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vne robe." f . 155 ; — "Au fond demon
caveau.'" f. 156. ff. 153b-156b.

13. " Pleury, le crucifix en main," 1743 ;
air, " Les pendus." f. 157.

14. "Chacun salt que les Pantins,"
1744 ; air, " Choisy." ff. 161, 185b.

15. " On n'entend plus," 1744; air, "Ma
Mere, mariez moy." f. 162b.

16. "Ma voisine Perrette," 1744; air,
"Obegue." ff. 164, 185b.



558



VOCAL MUSIC— SECULAR.



17. " Madelaine, tu te moque[s]," 1744.
f . 165b.

18. "De la Prise de Menin," 1744.
f. 167.

19. " Digne favory de L'amour," 1745 ;
air, " Tous les Capucius." f. 168b.

20. "La pel[l]e au c . . ," 1745 ; air, " Du
haut en bas." f. 169b.



21. " Que vois je," 1747. f. 172.

22. "Voltaire a tout mis," 1748; air,
" Laissons nous." f. 173.

23. "AMylord Clar[e] La Bunel dit,"
1748. f . 174b.

24. " Pourquoy ce festin public," 1749 ;
air, "La mort pour les malheureux
n'a rien d'affreux." f. 175.



Additional 14212.

Paper ; ff. 176. First half of 18th cent. Oblong folio.

Cantatas, with a bass (frequently figured) for harpsichord, in score.
Nos. 9, 12, 17, 21, 26, and 27 ai-e for a contralto voice, the others for
a soprano.



1. " Se pari alia tua fe." This and
nos. 2-6 are by "Giorgio Federigo
Hendel " and published by the Han-
del-Gesellschaft. The present cantata
corresponds with H.-G., no. 59, except
that the final recitative is here
omitted, f. 2.

2. " Lungi dal mio bel nume" (H.-G.,
no. 25). f. 9.

3. " Oh numi eterni." f. 15.

4. " Da sete ardente afflitto." f.23.

5. " Sarei troppo felice." f. 27.

6. " Nel dolce tempo." f. 35.

7. "Verdi colli." "— Ristori," of
Venice, f. 43.

8. "Filli Crudel." "Antonio Lotti."
f. 50.

9. ' ' Mirai, e f u lo sguardo un muto
fauellar." By the same, f . 56.

10. " Se di m^ uoi uedeste 11 piu in-
felice." This and nos. 11-15 are by
" Diogenio Bigaglia." f . 63.

11. " Gran crudelta di stella." f. 70.

12. " Se tu resisti, 6 cor." f. 75.

13. " Aure, che qui d' intorno." f. 82.



14. " Doue uai, mio ben crudele." f. 90,

15. " Aure, 6 uoi ch' accogliete i moti
del mio cor." f. 96.

16. " Se ben lungi dal tuo core."
" [Antonio] Caldara." f. 104.

17. "Quanto, ahi, quanto fatale." By
the same. f. 112.

18. "Amor, Mitilde." This and nos.
19-21 are by " Alessandro Scarlatti."
f . 120.

19. " Dunque, ingrato." f. 124.

20. " Ecco ch' a uoi ritorno." f. 128.

21. "Clori uezzosa." f. 136.

22. "Sopra del bel Sebeto." "Nicolo
Fago, detto Tarant""." f. 142.

23. " Di contento, di gioia." " [Leon-
ardo] Leo." f. 150.

24. " A te uengo, 6 prato ameno." By
the same. f. 154.

25. "Bruggioframillefiamme." Anony-
mous, f. 158.

26. " Adorato mio sol." " Fran" Feo."
f. 162.

27. "Nice, al fin uuol la sorte." By
the same. f. 168.



Additional 14218, ff. 11 8-1 57b.

Paper ; first half of 18th cent. Oblong folio. See also above, p. 485.

Collection of Arias, Cantatas, etc., written (with one exception
noted below) for a soprano voice. Unless the contrary is stated, they
are anonymous and in the same hand as most of Add. 14211, which
appears to be dated 1736.



