Add MS 34608

passim. Extracts from Burney's History of Music, Morley's Introduction, etc., together with specimens of harmony and melody, in the hand of John Stafford Smith; 1785-1789.

passim. Common-place book of John Stafford Smith, containing, among other things, fragments of the following sacred compositions, which are (with one exception) anonymous; about 1785-1789. Unless the contrary is stated, only the melody is given. 1. 'Comfort the soul of thy servant,' with bass. f. 9b. 2. 'Rejoice in the Lord.' 'Barnard Gates.' f. 12. 3. 'Hold not thy tongue,' with figured bass. f. 21. Reversing the MS.: — 4. 'God, thou art . . .' f. 21b. 5. 'Man that is born.' f. 22. 6. 'Tell ye the daughters of Sion.' f. 22b. 7. 'Have pity upon me, ye my friends.' f. 31. 8. 'Against thee only have I sinned.' f. 31b.

passim. Fragments of Services in the hand of John Stafford Smith, probably intended as sketches for larger works; about 1785-1789. They consist of the melody only, except in no. 1, where a figured bass has been added. 1. 'Lord have mercy upon us,' in E flat. f. 14b. 2. Magnificat in C. f. 15. 3. Another, apparently in D. ff. 30b-29b (reversed).

passim. Compositions for 4 voices, in score, by [John] Dowland [from , 1597]; about 1785-1789. In the hand of J. Stafford Smith. 1. 'Awake, sweet love.' f. 3. 2. 'Burst forth, my tears.' f. 4b. 3. 'Come again, sweet love.' f. 6b. 4. 'Away with those self-loving lads.' Melody and bass only. f. 28 (reversed). 5. 'Would my conceit.' f. 30b (reversed). 6. 'All ye whome love.' f. 32 (reversed).

passim. Fragments of melody, in the hand of J. Stafford Smith, from the following dramatic compositions; about 1785-1789: — 1. 'King Lear' (Act i, sc. 7). Anonymous. f. 12. 2. 'Dragon of Wantley.' [1737.] 'Lampe.' f. 12. 3. 'Hydaspes.' [1710.] By P. Mancini. f. 12. 4. 'Come live with me'; from 'Love in a village.' Anonymous. f. 25 (reversed). {Air in 'Love in a village'. Apparently by the Elector of Saxony.} 5. 'Canaries': a dance, from 'Dioclesian,' apparently Henry Purcell's work of that name, 1690. f. 26b (reversed). 6. 'All in ye Downs' [from 'Blackeyed Susan,' 1720, by R. Leveridge]. f. 31b.

passim. Portions of the melodies of some songs, with a bass (unless the contrary is stated) for harpsichord; in the hand of J. Stafford Smith; about 1785-1789. 1. 'A shepherd in a shade'; from 'Ayres publish'd in 1644 to be accompanied by a Base-viol.' Anonymous. f. 7b. 2. 'My love hath vow'd.' By T. Campion [1601]. f. 32b (reversing the volume). 3. 'Fair Sally lov'd.' Melody only. Imperfect. Anonymous. f. 31b. 4. 'Loose (sic) no time.' Anonymous. f. 29. 5. 'And would you see my mistress face.' By Philip Rosseter [1601]. f. 28b. {6. 'Come live with me'. Anonymous. f. 25.}

f. 11b. Canon for 4 voices, in score, without words, by [Francesco] Turini, Brescia, 1643; about 1789. From Burney's , vol. iii, 1789.

f. 16b (reversed). 'Best instructor‘: an ‘inversion of the German hymn‘ taken from Ps. xix, in the hand of J. Stafford Smith; about 1785-1789. Melody and bass only.

f. 21b. The first few bars of the melody of the following Motets by Orlandus Lassus, 1571 ; about 1785-1789: — 1. 'Confide et ama.’ 2. ‘Lazare, veni foras.’ 3. ‘Vanitas vanitatum.’

f. 24 (reversed). 'O Love, beseeming well'; for 3 voices, in score, by John Amner; about 1785-1789. From Sacred Hymns, 1615.

f. 24b. Short extracts from 'E. Jones's Welch airs. 1783. Anct.' In the hand of J. Stafford Smith; about 1785-1789.

f. 25b (reversed). 'Neapolitan air play'd in the streets [at] Wilton.' In the hand of J. Stafford Smith; about 1785-1789.

f. 27b. ‘Praise God upon ye Lute ‘; for 3 voices, in score, by [John] Dowland, 1600; about 1785-1789.

f. 33b (reversed). 'When Troy town had for ten years past'; for 4 voices, in score, in the hand, and probably the composition, of J. Stafford Smith; about 1785-1789.