Add MS 30392

ff. 3, 3b, 39b, 40b. Fugues for Organ or Pianoforte, by Dr. William Crotch. Autograph. What hand S. H. (whose initials appear on ff. 40 and 41) had in them does not appear. 1, 2. In C, and G minor; composed at Oxford in 1790. ff. 3, 3b. 3, 4. In B flat, composed at Bath in 1791. The second one is in pencil, ff. 39b, 40b.

ff. 4, 41b. Portions of two string Quartets, in score, by Dr. Crotch. Autograph.1. Slow movement and Allegro from Quartet for 2 violins, tenor and bass.The 1st movement was originally composed in June, 1788; but the present revision is dated Oxford, 8 Oct., 1790. f. 4. 2. A movement in D, in four parts, partly in pencil. f. 41b.

ff. 5b-17b. ‘Part of Messiah, a Sacred Eclogue, by Pope, set to music by W. Crotch,’ for solo voices and chorus, with accompaniments for 2 trumpets, 2 violins, viola, oboe, and bassoons, and a figured bass, in full score. Autograph. Begun ‘13 October‘ and ended ‘22 October,’ 1790.

ff. 17b-19b. Te Deum, for 4 voices, with figured bass, in score, by Dr. William Crotch, 1790. Autograph. Imperfect at the end.

ff. 19b, 49b-53, 78b. Sketches of compositions for Pianoforte or Harpsichord by W[illiam] C[rotch]. Autograph.1. Piece unnamed (fourteen bars), in C. At the beginning are the initials G. H. H. (?). f. 19b. 2. First movement, and beginning of second movement, of a piece in C, dated 9 March, 1795. f. 49b. 3. Andantino, forming apparently the opening movement of a Sonata in G, dated August, 1795. Preceded (at f. 51) by a composition originally intended for 3 instruments, but afterwards altered into the above Andantino. f. 52b. 4. First movement, a few bars of a Non troppo allegro, and other movements — probably for a Sonata. f. 78b.

ff. 19v-78. Fragments of Anthems, forming part of a sketch-book of compositions by Dr. William Crotch.1. 'How sweet are thy words,' for 3 voices. Ten bars only. At the beginning is written 'Glee Dr. Harrington — S. H.' This composition does not appear in any of the collections of vocal music by Dr. Henry Harrington, of Bath, though some of them contain 'glees' with sacred words. The initials S. H. occur again on ff. 40, and 41, and also in combination with Crotch's on f. 22b, apparently during a visit to Bath in the autumn of 1791 (see ff. 20b, 39b, etc.). f. 19b. 2. 'God is our hope,' for solo voices and 4-part chorus, with a bass for the organ, in score. 'May 1st, 1791.' The anthem, as far as f. 37, corresponds with the published edition, but the concluding duet and chorus are quite different. f. 30b. 3. Sketch of the anthem 'My God, my God, look upon me.' '12 March, '94.' Afterwards published with no. 2 in Ten Anthems. f. 46b. 4. Sketch of an anthem, 'O sing unto the Lord a new song [all the whole earth],' for solo voices and 5-part chorus, with accompaniments for flutes, bassoons and strings, in score. '22nd March, 1794, Oxford.' ff. 54b-78.

ff. 20-22b passim. Sketches of 3-part canons by Dr. William Crotch. 1791 (f. 22). Autograph.1. ‘Let all those that love Thy name.’ f. 20. 2, 3. Two settings of the words ‘Not unto us, O Lord.’ ff. 21, 22. 4. ‘O Lord, in thee have I trusted.’ f. 22b.

ff. 20b-22. Canons, mostly without words, apparently by Dr. William Crotch. Autograph. 1. 'Four in 1.' Dated in pencil, 1791. f. 20b. 2, 3. 'Three in 1.' f. 20b. 4. 'I laugh, I cry.' f. 21. 5, 6. Three in 1. ff. 21b, 22.

ff. 22b, 23. Three double Chants, for 4 voices, in score; the first two in the key of D, the third in D minor. By Dr. William Crotch. 1791. Autograph.

ff. 23b-30. 'Chorus to Humanity—Mason's Elfrida,' set by W. C[rotch] for 4 voices, with accompaniments for 2 flutes, 2 violins, viola, and bass, in full score. Begun 30 Oct. 1790, ended 25 May, 1791. Autograph.

f. 42b. Sketch of the opening movement of a sextet apparently intended for 5 strings and organ [by Dr. Crotch]. Circa 1791 (see f. 39b). Paper; 96 folios. 1790-1795. Quarto. At the beginning are diagrams showing the height of the spire of St. Mary's [Oxford], sent to W. Crotch by Mrs. Digby Mackworth.