1. " Fermate homai, candide mie Co-
lombe." f. 118b.



2. " Non ti credo, Delta mensogniera.'
f. 121b.



SONGS.



559



3. " Donzelle tenere." f. 122b.

4. " Se d' Angue uorace " ; for contralto.
f. 123b.

5. " Fra tante pene e tanto." f. 124b.
G. " Ch' io non penzi al bell' Idolo mio."

f. 126b.



7. "Achimai.piucrudasorte." f. 127b.

8. " Caro sposo del cor mio." f. 128b.

9. " Tu scherzi col' periglio." f. 129b.

10. "Non piu tormenti." f. 130b.

11. " Deh, uolate, bore." f. 131b.

12. "Non e quello 1' alimento." f. 1.32b.



Of the remainiug songs, nos. 1.3, 15, 18, 19, 27-29 are ascribed in
Add. 31512 to Alessaiidro Scarlatti.



13. " Deir ardor che chiudo in petto."
f . 133b.

14. " Io spero di goder." f. 134b.

15. "Porto in seno un certo Core."
f. 135b.

16. " Torna, infido, a questo Lido."
f. 136b.

17. " Pellegrino io son d' Amore."
f . 137b.

18. "Nel biondo Carcere." f. 138b.

19. " Altra sorte non aspetto." f . 139b.



21-25 are by "Andrea Basso," and,
as well as no. 26, are in tbe same
hand as Add. 14217 (see Songs, 18th
cent., below), f. 140b.

21. "Non e cieco amor." f. 141b.

22. "Nelboschettod' Aminta." f. 143b.

23. " Se non credi a tant' ardore."
f. 145b.

24. " D' alcuni sfacendati." f. 147b.

25. " Al arma ! Guerra " : Spanish tune,
f. 149b.



20. "La mia fede." This and nos. I 26. " Io uado alle pene." f . 150b.
Nos. 27-35 are in the same hand as nos. 1-19.



27. " Quanto e dolce per uoi languir."
f. 151b.

28. "N6, no, non mi parto da te."
f. 152.

29. " Perseguirti, Idolo mio." f. 152b.

30. " Si, si, uu6 goderti." f. 153.



31. " Vorrei, ma non posso." f. 153b.

32. " Ti lascio, 6 bella mia." f. 154b.

33. " Se non uuoi ch' io mi lamenti."
f. 155.

34. " Va lungi da me." f. 156.

85. " Stelle, dite quando mai." f. 157.



Additional 24311.

Paper ; ff. 145. First half of the 18th cent. Oblong folio. Bookplate of John
Symmons. The MS. belonged afterwards to Dr. H[enry John] Gauntlett.

Cantatas for a contralto voice, with a bass (frequently figured) for
harpsichord and occasionally (where indicated below) accompaniments
for strings also, in score. Unless the contrary is stated, they are
anonymous.



1. "II piu tenero affetto." f. 2.

2. " Come, o bella." f. 16.

3. " Fermateui, 6 bei lumi." f. 23.

4. " Intorno a picciol lume " ; with
strings, etc. By G. del Violone. f. 37.

5. " Come in ciel." f. 45.

6. "La fortima di Roma." "Ales"
Scarlatti." f. 53.

7. " Stan soggetti alia fortuna"; with
strings, eic. " Gio. del Violone." f. 65.



8. "Tante Perle." f . 73.

9. " Non uantar tanta bellezza"; with
strings, etc. " Gio. del Violone." f . 81.

10. "Con tutto che Amore mi uada
stringendo." "Fran[ces]co Bagaglia."
f. 93.

11. " Sono in armi " ; with trumpets,
strings, etc. f. 104.

12. " Io che lasciato fui." f. 1.36.



560



VOCAL MUSIC— SECULAR.



Additional 27932, passim.

Paper; first half of 18th cent. Octavo. See also above, p. 281.

