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10. "Vn genio fatale." Anonymous.
f.58.

11. " Quanto poco durate." "Paulo
Lorenzano." f. 59b.

12. "Lasciate mi, speranze." Anony-
mous, f. 63.

13. "Sotto vedovo Cielo." "Cesti."
f. 65b.

14. " Aspet[t]ate ! Adesso Canto." By
the same. f. 69b.

15. " Perche piangete." Anonymous.
f. 78b.

16. "Tu m' aspet[t]asti." "Cesti."
f. 80b.

17. " Quando, Amor, mi darai Pace."
Anonymous, f. 83b (see also f. 1).

18. " Qual spauentosa Tromba." " G.
B. Draghi." f . 84b.

19. " Non dorme, mio Cuore." Anony-
mous, f . 88b.



20. "Piu tacer non si pu6." Anony-
mous, f . 90.

21. " Alpi nevose." Anonymous, f . 93b.

22. " Datti pace, o Fileno." Anony-
mous, f. 96b.

23. " Vedi, Filli." " F. [T., in index]
M. R." f. 101b.

24. " Da I'Antro magicbo." " Cavalli."
f . 109.

25. "Che faro? M' inamoro? Si o
no." "Luiggi [Rossi?]." f . 113b.

26. "Sera alquanto addormentato."
By the same. f. 115b.

27. " Piange, Filli." " Giacamo Caris-
simi." f. 122.

28. "Fin air vltimo respire." Anony-
mous, f. 129b.

29. "E turesti, mia vita." Anonymous.
, f. 132.

30. "Fileno, Idolo mio." "Abbate
J Melani." f. 136.

i 31. " Nell' adirato seno." Anonymous.
f . 145b.
32. " Anime, voi che s[i]ete da le
Furie." " Luigi [Rossi ?]." f . 150b.



Additional 14336, ff. 18, 18b.

Paper ; late 17th cent. Folio. See also under Motets (vol. i, pp. 291-2.)

Italian songs, with a bass, in score. Anonymous ; possibly by
H. du Mont.



1. " E spento 1' ardore." f. 18.



I 2. " Luci belle, mio thesoro." f. 18b.



Additional 34457, f. 10b.

Paper ; late 17th cent. Folio. See also under Services (vol. i, p. 402), and
Odes (above, p. 212).

" Ah me ! Undone, as soon as I had seen " : melody only of what
appears to be a song, in the hand of Dr. Blow.



Additional 32339.

Paper ; fi. 58. Late 17th cent. Folio. Belonged to Elizabeth St. John, and
afterwards to T[homas] Percy, Bishop of Dromore.

A COLLECTION of love-songs for a treble voice, with a bass for
harpsichord (?), in score. Each of the songs has the name or
initials of John Gamble {fl. 1656) attached at the end, except nos.
1, 12, 24, 35, 36 and 77, which are, however, probably by the same



SONGS.



497



composer. Those marked with an asterisk are found also (without a
bass) in Harley 6947.



1. * "Though wee enquire." f. 2b.

2. * " Thy Absence moues y° World."



f. 3b.
3. " When happy Weedes." f.4b.



A song, beg. " Each pencil's tongue," has been torn out here.



4. " Loue's Temple's vaile." f. 5.

5. " Thy Scarlett lipps." f . 5b.

6. * "Thy Nose." f . 6.

7. "My dearer and sweeter Phillis."
f.6b.

8. "Thy sweete, melodious, warbling
Voyce." f. 7b.

9. * " Wee'le walke vpon the high-topt
woods." f. 8.

10. " Our Loue's soe watcht." f. 9.

11. * "The Panting sunn." f. 10.

12. * "Beauty and fauour." f. 10b.

13. *" Loue's Conscience." f. 11.

14. * "When young my Loue I would
expresse." f. lib.

15. *"My loue is growne soe old."
f. 12.

16. * "My Tombe." f. 12b.

17. * "Thy haire is gold." f. 13.

18. * " I in amaz[e]ment stood." f. 13.

