THE WORKS LONDON & NEW YORK: NOVELLO, EWER AND CO. 1897.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. Sit Joun Staisen, M.A., Mus. Doc., Mus. Prof, Oxon. ©. Vieuters StanonD, Esq, M.A., Mus. Doc., Mus. Prof, Cantab. J.P. Brivot, Esq., Mus. Doc., Gresham Professor of Music. G. E. P, Arkwnicnr, Esq. Water MacrarReN, Bsq. Joseru Bewnerr, Esq. Jouian Marsuatt, Esq. Rosert Briposs, Esq., M.A., MB. C. Hupert H. Parry, Esq., M.A., Mus. Doc. ‘W. H. Cummanas, Esq., F.S.A. W. Banctay Squirg, Esq., B.A., F.S.A., F.R.GS., J. A. FoLLeR Marian, Esq., MA. Hon. Sec. E. J. Hopkins, Esq., Mus. Doc. Rev. J. Tourpeck, D.D. A. H, Lirtietow, Esq. H, E. Wootpripce, Esq., Slade Professor of Fine C,H. Lrovp, Esq., M.A., Mus. Doe. Art, Oxford, a Iy 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 Purcett. 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 Puncett 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 @ 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. Henry 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, as in the case of M. Méreaux's volumes, is printed for the use of foreign connoisseurs, and especially wien foreign writers point significantly to the neglect which Purcett 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 Puxcett 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 PurceLt’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 Purcett’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 neas—issued by the Musical Antiquarian Society, and the tale of printed secular works is complete. But how much remains? Purcett 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 Purcett 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.03 ) ODES AND WELCOME SONGS BY PURCELL. CHIEFLY IN Ms. "A Sono To Wetcowe Hows His Majesty | row Winoson, 1680." | 2A Watcout Sono ron His Rovst. Hiciwess Ox His RETURN #HOM ScorLaND, 1680," ‘A Wazcous Sone ron Tae King, 1681." 4—"A Watcous Sono ron THe. Kina on mis rerun #how Nawnanter, October 21,1682," 5A Watcoun Sox ron rue Kino, 1683°" 6—Ooe ox tue Mannince oF Prince Grosct weir Lape Anne, 1693." 7—“Ope vox Sr. Cxcitin’s Dax, November 22, 1683." (Printed by Playford in the following year) BA Watcoue Sone ox THe Kinc’s xeruny ro Wnirenact, seTeR mis Sounen Pro- coness, 1684." 9A Watcous Sono ron THs KiNo, 1685." ‘A Watcoms Sox ror t12 Kine, 1687, ‘A Watcous Soxe rox tie Kiso, 1688." 12—Tue Yortsnne Feast Sox0, 1690." (Printed by the Purcell Society.) 15 A Sono THAT WAS PERFORMED AT MR. MatD- waut's (a Schoolmaste), on the sth of August, 1689, ‘The Words by one of his Scholars." 14—"A Watcome Soxc ar tun Prince of Den: wank’s Comin Howe.’ —“Ope To Kine WILLIAM, 1690." pe on King Wanuian's Brerupay.” 17-—"A Queen's Birrnpay Soxc, 1690. 18. Ope on Queen Many's Bintupay, April2g, 1691.” )DE ON QuEEN Many's Bixrunay, 1692." “Ope ror St. Cecinus’s Dav, Nov. 22, 1692. (Printed by the Musical Antiquarian Society.) “OnE oR QUEEN Man's BixrHpAy, 1693,” Ope ron THs New Yeas, 1694." 23.—“ Ops ron QuEEN Man's BietHpAy, 1694." 24.—\Coumamoration Ope, performed at Christ Church, Dublin, January 9, 1694." (Printed by Goodison.) 25—"Ove oR tHe Bierpay or tHe Duke oF Groucrsrer, July 24, 1695." (Printed by the Purcell Society.) 26.—“An Ope,” no date. Beginning, “ Hark how 27-—" Ove ror St. Ceciuia’s Day,” no date, Begin- ning, “ Raise the voice, all instruments obey.’ 28.—“ Ope sy Mr. Cowuey,” no date. Beginning, “Hever I mere riches did desire.” OPERAS AND DRAMAS. 1. Epsow Watts. 22, Eoirus. 2. Aunence Zess. 23. Tue Fain Queen. 3. Tue Livexrine, 24, Tue Wire's Excuse, 4 Cinee, 25, Tie Oto Bacustox, 5. Appanazas. 26. Tus Rico Hainess. 6. Twwow of Ariens. (Printed by the Purcell | 27. Taz Ma's Last Praver, Society.) | a8. Henry THe Secoxp. 7. Tunovesius; on, tHe Force or Love. 29. Tue rinst part or Don Quixors. 8. Divo aso Aiweas. (Printed by the Purcell | 32 THE sicono rant oF Don Quixore, eae gi. Tus Marsizo Beav. 9. Tue Vinrvous Wire. | 32, Tus Dovate Desten. ere | 3a Ta Pena Mann See 3 Tus Canrensuny Guzsts. | 35. Tus Mock Marriace. 12, Tue Tewrsst. | 36. Tue Rivat Sistex: 15, Diocitsian; of, THE PRorHerEss. | Gutonone 14. Tae Massacre oF Panis. 38 Tue Kwicur or Matra. 15, Aupuirayox. | 5a. Bonpuea 316, Kino Axrwus, fo. Tue Taino rant oF Dox Quixort. 17. Tue Gospan Knot Urrieo. | fl Tue Sraxisn Frver. 38, Six Anthony Lov | 42. Tue Mannuace Hater, 19. Distressep Innocence. | 43) THe Gawraicners. 20, Taz Inpiaw Queen. 44. Tue Coxausst oF Grewana. a1, Tus Inpuan Eurzxon. 45. Tw Ou Mops axp tHe 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, Ese, British Museum. ‘The Society's publications will be printed in full score, as left by the composer, with the addition of a pianoforte accompaniment.(3) SUBSCRIBERS. HER MAJESTY THE QUEEN. ‘Tue Bopisun Lrorary, Oxroro. ‘Tue University Lunzany, Cawpeincs. ‘Tre Brrrisn Museum. ‘Tne Rovat Coutuce or Music, Lonpon. ‘Tae Rovat Lipeany, Beruin. ‘Tue Rovat Liorary, Muxten. ‘Tus Rovat Hocuscnute rir Musix, Bertin. ‘Tak Uxn Arkwright, Godfrey E. P., Adbury House, Newbury. ‘Armitt, Miss, Rydal Cottage, Ambleside. Balfour, The Right Hon, A. Bendall, Bennett, Joseph, 109, Finchley Road, N. Benson, Lionel S., 14, Cottesmore Gardens, Ken- ington, Bourne. W., Haughmond, North Finchley, N. Bown Rev. Hope House, Harrow-on-he il Bramall, |, Sale Hil House, Shella. Breithopf ahd Hartel, Leipaig: Mus. D. The North Gate, Chester. er Een a an, ttn ery pase ee ee tee aw, zt te Fane Sa HN Fn can Fa, he yen Serie eeartt! Stee areseece ee seed ae acres Havent Sic dimg th ew a Hee in ane Ss a Ee ee sa rte 0 Hgts agence Ee Ee ta oe So ioe » The Cloisters, Westminster King, 7. M., 32, Mortlake Road, Kew. Latham, M,, 33, Norfolk Street, Park Lane, W. Leigh, W. Austen, 2, Norfolk Crescent, Hyde Park, W. ete Jouaph fats Bank Hone Redz, Coral Ese diathe U'Bchiatrs Bulging, Helbora Crus. Litton, Alfred H., 1, Berars Street, W. Lloyd, C. H., Mus. D., Eton College, Bucks. insity Linpany, GOTrINGEN. ot GS. No Albany House, Hereford Road, Longhurst, W. H., Mus. D., The Precincts, Canterbury. Ipttelon, Hon. SG. Bross! Cub, SW. ac hh Terrace, N.W. 1g, Pembridge Square, W. ‘ad, J.'A. Fuller, 39, Phillimore Gardens, W. be, Ci, 34, Rue Pigalle, Paris, ‘Mann, W., $1, Cambridge Road, Chiswick Marshall, julian, 13, Belsize Avenue, N.W. Matthew, J. W., 47, Fellows Road, Hampstead. ‘Meen, Fountain, 18, Compton Terrace, Islington, N. Milman, Rev. W. H., Sion College, Victoria Embank- ‘ment. Murray, G. S. D., 6, Campden Hill Road, Kensi Parker, L. N., 7," Beaumont Crescent, West Ken- sington, W. Parry, C. H. H., Mus. Doc. 17, Kensington Square, W. Pendlebury, R., St. John's College, Cambridge. Platt, William, Rookwood, Hampstead, N.W. Poole, K. L., 5, Beaumont Street, Oxford. Powlett, Hoa. A. L. Orde, Leyburn, R.S.0., Yorks. Prendergast, A. H. D., 57, Cromwell Road, 5.W. Prieger, Dr. E., 123, Coblenzer Strasse, Bonn. Radnor, Countess of, Longford Castle, Salisbury. Read, J. F. H., 52, Bedford Square, W.C. Reynardson, H.R. Birch, Adwell House, Tetoworth, Rogers, L: J. Mus. D., 13, Beech Grove Terrace, Teele 7 Rucker, Miss, 6, Vanbrugh Terrace, Blackheath. Rushton, W.'L., 183, Lodge Lane, Liverpool. Shedlock, J. sddington. Spring, Rice, sryanston Place, W. W. Stanford, Cus. fo, Halland sizet, W. Stevens, B. F.4, Trafalgar Square, W.C. Stevens, G. N., 421, Strand, W.C. ‘Thompson, Herbert, 35, Wimpole Street, W. Threl je Park Terrace, W. Troutbeck, Rev. J.,D-D., 4, Dean's Yard, Westminster. Ward, Rev. C.'R., The Vicarage, Faifield, R.S.O., ‘Glos. Waterlow, H. J., 24; Birchin Lane, E.C. Westlake, F., 65, Upper Gloucester Place, Dorset are, W. eld, . W., Severn Grange, Worcester. Williams, C. F. A., Bradfield Collége, Berks. Wilson, Arthur, 3, Ashbourne Road, Derby. Wooldridge, H. B., 18, Hanover Terrace, Hill, W. NottingTHE WORKS VOLUME VII. = Ss SS = (1692).Eprrep py J. A. FULLER MAITLAND, M.A., F.S.A. ODE ON ST. CECILIA’S Day (1692) COMPOSED LY LONDON & NEW YORK: NOVELLO, EWER AND CO. 1897.ODE ON ST. CECILIA’S DAY. + JRREFACE. the work now printed is the finest and most elaborate. It is, strictly speaking, the last, since in the year following its composition, 1693, no Ode is known to have been written by Purcell, and in the next year his work for the Festival took the form of a Te Deum and Jubilate. On the eve of the Festival, November 21, 1695, the com- poser died. The words of the Ode are by Nicholas Brady (1659-1726), best known as part author with Nahum Tate of the metrical version of the Psalms. He was appointed lecturer at St. Michael's, Wood Street, and in 1692 was incumbent of St. Catherine Cree. The author's name was not made public at the time of performance, as appears from the following extract from the Gentleman’s Journal and Monthly Miscellany,” November, 1692, p. 19:— “Tn my first Journal I gave you a large account of the Musick Feast on St. Cecilia's day; So, to ( IF the five Odes composed by Purcell for various Cecilian celebrations in London, { avoid repetitions, I shall onely tell you that the last was no ways inferiour to the former. ‘The Stewards ‘chosen for the next year are, The Right Honourable the Lord Kennedy ¢ Norton, Esquire Sir Fon Woodhouse, Baronet; Phillip Wheak, Esquire; Mr. Godfrey Finger, and Mr. Bingham. ‘The Tollowing Ode was admirably set to Music by Mr. Henry Purcell, and perform'd twice with universal applause, particularly the second Stanza, which was sung with incredible Graces by Mr. Parcel