THE WORKS VOL p Odes for Goilivs DTHE PURCELL SOCIETY, FOUNDED ON MONDAY, FEBRUARY 21, 1876, for the purpose of doing justice to the memory of HENRY PURCELL ; firstly, by the publication of his works, most of which exist only in manuscript; and secondly, by mecting for the study and performance of his various compositions. — COMMITTEE. Sir Jou Sramwer, M.A., Mus. Doc., Mus. Prof., Oxon. C. Viztiers Stanton, Esq., M.A, Mus. Doc., Mus. Prof., Cantab, Sir Freperick Bripce, Mus. Doc., Gresham Professor of Music. G. E. P, Arxwrionr, Esq. Watrer Macrarren, Esq. Josern Benxerr, Esq. Jottan Mansiatt, Esq. Rosert Bripoes, Esq, M.A., M.B. Sir C. Hupert H. Parry, M.A., Mus. Doc. W. H. Cummines, Esq., F. W. Barctay Squire, Esq.,B.A., F.S.A., F.R.G.S., J. A. Forter MartLanp, Esq., MA. Hon. Sec. E. J. Horxins, Esq., Mus. Doc. Rev. J. Troutseck, D.D. A. H, Littieton, Esq. H. E. Wootprincs, Esq., Slade Professor of Fine C. H, Lrovp, Esq, M.A., Mus. Doc. Art, Oxford. —_ In his remarks upon Henry Purcett, Dr. Burney said:— “While the Frenchman is loud in the praises of a Lulli and a Rameau; the German in that of a Handel and a Bach; and the Italian, of a Palestrina and a Pergolesi; not less is the pride of an Englishman in pointing to a name equally dear to his country; for Purcett is as much the boast of England in music as Shakespeare in the drama, Milton in epic poetry, Locke in metaphysics, or Sir Isaac Newton in mathematics and philosophy. ‘As a musician he shone not more by the greatness than the diversity, by the diversity than the originality of his genius; nor did the powers of his fancy prove detrimental to the solidity of his judgment. It is true that some musicians of eminence had appeared in this country previously to him, but the superior splendour of his genius eclipsed their fame. We hear with pleasure of Tallis, Gibbons, and Blow; but upon the name of Purcert we dwell with delight, and are content to identify with his the musical pretensions of our country.” “These weighty utterances may be taken as still representing in substance the opinion of English musicians with regard to Henry Poxcet. But while the advance of time abates nothing of that reverence for his genius and pride in his achievements which are the inheritance of the master’s countrymen, it unquestionably increases the obligation under which we all lie to do justice to his memory in a more practical way. The fame of Purcext is no longer confined to England. It has spread to every country where the art is cherished, and pages might be filled with eloquent tributes to his genius written by foreign pens. One only will suffice as an example, and it shall be that of a Frenchman. In his Les Clavecinistes de 1637 4 1790, M. Amédée Méreaux says “We have here a name which is not anything like as well known as it deserves to be; it is that of a great musician whose career in the musical world left traces of remarkable progress. Nevertheless the musical world, if it has not wholly forgotten him,(2) has not paid the tribute justly due to his celebrity. Hewry Purcett is one of the artistic glories of England. He is, without doubt, the most able and most fertile of all the English composers.” ‘When the genius of our countryman is thus asserted in other lands ; when his music, ‘asin the case of M. Méreaux’s volumes, is printed for the use of foreign connoisseurs, and especially when foreign writers point significantly to the neglect which Purceit suffers, it is time for us to consider what practical measures of appreciation and homage can be taken. ‘The thought, however, is no new one. While the national tongue has for more than a century and a half lavished praises upon Purcett, the national conscience has been uneasy at the bestowal of a barren honour and nothing more. Hence the attempts made from time to time to bring his works within reach. In 1788 Goodison made a gallant effort to print such of the master's MS. compositions as were then available, and actually succeeded in publishing, in a more or less complete form, The Tempest, Indian Queen, Ode for Queen Mary, Christ Church Ode, an Organ Voluntary, several Anthems, and The Yorkshire Feast, together with portions of Adipus and King Arthur. But the time was not ripe for such an enterprise. Only about 100 subscribers supported Goodison, and he had to retire from the field. Forty years passed before Purcett found another champion of this practical order. In 1828 Vincent Novello began the publication of the master’s sacred music, and carried it on with such energy that in 1832 he had given to the world what was then thought to be a complete collection. It is impossible to look back upon Novello's achievement without admiration for the research which made it possible, and without gratitude for the service rendered to English music. But justice was done only to one phase of Purcett’s genius. Great though the master was as a composer for the Church, he was, perhaps, greater as a writer for the stage and of secular music generally. To prove this—to reveal the treasures which ever since his death have been lying hidden, to the detriment alike of his own fame and the repute of his country—is a manifest obligation, the time for the discharge of which has fully come, But to this end there must be a widely extended co-operation, for the work to be done is great. Of the amazing number of secular compo- sitions bearing Purcei1’s name very few have been published. He himself printed but four— the “Sonnatas of three Parts” (1683) ; the “Ode for St. Cecilia’s Day” (1684) ; Dioclesian (1691), and The Fairy Queen (1692). Under the auspices of his widow there were given to the world— Lessons for the Harpsichord” (1696) ; “‘ Ayres for Theatre” (1697) ; a second set of Sonnatas,” in four parts (1697); and the collection entitled “ Orpheus Britannicus” (1698). Add to these portions of the music to Don Quixote, the works published by Goodison, and the three—King Arthur, Bonduca, Dido and Aneas—issued by the Musical Antiquarian Society, and the tale of printed secular works is complete. But how much remains? Puxcett is known to have written music for nearly fifty Dramas, while his Odes and Choral Songs still in MS. number twenty-four. Moreover, since the completion of Novello's edition of the master’s sacred music, discoveries of high importance have been made. A folio volume known to be in the Royal Library, but sought in vain by Vincent Novello, has come to light. It is described by Burney as “PURCELL'S COMPOSITIONS : A COLLECTION OF ORIGINAL MANUSCRIPTS IN HIS OWN HANDWRITING"; and contains Anthems with Symphonies and instrumental parts, and also Odes and miscel- laneous Songs. At York Minster several other volumes of Sacred Music have been happily discovered. The task of completing the noblest possible monument to our English master— viz., the publication of his Complete Works—is thus shown to be a heavy one. But the Purcext Soctery enters upon it with a well founded trust in the sympathy and support of the musical public. For that the Committee now appeal, desiring to enrich the available treasures of English art, and to wipe away a national reproach by doing justice to one of whom the nation has abundant reason to be proud.