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  Partner: UNT Music Library
 Decade: 1840-1849
Fantaisie pour le piano sur un air de Bellini
This is a digital copy of the "Fantaisie pour le piano sur un air de Bellini" by Leopold von Meyer. The Austrian composer and pianist von Meyer, had a successful performance career in Russia, eastern Europe and Vienna and also achieved success in London and Paris. He visited the United States on October 1845 and his histrionic performance style and bravura showpieces were received with wide acclaim. This piece was dedicate to the composer Frédéric Chopin. "Fantaisie pour le piano sur un air de Bellini" is part of a bound collection of piano pieces composed by von Meyer that also includes fantasies on famous nineteenth-century operas, variations, national airs, marches, valses, an etude and nocturnes. These are the titles of all the piano pieces by von Meyer in the order in which they appear in the library's collection: Lucrezia Borgia: introduction and brilliant variations for the piano forte; Variations sur un theme de Semiramis de Rossini, op.37; Fantaisie sur L'Elixir d'amore, op.32; Fantaisie sur Norma de Bellini, op. 40; Fantaisie sur un air de Bellini; Le carnaval de Venise, varié pour le piano, op.31; Grande fantaisie orientale sur deux themes arabes, op.38; Fantaisie sur Les Hirondelles de Felicien David; Airs russes: fantaisie pour le piano forte, op.43; Marche marocaine Machmudier: air guerrier national [sic] des turcs [sic]; Grande march [sic] triomphale D'Isly, op.30; Hortense: notturno for the piano forte; Andante for the piano forte, op.42; Bajazeth: air nationale des turques; Grande etude de bataille, op.35; Quatre morceaux pour le piano forte: no.1 Le depart et le retour (deux noturnes); no.2 Airs russes, op.20; no.3 Valses brillantes; no.4 Grand gallop de bravoure. digital.library.unt.edu/ark:/67531/metadc39268/
The musical library, vocal
This is a digital copy of volumes 3 and 4 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. 3: Glee, "Desolate is the dwelling of Morna" by Dr. [William Hutchins] Callcott, pp. 1-5; Cavatina, "Col sorriso d'innocenzo," from the opera "Il pirata" by [Vicenzo] Bellini, pp. 6-7; A Brazilian Air, "And are these the mountains," U.A., pp. 8-9; Quartet, "Pieta di noi," from the comic opera "L'arbore di Diana" by Vicenzo Martini, pp. 10-13; Cantata, "From rosy Bow'rs" by [Henry] Purcell, pp. 14-19; Air (de trios notes), "Que le jour me dire!" by [Jean-Jacques] Rousseau, p. 20; Aria, "Infelice in tanti affani" by Carl Friedrich Zelter, pp. 21-23; Elegy, "Ye woods and ye mountains" by [William] Jackson (of Exeter), pp. 24-27; Romance, "Oh! forbear to bid me slight her" by [Johann Nepomuk] Hummel, p. [28]-29; Song, "No flower that blows," from the opera "Selima and Azor" by [Thomas] Linley (Senior), p. 29-31; Duetto, "Caro! Bella!," from the opera "Giulio Cesare" by [George Frideric] Handel, pp. 32-35; Madrigal, "Sweet honey-sucking bee" by [John] Wilbye, pp. 36-47; Ballad, "The brooks lullaby" by [Carl Gottlieb] Reissiger, pp. 48-50; Round, "Here is sweet sleep" by [William] Horsley [(1774-1858)], p. 51; Rondo, "La Verginella come la rosa" by [Ferdinando Gasparo] Bertoni [(1725-1813)], pp. 51-53; Ariette, "Le doux mal" by [Etienne Nicolas] Méhul [(1763-1817)], pp. 54-55; Song, "The hardy sailor," From the opera "The castle of Andalusia" by Dr. [Samuel] Arnold pp. 56-57; Duet, "Italian queen," pp. [58]-[60]; Recitative; Aria, "Alma del gran Pompeo; Piangerò," from the opera "Giulio Cesare" by [George Frideric] Handel, pp. 61-63; Prize-Glee, "Swiftly from the mountain's brow" by [Samuel] Webbe [(1740-1816)], pp. 64-69; Song, "Gentle youth, ah! Tell me why?," from "Love in a village" by [Thomas] Arne, pp. 70-71; Coronach (or Dirge), "He is gone on the mountain," from "Scott's Lady of the lake" by [Thomas] Attwood [(1765-1838)], pp. 71-73; Glee, "In holiday gown" by Thomas Fitzherbert, pp. 74-77; Arietta, "Or son d'Elena invaghito," from the comic opera "Un' Avventurata di