Add MS 11588

ff. 2-16. 'Recercari (10) et Canzoni (5) Francese (sic) fatte sopra diversi oblighi in partitura da Girolamo Frescobaldi .... Libro Prirno. 1615.' Transcribed and commented on by Dr. Charles Burney.

ff. 16b-66b passim. Madrigals, etc, in score, transcribed by Dr. Charles Burney, and included in vol. vii of his 'Musical Extracts.' Nos. 4-9 (à 4) are from 1561, and are mostly accompanied by short biographical notes of their composers; nos. 11-34, from Costanzo Festa's 1551, book i, of which they form the greater part; nos. 36-49, from the 5-part Madrigals of Carlo Gesualdo, Principe di Venosa (book i, 1585; book ii, 1594; book iv, 1596; book vi, 1611—or from later editions). 1. 'Charita di signore' (à 4). 'Cipriano de Rore.' Book i, 1551. f. 16b. 2. 'Mentre la prima mia novell' etade' (à 4). By the same. Book ii, 1557. f. 17. 3. A composition by 'Gianetto' (sc. Palestrina), taken from the same collection as the preceding Madrigal, where it is described as 'Canzon...sopra di 'Pace non trouo.' ' It is divided into fourteen stanzas, namely:—'Da fuoco cosi bel' (f. 17b); 'Rapace, ingord' (f. 18); 'Amo e non nacque' (f. 18b); '[D]a[l]l' empia Gelosia' (f. 19); 'Si (sic) mi vince tal' hor ' (f. 19b); 'O effetto rio' (f. 20); 'Amor non volev' io' (f. 20b); 'Non mi sferr' il crudel' (f. 21); 'Poi che la vista' (f. 21b); 'Io non ho lingua' (f. 22); 'L' alta cagion' (f. 22b); 'Misero stato' (f. 28); 'Fuggir devriassi' (f. 23b); and 'Satio di tormentarm' amore' (f. 24). 4. 'A qualunque animal.' 'Annibale Padoauo, 1575.' f. 24b. 5. 'Con lei foss' io' (the sixth stanza of the preceding work). f. 25. 6. 'Madonna, poi ch' uccider.' 'Claudio [Merulo] da Correggio.' f. 26. 7. 'Col seno pien di rose'; with second part, 'Il capo levi.' ' Joan. Contino.' f. 26b. 8. 'Chi desia di veder'; with second part, 'leggiadre, amoroso e care doglie.' 'Perissone [Cambio].' f. 27b. 9. 'Gravi, pene.' 'Alessandro Striggio.' f. 28b. 10. 'Amorose viole' (à 4). 'Costantio Porta.' f. 29. 11. 'Madonn', io son un medico.' f. 30. 12. 'Madonn', il vostr' orgoglio.' f. 30b. 13. 'Ingiustissimo Amor.' f. 31. 14. 'Ogni loco m' at[t]rista.' f. 31b. 15. 'Se mai vedet' Amante.' f. 32. 16. 'Deh, piacci' al cielo.' f. 32. 17. 'Qual sara mai si miserabil canto.' f. 32b. 18. 'Madonna, al volto.' f. 33. 19. 'Lieto non hebbi mai un giorno.' f. 33b. 20. 'Madonna, io v' am'.' f. 34. 21. 'Che si puo piu vedere.' f. 34b. 22. 'Venut' era madonna.' f. 35. 23. 'Venit', amant', insieme.' f. 35b. 24. 'Se come (sc. siccome) s[i]ete bella.' f. 36. 25. 'Ogni beltà, madonna.' f. 36b. 26. 'Che parlo? o dove son.' f. 37. 27. 'Madonn', io mi consumo.' f. 37b. 28. 'Non mi par che sia vero.' f. 38. 29. 'Afflitti spirti.' f. 38b. 30, 31. 'Se non fosse il sperar.' Two settings, ff. 38b, 39. 32. 'Che giova saggittar.' f. 39b. 33. 'Poi' ch' io viddi.' 'lacomo Fogliano.' f. 40. 34. 'Madonna, io prend' ardire.' Attributed by Burney to the same, but really by Festa. f. 40b. 35. 'Io vorrei, Dio d' amore' (à 3). 'Fogliano' [1537]. f. 41. 36. 'Caro, amoroso neo'; with second part, 'Ma se tale hà costei'; and third part, 'Hai rott' e sciolto.' (Book i, 1603.) f. 42. 37. 'Sento che nel partire.' (Book i, 1594.) f. 44b. 38. 'Dall' odorate spoglie.' From the same. f. 45b. 39. 'Madonna, io ben vorrei.' (Book ii.) f. 46. 40. 'Sparge la mort'.' (Book iv.) f. 46b. 41. 'Questa crudele.' (Book iv.) f. 47b. 42. 'Beltà, poi che t'assenti.' Beginning only. (Book vi.) f. 48. 43. 'Se la mia morte.' Beginning only. (Book vi.) f. 48. 44. 'Ahi, gia mi discoloro.' (Book iv.) f. 48b. 45. 'Resta di darmi noia.' (Book vi.) f. 49. 46. 'Dolcissimo sospiro.' (Book iii.) f. 49b. 47. 'O Dolce mio tesoro,' beginning at 'La morte mia.' (Book vi.) f. 50. 48. 'Moro lasso.' (Book vi.) f. 50b. 49. 'Tu piangi, o Fille.' (Book vi.) f. 51b. 50. 'La Battaille (de Marignan, 1515),' begins 'Escoutez, tons gentilz Gallois.' 'Clément Jannequin.' (From his , book x, 1545.) With a fifth part added by 'Phili. Verdelot.' f. 56. 51. 'Douleur me bat' (à 6). 'Adrian Willaert.' (, book v, 1544.) f. 61. 52. 'Je ne scay pas comment' (à 6). By the same. (From the same work.) f. 62b. 53. 'Douleur me bat' (à 5). 'Josquin de Pres.' (From the same work.) f. 63. 54. 'I bei legami' (à 3, with a ritournelle for 3 strings). 'Claudio Monteverde.' (From the 1615 edition of his , originally published in 1607.) f. 66b.