¢ 3) ODES AND WELCOME SONGS BY PURCELL. CHIEFLY 1A Sono To Watcomz Hoe His Majesty From WINDSOR, 1680.” 2—A Watcoms Sone yor His Rova Hicunzss OW His RETURN FROM ScorLAND, 1680, 3-—"A Watcoue Soxc ror THe Kino, 1681.” 4—"A Watcoms Sone ror THE Kine on 1s, ReTuRN FROM Newnanxer, October 21, 1682,” 5A Wetcoms Sone ror tHe Kino, 1683, 6—“Ope on THe Marrsck of Prince Gzorce wirn Lapy Anne, 168: 7—“Ove ror Sr. Cucitis's Dav, November 22, 1683,” (Printed by Playford in the following year.) B.A Watcoue Sono on THe Kin’s Rerunw to Warrewaut, aren is Sumwer Pro- ‘onsss, 1684." 9—" A Watcour Sone ror tue Kino, 1685.” 10.—"A Wetcour Sona vor tux Kinc, 1687." 11.—"A Watcour Sona ror THe KiNG, 1688." 12.— Tux Yorrsmine Feast Sox, 1690." (Printed by the Purcell Society.) 13.—"'A Sone THAT WAS PERFORMED AT Mr. MatD- wat's (a Schoolmaster), on the sth of August, 1689. The Words by one of his Scholars.” IN Ms. ‘A Wetcoue Sone ar tHE Prince oF Den: want's Comine Howe.” 15! Ope To Kino Wittiaw, 1690." 16.—Ope on Kine Winuias's Brrrupa 17—"A Quann’s Birrupay Sono, 1690." 18,—"Opeow Queen Many'sBrarupar, April2g, 1691." 19—Ops on Queen Many's Biarupar, 1692." 20.—" Ope vor Sr. Cxcitus’s Dax, Nov. 22, 1692 (Printed by the Musical Antiquarian Society.) Ops wor Quaen Many's Bintipar, 1693" 22.—" Ope vor THe New Year, 1654." 23—"Ope rox Queen Many's Bintipay, 1694: 24.—"Coumenionarion Ope, performed at Christ Church, Dublin, January 9, 1694." (Printed by Goodison.) 25.—"Ope vor tue Bintupay op tax Dues oF Groucesran, July 24, 1695." (Printed by the Purcell Society.) no date, Beginning, “Hark how the wild musicians sing.” 27.—"Ope vox Sr. Cucitn’s Day," no date, Begin- ning, * Raise the voice, all instruments obey.” 28.—"Ope sy Mr. Cowisy,” no date. Beginning, “If ever I mere riches did desire.” 14 OPERAS AND DRAMAS. 1. Enso Watts. 2. Auntwos Zens. 3. Tas Liszarive, & Cince. 5. Anpezazan, 6 ‘Tox or Aruens. (Printed by the Purcell Society) 4. Tunovosivs; on, tus Force oF Love. 8. Dioo axp Annas. (Printed by the Purcell Society.) 9. Tae Virtuous Wire. ro, Traanxice Love. 11, A Foot's Prevenwens. ra. Tun Tex: 13, Diocussun; on, Taz Proruersss. 4. Tus Massicns o” Panis. 15 AuPmITRYON. 16. Kino Arruus. 17. Tam Goroun Kxor Unrieo. 18. Sin Anrwoxy Love. Disrasssep Inwocence. ‘Tax IxpIAN QuEEN. . Tax Inpian Eurenor. 22, Cpirus. 23, Tue Fay Queen. 24. Tue Wire's Excuse. 25. Tue Oto Bachstor. 26, Tue Ricuwoxo Heiress. 27. Tue Mato's Last Praver. 28, Henay THE Seconp. 29, Tue vinsr parr oF Dox Quaxore, 30. THE secoxp Parr oF Dox Quixore. 31 THe Maratep Beau. 32, THs Douste Deaten. 33. Tue Farat Marriace. 34. Tue Canrersuny Guests. 35. Tua Mock Marniace. 36. Tue Rivat Sistexs. 37. Onooxoxo. 38 Tae Kwicur of Manta, 39. Boxpuca. go. Tae Taino parr oF Dox Quixore. 4% Tue Spanisn Frver, 42, Tae Marsiace Haren. 43. THE CAMPAIGNERS. 44. Tie Conquest oF Grenapa. 45. Tie Otp Move an THz New.(4) HYMNS, ANTHEMS, AND OTHER SACRED MUSIC. INSTRUMENTAL PIECES :—FANTASIAS IN 3, 4, 5; 6, 7, & 8 PARTS; OVERTURES, DANCES, CURTAIN-TUNES, &c. Persons desirous of becoming Members of the Society are requested to forward their names to the Hon. Sec., W. Barctay Squire, Eso., British Museum. The Society's publications will be printed in full score, as left by the composer, with the addition of a pianoforte accompaniment.SUBSCRIBERS. HER MAJESTY Tuk Bopuaun Lt ‘Tae Universtiy Li THE QUEEN. teary, OxrorD. rmnany, CAMBRIDGE. ‘Tux Brirish Museum. Tus Rovat Coutsce or Music, Lonpox. ‘Tne Rovat Limrany, Bentix. ‘Tu Rovat Lisi ‘Tus Rovat, Hochscuuts Ta University Li Arkwright, Godley E. P., Adbury House, Newbury. ‘mt Mle yl Couage Ambuetie” Ne" Balfour, The Right Hon, As]. 4, Cariton Gardens, S.W. Barnes Hf Summerild, Great Lever near Bolon llama, Rev. J, D-D., St, John's College, Oxford. Bendall’ Cy Bideh Msc Onin Bennett, Joseph 109, Finchley Road, N. Benton, Lionel Sq 14, Cottesmore Gardens, Ken- Boumes T. W., Haughmond, North Finchley, N. Bowes, Rev. FS. Hope House, Harrow oe Hill Brammal, J. 1, Sale Wil House, Shefcidc Breithopl and fare, Leipeige Bridge, Sit Fredric, Mts. B. The Cloisters, West Bridges, Robert, Yattendon, Newbury, Berks. Broadwood, ise Ly Ex 2) St. George's Square, S.W. Burnett, Ey Mus. b,, ii Gos, Netwieh Charrington, 3; Hendon Lane, Finchley. Clive, Hon, H."Windsor, Oakley Parle” Bromfield, Shro Cooper, Kev. V. 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Doc., 17, Kensington Parry, Sit 'C. Pendidbary” Rs St. John’s College, Cambri Platt, William, Rookwood, Hampstead, N-W. Poole, R. L$, Beaumont Street, Oxford Powlett, Hons A. L. Orde, Leyburn, Re Prendergast, A. H.D., 57, Cromwell Ros Prioger, Dr.'E., 123, Coblenzer Strasse, Bonn. Radnox Castle Salisbury. Countess of, Read, J. F. H., 52; Bedford Square, W.C. Reynardson, HF. Birch, Adwell House, Tetsworth, Rogers, L. J., Mus. D.,13, Beech Grove Terrace, Leeds. Rucker, Miss, 6, Vanbrugh Terrace, Blackheath. Rushton, W. L., 28, Crosleth Road, Sefton Park, Liverpool. Shedlock, J. S., Portland Lodge, Teddington. Spring-Rice, S. E., C.B., 1, Bryanston Place, W. Squire, W. Barclay, 14, Albert Place, Kensington, W. Stainet, Sir John, Mus.'D., South Parks Road, Oxford. Stanford, C. V., Mus. D., $0, Holland Street, W. Stevens, B. F., 4, Trafalgar Square, W.C. Stevens, G. N., 421, Strand, W.C. ‘Thompson, Herbert, 35, Wimpole Street, W. fall ty 19, Hyde Park Terrace, W. Troutheck, Rev. J., D-D., 4, Dean's Yard, Westminster. Ward, Rev. C. R., The Vicarage, Falfeeld, R.S.0.,Glos. Waterlow, H. J., 24, Birchin Lane, E.C, Westlake, 5," Upper Gloucester “Place, Dorset Whinfeld, E. W., Severn Grange, Worcester. Williams, C. F. A, Bradfield College, Berks. Wilson, Arthur, 30, Ashbourne Road, Derby. Wooldridge, H.E., 18, Hanover ‘Terrace, Notting IW.THE WORKSEpirep sy G. E, P. ARKWRIGHT. THREE ODES FOR ST. CECILIA’S. DAY ‘COMPOSED BY Lonon: NOVELLO AND COMPANY, Liutran NOVELLO, EWER AND CO. NEW YORK. 1899.THREE ODES FOR ST. CECILIA’S DAY. +. (QREFACE. I.