. 329

Additional 14213, ff. 146-1 59b.

Paper ; 18th cent. Oblong folio. See also Songs (below).

Numbers, apparently from Operas, in score. Anonymous.

1. "Cosi piangendo": duet, with i f. 155.

strings and a figured bass for harpsi- | 3. " Cauagliero mal andante" : a
chord, f. 146. I Spanish aria, with a bass (? for harp-



2. " Serba si belle lagrime " : aria, with
strings only. Imperfect at the end.



sichord). f . 160.



Additional 14230.

Paper ; ff. 84. 18th cent. Oblong folio.

Arias for soprano, with symphonies and accompaniments for
trumpets, horns, oboes, flutes, and strings, in score, from an Opera
[" Demetrio "] by an anonymous composer, probably of the middle of
the 18th ceatury.

1. "Non v' h piu barbaro." f. 1. i f. 29.



2. "Dice, che t' e fedele." f. 15.

3. "Nacqui all' affauni in seno." f. 21.

4. "So che per giocomichiedi Amore."



5. "Nonfidi al mar." f. 85.

6. "Non so frenare il pianto." f. 58.

7. " Manca sollecita." f. 68.



Additional 14236.

Paper ; ff. 168. 18th cent. Oblong folio.

" L' EuMENE " : Opera in 3 Acts, with symphonies and accompani-
ments for oboes and strings, and a figured bass for liarpsichord, in
score. Anonymous.

The text is altered from Apostolo Zeno's work of tliat name, the
characters being the same^ with the addition of the part of Rosinda
and the suppression of that of Aminta.

Additional 16014.

Paper ; ff. 144. 18th cent. Oblong folio.

" Ipermestre " [sic) : Opera in 3 Acts, with symphonies and accom-
paniments for flutes, horns, oboes, trumpets (occasionally), and strings,
in score, by Gluck [1742]. Characters: Ipermnestra, Elpinice, Danao,
Linceo, Glistene, Adrasto.

Additional 16023.

Paper ; ff. 161. 18th cent. Oblong folio,

" Agrippina " : Opera in 3 Acts, with overture, symphonies, and
accompaniments for oboes, flutes, trumpets, drums, and strings, and a
figured bass for harpsichord, in score, by Handel [1708?]. As
published in the Hiindel-Gesellschaft's edition of the opera. Charac-
ters : Claudio, Agrippina, Nerone, Pop[p]ea, 0[t]tone, Pallante,
l^arcis[s]o, and Lesbo.



330 VOCAL MUSIC— SECULAR.

Additional 16024.

Paper ; ff . 104. 18tli cent. Oblong folio.

" II Pastor Fido Da Rapprenentarsi (sic) nel' Regio Teatro di
Hay-Market, Composta per il Sig'" G. F. Hendel, 1713" [11712] :
Opera in 3 Acts, with symphonies and accompaniments for oboes,
flutes, bassoons, and strings, and a figured bass for harpsichord, in
score, being the 1st version of the Opera. The only important
variation fi'om the edition published by Handel-Gesellschaft (vol. 59)
is that in the present MS. the aria, "Ho un non so che nel cor,"
which should follow the recitative, " Sventurato mio amore," at the
beginning of Act iii, is omitted. The MS. appears to be in the hand of
John Christopher Smith, Handel's amanuensis. Characters : Mirtillo,
Amarilli, Eurilla, Silvio, Dorinda, Tireno, etc.

Additional 16030-16032.

Paper ; ff. 94, 94, 76. 18th cent. Oblong folio.

" Caio Mario " : Opera in 3 Acts, with symphonies and accom-
paniments for oboes, flutes, trumpets, horns, bassoons, and strings, and
a figured bass for harpsichord, in score, written for the Argentina
theatre, by Nicolo Jommelli. In three volumes. Characters : Caio
Mario, Annio, Marzia, Rodope, Aquilio, and Lucio.

Additional 16033.

Paper ; ff. 227. 18th cent. Oblong folio.

" Temistocle " : Opera in 3 Acts, with symphonies and accompani-
ments for oboes, trumpets, horns, and strings, in score, by Nicolo
Jommelli [1757]. Characters : Temistocle, Neocle, Aspasia, Sebaste,.
Rossane, Serse, and Lisimaco.

