Thematic Catalog of a Manuscript Collection of Eighteenth-Century Italian Instrumental Music [Reprint 2020 ed.] 9780520330306

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Thematic Qatalog of a Jvianuscript of

(Collection

Sighteenth-Century

Italian Instrumental

Jviusic

IN T H E U N I V E R S I T Y OF C A L I F O R N I A , MUSIC LIBRARY

BERKELEY

Thematic (Catalog of a J\4anuscript (Collection of &igkteenth-Century Italian Instrumental GJ\Ausic T H E

U N I V E R S I T Y

O F

M U S I C

WITH

C A L I F O R N I A ,

B E R K E L E Y

L I B R A R Y

by Vincent Duckies and Minnie

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FOREWORD Those who have tried to hack their way through the thick, forbidding underbrush of the manuscripts, editions, and catalogs of Tartini's music will particularly appreciate the important milestone that the publication of the present catalog represents. The catalog does not pretend to include all the works of Tartini. It describes the contents of a specific collection at Berkeley, which represents not only Tartini's works but also those of a number of composers emanating from his "School of Nations" in Padua, including some hitherto unknown. A central feature of the catalog i s , of course, the thematic incipits of the movements of each work concerned. Naturally, this catalog would have been impossible without the earlier work of others, notably the Dounias catalog of Tartini's concertos (1935) and the recent Brainard catalog of all the sonatas (1959), unfortunately still unpublished. The catalog of the Berkeley collection u s e s the results of such previous works, amplifying them where n e c e s s a r y . Perhaps the Berkeley catalog will serve to stimulate the publication of similar catalogs of other large collections, especially those in Padua, Paris, and Marburg. Eventually, a complete catalog of the works of Tartini should follow and, let us hope, of others represented in the Berkeley collection. The most important result of all, the publication of a c curate editions of individual works, should also be hastened by the present catalog. The publication of a work of this character and magnitude does not happen of i t self. There are generally three basic conditions which must act in concert to produce it. These are a sufficiently important collection to warrant publication; the presence of gifted workers whose devotion to scholarship is matched by s p e cialized knowledge and a fierce passion for undeviating accuracy; and, finally, the will, money, and facilities to publish the r e s u l t s . Sometimes there are, additionally, unexpected v i s t a s of human interest in such undertakings that lend a certain elan or even romantic glow to what is supposedly thedrabness o f m e t i c u lous scholarship. The Berkeley collection clearly fulfills the first of the conditions just mentioned. Until the collection was acquired by the University of California in 1958, it had been in private hands for upwards of two centuries and was quite unknown to the world of music. It turns out to be one of the richest collections of Tartini manuscripts — in this r e s p e c t , to be ranked with those at Padua, Paris, and Marburg. In addition, the Berkeley collection contains far more than the manuscripts of Tartini. However, this point and the extent and richness of the collection need not be pursued here, since a detailed description of the collection is given e l s e where in this catalog. The second and third of our conditions, basic to publishing the catalog, have also — needless to say — been present at Berkeley. The human forces behind the catalog have been Vincent Duckies, Minnie Elmer, and, in its last s t a g e s , Pierluigi Petrobelli. Professor Duckies, who found the collection in Italy (as I shall relate presently), had a special interest in the catalog, not only for this reason but also because the publication of a catalog naturally suggested itself to him as head of the Music Library at Berkeley. Miss Elmer, who has long been interested in Tartini, supplied a large part of the sinews of the research involved. In the last year of work, Pierluigi Petrobelli came especially to Berkeley from

FOREWORD Padua to work on the project, a n i helped greatly through his specialized knowledge of manuscripts and editions contained in Padua and other large European libraries. The last link in the chain of factors e s s e n t i a l to the s u c c e s s f u l completion of the published catalog was furnished by the University of California Press and its o f f i c i a l s , together with those of the Music Department. Finally, since one is not often a party to the acquisition of a collection of such importance, I cannot refrain from mentioning my own role in the purchase of this collection and the excitement I experienced in the p r o c e s s . The initial impulse for acquiring the Berkeley collection came from the lucky juxtaposition of two American musicologists inGOttingenduring 1957-8: Professor Duckies, Fulbright research fellow during that year, and Paul Brainard, an American who was writing a doctoral dissertation on Tartini's sonatas. In the course of his research, Brainard came across this collection, the importance of which he mentioned to Duckies, who lost no time in relaying this information to me, at that time chairman of the Music Department at Berkeley. Happily, I was able to convince the University authorities of the great importance of the collection, and, as a consequence, its purchase followed shortly thereafter. When the collection arrived in Berkeley, I experienced the special proprietary interest that only the collector knows; and on examining its contents, I was able to identify a manuscript t r e a tise included in the collection as the long-lost Italian manuscript of Tartini's Traité des Aqrëmens. Although I discovered afterwards that Paul Brainard had, unknown to me, identified it earlier, I basked for some time in the initial glow of discovery. I later published a specialized description of this treatise in the Musical Quarterly (Tulv, 1960), and was instrumental in seeing that the original Italian version of this treatise was incorporated in Dr. Erwin Jacob! 1 s edition of the Traité, then in course of publication in French, German, and English. By a curious quirk of fate, another and more complete version of the Italian manuscript was discovered in Venice about the same time by Pierluigi Petrobelli, and this was the manuscript that Dr. Jacobi finally used for his edition. Thus the Berkeley collection represents different interests to various persons, and the ramification of its u s e s is suggested by what I have already said. We hope that the present catalog will widen the u s e f u l n e s s of the collection still further, serving the cause of scholarship and music throughout the world. David D. Boyden Oxford, England March 23, 1963

ACKNOWLEDGMENTS The preparation of a catalog of this nature could not have been accomplished without the help of many individuals. Paul Brainard i s entitled to first mention since it was he who became aware of the collection in the course of his Tartini research at GOttingen and brought it to the attention of the Head of the Music Library at Berkeley. David Boyden, Professor of Music, and Donald Coney, University Librarian, gave the catalog project their support from its beginnings. To Jan La Rue and to Claudio Sartori we are indebted for checking the unknown names in the collection against their f i l e s . Gloria Feldman has given us the results of her work on the composer, Paolo Alberghi, conducted as part of her graduate studies at Berkeley, and Sylvia Kramer, another graduate student, made valuable preliminary studies of the watermarks and of the music of Domenico Dell'Oglio. The first steps toward a thematic catalog of the collection were taken in the Spring of 1959 by the members of the graduate seminar, Music 200B, all of whom deserve credit for the final result. Finally, a special word of a c knowledgment is due to the two members of the Music Library staff at Berkeley who were responsible for handling some of the most difficult technical details involved in the publication: to Mala Werness who made the thematic incipits, and to Esther Sanematsu who prepared the typescript and organized the final copy.

CONTENTS

INTRODUCTION H i s t o r i c a l Background and Provenance Handwritings and their R e l a t i o n s h i p s to other Tartini c o l l e c t i o n s Examples of Handwritings Watermarks L e t t e r s , Numbers and Principal Symbols of Watermarks Watermarks in Numerical Order Examples of Watermarks

.

.

1 4 7 9 11 12 19

BIBLIOGRAPHY

22

CONTENT AND ARRANGEMENT OF ENTRIES

25

THEMATIC CATALOG Aiudi Alberghi Albinoni Barbe Ila Benda Bertoni Be s o z z i Bini Boccherini Borghi Brioschi Camerloher Campioni Capuzzi Cauciello Conti Corelli Demachi Dhe Dothel Dutillieu Ferrari Fracassini Fritz Galeoti Gallo Gasparini Geminiani Giovannini Gobbis Haindel Handel Haydn Helendaal

29 29 48 53 54 54 55 61 65 67 70 71 72 82 84 84 85 85 86 86 89 90 91 94 96 102 104 107 113 113 115 116 117 119

Hoffmeister Holzbogen Jarnovi£ Kleinknecht KoSeluh Lolli Magherini Maldere Manfredi Marcelli Marzola Meneghetti Morigi Mosel Mozart Myslivecek Nardini Nazari Oglio, Dall' Orsini Pavona Pugnani Raimondi Saint-Georges . Sammartini Schelff Sciabra Sguazin Sighicelli Stade Stamitz Sterkel Stratico Tartini Todeschino Toeschi Toschini . Touchemoulin Trento Vacchi Vento Vimercati Viotti Wagenseil Wanhall Wodiczka Zanetti Zavoon Embellishment, E mbellished Slow M o v e m e n t s & C a d e n z a s Thematic c a t a l o g s Anonymous Anonymous Dance and S o c i a l M u s i c Vocal M a n u s c r i p t s and Printed M u s i c

.

.

.

.

122 124 127 127 128 130 136 140 141 142 145 148 149 149 15 2 152 153 162 163 178 180 182 184 189 189 192 193 193 194 196 197 198 200 296 355 356 356 358 359 362 364 364 365 366 367 374 378 379 380 384 385 402 403

INTRODUCTION

HISTORICAL BACKGROUND AND PROVENANCE. The two main s t r e a m s which carried I t a l i a n m u s i c a l i n f l u e n c e s throughout Europe during the l a t e 18th century flowed from opera and from i n s t r u m e n t a l m u s i c . The f i r s t had t r a d i t i o n a l l y b e e n a s s o c i a t e d with southern I t a l y , with the N e a p o l i t a n school of A l e s s a n d r o S c a r l a t t i and h i s s u c c e s s o r s ; the s e c o n d derived c h i e f l y from the north, i t s i n i t i a l impetus coming from Bologna in the l a t t e r half of the 1 7 t h c e n t u r y , spreading to Venice and to P a d u a . V i o l i n i s t s from a l l over Europe came to Padua to l e a r n their t r a d e , a t t r a c t e d by the name of the m u s i c i a n whom Sir John Hawkins d e s c r i b e d a s "the l a s t great improver of the p r a c t i c e of the v i o l i n , " G i u s e p p e Tartini. Under h i s i n f l u e n c e a new s c h o o l of v i o l i n performa n c e w a s d e v e l o p e d , known a s "The School of the N a t i o n s " in r e c o g n i t i o n of the v a r i e d n a t i o n a l b a c k g r o u n d s of i t s a d h e r e n t s . The p h r a s e implied not s o much an a c t u a l i n s t i t u t i o n a s a symbol of authority in v i o l i n t e c h n i q u e and c o m p o s i t i o n . Although one of the l e a d i n g e x p o n e n t s of the v i o l i n a s a solo i n s t r u m e n t , Tartini did not gain h i s r e p u t a t i o n by t r a v e l i n g a s a v i r t u o s o through the v a r i o u s European music c e n t e r s . Outwardly, at l e a s t , h i s c a r e e r w a s that of a q u i e t , provincial church m u s i c i a n . Except for a period of two y e a r s in P r a g u e , he d e voted himself for more t h a n forty y e a r s to h i s d u t i e s at the Basilica of St. Ant h o n y , p l a y i n g , t e a c h i n g , composing and writing the t r e a t i s e s that c a r r i e d h i s fame throughout the m u s i c a l world of h i s t i m e . Some of h i s music w a s printed, but only a small proportion of the t o t a l output; most of it s u r v i v e s in m a n u s c r i p t . Northern I t a l y , by the s e c o n d half of the 18th c e n t u r y , w a s no longer a c e n t e r of m u s i c printing and p u b l i s h i n g . The tradition of P e t r u c c i , Antico and Giunta had long s i n c e b e e n b r o k e n . There were a few p u b l i s h e r s such a s Antonio Zatta who i s s u e d i n s t r u m e n t a l m u s i c from time to time along with g e n e r a l l i t e r a t u r e , but the l e a d i n g m u s i c publishing h o u s e s were l o c a t e d in London, P a r i s or Ams t e r d a m . This did n o t m e a n that the I t a l i a n c o m p o s e r s were any l e s s productive t h a n they had b e e n in the p a s t . On the c o n t r a r y , their productivity so far outran the c a p a c i t i e s of the p r e s s that not e v e n the combined r e s o u r c e s of a W e l c k e r , a Le C l e r c and a W i t v o g e l could handle i t . M u s i c w a s c i r c u l a t e d to a large e x tent in manuscript c o p i e s . The c o p y i s t , in f a c t , w a s an i n d i s p e n s a b l e figure in the m u s i c a l economy of the time; every m u s i c a l e s t a b l i s h m e n t of any import a n c e m a i n t a i n e d i t s own " s c r i p t o r i u m . " In t h i s the C a p p e l l a Antoniana w a s no e x c e p t i o n . But the a r c h i v e of m a n u s c r i p t s prepared for the u s e of Tartini and h i s c o l l e a g u e s h a s b e e n w i d e l y d i s p e r s e d in the p a s t 200 y e a r s . Some remained i n P a d u a , but it i s s t i l l u n c l e a r j u s t how the Tartini m a n u s c r i p t s were d e p o s i t e d in the i n s t i t u t i o n to which the composer w a s a t t a c h e d . Other s e g m e n t s of the original r e p e r t o i r e , including many Tartini a u t o g r a p h s , have found their way i n to the l i b r a r i e s in P a r i s , Vienna and Marburg. Still other u n i t s have t r a v e l e d e v e n g r e a t e r d i s t a n c e s from their original l o c a t i o n . The purpose of the p r e s e n t c a t a l o g i s to direct the a t t e n t i o n of s c h o l a r s to a group of m a n u s c r i p t s r e c e n t l y a c q u i r e d by the M u s i c Library of the U n i v e r s i t y of C a l i f o r n i a at Berkeley, a c o l l e c t i o n w h i c h a p p e a r s to be the l a r g e s t s i n g l e body of works of the Tartini school p r e s e r v e d i n t a c t from the 18th century to the p r e s e n t d a y . The Berkeley c o l l e c t i o n c o m p r i s e s some 990 m a n u s c r i p t s c o n t a i n i n g works by 82 d i f f e r e n t c o m p o s e r s . These w o r k s , c o u n t e d i n d i v i d u a l l y , come to a t o t a l of 1, 062 c o m p o s i t i o n s . There are 75 a d d i t i o n a l m a n u s c r i p t s c o n t a i n i n g anonymous w o r k s , e m b e l l i s h e d v a r i a n t s from slow movements of c o n c e r t o s and s o n a t a s ,

INTRODUCTION dance music and music for social o c c a s i o n s . The ensemble music, consisting of trio s o n a t a s , quartets and concertos, is preserved in parts. The solo violin sonatas, of which there are approximately 400 examples, appear in a score a r rangement, that i s , the solo is given with its accompanying b a s s line in the same system. The composers found in the collection extend from Corelli to Boccherini. Actually the time span is considerably more concentrated than these two names suggest. Corelli is represented only by a manuscript copy of his v i olin sonatas, Opus 5 (1700) a work which can be considered basic to any library of string music whether of the 18th or of the 20th century. The chronological center of gravity falls within the l a s t quarter of the 18th century, in the works of such musicians as Campioni, Nardini, Pugnani and Helendaal. Two composers, one well known, the other almost completely unknown, serve a s the supporting columns for the structure of the library. The well known figure is Tartini himself with 234 works; his little known compatriot is Michele Stratico, who accounts for no l e s s than 283. Together these two musicians are responsible for a little under half of the total number of compositions preserved. Among the few bits of information we have concerning Stratico is the fact that he was a pupil of Tartini. So, also, were at least twelve other musicians represented in the manuscripts at Berkeley: Alberghi, Bini, Ferrari, Fracassini, Helendaal, Holzbogen, Manfredi, Morigi, Nardini, Nazari, Dall'Oglio and Touchemoulin. This in itself would suggest a close connection between these manuscripts and the school of violinist-composers centered at Padua, but even more direct e v i dence of such connection has been brought to light from a study of the handwritings involved. Two hands in the collection have been identified a s the work of violinists employed in the orchestra at II Santo during Tartini's lifetime. (1) The international character of the collection is apparent from the first glance. We find musicians of French extraction such a s Touchemoulin and Le Chevalier de Saint-Georges, the Belgian, Pierre van Maldere, the Swiss, Kaspar Fritz, the Dutchman, Helendaal, the Germans, Sterkel, Holzbogen and Hoffmeister, and a large contingent of Bohemians (or Czechs) Benda, Kozeluh, Myslivecek, Wanhal, Stamitz and Wodiczka. Haydn is represented by 48 string quartets, extending a s far as his Opus 74 and including his Seven Last Words. Mozart, by three late quartets: K. 575, K. 589 and K. 590. One of the most intriguing f e a tures of the collection is the presence of substantial l i s t s of works by composers who are obviously skilled craftsmen, if not more, but almost completely unmentioned in the annals of music history. Michele Stratico is the most striking c a s e in point, but one could add other names such a s Paolo Alberghi of Faenza, for whom we now have 17 trio sonatas, 11 solo sonatas and 18 c o n certos, or Domenico Dall'Oglio, who is represented by 22 solo violin sonatas and 17 concertos. The music is dominated by the three instrumental forms current throughout the 18th century, the trio sonata, the solo sonata, and the concerto. Numerically the sonata for violin and b a s s is most prominent, with 401 examples, 266 of which are credited to the principal composers, Tartini and Stratico. Next comes the violin concerto with 253 examples, and finally the trio sonata of which there are 237. There remain groups of about 40 duos and 110 or more string quartets, many of the latter designated as "sinfonia a 4 . " The symphony in the early C l a s s i c sense occupies a comparatively small place in this repertoire. The orchestral works, including concertos, are mainly scored for the string group, a l though there are a few i n s t a n c e s in which oboes and horns are required. The concerto parts are almost invariably reduced to the minimum complement, that i s , one part for each instrument. There are few rlpieno parts, a n d r a r e l y i s more than one part supplied for the violoncello andcontinuo combined. If these parts were intended for performance u s e , the ensemble would be a small one involving at most two instruments per stand. There is evidence that the music was o c c a sionally performed with such reduced forces, particularly in private circums t a n c e s . A concerto could be transformed into a sonata a tre or aquattro by employing the obbligato parts only. This kind of performance practice is the same (1) See p. 4-6 for further discussion of this matter.

2

INTRODUCTION as that employed by Abate Vincenzo Rota in his transcriptions of Tartini's c o n certos. The resulting pieces were appropriately called metamorfosi, and we have a note i n F a n z a g o ' s eulogy to the effect that Tartini approved of this practice. "Questo rarissimo ingegno . . . ha ridotti maravigliosamente per diporto trentasei Conserti del N.A. in sonate a tre, ed a quattro parti obbligate, che intitolò Metamorfosi fedelissime, con tanta soddisfazione del Tartini . . . " (1) The core of Tartini's innovations a s a teacher of violin playing is to be found in his approach to ornamentation. His practice was embodied in a treatise which until 1960 was known only in a French translation by P. Denis published in Paris in 1771 under the title, Tralte des Aqrémens. In July 1960, David Boyden published in the Musical Quarterly (p. 315-328) a description of the sole theoretical work found among the Berkeley manuscripts, a treatise which was in fact the missing Italian text of Tartini's celebrated work. In April of the following year Erwln R. Jacobi described in the same journal (p. 207-223) a second copy of the Italian text in a manuscript in the Conservatorio di Musica "Benedetto Marcello" in Venice. Without going into the vexing question a s to which of these manuscripts has the greater authority, it is sufficient to point out that the presence of the treatise among the manuscripts at Berkeley adds further weight to the assumption that these materials are closely connected with Tartini's c e n ter of teaching and performance. In addition to the treatise there is a group of 29 manuscripts containing ornamented variants for 267 melodies taken from the slow movements of sonatas and concertos. Most of these give the original, unadorned melody in parallel alignment with one or more elaborated l i n e s . By far the largest number of these demonstrations of embellishment technique are based on movements from Tartini's works; 84 of his concertos and 26 sonata movements are represented. It has been demonstrated that the techniques employed here are directly related to the precepts given in Tartini's t r e a t i s e . (2) It is easier to demonstrate the connection between the Berkeley manuscripts and Padua than it is to trace their provenance. One can assume from a study of the handwritings, the watermarks and the repertoire, that the collection was a s s e m bled over a limited period of time and for a particular purpose. It has remained substantially in one piece since the end of the 18th century, but i t s history over the intervening years has not been fully clarified. Some important f a c t s have come to light, however. There is a reference to what may be the collection u n der consideration in the autobiography of Antonio Bonaventura Sberti, preserved in a manuscript copy in the Biblioteca Civica in Padua. Sberti was an amateur musician a n d a member of Tartini's circle. In the same autobiography he claims to have furnished Fanzago with the main body of information for the latter's f u neral oration. Sberti mentions in his memoirs, dated 1814, that he gave to a certain Giacomo Ziliotto, a violone player of Padua, a collection of music in two c a s e s , which contained: . . . "tutte le Opere del Corelli, grande numero di Concerti, con Suonate a solo Violino e Basso del Tartini, e del Sig(nor) Michele Stratico, insigne alunno del gran Tartini, oltre due sacchi di Sinfonie, Duetti, etc. di ottimi scrittori di musica. " (3) (1) Fanzago, Francesco: Orazione delle Lodi di Giuseppe Tartini. Padova, 1770. Appendice: Compendio della vita di G. T. p . 4 8 . (2) c f . Elmer, Minnie. Tartini's improvised ornamentation, a s illustrated by manuscripts from the Berkeley collection of eighteenth century Italian i n strumental music. Unpublished t h e s i s , Univ. of C a l i f . , 1962. (3) Padova. Biblioteca del Museo Civico, M s . B . P . 1749/V.

