List of compositions by Thomas Arne

This list of compositions by Thomas Arne is sorted by genre.

Art songs Arne composed numerous art songs throughout his career, most of which were written for the stage. Many of his songs were published in anthologies throughout his lifetime, but the exact number of songs he composed is now unknown. The following is a list of publications which included songs by Arne during his lifetime. The number of songs by Arne is in square brackets.

Year(s) printedTitle of publicationOther details1737 The British Musical Miscellany, vol. vi 1741 The Songs and Duetto in The Blind Beggar of Bethnal Green 1743 The British Orpheus, vol. iii 1743–1745 Universal Harmony 1745 Lyric Harmony, vol. i 1745 The Music in The Judgment of Paris 1746 Lyric Harmony, vol. ii 1747 Peter Prelleur's An Introduction to Singing 1749 Vocal Melody, vol. i 1750 Vocal Melody, vol. ii 1751 Vocal Melody, vol. iii 1752 Vocal Melody, vol. iv 1753 Willem de Fesch's Songs Sung at Mary-bon Gardens 1753 The Agreeable Musical Choice, vol. v 1754 The Agreeable Musical Choice, vol. vi 1755 A Collection of Poems in Four Volumes by Several Hands 1756 The Agreeable Musical Choice, vol. vii 1757 A Favourite Collection of English Songs 1758 The Agreeable Musical Choice, vol. viii 1760 The Monthly Melody 1760 British Melody, vol. xi 1761 A Choice Collection of Songs, vol. xii 1761 The Winter’s Amusement, vol. xiii 1762 British Amusement 1764 The Royal Magazine, vol. xi 1764 A Favourite Collection of Songs, vol. xiv 1765 The New Songs Sung at Vauxhall 1766 Summer Amusement 1768 New Favourite Songs 1774 The Vocal Grove 1777 The Syren

Catches, canons, glees The exact number of catches, canons, and glees composed by Arne is now unknown. He began writing such works for the pleasure gardens in the 1740s but the majority of his output in this area dates from the 1760s and 1770s. Many of his glees were published in anthologies which, aside for 11 glees written for the Noblemen and Gentlemen's Catch Club, are the only surviving compositions of his in this area. This is a list of the published anthologies containing catches, canons, and glees by Arne. The number of songs by Arne is in square brackets. Year(s) printedTitle of publicationOther detailsc.1755 A Collection of Vocal Harmony Edited by E.T. Warren. 1763–1794 A Collection of Catches, Canons and Glees Edited by E.T. Warren. Songs by Arne appear in volumes ii ; iii ; iv ; v ; vii ; viii ; xv ; xvi ; xx c.1790 Apollonian Harmony, vol. iv

Instrumental music Arne showed little interest in writing concert music. The instrumental music he did compose derives mostly from his stage works. This list contains his instrumental works that have been published separately from his stage works. Not listed below are a few solo violin and solo double bass pieces whose composition date is now unknown and whose publication did not occur until 1978.

CompletionTitleGenreOther details1751 Eight overtures in 8 parts overture This is a collection of overtures from various stage works by Arne including the overtures for Henry and Emma, Comus, and The Judgment of Paris. First used for a concert performance in 1751, the collection has been published numerous times, most recently by J. Herbage in 1937.1756 VIII Sonatas or Lessons sonata Published in 1983 by C. Hogwood1757 VII sonatas sonata Published by editor H. Murrill (London, 1939, 1951, 1960)1767 Four New Overtures or Symphonies in 8 and 10 Parts overture, symphony Another selection of symphonic works mostly from Arne's stage works that were initially put together for a concert performance in 1767. Most recently published by editor R. Platt (London, 1973)1793 Six Favourite Concertos keyboard concerto These keyboard concertos were a part of various stage works by Arne and were compiled for publication in 1793. They were most recently published by R. Langley (London, 1981)

Odes and cantatas A Grand Epithalamium, 1736, lost Black-Ey’d Susan (cant., R. Leveridge), 1740, lost God bless our noble king, A, T, B, ATB, 2 hn, 2 ob, str, bc, 1745, GB-Lbl, ed. C. Bartlett (Wyton, 1985) Fair Celia love pretended (cant., W. Congreve), 1v, vns, bc, Vocal Melody, i (1749) Chaucer’s Recantation (cant.), 1v, str, bc, Vocal Melody, ii (1750) Ode to Chearfulness, 1750, lost Cymon and Iphigenia (cant., J. Dryden), 1v, str, bc, vs (1750), pts Bu Six Cantatas, fs (1755): Bacchus and Ariadne, 1v, 2 fl, 2 ob, 2 hn, str, bc; Delia, 1v, str, bc; Frolick and Free (G. Granville), 1v, 2 ob, str, bc; Lydia (after Sappho), 1v, 2 bn, str, bc; The Morning, 1v, fl/rec, str, bc; The School of Anacreon, 1v, 2 hn, str, bc; Lydia and The Morning, both ed. R. Hufstader (New York, 1971) 5 odes in Del Canzionere d’Orazio (1757): Delle muse all’almo core, 1v, str, bc; Finche fedele il core, 2vv, 2 fl, str, bc; Finche fedele il core, 2vv, 2 vn, bc; Se vanti in Telefo, 1v, 2 hn, str, bc; Tu mi fuggi schizzinosa, 1v, 2 vn, bc [= Advice to Chloe] The Spring (cant.), 1v, str, bc, British Melody (1760) Love and Resentment (cant.), 1v, 2 cl, 2 vn, bc, Summer Amusement (1766) The Lover’s Recantation (cant.), 1v, 2 fl, 2 ob, str, bc; vs in The Winter’s Amusement (1761), fs, Lbl, ed. P. Young (Leipzig, 1988) Advice to Chloe (cant.), 1v, vns, bc, New Favourite Songs (1768) An Ode upon Dedicating a Building to Shakespeare (D. Garrick), 1769, speaker, S, S, S, S, T, Bar, SATB, orch; 9 nos. in vs (1769) Love and Resolution (musical dialogue), 1770, music lost Reffley Spring (cant.), 2vv, 2 vn, bc, vs (1772) Diana (cant.), 1v, 2 fl, 2 ob, 2 cl, 2 hn, 2 vn, bc; vs in The Vocal Grove (1774) Whittington’s Feast (secular orat, Arne, after Dryden: Alexander’s Feast), 1776, S, S, T, B, SATB, 2 fl, 2 ob, 2bn, 2 tpt, 2 hn, timps, drum, str, bc, fs, US-Wc A wretch long tortured with disdain (cant.), 1v, 2 fl, 2 ob, 2 hn, str, bc, full score GB-Lbl