himself. Though I was enjoyned not to name the Authour of the Ode, I find a great deal of reluctancy to forbear letting you know whom you must thank for so beautifall a Poem, and, to use Ovid's words, ‘Se quoque nunc, quamvis et jussa quiescere, Quinte Nominet insitum, vix mea Musa ten ‘The poem then follows, as printed on pp. 1-3. In January, 1693-4, the same magazine contained an epigram “by Mr. B—y, whose Ode for St. Cecilia’s Day you liked so well.” Printed copies of single numbers from the Ode are said to have existed in which Brady's authorship was acknowledged, but the Ode as a whole does not seem to have appeared with his name as author before 1782, when it was published in Nichols’ Select Collection of Poems. ‘The air referred to as having been sung by the composer, both at the first and second performances of the Ode, was undoubtedly “’Tis Nature’s Voice,” and as the oldest MS. of the work now known to exist contains (in a handwriting contemporary with the music) the names of the singers at some performance when it was used, among which Purcell’s name does not appear, it seems fairly certain that no copy actually contemporary with the first performance is now to be found. | _ On the other hand, there exist a remarkably large number of copies, ranging in date from shortly after the first performance down to the latter part of the last century, and in 1849 it was edited, for the Musical Antiquarian Society, by Rimbault, whose preface implies(ii) the existence of two MSS. not now to be discovered. One of these two is stated to have contained the list of singers taking part in some early performance, and these names are identical with those occurring in the best of the MSS. now existing, the MS. at Oxford referred to below as A. The curious circumstance that no two of the extant MSS. agree with each other in every point (Rimbault’s readings being greatly at variance with those of A) goes to prove that a large number of different versions were early in circulation. ‘The existence of several sets of band parts, differing from any of the scores, and various signs in the scores themselves, show that many performances must have taken place of this Ode, the last of which was that given by the Philharmonic Society in connection with the Purcell Bi-centenary Festival of 1895. ‘The inclusion of a good many numbers from the Ode in Orpheus Britannicus shows that at the time of the composer's death it was considered one of his best works, although, like so many of his best compositions, it remained unprinted as a whole for many years after his, death. The MS, authorities are as follows :— A.—A fall score in the Bodleian Library (MS, Mus., c. 26), undoubtedly written before the end of the seventeenth century ; the names of the following singers are written ‘opposite the solo numbers: Mr. Woodson (bass), Mr. Turner, Mr. Pate (alto andtenor), Mr. Bowman (bass), Mr. Howel (contra-tenor), Mrs. Aliff (treble), Mr. Damascene (alto) and Mr. Edwards (bass), Mr. Freeman (alto), Mr. Snow (tenor), Mr. Bouchier (alto), and Mr. Williams (bass). ‘The name of Mr. George Hart, another bass, has been erased at the beginning of No. 12. It is worth mentioning that nearly the same list of singers is quoted by Rimbault as occurring in the MS. used by him in the Musical Antiquarian Society edition. A full score, formerly in the possession of Dr. W. J. Westbrook, now in that of W. Barclay Squire, Esq. C.—A full score in the Fitzwilliam Museum, Cambridge, in the handwriting of Dr. Croft. The date, “ Feb. 22, 1695," may refer to a performance of the Ode three years after its first production. D.—Full score in the possession of W. H. Cummings, Esq., F.S.A. B, C, D probably date from the early years of the eighteenth century. E.—The MSS. from which Rimbault made his edition are no longer to be traced; his preface gives the date of his own “contemporary” score as 1699. On the assumption that his edition represented faithfully the reading of this MS., it is referred to as E. Full Score in the library of Christ Church, Oxford, written by R. Goodson (probably Richard Goodson, Jun., Mus.B., died 1741). It contains neither the Overture nor any of the numbers printed in Orpheus Britannicus. The numbers given are 1, 2, §, 6, 7, 10, 12, and 13, G.—Fall Score, of considerably later date than D, in the possession of W. H. Cummings, Esq., F.S.A., in the handwriting of Saville, of Lichfield. Numbers contained in Orpheus Britannicus are omitted here. H.—An imperfect set of band parts in the Bodleian Library (MS. Mus., c. 27). Only the hautboy, violin, and bass parts remain, The date is apparently of the middle of the last century, and the readings for the most part coincide with those of A.(iii) —A Full Score in the Bodleian Library (MS. Mus., b. ro), in the handwriti J. Awbery, dated 1760. ig of Full Score in the library of the Royal College of Music (formerly in the library of the Sacred Harmonic Society), in the handwriting of R. Pindar, dated 1765. This MS. contains several curious additions to the wood-wind parts, and, in the last chorus, an extra bar which is apparently not due to any clerical error (see below). ‘A set of parts in the library of the Royal College of Music (formerly in that of the Sacred Harmonic Society), containing several copies of vocal and instrumental parts, dating probably from about 1770. ‘M.—A late copy of two of the choruses in the library of York Minster. N.—Pull Score, written by John Travers, about the middle of the eighteenth century, in the collection of the late Sir F. A. Gore Ouseley. O.—Full Score, in a volume of “ Odes, &c. Ouseley. in the collection of the late Sir F. A. Gore No. 4 was included in the first edition of Orpheus Britannicus; Nos. 6, 9, and xx appear among the “‘new additions” to the first book; and Nos. 3, 8, and 10 are in the second book (referred to as Orph. Brit.). A printed version of No. 4 exists in sheet form, engraved by Tho. Cross, possibly during Purcell’s lifetime. A later version of No. 11 in the same form is also extant. (These are referred to as P). In the following list of various readings such variations as are obviously due to slips of the pen, or, in the published copies, to misprints, are not noticed. A very large proportion of the different readings arise from the ever-increasing desire to smooth away certain rough pro- gressions and generally to conventionalise the music. The time-values of some of the difficult passages in “’Tis Nature's Voice” have been altered in several of the MSS., the harsh pro- gression at bar 8 of “Thou tun’st this world” has been modified in various ways, and the remarkable passages of transition which occur after Nos. 2, 3, 4, 6, 8, 9, and 14 have been omitted from many of the later copies, although the evidence of all the earlier MSS. is entirely in favour of their retention. In the band parts of the Royal College of Music copy (L) the passages have been carefully erased with a pen-knife. VARIOUS READINGS. aoe Live Ban 1 — — OVERTURE. A and Dgive nofigures to the bass. In most of the old scores the drum line is the lowest. ‘The viola part is generally written in the mezzo-soprano clef. E and L indicate that the hautboys play with the trumpets. Hi gives the drum part to “Contr. Bass.” 1 1 3 D,G, and L take the upper A in the 2nd trumpet part, the hautboy part of L giving the whole bar an octave higher. N notes “ Senza oboe " in this bar. pS 3 The ast two notes in D's viola part are F and G. Slight variations inthe drum and bass parts ‘occur in this and the next bar ia B, D, G, Hi, and L. ba 4:5 Dand G read, and trumpet pat: FEES FSS 1 1 3,4 Dand G read the viola pas(iv) Pace Line Ban 3,4 D starts the same subject in rst and and 2,3 1st violin. D reads Eres =I 5 andviolin. ‘The E is dotted in B. H, L, and O give the last beat as a erotchet, and Eas two even quavers. 6K reads, and violin: FP =p=P =} — Canzona. Marked “Presto” in H. A gives the reversed signature, indicating a tempo twice as fast as the preceding movement. in, HE has a rest instead of the first quaver. 5 and vi 1 and trumpet. D starts the bar with a minim, A. vwith a minim, Bast 2 Viola. D starts with a minim on the half bar. 3 Bass, H reads for last beat. 3 L gives two D's, erotchets, on the first two beats, in and hautboy and 2nd trumpet, H, L, and © have two even quavers, C's, in 2nd violin, for last beat of bar. 4 vi 3 sttrumpet. L dots first quaver of beat 3. Ia. D gives last quaver as E instead of D, 5 and violin, K gives the crotchet as C. 1 Viola, D has F, not A, on beat 3. 2 Viola. D has E for the first note. 4 E gives trumpet parts as: 5 Viola. E gives G sharp as. 6 Dives trumpet parts as and starts 2nd trumpet in next bar with a minim. 1 and violin, D has a minim instead of the first two crotchets. and in bass part starts with a minim, ‘and violin: L has A for last quaver. 3. ist violin, G reads E, crotchet, for first beat. 4 Bass, and beat. The reading of the text is supported by A, E,H,L,andO. B,1,K,andN read the note as G. D and G alone adopt the easier reading, D. — Adagio. This direction is given in A, B,C, and H. E gives “Slow.” 4 and violin, Hi has three minims. Bass. D has a dotted minim; E, K, and O, semibreve and minim, 5 and violin. E reads D for last note, 6 and vi D has three F sharps. 