The Musical Library, Vocal: Volumes 1 & 2

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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.

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

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Ayrton, William, 1777-1858 1849.

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  • Added Title: The musical library, vocal
  • Main Title: The Musical Library, Vocal: Volumes 1 & 2

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.

Physical Description

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

Notes

Contents, 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.

Contents, 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.

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Virtual Music Rare Book Room

The Virtual Music Rare Book Room is composed primarily of digitized materials held in the UNT Music Library's Edna Mae Sandborn Music Rare Book Room. The collection is particularly strong in eighteenth-century French opera, due in large part to the influence of musicologist Lloyd Hibberd on the development of the collection.

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  • 1849

Added to The UNT Digital Library

  • Aug. 1, 2011, 10:42 a.m.

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  • July 17, 2015, 3:36 p.m.

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Ayrton, William, 1777-1858. The Musical Library, Vocal: Volumes 1 & 2, score, 1849; London, England. (digital.library.unt.edu/ark:/67531/metadc39288/: accessed May 25, 2017), University of North Texas Libraries, Digital Library, digital.library.unt.edu; crediting UNT Music Library.