Sacred music Compared to his most important English contemporaries, William Boyce and John Stanley, Arne's output of sacred music was small; the major reason was his Roman Catholic faith, which was at odds with the Church of England during his lifetime.

CompletionTitleGenreOther details1744 The Death of Abel oratorio Words after Metastasio, lost except for Hymn of Eve (printed 1756) 1744 Judith oratorio Words by I. Bickerstaff based on the Book of Judith, printed score without recits and choruses (1761), and a complete score at the British Libraryunknown Mass in F mass Written for a performance at Lulworth Castle in Dorset. The music is either lost or potentially the same as that of an anonymous composer. Written for three voices and organ sometime before 1770.unknown Mass in G mass Written for a performance at Lulworth Castle in Dorset. Written for four voices and organ sometime before 1770. Score still exists as does a revised version for fewer voices.1770 Libera me dirge Written for the funeral of Francis Pemberton on 28 June 1770. Contains SSATB chorus, organ, soprano, tenor, and baritone soloists. Music exists and was printed by Oxford Publishing in 1950.Unknown O salutaris hostia motet Copy of the music exists at the British Library in London. Written sometime between 1771 and 1776.1777 1 song in Samuel Arnold's The Prodigal Son oratorio Published in The Syren (1777).

Stage works CompletionTitleGenreLengthPremièreLibrettist or playwrightOther details 1733 Rosamond opera seria 3 acts 7 March 1733, London, Lincoln's Inn Fields after Joseph Addison's 1704 opera Revived as an afterpiece in 1740. The only existing score of the work is the afterpiece version. 1733 The Opera of Operas, or Tom Thumb the Great burlesque opera afterpiece 29 October 1733, London, Little Theatre Eliza Haywood and William Hatchett, after Henry Fielding Two songs from the work still exist, one in The British Musical Miscellany, vol. iii (1735) and the other in J. Markordt, Tom Thumb (1781). The other 16 songs are now lost. 1734 Dido and Aeneas masque 12 January 1734, London, Little Theatre Barton Booth Only 2 songs still exist from The British Musical Miscellany, vol. i (1734). The rest of the masque is lost. 1734 Love and Glory masque 2 acts 21 March 1734, London, Theatre Royal, Drury Lane T. Phillips Music now lost. The work contained 14 musical numbers. 1735 Harlequin Orpheus, or The Magical Pipe pantomime 3 March 1735, London, Theatre Royal, Drury Lane unknown Music now lost. 1735 The Twin Rivals incidental music for a play 2 acts 21 August 1735, London, Little Theater George Farquhar All of the music is lost with the exception of the overture which is the same used for Harlequin Restor’d. 1735 Harlequin Restor’d, or The Country Revels pantomime 18 October 1735, London, Theatre Royal, Drury Lane The overture is the only work to survive from this work with the exception of a few comic songs which may or may not be from the pantomime. 1735 Greenwich Park incidental music for a play 10 November 1735, London, Theatre Royal, Drury Lane William Mountfort Music now lost. 1735 The Miser incidental music for a play 13 November 1735, London, Theatre Royal, Drury Lane Henry Fielding Music now lost. Fielding's play is based on Molière's L'avare. 1736 Harlequin Restor’d, or Taste à la Mode pantomime 12 January 1736, London, Theatre Royal, Drury Lane Richard Charke Music now lost. 1736 Zara incidental music for a play 12 January 1736, London, Theatre Royal, Drury Lane Aaron Hill All music except a march is lost. Hill's play is based on Voltaire 1736 The Fall of Phaeton masque 28 February 1736, London, Theatre Royal, Drury Lane W. Pritchard Only one of the six songs survives. 1736 The Rival Queens, or The Death of Alexander the Greatincidental music for a play 22 November 1736, London, Theatre Royal, Drury Lane Nathaniel Lee Only a single duet, published in The Songs in As You Like It and Twelfth Night (1741), survives. 1737 The King and the Miller of Mansfield incidental music for a play 29 January 1737, London, Theatre Royal, Drury Lane Robert Dodsley Only one song published in The Musical Entertainer, vol. i (1737) survives.1738 Comus masque 3 acts 4 March 1738, London, Theatre Royal, Drury Lane John Dalton, after John Milton's Comus A copy of the full score published in 1740 is at the British Library. Arne revised the work as an