Add MS 24307

passim. Arias from Italian Operas of the first half and middle of the 18th century, with symphonies and accompaniments for strings (unless the contrary is stated), in score. 1. 'Vedrò fra poco.' In the hand of John Christopher Smith. Imperfect at the beginning. This and nos. 2-4 are by Handel. f. 3. 2. 'Dimmi, cara'; with violin and bass. [From 'Scipione,' 1726.] f. 6b. 3. 'Sparite, o pensieri'; from 'Admetus' [1726?]. f. 8. 4. 'Gode I'alma' [from 'Ottone,' 1722]. In Smith's hand. f. 10. 5. 'Pupille amate'; with a bass only. Anonymous. f. 14. 6. 'Ah, si! morrò.' Imperfect at end. Apparently by Handel. In Smith's hand. f. 15. 7. 'Si, caro'; with violin and figured bass. From 'Admetus.' By Handel. f. 18. 8. 'lo ti leuo'; with violin and bass. Anonymous. f. 20. 9. 'Pupille care.' 'Gio. Adolfo Hasse.' f. 21. 10. 'Per amor se il cor sospira'; from 'Astianatte' [1725]. 'Leonardo Vinci.' f. 25. 11. 'Qual con I'aura'; sung by Farinelli. 'Leo.' f. 32. 12. 'Sentirsi dire dal caro bene.' [From 'Semiramide riconosciuta,' 1723.] 'Vinci.' f. 40. 18. 'Son qual per mare ignoto'; from 'L' Olimpiade' [1754]. 'David Perez.' f. 44. 14. 'Son sventurato'; with a bass only. Anonymous. f. 50. 15. 'Quel Ruscelletto'; from 'La Forza d' amore.' 'Paradies.' f. 52. 16. 'Sfogasti, o Ciel'; with horns, oboes, etc.; from 'Nerone.' '[Ottavio] Albuzi.' f. 54. 17. 'Do (sc. Vo) solcando un mar crudele'; from 'Artaserse' [1730]. 'Leo[nar]do Vinci.' f. 70. 18. 'In quel labro pallidetto'; from 'La Forza d' amore.' 'Paradies.' f. 77. 19. 'Il mar delle mie pene.' Anonymous. f. 81. 20. 'Bel[le] alme fortunate'; from 'Nerone.' 'Ottauio Albuzi.' f. 84. 21. 'Santi numi'; dated 'Haffnie (sc. Copenhagen), 27 Apr. 1760.' f. 90. 22. 'Soportar non devo in pace.' In the same hand. f. 93. 23. 'O portento': recitative and aria, with flutes, horns, etc. [From 'Armida,' 1760.] 'Traetta.' f. 110. 24. 'Di quest' aura.' In the same hand. f. 122. 25. 'Ah quale ardor': recitative and aria, with flutes, oboes, horns, etc. In the same hand. f. 129h. 26, 27. 'So tenderly I love him,' and 'Thro' the Prince and the Peasant': recitatives and airs, with horns, oboes, etc. From 'Hippolito.' '[Thomas] Roseingrave.' ff. 134, 138.

passim. Songs, with accompaniments, in score. Unless the contrary is stated, they have a basso continuo and are anonymous. 1. 'Spesso mi sento dir'; with strings. 'Filippo Palma.' [From , about 1755.] f. 66. 2. 'Sto aspettando l' idol mio.' This and nos. 3-13 are in the same hand, and were evidently published in the same order as here. f. 96. 3. 'Per ti aver, Cattina.' f. 96b. 4. 'Nina, se tu saves[s]i.' f. 97.5. 'Tutte 'ste putte.' f. 97b. 6. 'Sel (sic) canto solo.' f. 98. 7. 'L' occasion delle mie pene.' f. 98b. 8. 'Cara Bettina.' f. 99. 9. 'Grazie agli inganni tuoi.' f. 99b. 10. 'Mia cara Nina.' f. 100. 11. 'Donne (sic) cortese.' f. 100b. 12. 'Cosa t' ho fatto, Nina.' f. 101. 13. 'Vieni, o caro.' f. 101b. 14. 'La speranza non m' inganna'; with a figured bass, f. 104b. 15. 'Il mio cor che gia per te.' f. 107.

ff. 102, 103, 109. Three anonymous melodies, with a bass (figured in the case of no. 3), in score. 1, 2. Two settings of the words 'Alleluja. Amen.' ff. 102, 103. 3. 'O God, my Heart is fix'd.' From the heading, 'A sacred Hymn. A. P.,' it is possible that this was intended for a hymn as sung in the Anglican Church, the lower parts being supplied from the figured bass. f. 109.