Songs, w^ith a figured bass for hai'psichord, in score, except in the
case of the last, of which only the melody is given. Anonymous.

1. " When Delia on the Plain appears." , 3. " The tunefull Lark." f. 15.

f . 2b. ' 4. " The Bird " ; witliout the words.

2. " At night, by moonlight." f. 14b. | f. 27b.



Additional 29484.

Paper; ff . 96. First half of 18th cent. Oblong folio. Belonged to Joseph
Warren.

Cantatas, in score. Except where the contrary is stated, they
are written for a soprano voice, with bass only (occasionally figured)
for harp.sichord. Most of the contents appear in a MS. in the
Eitzwilliam Museum, Cambridge (24 F. 12).



1. "Cora (sic) amarte {sc. amante)."
This and nos. 2, 3 are by "Nicolo
Porpora," of whom there is a short
account at the beginning (ff. 1, 2).
f.4.

2. "Torno a voi." f. 6.

3. " Se vuoi saper per che." f. 8.

4. "Nei langnidi respiri." This and
nos. 5, 6 are by Alessandro Scarlatti.
f.lO.

5. "Ecco ch' a voi ritorno." f. 13.

6. '■ pace del mio cor." f. 16.

7. "Tel dicea, pouero core"; with



strings, etc.
f. 19.



" Francesco Mancini."



8. " Senza il caro e dolce sguardo."
This and nos. 9, 10 are by "Bene-
detto Marcello." f. 27.

9. "Ti sento, amor." f . .30.

10. " Pecorelle che pascete." f. 32.

11. " Lascia il crin di bella aurora."
This and nos. 12, 13 are by " P[adre ?]
Giouanni Giorgi." f. 84b.

12. " Se vuoi chi (sic) io viua." f. 37b.

13. "Sento chi (sic) il cor sospira " ;
with strings, etc. f. 39b.



Of the remaining numbers the name of " Handell " or " Hendell "
is only attached to the first five, but they are all by George Frederick
Handel and included in the edition of the " Hiindel-Gesellschaft.
(H.-G.).



14. " Ninfe e Pastori " (H.-G., Italien-
ische Cantaten, 40). f . 45b.

15. "Son gelsomino"; for a contralto
voice, f. 48b.

16. " Dolci (sic) e pur d' amor 1' affanno "
(H.-G., 15) ; for contralto, f. 51.

17. "Sento la che ristretto" (H.-G., 57).
f.53.

18. "Mi palpita il cor" (H.-G., 83);
for a contralto, with flutes, etc.
Imperfect at the end. f. 56b.

19. " Da sete ardente afflitto." f. 61.

20. " Manca pur quanto sai." f. 64b.

21. "Se pari e la tua f ^ " (H.-G., 59).



f . 67b.

22. " Stelle perfide." f.71.

23. " Fra tante pene." f. 74.

24. "Irene, Idolo mio." f. 77.

25. " Sarei troppo felice." The last
part, beg. " Clori s[c]hernita," is not
in H.-G., 53. f. 80b.

26. "Lungi, lungi n' ando Fileno."
f.81.

27. " Quando sperasti, o Core." f. 87b.

28. " Lungi, lungi da me " ; with slight
variations from H.-G., 27. f. 90b.

29. " Qualor crudele, si." Imperfect
at the end. f. 94b.



SONGS.



561



Additional 29962, ff. 34-56b.

Paper ; first half of 18th cent. Oblong folio. See also above, p. 257.
Cantatas for a soprano voice, with a bass for harpsichord, in score,
ultimo respiro.'



1. "Quando all'
"Biffi." f.34.

2. *' E pur giunto il momento." By
the same (?). f.38.

3. <' Tra folti boschi." By the same (?).
f.42.



4. " Senza il caro."
cello." f. 46.

5. " Pensando a quel momento.'
the same, f . 50.

6. "Non so come resisto." "Nicola
Porpora." f . 54.



' Benedetto Mar-
By



Additional 31518.

Paper ; fi. 101. First half of 18th cent. Oblong folio.

