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2011. FRESCOBALDI (Girolomo). Letter in Italian, dated Rome, 1 October, 1609, apparently to one of his patrons, complaining of some calumnious reports circulated respecting his conduct towards a pupil, and expressing his determination to prove their falsehood.

2012. GIBBONS (Orlando). Signature to a receipt dated 24th February, 1617, for £10, a quarter's pension due to him as one of his Highness's musicians at the preceding Christmas. A piece has been torn out of the side of this document, by which the whole of the surname except the initial has become lost.

2013. GRETRY (André). Letter in French, dated "a l'Hermitage, J. J. Rousseau, 10 Juin, 1811," to M. Henkart, Juge de Tribunal, à Liège, expressing his gratification on hearing of a fête given in his honour.

2014 HANDEL (George Frederic). Letter in French, dated London, 27 October, 1730, to Francis Colman, British Envoy at Florence, thanking him for his assistance in negotiating an engagement with Senesino, the singer, for the Opera House in the Haymarket, then under the management of Handel and Heidegger.

2015. HORN (Charles Edward). Note, dated October 29th, 1845, to Edward Taylor, presenting to him a glee and a cantata of the writer's composition.

Presented to the Society by the Rev. J. E. Cox, D.D.

2016. HUMMEL (Johann Nepomuk). Letter in German, dated Vienna, 11 September, 1799, to Johann André, of Offenbach, the music publisher, respecting the publication of a newly composed cantata by Hummel, entitled "Die Siegesfeyer."

2017. LULLY (Jean Baptiste). Signature to a receipt, dated 16th January, 1697, for 600 livres on account of his salary as court musician, &c.

2018. MENDELSSOHN BARTHOLDY (Felix). Letter in German, dated Leipsic, 21 November, 1839, addressed to Herr Tretbar of Brunswick, relative to the appearance of the latter at the Leipsic concerts.

2019. MENDELSSOHN BARTHOLDY (Felix). Letter in German, dated Berlin, 5 May, 1840, to Schlesinger, the music publisher of Vienna, acknowledging the receipt of a parcel of music. 2020. MENDELSSOHN BARTHOLDY (Felix). Letter in English, dated Leipsic, 11 May, 1846, addressed to William Bartholomew. Expresses many thanks for Mr. Bartholomew's letter of the

4th, and hastens to tell him that the oratorio for the Birming-
ham Festival is not the Athalia (nor the Edipus, of course)
but a much greater and (to him) more important work than
both together; that it is not yet quite finished, but that he
writes continually to finish it in time; and that he intends
sending over the first part (the longest of the two it will
have) in the course of the next ten or twelve days. He asked
Mr. Moore from Birmingham to have it translated by Mr.
Bartholomew, and he has no doubt he [Moore] will com-
municate with Mr. Bartholomew about it as soon as he gets
his [Mendelssohn's] letter which he wrote four or five days
ago; and he begs Mr. Bartholomew will be good enough,
if he can undertake it, to try to find some leisure time
towards the end of this month, that the choral parts with
English words may be as soon as possible in the hands of
the chorus singers. Prays him to give it his best English
words, for till then he feels so much more interest in this
work than for his others, and he only wishes it may so last
with him.

The oratorio mentioned in this letter is Elijah.
Presented to the Society by Mrs. Bartholomew.


Letter in English, dated Leipsic, 7th October, 1846, addressed to Thomas Brewer, Honorary Secretary to the Sacred Harmonic Society. Expresses his best thanks for the letter, dated Sept. 24th, and it gives him much pleasure that the Sacred Harmonic Society will undertake the first performance of his Elijah before a London audience. Thanks the Committee most sincerely for their flattering intention, and, of course, should be most happy to conduct the work himself on such an occasion, if he could come to London in April next. Hopes and trusts he may have that pleasure, and that nothing may prevent him from doing so. But he is still doubtful, and cannot give a positive promise as far as regards his coming over; and as for the parts which you wish to have as soon as possible, he shall speak to the Editor of them, Mr. Buxton, who, he hears, is expected shortly in Leipsic, and will ask him to let you have them as soon as they can be ready.

The letter is accompanied by a transcript of the letter of Mr. Brewer mentioned in it.

2022. MEYERBEER (Giacomo). Letter in German, dated “Monday Evening," to Herr Goderth, respecting the adjustment of the words to a passage in one of the writer's compositions. 2023. NOVELLO (Vincent). Three letters to George Gwilt, one dated July 6, 48, appointing to call on and dine with him; another dated Augt. 13, 48, relative to some anthems by Dr. Boyce furnished to Novello for his edition of those compositions; and the third dated Sept'. 2, 48, accompanying some books, and on other subjects.

