The musical library, vocal

Description:

This is a digital copy of volumes 1 and 2 of "The musical library," a bound collection of part songs and songs with piano accompaniment edited by William Ayrton. It includes arrangements of famous nineteenth-century tunes, madrigals, ballads, canzones, elegies, and opera arias by various composers. The contents of each volume are given below:

Vol. 1
Madrigal, “Awake, sweet love!” by John Dowland, pp. 1-3;
Song, “Forgive me,” composed to German words by [Joseph] Haydn, pp. 4-5;
Song, “Beneath the ocean’s swelling wave” from [Giovanni] Pacini’s opera “Niobe,” pp. 6-7;
Duet, “Come opprima” from the opera “Enea nel Lazio” by [Vicenzo] Righini, pp. [8]-10;
Song, “The kiss, dear maid! thy lip has left” by Felix Mendelssohn, p. 11;
Glee, “Forgive, blest shade!” by Dr. [William Hutchins] Callcott, pp. 12-13;
Song, “Toll, toll the knell” from the opera “Mahmoud” by Stephen Storace, pp. 14-[16];
Duet, “Two daughters of this aged stream are we” from the masque “King Arthur” by [Henry] Purcell, pp. 17-19;
Song, “How deep the slumber of the floods!” by Carl Löwe, p. 20;
Serenade, “Good morning” by [Wolfgang Amadeus] Mozart, p. 21;
Song, “Jephtha’s daughter” by Carl Löwe, pp. 22-24;
Canzonet, “Recollection” by [Joseph] Haydn, pp. 25-27;
Madrigal, “When flow’ry meadows deck the year” by [Giovanni Pierluigi da] Palestrina, pp. 28-31;
Song, “O! sing unto roundelay” by Stephen Paxton, p. 32;
Duet, “Love in thine eyes for ever plays” by [William] Jackson, pp. 33-35;
Song, [“Thy voice is sweet, is sad, is clear”] originally set to German words by the chevalier [Sigismond] Neükomm, pp. 36-37;
Glee, “Hark! the lark at heav’n’s gate sings” by Dr. [Benjamin] Cooke, pp. 38-40;
Canzonet, “The marmaid’s song” by [Joseph] Haydn, pp. 41-43;
Aria, “Deh calma, o ciel!” from the last scene in “Otello” by [Gioachino] Rossini, pp. 44-45;
Round, “Winde, gentle evergreen” by Dr. William Hayes, p. 45;
Cantata, “Mad Tom” by [Henry] Purcell, pp. 46-49;
Madrigal, “As fair as morn, and fresh as May” by John Wilbye, pp. 50-52;
“The hermitage” by [Carl Ludwig] Drobisch, p. 53;
“Romance” from the German opera “Euryanthe” by [Carl Maria von] Weber, pp. 54-55;
Glee, “The May-Fly” by Dr. [William Hutchins] Callcott, pp. 56-60;
Arietta, “Ah! Non lasciarmi nò” by Bonifazio Asioli, p.61;
Canzonet, “My wife’s a winsome wee thing” by [Ludwig van] Beethoven, pp. 62-63;
Canzonet, [“Schäferlied,” Hob. XXVIa:27] by [Joseph] Haydn, pp. 64-65;
Prize glee, “Here in cool Grot” by [Garret Colley Wesley], the Earl of Mornington, pp. 66-68;
Duet, “Time has not thinn’d my flowing hair” by [William] Jackson, pp. 69-71;
Aria, “With verdure clad” from [Joseph] Haydn’s “Creation,” pp. 72-76;
Song, “Adieu, ye streams!” by [Carl Gottlieb] Reissiger, p. 77;
Glee, “Ne’er trouible thyself with the times” by Matthew Lock, pp. 78-79;