19. *"I saw a Countrey Lasse."
f.l4.

20. * "You youths." f. 15.

21. * "Youth's Prodigalls." f . 15b.

22. * "To Heauen once there came a
Poett." f. 16.

23. * " Hymen and I." f. 17.

24. * "May all fresh Joyes appeare."
f.l7.

25. * "Loue heretofore did make mee
glad." f. 17b.



26. * "So Ougly makes my blood goes
(sic) back." f. 18.

27. * " I'le loue thee long." f. 18b.

28. " Thy Compound, Mistress." f. 19.

29. "Thy Browne (? for browen, sc,
brows) joun'd (sic) Quinces." f. 19b.

30. "I saw myselfe on shipbo[a]rd lye."
f.20.

31. " Thou art Loue's Tree." f. 20b.

32. " When thou dost dance." f. 21.

33. "Prithee, sweete Cupid." f. 21b.

34. "Sometimes I would haue any."
f. 21b.

35. "When look'd thyne Eyes soe
kinde." f. 22.

36. " Couldst thou forbeare." f. 22.

37. " My happier state." f. 22b.

38. " My Loue's vnhappier fate." f. 23.

39. "Nature, that's Loue." f . 23b.

40. "There's thousand shapes of Fan-
cies." f. 23b.

41. " Thy Loue's a Heretick." f. 24b.

42. " Munson's fine garden." f. 25.

43. * " Loue's Alkimist." f. 26.

44. * " Sighs are turn'd inward."
f. 26b.

45. * " Each inward sigh." f. 28.

46. "Thou art Loue's Tyrant." f. 28b.

47. "Thou art Loue's flameing Sun."
f. 29b.

48. * " Thou art Loue's Sun." f. 30b.



A song^ fljGreat sums of love/' has been cut out here.



49. * " [As thou dost look]." hnperfect
at the beginning, f. 31.

50. * " Each peece of Loue." f. 31.
61. * "Loue should be gentle." f. 31b.

52. * "Loue is a sickness." f. 32^;-

53. * "Lord, what a quoile." f. 33b.

54. * "My Loue is growne soe much."
f . 34b.

55. *" My Fancy, not my Loue." f.35b.

56. * " Wee'le haue Loue's Tryumphs."
f.37.

57. * " I Love thee soe." f. 38.

58. * "When poore." f. 39.
II



59. * "My Loue's sinns." f. 39b.

60. ■* "Loue's actual] sins." f. 40.

61. * "Prithee, oh prithee." f. 41.

62. "Oh, how Pm tortur'd." f. 42.

63. * " Thou knows't thou lou'st mee."
t3b.

64. "The Gods, not able." f. 44b.

65. * "What a fine, thin, coole, airy
Loue." f. 45b.

66. ' ' When thy Come's Jackes plaies on
thy golden haire." f. 46.

67. "Deare, for to part I was soe
loath." f. 46b.

2 K



498



VOCAL MUSIC— SECULAR.



68. "Thy Loue's Heart's Passion."
f . 47b.

69. " Thy Cruelty to mee." f . 48b.

70. " Thus part with thee." f. 49.

71. "As Loue inscrutable." f. 50.

72. "There's nothing that I heare."
f . 51b.



73. " 'Tis true, I am beseidg'd." f. 52.

74. " Thy Loue is yet a sleepe." f. 53.

75. " Deare, I confesse." f. 54.

76. "The Diuell his witches." f. 55b.

77. " What makes thee cruell." Imper-
fect at the end. f . 56b.



Additional 33235, fF. 47, 50, 63b, 144.

Paper ; late 17th cent. Folio. See also under Anthems (vol. i, p. 38).
Songs, with a bass for harpsichord, in score.

' ' Henery



1. " Sciocca pur tutti." By J. B. LuUy.
f. 47.

2. "Alexcis (sic), dear." "Dr. Blow."
f. 50.

