Add MS 31573

ff 1-32b. 'Magnificat’ in A minor; for 2 choirs, with accompaniments for oboes, strings, and organ, in score. Transcribed by Michael Rophino Lacy from the Sacred Harmonic Society's copy (now in the possession of the Royal College of Music). At the top of this copy is written 'Del Rd Sigr Erba,’ in the face of which inscription it is generally ascribed to Handel, though not included in the Händel-Gesellschaft's edition of that composer's works. (See 'Grove's Dictionary of Music and Musicians', i, 651a; ii, 197a; iv, 664b, etc.). Lacy has added notes of collation with the copy in Handel's writing at Buckingham Palace. ff. 33-52b passim. Suites, or movements from suites, by Handel, transcribed by Michael Rophino Lacy, apparently from the originals at Buckingham Palace. Mostly unpublished. 1. Prelude and Sonatina, in D minor; G. f. 43b. evidently intended for no. 4 of the 2nd set of Suites de Piéces. f. 33. 2. Prelude, Allemande, Courante, Sarabande, Aria with seven variations (printed, except the 5th and 6th variations, in no. 3 of the 1st set), Minuet, and Gigue; in D minor. f. 34b. 3. Prelude (cf. no. 2) and Allegro, in G. f. 43b. 4. Overture, Allemande, Courante, Saraband (two settings), and Chaconne with 10 variations; in D minor. f. 46b. 5. Movement in C ('probably a Courante for Harpsichord Lessons'), dated 25 August 1738. Possibly the treble of a Pianoforte duet. f. 52.

f. 40b. 'Suite (Prelude, Courante, Saraband, and Chaconne) a deux Clavesin' (sic), in C minor, by Handel. Only one part is given here. Transcribed by Michael Rophino Lacy, apparently from the original at Buckingham Palace.

f. 53. Fugue in E flat for 3 instruments, in score, by Handel, transcribed by Michael Rophino Lacy from the original at Buckingham Palace. Beginning of sketch. f. 53. Beginning of sketch of Fugue for 2 violins, viola, and bass, in C minor, in score, by Handel. Transcribed by Michael Rophino Lacy, from the original at Buckingham Palace.

ff. 53b (reversed), 80, etc. Portions of compositions by Handel. 1. Pianoforte or harpsichord part of the chamber duet, 'Spero indarno.' f. 53b. 2. The opening bars of the various movements in the cantata 'Arresta il passo'; with accompaniments for strings, in score, ff. 80, 80b, 81.

ff. 54-77b passim. Fragments of Operas, in score, by Handel, transcribed by Michael Rophino Lacy, chiefly from autograph sketches at Buckingham Palace. 1, 2. Pianoforte arrangements of two Marches in 'Richard I' [1727], the first 'as found in Smith,' the second from Walsh's Lady's Banquet, book i (cf. the March in 'Floridante'). ff. 54, 54b. 3. Pianoforte arrangement of a March in 'Rinaldo' [1711], taken from the , book iii, where it is called 'The Royal Guards' March.' The air was afterwards introduced in 'The Beggar's Opera.' f. 54b. 4. March from Act ii of 'Partenope' [1730]; for 4 instruments, f. 56b. 5. 'Dopo tante amare pene': final chorus in 'Alcina' [1735]; with accompaniments for oboes, violins, etc. f. 68. 6. A few bars originally written in Fidalma's song, 'Non ti fidar,' in 'Muzio' [1721], but now erased; with accompaniments for violins, f. 72b. 7. 'Amor, consola'; with a bass. From scena 7 of 'Admeto' [1726?]. f. 75. 8. Ritornello for 4 instruments, from 'Ottone' [1722]. f. 76. 9. 10. Short symphony (Act i, sc. 1), and the battle of the Minotaur; from 'Arianna' [1733]. For 4 strings, ff. 76, 76b. 11. Music for the assault of the city: symphony for trumpets and strings, from 'Radamisto' [1720]. f. 77. 12. 'A te lascio l' idol mio': alto aria in 'Ottone,' with accompaniments for strings; followed by the ritornello given above (no. 8). f. 77. 13. March in 'Rinaldo,' from Smith's copy at Buckingham Palace (different from no. 3). f. 77b.

