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riano Arresti." f . 54b.

52. " Col Nome d' :Amore," By the
same, f . 55.

53. " Scusi, perdoni." " P. Martini da
Bologna." f . 57b.

54. " Penando Io moro." f . 58b.

55. "Ecco, quel fiero istante." f . 59b.

56. "E che diro." f. 60b.

57. " Povero mero zoppo." f . 61b.

58. "Levati di qui, Signor Dottore."
" Floriano Arresti." f . 63.

59. " Donne chi vuol comprar." Anony-
mous, f. 63b.

60. " Bevete voi, no." f. 64.

61. "Andiamo, beviamo, cantiamo."
f . 64b.

62. "Canoni voi volete, caro Signor
Marchese." f . 65.

63. " Caro bell' Idol mio." f. 66.

64. " No, non parlar d' amore." f. 67.

65. " Vuoi tu venir meco." f. 68.

06. " quauto." " P. Martini da Bo-
logna." f. 68b.



CANTATAS. 13



SECTION II.— CANTATAS



INCLUDING SHORTER WORKS FOR SOLO VOICES AND CHORUS WITH

ORCHESTRA.



Additional 10338, flf. 51b-56.
Paper ; after 1669. Small folio. See also uuder Motets (vol. i, p. 283).

" Felice Pastorella " ; consisting of solos, duet, trio, and 5-part
choruses, with symphonies for 5 strings, in score, by George Jeffreys.
Aidogra]}h.

Additional 30382, f. 29.

Paper ; A.D. 1678-1686. Folio. See also under Motets (vol. i, p. 285).

" Amanti, che dite" : a fragment of the last chorus (for 3 voices),
with a bass for harpsichord, in score, from the serenata " I naviganti,"
by Giacomo Carissimi.

Additional 33334, ff. 135, 143.

Paper ; a.d. 1680-1682. Folio. See also below, under Songs.

Compositions, in score, apparently in the hand of Charles INIorgan,
of Magdalen College, Oxford.



1. Another copy of the chorus as above,
Add. 30382. "Carissimi." f. 135.

2. " As on Septimius' panting breast":
cantata for 3 solo voices and 3-part



chorus, with a bass. "Dr. John
Blow." For the symphonies, see
Add. 22100, f. Ill (below), f. 143.



Additional 22100, fiP. 79, 111.
Paper ; about 1682. Folio. See also under Anthems (vol. i, p. 28).
Compositions, in score, apparently in the hand of — Dolbin.



1. " Awake, awake, fair goddess of this
place " ; for solo voices and 3-part
chorus, with a bass. " Hall." f. 79.

2. "As on Septimius' panting breast" ;



with symphony, etc. , for strings. "Dr.
Blow." (The symphonies given here
are fuller than those published in the
Avq^hion Anglicus, 1700.) f. 111.



14 VOCAL MUSIC— SECULAR.



Additional 29397, ff. 13b, 94b.

Paper ; about 1682-1690. Narrow oblong duodecimo. See also below, under
Songs.

Compositions for solo voices with chorus, in score, without
accompaniment.

f. 13b.



1. "A beart in love's empire"; for
two shepherdesses and a shepherd,
with 2-part chorus, " Rob. Smith."



2. " As on Septimius' panting breast."
" Dr. Blow." f. 94b (reversed).



Additional 14399, ff. 31b, 34b.
Paper ; second half of 17th century. See also below, under Songs.

Two compositions for 2 or 3 voices and 3-part chorus, with a bass
for harpsichord, in score, by Dr. [John] Blow.



1. "As on Septimius' panting Breast."
f. 31b.

2. "Greate Queen of Love, behold":



described as a " dialogue between
Cupid and Venus." ff. 34b-36.



Additional 31473.

Paper ; ff. 20. Late 17th cent. Small oblong folio. The LIS. belonged to
Joseph Warren.

" I Naviganti " : serenata for 2 trebles and a bass, consisting of
solos, duets, and trios or 3-part chorus, with figured bass, in score,
by Carissimi. Begins, " Sciolto hauean dall' alte sponde."