3. "How pleasant is this flowry
plain " ; with 2-part chorus and



symphonies for strings.
Purcell." f. 63b.
4. " Peacefull is he and most secure."
"Dr. Blow." Words by Tho. Flat-
man, f. 144.



Additional 33236, ff. lib, 72b.

Paper ; late 17th cent. Folio. See also under sacred Songs (vol. i, p. 431).
Songs with a bass (figured in the case of no. 2), in score.



1. "Hero and Leander," beg. "Nor
coms't thou yet": cantata. "Nic.
Laneare." Imperfect in the middle.



f. lib.
2. "Fly swift, ye howres." "Henry
Purcell." f. 72b.



Additional 33287, flP. 10b-51b jpassm.

Paper ; late 17th cent. Large folio. See also under Odes (above, p. 212).

Songs, with accompaniments (in nos. 1-5) for strings and generally
flutes, or (in nos. 6-8) with figured basses.



1. "Hark, Damon, hark": dialogue.
This and nos. 2-5 are by "Henry
Purcell." f. 10b.

2. "How pleasant is this flowry
plain " ; with 3-part chorus, f. 12.

3. "Oh, what a Scene"; with 2-part
chorus, f . 22b.

4. "Soft notes and gently rais'd";
with 2-part chorus. Published in
1685. f . 24b.



5. " Hither ! This way bend." f. 44b.

6. "By silver Thames's flowry side."
Anonymous, f. 46b.

7. "See, from y"" silent grove Alexis
flys." By Dr. Pepusch. f. 48.

8. "Tell me, shepherds, have you
seen." For the opening recitative,
see the end of the song. Anonymous,
f . 50b.



Additional 30382, ff. 5, 6, 43.

Paper; end of 17th cent. Folio. See also under Motets (vol. i, p. 285).

Songs ; from a collection of music made by Henry Bowman about
1680-1686. No. 2 is his ovm composition, and possibly also no. 1.

1. "While uulger beautys strive"; 2. "When I a parting kiss did take " :
with bass. Written at the bottom of song with 3-part chorus. Imperfect

two pages, ff . 5, 6. at the beginning, f . 43.



SONGS.



499



Harley 1266, ff. l-13b, 21-184b.

Paper ; 17th-18th cent. Narrow oblong octavo. See also under Operas (above,
p. 238).

Cantatas, Arias, etc., usually for a soprano, with a bass (occasionally
figured) for harpsichord, in score. Anonymous. Nos, 10-12 are in a
different hand from all the rest, the first two being dated " Venetia,"
and the third " Milano."



1. " Care sponde del Tebro." f. 1.

2. "Tra martiri eterni auuinto."
ff . 12-13b.

3. " Vaghe fonti." f. 21.

4. " Amante, non e amante." f. 22.

5. "Con la scorta di due stelle." f. 24.

6. " Alma mia, che si pu6 far." f. 26.

7. "Biondo arcier." f. 28.

8. " E pur dolce a chi ben ama " ; for a
contralto voice, f. 30.

9. " Percb' io voli al sol." f. 32.

10. " Pill sempre mi consumi." f. 34.

11. " II mio cor non ^ piu mio." f. 36.

12. " M'e gradita la Catena." f . 39.

13. "Dal Cielo cader " ; with second
part, " Sotto I'arco d' un' bel ciglio."
f.41.

14. " To non ui credo pin." f. 51.



15. " Tanto faco (sc. foco) accolgo in
petto." f. 67.

16. "Non 6 libero un core che teme."
f.71.

17. "Carabocca." f.83.

18. "A Dio, begl' occhi." f. 93.

19. " Era la notte." f . 114.

20. "Credei col gir' lontano dal bel
Idolo mio." f. 126.

21. " Rispondete si 6 no." f. 136.

22. "II mio cor, chi 1' ha." f. 142.

23. "Cielil Che miro." f. 149.

24. " AM, dolci glorie." f. 171.

25. " Lasciami sola a piangere." f. 175.

26. " Son tutte mendaci." f. 177.

27. " Ruisegnol, che uolando uas " {sic) ;
for a contralto voice, f. 178b.

