Thesaurus musicus being, a collection of the newest songs performed at Their Majesties theatres; and at the consorts in Viller-street in York-buildings, and in Charles-street Covent-Garden. With a thorow-bass to each song for the harpsichord, theorbo, or bass-viol. To which is annexed a collection of airs, composed for two flutes, by several masters. The first book. Thesaurus musicus. Book 1 Hudgebut, John. 1693 Approx. 33 KB of XML-encoded text transcribed from 23 1-bit group-IV TIFF page images. Text Creation Partnership, Ann Arbor, MI ; Oxford (UK) : 2007-01 (EEBO-TCP Phase 1). A44855 Wing H3250 ESTC R224047 99834658 99834658 39162 This keyboarded and encoded edition of the work described above is co-owned by the institutions providing financial support to the Early English Books Online Text Creation Partnership. This Phase I text is available for reuse, according to the terms of Creative Commons 0 1.0 Universal . The text can be copied, modified, distributed and performed, even for commercial purposes, all without asking permission. Early English books online. (EEBO-TCP ; phase 1, no. A44855) Transcribed from: (Early English Books Online ; image set 39162) Images scanned from microfilm: (Early English books, 1641-1700 ; 1820:19) Thesaurus musicus being, a collection of the newest songs performed at Their Majesties theatres; and at the consorts in Viller-street in York-buildings, and in Charles-street Covent-Garden. With a thorow-bass to each song for the harpsichord, theorbo, or bass-viol. To which is annexed a collection of airs, composed for two flutes, by several masters. The first book. Thesaurus musicus. Book 1 Hudgebut, John. [4], 38 p. : music printed by J. Heptinstall for John Hudgbut. And are to be sold by John Carr, at the Middle-Temple Gate in Fleetstreet, and John Money, stationer at the Miter in Miter Court in Fleet-street. And at most musick-shops in town, London : 1693. Attributed to John Hudgebut by Wing. Lyrics with music scored for an accompanying instrument. Identified as Wing (2nd ed.) T870 (number cancelled) on UMI microfilm set "Early English books, 1641-1700", reel 1820. Reproduction of the original at the British Library. Created by converting TCP files to TEI P5 using tcp2tei.xsl, TEI @ Oxford. Re-processed by University of Nebraska-Lincoln and Northwestern, with changes to facilitate morpho-syntactic tagging. Gap elements of known extent have been transformed into placeholder characters or elements to simplify the filling in of gaps by user contributors. EEBO-TCP is a partnership between the Universities of Michigan and Oxford and the publisher ProQuest to create accurately transcribed and encoded texts based on the image sets published by ProQuest via their Early English Books Online (EEBO) database (http://eebo.chadwyck.com). The general aim of EEBO-TCP is to encode one copy (usually the first edition) of every monographic English-language title published between 1473 and 1700 available in EEBO. EEBO-TCP aimed to produce large quantities of textual data within the usual project restraints of time and funding, and therefore chose to create diplomatic transcriptions (as opposed to critical editions) with light-touch, mainly structural encoding based on the Text Encoding Initiative (http://www.tei-c.org). The EEBO-TCP project was divided into two phases. The 25,363 texts created during Phase 1 of the project have been released into the public domain as of 1 January 2015. Anyone can now take and use these texts for their own purposes, but we respectfully request that due credit and attribution is given to their original source. Users should be aware of the process of creating the TCP texts, and therefore of any assumptions that can be made about the data. Text selection was based on the New Cambridge Bibliography of English Literature (NCBEL). If an author (or for an anonymous work, the title) appears in NCBEL, then their works are eligible for inclusion. Selection was intended to range over a wide variety of subject areas, to reflect the true nature of the print record of the period. In general, first editions of a works in English were prioritized, although there are a number of works in other languages, notably Latin and Welsh, included and sometimes a second or later edition of a work was chosen if there was a compelling reason to do so. Image sets were sent to external keying companies for transcription and basic encoding. Quality assurance was then carried out by editorial teams in Oxford and Michigan. 