René Descares (La Haye en Touraine, Francia, 31 de marzo de 1596 – Estocolmo, Suecia, 11 de febrero de 1650) fue un filósofo, matemático y físico francés, considerado como el padre de la geometría analítica y de la filosofía moderna, así coo uno de los epígonos con luz propia en el umbral de la revolución científica.Después del esplendor de la antigua filosofía griega y del apogeo y crisis de la escolástica en la Europa medieval, los nuevos aires del Renacimiento y la revolución científica que lo acompañó darían lugar, en el siglo XVII, al nacimiento de la filosofía moderna. El primero de los ismos filosóficos de la modernidad fue el racionalismo, y Descartes, su iniciador, se propuso hacer `tabula rasa` de la tradición y construir un nuevo edificio sobre la base de la razón y con la eficaz metodología de las matemáticas. Su «duda metódica» no cuestionó a Dios sino todo lo contrario pero, al igual que Galileo, hubo de sufrir la persecución a causa de sus ideas.
René Descartes se educó en el colegio jesuita de La Flèche (1604-1612), por entonces uno de los más prestigiosos de Europa, donde gozó de un cierto trato de favor en atención a su delicada salud. Los estudios que en tal centro llevó a cabo tuvieron una importancia decisiva en su formación intelectual, conocida la turbulenta juventud de Descartes, sin duda en La Flèche debió cimentarse la base de su cultura. Las huellas de tal educación se manifiestan objetiva y acusadamente en toda la ideología filosófica del sabio.
El programa de estudios propio de aquel colegio (según diversos testimonios, entre los que figura el del mismo Descartes) era muy variado: giraba esencialmente en torno a la tradicional enseñanza de las artes liberales, a la cual se añadían nociones de teología y ejercicios prácticos útiles para la vida de los futuros gentilhombres. Aun cuando el programa propiamente dicho debía de resultar más bien ligero y orientado en sentido esencialmente práctico (no se pretendía formar sabios, sino hombres preparados para las elevadas misiones políticas a que su rango les permitía aspirar), los alumnos más activos o curiosos podían completarlos por su cuenta mediante lecturas personales.
Años después, Descartes criticaría amargamente la educación recibida. Es perfectamente posible, sin embargo, que su descontento al respecto proceda no tanto de consideraciones filosóficas como de la natural reacción de un adolescente que durante tantos años estuvo sometido a una disciplina, y de la sensación de inutilidad de todo lo aprendido en relación con sus posibles ocupaciones futuras (burocracia o milicia). Tras su etapa en La Flèche, Descartes obtuvo el título de bachiller y de licenciado en derecho por la Facultad de Poitiers (1616), y a los veintidós años partió hacia los Países Bajos, donde sirvió como soldado en el ejército de Mauricio de Nassau. En 1619 se enroló en las filas del duque de Baviera.
Según relataría el propio Descartes en el `Discurso del método`, durante el crudo invierno de ese año se halló bloqueado en una localidad del Alto Danubio, posiblemente cerca de Ulm, permaneció encerrado al lado de una estufa y lejos de cualquier relación social, sin más compañía que la de sus pensamientos. En tal lugar, y tras una fuerte crisis de escepticismo, se le revelaron las bases sobre las cuales edificaría su sistema filosófico: el método matemático y el principio del `cogito, ergo sum` (pienso, luego existo). Víctima de una febril excitación, durante la noche del 10 de noviembre de 1619 tuvo tres sueños, en cuyo transcurso intuyó su método y conoció su profunda vocación de consagrar su vida a la ciencia.
Tras renunciar a la vida militar, Descartes viajó por Alemania y los Países Bajos y regresó a Francia en 1622, para vender sus posesiones y asegurarse así una vida independiente, pasó una temporada en Italia (1623-1625) y se afincó luego en París, donde se relacionó con la mayoría de científicos de la época.
En 1628 decidió instalarse en Holanda, país en el que las investigaciones científicas gozaban de gran consideración y, además, se veían favorecidas por una relativa libertad de pensamiento. Descartes consideró que era el lugar más favorable para cumplir los objetivos filosóficos y científicos que se había fijado, y residió allí hasta 1649.
Los cinco primeros años los dedicó principalmente a elaborar su propio sistema del mundo y su concepción del hombre y del cuerpo humano. En 1633 debía de tener ya muy avanzada la redacción de un amplio texto de metafísica y física titulado Tratado sobre la luz, sin embargo, la noticia de la condena de Galileo le asustó, puesto que también Descartes sostenía en aquella obra el movimiento de la Tierra, opinión que no creía censurable desde el punto de vista teológico. Como temía que tal texto pudiera contener teorías condenables, renunció a su publicación, que tendría lugar póstumamente.
En 1637 apareció su famoso `Discurso del método`, presentado como prólogo a tres ensayos científicos. Por la audacia y novedad de los conceptos, la genialidad de los descubrimientos y el ímpetu de las ideas, el libro bastó para dar a su autor una inmediata y merecida fama, pero también por ello mismo provocó un diluvio de polémicas, que en adelante harían fatigosa y aun peligrosa su vida.
Descartes proponía en el libro una duda metódica que sometiese a juicio todos los conocimientos de la época, aunque, a diferencia de los escépticos, la suya era una duda orientada a la búsqueda de principios últimos sobre los cuales cimentar sólidamente el saber. Este principio lo halló en la existencia de la propia conciencia que duda, en su famosa formulación «pienso, luego existo». Sobre la base de esta primera evidencia pudo desandar en parte el camino de su escepticismo, hallando en Dios el garante último de la verdad de las evidencias de la razón, que se manifiestan como ideas «claras y distintas».
El método cartesiano, que Descartes propuso para todas las ciencias y disciplinas, consiste en descomponer los problemas complejos en partes progresivamente más sencillas hasta hallar sus elementos básicos, las ideas simples, que se presentan a la razón de un modo evidente, y proceder a partir de ellas, por síntesis, a reconstruir todo el complejo, exigiendo a cada nueva relación establecida entre ideas simples la misma evidencia de éstas. Los ensayos científicos que seguían al Discurso ofrecían un compendio de sus teorías físicas, entre las que destaca su formulación de la ley de inercia y una especificación de su método para las matemáticas.
Los fundamentos de su física mecanicista, que hacía de la extensión la principal propiedad de los cuerpos materiales, fueron expuestos por Descartes en las Meditaciones metafísicas (1641), donde desarrolló su demostración de la existencia y la perfección de Dios y de la inmortalidad del alma, ya apuntada en la cuarta parte del Discurso del método. El mecanicismo radical de las teorías físicas de Descartes, sin embargo, determinó que fuesen superadas más adelante.
Conforme crecía su fama y la divulgación de su filosofía, arreciaron las críticas y las amenazas de persecución religiosa por parte de algunas autoridades académicas y eclesiásticas, tanto en los Países Bajos como en Francia. Nacidas en medio de discusiones, las Meditaciones metafísicas habían de valerle diversas acusaciones promovidas por los teólogos, algo por el estilo aconteció durante la redacción y al publicar otras obras suyas, como `Los principios de la filosofía` (1644) y `Las pasiones del alma` (1649).
Cansado de estas luchas, en 1649 Descartes aceptó la invitación de la reina Cristina de Suecia, que le exhortaba a trasladarse a Estocolmo como preceptor suyo de filosofía. Previamente habían mantenido una intensa correspondencia, y, a pesar de las satisfacciones intelectuales que le proporcionaba Cristina, Descartes no fue feliz en `el país de los osos, donde los pensamientos de los hombres parecen, como el agua, metamorfosearse en hielo`. Estaba acostumbrado a las comodidades y no le era fácil levantarse cada día a las cuatro de la mañana, en plena oscuridad y con el frío invernal royéndole los huesos, para adoctrinar a una reina que no disponía de más tiempo libre debido a sus obligaciones. Los espartanos madrugones y el frío pudieron más que el filósofo, que murió de una pulmonía a principios de 1650, cinco meses después de su llegada.