Additional 33235, ff. 57b, 99.

Paper ; late 17th cent. Folio. See also under Anthems (vol. i, p. 38).

Compositions for solo voices and chorus, in score.

1. "Mr. Cowley's complaint"; beg. j "H[enry] P[urcell]." ff. 57b-63.
"In a deep vision's intel[l]ectual , 2. " Amanti, che dite " : from "I



scene " ; for bass solo and 3-part
choruses, with a basso continue.



Naviganti." " Carissimi." (See
Add. 31473, above.) f. 99.



Additional 33287, ff. 3b, 17b, 31b.
Paper ; late 17th cent. Large folio. See also below, under Odes.

Cantatas for solo voices and chorus, with symphonies and accom-
paniments for strings.

1. "Whilst (sc. As) on Septimius' pant- Turner." f. 17b.

ing Breast." "Dr. John Blow." 3. "If ever I more riches did desire."
f.3b. " Henry Purcell." f.31b.

2. " 'Tis you, great Ceres." " William



CANTATAS. 15

Additional 14229, fF. 121-129.

Paper; 17th-18th cent. Oblong folio. See also below, under Songs
(1723-1732).

[" I Naviganti "] : serenata, with a bass for harpsichord, in score,
by Carissimi. Add. 31488 (below) contains a movement which is
omitted (after f. 121b) in the present copy.



Additional 31472, f. 72.

Paper ; early 18th cent. Folio. See also under Motets (vol. i, p. 295).

" Amante (sic), che dite " ; with a bass for harpsichord or organ,
in score, from the preceding serenata, by Carissimi.

Additional 31488, ff. 56-87.

Paper ; early 18th cent. Oblong folio. See also below, under Songs.

" I Nauiganti " ; with a figured bass for harpsichord, in score, by
Carissimi.

Additional 14120, ff. 155-1 93b.

Paper ; a.d. 1712. Oblong folio. See also below, under Operas (1720).

Part II of a Cantata in honour of the Emperor Charles VI, beg
" Quando il sole e ancor nascente," with symphonies and accompani-
ments for oboes and strings, and a figured bass for harpsichord,
in score [by Nicolo Porpora], Rome, 29 October-2 November, 1712.
Autograjpli. Characters : Gloria, Genio, Fortuna, Valore.

Additional 31455 (part i, f. 7b ; iii, f. 11 ; iv, f. 23b).

Paper ; after 1713. Small folio. See also below, under Operas.

Second treble, bass, and first treble parts of " Amante (sic), che
dite," from Carissimi's " I Naviganti."

Additional 22271.

Paper; fi. 117. About 1716? (see below). Oblong quarto.

" Rid A il mar " : serenata for 4 solo voices, with symphonies and
accompaniments for flutes, oboes and strings, and a bass for harpsi-
chord, in score, by Domenico Sarri. Apparently composed in joint
honour of the Emperor Charles VI and his infant son Leopold, who
only survived his birth (13 April, 1716) a few months (see ff. 72,
101b, etc.).



16



VOCAL MUSIC— SECULAR.



Additional 36710.

Paper ; ff . 126. Before 1732. Folio.

" Acis [and Galatea]," described on the original cover (now pasted
inside the upper cover) as " Mr. Handle's pastoral. The First
Compleat Score that ever was wrote out." At f. 3 is " The Story of
Acis .... made into a pastoral by Mr. Pope " (really by Gay),
followed at f. 6b by the " Persons consarnd in y^ vocal performance "
(" Pallexiion," Damon, ""Corridon," Strephon, etc.), and "The order and
method of y^ performance, also an Indix to the whole " ; from which
it appears that the greater part of the work is accompanied by
2 violins, 2 oboes, and a thorough-bass for harpsichord, with the
occasional addition of 2 flutes and (in the accompaniments to Poly-
phemus' later songs) a " duble curtal " (a sort of bassoon). The
chorus setting of the words " Happy we," which was added by Handel
at the time of the revival of the work in 1732, is omitted here.



Additional 31572, ff. 172-178b.

