1786. PSALM (The), "Confitebor Tibi," for 5 voices with instruments; without composer's name. In separate parts. quarto. 1787. PURCELL (Henry). Fourteen Anthems with instrumental accompaniments (a portion in the composer's autograph). In full score. My heart is fixed, O God. Praise the Lord, O my soul, and all that is within me. I will give thanks unto the Lord. I was glad. Behold now, praise the Lord. It is a good thing. large folio. O praise God in His holiness. trust. The Lord is my light. Rejoice in the Lord always. Why do the heathen. My heart is inditing. Behold, I bring you glad tidings. Presented to the Society by Mr. Richard Clark. 1788. PURCELL (Henry). Hymns, Anthems and Latin Psalms, in the handwriting of Thomas Warren. In score. oblong quarto. "Plung'd in the confines of despair." "Lord, not to us." Hymn, 3 voices. Hymn, 3 voices. "Hear me, O Lord, the great support." Hymn, 3 voices. "When on my sick bed I languish." Hymn, voices. (Not included in Novello's "Purcell's Sacred Music," and believed to be unpublished.) "Since God so tender a regard." Hymn, 3 voices. Hymn, 4 voices. "Ah! few and full of sorrows." Hymn, 4 voices. "O all ye people, clap your hands." Hymn, 4 voices. Anthem, 4 voices. (The first Hymn, 4 voices. Latin Psalm, 4 voices. Latin Psalm, 5 voices. "Turn Thee again, O Lord God of Hosts." Anthem, 4 voices. composer, whose name is not given.) "Turn Thou us, O good Lord." Anthem, voices. 1789. PURCELL (Henry). Hymns, Anthems, &c. In score. The greater part in the handwriting of Dr. Philip Hayes, being VOLUME I. Hymn, 4 voices. "Since God so tender a regard." Hymn, 3 voices. Hymn, 3 voices. Anthem, 4 voices. (The first "Full of wrath his threat'ning breath." Air. "Plung'd in the confines of despair." Hymn, 3 voices. "Oh, I am sick of life." Hymn, 3 voices, "Lord, I can suffer Thy rebuke." Hymn, 4 voices. This piece is incomplete, and was probably so left by the composer. The copy printed by Mr. Novello and that in the last described MS. contain no other evidence of incompleteness than the termination being out of the key; but the present copy affords additional proof, the measure changing on the last bar, and some of the words of an intended following movement being written. "O happy man!" Hymn, 4 voices. "Crucior in hac flammâ." Hymn for 2 voices. "Laudate Ceciliam." Ode for 3 voices with instruments, for St. Cecilia's day, 1683. "Beati omnes qui timent Dominum." Psalm, 4 voices. "Gloria Patri, et Filio, &c." 4 voices. "Jehova, quam multi sunt hostes." Psalm, 5 voices. * A Fragment of a composition consisting of a symphony and part of a chorus, "We reap all the pleasures.' "In a deep vision's intellectual scene.' Cantata, 2 voices and chorus. "O that my grief were throughly weighed !" I was glad. Anthems. VOLUME II. O Lord, Thou art my God. O Lord, our governor. 1790. ROLLE (Johann Heinrich). Anthem, 3 voices. Save me, O God. The way of God is an undefiled way. Who hath believed our report? A Mass (Kyrie and Gloria) for 4 voices with instruments. In full score. small folio. Presented to the Society by the Rev. F. J. Stainforth. 1791. SACCHINI (Antonio). A Mass (Kyrie and Gloria) for two choirs with instruments. In full score. 1792. SALVATORE (Giovanni). Responses for the score. folio. Holy Week. In oblong quarto. 1793. SERVICE BOOK (A Latin), written on vellum, about the 15th century, containing Masses, Hymns, Antiphons, Lessons, &c. folio. Bound in oak boards, covered with rough leather, with brass studs and corners. 1794. STEFFANI (Agostino). Twelve Motetts, for three voices. In score. Reginam nostram. Sonitus armorum. Floris agri. Tandem adest. large folio. Venite exultemus. Surge propera. Elevamini in voce tubæ. 1795. STEFFANI (Agostino). "XII Motteta par celeberrimum Ab batem Stephanum." Identical with those contained in the preceding volume. In score. Presented to the Society by Miss Emily Gregg. 4to. 1796. STEFFANI (Agostino). Two Motetts ("Cingete floribus" and "Videte, gentes"), for three voices with instrumental ac- Scores of these motetts, without the accompaniments, are contained in the two last described volumes. 1797. STEFFANI (Agostino). voices. In score. "Qui diligit Mariam," Motett for five oblong quarto. There is another copy in the MS., No. 1921. 1798. TOUCHEMOLIN (Joseph). A Mass for 4 voices with instruments. In full score, in the autograph of Vincent Novello. oblong quarto. Presented to the Society by Mr. J. A. Novello. 1799. TRITTO (Giacomo). A Mass (Kyrie and Gloria) for four voices with instruments. In full score. oblong quarto. 66 1800. TUDWAY (Thomas), Mus. Doc. Thou, O Lord, hast heard our desire," an Anthem, sung to the Queen, in King's 99.66 College Chappell [Cambridge], on the occasion of her Majesty's presence there, Aprill the 16th, 1705." In score, in the composer's autograph. quarto. 