Song, “The woodman” by T. Linley, sen., pp. 80-81;
Canzonet, “Pleasing pain” [Hob. XXVIa:29] by [Joseph] Haydn, pp. 82-84;
Quartet, “Five times by the Taper’s light” from [the opera] “The iron chest” by Stephen Storace, pp. 85- pp. 85-87;
Canzonet, “Pretty fairy!” by Miss Mary Linwood, pp. 88-90;
Invocation, “Giusto ciel in tal periglio” transferred to [the opera] “L’Assedio di Corinto” by [Gioachino] Rossini, pp. 91-92;
Round, “How great is the pleasure” by Henry Harrington, p. 92;
Madrigal, “Now, o now, I needs must part, [John] Dowland, pp. 93-95
“Air” from the opera Les deux journées by [Luigi] Cherubini, pp. 96-97;
“Round,” (anon., 1834), p. 97;
Aria, “La Rachelina” from [the opera] “La molinara” by [Giovanni] Paisiello, pp. 98-100;
Canzonet, “Despair,” [Hob. XXVIa:28] by [Joseph] Haydn, pp. 101-103;
Song, “The self-banished” by Dr. [John] Blow, p. 104;
Canzonet, “To my boat” by [Sigismond] Neükomm, pp. 105-107;
Glee, “Fear no more the heat of the sun” by Dr. [James] Nares, pp. 108-111;
Canzonetta, “Cara Lisa” by Carl Gottlieb] Reissiger, p. 112;
Arietta, “Bella Ciprignia” by Francesco Pollini, p. 113;
Cantata, “Mad Bess” by [Henry] Purcell, pp. 114-117;
Madrigal, “The silver swan” by Orlando Gibbons, pp. 118-119;
Portuguese “Modhina,” by [Joaquim Manoel] Gago da Camera, [arr. by Sigismond Neükomm], p. 120;
Air, “Charmante Gabrielle” by [Eustache Ducaurroy], p. 121;
Canzonet, “Fidelity,” [Hob. XXVIa:30] by [Jospeh] Haydn, pp. 122-125;
Duet, “As I saw fair Clora walk alone” by [George] Hayden, pp. 126-128;
Round, “Sweet enslaver” by [Luffmann] Atterbury, p. 128;
Glee, “The fairies” by Dr. [William Hutchins] Callcott, pp. 129-131;
Aria, “The husbandman” from [Joseph] Haydn’s “Seasons,” pp. 132-135;
“May song,” by [Ludwig van] Beethoven, pp. 136-137;
“Tweed-side” by Joseph Corfe, pp. 138-140;
Duet, “When the moonlight streaming,” founded on the old French air, “Le clair de la lune” by [Rouennais Adrien] Boieldieu, pp. 141-143;
Pastoral ballade, “Hebe”, by [Thomas Augustine] Arne, pp. 144-145;
Aria, “Per pieta non dirmi addio,” [op.65] by [Ludwig van] Beethoven, [arr.], pp. 146-148;
Canzonet, “Sympathy,” [Hob. XXVIa:33] by [Joseph] Haydn, pp. 149-151;
Song, “Ada to Alexis, with a rose” by [Friedrich Heinrich] Himmel, pp. 152-153;
Glee, “Health to my dear!” by [Reginald] Spofforth, pp. 154-[156];
Duet, “Could a man be secure” by [Starling Goodwin], pp. 157-159;
Aria, “Non vi turbate, no,” [from the opera “Alceste” by Christoph Willibald von] Gluck, pp. 160-161;
Madrigal, [“Out upon it”] by [Giovanni] Giacomo Gastoldi, pp. 162-163;
Modinha, “As fades the morn,” [by Joaquim Manoel Gago da Camera; arr. by Sigismond Neükomm], p. 164;
Canzonet, “The wanderer,” [Hob. XXVIa:32 ] by [Jospeh] Haydn, pp. 165-167;
Glee, “Adieu to the village delights” by [Joseph] Baildon, pp. 168-169;
Bolero, “Son Gelsomino” by [Gaetano B.] Piantanida, pp. 170-172;

