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Catalogue of manuscript music in the British museum (Volume 2) online

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preceding MS. Characters ; Licida, Aminta, Megacle, Argene, Aristea,
Clistene, and Alcandro.



Additional 16100, 16101.

Paper ; ff. 108, 100. Middle of the 18th cent. Oblong folio.

"L'Adriano in Siria"; with symphonies and accompaniments for
flutes, oboes, horns and strings, and a figured bass for harpsichord, in



286



VOCAL MUSIC- SECULAR.



score, by Davidde Perez, 1754 [originally produced at Lisbon in 1752].
Acts ii and iii only. In the same hand as Add. 16093, 16094 (above).
Characters : Emirena, Aquilio, Sabina, Adriano, Osroa, and Farnaspe.



Additional 29965.

Paper; S. 52. Middle of the 18th cent. Oblong folio. Belonged apparently
to J. Wentworth (f. 3) and afterwards to Thomas Jones (1812-1826).

Arias from Operas, with symphonies and accompaniments for



strings, m score.

1. "Al Caro Idolo mio " [from " Eu-
mene," 1746]. " Giacomo Jumelli "
{sc. Nicolo Jommelli). f. 3.

2. " Piu non si trouano " [from
" L'Olimpiade," 1735]. " [G. B.]
Pergolesi." f. 8.

3,4. " Conseruati fedele,'" and "Non
e ver che sia contento." [From
" Artaserse," 1730.] " [J. A.] Hasse."
ff. 13b, 20.

5. " Quanto affanuo, 6 bell' aurora."



Anonymous, f. 24.

6. "Lasciami in pace." Anonymous,
f. 31.

7. " Se v[u]oi placato L' idolo amato."
Anonymous, f. 36b.

8. "So che piu amor non senti "
[from "Tito Manlio," 1756, by G.
Abos]. f.42.

9. "Mi sento nel diuidermi da te."
Anonymous, f.47.



Additional 31576, ff. 83-118 passim.

Paper ; middle of the 18th cent. Quarto. The MS. was purchased by
W. Russell at Dr. [Samuel] Arnold's sale in 1803. It also contains other Instru-
mental Music, described in vol. iii.

Instrumental movements, in score. Nos. 1-3 are probably taken
from Operas, as well as the rest.



1. March in D, in 5 parts, for trumpet,
etc. "Handel." f. 83.

2. "Sinfouia" in G, for horns, oboes,
bassoons and strings. By the same.
n. 85-8Sb.

3. Overture in D, for horns, bassoons,
oboes, and strings. " — Collet."



Apparently autograph, f. 106.
4-12. "Music in the Alchymist," by
Handel [1732]. The same nine
numbers as published by Arnold,
who, however, omitted the viola
part. f. 118.



Additional 31603.

Paper ; ff. 54. Middle of the 18th cent. Polio.

Arias, etc., with a figured bass for harpsichord and other instru-
mental accompaniments, in short score. Apparently all taken from
Operas of the first half of the 18th century. Nos. 1-7, 14, 15, 17-20,
29-31 are by J. A. Hasse.



1. " Tu non mi credi iugrato." f. lb.

2. "Mi lusingha il dolce affetto."
f. 2b.

3. " Non chiamarmi ingrato." f. 4b.

4. "Parto, se vuoi cosi" [from "Issi-



pile"]. f. 5b.

5. " Gia sento nel seno un astiogeloso."
f.6b.

6. " Impallidisce in campo " [from "Is-
sipile"]. f. 7b.



OPERAS.



287



7. "Eccomil non ferir " [from the
same work], f. 9.

8. " Se tu accendessi amore." " Gio.
Battista Pergolese." f. 9b.

9. " Soleva il traditore." By the same,
f . 10b.

10. "Deh, respirar lasciatemi " [from
"Artaserse," 1730]. "Vinci." f. lib.

11. "Una sol' volta ahneno pietosa."
" Gius. Marchitti." i. 12b.

12. " Quando sara quel giorno." By
the same. f. 13b.

13. "So che pieta non haj " [from
Gatone, 1732]. "Leo." f. 14b.

14. " Non ho piu core." f. 15b.

15. " Parto, ma tutto il core." f. 16b.

16. " Non so f renare il pianto" [from
"Demetrio"]. "Antonio Giaii."
f. 17b.

17. " Se a me torranno i Dei" [from
" Cajo Fabrizio," 1731]. f. 18b.