145 Duets, S, A, pf, 1894, R xxx 111a3 Duets, S, A, pf, 1909, R xxx 124An die Hoffnung (F. Hölderlin), A/Mez, orch/pf, 1912, R xxxv 136Hymnus der Liebe (L. Jacobowski), Bar/A, orch, 1914, R xxxv
Lieder: 6 Lieder, op.4, Mez/Bar, pf, 1890–91, R xxxi; 5 Lieder, op.8, S/T, pf, 1892, R xxxi; 5 Lieder ‘Der Manen Franz Schüberts’, op.12, 1v, pf, 1893, R xxxi; Ich stehe hoch über’m See, op.14b (von Lieven), B, pf, R xxxi; 10 Lieder, op.15, Mez/Bar, pf, 1894, R xxxi; 4 Lieder, op.23, 1v, pf, 1898, R xxxi; 6 Gedichte von Anna Ritter, op.31, Mez/Bar, pf, 1898, R xxxi; 6 Lieder, op.35, Mez/Bar, pf, 1899, R xxxi; 5 Gesänge, op.37, Mez/Bar, pf, 1899, R xxxi; 8 Lieder, op.43, 1v, pf, 1900, R xxxi; 7 Lieder, op.48, Mez/Bar, pf, 1900, R xxxi; 12 Lieder ‘An Hugo Wolf’ op.51, 1v, pf, 1900, R xxxi; 15 Lieder, op.55, 1v, pf, 1900–01, R xxxi; 16 Gesänge, op.62, 1v, pf, 1901, R xxxii; 12 Lieder, op.66, Mez/Bar, pf, 1902, R xxxii; 6 Gesänge, op.68, Mez/Bar, pf, 1902, R xxxii; 17 Gesänge, op.70, S/T, pf, 1902–3, R xxxii; 18 Gesänge, op.75, 1v, pf, 1903, R xxxii; Schlichte Weisen, op.76, 60 Lieder, 1v, pf, 1903–12, R xxxiii; 8 Kompositionen, op.79c, 1v, pf, 1901–3, R xxxiv; 4 Gesänge, op.88, Mez/Bar, pf, 1905, R xxxiv; 4 Lieder, op.97, 1v, pf, 1906, R xxxiv; 5 Gesänge, op.98, 1v, pf, 1906, R xxxiv; 6 Lieder, op.104, 1v, pf, 1907, R xxxiv; 5 neue Kinderlieder, op.142, S/T, pf, 1915, R xxxiv; Other lieder without op. no., 1893–1912, R xxxiv Orchestrations of lieder opp.31/4, 31/5, 37/3, 43/5, 62/11, 75/11, 76/16, 76/22, 76/35, 76/52, 97/1, 98/1, R xxxv
Vocal religiosa:
192 geistliche Gesänge, Mez/Bar, org, 1898, R xxxiv 3 geistliche Lieder, Mez/Bar, org, 1900, 1903, R xxxiv Trauungslied ‘Befiehl dem Herrn deine Wege’, S, A, org, R xxx 1052 geistliche Lieder, Mez/Bar, org/harmonium/pf, 1907, R xxxiv 13712 geistliche Lieder, 1v, pf/harmonium/org, 1914, R xxxiv
Instrumental:
Orch.: op. —Castra vetera (incid music, J. Baltz), 1889–90, R xxxvi —Heroide, d, sym. movt, 1889, R xxxvii —Symphonic movement, d, 1890, R xxxvii —Lyrisches Andante (Liebestraum), str, 1898 —Scherzino, hn, str, 1899, R viii 26/1Elegie, e [arr. pf work], xxxvii 502 Romanzen, G, D, vn, orch, 1900, R vii 86Variations and Fugue on Theme of Beethoven [arr. 2 pf work], 1915, R vi 90Sinfonietta, A, 1904–5, R i 93Suite im alten Stil, F [arr. vn, pf work], 1916, R vi 95Serenade, G, 1905–6, R ii 100Variations and Fugue on a Theme of J.A. Hiller, E, 1907, R iii 101Violin Concerto, A, 1907–8, R vii 103(a)Aria, A, vn, small orch [arr. vn, pf work], R vii 108Symphonischer Prolog zu einer Tragödie, a, 1908, R iii 114Piano Concerto, f, 1910, R viii 120Eine Lustspielouvertüre, 1911, R iv 123Konzert im alten Stil, F, 1912, R iv 125Eine romantische Suite (after J.F. Eichendorff), 1912, R iv 1284 Tondichtungen nach Arnold Böcklin, 1913, R v 130Eine Ballettsuite, D, 1913, R v 132Variations and Fugue on a Theme of Mozart, 1914, R v; arr. 2 pf, 1914, R xiv 140Eine vaterländische Ouvertüre, F, 1914, R vi 147Andante for Rondo, vn, small orch, inc., R xxxvii choral 63 Choruses, SATB, pf, 1892, R xxx —Tantum ergo sacramentum, 5vv, 1895, R xxvii —Gloriabuntur in te omnes, 4vv, ?1898, R xxvii 21Hymne an den Gesang (L. Steiner), male chorus, orch/pf, 1898, R xxix 387 Male Choruses, 1899, R xxvii 393 Choruses, SAATBB, 1899, R xxvii —Maria Himmelsfreud! (J.P. Heuberger), 1899 or 1900, R xxvii 61Simple liturgical pieces: 61a, 8 settings of Tantum ergo; 61b, 4 settings of Tantum ergo, SA/TB, org; 61c, 4 settings of Tantum ergo, 4vv, org; 61d, 8 Marienlieder; 61e, 4 Marienlieder, SA/TB, org; 61f, 4 Marienlieder, 4vv, org; 61g, 6 Trauergesänge; 1901, R xxx —Palmsonntagmorgen (E. Geibel), 5vv, 1902, R xxvii 71Gesang der Verklärten (K. Busse), SSATB, orch, 1903, R xxix —Auferstanden, auferstanden (cant.), A, chorus, org, 1903–5, arr. J. Haas, R xxx —4 cantatas: Vom Himmel hoch, da komm ich her; O wie selig seid ihr doch, ihr Frommen; O Haupt voll Blut und Wunden; Meinen Jesum lass ich nicht; 1903–5, R xxx 7979f, 14 arrs., 79g, 3 arrs., female/boys’ chorus; 1900, R xxvii 8310 Gesänge, male vv, 1904, 1909, R xxvii 106Psalm c, chorus, orch, org, 1908–9, R xxix —Weihegesang (O. Liebmann), A, chorus, wind orch, 1908, R xxviii —Vater unser, 12vv, 1909, completed K. Hasse, R xxvii 110Geistliche Gesänge, 5vv: Mein Odem ist schwach; Ach, Herr, strafe mich nicht; O Tod, wie bitter bist du; 1912, R xxvii 111b3 Gesänge, female 4vv, 1909, R xxvii; arr. female 3vv as op.111c 112Die Nonnen (M. Boelitz), chorus, orch, 1909, R xxix —Lasset uns den Herren preisen (Easter motet, J. Rist), 5vv, ?1911, R xxvii 119Die Weihe der Nacht (C.F. Hebbel), A, male vv, orch, 1911, R xxviii 126Römischer Triumphgesang (H. Lingg), male vv, orch, 1912, R xxix —Abschiedslied (M. von Seydewitz), 4vv, 1914, R xxvii 1388 geistliche Gesänge, 4–8vv, 1914, R xxvii —Requiem: 1st movt, Totenfeier (trans. H. von Hase), 4 solo vv, 4vv, orch, 1914, R xxviii; 2nd movt, Dies irae, vv, orch, 1914, inc., R xxxvi 1442 Gesänge: Der Einsiedler (Eichendorff), Bar, 5vv, orch; Requiem (Hebbel), A/Bar, chorus, orch; 1915, R xxviii —20 Responsorien (1966)
Chbr.: —Scherzo, g, fl, str qt, R xxxviii —String Quartet, d, with db in finale, 1888–9, R xxv 1Sonata, d, vn, pf, 1890, R xix 2Trio, b, vn, va, pf, 1891, R xxii 3Sonata, D, vn, pf, 1891, R xix 5Sonata, f, vc, pf, 1892, R xxi —Vn parts for 6 Sonatinas op.36 by Clementi, before 1895 —Piano Quintet, c, 1897–8, R xxiii 28Sonata, g, vc, pf, 1898, R xxi 41Sonata, A, vn, pf, 1899, R xix 424 Sonatas, d, A, b, g, vn, 1900, R xxiv 492 Sonatas, A , f , cl, pf, 1900, R xxi 542 String Quartets, g, A, 1900, R xxv —Caprice, a, vc, pf, 1901, R xxi 64Piano Quintet, c, 1901–2, R xxiii —Albumblatt, E , Tarantella, g, cl/vn, pf, ?1902, R xxi —Allegretto grazioso, A, fl, pf, ?1902, R xxi —Prelude and Fugue, a, vn, 1902, R xxiv —Romanze, G, Petite caprice, g, vn, pf, 1902, R xx 72Sonata, C, vn, pf, 1903, R xix 74String Quartet, d, 1903–4, R xxv 772 Trios: 77a, Serenade, D, fl, vn, va, R xxvi; 77b, String Trio, a, R xxiv; 1904 78Sonata, F, vc, pf, 1904, R xxi 7979d, Wiegenlied, Capriccio, Burla, vn, pf, 1902–4, R xix; 79e, Caprice, Kleine Romanze, vc, pf, 1904, R xxi 84Sonata, f , vn, pf, 1905, R xix 87Albumblatt, Romanze, vn, pf, ?1905, R xix 917 Sonatas, a, D, B , b, e, G, a, vn, 1905, R xxiv 93Suite im alten Stil, F, vn, pf, 1906, R xx; orchd 1916, R vi; Largo arr. vn, org, R xxxviii 102Trio, e, vn, vc, pf, 1907–8, R xxii 103103a, Suite (6 Vortragsstücke), a, vn, pf, 1908, R xx, 3rd movt orchd; 103b, 2 Little Sonatas, d, A, vn, pf, 1909, R xx; 103c, 12 kleine Stücke nach eigenen Liedern [op.76], vn, pf, 1916, R xx 107Sonata, B , cl/va, pf, 1908–9, R xxi 109String Quartet, E , 1909, R xxv 113Piano Quartet, d, 1910, R xxii 116Sonata, a, vc, pf, 1910, R xxi 117Preludes and Fugues, b, g, e, g (Chaconne), G, d, a, e, vn, 1909–12, R xxiv 118Sextet, F, 2 vn, 2 va, 2 vc, 1910, R xxvi 121String Quartet, f , 1911, R xxv 122Sonata, e, vn, pf, 1911, R xx 131131a, Preludes and Fugues, a, d, G, g, D, e, vn, 1914, R xxiv; 131b, 3 Duos (Canons und Fugen) im alten Stil, 2 vn, 1914, R xxiv; 131c, 3 Suites, G, d, a, vc, 1915, R xxiv; 131d, 3 Suites, g, D, e, va, 1915, R xxiv —Allegro, A, 2 vn, ?1914, R xxiv 133Piano Quartet, a, 1914, R xxii 139Sonata, c, vn, pf, 1915, R xx 141141a, Serenade, fl/vn, vn, va, 1915, R xxvi; 141b, String Trio, d, 1915, R xxiv 146Clarinet Quintet, A, 1915, R xxvi —Prelude, e, vn, ?1915, R xxiv
Piano: 912 Walzer-Capricen, duet, 1892, R xiii 1020 deutsche Tänze, duet, 1893, R xiii 117 Walzer, 1893, R ix 13Lose Blätter, 1894, R ix 17Aus der Jugendzeit, 1895, R ix —111 Canons durch alle Dur- und Molltonarten, 1895, R xii —Etude brillante, c, 1896 18Improvisationen, 1896, R ix 205 Humoresken, 1896, R ix 226 Walzer, duet, 1898, R xiii —An der schönen blauen Donau, improvisation, 1898 —Grüsse an die Jugend, 1898, R xii 246 morceaux, 1898, R ix 25Aquarellen, 5 kleine Tonbilder, 1897–8, R ix —3 Albumblätter, 1898–9, R xii 267 Fantasie-Stücke, 1898, R ix 327 Charakterstücke, 1899, R ix 345 pièces pittoresques, duet, 1899, R xiii 36Bunte Blätter, 1899, R ix —Blätter und Blüten, 12 pieces, 1900–02, R xii 4410 kleine Vortragsstücke, 1900, R ix 456 Intermezzi, 1900, R x 53Silhouetten, 7 pieces, 1900, R x 586 Burlesken, duet, 1901, R xiii —4 Piano Pieces 1901–6, R xii 79a10 Piano Pieces, 1901–3, R x —4 Spezialstudien, left hand, ?1901, R xii —In der Nacht, 1902, R xii 81Variations and Fugue on a Theme of J.S. Bach, 1904, R x 82Aus meinem Tagebuch, 35 little pieces, 1904–12, R x 86Variations and Fugue on a Theme of Beethoven, 2 pf, 1904, R xiv; orchd 1915, R vi —Perpetuum mobile, c , 1905, R xii 894 Sonatinas, e, D, F, a, 1905, 1908, R xi —Scherzo, f , Caprice, f , 1906, R xii 946 Pieces, duet, 1906, R xiii 96Introduction, Passacaglia and Fugue, b, 2 pf, 1906, R xiv 996 Preludes and Fugues, e, D, a, b, G, d, 1906–7, R xi —Ewig dein!, salon piece, 1907, R xii 115Episoden, 8 pieces, 1910, R xi —Marsch der Stiftsdamen, 1914, R xii 132aVariations and Fugue on a Theme of Mozart, 2 pf [arr. orch work], 1914, R xiv 134Variations and Fugue on a Theme of G.P. Telemann, 1914, R xi 143Träume am Kamin, 12 little pieces, 1915, R xi —Fughette über das Deutschlandlied, 1916, R xii