Vol. 2
[Table of] Contents with composers named alphabetically arranged;
Cavatina, “Winter” from [Joseph] Haydn’s “Seasons,” p. 1;
Son, “What makes the poor bosom” by [Louis] Spohr, pp. 2-3;
Canzonet, “Soft Cupid, wanton, am’rous boy” by [John] Travers, pp. 4-8;
Scena e duetto, “Parto! ti lascio, addio!” by Simone Mäyer, pp. 9-13;
Ballad, “Sally in our alley” by Henry Carey, pp. 14-16;
Glee, “Lighty tread, ‘tis hallowed ground,” [composed by John Scotland; arr. by George] Berg, p. 17;
Canzonet, “Piercing eyes,” [Hob. XXVIa:35 ] by [Joseph] Haydn, pp. 18-19;
“La Marmotte, or The Savoyard-boy’s song,” [i.e., "Marmotte", op. 52, no. 7 by Ludwig van] Beethoven, p. 20;
Canzonetta, “Nizza, je puis sans peine” by [Gioachino] Rossini, pp. 21-23;
Madrigal, “Return, return, my lovely maid” by [Garret Colley Wesley], the Earl of Mornington, pp. 24-27;
Song, “O, gentle maid” by [Tommaso] Giordani, pp. 28-29;
Air, “Where-e’er you walk” by [George Frideric] Handel, pp. 30-31;
Glee, “The sun shines fair on Carlisle wall” by William Horsley, pp. 32-36;
Romanza, “L’ombrosa note, vien!” from the opera “Matilde von Guise” by [Johann Nepomuk] Hummel, p. 37;
Canzonet, “She never told her love,” [Hob. XXVIa:34] by [Joseph] Haydn, pp. 38-39;
Glee, “You gave me your heart” by [Samuel] Webbe, pp. 41;
Air, “Blow, blow, thou winter wind” by [Thomas] Arne and [Thomas] Linley, pp. 42-44;
“The death song of the Cherokee Indian” [words] written and adapted by Miss [Ann] Home (afterward Mrs. John Hunter), [harmonized melody from “Scottish songs” (1869) by Joseph Ritson], p. 45;
Duet, “Still confiding” (Folg’ dem Freunde) from the opera “Faust” by [Louis] Spohr, pp. 46-49;
Song, “Down the river” from the [opera] “The iron chest” by [Stephen] Storace, pp. 50-51;
Aria, “Rendi ‘l sereno al ciglio” from the opera “Sosarme” by [George Frideric] Handel, p. 52;
Song, “Young spring-gods are round us flying,” [from “Gesänge von Goethe,” op. 83, no. 3] by [Ludwig van] Beethoven, pp. 53-55;
Song, “O nanny, wilt thou gang with me?” by [Thomas] Carter, pp. 56-57;
May song, “Hail! all hail! Thou merry month of May” by C. M. von Weber, pp. 58-59;
Air, “Love in her eyes sits playing” from the serenata of “Acis and Galatea” by [George Frideric] Handel, pp. 60-61;
Trio, “The flocks shall leave the mountains” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 62-65;
Air, “Heart, the seat of soft delight” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 66-68;
Madrigal, “Now is the month of Maying” by [Thomas] Morley, p. 69;
Aria and Coro, “Lieti fiori, ombrose piante” from the opera “Il ratto de Proserpina” by [Pietro] Winter, p. 70-72;
Canzonet, “Go, lovely rose” by [Thomas] Attwood, pp. 73-75;
Glee, “Harold the valiant” by [Dr. William Hutchins] Callcott, pp. 76-79;
Arietta, “Se resto sul lido” by Bonifazion Asioli, p. [80];
Cavatina, “Il pensier stà negli” from [Joseph] Haydn’s opera “Orfeo e Euridice,” pp. 81-83;
Canzonet, “Say not that minutes swiftly move” by [Johann Peter] Salomon, pp. 84-85;
Ballad, “Black-eyed Susan” by [Richard] Leveridge, pp. 86-88;
German song, “Ich liebe dich” by [Carl] Eberwein, p. 89;
Madrigal, “Flora gave me fairest flowers” by John Wilbye, pp. 90-93;
Aria, “Verdi prati” from the opera “Alcina” by [George Frideric] Handel, pp. 94-95;
Duet, “Why should mortals sigh for gold?” by Dr. [James] Nares, pp. 96-99;
Song, “The streamlet” from the opera “The woodman,” [music by William] Shield, pp. 100-101;
Song, “The parting,” adapted to an air in [Vicenzo] Bellini’s opera “La straniera,” pp. 102-104;
Glee, “The fairest flowers the vale prefer” by [John] Danby, pp. 105-107;
Quartet, “How strange does all appear!” from [Ludwig van] Beethoven’s [opera] “Fidelio,” pp. 108-112;
Cavatina, “Joy has fled, and all is cheerless” [from Beethoven’s opera] “Fidelio,” pp. 112-113;
Duet, “Oh more, far more than mortal pleasure” [from Beethoven’s opera] “Fidelio,” pp. 114-119;
Canzonet, “Go, gentle gales” by [William] Jackson (of Exeter), pp. 120-123;
Air, “La danse n’est pas ce que j’aime” from the opera “Richard coeur-de-lion” by [André Ernest Modeste Grétry], p. 124;
Chorus, “Come, gentle spring!” from “Seasons” by [Joseph] Haydn, pp. 125-131;
Song, “When I roved, a young highlander!” by [Adalbert] Gyrowetz, pp. 132-133;
Glee, “Go, happy heart” by William Horsley, pp. 134-135;
Song, “Tell me, lovely shepherd” by [William] Boyce, pp. 136-137;
Duet, “Deh! ti conforta, o cara” from “Il matrimonio segreto” by [Domenico] Cimarosa, pp. 138-142;
Romance, “Ah! lorsque la mort” from [Etienne Henry] Mehul’s “Joseph” [ i.e., the opera “La legend de Joseph”], pp. 142-144;
Canzonet, “O tuneful voice!,” [Hob. XXVIa: 42] by [Joseph] Haydn, pp. 145-149;
Glee, “Tell me, then, the reason why?” by [Luffmann] Atterbury, pp. 150-151;
Cavatina, “Soave imagine d’amour” by [Saverino] Mercadante, pp. 152-153;
Canzonet, “Hast, my Nannette” by [John] Travers, pp. 154-159;
Madrigal, “Since I first saw your face” by [Thomas] Ford, pp. 160-161;
Canzonet, “I told my nymph, I told her true,” op. 13 by [John Julius] Graeff, pp. 162-164.