8 Bass, K gives three minims, retaining G natural. and violin, D and G tie the last D to the first of the next bar. 5,6 Ist hautboy. No tie in H and L, 6 1st hautboy. K gives last note as D. and hautboy. The last note is tied to the first of the next bar in D and G. 9 The progression is “improved variously in D and G, the former altering the bass to D on the second beat of the bar, and the latter retaining the bass part, but carrying the rst violin up to A in the same bar.Pace Line Ban 7 7 7 4 7 89 8H a3 (v) Viola. D reads last note as D. Bass. G reads C, F. ‘and hautboy and and violin. D reads G for the two crotchets, ‘and hautboy and and vi in. D ties the two A's, ‘At the end of the movement the following direction (with slight f spelling) i i lowing direction (wit variations of spelling) is found in ‘A, B,I, and N:—" Repeat y Canzona and y* Adagio again as before and so goe on. Allegro. This direction is given in A, C,H, and H. A and C give the time-signature as 3. G and K give the hautboys as playing with the trumpets. L gives the drum part to another double-bass. ‘The first eight bars of the viola part are wanting in I. Drum, B reads last note as A, G and K transpose hautboy parts (i... trumpet parts) an octave higher here and there. rat violin. Thefirstnotefadottedin C,H, and L, K gives drum as: (Sess pS gesese Bass. D omits this bar. Buss, B transpose an octave ower. Viola, HE goes up to Aas as note Drum, Brendelast note a8 A, ‘rampets. A and have ets instead of dots, ast violin, has; PREZERE Bass, D transposes an octave lower. and violin and viola. E gives rests instead of dots in last bar of page 9. Drum, Hi has five A's, as two and four bars previously. Drum. Greads: BSI 1st trumpet. E has rest instead of dot. Drum. B reads last note as A, and in the “Contr. Bass" part of Ht both D and A appear. From this bar the same MS. combines the drum part with the same figure in the bass part. Drum, B reads D for last note, ‘Adagio. This direction is in D, G, and H. A, C, E, I, and N have Grave.” 1st violin, HU makes the A a crotchet and the B a minim. ‘The rst hautboy and rst violin are exchanged in A at this point, but a note i corrects the mistake. © omits the sharp to the C in the and hautboy. Viola. D reads: Foc SSS] eee the margin 1st hautboy. K read Viola. B reads D. ‘At end of movement A and B direct “End with y* last Triplay’ in G. E gives the modern da capo sign. and a similar direction is found No. 1—A directs Play soft,” and gives the name of the singer, Mr. Woodson.” B and F give the bass as two minims, and the latter gives the time signature as ¢ Voion, D sends: PSE Re pete ee and in the same bar takes viola part an octave higher, The first note is a erotchet in F. No. 2.—In L the hautboy parts do not come in until bar 22.(vi) Paoe Line Bar 12 2 2 Bass(instr.) B has a minim on the low A for the first two beats. struments, from this point till bar lirected to be sung by “ Turner 13. 1 2 Gmarks“ Vivace.” Directions as to the limit of voices and 16, are found in A,B,C, G, and H. In A the alto part is and —" 13. 1 4 From this point the hautboys start in K, joining now with the first or second violin, now with the soprano or alto of the choir, but never having an independent part. It is clearly a later addition. 130 2 1 Tenor voi 13. 2 3. Viola. B gives last beat as a crotchet,G. F has last three notes as A, G, F. Soprano voice. D gives third beat as two even quavers. The directions as to hautboys playing alone from here to bar 17 are in Hi, D has E, a quaver, instead of the two semiquavers. 14 1 Inthe second violin and alto voice G alters to C natural in the last beat. 14 1 2,3 and violin. D ties the last two C's. 1402 2 Marked “ forte" in H. 15 1 1 ast violin and soprano' voice. K reads D instead of C natural. Alto voice. E reads latter hatfot tar: SERERRE, ws SERERE, w. SEE 15 1 5 The3rd note of thebass part isGin Zand N. The mistake occurs alsoin K, but has been corrected. 15 2 1 1st violin, The third quaver is dotted in D and G. 15 2 3. Violin. D and G give the last half as four even quavers. 15 2 4 Viola, The last note but one is G in E, F, and I. A had the mistake, but it has been corrected. The place of the fifth quaver in the bass part is occupied in D by a rest. 15 2 5 Viola, K-starts with a crotchet, A. This, and the next 2} bars, are torn off the bottom of the age in A. 16 1 1 and violin. B,D, and G have E as the last note but one; D gives E as the last note but 16 1 2. 1stviolin, D gives third crotchet as F. Bass (instr.). H and L read latter half of bar: fone of the tenor voice, and G reads the viola part in first half of bar: seer 36 1 3 Tenor voice. B has a rest and quaver for the third beat of bar. 16 2 x Viola. F and I give the sixth quaver as G, instead of A. 17 1 1 Tenor voice. E omits to dot the fifth quaver. K dots not only the fifth, but the # == EHEZGE The variations in D and G (which agree |. and violin, D and @ read second beat here) are as follows -— Viola Soprane. Ato, Teno, 17 1 2 Bass (instr) F gives the upper D. G marks “ Adagio.” A gives names of "Mr. Turner and Mr. Pate” for the vocal solo parts, and at the cadence adds tril.Paoe Live Ban 8 8 8 8 8 9 19 19 19 19 19 4,2 Alto and tenor voices, D reads: A. ives the direction “" Played upon y* Hautboys” over the treble solo, and combi latter half of bar 1, K reads in bass (voice and instr): GEESE GRE the violin part when the chorus enters, "Vere lo marked hee sad'Chen ess en afterwards inthe older MSS. No name is given forthe ebeanla in Av butik base ent to be sung by “Mr, Boman.” (tis posse that the direction pled sen ta hate at may mean that there was no treble solos for this pesage aad that the heating eso substitute forthe voice) In the bass inst) part of tar 5 D and vead asomince f Soprano. D, E, and K read B natural throughout the bar, though , roughout the bar, though D and K, as well as N and O, only place it before the first and third B, thus implying that the second B is flat. A ives tile inthe cadence: DandGread soprano part: SSE ae; PSST, ‘Tenor. B reads E as the fourth quaver. 1st violin and soprano. B reads last note a D. and hautey. Kreats: SESE 1st violin, Treads F for beat 3. Bass (voice and inst, B and C read D as third beat. In Nn and the next bar K gives hautboy parts a tt Hastboy, D reads latter half of bar: E Soprano. = Bass (instr.). K gives D an octave lower. The upper parts in the concluding symphony, which starts here, are given in L to oboes alone. In K separate lines for hautboys appear, differing very slightly from the text. Viola starts on E in C and L. and violin. The second F is sharp in E. 1st violin. Last note but one is C in E, F, and I. and violin. B gives last note as G. olin. A trill on the E is given in B, and violin, B gives latter half of bar as dotted crotchet and quaver. ‘The transitional passage in the bass, ast half of bar, and the similar passages at end of Nos. 4+6,8, 9, and 14, exist in the best MSS. (see notes on those in the later instances). In this case, the evidence is as follows:—A, B, C, G, H, I, K, N, O have it, and it is clear that it ‘existed in L, as all the copies of the bass part in that set show signs of its having been erased with a penknife, O has C sharp. D, E, and F omit the passage. No. 3.—A has “ High Countra tenor for Mr. Howel." ‘The upper voice is in the mezzo-soprano clef in most old copies. _D gives figures over the bass of the first six bars, but has no figures, farther on. The same MS. gives the time-signature as 3-4. In one of the bass (instr.) parts in L the first six bars are headed “ solo,” then come six bars“ tacet,” while another part of the same set has a single crotchet, A, in the first bar, and then five bars’ rest. In the former part, ‘marked “solo,” all the first part of this number is pasted over, and another, a version agreeing, ‘with the later copies in respect of having no indication of the bass flute, is written on the upper paper. Violin parts, E has rest for the dot in both parts; Hf in rst violin alone. ast violin, D and O haviPaok Live Bae 3 3 3 3 4 35 25 6 6 26 7 7 7 7 28 8B 8 28 8 8 29 29 4 (viii ) bar until the end of p.23 the older MSS. have the words “ bass flute " and bass violin " ‘occurring above the bass (instr.) line, indicating the interchange represented in the present score. Tehas been thought better to continue the alternation through the number, according to the model of these bars, the bass flute completing the harmonies of the two upper flutes. ast flute, D has G for the last note. oH Violin parts, B reads: ePrees D see; ast flute, Tand N omit the sharp to the last note. Marked “pia.” in L. A marks the bass lead, “Mr. Woodson,” that name being altered from “Mr. Bowman.” ‘The last quaver but one in the voice part is dotted in D. Ist violin, L ties the two A's and the two G's together. ‘Treble, last note but one. D has dotted quaver. The bass note in this bar is omitted in E, Ky and in Orph. Br ‘Violin parts omitted in B and C. Bass voice. E gives last group as two semiquavers and a quaver. Treble voice. L gives the G sharp as dotted quaver and in the next bar marks “ for over instruments as they occur. E and O have vocal parts: Sees and vin, B and H give lst group a: SEEEEE Bass voice. D reads: es 1st flute, L omits sharp to C. Voice part, D gives A as last note but one. rst flute, C, D, E, and Orph. Brit. give the first note as G sharp; the text has the authority of A and B, and flute and voice parts. A and E have dots instead of rests, A,B, and C begin and violin part with G, a quaver, tied to previous note. Bass voice. L