Add MS 32173

ff. 1, 25-32b. Songs with pianoforte accompaniment, in score, by Joseph Haydn; about 1782, etc. 1. 'Beym Schmerz der dieses Herz durch-wühlet.' Autograph. The paper is similar to that on which Add MS 32172 (1782) is written. f. 1. 2. 'She never told her Love.' This and nos. 3, 4 are in the hand of J. N. Hummel, written about 1794 (watermark), f. 25. 3. 'In t[h]ee I bear so dear a part.' f. 27b. 4. 'High on the giddy bending Mast.' f. 30b.

f. 3. Duet (Nisa and Tirsi), beginning 'Guarda qui che lo vedrai'; with pianoforte accompaniment, in score, by 'Giuseppe' Haydn; 1796. Autograph.

ff. 7-24. 'Der Sturm': chorus for 4 voices, with symphony and accompaniments for trumpets, drum, horns, oboes, clarinets, trombones, flutes, bassoons, and strings, in score, by Joseph Haydn; after 1791 (?- supposed date of composition). The music for the wind instruments, for some of the strings, and on the whole of the last page is autograph. The chorus begins 'Hort! die Winde furchtbar heulen,' but the music was originally composed to English words.

ff. 33-38b. Divertimento (Moderato, Andante, Allegro di Molto) in E flat, by Haydn; 1766. Autograph. See Pohl's 'Joseph Haydn', i, p. 352. {Hoboken XVI/45.}

ff. 39, 75. Two sacred compositions, of the nature of odes, in honour of St. Rupert of Salzburg, divided into two parts, Figura (wanting in the first) and Applicatio; 1778, etc. They are written for solo voices (Filia Petri, 2 Priests, and 2 Levites) and a 4-part chorus of people, with symphonies and accompaniments for horns (once a cornetto di postiglione), trumpets, oboes, flutes, strings, and harpsichord, in score. The second Cantata begins ‘In emigratione nostra,’ and is headed ‘Canticum in Tono peregrino.’ Dated Salzburg, 7 June, 1778, and 24 Aug. 1782. By Johann Michael Haydn. Autograph.

ff. 135-141b. Metrical versions of portions of the Psalms, etc., in German, set to music by J. Michael Haydn; 18th-19th cent. Autograph. They consist of melodies (two verses of each) in the ecclesiastical tones, with accompaniments for trumpets or horns, and a figured bass for organ, in score. Nos. 1-4 are J. B. Depisch's Choral-Vespern, each of which is divided into three psalms; nos. 6-10 appear to be from 'Davids Psalmen und Biblischen Gesangen' by Franz Karl Kirnle. 1. 'Kommt ihr, Christen' (f. 135), 'Ew'ger' and 'Auf dieser Welt' (f. 135b). 2. 'Warm ich von Zerstieuung fern' (f. 136), 'Der Erdkreis' and 'Geh, Mensch' (f. 136b). 3. 'O grosser Gott' (f. 137), 'Gott sorgt fur mich' and 'Heilig ist, Herr, dein Wesen' (f. 137b). 4. 'Vor dir ist alles offenbar' (f. 138), 'Herr! Dir kann ich sicher glauben' and 'Du strafest und belohnst' (f. 138b). 5. A version of the Magnificat, beg. 'In dir ruht, Herr, mein ganz Gemuthe.' f. 139. 6. Another, beg. 'Ganz vom Dankgefühl geruhret.' f. 139b. 7. 'Wer dahier in seinen Plagen.' From Ps. xc. f. 140. 8. 'Lasst uns dem Hochsten singen.' From the Song of Moses. f. 140b. 9. 'Wie selig ist dor Mensch.' From Ps. cxviii. f. 141. 10. 'Der Herr bekam ein Konigreich.' From Ps. xcii. f. 141b.

ff. 142, 145. Hymns for 4 voices, with accompaniments for horns, or trumpets, and a figured bass for organ, in score, by M[ichael] Haydn; 1784, etc. Autograph. 1. ‘Erhebt euch, Christen.’ ‘Litaneygesang der Heiligsten Dreyfaltigkeit . . . Salzb[urg], den 29 März [1]784.’ f. 142. 2. ‘Herr! grosser Gott!‘ ‘Te Deum . . . Salzb[urg], 5 Junii, [1]805.’ f. 145.

f. 144. 'Glorreiche himmels königin‘: ‘Regina cœli lætare‘; with a figured bass, in score, in the band of Johann Michael Haydn, who is evidently the composer of it; 1798. It is followed by the first few bars of an 'Alleluja,’ for 2 voices, with horns and figured bass.