Additional 16034-16036.

Paper ; ff. 86, 76, 52. 18th cent. Oblong folio.

" L'Artaseese " : Opera in 3 Acts, with symphonies and accom-
paniments for oboes, trumpets, horns, bassoons, and strings, in score,
by Nicolo Jommelli, performed at the Argentina theatre in 1749. In
three volumes. Characters, as above, p. 259.

Additional 16037-16039.

Paper ; ff. 101, 63, 56. 18th cent. Oblong folio.

" La Semiramide " : Opera in 3 Acts, with overture, symphonies,
and accompaniments for flutes, oboes, horns, and strings, and a
figured bass for harpsichord, in score, by Nicolo Jommelli, Turin, 1742.
In three volumes. Characters, as above, p. 275.



OPERAS. 331

Additional 16040.

Paper ; ff. 118. 18th cent. Oblong folio.

" BuRLETTA a 4° Voci — Dirindina, Popa, Pacchione, e D. Ciiichibbio
— Rapresentata nel Teatro di Yalle — -1742 — Del Sigr Niccolo Jom-
mella " (sc. Jonimelli) ; in 2 Acts, witli symphonies and accompani-
ments for horns, oboes, and strmgs, and a figured bass for harpsichord,
in score.

A farsetta entitled "La Dirindina" was produced about 1730,
and another play "Don Chichibeo " in 1739, one of which titles was
probably borne by the present work.

Additional 16041.

Paper ; &. 194. 18th cent. Oblong folio.

" La Merope " : Opera in 3 Acts, with symphonies and accompani-
ments for oboes, horns, trumpets, and strings, in score, by Nicol6
Jommelli [1747]. The orchestra is occasionally divided into two.
Characters : Epitide, Trasimede, Polifonte, Licisco, Merope, Argia,
Anassandro ; with 3-part chorus of Messenians.

Additional 16042.

Paper ; fi. 116. 18th cent. Oblong folio.

Opera ["Creso"], with symphonies and accompaniments for flutes,
oboes, trumpets, horns, and strings, in score. [By Nicolo Jommelli,
1743.] Act ii only. Characters: Creso, Ariene C?), Euriso, etc.

Additional 16108.

Paper ; ff. 146. 18th cent. Oblong folio.

" Mazio CcBphola," sc. " Muzio Scevola " : Pasticcio in 3 Acts,
with overture, symphonies, and accompaniments for oboes, horns and
trumpets (occasionally), bassoons and strings, and a figured bass for
harpsichord, in score. Act i is described in the MS. as by " Sig""
Pipo " (according to Chrysander, Pipo, or Pippo, was another name for
Filippo Mattei ; but Burney ascribes this Act to Attilio Ariosti) ; Act ii
(f. 34) is by [G. B.] Buononcini ; and Act iii (f. 88) by G. F. Handel,
1721.

The MS. appears to be in the hand of John Christopher Smith,
Handel's amanuensis, with the exception of the last twelve leaves and
a few others in the body of the work, which have been supplied in a
later hand. Chai'acters : Tarquinio, Porsenna, Orazio, Irene, Fidalma,
Muzio, and Clelia.



332 VOCAL MUSIC— SECULAR.

Additional 16109.

Paper ; fi. 118. 18th cent. Oblong quarto.

" Gl' inganni Felici " : Opera in 3 Acts, with introductory siafoiaia,
ritornellos, and accompaniments for strings, etc., and a figured bass for
harpsichord, in score, by Carlo Francesco Polaroli [1695]. Characters :
Clistene, Armidoro, Sifalce, Alceste, Brenno, Agarista, Arbante, and
Oronta.

Additional 16131.

Paper ; ]!. 215. ISth cent. Oblong folio.

" Ifigenia [in Auhde] " : Opera in 3 Acts, with overture, sym-
phonies and accompaniments, for flutes, oboes, horns, trumpets, [corno]
inglese, bassoons, and strings, in score, by Tommaso Trajetta [1759].
Characters : Oreste, Dori, Pilade, etc., -ndth numerous Choruses.

Additional 16142.

Paper ; ff . 223. 18th cent. Oblong folio.

