The Barberini manuscripts of music 882101004X, 9788821010040

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THE BARBERINI MANUSCRIPTS OF MUSIC

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STUDI E TESTI ———————————— 527 ————————————

Lowell Lindgren – Margaret Murata

THE BARBERINI MANUSCRIPTS OF MUSIC

C I T T À D E L VAT I C A N O B I B L I O T E C A A P O S T O L I C A V AT I C A N A 2018

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La collana “Studi e testi” è curata dalla Commissione per l’editoria della Biblioteca Apostolica Vaticana: Marco Buonocore (Segretario) Eleonora Giampiccolo Timothy Janz Antonio Manfredi Claudia Montuschi Cesare Pasini Ambrogio M. Piazzoni (Presidente) Delio V. Proverbio Adalbert Roth Paolo Vian

Descrizione bibliografica in www.vaticanlibrary.va

—————— Proprietà letteraria riservata © Biblioteca Apostolica Vaticana, 2018 ISBN 978-88-210-1004-0

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To Nino Pirrotta and Owen Jander

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CONTENTS List of illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

VIII

List of tables . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

IX

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XI

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XVII

Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LXXXIII

Format of the entries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CI

Abbreviations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

CV

Online portals and resources for music . . . . . . . . . . . . . . . . . . . . . . . . . .

CVII

Catalogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

Appendices A.1. Text incipits in Latin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

531

A.2. Text incipits and titles in Italian, French and English . . . . . . . . .

535

B. Composers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

573

C. Opera titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

575

D. Roles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

577

E. Oratorios and occasional cantatas . . . . . . . . . . . . . . . . . . . . . . . . .

589

F. Manuscripts of musical and poetic concordances . . . . . . . . . . . . .

591

Bibliography of printed music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

605

General bibliography of printed sources and references . . . . . . . . . . . . .

613

Index of names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

631

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LIST OF ILLUSTRATIONS 1

Arms of Card. Francesco Barberini senior, from the binding of Barb. lat. 4376 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LXXXV

Arms of Card. Antonio Barberini junior, from the binding of Barb. lat. 4374 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LXXXVI

Arms of Prince Maffeo Barberini and Olimpia Giustiniani from the binding of Barb. lat. 4208 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LXXXVII

Arms of Card. Carlo Barberini: title-page of B. Graziani, Motetti, op. 12, Rome 1673 (Capp.Giulia.XV.91) . . . . . . . . . . . . . . . . . . . . .

LXXXVIII

Arms of Prince Maffeo Barberini, from the binding of Barb. lat. 4135 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

LXXXIX

Arms of Prince Urbano Barberini, from the binding of Barb. lat. 4170, arias from Il Vespasiano, Rome 1693 . . . . . . . . . . . . . . . . . . .

LXXXIX

7

Aria copied by Flavio Lanciani, Barb. lat. 4170, n. 5, f. 21 . . . . . . . .

XC

8

Arms of Francesco Barberini junior, Title-page of G. TOFINI, Le dolcezze di Pindo, Fermo 1690, Stamp. Barb. JJJ.VI.47 . . . . . . . . . . . . . . .

XCI

Music in the hand of Giovanni Girolamo Kapsperger, Barb. lat. 4151, f. 108v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XCII

Quando mi chiede Amore in the hand of Luigi Rossi, Barb. lat. 4374, f. 1v . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XCIII

Quando mi chiede Amore set by Marco Marazzoli, in the composer’s hand, BAV Chigi Q.VIII.177, f. 77v . . . . . . . . . . . . . . . . . . . . . . . . .

XCIV

12

Music in the hand of Marco Marazzoli, Barb. lat. 4375, f. 1v . . . . . .

XCV

13

Receipt of Antonio Maria Abbatini, 14 June 1656, Archivio Barberini, Card. Francesco senior, Giustificazioni I.115, f. 265 . . . . . . . . . . . . .

XCVI

Music in the hand of Antonio Maria Abbatini, from Dal male il bene, Barb. lat. 4387, f. 175 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XCVII

15

Music in the hand of Bernardino Terenzi, Barb. lat. 4387, f. 69 . . . .

XCVIII

16

Receipt signed by Pietro Paolo Bencini, April 1689, Archivio Barberini, Comp. 342, n. 25, f. 56 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

XCIX

Music in the hand of P.P. Bencini, Le gare festive, Barb. lat. 4228, f. 35 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

C

2 3 4 5 6

9 10 11

14

17

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LIST OF TABLES Table 1

Five generations of Barberini, ca. 1600 to 1735 . . . . . . . . . . . .

XIV

Table 2

Selected musical prints dedicated to Barberini, 1609-1735 . . .

LX

Table 3

Barberini manuscripts of music by genre . . . . . . . . . . . . . . . .

LXVI

Table 4

Music volumes with coats-of-arms on their bindings . . . . . . . .

LXVII

Table 5.1 Barberini oratorios and oratorio-cantatas . . . . . . . . . . . . . . . .

LXIX

5.2 Non-narrative oratorio-cantatas . . . . . . . . . . . . . . . . . . . . . . .

LXX

Table 6.1 Barberini opera scores and arias . . . . . . . . . . . . . . . . . . . . . . .

LXXI

6.2 Barberini volumes with arie staccate . . . . . . . . . . . . . . . . . . . .

LXXXI

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PREFACE The Barberini family in Rome generated so many works of art and records of their administrative, ecclesiastic, and cultural pursuits that even after nearly three-hundred years scholars have yet to excavate, much less exhaust the evidence of their activities. The manuscripts of music held today in the Fondo Barberiniani latini of the Vatican Apostolic Library form the inventory published by Enrico Celani in 1905 in the Rivista Italiana di Musicologia. Seventy years later, Marilyn Lavin opened a monumental documentary door to the Barberini Archives with her 1975 publication of Seventeenth-Century Barberini Documents and Inventories of Art, although the Archive was not generally accessible until the late 1970s. In the meantime, after the music manuscripts came to the Vatican Library and were given their current shelfmarks, Giuseppe Baronci assembled a finding catalogue (1932), a manuscript in use to this day. He provided a useful alphabetical index of 2684 text incipits. From 1965, one could find a good number of Barberini entries in Claudio Sartori’s Catalogo nazionale dei manoscritti musicali of the Ufficio Ricerca Fondi Musicali (URFM) in Milan (a division of the Biblioteca Nazionale Braidense); its cards with their musical incipits were placed online in 2005. The Barberini scores were inventoried again in the early 1980s for the cataloguing project of the Répertoire International des Sources Musicales (RISM), under the local auspices of the Istituto di Bibliografia Musicale (IBIMUS) in Rome, directed by Giancarlo Rostirolla; Annapia Sciolari Meluzzi did the indexing for the RISM project. As one can see from Celani’s and later inventories, most of the Barberini music lacked attributions to composers; this meant that the repertory was omitted from many studies and was not often considered for concerts. We began our project in 1982 in order to identify as many of the composers as possible in the 116 volumes of the seventeenth and early eighteenth centuries and to place the collection in the context of both Barberini patronage of music and Italian music of the long Seicento. Largely through concordances in manuscripts scattered throughout Europe and from printed libretti, this catalogue identifies all but about 290 items, a number that includes fifty arias from two known operas with more than one composer, but no indications who was responsible for each aria. In addition, the composers of some devotional songs and brief instrumental pieces may never come to light. In addition to the work of our predecessors, we owe a debt of thanks first of all to the Biblioteca Apostolica Vaticana itself, to the changing staff

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of the Manuscript Reading Room over the last thirty-five years, and to the Prefects of the Library since we first received encouragement from Alfons Stickler, SDB, in 1982. Most recently we have depended on the good advice and unstinting help of archivist Luigi Cacciaglia, with his deep knowledge of the Fondo Barberini; Adalbert Roth, scriptor latinus with responsibility for music manuscripts; Paolo Vian, Director of the Manuscripts Department; and Ambrogio Piazzoni, Vice-Prefect of the Library and general editor of the series Studi e Testi. During the three-year hiatus of the BAV (2007-2010), we were able to consult the microfilm collection of the Pius XII Memorial Library of St. Louis University, in St. Louis, Missouri, whose holdings will be accessible in digitized images as part of the project METAscripta (https://metascripta.omeka.net). The InterLibrary Loan system also made available microfilms from the Isham Library of Harvard University, and the music libraries of the University of North Carolina and the University of California, Berkeley. Several physical libraries from which we have gleaned our concordances and photo reproductions in visits over the years were both helpful and generous of their time. Of these, we thank in particular the directors and staffs of the major collections of the British Library, London; the Biblioteca Estense in Modena; the Library of the Conservatorio San Pietro in Majella, Naples; the Library of Christ Church College and the Bodleian Library in Oxford; the Bibliothèque Nationale, Paris; and the Biblioteca Casanatense in Rome. We also acknowledge support for research travel and funds for photo reproductions at various times over the years from our respective institutions, the Massachusetts Institute of Technology and the University of California, Irvine. In recent years, the hunt for concordances has been immeasurably facilitated by various online databases, catalogues and digital libraries, among which we have particularly relied upon RISM; the Internet Culturale portal of OPAC-SBN; the Munich Digitale Bibliothek; the Internet portal CORAGO of the University of Bologna; and CLORI, the online archive for the Italian cantata. These have deeply changed the nature and strategies of projects such as this catalogue. One of our starting points was the index of 4"×6" cards collected by Owen Jander while preparing for the Wellesley Cantata Index series; he passed them to Margaret Murata in the late 1970s. Colleagues too numerous to name have responded to our specific queries over the years, but we owe particular thanks for unpublished information, cross-checking, and expert opinion from Charles Atkinson, Lorenzo Bianconi, Michael Cuthbert, Valeria De Lucca, Norbert Dubowy, Dinko Fabris, Cory Gavito, Don Fader, Massimo Gentile-Tedeschi, Teresa Gialdroni, Robert Holzer, Christine Jeanneret, Andrea Merlotti, Arnaldo

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PREFACE

XIII

Morelli, Federica Riva, Eleanor Selfridge-Field, Harris Sheridan Saunders, Licia Sirch, Louise K. Stein, Anna Tedesco, Nicola Usula, Vassilis Vavoulis, Romano Vettori, Steffen Voss and Mercedes Viale Ferrero. We thank them heartily and also extend thanks to our colleagues who patiently awaited the appearance of this project, for whose faults, oversights and omissions we take full responsibility. Lowell Lindgren and Margaret Murata Cambridge, MA and Rome, 2016

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TABLE 1

TABLE I FIVE GENERATIONS OF BARBERINI, CA. 1600 TO 1735 Children of Antonio Barberini and Camilla Barbadori

Children of Carlo Barberini and Costanza Magalotti

Children of Taddeo Barberini and Anna Colonna

Alessandro (1563-1612) Niccolò (1565-1609) Gian Donato (1566-1603) MAFFEO (1568-1644) Pope Urban VIII (1623) card. 1606 Marcello = Fra Antonio senior, Capuchin (15691646); card. 1623 Francesco (1596-1597) Carlo (1562-1630) 1594 m. Costanza Magalotti (d. 1644) Duke of Monterotondo (1627) FRANCESCO senior (1597-1679) card. 1623 Camilla, Carmelite nun (1598-1666) Maria (1599-1621) 1618 m. T. Duglioli Clarice = Suor Maria Grazia, Carmelite (1606-1665) ANTONIO junior (1608-1671) card. 1627/1628 TADDEO (1603-1647) Prince of Palestrina (1630) Prefect of Rome 1627 m. Anna Colonna (d. 1658)

Lucrezia (1628-1699) 1654 m. Fr. d’Este I, Duke of Modena (d. 1658) mother of Rinaldo d’Este Anna Camilla (1629-1631) CARLO (1630-1704) Prince of Palestrina, 1647-53; Prefect of Rome, 1653 card. 1653 legate to Naples 1702

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TABLE 1

Children of Taddeo Barberini and Anna Colonna (cont.)

Children of Maffeo Barberini and Olimpia Giustiniani

Children of Urbano Barberini

Nicolò, Carmelite monk (1632-1699) Costanza (1657-1687) MAFFEO (1631-1685) 1680 m. Gaetano Fr. Caetani, Prince of Palestrina Duke of Sermoneta 1653 m. Olimpia Giustiniani (d. 1716) (d. 1729) Camilla (1660-1740) 1689 m. Carlo IV BorromeoArese (d. 1734) Ambassador to Rome, 1686 Count of Arona, 1690 Viceroy of Naples, 1710-1713 FRANCESCO junior (1662-1738) card. 1690 legate to the Romagna, 1694 TADDEO (1666-1702) 1701 m. Teresa Muti (d. 1711) Duke and Duchess of Rignano URBANO (1664-1722) Prince of Palestrina 1690 m. Cornelia Ottoboni (d. 1691)

Maffeo Callisto, marchese di Corese (1688-?) (natural then legitimized, but repudiated by uncle)

1693 m. Felice Ventimiglia Pignatelli d’Aragona (d. 1709)

Ruggero (1699-1704)

1714 m. Maria Teresa Boncompagni Ludovisi (d. 1744)

Cornelia Costanza (1716-1797) 1728 m. Giulio Cesare Colonna di Sciarra, Duke of Bassanello (d. 1787) = 9 children

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INTRODUCTION by Margaret Murata The sumptuous and priceless library of printed books and manuscripts accumulated over three-hundred years by the Barberini family in Rome entered the Vatican collections in 1902. Among them were over a hundred manuscript volumes of music whose contents were inventoried for the Vatican Library in 1932.1 The contents of these scores range from Renaissance liturgical music by Cristóbal Morales and Palestrina to early eighteenthcentury comic intermezzi, in addition to a handful of medieval pieces or fragments that have emerged from bindings or in non-musical books. The holdings, then, reflect the era in which the family became a major force in the political and cultural life of Rome, nourished by the power and influence of pope Urban VIII, the former Cardinal Maffeo Barberini.2 Maffeo’s brother Carlo, appointed General of the Church and Duke of Monte Rotondo, settled in Rome after Maffeo’s accession and became the progenitor of four Cardinals and a line of princes, whose last direct male heir died in 1722. TABLE I offers a genealogy of the Roman Barberini.3 As patrons and promotors of city-planning, architecture, painting, sculpture and the 1

See C.M. GRAFINGER, Der Ankauf der Biblioteca Barberini und die zwischen der Familie Barberini und dem heiligen Stuhl geführten Verhandlungen, in Miscellanea Bibliothecae Apostolicae Vaticanae 13 (2006), pp. 241-253, and J. BIGNAMI ODIER, La Bibliothèque vaticane de Sixte IV à Pie XI. Recherches sur l’histoire des collections de manuscrits, avec la collaboration de J. Ruysschaert, Vatican City 1973 (Studi e testi, 272). G. Baronci’s inventory is reference volume 381, in the Sala Consultazione Manoscritti of the Vatican Library. An earlier published catalogue with many omissions was E. CELANI, Canzoni musicate del secolo XVII in Rivista Musicale Italiana 12 (1905), pp. 109-150; hereafter CELANI. See the General Bibliography for sigla for author citations used throughout this catalogue. 2 Maffeo di Antonio, born 1586, elevated in 1606, regnat 1623-1644. For Urban VIII as “patron of literature and art,” see L. VON PASTOR, Geschichte der Päpste seit dem Ausgang des Mittelalters, published as The History of the Popes, vol. 29, E. Graf, trans., London 1938, chap. 6. 3 On the importance of the pope’s nephews, see A. KRAUS, Amt und Stellung des Kardinalnepoten zur Zeit Urbans VIII. (1623), in Römische Quartalschrift 53 (1958), pp. 238-243. For members of the family other than Urban VIII, see respective entries s.v. Barberini in the DBI. For a general prosopography of the various Barberini households between 1623 and 1644, see M. VÖLKEL, Römische Kardinalshaushalte des 17. Jahrhunderts: Borghese – Barberini – Chigi, Tübingen 1993 (Bibliothek des Deutschen Historischen Instituts in Rom, 274), pp. 418-470. An uncle Francesco [Tafani] (d. 1600) had already been settled in Rome and was a protonotary of the Curia; his mother Marietta Rusticucci was a relative of Cardinal Girolamo Rus-

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decorative arts, the Barberini have been well appraised in their own time and in ours.4 The Barberini Library alone stands as partial testimony to their artistic and other intellectual interests — literary, historical, theological, legal and scientific, as well as musical.5 More than forty volumes of printed music were dedicated to the first Barberini to settle in Rome (see the selected list in TABLE 2). The nephews of Urban VIII have long been known as the patrons who first established opera in Rome, but their musical activities extended far beyond the theatrical. The Cappella Sistina was of course part of the pope’s personal household, and the deliberations of the group always considered the wishes of its “padroni.”6 The institution, however, as well as its individual members had a wide influence over music-making in all Rome. The choir regularly sang at special feasts in other basilicas and churches; they often controlled who might be hired elsewhere; they recruited singers from outside Rome; several taught putti who then gained access to the inner circles of professional church and palace musicians.7 We know the influence of the ponticucci (1537-1603) who had built a palace on the Vatican side of the Tiber. The Barberini continued to use the Palazzo Rusticucci through the Seicento. 4 The most comprehensive contemporary appreciation was G. TEZIO, Aedes barberinae, Rome, V. Mascardi, 1642; Italian trans. L. Faedo, Pisa 2005 (hereafter TEZI 2005). Modern studies are too numerous to summarize. For a long view of the papal court as a cultural center, see H.G. KÖNIGSBERGER, Republics and Courts in Italian and European Culture in the Sixteenth and Seventeenth Centuries, in Past and Present 83 (1979), pp. 32-56. 5 For references on the vast library of rare and important books and and manuscripts, see BIGNAMI ODIER, La Bibliothèque vaticane, pp. 26-27, note 94; and the introduction to H.G. JONES, Hispanic Manuscripts and Printed Books in the Barberini Collection, vol. 1: Manuscripts, Vatican City 1978. A catalogue of their printed books was published shortly after card. Francesco’s death in 1679: Index bibliothecae qua Franciscus Barberinus…suae familiae ad Quirinalem aedos reddit, 3 vols, Rome, Typis Barberinis, 1681. A nineteenth-century inventory of the Barberini printed books is the Index Bibliotecae Barberinae, in ten giant folio manuscript volumes prepared by Sante Pieralisi with notes by Paolo Federici, now in the BAV Sala Consultazione Stampati. 6 The most recent comprehensive study of music in the Sistine Chapel music in the seventeenth-century is C. ANNIBALDI, La Cappella musicale pontificia nel Seicento (Palestrina 2011); this first volume goes to ca. 1650. 7 The mixed composition of special, often polychoral choirs for various feasts in churches and basilicas outside of the Vatican precincts is amply recorded in the chapel diaries and in the paylists of said churches. Sample studies include G. DIXON, The Pantheon and Music in Minor Churches in 17th-century Rome, in Studi Musicali 9 (1980), p. 265; J. LIONNET, La «Salve» de Sainte Marie Majeure: la musique de la chapelle Borghese au 17ème siècle, in Studi Musicali 12/1 (1983), pp. 102-103, which lists singers for the Salve in the Borghese Chapel in S. Maria Maggiore. For recruiting activities of the Sistine singers, see R. CASIMIRI, I «Diari sistini», part 2, in Note d’Archivio per la Storia Musicale 3 (1926), p. 243. The tenor Pietro Garghetti entered the Sistine Choir in 1673, ten years after his teacher Gioseppe Fede had become a Sistine singer. Other stories and instances are numerous.

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INTRODUCTION

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tifical singers from the grumblings against them.8 Each pope inherited singers from previous reigns, to be sure, but each pope — and his family and supporters — could attempt to fill positions as they were vacated by retirements. The rule was to fill vacancies by open competition; in the seventeenth century, however, several were filled clearly on the basis of strong recommendations.9 Under Urban VIII a number of musicians entered the chapel who were concurrently in his nephews’ private households. Urban VIII’s most powerful nephew was Cardinal Francesco senior, Vice-Chancellor of the Church from 1632.10 He had a direct influence on modernizing musical life in Rome from several of his positions. He served as archpriest of St. Peter from 1633 to 1667.11 As Protector of the Venerable English College, of the Collegio Romano, of the Confraternity of S. Girolamo della Carità (from 1627), and the Seminario Vaticano (from 1637), he often supported their musical performances and had an obvious hand in choosing their music directors; he also frequently subsidized their musicians.12 In his titular church of S. Lorenzo in Damaso, he had two 8

The complaints of Romano Micheli were published in CASIMIRI 1926 from BAV Barb. lat. 5370, ff. 155-158. For complaints from the musicians of the Accademia di S. Cecilia, see R. GIAZZOTTO, Quattro secoli di storia dell’Accademia nazionale di Santa Cecilia, 2 vols, Rome 1970. 9 For example, among singers who joined the chapel without competing are Gregorio Lazzarini under Paul V in 1619, BAV Fondo Cappella Sistina (hereafter CS), Diario 38, f. 44v; Loreto Vittori under Gregory XV in 1622 (CS Camerlengato 22, f. 25v; see ANTOLINI 1978, p. 165); Stefano Landi under Urban VIII in 1629 (CS Diario 49, f. 57v; Camerlengato 28, f. 37v); and Michele Fregiotti in 1690 on the word of Alexander VIII’s cardinal nephew, Pietro Ottoboni. 10 A balanced overview of his position as cardinal nephew is given in P. RIETBERGEN, Power and Religion in Baroque Rome: Barberini Cultural Policies, Leiden and Boston 2006, chap. 3. 11 For his relationship to Frescobaldi at the Basilica, see F. HAMMOND, Girolamo Frescobaldi and a Decade of Music in Casa Barberini: 1634-1643, Analecta Musicologica 19 (1979), pp. 94-124 (hereafter HAMMOND 1979). Virgilio Mazzocchi, who composed at least three Barberini operas, served as maestro di cappella of the Basilica (the Cappella Giulia) from 1629 to 1646. For a recent history of the Cappella Giulia, see G.C. ROSTIROLLA, Musica e musicisti nella Basilica di San Pietro, vol. 1, Vatican City 2014. 12 The extent of Cardinal Francesco’s musical influence on these institutions and others has yet to be thoroughly assessed. Virigilio Mazzocchi began to provide music for the feast of St Thomas of Canterbury at the Venerable English College in 1633, the year that Card. Francesco first was responsible for operations at St. Peter’s (and by extension, of the Cappella Giulia). In 1636 musicians from S. Pietro performed in their services (Rome, Venerable English College, Libro Mastro 179, 31 Dec. 1633; 29 Dec. 1636). Similarly after 1627, in accord with Francesco’s wishes, Sistine singers took leave to perform at the Oratory of S. Girolamo della Carità (e.g., CS Diario 50, 20 Jan. 1630, f. 18; Diario 51, 26 Jan. 1631, f. 8v). The Cardinal subsidized board and education for several young boys who sang in the Barberini operas, some of whom were associated with the Seminario Vaticano (see M. MURATA, Operas

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organs built.13 His maestro di cappella here also regularly supervised the music for the funeral services for Cardinals given at the Collegio Urbano, founded by Urban VIII.14 The Cardinal also aided Italian musicians who served foreign princes. In 1625 he contributed to the expenses for a putto musico in service at Orvieto, to go to Florence to serve the Prince of Poland (later Wáadysáaw IV).15 In 1641 he gave a “donativo” to another musico perugino who went to Bavaria with a returning bishop.16 The three operas given at the Palazzo Barberini in 1656 in celebration of the conversion of Queen Christine of Sweden appear to have been largely financed by Cardinal Francesco.17 for the Papal Court, 1631-1668, Ann Arbor 1981, p. 207, notes 70-71; HAMMOND 1979, pp. 94124, note 72; and M. MURATA Dal ridicolo al diletto signorile. Rospigliosi and the Intermedio in Rome, in La Musique à Rome au XVIIe siècle, C. Panel-Giron and A.-M. Goulet, eds, Rome 2012, pp. 269-289. In the Archivio Barberini, Computisteria 839, mandato n. 5410, Cardinal Francesco’s Lista di soventioni for July 1637 includes Alle musici di S. Pietro per il maestro delle viole [Giacinto Serafini?] A Carlo Moretti da Ricanati al Mazzocchi Per detti musici al maestro di gramatica A Girolamo Zampetti musico Al musico di Pollonia in mano del S.r Lanti

s[cudi] 2 s. 3 s. 3 s. 1 s. 10

In 1637 card Francesco was also supporting an unnamed musico at the Collegio Germanico (ArchBarb Comp. 839, mandato n. 5557). For Moretti, see also note 20 below. 13 There are simultaneous payments running through the early 1640s to Giulio Cesare Burzi and the cavaliere Ennio Bonifazio, both organ builders (e.g., ArchBarb Comp. 839, Registro de’ mandati, nn. 7073, 7449; ArchBarb Comp. 727, Giornale D, pp. 209-219; Gius.I.80, n. 3690 for 300 scudi to Bonifatio, and others). The final decorations and emplacement of the organs were paid for in 1643 (ArchBarb Gius.I.88, Card. Francesco senior, Giustificazioni nn. 4455-4560, ff. 84v-85, signed by Gio. Lorenzo Bernini and Luigi Bernini). This would be the latest Bonifazio instrument known; see P. BARBIERI, I “doi bellisimi organi” di S. Lorenzo in Damaso, Roma, in Amici dell’organo di Roma, ser. 2, 3 (1984), pp. 46-53, with illustrations; and DBI, s.v. Bonifazio, Ennio. 14 See G. STANGHETTI, La scuola di canto nel Pontificio Collegio Urbano di Roma (16271925), in Note d’Archivio 3 (1926), p. 49. 15 ArchBarb Comp. 850, mandato n. 479, 11 Feb. 1625. On the boy’s career, see M. BAIOCCO, Su Baldassare Ferri, cantante evirato del Seicento, in Esercizi. Musica e spettacolo 15, n.s. 6 (1996), pp. 19-46. (BAIOCCO, p. 34 transcribes the wording of the 1625 mandato for 14 scudi in the favor of Giacomo Coelli, as it was transferred to Cardinal Francesco’s Libro mastro generale (ArchBarb Comp. 49A), p. 34. See also B. BRUMANA, Il pianto de’ cigni in morte della fenice de’ musici. Poesie per Baldassare Ferri e nuove ipotesi sulla carriera del cantante, Perugia 2010, which also documents the cardinal’s other musical efforts for the Polish court in his role as Protector for Polish affairs (pp. 77-88). 16 ArchBarb Comp. 727, 19 July 1641: “Scudi 22.90 m.ta … per farne un donativo ad’un musico perugino andato in Germania con mons.r Vescovo Osmabutr [sic] di casa di Baviera” (f. 57). The singer is not known; the bishop is Franz Wilhelm von Wartenberg, prince-bishop of Osnabrück, before and after the rule of the Swedes. 17 See ArchBarb Gius.I.115, Francesco’s giustificazioni for 1656: from f. 165v, expenses

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Cardinal Antonio junior, Francesco’s younger brother, also supported the training of boy musicians. Pasqualini is the most prominent; but also among them was the more obscure Giuliano Maggioni, under the tutelage of Antonio Maria Abbatini (ArchBarb. Gius.I.273, fasc. 2, undated letter). In 1665 Maggioni was among those of the cardinal’s musicians receiving a pension from the French crown (Gius.I.258, fasc. 2, n. 2). Their father Carlo Barberini, in fact, had also supported a “castratino musico” (ArchBarb Comp. 304, mandato n. 1068 dated 15 Feb. 1627, f. 52) Antonio junior served as Cardinal protector of the Sistine Chapel from 1638. In his role as Protector for French affairs, he was instrumental in the choice of Italian musicians who brought modern music to Paris under Cardinal Mazarin.18 After 1632, he inherited from his brother the position of archpriest of the Basilica Liberiana (S. Maria Maggiore) and was influential over the personnel of its musical establishment. There was fluid exchange among Barberini musicians in these established institutions, the Sistine and Julian choirs, and the composers and performers of the three Barberini households who provided the Barberini chamber and festal music and taught their children, pages, and musical protegés. Thus Stefano Landi sang in the Cappella Sistina, boarded and for Le Armi e gli amori; payments to the instrumentalists for “la musica delle comedie fatte alle Quattro fontane,” which name Matteo [Simonelli] organist of S. Lorenzo in Damaso, [Francesco] Tozzi; “Fabritio,” Giacomo [Branca?], “Michelangelo”, Salvatore [Mazzella?], Nicolò [Donnini?], and Gio. Battista Barbiere, violins; “Domenico del s.r prncpe” and [Francesco] Boccalino, theorbos; [Lelio] Colista and Arcangelo [Lori?], lutes; Carlo Urbano [Colista], harp; and the wind consort from Castel S. Angelo (f. 168). A separate invoice for Giacomo Anelli, player of sordellino and cornetto “nelle commedie fatte nel carnevale passato,” occurs at f. 260 (8 May 1656). Francesco also paid for the printing of the musical score to La Vita humana (Rome 1658); see MURATA 1981, p. 388, and further in ArchBarb, Gius.I.115, ff. 400 and 500. 18 An early exploration of Cardinal Antonio’s musical establishment was H. PRUNIÈRES, Les musiciens du Cardinal Antonio Barberini, in Méslanges de musicologie offerts à M. Lionel de la Laurencie, Paris 1933), pp. 117-122. Cardinal Antonio continued to support Roman musicians, such as Luigi Rossi, even during his exile in France; see payments in ArchBarb Comp. 234, p. 32 (in 1647), p. 93 (in 1649); and in Gius.I.244, fasc. 2, ff. 25-33v, salariati for 1648, which include Gio. Lotti, Marc’Ant.o Pasqualini, Lorenzo Sances, and Marco Marazzoli. For S. Maria Maggiore, see J. BURKE, Musicians of S. Maria Maggiore, Rome, 1600-1700: A Social and Economic Study, in Note d’Archivio, n.s. 2 (1984), supplement. A careful analysis of the corpus of Antonio’s personal library, based on comparing various inventories from 1644 on, is I. REVERBERI, Il Cardinale Antonio Barberini iunior (1608-1671) e la sua biblioteca, in Miscellanea Bibliothecae Apostolicae Vaticanae 16 (2009), pp. 369-417. A vivid view of his early adult years is K. WOLFE, Ten Days in the Life of a Cardinal Nephew at the Court of Pope Urban VIII: Antonio Barberini’s Diary of December 1630, in I Barberini e la cultura Europea del Seicento, L. Mochi Onori, S. Schütze, F. Solinas, eds, Rome 2007, pp. 253-264. A view of the musical personnel for all three brothers is F. HAMMOND, Music & Spectacle in Baroque Rome, New Haven & London 1994, chap. 5.

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taught the boy soprano Girolamo Zampetti for Cardinal Francesco, composed at least one Barberini opera, as well as occasional music and music for special feast days; no doubt he also provided chamber music to order.19 Virgilio Mazzocchi, likewise, served as maestro di cappella at S. Pietro, composed motets and masses, directed the boys of the Seminario Vaticano in small and large musical projects, for a time supervised the music at the English College, and also boarded and trained putti musici for Cardinal Francesco.20 The next generation of Barberini cardinals also commissioned special music for pertinent liturgical occasions, especially for the saints’ days of their titular churches, for example, at S. Angelo in Pescheria when Cardinal Carlo held the title there.21 A complete picture of the Barberini influences on Roman musical life still awaits a thorough sifting through of the account books and letters. This Introduction does not attempt one here, since for the most part the musical manuscripts in the collection represent “palace music” rather than music for any of the various institutionally-related responsibilities the Barberini exercised. Palace Music TABLE 3 summarizes the distribution of musical genres in the Barberini 19 For Landi, see S. LEOPOLD, Stefano Landi: Beiträge zur Biographie, Untersuchungen zur weltlichen und geistlichen Vokalmusic, 2 vols, Hamburg 1976, esp. Documents 17-59, pp. 81-94. For Zampetti, see note 12 above. For the opera, see TABLE 2 under dedications to Card. Francesco. Occasional music by Landi included I pregi di primavera per la festa del primo giorno di maggio 1635 (Barb. lat. 3733), poem by O. Castelli, music lost. In 1631 Landi directed the music for the feast of St. Agatha at S. Agata dei Goti, Francesco’s then titular church (Arch Barb Comp. 860, f. 140sin). In 1633 he composed the music for Francesco’s first Quarantore service in S. Lorenzo in Damaso (ArchBarb Comp. 304, f. 90), which Pietro da Cortona designed. 20 See note 12 above and HAMMOND 1979 passim. For Mazzocchi’s published sacred music see B. SCHRAMMEK, Zwischen Kirche und Karneval. Biographie, soziales Umfeld und Werk des römischen Kapellmeisters Virgilio Mazzocchi (1597-1646), Lucca and Kassel 2000; see also ivi, chap. 5. Among his musical charges, in addition to Carlo Moretti noted above, was Francesco Colaluce (MURATA 1981, p. 37). Francesco Rossi da Palestrina, another putto, appears in Card. Francesco’s account books by late summer 1641 (ArchBarb Comp 727, mandati nn. 7845, 7926, 7973, etc., also LAVIN 1975, Doc. 441). He is no doubt one of the Francescos who sang in Mazzocchi’s opera La Genoinda that year (HAMMOND 1979, p. 122). Hammond confounds the two Francescos, Colaluce and Rossi, because they are both from Palestrina. After 1641, however, Colaluce is named as Colaluce; he appears in the Barberini paylists as late as 1656, though by then, it is not clear if his service was musical (e.g., Arch Barb Comp. 961, mandato n. 532). 21 These are regularly recurring expenses that sometimes mention the maestro di cappella and sometimes not. For example, Card. Carlo paid 28 scudi “conforme al solito” to the musicians who performed special music at S. Angelo in Pescheria on 29 Sept. 1664 (ArchBarb Gius.I.294, 6 Oct. 1664, f. 164).

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musical manuscripts.22 More than half contain Italian cantatas and arias. Although some volumes are of single works, others are anthologies with over sixty individual arias within them. In addition a handful are collections of mixed genres. Despite the modern inventories of these volumes, their music has remained relatively unexamined because most of it has been anonymous and undated. The present catalogue identifies a major portion of these works, especially the opera arias, which in many cases represent unique examples from operas for which no complete score is known. Some of the identifications have been made directly from printed libretti, others on the basis of musical concordances; some on the basis of the writing of both texts and music.23 The anonymity of the manuscripts can in many instances be explained by their destiny for private use.24 Some were clearly copy books and some were manuscripts that had been in the possession of their composers. A few volumes seem to have been planned as sumptuous codices, but were never brought to completion as such. Also telling is the fact that fifty-three of the seventeenth-century volumes before 1679 contain almost exclusively music for Rome, and much of it is by musicians di casa. In short, the earlier manuscripts do not represent conscious efforts to build a “collection” of the kind represented by the Barberini printed books or their paintings. In this regard, however, the Barberini seem no different from their music-loving contemporaries. We are lacking music collections from the Peretti-Montalto household and the Aldobrandini, to name other Roman papal families before 1650 that had musical establishments. The implication is that, except for the aesthetic permanence and value of printed music, the patron of music before ca. 1650 defined music more as performance (or production) than as the material object that perhaps only incidentally differentiated one performance from another. The manuscript score was a tool for the executants. The patron ordered a performance, not the notated means to it (this seems so even when the patron paid for the copies.) Thus, for example, Luigi Rossi taken ill in 1641 could will his scores to his new patron Cardinal Antonio Barberini; but in 1647 (when Barberini was in exile in Paris), Luigi left his earthly goods to his brother.25 Many of the Barberini composers — such as 22 Some volumes contain music before and after 1685 (the year of Prince Maffeo’s death) and appear in two columns. An earlier version of this Table appears in M. MURATA, A Topography of the Barberini Music Manuscripts, in I Barberini e la cultura europea del Seicento, F. Solinas, L. Mochi Onori and S. Schütze, eds, Rome 2007, pp. 375-380. 23 See the section below on holograph scores. 24 See M. MURATA, The Score on the Shelf, in The Musical Text as Ritual Object, H. Schulze, ed., Turnhout 2015, pp. 199-211. 25 A. GHISLANZONI, Luigi Rossi (Aloysius de Rubeis). Biografia e analisi delle compositioni,

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Landi, Virgilio Mazzocchi, Vitali, Kapsperger, Vittori, Michelangelo Rossi, Abbatini, Marazzoli — are not represented in the Fondo Barberini to the extent we know that they worked and composed for Cardinals Francesco and Antonio and their brother, Prince Taddeo. This disinterest in the manuscript score as an object seems to have changed some time during the middle of the century. In 1982 Claudio Annibaldi traced the beginnings of this change in the Doria-Pamphili collection.26 The earliest Barberini ms. that provides names of composers is Barb. lat. 4163, a volume datable after 1649, whose arms have been identified as those of Card. Francesco Maidalchini (elev. 1647) — its presence among the Barberini volumes has at the moment no explanation. The avidity with which the Chigi sought out and copied music from mid-century on reflects the general change in attitude toward the exchange and collecting of musical scores.27 Marazzoli, for instance, continued to compose for the Barberini in the 1650s, although his “permanent” affliation remained with the Sistine Chapel and Alexander VII’s household. He died suddenly in 1662 in the Vatican palace: Marco dell’Arpa, musico di Cappella e bussolante del Papa, mercordì mattina [muore] all’improviso nel Palazzo Pontificio con sentimento di Sua Santità che per allegerirli o divertirli la soffocatione del cattaro li fece fare da suoi proprij medici tutti li possibili remedij, e con molta maggiore diligenza fu subito spedito a pigliare possesso a casa sua di tutte le sue robbe assai pretiose, oltre le molte migliara di scudi per non havere parenti; ed era molto ricco perché teneva carozza; e fra l’altre cariche vaca un benefitiato in Santa Maria Maggiore.28

This action probably explains how most of Marazzoli’s personal music library entered the Chigi collection, including scores he had composed for Milan 1954, pp. 67-68; 56-57 (hereafter GHISLANZONI 1954). See Rome, Archivio di Stato di Roma, 30 Notai capitolini, Ufficio 8, Atti Cermontini, prot. 551, 2 Feb. 1642, f. 844; and Uff. 18 [Testamenta], Atti Pacichelli, 21 Feb. 1653, f. 346, which records the opening of Rossi’s testament sealed on 17 Dec. 1647. 26 C. ANNIBALDI, L’Archivio musicale Doria Pamphilj: Saggio sulla cultura aristocratica a Roma fra 16o e 19osecolo, in Studi Musicali 11 (1982), pp. 91-120; 277-344; see especially pp. 280-285 (hereafter ANNIBALDI 1982). The seventeenth-century holdings are discussed on pp. 287-308. The following year appeared H.J. MARX, Die «giustificazioni della casa Pamphilj» als musikgeschichtliche Quelle, in Studi Musicali 12/1 (1983), pp. 122-187 (hereafter MARXPamph). 27 For a brief survey of the incredibly rich Chigi music holdings and archives, see J. LIONNET, Les activitiés musicales de Flavio Chigi, cardinal neveu d’Alexandre VII, in Studi Musicali 9 (1980), pp. 287-302. 28 Paris, Ministère des affaires étrangères, Correspondance politique. Rome, vol. 144, Di Roma li 28 genn. 1662, f. 90v.

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the Barberini.29 Notably these Marazzoli scores are “anonymous,” like the first generation of Barberini scores, being the composer’s own drafts and copies. Wolfgang Witzenmann identified them by comparing the scores with the inventory of Marazzoli’s estate. Thus we can be fairly sure of the absence in his own library of music by other composers. An analogous group of manuscript music exists among the Barberini volumes, the Pasqualini manuscripts that the singer’s brother bequeathed to the family, long after their original Barberini patrons had died, described and discussed by Margaret Murata elsewhere.30 The d’Este and Contarini collections of manuscript music in Modena and Venice are evidence of the trend for retaining in-house music and for collecting musical scores. In Rome, documentary evidence, though not the corresponding musical scores, has been uncovered for the Borghese and the Colonna.31 The earliest Barberini volume that notably contains music from outside of Rome is Barb. lat. 4147, a mixed manuscript that was most likely assembled during Prince Maffeo’s lifetime. In addition to nine chamber cantatas by Roman composers, it contains sixteen anonymous arias from Venetian operas that date from 1667 to 1678. These, however, are copies written by Roman hands on paper associated with Rome, and so may have been acquired via friendly Roman sources — the Chigi or the Colonna, for example. In addition, the plain parchment-bound volume is very much a disordered miscellany, since three of the cantatas at the end were part of a set of cantatas by Gioseppe Vecchi, of which two ended up in two other Barberini volumes. Furthermore, not all of the Venetian arias in Barb. lat. 4147 may be simple imports from their original productions, since one Ziani aria from the 1671 Heraclio was sung in Venice again in 1683; two arias from Sartorio’s Giulio Cesare in Egitto (Venice 1676/77) also appear in the libretto for Naples in 1680; and two arias from the 1677 Venetian Elena rapita da Paride were heard in Modena in 1681. Maffeo 29 W. WITZENMANN, “Autographe Marco Marazzolis in der BibliotecaVaticana (I),” Analecta Musicologica 7 (1969), pp. 36-86; 9 (1970), pp. 203-294; hereafter WITZENMANN 1969/1970. 30 M. MURATA, Thematic Catalogue of the Chamber Cantatas by Marc’Antonio Pasqualini, in Journal of the Society for 17th-Century Music (Instrumenta, 3), 2016, sscm-jscm.org; hereafter MURATA-MAP. For the “Eredità Pasqualini” in the Archivio Barberini, see GRAMPP 2001, p. 93. 31 For the Borghese, see F. Della Seta, I Borghese (1691-1730). La musica di una generazione, in Note d’archivio per la storia musicale, n.s., 1 (1983), pp. 139-208, and A. MORELLI, Un modello di committenza musicale: i Borghese nella seconda metà del Seicento, in Musikstadt Rom. Geschichte, Forschung, Perspektiven, ed. M. Engelhardt, Kassel 2011, pp. 204-217 (Analecta musicologica, 45). For the Colonna see, V. DE LUCCA, “Dalle sponde del Tebro alle rive dell’Adria”: Maria Mancini and Lorenzo Onofrio Colonna’s Patronage of Music and Theater between Rome and Venice (1659-1675), 2 vols. Ph.D. diss., Princeton University, 2009.

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Barberini had connections in both Naples and Modena — his sister was the Duchess of Modena. (Another of the Venetian operas represented in Barb lat. 4147, Astiage, began life as a libretto for Rome with Roman singers.32) A different picture is offered by Barb. lat. 4135, which has the title Ariette recitate ne’ teatri di Venetia l’anno 1679. It contains arias from four operas staged in Venice in 1679 and was clearly copied in the Veneto. The arms on the binding are mostly likely Prince Maffeo’s, although the small book could also have been bound by Prince Urbano years later. Other volumes with Venetian repertory from Maffeo’s lifetime are Barb. lat 4130 and 4137, also copied in Venice and containing operas from the 1681 and 1682 seasons (neither bears a mark of Barberini ownership).33 Maffeo’s preferred in-house composer appears to have been Angelo Olivieri, who has been a relatively obscure musician due to a lack of surviving scores.34 Prince Maffeo’s affection for him was demonstrated by the amount in scudi he left him in his will, which the prince’s son was paying out still fifteen years later at 30 scudi per annum.35 Yet little by Olivieri is preserved in the Fondo Barberini — three chamber cantatas from 16811682 and one opera, Dalla padella alla bragia, staged for the prince’s eldest daughter’s wedding in 1681. The greatest number of volumes of single arias from operas (arie staccate) date from the time of Prince Urbano, who became the princely head of the household in 1686, and his brother Francesco, who became a cardinal in 1690. The volumes that date from after 1690 preserve music from both Venetian and local Roman theaters.36 They will be examined in greater detail later in this introduction. The latest collection of opera arias, however, is Barb. lat. 4141, which contains the largest number of arias extant 32 Its complicated story is recounted in V. DE LUCCA, L’Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome, in Journal of Musicology 28 (2011), pp. 195-230. 33 For the Barberini volumes of Venetian opera arias, see L. LINDGREN, Nineteen Compilations of Arias from Sixty-two Venetian Operas of 1667-1696, Assembled for the Barberini Family in Rome, in Fulgeat sol frontis decorae: Studi in onore di Michael Talbot, ed. A. Borin and J. Cameron, Venice 2016, pp. 145-186 (hereafter LINDGREN-Ven). 34 See G. GIOVANI, s.v. Olivieri, Angelo, in DBI, vol. 79 (2013; online at http://www.treccani.it/enciclopedia/angelo-olivieri). In the Barberini contabilità, there are also payments to one Angelo Olivieri, a saddlemaker, including one for an old carriage named “La Spagnioletta” (ArchBarb Gius.II.181, Dec. 1689, n. 19). 35 For example, see BAV ArchBarb Comp. 486, mandato n. 463, 20 July 1691, p. 198. 36 The mss. of Venetian opera arias are examined in LINDGREN-Ven. The non-Venetian operas were presented by M. Murata in an unpublished paper, Non-Venetian Arias in the Fondo Barberini, given at the 17th International Biennial Conference on Baroque Music, Canterbury Christ Church University, Canterbury, U.K., July 2016.

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from Alessandro Scarlatti’s score for La Didone delirante, staged in Naples in 1696.37 The eighteenth-century scores, with a few exceptions, again reflect inhouse music and perhaps the dominance of Pietro Paolo Bencini as Urbano’s principal in-house musician and composer.38 He is named Urbano’s maestro di cappella in connection with a 1704 serenata, Le gare festive,39 and he is named as the composer of the undated cantata Aminta e Dori.40 All of the Barberini scores from 1704 on are dramatic works of some kind: prologues, intermezzi, and the opera Dagl’inganni alle nozze. One payment from 1713 records the copying of cantatas, but without listing their titles or composers.41 The only anomalous score at the moment is a serenata by the Neapolitan Leonardo Leo that honors Filippo Tana d’Entracque,42 the Savoyard governor and protector of Messina, in the brief time that the Duke of Savoy was King of Sicily. Bindings with coats-of-arms Twenty-six of the 114 volumes from the 17th-18th centuries bear the Barberini bees or coats of arms of princes Maffeo and Urbano, or of Cardinals Francesco senior, Antonio junior, possibly card. Carlo, and one of Urban VIII. (See Illustrations 1-6 and 8.) In addition, four volumes of chamber music present other coats-of-arms; their presence in the collection cannot be explained — but they might easily have been left behind to become part of Marc’Antonio Pasqualini’s library, bequeathed to the Barberini in 1691-1693 (see TABLE 4). In the twentieth century, five further volumes were given modern bindings with a single crowned Barberini bee on their spines. The presence of a tooled or embossed binding does not necessarily in37 See the scheda of sources, payment documents to its singers, and synopsis in J.M. DOMÍNGUEZ RODRÍGUEZ, Mecenazgo musical del IX Duque de Medinaceli: Roma-Napoles-Madrid, 1687-1710. Ph.D. diss. Universidad Complutense de Madrid, 2010, vol. 2, pp. 563; 660664. A reduced scheda is in ibid., Roma, Nápoles, Madrid. Mecenazgo musical del duque de Medinaceli, 1687-1710. Kassel 2013, pp. 319-320. For the score, see VOSS 2003. 38 Bencini appears in the Barberini account books as early as 1689, picking up his father’s stipend: “Io Pietro Paolo Bencini ho ricevuto per Lorenzo Bencini mio padre — scudi 7.50 (ArchBarb Comp. 342, Libro di ric. di salariati della famiglia dell’Em.mo s.r Card.l Carlo Barberino, da gen.o 1687 a tutto X.bre 1694, for April 1689, n. 25 (f. 56). See Illus. 16. 39 Barb. lat. 4179 and 4229. 40 Barb. lat. 4227. 41 ArchBarb Comp. 528, Uscita di casa [Principe Urbano], fol. 7v, for 1713: “E a dì sett. re s. 3.30 m.ta pag. per le mani del Ravaglioli a Gioseppe Coloccino copista per saldo di un conto di copie di cantate &c. al n.o 13.” 42 Barb. lat. 4232.

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dicate the valuation of the contents. At least in the first half of the century, a patron might supply his composer or music teacher with a pre-ruled and pre-bound book, which more often than not never got filled.43 The children’s guitar tablatures are “throw-aways,” half-empty lesson or copybooks despite their golden bees. Cardinal Antonio’s arms are on the binding of Barb. lat. 4375, an upright folio-sized volume of ninety folios, but it has only six cantatas inside, one of which is incomplete. One of the earliest volumes began as a fine manuscript but was soon turned into a compositional workbook by Pasqualini and Marazzoli (Barb. lat. 4151). Apart from the lesson books, the volumes before 1675 with stemme contain Italian chamber arias and cantatas, apart from the score of the opera Dal male il bene (Barb. lat. 4376), a copy of the work staged at the Palazzo Barberini alle Quattro fontane in 1654 and 1656. The thirteen volumes later than 1675, all smaller in dimensions, contain arie staccate from Venetian and Roman productions from 1679, 1687, 1691-1693, and 1695-1696. Three of the four volumes with non-Barberini stemme are after mid-century and contain chamber arias and cantatas; the fourth, Barb. lat. 4148, contains arias from operas performed in Rome in 1683. Dating Coats-of-arms on bindings may provide a terminal date for a volume as an object, apart from its contents. Watermarks offer general indications of possible beginnings and provenance. For the corpus of Barberini music, watermarks provide only rough differentiations, in part because there are few systematic studies of seventeenth-century Italian papers, decade-bydecade. Sometimes the kind of heavy stock found in fine printed books and archival account books (which can be dated with some precision) was used for folio-sized musical codices (e.g., Barb. lat. 4374), but carte d’ariette are usually of medium weight, somewhat heavier than the kinds of paper used in dated correspondence, giustificazioni, or manuscript libretti. In addition, quarto, octavo, and even smaller sizes of leaves increasingly chop away at the watermark in the center of the original folio. Furthermore, some watermarks associated with Rome (and with Naples, which tended to use paper of northern manufacture) remain similar over relatively long periods of time, such as the kneeling cleric with a hat/saint with a halo, whose variants extend well over thirty years in the seventeenth century alone. In terms of provenance, the simple useful distinctions in this collection have 43

HAMMOND 1979, note 55, records such a book for the keyboard player and composer Girolamo Frescobaldi: a “libro foglio motetto di carte 150 rigato di musica … scudi 1.40.” No volume in this catalogue corresponds with this description.

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been watermarks definitively from beyond the Roman orbit — Venetian44 and Parmesan.45 In the individual schede, watermarks are described only in terms of general features, since no new, comprehensive reference tools with images, locations, measurements and dates have much improved the 1950 compilation by Edward HEAWOOD, Watermarks, Mainly of the 17th and 18th Centuries. Musicologists have made tracings and recorded digital images of music manuscripts in the last sixty-five years, but these await external, dated references. The online Gravell database has few watermarks for this period in Italy.46 The pioneer in seventeenth-century Roman music manuscripts was Wolfgang Witzenmann in his 1969 study of the Marazzoli holographs in the Fondo Chigi,47 with its table of eighteen watermarks (lettered A through S), of which only seven have counterparts in HEAWOOD. Few specialized reference studies with dates have come our way, such as Michael Mahoney’s The Drawings of Salvator Rosa.48 Other watermarks common in mid-century secular musical sources are discussed in Alessio RUFFATTI’s 2006 dissertation, some with multiple images. Ruffatti brings particular focus to the extent and time range of one of the most common watermarks found on ruled music paper, the “kneeling” cleric or saint in a shield, mentioned just above.49 The two exemplars in Heawood do not begin to distinguish between the varieties and sizes of this watermark, which appears in at least thirty-three of the Barberini music manuscripts, including the folios of entire operas. The cross may differ, the figure may or may not have an eye, his legs and his hat/halo vary, the enclosing shield also changes (e.g., rounded, or coming to a point at its lower edge). Apart from the Barberini opera scores, most of the paper bearing this type of watermark is in half-folio size, with the watermark also usually found in halves, often with the middle part lost due to trimming of the pages for binding. 44 Three crescent moons similar to Heawood nn. 863-867 for Venetian arias in Barb. lat. 4144 and Barb. lat. 4322, a serenata for Messina. 45 A crowned shield that has five balls within and the letters CC below, in Barb. lat. 4162 and 4176. 46 The Thomas L. Gravell Watermark Archive at the University of Delaware: http://www. gravell.org. 47 WITZENMANN 1969/70. 48 In 2 vols. New York 1977; watermarks are in vol. 2, pp. 743-752. 49 A. RUFFATTI, Les cantates de Luigi Rossi (1597-1653): Diffusion et réception dans le contexte européen. Ph.D. diss., Université de Paris-Sorbonne (Paris IV) and Università degli Studi di Padova, 2006, pp. 34-43. The figure of the same watermark type is variously described as a saint with a halo (rather square or triangular), or a cleric with an ecclesiastical cap; see images in A. RUFFATTI “Curiosi e bramosi l’oltramontani cercano con grande diligenza in tutti i luoghi.” La cantata romana del Seicento in Europa, in Journal of 17th-Century Music 13/1 (2007) at http://sscm-jscm.org/v13/no1/ruffatti/immagine03.html.

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In short, the watermarks described for each volume in the paragraph dedicated to the physical description, only represent the images generically. At the least, they can confirm paper of Italian origin and, for the most part, paper used commonly in Rome. Indeed, the volumes present only a few main types of watermarks associated with Rome, and a gradual change in their type is discernible as the century progresses. In general, however, this drift in paper types corroborates common-sense dating according to content and composers rather than presenting any challenges or puzzles. Several studies are underway that pay close attention to specific music copyists. Among the first to publish the names of Roman copyists with a range of dates was Jean Lionnet, as a result of his studying the Chigi music manuscripts.50 A number of mid-to-later-century professional copyists are now fairly well known by name — but they all tended to have rather long careers. Therefore knowing a copyist’s hand can confirm a Roman origin for a copy, but it usually does not help to date a specific fascicle. For some hands that are quite recognizable, we do not know the copyists’ names — in private, we have called them as “Mr. Long Loop” (mid-century) or “doubledot C-clef.” Some copyists were known by their patrons, as when Abbatini refers to “Prince Gallicano’s copyist” (see note 111 below). In the catalogue, each copyist is assigned a letter identity, beginning with A for the first hand that occurs, B for second, etc., in the hope that some day, a net cast more widely will allow better matches and comparisons. What has not happened in this area of research is the identification of actual scores with the rather large numbers of archival payments for music copying by named copyists. The copyists identified by name in these schede — practically none are named in Barberini payment records — include professionals known to have copied for the Chigi, the Colonna, and the Pamphili: Bernardino Terenzi,51 Giovanni Antelli,52 and Tarquinio and Flavio Lanciani. A consistent trait of the Lanciani copies is the writing out of da capo sections of arias, a not-so-subtle means of increasing the size of the fascicles, when payment is calculated by the number of leaves. Copyist Paolo Lisi is named in two payment records, but his hand has not been spotted in the scores.53 A special set of cases with respect to music-writing involves the ho50 J. LIONNET, Les Activités musicales de Flavio Chigi cardinal neveu d’Alexandre VII, in Studi Musicali 9 (1980), pp. 287-302. 51 Two of Terenzi’s copies may be the earliest attributable to him, Barb. lat. 4219, n. 27, in a volume dated 1656, and act II of Dal male il bene (Barb. lat. 4387), ca. 1654. 52 On Antelli’s particular connection with Bernardo Pasquini, see MORELLI-A-Pasq, ab indicem. Also his Giovanni Antelli «scrittor di musica» nella Roma del Seicento, in Miscellanea Bibliothecae Apostolicae Vaticanae 24 (2018). 53 Facsimiles of invoices or payment receipts by the copyists named here, except for

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lograph scores in the Barberini collection. Indeed several attributions to composers in the present catalogue are based on the fact that several of the volumes do not represent “finished” anthologies executed by professional copyists, but rather include manuscripts in their composers’ hands. On the whole this argues more for the functional purposes of the volumes, with certain exceptions, like the twin folio-sized volumes Barb. lat. 4374 and 4375, intended to be collections of Cardinal Antonio’s in-house musicians, Luigi Rossi and Marco Marazzoli (see Illus. 10 and 12.) While some holographs, especially those of Pasqualini, are clearly sketches and compositional drafts, others appear to be originali, a term that often refers to the version written by the composer that is given to a music copyist to be rendered as is or for parts to be extracted from it. The Anglo-American bibliographic term that denotes a manuscript in an author’s hand but not confirmed or signed by the author is holograph. (This term has fallen out of use in most cataloguing contexts except with respect to musical scores.) There are many composers whose music handwriting we do not know, and some may have had the skills of a professional music copyist, as was the case with Flavio Lanciani, who was both a composer and a professional copyist. In several cases, we have verbal texts — such as receipts or letters written by composers; in such cases the determination of a musical holograph is often an educated guess, comparing text underlay and slant. (The scale of the writing also affects the final appearance, even by the same writer.) The most numerous of the holographs attributed to a composer are the eighty or so cantatas in the hand of Marc’Antonio Pasqualini, half of which lack external concordances with any attribution. These were from his own library, acquired by Prince Urbano after the composer’s death in 1691.54 Other composers with holographs in the Barberini volumes are Orazio Michi, Giovanni Girolamo Kapsperger, Marco Marazzoli, and Luigi Rossi,55 all composers with Barberini connections (Illus. 9-10, 12). Several pieces have also been attributed to Pietro Pauolo Bencini, maestro for prince Urbano, matching an oratorio known to have been composed by him with other fascicles in the same hand.56 (See Illus. 16-17.) Terenzi, have been published in B. PASQUINI, Le cantate, ed. A. Nigito, Turnhout 2012 (Monumenta Musica Europea, III: Baroque Era, 2), pp. xl-lx. Terenzi is included in the array of copyists presented in C. JEANNERET, Roman Cantata Manuscripts (1640-1680): A Musical Cabinet of Curiosities, in Musical Text as Ritual Object, ed. H. Schulze, Turnhout 2015, pp. 73-88. 54 See MURATA-MAP. 55 For Michi, Kapsperger and Marazzoli, see Barb. lat. 4151; for Luigi Rossi, see Barb. lat. 4175. 56 The oratorio is Il sacrificio di Abramo in the Manchester Public Library, Ms. 580, Bk. 1, vol. 1 (facsim. in ITALORAT, 15). Barberini examples are Barb. lat. 4225, n. 1, and 4227, n. 2.

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Although many physical aspects of the volumes point to circumstantial acquisition, with the addition of the Pasqualini and Valentini legacies and, later in the century, the acquisition of copies of arias either as gifts or by commission, the repertory that the Barberini volumes encompass is considerable, even though they do not globally represent Barberini patronage of original musical performances. What follows are brief descriptions of the musical contents by genre, including a summary description of the Barberini manuscripts treating music theory. Occasional music A handful of scores are directly connected to members of the family. The Barberini Library contains numerous presentation copies of poems, lectures, plays and treatises dedicated to or in honor of specific individuals. From the period of Urban VIII’s reign, however, only two presentation copies of musical scores have emerged. The slim Barb. lat. 4364 is a solo setting of a Latin poem praying for Urban VIII’s health, which one would like to imagine was actually sung in the rooms of the Sacred Palace or at the Quirinale. The second is one of the few works in the collection by Virgilio Mazzocchi, who, as mentioned earlier, served Cardinal Francesco as maestro of the Cappella Giulia and of the Roman and Venerable English Colleges. In Barb. lat. 4322 Mazzocchi may have been forging his earliest links to the Barberini fortunes, presenting the music — with decorative bees — probably performed when Francesco was received as Cardinal protector of the Collegio Romano. Several of the operas were occasioned by marriages, in particular the pastoral, suburban operas of 1654, 1681, 1689, and 1714, which were performed in the carnival season following Maffeo Barberini’s wedding to Olimpia Giustiniani in 1653; Costanza Barberini’s to Gaetano Caetani, Duke of Sermoneta, in 1680; Camilla Barberini’s to Carlo Borromeo in 1689; and Urbano Barberini’s to Maria Teresa Boncompagni Ludovisi in late May of 1714.57 (The music is lost for the only musical work known that specifically mentions the 1689 marriage, a cantata for the figures Honestà, Tempo, and Amore, Per le nozze dell’illustriss. et eccellentiss. sig. D. Carlo Boromeo e D. Camilla Barberini.58) No domestic operas have come to light 57 Some expenses for the 1714 marriage are in ArchBarb Gius.II.252, fasc. 29, Entrate et uscita a denari di Mario Canini 1714, and fasc. 31, Esito a denari … [31 Jan. – 4 July 1714], for legal documents, “onerarij,” new clothing and “livrea da campagna in occasione del Nostro Sposalizio” for the household, rental of a carriage and masks; but no records have emerged that concern entertainments. 58 “Cantata di Pietro Bagni [Vagni], posta in musica dal sig. Flavio Carlo Lanciani. Dedicata all’illustrissimo, & eccellentissimo sig. D. Urbano Barberini, prencipe di Palestrina. In

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in connection with Urbano’s weddings to Cornelia Ottoboni in 1689 and to Felice Ventimiglia Pignatelli in 1693. However, given that the scores to La gelosa di se stessa and to Dagl’inganni alle nozze seem to have undergone several revisions, it is conceivable that at least one of those operas was recycled. There was undoubtedly other occasional music, especially for the family’s moments at Palestrina. Lost, for example, is Preneste fortunata, written for the figures of Giove, Fortuna (within whose Roman temple is the Palazzo Barberini), Preneste, and a citizen of Palestrina. Giove predicts A te Preneste, l’api saranno in secol degno felici augurij di superno regno; del tuo giogo sovrano fia regnator Urbano felicità del germe Barberini.59

As will be described in the section on theatrical intermezzi, Cornelia Costanza Barberini, Prince Urbano’s daughter and wife of Giulio Cesare Colonna di Sciarra, is honored in the prologues to plays performed in Palestrina in 1734 and 1735.60 The events were likely inspired by the births in 1733 and 1734 of their two sons, Urbano Barberini-Colonna di Sciarra, who would inherit the title Duke of Basanello from his father, and Carlo Barberini-Colonna di Sciarra, who would acquire his grandfather’s title, Prince of Palestrina. What the collection does not preserve are scores for the numerous state occasions that the Barberini hosted as high-ranking officials of the Papal States and as a noble family on the rolls of the nobility of cities like Venice and Genova, as well as, beginning with prince Maffeo, grandees of Spain. To give just two examples, in 1638 Cardinal Francesco, as Vice-Chancellor of the Church, formally entertained Prince Johann Anton Eggenberg, the Imperial Ambassador Plenipotentiary, in a series of events, many of which included music, extensively described by Peter Rietbergen.61 None of the music was given over to Cardinal Francesco himself. The accounts for the opera in which he showed off his young singers and students of the new

Roma, nella stampa di Gio. Battista Molo, 1689” (SARTORI, n. 18511, and FRANCHI, p. 618). Exemplars include BAV Barb. JJJ.VI.47/3 and Barb. JJJ.VII.51/26). Incipit: Da la magion’ celeste, ove io più luminosa ogn’or risplendo. 59 The text is preserved in Barb. lat. 3704, ff. 1-8. The binding bears a Barberini bee and a flower, a clear hope for Barberini children. 60 Barb. lat. 4186 and 4185. 61 P. RIETBERGEN, Power and Religion in Baroque Rome, chap. 4.

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Seminario Vaticano remain in the Archivio Barberini,62 but the only known copy of the score, which is not a composer’s holograph, fortunately ended up among the Ottoboni manuscripts. For the banquet that Cardinal Carlo gave in 1686 in honor of James II’s Catholic ambassador to the Vatican, Roger Palmer, Lord Castlemaine, we have an entire list of the participating musicians — four vocal soloists and a host of instrumentalists with fourteen violins headed by “il bolognese” — Arcangelo Corelli; but we have no indication or trace of the music performed. Angelo Olivieri may have composed all the music or only the vocal pieces, with Corelli providing instrumental portions.63 Liturgical, Latin and Devotional Music The Barberini Library includes 200 Latin liturgical manuscripts from various periods that have been catalogued in P. SALMON, Les manuscrits liturgiques de la Bibliothèque Vaticane, 5 vols., Vatican City 1968-1972. None of these has been included in the present catalogue. Their acquisition in general has not been traced; but for example, in 1690, the younger Card. Francesco paid ten scudi “a Vincenzo de Romanis libraro per prezzo d’un salterio, et un Antifonario Corista grandi coperti di marocchino rosso con arme della casa dorati.”64 Polyphonic music before 1500 turned up in three Barberini volumes not otherwise concerned with music (Barb. lat. 171, 657 and 1862). One set of fragments came from the binding of a set of medical treatises; one is a two-part Credo in an otherwise monophonic Kyriale; the third is a threevoice motet in mensural notation in a volume of letters by the cardinal who later became Pius II. These have been studied in detail by scholars of 14th- and 15th-century polyphony; their findings are summarized in the pertinent schede. Sacred music by Cristóbal Morales and Giovanni Pierluigi da Palestrina 62 SCHRAMMEK, doc. 17, pp. 359-361, transcribes the list of performers for “San Bonifacio” and La pazzia d’Orlando (both 1638) in ArchBarb Gius.I.71, fasc. 2992. 63 Olivieri is named in a cross-referenced entry dated 8 Jan. 1687, among expenses for the banquet (ArchBarb Comp. 411, Giornale B for Card. Francesco, jr, p. 5). In the giustificazioni, ArchBarb, Gius.I.313, fasc. 4, f. 4r-v, the string players appear distributed 7+7 violins, 3 violette and 6 violoni, in addition to an archlute. Among the violoni appear “Giovanino” (probably Lulier) and “Gio. Ant.o” (probably Giovanni Antonio Haym). G.A. Haym is listed as an aiutante di camera in Urbano’s household in 1691 and in 1704 (ArchBarb Comp. 486, mandato n. 344, pp. 168-169; n. 355, p. 173; ArchBarb Gius.II.239, fasc. 494). He was still in Barberini’s service in 1714 (see ArchBarb Gius.II.252, fasc. 29, n. 36, which is a signed receipt dated 7 May 1714 for unspecified services in the Palazzo alli Bastioni). 64 ArchBarb Comp. 411, [Card. Francesco, jr.] Giornale B [of mandati, from 2 January 1687], n. 70, 18 May 1690.

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constitutes the only sixteenth-century repertory. Masses, motets, and litanies appear in score in two volumes written by the same hand, probably toward the middle of the seventeenth century. Transcribed from partbooks, the music in Barb. lat. 4183 and 4184 is incompletely texted and is too small to be read by a group of singers. The volumes likely served as study scores. The Palestrina volume contains eight unica that have not even now been securely attributed to the composer (although they appear in Palestrina’s Works List in Grove Online). A wealth of conventional and bizarre canonic techniques are presented in Barb. lat. 4428, a giant manuscript constructed after 1650 by Pier Francesco Valentini (d. 1654) of his own music. It contains some printed broadsides of his own canons and myriad more in his own hand, with their several solutions. Some canons have familiar texts — Sub tuum praesidium, Tota pulchra es, Pater noster, etc.; others are acclamations from litanies, hymns, and occasional texts. A canonic mass culminates Valentini’s display.65 Quite the opposite of this, Barb. lat. 4289 offers forty-two simple, strophic, devotional texts with modal melodies and plain bass lines. Some of their poems appear in earlier lauda collections. Spiritual cantatas in Italian appear scattered in the vocal anthologies of otherwise secular pieces. Their texts present perennial images for spiritual meditation, such as the new-born Christ child, the grieving Virgin, Lenten penitence. These were most likely performed as chamber pieces during the appropriate seasons. A few, however, did enter the repertory of music for the services of the Oratorians, whose home congregation was based at the Chiesa Nuova in Rome. Among these are Luigi Rossi’s Anime voi che siete (Barb. lat. 4150, n. 23) and possibly Carissimi’s Come, ahi, come cadeo Gionata (Barb. lat. 4136, n. 15); both are listed in a late seventeenth-century inventory of Roman works donated to the Filippine oratorio in Bologna.66 Devotional poems by Cardinal Antonio Barberini junior were collected in Barb. lat. 4203.67 Sketches for solo Latin motets exist in Barb. lat. 4151 and 4204, but none also exists in a fair copy. From after mid century come two Latin works in Barb. lat. 4231, a motet by Alessandro Melani and a Latin dialogue likely by Quirino Colombani. What is not suprising is the complete lack of liturgical or paraliturgical music that any of the four Barberini cardinals commissioned for special 65 The manuscript was inherited with other Valentini materials by Cardinal Antonio junior; see note 94 below. 66 O. MISCHIATI, Per la storia dell’oratorio a Bologna, in Collectanea Historiae Musicae 3 (1962), pp. 132-170; hereafter MISCHIATI 1962. 67 All are edited by Maria Luisi in Le poesie per musica del Cardinale Antonio Barberini nel Cod. Vaticano Barb. lat. 4203, in La musique à Rome au XVIIe siècle, ed. C. Giron-Panel and A.-M. Goulet, Rome 2012, pp. 291-319.

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liturgical occasions, notably for the feast days of their respective titular churches, occcasions we know mostly from archival accounts.68 For example, Cardinal Antonio commissioned Kapsperger and Stefano Landi for music performed at the “Orfanelli” or S. Maria in Aquiro, his first titular church, and Filippo Vitali for music for Sant’Agnese fuori le mura.69 Antonio’s acounts for 1636 at S. Agnese lists 18 singers, among them papal singers Vittori, Pasqualini, Bianchi, Nicolini, Navarra, Allegri, Santi; and 16 instrumentalists, including Frescobaldi (the highest paid instrumentalist), Marazzoli (probably on harp), two lutes, a theorbo, two violins, and two organists, in addition to the harpsichord technicians and the bellows operators. The cardinal’s four musicians on salary were not paid extra for the engagement.70 Similarly Cardinal Francesco junior commissioned music from his in-house maestro Angelo Olivieri for S. Angelo in Pescheria.71 Several of the Barberini men also had special ties to churches in Palestrina, their principality. In 1643 for example, Cardinal Francesco senior provided for music at the recently reformed convent of Santa Chiara in Palestrina; 68 For Card. Francesco senior, these were S. Onofrio, 1623; S. Agata in Suburra, 1624; and S. Lorenzo in Damaso from Nov. 1632, then in commendam from 1645; S. Sabina from 1645, etc. Cardinal Antonio junior was titolare of S. Maria in Aquiro from 1628; S. Agata alla Suburra (= dei Goti) from Nov. 1632-1642; S. Maria in Via Lata, Nov. 1642; and the French church of SS. Trinità al Monte from July 1653. Cardinal Carlo held the titles of S. Cesareo in Palatio, Aug. 1653 to 1660; S. Angelo in Pescheria from August 1660; S. Cesareo in Palatio from 1667-1675; S. Maria in Cosmedin from Dec. 1675; S. Maria della Pace from Sept. 1683; and S. Lorenzo in Lucina from April 1685. Cardinal Francesco junior was titolare of S. Angelo in Pescheria, Nov. 1690-1715; S. Bernardo alle Terme in 1715; and S. Prassede from May 1718. For a view of Barberini patronage in Roman churches before 1644, see HAMMOND 1994, chapters 10 and 11. 69 For example, a payment “al s.re Girolamo Kasperger … per la musica fatta heri [sic] all’Orfanelli perché possesso priso da noi del cardinalitio” (ArchBarb Comp. 231, 26 May 1628, f. 36; for 1629, see f. 61v; Landi provided the music in 1630 and 1631, ivi, ff. 79v and 95v); and “a D. Filippo Vitali scudi 67.50 di moneta per la musica fatta nella chiesa di S.ta Agnese fuori di Porta Pia nella festa di detta santa il presente anno, conforme alla nota che con ricevuta [&c.] Di Palazzo li 27 gennaro 1636,” in ArchBarb Comp. 233, Registro de’ mandati C, f. 1v. 70 The corresponding giustificazione is in ArchBarb Gius.I.238, Contromandato del S.r Card. Ant. Barberini … 1636, f. 12. In January of 1648, when the Cardinal was in Paris, he still paid for the music for the festa at Sant’Agnese, organized that year by his salaried musician Lorenzo Sances (ArchBarb Gius.I.244, f. 25v). 71 ArchBarb Comp. 415, Registro de’ mandati dall’anno 1694 a tutto l’anno 1700, payment of 33.20 scudi to Olivieri “ad effetto di sodisfarne i musici et altro in occasione della musica fatta in S. Angelo per la festa di detto santo Nostro Titolo li 29 sett.bre prossimo passato che &c. questo dì 7 ott. 1697 (n. 266, p. 169); repeated for 1698, dated 13 May 1700 (n. 130, p. 404). A separate payment for the platform for the musicians is n. 169 issued in July 1697 (p. 145), re-entered on 6 Nov. 1697 (n. 285), and in n. 181, for 8 May 1698 (p. 424).

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it was organized — and likely freshly composed by — Virgilio Mazzocchi.72 Other recurring family events with extraordinary music were memorials and anniversaries celebrated in the family chapel designed in 1616 in Sant’Andrea della Valle in Rome. The cost of erecting a special platform for the musicians appears as early as 1628.73 As a final example, among many, in 1683, Cardinal Carlo had Antonio Foggia prepare music to celebrate the defeat of the Turks at the gates of Vienna. Al S.r Ant.o Foggia maestro di cappella scudi 30 m.ta per sua recognitione e per saldo della musica fatta in occasione della Messa, et Te Deum cantatosi li 17 del corrente nella chiesa di S. Stanislao della natione polacca in rendimento di gratie per la vittoria ottenutosi dall’armi cristiane contro il Turco per la liberatione di Vienna … Dal Palazzo alle 4.o font.e il dì 18 ott.bre 1683.74

Seemingly also lost are scores to the oratorios commissioned by Card. Francesco junior for his abbey in Subiaco, among them La conversione di S. Agostino with music by Gordiano Moretti in May 1716 and Santa Cecilia in March of 1721 by an unknown composer.75 Oratorio and Oratorio-Cantatas Nine works for solo vocal quintets entered the collection as part of the Pasqualini legacy; six have cover titles that use the term oratorio or both oratorio and cantata. The three narrative ones — Gioseppe, Oratorio per la Settimana Santa, and Santa Caterina — are each in two parts, called first and second cantatas, reflecting the Oratorians’ practice of alternating music and sermons. Indeed the identification Santa Caterina as Marazzoli’s depends on the appearance of Marazzoli’s name with its text incipit in a late Oratorian inventory published in MISCHIATI 1962 (see the scheda for

72 Cardinal Francesco senior was particularly involved with foundations of the Poor Clares and the figure of Sister Francesca Farnese (d.1651), the living inspiration for their reforms in the seventeenth century. The record of payment to Mazzocchi is ArchBarb Gius.I.89, n. 4581 (inventoried in L. CACCIAGLIA, Le Giustificazioni dell’Archivio Barberini. Inventario, 1: Le giustificazioni dei cardinali. Vatican City 2014, p. 79). 73 ArchBarb Comp. 231, Registro de’ mandati … Ant.o Barberini, 22 March 1628, f. 32v. 74 ArchBarb Comp. 309, Registro di mandati [card. Carlo], n. 230, p. 191. Foggia was the son of Francesco Foggia, who had been Cardinal Francesco’s maestro di cappella at S. Lorenzo in Damaso from 1661 to 1675. A Mass by Antonio Foggia is in a book of Masses by his father published in Rome in 1675 (RISM F1453); one chamber cantata by him is Barb. lat. 4149, n. 3. 75 See FRANCHI 1716/11 and 1721/17/ The libretti were printed in Palestrina by the Stamperia Barberina.

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Barb. lat. 4209). In other cases, however, the existence of more than one setting of popular spiritual texts was certainly possible.76 Aside from their construction in two parts, the three narrative scores require similar vocal and instrumental forces, that is, five soloists SSATB who often double roles, and two violins with a basso continuo ensemble that includes a lute and lira or violone. These oratorios were studied by Claude Palisca and Howard Smither and much more recently by Florian Grampp Bassani, though uncertainties about them remain. Ghislanzoni had decided that the copyist’s hand was Luigi Rossi’s, as mentioned above. In the case of Gioseppe, this seemed to confirm an ascription reported by Charles Burney in a score now lost. The likelihood of Rossi’s authorship seemed strengthened by the title of an oratorio Gioseppe (with no extant libretto) listed for Francesco Buti in Mandosio’s late seventeenth-century bibliography, because Buti had written the libretto for Rossi’s 1647 opera Orfeo.77 The only link, nonetheless, between the report of the Rossi attribution, the Buti attribution, and the Barberini score is the title “Gioseppe.” Since it is now known that Buti’s oratorio was another, set to music by Egidio Magli, all the connections dissolve. The third narrative oratorio, music for Holy Week, has also been attributed to Luigi Rossi, but upon no documentary grounds. It remains anonymous. A link between these narrative oratorios and the cantata morale is Barb. lat. 4188, Disperar di se stesso, marked “seconda cantata per Oratorio a 5. Morale” (a partner for it has not emerged). It too is scored for SSATB soloists, two violins, lira, violone, and basso continuo ensemble. But instead of the fluid movement between dialogue and closed pieces found in the narrative works, a series of closed solos and ensembles culminates in a madrigal for all five voices. This is the style in the five other cantatas, which also seem to be self-contained (Inferno; Ancor satio non se; Mi son fatto nemico; O cecità; and also for the Predica del sole, which is more an occasional than 76 One of the Barberini occasional cantatas exists in two settings: Barb. lat. 4187 in Pasqualini’s hand and Chigi Q.VIII.178, ff. 34-44, in Marazzoli’s hand are two different works set to the same text titled Predica del sole. The text and, logically, both musical settings are datable within 1648 and 1654, most probably 1653-1654. The text refers to emblems of the Barberini and Pamphili families while it exalts God above all creation, thus pointing to the period when the two families settled their political and papal differences in the last years of Innocent X’s reign. Both Pasqualini and Marazzoli were in the papal chapel in those years. 77 GHISLANZONI 1954, pp. 94-95, note 3, reprints Mandosio’s entire citation on Buti (from P. MANDOSIO, Bibliotheca romana seu Romanorum scriptorum centuriae. 2 vols. Rome, Ignatio de Lazzaris, 1692, vol. 2, century VI, 50). A. GHISLANZONI Tre oratori e tre cantate morali di Luigi Rossi ritrovati nella Biblioteca Vaticana, in Revue belge de musicologie 9 (1955), pp. 3-11, reiterates his 1954 identification of Rossi’s hand. H. PRUNIÈRES believed Barb. lat. 4194-4195 to be the lost Magliabecchiana score, in Notes sur la vie de Luigi Rossi (1598-1653), in Sämmelbände der Internationalen Musikgesellschaft 12 (1910-1911), pp. 12-16 (p. 15).

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strictly devotional cantata). The non-narrative cantatas are structured by means of a central ensemble, whose strophes are preceded, separated, and followed by solos. The cantata is then closed by a tutti ensemble, as in Roman opera scores of 1654-1656.78 See TABLE 5.1. The complex of parts and concordances for these oratorio-cantatas includes core components that pre-date the assembling or composition of the present scores; these are listed in TABLE 5.2. For example, Giovanni Lotti’s poem Colpe mie venite a piangere was an independent text and posthumously published as such. An anonymous solo setting exists in the late volume I-Rc 2486 (which includes music by Bernardo Pasquini); a solo setting for contralto by Paolo Lorenzani survives in the Archives of the cathedral in Malta (ACM ms. 40). The earliest known is a Barberini setting for two sopranos in Pasqualini’s hand, Barb. lat. 4201, n. 28, which underwent various revisions and scorings. When the Barberini cantata Mi son fatto nemico for five voices was prepared, the original soprano vocal parts of Colpe mie were simply incorporated into the new set and indications of additions were penned in or pasted on. The cembalo partbook (Barb. lat. 4231, n. 12) represents one of the assembly stages, with its ritornelli and sinfonie added, sometimes squeezed in, and with the performance partbook to the original Colpe mie bound in. (The original title-page to the trio version is retained on f. 72.) The original Introduttione dell’Aria was now re-copied to head the whole oratorio-cantata, which is the volume Barb. lat. 4191. The composition of Mi son fatto nemico has been discussed above in some detail, because a similar procedure seems to underlie the formation of Disperar di se stesso and Ancor satio non sei. These two, moreover, had an additional, earlier step in which an ensemble with a secular text was turned into a spiritual contrafactum.79 The contrafactum then forms the 78 An earlier Barberini opera, Luigi Rossi’s Il palazzo incantato of 1642, also closes with a polyphonic section called “Madrigale a 10” in the scores. In contemporary libretti, however (especially Barb. lat. 3857), the closing five lines of the libretto are often called “Choro.” Rossi set the first four lines as a solo; only the last line of text comprises the brief closing music for double, five-part choir. General studies of the five cantatas are S. PLANK, Of Sinners and Suns: Some Cantatas for the Roman Oratory, in Music and Letters 64 (1985), pp. 344-354, and F. GRAMPP, Eine anonyme Kollektion römischer Oratorienkantaten und Oratorien. Beiträge zur Geschichte des römischen Oratoriums im 17. Jahrhundert, 2 vols. Ph.D. diss., Pontificia Istituto di Musica Sacra, Rome 2001; and his Die anonymen Oratorien und Oratorienkantaten der Barberini-Bibliothek, in Sub tuum praesidium confugimus. Scritti in memoria di Monsignor Higini Anglès, Fr. Luisi et al., eds, Rome 2002, pp. 257-298. 79 There are two copies of the secular trio that became part of Disperar di se stesso: Barb. lat. 4219, n. 11, and BAV Chigi Q.IV.16, the latter attributed to Luigi Rossi. A secular version as a quartet is Barb. lat. 4219, n. 10 (which, could, however, conceivably be a contrafactum of the devotional version of the quartet). See also Barb. lat. 4219, nn. 1a, 1b and 2. For Ancor

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core of the new cantata. The core ensemble is present also in the cantata Inferno io veggo le fauci aperte, and here, as mentioned earlier, the sources suggest the possibiity of two composers. The second composer appears to have constructed an oratorio-cantata around a pre-existing trio. The partbooks, also, are in different hands. O cecità, likewise, comes from two hands, in this case evident directly in the continuo score (Barb. lat. 4218). Pasqualini copied the instrumental introduction and the central section; but it is the second composer who copied the “returning” music based on “Pasqualini’s” part; a trio returns expanded to a quintet. This is the only oratorio-cantata within the Barberini repertory that has no concordances. This group of scores leaves us with more questions than answers. Did haste or musical affection prompt the contrafacta and use of pre-existent music? Do the visible alterations — such as expansion from three to five voices and the addition of ritornelli — represent a modernization in practice or a change prompted by a shift in venue from a private chamber to a public oratory?80 Is it possible that sections or styles within the oratorios are ten to twenty years apart in composition? How many of the works are the results of collaborations? And who is the second composer, whose handwriting in some respects resembles Marazzoli’s? Finally, what is the relationship between the format of this genre and the Stradella-period accademia, which is also in two halves closed by an ensemble madrigal? This secular genre of the 1670s is nowhere represented in the Barberini volumes. Treatises on Music Ancient and seventeenth-century theorists of music are well represented in the printed books of the Barberini Library, such as Marcus Meibom’s 1652 edition of ancient treatises81 or Daniello Bartoli’s Del suono, de’ tremori armonici, e dell’udito of 1679.82 Among the Barberini manuscripts,

satio non sei, there are four copies of a secular duet for two sopranos: a compositional draft in Pasqualini’s hand (Barb. lat. 4204, n. 42); GB-Och 377 (ms. dated 1653); GB-Och 996, which attributes the duet to “Marc’Antonio”; and Barb. lat. 4219, n. 27. The trio version that entered the oratorio-cantata is Barb. lat. 4219, n. 6. 80 Apparently lost is the undated print of Mario Savioni’s Oratorij a 3, listed in XIa: 6, O. MISCHIATI, Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798, Florence 1984, p. 241. 81 M. MEIBOM, Antiquae musicae auctores septem. Graece et latine, 2 vols, Amsterdam, L. Elsevir, 1652. Exemplar: Stamp.Barb.EEE.VI.12. 82 Rome, Tinassi, 1679. Exemplar: Stamp.Barb.N.VII.158.

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however, only a few treatises or instruction manuals have come to light; they have not been included in this catalogue of practical music.83 The Barberini medieval tracts and extracts have been catalogued in the second volume of the RISM series The Theory of Music from the Carolingian Era up to 1400.84 The thirteenth-century Barb. lat. 283 contains the De musica of Hugo of St. Victor and another short anonymous selection. The Ars nova of Philippe de Vitry and the Musica of Isidore of Seville are among the earlier, late fourteenth-century sections of Barb. lat. 307 (online in DVL). A later portion of the manuscript was copied before 1433 for a prior of a Benedictine monastery in Capua, Theodono de Caprio. In 1942 Raffaele Casimiri published Theodono’s Regulae contrapuncti and an anonymous Ars et modus pulsandi organa from this manuscript.85 The RISM entry gives further references and studies. Cardinal Francesco Barberini expressed keen interest in the theater and music of the ancient Greeks and Romans, in part by his sponsorship and encouragement of antiquarian scholars such as Cassiano Dal Pozzo and Giovanni Battista Doni. Doni, who lectured on the ancient theater in Francesco’s academy and wrote a Trattato della musica scenica, left two treatises among the Barberini manuscripts.86 One is a copy made in northern Europe of the Musica of the German Erasmus of Höritz. The original treatise has been described by Claude Palisca, who gave 1504-1508 as the narrowest estimate of the date of its primary source, BAV Reg. lat. 1245.87 The Barberini-Doni copy, Barb. lat. 351, bears the inscription Erasmi Horicij de Musica (f. II), Apographum Codicis Bibliothecae Lugdun. Batav./ Nicol. Fabricius Peyrescius Jo: Bapt.ae Donio dono dedit (f. 1). After Doni’s attempts to procure this copy from Peiresc, attempts described by Palisca, it is ironic that Peiresc’s original and the copy should now rest together in the Vatican. (The original, dedicated to a Venetian Cardinal, was ultimately acquired by Christine of Sweden.) 83

In 1905, CELANI listed only Barb. lat. 307 and 640; in 1932, BARONCI listed only the same two volumes. 84 RISM vol.B.III.2, ed. P. Fischer, vol. 2: Italy (Munich 1968), pp. 102-104. 85 R. CASIMIRI, Theodono di Caprio … teorico musicale italiano del sec. XV and Un trattatello per organisti di Anonimo del sec. XIV, both in Note d’Archivio 19 (1942), pp. 38-42; 9398; 99-101. Full text transcriptions of 15 writings in Barb. lat. 307 are available in the online Thesaurus Musicarum Latinarum, housed at Indiana University, Bloomington USA. A portion of ms. 307 is now in the library of the Benediktinerstift in St. Paul, Austria (A-SPL ms. 135/1). 86 Doni is widely cited but rarely the sole focus of study. A Ph.D. dissertation is M. GROSSMAN, G.B. Doni and Theatrical Music, University of Illinois at Urbana-Champaign, 1977; for several studies by C. PALISCA, see below. 87 C.V. PALISCA, The Musica of Erasmus of Höritz, in Aspects of Medieval and Renaissance Music, ed. J. LaRue, New York 1966, pp. 628-648. Reg. lat. 1245 is online in DVL.

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The second Doni manuscript is an undated presentation copy of his Lyra barberina αμφιχορδος, dedicated to Urban VIII and bound in parchment embossed with the pope’s arms (Barb. lat. 1897). Palisca has indicated the history of the treatise from this earliest Barberini source through several later manuscript revisions, now scattered in Paris, Pesaro and Florence.88 The Barberini manuscript provides corrections to Anton Francesco’s Gori’s 1763 publication of the Lyra barberina. Especially important is Palisca’s inclusion of a pictorial supplement, since the 18th-century imprint does not reproduce the finely drawn illustrations from the Barberini and other manuscript sources, apart from the fact that many exemplars of Gori’s volume are missing their plates. The printed version of the sambuca, for example (Gori, p. 19), is nonsensical, whereas the drawing on f. 28v of Barb. lat. 1897 is clean, precise, and more than plausible. The forms of ancient plectra are given differently in the ms. (ff. 53v-56). The large illustrations of the lyra Barberina itself are similar, but not identical; for example, the stringing varies, as does the number of frets.89 Doni’s study of ancient lyres led him to invent a completely new instrument capable of bringing the tonoi of antiquity to the seventeenth century. Two other Barberini manuscripts reflect similar intentions to bring the past forward. The volume Barb. lat. 3990 (ff. 4-13v) contains a copy of an unsigned, undated letter to a singer called Signor Giulio. A corresponding copy with an attribution to Giovanni Bardi, count of Vernio, exists in Florence; there is also a poorly edited version in Gori’s 1763 volume of Doni.90 The treatise begins with a definition of music, describes the seven octave-species of ancient music and discusses the disadvantages of polyphony. Bardi then describes concerted music with voices and instruments, classifying contemporary instruments and mentioning tuning problems of instrumental ensembles. The last section discusses accompanied song and solo singing, focusing on the preservation of poetic meters in musical settings. The second manuscript, Barb. lat. 3879, preserves drafts by Lelio Guidiccioni (d. 1643) of essays on several literary topics. Folios 28-41 comprise a fair copy dated 5 October 1632 of his Discorso sopra la musica with several autograph an-

88

C.V. PALISCA, G.B. Doni, Musicologist, Activist and his Lyra Barberina in Modern Musical Scholarship, ed. E. Olleson, Stockfield 1980 (©1978), pp. 180-205. 89 The Barberini illustration also differs from another manuscript sketch, Plate IX in PALISCA, G.B. Doni. 90 Palisca discusses this attribution in The “Camerata fiorentina”: a reappraisal, in Studi Musicali 1 (1972), p. 215, with respect to I-Fm ms. A.287 (Marucelliana), Tomo I, ff. 154-168v. His edition and translation of the text were published in The Florentine Camerata: Documentary Studies and Translations, New Haven 1989 (Yale Music Theory Translations, 8).

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notations and additions.91 The discourse originally began: Niuna cosa è tra noi più bella, che la Virtù. Added at the head are a few sentences that seem to indicate the beginning of a spoken response in an academic gathering,92 followed by an eloquent essay on the effects — the good effects — of music. Not deliberately historical, practical, or theoretical, Guidiccioni’s erudite discourse cites ancient authors and modern examples to prove that “Musica insegna buoni costumi” (f. 32v). A section of the volume Barb. lat. 640 was listed in the inventories of both Celani and Baronci as a set of excerpts from musical treatises. Far from copies of texts, however, ff. 231-313 and f. 320 contain notes, that is, citations and references from Greek, Latin, Spanish and French authors on the music of the ancients (online in DVL). From the surrounding folios, one can infer that these notes are the material from which Jean Jacques Bouchard (1606-1641), another Barberini “scholar in residence,” was to have written his treatise on the theatrical music of classical Greece and Rome. In places, the citations by various authors are ordered by topics such as “De choro,” “De ornatu histrionum,” “De versu iambico.” Otherwise they are unordered notes taken from single sources, for example, from Jusepe Antonio Gonzáles de Salas’ Nueva idea de la tragedia antigua (Barb. lat. 640, ff. 241-242). In all, Bouchard drew upon over thirty classical and humanist scholars, including Isidor of Seville, whom he probably read from Barb. lat. 307! Bouchard, like Doni, was willing to put learning into practice. His book was never published, but he did produce Seneca’s Troades in 1640 as a historical re-creation of ancient practice. The lost musical portions were set by Virgilio Mazzocchi.93 We need to remember that these Barberini manuscripts in many ways are only the signs of an intellectual culture that was expressed more richly in its own time by the acquisition of concrete objects — medals, statues, fiefs, scientific instruments, even books themselves — and by active projects, such as Bouchard’s production of Seneca, Doni’s invention of a triharmonic harpsichord capable of playing enharmonic music, and Galileo’s invention of the telescope, not to mention all the meetings of academies, with all their discourses and arguments, more often than not, never published. A final group of mid-seventeenth-century treatises represents an intellectually indefatigable composer of a conservative cast, one whose theoretical investigations led in one direction to equal-tempered tuning 91

For a modern edition and extensive commentary and discussion, see A. DELL’ANTONIO, Listening as Spiritual Practice in Early Modern Italy, Berkeley and Los Angeles 2011. 92 “Troppo austero et ristretto a rigorosi termini filosofici fu chi ripete poco anzi la lode data ad un eccellente cantore, con titolo di virtuoso….” 93 See M. GROSSMAN, G.B. Doni and Music, pp. 52-53, 60; HAMMOND 1979, p. 121; MURATA 1984, pp. 132-133; and SCHRAMMEK, Zwischen Kirche und Karnevale, Werkkatalog VI.5.

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and in another to the multiplication of musical modes. In addition to his collection of rather artificial canons (see Barb. lat. 4428 described above), seven theoretical treatises by Pier Francesco Valentini entered the Barberini collection, which Cardinal Antonio had inherited.94 Valentini discusses rhythm in a Trattato del tempo, del modo, della prolatione (Barb. lat. 4419) and in the Trattato della battuta musicale (Barb. lat. 4417), which explains both the theory and the practice of how to beat time.95 The remaining treatises by Valentini present problems and solutions concerning temperament and transpositions and the classifications of modes. Lucas Kunz examined the propositions of and the interrelationships among the Musica dimostratione of Barb. lat. 4429, its two abridged versions in Barb. lat. 4416 and 4420, and the Duplitonio of Barb. lat. 4416. In these studies, Valentini re-creates and re-defines the octave species, arriving at twentyfour modes both authentic and plagal, by dividing the octave both arithmetically and harmonically, thereby increasing to four the number of modes recognized for each of the traditional six final tones. Valentini’s theoretical conclusions were largely based on Pythagorean mathematics and demonstrations, which is apparent in his Tavola pithagorica (Barb. lat. 4427) and the two discourses entitled Dimostratione armonica in Barb. lat. 4428. In the latter, the theorist generates a vast table of musical intervals derived from multiplication of the major semitone (8:9) and attempts a precise standard for deriving pitches with a ninefold division of the monochord. Valentini’s focus on the semitone seems to have been prompted by his experience in teaching the lute. Indeed, the least theoretical of the Valentini papers is Barb. lat. 4433, Il leuto anatomizzato, a good part of which is also preserved in draft form in Barb. lat. 4395. This treatise systematically and patiently demonstrates transposition by 24 intervals for lute players making realizations from basso continuo lines and making intabulations both from standard notation and from other tablatures. Written out in twelve transpositions are a wealth of cadence formulas, basso continuo progressions, and an Aria di Ruggiero. At the end, Valentini demonstrates the differences between Italian, Neapolitan and French tablature and adds 94 REVERBERI, p. 386, observes that the “opere musicali” of Valentini went into the family library at the Palazzo alle Quattro fontane in 1672, just after the Cardinal Antonio’s death. The Valentini bibliography in G. GERBINO, Canoni ed enigmi. Pier Francesco Valentini e l’artificio canonico nella prima metà del Seicento, Rome 1995, supersedes those in earlier studies on Barb. lat. 4428, as well as L. KUNZ, Die Tonartenlehre des römischen Theoretikers und Komponisten Pier Francesco Valentini, Kassel 1937. Not all of Valentini’s manuscripts entered Cardinal Antonio’s library; other compositions and treatises are in the Biblioteca of the Archivio di Stato, Rome. 95 Both treatises are discussed in M. MURATA, P.F. Valentini on Tactus and Proportion, in Frescobaldi Studies, ed. A. Silbiger, Durham, NC, 1987, pp. 327-350. Eight are online in DVL.

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an elementary treatise on the Arte di raffinato contrapunto (ff. 30-33v). The sum of Valentini’s Pythagorean calculations and lute transpositions is his treatise Monochordo et nova constitutione di musica et accordatura di cimbalo, d’arpa, d’organo, e di simili istromenti, con toni, semitoni, e con tutti gli altri intervalli eguali (Barb. lat. 4430; a draft version with corrections and annotations is preserved in Barb. lat. 4338).96 Begun six years after his demonstration of lute transpositions, the Monochordo mathematically establishes a standard instrument divided into six parts, each diminished by two-twelfths of a Pythagorean comma, against which harpsichords, harps, and organs can be tuned to equal semitones. Valentini testifies that this temperament was in use in Rome and mentions elsewhere that one Gaspero Visconti used only this tuning for harp and harpsichord.97 It seems probable that Ottaviano Castelli took his inspiration from Valentini for his 1641 opera in which his use of equal temperament is mentioned in a contemporary letter to Doni.98 Valentini also demonstrates division into equal quarter-tones for tuning enharmonic species, and quite without fanfare, he suggests how after experience in tuning with the monochord, one can tune equal temperament by ear (ff. 35-37). Instrumental Music A. Domestic scores. The seven Barberini manuscripts of lute, guitar, and keyboard music were all written for daily use and are casual in content and ascriptions. They are the scores that can truly be called “domestic” of the hundred or so volumes described in this catalogue. Although the future cardinal Antonio may have played the guitar in his youth,99 the surviving scores were lesson books for Taddeo Barberini’s children. It appears that 96 A still earlier draft is I-Ras Biblioteca, ms. 368, ff. 85-111; this is not listed in M. CASINI CORTESI, P. F. Valentini: Profilo di un musicista barocco, in Nuova Rivista Musicale Italiana 3-4 (1983), pp. 529-562. 97 Barb. lat. 4433, f. 1v: “Se bene con l’accordatura da noi ritrovata per mezzo di un nostro monochordo con toni e semitoni eguali, l’arpa, il cimbalo, e simiglianti istrumenti habbiano sopra e sotto tutti il loro tasti e corde ciascuna consonanza consonante, come in pratica qui in Roma si vede apparire nel Signor Gaspero Visconti, il quale abbandonato l’accordo, che ordinariamente si usa, con la detta nostra accordatura, ne accorda non solo il cimbalo, ma anco l’arpa della quale egli ne fa professione con cavarne dolcissima harmonia.” 98 Pietro della Valle to G.B. Doni, Rome, 23 March 1641, in A. Solerti, Lettere inedite sulla musica di Pietro della Valle, in Rivista Musicale Italiana 12 (1905), p. 293. 99 The young Antonio’s Conti e contromandati for 7 Jan. 1626 record expenses “per far acconciar la chitarra … due palli da giocare” and “per corde et acconciatura della chitarra,” as well as services for an organ and harpsichord (ArchBarb Gius.I.235, ff. 13-14). His lifetime expenses for musical instruments for himself and/or his musicians are too extensive to summarize here, but see HAMMOND 1994, chap. 6.

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the boys were learning the Spanish guitar at the same time. Since all three, Carlo, Maffeo, and Nicolò, went to France after the death of Urban VIII, the volumes Barb. lat. 4177 and 4178 must date from before 1645. Nicolò, the youngest, would have been thirteen that year. The guitar books preserve a small number of brief basso ostinato forms and dances in alfabeto notation, the standard Italian tablature for the five-string guitar. The small number of extant Italian lute manuscripts includes Barb. lat. 4145, a tablature copied at different times between 1627 and mid century, and Barb. lat 4180, which has seven dances. Both tablatures indicate music for a large lute with six fretted courses and four to eight cordoni, or unfretted bass strings. None of the music has been identified except for a set of Ruggiero variations and a toccata by Kapsperger in Barb. lat. 4145; it differs from his printed version, especially with regard to ornamentation. Although we know that Kapsperger composed other music for the Barberini, particularly for Cardinal Antonio, only these and one cantata in his hand100 exist among the Barberini manuscripts. Between them, Barb. lat. 4181 and 4182 contain only two short pieces for harpsichord. Both volumes are again lesson books: the children may have acquired more skill on guitar than keyboard. If the two books represent instruction by Luigi Rossi, however, they may have begun studying keyboard only ca. 1641, when Rossi entered the household of card. Antonio. The volume Barb. lat. 4288 includes dances and variation sets for harpsichord, as well as three songs with very simple keyboard accompaniments. It is conceivable that this book was used by Camilla Barberini, who appears to have taken a newly rebuilt spinet with her to Milan in 1689.101 Notices from her later brief sojourn as Vicereine in Naples demonstrates her personal interest in musical performances, as suggested by the as opera libretti dedicated to her (see Table 2).102 The Barberini giustificazioni 100

Barb. lat. 4151, n. 42. See Illus. 9. ArchBarb Gius.II.181, Repartimento dell’entrata del Caronti dell’anno 1689, p. 45: authorization by Michele Fregiotti dated 26 March 1689 for payment to Giuseppe Bona Cortona “per haver accomodata la spinetta dell’Ecc.ma S.ra D. Camilla scomposta tutta che andava a Milano, rimpennata di novo, rifermata la registratura, rimpannata, e fatta spiccare la tastatura, ciò rimpilata, messo qualche piombo a tutte due le mani de’ saltarelli, messe molte corde, alzata di tono et acco[rdata] … scudi 3.60. E più per haver fatta a [detta] spinetta la contracassa d’albuccio, pulita dentro e fori … scudi 3.20.” 102 These describe performances by soloists from Turin, Vienna, and an Englishman, and a lively salon that must have resembled her life in Milan; see the detailed article by Sergio Monferrini, Carlo IV Borromeo Arese, Alessandro Scarlatti e la Cappella reale di Napoli, in Devozione e passione: Alessandro Sarlatti nella Napoli e Roma barocca, ed. L Della Libera and P. Maione, Naples 2014, pp. 67-118, esp. pp. 76-77. In 1735, the countess even travelled from Milan to see her brother Cardinal Francesco; see his order to his mandatario for her expenses for a trip to Rome dated 15 June 1735 in ArchBarb Gius.I.513, fasc. 59; also fasc. 81, f. 102. 101

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also show that Cardinal Carlo owned a chromatic harpsichord that was damaged by a flood of the Tiber sometime before August 1687. No music specifically for it has survived.103 B. Late Baroque ensemble music. An anomalous item in the Barberini collection is Barb. lat. 4197, which largely consists of copies of the basso continuo part for the organ for a number of string trios printed between 1674 and 1715. Some of the other unpublished music may have been written as early as the 1670s, by Paulo Calvani, Lelio Colista, Vincenzo de Grandis and Carlo Ambrogio Lonati. Concordances provide the complete scores for sinfonie and sonate for all but four of the works. This partbook has no known associations with any Barberini performances, chamber or in church, or any known performers. Barb. lat. 4231, a miscellany compilation, contains five partbooks for an ensemble concerto in G major by T.A. Vitali, which apparently exists only in one other manuscript version. One original unicum is the concerto grosso for trumpets and strings that Carlo Ferrini wrote for an outdoor Barberini serenata in 1704 (Barb. lat. 4179, n. 1). Ferrini served in the household of Prince Urbano.104 Twenty-one musicians performed with three female soprano soloists in three bucentaurs on wheels, drawn by horses (see the catalogue for a more complete description). Ferrini’s concerto appears to have supplanted Pietro Paolo Bencini’s original introduction to his serenata, which required two trumpets and two oboes, and a bassoon, in addition to strings and continuo. Fortunately, this too is preserved, in Barb. lat. 4228, n. 1. Andrea Basili composed a prologue and two intermezzi for a play performed in Palestrina in 1735.105 It opens with a Sinfonia in G Major with the movements Presto – Grave con sordini/Moderato – Allegro (Barb. lat. 4229, nn. 4-5). A continuo score, however, is lacking. Another free-stand103

ArchBarb Gius.I.313, Recapiti, card. Carlo, fasc. 92, f. 434: “Conto … della accomodatura di un cimblo armonico cromatico che per essere stato sotto l’aqua del fiume era tutto dissfatto e rotto e presi molti pezzetti della tastatura e ragiustatta tutta la contracassa che era spachata … scudi 9.–. Io Carlo Ant.o Maganini … li 14 Agosto 1687.” 104 Ferrini is listed as an aiutante di camera in Urbano’s Rolo della famiglia in June 1704 (ArchBarb Gius.II.239, fasc. 494). Giustificazioni for a small part of Prince Urbano’s expenses associated with the serenata are found in ArchBarb Gius.II.239, fasc. 563, dated 23 August 1704 (fascicles 555 to 562 are missing). These are mostly for ribbons, fans, and fabric for the costumes, and mancie for the lackeys and coachmen, but does include the payment of 185.10 scudi to the “Maestro di Cappella [P.P. Bencini] for copying of the instrumental music and coaching the [three] cantarine.” 105 He had been maestro di cappella of the cathedral of Tivoli from 1728-1729; most of his known compositions are in fact sacred. These Barberini pieces may be the earliest known of his compositions.

