Catalog of Pre-1900 Vocal Manuscripts in the Music Library, University of California at Berkeley [Reprint 2019 ed.] 9780520331402

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CATALOG OF PRE-1900 VOCAL MANUSCRIPTS IN THE MUSIC LIBRARY, UNIVERSITY OF CALIFORNIA AT BERKELEY

Catalog of Pre-1900 Vocal Manuscripts in the Music Library, University of California at Berkeley

JOHN A. EMERSON

UNIVERSITY OF CALIFORNIA PRESS Berkeley

Los Angeles

London

UNIVERSITY OF CALIFORNIA PUBLICATIONS: CATALOGS AND BIBLIOGRAPHIES Editorial Board Roger B. Berry, J. Richard Blanchard, Vinton Dearing, James Deetz, Robert D. Harlan, John W. Tanno, D. K. Wilgus Volume 4

UNIVERSITY OF CALIFORNIA PRESS BERKELEY AND LOS ANGELES, CALIFORNIA UNIVERSITY OF CALIFORNIA PRESS, LTD. LONDON, ENGLAND ISBN 0-520-09703-3 LIBRARY OF CONGRESS CATALOG CARD NUMBER: 87-30229 C1988 BY THE REGENTS OF THE UNIVERSITY OF CALIFORNIA PRINTED IN THE UNITED STATES OF AMERICA

Library of Congress Cataloging-in-Publication Data Emerson, John A. Catalog of pre-1900 vocal manuscripts in the Music Library, University of California at Berkeley / by John A. Emerson. p. cm. — (University of California publications. Catalogs and bibliographies : v. 4) Bibliography: p. Includes index. ISBN 0-520-09703-3 (alk. paper) 1. Vocal music—Manuscripts—Catalogs. 2. Manuscripts— California—Berkeley—Catalogs. 3. University of California, Berkeley. Music Library—Catalogs. I. University of California, Berkeley. Music Library. II. Tide. UI. Series. ML 136.B382U63 1988 016.784—del9 87-30229 CIP MN

To Caryl, my love

CONTENTS

Introduction

ix

Editorial Method

xi

Acknowledgments

xix

Abbreviations

xxi

Manuscripts with Music by a Single Identified Composer

1

Manuscripts with Music by a Single Anonymous Composer Italian Texts

103

Latin Texts

110

Other

116

Collections Italian Texts

119

French Texts

188

English Texts

207

German Texts

217

Religious and Service Music Latin Texts

219

English Texts

227

Gregorian Chant Books and Fragments

247

Music Treatises

263

Correspondence

269

Bibliography

273

Indexes

279 vii

INTRODUCTION

During the thirty-five year period from 1946 to 1981, the Music Library of the University of California at Berkeley accumulated nearly 3 , 5 0 0 manuscript volumes. As far as the history of libraries is concerned, this is a brief time. It does, however, reflect the remarkable activity of the Head Music Librarian during those years, the late Professor Vincent H. Duckies (b. Boston, September 21, 1913, d. Berkeley, July 1, 1985). The development of these collections by Professor Duckies, together with his other contributions to the University, stand as a lasting tribute to his enormous talent, administrative ability, and musical scholarship. In addition to his unique acquisitive instincts, there are several other reasons for this rapid growth: (1) interest by the Music Faculty stimulated the purchase of many items; (2) the generous fiscal policy maintained by the General Library made possible the purchase of most of these volumes, particularly through the Elizabeth Patterson Mitchell Fund; and, (3) a substantial grant from the United States Department of Health, Education and Welfare helped finance acquisition trips abroad. 1 There are three major units visible in the Berkeley music manuscript collections. The first is the "Tartini Collection," which has an identity of its own. It derives its name from having been compiled by musicians associated with Giuseppe Tartini of Padua in the mid-eighteenth century. Shortly before her death in 1965, Minnie Elmer, a member of the Music Library staff, published a thematic catalog of these 1,140 instrumental manuscripts. 2 A projected microform edition of all the manuscripts in the Tartini Collection is planned for publication by Mr. Newton K. Gregg under the editorial direction of Gloria Eive. The second group of more than 1,000 manuscripts consists entirely of twentieth century compositions that make up the archival collection of the Music Library, and is strongly oriented toward music composed by musicians associated with the musical scene of the San Francisco Bay Area. 1 1. Vincent Duckies, "The University of California, Berkeley, Music Library," Notes 36 (1979): 7-22. 2. Minnie Elmer and Vincent Duckies, Thematic Catalog of a Manuscript Collection of EighteenthCentury Italian Instrumental Music. Berkeley and Los Angeles: University of California Press, 1963. 3. John A. Emerson, Music in the San Francisco Bay Area: Archival Materials Held by the Music Library, University of California at Berkeley. National Inventory of Documentary Sources in the United States, Part 4, no. 118; 2 vols. Alexandria, VA: Chadwyck-Healey, Inc., forthcoming 1988. IX

INTRODUCTION

This catalog focuses on the third group, a general manuscript collection embracing a broad spectrum of musical styles—religious and secular, vocal and instrumental, serious and popular. It also contains a number of didactic writings ranging from rudiments of music and exercise books to complete treatises. The earliest sources date from the eleventh-century, the most recent from the late nineteenth-century. As of July 1, 1987, this collection numbered 1,155 manuscripts. Restricted in scope, this catalog inventories only the vocal manuscripts in this general collection, a total of 700 items containing more than 3,300 separate musical compositions. 1 compiled a draft catalog of the remaining 455 instrumental manuscripts and it is available for consultation in the Music Library. As desirable as it might have been, it was beyond my resources to include musical incipits in this catalog. Upon close examination it will be noticed that there is a tenuous structural organization among the manuscripts in this general collection; it reflects the ad hoc origins of this catalog. In the mid-1960s the compiler prepared a perfunctory inventory of about 6 0 0 manuscripts. For more than a decade this list and the combined memories of two librarians served as improvisatory guides to the collection. At that time the manuscripts were arranged into roughly three classes: vocal music (MSS 1—462), rudiments of music (MSS 4 6 3 - 8 0 ) , and instrumental music (MSS 4 8 1 - 6 1 1 ) . Some years later MSS 8 0 5 56 were arranged alphabetically by composer. Serious efforts to prepare a published catalog began in 1978 and since that time newly acquired MSS have been assigned call numbers in order of their acquisition. These older schemes have been abandoned in this catalog. Needless to say, the acquisition program at Berkeley has had the full support and cooperation of antiquarian book and music dealers in all parts of Europe and the United States. Scholars who use these manuscripts must be aware of this fact, for it may bear directly on their research. These manuscripts were purchased at entirely different times and places in individual lots consisting of several to more than 2 0 0 volumes. Comparatively few were purchased as single items; fewer still were received as gifts. During the transfer of these manuscripts from private hands through the antiquarian book trade to Berkeley, vital background information relating to the past history of a volume or collection may have been garbled or lost. Scholars should also recognize that these manuscripts were acquired for their intrinsic research value, not as specimens of the bookmaker's art, although occasionally the two interests, artistic and scientific, can be combined. Musical manuscripts can be a vexatious lot. At one moment they may offer startling insights, and in the next, obscurity and bewilderment. The manuscripts described in this catalog are endowed with their share of obfuscation. There are two central problems. First, it is difficult, if not impossible, to establish with certitude the precise date and provenance of most of these sources. And second, there is the question of intrinsic historical importance. It would be rash to claim that the compositions cited in the indexes are of equal musical and historical merit. Undoubtedly, the observed importance of any manuscript or composition is largely dependent on the curiosity and experience of the investigator. In the final analysis, then, it is the community of scholars who use these materials in their teaching, research, and performance that will give enduring value to a collection of this kind.