18. " Vedi r amata figlia." f. 19b.

19. " Vedrai morir costante." f . 20b.

20. "Deir amante 1' alma bella."
f. 21b.

21. "Parti dal core." This and nos. 22,
23 are anonymous, f. 23.

22. " So vedi il figlio mio." f. 24b.

23. " Se mi condanna 1' iugra[ta]
sorte." f. 25b.

24. " Placa [g]li sdegni suoi." " Gemi-
niano Jacomelli." f. 27b.

25. " Sento, ne so che sia." By the
same. f. 28b.

26. " Rondinella [a] cui rapita fu la
dolce sua compagna " [from " Semi-



ramide"]. Anonymous, f. 30.

27. " Sento in me, ne soperche." " Ge-
miniano Jacomellj." f. 31b.

28. " Questo pallore non viend' amore."
By the same. f. 32b.

29. "Non ti ricuso amante." f. 34.

30. "II trono, il regno che m' off re in
dono." f . 35b.

31. " Reca la pace in dono." f. 36b.

32. "Destrier che all' armi usato "
[from " Alessandro nell' Indie"].
Anonymous, f. 37b.

33. " Tu che per prova sai." This and
nos. 34-36 are by " Geminiano Ja-
comelli." f. 39.

34. "Chiediamor."' f. 40b.

35. " Credi tu di lusingarmi." f. 41b.

36. " Misera ! Dio, che fo." f. 43b.

37. " Se al labro mio non credi " [from
"Artaserse"]. Anonymous, f. 44b.

38. " Perche, crudel, m' affretti."
" Dom"° Sarro." f . 45b.

39. " Qual prova affanno." Anony-
mous, f . 46b.

40. " Priva del caro sposo." This and
nos. 41-45 are by "Nicolo Porpora."
f. 47b.

41. " Se viver non poss' io": duet
[from " Alessandro nelle Indie," about
1730]. f. 49.

42. "Nasce da valle impura." f. 50b.

43. " Splende per mille amanti." f. 51b.

44. " Al sole i lumi pria mancheranno."
f . 52b.

45. "Parto; ti lascio, cara " [f rom
"Germauico," 1732]. f. 53b.



Additional 31632.

Paper ; ff. 100. Middle of the 18th cent. Oblong folio.

Arias, recitatives (nos. 29, 30), and duets (nos. 5, 6, and 32), with
a bass for harpsichord, and in most cases jjarts for one or more strings,
in score, from Operas by Italian composers of the middle of the 18th
century. Most of them ai*e anonymous, but a few have been identified
from Walsh's Le delizie deW opera, 1776, and other sources. The
collection was probably made in London.



1-4. "E uer che all' amo intoruo,"
"Voi che adorate," "Chi uiue
amante," and " Son confusa." [Prom
" Alessandro nelle Indie," 1749.]
" Baldassar Galuppi, detto Bura-
nello." ff.2, 4, 6, 8.

5. "Non so frenare il pianto" ; intro-



duced in " Farnace." "Giuseppe
Carcani." The words are from " Meta-
stasio's " Demetrio." f. 10.

, " Ne' giorni miei felici." [From
" L'Olimpiade," by G. B. Pergolesi,
1735.] f. 13.

, Aria, without the words, from " II



288



VOCAL MUSIC— SECULAR.



filosofo." Second " cempalo " (sc.
cembalo) part. Sung by Signora
Curioni (who was singing in London
in 1755). f.l6.

8. " Tutto saprei." In the same hand
as no. 7. f . 18.

9. "Se del fiume." [From "Arta-
serse," 1741.] " Cristoforo Cluch"
(sc. Gluck). f.21.

10. " Se al mio sincere affetto." [Prom
"Antigona," a pasticcio by Com-
forto, etc., 1759.] f. 23.

11. "Nell' afEanno, oh Dio." f. 27.

12. "Vado; ma dove, oh Dio." [From
"Didone," 1752, by B. Galuppi.]
f.30.

13. 14. "Se I'amor tuo," and "Mai
I'amor." [By D. Perez, from "Ar-
minio," a pasticcio, 1759.] S. 83, 37.

15. "Non e ver che L' alma in seno."
f.39.

16. " Fuggi dagl' occhi miei." f. 43.

17. "Fra confusi affetti." f. 48.

18. " Ti svenero superbo." f. 53.

19. "Care Luci che regnate." [From



"Issipile."] f.55.