Cantatas, with a bass (frequently figured) for harpsichord, in
score. Unless the contrary is stated, they are for a soprano voice
and by " Bononcino." Of the songs headed by that name, nos. 4, 8,
and 11 are known to be by Giovanni Battista Buononcini; some of
the others may possibly be by his brother, Marcantonio.



1. "Auoi che 1' accendeste." Anony-
mous, f. 2.

2. ''Amor, tiranno amor." f . 9.

3. " AUe tue pene intorno." f. 13.

4. "Dal di ch' il Ciel seuero." f. 17.
6. " Deir Elesponto in riua." "Anton.

Francesco Piombi." f. 21.

6. "Lascia piu di tormentarmi." By
A. Scarlatti, f. 25b.

7. " Eurilla amata." "Scarlatti." f.27.

8. " Genio ch' amar uolea." f. 31.

9. "Impara a non dar fade." f. 35.

10. " Irene, idolo amato." Anonymous.
f.39.

11. " Lumi uezzosi." f. 43.

12. "Nelle spiogge (sic) di Cipro."
" Anton. Franc[esc]o Piombi." f. 45.

13. " Sdegno fiero." Anonymous, f . 49.

14. " S' accinge Eurillo al canto."
"Scarlatti." f. 53.

15. " Viuea gia tutto amante." "Anton.
Francesco [Piombi ?]." f. 57.

16. " Doue le piante giro." f. 62.



17. " Hor che stanco dal corso " ; for a
contralto voice. " [? C. F.] Pol-
larolo." f. 64.

18. " Su le sponde del Reno." " Scar-
latti." f. 67.

19. " Pianto mio, ch' amaro sei."
" Perti." f. 70.

20. " Fuggitiuo sen gia." " Anton.
Francesco Piombi." f. 72.

21. " Quanti afianni." " [A.] Scar-
latti." f . 74b.

22. " Oh foriera del giorno." f. 78.

23. " Ch' io t' amo quanto posso. "
" Gasperini." f. 81b.

24. " Che fai di questo scoglio " ; for a
contralto voice. " Franc[esc]o Man-
cini, Napo[letano]." f. 84.

25. "Lontan dall' idol mio." "Piero
Antonio Cennami (?)." f. 91.

26. " Care fonti." Anonymous, f. 92b.

27. " D' un bel rio alle sponde."
" Floriano Aresti, Bolognese." f. 95b.

28. " Piu deir Alpi gelato." f. 99.



Additional 31547.

Paper ; fE. 44. First half of 18th cent., etc. Oblong folio.

Cantatas, with a bass for harpsichord, in score, by Giovanni
Battista Bononcini. No. 1 is in an earlier hand than the others,
II 2 o



562



VOCAL MUSIC— SECULAR.



has the bass figured, and is for a contralto voice ; nos. 2-7 are for a
soprano voice.



1. " Anche i tronchi, anche le rupi."
f.l.

2. " Come potest! mai." f . 5.

3. " Sconsigliato consiglio." f. 13.

4. " Quando mai, verinigli labri."



f , 19b.

5. " AUor che il cieco Nume." f . 25.

6. " Clori, Clori, mio ben." f. 33.

7. " Partenza, che parti in pezzi il mio
core." f. 40b.



Additional 31592, ff. 3, 127.

Paper; first half of 18th cent., etc. Folio. See also above, p. 282.

Cantatas, with symphonies and accompaniments for strings, in
score.



1. " mista (sic) tortorella." "— Doni."
ff. 3-12.

2. "Nel chiuso centre." " [G. B.]



Pergolesi." The opening recitative
only. In a rather later hand. f. 127.



Additional 31594, passim.

Paper ; first half of 18th cent. Oblong folio. See also above, p. 283.

Compositions for a single voice, with a bass (generally figured) for
harpsichord and (in no. 2) a violoncello, in score.



1. " Contento il mio desio." Anony-
mous, ff . 5-6b.

