Collection of preludes, hymns, operatic arias, and songs. Musical manuscript. BRITISH VOCAL MUSIC - Manuscript - 19th Century.
Collection of preludes, hymns, operatic arias, and songs. Musical manuscript
Collection of preludes, hymns, operatic arias, and songs. Musical manuscript
Collection of preludes, hymns, operatic arias, and songs. Musical manuscript
Collection of preludes, hymns, operatic arias, and songs. Musical manuscript
Collection of preludes, hymns, operatic arias, and songs. Musical manuscript

Collection of preludes, hymns, operatic arias, and songs. Musical manuscript

Oblong folio (ca. 240 x 305 mm.) Half dark brown leather with dark green textured cloth boards. [162] pp. Notated on 12-stave paper in a single hand throughout, primarily in ink with some additional markings in red and lead pencil. Watermark: Tassell & Smith 1842.

- 11 short works for keyboard without titles, possibly organ preludes: pp. 1-27
- Songs, anthems, hymns, and catches for 1 to 4 voices both with and without accompaniment, several leaves with printed texts laid down. Pp. 28-123.
- Pp. 124-137 blank
- organ hymn and psalm tones, preludes, etc., some with text, most without. Pp. 138-conclusion.

Contents:
1f-2r: Gibbons, Orlando. Almighty and everlasting God. 4-part setting without text. Published in Boyce: Cathedral Music and The Madrigal Society collection.

2v-3r: Richardson, Vaughan ca. 1670-1729. O how amiable are thy dwellings. Page: Harmonia Sacra, 1800.

3v-4r: Creighton, Robert ca. 1636-1734. I will arise and go to my father. Boyce: Cathedral Music, Vol. 2, 1768.

4v-5r: Cooke, Robert 1768-1814. Untitled piece known from a manuscript (possibly autograph) in a collection entitled Vocal Pieces held by Harvard University, formerly owned by Joseph Warren (1804-1881). RISM ID 1001031637. Library shelf mark 2006M-74.

5v-6r: Rogers, Benjamin 1614-1698. Behold now praise the Lord. Boyce: Cathedral Music, Vol. 2

6v-7r: Unidentified.

7v-8r: Purcell, Henry 1659-1695. Thou knowest Lord (anthem). Croft: Musica Sacra, Vol. 1, 1724.

8v-9r: Unidentified.

9v-10r: Clarke, Jeremiah ca. 1674-1707. Praise the Lord O Jerusalem. Boyce: Cathedral Music, Vol. 2.

10v: Unidentified.

11r: blank

11v-12r: Child, William ca. 1606-1697. Praise the Lord O my soul and all. Earliest source, manuscript of 1708-1717, Chapel Royal Collection, British Library R.M.27.a.3. RISM ID 806911477.

12v-13r: Palestrina, Giovanni Pierluigi de 1525-1594. Panis angelicus. Motet. RISM records three manuscript sources, the earliest being a set of vocal parts in the hand of Achille Baratti dated 1840-1860, Rome, Archivio capitolare della Basilica Papale di Santa Maria Maggiore, RISM ID 852000272; the other 2 sources are later, RISM ID 201012084 and 853002215.

13v-14r: Croce, Giovanni ca. 1557-1609. Virtute magna. Motet. RISM records just one manuscript source, held in Brussels at the Royal Library of Belgium, Ms. 11 3860. Mus. Fétis 1817, 1833. RISM ID 700006101.

14v-15v: Reynolds, John fl. ca. 1798. My God, my God, look upon me. Anthem. Page: Harmonia Sacra, Vol. 1, 1800. RISM locates 11 manuscript sources.

16r: blank (end of keyboard/organ settings)

16v-18r: Palestrina. Oh che splendor. Madrigal for four voices. Vocal score. Text by Marcantonio Epicuro (1472-1555). Palestrina: Secondo libro de madrigali a quatro voci, Venice, 1586.

18v-20r: Palestrina. I vaghi fiori e l'amorose fronde. Madrigal for 4 voices. Text by Claudio Tolomei (1492-1556). Palestrina: Secondo libro de madrigali a quatro voci, Venice, 1586.

20v-21v: Spofforth, Reginald 1769-1827. Hail, Smiling Morn. For unaccompanied voices. Sprungli: Männergesänge von Freunden der Tonkunst, Zürich, J.J. Ulrich, 1840.

222r-24r: Willis, John. Merrily, merrily goes the bark before the gale she bounds. For 4 voices. Published as a glee for 3 voices, Dublin. RISM A/1 W 1216 (one copy only, at UCLA).

24v-25r: Bishop, Sir Henry 1786-1855. To Grace we give our shining blades. For unaccompanied voices.

25v-236r: Moore, Sir Thomas 1779-18523. O Lady Fair. Duet for tenor solo and soprano voices with piano accompaniment. Ca. 1845.

26v-27v: Arne, Thomas Augustine 1710-1778. Blow, blow thou winter wind. A setting for voice and piano. From Shakespeare's As You Like It. Ca. 1845-50.

28r-29r: Stevenson, Sir John (text). See our oars with feather'd spray. For 4 unaccompanied voices, the musical setting anonymous. Ca. 1840-50.

29v-30r Loder, Edward J. 1813-1865. The Brave Old Oak. Text by H.F. Chorley. Set for a melody instrument with piano accompaniment. Ca. 1845-50.

