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52. " Non piu, strali pungenti." f. 47b.

53. " D' amor altri si lagni" (? origin-
ally intended for a duet) ; with
sinfonia for 3 strings, f. 50b.

54. "A la caccia, Pastori " ; with an
additional sinfonia and accompani-
ment for lute, f . 69b.

55. " Ancor, che col partire"; with
violin, f. 140b.



SONGS.



487



Additional 31439, passim.

Paper; about 1691 (see below). Oblong octavo. See also under Duets,
(above, p. 58).

Songs, with a figured bass for harpsichord, in score, by John
Courteville, with dedication to the Hon. Bennett Sherard [3rd Baron
Sherard 1700. 1st Earl of Harborough 1719]. Autograph. The
reference to Raphael Courteville on f. lb is in the hand of J. Stafford
Smith.



1. " I once was free as thought." f. 3.

2. "Since all y" world is distracted."
f. 3b.

3. " Behold and listen." f. 5b.
i. "My Phillis is young." f. 6b.

5. " I cannott change." f. 7b.

6. " Tell me, lovely loveing pair." f . 8b.

7. "To y'= great pow'r of love " ; with a
verse for 2 voices at the end. f. 9.



8. " The Ghost," beg. " A Papist dy'd."
f. 11.

9. " Purgatory," beg. " When y"
Allmighty." f. 13.

10. " Wee're happy".: cantata on
Bennett Sherard's birthday, 9 Oct.
1691 ; with an introductory sym-
phony, and a jig at the end, for 3
instruments, f. 15.



Additional 35043, S. 5h-l22 passim.
Paper ; about 1694-1697. Small folio. See also under Operas, above (p. 230).
Melody, generally without words, possibly intended for the violin,



of the following songs :-

1. " No, No, poor suffring heart."
" [H. (?)] Purcell." f. 5b.

2. " Such command." " Tho. Tollett."
f.5b.

3. "The disconsolate Lady's Com-
plaint," "Purcell." f. 6.

4. " The knotting song." By the same.
f.9.

5. "A new song on K[ing] W""."
" Frankes" (? = Johann Wolfgang
Franck). f. 9b.

6. "An amourous ad[d]ress to y*
charming Gorinna." " [M. ?] Snow."
f. 10.

7. "Still I am wishing." " [H. ?]
Purcell." f. 10b.

8. "The Gallant Russell": song "on
y* victory . . . over y" French fleet."
By S. Akeroyd. f. 10b.

9. Song ["No, no, I never love thee
less " ; by R. King]. From the Gentle-
man's Journal, June, 1694. f. 11.

10. "See Corinna's Tears"; with
words. From Thesaurus Musicus,
book iii, 1695. Anonymous, f. 17.



11. "The Voyage from Thoulon to
Brest," beg. "Monsieur Tourville has
given y'' signall to saile " ; with
words. "W" Turner." f. 18.

12. A Scotch tune, beg. " Woe is me !
What mon I do." " Paisable."
f. 24b.

13. "Pensive I sate"; with words.
Anonymous, f. 25.

14. "Whilst on Melanissa gazing";
with bass and words. " Rob. King."
f. 28b.

15. "The lazy Sun withdraws at
last": an Epithalamium, with
words. By the same, f . 29.

16. "That Gcelia now my heart does
claim"; with words. "Sam"
Akeroyd." f. 74.

17. "0 Solitude, my sweetest
choice " * ; song upon a ground, with
the bass and words. " Henry
Purcell." f. 74b.

18. "Musing I late on Windsor
tarras' sat " : a Welsh air, with
bass. Anonymous, f. 122.



* For other copies of this song, see under Sacred Music, vol. i, pp. 429,
431, 434, 453.



488



VOCAL MUSIC— SECULAR.



Additional 27931.

Paper ; ff. 30. Before 1695 (date of composer's death).
Bound in richly tooled morocco, and presented by Felix Slade.



Large quarto.