5% (or 5 pages, whichever is the greater) of each text was proofread for accuracy and those which did not meet QA standards were returned to the keyers to be redone. After proofreading, the encoding was enhanced and/or corrected and characters marked as illegible were corrected where possible up to a limit of 100 instances per text. Any remaining illegibles were encoded as s. Understanding these processes should make clear that, while the overall quality of TCP data is very good, some errors will remain and some readable characters will be marked as illegible. Users should bear in mind that in all likelihood such instances will never have been looked at by a TCP editor. The texts were encoded and linked to page images in accordance with level 4 of the TEI in Libraries guidelines. Copies of the texts have been issued variously as SGML (TCP schema; ASCII text with mnemonic sdata character entities); displayable XML (TCP schema; characters represented either as UTF-8 Unicode or text strings within braces); or lossless XML (TEI P5, characters represented either as UTF-8 Unicode or TEI g elements). Keying and markup guidelines are available at the Text Creation Partnership web site . eng Songs, English -- Early works to 1800. Songs -- Accompaniments -- Early works to 1800. Music in theaters -- Early works to 1800. Thorough bass -- Early works to 1800. 2006-01 TCP Assigned for keying and markup 2006-03 Apex CoVantage Keyed and coded from ProQuest page images 2006-05 Derek Lee Sampled and proofread 2006-05 Derek Lee Text and markup reviewed and edited 2006-09 pfs Batch review (QC) and XML conversion THESAURUS MUSICUS : BEING , A COLLECTION of the Newest SONGS PERFORMED At Their Majesties Theatres ; and at the Consorts in Viller-street in York-Buildings , and in Charles-street Covent-Garden . WITH A Thorow-Bass to each SONG for the Harpficord , Theorbo , or Bass-Viol . To which is Annexed A Collection of Aires , Composed for two Flutes , by several Masters . THE FIRST BOOK . LESSONS FOR THE RECORDER depiction of four children sitting around a table and playing recorders LONDON , Printed by J. Heptinstall for John Hudgebut . And are to be Sold by John Carr , at the Middle-Temple Gate in Fleetstreet , and by John Money , Stationer at the Miter in Miter Court in Fleet-street . And at most Musick-Shops in Town . 1693. A Table of SONGS contain'd in this Book . A Ah Friends , how happy are we here , 8 And in each Track of Glories , 26 B Beauty first the heart inspires , 5 D Down , down with Bacchus , 38 E ' Ere Time had run so long a Race , 25 F Fye Jocky never prattle meer so like a Loon , 16 Fond Virgins run into the Snare , 17 H How long must Women wish in vain , 28 I Jack , Whither so fast ? 7 I wonder what those Lovers mean , 24 O Of noble Race was Shinking , 20 S Such command o're my Fate , 12 T Tho' you make no return to my Passion , 1 Tell me no more , no more I am deceiv'd , 2 'T is pity Myrtilla you shou'd be a Wife , 3 To Convent Streams , or shady Groves , 6 Tell me-thou fairest of all thy whole Sex , 11 That scornfull Sylvia's Chains I wear , 13 The Queen of Beauty lov'd a Swain , 18 To yonder Sweet delicious Shade , 21 W What beastly to drink ! that 's a jest , 9 Why wonders beauteous Cloris , 14 Where Phoebus with his kindest look , 22 A Table of the Flute-Tunes in two parts . Aires for 2 Flutes by Mr. King. P. 30 , 31 , 32 , 33. Aires for 2 Flutes by Mr. Godfrido Finger , and Mr. John Banister . P. 34 , 35. Aires for 2 Flutes by Mr. Keen P. 36 , 37. TO Thomas Drax , Esquire . SIR , BY the advice and assistance of some Eminent Masters of Musick , whom I have great reason to believe my very good Friends , and by some Care and Industry of my own , I have Collected this small Volume , which I find wants nothing but your Name to Recommend it to the Musical part of the World ; the Sence of this Encourages me ( but with all Humility imaginable ) to beg your Protection of it , since none ( especially who have had Gentleman-like Education ) will