X

EDITORIAL METHOD

This is a classed catalog. The contents of 700 vocal manuscripts are inventoried; all date before the year 1900, except item 699. The entries are arranged sequentially by a catalog item number, 1 through 700, assigned by the compiler, not by acquisition number order or by shelf number order. The manuscripts are systematically grouped into six broad categories. This classification seemed to provide the most logical organization for this particular collection: 1. Items 1-445 are manuscripts with music by a single identified composer. The items are arranged alphabetically by the last name of the composer. 2. Items 446-526 are manuscripts with music by a single anonymous composer. These items are subdivided by language: Italian (446-84), Latin (485-519), Other (520-26). 3. Items 527-627 are collections (anthologies) containing musical compositions by more than one composer. These are also subdivided by language: Italian (527-609), French (610-21), English (622-25), and German (626-27). 4. Items 628-47 are collections of religious compositions and Service music in Latin (628-41) and English (642-47). 5. Items 648-90 are Gregorian chant books and fragments. 6. Items 691-700 include music treatises, an anthology of vaudevilles in French without music, and a collection of correspondence related to another manuscript. Access to specific information is available by means of 11 indexes appended to the end of the catalog. These indexes consist of: (1) personal names (composers, performers, owners, copyists, etc.); (2) titles of dramatic works; (3) song titles and first lines; (4) musical genres; (5) names of cities; (6) names of theaters; (7) names of dramatic characters; (8) names of liturgical feasts; (9) dates that occur in the manuscripts; (10) watermarks; and (11) a concordance table that permits the identification of a manuscript from its shelf number. Whenever applicable, each entry contains bibliographical information that is presented in a fixed order: 1. Catalog item number and the manuscript shelf number 2. Composers (and other proper names) xi

EDITORIAL METHOD

3. Title 4. Physical collation 5. Provenance and date 6. Inscription 7. Remarks 8. Inventory of contents 9. Bibliographical reference(s) Manuscript Shelf Numbers A manuscript signature consisting of Arabic numbers only denotes a single volume, for example: Item 596 (MS 118). Collection of 45 Italian canzoni. In contrast, a signature that is followed by lower-case letters indicates the presence of several independent, but constituent bibliographical members of the manuscript. For example, item 199 consists of 13 separate partbooks; these are indicated by the letters ( i . a-m : Item 199 (MS 945 a-m). Eberlin, Johann Ernst, 1702-62. Passion oratorio "Heu me! Quam spissae tenebrae." Among libraries there is some imprecision concerning the definition of what constitutes "a manuscript." For statistical purposes, more than anything else, it is possible to inflate overall counts by assigning several manuscript numbers to a single physical volume. For example, Item 592 (MS 1081) is a factitious collection of Italian music bound into one volume of 327 folios. It manifests many scribal hands, several varieties and sizes of paper, and an assemblage of gatherings that date from 1784 to 1832. Some libraries might assign multiple manuscript numbers to such an anthology; at Berkeley, however, it is counted as one manuscript. Composers and Other Proper Names The spelling of proper names, such as composers, performers, librettists, owners, etc., adheres to forms used in The New Grove Dictionary (1980), the most recent and definitive music encyclopedia. Likewise, it is the preferred source for birth and death dates. Whenever The New Grove Dictionary proved insufficient, other standard reference works were consulted. The exact form of a proper name as it appears in the manuscript will be found under the Inscription. Problems relating to attribution are usually discussed under Remarks. As a convenience to the reader, the dates of composers and singers (when known) are repeated in each of the collection descriptions (items 527-627). Title Manuscripts, unlike printed books, lack uniform title-page inscriptions. Some manuscript tides exude rich information: subtitles, dates, places, dedications, and names of performers, owners, theaters, etc.; in others, this information is sparse, misleading, or absent. These unpredictable circumstances affect the form of the title entries used in this catalog. In general there are two types. In the first category, the title entry is established xii

