Probablemente todo lo relacionado con los microbios te suene a suciedad, a enfermedades y a infecciones; y es cierto —algunos microorganismos causan enfermedades incluso mortales—, pero la inmensa mayoría de los microbios son muy beneficiosos, cuando no imprescindibles, para nosotros.
Están por todas partes y por ellos es posible la vida en el planeta. También están dentro de nosotros. La microbiota es esa comunidad de microorganismos buenos que viven en nuestro cuerpo, gracias a los cuales podemos incluso disfrutar de una salud de hierro. Desde el mismo instante en el que nacemos somos colonizados por millones de virus, bacterias y hongos, que permanecerán con nosotros hasta el final de nuestros días. Y desde que el hombre es hombre, conviven en nuestro cuerpo: hemos coevolucionado con ellos. Los compartimos con nuestra familia y nuestros amigos, pero son parte de nuestra identidad: los microbios que tú tienes son distintos de los de otra persona.
Existe una comunicación entre nuestros microbios y nuestro cuerpo, con el metabolismo y el cerebro, por ejemplo. Gracias a ellos se activan nuestras defensas y mantienen a raya a otros microorganismos patógenos, evitando que nos colonicen y que nos provoquen enfermedades. Nos ayudan a hacer la digestión y nos proporcionan algunas vitaminas y otros compuestos que nosotros no podemos sintetizar, y que son fundamentales para nuestra vida. Una buena microbiota es sinónimo de una buena salud. Tenemos que cuidarla, porque cuando la maltratamos nuestra salud se resquebraja. Hay muchos ejemplos que relacionan la microbiota con la enfermedad: desde alergias, diabetes, obesidad y enfermedades autoinmunes, hasta alzhéimer, párkinson, autismo, e incluso cáncer.
Este libro desvela —de forma amena y rigurosa—, un mundo sorprendente, microscópico e infinitesimal, el mundo de los seres que te habitan y rigen tu salud.
Retrato moral, histórico y político, «Séneca, la sabiduría del Imperio» analiza por vez primera este personaje esencial desde un contexto adecuado y completo. Así, se recoge con sumo detalle y de manera novedosa la relevancia de sus orígenes familiares, así como la de la Córdoba de su tiempo. Atendiendo a las fuentes romanas, a la obra del propio Séneca, a los estudios modernos y clásicos, pero desde un profundo conocimiento del personaje, de la filosofía y de la propia Historia de Roma, Alberto Monterroso nos muestra con extraordinaria amenidad tanto su pensamiento como su obra moral, trágica, poética, etc., lo que se va intercalando con la descripción de los hechos acontecidos en el plano personal. El resultado es una obra imprescindible, de obligada consulta para quienes quieran conocer por qué y cómo un hombre nacido en una de las ciudades más remotas del Imperio, la lejana Córdoba, llegaría a convertirse en el político e intelectual más eminente de Roma. ¿Cómo fue posible que ese hombre se alzara hasta la cumbre del Imperio y lo gobernara sabiamente en nombre del emperador? ¿Cómo es posible que su estela intelectual haya tenido implicaciones de primer nivel en el mundo de la política, de la religión, de la cultura y de la sociedad hasta pleno siglo XXI? ¿Qué tuvo y sigue teniendo de especial, de inefable, Lucio Anneo Séneca?
La biografía intelectual del pensador cuyo poderoso influjo alcanza nuestros días y la crónica histórica de los mejores siglos de Roma.
Operas: opere serie in 3 acts unless otherwise stated
Antioco (B. Feind, after A. Zeno and P. Pariati), Brunswick, Hof, 11 Aug 1721, 6 arias D-SWl Il Sesostrate (A. Carasale, after Pariati), Naples, S Bartolomeo, 13 May 1726, rev. 28 Aug 1726, A-Wgm, arias D-MÜs, I-Nc, US-Wc L’Astarto (Zeno and Pariati), Naples, S Bartolomeo, Dec 1726, I-MC Gerone tiranno di Siracusa (after A. Aureli), Naples, S Bartolomeo, 19 Nov 1727, A-Wn, D-Hs, I-Mc* (Acts 2 and 3), MC, arias Nc Attalo, re di Bitinia (F. Silvani) Naples, S Bartolomeo, May 1728, D-Dl (sinfonia), Hs (incl. int Carlotta e Pantaleone), I-MC, Vnm L’Ulderica, Naples, S Bartolomeo, 29 Jan 1729, arias and duets A-Wn, D-Dl, Hs, MÜs, GB-Lbl, I-Mc, MC, Nc, Rc La sorella amante (Lavinia) (commedia per musica, 2, B. Saddumene), Naples, Nuovo, spr. 1729; Valletta (Malta), Manuel, 1736, D-Dl* Tigrane (Silvani), Naples, S Bartolomeo, 4 Nov 1729, rev. A. Palella, Naples, S Carlo, 4 Nov 1745, A-Wgm, 13 arias, duet D-MEIr, GB-CDp†, Lam, Ob, I-Mc* Artaserse (P. Metastasio, rev. G. Boldini), Venice, S Giovanni Grisostomo, Feb 1730, D-MÜs, GB-Cfm, Lam, Lbl (2 copies, incl. 1734 pasticcio), I-Mc (Act 1), Nc†, Vnm, US-Wc; rev. Dresden, Hof, 9 Sept 1740, A-Wn, D-Bsb, Dl (2 copies, incl. vs), Hs†, SWl (sinfonia, 25 arias, pts), F-Pc (inc.), US-NH, Wc; rev. Naples, S Carlo, 20 Jan 1760, D-Dl, F-Pc, I-Mc, Nc, P-La (2 copies), US-Wc; A-Wgm, Wn, B-Bc, D-Hs, LEm, LEmi, GB-Lbl, I-MC (Acts 1 and 3), US-NH Dalisa (Lalli, after N. Minato), Venice, S Samuele, May 1730, arias and duets A-Wn, D-Dl, Mbs, MÜs, Rtt, F-Pc, GB-Ob, I-MC Arminio [1st version] (A. Salvi), Milan, Regio Ducal, 28 Aug 1730, arias A-Wn, B-Bc, D-Dl, Hs, Mbs, MÜs, F-Pn, GB-Lbl, Ob, I-MC Ezio (Metastasio), Naples, S Bartolomeo, aut. 1730, GB-Lbl; rev. Bayreuth, Margrave, 23 Sept 1748; rev. Dresden, Hof, 20 Jan 1755, B-Br, D-Dl, Hs, US-Wc; A-Wn, B-Bc (2 copies incl. vs), D-As (2 copies), Bsb† (2 copies, incl. vs), Dl†, LEmi, WERhb (vs), WRz, F-Pc†, GB-Lbl, I-Mc* (?1755) Cleofide (Alessandro nell’Indie) (M.A. Boccardi, after Metastasio), Dresden, D-Bsb (2 copies, 1 without recits), 13 Sept 1731, Dl (2 copies, incl. vs), Hs, LEm, Mbs, Mbs†, F-Pc; rev. Venice, S Giovanni Grisostomo, 4 Nov 1736, GB-Lbl; rev. ?Venice, carn. 1738, carn. 1743, B-Bc, D-HAmi, Rtt (sinfonia pts), F-Pc†, GB-CDp, I-Vnm; aria with ornamentation by Frederick the Great, facs. with edn by W. Goldhan (Wiesbaden, 1991) Catone in Utica (Metastasio), Turin, Regio, 26 Dec 1731, arias D-Dl, Mbs, MÜs, F-Pc, Pn, GB-Lbl, I-Mc, MC Cajo Fabricio (after Zeno), Rome, Capranica, 