Add MS 35026

passim. Album begun by Eliza Wesley in 1836, containing the autographs of the principal composers, vocalists, and instrumentalists, and a few others, then in London; 1836-1895. Besides the compositions described below, there are also signatures, and in a few cases transcripts of fragments of music — not original — by the following musicians:—Lucy Anderson, 1841. f. 1b ;—Sir Julius Benedict, 1867(?). f. 8b ;—H. Gamble Blagrove, 1867. f. 8b ;—Louisa Bodda-Pyne, 1895. f. 71 :—John Braham, 1838. f. 1b ;—Arabella Goddard, 1867 (?). f. 8b ;—Giulia Grisi, 1837. f. 26 ;—Sir Charles Hallé, 1867 (?). f. 8b ; Joseph Joachim. 1862, 1867. ff. 8b, 62b ;—Jenny Lind, 1847. f. 46 ;—Sir George Macfarren, 1867 (?). f. 8b ;—Fanny Persiani, 1849. f. 47 ;—Alfred Piatti, 1867. f. 8b ;—Elizabeth Rainforth, 1839. f. 28 ;—J. Sims Reeves, 1849. f. 46 ;—Ludwig Ries, 1867. f. 8b ;—Clara Schumann, 1867. f. 8b ;—Robert Schumann, 1867. f. 8b ;—Enrico Tamberlik, 1862. f. 43 ;—and Antonio Tamburini, 1855. f. 43.

f. 9. 'Orpheus could lead the savage Race': song from 'Dryden's Ode on St Cecilia's Day,' with pianoforte accompaniment, in score, by S[amuel] Wesley, 1 July, 1836; 1836.

ff. 10-50 passim. Short songs, or fragments of songs, with pianoforte accompaniment, in score; 1836-1854. Autograph, unless the contrary is stated. 1. 'Il nome indovinato,' begins ' Voi vorreste il nome amato': Canzonetta. 'Domenico Dragonetti ' [?1836]. f. 10. 2. 'When the night-bird is singing': Serenade. 'Henry John Gauntlett,' 1836. f. 13. 3. 'Addio, Teresa.' Eight bars of the melody only, in the hand of Giuditta Pasta [? 1837]. f. 24b. 4. 'I'll speak of thee.' Beginning only. 'Maria B. Hawes,' 1841. f. 32. 5. 'Bright be the place of thy soul.' Beginning only. 'Charlotte Ann Birch,' 1841. f. 35. 6. 'Mama is so very particular.' Imperfect at the end. 'John Parry,' 1841. f. 36. 7. 'The skipper, he stood beside the helm.' Beginning only. 'J. L. Hatton,' 1854. f. 50.

ff. 10b-68 passim. Canons, for 2 voices, and autograph, unless the contrary is stated; 1836-1854. Most of them are without words. 1. 'Moderato,' in C minor (3/4 time). 'Robt. Lindley.' f. 10b. 2. 'Wer diesen canon singen kann': enharmonic canon for 4 voices. 'J. Staudigl, London, 20 July, [1]843.' f. 45. 3. 'In questa vita.' 'Mario, London, 19 July, 1854.' f. 56. 4. 'Ah, chi sa se mai'; for 4 voices. 'Alfredo Piatti, Londra, il 12 Febbrajo, 1854.' f. 59. 5. A quasi-canon, in B minor (common time), described as 'Quartett? Moderato.' 'Felix Mendelssohn Bartholdy, London, 7th' Sept. 1837.' f. 66. 6. In D (2/4 time). 'Louis Spohr, London, den 29sten Juni, 1843.' f. 67. 7. 'Canon à 4,' in G. 'Bernhard Molique, London, the 24th of May, 1852.' f. 68.

f. 11b. Single Chant in G minor for the Litany. By Vincent Novello; [1836?]. Autograph.