2. "Prendi,obella": aria. "—Mar-
tin." f. 15.

3. " Cinta dal velo usato": cantata.
" [P.] Anton. Pistocchi." f. 17b.

4. " Tu sei come spietata." " [? G. B.]
Bononcini." ff. 21-22.

5. "Amorosa pastorella " : cantata.
"II Pistocchino" (?P. A. Pistocchi).
f. 26.

6. " Se per amor": cantata. Anony-



mous, f. 30.

7. " Goder spera il mio cor." Anony-
mous, ff. 34-36.

8. " Sarai mia cara tiranna": aria
"menuet." Anonymous, f. 41.

9. "Or, che disciolto e il nodo": can-
tata. " [P. P.] Bencini." f. 42.

10. "La doue un bel Ruscello" : can-
tata. "Dom"Sarro." f . 48.

11. "Finche spirto hauro." Anony-
mous, f. 52.



Additional 34053. •

Paper ; ff. 131. First half of 18th cent. Oblong folio.

Cantatas for a soprano voice, with a figured bass for harpsichord,
in score. Each song is preceded by a pencil drawing more or less
suggested by the text.



1. "Lontananza, sei crudele." This
and nos. 2-9 are by " [Carlo Antonio]
Benati " or " Benatti." f. 3.

2. " Come 1' Ape." f . 9.

3. "Selue care." f . 13.

4. "Taci, 6 cor." f. 18.

5. " Quelle brune pupillette." f.22.



6. "Lidia, tu non mel credi." f. 28.

7. " Se per souerchio duolo." f. 34.

8. " S' haj da mirar vaghezza." f. 39.

9. " Pria mancare, 6 bella Clori."
" [F. A.] Pistocchi." f . 44.

10. "Mirtillo,Idolomio." This and nos.
11-15 are by " [C. F.] Benati." f. 49.



SONGS.



563



11. " In merce del piant'." f. 55.

12. " Dolce e cara stagiou." f. 61.

13. " II piu bel del ruscelletto." f . 64.

14. "Chi d'Eurilla il cor perduto."
f. 69.

15. " Cento cori." f . 75.

16. "Per un uolto di gigli e di rose."
This and nos. 17-19 are by " [F. A.]
Pistocchi." f. 81.

17. "Nonpiu pene." f. 87.



18. " Pallidetta viola." f . 93.

19. " Amorosa Violetta." f. 101.

20. "Oh sapessi del core." This and
nos. 21-24 are by "[P. F.] Tosi."
f. 107.

21. " [D]unque, 6 bella mia Diua."
f. 113.

22. " Per consolar mie pene." f. 119.

23. " Vn di la uaga Fille." f. 125.

24. " Solitarij passeggi." f. 128.



Additional 34055.

Paper ; ff. 108. First half of 18th cent. Oblong octavo.

Cantatas for a soprano voice, with a bass (occasionally figured) for
harpsichord, in score. Except where the contrary is stated, they are
by [? Pietro Simone] Agostini.



1. " Mentre Arion canoro." " — • Zaz-
zera." f. 1.

2. " [S]prigionati dal sonno." " [Fran-
cesco] Gasparini." f. 9.

3. "Belle Luci guerriere." "[? Ber-
nardo] Gaffi." f . 23.

4. " Tuo danno, mio Core." f. 31.

5. " Verso il Tuscolo ameno." "[? Gio-
vanni] Delia porta." f. 39.

6. " Infelici mie catene." "[Andrea]



Adami [da Bolsena, Master of the
Pontifical Chapel], whose arms and
initials are on the cover, f. 47.

7. " Fu si dolce la ferita." f. 52.

8. "lo son pur solo." f. 76.

9. " Se uolete ch' io u' adori." f. 82.

10. " Dunque, 6 Cieli tiranni." f. 89.

11. " La colpa e la mia." f. 95.

12. " [C]ome 1' onde cristalline." " [An-
drea] Adami." f. 101.



Additional 34298, passim.

