MR 290. a. 65. 105. MUSICA OXONIENSIS. A COLLECTION OF SONGS: FOR One and Two Voices, WITH THE THOROUGH-BASS. Published by Francis Smith, and Peter de Walpergen Letter-Founder, by whom 'twas Cut on Steel, and Cast, by the Directions of the former. printer's or publisher's device OXFORD: Printed by Leon. Lichfield: And are to be Sold by John Walsh, Musical Instrument-Maker in Ordinary to His Majesty, at the Golden Harp and Oboe in Catherine-street, near in the Strand. And John Hare, Musical Instrument-Maker, at the Golden Viol in St. Paul's Churchyard, and at his Shop in Freeman's Yard, Cornhill, LONDON, 1698. TO THE Much Honoured and Ingenious Thomas Hinxman, Esq OF TRINITY-COLLEGE in OXFORD. SIR, THE following Sheets, being the first of this Kind that have been Published, We make bold to Recommend them to the World, by prefixing your Name to them: And we are satisfied, that however our Performance be Approved of, every Body will Applaud our Choice of a Patron. 'Tis under your Protection therefore that they venture abroad, and 'tis from your Approbation that they hope to meet with a kind Reception: For Music can never be better Recommended, than by your Judgement, unless you please to add your excellent Performance. But 'tis neither our Talon, nor Design to aim at Compliments, our only Meaning is, to Honour this Specimen with your Name; and 'tis upon that Presumption that we hope to meet with either Encouragement, or at least Excuse from the rest of the World, if we are but so happy as to have it from You. SIR, Your most Obliged, and Most Humble Servants, F. SMITH, and P. de WALPERGEN. TO ALL Lovers of Music. THE Character with which all Music has been as yet Printed, not being Comparable to that which is generally Written; we have been induced to consider of a new way, how any Music may be Printed, so as to be more Convenient, and more Beautiful than any yet Published, if not equal to any in Manuscript. Whether the Effect has answered the Design, we leave to the Censure of those, who will, without Prejudice, compare this Specimen with any Printed Music; and we doubt not, but the Neatness of the Character, the Regularity and Evenness of the Lines, the natural Division of the several Syllables to their proper Notes, etc. will easily be seen; and the great Expense and Trouble, we have hitherto been at, be in some measure Rewarded by a can did Reception and Encouragement. We intent not, by what has been said, any Encomiums of our own Industry, any more than of the Science of Music itself; since as this needs none, so we should be glad, for the public Good, to be exceeded in the other. The Music is Composed by Good Masters, and several Songs by the same Hands and Others, may be procured and Monthly Published, if the Work meets with Encouragement. Be pleased to take Notice, That the Binding of the Tails of the Notes, does not make them belong to One Syllable, except there be either a Tie over the Heads of those Notes, or a Division in the Syllable: and that this Character, or Mark, ♮ (which is used by the Italian Masters, and is called a Natural,) is intended so as to restore the Note following to its natural and true sound; as for Instance, If any Person has a valuable Collection of Music, and is willing to have it Printed with this Character, if it be sent to our Printer, it shall be Carefully and Correctly done. When Charming Teraminta. A SONG in Two Parts, Set by Mr. John Welldon. WHen charming Tera— minta Si— ngs, Every new Air, every new Air, new Passion brings; Every new Air, every new Air, new Pa— ssion brings: And now— I Fear; Now I Tri— umph, now, now Des— pair: Now I Tri— umph, now now Des— pair. Her Face at last does all re— move, And my whole Breast con— scents to Love, con— scents to Lo— ve: My whole Breast consents to Love, consents to Lo— ve, con— scents to Love. The tre— mbling Zephirs rou— and her play, And panting, panting on her Lips would stay. The tre— mbling Zephirs round her play, rou— and her play: Striving with di— vi— ded Bliss, now would Listen, now would Listen, now