Add MS 37027

ff. 1, 56. Dramatic compositions, in score. 1. The music in the 'Tempest'; with oboe, flute ('traversa'), and strings. Acting copy, ff. 1-18. It includes the following numbers, all of which (with the exception noted below) appear, along with several others, in the only extant editions (Goodison's, etc., late 18th cent.), as by Henry Purcell: —'Where does the black Feind' (f. 1); 'Who are the Pillers of the Tyrant' (f. 2b); 'Arise, ye subterranean winds' [not Pietro Reggio's setting, of the year 1680] (f. 4); 'Come unto these yellow sands' (f. 7b); 'Full fathom five' (f. 8b); 'Kind fortune smiles' (f. 10); 'Dear, pretty youth' [published as H. Purcell's in 1695-1696] (f. 11); 'Great Neptune,' followed by the air, 'Fair and serene' (f. 12b); 'Halcion days' (f. 14); 'See, see! the Heavens smile' (f. 15b); and 'No stars again shall hurt you' (f. 16b); with an appendix (f. 18) containing the melodies of the following:— 'The Sa[i]lor's Dance — At 'Spirit's among us' ' [apparently unpublished], and 'The Devil's Grand Dance' [from the beginning of Act ii]. 2. The part of the High Priest, sung by Mr. [John] Beard (fl. 1736-1767), in the Sacrifice scene from 'The Royal Convert.' '[Daniel?] Purcell.' The words by N. Rowe, 1708. It includes the airs 'While thus we bow,' and 'All dismal sounds.' ff. 56-57.

ff. 19-31b. Motets for 2 voices, the first three with basses for harpsichord or organ, in score. [early 18th cent ]. Nos. 1 and 2 are by Carissimi; nos. 3-5 by André Campra, from his first book of Motets, published before 1700. 1. 'Cantabo Domino.' f. 19. 2. 'Exulta, gaude, filia Syon.' f . 21b. 3. 'Diligam Te, Domine.' f. 24b. 4. 'Tota pulchrar (sic) es, amica mea.' f . 28. 5. 'Laudabit usque ad mortem.' Imperfect at the end. f. 31b.

ff. 32-40b. Compositions for 2 (no. 5), 3, or 4 (no. 2) voices, in score. Anonymous. [early 18th cent ]. 1. 'Premeuo un giorno.' f. 32. 2. '... [e] se te sola [a]mai.' Imperfect at the beginning, f. 34. 3. 'Ecco, Filli'; with a bass, partly figured, f. 35b. 4. 'Vanne, mesto sospir '; with a bass part added for accompaniment, where the bass voice is not singing. f. 36b. 5. 'Tu pur mi fuggi, Clori '; with a bass for accompaniment, throughout. f. 38b.

ff. 40b, 52. Anthems, with basses (figured in no. 2) for organ, in score. [early 18th cent ]. 1. 'In guilty right' (à 3): described as 'A Paraphrase' (on 1 Sam., ch. 28, verses 8-20). ff. 40b-45b. 2. 'I am ye Resurrection' (à 4): funeral Anthem. 'Dr. Wm. Croft.' It is divided into seven parts, of which no. 6 ('Thou knowest, Lord, the secrets of our hearts') was 'Compos'd by Mr. Hen. Purcell for the Funeral of Queen Mary.' (The inscription on ff. 48, 49 is erroneous.) In a rather later hand than art. 1. Belonged to Edward Skilton. ff. 52-55.

ff. 45b, 46. Compositions for a single voice [by André Campra, from his first book of Motets, published before 1700]. 1. 'Paratum cor': the melody only. f. 45b. 2. 'In Te, Domine, spes unica'; with a bass partly figured. Arranged from the original 3-part setting. Unfinished, f. 46.

ff. 50-52. 'Psalm Tunes,' including, however, one (no. 5) which is always sung to the Athanasian Creed. [1st half of 18th cent.]. They are for 4 voices, in score; followed by a 'short'ned ' form of the bass, figured for the organ, with the figures expanded in a later hand. The names of the composers are added in pencil, in a still later hand. 1-3. In A. 'Dr. Christopher Gibbons,' 'Dr. William Turner,' and 'Henry Purcell.' f. 50. 4. 'The Grand Chant'; in C. '[Pelham] Humphries' (with the alternative ascription to 'Dr. Green'), f. 50b. 5. Another in C. 'Tallis.' ib. 6. In 'D-flat ' (sc. D minor).' '— Purcell.' ib. 7-9. Three anonymous chants, the first two in D minor, the last in D. f. 51. 10. In 'E. proper' (sc. E minor). 'Dr. John Blow.' f. 51b. 11. In 'F. proper' (sc. F). 'Attributed to Tallis, but A. Batten and Dr. Child have arranged the Chant.' ib. 12. In G. 'Henry Purcell.' ib. 13. 'Burial chant'; in G minor. 'Thomas Purcel.' f. 52.

f. 55b 'A Dirge for Funerals'; by Miss Steemson, Organist at Lancaster, about 1780.