Todas las entradas de agamizv

Microbiota

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Microbiota. Los microbios de tu organismo

Adéntrate en el mundo infinitesimal y oculto de los minúsculos seres vivos que te habitan y rigen tu salud

 

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.

Seneca

El-Panteón-romano

6-arte-romano-2-bachillerato-40-638

TEMPLO_ROMANO_CORDOBA_06

obras-visitable-Templo-Romano-arrancan_1115898909_65906680_667x375

Dos buenos libros imprescindibles en nuestra biblioteca:

Séneca

La sabiduría del Imperio

 

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.

Seneca Lucio Anneo – Cartas Filosoficas

compositores: Hasse

28vandael

Johann Adolph Hasse Sonatas and Trio Sonatas

BIOGRAFIA

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

compositores: Gossec

OLEOS FANTASTICOS PAISAJES REALISTAS (7)

François-Joseph Gossec – Messe des morts (Requiem) (1760)

BIOGRAFIA

OBRA:
printed works published in Paris unless otherwise stated

Vocal secular:

Stage:
PCIParis, Comédie-Italienne
POParis, Opéra
Le périgourdin (int, 1, A.N. Piédefer, Marquis de La Salle d’Offémont), Chantilly, private theatre of the Prince of Conti, 7 June 1761
Le tonnelier (oc, 1, N.-M. Audinot and A.F. Quétant), PCI (Bourgogne), 16 March 1765, collab. Alexandre, Ciapalanti, Kohaut, Philidor, J. Schobert and J.C. Trial
Le faux lord (oc, 3, Parmentier), PCI (Bourgogne), 27 June 1765, incl. La chasse (ballet with songs), excerpts (n.d.)
Les pêcheurs (oc, 1, La Salle d’Offémont), PCI (Bourgogne), 23 April 1766, rev. 7 June 1766, pubd as op.10 (n.d.)
Toinon et Toinette (oc, 2, J.A.J. Desboulmiers), PCI (Bourgogne), 20 June 1767, pubd as op.11 (n.d.)
Le double déguisement (oc, 2, Houbron), PCI (Bourgogne), 28 Sept 1767, excerpts (n.d.)
Les agréments d’Hylas et Silvie (pastorale, M.-R.-J. Rochon de Chabannes), Paris, Comédie-Française, 10 Dec 1768, excerpts (n.d.)
Sabinus (tragédie lyrique, 5, M.-P.-G. de Chabanon), Versailles, 4 Dec 1773; rev. (4), PO, 22 Feb 1774, F-Po and Pc (partly autograph), excerpts (n.d.)
Berthe (opéra, R.T.R. de Pleinchesne), Brussels, Monnaie, 18 Jan 1775; collab. Philidor, I. Vitzthumb and ?H. Botson
Alexis et Daphné (pastorale, 1, Chabanon de Maugris), PO, 26 Sept 1775, Po*, excerpts (n.d.)
Philémon et Baucis (pastorale, 1, Chabanon de Maugris), PO, 26 Sept 1775, Po*
La fête de village (int, 1, Desfontaines [F.G. Fouques]), PO, 26 May 1778, Po (2 copies, 1 inc. autograph), excerpts (n.d.)
Mirza (ballet, 3, M. Gardel), PO, 18 Nov 1779; rev. 1788, Po
La fête de Mirza (ballet-pantomime, 4, Gardel), PO, 17 Feb 1781, Po
Thésée (tragédie lyrique, 4, E. Morel de Chéfdeville, after P. Quinault), PO, 1 March 1782, B-Bc, F-Pc, airs, arr. pf (n.d.)
Electre (incid music, 5, G.D. de Roquefort), ?Versailles, 1782, Po
Nitrocris (opéra, 3, Morel de Chéfdeville), 1783, unperf., B-Bc, F-Po
Rosine, ou L’épouse abandonnée (opéra, 3, N. Gersin), PO, 14 July 1786, Po*, excerpts (n.d.)
Le pied de boeuf (divertissement, 1, Gardel), PO, 17 June 1787, incl. music by Rameau and Grétry
L’offrande à la liberté (scène religieuse, 1, A.S. Boy or J.-M. Girey-Dupré, C.J. Rouget de Lisle and M.-J. de Chénier), PO (Porte-St-Martin), 30 Sept 1792, Pn (1792)
Le triomphe de la République, ou le camp de Grandpré (divertissement-lyrique, 1, Chénier), PO (Porte-St-Martin), 27 Jan 1793, Po* (1794)
Les sabots et le cerisier (opéra, M.-J. Sedaine and J. Cazotte), Paris, Jeunes-Elèves, 13 Dec 1803

Others:
Callisto (heroic ballet, 3), unperf., Po;
La rosière (ballet, 2), for Gardel;
Les scythes enchaînés par les vainqueurs, divertissement, added to Gluck: Iphigénie en Tauride, 1779;
Gustave Vasa (lyric drama), inc., unperf., Po;
Bouquet (dramatic scene), S, B, chorus, orch, 1785, Po;
Perrin et Perrette, opera ov., Po
Excerpts, arrs., pubd separately and in 18th-century anthologies

Revolutionary – vocal:
manuscripts in F-Pc, Pn, Po
TeD, 3 male vv, band, 1790;
La fédération (C.F.X. Mercier de Compiègne), ?1790, unperf.;
Le chant du 14 juillet (M.-J. Chénier), 3 male vv, band, 1791;
Invocation (?Chénier), chorus, orch, 1791;
Choeur patriotique exécuté à la translation de Voltaire: ‘Peuple éveille-toi’ (Voltaire: verses from Samson), 3 male vv, band, 1791;
Hymne sur la translation du corps de Voltaire (Chénier), vv, wind insts, 1791 [2 settings];
Station au temple de Melpomène, for translation of Voltaire, vv, pf, cl ad lib, ?1791;
Choeur à la liberté (Chénier), 4vv, band, 1792
Ronde nationale: ‘L’innocence’ (Chénier), 4vv, band, 1792;
Chant funèbre en l’honneur de Simoneau (Roucher), 1792, lost;
Offrande à la liberté: ‘Citoyens suspendés’, recit, chorus, orch, 1792;
Hymne à la liberté (Chénier), 4vv, band, 1792;
Hymne pour l’inauguration des bustes (Avisse), 1792, lost;
Le triomphe de la loi (?Roucher), choeur patriotique, 3 male vv, band, 1792
Air des marseillais pour le camp de la féderation, arr. of the Marseillaise for chorus, band, 1793;
Hymne a l’égalité (Hymne à la nation): ‘Divinité tutélaire’ (Varon), chorus, band, 1793;
Hymne à la liberté (Hymne à la nature) (Varon), 4vv, band, 1793;
Hymne à la statue de la liberté (Hymne à la liberté) (Varon) (3 male vv, band)/(5vv, orch), 1793 [2 settings];
‘Quel peuple immense’ (Varon), 4vv, band, 1793;
Hymne à la nature (Hymne à l’égalité): ‘Touchant réveli’ (Varon), 4vv, band, 1793
Chant patriotique: ‘Citoyens dont Rome’ (Coupigny), Bar/T, 1793;
Hymne à la liberté: ‘Descends ô liberté’ (Chénier), 1793, lost;
Chanson patriotique sur le succès de nos armes (Coupigny), solo v, b, 1794;
Hymne à l’Etre suprême (T. Désorgues), solo v, chorus, band, 1794;
Hymne à l’Etre suprême (Désorgues), 4vv, band, 1794;
Hymne à l’Etre suprême (Chénier), 4vv, band, 1794;
 Hymne pour la fête de Bara et Viala (Avisse), solo v, 1794
Hymne à la liberté: ‘O Deité de ma patrie’ (Caron), 3vv, 1794;
Hymne à Jean-Jacques Rousseau: ‘Toi qui d’Emilé (Chénier), solo v, chorus, insts, 1794;
Hymnes pour la fête de la réunion, 3vv, 1794;
Hymnes destinés à être chantés par le corps de musique des aveugles-travailleurs, 1794;
Chant funèbre sur la mort de Ferraud: ‘Martyr de la liberté’ (Coupigny), solo v, 4 male vv, band, 1794;
Ode sur l’enfance (P. Crassous), solo v, b, 1794;
Serment républicain: ‘Dieu puissant daigne’ (Chénier), 4vv, orch, 1795 [parody of curse scene from Gossec: Athalie]
Hymne à l’humanité: ‘O mère des vertus’ (Baour-Lormian), 4vv, band, 1795;
Aux mânes de la gironde, hymne élégiaque: ‘Parmi les funèbres’ (Coupigny), 3 solo vv, 4vv, band, 1795;
Hymne guerrier (Chénier), dramatic scene, solo vv, chorus, band, 1796;
Chant martial pour la fête de la victoire (La Chabeaussière), solo v, 4vv, band, 1796;
Chant pour la fête de la vieilesse: ‘Déjà le génie’ (Désorgues), solo v, b, 1796;
Chant martial pour la fête de la victoire: ‘Si vous voulés’ (La Chabeaussière), solo v, chorus, band, 1796
Le pardon des injures (Mercier), 1797, lost;
Cantate funèbre pour la fête du 20 prairial an VII: ‘Attentat sans exemple’ (Boisjolin), solo v, b, 1799;
La nouvelle au camp de l’assassinat … ou Le cri de vengeance, scène lyrique, 1799;
Hymne à la liberté: ‘Auguste et consolante image’;
Chant religieux sur la destruction de l’athéisme (Mercier), lost;
Hymne à la victoire: ‘Déesse d’un peuple’;
Domine salvam fac republicam, 3vv;
Ronde patriotique: ‘Favoris de la gloire’;
Hymne à la liberté: ‘Vive à jamais’

Other Secular:
Le papillon léger, solo vv, chorus, orch;
Hymne à l’amour, 3vv, unacc. (n.d.);
Chagrin d’amour, romance, 1v, b acc.;
L’amour piqué par une abeille in 9 odes d’Anacréon acc. pf/hp (n.d.);
Age de l’aimable innocence, ode sur l’enfance (n.d.); airs

Vocal religiosa:

Missa pro defunctis, 1760, pubd as Messe des morts (1780);
1re suite de noëls, orch, ?c1774;
2me suite de noëls, orch;
Dernière messe des vivants, 4vv, orch, 1813;
Coeli enarrant, 3vv, orch;
2 marches religieuses pour la procession de la Fête-Dieu;
Dixit Dominus, chorus;
Domine salvum fac imperatorem, 4vv, orch;
O salutaris hostia, motet, 3vv unacc. (n.d.);
Impromptu, 3vv unacc.;
Quatuor sur la prose des morts;
Messe; motets

Orats:
La nativité (Chabanon de Maugris), Paris, Concert Spirituel, 1774, vs, ed. D. Townsend (New York, 1966);
L’arche d’alliance, Paris, Concert Spirituel, 1781, lost;
Regina coeli, doubtful