has two even quavers for first group. Treble. D has B for last note. Flute parts. Band € have: Treble. D has dotted quaver last note but one. D and Orph. Brit. direct “The Instruments Rest.” |. L reads last note as C. AVE, and Orph. Brit, have: pschceee EEE P EAE, 0 agree with D inthe reading ofthe former bar, but with the text in the latter. Treble. D reads first two notes as D and E. Bass (inst.). L has a minim. Bass voice. D reads: Treble. K reads second group as dotted quaver and semiquaver. ‘Treble. L reads first two notes as even quavers,Bax Live Paoe. 23 29 7» 3 2 3 3 ” ” 2 2 2 2 3 3 32 32 2 32 2 2 33 3 5 (ix) Voice parts. D reads first group as even semiquavers here and in bar 2 of line 3. “ Soft" is marked in A, B, and N. Bass (instr.. An octave lower in K, Marked “for” in L, and violin. H and L mark the second F only as sharp. A,B, C, and N give the transitional note G. No. 4-—G, in referring to the printed version in Orph. Brit. marks that “it should be in F." (It stands in D in Orph. Brit., but in the right key in the sheet-form.) A gives the name of the singer as Mr. Pate,” thus proving that this copy is not the one used at the original performances, ‘when Purcell himself sang this air. Hi calls the air “Solo with y* Harpsichord.” L marks bass “pia.” A, E, and L read last group as two semiquavers and a quaver. Avhas a trill over B natural in voice part and over the last E in bar 2 of line 4. ‘The group of semiquavers on the thitd beat stands in K, O, and Orph. Brit. as: SEEIEE=; and L marks the last Cas sharp. E reads the highest note as B flat, and A has a trill over the F sharp. ‘Second beat. Two even quavers in P. First group. D and P hay Bass. A natural has been inserted to the B in B, in a modern hand, to get over the false relation. I had this natural originally. Orph. Brit. «gives the voice part without accidentals in this bar, and D avoids the difficulty by giving F and G only as the bass notes (two minims). ‘The mere existence, in this and similar passages, of so many attempts to smooth away difficulties of this kind is a proof that the difficulties existed at first; they are by no means uncharacteristic of Purcell. Avhas trill over last F. Bass. D leaves out the C. From this bar one of the bass parts of L leaves off for three bars. Voice part. E has for the second beat a dotted quaver and semiquaver, and arranges the syllables similarly two bars farther on. ‘The reading of this run is supported by A, E, I,K, O, and Orph. Brit. — Bhas: DandN and P: Set Avhas trill over last E. ee et ene oe nw: SEES E not only gives four and a half erotchets in this bar, but omits the natural to the E; this latter eee i ss such a change in ‘The change from E natural to E flat is in all the MSS. Orph. Brit, indicate ee i 1¢ bass, though the sharp (i.e, natural) is repeated before the second E, no reading is followed in the vocal score. D reads latter half of bar: the figuring of the doubt by a misprint.(x) aor Line Bat 3 3 3 3 En # En 3 4 35 35 36 36 36 36 37 7 37 38 38 ‘The text is supported by A, E, K, and 0. 2 Various time-values are given for this run, Orph. Brit. agrees with B, but makes the tenth note G, not A. The demisemiquavers at the end of bar in B (corrected in a later hand to semiquavers) may be held to support the text. 4 Over last note in voice part Orph. Brit. and K give sign of repetition, indicating that the end of the air is repeated from this point. pas: EESEFREE, p ana w nave: PEELS .nd the subsequent bars is written in A, “Sighing and languishing by degrees.” 3 Over this 2 Land N read, first half of bar 3 Bass, P gives notes 3 and 4 as even quavers. 3. P omits the frit group of demisemiquevers, and to make up the vale of the bar reads SHEE in the middle. reads the last note of second group 28 B. 4 Domits transition, which is contained in all the older MSS. In Orph. Brit. and K the descending passage is given, but only as a means of returning for the repeat. In L the voice part has the transition added in pencil; the notes appear in the chief double-bass part, but have been scratched out in the second copy. — No. 5.—K gives hautboy parts differing slightly from the violin parts, but containing nonew matter. 4 Viola, F reads last two notes as F and G. E ties the bass of this bar on to the next. eat on 2,3 Tenor voice, EF, I, K, and O read: feet} reading, which has been corrected to the reading of the text in a contemporary hand. and A has this 4 The direction, which does not appear in E, is given as“ Tremelo” in A, B,D, F,and G. The wavy line over the string parts in the next two bars appears in D as a slur over each pair of quavers, 2 Viola. B reads fourth quaver as F. 1 Alto voice, The last two notes are even quavers in L. 2 16 hatboy. The ast beat is ths in Ks EEE Viola. ‘Third beat has two quaversinD. Bas (iste), = il, Brad fit bn en: SEESES gives Das it note 2 Tenor oie, G gives the fourth note a8 Cj D and X give Bag the last haf of bar; B reads the first half as four even quavers, Bass (instr.). B reads: pa: P and 6 read: FSS 1 Viola, Breads: ._D, F, and K read the semiquavers as G and F, and tie the last note of the bar to the first of the next. D gives for the second beat in the bass voice E and D, quavers, following the bass (instr.). 4K gives the hautboy parts here as following the soprano and alto voices, down to p. 38, bar 3. It also carries the bass of bar 1 to the low F, and in bar 2 to the low A. 2 D gives in the soprano part alone a semiquaver as the last note. 3 Alto voice, last half of bar. D has F.(xi) Paoe Line Ba 38 39 0 “" “" 2 2 ” ° ” e “8 8 8 8 a 8 2 6,7 and hautboy. D read: as 4 Bass (instr.). ‘The single note is not in H, K, or L, but its omission, though preferable on internal ‘grounds, cannot be maintained against the weight of evidence of all the older MSS. ‘The ‘omission of the hautbey parts in this and the following bars rests on the authority of C alone among the older MSS. 2° st violin. The last note appears as D in B. 2 Bass (instr). F follows the bass voice here, descending to the low F at first note of next bar. 3 Alto voice. E reads the whole bar a third higher. Soprano. F gives the third note as D. 1 Alto voice. G reads last note as G, but has been corrected to A. 5 Bass (instr.). Hand L retain the higher F through this bar, tying it to preceding note. At the tend of the chorus K arranges words so as to close with a semibreve in the last bar, on the last syllable of « Harmony. — No. 6.—B, C, and Orph, Brit. give the time-signature as “3.” ‘The introduction is headed ““Simphony for two Hautboys” in D. K gives the upper parts to violins, and I to bassoons, until the beginning of the air. H gives the and hautboy part to a and violin, but corrects the mistake. 2 The reading ofthe text, 1st violin, is supported by A, E,and O; H and Orph. Brit. agree with this, but add a grace note, G, at the beginning of next bar. B has: PESEREE, pees 7 Haboy and D and I alter the two hautboy parts to: aboy 3 Tand K matk the two parts of the symphony to be repeated. 5 Isthautboy. E gives the last note as a semiquaver. 6 rsthautboy, ‘The second F is sharp in I, but itis evidently a mistake. 4,6 rsthautboy. B adds a shake to the Cin these two bars. 2 The F sharp in the bass is omitted in A, F, and Orph. Brit. In the same bar, 1st hautboy, E aives last note as a semiquaver. 3 ist hautboy. K gives the second note as B. Bass. Orph. Brit. gives, for the last beat, a quaver and two semiquavers. x and hautboy and bass. D, K, and L give the last beat as a dotted quaver and semiquaver in both parts. Both hautboy parts. B,D, and I give the first beat of both bars as a dotted quaver and a semiquaver. = ae 7 1st hautboy. The first beat in I consists of two even quavers. 2nd hautboy. A marginal conection in B reads: SESESSRE 8 A repeat is marked in I. 1 Headed “Mrs, Alf” in A, Hi has the ber as: RSS ‘The fourth note of the voice part is a semiquaver in E. and gives the bass of this rection “Solo boy, 2 See notes on the parallel passage, page 42; line 2, bar 2. 