—WELCOME TO ALL THE PLEASURES. HIS Ode was written for St. Cecilia's Day, November 22, 1683, and it appears to have been the first of the series of elaborate compositions by eminent musicians which it became the custom to perform annually on that day. This Ode of Purcell’s, therefore, may be said to have provided the model which Blow and other musicians followed, at any rate for some years, in their St. Cecilia’s Day compositions. For an account of these festivals it is only necessary to refer to Husk’s “ Musical Celebrations on St. Cecilia's Day,” 1857, where will be found all that is known of the circumstances attending the 1683 celebration. ‘This Ode was published in the year after its first performance, no doubt under the ion of the composer, whose signed Dedication it contains. The Title is as follows: A| Musical Entertainment | rerrorm’y | On Novemszr XXII. 1683. | rrseiNc THe | Fefival of St. Ceciuia, a great Patrone/s of Mufic; | WHOSE | MEMORY is Annuatiy honour'd by a public Feaf | made on that Day by the Masters and Lovers of | $#usic, as well in England super as in Foreign Parts. | (Device of Musical Instruments with the Motto “MVSICA LATIFICAT COR.”] LONDON, | Printed by 7. Playford Junior, and are to be fold by John Playford near the | Temple Church, and John Carr at the Middle-Temple Gate, 1684. | This is followed by a Dedication :— ro tHe | GENTLEMEN | or tut | Mufical Society, | And particularly the | STEWARDS | For the YEAR enfuing. | William Bridgman, Ef{q; | Wicholas Staggins, Dottor in Mufic; | Gilbert Dolben, Efq; and | Mr. Francis Forcer. | GENTLEMEN, | Your kind Approbation and be- | nign Reception of the Perfor- | mance of thefe Mufical Compofitions* | on St. CECILIA’S “This being the bottom of the page in the old edition, the catch-word “on is printed below the last line, and the ‘word " Dedication "is printed at the head of the following page. The names of the four steward are incloed in brackets.(ii) day, (by way of Gratitude) | claim this Devication ; which like- | wife farnithes the Author with an opportu- | nity of letting the World know the Obli- | gations he lies under to yous and that he | is to all Lovers of Mufic, | 4 real Friend and Servant, | HENRY PURCELL | “Of Christopher Fishburn, the author of this Ode," says Mr. Husk, in his “' Celebrations on St. Cecilia's Day,” p. 13, ‘nothing is known, save that his name is attached (as the composer) to some songs in the fifth book of ‘Choice Ayres, Songs, and Dialogues,’ 1684; and (sometimes as composer and at others as author) to several of the songs contained in D'Urfey’s ‘ Wit and Mirth.'” He also suggests that he is identical with the Mr. Fishbourne, a gentleman of Gray's Inn, who is “ mentioned by Langbaine, Gildon, and Jacob, and in the various editions of the ‘ Biographia Dramatica’ as the author of a play which was attempted to be passed off as the production of the Earl of Rochester.” ‘The present edition has been based upon the old printed version, collated with the following MSS., which, however, offer very few various readings AA MS. of Purcell’s time, in the Library of Mr. W. H. Cummings. This MS. was formerly in the Collection of Vincent Novello, in whose hand it bears a statement: “I have no doubt that this is in Purcell’s own hand-writing.” The latter part of this MS. is filled with a Welcome Song of 1687, which is evidently in the same writing and on the same paper as the Ode. It can hardly be said to vary in its readings from the printed edition of 1684, from which I do not doubt that it was derived, B.—A contemporary MS. in the Bodleian Library (MS. Mus., c. 26). The beginning of the Ode is wanting in this MS. as far as the middle of the air “Here the Deities approve.” C.—A volume in the British Museum (Addl. MS., 33,287) containing Odes, &c., by Purcell and other composers, bequeathed to the Museum by the late Mr. W. H. Husk, in 1887. This volume is contemporary with Purcell, but is not in his autograph, as has sometimes been supposed (see the Musical Times, Feb. 1, 1896]. D.—An Organ Score in the British Museum (Addl. MS., 33,240). This MS. belonged to the Musical Antiquarian Society, to whom it was presented by the late Vincent Novello, in 1843. It has a note in his hand-writing stating his opinion that it may possibly bein Purcell’s autograph. ‘The writing, however, has been identified by Mr. Hughes-Hughes with that of Daniel Henstridge, organist of Canterbury Cathedral (¢. 1670-1730) [see the Musical Times, February 1, 1896]. The readings of this MS., where they differ from those of the printed version of 1684, are chiefly interesting as showing a desire to smooth away some harsh passages in the music, The score merely consists of the highest instrumental or vocal part written with the bass, with a few notes here and there of the inner parts, and a few figures given occasionally which I have not thought it worth while to print, because they nowhere do more than suggest the harmonies which Purcell’s vocal or instrumental parts give in full. E.—A MS. in Mr. Cummings’ Collection. This is part of the volume in the Rev. J. W. Dodd's writing which I refer to when speaking of the next Ode. It dates from the end of the last or the beginning of the present century.(iii) ‘These five MSS. differ very little from the printed version, which may be taken to present the composer's work as revised by him for publication. There is, however, a copy in the Royal College of Music Library (Sacred Harmonic Catalogue, 1,922), in the hand-writing of Robert Pindar, 1765, which differs considerably from the composer's printed version. The alterations are evidently introduced in order to suit the work to the fashionable taste of the last century. Theycan be of no authenticity as representing Purcell’s intentions, and I reject them altogether. The Song “ Here the Deities approve” was printed in the First Part of the Orpheus Britannicus (1698, and subsequent editions). An arrangement of the same song for the Harpsichord is to be found in the Second Part of “ Musick’s Hand-Maid,” 1689, under the name of “A new ground.” [See Purcell’s Harpsichord Music, edited by Mr. W. Barclay Squire, p. 30.] VARIOUS READINGS. Pros 1, In the Symphony, and wherever else the Strings are used, I have transposed the Viola part from the mezzo- soprano to the alto clef. . ‘The grouping of the semiquavers in bars 1 and 3 of V° 1° and corresponding passages is printed as written ina. x. Bass, Bar 6—The first C is not marked $ in C. = 2, Bar 9—A marks a pause in all the parts, and in the Bass reads @5==—=H] for the low E. 4 Vex, Bar g.—C slurs C and B; not D and C. Bar 15—A marks a pause in all the parts. Bass. Bar 19—A reads BEEZ for dotted minis. 5. Bar 7-—A and C omit the pause in all the parts. It is marked in the Treble voice only in the old edition. Base, Bar g.—D reads Cf. 24 Bar 1—Treble, Alto, and Tenor voices have a dotted crotchet, nt a minim, as the last note in A and C. vrThe repeat is not written out in full in the old authorities. I insert the rests in Viola and Bass. 8, Bar 5.—I insert the rests, which are not in the old authorities. The Alto song is printed an octave higher in the G clef in the Orpheus Britannicus, which omits the repetition of the first part of the air, and ends, of course, where the voice leaves off. Bass. Bar 7.—D has G for B (sth note). 9g. Voice part. Bar 7.—D omits # to last G. to Viol. Bar g—B reads BASE HESE 11, Vox", Bar 3—C reads as 3rd, 4th, and sth notes. 13. The Trio is headed * Ver) 3 Voc." in the old edition, Bass. Bar 9—A, B, and C do not figure the Bass, and Treble. Bar 10.—All MSS. except C omit theb to B. aaa sanuThe tie to the G is omitted by A and B, The old edition turns the page here, and omits it after the ft G, but inserts it before the second. rst Treble. Bar 15-—C has and Treble, Bar 15.