Instrumental:

Orch.:
Symphonies:
B      Op.
13—18 3Sei sinfonie a più stromenti (1756)
19—24 4Sei sinfonie a più stromenti (c1758)
77—Symphony no.1 ‘da vari autori’ [La Chevardière, op.4] (1761)
78—Symphony no.1 ‘da vari autori’ [La Chevardière, op.5] D (1761)
25—30 5Sei sinfonie a più stromenti (c1761–2); no.3 ed. in S
31—6 6Six simphonies (c1762); no.2 ed. in S
87—Sinfonia périodique a più strumenti, D (1762)
79—Simphonie périodique a più stromenti, no.48 (1763)
80—Simphonie périodique a più stromenti, no.65 (c1764)
43—5 8Trois grandes symphonies (1765); no.2 ed. in S
54—9 12Six simphonies à grande orchestre (1769); also in The Periodical Overture in 8 Parts, nos.34, 33, 35, 32, 46, 36 (London, 1771–5); no.5 ed. in S
62—Simphonie de chasse, c1773 (1776)
86—Symphonie, D, in Trois simphonies à 8 parties (1776)
83—Symphonie, F, in Trois symphonies (1777)
76—Symphonie périodique no.6 (c1778), lost
84—5—2 in Trois symphonies à grand orchestre (1780), perf. ?1769–73
81—Symphonie, 2 vn, va b B  (? between 1783 and 1785)
60—62c 13Trois sinfonies à grande orchestre (between 1786 and 1792); no.3 pubd earlier as Simphonie de chasse
91—Simphonie à 17 parties, autograph 1809; ed. in S
95—Esquisse d’un morceau d’orchestre, F-Pc*
96—Esquisse symphonique, Pc*
97m—Esquisses de mouvements de symphonies, Pc, doubtful
99m—Trois mouvements de symphonies, inc., Pc, doubtful

Other orchestral, wind band:
B
88Symphonie concertante, 2 solo vn (1775), lost; ed. in S
89, 101Symphonie concertante [no.2], 2 solo vns, va/vc obbl (1778)
90Symphonie concertante du ballet de Mirza (1784), various arrs.; ed. in S
92Sinfonia concertanta 2da, 2 solo vn, 2 ob obbl, Pc, inc.
93Sinfonia concertanta, 2 solo vn, 2 solo va, B-Bc*
94mSinfonia concertanta, f, F-Pc, inc.

Allemandes I et II, str orch;
Rondeau, fl, orch;
Les tricotets, dance, str orch;
Vive Henri IV, dance, str orch;
Bostangis, ou Marche turque, air de dance for a ballet: some MSS in Pc

Revolutionary works (all for wind band, MSS in F-Pc, Pn):
Marche lugubre, 1790;
Marche religieuse, 1793;
Simphonie militaire, 1793–4;
Marche, C, 1794;
Marche funèbre, E  (1794), on death of Hoche;
Marche religieuse, E , 1794;
Marche victorieuse, F, 1794;
Symphonie, C, c1794;
Marche des marseillois, arr. band



Chbr.:
no. op.
b1—6 1Sei sonate, 2 vn, b (c1753)
b7—12 2Six duos, 2 fl/vn (c1754)
b109—La bataille, 2 cl, 2 hn, 2 bn, 1762–70, Pc
m110–-La chasse de Chantilli, 1762–70, Pc
m111—La grande chasse de Chantilly, 1762–70, Pc
m114—Pieces … pour S.A.S. Mgr. le prince de Condé, 2 cl, 2 hn, 2 bn, 1762–70, Pc
m 113—Simphonie à 6, 1762–70, Pc
m115—Andante larghetto, 1762–70, Pc
b37—42 7Sei duetti, 2 vn (1765)
b46—51 9Six trios, 2 vn, b, hns ad lib (1766); no.4 ed. in S
b64—9 14Sei quartetti, fl/vn, vn, va, b (1769)
m118t—Recueil de menuets, arr. 2 vn/other insts (1771)
b70—75 15Six quatuors, 2 vn, va, b (1772); also (Amsterdam, c1772)
m116r—Andante, 2 cl, 2 hn, 2 bn, ?c1764–76
b100—Concertanta, fl, ob, cl, hn, bn, 1785, B-Bc
m126—31—3 duettos in Six Favourite Duetts, vn, vc (London, 1791)
m135m—Concertante à 10 instruments, perf. 1793, F-Pc
m112—Canon en écrevisse ou rétrograde, 2 vn, 2 vc/bn, 1811, Pc

Gavotte, D, fl, str qt, MS;
Les moulins du Pont de Pontoise, fugue, Pc;
Charmante Gabrielle, pf MS

Literatura:

with L. Cherubini and E.-N. Méhul: Méthode de chant du Conservatoire de musique (Paris, ?1802–3)
with G. Agus, C.S. Catel and L. Cherubini: Principes élémentaires de musique arrêtés par les membres du Conservatoire, suivis de solfèges (Paris, 1799–1802, ?1801–2)
with N. Roze, Ozi and Rogat: Méthode de serpent (Paris, 1814)
Sur l’introduction des cors, des clarinettes et des trombones dans les orchestres français’, Revue musicale, v (1829), 217–23
Traité de l’harmonie, F-Pc
Les principes de contrepoint (MS)

Biblioteca: Imperiofobia y leyenda negra

12imperios2828

María Elvira Roca Barea acomete con rigor en este volumen la cuestión de delimitar las ideas de imperio, leyenda negra e imperiofobia. De esta manera podemos entender qué tienen en común los imperios y las leyendas negras que irremediablemente van unidas a ellos, cómo surgen creadas por intelectuales ligados a poderes locales y cómo los mismos imperios la asumen. El orgullo, la hybris, la envidia no son ajenos a la dinámica imperial. La autora se ocupa de la imperiofobia en los casos de Roma, los Estados Unidos y Rusia para analizar con más profundidad y mejor perspectiva el Imperio español. El lector descubrirá cómo el relato actual de la historia de España y de Europa se sustenta en ideas basadas más en sentimientos nacidos de la propaganda que en hechos reales. La primera manifestación de hispanofobia en Italia surgió vinculada al desarrollo del humanismo, lo que dio a la leyenda negra un lustre intelectual del que todavía goza. Más tarde, la hispanofobia se convirtió en el eje central del nacionalismo luterano y de otras tendencias centrífugas que se manifestaron en los Países Bajos e Inglaterra. Roca Barea investiga las causas de la perdurabilidad de la hispanofobia, que, como ha probado su uso consciente y deliberado en la crisis de deuda, sigue resultando rentable a más de un país. Es un lugar común por todos asumido que el conocimiento de la historia es la mejor manera de comprender el presente y plantearse el futuro. «De los libros que he leído recientemente, el más formidable es Imperiofobia y la leyenda negra. Un libro necesario. Ya sé que es un lugar común, pero, contrariamente a la mayoría de las veces en que se dice que un libro es necesario, en este caso es verdad». JUAN ABREU, El Mundo «Con un armazón de datos encomiable, la autora explica qué episodios históricos generaron la propaganda hispanofóbica, que tuvo América y la Inquisición como puntales principales». ISABEL GUERRERO, Málaga Hoy «Elvira Roca levanta a pulso, de forma admirable, toneladas de papel de propaganda cernidas sobre la indolente España» Del prólogo de ARCADI ESPADA.

Nos encontramos con un libro formidable, que todo el mundo debería de leer.

Hemos estudiado la historia moderna acomplejados mil veces por errores y silencios que otros países y sus historiadores han prentendido colgarnos, con el beneplacito y el eco  de algunos historiadores patrios (alguna ideología se siente especialmente feliz explotando el mito de un imperio feroz que arrasaba Europa y America con gusto y con saña, algo tan inconcebible para la supervivencia de un imperio que no se como se puede creer, es lastima que estos no sigan por el mismo camino criticando tan duramente otros imperios, o mejor que en sus mismos paises no haya un grupo de historiadores tan criticos con su historia). Hoy con gran alegria y gracias a este y a algunos otros libros parecidos se abre paso  una verdad mucho tiempo oculta.

La historia no es como  hasta ahora la cuentan. Este es el resumen de muchas falacias y silencios.

– la Armada de 1588 fue un fracaso y un naufragio de 30 barcos, magnificado por la propaganda como una victoria que nunca existió.

– Lo que si exitió fue el gran desastre de la contra armada inglesa de 1589, con decenas de barcos perdidos y miles de muertos, esta vez si en batalla.(los ingleses nunca hablan de ello lo extraño es que hasta hace poco nosotros tampoco)

– La exaltada Isabel I fue una fanática que hizo violentas persecuciones y que dejó al reino en ruina tras la costosa y cara guerra contra el Imperio. Al final de su reinado Inglaterra estaba abatida, sin un pie en America y sin el dominio del mar como algunos han pretendido. El poder maritimo del imperio era mayor que nunca.

-El segundo mayor desastre de la armada inglesa (el primero ya visto en 1589) fue en 1741 ante Cartagena de Indias, donde despues de un fracaso y miles de muertos se desató una epidemia de fiebre amarilla. El rey dijo entonces que se olvidara para siempre, y asi lo hicieron ellos (lo raro es que en cualquier otro pais con una victoria asi  ya se habrían hecho cientos de peliculas, novelas y libros y se estudiaria de manera destacada en los libros de texto)

– Lo que si estudiamos es que el duque de Alba fue un sanguinario represor en la sublevación de Flandes. No lo fue el que mas, su oponente Guillermo de Orange hizo cosas peores, pero se silencian porque es un heroe nacional. En esta guerra se invento la propaganda de mentiras a gran escala, que aun hoy perduran.

-El imperio español en America solo pudo sobrevivir mas de 300 años gracias al mestizaje y al apoyo de muchos indios desde el principio. Y la catastrofe demografica se debió en su mayor parte a las muchas epidemias (hecho hoy probado por muchos estudiosos). Lo que realmente  es imposible de saber es la estimación real de población precolombina, dado que hay calculos de todo tipo, alguno claramente imposible.

-En la Inglaterra de la edad moderna hubo segun historiadores de su pais 264.000 condenados a muerte. En los archivos de la inquisición española no mas de 1500 en el mismo periodo. En Alemania 25.000 brujas quemadas, en España ninguna.

Y asi podriamos seguir en un largo etcetera, pero mejor leer el libro que nos asombrará y nos impactará.

