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Additional 19648, f. 14.

Paper ; about 1810. Quarto. See also under Glees (above, p. 117).

" Think on me " ; harmonized for 4 voices, with pianoforte
accompaniment, in score, by D. Bruguier, from the melody by J. A.
Stevenson.

Additional 30246, ff. l-6b.

Paper ; a.d. 1823. Oblong folio. See also under Operas (above, p. 414).

" Dall' Oriente" ; for treble, 2 tenors, and a bass, with pianoforte
accompaniment, in score, by Rossini. Autograph. Dedicated to the
Countess Sant' Antonio.



SECTION XIV.— QUINTETS.



Additional 32188, ff. 90-96b.

Paper ; early 19th cent. Quarto. See also under Songs (1822), below.

" Placa gli sdegni tuoi " ; for 5 voices without accompaniment, in
score, in the hand, and evidently the composition, of J. N. Hummel.



460 VOCAL MUSIC— SECULAR.



SECTION XV.— SEPTETS.



Additional 19647, f. 15.

Paper ; a.d. 1786. Oblong folio. See also under Songs, below.

" The Scobnfull Maids," beginning " Now's your time, pretty
maids"; described as " New Catch for Vauxhall, 1786." With
symplionies and accompaniments for flutes, horns, bassoons, and strings,
in score. By J[ames] Hook. Autograijh. Sung by Mesdames
Weichsell, Wrighten, Kennedy, Arrowsmith, and Messrs. Billington,
Evans, and Mahon.



SECTION XVI.— SOLEEGGI *

AND OTHER VOCAL EXERCISES.



Harley 978, ff. 14b-15.
Vellum ; after 122G. Octavo. See also under Catches (above, p. 25).

Explanation of certain musical terms employed in singing,
beginning "Est tonus sic : ut re ut." The whole is set to music, with-
out harmonies.

Additional 36526a, f. 7.

Paper ; after 1597. Oblong octavo. See also under Madrigals (above, p. 131).

Hints for reading vocal music, apparently in the hand of Joseph
Palmer, of Cropredy [co. Oxon].

Sloane 1021, f. 108.

Paper ; about 1640. Small quarto. See also under Songs, below.

" Appendix de solmisatione, h.e. sonos per voces musicales expri-
mendi exercitio " ; added at the end of a musical treatise appai-ently
written by Johann Stoboius.



* For earlier works on solmization, etc., see Treatises, in vol. iii.



SOLFEGGI. 461

Harley 7549, fF. 46b-52 (reversed).

Paper ; 17th cent. Oblong octavo.

Unaccompanied vocal exercises, at the end of a book of Songs (q. v.)
of the same period.

Additional 4388, f. 102b.

Paper ; 17th cent. Folio. See also under Songs, below.
A VOCAL exercise, written in the treble, alto, and bass clefs.

Additional 14242.

Paper ; ff. 104. Early 18th cent. Quarto.

Solfeggi for 2 voices, without accompaniment, by Filippo Antonio
del Fattore, preceded by explanations of a few of the principal musical
notes and signs necessary for singing. The mutilated inscription at
the beginning appears to supply particulars of the author.

Additional 14243.

Paper ; ff. 30. Early 18th cent. Folio.

" Aeie Gravi Per Scola di ben Cantare, di Tommaso Carapella."
See under Songs, below.

Additional 14245, ff. 2-29b.

Paper; A.D. 1726. Oblong folio. Belonged (?) to [Domenico ?] Scarlatti. See
also under Pianoforte Solos (18th cent.), in vol. iii.

A WORK [" Lettioni per noteggiare a Voce Sola, con il Suo Basso
continuo "] by Giuseppe Montuoli, copied at Naples in 1726 [from the
work published at Lucca in 1702].

Additional 31617, ff. 1-73.

Paper; a.d. 1756. Oblong folio. See also under Pianoforte Solos (1783), in vol. iii.

Solfeggi for a soprano voice, with a figured bass for harpsichord, in
score, by Leonardo Leo. Copied in 1756.

Additional 31814, ff. 69-78b.

Paper ; a.d. 1780-1783. Oblong folio. See also under Catches (above, p. 84).