—C has C for B as 3rd note. st Treble, Bar 16.—C has D for C as 3rd note, vy Bass, Bar 5—B has SEEPS i ret the mi Bar 6.—In the Voice parts there is no dot or rest after tt ‘printed on the same staves as the voices ; $0, also, A and C. ‘yoa?, Bar 14.—I insert the crotchet rest before the repeat. in the old edition, the Violin parts beingCiv) 15. Bar 14.—The old edition heads the Solo “ Ver. solus.”” 16. Bar 1.~C does not figure the Bass. Bass. Bar 10.—D does not tie the A. 17. Tenor Voice. Last Bar.—A omits to F. 18, Bass Voice, Bar 4.—A and B read A for G as last note. 1g. Treble Voice. Bar 1.—C reads the last A as a dotted quaver, not a erotchet. Alto Voice, Bar 5—B reads ‘Treble Voice. Bar 11.—C reads the last D as a dotted quaver, not a crotchet. . ‘The last four bars are headed “ Symphony " in E. The Bass is all that is given by any authority. Possibly the harpsichord-player was intended to improvise, using this as a ground-bass, 20, The Tenor Air is headed “ Vers sola" in the old edition and in A and D. Voice part. Bar 8—B slurs the first two notes. Bass. Bars 20, a1, and 22.—D reads =| but not in the Ritornello afterwards. at. C heads the Instrumental Piece “ Ritor.” Vea. Bar 17.—A and B read 22, Only three ffs are marked in the signature from this point in all authorities but I, the Dj being inserted where it occurs. ‘The Chorus is headed " Six Parts” in the old edition. Bass. sth Bar from end.—A and B read From this point A and B put the Vocal and Instrumental Bass on one line to save space. 23. V°a°. Bar 5—C slurs the semiquavers Aff and G. Instr, Bass. Bar 6—A and B read 7 a4: Bass. Last Bar-—A and Bred SHS = 25. Last three Bars.—B omits the Instrumental Bass. C and D omit the pauses. IL—RAISE THE VOICE. This Ode is found in several MSS., which differ in many points, while none seems to be decidedly better than the rest ; consequently I have had to make choice between a variety of readings. In some cases, where the readings seem to be equally good, it has been with considerable hesitation that a text has been decided on. However, as all the variant readings are given below, anybody can see for himself whether he prefers the reading embodied in the text or some other. In this Ode, as in the ““ Laudate Ceciliam,” there are passages which the composer very likely would have altered if he had had to revise them for publication ; but of course no attempt has been made here to correct Purcell. It is not known who was the author of the words; Husk suggests that they may have been written by Fishburn, and there is nothing in the verses which would make the ascription impossible. They will be found below, printed from the Christ Church MS. Five MSS. have been collated in preparing this Ode for publicatio A.—A Volume in the British Museum (Addl. MS., 33,287), containing a number of Odes, &c., by Purcell and others. It is said to be contemporary with Purcell, though not in his autograph, and was bequeathed to the British Museum by the late Mr, W. H. Husk, in 1887. It is the MS. that I referred to as C in speaking of the Ode “Welcome to all the Pleasures.” It omits the last Chorus of the Ode, leaving blank leaves where it should be.of “ Musick’s Hand-Mai (v) B.—A MS. in the Library at Buckingham Palace, in the same hand-writing as A, with which it is practically identical in its readings. It contains, however, the last Chorus. These two MSS., A and B, differ in several minor points from the other MSS. of the Ode, and contain a short passage in “Crown the day with Harmony” which they have not got. C.—A MS. in the Library of Christ Church, Oxford (I. 2, a.). It would seem to date from soon after Purcell’s time, if not contemporary with him. Dand E.—Two MS. volumes in the Collection of Mr. W. H. Cummings, each containing several pieces by Purcell. Of these, E bears inscriptions to the effect that the Ode ‘Raise the Voice” in this volume is in the writing of J. W. Dodd,* to whom it formerly belonged, and that it was ‘carefully copied from a MS. Vol. written out by the late Dr. Hayes of Oxford which he (Dr. H.) copied from the Original MSS. in H. Purcell’s Handwriting, afterwards deposited by him (Dr. H.) in the King’s Library.” There is, moreover, a note in the hand-writing of Vincent Novello, dated July 15, 1846, showing that it was then in his Collection and stating that it had belonged to Dragonetti. ‘This is no doubt the MS. stated by Mr. Husk in his “Celebrations on St. Cecilia's Day” (p. 16) to have been then in Dr. Rimbault's Collection. This MS. can only date from the last years of the last century or the beginning of this, but if it was really copied from Dr. Hayes’ copy of Purcell’s Autograph it would have an importance above that of any other MS., for the Autograph is not now traceable. But I am very much inclined to believe that the writer of the note in this volume quoted above is mistaken. There is stated to be no copy of this Ode in Purcell’s Autograph in the Royal Collection, nor have I traced a copy in Dr. Hayes’ hand-writing; but there is Purcell’s Autograph of the 1683 Hymn, “ Laudate Ceciliam,” in the great MS. volume in the Buckingham Palace Library, and of this there is a copy in Dr. Hayes’ hand- writing, among others of his copies from Purcell, in the Library of the Royal College of Music (formerly in the Library of the Sacred Harmonic Society). These facts suggest, I think, that there was possibly some confusion in the mind of the writer of the note under discussion between “ Raise the Voice” and “Laudate Ceciliam,” in which case the MS. would be of no special authority. It is evidently closely connected with the Christ Church MS. D, the other MS. in Mr. Cummings’ Collection, is in another MS. volume of about the same date as the last. It so closely resembles E in its readings, and the differences are so trifling, that I have no doubt that it is merely a copy from it ; indeed, it bears a statement that some of the contents of the volume were copied from Dodd’s MSS., and no doubt this Ode was among them. ‘The Minuet which precedes ‘‘ Mark, mark how readily” is printed in the Second Part 1689, as a Harpsichord piece. [Purcell’s Harpsichord Music, edited by Mr. W. Barclay Squire, p. 32.] ‘The date of the performance for which this Ode was written is given by the MSS. D and E. as 1683; the older MSS. give no date. The acceptance of this date depends, therefore upon the amount of reliance that can be placed on the note in E, which has been discussed above. Until Purcell’s Autograph or Dr. Hayes’ copy of this Ode is discovered, it will be perhaps best to regard the date as uncertain. * The Rev. J. W. Dodd, an Under-Master of Westminster School, died in 1820.