1801. URIO (Francesco Antonio). The Hymn, "Te Deum laudamus," for voices and instruments. In full score. quarto. Handel has borrowed largely from this composition subjects and passages for his Dettingen Te Deum, Saul, and other pieces. See a printed score, No. 501. In 1802. VOGLER (Abate). A Mass for four voices, and Motett, "Beatam me dicent," for five voices, with instruments. full score. folio. 1803. WESLEY (Samuel). "Deus majestatis," Motett for a double choir, with orchestral accompaniments. In full score. Presented to the Society by Mr. J. A. Novello. 1805. WINTER (Peter). Stabat Mater, for four voices, with accompaniments. In full score. oblong quarto. 1806. WINTER (Peter). The same, in separate parts for the 4 principal voices; 6 soprano, 2 alto, 3 tenor, and 2 bass, chorus; 3 sets of stringed, and one set of wind, instruments. quarto. ORATORIOS. 1807. RNE (Thomas Augustine), Mus. Doc. Judith, an oratorio, by Isaac Bickerstaff. In full score. 3 vols. quarto. 1808. ATTERBURY (Luffman). Goliah; an oratorio, in 3 vols. oblong folio. full score. 1773. 1809. Bisso (Matteo). "La Vittoria di Davidde nella Sconfitta di Golia," an oratorio. In full score. oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. 66 1810. BISSO (Matteo). Salomone, Rè d'Israele," an oratorio. In full score. oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. full score. 1811. BIZZARRI (Pietro). "Isacco," an oratorio by Metastasio. In Imperfect. oblong quarto. 1812. BOYCE (William), Mus. Doc. David's Lamentation over Saul and Jonathan, an oratorio by John Lockman. In full score, partly in the composer's autograph. oblong quarto. 1813. BOYCE (William), Mus. Doc. "Thou soft invader," Duet, and "Proclaim it then thro' all the East," Chorus, for the Serenata, "Solomon ; differing from those contained in the printed score of the work. See No. 544. In full score. folio. 1814. BUONONCINI (Giovanni). S. Niccola di Bari, an oratorio, in 2 vols. oblong quarto. full score. 66 1815. CAMPELLI (Carlo). Justitia et Pax osculatæ sunt," an oratorio, in full score. oblong quarto. 1699. 1816. CARISSIMI (Giacomo). "Dialogus Jepthæ," and "Salomonis Judicium," oratorios; and "O vulnera doloris," "Amante che dite," and "Sicut erat," motetts. CANE (Carlo Francisco). score. "Regina Cœli," motett. In quarto. Presented to the Society by the Rev. F. J. Stainforth. 1817. CARISSIMI (Giacomo). Daniele, an oratorio, in full score. oblong quarto. 1818. FELICI (Bartolomeo). "La Notte Prodigiosa," Oratorio per la oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. 1819. GUGLIELMI (Pietro Carlo). "La Distruzione di Gerusalemme," an oratorio. In full score. 2 vols. oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. 1820. GUGLIELMI (Pietro Carlo). "Gionata Maccabeo,” an oratorio. In full score. 2 vols. oblong quarto. The Libretto, small quarto, and separate parts to some portions of the oratorio. Presented to the Society by the Rev. F. J. Stainforth. quarto. 1821. HASSE (Giovanni Adolfo). "I Pellegrini al Sepolcro di Nostro Signore," an oratorio. In full score. oblong folio. 1822. JOMELLI (Nicolo). “La Passione di Gesụ Cristo,” an oratorio by Metastasio. In full score. quarto. 1823. JOMELLI (Nicolo). "Betulia Liberata," an oratorio, altered from Metastasio; and Te Deum, for four voices with instruments. In full score. oblong quarto. Presented to the Society by the Rev. F. J. Stainforth. 1824. JOMELLI (Nicolo). "Abramo ed Isacco," an oratorio by Metastasio (originally entitled "Isacco Figura del Redentore "), with two additional songs. In full score. oblong folio. Venice. 1825. LANCIANI (Carlo Flavio). "Il Martirio di S. Eustachio," an oratorio, in full score. oblong quarto. This volume formerly belonged to Cardinal Ottoboni, whose insignia are stamped on the covers. Presented to the Society by the Rev. F. J. Stainforth. 1826. MENDELSSOHN BARTHOLDY (Felix). Elijah, an oratorio. In vocal score. The greater part in the autograph of the com poser. quarto. This copy was transmitted by the composer to the late Mr. William Bartholomew for the purpose of his adapting English words to the oratorio. The version is the revised one made by the composer after the first production of the oratorio at Birmingham in August, 1846, although in some cases (amongst others the scene between Elijah and the Widow) both versions are given. Of the choruses, except in a very few instances, there is only an arrangement of the accompaniments for pianoforte, the voice parts being left blank. This, doubtless, was owing to the fact of but little alteration having been made in the choruses. Such changes as were made (notably, that in the Recitative Chorus, "The deeps afford no water"), are very carefully noted. The air "O rest in the Lord," and some less important portions are wanting. Presented to the Society by Mrs. Bartholomew. |