Louis Spohr nació en Brunswick el 5 de abril de 1784. Fue un compositor, violinista y director de orquesta alemán.Por muchos contemporáneos fue colocado en un meritorio puesto detrás de Haydn, Mozart y Beethoven en el panteón de los grandes compositores. Junto con Gluck y Cherubini, se le ha asignado un estatus menor por la posteridad.

Louis Spohr – Clarinet Concerto No.1 – [Karl Leister]

BIOGRAFIA

OBRA:
Vocal secular:

Stage:
Die Prüfung (Operette, 1, E. Henke), woo48, private concert perf., Gotha, 1806, D-Ksp*, ov. as op.15, pts (Bonn, 1809)
Alruna, die Eulenkönigin (grosse romantische Oper, 3), woo49, 1808, unperf., US-Bp*, ov. as op.21, pts (Offenbach, 1812)
Der Zweikampf mit der Geliebten (Oper, 3, J.F. Schink), woo50, 1810–11, Hamburg, 15 Nov 1811, private collection*, D-Bsb, vs (Hamburg, 1813)
Faust (romantische Oper, 2, J.K. Bernard), woo51 and 51a, 1813. Prague, 1 Sept 1816, Mbs, vs (Leipzig, 1822), ov. as op.60, pts (Leipzig, 1823), fs (Leipzig, 1856), B i; rev. as grosse Oper (3), CG, 15 July 1852, Bsb* (recits and other new music), vs (Leipzig, 1854)
Zemire und Azor (romantische Oper, 2, J.J. Ihlée, after J.F. Marmontel), woo52, 1818–19, Frankfurt, 4 April 1819, Mbs, vs (Hamburg, 1821)
Jessonda (grosse Oper, 3 E. Gehe, after A.-M. Lemierre: La veuve de Malabar), woo53, 1822 Kassel, Hof, 28 July 1823, vs (Leipzig, 1824), fs (Leipzig, 1881/R1988 as B ii), ov. as op.63, pts (Leipzig, 1824)
Der Berggeist (romantische Oper, 3, G. Döring), woo54, 1824, Kassel, Hof, 24 March 1825, Mbs, vs (Leipzig, 1825), ov. as op.73, pts (Leipzig, 1827)
Die beiden Galeerensklaven (incid music, T. Hell), woo66, 1824, song Der Morgen graut, S, 4vv (Meissen, 1834)
Macbeth (incid music, S.H. Spiker, after W. Shakespeare), woo55. 1825 Bsb, ov. as op.75, pts (Leipzig, 1827)
Der Sturm von Missolunghi (incid music, anon.), woo83, 1826, chorus Gebet vor der Schlacht, 5 male vv (Hersfeld, 1826)
Pietro von Abano (romantische Oper, 2, C. Pfeiffer, after L. Tieck), woo56, 1827, Kassel, Hof, 13 Oct 1827, F-Pn* (facs. in B iii), vs, pts (Berlin, 1828)
Der Alchymist (romantische Oper, 3, F.G. Schmidt [Pfeiffer], after W. Irving: The Student of Salamanca), woo57, 1829–30, Kassel, Hof, 28 July 1830, D-Bsb, vs (Berlin, 1831), ov., pts (Berlin 1831)
Der Matrose (incid music, K. Birnbaum), woo58, 1838, Kassel, 9 Jan 1839, collab. M. Hauptmann and others, Km, Matrosenlied woo80 (Dresden, 1841), ov. woo7, arr. pf 4 hands (Mainz, 1874)
Die Kreuzfahrer (grosse Oper, 3, L. and M. Spohr, after A. von Kotzebue), woo59, 1843–4, Kassel, Hof, 1 Jan 1845, Bsb, vs (Hamburg, 1845)

Other:
accompanied:
Das befreite Deutschland (cant., K. Pichler), C, woo64, 1814, ov. arr. pf duet (Vienna, 1830), no.4 ‘Du schöner Stern’ arr. 1v, pf (Vienna, 1823)
Hymne an die heilige Cäcilie (P. von Calenberg), B , S, chorus, pf, 1823, D-F* (Kassel, 1859)
Hessens Feiergesang (K. Wolf), D, unison vv, wind orch, woo68, 1830 (Kassel, 1830)
Es schwebt im lichten Strahlenkranze, festival song, D, 3 S, chorus, vn, pf, 1832, woo69, pubd with new text (Leipzig, 1887)
Schill, E , 4 male vv, pf 4 hands, woo71, 1840, BS* (Leipzig, 1842)
O sel’ge Zeit, festival song, E , A, chorus, pf 4 hands, woo73, 1850 (Leipzig, 1887)

unaccompanied partsongs:
Der Kompass, F, 4 male vv, woo89, c1807 (Meissen, 1826);
Lebe wohl, du Vater Brocken, canon, C, 4 male vv, woo128, 1808, Brunswick, Landesmuseum*, facs. in Spohr: Selbstbiographie
Freude, Jubel, C, 3 high vv, woo81, c1808, Brunswick, Landesmuseum*
6 Gësange, 4 male vv, op.44, 1817 (Leipzig, 1818): Hinauf (K. Grumbach), Rastlose Liebe (J.W. von Goethe), Kennt ihr das Land (F. Brun), Frühlingsorakel (Goethe), Trinklied (anon.), Zur Nacht (T. Körner)
Willst du immer weiter Schweifen (Goethe), canon, B , 4 male vv, woo129, 1817, pubd with op.44 (Leipzig, 1818)
2 Gësange, 4 male vv, woo82, 1820 (Leipzig, 1821): Flüchtig ist die Zeit (J.W.L. Gleim), Punschlied (anon.)
6 Gësange, 4 male vv, op.90, 1833 (Hamburg, 1838): Rat (anon.), Ständchen (anon.), Sängerleben (anon.), Sängerfahrt (C. Pfeiffer), Alte Liebe (anon.), Trinklied (anon.)
Wer das schneiden hat erfunden, canon, D, 2vv, woo133, before 1835, D-Bsb*
6 Lieder, 4vv, op.120, 1841–2, Kassel, Mitteldeutscher Sängerbund* (Kassel, 1842): Sonnenschein (K.F. Dräxel-Manfred), Vesper (C. von Schweizer), Wanderlust (J.P.T. Lyser), An die Sterne (F. Spohr), Ergebung (H. Spener), Frühlingsgedanken (A. Hagen)
Kurz ist der Schmerz (F. Schiller), canon, F, 3 S, woo134, 1848, Ksp*
6 Lieder, 4vv, woo87 [op.151], 1855 (Hamburg, 1873): Winterlied (F.K. Müller von der Werra), Die Frühlingszeit (Müller von der Werra), des Menschen Trost (Müller von der Werra), Der Sommerabend (K.F. Haltaus), Das deutsche Lied (Felim), Ode (G. Berlin)
Ständchen (A. Hahlert), C, 4 male vv, woo88, 1856, Ksp*

solo vocal with orchestra:
Oskar (scene and aria), B , S, woo75, 1805, D-Kl*
Torni serena l’alma (aria alla polacca), D, T, woo76, 1811, Kl
Welche seltenen Gefühle (recit), E , woo78, c1822, Bsb [for J. Weigl: Ostade, oder Adrian von Ostade]
E mi lasci così? (Tu m’abbandonai, ingrato) (scene and aria), A, S, op.71, 1823, vs, pts (Leipzig, 1827)

for 2 voices with piano:
3 Duette, S, T, op.107, 1838 (Bonn, 1839), B viii: Liebesfragen (H. Schulz), D-Ksp*, Wechselgesang (C.A. Tiedge), Kassel, Mitteldeutscher Sängerbund*, Liebe (anon.), Ksp*
Jenseits (F. Bobrich), S, T, woo98, 1838, Ksp* (Leipzig, 1838), B viii
3 Duette, 2 S, op.108, 1838 (Bonn, 1839) B viii: Abendlied (F. Rochlitz), Das Herz (anon.), Ruhe (G. von Deuern)
Mein Heimatland (Mecklenburg), 2 S, woo116, 1847, Kassel, Mitteldeutscher Sängerbund* (Berlin, 1849), B viii
3 Leider, 2 S, woo117. 1849 (Leipzig and London, 1854), B viii: Ermunterung (K.E. Ebert), Sonntagsfrühe (A. Lange), Frühlingslied (G. Scheurlin)
Wenn sich zwei Herzen finden, S, A, woo120, 1851 (Nuremberg, 1852)

solo songs:
for unspecified voice with piano unless otherwise stated
6 deutsche Lieder, op.25, 1809 (Hamburg, 1810), B viii: Wiegenlied (K.E.K. von Göchhausen), Schottisches Lied (anon.), Gretchen am Spinnrade (Goethe), Lied der Freude (E. Gross), Zigeunerlied (Goethe), Das Schiffermädchen (A. Gyr)
Lied des verlassenen Mädchens (J.L.F. Deinhardstein), woo90, 1814/15 (Vienna, 1815), B viii
6 deutsche Lieder, op.37, 1815 (Leipzig, 1816), B viii: Mignons Lied (Goethe), Lebenslied (H. Schmidt), Die Stimme der Nacht (C. von W.), Getrennte Liebe (H. Schmidt), Liebesschwärmerei (C. von W.), Lied beim Rundtanz (J.G. von Salis)
6 deutsche Lieder, op.41, 1815 (Leipzig, 1817), B viii: Das Mädchens Sehnsucht (F. Kind), Lied aus Aslaugas Ritter (F. de la Motte-Fouqué), An Mignon (Goethe), Klagelied von den drei Rosen (Buri), Der erste Kuss (M. Kartscher), Vanitas! Vanitatum vanitas (Goethe)
Nachgefühl (Goethe), woo91, 1819 (Meissen, 1824), B viii
Was treibt den Waidmann in den Wald (W. Vogel), acc hp/pf, hn, woo92, 1825 (Vienna, 1826), B viii
6 deutsche Lieder, op.72, 1826 (Leipzig, 1827), B viii: Frühlingslied (L. Uhland), Schifferlied der Wasserfee (L. Tieck), Ghasel (Adil), Beruhigung (anon.), An Rosa Maria (Amalia), Schlaflied (Tieck)
6 deutsche Lieder, A/Bar, op.94, 1835–36 (Bonn, 1837), B viii: Lied der Harfnerin (anon.), Bitte, bitte! (Schmidt), Der Bleicherin Nachtlied (R. Reinick), Ungeduld (W. Müller), Schwermut (S.A. Mahlmann), Sonntag und Montag (anon.)
Das Wirtshaus zu *** (A. von Marées), A/Bar, woo93, 1836 (Mainz, 1836), B viii
6 deutsche Lieder, acc. pf 2 and 4 hands, op.101, 1836–7 (Leipzig, 1837), B viii: Frühlingslied (R. Reinick), Sangeslust (J. Eberwein), Nichts Schöneres (Reinick), Trostlos (A. von Hochwald), Schweigen ist Schönes Ding (Reinick), Gondelfahrt (E. Geibel)
5 deutsche Lieder, op.139, 1836–48 (Kassel, 1848), B viii: Ständchen (K. Simrock), Maria (anon.), Jägerlied (anon.), Lied aus dem ‘ Märlein von der Wasserfee’ (M. Bekmann), Was mir wohl übrig bliebe (A.H. Hoffmann von Fallersleben)
6 deutsche Lieder, [S] acc. pf, cl, op.103, 1837 (Leipzig, 1838), B viii: Sei still mein Herz (C. von Schweizer), Zeigesang (Reinick), Sehnsucht (Geibel), Wiegenlied (in drei Tönen) ( Hoffmann von Fallersleben), Das heimliche Leid [sic] (E. Koch), Wach auf (anon.)
6 deutsche Lieder, S/T, op.105, 1838 (Halle, 1839), B viii: Die Himmelsbraut (J. Kerner), Der Rosenstrauch (E. Ferrand), Das Ständchen (Uhland), An *** (E. Koch), Des Mädchens Klage (Schweizer), Warum nicht? (anon.)
Mitternacht (F. Dingelstedt), acc. pf 4 hands, woo97, 1838 (Dresden, 1840), B viii
Verlust (B.F.W. Zimmermann), woo99, 1839, A-Wgm* (Vienna, 1839), B viii
An die Geliebten (V. Hugo), woo100, 1839 (Hamburg, 1850), B viii
Unterwegs (Dingelstedt), woo101, 1839 (Brunswick, 1842), B viii
Die sieben Schwestern (L. Wihl), acc. pf 4 hands, woo102, 1839 (Bonn, 1840), Kassel, Mitteldeutscher Sängerbund*
Rätselhaft (anon.), T, pf 4 hands, woo103, 1841, US-Wc* (Brunswick, 1841), B viii
Abendlied (J. Becker), woo104, 1841 (Kassel, 1841)
Singet die Nachtigall im dunkeln Wald (J.C. von Zedlitz: Kerker und Krone), woo105, 1841 (Leipzig, 1841), B viii
Wolle keiner mich fragen (Giebel), woo106, 1842, D-F* (Stuttgart, 1842), B viii
Thränen (A. von Chamisso), woo108, 1842 (Leipzig, 1842), B viii
Leibt er mich (anon.), woo109, 1843, Ksp* (Stuttgart, 1843), B viii
Gruss (J.K. Braun von Braunsthal), woo110, 1843, Kl* (Vienna, 1844), B viii
Mein Vaterland (Hoffmann von Fallersleben), woo111, 1844 (Mannheim, 1845), B viii
Ermutigung (C. von Schweizer), woo112, 1845 (Kassel, 1845), B viii
Immerdar Liebe (Göchhausen), woo113, 1845, Ksp* (Rudolstadt, 1845)
Every Where Far and Near (Sehnsucht) (Meier), woo114, 1846, Ksp* (London, 1848), B viii
Der Herbst (A.L. Lua), woo115, 1847 (Berlin, 1848), b viii
An sie am Klavier, sonatina for pf, 1v, B , op.138, 1848 (Kassel, 1848)
Glockenklänge (anon.), woo118, 1850, US-Wc* (Brunswick, 1852), B viii
3 Lieder (F. von Bodenstedt, after The Thousand and One Nights), woo119, 1850 (Leipzig, 1855), B viii
Erwartung (K. Bassewitz), woo121, 1853 (Göttingen, 1854), B viii
Mein Verlangen (Müller von der Werra), woo122, 1854 (St Gallen, 1855)
Grüsse (A. Linden), woo123, 1855, D-Ksp* (Leipzig, 1862)
6 deutsche Lieder, Bar, vn, pf, op.154, 1856 (Kassel, 1857), B viii: Abendfeier (H. Mahn), Jagdlied (F. Spohr), Töne (R. Otto), Erlkönig (Goethe), Der Spielmann und seine Geige (Hozze), Abendstille (J. Koch)
Immer dasselbe (A. Linden), woo124, 1856 Ksp* (Leipzig and Dresden, 1858)
Wohin (J. Sturm), woo125, 1856, Bsb*, B viii
Die verschweigene Nachtigall (Walther von der Vogelweide), woo126, 1857 (Würzburg, 1858), B viii
Neue Liebe, neues Leben (Goethe), woo127, 1858 (Würzburg, 1859), B viii

Vocal religiosa:

Mass, c, 5 solo vv, double chorus, op.54, 1821 (Leipzig, 1822)
Requiem, c, solo vv, chorus, orch, 1857–8, inc., D-Bsb*, Ksp*

Orats, solo vv, chorus, orch:
Das jüngste Gericht (A. Arnold), woo60, 1812, Kl*;
Die letzten Dinge (F. Rochlitz), woo61, vs pr. privately (Kassel, 1827), fs (London and Berlin, 1881/R in B iv);
Des Heilands letzte Stunden (Rochlitz), woo62, 1834–5, US-Wc*, vs pr. privately (Kassel, 1835), fs (London, 1884/R in B v);
Der Fall Babylons (E. Taylor, trans. F Oetker), woo63, 1839–40, D-LEm*, vs (Leipzig, 1842), fs (Leipzig, 1843)

Pss:
3 Pss (viii, xxiii, cxxx) (M. Mendelssohn), solo vv, double chorus, op.85, 1832, Kl* (Bonn, 1833);
Ps xxiv, 4 solo vv, chorus, pf, op.97a, 1836, Kl, vs (Berlin, 1890);
Ps cxxviii (C.B. Broadley), 4 solo vv, chorus, org/pf, op.122, 1841, arr. orch 1842, vs (London and Bonn, 1843), orch version GB-Lbl*;
Ps lxxxiv (J. Milton, Eng. and Ger. text), 4 solo vv, chorus, orch, woo72, 1846–7 (Hamburg, 1873)

Other:
Jubilate Deo, off, C, S, chorus, vn solo, orch, woo65, 1815, Kl;
Vater unser (A. Mahlmann), F, 4 solo vv, chorus, orch, woo67, 1829 (Berlin, 1831), Ksp*;
Gott, du bist gross (J.F. Rohdmann), hymn, 4 solo vv, chorus, orch, op.98, 1836 (Bonn, 1838);
Friede den Entschlafenen (J. Neus), A , 2vv, woo84, 1837 (Mainz, 1838);
Vater unser (F.G. Klopstock), double chorus male vv, wind orch, woo70, 1838, A-Wn, vs (Frankfurt, 1838) (2nd version with full orch, op.104, 1845, D-Ksp*;
Lasst uns Dankgesang erheben, fugue, C, 4vv, woo85, 1838 (Berlin, 1839);
Selig alle, die im Herrn entschliefen, C, 4 male vv, woo86, 1844, Ksp*

Instrumental:

Orch.:
op.
12Overture, c, 1806, pts (Bonn, 1808)
20Symphony no.1, E , 1811, pts (Leipzig, 1811); fs B vi
34Notturno, C, wind insts, Turkish band, 1815 (Leipzig, 1816)
—Grand Concert Overture, F, woo1, 1819, GB-Lbl*
49Symphony no.2, d, 1820, pts (Leipzig, 1820); fs B vi
—Fackeltanz, D, 53 tpt, 4 timp, woo2, 1825, lost
—Festmarsch, D, woo3, 1825 (Kassel, 1884)
78Symphony no.3, c, 1828, pts (Berlin, 1828), fs (Berlin, 1870)
—introductory music to Act 3 of Die Belagerung Missolunghis (W. Ehlers), woo4, 1830, lost
—Introduction to a Festspiel (A. Niemeyer), woo5, 1830, Kassel, 8 Jan 1831, D-HVs*
86Symphony no.4 ‘Die Weihe der Töne’, F, 1832 (Vienna, 1834); ed. in The Symphony 1720–1840, ser.C, ix (New York, 1980)
89Waltz ‘Erinnerung an Marienbad’, A, 1833, pts (Vienna, 1834)
102Symphony no.5, c, 1837 (Vienna, 1840); B vi
116Symphony no.6 ‘Historische Symphonie im Styl und Geschmack vier verschiedener Zeitabschnitte’, G, 1839 (Vienna, 1842); ed. in The Symphony 1720–1840, ser.C, ix (New York, 1980)
121Symphony no.7 ‘Irdisches und Göttliches im Menschenleben’, C, 2 orch, 1841 (Hamburg, 1842); ed. in The Symphony 1720–1840, ser.C, ix (New York, 1980)
126Concert Overture ‘im ernsten Stil’, D, 1842 (Leipzig, 1846)
137Symphony no.8, G, 1847 (Leipzig, 1854)
143Symphony no.9 ‘Die Jahreszeiten’, b, 1849–50 (Hamburg, 1853)
156Symphony no.10, E, woo8, 1857, Bsb*

Violin concertos:
op.
—Violin Concerto, G, c1799, D-Mbs*
1Violin Concerto no.1, A, 1802–3, pts (Leipzig, 1803)
—Violin Concerto, e, woo10, 1803–4, Kl (pts with autograph alterations)
—Violin Concerto, A, 1803–4, ed. (Kassel, 1955)
2Violin Concerto no.2, d, 1804, pts (Leipzig, 1805)
10Violin Concerto no.4, b, 1805, pts (Bonn, 1808)
7Violin Concerto no.3, C, 1806, pts (Leipzig, 1806)
17Violin Concerto no.5, E , 1807, pts (Zürich, 1810)
28Violin Concerto no.6, g, 1808–9, pts (Vienna, 1813)
—Violin Concerto movt, D, c1809, Kl*
62Violin Concerto no.10, A, 1810, Bsb* (facs. in B vii), pts (Leipzig, 1824)
38Violin Concerto no.7, e, 1814, pts (Leipzig, 1816); X i
47Violin Concerto no.8 ‘in modo di scena cantante’, a, 1816, LEm*, pts (Leipzig, 1820), fs (Leipzig, 1894)
55Violin Concerto no.9, d, 1820, pts (Offenbach, 1822), fs (New York, n.d.)
70Violin Concerto no.11, G, 1825, pts (Leipzig, 1827)
79Violin Concerto no.12 (Concertino no.1), A, 1828, CH-Bu* (facs. in B vii), pts (Berlin, 1829)
92Violin Concerto no.13 (Concertino no.2), E, 1835, D-LEm*, pts (Leipzig, 1837)
110Violin Concerto no.14 (Concertino no.3) ‘Sonst und jetzt’, a, 1839, pts (Vienna, 1840)
128Violin Concerto no.15, e, 1844, pts (Hamburg, 1846)

Other concertos:
op.
—Concertante, C, vn, vc, woo11, 1803, D-Kl* (facs. in B vii)
—Concertante, G, vn, hp, woo13, 1806, US-NYpm*
—Concertante, e, vn, hp, woo14, 1807
26Clarinet Concerto no.1, c, 1808, pts (Leipzig, 1812), fs ed. (Kassel, 1957)
48Concertante, A, 2 vn, 1808, pts (Leipzig, 1820)
57Clarinet Concerto no.2, E , 1810, pts (Leipzig, 1822)
—Clarinet Concerto no.3, f, woo19, 1821, pts (Leipzig, 1885)
—Clarinet Concerto no.4, e, woo20, 1828, D-Ksp*, pts (Leipzig, 1885), fs X v
88Concertante, b, 2 vn, 1833, US-NYp*, pts (Bonn, 1834)
131Concerto, a str qt., 1845. F-Pn*, pts (Leipzig, 1847)

Concert pieces:
for solo instruments and orchestra
For vn:
Variations, A, 1814, woo18, lost;
Potpourri no.3, G, on themes by Mozart, op.23, 1808, pts (Offenbach, 1812);
Potpourri, A, on Irish themes, op.59, 1820, pts (Leipzig, 1823);
Polonaise, a, op.40, 1815, pts (Leipzig, 1817);
Potpourri, a, on themes from Jessonda, op.66, 1823, pts (Leipzig, 1825)

For cl:
Variations B , on a theme from Alruna, woo15, 1809, pts (Berlin, 1890);
Potpourri, F, on themes from P. von Winter, acc. orch/pf, op.80, 1811, pts (Berlin, 1830)

For vn, vc:
Potpourri, A , on themes from Jessonda, op.64, 1823, pts (Leipzig, 1824), Leipzig, Edition Peters archive*

For solo instrument and strings:
accompaniment for string trio unless otherwise stated

For vn:
Potpourris:
no.1, G, on themes from Gaveaux: Le petit matelot, op.5, 1804, pts (Leipzig, 1806);
no.2, B , on themes by Mozart, acc. 2 vn, va, vc, db, op.22, 1807, pts (Offenbach, 1811);
no.4, B, on themes by Mozart, op.24, 1808, pts (Offenbach, 1812)

Variations:
d, 1806, op.6, pts (Leipzig, 1806);
A, 1805, op.8, pts (Leipzig, 1807)

For cl:
Fantasia and Variations, B , on a theme of Danzi, acc. str qt/pf, op.81, 1814, pts (Berlin, 1830) [after Fantasia, hp, vn, op.118]

—

Chbr.:
string quartets
op.
4Two Quartets, C, g, 1804–5, pts (Leipzig, 1806), fs of no.2 B ix
11Quatuor brillant, d, 1806, pts (Bonn, 1808)
15Two Quartets, E , D, 1806–8, pts (Leipzig 1809), fs ed. (Kassel, 1955)
27Quartet, g, 1812, pts (Vienna, 1813)
29Three Quartets, E , C, f, 1813–15, no.1 US-STu* (facs. in B ix), no.2 S-Skma* (facs. in B ix), pts (Vienna, 1815), fs of no.1 ed. (Kassel, 1955)
30Quartet, A, 1814, A-Wn* (facs. in B ix), pts (Vienna, 1819)
43Quatuor brillant, E, 1817, pts (Leipzig, 1818)
45Three Quartets, C, e, f, 1818, pts (Leipzig, 1819), fs of nos.1 and 2 B ix
58Three Quartets, E , a, G, 1821–2, pts (Leipzig, 1822), fs of no.1 X viii, no.2 B ix
61Quatuor brillant, b, 1819, pts (Leipzig, 1823)
68Quatuor brillant, A, 1823, D-Bsb*, pts (Leipzig, 1825)
74Three Quartets, a, B , d, 1826, no.2 Ksp*, nos.1–3 pts (Leipzig, 1827), fs of nos.2 and 3 X viii
82Three Quartets, E, G, a, 1828–9, no.1 HVkm*, no.2 S-Skma* (facs. in B ix), nos.1–3 pts (Berlin, 1829)
83Quatuor brillant, E , 1829, F-Pn*, pts (Berlin, 1830)
84Three Quartets, d, A , 1831–2, pts (Offenbach, 1834)
93Quatuor brillant, A, 1835, D-Bsb*, pts (Vienna, 1837)
132Quartet, A, 1846, LEm*, pts (Leipzig, 1847)
141Quartet, C, 1849, Bsb* (facs. in B ix), pts (Kassel, 1849)
146Quartet, G, 1851, Leipzig, Edition Peters archive*, pts (Leipzig, 1856)
152Quartet, E , 1855, F-Pn*, pts (Leipzig, 1856)
[155]Quartet, E , woo41, 1856, D-Ksp*, F-pn*
[157]Quartet, g, woo42, 1857, Pn*

Other chamber:
without piano or harp:
Nonet, F, fl, ob, cl, hn, bn, vn, va, vc, db, op.31, 1813, pts (Vienna, 1819), fs (Berlin, 1878)
Octet, E, cl, 2 hn, vn, 2 va, vc, db, op.32, 1814, GB-Lbl*, pts (Vienna, 1819), fs (Berlin, c1878)
4 double string quartets: d, op.65, 1823, Leipzig, Edition Peters archive*, pts (Leipzig, 1825), fs (Florence, c1880); E , op.77, 1827, D-Bsb*, pts (Berlin, 1828), fs (Leipzig, 1888); e, op.87, 1832–3, Bsb* pts (Bonn, 1833), fs (Leipzig, 1888); g, op.136, 1847, Dlb*, pts (Kassel, 1849), fs (Leipzig, 1888)
Sextet, C, 2 vn, 2 va, 2 vc, op.140, 1848, Bsb*, pts (Kassel, 1850), fs B ix
7 quintets, 2 vn, 2 va, vc: E , G, op.33, 1813–14, Bsb* (facs. of no.2 in B ix), pts: no.1 (Vienna, 1815), no.2 (Vienna, 1819), fs of no.2 ed. (Cambridge, 1994); b, op.69, 1826, pts (Leipzig, 1827), fs B ix; a, op.91, Ksp, pts (Bonn, 1834), fs ed. (Cambridge, 1994); g, op.106, 1838, pts (Dresden, 1839); e, op.129, 1845, LEm*, pts (Leipzig, 1847); g, op.144, 1850, Leipzig, Edition Peters archive*, pts (Leipzig, 1855)
Duo, e, vn, va, op.13, 1807 (Leipzig, 1808)
19 Duets, 2 vn: F, C, E , woo21, c1797, Kl; E , woo22, c1797, Kl; C, woo30, c1808, Brunswick, Landesmuseum*; E , F, G, op.3, 1802–3 (Leipzig, 1805); A, op.9, 1806–7 (Leipzig, 1807); d, E , E, op.39, 1816 (Leipzig, 1816); a, D, g, op.67, 1824, Bsb* (Leipzig, 1825); F, op.148, 1854 (Leipzig, 1856); D, op.150, 1854 (Leipzig, 1856); C, op.153, 1855 (Leipzig, 1856)

with piano:
see also other chamber, with harp
Septet, a, fl, cl, hn, bn, vn, vc, pf, op.147, 1853 (Leipzig, 1855)
Piano Quintet, D, op.130, 1845 (Hamburg, 1846)
Quintet, C, fl, cl, hn, bn, pf, op.52, 1820 (Leipzig, 1821); arr. str qt, pf, op.53, 1820 (Leipzig, 1821)
5 pf trios: e, op.119, 1841 (Hamburg, 1842); F, op.123, 1842 (Hamburg, 1843); a, op.124, 1842 (Hamburg, 1843); B , op.133, 1846 (Hamburg, 1847); g, op.142, 1849 (Hamburg, 1852)
Vn, pf (original works): Introduction and Rondo, E, op.46, 1816 (Vienna, 1820); 3 duos concertants: g, op.95, 1836 (Leipzig, 1837), F, ‘Nachklänge einer Reise nach Dresden und in die sächsische Schweiz’, op.96, 1836 (Bonn, 1837), E, op.112, 1837 (Dresden, 1840); Rondo ‘alla spagnuola’, C, op.111, 1839 (Vienna, 1839); 6 Duettinen, op.127, 1843 (Hamburg, 1844); 6 Salonstücke, op.135, 1846–7 (Hamburg, 1848); 6 Salonstücke, op.145, 1851 (Leipzig, 1856); [Scherzino], D, woo43, c1856 (Berlin, 1896); Salonstück, D, woo44, c1857 (Leipzig, 1890)
Vn, pf (potpourris etc.: see also concert pieces above): Potpourri, E , on themes of Mozart, op.42, 1816 (Leipzig, 1817) [based on op.24]; Potpourri, G, on themes of Mozart, woo34, 1816, lost [based on op.23]; Potpourri, f , on themes from Mozart: Die Zauberflöte, op.50, 1820 (Leipzig, 1821) [based on op.114, 2nd movt]; Grand Rondo, G, 1820, op.51 (Leipzig, 1821) [based on op.115, 3rd movt]; Potpourri, E–A, on themes from P. von Winter: Das unterbrochene Opferfest, op.56, 1821 (Leipzig, 1822) [based on op.80)]; Fantasia, D, on themes from Der Alchymist, op.117, 1841 (Vienna, 1842);
Bn, pf: Adagio, F, woo35, 1817 (Mainz, c1869) *D-Ksp [based on op.115, 2nd movt]

with harp:
in many of these the harp was to be tuned down a semitone and the music was written a semitone higher
7 sonatas: c, hp, vn, woo23, 1805, ed. (Leipzig, 1917); B , op.16, 1806 (Bonn, 1809); e/f, hp, vn, woo27, c1806, pts Kassel, Mitteldeutscher Sängerbund*, D/E , hp/pf, vn, op.113, 1806 (Hamburg, 1840); D/E , hp/pf, vn, op.114, 1811 (Hamburg, 1841); G/A , hp/pf, vn, op.115, 1809 (Hamburg, 1841); G/A , hp, vn, woo36, 1819, lost
Sonata movt, inc., G, hp, vn, woo24, 1805, D-Ksp*; Introduction, G, woo25, 1805, Bsb* (Regensburg, 1934); Trio, e/f, vn, vc, hp, woo28, 1806, private collection [arr. of woo27]; Rondo, D/E , woo33, 1813, lost; Fantasia, b/c–A/B , on themes by Handel and Vogler, hp/pf, vn, op.118, 1814 (Hamburg, 1845)

for one instrument:
Pf: Waltz, c, woo31, c1808 (Leipzig, 1891); Sonata, A , op.125, 1843 (Vienna, 1843); Rondoletto, G, op.149, 1848 (Leipzig, 1855)
Hp: Fantasia, c, op.35, 1807 (Bonn, 1816); 2 variation sets: no.1, on Méhul’s ‘Je suis encore dans mon printemps’, op.36, 1807 (Bonn, 1816), no.2, E , woo29, 1808, lost
Vn: Violin-Schule, woo45, 1830–31 (Vienna, 1833); cadenzas for Beethoven’s Vn Conc., woo46 c1850 (London, 1896)

Claudio Merulo (también Merlotti, Merulus, o Claudio da Correggio; 8 de abril de 1533 – 4 de mayo de 1604) fue un compositor, organista, y editor italiano de fines del Renacimiento, reconocido por su innovadora música para teclado y su música de conjunto en el estilo policoral de la escuela de Venecia.

Música Antiga Claudio Merulo Missa in Dominicis, Magnificat

BIOGRAFIA

OBRA:

Vocal secular:

Italian:
Il primo libro de madrigali, 5vv (Venice, 1566) [1566]
Il primo libro de madrigali, 4vv (Venice 1579) [1579]
Il primo libro de madrigali, 3vv (Venice, 1580) [1580]
Il secondo libro de madrigali, 5vv (Venice, 1604) [1604]

