Britten, Benjamin.

notated in pencil on four three-stave systems per page, with the words and titles written in the hand of Peter Pears, the manuscript annotated with observations ("c in Novello"), queries, alterations to accidentals, and marked-up by Pears for performance (perhaps therefore to sing himself)



7 pages, folio (c.36.5 x 27.5cms), 16-stave paper, two successive bifolia, with a correction in another hand in red crayon, dated at the end ("Nov 9 1945"), hinges reinforced with adhesive tape

Enid Vandyk.

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Britten had been including a number of Purcell's works in his recitals with Peter Pears during the 1940s, realizing the accompaniments from the figured basses found in the first editions, in this case from Harmonia Sacra (1688). This setting however was originally made for Margaret Ritchie, named as the dedicatee here, who gave the first performance on 1 December 1944.  Britten and Pears organized several concerts at the Wigmore Hall in November 1944, to mark the 250th anniversary of Purcell's death in 1695.