Timms Lindgren Steff..

20 LOWELL LINDGREN AND COLIN TIMMS THE CORRESPONDENCE OF AGOSTINO STEFFANI AND GIUSEPPE RIVA. 1720-1728 21
on 14-16 April 1779. Thomas Bever (1725-91) bought Lots 152-3 (Cfm Mu MSS 31-2) at Boyce's
sale for fourteen guineas. Bever bequeathed his collection to the musician John Hindle (1761-96),
whose administratix disposed of it by auction on 7-8 June 1798, at Mr. White's, Storey's-gate,
Westminster. The signature 'Fitzwilliam 1798' is on p. 1 of each manuscript, which signifies that the
viscount purchased them at the BeverIHindle sale.lo3
GB-DRc MS E. 15, pp. 48-54: 'Abbas Stephano, 5 voc., Sent to our Academy at ye Crown
Tavern, 1726'. Largely in the hand of Sampson Estwick (c.16561739), one of the founders of the
Academy, who was formerly in the Aldrich circle at O~ford.'~~ A later owner was John Dolben
(1684-1726).'05 See GB-Lcm MS 1090, below.
GB-Lam MS 32, pp. 283-98: headed 'Madrigale', with 'Steffani's Duettos' on the spine label. In
the same 18th-century hand as GB-Lam MS 35; see (b), below. Signed by an owner, 'R.J.S. Stevens
[l 757-1 8371, Charterhouse'.
GB-Lam MS 39, pp. 90-7: 'Madrigale a 5 del Abbat Steffani'. In the same 18th-century hand as
Lam, MS 40; see (b), below. Signed by an owner, 'R.J.S. Stevens, Charterhouse, 1817'.'06
GB-Lbl Mad. Soc. A. 22-7 (18): five partbooks, each headed 'Madrigale a 5 voci, Agostino
Steffani'. For Gettano i re, see A. 22 (canto [primo]), pp. 534; A. 23 (alto), 2 unnumbered pages;
A. 24 (tenore), pp. 50-1; A. 25 (basso), pp. 57-9; A. 26 (bc), pp. 20-2; and A. 27 (quinto = canto secondo),
pp. 268. This early 18th-century copy also (b), below.
GB-Lbl Mad. Soc. C. 15, pp. 70-7: 'AgostnO Steffani'. A late 18th-century copy, that includes the
bookplate of ' ~ev~ John Parker' and (b), below.
GB-Lbl RM 24. c. 16 (3), ff. lv-5v: 'Stefani'. In the same 18th-century hand as GB-Lbl Add. MSS
5329-32, which include 96 duets by Steffani and [Hawkins], Memoirs.
GB-Lbl RM 24. h. 11, ff. 53v-58v: 'Abbas Stephano, Bishop of Spiega'. This manuscript was
presumably copied-partly by John Travers (c. 1703-58)-for the Academy, c. 1726. It also includes
(b), below.
GB-Lbl Add. MS 31409, ff. 8v-llv: 'Abbat. Steffani'. Also includes (b), below. Signed by the
copyist 'Home', i.e., Edmund Thomas Warren-Home (c.1730-94), and by an owner, 'James
Bartleman' (1 769-1 821). The British Library purchased it in 1880-1 from Julian Marshall.
GB-Lbl Add. MS 31441, ff. 89-92: 'Madrigale a 5. voci, del Sig' Abbat Steffani'. The manuscript
was 'a Present from M Hamilton of Conduit Street, from the Collection of her Father, Mr Keble
[John Keeble, c. 171 1-86], late Organist of St. George's, Hanover Square, April 7, 1787, [to] T[homas]
B[ever]'. Below the bookplate of Thomas Bever LLD is inscribed 'Coll. Omn. Anim. Socius 1787'.
Above the bookplate is the signature 'H. Sikes'. It is not known whether 'H. Sikes' was related to the
collector Lady Mary Elizabeth ~ykes."~ The British Library purchased it in 1880-1 from Julian
Marshall.
'03 See MSS 31-2 in J[ohn] Apexander] Fuller Maitland and A[rthur] H[enry] Mann, Catalogue of the Music in the Fitzwilliam
Museum, Cambridge (London, 1893), 12-13, and Richard Charteris, 'Thomas Bever and Rediscovered Sources in the
Staats- und Universitatsbibliothek, Hamburg', Music & Letters, 81 (2000), 194-5. Charteris, 180-1, also discusses Bever's
will, which provides otherwise unknown information concerning the dispersal of his library and thus supplements what The
Gentleman's Magazine, 68 (1798), 517, relates about the BeverIHindle sale.
l" See Margaret Crum, 'An Oxford Music Club, 1690-1719', The Bodleian Library Record, 9 (1974), 867.
Io5 Donald Burrows, 'Sir John Dolben's Music Collection', Musical Times, 120 (1979), 150; see also Crosby, Catalogue, 66 and
218, and Timms, 'Steffani and the Academy', 128. GB-DRc MS E. 15 was the principal source for the edition published as a
supplement to Timms, 'Steffani and the Academy'.
Io6 Stevens was a pupil of William Savage, whose library passed to his son, Reverend George Savage, vicar of Kingston
(d. 13 July 1816), then to George's widow. In May 1817 Stevens spent much time sorting the library, and on 28 July 1817 he
purchased it after paying the auctioneer White to 'fix a price for each musical item' (Mark Argent, ed., Recollections of
RJ.S. Stevens, an Organist in Georgian London (Carbondale, IL, 1992), 209 and 212-13). Only one manuscript, GB-Lbl
Add. MS 31499, which includes (b) below, bears the signatures of Savage and Stevens with the year 1817. Three other man-
uscripts that Stevens signed and dated 1817, GB-Lam MSS 3840, which include (c), (a) and (b), respectively, were presum-
ably purchased also from George Savage's widow.
