Add MS 35005

ff. 1-21b. Portions of three Odes; about 1823 (watermark). The watermark of No.1 is 1794. 1. Parts for violoncello, 2nd oboe, and 2 trumpets, of the Ode on St. Cecilia's day (see Add MS 35004), by Samuel Wesley. Autograph. f. 1. 2. Fragments of the vocal score, with pianoforte accompaniment, of the chorus 'Join with thee calm Peace,' and the air 'To live with her,' from Handel's 'L' Allegro, il Penseroso, ed il Moderate.' In the hand of S. Wesley. f. 17. 3. Melody and pianoforte part of a composition, in the middle of which occur the words 'Now methinks.' f. 20.

ff. 22, 119-123b. Compositions for 2 voices, with accompaniments, in score, in the hand of Samuel Wesley; 1813, etc. 1. 'Why, why should we shrink from Life's Decline'; with horns, flutes, oboes, bassoons, and strings. 'S[amuel] Wesley...1813' (see Add MS 14342). f. 22. 2-4. Concluding portions of three Italian duets with pianoforte accompaniments. Anonymous. About 1823 (watermark). ff. 119, 121, 123.

ff. 39, 72. Dramatic Fragments by Samuel Wesley. Autograph; 1799, etc. 1. Chorus for 'Comus,' begins 'Away, to Comus' Court repair'; with accompaniments for trumpets, drums, oboes, and strings, in full score, ff. 39-44b. 2. Air (Charlton), 'Gentle warblings'; apparently from an opera called 'Clara,' dated 1799. With a bass for pianoforte, and accompaniments for 2 flutes, in score. Belonged in 1843 to Vincent Novello and in 1880 to Dr. W. J. Westbrook. (See also Add MS 35003, f. 45). ff. 72-74b.

ff. 45, 48. Part-songs, in score, by Samuel Wesley; 1799. 1. 'Death's final Conquest' (à 4), begins 'The glories of our Birth (sic) and State'; composed in 1799. The words are from the dirge in James Shirley's drama, 'The Contention of Ajax and Ulysses,' 1659, where they are given as 'The Glories of our blood and state.' f. 45. 2. 'Tobacco is an Indian weed' (à 3); composed in 1800. Copied by Miss Eliza Wesley from Add MS 31764. f. 48.

ff. 49-65b, 115. Glees for 3 voices, in score, by Samuel Wesley; 1807-1836. Mostly autograph. 1. 'What bliss to life can Autumn yield.' '1807.' f. 49. 2. 'While ev'ry short-liv'd Flow'r.' [1822.] f. 53. 3. 'Goosy, goosy, Gander.' About 1836 (watermark). f. 57. 4. 'Here shall the Morn' (à 4). The words from Pope's 'Elegy on an unfortunate Lady.' f. 59. 5. 'Part of the 41st Ode of Anacreon.' ['Hilaroi piomen,' see Add MS 14343, below, p. 119]. Copy. f. 115.

f. 61. 'O sing unto my Roundelaie'; for 5 voices, with pianoforte accompaniment, in score, by Samuel Wesley; 1837. Transcribed by the composer in 1837 from the original (now Add MS 14342, f. 64), dated 1812.

ff. 66-74b. Songs by Samuel Wesley; 1783-1785, etc. Autograph. 1. 'In gentle slumbers'; with accompaniment for 'violetti' (sic), sc. viole d'amore, and a bass, in score. A very early composition. Belonged to Vincent Novello. f. 66. 2. 'Parting to death we will compare': arietta, with a figured bass, 1783. Belonged to the same and afterwards to Dr. Westbrook. f. 68. 3. 'Yes, Daphne, in your Face I find'; with pianoforte or harpsichord accompaniment, 1785. f. 69.

ff. 75-114b, 118b, 124. Songs, with pianoforte accompaniment (unless the contrary is stated), by Samuel Wesley; about 1812 (watermark)-1829. 1. 'Armin's Lamentation' (from Ossian), begins 'Alone on the sea-beat Rock'; with accompaniment for 3 strings, in score, f. 75. 2. 'In radiant splendor,' 1816. Words by Rev. John Davies. f. 80. 3. 'Think of me,' 1837. Two copies, the first imperfect at the beginning, ff. 82, 92. 4. 'An election's a comical Plan'; with a bass, in score. (See also Add MS 34999, f. 125.) f. 83. 5. 6. 'Come, all my brave boys'; with chorus. Followed by Mr. Immyns' Reply, 'I've taught all the Bastards.' About 1833. ff. 85, 88b. 7. 'When thro' Life unblest we rove.' Original and copy (imperfect at the end), ff. 94, 95. 8. 'Go, minstrel, go.' Composed 'on [J. B.] Cramer's leaving England.' Original and copy. ff. 96, 112. 9. 'What are the falling rills': Cantata, with accompaniments for flutes and strings, in score. An early composition, f. 98b. 10. 'Gentle breath of melting sorrow'; with accompaniments for strings, in score. Another early composition, f. 100. 11. 'Derdham Down': Cantata, begins 'A lack and a lack.' (See also Add MS 34998, f. 63.) f. 103. 12. 'England, the spell is broken'; with chorus, f. 107. 13. 'This is the house that Jack built.' Partly autograph, i. 113. 14. Song from Anacreon ['Φέρε μοι κύπελλον'], 1829. (See also Add MS 35003, f. 33.) f. 118b. 15. A French air (from a hand-organ), f. 118b. 16. 'O[m]n[i]a q[uæ] de Cœ[lo] pos[sim] fing[ere]'; with a bass. f. 124.

ff. 124, 124b. Two short pieces in the hand of Samuel Wesley; early 19th cent. 1. In B flat (common time). f. 124. 2. In C (3/8 time). f. 124b.

ff. 125-126. 'Ille (se. Zachariah), promissi dubius superni,' followed by a metrical version of the 'Gloria Patri,' beginning 'Sit decus Patri'; for 3 voices, in score, by Samuel Wesley; early 19th cent. Autograph. The beginning appears to have been lost.

{ff. 125-126.} Glee 'Iste promisi dubins [?] superni'. for ATB {1780?}. Autograph of S. Wesley.

ff. 127-193b. 'Drusii (sic) Laudes [Horace, Odes, iv, 4]. Modis musicis illustratæ,' begins 'Qualem ministrum': quasi-motet with Latin words, written for 6 voices, without accompaniment, by Samuel Wesley; early 19th cent. Two scores, of which the first is imperfect at the end, and 5 vocal parts.