Creator(s): Ayrton, William, 1777-1858.
Creation Date: 1849  
Partner(s):
UNT Music Library
Collection(s):
Virtual Music Rare Book Room
Usage:
Total Uses: 535
Past 30 days: 15
Yesterday: 0
Creator (Editor):
Publisher Info:
Publisher Name: [Charles Knight & Co.]
Place of Publication: London, England
Date(s):
  • Creation: 1849
Description:

This is a digital copy of volumes 1 and 2 of "The musical library," a bound collection of part songs and songs with piano accompaniment edited by William Ayrton. It includes arrangements of famous nineteenth-century tunes, madrigals, ballads, canzones, elegies, and opera arias by various composers. The contents of each volume are given below:

Vol. 1
Madrigal, “Awake, sweet love!” by John Dowland, pp. 1-3;
Song, “Forgive me,” composed to German words by [Joseph] Haydn, pp. 4-5;
Song, “Beneath the ocean’s swelling wave” from [Giovanni] Pacini’s opera “Niobe,” pp. 6-7;
Duet, “Come opprima” from the opera “Enea nel Lazio” by [Vicenzo] Righini, pp. [8]-10;
Song, “The kiss, dear maid! thy lip has left” by Felix Mendelssohn, p. 11;
Glee, “Forgive, blest shade!” by Dr. [William Hutchins] Callcott, pp. 12-13;
Song, “Toll, toll the knell” from the opera “Mahmoud” by Stephen Storace, pp. 14-[16];
Duet, “Two daughters of this aged stream are we” from the masque “King Arthur” by [Henry] Purcell, pp. 17-19;
Song, “How deep the slumber of the floods!” by Carl Löwe, p. 20;
Serenade, “Good morning” by [Wolfgang Amadeus] Mozart, p. 21;
Song, “Jephtha’s daughter” by Carl Löwe, pp. 22-24;
Canzonet, “Recollection” by [Joseph] Haydn, pp. 25-27;
Madrigal, “When flow’ry meadows deck the year” by [Giovanni Pierluigi da] Palestrina, pp. 28-31;
Song, “O! sing unto roundelay” by Stephen Paxton, p. 32;
Duet, “Love in thine eyes for ever plays” by [William] Jackson, pp. 33-35;
Song, [“Thy voice is sweet, is sad, is clear”] originally set to German words by the chevalier [Sigismond] Neükomm, pp. 36-37;
Glee, “Hark! the lark at heav’n’s gate sings” by Dr. [Benjamin] Cooke, pp. 38-40;
Canzonet, “The marmaid’s song” by [Joseph] Haydn, pp. 41-43;
Aria, “Deh calma, o ciel!” from the last scene in “Otello” by [Gioachino] Rossini, pp. 44-45;
Round, “Winde, gentle evergreen” by Dr. William Hayes, p. 45;
Cantata, “Mad Tom” by [Henry] Purcell, pp. 46-49;
Madrigal, “As fair as morn, and fresh as May” by John Wilbye, pp. 50-52;
“The hermitage” by [Carl Ludwig] Drobisch, p. 53;
“Romance” from the German opera “Euryanthe” by [Carl Maria von] Weber, pp. 54-55;
Glee, “The May-Fly” by Dr. [William Hutchins] Callcott, pp. 56-60;
Arietta, “Ah! Non lasciarmi nò” by Bonifazio Asioli, p.61;
Canzonet, “My wife’s a winsome wee thing” by [Ludwig van] Beethoven, pp. 62-63;
Canzonet, [“Schäferlied,” Hob. XXVIa:27] by [Joseph] Haydn, pp. 64-65;
Prize glee, “Here in cool Grot” by [Garret Colley Wesley], the Earl of Mornington, pp. 66-68;
Duet, “Time has not thinn’d my flowing hair” by [William] Jackson, pp. 69-71;
Aria, “With verdure clad” from [Joseph] Haydn’s “Creation,” pp. 72-76;
