Add MS 11608

passim. Duets and dialogues, the latter with a bass, in score. 1. Dialogue (Strephon and Daphne), begins 'Come, my Daphne.' 'William Lawes.' f. 2. 2. Another (treble and bass), begins 'What if I dye.' By the same, f. 7b. 3. 'Come, Cloris; hye wee to ye Bower.' 'Henry Lawes.' f. 8b. 4. Dialogue (Phyllis and Strephon), begins 'Shepherd, in faith I cannot stay.' 'Nicholas Laneir.' f. 9b. 5. Another (Hobson and Charon), begins 'Charon, come hither.' Imperfect at the end. 'Jo. Hilton.' f. 13b. 6. Another (Nymph and shepherd), begins 'Tell me. Shepherd.' 'Nicholas Laneir.' The grace-notes at the end are by — Gibbons, f. 18b. 7. Another (Phyllis and Clorillo), begins ' I prethy, keepe my sheepe.' By the same. f. 33. 8. 'Arise, arise, fair sun.' 'Jo. Hilton.' f. 34b. 9. 'O my Clarissa.' 'Wm. Lawes.' f. 58b. 10. 'When first I gaz'd on Cœlia's face'; the air by 'John Hilton, 1656'; the bass apparently by T. C., who appears to have transcribed the greater part of the volume in 1659, and is responsible also for the addition made in nos. 11-13. f. 70. 11. 'Goe, faire Inchantresse'; the air by 'Hen. Lawes,' with a bass added, f. 72. 12. Dialogue (Strephon and Colin), begins 'Colin, say, why sitst thou soe?' 'Nicholas Laneir.' A 3-part chorus has been added, f. 73. 13. 'Alas, poore Cupid'; the air by Henry Lawes, with a bass added. f. 75.

passim. Songs, almost all accompanied by a bass, in score; from a collection of vocal compositions, made apparently by T. C, who has frequently added bass parts, grace-notes, etc. 1. 'Mistake mee not.' 'Tho. Brewer.' f. 3b. 2. 'If that I for thy sweet sake.' 'John Hilton.' f. 4. 3. 'England, once Europ's envye '; with a 2-part chorus at the end. By the same, f. 4b. 4. 'How ill doth hee deserve a lovers name.' 'Henry Lawes.' f. 7. 5. 'Hither wee come into this world of woe.' By the same. f. 9. 6. 'Amarillis by a springe.' By the same. f. 10b. 7. 'Swift through ye yielding Ayre.' By the same, f. 11b. 8. 'Sett to the sun.' 'Simon Ives.' f. 12b. 9. 'With endles[s] teares.' 'Robert Johnson.' f. 15. 10. 'Woods, Rocks, and Mountaynes.' By the same. f. 15b. 11. 'Do not expect to heare of all your good at once.' 'Nicholas Laneir.' f. 17b. 12. 'Wilt thou bee gon, thou h[e]artless man.' 'Charles Coleman.' f. 20b. 13. 'When cruell tyme'; with second part, 'Whie by such a brittle stone.' 'Dr. John Wilson.' f. 21b. 14. 'What teares, deere Prince'; apparently written on the death of Henry, Prince of Wales. 'Robert Ramsey.' f. 26. 15. 'Cloris sigh'd.' 'Balls.' f. 26b. 16. 'Qual musico gentil.' 'Nicholas Laneir.' f. 27b. 17. 'Marke how ye blushful Morne.' The meaning of the words 'By his Majesty,' which appear at the beginning, is not clear. No explanation is given in , Book ii, 1669, where the song is attributed to N. Lanier. The words are by T. Carew. f. 28. 18. 'Come, sylent night.' 'Dr. Jo. Wilson.' f. 28b. 19. 'If I dye, bee this my will.' By the same. f. 29b. 20. 'Sylly hart, forbeare.' 'Nicholas Laneir.' f. 32b. 21. 'O that mine Eyes could melt.' 'Tho. Brewer.' f.45b. 22. 'Well, well, tis true.' 'Jo. Hilton.' f. 51. 23. 'The parcht Earth drinkes the Raine.' 'Dr. Charles Coleman.' f. 51b. {Bass voice part only.} 24. 'Yee violetts, that first appeare.' 'John Hilton.' f. 52. 25. 'Yee meaner beauties of the night.' Anonymous, with bass by 'T. C.' f. 52b. 26. 'Victoria, il mio cor'; without a bass. By G. Carissimi. f. 54b. 27. 'If thou wilt love me.' Anonymous, f. 55b (reversed). 28. 'Take, O take those Lippes away.' 'Dr. Wilson.' f. 56. 29. 'I'le wish noe more.' 'Nich. Lanier.' f. 57. 30. 'Howe happie art thou and I.' By H. Lawes (?). f.57b. 31. 'Se voi Luci.' Anonymous, f . 60. 32. ''Coelia': a Lovesong,' begins 'No more shall meades.' By 'Nicholas Lanier' (see no. 47). f. 61. 33. 'Per doglia infinita.' Anonymous. f. 62. 34. 'What means this strangnes.' 'T. Blagrave.' {F. T. Blagrave.} f. 63. 35. 'Luce de mi' Alma.' The treble 'as Mr. Thorpe sung it,' the bass by 'T. C.' f. 63b. 36. 'Love is the Sunne it selfe.' 'John Hilton,' 1656. The date, 1641, at the beginning, appears to be that of the dedication of the words to Sidney Bere. f. 64. 37. 'Con più graditi (sic) voce'; without a bass. Anonymous, f. 65. 38. 'Love and I of late did parte.' 'Nich. Lanier.' f. 69. 89. 'He that loves a rosie cheeke.' By Henry Lawes [1653]. f. 69b. 40. 'When first I gaz'd on Cœlia's face.' 'John Hilton,' 1656. f. 70. 41, 42. 'O, now I finde 'tis nought but fate'; followed by another song to the same words and melody, with a bass by T. C. 'Henrie Lawes.' These two and no. 43 were originally ascribed to Francis Smith, ff. 70b, 71. 43. 'Goe, faire Inchantresse.' 'Hen. Lawes.' f. 72. 44. 'See, Cloris, see.' By the same [1658]. f. 74. 45. 'Will Cloris cast her sunbright Eye.' ' Simon Ives.' An air closely resembling this is attributed in , 1669, to J. Goodgroome. A third part has been added by 'T. C.' f. 74b. 46. 'Alas, poore Cupid.' 'Hen. Lawes.' f. 75. 47. 'Noe more shall meades be deckt ': another version of no. 32. The air is by 'Nich. Lanier,' with bass by 'T. C.' The close of the third verse is given ' as Mr. Elliston sings it.' f. 75b. 48. 'Shee that is faire.' 'Hen. Lawes.' f. 77b. 49. 'Beauties, have you seen a Toy.' Apparently altered by 'T. C.' from the trio on f. 81. f. 80b.