Organ: 73 Organ Pieces, 1892, R xv 16Suite ‘Den Manen J.S. Bachs’, e, 1894–5, R xv 27Chorale Fantasia ‘Ein’ feste Burg ist unser Gott’, 1898, R xv 29Fantasia and Fugue, c, 1898, R xv 30Chorale Fantasia ‘Freu’ dich sehr, o meine Seele’, 1898, R xv 33Sonata no.1, f , 1899, R xv 40Chorale Fantasias ‘Wie schön leucht’t uns der Morgenstern’, ‘Straf’ mich nicht in deinem Zorn’, 1899, R xv 46Fantasia and Fugue on B–A–C–H, 1900, R xv 476 Trios, 1900, R xv 52Chorale Fantasias ‘Alle Menschen müssen sterben’, ‘Wachet auf, ruft uns die Stimme’, ‘Hallejula! Gott zu loben, bleibe meine Seelenfreud’, 1900, R xv 565 Easy Preludes and Fugues, 1904, R xvi 57Symphonic Fantasia and Fugue, 1901, R xvi 5912 Pieces, 1901, R xvi 60Sonata no.2, d, 1901, R xvi 63Monologe, 12 pieces, 1901–2, R xvi 6512 Pieces, 1902, R xvi 6752 Easy Chorale Preludes, 1902, R xvii 6910 Pieces, 1903, R xvii —Schule des Triospiels [arr. Bach: 2-part inventions], 1903, collab. K. Straube 73Variations and Fugue on an Original Theme, f , 1903, R xvii 79b13 Chorale Preludes, 1901–3, R xvii 8012 Pieces, 1904, R xvii 854 Preludes and Fugues, c, G, F, e, 1904, R xvii 92Suite, g, 1905, R xviii 127Introduction, Passacaglia and Fugue, e, 1913, R xviii 1299 Pieces, 1913, R xviii 135a30 Little Chorale Preludes, 1914, R xviii 135bFantasia and Fugue, d, 1916, R xviii 1457 Organ Pieces, 1915–16, R xviii Several small pieces, 1893–1906, R xviii Principal publishers: Augener, Bote & Bock, Breitkopf & Härtel, Junne, Kahnt, Lauterbach & Kuhn, Leuckart, Peters, Schott, Simrock, Tischer & Jagenberg, Universal
Edicions i arranjaments:
(selective list)
Orch: H. Wolf: Italienische Serenade, small orch (Leipzig, 1903); J.S. Bach: Vn Concs., a. E, 1911; G.F. Handel: Conc. grosso in B (Leipzig, 1912); A. Corelli: La folia (Brussels, 1914); J.S. Bach: Brandenburg Conc. no.5, Kbd Conc., d, 2 Kbd Concs., C, c, 1915: J.S. Bach: O Mensch, bewein’ dein’ Sünde gross, str (Leipzig, 1915); J.S. Bach: Suites nos.1–3, 1915–16; J.S. Bach: Suite, g [arr. Kbd Partitas and English Suites] (Leipzig, 1916); J.S. Bach: Triple Conc., a, 1916 Chbr: J.S. Bach: Violin-Sonate, f (Leipzig, 1915); J.S. Bach: Violin-Sonate, A (Berlin and Leipzig, 1922) Pf: E. d’Albert: Ouvertüre Esther, op.8, duet (Berlin, 1895); J.S. Bach: Orgel-Werke (London, 1895); J.S. Bach: Orgel-Werke, duet (London, 1895–6); F. Chopin: 5 Spezialstudien (Munich and Leipzig, 1899); R. Strauss: Auzgewählte Lieder (Munich and Leipzig, 1899); J.S. Bach: 13 Choralvorspiele (Munich and Leipzig, 1900); H. Wolf: Penthesilea, duet (Leipzig, 1903); H. Wolf: Italienische Serenade, duet (Leipzig, 1904); J.S. Bach: Brandenburg Concs. nos.1–6, duet (Leipzig, 1905–6); H. Wolf: 12 Mörike-Lieder (Leipzig, 1905); J.S. Bach: Orchester-Suiten 1–4, duet (Leipzig, 1907); C.P.E. Bach: 4 Symphonien, duet (Leipzig, 1910); A. Jensen: 3 Lieder in Jensen-Album (Leipzig, 1910); R. Wagner: Auserlesene Stücke aus Opern, 2 pf (Leipzig, 1914); J. Brahms: 5 langsame Sätze aus den Sinfonien (Berlin and Leipzig, 1916); J.S. Bach: 3 Choralvorspiele (Munich and Leipzig, 1943) Choral: 9 ausgewählte Volkslieder, male vv (Munich and Leipzig, 1899); 6 Madrigalen (Leipzig and Zürich, 1900); 12 Madrigalen, male vv (Leipzig and Zürich, 1900); H. Wolf: Christnacht (Leipzig, 1903); H. Wolf: 6 geistliche Lieder, male vv (Leipzig, 1903); numerous unpubd arrs. Solo vocal with orch: H. Wolf: 14 geistliche Lieder (Leipzig, 1908); 7 Lieder [Brahms, Grieg and Wolf] (Leipzig, 1914); J. Brahms: 6 Lieder (Leipzig, 1914–15); F. Schubert: 8 Lieder (Leipzig, 1914); R. Schumann: 5 Lieder, 1916; F. Schubert: 7 Lieder (Vienna, 1926)
Literatura:
‘Analyse des Streichquartetts d-moll op.74’, Die Musik, iii (1903–4), 244 Beiträge zur Modulationslehre (Leipzig,1903, 24/1952) ‘Hugo Wolfs künstlerischer Nachlass’, Süddeutsche Monatshefte, 1–6 (1904), 157–64 ‘Ich bitte um’s Wort’, NZM, lxxi (1904), 20–21 ‘Mehr Licht’, NZM, lxxi (1904), 202–3 ‘Zum 1. April’, NZM, lxxi (1904), 274–5 ‘Degeneration und Regeneration in der Musik’, Neue Musikzeitung, xxix (1907–8), 49–51 ‘Musik und Fortschritt’, Leipziger Tageblatt (16 June 1907) ‘Offener Brief’, Die Musik, vii/1 (1907–8), 10–14 ‘Felix Mendelssohn Bartholdys “Lieder ohne Worte”’, Leipziger illustrierte Zeitung (28 Jan 1909) ed. E. von Hase-Koehler: Briefe eines deutschen Meisters (Leipzig, 1928, 2/1938) ed. H. and E.H.Mueller von Asow: Briefwechsel mit Herzog Georg II. von Sachsen-Meiningen (Weimar, 1949) ed. O. Schreiber: Briefe zwischen der Arbeit (Bonn, 1956/R)
Drey Schmid bey einem Amboss stunden (Cyclopisches Hammer-Tricinium), TTB, bc, in Musikalischer Zeitvertreiber (Nuremberg, 1643), 16554; ed. in Corydon, ii (Brunswick, 1933), 75 Fabri cum per incudem (Histoire des Cyclopes), SSB, bc, A-Wn, D-Bsb, F-Pc Nominativo hic haec hoc, SATB, bc, in J.E. Kindermann: Intermedium musico-politicum (Nuremberg, 1643), 16524, 16554 [by T. Merula]; ed. in Corydon, ii (Brunswick, 1933), 43 Quand mon mari vient de dehors – Requiem aeternam (Requiem jocosum), SST, A-Wn, D-Bsb, Pc; ed. in Corydon, ii (Brunswick, 1933), 74 Rusticus cum mortuum suum vidit asinum (Testament d’un âne), SA, bc, A-Wn, D-Bsb, F-Pc; ed. in Corydon, ii (Brunswick, 1933), 68 Venerabilis barba Capucinorum (Plaisanterie sur la barbe), SSB, bc, D-Bsb, Mbs, F-Pc; ed. in Corydon, ii (Brunswick, 1933), 60
Vocal religiosa:
Masses: Missa ‘Sciolto havean dall’alte sponde’, c, SSATB, bc, GB-Lbl, Lcm, Ob, I-Ps, Rsg, Vqs [on own cantata; also survives with 2 vn] Missa a quinque et a novem cum selectis quibusdam cantionibus (Cologne, 1666) [1666]
Motets Arion Romanus sive Liber primus sacrarum cantionum, 1–5vv (Konstanz, 1670) [1670] Sacri concerti musicali, 2–5vv (Rome, 1675) [1675] Alma Redemptoris mater, SSB, bc, 1647 [also survives as Alleluia, Jesum nostrum laudate]; ed. in Jones (C1982) Anima nostra sustinet Dominum, SS, bc, 1670; ed. in Jones (C1982) Annunciate, gentes, SSATB, bc, 1675; ed. in Orbis choris, iii (Egtved, 1967); ed. in Jones (C1982) Ardens est cor nostrum [meum], SATB, bc, 16641, 1670; ed. F. Rochlitz, Sammlung vorzüglicher Gesang-Stücke, ii (Mainz, c1840), no.4; ed. in Jones (C1982) Audite, sancti [justi], SSB, bc, 1645, 16562, 1670, 1693; ed. in Jones (C1982) Audivi vocem, SSS, 2 vn, lute, theorbo, bc, before 1634, A-KR Ave dulcissime angelorum panis, SST, 2 vn, bc, 1670 Benedicite gentes, SSS, bc, 1670 Benedictus Deus, SSS, bc, 16681; ed. in Jones (C1982) Cantabo Domino, SS, bc, 16753; ed. in Jones (C1982) Caro factum facta parens, SS, bc, S-Uu Caro mea vere est cibus, SMezATB, 2 vn, bc, F-Pn Christus factus est, SSATB, SATB, bc, I-Rsg; ed. in Documenta liturgiae polychoralis, xviii (Trent, 1964) Confitebor tibi Domine, SSATB, 2 vn, bc, GB-Lcm Confitebor tibi Domine, SSB, bc, 16462, 16622; ed. in Jones (C1982) Confitemini Domino, BB, bc, before 1634, A-KR, F-Pn Convertere ad me, S, bc, 1670 Cum reverteretur David, SSS, bc, 1675 [also survives as Cum ingrederetur]; C messe e mottetti i, 74 Desiderata nobis, ATB, bc, 16671; ed. in Jones (C1982) Dicite nobis, SSAT, bc, 16753; ed. in Jones (C1982) Dixit Dominus, SATB, SATB, bc, GB-Lcm, I-PS (inc.), S-Uu Dixit Dominus, SSATB, bc, CS-KRa, GB-Lbl, Och, Y; ed. J. Pilgrim (Hilversum, 1968) Doleo et poenitet me, SSTB, 3 viols (possibly not by Carissimi), bc, S-Uu Domine Deus meus, S, bc, 16631, 1670; ed. Cantio sacra, viii (Cologne, 1956); ed. in Jones (C1982) Domine quis habitabit, SST, bc, 16753; ed. in Jones (C1982) Ecce nos reliquimus omnia, TTB, bc, before 1648, GB-Lam, Ob, Och, Y, S-Uu Ecce sponsus venit, SA, bc, 16542, 1670 Egredimini caelestes curiae, SSS, 2 vn, bc, in A. Poggioli, Delectus sacrarum cantionum 2–5vv (Antwerp, 1652) Egredimini, filiae Sion, et admiramini, S, bc, I-Bc Egredimini, filiae Sion, et videte, SSS, bc, 1670 Elevatis