Alcun non può saper, 3vv, 1580, B viii;
Alla Sibilla, 3vv, 1565, B viii;
Allor ch’io vi mirai, 5vv, 1604, B vii, O ii;
Alma ch’or vivi in ciel, 5vv, 1566, B vii, O i;
Amor co’ i strai, 5vv, 1596;
Amor n’è causa, 3vv, 1580, B viii;
Amorosetto neo, 5vv, 1592, B vii;
Ancor ch’io possa dire, 4vv, 1579, B viii;
Anzi via più, 3vv, 1580, B viii;
Bella fanciulla, 3vv, 1580, B viii;
Caro amoroso neo, 5vv, 1577;
Che pena si può dire, 3vv, 1580, B viii;
Chiara beata luce, 5vv, 1566, B vii, O i;
Chi non sa ciò, 4vv, 1579, B viii;
Cintia tu sei più bella, 5vv, 1566, B vii, O i;
Come al partir, 3vv, 1580, B viii;
Come la notte, 3vv, 1580, B viii;
Cor mio senza cervello, 7vv, 1564, B viii;
Da’ bei raggi, 5vv, 1567, B vii;
Dalle perle e rubini, 5vv, 1577, B vii;
Deh avesse Amor, 3vv, 1580, B viii
Deh ferma, Amor, 3vv, 1580, B viii;
Deh perchè il lungo pianto, 5vv, 1604, B vii, O ii;
Deh perchè, morte mia, 5vv, 1576, B vii;
Deh perchè voglio, 3vv, 1580, B viii;
Deh torna a me, mio sol, 3vv, 1580, B viii; D
i neve e fresche rose, 6vv, 1579, B viii;
Donna, poichè non puote, 5vv, 1604, B vii, O ii;
Donna poi che volete, 5vv, 1566, B vii, O i;
Donna, se l’occhio mio, 4vv, 1564, B viii;
Donna s’io resto vivo, 5vv, 1566, B vii, O i;
D’una gioia, 5vv, 1593; Dunque fia ver, 3vv, 1580, B viii;
Ero così dicea, 4vv, 1588, B viii;
Fida scorte, 7vv, 1584;
Gelo ha Madonna il seno, 6vv, 1579, B viii (1610 as Hymnum cantate);
Gioia m’abonda, 4vv, 1579, B viii;
Gravi pene in amor, 5vv, 1562, B vii;
Il desiderio e la speranza, 5vv, 1566, B vii, O i;
Il dolce aspetto, 5vv, 1562, B vii
Il vago e lieto aspetto, 5vv, 1566, B vii, O i;
Ingiustissimo Amor, 5vv, 1562, B vii;
Ingrato Amor, 3vv, 1570, B viii;
Innanzi a te che dalle prime, 4vv, 1579, B viii;
Io non potria goder, 5vv, 1576, B vii;
L’alma mia fiamma oltra, 6vv, 1560, B viii;
La mia spietata sorte, 6vv, 1579, B viii;
Lasso, chè desiando, 5vv, 1578, 1604, B vii, O ii;
Liete fiore e felici, 5vv, 1562, B vii;
Ma di che debbo lamentarmi, 4vv, 1579, B viii (arr. 3vv, 1580, B viii);
Madonna, poi ch’uccidermi volete, 4vv, 1561, B viii (arr. 3vv, 1580, B viii; arr. L. Balbi, 5vv, 1589, B vii);
Mai non vo’ più cantar, 3vv, 1586 (1p. of a 6p. cycle with other composers), B viii;
Ma non apparirà, 3vv, 1580, B viii;
Mentre ad ogni stagion, 3vv, 1580, B viii
Mentre il lauro gentil, 5vv, 1582, B vii;
Mentre l’acerbo duolo, 4vv, 1579, B viii;
Mentre, mia stella, miri, 6vv, 1579, B viii (1610 as In toto corde);
Mirami, vita mia, 5vv, 1583, B vii (1604 as Domine quid multiplicati; Il secondo libro della musica di Claudio Monteverdi, 1608, as Respice ò Jesu; further Latin contrafacta, 1588, 1589);
Nel grato e dolce albergo, 5vv, 1604, B vii, O ii;
Non è ver, 3vv, 1580, B viii;
Occhi, che fia di voi, 8vv, 1584, B viii;
Occhi leggiadri, 4vv, 1579, B viii;
O di che grato odor, 5vv, 1566, B vii, O i;
O dolce servitù, 5vv, 1566, B vii, O i;
O liete piante, 5vv, 1578, B vii;
O se, quanto è, l’ardore, 3vv, 1580, B viii;
O voi felici, 5vv, 1604, B vii, O ii;
O voi, servi d’Amore, 4vv, 1579, B viii;
Padre del ciel, 5vv, 1604, B vii, O ii;
Perchè aspra e cruda sei, 4vv, 1579, B viii;
Perché sopporti, 7vv, 1584;
Punge l’ape amorosa, 5vv, 1604, B vii, O ii
Qual maggior segno Aurora, 5vv, 1566, B vii, O i;
Quand’io penso al matire, 5vv, 1566, B vii, O i;
Queste alme da natura, 5vv, 1604, B vii, O ii;
Questi della mia musa, 4vv, 1579, B viii;
S’al vostro mal consente, 5vv, 1562, B vii;
S’amar si deve il bello, 5vv, 1604, B vii, O ii;
Sa questo altier, 3vv, 1580, B viii;
Se’l sol si scosta, 3vv, 1580, B viii;
Se nel mirar quel lume, 5vv, 1566, B vii, O i;
Se non m’inganna Amore, 3vv, 1586, B viii;
Se non volete, 4vv, 1579, B viii;
Sento l’aura vital, 5vv, 1566, B vii, O i;
Se potesse morir, 4vv, 1579, B viii;
S’ergan carchi di spoglie, 5vv, 1566, B vii, O i;
S’è ver, donna gentile, 5vv, 1604, B vii, O ii;
Signor che del peccato, 5vv, 1604, B vii, O ii;
Signor, cui fu già poco, 5vv, 1604, B vii, O ii;
Signor, fra tutte le opre, 5vv, 1586, 1604, B vii, O ii
Signor l’ardente fuoco, 5vv, 1566, B vii, O i;
Si rubella d’Amor, 4vv, 1579, B viii;
Son simile all’avar, 3vv, 1580, B viii;
Sorgi, popol felice, 5vv, 1604, B vii, O ii;
Svelto ha di morte, 5vv, 1568, B vii;
Tanto coi lieti suoni, 5vv, 1566, B vii, O i;
Tanto è il piacer ch’io sento, 5vv, 1566, B vii, O i;
Tanto t’amo, tanto t’adoro, 3vv, 1565, B viii;
Tra pure nevi alme, 6vv, 1579 (3p. of a sestina with other composers), B viii;
Un breve sì, 5vv, 1604, B vii, O ii;
Vergine bella, 5vv, 1604, B vii, O ii;
Vergine Madre, figlia, 5vv, 1604, B vii, O ii;
Vergine sacro vel, 5vv, 1604, B vii, O ii;
Vergine, son già stanco, 5vv, 1604, B vii, O ii;
Vi colse, o donna, 4vv, 1579, B viii;
Vide l’Arno superbo ambe, 5vv, 1586, B vii;
Vivea solo per voi, 5vv, 1570 (2p. of an 11p. canzone with other composers), B vii;
Vorrei lasso, 5vv, 1583, B vii
Intermedi for L. Dolce: Marianna, 1565; L. Dolce: Le troiane, 1566; C. Frangipane: Tragedia, 1574; all lost

Vocal religiosa:

Editions:Claudii Meruli: Opera omnia, ed. J. Bastian, CMM, li (1970–) [vols i-vi entitled Musica sacra] [B i–ix]
Claudio Merulo: Messe d’intavolatura d’organo, ed. R. Judd, CEKM, xlvii/5 (1991) [J]
Claudio Merulo: Canzoni d’intavolatura d’organo, ed. W. Cunningham and C. McDermott, RRMR, xc–xci (1992) [C]
Claudio Merulo: Messe d’intavolatura d’organo, ed. R. Walter, Diletto musicale, nos.1121–4 (Munich and Vienna, 1992–5) [W i–iv]
Claudio Merulo: Il primo libro de’ madrigali a cinque voci (Venice, 1566), ed. J.A. Owens, SCMad, xviii (1993) [O i]
Claudio Merulo: Il secondo libro de’ madrigali a cinque voci (Venice, 1604), ed. J.A. Owens, SCMad, xix (1994) [O ii]

Latin:
Missarum liber primus, 5vv (Venice, 1573) [1573]
Liber primus sacrarum cantionum, 5vv (Venice, 1578) [1578a]
Liber secundus sacrarum cantionum, 5vv (Venice, 1578) [1578b]
Il primo libro de mottetti, 6vv (Venice, 1583) [1583]
Il primo libro de mottetti a voci pari, 4vv (Venice, 1584) [1584]
Il secondo libro de mottetti, 6vv (Venice, 1593) [1593]
Sacrorum concentuum, 5, 6, 10, 12, 16vv (Venice, 1594) [1594]
Il terzo libro de mottetti, 6vv (Venice, 1605), inc. [1605]
Missae duae, 8, 12vv, org (Venice, 1609) [1609]
1585, 1590, 1593, 1599

Organ masses:
Messe d’intavolatura d’organo (Venice, 1568):
Missae Apostolorum, 4vv, J, W i;
Missae in Dominicis diebus, 4vv, J, W ii;
Missae Virginis Mariae, 4vv, J; W iii;
Credo in dominicis diebus, 4vv, J; W iv;
Credo Angelorum, 4vv, J; W iv;
Credo Cardinalium, 4vv, J; W iv

Mass:
Aspice domine, 5vv, 1573, B i;
Benedicam Dominum, 12vv, 1609, Bii;
Benedicta es, coelorum regina, 5vv, 1573, B i;
Cara la vita mia, 8vv, 1609, B ii;
Oncques amour, 5vv, 1573, B i;
Susanne un giour, 5vv, 1573, B i;
Kyrie quinti toni, 5vv, 1594, B vi;
Kyrie sexti toni, 8vv, 1594, B vi;
Kyrie sexti toni, 12vv, 1594, B vi;
Sanctus primi toni, 16vv, 1594, B vi;
Sanctus sexti toni, 8vv, 1594, B vi;
Sanctus sexti toni, 12vv, 1594, B vi

Other latin texted:
Adoramus te, Domine, 6vv, 1593, B iv;
Anima nostra sustinet Dominum, 8vv, 1594, B v;
Apparuit benignitas, 6vv, 1593, B iv;
Assumpsit Jesus Petrum, 6vv, 1583, B iv;
Ascendens Christus in altum, 5vv, 1578a, B iii;
Audi, Domine hymnum, 6vv, 1593, B iv;
Ave gratia plena, 8vv, 1594, B v;
Ave Maria, 5vv, 1578a, B iii;
Beata Elisabeth, 5vv, 1578a, B iii;
Beata es, Virgo Maria, 7vv, 1593, B iv;
Beata viscera, 6vv, 1593, B iv;
Beati qui custodiunt judicium, 4vv, 1584, B v;
Beati qui habitant in domo tua, 4vv, 1584, B v;
Benedicite, spiritus, 6vv, 1583, B iv;
Benedictus Dominus, 8vv, 1594, B v;
Bonum certamen certavi, 5vv, 1578a, B iii;
Bonum est confiteri, 7vv, 1593, B iv;
Cantabo Domino in vita mea, 4vv, 1584, B v;
Cantate Domino, 7vv, 1593, B iv;
Clamavi in toto corde meo, 4vv, 1584, B v
Cogitavi dies antiquos, 4vv, 1584, B v;
Confiteantur tibi populi, 8vv, 1594, B v;
Cumque beatissimus Marcus Evangelista, 5vv, 1578a, B iii;
Delicta juventutis meae, 6vv, 1583, B iv;
Deus noster refugium, 8vv, 1594, B v;
Domine, si adhuc populo, 5vv, 1578b, B iii;
Dominus dedit, 6vv, 1583, B iv;
Dominus illuminatio, 7vv, 1593, B iv;
Dominus regit me, 4vv, 1584, B v;
Dum illucescente, 4vv, 1584, B v;
Ecce Maria genuit, 7vv, 1593, B iv;
Ego sum panis vivus, 5vv, 1578a, B iii;
Eminente coeli dulcedine, 5vv, 1578b, B iii;
Exaudi, Domine, 7vv, 1593, B iv;
Exaudi me, Domine, 6vv, 1593, B iv;
Gaude, felix parens Hispania, 5vv, 1578b, B iii;
Gaude Maria Virgo, 10vv, 1594, B vi;
Gaude sponsa cara Dei, 6vv, 1583, B iv;
Haec est dies, 5vv, 1578a, B iii;
Haec est dies, 8vv, 15905, B v
Haec est domus Dei, 5vv, 1578b, B iii;
Haec est Virgo prudens, 5vv, 1578b, B iii;
Hei mihi! Domine, 7vv, 1593, B iv;
Hodie beata Virgo Maria, 5vv, 1578a, B iii;
Hodie Christus natus est, 10vv, 1594, B vi;
Hodie Spiritus Sanctus, 5vv, 1578a, B iii;
Homo Dei, 8vv, 1594, B v;
Inclina Domine aurem tuam, 4vv, 1584, B v;
In Deo laudabo, 7vv, 1593, B iv;
In Deo speravit, 6vv, 1583, B iv;
Indicabo tibi, homo, 8vv, 1594, B v;
Innocentes pro Christo, 5vv, 1578a, B iii;
In te Domine speravi, 6vv, 1583, B iv (arr. lute, 1599);
In tribulatione mea, 8vv, 1594, B v;
Iste est Joannes, 4vv, 1584, B v;
Iste Sanctus Theodorus, 4vv, 1584, B v;
Jesum quem quaeritis, 6vv, 1593, B iv;
Judica me, Domine, 6vv, 1593, B iv;
Jubilate Deo, 4vv, 1584, B v;
Jubilate Deo, 6vv, 1593, B iv;
Laetabimur, 6vv, 1593, B iv
Laudate Dominum, 8vv, 1594, B v;
Levita Laurentius, 5vv, 1578b, B iii;
Litaniae Beatae Mariae virginis, 8vv, 1609, B ii;
Lux fulgebit, 7vv, 1593, B iv;
Magna enim sunt, 6vv, 1583, B iv;
Magnificat primi toni, 8vv, 1594, B vi;
Magnificat primi toni, 12vv, 1594, B vi;
Magnificat quinti toni, 8vv, 1594, B vi;
Magnificat sexti toni, 8vv, 1594, B vi;
Magnum haereditatis mysterium, 8vv, 1594, B v;
Magnus Dominus, 7vv, 1593, B iv;
Maria Mater gratiae, 4vv, 1584, B v;
Maria unxit pedes Jesu, 5vv, 1578a, B iii;
Maria Virgo, 8vv, 1594, B v;
Maria Virgo assumpta est, 6vv, 1605, B vi (org. tablature, D-Mbs Mus.265);
Maria Virgo caelos ascendit, 5vv, 1578b, B iii;
Maximum hoc omnium, 5vv, 1578a, B iii;
Memento mei Deus, 4vv, 1584, B v;
Mirabiles elationes maris, 8vv, 1594, B v
Nativitatem hodiernam, 5vv, 1578b, B iii;
Ne projicias me, 4vv, 1584, B v;
Ne reminiscaris, 6vv, 1583, B iv;
O admirabile commercium, 5vv, 1578a, B iii;
O adoranda Trinitas, 5vv, 1578a, B iii;
O Alberte, norma munditiae, 5vv, 1578b, B iii;
O altitudo divitiarum, 6vv, 1583, B iv;
O altitudo divitiarum, 7vv, 1581, B iv;
O crux benedicta, 5vv, 1578b, B iii;
O Doctor optime, 5vv, 1578b, B iii;
O gloriosa Domina, 4vv, 1584, B v;
O quam gloriosum, 5vv, 1578b, B iii;
O quam suavis est, 6vv, 1593, B iv;
O Rex gentium, 6vv, 1583, B iv;
O rosa incorruptibilis, 8vv, 1594, B v;
O sacrum convivium, 6vv, 1583, B iv;
O virgo justa, 5vv, 1578b, B iii;
Pax vobis, ego sum, 5vv, 1578b, B iii;
Peccantem me quotidie, 6vv, 1583, B iv;
Peccavi super numerum, 6vv, 1583, B iv
Puellae saltanti, 5vv, 1578b, B iii;
Puer qui natus est, 5vv, 1578a, B iii;
Puer qui natus est nobis, 6vv, 1593, B iv;
Quae sunt in corde, 6vv, 1583, B iv;
Quantas ostendisti mihi, 6vv, 1593, B iv;
Qui manducat, 4vv, 1584, B v;
Qui me confessus fuerit, 5vv, 1578b, B iii (arr. lute, 1593);
Quis est homo, qui vivet?, 4vv, 1584, B v;
Regina caeli laetare, 8vv, 1594, B vi;
Repleatur os meum laude, 4vv, 1584, B v;
Respice, Francisce, 5vv, 1578b, B iii;
Sacerdos et Pontifex, 5vv, 1578b, B iii;
Salvum fac populum tuum, 12vv, 1594, B vi;
Sancta et immaculata virginitas, 4vv, 1584, B v;
Sancti et justi, 5vv, 1578a, B iii;
Salvator noster, dilectissimi, 5vv, 1578a, B iii;
Similabo eum, 5vv, 1578b, B iii;
Simile est regnum caelorum, 6vv, 1583, B iv;
Spiritus Sanctus, 7vv, 1593, B iv;
Stephanus autem plenus gratia, 5vv, 1578a, B iii;
Tanquam aurum in fornace, 5vv, 1578b, B iii
Tribuat tibi, 7vv, 1593, B iv;
Tribulationem et dolorem, 5vv, 1578b, B iii;
Tribus miraculis ornatum diem, 5vv, 1578a, B iii;
Tu es Petrus, 5vv, 1578a, B iii;
Ubi caritas, 6vv, 1583, B iv;
Ubi sunt misericordiae, 6vv, 1583, B iv;
Ure igne Sancti Spiritus, 6vv, 1583, B iv;
Veni Sancte Spiritus, 6vv, 1583, B iv;
Verbum iniquum, 6vv, 1583, B iv;
Vias tuas Domine, 4vv, 1584, B v;
Vias tuas Domine, 10vv, 1594, B vi;
Vigilate ergo, quia nescitis, 4vv, 1584, B v;
Vos qui reliquistis omnia, 5vv, 1578b, B iii

Instrumental:

Versetti:
all in I-Tn; ed S. dalla Libera (Padova, 1971)
Versetti del secondo tono;
Magnificat primi toni;
Messa Domenicale;
Messa degli Apostoli;
Versi del secondo tono;
Versi dell’ottavo tono;
Versi del primo tono (Magnificat primi toni);
Passo e mezzo

Ricercares:
Ricercari d’intavolatura d’organo … libro primo (Venice, 1567); ed. A. Marcon and A. Gaus, Musica antiqua nova arte scripta, ii (Zimmern ob Rottweil, 1995)
Il primo libro de ricercari da cantare, 4vv (Venice, 1574); B ix; IIM, v (1987)
Ricercari da cantare, libro secondo, 4vv (Venice, 1607); IIM, vi (1987)
Ricercari da cantare, libro terzo, 4vv (Venice, 1608); IIM, vii (1987)

Toccatas:
Toccate d’intavolatura d’organo, libro primo (Rome, 1598/R in Archivium musicum, xliii (Florence, 1982)); ed. S. dalla Libera (Milan, 1959/R)
Toccate d’intavolatura d’organo, libro secondo (Rome, 1604/R in Archivium musicum, xliii (Florence, 1982)); ed. S. dalla Libera (Milan, 1959/R)
2 toccatas, 1593, 1607

Canzonas:
Canzoni d’intavolatura d’organo fatte alla francese, 4vv (Venice, 1592)
Libro secondo di canzoni d’intavolatura d’organo fatte alla francese, 4vv (Venice, 1606)
Terzo libro de canzoni d’intavolatura d’organo fatte alla francese, 4vv (Venice, 1611)
Canzonas, insts, kbd, 1588, 1607, 1608, 1617, A-Wm, I-VEcap, Tn

 

 

Charles Louis Eugène Koechlin  París, 27 de noviembre de 1867–Le Canadel, 31 de diciembre de 1950) fue un compositor, profesor de musica y musicógrafo francés

Charles Koechlin – Symphony No. 1 (1926)

BIOGRAFIA

OBRA:

Vocal:

Stage:
first performed in Paris unless otherwise stated
op.
36Jacob chez Laban (pastorale biblique, 1, Koechlin), S, T, SATB, orch, 1896–1908, Bériza, 19 May 1925
45La forêt païenne (Danses antiques) (ballet, Koechlin), 1908–16, orchd 1920, concert perf., Arts Décoratifs, 11 June 1925
67La divine vesprée (ballet, Koechlin), 1915–17, orchd 1918, concert perf., Schola Cantorum, 21 March 1937
158Le 14 juillet: Liberté (incid music for Act 2 finale, R. Rolland), 1936, Arènes de Lutèce, 14 July 1936, reorchd, Alhambra, 15 July 1936
169Alceste (Euripides, trans. H. Marchand), unison chorus, 1938, French Radio, 23 March 1952
210L’âme heureuse (ballet, J. Charrat), 1945–7 [mostly from opp.205, 209], OC, 20 Feb 1948
222Voyages: film dansé (ballet, Koechlin), 1947, orch inc. [from opp.132, 209, 214], completed by O. Nies, 1986, Kassel, Staatstheater, 21 Dec 1986
—Silvérie, ou Les fonds Hollandais (comédie musicale, 1, Koechlin, after A. Allais and T. Bernard), 1948, inc.

