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, 409. Add. 27715. In no. 1, for Charles, read William.

, ,, Add. 16049. In 1. 5, after Rosemberg," add by P. Generali,

, 413. Add. 27719. No. 1 is adapted from Auber.

, 414. Add. 30246. In 1. 7, after " Ivanhoe " [, add libretto.

452. Add. 11608. In no. 4, for 58b, read 59.

465. Vesp. A. xviii. No. 2 is possibly a motet or madrigal.
,, Titus A. xxvi. In no. 4, Gie se\i&T: prohabhj = Je sais faire.

473. In no. 10, for Cupids, weary, read Cupid 's weary.

475. Add. 11608. In no. 34, for F. read T.
,, In no. 49, for part-song, read trio.

480. Add. 33234. No. 4 is by Reggio.

481. No. 32 is by Lully.

485. Add. 14218. In no. 9, for restita, read vestita.

,, In no. 32, /o7' ripose, read ti pose.

489. Add. 14228. In no. 2, for Manconi, read Mancini.
491. Harley 7549. In 1. 4, for p. 59, read p. 58.
493. Add. 10337. In no. 12, for fellow, read pellow.
496. Far Additional 34457, read Additional 31457.
503. Add. 31453. No. 8 is by Jer. Clark.

508. Eg. 2513. In no. 5, for Auffenhalte, read Auffen[t]halt der.

509. Add. 29963. In 1. 3, for p. 248, read p. 65.

,, In no. 26, /or Aquellino, read Agnellino.

513. Add. 14222. No. 13 is by Marcello.

515. Add. 29249. In no. 12, for I. 2G, read f. 76.

523. For Egerton 432, read Egerton 1432.

527. Add. 31504. In no. 5, for detto, read detta.

528. In no. 34, for vaglio, read voglio.

529. In no. 10, after vous, omit the comma.

530. In no. 89, for pauure Francois, read pauures fran^ois.
533. In no. 225, foi- composer, read poet.

543. In no. 106, for J'en ay, read Je n'ay.

550. In no. 89, for fleuvre, read fieuve.

552. In no. 210, for vos, read nos.

558. King's 337. In no. 20, for f. 169b, read Q. 169b, 186b.

561. Add. 31518. In no. 3, for tue, read sue.

562 Add. 34053. In no. 1, for 9, read 8.

566. In no. 44, for Venez, read Tenez.

574. Add. 34126. In no. 1, after duet, add from Handel.

,, No. 4 is by W. Defesch.

583. Add. 14209. In no. 1, for 1703, read 1713.
592. Add. 31742. In no. 1, for 16, read lb.

598. In no. 4, for 56, read 5b.

603. In art. II., after Songs, add by Kozeluch (above, p. 601).

616. In no. 49, for Birds, read Bards.

628. Add. 30148. In 1. 4, for Mosson, read ]Moisson.

641. Add. 32158. In 1. 4, after see, add (in vol. iii).



II



MANUSCEIPT MUSIC



IN THE



BRITISH MUSEUM



PART 11. —VOCAL MUSIC— SECULAR.



SECTION I.— CANONS.



Royal Appendix 58, f. 16b.

Paper ; early 16th cent. Oblong octavo. See also below, under Madrigals.
Canon without words, by John Ambrose.

Additional 10336, f. 18.

Paper ; after 1500. Duodecimo. See also under Treatises, in vol. iii.

Composition without words, written out at length on a stave of
4 lines.

Royal 11 E. xi, ff. 2b, 3.

Vellum; a.d. 1516. Large folio. See also under Motets (vol. i, p. 259).

Bass and contra-tenor parts of " Salue, radix varies producens
germine ramos," described as " canon fuga in diatessaron," in honour

of Henry YIII. " Me fieri ac componi fecit P O [sc. Peto], 1516."

Royal 8 G. vii, f. 1.

Paper ; after 1544 (see below). Polio. See also under Motets (vol. i, p. 259).

" HoNi soit qui mal y pense " : puzzle-canon in 8 parts, composed
by [Clement?] Morel [fl. 1543-1549], in honour of [Henry Fitzalan]
Earl of Arundel [K.G. in 1544].

II B



2 VOCAL MUSIC— SECULAR.

Additional 31922, ff. 90b, 9L

Vellum ; temp. Henry VIII. Small folio. See also below, under Madrigals.

