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air. f . 62b.



SONGS.



567



51. " Je passe d'assez doux momens."
f . 63b.

52. "Le Trictrac," beg. " Galans, je
vais vous apprendre." f. 64b.

53. " Un jour sur la fougere " : brunette.
f . 66b.

54. "Tircis, je n'ose 6couter ton chalu-
meau." f. 68b.

55. " J'ai jur6 bien foUement." f. 69b.

56. " L'incr^dule," beg. "Non, je ne
crois pas " : rondeau, f. 70b.

57. "Que ne suis-je encor un Enfant " :
brunette, f . 72b.

58. " Laisse moy, Tircis." f.73b.

59. "La Battelli^re de Longchamp,"
beg. "Vne jeune Battellierre." f. 74b.

60. "Non, je n'iray plus aux bois."
f.76.

61. "Ah, vous dirai-je, niaman":
brunette, f . 79b.

62. "II est done vrai, Lucile." f. 80b.



63. "Au Fond d'un bois solitaire le
berger Tircis " : romance, f. 81b.

64. " Que ne suis-je la fougere " ; same
air. f . 82b.

65. "Que nous goiitons de plaisirs."
f.88.

66. "Evitez un c . . ." ; air, "Le veire
a la main." f. 88b.

67. " Malgr6 les vents." f. 89.

68. " L'amant frivole." By J. J. Rous-
seau, f . 90.

69. " Qu'elle (sic) est cette inquietude " ;
same air. f . 90b.

70. "Via ce que c'est que d'etre si
bonne." f . 91b.

71. " La meuniere de ce village." f . 92b.

72. "Vn Jour 6tant en Lor[r]aine."
f.94.

73. "En revenant de Lor[r]aine."
f . 95b.

74. " Iris porte le Dieu du vin." f. 96b.



The remaining numbers are in a slightly later hand : —



75. "L'amour cach6 dans un buisson."
f.98.

76. " D'un air badin " : loure. f. 99.

77. "Mon amant un jour me trouva
seulette." f. 100.

78. "Sous un ormeau je badinols":
fanfare, f. 101b.

79. " De l'amour je subis les loix " (sic) :
pastorale, f . 102b.

80. "Ce que l'amour a de plus doux."
f . 105b.

81. "C'est mon tr^sor"; same air.
f. 106.

82. "Mon coeur charm6 de sa chaine " :
romance, f . 106b.

83. "Tonton, je ne vous consols pas."
f . 107b.

84. "Tircis t'adore." f. 108b.

85. " Assis pr^s de la jeune Annette" :
a parody, f. 109b.

86. ' ' Que je vous aime ! " f . 110b.

87. " L'oiseau," beg. " Ah, le bel oiseau."
f. 111b.

88. "Licas un jour vint me surprendre."
f. 112b.

89. " D'un tendre amant." f. 113b.

90. " Mon cceur soupire." f. 114b.

91. "La bonne Education," beg. "Ma
chere mere, que je revere." f. 115.

92. " Ta presence dans ce sejour."
f. 118.



93. "Amour, dans le sacr6 val[l]on."
f . 119.

94. "La Bergere infidelle": romance,
f . 120.

95. " Enmenant paitre mon troupeau " :
loure. f . 121b.

96. " Lisandre suit par tout mes pas."
f . 122b.

97. " Prfes d'un frais et clair ruisseau " :
musette, f. 125.

98. "L'autre jour I'aimable Tircis."
f . 126b.

99. " Dans un bois solitaire." f. 127b.

100. "Tendre declaration," beg. "Plus
je vous vois." f. 128b.

101. " La Bergere Nanette." f. 129b.

102. "Veut on a Paphos voyager."
f . 130b.

103. " Robin Precepteur," beg. "Aupr^s
d'un buisson." f. 132.

104. " Que ne suis-je la fleur."
f. 133b.

105. "Les fleurettes," beg. "On voit
encor des belles." f. 134b.

106. "Ah! Que pr^tens tu faire."
f . 135b.

107. "De tons les Bergers du village."
f. 136b.

108. "Nous sommes demi-douzaine " :
described as "Couplet fait par M*
La Duchesse." f. 137b.



568



VOCAL MUSIC— SECULAR.



109. "Avant que d'aimer Lisette."
f . 138b.

110. "J'aime une ingratte beauts."
f . 140b.

