Hereford. The principal musical treasure of the Cathedral library is the set of 10 volumes of Barnard's Church Music (1641). Eight of the volumes are nearly perfect, the remaining two are in MS., and were compiled with much care by Mr. John Bishop, of Cheltenham. There, are also a few old organ books and other volumes for the use of the choir, and a copy of Kircher's Musurgia (1650).
Lichfield. There are 189 volumes of printed and MS. music belonging to the Cathedral. The MSS. include a volume of Croft's anthems and Te Deum (in D) with orchestral accompaniments; 2 volumes of Blow's anthems; 2 volumes of anthems by Purcell, Blow, etc.; and a large collection of part-books. The chief treasure of the printed works is seven parts (3 counter-tenors, 2 tenors, and 2 basses) of Barnard's Church Music (1641).
Lincoln. The Cathedral library contains a considerable collection of madrigals and motets, dating from 1549 to 1620, by many now forgotten and nearly unknown composers, amongst whom the following names occur: Rogier-Pathie, Josquin Baston, Costeley, Sandrin, Godart, Benedictus d'Appenzell, François Roupel, Gianetto da Palestrina, Lochenburgo, Nasco, Essenga, Pace, Vopa, Melfio, Manenti, Primavera 'dell' Arpa,' Taglia, Ruffo, dal' Aquila, Cadeac, Petrus Philippus Anglus, Deering, Corona, Di Mayo, Rufolo, Chamatero, di Cataldo, Valenzola, Sabino, and Raimundus. There are also compositions by other better known composers, and anthems (dating from 1665 to 1800) by former organists and lay vicars of the cathedral, including compositions by Hecht (organist 1665–1690), Allanson (1690–1705), Holmes (1705–1720), Heardson, Cutts, Blundevile, etc.
London. a. British Museum. The musical portion of the library of the British Museum belongs partly to the department of Printed Books, and partly to that of MSS. In both departments there is a constant increase; in the former by the operation of the Copyright Act, which gives the Museum a claim to all music published in this country, as well as in foreign countries which demand copyright here; and in both by purchase, which is now made on a large scale, as well as by presentation or bequest.
The MS. catalogue of Printed Music in 1858 consisted of 22 volumes; in 1878 it occupied 372 volumes, with about 185,000 entries. According to an estimate made in a report at the beginning of the latter year, there were 11,048 volumes of vocal and 5705 of instrumental printed music, embracing together a total of about 70,000 distinct works. The present annual increase is estimated at about 6000 works. The most important early contribution to the collection was Dr. Burney's musical library, which was bequeathed to the Museum, and transferred to its shelves on his death in 1814: this is especially rich in old English songs. Another important collection embodied in the library is that of the great contrabassist Dragonetti, consisting of 182 volumes of scores of classical operas, which became the property of the Museum by bequest on his death in 1846. [See Dragonetti.] A notable purchase was made in 1863 of duplicates from the Berlin library, consisting chiefly of old German and Italian madrigals and church music, valued at about £1000. In specimens of the earliest printed music, such as that produced by Petrucci at Venice in the fifteenth century and beginning of the sixteenth, the British Museum is less strong, as indeed any library of so recent an origin necessarily must be. But otherwise it is well supplied with rarities, as is evident from the fact that of 376 rare musical works (chiefly English) sold at the auction of Dr. Rimbault's library in 1878, it was found that this library already possessed all but 39. The works here referred to are all music strictly speaking, i.e. written in musical notation; all books on the science and history of music (such as the choice treatises presented by Sir John Hawkins in 1778), with biographies of musicians, etc., are included in the general library, as are also service-books, such as Graduals, Antiphoncrs and Processionals, which, although exhibiting the ancient musical notes, find their place among Liturgies.
The collection of musical MSS. amounts to from 1200 to 1500 volumes. The following are among the most noteworthy articles. A large volume of autograph music by Purcell. A volume known as Thomas Mulliner's book, containing airs and chants for the virginals, by Tallis and others, and including the earliest known copy of Richard Edwards' madrigal 'In going to my naked bed.' Services and anthems of the Church of England down to Queen Anne's reign, collected by Dr. Tudway, 1715–20, in six volumes, containing works by Aldrich, Blow, Gibbons, Humphrey, Purcell, Tudway, etc. Two or three volumes of autograph pieces by Handel, some leaves of which supply the place of leaves wanting in the autograph of 'Admetus' in Buckingham Palace. Two volumes of rough draughts by Beethoven, in which the first ideas of themes of some of his great works were jotted down. 11 volumes of autograph musical extracts, chiefly vocal, made by Dr. Burney for his History of Music. 28 volumes of MS. motets, masses, madrigals, duets, etc. by Italian and English composers, copied by Henry Needler from the libraries at Oxford, and bequeathed in 1782. John Barnard's first book of Selected Church Music, a manuscript copy scored by John Bishop of Cheltenham from the various voice parts of this book, of which no single perfect copy is known to exist. There are many interesting collections of Italian and early English (16th and 17th centuries) songs, having both words and music. 61 volumes of autograph musical compositions, collections for a dictionary of music, etc. by Dr. J. W. Callcott. 39 operas or musical dramas by Sir Henry R. Bishop, in autograph score. Further, 40 volumes of scores of Balfe's operas, presented by his widow; and a large collection of Dibdin's songs and operas. There is also a good deal of lute