 En su primera parte, el ensayo de Roca Barea va a continuar tratando de precisar qué es la imperiofobia, esa «aversión indiscriminada hacia el pueblo que se convierte en columna vertebral de un imperio» (p. 119), en definitiva, de las leyendas negras que han acompañado a todo gran imperio. Haciendo un repaso por otros imperios que también la han padecido o padecen (romano, estadounidense y ruso). Para lo cual también tratará de definirnos qué es un imperio y qué tipos hay. Aquí quizá esté el punto que nosotros encontraríamos más matizable, teniendo en cuenta la solidez general del ensayo, pues creemos que si Roca Barea hubiera consultado en profundidad obras como España frente a Europa de Gustavo Bueno Martínez, Sobre la leyenda negra de Iván Vélez o Hermes Católico de Pedro Insua Rodríguez, habría podido definir con mayor precisión la Idea de imperio, Idea central del ensayo. Y decimos definir con mayor precisión porque a pesar de ello las posturas son muy semejantes. Lo cual puede alegarse como prueba de la verdad de las mismas, ya que sin partir exactamente de los mismos puntos se llegan prácticamente a las mismas conclusiones.

De modo que en las páginas siguientes Roca Barea se esfuerza en realizar un repaso no exento de finura por otros imperios distintos al español, mostrando los mecanismos y patrones negrolegendarios en estos otros casos, centrándose en su segunda parte en el caso español, en la leyenda negra por excelencia, que repite muchos de los patrones vistos en los ejemplos anteriores. Dando con ello muestra y detalle, y batalla, a cada uno de sus aspectos del pasado y de hoy mismo. Desde la raíz racista y antisemita de la leyenda negra que empieza a verterse desde el humanismo italiano acusando a los españoles de godos (bárbaros, medievales) e incluso de cartagineses (enemigos de Roma y por tanto de Italia) y por la mezcla de los españoles con razas semitas como la judía y la árabe. Hablando tambien de los protestantes:  casos de alemanes, holandeses e ingleses durante las guerras de religión que difundieron la España bárbara, expoliadora, semita, impía, moralmente corrupta, genocida y opresora, mientras ocultaban toda su propia barbarie y persecución religiosa (de catolicos y de otros grupos protestantes). El caso del francés y su ilustración en el XVIII –la España atrasada, oscura y fanática dominada por los curas–, hasta la asimilación de la hispanofobia por parte de los propios españoles y el racismo del nacionalismo regionalista que lleva un siglo acusando a «los españoles», o a «los castellanos», de nuevo, de raza degenerada, atrasada y bárbara. Mientras Francia creaba con su miseria y barbarie las causas de la futura revolución de 1789, y fracasaba estrepitosamente la creación de su imperio, sus intelectuales arremetían contra España, con medias verdades y muchas mentiras hoy demostradas (y eso que España era entonces la gran aliada de Francia).

Lean el libro por favor, lo mejor que he leido en años. Ya era hora.

compositores: Kuhnau

gas28

Johann Kuhnau: Magnificat in C major (Ton Koopmann, Amsterdam Baroque Orchestra)

BIOGRAFIA

OBRA:

Vocal secular:

Stage:
Orpheus, opera, lost (mentioned in Der musicalische Quack-Salber) [probably for Weissenfels]
Singspiel, lost (according to Scheibe)
Music for school plays by C. Weise, lost
Dramma per musica, lost [for welcome of Elector-Prince Johann Georg, Michaelmas 1683]

Vocal religiosa:

German:
Ach dass Hülfe aus Zion käme (I Christmas), 25 Dec 1709, D-LEm (text only);
Ach Herr, wie sind meiner Feinde so viel, 2vv, 2 clarinos, trbn, 2 vn, bc, Bsb;
Also hat Gott die Welt geliebet (Whit Monday), 25 May 1711, LEm (text only);
Also werden die letzten die ersten sein (Septuagesima), 16 Feb 1710, LEm (text only);
Christ lag in Todesbanden, 4vv, 2 vn, 2 va, vle, 2 cornetts (ad lib), org, 1693 or earlier, Bsb, ed. H. Fishback (Glen Rock, NJ, n.d.);
Daran erkennen wir, dass wir in ihm verbleiben (Whit Sunday), 5vv, 2 ob, bn, 2 clarinos, timp, 2 vn, 2 va, org, Bsb;
Das Alte ist vergangen, 4vv, 2 clarinos, bn, timp, 2 vn, va, bc, B-Bc;
Der Herr, dein Gott wird selber mit dir wandeln (II Easter), 6 April 1711, D-LEm (text only);
Dies ist der Tag der heiligen Dreyfaltigkeit (Trinity Sunday), 31 May 1711, LEm (text only);
Du Arzt in Israel (Trinity XVII), Leipzig Nikolaikirche Archive (text only); Du weisst, mein Gott, dass ich dich liebe, III Christmas, 27 Dec 1710, LEm (text only);
Du wirst, mein Heyland, aufgenommen (Ascension), 14 May 1711, Bibliothek des Vereins für die Geschichte Leipzigs (text only)
Ende gut und alles gut (Trinity XXVII), date unknown, LUC;
Erschrick mein Hertz vor dir (Trinity XIV), 1v, chorus 4vv, 2 vn, violetta, org, before 1712, LEm;
Es steh Gott auf (Easter), 5vv, chorus 5vv, 2 clarinos, tamburi, 3 trbn, 2 va, bc, 1703, Dl (doubtful);
Fleuch, mein Freund, und sei gleich einem Reh (Sunday after New Year), 5 Jan 1710, LEm (text only);
Flöss mir von deinen süssen Lehren (Epiphany I), 11 Jan 1711, LEm (text only);
Fürchtet euch nicht für denen, die den Leib tödten (II Christmas), 26 Dec 1709, LEm (text only);
Für uns ein Mensch gebohren (III Christmas), 27 Dec 1720, Bibliothek des Vereins für die Geschichte Leipzigs (text only);
Gott der Vater, Jesus Christus, der Heil’ge Geist wohn uns bey, 4vv, ob (tromba da tirarsi), 2 vn, va, bc, Bsb;
Gott sei mir gnädig (Quinquagesima), 4vv, chorus 4vv, 2 vn, 2 va, bn, bc, 22 Feb 1705, Dl, ed. in DDT, lviii–lix (1918/R);
Himmel, bricht der Abgrund auf? (pts.i–iii) (I–III Easter), 1717, Leipzig Nikolaikirche Archive (text only)
Ich freue mich im Herrn (Epiphany II), 4vv, 2 vn, va, bc, 17 Jan 1712, Dl, ed. in DDT, lviii–lix (1918/R);
Ich habe Lust abzuscheiden (Purification), 4vv, chorus 4vv, ob, bn, 2 vn, va, vc, bc, lost (doubtful), ed. in Organum, i/14 (Leipzig, 1928);
Ich hebe meine Augen auff, 1v, 2 vn, vle, org, LEm (text only) (also attrib. Telemann);
Ich ruf zu dir Herr Jesu, 4vv (St Matthew), 10 insts, lost;
Ich unterrede mich mit deinem Hertzen (III Easter) 1711, LEm (text only);
Ich will aufstehen und in der Stadt umhergehen (Epiphany I), 12 Jan 1710, LEm (text only);
Ich will dich erhöhen, mein Gott (Circumcision), 1 Jan 1711, LEm (text only);
Ihr Himmel jubilirt von oben (Ascension), 5vv, 2 fl, 3 clarinos, 2 vn, va, bc, 6 May 1717, LEm;
Ist denn keine Salbe in Gilead? (Epiphany III), 26 Jan 1710, LEm (text only); Jesu, hier ist deine Stadt (Trinity XIX), Leipzig Nikolaikirche Archive (text only)
Kommt her und sehet an die Werke des Herrn (Sunday after Christmas), 28 Dec 1710, LEm (text only);
Kündlich gross ist das gottseelige. Geheimnis (New Year), 1 Jan 1721, Bibliothek des Vereins für die Geschichte Leipzigs (text only);
Leite mich in Liebesseilen (Trinity XVIII), Leipzig Nikolaikirche Archive (text only);
Lobe den Herrn meine Seele (Trinity VII), 2vv, vn, ob, org, 19 July 1722, Dl;
Lobe den Herrn meine Seele, 5vv, 2 cornetts, 3 trbn, bn, 2 vn, 2 va, bc, Bsb;
Lobet, ihr Himmel, den Herrn (Ascension), 4vv, 2 ob, 2 clarinos, timp, 2 vn, 2 va, org, Bsb;
Mache dich auff, werde Licht (Epiphany), 6 Jan 1710, LEm (text only);
Mein Alter kommt, ich kann nicht sterben, 5vv, 2 vn, 2 va, bn, bc, 1696, Dl;
Michael, wer ist wie Gott? (St Michael), Leipzig Nikolaikirche Archive (text only);
Muss nicht der Mensch auf dieser Erden, 1v, clarino, bn, vn, org, 1715, LUC
Nicht nur allein am frohen Morgen (II Christmas), 4vv, 2 clarinos, 2 hn, timp, 2 vn, va, bc, 26 Dec 1718, LEm;
O heilige Zeit, wo Himmel, Erd und Lufft, 2vv, 2 ob, 2 vn, va, bc, LEm (doubtful);
O heilige Zeit, wo Himmel, Erd und Luft, 4vv, 2 vn, 2 va, bc, Bsb;
O mehr als englisches Gesichte (I Christmas), 25 Dec 1710, LEm (text only);
O süssester Jesu, o freundliches Kind (Epiphany I), Bibliothek des Vereins für die Geschichte Leipzigs (text only);
Passion according to St Mark (Good Friday), 11 April 1721, lost, formerly RUS-KA (inc.);
Redet unter einander von Psalmen und Lobgesängen (New Year), 1 Jan 1721, Bibliothek des Vereins für die Geschichte Leipzigs (text only);
Sammle dir, getreue Seele (I Easter), 5 April 1711, D-LEm (text only);
Sanffter Wind, beliebtes Brausen (Whit Sunday), 24 May 1711, LEm (text only);
Schmücket das Fest mit Meyen, 4vv, 2 rec, 4 vn, violetta, bc, Bsb; Seyd willkommen, frohe Stunden (Sunday after New Year), 5 Jan 1721, Bibliothek des Vereins für die Geschichte Leipzigs (text only)
Siehe da, ich lege einen auserwehlten, köstlichen Edelstein (Sunday after Christmas), 29 Dec 1709, LEm (text only);
Siehe, es kommt ein Tag, der brennen soll (Epiphany V), 9 Feb 1710, LEm (text only);
Siehe, ich komme, im Buch ist von mir geschrieben (Quinquagesima), 2 March 1710, LEm (text only);
Siehe, ich will meinen Engel senden (Purification), 2 Feb 1710, LEm (text only);
Siehe, ich will mich meiner Heerde selbst annehmen (Whit Tuesday), 26 May 1711, LEm (text only);
Singet dem Herrn ein neues Lied, 4vv, 2 tpt, bn, 2 vn, va, org, Bsb;
Thue mir auff, liebe Freundin (1st Sunday in Advent), 1 Dec 1709, LEm (text only);
Träum ich nicht, so spricht mein Jesus (Sunday after New Year), 4 Jan 1711, LEm (text only);
Um deines Tempels Willen zu Jerusalem (Epiphany), 6 Jan 1711, LEm (text only);
Und ist ein Kind geboren (I Christmas), 25 Dec 1720, Bibliothek des Vereins für die Geschichte Leipzigs (text only);
Und ob die Feinde Tag und Nacht (Trinity XXIII), 1v, vn, org, LEm
Vermischte Traurigkeit und Freude (Easter III), 26 April 1711, LEm (text only);
Vom Himmel hoch, da komm ich her, 4vv, 2 clarinos, timp, 2 vn, va, bc, LEm;
Was betrübst du dich meine Seele (Epiphany I), 12 Jan 1710, LEm (text only);
Weicht ihr Sorgen aus dem Hertzen (Trinity VII/XV), 1v, 2 vn, 2 va, org, LUC;
Welt adieu, ich bin dein müde (Trinity XXIV), 5vv, fl, ob, 2 hn, 2 vn, 2 va, bc, LEm (inc.);
Wenn ihr fröhlich seid an euren Festen (Easter), 5vv, chorus 5vv, 2 clarinos, ‘principale’, trbn, tamburi, bn, 2 vn, 2 va, org, 1716, Dl, ed. in DDT, lviii–lix (1918/R);
Wer Ohren hat zu hören (Sexagesima), 23 Feb 1710, LEm (text only);
Wie gross ist deine Güte, Gott (Easter IV), 3 May 1711, LEm (text only);
Wie schön leuchtet der Morgenstern, 5vv, 2 vn, 2 va, 2 hn, bc, Bsb, ed. in DDT, lviii–lix (1918/R);
Wiltu, mein Gott, diss Hertz verlassen (II Christmas), 26 Dec 1710, LEm (text only);
Zeuch mich nach dir, so laufen wir (III Christmas), 27 Dec 1709, LEm (text only)