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ing, anonymous instrumental Introduction is Barb. lat. 4229, n. 22, scored for two trumpets and strings with continuo. In D major, its movements are Allegro – Grave – Allegro (in 12 8 ). Operas and Intermezzi Suprisingly, the Barberini collection fails to reflect the series of renowned productions of full-scale operas the family mounted between 1631 and 1714; most of the scores must have remained in the possession of their composers. No instrumental parts have come to light in Rome, except for string parts to La gelosa di se stessa in a post-1689 revision. The lack of scores for the Barberini operas demonstrates the “uncollected” and circumstantial nature of the music holdings, unlike the more ordered collection of scores to complete operas in the Fondo Chigi. For example, we have fairly detailed accounts for Cardinal Francesco’s production of La Genoinda at the Cancelleria in 1641, but not Virgilio Mazzocchi’s score, and only a handful of arias in an external anthology.106 Of the eleven operas that the three brothers — Francesco, Taddeo, and Antonio — staged between 1631 and 1656, six scores were preserved in the family library, the three that they had published and three in manuscript only. Exemplars of the printed scores to Il Sant’Alessio (Rome 1634), Erminia sul Giordano (Rome 1637), and La Vita humana (Rome 1658) are in the BAV with Stamp. Barb. shelfmarks.107 The publication of the operas was not so much a musical as a commemorative event. Each score is graced with Barberini emblems and engraved representations of the stage sets that bespoke the cost and extravagance of the productions and that redounded to the glory of the producers and the honor of the dedicatee. The status of the scores as “monuments” — that is, as books not to be performed from — is proved by the number that have survived: at least 20 exemplars of Alessio are extant and ten each of Erminia and La Vita humana. The three libretti were by Giulio Rospigliosi, who is not recognized in the prints, due to either his noble status or ecclesiastical rank. In 1634 he was a prelate; in 1658 he was Cardinal Secretary of State to Alexander VII and in 1667 became pope Clement IX. 106 ArchBarb Gius.I.80, Conto della comedia fatta l’anno 1641 alla Cancelleria; among the items is the cost of binding 2,860 argomenti, as well as the writing and binding of “4 libri di musica” (f. 88), for the high sum of 81 scudi. 107 See TABLE 2 for Sant’Alessio and Erminia sul Giordano. Barberini exemplars of La Vita humana overo il Trionfo della Pietà, drama musicale rappresentato e dedicato alla Serenissima Regina de Svetia, Rome 1658, are StampBarb N.XIII.202 and N.XIII.203. Cardinal Francesco senior subsidized the publication of Alessio and La Vita humana (MURATA 1981, pp. 225-226; 388). The printing of the latter score cost one scudo per folio.

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The earliest manuscript of a complete opera is a copy of Chi soffre speri, in a version staged in 1639 in Card. Antonio’s theater annex to the palace alle Quattro fontane.108 The Barberini score seems not to have been used for performance and is possibly the copy made for them in 1647, as recorded in their household accounts.109 The second opera in manuscript is represented by two scores, Barb. lat. 4389 and 4388. The former is an early draft of Il palazzo incantato, the latter a shortened and final version of the long opera staged by Cardinal Antonio in the theater annex in 1642, with music by Luigi Rossi. Both of these scores were used in performance. There are directions, quick appunti, and figures for the basso continuo. It was Cardinal Carlo who sponsored the third of the early operas, a Spanish comedy turned into a libretto by Giulio Rospigliosi (also author of Chi soffre speri and Il palazzo incantato) and his nephew Giacomo Rospigliosi. Dal male il bene received two productions at the Palazzo Barberini.110 First staged for the newlyweds Prince Maffeo and his bride Olimpia in 1654, the comedy was re-staged along with two new operas during the carnival celebrations of 1656 that honored Christine of Sweden, a recent convert to the Church. Dal male il bene also survives in two Barberini scores, one a working version (Barb. lat 4387) and the other a fair copy (Barb. lat. 4376). The latter, which bears the arms of Cardinal Francesco senior may be a copy he actually ordered from the composer.111 The music of the next opera present in the Barberini library dates from 108 Barb. lat. 4386; facsim. edn New York 1982. A second copy surfaced in this century, discovered by Barbara Nestola, F-Pn Rés. 1355 (1-3), with the arms of Carlo I Cybo Malaspina on the binding; see B. NESTOLA, L’Egisto fantasma di Cavalli: nuova luce sulla rappresentazione parigina di Egisto ovvero Chi soffre speri di Mazzocchi e Marazzoli (1646), in Recercare 19 (2007), pp. 125-146. 109 Payment of 17 scudi reported in MURATA 1981, p. 262. An earlier payment for another copy is given in L. BIANCONI AND T. WALKER, Production, Consumption and Political Function of Seventeenth-Century Opera, in Early Music History 4 (1984), p. 219, note 32. This earlier copy of the whole opera (cost: 30 scudi for score and/or parts) is also not Barb. lat. 4386, as the copyist is specified as “Belardino Terentio,” who is the “Bernardino Terenzi” listed in Lionnet 1980, p. 302, whose hand is now well known. The Terenzi copy in Bianconi’s document appears instead to be the score now in Paris. 110 Having succeeded his brother Carlo as Prince of Palestrina, Maffeo resided in the Palazzo alle Quattro fontane; at the time, his older brother Carlo was living at the family’s Palazzo ai Giubbonari, as a renter; see ArchBarb Comp. 387, Registro diverso, 1654-1680, for 30 June 1655 (f. 6). At his death in 1685, Prince Maffeo left monetary legacies to musician-composer Angelo Olivieri and the harpsichord builder Gio. Battista Boni, among others (ArchBarb Comp. 488, Registro Diverso [principe Urbano, 1686 al 1706], p. 80. Both men then moved to other Barberini households, continuing on the roli di famiglia. 111 See payment of 12 May 1657 in LAVIN 1975, Doc. 2; listed in MURATA 1981, p. 350. This does not mean, however, that the composer actually did the copying (see the entry in this catalogue for Barb. lat. 4376, which suggests that Pompeo Colonna’s copyist did at least

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1681, the year that Prince Maffeo celebrated the marriage of his daughter Costanza to Gaetano Francesco Caetani, duke of San Marco. (This means that Marazzoli’s Gli armi e gli amori of 1656 left no musical trace in any Barberini household.) Maffeo first presented Dalla padella alla bragia, a libretto by Domenico Contini set by Angelo Olivieri, 112 in Palestrina, the family principality. At the request of Queen Christina, it was brought into Rome during carnival of 1681 and staged at the Collegio Clementino.113 In May of 1688, the copyist Paolo Lisi was paid for the copying of parts for an unidentified “comedia in musica” prepared by Angelo Olivieri.114 A similarly modest work for four singers, La gelosa di se stessa was probably an entertainment in celebration of the marriage of another daughter, Camilla, to the Count Carlo Borromeo in 1689, although this event was not mentioned in the libretto that was published a few months later.115 The librettist Arcangelo Spagna dedicated the print instead to the Spanish Marquess Michele De Tassis, mentioning that the opera had been staged in the Barberini palace.116 Camilla remained in contact with her brothers, outliving all her siblings. A copy of her “wedding opera” is extant today in the extensive Roman music collection of the Archivio Borromeo on Isola Bella, and is likely the set of parts that her brother paid Tarquinio Lanciani for, in the months before she left for Milan.117 some of the music copying; Illus. 13). See also WITZENMANN 1969, pp. 43-44, which rejects Barb. lat. 4376 as Marazzoli’s personal copy. 112 On Contini, see F.A D’Accone, The History of a Baroque Opera: Alessandro Scarlatti’s Gli equivoci nel sembiante, New York 1985, pp. 35-38. 113 The music is Barb. lat. 4210-4211-4212. The Avvisi di Roma for 10 Feb. 1681 reported (I-Rli ms. 1728, f. 71v): “Hier sera ad instanza della Regina di Svetia si recitò nel teatro del Collegio Clementino con grandissimo applauso e concorso l’opera in musica del Principe di Palestrina, che è riuscita anchora più dell’aspettatione. Sua Maestà v’intervenne in publico con otto Cardinali, e vi furono anche privatamente l’Ambasciatore di Spagna e le principesse di Rossano, Palestrina, [e] de’ Gaetani.” 114 ArchBarb Comp. 497, [pr. Urbano], Entrata e Uscita [1686-1690], f. 115v, 18 May [1688]: “pagati a Paolo Lisi per copie fatte delle parti della comedia in musica [preparate/ apparate?] del S. Don Angelo Olivieri, scudi 5.” Lisi also appears in mandato n. 9, issued by Prince Urbano, Jan. 1686 (ArchBarb Comp. 512, f. 4). 115 FRANCHI 1689/9. The music is Barb. lat. 4213-4217. For some of the expenses for copying and costumes, see note 137 below. 116 Spagna appears on Cardinal Francesco’s Rolo della famiglia from January of 1660 (ArchBarb Computisteria 86, f. 4v). Later payments to him record reimbursements for pictures (“imagini della passione di N.ro Sig.re”), books, and other objects (ff. 18v, 119v, 122v, 269, etc.). By Spagna’s own reckoning he entered the elder Cardinal Francesco’s household in 1656 (see his dedication in A. SPAGNA, Melodrammi scenici dedicati all’Eminentiss. … Cardinale Francesco Barberino [jr], Rome, Dom. Ant. Ercole, 1709. 117 ArchBarb Gius.II.181, Entrata et uscita del Caronte del mese di marzo 1689, unfoliated: “A di detto [5 March] … al sig.r Tarquinio Lanciani per saldo di un conto di copiature

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The next and perhaps last Barberini opera project remains as yet comparatively undocumented. Prince Urbano Barberini chose to commemorate his third marriage in May of 1714 to Maria Teresa Boncompagni with a five-character pastoral, Dagl’inganni alle nozze.118 No performance was noted in Rome, and the work may have been presented after the formal marriage, when Urbano and his bride were in “villeggiatura.” The sole operatic score of a work that was not produced by the Barberini, is Barb. lat. 4230, La guerriera costante, a six-character comedy by Flavio Orsini, Duke of Bracciano, with music by Alessandro Scarlatti. Orsini had it performed February 1683 in the Palazzo Orsini in Piazza di Pasquino, intercalating the acts of the opera as a set of comic intermezzi within one of his own prose comedies. The identification of this score was made by Gloria Rose in 1972.119 Also unexplained yet is the presence of a set of intermedi to an opera with music by Francesco Gasparini that was staged in Venice in 1707. The opera was Taican, re della Cina; but the music of its intermedi may have been brought back to Rome by Gasparini and become of interest to Barberini musicians when its characters Astrobolo and Lisetta appeared in 1711 as intermedi for Attilio Regolo, the 1688 French verse tragedy Régulus by Nicolas Pradon, staged at the Seminario Romano in a prose translation by the librettist Girolamo Gigli.120 The latest theatrical music and also the latest scores in the collection are two sets of intermezzi in Barb. lat. 4229 that were performed in Palestrina in 1734 and 1735, when the last male Barberini, Cardinal Francesco junior, was still alive. The entertainments recognize the continuation of the Barberini family in the person of the sole surviving child of prince Urbano, his daughter Cornelia Costanza, wife of Giulio Cesare Colonna di Sciarra. By agreement, their second son Carlo (b. 1734) became Carlo Barberini Colonna di Sciarra, inheriting his grandfather Urbano’s title, Prince of Palestrina. The prologues and intermezzi for both years were performed in November and celebrate the “mature fruit” of the autumn vendemmia, an appropriate reference to the renewal of the Barberini line. The composer d’ariette fatte d’ordine di S.E. e [l’]originale di comedia e copie”; posted to ArchBarb Comp. 497, Entrata e uscita … di Sua Ecc.za [Urbano], [7?] March 1689, f. 132. The present score in the Barberini collection is not in the hand of Tarquinio Lanciani. 118 Barb. lat. 4224-4225-4226. 119 G. ROSE, Two Operas by Scarlatti Recovered, in Musical Quarterly 58 (1972), pp. 428-435. 120 On p. 79, FRANCHI 1997 attributes the music for the Seminario Romano production in 1711 to Antonio Caldara, but does not list him as its composer for 1711/3 in the table on p. 83. Music for Caldara’s intermezzi is in D-MÜs 798b; its text is not the same as Gasparini’s, but this Santini score may have been for another, later production. See the comments in this catalogue’s description of Barb. lat. 4231, n. 27.

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in 1735 was Domenico Antonio Berti, who had earlier set oratorios by Arcangelo Spagna, librettist of Urbano’s 1689 opera production.121 Partbooks for three other sets of comic intermezzi occur in the same volume. Also without titles or composers, they provide evidence for kinds of musical entertainments perhaps too modest to end up recorded in the family account books. Collections of operatic arias As is apparent from TABLE 3, over a third of the Barberini music manuscripts are volumes of arias from operas. They date from 1659 to 1700. As TABLE 4 shows, only ten to thirteen of them (Barb. lat. 4153 to 4179) received bindings with Barberini stemme on them. The other aria volumes, except for Barb. lat. 4148, received parchment bindings, which cannot be dated. Some of these arie staccate were copied in Venice; others — even of Venetian arias — are in the hands of known Roman copyists. Given also that often arias from the same opera copied by the same hand appear in different volumes, it is easy to surmise that many fascicles could have been assembled and bound together some time, if not years, after one of the Barberini received them as fascicles, whether Prince Urbano, abbot then Cardinal Francesco junior, or Balì Taddeo. The arias are anonymous now and were anonymous when they were bound. Only a part of them, at least, were headed by the abbreviations for their Venetian theaters (e.g., S.G.G. for the Teatro San Giovanni Grisostomo). And in these cases, the arias are rarely bound in groups according to the theater for which they had been composed. None of the Roman arias is identified by theater. In a few cases, however, arias roughly follow the order in which they occur in the opera, such as Barb. lat. 4154, in which the first twenty-two arias, all for soprano voice, follow the act- and scene- order of the printed libretto, while skipping arias in between. The next seven all come toward the end of the last act. The paper on which the arie staccate were copied also varies in size. The present Barberini shelfmarks were assigned according to size. One can quickly see that Barb. lat. 4130 has the smallest dimensions (73 × 198 mm, bound in parchment); a volume that is similarly bound, Barb. lat. 4137, is only somewhat bigger (82 × 220 mm). Both contain Venetian repertory. Largest in dimensions is Barb. lat. 4206 (202 × 280 mm), also bound in plain parchment. It is a miscellany of opera arias and cantatas in 14 different hands, with opera extracts from Modena, Bologna, Rome and Naples, 121 These included five collaborations with Spagna for oratorios given in Rome in 1711 and 1713-1716.

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from productions dating from 1692 to 1696. It is reasonable to think that the individual arias (in a few cases, groups of arias) and Roman cantatas had different provenances and that what became eventually bound together were fascicles of roughly the same dimensions — in the case of Barb. lat. 4206, half folios.122 Nonetheless, it is tempting to speculate that the Barberini arias from Modena came from Lucrezia Barberini, the dowager duchess of Modena, or were possibly acquired by Cardinal Francesco junior or his brother Taddeo in their visits to the north (the cardinal was legate to the Romagna in 1694). In fact, when in Bologna, Don Taddeo apparently obtained some kind of promise for the singer Matteo Sassani to perform at the Teatro San Luca in Venice, as Sassani described in a 1696 letter explaining his obligations to the Grimani theater and to his new patron, the Emperor.123 In addition, the Modenese connection included the brothers’ cousin, Lucrezia Barberini’s son Rinaldo d’Este (1655-1737). He had been named cardinal deacon of Santa Maria della Scala in 1688, before force majeure he left the ecclesiatical life in 1694 to rule the Estense lands as its Duke.124 One anonymous aria in Barb. lat. 4158 comes from an opera staged in Bologna in 1673 dedicated to the young prince.125 Similarly, Cardinal Benedetto Pamphili was papal legate to Bologna in 1692 and may have been the source for the two Bolognese arias from that year in the Barb. lat. 4206. (The production of Amilcare di Cipro had been dedicated to Pamphili.)126 None of the few payments for copying arias found so far in the Archivio Barberini spells out either text incipits or names of operas, 122

“Half folio” or ca. 200 × 270 mm. Trimming during the binding procedure has in many cases altered the precision of paper sizes used to describe music paper in contemporary archival documents: one finds carta or fogli d’ariette, carta or fogli da motetti, carta mezzana, carta or fogli reale, carta grande, carta reale grande, carta imperiale. The descriptors carta da musica or carta rigata refer to staff ruling, not size. For a brief description of mid-century paper sizes used in music mss., see RUFFATTI 2007, §2.1-3. 123 A copy of the singer’s letter of 9 June 1696 was forwarded from the Duke of Mantua to Luis de la Cerda; it is transcribed in DOMÍNGUEZ 2010, vol. 2, p. 81. 124 Cardinal Francesco Barberini senior received a portrait of his nephew Rinaldo shortly after his birth (giustificazione for “porto del ritratto del S.r P.npe Rinaldo da Modena a Roma” in ArchBarb Gius.I.115, … del sig.r card. Fran.co, dell’anno 1656, f. 48, 11 Jan. 1656). 125 The dedication to the Barberini cousin Rinaldo d’Este of the libretto to Achille in Sciro (first produced in Ferrara in 1663) was signed Bologna, 20 May 1673 by Gio. Luca Carpiani. The principal roles were sung in Bologna by well-known performers — Ippolito Fusai, Giacomo Riccardini, Margherita Pia, Domenico Cecchi, Antonio Rivani, Andrea Genari, Ippolito Franci [sic] and Antonio Ferrari. 126 Indeed, Card. Pamphili gave a reception — banquet and musical entertainments — for Card. Francesco, in Bologna in Nov. 1692. Expenses for the serenata are transcribed in NIGITO 2010, doc. P254-255. The latter lists “tre arie copiate per l’Emin.mo Barberini della cantata medesima per fogli tre …”; Nigito considers that they were extracts from Carlo Cesarini’s lost dialogue Felsina e Roma (p. 69). See especially H. van der Linden, Benedetto Pam-

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much less names of composers. In this regard, the Barberini giustificazioni in general are much less detailed (with regard to music copying) than those that have been found in the Borghese, Colonna, Ottoboni and Pamphili account books. The titles of the source operas for the arie staccate in the Barberini volumes are included in chronological order in TABLE 6.1 and in alphabetical order in the Index of Opera Titles at the back of this catalogue, where may also be found an Index of Roles. As can be seen from TABLES 6.1 and 6.2, the sources of operatic arie staccate after 1660, come from expected places — Venice, Rome, and Naples — and a handful of outliers. The Venetian contents of the Barberini volumes have been ennumerated and summarized, with bibliographical references, in Lindgren’s recent Nineteen Compilations of Arias from Sixty-two Venetian Operas of 16671696, Assembled for the Barberini Family in Rome.127 The earliest Venetian source opera may be the 1667 La prosperità di Elio Seiano produced at the Teatro S. Salvatore, with music by Antonio Sartorio. Nevertheless, the presence of the one aria from it in the miscellany Barb. lat. 4147 could easily have been connected with the production of that opera at the Teatro Tor di Nona in Rome in 1672,128 or even with its amateur performance at the Palazzo Colonna in 1676. The latest Venetian operas represented in the Barberini music manuscripts are a group of six from the 1696 season. There are no general or specific explanations of how and why these particular Venetian arias made it to Rome and into Barberini volumes. Some were clearly copied in Venice and would have been sent south via agents, along with news sheets and the like. For example, Prince Urbano paid an agent, Francesco Vezzosi, six scudi in total in 1687 for “commissions for opere and music, and for postage,” with a similar payment in 1688.129 In 1689, forty-two scudi were paid “to Francesco Vezzosi for ariette and pub-

philj in Bologna 1690-3): Documents on his Patronage of Music, in Royal Music Association Research Chronicle 47/1 (2016), pp. 87-144. 127 See note 33 above. 128 FRANCHI 1672/3. 129 One payment to Vezzosi in March of 1687 does not mention music (ArchBarb Comp. 497, f. 91v); but ArchBarb Comp. 486, Registro de’ mandati da 2 feb.ro 1686 a tutto 6 s[ett].bre 1695, recorded in mandato n. 145, p. 46: “Nostro depositario pagarete al s.r Gio. Fran. Vezzosi …scudi sei per rimborso delle spese fatte in missione di opere, e musiche, e per affrancamento di lettere per tutto il corrente anno 1687 … Che dal nostro palazzo alle 4. fontane li 9 aprile 1687.” A payment entered on 25 February 1688 for Franceso “Veliosi” for 18 scudi includes a “rimborso di spese fatte in misione d’opera e musiche” (Comp. 497, f. 112). For Barberini’s Venetian arias for 1687, see TABLE 6.1. The only Barberini volume with Venetian arias of 1688 is Barb. lat. 4132.

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lic [news]sheets.”130 Other Venetian arias copied by Roman hands may have been obtained from other Roman aficionados, like the Colonna, or in the nineties, from the Venetian Ottoboni. Some arias from the 1690s may also represent the interests of Cardinal Francesco Barberini junior and his brother the Balì Taddeo, who were travelling or resident in the north for part of that decade. A June 1693 performance of the opera Il Lisimaco in Ferrara was dedicated to the cardinals Ferdinando d’Adda and Francesco Barberini; one aria from that production is in Barb. lat. 4131 and 4138. Cardinal Francesco served as papal legate to the Romagna in 1694-1695. He paid for construction of “palchetti per la comedia” for carnival in Ravenna in 1695.131 Taddeo Barberini paid for copies of “diverse ariette” (for 1.3 scudi), while he was in Milan and Cesena in the north.132 A few other payments partly reveal Taddeo’s interest in music, which is nowhere evident in the surviving scores themselves. Back in Rome in 1696, for example, Taddeo paid the Barberini tenor Michele Fregiotti 1.70 scudi for what was recorded only as “ariette.” Thus we cannot know whether this was for music composed by Fregiotti or was other music that the singer owned, copied, or had copied for the Balì.133 In 1698 Cardinal France130 ArchBarb Gius.II.181, Entrate et Uscita del Caronte (unfoliated), Vezzosi, as commorante, was paid on 12 Feb. 1689: eighteen scudi are for the coming year’s newsheets; another 24 scudi included his Christmas mancia and the cost of “lettere, ariette et opere mandate e da mandarsi per tutto il presente anno.” Vezzosi eventually signed in Venice, 18 Feb. 1689, for unspecified payments to Stefano and Sebastiano Bolis (who had transmitted material from the Fratelli Lauber), and to Filippo Talianni, who also transmitted items for the Bolis. (The 42 scudi were carried over to fasc. 114, n. 28 for [7 June]; and are also listed as n. 8 for August 1689.) We have, however, identified no Barberini arias from the 1689 season in Venice. 131 ArchBarb Comp. 415, Registro de’ mandati, 1694-1700, mandati nn. 23-25, pp. 6-7 and 20. The city of Ravenna erected a marble bust of Card. Francesco in their magistrato in 1697; cf. Il ritratto delle virtù, delineato dalle poetiche penne degli Accademici Informi di Ravenna …, Forlì, Zampa, 1697; an exemplar is BAV Stamp.Barb.JJJ.V.50. 132 ArchBarb Comp. 415, mandato n. 98, ordered in April or May of 1695: “per aver fatte copiare diverse ariette di ordine del s.r Baly D. Taddeo Barberini nostro fratello” (p. 18). In 1689, Don Taddeo had four months of dance lessons with Carlo di Lamare, maestro di ballo (ArchBarb. Gius.I.385, Giustificatione … dell’Ecc.mo Sig.re D. Francesco Monsignore Barberino del … 1688, fasc. 6, 5 Nov. 1689, signed by Taddeo; then by Di Lamare on 1 Dec. 1689. 133 ArchBarb Gius.II.223, Giustificatione diverse de’ mandati et altro per servitio dell’Ecc. mo s.re D. Taddeo dall’anno 1686 a tutto 1696, fasc. 5, 9 Feb. 1696. Fregiotti’s service began more than a decade earlier. In the libretto for the 1684 Naples performance of Alessandro Scarlatti’s Pompeo, he is listed as musico of the Prince of Palestrina (Maffeo Barberini), which suggests that Fregiotti could have also sung the title role in the 1683 Rome premiere at the Palazzo Colonna. He also sang in the 1684 Naples performance of La Psiche (arias in Barb. lat. 4149). He is on the Rolo della famiglia of Don Francesco [junior] in Oct. of 1686 (ArchBarb Com. 454, f. 94). In late 1686, his father was collecting the singer’s monthly stipend; see ArchBarb Comp. 512, Ricevute de’ salariati … p.ma genn.o 1686 a tutto nov. 1689, for Dec. 1686, Jan. 1687, April, May, June, etc. In Jan. 1688, his stipend was collected by

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sco (jr) purchased a harpsichord from Giuseppe Boni, whose family had continued to supply the Barberini with instruments and technical services.134 Since Urbano Barberini, Prince of Palestrina from 1685, did not himself stage many operas for family occasions and none apparently just for entertainment, it is not surprising that he did not collect non-utilitarian scores to complete operas. The volumes of arias with his stemma have not as yet showed up as specific expenses among his giustificazioni. The prince did have financial relationships with the Capranica,135 and, separately from that, some involvement with the operatic productions at the Teatro Capranica, apart from regular payments for palchetti.136 Their operatic relationship may have begun in 1689, when the opera given for his sister’s wedding, La gelosa di se stessa, seems to have been privately staged in Palestrina and then more publicly in the same carnival season in town. Urbano’s giustificazioni for 1689 not only note payments to Tarquinio Lanciani for copying parts and the score, but also for portage of a violone to Capranica’s and a harpsichord to and from the builder Boni Cortona.137 his brother Dionisio (f. 45v), also a musician, who has a cantata in Barb. lat. 4206. Michele collected his own stipend from August 1688 (f. 56v, 58, 59, 60v). On 29 April 1689, the harpsichord builder Gioseppe Boni received 10 scudi in a payment “tarato dal Fregiotti di accomodatura di cimboli” (ArchBarb Comp. 497, f. 135). 134 ArchBarb Comp. 415, Registro de’ mandati, n. 96: “A Giuseppe Boni cimbolaro scudi dieci m.ta … del prezzo d’un cimbolo vendutoci che &c. li 12 giugno 1698” (p. 210; probably a partial payment). An early payment to his father Giovanni Battista Boni is for Prince Taddeo’s purchase of a graviorgano in 1632 (ArchBarb 907, 12 Feb. 1632). 135 For example, Prince Maffeo had bought the Capranica Castle in Capranica Prenestina in 1654 from Luigi Capranica; Prince Urbano paid it off only in 1690 (ArchBarb Comp. 486, n. 427, p. 165). Pompeo Capranica is listed among Urbano’s “Gentilhuomini” in the Rolo della famiglia for 1704, but without a specific stipend. 136 A mandato for 1690 “per il palchetto del 2.o ordine … nel Teatro d’ Capranica” was cancelled (ArchBarb Comp. 486, n. 335, 28 Feb. 1690). Prince Urbano had paid for it to be painted (“a Gio. Giob pittore per haver dipinto il palchetto al Teatro di Capranica” (ArchBarb Comp. 482/C, 5 Jan. 1690), so it is likely that the amount he owed was credited to him for his other contributions to the production. Payments for palchetti at the Capranica may also be found for 1694 (ArchBarb. Comp. 488, 15 March 1694, p. 143: “per il palchetto da noi goduto nel suo teatro nel prossimo passsato carnevale 1694;” neither Scarlatti opera for that season (Pirro e Demetrio and Ierone tiranno di Siracusa) is represented in the Barberini volumes. Pompeo Capranica himself signed a request on 1 May 1697 to settle payments for 1697 (ArchBarb Gius.II.251, 1 May 1697, mandato n. 23, “per servitio facte nel mio Teatro” and “per li palchetti goduti”). 137 ArchBarb Gius.II.181, fasc. 7, 1 Feb. 1689, on “carta reale grande a X. poste”: violin parts, original of acts 2 and 3 (48 folios); the part for Irene and the part for Floro. Ivi, Giustificazione n. 15, dated 1 Feb. 1689 for portage of the violone and cembalo; Lanciani’s receipt for partial payment, 6 March; 25 March expenses, re-copied 8 April, signed by Gio. Briffò, wigmaker, for various wigs and hairpieces.

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In 1690, Prince Urbano subsidized his musicians to play in the Capranica orchestra, likely for Alessandro Scarlatti’s La Rosmene. … nostro Maestro di Casa pagherà a Gio. Ant.o Aim e Gios.e Boni Cortona scudi sessanta moneta quali gli facciamo pagare per il palchetto da noi goduto del’ Teatro di Capranica il prossimo carnevale et a detti Gio. Ant.o e Gius.e si pagono cioè di scudi quaranta a Gio. Ant.o sudetto per le fatiche fatte in detto Teatro in sonare di violone, e scudi venti al detto Gios.pe per le fatiche fatte similmente in accomodare de’ cimbali in detto luogo, con con prendere le loro ricevute saranno ben pagati. Dal nostro Palazzo &c. li 6 aprile del 1690.138

And on 20 May 1697, Pompeo Capranica signed an agreement to credit Barberini for 70 scudi for Giovanni Battista Tibaldi, a trumpeter, “per suo onorario d’haver sonato nel mio Teatro l’anno 1696, che io glieli farò buoni nelli conti delli palchetti che l’Eccellenza Vostra mi deve del medesimo anno.”139 Arias from the two Capranica operas for that year are in Barb. lat. 4159, 4160, 4171, and 4231. In April of 1698, Capranica signed a similar note for 40 scudi for the trumpeter Gaetano Sperati for the two Capranica operas that year, Bononcini’s Rinovata Camilla and Gianettini’s Temistocle in bando.140 Prince Urbano also rented boxes in various years at the Teatro della Pace and at the Tor di Nona.141 In 1690, he would have heard the first op138 ArchBarb Comp. 486, Registro de’ mandati [1686-1695], n. 340, p. 147; reissued in n. 348, dated 20 April 1690, p. 148; added to the year-end summary on p. 686, where only the palchetto is mentioned. Four arias from Rosmene are present in Barb. lat. 4139 and 4173; however all also appear in libretti from earlier productions, and one of the four was replaced in the Roman production. For the production, see E. NATUZZI, Il Teatro Capranica dall’inaugurazione al 1881. Rome 1999 (Quaderni de «La Musica e la Danza», 12), pp. 110-111. 139 ArchBarb Gius.II.251, Giustificazioni d’ordini spediti e conti pagati … 1692-1714, n. 24. The Capranica operas for 1696 included Mancia’s Flavio Cuniberto and Il re infante. In January of 1711, Tibaldi’s wife was requesting an overdue payment, though whether it was for the 1696 performance or some other service is not specified (ArchBarb Gius.II.252, fasc. 13, f. 3). Tibaldi was in Cardinal Pietro Ottoboni’s household. He published two volumes of trio sonatas (Rome 1701 and 1704); editions also appeared in Amsterdam and London. 140 ArchBarb. Gius.II.251, fasc. 34, April 169[8]. Other notices for “Gaetano dalla Tromba” ranging from 1689 to 1712 are given in G. ROSTIROLLA, La professione di strumentista a Roma nel Sei e Settecento, in Studi Musicali 23/1 (1994), p. 147, note 158. A Barberini copy of the libretto for Temistocle is BAV Stamp.Barb.JJJ.II.64(6). The Barberini arias from Camilla are in a volume, however, with other operas from 1696, the year of the Neapolitan premiere of Bononcini’s Trionfo di Camilla (Barb. lat. 4171). 141 For example in 1690, ArchBarb Comp. 482/C, p. 661, summarizes payments in February to Antonio Erulo “per nolo di due palchetti presi una sera al Teatro di Tordinona”; to “Franceschino per diverse spese fatte per li palchetti a Tordinona et alla Pace”; and also to “Angela Reali vedova del quondam Pavia per rimborso di spese fatte al palchetto di Tordinona” (p. 664). The mandato n. 636 lists “scudi 155 pagati li 27 genn.o 1691 al s.r conte d’Aribert

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era at the Tor di Nona, Alessandro Scarlatti’s Statira, as would have also his brother.142 None of its arias appears in Barberini volumes. In a similar fashion, the libretto for the 1695 Tor di Nona production of Giustino exists in the Barberini stampati,143 but no music for it appears in the Barberini music manuscripts. Between 1718 and 1722, Urbano’s accounts record payments for a “palchetto nobile, e due at 4.o ordine nel Theatro di Capranica,” boxes at the Tor di Nona and the Pace, “bollettini al Theatro del Mascarone,” and, most generously, “un palchetto al quinto ordine all’opera d’Alibert per il Governatore di Palestrina, la moglie,” and one “Gaetano.”144 Even if the history of the Barberini’s musical activities and interests do not explain the musical scores that entered and remained in their possession, and although the Barberini music manuscripts only partially reflect the music that three generations of Barberini experienced and enjoyed, the present catalogue identifies a wealth of music, especially of chamber cantatas and arias, positioning them across the last two-thirds of the seventeenth century. Documentary lacunae for the Barberini from Prince Maffeo’s generation on should probably not be taken as a reduced general interest in music — first, because in-palace chamber performances are also not marked by expenditures in the 1630s and 1640s; second, because the passion for producing operas passed to other Roman families and enterprises, in part due to the influence of Venetian professionalization of the genre; and last, because the Archivio Barberini has yet to be systematically combed for the years after 1670. Further scores with connections to the Barberini are certainly in the Archivio Borromeo on Isola Bella. They have been examined with respect to the impresarial ambitions of Vitaliano VI Borromeo (d. 1690), intensively studied by Roberta Carpani and Carlo Lanfossi. Cardinal Giberto Borromeo (d. 1672) provided Vitaliano with a number of Barberini opera scores and libretti in the 1660s. It remains to be explored what musical communication between Milan and Rome may have occurred between Camilla Barberini, his nephew’s wife, and her brothers per li due palchetti due stanze, e rimesse nel Teatro di Tordinona nel carnevale 1690, e scudi 14.50 li 6 feb.o 1691 a Tarquinio Lanciani per un conto di copie di musica” (p. 864). The music copied by Lanciani is not specified. The January entry in Comp. 482/C corresponds with the year-end entry in ArchBarb Comp. 488, 7 Dec. 1690, p. 98, which records the 155 scudi to Conte d’Alibert “così d’accordo il carnevale 1690 prossimo passato, qual pagamento potranno fare nel mese di marzo 1691 prossimo …” (p. 98). 142 Cardinal Francesco, jr paid 70 scudi “al s.r conte Giacomo d’Aribert per il comodo d’un palchetto nel Teatro di Torre di Nona, 3o ordine dato nel carnevale prossimo passato” (ArchBarb Comp. 411, [Card. Fr. jr], Giornale B, 1687-[1691], 28 Sept. 1690, p. 251). 143 FRANCHI 1695/1; exemplar in BAV Stamp.Barb. JJJ.IV.4 (int. 2). 144 ArchBarb Comp. 528, [Pr. Urbano], Uscita di cassa [1712-1717], ff. 16, 64v, 66v.

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after she moved to Milan in 1689. A number of arias in the hands of Roman, not Venetian, copyists are from Venetian operas that were staged in Milan in the 1690s, and in at least one case, a Barberini aria appears in the Milan 1693 printed libretto, and not in the libretto for Venice 1692.145 But the story of these productions and arias is part of a larger history of late Baroque opera in Italy, toward which the Barberini manuscripts can now contribute.

145

Barb. lat. 4165, n. 1, from Perti’s Furio Camillo. (The aria, however, could have been added to the Venetian production after the libretto came out.) For Milanese productions in these decades see the Cronologia 1653-1706 appended as a CD-ROM to C. LANFOSSI, Il teatro d’opera a Milano nella seconda metà del XVII secolo. Alcuni esempi di drammaturgia musicale tra storiografia e analisi, Ph.D. diss., Università degli Studi di Pavia, 2011.

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———————— * For complete diplomatic records of the title-pages in RISM, see the database of Printed Sacred Music in Europe, 1500-1800 (http:// www.printed-sacred-music.org)

D. MAZZOCCHI, Maphei S.R.E. card. Barberini nunc Urbani PP. 8 Poemata, Rome 1638. Exemplars: Stamp.Barb. N.XIII.4-5

F. VITALI, Hymni Urbani VIII. P.M. … Rome 1636 (RISM A V2123)

C. VARINI, Messe, Venice 1634 (RISM A V984) Exemplars: Stamp.Barb. N.XIII.76-82; N.XIII.192

G.G. KAPSPERGER, Missae urbanae… volumen primum, Rome 1631 (RISM A K199) Exemplars: Stamp.Barb.N.XIII.167-176; N.XIII.177-186

S. LANDI, Missa in benedictione nuptiarum sex vocum… S. D. N. Urbano octavo dicata, Rome 1628 (RISM A L533). Exemplar: Stamp.Barb. X.I.26

R. MICHELI, Dialogus annunciationis B.V.M., [Rome] 1625 (RISM A M2690)

G. BRUNETTI, Motecta quinque vocum… liber primus, Venice 1625 (RISM A B4662)

G. PRIULI, Missae, Venice 1624 (RISM A P5478)

G.G. KAPSPERGER, Poematia et carmina composita a Maffaeo Barberino … vol. primum, Rome 1624 (RISM A K193) Exemplars: Stamp.Barb.N.XIII.193; N.XIII.194

A. BRUNELLI, Arie, scherzi, canzonette, madrigali a una, due e tre voci … all’Illus.…cardinale Barberino legato di Bologna, op. 9, Venice 1613 (RISM A B4645). Exemplar: Stamp.Barb. N.XIII.187

V. LIBERTI, Secondo libro di madrigali a 5 voci, …all’Illus.…cardinale Barberino vescovo di Spoleti, Venice 1609 (RISM A L2335)*

Urban VIII

TABLE 2 SELECTED MUSICAL PRINTS DEDICATED TO BARBERINI, 1609-1735 with selected printed libretti

LX TABLE 2

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[P. GAMBARI], Il toro celeste, scenico torneo, Città di Castello 1629 (libretto only) Exemplar: Stamp.Barb.JJJ.VIII.1(int.1) G. CORNACCHIOLI, Diana schernita, favola boscareccia posta in musica da Giacinto Cornachioli d’Ascoli Rome 1629 (NV 618)

G.G. KAPSPERGER, Cantiones sacrae … volumen primum, Rome 1628 (RISM A K196) Exemplars: Stamp.Barb.N.XIII.149-152 Stamp.Barb.N.XIII.153-156

P.P. SABBATINI, Psalmi, Magnificat, cum…antiphonis ad vespera, cum lettanijs … liber primus, op. 12, Rome 1630 (RISM A S24) Exemplars: Stamp.Barb.N.XIII.39 Stamp.Barb.N.XIII.48

G.G. KAPSPERGER, Litaniae Deiparae Virginis cum suis antiphonis … volumen primum, Rome 1631 (RISM A K200) Exemplars: Stamp.Barb.N.XIII.157-160 Stamp.Barb.N.XIII.162-166

P. AGOSTINI, Sacrorum concentum … variarum missarum librum posthumus, Rome 1630 (RISM A419)

G.G. KAPSPERGER, Modulatus sacri diminutis voculis concinnati volumen secundum, Rome 1630 (RISM A K198) Exemplar: Stamp.Barb.N.XIII.190

G.G. KAPSPERGER, I pastori di Bettelemme, all’Illus. …. cardinale Francesco Barberino Rome 1630 (RISM A K197) Exemplar: Stamp.Barb.N.XIII.191

G.G. KAPSPERGER, Coro musicale nelle nozze degli Ecc.mi Sig.ri don Taddeo Barberini, e donna Anna Colonna … Rome 1627 (NV 1359)

Principe Taddeo and Anna Colonna

V. GRANDIS, Psalmi ad vesperas, et motecta … cum litanijs…liber primus, Roma 1624 (RISM A G3480) Exemplar: Stamp.Barb.N.XIII.17-25

Card. Francesco sr

TABLE 2

LXI

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D. MAZZOCCHI, Madrigali a 5 voci et altri varii concerti …Rome 1638 (NV 1777) Exemplars: Stamp.Barb.N.XIII.2 Stamp.Barb.N.XIII.114-18

G. FRESCOBALDI, Toccate d’intavolatura di cimbalo et organo … [stemma card. Fr. Barberini] Rome 1637 (RISM F 1859)

T. DA SANT’AGATA, Motecta … etiam … Missa trium vocum, liber primus, Rome 1636 (RISM A S888) M. ROSSI, Erminia sul Giordano, dramma musicale … dedicato all’Illus. … signora D. Anna Colonna Barberina Rome 1637 (NV 2441) Exemplar: Stamp.Barb.N.XIII.200

L. VITTORI, La Galatea, dramma … dedicata all’Em.mo … card. Antonio Barberino. Rome 1639 (NV 2952) Exemplar: Stamp.Barb.N.XIII.198

A.M. ABBATINI, Il quinto libro di sacre canzoni … op. 9, Rome 1638 (RISM A 11)

M. ROSSI, Toccate e corrente per organo o cembalo Rome, G.B. Caifabri, s.d.

G. FRESCOBALDI, Fiori musicali di diverse compositioni [stemma card. Antonio Barberini], Rome 1635 (RISM F 1871)

F. VITALI, Arie a tre voci … dedicate all’Illus. … D. Taddeo Barberini Rome 1635 (RISM A V2138) Exemplar: Stamp.Barb. N.XIII.196

S. LANDI, Il S. Alessio, drama musicale … dedicato a S. Eminenza, Rome 1634 (RISM A L534) Exemplar: Stamp.Barb.N.XIII.199

Card. Antonio jr M. LEONELLI (librettist), La Deianira, opera recitativa in musica, Urbino 1631, Venice 1635; orig. ded. by the author to card. Antonio, legate, dated Fossombrone 1631. Exemplar: Stamp.Barb.JJJ.VI.54

Principe Taddeo and Anna Colonna

F. VITALI, Sacrae modulationes … liber tertius, Rome 1631 (RISM A V2122) Exemplar: Stamp.Barb.N.XIII.49-54

Card. Francesco sr

LXII TABLE 2

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B. GRAZIANI, Psalmi vespertini quinque vocibus concinendi, op. 5 Rome 1666 (RISM A G3661) M. SAVIONI, Madrigali morali, e spirituali a 5 voci concertati … Rome 1668 (RISM A S1118)

B. GRAZIANI, Motetti … libro terzo, op. 7, Rome 1656 (1657, 1658) (RISM A G3665-65) Exemplar: Stamp.Barb.N.XIII.95-97

F. FOGGIA, Octo Missae quaternis, quinis, octonis, novenisque vocibus concinendae, Rome 1663 (RISM A F1447) Exemplar: Stamp.Barb.N.XIII.31-38

G.A. CAPPONI, Madrigali a 5 voci, libro primo. Dedicatory letter addressed to card. Antonio B. Rome 1640 (NV 486) Exemplar: Stamp.Barb. N.XIII.108-113

A. PIO DI SAVOIA (librettist), L’Amore trionfante dello Sdegno, dramma recitato in musica, Ferrara 1642 (music by M. Marazzoli)

C. BONETTI, Mottecta … cum litanijs duodecim vocibus, Venice 1662 (RISM A B3466)

L. CORSINI, Musiche … libro quinto, dedicate all’Em.mo … card. Antonio Barberini Rome 1640 (NV 625)

Card. Antonio jr

A. PIO DI SAVOIA (librettist), Le pretensioni del Tebro e del Po, cantate e combattute in Ferrara (music by M. Marazzoli), Ferrara 1642 Exemplars: Stamp.Barb.JJJ.VI.52; JJJ. VII.6; Stamp.Barb.N.IV.9

Principe Taddeo and Anna Colonna

F. FOGGIA, Litaniae et sacrae cantiones binis, ternis, quaternis, quinisque vocibus … op. 4 [stemma card. Fr. Barberini] Rome 1652 (RISM A F1443) Exemplar: Stamp.Barb.N.XIII.26-30

Card. Francesco sr

P.P. SABBATINI, Villanelle spirituali a una e due voci … libro quarto, op. 20 Rome 1657 (RISM A S34)

Camilla and Clarice

TABLE 2

LXIII

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28-May-18 11:19:19 PM

05 Lindgren-Murata Table 2.indd 64

[C. CESARINI, T. GAFFI?, et al.], Il Clearco in Negroponte, ded. Felice Ventimiglia Pignatelli Rome 1695 (libretto)

S. CHIERICI, Il martirio di S. Maurelio … oratorio, ded. cards. F. D’Adda and Fr. Barberino Ferrara, 1693 Exemplar: Stamp.Barb.JJJ.VI.47(9)

[L. MANCIA], Il re infante, dramma per musica … ded. all’Illus. … D. Felice Ventimiglia Pignatelli Rome 1696 (libretto)

[L. MANCIA], Il Flavio Cuniberto, dramma per musica, ded. …alla sig.ra D. Felice Ventimiglia Pignatelli Rome 1696 (libretto)

G. PERTI, Nerone fatto Cesare, ded. F. Ventimiglia … Barberini, Rome 1695 (libretto)

[A. SCARLATTI], Gli equivoci in amore, overo la Rosaura, drama per musica ded. alle [3] principesse … D. Cornelia Otthoboni Rome 1690/91 (libretto)

F. LANCIANI, De la magion celeste (P. Vagni), Rome 1689 (libretto) cantata on Borromeo-Barberini marriage, ded. to Urbano Exemplars: Stamp.Barb. JJJ.VI.47(3); Barb. JJJ.VII.51(26)

C. GIGLI, La Maddalena piangente (P. Vagni), Rome 1688

Principe Urbano and Cornelia Ottoboni, Felice Pignatelli, and Teresa Buoncompagni

————

Principe Maffeo and Olimpia Giustiniani

G. SINIBALDI (librettist), Lisimaco, drama per musica … ded. … alli cardinali F. D’Adda e Fr. Barberino Ferrara 1693.

Card. Francesco jr

B. GRAZIANI, Mottetti a 2, 3, 4, e 5 voci per ogni tempo …op. 12. Dedicati all’Em. … Cardinal Carlo Barberini, Rome 1673

Card. Carlo

LXIV TABLE 2

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05 Lindgren-Murata Table 2.indd 65

Contessa Camilla Barberini Borromeo

[FR. FEO], Amor tirannico, drama per musica, Naples 1713 (libretto)

[FR. MANCINI], Agrippina, drama per musica, Naples 1713 (libretto)

[FR. MANCINI], Selim re d’Ormuz, drama per musica, Naples 1712 (libretto)

[G. DE BOTTIS], L’Eraclio, dramma per musica, Naples 1711 (libretto)

[FR. MANCINI], Mario fuggitivo, dramma per musica, Naples 1710 (libretto)

[N. JOMMELLI], Il Creso, dramma per musica … dell’anno 1757, ded. a … Cornelia Costanza Barberini, principessa di Palestrina, Rome 1757.

[A. BASILI], Prologo et intermezzi per musica da cantarsi nella città di Palestrina, Palestrina 1735 (libretto) Exemplar: BAV Stamp. Barb. JJJ.VI.25 (int.17)

Cornelia Costanza Barberini Colonna di Sciarra

[T. ALBINONI], L’Elenia, dramma per musica … ded. a S.E. Teresa Buoncompagni Barberini, Venice 1730 (libretto by Luisa Bergalli)

G.B. TIBALDI, Sonate da camera a tre, due violini e violone o cimbalo, op. 1, Rome 1701 Exemplars: BAV Barb. Stamp.N.XIII.126-127; N.XIII.128-129

A. SPAGNA, Melodrammi scenici … libro terzo, Rome 1709 (libretti set by various composers) Exemplars: BAV Barb.Stamp. JJJ. III.17; JJJ.III. 18; and JJJ.III.19

G. VALENTINI, La constanza in amore, ded. by Prince G.Fr. Caetani, perf. Cisterna 1715; libretto by Angelo D. Rossi, Rome 1715.

Principe Urbano and Cornelia Ottoboni, Felice Pignatelli, and Teresa Buoncompagni

Card. Francesco jr

TABLE 2

LXV

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06 Lindgren-Murata Table 3.indd 66

171, 657, 1862

(= 3) (= 4)

4181-82, 4288 4145, 4177-78, 4180

for lute, chitarrone, guitar

1

* Some volumes appear in two columns.

Prologues & Intermezzi

4231

4185-86, 4196, 4229, 4231

(= 6)

4131-32-33-34, 4138-39-40-41, 4142-43-44-45, 4147, 4149, 4152, 4153-54-55, 4157, 4159-6061-62, 4164-65-66-67, 4169-70-71-72, 4173-74, 4176, 4179, 4202, 4206, 4231 (= 38)

4130, 4135, 4136-37, 4158, 4147, 4148, 4231 (= 8)

arie staccate

(= 2) 4213-14-15-16-17; 4224-25-26

4230, 4376, 4386, 4387, 4388-89, 4210-11-12 (= 7)

4197, 4231

complete dramas

Operas

instrumental ensembles

4179, 4228, 4229, 4232

ca. 1685-1735

4136, 4146, 4149, 4150, 4151, 4156-57, 4158, 4173, 4202, 4206, 4227, 4229, 4231 (= 6) 4163, 4168, 4175, 4200, 4201, 4203-04-05, 4207-08, 4219, 4220-21-22-23, 4374, 4375 (= 25)

4322, 4364, 4187

4183-84, 4188-89, 4190-91, 4192-93, 4194-95, 4231 4198-99, 4209, 4218, 4219, 4231, 4289, 4296, 4428 (= 17)

ca. 1627-85

for keyboard

Instrumental music

Chamber

Occasional

Secular cantatas, serenatas, arias

Spiritual or sacred music, incl. music for oratories

Barb. lat. volumes ca. 1400-1500

TABLE 3 BARBERINI MANUSCRIPTS OF MUSIC BY GENRE*1

LXVI TABLE 3

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28-May-18 11:19:34 PM

LXVII

TABLE 4

TABLE 4 MUSIC VOLUMES WITH COATS-OF-ARMS ON THEIR BINDINGS in approx. chronological order BARB. LAT.

STEMMA

APPROX. DATE OF MS.

4322

Card. Francesco Barberini sr

ca. 1630

4205

Card. Antonio Barberini jr

ca. 1630-1670

4364

Urbano VIII

1637-1644

4375

Card. Ant.o jr

ca. 1635/38?-1645

4168

Card. Ant.o jr

ca. 1638-1656

4203

Card. Ant.o jr

ca. 1638-1660

4146

bees only — Barberini children

ca. 1641-1645

4182

bees only — C[arlo] Barberini

ca. 1641-1645

4181

bees only — Nicolò Barberini

ca. 1641-1645

4374

Card. Ant.o jr

1641-1645

4376

Card. Francesco sr

1656-1657?

4208

Prince Maffeo/Olimpia

ca. 1654-1670

4207

Prince Maffeo/Olimpia

ca. 1660-1670

4135

Prince Maffeo

1679

4153

bees only on spine = Francesco Barberini jr or Balì Taddeo Barberini

ca. 1687

4154 + 4155

Prince Urbano Barberini

ca. 1690-1691

4164 + 4165 + 4166 + 4167 4169 + 4170

Prince Urbano

ca. 1691-92-93

4133 + 4134, 4179

likely Prince Urbano (crown, but no ram’s fleece; may be bindings from after 1722)

ca. 1695-1696; 1704

4224-42294230-42314232

crowned bee on spine modern bindings

1683 – ca. 1738

= 26 vols. (+ 5 modern)

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07 Lindgren-Murata Table 4.indd 67

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LXVIII

TABLE 4

Non-Barberini coats-of-arms BARB. LAT.

STEMMA

APPROX. DATE OF MS.

4428, n. 50

Innocent X Pamphili

1644

4163

Card. Francesco Maidalchini (elev. 1647)

after 1647

4428, n. 21

Pier Francesco Valentini

1650-1653

4136

Card. Fabrizio Savelli (d. 1659)

1653-1658

4157

Pamphili (prob. Benedetto ante 1681)

ca. 1670-1680?

4148

unknown Pamphili (no cardinal’s hat)

ca. 1683

4200

Pope Pius X and Cardinal Bibliotecario Alfonso Capecelatro (on modern spine)

before 1656

4215

Pope Pius XII and Card. Bibliotecario Giovanni Mercati (on modern spine)

1689

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07 Lindgren-Murata Table 4.indd 68

28-May-18 11:20:01 PM

08 Lindgren-Murata Tables 5.indd 69

Title Santa Caterina

Gioseppe

Per la Settimana Santa

Disperar di se stesso [Inferno]

[Ancor satio non sei]

Un peccator pentito

[O cecità del misero mortale]

Dialogo di Agar e Ismaele t-p. only

Barb. lat. (partbooks)

4209 4218

4194–95 4231, 4296

4198–99 4231, 4296

4188 4219, 4231

4189 4219, 4231 4296

4190 4192 4296

4191 4219, 4231 4296

4193 4218 4231

4296

———

O cecità del misero mortale

Mi son fatto nemico

Ancor satio non sei di riderti di me

pt. 1: Inferno io veggo le fauci aperte

pt. 2: Disperar di se stesso

pt. 1: Baraba a noi si dia pt. 2: O del Tartareo speco

pt. 1: Dalla valle di Mambre pt. 2: O voi che lasciate d’Egitto

pt. 1: Con torbide procelle da nemici pt. 2: Da custodi malvaggi fatto

Text incipit

librettist/ (possible) composers

———

G. Lotti/ M. Marazzoli & unknown(s)?

G. Lotti/ M.A. Pasqualini & unknown

G. Lotti/ M.A. Pasqualini (in part)

G. Lotti/ M.A. Pasqualini & M. Marazzoli?

G. Lotti/ Luigi Rossi (& unknown)

G.C. Raggioli/ unknown

unknown/ unknown

L. Orsini/ M. Marazzoli

TABLE 5.1 BARBERINI ORATORIOS AND ORATORIO-CANTATAS

TABLE 5.1

LXIX

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08 Lindgren-Murata Tables 5.indd 70

4191 4189

4231 4231

4218

Colpe mie venite a 3 Inferno (bass solo) Voi per ultima aita a 3 ———

Mi son fatto nemico

Inferno io veggo aperte le fauci

O cecità del misero mortale

———————— * The partbooks represent a more final version.

4192

4190

Son pentito a 3 (contrafactum)

Ancor satio non sei

4193

——*

Fair copy Barb. lat.

4188

“1st” oratorio version Barb. lat.

Spargete sospiri a 4 (contrafactum)

Independently existing component(s)

Disperar di se stesso

Title/Text incipit

TABLE 5.2 NON-NARRATIVE ORATORIO-CANTATAS

LXX TABLE 5.2

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28-May-18 11:20:14 PM

09 Lindgren-Murata Table 6.indd 71

L’Euridice

L’Aretusa

L’Erminia sul Giordano

Il Sant’Alessio

Chi soffre speri

La Galatea

Il palazzo incantato

Dal male il bene

La Vita humana

Chi la fa se l’aspetti

La prosperità di Elio Seiano

L’Heraclio

Iphide greca

1600

1620

1633

1634

1639

1639

1642

1654

1656

1659

1667

1671

1671?

/ COMPOSER(S)

Minato / Partenio – Freschi – G. Sartorio

Beregan / P. A. Ziani

Minato / A. Sartorio

—- / —-

Rospigliosi / M. Marazzoli

Rospigliosi / A. Abbatini, M. Marazzoli

Rospigliosi / L. Rossi

——- / Vittori

Rospigliosi / V. Mazzocchi, M. Marazzoli

Rospigliosi / S. Landi

Rospigliosi / M. Rossi

Corsini / Vitali

Rinuccini / G. Caccini

LIBRETTIST

———————— * Within years, cities are ordered from north to south.

TITLE

YEAR

Venice 1671

Venice 1671

Venice 1667

Viterbo 1659

Rome 1656

Rome 1654, 1656

Rome 1642

Naples 1644

Rome 1637, 1639

Rome (1631?) 1632, 1634

Rome 1633

Rome 1620

Florence 1600

(See comments for Barb. lat. 4147, n. 6)

Barb. lat. 4147, n. 8

Barb. lat. 4147, n. 7

Barb. lat. 4231, nn. 1, 28

BAV Stamp.Barb.N.XIII.202 Stamp.Barb.N.XIII.203

Barb. lat. 4387, 4376 Barb. lat. 4136, nn. 7-8

Barb. lat. 4388, 4389 Barb. lat. 4223, n. 27

BAV Stamp.Barb.N.XIII.198

Barb. lat. 4386

BAV Stamp.Barb.N.XIII.199

BAV Stamp.Barb. N.XIII.200 (Rome 1637)

BAV Stamp.Barb.N.XIII.197

BAV Stamp.Barb.HHH.VII.36

1ST* / RELEVANT / ROME PERF. BARB. SCORES

TABLE 6.1 BARBERINI OPERA SCORES AND ARIAS

TABLE 6.1

LXXI

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TITLE

Attila

L’Orfeo

Achille in Sciro

Amor per vendetta o vero L’Alcasta

Adone in Cipro

Galieno

Astiage

Giulio Cesare in Egitto

Elena rapita da Paride

Il trionfo della continenza considerato in Scipione Affricano

Anacreonte tiranno

Sardanapalo

Scipione africano

Sesto Tarquinio

Tullia Superba

Vespesiano (see also 1693 Vespasiano)

YEAR

1672

1672 / 73

09 Lindgren-Murata Table 6.indd 72

1673

1673

1675 / 76

1676

1676 / 77

1676 / 77

1677

1677?

1678

1678

1678

1678

1678

1678

/ COMPOSER(S)

Corradi / Pallavicino

Medolago / Freschi

Badovero / Tomasi

Minato rev. Fattorini / Viviani

Maderni / Freschi

Bussani / A. Sartorio

Montevecchi / Aless. Melani

Aureli / Freschi

Bussani / A. Sartorio

Apolloni rev. Noris / Viviani

Noris / Pallavicino

Giannini / Legrenzi

Apolloni / Pasquini

Bentivoglio / ——-

A. Aureli / A. Sartorio

Noris / P.A. Ziani

LIBRETTIST

Venice 1678

Venice 1678

Venice 1678

Venice 1678

Venice 1678

Venice 1678

Fano 1677

Venice 1677

Venice 1677

Venice 1677

Venice 1676, Naples 1686

Venice 1676

Rome 1673

Bologna 1673

Venice 1672

Venice 1672, Naples 1675

1ST / RELEVANT / ROME PERF.

Barb lat. 4170, nn. 2-3, 7-8, 10, 12, 14-15, 31, 37 Barb. lat. 4172, nn. 3, 9, 12, 19

Barb. lat. 4158, n. 34

Barb. lat. 4135, nn. 19, 25, 28, 30, 34-37, 43-52

Barb. lat. 4158, n. 31

Barb. lat. 4135, nn. 13-18, 20-24, 26-27, 29, 31-33, 38

Barb. lat. 4147, n. 14

Barb. lat. 4158, nn. 8?, 25

Barb. lat. 4147, nn. 1-2

Barb. lat. 4147, nn. 4-5, 16

Barb. lat. 4147, nn. 3, 9

Barb. lat. 4158, nn. 3, 11, 17

Barb. lat. 4158, nn. 13, 16

Barb. lat. 4158, n. 5

Barb. lat. 4158, n. 20

Barb. lat. 4158, n. 10

Barb. lat. 4158, n. 14

BARB. SCORES

LXXII TABLE 6.1

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09 Lindgren-Murata Table 6.indd 73

La Flora

Pompeo magno in Cilicia

Dalla padella alla bragia

Tutto il mal non viene per nuocere

1681

1681

1681

1681

1681

Irene e Costantino

1681

Il Creso

Antioco il grande

1679?

Dionisio overo La Virtù trionfante del Vizio

Il Narciso

1679

1681

Alessandro Magno in Sidone

1679

1681

Amor quando si fugge

Il Nerone

1678

TITLE

YEAR

/ COMPOSER(S)

De Totis / A. Scarlatti

Contini / Olivieri

Aureli / Freschi

Bonis / A. Sartorio, M.A. Ziani

Noris / Franceschini, Partenio

Corradi / Legrenzi

Rossini / Gianettini

Frisari / Legrenzi

Lemene / Borzio

Aureli / M.A. Ziani

Corradi / Pallavicino

Veltroni / A. Scarlatti?

LIBRETTIST

Rome 1681

Palestrina & Rome 1681

Venice 1681

Venice 1681

Venice 1681

Venice 1681

Venice 1681

Venice 1681

Lodi 1676, Rome (1679?)

Venice 1679

Venice 1679 exemplar: Barb.Stamp.JJJ. IV.4(1)

Rome 1678

1ST / RELEVANT / ROME PERF.

Barb. lat. 4156, n. 15

Barb. lat. 4210-11-12

Barb. lat. 4130 , nn. 18, 60, 63, 66-67 Barb. lat. 4137, nn. 1, 4, 7-9, 14, 1617, 20-21, 23, 27-30, 32, 38, 40, 44

Barb. lat. 4130, nn. 6-10, 12-17, 70 Barb. lat. 4137, n. 2-3, 6, 10, 12, 22, 25-26, 31, 36, 41

Barb. lat. 4130, nn. 1-5, 19-20, 22-23, 57-58, 62, 64-65, 68-69 Barb. lat. 4137, nn. 5, 11, 13, 15, 1819, 34, 37, 39, 42

Barb. lat. 4137, n. 43

Barb. lat. 4130, nn. 11, 33-34 Barb. lat. 4137, nn. 24, 33

Barb. lat. 4130, nn. 24-32, 35-56, 59, 61 Barb. lat. 4137, n. 35

Barb. lat. 4147, n. 11

Barb. lat. 4135, nn. 39-42

Barb. lat. 4135, nn. 1-12

Barb. lat. 4158, n. 2

BARB. SCORES

TABLE 6.1

LXXIII

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09 Lindgren-Murata Table 6.indd 74

La Tessalonica

Il Pompeo

Teodora augusta

Il silentio d’Arpocrate

La Gierusalemme liberata

Morselli / Gabrielli Il Mauritio (see also 1692 Mauritio)

1683

1683

1686

1686

1687

1687

[Santa Dinna]

La guerriera costante

1683

[1687]

L’innocenza risorta, o vero Etio

1683

B. Pamphili / Aless. Melani – Pasquini – A. Scarlatti

Corradi / Pallavicino

Minato / Pasquini

Morselli / Gabrielli?

Minato / A. Scarlatti

Minato / Pasquini

Fl. Orsini / A. Scarlatti

Morselli / P.A. Ziani?

G.B. Landi / Colonnese

Chi tutto vuol tutto perde

/ COMPOSER(S)

1681

LIBRETTIST

TITLE

YEAR

Barb. lat. 4139, nn. 4, 9, 17, 20 Barb. lat. 4140, nn. 1-26, 34, 39, 44, 49 Barb. lat. 4142, nn. 4, 11, 15, 18-19 Barb. lat. 4153, nn. 1-25

Rome 1687

Barb. lat. 4140, nn. 27-33, 35-38, 4043, 45-48, 50-51

Barb. lat. 4149, n. 5-15

Barb. lat. 4176, nn. 2-3, 5-6, 8, 11, 12-17, 19-20, 25-30, 32, 36-37

Barb. lat. 4148, nn. 2, 7-9, 11-13 Barb. lat. 4149, n. 44

Barb. lat. 4148, nn. 1, 3-6, 10, 14-15 Barb. lat. 4149, n. 45

Barb. lat. 4230

Barb. lat. 4158, n. 18

Barb. lat. 4149, nn. 17-37, 43

BARB. SCORES

Venice 1687, Modena 1689, Rome 1692

Venice and Dresden 1687

Rome 1686

Venice 1686

Rome 1683, Naples 1684

Rome 1683

Rome 1683

Venice 1683

Velletri 1681

1ST / RELEVANT / ROME PERF.

LXXIV TABLE 6.1

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28-May-18 11:20:26 PM

TITLE

Figlio delle selve

Il Gordiano

L’inganno regnante, overo l’Atanagilda, regina di Gottia

Orazio

Amore, amicitia e costanza

I giochi troiani

L’Aldimiro

Amor spesso inganna (see also 1694 Orfeo)

Teodora clemente

La gelosa di se stessa

Rosmene ovvero L’infedeltà fedele

L’Amazone corsara o vero L’Alvilda

YEAR

1687 / 1694

09 Lindgren-Murata Table 6.indd 75

1688

1688

1688

1688

1688

1688

1689

1689

1689

1689

1689 / 90

/ COMPOSER(S)

Corradi / A. Scarlatti

De Totis / A. Scarlatti?

Spagna / unknown

Morselli rev. Aureli / Gabrielli? & Sabadini

Aureli / Sabadini

De Totis / Franchi?

Capece / Pasquini

Apolloni / P. Franchi

V. Grimani?, rev. Frisari / G.F. Tosi

Corradi / M.A. Ziani

Morselli / Gabrielli

Capece / Bani

LIBRETTIST

Naples 1690

(Naples, 1688); Florence 1689, Rome 1690

Rome 1689

Piacenza 1689

Piacenza 1689 (rev. Rome 1694)

Rome 1688

Rome 1688

Rome 1688

Venice 1688

Venice 1688

Venice 1688

Rome 1687, 1694

1ST / RELEVANT / ROME PERF.

Barb. lat. 4162, nn. 22-24

Barb. lat. 4139, n. 18 Barb. lat. 4173, nn. 2, 7, 12

Barb. lat. 4213-14-15-16 Barb. lat. 4231, nn. 3 (De Luca?), 33

Barb. lat. 4176, nn. 1-37

Barb. lat. 4162, nn. 33-56

Barb. lat. 4139, n. 22

Barb. lat. 4173, n. 5

Barb. lat. 4173, nn. 13-15

Barb. lat. 4132, nn. 1, 6-9, 12, 16, 18, 22, 25, 34, 36

Barb. lat. 4132, nn. 5, 11, 13-15, 17, 23-24, 27, 29-31

Barb. lat. 4132, nn. 2-4, 10, 19-21, 26, 28, 32-33, 35

Barb. lat. 4139, n. 5 Barb. lat. 4173, nn. 4 (prob. not for 1687), 6

BARB. SCORES

TABLE 6.1

LXXV

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28-May-18 11:20:26 PM

TITLE

L’amor di Curzio per la patria

Brenno in Efeso

Creonte

Falsirena

Il gran Macedone

Pirro e Demetrio

Il trionfo della continenza

La caduta del regno dell’Amazzoni

Gli equivoci in amore, overo la Rosaura

L’incoronazione di Serse

La Virtù trionfante dell’ amore e dell’odio

YEAR

1690

09 Lindgren-Murata Table 6.indd 76

1690

1690

1690

1690

1690

1690

1690

1690, 1692

1691

1691

/ COMPOSER(S)

Silvani / M.A. Ziani

Morselli / G.F. Tosi

Lucini / A. Scarlatti

De Totis / Pasquini

Corradi / Alghisi

Morselli / G.F. Tosi

Pancieri / Boniventi

Cialli / M.A. Ziani

Cialli / M.A. Ziani

Arcoleo / Perti

Corradi / Alghisi

LIBRETTIST

Venice 1691

Venice 1691

Rome 1690 Rome 1692

Rome 1690

Venice 1690

Venice 1690

Venice 1690

Venice 1690

Venice 1690

Venice 1690

Venice 1690

1ST / RELEVANT / ROME PERF.

Barb. lat. 4154, nn. 1-32 Barb. lat. 4165, nn. 3, 13 Barb. lat. 4143, nn. 15, 19-20, 22, 27, 31 Barb. lat. 4169, nn. 33-43, 45, 48

Barb. lat. 4142, nn. 14, 30-31, 42, 46, 49

Barb. lat. 4155, nn. 2-11 Barb. lat. 4152, n. 24

Barb. lat. 4162, nn. 1-21

Barb. lat. 4142, nn. 23, 37-41, 43-45, 47; sole musical source

Barb. lat. 4142, nn. 22, 51-52, 54, 65, 69, 71

Barb. lat. 4142, nn. 24-29

Barb. lat. 4142, nn. 53, 59, 62-63, 66, 70; sole musical source

Barb. lat. 4132, nn. 47-50, 56-59, 62-65 Barb. lat. 4142, nn. 32-36

Barb. lat. 4142, nn. 21, 50, 61, 64, 67-68

Barb. lat. 4142, nn. 55-58, 60 sole musical source

BARB. SCORES

LXXVI TABLE 6.1

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09 Lindgren-Murata Table 6.indd 77

Rome 1692

Rome 1692

Minato (rev.) / G. Bononcini Pollioni / Pasquini

L’Agrippina

L’Ibraim sultano

Furio Camillo

Onorio in Roma

L’ingresso alla gioventù di Claudio Nerone

Amilcare di Cipro

L’Eraclea o vero il Ratto delle sabine

L’Eudossia

Il Mauritio

[1691]

1692

1692

1692

1692

1692

1692

1692

1692

Morselli / Gabrielli, rev. De Luca

Gargiera / G.P. Colonna

Neri / Gianettini

Giannini / Pollarolo

Noris / Perti

Morselli / Pollarolo

De Totis / Lulier

Morselli rev. Aureli / Pollarolo rev. Sabadini

Venice 1687 / Rome 1692

Bologna 1692

Modena 1692

Venice 1692

Venice & Milan 1692

Venice 1692

Rome 1691 cancelled

Piacenza 1691 (lib. pub. Parma)

Genoa 1691, Venice & Modena 1691

La pace fra Tolomeo e Seleuco

Silvani / Perti

1691

1ST / RELEVANT / ROME PERF.

L’inganno scoperto per vendetta

/ COMPOSER(S)

1691

LIBRETTIST

TITLE

YEAR

Barb. lat. 4139, n. 4 Barb. lat. 4152, nn. 1-13, 16-22 Barb. lat. 4167, nn. 1-2, 4-10, 12-22, (24) Barb. lat. 4168, n. 37

Barb. lat. 4231, n. 26

Barb. lat. 4161, nn. 1-16 Barb. lat. 4164, nn. 1-13 Barb. lat. 4167, n. 3

Barb. lat. 4206, nn. 21-22

Barb. lat. 4206, nn. 7-16

Barb. lat. 4165, nn. 11, 30 Barb. lat. 4166, nn. 1-42 Barb. lat. 4169, n. 5

Barb. lat. 4165, nn. 1, 6, 8, 20, 33 Barb. lat. 4169, nn. 1-4, 6-32, 50

Barb. lat. 4165, nn. 2, 4-5, 7, 10, 12, 14-15, 17-19, 22-29, 31-32 Barb. lat. 4143, nn. 14, 21, 23, 2526, 29 Barb. lat. 4169, nn. 44, 46-47, 49, 51

Barb. lat. 4155, nn. 12-29 Barb. lat. 4152, n. 23

Barb. lat. 4171, n. 16 Barb. lat. 4159, nn. 21, 23

Barb. lat. 4132, nn. 37-46, 51-55, 6061, 66-69

BARB. SCORES

TABLE 6.1

LXXVII

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TITLE

Il trionfo dell’innocenza

Lisimaco

Il Vespasiano

Il Seleuco

Flavio Cuniberto

Amage, regina dei Sarmati

Alfonso primo

L’Amore figlio del merito

Irene

La moglie nemica

L’Orfeo

Ottone

YEAR

1693

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1693

1693

1693

1693

1693-94

1694

1694

1694

1694

1694

1694

/ COMPOSER(S)

Frigimelica Roberti / Pollarolo

Aureli / Sabadini

Silvani / M.A. Ziani

Frigimelica Roberti / Pollarolo

Noris / M.A. Ziani

Noris / Pollarolo

Corradi / Pollarolo

Noris / A. Scarlatti

Morselli rev. Aureli / Pollarolo rev. Sabadini – unknown

Corradi, rev. Aureli & Porfiri / Pallavicino – Sabadini – unknown

Sinibaldi (rev.) / Pasquini? – M.A. Ziani

Cialli / Lotti

LIBRETTIST

Venice 1694

Piacenza 1689, Rome 1694

Venice 1694

Venice 1694

Venice 1694

Venice 1694

Venice 1693

Naples 1693

Rome 1693

Rome 1693

Ferrara 1693

Venice 1693

1ST / RELEVANT / ROME PERF.

Barb. lat. 4131, nn. 16-19, 21, 28, 37-38

Barb. lat. 4139, nn. 2-3

Barb. lat. 4131, nn. 6, 10, 32-36, 40

Barb. lat. 4174, nn. 2-3, 5-6, 8, 15, 18, 31 Barb. lat. 4133, n. 3, 5-6, 11, 20

Barb. lat. 4131, nn. 4, 8, 11, 20, 31, 39, 41, 43

Barb. lat. 4131, nn. 1-3, 5, 7, 9, 30, 42

Barb. lat. 4144, nn. 3, 5, 7-8, 18, 30-32

Barb. lat. 4143, nn. 1-3, 41-46 Barb. lat. 4144, nn. 1-2, 4, 6, 9-14, 27-29, 33-39, 42-45

Barb. lat. 4171, nn. 16-17

Barb. lat. 4170, nn. 1-37 Barb. lat. 4172, nn. 1-44

Barb. lat. 4131, n. 29 Barb. lat. 4138, nn. 6, 8

Barb. lat. 4143, nn. 16-18, 24, 28, 30

BARB. SCORES

LXXVIII TABLE 6.1

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TITLE

La costanza vince il destino

Gl’inganni felici

Laodicea e Berenice

Il pastore d’Anfriso

Il principe selvaggio

La Rosalinda

Rosimonda

Nerone fatto Cesare

Basilio, re d’oriente

Il Domizio

YEAR

1695

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1695

1695

1695

1695

1695

1695

1695

1696

1696

/ COMPOSER(S)

Corradi / M.A. Ziani

Neri / Navarra

Noris / A. Scarlatti

Frigimelica Roberti / Pollarolo

Marchi / M.A. Ziani

Silvani / M. Gasparini

Frigimelica Roberti / Pollarolo

Noris / Perti

Zeno / Pollarolo

P. Romolo, abb. Pignatta / Pignatta

LIBRETTIST

Venice 1696

Venice 1696

Rome and Naples 1695

Venice 1695

Venice 1692, 1695

Venice 1695

Venice 1695

Venice 1695

Venice 1695

Venice 1695

1ST / RELEVANT / ROME PERF.

Barb. lat. 4134, nn. 7-11, 22-25, 2930, 41, 59-60

Barb. lat. 4133, nn. 17-19, 57-58, 6065, 75 (sole musical source)

Barb. lat. 4206, n. 6

Barb. lat. 4133, nn. 31, 52, 77, 81-82, 84-85 Barb. lat. 4134, nn. 27, 36-40, 42, 58, 64-67, 69, 75, 81-85, 87

Barb. lat. 4131, nn. 13-15

Barb. lat. 4174, nn. 20-21, 23-25, 27 sole musical source

Barb. lat. 4174, nn. 1, 7, 9, 12, 14, 16-17, 28, 32-33 Barb. lat. 4134, n. 32 Barb. lat. 4133, nn. 2, 4, 7-9, 12, 14

Barb. lat. 4174, nn. 4, 10-11, 13, 19, 22, 26, 29-30

Barb. lat. 4131, nn. 22-27 Barb. lat. 4133, nn. 33, 35-38, 41-43, 45, 69-74, 83, 88-91 Barb. lat. 4134, nn. 1-6, 33, 35, 4857, 73-74, 76-77

Barb. lat. 4133, nn. 39, 46-49, 51, 5354, 59, 66-68, 76, 79 Barb. lat. 4134, nn. 26, 28, 43, 6263, 86 sole musical sources

BARB. SCORES

TABLE 6.1

LXXIX

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L’Eraclea

Ercole in cielo

La finta pazzia d’Ulisse

Flavio Cuniberto

Penelope la casta

Il re infante

Il trionfo di Camilla

Didone delirante

Il Giustino

La prosperità di Elio Seiano

L’inganno di Chirone

Dagl’inganni alle nozze

1696

1696

1696

1696

1696

1696

1696

1696

1697

1699

1700

1714

TITLE

YEAR

/ COMPOSER(S)

[Candi] / Bencini?

D’Averara / Pollarolo

Minato / Vanarelli, Perti, Martinengo

Beregan / unknown

Franceschi rev. Paglia / A. Scarlatti

Stampiglia / G. Bononcini

Noris / Mancia

Noris / Perti

Noris / Mancia

Noris / M.A. Ziani

Frigimelica Roberti / Pollarolo

Godi / Sabadini

LIBRETTIST

Palestrina and Rome 1714

Milan 1700

Milan 1699

Modena 1697

Naples 1696

Naples 1696, Rome 1698

Rome 1696

Rome 1696

Rome 1696

Venice 1696

Venice 1696

Venice 1696

1ST / RELEVANT / ROME PERF.

Barb. lat. 4224-25-26 Barb. lat. 4231, nn. 29-32

Barb. lat. 4143, nn. 9-13, 32-40 Barb. lat. 4144, nn. 21-23

Barb. lat. 4143, nn. 4-8 Barb. lat. 4144, nn. 15-17, 19-20, 2426, 40-41

Barb. lat. 4138, nn. 1-2, 4-5

Barb. lat. 4141, nn. 1-5, 12-51

Barb. lat. 4171, nn. 1-11, 18-19

Barb. lat. 4171, nn. 12-15 Barb. lat. 4160, n. 3

Barb. lat. 4159, n. 24 Barb. lat. 4160, nn. 1-2, 4-24

Barb. lat. 4231, nn. 7-11 Barb. lat. 4159, nn. 1-20, 22 Barb. lat. 4160, nn. 25-27

Barb. lat. 4133, nn. 44, 50, 55-56, 78, 80, 86-87 Barb. lat. 4134, nn. 31, 34, 44-47, 61, 68, 70-72, 78-80 sole musical sources?

Barb. lat. 4134, nn. 12- 21 sole musical source

Barb. lat. 4133, nn. 21-30, 32, 34

BARB. SCORES

LXXX TABLE 6.1

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4136, 4148, 4149, 4156, 4158, 4223

4149 4139

Rome

Velletri

Naples

in 14 volumes, 6 with Roman repertory

4231

Viterbo

Florence

Fano

in 34 volumes, 20 with Roman repertory

4141, 4143, 4144, (4158?), 4162, 4171, 4173, 4206

4139, 4140, 4142, 4149, 4152, 4153, 4155, 4159, 4160, 4161, 4162, 4164, 4167, 4168, 4170, 4171, 4172, 4173, 4206, 4231

4139, 4173

4132

4206

Bologna 4158

4132, 4138, 4139, 4140, 4142, 4206

Modena

Genoa

4131, 4138 4158

4139, 4159, 4162, 4171

Ferrara

4131, 4132, 4133, 4134, 4139, 4140, 4142, 4143, 4144, 4152, 4154, 4165, 4166, 4167, 4168, 4169, 4174, 4176

Piacenza

Barb. lat. 4143, 4144, 4165 Barb. lat. 4130, 4135, 4137, 4139, 4147, 4158, 4170, 4172

1686-1700

Venice

1642-1685 (to the death of Prince Maffeo)

Milan

Source opera place | date → ↓

BARBERINI VOLUMES WITH ARIE STACCATE

TABLE 6.2

TABLE 6.2

LXXXI

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ILLUSTRATIONS

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ILLUSTRATIONS

LXXXV

Illus. 1. Arms of Card. Francesco Barberini senior, from the binding of Barb. lat. 4376.

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LXXXVI

ILLUSTRATIONS

Illus. 2. Arms of Card. Antonio Barberini junior, from the binding of Barb. lat. 4374.

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ILLUSTRATIONS

LXXXVII

Illus. 3. Arms of Prince Maffeo Barberini and Olimpia Giustiniani from the binding of Barb. lat. 4208.

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LXXXVIII

ILLUSTRATIONS

Illus. 4. Arms of Card. Carlo Barberini: title-page of B. Graziani, Motetti, op. 12, Rome 1673 (Capp.Giulia.XV.91).

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ILLUSTRATIONS

LXXXIX

Illus. 5. Arms of Prince Maffeo Barberini, from the binding of Barb. lat. 4135.

Illus. 6. Arms of Prince Urbano Barberini, from the binding of Barb. lat. 4170, arias from Il Vespasiano, Rome 1693

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ILLUSTRATIONS

Illus. 7. Aria copied by Flavio Lanciani, Barb. lat. 4170, n. 5, f. 21.

XC

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ILLUSTRATIONS

XCI

Illus. 8. Arms of Francesco Barberini junior, Title-page of G. TOFINI, Le dolcezze di Pindo, Fermo 1690, Stamp. Barb. JJJ.VI.47.

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ILLUSTRATIONS

Illus. 9. Music in the hand of Giovanni Girolamo Kapsperger, Barb. lat. 4151, f. 108v.

XCII

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ILLUSTRATIONS

XCIII

Illus. 10. Quando mi chiede Amore in the hand of Luigi Rossi, Barb. lat. 4374, f. 1v.

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XCIV

ILLUSTRATIONS

Illus. 11. Quando mi chiede Amore set by Marco Marazzoli, in the composer’s hand, Chigi Q.VIII.177, f. 77v.

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ILLUSTRATIONS

XCV

Illus. 12. Music in the hand of Marco Marazzoli, Barb. lat. 4375, f. 1v.

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XCVI

ILLUSTRATIONS

Illus. 13. Receipt of Antonio Maria Abbatini, 14 June 1656, Archivio Barberini, Card. Francesco senior, Giustificazioni I.115, f. 265.

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ILLUSTRATIONS

XCVII

Illus. 14. Music in the hand of Antonio Maria Abbatini, from Dal male il bene, Barb. lat. 4387, f. 175.

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XCVIII

ILLUSTRATIONS

Illus. 15. Music in the hand of Bernardino Terenzi, Barb. lat. 4387, f. 69.

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ILLUSTRATIONS

XCIX

Illus. 16. Receipt signed by Pietro Paolo Bencini, April 1689, Archivio Barberini, Comp. 342, n. 25, f. 56.

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C

ILLUSTRATIONS

Illus. 17. Music in the hand of P.P. Bencini, Le gare festive, Barb. lat. 4228, f. 35.

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FORMAT OF THE ENTRIES The inventory and description of each volume consists of four sections: (A) a summary account of the contents, (B) the musical contents, item by item, (C) physical description of the volume, and (D) comments. At the end of each scheda is the identification code number of the volume in OPACSBN. Sections (B) and (C) are further described below. Individual items (B) The descriptions of individual items present the information in the order: 1 Ordinal number – folio or page range – NAME OF THE COMPOSER – other inscriptions above the first musical staff. Names and other inscriptions in the heading are not given in the order that they appear on the page. They are separated by dots, except when a word or phrase in the heading applies only to the first section of music and not the entire item, as in “Prima” or “streviglio” (refrain), in which case a colon (:) precedes the text incipit. No words in headings appear within quotation marks. EXAMPLE (from Barb. lat. 4222) 1 2 3 41 (ff. 179-182v) [PASQUALINI]. MAP. P[rima]: Lascio il core e senza te, SB/B, 6 7 E minor, 2 str. MURATA n. 129b. The solo model Barb. lat. 4221, n. 49 is attributable to Pasqualini; see also Barb. lat. 4201, n. 35. 2 Text of the musical incipit in italics. First lines are given of vocal pieces; second lines are given when the first is too generic, common, or has few words. 3 Scoring, closing “key”; fixed form only when common, except for da capo arias, which were prevalent after ca. 1690. For music before ca. 1670, “key” designations describe the general harmonic focus, irrespective of the mode of the closing chord. Other observations on the musical notation or performing instructions may follow. 4 For theatrical music, role, act and scene, title or short title of the larger work. Differences between the Barberini score and libretto may be noted here.

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CII

FORMAT OF THE ENTRIES

EXAMPLE (from Barb. lat. 4135) 1 2 3 15 (ff. 29-30v) [FRESCHI]. S.n Angiolo. Donne belle, mi piacete, D minor. 4 5 For Sardanapalo in I:18 of SARDANAPALO (Venice 1679). Also in two scores to the opera, I-Vnm It.Cl.IV, 452 (= 9976), ff. 36-37, and F-Pc 8351, ff. 38-39. 6 ZANF 5:30. 5 Known concordances, related compositions, and modern musical editions. Specific studies, where relevant. In general, concordances with attributions are listed in alphabetical order by RISM sigla, followed by anonymous concordances, also alphabetical by siglum. 6 References to appearances in other published indexes. 7 Related musical compositions. 8 Other musical settings of the same poems or libretto texts, as well as mistaken concordances are indicated in an appended paragraph.

EXAMPLE (from Barb. lat. 4152) 1 2 3 4 5 (ff. 17v-22v) [DE LUCA]. Per me non la so intendere, C minor. For Mauritio 5 in I:11 of MAURITIO. Attributed to “S.r Severo” in D-MÜs 172, ff. 61-64, and anon. in three other Roman collections, D-MÜs 595, ff. 83-88; Barb. lat. 4167, n. 1 (S/TrB); and I-Rc 2465, ff. 127-36v (S/TrB). Misattributed to “Alessandro Scarlatti” in GB-Lbl Harley 1273, ff. 71-73 (S/TrB). 8 Gabrielli’s different setting for Venice 1687 is anonymous in the Venetian collections BAV Barb. lat. 4140, n. 34; F- Pn Vm7 5, ff. 176-77; and I-MOe Mus. G.78, n. 18. Alessandro Scarlatti set a different text with similar incipit, Per me non so intendere, for Lisetta in I:4 of GLI EQUIVOCI NEL SEMBIANTE (Rome 1679), ed. F.A. D’Accone in The Operas of Alessandro Scarlatti, vol. 7, Cambridge, MA 1982 (Harvard Publications in Music, 12), p. 54.

Physical description (C) The physical description of each volume gives information in the following order.

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FORMAT OF THE ENTRIES

CIII

— Binding and bound size – inscriptions on the covers – description of the spine and front pastedown – description of the edges, if of note. — Watermarks and gathering structure (the latter not for every volume) — Inscriptions on unruled folios or flyleaves. — Foliation or pagination. Folios or pages with blank staves only. — Tables or indexes — Copyists. These have been identified serially within each volume as Hand A, Hand B, Hand C, etc. Capilettere, drawings, etc. Other Names, words, and letters in square brackets [ ] are editorial insertions. Only where a text passage has numerous common abbreviations to be resolved are editorial insertions rendered in italics, for reasons of legibility. Rubrics, section headings, perfomance instructions, etc. that are not in the headings are given as they appear on the page in double quotation marks (“ ”). Subject titles are given between double quotation marks and not in italics. (Subject titles do not appear in the Indexes.) EXAMPLES (from Barb. lat. 4168 and 4227) 7 (ff. 20-21v) M. S[AVIONI]. Quella luce che s’indorò, B! major; 3 str., text only for str. 2-3. Musical incipit in WECIS 2. A version for SB/B is I-Bc Q.44, ff. 24v-25v. Another setting of the text by G. G. Kapsperger is KAPSPERGER 1632, p. 11, where the text with the subject title “Instabilità mondana” is attributed to Francesco Buti. 3 (ff. 58-74) PIETRO PAOLO BENCINI. AMINTA, E DORI. Cantata a due con VV. Aminta. Incipit Nell’onda d’occidente, senza velo di nubi. Partbook scored A/B with verbal cues, recitatives, three solos, and the duet cited in n. 1 above. Desinet “ingrato ingrato alla mia fé. Fine” (f. 74). The instruction “Viol.o solo piano” occurs in the aria Temo ne so di che (ff. 62-64v), since the partbook has no music for the violin.

Final words (excipits) are provided only for those works that may be incomplete in these or other sources, and for longer works, especially those for which multiple musical settings or revisions are known. These are transcribed in plain font within double quotation marks (“ ”). Author sigla are given for reference citations that appear in more than one scheda. Complete citations appear in the General Bibliography and the Bibliography of Printed Musical Sources.

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CIV

FORMAT OF THE ENTRIES

Libraries, except for the Vatican Library (BAV), are represented by sigla established by the International Inventory of Musical Sources (Répertoire International des Sources Musicales = RISM). Current sigla are listed at .

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LIST OF ABBREVIATIONS — Libraries and their locations are indicated by RISM sigla (Répertoire Internationale des Sources Musicales), except for Vatican holdings. — Musical pitches are designated by letter name and a register within octaves between C and C. 1st

first (as in first edition)

2nd

second (as in second edition)

3rd

third (as in third quarter)

A

alto clef (C3)

anon.

anonymous

ArchBarb

BAV, Archivio Barberini with various internal divisions, each with further internal series: Indice, Computisteria, Giustificazioni, etc. attributed, attribution bass clef (F4) for voices or instruments baritone clef (F3) for voices or instruments BAV Fondo Barberiniani latini basso continuo Biblioteca Apostolica Vaticana century circa Cappella cardinale, Cardinal chapter editor, edited by edition don (as in don Gaspare Gasparino) (musical) director dissertation folio, folios facsimile footnote impression/imprint incipit; incomplete

attrib. B Bar Barb. lat. bc BAV c. ca. Capp. card. chap. ed. edn D. dir. diss. f., ff. facsim. fn. impr. inc.

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CVI

jr ll./ ll. LU Magl. mm m., mm. Ms ms., mss. n., nn. n.s. Ob OC p., pp. qtr q.v. repr. rev. rit. S S. S.A. S.C. sr S.G.G. S.L. S.G.P. Ss. SS. str. T Tr trans. v vc vn, vv. vol.

LIST OF ABBREVIATIONS

junior, the younger lines (as in staff lines) / leaves Liber usualis Magliabecchiani millimeter(s) measure, measures mezzo-soprano clef (C2) for voice(s) or instrument(s) manuscript, manuscripts number, numbers new series, nuova serie oboe Opera Completa page, pages quarter quod vide (often refers the reader to a master entry with complete concordances) reprint revised by, revised edn ritornello (instrumental) soprano clef (C1) for voice(s) or instrument(s) San, Sant’, Santa, Santo Venice, Teatro Sant’Angelo Venice, Teatro San Cassiano senior, seniore, the elder Venice, Teatro San Giovanni Grisostomo Venice, Teatro San Luca (also known as Teatro S. Salvatore) Venice, Teatro Santi Giovanni e Paolo santi santissimi, santissime strophe(s), stanza(s) tenor clef (C4) for voice(s) or instrument(s) treble clef (G2) for voice(s) or instrument(s) translated by, translation verso violoncello violin, violins volume

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REFERENCES TO PRINCIPAL ONLINE PORTALS AND RESOURCES FOR MUSIC1 CLORI

CLORI. Archivio della Cantata italiana http://www.cantataitaliana.it/progetto.php

CORAGO

CORAGO. Repertorio e archivio di libretti del melodramma italiano dal 1600 al 1900 http://corago.unibo.it

DIAMM

Digital Image Archive of Medieval Music http:// www.diamm.ac.uk/ms-database/

Dresden SLUB

Dresden, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) http://digital.slub-dresden.de http://digital.slub-dresden.de/listenansicht/

DVL

Digital Vatican Library https://digi.vatlib.it/

GALLICA

Digital archive of the Bibliothèque nationale de France (BNF), with a search category for musical manuscripts (partitions) http://gallica.bnf.fr/html/und/manuscrits/manuscrits

Gaspari online

Catalogue to the music holdings of the Museo Internazionale e Biblioteca della Musica di Bologna, includes digital reproductions http://www.bibliotecamusica.it/cmbm/scripts/gaspari/src_aut.asp

GB-Och

Oxford, Christ Church College, Music Catalogue (online) http://library.chch.ox.ac.uk/music/page.php?

Grove Music Online 1

Incorporates and updates The New Grove Dictionary of Music and Musicians, 2d edn, London 2001

URLs accessible in 2016.

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CVIII

REFERENCES TO PRINCIPAL ONLINE PORTALS

http://www.oxfordmusiconline.com/public/book/omo_gmo

I-MO-BEU

Modena, Biblioteca Estense Universitaria, Musicali http://bibliotecaestense.beniculturali.it/info/img/mus.html

ICCU

Istituto Centrale per il Catalogo Unico delle biblioteche italiane e per le informazioni bibliografiche http://www. iccu.sbn.it/. Coordinates OPAC-SBN, the Italian Online Public Access Catalogue of the Servizio Bibliotecario Nazionale, an online national union catalogue. Music holdings may be searched from http://opac.sbn.it/opacsbn/opac/iccu/musica.jsp

Internet Culturale Internet portal for Cataloghi e collezioni digitali delle biblioteche italiane. Includes digitized selected scores from I-Fc, I-Vnm, I-Nc, etc. but in 2016 not scores in I-MOe or I-Bc. http://www.internetculturale.it/opencms/opencms/it/index.html

MdZ

Münchner DigitalisierungsZentrum. Digitale Bibliothek. Digital library of the Bavarian State Library, includes libretto holdings of the Music Section of the German Historical Institute, Rome http://www.digital-collections.de/index.html?c=startseite&l=en http://www.digital-collections.de/index.html?c=startseite&l=it

RISM online

International Inventory of Musical Sources (RISM) https://opac.rism.info/metaopac/start.do?View=rism&Language =en

RISM PSME

Printed Sacred Music in Europe, 1500-1800 http://www.printed-sacred-music.org

TML

Thesaurus musicarum latinarum http://www.music.indiana.edu/tml/start.html

URFM

Ufficio ricerca fondi musicali Catalogo nazionale dei manoscritti musicali http://www.urfm.braidense.it/cataloghi/catalogomss.php

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CATALOGUE

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Barb. lat. 171 early 1400s?, 95 × 215 and 328 × 170 mm, 3 ff., 1 or 2 hands

Six fragments from six anonymous settings of the Gloria from the binding of Barb. lat. 171. Two bifolia are now numbered ff. 223-224; one other leaf is numbered f. 225; they are possibly from the same manuscript. Three Gloria settings are troped (nn. 1-3). Three musical fragments are for one voice (nos. 3-4 and 6), and three exhibit division into two voices (nos. 1-2 and 5). Bibliographical references follow the comments. Online in DVL. 1 (f. 223r supra) Fragment of a troped Gloria, C2 clef, with two voices in the tropes. Listed in VON FISCHER and GALLO (1976), Appendix II (1) as Gloria. O redentor noster, p. 187. BANNISTER n. 746 describes the Barberini fragment as “Gloria in excelsis per tre voci,” p. 185. 2 (f. 223r infra) Fragment of the end of a troped Gloria, C2 clef. Red notation indicates divisi into two voices. Desinet “in gloria Dei Patris. Am[en].” According to CUTHBERT 2006, p. 287, this fragment is not a continuation of the Gloria in n. 1 above. Listed in CUTHBERT and NYIKOS 2010 as Gloria … quos libriata. 3 (f. 223v supra) Fragment of a troped Gloria, monophonic, C2 clef. CUTHBERT 2006, p. 287, observes that this is not a continuation of either setting on the recto. Listed in VON FISCHER and GALLO (1976), Appendix II (1) as Gloria… qui semper, p. 187. 4 (f. 223v infra) Fragment of a Gloria, monophonic, without clef. According to CUTHBERT 2006, p. 287, this is not a continuation of n. 3, and may have had an F3 clef. Listed in VON FISCHER and GALLO (1976), Appendix II (1) with four concordances, p. 187. 5 (f. 225r) Fragment of a Gloria for [contratenor] and “tenor.” Concordant with Gloria Clementie pax for 3 voices in I-Pu 1475, ff. 47v-48 (ed. VON FISCHER and GALLO (1976), pp. 30-37; 194-195). Von Fischer and Gallo note that the Amen in Barb. lat. 171 differs significantly. Another modern edn (based on I-Pu) is G. DE VAN, Les monuments de l’Ars nova: La musique polyphonique de 1320 à 1400 environ, Paris, Éditions de l’Oiseau-Lyre, s.d., pp. 31-41. 6 (f. 225r) Fragment of a Gloria, monophonic, C3 clef only. Modern edn K. VON FISCHER and F.A. GALLO, Italian Sacred and Ceremonial Music, Monaco 1987, pp. 232-233; 287.

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Three parchment remnants, mounted on modern preservation sheets. Folio 223 retains left and right margins, but has much loss of music, with horizontal portions of the bifolios missing and cuts made to fit around the spine. What remains of f. 224 (the second leaf of the bifolium) has only blank staves. The right side of f. 225 has been trimmed, with loss of music; f. 225v has blank staves only. A modern hand has, with pencil, numbered the fragments 1a, 1b, 2a, 2b, 3a and 4 (f. 224r-v), and 5 (on f. 225). Items 1-5 are in mensural notation. In 2014 the online Digital Image Archive of Medieval Music (DIAMM) listed only four items (www.diamm.ac.uk/ms-database/), with bibliography, incipit, and texts. RISM B.IV4, pp. 1018-1019, includes musical incipits for nn. 1, 5, and 6; cites the modern editions of nn. 5-6; and gives a bibliography. It considers the “top” and “bottom” remnants of ff. 223-224 to be from the same bifolium. Michael Scott CUTHBERT argues that they come from two different bifolios, in Trecento Fragments and Polyphony beyond the Codex, Ph.D. diss. (Harvard University, 2006), pp. 284-297, which includes transcriptions of nn. 1-4 (his Exx. 3.9-12). Barb. lat. 171, with the incipit Sinomina magistri Simonis de Januuo (Simon of Genoa), is a collection of medical treatises, unrelated to the musical fragments. Bibl.: H. M. BANNISTER, Monumenti vaticani di paleografia musicale latina, Codices e Vaticanis selecti phototypice expressi, vol. 12, Leipzig 1913, n. 746. H. BESSELER, Studien zur Musik des Mittelalters. I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts, in Archiv für Musikwissenschaft 7 (1925), p. 228. P. SALMON, ed., Les Manuscrits liturgiques latins de la Bibliothèque Vaticane, 5 vols. Studi e testi, Vatican City, 1968-1972, vol. 2, p. 476. K. VON FISCHER and F.A. GALLO, eds, Italian Sacred Music, vol. 12: Polyphonic Music of the Fourteenth Century, Monaco 1976. M.S. CUTHBERT, Trecento Fragments and Polyphony beyond the Codex, unpub. Ph.D. diss. Harvard University 2006, esp. pp. 284-297. ——, and Elizabeth Nyikos, Style, Locality and the Trecento Gloria, in Acta Musicologica 82 (2010), pp. 185-212. Barb. lat. 171-657 ——. Church Polyphony apropos of some Old Fragments in Rome, in L’ars nova italiana del Trecento 8 (2014), pp. 167-181, with musical transcriptions.

Barb. lat. 657 14th-15th c., 280 × 200 mm, 429 ff., 6 staves

A notated Roman missal from the second half of the 14th century, followed (from f. 406) by a Kyriale of later date, within which is a two-part ho-

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5

mophonic Credo, the only music notated as polyphony in the manuscript. Bibliographical references follow the comments. (ff. 419v-423) Credo, Bar/Bar. A facsimile of ff. 419v-20 is in GALLO-VECTav. 31 (see below). BANNISTER, n. 845. Modern edn in VON FISCHER – GALLO 12, pp. 45-48; 195-196. CHI,

On parchment. A description with bibliography and musical incipits is in RISM B IV4/II, p. 1028. Other single-voice chants in the same section of the ms. appear in polyphony in other sources, e.g., the Benedicamus Domino “Flos filius” (f. 422v); for a brief discussion and concordances, see CUTHBERT 2006, pp. 71-72 and 404. Bibl.: F.A. GALLO – G. VECCHI, I più antichi monumenti sacri italiani, parte prima. Bologna 1968 (Monumenta lyrica medii aevi italica, 3). G. CILIBERTI, Diffusione e trasmissione del Credo nelle fonti mensurali del tardo medioevo (nuove evidenze in Italia Centrale), in Musica Disciplina 44 (1990), pp. 57-87. M.S. CUTHBERT, Tipping the Iceberg: Missing Italian Polyphony from the Age of Schism, in Musica Disciplina 54 (2009), pp. 39-74. For additional earlier references, see DIAMM. Barb. lat. 657-1862

Barb. lat. 1862 after 1456-1458, 220 × 148 mm, I.103.I ff., 3 + 6 staves, one hand

A single three-voice Latin motet in white mensural notation on 5-line staves, in a volume of letters to, from, or received by Cardinal Aeneas Piccolomini, later Pius II. Online in DVL. (ff. 101v-102) Summe deus maiestatis / Juste judex equitatis, C2/C4/C4 clefs, the latter two marked “Tenor” and “Contra,” finalis D, motet. The upper voice only is on f. 101v; the individual lower parts on f. 102. Modern binding in half parchment (238 × 158 mm). On the spine a pink Vatican sticker with a printed shelfmark; another is inside the front cover along with a printed label and the handwritten number “1324” (in ink now purple). A modern hand has also written the old shelfmark XXIX.206 in black ink. Pages at the front and back are worm-eaten, including the modern guard sheets, and especially ff. 99-103. The foliation in ink is modern. Folio 1 bears the heading “Aenèæ Card.lis Senen. Ep.lae” as a later addition, not in the hand of the principal copyist (ff. 1-98). Spaces for ini-

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tial letters are blank throughout. For contents, see the entry in the BAV Manuscripts Catalogue online. Folios 98v-103v consist of miscellaneous quotations and poems in Provençal and Latin, and scribbling. Folio 101r is blank. The staff lines for music were hand drawn. Three staff lines and a single line with practice music notes are on f. 103v. BIBL.: BANNISTER n. 846; RISM B.IV5, p. 412; DIAMM. Barb. lat. 1862-4130

Barb. lat. 4130 1681-1682 or later, 64 × 189 mm, I.142.I ff., 4 staves, 2 hands

Anthology of seventy arias in soprano clef with basso continuo (S/B) composed for five Venetian operas produced in 1681 and 1682. All except n. 51 for “Negrenzi” are anonymous. Thirty (to thirty-three) arias were sung in ANTIOCO IL GRANDE, libretto by Girolamo Frisari, music by Giovanni Legrenzi; sixteen (to seventeen) in DIONISIO OVERO LA VIRTÙ TRIONFANTE DEL VIZIO, libretto by Matteo Noris, music by Petronio Franceschini (act I), completed by Giovanni Domenico Partenio (sinfonia and acts II-III); and twelve in LA FLORA, libretto by Novello Bonis, music by Antonio Sartorio, completed by Marc’Antonio Ziani. Both Franceschini and Sartorio died in December 1680. Five were sung in POMPEO MAGNO IN CILICIA, libretto by Aurelio Aureli, music by Giovanni Domenico Freschi; and three in IRENE E COSTANTINO, libretto by Andrea Rossini, music by Antonio Zanetti (Gianettini). Four arias have not been found in any libretto: n. 21 may be from DIONISIO, the opera in which nn. 19-20 and 22-23 were sung. Items 31, 43 and 52 may be from ANTIOCO, the opera in which nn. 24-30, 32, 42, 44-51 and 53-55 were sung. 1 (ff. 1-2v) [PETRONIO FRANCESCHINI]. Tu fuggisti o cara notte, S/B, A major. For Dionisio in I:1 of DIONISIO (Venice 1681 and 1682). In the score to the opera, I-Vc Fondo Correr Busta 9.5, ff. 5-6. Concordances are in I-Bca A.462, ff. 55-56; I-Nc 33.5.32 (Cantate 37), n. 61, ff. 154-155; Nc 33.5.37, ff. 122-123; and I-Vqs 1432 (Cl.VIII.6), ff. 118-19v, where arias on ff. 102145 are labeled “Dell’Dionisio delli SS.ri Petronio Fran.chi e Don Partenio in SS. Gio. e Paolo, anno 1681”; see ROSSI-QS, pp. 26-27. Barb. lat. 4130 Cara notte, deh spiega in D-Dl Mus. 1-I-2,3, ff. 144v-45v = pp. 288-290, has a very similar vocal melody (RISM 212007428 and online at Dresden SLUB.)