20. "Non son tiranno." By M. A.
Valentino, f. 57.

21. " Se cedo, mio bene." f. 60.

22. " Vosolcando mar crudele." [From
" Artaserse."] f. 64.

23. " Un fiero tormento." f. 68.

24. " Parto, Crudel tiranno." f. 69.

25. " CoUe procelle in seno." [From
" Antigona," a pasticcio, by G.
Cocchi, cic, 1759.] f.71.

26. " Pensa a serbarmi." [From.
"Ezio."] f.73.

27. " No, tollerar non voglio." f. 77.

28. " Delia frode." f . 82.

29. " Serba gli affetti." f. 84.

30. 31. Kecitatives. [From "Alessan-
dro nelle Indie."] ff. 86, 87.

32. "Tuona a destra." By A. Puppi.
f.90.

33. " Carosposo, amataspeme." [From
"Arminio," by D. Perez.] f. 94.

34. " Compagni d' amore." f . 97.

35. "lo ti lascio, 6 sposa." f. 99,



Additional 32072, ff. 90h-lOS passim.
Paper ; middle of the 18th cent. Folio. Belonged to — Richter.
Arias, etc., from Operas, with a bass, in score.



1. " II mio fedele " ; from " Coriolano "
[by K. H. Graun, 1750]. f. 90b.

2. " Se dopo . . . al meno " ; from
"Ifigenia [? in Aulide," by K. H.
Grami, 1749]. f . 91b.

3. " Esposta a mille palpiti." " PuUi."
f. 102.

4. "Di vilta non mi condanni." By
the same. f. 102b.

5. "Come il cedro." Anonymous,
f . 103b.



6. "Di questo core suaue amore";
from " Clitemnestra " (?). Anony-
mous, f. 104b.

7. " Disciolta da pene " ; from
"Phaethon" [? by K. H. Graun,
1750]. f. 105b.

8. Duet (Ifigenia and Achille), beg.
" Sia propizia." Anonymous, f. 106b.

9. " Se mi volesti, o Dei." Anonymous,
f . 107b.



For other arrangemeuts (ff. 2, 19b, 21b, 37b, 88) from Graun's
"Adriano," "Coriolano," " Fetonte," " Mitridate," " Angelica e Medoro,"
etc., see under Pianoforte Solos, in vol. iii.



Additional 30310, ff 13-38.

Paper ; a.d. 1750. Oblong folio. Belonged to W. M. Moseley, of Glashampton,
in 1800. See also under Songs (1708), described below, and Instrumental Music,
in vol. iii.

Selection from an unperformed Opera by Handel published by
Arnold as " Alcides " and by the Handel Gesellschaft (in a more



OPERAS.



289



complete form) as " Alceste." The present MS. consists of " a Song
for Miss Young," beg. "Thetis bids me hither fly" (the last word
altered into " rise "), given in the appendix to the above-mentioned
Society's edition ; together with the whole of Act iv, as there published,
except the chorus " Thrice happy " and the beginning of the air
" Enjoy the sweet Elysian grove." The symphonies and accompani-
ments are for trumpets, flutes, oboes, bassoons, and strings, in score.
Autograph. At the end is written " G. F. Handel. . .voUig geendiget,
den 8 January, 1750." Characters: Syi-ene (Miss Young), Charon
(Walz — Handel's cook), Calliope (Mrs. Arne), Apollo (Mr. Low), etc.



Additional 31598.

Paper; ff. 67. After 1751. Oblong folio.

Arias and (nos. 4 and 10) duets, with a bass for harpsichord, in
score, by Italian composers of the first half of the 18th century,
probably collected at Naples soon after 1751 (the latest certain date
mentioned below). They appear to be all taken from Operas.



1. " Piu non si trouano"; from
"L'Olimpiade" [1733]. "[Giovanni
Battista] Pergolese." f. 2.

2. "Non ti son Padre" [from " Arta-
serse "]. By the same. f. 4.

3. " Dopo il periglio della tempesta."
By the same. f. 6.

4. "Tu non rispondi, ingrato " ; with
flutes. By the same. f. 8.

5. "Con quel volto si vezzoso." Attri-
buted in the index to the same. f. 10.

6. " Caro mio bene amato." " Lampug-
nani." f. 12.

