Add MS 35003

ff. 1-31b passim. Antiphons, etc., by Samuel Wesley, mostly autograph; 1807, etc. Nos. 1-20 are ‘Antiphonæ communes ad Magnificat in utrisque Vesperis,’ for the principal festivals. The melody with figured bass. 1. ‘Tradent enim vos.’ f. 1. 2. ‘Estote fortes in bello.’ f. 1. 3. ‘Lux perpetua lucebit.’ f. 1b. 4. ‘Sancti et justi in Domino.’ f. 1b. 5. ‘Iste Sanctus pro lege Dei.’ f. 1b. 6. ‘Qui vult venire post me.’ f. 2. 7. ‘Isti sunt sancti.’ f. 2b. 8. ‘Gaudent in cœlis.’ f. 2b. 9. ‘Sacerdos et Pontifex.’ f. 3. 10. ‘Amavit eum Dominus.’ f. 3. 11. ‘O Doctor optime.’ f. 3b. 12. ‘Dum esset summus Pontifex.’ f. 3b. 18. ‘Similabo eum.’ f. 3b. 14. ‘Hic vir despiciens mundum.’ f. 4. 15. ‘Veni, Sponsa Christi.’ f. 4. 16. ‘Prudentes Virgines.’ f. 4b. 17. ‘Simile est regnum cœlorum.’ f. 4b. 18. ‘Manum suam aperuit.’ f. 5. 19. ‘Sanctificavit Dominus.’ f. 5b. 20. ‘O quam metuendus est locus.’ f. 6. 21. Canto (2nd choir) and principal alto and bass parts of the Antiphon, 'Salue, Regina, mater misericordiæ.’ Copies. (There are 2 other parts in Add MS 35001, ff. 148, 152.) f. 11. 22. Another setting of the same words, for 2 voices, with accompaniments for strings, in score. Imperfect at the end. f. 19. 23. ‘Omnes gentes, plaudite’; for 3 voices, with a bass for organ, in score. f. 23. 24. ‘Carmen Funebre,’ beg. ‘Omnia vanitas’; for 5 voices and organ, in score, followed by 3 of the vocal parts, f. 25.

ff. 7, 9. 'Introitus, atque Alleluia, Ad tertiam Missam, in Die Nativitatis Domini,' beginning 'Puer natus est nobis' and 'Dies sanctificatus illuxit nobis': specimens of plainsong, with organ accompaniment by, and in the hand of, S[amuel] W[esley]; 1811.

f. 10. 'Pro Virginibus'; without the words; about 1811. In pencil. In the hand of Samuel Wesley.

ff. 32-58 passim. Songs, with harpsichord or pianoforte accompaniment (unless the contrary is stated), by Samuel Wesley; 1790-1836. 1. 'Carmen Bacchanale,' 1794 (?), begins 'Mihi sit propositum'; with a figured bass. f. 32. 2, 3. 'Φερε μοι κυπελλον' (from Anacreon); with figured basses. Two settings, the second dated 1797. ff. 33, 34. 4. Gray's 'Ode on the Progress of Poesy,' begins 'Hark, his hands the Lyre explore,' 1790. Belonged to Vincent Novello, and afterwards to Dr. Westbrook. ff. 38, 118. 5. 'Hope away! Enjoyment's come': aria with pianoforte accompaniment, 1793. f. 40. 6. 'Within a Cowslip's humble Bell.' About 1808 (watermark). Belonged to V. Novello. f. 49. 7. 'What a Folly it is'; with a bass. Composed in 1836 for Mark Howell. f. 53. 8. 'Durdham Downs,' begins ' How rapid the Course'; with accompaniment for pianoforte and violins. The second part only. Imperfect, f. 54. 9. 'True Blue,' begins 'The Standard of England': song with chorus. Imperfect, f. 55. 10. 'Farewell! If ever fondest Prayer.' Words by Byron {probably the earliest setting}, f. 56. 11. 'Autumnus comes.' Words by Master Percy, music by Master Wesley. Copy, f. 58.