A SERIES of Italian Cantatas and other shorter Songs, with a
figured bass for harpsichord, in score, written for a member of the
Medici family, probably living at Bologna. The words are by Giacomo
Lodovico Berselli, and others named below (see f. 30) ; the music
appears to be entirely by Giovanni Paolo Colonna (see Canon at end) ;
and the accompanying designs in black and white are by Carlo
Antonio Buffagnotti [ft. 1690-1710]. Most of the shorter songs are
in the hand of the last-named.



1. "La Fortuna," beg. "Che qua!
palma crescesse la Virtute." Words
by Giuseppe Antonio Balbi. f. 2b.

2. " E qual naue il mio cor." f. 4b.

3. "Questo petto, 6 nume Arciero."
f.5.

4. "Ismeno schernito," beg. " Sotto
faggio frondoso." f. 5b.

5. " Scherzin 1' aure." f. 7b.

6. " Prigioniero del verno." f . 8.

7. "L'Iride," beg. "Con funesto
sembiante." Words by Giacomo
Antonio Bergamori [flourished at
Bologna, 1690-1717]. f. 8b.

8. "Bionde ariste." f. 10b.

9. "Dell' anno giouinetto." f. 11.

10. "Fidalmo sfortunato," beg. " Dis-
perato e deluso." f. lib.

11. " Godero uiuer fra r armi." f. 13b.



12. " Barbaro insidioso." f. 14.

13. "L' Adamo," beg. " Orme, che
Bovra il Suolo." Words by
Bergamori. f. 14b.

14. " Cerca inuano." f . 16b.

15. " Fiamme, lacci." f . 17.

16. "II Mare," beg. " Incostante
Elemento." Words by Bergamori.
f. 17b.

17. " Veduo di saette." f. 20b.

18. " E un mar la uita humana." f. 21.

19. "II Hondo Armato," beg. " Sopra
cocchio di ferro." f. 21b.

20. " Chi del tempo inesorabile non
pauenta." f. 23b.

21. " Che al rotar di molt' anni." f. 24.

22. " Cleopatra moribonda," beg. " Gik
di laccio severo." Words by Donate
Copeda. f . 24b.



Additional 8791, ff. 152-153.

Paper ; about 1695. Small folio.

" Canzona che si canta la notte per Firenze dalla Plebe questa
state 1695," beg. " lo le cava (sic) un Bucchero." The melody, with
figured bass, in score, is given at f. 152. Words by Paolo Giovannetti,
from a series of " Poesie Toscane sopra I Buccheri di Cile di Guada-
laxara e di Natan. Alia Signora Marchesa [Ottavia Renzi] Strozzi."



King's 289, fi*. 153b-155.

Paper ; about 1695. Small folio.

" Frottola " : another copy, so entitled, of the song, " lo le cavo
un bucchero." See also the Catalogue of King's MSS.



SONGS. 489

Additional 14164.

Paper ; g. 81. About 1695, etc. Oblong folio.

Cantatas for a soprano voice, with a figured bass for harpsichord,
in score, by Alessandro Scarlatti, except no. 2, which is by Tommaso di
Mauro. Nos. 1 arid 2 are dated 1695.



1. " Goderai sempre, crudele." f. 1.

2. " Filli, la lontananza." f . 9.

3. " Morirei disperato." f. 19.

4. " Al voler del bene amato." f. 33.



5. " Su la sponda fiorita." f. M,

6. " Chiusa tra fosche bende." f. 58.

7. " Deh, per merc6." f. 66.

8. "Notte cara." f. 74.



Additional 14163, ff. l-56b.

Paper; a.d. 1696, etc. Oblong folio. See also under Operas (above, p. 292).

Cantatas for a soprano voice, with a figured bass for harpsichord
(and in the case of the last with accompaniments for strings also), in
score, by Alessandro Scarlatti.



1. " Cara sempre agl' occhi miei." f. 1.

2. "Colui che fiso mira di Clori la
belta." Autograph. April, 1696. f. 5.