ff. 12-70 passim. Fragments of music, apparently all of them written for the Pianoforte, and autograph; 1836-1891. 1. Fugue in F sharp minor ('The subject, from a few notes written in an album by 'J.B.Cramer'). 'W. Crotch,' 1836. f. 12. 2. Capriccio (Allegro con Spirito) in F. 'I. Moscheles,' 1836. f. 14b. 3. Andante in A flat. 'J. Benedict,' 1838. f. 16. 4. Moderato in A flat . 'Thos. Adams,' 1836. f. 17. 5. Allegro moderato in D. 'J. K. Pyne, Junr ,' 1837. f. 18. 6. A few bars in C (common time). S. Thalberg,' 1837. f. 24. 7. A few bars in D minor (7/4 time). 'L. Lablache,' 1837. f. 25. 8. Short movement in D minor (6/8 time). 'Alexandre Dreyschock,' 1843. f. 25b. 9. Moderato assai in G. 'J. B. Cramer,' 1840. f. 29. 10. Bagatelle (Allegretto) in F. 'Henry Adams,' 1839. f. 31. 11. Andante con affetto in A flat. 'C. Neate,' 1841. f. 33. 12. Impromptu in B flat. 'Cipriani Potter,' 1841. f. 39. 13. Capricietto (Moderato espressivo) in A flat. 'Friedrich Anton Weber,' 1842. f. 40. 14. Andante con moto in G flat [Nuits Blanches, op. 82, Bk. 3]. First 8 bars. 'Stephen Heller,' 1862. f. 41. 15. Capriccioso in D. First 6 bars. Signed 'Marie Louisa Dulcken,' 1841. f. 44. 16. Waltz in G {Gabrielen-Walzer, op. 68}. First movement only. 'Johann Strauss,' 1819. f. 46b. 17. Allegretto semplice in A. 'William Sterndale Bennett,' 1852. f. 48. 18. Fugue in A minor. Beginning only. 'Giovanni Bottesini,' 1853. f. 49. 19. Serenade in G minor. 'Charles Salaman,' 1860. f. 52. 20. Vivace in D. 'Ernst Pauer,' 1853. f. 53. 21. Allegro from Rondo in A flat. 'H. J. Lincoln,' 1837. f. 54. 22. Lento. Beginning only. 'Henri Herz,' 1862. f. 55. 23. Allegretto in F minor. Beginning only. 'Charles Halle,' 1859. f. 58. 24. Presto in C minor. Beginning only. 'Dr. Heinrich Marschner,' 1857. f. 63. 25. Agitato in E. 'Joseph Barnby,' 1891. f. 65b. 26. Allegretto grazioso in G. 'Walter Macfarren,' 1890. f. 70.

ff. 16, 16b, 29b. Three Canons, sc; 1837-1841. (1) ‘Amen‘ (4 in 2), by Attwood. Autograph, about 1837. f. 16; (2) ‘Alleluja. Amen. Canone Enimmatico di Joh. Seb. Bach, 1720.’ In the hand of Dr. Schlemmer, 21 April, 1838. f. 16b; (3) ‘Benedictus, qui venit‘ (4 in 2), by Henry R. Bishop. Autograph, f. 29b.

f. 19b. 'Friendship, may this home to thee': short trio, in score, by Thomas Cooke; 1839. Autograph.

f. 20. Andante Appassionato, from a Quartet in A, by John Barnett; 1837. Autograph fragment.