ff. 16, 18, 20, 35b. Incidental music, etc., with figured bass, in score. 1 . 'Care-charminge sleepe'; the words from Fletcher's 'Valentinian,' produced before March, 1619. 'Robert Johnson.' f. 16b. 2. 'Newly from a Poatch't Toad': described as 'Oberon (or) the Madman's songe. Sung in a Comedy at Cambridge before ye King and Queene by ye Author.' 'Thomas Holmes.' f. 18. 3. ' 'Tis late and cold': described as 'Myne Ost's songe' in Fletcher's 'Mad Lover' (sc. 'Lover's Progress'), produced before March, 1619 {after 1615}. 'Robt. Johnson.' f. 20. 4. 'Rise, Princely Shepherd': dialogue between Juno, Venus, Pallas and Paris, consisting of solos and quartets. 'Jo. Hilton.' f. 35b.

ff. 23v-50. Anthems, etc., for 3 voices (unless the contrary is stated), with a bass. Nos. 2-6 are by John Hilton; nos. 4-6 consist of 1st treble with basso continuo in score, and separate 2nd treble and bass parts. 1. 'A Dialogue betweene (1) Saul, (2) the witch of Endor and (3) Samuell's Ghost,' beginning 'In guiltie night,' in score. 'Ro. Ramsey.' f. 23b. 2. 'A Dialogue of King Solomon and the 2 harlotts,' beginning 'When Israell's sweet synger slept.' f. 39b. 3. 'The Dialogue of Job: God, Satan, Job's wife and ye messingers,' beginning 'Amongst my Children dares ye feind appeare. f. 42b. 4. 'The wayes of Zyon doe mourne.' f. 47b. 5. 'The precious sons of Zyon.' f. 48b. 6. 'The breath of our nostrills.' f. 49b.

ff. 30b, 31b. Two duets, with bass for harpsichord or organ, generally in unison with the vocal bass, in score, by Rich[ard] Deeringe. 1. ‘Justus cor suum tradidit.’ f. 30b. 2. ‘Ardens est cor meum.’ f. 31b.

f. 45b. 'O that mine eyes could melt'; with a bass, in score. By Thomas Brewer.

f. 46b. 'Gloria Patri‘ for 3 voices, in parts, by Richard Deeringe.

ff. 53b-83 passim. Part-music (à 3) by English composers of the first half of the 17th century. Nos. 2 and 4 are in score; the others, in parts. 1. 'What though the Zealots pull downe the Prelates.' f. 53b. 2. 'Ho, the Broome.' f. 55. 3. 'Younge and simple though I am.' 1st treble wanting. 'Nicholas Lanier.' f. 58. 4. 'O my Clarissa.' 'Wm. Lawes.' f. 59. 5. 'From the faire Lavinian shore.' 'Dr. John Wilson.' f. 66b. 6. 'Bound by the neare conjunction of our soules': elegy on William Lawes. 'Jo. Hilton.' f. 83 (reversed).

ff. 67b, 81. Compositions for 3 voices, by Englishmen of the 17th century. 1. 'Tyrant Cupid, I'le appeale from thee': trio, in parts. 'Dr John Wilson. f. 67b. 2. 'Beauties, have yee scene a Toy called Love'; in score. By Henry Lawes [1655]. f. 81.

f. 85b (reversed). Two Canons for 3 voices. 1. 'I am so weary' ('5th below and 4th above '). By Thomas Ford (?). 2. 'VT REleuet MIserum FAtum SOLitumque LAborem' ('5th above and 4th belowe, rising a note'). 'Jo. Hilton.'

ff. 85b, 86 (reversed). Canons for 3 voices, written out at length. 1. ‘Ora et labora‘ (‘5th above and 4th below, rising a note.’) ‘J. H[ilton].’f. 85b (for another copy, in score, see f. 39). 2. ‘Hast thee, ô lord, make hast’ (catch). ‘Tho. Ford.’ f. 86. 3. ‘My soule, ô lord, shall trust in thee‘ (in the unison). ‘Jo. Hilton.’ f. 86.