manibus, SAT, bc, I-Rc Emendemus in melius, MezAT, bc, 16432; ed. in Jones (C1982) Euge, serve bone, AT, bc, GB-Lam, Lcm, Och, Y Exultabunt justi (Felicitas beatorum), SSS, bc, B-Bc (frag.), D-Hs, F-Pc, GB-Lam, Lbl, Lcm, Ob, Och, I-COd (with 2 vn); ed. C. Dell’Argine (Florence, 1972) Exulta, gaude, filia Sion, SS, bc, 16753; ed. R. Prentice, 6 Cantatas by Carissimi (London, 1877); ed. in Jones (C1982) Exurge, cor meum, in cithara, S, 2 vn, vle, bc, 1670; ed. in Jones (C1982) Gaudeat terra, jubilent montes, SS, bc, S-Uu Hodie Salvator mundi, SSATB, 2 vn, va da gamba, bc, before 1664, Uu Hodie Simon Petrus ascendit, TT, bc, B-Bc, F-Pc, GB-Lam, Lbl, Och, Ob, Y (for SS); C messe e mottetti i, 68 Hymnum jucunditatis cantemus, SS, bc, 16451, 1670; ed. in Jones (C1982) Immensus coeli conditor, SS, bc, before 1634, A-KR, F-Pn, I-Bc Incipit oratio Jeremiae Prophetae, S, bc, in A. Poglietti, Compendium oder Kurtzer Begriff (1676) [frag. only], A-KR Inclinavit caelos Dominus, TT, bc, F-Pn Insurrexerunt [Praevaluerunt] in nos, MezAT, bc, 16421, 16481, 16491, 16494, 16611; ed. in Jones (C1982) Jubilemus omnes et cantemus, SSB, bc, before 1673, S-Uu; ed. E. Selén (Kassel, 1973) Lamentations Jeremiae Prophetae, ‘Feriae Quintae in Coena Domini’, 1 for Mez, bc, 1 for S, bc, I-Bc Laudate, pueri, SSS, A-Wn, CS-KRa (with 2 vn), D-MÜs Laudemus virum gloriosum, SS, bc, 16562, 1670, 1675; ed. in Jones (C1982) Lucifer, caelestis olim, BS, bc, 1693 Militia est vita hominis, SSB, bc, 16431, 16521, 1666 (with 2 vn, va da gamba); ed. Jones (C1982) Mortalis homo (= No, no, mio core), S, bc, 1670; ed. in Jones (C1982) Nigra es sed formosa, SS, bc, 1712 Nigra sum sed formosa, SS, bc, 16501 O beatum virum, SSA, bc, 16431, 1670 O dulcissime Jesu, SS, bc, 1670, 16721 O dulcissimum Mariae nomen, SS, bc, 16471, in A. Poggioli, Delectus sacrarum cantionum 2–5vv (Antwerp, 1652); ed. in Jones (C1982) O ignis sancte, SS, bc, 16671, 16672; ed. in Jones (C1982) Omnes gentes, gaudete, SSS, bc, S-Uu, 1670 (lacks final Alleluia); pt of Quasi columba speciosa Omnes sancti (see Summi regis puerpera) O pretiosum et admirandum convivium, S, bc, GB-Lcm (with vn), I-COd O quam dilecta sunt tabernacula, SSATB, bc, 1670 O quam mirabilia sunt, SS, bc, 16753 O quam pulchra es, S, bc, GB-Lbl, Lcm; ed. in Cantio sacra, lvii (Cologne, 1964); ed. in Jones (C1982) O stupor, I-Ad O vulnera doloris, B/SSB, bc, B-Bc, F-Pc, GB-Cfm, Lam, Lbl, Lcm, Och; ed. in Cantio sacra, xvi (Cologne, 1958) Panem coelestem angelorum, SS, bc, 1670 Paratum cor meum Deus, S/B, vn, bc, I-PS, S-Uu Parce, heu, parce jam, SSAB, bc, Uu; ed. J. Pilgrim (Hilversum, 1971) Plaudite, caelestes chori, S, bc, I-COd; ed. in Jones (C1982) Praevaluerunt in nos (see Insurrexerunt in nos) Quasi aquila, T, 2 vn, bn, bc, 1670 Quasi columba speciosa, SSS, bc, c1647, I-Bc (section Omnes gentes gaudete survives separately) Quasi stella matutina, SSSA, bc, F-Pn, I-Bc (with 2 vn, vc) Quid tandem sunt mundi deliciae, ATB, bc, D-Dlb, S-Uu Quis est hic vir, SSS, bc, 16462, 16471, in A. Poggioli, Delectus sacrarum cantionum 2–5vv (Antwerp, 1652); ed. in Jones (C1982) Quis est hic vir, AB, bc, 1670 Quo abiit dilectus meus, SA, bc, CS-KRa, F-Pc, Pn, I-COd Quomodo facti sunt impii, SSB, bc, 16542; ed. in Jones (C1982) Quo tam laetus progrederis, SS, bc, 1670 (for SST, bc), 1675 Regina coeli (i), SATB, I-Ac, ?c1628–9 Regina coeli (ii), SATB, I-Ac, ?c1628–9 Sacerdotes Dei, benedicite, SS, bc, S-Uu Salve, amor noster, SS, bc, 16651 Salve, puellule, S/T, bc, CS-KRa (T, 2 vn, bc), F-Pn, GB-Lbl, Lcm; ed. in Cantio sacra, xlviii (Cologne, 1961) Salve, regina, SSB, bc, F-Pc, Pn, S-Uu (with alternative text Salve rex Christe pater misericordiae); ed. in Jones (C1982) Salve, regina, SATB, SATB, bc, Uu Salve, virgo immaculata, SSB, bc, 1670 Sancta et individua Trinitas, SS, 2 vn, lute/theorbo, before 1634, A-KR; ed. W. Fürlinger (Stuttgart, 1978) Sicut mater consolatur, SS, bc, 1670 Sicut stella matutina, S, bc, 16591, 1670; ed. in Jones (C1982) Silentium tenebant, SST, 2 vn, bc, F-Pc, Pn (frag.) Si linguis hominum et angelorum, SSS, 2 vn, bc [also survives without 2 vn], CZ-KRa, F-Pc, Pn, GB-Och, Y (inc.), I-PS (vn 1 only), S-Uu Simile est regnum coelorum, SS, bc, S-Uu Si qua est consolatio, SSB, bc, 16421; ed. in Jones (C1982) Somne laborum dulce levamen (pt of Silentium tenebant) Summi regis puerpera, SS, 2 vn, lute/spinet, bc, GB-Och (attrib. ‘Luigi’), Y, I-PS (as Omnes sancti, vn 1 only); ed. P. Seymour (London, 1982) Super flumina Babilonis, SSAT, bc, F-LYm, Pc, Pn, GB-Y, I-Bc, S-Uu Surgamus, eamus, properemus, ATB, bc, 16492, 16521, 16562, 1666 (with 2 vn, va da gamba) Surrexit pastor bonus, SSS, bc, Uu Suscitavit Dominus, ATB, bc, 16651, 1666 (with 2 vn, va da gamba); ed. in Jones (C1982) Sustinuimus in pacem, SSATTB, bc, CZ-KRa Timete Dominum, SSATB, bc, I-COd; ed. in Jones (C1982) Tollite, sancti mei (Martyres), SST, bc, D-Hs, GB-Y Turbabantur impii (Lamentatio damnatorum), ATB, bc [also survives with 2 vn, lute], 1666 (with 2 vn, va da gamba), 1675; ed. F. Rochlitz, Sammlung vorzüglicher Gesang-Stücke, ii (Mainz, c1840); ed. H. Quittard, Concerts spirituels, i (Paris, c1905); ed. C. Dell’Argine (Florence, 1972); ed. in Jones (C1982) Usquequo peccatores, SSS, SAT, SATB, 2 vn, lute, bc, CS-KRa (dated 1672) Veni, consolator suspirantis, SS, bc, D-MÜs (pt of O ignis sancte) Veni, dilecta mea, SS, bc, 1643 Veni, sponsa Christi, SSATTB, bc, I-PS, S-Uu Viderunt te Domine, SB, bc, 1647, 1670; ed. in Jones (C1982) Vidi impium superexaltatum, ATB, bc, 16551, in F. de Silvestri: Alias cantiones sacras ab excellentissimis musices auctoribus (Rotterdam, 1657)
Oratorios: incipits given in parentheses Abraham et Isaac (Tentavit Deus Abraham), SATTB, bc; C oratorî ii, 1 Baltazar (Baltazar Assyriorum rex), SSATB, 2 vn, bc; C oratorî iii Diluvium universale (Cum vidisset Deus), SS, SSATB, SSATB, 2 vn, bc, D-Hs Dives malus [Historia divitis] (Erat vir quidam opulentissimus), SSTB, SATB, bc; C oratorî v Ezechias (Aegrotante Ezechia), SSATB, 2 vn, bc; C oratorî i, 14 Interfecto Sisara, SSSATB, 2 vn, bc, CZ-KRa Jephte (Cum vocasset in proelium), SSSATB, bc, before 16 June 1648 (final chorus in Kircher); ed. J.E. Beat (London, 1974); ed. A. Amisano (Milan, 1977) Jonas (Cum repleta esset Ninive), SATB, SSATB, 2 vn, bc; C oratorî xi Judicium extremum (Aspiciebam in visione noctis), SSATB, ATB, ATB, 2 vn, bc; C oratorî iv Judicium Salomonis (A solis ortu), SSAB, 2 vn, bc [attrib. S. Capricornus in his Continuatio Theatri musici (Würzburg, 1669), but certainly by Carissimi]; ed. in Denkmäler der Tonkunst, ii (Bergedorf, 1869), 30; ed. A. Toni (Milan, 1929) Vanitas vanitatum (Proposui in mente mea), SSATB, 2 vn, bc; C oratorî x, 18
Cantatas: Editions: Cantatas by Giacomo Carissimi 1605–1674, ed. G. Massenkeil, The Italian Cantata in the Seventeenth Century, ii (New York, 1986) [facs.] [Ma] Giacomo Carissimi: Cantate a una, due e tre voci, ms. Bologna [I-Bc X234], ed. P. Mioli, Archivum musicum: La cantata barocca, xiv (Florence, 1983) [facs.] [Mi] Alte Meister des Bel Canto: Eine Sammlung von Arien, i, ed. L. Landshoff (Leipzig, 1912) [La] Alte Meister des Bel Canto: italienischen Kammerduetten, ii, ed. L. Landshoff (Leipzig, 1927) [Ld] Ahi non torna, SS, bc, I-Bc, Nc, Rvat (Ma); C cantate i, 12 Al’hor che nel cielo, S, bc, Bc, Rvat Allegria vuol’Amore, S, bc, B-Lc Alma, che fai, che pensi?, SB, bc, before 1643, GB-Och (Ma); ed. in Rose (E1960) Almeno un pensiero, S, bc, A-Wn, GB-Lbl, Och, I-Bc (Mi), Rvat Amanti, che dite? (pt of Sciolto havean dall’alte sponde), perf. for Charles II at English court, in Recueil d’airs sérieux (Paris, 1701), F-Pc, GB-Lbl, Lcm, Ob, Och Amanti che vivete, SS, bc, I-Bc, Fc; ed. in Buff (E1973) Amanti de miei lumi, S, bc, Nc Amanti, tacete (pt of Più non ti chieggio) A morire (pt of Ferma, lascia ch’io parli); ed. R. Prentice, 6 Cantatas by Carissimi (London, 1874), 2; ed. P. Floridia, Early Italian Songs and Airs (Boston, 1923), 81 A morir’, infelice cor mio, S, bc, F-Pthibault Amor mio, che cosa è questa? (Amante sdegnato) (D. Benigni), S, bc, before 1663, I-Bc, MOe, Vc, US-CA; ed. G. Rose, G. Carissimi: 6 Solo Cantatas (London, 1969), 30 A piè d’un verde alloro (I filosofi; Democritus et Heraclitus) (Benigni), SS, bc, before 16 June 1948 (frag. in Kircher), GB-Lbl, Ob, Och, I-Bc (Mi), Fc, MOe, Nc; Ld, 52 Apritevi inferni (Peccator penitente) (Benigni), S, bc, before 1663, MOe, Nc; ed. G. Rose, Giacomo