3

INTRODUCTION The mention of a large number of instrumental works by Stratico, a composer who is represented, in quantity, in no other known collection, suggests that Sberti may have had the Berkeley manuscripts in his p o s s e s s i o n at the time. He does not indicate when the collection was given to Ziliotto. We know that it was some time prior to 1814, and the context of Sberti's remarks suggests that the transfer took place before the end of the 18th century. About 1950 the collection in i t s present state was purchased by a private c o l lector from the Stecchini family of Bassano del Grappa, not far north of Padua. With the music manuscripts came a large collection of books and family papers principally of the 18th century. The records do not indicate when the music became part of the Stecchini archives, or to what use it was put while in the family's p o s s e s s i o n . None of the Stecchinis seems to have been active in musical a f f a i r s , and from the state of the collection it can be assumed that it was stored unused over a long period of time. To this fortunate circumstance we probably owe the excellent condition of the manuscripts, and the fact that few of the parts have been lost or detached from their respective s e t s . In the Fall of 1957 the collection was offered for sale, and in the Spring of the following year it was acquired by the University of California Music Library at Berkeley. A further chapter in the acquisition narrative can be added a s a result of Miss Elmer's visit to Italy in 1960/61. Armed with the few f a c t s available to us at that time, she was able to get in touch with the collector who had purchased the Stecchini archive and secure from him a few additional items which had become separated from the rest of the music. Most important of these was the unique copy of Peter Welcker's printing of six sonatas by Michele Stratico, which a p peared in London about 1763. Oddly enough, no copyof this work seems to have found i t s way into any library in England or elsewhere. (1) HANDWRITINGS AND THEIR RELATIONSHIPS TO OTHER TARTINI COLLECTIONS. One of the most striking f a c t s about the collection, at a first superficial e x amination, is the prominence of two handwritings throughout. These two handwritings have been designated as A and B. Hand A is responsible for copies of 156 works of Tartini, for all but two of the Stratico copies, for a large percentage of works by other composers of the Tartini circle, for a number of embellished versions of Tartini's slow movements, and for several anonymous p i e c e s . Copies in Hand A comprise well over half the sonatas, trio sonatas and concertos of the collection, a total of 670 works. While the amount of music in Hand B is approximately equal in quantity to that in Hand A, it differs significantly in content. Hand B is the copyist of a large body of dance music, including minuets, marches, and other music for social o c c a s i o n s . Aside from manuscripts containing this kind of music, Hand B a p pears as principal copyist for about sixty works only. However there are a d ditions by Hand Bon many sets of parts written in other hands. These additions consist of dynamic markings, trills, and in concertos, of written-out cadenzas — in other words, additions to pre-existing copies apparently made for performance purposes. Furthermore, a s well as making corrections in the musical text, Hand B has added titles when these are lacking in the hands of the original copyists, and for some of the Tartini and Stratico manuscripts, has placed in the upper left corner the abbreviation No: followed by a numeral. Two thematic catalogs of Tartini's works accompanied the collection when it was acquired by the University of California. One is in Hand A, the other in Hand B. The second includes sonatas and concertos of Stratico as well a s works of Tartini. Neither index corresponds precisely to the collection as it now e x i s t s : the catalog in Hand A gives themes for 105 concertos and 82 sonatas by Tartini, but

(1) See p.403.

4

INTRODUCTION nine of the concertos and six of the sonatas so listed are missing from the c o l lection itself. The briefer catalog in Hand B contains themes for five of the same missing works. However, all the Stratico works are present as separate scores or s e t s of parts, and the numbers written by Hand B as additions to the title pages of individual works of both composers correspond to the numbers a s signed to the same works in the thematic catalog in Hand B. This thematic c a t alog l i s t s themes for 56 concertos and 50 sonatas of Tartini, and for 18 c o n certos and 27 sonatas by Stratico. After each group of works there is a blank leaf, a s though the compiler had intended to make further additions. The numbers written on the title pages of Stratico sonatas continue through 32. The t h e matic catalog in Hand B is therefore incomplete, but it is clear that a portion of the collection was assembled, corrected, numbered, and indexed by Hand B, and that the copies so treated were written prior to or coincident with the compilation of the Hand B catalog, which forms an index to a portion of the c o l lection. Of the various handwritings that appear as the original copyists in manuscripts numberedand listed by Hand B, it has been possible to establish the identity of at least two through a study of the autograph petitions kept in the Archivio Antico della Veneranda Area del Santo, the depository of the records of the administrative body of the Basilica of St. Anthony in Padua. Hand C is the handwriting of Francesco Melato, active as a violinist in the musical chapel of St. Anthony's from 1740 to 1768, and from about 1750 as principal copyist for the maestro di cappella. Vallotti. Hand D is the handwriting of Bernardino de Zotti, also a v i olinist in the same institution from 1721 to 1777, the year of his death. Less certain is the identification of Hand I of the Berkeley collection with the hand of Giovanni de Zotti, Bernardino's nephew, who entered the chapel as violinist in 1765. Hand L appears to be identical with the handwriting appearing on a p e t i tionby another violinist, GiuseppePriuli (not necessarily autograph, since Prlul i ' s petitions are in a variety of handwritings) presented on December 29, 1739, These manuscripts of the Berkeley collection, and of the smaller nucleus indexed by Hand B, therefore must have originated in Padua. There are reasons to assume that Hand A, the principal coypist of the Berkeley collection, was also connected with the Tartini circle. Manuscript DC. 3956 in the library of the Gesellschaft der Musikfreunde in Vienna is a copy of a c o l l e c tion of sonatas for violin and b a s s and for solo violin in Tartini's autograph. (1) The main handwriting of the Vienna copy is that of Giulio Meneghini, Tartini's pupil and successor at St. Anthony's in Padua, active there from 1756. But in addition to Meneghini's hand. Hand A of the Berkeley collection appears a s the copyist of the fifth fascicle of the manuscript. Further a s s o c i a t i o n s between Hand A and the Tartini group are evident in manuscripts in the musical archives of St. Anthony's. In a set of parts for Tartini concerto D.22 (2) the viollno prlncipale • violino primo and secondo obbliqato. and a viola part are in Meneghini's hand. Another viola part and a b a s s part are in the hand of Bernardino de Zotti (Hand D of the Berkeley collection), but there are two copies of each of the violino ripieno parts in Hand A. A set of parts for Tartini concerto D.30 (3) offers conclusive proof of an association between Hand A and Meneghini, for the violino principale and obbligato parts are in Hand A, but with titles and tempo designations in Meneghini's hand. A viola part begins in Meneghini's hand, but is completed in Hand A. Another link between Hand A and Meneghini appears in works of Michele Stratico, preserved in the Biblioteca Marciana in Venice. A set of quartets dated 1796 (4) has a violino primo part in Hand A, but title page, viola and b a s s parts in Meneghini's writing. Sixteen anonymous sonatas, also in the Marciana (5) are copies (1) (2) (3) (4) (5)

Cappella Antoniana, Ms.D.VI. 1888, f a s c . 1. Cappella Antoniana, Ms.D.VI. 1892:106. Cappella Antoniana, Ms.D.VI. 1902:89. Biblioteca Marciana, Ms. It. IV. 1521 (11238) Biblioteca Marciana, Ms. It. IV. 1252 (11066)

5

INTRODUCTION

6

of sonatas attributed to Stratico in the Berkeley collection. The volume of sonatas in the Marciana Is in Hand A, with annotations in code in Meneghini's hand. This association between Meneghini and Hand A and between Meneghini and Stratico again place both copyist and composer as members of the Tartini group. In some r e s p e c t s , Meneghini's relationship to the collections of Tartini manuscripts in the libraries at St. Anthony's and at the Paris Conservatoire i s similar to that of Hand B in the Berkeley collection. Meneghini appears as copyist of some of the Padua manuscripts, as supplier of missing parts in many of the concertos, and a s the originator of annotations in code, which, together with t i t l e s , thematic incipits, tempo and part designations, appear on many works copied in other hands. In the Paris collection, there are similar additions to title pages, and occasionally the note " o r i g i n a l e , " also in Meneghini's hand. A thematic catalog in the same handwriting in the Paris collection l i s t s 43 s o natas and 85 concertos by Tartini. Presumably this catalog must have been written in 1797, the year of the French occupation of Padua, for a note at the end of the last page refers to "cittadino" Pagnini and "commissario" Berthollet. There i s no trace of Meneghini's handwriting in any of the Berkeley manuscripts, and it therefore seems fairly certain that none of these were part of the legacy that passed through Meneghini's hands. (1) Hand B's activity, comparable in kind to Meneghini's, may have taken place at an earlier date. Judging by the slender evidence afforded by a few dated manuscripts in the dance music group, Hand B seems to have been active between 1761 and 1774. It is possible, therefore, that the assembling of the core of the Berkeley collection a s annotated by Hand B may have taken place before Tartini's death. Other handwritings of the Berkeley collection, although not identified a s individuals, draw the lines of relationship of the Berkeley manuscripts to other c o l lections still c l o s e r . In addition to Hands A, C and D, Hands E, G, N and I are common to the Berkeley collection and to the collection at St. Anthony's as copyists of Tartini's works. Hand R appears in Dall'Oglio works in Berkeley, but as a copyist of Tartini sonatas in the library of the Paris Conservatoire. The small collection of music manuscripts at the Biblioteca Comunale in Ancona i n cludes a second thematic catalog in Hand A, containing incipits for concertos and sonatas of both Tartini and Stratico. Although there are no works by Stratico in the Ancona collection, there are copies of Tartini's music in Hands A and I , and in Hand C , that of Francesco Melato. The fragment that has been identified as Tartini's autograph (It. 1016) i s a final bit of evidence of an association between the Berkeley collection and the Tartini school. It c o n s i s t s of two l e a v e s , one showing the manner of playing the arpeggios in the first Allegro of Concerto D . 6 3 , the other an embellished v e r sion of the slow movement of the same concerto. In the autograph score at Padua, (2) the arpeggios of the first movement are written out in full. They are abbreviated in the copy of the solo part (It. 891) of the Berkeley s e t . It is c o n ceivable that the Tartini autograph may have been ^sketched by the composer as a supplement to the Berkeley copy of the concerto. On the b a s i s of this partial survey of other collections of Tartini copies, it has been established that Hand A and the other copyists discussed above worked at Padua, and that the main body of the Berkeley manuscripts originated there. Other segments of the collection are probably from other l o c a l i t i e s . Many of theAlberghi copies are in handwritings that appear only in Alberghi manuscripts, The Haydn and Mozart quartets, also in handwritings not found elsewhere in the collection, may have been imported from other centers, and added to the c o l l e c tion after its main part had been assembled. (1) See Brainard, Paul. Die Violinsonaten Giuseppe Tartlnls. (2) Cappella Antoniana, Ms. Autograph D. VII. 19Uz:66B.

p. 78ff.

INTRODUCTION EXAMPLES

Hand A

ell

cmHS

OF

HANDWRITINGS

i

i .rW-1.-'-

S ' p u i j r. Hand A

Hand B

iL* /sliL U t

m

INTRODUCTION EXAMPLES

OF

HANDWRITINGS

Hand B 1

Vi S c

I

X-!

Hand C

Hand D

¿j

ii sy ar^o, mtL- ¿infante^ / ^

w

fBniaf u ¿Ln ^ i S t i ltf"1¿D ty r"Sfi il^g rHt utI

INTRODUCTION

9

WATERMARKS M o s t of the p a p e r s of the Berkeley c o l l e c t i o n bear w a t e r m a r k s c o n t a i n i n g one form or another of the three h a l f m o o n s w h i c h are t y p i c a l of paper produced in the Venetian region during the 18th century; and countermarks c o n s i s t i n g of l e t t e r s , e l e m e n t a r y d e s i g n s , or b o t h . There h a s b e e n no attempt to i d e n t i f y incomplete w a t e r m a r k s , and if the f u l l f o l i o i s not p r e s e n t in a p a r t i c u l a r m a n u s c r i p t , the watermark h a s b e e n d e s i g n a t e d " u n c l e a r . " Even with t h i s l i m i t a t i o n , the t o t a l number of w a t e r m a r k s t h a t c a n e a s i l y be d i s t i n g u i s h e d i s 106. H o w e v e r , many of t h e s e occur in i s o l a t e d e x a m p l e s , and about a third of the c o l l e c t i o n is c o p i e d on twelve d i f f e r e n t k i n d s of p a p e r . Watermark 3, c o n s i s t i n g of three h a l f m o o n s and a c o m e t , i s the d e s i g n that i s found most f r e q u e n t l y . It a p p e a r s in over s i x ty m a n u s c r i p t s . W a t e r m a r k s 4, 16, and 63A a p p e a r in over forty e a c h , w a t e r marks 5, 53, 63 and 64 in over thirty e a c h , and w a t e r m a r k s 29, 31, 50 and 77 in over twenty e a c h . Throughout, the watermark information s u p p l e m e n t s and s t r e n g t h e n s the e v i d e n c e of the h a n d w r i t i n g s . The Alberghi m a n u s c r i p t s w h o s e h a n d w r i t i n g s are d i f f e r e n t from the h a n d w r i t i n g s of the r e s t of the c o l l e c t i o n a l s o d i s p l a y d i f f e r e n t w a t e r m a r k s . The same w a t e r m a r k s (particularly 7 and 8) are found in m a n u s c r i p t s p r e s e r v e d in the m u s i c a l a r c h i v e s of the Duomo at F a e n z a , the c e n t e r of Alb e r g h i ' s a c t i v i t y . (1) C e r t a i n groups of m a n u s c r i p t s , such a s the Tartini trio s o n a t a s c o p i e d in Hand A, and the C a m p i o n i and Stratico trios in the same h a n d , a p p e a r to have b e e n prepared a s g r o u p s , for the same w a t e r m a r k s occur r e p e a t e d l y in m a n u s c r i p t s of e a c h s e r i e s . It h a s not b e e n p o s s i b l e to compare the w a t e r m a r k s of the Berkeley m a n u s c r i p t s with t h o s e of the c o l l e c t i o n at St. A n t h o n y ' s . H o w e v e r , Brainard h a s i l l u s t r a t e d two w a t e r m a r k s found in T a r t i n i ' a u t o g r a p h s in P a d u a . (2) One of t h e s e c o r r e s p o n d s to Berkeley watermark 62, which a p p e a r s in f o u r t e e n of the Berkeley m a n u s c r i p t s , ten of them c o n t a i n i n g m u s i c by Tartini, the o t h e r s works of Sammartini and S t r a t i c o . T h e s e c o p i e s are in Hands A, A 1 , B, Bl, B^ and H*. The Berkeley autograph h a s watermark 73, found in f i f t e e n other m a n u s c r i p t s of the c o l l e c t i o n . These are c o p i e s of works of Tartini in H a n d s B^and I, of D a l l ' O g l i o in Hand R, and of Alberghi, Bini, Stratico and o t h e r s in H a n d s A, A^ and B. Thus both m a n u s c r i p t s and h a n d w r i t i n g s c a n be d a t e d , at l e a s t to the extent of s a y i n g that paper u s e d by t h e s e c o p y i s t s w a s in e x i s t e n c e b e f o r e 1770. Similarly, c o p i e s in the h a n d w r i t i n g s of F r a n c e s c o M e l a t o and Bernardino De Zotti c a n be dated a s written on paper produced before 1768 and 1777 r e s p e c t i v e l y . P a p e r s with the same w a t e r m a r k s a s t h o s e that a p p e a r in c o p i e s by M e l a t o o c c u r in m a n u s c r i p t s w r i t t e n b y H a n d s A, A 1 , B, B^, K and N. W a t e r m a r k s c o m p a r a b l e to t h o s e of the De Zotti m a n u s c u p t s are found only in c o p i e s in Hand A. The dated m a n u s c r i p t s of the Berkeley c o l l e c t i o n f a l l within the same p e r i o d . There i s only one example of watermark 18, which a p p e a r s in the Albinoni Ball e t t i , d a t e d 1728 (It. 63). Aside from t h i s , the e a r l i e s t d a t e s , 1756 and 1759, a p p e a r onAlberghi w o r k s , with h a n d w r i t i n g s and w a t e r m a r k s not found e l s e w h e r e in the c o l l e c t i o n . One of the M a r c e l l i m a n u s c r i p t s , d a t e d 1760, i s in a h a n d writing and with a watermark unique to the works of t h i s c o m p o s e r . However, p a p e r with watermark 80, w h i c h a p p e a r s in a Tartini c o n c e r t o dated 1766 (It. 915) in Hand S, i s u s e d for another Tartini copy in Hand A. The c o n c e r t o which i s a t t r i b u t e d to both Tartini and Stratico (It. 900) i s d a t e d 1768 in the copy in Hand F. I t s w a t e r m a r k , 56, a p p e a r s in t w e n t y - f i v e o t h e r m a n u s c r i p t s c o n t a i n i n g m u s i c of Nardini, D a l l ' O g l i o , S c i a b r a , G o b b i s , Tartini and S t r a t i c o , a l l c o p i e d by H a n d s A and B. W a t e r m a r k s 64 and 69 a p p e a r in a c o l l e c t i o n of s i x Tartini s o n a t a s (It. 694). In t h i s c o l l e c t i o n , there i s a minuet in Hand F by another c o m p o s e r , d a t e d 1778. Watermark 64 a p p e a r s in t h i r t y - s i x m a n u s c r i p t s of Tartini and S t r a t i c o in Hands A, B^ and N; watermark 69 in n i n e t e e n m a n u s c r i p t s of (1) This information w a s supplied by Gloria Feldman. (2) See Brainard. P a u l . Die V i o l i n s o n a t e n G i u s e p p e T a r t i n i s .

p . 209.

INTRODUCTION Tartini and Stratico, all in Hand A. Manuscripts of dance music in Hand B are sometimes dated. Some, which have watermarks corresponding to those of the main body of the collection, furnish additional s t a t i s t i c s for the principal handwritings. One minuet is headed 1761 30 8bre. and paper with the same watermark (78) is used in three other manuscripts in Hand B, two with music of Ferrari, one with music of Tartini. Watermark 17, which appears in a dance manuscript dated 6 9bre del 62. is a l s o found in six manuscripts in Hand A, containing music of Besozzi, Gallo and Tartini. Watermark 31, similarly dated 14 qennaio 1774, is found in twenty-two manuscripts in Hand A, with music of Conti, Dall'Oglio and Stratico. The earliest date in any of the dance manuscripts is 1750. The watermark of this copy, watermark 27, appears in ten other manuscripts in Hands A, B and G, with music of Brioschi, Stratico and Tartini. Several of the descriptions of watermarks given by Bartha and Somfai in their study of the Haydn manuscripts at Esterhazy (1) seem to correspond to some of the watermarks of the Berkeley collection. The dates assigned to these watermarks at Esterhazy range from 1762 to 1790. Watermark 3, the most frequent in the Berkeley collection, is found in a manuscript dated 1776. Watermarks dated in the 1780's and 1790's occur l e s s frequently in the Berkeley collection, and not in any manuscripts in the principal handwritings. If, as Heawood (2) suggests, stocks of paper with given watermarks were e x hausted within a year or two during the late 18th century, the evidence of the watermarks of the Berkeley collection corresponds to that of the handwritings, and leads to the same conclusions. The most important of these are first, that the core of the Berkeley collection, as copied in Hands A, B, C, D, E, F, G, I, N and R, and with them, most 18th century copies of Tartini's works in other locations, all originated in a relatively short space of time, namely, during the last years of Tartini's life and certainly within a decade after his death; second, that their place of origin is in or near Padua; and l a s t , that they represent the work of musicians and copyists associated in one capacity or another with the musical chapel at St. Anthony's.

(1) Bartha, Denes and Laszlo Somfai. Haydn als Opernkapellmeister. Budapest, 1960. (2) Heawood, Edward. Watermarks, mainly of the 17th and 18th centuries. Hilversum, 1950.

