Presented to the Society by the Rev. F. J. Stainforth. D'Eve. 1745. MOTETTS, &c. A collection of Single Movements or Verses, from Ecclesiastical compositions by various composers, arranged for one and two voices. 3 vols., viz. 1 vol. large folio, containing the voice parts and figured basses, and 2 vols. quarto, containing the first and second Violin parts. Presented to the Society by the Rev. F. J. Stainforth. do. do. do. Fourteen Songs for two voices composed by George Jefferies, organist to Charles I. and Steward to Lord Hatton of Kirbie, Northamptonshire. Transcribed from Dean Aldrich's collection at Christ Church, Oxford, (viz.): 1747. MOTETTS, &c. Cantus diversi pro Dominicis et Festis anni. Asperges me, Vidi aquam, Kyrie, Gloria, Credo, Sanctus, Agnus, Ita missa est, Benedicamus Domino, cum Antiphonis ad elevationem. Cui accesserunt Officium et Missa pro Defunctis, Antiphona, Exurge, ante Litanias Rogationū. Joannes Franciscus Wade, Scriptor. folio. 1749. Presented to the Society by Mr. J. A. Novello. 1748. MOTETT, "Domine ad adjuvandum," for 4 voices with instruments; without composer's name. In full score. oblong quarto. 1749. MOTETTS (Three), without composers' names, viz. "Lauda Jerusalem," for soprano solo with instruments; "Exultate fideles," for 3 voices and organ; and "Dum pretio retur (?) Michael" for 3 voices and organ. In full score. oblong quarto. 1750. MOTETTS (Six), for a soprano solo with organ; without com poser's name. In score. O quam pulchra es. oblong quarto. Cum audisset Gideon. 1751. MOTETTS, Fantasies, &c., of two and three parts, by Richard Dering, Dr. Benjamin Rogers, Sandly and Readre. The words of the greater portion are translations of Latin Hymns. Three volumes, containing various odd parts. The crest and motto of the Princes of Wales between the initials R. B. are stamped on the covers. oblong quarto. 1752. MOTETT, "Ad stabat coram sacri altari," a motett, or dialogue for three voices, 2 violins, bass and organ; without composer's name. In separate parts. small quarto. 1753. MOTETT, "Misericordias Domini," for 2 voices and organ; without composer's name. In separate parts. quarto. 1754. MOTETT, "O cœli devota," for canto solo, violin and bass; without composer's name. In separate parts. small quarto. 1755. MOTETT, "Regina cœli," for two voices and organ; without composer's name. In separate parts. small quarto. 1756. MOTETT, "Ad gaudia mortales," for 3 voices with instruments; without composer's name. In separate parts. quarto. For other Motetts by various composers, see Nos. 1937, 1938, 1940 to 1945. 1757. MOZART (Wolfgang Amadeus). The Hymn, "Ave, verum Corpus." In full score. Two copies. oblong quarto. 1758. MOZART (Wolfgang Amadeus). Vespero intera [Psalmi, "Dixit Dominus, Beatus Vir, Laudate Pueri, et Laudate Dominum;" et Hymnus, "Magnificat "] a 4 voci, con 2 violini, 2 clarini, timpani, fagotti, e violoncello. In full score. oblong quarto. Presented to the Society by Mr. J. A. Novello. 1759. NEGRI (Domenico Francesco?). Gloria in excelsis, for 4 voices, with instruments. In full score. Presented to the Society by the Rev. F. J. Stain forth. quarto. 1760. PALESTRINA (Giovanni Pier Luigi). A Mass for five voices ("Repleatur os meum laude "). 1761. PALESTRINA (Giovanni Pier Luigi). In score. small folio. voices ("Regina cœli "). In score. A Mass for four and five oblong quarto. 1762. PALESTRINA (Giovanni Pier Luigi). A Mass for four and five voices ("In illo tempore "). In score. oblong quarto. 1763. PALESTRINA (Giovanni Pier Luigi). A Mass for four and five voices ("O Rex gloriæ "). In score. oblong quarto. 