Add MS 34998

passim. Short Anthems, in score, for 1 voice, with a bass, unless the contrary is stated; by Samuel Wesley. From a volume containing rough copies of his juvenile compositions. 1. 'Behold, how good and joyful' (verse anthem, with chorus and occasional accompaniments for flute, violin, violoncello, and organ). f. 3. 2. 'Behold, I was shapen in wickedness.' f. 17. 3. 'Thou shalt make me hear of joy and gladness' (for 3 voices). f. 17b. 4. 'Hide thy face from my sins.' f. 18. 5. 'Praise the Lord, ye servants.' f. 18b. 6. 'O ye that love the Lord.' f. 19b (reversed). 7. 'The Lord is my shepherd.' 'June, 1774.' f. 62. 8. 'O praise the Lord, all ye heathen.' f. 62b. 9. 'Praise ye the Lord, ye immortal quires.' 'Feb. 27, 1775.' f. 71. 10. 'O praise the Lord of heaven' (long anthem, with solos and chorus). f. 73.

passim. Short pieces for the Harpsichord, mostly juvenile compositions, by Samuel Wesley. 1. Rondo in B flat. f. 14. 2. Sonata in G, 1774. f. 15b. 3. Allegro, from another Sonata in G. Incomplete. f. 19. 4. Sonata; the first movement in B flat, the others in G. f. 23. 5. 'Miss Guisses (sc. Guise's) Minuet.' f. 34b. 6. Two movements, in B flat and F, from a Sonata. f. 40. 7. Affetuoso in G minor. 'Geminiani.' f. 45. 8. Lessons, in D and G, 1774. f. 49. 9. Sonata — apparently a sketch. f. 53. 10. Sonata in B flat — two movements. f. 55b. 11. Sonata in G. f. 58b. 12. Minuet in F. f. 61b. 13. Minuet in B flat. Unfinished. f. 79. 14. Movement in B flat (common time). f. 79b.

ff. 5, 6, 8, 9, 44, 79. Hymns, in score, by Samuel Wesley. 1. ‘Shepherd of souls’: the melody with bass, f. 5. 2. ‘Lord, if with thee part I bear’ (for 3 voices), f. 6. 3. ‘In dreary waste’ (for 3 voices). f. 8. 4. ‘Hark! In the wilderness a cry (for 3 voices), f. 9. 5. ‘And now another day is gone’: the melody with bass. f. 44. 6. ‘To God the father, God the son‘ (for 3 voices). ‘October the 29th, 1774.’ f. 44. 7. ‘God of Almighty love‘: the melody with bass, f. 79

f. 5b. 'Come, Lord, from above‘; for 2 trebles, with a bass, in score, by Samuel Wesley.

ff. 6b, 34. Two Catches for 3 voices, by Samuel Wesley. Autograph. 1. 'Three bulls and a bear.' f. 6b. 2. 'Whoes there?— A Granidier.' f. 34.

f. 10. Fugue in 3 parts, in score, by Samuel Wesley.

ff. 12-67 passim. Organ Solos, by Samuel Wesley. 1. Voluntary in C. f. 12. 2, 3. Pieces for cornet stop. ff. 25, 26. 4. Overture in G, 1775. f. 27. 5-8. Fugues for the Organ, 1774. ff. 67-70b.

ff. 19, 35, 36b. Five Canons for 2 voices, by Samuel Wesley. 1. ‘Hallelujah, Amen.’ f. 19. 2. A quasi-canon, to the same words. f. 35. 3. ‘O sing unto the Lord.’ f. 36b. 4. ‘God shall bless us.’ f. 36b. 5. ‘Praise him upon the well tun'd cymbals.’ f. 36b. 6. ‘He maketh the barren woman to keep house.’ f. 36b.

ff. 21-48b passim. Fragments and sketches of oratorios, chiefly by S[amuel] Wesley. 1. Part of scene from 'Ruth,' beginning 'Naomi, dry those tears.' ff. 21-22. 2. 'If God be for us' [from the 'Messiah']. 'Handel.' f. 22b. 3. 'With pleasure I obey': air, followed by duet between Hephzibah and Manasseh. ff. 29-30. 4. Scene between Gideon, Oreb, and an Israelite, beginning 'Like a bright cherub': apparently from an oratorio called 'Gideon.' ff. 41-43b. 5. Airs from 'Ruth.' ff. 46-48b. For the extracts from 'Ruth,' compare Add MS 34997.

ff. 26-55 passim. The melody of some hymns, with a bass, in score. They are, unless the contrary is stated, by Samuel Wesley. 1. ''Tis done – the Sovereign will's obey'd.' 'S. Arnold, 1774.' f. 26b. 2. 'Music, as first by heaven desighn'd (sic)'; with violoncello accompaniment, and (?) orchestral symphonies. f. 37. 3. 'The Sacred Minstrel plays'; with similar symphonies. f. 38. 4. 'Praise God from whom all blessings flow.' f. 45b. 5. 'Praise the father for his love.' f. 55.

ff. 30b, 63. Songs, with a bass, in score, by Samuel Wesley. 1. 'Turn, gentle hermit': a fragment, f. 30b. 2. 'Derdam (sc. Durdham) downs,' begins 'Alack and alack, the clouds are so black'; with a refrain at the end for 5 voices. The accompaniment appears to be for harpsichord, with occasional drums, strings, and organ, ff. 63-66b.

ff. 30b-39 passim. Fragments of Services, in score, by Samuel Wesley. Autograph. The melody and bass only, unless the contrary is stated. Only in no. 2 is the number of voices (4) indicated. 1. Gloria Patri, in G. f. 30b. 2. Nunc Dimittis, in the same key. Imperfect at the end. f. 33. 3. The beginning of a Magnificat, in A. f.36. 4. Kyrie, Doxology, and Nunc Dimittis, in different keys. f. 39.

ff. 31, 58. Fragments of Operas in the hand of Samuel Wesley. 1. 'Britons, strike home' [from 'Bonduca,' 1695, by Henry Purcell]. f. 31. 2. Air without words; apparently from an Opera entitled 'Berenice,' but differing from any airs in Handel's opera of that name. f. 58.

f. 34b. 'Miss Mills's Minuet,' written in 3 parts, in score. In the hand of Samuel Wesley.

ff. 39b, 60. Chants by Samuel Wesley, sc. (1-3) Three double Chants in B flat, C, and G. The melody and bass only. f. 39b; — (4) Single chant in D, for 6 voices, with accompaniment for organ and drum (?). f. 60.

ff. 50-54b, 61. Harpsichord-part of what appear to be three harpsichord concertos, by Samuel Wesley. 1. In G. ff. 50-52b. 2. In F. ff. 53-54b. 3. In E flat. A fragment. f. 61.

f. 56. Sonata for harpsichord and violin, by Samuel Wesley.