Italian Music Manuscripts in the British Library: Section C: Part 1: Edgerton, and Add. Mss.: c.1740-c.1770
About this Collection
Introduction: Italian Music Manuscripts in the BritishLibrary, London, c.1640-c.1820
Italian Music Manuscripts in the British Library,c.1640-c.1820 is an entirely new project from Harvester Microform (now animprint of Thomson/Gale). It makes available a substantial body of manuscriptmaterial documenting musical developments in Italy over two centuries.
This new project complements and does not duplicate theseparate project covering the Music Manuscript Collection of the British Library,London (Series Four of Harvester Microform's Unpublished Music Manuscriptsfrom the Great English Collections). The decision was made to keep the twoprojects separate because of the massive size of the collection of Italianmusic manuscripts at the British Library.
To help users we have divided the manuscripts into fourbroad sections; Section A - Italian Music Manuscripts, c.1640-c.1720; Section B- Italian Music Manuscripts, c.1720-c.1740; Section C - Italian MusicManuscripts, c.1740-c.1770; Section D - Italian Music Manuscripts,c.1770-c.1820. Professor Roger Bray of the University of Lancaster, Editor ofthis project, provides a brief description of each section in his introduction.
Section A: Parts 1-3
This guide covers Section A - Italian Music Manuscripts,c.1640-c.1720, which is published in three parts. Part One contains manuscriptsfrom the Egerton, Harleian, Kings' and Additional Manuscript series. Part Twocontains further manuscripts from the Additional Manuscript series. Part Three containsa single item from the Printed Books collection, followed by manuscripts fromthe Royal Music Manuscript series. Our detailed descriptions are based onexisting catalogue entries and Hughes-Hughes references are provided inbrackets at the end of each entry where appropriate.
This guide provides the Contents of Reels for all threeparts of Section A, together with more detailed listings of the manuscriptsincluded and an Index of Names and Composers. For the convenience of users thisall appears on the first reel of each part of the project and each reelcontains the information relevant to the manuscripts which appear on it.
Under the watchful eye of Roger Bray, we must againacknowledge the care, attention and skill of Maureen Horner at all stages inthe preparation of this Listing and Guide. We must also thank the BritishLibrary for all the help and encouragement they have given.
Section B: Parts 1-4
This guide covers Section B - Italian Music Manuscripts,c.1720-c.1740, which is published in four parts. Part One contains selectedmanuscripts from Egerton 2447-3024 and Additional Manuscripts 14101-14207. PartTwo contains selected manuscripts from Additional Manuscripts 14210-31519. PartThree from Additional Manuscripts 31526-54573 and Printed Book e.29 and PartFour selected manuscripts from Royal Music 21.a.16-24.k.13.
Our detailed descriptions are based on existing catalogueentries and Hughes-Hughes references are provided in brackets at the end ofeach entry where appropriate.
This guide provides the Contents of Reels for all four partsof Section B, together with more detailed listings of the manuscripts includedand an Index of Names and Composers. For the convenience of users this allappears on the first reel of the project and thereafter each reel contains theinformation relevant to the manuscripts which appear on it.
Under the watchful eye of Roger Bray, we must againacknowledge the care, attention and skill of Deborah Taylor at all stages inthe preparation of this Listing and Guide. We must also thank the BritishLibrary for all the help and encouragement they have given.
Section C: Parts 1-3
A hard-copy guide is provided for each section. The firstcovers the three parts of Section A, the second the four parts of Section B,and the third the three parts of Section C. The three parts of Section C aredivided as follows: Part One contains selected manuscripts from the EgertonCollection and Additional Mss 11589-16141. Part Two consists of manuscriptsfrom Additional Mss 16142-56253. Part Three contains manuscripts from the RoyalMusic Collection, 21.a.5.-24.f.3.
Our detailed descriptions are based on existing catalogueentries and Hughes-Hughes references are provided in brackets at the end ofeach entry where appropriate.
The central years of the eighteenth century which concernthis section of the programme were dominated musically by opera, and no lessthan 17 complete manuscript opera scores by the prolific Jommelli alone arereproduced here. Baldassare Galuppi, best known for his opera buffacollaborations with Goldini, is also well represented, with scores of their FilosofoDo Campagna and Diavolessa at Add. ms. 16141 and R.M.22.c.14-19.
Perhaps the best known composer documented here however wasGerman born: Johann Christian Bach. Through Section C we can trace hisdevelopment from early liturgical works (5 in autograph) while he was organistof Milan Cathedral, to his operatic works commissioned in Turin, including thefull autograph of his first opera Artaserse of 1761 (at R.M.2-a.18-20).
The Guide accompanying this programme provides a Contents ofReels for all three parts of Section C, together with an Index of Names andComposers and full catalogue entries as described. For the convenience of usersthis all appears on the first reel of each part of the project and each reelcontains the information relevant to the manuscripts which appear on it.
