1597. Mendelssohn Bartholdy (Felix). The Music composed for the Hymn "Lauda Sion," with the words of an English Cantata written by W. Bartholomew commencing "Praise Jehovah " adapted thereto. Full score in the handwriting of Mr. Bartholomew by whom it was presented to the Society. quarto.

1598. "Natura et quatuor Elementa ad sepulcrum Christi dolentis," a Cantata for 5 voices, 2 violins and organ. The composer's name is not given. In separate parts. small quarto.

1599. Pergolesi (Giovanni Battista). "Io mi rido," Serenata for two voices with orchestral accompaniments. In full score. Also "Cor prigioniero" and "Pensa bene," cantatas for a single voice, and "Chi tento," aria; all without composers' names. Bound together.

1600. Purcell (Henry). Odes and other compositions (principally by him), in full score. 3 vols. quarto.

VOLUME I.

Queen's Birth-day Ode, 1691, commencing, "Welcome, glorious morn."

Do.

1692 (written by Sir Charles Sedley), commencing,

"Love's goddess, sure, was blind."

Commemoration Song, performed at Christ Church, Dublin, 9th January, 169, written by Nahum Tate.

This Ode is in celebration of the Centenary of the Foundation of Trinity College, Dublin. It is printed in Goodison's edition of Purcell. See No. 1,174.

Queen's Birth-day Ode, 1690 (written by Thomas D'Urfey), commencing, "Arise, my Muse."

The Fourth Act in the 'Fairy Queen' (wanting the Songs of the Four Seasons, which are printed in the Second volume of the 'Orpheus Britannicus').

*** The whole of the compositions in this volume are by Henry Purcell.

VOLUME II.

Ode for the Duke of Gloucester's Birth-day, July 24th, 1695, commencing,
"Who can from joy refrain?" By Henry Purcell.

Music in 'The Libertine' (a Tragedy, by Thomas Shadwell). By Henry Purcell.
Solo, from the Barbadoes Song (see MS., No. 1,588) ""Tis done, and see."

Jer. Clarke.

Sixteen Motetts, from the Motecta Festorum totius Anni, by Palestrina. See

No. 354, viz.:

The words are wanting to those motetts, the names of which are printed in Italics.

"Salve Regina," Hymn for 3 voices.

" Anima mea liquefacta est," Motett, 3 voices.

"Plagæ Tuæ, Domine," Motett, 3 voices, by Giovanni Felice Sances.

"O Domine, guttæ Tui," Motett, 3 voices.

"O quam suave," Motett for 3 voices, by Bassani.

"Tu dormi, ah crudo core," Quartett.

"Allume delle stelle,"

Do.

"Qui diligit Mariam," Motett [here called a Madrigal], for 5 voices, by Steffani.

"Lontan dal suo bene," Duet, by Carlo Grua.

"Save me, O God," Anthem for 5 voices, by William Byrd.

"Vobis datum est," Canon for 4 voices, per arsin et thesin, by Constanza Porta.
The Same, with the parts inverted.

"Where art thou, wanton," Madrigal for 3 voices, by Thomas Morley.
"Come, all ye tuneful Sisters" ("Dr. Dolben's Wedding Song"), an Ode for
3 voices, composed by Dr. Croft, and performed at Finedon, Sept. 1720.

VOLUME III.

Ode on Queen Mary's Birth-day, 1693 (written by Nahum Tate), commencing, "Celebrate this festival," by Henry Purcell. Printed by Goodison, see No. 1,174.

The Music to the first act of Charles Davenant's Tragedy of 'Circe.' The name of Purcell is attached to this copy, but in a different hand to that in which the music is written, and most likely in error, as no mention is made by any musical authority of Purcell's having composed music for this play; and Downes, in his 'Roscius Anglicanus,' speaking of 'Circe,' expressly states that "all the Musick was set by Mr. Banister."

The Music for The Yorkshire Feast, 1688. by Henry Purcell. This ode was
written by Thomas D'Urfey, and is in celebration of the Revolution of 1688.
Printed by Goodison; see No. 1,174.

A Welcome Song, commencing, "Sound the trumpet," composed by Henry
Purcell.

A Fragment of a composition (apparently an Ode), probably by Purcell. The
words to the vocal portions are wanting.

Presented to the Society by John Lucius Dampier, Esq.

1600. * Purcell (Henry).

"Laudate Ceciliam," Ode on St. Cecilia's

day, 1683. See No. 1,500.

1601. Songs, &c. (A Collection of), mostly without composers' names (the

Prefixed to the collection is a sheet containing "The old Measures of the Inner Temple, London, as they were first begun and taught by Robert Holeman, a Dancing Master, before 1640, and continu'd ever since in the Inner Temple Hall."

1602. Songs, &c. (A collection of). In full score. oblong quarto.

Bound up with a printed copy of Vincenzo Ciampi's Sei Arie

con Recitativi.

1603. Steffani (Agostino).

Duets for two sopranos, soprano and alto,

soprano and tenor, soprano and bass, alto and tenor, and alto and

Ho scherzato.

M' ai da piangere.

Saldi marmi.

Tengo per infallibile.

Cangia pensier.

Ah che ho sempre detto.
Non vene state.

Sia male detto amor.

Lungi dall' idol mio.

Mi voglio far intendere.

E spento l' ardore.
Nel tempo ch' amai.
Fulminate, saettate.
Piu non amo.
Parlo e rido.
Tienmi il cor.
Cruda Lilla.