28. " Con femmina adirata " ; for a con-
tralto, f. 182b.



Harley 1270, imssim.

Paper; 17th-18th cent. Narrow oblong octavo. The MS. is said by Humphrey
Wanley to be "written partly by ]Mr. Bernard Martin Berenclow, and partly by
Doctor Berenclow, his father." It also contains songs from Operas (above, p. 239)
and Guitar Instructions (described in vol. iii).

" Ariette Italiane " for a soprano voice, with a bass (frequently
figured) for harpsichord, in score. Almost all the Italian songs occur,
in nearly the same order, in Harley 1273 (above, p. 490).



1. "Per dar Lampo a tuoi Lumi."
"Ales' Scarlatti." f. 1.

2. "Lietofesteggiapur cormio." "Ber°
Pasquini." f. 3.

3. " Hor dunque perche." "Abb. — Co-
lonnesi." f. 5.

4. " Io non s6 se potrai fmgere." f. 7.

5. "Si bacia, stringi e godi." f. 9b.

6. "A chi spera di gioir." f. 12b.

7. "Apri le Luci." " Ales" Scarlatti."
f. 15b.

8. "Pensieri, consigliatemi." " Ber"
Pasquini." ff. 17b-18b.

9. " Ama pur mio cor." f. 22.

10. " Chi d' amor paventa il foco."
" Alesso Scarlatti." f . 24.



11. "Pensier mio, che v[u]oi da me."
f.27.

12. "No, no, mio core." " [Giacomo]
Charissimi." f. 30b.

13. "Chespero, ahi." f . 34b.

14. ' ' Dolce Speranza, non far languire."
f.36.

15. " Armati, cieca Dea." f. 37b.

16. " Era dolci martiri." f.38b.

17. " Per diridere un cor amante."
ff. 40b-41.

18. " Tormentatemi pur quanto bra-
mate." f.42b.

19. " Dear, happy groves." f . 46.

20. "From silent shades" [generally
known as "Bess of Bedlam "] ; by H.

2 K 2



500



VOCAL MUSIC— SECULAR.



Purcell. [First published by Play-
ford in Choice Ayres and Dialogues,
1683.] f. 49.



21. "Stay, lovly Nimph." The bass
is omitted, ff. 54b-56b.



Harley 1272, ff. 1, lOb-75.

Paper ; 17th-18th cent. Narrow oblong octavo. See also under Duets (above,
p. 60), and Operas (p. 239).

Italian Cantatas and Arias, with a bass (generally figured) for
harpsichord, in score. Anonymous, unless the contrary is stated.
Nos. 1—19 are in the hand of Bernard Martin Berenclow, who probably
composed those that are anonymous ; the others are in the hand of
Humphrey Wanley.



1. " Aure vaghe." f. 1.

2. " Mi contento d' un sorriso." f. 10b.
8. " SonAmantenetrovopieta." f. 12b.

4. "Aure, 6 voi." f. 13b.

5. " Sovra il sen." " Carissimi." f. 14.

6. " Ch' io manchi mai." f. 15b.

7. " Fidarsi d' Irene." f. 17b.

8. " Su quel labro." ff. 19b, 48.

9. " Temer di chi s' adora." f. 20b.

10. "II tempo mai non perde."
ff. 21b, 45.

11. " Se morir voi mi guidate." f. 22b.

12. "Si, v' intendo, 6 miei pensieri."
f . 23b.

13. "0 lumi, piangete." f. 24b.

14. " VoletG cosi." f . 25b.

15. " Io provo neU' alma." " Abb[at]e
Colonese." f. 26b.

16. " So che mi place." f. 27b.

17. "Se t'ama, Filli." "Ales" Stra-
della." f. 28b.

18. "Dhe (sic),svegliatevi,occhi belli."
f. 29b.

19. " Con man di Gelsomini." f. 33b.

20. " Lusinghierepupillenere." f . 37b.

21. " Siete vago, siete bello." f. 38b.

