Add MS 24889

passim. First and second treble, and bass, parts of the following sets or suites arranged for strings; 18th cent:— 1. 'The Storme sett' (Overture, Rondeau, 'The Seamen's tune,' Trumpet tune, 'Farwell,' 'The Brikler's tune,' 'Magett' or Maggot, Chaconne). 'Gillier (sc. either Jean Claude Gilliers, 1667-1737; or a younger composer of that name, who flourished about 1760-1770). ff. 12, 37, 80. 2. Overture and eleven other pieces, including two Hornpipes and a Scotch air, apparently arranged from works by 'Thomas Farmore' (sc. Farmer), whose name is attached to nos. 1 and 8; and '[John?] Eccles,' whose name is put at the beginning of no. 3. ff. 14, 39, 82.

passim. 'Playhouse Tunes': arrangements for strings (1st and 2nd treble, tenor and bass), in parts, of selections from dramatic pieces, etc., divided into sets as below; beginning of the 18th cent., with later additions. 1. Overture and eight tunes from 'The Moor of Venice.' 'J. Lenton.' ff. 6, 29, 54, 74. 2. Overture and six tunes from 'Mustapha.' Anonymous. ff. 7, 30, 55, 75. 3. Nine pieces [Fancies ?]. 'T[homas] Tollet.' ff. 8, 31, 56, 76. 4. 'First and 2nd Musicks,' Overture, and four Act-tunes, from 'Lovers' Luck.' 'T. T[ollet].' ff. 10, 35, 58, 78. 5. Overture and two scenes (Le Soleil et les quatre elements, and Flora). 'J. Bapt[iste Lully ?),' 1669. ff. 16, 41, 60, 84. 6. Gavotte and Bourrée. This and nos. 7, 8 are probably also by Lully. ff. 16b, 41b, 60b, 84b. 7. Scenes (Le Printemps, Pluto, Minuet, Le Jardinier, Les Démons, Les Hérauts, and Bourrée, the last wanting tenor), from a piece unnamed. ff. 17, 42, 61, 85. 8. Scenes (Les débauchés, Les Mânes, Les Escalves and Les Égyptiens), from a piece unnamed. ff. 18, 43, 62, 86. 9. Prelude, 'Marche de Trumpette,' and Minuet. 'J. Bapt. [Lully ?].' ff. 18b, 43b, 62b, 86b. 10. 'New Markett' (two parts), Air, Dance, 'La Madame (? = Mademoiselle) Mosely,' Trumpet tune in D, Piece without title (1st and 2nd treble parts only), and 'Accored's' al. 'Acorids' al. Acrode's [? = S = Akeroyd's] Padd' (tenor wanting). At the beginning of this set are the initials 'R. S.' ff. 19, 44, 64, 87. 11. Country-Dance ('The Happy Meetting'), Tunes from parts i and ii of [Purcell's] 'Indian Queene,' a Dance, and 'Sawny will near be my Love.' ff. 21, 46, 66, 89. 12. A series of thirty-four pieces—apparently with alternative parts for 1st and 2nd violins or flutes—including 'Richmond Ball' (beg. 'Strike up'), 'Of noble [birth] was Shrinkin' [from Purcell's 'Richmond Heiress'], 'No, no poor suffering heart' [from Purcell's 'Cleomenes,' 1692], Affettuoso, Gigue, 'There was an old Woman,' 'O fie, what mean I' [ from J. Eccles' 'The Married Beau'], Purcell's 'Lilliburlero,' 'Let ye soldiers rejoyce' [from Purcell's Diocletian'], A Long voyage o,' 'Paspe' (? = Passepied), another Gigue, Aria (Affetuoso non troppo), Yee Nymphs and Sylvan Gods [from J. Eccles' 'Don Quixote'], 'Twas within a Furlong' [from Purcell's 'Mock Marriage'], 'If it is but a Woman, what care I,' and 'Epsom Wells' [by Paisable, before 1695]. ff. 21b, 46b, 66b, 89b.

passim. Arrangements for string instruments; beginning of the 18th cent., with later additions. Single parts. 1. 'Fill, kind Females.' [T.] Chilcot.' Violin iii, f. 51b. 2. Second violin of 'Come & (sic) live with me.' 'Chilcot.' Violin ii. f. 57 (reversed). 3. 'Concerti Grossi,' no. 12.' [Arcangelo] Corelli.' Bass-viol. f. 87b.

passim. Arrangements as suites for 2 trebles, tenor or bass, and harpsichord, of the following works; beginning of the 18th cent., etc.:— 1. 'Trumpet' sonata (allegro, Arias, Adagios, 'Eccho'). 'Nichola [Matteis']. ff. 2b (2nd violin), 25b (1st violin, 50b, 70b. 2. 'First and 2nd Musick' (sc. Prologue), overture and five tunes in the 'Wives Victory.' '[Godfrey] Finger.' ff. 4, 27, 52, 72.

ff. 33b-34b. Arrangement into two Lessons, apparently for violins, oboes, etc., of a Prologue, overture, two act-tunes, etc., by J. L[enton?]; beginning of the 18th cent. First (?) violin part.

ff. 64b, 65b (reversed). Arrangements for Violoncello of two Solos by [John] Festing, originally written for the Violin (op. 4); last quarter of the 18th cent.