EDITORIAL METHOD

directly from the manuscript inscription and/or the text incipit; additional explanatory information, such as the date of the first performance of an opera that establishes a reliable terminus a quo for the composition, is given as seems appropriate, for example: Aria "Vanne a morte, o figlio mio" (C) [from Giunio Bruto (1781)] [from item 167] The second type of title entry is a succinct descriptive statement devised by the compiler that summarizes fundamental bibliographical aspects of the manuscript. Ordinarily these titles apply to collections containing mixed genres of music and to manuscripts lacking inscriptions entirely, for example: Collection of 14 arias, 1 duet, 5 miscellaneous songs, in Italian, and 6 pieces for keyboard [from item 561] "The Foliario Massbook." Collection of 16 anonymous polyphonic masses for 4, 5, 6, and 8 voices, compiled and copied by Francesco Foliario [from item 639] Collection of 157 vaudevilles, chansons, amphigouris, couplets détachés, airs, etc., in French [from item 698] The genre of the musical work is generally cited as part of the title entry. On balance, the accepted English form is used to maintain uniformity throughout the catalog, for example: Offertory, Motet, Cavatina, Mass, Duet, Aria, Opera, Recitative, Singspiel, etc. However, this is not a hard and fast rule; actual manuscript designations are used for genres of works whenever they seem inherently more descriptive and meaningful, for example: Canzone militaire, Canzonetta francese, Ballo a solo, Romanza, Ottonari, etc. In any case, the original form as it appears in the manuscript is given in full under the Inscription, or in the case of collections, under the Contents. The compiler avoided assigning a musical genre to a composition when it did not appear in the inscription, except when the musical form was clearly evident, such as a recitative preceding an aria. For example, none of the "Tantum ergo's" in these vocal manuscripts are prefaced with generic names. Therefore, they have not been arbitrarily classed as "hymns," or "motets," or "prayers," and are thus omitted from Index IV: Musical Genres. (They are listed, however, in Index III: First Lines and Song Titles.) Collation Depending on conditions, eight distinguishing features are usually specified in the physical description: (1) the number and type of volumes; (2) the instrumentation and key; (3) the foliation or pagination including the preliminary leaves (p.l.) and end leaves (e.l.); (4) the format (upright or oblong); (5) the outer dimensions of the cover measured in centimeters (the vertical measurement is given first); (6) a succinct description of the binding (cover, spine, and edges); (7) a description of the watermark(s); and (8) the number of staves per leaf, for example: xiii

EDITORIAL METHOD

Printed libretto and MS score bound in 1 vol.: 2 p.l. + x, 48 pp. (libretto) + 93 if. (score) + 3 e.l.; upr.; 29.3 x 22.8 cm; cover: contemporary full leather with gilt-tooled spine; edges: trim, and dyed red; WM: J . SAUVADE FIN / AUVERGNE 1742; 12 stv. [from item 361] The specific nomenclature of the instrumentation, for example, "for S,A,T,B, vln 12, and org," is normally given in the physical collation, but it may occur under the Inscription or Contents, if these seem more appropriate, or to avoid repetition of information. Names of vocal and instrumental parts are given in English, except when it seems preferable to preserve the original manuscript designation, for example: " 2 colascioncini" [from item 550, no. 10] The presence, absence, or occasional appearance of figures in the basso continuo (be) parts are noted, because they may have a direct bearing on the musical style of the composition. This information is described as follows: "be with figures," "be without figures," "be with sporadic figures," "realized be," or "partially realized be." Many manuscripts came to the Berkeley Music Library lacking folio or page numbers. All were foliated (not paginated) by the compiler to facilitate study. If a manuscript was received with partial pagination, this system of numbers was continued to the end of the volume. With the exception of the Gregorian chant books and fragments, nearly all of the manuscripts described in this catalog are paper, so this material is not mentioned specifically. Manuscripts of parchment, or parchment and paper, are duly noted, for example: Chant book: 2 p.l. + 369 ff. (354 paper, 15 parchment) + 1 e.l. [from item 654] If the paper is moisture-stained, cropped, torn, etc., these conditions are recorded. Some manuscripts, particularly commercial products, are enhanced with engraved decorative title page inscriptions and borders, and often bear the names of engravers, vendors, or other imprint data. These names are indexed. Two terms used by the compiler to describe the covers need clarification. (1) When there is no preliminary leaf (p.l.) preceding, i.e., protecting, the first page of music, the term " n o cover" is used. (2) The designation "staff paper" indicates that there is a preliminary leaf and that the material is made of ordinary music paper hand-ruled with staves. In either case the copyist normally prefaced the music with an inscription. Italian manuscripts may contain fogli ("f.") numbers. Normally these were appended to the lower right-hand corner of the inscription leaf, and they tally the number of pages finished by the copyist. For example: f. 1 = 4 pages; f. 1-1/4 = 5 pages; f. 11/2 = 6 pages; f. 1-3/4 = 7 pages; f. 2 = 8 pages; f. 3 = 12 pages; f. 3-1/4 = 13 pages, etc. Factitious collections with multiple title leaves ordinarily contain several fogli numbers: item 572 (MS 112), for example, has seven. Abundant evidence in these manuscripts suggests the numbers were used to compute the cost of the copyist's labor and/or the vendor's sale price. The compiler of this catalog was acutely aware of the technical complexities associated with the scientific classification, description, measurement, and evaluation of watermarks. His first instinct was to exclude them entirely from the catalog. Still, there was the nagging realization that watermarks are an inherent part of the physical document, and that the compiler had a responsibility to provide clues to what was actually present, and—equally important—what was not present. Consequently, an effort has been made XIV

EDITORIAL METHOD

to describe and index these graphic forms. (Incidentally, the manuscripts represented in this catalog provide a broad view of seventeenth and eighteenth-century Italian watermarks). Some watermarks consist of single elements whose content can be described without much ambiguity, for example: WM: J. WHATMAN 1823, J. WHATMAN TURKEY MILLS 1826, S. BROOK / 1824 [from item 625] In cases where a watermark consists of two or more distinct graphic elements, of which the lowest one is a name or a group of letters, the description usually reads upwards. Here, the terms "beneath," "within," and "surmounted by" in the descriptive formula differentiate the graphic elements, for example:

"GR beneath a fdl. within a shield surmounted by a crown" [from item 197]

When a name or group of letters is positioned above other graphic elements, the description usually reads downward, for example:

CB atop a fdl. within dbl. circles" [from item 36] XV

EDITORIAL METHOD

When a name or group of letters is positioned both above and below a centrallypositioned graphic design, the catalog description usually reads downward and the three distinct elements are separated by diagonal slashes, for example:

WM: AMG within a frame / fdl. within a sgl. circle / F [from item 100]

