2317. Meslanges de la musique de Clau. Le Jeune a 4. 5. 6. 8. et 10. parties. (Dessus, haute-contre, taille, basse, cinquiesme, sixiesme.) Paris, Pierre Ballard, 1607, 6 parties in-4o obl.

Les septième, huitième, neuvième et dixième voix sont en regard des autres.

Ce recueil renferme vingt-sept chansons françaises, à 4, 5, 6 et 8 voix, trente-six canzonettes italiennes, à 4, 5 et 6 voix, et sept motets latins, à 5, 6, 8 et 10 voix.

2318. Airs à quatre de différens auteurs, recueillis et mis ensemble par Pierre Ballard. (Dessus, haute-contre, taille. basse-contre.) Paris, 1613. 4 parties, in-4o obl.

2319. Airs de cour à quatre et cinq parties, par Antoine Boesset, maistre de musique de la chambre du roy (Louis XIII). Premier, (second. troisi., quatr., cinqui., sixis.. VII., VIII., et IX. livre). (Dessus, haute-contre, taille, bassecontre.) Paris, Pierre Ballard, 1617-1642, 4 parties in-4° obl. La cinquième partie est celle de luth, qui est dans la basse-contre. Le neuvième livre est imprimé chez Robert Ballard.

2320. Troisième (et quatrième) livre d'airs de cour à quatre et cinq parties, par P. Guédron. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1618, 4 parties in-4o obl.

2321. Second, (troisi., quatr., cinqui., et VIII) livre d'airs de cour à quatre et cinq parties, par Anthoine Boesset. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1620-1652, 4 parties in-4o obl.

2322. Les sileniennes de N. Chastellet, à II. III. et IIII. parties. Premier et second livres. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1652-1639, 4 parties in-8° obl.

2323. Airs à quatre parties. par Denis Macé. (Dessus, hautre-contre, taille, basse-contre.) Paris, Pierre Ballard, 1634, 4 parties in-8° obl.

2324. Les libertez de André de Rosiers, sieur de Beaulieu, à quatre parties. Ir et IId livres. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1634-1638, 4 parties in-4o obl.

2325. Airs de cour à quatre parties, du sieur Chancy. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1655. 4 parties en 1 vol. in-8° obl.

2326. Troisième (quatrième et cinquième) livre d'airs de cour à quatre (et cinq) parties, par Estienne Moulinié. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 16535-1639, 4 parties in-8° obl.

2327. Airs de cour à quatre parties, de François Richard. (Dessus, haute-contre, taille, basse-contre.) Paris, Pierre Ballard, 1637, 4 parties in-8° obl.

2328. Le compagnon divin, ou les airs à quatre parties. sur la paraphrase des psaumes de messire Antoine Godeau, composez par Jaques de Gouy. Esquels en a ajouté quelques airs de la composition de Monsieur Henri Dumont, et une nouvelle pièce. (Premier dessus, haute-contre, taille, bassecontre.) Londres, W. Pearson, s. d., 4 parties pet. in-4o obl.

2329. Airs a boire (et serieux), a (2 et) trois parties, avec la basse-contiuë. Par M. Sicard. 1er-17e livres. (Dessus.) Paris, Rob. Ballard. 1666-1683, 1 partie pet. in 4o obl.

Le Sme livre manque.

2350. Capilotade bachique à deux parties, contenant 4 alphabets de fragmens choisis des meilleures chansons à boire. Paris, Robert Ballard, 1668, 1 vol. in-8°.

2351. Meslanges d'airs à deux parties, d'airs à boire et autres chansons. B. D. B. (Bénigne de Bacilly). Paris, Robert Ballard, 1671. - II. Livre des meslanges de chansons, airs serieux. et à boire, à 2. et 3. parties. Paris, Christophe Ballard, 1674. -1 vol. in 8o.

2352. Recueil ( à XX) de chansonnettes de différents autheurs à deux (et trois) parties. Paris, Christ. Ballard, 1675-1694, 2 vol. in 8°.

2335. Premier recueil d'airs sérieux et à boire de différents autheurs à deux et trois parties. Paris, Christ. Ballard, 1678. - II. Livre des meslanges de chansons, air sérieux et à boire, à 2 et 3 parties. Ibid. 1664.1 vol. in-8°.

2334. Airs à une, deux, trois et quatre parties avec la basse continue, composez par Monsieur Lambert, maistre de la musique de la chambre du roy. Paris, Christophe Ballard, 1689, 1 vol. in-fol.

CHANSONS ESPAGNOLES.

2335. Canciones y villanescas españolas por el maestro Francisco Guerrero. I vol. in-4°.

Le titre manque.

2336. Chansons espagnoles à une et plusieurs voix divisées en deux livraisons, avec accompagnement de guitare, composées par Garcia. Paris, Beauce, s. d., 1 livraison in-fo obl.

MADRIGAUX ANGLAIS.

2337. The works of Thomas Weelkes containing madrigals for 3, 4, 5 and 6 voices, airs et fantastic spirits for 3 voices. 1597-1608. Transcribed by M. Edm. Warren Horne Esq". MS original signé, 1 vol. in 4o obl., portr.

