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2. " Soldier, soldier, take off thy wine." John." Three copies, ff. 34, 47b, 57.
Three copies, ff. 29, 40, 51. | 5. " Fye, nay, prithee, John." Three

3. " Heres that will challenge all the ' copies, ff. 35, 48, 58.

Additional 31819, f. 4.

Paper; 18th-19th cent. Oblong folio. See also under Hymns (vol. i, p. 187).

" To ME 'twas giv'n " ; for 3 voices. Anonymous. From a volume
of compositions mostly by candidates for the Prize Medal (? of the
Catch Club), 1785, etc.

Additional 32237, f. 70.

Paper ; 18th-19th cent. Oblong folio. See also below, under Operas (1797-
1828).

The melody of the 3-part Round, " How Great is the pleasure," by
" Harrison," sc. Dr. Henry Harington of Bath. In the hand of J. N.
Hummel.

Additional 32019, f. 63.

Paper ; early 19th cent. Oblong quarto. See also below, under Songs
(1814-1853).

" Day is done " : Round for 3 voices, with pianoforte accompaiiimeiit,
by Thomas Miles. Autograph.

Additional34725, f. 142b.

Paper ; early 19th cent. Oblong quarto. See also below, under Operas.

" Come all ye pretty maidens " : Round for 3 voices, in score, by
H. R. Bishop. Autograjjh.



44 VOCAL MUSIC— SECULAR.

Additional 27669, f. 36b (reversed).
Paper ; about 1802. Octavo. See also under Dictionaries (1797-1807), in vol. iii.

"■ Let's drink and let's sing together " ; for 4 voices, by Dr. William
Hayes.

Additional 32021, fF. 18b-68b passim.

Paper ; a.d. 1805-1850. Oblong quarto. See also below, under Glees (1806-
1850).

Catches for 3 voices, unless the contrary is stated, by Thomas
Miles. Autograph.

1. "Here lies poor Thomas and his i f . 30b.

wife "(a 4). V mm. The Tour of Dr. ,5. "Oh! what a nose!" "1824."

Syntax. "1816." f. 18b. | f. 43b.

2. "Give the toast, my good fellow." 6. "Good-night! Parting is such sweet
The words by — Cunningham. sorrow." "1826." f . 56b.
"1805." f. 27b. 7. "Huzza for the Queen " (a 4): "A

3. " O Love I for Sylvia let me gain the Jeu d'Esprit on passing events, 1850."
prize." From Pope's "Spring." f. 64b.

"1821." f. 27b. I 8. "Why roves the dear, the lovely

4. " The tears of Constance." "1821." maid." "1836." f.68b.

Additional 31464.

Paper; ff . 39. After 1812 (watermark). Narrow oblong octavo.

Catches for 3 voices (with one exception), in score, transcribed by
Thomas Oliphant.

1. "As Dolly and Nan were sweeping." ; spinnet." " I. Isum." f. 21.

" Earl of Mornington." f. 1. i 8. "Lie still, my dear." Anonymous.

2. "Here's a tale." Anonymous, f. 4. ' f. 23.



3. " My Man Jno." By J. Eccles. f. 8.

4. "Had she not care enough." "H''
Purcell." f. 13.



9. "Says Sue to Prue." Anonymous,
f. 24.

10. "Quoth Hodge, my fortune's made."



5. "Adam catch'd Eve." By J. Bail- \ Anonymous, f. 27.

don. f. 14. ' 11. "When is it best" (a 4). "J. Bail-



6. " Hark you, my dear." " Dr. Arne."
f. 16.



don." f. 32.
12. "Pretty maidens." "Atterbury."



7. "As Celia was learning on the f. 35.

Additional 30521, f. 1.

Paper ; a.d. 1824. Quarto. See also below, under Songs.

" Wine, beauty, smiles and social Mirth " ; for 3 voices, in score, by
Matthew Cooke, 1824. Autograph. The words are from "[Robert]
Bloomfield's Remains."

Additional 19648, f. 44b.

Paper ; about 1833 (see f. 44). Quarto. See also below, under Glees (1810).

"'Tis Amarillis walking all alone"; for 3 voices, in score, by
Thomas Brewer, 1667.



CATCHES.



45



Additional 30273, ff. 6b-53.

