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ments for strings, in score, by Leonardo Leo. At the end (f. 49), are
two extra 1st and 2nd vioHn parts.



Additional 24304.

Paper ; ff. 164. 18th cent. Folio.

" Atys " : tragedy in 5 Acts, with overture, symphonies and
accompaniments for flutes, oboes, and strings, and a figured bass for
harpsichord, in score, by Jean Baptiste Lully [1676]. For the names
of the characters see Add. 16045 (above, p. 237), which is, however, a
much less full copy, and differs considerably from the present one.

Additional 24306.

Paper ; ff. 157. 18th cent. Oblong quarto. Belonged to J[oseph] M[acdonald]
Harris, and afterwards to Dr. H. Gauntlett.

Overture and twelve arias, with symphonies and accompaniments
for hoi'ns^ oboes, flutes (once), and strings, in score, from " Eumene "
[1746], by Nicolo Jommelli. They are : —



1. "Parto, ^uer." f . 20b.

2. " Con niio, con tuo dolore." f. 28.

3. " Corri con asta." f. 33b.

4. " Al caro Idolo inio." f. 45b.

6. " Care luci, deh, cessate." f . 50.

6. " Orrida nube." f. 55.

7. " Priua del caro sposo." f. 69.



8. " Quel nocchier, che in alto mare."
f.75.

9. " Turba talor la pace." f. 91b.

10. " Vittima del mio sdegno." f. 115b.

11. " Crudel, negl' occhi inipressi."
f. 131b.

12. "Parmi gia che s' appressi il mio
bene." f. 143b.



Additional 24307, passim.

Paper ; 18th cent. Oblong folio. The MS. was presented at the end of the
ISth century to C[harles] Wesley by Sir Edward Walpole. See also under sacred
Songs (vol. i, p. 444), and secular Songs (below).

Arias from Italian Operas of the first half and middle of the
18th century, with symphonies and accompaniments for strings (unless
the contrary is stated), in score.



1. " Vedro fra poco." In the hand
of John Christopher Smith. Imper-
fect at the beginning. This and nos.
2-4 are by Handel, f. 3.

■2. " Dimmi, cara " ; with violin and
bass. [From " Scipione," 172G.] f . 6b.

3. " Sparite, o pensieri " ; from
" Admetus " [1726 ?]. f. 8.



, "Gode I'alma" [from " Ottone,"

1722]. In Smith's hand. f. 10.
, " Pupille amate" ; with a bass only.

Anonymous, f. 14.
, "Ah, si ! morro." Imperfect at end.

Apparently by Handel. In Smith's

hand. f. 15.
, "Si, caro " ; with violin and figured



OPERAS.



335



bass. Prom " Admetus." By Handel.
f.l8.

8. " lo ti leuo " ; with violin and bass.
Anonymous, f . 20.

9. " Pupille care." " Gio. Adolfo
Hasse." f. 21.

10. " Per amor se il cor sospira " ; from
"Astianatte" [1725]. "Leonardo
Vinci." f.25.

11. " Qual con I'aura"; sung by
FarineUi. "Leo." f. 32.

12. " Sentirsi dire dal caro bene."
[From " Semiramide riconosciuta,"
1723.] " Vinci." f. 40.

18. " Son qual per mare ignoto " ; from
" L' Olimpiade" [1754]. "David
Perez." f. 44.

14. "Son sventurato " ; with a bass
only. Anonymous, f. 50.

15. "Quel Ruscelletto " ; from "La
Forza d' amore." " Paradies." f. 52.

16. "Sfogasti, o Ciel"; with horns,
oboes, eic. ; from " Nerone." " [Ot-
tavio] Albuzi." f. 54.

17. "Do (sc. Vo) solcando un mar
crudele " ; from " Artaserse " [1730].



' ' Leo[nar]do Vinci." f . 70.

18. "In quel labro pallidetto " ; from
" La Forza d' amore." "Paradies."
f.77.

19. "Ilmardelle mie pene." Anony-
mous, f. 81.

20. " Bel[le] alme fortunate"; from
"Nerone." " Ottauio Albuzi." f. 84.

21. "Santi numi"; dated "HaSnie
{sc. Copenhagen), 27 Apr. 1760."
f. 90,

22. " Soportar non devo in pace." In
the same hand. f. 93.

23. " O portento " : recitative and aria,
with flutes, horns, etc. [From
" Armida," 1760.] "Traetta." f . 110.