2338. Madrigals for three voices composed by John Wilbye, first published by himself in 1598 and 1609, revised, corrected and put into score by Thomas Warren. London, the editor, s. d., 1 vol. 1 fol.

2339. The triumphs of Oriana, a collection of madrigals for five and six voices, written and composed in honor of Queen Elizabeth by the most eminent composers of that age; published by Thomas Morley. 1601. Now first published in score by Wm Hawes. London, the editor, s, d., i vol. in fol.

2340. The second set of madrigales to 3. 4. 5. and 6. parts, apt both for voyals and voyces. Newly composed by John Wilbye. (Cantus, altus, tenor, bassus, quintus, sextus.) London, printed by Tho. Este alias Snodham for John Browne 1609, 6 parties in-4o.

2341. The first set of madrigals and mottets of 5 parts: apt for viols and voices. Newly composed by Orlando Gibbons. MS, copié sur l'édition de Londres, Snodham, 1612, transcrit par Th. Barrow, en 1774, 1 vol. in 4o obl.

2342. Ayres and dialogues (for one, two and three voyces) to be sung either to the theorbo-lute or basse-viol. Composed by John Gamble. London, Godbid etc., 1657-1659, 2 t. en 1 vol. in-fol.

2343. The canzonets and madrigals for three and four voices, of thomas Morley mus bac: Oxon. 1588. Arranged in the regular order of score and collated with peculiar care from a manuscript in the Bodleian library and several others of established authenticity, by W. W. Holland A. M. and W. Cooke. London, Clementi and Co., s. d., 1 vol. in 4o obl.

2344. Orpheus britannicus. A collection of all the choicest songs for one, two and three voices, compos'd by Mr Henry Purcell. Together, with such symphonies for violins or flutes, as were by him desig❜d for any of them and a through-bass to each song; figur'd for the organ, harpsichord, or theorbolute etc. London, Heptinstall etc.. 1698-1702, 2 t. en 1 vol. in-fol., portr.

:

2345. Amphion anglicus. A work of many compositions. for one, two, three and four voices with several accompagnements of instrumental musick; and a thorow-bass to each song figur'd for an organ. harpsichord, or theorboelute. By Dr John Blow. London, Pearson etc., 1700, I vol. in-fol., portr.

2346. Wit and mirth or pills to purge melancholy; being a collection of the best merry ballads and songs, old and new. Fitted to all humours, haring each their proper tune for either voice, or instrument. Most of the songs being new set. To wich is added all Mr D'Urfey's songs, above one hundred etc. Fourth edition. London, Pearson etc.. 1719-1720, 6 vol. in-12, portr.

2347. Songs compleat, pleasant. and divertive set to musick Dr John Blow. Mr Henry Purcell, and other excellent masters of the town. Ending with some orations, made and spoken by me several times upon the publick stage in the theater etc. Written by Mr D'Urfey. London, Pearson etc., 1719, 4 vol. in-12.

2348. An antidote against melancholy, being a collection of fourscore merry songs, wherein those on the same subject. and key are placed in an agreeable succession, in relation to the different measures of time, after the manner of suits of lessons etc. London, Browne, 1749, 1 vol. in-12.

2349. A little book of songs and ballads, gathered from

ancient musick books, ms. and printed. By E. F. Rimbault. London, J. R. Smith, 1851, 1 vol. in-12.

2350. The ancient vocal music of England, a collection of specimens referred to in a series of lectures, and adapted to modern use, by E. F. Rimbault. London, Novello, s. d., 1 vol. in-fol.

2551. Madrigals and motets, for five voices, composed by Orlando Gibbons, originally published in parts, A. D. 1612, end now first printed in score, edited by sir George Smart. London, Chappell, 1841, 1 vol. in-fol. (Publication of the musical antiquarian society).

...

2352. The first (and second) set of madrigals, for three. four, five and six voices, composed by John Wilbye. scored from the original part books. A. D. 1598 (and 1609) and edited by James Turle (and George William Budd). London, Chappell, 1841-1846, 2 vol. in-fol. (Publication of the musical antiquarian society).

2353. The first set of ballets; for, five voices; composed by Thomas Morley; scored from the original part books printed A. D. 1595, and edited by Edward F. Rimbault. London, Chappell, 1842, 1 vol. in-fol. (Publication of the musical antiquarian society.)

2354. The first set of madrigals, for three, four, five and six voices, composed by Thomas Weelkes; scored from the original part books. printed A. D. 1597. and edited by Edward J. Hopkins. London, Chappell, 1843, 1 vol. in-fol. (Publication of the musical antiquarian society.)

2355. The first set of songs, in four parts, composed by John Dowland, scored from the first edition printed in the y. 1597, and preceded by a life of the composers. by W. Chappell. London, Chappell, 1844, 1 vol. in-fol. (Publication of the musical antiquarian society.)

2556. Ayres or Fa las, for three voices, composed by John Hilton, scored from the original part books, printed A. D. 1627, and edited by Joseph Warren. London, Chappell, 1844, 1 vol. in-fol. (Publication of the musical antiquarian society.)