4112843 A Collection of TWENTY FOUR SONGS By English Composers of the 17th & 18th Centuries. FROM LAWES TO LINLEY. Edited by G. E. P. Arkwright. PARKER & SON, 27 Broad-street, Oxford. 1908.PREFACE. ENRY LAWES (1595—1662) is known by name to many readers who have never heard his music, because of his association with more than one of the poets of his time. Herrick praised him, “the excellent Composer of his Lyricks,” and Milton wrote a sonnet in commendation of his music, which, though it is familiar to all, is here reprinted exactly as it appeared in Lawes's Choice Psalmes, 1648. To my Friend M'. Henry Lawes. H47, whofe tunefull and well meafurd fong Firft taught our Englith Mufic how to {pan Words with juft note and accent, not to fean With Midas cares, committing fhort and long, Thy worth and skill exempts thee from the throng, With praife enough for Envie to look wan : To after age thou fhalt be writ the man ‘That with {mooth Aire couldft humour beft our tongue. Thou honour'ft Verfe, and Verfe muft lend her wing To honour thee, the Prieft of Phebus Quire, cRetey That tun'ft their happieft Lines in hymne or * feory. ‘giyhimin Danéd fhall give Fame leave to fet thee higher Then his Ca/ella, whom he woo'd to fing, Met in the milder fhades of Purgatory. F. Milton. Milton’s “magnificent compliment,” if allowance is made for a certain poetical over-statement, gives on the whole a just criticism of Lawes's work. If we leave out of count the Polyphonic writers (who had their own diffi- culties of accentuation and their own methods of overcoming them), it is true to say that Lawes's immediate fore-runners in the monodic style, his master Coprario, for instance, and the younger Alfonso Ferrabosco, werereckless in the matter of “spanning words with just note and accent,” an His songs, again, though many of them are of very slight importance, often the merest trifles, always show some amount of “smooth Aire”; while in the longer declamatory art to which Lawes evidently paid great attention songs he undoubtedly tries to give just expression to the varying sentiments suggested by the verses, and he is the first English writer who may be said to attempt to put any dramatic feeling (however inadequately) into his music, But his essays in this kind of music, such as Ariadne’s Complaint, which Milton singles out for praise, must generally fail to satisfy modern hearers. For where the voice has assigned to it nothing but a primitive kind of recitative, interest and movement will be looked for in the accom- paniment, where, in Lawes’s work, it is not to be found. Musical art in Lawes's day was not sufficiently advanced to make a long narrative, devised ‘on these lines, tolerable to modern ears. If critics expect to find among works big songs full of sustained musical interest, after the manner of Purcell’s great picces of declamation, they will be disappointed, Lawes indeed helped to prepare the way for Purcell, but there was a lapse of some half a century between the two composers, and Music advanced far in the interval. Five of Lawes's songs are given in the present volume. Of these, two (How happy and Come lovely Phillis) were printed in the First Rook of Playford’s “Select Muficall Ayres and Dialogues, For one and two Voyces, to fing to the Ticorbo, Lute, or Baffe Violl,” 1652. The other three songs are from Lawes’ “ Ayres and Dialogues, For One, Two, and Three Voyces,” 1653. Desperato's Banguet is one of the songs from Dr. Strode’s Masque, “The Floating Island,” which was performed at Oxford in 1636 before Charles 1. and his Queen, It may be supposed that Lawes wrote all the music for this Masque, for his setting of another of the songs from it, Once Venus cheeks, is to be found in the Third Book of “Select Ayres and Dialogues*” Desperato, it should be explained, is one of the characters in the Masque. which has lately been reprinted by Mr. Dobell in his edition of Strode’s Works, 1907. John Blow (1648—1708) is one of the chief figures in English Church music: he was moreover a prolific composer of other kinds of music; and * Other songs from the Masque are in the British