3. " Quanto vezzosa." f. 10.

4. " Tutto acceso d' Amore." f. 14.



5. *' Giacea presso alia sponda." f. 17.

6. "Del mio seno la costanza." f. 24.

7. " Ardo, ardo d' Amore." f. 28.

8. " Nel silentio comune di notte si
tranquiUa." f.31.



Harley 4899, ff. 8b, 9.

Paper ; about 1697. Folio. See also under Masses (vol. i, p. 216).

Single parts of the following anonymous songs. Nos. 1-5 (f. 8b)
are bass ; no. 6 (f. 9) is treble.

1. "Chiede pace." 4. " La speranza in cbi ben ama."

2. " Put) sperar di goder il cor' ; 5. " Non uorrei che diventassi."
amante." i 6. " Venticelli."

3. " Con la punta della spada." I

Additional 14228, jmssim.
Paper ; a.d. 1698, etc. Oblong folio. See also under Duets (above, p. 60).

Italian Cantatas, etc., with a bass (frequently figured), and in
nos. 11 and 12 an additional violin part, in score. They are for a
soprano voice and anonymous, except nos. 8-12, 14, which are for a
contralto. Nos. 8-12 are all written in the same hand, probably
that of the composer.



1. "Done del bel Torano discende."
f.2.

2. "L' occhio e '1 labro del mio bene."
By P. Manconi. f. 6.

3. "Deb, risoluiti pure"; dated 30
Aug. [16]98. Words by Aurora
Sanseverino. f . 8.



4. "Clori, Clori, mio ben." This and
nos. 5-7 are by "Boloncini" {sc.
G. B. Buononcini). f. 11.

5. " Quando, 6 bella, io ti viddi." f. 15.

6. " Soura il famoso fiume." f. 18.

7. " Se lontana da me t' amo." f. 27.

8. "0 tu che parti." f. 30.



490



VOCAL MUSIC— SECULAR.



9. "Non e uer che sia chimera."
f.32.

10. " Merauiglie inudite." f.36.

11. " Ritorna a riposar." f . 38.

12. "0 parlate, sembianze odorate."
Imperfect at the end. f. 42.

13. " Amore, 6 mi togli le fiamme dal
seno." "[? A.] Scarlatti." fi. 44-
45b,

14. "Versateui ai torrenti." " Luigi
Manza." f. 58.

15. "Bel sospiro." "Francesco An-
tonio Pistocchi." f. 56.

16. " Augelletti al uosfcro canto."
" [Luigi] Manza." f. 60.

17. "Pianto, oh Dio, uorrei." " —
Tranettina." f. 63.

18. "In su la uerde riua del placido
Uolturno." "Bernardo Sabadini."
f. 65.



19. "La, doue il mar." "Luigi Al-
barelli." f. 69.

20. "0, qual celeste raggio." "[An-
tonio ?] Zannettini." f. 75.

21. " Pallidetta Viola." " Franc" Ant"
Pistocchi." f . 77.

22. "Genio, che amar volea." "Gio-
vanni Bononcini." In two keys.
ff.81, 85.

23. "D'ogni puro candore." By the
same. f. 89.

24. " E con qual core, oh Dio, potesti."
"[A.] Sc[a]rlatti." f. 91.

25. "6 tu che si fastosa." This and
nos. 26 and 27 are by " Giouanui
[Battista] Bononcini." f. 94.

26. " Dal di ch' il ciel seuero." f. 97.

27. " Pende dal sen di Fills." f. 101.

28. "Viuea giorni infelici." "Luigi
Albarelli." f. 105.



Harley 1273, ff. 1-79 'passim.

Paper ; after 1699 (see f. 69). Narrow oblong octavo. See also under Duets
(above, p. 58) and Operas (p. 233).

Cantatas, Alias, etc., with a figured bass for harpsichord, in score.
Anonymous, unless the contrary is stated. In the hand of Humphrey
Wanley.

16. " Ho core altraggiato " {sic). I. 9b.