24. " Di quest' aura." In the same
hand. f. 122.

25. "Ah quale ardor" : recitative and
aria, with flutes, oboes, horns, etc.
In the same hand, f . 129h.

26. 27. "So tenderly I love him," and
"Thro' the Prince and the Peasant " :
recitatives and airs, with horns,
oboes, etc. From "Hippolito."
" [Thomas] Roseingrave." ff. 134, 138.



Additional 29274, passim.

Paper ; 18th cent. Oblong folio. See also under Songs (below).

Arias, duets, etc., with symphonies and accompaniments for
strings and (in the last number) for trombe da caccia, also, in score,
by Giovanni Battista Pergolesi.



1. " Perche non m' uccidi." f. 1.

2. "Tunon curi." f . 5.

3. "La ragion, gli aSetti " ; from
" Adriano [in Siria," 1734]. f. 11.

4. " L' estremo pegno " [from the same
Opera], f. 19.

5. "Deh, t'accheta." f . 24.

6. "Grandi, ^ ver, son le tue pene."
[From " L' Olimpiade," 1735.] f. 30.

7. "Ohdio,sei troppobarbara." [From
" Flaminio," 1735.] f. 33.

8. "lo ti dissi." f . 38.

9. " Quel dolente pastorello." f. 45.



10. "Empio amor." f . 49.

11. " Che fiero martire." fi. 55-58b.

12. "Superbo di me stesso"; from
" L' Olimpiade." f.67.

13. "Parto; non ti sdegnar." [From
" Ciro riconosciuto."] f. 73.

14. " Trucidati a queste piante." f. 76.

15. " Giusti Numi." f. 80.

16. " 'Gnora crediteme " : described as
"Aria Bufia, Napoletana." f. 84.

17. " Tu resterai, mia cara." f. 89.

18. " Per queste amare Lacrime." f . 94.

19. " Trema il cor." f.97.



Additional 31154, fi. 1-203.

Paper ; 18th cent. Oblong folio. See also under Pianoforte Solos (in vol. iii).

" Lucio Vero " : Opera in 3 Acts, with symphonies and accompani-
ments for flutes, horns, oboes, trumpets, bassoons, and strings, and a



336



YOCAL MUSIC— SECULAR.



figured bass for harpsichord, in score, by [T.] Trajetta, sc. Traetta.
Characters : Lucio Vero, Berenice, Vologeso, Aniceto, Flavio, and
Lucilla.

Additional 31490, ff. 2-84b passim.
Paper; 18th cent. Oblong quarto. See also under Madrigals (above, p. 175).

Aeias and duets, with basses (occasionally figured) for harpsichord
and (in nos. 1 and 2) additional parts for strings, in score. They
appear to be taken frora Operas.



1. "Sefedel,corniio, tusei" [from"Gli
orti Esperidi "] . " Gius" S' Martini."
1.2.

2. " Vna moglie, madamina" ; written
for Serafina Penni. " Tomaso Tra-
etta." Belonged to Major Dixon, f . 7.

3. "Tergiquel caro ciglio." "Davide
Perez." f. 14.



4. Duet (Meg .... and Lici[nio?]),
beg. " Garo aniico, addio." "Ten-
ducci." f. 46.

5. " Cara, ti lascio ; addio." " Gio.
Batt[ist]a Pescetti." f. 48.

6. "Prendi, o caro." " Domenico Para-
dies." f. 50.

7. "Tusaicomet'amo. "Bonno." f.82.



Additional 31506, ff. 165-1 75b.

Paper; 18tli cent. Oblong folio. ' See also under Songs (below).

" Arib nel primo atto della comedia d' ' Aldimiro'" ; with accom-
paniments for strings and a bass (occasionally figured) for harpsichord,
in score. By Alessandro Scarlatti [1692].



1. " Se di Tisbe hauro la sorte." f. 165.

2. " Due uaghe pupille." f. 166b.

3. "Astri fieri." f . 168b.

4. " Forse non bastano." f. 169b.



5. "Non ha si dolci tempre." f. 171.

6. "M'offra pur con forte assalto."
f. 178.

7. " Chi r alma m' ha tolta." f. 174b.



Additional 31515, ff. 1-92.

Paper ; 18th cent. Oblong folio. See also under Duets (above, p. 91).

Arias, etc., with symphonies and accompaniments for strings, and
a bass (occasionally figured) for harpsichord, in score. Except where
the contrary is stated, they are from Operas by Alessandro Scarlatti.



