R.M.20.d.9

Italian words are added throughout, sometimes in pencil, with altered notes to fit the Italian text. At end a folio ruled with stave but otherwise blank (f. 48a).

Points of note:

1. f. 1. ‘Largo assai’. Several bars are cancelled (in pencil) between bars 2 and 3, line 3 of H-G., p.1.

2. f. 2. ‘The Anthem at the Queens [sic] Caroline’s Funeral’. ‘The ways of Zion do mourn’.

3. f. 3v. A cut is marked (in pencil) from the end of bar 1, line 2 of H-G., p. 4, to the beginning of bar 1, line 1 of p. 10. The passage cut has no Italian text.

4. f. 15. ‘When the ear heard her’ (H-G., p. 25). No solo passages are marked in the MS.

5. f. 19v. ‘She deliver’d the poor’. (H-G., p. 32). ‘She’ has been crossed out throughout, and ‘They’ written.

6. f. 36v. ‘But their name liveth’. No accompaniment is written from H-G., p. 59, line 2, end of bar 4, to the double bar (p. 60). Only the Bass (voice and Continuo) are written from H-G., p. 60, line 1, end of bar 3. to the last bar but one of the same page.

7. f. 38. ‘And the congregation’ (H-G., p. 65). No accompaniment (excepting the figured bass) is written down to the Adagio (p. 68). This number has no Italian text.

8. f. 40v. ‘They shall receive’. No solos are marked and there is no Italian text. Both in the instrumental Introduction and closing bars are made in pencil which agree with the readings in H-G.

9. f. 48v. ‘S.D.G. G.F. Handel London Decembr 12. 1737’.