5 The last note of the voice part is a semiquaver in La Orph. Bris, has the second note of the bass part as B. 4 B gives first note of bass part as G.Pace Line Ba “4 ” “4 45 45 45 45 48 4s 45 45 48 46 46 6 46 46 + 4 3 5 (xii) Bass. A only marks the second E as natural. Voice part. K has even quavers on the first beat in both bars. A, I, and © have them in ar 5 only. Voice part. I reads first beat of bar as even quavers. Bass (instr). G has a minim at beginning. ‘The false relation in the third beat between the alto voice with the and violin and the bass (inste.) has, as usual, been removed in the later MSS., the passage being variously altered. In D the accidentals do not appear, and in G they have been added in a later hand. E gives G as the first note of the group. ist violin, I and N begin with two even quavers. Viola part. D has D as the last note. Alto voice. K has a minim on the high G instead of the first two crotchets, In addition to the various readings noticed at p. 42, line 2, bar 2, are the following : 1st violin. B has before (but without the sharp to the first F). G gives giving G as the last note of the bar in the alto part and E as the last note in the tenor. The latter note is also given in L, and violin and bass (instr.). D gives these notes as a minim and a crotchet in both parts. K ‘gives bass in this and the following bar as a dotted minim, an octave lower than text. ing the text on the third beat of the bar. though the voice part stand: astviolin and soprano voice: Bass (instr), K gives the low A, a minim, Soprano voice. No accidentals in M. 1st violin, HT gives the last beat as two even quavers. Alto voice. ‘The lst note is A in M. Tenor vice, Meads: ERECE$=$E pass vice {follows the instrumental part in L. ‘Alto voice, and beat. F has two even quavers. Tenor voice. L has two demisemiquavers at end of bar, Bass (instr... K reads: Tenor voice. The last two notes are demisemiquavers in I and L. Altovoice, M givesthe last beat astwoeven quavers. Tenorvoice. E gives Bas the last note but ‘one, and violin, D and G read the last note as a quaver, and G ties the first note to the ‘preceding bar. and violin, C, D, and K tie the last note to the first of the next bar. Bass (instr.). Fy", and L read last beat as C, B, following vocal part. Alto voice. _M reads A as last note. Tenor voice. ‘M reads Eas last note. ‘The next six bars are divided as three bars of 6-4 time in A, 2nd violin and viola. D reads a minim for the first two beats, and in znd violin makes the next bar a dotted mini first G of line 2, bar 2, Bass voice. B gives the third beat as F. ‘and viol E has A for the first note. Bass (instr). I reads the first four notes as even quavers. M reads the last two notes as ssemiquavers and omits to mark the flat for the last note of tenor voice, Viola. E reads G as last note but one. ‘Tenor voice. D reads frst note F, Bass (instr.). K and L. follow voice part. 1st violin, KE has second beat as two even quavers. Alto voice. Mhas third beat as two even quavers. D reads viola and tenor voiesPace Lint Ba 7 7 ” ” 7 ” a ” a 8 8 8 8 8 8 0 49 (xiii) ‘and violin, viola, and tenor voice. K gives second beat a5 a dotted semiquaver and two demi- semiquavers. E gives first beat as a quaver and two semiquavers in both these parts. Bass (voice and instr). , F, M, and O mark a natural to the first E. 1st violin and soprano voice. A, F,K,M, and O give the first beat as two even quavers. ‘Tenor voice, E gives last note but one as D. 1st violin and soprano voice. A, B, F, K, M, and O give first beat as two even quavers. Tenor voice. M gives four even quavers at beginning, and F gives two semiquavers at end of bar. ‘Viola. B has twosemiquavers atend of bar. Bass(instr.). E gives even quavers at end of bar. Bass (instr), Hand L give C, Bas the last two notes following vocal part, D gives second note as a semiquaver. ‘Viola. K gives second note as E. Soprano voice. M gives first beat as two even quavers. Alto voice. F and M give second note as A, and M gives the last note as a quaver. A directs the second part of the chorus to be repeated, and, like B,C, I, and N, gives the tran tional passage. K gives ths passage, but with E natural. L has had the passage, but it has been erased. D, E, F, G, H, and O omit the passage. No. 7.—A gives the names of singers: for first voice, Mr. Turner” has been scratched out and “Me. Howel " substituted ; for second, “Mr. Damascene "ia given, E.givesthe second alto in the tenor clef, B and D read “thy” for “that.” ‘The second and third notes in each part are ‘even quavers in F. and alto, Second beat in E and N is a quaver and two semiquavers. and alto, A minim, F, begins the bar in K. Bass (iste), No tie is given HE has last note as C. tstalto, The F isnot marked sharp in K, and alto, D gives the last note as a quaver, ‘The singer's name, “Mr, Edwards,” is given over the bass part in A. B and F read second beat : a-ay D gives the fourth quaver as G. In the fourth beat the absence of a natural in E ‘implies that the F sharp is retained through the bar ; in F, Nand O the omission of a second F sharp implies, per contra, the natural, in a MS. of this date. Bass (instr). B has two minims. ‘Bass (instt.). ‘The second minim appears as C in Hi, Bass (instr.). No tie in F, which also gives the last beat of voice-part as even quavers. st alto, ‘The fourth note is D in E, and F gives the second beat in both voice-parts as a dotted quaver and semiquaver. B and other old MSS. repeat the word “‘noble” in this passage. Bass voice, E_ gives second half of bar as a crotchet and two quavers. st alto. A, B, and D do not mark the second G as sharp, thus implying the natural, marked in @. Ermarks the note as sharp. and alto. E has the last note E, Bass voice. Aand K ‘omit the sharp to the F. tet ato, D and G give ast beat: SPSEF} G has D sharp forthe first note. Bass (instr.). The last beat follows the voice in HK and T.- Bass voice. A and I omit the sharp to F, and tstalto, E gives the last note as a quaver. and alto, A, B, C, and O read the second note as sharp. D and G rea it bats PERSE and ato, and G vend Sst hats EBSPox Line Bax se st st st st st st st 2 2 3 o 4 so $5 55 55 55 56 37 ” 7 8 3 1 3 6 (xiv ) setae. The sh isonited ia D. Pras: BEEBE Bass voice, D omits sharps. tst alto, D adds a flat to the B. Bass (instr.). H follows voice part. Base voice. Dreads: Bass voice. L. follows bass (instr.) in this and next bar. Bass (instr.).F has a minim on the last two beats (the upper G). Bass (instr). H follows voice part. Instead of the direction “Soft,” found in the older MSS., Tand K give “ Piano.” Bass (instr). F follows voice part. No. 8—A gives “Woodson” as the name of the singer. rst hautboy. I gives the first two notesascrotchets, L marks pia” over the instrumental parts, and “for” over bar 8, repeating the latter direction whenever the voice is silent. ‘The fifth quaver is A in Orph. Brit., but the figuring 6-4 shows it to be a mistake, Voice part, Le gives the last two notes as a dotted semiquaver and a demisemiquaver, 1st hautboy. Orph. Brit, has A for the second note, but no doubt it is a mistake. Voice part, B has G for the second note, but corrects it to text at the repetition. ast hautboy. The lat two notes are slurred in Orph. Brit. and hautboy. E gives last note as D, 1st hautboy, third beat. B gives F for the second note of this group. ‘This and the next bar are omitted in A by an error. 2nd hautboy. D reads: ESSs=FF and hauboy. Breads: =I SBE and hautboy. A, B, C give a sharp to G. ‘and hautboy. A and B omit the sharp to C. Bass (instr.). E gives the last note as C. ‘Voice part. B omits the sharps both to the second C and to the A, Voice part, N has even semiquavers. tsthautboy. L gives two first notes as even quavers. and hautboy. E reads: Sane ‘Voice part. L reads the last notes as even semiquavers, though it differs in p. 53, line 1, bar 2. wer =] a and it has been erased in L. E and Orph. Brit, read: D and K as usual leave out the transitional passage, No. 9-—A gives time-signature as 3," and the singer's name as “Mr, Damascene." Orph. Brit. gives signature as 3." D begins on the up-beat (incomplete bar), giving a crotchet C in bass. L gives “pia” and “ for alternately whea the voice is singing or silent. E gives violins a whole bar's ret, K reads the second beat in voice part as two even quavers. Bas, Second ate is Cin D. From this po ia mis om this pint tothe midle of No 12 missing in the bes part of H, but the « Contra-bass" has it aaPhox Line Bax 38 38 9 $s ses sess 6 6 65 65 6 7 o 68 3 3 5 Bass. D reads Voice part, third beat. Orph. Brit, omits the flat, and E reads it as even quavers. Bass, A and E have a dot in place of the crotchet rest. Dee Evie: EEaree ‘The transitional note, given as usual in the older MSS., appears in this instance in E and I, though in the former the two C’s are not tied together. Orph. Brit. gives a dotted minim, C, and D and K omit the passage, the usual erasure occurring in L. No. 10-—A, I, and K mark “very slow.” ‘The first note of 1st fute stands as B in D and G. Ast ute, EE gives last note as A. 1st lute. B adds a shake over the D. The A's in 2nd flute are tied in D and G. syd id Flates. Dreads: pee Ist flute. B gives a shake over the B. A gives the names of singers as “ Mr, Freeman" and “ Mr. Snow.” ‘The A's in the bass are tied in Orph. Brit. Ato voice. E reads ‘The MS. authority for the line “ardent love and fond desire" (adopted in the vocal score) is in Gr and the change is due to the Rev. W. Jones, of Nayland. It is adopted in E. ‘The repeat is not definitely marked in F, and Orph. Brit. omits it, giving the C in the bass of this bar as a dotted semibreve. Bass. Last note is G in H. ‘Alto voice. B has a dot instead of the minim rest. F gives the last two notes of alto voice as even quavers. (O1ph. Brit. ends at this point. E gives dots for the rests in the voice parts. Bass, Hand L give B as the first note. A repetition of the second half of the duet is marked in F. The symphony is marked “ mez. for.” in L. E gives the symphony to violins, but it is clearly marked for flutes in A, I, C,L,and O. 6 E ties the two A's of the rst flute here and in the corresponding passage in the next two bars. E ties the two E's of and flute here and in the corresponding passage in the next two bars. No. 11.—B gives the time-signature as @. P gives no drum part, but allows the upper parts to bbe played by “ Trumpets, Violins, or Hautboys.” A gives the singer’s name as * Mr. Bouchier.” 