17. " Amante povero." f . 10b,

18. " Alma, se non mi vendico." f. 11.

19. " Silenzi del[l]a Notte." f. lib,

20. " Son lieto e felice." f. 12.

21. "Versi a noi." f. 12b.

22. " Risolvete di sanarmi." f. 13.

23. " Resister non si puo." f. 13b.

24. " Stelle, che rimirate." "B.M.Be-
renclow." f. 14.

25. "Dove sei, doue t' ascondi." f. 14b.

26. "Dolce pace." Different from no,
13. f. 15.

27. "Senvola il Dio d' amore." "Gio-
vanni Bononcini." f. 15b.

28. " Pensieri, consigliatemi." " Ber-
nardo Pasquini." f. 16.

29. "Per dar lampo." "Aless" Scar-
latti." f. 16b,

30. "Lieto festeggia." " Bernardo Pas-
quini." f. 17.

31. " Hor dunque perche, gelosi."
" Abb^ Colonnesi." f. 17b.

32. "Apri le Luci amate." " Aless"
Scarlatti." f. 18.



1. "E crudo, lo veggio." " Ferdi-
nando." f. 1.

2. " Lasciatevi bacciar." By the same,
f.lb.

3. " Quand', amor, mi darai pace." f. 2.

4. "lo vi miro." " Alessandro Me-
lani." f.2b,

5. " Perche mai, nume addorato."
" Dom^" Gabrielli." f. 3.

6. " Al[r]armi, miei spirti," ff. 4b, 42b,

7. " Che [sic) sapes[s]e oue il mio bene,"
f. 5.

8. " Va crescendo." f. 5b.

9. " Vedrai se questo labro." f. 6.

10. "Dunque pensi, iugi-ata sorte."
" AbV Colonnese." f . 6b.

11. " Tacere e sospirar." "Bernardo
Pasquini." f. 7.

12. "Dolce, bella, cara speranza."
f. 7b.

13. " Dolce pace del Cor mio." " Carlo
[Manelli ?] del Violino." f. 8.

14. "Bella bocca." "Bernardo Pas-
quini." f. 8b.

15. "Mai non posa." f.9.



SONGS.



491



33. " lo non so se potrai." f. 18b.

34. " Si bacia, stringi e godi." f. 19.

35. " A chi spera di gioir." f. 20.

36. "Per diridere un Cor amante."
f. 20b.

37. " Ama pur, mio Cor." f. 21.

33. "Chi d'amor paventa il foco."
" Aless" Scarlatti." f. 22.

39. "Pensier mio." f.23.

40. " Pra dolci martiri." f. 24.

41. " Tormeutatemi pur." f. 24b.

42. " Armati, cieca Dea." f. 25.

43. "Che spero, ahi, lasso da un duro
sasso." f. 25b.

44. "Dolce speranza non far languire."
f.26.

45. "La colpa e la mia." By P. S.
Agostini. f. 26b.

46. "Non so se 1' ho da dire." " Vin-
cenzo Albrici." f. 27b.

47. "Dolce colpo." f. 28b.

48. " Biondi crini." f. 29.

49. " Mai piu, stelle spietate." f. 29b.

50. "Voglio Morte." "Carlo [Ma-
nelli ?] del Violiuo." f. 30.

51. " Chi si fida d' Amor." f. 30b.

52. " Non amar un volto vago." f. 31.

53. " Date air armi." f. 31b.

54. "Sol chiamarsi puo felice": mi-
nuet, f. 32.



55. "Lo sdegno, il rigore." " Aldov-
randi." f. 32b.

56. "Gioite, brillate." f. 33.

57. "Non puo vivere." "B. M. Be-
renclow." f. 33b.

58. " Scherza r Onda." f.41.

59. "Cara e dolce liberta" [arranged
from M. A. Cesti]. f. 41b.

60. " Mi scherza, mi brilla." f. 42.

61. "Stelle, non m'uccidete." "Ziani."
f . 43b.

