André Campra Requiem Christophe Rousset Les Talens Lyrique

André Campra 
Requiem 
Christophe Rousset & Les Talens Lyriques
Introit 0:00
Kyrie 7:05
Graduel 10:43
Offertoire 16:00
Sanctus 25:02 
Agnus Dei 28:05
Post Communio 33:55

Biografia

OBRA:

Vocal secular:

Stage:
L’Europe galante, ópera-ballet, 1697
Venus, feste galante, 1698
Le Carnaval de Venise, 1699
Hesione, tragédie lírica, 1700
Le destin du nouveau siècle. Opéra .1700
Aréthuse, ópera-ballet, 1701
Tancrède, tragédie lírica, 1702
Las Musas, 1703
Télémaque, tragédie lírico pastiche, 1704
Ifigenia en Táuride, tragédie lírica, 1704
Alcine, tragédie lírica, 1705
Hippodamie, tragédie lírica, 1708
Las Fêtes vénitiennes , ópera-ballet, 1710
Idoménée, tragédie lírica, 1712
Télèphe, tragédie lírica, 1713
Énée te Didon, fête musicale, 1714
Camille, reine diciembre Volsques, tragédie lírica, 1717
Las Musas rassemblées par l’Amour, idylle en musique, 1723
Las Sauvages, 1729
Achille te Déidamie, tragédie lírica, 1735

Cantatas and airs:
Cantatas Françoises, 1v, instante … livre premier (1708 / R1990 in ECFC, ii):
Hébé, El heureux Jaloux, Didon, Daphné, Arion, Les femmes
Cantatas Françoises, 1v, instinto, avec un dúo … livre second (1714 / R1990 in ECFC, ii):
Las heureux époux, Silene, Achille oisif, la dispute del Amour et del Hymen, la danse de Flora, Eneas te Didon, dúo
Cantatas Françoises, 1v, avec Simphonie te sanos Simphonie … livre troisième (1728 / R1990 in ECFC, iii):
El heureux momento, Las capricho del Amour, La colère de Achille, Las plaisirs de la campagne, Le papillon, Le Jaloux, Le lys et la rose
La guerre, canto., 1v, Instant (nd)
Silene te Bacchus, canto., perf. Paris Opéra, Oct 1722, lost

Airs and sacred contrafacta in the following collections:
Airs Italiens … danzas ave Prologue te dans el acto du Bal des Fêtes vénitiennes (nd);
Airs nouveaux … de Messieurs Campra te Batista … chantez … pendant las Representation de Theta te Pelée (1708);
Airs Spirituel diciembre meilleurs auteurs, ii (1701);
Conciertos paródicas (1721-32);
Duo Choisis de Brunettes (1728-30);
La lire maçonne (The Hague, 1763);
Las parodias du nouveau théâtre italien (1731-8);
Las parodias nouvelles te las vaudevilles inconnus (1730-37);
El Imitation de Jésus-Christ (1727);
Mercure de France (Jan 1722, March 1730, April 1733);
Meslanges de musique latine, françoise te italienne (1725-7);
Nouveau plaisir des Dames (nd);
Nouveau Recueil de chansons choisi (The Hague, 1726-43);
Nouveau Recueil de dance de bal (1712);
Nouvelles Poésies morales (1737);
Nouvelles Poésies spirituelles te morales (1730-37);
Recueil de airs ajoutez à differentes opéra (1710-34);
Recueil de airs serio te à boire (1698, 1700-20; Amsterdam, 1707-9);
Recueil de danzas (1704);
Recueil diciembre meilleurs airs Italiens (1703-8);
Second Recueil diciembre nouvelles Poésies spirituelles te morales (1731)

Vocal religiosa:

Misa, 4vv, cui titulus Ad majorem Dei gloriam (1699); ed. La Montagne (Paris, 1952), ed. E. Lemaître (Paris, 1991)