INTRODUCTION LETTERS,

NUMBERS

AND

PRINCIPAL

SYMBOLS

OF

WATERMARKS

LETTERS A AC ACF AF AFG AFS AHF AM AS AS/A AS/C AS/F AS/M AS/P AS/Z AZ BC BF C CF CSC CZ CZF CZO DF DV F FA FAC FAS/A

WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM

12,, 16 , 3 2 , 6 9 , 7 6 , 85 14,, 14A 61 62,, 74,, 8 1 , 88 2 , 91 22,, 68 47 43,, 101 64,, 66 12,. 16,, 76 1 6 4 , 15, 38 17 78 72 102 59 9 5 , 94 4 2 , 49 20 26 30 95 24 6 , 7 1 , 100 10, 11,, 103 9 , 2 8 , 2 9 , 3 5 , 60 69

1 3 IV

WM 20 WM 62 WM 70

FAS/G FC FF FV FV/A G GB GF GFA GRA IMC M MA P PCC PM PS RGA VA VB VC VL VS W VZ VZZ Z ZA ZAC ZV

WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM WM

67 18, 4 4 , 5 3 , 7 3 , 9 3 , 9 7 , 3 , 3A, 3B, 8 4 , 8 8 , 98 3 9 , 4 0 , 5 4 , 8 7 , 106 88 67 51 5 , 7 , 4 8 , 56 13, 33 45 57 4 , 15, 2 2 , 2 5 , 38 4 3 , 101 17 3 1 , 3 6 , 58 8 99 55 46 21 2 4 , 2 7 , 27A 81 96 25 5 0 , 6 3 , 63A 75 7 8 , 79 7 7 , 77A 34 8 2 , 86

104

NUMBERS

WORDS C O M I C I ZUCCHETTI OLIERO REAL

WM 4 1 WM 13, 2 0 , 2 5 , 2 6 , 3 0 , 4 7 , 4 8 , 4 9 , 8 2 , 8 8 , 91, 100, 105

SYMBOLS Baldachin Bird Bow Circle Comet Cross Crown Fleur de l y s Scroll Shield Spearhead Stars Trefoil Wheel

WM WM WM WM WM WM WM WM WM WM WM WM WM WM

5, 32, 33, 35, 42, 44, 45, 46, 48, 51, 55, 56, 59, 31, , 52 19,, 19A, 3 4 , 4 3 , 6 3 , 63A, 7 7 , 77A, 7 9 , 8 2 , 8 3 , 92 7 , 8 , 2 3 , 5 2 , 65 3 , 3A, 98 27,, 27A 4 , 11 3 , 2 1 , 2 3 , 36 10,, 2 1 , 2 4 , 3 7 , 3 8 , 6 0 , 8 0 , 8 9 , 9 0 , 9 5 , 102, 104 5 , 6 , 9 , 2 2 , 2 5 , 3 4 , 4 7 , 5 4 , 6 8 , 8 1 , 84 29,, 4 0 , 5 3 , 58 3B,, 5 , 4 7 , 6 8 , 89 7 , 8 , 18, 2 8 , 7 0 , 7 2 , 7 6 , 9 2 , 9 6 , 97 2

INTRODUCTION

12

WATERMARKS

WM 1

IN

NUMERICAL

Description

ORDER

Date

No. of examples

center 3 halfmoons facing right center C , lower right corner AS center AFG under wheel blank L center 3 halfmoons facing right R center comet, lower right corner F reversed F under fleur de lys

1776 (Bartha)

63

3A

L center 3 halfmoons facing right R center comet, lower right corner F reversed F

3B

L center 3 halfmoons facing right R center large star (incomplete)

4

L center 3 halfmoons facing right over M R center crown, lower right corner AS

5

L center shield with 3 stars R center CF (or GF) under baldachin

12

L center small shield with AS R center 3 halfmoons facing right over F reversed

35

blank center GF in c i r c l e under trefoil

15

1766 (dated m s . )

1756 (dated m s . )

blank center PM in c i r c l e under trefoil

54

12

13

incomplete center shield with FA over C 10

L center 3 halfmoons facing right R right of center FA under s c r o l l

11

L center 3 halfmoons facing right R center FA under small crown

12

L center 3 halfmoons facing right over A R lower right corner AS

13

L center GFA R center 3 halfmoons facing left over REAL reversed

14

L lower left corner AC R center 3 halfmoons facing right

13

14A

L center 3 halfmoons facing right R lower right corner AC

24

15

L center 3 halfmoons facing right over M R lower right corner AS

11

11

1780 (Bartha)

13

INTRODUCTION WATERMARKS

IN N U M E R I C A L

ORDER

Date

No. of examples

WM

Description

16

L center 3 halfmoons facing right R center A, lower right corner AS

17

L center 3 halfmoons facing right over P R lower right corner AS

1762 (dated ms.)

6

18

L center 3 halfmoons facing right R lower right corner large FC under trefoil

1728? (dated ms.)

1

19

L off center 3 small halfmoons facing left R center long bow pointing right

17

19A

L off center 3 small halfmoons facing left R center long bow pointing left

10

20

L upper center CZ1 R upper center 3 halfmoons facing right over REAL

5

21

L center scroll R lower right corner VB under fleur de lys

1

22

L center 3 halfmoons facing right over M R center small shield with AFS

11

23

L blank R center fleur de lys in circle

4

24

L upper center DV (or reversed VC) under scroll R center 3 halfmoons facing left

4

25

L center shield with M (or reversed W) R center 3 halfmoons facing left over REAL

26

L upper center REAL R upper center 3 halfmoons facing right, lower left corner CZF

27

L off center VC under cross R blank

27A

L lower left corner VC under cross R center 3 halfmoons facing left

4

28

L center 3 halfmoons facing right R center FA over C under trefoil

18

29

L center 3 halfmoons facing right R center FA over C under spearhead

32

30

L center CZ over O R center 3 halfmoons facing right over REAL

31

L blank R center bird over P over C reversed C

50

1776 (Bartha)

7 6

1750 (dated ms.)

10

4 1774 (dated ms.)

22

INTRODUCTION

14 WATERMARKS

IN N U M E R I C A L

ORDER

Date

WM

Description

32

L center 3 halfmoons facing right R center A under baldachin

33

L center GFA under baldachin R center 3 halfmoons facing left

1781 (Bartha)

34

L center 3 small halfmoons facing left over bow R center shield with ZA over C reversed

1776 (Bartha)

35

L center 3 halfmoons facing right R center FA over C under baldachin

36

L center fleur de lys over P over C reversed C R center 3 halfmoons facing left

37

L center 3 halfmoons facing right R center scroll (incomplete)

38

L center 3 halfmoons facing right over M R center AS under large scroll

39

L off center FV R blank

40

L center FV under spearhead R center 3 halfmoons facing left

41

L center COMICI over ZUCCHETTI over OLIERO R blank

42

L center 3 small halfmoons facing right R center CS over C under baldachin

1789 (Bartha)

43

L center AM (or reversed MA) under bow R center 3 halfmoons facing right

1790 (Bartha)

44

L center FC under baldachin R center 3 small halfmoons facing left

45

L upper center 3 halfmoons facing right R center G over RA under baldachin

46

L center 3 halfmoons facing right R center VA under baldachin

47

L center A over HF over REAL R center shield with 3 stars

48

L center 3 halfmoons facing right over REAL 1778 (Bartha) R center GF under baldachin

49

L center 3 halfmoons facing right over REAL 1786 (Bartha) R center CS over C

No. of examples 21

14

1785 (Bartha)

1776 (Bartha)

12

INTRODUCTION

15 WATERMARKS

WM

IN

NUMERICAL

Description

ORDER

Date

No. of examples

50

L lower left corner VZ R center 3 halfmoons facing left

51

L center 3 small halfmoons facing right R center GB under baldachin

52

L blank R center bird in c i r c l e

53

L center 3 halfmoons facing right R lower right corner FC under spearhead

54

L blank R off center shield with FV

55

L center RGA under baldachin R center 3 halfmoons facing left

56

L center 3 halfmoons facing right R center GF under baldachin

57

L blank R upper center IM over C

58

L center 3 halfmoons facing right R lower right corner spearhead over P over C reversed C

59

L center 3 halfmoons facing right R center BF under baldachin

60

L center scroll and c r e s c e n t R center FA over C under scroll

61

L center A over CF under baldachin R center 3 halfmoons facing left

62

L center 3 halfmoons facing right R lower right corner AF3

63

L center 3 halfmoons facing left R center bow, lower right corner VZ

40

63A

L center 3 halfmoons facing right R center bow, lower right corner VZ

49

64

L center 3 halfmoons facing right R lower right corner AS

65

L center 3 halfmoons facing right R center small c i r c l e

66

L blank R center AS

67

L center 3 halfmoons facing right R center G, lower right corner F over AS

28

1760 (dated m s . ) 37

1768 (dated m s . )

26

20

before 1770 (Brainard)

1778 (dated m s . )

14

37

INTRODUCTION WATERMARKS WM

IN

NUMERICAL

Description

ORDER No. of examples

Date

68

L center shield with AFS R center shield with 3 s t a r s

20

69

L center 3 halfmoons facing right over A R center F over AS

70

L center 3 halfmoons facing right R center IV under trefoil

1

71

L center 3 halfmoons facing right R lower right corner F

15

72

L center 3 halfmoons facing right R lower right corner AZ under trefoil

73

L center 3 halfmoons facing right R lower right corner small FC

before 1770 (Tartini's death)

16

74

L center 3 halfmoons facing right R lower right corner AF

before 1768 ( M e l a t o ' s death)

3

75

L center 3 halfmoons facing right R lower right corner VZ over Z

76

L center AS under trefoil R center 3 halfmoons facing left over A

1777 (Bartha)

77

L center 3 halfmoons facing right, lower left corner Z over A R center bow

before 1777 (Di Zotti's death)

13

77A

L center 3 uneven halfmoons facing right, lower left corner Z over A R center bow

before 1768 ( M e l a t o ' s death)

12

78

L lower left corner AS R center 3 halfmoons facing right over Z

1761 (dated m s . )

79

L center 3 halfmoons facing right R center bow, lower right corner Z

before 1768 (Melato's death)

80

L blank R center scroll (incomplete)

1766 (dated m s . )

81

L center small shield with AF (or reversed VL) R blank

82

L off center ZV over bow R center 3 halfmoons facing left under REAL reversed

83

L center 3 large halfmoons facing right R center short bow

84

L center shield with FF R center 3 halfmoons facing left

1778 (dated

ras.)

20

1

6

9

9

INTRODUCTION

17 WATERMARKS

WM

IN N U M E R I C A L

Description

ORDER

Date

No. of examples

before 1777 (Di Zotti's death)

85

L center 3 halfmoons facing right R lower right corner A

86

L center 3 halfmoons facing right R lower right corner ZV

87

L blank R off center FV

88

L center 3 halfmoons facing right over REAL under AF? R center FV (unclear)

89

L center scroll R center star

90

L center 3 halfmoons facing right R center scroll (incomplete)

91

L center 3 halfmoons facing right over REAL 1780 (Bartha) R lower center AFC or AFG

92

L lower left comer trefoil R center small bow

before 1768 (Melato's death)

93

L center 3 halfmoons facing right R lower right corner large FC

1762 (Bartha)

94

L center 3 halfmoons facing right R lower right corner CF

before 1777 (Di Zotti's death)

95

L center 3 halfmoons facing right R center DF under scroll

before 1777 (Di Zotti's death)

96

L center 3 halfmoons facing right R lower right corner VS under trefoil

97

L center 3 halfmoons facing right R lower right corner small FC under trefoil

98

L center 3 halfmoons facing right R center comet, lower right corner FF

99

L center PS under baldachin R center 3 halfmoons facing left

100

L center REAL R center F

101

L center 3 halfmoons facing right R center AM (or reversed MA)

102

L center scroll R lower right corner BC

103

L center 3 halfmoons facing left over FA R blank (incomplete)

16

1

INTRODUCTION

18

WATERMARKS WM

IN N U M E R I C A L

Description

ORDER

Date

No. of examples

104

L center 3 small halfmoons facing right R center FC separated by scroll

1

105

L center REAL R center 3 halfmoons facing right (incomplete)

1

106

L center 3 halfmoons facing right R center large FV

1785 (Bartha)

2

INTRODUCTION

19

INTRODUCTION

WM

\ c^rt-K J.i *

M'i?«

J

/-> Il t

&

It. 4 score. 23.5x32cm. 10 st. W M : 98. Hand B. Black.

-

7

Mdcfih L. i > ,

¿flhritr

D major 3.

Sonata a Violino, e Basso / Del / Sig: r Paolo Alberghi /

It. 5 score. DVÌWI C . f ^ : 8 ' + ' - H > ' 23x32cm. 10 st. W M : 4. Hand A. Black. i .

1

Alloro

^

^

Virutiotte-

-

3

us-r.ìz: .//.v./y.-

E major 4.

Sonata a Violino, e Basso / Del / S i g . r Paolo Alberghi /

AnJinlitU O ^

It. 6 score. 23x32cm. Hand A.

Tresh

10 st. Brown.

ALBERGHI,

31

PAOLO F major

5.

Sonata a Violino, e B a s s o / Del S i g : r Paolo Alberghi /

injau-ft U-o-rp

MUtro

-Ir

"

It. 7 score. 23x31cm. 12 s t . WM: u n c l e a r . Hand AA. B l a c k .

tf-

It. 8 score. 23.5x31cm. 12 s t . W M : unclear. Hand AA. B l a c k .

'TN

,

s

3

I.

Incipit on t . p. 6.

Sonata a Violino, e B a s s o / D e l S i g : r P a o l o Alberghi /

ÀJqiè

»

Allurt :

^

__

,

truffi fffltr^^ ^Vfri.

•fr..

^ ir I

o:+-7Z:

I n c i p i t on t . p.

G major 7.

Sonata a Violino, e B a s s o / D e l / S i g : r Paolo Alberghi /

It. 9

ALBERGHI, 8.

PAOLO

32

Sonata a Violino, e Basso / Del /

Sig: r

Paolo Alberghi /

jitr&Sritrifm / h '

6

f _

}

^

Alloro

jf-^

:iz:-t-:iz: — -

It. 10 score. 23x32cm. 10 st. WM: 4. Hand A. Black.

-k i

•Avvi:

4/Uf re fio

¥ G minor 9.

Sonata à Violino, e Basso / Del / S i g . r Paulo Alberghi / Spiritoso

Ttm/ie Ji Hi**eH»

//•'

„

V*r.

Another copy. Sonatta / A Violino e Basso del Sig: r Pouolo Alberghi / Di Faenza / Incipit on t. p.

10.

It. 11 score. 23x32cm. 10 st. W M : 68. Hand A 2 . Black.

Sonata a Violino, e Basso / Del Sig: r / Paolo Alberghi /

tT

VT/

^ i-

V L

It. 12 score. 21.5x24cm. 12 st. W M : 22. Hand BB. Brown.

It. 13 score. :}:+:/f: 23x32.5cm. 10 st. W M : 5. Hand B. Black.

ALBERGHI,

PAOLO

Another c o p y . Alberghi /

33

Sonata a Violino, e Basso / Del Sig:

r

Paolo

I t . 14 score. 2 3 x 3 0 c m . 12 s t . WM: unclear. Hand AA. B l a c k .

I n c i p i t on t . p.

A major 11.

S o n a t a a V i o l i n o , e B a s s o / D e l / S i g . r P a o l o Alberghi / ¿JitiO 1

k l itft^J. wi'

a d ^ ^

I t . 15

. h

23x32.5cm. s c o r e

T I

z

Hand A.

W M :

10 s t .

4

Black.

Álhtro

Trios

1.

N ° 1 / V i o l i n o Primo / a : 3 : / d e l : S i g : P a o l o : A l b e r g h i : / i., f .

-

* ^

*'rmi Te»fe

Jì

j.

I t . 16 llf.+uf:

j'fWkrl

triniti.

Adagio i s the s a m e a s that of A l b e r g h i : Trio s o n a t a , I t .

:H:+:XZ:

21.

v 1 & 2, b a s s , 2 3 x 3 2 c m . 10 s t . W M : 6. Autograph. Black.

ALBERGHI,

PAOLO

34 A minor

2.

N ° 2: / Violino Primo / a : 3: / Del Sig Paolo: Alberghi / /%/» '

. G-me-

l

l

1

s s

'

¿5

1

^

frt.-ni"lfr/>lrv*irl'irf'l"-ll

It. 17 v 1 & 2, b a s s . 23x31.5cm. 10 s t . W M : 6. Autograph. B l a c k .

y

D major 3.

N° 3: / Violino Primo / a : 3 : / D e l : Sig Paolo Alberghi /

It. 18

A major 4.

N ° 4: / Violino Primo / a: 3: / D e l : Sig: Paolo: Alberghi /

I t . 19

ALBERGHI,

35

PAOLO B f i a t major

5.

I t . 20 v 1 & 2, b a s s . 2 3 x 3 2 c m . 10 s t . WM: 6 & unclear. Autograph & Hand A. Brown.

N ° 5 / Violino Primo / a : 3: / D e l : Sig: Paolo Alberghi / US

Mi

.' 7-' t : S -

D major 6.

N ° 6: / Violino Primo / a: 3 / D e l : Sig Paolo Alberghi /

M*lb

M-— ir

v

*

ir

:7

•If m 'if'

é:

I t . 21 v 1 & 2, b a s s . 2 3 . 5 x 3 1 . 5 c m . 10 s t . W M : 6. Autograph. Brown.

j'i % w UlLveih CtmiaLìle.

Adagio i s the same a s that o£ Alberghi: Trio s o n a t a . I t .

16.

C major 7.

B a s s o / Sonata a tre / D e l Sig: Paolo Alberghi / Anno 1759 /

AkJihIc e CrAzit/t

I t . 22 v 1 & 2, b a s s . •XA-tST- 2 2 x 3 0 c m . 10 s t . WM: 7 . Autograph. Brown.

ALBERGHI,

PAOLO

36 D major

B a s s o / Sonata: a tre / D e l : Sig: Paolo Alberghi: / Anno 1759 /

I t . 23 v 1 & 2, b a s s . 2 2 x 3 0 . 5 c m . 10 s t . WM: 7. Autograph. B l a c k .

./f«//

f> rratrc&riTmmm 9.

No. 1. / B a s s o / Sonata a tre da camera / D e l : Sig Paolo Alberghi / Anno 175 9 / A.. M i CoMJtirfc. i ^ v , , tr ^ ^ ^ ^ r , . f f ? » - . mì

AhÌMIìm

ff

f.

. .

I t . 24 v l & 2 , bass. 2 2 . 5 x 3 0 c m . 10 s t . WM: 7. Autograph. B l a c k .

.inr.ij--

jimtrM l

F major 10.

B a s s o / Sonata a tre / Del: Sig Paolo Alberghi / Anno 1759 /

.Alluri&

..

*

, C ' f

ff+H}-

I t . 25 v l & 2 , bass. 2 2 x 3 0 . 5 c m . 10 s t . W M : 7. Autograph. B l a c k .

.¿///••jx; On v 1 and b a s s : V . B . On v 2: V . B . T e r e s a P o g g i .

ALBERGHI,

37

PAOLO G major

11. B a s s o / Sonata a tre: / Del Sig Paolo Alberghi / Anno 1759 /

M'P

^

o

»

;u :t:/f: ^

AtttjHH»

H-

r

'

:

It. 26 v 1 & 2, b a s s . 22x30.5cm. 10 s t . WM: 7. Autograph. Black.

Si-fit:

B fiat major 12. B a s s o / Sonata: a tre: / Del Sig Paolo Alberghi / Anno 1759 /

It. 27 22x30.5cm. 10 s t . WM: 7. Autograph. Brown.

WUfflfMftJJipp On a l l parts in another hand: V. B.

D major 13. B a s s o / Terzetto Del Sig Paolo Alberghi / pill'-*:**:

It. 28 v 1& 2, b a s s . 23x31cm. 10 s t . WM: 8. Hand C C . Black.

ÀnJtklt.

if*i4T](&rtQ\rltmgm :so.+:S4:

ALBERGHI,

38

PAOLO G major

14. Terzetto D e l Sig Paolo Alberghi /

Alloro

I t . 29 v 1 & 2 [ bass] 22.5x30.5cm. 10 s t . WM: 8. Hand C C . Black.

G minor 15. B a s s o / T e r z e t t o Del Sig Paolo Alberghi /

I t . 30

A minor 16. B a s s o / T e r z e t t o d e l Sig Paolo Alberghi /

I t . 31

ALBERGHI,

39

PAOLO F major

17.

Trio del Sig: / Paolo Alberghi / Violino Primo /

It. 32 v 1 & 2, b a s s . 2 3 . 5 x 3 0 . 5 c m . 10 st.

W w f e ^

m jnffrfrifrriurrrj ÀlLcfro s—. 1 »T^i»

C-rtt/w, irrax/w

^

Concertos C major 1.

Violino Principale / Concerto / Del S i g . r Paolo Alberghi /

j frrmr/luj^

=

'*9

St 10:

Embellished version of Adagio: It. 1 0 0 5 : 2 4 .

It. 33 vp, v 1 & 2 obi, bass. 23.5x31.5cm. 10 s t . WM: 10 & 9. Hand A. Brown.

ALBERGHI, 2.

40

PAOLO

Concerto del S i g . r Paolo Alberghi / Faenza 1756 /

It. 34 vp, v 1 & 2 obi, via, b a s s , horn

fa rrrrrjiriivnWE% J,'. wiMmii^m Allego

^

„

:s?:Ì-:52.:

1& 2.

