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1025. NARES (James), Mus. Doc. The Royal Pastoral, a dramatic ode [by the Rev. Daniel Bellamy, jun.] In full score.

folio. London.

This ode was written on occasion of the three elder sons of King George III. having been taken in October, 1767, to Kew Chapel to make an offering at the communion table for the relief of the poor. Endimione, cantata, a due voci Italian and German text.

1026. PAER (Ferdinand). Diana ed

con coro.

In vocal score.

oblong folio. Leipsic.

1027. PHILIDOR (A. D.) The "Carmen Sæculare" of Horace. In full score. folio. Paris (?) 1788.

Two copies, one presented to the Society by Mr. J. L. Brownsmith, the other by Mr. F. C. Horton.

1028. PURCELL (Daniel), Judgment of Paris. See No. 1011. 1029. PURCELL (Henry). "A Musical Entertainment perform'd on November XXII., 1683; it being the Festival of St. Cecilia, a great Patroness of Music, whose memory is annually honour'd by a public Feast made on that day by the Masters and Lovers of Music, as well in England as in foreign parts." In full score. small quarto. London, 1684. 1030. PURCELL (Henry). Commemoration Ode, performed at Christ Church in Dublin, January 9, 1693. In full score. London. Hayes (William), Mus. Doc. The Passions, by W. Collins. In full score. (The title in MS.) folio. Oxford. Handel (G. F.) Two celebrated Italian Trios ["Se tu non lascia," and "Quel fior"]. Bound in one volume. In folio. London.


1031. RaUZZINI (Venanzio). A Selection from Pyramus and Thysbe, a Cantata. In full score. folio. London.

1032. ROMBERG (Andreas). Das Lied von der Glocke [The Song of the Bell], von Schiller. In full score. folio. Bonn. 1033. ROMBERG (Andreas). Schiller's Song of the Bell. The English. words adapted by an Amateur [F. W. Rosier]. In vocal




In vocal

[blocks in formation]

1034. ROMBERG (Andreas). Schiller's Lay of the Bell.


1035. ROMBERG (Andreas). Die Harmonie der Sphaeren. Hymne von Ludwig Teob. Kosegarten. In full score.

folio. Bonn und Cöln.

1036. ROSSELLI (Agrippino). Lamento da Maria Antonietta, Regina Cantata a voce solo e cori. La poesia di S.

di Francia.

Buonaiuti. In full score. Autograph of the Princess
Sophia (daughter of George III.) on the title-page.

oblong folio. London.

Presented to the Society by Mr. J. J. Stevens.

1037. ROVEDINO (Tommaso). A Descriptive Cantata, for seven voices, written for the Anniversary Dinner of the Royal Society of

Musicians, 1835. In vocal score.

folio. London.

1038. ROVEDINO [Tommaso]. An Ode ["Spirits of Sound" written for the Centenary Festival of the Royal Society of Musicians, 1838, by Thomas Dibdin. In vocal score. folio. London. 1039. SCHUMANN (Robert). Das Paradies und die Peri; dichtung aus Lalla Rookh von Th. Moore für Solo-stimmen, chor, und orchester, componirt von. In full score.

folio. Leipsic.

1040. SCHUMANN (Robert). The same.

In vocal score.

folio. Leipsic.

1041. SPOHR (Louis). Hymne an die Heilige Cäcilia, gedichtet von Ph. von Calenberg, in musik gesetzt für vierstimmige Chor mit Sopran Solo. [Componirt für die Feier des Caecilientages im Jahr 1823]. In score and separate parts.

1042. STEWART (Sir Robert P.), Mus. Doc.

folio. Cassel [1859 ?] Inauguration Ode, per

formed at the opening of the National Exhibition of the Arts, Manufactures, and Materials of Ireland, Cork, 10 June, 1852. Written by John Francis Walker, M.R.I.A. In vocal score. quarto. Cork and Dublin, 1852.

Presented to the Society by Mr. Deane.