VOLUME II.

Il mio seno.

Io voglio provar.
No mai no 'l diro.

Inquieto mio cor.

Sol negl' occhi.

Che sarà di quel pensiero.

Porto l' alma.

Non sò chi mi piago.
Torno a dar vita.

Languè gemi.

Dolce è per voi soffrire.
Navicella che ten vai.

Dir che giovi.

Libertà, libertà (different from the

1604. Steffani (Agostino). Two Cantatas, viz.: "All' or ch' ingrembo," for alto solo, with instrumental accompaniments, and "Inquieto mio Cor," for soprano and alto. In full score. small folio.

MISCELLANEOUS MUSIC.

1605. Airs, in vocal score, and Harpsichord Lessons. quarto.

Airs, &c.

"All danger disdaining." (Deborah)

do.

"I must with speed." (Semele)

do.

"Turn, hopeless lover." (Do.)

do.

"The world, when day's career." (Hercules)

do.

"See, the conquering hero comes." (Joshua)

do.

(First and second movements only.)

"Come, blooming boy." (Choice of Hercules)

do.

"There the brisk sparkling nectar." (Do.)

do.

"This manly youth's."

(Do.)

do.

"No, to thyself." (Belshazzar)

do.

"Faithful cares." (Athalia)

do.

"Where congeal'd." (Hercules)

do.

"The bashful lovers "

" Balmy sweetness." (Solomon)

"Arise, my fair."

(Do.)

Dr. Boyce.
do.

1606. Canons, Rounds, Catches, and short Glees; mostly without composers' names. Three volumes. oblong small octavo.

1607. Cooke (Benjamin), Mus. Doc. A collection of Music, formerly belonging to him, chiefly in his handwriting, and consisting principally of his own compositions (many of the copies being the originals, and several pieces being unpublished). The whole (with the exception of some compositions in separate parts) bound in 19 volumes, distinguished by letters. The contents of each volume are as follows, viz.:

VOLUME A.

Ode to Handel, on the Anniversary of his Commemoration,

1785. "Sweet Harmonist." For two choirs

Dr. Cooke.

do.

Two Psalm Tunes, composed for the Earl of Aylesford, 1787
The Music in John Home's tragedy of Agis,' composed by Dr. Boyce.

Full score, in the composer's handwriting.

Four Melodies, in several of the Ancient Greek modes, for 4 voices, with

instrumental accompaniments..

Full score, in the composer's handwriting.

"How sweet with my Chloe to rove," Glee for 3 voices, and "Twine,

"Each year, each hour," Song; and "What heavenly rapture," Duett

"Sweet Tenant of the Tomb," an Ode written for Dr. Delap's tragedy

called 'The Captives.' 1786. [See also Vol. E]

Organ part to Anthem, "I heard a great voice"
"Will you buy any tape?" Round for 4 voices. [See also Vols. E & G]

Double Chant, in E major. 1768

VOLUME Aa.

Milton's Morning Hymn of Adam and Eve, composed by

John Travers.

Thomas Ebdon.

Dr. Nares.

Dr. Cooke.

do.

do.

do.

J. E. Galliard.

Dr. Cooke.

A printed copy of the original composition is interleaved. [See also Vol. Dc.]

as altered and enlarged by

"The Lord said unto the woman," Anthem for the Lying-in Charity, 1770.

Incomplete

do.

"Sumer is i cumen in," Round. Fac simile of Harleian MS.

Examples of different modes of resolving certain chords, from Antoniotto. "Sumer is i cumen in," Round, reduced into score

"Ah, beshrew me, by me fae," Three-part Song (imperfect) ..

"Up the hill or cross the lawn," Glee for 4 voices, with instrumental ac

"Prepare, prepare," Recitative and Canon. 1752

The words, an acrostic on Dr. Pepusch's name by Richard Leveridge. "Patron of Music," another acrostic on Pepusch by Leveridge. The

Dr. Cooke.

words only.

"O Lord, I will praise Thee," Verse Anthem with instruments. 1752.

[See also Vol. I]

Dr. Cooke.

"I will magnify Thee, O God," Verse Anthem with instruments. 1749.. "Let all the just," do. for the Founder's day at the Charter House.

"Let us eat, let us drink," Round for 4 voices, 1787, revised 1789.

[See

also Vols. A, E, and I]

do.

"Out of the deep,” Motett, 5 voices. 1750..

do.

"Up the hill or cross the lawn," Glee for 4 voices. 1767. [See also

Vols. Aa, B and C]

do.

"O Venus, Regina," Glee for 5 voices. 1769. [See also Vol. C]

do.

"Interred here" (Tallis's Epitaph), Glee for 4 voices. 1767. [See also

Vol. C]

do.

"Here lies John Trot," Catch, 3 voices. 1770. [See also Vol. C]

do.

"Round, round with the glass, boys," Glee, 3 voices. 1770. [See also

"Underneath lodges," Round for 3 voices. 1770. [See also Vol. B]

do.

Airs for two clarinets and two horns. 1765 and 1766

do.

Concerto (or Sonata) for stringed instruments in E flat. 1764. [See also

Vols. Da and H]

do.

"Touch'd to the soul," Catch, 3 voices. 1789. [See also Vol. Db] Concerto for the organ. 1749

do.

do.

Lesson for the Harpsichord. 1750. (The last four movements.)