Add MS 29397

passim. Songs for the most part unaccompanied, but occasionally with a bass for harpsichord, in score. Many are taken from John Playford's , 1673-1683, the , 1685, and other collections of that period. See indices by Thomas Oliphant at the beginning and end of the volume. 1. 'The bright Clarinda'; with bass. 'Capt. Packe.' ff. 4, 5b. 2. 'How long do'e mean to torture me.' Anonymous. f. 4b. 3. 'High states and honurs'; on a ground. 'Jo' Abell.' f. 8b. 4. 'How bonny and brisk'; with a bass. '[Robert] Smith.' f. 11b. 5. 'Mine own Sabina'; with a bass. 'Char. Wren.' f. 15b. 6. 'I am a wretched lover'; with a bass. Anonymous. f. 17b. 7. 'Whilst on Septimius' panting brest.' Anonymous. f. 22. 8. 'Let ye trumpet sound.' By J. Reading (?). f. 24b. 9. 'Love you by all that's good'; with a bass. Anonymous, ff. 29, 30. 10. 'Iris on ye Banke of Thames'; with a bass. 'T. Tudway.' f. 29b. 11. 'How delightfull's ye life of an innocent swain'; with 2-part chorus and bass. 'H. Pur[cell].' f. 31b. 12. 'Ye cruel Gods'; with a bass. 'W. G.' (sc. W. Gregory or W. Gorton?), f. 33. 13. 'Awake, faire goddess'; with 3-part chorus. ' Tho. Kingsley.' f. 38b. 14. 'The Hermit,' begins 'Hence, ye vain mortals'; with 3-part chorus and bass. By the same. f. 40b. 15. 'Why is your faithfull slave disdain'd'; with bass. 'Courtevill.' f. 41b. 16. 'Cœlia once as mild as fair'; with bass. By the same. f. 42b. Reversing the MS. 17. 'The great Augustus'; with 2-part chorus and bass. 'Dr. Blow.' f. 85b. 18. 'Arise, yee subteranean winds'; with phonetic spelling, apparently for the use of a foreigner. 'Pedro [Reggio].' f. 78b. 19. 'Bel tempo che vola': with 2-part chorus. Anonymous. f. 76. 20. 'Bess of Bedlem,' begins 'From silent shades.' 'H. Purs[ell].' f. 71. 21. 'She loves and she confesses too.' By the same. f. 68b. 22. 'Would you be a man in fashion.' 'Capt. Peck ' (sc. Pack), f. 66b. 23. 'Alexis, dear Alexis'; with figured bass. 'Dr. Blow.' f. 66. 24. 'Old Chyron.' 'Dr. Hens[tridge].' f. 58. 25. 'Amonte, fougete ' (sc. 'Amanti, fuggite,' in Anglo-Italian spelling); on a ground. Anonymous. f. 56b. 26. 'Phillis, be gentler'; with a bass. 'To. Tud[way].' f. 54b. 27. 'Come, all yee tender Nymphs'; with a bass. By the same. f. 53b. 28. 'O, quench these flames'; with 2-part chorus. Anonymous. f. 52b. 29. 'State and ambition.' Anonymous. f. 51. 30. 'Why should Clausa'; with a bass. 'Snow.' f. 45b. 31. 'Beauty's crown'; with a bass. 'King' [G. Finger in the index]. f. 45.

passim. Duets, in score, without accompaniment. 1. 'Smiling Phillis.' 'Turner.' f. 3. 2. 'Ile tell thee, my Celia.' By Dr. Blow. f. 3b. 3. 'Though our pockets are out.' 'J. Blun[devill].' f. 9b. 4. 'The juice of ye grape.' By the same. f. 10b. 5. 'Could man his wish obtain.' By Paisible. f. 12b. 6. Dialogue (Nature and Sorrow), begins 'O sorrow, sorrow! say.' 'Rob. Smith.' f. 16b. 7. Dialogue (Thyrsis and Dorinda), begins 'When death shall part us.' 'Math. Locke.' f. 18b. 8. Dialogue (Philomel and Charon), begins 'Charon, O gentle Charon.' 'W. L[awes].' f. 27. 9. 'Cheer vp, my friends.' '[W.] Turner.' f. 33b. 10. 'Happy is ye country life.' 'J. Hart.' f. 30b. Reversing the volume. 11. Dialogue (Orpheus and Eurydice), begins 'Eurydice, my fair.' 'Dr Blow.' f. 96b. 12. 'Why do's ye morn in blushes rise.' Attributed here to 'Dr Blow,' but more probably by Henry Purcell. f. 89b. 13. 'Ditti (sic), o Cieli.' By L.Rossi(?). f. 88b. 14. 'In vain, in vain, brisk God of wine.' 'Dr Blow.' f. 83b. 15. 'Whilst our flocks feed.' 'Jam. Hart.' f. 62. 16. 'Old Chiron.' 'Wise.' f. 60b.

ff. 5-67 passim. Catches, most of them apparently for 3 voices, and probably taken from the , 1686. 1. 'Fy, nay, preethee, John.' By Dr. Blow. Also attributed to Purcell. f. 5. 2. 'Ye smoakeing catch,' begins 'Good, good indeed; The herb's good weed' (à 4). ' Dr. Alldridge.' f. 6b. 3. 'The Small Beer catch,' begins 'If all true friends to good Liquor.' [By the same.] f. 7b. 4. 'Young John, ye Gardner' (à 4). 'H. Pursell.' f. 23. 5. 'John ask't his Landlady' (à 4). 'Dr. Blow.' f. 23b. 6. 'There are a sort of Rogues.' Anonymous. f. 24. 7. 'W[h]o comes there.' 'H. P[urcell].' f. 30b. 8. 'Ye may talk of brisk claret.' 'Tom. Tud[way].' f. 37b. Nos. 9-15, reversing the volume, are by Henry Purcell: — 9. 'My wife has a Tonge.' f. 67. 10. 'To All Lovers of musick.' f. 56. 11. 'Wine in a morning.' f. 48. 12. 'Drink on till night.' f. 47. 13. 'Sir Walter.' f. 46. 14. 'Great Apollo and Bacchus.' f. 44. 15. 'Since time so kind to vs do's prove.' f. 43b.

ff. 13b, 94b. Compositions for solo voices with chorus, in score, without accompaniment. 1. 'A heart in love's empire'; for two shepherdesses and a shepherd, with 2-part chorus, 'Rob. Smith.' f. 13b. 2. 'As on Septimius' panting breast.' 'Dr. Blow.' f. 94b (reversed).

ff. 25, 81b. Two unaccompanied songs from plays. 1. 'Tell me, Thirsis'; with 2-part chorus. From the 'Duke of Guise, 1683.' 'Capt. Pack.' f. 25. 2. 'Lovely Celina.' Said to be 'in Lee's 'Princess of Cleve,' 1681.' 'Dr. Blow.' f. 82 (reversed).

f. 50. 'The ground and song to O! solitude, my sweetest choice'; the words by K. Phillips, the music by [Henry] Purcell.

f. 74 (reversed). 'Ecco l' alba'; for 3 voices, in score, by Carissimi.

f. 80b (reversed). Part-song for 4 voices, in score, begins 'Tho' our town be destroyd'; by Dr. John Blow.

f. 87b. 'I charge you, O daughters of Jerusalem,' for treble and bass solo voices with 2-part chorus, in score. 'Mi. Wise.'