12 Jan 1732, D-MÜs, F-Pc, US-Cn; rev. Naples, S Bartolomeo, wint. 1733; rev. Dresden, Hof, 8 July 1734, ?A-Wgm, D-Dl; as Pirro, Jaromeritz, Schloss Questenberg, aut. 1734, I-Mc*; rev. Berlin, Hof, Sept 1766, D-Bsb; B-Bc, Br, D-Bsb (addl sinfonia), Hs (1733 London pasticcio), I-Vc* (after 1740), US-Wc Demetrio (Metastasio), Venice, S Giovanni Grisostomo, Jan 1732, I-Vnm; as Cleonice, Vienna, ?court, Feb 1734; as Demetrio, Venice, S Cassiano, carn. 1737; as Cleonice, Dresden, Hof, 8 Feb 1740, B-Bc, D-Dl, Hs (Act 2), LEmi; as Cleonice, Venice, S Angelo, 1740; as Demetrio, Venice, S Giovanni Grisostomo, carn. 1747; A-Wn (1739 Reggio pasticcio), D-Bsb (sinfonia), Dl (vs, pts), F-Pc Euristeo (Lalli, after Zeno), Venice, S Samuele, May 1732, B-Bc, D-Dl (with sinfonia), F-Pc (1733, Warsaw) Issipile (Metastasio), Naples, S Bartolomeo, 1 Oct 1732, 14 arias D-MÜs; rev. Leo, Naples, S Carlo, 19 Dec 1742; rev. Cafaro, Naples, S Carlo, 26 Dec 1763; A-Wgm (Acts 1 and 2), I-Mc (Act 1), MC, Tco (inc.) Siroe re di Persia (Metastasio), Bologna, Malvezzi, 2 May 1733, A-Wn, D-Dl, F-Pc, GB-Lbl†; rev. Naples, S Carlo, 4 Nov 1747; rev. Dresden, Hof, carn. 1763, D-Dl, Hs*; A-Wn (facs. in IOB, xxxiii, 1977), B-Bc (2 copies), D-Bsb (1763, Warsaw), Dl (sinfonia score and pts), GB-Cfm (14 arias), Lbl, Lcm (7 arias), I-Mc* (1762, Warsaw), Nc (recits), Vnm, S-Skma†, US-Wc (1763) Senz’attender che di maggio (cant. [prol]), S, orch, Dresden, 1734, D-Dl Tito Vespasiano (La clemenza di Tito) (Metastasio), Pesaro, Pubblico, 24 Sept 1735, 3 arias A-Wn; rev. Dresden, Hof, 17 Jan 1738, B-Bc, Br, D-Dl, DS, Hs, US-AAu; rev. Naples, S Carlo, 20 Jan 1759, D-Dl, I-Mc (?2 copies, incl. autograph), Nc (2 inc. copies); B-Bc (3 copies), D-Bsb (2 copies and addl sinfonia), Hs (2 inc. copies), LEmi, Mbs (1742, Berlin), SWl (sinfonia, 25 arias, pts), F-Pc, GB-Lcm (2 copies), I-Mc, Nc (1737), PLcon, Rc (2 copies), P-La (2 copies), RUS-SPtob; S-Skma†, US-Cn (dated 1743), Wc Senocrita (5, S.B. Pallavicino), Dresden, Hof, 27 Feb 1737, B-Bc, Br, D-Bsb, Dl, HAmi, LEm†, Mbs, SWl, GB-Ob, S-Skma, US-NH Atalanta (Pallavicino), Dresden, Hof, 26 July 1737, D-Bsb (16 arias), Dl (1750), LEm, LEmi, I-Mc* Asteria (favola pastorale, Pallavicino), Dresden, Hof, 3 Aug 1737, B-Bc, D-Bsb (20 arias, addl sinfonia), Dl, DS, Mbs, F-Pc Irene (Pallavicino), Dresden, Hof, 8 Feb 1738, D-Bsb† (1738, no sinfonia), Dl (1738, with sinfonia score and pts), LEmi, US-Wc† Alfonso (5, Pallavicino), Dresden, Hof, 11 May 1738, B-Bc, D-Dl (score, pts), DS, Hs, LEmi, MEIr, US-Bp Viriate (Lalli, after Metastasio: Siface), Venice, S Giovanni Grisostomo, carn. 1739, I-Mc Numa Pompilio (Pallavicino), Hubertusburg, 7 Oct 1741, B-Bc, D-Bsb (incl. int Pimpinella e Marcantonio), Dl (4 copies: 1741, 1743 vs and fs), D-SWl (sinfonia, 17 arias), I-Mc* (Acts 1 and 2), PLcon (incl. int Pimpinella e Marcantonio), US-AAu† (3 copies, 2 inc.) Lucio Papirio (Zeno), Dresden, Hof, 18 Jan 1742, D-Dl (score, parts, addl sinfonia), LEmi (2 copies); rev. G. de Majo, Naples, S Carlo, 4 Nov 1746; rev. Hasse or Graun, Berlin, Hof, 24 Jan 1766, B-Bc, D-Bsb (incl. undated score, vs) Didone abbandonata (Metastasio, rev. Algarotti), Hubertusburg, 7 Oct 1742, D-Dl, Hs (1743); rev. N. Logroscino, Naples, S Carlo, 20 Jan 1744; rev. Berlin, Hof, 29 Dec 1752, DS; rev. Versailles, court, 28 Aug 1753, F-Pn*; A-Wn, B-Bc, D-Bsb† (3 copies, incl. vs and fs with pts); LEm (3 copies, incl. vs), SWl, F-Pc, GB-CDp, Lcm, Ouf (5 arias), I-Mc (score, addl sinfonia), Nc, Rc (inc.), Vc† (Dresden), S-Uu† (vs), US-Wc Endimione (festa teatrale, 2, Metastasio), ? Naples, court, July 1743, D-Dl L’asilio d’amore (festa teatrale, 1, Metastasio), Hubertusburg, 7 Oct 1743 (composed 1742 for Naples) B-Bc, D-Dl (2 copies, addl sinfonia), Hs, HAmi, LEmi, F-Pc, I-Mc*, Nc Antigono (3, Metastasio), Hubertusburg, 10 Oct 1743, and Dresden, Hof, 20 Jan 1744; rev. A. Palella, Naples, S Carlo, 19 Dec 1744, A-Wn Albertina (9 costume designs by F. Ponte); rev. as Alessandro, re d’Epiro, 1753; A-Wn, B-Bc (score, addl sinfonia), Lc, D-Bsb†, Dl (fs, pts, vs), LEmi, F-Pc (vs), GB-Lbl (Dresden), Ouf (arias), I-FERc, Mc (arias), US-R, Wc Ipermestra (Metastasio), Vienna, court, 8 Jan 1744, A-Wgm, Wn, D-Dl, I-Mc; rev. Palella, Naples, S Carlo, 20 Jan 1746; rev., Hubertusburg, 7 Oct 1751, D-Bsb (score, addl sinfonia), Dl (2 copies), Hs (undated copy), LEm (Act 2), LEmi, ROu, F-Pc; A-Wn (vs), B-Bc (fs, vs), F-Pc† (2 copies: 1757, n.d.), I-Mc*, S-Skma (score, addl sinfonia) Semiramide riconosciuta (Metastasio), Naples, S Carlo, 4 Nov 1744 and/or Venice, S Giovanni Grisostomo, 26 Dec 1744; rev. Dresden, Hof, 11 Jan 1747, B-Bc, D-Dl (score, pts, addl sinfonia), Hs, GB-Lbl; rev. Warsaw, Imperial, 7 Oct 1760; B-Bc (2 copies), Br, D-Bsb† (2 copies), LEmi, W, F-Pc† (2 copies), I-Bc, Vc*, S-Skma† (addl sinfonia), US-Wc Arminio [2nd version] (G.C. Pasquini), Dresden, Hof, 7 Oct 1745, D-Dl, W, I-Mc, Nc; rev. as Hermann und Varus, Brunswick, Hof, 1747; rev. Dresden, Hof, 8 Jan 1753, A-Wn Albertina (7 costume designs by F. Ponte), D-Dl; B-Bc, Br, D-Bsb (2 copies: 1747, n.d., addl sinfonia), HAmi, LEmi, Mbs, F-Pc, GB-CDp, I-Mc (score, pts for Act 1), S-Skma (3 copies, addl sinfonia), US-Wc; ed. in EDM, 1st ser., xxvii–xxviii (1957–66) Lo starnuto d’Ercole, pasticcio with puppets, Venice, S Girolamo, carn. 1745, music lost Eurimedonte e Timocleone (Zanetti), pasticcio with puppets, Venice, S Girolamo, carn. 1746, music lost La spartana generosa, ovvero Archidamia (Pasquini), Dresden, Hof, 14 June 1747, B-Bc, D-Bsb (sinfonia parts), Dl, Hs (2 copies), LEmi, SWl (sinfonia, 22 arias, duet, parts), F-Pc† Leucippo (favola pastorale, Pasquini), Hubertusburg, 7 Oct 1747, D-Dl, GB-Lbl†; rev. ? Venice, S Samuele, May 1749; rev. Dresden, Zwinger, 7 Jan 1751, D-Bsb† (2 copies, incl. vs); rev. Berlin, Hof, 7 Jan 1765; A-Wgm, B-Bc (2 copies), D-Bsb† (2 copies, incl. 1 with autograph corrections, sinfonia