Paper; about 1833 (watermark). Narrow oblong octavo. The MS. also
contains a sacred Canon (vol. i, p. 128). See also below, under Glees and Operas.

Rounds, Catches, cries, etc., in score, except nos. 55-57, 74-79,
81-83, 92, which are written out at length. Nos. 27-34, 69, 75 are for
4 voices ; the others, unless the contrary is stated, are for 3 voices.



1. "Zephyr, I can tell you where":
Catch. *'S. Webbe, Sen'-." f. 6b.

2. "Zephyr, breathe soft": Round.
Anonymous, f. 7.

3. "Who was it that sat": Round.
"Danby." f. 7b.

4. "Alas, cried Damon": Catch.
" Cal[l]cott." f.Sb.

5. "She, who alone": Catch. " S.
Webbe, Sen'." f. 9b.

6. "Stay, Daphne": Round. By the
same, f . 10b.

7. "Neighbours, come round me":
Catch. By the same. f. 11.

8. "Tread soft" (epitaph). "J. Danby."
f. lib.

9. "Here lies a woman" (epitaph).
"J.Hilton." f.llb.

10. "Sir, you're a Rascal": Catch.
By J. S. Smith, f. 12.

11. A Yawning Catch, beg. " 'Tis hum-
drum." " Dr. Harrington." f. 13.

12. "Fie, nay, prithee, John" : Catch.
By J. Blow, f . 13b.

13. "'Twas you. Sir": Round. By
Lord Mornington. f. 14.

14. "Give me the sweet delights of
love" : Round. "Harrington." f. 14b.

15. "By two black eyes my heart was
won": Catch. "Stafford Smith."
f.l5.

16. "To the old, long life": Round.
" S. Webbe, Sen^" f. 15b.

17. " Ah, how, Sophia " : Catch. " Dr.
Cal[l]cott." f. 16b.

18. "Surly Giles's old Cat": Catch.
"S. Webbe." f. 17b.

19. " I lov'd thee " : Round. "Battis-
hill." f. 18b.

20. "Joan said to John": Round.
"Atterbury." f . 19.

21. "One a penny, two a penny": a
" Cry." By the same. f. 19b.

22. "Oh, if you see that Lady gay":
Catch. Anonymous, f. 20b.



-, will you do



Hayes." f.21b.

24. "Mr. , Mr.

us the favor": Round. "S. Webbe,
Sen^" f. 22b.

25. "Poor Absalom is dead": Round.
"Harrington." f. 23b.

26. "One, two, three" : Catch. "Pur-
cell." f. 24b.

27. " Come, buy my cherries " : Round.
"Stevenson." f. 25.

28. "Would you know my Celia's
charms" : Catch. " S. Webbe [sen.]."
f. 25b.

29. " Buz, quoth the blue Fly " : Round.
"Dr. Arne." f. 26.

30. "London cries," beg. "A quart a
penny." Anonj^mous. f. 26b.

31. " My sickly spouse." Anonymous,
f. 26b.

32. "The bottle's out": Round. "S.
Webbe, Sen'." f . 27.

33. "When Nell giv'n o'er by the
doctor." By J. W. Holder (?). f. 27b.

.34. "Let's drink and let's sing."
Anonjaiious. f. 28.

35. "Hang sorrow": Round. "Pur-
cell." Attributed to W. Lawes in
Add. 31462, above, p. 37. f. 29.

36. "Jack, thou'rt a toper": Catch.
" H. Purcell." f. 29b.

37. "Come, my hearts": Round.
"J.Hilton." f.30.

38. "As now we're met": Round.
"H. Purcell." f . 30b.

39. "Pale faces, stand by": Round.
By the same, f . 31b.

40. "Drink on 'til night be spent":
Round. By the same. f. 32.

41. " Come, pull away, boys " : Round.
" G. Holmes, 1725." f. 32b.

42. " Look, neighbours, look " ; Round.
" Harrington." f. 33.

43. "Let's be mer[r]y and banish
care " : Round. " S. Webbe, Sen"-."



f . 33b.
23. " Pretty maidens " : Round. "Dr. i 44. "The Laughing Catch," beg. "I



46



VOCAL MUSIC— SECULAR.



cannot sing this catch." "Harring-
ton." f. 34.