No attempt was made to describe the diverse styles of commonplace designs (such as fleur-de-lys), the size of the watermarks, the distance between chain lines, or to distinguish countermarks, etc. Virtually all the watermarks were mutilated when the original paper sheets were folded and cut to receive musical notation. Index X is designed to provide access to these dispersed graphic elements; it is subdivided into six categories: dates; personal names, places, and descriptive words; letters and groups of letters; objects; armorial designs; and circles. (Special attention was paid to circles, because the compiler believes they are of critical importance to the classification of seventeenth- and eighteenth-century Italian watermarks.) It goes without saying that watermarks are not always easy to read. It is possible the compiler misinterpreted some of the calligraphic elements because a descender or a loop was very faint. For example: he may have mistaken a " C " for a "G," an "F" for an "E," a "P" for a "B", an " O " for a "Q," etc. Provenance and Date Several approaches were used to establish the likely provenance and date of a manuscript. Occasionally the unusual specificity of local names of people, institutions, and dates that are preserved in the inscription seem to provide an indisputable place of origin, as, for example, the oratorio by Carlo Maria Colonnesi, II vaggio delle Marie al sepolcro, composed in 1770 in the city of Velletri, near Rome: Oratorio / o sia / Azzione Sagra per Música / rappresentate / II viaggio delle Marie al Sepolcro / Composto / Dal Nobil Uomo Carlo Maria Colonnesi Patrizio Veliteono / sotto la scuola, e direzzione del P? M™ Giovanni Falasca Minor Conven-/tuale, e M™ di Cappella della Cittá di Velletri—1770—dedicata [from item 175B]

XVI

EDITORIAL METHOD

In the majority of cases, however, this essential information was based on indirect evidence. For example, item 536, a collection of 17 Italian arias, contains three place names (Vienna, Rome, and Naples), two dates (1750 and 1752), and the initials of the former owner " C . B. N . " (Cavaliere Bartolomeo Nucci di Pescia). It is assumed, therefore, the manuscript of necessity must date after 1752, and that the place of origin is probably Pescia, rather than Vienna, Rome, or Naples, because it belongs to a group of manuscripts in the Berkeley Library that are associated with Nucci. When it seemed impossible to infer a terminus a quo from internal documentary evidence or associations with other sources, then the style of music was used as the principal, if not risky, criterion. In such cases the opinions of others were sought. Apropos of this assistance, the compiler acknowledges with deep gratitude the suggestions offered by people whose names are cited in the Acknowledgments. The final responsibility for the reliability or unreliability of these dates and places, however, rests squarely with the compiler.

Inscription Despite the vagaries of date, provenance, and authenticity posed by manuscript inscriptions, the original spellings, abbreviations, punctuation marks, and upper- and lower-case letters (or, lack thereof) are retained exactly, whenever possible. Diagonal slashes are used to mark the end of lines, secondary inscriptions are enclosed within quotation marks, and information introduced by the compiler is set apart in square brackets, for example: Inscription (front cover): Mascarades. [Spine title] "Mascar/ Du. R. De / Le Chine" [from item 354] Names of owners frequently appear on the title page. More often than not the inscription is self-explanatory, for example: "Di proprietà Di Anna Bernardini" [from item 200] At other times the ownership statement can be determined readily from its position on the title page and/or a change of hand, for example: [Added] "Piccirilli" [from item 249]

Remarks Each manuscript has its own distinguishing characteristics—its unique personality, as it were. The purpose of this section is to alert the reader to special features and problems that are not covered adequately in other parts of the catalog description. Observations by others, which were solicited by the compiler, also appear here, for example: Remarks: Robert Ford identified this as an autograph. Folio 8 is partly missing. These leaves were formerly ff. 179-86 of another MS [from item 431]

Inventory of Contents The contents of manuscripts are unpredictable, and the occurrence of various types of music may be characteristically homogeneous or quite random. Frequently these distinctions are blurred by physical peculiarities: the presence of several scribal hands, XVll

MANUSCRIPTS WITH MUSIC BY A SINGLE IDENTIFIED COMPOSER

ITEMS 1-89 (MSS 178-266). Most of these are religious works composed by Agostino Accorimboni (b. Rome, 28 Aug. 1739; d. Rome, 13 Aug. 1818) while he was affiliated with the church of Sant'Anna alle Quattro Fontane in Rome. Aside from two probable holographs (items 65 and 85) and nine late copies, which date between 1842 and 1853 (items 4, 30, 40, 47, 56, 57, 83, 88, 89), the remainder, about 78, appear to have been copied by a single scribe as a group around the year 1808 from earlier exemplars. (Item 42, the only one which is dated, bears the inscription date of November 1808.) One of the readily identifiable features of this distinctive scribal hand is the uniform style of the initial and final braces. Sergio Martinotti (MGG-Suppl.) lists these among Accorimboni's missing compositions.

1 (MS 178). Accorimboni, Agostino, 1739-1818. [Versicle] "Adjuva nos, Deus, salutaris noster" (g), for T, men's chorus, and org with figures. In 4 parts. Score: 8 ff.; obi.; 22 x 29 cm; no cover; WM: GB.I, F beneath a fdl. within dbl. circles; 12 stv. Rome, ca. 1808. Inscription: Di Agostino Accorimboni—Originale.

2 (MS 179). Accorimboni, A. Antiphon " O sacrum convivium" (F), for S,S, and org without figures. Andantino, 3/4, 41 mm. Score: 2 ff.; obi.; 21.8 x 29.2 cm; cover: staff paper; dkl. edges; indistinct WM; 10 stv. Rome, ca. 1808. Inscription: Antifona / a due Soprani / Per l'elevazione del SS™° Sagramento / Per uso a S. Anna alle quattro / Fontane / Originale / di Agostino Accorimboni.

3 (MS 180). Accorimboni, A. Antiphon " O virgo virginum quam pulcra es" (a), for S and org with figures. A tempo giusto, 3/4, 49 mm. Score: 2 ff.; obi.; 21.8 x 29 cm; cover: staff paper; dkl. edges; WM: [CB] atop a fdl. within dbl. circles; 10 stv. Rome, ca. 1808. l

CATALOG OF MUSIC MANUSCRIPTS

Inscription: Originale / Antifona / a / Soprano Solo, e Organo / di Agostino Accorimboni.

4 (MS 181 a-b). Accorimboni, A. "Ave Maria" (G), for S,S,B, and a partially realized org. Andante sostenuto, 2/4, 59 mm. Score (2 cop.): cop. 1: 4 ff.; obi.; 22.1 x 29.6 cm; cop. 2: 6 ff.; obi.; 25.2 x 38.2 cm; covers: staff paper; dkl. and trim, edges; WM: E di G / S (cop. 2); 10 stv. Italy, mid-19c. Inscription (cop. 1): Ave Maria a tre voci / in / due Soprani e Basso / di Agostino Accoramboni [s/'c] / Maestro di Cappella Romano / scolare di Rinaldo di Capua, nato li 28 Agosto 1739 / morto il giorno 13 Agosto 1818.