Three canons without words, of which the first has no description,
the second is a " Songe . . . iij parts in one," and the third " Duas
partes in vnum." Anonymous.

Additional 4900, ff. 66b, 67.
Paper ; after 1600. Small folio. See also under sacred Songs (vol. i, p. 425).
Canons, without words.



1. In 3 parts, in quasi-score.
F[errabosco?]." f. 66b.



2. Two parts in one. Anonymous,
f. 67.



Additional 27579, f. 64.

Paper; a.d.1606. Octavo. See also under Harmony (1605), and Drawings
of Musical Instruments (1602, 1603), described in vol. iii.

"Canon a 4," by Thomas Mancinus, senior, 1606. From the
Album Amicorum of Johannes Cellarius of Nuremberg.

Additional 11608, f. 85b (reversed).
Paper ; a.d. 1656-1659. Small folio. See also below, under Songs.
Two Canons for 3 voices.



1. "I am so weary" ("5th below and
4th above "). By Thomas Ford (?).

2. "VT REleuet MIserum FAtum



SOLitumque LAborem " (" 5th above
and 4th belowe, rising a note ").
" Jo. Hilton."



Additional 4910, f. 60.

Paper ; a.d. 1669. Folio. See also under Treatises (1673), in vol. iii.

Two 3-PART Canons, in score, by Matthew Locke. Auto(jra;ph.
Without words. Given by the composer to Silas Domvill al. Taylor,
in 1669.

Additional 27931, f. 29b.

Paper; before 1695 (?). Large quarto. See also below, under Songs.

" Joannes Paulus de Columnis faciebat " : 3-part Canon, described
as "Fuga legata all' Unisono," by Giovanni Paolo Colonna (d. 1695).

Additional 30342, ff. 143, 143b.

Paper; 17th cent. Octavo. The ]\IS. also contains, besides miscellaneous
matter, fragments of Solos for the Lute and Spinet, specimens of Notation,
Drawings of INIusical Instruments, etc., described in vol. iii.

Two Canons without words; the first (f. 143), in 8 parts, written



CANONS. 3

on four circular 5-line staves, marked " Superius," " Contratenor,"
"Tenor," and "Bassus"; the second (f. 143b) in 6 parts, on a single
circular stave, with the solution below on ordinary 6-line staves. In a
French hand.

Additional 30933, flf. 121-135.

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

Canons, in score.

1. "So Peaceful Rests without a stoue " 3. " Joy, mirth, Tryumphs I doe dofie."
(3 voices). " Dr. M. Greene." f. 121. i "Hen. PursoU." f.l24.



2. "Hey Ho, to y' Greenwood" (2
voices). Beginning only. By W.
Byrd. f. 121b.



4. "No, Luciuda; I sware " (3 voices).
"Dr. Blow." f.lSOb.



Egerton 2513, f. 3.

Paper ; about 1711. Oblong duodecimo. See also below, under Songs.
Canon in 4 parts, wi-itten out in extenso in a German Album.

Harley 7337, f. 192b.

Paper ; a.d. 1715. Quarto. See also under Anthems (vol. i, p. 53).

" I AM so weary " : Canon in 3 parts, attributed in Hilton's Catch
that catch can to Thomas Ford, but here to Thomas Morley.

Additional 5054, £. 98b.
Paper ; before 1760. Quarto. See also under Anthems (vol. i, p. 68).

" Cantan fra rami gli augelletti vaghi " ; described as " Fuga di
mez[z]o tempo, una e ottava piii alto," by Giovanni Matteo.

Additional 29386, ff. 34b, 44b, 50.

Paper ; about 1762. Quarto. See also below, under Catches.
Canons for 3 or (no. 1) 4 voices, in score.

1. "If all be true as women say." T. Tallis. f. 44b.

Anonymous, f. 34b. 3. " Ah me ! What Perils." " Jn.

2. "Heydownl Behold and see." By j Travers." f. 50.

Additional 35040, ff. 32b, 36b.
Paper ; about 1773. Oblong folio. See also under Pianoforte Solos, in vol. iii.
Canons, without words, in the hand of Samuel Wesley.

1. In unison, in F. Anonymous, f. 32b. i 3,4. InAminor(?). Anonymous, f. 36b.

2. In unison, in F. " Sympson." f. 32b. |

B 2



4 VOCAL MUSIC— SECULAR.

Additional 11581, passim.

Paper ; about 1780. Quarto. See also under Anthems (vol. i, p. 71).