45. " Heigho, says Jenny " : Round.
" S. Webbe, Sen^" f . 34b.

4G. " Sweet enslaver " : Round. " Atter-
bury." f. 35.

47. "Mr. Speaker, tho' 'tis late." By
J. Baildon. f. 35b.

48. " Wind, gentle evergreen " ; Round.
"Dr. Hayes." f. 3G.

49. "Poor John is dead": Round.
Anonymous, f. 36b.

50. " This ale, my bonny lad " : Round.
" Cranford." f. 37.

51. "Down in a dungeon": Round.
"Hilton." f.37b.

52. "Boy, go down": Round. By
S. Ives. f. 37b.

53. "Boy, come back": Round.
" Cranford." f. 38.

54. "Have you any work for the
tinker " : Round. " Edmund Nel-
ham." f. 38b.

55. " Call for the ale " : Round. " W"
Lawes." f. 39.

56. " The wise men were but seven":
Round. By the same, f . 39.

57. " A boat, a boat ! Haste to the
ferry." Anonymous, f. 39.

58. "Ye learned wise mortals." By
— Hughes, f . 39b.

59. "Now we are met." Anonymous.
f.40.

60. "Come, honest friends": Round.
By S. Ives. f. 40b.

61. " Wilt thou lend me thy mare."
By J. Nares. f. 41.

G2. "Fill me a bumper": Round.
" S. Webbe, Sen'." f . 41b.

63. Let us drink and be merry " : Round.
"Berg." f.42.

64. "Fill, fill, fill a brimming glass" :
Round. Anonymous, f. 42b.

65. " Since now we are met " : Round.
"Chatterton, Father of the Poet."
f.43.

66. " Would you know how we meet " :
Round. "H. Purcell." f . 43b.

67. "In drinking full bumpers":
Round. "Jer*- Clark." f. 44.

68. "Care, thou canker of our joys" :
Round. Anonymous, f. 44b.



69. " A Fig for care " : Round. Anony-
mous, f . 45.

70. " Come, come away to the Tavern " :
Round. Anonymous, f. 45b.

71. "Slaves to the world": Round.
Anonymous, f . 45b.

72. "Had she not care enough":
Round. " Jer. Saville." f. 46.

73. "Come, follow me": Round. By
J. Hilton, f. 46.

74. " Wars are our delight " (a 5).
"Wm. Lawes." f.46b.

75. " My dame hath a lame tame



crane.



White." f. 46b.



76. "Now, my lads, let's be merry."
" Henry Lawes." f. 46b.

77. "Fa la la": described as "Sara-
band." "Simon Ives." f . 47.

78. " Hey down, a down derry."
" Edmund Neldham." f. 47.

79. "Go no more a maying." "W""
Lawes." f. 47.

80. "Come, let us all a maying go":
Round. By J. Hilton, f. 47b.

81. " Tipple away." Anonymous. f.47b.

82. "Go to Joan Glover." By T.
Ravenscroft. f. 47b.

83. " Joan's ale." Anonymous, f. 47b.

84. "Call George again": Round.
" Hilton." f. 48.

85. "Quoth Jack on a time" : Round.
By the same, f . 48.

86. "Come, come, let us drink":
Round. "H. Purcell." f. 48b.

87. " Come, drink about Tom." Anony-
mous, f . 49.

88. "Hark, Harry": Round. "John
Eccles." f. 49b.

89. " Frank, what shall we do " : Round.
" Willis." f. 50.

90. " 'Tis too late for a coach " : Round.
" H. Purcell." f. 50.

91. "Peter White." Anonymous, f. 50b.

92. "Let us be merry in our old
cloaths " : Round. " Edmund Gre-
gory." f. 50b.

93. "A southerly wind " : described as
" Hunting Rondo. Adapted from
Ferrari." f. 51.

94. " Three Blind ]\Iice." Anonymous,
f. 51b.

95. " Old Goody Grimshaw." " G. L."
f . 52b.



CHORUSES. 47

Additional 32587, f. 26.

Paper ; a.d. 1841. Quarto. See also below, under Glees.

" Sure Chloe is the sweetest lass " : Catch for 4 voices, in score, the
words by J. R. Stevens, the music by William P. Stevens, 1841.
Autograph.

Additional 35028, f. 33.