2 (ff. 3-4v) [GIOVANNI DOMENICO PARTENIO]. S’un labro m’innamora, un labro io bacerò, S/B, B! major. For Dionisio in II:6 of DIONISIO (1681 and

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7

1682). Also in I-Bca A.462, ff. 59-60; and I-Nc 33.5.32, n. 61, ff. 157-158 (Internet Culturale access); and I-Vqs 1432, ff. 122-23v. A different aria, Da due pupille nera, is sung by Dionisio in the score to the opera, I-Vc Correr Busta 9.5, f. 46v.

3 (ff. 5-6v) [FRANCESCHINI]. Mirarvi e non morir, S/B, G minor. For Dionisio in I:2 of DIONISIO (1681 and 1682). In the score to the opera, I-Vc Correr Busta 9.5, ff. 9v-10; and in I-Bca A.462, ff. 53-54; and I-Nc 33.5.32, n. 59, ff. 155v-156; I-Vqs 1432, ff. 138-139. 4 (ff. 7-8v) [FRANCESCHINI]. Chi non gode il bel d’un viso, S/B, D major. For Dionisio in I:4 of DIONISIO (1681 and 1682). In the score to the opera, I-Vc Correr Busta 9.5, f. 14; and in I-Bca A.462, ff. 63-64, and I-Vqs 1432, ff. 106-107v. 5 (ff. 9-10v) [FRANCESCHINI]. Cingo il brando e son’amante, S/B, G major. For Dionisio in I:2 of DIONISIO (1681 and 1682). Also in I-Vqs 1432, ff. 120-121v. This setting is untexted in the score to the opera, I-Vc Correr Busta 9.5, f. 8, where different music for the text is given on f. 7.

6 (ff. 11-12v) [ANTONIO SARTORIO or MARC’ANTONIO ZIANI]. Non mi parlar così, che mi farai morir, S/B, G minor. For Geminio in III:19 of LA FLORA (Venice 1681). Followed by a TrTrAAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], f. 55. Modern edn in ZANON, n. 18, pp. 60-62, attrib. to Sartorio. 7 (ff. 13-14v) [SARTORIO or ZIANI]. Cercherò d’un’altra bella, S/B, F major. For Geminio in III:13 of FLORA. Preceded by a TrTrATB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], ff. 50v-51; also in I-Bca A.462, ff. 76-77. 8 (ff. 15-16v) [SARTORIO or ZIANI]. Chi ben’ama, sempre teme, S/B, D minor. For Geminio in I:8 of FLORA. Also in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], ff. 8v-9. 9 (ff. 17-18v) [SARTORIO or ZIANI]. Mira quel seno che vuoi svenar, S/B, D minor. For Flora in II:10 of FLORA. In the Marciana score to the opera, I-Vnm It.IV, 423, f. 34, Flora has no aria in this scene. 10 (ff. 19-20) [SARTORIO or ZIANI]. Se brami pace l’estinta face, S/B, G major. For Geminio in III:3 of FLORA in the 1681 libretto. In II:21 in the score to the opera, and preceded by a TrTrB ritornello, I-Vnm It.Cl.IV, 423 [= 9946], f. 43r-v. 11 (ff. 21-22v) [ANTONIO GIANETTINI]. Vi sento, vi sento, soavi contenti,

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S/B, F major. For Elisa in I:2 of IRENE E COSTANTINO (Venice 1681). In the upper right corner of f. 21 is “S. Lu[ca],” a common name for Teatro Vendramino di S. Salvatore, where the opera was staged. In the score to the opera, I-Vnm It.Cl.IV, 430 [= 9954], f. [7]; and in I-Bca A.462, ff. 114-115; I-MOe Mus. G.303, n. 7, ff. 13-14v; and I-Vqs 1432, ff. 150-151v, where the sixteen arias on ff. 146-176v are identified: “Dell’opera dell’Irene e Costantino, del sig.r Antonio Gianettini, in S. Luca, 1681.” See ROSSI-QS, pp. 28-29. 12 (ff. 23-24) [SARTORIO or ZIANI]. È ben folle, chi non sa cangiar voglie a suo piacer, S/B, D major. For Flora in I:21 of FLORA. Also I-Bca A.462, f. 79, and I-Nc 33.5.32 (Cantate 37), n. 56, ff. 152-153. In the score to the opera, I-Vnm It.Cl.IV, 423 [= 9947], f. 23, Flora sings a different aria, Se potessi non amar la beltà che mi piagò, which is in binary form and G minor, and is preceded by a TrTrB ritornello.

13 (ff. 25-26v) [SARTORIO or ZIANI]. Val più un vezzo, un bacio, un riso, S/B, B! major. For Flora in II:12 of FLORA. Preceded by a TrTrAAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9947], ff. 36v-37. Also in I-Bca A.462, ff. 84-85; and I-Nc 33.5.32, n. 58, ff. 151-152. 14 (ff. 27-28v) [SARTORIO or ZIANI]. Bella bocca di cinabro, S/B, A major. For Geminio in I:17 (or I:18) of FLORA. Also in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9947], f. 19; and in I-Bca A.462, ff. 91-92; GB-Och 954, ff. 84v-85v (F major); and I-Nc 33.5.32, n. 5, ff. 149v-50v. 15 (ff. 29-30v) [SARTORIO or ZIANI]. Son tradita, son schernita, S/B, A major. For Flora in III:8 (or III:4) of FLORA. Followed by a TrTrAAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], f. 47. Also in I-Vc Correr Busta 49-70, n. 53 (olim I-Vmc Collection Martinengo). Virgolette (quotation marks) in the printed libretto signify that this aria was omitted. 16 (ff. 31-32) [SARTORIO or ZIANI]. Insino che mi piace, S/B, A minor. For Flora in I:13 of FLORA. Also in I-Bca A.462, ff. 86-87, and I-Nc 33.5.32, n. 52, f. 149r-v (Internet Culturale access). Flora sings a different aria, Insegna dolci baci, in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], ff. 15v-16, which is preceded by a ritornello for two G2 clefs, two French violin clefs (G1) and basso continuo in G minor. Insegna dolci baci is also in Barb. lat. 4137, n. 22 (q.v.).

17 (ff. 33-34v) [SARTORIO or ZIANI]. Nel pensar ch’un’altra goda, S/B, B! major. For Emilia in I:15 (or I:16) of FLORA. Also the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], f. 17r-v, and in I-Nc 33.5.32, n. 57, f. 153r-v (Internet Culturale access). 18 (ff. 35-36) [GIOVANNI DOMENICO FRESCHI]. Perché sì cruda con chi

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t’adora?, S/B, D major. For Alimene in I:1 of POMPEO MAGNO IN CILICIA. With TrTrAB instruments in the score to the opera, I-Vnm It.Cl.IV, 448 [9972], ff. 2v-4. Also in I-Nc 33.5.32, n. 57, ff. 150v-151. In the Marciana score, str. 2, Le stelle incolpa non il mio core, is sung by Gemmira (AMATO, pt. 2, p. 180). ZANF 7:3. A facsimile edition of the libretto and score are ITALOP, vols. 97 and 65 (1982, 1983). 19 (ff. 37-38v) [FRANCESCHINI]. Son Amore e son quel nume, S/B, A minor. For Doride in I:14 of DIONISIO (1681); for the “Voce” heard in prison in I:15 of the 1682 libretto. Also I-Bca A.462, ff. 65-66; I-Vqs 1432, ff. 140-141, and the score to the opera, I-Vc Correr Busta 9.5, ff. 28v-29. The printed librettos have no aria for Doride in I:14. 20 (ff. 39-40v) [FRANCESCHINI]. Senza voi, luci adorate, l’alma mia pace non ha, S/B, G minor. For Doride in I:16 of DIONISIO (1681). Also I-Bca A.462, ff. 67-68. Marked “con istromenti” in the score to the opera, I-Vc Correr Busta 9.5, ff. 35-36v, but its TrTrA staves are empty. A different aria with a similar text incipit, Senza voi, luci adorate, non ha pace il mio dolor, is in Barb. lat. 4139, n. 12 (q.v.), and Barb. lat. 4142, n. 3 (q.v.).

21 (ff. 41-42v) Dammi un dì qualche pietà, died’ Amor bendato arciero, S/B, C minor. 22 (ff. 43-44v) [PARTENIO]. Cara non disperar, non disperar mio ben, S/B, A minor. For Doride in II:13 of DIONISIO (II:14 in 1682). This is strophe 2. Gismonda sings str. 1, Voce non mi lasciar, non mi lasciar Amor. The strophes are written independently in the score to the opera, I-Vc Correr Busta 9.5, f. 57. Also in I-Vqs 1432, ff. 124-125. 23 (ff. 45-46v) [PARTENIO]. Non disperi del dio d’Amore, S/B, D major. For Doride in III:11 of DIONISIO (1681). Also in I-Vqs 1432, ff. 108-109. A different musical setting for this text is in the score to the opera, I-Vc Correr Busta 9.5, ff. 83v-84.

24 (ff. 47-48v) [GIOVANNI LEGRENZI]. Io vi lascio, o luci belle, S/B, D major. For Seleuco in I:19 of ANTIOCO IL GRANDE (Venice 1681/82). In the score to the opera, I-Vnm It.Cl.IV, 430 [= 9954], f. [7]. Also in BAV Chigi Q.IV.12, ff. 63-67v; I-Nc 33.5.32, n. 71, ff. 163v-64; I-Vqs 1432, ff. 17-18v; and Vqs 1444, ff. 35-36v. In I-Vqs 1432, the twenty-eight arias on ff. 1-57v are labeled: “Dell’Opera dell’Antioco il grande, del Sig.r D. Gio. Legrenzi in S. Gio. Crisostomo, 1681,” while in Vqs 1444, all twenty-four arias (ff. 1-48) are from ANTIOCO IL GRANDE and are attributed to “Giovanni Legrenzi.” See ROSSI-QS, pp. 24-25 and 109-110. Musical incipits are given in EMANS, pp. 447-448, n. 404; and PASSADORE-ROSSI, p. 23, n. 17.

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25 (ff. 49-50v) [LEGRENZI]. Bella mia, tu vai fra l’armi, S/B, E minor. For Seleuco in I:9 of ANTIOCO IL GRANDE. Also in BAV Chigi Q.IV.12, ff. 127130; I-Bca A.462, ff. 4-5; I-MOe Mus. G.303, ff. 52-53; I-Vqs 1432, ff. 33-34, and Vqs 1444, ff. 25-26. EMANS, p. 410, n. 97; PASSADORE-ROSSI, pp. 20-21, n. 8. 26 (ff. 51-52v) [LEGRENZI]. Bella man, tu mi risani, S/B, A minor. For Seleuco in I:18 of ANTIOCO IL GRANDE. Also in I-Bca A.462, ff. 16-17, and I-Vqs 1444, ff. 27-28. Bella man in I-MOe Mus. G.303, n. 17, ff. 34-35, is str. 2 of Cara fè tu mi dai vita. EMANS, p. 410, n. 96; PASSADORE-ROSSI, p. 23, n. 16. 27 (ff. 53-54v) [LEGRENZI]. Per sanar del cor la piaga, S/B, G minor. For Seleuco in I:18 of ANTIOCO IL GRANDE. Also in F-Pn Rés. Vmc 78, ff. 44-45; I-Nc 33.5.32, n. 73, f. 165; and I-Vqs 1444, ff. 19-20v. EMANS, pp. 468-469, n. 583; PASSADORE-ROSSI, p. 22, n. 14. 28 (ff. 55-56v) [LEGRENZI]. È dolce la speranza di goder felice un dì, S/B, A minor. For Araspe in I:17 of ANTIOCO IL GRANDE. Also in F-Pn (olim Pc) D.11837, ff. 131-132 (D minor); I-Bca A.462, ff. 14-15; I-Nc 33.5.32, n. 74, ff. 165v-66; I-Vqs 1432, ff. 15-16v, and Vqs 1444, ff. 29-30v. EMANS, p. 431, n. 273; PASSADORE-ROSSI, p. 22, n. 13. 29 (ff. 57-58v) [LEGRENZI]. Più non ti voglio credere, o mensognero Amor, S/B, D minor. For Seleuco in III:13 of ANTIOCO IL GRANDE. Also I-MOe Mus. G.303, n. 13, f. 24, in which Più non ti voglio credere is str. 2 of Più non mi vedrai piangere. EMANS, p. 470, n. 596; PASSADORE-ROSSI, p. 32, n. 46. 30 (ff. 59-60) [LEGRENZI]. Involasti, Amor tiranno, dal mio core la libertà, S/B, F major. For Araspe in II:8 of ANTIOCO IL GRANDE. Also I-Vqs 1432, ff. 47-48; and in I-Nc 33.5.32, n. 72. f. 164, as M’involasti, Amor tiranno. EMANS, p. 446, n. 395; PASSADORE-ROSSI, p. 28, n. 31. 31 (ff. 61-62v) Quant’è dolce e quant’è vaga, l’adorata tua beltà, S/B, A minor. EMANS, p. 472, n. 617; PASSADORE-ROSSI, p. 33, n. 52. Three unplaced arias in Barb. lat. 4130, nn. 31, 43 and 52, occur amidst arias from ANTIOCO IL GRANDE, in which they were most likely sung as substitute arias. Cf. nn. 21 above and 52 below. 32 (ff. 63-64v) [LEGRENZI]. Laberinto di tormenti l’alma mia fremendo va, S/B, B! major. For Cleopatra in I:10 of ANTIOCO IL GRANDE. Also in BAV Chigi Q.IV.12, ff. 69-78v; I-Bca A.462, ff. 8-9; I-MOe Mus. G.303, n. 27, ff. 50-52; I-Nc 33.5.32, n. 75, ff. 166-167; I-Vqs 1432, ff. 11-12, and Vqs 1444, ff. 11-12v. In the libretto, the aria has a second strophe, Ondeggiante fra le pene. EMANS, p. 448, n. 406; PASSADORE-ROSSI, p. 21, n. 9.

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33 (ff. 65-66v) [GIANETTINI]. Dolce speranza, assistimi: cara, non mi lasciar, S/B, B! major. For Elisa in II:7 of IRENE E COSTANTINO. Followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 430 [= 9954], ff. 41v-42v. Also in I-Bca A.462, ff. 112-113; I-MOe Mus. G.303, n. 30, ff. 5556; I-Nc 33.5.32, n. 65, ff. 158v-59; and I-Vqs 1432, ff. 146-47v. 34 (ff. 67-68v) [GIANETTINI]. I turbini dell’alma Amor dileguarà, S/B, D minor. For Araspe in I:1 of IRENE E COSTANTINO. Scored for T/B and followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 430 [= 9954]. Also GB-Och 954, ff. 11v-12v (B minor). 35 (ff. 69-70v) [LEGRENZI]. Idolatro un bel sembiante, S/B, A minor. For Cleopatra in III:9 of ANTIOCO IL GRANDE. Also in I-Vqs 1444, ff. 37-38v. EMANS, p. 443, n. 368; PASSADORE-ROSSI, p. 31, n. 43. 36 (ff. 71-72v) [LEGRENZI]. Non morir mio ben, no, no, S/B, C minor. For Cleopatra in I:18 of ANTIOCO IL GRANDE. The letters “UU” in the upper right corner of f. 71 are conjecturally the result of checking a pen. EMANS, p. 459, n. 500; PASSADORE-ROSSI, p. 23, n. 15. 37 (ff. 73-74v) [LEGRENZI]. È destino d’amor ch’innamorato cor, S/B, E minor. For Doriclene in II:7 of ANTIOCO IL GRANDE. Also I-Vqs 1444, ff. 1-2v. EMANS, p. 431, n. 271; PASSADORE-ROSSI, p. 27, n. 29. 38 (ff. 75-76v) [LEGRENZI]. Contro il ciel, contro la sorte, S/B, B minor. For Oronte in I:14 of ANTIOCO IL GRANDE. Also F-Pn D.11837, ff. 115-116 (“arietta”); and I-MOe Mus. G.303, n. 18, ff. 35v-37. EMANS, p. 420, n. 182; PASSADORE-ROSSI, p. 21, n. 11. 39 (ff. 77-78v) [LEGRENZI]. A dio, tiranna, a dio, vado a morir, S/B, G minor. For Oronte in III:4 of ANTIOCO IL GRANDE. Also I-Vqs 1444, ff. 9-10. EMANS, p. 401, n. 11; PASSADORE-ROSSI, p. 30, n. 29. 40 (ff. 79-80v) [LEGRENZI]. Vengo a baciar quel labro, S/B, B! major. For Oronte in I:6 of ANTIOCO IL GRANDE. Also BAV Chigi Q.IV.12, ff. 87-92v; I-Bca A.462, ff. 12-13; I-MOe Mus. G.303, n. 20, ff. 39-40v; I-Nc 33.5.32, n. 70, f. 163; I-Vqs 1432, ff. 3-4, and Vqs 1444, ff. 43-44. EMANS, p. 501, n. 864; PASSADORE-ROSSI, pp. 19-20, n. 5. 41 (ff. 81-82v) [LEGRENZI]. Su, mio core, alla vendetta, S/B, D major. For Cleopatra in I:9 of ANTIOCO IL GRANDE. Marked “con tromba,” but no trumpet part is given. Also I-Vqs 1432, ff. 7-8v. EMANS, p. 493, n. 793; PASSADORE-ROSSI, p. 20, n. 7. 42 (ff. 83-84v) [LEGRENZI]. Empio Fato, astri tiranni, S/B, E minor. For

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Oronte in II:1 of ANTIOCO ROSSI, p. 25, n. 22.

IL GRANDE.

EMANS, p. 432, n. 282; PASSADORE-

43 (ff. 85-86v) Goder ho risolto l’amata beltà, S/B, E minor. EMANS, p. 441, n. 343; PASSADORE-ROSSI, p. 33, n. 50. Cf. n. 31 above. 44 (ff. 87-88v) [LEGRENZI]. S’amasti da davvero, non mi faresti piangere, S/B, A minor. For Doriclene in II:6 of ANTIOCO IL GRANDE. EMANS, p. 477, n. 657; PASSADORE-ROSSI, p. 27, n. 28. 45 (ff. 89-90v) [LEGRENZI]. Già lo so che goder più non si può, S/B, A major. For Doriclene in I:25 of ANTIOCO IL GRANDE. Also in I-Bca A.462, ff. 18-19; I-Vqs 1432, ff. 25-26, and Vqs 1444, ff. 47-48. EMANS, p. 440, n. 337; PASSADORE-ROSSI, p. 25, n. 21. 46 (ff. 91-92v) [LEGRENZI]. Aurette vaganti, volate al mio bene, S/B, E minor. For Seleuco in I:8 of ANTIOCO IL GRANDE. Also in BAV Chigi Q.IV.12, ff. 109-13v; I-Bca A.462, ff. 6-7v; I-MOe Mus. G.303, n. 5, ff. 9-10v; and I-Vqs 1432, ff. 27-30. EMANS, p. 409, n. 91b; PASSADORE-ROSSI, p. 20, n. 6. Emans did not see the concordance in I-Vqs 1432, because he catalogued only the recitative — Su qual’ orrida scena di estinti e semivivo — that precedes Aurette vaganti volate (EMANS, p. 493, n. 796). As a result, he placed the Chigi and Bca concordances with his n. 91a rather than 91b. His n. 91a also includes F-Pn Vm7 30, vol. 1, ff. 53-54, which Passadore-Rossi lists under n. 91b. The F-Pn aria text, however, is Aurette vaganti che i rami, which was composed by Angelo Domenico Lignani (or Legnani) for Arsinda in II:12 of IL FIGLIO DELLE SELVE (Turin 1699). Three copies of the Lignani score are extant: F-Pn D.11897 (in which the “ouvertura” for TrSAB in A minor is attributed to “sig.re Alessandro Scarlatti”); GB-Ob Mus. c.30 (incorrectly attributed to “Steffani” in pencil on f. 1 and by a stamp on the modern binding); and GB-Ob Tenbury 1074, where “Elmira del S.r Legnani” is written on f. A and stamped on the modern spine. In the Tenbury score, which is an English translation of GB-Ob Mus. c.30, the aria Aurette vaganti che i rami is Ye whispering Zephirs. The aria texts in these scores are almost identical with those in the libretti for Turin 1699 and Wolfenbüttel 1700. (Arias from FIGLIO DELLE SELVE are in Barb. lat. 4139, n. 5; 4173, n. 4, and 4173, n. 6.)

47 (ff. 93-94v) [LEGRENZI]. A dispetto di Fortuna vo’ goder chi m’innamora, S/B, A minor. For Antioco in I:21 of ANTIOCO IL GRANDE. EMANS, p. 401, n. 13; PASSADORE-ROSSI, p. 24, n. 19. A different aria, A dispetto di Fortuna l’empio mostro caderà, is anon. in I-MOe Mus. G.299, ff. 32-34 (RISM ID n. 850013527). This text was sung by Fausta in III:8 of L’ODOACRE (Venice 1680), libretto by Novello Bonis, music by Giovanni Varischino. Two other arias with similar text incipits are A dispetto di Fortuna in I-MOe Mus. G.256, n. 20, ff. 55v-57v, and Al dispetto di Fortuna pur alfin con

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lieto viso, an aria for Lucindo in III:19 of Cesti’s IL TITO (see I-Nc Rari 6.4.6, ff. 92-93v, Internet Culturale access).

48 (ff. 95-96v) [LEGRENZI]. A che sciogliermi le catene, S/B, G major. For Oronte in II:3 of ANTIOCO IL GRANDE. Also I-Vqs 1432, ff. 37-38. EMANS, p. 400, n. 4; PASSADORE-ROSSI, pp. 25-26, n. 24. 49 (ff. 97-98v) [LEGRENZI]. Sento dirmi dalla Speranza, S/B, G minor. For Doriclene in I:3 of ANTIOCO IL GRANDE. Also in F-Pn D.11837, ff. 126v-27v (“arietta”); I-MOe Mus. G.303, n. 21, ff. 41-42v; and I-Vqs 1444, ff. 21-22v. EMANS, p. 482, n. 697; PASSADORE-ROSSI, p. 18, n. 1. 50 (ff. 99-100v) [LEGRENZI]. Fuggimi pur spietato, ch’io pur farò così (str. 1), S/B, A minor. For Doriclene in III:6 of ANTIOCO IL GRANDE. Strophe 2, Sdegnami pur crudele, is n. 61 below. Also I-Bca A.462, ff. 20-21; I-MOe Mus. G.303, ff. 49-50 (Fuggimi pur crudele), and MOe Mus. G.308, ff. 2122; I-Vqs 1432, ff. 31-32, and Vqs 1444, ff. 45-46. EMANS, p. 439, n. 329; PASSADORE-ROSSI, p. 30, n. 40. 51 (ff. 101-103v) NEGRENZI [sic]. S’Amor ti punge il seno, S/B, G major. For Antioco in I:24 of ANTIOCO IL GRANDE. On f. 101, the text and music are written in black ink; the composer’s name was added later in brown ink, probably by a different hand. Legrenzi’s name was written as “Negrenti” in F-Pn Vmc 78, ff. 4 and 8. Item 51 is concordant with I-MOe Mus. G.303, n. 15, ff. 27-28v, and I-Vqs 1432, ff. 53-54 (B! major). EMANS, p. 477, n. 658; PASSADORE-ROSSI, p. 24, n. 20. 52 (ff. 105-106v) Quanto gode questo mio core, S/B, A minor. Of the four unidentified arias (see nn. 21, 31 and 43 above) in Barb. lat. 4130, this aria is the only one for which a concordance has been found: an anonymous “arietta” in F-Pn D.11837, ff. 119-120. EMANS, p. 473, n. 621; PASSADOREROSSI, p. 34, n. 53. 53 (ff. 107-108v) [LEGRENZI]. Fa’ quanto vuoi, sì, sì, tiranno Amor, S/B, B! major. For Cleopatra in III:12 of ANTIOCO IL GRANDE. Also in I-Bca A.462, ff. 22-23v; I-MOe Mus. G.303, n. 22, ff. 43-44, and MOe Mus. G.308, ff. 17-18; I-Vqs 1432, ff. 13-14, and Vqs 1444, ff. 33-34. EMANS, p. 434, n. 293; PASSADORE-ROSSI, pp. 31-32, n. 45. 54 (ff. 109-110v) [LEGRENZI]. Cieco dio ch’al tergo hai l’ale, S/B, G minor. For Cleopatra in III:9 of ANTIOCO IL GRANDE. EMANS, p. 418, n. 164; PASSADORE-ROSSI, p. 31, n. 42. 55 (ff. 111-112) [LEGRENZI]. È felice l’alma mia, S/B, A minor. For Cleopatra in II:9 of ANTIOCO IL GRANDE. Also I-Vqs 1444, ff. 13-14. EMANS, p. 431, n. 275; PASSADORE-ROSSI, p. 28, n. 32.

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56 (ff. 113-114v) [LEGRENZI]. In braccio del mio bene, S/B, C major. For Antioco in I:15 of ANTIOCO IL GRANDE. EMANS, p. 446, n. 387; PASSADOREROSSI, p. 22, n. 12. 57 (ff. 115-116v) [PARTENIO]. Gode più chi n’ha più d’una, S/B, G minor. For Dionisio in II:7 of DIONISIO (1681 and 1682). In the score to the opera, I-Vc Correr Busta 9.5, ff. 48v-49. Also in I-Bca A.462, ff. 51-52, and I-Nc 33.5.32, n. 63, ff. 156v-57 (Internet Culturale access). 58 (ff. 117-118v) [PARTENIO]. Consolatevi, o luci belle, S/B, A minor. For Dionisio in III:10 of DIONISIO (III:11 in 1682). In the score to the opera, I-Vc Correr Busta 9.5, f. 80. Also in I-Bca A.462, ff. 69-70. 59 (ff. 119-120v) [LEGRENZI]. Se tu sarai fedele, costante io pur sarò, S/B, A major. For Cleopatra in II:19 of ANTIOCO IL GRANDE (Venice 1681). Also in I-MOe Mus. G.303, ff. 53v-54v; I-Vqs 1432, ff. 23-24, and Vqs 1444, ff. 7-8. EMANS, p. 483, n. 707; PASSADORE-ROSSI, p. 29, n. 37 60 (ff. 121-122v) [FRESCHI]. Risolvetevi d’amarmi, luci belle, S/B, C minor. For Alimene in II:2 of POMPEO MAGNO IN CILICIA. Followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 448 [= 9972], f. 27. Also I-Bca A.462, f. 142; and I-Vqs 1432, ff. 192-93v, where the eleven arias on ff. 178-99v are labeled “Del POMPEO IN CILICIA. A St. Angelo. Musica del Sig.r D. Dom.co Freschi.” They are itemized in ROSSI-QS, p. 29. ZANF 7:25. 61 (ff. 123-124v) [LEGRENZI]. Sdegnami pur crudele, ch’io pur ti sdegnarò (str. 2), S/B, A minor. For Cleopatra in III:6 of ANTIOCO IL GRANDE. Strophe 1 is Fuggimi pur spietato, n. 50 above, where references to EMANS and PASSADORE-ROSSI are given. As noted above, I-MOe Mus. G.303 incorrectly combined the incipits of strophes 1 and 2 into Fuggimi pur crudele (EMANS, p. 439, n. 329). 62 (ff. 125-126) [PARTENIO]. A dio, begl’occhi, a dio, tosto vi rivedrò, S/B, D minor. For Fausta in II:5 (1681) of DIONISIO. A different musical setting of this text is in the score to the opera, I-Vc Correr Busta 9.5, f. 46.

63 (ff. 127-128) [FRESCHI]. Soffri, e spera sul confin della tristezza, S/B, C major. For Pompeo in I:9 of POMPEO MAGNO IN CILICIA. Followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 448 [= 9972], f. 14. ZANF 7:11. 64 (ff. 129-130) [FRANCESCHINI]. Fanciullo Amore, omai comincia a ridere, S/B, A minor. For Fausta in I:8 of DIONISIO (I:9 in 1682). Also in IBca A.462, ff. 71-72, and I-Vqs 1432, ff. 132-133. In the score to the opera,

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I-Vc Correr Busta 9.5 (A/B in E minor), where an unnumbered folio between f. 20 and f. 21 preserves a revised version of Fanciullo Amore. 65 (ff. 131-132v) [PARTENIO]. Sei nel ciel della beltà, S/B, B! major. For Fausta in II:16 of DIONISIO (1681 and 1682). Also in Barb. lat. 4137, n. 42 (q.v.). In the score to the opera, I-Vc Correr Busta 9.5, ff. 63v-64 (A/B in F major). 66 (ff. 133-134v) [FRESCHI]. Su, feroci miei guerrieri, S/B, D major. For Pompeo in III:11 of POMPEO MAGNO IN CILICIA. With tromba and TrTrAB instruments in the score to the opera, I-Vnm It.Cl.IV, 448 [9972], ff. 53v55v. ZANF 7:58. 67 (ff. 135-136) [FRESCHI]. Sparg’ i sospiri al vento, S/B, A minor. For Sicandro in I:6 of POMPEO MAGNO IN CILICIA. Followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 448 [9972], ff. 8v-9. ZANF 7:8. 68 (ff. 137-138v) [PARTENIO]. Sì, sì, mi bacierai, cor mio non sospirar, S/B, B! major. For Fausta in III:5 of DIONISIO (III:6 in 1682). In the libretto, “lagrimar” replaces “sospirar.” Also in Barb. lat. 4137, n. 37 (q.v.). The score to the opera, I-Vc Correr Busta 9.5, f. 74, has a different musical setting of this aria text.

69 (ff. 139-140) [PARTENIO]. A dio, crudele, a dio, partirò, sì, partirò, S/B, B minor. For Fausta in III:10 of DIONISIO (III:12 in 1682). Also in Barb. lat. 4137, n. 39 (q.v.). In the score to the opera, I-Vc Correr Busta 9.5, Fausta does not sing an aria in this scene.

70 (ff. 141-142v) [SARTORIO or ZIANI]. Miei pensieri, che severi, S/B, B minor. For Pompeo in II:16 of FLORA. Also in the score to this opera, I-Vnm It.Cl.IV, 423 [= 9946], f. 39. Bound in parchment (73 × 198 mm), with corner and double-line border ornaments in gold. Two gold stars are presumably on the spine, but the lower one is concealed by a Vatican label. This decoration is identical to that for Barb. lat. 4137. The foliation, in black ink, was added after the manuscript was copied. Blank staves only are on f. 104. The opening and closing flyleaves are blank. The size of the volume is unusually small, and its paper is remarkably thin. One watermark seems to represent two pedestals (f. 126) for a flower (f. 128). The flower is similar to HEAWOOD n. 1886. Copyists include 4130-A (presumably Venetian) for all but nn. 60 and 62-70, which are by Hand 4130-B (presumably Roman). Initial letters were adorned for all ten arias copied by 4130-B, but only two of the sixty copied

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by 4130-A are decorated (the G in n. 43 and the S in n. 51). The ornate n. 51 from ANTIOCO is the only attributed aria, and copyist 4130-A may have intended that it launch the anthology. All of Barb. lat. 4137 is in the hand of 4130-A. The only concordances between these two manuscripts are three arias from DIONISIO, which in Barb. lat. 4130 (nn. 65, 68 and 69) were copied by hand B, the Roman hand. Digital facsimiles of the libretti and their seventeenth-century ristampe are available through the CORAGO portal. I-Nc music mss. are accessible via the Internet Culturale portal. The five operas represented in Barb. lat. 4130 all had libretti printed by Francesco Nicolini in Venice (GROPPO, pp. 54-55). Both ALM nn. 1-2, and SELFRIDGE-FIELD-NC n. 1682/1 date the premiere of ANTIOCO IL GRANDE during carnival 1682. The libretti for all operas (except IRENE E COSTANTINO) in Barb. lat. 4130 include a dedication signed by the librettist and an address Al lettore that names and praises the composer(s). These passages are cited in SARTORI, nn. 2213-2214, 7923, 10730, 18955 and 13649-50. For the arias herein, see also LINDGREN-Ven, passim. ANTIOCO IL GRANDE is the only work for which a composer — “Negrenzi” (n. 51) — is named. No complete score for this opera is known, but — if nn. 31, 43 and 52 are included — thirty-three of its arias occur in Barb. lat. 4130 and within the thematic catalogs for Legrenzi’s works published by EMANS in 1984 and PASSADORE-ROSSI in 2002. To summarize the concordances given for the individual items, seven other ms. sources for ANTIOCO IL GRANDE are: (1) BAV Chigi Q.IV.12: six arias on ff. 63-67v, 69-78v, 87-92v, 101-13v and 127-30: anon.; (2) F-Pn (olim F-Pc) D.11837, four anonymous “ariettas” on ff. 115-116, 119-120, 126v-27v and 131-132 (itemized in MASSON, pp. 115116); (3) I-Bca A.462, nn. 1-24: “Canzonette dell’ANTIOCO IL GRANDE, musica del Sig.r D. Gio. Legrenzi”; (4) I-MOe Mus. G.303, eighteen arias, itemized in LODI, pp. 154-55: nn. 3, 5, 10-13, 15, 17-18, 20-22 and 24-29: anon. (grouped in CHIARELLI, n. 519); (5) I-Nc 33.5.32 (Cantate 37), six arias: n. 72 (anon.) and nn. 70-71 and 73-75 attrib. to Giovanni Legrenzi (itemized in AMATO, Part 2, p. 181); (6) I-Vqs 1432 (Cl.VIII.6), nn. 1-28: “D. Gio. Legrenzi” (inventoried in ROSSI-QS, pp. 24-25); and (7) I-Vqs 1444 (Cl.VIII.22), nn. 1-24: “Giovanni Legrenzi” (inventoried in ROSSI-QS, pp. 109-110). Another source, I-Vlevi CF.D.19, contains six arias from ANTIOCO IL GRANDE, three concordant with Barb. lat. 4130, nn. 28, 46 and 59 (ROSSI-L 1986, n. 212); it is excluded from the above listings because it is a late nineteenthcentury copy. (This is the source identified as ms. 26 in S. CISILINO, Stampe e manoscritti preziosi e rari della biblioteca del Palazzo Giustinian Lolin a San Vidal, Venice 1966, p. 31.) DIONISIO, first staged in 1681 and revived in 1682, and LA FLORA are also

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well represented in Barb. lat. 4130, by sixteen (or seventeen) and twelve arias, respectively. Complete scores for both of them survive in Venice: I-Vc Fondo Correr Busta 9.5 (formerly I-Vmc Fondo Costantino and Alessandro Carminati, Busta 1-8, N. 5; see CONCINA-WIEL-D’ESTE-FAUSTINI, p. 58) for DIONISIO, and I-Vnm It.Cl.IV, 423 [= 9947], 62 ff., for FLORA. In the aria collections, the operas are best represented in I-Vqs 1432, Barb. lat. 4130 and I-Bca A.462. The volume I-Vqs 1432 includes 92 arias from five operas: nn. 1-28 from ANTIOCO IL GRANDE (discussed above); nn. 29-46 from Legrenzi’s CRESO (the only one not represented in Barb. lat. 4130 and therefore not discussed here); nn. 47-65 from DIONISIO; nn. 66-81 from IRENE E COSTANTINO; and nn. 82-92 from POMPEO MAGNO IN CILICIA. The collection I-Bca A.462 includes seventy-two “canzonette” from five operas, each of which is headed with the title of the opera and the name of the composer: nn. 1-24 from ANTIOCO IL GRANDE, nn. 25-36 from DIONISIO, nn. 37-48 from FLORA, nn. 49-60 from IRENE E COSTANTINO and nn. 61-72 from POMPEO MAGNO IN CILICIA. As shown above, Barb. lat. 4130 includes seventy arias from five operas. One section of another ms., I-Nc 33.5.32 (Cantate 37), is devoted to Venetian arias of 1681-1682. In addition to the six from ANTIOCO IL GRANDE listed above, it has one from POMPEO MAGNO IN CILICIA (n. 57), five from FLORA (nn. 55-56 and 58-60), and four each from DIONISIO (nn. 61-64) and IRENE E COSTANTINO (n. 65-68) (itemized in AMATO, Part 2, pp. 180-181). For ANTIOCO, SELFRIDGE-FIELD-NC states, “The cast included the now recuperated Domenico Cecchi (‘Il Cortona’), Tomaso Boni [sic], and Francesco de Castris” (p. 151). She assigns the role of Tolomeo to Cecchi, based on an avviso of 3 Jan. 1682 in Modena, and assigns the role of Gildo to Don Tomaso Bovi, following SAUNDERS, p. 449. De Castris apparently sang the role of Seleuco (VITALI, pp. 571-572 and 587). Saunders, who usually names a singer for each role sung at S. Gio. Grisostomo, names only Bovi for ANTIOCO IL GRANDE. WORSTHORNE names the singers for almost every Venetian opera produced before 1700, but he does not even list the two operas ANTIOCO IL GRANDE and CRESO, both produced at S. Gio. Grisostomo. Barb. lat. 4130-4131

Barb. lat. 4131 1692-1695 ca., 67 × 194 mm, I.86.I ff., 4 staves, 4 hands

Miscellany of forty-three arias: twenty-two composed by Carlo Francesco Pollarolo (ca. 1653-1723), and twenty-one by Marc’Antonio Ziani (ca. 1653-1715). Forty-two are from six Venetian operas of 1692-1695, three operas each. Only the copyist of the Ferrarese aria provided an attribution

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and contextual information (see n. 29). The earliest arias are four from Ziani’s ROSALINDA (Nov. 1692), libretto by Antonio Marchi (nn. 12-15). Eight are from each of the four operas produced during carnival 1694: Pollarolo composed OTTONE, libretto by Girolamo Frigimelica Roberti, and ALFONSO PRIMO, libretto by Matteo Noris; while Ziani wrote LA MOGLIE NEMICA, libretto by Francesco Silvani, and L’AMORE FIGLIO DEL MERITO, libretto by Noris. The remaining six arias (nn. 22-27) were composed by Pollarolo for GLI INGANNI FELICI (Nov. 1695), libretto by Apostolo Zeno. A Venetian theater, either S.A. (Sant’Angelo) or S. L. (San Luca, also known as San Salvatore), is named at the head of twenty-two arias. When “P.a” or “2.a” follows a theater name, it signifies that the work was the first or second produced there during the season. 1 (ff. 1-2v) [CARLO FRANCESCO POLLAROLO]. S. L. Sarà nel volo un folgore, S/B, D major. For Gelinda in I:3 of ALFONSO PRIMO (Venice 1694). With TrATB instruments in the score to the opera, US-SFsc *M2.1 M419 (unfoliated). Thematic incipit given in TERMINI, p. 606, and in references below. 2 (ff. 3-4v) [POLLAROLO]. S. L. Gelosa più non sono de l’adorato ben, S/B, C major. For Attilia in I:14 of ALFONSO PRIMO. Headed “S. L. P.a” (San Luca, Prima) in I-PAc Sanvitale Sanv.B.23 (olim 37732-CH-II-1), n. 33. With TrATB instruments in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 607. Barb. lat. 4131 3 (ff. 5-6v) [POLLAROLO]. S. L. Su tre sentieri corra veloce, S/B, D major. For Mente humana in I:1 of ALFONSO PRIMO. Also in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 606. 4 (ff. 8v, 7r-v) [MARC’ANTONIO ZIANI]. Che vi sia sole più vago, A/B, F major. For Sulpizia in III:1 of AMORE FIGLIO DEL MERITO (Venice 1694). Headed “S.A. 2.a” in I-PAc Sanvitale Sanv.B.23 (olim 37732-CH-II-1), n. 37. 5 (ff. 9-10v) [POLLAROLO]. S. L. Adorata cara speranza, se m’assisti non perirò, S/B, G major. For Ariene in II:14 of ALFONSO PRIMO. Preceded by a TrTrATB ritornello in the score to the opera, US-SFsc *M2.1 M419, where the da capo is written out and expanded by ten measures. TERMINI, p. 608. 6 (ff. 11-12v) [M.A. ZIANI]. S. L. Vi bacierò, vi succhierò, A/B, E! major. For Niceforo in I:6 of MOGLIE NEMICA (Venice 1694). The libretto reads “stringerò” instead of “succhierò” (p. 17). 7 (ff. 13-14v) [POLLAROLO]. S. L. Labbro dolce, ch’io già bacciai, A/B, D major. For Gubaldo in I:9 of ALFONSO PRIMO. Preceded by a TrTrATB ritornello in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 606.

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8 (ff. 15-16v) [M.A. ZIANI]. Amore, sarò contenta, se tua pietà mi assisterà, S/B, A major. For Teodelinda in III:18 of AMORE FIGLIO DEL MERITO. 9 (ff. 17-18v) [POLLAROLO]. S. L. Non palpitarmi, sta cheto in seno, timido cor, S/B, C major. For Attilia in II:5 of ALFONSO PRIMO. Followed by a TrTrATB ritornello in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 607, where the aria is mistakenly assigned to the tenor Zelto. 10 (ff. 19-20v) [M.A. ZIANI]. S. L. Mie bellissime pupille, se un sol guardo mi vogliete, S/B, C major. For Ottone in III:1 of MOGLIE NEMICA. Headed “S. L. P.a” in I-PAc Sanvitale Sanv.B.23 (olim 37732-CH-II-1), n. 53. 11 (ff. 21-22) [M.A. ZIANI]. Agl’occhi Amore la benda tolse, S/B, B! major. For Sitalce in I:4 of AMORE FIGLIO DEL MERITO. 12 (ff. 23-24) [M.A. ZIANI]. Chi segue il nume arcier non speri più goder, S/B, A minor. For Laurindo in III:11 of ROSALINDA (Venice 1692). The score I-Nc 33.6.7 has been wrongly identified as Ziani’s ROSALINDA of 1692.

13 (ff. 24-25v) [M.A. ZIANI]. Ferma il piede e non partir, cara speme del mio cor, S/B, G minor. For Flori in I:5 of ROSALINDA. Not to be confused with Pallavicino’s Ferma il piè, deh non partir. Di quel ciglio è vago il lume, for Tito in II:5 of IL VESPASIANO (Venice 1678). The aria is extant in both Barb. lat. 4170, n. 31 (q.v.), and Barb. lat. 4172, n. 34 (q.v.).

14 (ff. 25v-26v) [M.A. ZIANI]. Un giorno per una le belle adorate, godere saprò, S/B, C major. For Amet in I:11 of ROSALINDA. 15 (ff. 27-28) [M.A. ZIANI]. Partirò per non vederti, ostinata mia beltà, A/B, D major. For Amet in I:19 of ROSALINDA. 16 (ff. 29-30v) [POLLAROLO]. Son felice e son beato, vinti tutti gl’inimici, A/B, C major. For Ottone in I:2 of OTTONE (Venice 1694). Preceded by a TrTrATB ritornello in all three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, f. 6; and US-SFsc *M2.1 M420. (Only the score in D-B is foliated.) TERMINI, p. 631. 17 (ff. 31-32) [POLLAROLO]. Su, mia lingua, ch’invan più t’arresta, S/B, A major. For Eleonora in III:1 of OTTONE. In all three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, f. 19v; and US-SFsc *M2.1 M420. TERMINI, p. 632. 18 (ff. 33-34v) [POLLAROLO]. E non ti rivedrò dunque mai più?, S/B, C major. For Metilde in III:10 of OTTONE. With TrTr (oboes) and TrTrATB instruments in all three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, ff. 26-27; and US-SFsc *M2.1 M420. TERMINI, p. 633.

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19 (ff. 35-36v) [POLLAROLO]. S’ho tradito e troppo amato, S/B, A major. For Eleonora in IV:4 of OTTONE. With TrATB instruments in two scores to the opera: CZ-K 71.K.3 and US-SFsc *M2.1 M420. Both the 1694 libretto (p. 56) and the third score, D-B Mus. 17745, ff. 30-31, give the aria with the text Morte, morte ultimo male, but the key and setting is that of S’ho tradito. The earliest that the text “S’ho tradito” appears in a libretto for OTTONE is in IV:5 in the libretto for Ferrara 1701 (p. 55). TERMINI, p. 633. CELANI and BARONCI listed the aria as “O tradito.” 20 (ff. 37-38) [M.A. ZIANI]. Aure coi vostri giri, unite ai miei sospiri, A/B, D minor. For Lidio in III:9 of AMORE FIGLIO DEL MERITO. 21 (ff. 39-40v) [POLLAROLO]. Sangue mio, va tutto in lagrime, S/B, G minor/adagio and B! major/spiritoso. The aria changes to B! /spiritoso for lines 3-4: No, no, non voglio spargere, da quest’occhi il mio dolor. For Metilde in IV:2 of OTTONE. With TrTrATB instruments in all three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, ff. 28-29, and US-SFsc *M2.1 M420. TERMINI, p. 633. The music for lines 3-4 differs from that composed by Giovanni Bononcini for Non voglio spargere in lagrime il dolor in CLEMENZA D’AUGUSTO (Rome 1697), extant in BAV Chigi Q.IV.36, ff. 5-9v.

22 (ff. 41-42) [POLLAROLO]. S. A. Amor se mi togli l’amata beltà, S/B, B! major. For Orgonte (Sifalce) in I:10 of GL’INGANNI FELICI (Venice 1695/96). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 26 (facsim. edn ITALOP vol. 16). Also in Barb. lat. 4134, n. 33. TERMINI, p. 622. 23 (ff. 43-44v) [POLLAROLO]. S. A. Non più amor, non più contenti, S/B, G major. Lacks music for one section of the continuo part. For Demetrio (Armidoro) in I:12 of INGANNI FELICI. In the score to the opera, GB-Lbl Add. 16109, ff. 40v-42, the A section is with TrTrAB, and the B section has only TrTr instruments. Also in Barb. lat. 4134, n. 73. TERMINI, p. 622. 24 (ff. 45-46) [POLLAROLO]. S. A. Se non piaccio a chi mi piace, S/B, F major. For Agarista in I:14 of INGANNI FELICI. Followed by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 35r-v. Also in Barb. lat. 4134, nn. 5 and 54. TERMINI, p. 623. 25 (ff. 47-48v) [POLLAROLO]. S. A. Ardo amante d’un sembiante, S/B, G major. For Agarista in I:5 of INGANNI FELICI. Also in the score to the opera GB-Lbl Add. 16109, f. 17, and in Barb. lat. 4134, n. 55 (q.v.). TERMINI, p. 622. When GLI INGANNI FELICI was revived in Naples 1699, Alessandro Scarlatti created a new setting for this aria text, preserved in I-Nc 33.4.2 (Arie 227), ff. 179-180.

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26 (ff. 49-50) [POLLAROLO]. S. A. Non vedo perché tu speri, cuor mio, S/B, B! major. For Agarista in I:7 of INGANNI FELICI. With TrTrAB instruments in the score to the opera, GB-Lbl Add. 16109, ff. 21v-23. Also in Barb. lat. 4134, n. 74 (q.v.). TERMINI, p. 622. 27 (ff. 51-52v) [POLLAROLO]. S. A. Tu sola, Speranza, mi vai consolando, S/B, C major. For Oronta (Alceste) in I:4 of INGANNI FELICI. With TrTrAB instruments in the score to the opera, GB-Lbl Add. 16109, ff. 13v-15v, attributed to “C. F. P.” Also in BAV Barb. lat. 4133, n. 88; Barb. lat. 4134, n. 4; and Chigi Q.IV.40, ff. 4v-6v. TERMINI, p. 622. When GLI INGANNI FELICI was revived in Naples 1699, Alessandro Scarlatti composed a new setting for this aria text, preserved in I-Nc 33.4.2 (Arie 227), f. 176.

28 (ff. 53-54v) [POLLAROLO]. Re miserabile, ah l’umana fortuna, o quanto è labile, A/B, D major. For Ottone in V:5 of OTTONE. Only the two-line A section of this aria was sung, because the five-line B section is printed in quotation marks (libretto, p. 75). A part for cornetto is included in the three scores to the opera: CZ-K 71.K.3; D-B Mus. ms. 17745; and US-SFsc *M2.1 M420. TERMINI, p. 634, where the aria is incorrectly assigned to Enrico. 29 (ff. 55-58v) [M.A.] ZIANI. Aria cantata dalla S[ignor]a n[ost]ra Vittoria Farinelli in Ferrara [?] di giugno 1693. Alma godi ch’ho sciolto i nodi, S/TrB, F major. For Filea in I:7 of LISIMACO (Ferrara 1693). Also attributed to Ziani in Barb. lat. 4138, n. 8. The libretto was dedicated to the cardinals Ferdinando d’Adda and Francesco Barberini, jr. In the Rome 1681 and Florence 1690 libretti of Lisimaco, Filea sings instead the aria Più cara diletto, più dolce contento (p. 16), to music by Bernardo Pasquini.

30 (ff. 59-60v) [POLLAROLO]. S. L. Disarmi il tuo consiglio, S/B, C major. For Gelinda in II:12 of ALFONSO PRIMO. Preceded by a TrTrATB ritornello in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 607. 31 (ff. 61-62) [M.A. ZIANI]. Chi vita a me donò, mia vita oggi sarà, A/B, E minor. For Sulpizia in I:2 of AMORE FIGLIO DEL MERITO. After some “tuoni e lampi,” Lidio sings strophe 2: Fra oscuri turbini lampeggia il ciel. 32 (ff. 63-64) [M.A. ZIANI], S. L. Questo labro solo, solo, baccierò quel’occhio nero, S/B, G major. For Ottone in II:7 of MOGLIE NEMICA. 33 (ff. 65-66) [M.A. ZIANI], S. L. Serenatevi, o luci belle, A/B, G major. For Nicea in III:6 of MOGLIE NEMICA. 34 (ff. 67-68v) [M.A. ZIANI], S. L. Ti giubila, ti scherza, S/B, B! major. For Tigrane in I:12 of MOGLIE NEMICA. 35 (ff. 69-70v) [M.A. ZIANI], S. L. Dimmi, o bella dolce bocca, A/B, E!

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major. For Niceforo in II:8 of MOGLIE NEMICA. Headed “S. L. P.a” in the aria collection I-PAc Sanvitale Sanv.B.23 (olim 37732-CH-II-1), n. 54, f. 119 (dated 1694). 36 (ff. 71-72) [M.A. ZIANI], S. L. Mi va scherzando in petto la gioia lusinghiera, S/B, C major. For Nicea in III:4 of MOGLIE NEMICA. 37 (ff. 73-74) [POLLAROLO]. Oda il mar, la terra, il cielo, A/B, G major. For Ottone in I:2 of OTTONE. With TrTrATB instruments in the three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, ff. 4v-5; and US-SFsc *M2.1 M420. TERMINI, p. 631. 38 (ff. 75-76) [POLLAROLO]. Crede e s’anima questo core, S/B, D major. For Metilde in V:9 of OTTONE. With TrATB instruments in the three scores to the opera: CZ-K 71.K.3; D-B Mus. 17745, ff. 49-(incomplete); US-SFsc *M2.1 M420. TERMINI, p. 634, where the aria is incorrectly assigned to Fausto. 39 (ff. 77-78) [M.A. ZIANI]. Andiamo, e ai nostri cori le pene ed i martori, S/B, C minor. For Teodelinda in III:14 of AMORE FIGLIO DEL MERITO. 40 (ff. 79-80) [M.A. ZIANI], S. L. Ti veggo nel guardo un certo baleno, S/B, B! major. For Nicea in II:3 of MOGLIE NEMICA. 41 (ff. 81-82v) [M.A. ZIANI]. La fama d’un guerrier, ch’ è Marte di valor, S/B, D minor. For Teodelinda in I:1 of AMORE FIGLIO DEL MERITO. 42 (ff. 83-84v) [POLLAROLO]. S. L. Come s’uccida e impiaghe, S/B, B! major. For Teoderico in I:12 OF ALFONSO PRIMO. With TrTrATB instruments in the score to the opera, US-SFsc *M2.1 M419. TERMINI, p. 607. 43 (ff. 85-86) [M.A. ZIANI]. Per baciarti, mia bella, un dì, A/B, E minor. For Lidio in I:10 of AMORE FIGLIO DEL MERITO. Bound in parchment (77 × 200 mm). A modern hand wrote the old shelf mark, XLVII.2, inside the front cover in black ink. There are three watermarks: the eight letters A T A U N O N A (f. 2); a five-pointed star within a circle (f. 57); and either three hills or the tops of three hats (f. 27). For a similar star and similar hats, see HEAWOOD, nn. 3883 and 2596-2600. The foliation appears to be by the same hand that provided the alphabetical “Indice” of arias on the front flyleaf, with each text incipit preceded by its ordinal number and followed by its folio number and “Incerto” as its composer. This index, which lacks aria n. 4, is printed with a few errors in CELANI, p. 113. The end flyleaf is blank. Copyist 4131-A, who was presumably Venetian, wrote the thirty-two

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arias from Venetian productions of 1694 (nn. 1-11, 16-21, 28 and 30-43). They form the core of the anthology; the other eleven pieces were presumably added later: Hand 4131-B copied four Ziani arias of 1692-1693 (nn. 12-14 and 29); Hand 4131-C, which appears to be Roman, copied the remaining Ziani aria of 1692 (n. 15); Hand 4131-D copied the six Pollarolo arias of 1695 (nn. 22-27). A fifth hand (4131-E) added “S.L.” or “S. A.” in the upper left corner of the first folio of each aria from three operas of 1694-95: ALFONSO PRIMO (nn. 1-3, 5, 7, 9, 30 and 42), MOGLIE NEMICA (nn. 6, 10, 32-36 and 40) and INGANNI FELICI (nn. 22-27). The arias from each opera were undoubtedly copied together, but only four groups remain together today: nn. 12-15 from ROSALINDA, nn. 16-19 from OTTONE, nn. 22-27 from INGANNI FELICI, and nn. 32-36 from MOGLIE NEMICA. For ALFONSO PRIMO, the copyist first wrote “S.A.,” then corrected it to “S.L.” The four Venetian operas of 1694 were produced during carnival, while the two of 1692 and 1695 were produced in November (GROPPO, pp. 73-76). All the libretti are available online through the CORAGO portal. Girolamo Albrizzi printed ROSALINDA in 1692 with a dedication by the librettist followed by praise for the composer M.A. Ziani. When it was reprinted by Nicolini con nuove aggiunte in 1693, no composer was mentioned. Nicolini likewise printed the other five Venetian librettos without listing their composers; but they retained a dedication by the librettist or — in the case of AMORE FIGLIO DEL MERITO, which has a dedication by Nicolini — with the librettist’s name on the title page (SARTORI, nn. 901, 1632, 13124, 15574, 17618 and 20141-42). Bernardino Pomatelli printed LISIMACO for the 1693 production in Ferrara, and he dedicated it to two papal legates, cardinals Ferdinando d’Adda and Francesco Barberini [jr]. Singers for all nine of its roles are named in the libretto, including “Dionigio Fregiotti di Roma” in the role of Cleonte, brother of Michele Fregiotti in Cardinal Francesco’s household. As noted in the comment for n. 29 above, Vittoria Farinelli veneziana portrayed Filea in LISIMACO (SARTORI, n. 14306). For the arias herein, see LINDGREN-Ven, passim. Scores survive for all three complete Pollarolo operas. The two 1694 productions are each represented by a score in the De Bellis collection of San Francisco State University. Alfonso primo, musica del Sig.r Carlo Fran.co Polaroli dell’anno 1694 in San Luca (US-SFsc: *M2.1 M419). This volume is not foliated, but the gatherings are numbered 2, 3, 4 and 5 in the upper right corner of the recto after every eighth folio; later numbers were presumably trimmed off. Ottone, traggedia per San Gio. Grisostomo, musica del Sig.r Carlo Fran.co Polaroli l’anno 1694 is US-SFsc: *M2.1 M420.

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During Pollarolo’s lifetime these two scores were in the library of the Venetian Cardinal Pietro Ottoboni (1667-1740), nephew of Pope Alexander VIII, Vice-Chancellor of the Church and and patron of opera (see MARX-Ottb). For their provenance history, see ROBERTS 1993, pp. 39, 44 and 80. The score for Pollarolo’s 1695 INGANNI FELICI is GB-Lbl Add. 16109. Facsimiles of its score and libretto are in ITALOP, vols. 16 and 56, New York 1977 and 1979. The six arias in Barb. lat. 4131, nn. 22-27, are all from act I of the opera. All of them are also in Barb. lat. 4134 (q.v.). Two more scores for OTTONE survive: CZ-K 71.K.3 has 116 unnumbered folios and the title Ottone, tragedia per San Gio. Grisostomo, musica del Sig.r Carlo Francesco Polaroli dell’anno 1694 in Venezia; while D-B Mus. 17745 has fifty folios and the title Ottone, tragedia recitata in S. Gio. Grisostomo, poesia del Sig.r Co. Frigimelica Roberti, musica del sig.r Carlo Fran.co Polaroli, 1693. According to SAUNDERS, pp. 146-148, the scores for OTTONE in San Francisco and Çeský Krumlov were copied by Venetians. The one in Berlin, which does not include a text for any recitative after IV:7 (f. 34), appears to have been copied by a German or Englishman. Singers for OTTONE are named in I-Vnm It.IV.Cod.748 [= 10466], a ms. that lists productions at San Giovanni Grisostomo from 1678 through 1766. According to SAUNDERS, p. 447, the source for the writer’s information is unknown, but it seems to be reliable. If so, Barb. lat. 4131, nn. 16, 28 and 37 for Ottone were sung by Fran[ces]co Balarini; nn. 17 and 19 for Eleonora were sung by Angiola Gringher; and nn. 18, 21 and 38 for Metilde were sung by Ant[oni]a Marzani (SAUNDERS, p. 455). These singers are also named in WORSTHORNE, p. 173, who does not, however, associate any of them with specific roles. The last three arias in the anonymous aria collection at I-PAc SANVITALE SANV.B.23 (olim 37732-CH-II-1, catalogued in GASPERINI-PELLICELLI, pp. 159-160) are the only known concordances for the twenty-one arias by Ziani in Barb. lat. 4131. Barb. lat. 4131-4132

Barb. lat. 4132 1688-1691 ca., 68 × 198 mm, I.142.I ff., 4 staves, 3 hands

Miscellany of sixty-nine anonymous arias written for five Venetian operas of 1688-1691. Twelve arias are from three produced in 1688: ORAZIO, libretto perhaps by Vincenzo Grimani and music by Giuseppe Felice Tosi; GORDIANO, libretto by Adriano Morselli and music by Domenico Gabrielli;

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and L’INGANNO REGNANTE, OVERO L’ATANAGILDA, REGINA DI GOTTIA, libretto by Giulio Cesare Corradi and music by Marc’Antonio Ziani. The year “1688” heads each of them and the theater in which they were produced follows the year (nn. 1-36). Twelve arias from CREONTE (1690-1691), libretto by Rinaldo Cialli and music by M.A. Ziani, are organized in groups of four (nn. 47-50, 56-59 and 62-65). The remaining twenty-one arias are from L’INGANNO SCOPERTO PER VENDETTA, text by Francesco Silvani and music by Giacomo Perti (Venice, 28 Dec 1690; Genoa and Modena 1691). The setting is S/B unless otherwise indicated. Barb. lat. 4132 1 (f. 1r-v) [GIUSEPPE FELICE TOSI]. 1688, S. Gio. Crisostomo. Bella Giunia, ora il mio core, A/B, D minor. For Floro in III:2 of ORAZIO (Venice 1688). 2 (f. 3r-v) [DOMENICO GABRIELLI]. 1688, S. Luca. Porgi la destra, mio dolce amor, C minor. For Cirene in I:9 of IL GORDIANO (Venice 1688). Also in I-MOe Mus. G.331, n. 5. The Modena ms., headed Ariette di Venetia del 1688, also has concordances with nn. 2, 10, 21, 26, 28, 33 and 35 below. 3 (ff. 5-6) [GABRIELLI]. 1688, S. Luca. Ombre cieche, sordi orrori, G major. For Valeria in I:1 of GORDIANO. 4 (ff. 7-8) [GABRIELLI]. 1688, S. Luca. Al cor dai vita che sta languendo, D major. For Lepido in III:9 of GORDIANO. 5 (ff. 9-10) [MARC’ANTONIO ZIANI]. 1688, S. Gio. e Paolo. Per gionger’ a goder, B major. For Atanagilda (Gismondo) in III:17 of L’INGANNO REGNANTE OVERO L’ATANAGILDA REGINA DEI GOTTIA (Venice 1688). 6 (ff. 11-12) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Caro autor de’ miei tormenti, A/B, G minor. For Sabina in III:6 of ORAZIO. Also in I-Nc 33.4.10 (Cantate 47), f. 13; the first item in the vol. is dated 1690. Listed in OPACSBN as Caro amor de miei tormenti. 7 (ff. 13-14) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Fortunato vado a morire, C minor. For Curiazio in II:19 of ORAZIO. Also in I-Nc 33.4.10 (Cantate 47), ff. 9v-10. This volume also has concordances with nn. 7, 10, 14, 21 and 32-34 below. 8 (ff. 15-16v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Armatevi di sdegno, su, su, miei spirti, all’armi, D major. For Curiazio in II:12 of ORAZIO. Also in I-MOe Mus. G.329, ff. 22-24. The Modena ms., headed Canzonette di Venetia del 1688, also has concordances with nn. 8-9, 16, 18, 22, 25 and 36 below. 9 (ff. 17-18v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. O quanto mi fai

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ridere, E minor. For Decio in I:14 of ORAZIO. Also in I-MOe Mus. G.329, ff. 24v-26v. 10 (ff. 19-20v) [GABRIELLI]. 1688, S. Luca. Sì, sì, Fortuna cieca, C major. For Valeria in I:11 of GORDIANO. Also in I-MOe Mus. G.331, n. 22, ff. 4950v, and I-Nc 33.4.10 (Cantate 47), ff. 44-45. Musical incipit in WECIS 4B, n. 310. 11 (ff. 21-22) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Ricordati un poco, Fortuna, di me, G major. For Lotilda in I:1 of INGANNO REGNANTE. 12 (ff. 23-24v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Chi in amor desia mercede, A/B, F major. For Sabina in III:7 of ORAZIO. 13 (ff. 25-26v) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Ha negl’occhi il sol diviso, G major. For Atanagilda (Gismondo) in I:5 of INGANNO REGNANTE. 14 (ff. 27-28v) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Arma il sen d’una costanza, C major. For Lotilda in III:6 of INGANNO REGNANTE. A later hand added “alla 5.a” (a 5th higher) in brown ink. Also in I-Nc 33.4.10 (Cantate 47), f. 12. 15 (ff. 29-30) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Se non è bella, bella, E! major. For Atanagilda (Gismondo) in II:8 of INGANNO REGNANTE. 16 (ff. 31-32v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Viver lungi dal suo bene, G minor. For Curiazio in I:3 of ORAZIO. Also in I-MOe Mus. G.329, ff. 1-3. 17 (ff. 33-34) [M.A. ZIANI]. 1688, S. Gio. e Paolo. O non si prende moglie, A major. For Ircano in II:5 of INGANNO REGNANTE. 18 (ff. 35-36) [G.F. TOSI]. 1688, S. Gio. Crisostomo. È follia seguir costante, A major. For Decio in II:5 of ORAZIO. Also in I-MOe Mus. G.329, ff. 20-21v. 19 (ff. 37-38) [GABRIELLI]. S. L. 1688, S. Luca. Bella, non ti doler, che per te gira il ciel, A /B, G major. For Filippo in I:10 of GORDIANO. 20 (ff. 39-40) [GABRIELLI]. S. L. 1688, S. Luca. Ardendo, struggendo, quest’alma si va, A/B, D major. For Filippo in I:7 of GORDIANO. 21 (ff. 41-42v) [GABRIELLI]. S. L. 1688, S. Luca. Non m’importa, occhi adorati, A minor. For Gordiano in II:4 of GORDIANO. Also in I-MOe Mus. G.331, n. 1, f. 1r-v, and twice in I-Nc 33.4.10 (Cantate 47), ff. 13v-14v and 43v-44. Musical incipit in WECIS 4B, n. 274. 22 (ff. 43-44v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Bella mia che il sen

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m’impiaghi, E major. For Curiazio in III:10 of ORAZIO. Also in I-MOe Mus. G.329, ff. 31v-33v, where str. 2 Vago mio che m’innamori is written under the first. 23 (ff. 45-46) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Quell’occhio mi piace, G minor. For Oronte in II:9 of INGANNO REGNANTE. 24 (ff. 47-48v) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Può ben celarsi un poco, D minor. For Atanagilda (Gismondo) in III:8 of INGANNO REGNANTE. 25 (ff. 49-51v) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Vanne, fuggi dal seno Amor, F major. For Curiazio in I:19 of ORAZIO. Also in I-MOe Mus. G.329, ff. 14v-17v. 26 (ff. 53-54) [GABRIELLI]. 1688, S. Luca. T’aspetto, diletto di queste mie luci, G minor. For Valeria in III:11 of GORDIANO. Also in I-MOe Mus. G.331, n. 16, ff. 37-38. 27 (ff. 55-56) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Dove sei, dove t’ascondi, A major. For Lotilda in I:1 of INGANNO REGNANTE. Also in GB-Lbl Harley 1273, f. 14v. 28 (ff. 57-58v) [GABRIELLI]. S. L. 1688, S. Luca. Parmi un sogno ed è pur vero, E! major. For Cirene in I:8 of GORDIANO. Also in I-MOe Mus. G.331, n. 4, ff. 7-8v. 29 (ff. 59-60) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Seguimi quanto vuoi, ch’ognor ti fuggirò, D minor. For Ircano in I:2 of INGANNO REGNANTE. 30 (ff. 61-62) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Al tuo labro non do fede, A minor. For Ircano in II:3 of INGANNO REGNANTE. 31 (ff. 63-64v) [M.A. ZIANI]. 1688, S. Gio. e Paolo. Dissi di non amar, e lo confermo ancor, C major. For Ircano in II:11 of INGANNO REGNANTE. 32 (ff. 65-66v) [GABRIELLI]. S. L. 1688, S. Luca. Spuntò dal mare il dì, G major. For Gordiano in I:3 of GORDIANO. Also in I-Nc 33.4.10 (Cantate 47), f. 52. Musical incipit in WECIS 4B, n. 318. 33 (ff. 67-68v) [GABRIELLI]. S. L. 1688, S. Luca. Sul cinabro di quel labro, SB/B, B! major. For Cirene and Gilbo in I:10 of GORDIANO. The servant Gilbo sings only at the beginning and end of the B section. Also in I-MOe Mus. G.331, n. 6, ff. 4v-5v, and I-Nc 33.4.10 (Cantate 47), f. 8. 34 (ff. 69-70) [G.F. TOSI]. 1688, S. Gio. Crisostomo. Perché in vita mi serbate, D minor. For Giunia in III:8 of ORAZIO. The aria occurs twice in I-Nc 33.4.10 (Cantate 47), f. 15 and f. 50v. Musical incipit in WECIS 4B, n. 290.

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35 (ff. 71-72v) [GABRIELLI]. S. L. 1688, S. Luca. Io vi lascio, amiche selve, B! major. For Gordiano in I:5 of GORDIANO. Also in I-MOe Mus. G.331, n. 3, ff. 5-6v. 36 (ff. 73-74) [G.F. TOSI]. 1688, S. Gio. Crisostomo. O cara, o dolce, o dolce, o cara libertà, G major. For Decio in II:14 of ORAZIO. Also in I-MOe Mus. G.329, ff. 34-35, and GB-Ob Mus. Sch. C.103, p. 66 (see SELFRIDGEFIELD-Bod). 37 (f. 75r-v) [GIACOMO ANTONIO PERTI]. Scherza ch’io scherzerò, C major. For Mandane in II:5 of INGANNO SCOPERTO (Venice 1691). Another copy is n. 60 below; GB-Cfm Mus. MS 718 (olim 32.F.33), ff. 15-16v; and US-BEm 118, pp. 16-17. Preceded by a TrTrAB ritornello in the holograph score, IMOe Mus. F.921, ff. 113-14v, and followed by the same ritornello and str. 2: Ridi ch’io riderò. The Modenese score also has concordances with nn. 37-39, 41-45, 53-54, 60 and 68-69 below. 38 (ff. 77-78) [PERTI]. Luci belle, il cor m’impiaga, C major. For Siderme in I:8 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 108; F-Pn Vm7 5, pp. 33-35; GB-Cfm Mus. 718 (olim 32.F.33), ff. 41-44; I-BGc 227.8A, n. 49; and S-B NB Holm 215, ff. 39-40. The libretto reads Luci belle, il vostro lampo visto appena il cor m’impiaga, as does the holograph score, I-MOe Mus. F.921, ff. 38-39 (A/B in G major). 39 (ff. 79-80v) [PERTI]. I sensi del mio cor, no, non intendi, A major. For Statira in I:14 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 84; F-Pn Vm7 5, pp. 17-19; GB-Cfm Mus. 718 (olim 32.F.33), ff. 17-20v; I-BGc 227.8A, n. 58; US-BEm 118, pp. 16-17; and in the holograph score, I-MOe Mus. F.921, ff. 84-85, where it is marked “Aria alla barcarola.” The Bergamo ms. shares nine other arias with Barb. 4132, nn. 41, 44-46, 52-55 and 67 below. NESTOLA 2015, vol. 2, AIF.274, adds the concordances F-Pn H.659, IV, pp. 38-39, with Rés. F 1675 (7), f. 7v (the continuo part). 40 (ff. 81-82) [PERTI]. Ch’io parta? Partirò. Ma forse, forse, C minor. For Mandane in I:9 of INGANNO SCOPERTO. This is a different aria from Ch’io parta? Partirò. Ma è barbaro rigore in BAV Barb. lat. 4165, n. 20 (q.v.).

41 (ff. 83-84) [PERTI]. Non più assalti a questo seno, G minor. For Statira in I:13 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 105; GBCfm Mus. Ms. 718 (olim 32.F.33), ff. 87-89v; and I-BGc 227.8a, n. 32. In the holograph score, I-MOe Mus. F.921, ff. 80v-82, Statira sings this as the second strophe of Non più pene a questo core, A/B, D minor, sung by Dario. 42 (f. 85r-v) [PERTI]. Dammi un bacio, o mia vezzosa, G major. For Sid-

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erme in II:5 of INGANNO SCOPERTO. Also in n. 68 below. For A/B in D major in holograph score, I-MOe Mus. F.921, ff. 111v-112. 43 (ff. 87-88) [PERTI]. Torno a baciar lo strale, A major. For Statira in I:2 of INGANNO SCOPERTO. Preceded by a TrTrAB ritornello in holograph score, I-MOe Mus. F.921, ff. 98-99v. 44 (ff. 89-90v) [PERTI]. Fa gran piaghe in questo cuore, A major. For Statira in I:11 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 115; F-Pn Vm7 5, pp. 45-47; and I-BGc 227.8A, n. 28. Preceded by a TrTrAB ritornello in the holograph score, I-MOe Mus. F.921, ff. 54v-56. 45 (ff. 91-92) [PERTI]. Ritorno a respirar al chiaro balenar, G minor. For Mandane in II:10 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, nn. 87 and 88; GB-Cfm Mus. Ms. 718 (olim 32.F.33), ff. 79-81v; I-BGc 227.8A, n. 47; and S-B NB holm 2215, ff. 37-38. In the holograph score, I-MOe Mus. F.921, f. 145v, the same music sets Ritorni l’alma in sen col lucido balen for A/B in A minor, assigned to Dario. Only the first page, however, of Dario’s aria remains in the ms., and it is struck through. Not to be confused with Perti’s Ritorno a respirar se non m’inganni from his NERONE FATTO CESARE (Venice 1693; exemplar in D-Dl Mus. 1-I-2,3, ff. 14-15v = pp. 27-30).

46 (ff. 93-94v) [PERTI]. De l’alma la speranza, quel latte m’alimenta, F major. For Siderme in I:10 of INGANNO SCOPERTO. Also anonymous in GBCfm Mus. Ms. 718 (olim 32.F.33), ff. 61-64, and I-BGc 227.A8, n. 44. This aria is not in the holograph score for Modena; see comments at the end. 47 (ff. 95-96v) [MARC’ANTONIO ZIANI]. Non tardar, dolce speranza, A minor. For Rosane in I:15 of CREONTE (Venice 1691). 48 (ff. 97-98v) [M.A. ZIANI]. Col desio di cento baci, B! major. For Erasto in I:16 of CREONTE. Also anonymous in Barb. lat. 4142, n. 35, ff. 107-108v (q.v.). 49 (ff. 99-100) [M.A. ZIANI]. Credimi, o bella, credimi, sì, A/B, E minor. For Creonte in II:4 of CREONTE. 50 (ff. 101-102v) [M.A. ZIANI]. Mio nume, mio sposo, non cerco di più, A minor. For Rosane in III:5 of CREONTE. This is the second strophe of Creonte’s aria Mia sposa, mia vita, che brami di più. Attributed to Francesco Gasparini in OPAC-SBN without explanation. 51 (ff. 103-104) [PERTI]. Vo’ mordere quel labro ch’il cor mi lacerà, G major. For Siderme in II:9 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 107, and F-Pn Vm7 5, pp. 21-23.

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52 (ff. 105-106v) [PERTI]. Sperar né disperar quest’anima non sa, A/B, F major. For Dario in II:6 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 117, and I-BGc 227.8A, n. 46. 53 (ff. 107-108) [PERTI]. Deh placatevi, serenatevi, pupillette, occhi adorate, D major. For Statira in II:10 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 124, and I-BGc 227.8A, n. 34. Accompanied by TrAB instruments in the holograph score I-MOe Mus. F.921, ff. 141v-44v. 54 (ff. 109-110v) [PERTI]. Non può risolvere quest’alma ancora, C major. For Statira in I:10 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 103; F-Pn Vm7 5, pp. 41-43; I-BGc 227.8a, n. 40; and US-BEm 118, pp. 18-20. In the holograph score to the opera I-MOe Mus. F.921, ff. 48-49. 55 (ff. 111-112) [PERTI]. È pur poco un guardo solo, A/B, F major. For Agesilas in I:6 of INGANNO SCOPERTO. Also anonymous in F-Pn Vm7 5, pp. 29-31, and I-BGc 227.8A, n. 35. 56 (ff. 113-114v) [M.A. ZIANI]. Occhi cari che l’alma accendete, D minor. For Rosane in I:9 of CREONTE. The libretto reads “neri” instead of “cari” (p. 24). 57 (ff. 115-116v). [M.A. ZIANI]. Lieta ti voglio, ti bramo, vezzosa, A/B, D major. For Creonte in I:14 of CREONTE. 58 (ff. 117-118v) [M.A. ZIANI]. Godi, satiati, o barbara sorte, G minor. For Isifile in I:10 of CREONTE. Also anonymous in Barb. lat. 4142, n. 34, ff. 105-106v (q.v.). 59 (ff. 119-120v) [M.A. ZIANI]. Tu, no, non sei quella, sì vaga, sì bella, A/B, E! major. For Creonte in II:9 of CREONTE. 60 (f. 121r-v) [PERTI]. Scherza ch’io scherzerò, C major. For Mandane in II:5 of INGANNO SCOPERTO. Also anonymous in n. 37 above, and in GB-Cfm Mus. Ms. 718 (olim 32.F.33), ff. 15-16v. Preceded by a TrTrAB ritornello in the holograph score for Modena 1691, I-MOe Mus. F.921, ff. 113-14v, and followed by the same ritornello and str. 2: Ridi ch’io riderò. 61 (ff. 123-125) [PERTI]. Vo pensando nel pensiero, C major. For Siderme in I:5 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 110. 62 (ff. 127-128v) [M.A. ZIANI]. Spirti offesi, all’ire, all’armi, C major. For Rosane in II:19 of CREONTE. 63 (ff. 129-130v) [M.A. ZIANI]. Tra il sì e il no, non so, luci vezzose e belle, A /B, D major. For Creonte in II:18 of CREONTE.

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64 (ff. 131-132v) [M.A. ZIANI]. Per pietade chi m’insegna, C major. For Erasto in III:1 of CREONTE. 65 (ff. 133-134) [M.A. ZIANI]. Nell’arte dell’amar, ho un cor che in adorar, B minor. For Rosane in II:6 of CREONTE. 66 (ff. 135-136) [PERTI]. D’aure placide su l’ali, A major. For Mandane in II:1 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 97, and S-B NB Holm 215, ff. 43-44. 67 (ff. 137-138v) [PERTI]. Sino il sol ch’in ciel risplende, A major. For Siderme in I:3 of INGANNO SCOPERTO. Also anonymous in D-MÜs 187, n. 95; F-Pn Vm7 5, pp. 25-27, and I-BGc, 227.8A, n. 57. 68 (ff. 139-139v) [PERTI]. Dammi un bacio, o mia vezzosa, G major. For Siderme in II:5 of INGANNO SCOPERTO. Also anonymous in n. 42 above. For A/B in D major in holograph score, I-MOe Mus. F.921, ff. 111v-112. 69 (ff. 141-142) [PERTI]. Voglia o non voglia, chi te’l giuro, D major. For Statira in II:15 of INGANNO SCOPERTO. Preceded and followed by a TrTrAB ritornello in the holograph score, I-MOe Mus. F.921, ff. 181-181bisv. Bound in parchment (78 × 205 mm). A modern hand has written an earlier shelf-mark, XLVII.3, in black ink inside the front cover. One watermark is a flower with stem and leaves (ff. 5, 39 and 54), found also in Barb. lat. 4130 and similar to HEAWOOD, no. 1886. Another watermark (found at a corner of ff. 40 and 52) has three hills with three letters: C M (or W) and a backward C (cf. HEAWOOD nn. 2596-2599). It is possible that these are two segments of one watermark, because the tops of two hills can be seen at the bottom of the stem for the flower. The foliation in pencil is recent. The opening and closing folios are blank. Blank staves only are on ff. 2, 4, 52, 76, 86, 122, 126 and 140. Hand 4132-A copied all thirty-six arias from the three productions of 1688 and all twenty-one from L’INGANNO SCOPERTO of 1691. Hand 4132A also added the abbreviation S. L. (San Luca) in the upper right corner of the opening page of at least eight of the twelve arias from IL GORDIANO (nn. 19-21, 26, 28, 32-33, and 35). Hand 4132-B copied the remaining twelve arias, that is, all from CREONTE (1690-1691). A non-music copyist added the year and wrote out the name of the theater in the upper left corner of the opening page of all thirty-six arias of 1688. Librettos for the five operas are all accessible via the CORAGO portal. All were printed by Francesco Nicolini in Venice. GORDIANO, ORAZIO and GL’INGANNO REGNANTE were produced during inverno 1688, CREONTE during autunno 1690 and L’INGANNO SCOPERTO during inverno 1691 (GROP-

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PO,

pp. 66 and 70). Three of the librettists signed dedications: Corradi in GL’INGANNO REGNANTE, Cialli in CREONTE, and Silvani in L’INGANNO SCOPERTO. Nicolini signed the dedication in GORDIANO, while the unidentified F.A.L. signed the one in ORAZIO, a libretto that was conjecturally written by Vincenzo Grimani, the noble owner of the theater (San Giovanni Grisostomo) in which it was produced (SAUNDERS, pp. 29, 32-51 and 331-333), then revised by Girolamo Frisari (ALM n. 345). ORAZIO is the only one of the five in which no composer is named in a preface to the reader. See SARTORI, nn. 6884-5, 12436-7, 13184, 13189, and 17319. Complete scores are extant in I-MOe for two of the operas: Gabrielli’s holograph for GORDIANO is Mus. F.419 (LODI, p. 117, and CHIARELLI, n. 753); Perti’s holograph for INGANNO SCOPERTO is Mus. F.921 (LODI, p. 133, and CHIARELLI, n. 682). The Gabrielli score has not been examined, but seven of the twelve arias from GORDIANO in Barb. lat. 4132 (nn. 2, 10, 21, 26, 28, 33 and 35) are also extant in I-MOe Mus. G.331 (LODI, p. 15, and CHIARELLI, n. 545). For the arias herein, see also LINDGREN-Ven, passim. L’inganno scoperto per vendetta The Modenese score for Perti’s L’INGANNO SCOPERTO PER VENDETTA was clearly revised for a production that deleted arias that are in Barb. lat. 4132 (nn. 40, 45-46, 51-52, 55, 61 and 66-67). A handwritten note on the opening flyleaf of the Modena score identified the revised production as Modena 1691, which seems far more likely than Sartori’s proposal of Genoa 1691 (SARTORI, n. 13187). The Modena score provides a fully-scored source for Barb. 4132, nn. 37-39, 41-45, 53-54, 60 and 68-69. Twelve of Perti’s twentyone arias in Barb. lat. 4132 are in D-MÜs Hs. 187 (nn. 38-39, 41, 44-45, 5154, 61 and 66-67); eleven are in I-BGc 227.8A (nn. 38-39, 41, 44-46, 52-55 and 67); seven are in F-Pn Vm7 5 (nn. 38-39, 44, 51, 54-55, and 67); seven are in GB-Cfm Mu. Ms. 718 (olim 32.F.33, nn. 37-39, 41, 45-46 and 60); three are in S-B NB holm 215 (nn. 38, 45 and 66), and three (are in US-BEm 118, cf. EMERSON, pp. 176-177; nn. 37, 39 and 54). Orazio The main musical source for ORAZIO is I-MOe Mus. G.329, which is headed Canzonette di Venetia del 1688 and includes fifteen arias (LODI, p. 173, and CHIARELLI, n. 530). The twelve arias in Barb. lat. 4132 include seven that are concordant with pieces in the Canzonette: Barb. lat. 4132, nn. 8-9, 16, 18, 22, 25 and 36. Two smaller sources are known: GB-Ob Mus. Sch. C.103, has three arias (SAUNDERS, p. 440), and I-Nc 33.4.10 has

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three (see Barb. lat. 4132, nn. 6-7 and 36). Singers for this work are named in I-Vnm It.IV. Cod. 748 [= 10466], a ms. that covers productions at San Giovanni Grisostomo from 1678 through 1766. According to SAUNDERS, p. 447, the writer’s source for his information is unknown, but it seems to be reliable. Curiazio (Barb. lat. 4132, nn. 7-8, 16, 22 and 25) was sung by Alessandro Girardini; Decio (nn. 9, 18 and 36) by Gio[vanni] M[ari]a [no surname given]; Floro (n. 1) by an unnamed Servite priest; Giunia (n. 34) by Vittoria [Tarquini, detta la] Bombaci; and Sabina (nn. 6 and 12) by Laura Spada (SAUNDERS, p. 453). L’inganno regnante overo l’Atanagilda Barb. lat. mss. are the primary musical sources for L’INGANNO REGNANThe twelve in Barb. lat. 4132 and five in Barb. lat. 4142 (q.v.) are currently the only known sources for Ziani’s opera. The only other known source is I-Nc 33.4.10 (Cantate 47), which includes a concordance for Barb. lat. 4132, n. 14. Barb. lat. 4132-4133 TE.

Barb. lat. 4133 1694-1696 ca., 70 × 204 mm, I.83.I ff., 4 staves, 4 hands

Miscellany of ninety-one arias from eight Venetian operas of 16941696. Forty were composed for four operas by Carlo Francesco Pollarolo. Twenty-one were for GL’INGANNI FELICI (autumn 1695), libretto by Apostolo Zeno. The other nineteen were for three with libretti by Girolamo Frigimelica Roberti. Seven solos each were for IL PASTORE D’ANFRISO (1695) and ROSIMONDA (1696), while four solos plus one duet were for IRENE (1694/95). All but the duet in IRENE (n. 5) are prefaced by the title of the opera. The seven titles for PASTORE D’ANFRISO were added by a second hand. TERMINI’s dissertation provides thematic incipits for the first opera, INGANNI FELICI. Each of the remaining four operas is by a different composer. Only one aria from each of three operas is attributed to a composer. Francesco Navarra (see n. 17 below) composed the twelve for BASILIO, RE D’ORIENTE (1696), libretto by Giovanni Battista Neri. “Sr. D. Bernardo” [Sabadini] (see n. 22 below) composed the twelve for ERACLEA (1696), libetto by Giovanni Cesare Godi. And Marc’Antonio Ziani (see n. 55 below) composed the eight for LA FINTA PAZZIA D’ULISSE (1696), libretto by Matteo Noris. Libretto and music for the remaining fourteen arias, all of which are anonymous, were written by Pietro Romolo Pignatta for LA COSTANZA VINCE IL DESTINO (autumn 1695).

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Abbreviations are given for the five theaters that produced six of the operas, i.e., all except IRENE and PASTORE D’ANFRISO. The theaters are S.A. (Sant’Angelo), S.C. (San Cassiano), S. G.G. (San Giovanni Grisostomo), SS. Gio. e Paolo (Santi Giovanni e Paolo) and S. L. (San Luca, also named San Salvatore). All twelve arias from ERACLEA are headed “S. L. 2.a,” because it was the second opera produced at San Luca during carnival 1696. Texts for five solos (nn. 1, 10, 13, 15 and 16) have not been found in any libretto, so they remain anonymous. None is preceded by the abbreviated name of a theater, which could imply that they were sung in IRENE or PASTORE D’ANFRISO. Online in DVL. Barb. lat. 4133 1 (ff. 1-2) Son catene sino i fior, se un cor legano al suo bene, S/B, A minor. Also anonymous in I-Tn Foà 26, f. 65. From IL RE INFANTE (Venice 1683)? See comments at end. 2 (ff. 3-4) [CARLO FRANCESCO POLLAROLO]. PASTOR D’ANFRISO. Vanne, fuggi dal mio aspetto, A/B, C major. For Licisco in III:2. Also anon. in Barb. lat. 4174, n. 9 (q.v.), and F-Pn Rés. Vma 967, f. 50. The score for the opera, CZ-K 73.K.1 is attributed to “Carlo Francesco Polaroli” (“C. F. P.”). 3 (ff. 5-6v) [POLLAROLO]. IRENE. Guerra, guerra, voglio guerra e voglio amar, A/B, D major. For Memete in I:3. Also anon. in Barb. lat. 4174, n. 6 (q.v.). The score for the opera, CZ-K 70.K.1, is attributed to “Carlo Francesco Polaroli” (see n. 2 above). In it Memete is joined by Tr/TrTr/B (trumpet, oboi, timpani) and TrTrATB strings (violins, violette, continuo). Domenico Scarlatti adapted Pollarolo’s five-act IRENE for the three-act production in Naples 1704. He retained Pollarolo’s setting for this aria and for the other twenty-two marked § in the Naples libretto. Music for the Naples production is extant in Arie con stromenti dell’Irene delli Sig.ri Carlo Francesco Pollaroli & Domenico Scarlatti in I-Nc Rari 7.1.20 (= Arie 512 or 32.2.29, inventoried in RISM online 8500008984). According to TERMINI, p. 309, it preserves one duet by each composer, thirty-three solos by Scarlatti and twenty-three solos by Pollarolo. No musical incipit for this aria is given in her dissertation, p. 670.

4 (ff. 7-8) [POLLAROLO]. PASTOR D’ANFRISO. Sol d’amore si diffende la costanza col fuggir, S/B, F major. For Dafne in IV:4. Also anon. in Barb. lat. 4174, n. 32 (q.v.). Preceded by a TrTrAB ritornello and attributed to “C.F.P.” in the score to the opera, CZ-K 73.K.1. 5 (ff. 10-11v, 9) [POLLAROLO]. IRENE. Su, su, s’armi, all’armi, all’armi, AB/B, D major. For Solimano and Hali in V:4 (Venice 1695). The alto part is not texted, but its rhythms are identical to those in the bass voice, so it was undoubtedly sung. Also anon. in Barb. lat. 4174, n. 18 (q.v.). With Tr/ TrTr/AT and B (trumpet, violins & oboes, violette and continuo) and attributed to “C.F.P.” in the score for the opera, CZ-K 70.K.1.

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For the Naples 1704 production (see n. 3 above), Domenico Scarlatti composed a new setting for this aria text.

6 (ff. 12-13v) [POLLAROLO]. IRENE. Ne l’amante son gran nemici, A/B, G major. For Solimano in III:8. Printed in the libretto, p. 11, as a replacement for Grand’amante è grand’imprudente (printed in the libretto, p. 48). Also anon. in Barb. lat. 4174, n. 8 (q.v.). With TrATB instruments and attributed to “C.F.P.” in the score for the opera CZ-K 70.K.1. 7 (ff. 14-15v) [POLLAROLO]. PASTOR D’ANFRISO. Morirò, morirò. Voglio per monti su monti, A/B, F major. For Licisco in V:1. Also anon. in Barb. lat. 4174, n. 14 (q.v.). Marked “li violini e violette unisoni” in the score to the opera CZ-K 73.K.1. 8 (ff. 16-17v) [POLLAROLO]. PASTOR D’ANFRISO. Per fuggir tutti gl’inganni, A/B, C major. For Erasto in II:3. Also anon. in Barb. lat. 4174, n. 7 (q.v.), and in F-Pn Rés. Vma 967, f. 49. Preceded by a TrTrAB ritornello and attributed to “C.F.P.” in the score to the opera CZ-K 73.K.1. 9 (f. 18r-v) [POLLAROLO]. PASTOR D’ANFRISO. Vo’ aprirlo questo petto, A/B, F minor. For Licisco in IV:9. Also anon. in Barb. lat. 4174, n. 17 (q.v.). Attributed to “C.F.P.” in the score for the opera CZ-K 73.K.1. 10 (ff. 20-21) Sì, tu amante, tu lieto, sì presto havrai la bella, S/B, A major. Also anon. in I-Tn Foà 26, ff. 63-64. From IL RE INFANTE (Venice 1683)? See comments at end. 11 (ff. 22-23v) [POLLAROLO]. IRENE. Gran tormento è di chi è colto, S/B, B minor. For Deianira in IV:10. Anon. in Barb. lat. 4174, n. 31 (q.v.). With TrTrATB instruments and attributed to “C.F.P.” in the score to the opera CZ-K 70.K.1. 12 (ff. 24-25) [POLLAROLO]. PASTOR D’ANFRISO. Cedi, cedi a chi ti prega, S/B, C major. For Dafne in IV:2. Also anon. in Barb. lat. 4174, n. 33 (q.v.). Attributed to “C.F.P.” in the score to the opera CZ-K 73.K.1. 13 (ff. 26-27) Deh, se mai ti punse amore quel fiero core, S/B, F major. Also anon. in I-Tn Foà 26, ff. 7-8, and B-Bc 703, n. 293, p. 331 (RISM n. 703001827). See also n. 16 below. From IL RE INFANTE (Venice 1683)? See comments at end. 14 (ff. 28-29) [POLLAROLO]. PASTOR D’ANFRISO. Per serbar l’animo casto, S/B, B! major. For Dafne in V:5. Four measures of text on f. 28r-v have been erased and replaced. Also anon. in Barb. lat. 4174, n. 16 (q.v.). With TrTrAB instruments in the score to the opera CZ-K 73.K.1, which is attributed to “C.F.P.”

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15 (ff. 30-31) Vedo e spero per tua mercé che la mia bella, S/B, F major. Also anon. in I-Tn Foà 26, ff. 35-36. From IL RE INFANTE (Venice 1683)? See comments at end. 16 (ff. 32-33v) Sì, mio bene, sì, mio caro, S/B, F# minor. Also anonymous in I-Tn Foà 26, ff. 22-24; B-Bc 703, n. 290, p. 327; and A-Wn E.M. 179 part 6, “S. Aurelo (!) 1694,” item 6m in HAAS, p. 223 (RISM n. 600241124). From IL RE INFANTE (Venice 1683)? See comments at end. 17 (ff. 34-35) Del s.r FRAN[CES]CO NAVARRA. S. C. Il mio regno è la beltà, A/B, D major. For Doristo in III:2 of BASILIO RE D’ORIENTE (Venice 1696). 18 (ff. 36-37) [NAVARRA]. S. C. Vieni a celar la face, S/B, A major. For Flavia in I:5 of BASILIO. 19 (ff. 38-39v) [NAVARRA]. [S. C.] Tanto più costante adoro, A/B, G major. For Doristo in I:14 of BASILIO. 20 (ff. 40-41v) [POLLAROLO]. IRENE. Vincitor, terror del mondo, A/B, D major. For Memete in II:5. Also anon. in Barb. lat. 4174, n. 5 (q.v.). Marked “li violini e violette suonano il basso raddoppiando le note tutte” (same as n. 7 above) in the score to the opera CZ-K 70.K.1, attributed to “C.F.P.” TERMINI, 671. Domenico Scarlatti gave this text a new setting for the Naples 1704 production. It is in I-Nc Rari 7.1.20 (= 32.2.29 or Arie 512): Arie con stromenti dell’Irene delli Sig.ri Carlo Francesco Pollaroli & Domenico Scarlatti, n. 31.

21 (ff. 42-43) [BERNARDO SABADINI]. S. L. 2.a. Fregio sì vile non sei beltà, S/B, A minor. For Demarata in I:6 of ERACLEA (Venice 1696). In the score to the opera CZ-K 75.K.1. 22 (ff. 44-45) Del s.r. D. BERNARDO [SABADINI] (added later in pencil: di Parma). S. L. 2.a. Torna, torna, amica pace, ch’io lasciai colà nel bosco, S/B, A major. For Eraclea in I:2 of ERACLEA. In the score to the opera CZ-K 75.K.1. 23 (ff. 46-47) [SABADINI]. S. L. 2.a. Festeggia, superba, o reggia, S/B, D minor. For Trasone in I:7 of ERACLEA. In the score to the opera CZ-K 75.K.1. 24 (ff. 48-49) [SABADINI]. S. L. 2.a. Tal’or la frode, onor di lode, A/B, E! major. For Apollonide in II:1 of ERACLEA. In the score to the opera, CZ-K 75.K.1. 25 (ff. 50-51) [SABADINI]. S. L. 2.a. Anch’io bramo, e peno anch’io, S/B, F major. For Demarata in II:3 of ERACLEA. In the score to the opera CZ-K 75.K.1.

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26 (ff. 52-53) [SABADINI]. S. L. 2.a. Quanto punga, quanto stimola, stral d’amore e spron d’onor, A/B, D major. For Epicide in II:8 of ERACLEA. In the score to the opera CZ-K 75.K.1. 27 (ff. 54-55) [SABADINI]. S. L. 2.a. Labri ardenti, chi vi lega?, S/B, D minor. For Trasone in II:5 of ERACLEA. In the score for the opera CZ-K 75.K.1. 28 (ff. 56-57) [SABADINI]. S. L. 2.a. Come sento a risvegliarmi!, S/B, C major. For Trasone in III:7 of ERACLEA. In the score to the opera CZ-K 75.K.1. 29 (ff. 58-59) [SABADINI]. S. L. 2.a. Posseder quel, che desia, S/B, F major. For Demarata in IV:3 of ERACLEA. In the score for the opera CZ-K 75.K.1. 30 (ff. 60-61) [SABADINI]. S. L. 2.a. Perché mi sei tu così lento, S/B, A major. For Demarata in III:5 of ERACLEA. In the score to the opera CZ-K 75.K.1. 31 (f. 62r-v) [POLLAROLO]. S. G.G. Bella Cintia ch’il sole sei, A/B, F major. For Alsuinda in I:6 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score to the opera CZ-K 72.K.1. 32 (ff. 63-64) [SABADINI]. S. L. 2.a. È il perdon regia vendetta, S/B, C major. For Eraclea in V:8 of ERACLEA. In the score for the opera CZ-K 75.K.1. 33 (f. 66r-v) [POLLAROLO]. S. A. Tu mi rendi il core amante, S/B, A major. For Oronta (Alceste) in III:15 of GL’INGANNI FELICI (VENICE 1695). Strophe 1 is n. 35 below. Preceded by a TrTrAB ritornello in the score for the opera GB-Lbl Add. 16109, ff. 109-110, attributed to “Carlo Fran.co Polaroli” (“C.F.P.”). For a musical incipit, see Perché ogn’or in TERMINI, p. 625. 34 (ff. 67-68) [SABADINI]. S. L. 2.a. Favor di corte e lieve piuma, A/B, F major. For Apollonide in III:6 of ERACLEA. In the score to the opera CZ-K 75.K.1. 35 (f. 70r-v) [POLLAROLO]. S. A. Perché ogn’or ti viva in petto, S/B, A major. For Orgonte (Sifalce) in III:15 of INGANNI FELICI. Strophe 2 is n. 33 above. Anonymous and for A/B in D major in A-Wn E.M.179, part 7b in HAAS, p. 223. Preceded by a TrTrAB ritornello in the score for the opera GB-Lbl Add. 16109, ff. 109-110, attributed to “C.F.P.” TERMINI, p. 625. 36 (ff. 71-72v) [POLLAROLO]. S. A. Ti voglio, ben’amante, ma non così geloso, S/B, G major. For Agarista in III:18 of INGANNI FELICI. Also anon. in BAV Barb. lat. 4134, n. 2 (q.v.), and Chigi Q.IV.40, ff. 9-10v. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 114-15v, attributed to “C.F.P.” TERMINI, p. 625. 37 (ff. 74-75) [POLLAROLO]. S. A. Concedimi, ch’ io trovi la figlia a me sì

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cara, A/B, C major. For Clistene in III:16 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 111, attributed to “C.F.P.” TERMINI, p. 625. 38 (ff. 76-77) [POLLAROLO]. S. A. L’alma mia si scuote in vano per tornare in libertà, S/B, D major. For Demetrio (Armidoro) in III:11 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 100v-101, attributed to “C.F.P.” TERMINI, p. 625. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

39 (f. 78r-v) [PIETRO ROMOLO PIGNATTA]. SS. Gio. e Paolo. Chi s’innamora è stolto, folle chi segue Amor, A/B, G major. For Orvante in I:19 of LA COSTANZA VINCE IL DESTINO (Venice 1695). 40 (ff. 78bis-79) [POLLAROLO]. S. A. Impara a fingere con chi t’ama, S/B, A major. For Agarista in II:16 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 79, attributed to “C.F.P.” TERMINI, p. 624. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

41 (f. 81r-v) [POLLAROLO]. S. A. Su quel bel volto assiso, S/B, G major. For Agarista in II:8 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 58v-59, attributed to “C.F.P.” TERMINI, p. 623. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

42 (ff. 82-83) [POLLAROLO]. S. A. Vezzosette pupillette, quando volete, odiatemi, S/B, A major. For Demetrio (Armidoro) in II:7 of INGANNI FELICI. Also anon. in BAV Chigi Q.IV.40, ff. 7-8. For A/B in D major in A-Wn E.M. 179, part 7, “Del Teatro di S. Angelo dell’anno 1695” (item 7e in HAAS, p. 224). Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 57v-58. TERMINI, p. 623. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

43 (ff. 85-86) [POLLAROLO]. S. A. Dar martiri a chi s’adora, S/B, C major. For Agarista in II:12 of INGANNI FELICI. Also anon. in A-Wn E.M. 165, “S. Angelo,” n. 3, and for A/B in F major in A-Wn E.M. 179, part 7 “Del Teatro di S. Angelo dell’anno 1695,” which is item 7f in HAAS, pp. 213 and 224 (RISM n. 600241137). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, ff. 69v-70v. TERMINI, p. 624. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

44 (f. 87-87v) [ZIANI]. S. L. Sacro il ferro, il braccio e l’alma, A/B, E! major. For Erenio in I:7 of LA FINTA PAZZIA D’ULISSE (Venice 1696).