5 (MS 182). Accorimboni, A. Giaculatoria "Cor dulce Gesù, proh?" (g), for S,S [and org] with scattered figures. Largo, 3/4, 39 mm. Score: 2 ff.; obi.; 22 x 29.2 cm; cover: staff paper; dkl. edges; WM: fdl. within a sgl. circle; 12 stv. Rome, ca. 1808. Inscription: Giaculatoria / a Due Soprani / Del Sig' Maestro Agostino Accorimboni.

6 (MS 183). Accorimboni, A. Giaculatoria "Dolce cor del mio Gesù" (F), for T,B, and realized org. Adagio, C, 28 mm. Score: 2 ff.; obi.; 22.3 x 29.5 cm; cover: staff paper; dkl. edges; WM: VanDerLay; 10 stv. Rome, ca. 1808. Inscription: Giaculatoria a due Voci / Tenore, e Basso / Con l'Acconpagnamento [sic] dell'Organo / Del Sig' Agostino Accorimboni.

7 (MS 184 a-b). Accorimboni, A. Gradual "Angelis suis Deus" (F), for S and "organo e bassi" with figures. Allegro, C, 53 mm. Score: 1 leaf; obi.; 21.7 x 32.3 cm; dkl. edges; no WM; 12 stv. Vocal part: 2 ff.; upr.; 25 x 18.6 cm; no cover; trim, edges; 10 stv. Rome, ca. 1808. Inscription: Originale—Graduale delli SS. Angeli Custodi—Di Agos™ Accorimboni.

8 (MS 185 a-b). Accorimboni, A. Graduai "Benedicta et venerabilis" (D), for B [and org] with scattered figures. Allegro, C, 50 mm. Score: 2 ff.; obi.; 22.2 x 29.2 cm; cover: staff paper; dkl. edges; WM: sgl. fdl.; 12 stv. Vocal part: 2 ff.; upr.; 23.6 x 18.2 cm; 9 stv. Rome, ca. 1808. Inscription: Graduale in die Conceptionis / B.M.V. / a Basso Solo / Originale / Di Agostino Accorimboni.

9 (MS 186). Accorimboni, A. Gradual "Dilexisti justitiam" (G), for S,S,B, and org without figures. Andante con moto, 3/4, 43 mm. Score: 2 ff.; obi.; 21.9 x 28 cm; cover: staff paper; dkl. edges; no WM; 12 stv. Rome, ca. 1808. 2

MSS WITH MUSIC BY A SINGLE IDENTIFIED COMPOSER

Inscription: Originale / Graduale / Per la Messa di S. Anna / Per uso a S. Anna alle 4. Fontane / di Agostino Accorimboni.

10 (MS 187). Accorimboni, A. Graduai "Dolorosa et lacrimabilis es virgo Maria" (g), for S,S, and org with scattered figures. Larghetto, 2/4, 27 mm. Score: 2 ff.; obi.; 22.1 x 29.5 cm; cover: staff paper; dkl. edges; WM: indistinct letters beneath a fdl.; 10 stv. Rome, ca. 1808. Inscription: Originale / Graduale a due Voci / per Maria SS™ Addolorata / Di Agostino Accorimboni.

11 (MS 188). Accorimboni, A. Graduai "Oculi omnium in te sperant" (G), for S,S, and org without figures. Andante, 3/4,53 mm. Score: 2 ff.; obi.; 22.6 x 30.1 cm; cover: staff paper; dkl. edges; WM: SG beneath a fdl.; 12 stv. Rome, ca. 1808. Inscription: Originale / Graduale / a due voci / Per la Messa del Corpus Domini / Per uso a S. Anna alle 4. Fontane / di Agostino Accorimboni.

12 (MS 189 a-b). Accorimboni, A. Graduai "Tu es qui extraxisti me" (G), for A [and org] with figures. Allegro, C, 54 mm. Score: 2 ff.; obi.; 21.8 x 29 cm; cover: staff paper; dkl. edges; WM: GB.I, F beneath a fdl. within dbl. circles; 12 stv. Vocal part: 1 leaf; upr.; 23.5 x 18.3 cm; 9 stv. Rome, ca. 1808. Inscription: Graduale per S. Raimonda / a voce sola di Contralto / Originale / Di Agostino Accorimboni.

13 (MS 190 a-b). Accorimboni, A. Gradual and offertory for the feast of the Nativity BVM. Inscription: Originale / Graduale / a 2. Voci / [Offertorio / a 3. Voci] / Per la Messa della Natività di / Maria Santissima / Per uso a S. Anna alle 4. Fontane / Di Agostino Accorimboni. Contents: 1. Gradual "Benedicta et venerabilis es virgo Maria" (G), for S,S, and org without figures. Larghetto, 3/4, 49 mm. Score: 2 ff.; obi.; 21.8 x 28 cm; cover: staff paper; dkl. edges; no WM, 12 stv. 2. Offertory "Beata es virgo Maria" (E), for S,S,B, and org without figures. Andantino, 3/4, 43 mm. Score: 2 ff.; obi.; 22.1 x 28.2 cm; cover: staff paper; dkl. edges; no WM; 12 stv. Rome, ca. 1808.

14 (MS 191 a-b). Accorimboni, A. Gradual and offertory for the feast of the Conception BVM. 3

CATALOG OF MUSIC MANUSCRIPTS

Inscription: Originale—Graduale / a 3. Voci / [Offertorio a 2. Voci] / Per la Messa della Concepzione de Maria / Santissima / Per uso a S. Anna alle 4. Fontane / Di Agostino Accorimboni. Contents: 1. Gradual "Benedicta et venerabili es virgo Maria" (G), for S,S,B, and org with scattered figures. Allegro, C, 42 mm. Score: 2 ff.; obi.; 22.1 x 29.1 cm; cover: staff paper; dkl. edges, no WM; 12 stv. 2. Offertory "Beata es virgo Maria" (C), for S,S, and org without figures. Larghetto, 2/4, 38 mm. Score: 2 ff.; obi.; 22 x 28.9 cm; cover: staff paper; dkl. edges; no WM; 12 stv. Rome, ca. 1808.