be so unmannerly as to oppose what a Person of your Sense and Merit has Vouchsaf'd to Patronise . I am not unsensible how Ridiculous an attempt of Panegyrick would appear in me , who am altogether as unfit for it , as to perform in a Consort of Musick , but this I must beg leave to affirm , that if Persons of your Rank and Sphere , not only condescend to be Patrons of the Sons of Apollo , but to be Performers also , we have all the ground imaginable to be assured , that our Island will be as famous for Excellent Compositions and admirable Performances in Musick , as Rome the long acknowledg'd Mistress of the World. Now Sir I must beg if you should find any Errors that you would not Impute them to the want of Skill in the Masters , but either to mine or the Printers oversight , who do not pretend to Infallibility . But this I need not have mention'd , since I know you are so Generous as to Connive at such faults , and I hope you will Pardon this presumption of Your already infinitely oblig'd , And most humble Servant , John Hudgebutt . The first Song in the Maids last Prayer , by Mr. Henry Purcell . Sung by Mrs. Dyer . THO ' you make no return to my pas — sion , still , still I pre — sume to a — dore ; 't is in Love but an odd re — pu — ta — tion , when faintly re — puls'd , to give o're . When you talk of your Duty , I gaze on your Beauty , nor mind the dull maxime at all : Let it reign in Cheapside , with a Ci — tizens Bride ; it will ne'er be receiv'd , it will ne'er , ne'er , it will ne'er be receiv'd at White — hall . II. What Apocryphal Tales are you told , By one who would make you beleive , That , because of to have and to hold , You still must be pinn'd to his sleeve . 'T were apparent high Treason , ' Gainst Love and ' gainst Reason , Should one such a Treasure engross : He who knows not the Joys , That attend such a Choice , Shou'd resign to another who does . The 2d . Song in the Maids last Prayer , Sung by Mrs. Ayliff . TELL me no more , no more I am de — ceiv'd , that Cloe's false , that Cloe's false and common : by Heav'n I all a — long beleiv'd she was , she was a ve — ry , ve-ry , Wo — man. As such I lik'd , as such ca — rest , she still , she still was con — stant when pos — sect ; she cou'd , she cou'd , she cou'd , she could do more for no man. 2d . Stanza . But oh ! but oh her thoughts on o — ther 's ran , and that you think , and that you think a hard thing ; per — haps she fan — cy'd you the Man , why what care I , why what care I one Far — thing . You say she 's false , I 'm sure she 's kind , I 'le take , I 'le take her — Bo — dy , you her Mind ; who , who , who has the better Bar — gain ? By Mr. Akeroyd T IS pit — ty pit — ty Myr — til — la you shou'd be a Wife , to be made a mere slave and a drudge all thy life ; to throw all thy freedome and pleasures a — way , change the joys of Command for the curse of O — bey : Be un — ea — sy a — broad ' cause home you must come , to be plagu'd all the night with a fumbling hum — drum , with a fum , fum , fum , fumbling , with a fumbling hum — drum . The Words by Mr. Jo. O. Set by Mr. Akeroyd BEAU — TY first the heart In — spires , e — qual flames en — crease the fires ; Mu — tual loves have mu-tual blisses , hearts a — greed the same soft wi — she s ; Still de — sire — ing , still re — qui — ring , looking still , and still ad — mire — ing . II. Some dear pleasing Raptures roul , Alike about each ravish'd Soul ; True Lovers wishes are not cloy'd , The object ne're so oft enjoy'd . Still , &c. III. Free from Troubles , free from harms , Full of Honour , full of charms ; Bless these pairs ye Gods above , Crown their hearts with lasting Love. Still , &c. Set by Mr. Ralph Courtivil . TO convent Streams or sha — dy Groves , may Ce — lia be con — fin'd , and from Au — gus — ta , from Au — gus — ta far re — move , — since hand — some and un — kind : Let her not range nor plea — sures take , in Town which no — ne will give ; why shou'd we room for Beau — ty make , why , why shou'd we room for Beau — ty make , which will not let us live ? why shou'd we room — for Beau — ty make , which wi — ll not let us live ? A Catch for 3. Voices , by Mr. King. JACK , whither so fast ? To the Devil ; where shou'd I ? I 'm not in such hast to