[Academy of Ancient Music.]

being for a 'Confitebor' by Francesco Gasparini and a motet, 'Iam exulta', by Giovanni Battista Bassani, some of the parts in the calligraphic hand of John Immyns, many possibly in that of Benjamin Cooke, other parts written by possibly six unidentified scribes; the Gasparini 'Confitebor' consisting of the following parts: Violino primo [3 parts, one marked 'Principale'], Violin secondo [3, one marked 'Principal'], Viola [1], Violoncello [4], Contra Basso [1], Soprano [3], Alto [2], Tenor [2] and Bass [3] ; the Bassani 'Iam exulta' consisting only of the following instrumental parts: Violino primo [1 part], Violino secondo [1], Violoncello [1]; notated in brown ink on up to 12 single-stave systems per page, with numerous additions (dynamic markings, tempi, articulation markings etc.), alterations, deletions and corrections in various hands in pencil and ink, some entries in red crayon



105 pages [Gasparini], 36 of which in Immyns's hand, 12 pages [Bassani], 4to (29.8 x 24cm), one soprano part for the 'Confitebor' dated 'August 7', all parts, save one, with their original wrappers, original stitching, some parts with original repairs, manuscript titles and numbering to wrappers ("N^{o.18 Iam exulta...No.51 Gasparini Confitebor..."), original outer wrapper for the Bassani motet with manuscript title ("No.18 Iam exulta, iam laetare - di Gio: Batt.a Bassani...Canto...Alto...Tenore...Basso...Viol: imo...viol 2do...violoncello...1 Score bound"], 12-stave papers, no place or date, [Gasparini parts: c.1750s-1770s?; Bassani parts: c.1740s?], dust-staining, browning, a few small tears}     

From the collection of William Reeves

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The emergence of these parts represents a discovery of the first importance for the history of the Academy of Ancient Music and of music in eighteenth-century England.

The Academy of Ancient Music was one of the most significant English musical societies of the eighteenth century, indeed, its founding, in 1726 (as the Academy of Vocal Music), has been described as a landmark in the tradition of Western classical music. Its intention from the start was to perform music from the past, in particular madrigals and sacred music of the sixteenth and seventeenth centuries. In the course of its existence (its last known performance took place in 1797), it attracted the membership and participation of an impressive array of native and resident foreign musicians and composers (with the one notable exception of Handel).

The fate of the actual music library of the Academy has long been the subject of speculation and enquiry. Not the least significant aspect of these parts may lie in their ability to provide a key to retrieving other performing parts and scores which may also once have been part of the library of the Academy of Ancient Music, but which now lie unrecognized in various libraries and archives.

One such score would appear to be in Westminster Abbey Library (CG.61) for the same Bassani motet 'Iam exulta'. Clearly belonging together with the present Bassani motet performing parts, this remarkable score is also numbered '18' on its surviving upper wrapper and is written throughout in the same hand as the violoncello part of the Bassani motet parts (it is furthermore bound in together with two other scores, signed by the copyist ('Mark Cottle') - a 'Lauda Jerusulem' by Colonna and a Litany by Bassani [originally designated, respectively, 'N.20' and 'N.26' on the label to the upper cover; these numbers were later altered to '18' and '20', respectively, the number '18' of the Bassani 'Iam exulta' also being changed on the label to '26']). Similarly suggestive are the parts for a 'Nisi Dominus' by Bassani in the British Library (Add.MS 34,279B, ff.27-39), the upper wrapper of which is inscribed 'N^o. 63' and dated 'Sep.26.-1749-'. 

The present Bassani motet is not mentioned in any of the surviving Academy programmes before 1770 (when it was performed on 1 and 8 November), although it is possible that the parts date from somewhat earlier, possibly even before Pepusch's death in 1752. The Gasparini 'Confitebor', a splendid setting of the 111th psalm (not listed in the composer's work-list in TNG), is known to have been performed in 1769, 1770, 1772 and 1773, although, in this case too, it is likely to have been performed before the earliest of these dates, given the presence of John Immyns's handwriting in the parts. 

Immyns (d.1764), the writer of around a third of the 'Confitebor' parts, is indeed one of the most fascinating personalities in eighteenth-century English music. A failed lawyer, performer in Handel's Esther (singing the countertenor role of Mordecai), founder in 1741 of the Madrigal Society, Chapel Royal lutenist (from 1752), he was also Pepusch's amanuensis and a sometime copyist for the Academy of Ancient Music. Examples of his beautiful calligraphic hand may also be seen in many Madrigal Society volumes, and some Royal Music Library volumes, in the British Library. Benjamin Cooke (1734-1793) who, at the age of nine, was placed under Pepusch's instruction and who, aged 12, became deputy organist of Westminster Abbey, was appointed librarian of the Academy of Ancient Music in 1749, succeeding Pepusch as conductor on the latter's death in 1752. In 1789, he relinquished this position to Samuel Arnold.

We are pleased to acknowledge the assistance of Dr. Harry Johnstone and Dr. Tim Eggington in our cataloguing of this lot. See lot 76.