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Catalogue of manuscript music in the British museum (Volume 2) online

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Dialogues for 2 voices, with a thorough-bass, in score.



1. "Why in this shad[e] of night":
described as "An Elegiack on the
sad losse of his . . friend, Mr.
William Lawes, seruant to his
Maicsty " ; with 3-part chorus.
"[John] Jenkins." Two copies, the
first incomplete, ff. 2b, 3b.

2. " When death shall snatch us from
these kidds." This and nos. 3-7 are



by " Wil[liam] Lawes." Autograph,
i. 12b.

3. "What softer sounds are these."
f. 20b.

4. " Come, heauy hart." f. 26b.

5. " Tis not. Boy, thy Amorous Looke."
f.27b.

6. " Charon, O Gentle Charon." f. 34b.

7. " Come, my Daphne." f. 43b.



Additional 11608, passim.

Paper ; a.d. 1656-1659. Small folio. See also below, under Songs.

Duets and dialogues, the latter with a bass, in score.

1. Dialogue (Strephon and Daphne), i 2. Another (treble and bass), beg.
beg. "Come, my Daphne." " Wil- \ "What if I dye." By the same,
liam Lawes." f. 2. I f. 7b.



DUETS.



55



3. " Come, Cloris ; hye wee to y"
Bower." " Henry Lawes." f . 8b.

4. Dialogue (Phyllis and Strephon),
beg. " Shepherd, in faith I cannot
stay." " Nicholas Laneir." f . 9b.

5. Another (Hobson and Charon), beg.
" Charon, come hither." Ivipcrfect
at the end. " Jo. Hilton." f. 13b.

6. Another (Nymph and shepherd),
beg. ' ' Tell me. Shepherd." ' ' Nicholas
Laneir." The grace-notes at the end
are by — Gibbons, f. 18b.

7. Another (Phyllis and Clorillo), beg.
" I prethy, keepe my sheepe." By
the same. f. 3-3.

8. " Arise, arise, fair sun." " Jo.
Hilton." f. 34b.

9. "0 my Clarissa." " Wm. Lawes."



f . 58b.

10. " When first I gaz'd on Ccelia's
face"; the air by "John Hilton,
1656 " ; the bass apparently by T. C,
who appears to have transcribed the
greater part of the volume in 1659,
and is responsible also for the
addition made in nos. 11-13. f. 70.

11. " Goe, faire Inchantresse " ; the air
by "Hen. Lawes," with a bass added,
f. 72.

12. Dialogue (Strephon and Colin), beg.
" Colin, say, why sitst thou soe ? "
"Nicholas Laneir." A 3-part chorus
has been added, f . 73.

13. "Alas, poore Cupid"; the air by
Henry Lawes, with a bass added.
f.75.



Additional 10338, ff. 30b, 31b.

Paper; after 1669. Small folio. See also under Motets (vol. i, p. 288).

Dialogues, with a basso contiiiuo, in score, by Geoi'ge Jefireys.
Autogrcvpli.

1. "Why sigh you, swayne?" f. 30b. | 2. "Lovely Sheaphard." f. 31b.



Additional 29396, passim.

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

Compositions for 2 voices, in score. Except where the contrary is
stated, they are anonymous. Nos. 2-7 have a bass for harpsichord ; the
others are unaccompanied.



1. "Leuellers Songe," beg. "To the
Hall." f. lib.

2. " CoUen, say why sitts't thou soe " :
dialogue between Strephon and " Col-
len," with 2-part chorus. Only the
bass is given to " CoUens answer."
By N. Laniere. f. 21.

3. " I look'd vpon my true loues eye."
f . 24b.

4. "Tell me no more of Giues of
Brasse." f. 33b.

5. "Hast ye. Nymphs." By H. Lawes.
f. 42b.

6. "What if I dye for loue of thee."
By W. Lawes. f. 53.

7. "Coy Ccelia": dialogue. " [E.]



Chilmeade." f. 68b.

8. " Stay, shutt y<= gate." f. 75b.

9. " Replicauan las Campaniglias in las
eglesias de Leon." f. 77.

10. " The thirsty earth sucks vp y"
rayne." Originally written for a bass
voice, with chorus, by Roger Hill
[Select Ay res and Dialogues, 1669].
It "was giuen Mr. Houghton [?fl.
1665], by Mr. Caue [? John Cave,
gentleman of the Chapel Royal in
1661] ... I [Edward Lowe] sett an
vpper part to it the 27"' of Jauu:
1677 (?)." Lowe has written his
initials at the end of the part added
by him. f . 99b.