7-10. Three arias and a duet from
" L' Olimpiade " [1748]. " Galuppi."
Sung by " [Regina] Minghotti " and
" [Angelo Maria] Monticelli." They
are " Tu di saper procura"; "Del
Destin ; " Se cerca, se dice"; and
"Ne' giorni tuoi felici." ff.l4, 16,
18, 21.

11. " Lo sequitai felice " ; from
" L' Olimpiade." " Nicolo Conforto."
f.24.

12. " Si non [ha] la pastorella" ; from
" La Vecchia Maretata." " Gaetano
L'AtiUa" (sic), f. 26.

13. "Presso al fonte d' Acheronte."
" Adolfo Hasse." f. 28.

14. "Non v' e piu barbaro " [from
"Demetrio," 1782]. By the same.
f.30.

15. "0 caro e placido felice giorno."
" Nicolo Conte." f . 32.

II



16. "A dar pace al dolce affetto " ;
from " II Mercante Innamorato "
[1750]. " Antonio Corbisiero." f . 34.

17. "Fril r ombre del timore." " [D.
M. B.] Terradellas." f. 36.

18-21. Four arias from "Tito Manlio"
[performed in London in 1756, but
probably composed earlier]. "Gero-
nimo Abbos " [sc. Abos). They are
" So chi piu amor non senti " ; " Chi
mai non sa " ; " Per pieta, non
accrescete " ; and "Fille, che a lei
fedele." ff. 38, 40, 42, 44.

22-24. Three arias from "II Geloso."
"Ant[onio] Palella " or Pallella.
They are " lo non so se tu uiuendo " ;
"Ah, perche nel nascer mio"; and
"Non colpa il tuo sembiante."
ff. 46, 48, 50.

25. "Tu non mi ascolta"; from "II
Finto Innamorato " [1751]. "Antonio
Corbisiero." f. 52.

26. " Cosi resta il villanello " ; from
"II Corrivo." " Gregorio Sciroli."
f. 54.

27. " Sara dell' armi al lampo " ; from
' ' Farnace " [1750] . " Tommaso
Trajetta." f . 56.

28. " Si {sc. se) sapesse ch' aie {sic) lo
core " ; from " Lo Cicisbeo." "Nicolo
Logroscino." f. 58.

29-32. Four arias, of which the first,
third, and fourth, and probably also
the second, are from " Attilio

U



290



VOCAL MUSIC— SECULAR.



[Regolo]," by "II Duca di Caputo."
They are " Sol puo dir che sia
contento " ; " Pace, amor " ; " Se piu



felice oggefcto " ; and " Sempre e
maggior." ff. 60, 62, 64, 66.



Additional 32026.

Paper ; ff. 63. After 1751. Oblong folio. Bookplate of Friedrich [? Christoph]
Nicolai.

IxTRODUCTORY Siiifoiiia and twenty-three arias and duets (one,
originally numbered 13, being apparently omitted), with harpsichord
accompaniment, in score, from " Ciro [riconosciuto]," by Johann Adolf
Hasse [1751]. Singers: Signori Albuzzi, Salimbeni, Amorevoli, Ventu-
rini and Schuster; Signore Faustina [Ilasse] and An[n]ibali.



Additional 31654.

Paper ; n. 225. About 1751-1757. Oblong folio.

Arias, etc., with symphonies and accompaniments for strings (and
other instruments, where indicated below), in score. Nos. 1—10 are by
Nicolo Jommelli, nos. 11-14 by Davidde Perez, nos. 15-20 by Gioacchino
Cocchi, and nos. 21-34 by Baldassare Galuppi.



1. " Si, lo confesso " ; with oboes, horns,
etc. Rome, 1753. f. 1.

2. "Talor se il uento f reme " [from
" Semiramide," 1752]. f. 11.

3. " Tutti di speme al core." Milan,
1754. f. 19.

4. "Partiro! non posse ancora." Rome,
1757. f. 27.

5. "Tu chiedi il mio core." Milan,
1754. f . 35.

6. " Piu nou si trovano " [from
"L'Olimpiade," 1743]. f.41.

7. "Amato Genitore." Rome, 1757.
f.47.

8. "Dal tuo voler dipende." Turin,
1754. f. 55.

9. "Se perde 1' vsignuolo"; with a
bass only. [From " Bellerofonte."]
f.61.

10. " Pupille care, se vi Girate " ; with
hovns, etc. [From " Nerone."] f. 65.

11. "Bel placer saria" [from " Semi-
ramide," 1750]. f.75.

12. " Che non mi disse " [from
" L' Olimpiade," 1758]. f. 88.