62. " Vuo (sic) cercando quella speme " :
cantata. "Rosa Hiacinta Badalli."
f.44.

63. "Lontananza crudel": cantata.
" Buononciui." f. 57.

64. "Lontan dal Idol mio." " Ales-
sandro Scarlatti," 1699. f . 69.

65. "A pena dal[r] Oriente." " Lo-
renzani." f. 75b.

66. "Ne notte, ne di." "Luigi Rossi."
f. 76b.

67. "Ilvostrosplendore." By the same,
f . 77b.

68. "Amanti, piangete." By the same,
f. 78.

69. "D'una bell' Infedele." By the
same. f. 78b.

70. "Se nel ben sempre incostante."
" Alessandro Stradella." f. 79.



Harley 7549, if. 5-43 passim.

Paper ; 17th cent. Oblong octavo. The MS. belonged (after 1694) to John
Holies, Duke of Newcastle (bookplate). It also contains sacred Songs (vol. i,
p. 429), a Duet (above, p. 59), and Solfeggi (p. 461).

Melody of some songs, mostly anonymous. Several of them are
included in John Playford's publications.



1. " Diuin objet, qui ravisses les sens."
f.5.

2. " Se voi, Luci amate." f. 6.

3. "La vita alberga." f. 7.

4. "Tell me, you wantdering spirits."
By H. Lawes. [From Select Musicall
Ayres and Dialogues, 1652.] f. 8.

5. " S' io moro, che dira." [From Se-
lect Ayres and Dialogues, 1669.] f. 9.

6. " FanciuUa son io." f. 10.

7. " A chi lasso credero." [From Select
Ayres arid Dialogues, 1669.] f. 11.

8. " Amys, qu'on se reueille." f. 12.

9. " N'entendes vous pas ce Langage."
f. 13.



10. " Rep[l]icauan las Campanilias."
f.l5.

11. " Cloris est beUe." f. 15b.

12. " Enfans de Bacchus." f. 17.

13. "Io so che trouasi Phil[l]i."
f. 18b.

14. "When shall i see my captiue
hart." By H. Lawes. [Prom Ayres
and Dialogues, 1658.] f. 19.

15. " A toy, gros boursoufie." f. 20.

16. " Auant le moment Men heureux."
f.21.

17. "Si mes soupirs sont indiscrets."
f. 22.

18. "Sure 'twas a dreame." By



492



YOCAL MUSIC— SECULAR.



Alphonso Marsh, sen. [From Select
Ayres and Dialogues, 1669.] f. 23.

19. " Je ne cognois que trop." f. 24.

20. " Non mi date piii peae." f. 24b.

21. " Amys, si vous me uoules croire."
f. 26.

22. "Alia cathia {sc. caccia), pastor6."
Apparently altered from Pietro Reg-



gie's song in Add. 31440, f. 69b (above,
p. 486). f.27.

23. "Je tequitte." f. 28.

24. " Si tochi tambura." f. 28b.

25. " Go, tell my most malicious fate" ;
apparently by "Em. Heath," whoso
name appears at the end. f. 43 (re-
versed).



Stowe 1081, passim.

Paper ; 17th cent. Quarto. The MS. also contains a Duet (Appendix).

Songs with a bass for harpsichord, in score. Anonymous. Nos. 1-6
are described as " Airs," the others as " Chansons a boire, a dancer," etc.
The text is accompanied by elaborate pen-and-ink drawings.



1. " Philis, quel destin dois-ie suiure."
f.4.

2. "Me veux tu voir mourir " (cf. Add.
17991, f. 47b, the date of which is
about 1620-1621). f. 5b.

3. " Source des plus aymables charmes."
f.8.

4. " Puisque mes maux, adorable Siluie,
Ne peuuent rien." f. 9b.

5. " Puisque mes pleurs." f. lib.

6. ' ' Amour, dont les charmes puissants."
f. 12.

7. " Museaux, enluminez." f . 15b.

8. " Courage, amis." f . 16.