Paper; first half of 18th cent. Oblong folio. Previous to 1826, the MS.
belonged to T. Jones. See also under Quartets (above, p. 457).

Arias, with a figured bass for harpsichord, in score. Many have a
flute or violin part filled in by a different hand, and nos. 30 and 35
have parts for several strings.



" Torna, torna, 6 cara speme." This
and nos. 2-7 are by " Allessandro
Scarlatti." f. 3.

2. " Se a te piacque." f. 6.

3. " E vera e non sognata." f . 9.

4. " Si, si, ti lascio il cor." f. 12.

5. " Crude Parche." f. 15.

6. " Lasciami piangere." f. 18.

7. "Cieli tiranni." fi. 20b, 125.

8. "MioNume." " Fran"^" Gasparini."
f.24.

9. " Amante, non mi credi." By the
same. f. 27b.

10. " Saprai che la face." This and
nos. 11-16 also appear to be attributed
in the index (f. 2) to Gasparini.
f.31.



f. 36b.

f. 42.
f. 45.



11. "Vuo che viua." f. 34.

12. "Diro, dird— che lui dir6."

13. " Cangiata ^ la face." f . 39.

14. " Io pauento il tradimento."

15. "Ben' vede il Rosignuolo."

16. " Suol' doppo notte oscura tornar
piulietoildi." f. 49.

17. "Io non so quand' e piu bella."
This and nos. 18-23 are by "Fran""
Gasparini." f. 53.

18. "Vogliosaluarel'Idolomio." f. 57.

19. " Bella speranza." f. 60.

20. " Par che mi dica il Cor."

21. " Se ria procella talor
messe." f. 65b.

22. "Quel Traditor." f. 69.

23. " Spera, sperachemiasarai."

2 o 2



f . G2b.
inonda



f.72.



564



VOCAL MUSIC— SECULAR.



24. "Dio del mar." "[A.] Scarlatti."
f.75.

25. " lo t' uccido." " Fran" Mancini."
f . 77b.

26. "Regnando appresi a non curarmi
di piu regnar." By the same. f. 82.

27. " Non lo credo menzognero." This
and nos. 28-33 appear to be attributed
in the index to Mancini. f. 85.

28. " Cara, s' io moro." f. 87.

29. " Alma bella." f. 90.



30. "Attendi, attendi, o fido cor."
n. 93, 117.

31. "A pena, tiranna crudel gelosia."
f.96.

32. " Cede al' vento." f. 100.

33. "Vide, e vinse il mar turbato."
f. 104.

34. " Vacilla e trema il Piede." " Ales-
sandro Scarlatti." f. 107.

35. "Vanne, amor." Apparently attri-
buted to the same in the index, f . 121.



Additional 14210.

Paper ; ff. 149. Mid. 18th cent. Oblong folio.

Cantatas, with a bass (in most cases figured) for harpsichord, in
score. For a soprano voice, except nos. 3, 4, and 17, which are for
contralto.



1. " Piansero, Eurilla mia." This and
nos. 2-6 are by " Leonardo Leo." f. 2.

2. " Or che barbara sorte." f. 10.

3. "Id seguir' il Nume arciero." f. 18.

4. "Frangi, Cupido, i dardi." f . 24.

6. " Torno a uoi piante amorose." f. 30.

6. " Sotto r ombra d' un faggio." f. 35.

7. "Antri cupi, che fate." This and
no. 8 are by " Gio.-Ant" Giaij." f. 42.

8. " Fileno, tu che a me fosti s' ingrato."
f.50.

9. " Zingaretta che predici ad altrui le
sue suenture." Anonymous, f. 58.



10. "Ninfee Pastor." This and nos.
11-20 are by Nicolo Porpora. f. 66.

11. "0 come a tempo qui t' incontro,"
f. 73.

12. " Non s6 come resisto." f . 81.

13. " Ad onta del timore." f. 89.

14. " Rendimi, 6 bella Irene." f. 96.

15. " Dalla regia di Flora." f. 104.