Choral:
op.
1/1Le renouveau (C. d’Orléans), SATB, pf ad lib, 1890–94 (1896)
3La vérandah (L. de Lisle), S, SSAA, pf/orch, 1893 (1899)
4/1Dans le ciel clair (de Lisle), S, Mez, A, female chorus, pf/orch, 1894–5 (1900)
4/2Sous bois (P. Gille), S, SSAA, pf, 1897 (1898)
7/4Aux temps des fées (E. Haraucourt), 1937 [version of song]
8/7La paix (T. de Banville), 1898 [version of song]
11La fin de l’homme (de Lisle), T, Bar, SATB, orch, 1895, rev. 1898, 1900 (1906)
12La lampe du ciel (de Lisle), S, T, Bar/B, SA(TB ad lib), orch, 1896 (1906)
15/2Midi (de Lisle), SATB, orch, ?1900 [version of song]
16L’abbaye (Lat. liturgical texts), pt 1, 8 movts, S, T, chorus, org, orch, 1899–1902, orchd 1903 (1907)
183 poèmes du ‘Livre de la Jungle’ (Kipling, trans. L. Fabulet and R. d’Humières), Mez/S, A, T, B, SAT, pf/orch, 1899–1901, orchd 1903–4 (1905)
37Chant funèbre à la mémoire des jeunes femmes défuntes (Vierges mortes), double chorus, org, orch, 1902–7, orchd ?1908
40La chute des étoiles (de Lisle), female chorus, pf, 1905–9
42L’abbaye (Lat. liturgical texts), pt 2, 10 movts, S, Mez, A, T, Bar, B, triple chorus, org, orch, 1905–10, orchd 1913, 1920
44/3Choeur des voleurs (A. Bonnard), male chorus, pf, 1908
69Choral (Koechlin), double chorus, org, orch, 1918, orchd 1919 [finale for suite Les saisons with opp.30, 47, 48]
118Duos, trios et quatuors a cappella de caractère modal, 1932
138Chant pour Thaelmann, chorus, pf/wind orch, 1934 (1934), orchd 1937
150Quelques choeurs [10] réligieux a cappella, de style modal, 1935 (1951), no.3 orchd 1937
—Hymne à la liberté (de Lisle), chorus, wind band, 1936 (1936)
—Hymne à la raison (de Lisle), chorus, wind band, 1936 (1936)
161Requiem des pauvres bougres, 6 movts, chorus, pf, org, ondes martenot, orch, 1936–7, movts 1–4 orchd P. Renaudin, 1981–2
22515 motets de style archaïque, chorus, ww qt, 1949

Songs:
op.
1/2–65 rondels (Banville): La nuit, Le thé, Le printemps, L’été, La chasse, 1890–94 (1896), orchd 1895
55 mélodies: Promenade galante (Banville), Moisson prochaine (L.-H. Bouilhet), Chanson d’amour (Bouilhet), Menuet (F. Gregh), Si tu le veux (de Marsan), 1893–7 (1898–1900, 1905), all but no.3 orchd 1893–7
74 poèmes d’E. Haraucourt: Clair de lune, Plein eau, Dame du ciel, Aux temps des fées, 1890–95 (1900), orchd 1894–7
87 rondels (Banville): La pêche, L’hiver, Les pierreries, La lune, L’air, Le matin, La paix, 1891–5 (1897), orchd 1896–7
9Les clairs de lune (de Lisle): Mez/S, T, pf/orch, female chorus ad lib, 1893 (1905), orchd 1897, choral arr. 1916
13Poèmes d’automne: Déclin d’amour (A. Sully-Prud’homme), Les rêves morts (de Lisle), Le nénuphar (Haraucourt), fl obbl ad lib, L’astre rouge (de Lisle), 1894–9 (1905), orchd ?1894–9
149 rondels (de Banville): Le jour, Le midi, L’eau, Le vin, Les métaux, La terre, L’automne, Les étoiles, La guerre, 1896–9, female chorus ad lib in nos.6–9 (n.d.), orchd 1901
153 mélodies (de Lisle): Juin, Midi, Nox, 1897–1900 (1902, 1905), orchd 1900
173 mélodies: Le colibri (de Lisle), La prière du mort (J.-M. de Heredia), Epiphanie (de Lisle), 1895–1900 (1902), nos.2 and 3 orchd 1897, 1900
212 villanelles (de Lisle): Dans l’air léger, Le temps, l’étendue et le nombre, 1900–01 (1905)
224 mélodies: La chanson des ingénues (Verlaine), Novembre (P. Bourget), Mon rêve familier (Verlaine), Il pleure dans mon coeur (Verlaine), 1900–01 (n.d.)
232 poèmes d’André Chénier: La jeune Tarentine, Néère, 1900–02 (1905), no.1 orchd 1930
244 poèmes de ‘La bonne chanson’ (Verlaine): Le soleil du matin, Un jour de juin, N’est-ce pas?, Va, chanson, str qt ad lib, 1901–2 (n.d.)
284 mélodies: Sur la grève (R. d’Humières), Automne (A. Samain), Accompagnement (Samain), Le vaisseau (Haraucourt), 1902–7 (n.d.)
316 mélodies (Samain: Aux flancs du vase): Le sommeil de Canope, Le cortège d’Amphitrite, L’île ancienne, La maison du matin, Le repas préparé, Amphise et Melitta, 1902–8 (n.d.), nos.1–3 orchd 1912–21
354 mélodies (Samain): J’ai rêvé cette nuit, Améthyste, Rhodante, Soir païen, 1905–9, 2–4 pubd (n.d.)
395 chansons de Bilitis (P. Louÿs): Hymne à Astarté, Pluie au matin, Chant funèbre, Hymne à la nuit, Epitaphe de Bilitis, 1898–1908 (1923)
443 mélodies: Le paysage dans le cadre des portières (Verlaine), Des roses sur la mer (R. Vivien), Choeur des voleurs (Bonnard: Les familiers), 1900–16 [no.3 for TB chorus, pf]
565 mélodies (T. Klingsor: Shéhérazade): Chanson d’Engaddi, Paysage, La rose du rameau sec, La neige, Le ventre merveilleux, 1914–16 (1990)
682 mélodies: Hymne à Venus (V. de l’Isle-Adam), Dissolution (P. Claudel: La connaissance de l’est), 1918
848 mélodies (Klingsor: Shéhérazade): Dédicace, Le voyage, Le potier, La chanson des beaux amants, Chanson de flûte, L’oiseau en cage, Offrande, La chanson d’Ishak de Mossoul, 1922–3 (1990)
1042 mélodies: Infini, fais que je t’oublie (P.-J. Toulet), Je suis jaloux, Psyché (P. Corneille), 1927–8

Instrumental:

Orch.:
op.
2L’épopée de l’Ecole Polytechnique, nar, orch, 1894, vs (Paris, 1894)
10Deux pièces, 1894–6: Chant funèbre [after op.2/7], Chant de fiançailles
—Symphony, A, 1895–1900, inc.
20Deux pièces symphoniques, 1896–1900: En rêve, Au loin; no.2 pubd (1989)
25La forêt, pt 1: Le jour, poème sym., 1897–1904, orchd 1905–6
26Deux études (essais) symphoniques, 1896–1901, orchd 1901–4
27En mer, la nuit, poème sym. after H. Heine: La mer du nord, 1899–1904
29La forêt, pt 2: La nuit, poème sym., 1896–1907
30L’automne, suite sym., 1896–1906: Les vendanges, Après-midi d’Octobre, Fin d’automne
38Nuit de Walpurgis classique (Ronde nocturne), poème sym. after Verlaine, 1901–8, rev. 1915–16, orchd 1916
42bisL’abbaye: Finale, org, orch, 1909–12 [version of choral movt op.42/10], orchd 1920
43Deux poèmes symphoniques, 1898–1909, orchd 1911, 1916: Soleil et danses dans la forêt, Vers la lointaine, nocturne
44bisSuite javanaise, 1910 [transcr. of gamelan music]: Gamelang palag, Gamelang salandro, [untitled]; no.2 in BSIM, vi (1910), 548–63
46[5] Etudes antiques (Suite païenne, Poèmes antiques), suite sym., 1908–10, orchd 1908–13: Les temples, Soir au bord du lac [after op.31/6], Le cortège d’Amphitrite [after op.31/2], Epitaphe d’une jeune femme [after op.39/5], La joie païenne
46bisFirst version of La joie païenne, 1908 [op.46 finale]
47Deux poèmes symphoniques, 1908–10, orchd 1911, 1916: Le printemps, L’hiver
48Deux poèmes symphoniques (L’été), 1908–11, orchd 1916: Nuit de juin, Midi en août
49Trois chorales: L’espérance, org, orch, 1910–12, orchd 1920; La charité, org, 1909; La foi, org, orch, 1912–16, orchd 1921
50bisBallade (Scènes de la forêt), 7 sections after Heine, pf, orch, 1911–15, orchd 1919 (1974)
54Suite légendaire ‘La nuit féerique’, 1901–15, orchd 1920
57bisSymphony no.1, 1911–15, orchd 1926 [version of Str Qt no.2, op.57]
60bis4 sonatines françaises, orchd 1930 [version of op.60 for pf duet]
62Rapsodie sur des chansons françaises, 1915–16, orchd ?1919
65bisLes heures persanes, orchd 1921 [version of pf suite op.65]
70bisPoème, hn, orch, orchd 1927 [version of op.70 for hn, pf]
76/13 chorals, 1908–9 and 1919–20, orchd 1921 [no.1 for brass after choral movt op.42/5]
76/22 chorals, small orch, 1923
76/33 chorals, small orch, 1918–20
85bis[version of Cl Sonata no.1, op.85], orchd 1946 (1995)
86bis[version of Cl Sonata no.2, op.86], orchd 1946 (1994)
95La course de printemps, poème sym. after R. Kipling: Second Jungle Book, 1908–25, orchd 1926–7 (1973)
106The Bride of a God, poème sym., 1929, collab. C. Urner
110Hymne au jour, ondes martenot, orch, 1929, orchd 1932
115bis20 chansons bretonnes, vc, orch, orchd 1934 [version of op.115 for vc, pf]
117bis5 chorals dans les modes du moyen-âge, 1931, orchd 1932 [from op.117]
121Fugue symphonique ‘Saint-Georges’, 1932
127Choral fugué (Hymne au soleil), C, 1933
128Choral fugué de style modal, org, orch, 1933, orchd 1944
129Vers la voûte étoilée, poème sym., orchd 1933 [from Nocturne, e , pf], rev. 1939 (1996)
130Sur les flots lointains, poème sym., 1933 [from melody by Urner] (1996)
148Hymne à la jeunesse, after A. Gide, 1934, orchd 1935
—Symphonie d’hymnes, 1936 [compiled from opp.127, 48/1, 110, 148, 69]
157terMarche funèbre, orch/wind orch, orchd 1937 [from op.157bis/13 for fl, pf]
159La méditation de Purun Bhagat, poème sym. after Kipling: Second Jungle Book, 1936 (1986)
160Les eaux vives, suite, 1936, for Paris Exposition 1937
170La cité nouvelle, rêve d’avenir, poème sym. after H.G. Wells: Men like Gods, 1938
170bisFinal chorale from op.170, str, 1938
171Le buisson ardent, pt 2, poème sym. after R. Rolland: Jean-Christophe, 1938 (1984) [see op.203]
175La loi de la jungle, poème sym. after Kipling: The Jungle Book, 1939, orchd 1940 (1986)
176Les bandar-log (Scherzo des singes), poème sym. after Kipling: The Jungle Book, 1939, orchd 1940 (1967)
177Le jeu de la nativité, org, chbr orch, 1941 (1980)
187Offrande musical sur le nom de BACH, 12 movts, pf, org, orch, 1942, orchd 1946
193Silhouettes de comédie, 12 pieces, bn, orch, 1942–3, orchd 1943 (1991), arr. bn, pf (1990)
1942 sonatines, ob d’amore/s sax, chbr orch, 1942–3, orchd 1943 (1989)
196Symphony no.2, 5 movts, 1943–4 [based on opp.126, 185/4, 82, 90, 109, 111]
202Le docteur Fabricius, poème sym. after C. Dollfus, 1941–4, orchd 1946
203Le buisson ardent, pt 1, 1945 (1984) [see op.171]
205Partita, 5 movts, chbr orch, 1945, orchd 1946 (1952)
214Introduction et 4 interludes de style atonal-sériel, 1947, orch completed by Nies, 1986 (1987) [see ballet op.222]

—

Chbr.:
op.
6Suite, 2 pf, 1896 (1899)
6bisAllegretto, vn, pf, 1898 (1899)
6terAndante, vn, pf, vc ad lib, 1898 (1899)
19Suite, 5 movts, pf duet, 1898–1901 (1901)
20/2Au loin, eng hn, pf, 1895–6 (1989) [first version of orch piece, orig. for solo pf]
324 petites pièces, hn, vn/va, pf, 1896–1906 (1974)
32bis2 nocturnes, fl, hn, pf/hp, 1897–1907 (1989)
33Nocturne, chromatic hp/pf, 1907
343 pièces, bn, pf, 1898–1907 (1990)
34bis3 pièces, fl, bn, pf, 1899–1908, rev. 1944 (1993)
4124 esquisses, pf, 1905–15 (1922)
50Ballade, pf, 1911–15 [solo version of op.50bis for pf, orch]
51String Quartet no.1, 1911–13 (1921)
52Flute Sonata, finale after Virgil, 1911–13 (1922)
53Viola Sonata, 1902–15 (1923) [finale after op.28/1]
55Suite en quatuor, fl, vn, va, pf, 1911–15 (1978)
57String Quartet no.2, 1911–15
58Oboe Sonata, 1911–16 (1981)
595 sonatines, pf, 1915–16 (1918)
604 sonatines françaises, pf duet, 1919 (1925), arr. org 1926
61a64 exercices faciles, pf, 1919–20 (1928)
61bL’école du jeu lié, pf, 1919–20 (1928)
61c10 petites pièces faciles, pf, 1915–16, 1919–20 (1921)
61d12 petites pièces, pf, 1915–16, 1919–20 (1921)
63Paysages et marines, 12 pieces, pf, 1915–16 (1918)
63bisPaysages et marines, fl, cl, str qt, pf, arr. 1917
64Violin Sonata, 1915–16 (1922)
65Les heures persanes, 16 pieces after Loti, pf, 1913–19 (1986)
66Cello Sonata, 1917 (1923)
70Horn Sonata, 1918–25 (1970), movt 2 arr. a sax, pf, 1941
71Bassoon Sonata, 1918–19 (1990), arr. hn, pf
72String Quartet no.3, 1917–21 (1924)
75Sonata, 2 fl, 1918–20 (1922)
75bisPastorale, fl, cl, pf, 1917–21 (1990) [movt 1 of inc. Trio]
7712 pastorales, pf, 1916–20 (1923)
80Quintet no.1, pf qnt, 1908, 1911, 1917–21 (1985)
85Clarinet Sonata no.1, 1923 (1993)
86Clarinet Sonata no.2, 1923 (1991)
874 nouvelles sonatines, pf, 1923–4 (1926)
91Divertissement, 2 fl, a fl/cl, 1923–4 (1939)
92Trio, str/ww (fl/ob, cl, bn), 1924 (1928)
1073 sonatines, org, 1928–9, no.1 pubd (1937)
11520 chansons bretonnes sur d’anciennes chansons populaires [from Barzas Breis], vc, pf, 1931–2, 12 pubd (1934)
12320 sonneries, hunting hns, 1932
124L’ancienne maison de campagne, 12 pieces, pf, 1932–3 (1937)
—Nocturne, e , pf, 1923–32 [see op.129 for orch]
14220 sonneries, hunting hns, 1935
147bisTu crois à beau soleil, wind band, 1935 [arr. of Louis XIII song]
153aQuelques chorals [4] pour des fêtes populaires, band, 1935–6, nos.3–4 pubd (1937)
153bis10 sonneries, hunting hns, 1935, 1944–5
155aSonatine modale, fl, cl, 1935–6 (1970)
155bisIdylle, 2 cl/vn, va, 1936 (1936)
156Quintet ‘Primavera’, fl, hp, vn, va, vc, 1936 (1985)
15714 chants, unpubd, arr. fl, 1936, fl, pf as op.157bis, 1936 (1948)
162La belle traversée, 3 pieces, pf, 1936–7
165Wind Septet (Caprice sur le retour de mon fils [Yves]), fl, ob, eng hn, cl, a sax, bn, hn, 1937 (1947), arr. fl, eng hn, C-cl, A-cl, basset hn, b cl, bn, hn, 1945
165bisLa vie s’ouvre devant toi — Va librement!, alternative fugal finale for op.165, 14 winds, 1937
173a4 petites pièces, cl, hn, 1938–9 (1970)
173bis2 pièces, cl, pf, 1939
174Vers le soleil, 7 monodies, ondes martenot, 1939
174bisCourse au soleil, alternative finale for op.174, ondes martenot, pf/orch, 1939
17814 pièces, cl, pf, 1942 (1992)
17914 pièces, ob/ob d’amore/eng hn, pf, 1942 (1991)
179bisChant de la résurrection, 2 tpt, 3 trbn, pf/org/ hmn, 1942 [arr. of op.179/14]
18015 pièces, hn, pf, some for 4 natural hn, 1942 (1984)
1843 sonatines, fl, 1942–3 (1951)
185Suite, 3 movts after G. Sand, eng hn, 1942 (1991)
18815 études, a sax, pf, 1942–3 (1970)
192100 [101] thèmes pour improvisation à l’orgue, 1943
19515 duos (Souvenirs de Bretagne), 2 cl, 1943–4 (1978)
197Les chants de Kervéléan [6], melody inst, pf, 1940, 1944
198Les chants de nectaire, 32 pieces after A. France: La révolte des anges, fl, 1944 (1999)
199Les chants de nectaire (Dans la forêt antique), 32 pieces after Virgil, fl, 1944 (1999)
200Les chants de nectaire (Prières, cortèges et danses pour les dieux familiers), 32 pieces, fl, 1944 (1999)
201Adagio, org, 1945 [for marriage of Soizic Guieysse]
206Trio, ob, cl, bn, 1945 (1957)
20812 petites pièces très faciles, pf, 1946
20915 préludes, nos.1–13, pf, no.14, org, no.15, pf duet, 1946, nos.1–10, 12–13 (1954), no.14 (1961), all but no.14 orchd 1947–8 [see ballets opp.210, 222]
211Adagio, org, 1947 (1968) [for marriage of Antoinette Guieysse]
21611 monodies: 1–9, cl; 10, ob d’amore/cl/s sax; 11, eng hn, 1947–8 (1989)
217In memoriam, 5 pieces, various ens, 1947
2203 monodies, lame sonore [see Writings, 1950], pf, 1948
221Sonate à 7, solo ob, fl, hpd/hp, str qt, 1949
223Quintet no.2 ‘Primavera II’, fl, hp, vn, va, vc, 1949
224Stèle funéraire, fl + pic + a fl, 1950 (1969)
225bis2 duos, fl, cl, 1949–50 [arr. op.225/9, 11]
226Adagio, org, 1950 [for marriage of Colette Guieysse]