Carissimi: 6 Solo Cantatas, 54 Ardeva in tanto foco, S, bc, GB-Och, I-Bc, Rvat (Ma), Vc Ardo, lassa, ò non ardo? (G. Marino), S, bc, GB-Och Bel tempo per me, S, bc, F-Pn, GB-Lbl, Och, Ob, I-Bc (Mi), Gl, MOe, Rc, Rvat; ed. G. Rose, Giacomo Carissimi: 6 Solo Cantatas (London, 1969), 19 Bisogna contentarsi, S, bc, Nc; ed. in Rose (E1960) Cara e dolce mia vita (P. Colonna), S, bc, Bc (Mi); C cantate ii, 15 Che dici, Amore? (G. Giustiniani), S, bc, F-Pn Che legge è questa, o Dio? S, bc, I-Bc (Mi); C cantate ii, 29 Che superba ai miei sospiri, S, bc, Nc Che tanto esclamare, S, bc, Bc, Rc (also survives as Risposta, with Non chiede altro as Proposta) Chi d’amor vive in tormento, S, bc, 16467 (Ma) Chi fugge d’amor (Dialogo di Tirsi e Filli) (Benigni), SS, bc, F-Pn, GB-Och, I-Bc (Mi), Rc; ed. in Buff (E1973) Ch’io speri o disperi, S, bc, Rn Chi più sà, manco ne sà, SSB, bc, GB-Lbl Come, ahi, come cade, S/B, bc, Cmc, I-Rvat (Ma) Come sete importuni (Sta in dubio se si dispera) (Benigni), S, bc, before 1663, Bc, MOe, US-CA; ed. in La Flora, i (Copenhagen, 1949), 31 Consolati, cor mio (Consola il suo cor) (F. Buti), S, bc, before 1663, I-Bc, MOe, Rvat Coronata di splendori (Amor difeso), SSS, bc, GB-Ob, Och; ed. in Buff (E1973) Così volete, così sarà, S, bc, B-Bc, I-Bc (Mi), MOe, Nc, Rvat; La, 52 (inc.) Crudo amore il mio core, S, bc, 16796 (Ma) Dai più riposti abissi (= Tra più riposti abissi) Deh contentatevi, S, bc, GB-Och; ed. R. Prentice, 6 Cantatas by Carissimi (London, 1874), 6; ed. P. Floridia, Early Italian Songs and Airs (Boston, 1923), 85 Deh memoria e che più chiedi?, S, bc, I-Rvat; ed. G. Rose, G. Carissimi: 6 Solo Cantatas (London, 1969), 37 Dimmi, o ciel, che fia di me?, SS, bc, Bc, Nc; Ld 49 Dolor senza rimedio, A, bc, Nc Dove fuggi, o mia speranza? (= Ove fuggi o mia speranza?) Dunque degl’horti miei, S, bc, Rsc; C cantate i, 1 È bello l’ardire d’un anima, S, bc, F-Pn, GB-Och, I-Bc (Mi), Rdp, Rvat E chi vi resta più, SS, bc, Rvat; ed. in Rose (E1960) Entro il mar de miei tormenti, S, bc, A-Wn E pur volete piangere (Amante sfortunato) (Benigni), S, bc, before 1663, F-Pn, I-Bc, MOe, SPc, US-CA E pur vuole il cielo (Destava la cativa sorte in amore) (Benigni), SS, bc, in Canzonette amorose (Rotterdam, 1656) (incl. In si duro martire, survives separately) [also attrib. A. Stradella]; Ld, 5 Era de gli imenei d’Anna, S, bc, I-Rvat (Ma) Errai, signor, errai, S, bc, A-Wn, I-Rvat; ed. in Rose (E1960) Ferma, lascia ch’io parli (Il lamento di Maria di Scozia), S, bc, D-MÜs, F-Pc, GB-Lbl (Ma) (incl. A morire, see above) Filli, non t’amo più, S, bc, Och, I-Rc [also attrib. Carlo del Violino]; ed. R. Prentice, 6 Cantatas by Carissimi (London, 1877), 15; ed. H. Riemann, Handbuch der Musikgeschichte, ii/2 (Leipzig, 2/1922), 69 (frag.); ed. P. Floridia, Early Italian Songs and Airs (Boston, 1923), 90 Fuggi, o mio core, dal seno, S, bc, GB-Och, I-Fc, Gl Fuggi, fuggi quel ben che tanto alletta, AT, bc, 16402 (anon.) (Ma) Fuggite, pensieri guerrieri (pt of Lungi da me fuggite) Già del ciel con piè di rose, SSS, 2 vn, bc, Rdp Giurai d’amarti (Disperato amante) (Benigni), S, bc, before 1663, Bc, MOe, Rsc Giustizia o cupido, S, bc, Fc; ed. in La nuova musica, ii (1899), 12 Hor che di Sirio (Colonna), S, bc, F-Pn, GB-Och, I-Bc (Mi); ed. in Rose (E1960) Il mio core è un mar, SS, bc, D-MÜs, I-Fc, Nc [also attrib. A. Stradella]; Ld, 34 Indovine pellegrine (Le zingare), SST, bc, Bc (Mi) In si duro martire (pt of E pur vuole il cielo) Insuperbito il Tebro, S, bc, GB-Och In un mar di pensieri, S, bc, A-Wn, GB-Lbl, Och, I-Gl, Rc; ed. G. Rose, G. Carissimi: 6 Solo Cantatas (London, 1969), 44 Inventane più, S, bc, I-Fc, Rvat Io corro alle sventure, SS, bc, 16467 (Ma); ed. in Buff (E1973) Io dissi sempre che l’amare, S, bc, before 25 April 1669, GB-Och, I-Nc Io vò pensando, S, bc, Rc; ed. in Rose (E1960) La mia fede altrui giurata, S/T, bc, 16796 [also in MS attrib. A. Stradella]; La, 57 La regina de volanti, S, bc, GB-Och, I-Bc (Mi), Nc; ed. in Buff (E1973) Le ferite d’un cor, SST, bc, perf. at French court, 1658, F-Pn, Pthibault, GB-Och, I-Bc (Mi), Nc, Rvat; ed. in Buff (E1973) Le magnanimi eroi, S, bc, Rvat Lungi, lungi da me fuggite (Penosa rimembranza di gioie perdute) (Conte Teodoli), S, bc, before 1663, Bc (Ma), MOe, Rc, US-CA; incl. Fuggite pensieri guerrieri, survives separately in Recueil d’airs sérieux (Paris, 1701); ed. in La Flora, i (Copenhagen, 1949), 26 Lungi, homai, deh spiega, SS, bc, before 1673, F-Pc, GB-Och, I-Bc; Ld, 29 Mai non esce di servitù, S, bc, Nc Mesto in sen, S, bc, GB-Lbl, Och, I-Bc (Mi), Rvat; ed., inc., in Eleganti canzoni ed arie italiane, v (Milan, 1894) M’havete chiarito, tiranne pupille, S, bc, Fc, Nc; ed. in Rose (1959) Nella più verde età (F. Chigi), S, 2 vn, bc, GB-Och, I-Bc (Ma), Fc, Nc No ch’io non voglio amar, S, bc, Fc, Gl, Nc Non bisogna scherzare, SS, bc, Fc, Rc; ed. in Buff (E1973) Non chiede altro che vita, S, bc, A-Wn, GB-Och, Bc (Ma), Rc (also survives as Proposta, with Che tanto esclamare as Risposta); ed. R. Haas, Die Musik des Barocks, HMw (1928), 127 Non disperar, mio core, S, bc, Rvat (Ma) No, no, mio core, S, bc, A-Wn, GB-Lbl, Och, I-Bc (Mi), Nc, ed. C. MacClintock; The Solo Song, 1580–1730 (New York, 1973) No, no, non si speri, A, bc, I-Rvat; La, i-ii, 49, ed. P. Floridia, Early Italian Songs and Airs (Boston, 1923), 99 Non piangete, ò ciechi amanti, SS, bc, before 1663, GB-Och, I-Bc, MOe, Nc [also attrib. M. Savioni]; ed. in Buff (E1973) Non posso vivere, S, bc, Pc, Vqs; ed. in La Flora, i (Copenhagen, 1949), 38 Occhi che m’uccidete, S, bc, before 1658, F-Pn, GB-Och O dura più d’un sasso, S, bc, D-Kl, I-Nc, Vqs O la, pensieri, S/B, bc, GB-Och, I-Rvat (Ma) O mirate che portenti, SS, bc, F-Pc, I-Fc, Nc (inc.); ed. in Les gloires de l’Italie, ii (Paris, 1868), 63 O miseria infinita, SS, bc, Bc, Nc O se mai di quell’arsura, SS, bc, Bc; C cantate ii, 55 Ove [Dove] fuggi o mia speranza?, S, bc, Bc, Gl, Rvat (Ma), SPc O voi ch’in arid’ossa (Giuditio universale) (Benigni), S, bc, before 1663, COd, MOe, Rc, Rvat (Ma); ed. in Rose (E1960) Pastor à cui fra l’ombre, S, bc, Rvat Peregrin d’ignote sponde, SS, bc, Bc, Fc, Rvat [also attrib. L. Rossi]; C cantate ii, 59 Per mè si che và bisesto, S, bc, Fc Per mille colpi e mille (I ciechi; Pietà e Amore) (Benigni), SS, bc, before 1663, Bc (Mi), MOe; ed. in Buff (E1973) Piange Filli con sospiri, S, bc, GB-Lbl, US-CA Piangete, aure, piangete (Benigni), S, bc, F-Pn, I-Nc, Rsc, US-CA Piangete, ohimè piangete, S, bc, GB-Lbl, I-Bc (Ma); ed. A. Parisotti, Arie antiche, iii (Milan, 1900), 61 Più non ti chieggio, SS, bc, before 1673, GB-Och, I-Bc, Rvat (incl. Amanti tacete, survives separately); ed. in Buff (E1973) Poiche lo sdegno intese (Il ciarlatano; Lo sdegno ciarlatano), SSS, bc, A-Wn, B-Bc, I-Bc (Ma), Nc, Rc; ed. in AMI, v (c1900), 238 Presso vagho ruscello, S, bc, Nc Quando Filli mirai, S, bc, Rvat Qui son venuta à piangere, S, bc, before May 1669, Nc Rasserenatevi, foschi pensieri, S, bc, Rc; ed. in Rose (1959) Rimanti in pace homai (Partenza dalla S.D.) (C. della Luna), ST, bc, before 1663, Bc, MOe; Ld, 19; ed. in La Flora, iii (Copenhagen, 1949), 99 Risolviti, mio core (P. Carey), S, bc, GB-Lbl, I-Rc Risvegliatemi, pensieri, S, bc, F-Pn, GB-Och, I-Fc, Rvat Sassi, e hor quà tra le ruine (Il tempo divorra ogni cosa), S, bc, before 1663, F-Pn, I-MOe [also attrib. L. Rossi] Sciolto havean dall’alte sponde (I naviganti), SSBar, bc, before April 1653, D-MÜs, GB-Lbl, Och, I-Bc (Mi), Nc, Rvat (last section Amanti, che dite? survives separately); C cantate i, 20 Scrivete, occhi dolenti, S, bc, Bc; C cantate ii, 43 Se il duol non finirà, S, bc, Fc; ed. in Rose (E1960) Se l’antica mia guerriera, S, bc, before May 1669, Nc Sempre m’affliggo più, S, bc, Rvat; ed. in Rose (1959) (Ma) Se nell’uscir di spene (Buti), S, bc, F-Pn Siam tre miseri piangenti, SSS, bc, GB-Ob, Och, I-Bc (Ma); ed. in Rose (E1960) Si dia bando alla speranza, S, bc, D-MGu, GB-Ob, Och Sin che havrò spirto, S, bc, Ob, Och S’io del ciel fossi Signore, S, bc, I-Bc (Mi) Si, si, v’ ingannate, S, bc, Rvat Soccoretemi ch’io moro, S, bc, B-Bc, GB-Och, I-Bc (Mi), MOe, Nc, Rvat, Vc [also attrib. L. Rossi]; La, 40 Soccorretemi per pietà, SS, bc, GB-Lbl, I-Nc, Rc; ed. (anon and inc.) in La Flora, iii (Copenhagen, 1949), 101 Son pur giunta ad amare, S, bc, GB-Och Sopra un gelido sasso, S, bc, I-Vc Sospiri ch’uscite, S, bc, F-Pn, GB-Lbl; ed. in Rose (E1960) Sospiro