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(flautini), etc. [From " Nerone."]
" Rinaldo di Capua." f. 46.

10. "Parto; ti lascio, o cara." " Gio-
vacchino Cocchi." f. 56.

11. "E in ogni core diverso amore";
with horns, oboes, etc. " Egidio
Duni." f. 62.

12. " Minacci quell' altera " ; with
horns, etc. By the same. f. 71.

13. " Scieglier tra mille " [from "Te-
mistocle"]. "[G.B.]Pergolesi." f. 83.



14-18. Five arias, with horns, flutes,
etc. [from "Artaserse"]. "Antonio
Gaetano Pampani." The opera was
performed at the San Giovanni Gri-
sostomo theatre, as op. 3, in 1750, and
sung by "Egiziello" [sc. Gioacchino
Conti, detto Gizziello], Signor " Stef-
fanin," and Signora Cassarini. The
arias are : — " Viuerd, se tu 16 uuoi " ;
" Per quel paterno amplesso " ; " Se
al Labbro mio non credi " ; " Deh,
respirar " ; and " Conseruati fedele."
ff. 87, 93, 96, 100, 104.

19-24. Six arias by Giovanni Battista
Pescetti, apparently all of them (with
the possible exception of no. 23) sung at
Reggio, in 1750, by Prudenza Sani (?),
Domenico Panzac [c]hi, and Gizziello,
and presumably taken from " Ne-
rone," in which Opera no. 24, accom-
panied by horns, etc., certainly occurs.
The arias are: — " Ricordati che sola
sei " ; " Fra tanti perigli " ; " Da me
che piu uolete " ; " Cara, ti lascio,
addio"; " Serba ]'intat[t]a fede " ;
and " Pupille care." ff. 108, 112, 116,
122, 128, 135.



OPERAS.



27



Additional 32025.

Paper; ff. 91. About 1748. Folio.

" Demofoonte : Dramma per Musica, da rappresentarsi nel Regio
Teatro, alia Corte di Dresda. Nel Carnevale Dell' Anno m:dcc:xlviii
. . . dal Sig'' Giov. Adolfo Hasse " ; with symphonies and accompani-
ments for horns, flutes, oboes, bassoons, and strings, in score. The
recitativi secchi are omitted, as are also the names of the characters,
but those of the singers are given, viz. : Signori Bindi, Carestini,
Annibali, Amorevoli, and Fiihrich ; and Signore Faustina [Hasse] and
Mingotti.

Additional 31647.

Paper ; ff. 168. About 1748-1763. Oblong folio.

Numbers from Operas, with symphonies and accompaniments, in
score, by Baldassarre Galuppi " detto il Buranello." Unless the
contrary is stated, they are arias with strings only.

1,2. " Rammentati, Ben mio" (with
additional parts), and "Nell' onor de'
Fasti miei." Performed at the Ar-
gentina, in 1748. fi. 1, 17.

3. "Ah, se in ciel"; with horns, etc.
[From " Solimanno."] Naples, 1753.
f.25.



4, 5. "0, questa e bella," and "Come
vn agnello." Frascati, 1757. The
latter belonged to Maria Rosa Piz-
zolla. fi. 45, 51.

6,7. "Doppo un tuo sguardo," and
" Prigioniera abbandouata." [From
" Adriano," 1740.] Performed at San
Carlo theatre in 1759. ff. 61, 73.

8. "A mia madre lo diro" ; from "La
Cascina," sung in London by Anna
Lucia De Amicis in 1763. Two
copies, the second with bass only,
fi. 85, 147.



9. " Perche non comprende"; with
horns, etc. f . 89.

10. " Se non ti moro allato " ; with
horns, flutes, etc. [From " Artaserse,"
1749.] f . 93.

11. "In quel volto siede un Nume";
described as "Aria Bufia." f. 105.

12. " Alma del Cielo amante." f. 116.

13. " Eccomi, non ferir." [From " Issi-
pile," 1755.] f. 124,

14. "Infelice in vanmilagno"; with
horns, oboes, etc. [From "Adriano."]
f. 132.

15. " Ne' giorni tuoi felici " : duet, with
horns, etc.; from " L'Olimpiade "
[1749]. f.l51.

16. 17. Aria, " D' un alma che pena,"
and duet, " Perdona, ben mio";
directed to be sung " con violini," but
with a bass only. fi. 163, 165.