22x30.5cm. 10 s t . WM: 7. Hand GG. Black, (incipits in Hand HH)

Allegro

On t. p . : 4 incipits with superscription: In cambio si dessiderano li accenati. Allegro 2 is the same as the Allegro of Tartini Concerto D 6, with differences in figuration. Another copy. Violino Principale / Concerto / Del S i g . r Paolo Alberghi /

It. 35 vp, v 1 & 2 obi, via, b a s s , horn 1 & 2. 23x32.5cm. 10 St. WM: 5 & 2. Hand B. Black.

D malor 3.

Violino Principale / Concerto a Cinque del S i g . r / Paolo Alberghi / Mastro di Capella in Patria /

It. 36 vp, v 1 & 2 obi, via, bass obi, organ (figured), horn 1 & 2. 22.5x30cm. 10 st. WM: 8 & 7. Hand EE. Brown.

Another copy. Violino Principale / Concerto / Del S i g . r Paolo Alberghi/

It. 37 vp, v l & 2 o b l , via, vie obi, horn 1 & 2. 22.5x31cm. 10 s t . WM: 11 & 2. Hand B. Black.

ALBERGHI,

First solo of first allegro only.

It. 38 vp. fragment. 9 s t . WM: none. Hand B 3 . Black.

Concerto con Violino Obligato / con Strum: 1 / Del Sig: r Paolo Alberghi / Organo /

It. 39 v 1 obi, v 1 & 2 conc, v 1 & 2 rip, organ (figured), trumpet 1 & 2. 22x3Ocm. 10 St. WM: 7. Hand FF. Brown.

Another copy.

4.

41

PAOLO

AntUnit

5.

Violino Principale / Concerto / Del S i g . r Paolo Alberghi /

/yj

. Unit

,I

,I

,.I

.iI

rtiUi*) V AL

Name on t . p. crossed out. In another hand: Questo non è assolutamente del Sig: r Alberghi / ma bensi d'uno il quale a coppiati qualche sentimenti d'altri Concerti / del medemo. Alberghi è chi cib dice lo manterà avendo / ancor io imparato il contrapunto sotto il medemo. Alberghi / e sò francam: la maniera del suo Scrivere /

It. 40 vp, v 1 & 2 obi, via obi, vie obi. 22x30cm. 10 St. WM: 73. Hand A. Brown.

ALBERGHI, 6.

42

PAOLO

Violino Principale / Concerto / Del Sig: Paolo Alberghi / r

(¡1"rWmrrfr*-

m

It. 41 vp, v 1 & 2 obi, via obi, bass. 23.5x32.Sem.10 st. WM: 98. Hand B. Black.

Ldrfó A/uhiite.

Pfifi tiffWMmubufiM AHtyrC MoJerih

Another copy. Violino Principale / Concerto a Cinque obligato / del / Sig. Paolo Alberghi di / Faenza /

It. 42 vp, v 1 & 2 obi, via, b a s s . 22.5x30.5cm.10 st. WM: 7. Hand JJ. Brown.

E major 7.

Violino Principale / Concerto / Del S i g . r Paolo Alberghi / Aliterò

/gf ^ ^

It. 43 vp, v 1 & 2 obi, via, vie obi. 22.5x33cm. 10 st. WM: 3 & 68. Hand A^. Brown.

ALBERGHI,

43

PAOLO G major

8.

Violino Principale / Concerto / Del S i g . r Paolo Alberghi /

H±£,ttese

"7

It. 44 vp, v 1 & 2 obi, via, b a s s . 23x32cm. 10 st. WM: 5 & 2. Hand B. Black.

Mìtfrt i.s/«.i

Another copy. Alberghi /

Violino Principale / Concerto / Del Sig r Paolo

Incipit on t. p.

9.

Violino Principale / Concerto / Del S i g . r Paolo Alberghi / Uf =

ÉÉ

It. 45 vp, v 1 & 2 obi, via, b a s s . 23x30.2cm. 10 st. WM: 16. Hand GG. Brown.

It. 46 vp [ v 1 obi] v 2 obi, via, vie obi. 23x32.5cm. 10 st. WM: 28 & 3. Hand A 2 . Brown.

ALBERGHI,

44

PAOLO

10. Violino Principale / Concerto con Stromenti Obbligati / del Signor / Paolo Alberghi / Mastro di Capela in Patria / Faenza /

Up

„

,

^

It. 47 vp, v 1 & 2 conc, via, organ (figured), horn 1 & 2. 22.5x30cm. 10 st. WM: 8. Hand EE. Brown.

H

frab

Another copy. Alberghi /

Violino Principale / Concerto / Del S i g . r Paolo

11. Violino Principale / Concerto / Del Sig: r Paolo Alberghi /

MeJertb

h

G-rufC-

$k

Allqn

r

D-

o

i ^

I ry.

fifl'JfMt'^P

It. 48 vp, v 1 & 2 obi, via [ bass] 23x31cm. 10 st. WM: 15 & 14. Hand A. Black.

It. 49 vp, v 1 & 2 obi, via, b a s s . 22.5x31cm. 10 st. WM: unclear. Hand B. Black.

ALBERGHI,

45

PAOLO A major r

12. C o n c e r t o d e l S i g . Paolo Alberghi / F a e n t i n o / Violino Secondo Obligato /

*

*

T V f i

j. /*/ X-J^ '

I t . 50 [vp]vl&2obl, via, vie. 22x3Ocm. 10 s t . WM: 8. Hand HH. Brown. (parts in other hands)

KM

Embellished v e r s i o n of Largo: I t . 1005:22. Another c o p y . Alberghi /

Violino Principale / C o n c e r t o / Del Sig: r Paolo

13. Violino P r i n c i p a l e / C o n c e r t o / Del S i g . r Paolo Alberghi /

t *i A Ti .

3

Another c o p y . Alberghi /

I t . 52 vp, v 1 & 2 obi, via, bass. 23.5x32. 5cm.10 s t . WM: 15. Hand A. Brown.

*

c—t

1 ¡I ^

It. 51 vp, v 1 & 2 obi, via, vie. 23x32cm. 10 s t . WM: 5 & 2. Hand B. Brown.

j^f

Kl

kj,

Violino P r i n c i p a l e / C o n c e r t o / Del Sig: r Paolo

I t . 53 vp, v 1 & 2 obi, bass. 23x31cm. 10 s t . WM: u n c l e a r . Hand B. Black.

ALBERGHI,

46

PAOLO

14. Violino Principale / Concerto a 5 con Violino Principale / Del Sig. Paolo Alberghi Mastro di Capella / in Patria / Faenza / M

r

^

^

ì

r

-

*

\[ A

l

m

7

W

Trejk

^

r

-

f

o ^

Another copy. Alberghi /

-

^

" f

»

, r i ^ . L ~ i M t ~ j r ~

,

ir

T r i

i

.

II

It. 54 vp, v 1 & 2 c o n c , v i a , organ (figured) 22.5x30.5cm.10 s t . WM: 7 or 8. Hand EE. Brown.

n

i,

7 \

Violino Principale / Concerto / Del S i g : r Paolo

15. Violino Principale / 175 6 / Concerto del Signor Paolo Alberghi Faentino /

34

I t . 55 vp. 23x32cm. 10 s t . WM: 11. Hand B. Black. It. 56 vp, v 1 c o n c , v 2 obi, v i a , vie obi. 2 2 . 5 x 3 0 c m . 10 St. WM: 8. Hand HH. Brown, (parts in autograph?)

i/V

Incipit on t . p. Another copy. Alberghi /

Violino Principale / Concerto / Del S i g : r Paolo

It. 57 vp, v 1 & 2 o b i , v i a , vie obi. 2 3 x 3 2 . 5 c m . 10 s t . WM: 5 . Hand B. Black.

ALBERGHI,

47

PAOLO

16. Concerto a Cinque con Violino Principale del Sig: r Palo Alberghi. Organo /

Alltfrt

«

It. 58 vp, v 1 obi, v 2 conc [via] organ. 22.5x30.5cm.10 St. WM: 7 or 8. Hand CC. Brown, (parts in autograph?)

aitai

On vp: C . N . Another copy. Violino Principale / Concerto / Del Sig r Paolo Alberghi /

It. 59 vp, v 1 & 2 obi, via, b a s s . 23x31.5cm. 10 st. WM: 11 & 2. Hand B. Black.

A minor 17. Violino Principale / Concerto a Cinque / Del S i g . r Paolo Alberghi / Mastro di Capella in / Faenza /

Another copy. Violino Principale / Concerto / Del Sig: r Paolo Alberghi /

It. 60 vp, v 1 & 2 obi, via obi, bass (figured). 22.5x30cm. 10 st. WM: 8. Hand EE. Brown.

.It. . . 61 ._ vp, v 1& 2 obi, via obi, bass. 23x32cm. 10 St. WM: 5 & 2. Hand B. Black.

ALBERGHI,

48

PAOLO B f i a t major

18. Violino P r i n c i p a l e / C o n c e r t o / Del Sig: r Paolo Alberghi /

'rtmm

Al/tir» asui

Ir

It. 62 vp, v 1 & 2 obi, via, bass. 23.5x32cm. 10 s t . WM: 98. Hand B. Black.

•n- r-W+ut:

Embellished v e r s i o n of Adagio: I t . 993:1. It.. 1005:26.

For a d d i t i o n a l c o n c e r t o s in D major and A major, see anonymous works I t . 105 1 and It. 1053.

[ ALBINONI,

TOMASO,

16 7 1- 17 5 0 ]

Although given a s Baletti del C o r e l l i (1728) on the s i n g l e Violin I part at' Berkel e y , t h e s e works have b e e n i d e n t i f i e d with a manuscript set of Balletti a 4 by Tomaso Albinoni in the E s t e n s i s c h e Sammlung of the K u n s t h i s t o r i s c h e s Museum in Vienna. (SeeRobert H a a s , Die E s t e n s i s c h e n M u s i k a l i e n . T h e m a t i s c h e s Verzeichnis. R e g e n s b u r g , 1927, p . 1 6 5 - 6 6 . ) The Vienna copy c o n t a i n s p a r t s for Violino Primo, Violino S e c o n d o , Violetta and B a s s o C o n t i n u o . No Balletti a 4 by Albinoni a p p e a r t o h a v e b e e n p u b l i s h e d , nor are t h e s e works c i t e d in l i s t s given by Giazotto in h i s biography of the composer (Milan, 1945) by Eitner or by MGG. T h r e e - v o i c e B a l l e t t i . p u b l i s h e d a s Op. 3 in 1701, c a n be found c i t e d in at l e a s t s e v e n e d i t i o n s , from 1703 to 1732, in the British Union C a t a l o g u e of Early Music. Albinoni w a s p o s s i b l y a pupil of Legrenzi and w a s a c t i v e a s a v i o l i n i s t and c o m poser in V e n i c e . D e s c r i b e d a s a " d i l e t t a n t e " by h i s c o n t e m p o r a r i e s , he w a s n e v e r t h e l e s s a s k i l l e d c o m p o s e r , c r e d i t e d with f i f t y - f i v e o p e r a s , c a n t a t a s , and at l e a s t nine p u b l i s h e d s e t s of i n s t r u m e n t a l w o r k s . Many of the l a t t e r are known in modern performing e d i t i o n s .

ALBERGHI,

48

PAOLO B f i a t major

18. Violino P r i n c i p a l e / C o n c e r t o / Del Sig: r Paolo Alberghi /

'rtmm

Al/tir» asui

Ir

It. 62 vp, v 1 & 2 obi, via, bass. 23.5x32cm. 10 s t . WM: 98. Hand B. Black.

•n- r-W+ut:

Embellished v e r s i o n of Adagio: I t . 993:1. It.. 1005:26.

For a d d i t i o n a l c o n c e r t o s in D major and A major, see anonymous works I t . 105 1 and It. 1053.

[ ALBINONI,

TOMASO,

16 7 1- 17 5 0 ]

Although given a s Baletti del C o r e l l i (1728) on the s i n g l e Violin I part at' Berkel e y , t h e s e works have b e e n i d e n t i f i e d with a manuscript set of Balletti a 4 by Tomaso Albinoni in the E s t e n s i s c h e Sammlung of the K u n s t h i s t o r i s c h e s Museum in Vienna. (SeeRobert H a a s , Die E s t e n s i s c h e n M u s i k a l i e n . T h e m a t i s c h e s Verzeichnis. R e g e n s b u r g , 1927, p . 1 6 5 - 6 6 . ) The Vienna copy c o n t a i n s p a r t s for Violino Primo, Violino S e c o n d o , Violetta and B a s s o C o n t i n u o . No Balletti a 4 by Albinoni a p p e a r t o h a v e b e e n p u b l i s h e d , nor are t h e s e works c i t e d in l i s t s given by Giazotto in h i s biography of the composer (Milan, 1945) by Eitner or by MGG. T h r e e - v o i c e B a l l e t t i . p u b l i s h e d a s Op. 3 in 1701, c a n be found c i t e d in at l e a s t s e v e n e d i t i o n s , from 1703 to 1732, in the British Union C a t a l o g u e of Early Music. Albinoni w a s p o s s i b l y a pupil of Legrenzi and w a s a c t i v e a s a v i o l i n i s t and c o m poser in V e n i c e . D e s c r i b e d a s a " d i l e t t a n t e " by h i s c o n t e m p o r a r i e s , he w a s n e v e r t h e l e s s a s k i l l e d c o m p o s e r , c r e d i t e d with f i f t y - f i v e o p e r a s , c a n t a t a s , and at l e a s t nine p u b l i s h e d s e t s of i n s t r u m e n t a l w o r k s . Many of the l a t t e r are known in modern performing e d i t i o n s .

[ALBINONI, 1.

49

TOMASO]

1728 / B a l e t t i del C o r e l l i /

I t . 63 v 1. 2 4 x 3 l e m . 10 s t . WM: 18. Hand KK. Brown.

G major Sonata P .

a

fi-rtve-

m

_

_

.

B minor Sonata 2 d a .

j /y

ir

ALBINONI,

50

TOMASO] D major

Sonata T e r z a .

:tf:*:H: Currt'l*-

f.f.V

A major Sonata Quarta. » M^

M

. i III

i

A*

UfU

C major

...

Ä'

[ALBINONI,

51

TOMASO] E minor

Sonata S e s t a .

• f:

ttrrtHh-

jWlJÜj'ftHjt'fSßm : 4; 1:14:

F major Sonata S e t t i m a .

, 6-ra.ve-

a. M

.

~ m—

j .

»

n .y.v.Y.v.^.'

A minor Sonata O t t a v a .

[ ALBINONI,

TOMASO]

52 B flat major

,

Sonata Nona

6-rf-vt-

'('¡JJJJitrffiirftfilm

'tirritfri'ij D minor Sonata D e c i m a .

E major Sonata Undecima

¿.yffi

¿trrenfc

P f f l filmili J

[ ALBINONI ,

53

TOMASO G minor

Sonata Duodecima.

BARBELLA,

EMANUELE,

17047-1777

Violinist-composer active in Naples where he was a member of the orchestras of the Royal Chapel and of the Teatro San Carlo. He i s represented by one trio sonata in the Berkeley collection. Among Barbella's teachers were Leonardo Leo and Pasqualino Bini. The latter, a pupil of Tartini, undoubtedly imparted some of the quality of the north-Italian violin school since Burney describes Barbella as a "modest ingenious musician, and true follower of Tartini's principles". (General History of Music, 3, p. 570) Violin sonatas, trio sonatas and duos by Barbella were published in London and Paris. An opera, Elmlra Generosa, written with Logroscino, was performed in Naples in 1753. G major 1.

Trio / Del S i g . Emanuele Barbella / Basso / r

It. 64 v 1 & 2, b a s s .

[ ALBINONI ,

53

TOMASO G minor

Sonata Duodecima.

BARBELLA,

EMANUELE,

17047-1777

Violinist-composer active in Naples where he was a member of the orchestras of the Royal Chapel and of the Teatro San Carlo. He i s represented by one trio sonata in the Berkeley collection. Among Barbella's teachers were Leonardo Leo and Pasqualino Bini. The latter, a pupil of Tartini, undoubtedly imparted some of the quality of the north-Italian violin school since Burney describes Barbella as a "modest ingenious musician, and true follower of Tartini's principles". (General History of Music, 3, p. 570) Violin sonatas, trio sonatas and duos by Barbella were published in London and Paris. An opera, Elmlra Generosa, written with Logroscino, was performed in Naples in 1753. G major 1.

Trio / Del S i g . Emanuele Barbella / Basso / r

It. 64 v 1 & 2, b a s s .

BENDA,

FRANZ,

54

1709-1786

Bohemian violinist and composer, and chamber musician to the Crown Prince of Prussia (later Friedrich II). Solo sonatas for violin and for flute, violin concertos and trio sonatas were published in Berlin and Paris, and considerable i n strumental music has been preserved in manuscript. Modern editions of his violin music have been prepared by Moffat, Jensen and Schering. Burney who visited him in Berlin in 1772 had great praise for his adagio playing. (The P r e s ent State of Music in Germany and the Netherlands. 1773. v. 2. p.128) C major 1.

Suonata / Del Sig r : Francesco Benda /

It. 65

Listed in Breitkopf supplement, 1776, as n o . l of V Soli del Slg r . Benda, Racc.XI.

BERTONI,

FERDINANDO

GIUSEPPE,

1 7 25 - 18 1 3

Venetian composer, organist and music director. He was a pupil of Padre Martini, was organist and later maestro di cappella at St. Marks, and a prolific composer of church music. He wrote forty-eight operas and some fifteen oratorios, and published at least two sets of keyboard sonatas with accompanying violin. Apart from two trips to London, in 1779/80 and 1781/83, he devoted himself to musical activities inVenice, and was Baldassarre Galuppi's successor at the Conservatorio de' Mendicanti. A Symphony in C Major has been edited by Ettore Bonelli (Padova, 1956). C major 1.

Sonata a Violino, e Basso / Del / S i g . r Ferdinando Bertoni /

MltffifftF

It. 66 score. 24x32cm. 10 st. WM: 28. Hand A. Brown.

BENDA,

FRANZ,

54

1709-1786

Bohemian violinist and composer, and chamber musician to the Crown Prince of Prussia (later Friedrich II). Solo sonatas for violin and for flute, violin concertos and trio sonatas were published in Berlin and Paris, and considerable i n strumental music has been preserved in manuscript. Modern editions of his violin music have been prepared by Moffat, Jensen and Schering. Burney who visited him in Berlin in 1772 had great praise for his adagio playing. (The P r e s ent State of Music in Germany and the Netherlands. 1773. v. 2. p.128) C major 1.

Suonata / Del Sig r : Francesco Benda /

It. 65

Listed in Breitkopf supplement, 1776, as n o . l of V Soli del Slg r . Benda, Racc.XI.

BERTONI,

FERDINANDO

GIUSEPPE,

1 7 25 - 18 1 3

Venetian composer, organist and music director. He was a pupil of Padre Martini, was organist and later maestro di cappella at St. Marks, and a prolific composer of church music. He wrote forty-eight operas and some fifteen oratorios, and published at least two sets of keyboard sonatas with accompanying violin. Apart from two trips to London, in 1779/80 and 1781/83, he devoted himself to musical activities inVenice, and was Baldassarre Galuppi's successor at the Conservatorio de' Mendicanti. A Symphony in C Major has been edited by Ettore Bonelli (Padova, 1956). C major 1.

Sonata a Violino, e Basso / Del / S i g . r Ferdinando Bertoni /

MltffifftF

It. 66 score. 24x32cm. 10 st. WM: 28. Hand A. Brown.

BENDA,

FRANZ,

54

1709-1786

Bohemian violinist and composer, and chamber musician to the Crown Prince of Prussia (later Friedrich II). Solo sonatas for violin and for flute, violin concertos and trio sonatas were published in Berlin and Paris, and considerable i n strumental music has been preserved in manuscript. Modern editions of his violin music have been prepared by Moffat, Jensen and Schering. Burney who visited him in Berlin in 1772 had great praise for his adagio playing. (The P r e s ent State of Music in Germany and the Netherlands. 1773. v. 2. p.128) C major 1.

Suonata / Del Sig r : Francesco Benda /

It. 65

Listed in Breitkopf supplement, 1776, as n o . l of V Soli del Slg r . Benda, Racc.XI.

BERTONI,

FERDINANDO

GIUSEPPE,

1 7 25 - 18 1 3

Venetian composer, organist and music director. He was a pupil of Padre Martini, was organist and later maestro di cappella at St. Marks, and a prolific composer of church music. He wrote forty-eight operas and some fifteen oratorios, and published at least two sets of keyboard sonatas with accompanying violin. Apart from two trips to London, in 1779/80 and 1781/83, he devoted himself to musical activities inVenice, and was Baldassarre Galuppi's successor at the Conservatorio de' Mendicanti. A Symphony in C Major has been edited by Ettore Bonelli (Padova, 1956). C major 1.