4st trumpet. P gives the first note as F. At the entry of the voice part, L, as usual, gives the alternate directions * pia.” and “ for.” Bas instr). reads an octave higher. Bass int). B and D read later half of bar: SSEESE: SET ty ten ng wit it a ‘The semiquaver in the voice part is E in A, E, I, and O. Orph, Brit. and P give it as ‘The last note of the voice part is D in D and E. Voice part, third beat, For the last semiquaver, G, Dreads A.aoe Live Ban 6B or 2 682 6B 2 2 6 2 4 6 rt yo. 4 more mor 3 mr 4 maa mig n243 nm. 6 pad mre 31d B22 m3 m3 2 33 mors 1 3 1 2 2 332 (wi ) is added in E, no doubt correctly. ‘The G sharp is not in the older MSS. I Drum, The first note is a minim in A,B, and I. Voice part. “A, D, E,I, K, and O read the semiquaver as E. ‘Drum, third beat, I reads the group as four semiquavers. Voice part, third beat, D, as before, reads the last note as A. E,, as before, adds the sharp, and gives the last note of the bar as F. ‘The direction “soft ” in this and the following bars occurs in A, B, C, and L. Dhas “Pia.” Bass, E and I omit the first quaver. ‘and trumpet, Dreads first half of bar: Bass, third beat. D, E, I, and L, and Orph. Brit. read two even quavers. “Loud " occurs in A,B,C,and L, D and O have“‘Forte.” L's English directions here and before are specially interesting, as the directions in the earlier part of the number were in Italian, and fare apparently of later date, In B the instrumental parts have a stroke between the first ‘and second quavers of this bar, indicating that the loud phrase begins on the second quaver. rst trumpet. E reads first note as F. Bass. E reads: Bass, E, as before, omits the first quaver. ‘The lead respectivel the first and second trumpet parts stands in D, as before, as: 1st trumpet. C and L have a sharp to the first note, and D has no accidental, so agrees with th Drum, later balfofbar, EH, N,and O have: =F——ESF; K and Orph. Brit. have Sos Thas: SSSR Bass. E adds in small notes: 3 and K gives: ‘and trumpet. A, E, I, K, L,I, and O read F as the last note. The text has the high authority of B and C as well as N, and is on internal grounds the preferable reading, as the false relation ‘with 1st trumpet in the previous bar is avoided, and the ambiguous close is eminently appropriate. ‘The compromise, F natural in this bar, adopted in the vocal score, would be satisfactory, but the practical reason that the note cannot be played on the trumpet in the lower octave weighs against it, No, 12-—The time-signature is given as 2 in A, B, N, and O; as Gin E and I; and as@¢ in D. ‘A gives the names of the singers as “ Mr. Woodson "(this name having been substituted for that of “ Mr. George Hart,” erased) and “ Mr. Williams. Bass (instr). Two erotchets instead of the minim, D, in Ht and L, 1st bass. The last note is marked as B natural in K, tstbass, F and G read the second note as F. Bass (instr.). _K reads the second note as B. Ist bass, L gives the ast beat as a dotted quaver and a semiquaver. 1st bass. F does not mark the natural until the next bar. I and K apparently mark the last note as C sharp. 2nd bass. E gives the last note but one as B. ‘The C sharp in bass (instr.) part is omitted in H. Bass (instr). F reads the second note as the lower F. Bass (instr. F has two minims, 1st bass. E gives the second beat as two even quavers. and bass, Le gives latter half of bar as two even crotchets.(wii ) Poe Line Bae 76 1 — No, 13.—The time-signature is @ in E and F. In M the accompaniments of this chorus are arranged for violins and bass, without violas, trumpets, or drums. ‘The hautboy plays with the {st treble voice. ‘The bassoon part, here given in smaller type, is indicated by the words bassoon soli,” “senza bassoon,” and the like, which occur in K. L also has the separate part for bassoon. In Hi the drum part is given to contra-bass. 78 2 Bass instr.). ‘The tie at the end is omitted in F and O. B Alto voice. M has E. Bass (instr.). M omits the tie at end. 77 + 3 Trumpets, Latter half of bar. The two parts are interchanged on this note in L. 77 + 4 18 hautboy, F reads: FRG P EPSPS, L adds a natural to the C. 77 «sf Trumpets. D and G read: E st and and hautboy. The parts are inter- Tea changed in F at last bar of p. 77. 1st and 2nd violins, ‘The parts are interchanged for first half of bar in B. 78 1 1 Viola. The C natural is omitted in A, B, C, and some of the later MSS. Ha. I 78 1 3 (Last beat.) Hautboys and drum. F reads and hautboy. B, D, and G read: but in the first it has been corrected in an old hand to the text, which is supported by all the other MSS. 78 1 4 andtrumpet. E gives last note as E, Bass voice. M gives last note as B, 79 1 2 Drum, Band C give the last note as D. Tenor voice. F gives F in this bar, but D in the next. Bass voice. M has the lower D in this bar, going up to the octave above at the second beat of bar 17. Bass (instr.). ‘The last note is D in H. 79% 3 andtrumpet. M gives an F on the fourth beat. 79 1 5 Bass(instr.. M has a minim in place of the first two crotchets. 8 1 1 Altovoice. E has E forthe third crotchet. Tenor voice. F has A for the third note. Bass voice. E has G for the first note. 8 x 3,4 Bass (instr.). K reads: Go x 4 18t trumpet. F reads, by mistake: ‘and hautboy. K reads from here to end: 80 x § rsthautboy, E reads first note as A, but corrects the second time. K reads: ‘M reads last note as G in 1st hautboy and alto voice ; as E in and alto and treble voie« as a quaver in tenor voice. 80 1 6 K arranges the words so as to end with a semibreve on the last syllable of “harmony” in the ‘voice parts. 81 1 3. tsthautboy, Notiein F, Viola. The slur is omitted in A. 82 x 2. ast trumpet, An E appearsoon latter half of bar (minim) in F, probably transferred from the. E, of the ast hautboy below, Bass voice. F begins with a crotchet and a rest. Bass (instr.). Eoomits accidental. 2nd soprano. D,G, and K begin with two A's.Pros Line Ban 83 83 83 & 85 85 85 86 86 87 87 &7 ee 88 (will ) ‘Tenor voice. D and E give the last note as B, and I had that note, but it has been corrected. ‘and Alto voice, E gives the last note as B, Fas G. Tenor voice. The last note is a semiquaver in E, ast violin, B gives the second and third beats as crotchets. st alto. The last beat is a crotchet, G sharp, in D. Bass (instr.), Hand L give a minim on the higher E as the latter half of bar, and © a dotted crotchet and quaver, following voice part. st trumpet, E gives F as the last note. ‘and trumpet, The third note is D in B, Viola. K reads: SHERSEE possibly by mistake, as there is no quaver rest. In this and the next bar the and trumpet and rst hautboy change parts in F. and vi gives last note but one as A. and trumpet. E gives last note as G. rst violin, ‘The second note is C in B. and violin, H omits to mark the C as natural until the third beat. 1st alto voice. B gives the second noteas E. Tenot voice. D,G,and L read first halfof bar: FRR 1 reads the third note as B, Khas, in this and next bar: PREM =e PSP 0, ‘and hautboy. L dots the first quaver: I marks the first F as natural; A adding a natural to ‘the last note of the bar. Bass (instr.). B has two minims. + na nautboy. B omits the tie. Bass (Gaste). K gives this an octave lower, down to the middle of bar 45. ast trumpet. L reads first half of ba st trumpet. The second note is E in B,G,I,L,N, and 0. and violi in F, which has the same note as the first of the treble voice. In thi which, however, gives D as the first note of the and violin. The first note is E it is followed by EB, ‘and trumpet. L gives E for the first semiquaver, and © has E and F for the two semiquavers. ‘and hautboy and 1st violin, These two interchange parts on beat 2 of this bar in D and G. SSS] vom 0 vat: EEE ‘Tenor Yolce, Khas for second half of bar: SE==RESF A divides the word thus: =] ‘sl in = prove. ist trumpet. E,F, and I read F a semibreve. Alto voice. F gives E, of course by mistake. rst hauthoy. Band K read D. ‘A marks « Slow,” and A and B read “ Raptures” throughout. Bass (instr.). B omits the tie. Bass voice. E gives second note as E. ‘Tenor voice, K marks the first note as sharp. Bass (instr... _K gives the upper F as the first note, omitting tie from previous bar. ‘and alto. There are no accidentals in F or I, The absence of a sharp to the second G cannot be taken as implying that the natural is restored, as none of the old MSS. have this definitely marked, Tenor voice. ‘The natural to the second E is given in E and G. A, B, and N leave the point doubtful, as no accidental is marked. K definitely marks the second E as sharp. Ist alto. ‘The second G is not again marked as sharp in B, Bass (instr.). The transit passage stands in all the older MSS, as usual, and has been, like the others, erased in L. found in H.No, 15.