30v-32v. Glover, Stephen 1812/13-1870. What are the wild waves saying? Words by J.E. Carpenter. Set for voice and piano. Ca. 1845-50.

33r: blank

33v-34r: Gow, Neil Jnr. Bonnie Prince Charlie. Words by James Hogg. Set for voice and piano.

34v-35r: What's a' the steer, Kimmer? Smith, comp.: A Selection from the Vocal Melodies of Scotland, Edinburgh, 1820-24.

35v-37r: Roy's wife o' Aldivalloch. Words by Mrs. Grant of Carron. Set for solo voice, chorus, and piano. Scots Musical Museum, 1787-1802.

37v-38r: A famous man was Robin Hood. Air. My love she's but a lassie yet. Adapted from Wordsworth's poem Rob Roy's Grave in the operatic drama of Rob Roy Macgregor or Auld-Lang Syne by Isaac Pocock.

38v: The Green Buskers. Unattributed. For voice (without text) and piano.

39r: Unattributed. Jack o' Hazeldean.

39v-41v: King, Matthew Peter 1777-1823. The Minute Gun at Sea. English song set for two equal voices with piano accompaniment.

42r: blank

42v-43r: Norton, Mrs. Love not, love not ye hapless songs of clay. Song for voice and piano.

43v-44r: Lover, Samuel. Sweet Jessie.

44v-45r: Auber. On yonder rock reclining from the opera Fra Diavolo. For voice and piano.

45v-46r: Linley, George. I cannot mind by wheel, Mother. Song for voice and piano.

46v-47r: Adams, Robert. Castles in the Air. Words by James Ballantine. Song for voice and piano.

47v: Dibdin, Charles. Give ear to me both high and low. Song for voice and piano.

48r: Dibdin, Charles. Here a sheer hulk lies poor Tom Bowlilng. Song for voice and piano. One of Dibdin's most famous songs.

48v-49v: Verdi, Giuseppe. Il Balen (del suo sorriso) from the second act of Il Trovatore. Transposed and with English words. A free adaptation for voice and piano.

50r-51r: Handel, George Frederick. Cheerful in duty from Judas Maccabaeus. Words by Rev. J. Hunter. For voices and piano.

52v-52r: Irish Melody A Lesson on the Seasons. Words by Rev. E. Caswell. Set for 4 voices and keyboard. The glory of summer is faded. 'Tis the last rose of summer.

52v: Littly, Mary. Spng set for 3 unaccompanied voices. A setting of poems by Caroline Bowles Southey.

53r: Mozart. The Battle of Life. A setting with English text of Aria No. 19, Andante in C from Don Giovanni.

53v: Hullah, John. Buttercups and Daisies. Words by Mary Howitt. Set for keyboard with text underlay.

54r: A Psalm of Life. Tell me not in mournful numbers. Text by Longfellow. Set for keyboard with text underlay.

54v: Donizetti. The Wave. Poem by Longfellow. Set to music adapted from the opera Parisina for keyboard with text underlay.

55r: Lightly tread its hallowed ground. Irish song for keyboard with text underlay.

55v-56r: Shield, William 1748-1829. The Spider and the Fly. Words by Mary Howitt. Set for keyboard. Printed text laid down to lower margins.

56v-57r: Herold, Welcome, welcome quiet morning. Words from Boston (U.S.) hymnbook. Set for keyboard with text underlay.

58v: The Voice of Nature (round) and Gentle Words. Battishill's Chant.

58r: Hilton. The Music School. Words by J.W.T.

58v-59r: Mendelssohn. Music Everywhere. There's music in the bursting buds. Set for 2 voices and bass.

59v: Harington, Dr. Henry 1727-1816. Rest (a catch). Set for 3 unaccompanied voices.

60r: Be thankful and go on. National Song. Words by Douglas Thompson.

60v-61r: blank

61v-62v: Unidentified work for organ in D major.

63r: Unidentified work for organ in Bb major.

64r-71r: blank

71v-81v: in reverse, as follows:

1r: blank

1v-2v: 4-part chordal progression with alternate endings/resolutions.

3r-4v: 4-part chordal setting of a Te Deum.

5r: Palestrina. Veni Creator. 4-part arrangement.

5v-8r: 4-part chordal arrangements of In festo SS. Trinitas; Nativity of our Lord; Second Sunday after Epiphany; From 3rd after Epiphany to Lent, and From 3rd after Pentecost to Advent; In Lent; Ascension; Hymn of the Blessed Virgin; Corpus Christi; Hymn of Apostles and Evangelists; Of Apostles and in Paschal Time; Of a Confessor; Of holy women; Nativity of St. John Baptist; and Hymn at Compline.

8v-10r: The Gregorian Tones for the Psalms. A musical table of 4-part intonations, meditations, endings with cadences on each of 9 tones, with various alternate resolutions.

10v-11r: Palestrina. Motet. O bone Jesu miserere nobis. Set for 4 voices with an Offertory Sentence with keyboard accompaniment with English text. RISM records numerous late 19th century manuscript sources.

Boards worn, rubbed, bumped, and detached; spine lacking. Uniformly browned; light soiling, heavier to edges; occasional showthrough.

Item #35789

Price: $450.00  other currencies