pts), Dl (2 vs), Hs, LEmi, MÜs, W, SWl, I-Mc*, Nc, Vc (sinfonia), S-Skma, St, US-BEm, Cn*, Wc Demofoonte (Metastasio), Dresden, Hof, 9 Feb 1748, B-Br, D-Dl† (2 copies), Hs (inc. version not known), I-Nc; rev. Venice, S Giovanni Grisostomo, carn. 1749, Vc (inc.), Vnm; rev. Naples, S Carlo, 4 Nov 1758, D-Dl (addl sinfonia pts), F-Pc, I-Mc (Acts 1 and 3), Vc (Acts 1 and 2); B-Bc (3 copies), D-Bsb (2 copies), HAmi, LEm†, WRz, F-Pc† (4 copies, incl. 1 ?1748, Dresden), GB-Lbl† (?1748), Lcm, I-Mc*, Vc, US-Wc (2 copies) Attilio Regolo (Metastasio), Dresden, Hof, 12 Jan 1750, A-Wn, B-Bc (2 copies), Br, D-Bsb (2 copies, addl sinfonia), Dl (2 copies 1750, incl. vs, parts), Hs, LEmi, RH (arias), W, F-Pc, I-Mc*, S-Skma (Act 2, addl sinfonia), US-R, Wc (1750) Ciro riconosciuto (Metastasio), Dresden, Hof, 20 Jan 1751, A-Wgm, Wn, B-Bc, Br, D-Bsb† (2 copies 1751, addl sinfonia), BS, Dl (1751 score, pts, addl sinfonia), Hs (2 copies), LEmi, Mbs, RH (sinfonia), Sl (1752, Stuttgart), F-Pn, GB-CDp, Lbl (inc. score, sinfonia), I-Mc*, S-Skma (score, addl sinfonia), US-R, U, Wc (sinfonia) Adriano in Siria (Metastasio), Dresden, Hof, 17 Jan 1752, A-Wn Albertina (14 costume designs by F. Ponte), Wn (Act 1), B-Bc (3 copies, incl. vs), D-Bsb, BDk†, Dl† (2 copies), Hs, Mbs (2 copies, incl. vs), ROu, I-Mc*, MOe (1762), S-Skma†, Uu, US-Wc Solimano (G.A. Migliavacca), Dresden, Hof, 5 Feb 1753, A-Wn Albertina (23 costume designs by F. Ponte), F-Pc, GB-Lbl†; rev. Dresden, Hof, 7 Jan 1754; B-Bc (2 copies), Br, D-Bsb (2 copies, incl. vs, pts, addl sinfonia), BDk (vs), Dl (2 copies, pts), DS†, HAmi, LEm (2 copies, incl. vs), Mbs (2 copies, incl. vs), ROu†, F-Pc (2 copies), I-Mc*, S-Skma†, US-Wc (2 copies, incl. vs) L’eroe cinese (Metastasio), Hubertusburg, Hof, 7 Oct 1753, D-Hs; rev. ?Hasse, Potsdam, Hof, 18 July 1773, GB-Lbl (arias); B-Bc, Br, D-Bsb, Bs, Dl (2 copies, incl. vs, pts, addl sinfonia), LEmi, F-Pc, I-Mc*, US-Wc (vs); sinfonia (Leipzig, 1761) Artemisia (Migliavacca), Dresden, Hof, 6 Feb 1754, A-Wn Albertina (11 costume designs by F. Ponte); B-Bc, Br, D-Bsb† (3 copies, incl. 1754, ?1786, Berlin, addl sinfonia parts), LEmi, I-Mc*, S-Skma, US-AAu† Il re pastore (Metastasio), Hubertusburg, Hof, 7 Oct 1755, D-Dl, Hs; rev. Warsaw, Imperial, 7 Oct 1762, or Vienna, 1760, Dl (pts); A-Wgm, B-Bc (3 copies, incl. vs, addl sinfonia), Br, D-Bsb (2 copies, 2 addl sinfonias), Bs, BDk (pts), HAmi, LEm† (2 copies), ROu, F-Pc (2 copies, incl. vs), GB-Lcm, I-Mc*, S-Skma (vs), US-NYp (vs), Wc L’Olimpiade (Metastasio), Dresden, Hof, 16 Feb 1756, A-Wn, D-Bsb, Dl; rev. Warsaw, Imperial, carn. 1761; rev. Turin, Regio, 26 Dec 1764; A-Wgm (vs), Wn (inc.), B-Bc (3 copies), Br, D-Dl (1762, Warsaw, pts), Hs† (undated), HAmi, LEm† (2 copies, incl. vs), F-Pc (2 copies, incl. vs), Pn (1765 revival), GB-Lbl, I-Mc*, Tn, US-Bp (vs) Nitteti (Metastasio), Venice, S Benedetto, Jan 1758, D-Dl, Hs, F-Pc, I-Vnm (Acts 1 and 3); rev. Vienna, ?court, 1762, F-Pc; A-Wgm, B-Bc (3 copies, incl. 2 vs), D-Bsb (1759, Warsaw), Dl, LEmi, Mbs Achille in Sciro (Metastasio), Naples, S Carlo, 4 Nov 1759, D-Dl, Hs, F-Pc, GB-Lcm, I-Mc*, P-La (2 copies 1759) Alcide al bivio (festa teatrale, 1, Metastasio), Vienna, Burg, 8 Oct 1760, score† (Leipzig, 1763); A-Wgm, Wn (3 copies), B-Bc (3 copies, incl. 2 vs), Br, D-Bsb (score, pts, addl sinfonia), Dl (score, pts), DS, HAmi, LEm (sinfonia), GB-Lbl, I-CMc, Mc (part autograph; facs. in IOB, lxxi, 1983), MOe, Nc (1770), PAc, Tn, P-La, US-CA, Wc (1763 edn) Zenobia (Metastasio), Warsaw, Imperial, 7 Oct 1761, B-Bc, D-Bsb (pts), Dl*, LEmi, F-Pc, I-Mc* (1761, Warsaw), Nc Il trionfo di Clelia (Metastasio), Vienna, Burg, 27 April 1762, D-Bsb, Hs, Sl, I-MOe; rev. G. de Majo, Naples, S Carlo, 20 Jan 1763, P-La (2 copies); A-Wgm, Wn (2 copies), B-Bc (vs), D-Dl*, LEmi, F-Pc (2 copies), I-Fc, Mc* (facs. in IOB, xvi, 1981), PAc, US-Bp Egeria (festa teatrale, 1, Metastasio), Vienna, Hof, 24 April 1764; A-Wgm, Wn (2 copies), B-Bc (2 copies, incl. vs), D-Dl, F-Pc, I-Mc*, MOe, Nc, US-Wc (Act 2) Romolo ed Ersilia (Metastasio), Innsbruck, 6 Aug 1765, A-Wgm, Wn (score, pts), B-Bc (2 copies, incl. vs, addl sinfonia), F-Pc, GB-Lbl, P-La (1766, Naples), US-AAu† (vs) Partenope (festa teatrale, 2, Metastasio), Vienna, Burg, 9 Sept 1767, A-Wn, B-Bc, I-Nc; rev. Berlin, Sans Souci, 18 July 1775; B-Bc (vs), D-Dl, I-Mc* Piramo e Tisbe (int tragico, 2, M. Coltellini), Vienna, Burg, Nov 1768; rev. Vienna, Laxenburg, Sept 1770, A-Wn (2 copies), B-Bc (4 copies, incl. 1 Ger.), Br, Lc, D-Bsb (2 copies: 1771, Berlin, vs; pts, addl sinfonia), Dl (2 copies, addl sinfonia), DS (1769, addl sinfonia), Mbs, WRz (pts), F-Pc, GB-Lbl (1769), I-Mc (3 copies), MC (Act 2), Nc (2 copies, 1 inc.), PLcon (2 copies), S-Skma, US-Cn, Wc (2 copies, incl. vs) Il Ruggiero, ovvero L’eroica gratitudine (Metastasio, after L. Ariosto: Orlando furioso), Milan, Regio Ducal, 16 Oct 1771, A-Wn, D-Bsb (sinfonia), Dl, GB-Lbl†, I-Mc*, Nc, P-La, US-Wc; ed. in Concentus musicus, i (Cologne, 1973)
Numerous arias, mainly performed in pasticcios, pubd in 18th-century anthologies