13. " Se parto, ben mio" ; with flutes,
horns, etc. Rome, 1752. f. 89.

14. " Voi che le mie vicende " ; with a
bass only. [From "Semiramide."]
f.99.

15. " Piu non chiamo ingiusto amore " ;



with a bass only. Naples, f. 103.
16-18. " Se mai mi uedi andar," " Mentr'
io dormo," and " lo souo una ra-
gazza." From a work numbered
Op. 3. These and nos. 19, 20 were
performed at San Cassano in 1754.
ff. 105, 111, 113.

19. " Coss' e sior canapiolo " ; with
mandoline, guitar, drum, etc. From
a work apparently numbered Op. 1.
f. 117.

20. " Indegni, briconi." f. 119.

21. 22. "Non condannarmi ancora,"
and " Se il mio paterno amore";
with flutes, horns, oboes, etc. Per-
formed at the Argentina theatre
[Rome] in 1754. Probably both are
taken from " Siroe," as the latter
certainly is. ff. 123, 183.

23. " Se la compagnia vede " ; with
oboes, horns, etc. Performed at the
AUe Dame theatre [Rome] in 1753.
f. 145.

24-28. "Fradubbiaffettimiei,""L'on-
da che mormora," " Tu di pieta mi
spogli," " Sgombra dall' auima," and
" La sorte mia tiranna " ; with oboes,
horns, etc. Performed at the Argen-
tina theatre in 1754. Evidently all
of them from "Siroe." ff. 157, 167,
177, 187, and 193.



OPERAS.



291



29. " Se gl' uomini sospirano " [from
"II mondo della Luna"; Venice,
1750]. f. 201.

30-33. "Bella cosa e far 1' amore,"
"Recipe di quegl' occhi," "Mi pizzi-
ca," and " Donne belle, che bra-
mate " ; with flutes, etc. From a



work described as Op. 2, performed
at the San Samuele theatre [Venice]
in 1753. ff. 205, 209, 213, 217.
34. "Son fauciulla da marito"; from
an Opera performed at the San Moise
theatre [Venice] in 1751. f. 222.



Additional 14162, ff. 155-1 6 lb.

Paper ; about 1752. Oblong quarto. See also under Motets (vol. i, p. 334).

" Maestro bello" : trio for a male soprano and 2 basses, with sym-
phony and accompaniments for horns, oboes, and strings, in score,
apparently from the Intermezzo " II maestro di JMusica " by Pietro
Auletta [1752].

Additional 31645, 31646.

Paper ; S. 136, 115. About 1752. Oblong folio.

" La. Calamita de' Cori" ; with symphonies and accompaniments for
flutes, oboes, horns, and strings, in score, by Baldassare Galuppi, " detto
il Buranello " [1752]. Acts i and ii only. The names of the principal
singers are given, but do not include any of note. Characters : Armidoro,
Pignone, Saracca, Giacinto, Albina, Belinda, Bella Rosa, etc.



Additional 31677, passim.



belonged to G. H.



Paper; about 1752-3, etc. Oblong quarto. The MS.
Broekhuysen, of Amsterdam. It also contains Songs (described below), and String
Duets (in vol. iii).

French vocal compositions, most of which, if not all, appear to be
taken from Operas. Except where the contrary is stated, they are for
a single voice without accompaniment, and anonymous ; ff. 2b-15 are
in the hand of Jean Jacques Rousseau, and the others were probably
written at his dictation.



1. "Tout soupire." This and nos. 2,
3 have accompaniments for violin
and a figured bass, in score, f . 2b.

2. " Tendre amour." f. 3b.

3. " L'Amour est a craindre." f. 4b.

4. 5. "Ah! que 1' Amour cause d'al-
larmes " (trio), and " L'Amour meurt
dans mon coeur " ; with strings.
[From ' ' Pers^e," 1682, by J. B. LuUy.]
ff. 6b, 8b.

6. " II faut que tout secoude " ; with
strings, ff . llb-13.

7. " Sur vos pas"; with figured bass,
f. 13b.

8. " Tendre fruit " ; with strings.



Different from the setting of the
same words in Rousseau's " Les
Consolations des miseres de ma vie."
f . 14b.

9. Piece without words, the violin part
being in pencil, f. 15b.

10. " De L'Art seduisant de charmer."
f. 16b.

