Nicola Porpora – Magnificat

Nicola Antonio Giacinto Porpora (Napoli, 1686? — Napoli, 1766) 

Performed by: Cappella «S. Cecilia» della cattedrale di Lucca, orchestra del teatro del Giglio di Lucca, Gianfranco Cosmi
Picture by: Chiesa di Sant’Agostino alla Zecca (da «Chiese Negate» calendario di Meo 2013)

Magnificat per soli e coro femminile a 4 voci con violini

1_Magnificat
2_Et exultavit
3_Qui respexit
4_Quia fecit
5_Et misericordia
6_Fecit potentiam
7_Esurientes
8_Sicut locutus
9_Gloria Patri
10_Sicut erat

Biografia

OBRA:

Vocal secular:

Operas:
drammi per musica and music lost unless otherwise stated
L’Agrippina (3, N. Giuvo), Naples, Palazzo Reale, 4 Nov 1708, I-Nc; with Armilla-Planco (int)
Flavio Anicio Olibrio [1st version] (3, A. Zeno and P. Pariati), NB, Feb 1711, Acts 1 and 2, GB-Lbl*; with Perletta-Liso (int)
Basilio re d’oriente (3, B. de Dominici, after G.B.Y. Neri), Naples, Fiorentini, 24 June 1713; with Dorilla-Nesso (int)
Berenice regina d’Egitto, o vero Le gare d’amore e di politica (3, A. Salvi), RC, carn. 1718; with Sibillina-Menenio (int) [Act 1 and pt of Act 2 by D. Scarlatti]
Faramondo (3, Zeno), NB, 19 Nov 1719; with Merilla-Gilbo (int)
Eumene (3, Zeno), RD, carn. 1721, arias, F-Pc, I-Rc; with Dorilla-Nesso (int)
Flavio Anicio Olibrio [2nd version] (3, Zeno and Pariati), RD, Feb 1722, arias, B-Bc, F-Pc
Adelaide (3, Salvi), RD, carn. 1723, D-SWl, arias, D-Hs, MÜs, F-Pc
Amare per regnare (3), NB, 12 Dec 1723, arias, GB-Lbl, I-Gl; with Besso-Fiordilina (int)
Semiramide regina dell’Assiria (3, after I. Zanelli: Nino), NB, 19 May 1724, arias, B-Bc, GB-Lcm, I-Nc
Damiro e Pitia, o vero Le gare dell’amicitia e dell’amore (3, D. Lalli), Munich, 12 Oct 1724
Didone abbandonata (tragedia per musica, 3, P. Metastasio), Reggio nell’Emilia, Pubblico, Ascension 1725, Acts 2 and 3, GB-Lbl*
Siface [1st version] (3, Metastasio, after D. David: La forza della virtù), VGG, 26 Dec 1725, B-Br, GB-CDu, Acts 1 and 3, Lbl*
La verità nell’inganno (3, F. Silvani), Milan, Regio Ducal, carn. 1726, arias, D-SWl, F-Pn, GB-Lbl
Meride e Selinunte (3, Zeno), VGG, carn. 1727, B-Bc, Br, GB-Lam, Lbl (copy US-Wc)
Siroe re di Persia (3, Metastasio), RD, 11 Feb 1727, arias, D-MEIr, F-Pn, GB-Lcm, I-Rsc
Arianna e Teseo (3, ? D. Lalli, after Pariati: Teseo in Creta), VGG, aut. 1727, Act 2, GB-Lbl* (copy US-Wc), arias, GB-Cfm
Ezio (3, Metastasio), VGG, 20 Nov 1728, B-Bc, GB-Lam
Semiramide riconosciuta [1st version] (3, Metastasio, rev. Lalli), VGG, carn. 1729, Lam, Acts 1 and 2, I-MC, arias, GB-Lcm
Mitridate (3, F. Vanstryp), RC, 7 Jan 1730, B-Bc, Br
Siface [2nd version] (3, Metastasio, rev. ?Vanstryp), RC, 7 Feb 1730, Act 3, B-Bc*; 1 aria in Catone (pasticcio), 1732 (facs. in IOB, lxxi, 1983)
Tamerlano (3, A. Piovene), Turin, Regio, carn. 1730, arias, F-Pn, I-Rsc, US-BE
Poro (3, after Metastasio: Alessandro nell’Indie), Turin, Regio, carn. 1731, arias, D-Bsb, Dlb, I-PAc; arias in Catone (pasticcio), 1732 (facs. in IOB, lxxi, 1983)
Annibale (3, Vanstryp), Venice, S Angelo, aut. 1731, B-Bc (copy US-Wc)
Germanico in Germania (2, N. Coluzzi), RC, Feb 1732, arias, GB-Lbl, Lcm, Ob, I-Rsc; arias in Catone (pasticcio), 1732 (facs. in IOB, lxxi, 1983)
Issipile (3, Metastasio), Rome, Pioli, Palazzo Rucellai, carn. 1733, Act 1, MC, arias, GB-Lcm, Ob; orig intended for RD, spr. 1732
Arianna in Naxo (melodramma, 3, P.A. Rolli), LLF, 29 Dec 1733, A-Wgm (copy US-Wc), A-Wn, GB-Lbl, Favourite Songs (London, 1734)
Enea nel Lazio (melodramma, 3, Rolli), LLF, 11 May 1734, Lbl
Polifemo (melodramma, 3, Rolli), LKH, 1 Feb 1735, Lbl, Act 3, Lbl*, Favourite Songs (London, 1735)
Ifigenia in Aulide (melodramma, 3, Rolli, after Zeno), LKH, 3 May 1735, Lbl, Act 2, Lbl*
Mitridate (3, C. Cibber), LKH, 24 Jan 1736, B-Bc, Acts 2 and 3, GB-Lbl*
Lucio Papirio (3, Salvi, rev. ?Lalli), Venice, S Cassiano, carn. 1737, arias, A-Wn
Rosbale (3, ?Lalli, after C.N. Stampa: Eurene), VGG, aut. 1737, Act 3, GB-Lbl*
Carlo il calvo (3, after F. Silvani: Carlo re d’Alemagna), RD, spr. 1738, I-Nc, arias, GB-Lcm
La Semiramide riconosciuta [2nd version] (3, Metastasio, rev. D. La Vista), Naples, S Carlo, 20 Jan 1739, D-Dlb (facs. in IOB, xxx, 1977), I-Fc, Nc
Il barone di Zampano (melodramma, P. Trinchera), Naples, Nuovo, spr. 1739
L’amico fedele (commedia, G. di Pietro), Naples, Fiorentini, aut. 1739
Il trionfo di Camilla [1st version] (after S. Stampiglia), Naples, S Carlo, 20 Jan 1740, Dlb, US-Wc
Tiridate (3, after Metastasio: Zenobia), Naples, S Carlo, 19 Dec 1740
Il trionfo del valore (commedia per musica, A. Palomba), Naples, Nuovo, wint. 1741, collab. G. Signorile, A Palella and G. Paolo
Statira (3, Silvani), VGG, carn. 1742, D-Bsb, Dlb
Temistocle (3, Metastasio), LKH, 22 Feb 1743, A-Wn, Favourite Songs (London, 1743)
Filandro (dramma comico-pastorale, 3, V. Cassani: L’incostanza schernita), Dresden, Hof, 18 July 1747, D-Bsb, Dlb
Il trionfo di Camilla [2nd version] (Stampiglia, rev. G. Lorenzi), Naples, S Carlo, 30 May 1760, Acts 1 and 3, GB-Lbl*

Doubtful or spurious operas:
Arianna e Teseo, Vienna, Neue Favorita, 1 Oct 1714, according to Deutsch: ‘Das Repertoire der Hofischen Oper’, Österreichische Musikzeitschrift, xxvii (1969), 387
Temistocle, Vienna, Neue Favorita, 1 Oct 1718, according to Deutsch, ibid.
Radamisto, Genoa, 1723, pasticcio with 1 aria by Porpora
Elisa (N. Haym) LKH, 15 Jan 1726, pasticcio based on arias by Porpora, ?arr. A. Ariosti; Favourite Songs (London, 1726)
Leudaclo e Tosi, Venice, 1733, elegy in honour of a perf. of Porpora’s orat Sanctus Petrus Urseolus, by the pupils of the Ospedale degli Incurabili
Ferdinando (Fernando) (P.A. Rolli, after G. Gigli), LIF, 5 Feb 1734, ‘composta da Carlo Arrigoni’
Partenope (after S. Stampiglia), Naples, 1742, according to Clément and Larousse, Dictionnaire lyrique
Rosmene, 1742, GB-Lbl*, Porpora’s score of Imeneo in Atene, ? intended for revival in London, 1742
Tolomeo re d’Egito, I-Nc, Porpora’s copy of Handel’s Tolomeo

Pasticcios:
Artaserse (F. Silvani), RD, carn. 1721, arias, F-Pc, arr. Porpora, based on Lotti’s Il tradimento traditor di se stesso
Belmira (?P.A. Rolli, after G. Giusti), LLF, 29 March 1734, arr. Porpora, based on A. Galeazzi’s op, 1729
Artaserse (?Rolli, after P. Metastasio), LKH, 29 Oct 1734, Favourite Songs (London, 1734), arr. Porpora or R. Broschi, with arias by J.A. Hasse, Porpora and Broschi
Orfeo (Rolli), LH, March, 1736, Favourite Songs (London, 1736), arr. Porpora, with arias by Porpora, L. Vinci, Araia and Hasse

Serenatas:
Serenata à 3 [Deianira, Iole, Ercole], Naples, 1712, A-Wn, perhaps the unnamed ‘Composizione drammatica’ perf. at the palace of Prince Hesse-Darmstadt, Nov 1711
Cantata à 4 [Fortuna, Genio, Valore, Gloria] (2 pts), Rome, ? Palazzo Odescalchi, 2 Nov 1712, Wn, pt 2, GB-Lbl*
Nuova aurea e culta età dell’onore, Lucca, Palazzo del Marchese di Fontes, 1713
Angelica (componimento drammatico, 2, Metastasio), Naples, Palazzo de Principe di Torella, 4 Sept 1720, A-Wn, GB-Lbl*
Gli orti esperidi (componimento drammatico, 2, Metastasio), Naples, Palazzo Reale, 28 Aug 1721, Lbl*
Imeneo [1st version] (componimento drammatico, 2, S. Stampiglia), Naples, Palazzo del Principe di Montemiletto, 1723, D-Dlb
Imeneo in Atene [2nd version] (componimento drammatico, 3, Stampiglia, rev. ?D. Lalli), Venice, S Samuele, 20 Sept 1726, GB-Lbl (as La Rosmene), ?P-La
Giasone (componimento per musica, 2, L.M. Stampiglia, after S. Stampiglia: Imeneo), Naples, Palazzo Reale, 23 April 1732, I-MC
Componimento drammatico: da cantarsi nel giorno del glorioso nome … della imperatrice regnante Elisabetta Cristina (G. Lemer), Rome, ?Palazzo del Cardinale Cienfuego, 19 Nov 1732
Festa d’Imeneo (3, P.A. Rolli), LKH, 4 May 1736, GB-Lbl*
Intermezzo, Madrid, 1739, for the wedding of Infante D. Filippo
Le nozze d’Ercole ed Hebe, Naples, Palazzo Pignatelli, 1739