1043. SULLIVAN (Arthur Seymour). Kenilworth, a masque, written by Henry F. Chorley. Op. 4. In vocal score.

folio. London [1864].

1044. WALMISLEY (Thomas Attwood), Mus. Doc. Ode ["For thirst of power"] performed at the Senate House, Cambridge, July 6th, 1847, at the first public commencement after the Installation of Prince Albert as Chancellor of the University. Written by William Wordsworth, Poet Laureate. In vocal folio. London [1847].


Presented to the Society by the Rev. F. J. Stainforth.

1045. WALOND (William), Mus. Bac. Day. In full score.

Pope's Ode on St. Cecilia's folio. London, circa 1759.

Bound with the Music performed in the Sistine Chapel in Holy Week (see No. 398); and Weldon's Divine Harmony, book 1st (see No. 515).

1046. WINTER (Peter). Timoteo, o, Gli Effetti della Musica [Die

Macht der Töne, nach Dryden].

Italian and German text.

Cantata. In full score.

folio. Leipsic [1809].




GOSTINI (Don Ludovico). See No. 1082.

1048. ALISON (Richard). An Howres Recreation in Musicke, apt for Instrumentes and Voyces;

Framed for the delight of Gentlemen and others which are wel affected to that qualitie. All for the most part with two trebles, necessarie for such as teach in priuate families, with a prayer for the long preseruation of the King and his posteritie, and a thankesgiuing for the deliuerance of the whole estate from the late conspiracie. In separate parts, bound in one volume.

quarto. London, 1606. 1049. AMOROSA CACCIA (L') de diversi excellentiss. musici Mantouani Natiui, a cinque voci. Novamente Ristampata. In separate parts, bound in one volume.

1050. ANIMUCCIA (Giovanni). See No. 1082.

quarto. Venice, 1592.

1051. ARCHADELT (Jacques). Il Primo Libro de Madrigali, a quattro voci. In separate parts (bound in one volume).

Naples, 1625 and 1628.

This collection contains, besides the compositions of Arcadelt, Madrigals by Gio. Domenico di Nola, Cipriano [di Rore], Francesco Layole, Ferabosco, and Hippolito Tartaglino.

1052. BATESON (Thomas). First Set of Madrigals. See Nos. 46

and 1081.

Second Set of Madrigals, See No. 1081.

1053. BENNETT (John). Madrigalls to Four Voyces, Newly Published by, His first Works. In separate parts (the Bassus wanting a leaf) in a case.

quarto. London, 1599.

Reprinted in score by the Musical Antiquarian Society. See No. 46. 1054. BONAFFINO (Filippo). Madrigali Concertati a [una] due, tre e quattro Voci, per cantar e sonar nel Clauecimbalo, Chitarrone, ò altro simile Instrumento. In separate parts bound together. quarto. Messina, 1623.

This work affords an early instance of the use of the natural, and, in the madrigals for one voice, of bars.

1055. BYRD (William).

"Psalmes, Sonets & songs of sadnes and pietie, made into Musicke of fiue parts: whereof some of them going abroad among diuers in vntrue coppies, are heere truely corrected, and th' other being Songs very rare and newly composed, are heere published for the recreation of all such as delight in Musicke." In separate parts, viz., Superius, Medius, Contratenor, Tenor, and Bassus.

quarto. London, n. d. [1587 or 1588].


"Psalmes, Songs, and Sonnets; some solemne, other joyfull, framed to the life of the Words: Fit for Voyces or Viols of 3, 4, 5, and 6 parts." In separate parts, viz., Cantus primus, Cantus secundus, Contratenor, Tenor, and Bassus (the Sextus being wanting). quarto. London, 1611.


1056. BYRD (William). Songs of sundrie natures, some of grauitie, and others of myrth, fit for all companies and voyces.

Lately made and composed into Musicke of 3, 4, 5, and 6 parts and published for the delight of all such as take


pleasure in the exercise of that Art." In six separate parts.

quarto. London, 1589.