IS (MS 192 a-f). Accorimboni, A. Gradual and offertory for the feast of Sts. Cosmas and Damian. Inscription: Originale / Graduale [Offertorio] per li SS. Cosma, e Damiano Mm. / Di Agostino Accorimboni. Contents: 1. Gradual "Clamaverunt justi" (Bb), for S,S, contrabasso, and org with figures. Allegro, C, 55 mm. Score and 3 parts: 7 ff.; obi.; 22.8 x 30.7 cm; no covers; dkl. edges; no WM; 14 stv. 2. Offertory "Gloriabuntur in te omnes" (A), for T, contrabasso, and org with figures. Allegro, C, 64 mm. Score and 2 parts: 5 ff.; obi.; 22.9 x 30 cm; no covers; dkl. edges; WM: (?)PM; 14 stv. Rome, ca. 1808.

16 (MS 193 a-b). Accorimboni, A. Gradual and offertory for the feast of Sts. Peter and Paul. Inscription: Originale / Graduale / [Offertorio] / Per la Messa de' Ss: Apostoli Pietro, e Paolo / Per uso a S. Anna alle 4. Fontane / Di Agostino Accorimboni. Contents: 1. Graduale "Constitues eos principes" (G), for S,S, and org without figures. Andante, C, 33 mm. Score: 2 ff.; obi.; 22.2 x 29.2 cm; cover: staff paper; dkl. edges; WM: sgl. fdl.; 10 stv. 2. Offertory "Constitues eos principes" (C), for S,S,B, and org without figures. Andante, 3/4, 51 mm. Score: 2 ff.; obi.; 22 x 28.2 cm; cover: staff paper; dkl. edges; no WM; 12 stv. Rome, ca. 1808.

17 (MS 194 a-g). Accorimboni, A. Gradual and offertory for the feast of the Sacred Heart. Inscription: Originale / Graduale a 4 / [Offertorio a soprano solo] / per il ST" Cuore di Gesù / Di Agostino Accorimboni. 4

MSS WITH MUSIC BY A SINGLE IDENTIFIED COMPOSER

Contents: 1. Gradual "Dicite filiae Sion" (F), for S,A,T,B, and org with figures. Andante maestoso, C, 106 mm. Score and 4 parts: 8 if.; obi.; 22.6 x 29.8 cm; no covers; dkl. edges; WM: ED, F beneath a fdl. within a sgl. circle; 12 stv. 2. Offertory "Domine Deus in simplicitate cordis mei" (G), for S and org with figures. Allegro, C, 65 mm. Score and part: 4 ff.; obi.; 22.3 x 29 cm; cover: staff paper; dkl. edges; WM: VITTORI; 10 stv. Rome, ca. 1808.

18

(MS 195 a-b). Accorimboni, A. Gradual and offertory for Easter.

Inscription: Originale / Graduale / [Offertorio a 3. Voci] / per la Messa di Resurrezione / Di Agostino Accorimboni. Contents: 1. Gradual "Haec est dies quam fecit Dominus" (A), for S,S, and org without figures. Andante, 3/4, 42 mm. Score: 2 ff.; obi.; 21.9 x 29.6 cm; cover: staff paper; dkl. edges; WM: sgl. fdl.; 12 stv. 2. Offertory "Terra tremuit et quievit" (C), for S,S,B, and org without figures. Allegro, C, 39 mm. Score: 2 ff.; obi.; 22.3 x 29.9 cm; cover: staff paper; dkl. edges; indistinct WM; 12 stv. Rome, ca. 1808.

19 (MS 196 a-b). Accorimboni, A. Gradual and offertory for the feast of the Assumption B.M.V. Inscription: Originale / Graduale / a 2. Voci / [Offertorio / a 3. Voci] / Per la Messa / in Assumptione Beate Marie / Per uso a S. Anna alle 4. Fontane / di Agostino Accorimboni. Contents: 1. Gradual "Propter veritatem et mansuetudinem" (G), for S,S, and org without figures. Andante, 3/4, 35 mm. Score: 2 ff.; obi.; 21.9 x 28.6 cm; cover: staff paper; dkl. edges; no WM; 12 stv. 2. Offertory "Assumpta est Maria" (A), for S,S,B, and org without figures. Allegro moderato, C, 36 mm. Score: 2 ff.; obi.; 22 x 28.4 cm; cover: staff paper; dkl. edges; no WM; 12 stv. Rome, ca. 1808.

20 (MS 197 a-d). Accorimboni, A. Gradual and offertory for the feast of the Common of Virgins. Inscription: Originale / Graduale / a Tenore solo / [Offertorio / a voce sola de Basso] / de communi Vergini / Di Agostino Accorimboni. Contents: 1. Gradual "Specie tua et pulchritudine tua" (D), for T and org with figures. Allegro maestoso, C, 74 mm. Score and part: 4 ff.; obi.; 22.5 x 29.1 cm; no covers; dkl. edges; WM: VITTORI, V atop a fdl. within a sgl. circle; 10 stv. 5

CATALOG OF MUSIC MANUSCRIPTS

2. Offertory "Filiae regum in honore tuo" (C), for B and org with figures. Allegro con spirito, C, 59 mm. Score and part: 4 ff.; obi.; 22.2 x 29.3 cm; covers: staff paper; dkl. edges; WM: MAGNINI, P beneath a sgl. fdl.; 10 stv. Rome, ca. 1808. 21 (MS 198). Accorimboni, A. Hymn "Jesu corona virginum" (F), for S,S, and org with sporadic figures. Larghetto, 3/4; Allegro, C, 57 mm. Score: 2 ff.; obi.; 22.3 x 29.8 cm; no cover; dkl. edges; WM: (?)M, sgl. fdl.; 10 stv. Rome, ca. 1808. Inscription: Inno per S. Orsola—a due Soprani / Accorimboni fecit. 22 (MS 199). Accorimboni, A. Hymn "Caelestis urbs Jerusalem" (G), for S,A, and org with figures. Allegro moderato, C, 61 mm. Score: 2 ff.; obi.; 22.3 x 29.6 cm; no cover; dkl. edges; WM: indistinct letters, sgl. fdl.; 10 stv. Rome, ca. 1808. Inscription: fecit.