Museum, Add, MSS. 29396.iii he was Purcell’s master. It is impossible to tell exactly what was the musical relation between these two great composers, nor how they influenced each other, until the complete works of both are accessible, with dates, Tt seems likely, however, that Purcell’s indebtedness to Blow has hardly been sufficiently recognized. It is probable that Blow’s original mind was able to lead the way in many directions where Purcell’s greater genius speedily surpassed the master. In comparison with what Purcell ac- complished, Blow's attempts seem immature and his methods uncertain : but Purcell’s finer work was none the less in many cases the fruit of suggestions which originated with Blow. The Fair Lover in this volume is taken from the “ Amphion Anglicus,” a collection of Blow's songs published in 1700. The other little song is from the “Gentleman's Journal” for September, 1692. Henry Purceil (1658 oF -9—1695) was the first in date of the three great giants who summed up, each in his different way, the music of the preceding century. That his place by the side of Handel and Bach is not yet entirely secure in popular opinion is not due to inferiority of genius in Purcell ; but simply to the fact that when he died, music had not quite fully acquired what may be called the modern idiom; and so his manner of expressing himself seems occasionally to be somewhat old-fashioned, Again, the materials of his art were as yet not perfectly developed, and the means at his command (it may be admitted) sometimes seem inadequate to give just expression to his imagination, Purcell’s music, therefore, must always appeal to the student rather than to the general public. Historians hs © been fond of speculating as to what would have happened to English music if Purcell had reached old age. One thing is certain, that he would have left us many more master-pieces, for his work was by no means finished, and his genius was still developing up to the moment of his death. On the other hand, if he had lived, Handel would never have come to make his home in England, and the Oratorios would never have been written: so what we have lost in Purcell the world has gained in Handel. But we must not assume that Purcell could ever have founded a school in England (unless a circle of mimics is to be called a school) any more than Handel could, When these great masters had said their say, the last word had becn spoken in Music, in that kind.iv Music could advance no farther along those particular lines, and it became necessary to find a new opening, a by-way leading out of the old road indeed, but leading into new and unexplored regions, It happened to be in Germany that the genius made his appearance, who by chance or inspiration found out a new path, along which (as it turned out) music was going to make its advance. This was the younger Bach; and thence- forward the history of music belongs mainly to Germany, where all the conditions necessary for its development were to be found. Handel is not to blame, as some historians seem to suppose, because music in England becomes of little interest after his time, nor if Purcell had lived longer could he have altered the course of events. The two first songs given here are taken from the “Gentleman's Journal,” a monthly magazine, edited by Peter Motteux. Of these, Séript of their Green, from the mumber for January, 1691-2, is thus introduced by the Editor :—“You have here the two new Songs which I promis'd to fend you every Month. The firft is fet by Mr. Purcell, to whom I muft own my felf doubly oblig’d, for he hath not onely made the Notes extremely fine, but nicely adapted them to my words: I am not without hopes of having the Honour to have it fung before her Majefty.” The song is also in the 1st Edition of the “Orpheus Britannicus,” 1698, wrongly marked as if it were song which had not before been printed, It is omitted in the 2nd Edition, ‘The other song, Jf Music be the Food of Love, is taken from the June number of the ‘Gentleman's Journal,” 1692. There is another quite different setting of these words by Purcell in the “Orpheus Britannicus.” The