16. " Ecco, r infausto lido." f. 112.

17. "Datti pace, se puoi." f. 120.

18. " Tra le pii\ folte piante." f. 128.

19. " T' intendo, si, mio cor." f. 136.

20. " Se la Rosa fresca." f, 142.



Additional 29370, ff.8, 20, 113b.

Paper ; mid. 18th cent. Quarto. See also vol. i, p. 65.

Songs, by Dr. Thomas Augustine Arne, with instrumental accom-
paniments, in score.



1. " The kind appointment Coelia
made " : cantata, with flutes, oboes,
and violins, f. 8.

2. "A wretch, long tortured with dis-
dain": cantata, with horns, flutes,
oboes, and violins, and a figured



bass for harpsichord. Autograph.
ff. 20-32b.
3. " Chloe gives me pain " ; with
flute (?) and a bass. Autograph.
f. 113b.



Additional 31574.

Paper ; ff . 46. Mid. 18th cent. Oblong folio.

Cantatas, with a figured bass for harpsichord and (in the case of
nos. 7 and 8) an additional part for flute, in score, by Handel. In the



SONGS. 565



hand (except no. 9) of J. Christopher Smith. Nos. 1-6 and 9 are for
a soprano voice ; the others, for a contralto. Any important variations
from the Handel-Gesellschaft edition (H.-G.) are noted below.



1. " Lungi dal mio bel nume" (H.-G.,
no. 25). f.l.

2. " Se pari e la tua fe " (H.-G., no. 58).
f.6b.

3. "Sento la che ristretto" (differing
in some respects from both settings
in H.-G.). f. 11.

4. " Irene, Idolo mio." f. 15b.

5. " Lungi n' ando Fileno." f. 20b.



6. " Fra tante peue." f. 25b.

7. "Mi palpita il Cor" (H.-G., no. .33).
f.29.

8. Another setting of the same words
(differing very considerably from
no. 7 above, and from H.-G., no. 34).
f. 35.

9. " Lucretia," beg. " Oh Numi eterni."
f.41.



Additional 34726, ff. 41, 44.

Paper; mid. 18th cent. Folio. See also vol. i, p. 300.

Songs, with accompaniments for two vioUns and a violoncello, in
score, by John Travers. Autograph.

1, "Happy isle, all joys possessing"; j 2. "Come, Venus, come, to make us
for a tenor voice, f . 41. I blest " ; for a treble, f. 44.

Additional 31677, fF. 13, 24, 38b, 56b.

Paper ; about 1752-1753, etc. Oblong quarto. See also above, p. 291.

Songs with French words. Nos. 1, 2, and 4 have a bass for
harpsichord, in score ; no. 3 is unaccompanied.



1. " A confesse m'en suis alM " ; written
between two songs in the hand of
J. J. Rousseau, but in a different
hand. f. 13.

2. "Enmariage." In the same hand.
f.24.



3. "Romance d'Alix et d' Alexis," beg.
"Asa mere." f.38b.

4. " Sais tu Men ce qu'on a trouv6
dans ta Lettre sur la musique." By
Rousseau [1753]. f. 56b.



Additional 14224, ff. 2-21.

Paper ; about 1756 (?). Oblong folio. See also above, p. 292.

" Il Nido degli Amori," beg. "Se ti basta ch'io t' ammiri": Cantata
for a soprano voice, with symphonies and accompaniments for strings,
in score, by Nicolo Conforto. Composed for the Principessa di
Belmonte.

Egerton 1402, f. 16b.

Paper; about 1760 (?). Oblong duodecimo. See also under Pianoforte Solos,
in vol. iii.

" Damotes war schon lange Zeit der jungen Phillis nachgegangen " ;
with a bass for harpsichord, in score. Anonymous.



566



VOCAL MUSIC— SECULAR.



Additional 31678, passim.

Paper ; a.d. 1760 ; with additions (fi. 98-143) in a slightly later hand. Small
Quarto. See also above, pp. 71, 294.