(vi) VARIOUS READINGS. B has some figures to the Bass in the Symphony and a few other places, but they are not, I believe, in the original hand-waiting of the MS. ‘The few places where the figures suggest something more than the chords that appear in Purcell's vocal and instrumental parts have been noted below, because the MS. was discovered too late to be of use in the preparation of the Pianoforte part, 26. Vex", Bar 4—D and E read G for F the last note but one. Vea", Bar 5—A and B mark a $ to the last D. ‘Vo 2". Bar 12.—C omits the f to the B. Bass. Bar 12.—B figures the D in Bass. Bar 14—C omits the to the B, and in V° 2° the {to the first C. Prot Bar 16.—D and E mark a shake over the third G. 27. Vex". Bar a—E reads A for F, last note. Vea, Bar 2.—A and B read A for G as fourth note. In C, A and G are both marked. Vo2°. Bar 3.—A, B, and pethaps C read G, F, instead of F, E, for the last notes. ‘Ver, Bar 5—D and E omit the tie to B. No MS. marks a f{to the C in the Bass. instead of a dotted crotchet and quaver. Bass. Bar ro—D and E read Bass. Bar 14.—D and E omit the tie to the last A. 28. C omits Y to the frst B. D and E read Bj as first note, a mistake derived, perhaps, from C, which does not matk C omits to the first F. Bar 10.—D and E omit tie to A. Wea", Bar 10.—The sixth note is A, not F, in D and E. Bass. Bar 10.—A only has f to the first C and f to B, ‘Vex, Bar 13—C, D, and E omit gto F. ‘Vex, Bar 14.—D and E mark a shake on the last E, and on the Cf in V° 2°, Bar 15.—D has the first note a quaver. 29. B has the direction “ Come in on the close note.” . Bass. Bar 1—C, D, and E omit the tie to D. Bass. Bar 2—C, D, and E omit the tie to D. Voice. Bar 4D reads SEF P RSET; & reads GF AFE They are both derived, apparently, from C, which is indistinctly written, Bass, Bar 12.—C omits the 6 over the bass. 30. Bar 1.—C has the direction “The violins come in upon the close." Bass Voice. Bar 1.—A and B make the last D a minim, ‘Tenor Voice. Bar 3. C omits the f to B. Tenor Voice. Bar 6—D and read Bi for E as last note. we C reads the last two notes as crotchets. Treble Voice. Bar 10—C, D, and E omit the tril, Tenor Voice, Bar 10.—C, D, and E omit the tril Bass Voice. Bar 10—D and E read @E 3%, Bass. Bars 1, 2, and 3.—B puts a f over the E as part of the figuring, C omits the ties to E. Vox, Bar 2.—D has by mistake from the bar following. ‘Treble Voice. Bar 2.—D and E read + C omits the % to G and the } to B. Tenor Voice. Bar 2—The second C is in D and E. Bass Voice. Bar 2.—C and D read Bp, not A, for the last note; and E ‘Treble Voice, Bar 3—B reads SSS By.(vii ) Poor gt. Tenor Voice. Bar 3—C omits to B. Vea", Bar §-—D and E have F, not A, for first note. eI", Bar 7.—D and E have a crotchet rest for the frst D. Vex, Bar 8.—B, C, D, and E omit to B. Vez" and Treble Voice. Bar 8.—A, B, and C omit} to B. Treble Voice. Bar 9.—D and E read G for E as last note. Tenor Voice. Bar 10.—D and E mark a f to the last G and omit the trill, 32. ‘The repeat marks for the frst and second parts of the Ritornello are given in D and B, not in A and Bs; pethaps, but not certainly, in C. introduce a quaver rest inthe Bass at the repeats Vee, Barg.—D has to B; C and E omit te to B. Bass, Bar gC, D, and E read the lst two notes as crotchets, Wr, Bar 10-C, D, and E omit the fto C. Vor, Bar 11D and E omit the tie to F, Bass. Bar 11.—E omits the tie to G. 33 Vx". Bar 4.—D and E mark a shake to the second E, V2, Bar 4.—D marks a shake to the second Cf. Bois Bass, Bar 4—B figures GE=P=E ea, Bar 5.—C omits the tie to D. Voice. Bar 7.—At the beginning of the Treble solo B has the name“ Bowen,” no doubt the name of the singer at some performance. Bass. Bar 7.—D and E omit the tie to D. Voice. Bar 8.—A reads “ swears” for “says.” Bass, Bar 8.—C and E omit the tie. Vole, narta—D sous GEOL, w ate EES: Voice. Bar 16.—C omits the f to B. Voice. Bar 17.—C omits the fj tothe frst B. Bass. Bar 18—A marks a to C. Bast, Bar 20.—C figures the Base 3; D and IE omit the figures. Voice, Bar 2t.—C, D, and E omit to B. B marks it to the second B only. Voice Bar a5 —A and B rend GEES aSS SENG which, perhaps, i test: C reads 1 Dand Bread GEE es sherwise asin text Bass, Bar 25. C omits) to E. 34 Voice. Bar2—Creads here = , but not in bar 6; C also omits $ to C. Bass, Bars 11 and 12. C omits the tie to B; C, D, and E omit the bars in brackets. 435. B divides the bars unevenly throughout this Chorus. ‘Treble Voice. Bar 6, D and E read 36. A, B, and C call this “A Minuet"; D, “ Ritornello.’ —D and E mark a shake on the G. C, D, and E omit the first two bars. ‘A has no repeat marks for the first part of the Minuet. Bar 12.—C reads F for A. —A and C have no repeat marks for the and part of the Minuet. Bar 1.—B figures the G with §. Bar 2.—C has D for F as last note, , Bar 3—€ omits to the frst C. Bar 11.—C omits to the frst C. Bar 2.—C, D, and E read A for F as fourth note. a7» ( viii) 39. Bar 4—A, B, C,and D do not write out the Violin parts, but put against them a notetto the effect that they play “ Both the same as the singing treble.” Violins and Treble Voice. Bar .—C, D, and E read A for B as last note. ‘Violins and Treble Voice. Bar 6.—C, D, and E read A for F as last note. 49. Tenor Voice. Bar 4—D and E have D not E as last note. Vea", Bar 7.—A and B read C for the first B; perhaps the right reading. ve, Bar8—D reads a 41 V9, Bar 1—C reads G for F as third note. Vea", Bar2-—D and E make the last note F. ‘They markthelast four notes as quavers, From this point ' gets the V° 1° wrong fora few bas, which are not worth giving in detail Bass. Bar 5 —C, D, and E read A for C as sixth note. V2 Bar 6.—B bas E for F as last note. has E corrected to F. Ver Bar 8-6 read GIEEESEEESE oc he et ee cots omiting sme nes, w aneois to Glee Set 4. Bar 1—From this point A is defective, leaving blank paper where this Chorus should be. B and C do not ‘put in the string parts, which are witten out in full in E, and begun as indications in D. 1 am far from certain, however, whether the strings are intended to play here; if'so, I expect the 1st and and Violins should both play with the singing treble. Bass, Bar 3.—D and E read F for D as last note. 43. Treble Voice, Bar 11.—B reads E for D as last note. Last Bar—B marks pauses on the final notes. II,—LAUDATE CECILIAM. ‘This would be more properly described as a Hymn to St. Cecilia, and it is possible that Purcell took the words from some Italian collection of Motets, with the intention of using them for a study or exercise in the Italian manner. It is known from the Preface to the Twelve Sonatas of Three Parts, published in 1683, that Purcell was at this time occupying himself with ‘a just imitation of the most fam’d Italian Masters ; principally, to bring the feriousness and gravity of that sort of Musick into vogue, and reputation among our Country-men.” Here, of course, he is referring especially to Instrumental Music, but it seems reasonable to suppose that he would not confine himself to the study of that only. Indeed (as Mr. Fuller Maitland has pointed out), there is a copy in Purcell’s own writing of a Motet by Carissimi, “Crucior in hac flamma,” which may perhaps be assigned to this date, The “Laudate Ceciliam” is apparently written for three solo voices, and I doubt if it was meant for public performance, though it is conceivable that it may have been intended for use in the Queen's Roman Catholic Chapel. It is contained in the beautiful autograph volume of Purcell’s works belonging to the Queen, in the Buckingham Palace Library. There is a copy of it in the hand-writing of Dr. Philip Hayes in the Library of the Royal College of Music (Husk’s Sacred Harmonic Catalogue, 1,923 and 1,789). The present edition is printed from the autograph, I have retained in the voice parts Purcell’s division into bars and his unusual notation. The repetitions of the Symphony and of the “ Laudate Ceciliam,” which are only indicated in the original, are here printed in full. Ihave corrected some obvious mistakes in Purcell’s Latin in printing it with the music, but his spelling is retained below.