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45 (ff. 88-89) [POLLAROLO]. S. A. Crudo Amor, se al mio mal tu dai fomento, S/B, G minor. For Oronta (Alceste) in II:13 of INGANNI FELICI. The libretto has “duol” instead of “mal.” Also anon. in Barb. lat. 4134, n. 3 (q.v.), and BAV Chigi Q.VIII.206, ff. 143-144. For A/B in C minor in A-Wn E.M. 179, part 7 “Del Teatro di S. Angelo dell’anno 1695,” which is item 7c in HAAS, p. 223 (RISM n. 600241134). Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 71. TERMINI, p. 624. 46 (ff. 91-92) [PIGNATTA]. SS. G. P. Che pretendi, o calva diva, S/B, A major. For Arbante (Ormondo) in III:4 of COSTANZA VINCE IL DESTINO. 47 (ff. 93-94) [PIGNATTA]. SS. G. P. Vinta son, vinta son’io, caro ben dalla tua fé, S/B, A minor. For Almira in II:7 of COSTANZA VINCE IL DESTINO. 48 (ff. 95-96) [PIGNATTA]. SS. G. P. Vengo, o bella, a pianger tanto, S/B, A major. For Arbante (Ormondo) in II:2 of COSTANZA VINCE IL DESTINO. 49 (ff. 97-98) [PIGNATTA]. SS. G. P. II contento nel mio core già ritorna a festeggiar, S/B, C minor. For Clearco in III:1 of COSTANZA VINCE IL DESTINO. The libretto reads “… già sen corre a festeggiar.” 50 (f. 99r-v) [ZIANI]. S. L. Più dolce, o chiome aurate, A/B, D minor. For Palamede in II:2 of FINTA PAZZIA D’ULISSE. 51 (ff. 100-101) [PIGNATTA]. SS. G.P. Sei bella, sei vezzosa, ma non ti posso amar, S/B, A major. For Arbante (Ormondo) in II:9 of COSTANZA VINCE IL DESTINO. A different setting from Sei bella e vezzosa ma troppo crudel is Barb. lat. 4147, n. 16 (q.v.).

52 (f. 103r-v) [POLLAROLO]. S. G.G. Un core ch’ama non può haver colpa, S/B, B! major. For Rosimonda in II:4 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score for the opera CZ-K 72.K.1. 53 (ff. 104-105v) [PIGNATTA]. SS. G.P. Se non vale la costanza, A/B, C major. For Adraste in II:15 of COSTANZA VINCE IL DESTINO. 54 (ff. 107-108) [PIGNATTA]. SS. G.P. Nel mio sen crescere osservo, S/B, D major. For Almira in I:5 of COSTANZA VINCE IL DESTINO. 55 (ff. 109-110) Del s.r MARC’ANT.O ZIANI. S. L. Qui attendimi, fedele, e non partir, S/B, E major. For Eritia in I:7 of FINTA PAZZIA D’ULISSE. 56 (ff. 111-112) [M.A. ZIANI]. S. L. Son pazzo, ma ben veggo, S/B, B! major. For Ulisse in II:7 of FINTA PAZZIA D’ULISSE. Also anonymous in F-Pa 6826, vol. II, pp. 28-30; cf. NESTOLA 2015, vol. 2, AIF.592.

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57 (ff. 113-114) [NAVARRA]. S. C. Sarò di chi mi piace, S/B, C major. For Placidia in I:13 of BASILIO. 58 (ff. 115-116) [NAVARRA]. S. C. Voglio un pegno più certo in amore, S/B, B! major. For Leone in I:8 of BASILIO. 59 (f. 117r-v) [PIGNATTA]. SS. G.P. A un amor che non si sa, S/B, A major. For Almira in I:9 of COSTANZA VINCE IL DESTINO. 60 (ff. 118-119v) [NAVARRA]. S. C. Perché mai non trovi inciampo, A/B, F major. For Doristo in I:2 of BASILIO. 61 (ff. 121-122v) [NAVARRA]. S. C. Ah, speranza del cor, m’hai fatto torto, A/B, D minor. For Doristo in III:4 of BASILIO. 62 (ff. 123-124) [NAVARRA]. S. C. Latte d’alba ha poco vanto, S/B, A major. For Placidia in I:9 of BASILIO. 63 (ff. 125-126v) [NAVARRA]. S. C. Speme, pria di lasciarmi, dimmi se tornerai?, A/B, D minor. For Doristo in II:14 of BASILIO. 64 (ff. 127-128) [NAVARRA]. [S. C.] Non v’è cor ch’ami da vero, S/B, C major. For Flavia in II:5 of BASILIO. 65 (ff. 129-130v) [NAVARRA]. S. C. Devo e poi voglio, darti il mio cor, A/B, G major. For Doristo in I:14 of BASILIO. 66 (ff. 131-132) [PIGNATTA]. SS. G.P. Voglio amarti, adorarti, sinché l’alma in seno havrò, S/B, G major. For Clearco in III:2 of COSTANZA VINCE IL DESTINO. 67 (ff. 133-134) [PIGNATTA]. [SS. G.P.] Deh non più così cruda, S/B, D minor. For Laureno in I:15 of COSTANZA VINCE IL DESTINO. 68 (ff. 135-136v) [PIGNATTA]. SS. G.P. Con Amor entro al mio petto, vien lo Sdegno a guerreggiar, S/B, D major. For Almira in III:5 of COSTANZA VINCE IL DESTINO. 69 (ff. 137-138) [POLLAROLO]. S. A. Parche, troncate il mio vivere per pietà, A/B, C minor. For Clistene in III:9 of INGANNI FELICI. Followed by a ritornello (TrTrAB) in the score to the opera GB-Lbl Add. 16109, f. 97, attributed to “C.F.P.” TERMINI, p. 625. 70 (ff. 139-140) [POLLAROLO]. S. A. Or che Imeneo per te le faci accese, A/B, G minor. For Clistene in II:6 of INGANNI FELICI. With unison violins and continuo in the score to the opera GB-Lbl Add. 16109, ff. 55-56, attributed to “C.F.P.” TERMINI, p. 623. 71 (ff. 141-142) [POLLAROLO]. S. A. Vorresti farmi piangere, ma pianger’

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non poss’io, S/B, B! major. For Orgonte (Sifalce) in II:11 of INGANNI FELICI. Also anon. in Barb. lat. 4134, n. 1 (q.v.). For A/B in F major in A-Wn E.M. 179, part 7a in HAAS, p. 223. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 66v-67, attributed to “C.F.P.” TERMINI, p. 624. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

72 (ff. 143-144) [POLLAROLO]. S. A. La beltà che m’ha rapito, S/B, A major. For Orgonte (Sifalce) in III:4 of INGANNI FELICI. With unison violins and continuo in the score for the opera GB-Lbl Add. 16109, ff. 91v-92v, attributed to “C.F.P.” TERMINI, p. 625. 73 (ff. 145-146) [POLLAROLO]. S. A. Il morir mi sarà caro, S/B, B! major. For Oronta (Alceste) in III:1 of INGANNI FELICI. The libretto has “grato” instead of “caro” (p. 58). With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 98v-100, attributed to “C.F.P.” TERMINI, p. 625. 74 (ff. 147-148) [POLLAROLO]. S. A. Vorria pur ridere delle mie lagrime, S/B, C major. For Demetrio (Armidoro) in II:17 of INGANNI FELICI. With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 8081v, attributed to “C.F.P.” TERMINI, p. 624. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

75 (ff. 149-150) [NAVARRA]. S. C. Non vi sdegnate, pupille belle, S/B, G minor. For Leone in I:8 of BASILIO. 76 (ff. 151-152) [PIGNATTA]. SS. G.P. Se tu pensi col tuo pianto, S/B, F major. For Arbante (Ormondo) in II:4 of COSTANZA VINCE IL DESTINO. 77 (ff. 153-154) [POLLAROLO]. S. G.G. Che farò, figlia infelice!, S/B, C major. For Alsuinda in III:7 of ROSIMONDA. With TrTrATB instruments in the score to the opera CZ-K 72.K.1. Also in S-L 582 Samml.Engelhardt, f. 10 (RISM no. 19000306). 78 (ff. 155-156) [M.A. ZIANI]. S. L. Il mio sole oscuro ha il lampo, S/B, A minor. For Penelope in I:5 of FINTA PAZZIA D’ULISSE. 79 (ff. 157-158v) [PIGNATTA]. SS. G.P. Se ben parte il piede, o cara, S/B, D major. For Laureno in III:4 of COSTANZA VINCE IL DESTINO. 80 (ff. 159-160) [M.A. ZIANI]. S. L. Tiranna gelosia, pace non ho per te, S/B, C minor. For Ulisse in I:9 of FINTA PAZZIA D’ULISSE. 81 (ff. 161-162) [POLLAROLO]. S. G.G. Di fierezza si può dar vanto, S/B, C major. For Longino in III:6 of ROSIMONDA. In the score to the opera, CZ-K 72.K.1.

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82 (ff. 163-164) [POLLAROLO]. S. G.G. Piangerò, se giova a piangere, S/B, G major. For Alsuinda in II:6 of ROSIMONDA. With TrTrATB intruments in the score to the opera, CZ-K 72.K.1. 83 (ff. 165-166) [POLLAROLO]. S. A. Piango sempre, ogn’or sto in pene, S/B, B! major. For Oronta (Alceste) in I:13 of INGANNI FELICI. “Con VV. unisoni” (Tr/B) and followed by a TrTrAB “Rittor[nello]” in the score to the opera GB-Lbl Add. 16109, ff. 42v-44, attributed to “C.F.P.” TERMINI, p. 623. 84 (ff. 167-168v) [POLLAROLO]. S. G.G. Sì pien d’odio e pieno d’ire, A/B, C major. For Ermechildo in I:8 of ROSIMONDA. With TrB instruments in the score to the opera, CZ-K 72.K.1. 85 (ff. 169-170) [POLLAROLO]. S. G.G. Occhi miei, fin ch’io son sola, S/B, C minor. For Alsuinda in II:5 of ROSIMONDA. Preceded by a TrTrAB ritornello in the score for the opera, CZ-K 72.K.1. 86 (ff. 171-172) [M.A. ZIANI]. S. L. Guerrier ch’armato va, non resta con amor, A/B, C minor. For Erenio in I:2 of FINTA PAZZIA D’ULISSE. 87 (ff. 173-174) [M.A. ZIANI]. S. L. O bocca di rubin, in te compone i favi, S/B, A major. For Penelope in II:9 of FINTA PAZZIA D’ULISSE. 88 (ff. 175-176) [POLLAROLO]. S. A. Tu sola, Speranza, mi vai consolando, S/B, C major. For Oronta (Alceste) in I:4 of INGANNI FELICI. Also anon. in BAV Barb. lat. 4131, n. 27 (q.v.); Barb. lat. 4134, n. 4 (q.v.); and Chigi Q.IV.40, ff. 4v-6v. With TrTrAB instruments in the score to the opera GBLbl Add. 16109, ff. 13v-15v, attributed to “C.F.P.” TERMINI, p. 622. A different setting by Alessandro Scarlatti for INGANNI FELICI (Naples 1699) is I-Nc 33.4.2 (Arie 227), f. 176.

89 (ff. 177-178) [POLLAROLO]. S. A. D’oscure foreste, di sorde tempeste, S/B, B! major. For Demetrio (Armidoro) in III:3 of INGANNI FELICI. With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 8990v, attributed to “C.F.P.” TERMINI, p. 625. 90 (ff. 179-180) [POLLAROLO]. S. A. Pupille lacrimate, dolenti mie pupille, S/B, A minor. For Oronta (Alceste) in III:1 of INGANNI FELICI. With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 84-85, attributed to “C.F.P.” TERMINI, p. 624. Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

91 (ff. 181-182) [POLLAROLO]. S. A. Pensieri havrete pace; e quella pace havrete, S/B, A minor. For Orgonte (Sifalce) in II:10 of INGANNI FELICI. Followed by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 62r-v, attributed to “C.F.P.” TERMINI, p. 624.

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Set by Alessandro Scarlatti for Naples 1699; sources given in comments below.

Bound in brown leather (80 × 210 mm). Both covers are tooled in gold, with a double line border with a bee is in the lower left and upper right corners and a radiant sun in each opposite corner. In the center of both covers, the arms of Prince Urbano Barberini (1664-1722). The shield presents the papal parasol and keys, with a thin curved line separating them from three bees. Between the shield and the princely crown supported by two winged putti above it, is a radiant sun half on the shield and half off (cf. Illus. 6). The ram’s fleece (indicating the Hapsburg Order of the Golden Fleece) is lacking, perhaps due to lack of space. The binding on the spine has degenerated, but it also had gold-tooled panels, the middle one now covered with a pink Vatican sticker. Edges gilt. Inside the front cover a modern hand wrote the old shelfmark XLVII.4 in black ink. The most common watermark looks like the top of three hats (ff. 74, 89, 176, 178 and 180), similar to HEAWOOD nn. 2596-2600. In an outer corner of f. 132 is a Jerusalem (potent) cross with the letters C M below it. The order of arias within Barb. lat. 4133 reflects the increase from thin to thick accompaniments within the score: from continuo alone with fourpart ritornellos (nn. 33, 35-38, 40-43, 45, 69, 71 and 91) to unison violins with continuo (nn. 70, 72 and 83) to three parts above the continuo (nn. 73-74 and 88-90). Gatherings are irregular, by individual arias. Pollarolo and anonymous arias, ff. 1-33: III, IV, I, II, I, II, II, III; Navarra, ff. 3439: III; Pollarolo, Sabadini, Pignatta, ff. 40-86: 8xI, III, 3xII, III, IV; Ziani, Pollarolo, Pignatta, ff. 87-108: II, 4xI, 3xII; Ziani, Navarra, Pignatta, ff. 109-130: 5xI, II, 2xI, III; Pignatta, Pollarolo, ff. 131-140: 5xI; Pollarolo, Navarra, Pignatta, Ziani, ff. 141-182 (tightly bound): possibly 7xIII.

Pages have been irregularly trimmed, and on different sides. The foliation in pencil is recent, and does not include f. 78bis. Blank staves only are on ff. 19, 65, 69, 73, 80, 84, 90, 102, 106 and 120. All pages have vertical Venetian ruling from top to bottom of each page, across all staves, and large, plain capital letters before the first system of every aria. Hand 4133-A copied all seventy-five solos from six of the eight operas (nn. 17-19 and 21-91) and likewise copied most of Barb. lat. 4134. A later hand, possibly 4133-D, added the abbreviated name of the theater in which these seventy-five solos were performed. The binding process partially (n. 67) or completely (nn. 19 and 64) cropped three theater names. Hand 4133-B copied all seven arias from PASTORE D’ANFRISO, and nn. 5 and 11 from IRENE. Hand 4133-C copied the remaining three from IRENE (nn. 3, 6 and 20). A later hand added the names of these two operas at the

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head of the eleven solos, but not at the head of the duet (n. 5). Hand 4133-D copied the five solos that have not been found in a libretto. Librettos for the eight operas represented in Barb. lat. 4133 were all printed by Francesco Nicolini in Venice (the CORAGO portal has digital facsimiles of all). The anthology begins with IRENE and PASTORE D’ANFRISO, produced at San Giovanni Grisostomo in autumn 1694 and winter 1695. The remaining operas received their premieres during the ensuing year: COSTANZA VINCE IL DESTINO, ROSIMONDA and INGANNI FELICI during autumn 1695, then BASILIO, FINTA PAZZIA D’ULISSE and ERACLEA during winter 1696 (GROPPO, pp. 75-78). Each of them has a dedication written and signed by the librettist. Only COSTANZA VINCE IL DESTINO, BASILIO and FINTA PAZZIA D’ULISSE name the composer in an introductory address to the reader. For the arias herein, see also LINDGREN-Ven, passim. As noted in the entries given above, complete scores survive in CZ-K for the four operas composed by Pollarolo: PASTORE D’ANFRISO (CZ-K 73.K.1), IRENE (CZ-K 70.K.1), ROSIMONDA (CZ-K 72.K.1) and GLI INGANNI FELICI (GB-Lbl Add. 16109). Barb. lat. 4133 contains twelve pieces from the first two works (nn. 2-9, 11-12, 14 and 20), and these twelve are also in Barb. lat. 4174. INGANNI FELICI is the best represented work in Barb. lat. 4133, and its score and libretto are both available in facsimile (ITALOP, vols. 16 and 56, NY 1977 and 1979). Twenty-two arias from INGANNI FELICI are in Barb. lat. 4134 (q.v.), and six are in Barb. lat. 4131 (q.v.). Two Estense mss. in Vienna, A-Wn E.M. 165 and E.M. 179, preserve nine arias from INGANNI FELICI, five of which are in Barb. lat. 4133: nn. 35, 42-43, 45 and 71. The collection of fourteen Arie dell’opera di S. Angelo, Musica del sig.r Carlo Fran.co Polaroli in S-L Sammlung Engelhart 582, ff. 1-9, was not consulted (RISM ID n. 190003064). Alessandro Scarlatti reset INGANNI FELICI for Naples in 1699 (SARTORI, n. 13128; scores to the opera in US-BEm 1325, USNYp JOF 76-3 [act II], and US-BEm 850 [act III]). Ten aria texts with Pollarolo’s settings in Barb. lat. 4133 (nn. 38, 40-43, 71, 74, 88 and 90-91) are given with Scarlatti’s new settings (or re-settings) in I-Nc 33.4.2 (Arie 227). No complete scores survive for the four operas set by other composers; Barb. lat. 4133 is the only known source for forty-six arias from these works. No other musical source for Navarra’s BASILIO is known. Barb. lat. 4134 is the only other musical source known for Pignatta’s COSTANZA VINCE IL DESTINO and Ziani’s FINTA PAZZIA D’ULISSE. Five arias (nn. 1, 10, 13, 15 and 16) have concordances in the Venetian collection, I-Tn Foà 26, which has other arias from IL RE INFANTE. They appear in no libretto for that opera, but the possibility that they could have been added during the course of the production is based on comments

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in the Mercure Galant for March 1683, pp. 249-271 and 297-300, some of which are reprinted in SELFRIDGE-FIELD-PV, pp. 348-51: L’Opéra du Roy Infant … a esté trouvé si beau que Messieurs Grimani n’ont pas jugé à propos d’en donner un second, comme il s’est pratiqué dans tous les autres Théatres. Il y ont fait seulement un Aggiunta, c’est à dire, une augmentation, où, sans changer le Sujet de la Piece, ils ont mis quelques Scenes les unes devant les autres, & ont ajoûté des Airs et des Machines, dont voicy les principales. Barb. lat. 4133-4134

Barb. lat. 4134 1695-1696 ca., 70 × 201 mm, I.174.I ff., 4 staves, 3 hands

Miscellany of eighty-seven arias from seven Venetian operas of 16951696, by Carlo Francesco Pollarolo (53), Marc’Antonio Ziani (28), and Pietro Romolo, abate Pignatta (6). Pollarolo is the only composer named, for one of twenty-two arias from GLI INGANNI FELICI (n. 56), one of twenty from LA ROSIMONDA (n. 38) and one of ten from L’ERCOLE IN CIELO (n. 12). He is not named for the aria from IL PASTORE D’ANFRISO (n. 32). Apostolo Zeno wrote the libretto for INGANNI FELICI, and Girolamo Frigimelica Roberti wrote the other three. Ziani’s arias include fourteen from each of two operas: IL DOMIZIO, libretto by Giulio Cesare Corradi, and LA FINTA PAZZIA D’ULISSE, libretto by Matteo Noris. Pignatta’s arias are all from LA COSTANZA VINCE IL DESTINO, for which he wrote both text and music. The name of a Venetian theater precedes all but six arias (nn. 1-5 and 32). Five theaters are represented: San Giovanni Grisostomo for PASTOR D’ANFRISO, ROSIMONDA and ERCOLE IN CIELO; San Angelo for INGANNI FELICI and DOMIZIO; Santi Giovanni e Paolo for LA COSTANZA VINCE IL DESTINO and San Luca (also known as San Salvatore) for FINTA PAZZIA D’ULISSE. When “2.a” follows the theater name, it means that the work was the second to be produced in the theater during a season. Musical incipits for Pollarolo are in TERMINI. The setting is S/B unless otherwise indicated. 1 (ff. 1-2) [CARLO FRANCESCO POLLAROLO]. Vorresti farmi piangere, ma pianger’ non poss’io, B! major. For Orgonte (Sifalce) in II:11 of GLI INGANNI FELICI (Venice 1695/96). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 66v (facsim. edn ITALOP vol. 16). Also anon. in Barb. lat. 4133, n. 71 (q.v. for two more concordances). Termini, p. 624. A setting by Alessandro Scarlatti (II:10 in the libretto for Naples 1699) is I-Nc 33.4.2, ff. 129v-31 (S/B, D major).

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2 (ff. 3-4v) [POLLAROLO]. Ti voglio ben’, amante, ma non così geloso, G major. For Agarista in III:18 of INGANNI FELICI. Also anon. in Barb. lat. 4133, n. 36 (q.v. for two more concordances). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 114r-v. TERMINI, p. 625. Attributed to “Antonio” Pollarolo in OPAC-SBN. Barb. lat. 4134 3 (ff. 5-6) [POLLAROLO]. Crudo Amor, se al mio mal tu dai fomento, G minor. The libretto has “duol” instead of “mal.” For Oronta (Alceste) in II:13 of INGANNI FELICI. Also anon. in Barb. lat. 4133, n. 45 (q.v. for three more concordances). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 71r-v. TERMINI, p. 624. Attributed to “Antonio” Pollarolo in OPAC-SBN. 4 (ff. 7-8v) [POLLAROLO]. Tu sola Speranza, mi vai consolando, C major. For Oronta (Alceste) in I:4 of INGANNI FELICI. Also anon. in Barb. lat. 4131, n. 27 (q.v. for two more concordances and a setting by Alessandro Scarlatti) and Barb. lat. 4133, n. 88. With TrTrAB instruments in the score to the opera, GB-Lbl Add. 16109, f. 13-15. TERMINI, p. 622. 5 (ff. 9-10) [POLLAROLO]. Se non piaccio a chi mi piace, F major. For Agarista in I:14 of INGANNI FELICI. Also anon. are n. 54 below and Barb. lat. 4131, n. 24 (q.v. for one more concordance). Followed by TrTrAB instruments in the score to the opera, GB-Lbl Add. 16109, f. 35v. TERMINI, p. 623. 6 (ff. 11-12) [POLLAROLO]. S. A. Fammi saper, se stringere, A major. For Orgonte (Sifalce) in I:11 of INGANNI FELICI. Followed by a TrTrAB ritornello in the score GB-Lbl Add. 16109, f. 29. TERMINI, p. 622. A setting by Alessandro Scarlatti (I:13 in Naples 1699) is I-Nc 33.4.2, ff. 128v-29v (S/B, B! major)

7 (ff. 13-14) [MARC’ANTONIO ZIANI]. S. A. 2.a. Un nobil cor non teme, F major. For Domizio in I:2 of DOMIZIO. 8 (ff. 15-16) [M.A. ZIANI]. S. A. 2.a. Un lampo di conforto, A major. For Domizio in I:7 of DOMIZIO. 9 (ff. 17-18) [M.A. ZIANI]. S. A. 2.a. Tutt’abbruccio e tutt’avvampo, G major. For Sestilia in I:10 of DOMIZIO. 10 (ff. 19-20) [M.A. ZIANI]. S. A. 2.a. Occhi chi non vi mira, non sa che sia beltà, D minor. For Sestilia in I:20 of DOMIZIO. Pallavicino’s setting of this text for GIERUSALEMME LIBERATA (Venice 1687), is Barb. lat. 4140, n. 42 (q.v.). Alessandro Scarlatti’s setting of the same text for INGANNI FELICI (Naples 1699) is I-Nc Cantate 68 (olim Od.4.4), n. 29, ff. 87-88

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(the Internet Culturale access image lacks f. 87). Scarlatti’s setting resembles and may be based upon Ziani’s.

11 (ff. 21-22) [M.A. ZIANI]. S. A. 2.a. Se di marmo hai fatto il core, B! major. For Eumene in I:14 of DOMIZIO. 12 (ff. 23-24) CARLO POLLAROLI. S. G.G. 2.a. È beata la verginella, G major. For Deianira in I:7 of ERCOLE IN CIELO. 13 (f. 25r-v) [POLLAROLO]. S. G.G. 2.a. Ah, tutta al giubilo, al canto, al riso, C major. For Hillo in I:9 of ERCOLE IN CIELO. 14 (ff. 26-27) [POLLAROLO]. S. G.G. 2.a. Godrò, sì, d’esser’amata, F major. For Iole in II:4 of ERCOLE IN CIELO. 15 (ff. 29-30) [POLLAROLO]. S. G.G. 2.a. Non ha un dì felice, B! major. For Deianira in I:6 of ERCOLE IN CIELO. 16 (ff. 31-32) [POLLAROLO]. S. G.G. 2.a. Partirò, ma forse un dì, B/B, C major. For Nesso in ERCOLE IN CIELO, I:5. 17 (ff. 33-34) [POLLAROLO]. S. G.G. 2.a. Così fa chi è troppo amato, C major. For Iole in I:4 of ERCOLE IN CIELO. 18 (ff. 35-36) [POLLAROLO]. S. G.G. 2.a. A la gelosa non giova il piangere, E minor. For Ergirida in II:3 of ERCOLE IN CIELO. 19 (ff. 37-38) [POLLAROLO]. S. G.G. 2.a. A te serve chi al mare dà legge, A/B, D minor. For Ercole in II:6 of ERCOLE IN CIELO. 20 (ff. 39-40) [POLLAROLO]. S. G.G. 2.a. Sanerò quest’alma afflitta, B/B, C major. For Nesso in II:8 of ERCOLE IN CIELO (Venice 1696). The libretto has “anima” instead of “alma.” 21 (ff. 41-42) [POLLAROLO]. S. G.G. 2.a. È costume d’ogni fera, A major. For Iole in II:7 of ERCOLE IN CIELO. 22 (ff. 43-44) [M.A. ZIANI]. S. A. 2.a. È la donna un mar infido, A/B, D minor. For Meraspe in I:21 of DOMIZIO. 23 (ff. 45-46) [M.A. ZIANI]. S. A. 2.a. Le ride su la bocca il pargoletto Amor, A/B, C major. For Meraspe in I:13 of DOMIZIO. 24 (ff. 47-48) [M.A. ZIANI]. S. A. 2.a. Non ascolto chi da stolto, A major. For Sestilia in III:9 of DOMIZIO. 25 (ff. 49-50) [M.A. ZIANI]. S. A. 2.a. Dalle calme alle procelle, G minor. For Domizio in III:6 of DOMIZIO.

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26 (f. 51r-v) [PIETRO ROMOLO PIGNATTA]. SS. G.P. Le fiamme al cor mi desti, D major. For Almira in I:3 of LA COSTANZA VINCE IL DESTINO (Venice 1695). 27 (ff. 52-53) [POLLAROLO]. S. G.G. Grand’arte di regnare, B! major. For Longino in II:7 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1. 28 (ff. 55-56) [PIGNATTA]. SS. G.P. Arbante, sì mia vita, F major. For Almira in III:14 of COSTANZA VINCE IL DESTINO. 29 (ff. 57-58) [M.A. ZIANI]. S. A. 2.a. Quando nel seno havrò, A/B, D major. For Meraspe in II:9 of DOMIZIO. 30 (ff. 59-60) [M.A. ZIANI]. S. A. 2.a. Non dipende da noi, B! major. For Sestilia in I:20 of DOMIZIO. 31 (ff. 61-62) [M.A. ZIANI]. S. L. Io t’aspetto e a me non vieni, C major. For Penelope in II:15 of FINTA PAZZIA D’ULISSE. 32 (f. 63r-v) [POLLAROLO]. PASTOR D’ANFRISO. Amian chi n’ama, sì, G minor. For Clizia in III:5 (Venice 1695). Also anon. in Barb. lat. 4174, n. 1 (q.v. for one other concordance). 33 (ff. 65-66) [POLLAROLO]. S. A. Amor se mi togli l’amata beltà, B! major. For Orgonte (Sifalce) in I:10 of INGANNI FELICI. Also anonymous in Barb. Lat. 4131, n. 22 (q.v. for one other concordance). Preceded by a TrTrAB ritornello in the score to the opera, GB-Lbl Add. 16109, f. 26. TERMINI, p. 622. A setting by Alessandro Scarlatti (I:8 in Naples 1699) is I-Nc 33.4.2, ff. 183v-84v.

34 (ff. 67-68) [M.A. ZIANI]. S. L. Stelle, guidatemi il caro sol, G major. For Penelope in II:4 of LA FINTA PAZZIA D’ULISSE (Venice 1696). 35 (ff. 69-70) [POLLAROLO]. S. A. Tal’or dico al crudo Fato, D minor. For Oronta (Alceste) in I:8 of INGANNI FELICI. Also anon. in the aria collection A-Wn E.M. 165, n. 1 (HAAS, p. 213; in RISM online). Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 23v-24v. TERMINI, p. 622. 36 (ff. 71-72) [POLLAROLO]. S. G.G. Sia per forza o per inganno, C major. For Rosimonda in I:3 of ROSIMONDA (Venice 1696). Accompanied by TrTrATB instruments in the score to the opera, CZ-K 72.K.1. 37 (ff. 73-74) [POLLAROLO]. S. G.G. Cinto il crin di mirti e allori, G major. For Longino in I:4 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1.

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38 (ff. 75-76) CARLO POLLAROLI. S. G.G. Su, mio core, non mi tradir, D major. For Rosimonda in I:8 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1. 39 (ff. 77-78) [POLLAROLO]. S. G.G. Mi dite un non so che, D major. For Longino in III:5 of ROSIMONDA. With TrB instruments in the score to the opera, CZ-K 72.K.1. 40 (ff. 79-80) [POLLAROLO]. S. G.G. In gran rischio col non fuggir, D major. For Rosimonda in IV:4 of ROSIMONDA. Preceded by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1. 41 (ff. 81-82) [M.A. ZIANI]. S. A. 2.a. Ben m’avveggo che tu godi, A major. For Domizio in I:19 of DOMIZIO. 42 (ff. 83-84) [POLLAROLO]. S. G.G. Fortuna ed Amor, due ciechi e nemici, C major. For Longino in V:5 of ROSIMONDA. With oboes (TrTr), violins (TrTr), “violette” (AT) and continuo (B) in the score to the opera, CZ-K 72.K.1. 43 (ff. 85-86) [PIGNATTA]. SS. G.P. Che stupor? ch’un regio petto, G minor. For Almira in II:7 of LA COSTANZA VINCE IL DESTINO (Venice 1695). 44 (ff. 87-88) [M.A. ZIANI]. S. L. Se ben crudel beltà di ciel, A/B, G minor. For Erenio in I:6 of FINTA PAZZIA D’ULISSE. 45 (ff. 89-90) [M.A. ZIANI]. S. L. Le proprie viscere dar alla scure, B! major. For Penelope in I:12 of FINTA PAZZIA D’ULISSE. 46 (f. 91r-v) [M.A. ZIANI]. S. L. Tessi, mia destra, tessi, A/B, G major. For Erenio in II:1 of FINTA PAZZIA D’ULISSE. Another copy is n. 70 below. 47 (ff. 92-93) [M.A. ZIANI]. S. L. Tu al mio ciglio et al mio labro, F major. For Eritia in I:1 of FINTA PAZZIA D’ULISSE. 48 (ff. 95-96) [POLLAROLO]. S. A. Astri belli, deh mi girate, A major. For Oronta (Alceste) in I:4 of INGANNI FELICI. Also anon. in the aria collections BAV Chigi Q.IV.40, ff. 1-2, and A-Wn E.M. 165, n. 2 (HAAS, p. 213). Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 12. TERMINI, p. 622. 49 (ff. 97-98) [POLLAROLO]. S. A. Mi prepara Amor contenti, G major. For Demetrio (Armidoro) in I:3 of INGANNI FELICI. Attributed to “Pollaroli” in the aria collection A-Wn E.M. 165, n. 4 (HAAS, p. 213). Followed by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 8v-9. TERMINI, p. 622. Two Ballard prints are given in NESTOLA 2015, AIF.322.

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The aria was sung in the 1700 reprise of the Colasse and Pic Ballet des saisons, EAD., vol. 1, p. 178. A setting by Alessandro Scarlatti (I:2 in Naples 1699) is I-Nc 33.4.2,, ff. 137v140.

50 (f. 99r-v) [POLLAROLO]. S. A. Deh non m’havere a sdegno, G minor. For Orgonte (Sifalce) in I:16 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 38. TERMINI, p. 623. 51 (ff. 100-101) [POLLAROLO]. S. A. Non è bella sul crin la corona, A/B, D major. For Clistene in II:1 of INGANNI FELICI. With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 44v-46. TERMINI, p. 623. 52 (f. 103r-v) [POLLAROLO]. S. A. Tal’ora le frodi son pegno di fé, T/B, G major. For Arbante in II:3 of INGANNI FELICI. Preceded by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, ff. 49v-50. TERMINI, p. 623. 53 (ff. 104-105) [POLLAROLO]. S. A. All’offerta d’uno sposo, A/B, D minor. For Clistene in I:6 of INGANNI FELICI. Followed by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 19. TERMINI, p. 622. 54 (ff. 107-108) [POLLAROLO]. S. A. Se non piaccio a chi mi piace, F major. For Agarista in I:14 of INGANNI FELICI. Also anon. in n. 5 above, and in Barb. lat. 4131, n. 24 (q.v. for another concordance). TERMINI, p. 623. 55 (ff. 109-110) [POLLAROLO]. S. A. Ardo amante d’un sembiante, G major. For Agarista in I:5 of INGANNI FELICI. Also anon. in Barb. lat. 4131, n. 25 (q.v. for another concordance and a setting by A. Scarlatti). TERMINI, p. 622. 56 (ff. 111-112) CARLO ANT.O [!] POLLAROLI. S. A. Ti rendo altra vita mia figlia gradita, A/B, D major. For Clistene in I:3 of INGANNI FELICI. With TrTrAB instruments in the score to the opera GB-Lbl Add. 16109, ff. 9v-11. TERMINI, p. 622. The composer’s second given name was Francesco, not Antonio. His son (Giovanni) Antonio Pollarolo was also a composer. 57 (ff. 113-114) [POLLAROLO]. S. A. Luci belle, chiare stelle, A major. For Demetrio (Armidoro) in II:4 of INGANNI FELICI. Also in the score to the opera GB-Lbl Add. 16109, f. 50. TERMINI, p. 623. 58 (ff. 115-116) [POLLAROLO]. S. G.G. Vinciamo il sesso forte, A/B, A major. For Edvige in II:2 of ROSIMONDA. Also in the score to the opera, CZ-K 72.K.1. 59 (ff. 117-118) [M.A. ZIANI]. S. A. 2.a. Il pensier filo non trova, A minor. For Sestilia in II:12 of DOMIZIO.

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60 (ff. 119-120) [M.A. ZIANI]. S. A. 2.a. Nascerà guerra, crudele, solo a danni del mio cor, E minor. For Domizio in II:14 of DOMIZIO. 61 (ff. 121-122) [M.A. ZIANI]. S. L. Provi il mio sdegno, tiranno Amor, E! major. For Eritia in II:14 of FINTA PAZZIA D’ULISSE. 62 (ff. 123-124) [PIGNATTA]. SS. G.P. Del mio core la barbara doglia, B minor. For Almira in I:5 of COSTANZA VINCE IL DESTINO. 63 (ff. 125-126) [PIGNATTA]. SS. G.P. Venticelli che scuotete qui d’intorno i vanni d’oro, A major. For Almira in II:1 of COSTANZA VINCE IL DESTINO. 64 (ff. 127-128v) [POLLAROLO]. S. G.G. O felice la pastorella, A major. For Alsuinda in I:5 of ROSIMONDA. Followed by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1. Anonymous in F-Pa 6826, vol. II, pp. 22-24 (ms. inventoried in NESTOLA 2015, vol. 2, p. 32; for the aria cf. ivi, AIF.415). 65 (ff. 129-130) [POLLAROLO]. S. G.G. No, che sazio non è ancora, G major. For Alsuinda in V:9 of ROSIMONDA. Scored for contralto-range voice (C3 clef) and strings in the score to the opera, CZ-K 72.K.1. 66 (f. 131r-v) [POLLAROLO]. S. G.G. Vien, prendi la corona, A minor. For Rosimonda in III:4 of ROSIMONDA. Also in the score to the opera, CZ-K 72.K.1. 67 (ff. 132-133) [POLLAROLO]. S. G.G. Coloro dormono d’ozi a vicenda, D major; str. 3 of five musically identical quatrains of Su compagni, che l’alba ci sgrida, sung and danced by a chorus of gardeners, men, and women after act II of ROSIMONDA. Strophes three and four are sung in unison by two women, accompanied by continuo. The strophes are separated in CZ-K 72.K.1, the score to the opera, by a ballo for TrTrATB instruments with the same music. 68 (f. 135r-v) [M.A. ZIANI]. S. L. Amor t’intendo, mi vuoi ferir, A major. For Ulisse in I:11 of FINTA PAZZIA D’ULISSE. 69 (ff. 136-137) [POLLAROLO]. S. G.G. Se non posso con fervido amore, A/B, D major. For Ermechildo in III:7 of ROSIMONDA. Also in the score to the opera, CZ-K 72.K.1. 70 (f. 139r-v) [M.A. ZIANI]. S. L. Tessi, mia destra, tessi, A/B, G major. For Erenio in II:1 of FINTA PAZZIA D’ULISSE. Another anon. copy is n. 46 above. 71 (ff. 141-142) [M.A. ZIANI]. S. L. D’Amor la ricca benda io vo formando, A major. For Eritia and Palamede in II:2 of FINTA PAZZIA D’ULISSE. 72 (ff. 143-144) [M.A. ZIANI]. S. L. Senza tua legge l’onda, A/B, C major. For Palamede in III:2 of FINTA PAZZIA D’ULISSE.

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73 (ff. 145-146) [POLLAROLO]. S. A. Non più amor, non più contenti, G major. For Demetrio (Armidoro) in I:12 of INGANNI FELICI. Also anon. in Barb. lat. 4131, n. 23 (q.v. for one more concordance). TERMINI, p. 622. 74 (ff. 147-148) [POLLAROLO]. S. A. Non vedo perché tu speri, cor mio, B! major. For Agarista in I:7 of INGANNI FELICI. Also anon. in Barb. lat. 4131, n. 26 (q.v. for one more concordance). TERMINI, p. 622. 75 (ff. [148bis-148ter]) [POLLAROLO]. S. G.G. Cielo, ciel son scelerato, A/B, F major. For Ermechildo in III:1 of ROSIMONDA. Followed by a TrTrATB ritornello in the score to the opera, CZ-K 72.K.1. 76 (ff. 149-150) [POLLAROLO]. S. A. Amor, delle tue pene non mi saprò legnar, G minor. For Oronta (Alceste) in I:17 of INGANNI FELICI. Followed by a TrTrAB ritornello in the score to the opera GB-Lbl Add. 16109, f. 42. Attributed to “Polaroli” in the aria collection BAV Chigi Q.IV.40, ff. 11-12. This is strophe 2 of O va spietato Amore (D minor), sung by Agarista. TERMINI, p. 623. A setting of O va spietato Amore by Alessandro Scarlatti is I-Nc 33.4.2, f. 160r-v, but the text is not in the scene of the two characters in I:17 in the libretto for Naples 1699.

77 (f. 151r-v) [POLLAROLO]. S. A. Non so che d’augusto è grande, A major. For Agarista in I:16 of INGANNI FELICI. Also in the score to the opera GB-Lbl Add. 16109, ff. 38v-39. TERMINI, p. 623. 78 (ff. 153-154) [M.A. ZIANI]. S. L. Siete voi di labra morbide, A/B, D minor. For Erenio in I:8 of FINTA PAZZIA D’ULISSE. 79 (ff. 155-156) [M.A. ZIANI]. S. L. Venni a prender e son presa, G major. For Eritia in I:3 of FINTA PAZZIA D’ULISSE. 80 (ff. 157-158) [M.A. ZIANI]. S. L. Se va tessendo, destra guerriera, A/B, D major. For Erenio in I:1 of FINTA PAZZIA D’ULISSE. 81 (f. 159r-v) [POLLAROLO]. S. G.G. O soffrimi innocente, o lasciami morir, E minor. For Alsuinda in II:1 of ROSIMONDA. With TrTrATB instruments in the score to the opera, CZ-K 72.K.1. NESTOLA 2015, AIF.421 also gives the concordance F-Pa 6826 (I-II), pp. 38-39. 82 (f. 161r-v) [POLLAROLO]. S. G.G. Cangia volto anche l’amante, B minor. For Teodata in II:5 of ROSIMONDA. In the libretto, this aria is enclosed within virgolette, indicating that it was not sung; it is not in the score to the opera, CZ-K 72.K.1. 83 (ff. 163-164) [POLLAROLO]. S. G.G. Non ha da credere allo spavento,

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A/B, C major. For Ermechildo in II:8 of ROSIMONDA. With Tr (oboe) and TrTrATB (strings) in the score to the opera, CZ-K 72.K.1. 84 (ff. 165-166) [POLLAROLO]. S. G.G. D’un’amante fa un eroe, D major. For Longino in IV:1 of ROSIMONDA. With TrTrATB instruments in the score to the opera, CZ-K 72.K.1. 85 (ff. 167-168) [POLLAROLO]. S. G.G. Vada regno e vada vita, A/B, C major. For Ermechildo in IV:3 of ROSIMONDA. With TrB instruments in the score to the opera, CZ-K 72.K.1. 86 (ff. 169-170) [PIGNATTA]. SS. G.P. Sovr’al foglio d’un volto dipinto, A minor. For Almira in I:10 of COSTANZA VINCE IL DESTINO. 87 (ff. 171-172) [POLLAROLO]. S. G.G. Perché piange quest’ alma mi piace, G minor. For Alsuinda in II:5 of ROSIMONDA. With violins “con flauti” and continuo in CZ-K 72.K.1, the score to the opera, which like the libretto has “alba” instead of “alma.” NESTOLA 2015, AIF.438 also gives the anon. concordance F-Pa 6826, vol. II, pp. 32-34 (ms. inventoried ivi, p. 32). Bound in brown leather (80 × 210 mm), identical in appearance to the binding of Barb. lat. 4133. Both covers are emblazoned with the same Barberini arms in gold, as found on Barb. lat. 4133 (cf. Illus. 6). As in Barb. lat. 4133, the most common watermark looks like the top of three hats (ff. 70, 88, 126 and 144), similar to HEAWOOD nn. 2596-2600. Other watermarks are conjecturally parts of a decorative shield (ff. 20 and 148) and three letters (ff. 78 and 152). The foliation in pencil is modern and does not include two folios after f. 148. Both flyleaves are blank. Blank staves only are on ff. 28, 54, 64, 94, 102, 106, 134, 138, 140, 152, 160 and 162. Hand 4134-A copied eighty-one solos, nn. 6-31 and 33-87, from six productions. Either his or a later hand specified the theater for all of these arias. Hand 4134-A is identical to 4133-A, which copied seventy-five solos from six productions in Barb. lat. 4133. In 4133 and 4134, this copyist was responsible for twenty-one plus seventeen solos for INGANNI FELICI, seven plus twenty for ROSIMONDA, eight plus fourteen for FINTA PAZZIA and fourteen plus six for CONSTANZA VINCE IL DESTINO. These 107 arias include only one duplicate, which occurs twice in Barb. lat. 4134 (nn. 46 and 70). Hand 4134-B is identical to 4133-B; in 4133 and 4134 it copied seven plus one arias for PASTORE D’ANFRISO. Hand 4134-C copied the first five arias in the present volume. They are all for INGANNI FELICI, and they duplicate arias copied by 4133-A, as indicated in the listings for nn. 1-5. Librettos for the seven operas represented in Barb. lat. 4134 were all

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printed by Francesco Nicolini in Venice and are available via the CORAGO portal. PASTORE D’ANFRISO was produced during inverno 1695. The remaining operas received their premieres during the ensuing year: COSTANZA VINCE IL DESTINO, ROSIMONDA and INGANNI FELICI during autunno 1695, then FINTA PAZZIA D’ULISSE, DOMIZIO and ERCOLE IN CIELO during inverno 1696 (GROPPO, pp. 76-78). Each has a dedication written and signed by the librettist. Only the librettos for COSTANZA VINCE IL DESTINO, FINTA PAZZIA and DOMIZIO name the composer in their prefatory comments. For the arias herein, see also LINDGREN-Ven, passim. As noted in the entries given above, complete scores survive for three of the operas composed by Pollarolo: INGANNI FELICI, ROSIMONDA and PASTORE D’ANFRISO. For the other four operas, Barb. lat. 4134 is the only extant source for the arias it contains. The companion volume Barb. lat. 4133 contains other arias for Ziani’s FINTA PAZZIA D’ULISSE and Pignatta’s CONSTANZA VINCE IL DESTINO. The only other known aria from Ziani’s DOMIZIO is in F-Pn Vm7 4905, ff. 30-31. No other musical source is known for Pollarolo’s ERCOLE IN CIELO. As noted in the comments for Barb. lat. 4133, Alessandro Scarlatti composed a new setting of INGANNI FELICI for a production in Naples in 1699 (in the CORAGO portal and SARTORI, n. 13128). Scores and an aria collection for it survive. The aria collection with Internet Culturale access, I-Nc 33.4.2 (Arie 227), contains Scarlatti’s settings of sixteen texts that were set by Pollarolo in Barb. lat. 4133 (nn. 38, 40-43, 71, 74, 88 and 90-91) and in Barb. lat. 4134, nn. 1, 4, 6, 33, 49 and 55. For another text from GL’INGANNI FELICI set by both composers, see Barb. lat. 4134, n. 10, above. Singers for productions at San Giovanni Grisostomo from 1678 through 1766 are named in I-Vnm It.IV.Cod. 748 [= 104660]. According to SAUNDERS, p. 447, the writer’s source for his information is unknown, but it seems to be reliable. It identifies seven or eight singers: Diana [Aurelia, married to Pietro] Averara (Iole in ERCOLE IN CIELO and Alsuinda in ROSIMONDA) sang nn. 14, 17, 21, 64-65 and 81; Francesco Ballarini (Ermechildo in ROSIMONDA) sang nn. 69, 75, 83 and 85; Maria Landini (Deianira in ERCOLE IN CIELO and Rosimonda in ROSIMONDA) sang nn. 12, 15, 36, 38, 40 and 66; Nicola Paris (Hillo in ERCOLE IN CIELO and Longino in ROSIMONDA) sang nn. 13, 27, 37, 39, 42 and 84; [Livia and Lucia Nannini, dette] le Polachine (Ergidia in ERCOLE IN CIELO and Edvige and Teodato in ROSIMONDA) sang nn. 20, 58 and 82; Pietro Paolo Scandalibene (Nesso in ERCOLE IN CIELO) sang n. 16; and Diamante Maria Scarabelli (Clizia in PASTORE D’ANFRISO) sang n. 32.

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Barb. Lat. 4135 1679 ca., 71 × 199 mm, III.104.III ff., 4 staves, one hand

Ariette recitate ne’ teatri di Venetia l’anno 1679 (f. I). All 52 arias from the 1678-1679 season are anonymous. Twelve are from IL NERONE, libretto by Giulio Cesare Corradi, music by Carlo Pallavicino, produced in the Nuovo Teatro Grimani di S. Gio. Grisostomo (the “Novissimo”). Eighteen are from SARDANAPALO, libretto by Carlo Maderni, music by Domenico Freschi, produced in the Teatro di Sant’Angelo. Eighteen are from SESTO TARQUINIO, libretto by Camillo Badovero, music by Giovanni Battista Tomasi, produced in the Teatro Vendramin di San Salvatore, popularly known as San Luca. Four are from ALESSANDRO MAGNO IN SIDONE, libretto by Aurelio Aureli, music by Marc’Antonio Ziani, produced in the Teatro Grimano a SS. Giovanni e Paolo. The copyist of Barb. lat. 4135 mistakenly switched the theaters as “S.n Lucca” for five arias from SARDANAPALO (nn. 18, 23, 26-27 and 38) and “S.n Angiolo” for five arias from SESTO TARQUINIO (nn. 25, 28 and 35-37). The settings are scored S/B with the exception of no. 20, which is A/B. Online in DVL. Barb. lat. 4135 1 (ff. 1-2v) [CARLO PALLAVICINO]. Noviss.mo. Cangiati, o cruda, un dì, non tormentarmi più, C minor. For Lepido in III:13 from IL NERONE (Venice 1679). The da capo is written out and altered. Attributed to “Carlo Palavicini” in I-Vqs 1441 (Cl.VIII Cod.XIX), ff. 121v-22v. Anonymous in I-MOe Mus. G.316, n. 8, and I-Nc 33.5.26 (= Rari 6.4.11), no. 3, f. 2r-v, which includes str. 2 (Internet Culturale access). 2 (ff. 3-4) [PALLAVICINO]. Noviss.mo. Non ti punisco, no, né ti perdona il cor, G major. For Tiridate in II:12 from NERONE. The da capo is indicated. Attributed to “Carlo Palavicini” in I-Vqs 1441, ff. 138v-139. Anonymous in I-MOe Mus. G.316, n. 11. 3 (ff. 5-6v) [PALLAVICINO]. Noviss.mo. Siete, o cieli, sì crudeli, F major, in binary form. For Fabio in II:14 of NERONE. 4 (ff. 7-8) [PALLAVICINO]. Noviss.mo. Son tradito, son schernito, D major. For Tiridate in II:10 of NERONE. The da capo is indicated. The name “Giampaolo di Domenico” reported in some catalogues, including OPAC-SBN, is not present. 5 (ff. 9-10) [PALLAVICINO]. Noviss.mo. Più non m’affligie, no, Timor col suo velen, B minor. For Tiridate in III:18 of NERONE. The da capo is indicated.

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6 (ff. 11-12v) [PALLAVICINO]. Noviss.mo. Per non viver gieloso, A major. For Tiridate in I:17 of NERONE. The da capo is indicated. Attributed to “Carlo Palavicini” in I-Vqs 1441, ff. 108-109. Attributed to “Sieur Palavicini” and printed for A/B in D major in Le Mercure Galant, April 1679, p. 67, and after p. 132 (SELFRIDGE-FIELD-PV, p. 342 and note 12). Anonymous in I-MOe Mus. G.316, n. 12, ff. 15v-16 (A/B in D major). NESTOLA 2015, vol. 2, AIF.443. 7 (ff. 13-14v) [PALLAVICINO]. Noviss.mo. Cangiatevi in sepolcri, orti di Flora, F major. For Lepido in I:6 of NERONE. The da capo is written out and altered. Attributed to “Carlo Palavicini” in I-Vqs 1441, ff. 93v-95v. 8 (ff. 15-16) [PALLAVICINO]. Noviss.mo. Dormite, o pupille, fra taciti horrori, D minor. For Endimione in III:2 of NERONE. The da capo return is written out and altered. 9 (ff. 17-18v) [PALLAVICINO]. Noviss.mo. Un gienio fatale mi sforza ad amarti, D minor. For Nerone in I:15 of NERONE. The da capo is indicated. Attributed to “Carlo Palavicini” in I-Vqs 1441, ff. 105-106, and to “Benedetto Palavicino” in I-Nc 33.5.32 (Cantate 37), no. 24. “Benedetto” however appears to be a later addition (Internet Culturale access). Anonymous in GB-Lbl Harley 1863, f. 58. 10 (ff. 19-20) [PALLAVICINO]. Noviss.mo. Ciechi abissi, eterni orrori, C minor. For Fabio in I:14 of NERONE. The da capo is indicated. 11 (ff. 21-22v) [PALLAVICINO]. Noviss.mo. Non svenate un sen regale, D minor. For Nerone in III:14 of NERONE. The da capo is expanded. Attributed to “Carlo Palavicini” in I-Vqs 1441, ff. 127-28v. 12 (ff. 23-24) [PALLAVICINO?]. Noviss.mo. Gioirò col guardo almeno, G major. The da capo is indicated. This aria, the last one in Barb. lat. 4135 from NERONE, is not printed in either edition of the 1679 libretto; yet it was most likely sung in NERONE, the only production staged at the Nuovo Teatro Grimani di S. Gio. Grisostomo during carnival 1679 (Mercure galant, April 1679, cited in SELFRIDGE-FIELD-PV, p. 342; see also GROPPO, p. 51, n. 169). 13 (ff. 25-26v) [DOMENICO FRESCHI]. S. Angiolo. Non fuggir da chi t’adora, G major. For Sardanapalo in II:1 of SARDANAPALO (Venice 1679). The da capo is altered. Also in two scores for the opera, I-Vnm It.Cl.IV, 452 [= 9976], and F-Pn (olim F-Pc) 8351, f. 46r-v. According to ZANF 5:37, the key is D major in I-MOe Mus. F.396, f. 57r-v, the only known score for L’ONOR VINDICATO O SIA L’ARMISIA GRAN DINASTESSA DI TAURIS (Reggio 1681), listed in both SARTORI, no. 17095, and P. FABBRI and R.

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VERTI, Due secoli di teatro per musica a Reggio Emilia: Repertorio cronologico delle opere e dei balli, 1645-1857, Reggio Emilia 1987, p. 42.

14 (ff. 27-28) [FRESCHI]. S. Angiolo. Mi ribel[l]o al dio d’amore, B! major. For Armisia in III:4 of SARDANAPALO. The da capo is indicated. With TrTr[A] B instruments in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 82v-84v, and F-Pn 8351, ff. 85-86v. ZANF 5:67 notes the lack of str. 2 in both scores to the opera. Attributed to “D. Domenico Freschi” in the collection I-Vqs 1441, ff. 193v-95, and to “Gio. Domenico Freschi” in the collection I-Nc 33.5.32 (Cantate 37), n. 39, ff. 130v-31; “Gio. Domenico,” however, appears to be a later addition (Internet Culturale access). ZANF 5:67 reports that this aria is also in I-MOe Mus. F.396, ff. 116v-19, the score for L’ONOR VINDICATO (Reggio 1681). The libretto, p. 46, reads “Dio Cupido” instead of “Dio d’amore.” 15 (ff. 29-30v) [FRESCHI]. S.n Angiolo. Donne belle, mi piacete, D minor. For Sardanapalo in I:18 of SARDANAPALO. The da capo is written out and altered. Also in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 3637, and F-Pn 8351, ff. 38-39. ZANF 5:30. According to ZANF 5:31, a different setting for this text, given in I-MOe Mus. F.396, ff. 47-48, B/B, F major, was sung in L’ONOR VINDICATO (Reggio 1681).

16 (ff. 31-32) [FRESCHI]. S.n Angiolo. Quante frodi insegnia Amore, tutte, tutte adoprera [adoprerò], B! major. For Nicea in I:6 of SARDANAPALO. The da capo is indicated. In G major, with TrTrAB instruments in both scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 13-15, and F-Pn 8351, ff. 13v-15. In the latter, the first two pages of the aria were at one time glued together, so the aria was presumably deleted. According to ZANF 5:11, this aria is in C major in I-MOe Mus. F.396, ff. 13-16, the score for L’ONOR VINDICATO (Reggio 1681). An aria with a similar text incipit, Quanti inganni insegna Amore, was sung by Andronico in I:18 of IL GIUSTINO (Rome 1695) to different music by Luigi Mancia. The Roman text is a parody (same metric and rhyme scheme) of Carlo Maderni’s original.

17 (ff. 33-34v) [FRESCHI]. S.n Angiolo. Se basta a farsi amar, d’astucia armar la fronte, F major. For Nicea in I:17 of SARDANAPALO. Preceded and followed by TrTrAB ritornellos in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 34-36, and F-Pn 8351, ff. 36v and 38. (The F-Pn score at one time marked the A section “alla 5.a bassa,” but retained the D minor key of the B section.) According to ZANF 5:29, the score for L’ONOR VINDICATO (Reggio 1681), I-MOe Mus. F.396, ff. 44-47, retained the text and music (but in B!) of SARDANAPALO.

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Folio 37 of the score F-Pn 8351 was at some time torn out, and different text and music were placed on the new f. 37r-v: Sian [sic] tanto labili noi altre femine.

18 (ff. 35-36) [FRESCHI]. S.n Lucca [recte Teatro S. Angelo], [Io non ti credo ancor], str. 2: Tu mi lusinghi il so, F major. For Armisia in III:1 of SARDANAPALO. The da capo is altered. Strophe 1 is present in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], 78v-79v, and F-Pn 8351, ff. 80v-81. According to ZANF 5:64, the score for L’ONOR VINDICATO (Reggio 1681), IMOe Mus. F.396, f. 112r-v, resembles Barb. lat. 4135, in that it lacks str. 1. ZANF 5:64 also reports that the I-Vnm score lacks str. 2. 19 (ff. 37-38) [GIOVANNI BATTISTA TOMASI]. S.n Lucca. Amor’ e Fortuna son puri accidenti, A major. For Claudia in II:1 of SESTO TARQUINIO (Venice 1679). The da capo is altered. 20 (ff. 39-40) [FRESCHI]. S.n Angiolo. Se posso a te giovar, parla, ch’io lo farò, A/B, D major. The da capo is altered. For Dirce in I:20 of SARDANAPALO. Followed by TrTrAB instruments in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 39-40, and F-Pn 8351, f. 42r-v (marked “alla 5a. bassa”). Further unclear editorial markings made with a brown crayon in F-Pn 8351 include VB just before the aria begins, then a cross followed by an S line, and finally Vi mancha. The cross and S line are repeated on a newly inserted half-page with recitative for Beleso. According to ZANF 5:34, this aria is also in I-MOe Mus. F.396, ff. 50v-52, the score for L’ONOR VINDICATO (Reggio 1681). 21 (ff. 41-42v) [FRESCHI]. S.n Angiolo. Scherzerò con mille vaghe, B! major. For Sardanapalo in I:4 of SARDANAPALO. The da capo is indicated. Followed by a TrTrAB ritornello in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 10v-11v, and F-Pn 8351, f. 11r-v. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 183v-84v. “Incerto” (anonymous) on the spine of I-MOe Mus. G.315, n. 50, ff. 91v-93, which is for A/B (only the A part is present). ZANF 5:8 also lists I-MOe Mus. G.304, n. 15. ZANF 5:9 gives the incipit of the replacement aria, Pur ch’io ti sia fedel, B/B, B! major, found in I-MOe Mus. F.396, ff. 10v-11v, the score for L’ONOR VINDICATO (Reggio 1681).

22 (ff. 43-44) [FRESCHI]. S.n Angiolo. Al tuo dispetto ti baccierò, C major. For Sardanapalo in I:16 of SARDANAPALO. The da capo is indicated. With TrTrAB instruments in both scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 31v-34, and F-Pn 8351, ff. 33-35. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 187-188. Anonymous in I-MOe Mus. G.315, n. 4, ff. 7-8v (A/B, F major). ZANF 5:26 adds the concordances I-MOe Mus. G.304, n. 2, and I-Nc 33.5.32 (Cantate 37), ff. 121v-22, and notes that this aria

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is lacking in the score for L’ONOR VINDICATO (Reggio 1681), I-MOe Mus. F.396, where another aria is sung by Armisia (Rapite gioie non dan piacer). 23 (ff. 45-46) [FRESCHI]. S.n Lucca [recte S. Angelo]. Armati di fierezza, o mio costante cor, G major. For Armisia in III:5 of SARDANAPALO. The da capo is indicated. With TrTrAB instruments in two scores to the opera, IVnm It.Cl.IV, 452 [= 9976], ff. 85v-86, and F-Pn 8351, ff. 87v-88. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 197-98v. According to ZANF 5:68, this aria is also in I-MOe Mus. F.396, ff. 119v-22, the score for L’ONOR VINDICATO (Reggio 1681). 24 (ff. 47-48v) [FRESCHI]. S.n Angiolo. S’io t’adoro, Amor lo sa, A minor. For Sardanapalo in II:18 of SARDANAPALO. The da capo is altered. With TrTrAB instruments in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 74-75v (II:17), and F-Pn 8351, ff. 76v-78. The scores indicate that Armisia will sing the “seconda stroffa,” and the printed libretto, pp. 41-42, prefaces str. 2 with the name “Arm.” Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 192-193. ZANF 5:59. According to ZANF 5:59-60, a different setting for str. 1 is in I-MOe Mus. F.396, the score for L’ONOR VINDICATO (Reggio 1681), after which Armisia sang str. 2 in Freschi’s 1679 setting.

25 (ff. 49-50) [TOMASI]. S.n Angiolo [recte S. Luca]. Son risolta d’abraciarti e dar fine al mio languir, A minor, binary form. For Claudia in II:31 of SESTO TARQUINIO (Venice 1679). Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 23. 26 (ff. 51-52v) [FRESCHI]. S.n Lucca [recte S. Angelo]. Sin ch’io vivo t’adorerò, D major. For Sardanapalo in II:1 of SARDANAPALO. The da capo is indicated. With TrTrAB instruments in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 45-46, and F-Pn 8351, ff. 47-48. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 189-190. According to ZANF 5:38, Freschi’s music for L’ONOR VINDICATO (Reggio 1681) in I-MOe Mus. F.396, ff. 57v-60, is scored for B/B and re-texted, Sin ch’io spiri aure vitali. 27 (ff. 53-54v) [FRESCHI]. S.n Lucca [recte S. Angelo]. Pien di giubilo il cor sarà, C minor. For Nicea in II:12 of SARDANAPALO. The da capo is rewritten. With TrTrAB instruments in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 64v-66, and F-Pn 8351, ff. 67v-68, where Nicea sings this as str. 2 of the aria Non sa fingere questo cor, sung by Sardanapalo. According to ZANF 5:53, both strophes are also in I-MOe Mus. F.396, ff. 91-93v, the score for L’ONOR VINDICATO (Reggio 1681). 28 (ff. 55-56v) [TOMASI]. S.n Ang.o [recte S. Luca]. Povera gioventù, dove

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ti guida Amor, C minor. For Elmira in I:5 of SESTO TARQUINIO. The da capo is rewritten. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 2. 29 (ff. 57-58) [FRESCHI]. S.n Angiolo. Non disperar, chi sa che fida havrò in amor, C major. For Beleso in I:9 of SARDANAPALO. The da capo is rewritten. In the libretto, p. 18, Arbace sings the second strophe, Che più sperar, non so, senza l’amato ben. The first strophe is followed by a TrTrAB ritornello in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 20v-21, and F-Pn 8351, ff. 20v-21v. The printed libretto and F-Pn 8351 have anco instead of havrò. In F-Pn 8351, the three pages containing the aria strophes have diagonal lines, and f. 20v was once glued to f. 21, so the aria was presumably deleted. ZANF 5:16. According to ZANF 5:16-17, a different setting for this aria text is given in I-MOe Mus. F.396, ff. 23v-24v, the score for L’ONOR VINDICATO (Reggio 1681).

30 (ff. 59-60v) [TOMASI]. S.n Lucca. La speranza mi consola, e la tema mi vuol morto, C major, binary form. For Tullio in I:18 of SESTO TARQUINIO. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 5. 31 (ff. 61-62v) [FRESCHI]. S.n Angiolo. Con la scorta del Dio di Gnido, A minor. For Armisia in SARDANAPALO, III:18. The da capo is indicated. Followed by a TrTrAB ritornello in two scores to the opera, I-Vnm It.Cl. IV, 452 [= 9976], ff. 111-112, and F-Pn 8351, ff. 112v-113. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 195v-96v. The printed libretto, p. 60, reads “nume” instead of “Dio.” According to ZANF 5:92, this aria is also in I-MOe Mus. F.396, ff. 153v-55v, the score for L’ONOR VINDICATO (Reggio 1681). 32 (ff. 63-64v) [FRESCHI]. S.n Angiolo. Su quel’ occhi sì vivaci mille bacci, C major. For Sardanapalo in I:1 of SARDANAPALO. The da capo is indicated. Preceded by a TrTrAB ritornello in the score to the opera in F-Pn 8351, ff. 5-6v; followed by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 452 [= 9976], ff. 5-7. Attributed to “D. Domenico Freschi” in I-Vqs 1441, ff. 181-182. F-Pn 8351 and the libretto (p. 9) have “su quegli ostri” instead of “su quel’occhi.” According to ZANF 5:4 (under “quegl’ostri”) the aria is lacking in I-MOe Mus. F.396, the score for L’ONOR VINDICATO (Reggio 1681). 33 (ff. 65-66v) [FRESCHI]. S.n Angiolo. Ch’io ti baci? o questo no, A minor/E minor. For Armisia in II:16 of SARDANAPALO. The altered da capo returns a fourth lower than the opening. Followed by a TrTrAB ritornello in two scores to the opera, I-Vnm It.Cl.IV, 452 [= 9976], f. 70r-v (in II:15), and F-Pn 8351, f. 72r-v, where diagonal lines (for deletion) cover the ritor-

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nello. Anonymous in I-Nc 33.5.26 (Rari 6.4.11), n. 6. According to ZANF 5:56, the aria is also in I-MOe Mus. F.396, ff. 97-99, the score for L’ONOR VINDICATO (Reggio 1681). 34 (ff. 67-68) [TOMASI]. S.n Lucca. S’il destin per me fu ingrato, G minor. For Eurinda in III:6 of SESTO TARQUINIO. The da capo is changed. 35 (ff. 69-70) [TOMASI]. S.n Angiolo [recte S. Luca]. No, no, giuro ad Amor, non dar già mai ricetto, E minor, binary form. For Claudia in I:3 of SESTO TARQUINIO. The libretto, p. 14, reads “darà mai” instead of “dar già mai.” 36 (ff. 71-72) [TOMASI]. S.n Angiolo [recte S. Luca]. Ogni vero amator vive in cattena, E minor. For Sesto in II:26 of SESTO TARQUINIO. The da capo is indicated. 37 (ff. 73-74) [TOMASI]. S.n Angiolo [recte S. Luca]. Amor che cosa sia ancora non lo so, A minor. For Elmira in III:7 of SESTO TARQUINIO. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, ff. 26v-27. 38 (ff. 75-76). [FRESCHI]. S.n Lucca [recte S. Angelo]. Crudel, sovengati che m’involasti, A minor. For Armisia in I:2 of SARDANAPALO. The da capo is altered. Attributed to “D. Domenico Freschi” in I-Vqs 1441, f. 199. This aria is not in two scores to the opera, I-Vnm It.Cl.V, 452 [= 9976] and F-Pn 8351. The libretto, p. 10, has “mi rapisti” instead of “m’involasti.” According to ZANF 5:5, the score for L’ONOR VINDICATO (Reggio 1681), I-MOe Mus. F.396, has the “arietta” but not the arioso and recitative that precede it. 39 (ff. 77-78) [MARC’ANTONIO ZIANI]. S.n G. e Paulo. Voglio cangiar, Amor, non posso star così, C major. For Taide in II:5 of ALESSANDRO MAGNO IN SIDONE (Venice 1679). The da capo is indicated. Preceded by a TrTrB ritornello in two anonymous scores to the opera (both with Internet Culturale access), I-Vnm It.Cl.IV, 381 [= 9905], f. 38v-39; and I-Nc Rari 6.5.8 (= 33.6.9), f. 76r-v; the latter has a second strophe, Cento a penar per me, which lacks a direction to return to the opening section. Attributed to “Marc’Ant.o Ziani” in I-Vqs 1441, ff. 159-160. Anonymous in I-MOe Mus. G.315, n. 34, ff. 64-65 (A/B, F major). 40 (ff. 79-80v) [M.A. ZIANI?]. S. G. e Paulo. Chi tormenti non vuol, non s’in[n]amori, E minor. The da capo is altered. This aria is not in the printed libretto for ALESSANDRO MAGNO, nor in the score to the opera, I-Vnm It.Cl. IV, 381 [= 9905]; but Chi tormenti was most likely sung in this opera, since it was the only one staged at SS. Giovanni e Paolo during carnival 1679 (Mercure galant, April 1679, cited in SELFRIDGE-FIELD-PV, p. 341; see also GROPPO, p. 51, n. 170).

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41 (ff. 81-82v) [M.A. ZIANI]. S.n G. e Paulo. Io peno ma godo di viver acceso, D major, binary form. For Efestione in III:10 of ALESSANDRO MAGNO. In two scores to the opera, I-Vnm It.Cl.IV 381 [= 9905], ff. 67v-68, and I-Nc Rari 6.5.8 (= 33.6.9), ff. 135v-136. Attributed to “Marc’Ant.o Ziani” in I-Vqs 1441, f. 176. 42 (ff. 83-84) [M.A. ZIANI]. S.n G. e Paulo. Chiuder la fiamma in petto che da un ciglio balenante, D minor, binary form. For Efestione in II:6 of ALESSANDRO MAGNO. Chiude le fiamme in petto is the text incipit in two scores to the opera, I-Vnm It.Cl.IV, 381 [= 9905], f. 40; and I-Nc Rari 6.5.8 (33.6.9), f. 78r-v. 43 (ff. 85-86v) [TOMASI]. S.n Lucca. Da la reggia de’ tormenti aspra doglia, rio martire, D minor, binary form For Sesto in II:17 of SESTO TARQUINIO. 44 (ff. 87-88) [TOMASI]. S.n Lucca. Gioisci mio core ch’è giunto il piacer, G major. For Tullio in II:32 of SESTO TARQUINIO. The da capo is altered. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 24. 45 (ff. 89-90v) [TOMASI]. S.n Lucca. S’io credessi di morire, non mi cangio di pensiero, C major. For Eurinda in II:6 of SESTO TARQUINIO. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, ff. 12-13. The libretto reads “Se” instead of “S’io.” 46 (ff. 91-92v) [TOMASI]. S.n Lucca. Libertà, libertà! Fuga l’alma una guancia di rose, A major. For Elmira in I:4 of SESTO TARQUINIO. The da capo is altered. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 4. RICCIARDELLI, p. 26, erroneously attributes n. 46 to Luigi Rossi, mistaking the text incipit for Libertà, libertà … ragion mi sgrida (in F-Pn Rés. Vmb 63, ff. 15259v; I-Bc Q.50, ff. 15-16v, and I-Rc 2464, ff. 71-76v).

47 (ff. 93-94v) [TOMASI]. S.n Lucca. Perde il cor chi vive amante, B! major. For Elmira in II:7 of SESTO TARQUINIO. The da capo is altered. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441 (Cl.VIII Cod.XIX), ff. 13v-14, and anon. in I-Nc Rari 33.5.26 (= Rari 6.4.11), no. 7, f. 5 (Internet Culturale access). 48 (ff. 95-96v) [TOMASI]. S.n Lucca. Pria che mai manchar di fé, G major. For Sesto in II:22 of SESTO TARQUINIO. The da capo is altered. 49 (ff. 97-98v) [TOMASI]. S.n Lucca. Non tormentarmi più, lasciami in pace, A minor. For Sesto in III:8 of SESTO TARQUINIO. The da capo is altered. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, ff. 27v-28v. 50 (ff. 99-100) [TOMASI]. S.n Lucca. Pupille adorate che mi rapiste il cor,

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B! major. For Eurinda in II:18 of SESTO TARQUINIO. The da capo is altered. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 20v-22v. 51 (ff. 101-102) [TOMASI]. S.n Lucca. Cedete amanti che vantate di goder, A major, binary form. For Claudia in II:5 of SESTO TARQUINIO. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, f. 11. 52 (ff. 103-104) [TOMASI]. S.n Lucca. Che sospiri, che languisca, questo misero mio core, B! major. For Claudia in III:5 of SESTO TARQUINIO. The da capo is indicated. Attributed to “Gio. Batt.a Tomasi” in I-Vqs 1441, ff. 25-26. Bound in parchment (79 × 203 mm). Both covers embossed in gold with a double-line border and corner floral ornaments (see Illus. 5). In their centers, the arms of Prince Maffeo Barberini: a crown above a shield and, in a ring suspended from it, the ram of Order of the Golden Fleece; within the shield, the papal umbrella and keys on a U-shaped tab above three bees. Prince Maffeo was made a Knight of the Order of the Golden Fleece in 1671; the ceremony took place in Rome in 1673 (ArchBarb Indice I.1092 and I.1096). (His son Prince Urbano joined the order in January 1688). On the spine are a golden bee, a pink Vatican sticker (which may cover another bee), and the number 6 written by a modern hand in black ink, which also wrote the old shelfmark XLVII.6 inside the front cover, where there is another Vatican sticker. Pages have been trimmed at the top. The only clear watermark shows a partial lower segment (f. 15); it might represent the bottom of a lyre or a shield with side cartouches. The only clear corner-mark (ff. 12 and 28) shows the letters H C separated by a vertical line topped by a trefoil (45 × 37 mm). The four staves on each page are connected on the left and right sides by vertical Venetian-style ruling that runs from the top to the bottom of the pages, even on pages with staves but no music. The main copyist also provided a tavola (table of contents) on the back flyleaves ff. [105-106]. Flyleaves II-III and f. [107] are blank. The sole copyist wrote neatly in ink that is now light brown. He added a number to each folio and the name of the theater for each aria. Ten of the fifty-two names are incorrect, as noted above. Spaces were left for large capilettere, but they are only filled with loose, simple capitals. For arias nn. 18, 26 and 38, however, the same copyist changed ink, which now appears as nearly black. Probably the same copyist made the occasional alterations in blackish ink, for example on f. 31r-v, where “adoprerà” had the serif of the last letter cancelled by two short strokes and an accent added to form “adoprerò”; and on f. 31v, where one measure bears a diagonal cancellation stroke. In the upper right corner of f. 104v is written “P. & P.,” but not in the hand of the Venetian music copyist.

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Librettos for the four operas represented in Barb. lat. 4135 were all printed by Francesco Nicolini in Venice. SESTO TARQUINIO (with a dedication dated 5 December 1678) and SARDANAPALO were performed during the autumn of 1678, and NERONE and ALESSANDRO MAGNO IN SIDONE were staged during the winter season of 1679 (GROPPO, pp. 50-51); see SARTORI, nn. 709, 16402-03, 21044-45 and 21915. These Venetian productions are all evaluated in the review of the Venetian carnival printed in Le Mercure galant, April 1679, pp. 75-94 (reprinted in SELFRIDGE-FIELD-PV, pp. 340344). ZANF provides a thematic catalogue for Freschi’s works, and he includes all but one score for SARDANAPALO, namely, the extensively edited F-Pn ms. 8351 (olim F-Pc). The second section of its spine has SARD|ANAP|ALO stamped in gold, while the other four sections have an ornamental design. The annotator in French on f. I knew no more than the title, while the writer in Italian on f. II named also the theater, year, librettist, composer and his residence, Vicenza. This information was first printed in IVANOVICH in Dubowy’s edn, pp. 441, 449 and 451. The Sinfonia begins on f. 1, where an unidentified “3711” precedes “Freschi,” and a stamped oblong label identifies the owner as “Conservatoire de musique bibliothèque” and its first shelf-mark as “18985.” Within the score are many signs of deletions, writing in brown crayon (see n. 20 above) and residues of what had once bound folios together. Two remarkably similar aria collections are Barb. lat. 4135 and I-Vqs 1441 (Cl.VIII Cod.XIX). The 52 anonymous arias in Barb. 4135 catalogued above come from four operas produced during the Venetian carnival of 1678-1679. The 129 arias in I-Vqs 1441, which are catalogued in ROSSI-QS, pp. 89-96, are from five operas produced during the same carnival. The arias for each opera are placed together, and the title, theater, composer and year are listed before the first aria of each group. It is thus clear that NERONE is the source for 39 arias; I DUE TIRANNI AL SOGLIO (by Matteo Noris and Antonio Sartorio) for 31; SESTO TARQUINIO for 24; ALESSANDRO MAGNO IN SIDONE for 23; and SARDANAPALO for twelve. Its twenty-nine concordances with Barb. 4135 include only six of the eleven from NERONE in the Barberini volume, twelve of the 18 from SESTO TARQUINIO in 4135, two of the four from ALESSANDRO MAGNO IN SIDONE in 4135, and nine of the 18 from SARDANAPALO in 4135. The anthology Barb. 4135 and Vqs 1441 are the only known sources for SESTO TARQUINIO and are the main sources for NERONE, which received the lion’s share of attention in Le Mercure galant for 1679. See also LINDGREN-Ven, passim. Singers for the works represented in Barb. lat. 4135 are not named in the printed librettos. Some who sang in NERONE are listed in I-Vnm It.Cl.

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IV. Cod. 748 (= 10466); thus we know that Giuseppe Maria Donati portrayed Nerone; Giovanni Francesco Grossi detto Siface was Tiridate; and Francesco de Castris was Lepido (SAUNDERS, p. 448). Chassebras de Cramailles, who wrote the review in Le Mercure Galant, also listed some who sang in NERONE and SESTO TARQUINIO, as well as one who sang in ALESSANDRO MAGNO, but does not associate the names with roles. Cramailles does state that the singers in SESTO TARQUINIO were “les meilleurs musiciens qu’on eust pû trouver.” They included Domenico Cecchi detto Cortona, Margarita Pia and Giulia Romana. As for ALESSANDRO MAGNO, “Le Napolitain s’y est fait admirer secondé de trois excellentes musiciennes” (SELFRIDGE-FIELD-PV, p. 341). Barb. lat. 4135-4136

Barb. lat. 4136 1653-1658, 72 × 156 mm, I.[268].I ff., 4 staves, 5 hands

Miscellany of twenty-two Italian cantatas and two opera arias for voices and basso continuo. The sole attribution is to Giacomo Carissimi (n. 17); concordances provide seventeen other attributions to him. The two arias (nn. 7-8) are by Antonio Maria Abbatini, from the Barberini opera DAL MALE IL BENE of 1654 (see Barb. lat. 4387). Four unica remain without attribution: nn. 1, 3 and 19-20. The binding carries the arms of Cardinal Fabrizio Savelli (d. Feb. 1659). Two of the unica (nn. 19-20) are also connected with the Savelli family; n. 19 is an alteration of a wedding cantata from 1653. Poets are not named, but they include Sebastiano Baldini (nn. 12-13, 19), Domenico Benigni (n. 24), Giovanni Lotti (n. 6), Francesco Melosio (n. 4), and Giulio or Giacomo Rospigliosi (nn. 7-8). Since at one time the volume was mistakenly thought to be entirely in Carissimi’s hand, all items are listed in SARTORI 1975, and musical incipits for all are given in WECIS 5. Facsimiles of nn. 3-4, 9-10, 13, 15-16, 19, and 23 appear in CARISSIMI 1986, although not all may be by him. The scoring is S/B, except for nn. 1 and 14 (Tr/B), n. 23 (SS/B), and n. 24 (SSBar/B). Barb. lat. 4136 1 (ff. 1-12v) Pastor a cui fra l’ombre della più c[h]eta notte, Tr/B, C major, cantata for Christmas. Arias include Sì, sì, scioglietevi miei lumi flebili; O del divino Amor opre ingegnose, and Belle schiere di là su. 2 (ff. 13-19v) [GIACOMO CARISSIMI]. [E]rrai, Signor, errai, ma dell’error m’avveggio, G minor, cantata. Arias include Ma perdono è mercede and Io dunque più non tardo. Attributed to “Sig.r Jacomo Carissimi” in A-Wn 17763, ff. 1-12v. Facsimiles of ff. 15v-16 appear in WECIS 5, p. ii.

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3 (ff. 21-26) Non disperar, mio core, la patienza ci v[u]ole, F major, cantata. The text mentions the sieges of La Rochelle (1628-1629) and Perpignan (1642). Facsimile in CARISSIMI 1986, n. 1, although no evidence yet connects Carissimi to this piece. 4 (ff. 27-42) [CARISSIMI]. O la, pensieri, o la, e qual dentr’al mio seno, G major, cantata. The closing aria is Infin così va. Attributed to “Sig.r Jacomo Carissimi” in GB-Och 51, pp. 105-113, and an 18th-c. copy GB-Lam 42, pp. 203-212; both are in D major and scored B/B. The text by Francesco Melosio, published in MELOSIO 1672, pp. 188-191, is headed “Amore vinto dalla ragione.” A facsim. edn of Barb. lat. 4136, n. 4 is CARISSIMI 1986, n. 2. The poem, an English translation of it, and edition of the Barb. lat. score is Ex. 5-11 in HOLZER, pp. 862-878. A different cantata is O la, pensieri, o la, il varco del mio core, attributed to Luigi Rossi in I-Nc 33.4.12a, ff. 135v-60v; CALUORI n. 138.

5 (ff. 43-52) [CARISSIMI]. Bel tempo per me se n’andò da che, A major, R1-R-2-R. Eleven concordances are listed in WECIS 5/1 and SARTORI 1975, p. 53 (qq.v.). The best Roman sources, I-Bc X.234, ff. 69-76v (facsim. in CARISSIMI 1983) and I-Rc 2468, ff. 239-46v are also anonymous. Of nine with attributions to Carissimi, mss. copied in Italy are I-Bc Q.47, ff. 239242; I-Gl A.5. Cass., ff. 173-186; and I-MOe Mus. E.280, n. 2. A modern edn is CARISSIMI 1969, pp. 19-29, with facsimiles of Barb. lat. 4136, ff. 43-44 and 52 (p. 8). 6 (ff. 53-58) [CARISSIMI]. Almeno un pensiero, ch’è lampo del core, G minor, cantata. Another aria is Già fui vinto e lo sai tu. Attributed to Carissimi in GB-Och 949, ff. 7-12; Och 51, pp. 94-99; and GB-Lbl Harley 1272, ff. 5v8. Anonymous in I-Bc X.234, ff. 51-56 (facsim. in CARISSIMI 1983); A-Wn 17765, ff. 21-30v; and D-Lr K.N.145, pp. 52-58. The poem by Giovanni Lotti is in LOTTI 1688, pt. 3, pp. 180-181, as Almeno un pensiero, baleno del core. 7 (ff. 59-62) [ANTONIO MARIA ABBATINI]. Alla rocca del pensiero, D major, aria (2 strophes). For Leonora in I:1 of DAL MALE IL BENE (Rome 1654, libretto by Giulio and Giacomo Rospigliosi). In the earliest of the scores to the complete opera, BAV Barb. lat. 4387 (q.v.), “Abb.ni” appears at the beginning of the opera; on ff. 16v-18v, the aria is accompanied by a TrTrB instruments. It is anonymous in F-Pn Rés. Vmf 14, ff. 1-4, where the original attribution is damaged. Anonymous in I-GR Crypt. It. 3, pp. 223-225. WECIS 5/2 and SARTORI 1975, p. 135 both credit Abbatini. 8 (ff. 63-65v) [ABBATINI]. [E] che farete amanti, s’Amor guerra vi fa?, B! major, aria (2 str.). For Marina in I:1 of DAL MALE IL BENE (see n. 7 above).

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In the score to the opera BAV Barb. lat. 4387, ff. 13v-16, it is accompanied by a TrTrB instruments. The collection F-Pn Rés. Vmf 14 (cited in n. 7 above), ff. 4v-7v attributes it to “medesimo,” the composer whose name no longer exists. Anonymous in I-GR Crypt. It. 3, pp. 222-223. WECIS 5/2 and SARTORI 1975, p. 135 both credit Abbatini. Modern edns include GOLDSCHMIDT, pp. 327-328 and SCHERING 1931, p. 258. 9 (ff. 75-82v) [CARISSIMI]. Ove fuggi, o mia speranza?, C minor, R-1-R2-R. Attributed to Carissimi in the Roman ms. I-MOe Campori γ.L.11.9 (App. 1696), ff. 28-35v and in I-Bc Q.47, ff. 36v-40. Anonymous in B-Bc 566 (olim F.A.VI.23), ff. 45-56v; I-GR Crypt. It. 4, ff. 6-[16]; and CH-Zz Q.902, pp. 212-220. WECIS 5/1 and SARTORI 1975, p. 73, further list anonymous copies in I-Gl A.5 Cass. and I-SPc 13906. A facsim. edn of Barb. lat. 4136, n. 9 is CARISSIMI 1986, n. 3. 10 (ff. 83-89v) [CARISSIMI]. Sempre m’affligo più in pensar che mia fede, G minor, R-1-R-2-R. SARTORI 1975, p. 79 lists attributions to Carissimi in I-MOe Campori γ.L.11.9, ff. 28-35v and in I-Bc 83; the latter is incorrect and has never existed at the Bologna Conservatory. A facsim. edn of Barb. lat. 4136, n. 10 is CARISSIMI 1986, n. 4. Discussed in FREITAS 2009, pp. 245-246. 11 (ff. 91-98v) [CARISSIMI]. Così volete, così sarà, bella tiranna, G minor, cantata. Internal arias include Se dal fonte del tuo core and Gelosia con fiero dente. Attributed to Carissimi in B-Bc 694 (= FA.VI.38), ff. 145-56v; I-MOe Mus. G.257, ff. 22-30v; I-IBborromeo Misc. 6, ff. 39-44v; and I-Nc 33.4.12a, ff. 85-96v. Anonymous in the Roman Carissimi anthology I-Bc X.234, ff. 77-84v, and in I-GR Crypt. It. 2, ff. 49-[57] (facsim. in CARISSIMI 1983). A modern edn of the opening aria only is LANDSHOFF 1912, pp. 52-56. 12 (ff. 103-114) [CARISSIMI]. Suonerà l’ultima tromba, D major, cantata. Arias include Che quanto è di vago and In fresch’età quei che si fidano. WECIS 5 and SARTORI 1975, p. 58, together list eight concordances. Attributed to Carissimi in the Roman miscellany I-MOe Campori γ.L.11.9, ff. 17-27v, where it is headed “Tromba. Del Sig. Giac. Cariss.,” and in I-MOe Mus. G.43, dated 1662 and headed “Del giuditio universale,” with a text attribution to [Domenico] Benigni (access via the Internet Culturale portal). The poem is, however, by Sebastiano Baldini in BAV Chigi L.IV.94, f. 312v-17, titled La morte; see MORELLI-G 2000, n. 474 and CARBONI 12/3, n. 1703. Another anonymous text source is BAV Ferraioli ms. 1, ff. 207v-10v, with the subject title “Si deplorano l’humane miserie.” Other anonymous musical concordances are I-Rc 2486, ff. 56-67v and Rc 2477, ff. 1-12v; I-MOe Mus. E.281, ff. 9-14v; I-IBborromeo Misc. 2, ff. 8497v; F-Pn Rés. Vmf 14 (ex-Thibault, ex-H.P. 8), ff. 8-19; and GB-Lbl Add.

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14229, ff. 139-43v. Pages 98-99 of ms. US-LAuc fC697M4 (datable before 1669) contain the opening 14 bars; page 93 contains In fresch’ età quei che si fidano, attributed “Del Sig.r Carissimi,” S/TB (continuo + French lute tablature); str. 2-3 are text only. Modern edns of the solo version are CARISSIMI 1969, pp. 68-83, and CARISSIMI 2012, pp. 17-24, a critical edn of both text and music. The subject title “Del giuditio universale” and same text incipit for a “cantata a 3” are listed in a mid-century Bolognese oratorio inventory in MISCHIATI 1962, p. 156, n. 293.

13 (ff. 115-124) [CARISSIMI]. O voi che in aride ossa, o voi che in polve, F major, cantata. The only aria is Ahi, ch’ invan le voci io spargo (2 str). SARTORI 1975, p. 64, lists an anonymous score in I-COd (unnumbered ms., p. 8). Attributed to Carissimi in I-Rc 2468, ff. 1-12 and I-MOe Mus. G.39 (dated 1662), which is headed “Giuditio universale” and attributes the text to [Domenico] Benigni (available through the Internet Culturale portal). The same subject title and text incipit are listed in a mid-century Bolognese oratorio inventory in MISCHIATI 1962, p. 155, n. 292. HOLZER, p. 282 (Table 5-1) lists the text among questionable attributions to Benigni, since a fourth source, BAV Vat. mus. 426, ff. 39v-45 (dated 1652), attributes the music to Carissimi and the text to Sebastiano Baldini. Baldini is the poet in BAV Chigi L.V.148, ff. 157-160 (CARBONI 12/3, n. 1259; MORELLI-G 2000, n. 368). The text is also attributed to Giulio Rospigliosi in the text source BAV Vat. lat. 13539, pp. 786-788. A facsim. edn of Barb. lat. 4136, n. 13 is CARISSIMI 1986, n. 5. A modern critical edn of text and music is CARISSIMI 2012, pp. 1-7. See also F. Ghisi, Due cantate sul giudizio universale di Giacomo Carissimi, in La rassegna musicale 18 (1948), pp. 199-204. WECIS 5/1 gives two other musical settings, I-Fn Magl.XIX.26, ff. 1-8 (anon.) and the Marco Marazzoli holograph BAV Chigi. Q.VIII.180, ff. 35v-37; the latter attributes the text to Benigni.

14 (ff. 125-127) [CARISSIMI]. [A]l’hor’ che nel cielo di raggi lucenti, Tr/B, A minor, aria. “Del Sig.re Giacomo Cariss.” in the Roman source I-MOe Campori γ.L.11.9, ff. 110-112v (S/B in A minor). In I-Bc X.234, n. 4, the attrib. to Carissimi is not in the hand of the music copyist. 15 (ff. 139-152v) [CARISSIMI]. [C]ome, ahi come cadeo Gionata il fior de’ più famosi heroi, E minor, cantata. The only aria is O lumi piangete, se spensi non sete. “Del Sig.r Carissimi” in PL-Kj Mus. ant. pract. P 970, pp. 22-28 and titled Lamento di Gionata (T/B). The only concordance given in WECIS 5/1 and SARTORI 1975, p. 56 is GB-Cmc 2591, an arrangement for bass and 5-string guitar by Cesare Morelli, which also attributes the original to Carissimi. Anonymous in I-IBborromeo Misc. 8, ff. 61-66, and in D-Lr

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K.N.145, pp. 77-87 (in F minor), which reads “… come cadea Gionata” and has the more accurate title Lamento di Davide sopra la morte del Gionata. A facsim. edn of Barb. lat. 4136, n. 15 is CARISSIMI 1986, n. 6. The cantata has the same text incipit as an “oratorietto a 4” with the subject title “David che piange la morte di Gionata,” in a mid-century Bolognese inventory (MISCHIATI 1962, p. 154, n. 252).

16 (ff. 153-162v) [CARISSIMI]. [A]rdeva in tanto foco, soffria tante catene, A minor, cantata. Arias include Deh, chi misera t’addita and Se v’è chi si vanti. Attributed to Carissimi in I-Bc Q.46, ff. 1-10v; I-Vc Correr Busta 1.12, ff. 20v-29; and GB-Och Mus. 51, pp. 27-32. A facsim. edn of Barb. lat. 4136, n. 16 is CARISSIMI 1986, n. 7. 17 (ff. 163-170v) CARISSIMI. È bello l’ardire d’un anima forte, G minor, R-1-R-2-R-3-R. The music copyist appears to have added “Del Sig.r Carissimi” after f. 163 was copied. Attributed to Carissimi in the Roman ms. I-Rdp 51, pp. 73-80; F-Pn (olim Pc) Rés. F.935B, pp. 131-141; F-Pn Vm7 17, pp. 119-134; GB-Och 51, pp. 11-15 and Och 949, ff. 23-28. Anonymous in the Roman Carissimi anthology I-Bc X.234, ff. 93-89v (facsim. in CARISSIMI 1983). A modern edn based on Vm7 17 is BLANCHARD 1976, pp. 6-14. 18 (ff. 171-177v) [CARISSIMI]. Soccorretemi ch’io moro, occhi belli, oh Dio, pietà, C minor, R-1-R-2-R. WECIS 5/1, SARTORI 1975, p. 80, and CALUORI n. 383 list six concordances. Attributed to Carissimi in I-MOe Mus. G.257, ff. 16-20v; I-Nc 33.4.7a, ff. 59v-64v; and I-Vc Busta 2, Mus. var. 47. The attrib. to “Luigi” [Rossi] in GB-Och 947, ff. 81-86v is unreliable. Anonymous in the Roman Carissimi anthology I-Bc X.234, ff. 25-30v (facsim. in CARISSIMI 1983). An additional anon. concordance is B-Bc 566 (olim F.A.VI.23), ff. 3344v. A modern edn is LANDSHOFF 1912, pp. 40-48. 19 (ff. 179-192) Era degli imenei d’Anna e Sp[inola], A minor, cantata for the figure of La Fede. Arias include Fin’ a quanto, crudeli perversi; Vi ramenta la Baltica sponda, and Trionfi chi può di popoli intieri. Several pasted-on strips of paper contain new text. These strips make the original incipit and parts of the text difficult to read. The original text is likely BAV Chigi L.IV.94, ff. 31-34 and Chigi L.VI.187, f. 178 by Sebastiano Baldini, titled Lo sposalitio. L’ardire della fede. According to MORELLI-G 2000, nn. 179 and 273 (which lists additional copies), the poem was one of six that Baldini provided for celebrations of the wedding of Anna Colonna (1631-1689) and Paolo Spinola, marquis of Los Balbases, in 1653 (not 1683 as given by Morelli on p. 84). The strips pasted onto the Barb. lat. 4136 score altered the text to refer to the Savelli family. On f. 178v an unknown recent hand has given a possible reading of the second version of the text incipit: Del gran valore d’eroe novello. The composers for the six Baldini poems were L. Rossi, G. Carissimi, M. Marazzoli,

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M. Savioni, C. Caproli and F. Boccalini, but it is not known which composer set which poem.

A facsimile, reproducing the added-on strips, and with a modern edn of a text is CARISSIMI 1986, n. 8, pp. 49-57 and 171. A modern musical edn is CARISSIMI 2012, Appendix, pp. 53-61. 20 (ff. 193-213v) [S]e magnanimi eroi, o Clio, tromba famosa, E minor, cantata. Arias include Su, ridì gl’alteri van[t]i de la gran gente Savella and Quanto il sol dal’ alto scopre. Because the ornamental first letter has disintegrated (also with loss of text and music on 193v), WECIS 5/1 and New Grove 2 give the incipit as Le magnanimi eroi; SARTORI 1975, p. 58 as Da magnanimi eroi; DIXON 1986 as Che magnanimi eroi. 21 (ff. 221-236v) [CARISSIMI]. Mesto in sen d’un antro ombroso, E minor, cantata. Other arias include Del sol lucido e sovrano; Volate sospiri, narrate al mio bene; and Nel mio cor s’è fatto stabile. Attributed to Carissimi in I-GR Crypt. It. 4 (ms. dated 1664); I-Bc Q.47, ff. 242-247; GB-Lbl Harley 1271, ff. 16-30v; and GB-Och 51, pp. 59-68. Also anonymous in the Roman Carissimi anthology I-Bc X.234 (facsim. in CARISSIMI 1983) and B-Bc 566 (olim F.A.VI.23), ff. 57-75. A modern edn of the first aria only is TORCHI 1894, pp. 14-17. 22 (ff. 241-252, 256-258v, 253-255) [CARISSIMI]. Peregrin d’ignote sponde, se tu giungi a’ nostri lidi, SS/B, G major, 3 str. in variation. The final refrain is lacking. Attributed to Carissimi in I-Bc Q.50, ff. 59-64v (available online) and to Luigi [Rossi] in I-Fc f-I-25 (olim 2357), ff. 25v-29. CALUORI n. 428 gives the musical incipit. A modern edn is CARISSIMI 1980, pp. 59-72. Recorded on Carissimi, Duos & cantates, Concerto Vocale, Harmonia Mundi 190262 (1990). 23 (ff. 259-268v) [CARISSIMI]. Ahi non torna et io mi moro, SS/B, F minor, cantata. Other arias include Sì, sì lieta il cor serena (S) and the duet O sempre quel dì felice per me. BAV Barb. lat. 4168, n. 33 attributes it to “J.C.”; also attributed to Carissimi in I-Bc Q.47, ff. 179-183; I-Nc 33.4.13a, ff. 1526; and F-Pn Rés. F.935, pp. 11-20. Anonymous copies are I-Nc 33.3.1, ff. 73-76 and Nc 33.5.10, ff. 46-51. A facsim. edn of Barb. lat. 4136, n. 23 is CARISSIMI 1986, n. 9. Modern edns are LANDSHOFF 1927, pp. 22-28 and CARISSIMI 1960, 1: 12-19. WHENHAM 1982, p. 242 has shown that this text has three strophes, which are not set to strophic music. 24 (ff. 269-296v) [CARISSIMI]. Sciolto havean da l’ alte sponde, SSBar/B, C minor, cantata. Sections have been misbound; their correct order is Sciolto havean (ff. 269-73v, SSBar/B, 2 strophes); Amor non più (ff. 274-282, SS/B);

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Udite amanti, chiudete il varco (ff. 282v-85v, Bar/B); Fosco vel copra le stelle (ff. 286-287, SS/B); Senza speme di mercede (ff. 287v, 289, recit. for S1/B); Chi d’amor soffre i martiri (ff. 289v-91v, SS/B); Tacquer gl’amanti appena (ff. 292r-v, 288, Bar/B); and Amanti che dite (ff. 288v, 293-96v, SSBar/B). WECIS 5/1 and SARTORI 1975, pp. 68-69 give twelve additional concordances for the complete cantata. Of the ten with attributions to Carissimi, also reliable is I-Bc Q.44, ff. 77-84v, which is the earliest of three copies with the title (I) Naviganti. Anonymous in GB-Och 377 (dated 21 March 1653), ff. 57-68v, and Och 996 (dated 1672), ff. 7v-17v; the Roman anthology I-Bc X.234, ff. 178-204v (in CARISSIMI 1983); I-GR Crypt. It. 1, [n. 31], a source dated 1656; and I-Nc 33.3.1 (Cantate 58), ff. 144v-150. The text by Domenico Benigni is in BENIGNI 1667, pt. 3, pp. 73-76, with the title La tempesta. A modern edn is CARISSIMI 1960, pp. 20-53. The entire cantata, issued with Italian text and an English translation, is directed by Marco Longhini on Stradivarius CD STR 33344 (1995); and directed by Jean Tubéry on Cypres CYP1644 (2006). The closing trio of the cantata, Amanti che dite?, was sung at the English court for Charles II and also circulated as a separate composition. WECIS 5/1 and SARTORI 1975, p. 69, together list seventeen northern sources for the trio and four eighteenth-century Ballard prints. The cantata served as the basis for an imitation Mass (SSATB/B) attributed to Carissimi. Variant copies are in GB-Lbl (two Additional mss.), Lcm and Ob; I-Ps, Rsg, and Vqs: see Wolfgang Witzenmann, Una messa non di Carissimi, un’altra sì, in Studi Musicali 11 (1982), pp. 61-89, esp. 82-89. The Mass has been recorded by Longhini (with plainchant for Sundays infra annum) and Tubéry on the Stradivarius and Cypres CDs cited above. Bound in brown leather over which has been set a black leather spine and front and back covers, ornately tooled in gold, possibly the result of a restoration (80 × 178 mm, width from center of spine to right edge of cover). On the spine is a pink BAV sticker. Both covers have three panels, with the center panel bearing the arms of Cardinal Fabrizio Savelli (d. 1659). Metal clasps at the top and bottom are lacking. The design is similar to the binding of I-Fc CF.48 (= B.XV.3808), which also contains a number of Carissimi cantatas. Inside the front cover is glued a cutting from the original pastedown with the old shelfmark XLVII.7 written in black ink in a modern hand. The watermarks are associated with Rome: praying cleric/ saint in shield (in nn. 1, 3, 5-6, 15-16, 19-24) and IHS in a shield (similar to Witzenmann type C, in nn. 4, 9, and 11). None were visible in the remaining items. Each composition is an independent fascicle, but some fascicles

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have been joined by a strip of paper over the seam (e.g., f. 52 is joined to f. 53). The original uniform foliation in ink omitted folio numbers 129-138 and therefore extends to f. 296. Eighteen folios (ff. 67-73, 99-102, 214-220) which had music written on them have been cut out and only stubs remain. Both flyleaves are modern and blank; blank staves only are on ff. 20, 66, 74, 90, 128, 178 and 237-240. Hand A copied nn. 1, 3-8, 14-16, 18-19 and 22-24; Hand B copied n. 2; Hand C, nn. 9-13 and 17; Hand D, n. 20 (a print hand), and Hand E, n. 21. WECIS 5 gives facsimiles of Hands B and C. The nine facsimiles that appear in CARISSIMI 1986 reproduce Hands A (nn. 3-4, 15-16, 19, and 23) and C (nn. 9-10, and 13). Items 2, 7, 8, 10-11, 14-16, and 20 are lacking initial letters. Despite its small size, the writing by all copyists is clear, with the charm of a miniature object. The redundant calligraphic initials for nn. 1 and 19 are delicate and especially fine. The number of copyists refutes Gloria Rose’s claim that Barb. lat. 4136 is a Carissimi autograph, the basis upon which she attributed all but two of these works to Carissimi in WECIS 5/1. Andrew JONES likewise denies that 4136 is autograph (The Motets of Carissimi, Ann Arbor, 1982, vol. 1, note 12, p. 43). Rose’s attributions were accepted by SARTORI 1975. See also CELANI 1905 and ROSE 1962. A mid seventeenth-century anthology of cantatas by Carissimi, I-Bc X.234 (facsim. edn is CARISSIMI 1983), has concordances with Barb. lat. 4136, nn. 5-6, 11, 17-18, 21, and 24. It is in the hand of Roman copyist Bernardino Terenzi. Because the Bologna title-page attributing the contents to Carissimi is not in the copyist’s hand, its copies have been described above as anonymous. RICCIARDELLI, pp. 25-26, gives three items as by Luigi Rossi without mentioning the conflicting attributions or different poems: n. 4 on the basis of I-Nc 33.4.12a; nn. 18 (following Landshoff) and 22 (following I-Fc). OPAC-SBN dates the volume 1641-1644 without explanation and incorrectly identifies the stemma on the binding as Barberini. Possible references to several Savelli of Palombara in the altered state of Era degli imenei (n. 19) are possibly to Don Federico (d. 1649), the first Prince of Albano and a military officer (“Vi ramenta … dell’eroe Federigo il valore”), and to Don Giulio Savelli, Federico’s great nephew and the third Prince of Albano. In 1663 Don Giulio married his second wife, Caterina Giustiniani, sister-in-law of Maffeo Barberini. “S’adorasi un dì nel trono … di Piero inalzato Savello pupurato” refers either to Don Giulio’s uncle Cardinal Fabrizio (elev. 1647, d. 1659) or to Cardinal Paolo (elev. 1664, d. 1685), brother of Don Giulio. Readings of the incipit for n. 19 have varied: Era di grandi imenei (CELANI 1905, p. 117), Era degli sovenei (WECIS 5/1),

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Era degli imenei d’Anna e d’Annello (SARTORI 1975, p. 61), Era degli imenei d’Anna e Savello (CARISSIMI 1986, p. 171).