go thither . A — dieu t' ye ; I hope to in — treague yet many a year , and Whore in a — bundance be — fore I come there ; May you al — ways be damn'd to the Hell of a Punck , while I at the Devil get Hea — ven — ly Drunk . A Song for two Voices , Set by Mr. Akeroyde . AH friends how hap-py are we here , blest with good Drink , blest with good AH friends how hap — py are we here , blest with good Drink , Drink , and with good Cheer ; we 're crown'd with joys a — bove all blest with good Drink , and with good Cheer ; we 're crown'd with joys a — bove all measure , in War we fear to lose our life , in Love , in Love ther 's measure , in War we fear to loose our life , in Love , in Love , ther 's jea — lou — sy and streif , by Trade , and play we lose our Treasure . jea — lou — sy and strief , by Trade , and play we loose our Treasure . But here , but here , un — less our Bowl should fall , and some mis-chance should But here , but here , un — less our Bowl should fall , and some mis — chance should spill it all , nothing can e — ver baulk our pleasure , but here un — spill it all , nothing can e — ver baulk our pleasure , but — less our Bowl shou'd fall , nothing can baulk , nothing can baulk , here un — less our Bowl shou'd fall nothing can baulk , nothing can nothing can baulk , can baulk our pleasure . baulk , can baulk , can baulk our pleasure . A Song for 2. Voices , Set by Mr. Robert King. WHAT Beastly to drink ! that 's a jest , that 's a jest , I 'le not bear it ; WHAT Beastly to drink ! that 's a jest , I 'le not bear it ; un — un — less you 'l de — mon — strate Beasts e — ver drink Claret : — less you 'l de — monstrate , de — monstrate Beasts e — ver drink Claret : But hang 't 't is a fol — ly to make a dis — pute , 't is the But hang 't 't is a fol — ly , a fol — ly to make a dis — pute , 't is the dull sober , dull so — ber Sot , that is real — ly the Brute , for while we drink dull so — ber Sot , that is real — ly the Brute , for while we drink Wine , for Wine , for while we drink Wine , let all men hereafter proclaim him a Beast that while we drink Wine , drink Wine , let all men hereafter proclaim him a Beast that on — ly drinks Water , proclaim him a Beast , a Beast , who on — ly drinks Water . on — ly drinks Water , proclaim him a Beast , a Beast , who on — ly drinks Water . Set by Dr. Staggins . TELL me thou fairest of all thy whole Sex , why so much good nature poor hearts doth per — plex ; The un — grate — full be — trays me with hopes in my sleep , but when the Dreams gone my heart's rea — dy to break ; This Charming sweet Creature hath a Soul so re — fin'd , that I 'de give all the world that we were of one mind . Set by Mr. Tho. Tallot . SUCH command o're my Fate , has your Love or your Hate , that no — thing can make me more wretched or great : Whilst expecting I lye to Live , or to Dye , thus doubtfull the sentence of such I re — ly , your Tongue bids me goe , tho' your eyes say not so , but much kinder words from their language do flow . II. Then leave me not hear thus between hope and fear , Tho' your Love cannot come let your Pitty appear ; But this my request you must grant me at least , And more I 'le not ask but to you leave the rest ; If my Fate I must meet let it be at your Feet , Death there with more joy than elsewhere I wou'd greet . Set by Mr. Akeroyd . THAT Scornfull Sil — vias Chaines I wear , the Groves and Streames can tell ; Those blasted with my Sighs ap — pear , these with my Tears , my Tears o're swell : But Sights and Tears bring no re — dress , and Love that sees , that sees me greive , con — spires with Sil — via to op — press the heart he shoul'd re — lieve . A Song Set by Mr. Samuel Akeroyde . The Words by Sir Ed. S. WHY wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ? since by my ge — n'rous de — sti — ny , I 've seen the ob — ject of her Eye ; why wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ? I 'm in a Hea — ven a — — las at least , when e're my Eyes doe on her feast : why wonders beauteous Clo — ris , why , I 've aim'd so oft at Po — e — try ; and in that Hea — ven my rap — tures be im — prov'd by her di — vi — ni — ty ? why wonders beauteous Clo — ris , why , I 've aim'd so much at Po — e — try ? II. Translated thus to