(ix) It may be advisable to add here a brief note on one or two points connected with the editing of this volume. The Pianoforte part (for which, of course, the Editor alone is responsible) is not intended to be an independent Harpsichord part, but (at least in the Choruses and instrumental passages) merely a convenient compression of the score. No expression marks have been inserted; but here and there a suggestion as to the general character of a number is offered. Anything in brackets, or any sharps or flats placed over the notes, are suggestions on the part of the Editor and are without authority. ‘The time-signatures will be found differently printed in the different Odes. In the first Ode my aim has been to reproduce those in the original edition of 1684. In the second Ode I have printed those employed in the best MS. authorities. In the Pianoforte part throughout Thave used modem equivalents. It should be noted with regard to the time-signatures in Purcell’s autograph of the “ Laudate Ceciliam ” that in the triple-time passages 8 and 8-4 (in conjunction with a dotted @) appear to be used indiscriminately. In all the parts on p. 45; in the Alto part only on p. 55; and in the Basso part only on p. 57, we find 8-4. In the other parts on pp. 55 and 57, and in all the parts on p. 49, we find 8. I take this opportunity of expressing my thanks to Her Majesty the Queen, for permission to use the Buckingham Palace MSS. ; tothe Governing Body of Christ Church, Oxford, and to Mr. W. H. Cummings, for allowing me to copy and collate from the MSS. in their Collections; to Mr. T. W. Taphouse, for lending me his copy of the original edition of “ Welcome to all the Pleasures”; to the Rev. T. Vere Bayne, Librarian of Christ Church; to Sir Hubert Parry, Mus. Doc., and to Mr. W. Barclay Squire, for much valuable help ; and to Professor H. E. Wooldridge, for his advice in preparing and revising this edition.(1) I ODE for St. CECILIA’S Day, 1683. By CHRISTOPHER FISHBURN. Welcom to all the Pleafures that delight, Of ev'ry Senfe the grateful Appetite. Hail, great Afembly of Apollo's Race. Hail to this happy place, This Mufical Affembly, that feems to be The Ark of Univerfal Harmony. Here the Deities approve, The God of Mufick, and of Love, All the Talents they have lent you, ‘All the Blefings they have fent you ; Pleas'd to fee what they beftow Line and thrive fo well below. While Joys Celefrial their bright Souls invade, To find what great improvement you have made, Then lift up your Voices, thofe Organs of Nature, Thofe Charms to the troubled and amorous Creature ; The Pow'r fhall divert us a pleafanter way, For forrow and grief Find from Mufick relief, And Love its foft Charms muft obey. Beauty thou Scene of Love, And Virtue thou innocent Fire, Made by the Powers above To temper the beat of Defire: Mufic that Fancy employs In Raptures of innocent Flame, We offer with Lute @ with Voice To Cxcniaa, Crontia's bright Name, In a Confort of Voices, while Infpruments play, With Mufic we celebrate this Holy day. To Cecilia.II. ODE for St. GCECILIA’S Day. Raife, raife the vayce, all Instruments obey Let the sweet Lute its softest notes display For this is sacred mufick's holy day. The god himselfe says he'l be present here Drest in his brightest Beams he will appear Not to the Eye, but to the ravisht Eare, “Grown the day with Harmony’ Hark, I hear Apollo cry ; And let every generous heart In the Chorus bear a part. Mark, mark how readyly each plyant string Prepares itselfe and as an offring The tribute of some gentle sound does bring. Then altogether in harmonious Layes To the sublimest pitch themselves they raise And loudly celebrate their Masters praise. Come raise up your voyces and lett us dispute For melodious notes with the Viall and Lute. Apollo's delighted with what we have don And claping his hands crys “ Io, go on.” With a smile he does all our endeavours approve And vowes he ne're heard such a Confort above.Il. A LATINE SONG made upon St. CECILIA, whose day is commerated [sic] yearly by all Musitians made in y* year 1683. Laudate Cecilliam in voce et Organo. Modulemini psalmum novum, in insigni die solemnitatis ejus. Quia preceptum est in Ecclesia sanctorum tu lex in tabernaculis Justorum. Dicite Virgin, Ganite Martyri, quam excelsum est nomen tuum O beate Cecilia, tu gloria Domus Dei, tu letitia que sponsam Christo paris, respice nos. Adeste Celites, plaudite psalite nobiscum, Virgini pangite melos. Nobiscum Martyri alternate Laudes, Citheras vestras jungite voces, Citheras nostris sociate cantibus,CONTENTS. —— Pow I. Ove For Sr. Ceciia’s Dav—“ Welcome to all the Pleasures” ee IL. Ope ror Sr. Crctia's Dav— Raise the Voice” =... 26 III. Hysw ror Sr. Czcitia’s Day—“ Laudate Ceciliam” .. 44THREE ODES FOR S$! CECILIA’S DAY. I. WELCOME TO ALL THE PLEASURES. SYMPHONY. ress. [Maestoso] a —_~ . — Henry Purcell. 1 Violin. 284 Violin, Viola. Basso. PIANO. [Maestoso] 10648iF Thy Wiace] Wieace] 10048VERSE. Grave] Alto, a> ‘Welcome, welcome to all the Pleasures that de! light, — Tenor. A Welcome, weled to all the tide; light, of evr Base, ele eome I the Plensures that de light y Welcome, welcome to all the Pleasures that de-light, of every Gravel 10848ev'- ry Sense, grate ~~ ful Ap - pe-tite. great As- of _ev'- ry Sense, the grate-ful_ Ap - pe-tite. Hail_great_As- the grate -_- ful, grate - _- ful _Ap - pectite. Hail_great_As- CHORUS. Soprano. High hail great As-sem-bly | of A pol-tos =sem=biy: Hil, hail great As-sem-bly | of A pol Ios hail great As-sem-bly | of A - pol Io’ nail {o this hap- | 8 ly| of A - pol- tos hs ~sem-bly. Hail, hail great As-sem-bly ofA - pol- los hail to this hap - Twice as fast hail to this | hap - = Py | hap - py place, this Mu = ——— hail to this { hap- = py | hap - py place, to this | hap - ~ -py__place this [Mu - si-cal As - |sem- bly, Inail fo this hap - Sas ~~ py—place, hail to this hap ~ ~ PY — = fa the original Edition, but is combined with the Bass Voice part. Tee Dass prt ere given tn small note snot plated separately pst ee 10648= bly hail to this - Py place, place, this py place, to this - py - py place, hap - py placethis Mu - si-cal As - sem-Dly, place,that seems to [be the Ark of | U - ni-ver- sal be the ~ bly, that seems to ‘Ark of [U_- ni- ver- sal place,that seems to of | U - ni ver-sal be _ the Ark place,that seems to be the Ark of U - ni-ver-sal ver - sal Har- mo - ay. ver ~ sal Har mo | ay ver - sal Har . mot ny - mo - ny 10648 hail, hail Mu - si- cal As - sem - hail hail to this hap- Har- mo - ny, that|seems to Har - mony, that [seems to Har- mo - ny, that|seems to Vor «moony that seems (0 the Ark the Ark the Ark the Ark to this hap- py to this hap- pyAstvioin. —_Ritor. 