would Kiss, now would Kiss, now would Kiss, now, now, now, now, now, now would Kiss, Till by Her Breath re— pulsed they fly, And in low pleasing Mur— murs die, And in low pleasing Mur— murs die. Nor do I ask, that She would give, By some new Note, the Power to Live: I would ex— pi— ring with the Sound, Dye on the Lips, Dye on the Lips, that gave the Wound, Dye on the Lips, that gave the Wound. WHen charming Te— ra— minta Si— ngs, When charming Te— ra— min— ta Si— ngs, Every new Ai— r, new Pa— ssion brings; Every new Air, new Air, new Air, new Pa— ssion brings. Now I Re— solve, Now I Tri— umph. now, now, now, now Des— pair: Now I Tri— umph, now, now, now, now Des— pair. Her Face at last does all re— move, and my whole Breast con— scents to Love, my whole Breast con— scents to Love, my whole Breast con— scents to Love, my whole Breast consents, my whole Breast consents to Love, consents to Love. The tre— mbling Zephirs rou— and her play, The tre— mbling Zephirs round her play, and panting,— panting, panting on her Lips would sta sta —y, rou— and her play: Striving with di— vi— ded Bliss, now would Kiss, now would Kiss, now would Listen, now would Kiss, now would Kiss, now, now, now, now, now, now, now, now, now, now, now would Kiss, Till by Her Breath repulsed they fly, And in low pleasing Murmurs die— e, And in low pleasing Murmurs die. I would ex— pi— ring with the Sound, would ex— pi— ring with the Sound, Dye on the Lips, Dye on the Lips, Dye on the Lips, the Lips, that gave the Wound. ORPHEUS' SONG to the Satyrs, in the Mask of ORPHEUS and EURYDICE: Performed at the Boarding-School at Besselsleigh, in October 1697. Let me, Ye Satyrs, etc. Set by Mr. Richard Goodson. Flute. Let me, ye Satyrs, let me know, let me know, why you thus, why you thus distur— b my Peace? Let me, ye Satyrs, let me know, let me know, why you thus, why you thus does— tur— b my Pea— ce? Let me, let me, ye Satyrs, let me know why, let me know why you thu— s distur— b my Peace? why you thus distur— b my Peace? Have I not yet, have I not yet, have I not yet Ills enough, have I not yet, have I not yet Ills enough, that will not let me live at Ease? Have I not yet, have I not yet, have I not, have I not, have I not yet, have I not, have I not Ills enough, that will not let me, will not let me live at Ease? that will not let me, will not let me live at Ease? that will not, will not let me live at Ease? Have I not yet, have I not yet, have I not, have I not, have I not yet, have I not, have I not Ills enough, that will not let me, will not let me live at Ease? that will not let me, will not let me live at Ease? that will not, will not let me live at Ease? From shining Courts, etc. Set by Mr. R. Goodson. Orpheus' SONG to the Woods, in the Mask of Orpheus and Eurydice. FRom shi—ning Courts there's none, none, there's none, none, there's none, none, there's none, no— ne retreat; or fly—, or fly—, or fly the Glo—ries of the Great: Except the Wise, except the Widow— see, and the Unfortunate: Except the Wise, except the Widow— see, and the Unfortunate. I, NO ye Groves do hum— b— lie se, I, O ye Groves, I, Oye Groves do hum— b— lie, hum— b— lie 〈◊〉, To bid the idle, idle, idle, to bid the▪ idle World a— dieu, a— dieu, a— dieu, adieu, a— dieu—, to bid the idle World adieu; And here dis— close my very Soul, does— close my very, very Soul to you, my very, very, very Soul, my very, very, very, very Soul to you. I come to the Waters, etc. Set by Mr. R. Goodson. CUPID'S SONG in the Mask of Orpheus and Eurydice. I Come to the Waters, the Woods and the Shades, where the Swains and the Nymphs do all gang. With my Shafts that will go, very swift from my Bow, and a String that shall merrily cry Twang. With my Shafts that will go, very swift from my Bow, and a String that shall merrily, shall merrily, shall merrily, shall merrily, shall merrily cry Twang. II. An obstinate Swain Shall receive twice the Pain, And my Shaft shall stick up to the Fang: But who e'er courts the Fight Shall find his Wounds light, And a String that shall merrily cry Twang.