1-10. "Se mi dira" (f.l), "Ritengala
virtu" (f.2), "Se v' 6 alcun" (f.3b),
"Che cosa gustosa" (f. 5), " S' ha da
penare" (f. 6b), " Se vuol la sorte"
(f.7b), " Deir aura al respirare " (f. 9),
"Cara, non piangere" (f.llb), " . . . .
guerra accendero " (f. 13b), and
" Parte, addio " (f. 15b) ; from " Sci-
pione [nelle Spagne," 1714].

11-13. "Al dispetto dell sospetto"
(f. 18b), "Mi fai purvidere" (f. 19b),
and "Dormi pur e sogna" (f . 21b) ;
from "L'Equivoco nel sembiar"
[1700].

14-22. "L'alma mia gia si consola"



(f. 23), " II dcstin ver noi clemente "
(f. 25), "Illustre il sangue mio"
(f.26b), "Con I'arte del mio cor"
(f. 28b), " Ti sovuenga " (f. 30), " Sono
in mar " (f. 32b), " Miei fidi " (f. 35b),
"Veggo nel tuo bel Volto " (f.38b),
and "Tutto d' orrori " (f. 41) ; from
" Carlo Re d' Alemagna " [1716].
23-44. "Bello ma superbetto" (f.43b),
"Di donna e vil (?) core" (f. 45),
"Alma afflitta" (f.46b), "Quelle e
il Trono" (f.48), "Come in verde
CoUinetta " (f . 48b), ' ' Qual nocchiero "
(f. 50), " Cara benda " (f. 52b), " Vagli
{sc. vaghi) fieri" (f. 54), "Non ea



OPERAS.



337



(sc. ha) pregio I'Amor mio " (f. 55b)
"Prischi crio {sc. eroi) ne' vostri
Figlio (sc. figli) inspirate " (f. 56b)
*'L' Innocenta (sc. innocenza) difen
dete" (f.58b), "Numi dell' arsa (sic)
dite" (f.59b), "Veggio ben" (f . 61)
"Giouegiastringe" (f.62), "Barbaro
i voti miei" (duet, f. 63), "Non son
piu quelle catene" (duet, f. 65), " Vn
raggio di speranta" (sic, f. 67b), "lo
non voglio " (f. 69b), " Due bellissime
pupille" (f. 71), "Tormentoso Au-
gello" (f.73), "Resta in braccio"



(duet, f. 75b), and "II tuo pianto"
(f.77); from "II Giro" [not Metas-
tasio's " Giro riconosciuto "].

45. " Non afianno." " Leonardo Leo."
This and the three remaining num-
bers are in a different hand from the
above, f . 79.

46. "Quellosdegno." "Pergolesi." f.82.

47. " Quando senti la Gampana."
Anonymous, f. 83b.

48. " Un altr' oggetto " [from " Arianna
e Teseo," 1714]. " Porpora." ff. 86, 90.



Additional 31516, ff. 1-31.

Paper; 18th cent. Oblong folio. The MS. appears to have belonged to T. H.,
Rev. — Heathcote, and Wm. Grotch (see f. 1). It contains also Songs (after 1735),
described below.

Arias, etc., apparently from Operas, with instrumental accom-
paniments, in score. Nos. 3-6, though described as con violini, have
only a bass (? for harpsichord).



1. Duet. " Prence, e uer " ; with horns
and strings. " — Scarlatti." f. 1.

2. "So I'amor tuo"; with strings.
[Prom "Siroe."] "Giuseppe Scar-
latti." f.l5.

3. "Numi, se giusti siete." This and
nos. 4-6 are from the same composer's



" Adriano in Siria," 1752. f. 19.

4. " L' ingrato m' inganna." f. 21.

5. "Dal labro che t' accende." f. 23.

6. " Prigioniera abbandonata." f. 25.

7. Aria, "Che giova il dirmi"; with
strings. "Leo." f.27.



Additional 31527.

Paper ; ff . 145. 18th cent. Oblong folio. Bookplate of Thomas Bever, LL.D.

" La Fede ne' Tradimenti. Rapresentata nel Teatro di Luxem-
burg per ordine di S. M. la Regina. Posta in Musica da Sig^' Attilio
Ariosti, Maestro di Musica [di] S. M^ta " : Opera in 3 Acts, with over-
ture, symphonies, and accompaniments for oboes, bassoons, and strings,
and a figured bass for harpsichord, in score. In a French hand — the
same as Add. 31543 (below, p. 338). Characters: Fernando, Elvira,
Anagilda, Garzia, etc.