ff. 21-69. passim. Fragments of Operas, in pianoforte score and autograph, unless the contrary is stated; 1837-1862. 1. Prayer (à 4) from the 'Siege of Rochelle,' 1837, begins 'Oh, Thou who lookst upon the battle.' 'M. W. Balfe.' f. 21. 2. The melody of 'A te, o cara.' [From Bellini's 'I Puritani,' 1835.] In the hand of Giovanni Battista Rubini, London, 20 Aug. 1841. f. 42. 3. The first few bars of 'Tu che a Dio spiegasti l' ali '[from Donizetti's 'Lucia di Lammermoor,' 1835]. In the hand of J. Sims Reeves, London, 15 March, 1849. f. 46. 4. Romanza from 'Pietro il Grande,' begins ' Dell amistà.' London, 17 August, 1852. 'Jullien.' f. 51. 5. Beginning of the overture to 'Struensee,' London, July, 1855. 'Giacomo Meyerbeer.' f. 57. 6. Beginning of 'J'aime bonne Compagnie'; from 'Le Vampyr,' London, 1853 [originally produced in 1828]. 'P. v. Lindpaintner.' f. 66. 7. 'Amami, Alfredo, quanto t' amo'; from ' La Traviata,' London, 5 May, 1862 [originally produced in 1853]. 'G.Verdi.' f. 69.

ff. 22-65 passim. Fragments in the hands of several leading violinists, by whom most of them were probably composed; 1837-1862. 1. A Capriccio ma moderato in A minor, ending with a cadenza; for Violin. 'Ole B. Bull,', 1837. f. 22. 2. Short cadenza in D. 'Nicholas Mori,' 1837. f. 23. 3. Capriccio in A, for violin. 'François Cramer,' 1841. f. 34. 4. Short movement (3/4 time), apparently in E flat. 'H. W. Ernst [1862?]. f. 41. 5. Chaconne for the violin. 'Joh. Seb. Bach.' In the hand of Joseph Joachim, 1862. f. 62b. 6. Short Capriccio in E. 'Camillo Sivori,' 1843. f. 65.

ff. 24, 47b. Fragments for the Organ; 1838, 1852. Autograph. 1. Aria (moderato) in F. 'Isaac Hitchen, [18]38.' f. 24.' 2. Fugue-subject; treated extemporaneously at an organ performance in 1852.' Thomas Adams.' f. 47b.

f. 26. 'Domine, dimitte illis qui nesciunt quid faciunt'; for a treble or tenor voice, with bass; 1837. Only four bars (? imperfect). By M. (afterwards Sir Michael) Costa.

f. 27. Beginning of ‘Kyrie’ in F, for bass, with pianoforte accompaniment; in the hand of H. Phillips, the singer; 1839.

f. 32b. Short melody in C (3/8 time), probably for trumpet, by Thomas Harper; 1838.

f. 38. Melody of the first eight bars of what appears to be a quadrille, by P. Musard; 1841. Autograph.

f. 48b. Fragment of movement in F (6/8 time), for pianoforte and violin, by Prosper Sainton; 1853. Autograph.

f. 55b. Fragment, in pianoforte score, of 'Britannia,' a nautical overture, by Sir Alexander Campbell Mackenzie; 1894. Autograph.

f. 60b. ‘Conclusion of an 8-part Motett on the ‘Hundredth Psalm‘ [beg. ‘All people that on earth do dwell‘], by William Pole, who has added the words ‘I wish to record my grateful remembrance of a . . . kindness . . . received from Samuel Wesley senr in . . . 1836.’; 1895.

f. 64b. 'And God said! Be fruitful all and multiply, ye winged tribes': the first few bars of the air, with bass, in score, from the 'Creation' [1798] by Haydn; 19th cent. In the hand of Carl Formes, the singer.

f. 65b. First four bars of 'Sweet and low,' in compressed score, signed 'Joseph Barnby, the Cloisters, Eton College, Oct. 1891.'; 1891.

ff. 72b, 73b. Hymns for 4 voices, in compressed score; 1870, 1886. Autograph. 1. ‘Feniton Court,’ set to the words, ‘Lead us, Heavenly Father.’ By 'Edwd J. Hopkins. A memento of Novr 21, 1886, in the Temple Church.’ f. 72b. 2. ‘Celestia,’ to the words, ‘Hark! hark my soul.’ By ‘S. S. Wesley, 1870.’ f. 73b.