22. "Pensieri, armatevi." f. 39.

23. " Dona mi pace." f. 39b.

24. " Piu cara del Core." f. 40.

25. " Fra gl' assalti di Cupido." f. 40b.

26. " Quel bello, quel labro." f. 41.

27. " Stelle amiche, proteggete." f . 42.

28. "Quanto fe dolce quel velen." By
A. Scarlatti, f. 42b.

29. " Spero da t^, mio nume." f. 43.

30. "Carefonti." f. 43b.

31. " Dolcissime pene." f . 44.

32. " Lasciami in pace." " Pietro
Francesco Tossi " (sc. Tosi). f. 44b.



33. "Cara Imago." By the same,
f. 45b.

34. " Son vinto ; mi rendo." f. 46.

35. "A rallegrar il moudo." "Pietro
Francesco Tossi." f. 46b.

36. " Sino a quando." f. 48b.

37. "HounAlma." f. 49.

38. "Con le stiUe del mio pianto."
f . 49b.

39. " Deggio, 6 Dio, lasciar morire."
f.50.

40. "A voi torno." f. 50b.

41. " Spera ch' il Dio d' amor." f. 51.

42. "Careluci." f.51b.

43. "La speranza in chi ben ama."
f.52.

44. "Son pur care al sen piagato."
f . 52b.

45. " Di morir gia non paventa." f. 53.

46. " Che vuol dal mio Core." f. 53b.

47. "L'Aure, le fronti " (?for fonti).
f.54.

48. " Dall' Oriente chiaro." f. 54b.

49. " Dove son 1' erbet[t]e." f. 55.

50. "Vaga mia, con chi t' adora."
f . 55b.

51. "E tirannico 1' impero." " Dom.
Gabrielli." f. 55b.

52. "Va lettando (? for luttando) in
questo petto." f . 56.

53. " Vendetta, 6 cor." f. 57.

54. "Solitaripasseggi." " P.Fr. Tossi."
f.58.

55. "Ah, crudele,chi ti pose tantofoco."
f.59.

56. "Sopra il Mar dell' incostanza."
f. 59b.

57. "Care larve." "Domenico Ga-
brielli." f . 60.



SONGS.



501



58. "Vezzosepupille." "Tossi." f . 60b.

59. "Tumi tenti." f.61.

60. " Cominscia tormeutarmi." " P. F.
Tossi." f. 62.

61. " Per me, funeste faci." f. 62b.

62. " Dunqu', 6 bella mia Diva."
" Pietro Francesco Tossi." f. 63b.

63. " Tu mi conforta " (sic), f. 64b.

64. " Si, venite, luci adorate." f. 65.

65. " CM vanta un lieto Core." f. 65b.

66. "La speranza 6 una Tiranna."
f . 66b.

67. "Vieni, 6 Sonno." f . 67.



68. "0 pace del mio Cor." f. 67b.

69. "Impiaga pur, mio Caro." " Fer-
dinaudo." f. 68.

70. " Ancho in voi, boschi romiti."
"Carlo Pietrogrua." f. 68b.

71. "Stelle, non mi tradite." "Ales-
sandro Stradella." f. 71.

72. "Non spero piu di ribacciarmi"
(sic), f. 78.

73. " Non ti credo mai." f . 73b.

74. " Risuoni festante " ; said to be
"Altered by Battista Draghi and B.
M. Berenclow." f. 74b.



Harley 4685, fF. 65, 65b.

Paper ; 17th-18th cent. Oblong folio. The other contents of the MS. are
miscellaneous, of English origin.

" Se correndo m seno al mare " : song with a bass for harpsichord
or violoncello, in score. Anonymous.



Additional 31460, fF. 70, 96b.
Paper ; 17th-18th cent. Oblong folio. See also under Anthems (vol. i, p. 44).
Songs with a bass, in score.



1. "Peacefull is he and most secure."
"Blow." f.70.

2. "The Passing-Bell," beg. "Come,



honest Sexton " ; with chorus.
" Matthew Lock." f . 96b.



