Add MS 34610

ff. 2-14b. Three Motets for 2 voices, the first two with accompaniments for 2 violins and bassetto, and a figured bass, the third with figured bass only, in score, by Giacomo Battistini (op. 2); 18th cent. 1. ‘Cœli stellæ luminosæ.’ f. 2. 2. ‘Duræ spinæ, de terra perite.’ f. 7. 3. ‘Maria, nomen gratum.’ f. 12.

f. 15. 'Quasi Rosa in Aprile ridens': motet for treble voice, with accompaniments for 2 violins and a figured bass, in score, by Giacomo Battistini (op. 2); 18th cent.

ff. 19, 26. Two full Anthems, for 4 voices, in score, in the hand of William Walond, organist of Chichester Cathedral (see f. 22); late 18th cent. 1. 'To God belong[s] th' eternal Sway' (Psalm 97), with figured bass for the organ. '[W.] Walond.' f. 20b. 2. 'Why art thou so vexed, my Soul.' 'R[obert] Shenton.' The name of Corelli appears at the top of f. 27 (? as composer of the melody). f. 26

ff. 22-25b. Chants, some with the harmonies written out, others with the melody and a figured bass only, by William Walond, organist of Chichester Cathedral; late 18th cent. Autograph, in the same had as ff. 19, 26. They are all double Chants, unless the contrary is stated. 1, 2. In B flat — possibly a quadruple chant, f. 22. 3. A single chant in E flat. f. 22. 4. In A. f. 22. 5. In D. f. 22. 6. In C. f. 22. 7. Apparently a quadruple chant beginning in E flat major and ending minor, ff. 22b, 24. 8. In B. f. 22b. 9. In F. f. 22b. 10. In C. f. 22b. 11. In E. f. 22b. 12. In F minor. (See also f. 24.) f. 23. 13. In E. f. 23. 14. In D. f. 23. 15. In F minor. 16. In G minor. 17. In C. f. 25. 18. Single chant in E. f. 25. 19, 20. In E. f. 25. 21. In C. f. 25. 22. In C minor, f. 25. 23. In F. f. 25. 24. In G. f. 25. 25. In E minor, f. 25. 26. In B flat. f. 25. 27. In B minor, f. 25b. 28. In B flat. f. 25b. 29. In A. f. 25b. 30. In B flat. f. 25b. 31. In A minor, f. 25b. 32. In C. f. 25b. 33. In E. f. 25b. 34. In C. f. 25b. 35. In E flat. f. 25b. 36. In F. f. 25b.

ff. 31-34, 37-40 passim. Madrigal, 'For of al creatures that ever were gote'; for 4 voices, in score, by Matthew Cooke, organist of St. George's, Bloomsbury; 1812. Autograph. The words are taken from Chaucer's 'A Praise of Women.' On ff. 37, 38, 39 and 40 are the single voice parts.

ff. 35, 37-40b passim. 'Retirement': a serious glee for 4 voices, begins 'To these lov'd shades,' by Matthew Cooke; about 1812 (see ff. 31, 32). Autograph. In score (f. 35), followed by the single parts (ff. 37b, 38b, 39b and 40b).

f. 41b. Arrangement for pianoforte (or compressed score), of the solo and chorus, 'Holy, Holy, Holy,' from 'The Last Judgment,' by Louis Spohr. Dated Cassel, 11 Jan., 1827. Autograph; 1827.