Hymnus In Dedicatione Ecclesie—A due, Canto, e Alto—Accorimboni

23 (MS 200). Accorimboni, A. Hymn "Maria mater gratiae, mater misericordiae" (G), for S or T, gtr, and be without figures. Andantino, 2/4, 48 mm. Score: 2 ff.; obi.; 22.7 x 28.8 cm; cover: staff paper; dkl. edges; WM: F beneath a fdl. within a sgl. circle; 12 stv. Rome, ca. 1808. Inscription: Originale / Versetto dell'Inno di Maria Vergine / a voce sola / con accompag." di Chitarra detta Francese, / Di Agostino Accorimboni / Maestro di Cappella Romano. 24 (MS 201). Accorimboni, A. Hymn "Maria mater gratiae, mater misericordiae" (G), for S and org with figures. Andante, C, 55 mm. (this piece is substantially diff. from item 23). Score: 1 leaf; obi.; 22 x 31.4 cm; no cover; trim, edges; WM: indistinct name; 10 stv. Rome, ca. 1808. Inscription: Originale—Versetto dell'Inno di Maria Vergine e Soprano solo e Org? — Di Agostino Accorimboni. 25 (MS 202). Accorimboni, A. Invitatory and hymn for Christmas. Two scores: 16 ff.; obi.; 22.6 x 29.7 cm; no covers; dkl. edges; WM: VITTORI, MV beneath a fdl. within a sgl. circle; 12 stv. Rome, ca. 1808. Inscription: Originale / Invitatorio a 4 Voci per il S. Natale—Di Agostino Accorimboni. Contents: 1. Invitatory "Christus natus est nobis" (F), for S,A,T,B [and org] with figures. In 13 sections (ff. 1-13). 2. "Inno doppo l'Invitatorio," "Jesu redemptor omnium" (C), for S,S,A,B [and org] with figures. Allegretto, 2/4, 77 mm. (13v-16). 6

MSS WITH MUSIC BY A SINGLE IDENTIFIED COMPOSER

26 (MS 203). Accorimboni, A. Litany of the Saints (C), for S,S,A,B, vln 1-2, and "organo e bassi." In 7 sections, 383 mm. Score: 10 ff.; obi.; 22.3 x 29.6 cm; no cover; dkl. edges; WM: PA; 14 stv. Rome, ca. 1808. Inscription: Litanie de' Santi—a quattro voci, con Strom? —Originale di Agostino Accorimboni. Remarks: The litany contains a special petition to "Sancta Ursula cum sodalibus tuis."

27 (MS 204 a-d). Accorimboni, A. Marian litany (A), for S,S,B, and "organo e bassi." In 5 sections, 317 mm. Score: 10 ff.; obi.; 22.3 x 29.8 cm; no cover; dkl. edges; WM: PM; 10 stv. Three vocal parts: 12 ff.; upr.; 25.3 x 18.3 cm; 10 stv. Rome, ca. 1808. Inscription: Originale—Litanie della B. Verg! a 3. Voci—Di Agostino Accorimboni.

28 (MS 205). Accorimboni, A. Choral responses to a Marian litany (Eb), for S,S,B, and org with figures. In 3 sections, 25 mm. Score (2 cop.): 3 ff.; obi.; 21.6 x 29.2 cm; no covers; dkl. edges; WM: JH / & / Z beneath a [hn] within a shield; 12 stv. Rome, ca. 1808. Inscription: Originate Accorimboni.

29 (MS 206 a-b). Accorimboni, A. Lode "Gran regina a cui s'inchina" (Eb). Version 1 for S,S,B, and pft. Largo, C; Allegro con brio, 6/8, 126 mm. Version 2 for T,T,B, and org without figures. Largo, C; Allegro con brio, 6/8, 112 mm. Two scores: 8 ff.; obi.; 22.3 x 29.4 cm; covers: staff paper; dkl. edges; WM: VanDerLey; 10 stv. Rome, 1808. Inscription (version 1): Originale / Lode di Maria Santissima / a 3. Voci / Di Agostino Accorimboni.

30 (MS 207 a-b). Accorimboni, A. Lode "O pane del cielo" (A), for S,S,B, and org without figures. Andante con moto, 3/4; Allegro assai, 3/8, 105 mm. Two scores. Cop. 1: 4 ff.; obi.; 22.7 x 30.2 cm; cover: staff paper; dkl. edges; WM: indistinct letters beneath a sgl. fdl.; 12 stv. Rome, ca. 1808. Cop. 2: 6 ff.; obi.; 25.4 x 38.1 cm; cover: staff paper; trim, edges; WM: E di G / S; 10 stv. Italy, mid-19c. Inscription (cop. 1): Originale / Lode a Gesù Sagramentato / a 3. Voci / Per uso a S. Anna alle quattro / Fontane / Di Agostino Accorimboni.

31 (MS 208 a-e). Accorimboni, A. Mass (Bb), for S,S,A,T,B, and "organo e bassi." Score: 38 ff.; obi.; 22.3 x 29.9 cm; cover: staff paper; dkl. edges; WM: GB.I, EDS, F beneath a fdl. within a sgl. circle; 14 stv. Four parts (S II,A,T,B): 42 ff.; upr.; 24.2 x 18.5 cm; 9 stv. Rome, ca. 1808. 7

CATALOG OF MUSIC MANUSCRIPTS

Inscription: Messa a cinque voci / Per Organo, / e Bassi / Kyrie / Originale / Di Agostino Accorimboni. Remarks: The S I part is lacking. For a later copy of the score, see item 32.

32 (MS 209). Accorimboni, A. Mass (Bb), for S,S,A,T,B, and "organo e bassi" (see item 31). Score: 2 p.l. + 70 pp. + 1 e.l.; obi.; 21.5 x 28.6 cm; cover: staff paper; cropped edges; WM: PM; 14 stv. Italy, 19c/lq. Inscription: Messa a cinque voci / Per Organo / e Bassi / Di Agostino Accorimboni.

33 (MS 210 a-e). Accorimboni, A. Mass (G), for S,A,T,B, and "organo e bassi." Score: 19 ff.; obi.; 26.5 x 39 cm (several sizes of paper). Four vocal parts: 34 ff.; upr.; 25.3 x 18.8 cm; no covers; dkl. and trim, edges; among the WM are: VITTORI, PM, F / crown / fdl. within a sgl. circle / GFS; 10 stv. Rome, ca. 1808. Inscription: Gloria a 4. Voci, con Organo, e Bassi—Di Agostino Accorimboni / Originale. Remarks: The Kyrie mvt. is lacking from the score, but it can be reconstructed from the parts. The T part contains only the Kyrie.

34 (MS 211 a-d). [Accorimboni, A.]. Motet "Accipe coronam capiti tuo" (F), for S,S,T,B [and org]. Andante, 3/4, 35 mm. Four vocal parts: 4 ff.; upr.; 24.5 x 18.6 cm; no covers; dkl. edges; no WM; 9 stv. Rome, ca. 1808. Inscription: Mottetto 3? per le vestiz™ dell'adoratrici / del SSf° Sagramento.