Additional 31503, ff. 2-59b.

Paper; 17th-18th cent. Oblong folio. See also under Motets (vol. i, p. 293).
Italian Cantatas, with a bass, partly figured, in score.

1. "Di Gelsomini." "Bernardo Sab- ' 9. " delizia degl' Orti." " Pistocchi."
badini." f. 2. | f. 19b.

2. " Per un uolto di Gigli." By F. A. j 10. "Non per anche disciolta."
Pistocchi. f . 4. "Bononcini. f. 22b.

8. "Scoglio, che in mez[z]o al mar." j 11. " Per consolar mie pene." By the
" B. S[abbadini]." f. 5. same. f.25.

4. "Cerco un fiore." By the same. ' 12. "Si, begl' occhi." By the same.
f.7. i f.27.

5. " Colmo d' Amore." By the same. : 13. "A pie della sua Clori." By the
f. 9. I same, f . 29.

6. " Voi ui partite." "Antonio Bonon- 14. "Dal mio sen." This and nos. 15,
cini." f . 12. 16 are anonymous, f. 31.

7. "Gia sul margo del rio." By the 15. " Mostruosi Martiri." f . 34.
same. f. 14b. 16. "Filli, Amor di quest' alma."

8. "Fra dubbiosi pensieri." By the \ f. 36b.

same. f. 17b. i 17. " L' infelice Fileno." f . 39.



502



VOCAL MUSIC— SECULAR.



18. "Tortorelle imprigionate." " Pis-
tochi." f. 41b.

19. "Nume Arciero." " Laurenti."
f. 44.

20. "Bellalrene." "Conte S.Secondo."
f. 47.



21. "Vorrei dirti addio." "Bonon-
cini." f. 49b.

22. " Cieco nume." By the same,
f. 52b.

23. " Su la sponda odorosa." By the
same, f . 55b.



All the compositions given above under the name of " Bononcini "
are attributed in the index to " [M.] Antonio Bononcini."

Additional 37232, f. 22.

Paper; 17th-18th cent. Folio. The other contents of the MS. are
miscellaneous. Presented by William Barclay Squire, Esq.

"Hark, hark! Amenia's voice I hear": melody only of what
appears to be a song. Anonymous.

Additional 14186, ff. 101-105b.

Paper ; early 18th cent. Oblong folio. See also above, p. 240.

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

1. " Irene, Idolo amato." f. 101. | 2. " Se in questa lontananza." f . 103.



Additional 14243.

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

" Arie Gravi Per Scola Di Ben Can tare " ; consisting of " ottave,"
" madrigali," etc., for a soprano voice, with a figured bass for harpsi-
chord, in score, by Tommaso Carapella.



1. "lo mi rivolgo in dietro " : sonnet.
f.3.

2. "La, tra '1 sangue e le morti." f. 4.
8. " Che fa piu nieco il pianto." f. 4b.

4. " Chiamagli, abitator del' ombre
eterne." f. 5b.

5. " Quanto di me pju fortunate siete."
f.7.

6. " Su r ali d'vm sospiro." f. 8.

7. " Chi nutrisce tua speme." f. 8b.

8. " Misera ancor presumo." f. 9b.

9. "Qualsonno." f. 10.

10. " Volea gridar." f. 11.

11. "A riguardar sovra il guerrier."
f.llb.

12. " Giunto a la tromba." f. 12b.

13. " Dunque perpetuo sonno " : scena.
f.l3.

14. "Rimanti in pace." f. 14b.

15. " Ne te Sofia produsse." f . 15b.
6, " Ardo si, ma non t' amo." f. 16.



17. " Ardo per te." f. 17.

18. " Al vostro lampeg[g]iar." f. 18.

19. " Dove hai tu sede, Amore." f. 19.

20. "Misera, non, non credea." f . 20.

21. " Infuriossi all' hor Tancredi."
f. 20b.

22. " Siguor.non sottol' ombra." f. 21b.

23. "All* hor ristette il Cavaliero."
f . 22.