SoLFA-iNG exercises for 1, 2, 3; 4, and 5 voices, including catches,
rounds, glees, etc., by "VV. Savage. Autograph.



462



VOCAL MUSIC— SECULAR



Additional 14110, ff. 93-159.

Paper; a.d. 1786, etc. Oblong quarto. See also under Duets (above, p. 84).

" DuETTi," without accompaniment, in score, by Francesco Durante.
Divided into two sets, and in two distinct hands.



1-97. Ninety-seven exercises, mostly for
2 voices, one of which is generally a
soprano or bass ; but including also
(fi. 125b-128b) thirteen for a bass
voice, and (f. 96) a trio for alto, tenor
and bass. On f. 117 is written " [? G.



B.] Mancini." ff. 93-148b.
98-108. Eleven exercises for 2 sopranos,
probably the work published as "XI
Solfeggi a 2 voci col b. c," though the
bass is wanting here. Transcribed in
1786. ff . 149-159.



Additional 14241.

Paper ; ff . 62. 18th cent. Oblong folio.
Solfeggi for soprano voices.



1-115. " Principij e Solfeggi a Solo di
Soprano " ; without accompaniment.
" Carlo Cotumacci." f. 1.

116-122. "Solfeggi a due voci [di so-



prano] " ; with a bass for harpsichord
or pianoforte, in score. " Saluatore
Rispoli." In a later hand. f. 41.



Additional 14153, ft'. 153-166,

Paper ; late 18th cent. Oblong folio. See also under Sacred Songs (vol. i, p. 438).

" Solfbg[g]i " for a treljle voice, divided into seven sets, each
consisting of one quick and one slow movement, by Pasquale Cafaro.

Additional 25074, f. 12.

Paper ; late 18th cent. Oblong folio. See also under Operas (1799), above, p. 322.

Scales, with accompaniments for pianoforte. Anonymous. In an
English hand.

Additional 34609, ft'. 76, 83-86 (reversed) 2Mssi7n.

Paper; late 18th cent. Folio. See also under Anthems (vol. i, pp. 92-3).

Instructions for singing, jotted down in a musical Common-place
book of John Staft"ord Smith. Among other subjects touched upon are
" Gemination or reduplication of a note or passage " (f. 83), and the
Scale (f. 83b).

Additional 32434.

Paper ; ff . 104. 18th-19th cent. Oblong folio.

A COLLECTION of Solfeggi, with a bass for pianoforte or (nos. 88-95)
a pianoforte accompaniment, in score, made by G[ustav] W[ilhelm]
Teschner, about 1828 (see f. 42). They are : —

1-10. For 2 voices. "Gio. Maria Clari." These have been collated with a copy

f . 1. at Dresden, f. 15.

11-86. For soprano. " Leonardo Leo." 37-66. For contralto. By the same.



SOLFEGGI. 463

All these and some others are included la voce . . . . di Soprano." "Vine,

in Solfeggen fur cine ticfc Sti?nme, hy Rastrelli." f. 76.

the same composer, published bj 88-95. Exercises for contralto. By the

Forberg, of Leipsic, in 1879. f. 42. same. f. 89.
67-87. "Varie Maniere per esercitare

Additional 31751.

Paper ; ff. .38. Early 19th cent. Oblong folio.

" Solfeggi," with a figured bass for pianoforte, in score, by "Vincenzo
Righini. [Published, in 1805, as Tioelve Exercises for the Voice,
op. 10].

Additional 32686, f. 72.

Paper; a. d. 1822. Oblong folio. See also under Songs (1823-1826), below.

Exercise for the voice, witli pianoforte accttmpaninient, in score,
composed for Miss Mary Ann Paton by John Barnett, 1822.
Autograjjh.

Additional 35003, f. 37.

Paper; about 1834 (watermark). Quarto. Sec also under Motets (vol. i, p. 349).
Two short Solfeggi in the hand of Samuel Wesley.

Egerton 2736, tf. 17-48b.

Paper ; after 1842. Folio. See also under Operas, above, p. 442.

" DoDici Fantasie per Voce di Bariton, composte da M'° [Michael
William] Balfe .... dedicate a . . . . D. E. F. Auber, Paris, 1812" ;
with pianoforte accompaniment, in score.