At f. 78b are the words of a dialogue, " When death shall snatch
us" [set by M. Locke, in 1676].



56



VOCAL MUSIC— SECULAR.



Additional 30382, ft: 3lh-50h passim.

Paper ; a.d. 1678-1686. Folio. See also under Motets (vol. i, p. 285).
Duets, in score.

1. "Go, perjured man"; with instru- I "Pursell." f . 36.

ments. " C Blow." f . 31b. i 4. " Amanti, sentite Amor." Anony-

2. "In some kind dream." "H. nious. f. 49b.

P[urcell]." f. 35. 5. "lo mi sonto morir." " Eovetta."

3. "Go, tell Aminta, Gentle Swain." f. 50b.



Additional 33234, passim.
Paper ; a.d. 1680-1682. Folio. See also below, under Songs.
Duets, in score.
1. "Often I am by the women told." 1 6. "Why does the morn in blushes



" Pietro Reggio." f . 39.

2. "Goe, perjurd man" ; with instru-
mental symphonies. " D"" John
Blow." f. 49.

3. "lo mi sento morir"; with a bass.
" Rovetta." f. 52b.

4. "Alass, alass, how barbarous are



rise.



Hen. Purcell." f. 128.



7. "Whilst our flocks feed." " James
Hart." f. 129.

8. "Old Chiron thus preach't."
" Wise." f. 148b.

9. " Ghear up, my friends " ; the first
3 bars only. iVnonymous. f. 168b.

wee "; with a bass. " Hen. Purcell." | 10. " Tronchi si pensi[c]r " ; with a



f.82.
5. "In uain, in uain, brisk God."
"D - J. Blow." f. 127b.



bass. Unfinished. Anonymous,
f. 174.



Harley 1501, ff. 1-5, 9, 10b, 69.

Paper ; a.d. 1681. Folio. See also below, under Songs.

Six Duets, the first two for 2 sopranos, the others for soprano
and bass, with a figured bass for harpsichord, in score, by Luigi
Rossi.

1. " Vorrei scoprirti." f. 1. 4. " Spiega un nolo cosi altero." f . 9.

2. " Tu sarai sempre . . . il mio bene." 5. " Tu giuri che e mio." f. 10b.
f. 3. 6. "Dite, 6 Cieli." f.69.

3. "Pene, che voletc." f . 5. i



Additional 19759,

Paper ; about 1681. Small folio.
Unaccompanied Duets, mostly in



1. "I find my Vgenia"; treble only.
" Will. Turner." f. 4.

2. "He tell thee, my Silvia." By Dr.
John Blow. f. 4.

3. "Whilst others on downy nests."
" N. (?) Stagings." f. 4b.

4. "Shall all the buds"; treble part
only. By Dr. John Blow, f . 22.



fF. 4-43 pyasshn.
See also below, under Songs.
score.

. "Could man his wish obtaiue."
" Peasebell " {sc. Paisible ?). f. 25.

. "Whilst our flocks feed"; treble
part only. By James Hart, f . 33b.

. A dialogue between Phyllis and
Strcphon, beg. "Ah, what Can mean
that Eager Joy." Anonymous,
f. 35b.



DUETS.



57



8. "In vaine, in vaine, brisk God of i 10. " Lovers, who in sillent Anguish."



loue." " D - John Blow." f. 3Sb.
9. "From that one Glance." Anony-
mous, f. 40b.



Anonymous, f. 41.
11. "Goe, perjur'd man" ; treble only.
"D - B10W." f. 43.



Additional 22100, ff. 40b, 89b, 108, 120.
Paper ; about 1682. Folio. See also under Anthems (vol. i, p. 28).
Vocal compositions for 2 voices, in score.

1. "Go, perjur'd man"; with instru- i but were perhaps written on the
mental symphony, cfc, " D"' Blow." ! occasion of the celebration of their
f . 40b. 1 funeral at Colchester in 1661. f. 89b.

2. Dialogue for 2 voices, with a bass, ; 3. Dialogue (Orpheus and Charon), beg.
beg. " Alass, alass, who has been ' "Hast, hast, gentle Charon"; with



here." " M. Lock." The words
refer to the death of Sir Charles
Lucas and Sir George Lisle in 1648,



a bass. "Purcell." f . 108.
4. "Shall all y^ buds"; with a bass.
"D'Blow." f. 120.