Canons in. 3 parts, unless the contrary is stated, transcribed by
Dr, Charles Burney.



1. " [P.] Mo[u]lu's canon continued " ;
without words, f. 13b.

2. "Canon a 5 in unison"; without
words. " Claude Le Jeune... 1598."
f. 40 (reversed).

3. "Canon a 5"; without words. "Zac-



coni " (from Pratica di Musica, 1592).
f.39 (rev.).
4. "Canon 3 in one." [From Miscel-
lanea musicale, by Angelo] " Ber-
ardi, 1689." f. 37b (rev.).



Additional 11584, f. 29b.

Paper ; before 1782 (see below). Oblong quarto. See also under Motets
(vol. i, p. 313).

Canon for 3 voices, without words, by Johannes Ockenheim. Taken
from Glarean by Dr. Burney and inserted in vol. ii of his History of
Music, 1782.

Additional 11585, ff. 38, 43b.

Paper; before 1782. Oblong quarto. See also under Motets (vol. i, p. 314).

Two-part Canons, without words, by Pierre de la Rue (f. 38), and
Jacob Obrecht (f. 43b).

Additional 11588, ff. 64-65b, 75-76 passim.

Paper ; about 1783. Quarto. See also below, under Madrigals.

Canons in the hand of Dr. Charles Burney, forming part of
vol. vii of his "Musical Extracts."

1-10. " Dimostratione de tutti i Ca- I voices. "Romano Michele " [about

noni sopra il Canto fermo. Dalle i 1615]. f. 75.

Bcgolc di Musica, Di Rocco Rodio. ' 12,13. Two canons for 4 voices. "Adri-

Ristampate . . . 1608 " ; consisting ; ano Banchieri." f. 75b.



of canons for 3 voices, but without
words, in unison, and in the 2nd,
3rd, 4th, and 5th, above and below.
ff.64-65b.
11. " Canone del Metallo " ; for 3



14. "Ah, dolente partita." " Giaches
de Wert." f. 76.

15. " Canon a 6 voci." Anonymous.
f.76.



Additional 27642, f. 44b.

Paper ; a.d. 1784. Oblong quarto. See also under sacred Canons (vol. i, p. 120).

" Ah, Lover, shouldst thou try " : Canon for 3 voices (3 in 1), by
Dr. J. W. Callcott, 1784. Autograph.



CANONS. 5

Additional 29801, f. 142b.

Paper ; about 1784-1800. Oblong folio. See also below, under Songs.

Beginning of [Mozart's] " O du eselhafter Martin " ; for 4 voices,
in score, in the hand of L. van Beethoven.

Additional 34608, f. lib.

Paper ; about 1789. Oblong octavo. See also under Anthems (vol. i, p. 74).

Canon for 4 voices, in score, without words, by [Francesco] Turini,
Brescia, 1643. From Burney's History of Music, vol. iii, 1789.

Additional 30392, flP. 20b-22.

Paper; a.d. 1791. Quarto. See also under Anthems (vol. i, p. 75).

Canons, mostly without words, apparently by Dr. William Crotch.
Autograjpli.



1. " Four in 1," Dated in pencil, 1791.
f . 20b.

2, 3, "Three in 1." f.20b.



4. "I laugh, I cry." f.21.

5, 6. Three in 1. ff. 21b, 22.



Additional 29291, ff. 9b-24b passim.
Paper; 18th cent. Folio. See also under sacred Canons (vol. i, p. 123).
Canons, for 3 voices, in score.



1. "Long live King Charles" (in the
5th and 8th). Anonymous [from the
Musical Companion, 1667]. f. 9b.

2. "UT EEleuet MIserum FAtum
SOLitumque LAborem" (in the 5th
above and 4th below). " John
Hilton." f. 13b.

3. "Hey down a down! Behold and



see." "T. Tallis." f. 16.

4. A canon without words ; dated
"[17]79." Anonymous, f . 18b.

5. "lam so weary" (5th below and
4th above). "J. Hilton" or " T.
Ford." [Attributed to the latter in
Catch that catch can, 1652.] f. 24b.



Additional 29385, f. 45.

Paper ; 18th cent. Narrow oblong duodecimo. See also under Motets (vol. i,
p. 323).

" Pi ETAS omnium virtutum Parens et Fundamentum " : apparently
a Canon for 3 voices, in score, written in pencil. Probably composed
by John Immyns, in whose hand it appears to be.