111. " Quel voile importun nous



couvre": musette. " [J. J. Cassanea
de] Mondonville." f . 141b.
112. " La chasse au lapin," beg.
"Pierrot, revenant du moulin."
f . 142b.



Additional 31398, ff. 76-80.

Paper; after 1760 (see below). Oblong quarto. "Brought from Ancona by-
Sir Lodowick Grant's son, and given to Lady Mar, July, 1760."

" Se vuoi che resti " ; for a treble voice, with accompaniments for
2 violins, viola, and bass, in score. Anonymous.



Additional 14208, ff. 163-1 80b.



Paper ; a.d. 1762, etc. Oblong folio.
Songs by Italian composers, in score.

. " Ecco a noi di ritorno la chiara e
bella aurora " ; cantata for a soprano
voice in honour of Gennaro Manna,
1762. Accompanied by horns, oboes,
and strings. " Vincenzo Bidognetti."
Atdograph. f. 163.

. "Si, uiua e questa imago" (St.
Sebastian). This and nos. 3-5 were
composed by "Cavalier [Biagio ?]



See also above, p. 328.



Marini " in praise of certain pictures
by Titian. They are accompanied
by a figured bass, f . 178.

3. "Ben, da mastro eccellente" (St.
Paul), f. 178b.

4. " Giouinetto ch' altero " (Don John
of Austria), f. 179b.

5. "0 fidanza gentile" (Joshua),
f . 180b.



Additional 29386, ff. 3b-14b passim, 69-78 (reversed) ^jamm.

Paper ; about 1762. Quarto. See also above, p. 28.
Songs, with a bass (generally figured), in score.
1. " Vado ben spesso " : cantata,



"Bononcini" (now published as the
composition of Salvator Rosa), f. 3b.

2. " When Delia on the plain appears."
Anonymous, f . lib.

8. " Drink to me only with thine eyes."
The words by Ben Jonson. Anony-
mous, f. 12b.

4. "Young Colin." "Jn" Worgan,"
1751. f. 13.

5. " Nanny of the Hill," beg. " Assist
me, ev'ry tuneful Bard." By the



same, 1751. f. 13b.

6. "The Wish," beg. "Bear me hence,
ye pitying pow'rs " ; with flute (?)
obbligato. Anonymous, f . 14b.

7. "Non dar piu pene." By A. Scar-
latti, f . 82b.

8. " Be kind and love." Anonymous,
f. 78.

9. "La Farfalla": described as "me-
nuet de Rome." Anonymous, f. 77.

10. " To ease his heart." Anonymous,
f. 69.



Additional 31758, passim.

Paper ; about 1763. Oblong folio. See also above, p. 297.

" Ariette Veneziane " ; with a bass for harpsichord, in score.
Probably by Mattia Vento (see below), 1763, though not among the
Canzonets published by him in London in that year.



1. " La mia Ninetta." f. lb.

2. "Ogni donna." f.2b.



3. " Amor pettegolo." f. 3b.

4. "iQuel bianco sen." f. 4b.



SONGS.



569



5. " Cento basetti." f . 5b.

6. " Putte uardeme in ciera." f. 6b.

7. " Seghe amor." f.8.

8. " Le donne gha[n] un tesoro." f. 8b.

9. " Tutti va in colera." f. 9b.

10. " Auariarreungustomatto." f.lOb.

11. " Venezianella." f. lib.

12. " Cornetti, cornettini." f. 12b.



13. " E Spagnuoli e Siciliani." f. 22b.

14. " Quando sono tenerelli." f . 24.

15. " Me tira a cantuzzarte." f. 25b.

16. "Quando ui saragente." Evidently
altered from the operatic aria by
Mattia Vento, which immediately
follows it (f. 28), and which is written
in the same hand. f. 27.



Additional 20790, ff. 482-484b.

Paper ; about 1768. Octavo.

Songs to the air "Ne v'la t'il pas que j'aime." Without accom-
paniment. Words by Charles Marie de la Condamine.



1. "Pour moi vous croy6s qu'il n'est
plus de plaisir" [1768— See Add.
20793, below]. 2. 482, 483.



2. " Savans promoteurs des moissons."
Without the music, f . 484.



Additional 20793, f. 429.

Paper ; about 1768. Octavo.

" [C] ANTIQUE spirituel d'un paralitique sur Fair ' Ne voila t'il pas
que J'aime,' " beg. " Pour moy vous croyez qu'il n'est plus de plaisir."
The words appear to be by [Charles Marie] de la Condamine, who sent
them from Paris to Don Antonio de UUoa at New Orleans, in 1768.
[See note at end, and c/. Add. 20790, ff. 482-493, above.] The
melody only is given, without accompaniment.