Intermezzos: Miride e Damari (2), perf. with Il Sesostrate, Naples, S Bartolomeo, 13 May 1726; A-Wgm (?inc.), US-Wc Larinda e Vanesio (L’artigiano gentiluomo, L’artigiano galantuomo, Il bottegaro gentiluomo) (3, A. Salvi and/or Carasale, after Molière: Le bourgeois gentilhomme), perf. with Astarto, Naples, S Bartolomeo, Dec 1726; rev. Dresden, Hof, 8 July 1734; ? rev. Venice, S Angelo, carn. 1739; B-Bc, D-Dl, MÜs, I-MC, Rc; ed. in Collezione settecentesca Bettarini, vii (Milan, 1973), and in RRMCE, ix (1979) Carlotta e Pantaleone (La finta tedesca) (3), perf. with L. Vinci’s Didone, 1726, D-Hs; perf. with Attalo, re di Bitinia, Naples, S Bartolomeo, May 1728; ? rev. Naples, S Bartolomeo, carn. 1734; rev. Potsdam, 1749; arias and duet D-MÜs, I-Nc Grilletta e Porsugnacco (Monsieur de Porsugnacco) (3, after Molière: Monsieur de Pourceaugnac), perf. with T. Albinoni’s L’incostanza schernita, Venice, S Samuele, May 1727; ? rev. Naples, S Bartolomeo, 19 Nov 1727; rev. Dresden, Hof, 4 Aug 1747; B-Bc, D-Dl, MÜs, I-Mc, Rc Scintilla e Don Tabarano (La contadina, Don Tabarrano, Der in sich selbst verliebte Narcissus) (2, B. Saddumene), perf. with P. Scarlatti’s Il Clitarco, Naples, S Bartolomeo, aut. 1728; ? rev. Venice, S Angelo, aut. 1731; rev. Dresden, 26 July 1737; ? rev. Dresden, 1745 and ?11 Jan 1747; Brunswick, Hof, 1750; A-Wn, B-Bc, D-Bsb (?autograph), Dl, Hs (inc.), MÜs, SWl, W, F-Pc (?pasticcio), I-Bc, Fc, MC, PAc, Rc, US-Wc Merlina e Galoppo (La fantesca, Il capitano Galoppo) (3, Saddumene), perf. with L’Ulderica, Naples, S Bartolomeo, 29 Jan 1729; ? rev. Venice, S Angelo, aut. 1741; rev. Dresden, 1749; A-Wn, D-MÜs (?inc.), Hs, WRl, I-MC, Nc, PLcon Dorilla e Balanzone (La serva scaltra, La moglie a forza) (3), perf. with Tigrane, Naples, S Bartolomeo, 4 Nov 1729; rev. Venice, 1732; A-Wgm, D-MÜs, GB-Lam, I-MC, Rc, US-Wc; ed. in Collezione settecentesca Bettarini, xvi (Milan, 1985) Lucilla e Pandolfo (Il tutore), perf. with Ezio, Naples, S Bartolomeo, aut. 1730; perf. with Alfonso, rev. Dresden, 1738; ? rev. Venice, 1739; rev. Dresden, 1755; B-Bc, D-Dl, Mbs, WRl, GB-Cfm, Lcm, I-MC Arrighetta e Cespuglio (La donna accorta) (2), Naples, 1730s; Messina, carn. 1733; Florence, via del Cocomero, 1751 Pimpinella e Marcantonio (1), perf. with Numa Pompilio, Hubertusburg, 7 Oct 1741; ? rev. Dresden, 14 Jan 1743; ? rev. Versailles, 28 Aug 1753; B-Bc, D-Bsb, Dl (Act 1), I-Nc (duet), PLcon (Act 3), US-AAu (2 copies) Rimario e Grilantea, 1739 or 3 Nov 1741; B-Bc, D-Dl (2 copies, incl. vs)
Doubtful works: Cipollina e Moscatello (Il bevitore), St Petersburg, 1746, Dresden, 1747, Potsdam, 1749; Drusilla e Strambone (La vedova ingegnosa, ovvero Il medico ignorante), Hamburg, 1743, Venice, 1746, Prague, 1747, Dresden, 1747, Hamburg, 1772; Il giocatore, Dresden, 1746, Frankfurt, 1755
Serenatas: Antonio e Cleopatra (F. Ricardi), C. Carmignano estate, nr Naples, Sept 1725, A-Wn La Semele, o sia La richiesta fatale (Ricciardi), Naples, aut. 1726, Wgm Enea in Caonia (L.M. Stampiglia), Naples, 1727, I-Nc La gloria sassonia, Dresden, Hof, 7 Oct 1731, MS lib D-Dl Sei tu, Lidippe, ò sole, Dresden, 4 Aug 1734, Dl Il natal di Giove (P. Metastasio), Hubertusburg, 3 Aug or 7 Oct 1749, B-Bc, Br (1750), D-Bsb (1749 addl sinfonia pts), Dl (2 copies 1749), Hs (2 copies), LEmi, Mbs (1750), F-Pc (1750), I-Mc* Il sogno di Scipione (azione teatrale, Metastasio), ? Warsaw, 7 Oct 1758, D-Dl (inc.)
Cantatas: with basso continuo: Ad onta del timore, S, US-Wc (? by N. Porpora); Ah, per pietade almeno, S, B-Bc, GB-Lam, US-NHplamenac; Appena affisi in due begl’occhi, S, US-Wc; Aura liete intorno a Clori, A, D-MÜs, US-NHplamenac; Bella, mi parto, oh Dio (Fille, mi parto, addio), A, D-Bsb, I-PLcon; Cadrò, ma i Filistei (Sansone), B, PAc (? by A. Caldara); Care luci che splendete, S, US-Wc; Caro Padre, D-Hs; Chieggio ai gigli ed alle rose, S, GB-Lbl; Chi mi toglie, D-Hs; Clori, mio ben, cor mio, S, A-Wn, I-MC; Credi, o caro, alla speranza, S, GB-Lbl; Dalle tenebre orrende (Orfeo ed Euridice), 2 S, D-Bsb, I-Rsc, Vnm; Di chi ti lagni, S, GB-Cfm; Ecco l’ora fatal, S, 1745, B-Bc, D-Hs, GB-Lbl, I-Bc, US-NHplamenac; Fatal forza, S, I-Vnm; Filli mia di vaghi fiori, A, GB-Lam, S-SK Già il so verso l’occaso, S, A-Wn; Infelice Amarilli, che pensi, S, US-BEm; Irene, amata Irene, idolo mio, A/S, B-Bc, D-MÜs, GB-Lam, I-BGc, Nc; Lascia i fior, l’erbette e ’l rio, S (London, 1751), D-MEIr, GB-Lbl; La tua rara bellezza, A, US-NHplamenac; Long tems par une rigueur feinte, A, GB-Bu; L’ora fatale, D-Hs; L’ori mio ben, cuor mio, S, I-MC; Lungi d’ogni amoroso aspro tormento, S, GB-Lbl; Mirzia, già l’aria intorno, S, B-Bc; Oh Dio! partir conviene, A (London, 1751), I-Nc; Oh numi eterni! Oh stelle, S, MC, US-BEm; O pace del mio cor, S, B-Bc, I-Mc, Nc; Orgoglioso fiumicello (Inciampo) (P. Metastasio), S, 1732 (London, n.d.), B-Bc, D-MEIr, GB-Lbl (3 copies, 1 for A), Lcm, I-PLcon, S-Skma Parto, mia Filli, è vero, S, GB-Lcm; Perchè leggiadra Irene, S, I-Mc, PAc; Povero fior di Clizia, S, US-Wc (? by Porpora); Povero giglio, oh Dio, A, 1729, I-Nc; Pur ti stringo in questo petto, S (London, 1751), D-Hs, MÜs, GB-Bu, Lam, Lbl, I-Mc, US-NHplamenac; Se al ciglia l’usingiuro, D-Hs; Tanto dunque è si reo, A, GB-Lbl; Trà l’odorose piante, S, Lam; Tutto amore, e tutto fede, S, Bu, Lbl, US-NHplamenac; Va cogliendo, la mia Clori, S (London, 1751), A-Wn, CH-E, D-MEIr, GB-Lam; Veggio la vaga Fille (P. Rolli), S, A-Wn; Vieni dell’alma mia, S, I-Vnm; Vien la speranza, D-Hs
with 1 or 2 obbligato instruments and continuo: Bell’aurora che d’intorno, A/S, vn, GB-Bu, Ob; Clori, mia vita, tu che di questo cor, A, 2 vn, I-Mc (3 copies); Direi ma fosse pria di dirti, S, 2 vn, lost; E pur odo o non moro, S, 2 vn, I-Mc; Fille, dolce mio bene, S, fl/vn, D-MEIr, GB-Lam, Lbl, I-PAc, S-SK; Ho fuggito Amor anch’io (P. Rolli), S, 2 vn, I-Mc; La fiamma che nel seno, A/S, fl/vn, D-Bsb, I-Nc, S-SK; Mentre Clori la bella, S, 2 fl, F-Pc; Pallido il volto, S, fl/vn, D-Bsb, F-Pc, I-MC; Passa da pene in pene, A, fl/vn, D-MÜs, GB-Lam, Lbl (2 copies); Per palesarti appieno, S, 2 rec/fl/vn (London, 1751); Pur deggio partire, S, 2 vn, I-Mc; Quel vago seno, ò Fille, S, fl, D-MÜs, GB-Lcm, I-BGc, Nc, S-Skma; Se il cantor trace, oh Dio, A, 2 vn, D-Bsb; Solitudini campestre (Rolli), S, 2 vn, I-Mc; Vaga madre di cari diletti (Adone) (Rolli), S, 2 vn, Mc