Brunettes and other French Songs, unaccompanied, except
nos. 52-63, which have an accompaniment, in score, apparently for
a guitar. They are, with the exceptions noted below, anonymous.
Nos. 1-73 were copied by — Le Brun at Paris in 1760.



1. " J'6tois seule en un boccage."
ff.4b, 104b (slightly different).

2. "L'autre jour au fond d'un Jardin."
f.5b.

3. " C'est peu que la recompense" ; to
the air, " Domum tuam." f. 6b.

4. "Rions, buvons, jusqu'a demain."
f.7b.

5. "Mon cher troupeau, cherch^s la
Plaine." f. 9.

6. " Dans un bosquet pr^s d'un
hameau." f . 9b.

7. "Un biau jour au milieu de la
nuit " : brunette, f. 10b.

8. ' ' J'avois j ur6 de ne point m'engager ' ' :
brunette, f. 12.

9. " Comme le bien vient en dormant,"
heg. "Au Fond d'un bois solitaire
Cloris." f. 12b.

10. "L'autre jour a la promenade."
f . 14b.

11. " Le Jeu d'amourette," beg. " Vn
berger qui pour moy soupire." f. 16b.

12. "Assis sur I'herbette": brunette.
f. 18b.

13. " N'ayant point trouv6 de moeurs."
f . 20b.

14. "Fanchon la Bouquetiere," beg.
"Qu'un autre accorde sa Musette."
f . 22b.

15. ' ' Dans notre village il est vn
Berger." f. 24.

16. "L'aimable Julie," beg. "Julie a
des secrets appas." f. 24b.

17. " Catin sur un lit de Gazon."
££. 25b, 116b.

18. " Vn jour vn jeune avocat." f. 27b.

19. "Le joli metier que I'amour." f . 29.

20. " Au bord de I'eau." f. 29b.

21. " Oui, vous en feri6s la folic." f. 31.

22. "Pour heritage je n'eus de mes
Parens." f. 31b.

28. "L'Eteignoir," beg. "D'un grison
galand ridicule I'histoire." f. 32b.

24. " Le connois tu, ma ch^re
E16onore." f. 33b.



25. "Ne referme pas ma blessure."
f. 34.

26. " L'amour me fit." f. 34b.

27. " Vne timide Berg^re." f. 35b.

28. "En vain une m^re s6v^re":
musette, f . 37.

29. " La jeune Nanette." f . 37b.

30. " J'adore vne demoiselle." f.38b.

31. "Les Sabots," beg. " Souvent
l'amour se cache." f . 39b.

32. "J'6tois, j'6tois malade d'amour."
f . 40b.

33. " L'amour m'a fait la peinture
de Daphn6." By J. J. Rousseau,
f. 41b.

34. "Ah, maman.je suis perdue." f-43.

35. " Vn soir revenoit Cadet." f. 43b.

36. "Helas, mamani Pardonnez, je
vous prie." f. 44b.

37. " Ce fut vn Dimanche au Soir."
f.45b.

38. "Baise moy, je n'aime que toy."
f . 46b.

39. ' ' Tous les Dieux 6toient en dispute."
f.47.

40. " C'est la fille a ma tante." f. 47b.

41. "La vie est ennuyeuse." f. 49b.

42. "La nuit dans les bras du repos."
f . 51b.

43. "En riant la jeune Colette"; to
the same air. f. 53b.

44. " L'lnd^cise," beg. " Venez, Mon-
sieur Joconde." f. 56.

45. "Tendre[s] fruits des pleurs de
I'aurore." f. 57b.

46. "Le Voyageur," beg. " Heureux
celui qui ch^mine sur la terre."
f . 58b.

47. "Adieu done, Dame francjoise."
f . 59b.

48. " Le May," beg. " Toe, toe ! Ouvrez
s'il vous plait." f. 60b.

49. "Ce fut par un Lundy matin."
f . 61b.

50. "Ma grand[e] Soeur" ; to the same



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