—

Cinema:
music written for, or suggested by, films
132Seven Stars’ Symphony, 7 movts: Douglas Fairbanks, Lilian Harvey, Greta Garbo, Clara Bow, Marlene Dietrich, Emil Jannings, Charlie Chaplin, orch, 1933, rev. 1944 (1969)
134L’Andalouse dans Barcelone (unused score for part of film Croisières avec l’escadre), orch, 1933 (1995)
139Premier album de Lilian [Harvey], 9 pieces, S/T/cl, fl+pic, pf, 1934 (1985)
140Le portrait de Daisy Hamilton, 89 pieces, pf, some for small ens, 1934–8, 12 for pf, 8 arr. 2 pf by R. Orledge (2000)
141Les confidences d’un joueur de clarinette (score for unrealized film project, scenario by Koechlin, after Erckmann-Chatrian), small orch, 1934, completed by P. Renaudin (1981)
149Second album de Lilian, 8 pieces, fl + pic, ondes martenot, hpd, pf, 1935 (1986)
1517 chansons pour Gladys (Koechlin), after film Calais-Douvres (dir. A. Litvak) starring Lilian Harvey, S, pf, 1935 (1988)
1635 danses pour Ginger [Rogers], nos.1–2, pf, nos.3–5 unspecified, 1937, rev.1939; no.2 in Clavier, xxiii/6 (1984), 18–21, nos.1–2, 3–5 arr.2 pf by O. Nies (2000)
164Epitaphe de Jean Harlow (Romance), fl, a sax/va, pf/hp, 1937 (1970)
167Victoire de la vie (film score, dir. H. Cartier-Bresson), chbr orch, 1938

Miscellaneous:
Many vocalises, canons, fugues [incl. 1 of op.114, 1930, and op.126, str qt/org, 1931, orchd as 4th and 1st movts of Sym. no.2], chorales [incl. 27, opp.78–9, 1921;
62, opp.81–3, 1922–3;
22, op.117, 1931], harmony and counterpoint exercises [incl. 19, op.109, 1929, and 20, op.111, 1929], pieces for sight-reading and solfège, folksong arrangements

Orchestrations:
G. Fauré: Pelléas et Mélisande op.80: Prélude, Andantino quasi allegretto (Fileuse), Sicilienne, Molto adagio (La mort de Mélisande), 1898;
C. Saint-Saëns: Lola (oc, 1, S. Bordèse), 1901;
C. Debussy: Khamma [except bars 1–78], 1912–13;
A. de Castillon: 6 mélodies (Silvestre), op.8, 1920;
C. Porter: Within the Quota, ballet, 1923;
E. Chabrier: Bourrée fantasque, 1924;
J.S. Bach: Chorale ‘In dir ist Freude’, 1933;
F. Schubert: Fantasy ‘Wanderer’, C, d760, 1933;
G. Fauré: Chanson de Mélisande, 1936 [op.159bis];
B. Godard: Suite, 1945;
P. Tchaikovsky: 4 Pieces, incl. Swan Lake Waltz, 1945;
C. Urner: Suite normande (Esquisses normandes), 1945

Literatura:

‘La pédagogie musicale: professeurs et écoles libres’, Rapport sur la musique française contemporaine (Rome, 1913), 139–49
Etude sur les notes de passage (Paris, 1922)
‘Evolution de l’harmonie: période contemporaine’, EMDC, II/i (1925), 591–760
‘La mélodie’, Cinquante ans de musique française de 1874 à 1925, ed. L. Rohozinski, ii (Paris, 1925), 1–62
‘Souvenirs de Charles Koechlin’, Cinquante ans de musique française de 1874 à 1925, ed. L. Rohozinski, ii (Paris, 1925), 387–95
‘Les tendances de la musique française contemporaine’, EMDC, II/i (1925), 56–145
Précis des règles du contrepoint (Paris, 1926; Eng. trans., 1927)
Claude Debussy (Paris, 1927)
Gabriel Fauré (Paris, 1927, 2/1949; Eng. trans., 1946)
Traité de l’harmonie, i–iii (Paris, 1927–30)
Etude sur le choral d’école (Paris, 1929)
Etude sur l’écriture de la fugue d’école (Paris, 1934)
Théorie de la musique (Paris, 1934)
‘Pierre Maurice, musicien’, in M. Maurice: Pierre Maurice (Geneva, 1938)
Preface to J. Douel: Traité pratique de réalisation harmonique (Paris, 1940)
Les instruments à vent (Paris, 1948)
‘Art et liberté: tour d’ivoire’, Contrepoints, no.6 (1949), 102–21
‘Quelques réflexions au sujet de la musique atonale’, Music Today: Journal of the International Society for Contemporary Music, i (1949), 26–35
Preface to J. Keller: La lame sonore (Paris, 1950)
‘Etude sur Chostakovitch’, Musique russe, ed. P. Souvtchinsky, ii (Paris, 1953), 277–95
Traité de l’orchestration, i–iv (Paris, 1954–9)
‘Etude sur Koechlin par lui-même’, ReM, nos.340–41 (1981), 41–72; Eng. trans. in Orledge (1989), 297–324
Correspondance [1898–1951], ed. M. Li-Koechlin, ReM, nos.348–50 (1982)
‘Souvenirs sur Debussy’, Cahiers Debussy, no.7 (1983), 4–6
‘Etude sur Albert Roussel’, Revue internationale de musique française, no.14 (1984), 79–88
‘Maurice Ravel’, Cahiers Maurice Ravel, i (1985), 41–55
Numerous articles in Contrepoints (1946–9), Guide du concert, Humanité (1935–8), Ménestrel (1921–36), Monde musicale (1920–39), Pensée (1939–49), ReM (1921–53) and programme notes for the Concerts Colonne (1919–24); complete list in Orledge (1989), 423–8

 

Domenico Cimarosa (Aversa, Reino de Nápoles, 17 de diciembre de 1749 – Venecia, Archiducado de Austria, 11 de enero de 1801) fue un compositor clásico italiano.

IL MATRIMONIO SEGRETO – CIMAROSA-opera completa www.arteturismoe.altervista.org

https://youtu.be/NmlxiKPV-zY

BIOGRAFIA

OBRA:

Vocal secular:

Le stravaganze del conte (carnival 1772 Naples Teatro San Giovanni dei Fiorentini) [Le magie di Merlina e Zoroastro; Le pazzie di Stelladaura e Zoroastro]
La finta parigina (carnival 1773 Naples Teatro Nuovo)
I sdegni per amore (1.1776 Naples Teatro Nuovo)
I matrimoni in ballo (carnival 1776 Naples Teatro Nuovo)
La frascatana nobile (winter 1776 Naples Teatro Nuovo) [La finta frascatana]
I tre amanti (carnival 1777 Rome Teatro Della alla Valle) [Le gare degl’amanti]
Il fanatico per gli antiche Romani (spring 1777 Naples Teatro San Giovanni dei Fiorentini)
L’Armida immaginaria (summer 1777 Naples Teatro (San Giovanni) dei Fiorentini)
Gli amanti comici, o sia La famiglia in scompiglio (1778? ?Naples Teatro (San Giovanni) dei Fiorentini; carnival 1796 Crema) [Il matrimonio in commedia; La famiglia stravagante, ovvero Gli amanti comici]
Il ritorno di Don Calandrino (carnival 1778 Rome Teatro Della alla Valle) [Armidoro e Laurina]
Le stravaganze d’amore (1778 Naples Teatro San Giovanni dei Fiorentini)
Il matrimonio per industria (1778? Naples?) [?]
La contessina (summer 1778 Bologna) [?] [+ G. Astaritta, F.L. Gassmann]
Il matrimonio per raggiro (1778/9? Rome?; carnival 1802 Rome Teatro Della alla Valle) [La donna bizzarra]
L’italiana in Londra (carnival 1779 Rome Teatro Della alla Valle) [La virtù premiata]
L’infedeltà fedele (summer 1779 Naples, Teatro del Fondo)
Le donne rivali (carnival 1780 Rome Teatro Della alla Valle) [et al.]
Cajo Mario (carnival 1780 Teatro delle Dame)
I finti nobili (carnival 1780 Naples Teatro San Giovanni dei Fiorentini)
Il falegname (1780 Naples F) [L’artista]
L’avviso ai maritati (1780? ?Naples Teatro San Giovann) dei Fiorentini) [?]
Il capriccio drammatico (1781? Turin?; 1794 London)
Il pittor parigino (carnival 1781 Rome Teatro Della alla Valle) [Le brame deluse]
Alessandro nell’Indie (carnival 1781 Rome A)
L’amante combattuto dalle donne di Punto (1781 Naples Teatro San Giovanni dei Fiorentini) [La biondolina; La giardiniera fortunata]
Giunio Bruto (aut.1781 Verona)
Giannina e Bernardone (aut.1781 Venice SS) [Il villano geloso]
Il convito (carnival 1782 Venice SS) [Der Schmaus]
L’amor costante (carnival 1782 Rome Teatro Della alla Valle) [Giulietta ed Armidoro]
L’eroe cinese (13.8.1782 Naples SC)
La ballerina amante (1782 Naples Teatro San Giovanni dei Fiorentini) [L’amante ridicolo]
La Circe (carnival 1783 Milan S)
I due baroni di Rocca Azzurra (carnival 1783 Rome Teatro [alla] Valle) [Dve nevesty; I due baroni; La sposa in contrasto; Il barone deluso]
La villana riconosciuta (1783 Naples Teatro del Fondo) [La villanella rapita]
Oreste (13.8.1783 Naples SC)
Chi dell’altrui si veste presto si spoglia (1783 Naples F) [Nina e Martuffo]
Il vecchio burlato (1783 Venice) [?]
I matrimoni impensati (carnival 1784 Rome Teatro Della alla Valle) [La bella greca]
L’apparenza inganna, o sia La villeggiatura (spring 1784 Naples F)
La vanità delusa (spring 1784 Florence P) [Il mercato di Malmantile]
L’Olimpiade (10.7.1784 Vicenza)
I due supposti conti, ossia Lo sposo senza moglie (aut.1784 Milan S) [Lo sposo ridicolo]
Artaserse (26.12.1784 Turin TR)
Il barone burlato (1784 Naples Teatro Nuovo) [rev. Il pittor parigino] [+ F. Cipolla]
Li finti conti (spring 1785 Turin, Gallo-Ughetti) [?]
I fratelli papamosche (spring 1785 Turin, Gallo-Ughetti) [?]
Le statue parlante (1785 Correggio) [?]
Il marito disperato (1785 Naples F) [Il marito geloso; Die bestrafte Eifersucht]
La donna sempre al suo peggior s’appiglia (1785 Naples Teatro Nuovo)
Il credulo (carnival 1786 Naples Teatro Nuovo) [La baronessa stramba; Il credulo deluso]
Le trame deluse (1786 Naples Teatro Nuovo) [L’amor contrastato; Li raggiri scoperti]
L’impresario in angustie (1786 Naples Teatro Nuovo) [Die theatralischen Abenteuer]
La baronessa stramba (1786 Naples Teatro Nuovo) [rev. I matrimoni in ballo] [Il credulo]
Gli amanti alla prova (1786 Naples) [?]
L’impostore punito (1786/7 Turin C) [?]
Volodimiro (carnival 1787 Turin TR)
Il fanatico burlato (1787 Naples Teatro del Fondo) [La burla felice; Der adelsüchtige Bürger]
La felicità inaspettata (3.1788 St Petersburg E)
La vergine del sole (1788? ?St Petersburg E; 6.11.1789 St Petersburg BK)
La scuffiara (1788) [?]
La Cleopatra (27.9.1789 St Petersburg E) [Cleopatra e Marc’Antonio]
Il matrimonio segreto (7.2.1792 Vienna B), score
Sophie et Dorval () [rev. Il matrimonio segreto]
Il matrimonio per susurro () [?]
La calamità dei cuori (1792/3 Vienna B) [?]
Contrattempi (1793 Bonn) [?]
Amor rende sagace (1.4.1793 Vienna B)
I traci amanti (19.6.1793 Naples Teatro Nuovo) [Il padre alla moda, ossia Lo Sbarco di Mustanzir Bassà; Gli turchi amanti; Les amants Turcs]
Il maestro di cappella (2.7.1793 Berlin, Germany)
Le astuzie femminili (26.8.1794 Naples Teatro (San Giovanni) dei Fiorentini)
La pupilla astuta (1794 Naples Teatro del Fondo) [?]
La serva innamorata (1794 Naples F) [?]
Penelope (carnival 1795 Naples Teatro del Fondo)
Le nozze in garbuglio (1795 Messina)
L’impegno superato (1795 Naples Teatro del Fondo)
La finta ammalata (1796 Lisbon)
I nemici generosi (carnival 1796 Rome Teatro Della alla Valle) [Il duello per complimento]
Gli Orazi e i Curiazi (carnival 1797 Venice F)
La morte di Assalonne (? Florence, Oratorio) [rev. Gli Orazi ed i Curiazi]
Achille all’assedio di Troja (carnival 1797 Rome A)
L’imprudente fortunato (carnival 1797 Rome Teatro Della alla Valle)
Artemisia regina di Caria (summer 1797 Naples SC)
Attilio Regolo (carnival 1797 Reggio) [?]
Le nozze di Lauretta (1797? Turin) [?]
L’apprensivo raggirato (1798 Naples Teatro San Giovanni dei Fiorentini)
Il secreto (aut.1798 Turin C)
Semiramide (1799 Naples F) [?]
Il conte di bell’amore () [?]
L’arte contro l’arte (carnival 1800 Alexandria) [?]
Artemisia (carnival 1801 Venice F)
Il nuovo podestà (spring 1802 Bologna) [?]
Tiro Vespasiano (1821 Lisbon) [?]
La discordia fortunata () [?]
L’ajo nell’imbarazzo () [?]
Le donne vendicate () [?]
Il cavalier del dente () [?]
La Molinara (incomplete) [?]

Cantata pastorale [Deifile, Rodope, Corebo], 3 solo vv, chorus, ?c1780, B-Bc
Cantata [Le tue parole o padre] (V. Monti), 3vv, Rome, 3 March 1782, D-Mbs (as L’ombra, Genio ed Enrico), F-Pn, I-Nc*; for the birth of the dauphin
Angelica e Medoro (cant.), Vienna, 1783, collab. Millico
Aristea (cant., 2), 4 solo vv, chorus, I-Fc (incl. music by A. Sacchini)
? Le feste d’Apollo, Naples, Fondo, 1787
Atene edificata (cant., F. Moretti), 4 solo vv, chorus, St Petersburg, Hermitage, 29 June/10 July 1788, Nc*; for St Peter’s Day
Coro di guerrieri, St Petersburg, Nc* (dated 1790), USSR-Ltob
Coro dall’Indica marina, St Petersburg, c1787–91, formerly I-Sac*
Coro doppio, St Petersburg, c1787–91, USSR-Ltob
La sorpresa (cant. pastorale, ?Moretti), 5 solo vv, chorus, St Petersburg, c1790–91, I-Nc* (inc.); for Count Bezborodko
La serenata non preveduta (cant., ?Moretti), St Petersburg, spr. 1791; for Prince Grigory Potyomkin
Inno patriottico (L. Rossi), Naples, 19 May 1799; for the burning of the royal flag
? La felicità compita (patriotic hymn, Rossi)
Bella Italia (hymn, V. de Mattei), Naples, 1799, Nc* (frag.)
Il giuramento delle reali armate napolitane (hymn, S.A. Dandolo), STB, insts, Mc
Cantata [No che più lieto giorno] (L. Barbarotta), 3 solo vv, chorus, Naples, 23 Sept 1799, A-Wn, I-Nc* (and copy); for the return of the king [related to Il giorno felice]
Il maestro di cappella (int), Bar, orch, c1786–93; vs D-Bsb (in Ger.), I-Rsc (Leipzig, 1810) [ov. = that of L’impresario in angustie]
Il calzolaro (int); aria with pf (Berlin, ?1793)
6 canzonette italiane coll’accompagnamento di chitarra (Vienna, ?1803/R)
8 duettini, 2 S, kbd, B-Bc (S, T), D-Mbs, MÜs, I-Bsf, Fc (2 copies) (Vienna, ?1803)
Il giorno felice (cant., ?G. Fiorio), 4 solo vv, chorus, Venice, La Fenice, 1803 (? previously perf. Naples, ?c1775–7), F-Pn, I-BGi; ov. ed. A. Toni (Milan, 1957)

Vocal religiosa:

Oratorios:
Giuditta (2, P. Bagnoli), Venice, ?1782, A-Wgm (rev. as Judith), I-Nc (Lat.), F-Pn (as La Betulia liberata, o sia La morte di Oloferne, 3, rev. S. Pazzaglia, It.), I-Fc (as La Betulia liberata, It.)
Absalom (Absalon) (actio sacra, 2, Lat.), Venice, 1782, D-Dlb, MÜs, F-Pn, GB-Lbl, I-Nc*, Rf, Vsm [sources incl. different versions in It. or Lat., some with text by G.B. Burri]; as Assalonne (It.), Milan, 1819, B-Bc
Il sacrificio d’Abramo (2 pts), Naples, Fondo, 1786, A-Wgm, F-Pn, GB-Lcm (2 versions, 1 inc.), I-Nc (2 versions), PAc, Rf
Il trionfo delle fede (componimento drammatico, C. Filomarino), Naples, May 1794, Nc*; for liquefaction of blood of S Gennaro
Il martirio (componimento drammatico, G. Mollo), Naples, 1795, Bc* (frag.); for liquefaction of blood of S Gennaro
S Filippo Neri che risuscita Paolo Massimi (componimento sacro per musica, G.B. Rasi), Rome, 1797 [incl. music from Penelope, arr. P. Bonfichi], Rf (as Miracolo di S Filippo Neri)
Iefte, Nc (inc.)
Recit and arias, Della figlia già presso alla morte (from Iefte), Se fui sempre amiche stelle (from Achille all’assedio di Troja), inserted in F. Cipolla: La figlia di Gefte, GB-Lbl, I-Mc, Nc, Rsc, Vc