che dici?, S, bc, Ob, Och Sovra il sen d’alata prova, S, bc, Lbl; ed. in Rose (E1960) Spera l’huomo infelice, SS, bc, I-Rc Speranze non partite, S, bc, F-Pn; ed. in Rose (E1960) Stelle, chi fù di voi, S, bc, I-Nc; ed. in Buff (E1973) Su, fortuna, i dardi arruota, S, bc, GB-Cfm, I-Rvat Suonerà l’ultima tromba (Del giuditio universale) (Benigni), S, bc, before 1663, GB-Lbl, I-MOe, Rc, Rvat; ed. G. Rose, G. Carissimi: 6 Solo Cantatas (London, 1969), 68 Sventura, cor mio (Pene in amore) (Benigni), S, bc, before 1663, MOe, Rsc; ed. in La Flora, ii (Copenhagen, 1949), 28 Ti vedo giungere, S, bc, GB-Lbl, I-Gl Toglietemi la vita (Vendetta in amore), S, bc, before 1663, GB-Och, I-MOe Tra [Dai] più riposti [remoti] abissi (F. Balducci), SSB, 2 vn, bc, before 1663, F-Pc, GB-Och (Ma), I-Bc, Rvat, US-CA; ed. in Buff (E1973) Tronchisi, pensieri, S, bc, F-Pn; ed. in Kantatenfrühling, iii (Leipzig, 1909), 10 Tronchisi, pensieri, SB, bc, GB-Lbl (inc.), Och (different version of above) Tu m’hai preso à consumare, S, bc, I-Bc (Mi), Rn, Rvat Un infelice core amò (S. Baldini), S, bc, B-Bc, GB-Och, I-Bc (Mi), Rn, Rvat Un pensier siede si forte, S, bc, Bc Vaghi rai, pupille ardenti (Benigni), SS, bc, before 1673, B-Bc, F-Pc, GB-Och, I-Bc, Fc, Nc, Rvat; Ld, 42 Va, va, dimanda al mio pensiero, S, bc, F-Pn, GB-Och Vella, o Febo, ai raggi d’oro (Lodi i capelli neri della S.D.) (Benigni), S, bc, before 1663, I-MOe, US-SFsc V’intendo, occhi, voi mi volete, S/A, bc, D-Mbs, GB-Lbl, I-Nc, Rc, Rvat, US-SFsc [also attrib. L. Rossi]; ed. in Rose (E1960) Vittoria, mio core (Amante sciolto d’amore) (Benigni), S, bc, 16537 (anon), in Canzonette amorose (Rotterdam, 1656) (anon.), 16695 (anon.) [also attrib. L. Rossi]; ed. F.A. Gevaert, Les gloires de l’Italie, i (Paris, 1868), 4; ed. A. Parisotti, Arie antiche, i (Milan, 1885), 2; ed. P. Floridia, Early Italian Songs and Airs (Boston, 1923), 103; ed. (inc.) in La Flora, i (Copenhagen, 1949), 23; Ma Voglio amar, sì, voglio amare, S, bc, before 25 April 1669, I-Nc Voglio andare. Dove, dove? (Fileno e Silvio), SS, bc, Fc, Rdp; ed. in Buff (1973) Volate, sospiri, SS, bc, Bc, Bsp
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Doubtful and misattributed works: Masses: Missa ‘L’homme armé’, SATB, SATB, SATB, bc, D-MÜs, F-Pc, I-Rsg, Rvat, NL-At Missa septimi toni (Ky, Gl, Cr), G, SATB, SATB, bc, I-Bc; ed. in AMI, v (c1900), 1 Missa ‘Ut queant laxis’ sopra le note ut, re, mi, fa, sol, la, SATB, SATB, bc, D-MÜs, F-Pc, NL-At Missa a quinque et a novem, TTB/SSB, SATB (ad lib), 2 vn, bc (Cologne, 1666); C messe e mottetti i, 1 (3vv only) Missa, SSATB, bc, GB-Och, Ouf Missa (Ky, Gl, Cr), SATB, bc, A-Wn, D-Mbs Missa, SATB, I-Rvat; ed. G. Massenkeil (Regensburg, 1966) 6 others, Rvat (1 also Rsg), spurious; see Feininger (A1970)
Motets: Ad cantus, ad melos, AA, bc, GB-Cfm [by M. Cazzati] Ad dapes salutis venite, ATB, bc, F-LYm Adeste mortales, S, bc, F-Pc, Pn Ad festum venite, mortales, SS, bc, CB-Cfm [by M. Cazzati] A Domino factum est, SAT, bc, D-Bsb, Mbs, MÜs Adoremus Christum, SSB, bc, F-Pc [by F. Foggia] Adoro te, ATB, bc, GB-Ob Ad te levavi animam meam, AT, bc, D-MÜs Ah Deus ego amo te, SSA, 2 vn, bc, Ob [by J.H. von Wilderer] Ah quid obdormis, S, 2 vn, vc, bc, Ob [by J.H. von Wilderer] Ah vide Domine, SATB, 2 vn, vc, bc, Ob [by J.H. von Wilderer] Alleluia. O beatae caeli mentes, SB, bc, Cfm Alma Redemptoris mater, SATB, bc, D-MÜs Amo te, ST, 2 vn, vc, bc, GB-Ob [by J.H. von Wilderer] Animae amantes, ATB, bc, F-Pc [by M. Cazzati] Anima mea in aeterna dulcedine, SB, bc, GB-Lbl, Ob, Och [by E. Trabbatone], ed. R. Prentice, 6 Cantatas by Carissimi (London, 1877) Anima mea in dolore est, SSATB, bc, F-LYm, Pn Anima mea liquefacta, SAB, bc, GB-Lam, I-Rc [by F.M. Marini] Audi Domine, S, bc, F-LYm, Pc Audite, gentes, ATB, bc, GB-Cfm [by M. Cazzati] Audite, omnes, quodquod estis, SSB, bc, S-Uu Audite, peccatores, SSB, 2 vn, vc, bc, GB-Ob [by J.H. von Wilderer Ave, dulcissima Maria, AT, bc, Lbl [by M. Cazzati] Ave, verum corpus, SATB, bc, F-Pn, I-Rsc; ed. R.R. Terry (London, 1905) Beatus vir, SATB, SATB, bc, A-Wn, D-Mbs, MÜs, GB-Ob; ed. J. Pilgrim (Hilversum, 1968) Beatus vir, SSATB, bc, Y; ed. P. Seymour (London, 1975) Beatus vir, S, 2 vn, bc, Cfm Beatus vir, A, 2 vn, bc, Cfm Benedicite omnes angeli, ATB, bc, Och Benedictus Redemptor, SS, bc, F-Pc Benignissime Jesu, ATB, bc, F-LYm, Pc [by B. Graziani] Cantate Domino, SSB, bc, LYm, Pc Cantemus, jubilemus, ST, bc, GB-Lbl [by M. Cazzati] Cernis panem, cernis vinum, AB, bc, F-Pc Christum regem adoremus, SATB, D-MÜs Christus factus est, SATB, bc, I-Ls, PAc Christus factus est, ATB, bc, GB-Cfm Concinant linguae, A, bc, F-Pn Congratulamini, congaudete, S, bc, Pn [by N. Bernier] Crucior in hac flamma (Angelus et Anima), AB, bc, GB-Cfm, Lbl, Och [by M. Cazzati] Cum audisset Gedeon, S, bc, F-Pn [also attrib. E. Bernabei] Deduxit illum Dominus, SSB, bc, S-Uu [by F. Foggia] Deus Dominus, BB, bc, F-Pn Deus meus ad te, SST, bc, D-MÜs Deus quis similis erit tibi, ATB, bc, F-LYm (for SSB), Pc [by G. Tricarico; also attrib. F. Foggia] Diffusa est gratia, SATB, bc, D-Bsb, MÜs Dilatatae sunt tribulationes, SS, bc, F-Pn [by A.M. Abbatini] Dominator Domine, A, 2 vn, bc, GB-Cfm Domine, Deus virtutum, SAT, bc, D-MÜs Domine, ne in furore tuo, SSB, bc, F-Pc [by B. Graziani] Dulcis amor Jesu, SS, GB-Lbl [by M. Cazzati] Duo ex discipulis (Histoire des pèlerins d’Emmaüs; Historia dei pellegrini di Emmaus), SST, bc, F-LYm, Pc Ecce, nunc benedicite Dominum, SSS, bc, GB-Cfm Ecce, sonuerunt inimici tui, ATB, bc, F-Pc [by G.M. Pagliardi] Ego sum panis vivus, SSB, bc, GB-Och [by O. Benevoli] Eia plebs fidelium, B, 2 vn, va da gamba, bc, Cfm Errate per colles, SATB, bc, F-Pc Exultate, colles, B, 2 vn, va, GB-Cfm Fideles animae, SB, bc, F-Pc, Cfm [by M. Cazzati] Filiae Jerusalem surgite (Sponsa canticorum), SSSB, 2 vn, bc; C oratorî ix, 15 Gaudeamus omnes, SATB, bc, Cfm [by M. Cazzati]; ed. A. Steck (Paris, 1955) Gaude, laetare, Sion, TB, bc, Cfm Gaudete cum Maria, SSB, bc, 1670 [music = Deduxit illum Dominus] Gaudete, exercitus caeli, SSB, bc, Och Gaudia felices, SS, bc, F-Pc [by B. Graziani] Gloria Patri, Bu [attrib. M. Locke], Ob [anon.] Haec dies quam fecit Dominus, SS, bc, Cfm [by M. Cazzati] Incipit lamentatio Jeremiae, SA, 2 vn, bc, Ob In memoriam suorum mirabilium, SAT, bc, D-MÜs In te, Domine, speravi, ATB, 2 vn, va da gamba, bc, 1666 In te, Domine, spes mea, SS, bc, F-Pc In tribulationibus, SS, bc, Pn, 16471, 1652 [by A. Antonelli] In voce exultationis, SSATTB, bc, D-Bsb Ipse praeibit ante illum, SSTB, bc, A-Wn, D-Bsb, Mbs, MÜs, F-Pc, GB-Ob, NL-At Iste sanctus pro lege Dei, ATB, bc, F-Pc [by F. Foggia] Isti sunt triumphatores et amici Dei, ATB, bc, Pc Isti sunt triumphatores sancti, SSATB, bc, S-Uu Laeta caelestibus, S, 2 vn, bc, F-Pc Laetamini canendo, S, 2 vn, bc, GB-Ob [by J.H. von Wilderer] Lapides praetiosi, SMezAT, A-Wn, D-Bsb, Mbs, MÜs, F-Pc, GB-Ob Lauda Sion, SATB, SATB, bc, D-Bsb, Mbs, MÜs, F-Pc Lauda Sion, SAB, bc, GB-Cfm Laudate, pueri, SSATB, bc, Y (inc.) Laudate, pueri, SSB, bc, Y Locus iste, SA, bc, D-Mbs Magnificat anima mea Dominum, C, SATB, SATB, bc, GB-Lbl, Ob; ed. O. Drechsler (Wolfenbüttel, 1964) Magnificat anima mea Dominum, SATB, 2 vn, va, vc, bc, Lbl Magnificat anima mea Mariam, SA, bc, Lbl [by M. Cazzati] Mihi autem nimis honorati sunt, SSB, bc, D-MÜs Nisi Dominus, SATB, SATB, bc, F-Pc Nisi Dominus, SSATB, bc, GB-Cfm; ed. J. Beat (London, 1974) Nisi Dominus, S, 2 vn, bc, D-Mbs Non turbetur cor, SB, bc, GB-Och (inc.) Notus in Judaea, STB, bc, F-Pc [by F. Vignali (ii); also attrib. G.A. Rigatti] O admirabile commercium, SSB, bc, F-LYm, Pc O anima, festina, SATB, 2 vn, vc, bc, GB-Ob [by J.H. von Wilderer]; ed. J. Pilgrim (Hilversum, 1971) O anima mea, suspira, SA, bc, GB-Lbl [by M. Cazzati] O beatae caeli mentes, AA, bc, Cfm [by M. Cazzati] O beata virgo Maria, SSS, bc, 1670 [by F. Foggia] Obstupescite redemti, ATB, bc, D-Dlb [by F. della Porta] O crux benedicta, ATB, bc, GB-Ob [by G.F. Sances] O crux nobilitata palma, AT, bc, Lbl [by M. Cazzati] O felix anima (pt of Audite, gentes) O ignis qui semper ardes, SST, bc, F-Pc [by F. Foggia] O impii mortales, ATB, 2 vn, bc, Pn Oleum effusum est, S, bc, GB-Lam O miracula, o prodigia, S, bc, F-Pn [by P.P. Vannini] O miraculum miraculorum, SB, bc, Pc O mortalis, quid mundanas, ATB, bc, Pn [by S. Durante as O mortalis nimis fralis] O piissime Jesu, ATB, bc, Pc O quam clemens et pia, SS, bc, Pc [by A. Vermeeren; also attrib. F. Foggia] O quam pulchra et casta es, SS, GB-Lbl [by M. Cazzati] O quam suave est regnum caelorum, SSS, bc, Lbl, Ob, Och [also attrib. G. Bassani] O quam terribilis est, SS, bc, S-Uu [also attrib. V. Albrici] O regina caeli porta, SA, bc, GB-Lbl [by M. Cazzati] O sacrum convivium, SAT, A-Wn, D-Bsb, MÜs; ed. E. Tyr (Paris, 1939) O vere et care Jesu, TB, 2 vn, bc, F-Pc O vita, cui omnia vivunt, A, bc, GB-Lam O vos populi, ATB, 2 vn, va, vc, S-Uu [by M. Cazzati] Panem coelestem, SATB, bc, F-Pn Pange lingua, SAB, bc, GB-Cfm Pastores, dum custodistis, S, bc, Och [by B. Graziani] Peccaverunt habitatores, SATB, bc, F-Pc, Pn [by C. Cecchelli] Peccavi, Domine, et miserere mei, SAB, bc, LYm, Pc [by Girolamo Ferrari] Peccavi, Domine, peccavi multum, SSB, bc, Pn [by M.