11. " M'aimes tu comme je t'aime " ;
with strings. Apparently by " [Egi-
dio Romoaldo] Duui." At the begin-
ning is written "Madame Orgon et
Suzon faisant I'echo." f. 17b.

12. " Tant qu'a mon Colin j'ay s(;u
plaire" : duet. This and nos. 13-17

u 2



292



VOCAL MUSIC— SECULAR.



are from " Le Devin du "Village,"
about 1752-1753, and are mostly
accompanied by strings, f. 21b.

13. "A jamais Colin " : duet. f. 24b.

14. " Ven^s, jeunes Gar9ons." f . 28.

15. " Si des Galans de La Villa j'eusse
Ecout^ les discours." f. 29.

16. "Dans ma cabaue obscure." The
lines written at the top and bottom
of this page are said (f. lb) to be in
the hand of "Madame M. M. G.
de Pontaine-Dupin, Grandmere de
Georges Sand, fiUe de Samuel Ber-
nard, Spouse du Fermier-gen^ral
[Claude Dupin], amie de J. J. R.,
qui lui consacre de belles pages dans
ses ' Confessions.' " f. 31b.



17. " L'art a I'amour est favourables "
(sic), f. 82b.

18. " Regnes avec douceurs " (sic) ;
with strings, ff. 35-38.

19. " J'ay Bientot quatorz anst" (sic).
f. 41b.

20. "De la philosophic austere."
f . 42b.

21. " Gente pastoure." f . 43b.

22. "Dans ce joly mois de may."
f . 44b.

23. "Qu'est deuenue (sic) ton chalu-
meau." f. 45.

24. " Non, rien n'est si beau que
Temire." Possibly from "Th6mire"
by E. R. Duni, 1770. ff. 45b-46.

25. " Pour le plus bel empire." f. 57.



Additional 32146.

Paper ; ff. 227. About 1753. Oblong folio.

" Soliman[n]o " : Opera in 3 Acts, with symphonies and accompani-
ments for flutes, oboes, horns, trumpets, bassoons, drums (big and
little), and strings, in score, by Hasse, 1753 [originally produced in
1752]. In the present MS. the recitativi secchi are omitted. Singers :
Signori Belli, Puttini, Fu[h]rich, Monticelli, and Amorevoli ; Signore
Pilaja and Albuzzi [-Todeschini]. From a note (? by Otto Jahn) at the
beginning of the MS., it appears that 800 persons took part in the
[original] performance of the Opera at Dresden, besides elephants,
camels, etc.

Additional 14163, ff. 57-1 20b.

Paper; about 1755 (?). Oblong folio. See also below, under Songs (1696).

Opera [" Laodicea e Berenice "], consisting of thirty-five arias and
a duet, with a bass (partly figured) for harpsichord, in score, by
Alessandro Scarlatti, 1701. Apparently transcribed at Naples in
1755.

Additional 14224, ff 22-112.
Paper ; about 1756, etc. Oblong folio. See also below, under Songs.

Recitatives, arias, etc., with symphonies and accompaniments for
strings (and in the case of no. 5, horns and oboes also), in score, from
Italian Operas of about the middle of the 18th century. Nos, 1-3 are
by Pasquale Cafaro ; and nos. 4, 5 (1), and 6-10, by Nicolo Piccinni,
from "Zenobia" [1756].

1. "Perche taci " [from " La disfatta 4. " Ch' io parta ; m' accheto." f. 44.
di Dario," 1756]. f. 22. 5. " S' oscura il ciel." f. 47.

2. " Belle luci, che accendete." f . 30. 6. " Pastorella, io giurerei." f.63.

3. " Nacqui agli affanni in seno " [f rom 7. " Vi conosco, amate stelle." f. 71.
" Demetrio "]. f. 38. 8. " Si soffre una tiranna." f. 76.



OPERAS.



293



9. " Saluo tu vuoi lo sposo." f. 82.

10. " Aprimi il petto." f. 86.

11. " Dou' e (sc. Dove) s' affretti " [from
" Alessandro nelle Indie"]. As per-
formed at Lisbon [in 1755]. " Dauid
Perez." f. 90.



12. " Se mai d' un cor che langue."
" [Leonardo] Leo." f. 99.

13. " Ah, se 11 mio ben perdei." Anony-
mous. It is described as "Per uso
della . . . Marchese (sic) Gomez d'
Olluera." f . 104.



Additional 16154.