SECTION XVII.— SONGS.*



Royal 15 B. xix, ff. 125b, 127.

Vellum ; 10th cent. lOJ X 6^ in.

Musical settings of the following passages, included in a collection
of extracts from Per.sius, BtBda, etc. The music is expressed by neums.



1. "Ad borese partes." From "Versus
De Coelestibus Signis Prisciani," lines
1-3, and 5. Of uncertain author-



ship, f. 125b.
2. " Decessit autem uitio stomachi."
From "Vita Persii Flacci." f. 127.



* Airs without words or accompaniments are described above, ff . 198-209
under the heading of National Music.



464 VOCAL MUSIC— 8ECULAR.

Arundel 356, fF. 45, 45b.

Vellum; llth-12th cent. 7^ x 4^ in. The chief contents of the MS. are
astronomical.

Two TABLES of weights and measures, set to music. The neums
are of an early form (? German), written on three lines, of which
the F line is occasionally coloured red, and the C line yellow (?).
Anonymous.

1. " As habet uncias duodecim." f. 45. 2. "Calcus et dimidius fit siliqua."

! f. 45b.

Cotton, Julius A. vi, f. 90.

Vellum ; 12th cent. 7| x 5| in. The MS. contains, among other things, a
prose version of a Latin and Anglo-Saxon Hymnary.

Song with Latin words, " Ad mensam philosophic sitientes currite,"
immediately following a Sequence written in the same hand, both of
them being accompanied by neums.

Egerton 274, ff. 98-118, 131b.

Vellum ; late 13th cent. 6x4^ in. The MS. belonged at an early period to
Jacobus Dogimon (f£. 1, lb), and in 1832 to Dr. Van de Velde of Ghent. At the
end is the name of Jehan Perthuis of Hacquemere. It also contains Motets
(vol. i, p. 254), Sacred Songs (p. 423), etc.

SoNos with music, by chansonniers of the end of the 12th, and
first half of the 13th, century. In sereral cases the oi'iginal words of
the first verses have been erased and sacred Latin words substituted
in their place. The notes ha^'e also been altered. Most of the names
of the authors which do not appear in the margin, as well as the
first hnes of some of the poems, are taken from Documents manuscrits
de Tancienne Litterature de la France. . . .par M. Paid Meyer, 1871,
Part i, pp. 7, 12, 43-49.

1. " K "; with 2nd verse, " De 10. "La douche uois del rosignuel."

tout son cuer." f. 98. , "Messire Reignaut, Castellain do



^b'^



2. "A "; with 2nd verse, Conchy." f. 108b.

" Douche dame amee." f. 99. 11. "J[a por ce se d'amer mc duel]."

3. "L[oyaux amours]." " Colard le f . 110.

Boutillier." f . 100. 12. " M[erci clamant]." "Li castel-

4. "Q[uand vols la glaie]." " Raouls : lain de Couchy." f. 111b.

[de Soissons]." f. 101. 13. " S "; with 2nd verse,

5. "E(?) "; with 2nd verse, | " La riens el mont." f. 114.

" Ne doit pas iestre esbahis." f . 102. i 14. "A[mours k'el cuer m'est entree]."

6. " Desoremais est et raisons." "Je- By Henri III, Duo de Brabant,
hans de Nuefuille." f . 102b. f. 116b.

7. " De boinne amor." " Gasses Bru- 15. "Li rousignos chante." By the
lez." f. 103b. King of Navarre, f. 117.

8. " T[ant ai amors servies longue- : 16. " E[nsi com unicorne sui]." By
ment]." By Thibaut IV, Comte de the same or by Pierre de Gand.
Champagne, Roide Navarre, f. 104b. | f. 131.

9. "En tous tans doit li hom." f. 105b. I

Other songs without music by Blondcl (f. 113), Robert La Chievre
de Rlieims (f. 115), etc., are also included.



SONGS. 465

Cotton, Vespasian A. xviii, f. 164b.
Vellum ; 13tli-14th cent. 8^ x 6^ in. The MS. relates chiefly to Ramsey Abbey.

Two SONGS of an amorous character, in French, with music
expressed by square and diamond-shaped notes on a stave of 4 red
lines, with the C, and once the B, signature. Anonymous.



1. "Amor ueint tout fors quer de
felun."