Latin:
Missa, 4vv, lost, formerly D-MÜG
Missa, lost, formerly MY
Magnificat, 5vv, 2 ob, 3 clarinos, timp, 2 vn, 2 va, bc, Bsb
Bone Jesu, chare Jesu (13th Sunday after Trinity), 1v, 2 vn, bc, 6 Aug 1690, Dl;
In dulci jubilo (Sunday after Christmas), 29 Dec 1720, LEm (text only);
In te Domine speravi (23rd Sunday after Trinity), 1v, 2 vn, 2 va, bn, bc, Dl;
Laudate pueri, 1v, 2 vn, trbn (va da gamba/vc), bc, Bsb;
Spirate clementes, 3vv, 2 vn, bc, Bsb;
Tristis est anima mea, 5vv, Bsb

Other:
German; some edited in Rimbach
Ach Gott, wie lästu mich erstarren, aria, 5vv, bc, D-ZI [for burial of Rektor Titius, Zittau, 19 May 1681]; Der Herr erhöre dich in der Not, with Verleih uns Frieden, 2 choirs, lost [for election of Zittau town council, 1682];
Der Herr hat Zion erwehlet, LEm (text only) [for Leipzig University jubilee, 4 Dec 1709];
Der Herr ist Gott, der uns erleuchtet, lost [for dedication of new altar in Leipzig Thomaskirche, 25 Dec 1721];
Deutsches Te Deum, 3 choirs, tpts, timp, lost (probably by Kuhnau) [for Reformation Jubilee, 1717];
Dies ist der Tag, den der Herr gemacht hat, LEm (text only) [for Leipzig University jubilee, 4 Dec 1709];
Erschallt, Gott zu loben, lost [for investiture of Superintendent Deyling, Leipzig Nikolaikirche, 13 Aug 1721];
Herr, der Feinde sind zu viel, Leipzig Nikolaikirche Archive (text only) [for Leipzig Evangelische Kirche jubilee, 2 Nov 1717];
Tobet, ihr Pforten der Hölle, LEm (text only) [for Leipzig Evangelische Kirche jubilee, 1717];
Trauerkantate, lost [on the death of Rektor Titius, 18 April 1714];
Zion auf ermuntre dich, Leipzig Nikolaikirche Archive [text only) (for Leipzig Evangelische Kirche jubilee, 1717]

Latin
Confitebor tibi, lost [for ded. of new anatomical theatre, 10 Sept 1704];
Ecce quam bonum et iucundum, lost (probably by Kuhnau) [for performance before the oration of Prof. B. Mencke, 6 Aug 1707];
Hodie collaetantur coeli cives (Christmas Day), 25 Dec 1709, LEm (text only) [for performance after the oration];
I, Fama, pennas indice praepetes, ode, lost [for performance after the oration of Prof. B. Mencke, 6 Aug 1707];
Non mortui laudabunt te, lost [for performance after the oration at the dedication of new anatomical theatre, 10 Sept 1704];
Oda secularis, tibi litamus, lost (probably by Kuhnau) [for Leipzig University jubilee, 4 Dec 1709];
Ode, 3 choirs, lost (probably by Kuhnau) [for wedding celebration of Elector-Prince Friedrich August and Maria Josepha of Austria, 8 Sept 1719];
Salve, theatrum, splendida funerum, ode, lost [for dedication of new anatomical theatre, 10 Sept 1704];
Summe terrarum moderator, ode, lost [for dedication of new anatomical theatre, 10 Sept 1704];
Verbum caro factum est (Christmas Day), 25 Dec 1709, LEm (text only) [for performance before the oration]

Instrumental:

Keyboard:
Neuer Clavier-Übung, erster Theil (7 suites) (Leipzig, 1689); ed. in DDT, iv (1901/R)
Neuer Clavier-Übung, anderer Theil (7 suites, 1 sonata) (Leipzig, 1692); ed. in DDT, iv (1901/R)
Frische Clavier Früchte (7 sonatas) (Leipzig, 1696); ed. in DDT, iv (1901/R)
Musicalische Vorstellung einiger biblischer Historien (6 programme sonatas) (Leipzig, 1700/R); ed. in DDT, iv (1901/R)
Prelude, G, US-NH;
Praeludium alla breve, NH;
Fugue, C, NH (orig. version of 2nd movt, Sonata, B , 1692);
Fugue, G, D-MY, tablature book, 1750;
Toccata, Bsb: ed. in Organum, iv/19 (Leipzig, n.d.)

Literatura:

Divini numinis assistentia, illustrisque jure consultorum in florentissima academia Lipsiensi (Leipzig, 1688)
Der musicalische Quack-Salber, novel (Dresden,1700); ed. K. Benndorf (Berlin, 1900/R)
Letter, 8 Dec 1717, in J. Mattheson: Critica musica, ii (Hamburg, 1725/R) [on solmization etc.]
Fundamenta compositionis, 1703, D-Bsb
Tractatus de tetrachordo seu musica antiqua ac hodierna, lost
De triade harmonica, lost

compositores: Donizzetti

pinturas-paisajistas (6)

LUCIA DI LAMMERMOOR – Devia, La Scola, Bruson, Colombara – La Scala, 1992

BIOGRAFIA

OBRA:

Vocal secular:

Opera:
Il Pigmalione (1816; 13.10.1960 Teatro Donizetti, Bergamo)
Enrico di Borgogna (14.11.1818 Teatro San Luca, Venezia)
Una follia (17.12.1818 Teatro San Luca, Venezia) (andata perduta)
Il falegname di Livonia, ossia Pietro il grande (26.12.1819 Teatro San Samuele, Venezia)
Le nozze in villa (1821? Teatro Vecchio, Mantova)
Zoraida di Granata (28.1.1822 Teatro Argentina, Roma)
La zingara (12.5.1822 Teatro Nuovo, Napoli)
La lettera anonima (29.6.1822 Teatro del Fondo, Napoli)
Chiara e Serafina, ossia I pirati (26.10.1822 Teatro alla Scala, Milano)
Alfredo il Grande (2.7.1823 Teatro San Carlo, Napoli)
Il fortunato inganno (3.9.1823 Teatro Nuovo, Napoli)
Zoraida di Granata [rev] (7.1.1824 Teatro Argentina, Roma)
L’ajo nell’imbarazzo (4.2.1824 Teatro Valle, Roma)
Emilia di Liverpool (28.7.1824 Teatro Nuovo, Napoli) (anche come L’eremitaggio di Liverpool)
Alahor in Granata (7.1.1826 Teatro Carolino, oggi Teatro Bellini, Palermo)
Don Gregorio [rev di L’ajo nell’imbarazzo] (11.6.1826 Teatro Nuovo, Napoli)
Elvida (6.7.1826 Teatro San Carlo, Napoli)
Gabriella di Vergy (1826; 29.11.1869 Teatro San Carlo, Napoli) (anche come Gabriella)
Olivo e Pasquale (7.1.1827 Teatro Valle, Roma)
Otto mesi in due ore (13.5.1827 Teatro Nuovo, Napoli) (anche come Gli esiliati in Siberia)
Il borgomastro di Saardam (19.8.1827 Teatro del Fondo, Napoli)
Olivo e Pasquale [rev] (1.9.1827 Teatro Nuovo, Napoli)
Le convenienze teatrali (21.11.1827 Teatro Nuovo, Napoli)
L’esule di Roma, ossia Il proscritto (1.1.1828 Teatro San Carlo, Napoli)
Emilia di Liverpool [rev] (8.3.1828 Teatro Nuovo, Napoli)
Alina, regina di Golconda (12.5.1828 Teatro Carlo Felice, Genova)
Gianni di Calais (2.8.1828 Teatro del Fondo, Napoli)
Il paria (12.1.1829 Teatro San Carlo, Napoli)
Il giovedì grasso (26.2.1829? Teatro del Fondo, Napoli) (come Il nuovo Pourceaugnac)
Elisabetta al castello di Kenilworth (6.7.1829 Teatro San Carlo, Napoli)
Alina, regina di Golconda [rev] (10.10.1829 Teatro Valle, Roma)
I pazzi per progetto (6.2.1830 Teatro San Carlo, Napoli)
Il diluvio universale (28.2.1830 Teatro San Carlo, Napoli)
Imelda de’ Lambertazzi (23.8.1830 Teatro San Carlo, Napoli)
Anna Bolena (26.12.1830 Teatro Carcano, Milano)
Le convenienze ed inconvenienze teatrali [rev di Le convenienze teatrali] (20.4.1831 Teatro della Canobbiana, Milano)
Gianni di Parigi (1831; 10.9.1839 Teatro alla Scala Milano)
Francesca di Foix (30.5.1831 Teatro San Carlo, Napoli)
La romanziera e l’uomo nero (18.6.1831 Teatro del Fondo, Napoli) (libretto andato perduto)
Fausta (12.1.1832 Teatro San Carlo, Napoli)
Ugo, Conte di Parigi (13.3.1832 Teatro alla Scala, Milano)
L’elisir d’amore (12.5.1832 Teatro Canobbiana, Milano)
Sancia di Castiglia (4.11.1832 Teatro San Carlo, Napoli)
Il furioso all’isola di San Domingo (2.1.1833 Teatro Valle, Roma)
Otto mesi in due ore [rev] (1833, Livorno)
Parisina d’Este (17.3.1833 Teatro della Pergola, Firenze)
Torquato Tasso (9.9.1833 Teatro Valle, Roma)
Lucrezia Borgia (26.12.1833 Teatro alla Scala, Milano)
Il diluvio universale [rev] (17.1.1834 Teatro Carlo Felice, Genova)
Rosmonda d’Inghilterra (27.2.1834 Teatro della Pergola, Firenze)
Maria Stuarda [rev] (18.10.1834 Teatro San Carlo, Napoli) (come Buondelmonte)
Gemma di Vergy (26.12.1834 Teatro alla Scala, Milano)
Marin Faliero (12.3.1835 Théâtre-Italien, Parigi)
Lucia di Lammermoor (26.9.1835 Teatro San Carlo, Napoli)
Maria Stuarda (30.12.1835 Teatro alla Scala, Milano)
Belisario (4.2.1836 Teatro La Fenice, Venezia)
Il campanello (1.6.1836 Teatro Nuovo, Napoli)
Betly, o La capanna svizzera (21.8.1836 Teatro Nuovo, Napoli)
L’assedio di Calais (19.11.1836 Teatro San Carlo, Napoli)
Pia de’ Tolomei (18.2.1837 Teatro Apollo oggi Teatro stabile del Veneto Carlo Goldoni, Venezia)
Pia de’ Tolomei [rev] (31.7.1837, Sinigaglia)
Betly [rev] ((?) 29.9.1837 Teatro del Fondo, Napoli)
Roberto Devereux (28.10.1837 Teatro San Carlo, Napoli)
Maria de Rudenz (30.1.1838 Teatro La Fenice, Venezia)
Gabriella di Vergy [rev] (1838); agosto 1978 Londra)
Poliuto (1838; 30.11.1848 Teatro San Carlo, Napoli)
Pia de’ Tolomei [rev 2] (30.9.1838 Teatro San Carlo, Napoli)
Lucie de Lammermoor [rev di Lucia di Lammermoor] (6.8.1839 Théâtre de la Renaissance, Parigi)
Le duc d’Albe (1839, incompiuta; 22.3.1882 Teatro Apollo oggi Teatro Tordinona, Roma, come Il duca d’Alba)
L’ange de Nisida (1839; incompiuta)
Lucrezia Borgia [rev] (11.1.1840 Teatro alla Scala, Milano)
La Fille du régiment (11.2.1840 Opéra-Comique, Parigi)
Poliuto [rev] (10.4.1840 Théâtre de l’Opéra, Parigi) (come Les martyrs)
Lucrezia Borgia [rev 2] (31.10.1840 Théâtre-Italien, Parigi)
La Favorite [rev di L’ange de Nisida] (2.12.1840 Théâtre de l’Opéra, Parigi)
Adelia (11.2.1841 Teatro Apollo, Roma)
Rita, ou Le mari battu (1841; 7.5.1860 Opéra-Comique, Parigi) (come Deux hommes et une femme)
Maria Padilla (26.12.1841 Teatro alla Scala, Milano)
Linda di Chamounix (19.5.1842 Theater am Kärntnertor, Vienna)
Linda di Chamounix [rev] (17.11.1842 Théâtre-Italien, Parigi)
Don Pasquale (3.1.1843 Théâtre-Italien, Parigi)
Maria di Rohan (5.6.1843 Kärntnertortheater, Vienna)
Dom Sébastien (13.11.1843 Théâtre de l’Opéra, Parigi)
Caterina Cornaro (18.1.1844 Teatro San Carlo, Napoli)
Dom Sébastien [rev] (6.2.1845 Kärntnertortheater, Vienna)

Cantatas and occasional works:
Il ritorno di primavera (G. Morando), 3 solo vv, orch, April 1818, I-Bc
Canto accompagnatorio, SATB, orch, for funeral eulogies of Marchese G. Terzi, Bergamo, 1819, BGc
Teresa e Gianfaldoni, 2 solo vv, orch, vs (Rome, 1821)
Cantata (‘Questo è il suolo’), S, S, pf, Naples, for royal birth, April 1822, BGi
Angelica e Medoro (after Ariosto), Naples, May 1822
L’assunzione di Maria Vergine (G.B. Rusi), T, T, B, vv, orch, Rome, 1822, BGi
Aristea (azione pastorale, 1, G.F. Schmidt), 3 female vv, 3 male vv, orch, Naples, S Carlo, 30 May 1823, Nc
A Silvio amante, T, orch, ?1823, BGi
La fuga di Tisbe, S, pf, composed 15 Oct 1824, F-Pc
I voti dei sudditi (azione pastorale, 1, Schmidt), 4vv, orch, Naples, S Carlo, 6 March 1825, copy I-Nc
La partenza, vv, orch, Palermo, Carolino, for departure of General delle Favare, July 1825
Cantata, vv, orch, Palermo, Carolino, for king’s birthday, 14 Aug 1825
Licenza, vv, orch, Palermo, Carolino, for a gala, 1825/6
Saffo, solo v, vv, orch, before 1828, BGi, arr. v, pf (Naples, n.d.)
Il Canto XXXIII della Divina commedia (Dante), solo B, pf, Jan–Feb 1828 (Milan, 1843)
Inno reale (F. Romani), vv, orch, Genoa, for inauguration of Teatro Carlo Felice, 7 April 1828
Il genio dell’armonia (E. Visconti), solo vv, vv, ?orch, Rome, in honour of Pius VIII, 20 Dec 1829, collab. Costaguti and Capranica
Il fausto ritorno (azione allegorico-melodrammatica, D. Gilardoni), vv, orch, Naples, S Carlo, for return of king and queen from Spain, sum. 1830, Nc
Cantata, vv, orch, Milan, for wedding of Ferdinand of Austria, 24 Jan 1831, BGi
Inno, for wedding of King of Naples, Nov 1832
Il fato (J. Ferretti), Rome, for nameday of Count A. Lozano, 13 June 1833
Cantata (E. and C. Carnevali), Rome, for nameday of Anna Carnevali, 26 July 1833, private collection of H. Steger, Vienna
La preghiera di un popolo (hymn), S, A, T, B, 4vv, orch, Naples, S Carlo, for Ferdinand II, 31 Aug 1837, Nc, vs (Milan, 1837)
Cantata (Donizetti), vv, orch, Naples, S Carlo, for royal birth, Aug 1838, Nc
Dalla Francia un saluto t’invia, T, B, B, TTBB, orch, pf, Paris, May 1841, perf. Bergamo, for Mayr’s 78th birthday, 14 June 1841, ed. J.S. Allitt and U. Schaffer (London and Davos, 1975)
Luge qui legis, vv, orch, Milan, funeral march for P. Marchesi, 1842, vs (Naples, n.d.)
Cristoforo Colombo, Bar, orch, Paris, Opéra, for benefit of P. Barroilhet, March 1845, scena e cavatina Nc
Aci e Galatea, mentioned by Albinati;
Gloria a Dio dei nostri padri, solo B, orch, Nc;
Inno, for nameday of P. Pangrati, Nc;
Niso e Violetta, v, orch, sketch Mr;
Per il nome di Francesco I, mentioned by Albinati;
Sacro è il dolore, hymn, 2 vv, orch, Nc;
Uno sguardo (F. Romani), perf. Milan;
La pietade col nemico or mi sembra qui delitto, solo B, orch, BGi

Other:
3 canzonette (Rome, ?1823) [A]
Collezione di canzonette, 5 songs, 3 duets, 1 qnt (Naples, n.d.) [B]
Donizetti per camera: raccolta di [9] ariette e [3] duettini (Naples, n.d.) [C]
Nuits d’été à Pausilippe, 6 songs, 6 nocturnes (Naples, 1836; London, 1836; Milan, 1837; Paris, ?1840) [D]
Soirées d’automne à l’Infrascata, 4 songs, 1 duet (Naples, 1837; Milan 1839 [with added duet]; Vienna, 1840s, as Soirées de Paris) [E]
Un hiver à Paris 1838–1839, 5 nos. (Naples, 1839), as Rêveries napolitaines, with added song (Paris, ?1839; Milan, 1839; Naples, c1841; Naples, 1841/2 [with 2nd added song]) [F]
Matinée musicale, 6 songs, 2 duets, 2 qts (Naples, 1841; London, 1841; Paris, 1841; Milan, n.d.) [G]
Inspirations viennoises, 5 songs, 2 duets (Naples, 1842; London, 1842; Milan, 1842; Paris, n.d.) [H]
Raccolta di [6] canzonette e [2] duettini (Milan, n.d.) [I]
Dernières glânes musicales, 8 songs, 2 duets (Naples, n.d.) [J]
Fiori di sepolcro: [9] melodie postume (Naples, n.d.) [K]
Donizetti: Composizioni da camera, ed. R. Mingardo (Milan, 1961) [L]
6 arie inedite, ed. C. Pestalozza (Milan, 1974) [M]