1764. PALESTRINA (Giovanni Pier Luigi). A Mass for four and five voices ("Ave Regina cœlorum"). In score. oblong quarto. 1765. PALESTRINA (Giovanni Pier Luigi). Motetts, for five voices. The first nine of these are scored from the "Offertoria totius Anni," by Palestrina, printed at Rome in 1593. (See Nos. 55 and 352.) Duplicates of the first seven are contained in the MS. No. 1942. duplicate of the sixth is also to be found in MS. No. 1941. 1766. PALESTRINA (Giovanni Pier Luigi). for 5 voices. In score. A "Senex Puerum,” Motett quarto. 1767. PALESTRINA (Giovanni Pier Luigi). "Tempus est ut revertar," Motett for 5 voices. In score. quarto. 1768. PALESTRINA (Giovanni Pier Luigi). Motetts, &c. In score. 1769. PALESTRINA (Giovanni Pier Luigi). Motetts. In score. quarto. For Five Voices. Ascendo ad Patrem Meum. Ego rogabo Patrem. Canite tuba in Syon. Rorate cœli. Corona aurea. Domine prævenisti. O admirabile commercium. Stella quem viderunt Magi. Misit me vivens Pater. For Four Voices. Dies Sanctificatus. Lapidabunt Stephanum. Tribus miraculis. Gaudent in cælis. Hodie Beata Virgo. Isti sunt viri, ** The Motetts for four voices are scored from the Motecta Festorum totius Anni. See No. 395. 1770. PALESTRINA (Giovanni Pier Luigi). The Psalm "Dixit Dominus," composed for six voices. In score. oblong quarto. 1771. PALESTRINA (Giovanni Pier Luigi). The Psalm "Miserere mei, Deus," for 2 choirs. In separate parts. quarto. 1772. PEREZ (David). A Mass (Kyrie, Gloria, and Credo) for 5 voices quarto. 1773. PERGOLESI (Giovanni Battista). Stabat Mater, for two voices, with instruments. In full score. with accompaniments. In full score. Presented to the Society by Mr. James Taylor. quarto. E E 1774. PERGOLESI (Giovanni Battista). Stabat Mater, for two voices, with accompaniments; and Salve Regina, for soprano solo, with accompaniments. In full score. oblong quarto. Presented to the Society by Mr. Vincent Novello. 1775. PERGOLESI (Giovanni Battista). Gloria in excelsis (in the key of G), for 5 voices with instruments. In full score. quarto. 1776. PERGOLESI (Giovanni Battista). The Psalm "Miserere mei, Deus," composed for four voices, with instrumental accompaniments. In full score. oblong quarto. A different composition from the printed one, numbered 415. 1777. PERGOLESI (Giovanni Battista). The Psalm "Confitebor Tibi, Domine," composed for five voices with orchestral accom paniments. In full score. oblong quarto. Presented to the Society by Mr. William Henry Husk. This Psalm contains the solo for an alto voice, to the words "Sanctum et terribile," which is so well known in England as a bass song to the words, "O Lord, have mercy upon me." 1778. PERGOLESI (Giovanni Battista). The Hymn "Salve Regina," for a soprano voice, with orchestral accompaniments. In full score. 1779. PERTI (Giacomo Antonio). quarto. "Gaudeamus omnes in Domino," motett for a double choir, with orchestral accompaniments. 1781. PSALMS, Litanies, &c. for voices and instruments. In full score. 1782. PSALM (The) "Nisi Dominus," for 4 voices; without composer's name. In score. quarto. 1783. PSALM (The 51st), "Miserere mei, Deus," for 8 voices with instruments, without composer's name. In separate parts (the voice parts and 4 violins and viola only, the others wanting). 1784. PSALM (The 51st), "Miserere mei, Deus," for 4 voices; without composer's name. In score. quarto. folio. 1785. PSALM (The), “ Dixit Dominus," for 10 voices with instruments; without composer's name. In separate parts. small quarto. |