Add MS 32436

ff. 1, 3, 20. Sacred Latin compositions, with a figured bass for organ, in score (except no. 2, which is in parts). 18th century.1. ‘Salve, Regina’ (à 5). ‘Giov. Battista Rovetta.’ f. 1. 2. ‘Domine, ad adjuvandum’ (à 4, with trumpets, strings, etc.). ‘[L. A.] Predieri.’ f. 3. 3. ‘Cum Inuocarem,’ with ‘Gloria Patri‘ (à 4, with strings, etc.). ‘Giuseppe Ma Carcano.’ Autograph, f. 20.

ff. 17-1 9b. Aria, 'Del cieco Tartaro,' for a bass voice, with symphonies and accompaniments for strings, in score, by Antonio Caldara. 18th century.

ff. 40-64. Church Cantatas, with symphonies and accompaniments for horns, oboes, and strings, and a bass for organ, in score. Nos. 2, 3 are for the 5th and 6th Sundays after Epiphany, and are written for solo voices and 4-part chorus by [Johann Gottfried] Vierling. 18th-19th century.1. ‘Lobsinget Gott,’ for Whit-Monday (chorus of 4 voices, with flutes, etc.). ‘Fried. Gottlob Starck.’ f. 40. 2. ‘Dein Wort, O Höchster.’ f. 46. 3. ‘Wir haben ein prophetisches Wort.’ f. 55.

ff. 65-90b. 'Inclina aurem, Domine’: a setting of Psalm lxxxvi for 2 choirs of 4 voices each, with organ accompaniment (in pencil) in score, by C. [F. A.] Billert (not Hermann Billert, as he is described in the German newspaper cutting on f. 65). Autograph. Dedicated to Queen Elizabeth [wife of Frederic William IV of Prussia]. 19th century.

ff. 91-107. 'Und brauset der Sturmwind des Krieges heran'; war-song in 4 parts for male voices, with symphonies and accompaniments for trumpets, horns, bugle (Flügelhorn), trombones, euphonium, and bombardon, in score, by A. M. Storch. The words are by Moritz Arndt, to whom this setting is dedicated. Autograph. 1859.