Paper ; a.d. 18G0. Quarto. See also below, under Songs.

" Nella Casa troverete tout ce que vous pouvez Souhaiter " ; for 3
voices, by Samuel Wesley.



SECTION IV.— CHORUSES

OR SHORT DETACHED CHORAL WORKS WITH INSTRUMENTAL

ACCOMPANIMENT.



Additional 29396, f. 85b.

Paper ; about 1678-1682. Folio. See also below, under Songs.

"Bee quick, my Boyes" : so-called "chorus" for 2 voices with solo
and with a bass for harpsichord, in score. Possibly intended for 2 solo
voices. Anonvmous.

Printed Book, D. 212. c. (3 vols.), passim.

Paper; 17th cent. Small quarto. See also under Motets (vol i, p. 280).

Portions of two anonymous martial songs in MS., apparently for
several voices, with a figured bass for harpsichord ; but the parts have
not all of them been filled in.



1. " Was soUen nun mehr beginnen."
i, f. 65b (cantus part); iii, f . 68 (part
of the words only).



2. " Nun hatt sich Blattlein vmbge-
wandt " (2nd cantus and altus parts),
i, f. 67; ii, f.62.



Additional 29801, f. 62b.

Paper ; about 1784-1800. Oblong folio. See also below, under Songs.

Chorus, beginning " O care Selve " ; for 4 voices, with a bass for
harpsichord, in compressed score, in the hand of Ludwig van Beet-
hoven, and apparently his composition.



48 VOCAL MUSIC— SECULAR.



Additional 32138, f . 297b.

Paper ; about 1785. Oblong octavo. See also under sacred Choruses (vol. i,
p. 160).

" Kein Ritterguth " : aria for 4 voices, in score, by [George Peter]
Weimar. The accompaniment is omitted.



Additional 30392, ft. 23b-30.

Paper; a.d. 1790-1791. Quarto. See also under Anthems (vol. i, p. 75).

" Chorus to Humanity — Mason's Elfrida," set by W. C[rotch] for
4 voices, with accompaniments for 2 flutes, 2 violins, viola, and bass, in
full score. Begun 30 Oct. 1790, ended 25 May, 1791. Autograph.

Additional 32173, ft". 7-24.

Paper; after 1791 (? — supposed date of composition). Oblong folio. See also
under sacred Cantatas (vol. i, p. 130).

" Der Sturm " : chorus for 4 voices, with symphony and accom-
paniments for trumpets, drum, horns, oljoes, clarinets, trombones, flutes,
bassoons, and strings, in .score, by Joseph Ha3'dn. The music for the
wind instruments, for some of the .strings, and on the whole of the
last page is auiograjjh. The chorus begins " Hort ! die Winde furchtbar
heulen," but the music was originally composed to English words.

Additional 31815, ft". 55-64b.

Paper; a.d. 1795. Oblong folio. See also under Oratorios (vol. i, p. 373).

The witches' song, from Ben Jonson's Masque of Queens, 1609, beg.
" T have been all day looking after a raven " ; written as a 5-part chorus
with solos and a figured bass for pianoforte, in score, by R. J. S. Steven.s,
1795. Autograph.

Additional 31671, ft". 1-14.

Paper ; 18th cent. Oblong quarto. Belonged to Robert Smith, St. Paul's
Churchyard. See also under Catches (above, p. 31).

"What is become of all those Dames"; for 4 voices, with
instrumental accompaniments, in score, by Travers.

Additional 31804, f. 139.

Paper ; late 18th cent. Oblong folio. See also below, under Glees
(1771-1803).

" Hand in hand with fairy grace " : so called " glee," with 5-part
chorus, by Dr. [Benjamin] Cooke. The bass part is figured,



CHORUSES. 49

Additional 35003, ff. 99-1 10b.

Paper ; late 18th cent. Oblong folio. See also under Motets (vol. i, p. 349).

"Thus through successive ages stands"; for 4 voices, with ac-
companimeuts for trumpets, drums, liorns, strings (and organ?), in
score, by Samuel Wesley. Probably an early composition. Autograph

Additional 30953, f. 29b.

Paper ; ISth-lQth cent. Quarto. See also below, under Operas.