Barb. lat. 4137 1681-1685 ca., 77 × 222 mm, I.90.I ff., 4 staves, one hand

Anthology of forty-five anonymous arias scored for S/B, written for six Venetian operas, five produced in carnival 1681 and one in carnival 1682. Nineteen are from POMPEO MAGNO IN CILICIA, libretto by Aurelio Aureli, music by Giovanni Domenico Freschi. Eleven are from LA FLORA, libretto by Novello Bonis, music by Antonio Sartorio and Marc’Antonio Ziani; and ten from DIONISIO OVERO LA VIRTÙ TRIONFANTE DEL VIZIO, libretto by Matteo Noris, music by Petronio Franceschino (act I) and Giovanni Domenico Partenio (sinfonia and acts II-III). Two are for IRENE E COSTANTINO, libretto by Andrea Rossini, music by Antonio Zanetti (Gianettini), and one each for IL CRESO, libretto by Giulio Cesare Corradi, music by Giovanni Legrenzi, and ANTIOCO IL GRANDE (1682), libretto by Girolamo Frisari, music by Legrenzi. Only n. 45 remains unidentified. Twelve arias (nn. 22, 25-26, 35-42 and 44) from four operas (FLORA, POMPEO MAGNO, DIONISIO and ANTIOCO IL GRANDE) are headed with the name of the Venetian theater in which they were performed. (S. G.P. is incorrectly given for n. 43 from IL CRESO, which was produced in S. G.G.) Five of these operas (all except CRESO) were the sources for the seventy arias in Barb. lat. 4130; see comments below. 1 (ff. 1-2) [DOMENICO FRESCHI]. Dolci aurette amorosette, B! major. For Alimene in III:8 of POMPEO MAGNO IN CILICIA (Venice 1681). The da capo is indicated. In the score to the opera I-Vnm It.Cl., 448 [= 9972], f. 50r-v. Also in I-Vqs 1432, ff. 182-183. ZANF 7:53. Barb. lat. 4137 2 (ff. 3-4) [ANTONIO SARTORIO or MARC’ANTONIO ZIANI]. Sì, sì, ch’io vo’ goder, D major. For Pompeo in III:23 of LA FLORA (Venice 1681). The da capo is written out without change. Preceded by a TrTrAAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], ff. 58v-59. Also in the aria collection I-Bca A.462, ff. 80-81. 3 (ff. 5-6) [SARTORIO or ZIANI]. Cessa omai, nume volante, A minor. For Geminio in I:3 of FLORA. The da capo is indicated. Preceded by a TrTrAAB ritornello in the score to the opera I-Vnm It.IV, 423 [= 9946], f. 5. 4 (ff. 7-8v) [FRESCHI]. È una gran pena Amor [recte amar], F major. For

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Gemmira in III:7 of POMPEO MAGNO IN CILICIA. The da capo is written out without change. With TrTrAB instruments in the score to the opera, I-Vnm It.Cl.IV, 448 [= 9972], ff. 49-50. ZANF 7:52. 5 (f. 9r-v) [PETRONIO FRANCESCHINI]. Nasce misero chi nasce re, C major. For Atalo in I:15 of DIONISIO (Venice 1681). The da capo is indicated. Also in the score to the opera, I-Vc Fondo Correr Busta 9.5, f. 32. 6 (ff. 11-12) [SARTORIO or ZIANI]. Più non ho s[c]intilla in petto, D major. For Emilia in III:4 of FLORA. The da capo is indicated. Preceded by a TrTrAAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], f. 44, where, however, it ends act II. Also in I-Bca A.462, f. 88. 7 (ff. 13-14v) [FRESCHI]. Meco scherza il dio d’amor, F major. For Alimene in III:9 of POMPEO MAGNO IN CILICIA. The da capo is written out without change. Preceded by a TrTrAB ritornello in the score to the opera, I-Vnm It.Cl.IV, 448 [= 9972], ff. 51v-52v. Also in I-Bca A.462, ff. 143-144v. ZANF 7:55. 8 (ff. 15-16v) [FRESCHI]. Speranze gradite volate, volatemi in sen, A minor. For Alimene in II:15 of POMPEO MAGNO IN CILICIA. The da capo is written out and expanded. Preceded and followed by TrTrAB ritornellos in the score to the opera, I-Vnm It.Cl.IV, 448 [= 9972], ff. 37v-38v. Also anon. in I-MOe Mus. G.308, ff. 14v-15v. ZANF 7:39. 9 (ff. 17-18v) [FRESCHI]. Pupille amorose, m’è forza lasciarvi, C minor. For Sicandro in III:6 of POMPEO MAGNO IN CILICIA. The da capo is written out and expanded. Preceded and followed by TrTrAB ritornellos in I-Vnm It.Cl.IV, 448 [= 9972], ff. 48-49. Also in I-Bc A.462, ff. 145-146. ZANF 7:51. 10 (ff. 19-20) [SARTORIO or ZIANI]. Bella, non più rigor, B minor. For Pompeo in I:12 of FLORA. Followed by a TrTrB ritornello in the score to the opera I-Vnm It.IV, 423 [= 9946], ff. 14v-15. 11 (f. 21r-v) [FRANCESCHINI]. Del rigor d’un empio fato, C major. For Atalo in I:7 of DIONISIO. The da capo is indicated. For T/B in the score to the opera I-Vc Correr Busta 9.5, f. 20. Also in I-Vqs 1432, ff. 142-143. 12 (ff. 23-24v) [SARTORIO or ZIANI]. Cercherò di non amar, A major. For Geminio in II:15 of FLORA. The da capo is written out. Preceded by a ritornello for TrTrAAB instruments in the score to the opera, I-Vnm It.Cl.IV, 423 [= 9946], ff. 38-39. Also in the aria collection I-Bca A.462, ff. 82-83. 13 (ff. 25-26v) [FRANCESCHINI]. Su l’ali di Cupido mio cor volando va, F major. For Doride in I:5 of DIONISIO. The da capo is indicated. In the score

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to the opera I-Vc Correr Busta 9.5, ff. 16v-17. Also in I-Bca A.462, ff. 61-62, and I-Vqs 1432, ff. 102-103v. 14 (ff. 27-28v) [FRESCHI]. Pur ch’io baci quel volto sereno, A major. For Alimene in II:13 of POMPEO MAGNO IN CILICIA. Preceded and followed by TrTrAB ritornellos in the score to the opera, I-Vnm It.IV, 448 [= 9972], ff. 36v-37. Also in the aria collections I-MOe Mus. G.308, n. 12, ff. 18v-20, and I-Vqs 1432, ff. 180-181. ZANF 7:37. 15 (ff. 29-30) [FRANCESCHINI]. Quando voglio io so ferir, D minor. For Fausta in I:2 of DIONISIO (Venice 1681). The da capo is rewritten. Also in I-Bca A.462, ff. 73-74. The score to another version of DIONISIO has a different setting of this text, I-Vc Correr Busta 9.5 ff. 10v-11 (A/B, B! major). A completely different text and aria is Quando voglio con un vezzo io piagar chi mi rimira, I-MOe Mus. G.308, f. 2r-v (S/B, G minor).

16 (ff. 31-32v) [FRESCHI]. S’io cedessi il mio tesoro, G minor. For Sicandro in II:11 of POMPEO MAGNO IN CILICIA. The da capo is indicated. Also in the score to the opera I-Vnm It.IV, 448 [= 9972], ff. 33v-34. ZANF 5:34. 17 (ff. 33-34v) [FRESCHI]. Non lasciarmi, speranze gradite, B! major. For Gemmira in II:3 of POMPEO MAGNO IN CILICIA. The da capo is rewritten. Preceded and followed by TrTrAB ritornellos in the score to the opera IVnm It.Cl.IV, 448 [= 9972], ff. 27v-28v. Also in I-Bca A.462, ff. 128-29v (inc.), and I-Vqs 1432, ff. 184-85v. ZANF 7:26 notes that this aria also appears in III:10 of Freschi’s SARDANAPALO (Venice 1679). 18 (ff. 35-36) [FRANCESCHINI]. Hai vinto, cor mio, hai vinto, sì, sì, G major. For Fausta in I:13 of DIONISIO (Venice 1681). The requisite da capo is not specified. Also in I-Vqs 1432, ff. 35-37. 19 (ff. 37-38v) [GIOVANNI DOMENICO PARTENIO]. Dui luci vezzosette son gl’idoli d’Amor, D minor. For Fausta in II:17 of DIONISIO (Venice 1681). The da capo is indicated. In the score to another version of the opera, I-Vc Correr Busta 9.5, ff. 66-67, Fausta instead sings Son due luci fiammegianti. In II:17 of the libretto for Venice 1682, she sings Il sereno d’un volto ridente.

20 (ff. 39-40v) [FRESCHI]. Cieco Amore e cieco Sdegno, A minor. For Alimene in I:3 of POMPEO MAGNO IN CILICIA. The da capo is expanded. In the score to the opera I-Vnm It.Cl.IV, 448 [= 9972], f. 5r-v, the aria is followed by a TrTrAB ritornello. ZANF 7:5. 21 (ff. 41-42v) [FRESCHI]. Lascia Amor, vola tra l’armi, C major. For

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Gemmira in I:2 of POMPEO MAGNO IN CILICIA. The first four bars only of the da capo are written out. Followed by a TrTrAB ritornello in the score to the opera I-Vnm It.Cl.IV, 448 [= 9972], f. 4r-v. Also in BAV Chigi Q.IV.12, n. 9, ff. 51-52v, and I-Vqs 1432, ff. 178-179. ZANF 7:4. 22 (ff. 43-44v) [SARTORIO or ZIANI]. S. A. Insegna, dolci baci, a questa bocca amor, A minor. For Flora in I:14 of the score to FLORA, I-Vnm It.Cl. IV, 423 [= 9946], ff. 15v-16, where it is preceded by a TrTrAAB ritornello. Insegna dolci baci does not appear in the printed libretto; it was likely an alternative or replacement for Insino che mi piace un solo voglio amar, printed in I:13 of the FLORA libretto. Insino che mi piace is Barb. lat. 4130, n. 16 (anon.), and I-Bca A.462, ff. 86-87. Cf. V. VAVOULIS, Antonio Sartorio (c. 1630-1680): Documents and Sources of a Career in Seventeenth-Century Venetian Opera, in Royal Musical Association Research Chronicle, no. 37 (2004), pp. 57-58.

23 (ff. 45-46) [FRESCHI]. Di’ quanto sai, fa’ quanto puoi, non t’amerò, D minor. For Gemmira in II:12 of POMPEO MAGNO IN CILICIA. Preceded and followed by TrTrAB ritornellos in the score to the opera I-Vnm It.Cl.IV, 448 [= 9972], ff. 34v-36. This Barberini copy ends with only the first seven bars of the 25-bar closing ritornello (cf. n. 38 below). Also in I-Bca A.462, ff. 136-137, and I-Vqs 1432, ff. 186-187. The libretto reads “vuoi” instead of “puoi.” ZANF 7:36. 24 (ff. 47-48v) [ANTONIO GIANETTINI]. Vi bacerò begl’occhi, D minor. For Elisa in II:14 of IRENE E COSTANTINO (Venice 1681). The required da capo is not specified. Also in I-MOe Mus. G.303, ff. 11-12v. Followed by a TrTrAB ritornello in the score to the complete opera, I-Vnm It.Cl.IV, 430 [= 9954], f. 57r-v. 25 (ff. 49-50) [SARTORIO or ZIANI]. S. A. Se col mostrar mia fé, F major. For Flora in III:20 of FLORA. The form is ABBB. Preceded by a TrTrAAB ritornello in the score to the opera I-Vnm It.Cl.IV, 423 [= 9946], f. 55. 26 (ff. 51-52v) [SARTORIO or ZIANI]. S. A. Di goder non ho speranza, G minor. For Flora in I:7 of FLORA. The da capo is altered. Also in the score to the opera I-Vnm It.Cl.IV, 423 [= 9946], f. 8. 27 (ff. 53-54v) [FRESCHI]. Rendimi la mia pace, che m’involasti Amor, F major. For Gemmira in I:7 of POMPEO MAGNO IN CILICIA. The da capo is written out. Preceded and followed by TrTrAB ritornellos in the score to the opera I-Vnm It. IV, 448 [= 9972], ff. 9-10. Also in I-Bca A.462, ff. 132133v. ZANF 7:9. A similar text, Rendimi la mia pace, che mi rubasti Amor, is sung by Claudio in II:7 of Alessandro Scarlatti’s POMPEO (Rome 1683). See the Pompeo score,

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B-Br II. 3962, ff. 124v-26, reproduced in facsim. in J.H. ROBERTS, ed., Handel Sources. Materials for the Study of Handel’s Borrowing (New York 1986), vol. 6.

28 (ff. 55-56v) [FRESCHI]. Chrude [Crude] stelle, havete vinto, A minor. For Alimene in I:12 of POMPEO MAGNO IN CILICIA. The da capo is rewritten. In the score to the opera I-Vnm It.IV, 448 [= 9972], f. 19r-v. Also in I-MOe Mus. G.308, n. 14, ff. 23-24v. ZANF 7:17 locates the aria in I:13 of the Marciana score. 29 (ff. 57-58) [FRESCHI]. Amor, fa’ quanto sai, non m’innamorerò, C major. For Pompeo in II:5 of POMPEO MAGNO IN CILICIA. The da capo is rewritten. Followed by a TrTrAB ritornello in the score to the opera I-Vnm It. IV, 448 [= 9972], f. 29r-v. ZANF 7:28 gives the key as G major. 30 (ff. 59-60v) [FRESCHI]. L’etra fendete, belliche trombe, G major and G minor. For Alimene in III:17 of POMPEO MAGNO IN CILICIA. With tromba and TrTrAB strings in the score to the opera I-Vnm It.IV, 448 [= 9972], ff. 57v-60. The libretto reads Belliche trombe, l’etra fendete. ZANF 7:61 gives the key as D major. 31 (ff. 61-62v) [SARTORIO or ZIANI]. È un mostro la beltà, F major. For Pompeo in II:11 of FLORA. The da capo is indicated. Also in I-Bca A.462, ff. 89-90. In the score to the complete opera, I-Vnm It.IV, 423 [= 9946], ff. 35v-36, Pompeo sings no aria in this scene.

32 (f. 63r-v) [FRESCHI]. Chi porta al core lo stral d’Amore, B! major. For Gemmira in II:19 of POMPEO MAGNO IN CILICIA. Preceded by a TrTrAB ritornello in the score to the opera I-Vnm It.IV, 448 [= 9972], ff. 42v-43. Also in I-Bca A.462, ff. 130-131, and I-Vqs 1432, ff. 194-195. ZANF 7:44 notes that I-Vnm and I-Bca provide a second strophe. 33 (ff. 65-66) [GIANETTINI]. Bellezza semplice non allettò, A minor. For Costantino in II:13 of IRENE E COSTANTINO. The da capo is indicated. Followed by a TrTrAB ritornello in I-Vnm It.IV, 430 [= 9954], f. 55r-v. 34 (ff. 67-68) [FRANCESCHINI]. Sempre un volto io vo’ adorar, A major. For Dionisio in I:9 of DIONISIO. The required da capo is not specified. In the score to the opera I-Vc Correr Busta 9.5, f. 23. Also in I-Vqs 1432, ff. 126127. 35 (ff. 69-70) [GIOVANNI LEGRENZI]. S. G.G. Questa, sì, ch’è bizzaria, F major. For Antioco in II:7 of ANTIOCO IL GRANDE (Venice 1681). Also in I-Vqs 1432, ff. 19-20. EMANS, p. 474, n. 631; PASSADORE-ROSSI, pp. 27-28, n. 30.

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36 (ff. 71-72v) [SARTORIO or ZIANI]. S. A. Mie bellezze, voi sete pur vaghe, D minor. For Flora in III:14 of FLORA. The da capo is expanded. Followed by a TrTrAAB ritornello in the score to the opera I-Vnm It. IV, 423 [= 9946], f. 51. 37 (ff. 73-74v) [PARTENIO]. S. G.P. Sì, sì, mi baccierai, B! major. For Fausta in III:5 of DIONISIO. The da capo is written out. Also in Barb. lat. 4130, n. 68, and I-Vqs 1432, ff. 116-117. A different setting of this text is in the score to the opera, I-Vc Correr Busta 9.5, f. 74.

38 (ff. 75-76) [FRESCHI]. S. A. Di’ quanto sai, fa’ quanto puoi, non t’amerò, D minor. For Gemmira in II:12 of POMPEO MAGNO IN CILICIA. Same aria as n. 23 above. 39 (ff. 77-78) [PARTENIO]. S. G.P. Addio, chrudele, addio, partirò, sì, partirò, B minor. For Fausta in III:10 of DIONISIO (III:12 in 1682). The da capo is expanded. Also in Barb. lat. 4130, n. 69. In the score to the opera I-Vc Correr Busta 9.5, Fausta does not sing an aria in this scene.

40 (ff. 79-80v) [FRESCHI]. S. A. Dolce fiamma del cor mio, A major. For Sicandro in III:12 of POMPEO MAGNO IN CILICIA. The da capo is expanded. Preceded and followed by TrTrAB ritornellos in the score to the opera IVnm It.Cl.IV, 448 [= 9972], ff. 55v-56. Also in I-Bca A.462, ff. 138-139, and I-Vqs 1432, ff. 190-191. ZANF 7:59. CELANI and BARONCI list “O dolce fiamma.” 41 (ff. 81-82) [SARTORIO or ZIANI]. S. A. Fede non mi prestar, ti dirò d’amar, A minor. For Pompeo in I:19 of FLORA. The da capo is expanded. Also in the score to the opera I-Vnm It.IV, 423 [= 9946], f. 21v. 42 (ff. 83-84v) [PARTENIO]. S. G.G. [recte: S. G.P.] Sei nel ciel della beltà, B! major. For Fausta in II:16 of DIONISIO. The da capo is expanded. Also in the score to the opera I-Vc Correr Busta 9.5, ff. 63v-64 (A/B, F major), and in Barb. lat. 4130, n. 65. 43 (ff. 85-86v) [LEGRENZI]. S. G.G. Cinto il crin di rose e fiori, B! major. For Creso in II:2 of IL CRESO (Venice 1681). The da capo is expanded. Also in GB-Ob Mus. d.255, f. 44 (anon., Tr/B), and I-Vqs 1432, ff. 63-64. EMANS, p. 419, n. 168; PASSADORE-ROSSI, p. 38, n. 12. 44 (ff. 87-88v) [FRESCHI]. S. A. Cangia le sue vicende, D minor. For Gemmira in III:13 of POMPEO MAGNO IN CILICIA. The da capo is expanded. Fol-

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lowed by a TrTrAB ritornello in the score to the opera I-Vnm It. IV, 448 [= 9972], ff. 56v-57v (III:10). ZANF 7:60. 45 (ff. 89-90v) Vieni, cara mia speme, se non brami che mora, C minor. The da capo is expanded. Musical incipit in URFM, Catalogo nazionale dei mss. musicali redatti fino al 1900 (online). Bound in embossed parchment (82 × 220 mm), with a design identical to that of Barb. lat. 4130. A modern hand wrote the previous shelf mark XLVII.8 inside the front cover in black ink. One watermark appears to be the tops of three hats (ff. 43 and 51), while another resembles a scepter (ff. 28 and 31); cf. HEAWOOD, nn. 2596-2600. The foliation in pencil is modern. Flyleaves are blank. Blank staves only are on ff. 10, 22 and 64. Hand 4130-A copied all of Barb. lat. 4137. He made many minute textual errors, which he often corrected when a phrase reappears, e.g, mi volasti becomes m’involasti on f. 33, and chude becomes chrude (i.e., crude) on f. 45. The initial letter of each aria text is ornamented, sometimes elaborately (e.g., the M on ff. 13 and 71). Together Barb. 4130 and 4137 comprise 110 arias from six works of 1681-1682. Hand A of both volumes copied 105 arias from six works of 1681-82: thirty from Legrenzi’s ANTIOCO IL GRANDE (the bulk of Barb. lat. 4130), twenty-five from Sartorio/Ziani’s LA FLORA, twenty-four from Franceschino/Partenio’s DIONISIO, twenty from Freschi’s POMPEO MAGNO IN CILICIA (the bulk of 4137), five from Zanetti’s IRENE E COSTANTINO and one from Legrenzi’s CRESO. (The second copyist in Barb. lat. 4130 copied ten arias, of which three duplicate arias in 4137 (nn. 37, 39 and 42 above). For the arias in both volumes, see LINDGREN-Ven, passim. Librettos and musical sources for five of the six operas represented in Barb. lat. 4137 are summarized in the commentary for Barb. lat. 4130. The libretti for them and the sixth, IL CRESO, all printed by Francesco Nicolini in Venice for the winter season of 1681-1682 (GROPPO, p. 55), include a dedication signed by the librettist and an address to the reader that lauds the composer (SARTORI, n. 6891). All six are available via the CORAGO portal. No complete scores are known for CRESO or ANTIOCO IL GRANDE, the two operas by Legrenzi that were produced at the Teatro S. Giovanni Grisostomo for carnivals of 1681-1682. With Gianettini’s IRENE E COSTANTINO, they constitute only four of the forty-five arias in Barb. lat. 4137. (SARTORI 1980, pp. 552-554, placed some of the Barb. lat. 4137 arias in FLORA, POMPEO MAGNO, and CRESO, but missed nn. 4, 8, 16, 20, 28-30, 36, 38 and 44, and incorrectly identified n. 35.)

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Arias from POMPEO MAGNO and FLORA, both performed at the Teatro Sant’Angelo, constitute two-thirds of Barb. lat. 4137. Complete scores and aria collections for them are described in the entry for Barb. lat. 4130. The ms. I-Bca A.462 has concordances for eight arias from POMPEO MAGNO (Barb. lat. 4137, nn. 7, 9, 17, 23, 27, 32, 38 and 40) and four from FLORA (Barb. lat. 4137, nn. 2, 6, 12 and 31). The collection I-Vqs 1432 (Cl.VIII Cod.VI) has concordances for seven arias from POMPEO MAGNO (Barb. lat. 4137, nn. 1, 14, 17, 21, 23, 32 and 38 [ROSSI-QS, p. 29]); and I-MOe Mus. G.308 has concordances for three from POMPEO MAGNO (Barb. lat. 4137, nn. 8, 14 and 28). Ten arias from DIONISIO, produced at the Teatro SS. Giovanni e Paolo, are in Barb. lat. 4137. The anonymous score in I-Vc Correr Busta 9.5 (see the commentary to Barb. lat. 4130) includes only five of the ten arias in Barb. lat. 4137 (nn. 5, 11, 13, 34 and 42). The collection I-Vqs 1432 (Cl. VIII Cod.VI) likewise includes five (Barb. lat. 4137, nn. 11, 13, 18, 34 and 37 [ROSSI-F, pp. 26-27]); and I-Bca A.462 includes two (Barb. lat. 4137, nn. 13 and 15). Another manuscript that contains only arias from operas produced in Venice in 1681 is the anthology I-Vqs 1432 (Cl.VIII Cod.VI). Its 92 arias are catalogued in ROSSI-QS, pp. 24-29. I-Vqs 1432 includes arias from five operas. Its fourteen concordances with Barb. 4137 include seven arias from POMPEO MAGNO IN CILICIA, four from DIONISIO, two from ANTIOCO IL GRANDE and one from CRESO. The soprano castrato Francesco de Grandis apparently sang three Venetian roles during the carnivals of 1681-82: Dionisio in DIONISIO, Seleuco in ANTIOCO, and an unidentified role (perhaps Arideno) in CRESO (VITALI, pp. 571-572 and 587); however, the only aria in Barb. lat. 4137 that he certainly sang is n. 34 for Dionisio. Barb. lat. 4137-4138

Barb. lat. 4138 1693-1697 ca., 76 × 213 mm, II.31.I., 4 staves, 3 hands

Miscellany of eight arias. Two are from the Ferrara 1693 revival of LISIMACO (originally Rome 1681; libretto by Giacomo Sinibaldo; music entirely

or in part by Bernardo Pasquini). Cardinal Francesco Barberini, jr was one of the dedicatees of this production, as noted in the commentary for Barb. lat. 4131. Four come from the Modena 1697 revival of IL GIUSTINO (originally Venice 1683; libretto by Nicolò Beregan, music by Giovanni Legrenzi), produced when the Barberini cousin Rinaldo d’Este ruled as

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Duke. Two remain unidentified (nn. 3 and 7). No composer was named by any music copyist, but a later hand attributed the final three arias to “Ziani,” that is, Marc’Antonio Ziani (d. 1715). Three are scored for A/B; four for S/B; and n. 8 for S/TrB. 1 (ff. 1-4) Il vedermi tradito così, A/B, C major. For Anastasio in III:10 of GIUSTINO (Modena 1697). PASSADORE-ROSSI, p. CXV, report that the aria appears in no earlier version of the opera.

IL

2 (ff. 5-6v) Fida scorta al passo mio, A/B, F major. For Eufemia in II:11 of GIUSTINO (Bologna 1692, Modena 1697). PASSADORE-ROSSI, p. CXIII, report that the aria appears in no other printed libretti of the opera. 3 (f. 7r-v) S’ho le cattene al piè, non l’ho nel core, S/B, A major. Different from Legrenzi’s aria S’ho il piè tra catene (D minor) for Deifile in II:2 of ETEOCLE E POLINICE (Venice 1675; Naples 1680); cf. PASSADORE-ROSSI, p. XCXVII and 8:40. This aria is not in the libretto of Eteocle e Polinice for Modena 1690.

4 (ff. 9-10v) Io m’avvedo ch’il nume d’amore, S/B, A minor. For Giustino in I:17 of GIUSTINO (Modena 1697). PASSADORE-ROSSI, p. cx, report that the aria appears in no earlier version of the opera. The singer Antonio Cottini portrayed Giustino in Modena and signed the dedication (SARTORI 12368; PASSADORE-ROSSI, pp. 745-746). Barb. lat. 4138 5 (ff. 11-12) Corro alla morte, o cara, mercé, A/B, C major. For Andronico in II:12 of GIUSTINO (Modena 1697). PASSADORE-ROSSI, p. CXIII, report that the aria appears in no earlier version of the opera. 6 (ff. 13-16v) [MARC’ANTONIO] ZIANI. Piangi su la tua palma, povero vincitor, S/B, B! major. For Filea in II:15 of LISIMACO (Ferrara 1693). 7 (ff. 17-20) [M.A.] ZIANI. Guerra e non più pace, giusto sdegno, S/B, D major. Not the aria Guerra guerra e non più pace, va pur rea lunge da me for Alessandro in I:3 of ALESSANDRO IN SUSA (Venice 1708), music by Luigi Mancia.

8 (ff. 21-32) [M.A.] ZIANI. Alma godi ch’ho sciolto i nodi, S/TrB, F major. For Filea in I:7 of LISIMACO (Ferrara 1693), Also in Barb. lat. 4131, n. 29, where Vittoria Farinelli is identified as the singer of this aria. Bound in parchment (84 × 213 mm). A modern hand wrote the number 9 in black ink on the spine and added the previous shelfmark XLII.9 in black ink inside the front cover (a “V” was later added in pencil, altering it to XLVII.9). The second flyleaf at the beginning and the flyleaf at the end are blank. Blank staves only are on f. 8. The paper for nn. 1-5 has the same watermark: an anchor inside and a star above a circle (ff. 2, 10 and

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12), similar to HEAWOOD nn. 5-6 and 8 and WOODWARD nn. 158-180. The thicker paper for nn. 6-8 has a fleur-de-lis within a single circle (ff. 19-20 and 30), as in HEAWOOD n. 1569, and the letter N above two concentric circles (f. 27). Hand A copied nn. 1-2; Hand B wrote nn. 3-5, and Hand C copied nn. 6-8. A fourth hand added foliation as well as an alphabetical index of the arias on the opening flyleaf. In this index, no. 6 was attributed to “Ziani” and nn. 7-8 were labelled “Incerto.” Either the fourth or a later hand added “anzi Ziani” after “Incerto,” and also added “Ziani” before nos. 6-8 in the ms. Given the clear distribution of paper and hands, it is possible that n. 7 was heard in the 1693 Ferrara production of Lisimaco and that n. 3 also comes from the 1697 Modena production of Giustino, although neither appears in the respective libretti. All eleven printed librettos for GIUSTINO are catalogued in detail in PASSADORE-ROSSI, pp. 735-747. The music for the Ferrara Lisimaco, though generally credited to Bernardo Pasquini on the basis of the earlier Rome production, was a pasticcio. (On the Roman performance, see MORELLI-A-Pasq, pp. 161-175, with musical exx.). Marc’Antonio Ziani also set TULLO OSTILIO for the Teatro Pinamonte Bonacossa in Ferrara in 1693. Rinaldo d’Este, a first cousin of Francesco, jr and Urbano Barberini and formerly a cardinal, became Duke of Modena in 1695 on the death of his half-brother, Francesco II d’Este. In that year, Rinaldo’s mother Lucrezia, their aunt (d. 1699), paid a visit to her nephews Francesco and Taddeo in Ravenna (see ArchBarb Comp. 415, Registro de’ mandati … 1694 a … 1700, nn. 77, 98). A version of Giustino had been staged in Rome at the Teatro Tor di Nona in 1695; an exemplar of that libretto is BAV Stamp.Barb. JJJ. IV.4 (2). Barb. lat. 4138-4139

Barb. Lat. 4139 1681-1694 ca., 80 × 228 mm, I.142.I ff., 4 staves, 7 hands

Miscellany of twenty anonymous arias and four cantatas, two of which are attributed to Angelo Olivieri and dated 1681-1682. A third cantata is attributable to Alessandro Scarlatti on the basis of concordances. Three operas, dated 1683-1687 but restaged later in Rome, are each represented by one aria: L’ALDIMIRO O VERO FAVOR PER FAVORE, libretto by Giuseppe Domenico De Totis (original music by Alessandro Scarlatti for Naples, autumn 1683) revived Palazzo Rospigliosi, Rome, January 1688 (n. 22); LA

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ROSMENE O VERO L’INFEDELTÀ FEDELE, libretto by De Totis, music by Scarlatti (Naples 1688; Florence 1689; Teatro Capranica, Rome, January 1690); and IL FIGLIO DELLE SELVE, libretto by Carlo Sigismondo Capece, music by Cosimo Bani (Casa Capece, Rome, carnival January 1687 and 1694). One aria from TEODORA CLEMENTE (Piacenza 1689) is likely by Bernardo Sabadini, who revised a 1686 opera for Venice (n. 10). Four arias are from IL MAURITIO, libretto by Adriano Morselli, music by Domenico Gabrielli (Venice, carnival 1687; revived Modena 1689; Teatro di Tordinona, Rome, carnival 1692). Two are from AMOR SPESSO INGANNA, text by Aurelio Aureli, music by Bernardo Sabadini (Piacenza, carnival 1689; revived as L’ORFEO, Teatro della Pace, Rome, carnival 1694). Remaining anonymous are eleven arias, ten of which are in Barb. lat. 4142, which is Venetian in repertory. Each item is for S/B unless otherwise indicated. Online in DVL Barb. lat. 4139 1 (ff. 1, 3-4, 2, 5-6). Chi sapesse ov’è il mio bene, F major. The da capo is written out. Also anon. in the Venetian collection BAV Barb. lat. 4142, n. 5, and in GB-Lbl Harley 1273, f. 5. 2 (ff. 7-9) [BERNARDO SABADINI]. Gelosia, l’alma t’inganna, A /B, A major. For Euridice in II:14 of L’ORFEO (Rome 1694). Also anon. in the Roman collection BAV Barb. lat. 4162, n. 49. 3 (ff. 11-13v) [SABADINI]. Più d’uno quel crine ancora legherà, C major. For Autonoe in II:6 of ORFEO. Also anon. in Barb. lat. 4162, n. 34. 4 (ff. 15-17v) [DOMENICO GABRIELLI]. Ricordati ch’è mio quel petto morbidetto, B major. For Cosdroe in I:9 of IL MAURITIO (Venice 1687; Rome 1692). The da capo is written out. Also anon. in four Venetian copies: BAV Barb. lat. 4140, n. 16 (A/B, E major); F-Pn Vm7 5, ff. 105-107 (A/B, E major) and 174v-75v (S/B, G major); and I-MOe Mus. G.78, n. 12. Attributed to “Domenico Gabrielli” and followed by a TrTrATB ritornello in the score to the opera for Modena 1689, I-MOe Mus. F.417, ff. 38v-40 (A/B, E major). Gabrielli’s 1687 setting for Venice is retained in collections representing the Roman production of 1692: Barb. lat. 4152, n. 10 (S/B, C major); Barb. lat. 4168, n. 37 (A/B, D major); BAV Chigi Q.IV.48, ff. 11-14 (A/B, G major; str. 2: Sovvengati ch’è mio); D-MÜs 176, ff. 1-4v (S/B, D major); I-Rc 2465, ff. 43-46v (T/B, C major); and I-Rsc G.391, ff. 69-72v (S/B, C major). In I:9 of the Rome 1692 libretto, the aria begins Ricordati ad ogn’hora/ la fede/ che mi diede/. This text version has not been found in any musical source.

5 (ff. 18-21v) [COSIMO BANI]. Ah, che una morte è poco; str. 2: Astri del ciel tiranni F# minor. For Teramene and Ferindo, each on one strophe, in III:9 of IL FIGLIO DELLE SELVE (Rome 1687 and 1694). The printed libret-

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tos read Anzi una morte è poco. (Strophe 2 is not in the Ronciglione 1690 libretto.) This aria is in the two earliest scores to the opera: I-MOe Mus. F.52, vol. 3, ff. 169-170 (partly autograph score with emendations in various other hands; online access via I-MO-BEU); and GB-Cfm Mu.Ms 659 (olim 52.B.13), act III, f. 10. Both scores begin with the opera’s title, then continue with “Poesia del sig.r Carlo Capeci / Musica di Abb.te C. Bani.” (The Fitzwilliam score was first owned by Cardinal Pietro Ottoboni.) The aria is also attributed to “Bani” in BAV Chigi Q.IV.30, ff. 23-28v; F-Pn Rés. Vmf 24, pp. 161-172; and I-Rsc G.391, ff. 35-37v. Anonymous in Barb. lat. 4173, n. 6 (q.v.). The same text, composed by Angelo Domenico Legnani (Lignani) for Turin 1699, is extant in three scores: F-Pn D.11897 (“Ouvertura / Del Sig.re Alessandro Scarlatti” on f. 1); GB-Ob Mus. c.30 (“Steffani” is in pencil on f. 1 and is stamped on the modern binding); and in III:10 of GB-Ob Tenbury 1074 (“Elmira del S.r Legnani” is on f. A and is stamped on the modern spine). The incipit of this aria in the Tenbury ms. is Now with death I’m contented. The Tenbury score is probably a copy of GB-Ob Mus. c.30. Its aria texts are almost identical with those in the libretti for Turin 1699 and Wolfenbüttel 1700. See also comments to Barb. lat. 4173.

6 (ff. 23-26v). Il duol che sento in me non vuol lasciarmi piangere, B minor. Also anon. in Barb. lat. 4142, n. 8, among Venetian arias. 7 (ff. 27-30v) Parole dell’Ecc.mo S.r D. Fran.co Barberino. Musica di D. ANG.O OLIVIERI. 1682. Occhi belli e lucenti, venite, splendenti, B minor, cantata. Subsequent arias are Che sempre le pene; and E pure ricetto de’ dardi più fieri. “Rit.o” is written after arias 1 and 2, but no music is provided. “Parole … Barberino” is in lighter brown ink. Francesco jr was created cardinal on 13 November 1690. 8 (ff. 31-33v) Musica di D. ANGELO OLIVIERI. 1681. Sono amante sventurato che deluso dal mio bene, G minor. A later hand wrote the text of the second strophe, Quando poi son per gioire all’ or più vad’ al languire, above the vocal line of the opening aria. The second aria is Ma ch’ non vuol esser’ amante. The copyist did not know who wrote the text and crossed out “Parole del” in the left margin of f. 31. The elaborate initial S was made with red, blue and green inks. 9 (ff. 35-40) [GABRIELLI]. Sotto l’ombra de’ placidi mirti, G major. For Mauritio in I:1 of MAURITIO (Venice 1687, Rome 1692). In I-MOe Mus. G.78, ff. 80-81v, attributed to “Gabrielli” on the spine. Also anon. in three other sources of Venetian arias: Barb. lat. 4140, n. 19; Barb. lat. 4142, n. 15; and F-Pn Vm7 5, ff. 195-96v. Gabrielli’s 1687 setting for Venice was retained without attribution in four sources for the Rome 1692 production,

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Barb. lat. 4152, n. 12; Barb. lat. 4167, n. 6; D-MÜs 595, ff. 53-56v; and I-Rc 2465, ff. 71-74v. 10 (ff. 41-46v). [SABADINI]. Quel bello, quel vago, quel genio, qual nume, A major. For Clitarco in III:19 of TEODORA CLEMENTE (Piacenza 1689). Also anon. in Barb. lat. 4142, n. 17 (among Venetian arias), and Barb. lat. 4176, n. 7, which represents the production for Piacenza (q.v. for two further concordances). 11 (ff. 47-51). Astro vago sei pur bello, G major. Also anon. in the collection of Venetian arias Barb. lat. 4142, n. 48. 12 (ff. 53-58). Senza voi, luci adorate, non ha pace il mio dolor, D minor. Also anon. in the collection of Venetian arias Barb. lat. 4142, n. 3. A different aria with a similar text incipit, Senza voi, luci adorate, l’alma mia pace non ha is Barb. lat. 4130, n. 20.

13 (ff. 59-64v) È sì fiero destino a mie[i] danni, F major. Also anon. in the collection of Venetian arias Barb. lat. 4142, n. 9. 14 (ff. 65-70) Già che perso ho la speranza del goder, F major. Also anon. in the collection of Venetian arias Barb. lat. 4142, n. 1. 15 (ff. 71-75v) Fanno lega nel mio core Speme e Amore, G major. Also anon. in the Venetian collection Barb. lat. 4142, n. 10. 16 (ff. 77-80v) Belle mura, alberghi amanti, A major. Also anon. in the Venetian collection Barb. lat. 4142, n. 6. 17 (ff. 81-86v) [GABRIELLI]. Di te, o barbaro, non teme la mia costanza, A/B, D minor. For Cosdroe in III:3 of MAURITIO (Venice 1687). Also anon. in the collection of Venetian arias Barb. lat. 4142, n. 4, and I-MOe Mus. G.78, n. 14. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in I-MOe Mus. F.417, ff. 174v-176. See Barb. lat. 4142, n. 4 for a different musical setting of this text, conjecturally composed by Severo De Luca for the Roman production of MAURITIO in 1692.

18 (ff. 87-90v) [ALESSANDRO SCARLATTI]. Tutto foco l’acceso mio petto, A/B, D major. For Pelope in II:13 of ROSMENE (Florence 1689). In II:14 of the Rome 1690 libretto Pelope’s aria reads Tutto sdegno l’acceso. The score attributed to Alessandro Scarlatti D-BDk ms. 137 (St. Katharinenkirche) was not examined. A different setting of this text is in two scores of the complete opera: F-Pn Vm4 18 (anon.), and I-Fc D.1367 (wanting act III), attributed to “Aless.dro Scarlatti, Maestro della R[ea]l Capp[el]la di Napoli.” A third setting is attributed to

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“Aless.o Scarlatti” in two sources, the score to the opera D-MÜs 3933 and the aria collection GB-Lbl Add. 31506, ff. 34v-35v.

19 (ff. 91-93v) Voglio morir, sì, sì, s’ho da penar così, A/B, E major. 20 (ff. 95-99) [GABRIELLI]. Sparse dal pianto mio, piante crescete, F major. For Placilla in I:6 of MAURITIO (Venice 1687). Also anon. in the Venetian collections Barb. lat. 4142, n. 11; F-Pn Vm7 5, ff. 187-188; and I-MOe Mus. G.78, n. 4. Attributed to Domenico Gabrielli in the score for the 1689 production in Modena, I-MOe Mus. F.417, f. 28. Gabrielli’s 1687 setting for Venice was retained for the Roman production of 1692, represented by the anon. collections Barb. lat. 4152, n. 3, and I-Rc 2465, ff. 141-144. 21 (ff. 101-112) A consiglio, o miei pensieri, SS/B, E minor. Also in the anon. Venetian collection Barb. lat. 4142, n. 20. 22 (ff. 113-114v) [G.P. FRANCHI?/ A. SCARLATTI?]. Chi mi disprezza io voglio amar; str. 2: Si pur tiranno Amor con me (written under the bass staff), A major. The initial letter C bears a Barberini bee above a crowned head. For Dorisbe in II:17 of ALDIMIRO (Rome 1688). The printed libretto has no second strophe, but indicates a da capo return. Since the aria differs from the one attrib. to Scarlatti, Rospigliosi’s director of music Giovanni Pietro Franchi may have set this text; cf. FRANCHI 1688/2. The librettos for Naples 1683, Livorno 1686, Milan 1686, and Siena 1691 all have a different aria text and music (in C minor): Voglio amar chi mi disprezza; str. 2: Chi mi fugge io vo’ seguire. This setting is extant in GB-Lbl Harley 1265, ff. 171-72v, attributed to “Alless.o Scarlatti in Napoli”; and to Scarlatti in I-Rsc G.391, ff. 19-20v; anon. in I-Nc 33.4.5, ff. 85-86v (= Arie 228; Internet Culturale access). In the score to the opera US-BEm 141, f. 82v (EMERSON, p. 103).

23 (ff. 115-125) [A. SCARLATTI]. Era un giorno Fileno con la sua vaga insolitario (recit.), F major, followed by a two-strophe aria Voi bramate saper s’io v’adoro; str. 2: Siete bella ma siete crudele. A concordant setting attributed to “Aless. Scarlatti” is US-NHub Osborne Music MS 1, pp. 13-24, a volume previously owned by Andrea Adami da Bolsena. 24 (ff. 125v-140) [A. SCARLATTI?]. Abbandonar Fileno dovea dell’idol suo l’amate mura, F minor, cantata. The three arias are Vanne, misero, a morir (F minor); Restati in pace, mio dolce ristoro (C minor); and Se vedrai l’onde del mare (C minor). The attribution to Scarlatti is derived from D-MÜs 869, pp. 1-16, and Barb. lat. 4206, n. 31 (A/B, C minor), q.v. also for a conflicting attribution to Fr. Gasparini and a modern edition. HANLEY, n. 187. Bound in parchment (91 × 220 mm). The number 10 was written in black ink on the spine by a modern hand, which also wrote the previous

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shelfmark XLVII.10 in black ink inside the front cover. Edges speckled with pink and blue. Folios 87-94 (nn. 18-19) are thinner than the rest. On these thin leaves, the visible upper half of the watermark is a semicircle, within which are the letter A, an unidentified object, and what appear to be the letters SN (ff. 88 and 92). On other folios appear two concentric circles, but since only a small portion of each circle is visible, the object inside cannot be defined; it was most likely a fleur-de-lis, similar to HEAWOOD nn. 15911592. A few of the heavier leaves, ff. 120, 128, 133, 138 and 142 (nn. 23-24), have a single circle with a fleur-de-lis inside, similar to HEAWOOD n. 1569. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 10, 14, 22, 34, 52, 76, 94, 100 and 141-142. Hand 4139-A copied thirteen arias: nn. 1, 6, 9-17 and 20-21, that is, three of the four arias from MAURITIO and ten of the eleven that have not been placed in a dramatic work (nn. 1, 6, 10-16 and 21). The same hand copied the same thirteen arias for Barb. lat. 4142. In Barb. lat. 4139, penand-ink drawings embellish the initial letters of these thirteen arias and of three more (see below). Copyist A is like the copyist (B) of Barb. lat. 4229, n. 6. Hand 4139-B copied two arias of 1694 (nn. 2-3) and two undated cantatas (nn. 23-24). Copyist B of 4139 is the same as copyist A of Barb. lat. 4149, 4152, 4162 (scribe A), and 4173 (scribe D). Hand 4139-C copied nn. 4-5 from operas of 1687. The Olivieri cantatas of 1681-1682 were copied by Hands 4139-D (n. 7) and 4139-E (n. 8). Hand 4139-F wrote nn. 18 and n. 19 (on thin paper), and 4139-G copied n. 22. Pen-and-ink drawings embellish the initial letters of several pieces. On f. 1, the letter C was made by a pen-and-ink drawing of an ignudo with a left hand over a tree branch and an extended right leg. On f. 87, the letter T is superimposed on a pen-and-ink drawing of a nocturnal landscape that shows two trees on the left, a body of water on the right, and two figures standing near the edge of the land, with two sails behind them. This drawing is signed with a three-letter name (“Sen”?). On f. 113, the initial C is superimposed on a pen-and-ink drawing of a face with mustache, beard and crown. A branch seems to descend from the center of the beard, divide into two branches, which rise on each side and sprout leaves. Other historiated initials occur on f. 18 copied by Hand F, and f. 115 by Hand B. Such drawings embellish all thirteen items copied by hand A, n. 18 copied by F, n. 22 by G, and n. 23 by B. The drawing for n. 22 includes a bee, which may refer to the bees in the Barberini family emblem.

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The cantatas of 1681-1682, copied by 4139-C and D, may be the earliest pieces in the volume. Next in sequence are fifteen arias conjecturally copied ca. 1687: thirteen by 4139-A and two by 4139-B; they include all four from MAURITIO and one from FIGLIO DELLE SELVE. Three arias were presumably copied by 4139-G and 4139-F in 1688-1690. The year 1694 may be when 4139-B copied two cantatas and two arias from ORFEO (SARTORI, nn. 1466 and 17409, and FRANCHI 1694/7). Further arias from the Venetian and Roman productions of MAURITIO are in Barb. lat. 4140, 4142, 4152, and 4167.

Barb. lat. 4140 1687 ca., 90 × 260 mm, I.80.I ff., 4 staves, one hand

Inside the front cover: Arie diverse recitate ne’ teatri di Venezia l’anno 1687, an anthology of fifty-one anonymous arias. Thirty are from IL MAURITIO, text by Adriano Morselli, music by Domenico Gabrielli (Venice 1687; restaged for Modena 1689). Twenty-one are from LA GIERUSALEMME LIBERATA, text by Giulio Cesare Corradi, music by Carlo Pallavicino (Venice and Dresden 1687). A Venetian theater, S.L.a (San Luca, also known as San Salvatore) or S. G. P. (Santi Giovanni e Paolo), is noted before each aria. The setting is S/B unless otherwise indicated. 1 (ff. 1-2) [DOMENICO GABRIELLI]. S. L.a. Larga. Torno a voi, lucidi alberghi, A minor. For Mauritio in II:1 of IL MAURITIO (Venice 1687). Also anon. in other Venetian aria collections, F-Pn Vm7 5, pp. 141-143 and ff. 238-239, and I-MOe Mus. G.78, n. 17. Attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the score to the opera for Modena 1689, I-MOe Mus. F.417, ff. 80v-81v. For the revival at Rome in 1692, Severo De Luca retained the opening four measures of Gabrielli’s vocal theme and recomposed the remainder. In Roman collections, this version is attributed to De Luca in BAV Chigi Q.IV.34, ff. 53-56, but is anon. in Barb. lat. 4152, n. 19, and I-Rc 2465, ff. 89-92v.

2 (ff. 2v-3v) [GABRIELLI]. S. L.a. Allegro. Si rallegra il ciel che mira, G major. For Apollo in II:5 of MAURITIO. Also anon. in the Venetian collection, IMOe Mus. G.78, n. 32. It is attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 112-13v. Gabrielli’s 1687 setting for Venice was retained for the Roman production of 1692, represented by the anon. Barb. lat. 4152, n. 9. 3 (ff. 4-5) [GABRIELLI]. S. L.a. Un’occhio che piange, un labro che ride,

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A/B, D major. For Cosdroe in II:18 of MAURITIO. Also anon. in other Venetian collections, F-Pn Vm7 5, ff. 238-239, and I-MOe Mus. G.78, n. 16. Attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 153-54v. Barb. lat. 4140 A new setting for Rome 1692 is attributed to Severo De Luca in BAV Chigi Q.IV.34, ff. 9-12v; anon. in I-Rc 2465, ff. 99-102v.

4 (ff. 5v-6) [GABRIELLI]. S. L.a. Non si muor per amore, A major. For Cirene in I:14 of MAURITIO, repeated by Placilla in III:6. Also anon. in other Venetian collections, F-Pn Vm7 5, ff. 221-222, and I-MOe Mus. G.78, n. 7. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 73-74v. 5 (ff. 6v-7v) [GABRIELLI]. S. L.a. Che dolce vendetta ch’io penso di far, F major. For Mauritio in III:4 of MAURITIO. Attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 178v-180. The Roman revival of 1692 included a new setting — presumably by Severo De Luca — extant in anon. Roman collections, Barb. lat. 4167, n. 13; D-MÜs 595, ff. 37-42; and I-Rc 2465, ff. 157-61v.

6 (f. 8r-v) [GABRIELLI]. S. L.a. Se dirò che fra gli ardori, E minor. For Mauritio in I:11 of MAURITIO. Severo De Luca composed new music for the equivalent aria in the Roman production of 1692; see Barb. lat. 4152, n. 2.

7 (ff. 9-10v) [GABRIELLI]. S. La. Adasio adasio. Consolati, che Amor per te ancor provederà, D minor. For Placilla in III:7 of MAURITIO. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena, 1689, I-MOe Mus. F.417, ff. 188v-190. The Roman revival of 1692 included a new setting — presumably by S. De Luca — extant in anon. Roman collections, Barb. lat. 4167, n. 22, and I-Rc 2465, ff. 149-51v.

8 (f. 11r-v) [GABRIELLI]. S. L.a. Mi fulminate a torto, luci spietate e belle, A minor. For Ergilda in II:17 of Mauritio. Also anon. among other Venetian copies in F-Pn Vm7 5, pp. 93-95 and ff. 234-235. The aria is attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 151v-152. The Roman revival of 1692 included a new setting, attributed to [Severo] De Luca in BAV Chigi Q.V.34, ff. 21-23v; anon. in other Roman collections, Barb. lat. 4167, n. 21; D-MÜs 595, ff. 43-46; and I-Rc 2465, ff. 39-42.

9 (ff. 12-13) [GABRIELLI]. S. L.a. Mi disfida la Fortuna, ma i suoi colpi, G

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major. For Ergilda in II:3 of MAURITIO. Also anon. in other Venetian collections, F-Pn Vm7 5, pp. 113-116 and ff. 232-233v, and I-MOe Mus. G.78, n. 13. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 93-95. The Roman revival of 1692 included a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 29-31v; anon. in other Roman collections, Barb. lat. 4152, n. 20, and I-Rc 2465, ff. 63-66v. A third setting is anonymous in BEarenberg ms. 1/2, pp. 13-23, S/B, G major (RISM n. 703001168).

10 (ff. 13v-14v) [GABRIELLI]. S. L.a. Troppo facile, alma mia, B! major. For Cirene in I:7 of MAURITIO. 11 (ff. 15-16v) [GABRIELLI]. S. L.a. Questa man fatta guerriera, C major. For Cirene in I:17 of MAURITIO. Also anon. in another Venetian collection, I-MOe Mus. G.78, n. 29. The Roman revival of 1692 offered a new setting — presumably by Severo De Luca — extant in anon. Roman collections, Barb. lat. 4152, n. 8, and I-Rc 2465, ff. 123-26v.

12 (ff. 17-18) [GABRIELLI]. S. L.a. Alma, se non mi vendico, A minor. For Cirene in III:8 of MAURITIO. Also anon. in another Venetian collection, IMOe Mus. G.78, n. 36. Attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the complete score for Modena 1689, I-MOe Mus. F.417, ff. 191-92v. The Roman revival of 1692 included a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 17-20v (S/B); anon. in other Roman collections, Barb. lat. 4167, n. 2; D-MÜs 595, ff. 63-68 (S/B); I-PAVu 423, ff. 54v-56v (S/TrB); and I-Rc 2465, ff. 175-184 (S/TrB). A third setting is anon. in the aria collection GB-Lbl Harley 1273, f. 11.

13 (ff. 18v-19v) [GABRIELLI]. S. L.a. Se cominci a gustar quel tenero piacer, A major. For Placilla in I:6 of MAURITIO. Also anon. in the Venetian collection, F-Pn Vm7 5, ff. 214-215 (G major). 14 (ff. 20-21v) [GABRIELLI]. S. L.a. Un guardo ch’è sereno m’intorbida la pace, A major. For Mauritio in I:5 of MAURITIO. Also anon. in the Venetian collection, I-MOe Mus. G.78, n. 21. Gabrielli’s 1687 setting for Venice was retained for the Roman production of 1692, represented by anon. concordances in the collections BAV Barb. lat. 4152, n. 1; Barb. lat. 4167, n. 16; Chigi Q.IV.48, ff. 43-45v (D major, CARBONI 12/3, n. 1784); D-MÜs 595, ff. 57-62; and I-Rc 2465, ff. 75-79v. 15 (ff. 22-23) [GABRIELLI]. S. L.a. Che m’inganni quel bel volto, F major. For Placilla in II:7 of MAURITIO. Also anon. among other Venetian copies, F-Pn Vm7 5, pp. 97-99 and ff. 215v-16v. This setting is attributed to

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Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 104v-105v. According to Pallade Veneta, January 1687, pp. 70-71, Barbara Riccioni sang this “arietta” with such grace that a poet praised her in the sonnet printed therein; a musical supplement to the issue printed the music (SELFRIDGE-FIELD-PV, pp. 81-82, 126-127 and 144, and Illustration 11 [facing p. 224]). The Roman revival of 1692 offered a new setting — presumably by Severo De Luca — extant in anon. Roman collections, Barb. lat. 4167, n. 7, and I-Rc 2465, ff. 55-58v.

16 (ff. 23v-24v) [GABRIELLI]. S. L.a. Adasio adasio. Ricordati che è mio, quel petto morbidetto, A/B, E major. For Cosdroe in I:9 of MAURITIO. Also anon. in other Venetian collections, Barb. lat. 4139, n. 4 (S/B, B major); F-Pn Vm7 5, pp. 105-107 and ff. 174v-75v (S/B, G major), and I-MOe Mus. G.78, n. 12. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 38v-40. Gabrielli’s 1687 setting for Venice was retained for the Roman production of 1692, represented by the anon. collections BAV Barb. lat. 4152, n. 10 (S/B, C major); Barb. lat. 4168, n. 37 (A/B, D major); Chigi Q.IV.48, ff. 11-14 (A/B, G major, with strophe 2: Sovvengati ch’è mio; CARBONI 12/3, n. 1462); DMÜs 176, ff. 1-4v (S/B, D major); I-Rc 2465, ff. 43-46v (T/B, C major); and I-Rsc G.391, ff. 69-72v (S/B, C major). 17 (ff. 25-26) [GABRIELLI]. S. L.a. Parmi d’amar ancora, non amo più, no, no, D major. For Cirene in II:8 of MAURITIO. Also anon. in other Venetian collections, F-Pn Vm7 5, ff. 184-185, and I-MOe Mus. G.78, n. 37. The Roman revival of 1692 offered a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 49-52; anon. in Barb. lat. 4167, n. 4.

18 (ff. 26v-27v) [GABRIELLI]. S. L.a. Più non voglio amarlo, acquietati mio cor, B! major. For Cirene in I:7 of MAURITIO. Attributed to Domenico Gabrielli and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 33-34v. Also anon. in the Venetian collection, I-MOe Mus. G.78, n. 8. The Roman revival of 1692 included a revised setting, attributed to Severo De Luca in I-Rsc G.392, ff. 47-50v; anon. in other Roman collections, Barb. lat. 4152, n. 13; Barb. lat. 4167, n. 5; D-MÜs 595, ff. 111-14v; and I-Rc 2465, ff. 2730.

19 (ff. 28-29v) [GABRIELLI]. S. L.a. Sotto l’ombra de’ placidi mirti, G major. For Mauritio in I:1 of MAURITIO. Also anon. in the Venetian collections, Barb. lat. 4139, n. 9; Barb. lat. 4142, n. 15; F-Pn Vm7 5, ff. 195-96v; and IMOe Mus. G.78, n. 35. Gabrielli’s 1687 setting was retained for the Roman

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production of 1692, represented by anon. concordances in the collections Barb. lat. 4152, n. 12; Barb. lat. 4167, n. 6; D-MÜs 595, ff. 53-56v; and I-Rc 2465, ff. 71-74v. 20 (ff. 30-31) [GABRIELLI]. S. L.a. Cupido troppo fiero i dardi m’avventò, C major. For Cirene in II:22 of MAURITIO. Attributed to Domenico Gabrielli and accompanied by TrTrATB instruments in the score for Modena 1689, I-MOe Mus. F.417, ff. 163-69v. Also anon. in the Venetian collection, I-MOe Mus. G.78, n. 28. The Roman revival of 1692 included a slightly revised setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 41-44v; anon. in Barb. lat. 4167, n. 12.

21 (ff. 31v-32v) [GABRIELLI?]. S. L.a. Lagrima pur tuo danno, C major. This text has not been found in any libretto, but the name of the theater and its presence in Barb. lat. 4140 imply that the aria was sung at some Venetian performance(s) of MAURITIO. 22 (ff. 33-34) [GABRIELLI]. S. L.a. Son delizie del mio pensiero, A/B, B! major. For Cosdroe in II:9 of MAURITIO. Also anon. in other Venetian collections, Barb. lat. 4142, n. 19, and I-MOe Mus. G.78, n. 2. The Roman revival of 1692 included a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 25-28v; it is anon. in other Roman collections, Barb. lat. 4152, n. 17, and I-Rc 2465, ff. 117-21v.

23 (ff. 34v-35v) [GABRIELLI]. S. L.a. Lasciami, fuggimi, cieca pietà, A/B, D major. For Cosdroe in II:13 of MAURITIO. Attributed to Domenico Gabrielli in the score for Modena 1689, I-MOe Mus. F.417, f. 137. Also anon. in the Venetian collection I-MOe Mus. G.78, n. 39. The Roman revival of 1692 included a revised setting for II:12 — presumably by Severo De Luca — extant in anon. Roman collections, Barb. lat. 4152, n. 18; I-Rc 2465, ff. 167-170 (T/B, A major); and BAV Chigi Q.IV.50, ff. 27-28 (which includes the end of the A section, all of B, and a written-out da capo). De Luca retained the A section of Gabrielli’s setting; he largely recomposed the B section.

24 (ff. 36-37v) [GABRIELLI]. S. L.a. Allegra. Col destin voglio contendere, B! major. For Ergilda in I:4 of MAURITIO. Attributed to Domenico Gabrielli and accompanied by TrTrATB instruments in the score for Modena 1689, I-MOe Mus. F.417, ff. 17v-25. Also anon. in other Venetian collections, F-Pn Vm7 5, ff. 208-209v, and I-MOe Mus. G.78, n. 25. Gabrielli’s 1687 setting for Venice was retained for the Roman production of 1692, represented by concordances in the anon. collections Barb. lat. 4152, n. 4; Barb. lat. 4167, n. 8; and D-MÜs 595, ff. 89-96. 25 (ff. 38-39) [GABRIELLI?]. S. L.a. Stelle, us[c]ite ad una ad una, A/B, C

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minor. For Cosdroe in III:9 of MAURITIO. Also anon. in the Venetian collection, I-MOe Mus. G.78, n. 24. A new setting for Rome 1692 is attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 57-59.

26 (ff. 39v-40v) [GABRIELLI?]. S. L.a. Quanti scherzi, quanti vezzi, T/B, A minor. For Tiberio in II:11 of MAURITIO. 27 (ff. 41-42) [CARLO PALLAVICINO]. S. G.P. Tutta giubilo e tutta riso, D major. For Armida in I:9 of GIERUSALEMME LIBERATA (Venice 1687). The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 49-50 in photocopy). Scene 10 in the score for Dresden 1687, D-Dl Mus. 1813-F-2, pp. 39-41, with music for the continuo part only for the ritornello (olim Mus.c.B 595; modern edn in DDT I/55, pp. 36-37). 28 (ff. 42v-43v) [PALLAVICINO]. S. G.P. Amo il dio che sempre armato, G major. For Clorinda in I:5 of GIERUSALEMME LIBERATA. The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 27-29 in photocopy). Also anon. in the Venetian collection F-Pn Vm7 5, f. 249. Preceded by music for the continuo part only for the ritornello in the score for Dresden, pp. 20-21 (see n. 27 above; DDT I/55, pp. 20-22). 29 (ff. 44-45) [PALLAVICINO]. Di S. G.P.o. Silenzi della notte, a voi ricorre il piè, E minor. For Clorinda in III:1 of GIERUSALEMME LIBERATA. D-Dl Mus. 1813-F-2, pp. 157-158. Also anon. in GB-Lbl Harley 1273, f. 11v. Modern edn DDT I/55, p. 131. 30 (ff. 45v-46v) [PALLAVICINO]. S. G.P. Prestisima. Non sa se debba ridere, G major. For Armida in I:14 of GIERUSALEMME LIBERATA. The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 76-77 in photocopy), where it also has only one strophe. Scene 15 in the score for Dresden, pp. 64-65 (see n. 27 above; DDT I/55, pp. 55-56). 31 (ff. 47-48v) [PALLAVICINO]. S. G.P. Vieni, vieni, o duce invitto, F major. For Clorinda in I:16 of GIERUSALEMME LIBERATA. The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 82-84 in photocopy). Scene 17 in the score for Dresden, pp. 70-71 (see n. 27 above; DDT I/55, pp. 60-61). 32 (ff. 49-50) [PALLAVICINO]. S. G.P. Donna rea, di me tu ridi, D major. For Tancredi in II:3 of GIERUSALEMME LIBERATA. In the score for Dresden,

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pp. 90-91 (see n. 27 above); DDT I/55, pp. 74-75. Also anon. in F-Pn Vm7 5, ff. 49-50. 33 (ff. 50v-51v) [PALLAVICINO]. S. G.P. È pur dolce a chi ben ama, A/B, G major. For Argante in II:10 of GIERUSALEMME LIBERATA. Also anon. in the Venetian collection F-Pn Vm7 5, ff. 223-224. Also anon. in GB-Lbl Harley 1266, ff. 30-31. This aria is not in the score for Dresden (see n. 27 above) or in DDT I/55. 34 (ff. 52-53) [GABRIELLI]. S. L.a. Allegra. Per me non la so intendere, C minor. For Mauritio in I:11 of MAURITIO. Also anon. in two more Venetian collections, F-Pn Vm7 5, ff. 176-177, and I-MOe Mus. G.78, n. 18. The Roman revival of 1692 included a new setting, attributed to “S.r Severo” [De Luca] in D-MÜs 172, ff. 61-64 (S/B); anon. in other Roman collections, Barb. lat. 4152, n. 5 (S/B); Barb. lat. 4167, n. 1 (S/TrB); D-MÜs 595, ff. 83-88 (S/B); and I-Rc 2465, ff. 127-36v (S/TrB). It is misattributed to Alessandro Scarlatti in GB-Lbl Harley 1273, ff. 71-73 (S/TrB). Scarlatti set a similar incipit, Per me non so intendere, for Lisetta in I:4 of GLI EQUIVOCI NEL SEMBIANTE (Rome 1679); see Frank A. D’Accone’s edition of the opera Cambridge, MA 1982 (The Operas of Alessandro Scarlatti, n. 7; Harvard Publications in Music, n. 12), p. 54.

35 (ff. 53v-54v) [PALLAVICINO]. S. G.P. Mi piace amar da vero, A/B, G minor. For Rinaldo in II:6 of GIERUSALEMME LIBERATA. In the score for Dresden, pp. 97-98, with music for only the continuo part in the ritornello (see n. 27 above; DDT I/55, pp. 80-81). 36 (ff. 55-56v) [PALLAVICINO]. S. G.P. Risvegliato il braccio mio, A/B, D major. For Rinaldo in II:12 of GIERUSALEMME LIBERATA. Replaced in the score for Dresden by Partirò, ma teco resta (for Tancredi).

37 (ff. 57-58) [PALLAVICINO]. S. G.P. Sì, sì, fedel, mio caro, G major. For Clorinda in III:13 of GIERUSALEMME LIBERATA. Where tempo words occur at the heads of other arias, the copyist wrote “così, così”; così is the last word of the B section. Scene 12 in the score for Dresden, pp. 198-199 (see n. 27 above; DDT I/55, pp. 169-170). 38 (ff. 58v-59) [PALLAVICINO]. S. G.P. I tuoi fulmini, ciel, apprestami, G major. For Armida in II:16 of GIERUSALEMME LIBERATA. Replaced in the score for Dresden by Fiera Aletto suona la tromba. Two copies of this aria are I-Nc 33.4.36b, ff. 120-21v (attrib. in OPAC-SBN to Pallavicino) and I-Nc Cantate 265, ff. 144-145 (attrib. in RISM online to A. Scarlatti).

39 (ff. 60-61) [GABRIELLI]. S. L.a. Perdona se vuoi col ciel gareggiar, D major. For Ergilda in III:10 of MAURITIO. Attributed to Domenico Gabrielli in the score for Modena 1689, I-MOe Mus. F.417, ff. 197-198. Also anon. in

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other Venetian collections, F-Pn Vm7 5, ff. 180-181, and I-MOe Mus. G.78, n. 26. The Roman revival of 1692 offered a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 13-15v, and anon. in Barb. lat. 4167, n. 10.

40 (ff. 61v-62v) [PALLAVICINO]. S. G.P. Bel labro, m’offendi a dirmi così, F major. For Armida in II:5 of GIERUSALEMME LIBERATA. In the score for Dresden, pp. 95-96, with music for the continuo part only in the ritornello (see n. 27 above; DDT I/55, pp. 78-79). 41 (ff. 63-64) [PALLAVICINO]. S. G.P. Amor se non vedrò il sol che m’ invaghì, B minor. For Tancredi in I:8 of GIERUSALEMME LIBERATA. The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 47-49 in photocopy). Also anon. in I-Nc 33.4.36b, ff. 43-46v. In the score for Dresden, pp. 36-37 (see n. 27 above; DDT, I/55, pp. 33-34). 42 (ff. 65-66) [PALLAVICINO]. S. G.P. Occhi chi non vi mira, E minor. For Armida in I:9 of GIERUSALEMME LIBERATA. The ritornello is scored TrTrAAB in the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated, pp. 52-53 in photocopy). Also anon. in the Venetian collection, F-Pn Vm7 5, ff. 65-66. Scene 10 in the score for Dresden, pp. 43-44. Modern edn in DDT I/55, p. 39. A different setting of the same text by Marc’Antonio Ziani is Barb. lat. 4134, n. 10. A third setting attrib. to Alessandro Scarlatti for INGANNI FELICI (Naples 1699) listed in the table of contents for I-Nc Cantate 68 (olim Od.4.4), originally f. 87, but misbound, resembles and may be based upon Ziani’s (Internet Culturale access for the vol.).

43 (ff. 66v-67) [PALLAVICINO]. S. G.P. Amore, e che sarà? Vorrei saper da te, A/B, A major. For Argante in III:3 of GIERUSALEMME LIBERATA. Also anon. in the Venetian collection F-Pn Vm7 5, ff. 191-192. A different setting was performed at Dresden in 1687, in the Dresden score, pp. 162-163 (DDT I/55, pp. 135-137).

44 (ff. 68-69v) [GABRIELLI]. S. L.a. Dispensiera d’april, destra tanto gentil, C major. For Mauritio in II:1 of MAURITIO. Attributed to Domenico Gabrielli and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 86-87v. Also anon. in the Venetian sources, F-Pn Vm7 5, pp. 161-163 and ff. 227-228, and I-MOe Mus. G.78, n. 11. Gabrielli’s 1687 setting was retained for the Roman production of 1692, represented by concordances in the anon. collections Barb. lat. 4152, n. 21; Barb. lat. 4167, n. 17; D-MÜs 595, ff. 101-104v; and I-Rc 2465, ff. 163-66v.

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45 (ff. 70-71v) [PALLAVICINO]. S. G.P. Tisifene [Tesifoni] d’abisso, volatemi nel cor, D major. For Tancredi in III:5 of GIERUSALEMME LIBERATA. In the score for Dresden, pp. 171-174, with staves, but no music for the upper instrumental parts (see n. 27 above); DDT I/55, pp. 143-147. 46 (f. 72r-v) [PALLAVICINO]. S. G.P.Voglio per forza, o caro, F major. For Armida in II:2 of GIERUSALEMME LIBERATA. In the score for Dresden, pp. 84-85 (see n. 27 above); DDT I/55, pp. 69-70. 47 (ff. 73-74) [PALLAVICINO]. S. G.P. Adasio. Su quel labro il dolce riso, G minor. For Armida in I:10 of GIERUSALEMME LIBERATA. In the Venetian score to act I that is attributed to Pallavicino, US-LAur ms. 170/330 (unfoliated; pp. 58-60), the TrTrAAB instruments play different music in D minor before and after the B section of the aria and no da capo is indicated. Also anon. in the Venetian collection F-Pn Vm7 5, ff. 203v-204v, and in GB-Lbl Harley 1272, ff. 19v-20 and 48. Scene 11 in the score for Dresden, pp. 49-50 (see n. 27 above); DDT I/55, p. 43. 48 (ff. 74v-75v) [PALLAVICINO]. S. G.P. Prestisima. Son tutti traditori gl’amanti d’oggidì, G major. For Armida in II:11 of GIERUSALEMME LIBERATA. Scene 17 in the score for Dresden, pp. 150-152 (see n. 27 above); DDT I/55, pp. 125-126. 49 (ff. 76-77) [GABRIELLI]. S. L.a. Felice, contenta, ben presto sarò, A major. For Placilla in II:20 of MAURITIO. The libretto for Venice has “vivrò” instead of “sarò.” Attributed to Domenico Gabrielli in the score for Modena 1689, I-MOe Mus. F.417, f. 157v-58v. Also anon. in the Venetian sources, F-Pn Vm7 5, pp. 205-206, and I-MOe Mus. G.78, n. 23. The Roman revival of 1692 offered a new setting, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 45-47v.

50 (ff. 77v-78) [PALLAVICINO]. S. G.P. Un’amante sì codardo, D major. For Clorinda in III:2 of GIERUSALEMME LIBERATA. In the score for Dresden, pp. 160-161 (see n. 27 above); DDT I/55, pp. 134-135. 51 (ff. 79-80) [PALLAVICINO]. S. G.P. Allegrisima. Un motivo d’allegrezza, C major. For Tancredi in III:15 in GIERUSALEMME LIBERATA. Not in the score for Dresden. Mod. edn DDT I/55, pp. 172-173. Bound in cardboard, the front cover pieced and sewn (100 × 265 mm). On the spine the number 11 is written in black ink in a modern hand, and the old shelfmark XLVII.11 is similarly written inside the front cover. In ten gatherings of four bifolios each. The Venetian watermark of three crescent moons appears eleven times between folios 4 and 76; (cf. Heawood n.

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865). The music copyist numbered the arias and the pages, made vertical rules at the sides of the staves in the Venetian manner, and provided a table of the arias on the opening flyleaf. His table is written in a compressed manner, so that an index with three columns — two for San Luca and one for S. G.P. — could be fit onto one small page. Item n. 45 is not included on his table or on the transcription of his table in CELANI, p. 118. His pagination was still utilized by Celani in 1906. The foliation in pencil is recent. The end flyleaf is blank. Neither the text nor the music by the single hand is copied neatly, and da capo is sometimes written at the end of a written-out da capo section. Initial letters are large, but not ornamented. The abbreviation for each theater is written in lighter ink before each aria, but by the music copyist. In 1687 Prince Urbano Barberini ordered reimbursement of six scudi to an agent for expenses “fatte in missione di opere, e musiche, e per affrancamento di lettere per tutto il corrente anno,” which may have included fascicles for this volume (ArchBarb Computisteria 486, mandato n. 145, p. 46). MAURITIO and GIERUSALEMME LIBERATA were both produced during the Venetian carnival season (GROPPO, p. 64). The costume designer, Gasparo Torelli, signed the dedication in MAURITIO, and the librettist, Giulio Cesare Corradi, signed the one for GIERUSALEMME LIBERATA. Each libretto provides the name of the composer in a prefatory passage (SARTORI, nn. 11594 and 15271-72). Singers for MAURITIO are named in the January 1687 issue of Pallade Veneta (SELFRIDGE-FIELD-PV, plate 10 and pp. 143-144). The only extant score for GIERUSALEMME LIBERATA, D-Dl Mus. 1813-F-2, provides the slightly altered version produced 2 February 1687 in Dresden (SARTORI, n. 11593), effectively a double premiere. The entire score, which is incompletely texted, is accessible online at . On their relationships see N. Dubowy, Italienische Opern im mitteldeutschen Theater am Ende des 17. Jahrhunderts: Dresden und Leipzig in Barockes Musiktheater im mitteldeutschen Raum im 17. und 18. Jahrhundert, ed. F. Brusniak and A. Clostermann, Cologne 1994, pp. 23-46, esp. 28-34 and Tabelle I. As noted above, the Dresden staging deleted Barb. lat. 4140, n. 33, and replaced Barb. lat. 4146, nn. 36, 38 and 43. Nineteenth-century copies of the Dresden score are B-Bc 2275 (RISM 706002048) and F-Pn D.12290. An edition by Hermann Abert is in Denkmäler Deutscher Tonkunst, vol. 55, Leipzig 1916; repr. Wiesbaden 1959; online in IMSLP. A ms. score survives for one act of the Venetian production of GIERUSALEMME LIBERATA, US-LAur ** ML96.5.P35 G47 1690z [170/390]; it was copied for Charles Montagu, Earl of Manchester, the dedicatee of the Venetian production. The only extant score for MAURITIO represents the altered version pro-

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duced in Modena’s Teatro Fontanelli in October 1689. Domenico Gabrielli definitely revised his Venetian setting for the Modenese production, because he is named as composer within the Modenese libretto (SARTORI, n. 15275) and on the title page of the Modenese score, I-MOe Mus. F.417. The score has fifty arias, fourteen of which have texts not found in Venetian editions of the libretto. Barb. lat. 4140 represents the Venetian production (see LINDGREN-Ven, passim); eighteen of its thirty arias from MAURITIO reappear in the Modenese score (nn. 1-5, 7-9, 12, 15-16, 18, 20, 23-24, 39, 44 and 49). Aria collections, on the other hand, contain almost all anonymous copies. The largest Venetian aria collection, which includes thirty-nine arias, is I-MOe Mus. G.78. According to LODI, p. 217, it is labeled S. Luca 1687, di Domenico Gabrielli. In her more recent ms. census, however, CHIARELLI n. 522 does not record this; thus it is here listed as an anonymous aria collection. It has twenty-one concordances with Barb. lat. 4140: nn. 1-4, 9, 11-12, 14, 16-20, 22-25, 34, 39, 44 and 49. The next largest Venetian source is F-Pn Vm7 5, which is a combination of two mss. The first, which is paginated, includes six arias from MAURITIO (pp. 93-95, 97-99, 105-107, 113-116, 141143 and 161-163). All of them reappear in the second, foliated ms., which includes twenty-three arias from the opera (ff. 173-177, 178-181, 184-185, 187-188, 195-198v, 205-206, 208-209v, 214-216v, 221-222, 225-230, 232-235 and 238-245v). It contains twenty-one concordances with Barb. lat. 4140 (nn. 1, 3-4, 8-9, 13, 15-17, 19, 24, 28, 32-34, 39, 42-44, 47 and 49). Two other Venetian aria collections for MAURITIO are Barb. lat. 4139, which has four arias, and Barb. lat. 4142, which has five. Arias from the Roman production of 1692 are in Barb. lat. 4152 and 4167. SARTORI 1980 distributes these arias in their operas. On pp. 550-552 he lists the arias from MAURITIO and GIERUSALEMME LIBERATA in Barb. lat. 4140 in serial order. He, however, looked only at the first edition of MAURITIO, and did not locate five arias within it. These are Barb. lat. 4140, n. 4, which is in the first edition; nn. 2, 6 and 18, which are in the 1687 edition ristampata con nuove aggiunte; and n. 21, which has not been found in any libretto. The singers for the Venetian production of MAURITIO were named in the January 1687 issue of Pallade Veneta (SELFRIDGE-FIELD-PV, pp. 143-144 and Illustration 10 [facing p. 209]). Singers for the Modenese production of 1689 are named in its libretto (also given in SARTORI, n. 15275). Domenico Cecchi from Mantua (or from Cortona) portrayed the title character in both productions. The extent to which Gabrielli rewrote his Venetian score for the production in Modena is illustrated by arias written for Cecchi. Seven are in Barb. lat. 4140; nn. 1, 5 and 44 reappeared in Modena, but nn. 6, 14, 19 and 34 did not. The other Venetian singers for whom music

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is extant in Barb. lat. 4140 are Francesco Antonio Pistocchi (Cosdroe, nn. 3, 16, 22-23 and 25), Barbara Riccioni (Placilla, nn. 7, 13, 15 and 49), Margherita Mugnai (Cirene, nn. 4, 10-12, 17-18 and 20), Francesca Catarina from Modena (Ergilda, nn. 8-9, 24 and 39), and Giuseppe Scaccia from Parma (Tiberio, n. 26); see SELFRIDGE-FIELD-NC, pp. 178-179.

Barb. lat. 4141 1696 ca., 84 × 240 mm, I.224.I ff., 4 staves, 2 hands

Anthology of fifty-one arias, likely all from DIDONE DELIRANTE, Naples, May 1696. Francesco Maria Paglia extensively revised the original libretto by Antonio Franceschi (Venice 1686, music by Carlo Pallavicino); Alessandro Scarlatti wrote completely new music. The primary music copyist named Scarlatti three times (nn. 1, 12 and 42). A second copyist wrote the seven B/B arias in a lighter-colored ink, and a third hand scrawled Scarlatti’s name before each of these (nn. 19-25). Online in DVL. Barb. lat. 4141 is the largest known collection of its arias. The only Barberini aria not found in the libretti or in a concordant musical source is n. 10. Forty-one are for S/B, seven for B/B, two for SS/B, and one for SB/B. The setting is S/B unless otherwise indicated. See the scheda for the opera in DOMÍNGUEZ, pp. 319320, which includes six other musical collections cited below. The score to the opera, D-Bsa 1188, was not directly consulted. 1 (ff. 1-4) [ALESSANDRO] SCARLATTI. Voglio guerra. Come ardea d’ingiusto Amore, A major. For Didone in III:12 of DIDONE DELIRANTE (Naples 1696). In a volume headed “della Didone” in I-Nc 33.3.15 (= Rari 7.1.2), ff. 24-25; entire volume available through the Internet Culturale portal. 2 (ff. 5-7v) [A. SCARLATTI]. Mi dispiace che deliri il mio bene, E minor. For Tinacre (Creuso) in III:13 (Naples 1696). In a volume headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), ff. 49v-50v. Replaces the aria for Tinacre (Iarba) in I:14 for Venice 1686. Barb. lat. 4141 3 (ff. 9-12v) [A. SCARLATTI]. Chi vien col tuo bel volto, E minor. For Celia in III:14 (Naples 1696). Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, f. 8, and to “Alessandro Scarlatti” in I-Nc 34.6.33 (= Arie 218; = Cantate 32), n. 3 (Internet Culturale access). Replaces the aria for Anna in III:15 in Venice 1686. 4 (ff. 13-15v) [A. SCARLATTI]. Ben mio per non mancarmi, B! major. For Celia in III:20 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 4.

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5 (ff. 17-19v) [A. SCARLATTI]. Se piace al dio d’amor un dì gioisce il cor, C major. For Didone in III:20 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 16. Headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), ff. 53-54. Replaces the closing aria for Didone in Venice 1686. 6 (ff. 21-24) [CARLO PALLAVICINO? or A. SCARLATTI]. Di Cartagine superba stesa all’erba, G minor. For Anna and Dirce in I:5 of DIDONE DELIRANTE (Venice 1686), not present in the libretto for Naples 1696 or in the Berlin score. In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 5-6v. 7 (ff. 25-27) [A. SCARLATTI?]. Pietà Didone del suo penar, A minor. In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), f. 56r-v, but not in the D-Bsa score. 8 (ff. 29-32) [A. SCARLATTI?]. Dolce sonno dal mio seno, C minor. In a volume headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), ff. 47-48, but not in the D-Bsa score. 9 (ff. 33-37) [PALLAVICINO? or A. SCARLATTI]. Che mi giova far preda di belva nelle selve, E minor. For Anna in II:9 of DIDONE DELIRANTE (Venice 1686), not present in the libretto for Naples 1696 or in the D-Bsa score. Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, ff. 10v-11. 10 (ff. 39-41) Non son conformi gl’effetti d’Amor, E minor. Not in the D-Bsa score. 11 (ff. 43-51v) [A. SCARLATTI?]. Incendio né tempesta non turba, no, no, no, SS/B, F major. In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 25v-28v, but not in the D-Bsa score. 12 (ff. 53-56) ALESS.O SCARLATTI. Marg[herita Bonzi detta Bonsini]. Armati mia costanza, siegui la mia speranza, E minor. For Celia in I:9 (Naples 1696). For the singers in DIDONE DELIRANTE, see DOMÍNGUEZ, p. 319. Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, ff. 9-10, and to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 2. 13 (ff. 57-59v) [A. SCARLATTI]. Digli che l’amo, di’ che l’adoro, C minor. For Celia in I:8 (Naples 1696). Attributed to “Scarlatti” in I-Bc V.291, ff. 116-119; and to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 1, and I-OS Mus. B.17, n. 1 (S/TrTrB). In the volume headed “della Didone,” I-Nc Rari 33.3.15 (Rari 7.1.2), ff. 11-12v (its heading “N.N.” is in different, probably modern, ink). 14 (ff. 61-64) [A. SCARLATTI]. Cieco alato dio bendato, A major. For Didone in I:7 (Naples 1696). Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36,

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ff. 6v-7, and to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 15, and I-OS Mus. B.17 (S/TrTrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 15v-17v. 15 (ff. 65-68v) [A. SCARLATTI]. A un alma ch’è forte è bello il cimento, C major. For Didone in I:4 (Naples 1696). In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 22v-24. Replaces Didone’s aria Porto in seno un’alma forte in I:5 of Venice 1686. 16 (ff. 69-72v) [A. SCARLATTI]. Oh dell’alma spariti piaceri, A major. For Acate in I:3 (Naples 1696). Replaces the aria for Acate that closes I:2 in Venice 1686. 17 (ff. 73-76v) [A. SCARLATTI]. Se ti cangi, crudo Fato, B! major. For Enea in I:2 (Naples 1696). Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, ff. 3-4, and to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 5. In a volume headed “della DIDONE” in I-Nc 33.3.15 (Rari 7.1.2), ff. 31-34. Mod edn from I-Nc in DOMÍNGUEZ 2010, v. 2, App. 7, pp. 481-482. 18 (ff. 77-81) [A. SCARLATTI]. Di saette il cielo armato, C major. For Enea in I:1 (Naples 1696). 19 (ff. 83-85) SCARLATTI. So che questo è un bel mestiero, B/B, G major. For Frullo in I:8 of DIDONE DELIRANTE (Naples 1696). 20 (ff. 87-89) SCARLATTI. Vorresti ch’Acate a un volto sì bello, B/B, C major. For Frullo in I:8 (Naples 1696). 21 (ff. 91-93) SCARLATTI. Se una donna di cucina, B/B, D major. For Frullo in II:9 (Naples 1696). Printed between virgole in the libretto, usually an indication that the aria was not sung. Not in the D-Bsa score. 22 (ff. 95-97) SCARLATTI. È gran felicità l’esser reina, B/B, G major. For Frullo in I:5 of DIDONE DELIRANTE (Naples 1696). 23 (ff. 99-101) SCARLATTI. Sospirar per un ch’è morto, B/B, D major. For Frullo in I:7 of DIDONE DELIRANTE (Naples 1696). Printed between virgole in the libretto, which presumably means the aria was not sung. Not in the D-Bsa score. 24 (ff. 103-104v) SCARLATTI. È matta certo sua maestà, B/B, C major. For Frullo in II:6 (Naples 1696). 25 (ff. 107-109v) SCARLATTI. Questo mondo è una gran gabbia, B/B, G major. For Frullo in III:16 (Naples 1696). 26 (ff. 111-115v) [A. SCARLATTI]. Che farebbe con me la bellezza, B! major. For Livia (Sicambre) in I:10 (Naples 1696). Attributed to “Alessandro

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Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 19. Also in a volume headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), ff. 8v-11. 27 (ff. 117-121) [A. SCARLATTI]. Io voglio amare, voglio sperare, G minor. For Enea in I:11 (Naples 1696). Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, ff. 1-2, and to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 6. Anonymous in I-Nc 60.2.49 (Cantate 18), n. 53. In the volume headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), ff. 33v-35, as Sì, voglio amare, voglio sperare. 28 (ff. 123-126v) [A. SCARLATTI]. Deh volate, deh posate, aure care, B minor. For Livia (Sicambre) in I:14 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-OS Mus.B.17, n. 3 (S/TrTrB). In the volume headed “della Didone” in I-Nc 33.3.15 (Rari 7.1.2), headed “Scarlatti,” ff. 1-3. 29 (ff. 127-130) [A. SCARLATTI]. Io fuggo dal foco, mi perdo nell’onde, F# minor. For Enea in I:14 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Cantate 32), n. 10, and I-OS Mus.B.17, n. 4 (S/TrTrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 29-30v. 30 (ff. 131-132) [A. SCARLATTI]. Minuet. Su venite, su movete, alle danze il vostro piè, B! major. For Didone in III:19 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 13. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 14v-15, marked “Minuet.” 31 (ff. 133-136) [A. SCARLATTI]. Fingo per altri amore, perché ti voglio amar, F major. For Acate in II:14 (Naples 1696). In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 50v-51v. Substitutes for Acate’s solo scene in II:13 of Venice 1686. 32 (ff. 137-140) [A. SCARLATTI]. Del rigor del cieco dio, io mi sdegno sol con te, B minor. For Celia in II:13 (Naples 1696). 33 (ff. 141-145) [A. SCARLATTI]. Il cor che vivea legato al cordoglio, G major. For Enea in II:12 (Naples 1696). In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 38-40. 34 (ff. 147-150) [A. SCARLATTI]. No, non m’accese invano lo stral che mi ferì, SB/B, B minor. For Didone and Frullo in II:11 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 34. 35 (ff. 151-154v) [A. SCARLATTI]. Che dici, o cara speme, tu credi ch’il mio bene, C major. For Didone in II:10 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 11. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 45-47.

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36 (ff. 155-158) [A. SCARLATTI]. La fortuna del mare adirato, B! minor. For Enea in II:8 (Naples 1696). Attributed to “Ales.o Scarlatti” in I-Bsp P.69.36, ff. 13v-14. 37 (ff. 159-163) [A. SCARLATTI]. S’io deggio morire, morire e tacere, A major. For Didone in II:5 (Naples 1696). Attributed to “Ales.o Scarlatti” in IBsp P.69.36, ff. 12-13. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), n. 11; anonymous in I-Nc 60.2.49 (Cantate 18), ff. 20-22v. 38 (ff. 165-168v) [A. SCARLATTI]. Siete mio, se non mente il cieco dio, F major. For Livia (Sicambre) in II:3 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218: Cantate 32), n. 18. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 3-5. 39 (ff. 169-172) [A. SCARLATTI]. Voi siete, o bella, voi siete quella, A major. For Acate in II:3 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 7, and I-OS Mus.B.17, n. 6 (S/TrTrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 52-53. 40 (ff. 173-176) [A. SCARLATTI]. Se quel bel idolo che mi fa piangere, E minor. For Livia (Sicambre) in II:2 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 17, and I-OS Mus.B.17, n. 5 (S/TrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 55v-56. 41 (ff. 177-180) [A. SCARLATTI]. Senti, proteggi i miei tormenti, D major. For Celia (with asides by Livia [Sicambre]) in II:1 (Naples 1696). Replaces Dice al core la speranza for Anna and Sicambre (Livia) in II:1 of Venice 1686. 42 (ff. 181-186) ALESS.O SCARLATTI. Dice al core la speranza/costanza, SS/B, A major. For Celia and Livia (Sicambre) in II:1 (Naples 1696). 43 (ff. 187-189) [A. SCARLATTI]. Un rival, no, non è degno del trionfo del mio cor, G major. For Tinacre (Creuso) in II:15 (Naples 1696). Replaces the aria for Iarba in II:14 in Venice 1686. 44 (ff. 191-193v) [A. SCARLATTI]. Sì, sì mio bene, quel rossore, quel timore, A minor. For Enea in II:18 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Arie 218; Cantate 32), n. 8. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 40v-44v; anon. in I-Nc 60.2.49 (Cantate 18), n. 55. 45 (ff. 195-197) [A. SCARLATTI]. Si parta, si fugga, e l’alma si strugga, A major. For Enea in III:1 (Naples 1696).

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46 (ff. 199-204) [A. SCARLATTI]. Per non esser traditore, il core impegno io lascierò, E minor. For Enea in III:4 (Naples 1696). The libretto has “in pegno il core” instead of “il core impegno.” Attributed to “Alessandro Scarlatti” in I-Nc 34.6.33 (Cantate 32), n. 9, and I-Nc 60.2.49 (Cantate 18), n. 4, ff. 52v-53. Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 12v-14v. 47 (ff. 205-207v) [A. SCARLATTI]. Si vedrà la mia costanza, trionfar d’una beltà, G minor. For Livia (Sicambre) in III:9 (Naples 1696). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 7-8v. 48 (ff. 209-211v) [A. SCARLATTI]. Oh questo, no. Troppo presto son ferita, E minor. For Celia in III:8 (Naples 1696). 49 (ff. 213-216v) [A. SCARLATTI]. È una nave il mio pensiero, D major. For Enea in III:10 (Naples 1696). In a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), n. 18, ff. 36-38. Replaces Ma se lascio il caro bene, the aria for Enea in III:11 of Venice 1686. 50 (ff. 217-220) [A. SCARLATTI]. Furie, turbini dell’onde, C minor. For Didone in III:11 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-OS Mus.B.17, n. 7 (S/TrTrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 48v-49v. 51 (ff. 221-224) [A. SCARLATTI]. Non lo credete? Voi lo vedrete, G minor. For Didone in III:11 (Naples 1696). Attributed to “Alessandro Scarlatti” in I-OS Mus. B.17, n. 8 (S/TrB). Also in a volume headed “della Didone,” I-Nc 33.3.15 (Rari 7.1.2), ff. 54-55v. Bound in badly worn brown leather (95 × 230 mm). Stubs only remain of the three pink fabric ties on each cover. The previous shelfmark XLVII.12 is written by a modern hand in black ink inside the front cover. The watermark has an animal inside a circle (ff. 6, 9, 26, 222 and 224), comparable to the stag in HEAWOOD n. 3850. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 8, 16, 20, 28, 38, 42, 52, 60, 82, 86, 90, 94, 98, 102, 105-106, 110, 116, 122, 146, 164, 190, 194, 198, 208 and 212. Hand A copied all except nn. 19-25, the arias for the comic bass Frullo, which were written by Hand B. The composer attributions for nn. 1, 12 and 42 were presumably written by hand A, whereas those for nn. 1-25 appear to have been added by a hand other than Hands A and B. Hand A probably arranged arias in the order found in the libretto, but his arrangement was largely lost when the ms. was bound. The order of occurrence in the libretto is as follows (with the comic bass arias given in italics): from act I:

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nn. 18-15, 22-23, 14, 20, 13, 19, 12 and 26-29; from act II, nn. 42-37, 24, 36, 21, 35-31 and 43-44; from act III, nn. 45-46, 48, 47, 49-51, 1-3, 25, 30, and 4-5. Six arias (nn. 6-11) are not in the 1696 libretto. They were definitely written for (and presumably sung in) the opera, since all except n. 10 are in concordant sources, and n. 6 was derived from I:5 of DIDONE DELIRANTE (Venice 1686). Digital facsimiles of the 1686 and 1696 libretti are available via the CORAGO portal. The opera is discussed in DOMÍNGUEZ, pp. 111-120 (including payments to musicians) and passim; for an act-by-act synopsis see DOMÍNGUEZ 2010, vol. 2, pp. 660-664. It was the Duke of Medinaceli’s first operatic production for Naples, upon being named viceroy of the Kingdom. Not consulted is the 99-page score to the opera attributed to Scarlatti, D-Bsa SA 1188 (1-3), described in VOSS 2003. Two aria collections for DIDONE DELIRANTE rank next in size to Barb. lat. 4141; both are available via the Internet Culturale portal. The first, I-Nc 33.3.15 (Rari 7.1.2) is an anthology of thirty-one arias headed “Ariette della Didone” in the hand of the music copyist (f. 1); twenty-eight of them are also in Barb. lat. 4141. The second, I-Nc 34.6.33 (Arie 218; Cantate 32), is a collection of twenty arias titled “Scelta d’ariettine della Didone delirante, opera del Sig.or Alesandro Scarlatti”; eighteen of them are also in Barb. lat. 4141. The next largest collection, I-Bsp P.69.36, is a Roman copy, which has ten arias headed “del Sig.r Ales.o Scarlatti … 1696,” (in addition to one cantata by “Scarlatti” and two cantatas by Giovanni “Bononcini”); eight of its arias are also in Barb. lat. 4141. The ms. I-Bc V.291 is a Roman copy of fifty-five arias from operas of the 1680s-90s, which includes Barb. lat. 4141, n. 13. Among the sixty-seven arias and cantatas in I-Nc 60.2.49 (Cantate 18, Internet Culturale access) are Barb. lat. 4141, nn. 27, 37, 44 and 46. A nineteenth-century collection of eight arias from DIDONE DELIRANTE was not examined (I-OS Mus. B.17). Copied by Giuseppe Greggiati (1793-1866) on 26 May 1857, it includes seven arias that are in Barb. lat. 4141 (nn. 1314, 29, 39-40 and 50-51), with accompaniments for one or two violin parts plus continuo. DIDONE DELIRANTE was never revived after its production in Naples 1696 (SARTORI, no. 7868), but a revival in London was prepared in 1707, according the The Muses Mercury, September 1707, p. 218: There are several Opera’s doing from the Italian; but that which is in the greatest Forwardness is LA DIDONE DELIRANTE of Scarlati, which has been finish’d these two Months, is now learning by the Performers, and will be ready to be practis’d within three Weeks. We have Reason to know something of this

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Opera, but that Reason hinders us from Saying any more of it. ’Tis entirely Scarlati’s, and there’s no body, who knows any thing of Musick, will desire any other Recommendation of it.

The writer lambastes “the Singers, the Women and Foreigners especially,” in the next issue, October 1707, p. 240: ’Tis said these Singers have a Pastoral [LOVE’S TRIUMPH], which they intend to have perform’d for their own Advantage, exclusive of all others, tho we are very well assur’d the Musick of DIDO, an Opera introduc’d by Mr. Leveridge, is the best Musick that ever was heard in England; and we may modestly say, that considering he has so long and so happily diverted the Town himself, and now desires only to be put on the same Foot with Foreigners and Women, to have his Musick perform’d as it is lik’d, ‘twill be a very hard Fate if he should not have impartial Usage.

Richard Leveridge (1670/1-1758) was a bass who entertained theatrical audiences by singing comic songs, then by performing comic roles when Italian(ate) operas began to be produced in London in 1705. He presumably selected DIDONE DELIRANTE because of the prominent role given to Frullo, a comic bass. But his adaptation was never staged and is not known to survive. Comic arias were not ordinarily included in aria collections, and if a second hand had not added seven of Frullo’s arias to Barb. lat. 4141, they would not have survived today. Barb. lat. 4141-4142

Barb. lat. 4142 1687-1692 ca., 84 × 250 mm, I.182.I ff., 4 staves, at least five hands

Miscellany of seventy-one Venetian arias, fifty-one from eight operas of 1690-91: IL TRIONFO DELLA CONTINENZA (10 arias) and L’AMOR DI CURZIO PER LA PATRIA (5), written for the Teatro Santi Giovanni e Paolo (S. G.P.) by Giulio Cesare Corradi, music by Paris Alghisi; PIRRO E DEMETRIO (7) and L’INCORONAZIONE DI SERSE (6), written for the Teatro San Giovanni Grisostomo (S. G.G.) by Adriano Morselli, music by Giovanni Felice Tosi; LA FALSIRENA (6) and CREONTE (5), written for the Teatro Sant’Angelo (S. A.) by Rinaldo Cialli, music by Marc’ Antonio Ziani; BRENNO IN EFESO (6), written for the Teatro San Salvatore (San Luca) by Antonio Arcoleo, music by Giacomo Antonio Perti, dedicated to Prince Antonio Ottoboni, and re-staged in Milan 1692, dedicated to Diego Felippez de Guzman; and IL GRAN MACEDONE (6), written for the Teatro San Cassiano (S. C.) by Giulio

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Pancieri, music by Giuseppe Boniventi. The only attributions in the ms. credit Ziani with three arias from FALSIRENA (nn. 53, 59, 63). The above fifty-one arias were written by at least four hands; a single hand copied the other twenty (ff. 1-48, 51-78 and 133-136). These twenty include five from IL MAURITIO, written for the Teatro San Salvatore for carnival 1687 by Adriano Morselli, music by Domenico Gabrielli. One aria (n. 17) appears in the libretto for TEODORA CLEMENTE, staged in Piacenza 1689 of a 1685/86 opera by Adriano Morselli with music by Domenico Gabrielli, and revised by Bernardo Sabadini. The fourteen remaining unidentified arias occur in Barb. lat. 4139 and 4140 in the midst of arias dated 1687. The setting is S/B unless otherwise indicated. Barb. lat. 4142 1 (ff. 1-3v) Già che perso ho la speranza del goder, F major. Also anon. in Barb. lat. 4139, n. 14. 2 (ff. 5-8) Se giungo a baciarla, vo’ stringerla annodarla, A/B, B! major. 3 (ff. 9-11) Senza voi, luci adorate, non ha pace il mio dolor, D minor. Also anon. in Barb. lat. 4139, n. 12. A different aria with a similar text incipit is in Barb. lat. 4130, n. 20.

4 (ff. 13-16) [DOMENICO GABRIELLI]. Di te, o barbaro, non teme la mia costanza, A/B, D minor. For Cosdroe in III:3 of IL MAURITIO (Venice 1687). Also anonymous in Barb. lat. 4139, n. 17, and I-MOe Mus. G.78, n. 14, ff. 31-32v. Attributed to “Domenico Gabrielli” and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 174v-176. A different musical setting of this text, conjecturally composed by Severo De Luca for the Roman production of Il Mauritio in 1692, is in Barb. lat. 4167, n. 15; D-Mbs Mus. 11406, ff. 74-75; and I-Rc 2465, ff. 107-11v (T/B). SARTORI 1980, p. 551, incorrectly implies that Barb. lat. 4142, n. 4 and 4167, n. 15 contain the same setting of the text.

5 (ff. 17-19v) Chi sapesse ov’è il mio bene, F major. Also anon. in Barb. lat. 4139, n. 1, and GB-Lbl Harley 1273, f. 5. 6 (ff. 21-22) Belle mura, alberghi amati, A major. Also anon. in Barb. lat. 4139, n. 16. 7 (ff. 23-24v) Piaga adorata e cara, t’ha fatto il dio d’amor, T/B, B! major. The da capo is altered. 8 (ff. 25-27) Il duol che sento in me non vuol lasciarmi piangere, B minor. Also anon in Barb. lat. 4139, n. 6. The da capo is altered. 9 (ff. 29-31v). È sì fiero destino a mie danni, F major. Also anon. in Barb. lat. 4139, n. 13.

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10 (ff. 33-36). Fanno lega nel mio core Speme e Amore, G major. Also anon in Barb. lat. 4139, n. 15. 11 (ff. 37-40) [GABRIELLI]. Sparse dal pianto mio, piante crescete, F major. For Placilla in I:6 of MAURITIO. The da capo is written out. Also anon. in Barb. lat. 4139, n. 20; F-Pn Vm7 5, ff. 187-188; and I-MOe Mus. G.78, ff. 11-12. Attributed to “Domenico Gabrielli” in the score for Modena 1689, I-MOe Mus. F.417, f. 28r-v. Gabrielli’s 1687 setting for Venice was retained in anon. sources representing the Roman production of 1692: Barb. lat. 4152, n. 3, and I-Rc 2465, ff. 141-144. 12 (ff. 41-43v) Mi consiglia a prender l’armi, F major. 13 (ff. 45-48). Il fato del mio amore non so che fine havrà, A major. 14 (ff. 49-50v) [GIUSEPPE FELICE TOSI]. Tanti baci, mio bene, io vi darò, E major. For Statira in II:5 of L’INCORONAZIONE DI SERSE (Venice 1691). 15 (ff. 51-53v) [GABRIELLI]. Sotto l’ombra de’ placidi mirti, G major. For Mauritio in I:1 of MAURITIO (through-composed). Also anon. in Barb. lat. 4139, n. 9; Barb. lat. 4140, n. 19; and F-Pn Vm7 5, ff. 195-96v. Attributed to “Gabrielli” on the spine of I-MOe Mus. G.78, ff. 80-81v. Gabrielli’s 1687 setting was retained for the Roman production of 1692, represented by Barb. lat. 4152, n. 12; Barb. lat. 4167, n. 6; D-MÜs 595, ff. 53-56v; and I-Rc 2465, ff. 71-74v. 16 (ff. 55-62). Son risolta di vendicarmi, non vo’ pace, voglio guerra, S/ TB, G major. The staff with the tenor clef (C4) is marked “violoncello.” 17 (ff. 63-66). [BERNARDO SABADINI]. Quel bello, quel vago, quel genio, qual nume, A major. For Clitarco in III:19 of TEODORA CLEMENTE (Piacenza 1689). Also anon. in the collection of arias for Venice, Barb. lat. 4139, n. 10, and the collection of arias for Piacenza, Barb. lat. 4176, n. 7 (q.v. for two further concordances). 18 (ff. 67-70) [GABRIELLI]. Guerra e pace, amori ed armi, A major. For Mauritio in III:15 of MAURITIO. Attributed to “Gabrielli” on the spine of I-MOe Mus. G.78, ff. 76-77v, and to “Domenico Gabrielli” and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 211-12v. Even though it is not in the 1692 libretto, Gabrielli’s 1687 setting for Venice (in the 2d edn of the libretto) may have been retained for the Roman production of 1692, since it appears among anonymous arias for Rome in I-Rc 2465, ff. 145-47v. 19 (ff. 71-74) [GABRIELLI]. Son delizie del mio pensiero, A/B, B! major.

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For Cosdroe in II:6 of MAURITIO. Also anon in Barb. lat. 4140, n. 22. Attributed to “Gabrielli” on the spine of I-MOe Mus. G.78, ff. 7-8v. The Roman revival of 1692 included a new setting for II:8, attributed to [Severo] De Luca in BAV Chigi Q.IV.34, ff. 25-28v (CARBONI 12/3, n. 1617); anonymous in other Roman collections: Barb. lat. 4152, n. 17, and I-Rc 2465, ff. 117-21v (T/B, C major).