Paper ; ff . 67. a.d. 1756. Oblong octavo. The name of P. Bicheron is
stamped on the cover. The MS. belonged afterwards to Domenico Dragonettl.

" La Bohbmienne, Opera boufFon " ; in 2 Acts, for solo voices (Nise,
Brigani, and Calcante) and chorus of Gipsies, with symphonies and
accompaniments for strings, in score. Written at Avignon in 1756.
[By Charles Francois Clement.] Possibly autograph.



Additional 30973.

Paper ; ff. 130. After 1756. Oblong folio.

Arias, etc., with symphonies and accompaniments for strings (and
other instruments mentioned below), in score, from Operas by Christoph
Willibald von Gluck.



1. " V6 disperato a morte " ; with horns,
etc. [From "La Clemenza di Tito,"
1751.] Performed at the San Carlo
theatre, in 1752. f. 1.

2. "Come potesti, oh Dio"; with
horns, oboes, etc. [From the same
Opera.] f. 10.

3. " Giache morir degg' lo." This and
nos. 4-6 are from an Opera performed
at Rome in 1756 [" x\ntigono," 1754],
and have accompaniments for horns
(or trumpets), oboes, bassoons (once),
etc. f. 18.

4. " Di due ciglia il bel sereno." f. 35.

5. " Tu m' inuolasti un Regno." f. 53.



6. " Di uantarsi ha ben raggione."
f.70.

7. " Ombra diletta"; with oboes, bas-
soons, etc. [From " Issipile," 1752.]
f.89.

8. "lo ti lascio" [from the same
Opera], f. 93.

9. " Va ; ticonsola": duet. The words
are taken from Metastasio's " Zeno-
bia," but they are assigned here to
Claudia and Plavio. f. 95.

10. Recitative, "Berenice, che fai " ;
with oboes, horns, etc. In parts.
[From " Antigono," 1754.] f. 113.



Additional 31639, ff. 9-44b.

Paper ; about 1758. Oblong octavo. See also under Duets (above, p. 74), and
below, under Songs (1709).

Arias, with accompaniments for strings and other instruments
mentioned below, in score.



1. " Deh, se pieta pur senti." This and
nos. 2-5 are by " [Baldassarre] Ga-
luppi [detto il] Buranello," the first
three of them appearing to be taken
from an Opera performed at the San
Benedetto theatre in 1758. f. 9.

2. " Voi che sciolto il piede auete."



f. 13.

3. " Del cor gli affetti." f. 17.

4. "In mezzo a tanti afianni " ; with
flutes, etc. Sung by [Cattarina] Ga-
brieli (c/. Add. 35121, f. 10b, below).
f.21.

5. "Se piacere a me tu vuoi" [from



29i



VOCAL MUSIC— SECULAR.



"La clemenza di Tito," about 1760].
f.27.
6. "Misera, che faro" (recitative), and
" [H]o nell' alma un certo foco"



(aria) ; with horns, oboes, etc. " [? G.
B.] Borghi." Autograph. Given to
Mrs. Peploe at Vicenza, 1804. fi. 33-
44b.



Additional 14169, ff. 219, 236.

Paper ; about 1759, etc. Oblong folio. See also under sacred Songs (vol. i,
p. 437).

Arias from Italian Operas, for treble voices, with symphony and
accompaniments for strings, etc., in score, by Giovanni Francesco di
Majo.



1. " Empio, gia s6": recitative and
aria, with oboes, horns, etc. Appa-
rently from "Ricimero," composed
at Rome in 1759. f . 219.



2. Aria (Apollo), beg. " Quel caro amato
oggetto"; with bassoons, eic. Auto-
graph, f. 236.



Additional 5057.

Paper ; fi. 22. Before 1760 (see below). Quarto. Bookplate of James

Mathias.

Arias and (nos. 1, 2) duets, with symphonies and accompaniments
for strings, in score, in the hand of Henry Needier (d. 1760). They
appear to be all taken from Operas.



1. " Date {sc. "Da te") lungi, 6 volte
amato." Anonymous, f. 2.

2. " Cara, addio." " Gennaro Manna,
1748." f.6.

3. " Bastan gl' affanni." " Giova.
Cocchi." One of the characters in
the opera is Andronico. f . 10b.



4. "Che non mi disse." [From " L'
Olimpiade, 1735."] "Gio. Battista
Pergolese." f. 16.

5. " Quando saprai." [From " Didone
abbandonata," 1756.] "Andrea Ber-



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