Additional 31541.

Paper ; ff. 124. 18th cent. Oblong folio. Bookplate, with arms, of Robert
Smith.

" Opera I" [' Cefalo e Procride ']. Rapresentata nel Teatro di
Litzenbourg Del S'" Giou. [Battista] Bononcini " : a one-act Opera,
with symphonies and accompaniments for flutes, oboes, and strings, and
a figured bass for harpsichord, in score. Characters : Aurora, Cefalo,
Procride, Atenice, Titone, and Zeffiro.

11 z



338 VOCAL MUSIC— "SECULAR.

Additional 31542.

Paper ; ff . 219. 18th cent. Oblong folio.

" II Trionfo di Camilla " : Opera attributed to Giovanni [Battista]
Buononcini, but more probably by M. A. Buononcini [1697?]. See the
description of Add. 14185, a rather earlier copy, above, p. 240.

Additional 31543.

Paper ; ff. 110. 18th cent. Oblong folio. Belonged to J. S[tafford] Smith,
in 1787.

" TuRNO Aricino : Drama Per Musica, Poesia del Sig' Silvio
Stampiglio. Musica del Sig'' Giou' [Battista] Bononcini [about 1710]."
In 3 Acts, with symphonies and accompaniments for oboes, chalu-
meaux, flutes, bassoons, and strings (including viol d' amore), and a
figured bass for harpsichord, in score. The Opera is ascribed by
Clement and Larousse to M. A. Buononcini (see Catalogue of Additions),
Characters as above, p. 241.

Additional 31544.

Paper ; ff. 61. 18th cent. Oblong folio. Belonged to Joseph Warren.

Airs and duets from " L' Erminia " : opera, with symphonies and
accompaniments for strings and a figured bass for harpsichord, in score.
By [G. B.] Buononcini [1723].

Additional 31562.

Paper ; ff. 112. 18th cent. Oblong folio. Bookplate of Edward Stephenson,
of Farley Hill.

" Radamiste " : Opera in 3 Acts, with overture, symphonies, and
accompaniments for flutes, oboes, trumpets, horns, bassoons, strings,
and harpsichord, in score, by Handel, 1720. The present MS. is in
the hand of his amanuensis, John Christopher Smith, and corresponds
with the edition published by the Handel-Gesellschaft, except that all
the recitatives are omitted and one short symphony. For a further
account of the work, see the Catalogue of Additions. Characters :
Polissena, Tiridate, Zenobia, Radamisto, Farasmane, Fraarte, and
Tigrane.

Additional 31565.

Paper ; ff. 132. 18th cent. Oblong folio.

" Orlando " : Opera in 3 Acts, with overture, symphonies, and
accompaniments for flutes, oboes, horns, bassoons, and strings (including
" violette marine," sc. viole d' amore), and a figured bass for harpsichord,
in score, by Handel, 1733 [composed in 1732]. The handwriting very
much resembles that of John Christopher Smith, Handel's amanuensis.
Characters : Zoroastro, Orlando, Dorinda, Angelica, and Medoro.



OPERAS.



339



Additional 31566.

Paper; fi. 55. ISth cent. Folio.

" Alcina " : Opera in 3 Acts, with overture, symphonies, and
accompaniments for flutes, oboes, strings, etc., and a figured bass for
harpsichord, in score, by Handel [1735]; preceded by a table of
contents [in the hand of Michael Rophino Lacy]. From the absence
of the ballets throughout the opera, it is probably the version used at
the repetition of the work in 1736. (See edition published by the
Handel - Gesellschaft, vol. S6.) Characters : Bradamante, Melisso,
Morgana, Alcina, Ruggiero, Oberto, and Oronte.

Additional 31569.

Paper ; ff . 132. 18th cent. Oblong folio.

" Alessandro Severe " : Pasticcio in 3 Acts, w4th overture,
symphonies, and accompaniments for horns, oboes, flutes, bassoons, and
strings, and a figured bass for harpsichord, in score. [By Handel,
1738.] Arranged from earlier works of the composer's, with a new
overture. Characters, as in Add. 16143 (above, p. 332).



Additional 31571.

Paper ; fi. 135. 18th cent. Quarto. Belonged to Thomas Field, organist of
Bath, in 1803.