Sonata a Violino, e Basso / Del / S i g . r Ferdinando Bertoni /

MltffifftF

It. 66 score. 24x32cm. 10 st. WM: 28. Hand A. Brown.

BESOZZI,

ALESSANDRO,

55

1702-1775

Oboe virtuoso active in the royal court of Turin; he was a member of a c e l e brated family of instrumentalists, oboe and bassoon players, that included two brothers, Girolamo (1704-78) and Antonio (1714-81) anda nephew, Carlo (175592) son of Antonio. All were composers of chamber music and this fact has led to some confusion in the attributions assigned to their works. Alessandro and Girolamo are known to have collaborated in sets of trio sonatas. Chamber music by Alessandro Besozzi was published in London and Paris, and there are manuscript copies to be found in several European libraries: Paris, London, Padua, etc. There are nineteen trio sonatas by Alessandro Besozzi in the Berkeley collection. Manuscript part books (violin 2 and b a s s only, not part of the present c o l l e c tion) contain twelve additional trio sonatas and duplicate the following eight: It. 67. 68, 74, _76, 77, 80. _83 and 86- Another manuscript copy of It. 75 (also from another source) has a title page dated 1753. A major Sonata a trfe / Del Sig: r Allessandro Besozzi / Basso /

It. 67 v 1 & 2, b a s s . 22x30.5cm. 8 St. WM: 14. Hand A. Brown.

'Vllliliui Published a s no. 6 of XII Sonates . . . par M r s . Bezzossi. Oeuvre I I e . (Paris, Le C l e r c , c a . 1740)

C major 2.

Trio / Del Slg: r Allessandro Besozzi / Basso /

ArtJttk-

•A —L—

.//.V.-J7/ H

.•¡«.-/.re-

published as no. 4 of XII Sonates . . . par M r s . B e z z o s s i . Oeuvre I I e . (Paris, Le C l e r c , c a . 1740)

It. 68 v 1 & 2, b a s s . 22.5x30cm. 8 St. W M : 17 • Hand A. Brown.

BESOZZI,

ALESSANDRO

56 C minor

3.

Tri& / Del S i g . r Allessandro Besozzi / Basso /

A^mte-

J

^

K

l s

:9: + :i0:

It. 69 v 1 & 2, b a s s . 22.5x30cm. 8 St. WM: 16. Hand A. Brown.

Mtj.ro usti

F/ rtt i ff I

Allow

D major 4.

Trio a due Violini / Col Basso / Del S i g . r Allessandro Besozzi / Basso /

AtuknfC'

:2i: + :zg:

It. 70 v 1 & 2, b a s s . 22x32cm. 10 St. W M : 63A. Hand A. Brown.

Allepo

jW

rttrrmirW

-TI I

:it.if

5.

T r i b / Del S i g . r Allessandro Besozzi / Basso /

AxJittlt-

rlrrJriJJJJl.iji

Te/Hjfo Ji J/I'KM

It. 71 v 1 & 2, b a s s . 22.5x30cm. 8 St. WM: 16. Hand A. Brown.

BESOZZX, 6.

57

ALESSANDRO

Trifl / Del S i g . r Allessandro Besozzi / Basso / I

4nJwlt'/p

l


•• TS:

CAMPIONI,

CARLO

79

ANTONIO

20. Trife / del Sig: r C : ° A:° Campioni / Basso /

AJwie, ) 7» ^

It. 130 : i f v l & 2 , bass. 22x30.5cm. 8 st. WM: 53. Hand A. Brown.

Published a s op. 2 no. 2 (London, Walsh, 1758)

21. Trio / del Sig: r Carlo Antonio Campioni / Basso / :n:t:y:

It. 131 v 1 & 2, b a s s . 23x32cm. 10 st. WM: 29. Hand A. Brown.

Published as op. 5 n o . l (London, Walsh, c a . 1760)

22. Trio / Del Sig: r Antonio Campioni / Basso /

AHJLHIC.

S0fJt**+O

Published a s op. 3 no. 6 (London, Walsh, 1759)

ft

It. 132 v 1 & 2, b a s s . 22.5x31.5cm. 10 st. WM: 6. Hand A. Brown.

CAMPIONI,

CARLO

80

ANTONIO

23. Trio / Del Sig. r Carlo Antonio Campioni / Basso /

It. 133

24. Trio / Del Sig: r Carlo Antonio Campioni / Basso /

It. 134

Published as op. 3 n o . l (London, Walsh, 1759)

G minor 25. Violino primo.

Trio Del Sig: r Carlo Antonio Campioni /

Caption title. Published as op. 4 no. 2 (London, Walsh, c a . 1765)

It. 135

CAMPIONI,

CARLO

ANTONIO A major

26.

Trio / D e l S i g . r C a r l o Antonio C a m p i o n i / B a s s o

ÀhJMIC

/

^ - J . / T

i j A V ^ V r i T W f i i r r r r i f f f f i

^

I t . 136 v 1 & 2, b a s s . 2 2 . 5 x 3 0 c m . 10 s t . WM: 53. Hand A. Brown.

Alitar»

^ . . l i i f ^ f i i f H t g É

%

r

-

ì

27.

T

r

i

r

i

m

i

w

'

r

Tri6 D e l S i g : r C a m p i o n i / B a s s o

i S ^ ' 1 1 f e r r i l i AW

- Treth

fem-re

Ji

&

i

1

ì

/

1 1I J H J Ü

I i i '

I t . 137 v 1 & 2, b a s s . 2 2 x 3 0 c m . 8 St. WM: unclear. Hand A. Brown.

u n i

Minuti

•if:*-:}/: r

n

r

m

i

y

Caption title. P u b l i s h e d a s o p . 2 n o . 5 (London, W a l s h ,

1758)

B flat major 28.

Trio / D e l S i g C a m p i o n i / B a s s o r

I t . 138 v l & 2 , bass. 2 3 . 5 x 3 1 . 5 c m . JO S t . WM: 58. Hand BB. Brown.

/

/->

Lirto

r f

f l 0 f -

0 -1

f - f

f

f

I n c i p i t on t . p . P u b l i s h e d a s o p . l n o . 3 (London, W a l s h , c a . 1760)

CAMPIONI,

CARLO

82

ANTONIO B minor

29. Trio / Del S i g . r Carlo Antonio Campioni / Basso /

j^nJinhno

O

t J / h f f i £rrr

iff

Published as op. 3 no. 4 (London, Walsh, 1759)

CAPUZZI,

GIUSEPPE

ANTONIO,

1755-1818

Violinist-composer active in Venice and Bergamo. He was first violinist in the Teatro S. Samuele in Venice from 1780 to 1785, then director of the orchestra at S. Benedetto. After a visit to London 1796, where he was engaged in writing and producing b a l l e t s , he returned to Italy in 1805 to become solo violinist for for the church of S. Maria Maggiore in Bergamo. Grove c i t e s him as a pupil of Tartini. The Dizionario Ricordi, on the other hand, suggests that Tartini's influence was transmitted indirectly through studies with A. Nazari and Bertoni. Besides eleven ballets and an opera, Capuzzi composed sinfonle concertanti. divertimenti. quartets and quintets. Six quartets and three concertos are found in the Berkeley collection. No other examples of his work in concerto form have been cited in bibliographies. E flat major 1.

No. VI. / Quartetti / Per due Violini, Viola, e Basso / Composti dal Sig: r / Antonio Capucci / Opera II / Violino Primo /

Initials: F . Z . in upper right corner.

It. 140 v 1 (incomplete) 23x31.5cm. 10 St. WM: unclear. Hand PP. Black.

CAMPIONI,

CARLO

82

ANTONIO B minor

29. Trio / Del S i g . r Carlo Antonio Campioni / Basso /

j^nJinhno

O

t J / h f f i £rrr

iff

Published as op. 3 no. 4 (London, Walsh, 1759)

CAPUZZI,

GIUSEPPE

ANTONIO,

1755-1818

Violinist-composer active in Venice and Bergamo. He was first violinist in the Teatro S. Samuele in Venice from 1780 to 1785, then director of the orchestra at S. Benedetto. After a visit to London 1796, where he was engaged in writing and producing b a l l e t s , he returned to Italy in 1805 to become solo violinist for for the church of S. Maria Maggiore in Bergamo. Grove c i t e s him as a pupil of Tartini. The Dizionario Ricordi, on the other hand, suggests that Tartini's influence was transmitted indirectly through studies with A. Nazari and Bertoni. Besides eleven ballets and an opera, Capuzzi composed sinfonle concertanti. divertimenti. quartets and quintets. Six quartets and three concertos are found in the Berkeley collection. No other examples of his work in concerto form have been cited in bibliographies. E flat major 1.

No. VI. / Quartetti / Per due Violini, Viola, e Basso / Composti dal Sig: r / Antonio Capucci / Opera II / Violino Primo /

Initials: F . Z . in upper right corner.

It. 140 v 1 (incomplete) 23x31.5cm. 10 St. WM: unclear. Hand PP. Black.

CAPUZZI,

GIUSEPPE

83

ANTONIO Concertos D major

.

In D : r e 3° / Concerto / per Violino. Con Stromti. / Del Sig: r Antonio Capucci / Violino Principale /

/VA'

>

It. 141 vp, v 1 & 2 conc, via, vie, oboe 1 & 2, horn 1 & 2. 23x31.Sem. 10 st. WM: 47 & 30. Hand J. Brown.

B fiat major In B:fà / Concerto / Per Violino. Con Stromti. / Del Sig: r Antonio Capucci / Violino Principale /

It. 142 vp, v 1 & 2 conc, via, vie, oboe 1 & 2, horn 1 & 2. 23x32cm. 10 s t . WM: 47 & 88. Hand J. Brown.

X*U» A }rrrif0ffr0B jij lyirr/Wlfrriiite^ Ktnit

*

DOTHEL

(D6THEL,

r

DÒTHEL)

NICOLÒ,

It. 148 v 1 & 2, b a s s . 22.5x31.5cm.10 st. WM: 4. Hand A. Brown.

iu-nua

fi. 1750

Sonatas, divertimentos and duets for violins or German flute by this composer were published in London, 1755-64; slxtrio sonatas in manuscript are preserved in the Cappella Antoniana in Padua and are listed in Tebaldini's catalogue of that archive. Eitner refers to Dothel as a flutist. He is otherwise unknown. D major 1.

Sonata da Camera / à . AHJIMÌt.

/ Del S i g . r Dothel /

JC

i/

It. 149 v 1& 2 [ b a s s ] 22.5x31.5cm. 10 St. WM: 3 & 4. Hand A. Brown.

s^Iml

••WfZ-

Ta*fo

J'

MiHHtth

JTWirirTrr o

*

Another copy. Trio à due Violini / Col Basso / Del Sig r Nicolò Dothel / Basso /

It. 150 v 1 & 2, b a s s . 21.5x31cm. 10 st. WM: 32. Hand A. Brown.

DOTHEI,

NICOLÒ

87 E minor

2.

Sonata da Camera / a 3? / Del S i g . r Dothel / !Ji:+:zf:

TtHipt à MUueUt . • " " V J'M , Atfe+rv.— f>

.

It. 151 v 1& 2 [ b a s s ] 22.5x31.5cm. 10 s t . WM: 3 & 4. Hand A. Brown.

f» :sr.t:4»:

Another copy. Trio S due Violini / Col Basso / Del Sig: r Nicolò Dothel / Basso /

It. 152 V 1&2, b a s s . 21.5x30.5cm. 10 s t . WM: 73. Hand A. Brown.

G major 3.

Sonata da Camera / a 3^ / Del S i g . r Dothel / .-!>:• ;/5"

hltp*

Tempi di

I t . 153 1 & 2 [ bass ] 22.5x32cm. 10 St. WM: 4. Hand A. Brown. v

n

-Minuetti

Another copy.

Trio / Del Sig: r Nicoli) Dothel / Basso /

It. 154 v 1 & 2, b a s s . 22.5x29.5cm.10 St. WM: 53. Hand A. Brown.

DOTHEL, 4.

NICOLÒ I t . 155 V 1& 2 [ b a s s ] 2 2 . 5 x 3 2 c m . 10 St. WM: 4. Hand A. Brown.

Sonata da Camera / a 3® / Del Sig. r Dothel /

fTriff[[fi^iff|#i AU*

: 41* « :

Ttfu/v ¡¿i^f/uae/Jfi

5.

Another c o p y . Trio & due Violini / C o l B a s s o / Del S i g . r Nicoli) Dothel / B a s s o /

I t . 156 v 1& 2, b a s s . 2 1 . 5 x 3 0 . 5 c m . 10 s t . WM: 7 3 . Hand A. Brown.

Sonata da Camera / a 3 e / Del Slg. r Dothel /

I t . 157 v 1& 2 [ bass] 2 2 . 5 x 3 2 c m . 10 s t . WM: 4. Hand A. Brown.

A-JL-u,,

Ttmf» Jt MiHueifojd//^

Another c o p y . Trio 5 due Violini / C o l B a s s o / D e l S i g : r Nicolb D o t h e l / B a s s o /

•.f.t-ur:

WW

I t . 158 v 1 & 2, b a s s . 2 2 x 3 0 c m . 10 St. WM: 3 2 . Hand A. Brown.

DOTHEL,

NICOLÒ

89 A minor

6.

Sonata da Camera / a 3^ / Del S i g . r Dothel / B a s s o /

AlUftp

I t . 159 v 1 & 2, b a s s . 22.5x32cm. 10 St. WM: 4. Hand A. Brown.

•it:*

it:

Tit*/» Ji MtHuefh

Another copy. Trio & due Violini / Col Basso / Del Sig r Nicoli) Dothel / Basso /

DUSCHMALUI,

GIUSEPPE

I t . 160 v 1 & 2,. b a s s . 22x30.5cm. 10 St. WM: 32. Hand A. Brown.

FRANCESE

.see Touchemoulin, J o s e p h

DUTILLIEU,

PIERRE,

1754-1797

A French m u s i c i a n , born in Lyon, a c t i v e in N a p l e s a s a composer of b a l l e t and opera until 1791, a f t e r which he became C i m a r o s a ' s s u c c e s s o r at the court in Vienna. S e l e c t i o n s from h i s Gli Accidenti della Villa were printed in J. André's Neue T h e a t e r - G e s a e n q e (1797). According to L a r o u s s e d e la M u s i q u e . he wrote a violin c o n c e r t o and s i x duos for two v i o l i n s . F major 1.

C o n c e r t o S / Violino Solo è Strumenti / Del Sig:°r / Dutillieu /

klltjrtHiilhff

I t . 161 vp, v 1 & 2 obi, via o b i , b a s s o b i , oboe 1 & 2 o b i , horn 1 & 2. 22x30.5cm. 10 s t . WM: 33. Hand SS. Brown.

DOTHEL,

NICOLÒ

89 A minor

6.

Sonata da Camera / a 3^ / Del S i g . r Dothel / B a s s o /

AlUftp

I t . 159 v 1 & 2, b a s s . 22.5x32cm. 10 St. WM: 4. Hand A. Brown.

•it:*

it:

Tit*/» Ji MtHuefh

Another copy. Trio & due Violini / Col Basso / Del Sig r Nicoli) Dothel / Basso /

DUSCHMALUI,

GIUSEPPE

I t . 160 v 1 & 2,. b a s s . 22x30.5cm. 10 St. WM: 32. Hand A. Brown.

FRANCESE

.see Touchemoulin, J o s e p h

DUTILLIEU,

PIERRE,

1754-1797

A French m u s i c i a n , born in Lyon, a c t i v e in N a p l e s a s a composer of b a l l e t and opera until 1791, a f t e r which he became C i m a r o s a ' s s u c c e s s o r at the court in Vienna. S e l e c t i o n s from h i s Gli Accidenti della Villa were printed in J. André's Neue T h e a t e r - G e s a e n q e (1797). According to L a r o u s s e d e la M u s i q u e . he wrote a violin c o n c e r t o and s i x duos for two v i o l i n s . F major 1.

C o n c e r t o S / Violino Solo è Strumenti / Del Sig:°r / Dutillieu /

klltjrtHiilhff

I t . 161 vp, v 1 & 2 obi, via o b i , b a s s o b i , oboe 1 & 2 o b i , horn 1 & 2. 22x30.5cm. 10 s t . WM: 33. Hand SS. Brown.

FERRARI,

DOMENICO,

90

1 722- 1 78 0

Born at Piacenza, he was one of the noted violinists of his time. He was a pupil of Tartini and was active successively at Cremona, Vienna, Württemberg (where he was a member of the orchestra at the same time as Nardini) and Paris. He died in 1780 in the course of a journey to London. He was a brother of Carlo Ferrari, famous as a cellist and composer. Domenico's published works include six sets of violin sonatas, trio sonatas and Italian and French songs. C major 1.

Sonata a Violino, e Basso / Del Sig: r / Domenico Ferrari / :ft:i-:yi^ — -

It. 162 score. 23.5x32cm. 10 st. WM: 78. Hand B. Black.

D major 2.

Sonata a Violino, e Basso / Del Sig: r / Domenico Ferrari / WM: 78. Hand B. Black. U r i »

Httip»

l t ' + :f t -

Possibly by Tartini. Another copy. Ferrari.

Listed by Brainard as D. 21.

Sonata a Violino e Basso / Del Sig r Domenico

I t . 164 score. 23x22.5cm. 10 s t . WM: 5. Hand B. Black.

FERRARI,

91

DOMENICO B fiat major

1.

It. 165 v 1. 23x31cm. 10 st. WM: unclear. Hand BB. Brown.

Violino / Primo Trio / del Sig r Domenico Ferrari /

Ml*trt

HiMtt»

MrrW WtWtr\iTm FRACASSINI,

•li-t-JU:

ALOISIO

LODOVICO,

17 3 3 - 17 9 8

An eminent violinist, composer and teacher, and a pupil of Tartini. On Tartini's recommendation, Fracassini was appointed in 1757 as first violinist at the combined court chapel of WUrzburg and Bamberg. When the chapel was divided in 1779, Fracassini remained at Bamberg until his death in 1798. He was also active a s an opera director, and has been credited with playing an important role in transmitting the influence of the Tartini school of violin performance into southern Germany (see MGG. v o l . 4 , article by Hanns Dennerlein). Examples of his work, Including an oratorio, are in the archives at Bamberg. The Berkeley collection has seven of his violin sonatas. D mator 1.

Sonata / A Violino e Basso / Del Sig: r Luigi Fracassini /

I t . 166

FERRARI,

91

DOMENICO B fiat major

1.

It. 165 v 1. 23x31cm. 10 st. WM: unclear. Hand BB. Brown.

Violino / Primo Trio / del Sig r Domenico Ferrari /

Ml*trt

HiMtt»

MrrW WtWtr\iTm FRACASSINI,

•li-t-JU:

ALOISIO

LODOVICO,

17 3 3 - 17 9 8

An eminent violinist, composer and teacher, and a pupil of Tartini. On Tartini's recommendation, Fracassini was appointed in 1757 as first violinist at the combined court chapel of WUrzburg and Bamberg. When the chapel was divided in 1779, Fracassini remained at Bamberg until his death in 1798. He was also active a s an opera director, and has been credited with playing an important role in transmitting the influence of the Tartini school of violin performance into southern Germany (see MGG. v o l . 4 , article by Hanns Dennerlein). Examples of his work, Including an oratorio, are in the archives at Bamberg. The Berkeley collection has seven of his violin sonatas. D mator 1.

Sonata / A Violino e Basso / Del Sig: r Luigi Fracassini /

I t . 166

FRACASSINI, 2.

ALOISIO

LODOVICO

92

Sonata a Violino, e Basso / Del Sig Luigi Fracassini /

It. 167 score. 23x32cm. 10 st. WM: 34. Hand B. Black.

r

MicfYt

y

„ „ r N

Another copy. Fracassini /

^

Suonata / A Violino e Basso / Del Sig r : Luigi

It. 168 score. 23x32cm. 12 st. WM: 40. Hand II. Brown.

E fiat major 3.

Suonata / A / Violino e Basso / Del Sig r : Luigi Fracasini / WM: 89. Hand II. Brown.

M'f" ir VtriVCitHC-

J^fjiUfffiM'i'j

•7/ * •/•'+fvtritiitni

E major 4.

Suonata a Violino e Basso / Del Sig r : Luigi Fracasini /

Muf*

k

^

Fi i ft /i M , '

rV.A

-ir-

It. 170

k

s

c

o

r

e

;

5x31cm. 10 st. WM: 90. Hand II. Brown.

:ttu:nr-

FRACASSINE Another copy. Fracassini /

ALOISIO

93

LODOVICO

Sonata a Violino e Basso / Del Sig: r Luigi

It. 171 score. 2 3 x 3 2 c m . 10 s t . WM: 3 4 . Hand B. Black.

5.