Secular cantatas:
for soprano and basso continuo unless otherwise stated
All’ altezza reale di Frederico Prencipe reale di Vallia (12 cants.; Metastasio), op.1 (London, 1735): Dal pover mio core, A, bc;
D’amore il primo dardo; Destatevi, destatevi, O pastori, A, bc (with obbl tr);
Già la notte s’avvicina (La pesca);
Nel mio sonno almen (Il sogno);
Oh Dio che non è vero, A, bc;
Oh se fosse il mio core, A, bc;
Or che una nube ingrata, A, bc;
Queste che miri, O Nice;
Scrivo in te l’amato nome (Il nome);
Tirsi chiamare a nome;
Veggo la selva e il monte, A, bc

Abbandonata e sola, A, bc, D-MÜs, GB-Lcm, I-Nc;
Ad onta del timore, D-Mbs, GB-Lbl, I-Nc;
Ah nò che non si può, S/A, bc, c1712, Mc, Nc;
Alla caccia dell’alme, S/A, bc, D-Mbs, I-Bc, Nc, US-Wc;
Amanti, sospirate, I-Bc;
Amanti voi scherzate, A, bc, Nc;
Amor crudele, GB-Lbl, I-Bc, Nc (2);
Amor ti stà nè sguardi, B-Bc, I-Vc;
Appena affissi, D-Mbs, US-Wc;
Care luci che splendete, D-Mbs, I-PAc, US-Wc;
Celinda, O Dio, D-MÜs, GB-Lcm, I-Bc, Nc;
Cieco Dio, D-MÜs, GB-Lcm, I-Nc;
Cinto il cor, D-MÜs, GB-Lcm;
Clori vezzosa, D-MÜs, GB-Lcm, I-Ac;
Col tuo dolce mormorio, B-Bc, GB-Lbl, I-Bsp, Nc;
Corea amante, D-Dlb, GB-Cfm, Lbl, I-Nc;
Coronate il ben crin ‘Il ritorno felice’, Bc;
Così, così mi sprezzi, B-Bc, I-Vc;
Credi mi pur che t’amo, S, vn, vc, bc, GB-Lbl*;
Dalla regia di Flora, Lbl, I-Nc;
Dal primo foco, D-LEm;
D’amor la bella pace, S/A, bc, 1729, B-Bc, D-LEm, GB-Lbl (2), I-Bc (2);
Datti pace se puoi, S/A, bc, GB-Lbl, I-Bc, Nc
Da tue veloci candide colombe (Il Vulcano), S, str, c1734, Nc*;
Da tuoi lumi il Dio, Bc;
Deh lasciatemi in pace, A, bc, GB-Lbl;
Deh! non bagnare oh cara, I-Vc;
Dell’idolo mio, Vc;
Dice che m’ami, GB-Lbl;
Di vaga fera, D-MÜs, GB-Lcm;
Dolce canta l’augellino, D-MÜs, GB-Lcm, I-MTventuri;
Dori, o come soave, A, 2 vn, bc, 1712, A-Wn*;
D’un platano frondoso, I-Vc;
Ecco ch’a voi ritorno, GB-Lbl;
Ecco che il primo albore, A, 2 vn, bc, Lbl;
Ecco dove m’hai giunto, I-Bsp;
Ecco, ecco l’infausto lido, S/A, D-LEm, GB-Lbl (3), I-Ac, Bc (3), Nc (2);
Era il tempo, Nc;
Farfalletta semplicetta, GB-Lbl;
Fille se fiera, A, bc, D-MÜs;
Freme il mar, A, 2 vn, bc, 1720, GB-Lbl*, I-Nc, Rsc;
Idolatrata e cinta, S/A, bc, GB-Lbl (2), I-Bc;
Idolo del mio core, Nc;
Il narciso amò la rosa, D-MÜs;
In amor sarò costante, A, bc, I-Nc;
Innocente il mio core, GB-Lbl;
Irene, amata Irene, I-Vc;
L’ardente fiamma, A, bc, Gl;
Lascia, lascia Nice gentile, A, bc, Bc;
Lasciovi al fin grandezze (Il ritiro), S, str, A-Wn*, I-Nc
La viola che languiva, S/A, bc, D-LEm, GB-Lbl (2), I-Bc, Vnm;
Lidio, chi d’amor sente il foco, GL, Rsc;
Lontananza non risana, D-MÜs, I-Mc;
L’ora col troppo è chiaro (Calcante ed Achille), S, B, bc, Nc;
Lucciolette, andate à Fille, GB-Lbl, I-Bc;
Lungi dal suo Fileno, GB-Lbl;
Mentre canta l’aucelletto, Lbl;
Mentre doglioso un giorno, A, bc, Lbl;
Nei languidi respiri, Lbl;
Nel pensar che preda, D-Mbs;
Niegami pur conforto, I-Bc;
Ninfe e pastor che al bel Sebeto, S/A, bc, B-Bc, GB-Lbl (2), I-Bc, Nc (3);
Ninfe, pastori, udite, GB-Lbl;
Non ho vita, D-MÜs, GB-Lcm, I-Bc, MTventuri, Nc;
Non sò come resisto, S/A, bc, D-Bsb, GB-Lbl (3), I-Bc, Nc;
Non vuò mirarvi più, Vc;
Occhi belli, D-MÜs, GB-Lbl;
O come à tempo qui t’incontro, Lbl (2);
Ombre amiche, D-MÜs, GB-Lcm, I-Nc;
O non amo altro, D-MÜs, GB-Lcm;
O pace del mio cor, Lbl;
O pastori, io v’avviso, B-Bc (2), GB-Lbl (3), I-Bc, Rsc;
Or che d’orrido verno, S, fl, str, MTventuri, Nc;
Or che Febo già corre, Vc;
Or sì m’avveggio, S, vc, bc, GB-Lcm;
Ove mormora il rio, D-MÜs, GB-Lcm;
O violetta bella (La violetta), I-Bc
Pastorelle che piangete, S/A, bc, B-Bc, D-Mbs, GB-Lbl, I-Bc, US-Wc;
Perchè mai bell’idol mio, I-Vc;
Perchè mai sì bruna, D-Dlb, I-Bc, Nc;
Perdono amata Nice (La gelosia) [1st version] (Metastasio), D-Mbs, I-Fc;
Perdono amata Nice (La gelosia) [2nd version], S, str, 1746, Nc*;
Per temprare l’ardenti faville, D-MÜs, GB-Lcm;
Piange la tortorella, I-Vc;
Più non voglio amare, Vc;
Povero fior di Clizia, S/A, bc, A-Wgm, B-Bc (2), D-Mbs, GB-Lbl, US-Wc;
Quando lieta il guardo, A, bc, I-Bc;
Quando penso, D-MÜs, GB-Lcm;
Quanto s’inganna, A, bc, I-Nc;
Questa dunque è la selva, S/A, bc, B-Bc, GB-Lbl (3), I-Bc, Nc (2);
Questo è il platano frondoso, A-Wn, B-Bc, GB-Lbl (3), I-Bc, Nc (2), US-Wc;
Rendimi o bella Irene, GB-Lbl;
Se la rosa fresca, Lbl (2), I-Mc, Nc (2);
Se lungi a te mio bene, Vc;
Selve un tempo à me care, B-Bc;
Sente pur che maggio è nato, D-MÜs, GB-Lcm, I-Bc;
Sento una tortorella, D-MÜs, GB-Lbl
Se sol nel cor d’amanti, c1712, I-Nc;
Se vuoi saper perchè, GB-Cfm, Lbl, I-Nc;
Siedi Amarilli mia, S/A, bc, D-MÜs, GB-Lbl (2), I-Bc (2), Mc, Nc (3);
Silvia mio ben (Partenza), Bc;
Son tante e tante sono, D-MÜs, GB-Lbl;
Sopra un colle fiorito, D-LEm;
Sorge la bella aurora, I-Mc, Nc;
Sotto l’ombra d’un faggio (La lontananza), GB-Lbl;
Sovra il soglio d’un ciglio nero (Amor guerriero), I-Bc;
Speranze del mio cor, S/A, bc, GB-Lbl (3), I-Bc (2), PAc;
Sù la cima d’un monte (?Metastasio), GB-Lbl;
Sù la fiorita sponda (?Metastasio), A, bc, Lbl;
Tace il vento, D-Mbs;
T’intendo si mio cor (Amor timido) (?Metastasio), B-Bc, GB-Lbl (2), I-Bc, Nc (2), US-Cu;
Ti piacque non è vero, A, bc, D-MÜs;
Tocca à voi, D-MÜs, GB-Lcm, I-MTventuri;
Torna caro mio ben, Vc;
Torno à voi, GB-Cfm, Lbl;
Tra le più folte piante, Lbl;
Tra speranze e timore, Lbl;
Tu ten vai, S/A, bc, B-Bc, D-LEm, GB-Lbl, I-Bc, Mc, Nc (2);
Vedi mio core amante, A, bc, B-Bc, I-Nc;
Venticel che trà le frondi, S, 2 vn, bc, GB-Lbl;
Vidi la navicella, A, bc, Lbl;
Vorrei che tu sapessi (La lontananza), I-Bc

Vocal religiosa:

Masses and mass sections:
5 masses: in A, 5vv, str, I-Nc (2; 1 attrib. Vinci);
in a, 4vv, bc, 1730, D-MÜs;
in C, 4vv, str, 1747, GB-Lbl, I-Mc, Nc;
in D, 4vv, orch (Paris, before 1800);
in G, 4vv, orch, Nc
Ky in d, Gl in F, 4vv, orch, D-Bsb, I-Nc
San, f, SSAA, str, D-Bsb

Sacred operas, cantatas and oratorios:
Il trionfo della divina giustizia ne’tormenti e morte di Giesù Cristo signor nostro (drama sacro), Naples, S Luigi di Palazzo, 4 April 1716, pt 1, D-Hs, pt 2, F-Pc*
Il martirio di S Eugenia (tragedia sacra, L.C. Fularco), 1721, Naples, Conservatorio di S Onofrio, carn. 1722, Acts 1 and 3, GB-Lbl*
Ermengildo (tragedie cristiane, Duke Annibale Marchese), Naples, 1729, choruses (Naples, 1729)
Sacram sumentes lyram: introduzione al salmo Miserere, 1731, Lbl*
Nos qui salvasti: introductio ad psalmum Miserere, c1731–3, I-Nc*
Il martirio di S Giovanni Nepomuceno (anzione sacra, Marchese di S Christina) Brno, Lent 1732 [revival of an orat probably composed c1730, but has been equated with unspecified music perf. in honour of the saint, Naples, 1 June 1711]
Cantata: da recitarsi nel Palazzo Apostolico la notte del SS Natale, Rome, Palazzo Apostolico, 25 Dec 1732, Rc
Sanctus Petrus Urseolus (orat), Venice, Ospedale degli Incurabili, 1733
David e Bersabea (orat, P.A. Rolli), LIF, 12 March 1734, A-Wn, GB-Cfm (excerpts)
Il Gedeone (azione sacra, ?A. Perrucci), Vienna, Hofkapelle, 28 March 1737, A-Wn, pt 2, I-Nc*
Resplendet novo sole nox: motetto pastorale, 1739, GB-Lbl*
Il verbo in carne: oratorio per la nascita di Gesù Cristo, ?Rome, 25 Dec 1748, D-MÜs, GB-Lbl* (facs. in IO, xx, 1986), Lcm
Israel ab Aegyptiis liberatus (actio sacra), Venice, Ospedale degli Incurabili, 1759, Lbl (contrafactum arias)
Trattenimento sagro drammatico [Onnipotenza, Religione, Partenope] (A. di Gennaro, Duca di Belforte), Naples, Sedile di Portanova, 4 May 1768, Lbl*