King's 330-337, passim.
Paper ; after 1749. Quarto.

Numbers from Operas, without accompaniment ; taken from a
collection of scurrilous political songs, arranged in chronological order.
They all appear in Egerton 814-817 (above, p. 272), and the detailed
catalogue of them is not repeated here. The initial words and the
names of the tunes are given in the Index.



Additional 14167.

Paper ; fi. 104. First half of 18th cent. Oblong folio.

" La Rosaura : melodrama " in 3 Acts, with instrumental sym-
phonies and accompaniments, in score, by Alessandro Scarlatti [about



278



VOCAL MUSIC— SECULAR.



1690]. The present MS. wants the introductory symphony and
prologue as well as the scene with which Add. 31513 (above, p. 245)
ends ; on the other hand, it includes several recitatives and arias which
do not appear in the other copy.



Additional 14169.

Paper ; S. 149. First half of the 18th cent. Oblong folio.

" L' Amor Generoso": Opera in '3 Acts, with symphonies and
accompaniments for oboes and strings, and a figured bass for harpsi-
chord, in score, by Alessandro Scarlatti [1714]. Characters : Aminta,
Niso, Emirena, Despina, Berenice, [Un] Prete, Arbante, and Idaspe.



Paper ; first
Songs (1745).



Additional 14180, ff. 7-1 96b.

half of 18th cent. Obloug folio. See also below, under



Collection of vocal pieces, apparently all taken from Operas, with
symphonies and accompaniments for strings, and occasionally wind
instruments, where indicated below, in score, by Johann Adolf Hasse.
Unless the contrary is stated, they are for a single voice.



1. " Cara, ti lascio ; addio." f. 7.

2. "Tu vedi vnPastorello." f . 10.

3. " Misero Pargoletto " [from " Demo-
foonte," 1748]. f. 14.

4. "So che sperare amante." f. 18.

5. " Non mi chiamar crudele." f. 24.

6. "Chi non sente al mio dolore."
f.30.

7. " Pria di lasciar la sponda." f. 36.

8. " Antri chiechi " ; with bassoons.
f. 44.

9. "A torto spergiuro " ; from " Anti-
gono" [1744]. f. 50.

10. " Quando sarra (sic) quel di"
[from " La clemenza di Tito," 1737].
Copied by Giuseppe Punari in 1738.
f. 54.

11. " Di due ciglia il bel sereno " ; from
"Antigono." f. 56.

12. "A mi pugni." Copied by —
Ghirardi in 1743. f. 63.

13. " Or del tuo beu la sorte." f. 69.

14. "Gverrier, che i colpi affretta"
[from "Antigono "]. f. 76.

15. "Parto, e ne meno addio": duet.
f.83.

16. "Non temer ! non son piu
amante": duet [from "Antigono"].
f. 89.



17. "Dal mio ben che tanto amai " :
duet, f . 93.

18. " Tu non mi credi ingrato." f. 99.

19. " Va danzando " ; with horns.
f . 105.

20. " Giovani cori." f. 113.

21. " Se mai turbo il tuo riposo "
[from "Alessandro nelle Indie,"
1731]. f. 119.

22. " Perder 1' amato bene." f. 123.

23. " Ogui procella infida " [from
" Demetrio," 1732]. f. 130.

24. " Confusa, smarrita " [from " Ca-
tone in Utica," 1732]. f. 137.

25. " Nacqui agl' affanni in seno "
[from "Demetrio "]. f. 142.

26. " Reca la pace." f. 147.

27. " Se troppo crede al ciglio " [from
"Alessandro nelle Indie "]. f. 152.

28. "Non infadar (sic) sentir " ; with
bassoons, f. 159.

29. " Ha un visiuo rotondetto." f. 166.

30. " E la Donna un Augelletto."
f. 172.

31. " Vamos, si, uamos " : duet. f. 178.

32. " Tua sposa son io " : duet, with
horns, f. 185.

33. " Sento, oh Dio, che freme in seno
la ragione." f. 193.



OPERAS. 279



AdditiQnal 14227, ff. 28-35.

Paper ; first half of 18th cent. Oblong folio. See also below, under Songs
(1718-1729).

" Splbnda per uoi sereno " : aria, with symphonies and accompani-
ments for strings, in score [from " Adriano in Siria," 1734], by
Pergolesi.