[14] Motetes, 1-3vv, bc, livre premier (1695):
Paratum corazón meum;
O sacrum convivium, C LXIII;
Quemadmodum Desideri cervus, C LVI;
Salve regina;
Laudate Dominum;
Insertaba Domine;
Exurge Domine;
Laudabit usque ad mortem;
Diligam te Domine;
In Domino gaudebo;
Tota pulchra es;
In te Domine;
Disipa Domine;
Quam dilecta

[12] Motetes, 1-3vv, instinto, c … livre second (1699):
Jubilate Deo, C xxxii;
Ubi se Deus, C LXIII;
Ave regina coelorum;
Ecce quam bonum;
Florete prata;
Laudate Dominum;
Cantate Domino, ed. in HAM ii;
Cum invocaremos;
Omnes gentes;
O Jesu amantissime;
Immensus se Domine;
Deus in adjutorium meum

[11] Motetes, 1-2vv, c … livre troisième (1703):
Confitemini Domino;
Benedicam Dominum;
O dulcis amor, C xvii;
Sub tuum praesidium;
Deus misereator nostri;
Pange lingua gloriosa;
Cari Zéphirin volate, 1v, 2 vn, bc;
Cantemus exaltemus;
Dominus regnavit;
In convertendo Dominus, chorus, instante;
Quis ego Domine

9] Motetes, 1-3vv, sanos symphonies te avec symphonies, livre quatrième (1706; rev. 2/1734 with 2 new motetes: Benedicat anima mea; Domine salvum fac):
Beatus vir;
Domine
Dominus noster, K iii;
Regina coeli;
Quam dulce este, C vino;
Beati omnes;
Exaltabo té, C ix;
Cantate Domino;
Dialogue del amour divino te del âme;
Salvum me fac Deus

[10] Motetes, 1-3vv, instante … cinquième livre (1720, rev. 2/1735 with 2 new motetes: Alma Redemptoris mater; Sub tuum praesidium):
Domine quis habitabilidad;
Eructavit corazón meum;
Nisi quia Dominus;
Ecce ego Domine;
Nunc dimittis;
Coeli enarrant;
Venite exultemus Domino;
Dominio este suelo;
Domine in virtute tua;
Ecce panis angelorum

Recueil diciembre motetes (1703) [= BKS 1-3];
Recueil de motetes (1712) [= BKS 1-4];
Recueil 12 60 motetes (1735) [= BKS 1-5]
[2] Pseaumes mis en musique à grande choeur … livre premier (1737): Notus in Judea Deus, Benedictus Dominus
[2] Pseaumes mis en musique à grande choeur … livre second (1738): Deus in nomine tuo, Cantate Domino Canticum novum

Others:
Messe de requiem, c1722, F-Pn; ed. HA Durand (Paris, c1957), ed. E. van Straaten (Paris, 1983)
Plainsong mass in Mies de diverso auteurs, Pn

25 grande motetes, Pc:
In convertendo, 1703, rev. 1726;
Confitebor tibi, 1706, rev. 1722;
Nisi Dominus, 1712, rev. 1722;
Beatus vir, 1713, rev. 1722;
Laudate pueri, 1716;
O panis Deus, 1722;
De profundis, 1723, ed. HA Durand (Paris, c1960);
Deus in adjutorium, 1723;
Ecce panis angelorum, 1723, ed. L. Boulay (Paris, c1962);
Pange lingua, 1723;
Sacris solemnis, 1723;
Regina coeli, 1724;
Miserere mei, 1725, rev. 1726;
O filii, c1725;
Omnes gentes, 1725, ed. HA Durand (Paris, c1960);
Deus noster refugium, 1727, ed. B. Lespinard (Paris, 1993);
Lauda Jerusalem, 1727;
Te Deum, 1729, ed. L. Boulay (Paris, c1960);
Eructavit corazón meum, 1733;
Cum invocaremos, 1734;
Jubilate Deo, 1736;
Coeli enarrant, 1737;
Magnus Dominus, 1737;
Benedicam Dominum, 1739;
Deus judicium tuum, 1741