Song, “Adieu, ye streams!” by [Carl Gottlieb] Reissiger, p. 77;
Glee, “Ne’er trouible thyself with the times” by Matthew Lock, pp. 78-79;
Song, “The woodman” by T. Linley, sen., pp. 80-81;
Canzonet, “Pleasing pain” [Hob. XXVIa:29] by [Joseph] Haydn, pp. 82-84;
Quartet, “Five times by the Taper’s light” from [the opera] “The iron chest” by Stephen Storace, pp. 85- pp. 85-87;
Canzonet, “Pretty fairy!” by Miss Mary Linwood, pp. 88-90;
Invocation, “Giusto ciel in tal periglio” transferred to [the opera] “L’Assedio di Corinto” by [Gioachino] Rossini, pp. 91-92;
Round, “How great is the pleasure” by Henry Harrington, p. 92;
Madrigal, “Now, o now, I needs must part, [John] Dowland, pp. 93-95
“Air” from the opera Les deux journées by [Luigi] Cherubini, pp. 96-97;
“Round,” (anon., 1834), p. 97;
Aria, “La Rachelina” from [the opera] “La molinara” by [Giovanni] Paisiello, pp. 98-100;
Canzonet, “Despair,” [Hob. XXVIa:28] by [Joseph] Haydn, pp. 101-103;
Song, “The self-banished” by Dr. [John] Blow, p. 104;
Canzonet, “To my boat” by [Sigismond] Neükomm, pp. 105-107;
Glee, “Fear no more the heat of the sun” by Dr. [James] Nares, pp. 108-111;
Canzonetta, “Cara Lisa” by Carl Gottlieb] Reissiger, p. 112;
Arietta, “Bella Ciprignia” by Francesco Pollini, p. 113;
Cantata, “Mad Bess” by [Henry] Purcell, pp. 114-117;
Madrigal, “The silver swan” by Orlando Gibbons, pp. 118-119;
Portuguese “Modhina,” by [Joaquim Manoel] Gago da Camera, [arr. by Sigismond Neükomm], p. 120;
Air, “Charmante Gabrielle” by [Eustache Ducaurroy], p. 121;
Canzonet, “Fidelity,” [Hob. XXVIa:30] by [Jospeh] Haydn, pp. 122-125;
Duet, “As I saw fair Clora walk alone” by [George] Hayden, pp. 126-128;
Round, “Sweet enslaver” by [Luffmann] Atterbury, p. 128;
Glee, “The fairies” by Dr. [William Hutchins] Callcott, pp. 129-131;
Aria, “The husbandman” from [Joseph] Haydn’s “Seasons,” pp. 132-135;
“May song,” by [Ludwig van] Beethoven, pp. 136-137;
“Tweed-side” by Joseph Corfe, pp. 138-140;
Duet, “When the moonlight streaming,” founded on the old French air, “Le clair de la lune” by [Rouennais Adrien] Boieldieu, pp. 141-143;
Pastoral ballade, “Hebe”, by [Thomas Augustine] Arne, pp. 144-145;
Aria, “Per pieta non dirmi addio,” [op.65] by [Ludwig van] Beethoven, [arr.], pp. 146-148;
Canzonet, “Sympathy,” [Hob. XXVIa:33] by [Joseph] Haydn, pp. 149-151;
Song, “Ada to Alexis, with a rose” by [Friedrich Heinrich] Himmel, pp. 152-153;
Glee, “Health to my dear!” by [Reginald] Spofforth, pp. 154-[156];
Duet, “Could a man be secure” by [Starling Goodwin], pp. 157-159;
Aria, “Non vi turbate, no,” [from the opera “Alceste” by Christoph Willibald von] Gluck, pp. 160-161;
Madrigal, [“Out upon it”] by [Giovanni] Giacomo Gastoldi, pp. 162-163;
Modinha, “As fades the morn,” [by Joaquim Manoel Gago da Camera; arr. by Sigismond Neükomm], p. 164;
Canzonet, “The wanderer,” [Hob. XXVIa:32 ] by [Jospeh] Haydn, pp. 165-167;
Glee, “Adieu to the village delights” by [Joseph] Baildon, pp. 168-169;
Bolero, “Son Gelsomino” by [Gaetano B.] Piantanida, pp. 170-172;