2a8Viotin. Har- mo - ny. Har-mo - ny. Har - mo-ny. 10848Here the De-i-ties ap-prove;here, ——_ hhere the De-i-ties ap-prove, the God of Mu- -sicand of Love, ies approvehere, here theDe-i-tios ap-prove the God of Mu- 10848 The part in small notes is adapted from the Harpsichord version tn the Second part of “Musick’s Hand-Maid.”- sie and of Love all the Ta-tents they have lent you, all the Blessings they have a s sent you, pleas'd to see, fo see what they be-stow, live and thrive, live and thrive so well be - tow, pleas'd to see, to see what they be-stow, live and thrive, live and thrive so well be - ‘All the Ta-lents they have lent you, all the Blessings they have 10648> sent you, pleasd to see, to. see what they be-stow, live and thrive, live and thrive so well be - 1st vious 24Viotin. =low, pleasd to see, to see what they be-stow, live and thrive, live and thrive so well be - a 1003810048White | Joys Cortes - tial, while | Joys. Ces-tes-tial their while | Joys Celtes - tial, Toys. Cetles - tial their While Joys _————__ + les-tial their brightSouls in-lvade, to | find what great im- prove.” ment you have made,While| Joys bright Souls in-lvade, to | find what [great Im-prove- ment you have made,While| Joys. bright Souls in-vade, to find what great im-prove-ment you have made, : 2 — -les-tial, while | Joys Ce -ies-tial their bright Souls invade, to | find what| great _im-prove- -les-tial, while | Joys—— Ce -|les-tial their | brightSoutsin]vade, to_ [find what | great im-prove- Joys Ce - tes-tial their bright Soulsin-vade, to find what great im-prove- 108:4 1stViotin. 204 Viotin. Viola. "ment you have made, to [find what | great im-prove | ment you have made. T ment you have made, to find what [great im-prove -| ment you have|made. ~ment you have made, to find what great im-prove- ment you have _ made. RITORNELLO. . ., 10648,18 VERSE. foare +2. ‘Then lift up your Voi-ces, those Or-gans of Nature, thoseCharms to the — trou-bled and 1004s~ morous Crea-ture; then lift up your Voi-ces, those Or - gans of Na-ture, those CHORUS. Then CHORUS. Then |lift up your | Voi-ces, those —~ CHORUS. Charms to the trou-bled and a - —morous__ Creature. Then lift up your lift up your |Voi-ces, those | Or-gans,those| Or - ' gans of | Na-ture, those Charms to the Organs of | Na-ture,then | lift up those| Or - gans of | Na-ture, those Charms to the CHO} = Then | lift up, then | lift up your| Voi-ces, those Charms to the—_| Voi-ces, then lift up your Voi-ces, those Or - gans of —-Na-ture, those Charms to the 10848,troubled, those Charms to the | trou-bled and |a ~~ morous|Creature. yERSF trou-bled, those Charms to the |trou-bled and |a - mo-rous |Creacture. The [Pow'r trou - bled, those Charms to the |trou- bled and | - mo-rous |Crea-ture. The |Pow'r shall trou-bled, those Charms to the trou-bled and a - mo-rous Creature. The Powr shall di - plea - sant-er [way, for |sor-row and |grief find from| Music re_ lea - sant- er |way, for |sor-row and [grief find from|Mu-sic re - plea - sant-er way, for sor-row and grief find from Mu-sic re - Charms, must 0 - =~ and soft. Charms, and Love its soft Charms must 0 - bey. CHORUS. Then | lift up your | Voi- ces, those | Or-gans, those CHORUS. Em & Then |1ift up your |Voi-ces, those | Or-gans of | Na-ture, then | lift up those CHORUS. cHorus. Then | lift up, then Then lift i lift up your Voi - ces, those © Or -"gans of | Na-ture, those Charms to trou-bled,those Charms to the | trou-bled and Or - gans of | Na-ture, those Charms to trou-bled,those Charms to the | trou-bled and lift up your] Voi-ces, those Charms to the | trou - bied,thoselCharms to the | trou - bled and ~gans of Nature, those Charms to trou- bled,those Charms to the trou-bled and | ad d © ‘The Instrumental Bass plays with the Bass Voice from this point, 10848~ morous |Crea-ture, Then up your [Crea-ture, Then up your |crea-ture, Then up your - mo-rous Crea-ture, Then up your Charms to the | trou- bled, those Charms to the trou - bled, those Charms to the Charms to the trou - bled,those Charms to the Voi-ces, those | Or-gans of }Voi-ces, those | Or-gans of Voi-ces, those | Or-gans of Voi-ces, those Or-gans of trou- bled and Na-ture, those Na- ture, those ‘Na-ture, those Na-ture, moroits Creature. trou - bled and = mo-rous Creature, trou- bled and jo-rous Creature, = mo-rous Creature.20 VERSE. > Beau-ty thou Scene of Love, and Vir-tue thou in - - nocent Fire, i. 2 made bythe Pow-ers a - bove to tem-perthe heat of De - sire sire Mu-sic that Fan-cy em - ploys in Rap- ture of in - no-cent Flame, we of - fer with Lute andwith Voice to Ce - ci - lia,Ce - ci - lids bright Name. 108sa1 Ast Viotin. { 2ndViolin. Viola. 1084822 (VERSE) In a Con-sort of Voi-ces while In- struments play, with Mu-sic we ce - le-brate this Ho - ly 1:tviotin. 2n¢Viotin. cHoRus. Ina |Con-sort of | voi - CHORUS. Ina |Con-sort of | Voi-ces while | In - struments |play, while CHOI In a |Con-sort of | Voi-ces while | In- struments Horus. Ina Con-sort of — Voi-ces while ww04In - struments [play, with [Mu - sic - Te-brate| this In-stru-ments [play, with | Mu - sic ~ le-brate] this play, with | Mu-sic ce - le-brate| this In - struments play, with Mu - sic - le-brate this - | ei- lia, ICon-sort of |Voi-ces well |sing, Ce -[ ci-lia, Ce - | ci- lia, in a [Con-sort of — |Voi-ces well bing, cilia, = ci-lia, in a Con-sort of Voi-ces well 1081824 sing, in ci- lia, a Con-sort Voi of Con-sort of Ce -| ci- tia, Ce in a | Con-sort of Voi-ces we'll sing, ~ ces well ~ lia, Ce - lia, Ce - sing, ci- lia, ci-fia, in a Con-sort of ad 108s Voi-ces well [sing ci - Voi-ces well | sing,still well = eke lia, Ce - 1-8 Ce- I- 8 Ce -|ci- lia, Ce - 1-6 Ce -[ci-lia, Ce - Voi-ces well sing,[Voi-ces, in a |Con-sort sei-lia, Ce -|ci-lia, in a Con-sort of _ vei - tia, [1-8 Ce - |ei-tia, Ce - fei tia, Ce ~ci-lia, ina Con-sort of [Voi-ces we'll sing, in a |Con-sort I-8 Ce - ci-lia, Ce - ci-lia, Ce - ci-lia, dd dd sing, 3 ce -[a- tia, Ce - ~ ei - lin, ~ 8 Ge -[ci- lin, Ce - sing, 1-8 Ce |ci- lia, Ce - sei - lia, I- Voi - ces we'll ci- tia, Ce Voi-ces well ci- lia, Ce-* UL. RAISE, RAISE THE VOICE. Ode for St Cecilia's Day. SYMPHONY. [Maestoso,] . 