Masses:
F, TTB, insts, 1765, I-Nc;
F, SATB, insts, 1768, Nc*;
C, SATB, orch, 1772, D-MÜs;
D, SATB, orch, ?1776, MÜs;
G, SATB, orch, 1782, MÜs;
Missa pro defunctis, g, SATB, orch, St Petersburg, 1787, A-Wn (Libera me only), CH-E, D-Bsb, MÜs, F-Pn, I-Fc (2 copies), Ls, Nc*, Rsc, TE, Vnm, ed. V. Negri (Wiesbaden, 1975), ed. E. Krähenbühl (Zürich, 1976);
E , SATB, orch, I-Nc (dated 9 May 1796), Mc (as Grande Messe, only partly similar to Nc);
c, SATB, orch, A-Wn, D-MÜs (dated 1799), I-Fc;
C, SATB, insts, I-Nc (?autograph);
c, SATB, orch, Nc (pts only);
D, SATB, orch, D-MÜs;
d, SATB, orch, Vienna, MÜs;
E , SATB, orch, GB-Lbl;
Requiem, F, SATB, orch, I-Fc;
F, SATB, orch, D-Bsb (as Gloria);
F, SATB, bc, B-Bc, I-FAN;
F, SATB, orch, D-MÜs (inc.);
Messe brève, G, TTB, kbd, ed. L. Bordèse (Paris, 1879);
Messe pour l’Avent et le Carême, G, SATB, org, ed. L. Bordèse (Paris, 1879);
B , SATB, orch, I-Nc

Mass sections:
Credo, D, SATB, insts, 1768, I-Nc*;
Kyrie, C, SAB, orch, US-NYpm;
Kyrie, B , SATB, orch, GB-Ob, ed. J. Pilgrim (Hilversum, 1972);
Kyrie, B , SATB, orch, D-Mbs;
Credo, D, SSATB, orch, A-Wn

Other works:
Magnificat, SATB, insts, 1769, I–Nc*, ed. J. Wojciechowski (Frankfurt, 1977);
Gloria patri, S, insts, 1769, Nc*, ed. J. Wojciechowski (Frankfurt, 1977);
Te Deum, SATB, orch, 1798, D-MÜs, vs ed. F. van Amelsvoort (Hilversum, 1960);
Psalm xii (It. trans., S. Mattei), S, insts, 1769, I-PS;
Laudate, S, insts, 1769, MOe*;
Salve regina, S, B, insts, Ac, Bsf;
Litanie, SATB, insts, 1775, Nc*;
O salutaris hostia, STB, orch, Fc, ed. P. Porro (Paris, n.d.);
Mottetto*, 1765, Domine*, 1765, Mottetto*, 1770, Dixit* (2 settings), Dixit, 1796: all SATB, insts, Nc; Domine, SATB, orch, 1782, CH-E (pts only);
Domine, SATB, orch, PL-Wu;

Solo motets:
Quoniam, S, insts, 1770, I-Nc*, ed. J. Wojciechowski (Frankfurt, 1977);
In caelo laetantes, S, orch, Gl;
Antra, ubis quaestus echo, A, orch, 1780, Gl (pts only);
Pave coelum, A, orch, 2 April 1782, Vnm;
Ab unda furibunda, B, orch, Vnm (inc.);
Memento Domine David, B, org, GB-Ob;
Quasi leo, B, orch, 1782, CH-E (pts only, inc.);

Other motets:
Benedictus Dominus, 4vv, org, GB-Ob;
Inno di SS Pietro e Paolo, 2vv, org, Ob;
Laudamus, gratias et Domine, S, T, B, bc, I-FAN

Instrumental:

Keyboard:
32 sonates, ed. F. Boghen (Paris, 1925–6)
Izbrannïye sonatï, ed. L. Lukomsky (Moscow, 1961)
24 Sonatas, ed. J. Ligtelijn and J. Ruperink (Amsterdam, 1967–8) [same sonatas as L. Lukomsky edn above]
31 sonate, ed. V. Vitale (Milan, 1971–2)
Sonaty wybrane, ed. Z. Śliwiński (Kraków, 1971)
Sonate per clavicembalo o fortepiano, ed. A. Coen (Padua, 1989–92)Raccolta … per il fortepiano (2 bks), I-Fc; Bk i: 50 sonatas;
Bk ii: 31 sonatas; other MS sources, GB-Lcm, I-Mc, Vt

Other:
Sym., B , 2 ob, 2 hn, str orch; ed. H. Müller (Wiesbaden, 1981)
Sym., D, CH-E, Zz, I-PEsp, Rc, also attrib. Mysliveček in US-AAu
Hpd Conc., B , I-Gl; ed. G. Carli Ballola (Milan, 1973)
Conc., G, 2 fl, orch, 1793, Nc* (Bonn, ?1803–4); edns incl. (Berlin, 1991)
Sextet, G, pf, bn, 2 vn, va, vc, St Petersburg, GB–Ob*; ed. H. Bartholomaus (Berlin, 1996)
Sextet, F, pf organizzato, hp, bn, vn, va da gamba, vc, St Petersburg, Ob* [fl, cls also indicated in score]
6 qts, D, G, C, F, C, a, fl, vn, va, vc, CZ-Pnm; nos.1, 4, 6 ed. K. Lenski (London, 1975)
Partimenti, ?vc, kbd, 1762, I-MOe

Enrique Granados, Doce danzas españolas (completo) Música Clásica

Enric Granados (Lleida, 1867 – Canal de la Màncha 1916) es un pianista y compositor español. Hijo de padre cubano y madre santanderina,

BIOGRAFIA

OBRA:

Published works printed in Madrid unless otherwise stated.

Vocal secular:

Stage:
Miel de la Alcarria (incid music, J. Feliu y Codina), 1895, unperf., E-Bcd, F-Psal
Los Ovillejos (zar, 1, Feliu y Codina), 1897, unperf., E-Bcd; rev. as Ovillejos (sainete lírico, 2), 1897–8, unperf., Bcd
María del Carmen (op, 3, Feliu y Codina), Madrid, Parish, 12 Nov 1898; rev. posth. Eduardo Granados and F. Montserrat i Ayarbe, Msa
La leyenda de la fada (drama líric, 3), c1898–1900, unperf., Bcd (inc., undated)
Blancaflor (incid music, A. Gual), 1899, Barcelona, Lírico, 30 Jan 1899, Bcd
Petrarca (poema dramàtic, 1, A. Mestres), 1899–1900, unperf., F-Psal
Rosamor (drama líric), 1900, inc., E-Bam
Picarol (drama líric, 1, Mestres, after V. Hugo: Notre-Dame de Paris), 1901, Barcelona, Tivoli, 23 Feb 1901, F-Psal
Follet (drama líric, 3, Mestres), 1901-3, concert perf., Barcelona, Liceu, 4 April 1903, E-Bcd
Gaziel (drama líric, 1, Mestres), 1906, Barcelona, Principal, 27 Oct 1906, F-Psal
Liliana (poema lírico, 1, Mestres), 1911, Barcelona, Palau de Bellas Artes, 9 July 1911, Psal
Goyescas (op, 3 tableaux, F. Periquet), 1913–15, New York, Met, 28 Jan 1916, facs. of lost autograph (entitled Goyesca) US-NYgs (New York, 1916)
La cieguecita de Betania o El portalíco de Belén (children’s op, 1, G. Miró), 1914–15, private perf., Vallcarca, nr Barcelona, Christmas 1914, E-Bcd (inc., undated)

Choral:
Cant de les estrelles, SA, SATBarB, c1910, Boc (without pf pt)

Songs:
for soprano and piano unless otherwise stated
El cavaller s’en va a la guerra (A. Mestres), c1880, lost
Canción cartagenera, Bar, pf (1899) [from op María del Carmen, Act 2]
Canción de Fuensantica, pubd in La música ilustrada (1899) [from María del Carmen, Act 2]
La boyra (Mestres), Bar, pf, 1900, E-Bfg
Cançó d’amor (J.M. Roviralta), c1901 (Barcelona, 1902)
Sí al retiro me llevas (tonadilla, anon.), 1910–11 (1971)

[12] Tonadillas en un estilo antiguo (F. Periquet), 1910–11 (1912):
Amor y odio;
Callejeo;
El majo discreto;
El majo olvidado, Bar, pf;
El majo tímido, Boc;
El mirar de la maja;
El tra-la-la y el punteado;
La maja de Goya;
La maja dolorosa:1 ¡Ay majo de mi vida!, 2 ¡oh, muerte cruel!, S, eng hn, pf, Boc;
3 De aquel majo amante;
La currutacas modestas, 2 S, pf
L’ocell profeta (lied, Condessa de Castellá), perf. 1911 (1972), Bcd
Elegia eterna (Mestres), 1914 (1962), Boc; orchd 1914–15, lost

[7] Canciones amatorias, perf. 1915, ed. R. Ferrer (1962):
Descúbrase el pensamiento, pubd as Let the whole world know the secret (New York, 1916);
Mañanica era, pubd as The Goddess in the Garden (New York, 1915);
Llorad corazón (L. de Gongora);
Mira que soy niña;
No lloréis ojuelos (L. de Vega), pubd as Tears those dear eyes sadden (New York, 1916);
Iban al Pinar (Gongora);
Gracia mía, pubd as Grace (New York, 1916)
Song of the Postilion (Sp. anon., trans. H. Flammer), Bar, pf (New York, 1916)

Undated:
Canto gitano (1974);
Cançó de Janer (anon.), E-Bfg;
Cançoneta (anon.), Bfg;
Lo rey y’l juglar (Mestres), lost

Vocal religiosa:

Salve regina, SATB, org, 1896, E-Bfg
L’herba de amor, pregaria en estil gregoría, ATB, org, 1914 (1971), Ma

Instrumental:

Orch.:
La nit del mort, desolacío poema after A. Mestres, S, orch, 1897–8, E-Bcd, F-Psal
Marcha de los vencidos, 1899
Suite sobre cantos gallegos, 1899: En la montaña, Danza gallega, Morriña, Final: Fiesta
Boires baixes, sym. poem after Roviralta, c1901, inc., E-Bam
Dante, sym. poem after Dante: La divina commedia, Mez, orch, 1907–8, 2 pts: Dante e Virgilio, Paolo e Francesca (New York, 1915)
Suite de navidad: Final, pf, chbr orch, 1914–15, inc. [arr. from op La cieguecita de Betania]
Intermezzo, 1916 [from op Goyescas]

Undated:
Pf Concerto, inc.;
Vc Conc., inc., lost;
Danza gitana [arrs. for full and chbr orchs of pf work];
Suite árabe, ou Orientale, inc.;
Torrijos, sym. poem, lost

—

Chbr.:
More than 6 pfmrs: Elisenda, suite after poems by A. Mestres, 4 movts [no.1 adapted from El jardí d’Elisenda, pf], fl, ob, cl, str qnt, pf, S (no.3 only), perf. 1912, E-Bcd, Boc, Bam

3-6 insts:
Pf Trio, 1894 (1976);
Pf Qnt, 1894–5 (1973);
Escena religiosa, vn, org, pf, timp, Bcd;
Intermedios para la misa de boda de Dionisio Conde, str qt, hp, org, Bcd;
Pequeña romanza, str qt (1975);
Serenata, 2 vn, pf, Bcd;
Oriental, ob, str qt, lost

2 insts:
Melodía, vn, pf, c1903, lost;
Trova [arr. of Elisenda, no.2], vc, pf, 1912–15 (1971), Bcg;
Andante, vn, pf, lost;
Danza gallega, vc, pf (1971) [arr. of Suite sobre cantos gallegos, no.2, orch];
Madrigal, vc, pf (1973), Bcg;
3 preludios, vn, pf, ed. L. Anton: La góndola, Al toque de guerra, Elevación (1971);
Romanza, vn, pf (1971);
Sonata, vn, pf (1971), Bcd

Piano:
Album: Paris 1888, US-NYr, 40 pieces, incl.: Allegro vivace, pubd as Estudio, ed. P. Vallribera (Barcelona, 1982);
Mazurka, E  (New York, 1985);
En la aldea, pf 4 hands
12 danzas españolas, c1888–90, E-Boc (1966): Galante, Orientale, Fandango, Villanesca, Andaluza, Rondalla aragonesa, Valenciana, Sardana, Romántica, Melancólica, Arabesca, Bolero
Escenas románticas, c1903–4 (1930): Mazurka, Berceuse, [untitled], Allegretto: mazurka, Allegro appassionato, Epílogo
Goyescas, o Los majos enamorados:
bk 1, 1909–11 (Barcelona, 1912), Bam, Bcg, Boc: Los requiebros; Coloquio en la reja, duo de amor; El fandango de candil;
Quejas, o La maja y el ruiseñor;
bk 2, 1911–12 (Barcelona, 1913), Bcg: El amor y la muerte, balada;
Epílogo, serenata del espectro
Cuentos de las juventud (Barcelona, 1910): Dedicatoria, La mendiga, Canción de mayo, Cuento viejo, Viniendo de la fuenta, [untitled], Recuerdos de la infancia, El fantasma, La huérfana, Marcha
2 marchas militares, pf 4 hands (Barcelona, 1910)
Escenas poeticas I (1912): Berceuse, Eva y Walter, Danza de la rosa
2 impromptus (1912): Vivo e appassionato, Impromptu de la codorniz
Libro de horas (1912): En el jardín, El invierno (La muerte del ruiseñor), Al suplico
Bocetos, c1912–13 (1918): Despertar del cazador, El hada y el niño, Vals muy lento, La campana de la tarde
Escenas poeticas II (1923): Recuerdos de paísajes lejanos, El ángel de los claustros, Canción de Margarita, Sueños del poeta
6 piezas sobre cantos populares españoles (1930): Añoranza, Ecos de la parranda, Vascongada, Marcha oriental, Zambra, Zapateado
6 estudios expresívos en forma de piezas fáciles (1973): Theme, variations and finale, Allegro moderato, El caminante, Pastoral, La última pavana, María: romarza sin palabras
Escenas infantiles, Bcg: Sueños de oro, Niño que llora, Otra melodía, Hablando formal, Recitado, Pidiendo perdón, El niño duerme

Single-movement works:
Elvira, mazurka, c1884–5, lost;
Clothilde, c1889, E-Bam;
Arabesca, pubd in IMHA (1890);
Capricho español, c1889 (1917);
Carezza, vals, c1889 (1917), Boc;
Cartas de amor, c1889, pubd, Bcg;
Serenata española, c1889, lost;
Canción morisca, Valses íntimos and Valses poéticos, pubd in IMHA (1894);
La sirena, vals mignone (Barcelona, 1894);
Danza aragonesa [adapted from Miel de la Alcarria], 1894–5 (Barcelona, c1895), pubd as 2 danses caracteristiques, no.2 (Paris, 1931);
Balada, before 1895, lost;
L’himne dels morts, 1897, Boc;
Canción de la Zagalica [from op María del Carmen, Act 1] (1899)
Murcianas, baile [from María del Carmen] (1899);
Rapsodia aragonesa, 1901 (1901);
Allegro de concierto, 1903–4 (1930);
El jardí d’Elisenda, c1912 (Barcelona, 1913) [arr. as Elisenda, no.1, chbr work];
Paisaje, c1912–13 (1913), E-Boc;
El pelele, goyesca, c1913 (New York, 1915);
A la cubana (New York, 1914);
Danza lenta (New York, 1914);
Impromptu (New York, 1914);
Marche militaire (New York, 1914), Bcd;
Sardana (New York, 1914);
Vals de concert (New York, 1914);
Tango de los ojos verdes, c1915–16, Bcd (inc.);
Intermezzo [from op Goyescas], perf. 1916 (New York, 1916)

Undated (pubd posthumously):
A la pradera (1966); Aparición (1966);
Barcarola (1966), E-Bcg;
Danza caracteristica (1973);
Danza gitana, pubd as 2 danses caracteristiques, no.1 (Paris, 1931);
Dolora en La menor, apunte goyesca, rev. by Teresina Jordà (Barcelona, 1982), Bcg;
Estudio (1973); Jácara, danza para cantar y bailar (1973);
Mazurka, alla polacca (1973);
Minuetto (Barcelona, n.d.);
Moresque y canción árabe (1973), Boc;
Oriental: canción variada, intermedio y final (1973);
Países soñados: palacio encantado en el mar, leyenda (1918);
Los soldados de cartón, marcha (1973)

Undated (unpubd):
Allegro appassionato, E-Bcg;
El crepúsculo, Bcg;
Impromptu, Bcg;
Marchas militares no.4, Bcd;
Romeo y Julieta: poema, 2 pf, Bam (inc.)

