Add MS 30952

Passim. Songs chiefly from Dibdin's musical dramas. In score. Unless the contrary is stated, the accompaniments are for horns, oboes, and strings.1. 'Goblin, Elf and Spright'; with trumpets, etc. f. 3. 2. 'Good Massa Lieutenant'; without horns. [From 'The Round Robin,' 1811.] f. 6. 3. Air (Alcmena), begins 'Go, treacherous man'; without horns, f. 9. 4. 'Hail, Britan[n]ia.' f. 15. 5. 'Hark, forward! See, Reynard is started'; with clarinets, etc. f. 19. 6. 'Hark, hark! The martial trumpets sound'; with bassoons, etc. f. 23. 7. 'Help, help here! Hold, Sir': recitative with bass. f. 28. 8. 'Hence with sorrow.' f. 30. 9, 10. Recitatives:— 'Here comes my Datur,' and 'Here, Molly'; with a bass. [From 'Long Odds,' 1782.] ff. 32, 33. 11. 'Here sleeps in peace.' [From 'The Shepherdess of the Alps,' 1780.] f. 34. 12. 'How could you write such horrid trash': recitative with bass [from 'Long Odds']. f. 43. 13. Air (Ego), begins 'If I was a king.' f. 48. 14. 'If the weather is foul': air without horns [from 'The Round Robin,' 1811]. f. 50. 15. 'If wayward grief falls to my share' [from the same]. f. 53. 16. 'If, when I sobbed, 'twas grief'; without horns. [From 'Hassan.'] f. 56. 17, 18. 'I go, equipped in strongest armour,' and 'I knew what I did.' [From 'The Cottage.'] ff. 59, 62. 19. Air (Lady Lyric), begins 'Il faut aimer.' f. 65. 20. Air (Mime), begins 'I'm larger than the universe'; with bassoons, etc. f. 67. 21. 'In Paris, as in London.' [From 'Tom Thumb,' 1782.] f. 71. 22. 'In summer's cool shade'; for 4 voices, with flutes, clarinets, bassoons, etc. f. 75. 23. 'I nurse Estates'; apparently the second verse. f. 88. 24. 'In war-time.' f. 90. 25. Trio (Villars, Marcella, Polly), begins 'I prithee, come, stay'; without horns. f. 92. 26. Air (Commodore), begins 'I sailed in a tight little schooner.' f. 98. 27. 'I shiver, I shake.' f. 101. 28. Air (Compass), begins 'Is it not courage' [from 'The Cottage']. f. 102. 29. 'He's poor as Job'; with strings only: recit. and air [from 'Long Odds']. f. 105. 30. 'I've known what 'tis to face the foe'; with bassoons, etc. f. 107. 31. Air (Jonathan), begins 'I've serv'd my king.' Probably from the same work as no. 25. f. 109. 32. Air (Severity), begins 'I would not let you love yon fair.' f. 112. 33. 'Of Familiars you've heard'; with violin and flutes. From 'The Lancashire Witches' [1782]. f. 125. 34. Symphony, with clarinets, etc., and recitatives; from the same work. f. 127. 35. 'Look at the world'; with bassoons, etc. [From 'The Cottage.'] f.135. 36. 'Loud shall the trumpet sound'; with trumpets, etc. [From the same work.] f. 141. 37. Air (Fairy), begins 'Magnanimous Madam Hazard.' f. 162. 38. 'Man hectors and commands' [from 'Hassan ']. f. 165. 39. 'Molly Mizen' [from 'The Cottage ']. f. 170. 40. Air (Hawl), begins 'Sweet Molly Mizen'; without horns. [From 'The Round Robin.'] f. 172. 41. 'My dearest friend, I trust'; without horns. [From 'The Villain.'] f. 177. 42. 'My hearty, thou shalt take repose': recitative with bass [from 'The Benevolent Tar,' 1782]. f. 179.