Scaramuccia" by Luigi Ricci, pp. 78-79; Duettino, "Tendre fruit des pleurs d'aurore" by [Jean-Jacques] Rousseau, p. 80; Duet, "Dolce dell' anima," from the opera "Sargino" by [Ferdinando] Paer, pp. 81-83; Song, "'Tis not wealth, it is not birth," from "Love in a Village" by [Felice] Giardini [1716-1796], pp. [84]-85; Song, "O had I been by fate decreed," from "Love in a Village" by Dr. [Samuel] Howard, p. [86]-87; Russian air, by U.A., p. 87; Four-part song, "Enjoy thyself howe'er thou art" (Ermunterung) by [Carl-Maria] von Weber, p. 88-89; Canzonet, "The fortune land" (Das glückliche Land) by [Ludwig van] Beethoven, pp. 90-93; Madrigal, "The nightingale" by Thomas Weelkes (1600), pp. 94-97; Rondo, "Down, down a thousand fathom deep" by [Karl] Keller, pp. 98-100; Terzettino, "Angiol di pace all' anima," from the opera "Beatrice di Tenda" by [Vicenzo] Bellini, pp. 101-103; Cavatina, "Piu Bianca di giglio," from "La cosa rara" by [Vicente] Martin [y Soler] (also listed as Vicenzo Martini), pp. 104-105; Song, "The sapling oak," from "The siege of Belgrade" by [Stephen] Storace, pp. 106-108; Prize-Glee (1773), "In the merry month of May" by Benjamin Cooke, pp. 109-115; Song, "The letter of flowers" by Franz Schubert, pp. 116-117; Duet, "The neighb'ring convent's bell," from "The padlock" by [Charles] Dibdin, pp. 118-120; Elegia, "Sulla tomba di Bellini, l'amico dolente" by [Jules Eugene Abraham Alary (1814-1894)], pp. 121-123; Song, "An address to a Locket" by Dr. [Samuel] Arnold, pp. 124-125; Glee, "Oh! Tarry gentle traveler" by Dr. [William Hutchins] Callcott, pp. 126-131; "Romance and Duet," from the opera "Fortunatus" by [Xavier] Schnyder [von Wartensee, (1786-1868)], pp. 132-134; "A spring song" (Fruhlingslied) by [Felix] Mendelssohn, pp. 134-135; Caliban's song, "The Owl is abroad" from "The tempest" (as altered in 1756) by John Christian Smith, pp. 136-137; Song, "Henry cull'd the flow'ret's bloom," as sung in the opera "Rosina" by [Antonio] Sacchini, pp. 138-140; Round, "[Se placar volete amore / Nel contrasto Amor si rende]" by Vicenzo Martini, [words by Pietro Metastasio, from "Strofe per musica," aria L], p. 140; Canzonet for four voices, "Canst thou love and live alone?" by Ravenscroft, pp. 141-143; Air, "Le secret" by Franz Schubert, [from "Zwei Lieder," Op. 14, No. 2 Geheimes, D 719], pp. 144-146; Song, "Come, dear Maria!" by [Sigismund Ritter von] Neükomm, pp. 146-147; Arietta, "The country wedding" arr. by Thomas Joseph Ritson, pp. 148-149; Cavatina, "Tu sai qual oggetto," from the opera "Constanza e Romilda" by [Giacomo] Meyerbeer, pp. 150-151; Cantata, "Let the dreadful engines," from the opera "Don Quixote" by [Henry] Purcell, pp. 152-157; Terzetto and chorus, "O come o bella" by [Samuel] Webbe, pp. 158-160; Cavatina, "Sgombra I miei dubbi, o cielo!," from the opera "Ismalia" by [Saverino] Mercadante, pp. 161-163; Glee, "The seasons" by Dr. [Samuel] Arnold, pp. 164-169; Duet, "Soft is the Zephyr's breezy wing" by [Thomas Augustine] Geary, pp. 170-173; Romance, "Expectation" by [Felix] Mendelssohn-Bartholdy, pp. 174-175; Song, "Peaceful slumb'ring on the Ocean," from the opera "The pirates" by [Stephen] Storace, p. 176; Vol. 4: Duet, "O what various charms unfolding," [from] "Seasons" by [Joseph] Haydn, pp. 1-3; Song, "No, 'twas neither shape nor feature" (introduced in "The flitch of Bacon") by [Giovanni] Paisiello, pp. 4-5; Romance "Ma belle Ange" by Théodore Labarre, pp. 6-7; Trio, "When the rosy morn appearing," from the opera "Rosina" [by Antonio Sacchini], pp. 8-10; Cavatina, "Si, lo sento," from the opera "Faust" by [Louis] Spohr, pp. 11-13; Round, "The dumb peal" by Dr. [Benjamin] Cooke, p. 13; Cantata, "Alexis" by John Christopher Pepusch, pp. 14-19; Glee, "Melting airs soft joys inspire" by Dr. William Hayes, p. 20; Canzonetta, "Vita felice" by [Ludwig van] Beethoven, pp. 21-23; Song, "How hardy I conceal'd my tears," [music from Das Traumbild by Wolfgang Amadeus] Mozart, pp. 24-25; Duettom "Unito a un puro affetto," in the opera "Teseo" (Theseus) by [George Frideric] Handel, pp. 25-28; Glee, "Mark'd you her eye of heavenly blue?" by [Reginald] Spofforth, pp. 29-31; Madrigal, "Cynthia! Thy song and chanting" by Giovanni Croce, pp. 32-37; Song, "With lowly suit and plaintive ditty," from the two-act opera "No song, no supper" by [Stephen] Storace, pp. [38]-40; Canzonetta, "Aure amiche" by Georg Müller, pp. 41-43; Quartetto, "Dal tuo stellato soglio," from the opera "Mosè in Egitto" by [Gioachino] Rossini, pp. 43-[47]; Song, "Encompass'd in an angel's frame," from the [opera] "Lord of the Manor" by [William] Jackson, pp. 48-49; Canzonet, "I my dear, was born to-day" by [John] Travers, pp. 49-55; Canzonetta, "In questa tomba oscura," [WoO133] by [Ludwig van] Beethoven, pp. 56-57; Recti[ative] and Air, "How gentle was my Damon's air! / On every hill in every grove," from the masque "Comus," [music by] Dr. [Thomas] Arne, pp. 58-60; Song, "What makes this poor bosom" by [Louis] Spohr, pp. 61-63; Trio, "An argument" by I[gnaz] Moscheles, pp. 64-65; Ballad, "Ere around the huge oak," from the comic opera, "The farmer" by [William] Shield, pp. 66-67; Canzonetta, "La contraddizione" by Gabriello Piozzi, pp. 67-69; Prize Glee, "Awake! Aeolian lyre" by [John] Danby, pp. 70-73; Duet, "Dopo cento affanni," from the opera "[La Grotta di] Calypso" by [Peter von] Winter, pp. 74-77; "The spirit song," [H 26a, no. 41] by [Franz Joseph] Haydn, pp. 77-80; Aria, "Adelaide," [op. 46] by [Ludwig van] Beethoven, pp. 81-87; Madrigal, "Fair! sweet! cruel! Why dost thou fly me?" by [Thomas] Ford, pp. 88-91; Rondo, "While the lads in the village," from the opera "The quaker" by [Charles] Dibdin, pp. 92-95; Glee, "Peace to the souls of the heroes!" by Dr. [William Hutchins] Callcott, pp. 96-100; Cavatina, "Lungi dal caro bene," in the opera "Giulio Sabino" by [Giuseppe] Sarti, pp. 101-103; Duet, "Hark! my Daridear!" from [John] Dryden's tragedy "Tyrannick love" (i.e., The royal martyr) by [Henri] Purcell, pp. [104]-111; Song, "Her image ever rose to view" from the opera "Nettley Abbey" by [Carl Friedrich] Baumgarten, pp. 112-115; Prize glee, "A gen'rous friendship no cold medium knows" by [Samuel] Webbe, pp. 116-117; Song, "There the silver'd waters roam" from the opera "The pirates" by [Stephen] Storace, 118-120; Song, "From glaring show and giddy noise" by [Samuel] Webbe, pp. 121-[123]; Round, "I loved thee beautiful and kind" by [Jonathan] Battishill, p. 124; Catch, "O let the merry peal go on!" by [John] Danby, p. 125; Duetto, "Guarda qui, che lo vedrai" by [Joseph] Haydn, p. 126-131; Song "On board the valiant!" from the comic opera "The shipwreck" by Dr. [Samuel] Arnold, pp. 132-133; Prize glee, "Return, blest days" by John Stafford Smith, pp. 134-137; Romanza, Una furtive lagrima" from the comic opera "L'Elisire d'amore" by [Gaetano] Donizetti, pp. 138-140; Madrigal, "Ev'ry bush new springing" by Michael Cavendish, pp. 141-[144]; Duettino, "When first I saw thee graceful move" by Nicolo Pasquali, p. 145; Aria, "Per pieta, non ricercate" in the opera "Il curioso indiscreto" by [Wolfgang Amadeus] Mozart, pp. 146-149; Duet, "Amor gioie mi porge" [music by George Frideric] Handel, pp. [150]-153; Elegy, "While grief and anguish rack my breast" from "Selima and Azor" by Thomas Linley, pp. 154-155; Song, "Light as thistle-down" from the opera "Rosina" by [William] Shield, pp. 156-157; Son, "Fair Liela" by [William] Linley, pp. 158-160; Duetto, "Io lo so" [i.e., Canzonetta: Io lo so, che il bel sembiante, W H4] by Johann Christian Bach, pp. 161-163; Ariette, "Oiseaux, si tous les ans" [K.307/K.284d] by [Wolfgang Amadeus] Mozart, pp. 164-165; "The waits" by Jeremiah Savile, p. [166]; General index to the vocal music, with short biographical notices, pp. [167]-172; General index arranged according to the titles and also the first words ..., pp. [173]-174. digital.library.unt.edu/ark:/67531/metadc39290/
The musical library, vocal
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. digital.library.unt.edu/ark:/67531/metadc39288/