The British Library's extensive collection of manuscripts ofItalian music of the 17th, 18th and early 19th centuries has been divided upbroadly in line with the accepted division of the most significant periods ofthe genre (as, for example, described in The New Grove Dictionary of Music,ed. S. Sadie, London 1981, s.v. 'Opera').There are therefore four periods, andcomposers have been placed in that section to which the most significantexamples of their work belong. Manuscripts of opera extracts frequently presentthe works of several composers and these have generally been included withinthe section to which the majority of their contents belong. Section Acovers the period c.1640-c.1720 and includes music by composers such as Cesti,Carissimi, Reggio, Benevoli, Colonna, Melani,L. Rossi, Giovanni Bononcini, G.B. Bononcini, Steffani,Caldara, Pollaroli, and Perti. Section B covers theperiod c.1720-c.1740 and includes music by Durante, AlessandroScarlatti, Leo, Porpora, Vinci, Marcello, Hasse(who is regarded as Italian for our purposes), Pergolesi, Geminiani,and Feo. Section C covers the period c.1740-c.1770 and suchcomposers as Auletta, Cafaro, Pietro Guglielmi, Latilla,Jommelli, Bertoni, Tartini, Contumacci, Fenoglio,Galuppi, Perez and J.C. Bach. It may seem strange to findthe English Bach with the Italians, but this is the most logical place for him.Section D covers the period c.1770-c.1820 and such composers as Cimarosa,Zingarelli, Trento, Bianchi, Viotti, Anfossi,Paisiello, Mayr, Piccinni, Rossini, Salieri, andGiardini, and, notable amongst the composers of music other than opera, Dragonetti.
Section A, c.1640-1720
There is a good deal of church music and oratorio in SectionA, notably by Benevoli, Carissimi, Colonna, Grandi,Steffani, and Lotti. Several of the manuscripts have particularEnglish connections, e.g. Harley 1273 in the hand of H. Wanley, Harley1270, 1272 and 1863 in the hand of B. Berenclow, and his father, andseveral manuscripts in the hand of H. Needler (Additions 5044,5055-5057). The composer John Stanley is the copyist of Additional5329-5332 and 5335. English interest in music composed some years earlieris shown by W. Gostling's copy of Carissimi's Jeptha, (Additional31477) and by Samuel Wesley's copy of motets (Additional 31476).
It is also evident that more manuscripts were copied in, orsoon found their way to, England, such as RM.27.d.7 which adds a catch by WilliamHayes to a collection of arias by Carissimi, and Additional 31546,a collection of cantatas by G.B. Bononcini which was owned by thecomposer Walmisley in 1842. This first group of manuscripts alsocontains some important instrumental music, especially the anonymous 17thcentury passacaglias (Additional 14246), the organ toccatas by M.A.Rossi (Additional 24313), the keyboard collection of 1679 (Additional31500), the autograph collection of keyboard music by Pasquini (Additional31501), the string music by D'Eve (Additional 31533), and theorgan music by Frescobaldi (Additional 34003).
The most substantial ingredient of the collection, however,is secular music, especially opera. Many of the copies must presumably havecome from the Italian copying-houses, but they are nevertheless useful,especially in cases where there is no modern edition of an opera, and indeedthere was no printed edition at the time. Of the large number of operas, operaextracts, and secular cantatas, there are notable examples by Melani (Armidaand Girello), Cesti's Dori, several by various members ofthe Bononcini family (it being sometimes doubtful which), including Giovanni'sSylla, Giovanni or Marc Antonio's Il Trionfo di Camilla,Giovanni Baptista's Turno Aricino, Xerse, Tomiri, Erminia,some fourteen operas by Steffani, including the shared composition with Tori(Briseide), and La Lotta d'Alcide, La Superbia d'Alessandro,Arminto, Enea, Henrico Leone, Marco Aureleano, LaLiberta Contenta, and Orlando Generoso. In many cases there is morethan one copy, creating opportunities for comparison. In this section there areexamples of autograph copies by Caldara, Colonna, Benevoli,Perti, Pollaroli, and Steffani.