with orchestra: Ah Nice, ah già rosseggia (La danza) (P. Metastasio), Venice, 1775, S, A, 2 ob, str, bc, D-Dl (2 copies), I-Mc*; Ah perché col canto mio (L’armonica) (Metastasio), Vienna, 1769, S, glass harmonica, 2 ob, 2 hn, str, bc, Mc*; Ah troppo è ver! Quell’amoroso ardore (Il primo amore) (Metastasio), A, str, bc, D-Bsb; Apprendesti, o germana (Complimento, per due serenissime arciduchesse d’Austria) (Metastasio), Vienna, court, 8 Dec 1760, S, S, 2 ob, str, bc, I-Mc*; Che ti dirò regina? (Maria Antonia Walpurgis), ?Dresden, 8 Dec 1747, S, 2 fl, 2 ob, 2 hn, str, bc, D-Bsb, Dl (2 copies), Hs; Che vuoi, mio cor? (L’amor timido) (Metastasio), Vienna, 1762, S, 2 fl, 2 ob, 2 hn, str, bc, I-Mc*; Ch’io respiri, ch’io viva, S, fl, str, bc, S-Uu; Ciel nemico anverse stelle, S, str, Skma; Clori, ah Clori, t’affretta (L’Aurora) (Metastasio), S, 2 ob, 2 hn, str, bc, I-Mc*, ed. S. Hansell (Paris, 1968); Clori, mia dolce vita, S, S, str, bc, F-Pc Deh senti o Turno amato (Lavinia a Turno), lost; Deh tacete una volta (Il ciclope) (Metastasio), Venice, 1776, S, A, 2 ob, 2 hn, str, bc, I-Mc*; Dell’amante Caliste, S, str, bc, lost; Ditte che in me parenti, S, str, GB-Bu; Dove, amata germana, dove corri sì lieta? (Complimento, per due serenissime arciduchesse d’Austria) (Metastasio), Vienna, 13 May 1760, 2 S, orch, lost; Dunque il perfido Enea (Didone abbandonata), lost; È ver mia Fille, A, str, bc, GB-Lbl; Grande Augusto, ricevi frà tanti ardenti voti (Maria Antonia Walpurgis), ?Dresden, probably 3 Aug 1747, S, 2 fl, str, bc, D-Dl, Hs; In van ti scuoti, Amor (Amor prigioniero) (Metastasio), Vienna, 1761, 2 S, 2 fl, 2 ob, 2 hn, str, bc, Dl, I-Mc*; La gloria sassonia, Dresden, 7 Oct 1731, lost; L’infelice tortorella, A, str, bc, GB-Lbl; Non ti sovvien mia Fille, S, str, D-MEIr; No, perdonami, o Clori (La scusa) (Metastasio), Vienna, 1760, A, 2 fl, 2 ob, 2 hn, str, bc, A-Wn, D-Bsb, Dl (2 copies), I-Mc*, ed. S. Hansell (Paris, 1968) O macht es so viel Plage (Filidor), S, ?B, str, bc, lost; O qual parmi veder, A, 2 hn, 2 vn, bc, GB-Ob; Perdono, amata Nice, bella Nice (La gelosia) (Metastasio), Vienna, 1762, S, 2 ob, 2 hn, str, bc, I-Mc (incl. autograph), ed. S. Hansell (Paris, 1968); Povero amante core quanto infelice sei, S, str, bc, S-Skma; Pria dell’usato suo sorge, S, str, bc, lost; Scrivo in te l’amato nome (Il nome) (Metastasio), Vienna, 1761, A, 2 fl, 2 ob, 2 hn, str, bc, D-Bsb, MÜs, I-Mc*, ed. S. Hansell (Paris, 1968); Senz’attender che di maggio, S, 2 ob, 2 hn, str, bc, 1734, D-Dl; Tacete pur, tacete, S, str, bc, MEIr; Ti chiedo un guardo, B, str, bc, lost; Tra queste piaghe amene, S, str, bc, MEIr; Vattene soffri e taci, S, 2 fl, str, bc, S-Skma
Arias from cants.: Che bel piacer veder; Chiamarlo menzognero; Godo di mille cori; Non parlarmi più d’amor; Stemprar se potess’io; Vola, pietosa auretta
Arias from canzonettas: Ardor pietà diletto; Della noiosa estata; Dite almeno, amiche fronde; Dite che non mi lagno; Domando al core; La bionda Eurilla; Lo splendor del primo sguardo; Nò mia bella, il sol diletto; Prove son speranza e onore; Solitario bosco ombroso, Nc; Tu fai la superbetta; Una biondina
Oratorios: Daniello (A. Zeno), Vienna, court chapel, 15 Feb 1731, A-Wn (score, pts) Il cantico de’ tre fanciulli (S.B. Pallavicino), Dresden, court chapel, 23 April 1734, D-Dl; rev. several times, late 1730s–60s, A-Wn, D-Bsb (score, parts), Dl (2 copies), LEm (2 copies), F-Pc, GB-Er, I-BRc (pt 2), Vc (pt 2), S-Skma (2 copies, addl sinfonia); rev. Vienna, Tonkünstler-Societät, 18 Dec 1774, A-Wgm, Wn, D-Dl, H-KE, I-Mc* Serpentes ignei in deserto [Christus Dominus in serpente aeneo praefiguratus; Popolo evreo nel deserto; Die feurigen Schlangen in der Wüste] (B. Bonimo), Venice, Incurabili, 1735–6 or 1738–9, A-Wn, D-Bsb (2 copies incl. 1, 1778, Berlin, parts), Hs, Mbs, DK-Kk, F-Pc, I-Vc, US-Wc La Virtù appiè della croce (Pallavicino), Dresden, court chapel, 19 April 1737, rev. 1740 and/or 1760s, CZ-Pnm, D-Bsb (2 scores, parts), Dl, Hs, GB-Lbl (2 copies), I-Mc* Giuseppe riconosciuto (P. Metastasio), Dresden, court chapel, 31 March 1741, D-Dl (parts: 2477-D13a); 2nd version, Dresden, 1754, and Venice, S Filippo Neri, April 1757, D-Bsb (changes in hand of J.A. Hiller), Dl, I-Vnm (score, parts), Vsmc (score parts); ?3rd version, later scores: D-Hs, LEmi, GB-Er, I-Mc* I pellegrini al sepolcro di Nostro Signore (Pallavicino), Dresden, court chapel, 23 March 1742, I-Mc*, 2nd–4th revs. 1748–50, 1751–6, after 1760, A-Wn, B-Bc (2 copies, incl. 1 for 1748, 2-kbd red.), D-Bsb (5 scores, 1 parts), Bsb (Amalien collection), Dl (2 scores), DS, HAu, Werner, HR, Hs (4 scores), LEm (2 copies), LEu, W, WRtl, MÜs, SWl, W, F-Pc (6 copies), F-Pn (4 copies), GB-Er, Lbl (4 copies), Lcm, Ob Tenbury (2 copies), I-Bc, BRc (only part 2), MC, Nc (3 copies), Pca (scores, parts), PLcon, Rsc, Vc (kbd red.), Vnm, Vsmc (parts), S-Skma, US-Bp, NH, PRu, Wc (3 copies); pubd J.A. Hiller (Leipzig, 1784) La deposizione dalla croce di Gesu Cristo, salvatore nostro (G.C. Pasquini), Dresden, court chapel, 4 April 1744, D-Bsb, rev. I-Mc*; 2nd version, 1748, D-Bsb, Dl (copy, parts), Hs, LEu La caduta di Gerico (Pasquini), Dresden, court chapel, 17 April 1745, I-Mc (autograph score formerly in Berlin Sing-Akademie lost); 2nd version, after 1750, A-Wn, B-Bc, D-Dl (copy, parts that differ), Hs (2 copies, ?parts), LEmi, LEu, F-Pc, Pn, GB-Er, Ob Tenbury, US-Wc (with arias, choruses in Lat.) Sant’Elena al Calvario (Metastasio), Dresden, court chapel, 9 April 1746; different copies show differing revs. associated with Dresden (? and Munich), 1753: A-Wgm (2 copies), Wn (2 copies, parts), CH-Zz (score, parts), D-Bsb (8 copies, of which 9468. and 9468.1 represent 1746 orig.), Dl (score, parts), HAu, Hs, LEm, LEu, LÜh (dated Lpg.1767), Mbs (2 copies), Sl (inc.), W, F-Pc (2 parts), S-Skma, US-Cn, Wc; 3rd major rev. Vienna, Tonkünstler-Societät (lib modified by Count J.W. Sporck), 17 Dec 1772, I-Mc* S Petrus et S Maria Magdalena, Venice, Incurabili 1758 [history of Incurabili perfs. not established; different Miserere settings followed this work in 1760s (Koch, F1989)], A-Wn (2 copies), CH-Zz (score, parts), D-Bsb, Dl (2 copies, parts), LEm, MÜs, GB-Er, Ob Tenbury La conversione di Sant’Agostino (Maria Antonia Walpurgis), Dresden, Taschenberg Palace, 28 March 1750, rev. Dresden, later 1750s, and Italy, 1760s, A-Wgm, Wn, B-Bc, D-Bsb (3 copies, plus 1 in Amalien collection), BDk (2 copies), Dl (3 copies, orig. parts (1750) for Dresden: 2477-D21a), LEu (pt 1), Mbs, F-Pc, Pn, GB-Ob Tenbury (1773 copy of orig. version), I-BRc, I-Mc* (mostly orig. version), Pca (score, parts), Vnm (2 copies, parts), US-Bp; ed. in DDT, xx (1905)