Vol. 2
[Table of] Contents with composers named alphabetically arranged;
Cavatina, “Winter” from [Joseph] Haydn’s “Seasons,” p. 1;
Son, “What makes the poor bosom” by [Louis] Spohr, pp. 2-3;
Canzonet, “Soft Cupid, wanton, am’rous boy” by [John] Travers, pp. 4-8;
Scena e duetto, “Parto! ti lascio, addio!” by Simone Mäyer, pp. 9-13;
Ballad, “Sally in our alley” by Henry Carey, pp. 14-16;
Glee, “Lighty tread, ‘tis hallowed ground,” [composed by John Scotland; arr. by George] Berg, p. 17;
Canzonet, “Piercing eyes,” [Hob. XXVIa:35 ] by [Joseph] Haydn, pp. 18-19;
“La Marmotte, or The Savoyard-boy’s song,” [i.e., "Marmotte", op. 52, no. 7 by Ludwig van] Beethoven, p. 20;
Canzonetta, “Nizza, je puis sans peine” by [Gioachino] Rossini, pp. 21-23;
Madrigal, “Return, return, my lovely maid” by [Garret Colley Wesley], the Earl of Mornington, pp. 24-27;
Song, “O, gentle maid” by [Tommaso] Giordani, pp. 28-29;
Air, “Where-e’er you walk” by [George Frideric] Handel, pp. 30-31;
Glee, “The sun shines fair on Carlisle wall” by William Horsley, pp. 32-36;
Romanza, “L’ombrosa note, vien!” from the opera “Matilde von Guise” by [Johann Nepomuk] Hummel, p. 37;
Canzonet, “She never told her love,” [Hob. XXVIa:34] by [Joseph] Haydn, pp. 38-39;
Glee, “You gave me your heart” by [Samuel] Webbe, pp. 41;
Air, “Blow, blow, thou winter wind” by [Thomas] Arne and [Thomas] Linley, pp. 42-44;
“The death song of the Cherokee Indian” [words] written and adapted by Miss [Ann] Home (afterward Mrs. John Hunter), [harmonized melody from “Scottish songs” (1869) by Joseph Ritson], p. 45;
Duet, “Still confiding” (Folg’ dem Freunde) from the opera “Faust” by [Louis] Spohr, pp. 46-49;
Song, “Down the river” from the [opera] “The iron chest” by [Stephen] Storace, pp. 50-51;
Aria, “Rendi ‘l sereno al ciglio” from the opera “Sosarme” by [George Frideric] Handel, p. 52;
Song, “Young spring-gods are round us flying,” [from “Gesänge von Goethe,” op. 83, no. 3] by [Ludwig van] Beethoven, pp. 53-55;
Song, “O nanny, wilt thou gang with me?” by [Thomas] Carter, pp. 56-57;
May song, “Hail! all hail! Thou merry month of May” by C. M. von Weber, pp. 58-59;
Air, “Love in her eyes sits playing” from the serenata of “Acis and Galatea” by [George Frideric] Handel, pp. 60-61;
Trio, “The flocks shall leave the mountains” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 62-65;
Air, “Heart, the seat of soft delight” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 66-68;
Madrigal, “Now is the month of Maying” by [Thomas] Morley, p. 69;
Aria and Coro, “Lieti fiori, ombrose piante” from the opera “Il ratto de Proserpina” by [Pietro] Winter, p. 70-72;
Canzonet, “Go, lovely rose” by [Thomas] Attwood, pp. 73-75;