Section B, c.1720-c.1740
The sacred music in Section B includes severaloratorios, notably Hasse's Pellegrini, which seems to have beenextremely popular to judge by the number of copies of it which survive(including a German version), and Leo's Santa Elena al Calvario, Porpora'sSanta Eugenia and Il Verbo Incarnato, Feo's S.Francesco di Sales, and Pergolesi's Conversione di S. Guglielmo.In addition there is an extensive collection of liturgical music, namely masses(Gloria and Credo only, in accordance with liturgical requirements),and large-scale motets, notably in Durante, Porpora, Fago,Pergolesi, Lotti, Feo, Leo, Alessandro Scarlatti,Marcello and Hasse. Instrumental music in this section includes akeyboard tutor by Alessandro Scarlatti, a collection of keyboard musicowned by "Scarlatti" (perhaps Domenico), sonatas by Domenico,orchestral music by Marcello, Hasse, Albinoni, Porpora,Alessandro Scarlatti, Prescetti, Vivaldi and Sammartini,and keyboard music with Leo, Geminiani and Ambrosio. Againthere are some manuscripts with particular English connections, including acurious work by Marcello, setting Dryden's Alexander's Feastin Italian (Egerton 2487), serenatas by Porpora thought to havebeen written for the wedding of Frederic, Prince of Wales in 1736 (Additional14122), a manuscript owned by Crotch in c.1800 (Additional 31515),who added works by Durante to an earlier layer, a copy of about 1725 of Vinci'sElpidia (first performed c.1723), in the hand of J.C. Smith, Handel'samanuensis probably made for the London performance of this work in 1725, and acollection of keyboard music partly in the hand of Geminiani, owned by BenjaminCooke by 1740. Several of the Royal Music manuscripts appear to haveparticular connections with the Royal Family, including a manuscript of musicby Sammartini to which a pastoral by Frederic, Prince of Waleshas been added, and Sammartini's Judgment of Paris, in English.
In Section B, however, as in Section A, thesecular music preponderates, and, within this category, opera. In particular thereare twenty one operas, or substantial portions of operas, most in autograph, byPorpora, including his Rosmene, Ifigenia in Tauride, Ariannae Teseo, Siface, Il Trionfo di Camilla, Didone, Meridee Selinute, Arianna, Enea, Iffigenia and thirteen by AlessandroScarlatti, including his Griselda, Amor Generoso, Scipione,Attilio Regolo, and Il Prigioner Fortunato. There are thirteen byHasse, including Simiramide, Artaserse, Demofoonte,Solimanno, Piramo e Tisbe, Didone, Ezio, Siroe,and in addition operas by Vinci (Partenope, Artaserse and Alessandronell' Indie), Leo (Demofoonte, Siface, LucioPapirio, Il Castello D'Atlante), Pergolesi (L'Adriano inSiria, Lo fratto innammorato, Olimpiade), and Feo (L'Andromacca).This is no more than a selective list.
Autographs in this section include several manuscripts by Porporaof his music, and other examples by Durante, Alessandro Scarlatti,Feo, Vinci, Marcello, Hasse, Pergolesi, and Geminiani.
Section C, c.1740-c.1770
Oratorios in Section C include Jommelli's LaPassione, Isacco, and Bettulia Liberata, and extracts from Fox'sIl Testamento sul Calvario. There are several masses and motets, notablyby Jommelli, Cafaro de Majo, Galuppi, Latilla, Bertoni,Contumacci, J.C. Bach, Fenoglio and Perez. In thissection there is instrumental and orchestral music by Tartini (violinsonatas), Galuppi, Alberti, Barbarella, and J.C. Bach(concertos), and Wagenseil. Manuscripts and works with particularEnglish associations include Burney's copy of a counterpoint treatise bySala, with his own added examples (Additional 11589-11591), acopy of an anonymous opera owned by P. Hayes (Additional 16156), amanuscript of motets given by Dragonetti to Vincent Novello (Additional31642), a manuscript of arias copied for the 3rd Earl of Bristol (Additional31655), odes written by J.C. Bach for the birthday and marriage ofQueen Charlotte (RM.11.a.16-17), and another ode, by Granoni, for thelatter occasion.
However, as in Sections Aand B, secular music, especially opera, forms the major part of thecollection. There are five operas, or substantial extracts, by J.C. Bach,including Temistocle, Catone in Utica, Alessandro nell' Indie,Artaserse, Caratacco, three by Pietro Guglielmi (LaVirtuoso in Mergellina, La Pastorella nobile, and Tomiri),and operas by Latilla (Angelica ed Orlando), Bertoni (LucioVero), and Traetta (Ifigenia in Aulide, Lucio Vero), Gluck(Ipermestre, Ezio, Orfeo ed Euridice), and Galuppi(Il Filosofo di Campagna, Imenio e Venare and La Calamita deCori). There is a long sequence of similar manuscripts of operas by Jommelli(seven, including Caio Mario, Temistocle, Artaserse, Semiramide,Merope, and Creso), and copies of other operas, including L'Eumene,Ifigenia in Aulide, Attilio Regolo Armida, Ezio, and TitoManlio, and five by Perez (Solimanno, Alessandro nell'Indie, L'Olimpiade, L'Adriano in Siria, and Demetrio).
Autograph music is found by Cafaro, Auletta, PietroGuglielmi, Latilla, Bertoni, Contumacci, Tenoglio,and by J.C. Bach, Galuppi, and Perez.