f. 35. 'Chanson d'Henri quatre,' beginning 'La belle Gabrielle'; with figured bass, by Samuel Wesley; 1792. Autograph.

f. 37. Two short Solfeggi in the hand of Samuel Wesley; about 1834 (watermark).

ff. 42-48, 111-120. Fragments in the hand of Samuel Wesley, apparently forming parts of dramatic compositions by him; about 1793 (see f. 41b)-1824 (watermark). 1. Air (1st Negro), begins 'Me look out o' window,' and air (Clara), begins 'After storms and after gales'; with figured basses and parts apparently for flutes, in score. About 1793. ff. 42, 42b. 2. 'Gentle warblings.' 1799 (see Add MS 35005, f. 72). f. 45. 3. 'When Sheet Home! the Captain cries': air for bass, with accompaniment for pianoforte and violins, in score, 1795. Belonged to Vincent Novello and afterwards to Dr. Westbrook. f. 111. 4. Recit. (Alcides), begins 'Horrors increase'; with bass. f. 115. 5. 'Recit. 'His soul, tho' lost to happiness,' and air, 'O silence, fond warblers'; with bass. f. 116. 6. Last nine bars of a movement in B flat. At the end is written 'End of Part the First' (altered into 'Second'). About 1824 (watermark). f. 119. 7. First oboe part of an Allegro maestoso movement in D minor, following a recitative. f. 120.

f. 59. 'See, the young, the rosy Spring'; with pianoforte accompaniment, by Samuel Wesley; 1809. Copied apparently by Vincent Novello, to whom the MS belonged in 1843.

f. 61. 'Canon, three in one,' inserted in a volume of compositions by Samuel Wesley, who was presumably the author; about 1812 (watermark).

f. 63. 'Blushete me, Carolos': Trio, without accompaniment, in score, by Samuel Wesley; early 19th cent. Compare Add MS 14343.

ff. 69, 97. 'Say, can pow'r and lawless wealth'; for 3 voices, by Samuel Wesley; 1791. Autograph. In parts (ff. 69-74), and in score (f. 97).

ff. 75-98b. Glees by Samuel Wesley; 1811-1822. Unless the contrary is stated, they are for 3 voices, in score, and autograph. 1. 'The Rights of Man,' begins 'While others, Delia, use their Pen.' About 1811 (watermark). f. 75. 2. 'Now the trumpets' martial sound' (à 4). '1815.' On the Peace of 1814. f. 79. 3. 'While evry short-liv'd Flower' (à 4). '1822.' f. 83. 4. 'There are by fond Mama supplied Six reasons against Sammy's ride'; with a bass. An early composition. f. 86. 5. 'On the salt wave we live'; with accompaniment apparently for 2 violins and a bass. f. 88. 6. 'When Friendship, Love, and Truth abound.' f. 91. 7. 'Roses, their sharp spines being gone.' The words from Beaumont and Fletcher's 'Two Noble Kinsmen.' f. 95.

ff. 99-110b. 'Thus through successive ages stands'; for 4 voices, with accompanimeuts for trumpets, drums, horns, strings (and organ?), in score, by Samuel Wesley; late 18th cent. Probably an early composition. Autograph.

ff. 121-132. 'On the Death of Mr. William Kingsbury,' begins 'And is he then set free; 'for 1 and 2 voices, with a figured bass, in score, by Samuel Wesley, May 30, 1782; 1782.

ff. 135-153b. Six fragments, including the title-page, of the original score of Samuel Wesley's 'Ode to St. Cecilia's Day,' dat. 'St. Cecilia's Day, 22 Nov. 1828,' a complete copy of which is in Add MS 35004; 1828. The fragment which precedes (ff. 133, 134) appears to be part of the score of a double chorus with organ accompaniment, but has no apparent connection with the Ode.