Glee, “Harold the valiant” by [Dr. William Hutchins] Callcott, pp. 76-79;
Arietta, “Se resto sul lido” by Bonifazion Asioli, p. [80];
Cavatina, “Il pensier stà negli” from [Joseph] Haydn’s opera “Orfeo e Euridice,” pp. 81-83;
Canzonet, “Say not that minutes swiftly move” by [Johann Peter] Salomon, pp. 84-85;
Ballad, “Black-eyed Susan” by [Richard] Leveridge, pp. 86-88;
German song, “Ich liebe dich” by [Carl] Eberwein, p. 89;
Madrigal, “Flora gave me fairest flowers” by John Wilbye, pp. 90-93;
Aria, “Verdi prati” from the opera “Alcina” by [George Frideric] Handel, pp. 94-95;
Duet, “Why should mortals sigh for gold?” by Dr. [James] Nares, pp. 96-99;
Song, “The streamlet” from the opera “The woodman,” [music by William] Shield, pp. 100-101;
Song, “The parting,” adapted to an air in [Vicenzo] Bellini’s opera “La straniera,” pp. 102-104;
Glee, “The fairest flowers the vale prefer” by [John] Danby, pp. 105-107;
Quartet, “How strange does all appear!” from [Ludwig van] Beethoven’s [opera] “Fidelio,” pp. 108-112;
Cavatina, “Joy has fled, and all is cheerless” [from Beethoven’s opera] “Fidelio,” pp. 112-113;
Duet, “Oh more, far more than mortal pleasure” [from Beethoven’s opera] “Fidelio,” pp. 114-119;
Canzonet, “Go, gentle gales” by [William] Jackson (of Exeter), pp. 120-123;
Air, “La danse n’est pas ce que j’aime” from the opera “Richard coeur-de-lion” by [André Ernest Modeste Grétry], p. 124;
Chorus, “Come, gentle spring!” from “Seasons” by [Joseph] Haydn, pp. 125-131;
Song, “When I roved, a young highlander!” by [Adalbert] Gyrowetz, pp. 132-133;
Glee, “Go, happy heart” by William Horsley, pp. 134-135;
Song, “Tell me, lovely shepherd” by [William] Boyce, pp. 136-137;
Duet, “Deh! ti conforta, o cara” from “Il matrimonio segreto” by [Domenico] Cimarosa, pp. 138-142;
Romance, “Ah! lorsque la mort” from [Etienne Henry] Mehul’s “Joseph” [ i.e., the opera “La legend de Joseph”], pp. 142-144;
Canzonet, “O tuneful voice!,” [Hob. XXVIa: 42] by [Joseph] Haydn, pp. 145-149;
Glee, “Tell me, then, the reason why?” by [Luffmann] Atterbury, pp. 150-151;
Cavatina, “Soave imagine d’amour” by [Saverino] Mercadante, pp. 152-153;
Canzonet, “Hast, my Nannette” by [John] Travers, pp. 154-159;
Madrigal, “Since I first saw your face” by [Thomas] Ford, pp. 160-161;
Canzonet, “I told my nymph, I told her true,” op. 13 by [John Julius] Graeff, pp. 162-164.

Note:

The musical library, vocal. Volumes 1-2.

Physical Description:

172, 164 p. of music : ill. ; 34 cm.

Language(s):
Subject(s):
Partner:
UNT Music Library
Collection:
Virtual Music Rare Book Room
Identifier:
  • UNTCAT: b1382376 |
  • CALL-NO: M1 .M892 1849 v.1-2
  • ARK: ark:/67531/metadc39288
Resource Type: Musical Score/Notation
Format: Image