Songs for solo voice and piano:
Addio, romanza (Milan, 1844), J;
Addio brunetta, son già lontano, allegretto scherzoso, in Il sibillo (Naples, 5 Oct 1843), repr. in Journal of the Donizetti Society, ii (1975), 155;
Adieu, tu brise et pour jamais, romance, F-Pc;
Ah, non lasciarmi, no, bell’idol mio (Metastasio), romanza, Pc;
Ah, rammenta, o bella Irene (P. Metastasio), cavatina (Milan, 1830 or 1831), L;
Ah, si tu voulais, toi que j’aime, canzone, I-BGi;
Aimer ma rose est la sorte de ma vie, romance, I;
A mezzanotte, arietta, D, L;
Amiamo, canzonetta (Milan, 1871);
Amis courons chercher la gloire, canzone, F-Pc;
Ammore!, canzonetta napoletana, Amor che a nulla amato, albumleaf 1843, I-BGi
Amor corrisposto (Bei labbri che amore formò) (Metastasio), A;
Amor marinaro (Me vojo fà na casa), canzonetta napoletana, E, L;
Amore e morte (G.L. Redaelli), arietta, E, L;
Amor tiranno (Perchè due cori insieme) (Metastasio), romanza, K;
Amour jaloux, romance, F-Pc;
Anch’io provai le tenere smanie, arietta, unpubd;
Antonio Foscarini (G.B. Niccolini) (Naples, n.d.), A piè del mesto salice, canzonetta, private collection of Marchesi Medici, Rome;
Au pied d’une croix, romance, Pc;
Au tic-tac des castagnettes, canzonetta or aria, I;
Che cangi tempra mai più non spero (Metastasio), andante, M
Che non mi disse un dì (Metastasio), canzonetta, in Il sibillo (Naples, 2 May 1844), repr. in Journal of the Donizetti Society, ii (1975), 159;
Combien la nuit est longue, romance, F-Pc;
Come volgeste rapidi, giorni de’ miei primi anni, romanza, Pc;
Dell’anno novello, canzonetta, I-Nlp;
Del colle in sul pendio, canzonetta, B;
Doux souvenirs, vivez toujours (E. Barateau), mélodie, pubd;
D’un genio che m’accende (Metastasio), B;
Ella riposi alcuni istanti almeno, cavatina, Ms;
Elle n’existe plus, mélodie, in 2 mélodies posthumes (Milan, n.d.);
È morta! (C. Guaita), scena, H, L;
E più dell’onda instabile, arietta, Nc;
Faut-il renfermer dans mon âme, mélodie, F-Pc
Fra le belle Irene è quella (Metastasio), canzonetta;
Garde tes moutons, romance, pubd;
Già presso il termine de’ suoi martiri (Metastasio), I-BGi;
Giovanna Gray, romanza, K;
Giuro d’amore (Eterno amore e fè ti giuro), arietta, B, L;
Gran Dio, mi manca il cor, F-Pc;
Heureuse ici près de toi (after Sappho), I-BGi(without acc.);
I capelli (Questi capelli bruni), romanza, C;
Il barcajuolo (L. Tarantini), D, L;
Il cavallo arabo, bolero or romanza, G;
Il crociato (C. Guaita), arietta or romanza, D;
Il giglio e la rosa (Non sdegnar vezzosa Irene), canzonetta, I, J;
Il m’aime encore, doux rêve de mon âme, mélodie, F-Pc
Il mio ben m’abbandonò, melodia, I-BGi;
Il mio grido getto ai venti, romanza moresca, 1844, M;
Il nome (Voi vorreste il nome amato), arietta, C;
Il pegno, canzonetta, private collection of Marchesa Medici, Rome;
Il pescatore (Batte il bronzo) (A. Ricciardi), K;
Il pescatore (Era l’ora) (A. de Lauzières, after Schiller), F, L;
Il rimprovero (Quando da te lontano), romanza, C;
Il ritorno del trovatore da Gerusalemme, F-Pc;
Il ritratto (F. Romani), impromptu, private collection Casa Branca, Milan;
Il sorriso è il primo vezzo, canzonetta, B, C
Il sospiro (C. Guaita), melodia, H, L;
Il sospiro del gondoliere, barcarola, I-Nc;
Il trovatore, BGi;
Il trovatore in caricatura (Le troubadour à la belle étoile) (L. Borsini), scene bouffe or ballata, F;
Io amo la mestizia, romanza, ?1841/2, private collection of Marchesa Medici, Rome;
Io son pazza capricciosa, arietta;
J’attends toujours (E. de Lonlay), romance, pubd;
Je vais quitter tout ce que j’aime, romance, F-Pc;
La bohémienne, ballade, Pc;
La chanson de l’abeille (H. Lucas), It. (Milan, 1844), J;
La conocchia, arietta or canzone napoletana, D, L
La corrispondenza amorosa (Cifre d’amore; Billets chéris), romanza, G, L;
La dernière nuit d’un novice (A. Nourrit), ballata, added to F, L;
La farfalla ed il poeta, canzoncina, Pc;
La fiancée du timballier (V. Hugo), 1843, Pc;
La fidanzata, romanza, K;
La folle de Sainte-Hélène (A. Nourrit), ballata, added to 1841/2 Naples repr. of F;
La gondola, canzone;
La gondoliera (Vieni la barca è pronta), barcarola, G; La hart (P. Lacroix), chant diabolique;
La longue douleur, preghiera;
La lontananza (F. Romani), arietta, E, L;
L’amante spagnuolo (L. Tarantini), arietta or bolero, E;
Lamento in morte di V. Bellini (Venne sull’ale ai zeffiri) (A. Maffei) (Milan, 1836)
Lamento di Cecco Varlungo, albumleaf, Donebauer Collection, Prague;
La mère et l’enfant (A. Richomme), mélodie (Milan, 1830), J, L, acc. arr. orch, copy I-BGi;
La mia fanciulla, K;
L’amor mio (L’arcano del core) (F. Romani), K, L;
La musulmane (M. Bourges), pubd;
La negra (La nouvelle Ourika), romance, G;
La ninna-nonna (La mère au berceau de son fils) (A. de Lauzières), ballata, F, L;
La partenza del crociato (Puoti), arietta or romanza, C;
La passeggiata al lido (Che bel mar) (Naples, n.d.);
La prière (?P. Lacroix);
La savoiarda (A. Broffeni), romanza, K; La speranza;
La sultana (L. Tarantini), ballata, F, L;
La torre di Biasone (Tarantini), ballata, D
La tradita (oh ingrato, m’inganni), romanza or arietta, C;
L’attente, mélodie;
La vendetta (Bedda Eurilla), canzonetta siciliana, C;
La voix d’espoir (M. Cimbal), romance;
La zingara (C. Guaita), arietta, H, L;
Le crépuscule (V. Hugo), D, L;
Le départ pour la chasse (P. Lacroix), Bar/B, hn, Nc;
Le dernier chant du troubadour, romance, in 2 mélodies posthumes (Milan, n.d.);
Le gondolier de l’Adriatique (Crevel de Charlemagne), nocturne;
Le miroir magique (E. Plouvier), chansonette; Léonore (M. Escudier), romance (Milan, 1843), J;
Le pauvre exilé (A. de Leuven), romance
Le petit joueur de la harpe (P. Lacroix), Nc;
Le petit montagnard, K;
Le pirate (S. Saint Etienne), mélodie, in Lyre française (Mainz, n.d.);
Le renégat (E. Pacini), scène, It. (Milan, 1835);
Les revenants (Lacroix), aria, F-Pc;
Les yeux noirs, et les yeux bleus (E. Monnier), romance;
L’étrangère, romance, private collection Marchesa Medici, Rome;
Le violon de Crémone (E.T.A. Hoffmann), romance, Pc;
L’ora del ritorno (Guaita), arietta, H;
Lu trademiento (Aje, tradetore, tu m’haje lassata), canzone napoletana, I, L;
Malvina (G. Vitali), scène dramatique (Milan, 1845), M;
Malvina la bella, romanza, in Il sibillo (Naples, 28 Dec 1843), repr. in Journal of the Donizetti Society, ii (1975), 156;
Marie enfin quitte l’ouvrage, romance, Pc
M’è Dio il tuo signore (Oh quanto in me tu puoi), G;
Mentre del caro lido, canzonetta, private collection of Marchesa Medici, Rome;
Minvela (Quando verrà sul colle), canzonetta or romanza, C;
Mon enfant, mon seul espoir, romance, Pc;
Morir per te!, arietta (Naples, n.d.), Nice, st’occhiuzzi càlali, canzonetta, private collection of Marchesa Medici, Rome;
Noé (J. de Boutellier), scène du déluge, 1839, pubd;
Non amerò che te (after G. Vitali), romanza (Milan, 1842/3);
Non amo che te, romanza;
Non giova il sospirar (Metastasio), canzonetta veneziana, A
Non m’ami più (L’ingratitude) (Guaita), H;
Non v’è più barbaro di chi non sente (Metastasio), canzonetta, private collection of Marchesa Medici, Rome;
Non v’è nume, non v’è fato, romanza (Milan, n.d.);
N’ornerà la bruna chioma (Romani), scena e cavatina, L;
O anime affanate, venite a noi parlar (Dante: Commedia), Pc;
Occhio nero incendiator, canzonetta, I;
O fille que l’ennui chagrine, romance, Pc;
Oh, Cloe, delizia di questo core, canzonetta, private collection of Marchesa Medici, Rome;
Oh, je rêve d’une étrangère plus douce que l’enfant qui dors, Pc
On vous a peint l’amour (Lacroix), romance, Pc;
Or che in cielo, barcarola, Strenna musicale, i (1837);
Or che la notte invita, canzonetta, Pc;
Oui, je sais votre indifférence, Pc;
Oui, ton dieu c’est le mien (M. Michonne), romance, Pc;
Ov’è la voce magica, melodia, 1844, M;
Pace! canzonetta (Naples, n.d.);
Pas d’autre amour que toi (E. Barateau), mélodie;
Perchè due cori, romanza, I-Nc;
Perchè mai, Nigella amata, insensibile tu sei?, romanza, F-Pc;
Perchè se mia tu sei (Metastasio), romanza, Pc;
Philis plus avare que tendre, romance, Pc
Più che non m’ama un angelo (L’amor funesto), romanza, also arr. with vc/hn, 1842, L;
Plus ne m’est rien, romance, Pc;
Pourquoi me dire qu’il vous aime, romance, Pc;
Preghiera (Una lagrima), G, L;
Quand un soupçon mortel, romance, Pc;
Quand je vis que j’étais trahie, scène religieuse, with pf, org, Pc;
Quando il mio ben io rivedrò, canzonetta, private collection of Marchesa Medici, Rome;
Quando morte coll’orrido artiglio, prayer, Pc;
Quanto mio ben t’adoro, canzonetta, private collection of Marchesa Medici, Rome;
Quel nome se ascolto (Metastasio), romanza
Questo mio figlio è un fiorellin d’amore, berceuse, in Album du gaulois, oeuvres inédites, i (Paris, 1869);
Qui sospirò, là rise, aria, copy, with autograph annotations, I-Nc;
Rendimi il core, o barbaro, canzonetta, A;
Rose che un dì spiegaste, romanza, F-Pc;
Se a te d’intorno scherza, romanza, in Il sibillo (Naples, 4 April 1844), repr. in Journal of the Donizetti Society, ii (1975), 158;
Se lontan, ben mio, tu sei (Metastasio), canzonetta;
Se talor più nol rammento, cavatina;
Seul sur la terre, albumleaf or romance, private collection of C. Lozzi, Bologna;
Sì o no, canzonetta giocosa, J;
Si tanto sospiri, ti lagni d’amore, Pc;
Si tu m’as fait à ton image, romance, Pc
Sorgesti alfin, aurora desiata, aria, I-Nc;
Sospiri, aneliti che m’opprimete, canzonetta, private collection of Marchesa Medici, Rome;
Sovra il campo della vita, larghetto, M;
Sovra il remo sta curvato (L. Mira), barcarola, in Il sibillo (Naples, 22 Feb 1844), repr. in Journal of the Donizetti Society, ii (1975), 157;
Spunta il dì, l’ombra sparì, romanza, F-Pc;
Su l’onda tremula ride la luna, B;
Su questi allor, canzonetta, private collection of Marchesa Medici, Rome;
Taci invan, mia cara Jole, romanza, 1835;
T’aspetto ancor (Nel tuo cammin fugace), romanza (Milan, 1843), J;
Te dire adieu (G. Vaëz), romanza
Te voglio bene assaje, canzone napoletana, often attrib. Donizetti;
Tengo no n’namurato, canzonetta napoletana, I;
Troppo vezzosa è la ninfa bella, canzone, I-BGi;
Trova un sol mia bella Clori (Metastasio), collection of Count G.B. Camozzi-Vertova, Bergamo;
Trova un sol mia bella Clori (Metastasio), Toscanini collection, New York [different setting];
Tu me chiedi se t’adoro, arietta, 1840, F-Pc;
Una prece sulla mia tomba (Non priego mai) (Redaelli), canto elegiaco or romanza, C
Una tortora innocente, romanza, I-BGi;
Una vergine donzella per amore, romanza, F-Pc;
Un bacio di speranza, romanza (Milan, 1845);
Un coeur pour abri (A. Richomme), scène;
Un detto di speranza, romanza, J;
Uno sguardo (F. Romani), romanza, Casa Branca, Milan;
V’era un dì che il cor beato, romanza, I-Ms;
Vien ti conforta, o misera, F-Pc; Vision, (E. Plouvier), mélodie;
Viva il matrimonio (L. Tarantini), cavatina buffa, bass (Milan, 1843)