Additional 29397, 2yo-ssim.

Paper ; about 1682-1690. Narrow obloug duodecimo. See also below, under
Songs.

Duets, in score, without accompaniment.



1. " Smiling Phillis." "Turner." f. 3.

2. "He tell thee, my Celia." By Dr.
Blow. f. 3b.

8. "Though our pockets are out."
" J. Bluu[devill]." f. 9b.

4. "The juice of y^ grape." By the
same. f. 10b.

5. " Could man his wish obtain." By
Paisible. f . 12b.

6. Dialogue (Nature and Sorrow), beg.
"0 sorrow, sorrow! say." "Rob.

Reversing the volume.

11. Dialogue (Orpheus and Eurydice),
beg. " Eurydice, my fair." " D"
Blow." f. 96b.

12. " Why do's y° morn in blushes
rise." Attributed here to " D' Blow,"
but more probably by Henry Purcell.
f. 89b.



Smith." f. 16b.

7. Dialogue (Thyrsis and Doriuda),beg.
" When death shall part us." " Math.
Locke." f. 18b.

8. Dialogue (Philomel and Charon),
beg. "Charon, gentle Charon."
"W. L[awes]." f. 27.

9. " Cheer vp, my friends." " [W.]
Turner." f. 33b.

10. "Happy is y' country life." "J.
Hart." f. 30b.



13. "Ditti (sic), oCieli." By L.Rossi (?).
f . 88b.

14. " In vain, in vain, brisk God of



wme.



D - Blow." f. 83b.



15. "Whilst our flocks feed." "Jam.
Hart." f. 62.

16. " Old Chiron." "Wise." f.60b.



Additional 31440, fF. 53b-95b ^wss/m, 156b.

Paper; before 1685 (?). Folio. See also under Motets (vol. i, p. 287).

Duets, having, with the exception of the last one, a bass for
harpsichord, in score, by P. Reggio. Autograph (?).

1. " Ecco Siluio." f. 53b. 3. " Ferma, ferma, Caroute." f. 63b.

2. " Ch' io t' ami." f. 60b. 4. " Che fai, alma." f. 65b.



58 VOCAL MUSIC- SECULAR.

5. " O stelle omicide." f. 75b. 12. " Non vedro mai le stelle." f. 87b.

6. " come sei gentile." f. 76b. 13. " Soaue, soaue, libertate." f. 89b.

7. " lo son pur vezzosetta." f. 78b. ^ 14. " Ah, che non si conuiene." f. 90b.

8. " Tra doglie." f. 80b.

9. " viua fiamma." f. 81b.

10. " Vorrei baciarti." f. 83b.

11. " Dice la mia bellissima Licori."
f . 85b.



15. " Ecco vicine, 6 bella." f. 92b.

16. " Interrote speranze." f. 94b.

17. " Percbe fuggi tra salci." f. 95b.

18. " As water fluid is." f. 156b.



Additional 31439, ff. 4b, 7.

Paper; about 1691 (see f. 15). Oblong octavo. See also below, under Songs.

Two Duets for treble and bass, in score, by John Courtiville, with
dedication to the Honourable Bennett Sherard [cr. Baron Sherard 1714,
and Earl of Harborough 1719]. Autograph. The lower part is figured
for harpsichord accompaniment.

1. "When first I saw Clorinda's charm-
ing eyes." f. 4b.



2. "Fain I would have leave to tell."
f.7.



Additional 35043, ff. 18b, •22b.

Paper; about 1695. Small folio. See also below, under Operas (1694-1697).

Pastoral dialogues for 2 voices.

1. " When Death shall drive our Soules 2. " Charon, O Gentle Charon." " W"
away"; with figured bass. " G. Lawes." f. 22b.

Finger." f. 18b.

Harley 1273, ff. 45b, 50b, 59, 73.

Paper ; after 1699. Narrow oblong octavo. See also below, under Songs.

Duets, with a figured bass for harpsichord, in score. Nos. 1-3 are
sometimes attributed to Agostino Steflani.

1. "OfeliceF onda." "Carlo Pietra- 3. "Chidir;iche nel veleno." "Ales-
grua " (sc. C. L. Pietro Grua). f. 45b. sandro Stradella." f . 59.

