Add MS 33234

Passim. Motets, most of them with a figured bass, in score. 1. ‘Alleluja! jubilat ecclesia’ (à 3). ‘Cassati.’ f. 41. 2. ‘Anima mea liquefacta est’ (à 3). 'Maria Marini.’ f. 44. 3. ‘Anima mea in æterna dulcedine‘ (à 2). ‘Charissimi.’ f. 70. 4. ‘Plagæ tuæ, Domine’ (à 3). ‘Felice Sances.’ f. 85. 5. ‘Salve, Regina’ (à 3). ‘Monferratto.’ f. 89b. 6. ‘O Domine, guttæ tui sanguinis’ (à 3). ‘Felice Sances.’ f. 92b. 7. ‘Bone Jesu, Verbum Patris’ (à 2). ‘Cassati.’ f. 96. 8. ‘Magnificate, cœli‘ (à 2). By the same, f. 100. 9. ‘Exultate, justi’ (à 2). By the same, f. 103. 10. ‘O dulce nomen‘ (à 2). ‘Caspari Cassati.’ f. 105. 11. ‘Tota pulchra es’ (à 2). Anonymous, f. 107b. 12. ‘Regina cœli’ (à 2). ‘Monferratto.’ f. 110. 13. ‘Audite, sancti' (à 3). ‘Charissimi.' f. 112. 14. ‘Cantate Domino canticum novum’ (à 2). ‘Silvestro.’ f. 132b. 15. ‘Post hæc audivi’ (à 2). ‘John Blow.’ f. 136b. 16. ‘In lectulo meo’ (à 2). By the same. f. 139.

Passim. Anthems with basses for the organ (except in no. 2), in score. The first five are solo Anthems. 1. 'I am come into my Garden.' 'Hen. Aldrich.' f. 4b. 2. 'Oh that mine eyes': the chorus omitted. 'Loosmore.' f. 47. 3. 'Turn thee unto me, Lord.' 'John Blow.' f. 72b. 4. 'I waited patiently.' 'Aldrich.' f. 74b. 5. 'Giue the king thy judgments.' By the same. f. 79. 6. 'Plungd in the Confines of dispair' (for 3 voices). By H. Purcell. f. 154. 7. 'O all yee people, clap your hands.' By the same. f. 156b.

Passim. Sacred Songs; with a bass, except in no. 2. 1. 'Lucifer coelestis olim hierarchae' (bass solo). 'Charissimi.' f. 13. 2. 'Morning Song,' beg. 'Awake, my soul; awake, mine eyes.' 'Captain Cook.' f. 32. 3. 'Evening Song,' beg. 'Sleep, downy sleep.' By the same. f. 33. 4. 'Velut Palma.' 'Gratiana' (sc. Bonifazio Graziani?). f. 163.

Passim. Songs, with a bass (unless the contrary is stated), apparently in the hand of Charles Morgan, of Magdalen College [Oxford], who owned the MS in 1682 (see f. 1*). 1. 'Vn jour le berger Tircis.' 'Debout.' f. 3. 2. 'Underneath this mirtle shade.' 'Pietro Reggio.' f. 6b. 3. 'Here's a health to the King; pledg' it all in a Ring'; with a 3-part chorus. Anonymous. f. 7b. 4. 'Hercules in the cradle,' begins 'The big-limbd Babe.' By Reggio. f. 17. 5. 'I'll sing of Heros.' By the same. f. 19. 6. 'Awake, awake, my Lyre, and tell.' By the same. f. 20. 7. Dialogue (Death, Time and Philander), begins 'O Time, thy wings are wet.' Anonymous. f. 26b. 8. 'The Bread is all baked.' 'John Banister.' f. 28b. 9. 'From lasting and unclouded Day.' By the same. f. 30b. 10. 'Yee Cats that at Midnight.' 'John White.' f. 34. 11. 'Arise, yee subterranian Winds.' 'Pietro Reggio.' f. 38. 12. 'You solitary deserts.' By the same. f. 40. 13. 'All the follys of love'; with 3-part chorus. ' Hen. Hall.' f. 46. 14. 'Justly now let's Tribute pay'; with 3-part chorus, without a bass. 'Wise.' f. 48. 15. 'An amorous sigh.' 'Sson' Estwich.' f. 51. 16. 'Hast[e], haste[e], gentle Charon': dialogue. 'H. Purcell.' f. 55. 17. 'Has yet your breast no pitty learn'd': dialogue. By the same. f. 57. 18. 'Cure, Nymph, oh cure.' 'Hart.' f. 59. 19. 'Hark, Damon, hark': dialogue, 'Purcell.' f. 59b. 20. 'Come, poetry, and with you bring along'; with 3-part chorus. 'Dr. Blow.' f. 83. 21. 'Il Nerone': cantata, begins 'Sopra un' eccelsa Torre.' 'Stradella.' f. 118b. 22. 'Lonely Silena.' 'D-- Blow.' f. 123b. 23. 'She loues and she confesses too.' 'Hen. Purcell.' f. 124b. 24. 'Bess of Bedlam,' begins 'From silent shades.' By the same. f. 125b. 25. 'Nol,' begins 'Hast[e], Charon, hast[e]': dialogue, with 3-part chorus. 'H.Hall.' f. 129b. 26. 'What art thou, Loue? ' 'Sson Estwich.' f. 140b. 27. 'When I a parting kiss'; with 3-part chorus. By H. Bowman. f.142. 28. 'Urge me no more.' 'Purcell.' f. 145b. 29. 'Peaceful is he and most secure.' 'Blow.' f. 147. 30. 'Where art thou, God of dreams.' 'Batteist ' (? = G.-B. Draghi). f. 149b. 31. 'Alexis dear': song by 'Mr. [Thomas] Flatman on the death of his son.' 'Dr- Blow.' f. 161b. 32. 'Sciocca pur tutti.' By Lully. f. 166. 33. 'The clear Cavelier'; without words. Banister, f. 167. 34. 'Louely Clarinda'; with a ground bass. Anonymous. f. 167b. 35. 'A Grashopper and a fly': dialogue, without a bass. Anonymous {By H Purcell}. On the Duke of Monmouth. f. 169b. 36. 'The Fair Lover and his black Mistress,' begins 'O Nigrocella.' 'Blow.' f. 170b. 37. 'How happy 's ye lover'; with 2-part chorus. The music to the song not filled in. 'Hen. Purcell.' f. 171b.