song, Celia has a Thousand Charms, was sung in Gould's Play, “The Rival Sisters,” produced in 1695. / sce she flies me was introduced “Aureng-zebe” at a revival of the play perhaps in 1692 or the Inter- into Dryden’ 1604 (see Mr. Barclay Squires’ “Parcell's Dramatic Music” national Music Society's Magazine, 1903-4). Both the latter songs are in all the Editions of the “Orpheus Britannicus,” Book I. Richard Leveridge (c. 1670—1758) was in his day a well-known bass singer, “1 remember (says Burney in 1789) his finging ‘Ghofts of every occupation’ and feveral of Purcell’s bafe fongs, occafionally, in a ftyle which forty years ago feemed antediluvian; but as he generally was the reprefentative of Pluto, Neptune, or fome ancient divinity, it correfponded perfectly with his figure and character. He was not only a celebratedv finger of convi fongs, but the writer and compofer of many that were in great favour with fingers and hearers of a certain clafs, who more pioully performed the rites of Comus and Bacchus, than thofe of Minerva and Apollo.” He published “A Collection of Songs, with the ‘Musick, by Mr. Leveridge. In Two Volumes,” 1727, whence this Jittle song is taken. William Boyce (1710—1779). So long as Handel was in occupation of England, there was not much room for other composers, however meritorious they might be. There were, nevertheless, a few Englishmen who found employment in departments of music which Handel had not cared to annex, especially as composers of Church Music, and as writers of English Operas, and of songs for the Public Gardens, They were not, it is true, men of the first rank, but neither were they (as is often supposed) mere hangers-on to Handel; indeed, as far as one can judge, they derived their inspiration less from Handel than from the contemporary Italian writers. Among, them, Boyce will probably be accounted, as a song writer, second only to Ame. Boyce had not Arne’s easy spontaneity, but he displays more vigour and more variety than can be found in Arne’s rather monotonous flow of melody. If his tunes are never quite so good as Arne’s best, they are never so insipid as his less good. Boyce's collections of songs, and his little Operas, “The Chaplet” and “The Shepherds’ Lottery,” contain much pretty and tuneful music, and so does his Serenata “Solomon,” while his Church Compositions, especially his larger Festival Anthems, are among the most important contributions to music made by any Englishman of his period. ‘The song of Momus from Dryden's “ Secular Masque” (written apparently for a revival in 1750) has a Violin part, and Venus’ song has parts for two Violins (or perhaps Flutes) which are incorporated in the accompaniment. These two songs are taken from Book I. of “Lyra Britannica,” a collection of songs by Boyce. The spirited Bass song, Rai? no more (which has full string accompaniment), is from the sth Book of the same Collection. The Soprano song from “The Shepherds’ Lottery” is scored for $ Flutes. ings and Thomas Augustine Arne (17101778) was a most prolific song-writer indeed he wrote far too easily and far too much. Amongst the interminablevi quantity of his songs there are many which are without any value whatever, but there are others which have always been récognized as genuine inspira- tions: he was indeed the composer of some of the best and most popular songs in the literature of Engli music O come, O come my dearest, sung by Mrs. Clive in “The Fall of Phaeton,” 1736, and printed with the songs in “As you like it” in 1740, is+written for voice and figured bass, with a Violin part; as is also To Delia, sung by Miss Young at Ranelagh, printed in No, VU. of the Collection of Arne’s songs called “The Agrecable Musical Choice.” Hail immortal Bacchus ftom “Judith” has an accompaniment for Strings, and so has the Soprano sbng from “Alfred.” Tite School of Anacreon is the first of a set of “Six Camtatas for a Voi scored for two Horns as well as Strings. Thomas Linley (1732—1795) is probably most generally known as the Bath music-master, whose daughter eloped with Sheridan. He wrote the music for many pieces for the stage (including