9. "Amis, que ce concert est doux."
f. 17b.

10. "Levin, levin, le vin, levin, est
vne liqueur sans pareille." f. 19b.

11. " Dieux, quel funeste orage." f. 20.

12. " Quand ie voy vostre embonpoint."
f . 21b.

13. " Tant de charmes m'ont surpris."
f. 23b.

14. " Je languis pour vne brune." f. 26.

15. "En fin ie ne voy plus la belle."
f . 27b.

16. " D6esse, dont la beaute." f. 28.

17. " Alors que i'estois fiUe." f. 30.



Additional 34800c, f. 33.

Paper ; 17th cent. Octavo. See also under Motets (vol. i, p. 282).

" GoE thy way, since thou wilt goe" : two verses of a song in the
treble clef, without accompaniment. Anonymous.



Additional 36877, passim.

Paper ; 17th cent. Octavo. The MS. also contains Duets (above, p. 58).

" ViLLANELLE di piu sorto con r Intauolatura per sonare et cantare
su la Chitarra alia Spagnola — Di Giovanni Casalotti," who is pre-
sumably the composer, as well as the owner of the arms on f . 1 and on
the cover. The tablature consists merely of letters without lines
written above the first verses of the songs, the initial words of which
are given in Index I. The guitar is apparently intended to be played
in unison with the voice. From the presence of numerous songs with
Spanish words it may be inferred that the MS. is of Neapolitan, or
at least South Italian, origin.



SONGS.



493



Sloane 1941, ff. 33-34b.
Paper ; 2nd half of 17th cent. Folio.

"When Aurelia first I courted"; without accompaniment. [By
Pelham Humfrey.] The lower half of the two pages on which the
song is written is occupied by Aurelia's reply, beg. " W[he]n that
Charles at first ador'd mee."



Additional 10337, ff. 37-59 passim.

Paper ; 2nd half of 17th cent. Small folio. See also under Pianoforte Music
(before 1656) in vol. iii.

Songs, with a -bass, in score, mostly anonymous, fi'om Elizabeth
Rogers' Virginal Book.

voices by " John Willson " [see Cheere-
full Ayres, 1659], but different from
Laniere's setting in Select Ayres,
1669]. f. 55.

9. " DeerestLoue,Idoonotgoe." f.65b.

10. "I'le wish no more"; generally
attributed to Nicholas Laniere, but
in Playford's Select Ayres, 1659, to
— Warner, f. 56 (see also f. 41b).

11. "Baloo, my boy, lye still." " W.
[Lawes ?]." f. 57.

12. "No, flat[t]ering fellow." "[J.]
Willson." f. 58.

13. " Since 'tis my fate to bee." f . 58b.

14. "Must your faire inflaming eye."
f.59.



1. "Carron, o Carron" ; in a late 17th
cent. hand. " [R. ?] Balles." f. 37
(reversed).

2. "Thinkenot, deareloue." Unfinished.
f . 46b.

3. " All you forsaken loueres." f. 47.

4. "Come, you prittyfalse-ey'd wanton."
By T. Campion, f. 48.

5. "Fyer, fyer ! Loe, here I burne."
By N. Laniere. f. 49.

6. " I preethe, sweete, to mee be kind."
" Hen. Lawes." [In Select Ayres, etc.,
1669.] f . 50.

7. " Yes, I could loue." " Tho. Brewer."
f.53.

8. "No, noe! I tell y% no." By N.
Laniere ; afterwards arranged for 3



Additional 14399, passim.

Paper ; 2nd half of 17th cent. Folio. Presented by Vincent Novello, having
previously belonged to Benjamin Goodison, who gave it to Benjamin Huitt.

Songs for a treble voice, with a bass figured for harpsichord ;
except in no. 13, which is unaccompanied. Nos. 1-7 are in the hand
of Matthew Lock.



1. "Cupid once, when weary grown."
By Pelham Humfrey. [In Choice
Ayres, 1679.] f. 4b.