Choral psalms and motets:
for female soloists, choir, strings and basso continuo unless otherwise stated
Ad astra in cantu, 4vv, orch, c1760, GB-Lbl*;
Ad coenum beatam, 4vv, str, ?1729, A-Wn*;
Beatus vir (i), 1726, GB-Lbl*;
Beatus vir (ii), 5vv, str, A-Wn*;
Beatus vir (iii), 1744, F-Pn*;
Confitebor, 1745, rev. c1760 for SATB, GB-Lbl*;
Credidi propter, 1745, rev. c1760 for SATB, Lbl*, ed. D.E. Hyde (London 1970);
Cum invocarem, 1726, Lbl*;
De profundis, 1744, Lbl*;
Dixit Dominus, B  (i), 4vv, str, 1720, A-Wn*, D-MÜs, GB-Lcm, I-Nc;
Dixit Dominus, F (ii), 4vv, orch, Nc;
Dixit Dominus, D (iii), 8vv, orch, F-Pn, I-Nc;
Domine, probasti me, 1745, GB-Lbl*;
In convertendo, 1745, Lbl*;
In exitu Israel, SAA, SAA, str, 1744/5, Lbl*, I-Nc;
In te, Domine, speravi (i), SSATB, str, 1742, GB-Lbl*, I-Nc;
In te, Domine, speravi (ii), 1744/5, GB-Lbl*;
Inter choros, 4vv, orch, I-Nc;
Laetatus sum (i), 5vv, 4vv, str, 1742, GB-Lbl*;
Laetatus sum (ii), 1744, Lbl*
Lauda Jerusalem (i), SSAB, str, 1742, Lbl*;
Lauda Jerusalem (ii), 1744, Lbl*;
Lauda Jerusalem (iii), 1745, Lbl*;
Laudate pueri (i), 4vv, str, 1742, Lbl*;
Laudate pueri (ii), April 1745, Lbl*;
Laudate pueri (iii), 1745, Lbl*;
Laudate pueri (iv), 1746, rev. c1760 for SATB, Lbl*;
Magnificat, a, D-Bsb, US-NYp, ed. R. Hunter (New York, 1967);
Magnificat, B , 4vv, orch, I-Nc (2; one dated 1741);
Magnificat, g, S, C, SSATB, SSAB, str, 1742, GB-Lbl*;
Miserere, e, 4vv, orch, D-Bsb, Dl;
Miserere, g, 4vv, orch, Bsb, Dl;
Nisi Dominus, 1744, GB-Lbl*;
Nunc dimittis, 1744/5, Lbl*;
Qui habitat, 1744/5, Lbl*, I-Nc, ed. H. Cannistraci and R. Hunter (Melville, NY, 1967);
Salve regina, SATB, str, 1725, Nc;
Siste gradus, ingrata, 4vv, orch, GB-Lbl;
Te Deum, C, SATB, orch, 1756, Lbl*, I-Nc;
Te Deum, D, SATB, orch, 1749, Nc, PAc;
Turba in motu procedit, SSATB, orch, GB-Lbl

Other liturgical:
Solo motets:
Avis canora in fronde, A, str, A-Wn;
Clari splendete O coeli, S, str, 1744, GB-Lbl*;
Cogitando meas culpas, S, str, I-Ac;
In coelo stelle clare, S, str, 1744, GB-Lbl*;
Nocte die suspirando, S, bc, 1712, US-NYp*;
Placida surge, aurora, A, str, 1744, GB-Lbl*;
Qualis avis, A, str, 1745, Lbl*;
Stelle lucide, S, 2 vn, bc, I-Ac;
Vigilate oculi mei, S, bc, 1712, D-MÜs*;
Texts to an addl 44 motets, I-Vmc

Marian antiphons:
Alma redemptoris mater, A, str, 1731, A-Wgm*, I-Vmc;
Ave regina, S, str, 1733, US-Wc (microfilm);
Regina coeli, F (i), S, str, 1742, GB-Lbl*;
Regina coeli, C (ii), A, str, 1742, Lbl*;
Regina coeli, C (iii), A, str, 1742, Lbl*;
Salve regina, e (i), S, str, 1728, Lbl*;
Salve regina, F (ii), A, str, 1730, A-Wgm, Wn*;
Salve regina, F (iii), A, str, 1744, GB-Lbl*;
Salve regina, B  (iv), S, str, 1744, Lbl*;
Salve regina, G (v), S, str, 1745, Lbl*;
Salve regina, d (vi), A, str, Lbl;
Salve regina, G (vii), S, str, Lbl;
Salve regina, D (viii), A, str, I-Mc, Nc

Lamentations:
6 for the Ospedaletto, Venice, 5 for S, bc, 1 for A, bc, 1745/6, GB-Lbl (with annotations by Porpora);
4 for Holy Wednesday and Thursday, 3 for S, str, 1 for A, str, c1760, Lbl;
3 others, S, bc, 1732–40, I-Nf*, Nf
3 notturni dei defonti, S, A, 2 vn, 2 hn, bc, 1743, rev. ?1760, Nc
6 duetti latini per la Passione di Gesù Cristo, 1754, A-Wn, D-Dlb, GB-Lcm, Lbl (2), I-Nc, ed. G. Nava (Leipzig, before 1885)

Instrumental:

[6] Sinfonie da camera, a 3, op.2 (London, 1736), ed. G.C. Ballola (Venice, 1982)
6 Sonatas, 2 vn, 2 vc, bc (hpd) (London, 1745), collab. G.B. Costanza
[12] Sonate, vn, b (Vienna, 1754/R)
Ouverture roiale, orch, 1763, I-Nc, ed. A. Lualdi (Milan, 1940), ed. P. Spada (Rome, 1989)
Conc., G, vc, str, GB-Lbl (pts)
Conc., fl, str, D-KA
Sonata, F, vc, bc, GB-Lbl
2 fugues, hpd, I-Nc

Pedagogia:

Solfeggi, A-Wm, I-Mc, Nc, ed. M. Harris, Porpora’s Elements of Singing (London, 1858), ed. G. Nava, Solfeggi fugato ad una e a due voci (Leipzig, before 1885), ed. P.M. Bononi, 25 vocalizi ad una voce e a due voci fugate (Milan, 1957)

William Byrd (1540/1543?-1623), Mass for Five Voices (complete). The Tallis Scholars

https://youtu.be/4ZSB0WTyIrg

La producción musical de Byrd es de unas 470 composiciones que ampliamente justifican su reputación de «gran maestro de la música del Renacimento europeo». Quizá, su mayor logro como compositor fue su habilidad para transformar muchas de las formas principales de su época y estampar en ellas su sello personal. BIOGRAFIA OBRA:

Vocal religiosa:

Printed latin music:
Cantiones, quae ab argumento sacrae vocantur, 5–8vv (London, 1575), with Tallis [C], F i, TCM ix, B i
Liber primus sacrarum cantionum [Cantiones sacrae], 5vv (London, 1589) (CS i], D ii, B ii
Liber secundus sacrarum cantionum [Cantiones sacrae], 5–6vv (London, 1591) [CS ii], D iii, B iii
Mass, 4vv, c1592–3, F i, 30, TCM ix, 17, B iv, 24
Mass, 3vv, c1593–4, F i, 1, TCM ix, 3, B iv, 1
Mass, 5vv, c1595, F i, 68, TCM ix, 36, B iv, 36
Gradualia ac cantiones sacrae, 3–5vv (London, 1605) [G i./part no.] F iv–v, TCM vii, B v–via, b
Gradualia seu cantionum sacrarum, liber secundus, 4–6vv (London, 1607) [G ii], F vi–vii, TCM vii, B viia, b