24. "Ma che? Son colpe umane."
f. 22b.

25. "Sia questa pur tra le mie frodi."
f.23.

26. " D' un bel pallore." f. 24.

27. " Poich' ella in se torno." f. 25.

28. " Vna amorosa guerra." f. 25b.

29. " Amico, hai vinto." f. 27.

30. "lovivo? lo spiro ancora." f . 27b.

31. " Dan rimbombo le valle." f. 28b.

32. " Talor dice ' II mio ben.' " f. 29b.



SONGS.



503



Additional 17850, f. 35b.

Paper ; early 18th cent. Large folio. See also vol. i, p. 184.

" Damon, shure you love another " : song with accompaniment for
2 flutes, by William Gorton. Autograph.



See also above,



Additional 22911, fiF. 456, 460.

Paper; early 18th cent. Oblong duodecimo and folio,
p. 203, and under Treatises, etc., in vol. iii.

Melody of a song, beg. " Ilovpvd, Trovpvo, a-iKoOiKa raiSdvt " (f. 456).
The words are given in extenso in ordinary letters on f. 460.



Additional 31405, f. 144.

Paper ; early 18th cent. Folio. See also vol. i, p. 48.

Song ; imperfect at the beginning, ending ". . .th' inevitable time
assign'd by Fate to Lov[e] 's approaching near." With figured bass.
Anonymous.

Additional 31453, flf. 169-192 passim.

Paper ; early 18th cent. Folio. See also above, p. 244.
Songs, with a bass.



1, 2. "Come, sweet Lass," and "Why
does Willy shun his dear " : Scotch
songs. " Jeremiah Clark." f . 169.

3. " Enchanted by your voice " : Song
to a ground. " Henry Hall." f. 169b.

4. "Who can behold Florella's
Charms." " Hen. Purcell." f . 170b.

5. " Upon the wings of love " : Scotch
song. Anonymous, f. 177.

6. "Jockey was as brisk and blith."
Anonymous, f . 177b.



7. " Vpon my way from Fife." Anony-
mous, f. 178.

8. " Pm vex'd to think that Damon
woes (sic) me." Anonymous, f. 178b.

9. "While, Galathea, you design."
"Henry Hall." f.l81.

10. "Fair, angry nymph." " [James ?]
Hart." f. 184.

11. "Ye mortals that love drinking."
Imperfect. In a different and rather
later hand. Anonymous, f. 192.



Additional 31461, ff. 68-83, 84b-101bpassm.

Paper ; early 18th cent. Quarto. See also vol. i, p. 50.

Songs, with a bass, in score, in the hand of James Kent,
mous, unless the contrary is stated.



1. " L' Aura che qui respira." f. 68.

2. " La Colomba iunocente." f. 68b.
8. "Ruscelletto limpidetto." f.68b.

4. " Contento il mio Desio." f. 74b.

5. " Cloe one night." " Fr. Hugh (?)."
f . 76b.

6. " Only tell her that I love." f . 78b.

7. " See there the joy and torment



Anony-



Dan



of my Soul": Cantata.
Purcell." f. 80.

8. " Solo pieta vi chiede." f. 82b.

9. " Spare my sorrow, Rural Pleasure."
f. 84b.

10. "As Chloe the soft Artist of the
Plain" : Cantata, f. 86.

11. " Fly from my sight, Deceiver 1



504



VOCAL MUSIC— SECULAR.



Go." By D. Purcell. [From
" Ibrahim xii," 1696.] f. 93b.
12. "Fly, ye winged Cupids, fly."
f. 94b.



13. "Ye tuneful numbers": Song,
with Symphonies for violins.
"D' Croft." f.96b.



Additional 31487, fF. 1-169.

Paper ; early 18th cent. Oblong folio. The MS. belonged to J[ames] Pears,
of St. Mary's Hall, Oxford. It also contains a secular Duet (above, p. 62).

Cantatas, mostly for a treble voice, with a figured bass for
harpsichord (unless the contrary is stated), in score.