VOCAL MUSIC— SECULAR.



Additional 29393-29395, ff. 2-5.

Paper ; 18th cent. Oblong duodecimo. See also under sacred Choruses
(vol. i, p. 162).

Canons for 3 voices, in parts, by [John] Travers. The folios are
the same in each volume, with one exception, indicated below.



1. " In amore hma omnia insunt vitia."
f.2.

2. " Nemo vir magnus." f. 3b.

3. "Maxima debetur Pueris Reuer-



entia." i, ii, f. 3b; iii, f. 4.

4. " Oderunt peccare boni." f. 4b.

5. " Proximus a tectis Ignis." f. 5.



Additional 31409, f. 28b.
Paper ; 18th cent. Oblong quarto. See also under Motets (vol. i, p. 326).

" Baisez moi " : chanson set as a Canon (3 in 6), by Josquin des
Pres, 1544.

Additional 31441, f. 80b.

Paper ; 18th cent. Oblong quarto. See also under Motets (vol. i, p. 32G),

*' Hey hoe, to the Green wood " : Canon in unison for 3 voices, by
William Byrd.

Additional 31471, f. 142.

Paper ; 18th cent. Folio. See also under sacred Canons (vol. i, p. 123), etc.

" DuRATE et vosmet rebus servate secundis " ; apparently written
for 6 voices, by Adrian Willaert.

Additional31649, f. 115b.

Paper ; 18th cent. Oblong folio. See also below, under Operas (1730-1833).

"To THEE 'twas giv'n to live": Canon in the unison, for 3 voices.
Anonymous.

Additional 14208, ff. 108-112.

Paper; late 18th cent. Oblong folio. See also below, under Operas
(18th cent.).

" XII Canoni a Tre voci," by Pietro Metastasio.



1. " No, non parlar d' amore." f. 108b.

2. " Sempre saro costante." f. 108b.

3. " Amare un infedel." f. 109.

4. " Come il candors d' intatta neve."
f . 109b.

5. " Mi giuri che m' ami." f. 109b.

6. " E pena troppo barbara." f. 110.



7. " Ti lascio, Irene." f. 110b.

8. " Perche mai, ben mio." f. 110b.

9. " Sei tradito." f. 111.

10. "Belle Ninfe, 6 nato Aprile."
f. 111b.

11. " Crudelta tiranna." f. 111b.

12. " Ah, che il destine." f. 112.



CANONS. 7

Additional 31418, f. 70b.

Paper ; late 18th cent. Quarto. See also under Anthems (vol. i, p. 90).

Resolution of the Canon on the frontispiece of Sir William
Leighton's Tears or Lamentations of a Sorrowful Soul, 1614; set to
the words " Resolutio of the Rota," etc., by E. T. W[arren Home].

Additional 31463, ff, 33-73 passim.

Paper ; late 18th cent. Large oblong octavo. See also under sacred Canons
(vol. i, p. 124).

Canons, etc., in score or parts. The first two and the last three
are for 4 voices, the others for 3 voices. Nos. 4-9 are properly catches
with Italian words and are written out in full. Nos. 4—6 are by
" Dr. [Maurice] Green[e]."



1. " If all be true as women say."
Anonymous, f. 33.

2. " Long live King George " ; in score,



3. "Hey ho, to the Greenwood"; in
score. "Bird." f. 46b.

4. "Chi va piano." f . 57.



altered by Dr. Boyce from "Long 5. " primavera." f. 61.

live King Charles," which appeared 6. " Alia madre di tutti santi." f. 64b.

anonymously in the Musical Com- 7-9. " Grazie agl' inganni tuoi " (3 set-
X)anion, 1G67 . f. 40b. tings). Anonymous. fi.l2h,lB, ib.



Additional 31463, ff. 20, 48, 66b.

Paper ; late 18th cent. Oblong octavo. See also under sacred Canons (vol. i,
p. 125).

Three Canons written out in full. Anonymous. The first two
are for 4 voices, the third for 3 voices. Nos. 1 and 3 were " collected
in 1580."



1. " Donnez a Boire." f. 20.

2. " Grazie agl' inganni tuo[i]." f. 48.



3. " Hey Ho, to the Green Wood." By
W. Byrd. f. 66b.



Additional 31671, f. 29b.

Paper ; late 18th cent. Oblong quarto. See also below, under Catches (1766-
1813).