f. 41. A short composition in two parts without words, described by Dr. Burney, the transcriber, as ‘Ancient Chant, sung at Venice, to the Benedictus, communicated by Bertoni, 1783.’

ff. 53-55, 67, 73b. Portions of dramatic compositions. 1. 'Grand Ballet.' The treble part. 'Baldassar de Beaujoyeulx' (sc. Baltazarini). ff. 53-55. 2. 'Ahi, fatto indegno'; from Ariadne' [1607]. 'Monteverde.' This and no. 3 are given by Dr. Charles Burney as 'Original passages in...Recitative, which still continue in use.' f. 67. 3. 'A che piu dubbie'; from 'Euridice.' 'Peri.' f. 67. 4. 'Vanne invitto'; with a violin part and a bass for harpsichord, in score. 'Alessandro Scarlatti.' Apparently transcribed from Harley MS 1272. f. 73b.

ff. 64-65b, 75-76 passim. Canons in the hand of Dr. Charles Burney, forming part of vol. vii of his 'Musical Extracts.' 1-10. 'Dimostratione de tutti i Canoni sopra il Canto fermo. Dalle , Di Rocco Rodio. Ristampate...1608'; consisting of canons for 3 voices, but without words, in unison, and in the 2nd, 3rd, 4th, and 5th, above and below. ff. 64-65b. 11. 'Canone del Metallo'; for 3 voices. 'Romano Michele' [about 1615]. f. 75. 12, 13. Two canons for 4 voices. 'Adriano Banchieri.' f. 75b. 14. 'Ah, dolente partita.' 'Giaches de Wert.' f. 76. 15. 'Canon à 6 voci.' Anonymous. f. 76.

f. 67b. 'Sonata a due Violini e Violone con il Basso continuo per l' Organo,' by Giovanni Legrenzi, 1677, op. 8. It consists of three movements ('La Bentivoglia,' Adagio, Presto), in B flat.

f. 68b. 'Sonata à 3,' in D, apparently by Giovanni Legrenzi. It consists of five short movements:— Allegro, Adagio,—Adagio, and Allegro.

ff. 70b, 71. Songs, with a bass, in score, by Alessandro Stradella. 1. 'Se nel ben' (transcribed from Harley MS 1265). f. 70b. 2. 'Se t' ama Filli' (from Harley MS 1272). f. 71.

f. 71b. 'L' Amore e lo sdegno,' beginning 'La ragion m' assicura'; with a bass, preceded by a few bars of symphony for four instruments, in score, by Alessandro Stradella.

ff. 74b, 75b. Two Canons, sc. (1) ‘Amo Christum’ (2 voices), with separate figured bass, by Romano Micheli, 1615. f. 74b;— (2) ‘Tu es Petrus‘ (4 voices). Anonymous, f. 75b.