" Now let us consecrate the day " ; for 2 voices, with a bass for
harpsichord or pianoforte, in score, by Charles Dibdin. From The
Musical Mentor [1805?]. Autograph.

Additional 30957, ff. 72, 73.

Paper ; ISth-lQth cent. Oblong folio. See also below, under Glees.

Bass and second treble parts of " Viva {sic) tutte le vezzose," by
[? John] Bannister.

Additional 32237, f. 77b.

Paper ; ISth-lQth cent. Oblong octavo. See also below, under Operas
(1797-1828).

Sketch of what appeal's to be a choral work founded on a
"russi-sche Lied a 4 Voci " ; dedicated to Monsieur de Schulzin,
Head of the Police at Moscow, by J. N. Hummel.

Additional 32044, ff.l, 11.

Paper ; early 19th cent. Folio. See also below, under Songs.

Two secular vocal compositions for 4 voices, with pianoforte accom-
paniment, by W. [F. E.] Bach. Autograph.



1. " Der Yorsatz," beg. " Wie sehr lieb
ich niein Miidchen nicht " ; in parts,
f. 1.

2. " Erinnerungan Schillers Sterbetag"
(1805), beg. " Den Schmerz, den



Trost " ; in score. The words by
Herr von Held. At the end are
separate parts for three of the singers,
Herren Ambrosch, Labes, and Greibe.
ft. 11-25.



Additional 33310, passim.

Paper ; early 19th cent. Oblong folio. See also below, under Songs.

Choruses with instrumental accompaniments (in nos. 5 and 6, piano-
forte only), in score. Nos. 2-4, and probably the others also, are by
[John Fane] Lord B[urghersh, Earl of Westmorland in 1841]. Except
II E



50



VOCAL MUSIC— SECULAR.



where the contrary is stated, they are written for 4 voices, with strings,
oboes, and horns. The words of the first three are taken from plays
by Metastasio.



1. " Grazievi rendo" : scena and chorus,
with flutes, bassoons, etc. From
" Attilio Regolo." ff. 1-12.

2. " Vivi a noi " ; with flutes, trumpets,
etc. [From " Adriano."] ff. 18-30b.

3. " Che del del, che degli Dei." [From



" La clemenza di Tito."] f. 63.

4. " Del forte Licida." f. 69.

5. " Viva augusto, eterno Impero."
ff. 82-84b.

6. " Vivi a noi." Different from no. 2.
f. 100.



Additional 28971, ff. 102-1 05b,

Paper ; a.d. 1800. Oblong folio. See also below, under Songs.

" Sweet is the vale " ; for 3 voices, with symphony and accompani-
ments for flutes, horns, bassoons, and strings, in score, by J[ames]
Hook. Described as " Glee for Yauxhall, 1800."



Additional 32181, ff. 19, 96.

Paper ; a.d. 1800, etc. Oblong folio. See also below, under Operas (1796).

Choruses for 4 voices, with accompaniments, in score, by F. X.
Siissmayr. Aiitograjjh.



1. "HeildemJungling"(a8). "[1]800."
The following solo and chorus (with
pianoforte accompaniment), " So iibst
du sie durch harmonie," and the 4-
part chorus, " konnten wir Korper-
Gesundheit dir geben," appear to



form part of the same composition,
possibly intended for a cantata, f . 19.
2. " Lob der Hasslichkeit " ; with sym-
phonies for strings. In four strophes,
without the words, f. 96.



Additional 32190, ff. 39-129 ^mssm.

Paper; a.d. 1804. Oblong folio. See also below, under Operas (early 19th
cent.).

Choruses, etc., most of them for 4 voices and interspersed with
solos, with pianoforte accompaniment, in score, in the hand of J. N.
Hummel, and in all probability his composition.



1. Two songs written by Goethe in
honour of Madame IMara ; the first,
" Klarster Stimme," set as a chorus,
referring to her debut (1771) ; the
second, " Sangreich war deiu Ehren-
weg," a quartet, referring to her
82nd birthday (1831). ff. 40, 42.

2. " Heil, dieses Tages Stern"; with
accompaniments for flutes, oboes,
clarinets, bassoons, horns, trumpets.



drums, trombones, cymbals, and
strings, f. 116.
3. " Wieder seh ich's." "1804." f. 122.
' 4. " Landestreue," beg. " Mit neuer
Kraft." " [1]835." f. 125.
5. " Auf, Burger, auf " ; with accom-
paniments for flutes, oboes, clarinets,
bassoons, horns, tiumpets, drums,
trombones (wanting), and strings
f. 129.