Alphabetical list of latin works:
Ab ortu solis, 4vv, G ii 13; F vi, 69, TCM vii, 239, B viia, 64
Ad Dominum cum tribularer, 8vv, GB-Lbl; F ix, 54, TCM ix, 164, B viii, 50; text missing
Adoramus te, Christe, 1v, 4 viols, G i/I 26; F iv, 152, TCM vii, 85, B via, 1
Adorna thalamum tuum, 3vv, G i/III 11; F v, 207, TCM vii, 205, B vib, 136
Ad punctum in modico, 5vv, CH, Ob; F xvi, 122; only two parts extant
Afflicti pro peccatis nostris (c.f. chant), 6vv, CS ii 27–8; D iii, 193, B iii, 212
Alleluia, Ascendit Deus [= All ye people, clap your hands], 5vv, G ii 26; F vii, 10, TCM vii, 286, B viib, 11
Alleluia, Ave Maria … in mulieribus. Alleluia, Virga Jesse, 5vv, G i/I 20; F iv, 101, TCM vii, 58, B v, 117
Alleluia, Cognoverunt. Alleluia, Caro mea, 4vv, G ii 16; F vi, 87, TCM vii, 247, B viia, 75
Alleluia, Confitemini Domino, 3vv, Lbl Add. 18936–9, R.M. Baldwin, Och Mus.45; F viii, 23, TCM ix, 181, B viii, 1
Alleluia, Emitte spiritum tuum, 5vv, G ii 32; F vii, 37, TCM vii, 302, B viib, 42
Alleluia, [Vespere autem sabbati] quae lucescit, 3vv, G i/III 6; F v, 185, TCM vii, 196, B vib, 117
Alma Redemptoris mater, 4vv, G i/II 13; F v, 93, TCM vii, 155, B vib, 35
Angelus Domini descendit de coelo, 3vv, G i/III 8; F v, 192, TCM vii, 199, B vib, 123
Apparebit in finem, 5vv, CS ii 12; D iii, 83, B iii, 89
Ascendit Deus, 5vv, G ii 28; F vii, 17, TCM vii, 290, B viib, 19
Aspice, Domine, de sede sancta tua (c.f. chant), 5vv, CS i 18–19; D ii, 139, B ii, 156
Aspice, Domine, quia facta est desolata civitas, 6vv, C 10; F i, 149, TCM ix 86, B i, 39
Assumpta est Maria … Dominum. Alleluia, 5vv, G i/I 24; F iv, 144, TCM vii, 81, B v, 166
Attollite portas [= Let us arise; Lift up your heads], 6vv, C 11; F i, 159, TCM ix, 92, B i, 52
Audivi vocem, 5vv CH, Lbl, Ob, Och; F viii, 48, TCM ix, 182
Ave Maria … fructus ventris tui, 5vv, G i/I 14; F iv, 75, TCM vii, 40, B v, 83
Ave maris stella, 3vv, G i/III 4; F v, 162, TCM vii, 186, B vib, 97
Ave regina, 4vv, G i/II 14; F v, 103, TCM vii, 159, B vib, 44
*Ave regina caelorum, attrib. Byrd in Lbl Add.31992 (lutebook); attrib. Taverner in Ob Tenbury 1486 and Willmott MS, Spetchley Park, Braikenridge; B viii, 156
Ave verum corpus [= O Lord, God of Israel], 4vv, G i/II 5; F v, 27, TCM vii, 127, B via, 82
Beata es, virgo Maria, 5vv, G, i/I 10; F iv, 53, TCM vii, 30, B v, 60
Beata virgo, 4vv, G ii 9; F vi, 25, TCM vii, 228, B viia, 38
Beata, viscera, 5vv, G i/I 11; F iv, 57, TCM vii, 32, B v, 65
Beati mundo corde, 5vv, G i/I 32; F iv, 199, TCM vii, 112, B via, 53
Benedicta et venerabilis, 5vv, G i/I 7; F iv, 43, TCM vii, 25, B v, 50
* Benigne fac, Domine, 5vv, Ob, Och; F viii, 56, TCM ix, 186
Cantate Domino, 6vv, CS ii 29; D iii, 203, B iii, 223
[Christe, qui lux es … praedicans] Precamur (c.f. chant), 5vv, Och; F viii, 63 TCM ix, 279, B viii, 14
Christus resurgens (c.f. chant), 4vv, G i/II 10; F v, 64, TCM vii, 143, B vib, 9
Cibavit eos, 4vv, G i/II 1; Fv, 1, TCM vii, 116, B via, 61, B viia, 137
Circumdederunt me dolores mortis, 5vv, CS ii 15; D iii, 102, B iii, 111
* Circumspice, Hierusalem, 6vv, Lcm, Ob; F ix, 1, TCM ix, 190
Civitas sancti tui [= Be not wroth very sore; Bow thine ear]: see Ne irascaris
Confirma hoc, Deus, 5vv, G ii 34; F vii, 44, TCM vii, 306, B viib, 49
Constitues eos, 6vv, G ii 39; F vii, 82, TCM vii, 327, B viib, 91
Cunctis diebus, 6vv, CS ii 30; D iii, 211, B iii, 232
Da mihi auxilium, 6vv, C 23; F i, 206, TCM ix, 115, B i, 113
Defecit in dolore, 5vv, CS i 1–2; D ii, 1, B ii, 1
* De lamentatione Hieremiae, 5vv, Lbl, Och, Ob; F viii, 1, TCM ix, 153, B viii, 20
Deo gratias, 4vv G i/II 20; F v, 139, TCM vii, 176, B vib, 82
Descendit de coelis (c.f. chant), 6vv, CS ii 21–2; D iii, 150, B iii, 163
* Deus, in adiutorium meum intende, 6vv, Ob, Och; F ix, 13, TCM ix, 196
Deus, venerunt gentes, 5vv, CS i 11–14; D ii, 80, B ii, 89
Dies sanctificatus, 4vv, G ii 3; F vi, 16, TCM vii, 216, B viia, 14
Diffusa est gratia, 5vv, G i/I 22; F iv, 116, TCM vii, 67, B v, 136
Diliges Dominum, 8vv, C 25; F i, 232, TCM ix, 149, B i, 151
* Domine, ante te omne desiderium, 6vv, Och; F ix, 38, TCM ix, 208
* Domine, exaudi orationem meam et clamor meus, 5vv, Ob Mus.Sch.E.526, Ob Tenbury 389; Ob 389 in F xvi, 127; only 3 parts extant
Domine, exaudi orationem meam, inclina, 5vv, CS ii 10–11; D iii, 68, B iii, 74
Domine, non sum dignus, 6vv, CS ii 23; D iii, 160, B iii, 174
Domine, praestolamur, 5vv, CS i 3–4; D ii, 14, B ii, 15
Domine, quis habitabit, 9vv, Lbl; F ix, 130, TCM ix, 223, B viii, 97
Domine, salva nos, 6vv, CS ii 31; D iii, 68, B iii, 245
Domine, secundum actum meum, 6vv, C 24; F i, 218, TCM ix, 122, B i, 132
Domine, secundum multitudinem dolorum meum, 5vv, CS i 27; D ii, 198, B ii, 221
Domine, tu iurasti, 5vv, CS i 15; D ii, 110, B ii, 124
Dominus in Sina, 5vv, G ii 27; F vii, 14, TCM vii, 288, B viib, 15
Ecce advenit dominator Dominus, 4vv, G ii 10; F vi, 48, TCM vii, 230, B viia, 42
Ecce quam bonum est, 4vv, G i/II 9; F v, 53, TCM vii, 139, B vib, 1
Ecce virgo concipiet, 5vv, G i/I 15; F iv, 78, TCM vii, 42, B v, 87
Ego sum panis vivus, 4vv, G ii 17; F vi, 96, TCM vii, 251, B viia, 82
Emendemus in melius, 5vv, C 4; F i, 119, TCM ix, 61, B i, 1
Exsurge, quare obdormis, Domine? [= Arise, O Lord, why sleepest thou?], 5vv, CS ii 19; D iii, 132, B iii, 144
Fac cum servo tuo, 5vv, CS ii 5; D iii, 33, B iii, 37
Factus est repente de coelo sonus, 5vv, G ii 35; F vii, 48, TCM vii, 308, B viib, 53
Felix es, sacra virgo, 5vv, G i/I 9; F iv, 49, TCM vii, 28, B v, 56
Felix namque es, 5vv, G i/I 19; F iv, 98, TCM vii, 56, B v, 113
Gaudeamus omnes, 5vv, G i/I 23; F iv, 134, TCM vii, 76, B v, 156
Gaudeamus omnes, 5vv, G i/I 29; F iv, 175, TCM vii, 98, B via, 27
Gaude Maria, 5vv, G i/I 21; F iv, 109, TCM vii, 63, B v, 127
Gloria Patri: see Tribue, Domine
Haec dicit Dominus, 5vv, CS ii 13–14; D iii, 90, B iii, 97
Haec dies, 6vv, CS ii 32; D iii, 228, B iii, 251
Haec dies, 3vv, G i/III 7; F v, 189, TCM vii, 198, B vib, 121
Haec dies, 5vv, G ii 21; F vii, 132, TCM vii, 267, B viia, 111
Hodie Beata Virgo Maria, 4vv, G i/II 19; F v, 134, TCM vii, 174, B vib, 77
Hodie Christus natus est, 4vv, G ii 6; F vi, 26, TCM vii, 220, B viia, 20
Hodie Simon Petrus, 6vv, G ii 42; F vii, 104, TCM vii, 340, B viib, 114
Iesu nostra redemptio, 4vv, G ii 19; F vi, 110, TCM vii, 257, B viia, 93
Infelix ego, 6vv, CS ii 24–6; D iii, 166, B iii, 180
In manus tuas, Domine, 4vv, G i/II 15; F v, 111, TCM vii, 163, B vib, 51
In resurrectione tua, 5vv, CS i 17; D ii, 134, B ii, 150
Iustorum animae, 5vv, G i/I 31; F iv, 194, TCM vii, 109, B via, 48
Laetania, 4vv, G i/II 16; F v, 118, TCM vii, 166, B vib, 56
Laetentur coeli, 5vv, CS i 28–9; D ii, 206, B ii, 229
Laudate Dominum omnes gentes, 6vv, G ii 45; F vii, 132, TCM vii, 356, B viib, 143
Laudate, pueri, Dominum [= Behold, now praise the Lord], 6vv, C 17; F i, 181, TCM ix, 105, B i, 82
Laudibus in sanctis, 5vv, CS ii 1–2; D iii, 1, B iii, 1
Levemus corda, 5vv, CS ii 16; D iii, 110, B iii, 121
Libera me, Domine, de morte aeterna (c.f. chant), 5vv, C 33; F i, 275, TCM ix, 81, B i, 213
Libera me, Domine, et pone me juxta te, 5vv, C 5; F i, 124, TCM ix, 64, B i, 8
Memento, Domine, 5vv, CS i 8; D ii, 55
Memento, homo [= O Lord, give ear], 6vv, C 18; F i, 194, TCM ix, 112, B i, 97
Memento, salutis auctor, 3vv, G i/III 3; F v, 156, TCM vii, 183, B vib, 93
Miserere mei, Deus, 5vv, CS ii 20; D iii, 144, B iii, 157
Miserere mihi, Domine (c.f. chant), 6vv, C 29; F i, 240, TCM ix, 129, B i, 161
Ne irascaris (2p. Civitas sancti tui) [= Behold, I bring you; Let not thy wrath; O Lord, turn thy wrath] 5vv, CS i 20–21; D ii, 151, B ii, 169
Ne perdas (c.f. chant), 5vv, Lbl, Lcm, Ob, Och; F viii, 99, TCM ix, 243, B viii, 168
Non vos relinquam orphanos, 5vv, G ii 37; F vii, 66, TCM vii, 318, B viib, 73
Nos enim pro peccatis [= Let not our prayers]: see Tribulationes civitatem
Nunc dimittis servum tuum, 5vv, G i/I 4; F iv, 17, TCM vii, 11, B v, 19
Nunc scio vere, 6vv, G ii 38; F vii, 71, TCM vii, 321, B viib, 80
O admirabile commercium, 4vv, G ii 7; F vi, 33, TCM vii, 223, B viia, 28
Oculi omnium, 4vv, G i/II 2; F v, 8, TCM vii, 119, B via, 67, B viia, 142
O Domine, adiuva me, 5vv, CS i 5; D ii, 29, B ii, 32
O gloriosa Domina, 3vv, G i/III 2; F v, 150, TCM vii, 181, B vib, 89
O lux, beata Trinitas, 6vv, C 12; F i, 170, TCM ix, 99, B i, 69
O magnum misterium, 4vv, G ii 8; F vi, 40, TCM vii, 226, B viia, 34
Omni tempore benedic Deum (c.f. chant), 5vv, Lbl, Ob, Och; F viii, 122, TCM ix, 257, B viii, 178
Optimam partem elegit, 5vv, G i/I 25; F iv, 148, TCM vii, 83, B v, 170
O quam gloriosum est regnum, 5vv, CS i 22–3; D ii, 166, B ii, 187
O quam suavis est, 4vv, G ii 18; F vi, 101, TCM vii, 253, B viia, 86
O Rex gloriae, 5vv, G ii 30; F vii, 23, TCM vii, 294, B viib, 26
O sacrum convivium, 4vv, G i/II 7; F v, 37, TCM vii, 132, B via, 92
O salutaris hostia, 4vv, G i/II 6; F v, 31, TCM vii, 129, B via, 87
O salutaris hostia, 6vv, Ob, Och; F ix, 48, TCM ix, 257, B viii, 44
[Pange lingua … misterium.] Nobis datus, 4vv, Gi/II 8; F v, 43, TCM vii, 134, B via, 97
Pascha nostrum … veritatis, 5vv, G ii 24; F vii, 152, TCM vii, 278, B viia, 132
Peccantem me quotidie, 5vv, C 6; F i, 138, TCM ix, 72, B i, 28
Peccavi super numerum, 5vv, Lbl, Ob, Och; F viii, 133, TCM ix, 264
Petrus beatus (c.f. chant), 5vv, Ob; F viii, 145, TCM ix, 270, B viii, 137
Plorans ploravit, 5vv, G i/I 28; F iv, 165, TCM vii, 92, B via, 15
Post dies octo, 3vv, G i/III 9; F v, 195, TCM vii, 200, B vib, 125
Post partum, virgo, 5vv, G i/I 18; F iv, 94, TCM vii, 53, B v, 108
Psallite Domino, 5vv, G ii 29; F vii, 20, TCM vii, 292, B viib, 23
Preces Deo fundamus, Lbl; B xvi, 180; consort song, fragment
Puer natus est, 4vv, G ii 1; F vi, 1, TCM vii, 210, B viia, 2
Quem terra, pontus, aethera, 3vv, G i/III 1; F v, 140, TCM vii, 177, B vib, 83
Quis est homo, 5vv, CS ii 3–4; D iii, 18, B iii, 21
Quis me statim, 1v, 4 viols Lbl, Lcm, Ob, US-CA; B xv, 140; consort song
Quodcunque ligaveris, 6vv, G ii 44; F vii, 120, TCM vii, 349, B viib, 131
Quomodo cantabimus?, 8vv, GB-Lbl, Ob; F ix; 99, TCM ix, 283
Quotiescunque manducabitis, 4vv, G i/II 4; F v, 21, TCM vii, 124, B via, 77
Recordare, Domine, 5vv, CS ii 17–18; D iii, 120, B iii, 132
Reges Tharsis, 4vv, G ii 11; F vi, 57, TCM vii, 234, B viia, 49
Regina coeli, 3vv, G i/III 5; F v, 176, TCM vii, 192, B vib, 109
Responsum accepit Simeon, 5vv, G i/I 5; F iv, 28, TCM vii, 17, B v, 31
Resurrexi, 5vv, G ii 20; F vii, 123, TCM vii, 262, B viia, 102
Rorate coeli, 5vv, G i/I 12; F iv, 61, TCM vii, 34, B v, 70
Sacerdotes Domini, 4vv, G i/II 3; F v, 18, TCM vii, 123, B via, 75
Salve regina, 4vv, G i/II 12; F v, 84, TCM vii, 151, B vib, 26
Salve regina, 5vv, CS ii 6–7; D iii, 42, B iii, 47
Salve sancta parens, 5vv, G i/I 6; F iv, 35, TCM vii, 21, B v, 40
Salve sola Dei genetrix, 4vv, G i/II 17; F v, 123, TCM vii, 169, B vib, 67
Senex puerum portabat … adoravit, 4vv, G i/II 18; F v, 130, TCM vii, 172, B vib, 73
Senex puerum portabat … regebat, 5vv, G i/I 3; F iv, 14, TCM vii, 10, B v, 16
Sicut audivimus, 5vv, G i/I 2; F iv, 10, TCM vii, 8, B v, 12
Siderum rector, 5vv, C 19; F i, 199, TCM ix, 78, B i, 104
Similes illis fiant, 4vv, Lbl Add.17802–5; F viii, 42, B viii, 4
Solve iubente Deo, 6vv, G ii 40; F vii, 90, TCM vii, 332, B viib, 99
Speciosus forma, 5vv, G i/I 17; F iv, 88, TCM vii, 49, B v, 101
Spiritus Domini, 5vv, G ii 31; F vii, 28, TCM vii, 297, B viib, 34
Surge, illuminare, Ierusalem, 4vv, G ii 15; F vi, 82, TCM vii, 244, B viia, 58
Suscepimus Deus, 5vv, G i/I 1; F iv, 1, TCM vii, 3, B v, 2
Te deprecor: see Tribue, Domine
Terra tremuit, 5vv, G ii 23; F vii, 150, TCM vii, 277, B viia, 129
Timete Dominum, 5vv, G i/I 30; F iv, 185, TCM vii, 104, B via, 37
Tollite portas, 5vv, G i/I 13; F iv, 70, TCM vii, 38, B v, 78
Tribue, Domine (2p. Te deprecor; 3p. Gloria Patri), 6vv, C 30–32; F i, 14, TCM ix, 132, B i, 167
Tribulationes civitatum (2p. Timor et hebetudo; 3p. Nos enim pro peccatis [= Let not our prayers]), 5vv, CS i 24–6; D ii, 180, B ii, 202
Tribulatio proxima est, 5vv, CS ii 8–9; D iii, 58, B iii, 63
Tristitia et anxietas, 5vv, CS i 6–7; D ii, 37, B ii, 42
Tu es pastor ovium, 6vv, G ii 43; F vii, 144, TCM vii, 346, B viib, 125
Tu es Petrus, 6vv, G ii 41; F vii, 97, TCM vii, 336, B viib, 107
Tui sunt coeli, 4vv, G ii 4; F vi, 20, TCM vii, 218, B viia, 17
Turbarum voces in passione Domini secundum Ioannem, 3vv, G i/III 10; F v, 198, TCM vii, 202, B vib, 128
Unam petii a Domino, 5vv, G i/I 27; F iv, 155, TCM vii, 87, B via, 4
Veni, Sancte Spiritus, et emitte, 5vv, G ii 36; F vii, 53, TCM vii, 311, B viib, 59
Veni, Sancte Spiritus, reple, 5vv, G ii 33; F vii, 41, TCM vii, 304, B viib, 46
Venite, comedite panem meum, 4vv, G ii 14; F vi, 77, TCM vii, 242, B viia, 71
Venite, exultemus Domino, 6vv, G ii 46; F vii, 141, TCM vii, 361, B viib, 152
Victimae paschali laudes, 5vv, G ii 22; F vii, 137, TCM vii, 270, B viia, 117
Vide, Domine, afflictionem nostram, 5vv, CS i 9–10; D ii, 65, B ii, 73
Viderunt … Dei nostri, 4vv, G ii 5; F vi, 24, TCM vii, 219, B viia, 20
Viderunt … omnis terra, 4vv, G ii 2; F vi, 11, TCM vii, 213, B viia, 9
Vidimus stellam, 4vv, G ii 12; F vi, 64, TCM vii, 237, B viia, 54
Vigilate, 5vv, CS i 16; D ii, 120, B ii, 135
Virgo Dei genetrix, 5vv, G i/I 8; F iv, 46, TCM vii, 26, B v, 53
Viri Galilei, 5vv, G ii 25; F vii, 1, TCM vii, 281, B viib, 2
Visita quaesumus, Domine, 4vv, G i/II 11; F v, 76, TCM vii, 148, B vib, 19
Vultum tuum, 5vv, G i/I 16; F iv, 82, TCM vii, 45, B v, 94