2. "Au tens deste " {sc. d'6t6) ; with a



refrain (y), "Et gaudebit," in the
P clef.



Harley 746, f. 107.

Vellum ; late 14th cent. (?). 10 x 6J in. A fly-leaf of a MS. of law-tracts, etc.,
temp. Edw. I.

" Wlneratur (sc. Vulneratur) Karitas " : first seven words of a
poem on the degeneracy of the age (about 1300) ; with open square and
diamond-shaped notes on a stave of 4 lines. Anonymous. The words
of the poem, each verse followed by a French rendering, are given on
f. 103b in the same hand as the body of the MS.

Additional 5666, f. 3b.

Paper ; 14th-15th cent. 7§ x 5^ in. See also under Carols (vol. i, p. 137).

" I HAVE loued so many a day." One part only, but possibly
written for 2 or 3 voices.



Cotton, Titus A. xxvi, fF. 5, 7, 8.

Paper; about 1448. 8J X 5| in. See also under Madrigals (above, p. 120).

Melody of some French chansons without words, in the tenor clef ;
possibly the tenor parts of some compositions for 2 or more voices.
Anonymous.

1. " Una balattina franzeise." f. 5. j 3. " Souentt mes pas." f. 7.

2. "En ce prumtemps." f . 7. I 4. "Gie(?) se far danserles dames." f.8.

Additional 5665, f. 53b.

Vellum ; temp. Henry VIII. 10 x 7 in. See also under Motets (vol. i, p. 260).

" y HAUE ben a foster " ; apparently for one voice, but, as the leaf
which originally followed is lost, and as most of the compositions in
the MS. are for two or three voices, this may also have been written
for more voices. It is given (evidently from the present MS.) in
J. Stafford Smith's Musica Antiqua, 1812, as a song, or a specimen of
plainsong ; but it differs from the setting of the same words by
Dr. Cooper in Add. 31922, f. 65b. See W. Chappell's Popular Music,
ed. Wooldridge, 1893, i, p. 50.

II 2 H



466 VOCAL MUSIC— SECULAR.

Royal Appendix 55.

Paper ; H. 11. 16th cent. Oblong octavo.

Songs, chiefly French, by anonymous composers. Nos. 1-9 appear
to be for a treble voice; nos. 10 and 11, for a bass; and no. 12, for a
tenor. Except where the contrary is stated, they are unaccompanied.

1. "Fault jl qu'au mal que j 'endure " ; 10. " Du fends de ma pens^e" (?).
with accompaniment for lute, in f. 5b.

tablature. f. 1. 11. " Des ma jeunesse." f.6.

2. "0 mort, I'obiect de mes plaisirs." , 12. "Amarille mia bella" ; for a tenor
f. lb. voice, with a bass for virginal or

3. "De rien nevous sert la Constance." harpsichord, f . 7b.



f.2.

4. " Laissez ces forests." f . 2b.

5. " Dieu vous gard[e]." f. 3.

6. " Amour, j'auouray." f . 3b.

7. "Vous me nommez vn jncens6."
f.4.

8. " Vne agr^able brunette." f . 4b.

9. "L'autre jour, m'en reuenant d'un
sainct pellerin[a]ge." f. 5.



13. "Pourquoy quittois-tu ces ruis-
seaux." Two copies. This and nos.
14-16 have a lute accompaniment in
tablature. ff. 9, 9b.

14. " Blon[d]s cheueux." f. 10.

15. "II s'en va, I'infidelle." f. 10b.

16. " Esprits qu'vn fol amour aux
voluptez inspire." f. 11.



Additional 31389, ff. 17, 18.

Paper ; 16th cent. Oblong octavo. See also under Lute Solos, in vol. iii.

" Altro non e '1 mio amor che il propio Inferno " ; with lute
accompaniment in Italian tablature. Anonymous.



Sloane 292, ff. 5b, 6.

Paper ; early 17th cent. Small folio. The principal contents of the MS. are
of a medical nature.

Melody and words of two anonymous songs.

1. " I heard a sheapheardess." f. 5b. 1 2. "The Gunnes"(?), beg. "I bring

I not scurfe," f . 6.



Additional 4900, tf. 58-Q5h passim.