—All the older MSS. refer back to No. 13, and do not write out the chorus again. In A it is written out, but in a later hand. ‘The two bassoon parts are only given in K and only at the repeat of the chorus. Between bars 4 and of p. 92 K adds a bar, which has appeared and been erased in bassoon part of L. It is contrived by giving a minim rest on latter half of bar 4, instead of the lead in rst violin and treble voice. It stands as here, and is followed by ‘minim rests in bar 6 in trumpets and drums, and by a crotchet rest in and violin, viola, ato and tenor voices. It is clearly without authority, as no trace is found in any of the older MSS., but its origin is dificult to account for. In the above list it has not been thought advisable to note every variety of notation in regard to the figured bass, as every MS. has slight differences on this point. A omits the figures in many passages, and as a rule the figures given in the text are those of B. The various readings seldom affect the harmonies at all materially; when they do, the fact has been noted. My thanks are chiefly due to Mr. G. B. P. Arkwright, who in the first instance collated the following MSS. :—A, B, E, part of H, and M. He also prepared the working copy of the score. To Dr. Alan Gray, of Trinity College, Cambridge, for collation of C; to Mr. Basil Harwood, Mus. B., of Christ Church, Oxford, for collation of F; to Mr. F. Cunningham Woods, Mus. B., of Exeter College, Oxford, for partial collation of the Oxford MSS. ; and to Mr. W. H. Cummings and Mr. W. Barclay Squire, for the loan of their MSS., I am also sincerely grateful.AN ODE on St. CECILIA’S Day, 1692. I Hail! Bright Cecilia, Hail! fill ev'ry Heart With Love of thee and thy Celeftial Art ; That thine and Mufick's Sacred Love May make the Britith Fore/t prove As famous as Dodona’s Vocal Grove : Hark! hark) each Tree its filence breaks, The Box and Fir to talk begin! This is [sic] the /prightly VIOLIN, That in the FLUTE diftinctly Jpeaks ! ‘Twas Sympathy their lifi'ning Brethren drew, When to the Thracian Lyre with leafy Wings they flew. I. ‘Tis Nature's Voice ; by all the moving Wood Of Creatures underfto0d : The Univerfal Tongue to none Of all her num'rous Race unknown ! From her it learn'd the mighty Art To court the Gar and firike the Heart : As once the Paffions 10 exprefi and move 5 We hear, and firaight we grieve or hate, rejoice or love: In unfeen Chains it does the Fancy bind 5 ‘At once it charms the Senfe and captivates the Mind,(2) Il. Soul of the World ! infpir'd by thee, The jarring Seeds of Matter did agree, Thou didft the featter'd Atoms bind, Which, by thy Laws of true proportion join'd, Made up of various Parts one perfect Harmony. Thou tun'dft this World below, the Spheres above, Which in the Heavenly Round to their own Mufic move, Iv. With that fublime Celeftial Lay Dare any Earthly Sounds compare ? If any Earthly Mufic dare, The noble ORGAN may. From Heav'n its wondrous Notes were giv'n, (Cecilia oft convers'd with Heav'n,) Some Angel of the Sacred Choire Did with his Breath the Pipes infpire ; And of their Notes above the juft Refemblance gave, Brifk without Lightne/:, without Dulnefs Grave, v. Wondrous Machine! To thee the Warbling LUTE, Though us'd t0 Congueft, muft be fore'd to yield : With thee unable to difpute, The Airy VIOLIN And lofty VIOL quit the Field ; In vain they tune their [peaking Strings To court the cruel Fair, or praife Victorious Kings, Whilfe all thy confecrated Lays Are to more noble Ufes bent ; And every gratefull Note to Heay'n repays The Melody it lent.(3) VI. In vain the Am'rous FLUTE and foft GUITARR, Jointly labour to infpire Wanton Heat and loofe Defire 5 Whilfe thy chaft Airs do gently move Seraphic Flame and Heav'nly Love The FIFE and all the Harmony of War, In vain attempt the Paffions to alarm, Which thy commanding Sounds compofe and charm. Let thefe among themfelves conte/t, Which can difcharge its fingle Duty best. Thou fumm'fe their diff’ring Graces up in One, And art a Confort of them All within thy Self alone. Grand CHORUS. Hail ! bright Cecilia, Hail to thee ! Great Patronefs of Us and Harmony ! Who, whilft amongft the Choir above Thou doft thy former Skill improve, With Rapture of delight doft see Thy Favourite Art Make up a Part Of infinite Felicity. Hail! bright Cecilia, Hail to thee | Great Patronefs of Us and Harmony !10. ea 12. 13. 4. 15. CONTENTS. Overture, Recrr.— Hail! Bright Cecilia” Cuorus— Hail! Bright Cecilia” Duer (Treble and Bass)—“« Hark, each tree" Soxo (Alto) —“'Tis Nature's voice Cxorus—" Soul of the world” es Air (Treble) and Cuorus—“ Thou tun’st this world” ‘Tro (Alto, 1 and 2, and Bass)— Soxo (Bass)— Wondrous machine ” ... jotin” Soto (Alto) — The airy Der (Alto and Tenor)—“ In vain the am'rous flute” Soro (Alto)—" The fife and all the harmony of war” Duer (Bass, 1 and 2)—“ Let these among themselves contest”... Granp Cuorus— Hail! Bright Cecilia” Quarrer (Alto, 1 and 2, Tenor, and Bass) —"" With rapture of delight” Cuorus— Hail! Bright Cecilia” With that sublime, celestial lay Pro 2 12 arODE ON 8 CECILIA’S DAY. OVERTURE. Henry PurceLt. (Maestoso,) Trumpet 1. Trumpet 204, Kettle Drum D.A. Violin 1 # Oboe 1 Violin 224 & Oboe 254, Viola. Bass. (Maestoso.) PIANO. r wosCANZONA, Presto. (d=0) Trumpet 1 ‘Trumpet 204 Violin #8 g Oboe tg Violin 204 Oboe 28. CANZONA. Presto. (d= 4)10278Violin ast. Violin 25410278Allegro. % Trumpet 1 z 26. Trumpet 204. Kettle Drum D-A! Violin 134 y Oboe 1. Violin 2%4y Oboe 204. Allegro. 1027810278u [Fine] [Fine] End with yf last Triple. (Dal Segno % al Fine} Ovoe 234, Viotin Viotin 20d ; “— = [Dat Segno % at Fine] ean Ped. amen2 N@ 1. REcIT. HAIL! BRIGHT CECILIA. Violin Violin 214 Viola. nass soro. fF a Hail! bright Ceci -lia, Hail! Hail! Hail! Bass. PIANO. Ne 2. cHorus. HAIL! BRIGHT CECILIA. (Maestoso,) Violin 1» Oboe 1. Violin 204 Oboe 234. Viola. TREBLE. Hail! bright Ce-ci -lia, ALTO. 7 Hail! bright Ce-ci - lia, TENOR. Hail! bright Ce-ci - lia, Bass. right Ce-ci - lia, Bass. PIANO. 10278 Hail! bright Ce-ci - lia, cnt Ce-ei = lia, Hail! bright Ce-ci - lia, Hail! bright Ce-ci - lia, Hail! Wail! Hail! Hail! Hail Hail! Hail! Hail!4 TREBLES. Hail! 2 counreR Tenors. Fill evry Hail! Fill ev'ry heart with love of thee and thy ce - les + tial Art, thy 2 TENORS., zl aS Hail Fill evry heart with loveof thee and thy ce“ les - Hail! 2 Tenors. heart with love of theeand thy ce - les~ Art, thy ce-les- -tial Art, fill ev'ry ial Art, fill ev’-ry heartwithlove of thee and thy. = tial Aft, with love of thee, with love of thee and thy ce - les-__- tial Art, and thy ce - _2 BASSES. Fill ev'ry heartwithloveof thee and thy ce - les- tial Art,heart with love of theeand thy ce - les —_co-les-tial Art, and thy ce ~ les - the ce = les-tial Art, fill ev ry -less tial Art, fill _ev'-ry_heartwithlove of thee and thy cv - fill ev'-ry heart with love of thee and thy ce - les-__-tial Art, Violin 1! with Oboe 1:4. with Vigiia 2a. “ern. tial Fill ev'- ry heart with love of thee and thy__ heart with love of thee.Fillev'- ry heart withlove of thee, fill ev'- ry heart with love of -les - Il ev’- ry heart with love of thee and thy ce -les - CETL. and thy ce-les- - tial 7 Fill ev’- ry heart with love of thee and thy ce-ce les thee and thy ce - les * tal, thy ce -les -les-tial, thy ce - les tialFill evry heart with love of thee and thy ce - Fill evry heart with love of thee and. thy ce -les-tial Art, heart withlove of thee and thy. ce - les =tial_ Art, fill evry ev'- ry heart with love of thee and thy ce - Tes ~ -tial Art ——_fill_ev'- ry _heartwith love of thee and thy ce - fill ev’- ry heart with love of thee, fill ev’-ry heart with love of heart with love,with love of thee, of thee, fill ev-ey heart with love of thee and thy heart withio - tial TERSE, theeandthyce-les - tial Art. ‘That thineand Mu - A VERSE. (S0L0.) — ce-les - “tial Art. That thineand Mu - thy ce - les - tial cures. ered love, May make the Bri-tish fo-rest prove &s fa-mous, as fa-mous ered love, May make the Bri-tish fo-rest prove is famous, as owe a oe * May make the British fo-rest prove as fa-mous, a8 10278e) Oboe 1: (Solo.) ‘as famous as Do-do-na. famdus, famous as Do-do-na’s sono. famous famous as Do-do-na's 7 That thine and Mu- cuoRus. ~ ered love, May make fhe CHORUS. ‘May make the CHORUS. ‘May make the CHORI Violin 1st w Oboe I. Bri-tish fo-rest prove as fa-mous, Bri-tish fo-rest prove Bri ish fo-rest prove Bri-tish fo-rest prove 27as fa-mous, | as fa-mous as fa-mous, as fa-mous, as fa-mous, fa-mous as fa-mous, as fa-mous, fa-mous, as fa-mousfa-mous as Do-do-nas vo- -cal as fa-mous, as fa-mous, as fa-mous,fa-mous as Do-do-nas yo- —-cal as fa-mous, = famous, as fa - mous as Do-do-nas vo - eal Grove. Pt tt ‘as famous, as famous as Do-do-nas vo - cal Grove. rs --——F famous, as fa - mous as Dodo-nas vo-cal Grove. famous, as fa - mous as Do-do-a’s vo - cal Grove.421 Ne 3. puET. HARK, EACH TREE. Flute 15, Flute 224, Bass Flute. Violin 13, Violin 224. TREBLE SOLO. BASS SOLO. Bass. PIANO. 10278ee Hark, — harkeach Hark, —harkjeach Tree Tree its si = Tence breaks, ware= ~ lence breaks, hark, hark,each hark, harkeach Tree its harkeach Tree its breaks, toesbreaks, The Box_ and Fir_ to talk, oa > breaks, The Box— and Fir to talk, #8 talk, to talk oN =~ to talk,— 10ers25 That in the Flute dis- spright - s0878,-tinet “ly, dis - tinct - ly speaks, dis - tinct-ly, dis - tinct - ly speaks This inthe spright - 2gwde of That in the Flute. sogredis = thal dis - tact, TF speaks. = ly Vi-osin dis - tinct. - ly speaks. 1027628 ‘Sym- pathy,'twas Sym-pathy,twas Sym-pathy,twas Sym - - pathy their ~ pathy their list™ > ning Breth-ren drew, When to theThracian lyre with. leafy wings they ~ ning Breth-ren drew, When to the Thra-cian lyre, when theThra-cian lyre with leaf-y wings they 10278to the Thra- - cian lyre when with leaf-y wings “Rte ty . they flew, with leaf-y wings they flew, leaf-y wings they flew, 7 Zz leaf-y wings they flew, 10278 29 with leafy wings they flew, f #4 with leafy wings they flew, when to the Thra - cian lyre with when to the Thra-cian lyre with with leaf-y wings they flew, with leaf-y wings they flew,Prute 124 Viotin-13t, ‘Viotin 254, leaf-y wings they flew. leaf-y wings they flew.a1 ° 4. ALTO SOLO. TIS NATURE'S VOICE. ALTO SOLO. : = = ‘Tis Na- ture’s voice, Nature's voice, thro! all. the Bass. PIANO. - ving wood, and crea - tures The u-ni-ver- sal tongue, the u-ni-ver - sal tongue,to none of all her mum?