Additional 14231.

Paper, ff. 56 ; first half of 18th cent. Oblong folio.

Arias and a duet, with symphonies and accompaniments for strings,
and occasionally also trumpets, or with lute and violoncello obbligati, in
score, from an anonymous Opera, in which two of the characters are
Arbace and Giro. It was perhaps called " Giro," but is identical
with neither of Metastasio's plays, " Giro riconosciuto " or " Giro in
Babilonia."

Additional 14235.

Paper ; ff . 83. First half of the 18th cent. Oblong folio.

Portions of two anonymous dramatic works, with symphonies and
accompaniments for strings and a bass (occasionally figured) for
harpsichord, in score.



1. Act i of a piece in the Neapolitan
dialect in which the characters are
Don Pompeo Squinsaglio, Don
Claudio, r Abbate, Ernellina, Lean-



after ff. 24, 25 and 39. f. 1.
2. Intermezzo, dated 1731, in which
the characters are Pantaleon and
Carlotta in the garb of Dr. Graziano



dro, Costanza and Nina. Auto- of Bologna. Apparently in the

graph (?). There api>ear to be gaps I dialect of that place, f. 58.

Additional 14240.

Paper ; ff. G4. First half of the 18th cent. Oblong folio.

Act III of an Opera, in which the principal characters are Lucio
[Virginio], Virginia, Appio [Glaudio], Icilio, Placco, Valeria, Servilia
and Glaudia — probably " La caduta de' decemviri," composed by
Leonardo Vinci, and performed at Naples in 1727, with comic scenes
(see the intermezzo near the end). The instruments employed in the
orchestra are horns, oboes (obue lunghi) and strings. In score. The
initials " F. T. F." (?) at the end are probably those of the copyist.

Additional 16102.

Paper ; ff. 137. First half of 18th cent. Oblong folio.

" L'Adriano in Siria " : Opera in 3 Acts, with overture, symphonies,
and accompaniments for strings, and occasionally oboes and horns also,
in score, by Giovanni Battista Pergolesi [1734] ; the words by Meta-
stasio. A double orchestra is employed in Act ii, scene 2. Gharacters :
Adriano, Aquilio, Farnaspe, Osroa, Emirena and Sabina.



280 VOCAL MUSIC— SECULAR.

Additional 16103-16105.

Paper ; ff. 79, 89, 76. First half of 18th cent. Oblong folio.

" Lo Frato [i]nnammorato " : Opera buffa in 3 Acts, in the
Neapolitan dialect, with symphonies and accompaniments for flutes
and strings, in score, by Giovanni Battista Pergolesi [1732]. Charac-
ters : Vannella, Cardella, Don Pietro, Carlo, Nina, Nena, Luggrezzia,
Marcaniello and Ascanio.

Additional 16106.

Paper ; ff. 99. First half of 18th cent. Oblong folio.

Intermezzos, each divided into two other intermezzos, with sym-
phonies and accompaniments for oboes, horns, bassoons (in no. 1) and
strings, in scox'e, by Giovanni Battista Pergolesi. In the same hand
as Add. 16102, above, p. 279.

1. " La Serua Padrona " [1731]. Char- | 2. " Livietta e Tracollo " [1734]. f. 48.
acters : Vespina and Uberto. f. 2. i

Additional 16123-16125.

Paper ; ff . 144, 150, 145. First half of the 18th cent. Oblong quarto.

" S[anta] Genuinda " : Pasticcio in 3 Acts, with ritornellos and
accompaniments for strings and a figured bass for harpsichord, in score.
Act i was written at Rome by Giovanni del Violone ; Act ii at Naples
by Alessandro Scarlatti ; and Act iii at Venice by Carlo Francesco
Pollaroli. Characters : Zelone (with a band of followers, who sing a
few bars of chorus), Gilbo, Sifrido, Argene, Genuinda, Rosalba, Celia,
and L' Innocenza, who is introduced by way of epilogue.

Additional 16150-16152.

Paper ; ff. 157, 138, 114. First half of the 18th cent. Oblong quarto. On
the cover are the arms of Cardinal Pietro Ottoboni (d. 1740).

