Add MS 30951

Passim. Songs chiefly from Dibdin's musical dramas. In score. Unless the contrary is stated, the accompaniments are for horns, oboes, and strings.1. 'About, about, about! We'll take the Bantling out'; with flutes, etc. f. 1. 2. 'Adam, of being single weary': duet with bass [from 'The Shepherd's Artifice,' 1763]. f. 4. 3. 'A famous old hunter' [? from 'The Round Robin,' 1811]. f. 11. 4. 'A Frenchman's Grimace.' f. 13b. 5. 'Ah, when from this detested shore'; with flutes, horns, etc. [From 'Hassan.'] f. 17. 6. 'All sorrows are for ever gone' [from 'The Regatta']. f. 22. 7. 'Although I make no fuss' [from 'Harvest Home,' 1787]. f. 25. 8. 'And now, good master Sonnet': recitative with bass [from 'Long Odds,' 1782]. f. 31. 9. 'An Englishman, his heart sincere'; with clarinets, horns, etc. [From 'Hassan.'] ff. 32b, 34. 10. 'An Englishman may turn'; with bassoons, etc. f. 36. 11. 'A Plague on such mischievous Fellows.' f. 42b. 12, 13. 'A drop of milk.' Two settings [? from 'The Regatta']. ff. 44, 46b. 14. 'The air is fresh': duet with bass. f. 47b. 15. 'A sailor's love'; with bass. [From 'The Benevolent Tar,' 1782.] Followed by a sketch of a song begins 'Touch the hasp.' f. 48b. 16. 'What argufies pride' [from the same work]. f. 50. 17. Air (Milpah), begins 'A soldier once married a Beauty.' f. 55. 18. 'A vagrant leaf' [from 'The Regatta']. f. 61. 19. 'Away with fear'; without horns. [From 'The Villain.'] f. 67. 20. 'Ay, ay. Master Serjeant.' f. 77. 21. 'Love's a fire': recit. and air [from 'Long Odds']. f. 87. 22. 'This magic Belt': recit. and air; with flutes, etc. [From 'Hassan.'] {From 'Hassan' is striken through} {Incomplete.} f. 92. 23. 'Young Cupid'; with a bass only. [From 'The Regatta.'] f. 98, 24. Beginning of overture to 'Lovely Nancy,' or 'The Miller's Grist.' f. 100b (reversed). 25. Scene (Alice, Top G., Cicely, and Marlinspike), begins 'But there are other things'; with a bass. [From 'The Benevolent Tar, 1782.'] f. 116. 26. 'Chairs to mend' [from 'Tom Thumb,' 1782]. f. 119. 27-29. Three short choruses: 'Prepare the dance,' 'Propitious be this day,' and 'In sprightly notes'; with flutes, bassoons, etc. From a piece probably named 'Anthony and Cleopatra.' ff. 122, 123b, 125. 30. 'Come, gentle Hope'; with flutes, etc. f. 136b. 31. 'Come on and seize the trembling fair': chorus. f. 138. 32. Scene (Patty, Civet, and Bellows), begins 'This pail of milk'; with flutes, bassoons, etc. f. 140. 33. 'Come to my arms'; without horns. [From 'The Cottage.'] f. 144. 34. 'Troth, I shall have a woundy loss': scene and air with strings only [from 'Long Odds ']. f. 148. 35. 'Curate Ap Hugh': recitative with a bass [?from 'Liberty Hall,' 1784]. f. 151. 36. Air (Fanchette), begins 'Dans un Verger'; from the 'Tonnelier' [by N. Isouard]. f. 152. 37. 'Did not we run him hard': trio with bass [from 'The Round Robin,' 1811]. f. 156. 38. Duet, 'Deign, deign, ye powers above'; with oboes and strings. f. 158. 39, 40. Portions of two scenes (Exotic and Volatile), begins 'Don't so take on,' and 'Fine nonsense.' ff. 164, 187. 41. Air (Bellows), begins 'For all the world like unto this' (cf. no. 32). f. 188, 42, 'From henceforth wedded to my farm': duet. Imperfect at the beginning. f. 194.