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. 'It blew great guns.' [From 'Professional Volunteers.'] f. 1b. 2. 'Adieu, sweet home.' f. 5. 3. ''Twas one morning in May'; without flutes. [From 'King and Queen,' 1799.] f. 13. 4. 'Hark, hark, of War the dreadful clangour.' [From 'Tom Wilkins.'] f. 21. 5. 'Scarce come to London.' [From 'The Cake-house.'] f. 36. 6. 'Be it known to all'; without flutes. [From 'The Whim of the Moment.'] f. 41b. 7. 'Say, as her grief thou bid'st her dry': Recitative and Air, without flutes, f. 44. 8. 'Armed with Jav'lin'; without flutes. [From 'The Whim of the Moment.'] f. 69. 9. 'Ah, when will, alas, my poor bosom be calm.' f. 73b. 10. 'I love to be good': words of verse 2 of a song, with the accompaniment, f. 81. 11. 'In this house they are talking from morning to night'; without flutes. [From 'A Frisk.'] f. 83b. 12. 'Mighty love, our hopes beguiling'; without flutes, f. 86b. 13. '... A splinter queer'd my larboard gum.' f. 114. 14. 'We tars are all for fun.' [From 'The Cake-house.'] f. 115b. 15. 'At Wapping I landed.' [From 'A Frisk.'] f. 116. 16. 'If ever a sailor was fond of good sport.' [From 'Castles in the air.'] f. 119. 17. 'I'm jolly Dick, the Lamplighter'; with guitar and flute. [From 'The Oddities.'] f. 123b. 18. 'To prove pleasure but pain.' [From 'The Tour to the Land's End.'] f. 128. 19. 'I shew, you see, the sl[e]ight of hand'; with bass only. [From 'Tom Wilkins.'] f. 132. 20. 'Let others drain the flowing bowl.' f. 134. 21. 'Her form was celestial'; without flutes. [From 'A Frisk.'] f. 139. 22. 'A woman grown.' [From 'The Cake-house.'] f. 146b. 23. 'The Poet says that love's like fire.' [From 'The Will o' the Wisp,' 1795.] f. 148. 24. ''Tis said that love.' [From 'The Sphinx.'] f. 150. 25. 26. 'Thou knowest, my dear Lumkin,' and 'Oh, to hand, reef and steer.' [From 'Professional Volunteers.'] ff. 151b, 153b. 27. 'Madam Vandercrout.' [From 'Tom Wilkins.'] f. 155. 28. ''When once the din of war's begun'; without flutes. [From 'The Tour to the Land's End.'] f. 158. 29. 30. 'Ye maids and ye bachelors' (without flutes), and 'Noted for lasses, kind and sweet.' [From 'The Sphinx.'] n. 164, 169. 31. 'Two real Tars.' [From 'The Wags.'] f. 175. 32. 'My love's a vessel, trim and gay.' [From 'The Cake-house.'] f. 180. 33. 'You ask how it comes.' [From 'The Tour to the Land's End.']. f. 184. 34. 'Mayhap you have heard.' [From 'The Sphinx.'] f. 188. 35. 'Though pleasure 's easily defin'd.' [From 'Castles in the air.'] f. 190. 36. 'Let swabs with their vows.' [From 'Tom Wilkins.'] f. 192.

ff. 17b-46. Recitatives and airs, 'Hail, lovely wonder,' and 'In gliding measure,' with accompaniments for a flute(?) and pianoforte, in score [from the Ode as above. Add MS 30951], by Charles Dibdin. Autograph. About 1795.

f. 25. Short march in C for a military band (horns, oboes or clarinets, bassoons, and trombones), in score, by Charles Dibdin. Autograph.

ff. 26b, 39, 117. Songs with a bass for pianoforte or harpsichord, in score, by Charles Dibdin. Autograph. 1. 'Heaven upon Earth,' begins 'Gay Bacchus and Mercury.' f. 26b. 2. 'History of the Fashions,' begins 'I'm a beau.' f. 39. 3. 'Jack had been a voyage.' f. 117.

f. 74b. 'Which is the sweetest time of day'; with a bass for harpsichord or pianoforte, in score, by Charles Dibdin. Autograph. From , p. 92.

f. 81b; 30953. f. 197b. Examples of 'Common time cut in two,' etc., in the hand of Charles Dibdin. From The Musical Mentor, p. 64.

f. 87b. 'A loud thanksgiving let us pay‘: Grace after dinner, for 2 voices, with a bass for harpsichord or pianoforte, in score, by Charles Dibdin. Autograph. About 1803 (watermark).