2. "Lontan dal suo bene." By the j 4. " Caro ... ad Altri tu mi cedi."
same. f.50b. I "Bononciui, 1695." f.73.

Harley 7549, f. 18.

Paper ; 17th cent. Oblong octavo. See also below, under Songs.

Melody of " Con bell sigilla (sic)," which appears as a Duet in
Playford's Select Musicall Ayres and Dialogues, 1653. Anonymous.

Additional 36877, passim.

Paper ; 17th cent. Octavo. See also below, under Songs.

Collection of songs, with an accompaniment for Spanish guitar,
apparently by Giovanni Casalotti. It includes the following for 2
voices : —



1. " Quando miro il uago uolto." f. 15.

2. " La mia Clori vezzosa." f. 39.



3. " Ay, como las esperanzas." f. 50b.

4. " Ecco la Primauera." f . 89b.



DUETS.



53



Additional 14399, ff. 36b, 39.

Paper ; second half of 17th century. Folio. See also below, under Songs.

Two DIALOGUES, with a bass fur harpsichord, in .score, by Dr. John
Blow.



1. " Stay, stay, gentle Eccho." f . 36b.

2. " Euridice, my Fair." [In The Ban-



quet of Mtisic, 1688.] f!. 39-41.



Harley 1265, f. 237.

Paper ; late 17th cent. Narrow oblong octavo. See also below, under Songs.

"Son disperato"; with a figured bass for harpsichord, in score, by
Giovanni Francesco TenagHa.

Harley 1863, li". 1-25 and 99b-156b^rtssi»H.

Paper ; late 17th cent. Oblong octavo. See also below, under Songs.

Duets, with a figured bass, in score, by Italian composers of the
second half of the 17th century.



1. "Spiega un volo cosi altiero."
" Luiggi Rossi." f . lb.

2. " Oc[c]hi quai vaghi azuri." Anony-
mous, f . 4b.

3. " Tu sarai senipre . . . il mio bene."
" Luigi Rossi." f . 8b.

4. "0 Cieli, pieta." By the same,
f . lib.

5. " Soccor[r]ete mi, per pieta." " Ja-
camo Carissimi." f. 17b.

6. " Vorrei scopri[r]ti." " Luiggi
Rossi." f. 20b.



7. " Se dardo puugeute." Anonymous,
f . 2.3b.

8. " Gite pur per 1' Aria." "Carlo Am-
brosio Lonati." f. 99b.

9. "Son disperato." "Gio. Franc"
Tenaglia." f. 106b.

10. " Guarda ben. . .mio cor." Anony-
mous, f. 139b.

11. "Cieco Dio, che vuoi da me."
Anonymous, f . 142b.

12. "Pieta, spietati Lumi." "Luigi
[Rossi (?)]." f. 153b.



Additional 14336, ff. 10b-17b.

Paper; late 17th cent. Folio. See also under Motets (vol. i, p. 291).
Italian Duets, with a bass for harpsichord, in score. Anonymous.



1. " Dormite, pensiere." f . 10b.

2. "Si tocchi tamburo." f. 12.

3. "Sempre . . . nel seuo." f. 14.

4. "Vittoria . . , diviua." f . 15b.



5. "Pieta, spietati lumi." Attributed
above, in Harley 1863, to Luigi Rossi,
f . 16b.



Additional 24293, flf. 65b-74.

Paper ; late 17th cent. Folio. See also under Motets (vol. i, p. 292).
Duets, with a bass for harpsichord, in score. Anonymous.



1. "Chivuol haver feliceelietoil core."
f.65b.

2. "lo mi sento morir." By G. Ro-
vetta. f . 68.



3. " Uccidetemi pur." f. 70.

4. "Non e di gentil core." f. 71b.

5. " come sei gentile." ByP. Reggio.
f. 74.



60



VOCAL MUSIC— SECULAR.



Additional 33235, ff. 46b-79 passim
Paper; late 17th cent. Folio. See also under Anthems (vol. i, p. 38).
Duets, in score.



1. " Dite, o cieli." By L. Rossi (?).
Printed in the Baiuiuet of Music,
1688. f. 46b.

2. " Chear up, my freinds." By W.
Turner. (For symphonies and ac-
companiments see below, Add. 33287,
f. 5b). f. 53.

3. ' ' Above the tumults of a busy state " ;
with a bass. " Henery Purcell."
f. 54.



4. "Shall all y^ buds." By Dr. J.
Blow, f . 55b.