Transcripts made by John Christopher Smith from Operas by
Handel, in score. Unless the contrary is stated, they are arias. The
symphonies and accompaniments are generally for violins or mixed
strings, with the occasional addition of oboes (which are, however, only
once named — in no. 1). " H.Gr." in the following descriptions refers
to the Handel-Gesellschaft's edition of the operas in question.



1. " Cangia al fine il tuo rigore " : duet
[from " Amadigi," 1715]; apparently
introduced in " II Pastor Fido " [?at
its revival in 1734]. f. 3.

2. "A chi vive di speranza " [from
"Muzio Scsevola," 1721]. Not in
"H.G." f. 11.

3. " S' or mi dai peue." This and nos.
4-17 are headed "Additional Songs
in ' Ottone ' " [1722]. Not in ' ' H.G."
f.15.

4. " Benche mi sia crudele." f . 18.

5. "Nel tuo sangue." f. 20b.

6. "S' io dir potessi." f. 22b.

7. "Non tardate a festeggiar": duet.
Not in "H.G." f.25b.

8. " A teneri affetti" : duet. f. 30.

9. " Cara, tu nel mio petto." f. 34.

10. " Spera si, mi dice il core." f.35b.

11. " Tra queste care ombre." f, 39.



12
13



f.41.



16
17

18,



f . 51b.
f. 54.
f. 58b.



" Gode r alma consolata."
" Cervo altier." f . 45.

14. " Vinto e 1' amor." f . 49.

15. " Io sperai trovar riposo."
" Di far le sue veudette."
" Un disprezzato affetto."
" Doppo r ombre d' uu fiero sos-

petto"; from " Floridante " [1721].
f. 62.

19. " Lascio ti, o bella"; from the
same opera [the second version pub-
lished in the "H.G." appendix].
f.66.

20. " Se ad un costaute core." This
and nos. 21-28 are from " Tamer-
lano"[1724]. f . 68.

21. " Su la sponda del pigro Lete."
f. 69b.

22. "Empi, se mi sdegnate." Not in
"H.G." f.71.

z 2



340



VOCAL MUSIC— SECULAR.



23. "Lacci, ferri, clie mi stringete."
f. 73b.

24. "Quando il fato e piu spietato."
Notin"H.G." f . 77.

25. " Padre amato " : recitative and aria,
f.79.

26. "Coronato (sic) di gigli": duet.
f.83.

27. " Vedro ch' un di si cangera " : duet,
f. 86b.

28. " Conservate per mia figlia questa
inutile pieta." f. 89.

29. "La speranza all' alma mia grida."
This and nos. 30-34 are headed "Ad-
ditional Songs in ' Julius Ceesar ' "
[1723]. f. 92.

30. " S' armi a miei danni." f. 94.

31. " Chi perde un momento." f. 98b.

32. "Dal mio braudo." f. 100b.

33. "Scorta siate." Not in " H.G."
f. 102.



34. " Sperai ne m' ingannai." f. 107.

35. " Sono i colpi della sorte." This
and nos. 36-39 are headed "Addi-
tional Songs in ' Bodelinde ' " [1725] ;
but no. 36 is only published in the
1734 version of "II Pastor Fido."
f . 110.

36. "Si rivedr6 la sola mia speranza."
Not in "H.G." f. 113.

37. " Ahi, perche, giusto Ciel." f. 116.

38. "Vivi, Tiranno." f. 118.

39. "D' ogni crudel martir " : duet.
Not in "H.G." f . 124b.

40. "L' armi implora dal tuo figlio."
This and no. 41, "Additional Songs
in ' Alexandre ' " [1726], were vsrritten
for Sig'* Faustina [Hasse]. The
present number is the second version
in the "H.G." appendix, f. 130.

41. " Si dolce lusingar." f. 133."



Additional 31593, passim.

Paper ; 18th cent. Oblong folio. See also below, under Songs.

Aeias, etc., apparently from Operas, with symphonies and accom-
paniments for strings (and occasionally, where mentioned below, other
instruments also), in score. Nos. 1-8 are by Nicolo Antonio Porpora ;
the others by Leonardo Vinci.



1. "II Pastor, se torna Aprile"; with
horns, flutes, etc. [From " Semira-
mide," 1729.] ff. 1-12.

2. " Vanne e vivi " : duet. f.4.

3. "Si pietoso il tuo Labro ragiona";
from an Opera in which one of the
characters is Tamiri. f . 30.

