Egerton MS 2741

ff. 1-131. Numbers from Operas by M. W. Balfe, mostly autograph, and in full score, the instrumental portions being written for flutes, oboes, clarinets, trumpets, horns, bassoons, trombones, ophicleides, drums, cymbals, and strings; 1858 (see f. 48), etc.. Several of the pieces are mere fragments. 1. Selection from 'La Bohémienne' [1869], including a scene (Guards and Gipsies), apparently from Act. ii, imperfect at the beginning, f. 1 {This should follow f. 33; it is part of the morceau d’ensmble} ; — a symphony in 2/4 time leading up to recitative, f. 7; — the stretta of the Finale to Act i (cf. Add MS 29336A, f. 68). f. 12;— a scene leading up to the duet in no. 14 (cf. Add MS 29336B, f. 132b). f. 19;— a few bars of introduction to the Chœur de la fête (cf. Add MS 29336A, f. 130). f. 25;— the air (la Reine), begins 'Cachons leur mes alarmes,' with pianoforte accompaniment (cf. Add MS 29336B, f. 135b). f. 28; — a sketch of a march, f. 30; — Morceau d'ensemble (Sarah, Stenio, Narcisse), begins 'Ciel, quel crime affreux,' apparently forming part of the finale to Act iv. f. 32. 2. A selection from 'La Zingara,' the Italian version of 'The Bohemian Girl,' including the beginning of a recitative and cavatina, begining 'A te l' addio,' sung by Gualtiero, London, Jan. 1858. ff. 36-48;— Act i, scene 6, begins 'Che avvenne mai,' Ballabile Scozzese, and part of Finale i. ff. 49-59b; — the prompter's copy of Yelva's aria, 'Di tanto eccesso,' followed by the score of the same. ff. 62, 67; — a scena romanza, 'Sempre torna il mio pensiero.' f. 88; — and scenas (Arline, etc.) leading up to the March and the Finale in Act ii. ff. 96, 100, 103. 3. 'Cracovienne,' from Act ii of an Opera, probably 'La Bohémienne.' f. 112. 4. 'Me felice: cavatina,' with pianoforte accompaniment, f. 124.

ff. 132-138. Valse in E?, by Balfe; about 1869 (watermark).