XXIV Overtures fitted to the Harpsicord or Spinnet ... Being proper Pieces for the Improvement of the Hand on the Harpsicord or Spinnet

London: J. Walsh, 1739. Four volumes bound in one. Folio. Contemporary marbled boards backed with modern dark brown cloth. Contemporary manuscript annotation to front free endpaper: "To play these Overtures where practicable on violin ... Idem, the Basses on my instrum[ent]. R H."

Seven collections of overtures, as follows:

- 1f. (title), 94 pp. Contains overtures to Parthenope, Lotharius, Ptolomy, Siroe, Richard the 1st, Admetus 2d, Alexander, Scipio, Rodelinda, Tamerlane, Amadis, Julius Caesar, Flavius, Acis & Galatea, Radamistus, Amadis, The Water Musick, Theseus, Pastor Fido, Otho, Muzio Scaevola, Floridant, and Rinaldo. [1730] [PN 203]. Smith p. 282, no. 9. BUC p. 422. RISM H1310 and HH1310. First edition bringing together the first four collection of overtures drawn from previous collections of the series initiated by Smith in 1726 (see Smith 1, no. 1).

- 1f. (title), 24 pp. Contains overtures to Ariadne, Orlando, Sosarmes, Aetius, Porus, and Esther. The fifth collection. [1734]. [PN 519]. First edition, first issue. Smith p. 283, no. 11. BUC p. 422. RISM H1303 and HH1303.

- 1f. (title), 29 pp. Contains overtures to Justin, Arminius, Atalanta, Alcina, Ariodante, and Pastor Fido. The sixth collection. [1737]. [PN 618]. First edition, first issue. Smith p. 283, no. 13. BUC p. 423. RISM H1304 and HH1304.

- 1f. (title), 25 pp. Contains overtures to Xerxes, Pharamond, Alexander Severus, Alexander's Feast, Athalia, and Berenice. The seventh collection. [1739] [PN 650]. First edition, first issue. Smith p. 284, no 15. BUC p. 423. RISM H1305 and HH1305.

Title pages of all collections bound together at the beginning of the volume. Early manuscript pagination added to upper margin of all but first item.

Binding worn, rubbed, and bumped. Some slight browning and soiling. In very good condition overall. Collections of Handel overtures, arranged for the harpsichord, were popular in 18th century England. The arrangements are composed primarily in two- and three-part textures, with little ornamentation indicated, allowing players to decorate the melody or enrich the harmony at will. Of special note is the annotation on the front free endpaper, attesting to the characteristically 18th century adaptability of such music, which could lend itself quite easily to spontaneous arrangement for whatever instruments were at hand.

A substantial selection, elegantly arranged for harpsichord.