Passim. Duets, in score. 1. 'Often I am by the women told.' 'Pietro Reggio.' f. 39. 2. 'Goe, perjurd man'; with instrumental symphonies. 'Dr John Blow.' f. 49. 3. 'lo mi sento morir'; with a bass. 'Rovetta.' f. 52b. 4. 'Alass, alass, how barbarous are wee'; with a bass. 'Hen. Purcell.' f. 82. 5. 'In uain, in uain, brisk God.' 'Dr J. Blow.' f. 127b. 6. 'Why does the morn in blushes rise.' 'Hen. Purcell.' f. 128. 7. 'Whilst our flocks feed.' 'James Hart.' f. 129. 8. 'Old Chiron thus preach't.' 'Wise.' f. 148b. 9. 'Chear up, my friends'; the first 3 bars only. Anonymous. f. 168b. 10. 'Tronchi si pensi[e]r'; with a bass. Unfinished. Anonymous. f. 174.

f. 3b. Part-song for 4 voices, in score, begins 'Tho' our town be destroyd'; by Dr. John Blow.

ff. 8, 10b, 115b. Madrigals, with a bass, in score. 1. 'Nominative Hie hæc hoc.' '[C.] Merula.' f. 8. 2. 'Nominativo Quis.' By the same. f. 10b. 3. 'Lontani del core' (à 3). By A. Stradella. f. 115b.

f. 15. 'Wake, sleeping ones': described in Add MS 30382, f. 43b, as a 'Dialogue between the Angel and the Soul at ye Judgment's Day.' For soprano and bass, followed by a 3-part chorus, with a figured bass for harpsichord or organ, in score. By Pietro Reggio. 1680-1686.

ff. 21, 35, 172b. Two Odes and a fragment of a third. 1. 'Awake, awake, my Lyre, and tell thy silent Master's humble tale'; for solos and chorus, with instrumental symphonies and ritournelles. In full score. 'John Blow.' f. 21. 2. 'All things their certain periods haue'; 'A New Year's song,' for solo voices, duet and chorus, with a bass. In score. 'M. Lock.' f. 35. 3. 'Let Cæssar and Urania liue': duet, with a bass, from 'Sound the Trumpet, beat the Drum.' In a rather later hand than the last. 'H. Purcell.' f. 172b.

f. 34b. 'Beneath a shady willow': a song [with bass] in 'Madam Fickle.' By [William] Turner.

ff. 61-69b. Miserere mei, Deus; for 2 trebles and bass, with a figured bass in score. By H. Bowman. Another copy of the work is in Add MS 30382, ff. 23-28.

ff. 135, 143. Compositions, in score, apparently in the hand of Charles Morgan, of Magdalen College, Oxford. 1. Amanti che dite, chorus from the serenata ‘I naviganti’ by Giacomo Carissimi. (Another copy of a fragment of the chorus is in Add MS 30382, f.29). f. 135. 2. 'As on Septimius' panting breast': cantata for 3 solo voices and 3-part chorus, with a bass. 'Dr. John Blow.' For the symphonies, see Add MS 22100, f. 111 (below), f. 143.

f. 151. Another copy of the Trio 'When on my sick bed I languish' by Henry Purcell; for 3 voices, with a bass for harpsichord, in score.

f. 175b. 'Missa a quinque et a novem, authore Jacobo Carissimi. Anno mdclxvi‘; with symphonies for strings, in score. Unfinished from the 'Agnus Dei‘ (of which the bass only is given) to the end. After 1687 (see f. 172b).