ff. 55-83 passim Sketches by Handel of numbers intended for insertion in the following Oratorios, transcribed by M[ichael] Rophino Lacy, most of them, if not all, at Buckingham Palace:— 1-4. 'Occasional' oratorio. Drum and trumpet parts of four numbers, ff. 55, 56. 5. Unnamed. Soprano solo of 'The Lord hath given strength'; with accompaniments for flutes, oboes, etc. ff. 60, 61. 6-9. ['Athaliah,' or the 'Occasional' oratorio.] Four fragments to the words 'Amen,' 'Hallelujah,' etc. Only a few bars of the melodies with figured bass, written in the original immediately after the alto solo, 'May God, from whom all mercies.' Two copies, ff. 74b, 75b. 10. 'Il Trionfo del Tempo.' Melody of 'Un pensiero nemico.' f. 75. 11, 12. '[La] Resurrezione.' Fragments of 'Viva e trionfi'; with accompaniments for oboes, strings, etc., in score. ff. 76, 77b. 13-15. 'Messiah.' Three fragments, apparently connected with 'How beautiful are the feet.' Among other instruments indicated are (in the last fragment) harps, f. 80. 16-18. '[La] Passione.' Three fragments, with accompaniments for oboes and strings, in score. ff. 83, 83b. 19. 'Messiah.' The pastoral symphony. f.83b.

ff. 57-84 passim. Cantatas, for a single voice, with Italian, French, Spanish, or English words, and a few other songs — many of them only fragments — with a bass (generally figured). Unless the contrary is stated, they are by Handel, chiefly transcribed from the originals at Buckingham Palace and elsewhere by Michael Rophino Lacy. 1. 'No se emenderà jamas'; with guitar accompaniment, ff. 57-60, 81. 2. 'Armida abbandonata,'begins 'Dietro l' orme fugaci'; with accompaniments for strings, f. 61b (reversed). 3. 'Usignuol, che trà le fronde.' Apparently unpublished. Copied at the British Museum [? from Add MS 14207] in 1858. ff. 62-63b. 4. 'Del bel idolo mio.' Folio. ff.64-66b. 6. 'Clori, degli occhi miei.' f. 67. 6. 'Stand round, my brave boys': Song with chorus, made for the Gentlemen-Volunteers of the City of London, 1745. f. 69. 7. 'Phillis the lovely'; from '[George] Bickham's coll[ectio]n' [sc. , published in 1734, etc.). Adapted from a minuet of Handel's, f. 69b. 8. 'Fuggite, ah si': Recitative 'found after 'Volea pur' (?) in a volume of cantatas at Buckingham Palace. Apparently unpublished, f. 70. 9. 'Look down, harmonious saint': Cantata for a tenor voice, in honour of St. Cecilia. Published with instruments by the Händel-Gesellschaft (vol. liia). f. 70. 10. 'Lungi dal mio bel nume': the first of the two cantatas of that name published by the same society (vol. 1). f. 72. 11. Recit., 'L' insatiabil fantasia,' and aria, 'Troppo audace'; with string accompaniments. Apparently unpublished, f. 73. 12. 'Vous qui m' aviez procuré.' f. 74. 13. 'Sans y penser a Tirsis j'ai sçeu plaire': Chanson, f. 79. 14. 'S'il ne failloit (sic) que bien aimer.' f. 79b. 15. 'Long live the Queen': an adaption by Lacy of no. 6 (above). f. 84.

ff. 70b-82. Fragments of Cantatas and serenatas, with accompaniments for oboes and strings, in score, by Handel; transcribed by Michael Rophino Lacy from the original sketches at Buckingham Palace. 1. 'Meglio spiega i tuoi sensi': recitative from the serenata 'Aci, Galatea, e Polifemo.' f. 70b. 2. 'Amo Tirsi': aria from the cantata for 3 voices 'Conosco che mi piaci.' f. 71. 3. 4. Beginning of duet, 'Non piu barbaro furore,' and alto aria, 'Con linfe dorate'; from the cantata for 3 voices 'Giove' (see the Handel-Gesellschaft's publications, vol. LIIa). f. 73. 5. Trio, 'Vivere e non amar'; from the same cantata from which no. 2 is taken. f. 78. 6. Opening bars of movements in the cantata 'Conosco che mi piaci' (see nos. 2 and 5), with flutes, etc. ff. 80, 80b. 7. 'Cease, Galathea': recitative from the serenata 'Acis and Galatea.' f. 82.

ff. 73b, 74. Notes (illustrated) of variations between the published editions and the original sketches at Buckingham Palace of Handel's ‘Chandos‘ Anthems, ‘As pants the hart,’ and ‘Let God arise‘ (no. 3 of Arnold's edition).

ff. 82, 82b Two movements (short) in 3/4 time (Minuets?) by Handel, apparently transcribed from a MS. sketch-book of the composer's at Buckingham Palace. 1. In D, for 2 oboes, 3 violins and viola. f. 82. 2. In D minor, for 2 violins, viola and violoncello. This movement in the original MS. immediately precedes no. 1.