Doubtful: Isacco figura del Redentore (Metastasio), F-Pc (attrib. Hasse, probably by M. Martinez); La morte di Cristo (pasticcio), D-Mbs (incl. arias by Hasse); Moses, Mbs (probably not by Hasse); La Passione del Redentore, GB-Ob (attrib. Hasse); La religione trionfante, B-Br (attrib. Hasse)
—
Masses: for SATB and orchestra unless otherwise stated: C, D-Bsb, LEt (according to Müller); M1 D, A-KR (in C), LA, Wn, CZ-LIT; M2 D, 1780 [earlier version also known], A-Wn*, D-Bsb, Dl, OLH, GB-Lbl, I-Mc (Cr, Ag autograph), US-CA, RUS-KA (according to Müller); incl. motet Tollite hostias et introite, SSAA, orch, D-Dl*, I-Mc*; M3 D, D-Bsb; M4 D, SSAATB, Dl* [Gl incl. in M3; Cr, San, Ag incl. in M9] D, for Dresden, I-Nc D, D-Bsb (Ky only), RUl (Ky only) [listed in Müller as individual mass movt] d, ? perf. dedication of Dresden Hofkirche, 29 June 1751, ? rev., A-Wn, D-Bsb, Dl, DK-Kk, GB-Lbl, I-Mc* (later version), Nc (Missa detta riformata), US-Bp; M5 E , for Dresden court, 1779 [earlier version also known], A-Wn (autograph frag. of Ky), D-Dl (autograph Gl), I-Mc (autograph, except Ky); incl. motet Immola Deo sacrificium, 2 S, SATB, orch, A-Wn, D-Dl, I-Mc; M6 F [2 versions], A-Wgm (San, Ag), Wn, D-Dl, OLH, I-Mc*; M8 G, 1753, A-KR, LA, Wn, D-Dl, I-Mc*, 1753; M9 g, D-Bsb; M10 g, for Dresden, 1783 (‘Terza messa’), Dl, F-Pc (autograph Ky, Gl, Cr), I-Mc (autograph San, Ag); incl. motet Ad te levavi anima mea, S, A, orch, Mc* B , D-Bsb (Ky, Gl), OLH [listed in Müller as individual mass movts] B , lost except motet Domine Deus rex, SATB, orch, Bsb
Requiem masses: all complete settings are for soloists, chorus and orchestra: Requiem, C, A-Wgm, Wn (1763), Wst, D-Bsb, Dl, Mbs, OB (Dies irae only), F-Pc, I-Mc* (Dies irae only), Nc, Vc (Dies irae only), US-Wc; M1 Requiem, E , D-Bsb, Dl; M2 Requiem, E , RUS-KA (according to Müller); M3
Unidentified requiem masses: D-MÜs, DK-Kk, I-Mc (1st movt only) Domine Jesu Christe, SATB, orch, D-Dl Libera me Domine, SATB, orch, Dl
Mass movements: for SATB and orchestra unless otherwise stated: (Kyrie) C, D-Bsb, LEt (according to Müller), incl. in M1; C, A-LA; C, LA D, A-Wn*, D-Bsb, Dl, GB-Lbl, US-CA, RUS-KA (according to Müller), incl. in M3; D, D-Dl (1780), ? rev. version of preceding; D, A-KR (in C), LA, Wn, CZ-LIT, incl. in M2; D, D-Bsb, incl. in M4; D, I-Nc; D, SSAATB, D-Dl*; D, I-Nc; D, D-Bsb [listed in Müller as individual mass movt]; D, RUl d, perf. for dedication of Dresden Hofkirche, 29 June 1751, A-Wn, D-Bsb, Dl, DK-Kk, GB-Lbl, I-Mc* (rev. version), Nc (1850), US-Bp, incl. in M5; d, ? variant of preceding, A-Wn E (Messa intiera), for Dresden court, 1779, Wn, D-Bsb (partly autograph), Dl*, incl. in M6 F, A-Wn, D-Bsb, Dl (‘Messa riformata’), I-Mc*, incl. in M8; F, D-Dl; F, Dl (? earlier version of preceding); F, SSATB, Dl; F, I-Mc*; F, A-Wn [listed in Müller as individual mass movt]; F, for Requiem, I-Mc; F, SSATTBB, A-Wn, incl. in M7, doubtful G, KR, LA, Wn, D-Bsb, Dl, I-Mc* 1753, incl. in M9 g, D-Bsb, incl. in M10; g (‘Terza messa’), for Dresden court, 1783, Dl, F-Pc*, I-Mc* B , D-Bsb [listed in Müller as individual mass movt]
Other Ky settings: from Messa detta riformata, g, US-Wc; from Messa intiera, DK-Kk; I-Fc
(Gloria) C, D-Bsb, LEt (according to Müller), incl. in M1; C, for Dresden court, 1779, A-Wn, D-Bsb, Dl*, I-Mc, incl. in M6; C, A-Wn, D-Bsb, Dl, I-Mc*, incl. in M8; C, D-Dl (? earlier version of above); C, A-Wgm [listed in Müller as individual mass movt] D, Wn*, D-Bsb, Dl (‘partly autograph’), RUS-KA (according to Müller), incl. in M3; D, D-Dl, 1780; D, A-Wn, D-Bsb, I-Mc*, incl. in M5; D, A-KR, Wn, D-Bsb, I-Mc*, incl. in M9; D, A-KR (according to Müller), Wn, incl. in M2; D, D-Bsb, incl. in M4 F, I-Mc* G, D-Bsb, incl. in M10; G, Dresden, 1756, I-Mc* (Dresden, 1756); G, B solo, 2 ob, bn, str, org, Vc B , D-Bsb; B (‘Terza messa’), for Dresden court, 1783, Dl, F-Pc, I-Mc*
Other Gloria: GB-Lbl
(Credo) C, D-Bsb, LEt (according to Müller), incl. in M1; C, for Dresden court, 1779, A-Wn, D-Bsb, Dl, incl. in M6 D, A-KR (according to Müller), Wn, incl. in M2; D, D-Bsb, incl. in M4; D, A-Wn, D-Bsb, Dl, I-Mc*, incl. in MS; D, A-KR, Wn, D-Bsb, Dl, incl. in M9; D, A-Wn, variant of preceding F, D-Bsb, Dl, I-Mc*, RUS-KA (according to Müller), incl. in M3; F, A-Wn, D-Bsb, Dl, incl. in M8; F, US-Wc*; F, GB-Lbl g, D-Bsb, incl. in M10 G, Dl, I-Mc* (Dresden, 1756, ? rev. version) B (‘Terza messa’), for Dresden court, 1783, D-Dl, F-Pc*, I-Mc*
Other Credos: section for A, T, 2 ob, bn, b, Vc; Et incarnatus est and Crucifixus, D-Bsb*
(Sanctus) C, Dl; C, Bsb, LEt (according to Müller), incl. in M1; C, Dl; C, A-Wn, D-Dl* (? earlier version), I-Mc*, incl. in M6; C (Bs), A, str, D-Dl, incl. in M (1st Requiem) c/E , Bsb, Dl, I-Mc*, incl. in M (2nd Requiem) D, A-KR (according to Müller), Wn, incl. in M2; D, Wn, D-Bsb, Dl, I-Mc*, incl. in M5; D, for Dresden court, 1780, D-Dl, I-Mc*, 1780; D, A-KR, Wn, D-Bsb, Dl, incl. in M9 F, A-Wgm, D-Bsb, Dl, Mbs, incl. in M (1st Requiem); F, Dl, I-Mc*, ? rev. of following setting; F, D-Bsb, Dl, RUS-KA (according to Müller), incl. in M3 and M8; F, A-Wgm*, ? same as preceding; F, D-Bsb, incl. in M10 f, RUS-KA (according to Müller), incl. in M3 G, D-Dl, I-Mc*, 1756 A, D-Bsb, incl. in M4 B (‘Terza messa’), for Dresden court, 1783, Dl, F-Pc*, I-Mc*