2. " Cloris, qui domptetout le nionde."
Anonymous, f. 5b.

3. "Hark, hark, hark 1 The storm
grows lowd." "Pel. Humphrys."
[In Choice Ayres, 1676.] In two keys.
fi.7b, 14b.

4. "I'le have no more dealing, fond
Cupid, with thee." By William



Gregory. [In CJwice Ayres, 1676.]
f . 9b.

5. " Thirsis, I wish." " Wm. Gregory."
In two keys. fi. 10b, 13b.

6. " Sing forth, sweet Cherubin."
" M[atthew] L[ock]." f. lib.

7. "No, my divine Fidea." "Hen.
Lawes." f. 12b.

8. "In a soft vision of the night."
" Mathew Locke." [In Choice Ayres,
1679.] ff. 15b-17.



494



VOCAL MUSIC— SECULAR.



9. "Tir'd with destroying." "John
Blow." f. 19b.

10. "How I have serv'd " ; with 3-part
chorus. By the same. [In Play-
ford's Theatre of Music, 1687.]
f . 20b.

11. "Hero and Leander," beg. "Nor
com'st thou yett." " [Nic] Laniere "
or " Lanear." [In Choice Ayres, 1683.]
f. 22b.

12. "Oh, y^ sad day." "Pel. Hum-



phreys." [In Harmonia Sacra, 1688.]
f . 28b.

13. "Where shall my troubled soul";
with echo. " Capt. [Henry] Cooke."
ff. 29b-31.

14. "Peacefull is he." "Dr. [John]
Blow." [In Harmonia Sacra, 1688.]
f. 41b.

15. " Con lusing[h]e di serena." Two
copies, the first imperfect. Anony-
mous, ff. 43b, 44b.



Harley 1264.

Paper ; ff . 81. Late 17th cent. Oblong octavo.

Collection of Songs, chiefly Italian, with a bass (occasionally
figured) for harpsichord, in score. Said by Humphrey Wanley to be
in the hand of Cornelio Galli, " native of Lucca . . . one of the
Gentlemen of the Chapell to Queen Catherine, in the time of
Charles II. ... a very great master of the finest manner of Singing."
Possibly some of the songs were composed by him. No composers are
named in the MS. ; the names given below to nos. 1, 5, and 12-14
have been taken from a MS. (24 F. 4) in the Fitzwilliam Museum,
Cambridge, where most of the songs occur, in the same order.



1. " Pensoso aflitto." By Luigi Rossi,
f.l.

2. " Perche piangete." f. 7.

3. "Anime, uoi che s[i]ete." By L.
Rossi, f. lib.

4. "[F]ileno, Idolo mio." By (Ales-
sandro ?) Melani. f. 17b.

5. " Sera alquanto addormentato." By
L. Rossi, f. 24.

6. "Nel Giardin della speranza." f. 34.

7. " Dolce colpo." f. 38b.

8. " [M]ai pin, stelle spietate." f. 40b.

9. "Biondi crini." f . 41b.

10. "[V]oglio morte." By Carlo



[? Manelli or Cesarini] del Violino.
f. 44b.

11. " Fidarsi d' Irene." f. 47.

12. "[C]he uolete da me." By L.
Rossi, f . 51b.

13. "Sospiri, 6 la, che fate." By the
same. f. 58b.

14. "[L]ungi dal Core." By M. A.
Cesti. f . 65.

15. " Ch' io manchi mai di fede." f. 69.

16. " Chi si fida d' amor." f. 73b.

17. A song, to which the words have
not been filled in. f. 76b.

18. "Happy and free." f. 78b.



Harley 1265, passim.

Paper ; late 17th cent. Narrow oblong octavo.

Cantatas, Arias, etc., for a soprano voice, with figured bass for
harpsichord, in score.



1. "Ferma;lasciach' ioparli": Lament
of Mary, Queen of Scots. " Giacomo
Carissimi." f. 1.

2. "A la Rota." This and nos. 3-16
are by " Luigi Rossi." f. 37.