Heavens blest Shore , I cease to be the thing before ; And in those hallow'd Plaines receive , Rewards too great for Earth to give ; Then Cloris can you so admire , At what you only , you Inspire ; The mighty wonders of whose Eyes , Produce your Strephons Rhapsodies . A Song in the Richmond Heirest , or a Woman once in the Right . FYE Jocky never prattle meer so like a Loon , no Rebel e're shall garr my heart to Love ; Sawny was a Loyal Scot tho' dead and gone , and Jenny'd in her Daddy 's way with muckle joy shall move : Laugh at the Kirk A — po-stles , and the canting Swarms , and fight with bonny Lad that love their Monarchy and King ; then Jenny fresh and blith , shall take thee in her Arms , and give thee twenty kisses , and per — haps a better thing . A Song for 2 Voices , Set by Mr. Samuel Akeroyde . The Words by Mr. Jo. O. FOND Virgins run in — to the snare , false Men to catch their hearts pre — pare : FOND Virgins run in — to the snare , false Men to catch their hearts pre — pare : With bro — ken Oaths and Vows be — tray'd , they wou'd complain , but are a — With bro — ken Oaths and Vows be — tray'd , they wou'd complain , but are a — fraid ; and each that Lists her self for a Wife , is doom'd to — fraid ; and each that Lists her self , a Wife is doom'd to praise , is doom'd , is doom'd to praise the care — full life . praise is doom'd to praise the care — full life . II Praise the carefull life , The Nymph she is both gay and wise , The tempting Bait discreetly flyes ; She loves her self , she loves her friend , She looks for joys and has her end ; She only can her freedom boast , Which when resign'd is ever lost . A Pastoral Dialogue by Mr. Jo. O. Set by Mr. Samuel Akeroyd . Thirsus THE Queen of Beau — ty lov'd a Swain , and le — ft her throne a — bove ; To sport it on the hum — ble plain , and re — vel , and re — vel , and re — vel — Flor. i — n his Love. But what 's the Wanton Queen to me , my — Reason is my Rule ; Nor wou'd it e — ver be with thee , if — Thris . I shou'd play the fool : Were Reason , cruel Nymph , your guide , as you mis — — take it is , you wou'd not glo — ry in your pride , nor shun Loves Flor. sacred bliss . Flor. My nu — me — rous Flocks are more than thine , my Fleeces fi — ner Wooll ; The herds that yon — der graze are mine , my Barnes are al — so full ; Thirs . But mine o — h ! fates are thine of store , my herds , my flocks but few ; I plead my Love I ask no more , since love does a — ll sub — due . CHORVS . Then let 's to yon — der Grove re — move , the coolest of the plain : There CHORVS . Then let 's to yon — der Grove re — move , the coolest of the plain : There sing the Charmes of mu — tual love , so to our Flocks a — gain . sing the Charmes of mu — tual love , so to our Flocks a — gain . A Song in the Richmond Heirest , or a Woman once in the Right . Harp. OF no — ble Race was Shinking , — The Line of Omon : S : Tudor , thum , thum , thum , thum , But her renown is fled and gone , since cruel Love persu'd her . II. Fair Winnies Eyes bright shining , And Lilly breasts Alluring ; Poor Jenkins heart with fatal Dart , Have wounded past all curing . III. Her was the prettyest Fellow At Foot-ball , or at Crickett ; At Hunting Chace , or nimble Race , Cots-plut how her cou'd prick it . IV. But now all joy's are flying , All pale and wan her Cheeks too ; Her heart so akes , her quite forsakes , Her Herrings , and her Leeks too . V. No more must dear Metheglin , Be top'd at good Mongomery ; And if Love sore , smart one week more , Adieu Cream-Cheese and Flomery . TO yon — der sweet de — li-cious shade , lovely Silvia let 's retire ; careles — ly on Roses lay'd , loose to ev'ery warm desire , loose to e — very warm de — sire , loose to e — v'ry warm de — sire . Let us wanton lau — ug and play , lau — gh and play , kiss and sing the hours a — way , kiss and sing the hours a — way , kiss and sing the hours a — way , kiss and sing the hours a — way . A Song on the Italian Woman , The Words by Mr. Heningham . Set by Mr R. Courtiville . WHERE Phaebus with his kindest , king — est , kind — est look vi — fits his Neighbours a — ll the year ; that place this Beautious Nymph , this Beautious , this Beau — tious Nymph , forsook to en — ter — tain and warm us