-A. Charpentier] Peccavi super numerum, SA, bc, D-MÜs Pulchra et decora, SATB, bc, I-Bc [by G. Ghizzolo] Quam pulchra es, SSB, bc, GB-Lbl [by G. Rovetta] Quando Jesus adest, SA, 2 vn, vc, bc, Ob [by J.H. von Wilderer] Quare fremuerunt gentes, ATB, bc, F-Pc Quare suspiras, SSB, bc, Pc, Pn [by F. Foggia] Quid agis, cor meum, S, bc, GB-Och [by B. Graziani] Qui descendunt mare in navibus, BB, bc, F-Pc [by T. Cima] Quid gloriaris, ATB, bc, GB-Ob [by J.H. von Wilderer] Qui non renuntiat, TTB, bc, F-Pc Quis est hic vir, AB, bc, 1670 [probably by F. Foggia] Qui vult post me venire, SATB, 2 vn, vc, bc, GB-Ob [by J.H. von Wilderer] Regina coeli, SAT, bc, D-MÜs Revertimini, praevaricatores, ATB, bc, F-Pc, Pn Salve, Jesu spes nostra, SAB, bc, Pc [by G. Carisio] Salve, regina, ATB, bc, GB-Lbl, Lcm, Ob [by N. Monferrato] Sedente Salomone (Judicium Salomonis), SSB, bc, F-LYm, Pc Serve bone et fidelis, SSAT, bc, D-MÜs Siccine te Domine, ATB, bc, GB-Cfm [by M. Cazzati] Sicut cervus desiderat, SSB, bc, F-Pc Si Deus pro nobis, SSB, 2 vn, bc, 1670 [by S. Fabri (ii), SSB, bc] Sonent organa, SAB, 2 vn, bc, GB-Cfm Sub umbra Jesu, ATB, bc, F-Pn [also attrib. G. Carisio] Sub umbra noctis mortis, SST, bc, Pc, Pn Sunt breves mundi rosae, B, 2 vn, bc, Pc, Pn (for 2 fl, bn, 2 vn, with addns by P. Royer) [by M. Cazzati] Surge, propera, S, bc, Pn [by N. Bernier] Tecum principium in die, ATB, bc, D-MÜs Tolle sponsa tolle fores, SB, bc, F-Pc; C oratorî vi, 1 Tu es Petrus, SSB, bc, Pc Tui sunt caeli, SS, bc, D-MÜs Vanitas vanitatum, SS, bc, F-LYm, Pc; C oratorî x, 1 (as Vanitas vanitatum I) Veni Sancte Spiritus, SATB, bc, D-MÜs Veni Sancte Spiritus, SSA, bc, MÜs Veni Sancte Spiritus, SAB, bc, GB-Cfm Venite exultemus (anon.), lost, perf. S Apollinare, Rome, Christmas 1639, according to P. della Valle: Della musica dell’età nostra (dated 1640), repr. in A. Solerti: Le origini del melodramma (Turin, 1903/R1969), 174 Venite, fideles, festinate, ST, bc, GB-Cfm [by M. Cazzati] Venite, gentes, SB, bc, Cfm [by M. Cazzati] Venite, pastores, S, bc, GB-Och [by B. Graziani] Vir frugi et pater familias, TTB, bc; C oratorî ii, 23 Viri Galilaei quid aspicitis, SSB, bc, D-Bsb, F-Pc, GB-Ob Vivat laeta trumphalis, ATB, bc, GB-Cfm [by B. Graziani] Vox turturis, SA, bc, F-Pc [by Alessandro Melani]
Oratorios: Cain, SSSATB, bc; C oratorî ix, 1 Historia Davidis et Jonathae, SSATB, 2 vn, bc, F-Pn Job (Audi Job), SAB, bc; C oratorî i, 1 Oratorio della SS vergine (Balducci), SSATB, 2 vn, bc; C oratori viii Oratorio di Daniele profeta, SSSATB, bc; C oratorî vii
Cantatas: Adesso è bizzaria saper, S, bc, D-MÜs Alla rocca del pensiero (G. Rospigliosi), S, bc, perf. Rome, 1654, I-Rvat [by A.M. Abbatini, from opera Dal male il bene by Abbatini and M. Marazzoli] Al tramontar del giorno, S, bc, F-Pn, I-Bc, MOe, Rvat [also attrib. B. Pasquini]; ed. in Kantatenfrühling, iii (Leipzig, 1909), 3 Amanti, sentite amor, SA, bc, before 7 Sept 1641, GB-Lbl, Och, I-Bc, Fc, Rvat [also attrib. M. Marazzoli and L. Rossi] Amanti, un bell’humore, S, bc, Nc Apri le luci, S, bc, Vc Begl’occhi lusinghieri, S, bc, D-MÜs Begl’occhi, pietà, SS, bc, MÜs, GB-Lbl, I-MOe, Nc, Rvat, US-Nsc [also attrib. A. Cesti and A. Steffani] Cara, tu sei gelosa, S, bc, D-MÜs Care selve beate (G.B. Guarini), B, bc, GB-Och [from Il pastor fido] Chi d’amor divien seguace, S, bc, Lbl, I-Nc Colpa è del cieco Dio, S, bc, D-MÜs Co’l versar sì belle lagrime, S, bc, MÜs Come l’ombra à nostro scherno (G.F. Apollonio), S, bc, MÜs, I-Nc [by A. Stradella] Con incerta speranza, S, bc, GB-Och, I-Nc, Rc, Rvat [also attrib. M. Marazzoli and L. Rossi] Cor mio, volesti amar, SS, bc, S-Uu (inc.) Costante il ciel mi fe’, S, bc, I-Nc Crolla il mondo, S, bc, Rvat Da perfida speranza (La perfida speranza), S, bc, B-Bc, F-Pthibault, GB-Lbl, Och, I-Fn, PAc, Rc, Vc [by L. Rossi] Disperata rimembranza, S, bc, GB-Cfm, I-MOe, Nc [by A. Stradella] Dite, o cieli, se crudeli sono i sguardi, S, bc, in 16887, Recueil des milleurs airs italiens (Paris, 1703) [by L. Rossi] Dolorosi pensieri, SABar/ATBar, bc, F-Pn [also attrib. M. de la Barre] Dove andasti, raminga mia luce?, S, bc, D-MÜs Ecco l’alba luminosa, SSB, bc, GB-Lbl E che farete, amanti? (Rospigliosi), S, bc, perf. Rome, 1654, I-Rvat [by A.M. Abbatini, from opera Dal male il bene by Abbatini and M. Marazzoli] Erminia sventurata, S, bc, B-Bc, GB-Lbl, Och, I-Nc, Rc, Rvat [by L. Rossi] Fatto son hoggi nocchiero, SSB, bc, F-Pn, I-Bc [also attrib. G. Marciani] Fingo per mio diletto, S, bc, D-MÜs Fra [Tra] sponde di smeraldo, S, bc, Kl, F-Pthibault, I-MOe, Rvat [by Atto Melani] Havete fatto assai, S, bc, before May 1669, Nc Il mondo tace, SSB, bc, F-Pn, GB-Och, I-Bc In amor le stravaganze, S, bc, Nc, Rc [also attrib. G. Marciani] In guerra d’amore, S, bc, in Recueil d’airs sérieux (Paris, 1701) Insegnatemi à morire, S, bc, GB-Lcm, Och [by A. Cesti] Irene da me lungi, S, bc, I-Nc Languia Filen trafitto, S, bc, GB-Och, I-Nc, Rvat [also attrib. C. Caproli and L. Rossi] La rosa dogliosa, S, bc, F-Pc, Pn, I-Rvat, US-NH [also attrib. A. Cesti] Lontananza dogliosa, S, bc, F-Pn Luci belle, mio tesoro, SS/AT, bc, Pn, I-Bc, Fc [also attrib. L. Rossi] Me l’ha fatta la speranza, SS, bc, Nc M’è venuto à fastidio (Apollonio), S, bc, D-MÜs, F-Pthibault, I-Nc [by A. Stradella] Mi nasce un sospetto, S, bc, D-MÜs Mio core, mio bene, languisco, SS, bc, GB-Lbl, I-Bc, Fc, Nc, Rc [also attrib. A. Cesti, G. Marciani and L. Rossi] Mirate ch’io rompo del piè, S, bc, Nc Navicella che si altera (G. Lotti), S, bc, Nc, Rc Nel rogo fatale, S, bc, Nc Non basta la fe’, S, bc, Nc [also attrib. M. Savioni] Non più gioie, mio core, SS, bc, F-Pn, I-Fc [also attrib. L. Rossi] Non veduta ancor m’impiaga, S, bc, D-MÜs Notte amica a i dolci amori, S, bc, MÜs Occhi miei belli, S, bc, B-Bc, D-Mbs, F-Pn, Pthibault, I-Fn [by Atto Melani] O me infelice (Falsirena disperata), S, bc, GB-Och O mirtillo, S, bc, F-Pn Pensieri, che fate?, SS, bc, I-Bc, Fc, Nc, Rc, Rvat [also attrib. M. Marazzoli, F. Provenzale and L. Rossi] Per legar l’alma d’un rè, S, bc, D-MÜs Per mirar chi al sol da luce, S, bc, MÜs Più non spero di gioire, SS, bc, I-Nc Porta su gl’occhi il pianto, S, bc, MOe, Nc Presso un ruscel sedea un huom (Quanto sia instabile l’età dell’huomo) (Benigni), S, bc, before 1663, GB-Lbl, Och, I-MOe, Rc, Rvat [by L. Rossi] Pupille care, moro se non vi miro, S, bc, D-MÜs Quand’ amor mi darai pace?, S, bc, GB-Lbl, I-Nc [also attrib. F. Valenti] Quanto sete [siete] per me pigri, S, bc, F-Pc, Pn, GB-Och, I-Nc, Rvat [also attrib. A. Cesti] Quel vezzo m’impiaga, S, bc, D-MÜs So ben io dov’è legata, S, bc, GB-Och, I-Nc [also attrib. L. Rossi] Sotto le curve e spatiose spalle, S, bc, Vc Sperar vorrei, ma al fine, S, vn, bc, D-MÜs Sta forte, mio core, S, bc, I-Nc, Rc [also attrib. M.A. Pasqualini] Su destatevi, amanti (Ariberti), SS, bc, Bc, Nc, Rvat [also attrib. M. Marazzoli]; Ld, 83 Tormentato mio core, S, bc, I-Nc Tratto qui da un cieco Nume, S, bc, D-MÜs Un canoro rusignolo già sirena, S, bc, I-Nc Ve lo dico, non amate, S, bc, Nc, Rdp [also attrib. M. Marazzoli] Vivo, ò bella, co’l tuo core, S, bc, D-MÜs
—
Lost works: Stage: L’amorose passioni di Fileno, lib. pubd (Bologna, 1647) Giuditta, perf. Collegio Germanico, Rome, 1656 Il sacrificio d’Isaaco, perf. Collegio Germanico, Rome, 1656