(Agnus Dei) C, D-Bsb, LEt (according to Müller), incl. in M1; C, 2vv, str, Dl; C, Dl*, I-Mc* (Dresden, 1756) c, 2vv, str, A-Wgm, D-Bsb, Dl, Mbs, incl. in M (1st Requiem); c, S solo, 2 fl, str, Bsb, Dl, I-Mc*, incl. in M (2nd Requiem) D, A-KR (according to Müller), Wn, incl. in M2; D, A solo, chorus, orch, Wn, D-Bsb, Dl, incl. in M5; D, A solo, chorus, orch, A-KR, Wn, D-Bsb, Dl, incl. in M9; D, Bsb, incl. in M4 d, A, chorus, orch, for Dresden court, 1780, Dl; d, I-Mc*, 1780, ? same as preceding E , 2 S, chorus, orch, A-Wn, D-Bsb, Dl, I-Mc*, incl. in M6; E , RUS-KA (according to Müller), incl. in M3 F, A solo, chorus, orch, D-Bsb, incl. in M3 G, A solo, orch, A-KR (according to Müller), Wn, incl. in M2 g, D-Bsb, incl. in M10 B (‘Terza messa’), for Dresden court, 1783, Dl, F-Pc, I-Mc*; B , S, chorus, orch, A-Wgm, D-Bsb, Dl, I-Mc*, RUS-KA (according to Müller), incl. in M3 and M8
Others: Da nobis pacem, F, I-Mc*; Dona nobis pacem, F, Mc*; 1 other, D-Bsb*
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Offertories: for SATB and orchestra unless otherwise stated: Ave nata Creatoris, A-KR, Wn; Domine ad adjuvandum (C), D-Dl; Exultate jubilate (G), CZ-Pnm; Huc piae mentes (D), Pnm; Jubilate Deo (D), D-WEY; Me creavit (?F), SSATB, orch, Dl; O felix coeli porta (E ), CZ-Pnm; Te supplices precamur, SSAAB, bc, A-Wn, D-Mbs; Victoria Sanctus (D), SSATB, orch, 1751, EB; Vos genii accurite, WEY
Antiphons: Alma Redemptoris mater (E ), A, str, bc, D-Dl, GB-Lbl; Ave regina, SSS, str, org, A-Wn; Ave regina caelorum (F), A, str, bc, D-Dl, I-Nc; Ave regina caelorum (B ), A, 2 ob, str, bc, D-Dl; Regina caeli (D), A, SATB, orch, A-KR, TU, Wgm, Wk, Wn, D-Bsb, BAR, Dl, LEm; Salve regina (C), S, 2 ob, str, bc, I-Mc*; Salve regina (c), SATB, 2 ob, str, org, CZ-LIT; Salve regina (D), A, str, bc, D-Dl; Salve regina (d), SATB, str, ?Bsb Salve regina (Scrutendo Dei mystica) (D), B, str, bc, WS; Salve regina (E ), S, A, 2 ob, str, bc, Vienna, Aug 1766, I-Mc*, Nc; Salve regina (F), S, str, bc, A-GÖ, Wn; Salve regina (F), S, S, A, str, bc, 1762, Wgm, Wn, B-Bc, D-Bsb, F-Pc; Salve regina (Redemptor) (G), S, str, bc, A-Wn, D-Bsb, Dl, I-Mc*, Nc, PL-Wm; Salve regina (G), 1744, A, 2 ob, str, bc, I-Mc*; Salve regina (Redemptor) (A), S, str, bc, Venice, 1736 (London, 1740); A-KR, Wn, B-Bc (T, vn, org), D-Bsb (A, str), Dl, Hs (in C), GB-Lbl, I-Mc, Vc (A, str), Vnm (A, str), PL-Wn, S-Skma; Salve regina (Redemptor) (B ), S, 2 ob, str, bc, A-Wn, D-Bsb, I-Mc*, US-Bp; Salve regina (B ), S, str, bc, D-Bsb, I-Vnm
Hymns: for SATB and orchestra unless otherwise stated: Amor Jesu dulcissime, TTB, orch, A-KR (according to Müller); Ave maris stella (G), CZ-Pnm; Magnificat (F), D-Bsb, US-Bp; Pange lingua (A), D-Dl; Puer natus est (D), Bsb; Puer natus est (B ), A-KR (according to Müller), D-Bsb; Tantum ergo (E ), T, B, SATB, orch, 1780, Dl*, I-Mc*; TeD (D), 1751, A-KR (according to Müller), Wgm, D-Bsb, BAUd, BB, Dl, LEm, Mbs, CZ-LIT, F-Pc, I-MOe, Nc, S-Skma, US-Wc; TeD (D), D-Bsb; TeD (D), Bsb (2 scores, pts), BDk, Dl, Mbs, I-Mc*; TeD (D), Mc (2 copies, incl. 1 autograph), not listed in Müller; TeD (G), 1776, A-Wn, CZ-LIT, D-AG, Bsb, Dl, GBR, Lr, LEm (according to Müller), DK-Kk, GB-Lcm, I-Mc*, RUS-KA (according to Müller) Unidentified TeD settings: A-Wn, D-AG, GBR, GOa, LEm, GB-Er, Lbl, I-PAc, US-AAu, Cn, Wc
Solo motets: Accensa furore/Dolore sum plena, S, orch, lost; Agitata sine pace, A, 2 ob, str, bc, D-Dl; Alta nubes illustrata, S, str, bc, Dl, F-Pc, I-Mc, US-Wc; Aura placida spirante, A, str, bc, D-Dl; S, 2 ob, str, bc, I-Mc*; Caelesti incendio amoris (?inc.), S, str, bc, D-Dl, I-Mc; Cari affectus, vivi ardores, S, orch, lost; Cessate, o armonici concentus, S, str, bc, GB-Lbl; Chori angelici laetantes, A, str, bc, D-MÜs, WRgs, GB-Lbl, I-Mc; Dicit cor, pone timores, A, str, 1735, D-Dl, I-Mc; Fuge insidias, time fraudes, S, str, bc, D-Dl; Fuge misera columba, S, str, bc, A-Wn (attrib. Jommelli), F-Pc, GB-Lbl (attrib. Jommelli), US-Wc Gaude, o cor, plene contenta, S, 2 ob, str, bc, D-Dl, GB-Lbl; Gentes barbara tartarae, A, str, bc, F-Pc, US-Wc; Hostes averni, rabie frementes, A, str, bc, B-Bc, S-L (for B, with Swed. text), Skma, Uu; In carcere horrendo, S, str, bc, GB-Lbl; In sole surgenti, S, orch, lost; Inter undas agitatus, S, str, bc, D-Dl, GB-Lbl, S, 2 ob, str, bc, I-Mc*; Justus ut palma florebit, B, str, bc, CZ-Pnm; Mundi amores relinquendo, A, str, bc, D-Dl, I-Mc*; Nascentis aurorae fulgores, S, str, bc, I-Ac; O quam laeta in horto amaeno, S, 2 ob, str, bc, D-Dl Praecipitant funestes a vertice alti montis, B, org, I-Vnm; Prata, colles, plantae, flores, S, str, D-Dl, GB-Lbl; Pre timore mei reatus, S, str, bc, F-Pc, US-Wc; Quae columna luminosa, S, str, bc, D-Dl, F-Pc, US-Wc; Quando Jesus est in corde, A, str, bc, D-Dl; Quivi pur vi ti veggio, Vienna, 1767, S, 2 ob, 2 eng hn, str, bc, I-Mc*; Scintillando caelestes ardores, S, str, bc, D-Dl, F-Pc, GB-Lbl, Mp, US-Wc; Si fremit unda irata, S, 2 ob, 2 hn, str, bc, F-Pc, US-Wc; Spem Deus erige labentem, A, str, bc, 1739, I-Mc; Splendet in caelo, A, 2 ob, str, bc, D-Dl Stat tenebrosa in nube, S, str, bc, F-Pc, US-Wc; Sum angore, o Deus, tam plena, S, str, bc, CH-Zz, F-Pc, US-Wc (? by Porpora); Timida irundo gemit, S, str, bc, GB-Lbl, Lcm; Tolle plausus, gens devota, S, str, bc, D-Dl, I-Mc*; Trinida viundo gemit, S, str, bc, GB-Lcm; Umbras culpae dissipate, S, 2 ob, 2 hn, str, bc, D-Dl, I-Mc*; Ut sole fulgenti, A, str, bc, D-Dl, GB-Lbl, I-Mc; Veres beati, dulces aspectus, A, orch, lost; Video lucentes vias, A, 2 hn, str, bc, F-Pc, US-Wc; Voces erebi furentes, A, str, bc, D-Dl, I-Mc