Pedagogical vols.:
Breves consideraciones sobre el ligado, E-Bcg;
Dificultades especiales del piano, Bam;
Método teórico-práctico para el uso de los pedales del piano (1954)

Arrangements and editions:
I. Albeniz: Azulejos, pf [completed by Granados], 1910 (Paris, 1911), E-Bcd
I. Albeniz: Triana [from Iberia], arr. 2 pf (Barcelona, 1990)
J.S. Bach: Coral [Chorale], transcr. str orch, Bcd
J.S. Bach: Fugue, c , arr. fl, ob, cl, bn, hn, tpt, Bcd
F. Chopin: Piano Concerto no.2, f [orch of movt 1], perf. 1900, lost
M. Clementi: 6 sonatinas, op.36 nos.1–4, arr. vn, va, vc, 1891, Bcd
N. Otaño: Vuelta de la romerio [from Suite vasca], arr. pf, Bcd
A. Noguera i Balaguer: Jota aragonesa, arr. pf, orch, before 1904, Bcd
D. Scarlatti: 25 sonatas, 2 vols. (Barcelona, 1905)

Literatura:

Apuntes para mis obras (MS notebook, c1890–1912, US-NYpm)
‘La opera española moderna: “Goyesca”’, World’s Work (1916), April, 177
‘Parcival’, Teatre català, no.216 (1916), 351
Correspondence collections: E-Bbc, Bih, Bit, Bmm, US-NYs

 

BIOGRAFIA

OBRA:
printed works published in London unless otherwise stated

Vocal secular:

Operas:
drammi per musica in 3 acts unless otherwise stated; facsimiles of librettos in CW xliii–xlvii
LCGLondon, Covent Garden
LKHLondon, King’s Theatre in the Haymarket

G1217; xlArtaserse (P. Metastasio), Turin, Regio, 26 Dec 1760, CW i
G2222; xlii, xliiiCatone in Utica (Metastasio), Naples, S Carlo, 4 Nov 1761, CW ii
G3212; xxxiiAlessandro nell’Indie (Metastasio), Naples, S Carlo, 20 Jan 1762, CW iii; staged with his Cantata a tre voci
G4237; xlviiOrione, ossia Diana vendicata (drama, 3, G.G. Bottarelli), LKH, 19 Feb 1763, CW iv and xii; rev. LKH, 24 May 1777
G5241; xlixZanaida (Bottarelli), LKH, 7 May 1763, CW iv and xii
G6211; xxxiAdriano in Siria (Metastasio), LKH, 26 Jan 1765, CW v
G42—The Fairy Favour (masque, 1, T. Hull), LCG, 29 Jan 1767, lib CW xlv, music lost [perf. by children as afterpiece]
G7221; xliCarattaco (Bottarelli), LKH, 14 Feb 1767, CW vi
G8283/3; xlviiiTemistocle (Metastasio, rev. Verazi), Mannheim, Hof, 5 Nov 1772, CW vii
G9232; xlvLucio Silla (G. De Gamerra, rev. Verazi), Mannheim, Hof, 5 Nov 1775, CW viii
G10229; xlivLa clemenza di Scipione (serious op, 3), LKH, 4 April 1778, CW ix
G39215; xxxiiiAmadis de Gaule (tragédie lyrique, 3, P. Quinault, rev. A.-D.-M. de Vismes du Valgay), Paris, Opéra, 14 Dec 1779, CW x

Insertions in operas and pasticcios:
G Inc 2251/4G. Cocchi: Emira, Milan, Jan 1756: 3 arias; CW xii
G21252/2A. Ferradini: Demofoonte, Milan, 26 Dec 1758: 1 aria; CW xii
G23277/4F. Gassmann: Gli uccellatori, Turin, Carignano, 1 Sept 1760: ov.; CW xii
G1/3—Zenobia, Lucca, aut. 1761: 1 aria
G22275/3G.B. Lampugnani and others: La Giulia, Milan, carn. 1761: ov.; CW xii
G24273/2Il tutore e la pupilla (pasticcio, Bottarelli), LKH, 13 Nov 1762: ov., from Cantata a tre voci with new 2nd movt; CW ix
G25273/8; lAstarto, re di Tiro (pasticcio, Bottarelli), LKH, 4 Dec 1762: ov., from Alessandro nell’Indie, qt, 2 duets (lost), 5 arias (2 lost); CW ix
G26273/5La cascina, (pasticcio, Bottarelli), LKH, 8 Jan 1763: ov.; CW ix
G27272/5B. Galuppi and others: La calamita de’ cuori, LKH, 3 Feb 1763: ov.; CW ix
G2/18—Catone in Utica (pasticcio), Turin, carn. 1763: qt, La
G1/9b, YG12—G.M. Rutini: Gli sposi in maschera, Florence, aut. 1763: 2 arias, I-Fc
G21, G1/3—J.A. Hasse, rev. Cafaro: L’Issipile, Naples, 26 Dec 1763: 2 arias, P-La
G Inc 7244/1Menalcas (pastoral, J. Harris), Salisbury, 22/24 Aug 1764: 3 arias 2 choruses; CW xxv
G3/19, 22b225/1; xliiiEzio (pasticcio, after Metastasio), LKH, 24 Nov 1764: 2 arias from Alessandro nell’Indie; CW ix
G2/16219/3; xliBerenice (pasticcio), LKH, 1 Jan 1765: 3 arias (1 from Catone in Utica, others lost); CW ix
G43245/3The Maid of the Mill (pasticcio, I. Bickerstaffe), LCG, 31 Jan 1765: 1 aria, 1 duet; CW xxv
——Zophilette (pasticcio, J.-F. Marmontel), Paris, 17 May 1765: 2 ariettes (music lost)
G44246/1The Summer’s Tale (pasticcio, R. Cumberland), LCG, 6 Dec 1765: 2 arias, 1 duet; CW xxv
G6/20—Pharnaces, or The Revenge of Athridates (op, T. Hull), Dublin, Smock Alley, 12 Dec 1765: 1 aria; CW xxv
G2/3, 12; G3/18, 21238/1; xlviiiSifare (pasticcio), LKH, 5 March 1767: 4 arias; CW ix
G7/24, H24, H27liTom Jones (pasticcio, J. Reed, after A. Poinsinet, after H. Fielding, LCG, 14 Jan 1769: 3 arias; CW xxv
G2/4231/2N. Piccinni: Le contadine bizzarre, LKH, 7 Nov 1769: 1 aria; CW ix
G28231/3L’olimpiade (pasticcio, after Metastasio), LKH, 11 Nov 1769: 1 aria; CW ix
G28256/2F. Tenducci and others: Amintas (op., R. Rolt), LCG, 15 Dec 1769: 1 aria; CW xxv
G29, LG1234; xlviC.W. Gluck and P. Guglielmi: Orfeo ed Euridice, LKH, 7 April 1770: 6 arias (incl. 2 lost), 1 duet (lost), ballet music (lost), chorus (lost), CW ix; 3 arias, added 17 April 1770, ov. t346/8 added 30 April 1771, CW ix; rev. version, Naples, 4 Nov 1774, with new ov., 5 new arias, 5 choruses, ballets, CW xi; draft of discarded scena t251/5, D-Bsb*
LG2245/2The Flitch of Bacon (pasticcio, H. Bate), London, New Theatre, Haymarket, 17 Aug 1778: 1 aria; CW xxv
G45—The Genius of Nonesense (extravaganza, G. Colman), London, New Theatre, Haymarket, 2 Sept 1780: 1 aria, lost

Doubtful arias etc., incl. t250/5, 251/2–3, 252/1, 252/6–7, 253/2–5, 24 others, A-Wgm, Wn; B-Bc; CH-A, E; D-Bsb, Dl, Hs, LEb, LÜh, Mbs, MÜu; DK-Kc; GB-Er; I-Gl, MC, Nc, MAav, Tf, Rc; S-Skma; US-AAu, BEm

Other vocal:
Chamber duets:
H4–11—[8] duetti (P. Metastasio), S, S, bc, ? before mid-1762: 1 Io lo so; 2 Trova un sol; 3 Che ciascun per te sospiri; 4 Chi mai di questo core; 5 Ascoltami, o Clori; 6 Lascia ch’io posso; 7 Parlami pur; 8 Eccomi alfin [nos. 3, 5, rev. as op.4 nos.5, 6; others different from opp. 4, 6]; CW xvi
H12–17259/1Sei canzonette (Metastasio), S, S, bc, op.4 (1765/R): 1 Già la notte; 2 Ah rammenta oh bella Irene; 3 Pur nel sonno almen talora; 4 T’intendo sí, mio core; 5 Che ciascun per te sospiri; 6 Ascoltami, o Clori; CW xvi
H18–23260/2Sei canzonette (Metastasio), S, S, bc, op.6 (1767); 1 Torna in quell’onda; 2 Io lo so; 3 E pur fra le tempeste; 4 Trova un sol; 5 Chi mai di questo core; 6 Se infida tu mi chiami; CW xvi

Miscellaneous songs and arias:
G36a—Perchè sì ingrata, S, orch [another version of aria Cara ti lascio; cf G36b]; CW xlviii/3
G36b—Ah che gl’istessi numi … Cara ti lascio, S, orch [cf G36a]; CW xxi
H2—Der Weise auf dem Lande (O Wald! o Schatten grüner Gänge!), 16 April 1755, in Stammbuch of Friedrich Nicolai; CW xlviii/3
LG5247/1Infelice … Là nei regni, S, kbd 4 hands, pubd as A Favourite Scene and Rondo on the Duke of Nivernois Air (c1783); CW xvi, xlviii/3
H1—Mezendore (Herr Nicolaus Klimm erfand) (F. von Hagedorn), in F.W. Marpurg: Neue Lieder zum singen beym Clavier (Berlin, 1756); CW xlviii/3
G7/24258/1The London Lass (While Cecilia we admire), S, bc (c1772), based on Non è ver from Carattaco; CW xxv
G17252/3O Venere vezzosa (Horace, trans. G.G. Bottarelli), S, orch; CW xvi
LG4251/1Sentimi, non partir … Al mio bene (récit and rondo, after G. Roccaforte), S, pf, 2 vc, orch, as Rondeau … sung by Mr Tenducci at Messrs Bach and Abels Concert (1779); CW xvi
G35—Sventurata in van mi lagno, S, orch, after 1772; CW xvi
Doubtful: An Aeglen (Und fehlten dir der Schönheit holde Gaben (?Gemmingen) wYH1, in Oden mit Melodien, ii (Berlin, 1755); Farewell ye green fields, S/T, bc (Edinburgh, n.d.) [version of canzonette Ich schlief, da träumte mir], CW xxv; Ist das Leben nicht ein Traum?, D-LÜh; La sorte spietata t251/6, in B. Mengozzi: Méthode du chant du Conservatoire (Paris, 1803); Luci amate a voi non chiedo wYG15 (1777), CW xxv; Neptune (When an angry woman’s breast) t256/3, S/T, bc (c1762), CW xxv; [9] Solfeggi … del Sig. Giovanni Bach in Genova wYH7–15, S, bc, I-Gl; So oft ich meine Tobacks-Pfeife, D-Bsb; The World (When launched into life) (J.M. Perrin), S/T, orch (n.d.), CW xxv

Music for Vauxhall Gardens:
H24–7254/1A Collection of Favourite Songs sung at Vaux Hall by Mrs Weichsell (1766/R), S, orch: 1 By my sighs; 2 Cruel Strephon; 3 Come Colin; 4 Ah why shou’d love; CW xxv
H28–31254/5A Second Collection of Favourite Songs sung at Vaux Hall by Mrs Pinto and Mrs Weichsell (1767/R), S, orch: 1 In this shady blest retreat; 2 Smiling Venus; 3 Tender virgins [arr. from Non è ver from Carattico, rev. as Blest with thee in Tom Jones (pasticcio, 1769)]; Lovely yet ungratefull swain; CW xxv
H32—When chilling winter hies away, S, orch, music lost, text pubd (1768)
H33–6255/2A Third Collection of Favorite Songs sung at Vaux Hall by Miss Cowper (1771/R), S, orch: 1 Midst silent shades; 2 Ah seek to know; 3 Would you a female heart inspire; 4 Cease a while; CW xxv
H38–9—A Fourth Collection of Favorite Songs sung at Vauxhall Gardens (1779/R): 1 Oh how blest; 2 Hither turn thy wand’ring eyes; CW xxv
H40—Ode to Pleasure, S, S, S, T, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H41—Ode to Summer, 4 solo vv, chorus, orch, music lost, text in A Genuine Collection (London, 1766)
H42—The Pastoral Invitation (Ye nymphs and swains), S, S, T, orch, music lost, text in Westminster Journal, 2 July 1768; CW xxv (text only)
H37257/2See the kind indulgent gales: a Favourite Song sung by Mrs Weichsell at Vaux Hall Gardens (1777/R), S, orch [Eng. rev. of Se spiegò from Zanaida]; CW xxv

Folksong settings:
LH1—Braes of Ballanden (Beneath a green shade) (T. Blacklock), A, ob, vn, va, vc, kbd (1779); CW xxv
LH2257/3The Broom of Cowdenknows (How blyth was I each morn), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH3—I’ll never leave thee (One day I heard Mary say) (R. Crawford), A, 2 fl, 2 vn, bc (c1784); CW xxv
LH4256Lochaber (Farewell to Lochaber) (A. Ramsay), A, 2 fl, 2 vn, bc (c1785); CW xxv
LH5—The Yellow-Hair’d Laddie, lost, attrib. Bach in S. Storace: Gli equivoci, 1786, A-Wn; arr. in last movt of pf conc. op.13 no.4

Transcriptions:
LG2250/2Ebben si vada … Io ti lascio (after P. Metastasio), acc. recit and rondo, S, pf, orch, pubd as The Favourite Rondeau sung by Mr Tenducci (c1778); ? from cant. Rinaldo ed Armida; expanded version of Ombra felice … Io ti lascio from M. Mortellari: Arsace, 1775; another version, No ’twas neither shape nor feature, in A Flitch of Bacon (1778, London); CW xvi
LG3251/7Mi scordo i torti miei … Dolce aurette, S, orch, c1778, recit and aria from G. Gazzaniga: Perseo ed Andromeda with new coda by Bach, D-Bsb, WRgs; CW xvi
—253/6Wenn nach der Stürme, aria, S, bc, in J.A. Hiller: Deutsche Arien und Duette (Leipzig, 1785), based on Allor che il vincitore from La clemenza di Scipione

Vocal religiosa:

F2199/4Attendite mortales, motet, T, orch, ? after 1767, 1st aria arr. from Carattaco; CW xviii
E17200/6Beatus vir (F), S, A, T, B, SATB, orch, 1758; CW xxiii
E16202/1Confitebor tibi Domine (E ), S, A, T, B, SATB, orch, 1759; CW xxiii
E5202/3Credo (C), SATB, orch; CW xx
E12202/4Dies irae; see [Messa de’ morti], below
E15202/6Dixit Dominus (D), S, A, T, B, SATB, orch, by March 1758; CW xxiii
E13203/3Domine ad adiuvandum (D), S, SATB, orch, 1758; CW xlviii
E14203/2Domine ad adiuvandum (G), S, A, SATB, orch, 1760; CW xxii
E3204/3Gloria in excelsis (D), S, A, T, B, SATB, orch, 1758/9; CW xix
E4204/1Gloria in excelsis (G), S, A, T, B, SATB, orch; CW xx
E2204/8Kyrie (D), S, T, SATB, orch; CW xix
F3205/2Larvae tremendae (D), motet, S, orch; CW xviii
E18206/3Laudate pueri (E), S, orch, Milan, 12 Aug 1758; CW xlviii
E19206/1Laudate pueri (G), S, T, orch, 1760; CW xxii
F5199/1Let the solemn organs blow (W. Dodd), anthem for Magdalen Chapel, London, c1764;
E7-9206/4[3] Lezioni del officio per gli morti, 1757: Parce mihi, Domine (B ), S, A, SATB, orch; Taedet animam meam (F), S, A, B, SATB, orch; Manus tuae (C), S, A, T, SATB, orch; CW xxi
E20207/1Magnificat (C), SATB, SATB, orch, 1758, inc.; CW xxii
E21207/2Magnificat (C), SATB, SATB; CW xxii
E22207/3Magnificat (C), S, A, T, B, SATB, orch, 1760; CW xxii
E11–12208/5, 202/4[Messa de’ morti], 1757: Requiem aeternam (F), Kyrie (F), SSAATTBB, orch; Dies irae (c), S, A, T, B, SSAATTBB, orch; CW xxi
E10207/5Miserere (B ), S, A, T, B, SATB, orch, 1757; CW xxi
F1—Pater noster, lost, sent with letter to G.B. Martini, 6 Sept 1757
E6208/4Regem cui omnia vivunt (F), invitatory, S, A, T, B, SATB, orch, 1757; CW xxi
E23209/3Salve regina (E ), S, orch; CW xviii
E24209/3Salve regina (F), S, orch; CW xviii
F4a and b209/5Si nocte tenebrosa (F), motet, S/T, orch (two versions); CW xviii
E25210/2Tantum ergo (F), T, orch, 1757; CW xlviii
E26209/7Tantum ergo (G), S, A, T, B, SATB, orch, 1759; CW xxiv
E27210/3Te Deum (D), 2S, 2A, 2T, 2B, SATB, SATB, orch, 1758, inc.; CW xxiv
E28210/5Te Deum (D), S, A, T, B, SATB, orch, 1762; CW xxiv

Oratorios, cantatas and serenatas:
G Inc 6244/6Ode on the Auspicious Arrival and Nuptials of … Queen Charlotte (Thanks to the God who rules the deep) (J.Lockman), S, SAB, vn, bc; CW xxv
G11—Cant. a 3 voci … per festeggiare il felicissimo giorno natalizio di sua Maestà cattolica, S, S, T, SATB, orch, Naples, S Carlo, 20 Jan 1762; CW xiii
G12—La Galatea (serenata, after Metastasio), 3vv, orch, London, Spring Gardens, 29 Feb 1764, music lost, lib in CW xlv
D1226: xlivGioas, re di Giuda (orat., after Metastasio), London, King’s, 22 March 1770; CW xvii
G41243/1Happy morn, auspicious rise! (? birthday ode for George III), S, S, A, T, SATB, SATB, orch [incl. arrs. from Gioas, re di Giuda]; CW xxv
G15248/3Endimione (serenata, after Metastasio), S, S, S, T, SATB, orch, London, King’s, 6 April 1772; rev. Mannheim, Hof, 24 July 1773, with scene by N. Jommelli; CW xiv
G16—La tempesta (cant., Metastasio), S, orch, ? London, Hickford’s Rooms, 17 May 1773, perf. Mannheim, c1776; CW xiii
G18247/2Amor vincitore (serenata), S, S, SATB, orch, London, King’s, 15 April 1774; CW xv
G19liCefalo e Procri (cant., ? G.G. Bottarelli), S, S, S, orch, London, Hanover Square Rooms, 26 April 1776; recit and aria pubd as Aurora: a Favourite Cantata. t248/1–2; CW xiii
G20250/2Rinaldo ed Armida (cant.), 3vv, orch, London, Hanover Square Rooms, 20 May 1778, lost except 1 recit and aria (c1785), A-Wn, B-Bc, D-Bsb, Mbs, F-Pn, GB-Lbl, I-PEsf, Vc
G38—Berenice che fai! (scena), S, orch, music lost, lib in CW xlv