Motets: Ad coelestem Jerusalem, S, bc, cited in Ansbach inventory Ad fontem, 3 vv, bc, cited in Ansbach inventory Annos aeternos, 2vv, bc, perf. Weissenfels, 1693, under J.P. Krieger Audite, mortales, 6vv, 3 insts, bc, belonged to J.P. Krieger in c1690, ?by B. Pekiel; ed. Z. Szweykowski (Kraków, 1982) Audite, sancti, 6vv, 5 insts, bc, cited in Ansbach inventory Beatus vir, 5vv, bc, cited in Ansbach inventory Cantate Domino, 2vv, bc, perf. Weissenfels, 1692, under J.P. Krieger Cantemus Domino, SS, bc, cited in Tovačov inventory Clama, ne cesses, 4vv, bc, mentioned in letter, 1642 Confitebimur, SSSS, bc, cited in Tovačov inventory Cum de sepulcro, 8vv, bc, perf. Weissenfels, 1691, under J.P. Krieger Estotes fortes in bello, cited in Ansbach inventory Exultate, SS, bc, cited in Tovačov inventory Iratus sum, 3vv, bc, cited in Ansbach inventory Jesu noster, 2vv, 2 insts, bc, cited in Ansbach inventory Justus germinabit, SSB, bc, formerly in Stadtbibliothek, Breslau Magnificat, 8vv, 4 insts, perf. Weissenfels, 1691, under J.P. Krieger O anima mea, suspira, SS/TT, bc, cited in catalogue, 1695, of Michaelisschule, Lüneburg; ? identical with motet for SA, bc O cor meum, T, bc, cited in Ansbach inventory O felix felicitatis, 3vv, 2 insts, bc, cited in Ansbach inventory O sanctissimum sacramentum, 3vv, bc, cited in Ansbach inventory Sacris dicta, SS, bc, cited in Tovačov inventory Si quis est cupiens, ATB, bc, formerly in Staats- und Universitätsbibliothek, Königsberg Valete, mundi delitiae, SS/TT, bc, cited in catalogue, 1695, of Michaelisschule, Lüneburg Valete, risus, valete, cantus, SS/TT, bc, cited in catalogue, 1695, of Michaelisschule, Lüneburg Venite, exultemus, perf. S Apollinare, Christmas 1639 Venite, socii, 4vv, bc, cited in Ansbach inventory Viam mandatorum suorum, SATB, bc, formerly in D-MÜs Virgo Davidica, S, ? 2 vn, bc, cited in Tovačov inventory
Oratorios: Persarum rex maximus Assuerus, oratorio, SSATB, 2 vn, bc, formerly in CZ-KRa Stabat adversus Israel Philisteus, oratorio, SS, SATB, SATB, 2 vn, lute, vle, bc, formerly in KRa
Instrumental:
42 versetti, hmn/org, in Kurtzer jedoch gründlicher Wegweiser (Augsburg, 1689); pubd (Turin, 1901)
Literatura:
Ars cantandi (It. treatise extant only in Ger. trans.) Kurze, jedoch grundliche Anweisung zur Musica Modulatorio, D-Bsb Regulae compositionis, Bsb
Stage:
Le nozze di Teti e Peleo (libretto di O. Persiani) al Teatro San Cassiano di Venezia
Gli amori di Apollo e Dafne (Gian Francesco Busenello) al Teatro San Cassiano di Venezia
La Didone (Gian Francesco Busenello) al Teatro San Cassiano di Venezia
Amore innamorato (Giovanni Battista Fusconi e Giovan Francesco Loredan) al Teatro San Moisè di Venezia
Narcisso et Ecco immortalati di Filippo Vitali, rielaborazione di Marco Marazzoli e Cavalli (O. Persiani, perduta) al Teatro Santi Giovanni e Paolo di Venezia
La virtù de’ strali d’Amore (Giovanni Faustini) al Teatro San Cassiano
L’Egisto (Giovanni Faustini) al Teatro Novissimo di Venezia
La Deidamia scritta con Filiberto Laurenzi (Scipione Herrico, perduta) al Teatro Novissimo
L’Ormindo (G. Faustini) al Teatro San Cassiano
Il Romolo e ‘l Remo (Giulio Strozzi e Giovan Battista Strozzi, perduta) al Teatro Santi Giovanni e Paolo
La Doriclea (Giovanni Faustini) al Teatro San Cassiano
Il Titone (Giovanni Faustini, perduta) al Teatro San Cassiano
La prosperità infelice di Giulio Cesare dittatore (Gian Francesco Busenello, perduta)
La Torilda (P.P. Bissari, perduta)
Il Giasone (Giacinto Andrea Cicognini) al Teatro San Cassiano
L’Euripo (Giovanni Faustini, perduta) al Teatro San Moisè di Venezia
La Bradamante (P.P. Bissari, perduta)
Orimonte (Nicolò Minato)
L’Oristeo (Giovanni Faustini)
La Rosinda (Giovanni Faustini) al Teatro Sant’Apollinare di Venezia
L’Armidoro (B. Castoreo, perduta) al Teatro San Cassiano
La Calisto (Giovanni Faustini)
Veremonda, l’amazzone di Aragona (Giulio Strozzi e Giacinto Andrea Cicognini) al Palazzo Reale di Napoli
L’Eritrea (Giovanni Faustini)
L’Helena rapita da Teseo (Giacomo Badoaro)
L’Orione (Francesco Melosio, Teatro Regio Ducale di Milano)
Il Ciro (Aurelio Aureli, opera di Francesco Provenzale rimaneggiata da Cavalli con Andrea Mattioli[1]) al Teatro Santi Giovanni e Paolo di Venezia
Il Serse (o Xerse, Nicolò Minato) al Teatro Santi Giovanni e Paolo con Atto Melani
La Statira, principessa di Persia (Gian Francesco Busenello) al Teatro Santi Giovanni e Paolo
L’Erismena (Aurelio Aureli) al Teatro Sant’Apollinare di Venezia
L’Artemisia (Nicolò Minato) al Teatro Santi Giovanni e Paolo
L’Antioco (Nicolò Minato, perduta) al Teatro San Cassiano
L’Hipermestra (Moniglia, Firenze) al Teatro della Pergola
L’Elena (Nicolò Minato e Giovanni Faustini) al Teatro San Cassiano
La pazzia in trono, ossia il Caligola delirante (D. Gisberti, perduta)
L’Ercole amante (Francesco Buti, Teatro delle Tuileries di Parigi)
Scipione Africano (Nicolò Minato), Teatro Santi Giovanni e Paolo con Giovanni Francesco Grossi
Il Mutio Scevola (Nicolò Minato) al Teatro Vendramin di San Salvatore (poi Teatro stabile del Veneto Carlo Goldoni) di Venezia
Il Pompeo Magno (Nicolò Minato) al Teatro Vendramin di San Salvatore (poi Teatro stabile del Veneto Carlo Goldoni) di Venezia
L’Eliogabalo (A. Aureli)
Coriolano (Cristoforo Ivanovich) a Piacenza
Other secular:
most attributions doubtful; arias by Cavalli are probably from operas:
Arias:
Son ancor pargoletta, 1634, ed. K. Jeppesen, La Flora (Copenhagen, 1949);
E rimedio al mal d’amore, 1656 (see also Erismena);
Dolce colpo d’un sguardo amoroso, F-Pn;
In amor non ho fortuna, Pn;
O dolce servitù, Pn;
Dolce amor, ?Pn (formerly GB-T), probably the piece ed. J. Stainer, Six Italian Songs for a Mezzo-soprano Voice (London, 1897), and E. Rung, Musica scelta di antichi maestri italiani (Mainz, n.d.), almost certainly not by Cavalli
Cantatas:
Arm’il petto d’orgoglio, I-Vc (6 arias wrongly attrib. Cavalli in same MS);
Chi non fa il giardinier, dated 1662, MOe;
Ho un cor che non sa (Amante veridico), 1662, MOe;
Levamiti davanti (Vanità in amore), 1662, MOe;
Se laggiù negli abissi, Nc, ed. H. Riemann, Kantaten-Frühling (1633–1682) (Leipzig, 1912)
Vocal religiosa:
Musiche sacre concernenti messa, e salmi concertati con istromenti, imni, antifone et sonate, 2–8, 10, 12vv, bc (Venice, 1656):
Messa, 8vv, 2 vn, vc, other insts ad lib; ed. R. Leppard (London, 1966)
Alma Redemptoris mater, 2 S, A, T, B, ed. B. Stäblein, Musica divina, iv (Regensburg, 1950)
Ave maris stella, A, T, B, 2 vn, vc
Ave regina caelorum, T, B, ed. B. Stäblein, Musica divina, i (Regensburg, 1950)
Beatus vir, A, T, B, 2 vn, vc
Confitebor tibi Domine, 8vv, 2 vn, vc
Credidi, 2 S, A, T, B, 2 vn, vc
Deus tuorum militum, A, T, B, 2 vn, vc
Dixit Dominus, 8vv, 2 vn, vc, other insts ad lib
Domine probasti, S, A, B, 2 vn, vc
Exultet orbis, 4vv, 2 vn, vc
In convertendo, 2 S, A, T, B
Iste confessor, 2 S, 2 vn, vc
Jesu corona virginum, A, T, B, 2 vn, vc
Laetatus sum, A, T, B, 2 vn, 3 va, ed. R. Leppard (London, 1969)
Lauda Jerusalem, 8vv, 2 vn, vc, other insts ad lib
Laudate Dominum, 8vv, 2 vn, vc, ed. R. Leppard (London, 1969)
Laudate pueri, 2 S, A, T, B, 2 vn, vc
Magnificat, 8vv, 2 vn, vc, other insts ad lib, ed. R. Leppard (London, 1969)
Nisi Dominus, 4vv, 2 vn, vc
Regina caeli, A, T, B, ed. B. Stäblein, Musica divina, ii (Regensburg, 1950)
Salve regina, A, 2 T, B, ed. B. Stäblein, Musica divina, iii (Regensburg, 1950)
Canzoni [sonate] a 3, 4, 6, 8, 10, 12; those a 6 and a 12 ed. R. Nielsen (Bologna, 1955)
Vesperi, 8vv, bc (Venice, 1675):
Vespero della B.V. Maria: Dixit Dominus; Laudate pueri; Laetatus sum; Nisi Dominus; Lauda Jerusalem; Magnificat, ed. G. Piccioli (Milan, 1960); all ed. F. Bussi (Milan, 1995)
Vespero delle domeniche: Dixit Dominus; Confitebor; Beatus vir; Laudate pueri; In exitu Israel; Laudate Dominum; Credidi; In convertendo; Domine probasti; Beati omnes; De profundis; Memento; Confitebor angelorum; Magnificat, ed. G. Piccioli (Milan, 1960); all ed. F. Bussi (Milan, 1995)
Vespero delle cinque Laudate ad uso della cappella di S Marco: Laudate pueri; Laudate Dominum laudate eum; Lauda anima mea; Laudate Dominum quoniam bonus; Lauda Jerusalem; Magnificat, ed. G. Piccioli (Milan, 1960); all ed. F. Bussi (Milan, 1995)
Cantate Domino, 1v, bc, 1625; ed. F. Vatielli, Antiche cantate spirituali (Turin, 1922)
O quam suavis, 1v, bc, 1645
Magnificat, 6vv, 2 vn, bc, 1650; ed. F. Bussi (Milan, 1988)
In virtute tua, 3vv, bc, 1656
O bone Jesu, 2vv, bc, 1656
Plaudite, cantate, 3vv, bc, 1656
Missa pro defunctis [Requiem], 8vv, bc, D-Bsb, Dlb; ed. F. Bussi (Milan, 1978)
Il giuditio universale (orat), dated 1681, I-Nf, attrib. ‘Cavalli’ in MS but almost certainly not by Francesco Cavalli; attrib. ‘Nicolas Cavalli’ by Fétis, who incorrectly dated it as 18th-century
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