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708. HULL (D.) The Sabbath; containing various Songs, Chants, Hymns, &c. In vocal score. folio. London.
Presented to the Society by Mr. Charles Wilson.
709. KLEIN (Bernard). Fünf Geistliche Gesange für eine sopranstimme, mit begleitung des pianoforte. oblong folio. Leipsic. Selection of Sacred Music from
710. LATROBE (Christian Ignatius).
the works of the most eminent composers of Germany and 6 vols. folio. London, 1806-18.
Italy. In vocal score.
711. LATROBE (C. I.) Dies Iræ; an ancient Hymn on the Last Judgment, translated from the Latin by the Earl of Ros
In vocal score.
712. LATROBE (C. I.) Dies Iræ.
folio. London, 1799. Another edition. In vocal score. folio. London, 1813.
The Dawn of Glory: a Hymn on the Bliss of the Redeemed at the Last Day. In vocal score.
folio. London, 1803. Anthem for the Celebration of the Jubilee, or commencement of the 50th year of the Reign of King George III. In vocal score. London, 1809.
Six Airs, the words on serious subjects. folio. London. 713. LEIGHTON (Sir William). The Teares or Lamentacions of a Sorrowful Soule; composed with Musicall Ayres and Songs both for Voyces and divers Instruments. Set foorth by Sir William Leighton, Knight, one of his Majesties Honourable Band of Gentlemen Pensioners. And all Psalmes that consist of so many feete as the fiftieth Psalme, will goe to the foure partes for Consort." folio. London, 1614.
The composers who contributed to this work were William Byrd, Dr. John Bull, John Milton, John Dowland, John Ward, John Coperario, Orlando Gibbons, Thomas Lupo, Robert Jones, John Wilbye, Timolphus Thopul, Edmund Hooper, Thomas Forde, Francis Pilkington, Robert Johnson, Nathaniel Giles, Robert Kendersley, Martin Pearson, Alfonso Ferabosco, and Thomas Weelkes. Some of the compositions have parts for the lute, &c. in tableture.
714. LENNARD (Mrs. Barrett). Sacred Melodies, composed by.
folio. London. 715. MALAN (Dr. Cesar). Musique de Chants de Sion; recueil de Cantiques, d'Hymnes, de Louanges, et d'Actions de Grâces. Composes et mis en musique par.
quarto. Paris, 1843.
Presented to the Society by Mr. A. Durlacher.
716. MALAN (Dr. Cesar). Cantiques Chrétiens, 3me Recueil. In
717. NEUKOMM (The Chevalier Sigismond). Sacred Songs and
Cantatas. In vocal score.
Bound in one volume.
David's Lament for Absalom.
When my father and my mother.
718. PALESTRINA (Giovanni Pierluigi).
Praise ye the Lord.
As the hart panteth.
I cried unto the Lord.
Madrigali Spirituali a cinque voci. Libro Secondo. In separate parts, the alto part in MS. quarto. Rome, 1594. 719. PORTER (Walter). "Mottets of Two Voyces for Treble or Tenor and Bass with the Continued Bass or Score. To be performed to an Organ, Harpsycon, Lute or Bass-Viol. Published by Walter Porter, who was one of the Gentlemen of the Royal Chappel of the late King, and Master of the Choristers at Westminster." In separate parts, bound in one volume. small folio. London, 1657. 720. PRESEPI (Presepio). Sacri Trattenimenti di canto e suono, sopra i Misteri della S. Infanzia di Gesu Bambino. In questa quarta impressione di Canzonette e Arie nuove dall' Autore accresciuti per consolatione de Divoti nel tempo del Sacro
721. RIMBAULT (Edward Francis), LL.D.
octavo. Florence, 1722.
A Collection of Old
which they are sung,
quarto. London, n. d.
Christmas Carols, with the tunes to
722. RODWELL (George Herbert). Songs of the Sabbath Eve, composed by. In vocal score.
Presented to the Society by Mr. James Taylor.
723. RONER (Andrew). Melopeia Sacra, or a Collection of Psalms and Hymns by Mr. Addison and Sir John Denham, &c., set to Musick in a new Method. Two vols. in one; and separate Violino Primo and Violoncello parts.
Together, 3 vols.
724. ROSSINI (Gioachino). La Foi, L'Esperance, La Charité, trois chœurs réligieux, à trois voix de femmes, avec accompagnement de piano.
725. SABOLY (Nicolas). Recueil des Noels, composés en Langue Provençale par. Nouvelle edition, avec les Airs notés, par Fr. Seguin. quarto. Avignon, 1856.
726. SCHICHT (Johann Gottfried). Preis der Dichkunst, ein musikalisches gedicht, vom Herrn Domherrn und Landesälsten
von Nostitz. In vocal score.
oblong folio. Leipsic.
Presented to the Society by Mr. A. Durlacher.
727. SEDDING (Edmund). A collection of ancient Christmas Carols, arranged for four voices by. small octavo. London, 1860. 728. SEDDING (Edmund). Antient Carols for Christmas and other tides, arranged for four voices by.
small octavo. London, 1863. 729. STEVENS (Richard John Samuel). Sacred Music for one, two, three, and four voices, from the works of the most esteemed composers, Italian and English. Selected, adapted, and arranged by. In vocal score. Three volumes bound in two. folio. London.
The following compositions are bound up with the second volume:
Duet for the Harpsicord.