" Gli Amazzoni " : Opera in 3 Acts, for solo voices, with symphonies
and accompaniments for strings, etc. (trumpets in the epilogue), in
score. The first two Acts are followed by Intermezzos, the second of
which is called " La Noce di Benevento," and at the end is a soi-t of
epilogue sung by La Fama. From allusions in the latter (as well as in
the prologue) to a Spanish royal couple of the names of Carlo and
Maria nna, the Opera would appear to have been written for the
marriage of Charles II of Spain with Marianna, daughter of Philip
Wilhelm, Elector-Palatine of Neuburg, 1690. In the .same hand as
Add. 16123-16125, above. Characters: Mitilene, Atlante, Alcide,
Affi-ica, America, Asia, and Europa (in the prologue) ; Artide, Turf)ino,
Arconte, Tisbe, Licandro, Mandane, Mitilene, Idaspe, eic.



OPERAS.



281



Additional 16153.



Paper; ff . 305. First half of the 18th cent,
are the arms of Cardinal Pietro Ottoboni.



Oblong quarto. On the cover



" Colombo " : Opera in 3 Acts, with symphonies and accompani-
ments for strings and a figured bass for harpsichord, in score.
Anonymous. In the same hand as the three preceding MSS.
Characters : Colombo, Anarda, Fernando, Fortuna, 3 Sirens, Ginacra,
Tendilla, Guascarra, Giumbe and Gelima.



Additional 22103.

Paper ; ff. 276. First half of the 18th century. Oblong folio.

" La Statira " : Opera in 3 Acts, with symphonies and accompani-
ments for trumpets, strings and a figured bass for harpsichord, in score,
by Alessandro Scarlatti ; the words by Cardinal [Pietro] Ottoboni.
Characters : Oronte, Alessandro, Statira, Demetrio, Perinto, Campaspe,
and Apelle.

Additional 27932, passim.

Paper; first half of 18th cent., etc. Octavo. The MS. also contains Hymns
(vol. i, p. 184), an air from an Oratorio {ib. p. 369), Songs, Dance Music, etc.
The binding, of tooled leather with the royal arms, dates from the early part of
the 17th cent.

Arias, etc., with a figured bass for harpsichord (except where the
contrary is stated), in score.



1. "A soldier and a sailor" [from
"Love for love," by John Eccles,
1695]. f.3b.

2-4. Three arias, the first with an
additional violin part, from "Rinal-
do," by G. F. Handel, 1711, viz. "E
un incendio " ; " Mio cor, che mi hai
dir " ; and " Sulla ruota di fortuna."
n. 4b, 7b, 8b.

5, 6. "I was born of Royal Race," and
"Frail are a Lover's hopes"; from
"Camilla" [by M. A. Buononcini,
Loudon, 1707]. ff.9b, 10b.

7. A presto movement in 2 parts
(I time) ; probably from an Opera.
" [G. F.] Hendal." f. lib.

8. "Who to win a woman's favour";
from "Columbine Courtezan" [by
J. F. Lampe, about 1739]. f. 18.

9. "Compassion! leave me, forbear";
from "Clotilda" [by F. Conti, 1709].
f. 13b.

10. Aria, " Sapete che in amor" ; from



"Astarto" [by G. B. Buononcini,
London, 1720]. f . 15b.

11. " Non e si vago." Anonymous,
f. 16b.

12. Overture in D minor ; from an
Opera (?). "Doctor [J. C] Pepusch."
f. 17b.

13-16. Four arias from "Camilla," by
Buononcini. viz. a Largo movement
in 2 parts without words, "The
floods shall quit the Ocean," "Aged
Phillis" (with string parts), and "In
vain I fly." ff. 20b, 21b, 22b, 25b.

17. If over the cruel tyrant" [from
" Artaxerxes," 17G2, by Dr. T. A.
Arne]. This and nos. 18, 19 are in
a later hand and consist of the
melody only, without words, f. 26b.

18. "Thro' all the employments of
Life." Anonymous, f. 27.

19. " The honest h[e]art " [from " Love
in a village," 1762, by M. C. Festing].
f. 27b.



282 VOCAL MUSIC— SECULAR.

Additional 30798-30800.

Paper ; ff. 75, 72, 79. First half of 18th cent. Oblong folio.

" Olimpiade " : Opera in 3 Acts, with overture^ symphonies, and
accompaniments for oboes, horns, trumpets and strings, in score, by
Giovanni Battista Pergolesi [1735]. An English owner of the MS.
has noted in pencil two or three numbers borrowed from earlier works
by the same composer. Characters as in Metastasio's play.