-rous race-——————_un-known. From her, from her it learnt, the 1os7832 ee a might -' y, the might the might - + y art, To court the heart, At once the pas-sions to ex-press and at once the pas-sions to ex - press, to. ex- press. and straight we grieve. bshate; and straight we grieve > seen chains it does the fan - Cy bind, it does, it does the .———o oe = ey bind, At once it charms. aa 1027834 Eth tee athe = sense, and cap - erp Se a é mar ee —— —— Ne 5. CHORUS. Violin 185 (Maestoso.) : Oboe 154, Violin 2285 Oboe 224, Viola. TREBLE. Soul of the world, ALTO. Soul TENOR Soul Bass. Soul of the world, Bass. 5 = (faestoso) PIANO. SOUL OF THE WORLD. Soul of the world Ry ———— of the world, aS in - spired of the world, Soul of the worldtremolo, 7 spited, a0 by thee, The jar - ring, jar- ring in - spired. bythee, The jar - ring, jar - ring in- spired, i by thee, The jar - ring, jar- ring ~spired, i thee, The jar - ring, jar- ring B seeds, the jarring jarring seeds of mat-ter did &-gree. Thou didst the seeds, the jarring, jarring seeds of mat-ter did agree ‘Thou didst the seat - ‘seeds, the jarring,jarring seeds of mat-ter did agree-Thoudidst the scat ~ seeds, the jarring, jarring seedsof mat-ter did a-gree. Te; ter'd a — toms bind, the scat - ter'd, scatterd a- toms bind, ~ terd a-toms bind, thou _didst the scat didst the scat - thou didst the seat - thou didst the seat thou didst the seat -Viotin 138. Violin 202, thou didst the seat - + terd the seat - - — tera actoms bind, thou didst the“ scat - ter’é atoms bind, => = terd, scat - ter’d atoms bind, ‘Which by thy laws ‘Which by thy laws Which by thy laws Which by thy laws 37 of38 true propor- tion joined, true pro-portion joined, true propor - tion joined, true propor-tion joined, which by thy laws which by thy laws which by thy laws which by thy laws of true propor-tion joined, Made up of va — of true propor- tion joined, Made up of of true propor- tion joined, of true proportion joined, 10278Made up of 39 - rious parts, made up of ¥a rious parts of va + rious parts, made up of va - = rious parts, made up of ¥a- rious parts, — Made up of a - rious parts, made up of va- rious parts, made up of ro27840 rious parts, madeup of va - made up of va - ~ rious parts, made up of va- rious partsymade up of, rious parts, 10278 made up of va rious, various parts, of variousper-fect, a + fect,per- fect har- mony. ——— iA one perfect, = feet,per- feet har- mony. a one per-fect, fect,perfect har-mony. 2 one, one per-fect, per - ~ fect har- mony. 442 No6. AIR « CHORUS. THOU TUN’ST THIS WORLD. Oboe i. Oboe 224, PIANO. 10278‘TREBLE SOLO. ‘Thou tunist this world, this world be - low the ‘spheres a bore, 43~bove, Who in the heaven - ly Round. spheres. own mu-sic move," to their own mu-sic move, the heaven - ly Round.CHORUS. TREBLE. Thou tun’st this world, world be we spheres, a- bove, nLtoe » the Spheres — above, Thou tunist this world, this___ world be spheres a-bove, TENOR. =~ gu tunist this world be- — -low spheres a - ove, spheres. Fagg tans thi the sphei bore, the spheres — Thou tunistthis world be- -low the spheres above, ‘the spheres Bass. ~bove, Who in the heavenly totheir own mu-sle ~bove, Who in the heaven! totheir own _mu-sic ‘-bove, Who in the heavenly a ms —< =bove, Who i waven|} [= to. their own mu - sic bore, the spheres bore, Who in the heave ly. “bore, the spheres _a-bove, Who in the heavenly to theirown mu-sic * oe _ aheavenly heaven-Iy, heavenly heavenly Round. heaven 1oe78 to their own mu-sic to their own mu-sic to their own mu-sic to their own mu-sic to their own mu-sic totheir own music totheir own mu-sic totheir own mu-sic move, move,> to their own mu-sie move. to their ownmu-sic — move. to their own mu - sic move. to their own mu-sic move. acto xt soto, [eee FI Withthatsublime ce - les - : : : tial lay Can a-way = =a oat AtTo 20d soto. =e === ‘ = = eaeene Withthat sub-time ce - les- : 5 tial lay— BASS SOLO. Bass. PIANO. rg. Ped. or Piano in octaves] = = 087mearthly sounds. ~ Can any earth-ly sounds The no-ble, If a-ny earthly music dare, if a-ny earth-ly music It a-ny earth-ly music dare, The noble Organ, the no-ble, no - - ble Organ dare, Thenoble Orgen, the no-ble,_no- “ble Or - gan 2 48 fee, The noble Organ, the noble, no - ~ ble Or - gan 7 5 to49 — From heavn its won-drous, won_- drous From heavn its won-drous, won - drous may. Fromheavh its wondrous, won - drous notes were givin, 5 Re notes were giv'n, Ce-ei- lia oft conversidwith heavn, Ce - ci - lia notes were giv’ Ceci -lia oft conversd with heavia, Ce-ci - Ila oft conversil with Ce-ci-lia oft conversdwith heavn,Ce-ci - lia oft _convers’d with heavin, Ce - ei - lia oft convers'd with heavin, Ce - ci - lia oft con - versi. with heavin. heavn, Ce-ci lia oft convers'd, Ce - con-versd with heavin, Some An - gel oft conversé, Ce - ci_- lia oft, con -versd with —_heav'n. 1027850 SSS of the sa cred Quire, Di i SSS 4 and of their Notes a - -bove the just resemblance, re - sem - blance gave. 2 : pegstet Peppa 1S Brisk, brisk, brisk without lightness, with - out dul - ness 7 a tet a $— = eee p= eS ee ae brisk without lightness, with - out dul - ness s SS SS Brisk, brisk, brisk without lightness, with - out dul - ness ee = —— SS EEE 6 + 6 ¢ 4 8 do = =p PS 10274with - out— dul - ness grave, with - out dul - ness grave, with - out dul - ness grave, fa = . ~ = brisk without lightness brisk without lightness with - out dul - ness > brisk without lightness brisk, with-out lightness with - out ae - * brisk with-out lightness brisk without lightness with - out oe * * t aa == = S 7 grave, without dul ness grave, with - out dul - ats SSS i+ + PS r 7 grave, with -out dul - ness grave, with - out dul - nese = = grave, with - out dul-ness grave, with - out dul - ness ——= == == = : = rt ‘4 a62 Ne 8. BASS SOLO. WONDROUS MACHINE. Oboe 1. Oboe 204. BASS SOLO. Bass. Piano or Organ. (tasto Soto.) + drous ma - chine to thee the 10278= bling lute tho? us'd tb con - quest must be forc'd, must be forc'd, must be fore’d to yield, must be forcl, must be forc’d, must be forc’d to be fore’d to 10278With thee un-a - ble, with thee un-a - ble, was>) Sea Tho'us'd to conquest, tho’ usd to conquest. iswith thee un-a- - ble ‘Won- drous, won - drous ma-chine totheethe war - to dispute:=> lute, tho'us'd to con - quest, must be forc’d, must be forcd, must be forc'd to yield, must be forcid, must be forcd, must be forcd to yield, must be forc'd, must be forcd to 027837 N¢9. soLo. THE AIRY VIOLIN. Violin 14, Violin 224, ALTO SOLO. ai - ry Vi-o-lin, Bass. PIANO. - ry Vi-o-lin, and lof - ty quit the field. 5 #6 1278court the cru-el fair, to court the cru-el_ fair or = U a = rious kings. Ss lays, whilst all ¢ g 10278 thy con-se.cra - ted lays Are to more praise vie - to - ‘Whilst all thy con-se-cra- ted no - ble, no - ble u- sesbent. And ev'ry grate-ful note to heaven fe-pays The me-lo-dy it lent, And ev’- ry grate-fol_ note to heaven me-lo-dy, the me-lo-dy it’ lent. 10278 the The me-lo-dy, the me-lo-dy, the 5960 N10. puET. IN VAIN THE AMROUS FLUTE. Very slow. Flute 1. Flute 224, Bass. Very slow PIANO.61 Alto Soto. x Tenor Soto. In vain the In vain the am - + rous flute, In vain the guit - arJoint-ly, joint - flute and soft uit -ar Joint - ty, - bour to in-spire Wan-ton62 n “spire Wan-ton heat, wan-ton, wan-ton,wan-. - ton heat and loose—_de-sire, _ to in-spire, wan-ton, wan-ton, wan - = ton heat and —— a Ds Ae -sire. Whilst thy chaste airs do gent - ly, gent - ly, gent - ly move, ‘Whilst thy chaste airs do gent - ly, gent - ly move Se-ra-phic flames and heaven - ly love, and gent - ly, gent - ly move Se-ra-phic flames and heaven - ly 1278heaven - ly love, Se-ra-phic flames and heaven love, Se-ra-phicflames and heaven - ly love, heaven - ~ ly love ‘Whilst thy chaste airs ~ ly love gent- ly, gent - ly, gent - ly move, Se-raphic flames and ‘Whilst thy chaste airs do gent-ly, gent - ly, gent - ly move, Se-raphic 10278,heaven - ly love, and heaven’ - ly love, Se- ra-phicflames and aven — flames and heaven - ly love, Se-raphic flames and heaven - ly love, heaven - * Flute 12. Flute 224. = ly love. = fy love. pode dddy ddd ddebd Sou dd Lh de 1027865 Nil. SOLO. THE FIFE AND ALL THE HARMONY OF WAR. Trumpet 14. ‘Trumpet 20. Kettle Drum DAL ALTO SOLO. PIANO. The fife, the fife and all, all, all,66 all,all the har - ~ mo-ny of war. The fife, and all, all, all, all,all the har - 1027867 and all, all,all, al all the har ~ > mo-ny of — war, In vain, in vain at-tempt the pas - sions, the pas - sions,68 ~ sions to a-tarm,——_______ alarm, alarm, alarm, a-larm. In vain attempt the pas - sions, the pas - sions, the pas sions to a- 1027869 alarm, alarm, alarm, a-larm, Which thy com- -mand-ing sounds. 1027870 Which thy commanding sounds, which thy commanding sounds, ry oP nono ne tty sounds, sounds, sounds,.and charm. Which thy commanding sounds, which thy commanding sounds,sounds, sounds, ‘com-pose,___com-pose__and charm.com-pose—__and charm. ee ser73 N¢ 12. DuET. LET THESE AMONG THEMSELVES CONTEST. sass rt soto. [OF = Let these a-mong them - selves con-test, BASS 2a soto. BP = Let these a-mong them - selves contest, let these a - Bass. 4 = PIANO. let these a - mong them - selves con - test Which____ can discharge its — — -mong them -selves____ con - test Which candischarge ifs sin- gle du- a single du — = ty best, which candischargeits single du - TREES : fat wy bet, which —candscangisinge du -—__,..

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