Passim. Songs, etc., from Table-Entertainments, by Charles Dibdin. The accompaniments are for pianoforte, violin, and two flutes, in most cases, in score. Autograph. Many of them are imperfect1.'Old Mary.' [From 'A Tour to the Land's End,' 1798.] f. 7. 2. 'Their risible muscles.' [From 'The Sphinx,' 1797-1798.] f. 19. 3. 'Though mountains high the billows roll.' [From the same.] f. 20. 4. 'Mat Mudge.' [From 'The Cakehouse,' 1800.] f. 88. 5. 'Why, Jack, my fine fellow.' [From 'The Sphinx.'] f. 52. 6. 'Jack dances and sings'; with a flute part. [From 'The Wags.'] f. 59. 7. 'When Winifred 's gone far away'; without flutes. [From 'The Quizzes,' 1791.] f. 71. 8. 'Since united we are.' From 'Britons, strike home ' [1803]. Followed by the printed libretto, f. 73. 9. 'Of all the lives that ever was lived.' [From 'Tom Wilkins,' 1799.] f. 101. 10. 'Britannia's name'; with pianoforte only. [From 'Rent-day,' 1808.] f. 104b. 11. ''Tis allowed the world over.' [From 'The Professional Volunteers,' 1808.] f. 106. 12. 'If the good old maxim['s] true.' [From 'The Cake-house.'] f. 107b. 13. 'An Irishman's tongue.' [From 'Tom Wilkins.'] f. 111. 14. 'Did you ever hear of Captain Wattle.' [From 'The Sphinx.'] f. 117. 15. 'Say, Soldier, which of Glory's charms'; without flutes. [From 'Great News,' 1795.] f. 127. 16. 'The Christmas Gambols ' [1795]: finale (sung by three performers), begins 'Come, all who love'; without flutes, f. 130. 17. 'Elfin Filma, hither trip.' [From 'Datchet Mead,' 1797.] f. 154. 18. 'Ingenious bards.' [From 'Tom Wilkins.'] f. 160. 19. 'Don't you know that Pythagoras.' f. 166. 20. 'Again the willing trump of fame.' [From 'The Sphinx.'] f. 168. 21. 'The wind blew hard'; with 2 flutes or violins and guitar. [From 'The Oddities.'] f. 174. 22. 'What victims are lovers'; with pianoforte only. [From 'Heads or Tails,' 1805.] f. 176b. 23. 'Farmer Sod.' f. 180b. 24. 'Mother were dead.' [From 'A Frisk,' 1801.] f. 182. 25. 'Says my father, says he.' [From 'Castles in the air,' 1793.] f. 183. 26. 'What charm adds sweetest grace'; without flutes. [From 'The Cake-house.'] f. 185. 27. 'All ye who Britons bear the name.' [From 'The Sphinx.'] f. 192.

Passim. Songs, generally with a bass only for pianoforte or harpsichord, by Charles Dibdin. Autograph. 1. 'A Touch at the Iron Crown,' begins 'Why, they've got it at last.' [1805.] f. 57b. 2. 'Bonny Kitty,' begins 'When last from the Straits.' f. 99b. 3. 'Crazy Kate,' begins 'Alas, poor Kate.' Words by [Thomas] Moore, f. 150. 4. 'Emma,' begins 'Never was there tale of woe.' Two copies, ff. 170, 171. 5. 'Ere raging seas between us roll'; with oboes, horns, bassoons, and strings. Sung by [Charles Benjamin] Incledon, at Vauxhall. f. 173. 6. 'Fraternal Affection,' begins 'You ask me what pleasure.' [In .'] f. 190b.

ff. 46, 190. Two short 'Lessons' for Pianoforte or Harpsichord, by Charles Dibdin [from The Musical Mentor, pp. 5, 13]. Autograph.

ff. 94-97. 'Begone, disperse like air': fragment with a bass and accompaniments for two flutes, in score, by Charles Dibdin. Autograph. [From the Ode 'in Honour of the Nuptials of the Prince and Princess of Wales,' 1795.]

f. 191b. 'A Beggar saw three boys at play'; with a bass for harpsichord or pianoforte, by Charles Dibdin. Autograph. From [1805?], p. 16.