20 (ff. 75-78). A consiglio, o miei pensieri, SS/B, E minor. Also anon. in Barb. lat. 4139, n. 21. 21 (ff. 79-80v) [GIACOMO PERTI]. Dimmi, alato dio di Gnido, A major. For Camilla in I:4 of BRENNO IN EFESO (Venice 1690). 22 (ff. 81-82v) [TOSI]. Risolvete di sanarmi, o cessate di piagarmi, G major. For Climene in I:3 of PIRRO E DEMETRIO (Venice 1690). Also anon. in the collection I-MOe Mus. G.311, ff. 8-9v. 23 (ff. 83-84) [PARIS ALGHISI]. S. G.P. Han le donne il genio istesso, E minor. For Cleta in II:5 of IL TRIONFO DELLA CONTINENZA (Venice 1690-1691). 24 (ff. 85-86v) [GIUSEPPE BONIVENTI]. Sì, sì, presto sorgete, alati feritor, D major. For Venere in the “Introduzione all’opera” to IL GRAN MACEDONE (Venice 1690); 2 str. in the libretto. 25 (ff. 87-88v) [BONIVENTI]. Speranza d’ amore, tornatemi in sen, G major. For Coridea in I:8 of GRAN MACEDONE. The abbreviation for San Casciano (S.C.) was cut off when the page was trimmed. Incorrectly attrib. to Cesti in F-Pn Vm7 24 (WECIS 1). 26 (ff. 89-90) [BONIVENTI]. Pensier di te non ho, se ben un dì t’amai, D major. For Filismena in I:6 of GRAN MACEDONE. 27 (ff. 91-92v) [BONIVENTI]. Guerra mi fa nel seno speranza e rio timor, G minor. For Filismena in I:3 of GRAN MACEDONE. 28 (ff. 93-94) [BONIVENTI]. S. C. Fa ridere e fa piangere, C major. For Aspasio in I:11 of GRAN MACEDONE. 29 (ff. 95-96) [BONIVENTI]. S. C. Costante adora e spera, A major. For Filismena in III:4 of GRAN MACEDONE. This is strophe 2 of Mercede imploro, o cara, sung by Aspasio. 30 (ff. 97-98) [TOSI]. Voi rose modeste il genio spiegate, C major. For Elena in I:4 of INCORONAZIONE DI SERSE. 31 (ff. 99-100v) [TOSI]. Quella man se potete stringete, F major. For Statira in I:11 of INCORONAZIONE DI SERSE. CELANI and BARONCI listed this as “Nella man.”

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32 (ff. 101-102) [MARC’ANTONIO ZIANI]. S. A. Non so tradir, so amar, G minor. For Isifile in I:17 of IL CREONTE (Venice 1691). Also anon. in the Venetian F-Pn Vm7 5, pp. 137-139. 33 (ff. 103-104v) [M.A. ZIANI]. S. A. Care labra di me se sarete, A/B, G minor. For Ormondo in I:9 of CREONTE. The libretto has “Dolci” instead of “Care.” 34 (ff. 105-106v) [M.A. ZIANI]. S. A. Godi, saziati, o barbara sorte, G minor. For Isifile in I:10 of CREONTE. Also anon. among arias for Venice in Barb. lat. 4132, n. 58. 35 (ff. 107-108v) [M.A. ZIANI]. S. A. Col desio di cento baci, B! major. For Erasto in I:16 of CREONTE. Also anon in Barb. lat. 4132, n. 48. 36 (ff. 109-110v) [M.A. ZIANI]. S. A. Non riposa un sol momento, A major. For Rosane in I:4 of CREONTE. Also in GB-Cfm 718 (olim 32.F.33), f. 49. The required da capo is not indicated. 37 (ff. 111-112) [ALGHISI]. S. G.P. Che gran pena sarebbe del core, A minor. For Floro in III:4 of TRIONFO DELLA CONTINENZA. 38 (ff. 113-114v) [ALGHISI]. S. G.P. Ad un gesto che rapisce, G major. For Arideo in I:1 of TRIONFO DELLA CONTINENZA. The libretto has “vezzo” instead of “gesto.” This is strophe 2 of Ad un gesto ch’inamora, sung by Zenocrate. 39 (ff. 115-116) [ALGHISI]. S. G.P. Nel formar un sì bel volto, G major. For Eumene in I:8 of TRIONFO DELLA CONTINENZA. Two-thirds of “S. G.P.” was cut off when the page was trimmed. The required da capo is not indicated. 40 (ff. 117-118v) [ALGHISI]. S. G.P. Mio sol pensa a gioir, C major. For Cleta in III:7 of TRIONFO DELLA CONTINENZA. Almost none of “S. G.P.” remained after the page was trimmed. 41 (ff. 119-120) [ALGHISI]. Ti lascio il cor’ in pegno fin che ritorna il piè, G major. For Flora in I:9 of TRIONFO DELLA CONTINENZA. Not to be confused with Ti lascio l’alma in pegno bella se parte’l piè sung by Anastasio in I:3 of Giovanni Legrenzi’s IL GIUSTINO (Venice 1683, Naples 1684, etc.), and in other scenes and later settings of the opera, e.g., in II:1 in Vicenza 1697 and in I-Rc 2572, ff. 10v-11, a score to Giustino dated 1685. For another setting, see the anonymous Barb. lat. 4167, n. 11.

42 (ff. 121-122) [TOSI]. Sì, sì, bella mia luce, E minor. For Statira in I:3 of INCORONAZIONE DI SERSE. 43 (ff. 123-124v) [ALGHISI]. Povero cor ti veggio in stato di penar, A mi-

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nor. For Flora in II:15 of TRIONFO DELLA CONTINENZA. The required da capo is not indicated. 44 (ff. 125-126) [ALGHISI]. Mira il bel che tu disprezzi, G minor. For Flora in II:7 of TRIONFO DELLA CONTINENZA. 45 (ff. 127-128v) [ALGHISI]. S. G.P. Altro poi non è l’amar, T/B, F major. For Demostene in II:7 of TRIONFO DELLA CONTINENZA. Nearly all of “S. G.P.” was cut off when the page was trimmed. The required da capo is not indicated. 46 (ff. 129-130v) [TOSI]. Quel ciglio, quel labro, quel vezzo, quel crin, E! major. For Elena in II:1 of INCORONAZIONE DI SERSE. 47 (ff. 131-132) [ALGHISI]. Lascia di respirar, cadavere d’amor, A minor. For Flora in II:7 of TRIONFO DELLA CONTINENZA. 48 (ff. 133-136). Astro vago, sei pur bello, G major. Also anon in Barb. lat. 4139, n. 11. The da capo section is written out. 49 (ff. 137-138) [TOSI]. M’è cara l’alma mia, B minor. For Statira in I:7 of INCORONAZIONE DI SERSE. 50 (ff. 139-140) [PERTI]. Con la bella che m’impiaga, D major. For Endimiro in I:15 of BRENNO IN EFESO (Venice 1690, Milan 1692). Also anon. in the Venetian collection F-Pn Vm7 5, pp. 62-66. The aria appears among the replacement arias in a presumably second printing of the 1690 libretto, p. 5. In I:14 of the first Venice 1690 libretto, Endimiro sings Rida lieto di pompe adorno. It was replaced by Con la bella in the Venetian season.

51 (ff. 141-142v) [TOSI]. Miei spirti inferocitevi, incrudelitevi, G major. For Deidamia in II:3 of PIRRO E DEMETRIO. The printed libretto reads Miei spirti incrudelitevi, inferocitevi. 52 (ff. 143-144v) [TOSI]. Qui contrasti con zeffiro l’onda, G major. For Climene in I:12 of PIRRO E DEMETRIO. 53 (ff. 145-146v) [MARC’ANTONIO] ZIANI. Sento Amore che dice al core, E minor. For Venere in III:10 of LA FALSIRENA (Venice 1690). Anonymous in I-MOe Mus. G.311, ff. 49-50v. Most of the name “Ziani” was cut off when the page was trimmed. 54 (ff. 147-148) [TOSI]. È pur giunto il dì beato, D major. For Deidamia in III:7 of PIRRO E DEMETRIO. Also anon. in I-MOe Mus. G.311, ff. 14v-15v. 55 (ff. 149-150v) [ALGHISI]. Ravivato dal sepolcro, s’oda il Tebro a fes-

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teggiar, D major. For Attilio in III:16 of L’AMOR (Venice 1690).

DI

CURZIO

PER LA PATRIA

56 (ff. 151-152v) [ALGHISI]. Querelati, o mio sol, del tuo destin crudel, A major. For Curzio in I:12 of AMOR DI CURZIO. 57 (ff. 153-154v) [ALGHISI]. Quando s’ama, amar da vero, A minor. For Flavia in I:7 of AMOR DI CURZIO. 58 (ff. 155-156) [ALGHISI]. Contro te, Giove tiranno, G major. For Flavia in III:17 of AMOR DI CURZIO. 59 (ff. 157-158v) [M.A.] ZIANI. Perché mai, luci adorate, C minor. For Venere in I:2 of FALSIRENA. 60 (ff. 159-160) [ALGHISI]. Il morir non mi da pena, B! major. For Flavia in III:4 of AMOR DI CURZIO. 61 (ff. 161-162v) [PERTI]. Se tu lasci il fido amante, G minor. For Dorillo in I:9 of BRENNO IN EFESO (Venice 1690, Milan 1692). 62 (ff. 163-64v) [M.A. ZIANI]. De’ dolci contenti s’il ciel mi privò, E! major. For Venere in III:14 of FALSIRENA. The da capo is altered. 63 (ff. 165-166v) [M.A.] ZIANI. Tu, sola tu, consolami, dolcissima Speranza, C minor. For Mercurio in II:9 of FALSIRENA. The libretto has “gradita mia” instead of “dolcissima.” Anonymous in I-MOe Mus. G.311, ff. 65v-67. 64 (ff. 167-168v) [PERTI]. Giri pur, contraria sorte, B! major. For Endimiro in II:12 of BRENNO IN EFESO (Venice 1690, Milan 1692). 65 (ff. 169-170v) [TOSI]. Stanco è Amor di darmi pene, G major. For Climene in III:12 of PIRRO E DEMETRIO. 66 (ff. 171-172v) [M.A. ZIANI]. Il dardo di Cupido per te che non farà, C major. For Amore in I:3 of FALSIRENA. The da capo is altered. 67 (ff. 173-174) [PERTI]. Cinto il crin d’aurea corona, C major. For Endimiro in II:4 of BRENNO IN EFESO (Venice 1690, Milan 1692). Anonymous in BAV Chigi Q.IV.47, ff. 25-26v. 68 (ff. 175-176v) [PERTI]. D’un crin nero fra le ritorte, G major. For Elvira in I:6 of BRENNO IN EFESO. Also in I-Rli Fondo Caetani 208.A.2, ff. 70v-72v (CAR-GIA-ZI, p. 104). 69 (ff. 177-178) [TOSI]. Su la bocca il rio mi palpita, C major. For Climene in II:5 of PIRRO E DEMETRIO. 70 (ff. 179-180) [M.A. ZIANI]. Bench’in seno alle tempeste, A/B, D minor. For Adone in I:12 of FALSIRENA.

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71 (ff. 181-182) [TOSI]. Al seren di questa reggia, sento l’anima, che brilla, D major. For Clearte in I:11 of PIRRO E DEMETRIO. Also anon. in I-MOe Mus. G.311, ff. 19v-20v. Bound in parchment (98 × 250 mm). The number 13 is written by a modern hand in black ink on the spine and the previous shelfmark XLVII.13 is written inside the front cover. The first of three watermarks is a circle, above which is a trefoil (clover), and within it is 3B (or 3P) above the script letter R (ff. 1, 21, 40, 51, 55, etc.). The second one — found only on ff. 29, 39, 41 and 43 — is a five-pointed crown with seven round jewels; three jewels are on the base, while the other four are atop all but the middle point of the crown. The third watermark, associated with Venice, displays three crescent moons (ff. 50, 90, 100, etc.), and is similar to HEAWOOD nn. 863-867. Noticeably heavy paper was used for nn. 21-22, 24, 49-55, 61, 6566 and 68-70. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 4, 12, 20, 28, 32, 44 and 54. Various pages were at one time folded twice lengthwise. The first two watermarks are for paper utilized by hand 4142-A, who copied the twenty pieces dated ca. 1687 (nn. 1-13, 15-20 and 48). Each of these arias begins on the right half of a recto; space at the left was reserved for ornate initial letters, which are lacking. Hand 4142-A also copied Barb. lat. 4139. In Barb. lat. 4142 it copied twenty arias, five from MAURITIO of 1687 and fifteen that have not yet been found in a dramatic work. In 4139 it copied thirteen arias, all of which also appear in 4142. The four remaining hands in Barb. lat. 4142 wrote on Venetian paper with the third watermark. Hand 4142-B copied the six arias from L’INCORONAZIONE DI SERSE (nn. 14, 30-31, 42, 46 and 49). Hand 4142-C, which is identical to 4131-A and 4133-A, copied all seven from PIRRO E DEMETRIO, all six from BRENNO IN EFESO, all six from FALSIRENA, all five from AMOR DI CURZIO, and four from TRIONFO DI CONTINENZA (n. 21-22, 41, 43-44, 47 and 50-71). Hand 4142-D copied six arias from TRIONFO DI CONTINENZA and all five from CREONTE: nn. 23, 32-40 and 45; it supplied the theater — S. A. or S. G. P. — for each one. Hands 4142-B, C and D left a relatively small space before beginning each aria, filled with a rather large (but not ornate) initial letter. Hand 4142-E copied the six arias from IL GRAN MACEDONE: nn. 24-29; these are not preceded by a large initial letter, but the theater — S. C. — is supplied for the last two. It is possible that two hands copied the pieces currently assigned to 4142-A, and that a hand other than 4142-D copied n. 32. Da capos are usually indicated, not written out. All ten libretti are available online through the CORAGO portal; see also

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GROPPO, pp. 64 and 69-70. The dedications in at least five are signed by the librettist. In a sixth, IL GRAN MACEDONE, it seems likely that the librettist, Giulio Pancieri, veiled his identity with the signature “Il direttor dell’opera, C. G. F. P.” The costume designer, Gasparo Torelli, signed the dedication in MAURITIO, while the stage designer, Tomaso Bezzi, signed the one in FALSIRENA. The librettist, Cialli, is named on the title page of FALSIRENA. Each of the nine libretti has an address to the reader that names and lauds the composer. Singers for three productions are known. Those in MAURITIO are named in the January 1687 issue of Pallade Veneta, those in PIRRO E DEMETRIO in the libretto, and those in BRENNO IN EFESO on the first of twelve pages added to the libretto. The twelve pages of substitute and additional texts appended to the libretto of BRENNO IN EFESO begin ‘coi nomi di famosissimi rappresentanti.’ Those who sang arias in Barb. lat. 4142 are Francesco Grandis, virtuoso di S. M. C. (Endimiro, nn. 50, 64 and 67), Clarice Venturini, virtuosa del Serenis. di Parma (Camilla, n. 21), Valentino Urbani da Udine (Dorillo, n. 61) and Angelica Zannoni, venetiana (Elvira, n. 68). See CORAGO and SARTORI, nn. 1363, 4139-4140, 6884-6885, 9612, 12466-67, 13056, 15271, 18792 and 23760. For the arias herein, see LINDGREN-Ven, passim. Barb. lat. 4142 is the only known musical source for four of the operas it contains: Alghisi’s AMOR DI CURZIO and TRIONFO DELLA CONTINENZA, Tosi’s INCORONAZIONE DI SERSE, and Ziani’s FALSIRENA. It is the principal source for two other operas. The only other aria known for Boniventi’s GRAN MACEDONE is in F-Pn Rés. Vma 967, n. 104. The two other known sources for Perti’s BRENNO IN EFESO contribute only one additional aria: the one in I-Rli Fondo Caetani 208.A.2, ff. 70v-72v, is also n. 68 above; one of the two in F-Pn Vm7 5, pp. 60-64, is also n. 50 above. The main musical sources for Ziani’s CREONTE are Barb. lat. 4132 (12 arias) and 4142 (five arias, three of which are not in 4132). There are also three in F-Pn Vm7 5, pp. 73-75, 129-131 and 137-139; the last one is in Barb. lat. 4142, n. 2. The only one in GB-Cfm 32.F.33, f. 49, is n. 36 above. The extant score for Gabrielli’s MAURITIO, I-MOe Mus. F.417, represents the version heard at the Modena revival of 1689. It includes Barb. lat. 4142, nn. 4, 11 and 18 of the Venetian production, but replaces nn. 15 and 19. Other arias from the Venetian production survive in I-MOe Mus. G.78 (39 arias), Barb. lat. 4140 (30 arias), F-Pn Vm7 5 (23 arias), and Barb. lat. 4139 (4 arias). Arias in the three Barb. lat. mss. were matched with scenes in MAURITIO in SARTORI 1980, pp. 550-551. Three of the cast members listed in Pallade Veneta for January 1688 sang the five arias in Barb. lat. 4142: Francesco Antonio Pistocchi (Cosdroe, nn. 4 and 19), Barbara Riccioni (Placilla, n. 11) and Domenico Cecchi di Mantova (role of Mauritio, nn. 15

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and 18); see SELFRIDGE-FIELD-PV, pp. 143-144 and Illustration 10 (facing p. 209). The largest source for arias from Tosi’s PIRRO E DEMETRIO is I-MOe Mus. G.311, nn. 1-18 and 21-28 (LODI, p. 172; CHIARELLI, n. 509). It includes three of the seven arias in Barb. lat. 4142 (nn. 22, 54 and 71). Three of the cast members listed in the libretto sang arias in Barb. lat 4142: Diana Testi, virtuosa del sereniss. di Mantova (Climene, nn. 22, 52, 65 and 69), Faustina Perugina romana (Deidamia, nn. 51 and 54), and Faustin Marchesi, musico del sereniss. di Modena (Clearte, n. 71). Barb. lat. 4142-4143

Barb. lat. 4143 1691-1700 ca., 85 × 245 mm, III.138.III ff., 4 staves, 6 hands

Miscellany of forty-six arias from six operas, including three with arias in Barb. lat. 4144. All except nn. 2 and 32 are anonymous. Six arias, headed “1692, S. Salvatore” by one hand and “S. L[uca]” by another, are from LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (Venice, autumn 1691), libretto by Francesco Silvani, music by Marc’Antonio Ziani. Six headed “1692, S. Gio. Crisostomo” by one hand and “S. G.G.” by another are from L’IBRAIM SULTANO (Venice, carnival 1692), libretto by Adriano Morselli, music by Carlo Francesco Pollarolo. Six headed “S. A[ngelo]” are presumably all in IL TRIONFO DELL’INNOCENZA (Venice, carnival 1693), libretto by Rinaldo Cialli, music by Antonio Lotti. Nine are from IL FLAVIO CUNIBERTO (Naples, Teatro S. Bartolomeo, November 1693), libretto by Matteo Noris (Venice 1682) and music by Alessandro Scarlatti. Five are from LA PROSPERITÀ DI ELIO SEIANO (Milan 1699), libretto by Nicolò Minato (Venice 1667), which had music by Francesco Vanarelli, Giacomo Perti and Francesco Martinengo. Fourteen are from L’INGANNO DI CHIRONE (Milan 1700), libretto by Pietro d’Averara, music by Pollarolo. The settings are S/B unless otherwise indicated. As noted below, five other scorings are found: SS/B (n. 13), S/TrTrB (n. 32), S/TrB (nn. 33, 41-43 and 45-46), S/BB (n. 44) and A/B (nn. 5, 14, 21 and 29). Online in DVL. 1 (ff. 1-3v) [ALESSANDRO SCARLATTI]. Bianca man, col tuo candor, A major. For Guido in I:6 of FLAVIO CUNIBERTO (Naples 1693). Attributed to “Ales.o Scarlatti” and with a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989 (unfoliated). Anonymous in Barb. lat. 4144, n. 12. 2 (ff. 5-7v) SCARLATTI. [Vittoria Tarquini detta la] Bombaci. Mora, pera, vo’ severa vendicarmi, D major. For Emilia in III:9 of FLAVIO CUNIBERTO

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(Naples 1693). See the commentary to Barb. lat. 4144 for information about cast members. Attributed to “Ales.o Scarlatti” and with TrTrAB instruments in the score to the opera, GB-Och Mus. 989. 3 (ff. 9-10v) [A. SCARLATTI]. Deh, m’uccidi, o bella mia, D minor. For Flavio Cuniberto in I:11 of FLAVIO CUNIBERTO (Naples 1693). Attributed to “Ales.o Scarlatti” and with TrTrAB instruments in the score to the opera, GB-Och Mus. 989. Also anonymous in Barb. lat. 4144, n. 14, and GB-Er 1430, pp. 112-115. Barb. lat. 4143 4 (ff. 13-14) [GIACOMO PERTI]. Non distinguo il foco ond’ardo, A minor. The closing aria for Agrippina in II:8 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 5 (ff. 14v-15v) [FRANCESCO MARTINENGO]. Tu mi conosci, di’? Eh, che t’inganni, A/B, G major. For Agrippina in III:6 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 6 (ff. 16-17v) [MARTINENGO]. Più che in mar dall’onde il pino, C major. For Germanico in III:12 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). Also anon. in I-PAVu Ticinese 696, ff. 81-84v (S/TrTrAB). 7 (ff. 18-19) [PERTI]. Mi nacque in seno la crudeltà, D major. The opening aria for Agrippina in II:8 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 8 (ff. 19v-20v) [PERTI]. Più non può di stella alcuna, D major. For Seiano in II:2 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 9 (ff. 21-22v) [CARLO FRANCESCO POLLAROLO]. A la speranza il pensier vola, E! major. For Filomela in II:6 of L’INGANNO DI CHIRONE (Milan 1700); libretto by Pietro d’Averara. Also anon. in I-PAVu Ticinese 696, ff. 172-175, S/Tr(oboe)B. 10 (f. 23r-v) [POLLAROLO]. È il core in periglio, se Amore alla pesca, A major. For Isandro and the closing “choro” of II:11 of L’INGANNO DI CHIRONE; see n. 9 above. Also anon. in I-PAVu Ticinese 696, ff. 94-95. 11 (ff. 24-25v) [POLLAROLO]. Duetto. Fra speme e spavento quest’alma vacil[l]a, A major. For Filomela in III:4 of L’INGANNO DI CHIRONE; see n. 9 above. Also anon. in I-PAVu Ticinese 696, ff. 184-95v, S/TrTrTrTrBBB (= VV/ObOb, Tiorba,Vc/bc) 12 (ff. 26-27) [POLLAROLO]. In quella rosa che m’invaghì, F major. For Peleo in II:13 of L’INGANNO DI CHIRONE; see n. 9 above. Also anon. in IPAVu Ticinese 696, ff. 148-51v, S/TrB. 13 (ff. 27v-32) [POLLAROLO]. Fra queste brac[c]ia, o cara, mi guida la mia

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sorte, SS/B, B! major. For Filomela and Isandro in II:12 of L’INGANNO DI CHIRONE; see n. 9 above. Given in the 1700 libretto as Tra queste braccia o caro/o cara, mi guida la mia sorte. 14 (ff. 33-34) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Si scherzi, si rida, si pensi a goder, A/B, F major. For Rosana in II:2 of IBRAIM SULTANO (Venice 1692). Also anon. in I-MOe Mus. G.327, n. 18, ff. 35-36v, a Venetian collection of arias from IBRAIM SULTANO; also anon. in F-Pn Rés. Vma 967, f. 61v. A different setting of the aria text, intended for III:2 of L’Europe galante (2d edn 1698), is identified by Barbara Nestola in NESTOLA 2015, vol. 1, p. 41, with the suggestion of A. Campra as its composer. The new aria also appeared in the Meilleurs airs italiens, Paris, Ballard, 1699; cf. EAD., vol. 2, AIF.574.

15 (ff. 35-36) [MARC’ANTONIO ZIANI]. 1692, S. Salvatore. S. L. Occhi belli del mio nume, A minor. For Artaserse in I:3 of VIRTÙ TRIONFANTE (Venice 1691). 16 (ff. 37-38) [ANTONIO LOTTI]. S. A. Due lumi vezzosi, se vincer saprò, B! major. For Feraspe in I:3 of TRIONFO DELL’INNOCENZA (I:2 in the 2nd edn, Venice, Nicolini, 1692). 17 (ff. 39-40) [LOTTI]. S. A. Spargi pur, notte adorata, F major. For Dorisbe in I:4 of TRIONFO DELL’INNOCENZA (not in the 2nd edn). 18 (f. 41r-v) [LOTTI?]. S. A. Fiamme d’amor tiranne a che mi tormentate, G minor. All the other arias marked “S. A.” in Barb. lat. 4143 are from Lotti’s TRIONFO DELL’INNOCENZA. Fiamme d’Amor tiranne may thus have been sung in the same opera, although it is not found in either edition of the libretto. 19 (ff. 43-44) [M.A. ZIANI]. 1692, S. Salvatore. S. L. Lo strale fatale de’ cori, B! major. For Artaserse in I:4 of VIRTÙ TRIONFANTE. Also anonymous in a Roman collection, Barb. lat. 4154, n. 1. 20 (ff. 45-46) [M.A. ZIANI]. 1692, S. Salvatore. S. L. Corrente. Sì, pensieri, ho già rissolto, G major. For Berenice in I:16 of VIRTÙ TRIONFANTE. Also anon. in a Roman collection, Barb. lat. 4154, n. 8. 21 (ff. 47-48) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Vuo’ soffrire ancor’ un poco, A/B, G minor. For Rosana in I:3 of IBRAIM SULTANO (Venice 1692). Also anon. in I-MOe Mus. G.327, n. 8, ff. 15-16v, a Venetian collection of arias from IBRAIM SULTANO. Also anon. in a Roman collection, Barb. lat. 4169, n. 44. 22 (ff. 49-50) [M.A. ZIANI]. 1692, S. Salvatore. S. L. In quel volto di gigli

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[e] di rose, B! major. For Artaserse in II:13 of VIRTÙ TRIONFANTE. Also anon. in a Roman collection, Barb. lat. 4154, n. 20. 23 (ff. 51-52) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Son pur care al sen piagato, G major. For Rusteno in I:16 of IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 11, a Venetian collection of arias from IBRAIM SULTANO. Anonymous and headed “S. G.G.” in another Venetian collection, GB-Lam 128, p. 181; also anon. in GB-Lbl Harley 1272, f. 52v. 24 (ff. 53-54) [LOTTI]. Al bel che t’invaghì ritorna amante cor, A major. For Gilauro in II:10 of TRIONFO DELL’INNOCENZA. 25 (f. 55r-v) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Non mi curo di favella, bocca bella, A major. For Ibraim in I:15 of IBRAIM SULTANO. Also anon. in I-MOe Mus. G.327, n. 14, a Venetian collection of arias from IBRAIM SULTANO. Anonymous and headed “S. G.G.” in another Venetian collection, GB-Lam 128, p. 153. 26 (ff. 57-58) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Lasciate di mirarmi, luci adorate e care, A minor. For Bajazet in I:11 of IBRAIM SULTANO. Also anon. in I-MOe Mus. G.327, n. 13, ff. 25-26v, a Venetian collection of arias from IBRAIM SULTANO. Anonymous and headed “S. G.G.” in another Venetian collection, GB-Lam 128, pp. 176-177. 27 (ff. 59-60) [M.A. ZIANI]. 1692, S. Salvatore. S. L. Per morire da amante fedele, F major. For Artaserse in III:7 of VIRTÙ TRIONFANTE. Also anon. in a Roman collection, Barb. lat. 4154, n. 27. 28 (ff. 61-62) [LOTTI]. S. A. Quanto è gradito e caro amar donna fedel, B! major. For Zenone in II:7 of TRIONFO DELL’INNOCENZA. 29 (ff. 63-64) [POLLAROLO]. 1692, S. Gio. Crisostomo. S. G.G. Ti adorerò, ti seguirò, A/B, D major. For Bajazet in III:11 of IBRAIM SULTANO. Also anon. in I-MOe Mus. G.327, n. 16, ff. 31-32v, a Venetian collection of arias from IBRAIM SULTANO. Anonymous and headed “S. G.G.” in another Venetian collection, GB-Lam 128, p. 185; also anon. in a Roman collection, Barb. lat. 4165, n. 24. 30 (ff. 65-66) [LOTTI]. S. A. Più lieta ti voglio, perché più mi piaci, A major. For Zenone in I:14 of TRIONFO DELL’INNOCENZA (I:13 in 2nd edn). 31 (ff. 67-68) [M.A. ZIANI]. 1692, S. Salvatore. S. L. Scopri l’ardor del seno, G minor. For Teodato in I:2 of VIRTÙ TRIONFANTE. Also anon. in a Roman collection, Barb. lat. 4169, n. 33. 32 (ff. 69-73) CARLO FRAN.O POLAROLI. Ariete, 1700. È un insidia la

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bellezza, S/TrTrB, A major. For Ippolita in I:2 of L’INGANNO DI CHIRONE (Milan 1700), libretto by Pietro d’Averara. The “ariete” include all the arias written by its copyist, nn. 9-13 and 32-40. 33 (ff. 73v-79) [POLLAROLO]. Se mi feri nel cor, saprò svenar, S/TrB, F major. The treble staff is labeled “unisoni.” For Filomela in I:4 of INGANNO DI CHIRONE; see n. 32 above. 34 (ff. 79v-81) [POLLAROLO]. Ma dille almeno, dille che l’adoro, A major. For Osmiro in I:6 of INGANNO DI CHIRONE; see n. 32 above. Also anon. in I-PAVu Ticinese 696, ff. 128-129. 35 (ff. 81v-83) [POLLAROLO]. Veggo in voi che l’alba pose, C major. For Isandro in I:7 of INGANNO DI CHIRONE; see n. 32 above. 36 (ff. 83v-85) [POLLAROLO]. M’è sparito dagl’occhi il mio bene, B! major. For Erene in I:8 of INGANNO DI CHIRONE; see n. 32 above. Also anon. in IPAVu Ticinese 696, ff. 112-113. 37 (ff. 85v-87) [POLLAROLO]. Scherniti pensieri dell’alma il desire, C major. For Erene in I:12 of INGANNO DI CHIRONE; see n. 32 above. Also anon. in I-PAVu Ticinese 696, ff. 167v-169. 38 (ff. 87v-88v) [POLLAROLO]. Nel duol più fier che al cor io sento, D major. For Isandro in I:13 of INGANNO DI CHIRONE; see n. 32 above. Also anon. in I-PAVu Ticinese 696, ff. 164-165. OPAC-SBN lists another Nel duol più fier by Pietro Giuseppe Gaetano Boni in IMdemicheli Mus. 102, the private library of Jorxe De Micheli in Milan; not seen.

39 (ff. 89-90) [POLLAROLO]. Amo di quando in quando, ma non s’affanna il cor, A minor. For Osmiro in II:2 of INGANNO DI CHIRONE; see n. 32 above. Also anon. in I-PAVu Ticinese 696, ff. 169v-171. 40 (ff. 90v-92v) [POLLAROLO]. Ho l’alma tremante, sconvolto il pensiero, D major. For Peleo in II:5 of L’INGANNO DI CHIRONE; see n. 32 above. Also anon. in I-PAVu Ticinese 696, ff. 89-93, S/TrTrAB. 41 (ff. 93-97v) [A. SCARLATTI]. Non lo dite a questo core che vi sia più bella, no, S/TrB, E minor. For Cuniberto in II:1 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” in the score to the opera, GB-Och Mus. 989, and to “Alesandro Scarlatti” in a Roman collection, GB-Er 1430, pp. 56-69. 42 (ff. 99-106v) [A. SCARLATTI]. Sento già che nel mio core il contento brillerà, S/TrB, D major. For Emilia in I:7 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” in the score to the opera, GB-Och Mus. 989, and to “Alesandro Scarlatti” in a Roman collection, GB-Er 1430, pp. 1-21.

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43 (ff. 107-112v) [A. SCARLATTI]. Crudel, perché mi lascia in vita il tuo furor, S/TrB, C minor. For Guido in III:11 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” in the score to the opera, GB-Och Mus. 989, and to “Alesandro Scarlatti” in a Roman collection, GB-Er 1430, pp. 41-55. 44 (ff. 113-121) [A. SCARLATTI]. Spirti fieri, alla vendetta, Ira, Sdegno, Odio e Furor, S/BB, B! major. For Guido in II:10 of FLAVIO CUNIBERTO (the libretto reads … alle vendette). Attributed to “Ales.o Scarlatti” and with TrTrABB instruments in the score to the opera, GB-Och Mus. 989. Attributed to “Scarlatti” in Barb. lat. 4144, n. 39. In the parallel scene II:9 set by Scarlatti in 1702, Guido sings instead the aria Su, venite ad agitarmi. The aria by Francesco Mancini for ALESSANDRO IL GRANDE IN SIDONE (Naples 1706) has the text, Spirti fieri, alla vendetta, se lo sdegno in me s’avanza (Internet Culturale access).

45 (ff. 123-129v) [A. SCARLATTI]. Che colpa è la mia, s’Amor vuol così, S/TrB, B minor. For Teodata in III:14 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” in the score to the opera, GB-Och Mus. 989, and to “Alesandro Scarlatti” in a Roman collection GB-Er 1430, pp. 22-40. This aria text was also set by Luigi Mancia for Teodata, sung by Gioseppe Argenti da Udine, in III:13 of FLAVIO CUNIBERTO (Rome 1696), copy in BAV Barb. lat. 4159, n. 10; cf. SARTORI, no. 10721, and FRANCHI 1988, pp. 701-702. A third setting for Teodata is by G.F. Handel, in his FLAVIO RE DEI LONGOBARDI (London 1723).

46 (ff. 131-138) [A. SCARLATTI]. Armati di fierezza per vendicarti o cor, S/ TrB, G major. For Cuniberto in II:14 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” in the score to the opera, GB-Och Mus. 989. Bound in parchment (95 × 245 mm). The number 14 is written in black ink on the spine. Inside the front cover the shelfmark XLVII.14 is written in black ink. Edges are colored pink and speckled with blue. An early eighteenth-century hand — not apparently one of the six music copyists — foliated the ms. in ink, then provided an alphabetical index of the arias on flyleaves [II] and [III] at the beginning of the ms. (His index is reproduced with few changes in CELANI, p. 120.) The same hand provided a similar index for Barb. lat. 4144. The opening flyleaf and the three flyleaves at the end are blank. Blank staves only are on ff. 4, 8, 11-12, 42, 56, 98, 122 and 130. The nine arias from the Neapolitan production of FLAVIO CUNIBERTO were copied by three presumably Neapolitan copyists. Hand A copied nn. 1, 41-43 and 45-46; B copied nn. 2 and 44; and C copied n. 3. They also copied the arias from FLAVIO CUNIBERTO in Barb. lat. 4144. Hands A, B and C in Barb. lat. 4143 are respectively the same as hands B, D and A in Barb. lat. 4144. Indeed, all but one of the twenty-four arias from FLAVIO

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CUNIBERTO in Barb. lat. 4144 were copied by hands A-C in Barb. lat. 4143. Hand D copied nn. 4-8, and his is hand E in Barb. lat. 4144, arias from Milan. Hand E copied nn. 9-13 and 32-40, all from the same opera also for Milan by Pollarolo. The Venetian Hand F copied nn. 14-31, which are arias from LA VIRTÙ TRIONFANTE (1691), IBRAIM SULTANO (1692) and Il TRIONFO DELL’INNOCENZA (1693). For further information concerning Ziani’s VIRTÙ TRIONFANTE, see the commentary to Barb. lat. 4154. For information about Pollarolo’s IBRAIM SULTANO, see the commentary to Barb. lat. 4165. The Braidense copy of the 1692 libretto is available through the Internet Culturale portal. Another musical source for IL TRIONFO DELL’INNOCENZA, which was Antonio Lotti’s first opera, is an aria collection in Città di Castello, Biblioteca Comunale Giosué Carducci (NEW GROVE 2001, xv, 212). Nine instances of the three-crescent watermark associated with Venice appear in the Venetian arias. See also LINDGREN-Ven, passim. Paper of an indeterminate watermark or marks, not recognizably Venetian, occurs only in conjunction with the arias from Milan (ten occurences, e.g., ff. 13, 15, 27-28, 78). The printed libretto to the Milanese setting of Nicolò Minato’s PROSPERITÀ DI ELIO SEIANO, which gives the names of the singers and composers, is available through the Internet Culturale portal. Perti composed Act II, Martinengo Act III. Lanfossi notes that it was the first opera staged in the Nuovo Regio Teatro Ducale, in C. LANFOSSI, Il teatro d’opera a Milano nella seconda metà del XVII secolo. Ph.D. diss., Università degli Studi di Pavia, 2011, pp. 95, 243, and Cronologia (on appended CD-ROM). Don Fader first identified one of the Barberini arias via its concordance in I-PAVu Ticinese 696. See also Barb. lat. 4144. The printed libretto to Pietro d’Averara’s L’INGANNO DI CHIRONE (Milan, Regio Teatro, 1700) names the “insigne Maestro di Capella [sic] Polaroli” (pp. [v-vi]; available in the CORAGO portal). It was the first opera given at the Nuovo Regio Teatro Ducale that carnival; see LANFOSSI, Il teatro d’opera a Milano, pp. 373-374 and Cronologia. Barb. lat. 4143-4144

Barb. lat. 4144 1693-1694 ca., 90 × 243 mm, III.148.III ff., 4 staves, 7 hands

Miscellany of forty-five arias. Five are headed “Del Sig.r Scarlatti” (nn. 34-35, 39, 43-44), but not in the hand of the music copyist. Twenty-four are from FLAVIO CUNIBERTO (Naples, Teatro S. Bartolomeo, November 1693,

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libretto by Matteo Noris (Venice 1682), music by Alessandro Scarlatti. Singers are named for eleven of these arias, which identifies the Naples production (nn. 2, 4, 6, 27-28, 34-36, 39, 43-44; see comments at end and also Barb. lat. 4143). None of these twenty-four appears in Scarlatti’s later setting of Cuniberto for Pratolino 1702. Eight are from AMAGE, REGINA DEI SARMATI (Venice, Teatro S. Angelo, autumn 1693), libretto by Giulio Cesare Corradi, music by Carlo Pollarolo. The theater San Angelo (S. A.) is listed for four of its arias (nn. 5, 7 and 30-31). The year 1693 was added later for n. 30. Ten are from LA PROSPERITÀ DI ELIO SEIANO (Milan 1699), libretto by Nicolò Minato (Venice 1667), whose three acts had music by Francesco Vanarelli, Giacomo Perti, and Francesco Martinengo, respectively. Three are from L’INGANNO DI CHIRONE (Milan 1700), libretto by Pietro d’Averara, music by Pollarolo. Settings are S/B, except for five arias scored A/B (nn. 7, 19, 22, 30 and 40) and one scored S/BB (n. 45). Online in DVL. 1 (ff. 1-4) [ALESSANDRO SCARLATTI]. Serba all’ire de la sorte, mia vaga amorosa, E minor. For Guido in I:20 of FLAVIO CUNIBERTO (Naples 1693). Same as n. 29 below. Followed by a TrTrAB ritornello in the score to the complete opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989 (unfoliated). Anonymous in GB-Er P 1430, pp. 97-103. Barb. lat. 4144 2 (ff. 5-8v) [A. SCARLATTI]. Margarita (f. 8v). Costanza, gradita costanza, da te solo spero la pace del cor, G minor. For Emilia in I:21 of FLAVIO CUNIBERTO (Naples 1693, Florence 1697). Followed by a TrTrAB ritornello in the score to the opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. In 1693, however, the role of Emilia was presumably sung by Vittoria Tarquini (see comments at end). Anonymous in F-Pn Rés. Vmc 88, ff. 7v-8v; and GB-Er P 1430, pp. 104-111. Scarlatti’s setting of this aria was later sung by Lisarto in I:15 of his IERONE, TIRANNO DI SIRACUSA (Rome 1694). Domenico Partenio’s setting for the Venice 1682 production is I-Vqs 1430, n. 15. (Acts I and III are A-Wn Mus. Hs. 18642.) In the parallel scene I:20 of Scarlatti’s setting for Pratolino in 1702, Emilia sings the aria Parlar potesse il cuore.

3 (ff. 9-10) [CARLO FRANCESCO POLLAROLO]. Ritorno, aquila amante, a vagheggiar il sol, C major. For Ilioneo in I:7 of AMAGE, REGINA DEI SARMATI. 4 (ff. 11-14v) [A. SCARLATTI]. Margarita (f. 14v). Almen se tu mi lasci, ricordati di me (strophe 1), B minor. For Teodata in I:1 of FLAVIO CUNIBERTO (Naples 1693, Florence 1697). Strophe 2 (in G major) is nn. 11 and 28 below. With TrTrAB instruments in the score to the opera, which is attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. 5 (ff. 15-16) [POLLAROLO]. S. A[ngelo]. Se brami di succhiar il mel di fresca rosa, B! major. For Orontea in II:4 of AMAGE, REGINA DEI SARMATI

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(Venice 1693). Also anon. in F-Pn Rés. Vma 967, n. 149, f. 114v, and I-PAc Sanvitale Sanv.B.23 (olim 37732-CH-II-1), f. 90, marked “S.A. P[rim]a.” SARTORI 1980, p. 554, placed this aria in ODOARDO (Venice, S. Angelo, 1698), text by Apostolo Zeno and music by Marc’Antonio Ziani. This incorrect identification persists in the F-Pn catalogue.

6 (ff. 17-20v) [A. SCARLATTI]. Margarita (f. 20v). Ti sacro il core e l’alma, bella reina al piè, A major. For Teodata in I:10 of FLAVIO CUNIBERTO (Naples 1693; I:9 in Florence 1697). Followed by a TrTrAB ritornello in the score to the complete opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. 7 (ff. 21-22v) [POLLAROLO], S. A. Tortorella vo gemendo senza haver chi bramo a canto, A/B, F major. For Amage in III:2 of AMAGE, REGINA DEI SARMATI. 8 (ff. 23-24) [POLLAROLO]. Son nato per penar: non v’è pieta per me, B minor. For Ilioneo in III:8 of AMAGE, REGINA DEI SARMATI. Also anonymous in F-Pn Rés. Vma 967, f. 35. 9 (ff. 25-28) [A. SCARLATTI]. Non ho più core in sen; un guardo del mio ben, C major. For Flavio Cuniberto in II:13 of FLAVIO CUNIBERTO (Naples 1693; II:12 in Florence 1697) With TrTrAB instruments in the score to the complete opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. Anonymous in GB-Er P 1430, pp. 90-96. 10 (ff. 29-31) [A. SCARLATTI]. Non fia poca mercede, se gli dirò la fede, E minor. For Ernelinda in III:13 of FLAVIO CUNIBERTO (Naples 1693). With TrTrAB instruments in the score to the complete opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. 11 (ff. 33-35) [A. SCARLATTI]. Per te s’io vivo e spiro, sei l’alba de’ miei dì (strophe 2), G major. For Vitige in I:1 of FLAVIO CUNIBERTO (Naples 1693). Same as n. 28 below. Strophe 1 (in B minor) is n. 4 above. With TrTrAB instruments in the score to the opera that is attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. Barb. lat. 4144 12 (ff. 37-39v) [A. SCARLATTI]. Bianca man, col tuo candor (str. 1 only), A major. For Guido in I:6 of FLAVIO CUNIBERTO (Naples 1693). Strophe 2 is n. 35 below. Each strophe is attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989. Strophe 1 is also anonymous in Barb. lat. 4143, n. 1. 13 (ff. 41-44v) [A. SCARLATTI]. La speranza è un laccio fier (str. 2), G minor. For Flavio Cuniberto in II:11 of FLAVIO CUNIBERTO (Naples 1693). Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the

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score to the opera, GB-Och Mus. 989. Each strophe is anonymous in GB-Er P 1430, n. 15, where str. 1 begins La bellezza è una tiranna. 14 (ff. 45-47) [A. SCARLATTI]. Deh, m’uccidi, o bella mia, D minor. For Flavio Cuniberto in I:11 of FLAVIO CUNIBERTO. With TrTrAB instruments in the score attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. Also anonymous in Barb. lat. 4143, n. 3, and in GB-Er P 1430, pp. 112-115. 15 (ff. 49-50v) [FRANCESCO MARTINENGO]. T’inganni, pur t’inganni, se credi pur ch’io t’ami, G major. For Livia in III:8 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). The second line in the printed libretto reads “s’hai nel pensier ch’io t’ami.” Also anonymous in I-PAVu Ticinese 696, ff. 70v-73v, with string parts. 16 (ff. 51-52v) [GIACOMO PERTI]. Esser amante [io] voglio, ma di regnar sospiro, C major. For Seiano in II:6 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 17 (ff. 53-54) [FRANCESCO VANARELLI]. Se al par della sorte m’è fausto l’amore, G major. For Seiano in I:2 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 18 (ff. 55-56v) [POLLAROLO]. Almeno, o fido cor, ti voglio consolar, G major. For Ilioneo in II:12 of AMAGE, REGINA DEI SARMATI. Also anonymous in F-Pn Rés. Vma 967, ff. 73v-74. 19 (ff. 57-59) [MARTINENGO]. T’affligo e sospiro, t’inganno e t’adoro, A/B, D minor. For Agrippina in III:14 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). Also anonymous in I-PAVu Ticinese 696, ff. 60-62. 20 (ff. 59v-60v) [VANARELLI]. Che tu speri io ti prometto, E minor. For Livia in I:5 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 21 (ff. 61-62v) [POLLAROLO]. Sei mostro di beltà, ma sfinge sei d’amor, B! major. For Peleo in III:3 of L’INGANNO DI CHIRONE (Milan 1700). 22 (ff. 63-64v) [POLLAROLO]. Bersaglio allo sdegno, indegno cadrai, A/B, C major. For Acasto in II:17 of L’INGANNO DI CHIRONE (Milan 1700). Also anonymous in I-PAVu Ticinese 696, ff. 136-137. 23 (ff. 65-67v) [POLLAROLO]. Tutto amore quest’alma che ho in seno, C major. For Isandro in III:5 of L’INGANNO DI CHIRONE (Milan 1700). Also anonymous in I-PAVu Ticinese 696, ff. 113v-117. 24 (ff. 69-70v) [PERTI]. E come mai si può veder quei rai languir, A minor. For Agrippina in II:10 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699).

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25 (ff. 71-73) [MARTINENGO]. Da’ due sguardi in un’istante, nel mio petto Amor volò, G minor. For Seiano in III:10 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). Also anonymous in I-PAVu Ticinese 696, ff. 77-81. 26 (ff. 73v-74v) [VANARELLI]. D’alma vil ch’erge le piume, C major. For Germanico in I:1 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 27 (ff. 75-78v) [A. SCARLATTI]. Margherita (f. 78v). Core avvezzo a gli strali d’un guardo, B! major. For Teodata in II:5 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the complete score, GB-Och Mus. 989. Anonymous in GB-Er P 1430, pp. 116123. 28 (ff. 79-82v) [A. SCARLATTI]. Nicolino (f. 82v). Per te s’io vivo e spiro, sei l’alba de’ miei dì (str. 2), G major. For Vitige in I:1 of FLAVIO CUNIBERTO. Same as n. 11 above. Strophe 1 (in B minor) is n. 4 above. Attributed to “Ales.o Scarlatti” and accompanied by TrTrAB instruments in the score to the opera, GB-Och Mus. 989. 29 (ff. 83-85v) [A. SCARLATTI]. Serba all’ire della sorte, mia vaga amorosa, E minor. For Guido in I:20 of FLAVIO CUNIBERTO. Same as n. 1 above. 30 (ff. 87-88) [POLLAROLO]. S. A. 1693. Il campo di Marte mia reggia sarà, A/B, D major. For Amage in III:11 of AMAGE, REGINA DEI SARMATI. The year in the heading was added by a later hand. 31 (ff. 89-90) [POLLAROLO]. S. A. Mi sarà cara la vita, A minor. For Hircano in II:7 of AMAGE, REGINA DEI SARMATI. 32 (ff. 91-92) [POLLAROLO]. T’amo più che non amò, il suo Cefalo l’Aurora, B! major. For Orontea in I:11 of AMAGE, REGINA DEI SARMATI. Also anonymous in F-Pn Rés. Vma 967, f. 117. 33 (ff. 92bis-94) [A. SCARLATTI]. Ben te lo dissi, o cor, tutto il regno d’Amor, B! major. For Flavio Cuniberto in I:14 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989. 34 (ff. 96-99) [A.] SCARLATTI. Marg.ta. Fuggì, sparì, col volto del mio ben, G minor. For Teodata in I:2 of FLAVIO CUNIBERTO (Naples 1693 and Florence 1697). Also attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989. Anonymous in GBEr P 1430, pp. 84-89. 35 (ff. 100-102, including 101-101bis) [A.] SCARLATTI. Bombaci. Bella man, pietosa un dì (str. 2), A major. For Emilia in I:6 of FLAVIO CUNIBERTO

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(Naples 1693). Strophe 1 is n. 12 above and Barb. lat. 4143, n. 1. Also attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989. “Bombaci” is the singer Vittoria Tarquini. 36 (ff. 103-105v) [A. SCARLATTI]. Nicolino. Perch’io vegga, se son tradito, C minor. For Vitige in I:15 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the complete score, GB-Och Mus. 989. 37 (ff. 107-110) [A. SCARLATTI]. Impara a fingere se vuoi goder (str. 1), C major. For Vitige in II:16 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the complete score, GB-Och Mus. 989. Strophe 1 is also anonymous in GB-Er P 1430, pp. 136-141. Strophe 2 is n. 43 below. The texts and musical settings of both strophes were later sung in II:9 of Scarlatti’s IERONE, TIRANNO DI SIRACUSA (Rome 1694). 38 (ff. 111-113) [A. SCARLATTI]. O tu serbami la fede, o preparati a morir, S/B, F major. The bass staff is marked “violoncello.” For Ernelinda in III:6 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and accompanied by TrTrAB instruments in the complete score, GB-Och Mus. 989. 39 (ff. 115-119) [A.] SCARLATTI. Mattiucci. Spirti fieri, alla vendetta! Ira, Sdegno, Odio, e Furor, B! major. For Guido in II:10 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and accompanied by TrTrABB instruments in the complete score, GB-Och Mus. 989. Anonymous in Barb. lat. 4143, n. 44. 40 (ff. 121-122v) [MARTINENGO]. Non sono ancora, no, di speme priva, A/B, C minor. For Agrippina in III:6 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). Also anonymous in I-PAVu Ticinese 696, ff. 48v-53, with oboe and string parts. 41 (ff. 123-124v) [VANARELLI]. Sento al cor d’Amor quel dardo, C major. For Seiano in I:6 of LA PROSPERITÀ DI ELIO SEIANO (Milan 1699). 42 (ff. 125-127v) [A. SCARLATTI]. Occhi chi non v’adora, G major. For Flavio Cuniberto in II:2 of FLAVIO CUNIBERTO. Attributed to “Ales.o Scarlatti” and followed by a TrTrAB ritornello in the score to the opera, GB-Och Mus. 989. Anonymous in GB-Er P 1430, pp. 130-135. 43 (ff. 129-132) [A.] SCARLATTI. Marg.ta. Saprò deridere un empio cor (str. 2), C major. For Teodata in II:16 of FLAVIO CUNIBERTO (Naples 1693). Strophe 1 is n. 37 above. Strophe 2 is anonymous in GB-Er P 1430, pp. 141-146. Strophe 2 is not given in the score to the opera, GB-Och Mus. 989. The texts and musical settings of both strophes were later sung in II:9 of Scarlatti’s IERONE, TIRANNO DI SIRACUSA (Rome 1694).

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44 (ff. 133-136) [A.] SCARLATTI. Nicolino. Sirti, scogli, tempeste, procelle, E minor. For Vitige in III:7 of FLAVIO CUNIBERTO (Naples 1693). This aria is not present in the score to the complete opera, although a TrTrAB ritornello for it is given in GB-Och Mus. 989. A different setting of this text attributable to Luigi Mancia is Barb. lat. 4160, n. 27.

45 (ff. 137-146) [A. SCARLATTI]. Sensi, chi vi consiglia?, S/BB, B minor. For Flavio Cuniberto in III:3 of FLAVIO CUNIBERTO. The first bass staff is marked “violoncello,” as in the score to the complete opera attributed to “Ales.o Scarlatti,” GB-Och Mus. 989. This aria in not in the Florence 1697 libretto.

Bound in parchment (99 × 242 mm). The number 15 is written in black ink on the spine by a modern hand, which also wrote the previous shelfmark XLVII.15 in black ink inside the front cover. Edges of the pages are colored pink and speckled with blue. The Venetian watermark of three crescent moons is on four folios with Pollarolo arias (ff. 9, 21, 56 and 88); they are similar to Heawood nn. 863-867. A second watermark has “3 B” in the upper half of a circle, perhaps a “6” in the lower half, and a trefoil above the circle; it occurs only on folios with Milanese arias copied by hand D (ff. 49, 51, 53, 57-58, 69-71 and 121-122). An early eighteenth-century hand — presumably not one of the music copyists — foliated the ms. in ink, then provided an alphabetical index of the arias on the opening flyleaves [I-IIIv]. His index is reproduced with few changes in CELANI, p. 120. He provided a similar index for Barb. lat. 4143. Folios 92bis and 101bis are not numbered. The flyleaves at the end are blank. Blank staves only are on ff. 32, 36, 40, 48, 68, 82, 86, 95, 106, 114, 120 and 128. The twenty-four arias from the Neapolitan opera FLAVIO CUNIBERTO were copied by five hands. Hand A copied nn. 1, 33, 43 and 44. Hand B copied nn. 2, 4, 6, 27-28, 36-38, 42 and 45. Hand D copied nn. 9-14, 29, 35 and 39. Hands A, B and D are Neapolitan, and they are identical to Barb. lat. 4143, hands C, A, and B, respectively. Hand G copied n. 34. According to Edwin Hanley, copyist G was a Roman professional associated with Scarlatti from 1693 to 1708 (see A. Scarlatti, MASSIMO PUPPIENO, ed. H. Colin Slim, Cambridge 1979, p. 7). The Venetian hand C copied the eight arias from AMAGE, Venice, autumn 1693. He is identical to Barb. lat. 4131, Hand A, copyist of Venetian arias for 1694. Ten arias (nn. 15-17, 19-20, 24-26, 40-41) are in the hand of copyist E, in the Hand of D who copied nn. 4-8 of Barb. lat. 4143; they are all arias

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from the Milanese production of LA PROSPERITÀ DI ELIO SEIANO. The three arias from L’INGANNO DI CHIRONE (nn. 21-23) are in the hand (F) of another copyist. Three of the four hands that copied the twenty-four arias for FLAVIO CUNIBERTO also copied the nine arias from that opera in Barb. lat. 4143. The singers for the November 1693 production in Naples are named in a handwritten list preserved in the libretto at I-Bu A.V.Tab.I.E.III.29a5 (not included with the online facsimile of this exemplar in CORAGO). They agree with the singers named for 11 arias in Barb. lat. 4144. Margherita (Bonsini) sang the role of Teodata (nn. 2, 4, 6, 27, 34 and 43). Alto castrato Nicola Grimaldi, called Nicolino, sang the role of Vitige (nn. 28, 36 and 44). Matteo Sassani, known as Matteuccio, sang the role of Guido (n. 39). Vittoria Tarquini, known as la Bombace, sang the role of Emilia (nn. 2, 35). “Margherita”’s surname was Bonsini, according to I-MC 126-C-34, a Neapolitan ms. dated 1693, according to DAGNINO, p. 287). The singers of Scarlatti’s 1702 score, in contrast, included Vittoria Tarquini “la Bombace” again, but no others from 1693: Maria Dominica Pini, Francesco A. Pistocchi, Maria Maddalena Musi, and Francesco de Castris (see DOMÍNGUEZ, pp. 231-233.) ROSTIROLLA 1972, p. 344, incorrectly states that 42 (rather than 24) arias are in 4144, and incorrectly locates the production in Rome 1696 rather than Naples 1693. Barb. lat. 4144 is one of two known musical sources for AMAGE, REGINA DEI SARMATI. The other one, F-Pn Rés.Vma 967 (available online in GALLICA), includes twenty arias, four of which are among the eight in Barb. lat. 4144. See also LINDGREN-Ven, passim. For the two Milanese productions, see the comments to Barb. lat. 4143. Don Fader identified the arias with concordances in I-PAVu Ticinese 696. Barb. lat. 4144-4145

Barb. lat. 4145 1627-1653 ca., 97 × 269 mm, 78 ff. (III.72.III), 3 staves (3 × 6 ll.), 3 hands

Copybook of thirty-one anonymous variations, airs, dances and two toccatas in Italian numeric tablature for 14-course theorbo or chitarrone. The first two items by Giovanni Girolamo Kapsperger are in his hand. The title Libro di sonate intavolate su la tiorba (f. 1) is not in the hand of any of the music copyists. Musical incipits in both tablature and mensural notation are in COELHO 1995, pp. 587-595. Key designations below refer to final chords. Online in DVL.

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1 (ff. 4-7v) [JOHANNES KAPSPERGER. Partite sopra Ruggiero], D minor. A Ruggiero setting with six variations from his Libro primo d’intavolatura di chitarone (Venice 1604), pp. 15-18. The print has three more partite. The ornamentation in this ms. differs from the print. 2 (ff. 8-9) [KAPSPERGER. Toccata], D minor. This version cadences about halfway through the version published in Kapsperger’s Libro primo cited in n. 1 above, pp. 5-7. 3 (f. 10) Untitled, F major. 4 (f. 10v) Untitled, G major. COELHO 1995, p. 588 lists this item as two related untitled pieces. 5 (f. 11) Tirinto [mio, tu mi feristi], G minor (untitled in COELHO 1995). The tune alone appears as a spiritual contrafactum Te mio Signore, che’l petto apristi in COFERATI 1675, pp. 432-433 and COFERATI 1689, pp. 492-493 (A minor). Settings for guitar include BAV Vat. mus. 570, f. 17v; I-Fr 2774, f. 21v; Fr 2804, f. 54v; Fr 2951, f. 212v; Fr 2952, f. 131; Fr 2973, f. 73v; and Fr 3145, f. 99. The canzonetta text appears in ROMANO 3/1622, p. 110 and DE’ LAZZERI, pp. 152-155. Vocal settings for one voice include G. STEFANI, ed., Scherzi amorosi, Venice 1620, p. 1, and B. MARINI, Arie, madrigali et corenti, Venice, Gardano, 1620 (facs. edns in AntMI, Monumenta brixiensa, 8 [1970]; and IMSLP 408934), p. 1; and for six voices by Marini in his Musiche da camera. Concerti, op. 7, Venice 1634. MILLIONI 1627, p. 23 has the text with alfabeto chords. See GAVITO 2006, pp. 118-120. Barb. lat. 4145 6 (f. 11v) Untitled, G minor. 7 (f. 12) Amor poiche [non giovano], D minor. The text appears in RORES, p. 1 (2 str.) and DE’ LAZZERI, pp. 214 and 238. An S/B setting of the tune is F-Pn Rés. Vm7 579, pp. 6-7 (D minor). Text only with alfabeto guitar letters is I-MOe Campori γ I.5.35 (App. 719, incl. date of 1638), f. 18 (D minor). Settings for guitar include I-Fr 2793, f. 68v; Fr 3121, f. 29v; I-Fn Landau Finaly 252, f. 36v, I-Fn Magl.XIX.24, f. 32v. In print, MILLIONI 1627, pp. 15-16, and COLONNA, Rome 1627, f. 2 (D minor). The melody is given as the spiritual contrafactum Giesù nostr’ alme sperano in COFERATI 1675, pp. 202-203, and COFERATI 1689, pp. 211-212 (E minor). MANO

8 (f. 12v) Aure placide [e volanti], finalis D. (The first and second halves of the setting cadence to F major, followed by a closing passage to D.) The tune is related to the anon. S/B setting in the Pietro Reggio manuscript GBLbl Add. 31440, f. 7v (4 strophes). The text with alfabeto guitar chords only is in GB-Lbl Add. 36877 (the Casalotti ms.), f. 128. Four strophes of text

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only are in ROMANO 4, p. 6, and in Barb. lat. 3880, f. 187. An anonymous setting is I-Bc CC.225, ff. 40v-41 (HILL, n. 61). Further differing settings include R. RONTANI (Florence 1614, facs. New York 1986), p. 17 (4 str.); C. MILANUZZI (Verona and Venice 1622), pp. 16-17; and 4 strophes in corrente for TrMsAB/B in S. D’INDIA (Venice 1621), p. 15. Not compared with the setting in Alessandro GRANDI, Cantade ed Arie, repr. Venice, Vincenti, 1620 (A. Einstein transcription).

9 (f. 13) Piena di bellezze, F major. The text with guitar chords only is in the Casalotti ms. (see n. 8 above), f. 132. 10 (f. 14v) Toccatta, D minor. 11 (f. 15) Untitled, D minor (not itemized separately in COELHO 1995). 12 (ff. 15v-16v) Passagaglio, D minor. 13 (ff. 17v-18) Untitled, G minor (not itemized in COELHO 1995). 14 (ff. 18v-19v) Passagaglio, G minor. 15 (f. 20v) Corrente, G major. 16 (f. 21v) Sarabanda, G major. 17 (ff. 22v-24) Ciaccona, G major. 18 (ff. 24v-25) Balletto, G major. 19 (ff. 26v-27) Corrente, G major. 20 (ff. 28v-29v) Aria venetiana, with one variation, G major. Versions for guitar include I-Fr 2793, f. 11; Fr 2804; f. 31v (2 versions); Fr 2849, f. 138v (2 versions); Fr 2951, f. 65-66v (4 versions); Fr 2952, f. 26v-27 (2 versions); Fr 3145, f. 107v; I-Fn Landau Finaly 175, f. 14. 21 (ff. 29v-30) Gagliarda, G major. 22 (f. 30v) Saornde (?) [= Saione?], G major. 23 (f. 31) Balletto, A minor. 24 (ff. 31v-32) Passagaglio, A minor. 25 (ff. 33v-34) Corrente, A minor. An annotation on f. 34 reads: “e fa ut scala.” 26 (f. 35v) Passagaglio, C major. 27 (f. 36v) Passag[agli]o, F major. 28 (ff. 37v-38) Passagaglio, E minor.

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29 (f. 38v) Pass[agagli]o, C minor. 30 (f. 39v) Untitled, E minor. 31 (f. 40v) Untitled, C major. 31 (ff. 41v-42) Untitled, G minor (G-major close). Bound in parchment (100 × 270 mm), with the binder’s title Sonate di [Tior]ba repeated on the front cover in another hand. On the spine is a pink BAV sticker and the number 16 written in black ink above it in a modern hand, which also wrote the shelfmark XLVII.16 inside the front cover, where there is another BAV sticker. Two holes in both covers remain where the right edges had ties. Inside the front cover appears the date “A dì 29 di Giugnio 1627”; on f. 9v the same hand wrote “A dì 11 di Agosto 1628.” Ten quaternions; the watermarks are all the cleric/saint in a pointed shield, including the guard sheets (HEAWOOD general type 1352). Modern foliation in pencil begins on the first of three unruled leaves. On f. 1 appears a pen and ink sketch of cornices. Blank are ff. 2-3, and 78; blank staves only appear on ff. 43-75. Three hands copied tablature in the three sections of the ms. (datable 1627-1628, ca. 1638, and ca. 1650). Copyist A on ff. 4-9 is G. Kapsperger (cf. COELHO 1995, p. 147). Copyist B in ff. 10-13 may be the hand of the payment list on f. 13v; see below. Copyist C wrote ff. 14v-42 and may be the copyist of Barb. lat. 4177-4178. RISM vol. B.VII, p. 305 reports a single hand throughout. Brief rules of music theory appear in two other hands on ff. 76-77. The writing on ff. 76v-77 resembles that of Kapsperger (COELHO 1995, p. 147, concurs). The title of n. 22 is unclear, except for the final letter E. If it is a version of Saione, CARBONCHI 1640, p. 47 offers a Saione and a Saione pisicato [pizzicato], and CARBONCHI 1643, p. 31 a Saione with “suo passaggi.” The common tune is given as the spiritual contrafactum Se l’huom si pentisse de’ falsi commessi in COFERATI 1675, pp. 387-388 and COFERATI 1689, pp. 447-448 (D minor). Two separate payment records appear between the sections of copyists B and C that have no evident connection to the compositions. The first may be in the hand of copyist B. The second is by a different hand. A di primo di Quaresima 1638/ A di 10. di Marzo si comincia a dar la parte al S.r Domenico un giorno sì e uno no. Barili 1. di vino[,] pag[not]te 3-. (Payments of wine and bread follow from 10 March to 1 May) … Lascio e parto per Frascati a dì 2 maggio (f. 13v). A di 4. di settembre 1649/ Il giorno della concezione della B.ma Vergine 1652. 8.

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X.bre./ A di 22 di Dicembre 1652 s[cudi] 1.52/ A di 21 di Gennaro 1653 s. 1.50/ A di 26 di Febraro 1653 s. 1.50/ A di 9 marzo pareggiato ---/ (f. 14).

The compositions on ff. 14v-42 do not necessarily date from after 1649 or 1652, as several recto folios had blank staves only, which could have been written upon at any time. Florentine concordances here have been provided by Dinko Fabris. Bibl.: In addition to COELHO 1995, pp. 145-147, 587-595, cf. Wolfgang BOETTICHER, ed., Handschriftlich überlieferte Lauten- und Gitarrentabulaturen des 15. des 18. Jahrhunderts (Munich, G. Henle, 1978), p. 305 (RISM vol. B.VII) and KEVIN MASON, The Chitarrone and Its Repertoire in Early Seventeenth-Century Italy (Aberystwyth, Boethius Press, 1989). Barb. lat. 4145-4146

Barb. lat. 4146 1641-1645 ca., 98 × 265 mm, I.80.I ff., 4 staves, one hand

Copybook with five anonymous Italian cantatas, four in soprano clef and one in alto, all with basso continuo. Two appear elsewhere attributed to Luigi Rossi (nn. 3 and 5). The entries are in the same hand as Barb. lat. 4374, which is Rossi’s. The approximate dating represents the years during which Rossi first served the Barberini in Rome. 1 (ff. 1-3) [LUIGI ROSSI?]. Non dorme mio core, penando si sta, S/B, D minor, R-1-R-2-R-3-R. Also anonymous in E minor in F-Pn Rés. Vmc 77, pp. 67-72, and GB-Lbl Harley 1863, ff. 88v-90. A different anonymous setting of the text is S-Sk S.231, ff. 13v-14.

2 (ff. 3v-6) [L. ROSSI?]. Non ben saldata ancor la piagnanti cor, S/T, D minor, 3 strophes (str. 2 in variation) 3 (ff. 6v-8v, 59v-60) [LUIGI ROSSI]. Io che ’n fin hor le piante, S/B, D minor, incomplete. Desinet “per dar pioggia a la terra al mor… i fiumi.” The music on ff. 59v-60 is the same as that on ff. 7v-8. Attributed to Rossi in F-Pn Rés. Vmf 41 (ex-Thibault, ex-Prunières), ff. 1-6. Anonymous in I-Rc 2505, ff. 51v-54v with textual differences concordant with Francesco BALDUCCI 1646, p. 70-71, where the poem is titled L’Alceo. CALUORI n. 97 gives the musical incipit, listing the cantata as Io che sin hor le piante, as does RICCIARDELLI, p. 26, and the modern musical edn TAILLEFERRE 1927, pp. 5-11. 4 (ff. 55v-57) [L. ROSSI?]. A che tiranno Amore dall’arco tuo fatale, A/B, A minor.

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133

5 (ff. 57v-59, 60v-62) [L. ROSSI]. Ch’io speri o disperi, Amor che ti fa?, S/B, C major, R-1-R-2-R. Attributed to Rossi in B-Br II.3947, ff. 63-66v, and I-Gl A-5-Cass., ff. 153-159. Anonymous but holograph in Barb. lat. 4374, n. 29 (T/B), with three strophes. Anonymous in I-GR Crypt It. 4 (anon.); IIBborromeo Misc. 8, ff. 23v-24; I-Rc 2226, ff. 26v-28 (in B!). CALUORI n. 42 gives the musical incipit. RICCIARDELLI, p. 26 also lists B-Bc 17193, which is a copy of D-SWl Mus. 4718a, but does not contain this cantata. A setting by Carissimi is I-Rn Mus. 141 (olim 71.9.A.33), ff. 55-58v (see WECIS 5, Addendum). A third setting is F-Pn Rés. 2096, pp. 150-153 (lacks b.c. and str. 3).

6 (f. 80v) Untexted melody (an exercise?), S with signature for a basso continuo but no music, F major. Bound in parchment (103 × 269 mm), embossed with Barberini bees in gold in the corners of a double border, and therefore probably belonging to one of the children of Taddeo Barberini. On the spine a modern hand has written the number 17 in black ink across the gold-embossed lines; below is a pink BAV sticker. The same hand wrote the shelfmark XLVII.17 inside the front cover. Gilt edges. In ten uniform gatherings of four bifolios with a uniform Roman watermark (Witzenmann type B, six-pointed star above crown). The end flyleaf is blank; blank staves only appear on ff. 9-55, 62v-79. The foliation in pencil is modern. On folio [Iv] appear the letters D.N.D.C.D.M.D.A., which may be a technique exercise for Spanish guitar (as the chord changes Am–G#M–Am–DM–Am–E!M–Am–GM). On ff. 79v80 are tables of clefs and note values, and solmization passages, in Rossi’s hand. Despite crude decorative initials (which may have been drawn by someone else) the entries appear hastily written by the composer and/or copyist, Luigi Rossi. Items 1, 2, and 4 are here provisionally attributed to Luigi on the basis of the hand. Barb. lat. 4146-4147

Barb. lat. 4147 1667-1681 ca., 97 × 265 mm, I.127.XIII ff. 4 staves 4 hands

Miscellany of sixteen anonymous arias, probably written for operas produced in Venice, 1667-1678, and nine cantatas, six of which are attributed to a composer. The arias include five by Antonio Sartorio, two each by Domenico Freschi and Giov. Bonaventura Viviani, and one each by Carlo Borzio, Bernardo Pasquini, and Pietro Antonio Ziani. Four arias

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remain anonymous (nn. 6, 12, 13 and 15). One anonymous aria (n. 6) is from Nicolò Minato’s IPHIDE GRECA, but from an unknown production. Composers of the cantatas, including two identified via concordances, are Giuseppe Vecchi (3); Pier Simone Agostini (2), and one each by Giuseppe de Santis, Bernardo Pasquini and Antonio Cesti. One cantata remains anonymous (n. 18). All 25 compositions are scored S/B. 1 (ff. 1-2) [DOMENICO FRESCHI]. Farò le mie vendette e poi t’adorerò, F major. For Enone in I:18 of ELENA RAPITA DA PARIDE (Venice 1677, Modena 1681, et al.). Libretto by Aurelio Aureli and music by “Domenico Freschi,” according to the Venetian aria collection I-Vqs 1430 (Cl.VIII Cod.IV), ff. 100-101. Anonymous in I-Nc 33.5.35 (= Rari 6.7.8; Arie 81), ff. 111-112, with a somewhat different closing phrase (Internet Culturale access). Also in two anon. scores for the complete opera: I-Vnm It.Cl.IV, 357 (9881), ff. 31-32; and Ratto d’Elena, I-MOe Mus. F.394, atto I, ff. 37v-39 (CHIARELLI, n. 684; cf. also nn. 708 and 740 for acts II and III). The scene is lacking in the 2d impression of the 1677 libretto, but is present in Modena 1681. ZANF 2:32 also lists I-MOe Mus. G.310, n. 2 as a concordance. Not compared is Farrò le mie vendette listed in B-Lc Fonds Terry 280 as attributed to B. Pasquini (BARTHÉLEMY n. 754).

2 (ff. 2v-3v) [FRESCHI]. A che darmi al piè catene, A minor. For Paride in I:17 of ELENA RAPITA DA PARIDE (I:16 in 2d impr. for Venice; I:17 in Modena 1681); see n. 1 above. Attributed to “Dom.co Freschi” in the Venetian aria collection I-Vqs 1430 (Cl.VIII Cod.IV), ff. 184v-85v. Also in two anon. scores to the complete opera I-Vnm It. Cl.IV, 357 (9881), ff. 30v-31; and Ratto d’Elena in I-MOe Mus. F.394, atto I, ff. 36-37 (CHIARELLI, n. 684). ZANF 2:31 lists another concordance, I-MOe Mus. F.1535, no. 30. 3 (ff. 4-5v) [GIOVANNI BONAVENTURA VIVIANI]. Con sue faci horrenda Aletto, str. 2: Con sue fiamme il trovo Pluto, C major; text for str. 2 laid under the continuo staff. For Rosane in I:2 of ASTIAGE (Venice 1676/77); libretto by Giovanni Filippo Apolloni for AMOR PER VENDETTA OVERO L’ALCASTA, Rome 1673, revised by Matteo Noris. Attributed to “Bonaventura Viviani” in the Venetian aria collections I-Vqs 1430 (Cl.VIII Cod.IV), ff. 64v-65v, and I-Vqs 1439 (Cl.VIII Cod.XVII), ff. 86v-87v. The anon. setting in A-Wn 17772, ff. 178-81v, has a different text for str. 2: Versi l’urna sua Pandora. In the anon. score to the opera, I-Nc 33.6.3 (Rari 6.6.21), ff. 11-12v, the aria is preceded by a TrTrB ritornello and has only one strophe (Internet Culturale access). The score to the complete opera attributed to Viviani is I-MC 6-C-12 (RISM ID no. 852030870). Barb. lat. 4147 On the basis of SARTORI 1980, p. 553, OPAC–SBN incorrectly places this aria in Legrenzi’s GERMANICO SUL RENO.

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4 (ff. 6-7) [ANTONIO SARTORIO]. La fortuna è una sirena; str. 2: Cieca sorte è una tiranna, C major; text for str. 2 laid under the continuo staff. For Cleopatra in III:3 of GIULIO CESARE IN EGITTO (Venice 1676/77, Naples 1680); libretto by G.F. Bussani. Music attributed to “Antonio Sartorio” in the Venetian aria collection, I-Vqs 1430 (Cl.VIII Cod.IV), ff. 10v-12, and to “Sartorio” in I-Nc 33.5.36 (Arie 75), ff. 116v-17 (Internet Culturale access). Anonymous in A-Wn 17772, ff. 154v-56v (2 str.). An anon. score to the opera associated with the 1680 production, I-Nc 33.6.29 (Rari 6.4.15), ff. 155-156, has a TrTrB ritornello but only one texted strophe (Internet Culturale access). Craig Monson’s edn of the opera, based on the I-Nc score (SARTORIO-GC), presents the ritornello and both strophes, pp. 269-270. 5 (ff. 7v-8v) [A. SARTORIO]. Cercherò maggior fortuna (refrain), R-1-R2-R; A major; text for str. 2 laid under the continuo staff. For Curio in I:4 of GIULIO CESARE IN EGITTO. Attributed to “Antonio Sartorio” in the Venetian aria collection I-Vqs 1430 (Cl.VIII Cod.IV), ff. 12v-13v; anonymous in A-Wn 17772, ff. 166-69v (2 str.), and in I-Nc 33.5.36 (Arie 75), ff. 117-118, where it follows n. 4 above (Internet Culturale access). In I-Nc 33.6.29 (Rari 6.4.15, Internet Culturale access), ff. 20-21v, which is associated with the 1680 Naples production, the aria is scored for T/B with a TrTrB ritornello and accompanying parts. Cf. the score edn SARTORIO-GC. 6 (ff. 9-11v). Quanto, quanto, o quanto, errò chi ti finse cieco Amor!, C major. For Iphide in I:3 of IPHIDE GRECA (unknown production); libretto by Nicolò Minato (Vienna 1670, Venice 1671). Two other settings for Iphide’s aria exist. One is in the anonymous score I-Nc 33.6.22 (Rari 6.7.2), S/B, G major, which exists as an aria staccata in I-Nc 33.4.5 (Arie 228), f. 37r-v (also G major). Both are available online through the Internet Culturale portal. These may represent new music composed for Bologna in 1675 or for the Naples production of 1680/81 (the published libretto was dedicated in Naples, December 1680). MAGAUDDA & COSTANTINI posit a January 1681 staging (p. 115). The production for Milan in 1683 appears related to the Naples libretto. See Emilio Sala, Le metamorfosi di “Ifide greca,” in “Quel novo Cario, quel divin Orfeo.” Antonio Draghi da Rimini a Vienna, ed. E. Sala and D. Daolmi, Lucca 2000, pp. 61-97. The second setting occurs in two scores of the Venetian version given at the Teatro ai Saloni in 1671, with music for act I by G.D. Partenio: La fede grecha, I-Vnm It. Cl.IV, 421 (9945), ff. 5v-6, and Vnm It. Cl.IV, 429 (Internet Culturale access). Both of these copies are in G major. A version was staged in Venice in 1682 (under the title La bugia regnante), and in Udine 1672, Verona 1675 and Ancona 1679, and later. Iphide’s aria is present in the libretto for the Teatro Contarini in Udine 1672, which CORAGO reports had music by Giovanni Paolo Fusetti; but the libretto states that Fusetti only wrote new music for two roles

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(neither Iphide), though, with permission of the Venetian composers Partenio, D. Freschi, and G. Sartorio, Fusetti revised the rest.

7 (ff. 12-13v) [ANTONIO SARTORIO]. [A] gli assalti di beltà chi resiste molto fa; str. 2: Pura i lacci d’un bel crin sol chi vuole, G major. For Germanico in I:13 of LA PROSPERITÀ DI ELIO SEIANO (Venice 1667; I:14 in Genova 1668 and Naples 1671); libretto by Nicolò Minato. One folio may be lacking, since the second strophe lacks its closing six bars, which repeat the opening of the strophe. Also anon. as “Gli assalti …” in I-Nc 34.5.1ter (Arie 484.C), ff. 8-11, 2 str. (Internet Culturale access). OPAC-SBN reports that a concordance in I-Vc Correr Busta 2.35 (olim Lolin ms. 25), n. 7, is attributed to Francesco Cavalli (A major). CELANI and BARONCI listed this aria as Gli assalti. 8 (ff. 14-15v) [PIETRO ANTONIO ZIANI]. Più non temo lo stral de la sorte, str. 2: Con soave condito d’amaro, D major. Anonymous in P-La 47-I-65, ff. 41-42v, and A-Wn 17772, ff. 70-72v. With the incipit, Più non temo lo stral di Cupido, bacio’l dardo, sung by Teodosia in III:4 of HERACLIO (Venice 1671 and 1683); libretto by Nicolò Beregan. Attributed to “Pietro Andrea Ziani” in I-Vqs 1438 (Cl.VIII, Cod.XIII), ff. 89-90; anonymous in I-Nc 33.4.15, ff. 113-16v, on which a modern attribution to Tenaglia has been cancelled (Internet Culturale access); and Nc 33.5.27 (Arie 31), ff. 16-17. CLORI n. 6750. Only one str. is present in the anonymous score to the opera, I-Vnm It.Cl.IV, 428 (9952), f. 63 (Internet Culturale access). 9 (ff. 16-17v) [VIVIANI]. Armati, cieca dea di crudeltà; str. 2: Armati di vendetta, crudo Amor, G minor. For Rosane in I:10 of ASTIAGE (Venice 1676/77); see n. 3 above. Attributed to “Bonaventura Viviani” in the Venetian aria collection I-Vqs 1430 (Cl.VIII Cod.IV), f. 66r-v (one str. only). Anonymous in eight aria collections: BAV Chigi Q.IV.12, ff. 131-133; A-Wn 17772, n. 40, ff. 149-150v (2 str.); CH-Zz Q.902, ff. 37-38; GB-Lbl Harley 1270, ff. 37v-38, and Harley 1273, f. 25; I-MOe Mus. G.310, n. 16; I-Nc 33.3.4 (Arie 237, Cant. ibr. 11), f. 92r-v (Internet Culturale access); and the Venetian I-Vqs 1439 (Cl.VIII Cod.XVII), f. 88. The poetic text and page from Nc 33.3.4 may be found as CLORI n. 5844, which provides the bass line for the “Sinfonia” that precedes the vocal entrance. 10 (ff. 18-19v) [BERNARDO PASQUINI?]. [D]atti pace, o bella, e spera; str. 2: Tempra il duolo o cara e godi, G minor. Attributed to “Bernardo Pasquini” in BAV Chigi Q.IV.17, f. 121 (2 str.). Anonymous in I-Nc 33.5.31 (Arie 246), ff. 121v-22v (2 str., Internet Culturale access). 11 (ff. 20-23v) [CARLO BORZIO]. Insegnatemi dov’è, selve ombrose; str. 2: Insegnatemi dov’è verdi herbette, G major, 2 str. For Leucippe in I:6 of IL

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NARCISO, libretto by Francesco De Lemene. The libretto was published in Lodi in 1676; performances are noted for Rome 1679, Naples 1682, and Cremona 1683 (I:7). The aria occurs in I:7 in both anonymous scores to the complete opera, BAV Chigi Q.V.67, ff. 46-50v, and I-Vnm It.Cl.IV, 438 (9962), ff. 21v-24, where it is preceded by a ritornello and accompanied by a TrTrB strings. Acts I and II are extant in US-BEm ms. 723. Another ms. score to the opera, I-IBborromeo AU.031, is inaccessible for comparison (BOGGIO). Modern edn Lodi, Associazione Culturale Musicarte, Centro di storiografia musicale lombarda, 1993. The music for a Narciso by Antonio Masini (d. 1678) copied in 1678 for the Pamphili is presumed lost; cf. NIGITO 2008, Doc. P15 (p. 138).

12 (ff. 24-27v) Chi più di me felice, già mai s’innamorò; str. 2: Chi più di me contenta lo stral d’amor provò, A minor. Also anonymous in I-Nc 33.5.36 (Arie 75), n. 97, and I-Nc 33.5.15 (Cant. ibr. 16), unfoliated, 2 str. (Internet Culturale access). 13 (ff. 28-30v) Udite fierezza inaudita, spietata pietà, A minor. 14 (ff. 30v-31v) [A. SARTORIO]. Se cerchi un vero amante, D major, R1-R-[2-R], with the refrain indicated by “da capo;” one str. only. For Florimondo in III:2 of ANACREONTE TIRANNO (Venice 1678); libretto by Giovanni Francesco Bussani. Attributed to “Ant.o Sartorio” in I-Vqs 1431 (Cl.VIII Cod.V), ff. 91-92. Anonymous in B-Bc 696, ff. 146-150; I-Nc 33.5.38 (Cantate 50, Arie 63), ff. 119-20v, str. 2: Se cerchi un cor, che t’ami (Internet Culturale access). 15 (ff. 32-34v) Bella sai ch’io t’adoro, e pur nieghi mercé; str. 2: Sì, sì caro mio bene, non mi negar pietà, A minor; followed by a binary-form aria in a new meter, Care e dolci saranno le pene. The second aria is connected to str. 2 of Bella sai by rhyme. 16 (ff. 36-37v) [A. SARTORIO]. Sei bella e vezzosa, ma troppo crudel, D minor. For Achilla in GIULIO CESARE IN EGITTO, I:19 (Venice 1677); libretto by Giacomo Francesco Bussani. Attributed to “Antonio Sartorio” in the Venetian aria collection I-Vqs 1430 (Cl.VIII Cod.IV), ff. 3v-5. For B/B in A minor with a TrTrB ritornello in the score to the opera I-Nc 33.6.29, ff. 6667. Anonymous in A-Wn 17772, ff. 157-62v (3 str.); CH-Zz Q.902, ff. 25-26; I-Nc 33.4.10 (Cantate 47), n. [24]. See n. 4 above for scores to the opera. NESTOLA 2015, p. 246, adds the lost concordance F-V Ms mus 138, f. 25. A different, anon. setting is I-Nc 33.3.4 (Arie 237), n. [27], A/B, D major.

17 (ff. 38-45v) [ANTONIO/PIETRO CESTI]. Mia tiranna, oh Dio, pietà, G major to E minor, cantata. The second aria is Vanti pur d’alpino scoglio.

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Attributed to Cesti in BAV Chigi Q.IV.11, ff. 32-39v; F-Pn Rés. Vmf 19 (exThibault and ex-H.P. 2), ff. 152-61v; I-Bc V.285, ff. 13-20v (online access Catalogo Gaspari); and Scelta di canzonette italiane, ed. Girolamo Pignani, London, Wm Godbid and J. Playford, 1679, pp. 25-31 (a shortened version). Anonymous in I-Nc 33.4.11a, ff. 37-43v (with a modern attrib. to Lonati); Rari 6.4.20 (33.5.33), ff. 40-45; and 60.1.49 (= Cantate 53), ff. 79v-83v, A/B, transposed a fifth (all three with Internet Culturale access). Modern edn in CESTI 1963, pp. 54-62. Cf. CESTI 1963, p. 99, and WECIS 1A. 18 (ff. 46-49v) Oh Dio, ch’a poco a poco sento struggermi il core, G minor, cantata. The only aria is Cieli voi che giusti siete; str. 2: Un bel ciglio lusinghiero, marked “adagio assai.” 19 (ff. 50-57v) GIOSEPPE DE SANTI. A morire, a morire, infelice mio core, E minor, cantata. The second aria is Già il cor mi lacerà senza pietà; str. 2: Sempre più stabile nel mio dolor. 20 (ff. 58-65v) BE[R]NARDO PASQUINI. Sguardi miei da quale oggetto, E minor, cantata. The second and closing aria, Restatevi pure, infide lusinghe, is marked “affettuosa.” Modern edn NIGITO-BP n. 35. 21 (ff. 66-80v) P[IETR]O SIMONE AGOSTINI. E volete ch’io più v’adori, A major to A minor, cantata. A second aria is Dal vostro albergo non volgo (D minor, 2 str.). Facsim. edn ITALCANTAT 12, n. 17. The attribution to Agostini is not in the hand of the music copyist, but the cantata is also attributed to “Pier Simone Agostini” in I-Bc V.41, ff. 1-6v, and to “P.S.A.” in D-MÜs 4086, ff. 87-93. 22 (ff. 82-97) [AGOSTINI]. Ardea di sì bel foco soffria Silvio fedel, B! major to G minor, cantata. Arias include E pur voi non lo credete and Da vostr’ occhi vennero gli ardori. Attributed to “Agostini” in A-Wn 17769 (dated “Pisa 1691”), ff. 94-108v. 23 (ff. 98-105v) GIOSEPPE VECCHI. Parole del Giulio Cesare Raggioli. Stelle, stelle, ditemi se si può, G minor, cantata. Marked “aria” is Ma perché d’un cor l’arsura, 4 str. 24 (ff. 106-115v) GIOSEPPE VECCHI. Parole del Giulio Cesare Raggioli. Tormenti, tormenti, tormenti non più, sembrava forse poco, G minor, cantata. Arias include D’auree fila alto fulgore; Veglia l’alma notte e giorno; and Studio scampo e vie riprovo. 25 (ff. 116-127v) GIOSEPPE VECCHI. Parole del Giulio Cesare Raggioli, maestro di cam[e]ra dell’ecc.mo sig.e Prencipe di Palestrina [Maffeo Barberini]. In prigioniera mole poiché vide cangiar la regia cuna, C minor, can-

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tata. Arias include Sin’ a quando aspre catene; Nasce là dentro le selve; and Coi natali ha’l corso in sorte. Bound in parchment (103 × 260 mm). The number 18 is written in black ink on the spine above a pink BAV sticker. The previous shelfmark XLVII.18 is written in black ink in a modern hand inside the front cover, where there is another BAV sticker. The most common watermark is a fleur-de-lis in a double circle (ff. 2, 6, 10, 21, &c.), some with the letter C above the circles. The crown above a double circle on f. 82 may belong above one of the fleur-de-lis marks. The other half of this watermark may be three hills within a double circle (ff. 50, 56, 75-76, 130 and 134). A cleric praying and holding a cross, within a shield, is on f. 34, similar to WITZENMANN, types A and D. Folios 82-86 are on relatively thin paper. The foliation in brown ink was made by the same seventeenth-century hand that numbered only ruled leaves (ff. 1-127). Unruled folios 128-140 are numbered in pencil. All flyleaves have the relatively thick paper found throughout most of the manuscript. Blank staves only on ff. 35 and 81. A symbol — which appears to be the number 3 or the letter B — has been added in red crayon at the beginnings of fourteen of the eighteen arias: nn. 1-3, 6-8 and 10-17, (Barb. lat. 4158 also displays such crayon marks). Nineteen items are in the hand (A) of Flavio Lanciani, a professional Roman copyist (nn. 1-14, 17-20 and 22); all have the fleur-de-lis watermark. NIGITO-BP, p. cci, identifies the hand of n. 17 as that of Flavio Lanciani and “collaborator.” Hand B, a non-professional, appears in nn. 15-16, with the single instance of the praying cleric/saint watermark. Hand C copied n. 21. Hand D is Giovanni Antelli, copyist of nn. 23-25, which belong as a set with Barb. lat. 4158, n. 35, and Barb. lat. 4156 n. 16, other cantatas by Gioseppe Vecchi. As shown on Tables 4 and 6 in LINDGREN-Ven, pp. 152 and 155-156, twenty arias in Barb. lat. 4147 and 4158 originally come from fourteen Venetian operas of 1667-1678 (though the Barberini copies, made in Rome, may derive from later productions). These are the earliest Venetian works in the Barberini collection. The next earliest are the fifty-two arias from four operas of 1679 in Barb. lat. 4135. The 1680s are represented by six mss. (Barb. lat. 4130, 4132, 4137, 4139-4140 and 4142), while the 1690s are represented by thirteen (Barb. lat. 4131-4134, 4139, 4142-4144, 4154, 4165-4166, 4169 and 4174). SARTORI 1980, pp. 552-553, placed seven of the arias within operas. He correctly placed n. 1 within ELENA RAPITA DA PARIDE; nn. 4, 5 and 7 within GIULIO CESARE IN EGITTO; and n. 14 in ANACREONTE TIRANNO. He incorrectly placed nn. 3 and 9 within GERMANICO SUL RENO (Venice 1676, libretto

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by G.C. Corradi, music by G. Legrenzi); incorrectly substituted “Quando voglio ad una sola” for the text of n. 6; and incorrectly named Vincenzo Bussani as the librettist of ANACREONTE TIRANNO. The ms. is inventoried (with only six composer identifications) in NIGITO-BP, pp. cci-ccii. Giulio Cesare Raggioli served prince Maffeo Barberini from ca. 1654 to his death in 1678. VÖLKEL F79 locates him in Cardinal Pier Maria Borghese’s household in 1642 (pp. 429-430), and he is among the poets set to music by Domenico Mazocchi in his 1640 Musiche sacre e morali. See also SPECK, pp. 253-268; and BASSANI, pp. 411-414. For a discussion of the sources and versions of Il Narciso, including mss. of the libretto, see Francesco de Lemene: Scherzi e favole per musica, ed. M.G. ACCORSI, Modena 1992, pp. CIII-CV. Barb. lat. 4147-4148

Barb lat. 4148 1683 ca., 95 × 270 mm, I.66.I ff., 4 staves, one hand

Anthology of fifteen arias for soprano and basso continuo, all with two strophes, except for n. 10. All are from two operas with libretti by Nicolò Minato produced at the Palazzo Colonna in Rome during carnival of 1683: LA TESSALONICA (originally Vienna 1673, with music by A. Draghi); and IL POMPEO (originally POMPEO MAGNO, Venice 1666, with music by Fr. Cavalli, and originally dedicated to Maria Mancini Colonna). Composers Bernardo Pasquini or Alessandro Scarlatti are named for each aria. Online in DVL. 1 (ff. 1-4v) BER.O PASQUINI. Se mi condanni, o nume arciero, A minor. For Cassandro in III:12 of LA TESSALONICA (Rome 1683). Also attributed to Pasquini in F-Pn D.11837, ff. 175v-76; GB-Lbl Add. 31502, ff. 104-107; Harley 1270, ff. 19-21 (with closing ritornello); and Harley 1273, ff. 21v22 (with ritornello); and US-Su ML96 P38 T4, ff. 58-61v. Anonymous in D-MÜs 3948, ff. 7-8v; I-Rama A.249, ff. 160-63v (with ritornello); and I-Rc 2474, ff. 126-30v. A score to the opera is A-Wgm IV.27719; see CRAIN vol. 2, p. 182. 2 (ff. 5-8v) ALES.O SCARLATTI. O cessate di piagarmi, A minor; R-1-R-2-R. For Sesto in II:5 of IL POMPEO (Rome 1683; II:6 in Naples 1684). In the score to the opera in B-Br II.3962, ff. 107-109v, the aria is A/B, D minor. Attributed to Scarlatti in D-Bsa SA 1282, f. 13; GB-Ob Mus. Sch. E.396, pp. 41-43; I-Nc 60.1.53 (Arie 556), ff. 156-159 (B/B, D minor); and US-Su ML96. P38 T4, ff. 92-95v. Anonymous in A-Wn 18833, ff. 3-6v; F-Pn D.11837, ff. 177-178; and I-Rc 2474, ff. 134-138v. Modern editions of O cessate are nu-

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merous. To the eight listed in ROSTIROLLA 1972 should be added the earlier editions published by LONSDALE n. 72 (same as BANCK 1863/64) and n. 225, as well as RUNG, n. 6. 3 (ff. 9-12v) BER.O PASQUINI. Tutto chiedimi fuor che il core, D minor. For Cassandro in III:2 of TESSALONICA (Rome 1683). Attributed to Pasquini in I-Mc Noseda A.54 (= N. 458/238), ff. 280v-84 (ms. dated 1695); I-Rama A.249; and US-BEm 118, ff. 114-115. Anonymous in D-MÜs 3948, n. 5. See also n. 1 above. A different aria with essentially the same four-line text is in Irene e Costantino (Venice 1681), for Costantino in III:17. The music is attributed to Antonio Gianettini in I-Vqs 1432 (Cl.VIII.6), ff. 172-173 (see RISM).

4 (ff. 13-16v) BER.O PASQUINI. Ancor tu vuoi tormentarmi, B minor. For Cassandro in II:7 of the score to TESSALONICA; see comments below and CRAIN vol. 2, p. 176. Also attributed to Pasquini in US-Su ML96.P38 T4, ff. 26-29v (online access). Not in the printed libretto. Crain notes that the aria is repeated in III:8 in the score to the opera. Barb. lat. 4148 5 (ff. 17-20v) BER.O PASQUINI. Perduto ho il core, E minor. For Cassandro in I:5 of TESSALONICA (Rome 1683). Attributed to Pasquini in F-Pn D.11837, ff. 183v-84v; I-Vnm It.IV, 467 (= 9991), pp. 41-46; and US-Su ML96.P38 T4, ff. 38-41v. Anonymous in D-MÜs 3948, n. 18; GB-Lbl R.M.24.i.11, ff. 1-4v; and I-Nc 33.4.36b, ff. 82v-83v (D minor, 2 str., Internet Culturale access). A modern edn is BOGHEN 1930, pp. 14-16 (D minor). See also n. 1 above. 6 (ff. 21-24v) BER.O PASQUINI. D’un labro canoro ai fiati mi moro, A minor. For Cassandro (str. 1) and Eunomio (str. 2) in I:3 of TESSALONICA (Rome 1683). Attributed to Bernardo Pasquini in F-Pn D.11837, ff. 195196; GB-Lbl R.M. 24.i.11, ff. 1-4v; I-Rama A.249, ff. 122-25v; I-Vnm It.IV, 467 (9991), pp. 35-40; and US-Su ML96.P38 T4, ff. 48-51. Scored A/B in D minor in the complete score in A-Wgm (CRAIN vol. 2, p. 166); see also n. 1 above. Anonymous in D-MÜs 3948, ff. 31-32v; F-Pn Rés. Vmf 24, pp. 105111; I-Rc 2474, ff. 149-52v; S-B NB holm 215, pp. 84-89. 7 (ff. 25-30) ALESS.O SCARLATTI. Lusingami speranza che non mi spiaci, no, A major. For Issicratea in III:1 of POMPEO (Rome 1683, Naples 1684, Ravenna 1685). Attributed to Scarlatti in GB-Lbl Egerton 2962, ff. 63-68v; GB-Ob Mus. Sch. E.396, pp. 52-55; and US-Su ML96.P38 T4, ff. 62-67v. Anonymous in F-Pn D.11837, ff. 192v-94v; GB-Lbl Add. 14218, ff. 85-86v; GB-Och 954, ff. 43-44v, and Och 955, ff. 113-18v; and I-Nc 60.1.53 (Arie 556), ff. 35-40. A different aria with the same text incipit is US-NYp JOG 72-79 (vol. 6), ff. 5v-6

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(G minor), listed with a presumed attrib. to Reinhard Keiser in RISM online (ID 000108707).

8 (ff. 31-36) ALESS.O SCARLATTI. Ah crudele, chi ti pose, A major. For Claudio in I:3 of POMPEO (Rome 1683). Same as Barb. lat. 4149, n. 44. Also attributed to Scarlatti in D-MÜs 3948, ff. 43-44; F-Pn D.11837, ff. 178bis179; GB-Lbl Egerton 2962, ff. 73-78; GB-Ob Mus. Sch. E.396, pp. 44-46; I-Nc 60.1.53 (Arie 556), ff. 1-4v; I-Rama A.249, ff. 104-109v; and US-Su ML96 P38 T4, ff. 68-73. Anonymous in A-Wn 18833, ff. 15v-19v; D-MÜs 3948, ff. 43-44v; GB-Lbl Add. 14218, ff. 108-109v; Lbl Harley 1272, f. 59; and I-Rc 2474, ff. 139-142. Modern edn based on the I-Nc copy, A. SCARLATTI, Cinque Arie, ed. Mario Pilati, Naples 1924, n. 2. The aria is discussed in MICHELETTI-P. 9 (ff. 37-40v) ALESS.O SCARLATTI. Toglietemi la vita ancor, str. 2: Negatemi i rai del dì, C minor. For Mitridate in I:4 of POMPEO (Rome 1683; for Scipione in II:12 of Naples 1684). MICHELETTI-P adds concordances in B-Bc 696, n. 18; D-MÜs Hs. 3948; DK-Ku Ms. C, I, 51050; GB-Lbl Egerton 2962; GB-Ob Mus. Sch. E.396; and US-Su ML96.P38.T45. Five modern edns are listed in ROSTIROLLA 1972. 10 (ff. 41-42v) BERN.O PASQUINI. Se chiedo arene al mare, A minor. For Tessalonica in III:5 of TESSALONICA. Also attributed to Pasquini in GB-Lbl Add. 31502, ff. 138-41v, and US-Su ML96.P38 T4, ff. 7-8v. Anonymous in D-MÜs 3948, f. 3, and I-Rc 2474, ff. 131-133. Modern edn in BOGHEN 1930, pp. 2-3. See also n. 1 above. 11 (ff. 43-46) ALES.O SCARLATTI. La speranza mi tradisce, str. 2: Se mi nasce un picciol bene, A major. For Issicratea in II:5 of POMPEO (Rome 1683; II:6 in Naples 1684). Attributed to Scarlatti in D-MÜs 3948, ff. 39-40v; GB-Lbl Egerton 2962, ff. 79-82v; I-Vnm It. IV, 467, ff. 47-48; and US-Su ML96.P38 T4, ff. 120-23v. Anonymous in I-Nc 60.1.53 (Arie 556), ff. 41-43v. MICHELETTI-P adds concordances in DK-Ku C, I, 510, p. 15; and GB-Lbl Add. 14218, f. 107r-v. 12 (ff. 47-52v) ALESS.O SCARLATTI. Ruscelletto almen tu puoi, str. 2: Farfalletta almen tu puoi, A minor. For Mitridate in II:8 of POMPEO (Rome 1683; II:9 in Naples 1684). Attributed to Scarlatti in D-MÜs 3948, ff. 5960v; F-Pn D.11837, ff. 187-188; GB-Lbl Egerton MS 2962, ff. 99-104v; GBOb Mus. Sch. E.396, pp. 62-63; I-Nc 33.4.10, ff. 60v-61, headed on f. 60v “Giovanni Sacco. 1690” per OPAC-SBN; Nc 60.1.53 (Arie 556), ff. 85-90; I-Rama A.249, ff. 126-31v; I-Rsc G.391, ff. 5-7v; and US-Su ML96 P38 T4, ff. 104-109v. Anonymous in I-Mc Noseda A.54, ff. 199v-204 (ms. dated 1695); I-Rc 2474, ff. 142v-44; and I-Vnm Cod.It.IV, 467 (9991), pp. 3-6. In the score

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to the opera the aria is written in tenor clef (C4), B-Br II.3962, ff. 130v-133. MICHELETTI-P adds the concordance GB-Ob Mus. e.45, ff. 17v-18. 13 (ff. 53-56v) ALESS.O SCARLATTI. Da quegl’ occhi luminosi, str. 2: La beltà che il sen m’accende, C major. For Sesto in II:4 of POMPEO (Rome 1683, Ravenna 1685; but not in Naples 1684). Attributed to Scarlatti in DMÜs 3948, n. 25; GB-Lbl Egerton MS 2962, ff. 95-98v; and US-Su ML96. P38 T4, ff. 110-13v. 14 (ff. 57-60v) BERN.O PASQUINI. Pensieri consigliatemi, se deggio amare o no, B! major. For Tessalonica in II:5 of TESSALONICA. Also attributed to Pasquini in I-Rsc G.391, ff. 65-67; I-Vnm It.IV, 467 (= 9991), pp. 13-15; USSu ML96.P38 T4, ff. 16-19v. Anonymous in D-MÜs 3948, n. 1 (with ritornello); GB-Lbl Harley 1270, ff. 17v-18v, and Harley 1273, f. 16; and I-Nc 33.4.36b, ff. 89-90v (2 str., Internet Culturale access). CRAIN vol. 2, p. 17. BOGHEN 1930, pp. 4-6. See also n. 1 above. 15 (ff. 61-65v) BER.O PASQUINI. Miei lumi serenatevi, non lagrimate più; str. 2: Pensieri tranquillatevi a lo sperar su, su, C major. For Tessalonica in III:7 of TESSALONICA. Also attributed to Pasquini in I-Vnm It.IV, 467 (= 9991), pp. 247-252; US-Su ML96.P38 T4, ff. 1-5v. Anonymous in D-MÜs 3948, n. 12. BOGHEN 1930, pp. 7-9. See also n. 1 above. Bound in parchment (104 × 275 mm). The Pamphili dove with olive branch embossed in gold in the center of both front and back covers; double border-lines in gold have corner ornaments of cupids with bows and arrows. The volume thus probably was not held by or destined for either cardinal Benedetto (elev. 1681) or Giovanni Battista, a prince since 1666. Stubs only remain of the two green ties on each cover. The stamped foliation is modern. Both flyleaves are blank; blank staves only are on f. 66. Bleed-through of ink makes the end guard sheet appear to have been ruled. Large, ornamental initials head each piece, but the ink has caused disintegration. The sole copyist (Hand A) wrote out the music for each strophe of the arias. Traits suggest the copyist Tarquinio Lanciani; see the comments for Barb. lat. 4230. The eight arias attributed to Bernardo Pasquini for the 1683 Roman production are in LA TESSALONICA, libretto by Nicolò Minato. Musical incipits and a number of sources are listed in CRAIN vol. 2, pp. 162-186. The three arias for the character Tessalonica (nn. 10 and 14-15) are identical with those in the score to the complete opera, A-Wgm IV.27719, while the five for Cassandro (nn. 1 and 3-6) have been transposed up a fifth and notated in soprano rather than alto clef. Four of the arias (nn. 5, 10 and 14-15) were edited and arranged in B. Pasquini, Arie ed ariette, ed. Felice

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BOGHEN, [vol. 2], Milan, Ricordi, 1930, nn. 1-3 and 6. See also MORELLI-APasq, pp. 67-68; 175-180. The seven arias attributed to Alessandro Scarlatti are in IL POMPEO, libretto by Nicolò Minato. The music is identical with that in the score B-Br II.3962 (facsim. edn SCAR-Pomp). Other sources are listed in ROSTIROLLA 1972, pp. 335-336. One aria from each of the two operas is also in Barb. lat. 4149, nn. 44-45. Eight other mss. include a significant number of arias from both operas: D-MÜs Hs. 3948 has nineteen from Tessalonica and twelve from Pompeo; US-Su ML96.P38.T4 has 15 and 12 arias; I-Nc 60.1.53 (Arie 556) has one from Tessalonica and 22 from Pompeo; F-Pc D.11837 has seven and five; I-Rama A.249 has eight and three; I-Rc 2474 has six and three; I-Vnm Cod. Ital.IV, 467 has five and four; and I-Nc 33.4.36 (Cantate ibride 13) has five and two arias. Barb. lat. 4148-4149

Barb. lat. 4149 1676-1686 ca., 100 × 265 mm, I.230.I ff., 4 staves, 10 hands

Miscellany of forty-five arias and four cantatas. Eighteen arias attributed to Filippo Colonnese appear in CHI TUTTO VUOL TUTTO PERDE (Velletri 1681), libretto by G.B. Landi; the remaining four by him were likely connected to a version of this work. Two arias come from operas staged in the Palazzo Colonna for carnival in Rome 1683, one from IL POMPEO by Alessandro Scarlatti and one from LA TESSALONICA by Bernardo Pasquini (nn. 44-45); arias from both are also in Barb. lat. 4148. Eight aria texts occur in the libretto for LA PSICHE (Naples, December 1683), libretto by G.D. De Totis, and are here provisionally attributed to Alessandro Scarlatti (nn. 38-41, 46-48). Twelve arias (nn. 5-16) are from IL SILENTIO D’ARPOCRATE (Rome, Palazzo Colonna, carnival 1686), music by Bernardo Pasquini, libretto by Nicolò Minato (originally for Vienna 1677 with music by A. Draghi). Composers are named for three of the cantatas: Carlo Ambrogio Lonati, Antonio Foggia and Angelo Olivieri, whose work is dated 1682 (nn. 2-3 and 49). One cantata and two arias (nn. 1, 4, and 8) remain anonymous. Unless otherwise indicated, the genre is aria and the setting is S/B. Other scorings are SA/B (n. 32), ST/B (n. 37), T/B (nn. 38-39, 41 and 46) and SSB/B (n. 49). Online in DVL. 1 (ff. 1-3v) Acque care, che sì chiare; str. 2: Vaghi fiori, che d’odori, G major. The initials or abbreviation PP. appear at the end of the aria (indicating Paolo Petti?); see comments for hand A below.