Additional 6146-6149.

Paper ; about 1770 1771. Oblong quarto. Belonged to Pierre Louis Gin-
guen6 [1748-1816].

"Airs," with a bass (occasionally figured) for harpsichord, in score,
and separate parts for 2 violins and a quintus (tenor), by Jean
Jacques Rousseau, dedicated to the Comtesse d'Egmont, about 1770—
1771 (see Albert Jansen's Jean- Jacques Rousseau als 3Iusiker, p. 415).
Holograph. All published in Les Consolations des Miseres de ma vie,
1781. In four volumes.



1. " Celui plus je ne suis." vol. i,
f . 6b ; ii-iv, f. 3.

2. " Quand je revis ce que j'ai tant
aim6." i, f.7b; ii-iv, f . 3b.

3. " Avril, I'honneur et des mois et des
bois." i, f. 8b ; ii-iv, f. 4.

4. " Que ne suis-je la fleur nouvelle>"
i, f. 9b ; ii-iv, f. 4b.

5. " Ruisseau qui baignes cette plaine."
i, f . 10b ; ii-iv, f. 5.

6. "Tristes regrets." i, f. lib ; ii-iv,
f.5b.



7. " Vrai Dieu, quel trouble." i, f. 12b ;
ii-iv, f . 6.

8. " bienheureux qui peut passer sa
vie." i, f. 13b ; ii-iv, f. 6b.

9. " Amour, tout las de voler." i, f . 14b ;
ii-iv, f . 7.

10. " Lorsque V6nus pour un Berger
descend du Ciel." i, f . 15b ; ii-iv, f . 7b.

11. "Aussitot que la lumiere vient."
i, f. 16b ; ii-iv, f. 8.

12. " I^eux bergeres." i, f. 17b; ii-iv,
f . 8b.



570



VOCAL MUSIC— SECULAR.



13. " Tendre fruit des pleurs de
I'Aurore." i, f. 18b ; ii-iv, f. 9.

14. "Tant doux plaisirs." i, ff. 19b,
29b ; ii-iv, f . 9b.

15. " Vous etes belle." i, f. 20b ; ii-iv,
f. 10

16. " Je ne sais quel ennui me presse."
i, f . 21b ; ii-iv, f . 10b.

17. "Aimez! Vous avez quinze ans."
i, f. 22b ; ii-iv, f. 11.

18. " Ores que I'ai sous ma loi." i,
f. 23b ; ii-iv, f. lib.

19. " Pourquoi rompre leur mariage."
i, f. 24b ; ii-iv, f. 12.

20. " Grace a tant de tromperies."



i, f . 27b ; ii-iv, f. 12b.

21. " Au bord d'une fontaine." i, f . 28b ;
ii-iv, f. 13.

22. " Phil[l]is, plus avare que tendre."
i, f . 30b ; ii-iv, f. 14.

23. "Faut-iletretantvolage." i,f. 31b;
ii-iv, f . 14b.

24. " II est done vrai, Lucile." i, f. 32b ;
ii-iv, f . 15.

25. " J'avois pris mes pantouflettes."
i, f . 33b ; ii-iv, f. 15b.

26. "Iris, ne croyez pas." i, f . 34 ;
ii-iv, f . 16.

27. " Que ne suis-je encor un enfant."
i, f. 34b ; ii-iv, f . 16b.



Additional 32435, ff. 157-1 62b.

Paper ; about 1773. Oblong folio. See also above, p. 384.

" Let soft desires youi' heart ingage " ; with symphony and
accompaniments for oboes, horns, and strings, and a figured bass for
harpsichord, in score, by Tommaso Giordani. Autograph. It is
described as " no. 7 " {sc. of A Oullection of Songs and Cantatas sung at
Vauxhall Gardens . . . in 1773).

Additional 35040, fi". 4:3b-48b.

Paper ; about 1773. Oblong folio. See also under Pianoforte Solos, in vol. iii.

"Alexis" : a cantata by Dr. Pepusch, beg. "See, from the silent
Grove " ; with a figured bass in the recitatives, and parts for the
violoncello and harpsichord (in score) in the airs. Apparently in the
hand of Samuel Wesley, when a boy.