Paper ; after 1600. Small folio. See also under sacred Songs (vol. i, p. 425).

Songs, original or arranged, with lute accompaniment in tablature,
in separate parts. Sevei-al leaves are lost. Except where the
contrary is stated, they are anonymous. The vocal part of nos. 1-3
is missing.

1-3. " Synce thowe arte false"; "Thes- 5. "And shall my faithe have this

tills, a seely man" ; and " Ane have refuse." f. 59b.

Iloste." f. 58. 6. "Je file." Lute part. At the end

4. "What harte canthincke." "Hey- is written "Je file — Geophile." f.62.

wood." ff. 58b, 59. 7. "My litell prety one" (in Popular



SONGS.



467



Music, 1893, i, pp. 71-2). f . 62b I 10. "Com now to mee, my faithfull

(reversed). i wife " ; with accompaniments for 3

8. " What cause have I for to reioyce." ! strings. The lute partis lost. f. 63b
ib. (reversed).

9. "I lothe that I did love" (in PopziZar 11. "Madonna." The vocal part is
Music, i, 'p. 52). ib. ' mutilated, ff. 65b, 66.

Additional 30491, ff. 42b-43b.

Paper; after 1607 (?). Folio. See also under Operas (above, p. 225).

" Tu DORMi " ; with a bass partly written out and pai'tly figured,
for harpsichord or virginals, in score, by Jacopo Peri " defto il
Zazzarino." [Probably from Le Varle Miisiche, 1610.]



Additional 15117, ff. 3b-23 passi



im.



Paper ; after 1614. Small folio. See also under Anthems (vol. i, p. 10).

Songs, or possibly in some cases the treble of part-songs, with a
lute accompaniment in tablature. Anonymous, unless the contrary is
stated. For nos. 1 and 7, see Popular Music, i, pp. 106, 111.



1. "0 deathe, rock me asleepe." Dif-
ferent from Add. 30480, f . 37b. f. 3b.

2. " In youthlye yeeres." f. 14b.

3. "... untomy fame amortall wounde."
Imperfect at the beginning, f. 15.

4. " Treade Juno's steps." f. 15b.

5. "Synce my joyes thoroughe Phillis'
frownes." f. 16.

6. " Have you seene but a Whyte Lillie
grow " : the second verse of " See the
chariot " by Ben Jonson. (Appears
in Add. 29481, f . 21, with slight varia-
tions in the words and music.) f . 17b.

7. " The poor soule sate sighinge " : the
" Willow "-song adapted by Shake-
speare in Othello, f. 18.

8. "My trewe love hath my hart."



The words from Sir Philip Sydney's
Arcadia, f. 18b.

9. "I must complaine." The words
by T. Campion, f. 19.

10. "Have I caught my heavenly e
Jewell." f. 19.

11. "Come, my Celia, let us prove."
The words from Ben Jonson's Vol-
pone, the music from the Ayres of
Alfonso Perrabosco,jun., 1609. f . 20b.

12. "What yf I seeke for loue of thee."
By R. Jones [from his First book of
So)igs, 1600]. f. 22b.

13. "Faine would I chainge that note."
By Captain Tobias Hume [from his
First Part of Aijres, 1605]. f. 28.



Additional 16889, passim.

Paper ; about 1615-1618. Oblong duodecimo. See also under Lute Solos, in
vol. iii.

French songs inserted in the Album Amicorum of Frederic de
Botnia, Saumur, 1615-1618. Of nos. 1, 7, and 8, the words and
melodies are given ; of the others the words only are given in the text,
the melodies (or accompaniments), in lute notation, being supplied from
the later part of the MS.



1. "...autr' amant si discret et si
tendre." f. 2.

2. " Partage mille fois." S. 8b, 94b.

3. "Phyl[l]is, ie me cognois vaincu."



Signed "Ton Mercceur." ff, 16b,
105b.
4. "Je vous offre mes veux." ff. 29b,,
101.

2 H 2



468



VOCAL MUSIC— SECULAR.



5. "La princesse," beg. "Que vos at-
traits." ff. 32b, 104b.

6. " De ce tr^buchement fatal." fi. 48b,
104b.



7. "La nuit vous troublez mon soin-
[m]eil." f. 53b.