his son-in-law’s “ Duenna”), and was a graceful composer of songs and part-music. ‘The three little songs here printed are taken from his “Twelve Ballads” published- in 1780. They are written for voice and accompaniment of “Cembalo Solo.” With Linley a collection of this kind may fitly end. Both in the sentiment of his songs and in the treatment of his accompaniments we begin to perceive a change from the feeling and methods of his predecessors : and the weak goose-step of his basses (which make a pretence of moving but are really only marking time) warns us that we are now approaching the roth century and the Aira of the Piano-forte. The Editor has occasionally added a few bars of introductory symphony or ritornello, where it seemed desirable, and has in many cases transposed the songs into a lower key than that in which they were originally printed. The words also have been modernised in ene or two of the earlier songs, as also have the time-signatures throughout,if I nt IV. v. VI Vil. VII. IX. x, XI XU. XU XIV. XV. XVI. XVI XVIIL, XIX. soc XXL XXII XXII, XXIV. TABLE OF CONTENTS. How uarey tou ano 1. (Henry Lawes) Des eRaTO's Banquer. (Henry Lawes) Come Loveny Prunus. (Henry Lawes) Awacrton’s Ok. I Loc to sixc. (Henry Lawes) Nicr axp Dav. (Aenry Lawes) Tur Fai Lover axp ats Buack Mistress. (Dr, Blow) Boastixe Fors. (Dr. Blow) Stair of rer Green, (Henry Purcell) Ir Music pe THE Foon oF Love. (Henry Purcell) Crum uas 4 Tuousanp Cuarms, (//eury Purcell) (Henry Purcell) (Richard Leveridge) Mowvs's Soxc. ‘Tuy Sworn wrrmn tue Scapnarp. (Pr. Boyce) Vexvs's Soxs. Cauns arreai T sep sue FLIES Mw Apvice, (Dr. Boyce) Prats. (Dr. Boye) Ratt xo MORE VE LeaRNED Assis, (Dr. Boyce) : (Dr. Arne) Ye Nyarus oF tie, © come, O come wv pe, Yo Detis. Wr. Arne) RE Hat winorrar Baccnvs, (Dr, Arne) Arise sweer Messencer or Morn. (Dr. Arne) Tn Schoo o Anackeox. (Dr. Arne) Dear 10 my Sout 1s Danoy's Love. (Thomas Linley) . Au! pearest Mam, (Thomas Linley) Fatse Detia aprev, (Tomas Linley) PAGE ee 13 18 20 40 “4 48 50 52 34 56 62 64 4 76 78SONGS BY ENGLISH COMPOSERS, From LAWES to LINLEY.ON LIBERTY. HOW HAPPY THOU AND I. HENRY LAWES, vws2 nf How hap - py thou and 1 that ne-ver knew how to love! There's such bless - ing here be- neath, what-e’er thereman out up = on those that think to 2 mur - der me! And he’s by her fair will not leave him free: no-thing sweet, there’s_no-thing crese.to but Li - ber - ty. I to none nor yet — con - fine mine eyes, crese. St wo - man’s prize: Tis poco rit. has made me now thus wise. ‘poco rit.DESPERATOS BANQUET. (THE FLOATING ISLAND.) Words by DT WILLIAM STRODE. HENRY LAWES. Siow. uf, Come a - vy Souls, op - press-ed with theweight of = a Z crimes and pangs or want of your de- lights Come drown in Le-the’s was vf sleep -y Lake — what-ev-er makes you ache; Drink healths from pois'n- edbreathe out your cares to-geth-er with your Souls; F Pas nf orese. tf Cool Deaths a Salve that all may have; there's no dis-tinc-tion in the grave a Pp Lay down your be-fore Deaths I - ron door, P as and sigh out, Broan once and groan tzCORIDON to his PHILLIS. COME LOVELY PHILLIS. HENRY LAWES. of Allegretto vivace. 1.Come love - ly 2.Sweetstill be Since it thy will is To crown thy be = guil - ing Of ted - ious iss smil - ing: "Tis sweet P € 5 Co = si-don with daf - fo - dil - ties; © With = man - y hours and sor - rows best ee ie For if youAs The sweet as banks no ply plea to mul forth au + pay bring thy = And thus en - fold Their rays en - chant - hold grant - thee ing thee, ing, these ~in fade a bliss - e: sant flow - er. 1 will re - have to Will of eresc Here will 1 Your eyes not dim. from bright Free MyANACREON’S ODE, CALL’D, THE LUTE Englished by MF JOHN BERKENHEAD. HENRY LAWES. wa Moderato. 7 long to sing or Thebes which Cad-mus — rear'd But tho? with hand andvoice 1 stroves my Lute will sound thing but Love,mp a tempo I chang’ the strings but’twould not dots At last I took an o-ther tried to sing the praise of nS ~ perform-ing Her 1 sung al MylLute re-sounds40 Quicker. Then fare-well all true Troj - an Ca-val - fiers: Nor Gods nor my Lute can move °Tis dumbNIGHT AND DAY, TO HIS MISTRESS. Words by Music by CAREW. HENRY LAWES. 