Additional 31763, ff. 8b, 40b.

Paper ; after 1774. Oblong octavo. For tbe instrumental music in this MS.,
see vol. iii.

Songs, with a bass for harpsichord, in score, partly in the hand of
Samuel Wesley.



1. " William and Margarett," beg.
" When all was wrapt in dark mid-



night." f.8b.
2. " The wanton God." f. 40b.



Additional 34998, ff. 30b, 63.
Paper ; about 1774-1775. Oblong folio. See also Anthems, vol. i, p. 70.
Songs, with a bass, in score, by Samuel Wesley.
1. " Turn, gentle hermit " : a fragment, i end for 5 voices. The accompani-



f. 30b.
2. " Derdam {sc. Durdham) downs,"
beg. " Alack and alack, the clouds
are so black " ; with a refrain at the



ment appears to be for harpsichord,
with occasional drums, strings, and
organ, fi. 63-66b.



SONGS. 571

Additional 34999, ff. 125, 180b.
Paper ; about 1777, etc. Quarto. See also vol. i, p. 194.
Songs, with accompaniments, in score.



1. "An election's a comical Plan";
with a bass. In the hand of Samuel
Wesley. On the back of a leaf
containing a hymn composed by him
in 1777 (see also Add. 35005, f.83).



f . 125.
2. "J'^tois au bord d'un Precipice";
with pianoforte accompaniment.
" P. H. Barthelemon." f. 180b.



Additional 11581, f. 13.

Paper ; about 1780. Quarto. See also vol. i, p. 71.

" I THOUGHT I'd vanquish'd mighty Love " : song with bass.
Adapted "From Thibaut, King of Navarre." In the hand of
Dr. Charles Burney.

Additional 11585, fF. 4b, 26.
Paper ; before 1782. Oblong quarto. See also vol. i, p. 314.

1. Aria, beg. "Con nobil arte"; with bass. By Cavalier Tar-
•quinio Merula. f. 4b.

2. "Air du Prevot des Marchands"; ascribed by La Borde to
David Rizzio. Melody only. f. 26.

Additional 11586, ff. 38, 38b.

Paper ; before 1782. Oblong folio. See also vol. i, p. 71.

Songs with bass, by Alfonso Ferrabosco [II], being nos, iv and vii
•of his Ay res, 1609.

1. " Deere, when to thee." f. 38. | 2. " So, so, leave off." f. 38b.

Additional 31222, f. 47b.

Paper; about 1782. Oblong quarto. See also vol. i, p. 312.

" Louisa, view the melting tears " : arietta for a treble voice,
with a figured bass for harpsichord, in score, by Samuel Wesley.
Autograph.

Additional 31814, ff. 21, 57-6 lb.

Paper ; a.d. 1782, etc. Oblong folio. See also above, p. 34.

Songs with figured bass for harpsichord, etc., in score, by William
Savage. Nos. 2-7 are in the hand of R. J. S. Stevens,

1. "Cease for a while thy strain": horns, bassoons, and strings, and a



cantata for a treble voice, with over-
ture and accompaniments for oboes



figured bass for organ, 1782. Aiito-
grajgh. i. 21.



572



VOCAL MUSIC— SECULAR.



2. "My days have been so wondrous
free." f. 57.

3. " The nymph that I lov'd." f. 58.

4. "As swift as time," 1756. f. 59.

5. " Serene is the morning." f. 59h.



6. "No more of am'rous troubles";,
with chorus. 1755. f. 61.

7. "On the very first of May." Words-
by Mrs. Savage, 1766. f. 61b.



Additional 32173, ff. 1, 25-32b.
Paper ; about 1782, etc. Oblong folio. See also vol. i, p. 130.
Songs with pianoforte accompaniment, in score, by Joseph Haydn.



1. " Beym Schmerz der dieses Herz
durch-wiihlet." Autograph. The
paper is similar to that on which
Add. 32172 (a.d. 1782) is written
(above, p. 305). f. 1.

2. "She never told her Love." This
and nos. 3, 4 are in the hand of



J. N. Hummel, written about 1794r
(watermark), f . 25.

3. "In t[h]ee I bear so dear a part."
f.27b.

4. "High on the giddy bending Mast."
f. 30b.



Additional 11588, ff. 70b, 71.

Paper ; about 1783. Quarto. See also above, p. 168.
Songs, with a bass, in score, by Alessandro Stradella.