107 Her sale is described in King, Some British Collectors, 45,95 and 135.
GB-Lcm MS 1090, ff. 16v-21: 'Steffani'. The first section of this manuscript is a copy of GB-DRc
MS E. 15, listed above. Bookplates of Sir John Dolben and John Lucius Dampier, who presented it
to the Sacred Harmonic ~ociety.'~~
GB-Ob Mus. d. 102, pp. 195-204: 'Madrigale'. Signed by an owner, 'Phil. Hayes [1738-971, Dec.'
1766'.
(b) Qzii diligit Mariam (27 sources)
B-BC D. 21 1, ff. 1-17v: 'Mottetto a cinque voci, del Sig' Steffani'. Copied in the 19th century.
B-BC XY. 15018, f. 181. Copied in the 19th century by Car1 Dreher, who included only section 2,
the duet 'Non pavescat lethales horrores'.
GB-Cfm Mu MS 31, pp. 13651: 'Motet a 5 voci col organo, del Sig. Steffani'. Also includes (a),
above, where the copyist and owners are identified. 'Mariam' is replaced by 'Filium'.
GB-Cfm Mu MS 43, part 2, pp. 1-17. Copied c. 1730.
GB-Cfm Mu MS 160 (1-7): seven four-page partbooks, each headed 'Madrigale a 5 del Sig.
Steffani'. Copied in the mid-18th-century. The seven include duplicate copies for A, T and bc, and
one for B.
GB-Lam MS 35, ff. 55-69v: the only heading is 'Steffani's Mottets. Vol. 1' on the cover label. In
the same 18th-century hand as Lam, MS 32; see (a), above. Signed by an owner, 'R.J.S. Stevens'.
GB-Lam MS 40, pp. 108-21: 'Madrigale a 5 del Sig" Steffani'. In the same 18th-century hand as
Lam, MS 39; see (a), above. Signed by an owner, 'R.J.S. Stevens, Charterhouse, 1817'.
GB-Lbl Mad. Soc. A. 22-7 (3): each of the five partbooks is headed 'del Sig' Steffani'. For Qui
diligit, see A. 22 (canto [primo]), pp. 11-17; A. 23 (alto), pp. 12-18; A. 24 (tenore), pp. 12-18; A. 25
(basso), pp. 11-28; A. 26 (bc), pp. 5-12, and A. 27 (quinto = canto secondo). This early 18th-century
copy also includes (a), above.
GB-Lbl Mad. Soc. C. 15, pp. 78-96: 'A. Steffani'. A late 18th-century copy that includes the
bookplate of ' ~ev~ John Parker' and (a), above.
GB-Lbl RM 24. h. 11, ff. 59-67: 'Abbas Stephano, Bishop of Spiega'. See (a), above, for
identification of one copyist and the date of copying. 'Mariam' is replaced by 'Christum'.
GB-Lbl Add. MS 5054, ff. 8v-18: 'Agostino Steffani'. Copied before 1760.
GB-Lbl Add. MS 14395, ff. 77-9v. Copied after 1831.
GB-LbI Add. MS 31 120, ff. 1068. A transcription for organ of three sections-'Qui diligit', 'Non
pavescat' and 'Haec potest'-which were apparently copied for or from Vincent Novel10 (1781-1861),
Select Organ Pieces, from the Masses, Motetts and Other Sacred works of Mozart, Haydn, Beethoven,
Cherubini, Hummel, Palestrina, Carissimi, Clari, Steffani, Leo, Durante, Jomelli, Pergolesi, and Other
Classical Composers of the German h Italian Schools (London, c. 1835?), i, 84-7.'09 Novello's source
was 'a M. S. in the possession of the Editor', presumably Add. MS 31477, listed below. He noted that
'the motet Qui diligit . . . is generally considered as one of the very finest of all his [Steffani's]
Compositions, the principal characteristics of which are a grandeur & severity of style in the
melodies, profound science in the harmonies, and masterly skill in the construction of the most ingenious
and elaborate counterpoint'.
GB-Lbl Add. MS 31409, ff. 12-38v: 'Abbate Steffani'. See (a), above, for identification of the
copyist and two owners.
GB-Lbl Add. MS 31477, ff. 3-9: 'Mottet a 5, del Sigr Steffani'. The manuscript is 'in the handwriting
of the Rev. Mr. W. Gostling, Minor Canon of Canterbury', who provided its title-page:
'Motetti Sacri Diversorum insignium Autorum Centuriae 17"". N.B. This is an exact Duplicate in
every particular with one from M' Keebles Collection' (which is not known to be extant). In a long
108 Burrows, 'Dolben's Music Collection', 150, and William Henry Husk, Catalogue of the Library of the Sacred Harmonic
Society (2nd edn, London, 1872), no. 1941.
Io9 An earlier keyboard transcription, which includes Steffani's entire motet, is found in William Crotch (1775-1847),
Specimens of Various Styles of Music, Referred to in a Course of Lectures, Read at Oxford & London, and Adapted to Keyed
Instruments (3rd edn, London, [c. 1808-c. 1815]), ii, 98-104 (no. 103).