16% Moderato. the Sun at Noon. dis-plays His bright - er rays nf Thou but ap-pear: He then all pale with shame and fear, Quencheth his SSF = light, and grows more Composit to thee, than Stars to.12 2? If thou but show thy face a - gain, When dark - - sessdoth at mid - night ~ fretit fe reign; Dark- ness flies, and light is hur? Round a- bout the lent world; 80, aS_—a- like, thou drivat. «= aa- way Both of light and dark - ness, CTTHE FAIR LOVER AND HIS BLACK MISTRESS. Dr, BLOW. Allegretto. . tf » a Oh, Ni- gro-cel - ta, Oh, Ni- gro- cel - eT ert |Prr eg rrr dont des - pise trem - ~ bling,4 =—— a trem - bling flame, Oh, Ni- gro-cel - la, yt P t-rex. —~ to Oh, Ni- gro-cel - pas-sion kin dled. by_your Eyes, you can - not Pe + cel - la, Oh, Ni- gro - cel-la, un - hap -Had youbeen fair. you had been kind - poco vit. Le-das hair, you should not thus. en ——— poco rit. Sa tempo tr Come,Ni - gro - cel - la, come,Ni - gro - cel atell the truthwho,whosthe A - lex - RP ac: of your soul? Come,Ni-gro-cel - crese. -la, you burn for some fair scorn - ing fees Take burn_ not to youth; heed you a coal; 3 a | tempo | ———_-_—47 P_cresc. —_ ———————___ Come,Ni-gro-cel - 1a, ComeNi-gro-cel - itd a a -la, tell the truth,who, who's the A - lex - te18 BOASTING FOPS. Words by ER MOTTEUX. Dr. BLOW, 92 Maderato. = Boast-ing Fops,who court the Fair For the Fame of be - ing_ Love and Bird ing are. al - lied, Baitsand Nets a— like. th You who dai -ly — pra-ting are Of the Hearts your Charms have The same Arts in both are tried Theun-war . y_ to en .mov’d; be vain in Talk and Dress, slave: in each youd hap - py prove, dim. mf But while sha - dows you pur - sue, Own that some who With . out noise still, watch your prey; For in Bird - ing boast it__ less, May be blest as much as—__—you. and— in Love, While we talk, it flies a - Way.20 STRIPT OF THEIR GREEN. Words by PETER MOTTEUX HENRY PURCELL. 1602 Rather slow. Stript oftheirgreenour_ Groves ap - pear, our vales lie rote <7 deep in—_snow, the blew ing North con-trols the— tA Air, a nip. ping cold chills all be -Frost has glazit our deep - est__ streams , withdraws. dim. eresc. __ —$————_____ —— his kind ly beams, —Phoe - bus with— drawsRather Quick. usd to. = mourn. with plea and Yet Win - ter, blest be thy re . turn, thoudt br in thy Ice with plea ‘ought the sing flames Swain for thysing Flames we— burn. Tempo I. re SS Too — soon sun’ 3 ving heat will thaw thy— Ice_ and— id erese. SS malt thy— Snow; Tram petswill sound and Drums wilt == : aE beat, and tell methe dear, dear Youth must g0; Fr 2must my un. wil . ling Arms re-sign — to stron. ger— Charms, re-sign crese- : dim. to. stron. ger Charms. i= Rather quick. What Flowers, what sweetswhat beaut__ eous thing When Da . mon’sgone_can ease_ or_ plea-sure bring ?— Sh ae erese. _crese. _—— terbrings Da - mon, crese. S. Spring —____ terbringsDa-mon, Win myIF MUSIC BE THE FOOD OF LOVE. Words by COL. HEVENINGHAM. HENRY PURCELL. Slow. wae 2p Mu. sic_ be— the food of Love, sing on, sing on, sing eres. —_ = SSE 7 on,sing on, am fillfd, am— —fil’d___ with Joy: For r — : ‘i then my lis? ning Soul -you__ move, for then my list? _ ning.you move to pleas-ures that your Tonzue — declare Your declare that you are Mu _—_— Kyes, dim, sic ev 27 ver cloy. Your Mu your Mien, ory. wherePp erese Pleasures in-vade both Eye. and_ Ear so fierce, so fierce, so ie id = Sr ——— fierce, so fierce, the trans_—____ ports. are, they wound, and * ———— feas . ted are, and all my seu - ses__ feas . ted are, tho?ly— sound. Sing on, fair Nymph, en. chant —messtillj_— Such tf = OOO EEE charms may wound, they— | oe eyese, Sing on, — fairNymph, — en -chant me still, such crese dim. wi ee charms may wound,380 CELIA HAS A THOUSAND CHARMS. (ou RIVAL SisTERS) Words by ROBERT GOULD. HENRY PURCELL. 