8. "Je ne puis plus souSrir." f. 56b.



Additional 24665, passim.

Paper; about 1615-1626. Oblong octavo. The MS. also contains a Duet
(above, p. 53).

Songs, with a bass, collected by Giles Earle. Many of them are
taken from part-songs, but embellished with fioriture for a solo voice.
None of the composers' names are given.



1. " Sleepe, sleepe, though greife tor-
ment." f. 5b.

2. "Ay me I Can loue and beautie soe
conspire." f . 6b.

3. " Come, you prettie false -eied
wanton." By T. Campion. [FvomTJie
Second Booke of Ayres, 1610.] f. 7b.

4. "I care not for those ladies." By
the same. [From A Booke of Ayres,
...by Phillip Rosseter, 1601.] f. 8b.

The words of nos. 9-18 are from Robert Jones' Ultimum Vale,
1608; and, as the mu.sic also of nos. 11 and 16 is by him, they are
presumably all his composition.



5. "As on a day Sabina fell a-sleepe."
f. 9b.

6. " I loue a loue." f. 10b.

7. "Flow, my teares." By J. Dowland.
[From TJie First Booke of Songes,
1597.] f. lib.

8. " Yf my complaintes could passions
move." By the same [from the same
work], f. 12b.



9. " Doe not, doe not prize thy beau-
tie." f. l.Sb.

10. " Beautie sate bathinge." f . 14b.

11. "Goe to bed, sweet muse." f. 15b.

12. "Shallllooke to ease my greife."
f. 16b.

13. "What if I speed." f. 17b.

14. "Cease, troubled thoughtes." f . 18b.

15. " Scinthia, queene of seas and
lands." f. 19b.

16. "Think'st thou, Kate, to put mee
downe." 1615. f. 20b.

17. "When will the fountaine of my
teares." f. 21b.

18. " Flie from the world." f. 22b.

19. " Yf I could shutt the gates." By
J. Danyel. [From Songs for the Lute,
Viol and Voices, 1606.] f. 23b.



20. " Whie should wee maides." f. 24b.

21. "What if a day." See Popiolar
Music, i, p. 100, for a further de-
scription, f. 25b.

22. " Come againe, sweet loue." By
J. Dowland. [From his First Booke
of Songes.] i. 26b.

23. "How can the tree but waste."
See Popular Music, i, p. 72. f . 27b.

24. " Sleepe, wayward thoughts." By
J. Dowland. [From his First Booke.]
i. 28b.

25. "What is a dale." By P. Ros-
seter. [From A Booke of Ayres, 1601.]
f . 29b.

26. " Though you are younge." By T.
Campion. [From the same work.]
f . 30b.



A gap of several leaves occurs here, containing the bass of the pre-
ceding song and the air of the following : —



f . 31b.
29. "The sweetest flower."



f . 32b.



27. " Hence, leaden care." f. 31.

28. "Sorrowe, sorrowe, staye." By J.
Dowland. [From his First Booke.] \

r' A leaf is lost here, containing the bass of no. 29 and the air of
no. 30.



SONGS.



469



30. "Neere toabancke of roses." f. 33.

31. "Drop not, myne eyes": the se-
cond part of a song beg. " Greefe, keep
within." By J. Danyel. [From
Songs for the Lute, Viol mid Voice,
1606.] f . 33b.

32. <' Hold, lingell, hold." f. 34b.

33. "As at noone Dulcina rested";
1615. f. 35b.

34. "Vnkinde death." f. 36b.

35. "Rests mee here." f. 37b.

36. " Greiue not, Tibullus." f. 38b.

37. "Fy, fy [what a coil]." By R.
Jones. [From his Second Booke of
Songes mid Ayres, 1601.] The me-
lody wanting, owing to the loss of a
leaf, f . 40.

38. "Susanna faire." By W. Byrd.
[From Psalmes, So7iets, and Songs of
Sadiies and Piety, 1588.] f . 40b.

39. "I am the man that mirthles
Hues." f . 41b.

40. " Can shee excuse my wronges."
By J. Dowland. [From his First
Booke.'] f. 42b.

41. "Mistress myne, well may you
fare." By T. Morley (?). [From his
First Booke of Aires, 1600.] f . 43b.