2024. PAER (Ferdinand). Letter in French, dated Paris, 16th December, 1824, to M. le Vicomte . . . . . . expressing (at the Viscount's request) his opinion of the merits of Madlle. Schaurot, a pianiste, and asking that he might be allowed to receive the proceeds of the first performance every year of a new opera which he had composed for the Theatre Italien.

2025. PAER (Ferdinand). A paper in French, undated and unsigned, setting forth his motives for desiring that his opera, Agnese, might not be reproduced at the time of writing, [in Paris?]. 2026. PISTRUCCI (Filippo). Sonnet, in Italian, dated 15th June, 1838, addressed to Edward Taylor, Professor of Music in Gresham College, on his public delivery on 12th, 13th and 14th June, 1838, of lectures on the Vocal Harmony of the Italian School in the 16th century.

Presented to the Society by the Rev. J. E. Cox, D.D.

2027. PLAYFORD (Henry). Letter, dated “Temple Change, June 4, 1703," to his cousin [Mr. Lewis?] requesting the loan of £10.

2028, PLAYFORD (Henry). Letter, dated "Temple Change, July 21, 1703," to his cousin, Mr. Lewis, requesting payment of £5, balance of £10, the price of a picture.

2029. PLAYFORD (John). Certificate, as Clerk of the Temple Church, of the burial there, on 28th June, 1683, of Sir Edmond Sanders, Knight, Lord Chief Justice of the Court of King's Bench.

2030. ROSSINI (Gioachino). Letter, in Italian, dated Paris, 6th November, 1856, to Sir Michael Costa, thanking him for a present of a Stilton cheese, and complimenting him on his success as an oratorio composer [in reference to Eli, produced at Birmingham Musical Festival in 1855, and in London by the Sacred Harmonic Society in 1856.]

Presented to the Society by Sir M. Costa.

2031. SPOHR (Louis).

Letter, in German, dated Cassel, 12th May, 1844, to J. A. Stumpff of London, expressing an unfavourable opinion of a violin fitted with some novel contrivances of Stumpff's invention, which had been sent to him for trial. 2032. SPONTINI (Gasparo). Letter, in French, dated Paris, 12th April, 1843, to the Committee of an Association, respecting the performance of some pieces from his opera, La Vestale, at a festival to be given by the Association.

2033. STREET (William F.) Letter, dated 9th November, 1837, to Edward Taylor, Professor of Music in Gresham College, with some particulars respecting Dr. John Bull and Richard John Samuel Stevens, former Professors of Music in the College.

Presented to the Society by the Rev. J. E. Cox, D.D.

2034. TAYLOR (Richard). Letter, dated Nov. 15th, 1837, to his brother, Edward Taylor, with information concerning Richard John Samuel Stevens as Organist of the Charter House.

Presented to the Society by the Rev. J. E. Cox, D.D.

2035. WEBER (Carl Maria Von), Draft of a letter, in German, dated 30 Sept., 1820, to the members of some Royal Chapel [at Copenhagen ?], soliciting their co-operation at a concert he intended giving.

2036. ZINGARELLI (Nicolo).

Letter, in Italian, dated Naples, 9 November, 1829, to Sir Michael Costa, inquiring as to the success of the cantata written by Zingarelli for, and produced at, the Birmingham Musical Festival in the preceding October, and in charge of which Sir M. Costa came to England.

Presented to the Society by Sir M. Costa.

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IJGUINO (Illuminato). Il Tesoro Illuminato di tutti i
Tuono di Canto figurato.

Portrait. quarto.

Venice, 1581.

2038. ALBRECHTSBERGER (John George). Methods of Harmony, Figured Bass, and Composition, adapted for Self Instruction. Translated from the German edition of Seyfried, with the Remarks of M. Choron translated from the Paris edition, by Arnold Merrick. Portrait of the Author. 2 vols., octavo.


2039. ALFIERI (Pietro). Saggio Storico Teorico Pratico del Canto Gregoriano o Romano per istruzione de gli ecclesiastici.

quarto. Rome, 1835.

Presented to the Society by Mr. J. A. Novello.

2040. ALGAROTTI (Il Conte). Saggio sopra l'opera in musica.

small octavo. Leghorn, 1763.

2041. ALGAROTTI (Count). An Essay on the Opera.

small octavo. London, 1767.

Presented to the Society by Mr. A. Durlacher.

2042. ALSTEDIUS (Johannes Henricus), Templum Musicum; or, The Musical Synopsis of the learned and famous Johannes

Henricus Alstedius, being a Compendium of the Rudiments

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