here , here , here , to en — ter — tain and warm us here , where Phaebus here : So the sweet Cho — ris — ters of Air , who long have felt his scor — ching heat , to Sylvian Scenes of Woods re — pair , to Sylvian Scenes of Woods re — pair ; and there in sha — des their Songs re — peat , and there in sha — des , and there , and there in shades , in shades their Songs re — peat , and there , and there in shades , in sha — — des their Songs repeat , re — peat , re — peat their Songs re — peat , re — peat . Set by Mr. John Barrett . I wonder what those Lovers mean , who say , they have giv'n , they have giv'n their hearts a way : Some good kind Lo — ver tell me how , for mine is : S : but a tor — ment now ; some good kind Lo — ver tell me how , for mine is but a tor — ment now . II If so it be one place both hearts contain , For what , for what do they complain ; What Courtesies can Love do more , Then to joyn hearts that were parted before ; What Courtesies can Love do more , Than to joyn hearts that were parted before ▪ A Scotch Song set by Mr. Robert King. E'RE Time had run so long a race , when Wul — ly gan en — trea — ty , then I 'ze was thought a bon — ny Lass , and call — ed wondrous pretty : But af — ter Wedlock — knot was wove , and the Lad my Charms had worn , he curs'd my ea — sy yeilding Love , and wish'd he had had my scorn , and wish'd he had had my scorn . A Song for two Voices by Mr. Henry Purcell . AND in each track of Glo — ry , since And in each track of Glo — and in each track of Glo — ry since , — ry , since of Glo — ry , since for their lov'd Coun — try , or their Prince . Princes that for their lov'd Coun — try , or their Prince . Princes that hate , that hate Romes Ti — ran — ny and joyn the Nations right , with their own hate , that hate Romes Ti — ran — ny and joyn the Nations right , with their own Roy — al — ty ; none were more ready , none were more rea — dy , none , none , Roy — al — ty ; none , none , none , none , none were more , none were more , none , none , none were more ready in — dis — tress to save , no , none were more ready , none were more ready in — dis — tress to save , none were more Loyal , none , none , none , none , none , none , none , none , none , none were more Loyal none , none , none , none , none , none , none , none , none were more Loyal none , none more Brave . Loyal none , none more Brave . A Song for 2 Voices . By Mr. Robert King. HOW long must Women wish in vain , a con — stant How long must Wo — men wish in vain a constant Love to find ? No art can Fic — kle Man re — Love to find ? no art can fic — kle , can fic — kle Man re — tain , or fix a Ro — ving mind : Yet fond — ly we , — tain , or fix a Ro — ving mind : Yet fond — ly yet fond — ly we our selves deceive , and emp — ty hopes pur — sue ; we our selves , our selves de — ceive , and emp — ty hopes pur — sue , Tho' Tho' false to o — ther 's , we be — leive they will to us prove true , false , tho' false to o — ther 's we be — lieve they will to us prove true , tho' false to o — ther 's , tho' false to o — ther 's , tho' false to Tho' false to o — ther 's , tho' false to o — ther 's , others , we be — leive they will to us prove true . others , we be — lieve they will to us prove true . First Treble . ( 1. ) ( 2. ) ( 3. ) ( 4. ) ( 5. ) ( 6. ) ( 7. ) ( 8. ) ( 9. ) ( 10. ) ( 11. ) ( 12. ) ( 13. ) ( 14. ) Slow . Second Treble . ( 1. ) ( 2. ) ( 3. ) ( 4. ) ( 5. ) ( 6. ) ( 7. ) ( 8. ) ( 9. ) ( 10. ) ( 11. ) ( 12. ) ( 13. ) ( 14. ) Slow . A Catch for 3 Voices . By Mr. H. Purcell . DOWN , down with Bacchus , down , down with Bacchus ; from this hour renounce , re — nounce the Grapes Ty-ran — nick pow'r ; whilst in our large , our large Con — fe — d'rate Bowl , and mingling Vertue , mingling Ver — tue , chear the Soul. Down with the French , down with the French , march on to Nantz for whose , for whose dear sake wee 'l con-quer France ; and when , when th'inspiring Cups swell high , their hun — gry , hun — gry juice with scorn , with scorn de — fy . Rouse , rouse , rouse , rouse , rouse Royal Boyes , your Forces joyn , to rout , to rout the Monsieur and his Wine ; then , then , then , then the next year , our Bowl shall be quaff'd , quaff'd un — der the Vines in Bur — gun — dy . FINIS .