3. " Questo picciolo Rio." f. 63.

4. " Stelle, che rimiraste." f. 71.



5. " Quando spiega la Notte." f. 74.

6. " Gelosia, ch' a poco." f. 79.

7. " E puo soffrirti, Amore." f. 87.

8. " E chi non u' ameria." f. 91.

9. " Giusto cosi ua detto." f. 95.

10. " Quante uolte 1' ho detto." f. 105.

11. " Gia nel' oblio profondo." f. 108.



SONGS.



495



12. " Lasciate ch' io ritorni." f. 114,

13. " L' Arione," beg. " Al soaue
spirar d' aure serene." f. 125.

14. " Erminia suenturata." f. 143.

15. " Da perfida speranza." f. 153.

16. " Sospiri miei di foco." In the
hand of Dr. Berenclow. f. 167.

17. "Voglio amar." " AUess" Scar-
latti." f. 171.

18. "Lagioia uerace." By the same,
f . 173.

19. " Stanco di pianger," "Tomasso
Titij." f. 175.

20. "Non fuggir quando mi uedi."
"Carlo [ManeUi] del Violino."
f. 187.

21. "Hor ch' ho sentito." By the
same, f . 193.

22. "Poiche fissato il guardo." By
the same. f. 201.



23. " Voglio amarti." " Gio. Bat-
[tis]ta Vulpio." f. 219.

24. "Chi credete che sia." By the
same. f. 225.

25. "Nel mirarui, pupille uezzose."
By the same. f. 233.

26. "Lo dissi per gioco." " AUess**
Scarlatti." This and nos. 27-31 are
probably in the hand of Henry
Firmin. f. 243.

27. "Ch' io lasci d* amar." "Henry
Firmin." f . 245.

28. " Non e amante." " Pietro Simone
Agostini." f. 247.

29. " La mia uagha." By the same.
f. 249.

30. "Chi bella non ha." By the same,
f. 251.

31. " Se nel ben sempre inconstante."
"AUess'-Stradella." f . 253.



Harley 1267, f. 12.

Paper ; late 17th cent. Narrow oblong octavo. See also under Operas (above,
p. 234).

"No, non ha tregua il mio dolor " ; with a bass for harpsichord,
in score. Anonymous.

Harley 1271.

Paper; ff. 71. Late 17th cent. Narrow oblong octavo.

Italian Cantatas, with a bass (usually figured) for harpsichord, in
score. Anonymous.

1. " [0]mbre, tenebre, orrori." f. 1. i 5. " [M]i contento cosi." f . 42.

2. "Quelle Luci"; possibly part of ' 6. " Che sento, oh Dio." f . 52.

no. 1. f . 6. i 7. " [M]arcato hauea gia luminoso

3. "[?M]estoinsend'unAntro." f. 16. Auriga." f.61b.

4. " [Ijn erma ripa." f. 31.



Harley 1863, ff. 26-15.3 passm.

Paper ; late 17th cent. Oblong octavo. See also under sacred Duets (vol. i,
p. 173) and Songs (p. 430), etc.

Italian Cantatas, with a bass (generally figured), in score, most of
them in the hand of B. M. Berenclow.

1. "Cosi tratta, oh Dio." "G. Opig- 1 4. "Sospiri, ola, che fate." By Luigi
niani." f . 26. Rossi, f. 37.

2. " quanto e dolce la liberta." By ' 5. " Vieni pur, mia liberta." Anony-
the same, f . 27b. mous. f. 40.



3. "Del famoso Oriente." " Cesti."
f. 30b.



6. " Sassi, che hor qua." " P. Reggio."
f . 43b.



496



VOCAL MUSIC— SECULAR.



7. "Nel adirato seno." " C[arlo] A[m-
brosio] L[onati]." f. 47.

8. "Hor che del Ciel." "P. Reggio."
f. 52.

9. " Occhi belli." Anonymous, f . 56b.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 55 of 120)