4. "Ah, ahl Ohe nel dirti addio."
[From "Issipile," 1723.] f. 34.

5. "Finch^ per te mi palpita"; from
" Ezio " [1728]. f. 38.

6. " Se viver non poss'io": duet. In
the Fitzwilliam ]\Iuseum MS. (30 F.
26), the date of which is about 1730,
this is directed to be sung by Kosa
and Arm. . .o. f. 42.

7. " Son prigioniera d' amore." f. 48.

8. "Cosi tuona." f . 54.

9. " Innamorata dolce mia fiamma."
f.58.

10. " Sullo svenato amante." f. 62.



11. " Men superba andra la sorte." f . 67.

12. " Deh, squarciami il seno." f . 72.

13. " Dovea svenarti allora"; from
"Catone" [1727]. f . 76.

14. " Se d' un' amor tiranno" [from
"Artaserse," 1730]. f. 81.

15. " Conservati fedele " [from the
same work], f. 85.

16. " Sento destarmi in petto": trio,
f. 90.

17. "Deh, in vita ti serba": quartet,
with trumpets, etc. [From "Ca-
tone."] f. 104.

18. " Giurai d' amarti." f. 115.

19. " Prendero da tuoi bei Lumi."
f. 119.

20. "Barbari, si, v' intendo"; from
"Catone." f. 123.

21. "Non so frenare il pianto" [from
"Demetrio"]. f . 127.



OPERAS.



341



Additional 31605.

Paper ; fi. 119. 18th cent. Oblong folio.

Recitatives and arias from Italian operas of the first half and
middle of the 18th century, in score. Unless the contrai-y is stated,
the symphonies and accompaniments are for strings. Where other
instruments are named, they are indicated below.



1. " Son Regina e sono amante " [from
" Didoneabbandonata," 1730]. "Vin-
ci." Belonged to Signora Giustina
Turcotti in 1729. f. 1.

2. " Numi, se giusti siete " ; from
"Adriano in Siria," 1754. "Dauid
Perez." f. 4.

3. " D'un genio che m'accende" [from
" Semiramide," 1750]. By the same.



f. 10.

4. "Ma gia vacilla il pi^ " ; from
" Baiazet," by L. Leo [1722]. f. 16.

5. "Vado; ma done, oh Dio"; with
oboes, horns, etc. [From " Didone
abbandonata," 1752.] " Ba[l]dassar
Galuppi." f. 20.

6. "... in quest' amplesso " ; apparently
from the same Opera as no. 4. f. 27b.

With the few exceptions indicated below, the following thirteen
numbers are by Leo and have only a bass for harpsichord. A few of
them are possibly not taken from operas.

7. "SoSro d' amore il reo martire."
f. 30.

8. " L' acerba mia ferita " ; from



"Olimpia" [probably J. A. Hasse's
" Olimpia in Eruda," 1740]. f. 32.

9. " Ingannato dalla sorte." f. 34.

10. " Dirti, ben mio, vorrei"; with
violin and bass. From the pasticcio,
" Alessandro in Persia" [1741]. f. 36.

11. "L' augel che more." f. 38.

12. "Parto, ma del mio affanno ti
pentirai " ; from the pasticcio, " Ales-
andro in Persia" [1741]. "[J. A.]
Hasse." f. 40.

13. ' ' Tropi^e a desiri miei " ; with violin
and bass. Anonymous, f. 42.

14. " Amo te solo ' ' [from ' ' La clemenza

The remaining pieces, with the possible exception of no. 25, are by
Baldassare Galuppi, detto il Buranello.



di Tito," 1735]. f. 46.

15. " Dall' amor piu suenturato gode
il Cor " [from " Orfeo "]. " Porpora."
f. 48b.

16. " Vo pago rendere tuo bel desio."
f . 49b.

17. "II Pastor se torna " [from " Semi-
ramide"]. Anonymous, f. 51b.

18. "Presso al caro araato" [from the
pasticcio, "Meride e Selinunte "
1740]. Probably by Leo. f. 53.

19. "Se mai senti" [from "La Cle-
menza di Tito"]. Anonymous, f . 54b.

20. " Vedo r ombra del mio bene " ; with
violin and bass. [From "Olimpia,"
1740.] "Hasse." f.56b.



21. " Voi auete un bel visetto." f. 59.

22. "Ti parla il core"; with flutes,
horns, etc. Sung at Pisa in 1758 by
Giuseppe Belli, f. 64.