7 motetes, S, B, Pn:
Usquequo Avertis, 1700/1713;
Confitebor tibi, 1706, rev. 1722;
Laetatus sum, 1713;
Nisi Dominus, 1712, rev. 1722;
Beatus vir, 1713, rev. 1722;
Laudate pueri, 1713;
Magnificat, 1.716;

5 anon. others in same MS possibly by Campra:
Audite insulae, 1713;
Cantate Domino, 1713, rev. 1722;
In exitu Israel, 1713, rev. 1722;
In nomine Jesu;
Veni Creator Spiritus, 1713

7 motetes in Motetes diverso de Campra, Pellegrin, Gilles, AIXm:
Dixit Dominus (gran motete), 1.716;
Dixit Dominus (pequeño motete), 1716;
Ecce panis angelorum, 1723;
Beatus vir;
Confitebor tibi Domine;
Magnificat;
Nisi Dominus

4 motetes in Receuil de motetes de differents autheurs, AIXm:
Usquequo Domine, 1716;
Confitemini Domino, 1716-22;
Cum invocaremos, 1716-22;
Deus in adjutorium, before 1717

6 extractos in Récits te dúo de M. Delalande, Pn:
Usquequo Avertis;
Noel;
Deus noster refugium;
Suscepit Israel (from the Magnificat);
Vanum este nobis (from Nisi Dominus);
Fluminus ímpetus (from Deus noster refugium)
Isti sunt agni novel (motete), 1716, Pn
Iste este vas electionis (motete), 1716, Pn

Copias of printed motetes, F-AIXm, Pc, Pn; US-BEM;
Some other motetes listed above may be duplicados.

François Couperin – Troisième Leçon De Ténèbres À 2 Voix

Francois Couperin Office des Tenebres,Lesne

OBRA:

Vocal religiosa:

MS sources: Elevado [iones] de Couperin (score), FV 59
Motetes a voix seule, 2 te 3 parties te Symphonies de Mr Couperin, Pn Rés.F1679 (score ), Pn Rés.F1680 [a-e] (5 ptbks) [formerly GB-T 1432-7]
Scores copied by S. de Brossard, F-Pn VM1 1630
Motetes de Messieurs Lalande, Mathau, Marchand Laisné, Couprin te Dubuisson , copied by Philidor, 1697, V 18
4 versículos (from Ps CXVIII) de un motete compuesto del orden du roy … Dónde y joint le versículo ‘Quién dat nivem’ du psaume ‘Lauda Jerusalén’ (Paris, 1703): Tabescere me, 2 S; Ignitum eloquium tuum, 2 S, 2 vn, bc; Adolescentulus sum, S, 2 fl, vn; Justitia tuya, 2 S, SS, bc; Quién dat nivem, S, 2 fl, vn; C xi, GM V / y
7 versículos (from Ps LXXXIV) du motete compuesto del orden du roy (Paris, 1704): Converte nos, B, fl, bc; Numquid in aeternum, T, Bar, c; Ostende nobis, haute-contre, fl / vn, bc; Audiam quid loquatur, B, 2 vn, bc; Misericordia te veritas, 2 T, c; Veritas de tierra, S, vn, bc; Te enim Dominus, S, 2 ob, 2 fl; C xi, GM V / y
7 versículos (from Ps LXXIX) du motete compuesto del orden du roy (Paris, 1705): Quien regios Israël, haute-contre, T, B, 2 vn, bc; Excita potentiam tuam, haute-contre, B, c; Vineam de aegypti, B, vn, bc; Dux itineris fuistes, B, 2 vn, 2 fl, 2 ob, bc; Operuit montes, S, vn, 2 fl, bc; Extend Palmito sudoroso, S, vn, 2 fl, bc; Deus virtutum convertere, haute-contre, fl, ob, b viol, c; C xi, GM V / y
Leçons de tinieblas a 1 te a 2 voix … premier jour (Paris, between 1713 and 1717): premiere Leçon, S, c; seconde Leçon, S, c; troisième Leçon, S, S, c; C xii, GM V / ii, V
6 Leçons de tinieblas, lost