5. "Go, Perjurd man"; with ritour-
nelles, etc., for 3 strings. " Dr. Blow."
f . 67b.

6. "lo mi sento morir." By G. Ro-
vetta. f. 77.

7. "Vano e il desio." Anonymous.
f.79.



Additional 33287, ff. 2, 5b, 19b.

Paper; late 17th cent., etc. Large folio. See also below, under Odes.
Duets, with symphonies and accompaniments for strings, in score.



1. "Goe, Perjur'd man." "Dr. John
Blow." f. 2.

2. " Chear up, my freinds." " William



Turner." f. 5b.
3. "See, where she sitts." "Henry
Purcell." f. 19b.



Harley 1272, ff. 76b, 77b, 82, 104b (reversed).
Paper ; 17th-18th cent. Narrow oblong octavo. See also below, under Songs.
Duets, with a bass (figured in no. 1), for harpsicliord, in score.

1. "Restate immobili, stelle nel ciel." Stradella." At f. 76b are seven bars



In the hand, and probably the com-
position, of Bernard Martin Beren-
clow. f . lOib.
2. "L'Amore e lo sdegno," beg. "La

" Alessandro



of introductory symphony. In the
hand of Humphrey Wanley. f. 82.
3. "Senza speme di farmi contento."
" Giovanni Bononcini." In the same
hand. f. 77b.



Additional 14228, ff 47-52b.

Paper; 17th-18th cent. Oblong folio. See also below, under Operas (1698).

" Vn TORMENTO 6 la .speranza " ; for soprano and contralto, with a
figured bass for harpsichord, in score, by F. A. P[istocchi].



Additional 14187.

Paper ; ff. 45. Early 18th cent. Oblong folio.

Duets, with a figured bass for harjjsichord, in score, by Giovanni
Buononcini.



1. " Chi d' Amor tra le catene." f. 1.

2. " II nume d' Amore." f. 6.



3. " Se bella son lo." f . 10.

4. " Bellezza fedele." f. 13b.



DUETS. 61

5. " Quanto ^ cara la liberta." f. 16b. 8. " Oh che lacci lo sento." f . 31b.

6. " Prigionier d' un bel sembiaute." 9. " Si fugga, si sprezzi." f. 36.

f. 22. 10. "Chi di gloria ha bel desio."

7. " Sempre piango." f. 28. f.40b.

Additional 17835, fF. 22b, 45b.
Paper; early 18th cent. Folio. See also under Motets (vol. i, p. 294).
Duets, with a bass, in score.



1. " Chi dira che nel veleno." " Stra-
della." f. 22b.

2. " Amor senzasperanza." "[Antonio]



Gianuettini, M[aes]tro di Capella a
Modena." f . 45b.



Additional 17850, £. 36b.

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

" Let Love and Wine in active joyes agree " : song for 2 voices, in
score, by "VV[il]iam] G[orton]. Autograph.

Additional 29378, fF. 183, 190.
Paper ; early 18th cent. Folio. See also below, under Operas.
Two DUETS, with a bass, in score, by John Eccles.



1. "Dialogue between two Chearmen
waiting at a Tavren Door," beg.
"Hey hoel . . . the clock has just



strook four." f. 183.
2. "How long . . . must I the hours
employ." f. 190.



Additional 31405, f. 151b.

Paper ; early 18th cent. Folio. See also under Anthems (vol. i, p. 48).

" The Passing Bell " : duet for treble and bass, with a figured bass
for harpsichord, probably by John Eccles. It begins with the words,
" Hear ... ye midnight Fantomes." Imperfect at the end.

Additional 31453, f. 179.

Paper ; early 18th cent. Small folio. See also below, under Operas.

" Phillis, we're not griev'd " : song for 2 voices, with a figured bass,
in score, by Ralph Courtiville.

Additional 31461, fF. 8.3b, 89-93.

Paper ; early 18th cent. Quarto. See also under Anthems (vol. i, p. 50).

Duets, with basses in score, in the hand of James Kent, unless the
contrai'y is stated.

1. "Dite, 6 Cieli." By L. Rossi (?). , 2. "Hail, happy Britain." Auony-



f.83b. mous. f.89.



62



VOCAL MUSIC— SECULAR.



3. "0 for a Muse of Fire." Anonj -
mous. f . 90b.

4. "How sweetly does Maria's charms



(sic) surprise " ; in the hand of
Daniel Purcell, and probably his
composition, f. 92.