1. " Se nel ben" (transcribed from
Harl. 1265). f. 70b.



2. "Se t' ama Filli " (from HarU
1272). f.71.



Additional 31753, ff 38-46b.

Paper ; a.d. 1783, etc. Oblong folio. See also above, p. 72.

Songs, with pianoforte accompaniment, or a bass (partly figured)^
in score, by Charles Wesley. Autograjph.



1. ".The sun was sunk beneath the
hills" : a short "Cantata" in three
movements, with a concluding Sin-
fonia and additional accompaniments
for strings, 1783. Words by Gay.
if. 38-45.

2. " How sweet with Innocence to



rove." f . 45b.

3. "I have heard her with sweetness
untold " {sc. unfold). Words by
Shenstone [from the Pastoral ballad,
"Ye Shepherds so cheerful and gay"]»
f.46.

4. "Adieu, perhaps for ever." f. 46b.



Additional 35005, ff. 66-74b.

Paper ; a.d. 1783-1785, etc. Quarto. See also above, p. 116, and elsewhere in
the present volume ; and under Pianoforte Solos (early 19th cent.), in vol. iii.

Songs by Samuel Wesley. Autograph.



1. "In gentle slumbers " ; with accom-
paniment for "violetti" {sic), sc.
viole d'amore, and a bass, in score.
A very early composition. Belonged
to Vincent Novello. f . 66.

2. " Parting to death we will compare " :



arietta, with a figured bass, 1783. Be-
longed to the same and afterwards to
. Dr. Westbrook. f . 68.
3. "Yes, Daphne, in your Face I find " ;
with pianoforte or harpsichord accom-
paniment, 1785. f . 69.



SONGS.



573



Additional 29801, passim.

Paper ; about 1784-1800. Oblong folio.

Fragments of songs by Ludwig van Beethoven ; from a Sketch-book
'(see also under that heading in vol. iii).

hoven." ff. 61, 62.

5. "Opferlied" [about 1794]. f . 68b.

6. "Neune nicht das Schicksal grau-
sam " [about 1793]. f. 100.

7. Song ["Ah, perfido"; op. 65, com-
posed in 1796]. ff. 105-106.

8. "Erhebt das Glas"; with pianoforte
accompaniment. S.. 107b-108b.

9. "Feuer-farb" [beg. "Ich weiss eine
Farbe " ; op. 52, no. 2]. f. 120b.



1. "Ich sah sie heut " [before 1800].
f.39.

2. "Adelaide" [op. 46, composed about
1795]. if. 44, 44b.

5. " Im Arm' der Liebe " [op. 52, no. 3,
composed about 1790]. f. 52b.

4. " Wer, wer ist ein Freier Mann"
[1797] ; for a single voice and chorus
in unison, with pianoforte accom-
paniment, in score. Two copies, the
first signed "ipse fecit L. V. Beet-



Additional 34608, passim.

Paper ; about 1785-1789. Oblong octavo. See also vol. i, p. 74.

Portions of the melodies of some songs, with a bass (unless the
•contrary is stated) for harpsichord ; in the hand of J. Stafford Smith.



1. "A shepherd in a shade"; from
"Ayres publish'd in 1644 to be ac-
companied by a Base-viol." Anony-
mous, f. 7b.

2. "My love hath vow'd." By T.
Campion [1601]. f. 32b (reversing the
volume).



3. "Fair Sally lov'd." Melody only.
Imperfect. Anonymous, f . 31b.

4. " Loose (sic) no time." Anonymous.
f.29.

5. "And would you see my mistress
face." By Philip Rosseter [1601].
f . 28b.



Additional 19647, passim.

Paper; a.d. 1786-1789, etc. Oblong folio. See also above, pp. 17, 34, 109,
.and 460.

Songs, with symphonies and accompaniments for strings and other
instruments mentioned below, in score, written by J[ames] Hook for
Vauxhall. Autograph.



1. "To sing about love I know is the
plan " ; with oboes, horns, bassoons,
etc., 1786. f. 27.

2. " Farewell, ambitious, gilded Toys " ;
written for " Ingleton " (? Charles
Incledon), 1786. ff. 39-42.

3. "Ye happy Nymphs " : rondo, with
clarinets, horns, etc. Written for
Miss [Maria] Poole, 1787. f. 47.

4. "In storms, when clouds obscure the
sky " ; with oboes, trumpets, horns,
etc. Written for Incledon, 1788.
f.55.