" Come, creeping sleep " ; for 3 voices (in the 4th and 8th below).
Anonymous. An " attempt ... to blend somewhat of Canon, Catch,
and Glee together." Inserted among some catches, etc., by Samuel
Webbe.

Additional 31808, f. 116b.

Paper; late 18th cent. Quarto. See also below, under Glees (1784-1826).

" UT RElevet MIserum FAtum SOLitosque LAbores " ; for 4 voices,
in score. Anonymous.



VOCAL MUSIC— SECULAR.



Additional 31811, ff. 1 04-1 6 3b |)assm.

Paper ; late 18th cent. Oblong folio. See also below, under Catches.

Canons for 3 voices (unless the contrary is stated), in score.
Nos. 2-4 are anonymous, being apparently by candidates for the prize
medal [of the Catch Club ?].



1. "Hey ho, to the greenwood," By
W. Byrd. In the hand of R. J. S.
Stevens. f£. 104, 105.

2. " Under this stone my wife does lie "
(a 4). f. 107b.

3. "For me deceas'd weep not" (a 4).



f . 152b.

4. " Come, thou laughter - loving
power." f. 154b.

5. " Chloe, new married " (a 4). f. 158.

6. "Ah, louer, shouldst thou try." By
J. W. Callcott. "1785." f. 162.



Additional 31995, ff. 18, 19.

Paper ; la.te 18th cent. Oblong octavo. The MS. also contains sacred Canons
(vol. i, p. 125) and other examples of Harmony described in vol. iii.

Canons for 3 voices, in scoi-e, by an anonymous German composer.



1. In F. Beginning and end only, f . 18.

2, 3. Two in the unison, f. 18b.

4. In G. "Die nachfolgende stimme



noch so langsam." f. 19.
5. A perpetual Canon, f. 19.



Additional 32035.

Paper ; ff . 83. Late 18th cent. Oblong quarto.

" Canoni a Tre Voci del Sig''. Ab[b]ate Metastasio. In Napoli.
Presso Luisri Marescalchi." In score.



1. "No, uon parlar d' amore." f. 2b.

2. " Sempre saro costaute." f. 3b.

3. " In amor chi mai fin' ora." f. 4b.

4. " Amare un infedel." f . 7.

5. "Come il candore d' intatta neve."
f.8b.

6. "Che cangi tempre mai pin non
spero." f. 10.

7. " Mi giuri che m' ami." f. 12.

8. " Al bosco, cacciatori." f. 13b.

9. " Sciogliero le mie catene." f. 14b.

10. "Perche mai, ben mio." f. 16b.



11. " S' io t' amo, oh Dio." f. 17b.

12. "Tilascio, Irene." f. 19.

13. " Se viver non poss' io." f. 20.

14. " Perche, se mio tu sei." f. 23b.

15. " So che vanti un core ingrato."
f.26.

16. "Vol sole, Luci belle." f. 28b.

17. " Nel mirarvi, o Boschi amici."
f . 30b.

18. " Se lontan, Ben mio, tu sei."
f.31b.



Additional 35038, f. 45.

Paper ; late 18th cent. Quarto. See also under Anthems (vol. i, p. 100).

" Hic Jacet in Tumba Rosa mundi " : puzzle-canon, in 3 parts.
[By Charles Wesley.] Autograph.



CANONS. 9

Additional 14189, f. 41.

Paper ; 18th-19th cent. Oblong octavo. See also under Masses (vol. i, p. 230),

" Se a ciascun 1' inferno affanno " ; for 4 voices, by Zingarelli.
Inserted among some Motets (see vol. i, p. 338) by the same composer.

Additional 14207, f. 186.

Paper ; 18th-19th cent. Oblong quarto. See also below under Operas (18th
cent.).

" Ah, loin de rire, pleurons " ; described as " Canon a quatre voix et
a la quinte." By Jean Philippe Rameau.

Additional 29997, ff. 10, 39.

Paper; 18th-19th cent. Oblong folio. See also under String Quartets (182G),
in vol. iii.

Sketches [by Ludwig van Beethoven] of what appear to have been
intended for Canons.



1. Words illegible, f. 10.

2. "Lerne Schvveigen, Freund."
Different from the canon to those



V7ords which appeared in 1815.
f. 39.



Additional 14166, f. 43.

Paper ; early 19th cent. Oblong quarto. See also under Motets (vol. i, p. 343).