2a 1tViolin. = 204 Violin. Basse. Meestopo] PIANO. [Pitt vivace] [Pit vivace] fi. o Iz) 106481004,[VERSE] Raise, the voice, all In - stru-ments 0- bey — Let the sweet its soft - est, soft - est notes dis-play; this, this is Sa-cred Mu-sic’s ho - li-day,for this, this “is ‘ ho - li-day,for this is Sa-cred Mu - = sic’, this is & The close thus altered for the Tenor. wees sick thls Safed MU-sie Sacred Mu - sics Sa - cred Mu sic’s80 astviottn. 2ndviolin. HORUS. Soprano. CHORUS. Tenor. In- struments 0 -[bey, In- struments 0 -|bey, In-struments 0 - bey, the voice, the voice, the voice, ti 4d the sweet | lute, the sweet the sweet lute, the sweet Let the sweet lute, the sweet tute i 108soft - est, | soft - - est| notes dis -[play, _ = soft - est, | soft - - est] notes. dis-fplay, soft - est, soft - - est notes play, this is | Sa-cred Music's | ho - li-day, Sa-cred Mu-sic’s | ho - li-day, for this, Sa-ered Mu-sic’s this, this is 10848 For. | this, this is | Sa- cred Music’ & Sa- cred |Mu-sics ho * 1i- Sa-cred Mu-sics holiday, forho- li-day.for |this, this is | Sa-cred Mu-sics, [Sa-ered Mu- sic | ho - ~day,for this is |Sa-cred Mu-sics | ho - li-day, is [Sacred Mu - sics|ho - lifday. this is Sa-cred Mu-sics ho - li-day,for this is Sacred Mu-sic’s ho - li - day. RITORNELLO. 10848[VERSE] [Moderato] . — ‘The God himself says hell be pres - ent here, Dressidin his bright - est beams he will ap- [Moderato] Not to the eye but to the. ra - visd car, Dress in his a bright-est beams he will ap-pear Not tothe eye but to the ra - vish'd ear, not tothe $ 10638a4 vishd ear, not to the eye I hear A - pol-lo I hear A-pol-lo ro Crown the day with Har-mo-ny, cHoRUus. |Crown the day with |Har- mo-ny, |Crown the day with |Har- mo-ny, Har-mo-ny, Crown the day with Har- mo-ny, ® These four bars in brackets are only lcrown the day lcrown the day the day but to the ra - vishd ear. Crown the day with Har- mo-ny, Har- mo-ny, Har- mo- ay, found in B.M. Addl. MS.83,287 and the Buck. Pal. MS. ioanAnd let | ev-er-y | ge-ne-rous fheart, In the | Cho - rus |bear a And let | ev-er-y | ge-ne-rous |heart, In the | Cho - rus | bear— = -* a And let ev-er-y ge-ne-rous heart, In the Cho - rus bear a part, and let | ev-er-y | ge - ne-rous |heart, Cho - rus_ | bear part, and let | ev-er-y | ge-ne-rous |heart, ‘Cho- rus bear part, and let ev-er-y | ge- ne-rous heart, part, and let ge- ne-rous [heart, In the [Cho - rus— [bear part, and let ge- ne-rous |heart, in the |Cho-rus bear * part, and let ge- ne-rous heart, in the Cho - rus bear_ a 1063836 RITORNELLO MINUET. a [Moderato] [Moderato] how rea-di-ly each pli - - ant * ts ‘These two bars in brackets in the Bass are found only in BM. Addl. MS. $8, 287. and the Buck. Pal. MS. 1004837 string pre-paresit-self and as anoffting the tribute of some gen mark how rea-di-ly, mark how rea-di-ly each pli - ant string pre-pares it-self and as an off-ring the tribute of some gen - 1tvior + 2nd Violin ~ the sound does bring Then al-to- gether, then al-togetherin har- et —— 10638= nious lays, -gether, _ to-gether in har - mo — — them-selves they raise, ly, loud-1y, and loud. and loud then al-to-gether then al-to- = nious lays, to the sub-li-mest pitch _ v3 ly ce -le - brate their Mas-ter’s praise, and + ly, loudly Ce-te-brate their Mas - ters ly, loudly39 14 Violin. 208Viotin. cHorus. Soprano. Praise, Then al-to-gether, all, al-to -| gether inhar.mo - nious Jays, inhar.mo - nious 0, aay on Then al- together, all, al-to -|gether in har-mo - nious lays, in harmo - —nious Bass. Then al-to-gether, all, al-to - gether inharmo-nious Inys, in harmo-nious lays, tothe sub? it -——- mest pitch themselves they raise, they raise themselves they| lays,tothe sub-li__- mest pitch themselves they raise | themselves they raise|— lays,tothesub-li - mest pitch themselves they raise themsélves they raise 2 1004840 Toud_-_ ly,loud-ly loud - ly,loud-ly SYMPHONY. praise praise. praise. oud ly, loud-ly, and | loud 5 loud-l ce - _ Iebrate theirMas-ters praise, and loud - celebratetheir Mas ter’s praise,and loud-ly 10638 ce-lebrate their Mas-ter| - ly ce - le-brate his celebrate their Master'sa 10848CHORUS. Come fraise up your | voi-ces and | let us dis-|pute For me; lo - dious notes with the Come raise up your |voi-ces and | let us dis-|pute For me; lo - dious notes with the Come raise up your voi-ces and let us dis- pute For me- lo - dious notes with the vi- ol and |lute; A -| pol- to's de - |ligh- ted with |what we have |done, And | clapping his vi- ol and [tut pol- Io's de - |ligh- ted with /what we have |done, And |clapping his vi- ol and tute; A - pol- los de - ligh-ted with what wehave done, And clapping his 1084843 hands cries | 1 - - 0, cries | 1 on: With a [smile he does hands cries I. 0, eries | 1 on: With a [smile he does hands cries I. 0, cries I on: With a smile he does -dea-vours ap prove,And vows heneerheard and vows heneer heard such a Con-sort a -| bove. -dea-vours ap- prove, And ‘ows heneer heard, he ne'er heard such a Con-sort a -| bove. -dea-vours ap - prove, ‘And vows he neerheard,heneer heard such a Con-sort a - bove. 10048Ml. LAUDATE CECILIAM. Hymn for St Cecilia's Day Nov, 22. 1683. SYMPHONY. [Muestoso} 4 ist Violin. 204 Violin. Basso. [Maestoso] PIANO. tosis45 [Pitt Vivace] ae felt | [Pit Vivace] Wea= te, lau-da-te Ce- a3 =te, lau -[da-te Ce -:ci-fi-am, in |vo-ce, in :vo-ce et = te, lau -/da - te = ici-fi-am, in |vo-ce, in jvo-ce et Lau - da- - te in vo-ce, in vo-ce et ‘i —— z = = SES SSeS Ea Ca- = ni-te Mar-ty-ri, quam ex- eel - - ~sum est nomen z = Diccite Viegea eyo hee = — SSS = 7 tharge) =: en - Sas fe —+t- i? ae) ! ; = ¥ = en 3 O__"be-a-ta Ce; ci-lia, be-a-ta Ce -Jei-lia, tu glo )—— be-a-ta Ce cilia, O be-a-ta Ce- ci -lia, tu glo- tu le-ti - tia, qu sponsam Christo = mus De - i, osPa- ras, que sponsam Christo sponsam Christo pa- a re-spi-ee nos, — re-spi-ee nos ites, ad 7es- te Ce- lites, adles-— -te Ad-es -tead-es- te Ce-ti-tes [plau-di-te, |psat-fi-te no | bis - cum | Vir-gi-ni [pan-gi-te, : pan - gi-te Ce-li-tes [plau-di-te, [psat-fi-te no tbis - cum | Vir-gi-ni |pan-gi-te, : pan - gi-te -tes plau-di-te, psal-li-te no - bis -"cum —Vir- gi-ni_ pan-gi-te, pan - gi-te tooCi-the-ris_ves-tras | jun- —-gi-te_vo-ces, al-ter -na - Lau- -des, No-bis-cum Nobis-cum [Marty-ri_al-ter-na- -the-ris vestras | jun- -gi-te vo-ces, Nosbiscum Marty-ri al-ter-| Marty-rial-ter-na Ci-theris vestras, ——— a = des, cum [Marty-rial-ter-na - te ~ des, No-bis-cum Mar-ty-ri_al-ter-[na- te Laudes, jun-—-gi-te voces, no-bis-cum Marcty-ri_ al - ter - -te Lau - des, rowsLau-des,nobiscum Martyri_ al - ter-fna - ste Lau - des, |Citheris vestras jun--gi-te itheris vestras jun- -gi-te |vo - cesnobiscumMartyri__al- ter 4na - te Lau-des,Citheris ves-tras Getheris vestras jun-—— - gi-te vo-ces, Ci-the-ras nostris so. - jun- -gi-te vo-ces, -ci-a-te can - tie i-the-ras nostris so - ci-a-te so-ci - a - wisyore in voree et [Ore * feno, | = : : yore, in iyo-ce et | Or- SSS yo-ce et Law. = ee a = = ao 2 fr re d_4__|e_ oh 4 I ~ te, Jaw -ci- liam, in i-fi-am, in | vo-ce, in ~ da- woos ~ te, i-li-am, tau -| da- Ce_- ci-liam, lau - da - te Ce - —_, Iwo-ee, i vo-ee, in Novello § Company, tlds Engravers & Printer=