23. " Dal tuo gentil sembiante"; with
flutes, horns, etc. [From " Demetrio,"
1748.] f. 72.



24. "Deh, non oscuri mai"; Pisa,
1758. [From"AttilioRegolo."] f. 83,

25. "Siete barbare, 6 stelle " ; with
oboes, etc. f. 92.

26. " lo ti lascio, o figlia amata " ; with
oboes, horns, etc. f . 102.

27. "Lo spero, lo credo." f. 114.



Additional 31625, ff. 18-122.
Paper ; 18th cent. Oblong folio. See also under sacred Songs (vol. i, p. 444).

Single numbers (for 1 voice, unless the contrary is stated), with
accompaniments for strings (except no. 13), in score, apparently all of



342



YOCAL MUSIC— SECULAR.



them taken from Operas. Nos. 1-
anonymous.

1. "Se non vivremo insieme": duet.
f.l8.

2. "Per dar vita." Sung by Tesi. f. 28.

3. "La destra ti chiedo": duet from
"Demofoon[te]." Sung by CaSarelli
and La Turcotti. f . 33.

4. "Eitorna in questo sen." Sung by
Salimbeni. f. 41.

5. " E nato per penare." Sung by Tesi.
f.46.

6. " L' amante tortorella." f. 51.

7. " Non so donde viene " ; from
" L' Olimpiade " [1787]. f. 56.

8. "Ti lascio, oh Dio " ; f rom " Achille "
[about 1743]. Sung by Gizziello.
f.61.

9. "Ah, perdona alprimo affetto " [from



-12 are by Leonardo Leo ; nos. 14-18,



"La Clemenza di Tito," 1735]. f. 70.

10. "Tu me da me dividi " ; from
" L' Olimpiade." f.73.

11. " Vorrei che il caro bene." f. 79.

12. "Parto, perche." Sung by Salim-
beni. f. 84.

13. "Tu ohe ferita sei." "Antonio
Salieri." f . 89.

14. "Vengoavoi." f.93.

15. " Sul mio Labro." f. 98.

16. ' ' Nocchier che mira vicino il Lido."
f. 102.

17. "Per abbattere la sorte." f. 108.

18. "L' innocenza de' suoi sguardi."
f. 113.

19. " Sento due fiamme " ; with oboe,
etc. By L. Vinci, f. 118.



Additional 31631.

Paper ; ff . 29. 18th cent. Oblong quarto.

Selections, with accompaniments, in score, from an Opera at the
beginning of which are written the words " Ruggiaro amorodo " {sc.
"Ruggiero amoroso"), to which has been added in pencil "del Sig^^
Hasse," but on what authority it does not appear, as the work is
evidently different from Hasse's Opera of that name (see Add. 16025).
Unless the contrary is stated, they are arias preceded by recitatives,
with a figured bass, interspersed among which are a few ritournelles
for strings, which instruments are also used in nos. 1 and 2.
Characters : Ruggiero, Balduino, Riccardo, Rosalia, Fau . . . (?).



1. "Perch^ si pieghi quel duro cor."
f. 1.

2. "II sospirato ben." f. 5.

3. " Lasciar di piangere." f. 12.

4. " Se prepara al tuo gran core."
f. 13b.



5. " Va, ritorna a chi ti brama." f. 18b.

6. "Mio Cor, perche pauenti." f . 20.

7. " Cederai— Non cedero " : duet. f. 23.

8. " Dal mio sol 1' alba." f. 24b.

9. " Infedel mi credi." f. 26.

10. " S' il mio brando." f. 27b.



Additional 31637, passim.
Paper ; 18th cent. Oblong folio. See also under Masses (vol. i, p. 228).

Arias, etc., apparently from Operas, with symphonies and accompani-
ments for strings, in score.

1. " Che gran pena trafigge il mio Core." \ 3. " In che t'ofiende " ; from " Catone "
" Sassone " (sc. Hasse). f. 1. | [1732]. By the same. ff. 17-21b.

2. "Torna inuocente" [from "Arta- \ 4. " Di pena, di scempio." "[F.?]Feo."'
serse," 1730]. By the same. f. 8. f. 74.



OPERAS.



343



5. "Mio caro bene." This and nos.



Online LibraryBritish Museum. Dept. of ManuscriptsCatalogue of manuscript music in the British museum (Volume 2) → online text (page 39 of 120)