1696 —=_ Moderato, thou-sand, thou-sand, thou =~ > + + + + 2 = + Sandcharms;TwereHeav'n ‘twereHeav'n to. die. = ———— P, While I stand31 ae gaz-ing onher face Some new —_andsomere-sist grace Fills with fresh crese, magic ali__________ the place; Whilel stand gaz-ing onher face Some => = new —andsome re-sist -less grace Fills with fresh magic. all_—____ 77 i i es Pima 2 the place.82 Moderato, But while the © NymphI thus. a - Ce the Nymph 1 thus, I G Ts thus a - dore, ——_ ———— Fate de - plore; For should my — wretch - ed, wretch - ed, wretch - ed P oh! Mir - til - lo, have a Oh! Mir - til - 10, r33 orese. Soa are, have a care, Her sweet-ness is. be - yond com-pare, But |-_— ad then_ she's false, she’s then_ she’s false, she’s false, as oY t eel P P — = = well as_. fair; Havea care, havea care, havea care, Mir -til-lo, havea rt ———$—$_—__—_— PR care, Mir - til-lo, havea care, havea care, havea care, havea care.Ba I SEE SHE FLIES ME. (acresc- zene) Weeds by DRYDEN HENRY PURCELL. 1642 o 1608 Animato. f she flies me, me, flies_—__. me, she fliesme ev'=ry35 where, shefliesme ev-ry-where: _ Hereyes, her scorn, scorn. discov-er, but what's herscorn, but what's. herscorn, erese * my despair ‘Since “tis my fate, tis, tis my fate, dim poco rit. e her, since'tis my fate to love her. since'tis my fate dim ‘poco rit.36 Rather slow. es " a Were she but kind, were, she but kind, __ whom 1 7 were she butshe but. . king whom might live long - - 1000 rit. __ Poca rit. lf388 ADVICE. R. LEVERIDGE, wa Lightly. P Mai-dens, be - ware ye, Love will en- tr, nf -snare ye If you but look or lend an 7 Wordswill de - YY -tain ye, Sighs will tre - pan ye, Tears will draw you in - to39 Snare,Then in Time it, If you'll but mind. it, How ma-ny Maids false Men be - - é ae Let this con. cern ye, Let their Fall learn ye From the nf P dan-ger to run a - way, Run, run; run a - waya0 THE SONG OF MOMUS TO MARS. (FROM DRYDEN’S “SECULAR MASQUE”) Dr BOYCE. Allegro assai. 1750 St + Thy Sword with-in the Scabbard keep,and let Man-kind a-gree; Jet Mankind a - gree, let Man-kind a-geees cr the World were fast a-sleepthan kept a - wake by Thee,kept a - wake by Thee; bet - ter the World were fast a-sleep than kept a - wake by Thee, bet-ter fast a-sleep kept a - wake by Thee.Fools are on-ly thin-ner, with all_ our Cost. and Care, nei. therSide a © Win-ner, For things are as they were; thingsare as they were, things are as they were; Fools are on-ly thin. ner with all our Cost and Care48 nei - ther Side a win - ner, things are a8 they were, P ee things are as they were, things are as they were; senza ral. a Neitherside a winner, for thingsare asthey were. Sf | senza rail.AA THE SONG OF VENUS. (PROM DRYDEN’S “SECULAR MASQUE”) DF BOYCE. Amoroso. -pear when stormsstorms mf _oresc. Love will have | — 4H crese. tf Love will have46 my kind - ly Mars de- stroys cd P Mars de stroys and Take me, take mes y 1 comes not Sf, = dim. Take me, take me. while you Ve-nusar a Pp erese. comesnot, y Take me, take me, while you t eresc. Zt, Ve-nus comes Ve- nus comes48 YE NYMPHS OF THE PLAIN. (THE SHEPHERDS’ LOTTERY.) DF BOYCE, Words by MOSES MENDES. 1751 Andante assai, P ts = 1.Ye Nymphs of the plain, whoonce sawme so gay, You lov - ers so true, that at- tendon my bier, And Tie hs 1 P ee ee ask why in sor-row 1 spend all the day: "Tis love, cru-el love that my think that my for-tune has proved too se - vere: Ah! curb not the sigh,nor re-49 oresc, dim, mf The bloomwhich once peace did be-tray: Then crownyourpoor Phil -1is with wil-low. me a -fuse thekindtear: Then strew all the place roundwith wil-low. E- rect —_ S io P graced, has de - sert - ed this cheek; My eyes no more spar-kle, my tongue can scarce tomb and en - grave on its side, “Here lies a poor mai-den,whose love was de - + i crese. >= speak; Myheart too so flutters, I fear jt will break. Then crownyour poor Phillis with -nied; Shestrove to en - dure it, but could fdt,and dié¥? Then shade it with Cypressand wil-low. willow, te a FaleRAIL NO MORE YE LEARNED ASSES. BOYCE, Allegro assai- tf 8teSad Lib, 1, Rail no_ more, yelearn-ed As-ses gaiustthe joys the Bow! sup- 2. Drawthe scene for wit and pleasure En - ter Jol - li - ty_ and % -plies;Sound its depth and fill your gl bot - tom lies. Joy: We for think-ing have no— lei-sure, Man-ly_ mirth is cur em-ploy.Fill them high-er still and high-er, Shal-low_ draughts per-plex the Since in fife theres no-thing cer-tain Well the pre - sent _hour en- a : cs = ee Ee = oer te = to brain; —-Sip-ping quench-es all our fire Bum-pers Hight it up__ a - gage; ‘And when Death shall drop the cur-tain With ap - plause well quit. the asog — ‘i a (ee aa tele e peeal, « - eS Sip-pingquenches all our fire Bumpers And WhenDeath shall dropthe cur-tain With ap stage. ~ light it up a -gain. -plause well quit the stage. ZL52 O COME, O COME MY DEAREST. (THE FALL OF PHAETON.) Dt ARNE, Moderato. 