Additional 31491, ff. 142, 144.

Paper ; first half of 18th cent. Oblong folio. See also under Duets (above,
p. 65).

Duets, with accompaniments for strings^ in score, apparently from
Operas. Anonymous.

1. " Se non temi 11 mio furore." f. 142. | 2. " Far questo tu del." f . 144.

Additional 31514.

Paper ; ff . 176. First half of the 18th cent. Oblong folio. Belonged in the
18th cent, to [William?] Savage, and in 1817 to R. J. S. Stevens.

" Annibale " : Opera with symphonies and accompaniments for
strings, oboes and trumpets, in score, by Cavaliere Alessandi'O
Scarlatti. Among the principal singers named, the only one of any
note was [Domenico] Annibali, who sang in London in 1736. The
only character mentioned is Attilio.

Additional 31592, ff. 12-1 26b.

Paper ; first half of the 18th cent. Folio. Belonged to Thomas Clarke.

Arias, etc., with symphonies and accompaniments for strings, and
occasionally also other instruments as mentioned below, in score,
apparently all taken from Operas. In the hand of Richard Clack.
Most of the dates in square brackets are taken from the Fitzwilliam
Museum Catalogue of Music.



1. " Al rigido Comando " ; with horns,
oboes, etc. " [J. A.] Hasse." f. 12.

2. "Fra 1' orror delca [sc. della) tem-
pesta " ; with horns, etc. [From
" Siroe," 1733.] By the same. f. 17.

3. " Cervo in bosco " ; with trumpets,
etc. " [Leonardo] Vinci." f. 20.

4. "Son qual misero naviglio"; with
horns, cic. " [N. A.] Porpora." f . 23b.

5. " Passagier che incerto errando " ;
with bassoons, etc. " [Geminiano]
Jacomelli." f. 27.

6. "Son qual nave"; with oboes, etc.
"Vinci." f.30.



7. "Nonlasciailben." "Doni." f . 32b.

8. "Sento due fiamme " ; with oboes,
etc. "Vinci." f . 36b.

9. " II mio timore." "Doni." f . 39b.

10. " Caro sposo amato " [from " Caio
Fabrizio," 1731]. "Hasse." f. 41b.

11. "La sorte mia tiranna " [from
"Siroe"]. By the same, f . 44b.

12. "Ride il ciel." [About 1730.] By
the same. f. 47.

13. " Se as {sc. al) Ciglio lusinghiero."
[About 1730.] By the same. f. 50.

14. "Forte sume " {sc. sommo ?). " Ja-
comelli." f. 53b.



OPERAS.



283



15. " Forse vedrai." "Hasse." f. 57.

16. "Non ha piu pace." By the sarae.
f . 59b.

17. "Vo solcando un mar crudele "
[from " Artaserse," 1730]. " Vinci."
f. 63b.

18. "Vedi r amata figlia." "Hasse."
f . 66b.

19. " Staudo accauto al' Idol mio."
"Jacomelli." f. 69.

20. "Apreil Seno." "Doni." f . 71b.

21. " Idolo mio vezzoso." By the same,
f. 75.

22. "Mio dolce amato Sposo." " [? An-
tonio] Vivaldi." f. 78.

23. "Lascia, si, quest' alma. " Doni."
f. 80b.

24. "Sventurata, si." "[? Francesco]
Feo." f.83b.

25. "Cheleg[g]e, spietata." "Hasse."
f. 85b.

26. " Spesso fra vaghe rose." By the
same. f. 88.

27. " Navigante che non spera." "Vin-



ci." f.92.

28. " Languir e pianger." This and
nos. 29-31 are by " Hasse." f. 95.

29. " Non e grande " : duet. f.97b.

30. "Quella e mia figlia" [from " Caio
Fabrizio"]. f . 100.

31. " Non h[o] piu core." f. 102.

32. " Vanne, si." " [? G. B.] Martini."
f . 104b.

33. " Belle miecaldelagrime." "Hasse."
f. 107.

34. "Giusti cieli." " [? G. M.] Orlan-
dini." f. 109.

35. " Parto qual pastorello." " Hasse."
f. 112.