Printed english music:
Psalmes, Sonets and Songs, 5vv (London, 1588) [PSS i], D xii, EM xiv
Songs of Sundrie Natures, 3–6vv (London, 1589) [SSN], D xiii, EM xv
Psalmes, Songs and Sonnets … fit for Voyces or Viols, 3–6vv (London, 1611) [PSS ii], D xiv, EM xvi, B xiv

English liturgical music:
For sources see R.T. Daniel and P. le Huray: The Sources of English Church Music 1549–1660, EECM, suppl.i (1972)
Short Service, 4–6vv: Ven, TeD, Bs, Ky 1–2, Cr, San, Mag and Nunc; F x, 52, TCM ii, 51, B xa, 59
Second Service, 1/5vv, org: Mag and Nunc; F x, 108, TCM ii, 99, B xa, 121
Third Service, 5vv, ‘three Minnoms’: Mag and Nunc; F x, 122, TCM ii, 111, B xa, 136
Great Service, 5–10vv: *Ven, TeD, Bs, Ky, Cr, Mag and Nunc; F x, 136; TCM ii, 123, B xb
First Preces and Psalms 47, 54, 100 (Jub; one part only); F x, 1, 18, 27, xvi, 138, TCM ii, 3, B xa, 9
Second Preces and Psalms 114, 55, 119, 24; F x, 36, 38, 46, i, 159, TCM ii, 13, B xa, 28
*Third Preces and Responses, 5vv; F x, 7, 10, TCM ii, 49, B xa, 1
* Litany, 5vv; US-NYp Chirk, B xa, 50

anons
Most of the canons in F xvi are now thought to be spurious; see Brett (1972)
Canon two in one ‘per arsin et thesin’, B xvi, 169
Canon six in one (and four in two), B xvi, 171

consort music
all published in B xvii; p. nos. in parentheses
Fantasias, grounds and dances:
Browning a 5 (39)
Fantasia a 3 in C, no.1 (2)
Fantasia a 3 in C, no.2 (4)
Fantasia a 3 in C, no.3 (6)
Fantasia a 4 in a, inc. (11)
Fantasia a 4 in G [= In manus tuas, Domine], one part only (147)
Fantasia a 4 in g, PSS ii 15 (7)
Fantasia a 5 in C [= kbd fantasia in C, MB 26] (19)
Fantasia a 6 in F [= Laudate, pueri, Dominum], inc. (48)
Fantasia a 6 in g, no.1 (53)
Fantasia a 6 in g, no.2, PSS ii 26 (63)
Pavan a 5 in c [= kbd pavan in c, MB 29] (73)
Pavan and galliard a 6 in C (75)
Prelude [and Ground] (29)

In Nomines:
In Nomine a 4, no.1 (80)
In Nomine a 4, no.2 (83)
In Nomine a 5, no.1 (86)
In Nomine a 5, no.2, ‘on the sharpe’ (90)
In Nomine a 5, no.3 (94)
In Nomine a 5, no.4 (98)
In Nomine a 5, no.5 (103)

Hymn and Miserere settings:
Christe qui lux es a 4, no.1, 3 verses (110)
[Christe qui lux es] a 4, no.2, 3 verses (114)
[Christe qui lux es] a 4, no.3, 1 verse (117)
Christe Redemptor a 4, 2 verses (118)
Miserere a 4, 2 verses (122)
* Salvator mundi a 4, 2 verses (124)
Sermone blando a 3, 2 verses (108)
* Sermone blando a 4, no.1, 3 verses (127)
Sermone blando a 4, no.2, anon. (130)
* Te lucis ante terminum a 4, 12 verses (8 + 4) (134)

Instrumental:

Keyboard music
MB nos. follow in parentheses
Fantasias, preludes, hymns and antiphons:
Fantasia in a (13)
Fantasia in C, no. 1 [= consort Fantasia a 5 in C] (26)
Fantasia in C, no.2 (25)
Fantasia in C, no.3 (27)
Verse [Fantasia in C, no.4] (28)
Fantasia in d (46)
Voluntary for my Lady Nevell [Fantasia in G, no.1] (61)
Fantasia in G, no.2 (62)
Fantasia in G, no.3 (63)
Ut mi re (65)
Ut re mi fa sol la, in G (64)
Prelude in a (12)
Prelude in C (24)
Prelude in F, GB-Lbl R.M.24.d.3, anon.
Prelude in G, Lbl R.M.24.d.3, anon.
Prelude in g (1)

Clarifica me, Pater, 3 settings (47–9)
Gloria tibi Trinitas (50)
Miserere, 2 settings (66–7)
Salvator mundi, 2 settings (68–9)

Grounds and related pieces:
‘The seconde grownde’, in C (42)
[Short] Ground in C (43)
[Short] Ground in G (9)
[Short] Ground in g (86)
Hornpipe (39)
Hugh Aston’s Ground (20)
My Lady Nevell’s Ground (57)
Qui passe [Chi passa] for my Lady Nevell (19)
The Bells (38)
The Hunt’s Up, or Pescodd Time (40)
Ut re mi fa sol la, in F (58)

Variations:
All in a garden green (56)
Callino casturame (35)
Fortune (6)
Go from my window (79)
Gypsies’ Round (80)
John come kiss me now (81)
O mistress mine, I must (83)
Rowland, or Lord Willoughby’s Welcome home (7)
Sellinger’s Round (84)
The Carman’s Whistle (36)
The Maiden’s Song (82)
The woods so wild (85)
Walsingham (8)
Wilson’s wild (37)