Accedo ad te, Dialogus inter Deum et hominem, haute-contre, B, c, F-Pn Rés.F1679-80, V 59; C xii, GM V / ii
Ad te levantaba oculos meos, B, 2 vn, bc, Pn Rés.F1679-80; GM [suppl.], O
Audite omnes et expanescite, haute-contre, 2 vn, bc, V 59; C xii, GM V / ii
Domine salvum fac regem, S, B, c, Pn Rés.F1679-80; GM [suppl.], O
exultante supere, motete for Ste Suzanne, inc., S, A, B,? 2 vn, bc, PnRés.F1679-80; GM [suppl.]
Festiva laeta, motete for Ste Anne, S, T, B, c, Pn Rés.1679-80, V 59; C xii, GM V / ii
Jucunda vox ecclesiae, motete for St Augustin, 2 S, B, c, Pn Rés.1679-80, V 59; C xii, GM V / ii
Laetentur coeli, motete for St Barthélemy, 2 S, bc, V 59; C xii, GM V / ii
Lauda Sion Salvatore, elevation, 2 S, bc, Pn Rés.F1679-80; GM [suppl.], O
Laudate pueri Dominum, 2 S, B, 2 vn, bc, Pn Rés.F1679-80, V 18; C xi, GM V / y
Magnificat, 2 S, bc, Pn Rés.F1679-80, V 59; C xii, GM V / ii
O amor, O gaudium, elevation, haute-contre / T, B, c, Pn Rés.F1679-80, V 59; C xii, GM V / ii
O Domine quia refugiam, 3 B, bc, Pn Rés.F1679-80, V 59; C xii, GM V / ii
O Jesu amantissime, haute-contre, T, bc, Pn Rés.F1679-80, V 59; C xii, GM v / ii
O misterium ineffabile, elevation, S, B, c, Pn Rés.F1679-80, V 59; C xii, GM V / ii
Ornate aras, inc., Haute-contre,? 2 vn, bc, Pn Rés.F1679-80; GM [suppl.]
Quid retribuam tibi Domine, haute-contre, bc, Pn Rés.F1679-80, V 59; C xii, GM V / ii
Regina coeli laetare, 2 S, bc, Pn Rés.F1679-80; GM [suppl.], O
Resonant organa, motete for Ste Cécile, inc., 2 S, B,? 2 vn, bc, Pn Rés.F1679-80; GM [suppl.]
Respice in me, haute-contre, bc, Pn Rés.F1679-80; GM [suppl.], O
Salve regina, haute-contre, bc, Pn Rés.F1679-80; GM [suppl.], O
Salvum me fac Deus, B, 2 vn, 2 fl, b viol, bc, Pn Rés.F1679-80; GM [suppl.], O
Tantum ergo sacramentum, 2 S, B, c, Pn Rés.F1679-80; GM [suppl.], O
Usquequo, Domine, haute-contre, bc, Pn Rés.F1679-80; GM [suppl.], O
Veni sponsa Christi, motete for Ste Suzanne, S, haute-contre, B, 2 vn, bc, Pn VM1 1630, Rés.F1679-80; C xi, GM V / y
Venite exultemus Domine, 2 S, bc, Pn Rés.F1679-80, V 59; C xii, GM V / ii
Victoria: Christo resurgenti, motete for Easter Day, 2 S, bc, Pn Rés.F1679-80, V 59; C xii, GM V / ii
Other motetes, incl. 12 à grande choeur, cited by Titon du Tillet, lost

Vocal secular:

Airs in Recueil de airs serio te à boire (Paris, 1.697-1712): qu’on ne me dise, air serio, T, c (697); Doux liens de mi coeur, air serio, S, c (1701); Jean se en alla, epitaphe de un paresseux, air à boire, S, B, c (1706); Il faut aimer, La Pastorelle, air serio, S, B, c (1711); Dans la Isle de Cythère, Las solitas, air serio, S, B, c (1711); A l’ombre de un Ormeau, musette, air serio, 2 S, c (1711); Zephire, modere en ces lieux, brunete, air serio, S, c (1711); Faison lleva tiempo, vaudeville, air serio, 2 S, B, c (1712); Au templo del amour, Las pellerines, air serio, S, B, c (1712): C xi, GM [V / i]
intermedio in Myrtil te Melicerte (Paris, 1698), Doubtful
Trois vestales champetres te trois policultivo, trío, 3 S, in Recueil de trío de differens auteurs, F-Pc; C xi, GM [V / i]
La femme entre deux trapos, canon à 3, 3 S, in 1er Recueil de airs a boire en dúo te trío, Pc; C xi, GM [V / i]
A moy! Tout est perdu !, canon à 3, 3 S, in 1er Recueil de airs a boire en dúo te trío, Pc; C xi, GM [V / i]
Las agroteurs ave désespoir, canon à 5, CSM 282
Ariane abandonée, canto., Cited in Amsterdam catalogue, 1716, see Tessier (1926)
Cantos., Cited by Titon du Tillet, lost

Instrumental de cuarto:

MS sources: Scores copied by S. de Brossard, F-Pn Vm7 1,156
Set of 4 partbooks, LYM 129.949
Conciertos Royaux, HPD / (vn, fl, ob, viol, bn), in troisième livre de Pieces de clavecin ( Paris, 1722): 1e concierto (G); 2e concierto (D); 3e concierto (A); 4e concierto (e); C vii, GM IV / y
Nouveaux conciertos, unspecified instante, in Las Goûts-reúnen, huevo Nouveaux conciertos (Paris, 1724): 5e concierto (F); 6e concierto (B); 7e concierto (g); 8e concierto dans le goût theatralis (G); 9e concierto intitulé Ritratto dell’amore (E); 10e concierto (a); 11e concierto (c); 12e concierto à 2 violas huevo otros instrumens à la unisson (A); 13e concierto, à 2 instrumens à la unisson (G); 14e concierto (d); C viii, GM [IV / ii]
Le Parnasse, huevo El Apothéose de Corelli, grande sonade en trío, 2 vn, bc, in Las Goûts-reunido (Paris, 1724); C x, GM [IV / iv]
Concierto instrumental sueldos le titre de Apothéose composé à la mémoire Immortelle del incomparable Monsieur de Lully, 2 vn, 2 fl, other instante (unspecified), c (Paris, 1725); C x, GM [IV / iv]
Las nations: sonadas te suites de Simphonies en trío, 2 vn, bc (Paris, 1726): La Françoise [La pucelle]; El Espagnole [La Visionnaire]; El Impériale; La Piemontoise [El Astrée]; C ix, GM IV / iii
Pieces de violas avec la basse chifrée, b viol, bc (Paris, 1728): 1ere suite (e); 2eme suite (a); C x, GM [IV / iv], Le pupitre, le (Paris, 1974)
La pucelle (c), 2 vn, bc, F-Pn Vm7 1156, LYM 129.949; C ix, GM IV / iii
La Visionnaire (c), 2 vn, bc, Pn Vm7 1156, LYm129.949; C ix, GM IV / iii
El Astrée (g), 2 vn, bc, Pn Vm7 1156, LYm129.949; C ix, GM IV / iii
La Steinquerque (B), 2 vn, bc, Pn Vm7 1156, LYm129.949; C x, GM IV / iii
La superbe (A), 2 vn, bc, LYM 129.949; C x, GM [IV / iv]
La sultane (d), 2 vn, b viol, bc, LYM 129.949; C x, GM [IV / iv]

Instrumental para clave:

Pieces de clavecin … premier livre (Paris, 1713); C ii, GM II / i, G xxi
1e orden, g / G: Allemande El auguste; Premiere courante; Seconde courante; Sarabande La majestueuse; Gavotte; La Milordine, Gigue; Menuet (with double); Las silvains; Las abeilles; La Nanète; Las sentimens, sarabande; La Pastorelle; Las noneto: y Las blondas, ii Las morenas; La bourbonnoise, Gavotte; La Manon; El enchanteresse; La fleurie, huevo La tierno Nanette; Las plaisirs de St Germain en Laye
2e orden, d / D: Allemande La laborieuse; Premiere courante; Seconde courante; Sarabande La prude; El Antonine; Gavote; menuet; Canarias (with double); Passe-pied; Rigaudon; La Charoloise; La Diane; Fanfare pour la suite de la Diane; La Terpsícore; La Florentine; La Garnier; La Babet; Las idées heureuses; La Mimi; La diligente; La flateuse; La voluptueuse; Las Papillons
3e orden, c / C: La ténébreuse, allemande; Premiere courante; Seconde courante; La lúgubre, sarabande; Gavotte; menuet; Las Pèlerins; Las Laurentinos; El Espagnolète; Las regrets; Las Matelots provenzales; La favorite, Chaconne; La Lutine
4e orden, F: La Marché des gris-Vetus; Las Baccanali; La pateline; Le réveil-mañana
5e orden, A / a: La logiviére, allemande; [Premier] courante; Seconde courante; La dangereuse, sarabande; Gigue; La tierno Fanchon; La badine; La bandoline; La Flora; El Angélique; La Villers; Las vendangeuses; Las agrémens; Las ondas
El arte de toucher le clavecin (Paris, 1716, 2/1717 / R); C y, GM [I]: Allemande, d; Premier Prelude, C; Second Prelude, d; Troisième Prelude, g; Quatrième Prelude, f; Cinquième Prelude, A; Sixième Prelude, b; Septième Prelude, B; Octavo Prelude, y
Second livre de piezas de clavecin (Paris, 1716-17); C iii, GM II / ii, G xxii
6e orden, B: Las moissoneurs; Las langueur-tiernos; Le gazoüillement; La Bersani; Las baricades mistérieuses; Las Berg, rondeau; La Comme; Le Moucheron
7e orden, G / g: La Ménetou; Las pequeños Âges: La muse naissante, El enfantine, El adolescente, las delicias; La Basque; La Chazé; Las amusemens
8e orden, b: La Raphaële; Allemande El Ausoniéne; [Premiere] courante; Seconde courante; Sarabande El unique; Gavotte; Rondeau; Gigue; Passacaille; La MONETE
9e orden, A / a: Allemande à deux clavecines; La rafraîchissante; Les Charmes; La Princesse de Sens; El Olimpique; El insinuante; La séduisante; Le bavolet-flotante; Le petit-duelo, huevo Les trois veuves; Menuet
10e orden, D / d: La triomphante; La Mézangére; La Gabriele; La Nointéle; La fringante; El Amazone; Las bagatelles
11e orden, c / C: La castelane; El etincelante, huevo La Bontems; Las graces-naturel; La Zénobie; Las Fast de la grande te Ancienne Mxnxstrxndxsx [in 5 acts]
12e orden, E / e: Las JUMEL; La íntima, mouvement de courante; La galante; La coribante; La Vauvré; La fileuse; La boulonoise; El Atalante
Troisième livre de Pieces de clavecin (Paris, 1722); C iv, GM II / iii, G xxiii
13e orden, b: Las lis naissans; Las rozeaux; El engageante; Las folies Françoises, huevo Las dominos; El âme-en peine
14e orden, D / d: Le rossignol-en-amour; Double du rossignol; La linote-éfarouchée; Las fauvétes plaintives; Le rossignol-vainqueurs; La Julliet; Le Carillon de Cithére; Le petit-rían
15e orden, a / A: La regente, huevo La Minerve; Le dodo, huevo L’Amour au Berceau; El evaporée; Muséte de Choisis; Muséte de taberna; La douce te piquante; Las vergeles fleur; La Princesse de Chabeuil, huevo La muse de Monaco
16e orden, G / g: Las graces incomparables, huevo La Conti; El himenamour; Las vestales; El Aimable Thérése; Le drôle de corps; La distraite; La Létiville
17e orden, e: La superbe, huevo La Forqueray; Las pequeños moulins à viento; Las timbres; courante; Las pequeñas chrémiéres de Bagnolet
18e orden, f / F: Allemande La Verneuil; La Verneüilléte; Soeur Monique; Le turbulento; El atendrissante; Le tic-toc-choque, huevo Las Maillotins; Le Gaillard-boiteux
19E orden, d / D: Las Calotins te las Calotines, huevo La Piéce à tretous; Las Calotines; El ingénuë; El artista; Las culbutes Ixcxbxnxs; La muse-Palantine; El enjouée
quatrieme livre de Pieces de clavecin (Paris, 1730); C v, GM II / iv, G xxiv
20e orden, G / g: La Princesse Marie; La boufonne; Las Cherubini, huevo El Aimable Lazu; La Croûilli, huevo La Couperinéte; La fine Madelon; La douce Janneton; La Sezile; Las tambourins
21e orden, e: La reine diciembre coeurs; La bondissante; La Couperin; La harpée; La petite Pince-sanos risa
22e orden, D / d: Le Trofeo; Le point du jour, allemande; El anguille; Le croc-en-jambe; Menuets croisés; Las tours de pase-pase
23E orden, F: El audaz; Las tricoteuses; El arlequine; Las gondolas de Delos; Las sátiras, Chevre-pieds
24E orden, a / A: Las vieux Seigneur, sarabande grave; Las jeunes Seigneur; Las dardo-homicidas; Las guirlandes; Las brinborions; La divine-Babiche, huevo Les amours Badin; La belle Javotte, otro fois el infante; El amphibie, mouvement de Passacaille
25e orden, E / C / c: La Visionaire; La misterieuse; La Monflambert; La muse victorieuse; Las sombras errantes
26E orden, f: La convalescente; Gavote; Sophie; El Epineuse; La Pantomime
27e orden, b: El exquise, allemande; Las Pavots; Las chinois; Saillie
Sicilienne, G, F-Pthibault, A. Tessier s private collection,? Paris: C ii, GM II / y