1057. CARLTON (Richard), Priest, Mus. Bac. Madrigals to Fiue

Voyces. The Tenor part.

quarto. London, 1601.

1058. CLARI (Giovanni Carlo Maria). Sei Madrigali. Parte Prima. s. l. v. a. [London?]


J. S. Smith's collection of English Songs. London, 1779. Bound together in a volume.

1059. CONFORTI (Giovanni Battista). See No. 1082.

1060. CROCE CHIOZZOTTO (Giovanni). Madrigali a cinque voci. Novamente Ristampati. In separate parts, bound together. oblong quarto. Venice, 1595. 1061. CROCE CHIOZZOTTO (Giovanni). The same. Another edition. In separate parts, bound in one volume.

1062. D'ARANDA (Sessa). See No. 1082.

quarto. Venice, 1607.

1063. DUETO (Antonio). Il Terzo Libro de Madrigali a quattro

voci. In separate parts,

1064. ESTE (Michael), Mus. Bac.

apt for viols and voices.

parts, bound together.

bound in one volume.

quarto. Venice, 1594. Madrigales to 3, 4, and 5 parts: Newly composed by. In separate quarto. London, 1604.

1065. ESTE (Michael), Mus. Bac. The Second Set of Madrigales to

3, 4, and 5 parts: apt for Viols and voices. Newly composed by. In separate parts, bound together.

quarto. London, 1606. 1066. ESTE (Michael), Mus. Bac. The Third Set of Bookes. See

No. 1081.

The Fift Set of Bookes.

The Fourth Set of Bookes.

See No. 1081.

See No. 1081.

See No. 193.

The Sixt Set of Bookes.

The Seventh Set of Bookes. See No. 1497.

1067. FARMER (John). The First Set of English Madrigals to Foure Voices Newly composed by John Farmer, practitioner in


the art of Musicque. In separate parts, bound together.

quarto. London, 1599.

1068. FIORI DEL GIARDINO (Di) di diversi excellentissimi autori, Seconda Parte, à quatro, cinque & sei voci, Raccolta con molta diligenza & novamenti date in luce. In separate parts, bound together. (Wanting the Sesto and a few pages of the Quinto parts.) quarto. Nuremberg, 1604.

1069. FIORINI (Gasparo). La Nobiltà di Roma. Versi in lode di cento Gentil Donne Romane, Et la Vilanelle à tre voci.

quarto. Venice, 1573.

1070. FLORIDI VIRTUOSI D'ITALIA (De). Madrigali a cinque voci, ridotto in un corpo. In separate parts, bound together.

oblong quarto. Antwerp, 1600.

1071. FREDDI (Amadio). Il Secondo Libro de Madrigali a cinque voci. The Alto, Quinto, and Tenore parts only.

quarto. Venice, 1614.

1072. GASTOLDI (Giovanni Giacomo). Italiaense Balletten, met 5 en 6 stemmen, te zingen of speelen door Giacomo Castoldi da Caravaggio. En op nieuw verrykt met Pastorellen, Cantzonetten, Mascaraden, &c., door Horatio Vecchi gestelt, of 3 en 4 stimmen: noch by gevoeght twee vermakelyke Drinklietjes en 26 Canons met 2, 3, 4, 5, 6 stemmen van d'alder-treffelyckste Zangh-meesters (gestelt) in veelerley taelen. Dienstigh voor alle Zangh en Speel-lievers. In 5 separate parts, in a case. oblong quarto. Amsterdam, 1648.

The ballets were originally printed at Venice in 1591, under the title of "Balleti a 5, co i Versi per cantare, sonare, e ballare; con una Mascherata di Cacciatori à 6, e un Concerto de Pastori à 8 di Giovanni Giacomo Gastoldi." They were reprinted at Venice in 1595 and 1607, and at Antwerp in 1596, 1605 and 1637. The present edition appears to have been unknown to M. Fetis, when he wrote the article on Gastoldi in his "Biographie Universelle de Musiciens," in which he

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