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2 (ff. 5-19v) CARLO AMBROGIO LONATI. O tu limpido fonte, nato dal sen d’un’infeconda selce, E minor, cantata. Marked “aria” is Chiaro fonte, ahi, non sdegnar; str. 2: Compatisci il mio martir (A minor). The second aria is Rimembranza per me troppo acerba. Barb. lat. 4149 3 (ff. 21-36v) ANTONIO FOGGIA. Cantata a solo. Fuor della Stigia sponda con la bella Euridice, A major, cantata. The first aria “adagio” is Chi m’insegna, o miei tormenti. Others are Rendimi l’alma al meno, marked “Si risponde”; and Quell’alma che detta (E minor). This text was also set by Alessandro Stradella (WECIS 4A, n. 61, and GIANTURCO AND MCCRICKARD, 1.1-46), which suggests that the poem may come from the 1670s.

4 (ff. 37-40v) A piè d’un verde alloro chiuse le luci al sonno, G minor to D minor, cantata. The closing and only aria is Tormentando mi va più. 5 (ff. 41-45v) [BERNARDO PASQUINI]. [S]e vibrasti cieco Amor nel mio sen saette d’oro, str. 2: Mi legasti Dio bambin con un crin il cor nel seno, D minor. For Acrisio in II:3 of IL SILENTIO D’ARPOCRATE (Rome 1686). Attributed to “Ber.o Pasquini” in F-Pn Vm7 1818, f. 31. Incipit and concordance in CRAIN vol. 2, p. 283. See also MORELLI-A-Pasq, pp. 181-182. A version of Draghi’s setting for Vienna 1677 is D-Mbs Mus. 1519, n. 19, ff. 35v37, anon., T/B; see RISM ID n. 450058331.

6 (ff. 47-52v) [PASQUINI]. [L]a speranza mi dice ch’io speri; str. 2: Con la speme nodrisco l’ardore, C minor. For Elidora in I:11 of SILENTIO D’ARPOCRATE. Attributed to “Bern.o Pasquini” in BAV Chigi Q.IV.38, ff. 93-96v (incomplete str. 2). Musical incipit and concordances in CRAIN vol. 2, p. 287. 7 (ff. 53-58v) [PASQUINI]. [A]mor, consolami che gelosia, str. 2: O cielo acquietati e’l mesto core, B minor. For Argenore in I:10 of SILENTIO D’ARPOCRATE. 8 (ff. 59-64) [S]i colgano le palme bella virtù da te; str. 2: Si mietano gl’allori, D minor (not in the libretto for SILENTIO D’ARPOCRATE). 9 (ff. 65-69v) [PASQUINI]. [S]ei mia vita, sei mio core; str. 2: Se non sani il mio dolore, G major. For Argenore in III:2 of SILENTIO D’ARPOCRATE. Attributed to “Bernardo Pasquini” in BAV Chigi Q.IV.38, ff. 69-70v (A major), and F-Pn Vm7 1818, f. 28. Incipit and concordances in CRAIN vol. 2, p. 286. 10 (ff. 71-74v) [PASQUINI]. [N]on ho pace, non ho bene; str. 2: Non conosco più diletto, E minor. For Acrisio in I:1 of SILENTIO D’ARPOCRATE. Attributed to “Ber.o Pasquini” in F-Pn Vm7 1818, f. 30v. Anonymous in GB-Lbl

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R.M. 24.i.11, n. 8, ff. 55-58v; and F-Pn H. 659, V with Rés. F.1675 (9), f. 4v (bass part). CRAIN vol. 2, p. 283 lists incipit and concordances. Catalogued in NESTOLA 2015, AIF.367 as Non ho pace da quel dì. A version of Draghi’s setting for Vienna 1677 is D-Mbs Mus. 1519, n. 1, ff. 2-3, anon., T/B.

11 (ff. 75-80) [PASQUINI]. [U]n non so che di speme mi viene a lusingar; (2) Io non so dir pensieri, C major. For Acrisio in III:13 of SILENTIO D’ARPOCRATE. 12 (ff. 81-84v) [PASQUINI]. [B]ell’alba sui fiori stilando rugiade; (2) Sui liti del Gange tu semini gioie, D minor. For Elidora in III:11 of SILENTIO D’ARPOCRATE. CELANI and BARONCI listed this aria under Dell’alba …. 13 (ff. 85-88) [PASQUINI]. [B]arbara ingrata, ferma quel piè; (2) Porti spietata le Furie con te, D minor. For Argenore in III:2 of SILENTIO D’ARPOCRATE. 14 (ff. 89-91) [PASQUINI]. [C]h’abbian pace i suoi pensieri, F major. For Argenore in II:6 of SILENTIO D’ARPOCRATE. 15 (ff. 91v-94) [PASQUINI]. [N]e senza spine la rosa sta; (2) Vengono alterni piacer e duol, B! major. For Lincea in I:7 of SILENTIO D’ARPOCRATE. Attributed to “Ber.o Pasquini” in F-Pn Vm7 1818, f. 29; GB-Lbl Add. 31506, ff. 88v-89v, with TrTrB instruments; and GB-Ob Mus. Sch. G.606, pp. 21-28. An anonymous copy in F major is BAV Chigi Q.IV.48, f. 9r-v. CRAIN vol. 2, pp. 281-282, lists the musical incipit and some of the above concordances. 16 (ff. 95-97v) [PASQUINI?]. [O]gn’hor per te mi moro, A major. Not in the libretto for Il Silentio d’Arpocrate. Attributed to “Bernardo Pasquini” in I-Nc 60.1.55 (Arie 211; Cant. ibr. 21). Anonymous in GB-Lbl R.M. 24.1.11, n. 30. CRAIN vol. 2, p. 284, lists the musical incipit and concordances. 17 (ff. 99-101v) Abb[ate] FILIPPO COLONNESE. Dunque bella un tanto sdegno, str. 2: Di dar fine al mio tormento, D minor. For Florindo in III:7 of CHI TUTTO VUOL TUTTO PERDE (Velletri 1681). 18 (ff. 103-106v) Abb. FILIPPO COLONNESE. Vergognoso volando s’en fugge, str. 2: Splenda pure qual face di morte, G minor. For Celinda in III:8 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in I-Rc 2481, ff. 79-83v. 19 (ff. 107-110) Abb. FILIPPO COLONNESE. Siegui pur dunque a fingere; str. 2: Io seguir voglio a piangere, C minor. For Celinda (1) and Feraspe (2) in II:15 of CHI TUTTO VUOL TUTTO PERDE. 20 (ff. 111-116) Abb. FILIPPO COLONNESE. Ed all’hor forse men fiera; str. 2: Anzi all’hor del dio tiranno, A major. For Alidoro (1) and Rosalba (2) in I:11 of CHI TUTTO VUOL TUTTO PERDE.

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21 (ff. 117-122) Abb. FILIPPO COLONNESE. Verdi erbette che sempre ingemmate; str. 2: Fiori voi ch’al sole nascente, A major. For Feraspe in I:12 of CHI TUTTO VUOL TUTTO PERDE. 22 (ff. 123-126) Abb. FILIPPO COLONNESE. Crudo Amor dalle tue pene, B minor; one strophe only. For Rosalba in III:4 of CHI TUTTO VUOL TUTTO PERDE (2 str.). 23 (ff. 127-129) Abb. FILIPPO COLONNESE. Son pietosa e al tuo dolore, A minor. For Rosalba in I:3 of CHI TUTTO VUOL TUTTO PERDE. 24 (ff. 131-134) Abb. FILIPPO COLONNESE. Sì, ch’adoro un bel sembiante; str. 2: Sì, ch’adoro chi mi fugge, D minor. For Florindo in I:2 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in I-Rc 2481, ff. 45-48. 25 (ff. 135-137) Abb. FILIPPO COLONNESE. Corran pure a cento e a mille, A minor; marked “Adagio.” Anonymous in I-Rc 2481, ff. 67-69v (with two str.). 26 (ff. 139-141) Abb. FILIPPO COLONNESE. Chi può mai schivare il dardo, G minor. For Alidora in II:6 of CHI TUTTO VUOL TUTTO PERDE. Marked “Mesto e ad[agi]o.” 27 (ff. 143-145) Abb. FILIPPO COLONNESE. Amore è un tiranno ch’in trono risiede, E major (da capo aria). For Feraspe in I:13 of CHI TUTTO VUOL TUTTO PERDE. 28 (ff. 147-149v) Abb. FILIPPO COLONNESE. Spera pur da me vendetta, A minor. For Rosalba in II:17 of CHI TUTTO VUOL TUTTO PERDE. 29 (ff. 151-153) Abb. FILIPPO COLONNESE. Dal nume bendato si speri mercé, C major; one str. only. Possibly a substitute texting of the aria for Feraspe in II:1 of CHI TUTTO VUOL TUTTO PERDE, In folle bendato non regna pietà, which has the same meter and rhyme structure. 30 (ff. 155-157v) Abb. FILIPPO COLONNESE. Per favor d’amico Fato, C major. For Florindo in I:4 of CHI TUTTO VUOL TUTTO PERDE. 31 (ff. 159-162v) Abb. FILIPPO COLONNESE. Per dar forza al mio petto; str. 2: Cinosura in tanto periglio, D major. For Alidoro in I:8 of CHI TUTTO VUOL TUTTO PERDE. 32 (ff. 163-168) Abb. FILIPPO COLONNESE. Forse un dì ti cangerai: sempre stabile sarò, SA/B, G major. For Alidoro and Rosalba in I:11 of CHI TUTTO VUOL TUTTO PERDE. 33 (ff. 169-172) Abb. FILIPPO COLONNESE. Quant’ è folle chi siegue un

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fanciullo, D major; one str. only. For Feraspe (1) and Lesbina (2) in II:1 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in BAV Chigi Q.IV.12, ff. 15-21v (2 str.), and I-Rc 2481, ff. 49-52 (one str., but also with a Latin contrafactum). The Chigi ms. has str. 2: Passa i giorni chi amanti diviene, whereas the printed libretto reads Lesbina: Se una volta lo strale ti ficha. Quanto è folle il seguir bellezza infida in A-Wn 17772, n. 37, ff. 139-141v, is set to a different poem (T/B, A minor) and attributed to Bernardo Pasquini in BAV Chigi Q.IV.13.

34 (ff. 173-176) Abb. FILIPPO COLONNESE. Consola, pur consola, il mesto tuo dolor, str. 2: Tergi, pur tergi, il pianto dall’alma tua fedel, A minor. For Rosalba in I:4 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in I-Rc 2481, ff. 19-22. 35 (ff. 177-180v) Abb. FILIPPO COLONNESE. Il nume fatale per darmi mercé; str. 2: Ma poscia il suo core di quello sarà, E minor. For Feraspe in III:10 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in I-Rc 2481, ff. 11-14v, with str. 2 as in the printed libretto: Se poscia il suo core di gelo sarà. 36 (ff. 181-186) Abb. FILIPPO COLONNESE. Aure voi che v’aggirate, str. 2: Augelletti che sentite, A major. For Celinda in I:9 of CHI TUTTO VUOL TUTTO PERDE. Anonymous in I-Rc 2481, ff. 59-66. 37 (ff. 187-189) Abb. FILIPPO COLONNESE. [Florindo]: Deh, perdona il mio furore/ [Rosalba]: Tu cancella il mio dispetto, ST/B, A minor. For Florindo and Rosalba in II:13 of CHI TUTTO VUOL TUTTO PERDE. 38 (ff. 191-192) [A. SCARLATTI?] Pupille belle ch’il cor m’ardete, str. 2: Labra vezzose, fonti d’ardore, T/B, E major. For Lidoro and Astrea (alternating quatrains) in II:16 of LA PSICHE (Naples 1683/84). 39 (ff. 193-194v) [A. SCARLATTI?]. Lumi tiranni, s’io che v’adoro, T/B, C minor. For Lidoro in III:19 of LA PSICHE. 40 (ff. 195-196v) [A. SCARLATTI?]. Non può dir che sia piacere, C minor. For Selenisa in II:14 of LA PSICHE. 41 (ff. 197-198v) [A. SCARLATTI?]. Io vagheggio, e rose e gigli, T/B, D minor. For Lidoro in I:14 of LA PSICHE. 42 (ff. 199-202) [A. SCARLATTI?]. [C]are labra in cui d’amore, C major. For Psiche in III:2 of LA PSICHE. 43 (ff. 203-206v) Abb. FILIPPO COLONNESE. Spesso il sole degl’ amanti, str. 2: S’al fulgor di biondo crine, A major. For Feraspe in I:2 of CHI TUTTO VUOL TUTTO PERDE (in the libretto as Questo sole degl’amanti). Anonymous in I-Rc 2481, ff. 23-27.

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44 (ff. 207-210) [A. SCARLATTI]. [A]h crudele, chi ti pose, A major. For Claudio in I:3 of POMPEO (Rome 1683). Attributed to “Alessandro Scarlatti” in the score to the opera, B-Br II.3962 (Fétis 2519), ff. 19v-20v (one strophe). Attributed to “Alessandro Scarlatti” or “Aless.o Scarlatti” in other aria collections, Barb. lat. 4148, n. 8; D-MÜs 3948, ff. 43-44; F-Pn D.11837, ff. 178bis-179; GB-Lbl Eg. 2962, ff. 73-78 (facsim. page in RUFFATTI 2007, imm. 13); Harley 1272, f. 59; GB-Ob Mus. Sch. E.396, pp. 44-46; I-Nc 60.1.53 (Arie 556), ff. 1-4v; I-Rama A.249, ff. 104-109v; and US-Su ML96 P38 T4, ff. 68-73. Anonymous in A-Wn Mus. 18833, ff. 15v-19v; GB-Lbl Add. 14218, ff. 108-109v; and I-Rc 2474, ff. 139-142. Modern edn based on the I-Nc copy, A. SCARLATTI, Cinque Arie, ed. Mario Pilati (Naples 1924), n. 2. 45 (ff. 211-214v) BERNARDO PASQUINI. Il Timor e la Speranza due gemelli son d’Amor, str. 2: Se gl’assalti del timore non frenasse lo sperar, A minor. For Tessalonica in II:5 of TESSALONICA (Rome 1683). Attributed to “Bernardo Pasquini” in the score to the opera, A-Wgm IV.27719 (CRAIN vol. 2, p. 175). Anonymous in D-MÜs 3948, ff. 27-28. Printed in ALESSANDRO SCARLATTI [sic], Thirty-Six Ariettas for a Single Voice with a Thorough Bass for the Harpsichord (London: Thomas Vanderman, [ca. 1755]), n. 1. Modern edn BOGHEN 1930, pp. 10-12 (G minor). 46 (ff. 215-216) [A. SCARLATTI?]. Astri placatevi, non più rigor, T/B, E minor. For Lidoro in I:5 of LA PSICHE. 47 (ff. 217-220v) [A. SCARLATTI?]. [N]on ti credo, deità mensogniera, C minor. For Anteo in I:5 of LA PSICHE. Anonymous in GB-Lbl 14218, ff. 121v122. 48 (ff. 221-222) [A. SCARLATTI?]. Crudo padre, come vanti alma sì dura, D minor. For Anteo in II:3 of LA PSICHE. Published under Pasquini’s name in BOGHEN 1930, p. 13; its incipit was therefore listed in CRAIN vol. 2, p. 277. 49 (ff. 223-230) D. ANGELO OLIVIERI. Cantata a 3, 1682. Pensieri d’amore ch’il cor tormentate, SSB/B, C minor. Bound in parchment (105 × 265 mm). The number 20 appears in black ink on the spine above a pink BAV sticker, and the previous shelfmark XLVII.20 is written inside the front cover in black ink by the same modern hand. Red and blue speckled edges have faded, as with Barb. lat. 4143. Folio numbers have been stamped at the lower right. Both flyleaves are blank. Blank staves only are on ff. 4, 20, 46, 70, 98, 102, 130, 138, 142, 146, 150, 154, 158 and 190. On f. 20v are two measures of music followed by the meter signature [46]. The most prominent watermark is the fleur-de-lis in two concentric

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circles (ff. 2, 43?, 44, 86, 88, 94, 111?, 119, 123, 125, 129-130, 162, 165-166, 172-174, 180-182, 190, 212 and 229), similar to HEAWOOD nn. 1591-1592 (without the letter V). It may be above the second half-image of three hills in two concentric circles (ff. 47, 61-62, 67, 70, 81, 103, 112, 116, 132, 134 and 207), similar to HEAWOOD nn. 1620-1623. Next is a stag in one circle (ff. 5, 11, 14, 18, 31?, 40, 49?, 75?, 91?, 201 and 219), similar to HEAWOOD n. 3850. Those which occur only twice are a fleur-de-lis in one circle (ff. 23 and 35), similar to HEAWOOD n. 1569; and a paschal lamb with a banner, within two concentric circles (ff. 191 and 194), similar to HEAWOOD, 28382839. Hand A who copied n. 1 resembles the hand of I-Rli Fondo Chiti musica M.24, nn. 10-11 and 14, polyphonic psalm settings that also end with the initials P.P. and are dated 1671 and 1676. Cf. CARERI. See also the comments for the different Hand A of Barb. lat. 4173, which copied a Petti aria. The initial A of n. 1 above is formed by two persons shaking hands, with a landscape in the background, and a pair of scales at their feet. One person holds an olive branch, and olive leaves are in the border design along with scales of justice and cylindrical faggot bundles. Hand B is Giovanni Antelli, copyist of n. 2. Hand C copied n. 3. Its elaborate initial is by the same calligrapher who also executed initials for Barb. lat. 4158, n. 2, and Barb. lat. 4171, n. 1. Hand D resembles Flavio Lanciani’s (n. 4), with an awkward calligraphic initial. Hand E copied the arias from IL SILENTIO D’ARPOCRATE: nn. 5-7, 9-16. Hand F copied n. 8. Hand G copied the arias by Colonnese: nn. 17-37 and 43. Hands H and I copied the arias from LA PSICHE; Hand H, nn. 38-41, 46 and 48; and Hand I, nn. 42 and 47. Hand K copied nn. 44 and 45, the arias from Roman operas of 1683. His work does not resemble the copyist of Barb. lat. 4148, which contains arias from the same two operas. The 1686 libretto for II SILENTIO D’ARPOCRATE is available online through the CORAGO portal. Two of its twelve arias here are not in the libretto (nn. 8 and 16). But at least n. 16 may be from the opera, since it and ten others were copied by the Hand E and attributed to Pasquini. No composer is named in the libretto. Thus CRAIN did not list this opera as a composition by Pasquini, and he listed arias attributed to Pasquini among “separate arias” at the end of his 1965 dissertation. Documents concerning the production are cited in TAMBURINI 1997, pp. 166-168; she was likewise unaware that Pasquini had composed music for the production. So far

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as is known, Barb. lat. 4149 is the largest extant source for IL SILENTIO D’ARPOCRATE. On the opera, see MORELLI-A-Pasq, pp. 175-180. The eight arias from LA PSICHE were identified by Louise K. Stein. Lacking further musical confirmation, they are here only provisionally assigned to Alessandro Scarlatti but are likely to be by him. The 1684 libretto for Naples lists Barberini tenor Michele Fregiotti in the role of Lidoro, who would have sung four of the arias in this volume. The two arias for Anteo were for Paolo Besci, identified as musico of Queen Christine of Sweden (nn. 47-48). Eighteen of twenty-two items by Abbot Filippo Colonnese (nn. 17-37 and 43) appear in the libretto to CHI TUTTO V[U]OL TUTTO PERDE, favola dramatica per musica fatta rappresentare dagl’Achademici Erranti, nell’Inclita Cità di Velletri l’anno 1681. Composta da GINNAIO ATTABIST LINDA (Velletri 1681), libretto by G. B. Landi; see FRANCHI 1681/7. Concordances with the fifteen arias from this libretto are in I-Rc 2481, which has seven additional arias from some version of this work. For the operas IL POMPEO (n. 44) and LA TESSALONICA (n. 45), see the comments to Barb. lat. 4148. The “PP.” at the end of n. 1 could stand for Paolo Petti (d. 1678), but could also represent “[mano] propria” for an unknown composer; or, less likely for a secular cantata, princeps pax. Antonio Foggia was the last child (1652-1707) of Francesco Foggia, who had served as maestro di cappella at the senior Cardinal Francesco Barberini’s titular church of S. Lorenzo in Damaso from 1661 to 1677. In Holy Year of 1675, G.B. Caifabri issued a book of Masses by the father that included one by the son, then maestro di cappella at S. Girolamo della Carità (RISM F1453). Also in 1675 Francesco became the maestro at S. Maria Maggiore, with the son a co-adjutore. Antonio rose to the post at his father’s death in 1688. Barb. lat. 4149-4150

Barb. lat. 4150 mid-17th c., 98 × 263 mm, I.130.I ff., 4 staves, one hand

Anthology of twenty-seven anonymous Italian cantatas and arias, twenty-five for soprano, followed by one for two sopranos (n. 26), and a trio for two sopranos and alto (n. 27), all with basso continuo. On the basis of concordances, ten can be attributed to Roman composers Giacomo Carissimi (1), Marco Marazzoli (1), Marc’Antonio Pasqualini (1), Luigi Rossi (7), and Mario Savioni (1), with two others attributable to “C.V.,” likely Carlo

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Caproli known as “del Violino.” Fourteen remain anonymous. No poets are named, but they include Antonio Abati, Domenico Benigni, Fulvio di Costanzo, and Francesco Melosio. Scoring is S/B unless otherwise indicated; variant cleffing (e.g., S/T) and internal clef changes in the continuo line are not usually noted. 1 (ff. 1-7v) Fra le dame leggiadre, A minor. Marked “aria” is Chi desia trovar via d’infiammar. The text by Antonio Abati was published as Una dama leggiadra with the subject title “Si descrive una dama, che canta” in ABATI 1671, vol. 1, pp. 392-393; ABATI 1673, pp. 425-426; and in ABATI 1676, pp. 350-351. See M. MURATA, Singing about Singing, or The Power of Music Sixty Years After, in In Cantu et in Sermone, F. Della Seta and F. Piperno, eds, Florence 1989, pp. 363-384. 2 (ff. 9-15v) Sospira un pastore per donna crudele, A minor, 6 quatrains in variation. Also anonymous in D-Mbs Mus. 1524, ff. 128bis-134. 3 (ff. 16-19v) [LUIGI ROSSI]. Sospiri miei loquaci, lingue del mio bel foco, S/T, E minor, 2 strophes. Also anonymous but in Luigi’s hand in Barb. lat. 4374, n. 30 (T/B, 3 str.), q.v. for another concordance and a different setting. 4 (ff. 20-21v) M’havete chiarito, begl’occhi, alla fé, E minor; 2 str., text only for str. 2. 5 (ff. 23-28) Chi sa la dolcezza d’un alma ch’adori, B! major, cantata. 6 (ff. 28v-32v) L’arder tacito amante, B! major, cantata. The only aria is Beltà che ferisce il sen. Barb. lat. 4150 7 (ff. 33-34v) [CARLO CAPROLI]. Deh, soffri mio core, s’il cielo consente, C minor; 2 str., text only for str. 2. Attributed to “C.V.” in Barb. lat. 4168, n. 9. AFFORTUNATO n. 27 does not list this copy and gives a signature of three sharps instead of one flat. 8 (ff. 35-38v) Mal’accorto, mio core, cangia desire, E! major, R-1-R (“p[rim]a” is marked; there is no str. 2). Also anonymous in B-Bc 694 (olim F.A.VI.38), ff. 25-28v. 9 (ff. 39-42v) In mirarvi, o luci belle, D major, R-1-R-2-R. 10 (ff. 43-45v) [LUIGI ROSSI]. Benché roca pur impetra, E minor, aria. Attributed to Rossi in I-Gl A-5-Cass., ff. 66-69v and F-Pn Vm7 6, f. 14. CALUORI n. 26 gives the musical incipit. 11 (ff. 46-50) [MARC’ANTONIO PASQUALINI]. Ahi dolci glorie per mio mal passate, E minor, R-1-R-2-R. Enclosed in the initial A of “Ahi” is Pasqual-

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ini’s monogram “MAP,” the basis for the attribution here. Attributed to Alessandro Leardini in I-MOe Mus. G.108, ff. 1-4, but not in the hand of the music copyist; the copy is dated 1662 and has the subject title “Amante doglioso per le perse dolcezze.” Anonymous in GB-Lbl Harley 1266, ff. 17174v. MURATA n. 7. 12 (ff. 50v-52v) Un giu[o]catore amante che dalle carte e dalla donna sua, C major. The only aria is L’amore e lo sdegno sapete cos’è? (3 str., text only for str. 2-3). 13 (ff. 53-54v) [CAPROLI]. Amor, te la perdono, ma non ci tornar più, D minor; 2 str., text only for str. 2. Attributed to “C.V.” in Barb. lat. 4168, n. 10. Anonymous in BAV Chigi Q.IV.5, ff. 59-60v and I-Vc Busta 1.11, ff. [87v-91]. AFFORTUNATO n. 4 lists only the Barb. lat. 4168 source. 14 (ff. 55-57v) Rispondete, o pensieri, chi crudele m’impiagò, E major, R-1-R-2-R. 15 (ff. 58-62v) Lasciatemi la vita, fierissimi tormenti, E minor. The only aria is S’io bramo, o begl’occhi (E minor). 16 (ff. 64-66v) [L. ROSSI]. No, no, non ci pensa, no, lusingar core ti vuo’, D minor, aria. Attributed to “Luigi” in I-Rc 2467, ff. 32v-38, where the text is attributed to the Principe del Colle Anchise (Fulvio di Costanzo). CALUORI n. 129 gives the musical incipit. 17 (ff. 67-71) Lungi dall’ idol mio, privo d’ogni conforto, C minor, cantata. The only aria is Gelosia, l’arde e lo gela (4 str. in variation). 18 (ff. 71v-74v, 63r-v) [L. ROSSI]. Che farò, m’ in(n)amorò, sì o no?, Tr/B, G major, R-1-R-2-R-3-R. The Barberini version is a transposition of an S/B scoring in E major, but the copyist failed to begin with or retain the baritone clef throughout for the continuo line. The third strophe and last refrain are misbound. Attributed to Rossi in I-Bc V.289, ff. 207-208, where the text is attrib. to Monsignore [Stefano] Vai; and in F-Pn Vm7 6, f. 3. Anonymous in I-IBborromeo Misc. 4, ff. 97v-100v and Misc. 8, ff. 16r-v. Three are in RISM online: GB-Lbl Harley 1863, ff. 113v-15 (lacks text for str. 2-3); I-Nc 33.5.18, ff. 54-55v (Cant. ibr. 18, anon.), and US-CAh Mus. 106, ff. 119-20v (anon.). The copy F-Pn Rés. 2096, pp. 44-47 lacks a continuo part. RICCIARDELLI, p. 27 also lists B-Bc 17197. CALUORI n. 29 gives the musical incipit and notes that this Barberini copy is the only one that writes out the music for all strophes. 19 (ff. 75-76v) Guida tu l’anima errante, G minor, R-1-R-2-R. 20 (ff. 77-80) Pene, a pena sento pena quando l’alma mi ferite, C minor;

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R-1-R-2-R, text only for str. 2. Folios 77-78 appear to bear earlier folio numbers of 3 and 4 in the hand and ink of the music copyist. The text is attributed to the Principe “Colle d’Anchise” (Fulvio di Costanzo) in the anon. copy I-IBborromeo Misc. 4, ff. 86v-89v. 21 (ff. 80v-82v) [L. ROSSI]. Tra montagne di foco romito vive il core, C minor; R-1-R-2-R, text only for str. 2. Headed “L” (for Luigi) in BAV Chigi Q.IV.5 and attributed to Rossi in B-Br II.3947, ff. 99-102v. Anonymous in I-Rc 2505, ff. 103v-104v, and Rc 2479, ff. 1-4v. CALUORI n. 194 gives the musical incipit. 22 (ff. 83-88) [L. ROSSI]. Anime voi che siete da le furie abisso, oppresse ogn’hora, C minor, cantata. The aria Chi non sa che cosa sia returns as a refrain at the end. CALUORI n. 18 gives the musical incipit and nine sources with attributions to Rossi, including the Roman sources B-Br II.3947, ff. 1-8v; F-Pn Rés. Vmc 78 (ex-Thibault), ff. 40-43; GB-Ouf U.210.4, ff. 4956v; and I-Rsc G.885, ff. 23-28. A facsim. of the Venetian source BAV Chigi Q.VII.99, ff. 61v-64 is ITALCANTAT 1, n. 12. The attribution to Carlo Caproli in I-Nc 33.4.17b, ff. 75-78, is not by the music copyist (cf. AFFORTUNATO n. 3). The cantata is anonymous in seven additional sources, including I-IBborromeo Misc. 8, ff. 29-30v; I-Rc 2505, ff. 89v-92 (CLORI n. 5644 with poetic text and facsim. page); and US-CHH Music VM2.1 M1, ff. 164v-67v (none of these is in CALUORI or RICCIARDELLI). MISCHIATI 1962, n. 295 lists a work with this incipit attributed to Rossi. An anonymous copy of the text only is BAV Vat. lat. 13311, f. 50 (CARBONI 1, n. 1155). 23 (ff. 88v-90v) Con Amor chi scherza o tresca, A minor; 3 str., text only for str. 2-3. Also anon. in I-IBborromeo AP.20 (BOGGIO, p. 83) 24 (ff. 91-92v) [L. ROSSI]. Io lo vedo o luci belle, E minor; R-1-R-2-R, text only for str. 2. Attributed to Rossi in B-Br II.3947, ff. 121-24v (ex-Fétis 2422; lacking text for str. 1). CALUORI n. 99 gives the musical incipit. RIEMANN vol. 2/2, p. 374 (n. 35); RICCIARDELLI, p. 27. Modern edns include HAM 2, n. 203; JAKOBY, n. 4; and IMSLP 401018, ed. P.-G. Fellerer (2015), which lacks str. 2. A setting by P.P. Sabbatini (SS/B, C minor) is in his Prima scelta di villanelle a due voci, Rome 1652, rpr. Stuttgart 1999, pp. 8-9.

25 (ff. 93-106v) [MARCO MARAZZOLI]. Sovra l’humida sponda d’un christallino fonte, D major, cantata. Marked “arietta” is Di quegli occhi al doppio sole; another aria is Dammi pace, o gelosia (R-1-R-2-R). Anonymous copies are BAV Chigi Q.VI.80, ff. 144v-52 (a Marazzoli holograph; see WITZENMANN 1970, n. 211). The text is in MELOSIO 1672, pp. 195-199, and I-Rn V.E. 1090, pp. 99-103 (cf. HOLZER 1990, p. 361). Not in CARBONI 12/3.

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A different cantata is Sovra l’umida sponda d’un vago fiumicello for A/B in I-Nc 33.3.1 (Cantate 58), ff. 26-31.

26 (ff. 107-116v) [GIACOMO CARISSIMI]. Vaghi rai, pupille ardenti, SS/B, A major, 2 str. Attributed to Carissimi in F-Pc Rés. F.935, pp. 1-9; GB-Och 996 (dated 1672), ff. 60v-62; and I-Bc Q.50, ff. 43-46v. Anonymous in I-Fc f-I-31, ff. 184v-89v; I-Nc 33.3.1, ff. 71-72; and Nc 33.5.10, ff. 56-61 (Internet Culturale access); and I-PEu Cass. 23 (23), the latter with two facsim. pp. and a text edn in CLORI n. 7557. WECIS 5 gives the musical incipit. A late 19th-century copy of F. Gevaert’s arrangement is in I-Rsc G.498. Modern edns are LANDSHOFF 1927, pp. 42-48, and HOLZER 1990, pp. 591-602. A different setting by Carlo Rainaldi in I-Bc V.289, ff. 231-36v names [Domenico] Benigni as the poet. A third setting is in O. Tarditi, Arie a voce sola (Venice 1646, NV 2701), pp. 20-21.

27 (ff. 117-130v) [MARIO SAVIONI]. Mio cor, non tocca a te di spezzar le catene, SSA/B, G major. Part one is for S/B; part two begins Soffrir non si può più (SS/B); part three begins Amor non vuo’ pietà (SSA/B). Attributed to Savioni in I-Bc Q.47, ff. 202-206. Not listed in WECIS 2. Bound in parchment (105 × 265 mm). On the spine is a pink Vatican sticker and above it the number 21 written in black ink by the modern hand that wrote the previous shelfmark XLVII.21 inside the front cover. The watermark of the praying cleric/saint with a cross in a shield, associated with Rome, is of a uniform type throughout (cf. HEAWOOD n. 1352). Item n. 8 seems to be on different paper, despite the similar watermark. In twenty-four gatherings of two bifolios each, with a few irregular gatherings. The opening and closing fascicles of four bifolios included the flyleaves (stubs remain of blank folios between ff. 4 and 5 and between ff. 126 and 127). Folios 17-22 are one gathering of three bifolios. Item 25 is a separate fascicle of IV+III bifolios. The modern foliation in pencil begins with the ruled pages. Folios 77 and 78 of n. 20 bear earlier folio numbers 3-4. The flyleaves are blank; blank staves only are on ff. 8 and 22. Elaborate initials begin cantatas and often internal sections as well. The single copyist is unique in the Barberini collection. It bears strong resemblance, if it is not the same hand at a different time, to GB-Lbl Add. 58853, an anthology of Parole di Gio. Patrick Carey messe in musica da diversi autori, who are Vincenzo Albrici, Giacomo Carissimi, Francesco Margherini, Antimo [Liberati] and Carlo Rainaldi; see the facsim. of f. 36 in WILLETTS, p. 116. The identification of the Prince of Colle d’Anchise is based on the marriage of Fulvio di Costanzo, prince of Colle, to Beatrice Moccia of the baronial family of Colle d’Anchise in 1622; cf. F. CAPOCELATRO, Degl’annali della città di Napoli, pt. 2: 1631-1640, Naples 1849, p. 65.

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Barb. lat. 4151 1629-1638 ca., 99 × 270 mm, 132 ff., 2-4 staves, 6 hands

Pre-bound volume with twenty-four vocal chamber pieces in Italian for soprano and basso continuo, as well as sketches and compositional drafts for twenty-five Italian canzonettas and cantatas and one Latin setting (n. 39), all for one to three voices with basso continuo. Item n. 40 is attributed to “Marcantonio”; the rest are anonymous. Begun as an anthology, Barb. lat. 4151 became used as a lesson- and copybook with entries made in various hands. This in part forms the basis for attributions to Orazio Michi (nn. 1-10 are autograph) and G.G. Kapsperger (n. 42). Thirty-eight items are in the hands of Marc’Antonio Pasqualini and Marco Marazzoli. Eleven of these are either first strophes laid out preparatory to composing strophic variations or are compositional drafts for them. The remaining twentysix items are compositional drafts, or incomplete or defective copies by Pasqualini and Marazzoli in a variety of other genres and scorings. Only two draft items (nn. 18 and 33) later appear in a dated Pasqualini volume (Barb. lat. 4221), suggesting a rough terminus of 1638. The hands of nn. 35 and 49 have not been identified. Item 11 and possibly n. 19 are also attributable to Michi. No poets are named, but they include Francesco Balducci, Battista Guarini, Antonio Ongaro, and Torquato Tasso. Online in DVL. 1 (ff. 1-3v) [ORAZIO MICHI?] … da te lusingando il sol, S/B, F major. One or more gatherings containing the beginning of this composition are lacking. Desinet “Tanto gli arde il desio del tuo ritorno.” 2 (ff. 4-6v) [MICHI?] Quante volte giurai fermo e costante, S/B, C minor, a sonnet with four parti in variation. Another setting of this text for ATB is in G.B. Rovetta, Madrigali concertati, op. 2 (Venice 1629, NV 2461).

3 (f. 7r-v) [MICHI?] 3a parte: Ahi tu mi nieghi; io credea crudi i mari. 4a parte: Prodigo a te del pianto a lei del core, S/B, D minor. The fragment sets the closing sestet of the sonnet Fiume, ch’all’onde tue ninfe e pastori by Antonio Ongaro, Rime in volgare, libro primo (Farnese 1600; ed. Nettuno 2004), pp. 60-61, with the subject title “Accusa il fiume che non le mostra il viso della sua ninfa.” Other settings of Ongaro’s poem include a “sonetto passeggiato” by G. Sances, Cantade (Venice 1633, NV 2545) and L. Marenzio, Il 9.o libro de madrigali a 5 (Venice 1599, NV 405), and S. D’India, Madrigali, libro primo (Milan 1606, NV 823).

4 (ff. 8-10) [MICHI?] Voi pur mi prometteste, occhi sereni, S/B, G major, 3

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str. in variation. An anonymous similar, but not the same, version is HILL, n. 79 (from I-Baf ms. 1424, ff. 19v-22). The text alone is in ROMANO 1 (Venice 1618/1622), p. 137. Barb. lat. 4151 Two different settings are F-Pn Rés. Vm7 579, pp. 28-29 (anon.) and G. KAPSLibro terzo di villanelle (Rome 1619, NV 1363), p. 14.

PERGER,

5 (ff. 10v-12v) [MICHI?] Romanesca. Così m’ha fatto Amor d’aspri martiri, S/B, G minor, in four parti. The ottava is by Battista Guarini (1598, the 3rd stanza of the poem is set in n. 9 below). A different solo setting is Eleuterio GUAZZI (Venice 1622, NV 1306), pp. 2226 (also a romanesca). Published duet settings of this text include R. RONTANI (Rome 1619, NV 2367) and A. CIFRA (Rome 1615, NV 565).

6 (ff. 13-15v) [MICHI?] Dogliosa Madre a piè del tronco immobile, S/B, G minor, 4 “stanze” in variation. 7 (ff. 16-19) [MICHI?] Dhe mira, egli cantò, spuntar la rosa; 2.a par[te]: Così trapassa al trapassar, S/B, G major. The text from T. Tasso, Gerusalemme liberata 16, xiv-xv. Other S/B settings are by Belardino Nanino in I-Ru 279, ff. 56v-60v, and by Henrico Torscianello in Vezzosetti fiori (Rome 1622), pp. 8-9. No solo settings of this text are listed in NV.

8 (ff. 19v-23) [MICHI?] Romanesca: Falso è l’affetto onde sospiran questi, S/B, G minor, in four parti. 9 (ff. 23v-26) [MICHI?] Mentr’io v’adoro e voi m’havete a schivo, S/B, G major. Four parti in variation. The ottava is by Battista Guarini (1598); see also n. 5 above. Another setting for B/B is B. FERRARI (Venice 1633, NV 935), p. 37. A duet setting is A. CIFRA, Li diversi scherzi, op. 20 (Rome, 1615, NV 565), p. 10. Settings a 5 exist by G. DELLA CASA (1590), V. LIBERTI (1609), and A. CAPECE (1625).

10 (ff. 26v-30) [MICHI?] Crudel tu vuoi partire, non me’l negar che’l so, S/B, G minor, eight “stanze” in variation. The text is attributed to Pier Francesco Valentini in his Canzonette et arie, libro secondo (Rome 1657, op.posth., NV 2787), p. 19, which has only one stanza; however textual sources exist from 1580. See RePIM, which lists the poem as anonymous. The poem without music was published in ROMANO 1 (1618), p. 36. Other solo settings of this text are I-Fc CF.83 (olim DAM. 1965 = 85.Arm.o A), p. 5 (f. 3r), D minor, 3 str. (available through the Internet Culturale portal); Camillo Orlandi (Venice 1616, NV 2056, with ten stanzas), p. 42, and Claudio Saracini (Venice 1620, NV 2555), p. 21. Also cited in HILL 1997, vol. I, p. 408 are I-Fn Cl.VIII, 1222bis (dated by Hill as ca. 1623), f. 71v, which is concordant with I-Fc Barbera (CF.83 above). A lauda text Questo sospiro ardente to be sung

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to the popular melody, appears in COFERATI 1675, pp. 379-380 (D minor), and COFERATI 1689, pp. 438-440 (repr. ALALEONA 1909, p. 49).

11 (ff. 30v-31) [MICHI]. Alma che ti sollievi a un dolce lume, S/B, C major, aria. Also anonymous but in Michi’s hand in I-Rn Mus. 56, ff. 23v-24 (Internet Culturale access). 12 (ff. 31v-32) [MARC’ANTONIO PASQUALINI]. [Voi partite mio sole], S/B, untexted holograph sketch, 28 bars; see n. 18 below. MURATA n. 244. 13 (ff. 33v-34) O mio bene, o cara vita, dov’ hoimè ten fuggi tu, S/B, D minor, 4 str. in variation. Pasqualini wrote out only the music for strophe 1 and the continuo line, leaving blank staves for strophes two and three. The text for strophe 4 is below the continuo line. Each system reads from verso to recto and back to the verso page. 14 (ff. 35-36) Lidia m’abbandonasti crudel, S/B, A minor, 3 str. Pasqualini wrote out only the music for strophe 1 and the basso continuo line. Each system reads from verso to recto and back to the verso page. 15 (ff. 36v-40) [MARCO MARAZZOLI]. Alhor ch’ arditamente dico che Amor mi tocca, S/B, F major. See also n. 16. Each system reads from verso to recto and back to the verso page. A different, anonymous setting for SA/B is I-Rc 2490, ff. 26v-27v. See also n. 16 below.

16 (ff. 40v-44) [MARAZZOLI]. Alhor ch’arditamente dico che Amor mi tocca, S/B, G minor, 5 str. in variation. Stanzas 2 and 3 are on individual staves below the staff for st. 1. Each system reads from verso to recto and back to the verso page. Strophes 4 and 5 begin on f. 42v. A different, anonymous setting for SA/B, with the same opening rhythm is I-Rc 2490, ff. 26v-27v. See also n. 15 above.

17 (ff. 44v-45v) [MARAZZOLI]. La mia donna crudele con un sguardo severo, S/B, A minor. 18 (ff. 45v-46) [PASQUALINI]. Voi partite mio sole, S/B, B! major. A revision and development of ff. 31v-32 above (n. 12), but still a compositional draft and not a complete setting, for which see n. 67 of Barb. lat. 4221, a volume dated 1638. The text is published as La partita, canzonetta, in BALDUCCI 1645, vol. 1, p. 417. A modern edn based on Barb. lat. 4221 is HOLZER, pp. 533-539. MURATA n. 244. Three other settings are in F-Pn Rés. Vm7 579, pp. 48-49; Fr. SEVERI (Rome 1626, NV 2615; music lost); and G. FRESCOBALDI (Florence 1630, NV 10211022), vol. 1, p. 30 and vol. 2, p. 19. The guitar chords of I-Fn Magl.VII, 1222bis (HILL 1997, vol. 1, p. 410) appear related to the Vm7 579 setting (S/B).

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19 (ff. 46v-48) [MICHI?]. Per torbido mare m’ha fatto il pensiero, S/B, G minor, 4 str. in variation. The text for all stanzas is entered, but only the music for strophe 1 and the basso continuo has been copied by Pasqualini. Corrections in the continuo line on f. 47v are of copying errors. A concordance is I-Rama A.247, f. 14v, according to HILL 1997, vol. 1, p. 178. A modern edn is in both HOLZER, pp. 488-490 and HOLZER 1992. Both CALUORI vol. 1, pp. 142 and 145, and HOLZER 1992, pp. 269, n. 55 identify this piece with a work associated with Orazio Michi only by title. A text Per torbido mare m’ha fatt’il peccato is in DE’ LAZZERI 1654, p. 364, with the title Protettione di Maria (to be sung to “Corrente”). A setting of the text for five voices is in Biagio MARINI (Venice 1641/42, NV 1718; see HOLZER 1992, p. 270, note 56). The setting in I-GR Crypt It. ms. 5 has not been seen.

20 (ff. 48v-50) [MARAZZOLI]. Filli, il sole esce dal mare, S/B, F major, 4 str. in variation. The music for strophe 1 and the basso continuo is complete; str. 2 and 3 have partial sketches of variations in Marazzoli’s hand. A facsimile of ff. 48v-49 is in MURATA 2005, p. 338. 21 (ff. 50v-52) [MARAZZOLI]. Madonna, il nostro amor gradite o no?, S/B, D minor. On f. 51 Pasqualini has made minor alterations to the text and music in Marazzoli’ s hand. 22 (ff. 52v-54) [MARAZZOLI]. Amor, dimmi s’io devo chiamar colei, S/B, C major, 3 str. (in variation). Marazzoli drafted only the music for strophe 1, one phrase of a variation and part of the basso continuo for strophe 2. The texts for strophes 2-3 are written under the notated first strophe. 23 (ff. 54v-59v) [MARAZZOLI]. Sospetta è la mia fede, S/B, G minor. Incomplete and followed by the stubs of three missing folios. The last phrase on f. 59v is “… Il dove, il come, il [quando].” 24 (ff. 60v-61v) Donna incostante, tu m’hai scartato, S/B, C major, 4 str. in variation. Pasqualini copied all the texts and the music for only str. 1 and the basso continuo. 25 (ff. 62v-63v) Ohimè, non pianger più, non sospirar mio core, S/B, (G minor), 5 str. (in variation). Pasqualini notated the music for only str. 1 and part of the basso continuo; a folio or folios are lacking to complete the strophe (and to begin n. 26 below). Anonymous in I-URBc Ubaldini VI.2.18, ff. 6v-7v, T/B; cf. CLORI n. 1080 for facsim. and complete poetic text. 26 (ff. 64r-v) A fragment which begins “… benche ti tien vivo” followed by the second half of the strophe [S/B], F major, [4] strophes. Desinet “…

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che vuol che vivi/a senza vita un core” (refrain line). Only one strophe of music is notated. 27 (ff. 65v-68) [PASQUALINI]. A piè d’un colle in verde piaggia assiso, S/B, E minor, a compositional draft; the continuo line is incomplete. MURATA n. 19. 28 (ff. 68v-71) Su pensieri, alla difesa. Ecco Amor vuole accagiato. S/B, A minor. A copy in Pasqualini’s draft hand for a set of strophes in variation. A different setting for SS/B by Marco Marazzoli is BAV Chigi Q.V.69, ff. 36v-40, “Su, pensieri, alla difesa. Ecco Amor vuole accampato”; see WITZENMANN 1970, p. 282; CARBONI 12/3, n. 1704.

29 (ff. 71v-73) [PASQUALINI]. Narrando al sordo mar l’aspre sue pene, S/B, A minor; a draft which may not represent a complete work. The last phrase is the refrain “dhe d[h]e rapitemi, o venti.” The untexted melodic sketch on ff. 73v-74 may be part of the same cantata. MURATA n. 149. 30 (ff. 74v-76) [PASQUALINI]. Porti tu l’acque al mar, SSB, A minor, a partially texted compositional draft of internal strophes to the poem Fiume che corri al mar veloce tanto; see nn. 33 and 44 below. MURATA n. 184a-b. 31 (ff. 76v-78v) [PASQUALINI?]. Occhi vaghi e lusinghevoli, SS/B, C minor, 3 str. The texts for str. 2-3 are written below the bass line. MURATA n. 171. 32 (f. 79v) [PASQUALINI]. Vanne, spirto vitale, al mio bel sole, S/B, C minor, a compositional draft of 19 measures, but musically self-contained. MURATA n. 240. 33 (ff. 80-82, 100-101v) [PASQUALINI]. Fiume che corri al mar veloce tanto, B/B, D minor, sonnet; a compositional draft for Barb. lat. 4221 (dated 1638), n. 1. The second and third parti have the same texts as n. 30 above and n. 45 below. MURATA n. 98. A different setting is G. F. Sances, Cantade, 2/1 (Venice 1633, NV 2545), pp. 50-55.

34 (82v-83) [MARAZZOLI?]. O mio cor che dolente, non più pena o martire, A/B, C major. In Marazzoli’s hand, but not a compositional draft. 35 (83v-89) Del più pungente dardo che mai alma ferì, S/B, G major, 4 str. in variation. The text is in Fr. BALDUCCI 1630, vol. 1, pp. 145-146 and 1645, vol. 1, p. 129 with the title L’Amor segreto, canzonetta. Not listed in HOLZER. A five-voice setting is in Fr. Dognazzi, Musiche varie da camera a 5 (Venice 1643, NV 842).

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36 (ff. 89v-91) [PASQUALINI]. Belle faci aventurose, fiamme candide, SSB/B, D minor. The untexted music on folios 90v-91 appears to be a sketch preliminary to ff. 89v-90. The compositional draft itself is only partially texted; see n. 41 below. MURATA n. 25a-b. 37 (ff. 91v-92v) [PASQUALINI]. Da dura fame oppresso a morte corro, SS/B, G minor. A compositional sketch, probably incomplete. MURATA n. 58. 38 (ff. 93v-94v) [PASQUALINI]. Così bramo adempire ogni tua voglia, Clori, S/B, C minor, a compositional draft for a cantata. MURATA n. 55. 39 (ff. 95v-96) [PASQUALINI]. Domine Jesu Christe (no further text), S/B, C minor, a compositional draft. MURATA, Appendix 1, A.3. 40 (ff. 96v-99) MARCANTONIO [PASQUALINI]. Soavissimi lumi al cui bel guardo, S/B, C minor, a compositional draft for a cantata. MURATA n. 220. 41 (ff. 103v-106) [PASQUALINI]. Belle faci avventurose, fiamme candide, SSB/B, C minor, a compositional draft with the same text but a musical setting different from n. 36 above. This setting is complete and bears some corrections. MURATA n. 25a-b. 42 (ff. 108v-110) [GIOVANNI GIROLAMO KAPSPERGER?]. E che pensi, o mio core, che farrai tu, S/B, C minor, cantata, in Kapsperger’s hand. For the present attribution, see comments at end. 43 (ff. 110v-112v, 113v-114) [PASQUALINI]. Gioir brama il mio core di Cintia nel bel seno, A minor. Untexted sketches for a setting for SS/B and a draft, possibly incomplete, for a setting for SSB/B, which includes Ma per volare a sì beato loco (ff. 111v-12v), a compositional sketch. MURATA n. 103. 44 (ff. 114v-116v) [PASQUALINI]. Porti tu l’acque al mar, SSB, a partially texted and incomplete compositional sketch. (Folio [116bis] is missing.) See also n. 30 above. MURATA 184a-b. 45 (ff. 119v-121v) [PASQUALINI]. Non voglio più seguir chi disprezza il mio amor, SSB/B; C major, compositional draft. MURATA n. 165. 46 (ff. 122v-123) [PASQUALINI]. Fra gelosi martiri, pene, angoscie. dolori, SAB/B, incomplete compositional sketch. MURATA n. 99. 47 (ff. 123v-126v) [PASQUALINI]. O mia bella Licori, per te piangendo vo, SS/B; C minor, compositional draft. MURATA n. 174. 48 (ff. 127-128) Perché più non mi lamento, anzi ogni hor ridendo vo, S/B; D minor, 3 str. Also anonymous in F-Pn 2096, pp. 6-7 (S only). 49 (ff. 128v-131) [PASQUALINI]. Signior [sic], languido giaccio e ben

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m’accorgo del mortal rischio, SS/B; G minor, compositional draft. MURATA n. 215. 50 (ff. 131v-132v) An incomplete sketch, possibly from a dialogue in C major for SB/B with the text: “fuggite quei risi … cor vi lagnano … che non vi giungano.” Bound in parchment (105 × 275 mm). On the spine a modern hand has written the number 22 in black ink, below which is a pink BAV sticker; the same hand wrote the previous shelfmark XLVII.22 inside the front cover, where there is another BAV sticker. A faded exercise of a partial calligraphic initial is in brown ink in the lower center of the front cover. Four holes remain in the front and back covers for missing blue fabric ties. In gatherings of four bifolios except for ff. 1-6 (a defective gathering) and ff. 127-128 (in Hand F), which are of three bifolios each. Three folios are lacking between ff. 59 and 60, and one or more are lacking between ff. 63 and 64 and between ff. 116 and 117. The watermarks, associated with Rome, are variants of the cleric/saint in a shield with center points at the top and bottom. The ms. divides into two sections: folios 1-64 were originally ruled with four staves per page. In the second section, ff. 65-132, all verso pages had four staves, and all recto pages had two staves only, as in the Michi autograph ms. I-Rn Mus. 56 (a format for canzonetta music; space on the recto was for subsequent text stanzas). In this second section, further staves have often been drawn freehand. The foliation in pencil is modern. Blank staves only are on ff. 62, 65, 79, 93, 102-103, 107, 113, 117-118 and 122. The volume was probably originally intended to be an anthology of Michi’s compositions beginning with the variation forms of nn. 1-10. Several compositions are written across the pages of the opening, from verso to recto and back to the verso. Orazio Michi (ca. 1595-1641) is the likely copyist of nn. 1-10. HILL 1997, vol. 1, pp. 173-175 provided evidence strengthening Arnaldo Morelli’s statement that the hand of I-Rn Mus. ms. 56 is that of Michi (d. 1641); see MORELLI-A 1989, pp. 26, 64-67. Items 1-10 display light use of the vertical virgola mark and regular metrical barring found in other Michi sources. HAMMOND 1994, p. 85 reports payment in 1629 to Michi of arias to be copied for Pasqualini. That volume may be Barb. lat. 4151. On f. 102v are sketches for calligraphic initials by an unknown hand. Marc’Antonio Pasqualini is Copyist B. The items in his hand appear to have been entered at different times. He copied n. 11, a canzonetta in I-Rn 56 attributable to Michi. For similar items for which first strophes are notated as “fair” copies and texted blank staves exist for subsequent strophes in variation (nn. 13-14, 19, and 24-26), Pasqualini may have copied the

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music of Michi or other composers, in order to invent variations for subsequent strophes; or he may also have composed the melodies himself. These are all in the first section of the ms. and in a slowly written, “fat” Pasqualini hand, seemingly copied as exercises. The compositional drafts and sketches in what appear to be later entries (in a “thinner,” rapid draft hand) are in section two of the ms. (nn. 27-33, 36-41, 43-48 and 50-51), among which should be included nn. 12 and 18 (both on the same text). In addition, untexted musical sketches and fragments in Pasqualini’s hand appear on ff. 34v, 59v, 73v-74, 95, 99v, 100, 106v, and 107v-108. Folio 60 has two and a half measures of a texted fragment from a composition that is lacking. Pasqualini also made minor revisions on f. 51 to n. 21. Numbers 18 and 33 both have concordances in the Pasqualini volume Barb. lat. 4221 (1638); none of the other Pasqualini drafts in Barb. lat. 4151 appears in the other Pasqualini volumes in the Barberini collection. Hand C, Marco Marazzoli, copied nn. 15-17, 20-23, 34 — for which he is likely the composer — and also the last words in line 2 of n. 14, f. 36, which is otherwise in Pasqualini’s hand. Hand D copied n. 35. Hand E copied n. 42. This is in the hand of G. G. Kapsperger. See also Barb. lat. 4145, nn. 1-2 and the payment receipt published in V. COELHO, G.G. Kapsperger in Rome, 1604-45: New Biographical Data, in Journal of the Lute Society of America 16 (1983), pp. 103-133, esp. p. 126. Hand F copied n. 48. Barb. lat. 4151-4152 The notational evidence for “composing” or inventing strophic variations in Barb. lat. 4151 is discussed in MURATA 2005, pp. 336-339, as are the first ten items and the Marazzoli autographs (pp. 353-354).

Barb. lat. 4152 1692 ca., 99 × 263 mm, I.116.I ff., 4 staves, one hand

Arie della commedia del Mauritio recitata nel Teatro di Tordinona l’anno 1692 (f. [I]). Anthology of twenty-four arias; all except n. 23 are anonymous. Twenty are from IL MAURITIO, libretto by Adriano Morselli for Venice 1687; the original music by Domenico Gabrielli was revised by Severo De Luca for Rome, Teatro di Tordinona, carnival 1692. One (n. 23) is from L’AGRIPPINA, planned for the carnival of 1691 with music by Giovanni Lorenzo Lulier, but cancelled when Pope Alexander VIII died on February 1. One (n. 24) is from GLI EQUIVOCI IN AMORE, OVERO LA ROSAURA, text by

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Giovanni Battista Lucini, music by Alessandro Scarlatti for Rome, Teatro Capranica, 1692. Two arias have not yet been identified (nn. 14, 15). The setting is for S/B unless otherwise indicated. 1 (ff. 1-6) [DOMENICO GABRIELLI]. Un guardo ch’è sereno m’intorbida la pace, A major. For Mauritio in I:5 of IL MAURITIO (Rome 1692). Also anonymous in other Roman collections, BAV Barb. lat. 4167, n. 16; Chigi Q.IV.48, ff. 43-45v (D major); D-MÜs 595, ff. 57-62; and I-Rc 2465, ff. 7579v. The Roman production of 1692 retained Gabrielli’s 1687 setting for this aria, which is anonymous in two Venetian collections, Barb. lat. 4140, n. 14, and I-MOe Mus. G.78, n. 21, ff. 45-46v. 2 (ff. 6-8) [SEVERO DE LUCA]. Dirò poco, se dirò che fra gl’ardori, E minor. For Mauritio in I:11 of MAURITIO. Conjecturally composed by De Luca, but also anonymous in another Roman collection, I-Rc 2465, ff. 81-83. This aria replaced Se dirò, che fra gli ardori, which was heard in the Venetian production of Il Maurizio (anon. in a Venetian collection, Barb. lat. 4140, n. 6). 3 (ff. 8-11) [GABRIELLI]. Sparse dal pianto mio, piante crescete, F major. For Placilla in I:6 of MAURITIO. Also anonymous in another Roman collection, I-Rc 2465, ff. 141-144. The Roman production of 1692 retained Gabrielli’s 1687 setting of this aria for Venice, which is anonymous in the Venetian collections Barb. lat. 4139, n. 20; Barb. lat. 4142, n. 11; F-Pn Vm7 5, ff. 187-188; and I-MOe Mus. G.78, n. 4, ff. 11-12. It is attributed to “Domenico Gabrielli” in the score for Modena 1689, I-MOe Mus. F.417, f. 28r-v. 4 (ff. 11v-17v) [GABRIELLI]. Col destin voglio contendere, B! major. For Ergilda in I:4 of MAURITIO. It is attributed to “Domenico Gabrielli” and accompanied by TrTrATB instruments in the score for Modena, 1689, I-MOe Mus. F.417, ff. 17v-25. Also anonymous in other Roman collections, Barb. lat. 4167, n. 8; D-MÜs 595, ff. 89-96; and I-Rc 2465, ff. 93-98v. The Roman production of 1692 retained Gabrielli’s 1687 setting of this aria for Venice, which is anonymous in the Venetian collections Barb. lat. 4140, n. 24; F-Pn Vm7 5, ff. 208-209v; and I-MOe Mus. G.78, n. 25, ff. 53-54v. Barb. lat. 4152 5 (ff. 17v-22v) [DE LUCA]. Per me non la so intendere, C minor. For Mauritio in I:11 of MAURITIO. Attributed to “S.r Severo” in D-MÜs 172, ff. 61-64, and anon. in three other Roman collections, D-MÜs 595, ff. 83-88; Barb. lat. 4167, n. 1 (S/TrB); and I-Rc 2465, ff. 127-36v (S/TrB). Misattributed to “Alessandro Scarlatti” in GB-Lbl Harley 1273, ff. 71-73 (S/TrB). Gabrielli’s different setting for Venice 1687 is anonymous in the Venetian collections BAV Barb. lat. 4140, n. 34; F-Pn Vm7 5, ff. 176-177; and I-MOe Mus. G.78, ff. 39-40. Alessandro Scarlatti set a different text with similar incipit, Per

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me non so intendere, for Lisetta in I:4 of GLI EQUIVOCI NEL SEMBIANTE (Rome 1679), ed. F.A. D’Accone in The Operas of Alessandro Scarlatti, vol. 7, Cambridge, MA 1982 (Harvard Publications in Music, 12), p. 54.

6 (ff. 22v-26v) [DE LUCA?]. Mi dice la Speranza che cert’ ho da goder, B! major. For Placilla in I:6 of MAURITIO. Also anon. in other Roman collections, Barb. lat. 4167, n. 14 (G major), and I-Rc 2465, ff. 67-70v (B! major). The different aria for Venice 1687 is anon. in a Venetian collection, I-MOe Mus. G.78, ff. 33-34v, and attributed to “Domenico Gabrielli” in the score for Modena, 1689, I-MOe Mus. F.417, ff. 30v-32.

7 (ff. 27-30) [GABRIELLI or DE LUCA]. Incomincio solo adesso a saper che cos’è amar, A/B, B minor. For Ircano in I:16 of MAURITIO. Also anon. in another Roman collection, I-Rc 2465, ff. 103-106, and in a Venetian collection, I-MOe Mus. G.78, ff. 43-44. 8 (ff. 30v-33v) [DE LUCA]. Questa man fatta guerriera, C major. For Cirene in I:17 of MAURITIO. Also anonymous in another Roman collection, I-Rc 2465, ff. 123-26v. The different setting by Gabrielli for Venice 1687 is anonymous in two Venetian collections, Barb. lat. 4140, n. 11, and I-MOe Mus. G.78, n. 29, ff. 61-62.

9 (ff. 34-37v) [GABRIELLI]. Si rallegra il ciel che mira, G major. For Apollo in I:19 of MAURITIO. Anonymous in two Venetian collections, Barb. lat. 4140, n. 2, and I-MOe Mus. G.78, n. 32, ff. 74-75v. Attributed to “Domenico Gabrielli” and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 112-13v. 10 (ff. 38-41v) [GABRIELLI]. Ricordati ch’è mio quel petto morbidetto, C major. For Cosdroe in I:9 of MAURITIO. Also anon. in other collections for the Roman production of 1692: BAV Barb. lat. 4168, n. 37 (A/B, D major); Chigi Q.IV.48, ff. 11-14 (A/B, G major, with second strophe: Sovvengati ch’è mio); D-MÜs 176, ff. 1-4v (S/B, D major); I-Rc 2465, ff. 43-46v (T/B, C major); and I-Rsc G.391, ff. 69-72v (S/B, C major). They retain Gabrielli’s 1687 setting for Venice, extant in the Venetian collections Barb. lat. 4139, n. 4 (S/B, B major); Barb. lat. 4140, n. 16 (A/B, E major); F-Pn Vm7 5, ff. 105-107 (A/B, E major) and 174v-75v (S/B, G major); and I-MOe Mus. G.78, n. 12, ff. 27-28. Attributed to “Domenico Gabrielli” and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 38v-40 (A/B, E major). In I:9 of the Rome 1692 libretto the text was revised to Ricordati ad ogn’hora, la fede …. ; this revised text is not found in any musical source. 11 (ff. 41v-45) [DE LUCA]. Se teco fuggirò, sarò felice, D minor. For Placil-

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la in I:15 of MAURITIO. Also anon. in another Roman collection, I-Rc 2465, ff. 85-88v. Gabrielli’s setting in I:15 for Venice 1687 is anon. in two Venetian collections, F-Pn Vm7 5, ff. 173-174, and I-MOe Mus. G.78, n. 27, ff. 57-58v.

12 (ff. 45-48v) [GABRIELLI]. Sotto l’ombra de’ placidi mirti, G major. For Mauritio in I:1 of MAURITIO. Also anon. in other Roman collections, Barb. lat. 4167, n. 6; D-MÜs 595, ff. 53-56v; and I-Rc 2465, ff. 71-74v. They retain the Venetian setting by Gabrielli, which is extant in the Venetian collections Barb. lat. 4139, n. 9; Barb. lat. 4140, n. 19; Barb. lat. 4142, n. 15; F-Pn Vm7 5, ff. 195-96v; and I-MOe Mus. G.78, n. 35, ff. 80-81v. 13 (ff. 48v-51v) [GABRIELLI / rev. DE LUCA]. Più non voglio amarlo, acquietati mio cor, B! major. For Cirene in I:7 of MAURITIO. Attributed to “Severo De Luca” in I-Rsc G.392, ff. 47-50v, and anonymous in other Roman collections, Barb. lat. 4167, n. 5 (G major); D-MÜs 595, ff. 111-114v (G major); and I-Rc 2465, ff. 27-30 (B! major). De Luca made small modifications to the Venetian setting by Gabrielli, which is anonymous in two Venetian collections, Barb. lat. 4140, n. 18, and I-MOe Mus. G.78, n. 8. It is attributed to “Domenico Gabrielli” and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 33-34v. 14 (ff. 52-54v) Cieca dea ch’al mondo imperi, D minor. Also anonymous in another Roman collection, I-Rc 2465, ff. 137-140 (A/B, G minor). 15 (ff. 55-58v) Additatemi, onde chiare, dove sia l’idol ch’adoro, A/B, E! major. 16 (ff. 58v-62v) [DE LUCA?]. Parea ch’il bel seren d’un ingemmato ciel, S/B, E minor. For Ircano in II:20 of MAURITIO. Also anon. in two other Roman collections, Barb. lat. 4167, n. 20, and I-Rc 2465, ff. 171-74v, which are both scored for A/B in A minor. 17 (ff. 63-67v) [DE LUCA]. Son delitie del mio pensiero, C major. For Cosdroe in II:8 of MAURITIO. Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 25-28v, and anon. in another Roman collection, I-Rc 2465, ff. 117-21v. Gabrielli’s different setting for Venice 1687 is anon. in the Venetian collections Barb. lat. 4140, n. 22; Barb. lat. 4142, n. 19; and I-MOe Mus. G.78, ff. 7-8v.

18 (ff. 67v-70v) [GABRIELLI and DE LUCA]. Lasciami fuggimi, cieca pietà, A major. For Cosdroe in II:12 of MAURITIO. It is also anon. in other Roman collections, I-Rc 2465, ff. 167-170, and BAV Chigi Q.IV.50, ff. 27-28 (wanting nearly all of the A section, which is present in the written-out da capo). De Luca retained the A section but largely recomposed the B section of Gabrielli’s setting.

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Gabrielli’s version in II:13 for Venice 1687 is anon. in two Venetian collections, Barb. lat. 4140, n. 23, and I-MOe Mus. G.78, n. 39, which are both scored for A/B in D major. It is attributed to “Domenico Gabrielli” in the score for Modena 1689, I-MOe Mus. F.417, f. 137.

19 (ff. 71-74) [DE LUCA]. Torno a voi, lucidi alberghi, A minor. For Mauritio in II:1 of MAURITIO. Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 53-56; anonymous in another Roman collection, I-Rc 2465, ff. 89-92v. De Luca retained the opening four measures of Gabrielli’s vocal theme, then recomposed the remainder of Gabrielli’s setting. Gabrielli’s aria for Venice 1687 is anon. in the Venetian collections Barb. lat. 4140, n. 1; F-Pn Vm7 5, pp. 141-143 and ff. 240-241; and I-MOe Mus. G.78, ff. 37-38. It is attributed to “Domenico Gabrielli” and preceded by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 80v-81v.

20 (ff. 74-78) [DE LUCA]. Mi disfida la Fortuna, C major. For Ergilda in II:3 of MAURITIO. Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 29-31v; anonymous in another Roman collection, I-Rc 2465, ff. 63-66v. Gabrielli’s aria for Venice 1687 is anon. in the Venetian collections Barb. lat. 4140, n. 9; F-Pn Vm7 5, pp. 113-116 and ff. 232-33v; and I-MOe Mus. G.78, n. 13. It is attributed to “Domenico Gabrielli” in the score for Modena 1689, I-MOe Mus. F.417, ff. 93-95.

21 (ff. 78v-82) [GABRIELLI]. Dispensiera d’april, destra tanto gentil, C major. For Mauritio in II:1 of MAURITIO. Also anon. in other Roman collections, Barb. lat. 4167, n. 17; D-MÜs 595, ff. 101-104v; and I-Rc 2465, ff. 16366v. They retain Gabrielli’s Venetian setting, which is anon. in Barb. lat. 4140, n. 44; F-Pn Vm7 5, pp. 161-163 and ff. 227-228; and I-MOe Mus. G.78, n. 11. It is attributed to “Domenico Gabrielli” and followed by a TrTrATB ritornello in the score for Modena 1689, I-MOe Mus. F.417, ff. 86-87v. 22 (ff. 82v-102v) [GABRIELLI]. Venticelli, che tacete, rispondete, S/BB, A minor. For Mauritio in II:11 of MAURITIO. Anonymous in another Roman collection, Barb. lat. 4167, n. 18. Attributed to “Gabrielli” in the English collection GB-Lbl Harley 1272, ff. 2-4, where the single bass part is labeled “archileuto”; attributed to “Domenico Gabrielli” and accompanied by TrTrATBB instruments in the score for Modena 1689, I-MOe Mus. F.417, ff. 124-130, where the bass parts are labeled “violoncello” and “tiorba.” In the Venetian, Modenese and Roman versions of this scene, Mauritio sings the A section of Venticelli, then a recitative (“Tiranne deità, perfido Amore”), then a second aria (Sì, sì, ch’io languirò, ch’io gioirò), followed by a da capo of Venticelli. Sì, sì, ch’io languirò is incorrectly attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 61-63v, and is anon. in I-Rc 2465, ff. 51-53v. Gabrielli’s music for the entire scene was printed as a musical supplement

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to PALLADE VENETA, January 1687 (in SELFRIDGE-FIELD-PV, pp. 81-84; 95125; and Illustration 9 [facing p. 208]). 23 (ff. 103-111) [GIOVANNI LULIER]. Duetto dell’AGRIPPINA del Sig.r Gio. del Violone. Ch’io non t’adori, o caro / Ch’io te non ami, o bella, ST/B, C major. For Agrippina (sung by Pasqualino Tiepoli) and Germanico (sung by Antonio Borosini) in II:1. CHIRICO 20051 discusses this duet (pp. 53, 79); the text is given in her transcription of the libretto (p. 96). For eighteen more arias from AGRIPPINA and for a description of the opera, see Barb. lat. 4155. 24 (ff. 111v-116v) [ALESSANDRO SCARLATTI]. Un raggio di speranza s’accende nel mio cor, G major. For Climene in III:9 of GLI EQUIVOCI IN AMORE (Rome 1692). This aria text is not in the libretto dated 1690, but is within a scene added to the libretti dated 1691 and 1692. Attributed to “Aless.o Scarlatti” in BAV Chigi Q.IV.43, ff. 21-26v, and I-Rsc G.392, ff. 83-89. Attributed to “Scarlatti” in D-Mbs 11406, ff. 22-26v, and I-Bc V.291, ff. 22430v. For ten more arias from EQUIVOCI IN AMORE and for a description of the opera, see Barb. lat. 4155. Bound in parchment (104 × 265 mm). Three ivory bead-clasps on each cover — at the center of the top, bottom and right side — originally served to tie the volume together. The number 23 is written in black ink on the spine. The previous shelfmark XLVII.23 is written in black ink inside the front cover. The ubiquitous watermark is a fleur-de-lis within two concentric circles, with the letter C above (ff. 1, 8-9, 14, 19, 24-25, &c.), similar to HEAWOOD nn. 1591-1592, and WOODWARD, n. 111. The foliation in brown ink is by the music copyist. The closing flyleaf is blank. The single copyist with an unusual, though not exclusive C-clef also appears in Barb. lat. 4139 (Hand B), 4162 (Hand A), 4173 (Hand D), and 4206 (Hand L). They are Roman copies, and they all date from ca. 1690-1694. The music in da capo returns is written out, and not merely indicated. Spaces for capilettere are blank. As a result, the first word first appears without its initial letter in seven arias (nn. 2, 4, 7-10 and 21). The Roman production of IL MAURITIO in February 1692 at the Teatro di Tordinona is represented by twenty arias in each of two Barb. lat. mss., 4152 and 4167. No earlier edition of the libretto had named a poet, and the Roman edition incorrectly named Nicolò Minati (rather than Adriano Morselli) on its title page (SARTORI, n. 15279, and FRANCHI, pp. 643-644). Libretti survive for seven earlier productions; in the address to the reader, five of them name Domenico Gabrielli as the composer of “musica singolare” (SARTORI, nn. 15271-15278). The Roman production retained Gabri-

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elli’s 1687 Venetian settings for eight of the arias in Barb. lat. 4152: nn. 1, 3-4, 9-10, 12 and 21-22. Severo De Luca is named as the composer of new settings in four Roman aria collections: BAV Chigi Q.IV.34, ff. 1-31v, 3738 and 41-63v; D-Mbs Mus. 11406, ff. 74-75v; D-MÜs 172, ff. 61-64; and I-Rsc G.392, ff. 13-16v and 47-50v. Their attributions to De Luca are cited above for five arias (nn. 5, 13, 17, 19 and 20). De Luca composed or revised at least five, and perhaps seven more arias in Barb. lat. 4152: nn. 2, 6, 8, 11 and 18, and perhaps nn. 7 and 16. As noted above, he was incorrectly credited with the central section of Barb. lat. 4152, n. 22, in Chigi Q.IV.34, ff. 61-63v. The largest collection of arias for the Roman production of MAURITIO is I-Rc 2465, in which thirty-three of its thirty-eight arias are from MAURITIO. It includes nineteen of the twenty arias in Barb. lat. 4152: nn. 1-8, 10-13 and 16-21. It also includes 4152, n. 14, which has not yet been found in a libretto. The next largest collection was a ms. copied for Cardinal Pietro Ottoboni in March 1692. Since it appears no longer extant, it is not listed above. At least twenty-nine of its 108 arias were from MAURITIO. They are itemized in MARX 1968, pp. 130-131, n. 33c (nn. 1-10, 40, 44-50, 52-56 and 59-64). Ten of them also appear in Barb. lat. 4152 (nn. 1-2, 4-6, 12-13, 16 and 21-22). The next largest collection is Barb. lat. 4167. Its twenty arias from MAURITIO duplicate nine in Barb. lat. 4152 (nn. 1, 4-6, 12-13, 16 and 21-22). Another significant Roman collection is D-MÜs 595. Its eighteen arias include nine from MAURITIO (see RISM ID n. 451012847). Six of them appear in 4152 (nn. 1, 4-5, 12-13 and 21). See CAMETTI-TdN, vol. 2, pp. 351353, for further information about the production. See Barb. lat. 4155 for information about AGRIPPINA (n. 23) and GL’EQUIVOCI IN AMORE OVERO LA ROSAURA (n. 24). Barb. lat. 4152-4153

Barb. lat. 4153 1687?, 98 × 270 mm, III.142.III ff., 4 staves, one hand

Anthology of twenty-five arias, hypothetically from the three-act opera [SANTA DINNA], staged at the Palazzo Pamphili during carnival, Rome 1687. The subject is St. Dymphna of Ireland, martyred in Geel near Antwerp. Neither a score to the opera nor the libretto by Cardinal Benedetto Pamphili is known. Alessandro Melani, Bernardo Pasquini and Alessandro Scarlatti each appear to have composed one act. See comments below. One aria is attributed to Giovanni Lulier (n. 23), who may have contributed at

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least this item to act III or to another unknown work. Each aria is scored S/B. Online in DVL. 1 (ff. 1-4v) BER.O PASQUINI. Tanto cade, onda costante, D minor. Musical incipit in CRAIN vol. 2, p. 288. 2 (ff. 5-8v) ALESS.O MELANI. Colomba che voli per libera sfera, str. 2: Favilla che stende al centro bramato, E! major. Musical incipit in WECIS 8A, n. 39. 3 (ff. 9-12v) BER.O PASQUINI. Per mirar se sian fide o rubelle, C major. CRAIN vol. 2, p. 285. 4 (ff. 13-16v) BER.O PASQUINI. Il mondo è un bel prato, D major. Also attributed to “Ber.o Pasquini” in BAV Chigi Q.IV.38, ff. 59-62v. This concordance in CRAIN vol. 2, p. 281. 5 (ff. 17-22v) BER.O PASQUINI. Mio nume che in croce amando spirasti, E minor. The A section returns a second time after an intervening recitative. Also attributed to “Ber.o Pasquini” in I-Nc 34.5.1ter (Arie 484C), n. 39, ff. 81-88 (Internet Culturale access). 6 (ff. 23-30v) ALESSANDO MELANI. S’io vi miro, grandezze terrene, str. 2: S’io vi veggio, delizie del mondo, F minor. Also attributed to “Alessandro Melani” in GB-Lbl Harley 1273, f. 2v (G minor), and I-Nc 33.4.16 (Cantate 48.2), ff. 86-89. Both concordances in WECIS 8A, n. 59. 7 (ff. 31-36v) ALES.O MELANI. Bella fede, speranza gradita, str. 2: Cinto il seno di forte costanza, E! major. WECIS 8A, n. 32. 8 (ff. 37-40v) BER.O PASQUINI. Non tentar la mia costanza, C major. CRAIN vol. 2, p. 283. 9 (ff. 41-46v) ALES.O MELANI. Ma più vale e più diletta, C minor. WECIS 8A, n. 50. 10 (ff. 47-50) ALES.O MELANI. Benché d’altri si pensi all’errore, B minor. WECIS 8A, n. 34. 11 (ff. 51-54v) BER.O PASQUINI. Non così fra dubbi venti, G minor. CRAIN vol. 2, p. 282. Barb. lat. 4153 12 (ff. 55-60v) BER.O PASQUINI. Tenti chi vuol goder, 2nd str: Chieda chi vuol amor, A minor. CRAIN vol. 2, p. 289. 13 (ff. 61v-64v) ALES.O MELANI. Vaghe stelle, opre voi siete, G major. WECIS 8A, n. 73. 14 (ff. 65-70v) BER.O PASQUINI. Il mio petto è un campo instabile, A ma-

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jor. The text of the B-section names a character: “Ed Ersinda col disprezzo veggia un vezzo dell’amata mia beltà.” CRAIN vol. 2, p. 281. 15 (ff. 71-74) BER.O PASQUINI. Tornate a lusingarmi, speranze mie perdute, B minor. CRAIN vol. 2, p. 289. 16 (ff. 75v-78v) ALES.O MELANI. Pretendo di vincere un cor, G major. WECIS 8A, n. 57. 17 (ff. 79-86) BER.O PASQUINI. Dammi il crin, bella Fortuna, str. 2: Stelle voi segnate in cielo, G major. Also attributed to “Bern.o Pasquini” in BAV Chigi Q.IV.38, ff. 85-88v (incomplete str. 2). Concordance in CRAIN vol. 2, p. 277. 18 (ff. 87-94) ALES.O SCARLATTI. Care spoglie se perdeste, str. 2: Se cingete l’alma e il petto, A minor. ROSTIROLLA 1972, p. 352, incorrectly identifies this aria as Care spoglie a te prometto in II:4 of IL TRIONFO DELLA LIBERTÀ (Venice 1707).

19 (ff. 95-100v) ALES.O SCARLATTI. Dal mio soglio io fuggo errante, str. 2: Ma nel ciglio io non vorrei, B minor. 20 (ff. 101-106) ALES.O MELANI. Pastorel che vai intrecciando, G minor. WECIS 8A, n. 54. 21 (ff. 107-114v) ALES.O SCARLATTI. Vengo a dirvi, o luci belle, str. 2: Vi dirò qual sia d’amore, C major. 22 (ff. 115-122v) ALES.O SCARLATTI. Ricche spoglie che chiudete, str. 2: Verme industre i tuoi lavori, G minor. 23 (ff. 123-130) GIO. DAL VIOLONE [GIOVANNI LULIER]. Fior che ride in un bel viso, str. 2: La bellezza è un aura lieve, B! major. 24 (ff. 131-138v) BER.O PASQUINI. Tacere e sospirar è pena atroce, str. 2: Soffrire e non parlar è fiero affanno, G minor. Also attributed to “Bernardo Pasquini” in BAV Chigi Q.IV.38, ff. 45-48v, and GB-Lbl Harley 1273, f. 7. Both concordances in CRAIN vol. 2, p. 288. 25 (ff. 139-142v) BER.O PASQUINI. Onde chiare, che bagnate, A minor. CRAIN vol. 2, p. 284. Bound in brown leather, badly worn (105 × 275 mm). Front and back covers embossed in gold with parallel lines at the borders and a bee at each corner. The spine has three cords and four panels, each probably originally containing a Barberini bee (the top panel with its pink Vatican sticker is badly eroded). Adult Barberini without titles in 1687 were Francesco, jr,

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Taddeo, jr, and their unmarried sister Camilla. Edges of the pages speckled pink and blue. Pastedowns and facing sides of adjacent flyleaves are of marbled paper. Inside the front cover, a modern hand has written the previous shelfmark XLVII.24 in black ink. The first watermark has three hills with the letters A N above it and two surrounding concentric circles (ff. 10, 16, 18, 28, 32, 50, 56, 61, 76, 81, 103, 113, 126 and 131), similar to HEAWOOD nn. 1620-1623. The second is a fleur-de-lis within two concentric circles, with a V above (ff. 14, 17, 25, 30, 35, 39, 41, 46, 69, 73, 75, 79, 84, 92, 120, 128, 132 and 141), similar to HEAWOOD nn. 1591-1592. The 35 gatherings are of two nested bifolios, except for the single bifolio, ff. 21-22 that accommodates n. 5. The occasional catch word marks those arias that extend beyond one gathering. A late seventeenth-century hand — different from that of the music copyist — foliated the ms. in ink, then provided a table of contents with 24 arias on the flyleaf f. [143]; lacking n. 4, it is the basis for the index in CELANI, p. 123. The other five flyleaves are blank. The copyist was a Roman professional who wrote each second strophe after the first and wrote out all sectional returns. He is likely Flavio Lanciani who copied Barb. lat. 4154-4155, 4159, 4160 (Hand A), 4164-4167, 4169-4170, and 4171 (Hand A), and also BAV Chigi Q.IV.32 (Hand 2). Each piece opens with a large calligraphic letter of mediocre quality. A “nobilissima, e veramente regia tragedia, parto degno dello spirito elevatissimo di Sua Eminenza… eletta la storia di Santa Dimna gloriosissima eroina d’Irlanda … ed espressa in modo da essere secondo le più vaghe note della musica ordinata per cantarsi…” is described as occurring at the Palazzo Pamphili on 4 Feb. 1687, by John Michael Wright, in Ragguaglio della solenne comparsa fatta in Roma gli otto di Gennaio M DC LXXXVII dal … Conte di Castelmaine ambasciadore straordinario della sagra real maestà Giacomo Secondo re d’Inghilterra, Scozia, Francia et Ibernia … alla santa sede apostolica in andare publicamente all’udienza della Santità … di papa Innocenzo undecimo dedicato all’altezza serenissima della duchessa di Modena (Roma, D.A. Ercole, s.d., ded. signed Rome, 30 April 1687; digital facsim. Google Books), pp. 83-84. The London 1688 version reads: “an excellent tragedy, sung in recitativo: the subject, was a particular complement [sic] to His Majesty, in the history of St. Dimna an Irish martyr….” (p. 75). Pamphili’s authorship of the libretto in question also derives from a payment to a copyist in June 1683 [sic] (I-Rdp, scudi 2, baiocchi 4, n.n., follows n. 362; MONTALTO, p. 525; NIGITO 2008, Docs. P46, P49). No score of the opera appears extant, but Cardinal Pamphili’s accounts for 14 December 1686, note that 592 folios were divided among the copyist Giovanni Pertica and others “nella comedia di S. Dinna” (MARX 1983, p. 151,

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n. 44). On 28 August 1688, Pamphili paid Tarquinio Lanciani for 55 1/2 folios “in carta reale grande” for “La S. Dimna” (MARX 1983, p. 155, n. 57; NIGITO 2008, Doc. P198, request submitted by Lulier); this may have been a second, perhaps a presentation copy of the score. An eighteenthcentury inventory of Francesco d’Este II, Duke of Modena, lists Melani, Pasquini, and Scarlatti as composers of a S.ta Dinna (NIGITO 2008, pp. 51-52). It is from this entry that the association of the work with Barb. lat. 4153 is hypothesized, but Alexandra Nigito found no pertinent payments to any of the four composers named in Barb. lat. 4153 for a work of similar size. MONTALTO, pp. 326-327, and MARX 1983, pp. 127, n. 22, and 151, n. 44, list the composers in the order Pasquini, Melani, Scarlatti. ROSTIROLLA, p. 358, assigns act I to Melani and act II to Pasquini, the order of the Modena inventory. These assignments remain under the name of each composer in NEW GROVE 2001 and Oxford Music Online. It is not known which order is correct, but a perusal of the aria texts suggests the order of the Modena entry as the most plausible for the order of the three acts (Melani – Pasquini – Scarlatti). A sonnet in praise of the production is cited in MONTALTO, p. 525, n. 37. Lulier was a member of Pamphili’s household by 1688 (Nigito 2008, Doc. P166); he may be the “Giovanino” who appears earlier. See also MORELLI-A-Pasq, pp. 73-74. The opera is not to be confused with the oratorio S. DIMNA FIGLIA DEL RE D’IRLANDA by Giovanni Andrea Lorenzani with music by Flavio Carlo Lanciani. Its libretto was printed in Rome and Modena in 1687 (SARTORI, n. 20802-3, and FRANCHI 1988, pp. 586-587). The oratorio was performed in Modena, and its score is I-MOe Mus. F.618. Barb. lat. 4153-4154

Barb. lat. 4154 1691-1693 ca., 99 × 268 mm, I.138.I ff., 4 staves, one hand

Anthology, copied in Rome, of thirty-two anonymous arias, all from LA VIRTÙ TRIONFANTE DELL’ AMORE E DELL’ODIO, Venice, autumn 1691, Teatro S. Salvatore (S. Luca), libretto by Francesco Silvani, music by Marc’ Antonio Ziani. The opera was re-staged in Milan in the 1692-1693 season. The setting is S/B for all except the final three (nn. 30-32), which are T/B. Other arias from this opera are in Barb. lat. 4165 and 4169. 1 (ff. 1-4v) [M.A. ZIANI]. Lo strale fatale de’ cori, B! major. For Artaserse (Arsace) in I:4 of LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (Venice 1691, Milan 1693). Also anonymous in a Venetian copy, Barb. lat. 4143, n. 19.

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2 (ff. 5-10v) [M.A. ZIANI]. Il mio bene si mostra sdegnoso, A major. For Stratonica in I:5. 3 (ff. 11-14) [M.A. ZIANI]. Amar vorrebbe il cor, e ancor in dubbio sta, E minor. For Berenice in I:6. 4 (ff. 15-18v) [M.A. ZIANI]. Non si può veder un volto, vezzoso, amoroso, F major. For Berenice in I:8. 5 (ff. 19-22) [M.A. ZIANI]. No, non vi vo’ più credere, bellezze lusinghiere, B minor. For Stratonica in I:10 in the nova impressione (2nd edn); III:1 in 1st edn. 6 (ff. 23-26v) [M.A. ZIANI]. Con la dama che s’adora, chi ben ama così fa, C minor. For Stratonica in I:13. 7 (ff. 27-30v) [M.A. ZIANI]. Non esser sì sdegnosa, non esser sì crudel, D major. For Stratonica in I:17 (2nd edn). The libretto has “ritrosa” instead of “sdegnosa.” For Arsacomo in III: 9 (1st edn). 8 (ff. 31-36v) [M.A. ZIANI]. Sì, pensieri, ho già risolto di quel volto, G major. For Berenice in I:18. Also anonymous in a Venetian copy, Barb. lat. 4143, n. 20. Barb. lat. 4154 9 (ff. 37-38v) [M.A. ZIANI]. Dirò dunque a quella rosa, A major. For Stratonica in II:1 (str. 2). The first strophe is Dirò dunque al mesto rio, sung by Arsacomo, also anon. in Barb. lat. 4169, n. 38. 10 (ff. 39-42v) [M.A. ZIANI]. Scaglia pur fulmini, barbaro re, B minor. For Artaserse (Arsace) in II:3. 11 (ff. 43-46v) [M.A. ZIANI]. Pria che dal cor quel volto, E! major. For Berenice in II:3. 12 (ff. 47-50v) [M.A. ZIANI]. Alma brilla e non temer, B! major. For Stratonica in II:3. Also anon. in GB-Lam 128, pp. 193-194. 13 (ff. 51-54v) [M.A. ZIANI]. L’impero d’un re non obliga un core, C major. For Teodato in II:4. 14 (ff. 55-61) [M.A. ZIANI]. Marmi che mi chiudete, A minor. For Artaserse (Arsace) in II:5. Followed by a recitative (“Ma se duri voi siete …”) for Stratonica, Arsacomo and Berenice. This aria with n. 15 below constitute the complete act II, scene 5. 15 (ff. 61v-66) [M.A. ZIANI]. Aure voi che raccogliete, D minor. For Berenice in II:5.

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16 (ff. 67-71v) [M.A. ZIANI]. L’offeso mio core vendetta farà, A major. For Stratonica in II:6. 17 (ff. 73-76v) [M.A. ZIANI]. Deh, fermate il passo errante, G minor. For Stratonica in II:8. 18 (ff. 77-80v) [M.A. ZIANI]. Al lampo guerriero de’ brandi feroci, D major. For Artaserse (Arsace) in II:10. 19 (ff. 81-82v) [M.A. ZIANI]. Passami, o barbaro, passami il cor, D major. For Berenice in II:12. 20 (ff. 83-88v) [M.A. ZIANI]. In quel volto di gigli e di rose, B! major. For Artaserse (Arsace) in II:[13]. Also anon. in a Venetian copy, Barb. lat. 4143, n. 22. 21 (ff. 89-92v) [M.A. ZIANI]. No, non vo’ più penar per guancia vaga, D minor. For Stratonica in III:1. 22 (ff. 93-96v) [M.A. ZIANI]. Sì, d’Amor su l’arco infranto, G major. For Stratonica in III:1. 23 (ff. 97-100v) [M.A. ZIANI]. Tolga un raggio il più sereno, A minor. For Stratonica in III: 9. 24 (ff. 101-106) [M.A. ZIANI]. Stringi pur stringi, Cupido, i nostri cori e nostr’alme, A major. For Artaserse (Arsace) in III:12. The libretto has Stringi pur, stringi Imeneo, nostre destre, e nostri cori. 25 (ff. 107-110) [M.A. ZIANI]. Chi vive in libertà non s’incateni, C major. For Teodato in III:8. 26 (ff. 111-114v) [M.A. ZIANI]. Chi sa che non si cangi quel fato per cui piangi?, E major. For Berenice in III:6 (2nd edn; 1st edn, I:7). 27 (ff. 115-118v) [M.A. ZIANI]. Per morire d’amante fedele, F major. For Artaserse (Arsace) in III:7. Also anon. in a Venetian copy, Barb. lat. 4143, n. 27. 28 (ff. 119-122v) [M.A. ZIANI]. Deh, v’aprite o mie pupille, e accrescete il lume al dì, A minor. For Artaserse (Arsace) in III:6. 29 (ff. 123-126v) [M.A. ZIANI]. Già i’ sapeva che queste pupille erano forti per vincer’ un cor, B! major. For Stratonica in III:4. 30 (ff. 127-130v) [M.A. ZIANI]. Il seren del tuo bel volto il destino egli è de’ cori, T/B, G major. For Mazeo in II:3.

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31 (ff. 131-134v) [M.A. ZIANI]. Il tuo crin vittorioso cinga homai la dea guerriera, T/B, C major. For Mazeo in I:1. 32 (ff. 135-138v) [M.A. ZIANI]. Va naufraga in quel pianto la libertà dal cor, T/B, B! major. For Mazeo in I:14. Bound in brown leather (106 × 270 mm). Both covers embossed in gold with a double-line border and floral corner ornaments. In the center, the arms of Prince Urbano Barberini: a crown surmounts a shield; between the crown and shield, a radiant sun; on the shield are the papal umbrella and keys and three bees. Suspended from the shield is a ring, within which hangs the ram’s skin that represents the Order of the Golden Fleece. (The same design is on Barb. lat. 4155, 4164-4167 and 4169-4170). Four cords divide the spine into five panels with a repeated embossed floral design; a Vatican sticker is in panel 2. Edges gilt. A modern hand wrote the previous shelfmark XLVII.25 in black ink inside the front cover, where there is another pink Vatican sticker. The first watermark is a fleur-de-lis in two concentric circles (ff. 3, 23, 25, 38, 48, 51, 63, 91-92, 102, 113-114, 123 and 130), similar to HEAWOOD nn. 1591-1592 (but with no letter “V”); cf. also WOODWARD, n. 111. The second is probably the bottom half of the first: three hills with the letters A N above within two concentric circles (ff. 5, 9, 16, 19, 45, 61, 79, 86, 104 and 120), similar to HEAWOOD nn. 1620-1623. The final one is a stag in a circle (ff. 12, 14, 29-31, 36, 42, 53, 81, 84, 95, 109, 116, 118, 131 and 133), similar to HEAWOOD n. 3850. Gatherings are normally two nested bifolios, with the occasional single bifolio added for longer arias (e.g., at ff. 9 and 35); these bifolios are preceded by a catch word at the end of the previous gathering. The foliation in pencil is modern. Front and back flyleaves are blank. Blank staves only are on f. 72. The professional Roman copyist appears to be Flavio Lanciani. He also copied Barb. lat. 4153, 4155, 4159, 4160 (Hand A), 4164-4167, 4169-4170 and 4171 (Hand A). Two of these volumes, Barb. lat. 4165 and 4169, contain additional arias from VIRTÙ TRIONFANTE. Documents in F. Lanciani’s hand are in NIGITO-BP, illus. 11-13; a possible example of his music hand is illus. 15. The Venetian production was dedicated to Maximilian Emanuel, Duke of Bavaria, by the librettist Francesco Silvani, whose note to the reader identified the composer as Marc’Antonio Ziani. Two editions of the libretto were published, the first by Antonio Bortoli and the nova impressione by Nicolini (both available through the CORAGO portal; SARTORI nn. 25021 and 25022; ALM nn. 378-379). All thirty-two arias in Barb. lat. 4154 are in the second edition. (The first edn does not include Barb. lat. 4154, nn. 3-5, 7, 12 and 26-27.) Twelve new arias are in Barb. lat. 4169. It duplicates one, since

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its n. 38 and Barb. lat. 4154, n. 9, are two strophes of the same piece. Only the Bortoli edn includes Barb. lat. 4169, nn. 45 and 49. Another Roman ms., Barb. lat. 4165, adds two other arias, both of which (nn. 3 and 13) are only in that edn. The libretto for the 1693 Milan production, which could have been attended by Balì Taddeo Barberini and/or his sister Camilla, the countess Borromeo, is available through the CORAGO portal. No score is extant, so the forty-six arias in Barb. lat. 4143, 4154, 4165 and 4169 provide the only music for the 1691 production. In Barb. lat. 4154, nn. 1-22, and Barb. lat. 4169, nn. 33-43, the arias are placed in the order in which they were sung. In Barb. lat. 4154, the next seven are only slightly jumbled: nn. 28, 26, 27, 29, 25, 23 and 24. The first twenty-nine in Barb. lat. 4154 are all for sopranos: twelve for Stratonica, eight for Artaserse (Arsace), seven for Berenice and two for Teodato. Perhaps all the arias for each voice range were to be grouped, since Barb. lat. 4154 ends with three arias for the tenor, Mazeo. Meanwhile, Barb. lat. 4169, nn. 3543, contains eight arias for the alto Arsacomo and one for the tenor Mazeo. Any such plan was not, however, maintained, since Barb. lat. 4169 also includes one each for four of the sopranos, Artaserse, Berenice, Teodato and Arbate, while Barb. lat. 4165 includes one for the soprano Artaserse and one for the alto Arsacomo. Barb. lat. 4154-4155 Barb. lat. 4143, which contains six arias from VIRTÙ TRIONFANTE, is a Venetian ms. Four of its arias (nn. 19-20, 22 and 27) duplicate ones in Barb. lat. 4154, while its n. 31 duplicates one in Barb. lat. 4169.

Barb. lat. 4155 1690-1692 ca., 96 × 263 mm, I.132.I ff., 4 staves, one hand

Anthology of twenty-nine operatic arias, each scored S/B. The first eleven are attributed to Alessandro Scarlatti; nn. 2-11 were sung in GLI EQUIVOCI IN AMORE, OVERO LA ROSAURA, libretto by Giovanni Battista Lucini, privately produced by Cardinal Pietro Ottoboni in the Cancelleria in the autumn of 1690 in Rome. A revised version of Rosaura was given in 1692 at the Teatro Capranica, Rome. The concordances for Rosaura given below mainly concern the score, GB-Lbl Add. 31513 (for Rome 1690), and GB-Lbl Add. 14167 for the Naples 1692 revival. The last eighteen arias, attributed to Giovanni Lulier “del Violone,” were intended for AGRIPPINA, libretto by Giuseppe Domenico De Totis, the second opera scheduled for the Teatro Tor di Nona during Roman carnival of 1691; however all public

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performances were cancelled when Pope Alexander VIII died on February 1. Online in DVL. 1 (ff. 1-6v) [ALESSANDRO] SCARLATTI. Senza te che sei mio nume, B minor. Anonymous in B-Earenberg ms. 1, n. 4, pp. 37-43 (RISM n. 703001170), and I-Nc 34.5.19 (Cantate 296; with Internet Culturale access), ff. 57-58v. The latter reads “mia vita” instead of “mio nume.” The Naples concordance is mistakenly attributed to Alessandro Stradella in GASPERINI-GALLO, p. 537; its musical incipit is given in WECIS 4b, n. 309 (Stradella unreliable attribs.). See also GIANTURCO-MCCRICKARD, pp. 7, 260, 266, and 309. 2 (ff. 7-14v) SCARLATTI. Langue, geme quest’anima amante, A minor. For Climene in I:2 of EQUIVOCI IN AMORE. In GB-Lbl Add. 31513, ff. 15-18; Add. 14167, ff. 6v-8v. Anonymous in F-Pn Rés. Vmf 38 (online in GALLICA), pp. 7-12, and I-Nc 34.5.7 (Cantate 265), n. 9, f. 14r-v (Internet Culturale access). Barb. lat. 4155 3 (ff. 15-17v) SCARLATTI. L’alma non è più mia, A minor. For Celindo in III:11 of EQUIVOCI IN AMORE. In GB-Lbl Add. 31513, ff. 143v-145v. Attributed to “Aless.o Scarlatti” in I-Fc B.2379, ff. 33-34 (with strophe 2, Deh senti almen, oh bella). Anonymous in I-Rli 208.A.2, ff. 93-95 (CARBONI 8, n. 37). 4 (ff. 19-22) SCARLATTI. La mia fé d’un incostante, D minor. For Climene in II:9 of EQUIVOCI IN AMORE. Also attrib. to “Aless.o Scarlatti” in I-Fc B. 2379, ff. 47-48v. This aria is replaced by A dispetto d’empia sorte in GB-Lbl Add. 31513, F-Pn D.11901, vol. 2, in the Naples 1692 libretto and in Add. 14167 is attributed to “Aless.o Scarlatti” in the aria collection I-Fc B.2379, ff. 39-41.

5 (ff. 23-27v) SCARLATTI. La Fortuna invan pretende, E minor. For Celindo in III:1 of EQUIVOCI IN AMORE. In Add. 31513, ff. 104-105v. Attributed to “Aless.o Scarlatti” in BAV Chigi Q.IV.42, ff. 57-61v, and I-Fc B.2379, ff. 31-32v. A new setting for this text is in the Neapolitan score to the opera GB-Lbl Add. 14167, ff. 67-68; it is anon. in the aria collection F-Pn Rés. Vmf 38, pp. 1-6 (online in GALLICA).