5. "No pastime, no sport can with
hunting compare " ; with clarinets,
horns, bassoons, etc. Written for
Mrs. — Iliff, 1788. f. 59.

6. "Hark, Eccho, sweet Eccho " ; with
oboes, horns, etc. Written for Miss
— Leary, 1788. f . 65.

7. "While, Stephen, thus you teaze
me" : rondo, with horns, etc. Written
for Miss Poole, 1789. f . 73.

8. "Beside the Burn"; with horns,
bassoons, etc. Written for Mrs. —
Martyr, 1789. f . 77.



574



YOCAL MUSIC— SECULAR.



9. " Cruel Peggy," beg. " No more shall
Harry fling the Bar " ; with clarinets,
horns, bassoons, etc. Sung by — j
Darley, 1789. f. 81. t

10. "The last time I came o'er the



moor " : ballad " written for Mrs. —
Wrighten," 1788. f . 85.
11. "Now in my Hunter's habit drest " ;
with clarinets, horns, bassoons, etc.
ff. 87-89b.



Additional 27640, passim.

Paper ; about 1786-1815. Oblong quarto. See also vol. i, p. 452 ; and.
above, p. 93.

Songs, with instrumental accompaniments, in score, by Dr. [John
Wall] Callcott. Autograph. Written for horns (except in nos. 1 and
5), oboes, flutes (in no. 4), bassoons (except in nos. 3 and 7), trumpets-
(in nos. 3, 6, and 7), drums (in nos. 3 and 6), and strings.



1. " Sisters of Acheron," 1815. f. 15.

2. "Angel of Life," 1799. f. 21.

3. " Friend of the Brave" (watermark,
1798). Words from Campbell's "Plea-
sures of Hope." f. 27.

4. "Till Hymen brought his love-de-
lighted hour " ; begun in 1807. Two
copies, the first a mere sketch.



ff.33, 74.

5. " In life's gay scenes," 1814. fi. 37-
42b.

6. "Resound, ye hills." Written for
Mr. [John] Sale [? jun.], in 1786.
f. 63.

7. " Though cold are our hills" (water-
mark, 1799?). ff. 71-72b,



Additional 34126, passim.

Paper; about 1789 (see f. 88b). Oblong octavo. See also above, pp. 83, 74^
110, 310 ; and under other headings in vol. iii.

Songs, occasionally with an accompaniment, in score. Except
where the contrary is stated, they are anonymous.



1. "When Phoebus the tops of the hills
does adorn" ('originally a duet).
f.3b.

2. "Ye Sportsmen, draw near." f . 15.

3. " Shepherds, I have lost my Love " :
Irish song. f. 16b.

4. "Hail, England, old England."
f . 17b.

5. " Shepherds, seek not Wealth."
f . 25b.

6. " The morn was fair " ; with a bass.
"Giordani." f.27b.

7. "Of all the joys that fill the Heart."
f . 29b.

8. "Not far from Town." f. 31.

9. "The Vicar of Bray," beg. "In
good King Charles' golden Days."
f . 31b.

10. "Ring, ring the Bar-bell of the
world." f . 32b.

11. " Come now, all ye social Pow'rs."
f.34.



12. " My days where (sic) once so
wondrous free." This and nos. 13-
15 (canzonets) are by " [T.] Giordani."
f. 36b.

13. "The Night was still." f. 39b.

14. " One Morning, very early." f. 40b.

15. "When Delia on the plain ap-
pears." f. 42.

16. " To Anacreon in Heav'n." f. 43b.

17. " John Bull, we know." f. 46.

18. " The Lass of Peatie's Mill." f. 48,

19. "Says Plato, why should man be
vain." f.50.

20. " In Derry-down dale." f. 52b.

21. " Sweet doth blush the rosy morn-
ing." f. 56b.

22. "A Cob[b]ler there was." f. 59b.

23. " Fame, let thy trumpet sound":
song in praise of King George [II],
The second part of the melody has
some resemblance to that of the
National Anthem, f. 60b.



SONGS.



575



24. " The Banks of the Dee," beg. " It
was Summer." f. 62.

25. "My Lodging is on the cold
ground." f. 63b.

26. "Aurora beams bright." f. 67.

27. "How sweet the Love that meets
return," beg. " When first I ken'd
young Sandy's face." f. 6Sb.

28. " The Foes of old England " : song
in praise of Prince William [afterw.
William IV]. "Arne." f. 69b.