CHORUSES. 51

Additional 30148, ff. 17b-22.

Paper; [about 1813]. Oblong quarto. See also below, under Songs.

Compositions for 3 voices, with pianoforte accompaniment, in score,
by Hortense, wife of Louis Bonaparte, King of Holland.
1. " Le Cbamp d'asile," beg. " Vn cbef | 2. " Champ Prancais," beg. " L'orage a
de baunis courageux." f. 17b. I frapp6 notre Arm6e." f . 20b.

Additional 32189, ff. 74-104b.

Paper; a.d. 1818. Oblong folio. See also below, under Songs (1829).

" PoLYMELOS. Russischer Nationallieder " : being apparently a
string of Russian songs, arranged for solo voices and chorus, with
introductory symphony and accompaniments for flutes, oboes, clarinets,
bassoons, horns, trumpets, drums, and strings, in score, by J. N.
Hummel, 1818. Antograpli. Begins " Ach, es klopft mein Herz "
(" 11,bI; .III ubI; tiikii ").

Additional 32411, f. 33b.

Paper ; about 1818. Oblong octavo. See also under Chorales (vol. i, p. 157).

Beginning of the first of two " Russische Soldatenlieder " ; for 3
voices, in score. The words and accompaniment are omitted. Anony-
mous. In the hand of Johann Christian Lobe.

Additional 36962, ff. 75-92.

Paper ; a.d. 1827, 1828. Oblong folio. Bequeathed in 1904 by Edward Wrey
Whinfield, Esq. See also below, under Operas.

" Songs for Spring Mornings," etc., with a pianoforte accompani-
ment, in score, harmonized or arranged by Sir Henry Rowley Bishop.
Nos. 1, 2, 4 are for 4 voices; nos. 3, 5 and 6, for 3 voices. All, except
the last, are dated 1828.

1. "Though the summer may have ! 4. " My garden once display'd." f.83.
roses." f. 75. i 5. " The last golden sheaf." f. 85.



2. "Alas! Youth's gay Spring moments
pass." f . 78. ■

3. " Spring flowers." f.81.



G. " Oh I where do fairies hide their
heads." "1827." f.88.



Additional 32387.

Paper ; fi. 16. a.d. 1845. Folio.

" La Carita " ; written originally for 3 female voices with solo, by
Gioachino Antonio Ros.sini, 1845. In the present version 3 vocal
parts for male voices have been added by [Sir] M. Costa, together with
symphonies and accompaniments for flutes, oboes, clarinets, horns,
trumpets, cornets, bassoons, trombones, ophicleide, drums, and strings.
In score, in the hand of the arranger.

E 2



52 VOCAL MUSIC— SECULAR.



Additional 33570, ff. 2n-216b.

Paper ; first half of 19th cent. Oblong folio. See also below, under Operas
(1828).

" To ARMS, to arms ; and banners wave " ; arranged from the
"National air of the Greeks" for 4-part chorus and solos, with
symphonies and accompaniments for drums, trumpets, horns, clarinets,
flutes, oboes, bassoons, and strings, in score, and a separate score for
trombones, apparently by Sii* H. E. Bishop.



Additional 32436, ff. 91-107.

Paper; a. D. 1859. Quarto. See also under Motets (vol. i, p. 330).

" Und bi'auset der Sturmwind des Krieges heran " ; war-song in
4 parts for male voices, with symphonies and accompaniments for
trumpets, horns, bugle (Fliigelhorn), ti'ombones, euphonium, and
bombardon, in score, by A. M. Storch. The words are by Moritz
Arndt, to whom this setting is dedicated. Autograph.



SECTION v.— DUETS.



Additional 30091, ff. lb, 3.

Vellum; 13th cent. Duodecimo. See also under Motets (vol. i, p. 253).

Two French songs for 2 voices, apparently written in France,
and introduced among some Latin sequences, which are in the same
hand. The 2nd part (bass) is sung to Latin words.



1. " En Mai, quant rose est" ; with a
pes, or burden, at the end, "Flos
filius ejus," during which the same
melody is repeated twice, f. lb.