Doubtful:
YE4202/7Domine ad adiuvandum (C), S, SATB, str, GB-Lbl
YE7—Expugna impugnantes me (d), SSATB, CW xxiv
YE3—Gloria solenne (C), S, A, T, B, SATB, orch, inc.; CW xxiv
YE5—Laudate pueri (B ), S, orch; CW xxiv
YE1204/7Messa in pastorale (Ky-Gl) (D), SATB, orch, Lbl (attrib. F. Durante)
YE2204/6Messa a più voci (Ky-Gl) (G), SATB, orch, Lbl (attrib. Durante)
YE6208/6Salve regina (D), S, S, A, T, B, SSATB, orch, Lbl

Instrumental:

Orch.:
Symphonies and overtures:
for 2 oboes, 2 horns and strings unless otherwise stated
G4, 27, 1, 24, 26, 25272/2Six Favourite Overtures (1763): ovs. to the operas: 1 Orione (D), 2 ob, 2 hn, 2 bn, str; 2 La calamita de’ cuori (D); 3 Artaserse (D); 4 Il tutore e la pupilla (C); 5 La cascina (G); 6 Astarto (= Alessandro nell’Indie) (G); no.2 in VI sinfonie a più stromenti composte da vari autori op.13 (Paris, 1762); no.3 in VI sinfonie a più stromenti composte da vari autori op.12 (Paris, 1761); arr. kbd (1763)
G23B277/4The Periodical Overture no.1 (D) (1763): ov. to Gli uccellatori
C1–6262/1Six simphonies (D, C, E , B , F, G), 2 ob/fl, 2 hn, str, op.3 (1765), =w C1a–6a, CW xxvi; arr. Bach as Six Overtures Composed and Adapted for the Harpsichord (c1769), =wC1b–6b, t347/2, CW xlii
G22B275/3An Overture in 8 parts (D) (1766); corrected version of Periodical Overture no.xv (1766): ov. to La Giulia
C16a276/3Symphony (C), as no.46 in Sinfonie a più stromenti composte da vari autori (Paris, 1770/71), CW xxvii; with different 2nd and 3rd movts wC16b, CW xxix
C7–12264/1Six simphonies (G, D, E , B , E , g), 2 ob/fl, 2 hn, str, op.6 (Amsterdam, 1770); nos.3–5 in Six simphonies périodiques op.8 nos.1, 5, 6; CW xxvi–xxvii
C9, 13–15, 10–11266/5Six simphonies périodiques (E , G, D, F, B , E ), 2 ob/fl, 2 hn, str, op.8 (Amsterdam, c1775); nos.1, 5, 6 = op.6 nos.3–5; CW xxvi–xxvii
C17–19268/3Trois simphonies (B , E , B ), 2 ob/fl, 2 hn, str, op.9 (The Hague, 1773) [also as op.21]; no.1, 2 cl, 2 bn, 2 hn, str, in Six sinfoni … par J.C. Bach, Toesky et Stamitz (Paris, 1773); no.2 with addl movt (Paris, ?1776); 2 movts from no.2 arr. kbd in J.A. Hiller: Sammlung kleiner Clavier- und Singstücke (Leipzig, 1774), ed. S. Staral (Graz, 1981); no.1 ed. in EDM, 1st ser., xxx (1956); CW xxvii (nos.1 and 2), iv (no.3)
C26, G9, G15, C27, C28, XC1269/4Six Grand Overtures (E , B , D, D, E, D), 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, op.18 (c1782); nos.1, 3, 5 for double orch (2 ob, bn, 2 hn, str; 2 fl, str); no.1, I-Gl [dated 1779]; no.2 = ov. to Lucio Silla; no.3 = ov. to Endimione; no.4 = no.2 of t271/6, Deux sinfonies op.18; 2nd movt of no.4 = arr. of 2nd movt of ov. to Temistocle; no.6 arr. from Amadis de Gaule; CW xxviii
XC2, C27271/6Deux sinfonies à grand orchestre (D, D), 2 fl, 2 ob, 2 bn, 2 hn, str, op.18 (Amsterdam, c1785); 1st movt of no.1 = ov. to La clemenza di Scipione, 2nd movt = Andante from ov. to Amadis de Gaule; no.2 = no.4 of t269/4, Six Grand Overtures op.18; CW xxviii
G27a—Sym. (D) (inc., = ov. to La calamita de’ cuori with different finale), CW xxix; Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
G27b—Sym. (D), 2 ob/fl, 2 hn, str, CW xxix
—279/4Sym. (F), CW xxix
C Inc 4279/7Sym. (F), 2 ob, 2 hn/tpt, str, CH-A, Bu, E, I-MAav; CW xxix
C Inc 3282/5Sym. (E ), as Divertimento notturno (Paris, before 1775); CW xxvii
C84361/7Menuett (F), for Her Majesty’s birthday, 1767; CW xxv
C85361/8Menuett (C), for Her Majesty’s birthday, 1769; CW xxv
Lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790): Sym. in 6 pts, before 1755; ov. in 6 pts, before 1755
for doubtful and misattributed works see wYC1–83

Symphonies concertantes:
instruments listed as concertante; ripieno
C32284/1Sinfonia concertante (G), 2 vn, vc; 2 fl, 2 hn, str, ?c1760 (Paris, by 1772); CW xxx
C33284/6Concert ou symphonie (E ). 2 vn, ob; 2 fl, cl, bn, 2 hn, str (Paris, 1773); CW xxx [also as pf conc., wC75, t300/8]
C34284/4Simphonie concertante (A), vn, vc; 2 ob, 2 hn, str (Paris, by 1775); CW xxx
C36a286/1Sym. conc. (C), 2 vn, vc; 2 fl, 2 ob, 2 hn, str, CW xlviii/3; rev. version w C36b, CW xxx
C45286/4Sym. conc. (G), ob, vn, va, vc; 2 fl, 2 hn, str
C Inc 5—Sym. conc. (G), fl, 2 vn, vc; fl, 2 hn, str, doubtful; CW xxx
C44286/8Sym. conc. (E), fl, 2 vn, vc; 2 ob, 2 hn, str, by 1775; CW xxx
C38287/2Sym. conc. (F), ob, bn/vc; ob, 2 hn, str; CW xxxi
C46287/7Sym. conc. (B ), vc; 2 cl, bn, 2 hn, str; CW xlviii/3 formerly D-Bsb (see White, 1958)
C42288/4Sym. conc. (E ), 2 vn, vc; 2 ob, 2 hn, str; CW xxx [also as bn conc., wC82, t288/4]
C40288/7Notturno (E ), 2 ob, 2 hn/tpt, 2 vn, 2 va, vc; str; CW xxxi
C43289/4Sym. conc. (C), fl, ob, vn, vc; 2 fl, 2 cl, 2 bn, 2 hn, str; CW xxxi
C48289/7Sym. conc. (B ), ob, vn, vc, pf; 2 fl, 2 hn, str; CW xxxi
C39290/2Sym. conc. (D), 2 fl, 2 vn, vc; 2 hn, str, c1760; CW xxxi
C37290/4Sym. conc. (E ), fl, ob, bn; ob, 2 hn, str; CW xxxi
C41290/9Sym. conc. (E ), fl, 2 cl, bn, 2 hn; 1/2 fl, str; CW xxxi
C35—Concerto a più istrumenti (D), 2 vn; 2 ob/fl, 2 hn, str, ?doubtful; CW xxx
YC95—Sym. (B ), vn, vc (ad lib); 2 ob (ad lib), 2 hn, str, I-MAav, attrib. J.C. Bach in Breitkopf suppl. 1767, doubtful; probably by F.P. Ricci, op.9 no.2 (The Hague, London and Paris, c1775)

Concertos:
C74—Conc., hpd, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C68–72298/15 concs. (B , f, d, E, G), kbd, str; CW xxxii
C73301/4Conc. (f), hpd, str, CW xxxii
C77—Conc, vc, before 1755, lost, listed in Verzeichniss des musikalischen Nachlasses … Carl Philipp Emanuel Bach (Hamburg, 1790)
C49–54292/1Six Concertos (B , A, F, G, C, D), hpd, str, op.1 (1763); CW xxxiii
C79286/7Conc. (D), fl, 2 hn, str; CW xxxvi
C55–60293/4Sei concerti (C, F, D, B , E , G), hpd/pf, str, op.7 (1770); CW xxxiii–xxxiv [cadenzas for no.5 and expanded solo pt of no.6, private collection, USA]
C62–7295/1A Third Sett of Six Concertos (C, D, F, B , G, E ), hpd/pf, str (2 ob, 2 hn ad lib), op.13 (1777); CW xxxv
C75300/8Conc. (E ), kbd, 2 fl, 2 cl, bn, 2 hn, str; CW xxxiv [also as sym. conc., wC42 t284/6]
C61301/1Conc. (E ), hpd/pf, str (2 hn ad lib), as op.14 no.1 (Paris, c1776); CW xxxiv
C80287/4Conc. (F), ob, 2 hn, str; CW xxxvi [also as fl conc. (G)wC78, private collection, USA]
C81290/7Conc. (F), ob, 2 hn, str; CW xxxvi
C83288/1Conc., (B ), bn, 2 ob, 2 hn, str; CW xxxvi
C82288/4Conc., (E ), bn, 2 ob, 2 hn, str; CW xxxvi [also as sym. conc., wC42 t288/4]
C76—Conc. (C), vn, 2 ob/fl, 2 hn, str; CW xlviii/3

Doubtful:
YC90–91297/1[2] Concerto (E , A), hpd, str (Riga, c1776), attrib. ‘I.C. Bach’, Breitkopf suppl. 1776–7, also attrib. C.P.E. Bach and J.C.F. Bach; no.1 ed. E. Praetorius (1937), no.2 ed. in Antiqua (1935)
YC92300/1Conc. (A), hpd, str, Bsb [? by C.P.E. Bach; also attrib. Schaffrath and C.H. or J.G. Graun]; ed. A. Hoffmann (Wolfenbüttel, 1963)
C Inc 6300/4Conc. (E), hpd, str, Dl

—

Chamber music:
B78302/1Sestetto (C), ob, 2 hn, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785), = t311/3]
B Inc 5305/1Quintet (B ), 2 vn/ob, va, vc/bn, bc; CW xli
B70–75303/1Six Quintettos (C, G, F, E , A, D), fl, ob, vn, va, bc, op.11 (1774); CW xli
B76–7304/6Deux quintetts (D, F), op.22 (1785), fl, ob, vn, vc, kbd; CW xli [arr. kbd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/2, 4]
B51–6306/1Six Quartettos (C, D, E , F, G, B ), fl, vn, va, vc, op.8 (1772); CW xl
B57–9309/13 qts (D, C, A), fl/vn, vn, va, bc, nos.1, 3, 5 in Six Quartettos … by Messrs Bach, Abel and Giardini (1776); CW xl
B60—Qt (B ), 2 vn, va, vc, no.1 in Six Quatuors … par J.C. Bach et C.F. Abel, op.14 (Paris, 1776); CW xl [also arr. eng hn, vn, va, vc, I-Gl; erroneously attrib. Haydn, hII:B4]
B66310/9Quartetto (G), vn, 2 vc, hpd, op.2 (Offenbach, 1783); CW xl [arr. hpd, vn in Three Favorite Quartetts and One Quintett (1785) = t311/5]
B61–4307/4Four Quartettos (C, D, G, C), op.19 (1784): nos. 1, 3, for 2 fl, va, vc; no.2 for fl, ob/fl, va, vc; no.4 for 2 fl, vn; CW xl [arr. hpd/pf, vn, fl, vc (c1787)]
B30–35314/5Six Trios (B , A, E , G, D, C), 2 vn, va/bc, op.2 (1763), also as op.4 (Amsterdam, 1767), in Breitkopf suppl. 1766 as first 6 of set of 12 (see also t317/5); CW xxxix
B36–41317/56 trios (G, D, E, F, B , E ), 2 vn, bc, in Breitkopf suppl. 1766 as second 6 of set of 12 (see also t314/5); CW xxxix
B43–8313/1Six sonates (F, G, D, C, D, E ), hpd, vn/fl, vc, op.2 (1764); CW xxxix
B42311/6Sonata (B ), 2 vn, vc, no.1 in Six Sonatas … by Messrs Bach, Abel and Kammel (1777); CW xxxix
B49–50323/52 sonatas (C, A), hpd/pf, vn, vc, nos.1–2 in Four Sonatas and Two Duetts op.15 (1778); CW xxxix
B Inc 3330/5Sonata (B ), harp, (vn, vc)/hpd, no.6 in Musical Remains, ed. E. Jones (c1796) [1st movt based on 1st movt of wB78; CW xxxix
B Inc 2317/7Trio sonata (G), 2 fl/vn, bc; CW xxxix
B20–26332/4[7] sonatas (F, D, G, A, G, D, F), hpd, vn; CW xxxviii
B27—Sonata (A), hpd, vn; CW xxxviii
B2–7322/1Six Sonatas (B , C, G, A, F, D), hpd/pf, vn, op.10 (1773), also for 2 vn, va, bc, op.17 (Paris, c1779); CW xxxviii [nos.1, 3, 5 arr. kbd, va da gamba, private collection, USA]
B8–9324/22 sonatas (D, B ), hpd/pf, vn, nos.3–4 in Four Sonatas and Two Duetts op.15 (1778); CW xxxviii
B10–15325/1Six Sonatas (D, G, C, A, D, F), hpd/pf, vn/fl, op.16 (1779/R); CW xxxviii [other versions of no.6, private collection, USA, and CW xlviii/3]
B16–19326/34 sonatas (C, D, E , G), hpd/pf, vn/fl, nos.1–4 in Four Sonatas and Two Duetts op.18 (c1781); CW xxxviii
——Sonata (F), hpd, va da gamba, private collection, USA [1st movt from op.10 no.5, 2nd movt from ob conc. wB80, t287/6

Wind music:
see Sadie for information on borrowed material and transcriptions
B Inc 7–12285/3Sei sinfonie (E , B , E , B , E , B ), 2 cl, 2 hn, [2] bn (1782); CW xxxvii
B79–82—Military Pieces [Quintette] (E , E , B , B ), 2 cl, 2 hn, bn (Dublin, c1794); CW xxxvii
B83–5359/33 military marches: Marche du régiment de Prince Ernst; Marche du régiment de Braun[schweig]; Marche du régiment de Wür[tte]mb[erg], all in E , 2 ob, 2 hn, bn; CW xxxvii [nos.2–3 arr. kbd, GB-Lbl (part autograph)]
B88–9360/12 Märsche … vom ersten … zweiten Batallion Garde-Regiment in Hannover (E , E ) 2 ob, 2 cl, 2 hn, 2 bn, no.2 spurious, by Abel, Lbl (part autograph); CW xxxvii
B86–7360/5Due marce … di cavalleria e d’infanteria (E , E ), 2 ob, 2 cl, 2 hn, bn; CW xxxvii [also arr. kbd, Lbl (part autograph)]
B90–93361/24 marches (E , E , E , B ); CW xxxvii [also arr. kbd, Lbl (part autograph)
YB85–6360/3Due marce … Prince Walles (E , E ), 2 cl, 2 hn, bn; spurious, by C.F. Abel

Keyboard:
for harpsichord unless otherwise stated
A22—Untitled piece [March]bwv Anh.131, in Clavierbüchlein for Anna Magdalena Bach; CW xlviii/3
A23–31—6 minuets (c, C, d, g, C, C), 2 polonaises (B , E ), aria (a), c1750; CW xlii
A13358/4Solo (a), ? before 1755; CW xlii
A14—Sonata (A ), I-Bc, Mc, MC; CW xlii
A16—Sonata (B ), Bc; CW xlii
A15—Toccata (b ), Bc, Mc, MC (as Sonata); CW xlii, xlviii/3 (2 versions)
A1–6338/1Six Sonatas (B , D, G, E , E, c), hpd/pf, op.5 (1766/R); CW xlii
C1b–6b347/2Six simphonies (D, C, E , B , F, G), op.3 (1769); CW xlii [see ‘Symphonies and overtures’]
A10b—A New Lesson (G), hpd/pf (1772) [early versions of movts from op.17 nos.4 and 1]
A21, 18340/52 duets (G, C): 1 for 2 hpd/pf, 1 for hpd/pf 4 hands, in Four Sonatas and Two Duetts op.15 (1778); CW xlii
A7–12341/1Six Sonatas (G, c, E , G, A, B ), hpd/pf, op.17 (1779/R), previously pubd as op.12 (Paris, 1773/4), CW xlii; other versions of nos.2–3, CW xlviii/3; see also A New Lesson, above
A19–20343/32 duets (A, F), hpd/pf 4 hands, in Four Sonatas and Two Duetts op.18 (1781); CW xlii
——2 marches (A, C), GB-Lbl (part autograph)

Doubtful:
4 canzonette (F, E , G, B ), 2 vn, t336/6, arr. of Sei canzonette op.6 nos.1, 4, 3, 2;
2 qts (F, C), fl/vn, va, vc, in L’anné musicale (Liège, 1776);
Qt (F), fl/vn, vn, va, vc I-Rdp; 2 qt (F, D), fl/vn, vn, va, vc, Gl;
Sonata (C), gui, vn (c1770), CW xxxviii;
Six Sonatas (C, G, D, A, E , B ), hpd/pf, vn/fl, op.19 (1783), t327/5;
Three [= 6] Sonatas [i, ii] (C, D, F, G, A, B ), hpd/pf, vn, op.20 (c1785), t329/1;
Trois sonates (E , B , D), hpd/pf, vn, op.21 (Paris, c1784), t344/2;
Sonata (F), hpd, fl, D-Bsb (2 copies: 1 attrib J.C. Bach, 1 attrib. C.P.E. Bach), US-Wc (attrib. ‘Sigr. Bach’), also attrib. W.F. Bach, ed. K. Marguerre (Celle, 1960), t332/1;
Sonata (D), vn, bc, D-Bsb, ?lost, t3323/5;
3 sonatas (D, G, C), fl, vn, A-Wn, t337/1;
Sonata (C), hpd/of, vn, in The Feast of Apollo (1788), t352/2;
Trio sonata (F), 2 vn, bc, lost, formerly D-Bsb, t318/8; for others see wYB1–86