42. " Many desire." f . 44b.

43. " Sound yee, sheppheards." f . 45b.

44. " Is't for a grace." f. 46b.

45. "0 that my eies were equall to my
woes." f. 47b.

46. "To plead my faith" [ascribed to



D. Batchelor in R. Dowland's Musi-
call Banquet, 1610 ; and, in Add.
17786-17791, to W. Wigthorp]. f. 48b.

47. "Silly boy, it is full Moone." By
T. Campion. [From his Third Booke
of Ayres, 1612.] f. 50b.

48. "Vnto a fly transform'd." By J.
Bartlet. [From his Booke of Ayres,
1606.] f. 51b.

49. "Art thou that shee." f. 52b.

50. " Young and simple though I am."
By A. Ferrabosco, jun. [From his
Ayres, 1609.] f . 53b.

51. "Phillis was a faire maide." f. 54b.

52. " Sweet Muses." f. 55b.

53. "Nowe I see thy lookes were
fayned." f. 56b.

54. " Wanton, away." f. 57b.

55. " The darke is my delight." f. 58b.

56. " Yf I freely may discouer." f. 59b.

57. "Shall I come, sweet Love." By
T. Campion. [From his Third Booke
of Ayres.'] f . 61b.

58. "What thing is Love." By P. Ros-
seter. [From A Booke of Ayres, 1601.]
f . 62b.

59. " My thred is spun." f. 65b.

60. " Pulchra nuper Rosalina." f. 66b.

61. "Whie dost thou turne away."
f . 68b.

62. " Goe, silly note." f. 69b.

63. "When from my loue I look't for
loue." By J. Bartlet. [From his
Booke of Ayres.] I. 71b.



The remaining songs, as well as a few which have been omitted
above, have not had the music filled in.



Additional 17991, passim.

Paper ; a.d. 1620-1621. Small oblong quarto. At the beginning is a ducal
coronet with a monogram containing the letters dearvm ; and, on f. 8b, the
motto " Tousjour Gaillard " (c/. ff. 8, 12). See also under Duets (above, p. 53) and
Quartets (p. 457).

" Chansons a danser, a boire," etc. Anonymous, Unless the
contrary is stated, the melody only is given, without accompaniment.



1. " C'est trop courir les eaux." f. 3.

2. " Entre les roses et les soucis."
f.5b.

3. " C'est Anne si belle " : ballet, f. 12b.

4. "Permettez moy de mourir." f. 40b.

5. " Source de mes laugueurs." f. 41b.
" App^ennez, o beaux yeux." f. 43b.



7. "La Bourbonne," beg. "Puisque
par vos beautez " ; with a bass,
f . 44b.

8. " Absent de vous." f . 45b.

9. " Dieux, que d'aymables attra[i]ts."
f . 46b.

10. " Me veux tu voir mourir." f. 47b.



470



VOCAL MUSIC— SECULAR.



11. "Beaut6, qui me voyez mourant."
f . 56b.

12. " La Desnoyers," beg. " sort, que
je me plains." f. 57b.

13. "La Monlevriere," beg. " Je fuis
vostre beaut6." f. 58b.

14. "Neveuxtupast'arrester " : dance-
tune, f. 59b.



15. " A peine vois je personne " : dance-
tune, f. 60b.

16. " Un jourestant joyeux" -.drinking-
song, f. 61b.

17. " Beaux yeux." f. 62b.

18. " Cbere PhU[l]is." f . 63b.

19. "Bruslez sans cesse." f. 64b.



Additional 23723, passim.

Paper ; about 1622. Duodecimo.

Songs, without accompaniments, from a collection of English poems
of the time of James I. Anonymous.



1. " Let barefooted beggers still walke
in tbe streete." f. 17b.

2. "Witte's commendation of a potte
of good ale," beg. "Not sober nor
drunke." f. 18b.

3. "Grayes-Inne Maske," beg. "Last
Christ-mas 'twas my chance." f. 21.

On f . 8b is "A graue Poeme .



4. " The Belgicke frogge," 1622 ;
apparently to the tune of "Bon[n]y
boatman." f. 22.

5. "A song made by a Cambridge man
when K. James was entertainde at
Oxford," beg. "To Oxford now the



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