36. " Vorrei ch' il Carobene." " [Leon-
ardo] Leo." f . 116.

37. " Mi Lagnero tacendo " [from
"Siroe"]. "Hasse." f. 118b.

38. "Nobil'ondaChiara." " Tortoretti."
f. 120b.

39. "Fra cento afEan[n]i." "Vinci."
f. 124b.



Additional 31594, ff. 7-39b passim.

Paper ; first half of 18th cent. Oblong folio. Bookplate of James Kent, the
composer. The MS. also contains a Duet (above, p. 66), Songs (below) and
Harpsichord Solos (in vol. iii).

Arias, apparently from Operas, with symphonies and accompani-
ments for strings and a bass, occasionally figured, for harpsichord, in
score, by anonymous composers of the first half of the 18th century.

1. " Non 6 paga." f. 7. I 23-25.

2. " Su Trombe guerriere " ; with a ' 4. " Se fido tum' adori." Attributed in
trumpet, e^c. ff. 11-14. pencil to " Galuppi." ff . 37-39b.

3. "Speme nobile del[r] Alma." ff. '

Additional 31664.

Paper ; ff. 60. First half of 18th cent. Oblong folio.

" ' La Serua Padrona ' : Intermezzi (sic) a Due," in score, by
Giovanni Battista Pergolesi [1731] ; closely corresponding with the copy
contained in Add. 16106 (above, p. 280). Apparently in the same hand
as Add. 16102 (above, p. 279).



Additional 14219.

Paper ; ff. 229. Middle of the 18th cent. Oblong folio.

Arias, etc., apparently all of them from Operas, with instrumental
accompaniments, in score. Unless the contraiy is stated, they are for



284



VOCAL MUSIC— SECULAR.



one voice, with strings and a bass (occasionally figured) for harpsichord,
and anonymous.



1. "Quanto mai felici siete " [from
"Ezio"]. f.2.

2. "Sei tusola." f. 8.

3. "Pensa ch' amante sei." f. 12.

4. "Rendimi piu sereno." f. 19.

5. "Passagier, che su la sponda sta
[from " Semiramide "]. f. 25.

6. " Di pace almen un segno." f. 31.

7. '' Sento in sen diuiso il Core," f. 37.

8. " Va tra le fiere, 6 barbaro." f. 43.

9. " E foUe quel nocchier." f. 47.

10. "Veggo la sponda." f . 58.

11. "Parto; ti lascio, o cara " [from
" Germanico," by G. Cocchi]. f. 57.

12. "Chegioua il dirmi io t' amo." By
L. Leo. f. 61.

13. " Potrei cambiar 1' amore." f. 67.

14. " Se tu mi vuoi felice." f. 71.

15. " Resta di me sicura." f. 77.

16. " Dirti, ben mio, vorrei " [from
" Alessandro in Persia," by L. Leo].
f.81.

17. "Vadocontenta." f . 86.

18. "Del cor gli afEetti." "[J. A.
Hasse, detto il] Sassone." f . 90.

19. " Gentil mio Pastorello." " 1758."
f.97.

20. "Vorrei spiegar 1' affanno" [from
"Semiramide"]. f. 103.

21. " Speranza ingannatrice " ; with a
bass only. f. 107.

22. " Se tiranna e se crudele fu quest'
alma." " [G. B.] Pergolese." Per-
formed at the S. Bartolomeo theatre,
in 1732. f . 109.

23. " II chiaro volto al cielo." By the
same. f. 113.

24. Scena, beg. " Solitudini amene";
with flutes, etc. [From "Sesostri."]
' ' Domenico Teradellas. ' ' Performed



at the AUe Dame theatre [Rome], in
1751. f. 117,

25. " Lasciar r amato bene." " Gioac-
chino Cocchi." f. 135.

26. " Saccio (sc. Saggio?) quanta (sic)
magagne." By the same. f. 141.

27. "Dille che a lei fedele " ; with
horns, flutes, etc. "Girolamo Abos."
f. 149.

28. "Per pieta I n5, no, non accres-
cete" [from "Tito Manlio," 1756].
By the same. f. 155.

29. "Vorrei sperare." "[N.] Jommelli."
f. 160.

30. " Dourei — ma n6 " [from " Didone
abbandonata "]. " [G. B.] Lampug-
niani." f. 166.

31. " Vado a morir costante." f. 170.

