1324. Visconti (Gasparo). Sonate a Violino e Violine o Cembalo.

Amsterdam, 1703.

Bound up with Albinoni's Sonate di Chiesa and Marini's Sonate. 1325. Vitali (Giovanni Battista). Sonate a due violini, col suo basso continuo per l'organo. Opera Seconda. The organ part only.

Bologna, 1667.

1326. Weichsell (Elizabeth). Six Sonatas for the Pianoforte or Harpsichord, composed in the eleventh year of her age. folio

Opera 2nda.
London.

The composer afterwards became celebrated as Mrs. Billington, the vocalist.

1327. Weiss (C.). Six Trios for a German Flute, Violin, and Bass. Op. II. In separate parts. folio London.

1328. Wesley (Samuel Sebastian), Mus. Doc. Three Pieces, for a Chamber Organ; composed for Lady Acland. folio. London. 1329. Wiseman (Carlo). Six Solos for a German Flute or Violin, with a Thorough Bass for the Harpsicord or Violoncello. folio.

London.

156

MANUSCRIPTS.

THE WORKS OF GEORGE FREDERIC HANDEL.

1330. Samson, an oratorio, as condensed for performance by the Sacred

Harmonic Society; with additional accompaniments composed expressly for the Society by 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 Mr. Costa.

1851.

1331. Deborah, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accompaniments composed expressly for the Society by M. Costa. In full score. The additions are distinguished from the original text by red ink. large folio 1855.

Presented to the Society by Mr. Costa.

1332. Judas Maccabeus, an oratorio. In full score. oblong quarto. 3 vols.

This copy differs in several respects from the printed scores.

1333. Judas Maccabeus, an oratorio, as condensed for performance by the Sacred Harmonic Society; with additional accompaniments composed expressly for the Society by M. Costa. In full score, the additions being in Mr. Costa's autograph. Large oblong folio.

Presented to the Society by Mr. Costa.

1857.

1334. Israel in Egypt, an oratorio, with additional accompaniments composed expressly for the Sacred Harmonic Society by M. Costa. In full score, the additions in Mr. Costa's autograph. Large oblong folio 1859.

Presented to the Society by Mr. Costa.

1335. Omnipotence, an oratorio; the music selected from the works of G.

F. Handel [chiefly the Chandos Anthems], by Samuel Arnold.

1336. The Dettingen Te Deum, with additional accompaniments composed expressly for the Sacred Harmonic Society by M. Costa. In full

score, the additions being in Mr. Costa's autograph.
oblong folio

Presented to the Society by Mr. Costa.

Large 1859.

1337. "O come, let us sing," Anthem, composed for the chapel of James, Duke of Chandos. In full score. oblong quarto.

1338. "I will magnify Thee, O God," Anthem, composed for the Duke of Chandos. In full score. oblong quarto.

1339. "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.

1340. "Let God arise," Anthem (in the key of B flat), composed for the

Duke of Chandos. In full score.

oblong quarto.

1341. The Four Anthems composed for the Coronation of King George the Second, in 1727. In full score. folio.

Presented to the Society by John Lucius Dampier, Esq.

1342. "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.

1343. The Fiftieth Psalm, "Dixit Dominus," in Latin. In full score.

oblong quarto.

1344. The same. Separate vocal parts, viz.: Canto primo, Canto secondo, Alto, Tenor, and Bass. quarto.

1345. The One Hundred and Thirteenth Psalm,

Latin. In full score. oblong quarto.

"Laudate Pueri,” in

1346. 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.

1347. 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.

1348. L'Allegro, Il Pensieroso ed Il Moderato. In full score. (The titlepage and the greater part of the songs are supplied from the printed copy of the Songs published by Walsh.) quarto.

1349. "Rinaldo," an opera, by Rossi.

1350.

In full score. folio.

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. Stainforth.

"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, Ŏ 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. 1,359.

Presented to the Society by the Rev. F. J. Stainforth.

1351. "Ptolomeo, Rè d'Egitto" (Ptolomy), an opera.

quarto.

This copy differs in some respects from the printed score.

In full score.

Within the cover,

and on the fly-leaf, is written an extract from Dr. Burney's History of Music,' relating to this opera.

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.

6

1353. Thirteen Italian Duetts (usually called "The Chamber Duetts"), and Two Italian Trios. oblong quarto.

1354. Forty-eight Cantatas, for a single voice, viz.:

1355. Fifty-eight Cantatas for a single voice. oblong quarto.

Ah che pur troppo.
Menzonere speranza.
Se per fatal destino.
Sarai contenta.
Clori, Clori, ove sei.
Lungi n'ando Fileno.
Del bel idolo mio.
O Lucentio.
Quando sperasti.
Care selve.
Filli adorata.
Un sospir.
Non sospirar.
Chi rapi la pace.
Torna il cor.
Nel dolce tempo.
Lungi, lungi da mi.
Irene, idolo mio.
Qual or crudele.
Dolce pur d'amor.
Figli del mesto cor.
Clori de gl'occhi miei.

Fra pensieri.

Udite il mio consiglio.
Ninfe e pastori.
Son d'Egitto.

Aure, aure piu non.

Non posso dir.

Mentre il tutto.

Presented to the Society by the Rev. F. J. Stainforth.

1356. Three Cantatas for a single voice, viz., "Usignuol che tra le frondi," "A voi torno," and "O Numi eterni" (La Lucretia). quarto.

Transcribed from MSS. in the British Museum, and presented to the Society by Miss Steere.

1357. Seven Sonatas, of three parts, in score, the first four of which are contained in the set of Six, printed in Arnold's edition of Handel's

Works, and originally published at Amsterdam, in 1731. oblong quarto.

1358. Six Sonatas, in score. See No. 1,621.

1359. A volume containing the following compositions, all, save the first

The seventeen pieces commencing with the Prelude in G and terminating with the air "Del labro tuo l'accenti," and including the air "Non vuo mai seguita' (which also belongs to the opera, Il Pastor fido), are from the Masque printed by Dr. Arnold.