Suonata / A Violino e Basso / Del Sig r : Luigi F r a c a s i n i /

It. 172 score. 2 3 x 3 2 . 5 c m . 10 s t . WM: 3. Hand II. Brown.

6.

Suonata / A / Violino e Basso / Del Sig r : Luigi F r a c a s i n i /

It. 173 score. 2 3 x 3 2 . 5 c m . 10 s t . WM: 8 9 . Hand II. Brown.

P

r»

Another c o p y . Fracassini /

:ro:t:7f:

Sonata / a Violino e Basso / Del Sig: r / Luigi

It. 174 score. 2 3 . 5 x 3 2 . 5 c m . 10 s t . WM: 9 1 . Hand B. Black.

FRACASSIMI,

ALOISIO

LODOVICO

94

B fiat major 7.

Suonata / A Violino e Basso / Del Sig r : Luigi Fracasini /

All*tr» ' 1 /iJijiO

Ir ' ' ^

«V . ^

-

^

'

*

^ •h*

j.iif.fificf/iì'/trtfiyjj^rff^ii? Mintiti'

j'iiKnftnijiIiÜ n FRITZ,

KASPAR,

+

It. 175 score. Ìl1:t:re23x32cm. 10 st. = WM: 35. — Hand II. Brown. «

rarittitnt

1716-1782

Violinist, composer and teacher, bom in Geneva where he spent the greater part of his life. He was a pupil of Giovanni Battista Somis in Turin. Instrumental music by Fritz, including solo violin sonatas, sonate 5 quattro, and symphonies, were published in London, Paris and Vienna. The Berkeley collection contains manuscripts of six trio sonatas. 1.

N° VI / Sonate a Tre / Del Sig. r Fritz / Violino Primo / D major I.

It. 176 v 1 & 2, b a s s . 23.5x32.5cm.10 st. WM: 36. Hand A. Brown.

FRACASSIMI,

ALOISIO

LODOVICO

94

B fiat major 7.

Suonata / A Violino e Basso / Del Sig r : Luigi Fracasini /

All*tr» ' 1 /iJijiO

Ir ' ' ^

«V . ^

-

^

'

*

^ •h*

j.iif.fificf/iì'/trtfiyjj^rff^ii? Mintiti'

j'iiKnftnijiIiÜ n FRITZ,

KASPAR,

+

It. 175 score. Ìl1:t:re23x32cm. 10 st. = WM: 35. — Hand II. Brown. «

rarittitnt

1716-1782

Violinist, composer and teacher, bom in Geneva where he spent the greater part of his life. He was a pupil of Giovanni Battista Somis in Turin. Instrumental music by Fritz, including solo violin sonatas, sonate 5 quattro, and symphonies, were published in London, Paris and Vienna. The Berkeley collection contains manuscripts of six trio sonatas. 1.

N° VI / Sonate a Tre / Del Sig. r Fritz / Violino Primo / D major I.

It. 176 v 1 & 2, b a s s . 23.5x32.5cm.10 st. WM: 36. Hand A. Brown.

FRITZ,

95

KASPAR B flat major

II.

£' f l f o r f o j ? ,

tili.

Hr-W-

E f l a t major III.

Cinfffr.tifr.frflrM

m'-iMi.u"1 A major

n

Tnfh

«

-

1 .lf-

WH-IU:

FRITZ,

KASPAR D major

V.

Ì%\-*h\ It*nili D minor VI.

GALEOTTI

(GALLEOTTI)

Two musicians named Galeotti, Salvatore and Stefano, lived the latter half of the 18th century and published instrumental references have been found to an Antonio, whose name appears tas in the Berkeley collection. Five of the remaining twelve published by Welcker in 1762 as works of Salvatore Galleotti.

in London during music there. No on six trio sonatrio sonatas were

FRITZ,

KASPAR D major

V.

Ì%\-*h\ It*nili D minor VI.

GALEOTTI

(GALLEOTTI)

Two musicians named Galeotti, Salvatore and Stefano, lived the latter half of the 18th century and published instrumental references have been found to an Antonio, whose name appears tas in the Berkeley collection. Five of the remaining twelve published by Welcker in 1762 as works of Salvatore Galleotti.

in London during music there. No on six trio sonatrio sonatas were

97

GALEOTTI C major 1.

Violino Primo / Sonata à T r i / Del S i g . r Antonio G a l e o t t i /

I Mttrt ..ilLì'1^

V ^

„/T>

A

Minuti'

j7rìTiiriTliirTrriifr^ Another c o p y .

I t . 177 v 1 & 2, b a s s . 23x31.5cm. 10 s t . WM: 3 & 3 7 . Hand A 2 . B l a c k .

tt+.i-sr.

Triti / del S i g r : G a l l e o t t i / B a s s o /

I t . 178 v 1 & 2, b a s s . 2 2 . 5 x 3 2 c m . 10 s t . WM: 3 2 . Hand I I . Brown.

E fiat major 2.

Violino Primo / Sonata à Tré / Del S i g . r Antonio G a l e o t t i /

I t . 179 v 1 & 2, b a s s . 22x31cm. 10 s t . WM: 98 & 3 7 . Hand A 2 . B l a c k .

Minuet

Another c o p y .

Trifc / Del Signor G a l l e o t t i / B a s s o /

I t . 180 v 1 & 2, b a s s . 2 3 x 3 2 c m . 10 s t . WM: 32 & 38. Hand I I . Brown.

98

GALEOTTI F major 3.

Violino Primo / Sonata à Tré / Del S i g . r Antonio Galeotti / •¿f : t:j);

AUtgr»

1

It. 181 v 1 & 2, bass. 22.5x31.5cm. 10 st. W M : 35. Hand A 2 . Black.

Jiniìiirìinrffl Another copy.

Tri& / del Sig: r Galleotti / Basso /

It. 182 v 1 & 2, bass. 22.5x31cm. 10 st. W M : 32. Hand II. Brown.

G major 4.

Violino P : m ° / Sonata à Tre / Del S i g . r Antonio Galeotti /

U t : *

—

Jfr^

It. 183 v 1 & 2, bass. 22.5x31.5cm. 10 st. W M : 35. Hand A 2 . Brown.

:

l i :

J*-^

r i rfittfr » i r r i t a

Another copy.

Triti / Del Sig: r Galleotti / Basso /

It. 184 \7 1 £& 92, hbass. » G v 1 22.5x32cm. 10 st. W M : unclear. Hand H 2 . Brown.

99

GALEOTTI A major 5.

Violino Primo / Sonata a Tre / Del S i g . r Antonio Galeotti /

¿MW

Another copy.

It. 186 v 1 & 2, b a s s . 22.5x31.5cm. 10 st. WM: 32. Hand II. Brown.

Trib / Del Sig r . Galleotti / Basso /

B fiat major 6.

It. 187 v 1&2, b a s s . 22.5x31.5cm. 10 st.

Violino Primo / Sonata & Tré / Del S i g . r Antonio Galeotti /

/f-*'}}••

W M :

3 7 .

Hand A 2 .

Another copy.

Trib / del Sig: r Galleotti / Basso /

Black.

It. 188 e 2, n 1b a s s . v 11 & 23x31.5cm. 10 st. WM: 32. Hand II. Brown.

100

GALEOTTI D major 7.

Triò / Del Sig: r Galleotti / Basso /

l

Minuti 1i 'T'ffT' Trff

It. 189 v l & 2 , bass. 22.5x31.5cm. 10 st. WM: 39. Hand H 2 . Brown, (title in Hand B)

JL

_.f n S f ff f

Published London, Welcker, 1762, with composer's name given as Salvatore Galleotti. E major Triti / Del Sig: r Galleotti / Basso /

3.

Ur

uVtW:

Mftfr* Sfiribst

It. 190 v 1 & 2, b a s s . 23x32cm. 10 st. WM: 98. Hand H 2 . Brown, (title in Hand B)

at:* if:

^/jir[tf,|r[(fiftgW^fiifigjj

Published London, Welcker, 1762, with composer's name given as Salvatore Galleotti. F major

9.

It. 191 v 1 & 2, b a s s . 22.5x33cm. 10 st. WM: 39. Hand H 2 . Brown, (title in Hand B)

Trib / Del Sig: r Galleotti / Basso /

JL

a j

irfiffifigr t

- f
/ Del Sig: r Galleotti / Basso / in-:41:

It. 192 v 1 & 2, b a s s . 22.5x32cm. 10 st. WM: 39. Hand H 2 . Brown, (title in Hand B)

¡I'lMrirr^rr Published London, Welcker, 1762, with composer's name given as Salvatore Galleotti. A major 11. Trifc / Del Sig: r Galleotti / Basso /

rrinrr

iff?'

= = = =

It. 193 v 1 & 2, b a s s . 23x32.5cm. 10 St. WM: 39. Hand H 2 . Brown. (title in Hand B)

0 m iHiMtfhJ

Published London, Welcker, 1762, with composer's name given as Salvatore Galleotti. B flat major 12. Tri6 / Del Sig: r Galleotti / Basso /

AUtp^fifJtraj*

1

t'flHirteli MX'™'*yii

a

••ir+-*f:

= = = = =

. . . ¿ ¿ U h s ^ T *

^ f W f i n

\r*\ttrm

Published London, Welcker, 1762, with composer's name given as Salvatore Galleotti.

149

It. 194 v 1 & 2, b a s s . 22.5x31.5cm. 10 St. WM: 39. Hand H 2 . Brown. (title in Hand B)

GALLO,

DOMENICO,

b. c a .

102

1730

Van der Straeten suggests that this musician was born in Venice, and cites a copy of six trio sonatas published in Venice, now in the library of the Milan conservatory. Six sonatas for two flutes and bass were printed forOswald, London, about 1755, and the Breitkopf & H3rtel Cataloqo delle Sinfonie . . . Supplementol (1766) lists a sinfonia cl 4. Seven trio sonatas by Gallo are found in the Berkeley collection. D major 1.

Sonata a Tr6 / Del S i g . r Gallo / Basso /

Trtth

ft

Ml'lftifffltfl^

it (ft

AlJldiM

jfWn>J\^mrfmttuj

It. 195 v 1 & 2, b a s s . 22.5x30.5cm. 10 st. WM: 63A. Hand A. Brown.

47

E major 2.

Sonata a due Violini, e / Basso del / Sig: r Domenico Gallo / Violino Primo /

Art"

It. 196 v 1 & 2, b a s s . 23x31.Sem. 10 st. WM: 25. Hand G. Black.

GALLO,

103

DOMENICO G minor

3.

It. 197 v 1 & 2, bass. 22x30.5cm. 8 st. WM: 50. Hand A. Brown.

Sonata a Tré / Del Sig: r Gallo / Basso / 4 IItqrt

¥ 1 .1

,

^ii^f/mìu O ^ ». -

• ..in z'

r,JirrrrM

ft~f

m

it

A major 4.

Sonata a Tré / Del S i g . r Gallo / Basso /

ffirrrijiflrrffyiji

f j(^)

It. 198 v 1 & 2, bass. 22.5x30.5cm. 10 st. WM: 63A Hand A. Brown.

B flat major 5.

Sonata a Trfe / Del

Sig.r

Gallo / Basso / St

J L

It. 199 v 1 & 2, b a s s . 22x31cm. 10 st. WM: 63A. Hand A. Brown.

GALLO,

104

DOMENICO B minor

6.

Sonata a Trfe / Del / S i g . r Gallo / B a s s o /

Mltyr«

fj

It. 200 v 1 & 2, b a s s . 22.5x30.5cm. 10 st. WM: 63A. Hand A. Brown.

A major 7.

Basso / Trio / Del Sig: r Gallo /

It. 201 v 1 & 2, b a s s . 21x30cm. 10 st. WM: 17. Hand A. Brown.

Mit".

J'I iiV'r*iCiirr AJamì»

'S

"(f

Twh

P

GASPARINI,

PIETRO

No musician of this name i s mentioned in any of the available reference works. There i s a Francesco Gasparini, 1 6 6 8 - 1 7 3 7 , who was active as a composer of Italian operas in London during the early years of the 18th century. Six trio sonatas were published in London under his name, in two editions, c a . 1760 and c a . 1765. Van der Straeten has expressed doubt that these works could have been written by Francesco. It i s possible that Pietro Gasparini, represented in the Berkeley collection by seven trio sonatas, was the composer to whom the London trios should be attributed.

GALLO,

104

DOMENICO B minor

6.

Sonata a Trfe / Del / S i g . r Gallo / B a s s o /

Mltyr«

fj

It. 200 v 1 & 2, b a s s . 22.5x30.5cm. 10 st. WM: 63A. Hand A. Brown.

A major 7.

Basso / Trio / Del Sig: r Gallo /

It. 201 v 1 & 2, b a s s . 21x30cm. 10 st. WM: 17. Hand A. Brown.

Mit".

J'I iiV'r*iCiirr AJamì»

'S

"(f

Twh

P

GASPARINI,

PIETRO

No musician of this name i s mentioned in any of the available reference works. There i s a Francesco Gasparini, 1 6 6 8 - 1 7 3 7 , who was active as a composer of Italian operas in London during the early years of the 18th century. Six trio sonatas were published in London under his name, in two editions, c a . 1760 and c a . 1765. Van der Straeten has expressed doubt that these works could have been written by Francesco. It i s possible that Pietro Gasparini, represented in the Berkeley collection by seven trio sonatas, was the composer to whom the London trios should be attributed.

GASPARINI,

105

PIETRO G major

1.

Sonatina da Camera / Del S i g . r Gasparini / Basso /

It. 202 v 1 & 2, b a s s . 23.5x32cm. 10 st. WM: 16 & 68. Hand A. Brown.

G minor 2.

Sonatina da Camera / Del S i g . r Gasparini / Basso /

4»J*xtt- / f )

:t('*>4i:

It. 203 v 1 & 2, b a s s . 22.5x32cm. 10 st. WM: 68. Hand A. Brown.

C minor 3.

Trio / Del Sig: Pietro Gasparini / Violino Primo / r

rcHt

Listed in Breitkopf supplement, 1776, as no. 5 of VI Trli del S i a r . Gasparini a 2 Viol. e Basso.

It. 204 v 1 & 2, b a s s . 23x30cm. 8 st. WM: 16. Hand A. Brown.

GASPARINI,

106

PIETRO E fiat major

4.

Trio / Del S i g : r Pietro Gasparini / Violino Primo /

It. 205 v 1 & 2, b a s s . 22x30cm. 8 s t . WM: 16. Hand A. Brown.

n?:*: >7:

Ttrtupo Ji Mipuefjt

F major 5.

Trio / Del S i g . r Pietro Gasparini / Violino Primo /

ànJuttr

^

It. 206 v 1 & 2, b a s s . 22.5x30.5cm. 8 st. WM: 16. Hand A. Brown.

*

¡fiurftfiriftfiactfl^

ut-*.u:

A major 6.

Trio / Del

ftP

Sig:r

Pietro Gasparini / Basso / '•14:t:lS:

Mg*

^

It. 207 v 1 & 2, b a s s . 23x32cm. 10 st. WM: 29 & 16. Hand A. Brown.

GASPARINI, 7.

107

PIETRO r

Trio / Del Sig: Pietro Gasparini / Violino Primo /

ÌPÌ^^IÈÉ

•'/¿••»•••V.* ' :

It. 208 v 1&2, b a s s . 22.5x30cm. 8 st. WM: 16 & 28. Hand A. Brown.

Tre.

QijjrMtii&

GEMINIANI,

FRANCESCO,

1 67 9 o r 80 - 1 7 6 2

A pupil of Corelli, he was one of the greatest violin composer-teachers of his time. He was born in Lucca, and was concert master of the orchestra in Naples until he came to London in 1714 where he. spent the greater part of his career. He arranged Corelli's violin sonatas, Op. 5 as concerti grossi, published by Walsh and Hare in 1726-28 as Concerti Grossi . . . Composti delli Sei Soli della prima parte dell' Opera Quinta D'Arcangelo Corelli (sonatas 1-6); Seconda Parte (sonatas 7-12). These are the works which appear in manuscript parts in the Berkeley collection. Geminiani's t r e a t i s e . The Art of Playing on the Violin, has been edited in facsimile by David Boyden (Oxford, 1951) and a considerable a mount of his work is available in modern performance editions. 1.

Parte Prima / Opera Quinta / Del S i g . r Archangelo Corelli / Ridotta in Concerti a sette parti / Dal S i g . r Giminiani / Violino Principale / D major [ N o . 1]

It. 209 vp, v 2 obi, v 1 & 2 cono, via obi, vie obi, b a s s . 23x32.5cm. 10 st. WM: 3. Hand A. Brown.

GASPARINI, 7.

107

PIETRO r

Trio / Del Sig: Pietro Gasparini / Violino Primo /

ÌPÌ^^IÈÉ

•'/¿••»•••V.* ' :

It. 208 v 1&2, b a s s . 22.5x30cm. 8 st. WM: 16 & 28. Hand A. Brown.

Tre.

QijjrMtii&

GEMINIANI,

FRANCESCO,

1 67 9 o r 80 - 1 7 6 2

A pupil of Corelli, he was one of the greatest violin composer-teachers of his time. He was born in Lucca, and was concert master of the orchestra in Naples until he came to London in 1714 where he. spent the greater part of his career. He arranged Corelli's violin sonatas, Op. 5 as concerti grossi, published by Walsh and Hare in 1726-28 as Concerti Grossi . . . Composti delli Sei Soli della prima parte dell' Opera Quinta D'Arcangelo Corelli (sonatas 1-6); Seconda Parte (sonatas 7-12). These are the works which appear in manuscript parts in the Berkeley collection. Geminiani's t r e a t i s e . The Art of Playing on the Violin, has been edited in facsimile by David Boyden (Oxford, 1951) and a considerable a mount of his work is available in modern performance editions. 1.

Parte Prima / Opera Quinta / Del S i g . r Archangelo Corelli / Ridotta in Concerti a sette parti / Dal S i g . r Giminiani / Violino Principale / D major [ N o . 1]

It. 209 vp, v 2 obi, v 1 & 2 cono, via obi, vie obi, b a s s . 23x32.5cm. 10 st. WM: 3. Hand A. Brown.

GEMINIANI,

FRANCESCO B fiat major

[No.

2]

C major [No.

3]

108

GEMINIANI,

FRANC ESC O F major

G minor [ No. 5 ]

109

GEMINIANI,

2.

FRANCESCO

Parte Seconda / Opera Quinta / Di Archangelo Corelli / Violino Principale / D minor

110

It. 210 vp, v 2 obi, v 1 & 2 rip, via obi, vie obi, b a s s . 23,5x32cm. 10 st. WM: 3 & 14. Hand A. Brown.

GEMINIANI,

FRANCESCO E minor

C o n c e r t o VIII.

A major C o n c e r t o DC.

GEMINIANI,

112

FRANCESCO F major

Concerto X.

d

, y

JilliMa-nJi,

S*r*U*df-

»»//*'

4UtfrV

Vi

,

1 _

^

Cr

f ffì*>

—

r e t

i*

—

rv^

' ¿A»"/'

AUtfrt

t fcrilTrtirtn P f f-P. g i ' i f i ' j j i ' l i i f l

4W-

-f

E malor

B p "

ur.vtt:

GEMINIANI,

113

FRANCESCO D minor

Folia.

^frri'rfiiïyirriiï^Ticffil'rf GIORNOVICCHI,

it tu yt.r

GIOVANNI

s e e Tarnovit, Ivan Mane

GIOVANNINI,

FILIPPO

DE

This composer cannot be identified. He may be the Italian musician mentioned by Van der Straeten a s a pupil of L e c l a i r , a c t i v e in Berlin and London from 1740 to 1782. C major 1.

Concerto / Del S i g : r / Filippo de Giovannini Romano /

j ijnrir^iWfu^, huilait-

GOBBIS,

—-

JJ.

IGNAZIO

XAVERIO

This composer cannot be identified.

It. 211 v 1. 23x31cm. 10 St. WM: unclear. Hand ZZ. Black.

GEMINIANI,

113

FRANCESCO D minor

Folia.

^frri'rfiiïyirriiï^Ticffil'rf GIORNOVICCHI,

it tu yt.r

GIOVANNI

s e e Tarnovit, Ivan Mane

GIOVANNINI,

FILIPPO

DE

This composer cannot be identified. He may be the Italian musician mentioned by Van der Straeten a s a pupil of L e c l a i r , a c t i v e in Berlin and London from 1740 to 1782. C major 1.

Concerto / Del S i g : r / Filippo de Giovannini Romano /

j ijnrir^iWfu^, huilait-

GOBBIS,

—-

JJ.

IGNAZIO

XAVERIO

This composer cannot be identified.

It. 211 v 1. 23x31cm. 10 St. WM: unclear. Hand ZZ. Black.

GEMINIANI,

113

FRANCESCO D minor

Folia.