Overture, arranged as duett for pianoforte. The Songs, duett and trio, with the overture, of Comus. In vocal score.
in the masque
This edition includes some songs from Handel's L'Allegro.
Duet, "Ah perdona" (La Clemenza di Tito). In vocal
Air, "Ombre, larve" (Alceste). In full score.
730. WALMISLEY (Thomas Forbes).
Mozart. Gluck. Sacred Songs, composed by.
Three Parts in one volume.
Presented to the Society by the Rev. F. J. Stainforth.
731. WALMISLEY (Thomas Forbes). hymn. In vocal score.
"The thunder rolls," an Easter
"Psalterium Carolinum." The
732. WILSON (John), Mus. Doc. Devotions of His Sacred Majestie in his Solitudes and Sufferings, rendred in verse. Set to Musick for 3 Voices and an Organ or Theorbo, By John Wilson, Dr. and Musick Professor of Oxford." In separate parts, bound in one volume. small folio. London, 1657.
BEILLE (L.) Peter und Aennchen, singspiel, in einem aufzuge. In vocal score. oblong folio. Leipsic. 734. ADDISON (John). The Russian Impostor, an opera. See No. 815.
735. ALESSANDRI (Felice). The favourite songs in the opera alla Caccia. In full score.
736. ALESSANDRI (Felice). La Sposa Fedele. See No. 842. 737. ANGLO-ITALIAN OPERAS (A Collection of), and other musical pieces produced in London in the early part of the 18th century. Bound in three volumes.
"Songs in the New Opera call'd Camilla, as they are perform'd at the Theatre Royall" [Drury Lane, 1706].
This opera was translated by Owen Swiny, and adapted to the music of Buononcini. See a complete score in MS., No. 1842.
"Songs in the Opera call'd Arsinoe, Queen of Cyprus."
Written by Peter Motteux, and set by Thomas Clayton. Performed at Drury Lane, 1705.
"Songs in the New Opera call'd Rosamond [written by Joseph Addison], as they are perform'd at the Theatre Royall [Drury Lane], composed by Mr. Tho. Clayton, 1707."
"Songs in the New Opera call'd the Temple of Love, compos'd by Signr. Gioseppe Fedelli Saggione."
Translated from the Italian by Peter Motteux, and performed at the Queen's Theatre in the Haymarket, 1706.
"Songs in the New Opera call'd Love's Triumph, as they are performed at the Queen's Theatre."
This was an adaptation by Peter Motteux, assisted by Charles Dieupart, of a pastoral opera written by Cardinal Ottoboni and set to music by Carlo Cesarini Giovanni, surnamed del Violone, and Francesco Gasparini. It was performed in 1708, partly in English and partly in Italian.
"The most celebrated Aires in the Opera of Tom Thumb" [composed by Thomas Augustine Arne, 1733].
"The Songs in the Necromancer, or Harlequin Dr. Faustus, as they were perform'd at the New Theatre in Lincoln's Inn Fields" [composed by John Ernest Galliard, 1723].
"Jupiter and Europa, a Masque of Songs as they were perform'd at the Theatre in Lincoln's Inn Fields" [composed by John Ernest Galliard and Cobston, 1723]. Two songs from Handel's opera Floridant, with English words adapted, are inserted.
Songs in the New Opera call'd Thomyris [Queen of Scythia], collected out of the works of the most celebrated Italian Authors, viz.: Scarlatti,
Bononcini, and other great masters, perform'd at the Theatre Royall" [Drury Lane, 1707].
This piece was written by Peter Motteux. The recitatives (which are not included in the printed copy) were composed, and the necessary alterations in the music made, by Dr. Pepusch.
"Songs in the Opera call'd Clotilda. The Songs done in Italian and English as they are perform'd at the Queen's Theatre" .
This was compiled by Heidegger from the works of Buononcini, Scarlatti, and Francesco Conti.
738. ARIOSTI (Attilio). Operas. Cyrus. Muzio Scævola. See No. 843. 739. ARNE (Thomas Augustine), Mus. Doc. The music in the In full score, the
masque of Comus; written by Milton.
Composer's autograph on the title-page.
See also Nos. 729, 740, and 1,209.
740. ARNE (Thomas Augustine), Mus. Doc. Artaxerxes, an English opera. In full score; and
The Songs, Duet, and Trio, with the Overture, in the masque of Comus. In vocal score. In one vol. 741. ARNE (Thomas Augustine), Mus. Doc. Artaxerxes, an opera, with the additional pieces composed by Braham and Bishop. In vocal score (wanting the title-page). folio. London.
This edition includes the recitatives, which are not contained in the published full scores.
742. ARNE (Thomas Augustine), Mus. Doc. Eliza, an English opera. (The overture and songs only). In full score. folio. London.
Two copies, one presented to the Society by Mr. Vidler.
743. ARNE (Thomas Augustine), Mus. Doc. Thomas and Sally; or, the Sailor's Return, a dramatic pastoral. In full score.
Presented to the Society by Mr. G. F. Bawtree.
744. ARNE (Thomas Augustine), Mus. Bac. The songs in the masque of Alfred. In full score.
745. ARNE (Thomas Augustine), Mus. Doc. The songs, airs, duets, and chorusses in the masque of King Arthur, compos'd by
Chiefly in full score.
The masque of Alfred [the songs only]. In full score.
Britannia, a masque [the overture and songs only]. In
The solemn dirge in Romeo and the Theatre Royal in Covent Garden.
Bound in one volume.
folio. London. Juliet, as perform'd at In full score.