29. "I'm sorry, dear Ladies"; with
sequel, "Well, now You've heard."
ff . 72b, 73.

30. "Let the tempest of war."
f. 77b.

31. "The Death of Auld Robin Gray,"
[1785], beg. "The Summer, it was
smiling." "Hook." f . 79.

32. " Aristippus," beg. "Let care be a
stranger." f. 81b.



83. "Bright Phoebus has mounted."
"Hook." f. 82b.

34. "The Banks of the Shannon," beg.
" In Summer, when the Leaves were
green." f, 84.

35. "A sweet-scented Bean." f. 85b.

36. " The wealthy fool." f. 88.

37. "The Tombs in Westminster Ab-
bey," beg. "Here lies William of
Valence " ; with a bass. f. 89b.

38. " Mary's Dream," or " Sandy's
Ghost," beg. " The Moon had
climb'd." f . 92.

39. "When Liberty to bless Mankind
descended." Words by George Alex-
ander Stevens, f. 93b.

40. " Begone, dull Care." f . 95b.

41. " In that north [a]isle " ; described
as "a supplement to ' The Tombs in
Westminster Abbey' (no. 37, above),
in the year 1888." f. 96b.



Additional 35003, fif. 32-58 passim.
Paper; A.D. 1790-1836. Oblong folio. See also vol. i, p. 349.

Songs, with harpsichord or pianoforte accompaniment (unles.s the
contrary is stated), by Samuel Wesley.



1. " Carmen Bacchanale," 1794 (?), beg.

" Mihi sit propositum " ; with a

figured bass. f. 32.
2,3. " 4>6pe ixoi (ci/7r6A.A.oj/ " (from Ana-

creon) ; with figured basses. Two

settings, the second dated 1797. ff . 33,

34.

4. Gray's " Ode on the Progress of
Poesy," beg. "Hark, his hands the
Lyre explore," 1790. Belonged to
Vincent Novello, and afterwards to
Dr. Westbrook. S. 38, 118.

5. "Hope away! Enjoyment's come " :
aria with pianoforte accompaniment,
1793. f. 40.

6. "Within a Cowslip's humble Bell."
About 1808 (watermark). Belonged



to V. Novello. f. 49.

7. " What a Folly it is " ; with a bass.
Composed in 1836 for Mark HoweU.
f.53.

8. " Durdham Downs," beg. " How
rapid the Course" ; with accompani-
ment for pianoforte and violins. The
second part only. Imperfect, f. 54.

9. "True Blue," beg. "The Standard
of England " : song with chorus.
Imperfect, f. 55.

10. " Farewell ! If ever fondest Prayer."
Words by Byron, f . 56.

11. " Autumnus comes." Words by
Master Percy, music by Master Wes-
ley. Copy, f . 58.



Additional 6318, ff. 29-34.

Paper ; a.d. 1791. Folio, oblong folio, etc. The remainder of the MS. relates
to archery.

"God prosper long our Noble King"; with a bass for harpsichord
or pianoforte, in score. Two settings (ff. 33, 34), preceded (f. 29) by
the words copied from a 1791 reprint of "Chevy Chase."



576 VOCAL MUSIC— SECULAR.

Additional 11591, ff. 43-57b.

Paper ; after 1794. Oblong quarto. See also above, p. 314.

" Sei canzoncine con Piano Forte o[d] Arpa per uso di Mi Lady
Clarges," by Giuseppe Millico, Naples, 1793. Transcribed by Dr.
Charles Burney.

1. " Se oscure mie pupille." f. 43b.

2. "Tu mi chiedi, o Nice mia." f. 46.

3. " Clori vezzosa, amabile." f. 47b.



4. " Nice, cor mio." f. 51.

5. "Occhicari." f. 52b.

6. " Fra 1' orror notturno." f. 55.



Additional 14340, f. 53.

Paper; after 1794 (watermark). Quarto. See also vol. i, p. 318.

" What shaft of Fate's relentless Pow'r " : song with pianoforte
accompaniment, in compressed score. [By S. Wesley.] Autograph.

Additional 31665, ff. 2-15.

Paper ; after 1794. Oblong quarto. See also above, p. 315.

Cantata, beginning with the recitative, " Nel chiuso centro,"
followed by the aria, " Euridice, e dove sei " ; with symphonies and
accompaniments for strings and a figured bass for harpsichord, in score.
By Pergolesi.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 65 of 120)