" Canon in ettacordo," for 2 voices, by Alessandro Scarlatti. In
the hand of G. Sigismondo.

Additional 32181, f. 15.

Paper; a.d. 1803, etc. Oblong folio. See also below, under Operas (1796).

Sketches of two Canons for 3 voices, in score, by F. X. Siissmayr,
1803. Autograph. They are " Perche mai, ben mio," and the
answer, " Perche sento un foco in me."

Additional 31819, fF. 2, 3b, 13.

Paper ; a.d. 1809. Obloug folio. See also under Hymns (vol. i, p. 187).

Canons, inserted in a volume of compositions apparently sent in by
candidates for the prize medal of the Catch Club.



1, " I am so weary " (3 in 1). " Thos.
Ford." f. 2.

2. " Do fa sol la " (5 in 2). Anonymous.
f.3b.



3. "Britannia mourns" (3 in 1).
"R. Cooke," 1809. Autograph {!).
f. 13.



10 VOCAL MUSIC— SECULAR.



Additional 35003, £.61.

Paper; about 1812 (watermark). Oblong folio. See also under Motets
(vol. i, p. 349).

" Canon, three in one," inserted in a volume of compositions by
Samuel Wesley, who was presumably the author.



Additional 32411, f. 49.

Paper; about 1818. Oblong octavo. See also under Chorales (vol. i, p. 157).

" O DU Nase " : Canon by F. A. Hiller, in the hand of Johann
Christian Lobe.

Additional 34803, f. 65b.

Paper; a.d. 1824 (?) (see f. 63b). Quarto. See also below, under Songs
(1820-1824).

Canon for alto, tenor and bass, but without words, by John Lodge
Ellerton. Autograph.

Egerton 2795, ff. 10, 10b.
Paper ; about 1825. Octavo, See also under String Quartets, in vol. iii.

" Alle gewaltsame That misfiillt ja den Gottern. Tugend ehren
. . . nur und Gerechtigkeit nlitzt den Menschen " ; in a sketch-
book of Ludwig van Beethoven, and apparently intended to be sung to
some musical notes in the key of F (f time).

Additional 33239, f. 148b.
Paper ; about 1832. Oblong folio. See also under Anthems (vol. i, p. 102).
"No, Lucinda" : Canon for 3 voices, by Dr. Blow.

Additional 11730, f. 134.

Paper ; a.d. 1833. Oblong folio.

"Enigmatical Canon in 3 parts," without words, by I[gnaz]
Moscheles, 1833. Autograph. Enclosed in a letter to Vincent
Novello.

Additional 19648, f. 44b.

Paper ; about 1833 (see f, 44). Quarto. See also below, under Glees (1810).

" If all be true as women say " ; for 4 voices in one, in score.
Anonymous. From Playford's Musical Companion, 1667.



CANONS. 11

Additional 32190, f. 48.

Paper ; a.d. 1834. Oblong folio. See also below, under Operas (early 19th cent.).

" MuNTRE Garten lieb' ich mir " : Canon for 3 voices, by J. N.
Hummel, founded upon the melody of a secular trio (described below)
by the Archduchess Maria Pawlowna.

Additional 31415 (part iii, f. 32 ; iv, f. 43b; v, f. 19).

Paper ; after 1835. Oblong octavo. See also below, under Madrigals.

" They who trust in womankind " ; described as " Canon for 4 equal
voices, by Eisenhofer, words by T[homas] 0[liphant], 1835." The
part for the 4th voice has been omitted.

Additional 35026, fl: \0h-Q8 passim.

Paper ; a.d. 1836-1854. Quarto. See also under Albums (1886-1895), in vol. iii.

Canons, for 2 voices, and autograph, unless the contrary is stated.
Most of them are without words.



1. "Moderate," in C minor (| time).
" Robt. Lindley." f. 10b. .

2. "Wer dieseu canon singenkaun":
enharmonic canon for 4 voices. " J.
Staudigl, London, 20 July, [1]843."
f. 45.

3. " In questa vita." "Mario, London,
19 July, 1854." f . 56.

4. "Ah, chi sa se mai " ; for 4 voices.
"Alfredo Piatti, Londra, il 12 Feb-
brajo, 1854." f. 59.



5. A quasi-canon, in B minor (common
time), described as "Quartett? Mode-
rate." "Felix Mendelssohn Bar-
tholdy, London, 7'" Sept. 1837."
f. 66.