Paper ; after 1734. Oblong folio. See also below, under Operas.

Two ARIAS, with symphonies and accompaniments for strings, in
score, from the serenata, " Parnasso in Festa" [1734], by Handel.



1. " Circondin lor vita le grazie florite."
f. 172.



2. "Tornipure." f. 175b.



Additional 14122.

Paper ; ff. 140. a.d. 1736. Oblong folio.

Two SEBENATAS for solo voices and 4-part chorus, with symphonies
and accompaniments for horns, trumpets, oboes, strings, and a figured
bass for harpsichord, in score, by Nicolo Porpora. Part of the first
and the whole of the second are autograph.

1. " Odi mi, Alcide." f. 1. of the marriage of Frederic, Prince

2. " Dalla gemmata oriental pendice " ; of Wales, and the Princess Augusta
with flutes, bassoons, drums, etc, of Saxe-Coburg in 1736 (see ff. 56b,
Said to be written on the occasion 64, 102, etc.), f. 49.



Additional 32430.

Paper ; ff. 115. a.d. 1743 (?). Oblong quarto.

" Cantata a 3 Voci con Violini, Trombe, Oboe, e Corni da Caccia,"
flutes and a figured bass for harpsichord, in score, by Giovanni Battista
Costanzi ; composed in 1743 for Cardinal [Trojano] Acquaviva. Correc-
tions and additions in the composer's autograph are interspersed through-
out the MS. The Cantata is divided into two parts, the words, com-
mencing " Genio diletto," being by Metastasio. Principal characters :
Gloria, Genio Romano, and Tempo.



CANTATAS.



17



Additional 14162, fF. 162-1 92b.
Paper ; a.d. 17C8. Oblong quarto. See also under Motets (vol. i, p. 33i).

" Alto Olimpo " ; in score, by Rafaele Auletta, 1768, Autograph.
Though described as a " Mottetto," the work appears to be rather of
the nature of a Cantata. It begins with a 4-part chorus, which is
followed by recitatives and arias for soprano, alto, and bass solo voices.
The symphonies and accompaniments are for trumpets, oboes, strings,
and organ.



Additional 19647, flP. 1, 90.

Paper ; a.d. 1783, etc. Oblong folio and folio. See also below, under Songs
(1786-1789).

Portions of two works for solo voices, with symphonies and
accompaniments for oboes, trumpets, horns, drums, strings and other
instruments named below, in score, composed by J[ames] Hook for
Vauxhall Gardens. Autograph.



1. " The Love Wrangle, a Pastoral
Interlude," beginning " Once on a
time, no matter when." Dated
" 1783 " ; sung by Mesdames Weich-
sell (the mother of Mrs. Billington),
Wrighten, Kennedy, Arrowsmith,
and [Elizabeth] Billington, and



Messrs. Billington and Howard.
Imperfect at the end. ft. l-14b.
2. " Since wedlock's in Fashion " : now
finale (1797) to "Maids and Bache-



lors " ; with
ff. 90-lOlb.



flutes, bassoons, etc.



Additional 32409, ff. 1-17.



Paper ; about 1784. Oblong quarto,
for Orchestra, described in vol. iii.



The MS. also contains some Entr'actes



" Intrattimento Musicale, Per .... Ernesto, Duca Regnante di
Saxe Gotha, Altenboui^g, etc." beg. " Sempre di verdi allori." It consists
of a cavatina and 4-part choruses, with an introductory march and
accompaniments for oboes, horns, drums, and strings, in full score, by



Angelo Tarchi.



Additional 31307, ff 13-6 lb.

Paper; after 1786 (see below). Folio. See also under Masses (vol i, p. 226).

" Cantus lugubris in obitum Friderici Magni Borussorum Regis
ad voces alternas magnamque Orchestram accomodatus et in sollem-
nibus Exsequiis die v ante Idus Septembris mdcclxxxvi Potsdami
celebratis, peractus praecipiente Joanne Friderico Reichardt, Concentus
aulici Magistro " ; for solo voices and 4-part chorus, with symphonies
and accompaniments for flutes, clarinets, bassoons, horns, trombones,
drums, strmgs, and organ, in score. Begins " Quern virum aut heroa."