Pavans and Galliards:
Pavan and Galliard in a, no.1 (14)
Pavan and two Galliards in a, no.2, The Earl of Salisbury (15)
Pavan and Galliard in a, no.3 (16)
Pavan in a, no.4 (17)
Pavan and Galliard in B  (23)
Pavan and Galliard in C, no.1 (30)
Pavan and Galliard in C, no.2, Kinborough Good (32)
Pavan and Galliard in C, no.3 (33)
Galliard in C, no.4, Mistress Mary Brownlow (34)
Pavan and Galliard in c, no.1 (29)
Pavan and Galliard in c, no.2 (31)
Pavan and Galliard in d, no.1 (52)
Galliard in d, no.2 (53)
Pavan and Galliard in F, no.1, Bray (59)
Pavan and Galliard in F, no.2, Ph. Tregian (60)
Quadran Pavan and Galliard in G, no.1, on the passamezzo moderno (70)
Pavan and Galliard in G, no.2 (71)
Pavan and Galliard in G, no.3 (72)
Pavan and Galliard in G, no.4 (73)
Echo Pavan and Galliard in G, no.5, anon. (114)
Pavan in G, no.6, Canon 2 in 1 (74)
Lady Monteagle’s Pavan in G, no.7 (75)
Pavan in G, no.8 (76)
Galliard in G, no.9 (77)
Passamezzo Pavan and Galliard in g, no.1, on the passamezzo antico (2)
Pavan and Galliard in g, no.2, Sir William Petre (3)
Pavan and Galliard in g, no.3 (4)

Other dances, descriptive music and arrangements:
Alman in C, Lbl R.M.24.d.3, anon.
[Monsieur’s] Alman in C (44)
Alman in G (11)
Monsieur’s Alman in G, no.1 (87)
Monsieur’s Alman in G, no.2 (88)
Alman in g (89)
The Queen’s Alman (10)
The Ghost (alman) (78)
Coranto in C (45)
Three French Corantos (21)
Jig in a (22)
The Galliard Jig (18)
Lavolta in g, no.1, Lady Morley (90)
Lavolta in g, no.2 (91)
The Barley Break (92)
The Battle (94)
The March before the Battle, or The Earl of Oxford’s March (93)
In Nomine (Parsons, arr. Byrd) (51)
O quam gloriosum est regnum (?arr. Byrd), MB, lv, 48
Pavan and Galliard, Delight (Johnson, arr. Byrd) (5)
Lachrymae Pavan (Dowland, arr. Byrd) and Galliard (Harding, arr. Byrd) (54–5)

—

Doubtful works:
English
Service in F: TeD, Bs, Cp 34, 38–9, fragments; F xvi, 130; B xa, 162
Short Service: San, Lbl Add.34203; F x, 95, TCM ii, 89, B xa, 162
*Litany, 4vv, Cu (formerly EL 4); F x, 15, TCM ii, 49, B xa, 149
By force I live, 1v, 4 viols, Lbl Add.18936–9; B xv, 155
Glory to God on high, 1v only, Cu (formerly EL 28); B xi, 191
If trickling tears, Ob Tenbury 389, one part only; F xvi, 147
Methought of late, 1v, 4 viols, Lbl Add.17792–6; B xv, 158
My little sweet darling, consort song attrib. Byrd in Lbl Add. 17786–91; MB xxii, no.25
O Lord, turn not away thy face, 4vv, Ob Mus.Sch.F. 17–19 (attrib. ‘W. B.’)
O trifling toys, Ob Tenbury 389, one part only; F xvi, 149
Out of the deep, 5vv, Lbl Add.17792–6, US-NYp Drexel 4180–84; B xi, 192
Out of the deep, 6vv, GB-Och Mus.1001 (attrib. O. Gibbons), Ojc 181, US-NYp Drexel 4180–85; B xi, 57
The day delayed, 1v, 4 viols, GB-Lbl Add.31992, Och 984–8; B xv, 161

Latin
* Domine Deus omnipotens, 5vv, Och; F viii, 77, TCM ix, 213
Reges Tharsis, 5vv, Och Mus.979–83; F vii, 162
Sanctus, 3vv, Och Mus.45; F viii, 27
Sponsus amat sponsum, 5vv, Lbl Add.32377, Ob Mus.Sch.E.423, Ob Tenbury 389; two parts in F xvi, 128
Vide, Domine, quoniam tribulor, 5vv, Lbl Add.23624, Ob Tenbury 389; F vii, 169

Keyboard music
MB nos. follow in parentheses
Galliard (105); Galliard, If my complaints (103); Malt’s come down, Fitzwilliam Virginal Book [no. 150] (107); Medley (112)

—

Lost works
only text extant
Behold, O God, with thy all prospering eye [? = Behold, O God, the sad and heavy case], Lbl Harl.6346, Ob Rawl.poet.23; B xi, 190
God be merciful unto us, J. Clifford: The Divine Services and Anthems (London, 2/1664)
Let us be glad, Lbl Harl.6346, Ob Rawl.poet.23; B xi, 190
Sing ye to our God, Lbl Harl.6346, Ob Rawl.poet.23; B xi, 191

—

Misattributed works
English
Short Service: *Ky 2, attrib. Byrd in GB-DRc E.4–11, Cp 31–46; attrib. Giles in Cjc 181; F x, 80, TCM ii, 81; alternative *Cr, attrib. Byrd in DRc E.4–11, Cp 31–46; attrib. Farrant in Cpc 6 (1–6); TCM ii, 82
Service, attrib. Byrd in Ob E 40; attrib. Inglott in Och 1001 and later MSS
Abradad, attrib. ‘Mr. B’ in Ob Tenbury 389; F xvi, 145, is Ah, Alas, you salt sea gods, consort song by R. Farrant; MB xxii, no.7
Come tread the paths, consort song, attrib. Byrd in Ob Tenbury 389; MB xxii, no.3
Let God arise, attrib. Byrd in Och Mus. 1012; F xvi, 141, is by T. Ford
O heav’nly God, consort song, attrib. ‘Mr B’ in Ob Tenbury 389 is by ?N. Strogers; MB xxii, no.22
O praise our Lord, ye saints above, 5vv, attrib. Byrd in Lbl Add.17797, attrib. A. Ferrabosco (i) in Lbl Add.18936–9; F xi, 33, B xi, 174

Latin
Decantabat populus, 5vv, attrib. Byrd in Lbl Add.37402–6, anon. in Och Mus.984–8; F viii, 68
Dies illa, 5vv, Lbl R.M. Baldwin, TCM ix, 303, is by R. Parsons (i)
Incola ego sum, 4vv, Ob Tenbury 354–8, TCM ix, 241, is by R. Parsons
Quia illic, 4vv, fragment, attrib. Byrd in Lbl Add.35001; TCM ix, 312

Consort music
Fantasia a 4 in d, no.1, US-Ws V.a.405, f.40v; B xvii, 14
Fantasia a 4 in d, no.2, Ws V.a.405, f.41r; B xvii, 16
In Nomine a 7, attrib. Byrd in Lbl Add.32377, is by R. Parsons (i); F xvii, 119

Keyboard
MB nos. follow in parentheses
Alman (108);
Alman (109);
Lullaby (110);
Medley (111);
Pavan (101);
Pavan (102);
Pavan and Galliard (98);
Pavan (99b);
Pavan and Galliard, Fitzwilliam Virginal Book, nos.174–5 (99a, c);
Pavan and Galliard (100);
Prelude (96);
Prelude (97);
Bonny sweet Robin (106);
The Hunt’s Up (41);
Miserere mei Deus (arr.), Lbl Add.31403, F viii, 29;
Sir John Gray’s Galliard, Fitzwilliam Virginal Book, no.191 (104)

«Amori e ombre» – Duets and cantatas by Francesco Gasparini. Performed on period instruments by Rossana Bertini – soprano, Claudio Cavina – countertenor, La Venexiana. 

BIOGRAFIA

OBRA:

Vocal secular:

Operas:
drammi per musica in three acts unless otherwise stated: dates are of first performance unless specified as dedication dates
VCVenice, Teatro S Cassiano
Olimpia vendicata, Livorno, ded. 6 Dec 1686
Roderico (G.B. Bottalino), Livorno, Dec 1686, arias I-MOe; rev. Rome, Pace, 25 Jan 1694, arias D-Bsb, F-Pn, I-Rvat
Bellerofonte (G.M. Conti), Rome, Collegio Clementino, carn. 1690, arias GB-Lbl, I-Fc, Rvat
Amor vince lo sdegno, ovvero L’Olimpia placata (A. Aureli), Rome, Capranica, 9 Feb 1692, F-Pn, I-Rvat, collab. A. Scarlatti
La costanza nell’Amor Divino [Act 3] (dramma sacro per musica, 3, P. Ottoboni), Rome, 1695, arias: F-Pn, GB-Ob, I-PAVu; as La costanza nell’Amor Divino, ovvero La S Rosalia, Rome, 1696; rev. as L’amante del cielo, Rome, Collegio Nazareno, carn. 1699, Rps [Act 1 by S. De Luca, Act 2 by F.C. Lanciani]
Totila in Roma (M. Noris), Palermo, S Cecilia, 1696
Aiace (P. d’Averara), Naples, S Bartolomeo, ?16 Nov 1697, D-Dl, arias F-Pc, I-Nc
Gerone tiranno di Siracusa (Aureli), Genoa, Falcone, aut. 1700
Tiberio imperatore d’Oriente (G.D. Pallavicini), Venice, S Angelo, carn. 1702; rev. or new setting as Le vicende d’amor e di fortuna, Venice, S Fantino, carn. 1710
Gli imenei stabiliti dal caso (F. Silvani), VC, ded. 23 Dec 1702
Il più fedel tra i vassalli (Silvani), VC, ded. 3 Feb 1703; as Antioco, London, Haymarket, 12 Dec 1711, songs pubd (London, 1711)
Il miglior d’ogni amore per il peggiore d’ogni odio (Silvani), VC, 7 Nov 1703
La fede tradita e vendicata (Silvani), VC, ded. 5 Jan 1704, Nc, 1 aria (London, 1711); rev. with G. Vignola, Naples, S Bartolomeo, carn. 1707; rev. by G.M. Orlandini, Bologna, Marsigli Rossi, August Fair 1712; with arias by Orlandini, G. Bononcini and F. Mancini as Ernelinda, London, Haymarket, 26 Feb 1713; rev. Turin, Carignano, carn. 1719, D-Hs (Act 2)
La maschera levata al vizio (Silvani), VC, 4 Nov 1704
La Fredegonda (Silvani), VC, ded. 26 Dec 1704
Il principato custodito dalla frode (Silvani), VC, 2 Feb 1705
Alarico, ovvero L’ingratitudine gastigata (Silvani), Palermo, S Cecilia, 1705, collab. Albinoni and others
Antioco (A. Zeno and P. Pariati), VC, week before 14 Nov 1705, A-Wn, 2 arias (London, 1711)
Ambleto (Zeno and Pariati), VC, week before 16 Jan 1706, arias D-Bsb, GB-Lbl; rev. Vignola, Naples, S Bartolomeo, 4 Nov 1711; as Hamlet/Ambleto, London, Haymarket, 27 Feb 1712, songs pubd (London, 1712/R1986 in Handel Sources, iv); ed. of orig. lib. by A. Della Corte, Dramma per musica dal Rinuccini allo Zeno, ii (Turin, 1958), 263–364
Statira (Zeno and Pariati), VC, 1 Feb 1706, A-Gk, arias D-Bsb; rev. Vignola as Le regine di Macedonia, Naples, S Bartolomeo, 1708
Taican re della Cina (tragedia, 5, U. Rizzi), VC, 4 Jan 1707, 1 aria (London, 1711); perf. with Lisetta e Astrobolo (int), I-Rvat (facs. in DMV, x, forthcoming)
Anfitrione (tragicomedia, prol., 5, Pariati ?and Zeno), VC, 13 Nov 1707, 1 aria (London, 1711); perf. with Erighetta e Don Chilone [Don Chilone] (int, Pariati), arias GB-Lbl
L’amor generoso (Zeno), VC, 1 Dec 1707, arias D-MÜs [perf. with ints Melissa schernita, Melissa vendicata and Melissa contenta; as Melissa e Serpilo, Dl]; rev. G. de Bottis, Naples, Fiorentini, ded. 30 Dec 1708; rev. S. Lapis, as La fede in cimento, VC, carn. 1730
Flavio Anicio Olibrio (Zeno and Pariati), VC, carn. 1708 [perf. with ints Parpagacco [Polastrella e Parpagnacco; L’astrologo; Polastrella e Parpagnacco astrologo] (Pariati), Melissa and ?Catulla e Lardone]; rev. Milan, Regio Ducal, carn. 1722, arias ROu; ?as Ricimero, Turin, Carignano, carn. 1722
Engelberta [Acts 4–5] (5, Zeno and Pariati), VC, week before 2 Feb 1709, A-Wn, D-Bsb; arias GB-Ob [Acts 1—3 by Albinoni], 1 aria (London, 1711); perf. with La capricciosa e il credulo (int)
Alciade, ovvero L’eroico amore [La violenza d’amore] [Act 1] (opera tragicomica, M. Gasparini), Bergamo, 1709 [Act 2 by C.F. Pollarolo, Act 3 by F. Ballarotti]
Atenaide [Act 3] (Zeno), Milan, Ducale, 1709, A-Wn [Act 1 by A.S. Fiorè, Act 2 by A. Caldara]; as Teodosio ed Eudossa, Brunswick, 12 Sept 1716, collab. J. Fux and Caldara; as Teodosio, Hamburg, ded. 14 Nov 1718, collab. Fux and Caldara
La principessa fedele (A. Piovene), VC, 10 Nov 1709, arias D-WD [perf. with Zamberlucco [Zamberlucco e Palandrana] (int)]; ?as Cunegonda, Mantua, Arciducale, carn. 1718
L’oracolo del fato (componimento per musica da camera, Pariati), ?Vienna, 1709, A-Wn; Vienna, Hoftheater, 1 Oct 1719, A-Wn
Sesostri re d’Egitto (Pariati), VC, 9 Feb 1710, arias D-MÜs, GB-Lbl; ?perf. with ints Il nuovo mondo and Tulpiano
La ninfa Apollo (scherzo scenico pastorale, F. de Lemene), VC, 4 March 1710, collab. A. Lotti
L’amor tirannico (5, D. Lalli), VC, aut. 1710, arias D-WD
Tamerlano (tragedia, Piovene, after J. Pradon: Tamerlan, ou La mort de Bajazet), VC, 24 Jan 1711, arias Bsb, WD; new setting as Bajazet, Reggio nell’Emilia, Pubblico, Spring Fair 1719, A-Wn (facs. in IOB, xxiv, 1978), D-MEIr, ed. M. Ruhnke (Munich, 1981–5); rev. as Bajazette, Venice, S Samuele, Ascension Fair 1723, arias SWl
Costantino (5, Pariati ?and Zeno), VC, 8 Nov 1711
Merope (Zeno), VC, carn. 1712
Eraclio [Act 2] (P.A. Bernadoni), Rome, Cancelleria, 1712 [Act 1 anon., Act 3 by Pollarolo]
Il comando non inteso ed ubbidito (Silvani), Milan, Regio Ducal, carn. 1713; as Zoe, ovvero Il comando non inteso ed ubbidito, Rome, Pace, carn. 1721
La verità nell’inganno (Silvani), VC, carn. 1713, arias Dl
L’amore politico e generoso della regina Ermengarda, Mantua, spr. 1713, collab. G.M. Capelli
Lucio Papirio (A. Salvi), Rome, Capranica, carn. 1714, arias B-Bc, D-ROu, I-Mc; perf. with Barilotto e Serpina (int)
Eumene (Zeno), Reggio nell’Emilia, Pubblico, [May] Fair 1714; rev. Naples, Reggio Palazzo, 1 Oct 1715, with arias by Leo and others GB-Lbl; perf. with ints Mirena and L’alfier fanfarone
Amor vince l’odio, ovvero Timocrate (Salvi), Florence, Cocomero, 11 Feb 1715, aria I-Rsc
Il tartaro nella Cina (Salvi), Reggio nell’Emilia, Pubblico, [May] Fair 1715, arias Bc, Rsc
Ciro (Noris), Rome, Capranica, carn. 1716, arias GB-Lam, I-Bc, Rsc
Vincislao (Zeno), Rome, Capranica, carn. 1716, arias Bc; adaptation of F. Mancini’s setting (Naples, S Bartolomeo, carn. 1715)
Il gran Cid (J. Alborghetti and N. Serino), Naples, S Bartolomeo, carn. 1717, aria Bc
Intermezzi in derisione della setta maomettana (G. Gigli), Rome, Seminario Romano, carn. 1717, lib. pubd (Naples, n.d.)
Pirro (Zeno), Rome, Capranica, carn. 1717, arias Rsc
Il trace in catena (Salvi), Rome, Capranica, carn. 1717, arias F-Pn, I-Rsc, collab. 2 of Gasparini’s pupils
Democrito, Turin, Carignano, carn. 1718, aria GB-Lbl
Nana francese e Armena [Mirena e Floro] (int), Dresden, Feb 1718, D-Dl
Astianatte (Salvi), Rome, Alibert, carn. 1719, arias F-Pc; rev. Milan, Regio Ducal, carn. 1722, GB-Lbl (Acts 1–2 only; partial autograph)
Lucio Vero (Zeno), Rome, Alibert, carn. 1719, arias B-Bc, F-Pc, GB-Lam, Lbl
Tigranes, Hamburg, 1719, collab. F. Conti, Orlandini and Vivaldi
Amore e maestà (Salvi), Rome, Alibert, carn. 1720, arias D-MÜs, F-Pc
Faramondo (after Zeno), Rome, Alibert, carn. 1720, arias Pc
La pace fra Seleuco e Tolomeo (A. Morselli, rev. A. Trabucco), Milan, Regio Ducal, carn. 1720
L’avaro (int, Salvi), Florence, 1720, I-MC
Nino [Act 2] (I. Zanelli), Reggio nell’Emilia, Pubblico, May Fair, 1720 (ded. 29 May), arias F-Pc [Act 1 by Capelli, Act 3 by A.M. Bononcini]
Dorinda (favola pastorale, ?B. Marcello), Rome, carn. 1723
Silvia (dramma pastorale, E. Bissari), Foligno, carn. 1723
Gli equivoci d’amore e d’innocenza (Salvi), Venice, S Giovanni Grisostomo, aut. 1723
Tigrena (favola pastorale, with ints), Rome, Palazzo De Mello de Castro, 2 Jan 1724
Arias in: Thomyris Queen of Scythia (pasticcio, P.A. Motteux), London, Drury Lane, 1 April 1707; Clotilda, London, Haymarket, 2 March 1709; Nerone fatto Cesare (pasticcio, Noris), Venice, S Angelo, carn. 1715

Chamber cantatas:
for S and continuo unless otherwise stated
Edition: Cantatas by Francesco Gasparini (1661–1727), ed. G. Biagi-Ravenni, ICSC, vii (1986) [facs.] [B]
Cantate da camera a voce sola, op.1 (Rome, 1695/R in Archivum musicum: la cantata barocca, xix (Florence, 1984) [1695]
A battaglia o miei pensieri, 1695;
Abbandonar Fileno, dovea dell’idol suo, D-Mbs, B;
Alfin le vostre lacrime, I-Nc, Vnm, B;
Ancor voi siete vive o del morto piacer, Vnm;
Andate, o miei sospiri, al cor d’Irene!, A-Wn, GB-Lbl, I-BGi, Nc, Vc, B;
Andiamo, o pecorelle, ad altre sponde, GB-Lbl, B;
Augellin, vago e canoro, 1695;
A voi, selve romite, A, bc, I-Pca, B;
Cari boschi, S, insts, 1716, D-MÜs;
Caro laccio, dolce nodo, 1695;
Caro mio dolce amore, 2vv, bc, I-PLc;
Che incostanza, che fierezza, che rigor, S, A, 2 vn, va, bc, Rc;
Ch’io t’amo e che t’adoro, 1695;
Chi non sa che sia morire, A, bc, Pca, B;
Come in deserto lido, S, vns, bc, 1718;
Da stral d’amore ferit il core, c1719, Nc, Vlevi;
Destati Lidia mia, A, insts, 1716, D-MÜs;
Dimmi, Clori, 1v, bc, I-Nc;
Dimmi gentil Daliso (Dori e Daliso), 2vv, insts, 1716, D-MÜs;
Dopo tante e si strane di Fortuna, c1719, I-Vlevi;
Doppo aver pianto, 1691, Rvat, B;
Dove sei, dove t’ascondi, 1695;
Dunque Cesare ha vinto (Cleopatra e Marc’Antonio), 2vv, vns, bc, 1717
Ecco che al fin ritorno, A, insts, 1716;
E che più far poss’io, Pca, B;
Ed ecco infine, oh Dio, 1695;
È gran pena amar tacendo (Filli e Tirsi), 2vv, bc, A-Wn;
E in sen mi resta core, A, insts, 1716, Wgm;
Fier destin, S, insts, 1716, D-MÜs;
Filli, tra il gelo e il foco, 1v, bc, I-Nc;
Fuggir fiera che fugge, Vlevi;
Già dal platano antico e importuno Cupido (Tirsi e Clori), 2vv, insts, 1716, D-MÜs;
Il mio core e che far deve, 1695;
Il mio sol, A, insts, 1716, MÜs;
In profondo riposo, all’or che stanco ogni mortal s’affida, 1695;
In questa amena sponda, 1v, bc, I-Nc (doubtful);
Intorno a quel rosa, ?S, bc, Rsc;
Io che dal terzo cielo (Venere e Adone), S, A, bc, 1716, D-MÜs;
Io t’invidio ape ingegnosa, I-TLp (doubtful);
L’amante Clori, Rsc; Miei fidi, 1v, bc, Nc;
Mille volte sospirando, 1v, bc, Nc;
Non è ver che sia chimera, Gl;
Non intendo i tiranni, Rsc;
Non vantar cotanto albero, Rsc;
Non v’aprite ai rai del sole, c1719, Nc, Vlevi
O voi che già provaste, 1v, bc, Nc;
Palesar vorria gl’ardori, c1719, Vlevi;
Perdono, o luci amate, 1695;
Quando in me nacque amore, S, insts, 1716;
Quanto felice sei, S, S, bc, GB-Lbl, B;
Quanto somigli a Clori, luccioletta!, Lbl, B;
Quel bel fiore (Fillide e Fileno), 2vv, insts, 1717, D-MÜs;
Queste voci dolenti, A/S, bc, GB-Lbl, I-Bc, B;
Qui di natura, 1717, 2vv, insts, D-MÜs;
Sapessi almen perchè, S, A, bc, GB-Lbl;
S’avanza a poco a poco, 1v, bc, I-Nc;
Scrive a chi lo tradì, S, insts, 1717, D-MÜs;
Se lontana da me t’amò Dorinda, 1695;
Sente pur che maggio è nato, S, insts, 1717, MÜs;
Sento che manca il cor, MÜs, B;
Sento nel sen combattere, 1695;
Se vuoi dirmi ch’io non t’ami, A, insts, 1716;
Su la vicina sponda, S, vns, bc, 1717;
Tende franche (L’Angelica), S, insts, 1716;
Tormentosi pensieri del mio misero sen, 1695;
Torna, mio cor, deh torna ad amar Fille, I-Rsc, B;
Tra mille amanti, 1v, bc, Nc;
Tu mi credi geloso e son sdegnato, GB-Lbl, B;
Tu sei pur fortunata, S, insts, 1716, D-MÜs;
Tutto festoso, S, insts, 1716, MÜs;
Voglio amar, 1716; Voi scherzate (Aice ed Elpino), 2vv, insts, 1716;
Vola sospiro, vola, A, vns, bc, 1717