Duets:
Ah, non lasciarmi, no (Metastasio), I-Nc;
Amor, voce del cielo (Tarantini), notturno, D;
Armida e Rinaldo (Tasso), F-Pc;
Canzonetta con l’eco (Per valli, per boschi), 27 Aug 1817, I-BGi;
C’est le printemps (E. Plouvier), chansonette-valse;
Che cangi tempra mai più non spero (Metastasio), unacc., BGi;
Che ciel sereno, I;
Che vuoi di più (Guaita), H;
Duettino, S, S, Nc;
Duet, S, S, F-Pc;
Duet, 1822, collection of C. Lozzi, Bologna;
Godi diletta ingrata nell’ingannarmi tu, canzonetta, Pc;
Ha negli occhi un tale incanto (Metastasio), B
Héloïse et Abélard (Crevel de Charlemagne), duo historique;
Ho perduto il mio tesoro (Metastasio), B;
I bevitori (Tarantini), notturno or brindisi, D;
I due carcerati, I-Mc;
I fervidi desiri (Da me che vuoi, che brami), C;
Il fiore (Qui dove mercè negasti), duettino pastorale, E;
Il giuramento (Palazzolo), notturno, D;
Io d’amore, o Dio, mi, moro (?Metastasio), B, C;
I sospiri (Ti sento, sospiri) (Metastasio), C;
L’addio (Dunque addio) (F. Romani), F;
L’addio (Io resto), G;
La gelosia (Querelle d’amour), scherzo, G, L;
L’alito di Bice (F. Puoti), notturno, D
La passeggiata al lido (Che bel mar), J;
L’aurora (Tarantini), notturno, D;
La voce del core (T’intendo, sì, mio cor) (Metastasio), C;
Les napolitains (Crevel de Charlemagne), nocturne;
L’incostanza di Irene (Metastasio), 1826, added to E;
L’ultimo rimprovero (O crudel che il mio pianto), I, J;
Lumi rei del mio martire, canzonetta, private collection of Marchesa Medici, Rome;
Non mi sprezzar Licori (Metastasio), I-BGi;
Predestinazione (Guaita), H;
Quegli sguardi e quegli accenti, BGi;
Se mai turbo il tuo riposo (Metastasio), Nc
Sempre più t’amo, mio bel tesoro, F-Pc;
Sempre sarò costante (Metastasio) (Rome, n.d.);
Se tu non vedi tutto il mio cor (Metastasio), copies Pc, I-Nc;
Si soffre una tiranna (Metastasio), BGi;
Sull’onda cheta e bruna, barcarola (Milan, 1838);
Uno sguardo ed una voce (Une nuit sur l’eau) (Palazzolo), notturno, D;
Vedi là sulla collina, Mc;
Vuoi casarti, duetto buffo, 2B

For 3–5 voices:
Ah che il destino (Metastasio), (S, S, T)/(S, S), BGi;
Cedè la mia costanza, Irene, al tuo rigor (Metastasio), S, A, T, B, 1820, F-Pc;
Clori infedel, S, A, B, I-Rsc;
Di gioja di pace la dolce speranza, Moldenhauer Archive, Seattle;
Finchè fedele tu mi sei stata, canzonetta, 4vv, 5 May 1817, F-Pc;
Io morrò, sonata è l’ora, 3vv, Pc;
La campana, T, T, B, B, G;
Lumi rei del mio martire, madrigale, 4vv, 12 June 1817, I-BGi;
Qui sta il male, trio, Nc; Rataplan (La partenza del reggimento), T, T, B, B, G, K;
Se schiudi il labbro, divertimento, S, S, T, T, B, unacc., B;
Strofe di Byron, S, A, B, B, Mc;
Sien l’onde placide, Per noi la vita, Ma poi passati stragi e orror

Vocal religiosa:

Gl, D, STB, small orch, 1814, I-BGi;
Qui tollis, F, T, cl, orch, 7 Sept 1814, pts [partly autograph] BGi;
Ky, 4vv, orch, 1816, Nc;
In gloria Dei Patris, c, 4vv, 17 Sept 1816, BGi;
Tantum ergo, TTB, orch, perf. 8 Nov 1816, Bc;
Cum sancto, vv, orch, 16 July 1817, F-Pc;
Ky, D, 4vv, orch, 1 Aug 1817, Pc;
Ky, D, vv, orch, 7 Aug 1817, I-Bc;
Gl, C, 3–4vv, orch, 28 May 1818, MS copy and partly autograph pts BGi;
Ky, c, 3vv, org, 8 Aug 1818, F-Pc;
Cr, C, 3vv, orch, 17 April 1819, Pc;
Mag, D, S, T, B, STB, orch, May 1819, Pc;
De torrente, F, ST, orch, June 1819, Pc
Laudamus–Gratias, F, S/T, ob/cl, orch, 3 July 1819, Pc;
Qui tollis–Miserere, 3vv, orch, 8 July 1819, MS property of Donizetti heirs;
Gl, 3vv, orch, 16 July 1819, I-Nc;
Salve regina, F, solo T, orch, 5 Aug 1819, F-Pc;
Iste confessor, D, S, T, B, STB, orch, 6 Aug 1819, I-Nc;
Sicut erat, C, STB, orch, 9 Sept 1819, F-Pc;
Laudate pueri, D, S, A, T, B, SATB, orch, 8 Oct 1819, I-Nc;
Beatus vir, F, solo T, ob, cl, small orch, F-Pc;
Cum Sancto Spiritu, D, 3–4vv, orch, 1819, Pc;
Dixit, C, S, T, B, vv, orch, 1819, I-Nc;
Domine ad adjuvandum, C, S, T, B, vv, orch, 1819, F-Pc;
Domine a dextris, d, solo B, orch, 1819, I-Nc
Oro supplex, E, solo B, hn, orch, 1819, BGc;
Tecum principium, S/T, ob/cl, orch, 1819, Nc;
Miserere, 4vv, Jan 1820, copy Nc;
Motet, solo T, cl, small orch, 29 March 1820, F-Pc;
Miserere, 4 solo vv, vv, orch, 4 April 1820, I-Rvat;
Tibi soli peccavi, F, solo S, basset-hn, orch, 6 April 1820, F-Pc;
Tunc acceptabis, D, 4vv, orch, 6 April 1820, pts Pc;
Asperges me, B , SATB, orch, 8 April 1820, Pc;
Domine Deus, E , solo B, cl, orch, 16 May 1820, I-Nc;
Gl, D, S, T, B, vv, orch, 20 May 1820, Nc;
Ky–Christe–Ky, F, S, A, T, B, SATB, orch, 20 May 1820, copy and partly autograph pts BGi;
Ky, 4vv, orch, 20 May 1820, Nc;
Qui tollis, E , solo T, hn, vv, orch, 24 May 1820, MS copy and partly autograph pts BGi
Gloria Patri, F, solo S, vn, orch, 28 May 1820, F-Pc;
Qui sedes–Quoniam, c, solo T, vn, orch, 3 July 1820, I-Nc;
Laudamus te, A, S, A, T, B, SATB, orch, 6 July 1820, Nc;
Gratias agimus, G, solo S, fl, orch, 6 July 1820, F-Pc;
Dominus a dextris, d, solo T, vn, orch, Aug 1820, Pc;
Cr, C, S, T, B, vv, orch 18 Oct 1820, I-BGi;
Libera me di sanguinibus, a, solo S, vn, orch, 30 Oct 1820, F-Pc;
Ne procias, E, solo B, hn, orch, 29 Nov 1820, I-Nc;
Dixit Dominus, C, S, T, B, vv, orch, 1820, MS copy and autograph pts BGi;
Tuba mirum, E , solo B, orch, 5 Jan 1821, MS copy and partly autograph pts BGi;
Ky, 4vv, orch, 26 May 1821, F-Pc
Ky, F, 4vv, orch, 26 May 1821, I-Nc,
Miserere, c, 4vv, orch, 18 Jan 1822, F-Pc;
Cr, D, SATB, orch, perf. 24 Nov 1824, copy by Mayr I-BGi;
Parafrasi del Christus (S. Gatti), S, A, str orch, 1829, rev. 1844, Nc;
Requiem, d, S, T, B, SATB, orch, for Bellini, 1835, unfinished, vs (Milan, 1870/R);
Miserere, g, 3 male solo vv, vv, orch, org 1837, Rvat, rev. for solo vv, vv, orch, 1842–3, Mr (Milan, 1844/5);
Requiem, vv, orch, for Zingarelli, 1837;
Requiem, vv, orch, for Abate Fazzini, 7 Nov 1837;
Messa di Gloria with Cr, c, 3–4 solo vv, vv, orch, perf. 28 Nov 1837, Nc
Ave Maria, off, F, solo S, SATB, str orch, May 1842, BGi, vs (Milan, n.d., Paris, n.d.), fs (New York, n.d.);
Gloria Patri, 4vv, orch, 1843, Nc;
Ave Maria (Dante), S, A, str orch, Jan 1844 (Milan, n.d.);
Quoniam ad te, off, solo S, small orch, 1844, Nc;
Sic transit gloria mundi, 8vv, org, 1844, F-Pc;
Domine, Dominus noster, off, solo B, orch, Nov 1844, I-Nc