Instrumental para órgano:

Pieces de órgano consistantes en deux mies: ‘à la usage ordinaire diciembre Paroissien’; ‘propre pour les conventos de religieux te religieuses’ (Paris, 1690); C vino, GM III

Obra literaria:

El arte de toucher le clavecin (Paris, 1716, 2/1717 / R); ed. M. Halford with Ing. trans. (New York, 1974), GM [I]
Règle pour l’acompañamiento (MS, F-Pn), C y, GM [I]

En castellano:  François Couperin (1668-1733) –  In english:  François Couperin (1668-1733) – Otros:  François Couperin (1668-1733)

La familia Couperin, con tres siglos de dinastía detrás, fue la familia musical francesa más grande. Activos en las afueras de París, especialmente en la Iglesia de San Gervais , formaron parte de la escena musical francesa desde el siglo XVI hasta mediados del siglo XIX. El órgano, y posteriormente el clave, fueron los instrumentos con los que hicieron fortuna. Pues bien, sí por ella misma ya fue una familia suficientemente grande literalmente hablando, dentro de la familia Couperin «el Grande» sólo fue uno, François Couperin. Su repertorio así lo demuestra pero la etiqueta pertinente pone en valor, también, la importancia de su arte más allá de agrandar cuantitativamente el catálogo de partituras de Francia. Esto es debido principalmente a la naturalidad ya la facilidad con que conectó sus sentimientos más íntimos con un instrumento, el clave. Los cuatro libros de clave que compuso, con más de 220 piezas, representan probablemente la mayor obra maestra de su extenso repertorio. De este, hoy recuperaremos una de sus Suites Les Nations de 1726, concretamente El Espagnole , en su versión para dos clavecines. Originariamente escrita para dos violines, violonchelo y continuo, esta versión para dos instrumentos de teclado, nos permite explorar desde otra perspectiva este extensa suite. Le acompañará la famosa  Las Baricades misterieuses de su segundo libro de clave. Un ejemplo expresivo del arte inmaculado con el clave de uno de los grandes maestros barrocos franceses!

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