2. " Ne sal ke je die, tant voi uilonnie " ;
with a burden beg. " Johanue," of a
somewhat similar nature to that
described above, f. 3.



Additional 5665, ff. 14b, 68b, 133b, 137b, 144b.
Paper ; temp. Henry VIII. Quarto. See also under Motets (vol i, p. 260).
Duets, by English composers, in parts. Anonymous.



1. "In euery state, in euery degre, the
mene ys the beste." f. 14b.

2. " The hye desire that y haue." f . 68b.

3. " Alone, alone, mornyng alone." At
the end are the initials "T. B." The
music to the words " Fortune ys my
fo," which occur in the first verse,



has no resemblance to that of the
well-known tune of that name (see
W. Chappell's Popular Music, ed.
Wooldridge, 1893, i, p. 76). f. 133b.

4. "So put ynfere." f. 137b.

5. " Votre trey dowce regaurt." f. 144b.



DUETS. 53

Additional 31922, f. 30b.

Vellum ; ternp. Henry VIII. Small folio. See also below, under Madrigals.

" My loue she morneth " ; for 2 voices, in parts, by [William]
Cornyshe.

Printed Book, D. 212. c, vol. ii, f. 58b.

Paper; after 1613. Small quarto. See also under Motets (vol. i, p. 280).

" Florem juventfe " ; one part only, without accompaniment. In
a German hand. Anonymous.

Additional 15117, ff. 10b, 12.

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

Two dialogues ; the melody with lute accompaniment, in tablature.
Anonymous.



1. "Come, gentle heardman, sitt with
me." [In Davison's Poetical Bliap-
sody, 1602.] f. 10b.



2. " Saye, fonde love, what seekes thowe
heere." f. 12.



Additional 16889, f. 54b.

Paper ; about 1615-1618. Oblong duodecimo. See also below, under Songs.

" II n'est point des plaisirs veritables " : described as " Chanson a
Deux " ; apparently in canon. Anonymous.

Additional 24665, f. 63b.

Paper ; about 1615-1626. See also below, under Songs.

"Wilt thou daunce and singe, my loue": dialogue, without
accompaniment, in score. Anonymous.

Additional 17991, ff. 10, 11, 39b, 42b, 65b.

Paper ; about 1620-1621. Small oblong quarto. See also below, under Songs.

Vocal compositions in 2 ^^arts, in score, apparently intended for
duets, but the lower line may possibly ])e an instrumental bass.
Anonymous.



1. " Petit Enfant." f . 10.

2. "En fin la voicy." f. 11.

3. " Jeunes tyrans." f. S'Qb.



4. "Ruisseaux plains de malheurs."
f. 42b.

5. " Cruel honneur." f. 65b.



54 VOCAL MUSIC— SECULAR.

Additional 18990, passim.

Paper ; about 1628-1634. Oblong octavo. See also below, under Songs.

SuPERius and (in nos. 1-4) bassus parts of the following
unaccompanied compositions, apparently in the hand of, and composed
by, Libertus Opstraet van der Moelen, of Utrecht.

1. " Achl.ach! . . . fiere mort." 4. " Si le del, amy clc I'empire."
ff. 8b, 30b. ff. 28b, 31b.



2. " De quelle ingrate recompense."
ff. 10b, 32b.

3. " Amarillis d'vn traict de ses beaux
yeux." ff. 10b, 32b.



5,6. " Sortez, mes voix," and "A vn

matin la belle." f. 33b.
7. " Enfin, mou beau soleil." f. 34b.



Additional 29481, f. 10.

Paper ; about 1630. Small oblong folio. See also under Anthems (vol. i,
p. 40), and Songs (1630, below).

" How NOW, shepard 1 What menes that " ; with a bass, in score.
Described in Percy's BeUqties of Ancient Poetry as " ' The Willow Tree ' :
a pastoral dialogue." Anonymous.

Sloane 1021, f. 60b.

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

" Keine Nacht, kein Tag vergehet " ; for 2 trebles, without ac-
companiment, in quasi-score. [By Heinrich Albert, from his Arien,
pt. i, about 16-40.]

Additional 31432, tf. 2b-43b passim.
Paper ; first half of 17th cent. Folio. See also below, under Songs.



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