Add MS 30953

Passim. Songs chiefly from Dibdin's musical dramas. In score. Unless the contrary is stated, the accompaniments are for horns, oboes, and strings.1. 'Ne'er till this instant'; with clarinets, etc. [from 'The Round Robin']. f. 4. 2. Duet (Belmot and Marcella), begins 'No flame that beauty's power can raise'; with flutes, etc. f. 11. 3. 'A Plague of those musty old lubbers' [from 'The Benevolent Tar']. f. 23. 4, 5. 'Of discipline.' Two versions, the first with bassoon, etc. [from 'The Round Robin ']. ff. 34, 36. 6, 7. 'Oh cruel war,' and 'Oh if a trace of honour lives.' [From 'The Cottage.'] ff. 39, 44. 8. 'Oh leave me in Pity'; without horns. f. 47. 9. 'Oh wretched day'; with flutes, bassoons, etc. [From 'Hassan.'] f. 53. 10. 'Oh you that bathe in Courtly Bliss.' f. 57. 11. 'Oh Love, cruel Love'; with strings only. f. 62. 12. 'One mountain neger.' Two copies, the first with pianoforte, the second with orchestra but without horns. [From 'The Cottage,' afterwards introduced into 'The Round Robin.'] ff. 64b, 66. 13. 'On that spot I will raise a fair Shrine.' f. 69b. 14. Recitatives (Civet and Bellows) and air, 'Sweet ditties'; with bassoons, etc. (cf. Add MS 30951, f. 140, etc.) ff. 72, 72b. 15. 'Sweet peace, that kindly sheds around'; with clarinets, bassoons, etc. [Afterwards introduced into 'Britons, strike home.'] f. 74. 16. 'The girl of girls was Peggy Taylor.' f. 78. 17. 'And did you hear what sad disaster'; without horns. [From 'Long Odds.'] f. 99. 18. 'Shall I? The thought transports me.' [From the same.] f. 121. 19. Air (Old Cloathsman), begins 'Since dress alone marks each degree'; without horns. f. 129. 20. Finale (Lady Bloomingdale, Belmot, Marcella, Villars, Polly, Jonathan, etc.), begins 'Since thus my fate's inclined' (cf. above, no. 2, and Add MS 30952, no. 25). f. 133. 21. 'So flies, like us, the timid hare'; without horns. [From 'The Cottage.'] f. 144. 22. 'Such fame can never pass away'; with clarinets, bassoons, etc. f. 153. 23. 'Sweet was my bliss' [from 'Hassan']. f. 159. 24. 'That mortal to whom power extends'; with bassoon, etc. [From 'The Cottage.'] f. 160. 25. 'The banks of the Liffy' [from the same]. f. 168. 26. 'The Converted Rake,' begins 'Come, jolly lads': a ' burlettina,' with a bass for harpsichord or pianoforte. 'Dramatized from one of Mr. Dibdin's songs by himself.' Characters: William, Peggy and Crew. f. 202.