II c



18 VOCAL MUSIC— SECULAR.

Additional 31669, f. 43-47.

Paper ; a.d. 1797. Quarto. See also below, under Operas.

"■ Let's Imitate her notes above " : duet, with a figured bass for
harpsichord, in score, by Handel. [From " Alexander's Feast, 1736."]
In the hand of R. J. S. Stevens.

Additional 31412, ff. 8b-9b.
Paper; a.d. 1798. Oblong quarto. See also under Oratorios (vol. i, p. 373).

" Amanti, che dite " ; with a bass, in score, from " I Naviganti," by
Carissimi. In the hand of Dr. Crotch, 1798.

Additional 32181, ff. 27, 36, 111.

Paper ; a.d. 1798. Oblong folio. See also below, under Operas (1796).

Cantatas, two of them imperfect, in score, by F. X. Siissmayr.
Autofjrajph.

1. Recitative and aria, without words, i of Freifrau Anna Maria von Lang,
from " Der Ritter in Gefahr," with : 1798. ff. 36-49b.

symphonies and accompaniments for I 3. Chorus of Shepherds and Shepherd-
clarinets, oboes, horns, and bassoons. I esses, " Fra si dolci amene rive";
ff. 27-35. , with flutes, oboes, horns, and strings,

2. " Sey uns dreymal hoch willkom- j from "Alcidoro e Dalisa," or " Gli



men," described as " Jubelfeyer," for
solo and chorus, with similar accom-
paniments, sung on the name-day



amanti in Tempe." Imperfect at the
end. ff. lll-114b.



Additional 5321, ff 1-1 02b, 104b.
Paper ; 18th cent. Oblong quarto. See also below, under Songs.
Compositions, in score, by Handel.

1. •' Acis and Galatea " ; serenata for I is here written in the soprano clef

solo voices and 5-part chorus (the 3 ' and assigned to Glori. f. l.i
middle parts assigned in the 1st 2. " Come la Rondinella " : aria, with

chorus to alto and 2 tenors, in the accompaniments for archlute, violins,

others to 3 tenors), with symphonies i etc., in score, from the Cantata for 3

and accompaniments for flutes, oboes, [ voices, " Conosco che mi piaci."

and strings, in score. The aria, , f . lOdb.

" Consider, fond shepherd " (at f. 67), I

Additional 31561.

Paper ; ff . 159. 18th cent. Oblong quarto.

"Acis and Galatea": serenata, in score, by Handel. Unlike the
copy in Add. 5321 (above), the aria, "Consider, fond Shepherd," at
f. 99b, is here written in the tenor clef and assigned to Damon ; the
first chorus is also directed to be sung by a canto, 3 tenors, and a bass.
Apparently in the hand of John Christopher Smith.



CANTATAS. 19

Additional 5328.

Paper ; f£. 26. 18th cent. Quarto.

" The choice of Hercules " ; for solo voices and 4-part chorus,
with overture and accompaniments for trumpets, horns, oboes, bassoons,
strings, and organ, in score, by [Charles] John Stanley, whose book-
plate, with arms, is at the beginning of the MS. A much shorter
work than Handel's serenata with the same title.

Additional 31567.

Paper ; ££. 161. 18tb cent. Oblong quarto.

" II Convito d' Alessandro " ; sc. an Italian version of " Alexander's
Feast," for solo voices and choruses of 4 and 6 voices, with overture
and accompaniments for trumpets, horns, flutes, oboes, bassoons, and
strings, and a figured bass for harpsichord or organ, in score, by
Hendel, sc. Handel.

Additional 32594, ff. 8, 21.

Paper ; 18th cent. Folio. See also under Motets (vol. i, p. 363).

" Huldigung's Music," in honour of the Elector [Friedrich August
III 1] of Saxony, written for solo voices and 4-part chorus, with sym-
phonies and accompaniments for flute or oboe, trumpets, drums, and
strings, with a bass for harpsichord or organ, in score, by — Hicht.
AutograjjJi. The work consists of : —



1. " Siehe, es wird ein Konig regieren " ;
described as " Kircben-Music." f. 8.