6. In D (I time). "Louis Spohr,
London, den 29sten Juui, 1843."
f. 67.

7. '-'Canon a 4," in G, "Bernhard
Molique, London, the 24th of Slay,
1852." f . 68.



Additional 34804, f.



o



o



Paper ; a.d. 1855. Oblong folio. See also below, under Songs (1820-1824).
" My love is dead " : Canon (4 in 2) by James Coward, 1855.

Additional 34052, passim.

Paper ; 19th cent. Quarto. The MS. belonged to Miss S. S. Banks. It also
contains a few sacred Canons (see vol. i, p. 129).

" Raccolta di Cantici e Canoni di varii Autori " : a collection of
Canons in the unison, or catches, in score. Nos. 3-10, 12—20, are for
4 voices; no. 11 for 6 voices; nos. 21 and 28 for 5 voices; the rest
are for 3 voices. Except where the contrary is stated, they are
anonymous.



1. "II Vin m' ha dato in Testa." f. 5b.

2. "Tu sei vaga"; by a French com-
poser, f. 6b.



3. "L' altro giorno un bel lepretto."
f.9.

4. " Amar vorrei la bellaNina." f. 10b.



12



VOCAL MUSIC— SECULAR.



5. "Trova un sol, mia bella Clori."
f. 11.

6. "II maestro m' insegno (sic) do re."
f.l2.

7. "Mio ben, lo moro." " Gio. Bat-
t[ist]a Borri." f. 12b.

8. " Canta pur, caro mio ben." By the
same. f. 13.

9. "Non posso piu cantar." By the
same. f. 13b.

10. " Delle donne 1' amicizia." By the
same. f. 14.

11. " Vivande al fuoco." By the same,
f. 14b.

12. " Gia che viene la stagione d' andar
a caccia." f. 16.

13. " Vivat in eternum Londinum."
" P. Martini da Bologna." f. 19.

14. "E troppo dolore." "Gio. Bat-
t[ist]a Borri." f. 21.

15. " Tai tai tai ta la la ra ta ra ta ta,
lo Canto." f.22,

16. " Dirai di me pietosa." f. 23.

17. " Dair amoroso ardor." f. 24.

18. "losono in allegria." " Pitoni."
f. 25,

19. "Do re mi fa mi vien' a noia."
"Bassetti." f . 25b.

20. " Fa fe fi fo fu;" f . 26b.

21. " Puggite amor." " Gasparini,"
f.27.

22. " Pupille care, voi dormite." "Gio.
Batt[ist]a Borri." f. 30.

23. " Che sent' tut' languir." f. 30b.

24. "Lacarozza del Dottore." "Gio.
Batt[ist]a Borri." f. 31b.

25. " Cara Nina, sto aSannata." f. 32b.

26. "Fortuna, fammi far felice fine."
" Gio. Batt[ist]a Borri." f. 33.

27. Another setting of the same words.
By the same. f. 34.

28. "II Merluzzo, il Salmone." By the
same, f . 34b.

29. "lo peno, io moro." "Quirino
Colombani." f. 36.

30. "In baize orrende." "Gio. Bat-
t[ist]a Borri." f. 37.

31. " Se tu mi vuoi bene." f. 38b.

32. " Dimmi una volta almeuo." " Ar-
resi." f. 39b.



33. "Io peno, e moro." "Gio. Bat-
t[ist]a Borri." f. 41.

34. " La mia Gallina." f.42.

35. " Per te, mio ben, Io moro." " Gio.
Batt[ist]a Borri." f. 42b.

36. "Cara vita, mio bene." By the
same, f . 43b.

37. Belle Ninfe, scherzando danzate."
f . 44b.

38. "Parole poco pensate." f. 45.

39. " Torna la primavera." f . 46.

40. " Per voi mi struggo." f. 47.

41. " Chi vuol conciar le scarpe rotte."
f.48.

42. "Allegramente tutti noi." f. 48b.

43. " Io moro, Io spasimo." f . 49b.

44. " Alma di questo sen." f. 50b.

45. " Fra I'altre cose." f. 51.

46. " Serbami la tua fe," f. 52.

47. "0 noiosi Ciceroni." f. 52b.

48. " Contento di tua fe, Roma Cara."
f. 53.

49. " Chi nasci matto non guarisce
mai." f. 53b.

50. "lomenevoglioandaraCasa." f. 54.

51. "La mia Signora vuole." "Flo-



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