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Arias: some possibly from operas or large sacred works: Ad coenam omni, S, orch, CZ-LIT; Ad te clamamus, D-MÜs; Ad te o Jesu, S, 2 vn, bc, CZ-LIT; Amen, S, bc, A-Wn (several settings); Audite insula, S, str, SK-BRnm; Ave maris stella, S, str, org, CZ-KU; Ave mundi spes Maria, S, str, SK-BRnm; Ave virgo, S, str, A-LA; Bone Jesu, S, str, LA; Cantate Deo laudes, S, str, org, CZ-KU; Cedite mundi spes, B, str, org, KU; Coeli stelle belle, S, str, org, KU; Coelum fer opem oppresso, T, str, LIT; Cor afflictum languet, S, 2 vn, org, KU; Devotae mentes gaudete, S, str, D-Mbs; Dignare Domine, A, fl, str, I-Mc; Eja populi, S, A-LA; Eja voce de canta laudem, D-Mbs; Huc afferte, T, str, A-LA; Huc amici venite, A, orch, Wn; Huc oculis, huc animis, S, A, str, D-Bsb; Huc o spes optata, S, A, str, A-Wn; Iam vita postrata, A, str, LA; Inter flammas et ardores, S, str, Wn; Judex crederis esse, S, str, I-Mc Maria virgo salve, D-Mbs; Non ita ad fontes, S, orch, HR; Nos curo haec mundana, A, str, Mbs; O mi Jesu sponse chare, S, str, Mbs; O Pater amantissime, 2 S, str, org, CZ-Pnm; O sorte nupta prospera (Christe sanctorum angelorum), S, orch, A-Wn; O summum bonum meum, S, orch, D-Mbs; Per montes et colles, S, 2 vn, bc, CZ-Pnm; Per rupes et per montes, S, A, 2 vn, bc, Pnm; Propter magnam gloriam, D-Mbs; Quando spose me, S, str, CZ-KU; Quanti amor tu, B, str, D-Mbs; Quid cor in mundo quaeris, S, str, Mbs; Quid mea sponsa petis, S, str, Mbs; Salvum fac populum, A, orch, I-Nc; Scrutendo Dei mystica (Salve regina), B, str, D-WS; Sepulto Domino signatum, S, str, Mbs; Si mundus daemon caro, A, str, CZ-LIT; Spargat jam aurora, 2 S, orch, A-Wn; Sponse dilecte veni me desolatam, S, str, D-Mbs; Triplici vexu tetum, S, str, CZ-Pnm; Vagabunda sponsum quaero, B, str, A-KR; Venite cuncti fidelis, D-Mbs
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Other sacred vocal: for SATB and orchestra unless otherwise stated: Alma fides (C), SSST, str, CZ-Pnm; Civis beate Deo sacrate (D), A-Wn; Deum ergo protectorem (Dich o Vater) (G), Wn; Domine Deus noster (B ), T, B, chorus, orch, D-Bsb, OLH; Huc ad plausus (C), 1766, CS-LIT, CZ-Pnm; Huc occulos peccator (g), 4vv, 2 vn, org, SK-KRE; In hac sacrate aede (G), A-Wk, Wn; Mater intacta (D), Wn; Mitis hominum (G), SSAA, orch, ?D-Dl O Jesu mi dulcissime, TTB, I-Vnm; Omnes ergo applaudamus (D), D-Bsb; Omni die Mariae (C), A-KR; Ora pro nobis (G), cited by Fétis; Regina angelorum (G), 4vv, 2 tpt, 2 vn, org, CZ-OP; Resurrexit Dominus, 5vv, D-MÜs; Salvum fac populum tuum (D), 4vv, bc, Bsb; Surrexit Dominus: Alleluia, 5vv, orch, GB-Lbl; Transeamus usque in Betleem (D), A-Wk; Venite pastores (D), D-Dl; Viderunt omnes finis (D), T, B, chorus 4vv, str, Bsb
Lasset uns mit [?not orig. text] (c), RAd 4 Lamentations of Jeremiah, 1v, bc, I-Nf Litania della BVM–Sub tuum praesidium–Salve regina, 1762: Kyrie (D), D-WF; Ky (E ), RUS-KA (according to Müller); Kyrie (f), A-KR, D-Bsb (Sub tuum only), Dl; Kyrie etc. (G), chorus, orch, A-Wn, D-Bsb, F-Pc (Sub tuum only), I-Mc, Nc; SSSA, bc, A-Wgm (‘cantata dalla famiglia Imperiale il 5to Agosto l’anno 1762’), D-Bsb, Dl, I-Mc, Nc
Instrumental:
Concertos: for flute, strings and continuo unless otherwise stated 12 Concertos in 6 parts, fl, 2 vn, va, hpd/vc, op.3 (London, 1741) 6 Concertos, hpd/org (London, c1743) [kbd red. of pieces from op.3] 6 Concertos in 6 parts, fl, 2 vn, va, hpd/vc, op.6 (London, c1745) C, S-L, Skma, Uu D, D-SWl; 5 in D, S-Skma; D, D-RH; D, S-L (1747); 3 in D, D-KA; D, GB-Lbl; D, vn, Lbl; D, vn, in 6 Concertos … in 8 parts, vns, hns/obs, hpd/vc, op.4 (London, 1741) [vol. incl. 5 op sinfonias] E, S-Skma e, D-SWl; e, S-L; e, lost, cited in Breitkopf catalogue, 1763 G, D-KA; G, Dl, S-Skma; 10in; G, D-RH; G, S-Skma (1 with 2 copies); G, A-Wn; G, lost, cited in Breitkopf catalogue, 1763; G, cited in Breitkopf catalogue, 1766, also I-Tn (attrib. Vivaldi); G, D-RH, S-L, Skma, also as ob conc. in F; G, A-Wn; G, 2 fl, D-RH; G, Skma, also as ob conc.; G, ob, D-DS; G, mand, Bsb, Mbs, ed. H. Gerig (Cologne, c1958) g, SWl A, RH, S-Skma; A, D-W, S-Skma, also as vn/hpd conc., ed. W. Mohr (Heidelberg, 1961); A, D-ROu; 3 in A, S-Skma a, D-HR B , S-L, Skma; B , Skma; B , 2 fl, D-DS, S-Skma, also as 2 ob/vn conc.
Unidentified concs.: D, I-Gl; D, cited in J. Höfler and I. Klemencic, Glasbeni rokopisi in tiski na Slovenskom do leta 1800 (Ljubljana, 1967); G, D-Dl; G, Dl; G, RH; 2 in G, I-Gl; G, S-Uu; b, D-Dl, ?destroyed; 4 others B-Bc, GB-Ob, I-PS; several others arr. hpd
Quartets: F, ob, vn/chalumeau, bn, bc, D-Bsb, Dl G, fl, vn, hpd, bc, W [arr. of fl conc. op.3 no.1] g, 2 vn, va, bc, S-Skma
Trio sonatas: for 2 flutes and continuo unless otherwise stated 6 sonatas or trios (e, C, A, G, E, D), 2 fl/vn, b (London, 1739) [W] 6 sonate a tre, 2 fl/vn, vc, bc, op.2 (Amsterdam, n.d.) 6 sonatas or trios (G, e, D, G, a, D), 2 fl/vn, bc, op.3 (London, n.d.); no.6 ed E. Schenk (Vienna, 1954) 6 sonatas (D, C, D, G, D, D), fl, vn, bc (London, n.d.) several of the sonatas listed below included in above parts C, D-Bsb, DS, S-Sk, ed. K. Scheit (Vienna, 1969); C, cited in Breitkopf catalogue, 1763; C, Skma, Uu, op.2 no.2 D, D-Bsb, Dl, ed. G. Frotscher (Kassel, 1969); D, cited in Breitkopf catalogue, 1763; D, S-Skma, W no.6; 3 in D, Skma E, D-Bsb e, Bsb; e, S-Skma; e, Sk, Skma, W no.1 F, ob/fl, fl, bc, D-Bsb (also in G), ed. H. Winschermann (Hamburg, 1962); F, bn, vn/ob, bc, cited in Breitkopf catalogue, 1766 G, S-L; G, I-Mc; G, S-Skma; G, fl, vn, bc, cited in Breitkopf catalogue, 1763; G, 2 vn, b, L, Skma, W no.4; 3 in G, Skma A, D-Bsb; A, 2 vn, b, S-L; A, 2 vn, bc, CH-Zz B , vn/ob, bn, bc, cited in Breitkopf catalogue, 1766 1 other, 2 vn, bc, A-Wgm Other trio sonatas in 18th-century anthologies
Keyboard sonatas: [6] Sonate (B , G, B , E , d, c), hpd, op.7 (London, 1758) Sonata, hpd (London, n.d.) ?7 of the sonatas listed below probably included in above prints C, S-L, Skma, Uu; C, A-Wgm, D-Bsb; C, Bsb, GB-Lbl; C, S-Skma, Uu c, GB-Lbl D, cited in Breitkopf catalogue, 1763; D, D-ROu; D, KIl d, GB-Lbl, I-Mc, ed. H. Ruf (Baden, 1955) E , B-Bc, D-Bsb, Dl, LEm, GB-Lbl, I-Bc, Mc, S-Skma E, GB-Cfm; E (Partita notturna), GB-Lbl; E, Lbl F, I-Vc; F, A-Wgm, D-Bsb, Dl, LEm, S-L; F, cited in Breitkopf catalogue, 1763 G, A-Wgm, D-Bsb, Dl, S-Skma; G, I-Mc, Vc, S-Skma, Uu; G, A-Wgm, D-Bsb, Dl, LEm, I-Mc, S-L; G, I-Mc; G, GB-Lbl g, I-Mc, ed. M. Frey (Mainz, 1949); g, S-Skma, doubtful A, D-Bsb, Dl, S-L; A, A-Wgm, B-Bc, D-Bsb, Dl, I-Bc, S-L; A, D-Bsb B , GB-Lbl, S-Sk, Skma; B , GB-Lbl, S-Skma, ed. H. Ruf (Baden, 1955); B , D-Bsb, I-Mc