Additional 31487, ff. 170-197.

Paper ; early 18th cent. Oblong folio. See also below, under Songs.

" Chi dira che nel veleno " : Italian cantata for a treble and a
bass, with a figured bass for harpsichord^ in score, by Alessandro
Stradella.

Additional 31488, ff. 88-115.

Paper ; early 18th cent. Oblong folio. See also below, under Songs.

" Amiga hora che Aprile " : Italian cantata for 2 trebles, with
ritournelles and accompaniments for strings (?) and a figured bass for
harpsichord, in score, by Alessandro Scarlatti.



Additional 31505, ff. 2-73.

Paper ; early 18th cent. Oblong folio. On the covers are the arms of a
French or Italian (?) bishop, the first and fourth quarters being France and
England quarterly. The MS. belonged afterwards to G. L. Benson, of Salisbury
(bookplate). See also below, under Trios.

Duets, with a bass (partly figured) for harpsichord, in score.
Anonymous.



1. "Si6n6." f.2.

2. " Rondinella che d' intorno " ; in two
parts, f . 6.

3. "No, no, mi rapite gia." f. 10.

4. " Aspre cure " ; in two parts, f . 14.

5. " Lo splendor di due begl' occhi " ;
in five parts, f . 20.



I 6. "Al fin le neui algenti " ; in three

1 parts, f . 40.

I 7. " Son gia prigion d' amore." f. 53.

8. " Quel chiarmarti crudele." f. 57.

9. "Gran bellezza." f.Gl.

10. " Spesso amor dicemi " ; in two
parts, f. 66.



Additional 31993, f. 79 (reversed).
Paper ; early 18th cent. Oblong quarto. See also below, under Operas (1712).

" Old Chiron thus preach'd to his pupil Achilles " ; for a treble
and bass, in score. [By Michael Wise.]

Additional 34291, ff. 5-22b.

Paper; early 18th cent. Oblong folio. The MS. was presented by the
transcriber to the Rev. Edward Goddard. See also below, under Songs.

Two Italian cantatas for 2 voices, in score, transcribed by the
Abbate F. Santini.



1. "In carcere penoso." " Agostino
Tinazzoli." f.6.



2. " Dalle tenebre orrende." "Giorgio
Federico Handel." f. 13b.



DUETS.



63



Additional 22104, ff. 85-109b.

Paper ; about 1700 (?). Oblong quarto. See also below, under Songs.

"E PUR vuole il Cielo " : Italian cantata £oi' 2 voices, with a
figured bass for harpsichord, in score, by Alessandro Scarlatti.

Additional 22099, ff. 29b-73 passim.

Paper ; about 1704-1707. Folio. See also below, under Operas.

" Double songs," or Duets, most of them with a figured bass, in
score.



1. "Were I to choose." " H. P[ur-
cell]." f. 29b.

2. " Lost is my quiet." By the same,
f. 29b.

3. " Pretty swallow." " Christopher
Bassauo." f . 35b.

4. "Love, thou art best." " H. P[ur-
cell]." f.43b.

5. "Man's life is but vain"; without
a bass. "Wise." f. 47.

6. " Julia, your unjust disdain." "Pur-
cell." f. 48b.

7. "Jam satis terris"; apparently for
2 voices, without a figured bass.



"Dr. Blow." f.57b.

8. "When Myra sings." "H. Pur-
cell." f. 64b.

9. " Old Chiron thus preach'd " ; with-
out a bass. "Wise." Attributed
to H. Purcell in a Collection of
Printed Songs (press-mark, H. 1601,
p. 351). f.65b.

10. "Dulcibella, whene're I sue."
"H. Purcell." f . 66b.

11. "Go, perjur'd man"; with pre-
lude, etc., for violins. "Dr. Blow."
f.71b.



Additional 14229, ff 162-1 64b.

Paper ; about 1709. Oblong folio. See also below, under Songs (1723-1732).

Dialogue between Dorinda and Fileno, beginning " Traditor
disleale/' with a bass (in the solo parts) for harpsichord or violoncello,
in score, by Francesco Gasparini, Rome, 1709.

Additional 31455 (parts iii, iv), passim.
Paper; after 1713. Small folio. See also below, under Operas.
Bass and thorough-bass parts of the following Duets : —



1. " Old Chiron." "Wise." iii,f.llb;
iv, f. 25.

