Add MS 32021

passim. Glees, for 4 voices (unless the contrary is stated), in score, by Thomas Miles; 1806-1850. Autograph. The names of the authors of the words, etc., are generally given in brackets. 1. 'Hail, Innocence, celestial maid' (à 3). '1807.' (Ogilvie.) f. 2b. 2. 'Within this cot.' [1807.] f. 5. 3. 'O sacred solitude.' '1806.' (Dr. Young.) f. 6b. 4. 'Pride, pomp, and pleasures of the world.' '1811.' f. 11. 5. 'What, tho' around the warrior's bed': dirge. '1815.' (Charlotte Nooth.) f. 13. 6. 'Far in some shady blest retreat.' '1812.' (Ogilvie.) f. 15. 7. 'Hail to this happy day' (à 3). [1816.] f. 19b. 8. 'Beneath those rugged elms' (à 5). '1821.' (Gray's 'Elegy.') f. 23b. 9. 'Of all the birds on bush and tree' (à 3). (Scott's Kenilworth.) f. 25b. 10. 'The Sun, when rising from his bed.' '1819.' f. 28. 11. 'There came three merry men' (à 3). '1820.' (Scott's .) f. 31b. 12. 'Come, fill the bowl.' '1823.' (Henry Neele.) f. 35. 13. 'Ye gentle muses' (à 5). '1823.' (Pope's 'Winter.') f. 38b. 14. 'O had I been by Fate decreed.' '1823.' This and Nos. 15-18 are headed 'Six (sic) Airs from the Opera of Love in a Village Harmonized...by Thomas Miles.' The so-called opera was a pasticcio compiled, about 1790, from works by the composers mentioned below, and many others. '[S.] Howard.' f. 46b. 15. 'How blest the maid' (à 3). '1823.' 'Galuppi.' f. 47b. 16. 'Oh, how shall I in language weak.' '1824.' 'Carey.' f. 48b. 17. 'Gentle youth, ah tell me why.' [1826.] 'Dr Arne.' f. 50b. 18. 'Let gay ones and great' (à 3). '1850.' 'Baildon.' f. 51b. 19. 'Drink ye to her that each loves best.' '1824.' (Thomas Campbell.) f. 53. 20. 'Bring the bowl which you boast' (à 3). '1826.' (Scott's .) f. 57. 21. 'From that celestial orb.' '1826.' f. 59. 22. 'Balmy pledge of love sincere.' '1828.' f. 62. 23. 'I think the Frog A jolly dog' (à 3). '1845.' f. 65. 24. 'What is Beauty? Who can show?' (à 3). '1850.' f. 67.

passim. Canons by Thomas Miles; 1814-1832. Autograph. 1. ‘Ostende nobis, Domine‘ (‘Canon in the 5th below and 4th above’). ‘April 22nd, 1821.’ f. 2. 2. ‘Enter not into judgment’ (‘Round for 3 voices ‘). ‘April 29th, 1821.’ f. 4b. 3. ‘I have long'd for thy saving health.’ (Same as no. 1, ‘falling a tone at every repetition ‘). ‘Novr 2nd, 1814.’ f. 22b. 4. ‘Almighty Father! save the King’ (‘Round, 4 voices’). ‘May 7th, 1823.’ f. 34. 5. ‘Gloria tibi, Domine’ (for 3 voices, ‘in the 4th and 8th below ‘). f. 43b. 6. ‘Be thou exalted, Lord.’ Set as above. ‘12th March, 1826.’ f. 55b. 7. ‘Hallelujah, Amen’ (3 voices, ‘in the 12th and 5th below’). ‘26th March, 1826.’ f. 56. 8. ‘Praise the Lord, O Jerusalem’ (‘Round, 3 voices’). ‘13 May, 1826.’ f. 56. 9. No. 7 reversed, f. 56b. 10. ‘Domine, exaudi orationem‘ (‘Three in one per Arsin et Thesin‘). ‘11th May, 1826.’ f. 58b. 11. ‘Spera in Deo‘ (‘Round, 4 voices’). ‘12 Jan’, 1832.’ f. 64b.

f. 8. ‘O thou, whose name too often is profan'd‘: sacred ‘glee’ for 3 voices, in score, by Thomas Miles; 1810. Autograph.

ff. 18b-68b passim. Catches for 3 voices, unless the contrary is stated, by Thomas Miles; 1805-1850. Autograph. 1. 'Here lies poor Thomas and his wife'(à 4). From . '1816.' f. 18b. 2. 'Give the toast, my good fellow.' The words by — Cunningham. '1805.' f. 27b. 3. 'O Love! for Sylvia let me gain the prize.' From Pope's 'Spring.' '1821.' f. 27b. 4. 'The tears of Constance.' '1821.' f. 30b. 5. 'Oh! what a nose!' '1824.' f. 43b. 6. 'Good-night! Parting is such sweet sorrow.' '1826.' f. 56b. 7. 'Huzza for the Queen' (à 4): 'A Jeu d'Esprit on passing events, 1850.' f. 64b. 8. 'Why roves the dear, the lovely maid.' '1836.' f. 68b.

f. 42. 'Dust unto dust, To this all must': the Requiem from 'Ivanhoe,' by Thomas Miles; about 1823-1824 (see ff. 38b, 43b). Autograph. Unaccompanied, but preceded by 4 bars of symphony for pianoforte or organ.

f. 45. Sketch in pencil of a Fugue, by Thomas Miles; 1825. Autograph.