1597. WEISS (C.) Six Trios for a German Flute, Violin, and Bass. Op. II. In separate parts. folio. London. 1598. WESLEY (Samuel Sebastian), Mus. Doc. Three Pieces, for a Chamber Organ; composed for Lady Acland. folio. London. 1599. WISEMAN (Carlo). Six Solos for a German Flute or Violin, with a Thorough Bass for the Harpsichord or Violoncello. folio. London. AMSON, an oratorio, as altered and adapted by Edward lege, for performance at Norwich Musical 2 vols. folio. 1842. Presented to the Society by the Rev. J. E. Cox, D.D. 1601. SAMSON, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accompaniments composed expressly for the Society by Sir M. Costa. In full score. The additions are distinguished from the original text by being written in red ink. large folio. Presented to the Society by Sir Michael Costa. 1851. 1602. DEBORAH, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accompaniments composed expressly for the Society by Sir M. Costa. In full score. The additions are distinguished from the original text by red ink. large folio. 1855. Presented to the Society by Sir Michael Costa. 1603. JUDAS MACCABEUS, an oratorio. In full score. This copy differs in several respects from the printed scores. 1604. JUDAS MACCABEUS, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accom paniments composed expressly for the Society by Sir M. 1605. ISRAEL IN EGYPT, an oratorio; with additional accompaniments composed expressly for the Sacred Harmonic Society by Sir M. Costa. In full score, the additions in Sir M. Costa's large oblong folio. 1859. Presented to the Society by Sir Michael Costa. 1606. SOLOMON, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accompaniments composed expressly for the Society by Sir M. Costa. In full score, the additions in Sir M. Costa's autograph. large oblong folio. 1869. Presented to the Society by Sir Michael Costa. 1607. ESTHER, an oratorio. In full score, in the autograph of John Christopher Smith. large folio. [1757?]. One of the latest of the numerous versions of this oratorio made by its composer. The pieces included in it and their order of succession are, with the exception of a recitative and air, which are wanting in the present copy, identical with those of a book of words published in 1757. Presented to the Society by Mr. Charles J. Hargitt. 1608. OMNIPOTENCE, an oratorio; the music selected from the works of G. F. Handel [chiefly the Chandos Anthems], by Samuel Arnold, Mus. Doc. Autograph of Dr. Arnold in the first volume. In full score. 3 vols. quarto. Presented to the Society by Mr. Joseph Hart. 1609. THE DETTINGEN TE DEUM, with additional accompaniments composed expressly for the Sacred Harmonic Society by Sir M. Costa. In full score, the additions being in Sir M. Costa's autograph. large oblong folio. 1859. Presented to the Society by Sir Michael Costa. 1610. “O COME, LET US SING," anthem, composed for the chapel of James, Duke of Chandos. In full score. oblong quarto. 1611. “I WILL MAGNIFY THEE, O GOD," anthem, composed for the Duke of Chandos. In full score. oblong quarto. 1612. “I WILL MAGNIFY THEE, O GOD," anthem, composed for the Duke of Chandos. In full score. folio. This copy (which was presented to the Society by Mr. Vincent Novello) does not contain the Treble solo, "The Lord is righteous," or the Tenor solo, "Happy are the people," which in the other scores precede the last chorus. 1613. "LET GOD ARISE," anthem (in the key of B flat), composed for the Duke of Chandos. In full score. oblong quarto. 1614. THE FOUR ANTHEMS composed for the Coronation of King George the Second, in 1727. In full score. Presented to the Society by John Lucius Dampier, Esq. folio. 1615. “Blessed ARE THEY," an anthem. In full score. oblong quarto. This copy is incomplete, several movements being wanting, and blank pages left for their insertion. 1616. THE FIFTIETH PSALM, "Dixit Dominus," in Latin. In full oblong quarto. score. 1617. THE ONE HUNDRED AND THIRTEENTH PSALM, "Laudate Pueri," in Latin. In full score. oblong quarto. 1618. THE FIFTIETH PSALM," Dixit Dominus;" the One Hundred and Thirteenth Psalm, "Laudate Pueri ;" and the One Hundred and Twenty-seventh Psalm, "Nisi Dominus," in Latin. full score. In oblong quarto. Presented to the Society by Mr. J. A. Novello. 1619. THE HYMN "MAGNIFICAT,” in Latin. In full score. oblong quarto. This composition is described in the present copy as "del Revdo. Sr. Erba," which has led some persons to conclude that it is not the work of Handel; but there is a score in Handel's handwriting amongst his manuscripts in the Queen's possession, and it is believed that he composed the piece at Rome, about the year 1709. 1620. A PARAPHRASE OF THE FORTY-FIFTH PSALM, adapted to the music of the Ode for Queen Anne's Birth-day, 1713. In full score. Presented to the Society by Mr. J. A. Novello. quarto. 1621. ACIS AND GALATEA, a serenata; with additional accompaniments composed for the Birmingham Musical Festival by Sir M. Costa. In full score, the additions being in Sir M. Costa's autograph. oblong folio. Presented to the Society by Sir Michael Costa. 1858. 1622. IL CONVITO D'ALESSANDRO. An adaptation of "Alexander's Feast" to Italian words. In full score. oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. 1623. L'ALLEGRO, IL PENSIEROSO ED IL MODERATO. In full score. (The title-page and the greater part of the songs supplied from the printed copy of the Songs published by Walsh.) quarto. folio. 66 1624. RINALDO," an opera, by Rossi. In full score. 66 This MS. (which is a transcript of J. C. Smith's copy of the original score) contains the recitatives and symphonies, as well as those portions of the instrumental score which are omitted in the printed copy. The solos for the Harpsichord, in the symphonies to the song Vo far guerra e vincer," which are contained in the second printed edition, are not given in this copy, the places where they occur being (as in the first printed edition) left blank, with the word "Cembalo" written over. It was, doubtless, Handel's practice to play these solos at the performance extemporaneously. Presented to the Society by the Rev. F. J. Stain forth. 1625. "IL PASTOR FIDO," an opera. In full score. folio. This is also a transcript from Smith's copy of the original, containing the recitatives, &c., but wanting the three airs "Torni pure,' "" Accorrete, O voi pastori," and "Sciolga dunque," which are given in the printed copy of the favourite songs in this opera (see No. 8), and which are also to be found in the volume of MS. Music described under No. 1635. Presented to the Society by the Rev. F. J. Stainforth. In full score. 1626. "AMADIGE" (Songs in), an opera. quarto. 1627. "RADAMISTO," an opera, by Nicolo Haym. In full score. quarto. This copy contains some pieces not included in the printed score or the Arie aggiunte, and the instrumental score is often fuller than in those publications. Extracts from Dr. Burney's "History of Music," relating to the opera, are written within the cover and on the fly-leaf. 1628. "PTOLOMEO, Rè d'Egitto" (Ptolomy), an opera. In full score. quarto. This copy differs in some respects from the printed score. Within the cover, and on the fly-leaf, is written an extract from Dr. Burney's History of Music," relating to this opera. 1629. THIRTEEN ITALIAN DUETTS (usually called "The Chamber Duetts"), and Two Italian Trios. 1630. FORTY-EIght Cantatas, for a single voice, viz. oblong quarto. *Sento la che ristretto [Another copy in Vol. IV., a 4th Nice, che fa? VOL. III. Lungi, lungi, n'ando Fileno. Del bel idolo mio. O Lucentio. *Quando sperasti. *Printed in Arnold's edition of Handel's Works. BB |