2. "Das Regiment auf Erden " ; de-
scribed as " Tafel-Music." f. 21.



Additional 14197, ff. 75, 140.

Paper ; late 18tb cent. Oblong quarto. See also under sacred Songs (vol. i,
p. 435).

Instrumental parts of two compositions, consisting chiefly of
recitatives and arias, and ending with a quartet or a chorus. Each is
divided into two parts. Anonymous.



1. Oboes, trumpets, and strings. With-
out words, ff. 75-130.

2. Parts for 2 oboes. The first words



of most of the numbers are given, as
"Lo sciempio," etc. ff. 140-151.



Additional 32182, ff. 216-260b.

Paper ; late 18th cent. Oblong folio. The MS. belonged to J. N. Hummel.
It also contains part of an Opera and a Song, described below.

" vol deir Istro fortunate piaggie." This Cantata appears to have
been used in the composition of " Der Ritter in Gefahr " (see Add. 32181,
f. 27, above, p. 18). Written upon the combined occasions of the birth

c 2



20 VOCAL MUSIC— SECULAR.

of a second royal archduchess, and of several victories gained by the
Austrian arms [? Verona, 1799] ; the words by Conte Giovanni Arriva-
bene, the music by Franz Xaver Sussmayr. It is for solo voices (Fame,
a Shepherdess, and Pallas), with symphonies and accompaniments for
flutes, oboes, horns (English, etc.), bassoons, and strings, in score.

Additional 32183, ff. 1-48.

Paper; 18th-19th cent. Oblong folio. See also under Masses (vol. i, p. 231).

" Perlen gliinzen auf der Flur " : Cantata for solo voices and 3-part
chorus, with symphonies and accompaniments for flutes, oboes, clari-
nets, bassoons, horns, and strings, in score, by [Joseph] Tribensee.
Autograph.

Additional 31820, ff". 5-6.

Paper; early 19th cent. Oblong folio. See also under Anthems (vol. i, p. 96).

" Prepare then, ye immortal choir " : duet for 2 sopranos, in
score, by Handel [from " Semele," 1743], transcribed by R. J. S.

Stevens.

Additional 32195.

Paper ; ff. 219. Early 19th cent. Oblong folio.

" Irene " : Cantata, beg, " Der Welten grosser Herrscher," for
solo voices and 4-part chorus, with overture, symphonies, and
accompaniments for flutes, oboes, clai'inets, bassoons, horns, trumpets,
drums, triangles, and strings, in score, by J. N. Hummel. The
overture appears to be borrowed from his ballet, " Helene et Paris."

Additional 28971, ff". 106-124.

Paper ; a.d. 1800. Oblong folio. See also below, under Songs.

Two "New Finales for Vauxhall, 1800"; for solo voices, with
symphonies and accompaniments for flutes, trumpets, horns, bassoons,
drums, and strings in score, by J[ames] Hook. Autograph.



1. " May," beg. "The Daiseys peep " ;
for 4 voices, the upper part being sung
by the three sopranos in unison.
The words by " Peter Pindar" {sc.



John Wolcot). f. 106.
2. "The Suitors," beg. "We come,
.... fair maids, to sue for Love " ;
for 6 voices, f. 112.



Additional 32190, ff. 59, 76.

Paper ; a.d. 1804. Oblong folio. See also below, under Operas.

" MusiQUE [d'occasion] " ; for solo voices and chorus, with pianoforte
accompaniment, in compressed score, by J. N. Hummel. Autograph.

1. "Le boncheur de virere (sic) au nous chantons la plus belle "; written
village"; written for Count Charles i in honour of Princess Leopold Eszter-
Zichy. " 12''" (sic) Dec. [1]804." f. 59. ■ hazy. "15 Nov. [1]804." f. 76.

2. " Des Berger[e]s de nos hamoaux



CANTATAS.



21



Additional 32191.