32. " Banco delle mie pene " : barcarole.
" Francesco Lecce." f. 174.

33. " Nell' orror di notte oscura " :
arioso, f. 178.

34. " Palpita 1' alma in seno." f. 184.

35. " Se e ver che t' accendi " [from
" Alessandro nelle Indie "]. f. 190.

36. " Si ste la reme " {sic). " Gregorio
Sciroli." f. 194.

37. "Vieni, ascolta." By the same,
f. 199.

38. " Ch' io possa lasciarui." f. 202.

39. "Deh, placati al fine." By N.
Jommelli. f . 206,

40. "V6 solcando un mar crudele"
[from " Artaserse," 1730]. " [L.]
Vinci." f.210.

41. " Sbagliate, si[gn]or Conte." f.218.

42. " A quest' alma che devoti." f. 221.

43. Duet, "... tento, ma sento che
adesso 1' istesso non e." Imperfect at
the beginning, f . 226.



Additional 14223, ff. 2-85, 93.

Paper; middle of the 18th cent. Oblong folio. The MS. also contains
Duets (above, p. 66) and Songs (1747).

Ten duets and a recitative (no. 11), with accompaniments for
strings, in score, from Italian Operas.

1. "No, non temer ; non son piu I detto il] Sassone." f. 11.
amante." " Nicola Conforto." f.2. 3. " Se tu sei 1' idolo mio"; probably

2. "Dal mio ben." "[J. A. Hasse I from an Opera called " Vitige "



OPERAS.



285



(or " Belisario "). " [Baldassarre]
Galuppi." Imperfect at the end.
f.21.

4. " Tergi quel caro ciglio." By D.
Perez, f . 29.

5. " Va ; ti consola." [From " Zenobia,"
1756.] "Niccola Piccino." f.37.

6. " II furfantel d' amore." " Gaetano
LatiUa." f. 43.

7. " Lascia, ben mio, lo sdegno."



" Giuseppe Beneuento." f. 59.

8. "Vuocchie belle." Anonymous, f. 65.

9. " Ricordati, ben mio." "Nicola
Piccinno." f. 73. Two leaves are
missing after f . 73.

10. " S6 benute le Pacche sicche, Don
Nic6." " [Fedele] Fenaroli." f. 78.

11. " Mentr' io dormo a poco, Piston-
cin." Anonymous, f. 93.



Additional 16093, 16094.

Paper ; ff. 146, 219. Middle of the 18th cent. Oblong folio.

" Soliman[n]o " : Opera in 8 Acts, performed " Nel' Reale Treatto
[sc. Teatro] D[e] N[ossa] S[ejn[lio]ra D[e] Ajuda" [in Lisbon, 1757],
with symphonies and accompaniments for oboes, flutes, trombe Innghe,
trombe da caccia, bassoons, and strings, and a figured bass for harpsi-
chord, in score, by Davidde Perez. Characters : SoKmanno, Osmino,
Barsina, Selimo, Zanghire, and Persane.

Additional 16095-16097.

Paper ; ff . 140, 110, 109. Middle of the 18th cent. Oblong folio.

" ' Alessandko Neir Indie ' : Drama per musica da rapresentarsi nell'
gran Teatro novamente eretto [at Lisbon] per .... il ... . Giorno Nata-
lizio di. . . .D. Maria Anna Yitoria, Regina di Portogallo " ; in 3 Acts,
with symphonies and accompaniments for flutes, oboes, trumpets, horns
and strings, and a figured bass for harpsichord, in score, by Davidde
Perez, 1755 [originally produced at Genoa in 1751]. Characters : Poro,
Gandarte, Alessandro, Timagene, Erissena, and Cleotide.

Additional 16098, 16099.

Paper; fi. 143, 91. Middle of the 18th cent. Oblong folio. Inside the upper
cover of vol. i is written " Signiora Molly," and at the end " Siguiora Donna
Maria, 1761."

" ' Olimpiade ' : Dramma per Musica da Recitarsi nel Real Teatro di
Corte di . . . . Giuseppe Primo, Re di Portugallo .... Nell' Autunno dell'
anno 1753"; with symphonies and accompaniments for flutes, oboes,
horns and strings, and a figured bass for harpsichord, in score. Acts i
and iii only. By the same composer and in the same hand as the



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 33 of 120)