1. "Amones6 comprendere." " Gio.
Dom" Pacini." f. 1.

2. "lo che sol conoscea." By the
same, f . 9.

3. " Air armi, 6 pensieri " ; with
trumpet, etc. " Aless" Melani."
f.l9.

4. " Quanti aflanni." "Aless" Scar-
latti." f . 35.

5. "Su le sponde del Tebro"; with
trumpet, violins, etc. By the same.
f.43.

6. "Euridice," beg. "Del lacrimoso
Lido." By the same, 1699. f.62.

7. " Vado ben spesso." " Gio.
Bononcino." [Usually attributed to



Salvator Eosa.] f. 79.

8. " Vanne, abbatti " ; with trumpet,
strings, e^c. "Bononcino." f . 84.

9. "Mi sorge k poco " ; with strings,
etc. This and nos. 10-13 are anony-
mous, f . 96.

10. " Feroci pensieri." f. 106.

11. " Tu cominci ad agitarmi " : with
violin (?). f. 116.

12. "Moro, peno." f . 120.

13. " Troppo vago." f. 124.

14. " Gia languiua la notte." " Alles*"
Stradella." f. 128.

15. "II Nerone," beg. " Sopr' un
eccelsa Torre"; for a bass voice.
By the same. f. 152.



Additional 31488, ff. 2-36, 116-185.

Paper ; early 18th cent. Oblong folio. The MS. belonged in the 18th century
to [William?] Savage, and in 1817 to R. J. S. Stevens. See also above,
pp. 15, 62, 244.

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

6. " II Coriolano," beg. "La Fortuna
di Roma." By the same. f. 124.

7. " Sopra un' eccelsa torre." "Aless"
Stradella." f . 136.

8. "La Morte di Sececa" [sc. Seneca),
beg. " Se Nerone mi uuol morto."
By the same. f. 156.

9. "La Lucretia Romana," beg.
" Lasciato hauea 1' adultero."
" Scarlatti." f. 166.



1. "Nettuno, or si, ti prego."
" Gregorio Cola." f . 2.

2. " Pensieri seueri." By the same.
f.l9.

3. "Quando mai uermigli labri."
"Bononcini." f. 32.

4. " Lontano dal suo bene." "Aless"
Scarlatti." f. 36.

5. " Tormentatemi pur, furie d' amore."
By the same. f. 116.



Additional 34291, ff. l-4b.

Paper ; early 18th cent. Oblong octavo. See also above, p. 62.

"La Viola Mammola : Cantata a Canto solo con V. V., di Ant
Caldara." In score. Autograph. It begins " Violetta vezzosetta."



SONGS.



505



Additional 22104, ff. 1-84.

Paper ; a.d. 1700, etc. Oblong quarto. See also above, pp. 63, 245.

Cantatas, etc., with accompaniments for strings (unless the
contrary is stated), and a figured bass for harpsichord, in score.
No. 1 was written at Rome in 1700.

1. "La Luccioletta," beg. " Mentre il ; f. 41.

suo caro gregge." " Priore Pacieri." i 4. " Cara, si I Tu mi cousumi " : aria,
f. 1. By the same. f. 64.



2. "Mentre Clori"; with flutes.
Anonymous, f. 23.

3. "Va, credi." " Gio. Bononcini."



5. " Leandro, anima mia " ; with a
figured bass only. " [Alessandro ?]
Scarlatti." ff. 72-84.



Additional 22099, flf. 30b-78 jmssim.
Paper ; about 1704-1707. Folio. See also above (p. 247).

Songs, mostly with a figured bass, in score, by English composers
or Italians connected with England.



1. "By purling streams " ; with flute
obbligato. " Croft." f. 30b.



13. "Here is Hymen." " Courtivill."
f. 54.



2. "In pitty let the poor Marcellis ; 14. " Pretty swallow." "C. Bassanoof
dye." "C. B[assano]." f . 36b. L[ondon?]." f. 54b.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 56 of 120)