Paper ; ff. 343. a.d. 1806, 1807. Oblong folio.

Two Cantatas for solo voices and 4-part chorus, with overture (or
introduction) and accompaniments for flutes, oboes, clarinets, bassoons,
horns, trumpets, basset-horn (or corno Inglese), drums, and strings, in
score, the drums and some of the wind instruments being generally in
a separate score. By J. N. Hummel. Autograph.

1. "Diana ed Endimione," beg. "Si " Der Ki-anz von grosser Ahnenthat
stanchin le fiere." " [1]806." f. 1. umlaubt." " [1]807, Marzo." f. 225.

2. "Das Lob der Freundschaft," beg.



Additional 32192.

Paper; ff. 180. a.d. 1807. Oblong folio.

Cantata for solo voices and 4-part chorus, with ovei'ture and
accompaniments for trumpets, horns, clarinets, oboes, flutes, bassoons,
drums, harp, and strings, in score, with a separate score for some of
the wind instruments ; the words written by F. W. Tesche in honour
of the name-day of Prince Prosper von Sinzendorf, the music by
J. N. Hummel. Autograph. Begins " Herbei, ihr Freunde."

Additional 33311, ff. l-82b.

Paper ; about 1809. Oblong folio. The MS. also contains a Quartet and a
Song (early 19tli cent.) and Trios (1802), described below.

" Inno Osia Cantata a quattro voci, con strumenti Per la Battaglia
di Maida [1809]. Composto da [John Fane] Lord Burghersh [Earl of
Westmorland 1841] Assistente Agiutante Generale " ; with symphonies
and accompaniments for strings, oboes, and horns, in score. Auto-
graph. Begins " Midst these scenes of Antient Story " ; and in the
Italian version, " Scene che un di L' antica storia fece Teatro."



Additional 32194.

Paper ; ff. 265. a.d. 1810-1827. Oblong folio.

Four Cantatas for solo voices and 4-part chorus, with symphonies
and accompaniments for flutes, oboes, clarinets, bassoons, horns,
trumpets, drums, strings (except in no. 3), and other instruments
mentioned below, in score ; by J. N. Hummel. Autograph.

1. " Chantons, c616brons la journee " ;
performed at the French Embassy at
Vienna in honour of the marriage
of Napoleon and Marie Louise of
Austria [1810J ; with a pianoforte or
harp part in one of the numbers.
Op. 37. Followed (at f. 85) by a
pianoforte part. f. 1.



2. " Vernahmest du gleich uns, o
Orpheus " ; in memory of J. Haydn.
"[1]813." f. 116.

3. " Kehrt der frohe Tag uns wieder " ;
with cymbals, etc. In honour of
Goethe's birthday. " 1827." Vn-
finished. 1. 168.

4. "Wie schon, wie wonnig, strahlt.



22 VOCAL MUSIC— SECULAR.

Tag, dein Glanz"; with trom- Feb" 1827." One of the numbers

bones, etc. Written in honour of the , (at f. 237) is borrowed from the

birthday of [Karl August] hereditary cantata "Diana ed Endimione " (see

Grand Duke of Saxe- Weimar. "25 j Add. 32191, f. 1, above, p. 21). f. 192.

Additional 32193, ff. l-98b.

Paper; a.d, 1812, efc. Oblong folio. See also below, under Songs (1799).

Two Cantatas for solo voices and 4-part chorus, with symphonies
and accompaniments, for flutes, oboes, bassoons, horns, trumpets,
strings, and other instruments mentioned below, in score. By J. N.
Hummel.

1. "Euterpens Abschied"; with tri- ' "EntflohensinddiefrohenStunden."

angles, tambourines, etc. Written | f. 1.

by — Gotz for the "Reunion" at 2. " Heil diesem Tag "; with clarinets,

Vienna. "Marz, [1]812." Begins i trombones, drums, eic. f . 56.

Additional 32462.

Paper ; ff . 97. About 1815. Oblong folio.