2. "Goe, perjur'd man." "Dr. Blow."
iii, f . 12 ; iv, f . 26b.

3. "The passing Bell," beg. "Hear,



ye midnight Phantoms." "Eccles."
iii, f. 18.
4. "Dite, o cieli." By L. Rossi (?).
iii, f.27b; iv, f.61.



Additional 14225, ff. 106-1 08b.

Paper ; first quarter of 18th cent. Oblong folio. See also below, under Songs
(1715-1724).

" Vn vento lusinghier " ; with a violin part and a bass, in score.
Apparently the beginning of an Italian cantata for 2 voices.
Anonymous.



64



VOCAL MUSIC— SECULAR.



Additional 14166, f. lOL

Paper ; a.d. 1731. Oblong quarto. See also under Motets (vol. i, p. 343),

" QuESTO silentio ombroso " ; with a figured bass, in score, by
Alessanclro Scarlatti. Apparently aniograpli.



Additional 17785, jxtssim.

Paper ; after 1737. Small quarto. See also below, under Operas.

" Airs a boire," etc., without accompaniment, in score. They are,
with the few exceptions noted below, anonymous.

1. "Nepour[r]ai-jesortir." f. 19b. i f. 14.3b.

2. " Charmant Bacchus." f. 51. 20. " Je ne reconnois plus mon aimable

3. " Malgr6 sa trahison cruelle." f. 52, Lisette." f . 151b.

4. "Mon cceur n'est plus trouble." i 21. "Gr^goire vantoit a Colin." f. IGO.



f . 78b.

5. " charmante bouteille." f. 82.

6. " Esprits de haine." f. 84b.

7. " Un petit air a boire." f. 87b.

8. " Que de jeunes beaut^s." f. 88b.

9. "Bacchus, c'est toi que je chante."
f.94.

10. ' ' Quel tonnerre ^clatant ! " f . 95.

11. " La barbe ue croist pas dans I'eau."
f . 102.

12. " Si je fais I'amour." " Sagiony."
f . 105b.

13. " Quel plaisir de boire du vin."
" [Jacques ?] Aubert." f. 110.

14. "Eh, palsangu6, Piarot." f. 112b.

15. " Lucas pour se gausser de nous."
f. 116b.

16. " Tendre amour, qu'il est doux."
"Patin." f. 134.

17. "A Bacchus je suisfidelle." f. 13Sb.

18. "Doux charme de la vie." f. 142.

19. " Versus (sic) ce champagne divin."



22. " Colas disoit a Michelle." f. 167.

23. " Laquais, viste, du vin." "Morel."
f. 168b.

24. " Ch^rissons une chaine si belle."
f . 170.

25. "Mars, laisse reposer Bellonne."
f . 170b.

26. " Vous, qui pour un bonheur."
f. 174.

27. " Tous les bergers, dans la saison
nouvelle." f. 175b.

28. "Ton vin, Champagne adorable."
f. 177.

29. " Dans le calme nouveau."
" [Nicholas ?] Bernier." f. 186.

30. " J'ai perdu I'ap^tit." f. 188b.

31. " J'aime Phil[l]is ; elle m'aime."
f . 203b.

32. " Un jour le grand collecteur
Blaise." f. 204b.

33. "Tout renaist dans ce beau s6jour."
f . 211b.



Additional 31504, f, 16b.

Paper ; after 1740. Folio. See also below, under Songs.
" Vanne e sofFri " ; ^\^th figured bass, by Nicolo Porpora.

Additional 31534 ; 31535, AT. 2-60.

See below, under Madrigals (after 1741).



Additional 34058.

See below, under Madrigals (after 1743).



DUETS. 65

Additional 31537.

See below, under Sladrigals (after 1747).

Additional 5322.

Paper ; ff. 73. First half of 18th cent. Oblong folio. Bookplate of [Charles]
John Stanley.

Twelve Duets, with a bcass for harpsichord, in score, by Handel.
Nos. 1-11 are supposed to have been composed at Hanover in 1710-
1712. They are included, but in a different order, in the first series
published by the Hiindel-Gesellschaft. No. 12 is there replaced by
" Langue, geme " (no. 11); it is also excluded from the second series
published by the same society. The autograph of it is at Buckingham
Palace, where a transcript of part of it (now Add. 31573, f. 53b) was
made by Michael Rophino Lacy (below, p. 98 ; cf. vol. i, p. 386).



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 9 of 120)