Section D, c.1770-c.1820
Sacred music in this section includes Zingraelli's cantataLa tre ore dell'Agonia, and the oratorios Ninive Conversa (Anfossi),Assalonne (Cimarosa), La Distruzzione di Garusalemme (P.C.Guglielmi), Santa Elena al Calvario (Anfossi) and IlTrionfo della Chiesa (Paer). Liturtical music includes masses andmotets by de Orchis, Zingarelli, Anfossi, Insanguine,Perti, Sarti, Piccinni, Cimarosa, Sacchini, Mayr,Conforti, Fioravanti and Tritto.
Instrumental music includes string quartets by Paisielloand Dragonetti, music for double bass by Dragonetti, and sketchesby the same composer, concertos for the double bass by Cimador, sonatasby Clementi, string duets by trios by Giardini, trio sonatas by Lidarti,a bassoon concerto by Rosetti, and orchestral music by Cherubini.
The most notable operas, from a very large number, are: sixby Piccinni (La Donna Vana, Il servo padrone, Catone inUtica, I Stravaganti, Alessandro nell' Indie, L'AmanteRidiculo), twenty three by Paisiello including L'Amor Contratasto,Gli Schiavi per amore, Il Re Teodoro, Il Barbiere di Seviglia,La Nina Pazza, La Frascatanna, I Zingari in Fiera, LaServa Padrona, Fedra, Elfrida, Didone and Le DueContesse), five by Anfossi (L'Avaro, Gl'Artigiani, LaFinta Giardiniera, La Vera Costanza, Il Geloso in Cimento,five by Bianchi (Il Chinese in Italia, La Vendetta di Nino,La Merope, Il Ritratto, and Pizzarro) and one each by Paer(I Fuorusciti) and Cherubini (Pimmalione), and towardsthe end of the period, three by Rossini (Demetrio e Polibio, Tancredi,Elizabetta Regina).
The prolific Cimarosa is, of course,well-represented; indeed there are thirteen operas of his, including IlConvito di Massimo, L'Impresario in Angustie, Penelope, Artemisia(unfinished), L'Olimpiade, Il Credulo Deluso, I Nemicigenerois, Il Matrimonio segreto, Le Due Barone, Le DonneRivali, Li Orasi e Criazi. There are also three operas by Salieri(Axur, La Secchia Rapita, Palmia), and examples by Sacchini,Righini, Sarti, Tarchi, Vigano, Zingarelli, Andreozzi,Mayr, Niccolini, Pucitta, Portogallo, and Winter.Some of the operas by Paisiello appear in an abbreviated version,perhaps for London performances. There are autographs by Cimarosa, Anfossi,Paisiello, Mayr, Piccinni, Giardini, Dragonetti,Portagallo, and Zingarelli.
British Library Catalogues
Further information of the contents of manuscripts etc., isavailable as follows:
(a) for all material acquired before 1908, except category(b) below:
A. Hughes-Hughes, A Catalogue of the ManuscriptMusic in the British Museum, 3 vols., London, British Museum, 1906-1909,reprinted 1964-1966.
(b) for all manuscripts with the classmark RM:
W. Barclay Squire and H. Andrews, Catalogueof the King's Music Library, 3 vols., London, British Museum, 1927-1929.
(c) for manuscripts etc., acquired or identified since 1908:
P. Willetts, Handlist of Music ManuscriptsAcquired 1908-1967, London, British Library, 1970.
Catalogue of Additions to the Manuscripts in the BritishMuseum, London, British Museum/British Library:
1900-1905 (Add.36298-37232, Eg.2827-61), 1907;
1906-1910 (Add.37233-38091, Eg.2862-89), 1912;
1911-1915 (Add.38092-39255, Eg.2890-2909), 1925;
1916-1920 (Add.39256-40015, Eg.2910-3030), 1933;
1921-1925 (Add.40016-41295, Eg.3031-3038), 1950;
1926-1930 (Add.41296-42181, Eg.3039-3048), 1959;
1931-1935 (Add.42182-42864, and 43039-44085, Eg.3049-3135), 1967;
1936-1945 (Add.44836-46172, Eg.3136-3319), 2 vols., 1970;
1946-1950 (Add.46173-47458, Eg.3320-3675), 1979;
1951-1955 (Add.47459-48988, Eg.3676-3724), 1982
'Rough Register' of Acquisitions of the Department ofManuscripts, British Library, London, List and Index Society, SpecialSeries:
Vol. 7 (1961-1965), 1974;
Vol. 8 (1966-1970), 1975;
Vol. 10 (1971-1975), 1977;
Vol. 15 (1976-1980), 1983.
Thanks are due to Rosalie Warburton for her patience andtolerance in keeping the Lancaster end of the operation working smoothly.
Professor Roger Bray,
University of Lancaster