Opera, with symphonies and accompaniments for flutes, oboes,
clarinets, trumpets, drums, horns, bassoons, and strings, in score.
Anonymous. Imperfect. Characters : Lisetta, Astolfo, Fagiotto,
Carlotta, Finochio, Alberto, Roberto, and L' aiutante.

Additional 16143.

Paper ; ff. 136. 18th cent. Oblong folio.

Opera [" Alessandro Severo "] in 3 Acts, with symphonies and
accompaniments for flutes (flautino), oboes, and strings, in score.
Anonymous. A few leaves are missing at the beginning and at the
end. Characters : Sallustia, Alessandro, Giulia, Albina, Claudio and
Marziano.

Additional 16144.

Paper; fi. 72. 18th cent.* Oblong folio.

Short piece, apparently an intermezzo, in 2 Acts, with symphonies
and accompaniments for oboes, flutes, clarinets, horns, bassoons, and
strings, and a figured bass for harpsichord, in score, with separate parts
for trumpets, drums and trombones, at the end of two of the numbers.
.Anonymous. Imperfect at the beginning and at the end. Characters :
II Duca and Camilla.

Additional 16146.

Paper ; fi. 96. 18th cent. Oblong folio.

Opeea [?"Arsace"], apparently in 3 Acts, with symphonies and
accompaniments for horns and strings, etc., and a figured bass for
harpsichord, in score. Anonymous. Act ii only. Characters : Statira,
Mitrane, Artabano, Arsace, Rosmiri and Megabise.



OPERAS. 333

Additional 16147.

Paper ; ff. 208. 18th cent. Oblong folio.

Opera, with symphonies and accompaniments for horns, oboes,
trumpets, and strings, and a bass (occasionally figured) for harpsichord,
in score. Anonymous. Acts ii and iii only. Characters : Ernestine,
Elvu'a, Don Polidoro, II Barone, Monsii, Nannetta, and Arminio.

Additional 16156.

Paper ; ff. 110. 18th cent. Large folio. The MS. belonged to Philip Hayes
in 1763.

Opera [" Tito Manlio "] in 3 Acts, with overture, symphonies and
accompaniments for oboes, flutes, trumpets, bassoons, strings, and
drums, in score. Anonymous. The libretto is not the well-known one
by Matteo Noris. Characters : Tito, Manlio (his son), ServUia, Celia,
Decio, Geminio, etc.

Additional 17836, f. 8b.

Paper ; 18th cent. Polio. See also under Concertos for 2 violins (in
vol. iii).

Last page of a duet for 2 trebles, with accompaniments apparently
for a violin and double-bass, in score, in the hand, and probably the
composition, of Dr. William Boyce. The last verse (the only one
remaining) begins " Consent and meet my pas[s]ion."

Additional 17860, fT. 2-120.

Paper; 18th cent. Oblong folio. Belonged to William Knyvett, and to
Vincent Novello (1825-1849). See also under Anthems (vol. i, p. 75).

" The Judgement of Paris " : a pastoral, for solo voices and chorus,
with accompaniment for full orchestra, in score. Presumably by Dr.
Maurice Greene. In the hand of Dr. Philip Hayes (compare Add.
31722).

Additional 22107.

Paper ; S. 193. 18th cent. Oblong folio. Bookplate of Earl Cowper.

" Artaserse," by Hasse, in score. The present MS. closely
resembles Add. 32582, of which it is probably a transcript (see above,
p. 259).

Additional 22268, 22269.

Paper ; ff . 170, 166. 18th cent. Oblong folio. Belonged to [Lady] Eliz[abe]th
[Catherine Caroline] Hervey [afterwards wife of Lord Seaford].

" L' Olimpiade " ; with symphonies and accompaniments for flutes,
oboes, clarinets, trumpets, horns, timballi (? kettledrums), strings, and
figured bass for harpsichord, in score. By Giuseppe Sarti [about 1755].
Acts i and ii only. In two volumes. Characters, as above, p. 285.



334 VOCAL MUSIC— SECULAR.



Additional 24297, fF. 41-52.

Paper ; 18th cent. Oblong folio. The MS. also contains a Mass (vol. i,
p. 226).

" Prendi quel feiTO, o Barbai'o " : aria (No. 9 ?), with accompani-



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 38 of 120)