Johann Adolph Hasse Sonatas and Trio Sonatas
OBRA:
Vocal secular:
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
67 solfeggi, S/A, bc, A-Wgm (dated 1762), Wn, D-Dl, Hs, MÜs, WRtl, GB-Lcm, I-Vnm
Numerous songs, airs, solfeggi etc., pubd in 18th-century anthologies
Vocal religiosa:
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
Doubtful:
D, I-Nc; F, SATB a cappella, cornetto, 2 trbn, bn, vle, bc, A-Wn, M7;
g, US-Wc;
g, Bp (Ky, Gl)
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*
—
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
Psalms:
for SATB and orchestra unless otherwise stated;
Beatus vir, Dl;
Confitebor tibi (D), SAAB, orch, Bsb;
Confitebor tibi (F), Dl;
Confitebor tibi (G), Bsb;
Confitebor tibi (B ), A-Wn;
Confitebor tibi, D-MÜs;
Dixit Dominus (C), Dl;
Dixit Dominus (F), CZ-Pnm;
Dixit Dominus (G), D-Bsb, Mbs;
Dixit Dominus, 5vv, orch, MÜs;
Exaltabunt sancti, RUS-KA (according to Müller);
Jubilate Deo (Veni Creator Spiritus) (D), S, A, T, TB, orch, A-Wk;
Jubilate Deo (D), SK-KRE
Laetatus sum (B ), CZ-Pnm;
Laudate coeli Dominum (D), B solo, 4vv, orch, D-Bsb;
Laudate pueri (A), SSAA, orch, I-Mc*, mixed chorus, orch, CZ-Pnm, D-Dl;
Mihi autem (F), Bsb;
Miserere (c), SSAA, 1730, I-Mc*, SATB, Mc*, TTBB, Vnm;
Miserere (c), SATB, D-Bsb, RUS-KA (according to Müller);
Miserere (d), SSAA, 1730, I-Mc*, SATB, A-Wn, D-Bsb, Dl, F-Pc;
Miserere (F), TTB, D-Dl, I-Vnm
Miserere settings (unidentified): A-Wn, D-Hs, DK-Kk, F-Pc, GB-Lbl, Ob, I-Pc, Rsc, US-AAu, Cn, Wc;
Nisi Dominus (G), CZ-Pnm
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
—
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
—
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
Unidentified sonatas:
3 sonatas (G, A, G), A-Wgm;
3 sonatas (C, F, G), Wgm;
sonata with 5 polonaises, Wgm;
8 sonatas, D-Dl; sonata, org, I-Nc;
?sonatas, Rsc;
sonata, org, Vc;
sonata, hpd (?inc.), Vc;
sonata, C, US-Wc;
sonata, A, Wc;
sonata (C), 2 hpd, D-LEm
Other sonatas:
for flute unless otherwise stated; all with continuo
XII Sonate, op.1 (Paris, n.d.)
Solos (D, G, A, G, G, b), fl/vn, hpd/vc, op.2 (London, 1740)
Solos (G, A, G, D, e, D), fl/vn, hpd/vc, op.2 (London, 1742)
6 solos (G, A, G, D, e, D), fl, vn, hpd/vc, op.5 (London, 1744)
several of the sonatas listed below probably included in above prints
C, vn, US-BEm (1759), SFsc
D, DK-Kk; D, Kk, S-Skma, ed. K. Walther (Hanover, 1933); 4 in D, Skma; D, vn, A-Wn, D-Bsb, S-Sk, Skma; D, vn, A-Wn, D-Bsb
d, S-Skma
e, Skma
F, vn, D-Bsb
G, 2 in S-Skma; G, DK-Kk; G, vn, A-Wn, D-Bsb
A, S-Skma
a, vn, A-Wn, D-Bsb
B , vn, A-Wn, D-Bsb
b, S-Skma; b, vn, A-Wn, D-Bsb
Others in B-Bc, D-ROu (Duet, viol, bc), I-Gl, Mc (Sinfonia, vc, bc), US-Wc (12 airs favoris ou sonatas);
numerous works in 18th-century anthologies
Other keyboard:
Fantasia, C, D-BFb;
Toccata, G, GB-Lbl;
Lesson, A, Lbl;
Toccata, G, I-Mc;
Toccata and fugue, g, Mc;
Toccata, PAc;
Prelude, B , S-L
Minuet, B-Bc;
Polonaise, D, D-DS;
Polonaise of Arminio, incl. 8 other minuets, 5 polonaises and 1 march, DS;
Minuet, GB-Lbl;
Minuet, Ob;
Minuet, F, S-Skma
2 fugues, A-Wn; Fugue, org, I-Vnm
Untitled pieces in 1 movt: piece for hpd, GB-Ob;
5 other pieces incl. 1 in G, 2 in g, Lbl
Other kbd works in 18th-century anthologies