^frri'rfiiïyirriiï^Ticffil'rf GIORNOVICCHI,

it tu yt.r

GIOVANNI

s e e Tarnovit, Ivan Mane

GIOVANNINI,

FILIPPO

DE

This composer cannot be identified. He may be the Italian musician mentioned by Van der Straeten a s a pupil of L e c l a i r , a c t i v e in Berlin and London from 1740 to 1782. C major 1.

Concerto / Del S i g : r / Filippo de Giovannini Romano /

j ijnrir^iWfu^, huilait-

GOBBIS,

—-

JJ.

IGNAZIO

XAVERIO

This composer cannot be identified.

It. 211 v 1. 23x31cm. 10 St. WM: unclear. Hand ZZ. Black.

GOBBIS,

I G N A Z I O XAVERIO

114

D major 1. /*

Sonata a Violino, e Basso / Del / S i g : r Ignazio Gobbis / K . h « ^ ^ tv 7* •">••

•• '»•

It. 212 score. 23x31.5cm. 10 WM: 56. Hand B. Black.

mp Another copy.

Sonata / del S i g : r Ignazio Gobbis /

It. 213 score. 22x30.5cm. 10 st. WM: 16. Hand H 2 . Brown.

B f i a t major 2.

Sonata a Violino, e Basso / Del S i g : r Ignazio Gobbis /

ir

Another copy. Gobbis /

:i$:t>ti:

Sonata a Violino e Basso / del S i g : r Ignazio

It. 214 score. 23x31.5cm. 10 st. WM: 33. Hand B. Black.

It. 215 score. 22.5x31.5cm. 10 s t . WM: 32. Hand H 2 . Brown.

GOBBIS,

IGNAZIO

115

XAVERIO Concertos D major

1.

A •

Violino Principale / Concerto / Del Slg: r Ignazio Xaverio Gobbis / ti

It. 216 vp, v 1 & 2 obi, via, b a s s . 23x32cm. 10 s t . WM: 34. Hand B. Black.

friiiyr^ii Another copy.

Concerto / del Sig: r Ignazio Xaverio Gobbis /

It. 217 [ vp] v 1& 2 obi, via, b a s s . 23x32cm. 10 St. WM: 40. Hand H 2 . Brown.

Incipit on t. p.

HAIENDEL,

FRANCESCO

This composer can probably be identified with Franz Sebastian Haindl, 17271812, member of a family of Bavarian musicians. He divided his services as a violinist between the courts of Munich and Innsbruck. His surviving works, all in manuscript, include two m a s s e s , an oratorio, two symphonies and a flute concerto. A symphony in G major has been edited by Walter Senn for the Denkmäler der Tonkunst in Osterreich, vol. 86. F major 1.

r

Terzetto / Del S i g . Francesco H a i e n d e l / B a s s o / __ JMur» ^ T . i . J JTT r .1-111

JhtJmU

It. 218 v 1 & 2, b a s s . .T/.' f - 2 3 x 3 1 c m . 10 s t . WM: 3. ~ Hand A. Brown.

if:

tL :-it

GOBBIS,

IGNAZIO

115

XAVERIO Concertos D major

1.

A •

Violino Principale / Concerto / Del Slg: r Ignazio Xaverio Gobbis / ti

It. 216 vp, v 1 & 2 obi, via, b a s s . 23x32cm. 10 s t . WM: 34. Hand B. Black.

friiiyr^ii Another copy.

Concerto / del Sig: r Ignazio Xaverio Gobbis /

It. 217 [ vp] v 1& 2 obi, via, b a s s . 23x32cm. 10 St. WM: 40. Hand H 2 . Brown.

Incipit on t. p.

HAIENDEL,

FRANCESCO

This composer can probably be identified with Franz Sebastian Haindl, 17271812, member of a family of Bavarian musicians. He divided his services as a violinist between the courts of Munich and Innsbruck. His surviving works, all in manuscript, include two m a s s e s , an oratorio, two symphonies and a flute concerto. A symphony in G major has been edited by Walter Senn for the Denkmäler der Tonkunst in Osterreich, vol. 86. F major 1.

r

Terzetto / Del S i g . Francesco H a i e n d e l / B a s s o / __ JMur» ^ T . i . J JTT r .1-111

JhtJmU

It. 218 v 1 & 2, b a s s . .T/.' f - 2 3 x 3 1 c m . 10 s t . WM: 3. ~ Hand A. Brown.

if:

tL :-it

HAIENDEL,

FRANCESCO

116

G major 2.

I t . 219 v 1 & 2, b a s s . 23x31.5cm. 10 s t . WM: 3. Hand A. Brown.

Terzetto / D e l S l g . r F r a n c e s c o Haieridel / B a s s o /

A major 3.

Terzetto / D e l S i g . r F r a n c e s c o Haiendel / B a s s o / i

Wmll jiOfrrf

7'mr*J:

u.

mtmnjijJ

Mi'uJ-k

'

,

—

'

-

I t . 220 v 1 & 2, b a s s . 23x31cm. 10 s t . WM: 3 . Hand A. Brown.

ft •3.Z.- /•/ if:

HANDEL The themes for the two duos below have not been found in the works of Georg Friedrich Handel. P o s s i b l y the F r a n c e s c o Haiendel in the above entry i s the composer to whom they should be attributed.

HAIENDEL,

FRANCESCO

116

G major 2.

I t . 219 v 1 & 2, b a s s . 23x31.5cm. 10 s t . WM: 3. Hand A. Brown.

Terzetto / D e l S l g . r F r a n c e s c o Haieridel / B a s s o /

A major 3.

Terzetto / D e l S i g . r F r a n c e s c o Haiendel / B a s s o / i

Wmll jiOfrrf

7'mr*J:

u.

mtmnjijJ

Mi'uJ-k

'

,

—

'

-

I t . 220 v 1 & 2, b a s s . 23x31cm. 10 s t . WM: 3 . Hand A. Brown.

ft •3.Z.- /•/ if:

HANDEL The themes for the two duos below have not been found in the works of Georg Friedrich Handel. P o s s i b l y the F r a n c e s c o Haiendel in the above entry i s the composer to whom they should be attributed.

117

HANDEL E f l a t major 1.

Blainte / Lamento a m o r o s o , a Due Violini / Del S i g . r H a n d e l /

AJm'*

S'+t* Yf ic-

if

:zr.+:x.t:

HinmHt Ì

'jr W r i i ^ B

2.

J*

c*po

ut:*:

J'

Miiwetfe

HAYDN,

FRANZ

22.5x31.5cm. 10 St. WM: 29. Hand A. Brown.

Z»:

C o n f o r t o Amoroso S Due Violini / D e l S i g . r Handel / Violino Primo /

T'T'

It. 221 v 1& 2.

It. 222 v 1& 2. 23x31.5cm. 10 s t . WM: 29. Hand A. Brown.

:Z4:*ir-

JOSEPH,

1732-1809

N ° : VI / Q u a r t e t t i / D e l S i g r : G i o v a n n i Haydn / Opera XXXIV / Violino Primo / C o v e r t i t l e : XLIII / Q u a r t e t t i / Violino Primo / G: Z: / C o n t a i n s Hoboken III: C 4 , E f i a t 4 , B f i a t 2, A 1, E 1, E fiat 5 . P u b l i s h e d P a r i s , B ê r a u l t , 1772, a s o p . XI.

N : ° VI / Q u a r t e t t i a Due Violini V i ò l a , e B a s s o / D e l S i g r : G i o v a n n i Hayden / Violino Primo / C o v e r t i t l e : XXXV Q u a r t e t t i / Violino Primo / G: Z: / C o n t a i n s Hoboken III: 1 3 - 1 8 . P u b l i s h e d P a r i s , B a i l l e u x , 1777, a s o p . XXVI.

It. 223 v 1 & 2, v i a , v i e . 2 9 . 5 x 2 2 c m . 12 s t . WM: 2 6 . Hand A 4 . Brown, (title in another hand) It. 224 v l & 2 , via, vie. 3 0 . 5 x 2 2 . 5 c m . 12 s t . WM: 2 6 . Hand U . Brown.

117

HANDEL E f l a t major 1.

Blainte / Lamento a m o r o s o , a Due Violini / Del S i g . r H a n d e l /

AJm'*

S'+t* Yf ic-

if

:zr.+:x.t:

HinmHt Ì

'jr W r i i ^ B

2.

J*

c*po

ut:*:

J'

Miiwetfe

HAYDN,

FRANZ

22.5x31.5cm. 10 St. WM: 29. Hand A. Brown.

Z»:

C o n f o r t o Amoroso S Due Violini / D e l S i g . r Handel / Violino Primo /

T'T'

It. 221 v 1& 2.

It. 222 v 1& 2. 23x31.5cm. 10 s t . WM: 29. Hand A. Brown.

:Z4:*ir-

JOSEPH,

1732-1809

N ° : VI / Q u a r t e t t i / D e l S i g r : G i o v a n n i Haydn / Opera XXXIV / Violino Primo / C o v e r t i t l e : XLIII / Q u a r t e t t i / Violino Primo / G: Z: / C o n t a i n s Hoboken III: C 4 , E f i a t 4 , B f i a t 2, A 1, E 1, E fiat 5 . P u b l i s h e d P a r i s , B ê r a u l t , 1772, a s o p . XI.

N : ° VI / Q u a r t e t t i a Due Violini V i ò l a , e B a s s o / D e l S i g r : G i o v a n n i Hayden / Violino Primo / C o v e r t i t l e : XXXV Q u a r t e t t i / Violino Primo / G: Z: / C o n t a i n s Hoboken III: 1 3 - 1 8 . P u b l i s h e d P a r i s , B a i l l e u x , 1777, a s o p . XXVI.

It. 223 v 1 & 2, v i a , v i e . 2 9 . 5 x 2 2 c m . 12 s t . WM: 2 6 . Hand A 4 . Brown, (title in another hand) It. 224 v l & 2 , via, vie. 3 0 . 5 x 2 2 . 5 c m . 12 s t . WM: 2 6 . Hand U . Brown.

HAYDN, 3.

FRANZ

JOSEPH

Opera 17 / Violino Primo / Sei Quartetti / A Due Violini, Viola, e Basso / Del Sig r : Giuseppe Hapdn / Contains Hoboken III: 25-30. Published Paris, Sieber, 1773, as op. 17. XVIII / Quartetti VI / Del Sig: r Giuseppe Ha^dn / Violino Primo / Contains Hoboken III: 31, 35, 32, 33, 34, 36. Published Paris, Chevardifere, c a . 1774, a s op. XX (Hoboken III: 31, 35, 32, 36, 33, 34) Another copy. Opera 18 / Sei Quartetti / Del S i g . r Giuseppe Haydn / Violino Primo / Contains Hoboken III: 31, 35, 32, 33, 34, 36.

5.

VI / Quartetti / Opera XXXIII / Del Sig: r Giuseppe Ha?dn / Violino Primo / Cover title. Contains Hoboken III: 41, 38, 37, 39, 42, 40. Published Vienna, Artaria , 1782, as op. 33.

6.

La Pasione di / Gesù Cristo / Musica a Quattro / Del Sig r : Giuseppe Ha^dn / Violino Primo / Contains Hoboken III: 50-56 (XX B) Published Vienna, Artaria, 1787, as Musica Instrumentale Sopra le Sette Ultime Parole: London, Longman & Broderip, 1787 a s A Set of Quartetts, Expressive of the Passion of Our Saviour.

7.

Violino Primo / N°: III / Quartetti / Per Due Violini, Viola, Basso / Del Sig r : Giuseppe Haydn / Opera 59: / Contains Hoboken III: 58, 57, 5 9. Published Vienna, Artaria (?), 1789/90, a s op. 59. Violino Primo / N°: III / Quartetti / Per Due Violini, Viola, Basso / Del Sig r : Giuseppe Haydn / Opera 60 / Contains Hoboken III: 60, 61, 62. Published Vienna, Artaria (?), 1789/90, as op. 60. Opera 65 / Violino Primo / N°: III / Quartetti / Per Due Violini, Viola, e Violoncello / Del Sig r : Giuseppe Haydn / Libro Primo / Hoboken III: 65, 68, 67. With this is bound: Opera 65 / No. Ill / Quartetti . . . (Hoboken III: 66, 63, 64) Published Offenbach, André, 1791, as op. 65.

118 It. 225 v 1 & 2, via, b a s s . 23x32cm. 10 s t . WM: 13. Hand W . Brown. It. 226 v 1 & 2, via, v i e . 22.5x31cm. 10 s t . WM: 26. Hand WW. Black. It. 227 v 1& 2, via, vie. 23x32cm. 10 st. WM: various. Hand XX. Brown. It. 228 v 1 & 2, via, vie. 30x22cm. 12 s t . WM: 41. Hand YY. Brown.

It. 229 v 1& 2, via, vie. 23x32cm. 10 s t . WM: 33. Hand U. Brown.

It. 230 v 1& 2, v i a , v i e . 22.5x31cm. 10 s t . WM: 45. Hand OO. Black. It. 231 v 1 & 2, via, vie. 22.5x31cm. 10 s t . WM: 45. Hand OO. Black. It. 232 v 1 & 2, via, vie. 22.5x30cm. 10 st. WM: 44. Hand QQ & RR. Brown & Black, (title in Hand OO)

HAYDN,

FRANZ

119

JOSEPH

10. Opera 72 / Quartetti / Del Sig:° r Giuseppe HajMn / Violino Primo / Contains Hoboken III: 69, 70, 71. Published London, Corri, Dussek, 1795/96, as op. 72. 11. Opera 74 / Trfe / Quartetti / Per Due Violini, Viola, e Violoncello / Del Sig: r Giuseppe Ha^dn / Violino Primo / Contains Hoboken III: 72, 73, 74. Published Vienna, Artaria, 1796, a s op. 74.

HELENDAAL

(HELLENDAAL),

PIETER,

It. 233 v 1 & 2, via, vie. 23x32cm. 10 st. WM: 43. Hand SS. Brown. It. 234 v 1 & 2, via, v i e . 23.5x32.5cm. 10 St. WM: 42. Hand TT. Brown.

17 2 1- 17 99

Dutch violinist and composer, born in Rotterdam. He was in Italy as a young man as a pupil of Tartini. He was in Holland in 1744, living in Amsterdam, where he published his first set of violin sonatas. From 1752 to the end of his life he lived in England, chiefly in Cambridge, where he served as organist at Pembroke and laterPeterhouse College. His published works include three sets of solos for the violin, a set of eight for the cello, and Six Grand Concertos for violins. Op. 3. The latter set appears in a modern critical edition a s Vol. I. of Monumenta Musica Neerlandica (1959). Four of the cello sonatas were edited a s Vol. 41 of the publications of the Vereeniging voor Nederlandsche Muziekgeschiedenis (1926). Helendaal's most recent editor, Hans Brandts Buys, has described him as "without doubt the most important composer of Dutch origin in the 18th century". The Berkeley collection contains nine of his violin s o n a t a s . C minor 1.

No: 10 / Sonata a Violino e Basso / Del / Sig: r Pietro Helendaal /

It. 235

HAYDN,

FRANZ

119

JOSEPH

10. Opera 72 / Quartetti / Del Sig:° r Giuseppe HajMn / Violino Primo / Contains Hoboken III: 69, 70, 71. Published London, Corri, Dussek, 1795/96, as op. 72. 11. Opera 74 / Trfe / Quartetti / Per Due Violini, Viola, e Violoncello / Del Sig: r Giuseppe Ha^dn / Violino Primo / Contains Hoboken III: 72, 73, 74. Published Vienna, Artaria, 1796, a s op. 74.

HELENDAAL

(HELLENDAAL),

PIETER,

It. 233 v 1 & 2, via, vie. 23x32cm. 10 st. WM: 43. Hand SS. Brown. It. 234 v 1 & 2, via, v i e . 23.5x32.5cm. 10 St. WM: 42. Hand TT. Brown.

17 2 1- 17 99

Dutch violinist and composer, born in Rotterdam. He was in Italy as a young man as a pupil of Tartini. He was in Holland in 1744, living in Amsterdam, where he published his first set of violin sonatas. From 1752 to the end of his life he lived in England, chiefly in Cambridge, where he served as organist at Pembroke and laterPeterhouse College. His published works include three sets of solos for the violin, a set of eight for the cello, and Six Grand Concertos for violins. Op. 3. The latter set appears in a modern critical edition a s Vol. I. of Monumenta Musica Neerlandica (1959). Four of the cello sonatas were edited a s Vol. 41 of the publications of the Vereeniging voor Nederlandsche Muziekgeschiedenis (1926). Helendaal's most recent editor, Hans Brandts Buys, has described him as "without doubt the most important composer of Dutch origin in the 18th century". The Berkeley collection contains nine of his violin s o n a t a s . C minor 1.

No: 10 / Sonata a Violino e Basso / Del / Sig: r Pietro Helendaal /

It. 235

HELENDAAL,

120

PIETER D major

2.

No: 4 / Sonata a Violino e B a s s o / D e l / S i g : r Pietro H e l e n d a a l / .

MmÌ*

mJ-T

-«->''«/

it. score.

236

22x31.5cm. 10 s t . WM: 63A. Hand A. B l a c k .

ppgi 3.

N o . : 5 / Sonata a Violino e B a s s o / Del / S i g : r Pietro H e l e n d a a l /

ÌVifrirriiiii

—

It. 237 score. 2 2 x 3 0 . 5 c m . 10 s t . W M : 63A. Hand A. B l a c k .

Utenti:

TrtfU

jfh'tfiiitffhftri^^ G minor 4.

¿ry

N o . : 1 / Sonata a Violino e B a s s o / D e l / S i g : r Pietro H e l e n d a a l /

i

I t . 238 score. 22x30.5cm. Hand A.

f

•¿r AUetre

4ìmi

m'ffifìaè il .mi

n

•

8 st.

Black.

HELENDAAL,

PIETER

121 A major

5.

No: 6 / Sonata a Violino e Basso / Del / Sig: r Pietro Helendaal /

Lt-rqt

j

r

."TN

It. 239 score. 22x30.5cm. 10 st. WM: 63. Hand A. Black.

AJUff»

/finiti

6.

:t:+:>l f ri ril Hf*f

No: 7 / Sonata a Violino e Basso / Del / Sig: r Pietro Helendaal /

It. 240 score. 22x30.5cm. IO st. WM: 63. Hand A. Black.

'irrrfaiffiij t : ¿4:1-: 99:

A minor 7.

No: 9 / Sonata a Violino e Basso / Del / S i g ^ Pietro Helendaal /

4lltfr* M*i

1

It. 241 score. WM: 63A. Hand A. Black.

*

:4t-*:tt:

HELENDAAL,

122

PIETER B flat major

8.

No: 11 / Sonata a Violino e B a s s o / Del / S i g : r Pietro H e l e n d a a l /

JJui*

1

ß f ^

:f :t:!i:

.

iy

J.' WPiguii Afltyr*

9.

rj

22.5x31cm. 10 st.

WM: 63A. Hand A. Black.

•It:*'XT.

.'/¿y./zv j vnr.

No: 12 / Sonata a Violino e B a s s o / Del / S i g : r Pietro H e l e n d a a l /

V"

It. 242 score.

/T„

.it:*

fi.

It. 243 score. 22x31.5cm. 10 s t .

WM:

63_

Hand A.

Brown.

Lurqt »nJinfe.

HOFFMEISTER,

FRANZ A N T O N ,

1 7 5 4 - 18 1 2

German composer and publisher, born in Rottenburg, Württemberg. He w a s a prolific composer of instrumental and v o c a l m u s i c , producing a large quantity of music for the flute, forty-two string quartets, eighteen string t r i o s , b e s i d e s works for piano and s t r i n g s . His publishing firm, e s t a b l i s h e d about 1783, produced numerous first editions of works by Mozart and Beethoven. The two quartets in the Berkeley collection follow a common 18th century practice in deriving their themes from well known works by other c o m p o s e r s , in this c a s e Martini.

HELENDAAL,

122

PIETER B flat major

8.

No: 11 / Sonata a Violino e B a s s o / Del / S i g : r Pietro H e l e n d a a l /

JJui*

1

ß f ^

:f :t:!i:

.

iy

J.' WPiguii Afltyr*

9.

rj

22.5x31cm. 10 st.

WM: 63A. Hand A. Black.

•It:*'XT.

.'/¿y./zv j vnr.

No: 12 / Sonata a Violino e B a s s o / Del / S i g : r Pietro H e l e n d a a l /

V"

It. 242 score.

/T„

.it:*

fi.

It. 243 score. 22x31.5cm. 10 s t .

WM:

63_

Hand A.

Brown.

Lurqt »nJinfe.

HOFFMEISTER,

FRANZ A N T O N ,

1 7 5 4 - 18 1 2

German composer and publisher, born in Rottenburg, Württemberg. He w a s a prolific composer of instrumental and v o c a l m u s i c , producing a large quantity of music for the flute, forty-two string quartets, eighteen string t r i o s , b e s i d e s works for piano and s t r i n g s . His publishing firm, e s t a b l i s h e d about 1783, produced numerous first editions of works by Mozart and Beethoven. The two quartets in the Berkeley collection follow a common 18th century practice in deriving their themes from well known works by other c o m p o s e r s , in this c a s e Martini.