" Kampf und Sieg " : Cantata in celebration of the battle of "Waterloo,
the words by Wohlbriick, the music by Carl Maria von Weber.
Written for solo voices and 4-part chorus, with introduction and
accompaniments for flutes, oboes, clarinets, horns, bassoons, trumpets,
drums and strings, in score, and trombones in a separate score.

Additional 36966, f. 181 ; 36967, f. 115.

Paper ; a.d. 1830, 1831. Oblong folio. See also under Songs.

Two compositions for solo voices with chorus, accompanied by flutes
(ottavino and traverse), oboes, bassoons, long-drum or bass-drum,
cymbals, side-drum, triangle, kettle-drums, trombones, trumpets, horns,
clarinets, and strings, and (in the first piece) by a " Pavilion Chinois,"
in two separate scores. Written by [Sir] Henry R[owley] Bishop for
Yauxhall Gardens. Autograph.

36966. "Finale . . . 1830," entitled i 36967. "Concerted piece . . . 1831,"
"The halt of the Caravan," beg. entitled " The Welcome," beg. " The



" Halt 1 halt 1 halt ! Now the sun
is at its height." f. 181.



winter is o'er." f. 115.



Additional 32671, f. 37b.

Paper; about 1842-1843. Oblong quarto. See also below, under Operas
(1837-1843).

" Plan of [a] Cantata," by Michael William Balfe, in which the
singers were [Mme. Pauline] Garcia Viardot, — Dupont, [Gilbert]
Duprez, [Willoughby Hunter] Weiss [who made his debut in 1842],
the composer, and his wife. Autograph.



CANTATAS.



23



Additional 30346, ff. 18-22b.

Paper ; first half of 19th cent. Oblong folio. See also below, under Operas
(1826).

" O GiORNo sereno " : short Cantata for tenor and bass solo voices
and 4 -part chorus, with accompaniments for trumpets, flutes, clarinets,
bassoons, trombones, ophicleide, and bass-drum, in score, and a separate
pianoforte accompaniment, by Rossini. Autoorapli.



Additional 31311.

Paper ; fi. 86. First half of 19th cent. Oblong folio.

" Deutschlands Retter " ; the words by Philipp Baren (?), the
music by Abbe [Joseph] Mainzer. The symphonies and accompani-
ments are for flutes, oboes, clarinets, bassoons, horns, trumpets,
trombones, drums (timpani and tamburo) and strings, in score.
Begins " Bang klirrt das Erz."



Additional 33570, ff. 184-210.

Paper ; first half of 19th cent. Oblong folio. See also below, under Operas
(1828).

"Years have past, fair Waterloo"; for solo voices and 4-part
chorus, with trumpets, horns, clarinets, flutes, oboes, bassoons and
strings, in score, and a separate score for drums and trombones, by
Sir H. R. Bishop.

Additional 32385.

Paper ; ff. 72. a.d. 1858, e^c. Oblong folio.

Two compositions for solo voices and 4-part chorus, with
symphonies and accompaniments, in full score, by [Sir] Michael
Costa. Autogra2)h. The words are by W. Bartholomew.



1. "The Dream": a serenata, beg.
"0 tell me, gentle orb of night";
with flutes, oboes, clarinets, horns,
cornets, bassoons, trombones, ophi-
cleide, harp, drums and strings.
Written for the marriage of the



Princess Koyal, 1858. f. 1.
2. " Ethelberga " : a Cantata, beg. " If,
lady, thou art still awake " ; with
the same instruments, written for
the marriage of the Prince of Wales,
1863. f. 37.



Additional 32672, f. 88b.

Paper ; about 1862. Polio. See also below, under Operas (1843-1861).

Sketch of " Come, drink to the brave and the fair " : chorus from
Mazeppa." [By Michael William Balfe, 1862.] Autograph.



24



VOCAL MUSIC— SECULAR.



Egerton 2735, ff. 1-8.
Paper; about 1870. Folio. See also under Pianoforte Solos (1882), in vol. iii.

"ZuR Beethoven-Cantate Vorspiel," by F[ranz] L[iszt] : the
unpublished overture to the Cantata " Zur Sacular-Feier Beethovens,"



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