35 (MS 212 a-d). Accorimboni, A. Motet "Beati qui habitant in domo tua Domine" (G), for S,S,B, and org without figures. Andante con moto, 3/4, 67 mm. Score: 4 ff.; obi.; 22.3 x 29.4 cm; cover: staff paper; dkl. edges; WM: sgl. fdl.; 10 stv. Three vocal parts: 5 ff.; upr.; 24.5 x 18.2 cm; no covers; dkl. edges; WM: A&G / F; 9 stv. Rome, ca. 1808. Inscription: Originale / Mottetto [per l'Offertorio] a 3. voci, cioè / due Soprani, e Basso / Per uso a S. Anna alle quattro / Fontane / Di Agostino Accorimboni.

36 (MS 213 a-b). Accorimboni, A. Motet "Benedictus qui venit" (D), for B [and org] with figures. Andantino, 6/8, 70 mm. Score and part: 3 ff.; obi.; 22.3 x 29 cm; cover: staff paper; dkl. edges; WM: CB atop a fdl. within dbl. circles; 10 stv. Rome, ca. 1808. Inscription: Mottetto in Pastorale a voce / sola di Basso / per il SSf° Natale / Originale / Di Agostino Accorimboni / Fatto per uso del Sig' Gio: de Cesari. 8

MSS WITH MUSIC BY A SINGLE IDENTIFIED COMPOSER

37 (MS 214). Accorimboni, A. Motet "Benedictus qui venit" (E), for S [and org] with figures (this is a shorter version of item 36 arr. for S). Andantino, 6/8, 58 mm. Score: 2 ff.; obi.; 21.8 x 28 cm; cover: staff paper; dkl. edges; WM: FM beneath a sgl. fdl.; 14 stv. Rome, ca. 1808. Inscription: Originale / Mottetto a voce sola di Soprano / per il SS7° Natale / di Agostino Accorimboni / Maestro di Cappella Romano.

38 (MS 215). Accorimboni, A. Motet "Ecce panis angelorum" (G), for S,A, and org with scattered figures. Andante, C, 74 mm. Score: 2 ff.; obi.; 22.6 x 29 cm; no cover; dkl. edges; WM: VITTORI; 10 stv. Rome, ca. 1808. Inscription: Mottetto a Due—Del Sigi Agostino Accorimboni.

39 (MS 216). Accorimboni, A. Motet "Ecce sacerdos magnus" (D), for S,S,B, and realized org. Allegro, C, 56 mm. Score: 4 ff.; obi.; 22 x 29 cm; cover: staff paper; dkl. edges; no WM; 10 stv. Rome, ca. 1808. Inscription: Originale / Mottetto a 3. Voci / Per L'arrivo, e presenza / del Santo Pontefice / Per uso di S. Anna alle 4. Fontane / di Agostino Accorimboni. Remarks: The inscription refers to a visit to St. Ann's Church by Pius VII, 1800-23. Allegedly, Accorimboni wrote a cantata for the pope, but it is prob. this motet.

40 (MS 217). Accorimboni, A. Motet " O salutaris hostia" (a), for S and org with figures. Tempo giusto, C, 42 mm. Score: 4 ff.; obi.; 25.4 x 38.5 cm; cover: staff paper; trim, edges; WM: prob. E di G / S (lower corner); 10 stv. Italy, mid-19c. Inscription: O Salutaris hostia / Mottetto a Voce Sola di Soprano / Del Sig' Agostino Accorimboni. Remarks: A "Tantum ergo sacramentum" (F), for S,S [and pft] by Sigr. Delfrate is added to ff. 3-4.

41 (MS 218 a-c). Accorimboni, A. Motet "Qui sequuntur agnum sine macula" (A), for S,S, and org without figures. Allegro, C, 60 mm. Score: 2 ff.; obi.; 21.8 x 29.2 cm; no cover; dkl. edges; no WM; 12 stv. Two vocal parts: 4 ff.; upr.; 24.8 x 18.5 cm; no covers; dkl. edges; WM: VG / F and fdl.; 9 stv. Rome, ca. 1808. Inscription: Originale—Mottetto 2? per al vestizione dell'adoratrici perpetue / del SS?" Sagramento in S. Anna alle 4. Fontane / Di Agostino Accorimboni.

42 (MS 219). Accorimboni, A. Motet "Sacerdotes Domini incensum et panem" (G), for B [and org] with figures. Allegro, C, 58 mm. Score: 2 ff.; obi.; 22 x 29.2 cm; cover: 9

CATALOG OF MUSIC MANUSCRIPTS

staff paper; dkl. edges; WM: FD, fdl. within a sgl. circle; 10 stv. Rome, November 1808. Inscription: Sacerdotes Domini / Motetto a Voce Sola di Basso / Di Agostino Accorimboni—Originale / Composto per il Sig' Giovanni de Cesare / Novembre 1808.

43 (MS 220 a-c). Accorimboni, A. Motet "Tolle jugum Christi" (G), for S,S, and org without figures. Allegro, C, 40 mm. Score: 2 if.; obi.; 21.9 x 28.9 cm; no cover; dkl. edges; no WM; 12 stv. Two vocal parts: 2 ff.; upr.; 24.2 x 18.6 cm; no covers; dkl. edges; WM: F beneath a fdl. within a sgl. circle; 9 stv. Rome, ca. 1808. Inscription: Originale—Mottetto 1? per le Vestizione dell'adoratrici / perpetue del SS?10 Sagramento alle 4. Fontane—Di Agostino Accorimboni.

44 (MS 221). Accorimboni, A. Offertory "Ascendit Deus in jubilatione" (G), for S,S, and org without figures. Allegro, C, 30 mm. Score: 2 ff.; obi.; 22.7 x 30.2 cm; cover: staff paper; dkl. edges; WM: indistinct letters beneath a sgl. fdl.; 12 stv. Rome, ca. 1808. Inscription: Originale / Offertorio per PAscenzione del Signore / Per uso a S. Anna alle 4. Fontane / Di Agostino Accorimboni.

45 (MS 222). Accorimboni, A. Offertory "Confirma hoc Deus" (G), for S,S,B, and org with scattered figures. Andantino,