Passim. Songs, etc., from Table-Entertainments, by Charles Dibdin. The accompaniments are for pianoforte, violin, and two flutes, in most cases, in score. Many of them are imperfect1. 'Why I'm singing of French.' [From 'Tom Wilkins.'] f. 1. 2. 'I say, my heart, why, here's your works.' [From 'The Tour to the Land's End.'] f. 7. 3. 'The world's a good thing.' [From 'Castles in the air.'] f. 16. 4. 'I forget what Sterne says in his chapter of noses.' [From 'Rent-Day.'] Two copies, the first with orchestral, the second with pianoforte, accompaniment, ff. 20, 22. 5. 'Now let the Joy's (sic) our hearts expand': finale [to 'The Professional Volunteers']. Treble part only. f. 25. 6. 'Patrick O'Row'; with flute and guitar. [From 'The Wags.'] f. 71. 7. 'You've heard of Venus.' [From 'Heads or Tails.'] f. 82. 8. 'Celia, eighteen her next birthday.' [From 'The Cake-house.'] f. 84. 9. 'Tell me not of men's follies.' [From 'Great News.'] f. 87. 10. 'From prudence let my joys take birth.' [From 'The Whim of the Moment.'] f. 90b. 11. 'My lyre once again.' [Introduced in 'The Frolic,' 1804.] f. 94. 12. 'Go, patter to lubbers'; with a bass only. [From 'The Whim of the Moment.'] f. 98. 13. 'Man, poor forked animal.' [From 'Tom Wilkins.'] f. 103. 14. 'They tell me I'm mad'; without flutes. [From 'The Oddities.'] f. 107. 15. 'Come, join me, fellow subjects'; without flutes. Two copies, ff. 108, 109b. 16. 'Says the Parson of the Parish.' [From 'Valentine's Day,' 1804.] f. 113. 17. 'The Squirrel that jingles his bells.' [From 'Great News.'] f. 115. 18. 'Young Shenkin.' [From 'The Wags.'] f. 127. 19. 'Since love is the Hero's first duty'; without flutes. [From 'The Tour.'] f.131. 20. 'Come round me, ye husbands.' [From 'The Sphinx.'] f. 141. 21. 'The weather, the land and all those that dwell in it.' [From 'The Oddities.'] f. 142. 22. 'A Sailor is the Soldier's friend.' [From 'Britons, strike home.'] f. 147. 23. 'Some say topers should never get mellow.' [From 'The Sphinx.'] f. 149. 24. 'Sure, don't they call me Strawberry Pat.' [From 'The Tour.'] f. 155. 25. 'Sweet is the dew-drop.' [From 'The Oddities.'] f. 157b. 26. 'Like Ætna's dread Volcano'; without flutes. [From 'The Tour.'] f. 164. 27. 'I go in London about the street.' [From the same work.] f. 172. 28. 'I've oftentimes thought it a wondersome thing.' [From 'The Professional Volunteers.'] f. 174. 29. 'Love's a flame.' [From 'Tom Wilkins.'] f. 175. 30. 31. 'The war's begun,' and 'Come, brother soldiers'; with orchestral accompaniments. [From 'Britons, strike home.'] ff. 178, 187. 32. 'Since fate of Sailors hourly varies.' [From 'The Cake-house.' f. 193. 33. 'Like other lubbers'; with orchestral accompaniments. [From 'Rent-day.'] f. 198. 34. 'From the Lark's playful notes'; with pianoforte. [From the same.] f. 200. 35, 36. 'Dick Hopeful,' and 'Why, Measter, damn tha.' [From 'The Tour.'] ff. 204, 208. 37. 'Now we're all met'; without flutes. [From 'The Sphinx.'] f. 210.

Passim. Songs with pianoforte accompaniment, generally in parts. With one exception, indicated below, they are by Charles Dibdin. Autograph. 1. 'You must begin pomposo.' f. 92. 2. 'Ah me, alas, I'm almost wild.' [In .'] f. 111b. 3. 'Sportive feathers.' Adapted by '[Giuseppe] Mazzinghi ' from 'Giuseppe Sarti.' f. 151. 4. 'Ere yet the day is dawning.' f. 194b. 5. 'A child knew well.' [In ] f. 196b.

ff. 18, 29, 32. Portions of Odes, with accompaniments for pianoforte or harpsichord and (?)violin, in score, by Charles Dibdin. Autograph. 1. 'Nor thou, Thalia,' [from the ode 'in Honour of the Nuptials of the Prince and Princess of Wales,' 1795]. f. 19. 2. 'What need from the Pierian choir'; followed by a March for clarinets, horns, bassoons, and (?)trombones, from an 'ode in honour of his Majesty's birthday.' f. 29. 3. 'Descend and consecrate'; from the same work from which no. 1 is taken. Two settings. ff. 32, 33.

f. 29b. 'Now let us consecrate the day'; for 2 voices, with a bass for harpsichord or pianoforte, in score, by Charles Dibdin. From [1805?]. Autograph.

f. 110b. 'The King shall rejoice‘; with a bass for harpsichord or pianoforte, in score, by Charles Dibdin. Autograph.

f. 111. Lesson (Siciliano and Vivace) in G for the Pianoforte, by Charles Dibdin. Autograph. About 1803 (watermark) [From The Musical Mentor, p. 33.]. ff. 112b, 183. Two Duets, with a bass for pianoforte, in score, by Charles Dibdin. Autograph. 1. 'Welcome, welcome, dearest friend' (from ), f. 112b. 2. 'What, brother Ned.' f. 183.

f. 180. March in B flat for a military band (horns, clarinets, bassoons, and trombones), in score, by Charles Dibdin. Autograph.