Other secular vocal:
Le luci tue che giri (madrigal), ATB, 1685, I-Baf
La vittoria del tempo (cantata, L. Piazza), 4vv, insts, Rome, 23 Sept 1696, Rli
Applauso festivo pel possesso preso dall’A.R. della serenissima Violante, gran principessa di Toscana, del governo della città e stato di Siena (D. Mariscotti), 3vv, insts, Siena, 1717, lib pubd
Cantata, 3vv, insts, for Festa accademica di lettere e d’arme, Rome, 1721, lib pubd
Componimento per musica (I. de Bonis), Rome, 1725, lib pubd
L’oracolo del Fato, 5vv, chorus, A-Wn (facs. in ICSC, vii, 1986)
12 duetti, S, A, bc (no.12 for S, S, bc), GB-Lbl

Vocal religiosa:

Oratorios and large cantatas:
Iudith de Olopherne triumphans (B. Pamphili), Rome, Arciconfraternita del SS Crocifisso, 25 March 1689, GB-Ob
Atalia, Rome, Collegio Clementino, 1692; Venice, Palazzo Altieri, 1696, D–Dl
Giacobbe in Egitto, Florence, Casino di S Marco, 1695
Il Vicerè d’Egitto, Florence, Oratorio di S Filippo Neri, 1695; as Il Vicerè d’Egitto, ossia L’istoria de’ dodici fratelli, Florence, Casino di S Marco, 1696
I trionfi della carità, Naples, Collegio della Compagnia di Gesù, 6 July 1698
Triumphus misericordiae (B. Sandrinelli), Venice, Ospedale della Pietà, 1701
Anima afflitta et consolata, Venice, Ospedale degli Incurabili, April 1702
Prima culpa per Redemptionem deleta (Sandrinelli), Venice, Ospedale della Pietà, 1702
Jubilum prophetarum ob incarnatione divini verbi (Sandrinelli), Venice, Ospedale della Pietà, 1703
Mosè liberato dal Nilo, Vienna, 1703
Aeterna sapientia incarnata (Sandrinelli), Venice, Ospedale della Pietà, 1704
Pudor Virginis vindicatus (dialogue), Venice, Ospedale della Pietà, 1705
Genus humanum a Virginis partu reparatum, Venice, Ospedale della Pietà, 1706
Sol in tenebris, Venice, Ospedale della Pietà, ?1706
Domenicae Nativitatis praeludium, Venice, Ospedale della Pietà, 1707
L’onestà combattuta di Sara, ovvero Sara in Egitto (D. Canavese), Florence, Oratorio di S Filippo Neri, 1708
Oratorio … da cantarsi nella ven. compagnia della purificazione di Maria Vergine, 1709
Glorioso Redentore, Venice, Ospedale della Pietà, 1711 (doubtful)
Maria Magdalena videns Christum resuscitatum, Venice, Ospedale della Pietà, 1711
Moisè liberato dal Nilo, Venice, Ospedale della Pietà, 1712
A farti amabile (cant., A. Baldani), Rome, Palazzo Apostolico, 24 Dec 1716
Anima rediviva, Venice, Ospedale della Pietà, 1717
S Eufrosina, Rome, 1717 (doubtful)
S Maria Egiziaca, Rome, 1717, I-Tn (doubtful)
Sara consolata, Rome, 1717 (doubtful)
Destatevi o pastori (componimento per musica, S. Stampiglia), Rome, Palazzo Apostolico, 24 Dec 1720
I due sposi felici, Sara e Tobia, Florence, Scala, 1720
Dal prato al fonte (cantata, F.O. Fabbri), Rome, Palazzo Apostolico, 24 Dec 1722
Il figlio prodigo (I. Capelletti), Città di Castello, 1722
La penitenza gloriosa nella conversione di S Maria Egiziaca, Ancona, 1722
La nascita di Cristo, Lucca, S Maria Cortelandini, Christmas Eve, 1724
Le nozze di Tobia, Lucca, S Maria Cortelandini, Christman Eve, 1724
SS Annuntiata (dramma sacro), Rome, Arciconfraternita del SS Crocifisso, 1725
Erode, PS

Music in:
Dal trionfo le perdite, o Jefte che sagrifica la sua figlia (Canavese), Florence, 1716;
Il padre sacrificator della figlia, ovvero Jephte (Canavese), Florence, Casino di S Marco, 1719

Latin:
Missa canonica, 1705, D-Bsb;
mass, 4vv, org, I-Bc;
mass, 5vv, D-Dl;
messa concertata (G), 4vv, 2 choirs, I-Rvat;
messa concertata (B ), 4vv, 2 choirs, Rvat;
messa concertata (C), D-Dl;
messa concertata (d), Dl
Credo breve, 4vv, 1699; I-Rsg;
Credo, 5vv, tpt, ob, str, bc, D-Dl

Ants:
Ave regina coelorum, S/A with ripieno, I-Rvat;
Beatus Andreas, SSB, bc, Rsg;
Collocet eum Dominus, SS, Rvat;
Confortatus est principatus eorum, 4vv, Rvat;
De fructu ventris tui, SS, Rvat;
Dirupisti, Domine, SS, Rvat;
Dirupisti, Domine, vincula mea, SAT, Rvat;
Domine, quinque talenta, SA, Rvat;
Drum complerentur, SA, 1718, Rvat;
Drum esset rex, SB, Rvat, Elevatis manibus, SA, Rvat;
Erat autem aspectus ejus, SA, Rvat;
Et ecce terremotus, SAB, Rvat;
Euntes ibant, SS, Rvat;
Euntes ibant et flebant, SST, Rvat;
Fidelis servus et prudens, SSSBBB, Rvat;
Fontes et omnia, SB, 1718, Rvat;
Fontes et omnia, SS, Rvat;
Id eo jure jurando, AT, Rvat;
Introivit Maria in donum Zachariae, SAT, Rvat;
Jam hymnes transiit, SB, Rvat;
Jam hymnes transiit, 4vv/4vv, Rvat;
Juravit Dominus, SAB, Rvat;
Loquebantur (G), SAB, 1718, Rvat;
Loquebantur (A), SAB, Rvat;
Loquebantur variis linguis, AAB, Rvat;
Nativitatis est hodie, SA, Rvat;
Non est inventus, 1717, Rvat;
Prae timore antem eius, SAT, Rvat;
Repleti sunt omnes, SAT, 1718, Rvat;
Respondens autem angelus, SA, Rvat;
Sacerdos in aeternum, S, bc, Rsg;
Sacerdotes Dei, SA, Rvat;
Salva nos, Domine, SAT, Rvat;
Spiritus Domini, SA, 1718, Rvat;
Tecum principium, SS, Rvat;
Ut audivit salutationem, SS, Rvat

Grads:
Adiuvabit eam, SS, bc, Rvat;
Dilexisti justitiam, SA, bc, Rsg;
Gloria et honore, SA, bc, Rsg;
Haec dies, Rsg;
In omnem terram, SB, 1725, Rsg;
Tanto tempore, SS, bc, Rsg

Hymns:
Placare, Christe, servulis, 1v, choir, Rvat;
Te lucis ante terminum, 4vv, Rvat

Lits:
Litanie della BVM, 3vv, 3 hn, bc, Vnm;
Litanie, 9vv, Rvat

Motets etc.:
Corde et animo, 4vv, Rvat;
De profundis clamavi, 8vv, Rvat;
Lauda Jerusalem, A, choir, Rvat;
Memento, Domine David, 4vv, org, Rvat;
O quam suavis est, 2vv, Rsg;
Panis angelicus, 1v, Rvat;
Quo incertus incedam, B, insts, Li

Offs:
Beata es Virgo Maria, 4vv, Rvat;
Exultabant sancti, 4vv, Rvat;
Justorum animae, SB, Rvat;
Laetamini in Domino, 8vv, Rvat;
Portas coeli aperuit Dominus, 4vv, Rsg

Pss:
Bonitatem fecisti, 4vv, orch, Vs;
Legem pone mihi, Domine, 4vv, orch, Vs;
Memor esto verbi, 4vv, orch, Rvat

Seqs:
Victimae paschali laudes, Rsg
Terza dell’ufficio divino, 4vv, orch, Vnm

Other sacred vocal:
Cants.:
Ah mia stanca navicella (Fede e Giustizia), S, A, insts, 1718, I-Rps;
Come stanchi non siete, 1v, bc, Nc;
Esci, mio gregge florido nel molle prato, c1719, GB-Lbl (facs. in ICSC, vii, 1986), I-Gl, Vlevi;
Ite, dilette mie candide agnelle, Gl;
Quanto più gode tra voi contenta, S, insts, MOe
Ecloga sacra, 3vv, Milan, 1722

Instrumental:

Orch:
conc. (A), str, A-Wn;
sinfonia (F), str, Wn;
2 sinfonie, I-Tn

Kbd:
Ballabili diversi, hpd, Vc;
sonata, spinetta, Vqs;
6 sonatas, hpd, CH-Zz;
2 sonatas (a, d), hpd/org, Vc;
sonata nel primo tono, hpd/org, Vc;
Toccata (D), spinetta, Vqs

Literatura:

L’armonico pratico al cimbalo (Venice, 1708/R); Eng. trans. F.S. Stillings, as The Practical Harmonist at the Keyboard, ed. D.L. Burrows (New Haven, CT, 1963)
Guida, ossia Dizionario armonico, in cui si trova il modo di ben modulare (MS, I-Bc)
Li prinicipii della composizione (MS, D-Bsb, Hs)

Sibelius, Symphonie Nr 2 D Dur op 43 Leonard Bernstein, Wiener Philharmoniker

Sibelius – Symphony No 2 in D major, Op 43 – Mariss Jansons

Una obra maestra del sinfonismo.

BIOGRAFIA SIBELIUS