HOFFMEISTER, 1.

FRANZ

123

ANTON

II / Quartetti / Per due Violini, Violetta, e Basso / Tratti dall'opera più rara, e da Migliori / P e s s i del Sig r Martini / E disposti dal Sig: r F r a n z o Ant:° Hoffmeister / Violino Primo / B fiat major No. I.

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D major No. II. //.-> . /. /Z c

^ i r

_

1»-t-//

i l r J|

It. 274 v 1& 2, b a s s . 16x22cm. 10 s t . WM: 52. Hand M M . Brown.

UrtttmJc * 'sttutt

imtittt

s *

M

¿•hr

/

r-pP 'fLTI ^ 1f f; lr Incipit on t . p. 2.

Trib / A due Violini, è B a s s o / Del S i g r . Illecram /

[ Basso

It. 275 v 1 & 2, b a s s . 16x22cm. 10 s t . W M : 52. Hand M M . Brown.

^mrrìitytfiffricìfìifitr'i'' WtHMÌ

ÉÉÉÌ

•vi / /

D major 3.

, , ^,

Tri6 / A due Violini, è Basso / Del S i g r . Illecram / [ Basso y

J ' n j i , I i r r r f i ri ; ri)

tf:+ -ir:

It. 276 v 1 & 2, b a s s . 16x22cm. 10 s t . WM: 52. Hand M M . Brown.

MARCELLI,

144

VINCENZO

Another copy.

Trietto A Due Violini 1760.

In Roma. Violino 2° /

Caption title.

It. 277 v 1& 2. 16.5x22cm. 10 st. WM: 52. Hand MM. Brown.

G major 4.

Trii> / A due Violini, è Basso / Del S i g . r / I l l e c r a m / [ Basso ]

£

i.-'j7.'

Another copy. N°: 2 / Suonata / A Violino e Basso / Del Sig r : Pietro Nardini /

It. 312 score. 22.5x31.5cm. 10 st. WM: 59. Hand II. Brown. It. 313 score.

2 3 . 5 x 3 1 . 5 c m . 10 s t .

WM: 98. Hand B. Black.

It. 314 score. 22.5x31.5cm. 10 st. WM: 59. Hand II. Brown.

NARDINI,

160

PIETRO Concertos C major

1.

It. 315 vp, v 1 & 2 obi, via, bass. 23x31.5cm. 10 st. WM: 59. Hand II. Brown.

Violino Principale / Concerto / Del Signor Pietro Nardini / con Violini Obligati Viola e Basso / Violini Ripieno /

D major 2.

Violino Principale / Concerto / Del S i g . r Pietro Nardini / tot

^mMiittiu^ 3.

Violino Principale / Concerto / Del S i g . r Pietro Nardini / If»

It. 316 vp, v 1 & 2 obi, via, vie obi. 22.5x30cm. 10 st. WM: 63A. Hand A. Brown.

It. 317 vp, v 1 & 2 obi, via [ b a s s ] 24x32cm. 10 st. WM: 36. Hand A. Brown.

NARDINI, 4.

161

PIETRO

Violino Principale / Concerto / Del S i g . r Pietro Nardini / ^

5.

tf: / Jg

Violino Principale / Concerto / Del S i g . r Pietro Nardini /

It. 318 vp, v 1 & 2 obi, bass. 22x30cm. 10 st. WM: 15. Hand A. Brown.

It. 319 vp, v 1 & 2 obi, via, bass. 23.5x32cm. 10 st. WM: 36. Hand A. Brown.

G major 6.

Violino Principale / Concerto / Del S i g . r Pietro Nardini /

It. 320 vp, v 1 & 2 obi, via, b a s s . 23.5x32.5cm. 10 st. WM: 36. Hand A. Brown.

NAZARI,

ANTONIO,

fi.

1770

162

A pupil of Tartini, and v i o l i n i s t In St. M a r k ' s in V e n i c e around 1 7 8 0 . C major 1.

Suonata / A Violino e B a s s o / Del S i g r : Antonio Nazari /

Mlijn

It. 321 score. 2 2 . 5 x 3 1 . 5 c m . 10 s t . WM: 5 9 . Hand II. Brown.

ry^uJerth

Amirut

E fiat major 2.

Suonata / A Violino e B a s s o / D e l S i g r : Antonio Nazari /

Hilt?*

-a

i4 i

:ii

I t . 322 score.

-4/ :

si

WM: 5 9 . Hand I I . Brown.

:/(.:+: f i :

Concertos F major 1.

Violino P r i n c i p a l e / C o n c e r t o / D e l Signor Antonio Nazari /

I t . 323 vp, v 1 & 2 o b i , via, bass. 22.5x31.5cm. 10 s t . W M : 59 & 3 . Hand II. Brown.

NAZARI,

163

ANTONIO A major

2.

It. 324 vp, v 1 & 2 obi, via, b a s s . 22.5x31.5cm. 10 st. WM: 59. Hand II. Brown.

Violino Principalle / Conserto / Del Sig r : Antonio Nazari /

Tnsh

ni

NAZARI, see

PIETRO It. 301.

OGLIO,

DOMENICO

DALL'

ca.

1700-1764

Violinist-composer, probably born in Padua and a pupil of Tartini, he was appointed as violinist in the Cappella of St. Anthony in Padua on D e c . 29, 1732. In 1735 he was granted a leave to visit Russia, where he remained for twentynine years in the service of the Russian court. He made periodic request for extensions of his leave from Padua until 1743 when he resigned his position there. He was killed in an accident during his return trip to Italy in 1764. Twelve solo violin sonatas were published in Amsterdam in 1738; another set of twelve appeared posthumously in Venice in 1778. Six symphonies appeared in Paris in 1753. Manuscript instrumental music by Dall'Oglio is found in libraries in Bologna, Venice, Vienna and Uppsala. The twenty-two violin sonatas and seventeen concertos in the Berkeley collection make it one of the richest sources of the work of this composer. Twelve of the twenty-two sonatas are probably copies from the Amsterdam edition, whose title readsXII Sonate aViolino e Violoncello o Cimbalo. C major 1.

Sonata a Violino, e Basso Del S i g . r Domenico Dall' Oglio /

f-nve.

M'

m

-J»*

J v -

/V

ßtr

ìLJ-J-M

1 .Tr

#4

It. 325 score. 23x32.5cm. 10 st. WM: 3. Hand A. Black.

NAZARI,

163

ANTONIO A major

2.

It. 324 vp, v 1 & 2 obi, via, b a s s . 22.5x31.5cm. 10 st. WM: 59. Hand II. Brown.

Violino Principalle / Conserto / Del Sig r : Antonio Nazari /

Tnsh

ni

NAZARI, see

PIETRO It. 301.

OGLIO,

DOMENICO

DALL'

ca.

1700-1764

Violinist-composer, probably born in Padua and a pupil of Tartini, he was appointed as violinist in the Cappella of St. Anthony in Padua on D e c . 29, 1732. In 1735 he was granted a leave to visit Russia, where he remained for twentynine years in the service of the Russian court. He made periodic request for extensions of his leave from Padua until 1743 when he resigned his position there. He was killed in an accident during his return trip to Italy in 1764. Twelve solo violin sonatas were published in Amsterdam in 1738; another set of twelve appeared posthumously in Venice in 1778. Six symphonies appeared in Paris in 1753. Manuscript instrumental music by Dall'Oglio is found in libraries in Bologna, Venice, Vienna and Uppsala. The twenty-two violin sonatas and seventeen concertos in the Berkeley collection make it one of the richest sources of the work of this composer. Twelve of the twenty-two sonatas are probably copies from the Amsterdam edition, whose title readsXII Sonate aViolino e Violoncello o Cimbalo. C major 1.

Sonata a Violino, e Basso Del S i g . r Domenico Dall' Oglio /

f-nve.

M'

m

-J»*

J v -

/V

ßtr

ìLJ-J-M

1 .Tr

#4

It. 325 score. 23x32.5cm. 10 st. WM: 3. Hand A. Black.

OGLIO,

DOMENICO

CtnitliU

164

DALL'

. .

Virtù/iti

¿¡iìnrifi|T Caption title.

2.

Sonata a Violino, e Violoncello, o Cimbalo. dall' Oglio /

Del Sig r . Dora 0 0 .

;

Caption title. Published as no. 7 of XII Sonate . . . W i t v o g e l , 1738)

3.

Opera Prima.

It. 326 score. 23x31.5cm. 10 st. W M : 73. Hand R. Black.

(Amsterdam,

Sonata a Violino, e Violoncello / o Cimbalo / Del Sig r Domenico Dall' Oglio / :

Published (with an additional Adagio) as no. 1 of XII Sonate Opera Prima. (Amsterdam, W i t v o g e l , 1738)

zy:

It. 327 score. 22.5x31.5cm. 10 st. W M : unclear. Hand R. Black.

OGLIO, 4.

DOMENICO

165

DALL'

Sonata à Violino, é Basso del S i g . r Domenico Dall' Oglio /

AJtnjiH*

.

_

It. 328 score. 23x32.5cm. 10 st. WM: 3. Hand A. Black.

.*r: * ; ti:

^\ttttfffìn)trj^rmtiitt Alletrt

I, „

•VI

Caption title.

5.

Sonata a Violino, e Basso del Sig: r Domenico dall' Oglio / AJtjil L s^Z*. ^ :it:+:i4:

" " H J H T F * * * * **1

91 Anjtnk

1 1

It. 329 score. 23.5x32.5cm. 10 st. WM: 3. Hand A. Black.

=

^ _

MUir» , „

Caption title. D major 6.

Sonata ìi Violino, e Basso / Del / Sig: r Domenico Dall' Oglio /

Published as no. 2 of XII Sonate . . . Witvogel, 1738)

Opera Prima.

(Amsterdam,

It. 330 score. 22x30cm. 10 st. WM: unclear. Hand A. Brown.

OGLIO, 7.

DOMENICO

166

DALL'

Sonata a Violino, e Basso / Del / S i g . r Domenico dall' Oglio /

/ W ^ i - ^ »

_

liti»

Possibly by Tartini.

It. 331 score. 23x32.Scm. 10 st. W M : 3. Hand A. Brown.

ÀJitit

••fi:*-67:

Listed by Brainard as D. 17.

E flat major 8.

Sonata à Violino, e Basso / Del / Sig: r Domenico Dall' Oglio / ,-jy. — =

It. 332 score. 23x31.5cm. 10 st. WM: unclear. Hand A. Brown.

Alhfrt

Published as no. 8 of XII Sonate . . . W i t v o g e l , 1738)

9.

Opera Prima.

(Amsterdam,

Sonata a Violino, e Basso / Del / S i g . r Domenico dall' Oglio /

JuLk-

Mliirt

M + :u:

.

V

j,.

,

j^iìfinatoi'-i'JM^fiiÌijfi^

It. 333 score. 23x32cm. 10 st. WM: 3. Hand A. Brown.

OGLIO,

DOMENICO

DALL' E major

10. Sonata a Violino, e B a s s o / Del / S i g : r Domenico d a l l ' Oglio /

It, 334

E minor 11. Sonata a Violino, e / Violoncello / o Cembalo / Del / S i g r . Dom c .° d a l l ' O g l i o / • • -

j^irtVfir/'ri

It. 335 score. 22.5x32cm. 10 s t . WM: 73. Hand R. Brown.

YW-

Published a s no. 12 of XII Sonate . . . Witvogel, 1738)

Opera Prima.

(Amsterdam,

F major 12. Sonata a Violino, e B a s s o / Del / S i g : r Domenico Dall' Oglio /

It. 336 22x30cm. 10 s t . WM: unclear. Hand A. Black.

Published a s no. 5 of XII Sonate Witvogel, 1738)

..

Opera Prima.

(Amsterdam,

OGLIO,

DOMENICO

168

DALL' G major

13. Sonata a Violino, e / Violoncello, o / Cembalo / Del / Sigr. Dom c .° dall' Oglio / jf

It. 337 score. 23x32cm. 10 st. WM: unclear. Hand R. Brown.

Published (with an additional Largo) as no. 11 of XII Sonate . . . Opera Prima. (Amsterdam, Witvogel, 1738)

14. Sonata a Violino, e / Violoncello, o / Cimbalo / Del / Sig r . Dom c .° dall' Oglio /

Published (with an additional Andante) as no. 6 of XII Sonate Opera Prima. (Amsterdam, Witvogel, 1738)

It. 338 score. 23x32cm. 10 st. WM: unclear. Hand R. Brown.

OGLIO,

DOMENICO

169

DALL'

15. Sonata a Violino, e Basso / Del / S i g . r Domenico dall' Oglio / ti

16. Sonata à Violino, e Basso del S i g . r Domenico Dall' Oglio / :/ó

Caption title. Another copy. Sonata a Violino e Basso / Del / Sig: r Giuseppe Tartini / See It. 753.

It. 339 score. 23x33cm. 10 s t . WM: 3. Hand A. Brown.

It. 340 score. 23.5x32.5cm. 10 s t . WM: 3. Hand A. Black.

OGLXO,

DOMENICO

170

DALL' G minor

17. Sonata a Violino, e Violoncello, o Cimbalo del Sig r . D o m i 0 Dall' Oglio / , »/

C-f-ve.

p,

Pf-

y,

f=) ^

It. 341 score. 22x32cm. 10 st. WM: unclear. Hand R. Black.

A

u.'tiro .

J1J rrr u 11 l ^ i i

m Traft

^my'iiììii I

it

'••fZ-tro:

Caption title. Published as no. 4 of XII Sonate . . . Witvogel, 1738)

Opera Prima.

(Amsterdam,

A major 18. Sonata a Violino, e Basso del S i g . r Domenico dall' Oglio /

[JhTfet

(•

WM: 3. Hand A.

1

i K r r !

jei

j - tfftoffffcrrf "li Aìluyt

It. 342 score.

_

Caption title.

c

W ( V

jf

:V: + :4Ì:

:li: t.iS

Black.

OGLIO,

DOMENICO

171

DALL'

19. Sonata a Violino, e B a s s o / Del / Sìg: r Domenico D a l l ' Oglio / It

0 1 7W' r W ^ i71 ipjmff''

fijr

•un -frp

I t . 343 score. 21.5x29.5cm. 10 s t . WM: u n c l e a r . Hand A. Black.

-Wlf:

P u b l i s h e d (with an a d d i t i o n a l Largo-Allegro) a s no. 3 of XII S o n a t e . . . . Opera Prima. (Amsterdam, W i t v o g e l , 1738) A minor 20. Sonata a Violino, e / Violoncello / o C e m b a l o / Del / Sig r . Dom™ d a l l ' Oglio / „ .

I t . 344 score. 22.5x32cm. 10 St.

-re-

p u b l i s h e d a s no. 9 of XII Sonate . . . Opera Prima. W i t v o g e l , 1738) B f l a t major

(Amsterdam,

21. Sonata / à / Violino è Basso / Del Sig r / Domenico D a l l ' O g l i o / _

l Uhfri

*//•//*

W

.71

W

I n c i p i t on t . p . P u b l i s h e d a s no. 10 of XII Sonate . . . W i t v o g e l , 1738)

Opera Prima.

(Amsterdam,

I t . 345 score. 23x30.5cm. 10 s t . WM: u n c l e a r . Hand JJJ. Brown.

OGLIO,

DOMENICO

172

DALL'

It. 346 score. 23x32cm. 10 st. WM: unclear. Hand B 1 . Brown.

22. Sonata a Violino Solo del Sig: r Domenico dall' Oglio /

Caption title.

Concertos C major 1.

Violino Principale / Concerto / Del S i g . r Domenico Dall' Oglio /

Ally

tt*c*i»

,|/frirn%ff[rri & M

2.

r

.

sr» »- c*Jt*x*.

Violino Principale / Concerto / Del Sig: r Domenico Dall' O g l i o /

JlLrt

_

It. 347 vp, v 1 & 2 obi, via, vie obi. 22.5x32cm. 10 St. WM: 56. Hand A. Brown.

-

ut

y/S /

* >4

It. 348 vp, v 1& 2 obi, via, vie obi. 22.5x32cm. 10 st. WM: 56. Hand A.

OGLIO,

DOMENICO

173

DALL'

It. 349 vp, v 1 & 2 obi, v i a , vie obi. 22.5x31.5cm. 10 s t . WM: 56. Hand A. Brown.

Another copy. Violino Principale / Concerto / Del S i g : r Domenico Dall' Oglio / ' U e f a

t i y o

!ft>

WlrjrlrrrVfflMlM I

/ 4 7 + Z 9

C i p r i à > +

L

4

D major 3.

Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o / J M t f o

.

•1

4.

£

^

Y i

V

+ r

%

a

:

V

AC

o b l

22.5x32cm. 10 st. WM: 55. Hand A. Brown.

P

—

Violino Principale / Concerto / Del S i g : r Domenico Dall' O g l i o / A l l y r »

It. 350 vp, v 1 & 2 obi,

f

J43

fojjjijjiijrtijiflirti g a g

3 ! t f-e t J / H U L 1 l

i

It. 351 vp, v 1 & 2 obi, v i a , vie obi. 22.5x31.5cm. 10 s t . WM: 56. Hand A. Brown.

OGLIO, 5.

DOMENICO

174

DALL'

Violino Principale / Concerto / Del S i g . r Domenico D a l l ' O g l i o /

fi

/frrflftff iffltmfé

It. 352 v p , v 1 & 2 obi, v i a , v i e obi. 22.5x31.5cm. 10 s t . WM: 56. Hand A. Brown.

ZB5

E major 6.

Violino Principale / Concerto / Del S i g : r Domenico D a l l ' Oglio /

k™0ìmutillìtfff Mttf'atti i

It. 353 vp, v 1 & 2 o b i , v i a , vie obi. 22.5x32.5cm. 10 s t . WM: 5 & 2. Hand B. Black.

41

AUearo ti.it'Hiai-et?

Another copy. Oglio /

It. 354 vp, v 1 & 2 obi, v i a , vie obi. 23x32cm. 10 s t . WM: 6 & 16. Hand O. Brown.

Violino Principale / Del S i g r : Domenico Dal'

Incipit on t. p.

F major 7.

Violino Principale / Concerto / Del S i g : r Domenico D a l l ' Oglio / t

Iltfrt

^

rH/fiftiri

/¡ry

It. 355 vp, v 1 & 2 obi, v i a , vie obi. 22.5x31cm. 10 s t . WM: 56. Hand A. Brown.

O GLI O , 8.

DOMENICO

175

DALL

Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o /

Mft

'7f

It. 356 vp, v 1 & 2 obi, v i a , v i e obi. 23x32cm. 10 s t . WM: 56 & 31. Hand A. Brown.

/ti Pa. Cif*

mm IIIm^iify A II*]»

ars

Another copy. Violino Principale / Concerto / Del S i g . r Pasqualino Bini / See It. 95. 9.

Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o /

^MrTtirmtMim J!U

i/o *//e*frUi»

fflffflffti marte

3Hf.

+ '7

10. Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o / ¡H

1f°.mPm "

f r r _

"

^

^

It. 357 vp, v 1 & 2 obi, v i a , vie obi. 22.5x31.5cm. 10 st. WM: 56. Hand A. Brown.

- - • • - - -

Iff

(rrt-vt.

^/rfirrafirrrfiffrfirjr|fflrfjrrr|yr CtJtm-u. +U

It. 358 vp, v 1 & 2 obi, v i a , v i e obi. 23x32cm. 10 st. WM: 31. Hand A. Black.

OGLIO,

DOMENICO

176

DALL' G major

11. Violino Principale / Concerto / Del Slg: r Domenico Dall' O g l i o / /¡i

ni

It. 359 vp, v 1 & 2 obi, via, vie obi. 22.5x31.5cm. 10 st. WM: 56. Hand A. Brown.

"

12. Violino Principale / Concerto / Del Sig: r Domenico Dall' O g l i o /

Jtitft*

-

Ji/

13. Violino Principale / Concerto / Del Sig: r Domenico Dall' Oglio /

It. 360 vp, v 1 & 2 obi, via, vie obi. 22.5x31.5cm. 10 st. WM: 56. Hand A. Brown.

It. 361 vp, v 1 & 2 obi, via, vie obi. 22.5x32cm. 10 st. WM: 56. Hand A. Brown.

OGLIO,

DOMENICO

DALL'

177

A major 14. Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o / ^

ULtr»

15. Violino Principale / Concerto / Del S i g . r Domenico Dall' O g l i o /

ir

It. 362 vp, v 1& 2 obi, via, vie obi. 22.5x32cm. 10 st. WM: 31 & 56. Hand A. Brown.

It. 363 vp, v 1 & 2 obi, via, vie obi. 22.5x32cm. 10 st. WM: 56. Hand A. Brown.

B fiat major 16. Violino Principale / Concerto / Del Sig: r Domenico Dall' Oglio / U