1738 © comme, Ocomemy dearest, and hi53 tr t crese. thousand thousand sweets their fragrant atomsblend,Which in a galeof joy, Which inagaleofjoy thy cresc. ada breath _at-tend; Thy Love ingentle murmurs tomy soul__ap-ply, __healme withkisses, Oh GI o dim, Ly ry heal_ mewithkisses, or else. I die,__or else_I die, A else I dic. 2pTO DELIA. Dr ARNE Andante. 1. Soft pleas-ing Pains un- times at Midnight tell, ye Shadesthat @ known be-fore My beat - ing Bo - som fe When I be- hold the do I stray, Be- neath in- cle - ment Skies; Andtheremy true De- fold my Fair,’ And all my bliss con- tain, Ahtwhy should ye those Ciepd ee 7 fet ] bliss - ful Bowr Where dear - est lia dwells. That way I dai - ly -vo ,- tion pay, To De - - lidssleepsealedeyes, So pi-ous Pilgrims Bless - ingsshare For which I sigh in vain. But let me not at —, mf calla vod a —— drive my~~ Flock: (Ah, hap- py, hap- - py Vale!) night-ly roam With te - dious Tra - vel faint, riefs_ __inl- part, She's Fate re - pine And thus my tr, tre 2 tr and wish, and while I look, My Sigts in-crease the Gale, My a= lone’ the Glay-coldTomb, Of some lovifav ‘rite Saint, OF sot yourTen-ant,- She ismine: Her Man-sionis = my Heart, Her Prt dim. tp Tae. Tast. 7 Sizhs crease the Gale. some lovid fav - ‘rite Saint. Man -_sion is my Heart.56 HAIL IMMORTAL BACCHUS. (svbiTH) DF ARNE. Con spirito mmhail, im-mor-tal Bac-chus Bao-chus. ox Hail im-mor - tal Bac - chus, known By thy vine - en-cir - cled rt by thy vine-en-cir-cled zone, the crew thaton — thee wait : Thy ro - sy58 crest and reel - ing gait Hail, im- mor - tal Bacchus 88 ad Lib. o> £ known By thy vine-en-cir - cied zone, By the crew that on thee wait Thy ro - sy crest and reel - ing gaitvest - ed like the God With thine I - vy wreath and red a vest -ed fi With thine I - vy wreathand rod, Hi - thercome in jol - ly pride And Ger thy Ss rites__ im-mor-tal Bac-chus im-mor- tal Bac-chus Ln Hi - ther vest - ed like the God With thine I - vywreath and6L - ther come in jol - ly pride And oer thy al Fine. fes - tive rites pre - side pride And o'er thy fes - tive rites pre - side 662 ARISE SWEET MESSENGER OF MORN. (ALFRED) DY ARNE. Cheerfully. i7a0 a-rise, Sweet mes-sen.ger of morn. appears, a fo -sy, rosy hue be like,’ be ike the blush-ing Dawn === tf 7 Withthy mild, mild beams_.. this Isle. ad-orn, With thy mild, mild Steals soft’ cer yon - der o- - rient blue Steals soft oer the lawn, That gai - ly That gai - ly bright - ens oer. 5 tlie tadia £,638 fr eg Za = Spe : beams_— this Isle ad - orn. For long 4 Shep herds ‘Sport and yon - der o-rient blue. Well are we met in trim ar - right - ens oer the lawn, EachShepherd like the Sun be Co ee ee ee eresc. play for long as Shepherds sportand play, as Shep-herds sport and play, This -ray, Well are we met in trim ar-ray, are met in trim ar - Tay, To way, eachShepherd like the Sun be gay,— ike the Sun, be gay, And 4 of this shall be a ho = lisday; This this shall be_ ho - Hi-day, a fro-lick out this holiday, To. fro-lick out this ho li-daythis grate-ful keep this ho - li-day, And grateful keepthis ho li-day,this ho - This this shall be a To fro- lick out—this And grate-ful - keep this &64. THE SCHOOL OF ANACREON. (A CANTATA.) DF ARNE, 1756 Recit . ‘The fes-tive board was met, the so-cial board Round fami Av My sons, be-gan the Sage,be this the rule. -ac- re-on took their si-lent stand; Nobrowaustere must dare approachmySchool, Where Love and Bacchus joint-ly reignwith- tf - in, Old Care be-gone, old Care be- gone; Sad-ness were a Sin.65 Tell not66 Cares sur-round the rich and &67 birth andBac-chus god of wine and mirth,Me their friendandfav-rite own, me their te friend andfav:rite own, And I was born for thema -. lone, for them a - 1 was bornfor them a - tone.68 Andante Largo. —= Bus’ness, Title, Pomp and State, Title,Pomp and State give themto the fools I hate, Busness, Title, Title, Pomp and State,69 Sf givethemtothe fools, _givethemtothe fools,to the fuols,to the fools T hate, + s, givethemtothe fools, givethemto the fools,to the fools,to the fools I hate. Sprightly. But let Love,let Life be mine, bringme Nectar;bringme wine, 4 Toy uf. 7 = =e Speed the dan - cing hoursa-way And mind not what thegrave ones say. va70 Speed the dan eing hours a - way. mind notwhat the grave —ones (Note) * The lower notes are suxgested as an alternative.n let the minutes In Love and Free-dom,Wit and Joy, in Love and Free-dom,Wit and let—— the min - utes So shall72 a 2 Loveand Life be mine, Bring me Nectar,bringme wine, Speedthe dan-cing hours a- crese. Speed the | cpesc. - cing Speedthe t iff cresc.73 dan.cing hours a - way, Mind not what the grave ones of Mind not what the grave ones” DEAR TO MY SOUL IS DAMON’S LOVE. ‘THOMAS LINLEY. 780, Amoroso. erese. P Dear to my Soul___is “Da - mom's love Like “Op” ning day he Da-mon a - Jone_can De - lia— pleaseWith tend’. rest ts his Blest in his sight_the hap - py— day— On love’slight pin - ions + _nf. = crese. glads my — sight, Sweet as the song of ear - liest birds, bo = som glows, Gent - ly he wooesto ev - ty bliss, glides a - way, Steal - ing the hours till ev’ - ning shade,75 sf His voice a - wakes to new de i an - xious fear it That fan-cy hopes and love be st His man - ly sense, his A- like by him_ hap - py. Thus con - stant may’ we Sf ee, = = de + part And fills with joy is De - lids heart. Each tem - per kind. Bis - pel each doubt that clouds the mind. His ev - er prove The bliss of wn - dis - sem - bled love. Thus Sf —_ crese. — — an - xious fear it bidS___ de - part. And fills with joy his man - ly sense, his tem - per ‘kind. Dis - pel each doubt that con - stant may’ we ev - er prove The bliss of un - dis - © esc tT AD De - fia’s heart. clouds the mind. = sem - bled love.16 AH! DEAREST MAID. ‘THOMAS LINLEY. Affettuoso, 1780 dearest maid,I am not sad Be-cause with light - some steps__thou'rt No, blithesome Ma-ry,shouldl spy Thy beau - teouscheek with sor - row B.Ah! love-ly maid,by for-tune crost, A thought - ful glance I could__ not 2 ie a seen, Or. that thy tres-ses loose-ly flow, Or sport - ive want - on pale, Should I per-ceivethy pen-sive eye, Or in thy breast the bear, How then if wealthandfamewere lost, Could I. a- bide thy z Jved 2 Pp oer thine eynes May'stthouneer know the grief —of_—_tove, sigh pre - vail; Were I to lose that cheer - ful look, pi - tying tear? Couldstthou en - dure the chil. - fy morn, cxese, Sf, Its pleasures still with thee —re- main, Nor would T have thee— Nor hear thy spright - ly song —_re - sound, 1 thenshould think m In ad-verse fate be blest. with me, My hurb-led state wot = dim. p ev - er prove,One an-xious doubt to give thee pain, One an - xious love for - sook, And jeal-ous fears my heart wouldwound,And jeal - ous thou not. scorn,Tho! “I my love woulddie for thee, Tho? “I my give thee pain. heart would wound. die for thee.78 FALSE DELIA ADIEU. Con spirit. ty THOMAS LINLEY. 1750 # tells me my heart is at rest morewhenyou'renaniddo I care, 7 = — z 5 se —- é s- = # = 7 F # 1. De - lia, a-dieu to. my chain! Dear free-dom,long hop for in vain, Now 2, moreif” I meet yourbright eyes My heartleapswith joy or surprise, No And love lurks fio more in. mybreast, md Ifyour cen-sure or praisemeetsmy ear, Ityour crese,lovelurks no more in my breast: With _ joy to my ri-vals I leave cen-sure-or blamemeetsmy ear: My dreamsfromyourimage are free, truth as your con-stancy gave, My —rea-sonnowtells me I'm free, wak-ingfirst think I of thee: Of — ab-senceno more I com-plain, rea-sonand ac-tions a - gree. feel ei-therplea-sure or pain 8.Whenthe shaftI firsttore from my heart So sad-ly se-verewasthesmart, i80 VS thoughtit stillfixd in thewound, Nor ease from the paincould be found, Nor But now no fierce pas-sion a -larms, 8 hap-pyand laugh at your charms, The bird thus ens-narstrains hiswings; leas'd thus he soars and he sings.