Undated:
Ave Maria, F, 2vv, pf, Ms;
3 canzoncine sacre, 2vv, pf, Mc: 1 Questo cor, quest’alma mia, 2 L’amor di Maria Santissima, 3 Preghiera a Maria Vergine;
Christe, solo T, 2 vn, cl, db, Rsc;
Confitebor, C, STB, bc (org), BGi;
Credidi, D, STB, bc (org), BGi;
3 Cr: STB, orch, Nc, E , S, A, T, B, 4vv, orch, Nc, C, 4vv, orch, BGi;
Credo breve, C, Crucifixus, F, vv, orch, orch pts BGi (vocal pts lost);
3 Cum Sancto Spiritu: C, c, 4vv, orch, both Nc, D, S, A, T, B, SATB, pts BGi;
Dies irae, c, vv, orch, inc. sketch BGi;
Docebo, D, solo B, small orch, org, pts. (partly autograph) BGi
Domine ad adjuvandum, C, S, T, B, vv, wind, org, F-Pc;
2 Domine Deus: D, solo B, small orch, I-Nc, e, solo B, cl, orch, copy BGi;
Et vitam, C, 4vv unacc., Nc;
3 Gl: 4vv, orch, Nc, C, 4vv, orch, Nc, solo vv, vv, orch, D-Dl;
Gloria Patri–Sicut erat, C, STB, orch, MS copy and partly autograph pts I-BGi;
In convertendo, C, solo B, orch, F-Pc;
Inno [to St Peter], C, solo T, small orch, I-Nc;
Judica me Deus (S. Biava: Ps xlii), 2 children’s vv, org ad lib, copy BGi;
5 Ky: c, STB, 2 ob, 2 hn, org, BGi, c, STB, 2 ob, 2 hn, org, BGi, c, S, T, B, STB, small orch, MS copy and partly autograph pts BGi, d, S, A, T, B, SATB, orch, pts (partly autograph) BGi, d, SATB, orch, pts (partly autograph) BGi
Ky–Christe–Ky, E–G-e, T, SATB, orch, BGi;
2 Laudamus–Gratias: F, solo T, cl, orch, lost, A, 4vv, orch, lost;
Laudate pueri, C, 3vv, orch;
2 Miserere: T, T, B, B, TTBB, 2 va, 2 vc, 2 db, org, F-Pc, d, 4vv, orch, pts (some autograph) I-BGi;
Nisi Dominus, D, solo T, orch, MS copy and partly autograph pts BGi;
Pange lingua, F; Preces meae, E , solo T, 4vv, solo insts, orch, BGi;
Qui sedes, C, solo S, vn, small orch, F-Pc;
Qui sedes–Quoniam, a, solo S, vn, orch, MS copy and partly autograph pts I-BGi;
3 Qui tollis: E , STB, orch, MS copy and partly autograph pts BGi, B , solo T, small orch, pts (partly autograph) BGi, E, solo T, hn, orch, pts (partly autograph) BGi
Requiem, 3vv, orch, for benediction of tomb of Alfonso della Valle di Casanova, vs (Naples, n.d.);
Salve regina, F, STB, wind insts, vc, db, F-Pc;
Sicut erat, C, 4vv, orch, Pc;
3 Tantum ergo: F, solo T, orch, I-Nc, D, solo S, org, Mc, E , solo T, wind insts, db, pts BGi;
Tecum principium, F, S, T, cl, orch, partly autograph pts BGi;
TeD (S. Biava), B , 2 children’s vv, org ad lib, b, copy BGi

Instrumental:

Orch.:
Sinfonias:
C, 12 June 1816, I-Bc;
Sinfonia concertante, D, 17 Sept 1816, ed. G. Piccioli (Milan, 1937);
C, 24 Nov 1816, BGi;
D, 29 March 1817, F-Pc;
g, wind insts, 19 April 1817, ed. D. Townsend (New York, 1967), ed. B. Päuler (Zürich, 1970);
D, 10 Sept 1817, Pc;
‘La partenza’, 25 Oct 1817, Pc;
D, 17 Dec 1817, Pc;
d, on death of A. Capuzzi, 1818, Pc;
‘L’incendio’, perf. Bergamo, 19 March 1819, Pc;
D, ?1832/3, inc., I-BGi [incl. themes used in Il furioso and L’elisir d’amore]; on themes by Bellini, 1836, F-Pc, arr. pf (Milan, 1836);
D, 25 non-autograph pts I-BGi;
Adagio and Minuet from a sym., F-Pc
Sinfonia to the cant. In morte M. Malibran, perf. Milan, 17 March 1837, other movts by Pacini, Mercadante, Coppola, Vaccai, I-Mr, vs (Milan, 1837/8)

Concs.:
Concertino, G, eng hn, orch, perf. Bergamo, 19 June 1817, ed. R. Meylan (Frankfurt, 1966);
Cl Conc., E , private collection A. Marinelli, Bergamo;
Conc., vn, vc, orch, F-Pc;
Conc., for unspecified inst, Pc;
untitled work, B , cl, small orch, I-BGi

Other works:
Introduzione, str orch, 1829, ed. U. Schaffer (London and Davos, 1975);
Gran marcia militare imperiale, for the Sultan of Turkey, arr. pf (Paris, n.d.), arr. sym. band by D. Townsend (n.p., 1967); March, Aug 1840, F-Pc;
Preludio, for an opera, Pc;
Rataplan, I-Mr

Chbr:
Str qts:
no.1, E , 26 Dec 1817;
no.2, A;
no.3, c;
no.4, D, 27 July 1818;
no.5, e;
no.6, g;
f, 6 May 1819;
B , 26 May 1819;
d, 22 Jan 1821;
g, 26 Jan 1821 (without 4th movt);
C, 12 March 1821;
C, 15 March 1821;
A, 19 April 1821;
D, 1825;
e, 1836;
D, F, b, all dated 1819–21 by Zavadini; all in Gaetano Donizetti: 18 quartetti, ed. Istituto italiano per la storia della musica (Rome and Buenos Aires, ?1948) [defective edn];
C, F-Pc (without last movt), inc. 1st movt, a, Pc, both dated 1819–21 by Zavadini

Other works:
Sextet, 2 vn, va/vc, fl, 2 hn, lost;
Qnt, C, 2 vn, 2 va, vc, 1st movt I-BGi;
Qnt (Introduzione and Largo affettuoso), 2 vn, va, vc, db, MS property of Donizetti heirs;
Qnt, C, 2 vn, va, vc, gui, Nc;
Pf Trio, E , 12 Nov 1817, copy BGi;
Sonata, fl, pf, c, 15 May 1819, ed. R. Meylan (Frankfurt, 1969);
Sonata, vn, pf, f, 26–7 Oct 1819, BGi;
Sonata, vc, pf, D, copy BGi;
Sonata, ob, pf, ed. R Meylan (Frankfurt, 1966), Variations, D , vn, pf, BGi;
Scherzo, D, vn, pf, 1826, on 27 themes from Donizetti ops, BGi;
Larghetto and Allegro, g, vn, hp, ed. R. Meylan as Sonata (Frankfurt, 1970);
Largo, vn, vc, pf, d, copy BGi;
Larghetto, fl, bn, pf, ed. B. Päuler as Trio (Zürich, 1971);
Larghetto and Polonaise, vii, acc. inc., F-Pc;
Largo, g, vc, pf, ed. U. Schaffer (London and Davos, 1975);
untitled work, B , wind insts, org, I-BGi; Studio no.1, B  cl, 1821, ed. R. Meylan (Frankfurt, 1970);
Duetto, B , 2 cl, ed. B. Päuler (Zürich, 1971)

Piano:
Pastorale, E, 1813, I-BGi, Sinfonia no.3, A, 22 Oct 1813, BGi;
Sinfonia, C, 19 Nov 1816, Bc;
Un capriccio in sinfonia, e, 15 Aug 1817, BGi;
2 motivi del celebre Mo Paer messi in suonata, 7 Oct 1817, BGi;
Variazioni sopra la canzonetta del bardo nell’Alfredo di Mayr (Milan, 1820);
Rondò, D, Feb 1825, BGi;
Larghetto, C, 30 Dec 1834, Mc;
La vénitienne, waltz (Milan, 1843)

Undated:
Adagio e Allegro, G, Allegro, f, ed. R. Meylan (Frankfurt, 1971);
Allegro vivace, C;
Allegro vivace, G;
Fugue, g;
Invito, waltz;
Larghetto, theme and variations, E;
Piece on theme of ‘Una furtiva lagrima’, g;
Presto, F;
La ricordanza, adagio sentimentale, E;
Sinfonia, D;
Waltz;
Variations, G;
Variations, E: all BGi;
Sinfonia, D, Nc;
Waltz, F-Pc;
Giuseppina, polka-mazurka (Naples, n.d.)

4 hands:
Il Capitan Battaglia, sonata, E , 1819;
Polacca, D, 1819;
Sonata, C, 31 March 1819;
Sonata, D, 12 Oct 1819;
Sinfonia no.2, d, 28 March 1820;
Sonata, a, 25 April 1820;
Una delle più matte, C, 17 May 1820;
untitled piece, C, 25 Feb 1821;
Waltz, 1844: all I-BGi

4 hands, dated 1813–21 by Zavadini:
2 Allegro, D, E;
Allegro moderato, A;
Allegro vivace, C;
Il genio di GDM, G;
L’inaspettata, E ;
La lontananza, e;
Larghetto, G;
Marcia lugubre, f;
La solita sonata, F;
Sonata no.3 a 4 sanfe, F;
Sonata, B ;
Sonata, D;
Sonata no.3, F; all BGi

Other works:
Student vocal essays, etc:
Ah! quel Guglielmo, sextet, S, S, T, T, B, B, orch, 1812, I-Nc;
Ognun dice che le donne, aria, solo B, orch, 20 March 1815, F-Pc;
Guarda che bianca luna (J. Vittorelli), anacreontica, v, orch, 30 March 1815, Pc;
Perchè quell’alma ingrata, duet, S, T, orch, 27 Sept 1816, I-Nc;
Amor mio nume, aria, 1816;
Ti sovvenga amato bene, aria, S, orch, 10 May 1817, Nc;
Isabella ormai mi rendi, trio, T, T, B, orch, 1818, Nc;
Se bramate che vi sposi, duet, MS property of Donizetti heirs;
Taci, tu cerchi invano, duet, S, S, orch, Nc;
Sposo lo so, recit, Da quel piano difendemi, duet, S, B, small orch, Nc;
Che avvenne che fu, recit, Solo per te sospiro, romanza, T, small orch, BGi

Student exercises:
Fugues and counterpoint exercises, some 1815–17, BGi, Nc

Didactic:
Solfeggi, Mez, pf, Nc;
Vocalizzi o gorgheggi, F-Pc