6 (ff. 29-32v) SCARLATTI. Per finezza mio nume vorrei, E minor. For Celindo in II:3 of EQUIVOCI IN AMORE. In Add 31513, ff. 59v-61. Replaced by Tiranna è chi t’adora in the Neapolitan score to the opera GB-Lbl Add. 14167, ff. 37-68; and in the Naples 1692 libretto. In the 1691-1692 EQUIVOCI IN AMORE librettos for Rome, Tiranna è chi t’adora is sung by Climene in II:11.

7 (ff. 33-36v) SCARLATTI. Per vostr’ honore un fulmine, C minor. For Rosaura in I:4 of EQUIVOCI IN AMORE. In add. 31513, and Add. 1167, ff. 4v-6.

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Anonymous in D-Mbs Mus. 11406, ff. 46v-50; F-Pn Rés. Vmf 38, pp. 17-20; and I-Fc B.2379, ff. 57-58v. 8 (ff. 37-40) SCARLATTI. Posso contar l’arene, E minor. For Elmiro in III:2 of EQUIVOCI IN AMORE. In Add. 31513, ff. 106-107v and Add. 14167, ff. 68v-69v. Attributed to “Aless.o Scarlatti” in I-Fc B.2379, ff. 37-38v, and US-Wc M1507.M24.cage, ff. 125-132 (A/B in A minor). Anonymous in IMOcaffagni, ms. 2, Libro di Cantate [ed Arie] di Giovanni Battista Livaldini, ff. 36v-37v, and I-Nc 33.4.57 (Cantate 265), n. 4. In London, Nicola Grimaldi, who had portrayed Rosaura in the Roman production of EQUIVOCI IN AMORE and sang Pyrrhus in the London production of Scarlatti’s PYRRHUS AND DEMETRIUS, inserted III:2 from EQUIVOCI into the PYRRHUS performance of 28 May 1709 and at his benefit concert on 4 June 1709. When the pasticcio THOMYRIS was revived in London on 17 November 1709, Grimaldi sang the role of Tigrane and again inserted III:2 from EQUIVOCI into III:5 of THOMYRIS. It subsequently became known as “the famous scene of THOMYRIS,” which Nicolino performed again at his benefit concert on 22 April 1712 and at his benefit performance of PYRRHUS AND DEMETRIUS on 2 May 1716 (E.L. AVERY, ed., The London Stage, 1660-1800: A Calendar of Plays, Entertainments & Afterpieces, compiled from the Playbills, Newspapers and Theatrical Diaries of the Period, part 2: 1700-1729, Carbondale 1960, vol. 1, pp. 194, 272 and 401). See also “Nicolini” in HIGHFILL, BURNIM and LANGHANS, vol. 11, pp. 25-30.

9 (ff. 41-44v) SCARLATTI. Un cor da voi ferito, B minor. For Elmiro in I:5 of EQUIVOCI IN AMORE. In Add. 31513, ff. 28v-29v, and Add. 14167, f. 16r-v. Attributed to “Aless.o Scarlatti” in D-MÜs 176, ff. 35-38v, GB-Lbl Add. 31506, f. 54v (with strophe 2: Langue per noi, mia vita), and I-Fc B.2379, ff. 55-56v. Attributed to “Scarlatti” in I-Rli 208.A.2, ff. 118v-21v (CARBONI 9, n. 45). 10 (ff. 45-48) SCARLATTI. Una furia et una dea, B! major. For Celindo in I:7 of EQUIVOCI IN AMORE. In Add. 31513, ff. 42-44, and Add. 14167, f. 24r-v. Attributed to “Aless.o Scarlatti” in I-Fc B.2379, ff. 49-50v. 11 (ff. 49-54) SCARLATTI. Tu vai cercando piaghe, G minor. For Celindo in I:2 of EQUIVOCI IN AMORE. In Add. 31513, ff. 18v-19v, and Add. 14167, f. 9r-v. Anonymous in F-Pn Rés. Vmf 38, pp. 101-107. 12 (ff. 55-58v) GIO. [Lorenzo Lulier detto] DEL VIOLONE. Se talun chiede qual sia, C major. For Orestilla in I:7 of AGRIPPINA. Attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 87-90. NESTOLA 2015, AIF.551. 13 (ff. 59-63v) GIO. DEL VIOLONE. Se ascolti il mio dolore, E! major. For Giunio in I:12 of AGRIPPINA. 14 (ff. 65-68) GIO.

DEL

VIOLONE. Sento dir che quando alletta, B minor.

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For Giulia in I:8 of AGRIPPINA. Attributed to “Gio. Lulier” in BAV Chigi Q.IV.38, ff. 11-13v; to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 32-33. Anonymous in I-Rli Fondo Caetani 208.A.5, ff. 79-83 (CARBONI 9, n. 85). NESTOLA 2015, AIF.542. 15 (ff. 69-72v) GIO. DEL VIOLONE. Morte amata hor che t’invoco, D minor. For Agrippina in II:2 of AGRIPPINA. Attributed to “Gio. Lulier” in BAV Chigi Q.IV.38, ff. 5-10v. Attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 67-71. Both concordances include strophe 2: Vanterà vita immortale. NESTOLA 2015, AIF.330. 16 (ff. 73-78v) GIO. DEL VIOLONE. D’intorno al tuo bel lume, D major. For Giunio in II:3 of AGRIPPINA. Attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 55-58. Both mss. include str. 2: Son presso ai tuoi bei labri (or lumi). NESTOLA 2015, AIF.168. 17 (ff. 79-82v) GIO. DEL VIOLONE. Son pur sventurata fin hor che godei, A minor. For Giulia in I:9 of AGRIPPINA. Attributed to “Gio. Lulier” in BAV Chigi Q.IV.38, ff. 1-3v; to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 90-93; and to “S[ignor] del Violone” in I-Rli Fondo Caetani 208.A.5, ff. 113-17v (CARBONI 9, n. 92). NESTOLA 2015, AIF.594. 18 (ff. 83-87v) GIO. DEL VIOLONE. Bella fiamma del mio seno, E minor. For Giulia in II:5 of AGRIPPINA. Anonymous in I-Rli 208.A.5, ff. 84-89 (CARBONI 8, n. 86). 19 (ff. 89-92) GIO. DEL VIOLONE. Tormentosa gelosia, freddo inferno del mio sen, G minor. For Agrippina in III:3 of AGRIPPINA. Also attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 24-27; anonymous in I-Rli 208.A.5, ff. 129-132 (CARBONI 9, n. 95). NESTOLA 2015, AIF.622. 20 (ff. 93-96v) GIO. DEL VIOLONE. Tarpa i vanni alla mia fama, G major. For Germanico in I:4 of AGRIPPINA. 21 (ff. 97-100v) GIO. DEL VIOLONE. Ti rifiuto, o regia sede, F major. For Germanico in I:4 of AGRIPPINA. 22 (ff. 101-104) GIO. DEL VIOLONE. Per pietà cangia desio, B minor. For Giulia in III:6 of AGRIPPINA. Anonymous in I-Rli 208.A.5, ff. 90-93v (CARBONI 9, n. 87). 23 (ff. 105-108v) GIO. DEL VIOLONE. Picciola è l’ape ancor, D minor. For Giulia in II:9 of AGRIPPINA. Anonymous in I-Rli 208.A.5, ff. 97-101v (CARBONI 9, n. 89). 24 (ff. 109-12v) GIO.

DEL

VIOLONE. Potessi così tu dar prova di tua fé, A

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major. For Agrippina in III:11 of AGRIPPINA. Attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 20-22. NESTOLA 2015, AIF.458. 25 (ff. 113-116v) GIO. DEL VIOLONE. Fin qui con la speranza, G minor. For Giunio in III:9 of AGRIPPINA. Anonymous in I-Rli 208.A.5, ff. 137-141 (CARBONI 8, n. 97 as Sin qui con la speranza). 26 (ff. 117-119v) GIO. DEL VIOLONE. A chi finge e sa tacere, D minor. For Giulia in III:7 of AGRIPPINA. Anonymous in I-Rli 208.A.5, ff. 94-96v and 13335v (CARBONI 8, nn. 88 and 96), and S-B (Skoklosters Slott) NB holm 215, ff. 41-42 (RISM n. 190000979). 27 (ff. 121-124) GIO. DEL VIOLONE. Hor che in un sen di latte, Germanico combatte, G minor. For Giunio in I:11 of AGRIPPINA. 28 (ff. 125-127v) GIO. DEL VIOLONE. Dal furor di schiere audaci, B! major. For Agrippina in I:3 of AGRIPPINA. 29 (ff. 129-132) GIO. DEL VIOLONE. Se a’ miei detti haver fede non lice, E minor. For Giulia in I:7 of AGRIPPINA. Attributed to “Giovannino del Violone” in D-SWl Mus. 4718b, pp. 18-19. Anonymous in I-Rli 208.A.5, ff. 11821v (CARBONI 9, n. 93). NESTOLA 2015, AIF.521. Bound in brown leather (113 × 270 mm). The Barberini shield embossed in gold at the center of each cover is identical to the one described for Barb. lat. 4154. The similar design is also found on Barb. lat. 41644167 and 4169-4170. The border of each cover has two parallel lines in gold, which form a five-blossomed ornament at each corner. Edges gilt. The previous shelfmark XLVII.26 is written in black ink inside the front cover by a modern hand. The foliation in pencil is modern. Opening and closing flyleaves are blank. Blank staves only are on ff. 18, 28, 64, 88, 120 and 128. The most common watermark is a fleur-de-lis in two concentric circles with a V above the circles, similar to Heawood nn. 1591-1592, and Woodward, n. 111 (ff. 3, 13, 16, 26, 30, &c.). The less common watermark has three overlapping hills within two concentric circles (ff. 7, 48 and 65); this is likely the lower half of a watermark. The single copyist, probably the Roman professional Flavio Lanciani, also copied Barb. lat. 4153-4154, 4159, 4160 (copyist A), 4164-4167, 41694170, and 4171 (copyist A). He wrote out the da capo sections of arias. According to HAMMOND 1994, p. 309, note 26, “the first fifty-four folios … are copied by Alessandro Scarlatti.” This is almost certainly incorrect, because Barb. lat. 4155 is in a single hand that is not at present recognized as Scarlatti’s. The first eight performances of GLI EQUIVOCI IN AMORE OVERO LA RO-

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were given at the Cancelleria on 24 October 1690 for the marriages of Donna Tarquinia Colonna with Don Marco Ottoboni, Duke of Fiano, and Donna Cornelia Ottoboni with Don Urbano Barberini, Prince of Palestrina (CAMETTI-TdN, vol. 2, p. 349, n. 2; FRANCHI, p. 634). The printed libretto declares that the drama was “nobilitato dalla musica dell’ammirabile Sig. Alessandro Scarlatti” (Rome, Buagni, 1690, p. 6). The frontispiece bears the Ottoboni emblem among several others. Ottoboni invited private guests to the performances given at the Cancelleria between 28 Oct. and 30 Dec 1690 (see CAMETTI-TdN, p. 349, n. 2, and STAFFIERI, pp. 93-96). The ten arias from GLI EQUIVOCI IN AMORE in Barb. lat. 4155 are all in the 1690 libretto. Another aria, which is in the 1691-1692 editions of the libretto, is in Barb. lat. 4152, n. 24. Only two complete scores are cited above: GB-Lbl Add. 31513, a Roman copy that corresponds very well with the 1690 edition of the libretto, and GB-Lbl Add. 14167, a Neapolitan copy that corresponds very well with the Naples 1692 edition. These two mss. served as the bases for Robert Eitner’s edition of acts I and II in vol. 14 of the series Publikation Älterer Praktischer und Theoretischer Musikwerke, 14, Leipzig 1885; rpr. New York 1966, pp. 105-222. At least three other scores to the opera are extant, but they are not considered here: partbooks for Rosaura in A-Wn Mus. 1086, where it is attributed to “Alesandro Scarlato” (not related to Antonio Draghi, Rosaura, overo Amore figlio di Gratitudine, A-Wn Mus. 16028); F-Pn D.11901, which contains only acts I and II; and D-WD 747 (Musiksammlung der Grafen von Schönborn-Wiesentheid), which has not been consulted. The Roman libretto for LA ROSAURA was reprinted with revisions in 1691, when the work was once again staged at the Cancelleria (FRANCHI, p. 638). Lucini wrote a new dedication to the three princesses: “Offerisco all’EE. VV. quest’operetta per musica, ch’hebbi ordine dall’eccellentissimo signor prencipe D[on] Antonio Otthoboni di comporre, affinché servisse per loro privato trattenimento nel Teatro della Cancellaria [sic].” His new preface “al cortese lettore” concerns ROSAURA, an opera that had been created “a respirar l’aria grande del Teatro di Tor di Nona, destinato solo ad opera regie, e di prima sfera.” However, this second staging, like the first, was not produced publicly, and the only major change was the addition of “una servetta [Lisetta], che dovea concertare con Lesbo.” It would have been staged publicly in 1691, but for the death of Pope Alexander VIII. According to “l’autore a chi legge” for the third Roman edition, dated 1692, the 1691 production in the Cancelleria had mainly received “applauso per l’eccellenza della musica.” In January 1692 the work’s first public production was sponsored by the Accademici Uniti at the Teatro Capranica (FRANCHI, pp. 642-643; NATUZZI, pp. 113-114). All cast members in RoSAURA

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man public performances were men, and in 1692 the role of Rosaura was sung by Nicolino Grimaldi, an eighteen-year-old castrato who, according to Nicola Haym, “was so perfect in the art of acting” that “we may make an estimate of the composer’s judgment in fitting the part for his performer; and the performer is no less to be admired in forcing an applause for that, which, had another perform’d it, would probably have fallen far short of it” (RAGUENET-Eng, p. 20, n. 14; see also n. 8 above and L. LINDGREN, The Accomplishments of the Learned and Ingenious Nicola Francesco Haym (16781729), in Studi Musicali 16/2 [1987], pp. 289-294). This production also deleted the prologue for Venus, added Lisetta, and introduced “molte arie, e di alcune scene nove, che saran forse il principale ornamento del drama.” Naples also produced Lucini’s work with Scarlatti’s music in 1692: “GLI EQUIVOCI IN AMORE OVERO LA ROSALBA [sic], … consegrato all’eccellentissima segnora Donna Francesca d’Aragona, contessa di Santo Stefano, vice-regina di questo regno.” Its dedication, signed by the impresario Andrea del Po on 2 Feb. 1692, was by Aurelio del Po’ who managed the career of the soprano Anna Maria Strada while they were in London from 1729 through 1737 (HIGHFILL, BURNIM and LANGHANS, vol. 14, pp. 315-317). In July 1692 the opera was also produced by the Accademici Nascenti in Florence, as LA ROSAURA DI CIPRO OVVERO GLI EQUIVOCI IN AMORE (WEAVER, p. 172). Scarlatti’s score perhaps still served as the musical basis for the Florentine production and the later ones of 1699 in Livorno and Rome. The Roman libretti of 1690, 1691 and 1692 are listed in SARTORI, nn. 8984-8985 and 8987, and described in FRANCHI. The portal CORAGO offers the three different Roman libretti and those for Naples, Florence, and Livorno. An analysis of the pastoral character of the work is given in E.T. HARRIS, Handel and the Pastoral Tradition, London, 1980, pp. 37-45 and 56-57. AGRIPPINA was scheduled as the second opera at the Teatro Tordinona during carnival 1691. (The first was to have been COLOMBO, with text by Pietro Ottoboni and music by Bernardo Pasquini.) According to an avviso of January 6, Ottoboni objected to De Totis’s text of AGRIPPINA and asked Giovannino [Lulier] to set another text, IL PRINCIPE LASCIVO, within ten days. Ottoboni’s objection was quelled, but other events caused cancellation of the production: an epidemic, then the death of Alexander VIII on February 1 (CAMETTI-TdN, vol. 2, p. 347, and STAFFIERI, nn. 108-111). No libretto was printed, and none was known until a manuscript copy in Spoleto, Archivio di Stato, Fondo Campello ms. n. 107, was discovered and published; see CHIRICO 20051and 20052, p. 168. Previously, the primary source of information was BAV Ottob. lat. 2360, ff. 56v-69v, which provides a projected cast list, a plot summary, passages from Tacitus, and a version of act I, scenes 1-3 (published in CHIRICO 20051, pp. 72-74). The

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projected singers for the five roles represented in Barb. lat. 4155 are Carlo Antonio Zanardi for Orestilla, Domenico Cecchi detto Cortona for Giunio, Mariuccio Pippi for Giulia, Pasqualino Tiepoli for Agrippina and Antonio Borosini (tenor) for Germanico (CHIRICO 20051, pp. 55-56 and 72-78). The eighteen arias from AGRIPPINA in Barb. lat. 4155 make it the largest known musical source. Flavio Lanciani copied a score for Pietro Ottoboni, which is described as “L’Agrippina originale solo” on a bill dated 22 November 1691. A bill dated 1 June 1692 documents that Lanciani also copied a lost score to, or an aria collection from, the work for Ottoboni, on “carta reale … fogli cento quaranta” (MARX-Ottb, p. 128, no. 24b, and p. 132, no. 34). Lanciani’s copies are not known to survive. Barb. lat. 4155-4156

Barb. lat. 4156 after 1680, 96 × 273 mm, I.156.XI ff., 4 staves, 4 or more hands

A miscellany of thirteen cantatas and three arias, all for soprano and basso continuo ensemble. Two also have instrumental obbligato parts (nn. 7 and 14). The composers who are named — Pier Simone Agostini, Pietro Cesti, Paolo Lorenzani, Carlo Rinaldi, Alessandro Scarlatti, and Gioseppe Vecchi — were active in Rome from the 1660s and later. Five items remain anonymous. Two poets are named, Mario Cevoli (n. 14) and Giulio Cesare Raggioli (n. 16); others include Sebastiano Baldini (n. 2), Giampietro Monesio (n. 4) and Giuseppe Domenico De Totis (n. 15). The present volume has been dated on the basis of n. 15, which is from an opera of 1681, but each composition is a separate fascicle, and nn. 1-14 might have been rebound from an earlier ms. The principal copyists worked in Rome from the 1670s through the 1690s. The foliation below follows the continuous numbering by a second hand, in the top middle of each recto. Online in DVL. 1 (ff. 1-20v) [PIER SIMONE AGOSTINI]. Invocate deità, deh, correte alla vendetta, C minor, cantata. Another aria is No, no, che nol soffrirò. This and n. 2 below are attributed to Agostini in A-Wn 17769, ff. 76-93v, a ms. dated Pisa 1691. 2 (ff. 21-56) [AGOSTINI]. Fu sì dolce la ferita che nel sen m’aperse Amore, A minor, cantata. Other arias include Un miserabile chi veder vuol (F major); Gelosia, deh, dillo tu (marked “aria,” D minor); Di Sisifo i sassi (B! major); Col tradito in paragone (C major); Ma l’istesse ferite (D major); Soccorrimi, o sdegno (C major, marked “aria”); S’io più cerco raggirarmi (D major); and Contro di me voi deitadi (D minor). Other rubrics include “ritornello”

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and “alla breve.” Attributed to Agostini in A-Wn 17769, ff. 109-42v (see n. 1 above); D-Dl Mus. 1-I-2,1, ff. 107-32v = pp. 211-260 (online access via Dresden SLUB); GB-Lbl Add. 34055 (ex-Adami), ff. 52-75; I-Bc V.41, ff. 2941v; and I-Rc 2471, ff. 65-98 (facsim. in ITALCANTAT vol. 12, n. 15). Musical incipits for all sections are in RISM online for the ms. in D-Dl. A later hand wrote the attribution to Antimo Liberati on the anonymous copy of I-Nc 33.5.18 (Arie 39, Cant. ibr. 18), ff. 117-18v (the first aria only). According to MORELLI-G 2000, n. 198, the poem is by Sebastiano Baldini. 3 (ff. 57-64v) [ANTONIO/PIETRO] CESTI. [L]anguia già l’alba e la ridente aurora, A minor, cantata. Internal arias are Non mi conosci, no, no (A minor, 2 str.) and Mi dipinge amabile sorte (A minor). WECIS 1 gives the musical incipit and three further sources. A modern edn is in CESTI 1963, pp. 19-28. 4 (ff. 65-69v) [Q]uelle li, quelle, quelle mio cor, mirale bene, E minor, cantata. Marked “aria” is Quelle han rapito a te la cara libertà and Quello a l’angue ch’ altri uccide. Anonymous in I-Vqs ms. 1439 (Cl.VIII Cod.XVII), ff. 52v-57 (ms. dated after 1676). The text by Giampietro Monesio is in MONESIO 1674, pp. 43-44, with the subject title “Addita al core quegli occhi belli, che lo tormentano.” Barb. lat. 4156 5 (ff. 71-75v) Sig.r VINCENZO [ALBRICI?]. T’amo Lilla, cor mio, ma nessun lo saprà, G minor, cantata. Strophe 2 of the opening aria is so marked, but is not musically strophic. Another aria is Così con scaltro ingegno (F major). 6 (ff. 77-83v) Su le rive dell’ Arno mesti i giorni vivea, A minor, cantata. Arias include Oh cara rimembranza and So ben io che voi m’amate. D-Mbs Mus. 1510, ff. 85-87v is a different work (two musical incipits given in RISM online ID 450058285).

7 (ff. 85-94) [ALESSANDRO STRADELLA]. [D]ate all’armi, o miei pensieri, si sbrani, s’uccida, S/TrTrB, C major, aria da capo. For Isifile in III:3 of IL NOVELLO GIASONE (Rome 1671). Also anonymous in I-Fc CF.36/2 (olim B.2559), ff. 27v-30 (Internet Culturale access), whose attribution to Pergolesi was made by a later hand. For appearances in the score to the opera, later sources and productions, including a Dutch print of 1691, see Nicola USULA, “Giasone a quattro mani: Cavalli messo a nuovo da Stradella,” in FR. CAVALLI, Il novello Giasone, Milan 2013 (DMV vol. 3), pp. LXXVIII-LXXX. 8 (ff. 95-96v) Cerco affetto e trovo sdegno, C major, aria. 9 (ff. 97-102) Tra soavi martiri, nel foco d’amore, A major, cantata. Arias

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are Care stelle, amati raggi, immediately followed by Con l’ardore del vostro sguardo. 10 (ff. 103-107) P.O SIM.E AGOS.INI. Già il sonno alletta l’alme, A minor, cantata. The attribution to Agostini is not in the hand of the copyist, but the cantata is also attributed to Agostini in BAV Barb. lat. 4157, n. 7; D-Kl 2o Mus. 34, ff. 9-10v; I-Bc V.41, ff. 21v-23, and in the index to BAV Chigi Q.IV.11. Other copies are GB-Och 949, ff. 1-5v and I-MOe Mus. F.1351, ff. 61-64v. WECIS 1[b] gives the musical incipit. 11 (ff. 109-115v) [F]illi, ove ten vai? Crudel, ove ten fuggi?, A minor, cantata. Arias include Crudele, perché con tanti lamenti (E minor, 2 str.); and Che far vi poss’io (A minor, 2 str.). Listed in the table as Filli dove ten vai (f. [155v]). 12 (ff. 117-124v) S[ig]. CESTI [recte ATTO MELANI]. Fileno, idolo mio ove lungi da me ti stai, A minor, cantata. Arias include Vieni sol che solo adoro (A minor) and the closing Hor dell’alba i vaghi rai. WECIS 8 gives the musical incipit and four sources naming Melani. An anonymous copy, not in WECIS, is I-MOe Mus. G.305, ff. 7v-12v. ITALCANTAT vol. 11 gives a facsimile of the concordance GB-Lbl Harley 1264, ff. 17v-23v. 13 (ff. 125-130v) PAUOLO LORENSANI. Mi contento così, benche soffra affanni e pene, C minor, cantata. Other arias are Se le doglie ch’ il sen’ accoglie (C minor, 2 str.). The opening aria returns at the end da capo. The attribution is not in the hand of the music copyist. Anonymous in I-Nc 33.5.15, ff. 90v-94. 14 (ff. 131-138v) CAV. RIN[ALDI]. P[oesi]a dell’ S.r Mario Cevoli. Deh, lasciatemi in preda al mio tormento, S/SB, C minor, cantata. Marked “aria” are Siete pur care (G minor, 2 str.) and Sono in odio all’ amor mio (F minor, 2 str., no music for the ritornello between them). An instrumental part or cue, sometimes just the imitation of a brief figure, is written on the vocal staff, usually with the rubric “si suona.” The return of the opening section in aria style, but not as a da capo, is marked “Ciciliana.” The attribution to Carlo Rainaldi is uncertain as most of inscription has been trimmed away, “-aldi” has been added by a later hand to “Mus. d[el] Sig.Cav. [R…].” This work is not listed in MARX-Rainaldi. 15 (ff. 139-144) ALESS.O SCARLATTI. Lo dissi per gioco, 2 str: Mi prendo diletto, S/T, G major. For Doralba in II:10 of TUTTO IL MAL NON VIENE PER NOCERE (Rome 1681, Naples 1687, etc.); libretto by G.D. De Totis. The continuo aria is found in the score to the opera, I-MC 6-B-2, f. 53r-v (2 str.), followed by a ritornello (TrTrB = VV/bc). It is also attributed to Scarlatti in

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GB-Lbl Harley 1265, ff. 243-244; US-R M1620.S286ca, ff. 85-90; and US-Su ML96.S33 T8, ff. 7-12. On the opera, see comments below. 16 (ff. 145-154) GIOSEPPE VECCHI. Parole del Sig.r Giulio Cesare Raggioli. Bell’ombre, che fate, compagne al mio duolo?, E minor, cantata. Marked “aria” is Di por fine al mio tormento (E minor) but not Pupillete volete ch’io mora (E minor, 3 str.). Bound in parchment (100 × 273 mm). Three cords divide the spine into four panels. The number 27 written on the spine by a modern hand in black ink, above a pink BAV sticker. The same hand wrote the previous shelfmark XLVII.27 inside the front, where there is another pink sticker. Watermarks, quite trimmed, include a fleur-de-lis in a single circle; possibly a crown with a star above (f. 19 only); the cleric/saint with a cross in a shield (nn. 1-2 only); and principally a fleur-de-lis in a border of two concentric circles, sometimes surmounted by the letter A. The guard sheets have the fleur-de-lis on three hills in a double circle. Folios 1-138 were once part of a different manuscript, where they were numbered 22[5]-362. The new numbering 1-154 was done later, by a 17th- or 18th-century copyist, who also added the table of contents with 16 items on the first two of the blank pages at the end, now ff. [155-56]. Some or all of the folios have been trimmed at the top and right side. Blank folios are [I] and the last 11 leaves. Blank staves only are on ff. 70, 76, 84, 108. The copyists include Hand A for nn. 1-2; Hand B for nn. 3-11, 13 and perhaps 12 (= hand of I-MAC Mus. 113.43, ff. 107-118v); Hand C for n. 15; and Giovanni Antelli (copyist D) for n. 16, which belongs as a set with nn. 23-25 of Barb. lat. 4147 and n. 35 of Barb. lat. 4158. More than one hand was responsible for number 14 (Hands B + E?). The composer attributions for nn. 5, 10, 13, and 14 were written by someone other than the music copyists. The initial letter of n. 15 is ornamented by a pen and ink landscape. Its copyist C also copied the 1681 opera Barb. lat. 4210-4212. The opera TUTTO IL MAL NON VIENE PER NOCERE, music by Alessandro Scarlatti to a libretto by Giuseppe Domenico De Totis was produced in Rome in 1681 (see FRANCHI 1681/1), also in Ancona 1683, Naples 1687, and Rimini 1694. A score to the complete opera is I-MC 6-B-2. Barb. lat. 4156-4157

Barb. lat. 4157 1670-1681 ca., 100 × 270 mm, I.136.I ff., 4 and 3 staves, 2 hands

Miscellany of thirteen Italian cantatas for soprano and basso continuo

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ensemble. All bear a composer’s name except for n. 14 and two anonymous duets for sopranos and basso continuo (nn. 12-13). The music is by Pier Simone Agostini (3), Antonio [Pietro] Cesti (3), Alessandro Melani (1), Gioseppe Pacieri (1), Bernardo Pasquini (3) and Francesco Tenaglia (1). Poets are not named, but they include Giovanni Francesco Apolloni (nn. 1, 3). The dating of the volume is based on the Pamphili arms on the binding (see commentary below). Online in DVL. 1 (ff. 1-12v) [ANTONIO] CESTI. Tu m’aspettasti al mare, D minor. The closing aria is Conducetemi verso il porto (2 strophes). Also attributed to Cesti in BAV Chigi Q.IV.11, ff. 93-102v; F-Pn Rés. Vmf 19, (ex-Thibault, ex-Prunières), ff. 116-27v; GB-Lbl Harley 1863, ff. 80v-83r. Anonymous in IIBborromeo Misc. 7, no. 5, ff. 22v-26v (BOGGIO, p. 114); I-MOe Mus. E.300, ff. 7-11 and I-Nc 60.1.51, n. 4. WECIS 1 gives the musical incipit. The text by Giovan Filippo Apolloni is in I-Rn Eborense 26, ff. 57-59, “capriccio per musica”; and I-PAc Palatino 573, ff. 80v-81; see MORELLI-G 1988, n. 70. An anon. copy of the poem is I-Rli Cors. 2537, f. 125r (CARBONI 9, n. 13511). A partial modern edn is in VATIELLI 1920, pp. 2-9. Barb. lat. 4157 2 (ff. 13-30v) D[on] GIOSEPPE PACIERI. Già con sua man fiorita, F major. Marked “aria” are Dileguatevi procelle (B! major) and Voragini ingorde (C minor). 3 (ff. 31-38) CESTI. Alpi nevose e dure, E minor, cantata. WECIS 1 gives the musical incipit and four other sources, including Barb. lat. 4207, n. 18, q.v. for further concordances and modern editions. The text is by G. F. Apolloni; see MORELLI-G 1988, n. 3. 4 (ff. 39-44v) BERNARDO PASQUINI. Se il pentirsi d’amor mitigasse del cor, B! major, 2 str. (cantata). Also attributed to Pasquini in I-MOe Mus. G.160, ff. 35-40v. NIGITO-BP n. 32 (mod. edn) also lists attributions in I-Tn Foà 19, ff. 86-90v; B-Bc 55858, ff. 55-60v; to “BP” in US-NH Misc. MS 278, pp. 221225; and gives a text source as “Scherzo per musica” in I-PAc Palat. 573, 48r-v, a volume of Componimenti per musica by Giovanni Filippo Apolloni (NIGITO-BP, p. ccxxxix). Another modern edn is BOGHEN 1930, pp. 27-32. 5 (ff. 45-54v) PIER SIMONE AUGUSTINI. Voi non lo crederete e pur è vero, G minor. The only aria is Io non spero a’ miei martiri (2 str.). Facsimile edn in ITALCANTAT vol. 12, n. 18. The attribution to Agostini also occurs in A-Wn 17592, ff. 17-19; D-MÜs 854, ff. 37v-41v and I-Rc 2471, ff. 147-54v. 6 (ff. 55-62v) CESTI. Nel ricercar qual sorte (2 str.), A minor (cantata). Also attributed to Cesti in GB-Och Mus. 83, pp. 6-10 (as Del ricercar qual sorte). Anonymous in I-MOe Mus. G.258, ff. 40v-44, B/B, B! major. WECIS 1

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gives the musical incipit. Excerpts in BURNEY GHM, IV, pp. 151-153 (from Och 83). 7 (ff. 63-70) PIER SIMONE AUGUSTINI. Già il sonno alletta l’alme, A minor, cantata (attribution made by a later hand). For further sources, see Barb. lat. 4156, n. 10, which also names Agostini. WECIS 1[b] gives the musical incipit. 8 (ff. 71-76v) ALESS.RO MELANI. Sovra nobil destrier che racchiudea, A minor. The closing aria is A vibrarmi strali. Facsimile edn in ITALCANTAT vol. 11, pp. 17-23. Anonymous in I-MOe Mus. G.260, ff. 1-5. WECIS 8 gives the musical incipit. 9 (ff. 77-86) BERNARDO PASQUINI. Seppi a pena, o mio caro, G minor. Arias are Mio cor che farà (2 str.) and Torna o cara, per pietà. Facsimiles of folios 77r and 77v are in NIGITO-BP, p. li. Also attrib. to Pasquini in I-MOe Mus. G.266, ff. 1-7 (partly in the hand of Flavio Lanciani). Modern edn NIGITO-BP n. 34 (see also p. ccxli). 10 (ff. 87-92v) FRAN[CES]CO TENAGLIA. Un pensier dal cor m’è uscito, E minor, (cantata) A partial modern edn is VATIELLI 1920, pp. 11-16 (in D minor). KOLB, pp. 241-246. 11 (ff. 93-102v) PIER SIMONE AUGUSTINI. Io son pur solo ne v’è chi del mio duol, G minor. Other arias are Qui solingo tra l’arene and Son amante e Filli adoro. Also attrib. to Agostini in BAV Chigi Q.IV.3, ff. 93-101v (in D minor), CARBONI 12/3 n. 927; I-Rc 2471, ff. 47-56v; I-Nc 33.5.16 (Cantate 31), ff. 49-57; GB-Lbl Add. 34055, ff. 76-81; D-MÜs 868, ff. 19-25v; and B-Bc 55858, ff. 21-30v. Anonymous in B-Bc 697 (olim F.A.VI.3 II), pp. 1-22 (in C minor). A facsim. of the Casanatense source is ITALCANT vol. 12, n. 13. A 19th-century copy that names Agostini is RUS-Mk XI-438. A different setting by Alessandro Scarlatti is HANLEY n. 344.

12 (ff. 103-108v) È foco o gelo, ohimè, SS/B, C minor. 13 (ff. 109-114) Tutto il regno d’Amore tormento non ha, SS/B, A minor. Also anonymous in P-La 47-II-1, ff. 124-128, and I-Bc Q.44, ff. 34-35 (available online via www.badigit). 14 (ff. 115-123v) Non è come tu credi, o bel idolo mio, A minor. Marked “aria” are Peregrina alta beltà (A minor); Nel tuo volto onde il mio cuore (C major), and Graditi sospiri, felici lamenti (D minor). 15 (ff. 125-136v) BERNARDO PASQUINI. Tu parti alle delitie, io resto a piangere, E minor. Internal arias are Il pensar solo (2 str., E minor) and the closing Stelle rie, s’egli è possibile, marked “aria.” Also attrib. to Pasquini in

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I-MOe Mus. G.261, ff. 33-41; D-MÜs 854, ff. 52v-57; D-Mbs Mus. 1510, ff. 16-21; and F-Pn H.659, VII, pp. 40-50 (the latter two not in NIGITO-BP, p. ccxliii). Modern edns BOGHEN 1930, pp. 17-26; and NIGITO-BP n. 40, which also gives the additional concordance B-Bc 55858, ff. 1-12v, a Roman copy in the hand of Flavio Lanciani, with an attribution to Pasquini and the subject title “Si duole della partenza di bella donna”; and the text collection attributed to “Abb[ate] Gio. Filippo Apolloni” in I-PAc Palat. 573, ff. 96-97. The Borghese paid for a copy of a setting in 1682/84, which is likely to have been Pasquini’s (see Morelli-A 2016, p. 239). Another setting by [Matteo] Gentilini is BAV Chigi Q.IV.17, ff. 29-40v (Carboni 11, n. 14027, and CARBONI 12/3, n. 1756).

Bound in parchment (106 × 266 mm). The Pamphili dove with an olive branch in its beak is embossed in gold on both covers with wreaths in the corners, possibly the stemma of Benedetto Pamfili (b. 1653) before his elevation to the cardinalate in 1681. On the spine is a pink Vatican sticker and above it the number 28, written in black ink by a modern hand, which also wrote the previous shelfmark XLVII.28 inside the front cover. Front and back pastedowns are of marbled paper. Edges are blue. Each composition begins with a decorative initial of somewhat inept quality and comprises an independent fascicle. Watermarks are those found in the latter third of the 17th century and associated with Rome: the fleur-de-lis on three hills in a double circle is the most common; anchor in a single circle (ff. 15-16, 19, 23, and 135, cf. HEAWOOD 3); the paschal lamb with a banner in a double circle, surmounted by the letter A (f. 20; cf. HEAWOOD 2838); and a single fleur-de-lis in a double circle, with no visible letters above. The front guard sheet only has the kneeling cleric/saint in a shield. The stamped foliation is modern. All folios have four staves per page except for ff. 103-114, which have three. Blank staves only appear on f. 124. Copyist A, who is Jander scribe A, copied all except n. 14. NIGITO-BP, p. ccxxxxix, tav. 19-20, identifies this hand as Flavio Lanciani’s (with a collaborator). The cantata n. 14 in hand B seems to have been rebound from an earlier manuscript. For the Pasquini cantatas, see MORELLI-A-Pasq, chap. 3, in addition to the edition NIGITO-BP. Barb. lat. 4157-4158

Barb. lat. 4158 after 1683 ca., 96 × 275 mm, I.[124].XI ff., 4 staves, 9 hands

Miscellany of thirty-three arias and three cantatas (nn. 6, 15 and 35). Six items bear attributions to Piersimone Agostini, Bernardo Pasquini, Ales-

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sandro Scarlatti and Gioseppe Vecchi, but not all the attributions are in the hands of their music copyists and one is incorrect (n. 1). The arias might all be from dramatic works, but only three with attributions have been identified: one serenata and two operas that date within the 1670s (nn. 1, 2, and 5). Fifteen others come from operas with first performances between ca. 1671 and 1678 that can be attributed on the basis of concordances to Domenico Freschi (1), Giovanni Legrenzi (2), Alessandro Melani (2), Carlo Pallavicino (3), Bernardo Pasquini (3), Alessandro Stradella (2), G.B. Viviani (1) and P.A. Ziani (1). Four others may be by Luca Amadori (n. 26), Aless. Melani (n. 8), Antonio Sartorio (n. 10) and P.A. Ziani (n. 18). One aria by Agostini (n. 24) remains unidentified, and eleven arias and one cantata remain anonymous. The tentative dating of the collection derives from the earliest possible source of aria n. 18; but individual fascicles may be earlier. Online in DVL. Twelve of these pieces were edited as by Pasquini in BOGHEN 1923 and 1930 (nn. 3-14); however, three of these twelve are not by Pasquini, and four have resisted authentication (4158, nn. 7-8, 15 and 20). Thirty-four are for soprano, one for two sopranos (n. 25), and one for alto (n. 34), all accompanied by basso continuo. Arias are for S/B unless otherwise indicated. 1 (ff. 1-6v) BERNARDO PASQUINI [recte ALESSANDRO STRADELLA]. Non ha tregua il mio dolor, str. 2: Non ha pace il mio desir, B! major. The attribution to Pasquini is not in the hand of the music copyist. According to GIANTURCO-MCCRICKARD, 1.4-15, p. 94, this is the first aria in Alessandro Stradella’s serenata OR CH’A LA DEA NOTTURNA, from I-Vnm It.IV.560 (= 9840), ff. 83-109. Copies of the serenata are in GB-Cfm Mu.Ms 86, pp. 61-91; GB-Lbl R.M.23.f.10, n. 17; and GB-Lcm 604, ff. 1-32. The musical incipit is in CRAIN vol. 2, p. 282. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 12-16. Barb. lat. 4158 2 (ff. 7-12v) ALESSANDRO SCARLATTI. Farfalletta intorno al lume, delirando si raggira, str. 2: Dibbattendo i vanni amanti, sorger spera più felice, E minor. For Orismondo (T) in III:3 from AMOR QUANDO SI FUGGE ALLOR SI TROVA (Rome [1678]). In the anonymous score to the opera, BAV Chigi Q.V.66, ff. 176v-181, it succeeds an arioso in E minor and its ritornello (TrTrB), and also has its own TrTrB ritornello after each strophe. Also attributed to Scarlatti in Chigi Q.IV.46, ff. 1-4 (CARBONI 12/3, n. 563). Anonymous in three I-Nc copies with Internet Culturale access: 34.5.1ter, ff. 43-44v (Arie 484/3); 33.5.15, ff. 35-37v; and 60.1.54 (Arie 80), ff. 2-3v (lacks opening folio). Also anon. in CH-Zz Q.902 (= 7604), pp. 57-58; GB-Och 956, ff. 4-5v (S/B); and S-B NB holm 215, pp. 77-80. NESTOLA 2015, vol. 2, AIF.210. For the opera, see comments at end.

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ROSTIROLLA 1972, p. 344 incorrectly places this aria in Scarlatti’s FLAVIO CUNIBERTO (Rome 1696, Florence 1702), which sets the same text incipit to different music (B! major), sung by Pistocchi; see D-MÜs Hs. 3950, ff. 25-28, and ivi, Hs. 3911, n. 14 (both dated 1702).

3 (ff. 13-14) [CARLO PALLAVICINO]. Più d’una bella voglio nel cor, str. 2: Più d’una amata voglio nel sen, A minor; lacks last bass pitch in the closing ritornello. For Galieno in II:17 of GALIENO (Venice 1676; Naples 1686), libretto by Mateo Noris. The text for str. 2 is written below the continuo staves by the music copyist, but entered at a different time. Attributed to “Carlo Pallavicino” in the collection of arias for Venice, I-Vqs 1436 (Cl.VIII Cod.X), ff. 47v-48v. In the same act and scene in an anonymous Marciana score and a score in Naples attributed to Pallavicino and dated 1683: IVnm It.Cl.IV, 424 (9948), ff. 47v-48 (one str. only) and I-Nc 32.2.7 (Rari 6.5.7), f. 102r-v (one str. only). These scores to the opera are accessible through the Internet Culturale portal. The copy of the score to the opera, Chigi Q.V.65, is anonymous. The scores to the opera in A-Wn (Mus. Hs.16491, listed as autograph) and D-Dlb were not consulted. See also nn. 11 and 17 below. 4 (ff. 15-18) [PASQUINI]. L’amare è destino e non volontà, str. 2: Il fato dispone non ho libertà, A minor. For Artemisia in II:10 of TRESPOLO TUTORE BALORDO (Rome 1677). Attributed to “Bernardo Pasquini” in I-Bc V.285, ff. 61-66 (G minor; Gaspari online access). Pasquini’s score to the complete opera is F-Pn Vm4 924. Musical incipit and I-Bc concordance given in CRAIN vol. 2, p. 275. NIGITO-BP, p. ccii, itemizes str. 2 as a separate piece. The libretto by G.C. Villifranchi AMORE È VELENO, E MEDICINA DEGL’INTELLETTI, O VERO TRESPOLO TUTORE (Bologna 1679) was based on an earlier comedy by G.B. Ricciardi (Bologna 1669); for the Rome libretto, Lorenzo Beatucci may have modified a pre-publication version of Villifranchi; see A. Morelli, s.v. Pasquini, Bernardo in DBI, vol. 81 (2014); and MORELLI-A-Pasq, pp. 140-148, with musical exx. A different anonymous setting, with no second strophe and some word differences, is I-Nc 33.4.5 (Arie 228), ff. 69-70v, G major (available online through the Internet Culturale portal; also in RISM online). The same text incipit begins an aria for Artemisia in II:12 of Stradella’s Trespolo tutore (Genoa 1679), libretto by G. Villifranchi, but the poetic continuation is different.

5 (ff. 19-21) BERNARDO PASQUINI. O voi, che languite di pianti amorosi, str. 2: Un chiaro baleno presaggio di calma, A minor. For Irene in II:7 from AMOR PER VENDETTA O VERO L’ALCASTA (Rome, Teatro Tordinona, 1673), libretto by Giovanni Filippo Apolloni. The attribution to Pasquini is not in the hand of the music copyist. Attributed to “Bernardo Pasquini” and ac-

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companied by a TrTrB instruments in the scores to the opera, D-MÜs 3000 and I-MOe Mus. F.904. The aria is anonymous in I-Nc 33.5.35 (Rari 6.7.8), ff. 30-32 (Internet Culturale access). CRAIN, vol. 2, p. 34. Modern edn from the Barberini copy in BOGHEN 1923, pp. 17-18. A setting by G.B. Viviani, sung by Armidoro in ASTIAGE, is I-Nc 33.3.4 (Arie 237), ff. 88v-89 (in C minor); see CLORI n. 5840 (with facsim.).

6 (ff. 23-26v) [PASQUINI]. Con tranquillo riposo i vaghi lumi suoi, A minor, cantata. Arias include Sussurrate intorno a Clori and Dormi, o cara, ne la tua dolce quiete. Attributed to Pasquini in I-Tn Foà 19, ff. 59-62v. Modern edns are NIGITO-BP n. 11 and BOGHEN 1923, pp. 19-23. 7 (ff. 27-28v) Chi d’Amor fatt’ è seguace, str. 2: Chi idolatra un’ bel sembiante, C major. Anonymous in I-Nc 33.5.27 (Arie 31), ff. 14-16. Anonymous musical concordances with the text Chi d’amor divien seguace are P-La 47I.65, ff. 37-39; I-Nc 33.4.20, ff. 92-94v (attrib. to P.A. Ziani in OPAC-SBN, but not on the copy); and GB-Och 948, ff. 60-65 (a Roman copy). Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 25-26. 8 (ff. 29-30v) [ALESSANDRO MELANI?]. Non varrà il fuggir, no, no, se di piume armaste il dorso, G major. Musical incipit and concordances given in WECIS 9, n. 9, aria 21. The concordant version D-MÜs Hs. 4085 is a collection of arias from the opera IL TRIONFO DELLA CONTINENZA (see n. 25 below). Non varrà may be from this opera, but it is not in the libretto. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 27-28. 9 (ff. 31-34) [PASQUINI]. Giran pure in ciel le sfere, str. 2: Gira il tempo e l’anno gira, C major. Attributed to “Bernardo Pasquini” in B-Bc 55858, ff. 99-102v. Anonymous in I-Nc 33.5.15, ff. 52v-54v, and B-Lc Fonds Terry 280 (Barthélemy n. 754). Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 28-31; repr. Noten Roehr nr. 17700. 10 (ff. 35-36v) [A. SARTORIO]. Dammi Amore più d’un core, A minor (line 1 is a refrain). NESTOLA 2015, AIF.145 gives the concordance F-Pn Vm7 8, f. 42v (C minor), identifying the text as an aria for Autonoe in III:7 (with 2 str.) of L’ORFEO (Venice 1673, libretto by A. Aureli, music by A. Sartorio). Only one strophe is set (C minor) in the Marciana (1673) and Naples (1682) scores to the opera (both with Internet Culturale access), framed by a brief TrTrB ritornello in both. (A third score to the opera A-Wn Mus.Hs. 17940 was not consulted; its ritornelli are for five-part strings.) Two strophes are set in A-Wn 17772, ff. 35-38v (str. 2 Cangia nido, dio Cupido), likely corresponding to the Vienna score. See E. ROSAND, L’Ovidio trasformato, in A. Sartorio, L’ORFEO (facsim. of I-Vnm score), Milan 1983, pp. xxxiii-xxxiv. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 31-32.

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11 (ff. 37-38v) [CARLO PALLAVICINO] Spero di ridere, mio cor, un dì, E minor. For Lidia in III:17 of GALIENO (Venice 1676); libretto by Mateo Noris. Preceded by a ritornello for TrMsB instruments in the score to the opera attributed to Pallavicino, I-Nc 32.2.7, ff. 155-156, and in the anonymous Marciana score, ff. 73v-74 (see n. 3 above). See also n. 17 below. The BAV score to the opera, Chigi Q.V.65, is anonymous. This aria appears to have been replaced in the 1686 Naples production.

12 (ff. 39-42v) [ALESSANDRO STRADELLA]. So ben che mi saettano, str. 2: Amor, se lo puoi cingere, C major. For Almirena in II:1 of IL BIANTE (Rome 1670/71?). Attributed to “Alessandro Stradella” in BAV Chigi Q.IV.13, ff. 55-58v; I-Vnm It.IV, 463 (= 9987), ff. 188-92v; and I-Bc V.286, pp. 2627 (incomplete copy by Pignani, dated 1679). Followed by a ritornello for TrTrB in the scores, I-Tn Foà 15 and I-MOe Mus. F.1134 (available online through the Internet Culturale portal), ff. ff. 44-45. Modern edns include LANDSHOFF 1912, vol. I, pp. 88-89, and ZANON 1914, pp. 78-79. See GIANTURCO & MCCRICKARD 2.4-1, pp. 153-155. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 33-36. 13 (ff. 43-44v) [GIOVANNI LEGRENZI]. Son ministri de’ tormenti i momenti, G minor. For Venere in II:18 of ADONE IN CIPRO (Venice 1676), libretto by Giov. Matteo Giannini; III:4 in the 2nd edn of the libretto (SARTORI, n. 340/CORAGO portal). PASSADORE-ROSSI 2:23 give the musical incipit and four anonymous concordances, which include I-Vqs 1439 (Cl.VIII Cod. XVII), ff. 36v-37v, where it is preceded and followed by Legrenzi arias; IMOe Mus. F.1534, f. 16, and Mus. F.1535, f. 16; and I-Nc 33.4.7b (Cantate ibride 7), ff. 68-69. See also ROSSI Q-S, p. 227, n. 170; PASSADORE- ROSSI, p. 10, n. 23; and EMANS, p. 489, n. 755. See also n. 16 below. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 37-38. 14 (ff. 45-48) [PIETRO ANTONIO ZIANI]. Speme dolce, cara, cara speranza, non mi lasciar morir, D major. For Irene in I:6 of ATTILA (Venice 1672; I:5 in Naples 1675), libretto by M. Noris. With TrTrB instruments in the score to the opera, I-Vnm It.IV. 395 (= 9919), ff. 14v-15. Anonymous in I-Vqs 1438 (Cl.VIII Cod.XIII), ff. 21-22v. (Musical incipit in PASSADORE-ROSSI 8: 231. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 38-40. 15 (ff. 49-52v) [D]i misera regina strano destin di libertà di regno, G minor, cantata. Arias include Deh pietose verdi erbette (2 str.) followed by Tu partisti, idolo amato, me lasciasti fra le pene. Edited from the Barberini copy as Si misera regina by Pasquini in BOGHEN 1923, pp. 42-43, omitting the second aria. Catalogued in OPAC-SBN as “Deh, misera regina.”

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16 (ff. 53-54) [LEGRENZI]. Dio de’ cori, arcier infante, B! major. For Dorisbe in II:10 of ADONE IN CIPRO; in the Nicolini 1676 libretto (SARTORI n. 340), but not in the 1676 Valvasense edn (SARTORI n. 333). See PASSADORE-ROSSI, p. LXXVI. This aria replaces music copied on and then erased from f. 53 (the original f. 59). 17 (ff. 55-56v) [CARLO PALLAVICINO] Te mio nume, s’in braccio havrò, A minor. For Fulvia in III:12 of GALIENO (Venice 1676; Naples 1685/86), libretto by Matteo Noris. Attributed to “Carlo Pallavicino” in I-Vqs 1443 (Cl. VIII Cod.XII), ff. 29-30. In the score to the opera attributed to Pallavicino, I-Nc 32.2.7 (Rari 6.5.7), f. 141r-v. Two other scores to the opera are anonymous I-Vnm It.Cl.IV, 424 (9948), f. 70r-v, and BAV Chigi Q.V.65. See also nn. 3 and 11 above. 18 (ff. 57-60v) [P.A. ZIANI?]. Ingemmato brilli il prato, str. 2: Più indorato del usato, F major. For Onorio in I:14 of [L’innocenza risorta, o vero Etio, Venice 1683?]; libretto by Adriano Morselli. Anonymous in I-Vqs 1440 (Cl. VIII, Cod.XVIII), ff. 49-53. The musical incipit is given in Rossi Q-S, Mus. Ex. 195. This aria is not in the printed librettos for the 1683 productions in Venice with music by Ziani (as L’Innocenza risorta) or Reggio Emilia (as Il talamo preservato), or for Naples in 1686 (as L’Etio, with music by Aless. Scarlatti), which begin I:14 with the aria text Aurette vezzose, deh, l’ali sciogliete (I:16 in Naples). The tentative attribution here to Ziani presumes that Aurette vezzose replaced Ingemmato brilli before Reggio and that no printed libretto was revised. A different setting with the name “Federico Generoli” [Generale] in B-Bc 55858, ff. 77-82v, one str. only (RISM online) matches the music in the score to the complete opera, L’Etio, I-MOe Mus. F.1554, ff. 38v-40 (one str. only), which in general corresponds most closely to the libretto of Il talamo preservato dalla fedeltà di Eudossa, Reggio Emilia, May 1683 (facs. of Ziani’s score in ITALOPERA, vol. 12).

19 (ff. 61-64v) Sì, sì mio cor, sì, sì penar, languir io vo’, A minor. 20 (ff. 65-68) Le cime de’ fiori mie piante premete, str. 2: Imperi tesori la sorte mi toglia, B! major. For Deidamia in I:19 of ACHILLE IN SCIRO for the Teatro Formagliari, Bologna 1673, a production dedicated to Rinaldo d’Este (a Barberini nephew). The aria mentions the character “Pirra,” who is Achille in disguise. The role of Deidamia was sung by Margherita Pia (libretto, p. 13). See PASSADORE-ROSSI, p. LXXI. Also anonymous in D-MÜs 4086, ff. 24v-26 (also contains n. 26 below), and I-Nc 33.4.16 (Cantate 48.1), ff. 113-16v (a Roman copy, Internet Culturale access). Musical incipit and these two concordances in WECIS 4B, n. 261. For attribution of the music

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to Giovanni Luca Carpiani, who signed the dedication, and arguing against it, see T.M. GIALDRONI, Dalla Biblioteca Comunale di Urbania: due raccolte musicali per un interprete, in Aprosiana n.s. 16 (2008), pp. 112-132: 119120. NIGITO 2008, Doc. P6, reports a 1677 payment for copying this aria by Tarquinio Lanciani for Benedetto Pamphili. Edited from the Barberini copy as by Pasquini in BOGHEN 1923, pp. 44-47. Giovanni Legrenzi composed the music for ACHILLE IN SCIRO, libretto by Ippolito Bentivoglio, for Ferrara 1663; see PASSADORE-ROSSI 1:1.

21 (ff. 69-70v) [PASQUINI]. Non ha maggio tanti fiori, str. 2: Non han hore tanti giri, D minor. Attributed to “Bernardo Pasquini” in I-Bc V.285, ff. 75-78v, with a different str. 2: Vaga mia tu mi minchioni (Gaspari online access). Musical incipit and two concordances in CRAIN vol. 2, p. 282. A different, anonymous seting is I-Nc 33.4.5 (Arie 228), ff. 67r-v, C major, one str. only.

22 (ff. 71-72v) BERNARDO PASQUINI. Amor, se non m’inganni, str. 2: Se non m’inganni, o speme, D minor. Attributed to “Bernardo Pasquini” in BAV Chigi Q.IV.13, ff. 59-62v (Ms/B, A minor). Anonymous in I-Nc 34.5.1ter (Arie 484), n. 6. Musical incipit and these two concordances in CRAIN vol. 2, p. 275. The cantata itself comes from at least 1676, when the Borghese ordered a copy; see MORELLI-A-Pasq, p. 238. 23 (ff. 73-78V) [ALESSANDRO MELANI]. Cinta d’armi lusinghiere, str. 2: Più crudel quanto più amato, D major. Attributed to Melani in I-Fc B.2558, n. 14 (B! major) and F-Pn Vm7 8, f. 56v. Anonymous in BAV Chigi Q.IV.12, ff. 151-56v. Musical incipit and these three concordances given in WECIS 8A, n. 38. NESTOLA 2015, vol. 2, AIF.120. Four copies were made for Benedetto Pamphili in 1677; see MARX-Pamph, p. 143; NIGITO 2008, doc. P6. 24 (ff. 79-82v) P. SIMONE AGUSTINI. Soavi catene ch’il piè mi stringeste, str. 2: Per voi questo core con rigide tempre, D minor, 2 strophes. 25 (ff. 83-86) [ALESSANDRO MELANI]. Cruda furia ch’il cor mi sterpi, SS/B, G minor. For Luceo in I:7 of IL TRIONFO DELLA CONTINENZA CONSIDERATO IN SCIPIONE AFFRICANO (Fano, Teatro della Fortuna, 1677), libretto by Giulio Montevecchi. Also anonymous in the Roman aria collection D-MÜs 4085, n. 3. Musical incipit and one concordance given in WECIS 8-9, “Supplement,” and WECIS 4B, n. 348. See also n. 8 above. 26 (ff. 87-88v) [LUCA AMADORI?]. La mia fede altrui giurata alla fuga ogn’hor m’affretta, G minor. See SARTORI 1975, p. 57 (s.v. “Crudo amore”) for six concordances, one of which attributes the aria to “Luca Amadori” (D-MÜs Hs. 4086, f. 26r-v, T/B); one to Stradella (I-Vqs 1440, ff. 41-42; cf.

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WECIS 4B, n. 257 and GIANTURCO & MCCRICKARD, n. 11-16); and one to Carissimi in Scelta di canzonette italiane, London, Godbid and Playford, 1679, pp. 58-60 (cf. WECIS 5a). Anonymous in I-Fc 36/3, n. 4, ff. 7v-9 (olim B.XI.2560, Internet Culturale access); I-MOe Campori K.7.12, ff. 41-46v; I-MOe Mus. G.260, n. 4. Modern edn LANDSHOFF 1912/13, pp. 57-58, as by Carissimi. 27 (ff. 89-90) Sì, sì volate, sì, contenti nel mio sen, D minor; the da capo is indicated. 28 (ff. 90v-91v) Non ho mai pace al cor chi serve il dio d’amor, A minor. 29 (ff. 92-93) Dat[t]i pace, mio cor costante, A minor, brief da capo aria. 30 (ff. 93v-94v) De la sorte alle tempeste, più moleste, C major. This item is lacking from the table of contents at the end. 31 (ff. 95-96) [BONAVENTURA VIVIANI]. Col dardo suo dorato il cieco dio bendato, G major, modified da capo aria. For Massimissa in II:18 of SCIPIONE AFRICANO (Venice 1678), libretto by T. Fattorini after N. Minato. Attributed to “Bonaventura Viviani” in I-Vqs 1431 (Cl.VIII Cod.V), ff. 12526v. Item lacking from the table of contents at the end. 32 (ff. 96v-97v) Vanne speranza, va, fuggi da questo sen, D minor. Item lacking from the table of contents at the end. 33 (ff. 99-100v) Per pietade, o luci belle, non mi fare più languir, str. 2: Deh non fare più penare, A minor; text for str. 2 written below the continuo staff. 34 (ff. 101-106v) [DOMENICO FRESCHI]. Adag[i]o assai. Nella caccia ho perduta la preda; str. 2: Nel cercar il mio bene sparì, A/B, D major; each str. is a brief da capo. For Tarquinio in II:19 of TULLIA SUPERBA (Venice 1678; Reggio 1679), libretto by A. Medolago. Attributed to “Dominico Freschi” in I-Vqs 1431 (Cl.VIII. Cod.V), ff. 152-154 (S/B, A major). This item is lacking in the table of contents at the end. ZANF 3:53 also cites locations in the scores to the complete opera, I-Vnm It.Cl.IV, 461 (9985), ff. 51v-52; and I-MOe Mus. F.395, ff. 133-35v (F major). 35 (ff. 107-118) GIOSEPPE VECCHI. Filaura la bella a cui prodigo il ciel, A minor, cantata. Marked “aria” is Nel fulgor di tanti fregi (A minor) but not Una cosa mi sento nel core (A minor, 3 str.). See Barb. lat. 4147, nn. 23-25. 36 (ff. 119-122) Se quest’alma per te more, non usar tanto rigor, A minor, da capo aria. Bound in parchment (107 × 286 mm). The number 29 is written in black

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ink on the spine by the modern hand that wrote the previous shelfmark XLVII.29 in black ink inside the front cover. Restored by the BAV 28 Sept. 1998; several folios have been silked. Leaves have been trimmed across the top. The first watermark is a small fleur-de-lis above a double circle (ff. 2, 1, 28, 32, 41, 62, 67 and two flyleaves at the end). The second is a fleur-delis within two concentric circles (ff. 21, 36, 38, 46, 60, 74, 81, 84, 86, 100, 102 and 119), with single letters (C, D, G and or P) above them. One half of one watermark is three hills within two concentric circles (ff. 52, 56, 89, 92, 97, 104, 108, 112, and one flyleaf at the end), similar to HEAWOOD nn. 1620-1623. And the final one is a cleric/saint in a shield holding a cross (f. 77), similar to HEAWOOD n. 1347. Both flyleaves and blank leaves appear original. The opening flyleaf and the last eleven leaves are blank; blank staves only are on ff. 22 and 98. A first foliation in the upper right corners numbers the present folio 1 as f. 7, indicating that at least one fascicle was lost; this foliation extends only to the present f. 100. A second foliation in ink in the top center of each leaf, which is followed here, is by the copyist/compiler who provided the table on ff. 123-124 and some composer attributions. The table includes only 31 items. A small number “3” was scribbled in red crayon where the decorative initial would be for several pieces, as in Barb. lat. 4147. Hand A (which may be Flavio Lanciani) copied nn. 1, 7-8, 15, 21, 23, 26-32. Hand B copied n. 2. Arnaldo Morelli identifies this copyist as Antonio Acciarelli (see comments below). The figured initial for this piece is like those for Barb. lat. 4149, n. 3, 4173, n. 1, and others. Hand C copied nn. 3, 6, 10-11, 13, 16-18, and 22. Hand D copied nn. 4, 9, 12, 14, 20, 25, and 33. Hand E copied n. 5, and may have been an amateur copyist. Hand F copied nn. 19 and 24 Hand G copied n. 34. Hand H, Giovanni Antelli, copied n. 35, which belongs with the fascicles copied by him in Barb. lat. 4147, nn. 23-25, three cantatas by Gioseppe Vecchi, and Barb. lat. 4156, n. 16. Hand I copied n. 36. The anonymous score BAV Chigi Q.V.66 was given the filing title UNA VILLA DI TUSCOLO by J. LIONNET 1986, pp. 185-187, 192 and 210; and LIONNET 1987, p. 81. For the recent recovery of its manuscript libretto see Arnaldo Morelli, “Amor quando si fugge allor si trova”: un libretto per Scarlatti esordiente?, in Il Saggiatore musicale, 24 (2017/2), pp. 229-238. Morelli identified the librettist as Vincenzo Maria Veltroni; no performance is yet

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documented. A date of 1678 derives from a payment to Tarquinio Lanciani for the copying of an anonymous “Farfalletta intorno” and “Qui dell’aure,” two arias in Chigi Q.V.66, for Benedetto Pamphili before 6 March 1678 (MARX-Pamph, p. 143, n. 2; NIGITO 2008, doc. P11). Morelli furthermore refers to a Colonna document of 1679 that reinforces a 1678 performance in Rome or its environs. For the Pasquini operas, see MORELLI-A-Pasq, chap. 2. The Naples score of Il Galieno, I-Nc 32.2.7 (Rari 6.5.7), which is dated 1683 and attributed to Carlo Pallavicino, is a Venetian compilation that was subsequently adapted for performance in Naples in carnival of 1686. The name Luca Amadori associated with n. 26 is plausible; he was an active keyboard player and teacher in Rome from the 1680s. Barb. lat. 4158-4159

Barb. lat. 4159 1691-1696 ca., 264 × 99 mm, III.124.III ff., 4 staves, one hand

Anthology of twenty-four arias from three Roman operas. A composer, Perti, is named only for n. 24. Libretti for FLAVIO CUNIBERTO (Venice 1681/82) and possibly IL RE INFANTE (Venice 1683), were newly set by Luigi Mancia for Roman productions during carnival 1696, while the other two, PENELOPE LA CASTA (Venice 1685) and IL FURIO CAMILLO (Parma 1686), were newly set by Giacomo Antonio Perti. Items nn. 21 and 23 were probably set by Bernardo Sabadini for IL SELEUCO (Rome 1693; originally Venice and Piacenza 1691 as LA PACE FRA TOLOMEO E SELEUCO). The setting is S/B unless otherwise indicated. 1 (ff. 1-4v) [LUIGI MANCIA]. Se tormento sia l’amar, D minor. For Ernelinda in I:6 of IL FLAVIO CUNIBERTO (Teatro Capranica, Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 170-73v; GB-Ob Mus. Sch. E.388, pp. 67-68; and Mus. Sch. E.392, S/TrTrB, pp. 7-11. The TrTr parts are also in Mus. Sch. D.226, n. 1. 2 (ff. 5-7v) [MANCIA]. Vi ringratio, mia luce adorata, A/B, D minor. For Vitige in III:12 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 194-196; GB-Ob Mus. Sch. E.388, p. 64; and Mus. Sch. E.392, pp. 106-107. 3 (ff. 9-10v) [MANCIA]. Bianca man col tuo candore, str. 2: Bella man, mano vezzosa, A minor. For Guido (str. 1) and Emilia (str. 2) in I:3 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.392, p. 6.

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The Venice 1682 setting by Gio. Domenico Partenio is in I-Vqs 1433 (Cl.VIII.7), ff. 21-22. The Naples 1693 setting by Alessandro Scarlatti is in the score to the opera, GB-Och 989; BAV Barb. lat. 4143, n. 1, and Barb. lat. 4144, nn. 12 and 35.

4 (ff. 11-14) [MANCIA]. Amante stravagante, più del mio ben non v’è, G major. For Emilia in I:19 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.388, p. 120, and GB-Ob Mus. Sch. E.392, pp. 59-64. 5 (ff. 15-20v) [MANCIA]. Sì, godi, ridi e spera, o innamorato cor, G major. For Ernelinda in II:6 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.388, pp. 117-118; GB-Ob Mus. Sch. E.392, A/TrTrB, pp. 76-83. 6 (ff. 21-25v) [MANCIA]. Non è possibile mirar e non amar, C major. For Flavio Cuniberto in II:12 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.392, pp. 101-103, and BAV Chigi Q.IV.46, ff. 51-55v. 7 (ff. 27-30) [MANCIA]. Ci vuol per farsi amar, A/B, E minor. For Vitige in II:11 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 142-145, and GB-Ob Mus. Sch. E.392, pp. 99-100. Barb. lat. 4159 8 (ff. 31-33v) [MANCIA]. Amor, nel mio penar deggio sperar, G major. For Guido in III:9 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.392, pp. 104-105. 9 (ff. 35-38v) [MANCIA]. Son povera donzella, altro non ho che il core, A minor. For Teodata in I:7 of FLAVIO CUNIBERTO (Rome 1696). Attributed to “Luigi Mancia” in GB-Lbl Egerton 2962, ff. 127-30v, and to “Mancia” in I-Rc 2473, ff. 93-96. Also anon. in F-Pn Rés. Vmf 17, pp. 129-136 (online in F-Pn GALLICA); GB-Ob Mus. Sch. E.388, p. 61; and Mus. Sch. E.392, pp. 19-20. Modern edn in JEPPESEN, vol. 1, pp. 66-67, based on I-Rc 2473. 10 (ff. 39-41v) [MANCIA]. Che colpa è la mia, se Amor vuol così, G major. For Teodata in III:13 of FLAVIO CUNIBERTO (Rome 1696). Alessandro Scarlatti’s setting for FLAVIO CUNIBERTO (III:14, Naples 1693) is Barb. lat. 4143, n. 45 (q.v.).

11 (ff. 43-48) [MANCIA]. Alma tu non l’intendi, C major. For Flavio Cuniberto in III:1 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.392, pp. 146-161, scored S/TrTr (violini 1 & 2), TrTr (oboi 1 & 2), AA (violette 1& 2), and B. 12 (ff. 49-53v) [MANCIA]. Di quel bel che m’innamora, G major. For Flavio Cuniberto in I:11 of IL FLAVIO CUNIBERTO (Rome 1696). Attributed to Luigi Mancia in Barb. lat. 4231, n. 8. Also anon. in GB-Ob Mus. Sch. E.392,

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pp. 21-23. The music is concordant with that in the score I-Fc D.1161. The 1696 libretto reads “bello” instead of “bel.” The Venice 1682 setting by Gio. Domenico Partenio is I-Vqs 1433 (Cl.VIII.7), ff. 37-38v.

13 (ff. 55-58v) [MANCIA]. Voglio farti dire il vero, C major. For Teodata in III:12 of FLAVIO CUNIBERTO (Rome 1696). Attributed to “Luigi Mancia” in I-Rc 2473, ff. 107-10v. Also anon. in F-Pn Rés. 2097, ff. 35-38v, and Rés. Vmf 17, ff. 206-209v. NESTOLA 2015, AIF.670 adds F-Pn Vm7 70, f. 20v. Modern edn in JEPPESEN, vol. 1, pp. 64-65, based on the Casanatense copy. 14 (ff. 59-62v) [MANCIA]. Che bel contento sarebbe Amore, A/B, D major. For Vitige in I:12 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 198-201v; GB-Ob Mus. Sch. E.388, p. 82, and Mus. Sch. E.392, pp. 34-40 (A/TrTrB). 15 (ff. 63-66) [MANCIA]. Se volgi altrove il piè, caro tua fé; str. 2: Se vive in te il mio cor. For Teodata (str. 1, S/B, G minor) and Vitige (str. 2, A/B, C minor) in I:1 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pc Rés. 2097, ff. 9-14v; GB-Ob Mus. Sch. E.388, pp. 85-86, Mus. Sch. E.392, pp. 1-5; and BAV Chigi Q.IV.47, ff. 21-24v. 16 (ff. 67-71v) [MANCIA]. Con un vezzo, con un riso, B! major. For Teodata in II:13 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 220-23v; GB-Ob Mus. Sch. E.388, pp. 115-116, and Mus. Sch. E.392, pp. 92-95. 17 (ff. 73-75v) [MANCIA]. Squarciami il petto, uccidimi, A minor. For Guido in III:8 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in F-Pn Rés. Vmf 17, ff. 216-18v, and GB-Ob Mus. Sch. E.388, p. 62. 18 (ff. 77-80v) [MANCIA]. Starvi a canto e non languire, G minor. For Flavio Cuniberto in III:4 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.388, p. 84. 19 (ff. 81-86v) [MANCIA]. Non credo instabile chi mi piagò, A/B, F major. For Vitige in II:14 of FLAVIO CUNIBERTO (Rome 1696). Also anon. in GB-Ob Mus. Sch. E.388, p. 119; and Mus. Sch. E. 392, pp. 108-119 (A/TrTrAAB). 20 (ff. 87-90v) [MANCIA]. Speranze del cor mio, più non vi trovo, no, B! major. For Teodata in II:5 of FLAVIO CUNIBERTO (Rome 1696). Attributed to Mancia in I-Rc 2473, ff. 115-18v. Anonymous in F-Pn Rés. 2097, ff. 1-4v; F-Pn Rés. Vmf 17, ff. 174-77v; Rés. Vmf 27, pp. 177-184; GB-Ob Mus. Sch. E.388, pp. 116-117; and Mus. Sch. E.392, pp. 71-75 (S/TrB) with Mus. Sch. D.226, n. 9 (includes the instrumental parts for Mus. Sch. E.392).

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The 1682 Venetian setting of this aria by Gio. Domenico Partenio is I-Vqs 1433 (Cl.VIII.7), ff. 15-16.

21 (ff. 91-94v) [BERNARDO SABADINI?]. Col versar sì belle lagrime, A/B, D major. For Antioco in I:3 or I:4 of LA PACE FRA TOLOMEO E SELEUCO (Venice and Piacenza 1691; Rome 1693; Ferrara 1696). The singer’s name “Pistochino” was added by a later hand. Anonymous but headed “Sig.r Pistocchi” in I-MOe Mus. G.292, n. 11 (A/B), among arias from the Piacenza production. “Francesco Antonio Pistocchi, del Sereniss[imo] di Parma” sang the role of Antioco in the 1691 and 1693 productions. The music is attributed erroneously to Carissimi in D-MÜs 904, n 2. 22 (ff. 95-100v) [MANCIA]. Rompo i lacci e frango i strali, D-major. For Guido in I:17 of FLAVIO CUNIBERTO (Rome 1696). The libretto reads “dardi” instead of “strali.” Also in F-Pn Rés.Vmf 17, ff. 188-192v; and GB-Ob Mus. Sch. E.392, pp. 52-58. 23 (ff. 101-104v) [SABADINI?]. (Quella fronte ha un non so che, …), T/B, D major. For Tolomeo in I:13 or I:14 of LA PACE FRA TOLOMEO E SELEUCO (Venice and Piacenza 1691 and Rome 1693). Anonymous in F-Pn Vm7 5 (Coll. Brossard), p. 69, and in I-MOe Mus. G.292 (T/B), among arias for the Piacenza production (scene aggiunte for Piacenza were composed by Bernardo Sabadini.) In 1691, this aria was sung by “Antonio Borosini, del S. di Modena,” while in 1693 it was performed by “Gioseppe Scaccia, del Sereniss. di Parma.” Attributed to “Scarlatti” in D-MÜs 3951, n. 3 (T/B). 24 (ff. 105-123v) PERTI. A quel bel che m’innamora, S/TrB; A major. Aria for Penelope in II:9 of PENELOPE LA CASTA (Rome 1696). The treble staff, which has a florid part that includes double stops, is marked “violino solo.” Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 234-39v, where it likewise ends the ms. Bound in parchment (109 × 265 mm). The number “30” is written on the spine in a modern hand, and the shelfmark “XLVII.30” is written inside the front cover. Edges pink with dark speckles. Watermarks include principally the fleur-de-lis in a double circle with the letter V above, of the type Heawood 1591-1592; a horned animal in a circle with the letter P above; and two instances (ff. 92 and 94) of three hills in a circle with the letters A and N on either side — the upper part is not visible but may be a fleurde-lis upon the hills (cf. Heawood nn. 1620-1623). The foliation in brown ink is by the copyist who wrote an alphabetical index of arias on f. [II]. His index is printed, with a few mistakes, in CELANI, p. 125. Flyleaves [I], [III] and ff. [125-127] are blank; blank staves only are on ff. 8, 26, 34, 42, 54,

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72, 76 and 124. The hand resembles that of the Roman professional Flavio Lanciani, who also appears in Barb. lat. 4154-4155, 4160 (copyist A), 41644167, 4169, and 4171 (copyist A). Twenty-one arias are from IL FLAVIO CUNIBERTO (nn. 1-20 and 22), Teatro Capranica, Rome 1696. The libretto, available online through the MdZ portal, was dedicated to Felice Ventimiglia d’Aragona Pignattelli e Barberini, principessa di Palestrina (d. Rome, 1709). Other arias from the opera are in Barb. lat. 4160, nn. 25-27 and 4231, nn. 7-11. Mancia’s score does not survive; the only ms. that includes more arias than Barb. lat. 4159 is GB-Ob Mus. Sch. E.392, which includes 28 arias. Attributions to Mancia are given in five sources: Barb. lat. 4231, n. 10; F-Pn Rés. Vmf 17, f. 5; GB-Lbl Eg. 2962, f. 127; I-Bc V.291, f. 120; and I-Rc 2473, ff. 51, 93, 107 and 115. The 1696 libretto names the singers who performed each role. For arias in Barb. lat. 4159 they were Gioseppe Argenti (Teodata); Raffaello Baldi (Guido); Sergio Della Donna (Cuniberto); Gio. Battista Roberti (Vitige); Orazio Scutarini (Ernelinda); and Carlo Antonio Zanardi (Emilia). Two arias are from IL SELEUCO (nn. 21 and 23), 1693, Teatro di Tordinona, text by Adriano Morselli (IL PACE FRA TOLOMEO E SELEUCO, Venice 1691), revised by Aurelio Aureli (Piacenza 1691); music by Carlo Pollarolo (Venice 1691), revised by Bernardo Sabadini (Piacenza 1691). The Piacenza production borrowed music from the Venetian, and the Roman borrowed from both productions of 1691. (It is not known who revised the music for the Roman production.) The music of Barb. lat. 4159, nn. 21 and 23, is concordant with that in I-MOe Mus. G.292, ff. 21 and 25, an anonymous aria collection identified with the Piacenza production. Two more arias are in Barb. lat. 4171, nn. 16-17. See CAMETTI-TDN, pp. 353-354, for further information. One aria is from PENELOPE LA CASTA (n. 24), Teatro di Tordinona, Rome 1696, text by Matteo Noris (Venice 1685), music by Giacomo Perti. Other arias are in Barb. lat. 4160. An avviso dated 28 Jan. 1696 notes that the Tordinona opened on Wednesday “con tedio infinito, perché l’opera in musica [PENELOPE LA CASTA] durò sino alle 8 hore sonate, e le scene andarono malissimo. … Hora hanno scorciata detta opera per due hore, siccome quella del Teatro Capranica [FLAVIO CUNIBERTO], che si recitò giovedì con maggior applauso ma con qualche noia, anch’ella essendo durata sino alle 6 hore e mezza” (BAV Ott. lat. 3361, f. 8v; V-CVasv Segretariato di Stato 58, f. 96v.). One week later, on 4 Feb. 1696, the same gazetteer noted that PENELOPE “had triumphed, because its scenes, machines, intermedios, habits, crowds and special effects” reflected its imperial patronage, while FLAVIO CUNIBERTO, “being performed at the Teatro Capranica, had better music and perform-

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ers that were more diverse” (BAV Ott. lat. 3361, f. 10v). A similar opinion was expressed in an avviso di Roma written to Cardinal Marescotti four days after the end of carnival: Perti’s operas at the Teatro di Tordinona had received “applauso per le machine et apparenze,” while Mancia’s were applauded “per la musica” (STAFFIERI, n. 181). Barb. lat. 4159-4160

Barb. lat. 4160 1696 ca., 98 mm × 265 mm, III.138.II ff., 4 staves, 2 hands

Anthology of twenty-seven arias from three Roman opera productions. Twenty-three are from PENELOPE LA CASTA (Teatro di Tor di Nona, Rome 1696), libretto by Matteo Noris (Venice 1685), with new music by Giacomo Perti, who is named for nn. 1-2 and 4-24. Three are from FLAVIO CUNIBERTO (Teatro Capranica, Rome 1696), libretto by Matteo Noris (Venice 1682), with new music by Luigi Mancia. One is from IL RE INFANTE (Teatro Capranica, Rome 1696), libretto by Matteo Noris (Venice 1683), with new music by Luigi Mancia, who is named for n 3. The settings are scored S/B, except for three scored A/B (nn. 5, 24 and 27). 1 (ff. 1-6v) [GIACOMO] PERTI. Non è sempre tiranno il pargoletto Amor, C major. For Penelope in III:16 of PENELOPE LA CASTA (Rome 1696). Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 150-157. Also attributed to “Perti” in F-Pn Rés.Vmf 27 (available online via the GALLICA portal), pp. 77-88; GB-Ob Mus. Sch. E.388, pp. 75-76; I-Rc 2473, ff. 57-64; and I-URBc Ubaldini VI.2.16.1. Anonymous in F-Pn Vma 967, ff. 49v-50. 2 (ff. 7-9v) PERTI. Per te sospira un core, ma non sa dir che t’ama, G major. For Elvida in III:2 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 92-95 (online via GALLICA). 3 (ff. 11-14) [LUIGI] MANCIA. Son contenta, son felice nel tuo foco o dio d’amor, C major. For Anna in I:15 of IL RE INFANTE (Rome 1696). Attributed to “Luigi Mancia” and accompanied by TrAB instruments in the complete score I-Fc D.1161. Also attributed to “Luigi Mancia” in E-Mn M. 2244, f. 266. Anonymous in F-Pn Rés. Vmf 17, ff. 17-20 (online via GALLICA). 4 (ff. 15-20) PERTI. Io son zitella, ma sono scaltra, C major. For Filena in II:4 of PENELOPE LA CASTA. Also attributed to “Perti” in GB-Ob Mus. Sch. E.388, pp. 20-21. Modern edn LANDSHOFF 1912/13, pp. 62-64. 5 (ff. 21-26v) PERTI. Tacerò, ma il brando ignudo, A/B, D major. For

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Gismondo in II:10 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés.Vmf 17, ff. 44-49v (available online via GALLICA). Barb. lat. 4160 6 (ff. 27-32) PERTI. Mai non intesi per altro sguardo, A major. For Lutezio in II:12 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GBOb Mus. Sch. E.390, pp. 78-81. Also attributed to “Perti” in F-Pn Rés.Vmf. 17, ff. 96-101 (online via GALLICA); F-Pn Rés. Vmf 27, pp. 64-74 (online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 26-27; I-Rc 2473, ff. 73-78; and IURBc Ubaldini VI.2.16.1. 7 (ff. 33-38) PERTI. Ch’io manchi alla mia vita, F major. For Penelope in II:7 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 78-83v (online via GALLICA); F-Pn Rés. Vmf 27, pp. 157-167 (online via GALLICA); I-Rc 2473, ff. 13-18; and I-URBc Ubaldini VI.2.16.1. 8 (ff. 39-42v) PERTI. Non tardar di venir’ a chi t’ama, B! major. For Lutezio in I:2 of PENELOPE LA CASTA. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 43-47v; F-Pn Rés. Vmf 17, ff. 11-16 and Rés. Vmf 27, pp. 245252 (both online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 35-36; I-Rc 2473, ff. 25-28; and I-URBc Ubaldini VI.2.16.1. Published in BALLARD 1708. NESTOLA 2015, AIF.389. 9 (ff. 43-48v) PERTI. D’esser felice un dì, sì, spera, spera, sì, A major. For Penelope in I:12 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 105-108. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 37-42v; F-Pn Rés. Vmf 27, pp. 201-208 (online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 45-46; I-Rc 2473, ff. 141-146; and I-URBc Ubaldini VI 2.16.1. Anonymous in F-Pn Rés. Vmf 17, ff. 84-87v (online via GALLICA). 10 (ff. 49-52) PERTI. Resta ancora alla mia sorte, D minor. For Penelope in III:9 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 68-71 (online via GALLICA). 11 (ff. 53-58v) PERTI. Torna d’Amor la face, ad infiammarmi il sen, G major. For Ulisse in III:10 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 141-147. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 108-115 (online via GALLICA), and GB-Ob Mus. Sch. E.388, p. 70 (which includes str. 2: Fingi d’haver costante). 12 (ff. 59-62v) PERTI. Padre ti lagni a torto, d’un’alma tutta fede, E minor. For Elvida in III:7 of PENELOPE LA CASTA. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 61-64v; I-Rc 2473, ff. 29-32; and I-URBc Ubaldini VI.2.16.1. Two musical examples, each two bars long, are given in PITONI, Guida armonica, pp. 8 and 16.

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13 (ff. 63-66v) PERTI. Il core già sento che tutto contento, D minor. For Elvida in II:7 of PENELOPE LA CASTA. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 29-32v; F-Pn Rés. Vmf 17, ff. 88-91v (online via GALLICA); GBOb Mus. Sch. E.388, pp. 24-25; and I-URBc Ubaldini VI.2.16.1. 14 (ff. 67-72) PERTI. Mi fa vezzi e vuol ch’io rida, C major. For Ariene in I:6 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 59-62. Also attributed to “Perti” in F-Pn Rés. 2097, ff. 29-34; F-Pn Rés. Vmf 17, ff. 38-43v (online via GALLICA); F-Pn Rés. Vmf 27, pp. 233-243 (online via GALLICA); I-Rc 2473, ff. 37-42; and I-URBc Ubaldini VI.2.16.1. 15 (ff. 73-77v) PERTI. Ho lieto il core ne so perché, D minor. For Penelope in I:8 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 63-69. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 19-24v; GB-Ob Mus. Sch. E.388, pp. 39-40; and I-URBc Ubaldini VI.2.16.1. 16 (ff. 79-82v) PERTI. Sperar’ io non dovrei, e pur io vo sperando, B! major. For Ariene in II:2 of PENELOPE LA CASTA. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 77-80v; F-Pn Rés. 2097, ff. 19-22v; F-Pn Rés. Vmf 17, ff. 64-67v (online via GALLICA); F-Pn Rés. Vmf 27, pp. 89-96 (online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 27-28; I-Rc 2473, ff. 9-12; and I-URBc Ubaldini VI.2.16.1. An anonymous, incomplete copy is BAV Chigi Q.IV.50, ff. 53-54v. Modern edn in JEPPESEN 1949, vol. 2, pp. 76-77. 17 (ff. 83-86v) PERTI. Ah, che narrommi il ver, quel dolce mio pensier, G minor. For Penelope in II:6 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 75-77. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 11-14v (complete) and ff. 15-17v (incomplete); F-Pn Rés. Vmf 17, ff. 1-4v (online via GALLICA); and GB-Ob Mus.Sch E.388, pp. 21-22. NESTOLA 2015, AIF.014 also lists F-Pn H.659 I, pp. 33-36 (attrib. to Scarlatti), and I-URBc Ubaldini VI.2.16.1. 18 (ff. 87-90v) PERTI. Povero cor lo so, non piangi a torto, no, C minor. For Penelope in I:5 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 56-58. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 25-28v and 57-60 (2 copies); F-Pn Rés. Vmf 17, ff. 50-53, and Rés. Vmf 27, pp. 253-260 (both online via GALLICA); I-Rc 2473, ff. 89-92; and I-URBc Ubaldini VI.2.16.1. 19 (ff. 91-96v) PERTI. S’io d’altri fossi un giorno, A minor. For Penelope in I:6 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GBOb Mus. Sch. E.390, pp. 98-104; I-Bc V.291, ff. 88-93v. Also attributed to

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“Perti” in BAV Chigi Q.IV.39, ff. 1-6v; F-Pn Rés. 2097, ff. 23-28v; F-Pn Rés. Vmf 27, pp. 137-148 (online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 4445; I-Rc 2473, ff. 147-52v; and I-URBc Ubaldini VI.2.16.1. Anonymous in GB-Lam 126, ff. 87v-89v. Two musical examples, each one bar long, are given in PITONI, Guida armonica, p. 30. 20 (ff. 97-100v) PERTI. Un dì gode in amor quando un’ amante cor, B! major. For Penelope in III:20 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 27, pp. 261-268 (online via GALLICA); GB-Ob Mus. Sch. E.388, pp. 79-80; I-Rc 2473, ff. 97-100; and I-URBc Ubaldini VI.2.16.1. 21 (ff. 101-108v) PERTI. Non disprezzarmi ingrato che poi ti spiacerà. Se ad altri, A major, 2 str. For Penelope in III:10 of PENELOPE LA CASTA. Strophe 2 has the same first two lines as str. 1 and is sung after nine intervening lines sung by Ulisse. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 138-140. Also attributed to “Perti” in BAV Chigi Q.IV.39, ff. 65-72v (2 str.); F-Pn Rés. Vmf 17, ff. 54-57v (online via GALLICA); GBOb Mus. Sch. E.388, p. 69; and I-URBc Ubaldini VI.2.16.1. NESTOLA 2015, AIF.360 adds the concordances F-Pn H.659, V, pp. 27-29 with F.1675 (9), f. 5; and Vm7 70, f. 20. 22 (ff. 109-114) PERTI. Non suol fidarsi Amore di chi non sa tacer, G major. For Elvida in II:11 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 120-125 (online via GALLICA). 23 (ff. 115-116v) PERTI. Caro sposo, e dove sei? Mio conforto, ove t’aggiri?, A major. For Penelope in I:4 of PENELOPE LA CASTA. Also attributed to “Perti” in F-Pn Rés. Vmf 17, ff. 146-149 (online via GALLICA), and GB-Ob Mus. Sch. E.388, p. 38. 24 (ff. 117-119v) PERTI. Cara non lagrimar, dà pace al mesto cor, A/B, D major. For Gismondo in II:1 of PENELOPE LA CASTA. Attributed to “Giacomo Ant.o Perti” in GB-Ob Mus. Sch. E.390, pp. 73-74, and to “Perti” in GB-Ob Mus. Sch. E.388, p. 19. 25 (ff. 121-126v) [MANCIA]. Saprò ben’io deridere degl’astri ogni rigor, B! major. For Guido in II:10 of FLAVIO CUNIBERTO (Rome 1696). Attributed to “Luigi Mancia” in I-Rc 2473, pp. 51-56, and to “Mancia” in F-Pn Rés. Vmf 17, ff. 5-10, and anon. in F-Pn Rés. Vmf 27, pp. 25-36 (both online via GALLICA). Also anon. in GB-Ob Mus. Sch. E.388, p. 83, and Mus. Sch. E.392, pp. 96-98. 26 (ff. 127-131v) [MANCIA]. Vedrai ne’ suoi bei rai, G major. For Ernelinda in I:8 of FLAVIO CUNIBERTO. Also anonymous in BAV Barb. lat. 4231,

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n. 9 (S/TrB); GB-Ob Mus. Sch. E.392, pp. 27-33 (S/TrB); and Mus. Sch. D.226, n. 3 (includes the instrumental parts for Mus. Sch. E.392). 27 (ff. 133-138v) [MANCIA]. Sirti, scogli, tempeste, procelle, A/B, C major. For Vitige in III:5 of FLAVIO CUNIBERTO. Also anon. in F-Pn Rés. Vmf 17, ff. 21-26 (online via GALLICA), and GB-Ob Mus. Sch. E.392, pp. 170-177. A different setting of this text attributed to Alessandro Scarlatti is Barb. lat. 4144, n. 44.

Bound in parchment (107 × 265 mm). The number 31 is written in black ink on the spine. The previous shelfmark XLVII.31 is written in black ink inside the front cover. The watermark found throughout appears to be a leaping stag in a single circle, similar to HEAWOOD n. 3850. The third flyleaf at the beginning is a fleur-de-lis in a single circle with an S above it, similar to HEAWOOD n. 1569. The foliation in brown ink is in a hand other than that of the music copyist; this hand wrote an alphabetical index of arias on flyleaves [II-IIIv] at the beginning. (This index is published, with few changes, in CELANI, p. 126). Flyleaf [I] at the beginning and all three at the end are blank. Blank staves only are on ff. 10, 78, 120 and 132. Copyist A, probably the Roman professional Flavio Lanciani, copied all except n. 3, the single aria from IL RE INFANTE, also a Roman professional copyist (B). Hand A also copied Barb. lat. 4153-4155, 4164-4167, 4169 and part of 4171 (copyist A). He wrote a large, ornamental initial letter in the ample space provided for it and wrote out all the da capos. Hand B also copied part of Barb. lat. 4171 (copyist B). He indicated the da capo for n. 3. No score is known to survive for Perti’s PENELOPE LA CASTA. The libretto is available via the CORAGO portal. The mss. Barb. lat. 4160 and Barb. lat. 4159 (n. 24) preserve twenty-four arias from it. The largest collection is found in GB-Ob Mus. Sch. E.388, which has 40 arias (pp. 1-8, 11-12, 14-31, 34-42, 44-49, 69-80 and 98-100). Other significant collections are GB-Ob Mus. Sch. E.390, pp. 3-160, which has twenty arias, many with treble accompaniments (not recorded here); F-Pn Rés. Vmf 17, which has twenty arias (all available via GALLICA; I-URBc Ubaldini VI.2.16.1 with nineteen arias (not seen); BAV Chigi Q.IV.39, which has fourteen arias (three of which are given twice); and F-Pn Rés. Vmf 27, with thirteen arias (also via GALLICA). Singers for the roles are named in the libretti. Seven from the cast of PENELOPE LA CASTA are represented in Barb. lat. 4160; their names from the 1696 libretto (p. 6) are Antonio Romolo Ferrini, del gran prencipe di Toscana (Penelope); Mario Pippi (Elvida), dell’Eminentissimo Mellini [= Card. Savo Millini]; Angelo Maria Tagliavacca, della Ducale [cappella ducale] di Venezia (Ariene); Vincenzo Dati, dell’Altezza reale di Savoia (Gismon-

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do); Bonaventura Federici, della Ducale di Venezia (Lutetio); Gio. Battista Franceschini del Serenissimo di Modena [Rinaldo d’Este] (Ulisse); and Giulio Cavaletti romano, del duca di Sermoneta [Gaetano Caetani] (Filena). The three arias for IL FLAVIO CUNIBERTO in Barb. lat. 4160 (nn. 25-27) supplement the twenty-one in Barb. lat. 4159. Perhaps it was intentional to represent both this opera and PENELOPE LA CASTA with the same number of arias. For further information on FLAVIO CUNIBERTO, see the commentary to Barb. lat. 4159. The libretto for IL RE INFANTE was — like that for FLAVIO CUNIBERTO — dedicated to Felice Ventimiglia d’Aragona Pignattelli e Barberini, Principessa di Palestrina. There are five arias in Barb. lat. volumes, one in 4160 and possibly four in 4171. The music is concordant with that given in the complete score, F-Pn D.1161. The aria in Barb. lat. 4160 was sung by Gioseppino Argenti da Udine in the role of Anna. Barb. lat. 4160-4161

Barb. lat. 4161 1692, 100 × 268 mm, I.100.I ff., 4 staves, 2 hands

Arie della commedia del ratto delle Sabbine, recitata in Tordinona l’anno 1692 (f. [I]). Anthology of sixteen arias from L’ERACLEA O VERO IL RATTO DELLE SABBINE, libretto by Nicolò Minato (Vienna 1674, with music by Antonio Draghi), revised in Rome (possibly by Silvio Stampiglia), with new music by Giovanni Bononcini, who is named for nn. 1-3. The settings are S/B, except for n. 7 (S/TB), n. 15 (A/B) and n. 16 (S/TrB). 1 (ff. 1-8) GIO. BONONCINI. Non posso disperar, sei troppo cara al cor, G minor. For Romolo in II:7 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 3; BAV Chigi Q.IV.32, ff. 195-98v; and D-Mbs 11406, ff. 28-35. Anonymous in D-MÜs 595, ff. 25-31v; I-Rc 2465, ff. 1-6; and I-Rsc G.392, ff. 51-58v. The previous aria in Rsc G.392 is attributed to Severo de Luca; this attribution was transferred to Non posso disperar in the modern editions by PARISOTTI 1890, pp. 6-10, and ISORI II (1913). Other modern edns are PATON 1985, pp. 54-58; PATON 1991, pp. 73-77; and DELL’ALBERO AND CANDELA, pp. 108-112, the last based on four of the Roman arie staccate. 2 (ff. 9-15v) GIO. BONONCINI. Già ritorna nel mio seno la speranza a lusingar, C major. For Mirena in II:10 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 1, and D-Mbs 11406, ff. 112-15v. Anonymous in n. 16 below and in I-Rc 2465, ff. 13-26. The Munich source specifies “v[iolin]o

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solo,” but no violin part is given. A treble part is in n. 16 below and in Barb. lat. 4164, n. 1. 3 (ff. 17-22) GIO. BONONCINI. O son sprezzato o amar non so, B minor. For Romolo in II:7 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 5; BAV Chigi Q.IV.32, ff. 101-104v; and D-MÜs 595, ff. 47-52. Anonymous in D-Mbs 11406, ff. 6-9; I-Bc V.291, ff. 150-155; and I-Rc 2465, ff. 7-12. 4 (ff. 23-25v) Il mio trionfo mio ben sei tu, D minor. For Mirena in III:6 of ERACLEA. 5 (ff. 27-30) [BONONCINI]. Deh, più a me non v’ascondete, A major. For Mirena in II:11 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 10, and BAV Chigi Q.IV.32, ff. 15-18. Attributed to “Gio. Bononc[ini]” in I-Rsc G.392, ff. 17-22, the source for the modern edition by PARISOTTI [1886], pp. 17-20. Erroneously credited to Giovanni Maria Bononcini in FLORIDIA 1923, n. 5, and GLENN/TAYLOR, vol. 3 (1968). Other modern edns in PATON 1994, pp. 68-72, and DELL’ALBERO AND CANDELA, pp. 105-107, the latter based on the four Roman arie staccate. 6 (ff. 31-34v) [BONONCINI]. Allegro. Su, Roma festeggi. E Marte severo unisca all’impero, D major. Not in the libretto, but it might have replaced Romolo’s similar recitatives and aria in the closing scene III:[21]. Attributed to “Bononcini” in Barb. lat. 4164, n. 8. 7 (ff. 35-40v) [BONONCINI]. No, che non vo’ pietà d’affetti ignuda, S/TB, C major. For Romolo in III:4 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 7, where the tenor part is labeled “violone,” and in D-Mbs 11406, ff. 51-61, where the tenor part is labeled “violoncello” and there is a str. 2: Sì, che sarò crudel a un cor. The same music is utilized for Portami a Filli in sen alato nume, a medial aria in Lungi dalla mia Filli che pure è la mia vita, a Bononcini cantata extant in D-B L.35, ff. 18-24; I-MOe Mus. F.1379, ff. 55-59; I-Nc 34.6.33 (= Cantate 32), pp. 99-109 (Internet Culturale access); I-PLc Arm.I.Pis.2, pp. 225-234; and three other mss. (D-Dl, I-MC, and D-Bsa are listed in RISM online). Barb. lat. 4161 8 (ff. 41-44) [BONONCINI]. Penso, risolvo, sarò fedel, sì, sì, A minor, preceded by a recitative — Ch’io risolva, ch’io pensi — that is not in the libretto, where the aria for Mirena opens II:10 of ERACLEA. Attributed to “Bononcini” in BAV Chigi Q.IV 32, ff. 19-21v. Anonymous in D-Mbs Mus. 11406, ff. 2-5. 9 (ff. 45-48) [BONONCINI]. Allegro. Costanza pur, mio core. Non ti muova fato avverso, B! major. For Mirena in II:5 of ERACLEA. Attributed to “Gio.

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Bononcini” in Barb. lat. 4164, n. 6, and to “Bononcino” in I-Rsc G.392, ff. 65-68v. 10 (ff. 49-56v) [BONONCINI]. Su, dunque a battaglia, a stragi e furor, B! major. For Romolo in II:17 of ERACLEA. Attributed to “Bononcini” in Chigi Q.IV.32, ff. 141-48v. 11 (ff. 57-60) [BONONCINI]. Più non pensi confuso il pensiero, B! major (A section only). Desinet “peno stento e risolver non so.” The complete aria is attributed to “Bononcini” in BAV Chigi Q.IV.32, ff. 149-56v. Not in the libretto, but conceivably a replacement for Romolo’s aria, Perché peno, perché stento?, in II:20 of ERACLEA (Rome 1692, p. 56). 12 (ff. 61-69v) Andante. Per te, Tazio, sì, sì, non curo di morir, str. 2: Per te, Metio, sì, sì, la morte io so sprezzar, F major. For Eraclea (str. 1) and Mirena (str. 2) in III:15 of ERACLEA. 13 (ff. 71-74v) [BONONCINI]. Ecco Roma bambina ch’infasce, D minor. For Romolo in II:1 of ERACLEA. Attributed to “Bononcini” in Barb. lat. 4164, n. 11; BAV Chigi Q.IV.32, ff. 23-26; and B-Bc 577/7 (olim FA.VI.21), ff. 35-40 (pp. 62-72). 14 (ff. 75-80v) [BONONCINI]. Di Marte i furori se in placidi olivi, D major. For Romolo in II:2 of ERACLEA. Attributed to “Bononcini” in Chigi Q.IV.32, ff. 109-12v and ff. 157-162. 15 (ff. 81-86v) [BONONCINI]. Occhi bei, voi siete stelle, A/B, A major. For Talassio in II:9 of ERACLEA. Attributed to Bononcini in Barb. lat. 4164, n. 12, and BAV Chigi Q.IV.32, ff. 199-202. Anonymous in D-MÜs 595, ff. 77-82. 16 (ff. 87-100) [BONONCINI]. Già ritorna nel mio seno la speranza a lusingar, S/TrB, C major. For Mirena in II:10 of ERACLEA. Attributed to “Gio. Bononcini” in n. 2 above, and to “Bononcini” in Barb. lat. 4164, n. 1. Bound in parchment (104 × 270 mm). Three parchment loops on the front cover originally clasped onto ivory beads on the back cover. Only one remains unbroken. The watermark is a fleur-de-lis in two concentric circles, as in HEAWOOD nn. 1591-1592. The foliation in pencil is recent. The closing flyleaf is blank. Blank staves only are on ff. 16, 26 and 70. Both copyists of Barb. lat. 4161 wrote out the da capo sections of arias. Hand A copied nn. 1-3; Hand B copied nn. 4-16. ERACLEA was Bononcini’s first opera and the first Roman work for which he composed music. Thus he may well have shared the responsibil-

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ity of providing music for the Roman production; even though no other composer has yet been identified with what may well have been a pasticcio. Nevertheless concordances suggest that he was almost certainly the composer of act II. No score is known to be extant. There are eighty-three arias in the Roman libretto. Thirty-one of them were in IL RATTO DELLE SABINE, set by Antonio Draghi for the birthday of Emperor Leopold in 1674. We do not know whether any of Draghi’s arias were retained for the Roman production (acts II and III of Draghi’s score survive in A-Wn Mus. Hs.16291/2-3; digital reproduction online via the ÖNB portal). The Roman aria collections are relatively small and largely duplicate the fifteen arias in Barb. lat. 4161 (where nn. 2 and 16 are the same). In Barb. lat. 4164, nine of the first thirteen arias are concordant with Barb. lat. 4161. The four unduplicated arias in 4164 include two from Bononcini’s act (nn. 4 and 13), one from act I (n. 2, which features Bononcini’s instrument), and one from act III (n. 9). BAV Chigi Q.IV.32 has fourteen arias from act II (on ff. 15-26, 79-86v, 101-112v, 117-118v, 141-162 and 195-202). D-Mbs 11406 has eight arias (ff. 2-9, 28-35, 51-62, and 99-115v), two from Bononcini’s act (ff. 101v-11v). D-MÜs 595 has six arias (ff. 25-36v, 47-52, 69-82 and 97-100), one of which (ff. 69-76) is a unique duet in Bononcini’s act. The volume B-Bc 577 (olim FA.VI.21) has two arias from Eraclea (ff. 35-40 and 157-162). The result is that nineteen arias from act II are extant, nearly all with attributions to Bononcini (if Barb. lat. 4161, n. 8 is included). Another aria from ERACLEA is in Barb. lat. 4167, n. 3, which is from act I and is anonymous. MARX-Ottb, pp. 130-132 (n. 33c) lists nineteen arias from ERACLEA copied for Cardinal Pietro Ottoboni on p. 131. They are precisely the fifteen in Barb. lat. 4161 plus the four others in Barb. lat. 4164. Ottoboni’s ms. did, however, include eleven more, which are nn. 14-15, 20, 23-24, 29-30, 34-35, and 41-42 among those Marx listed as “nicht identifizierbar” on p. 131. CAMETTI-TDN, vol. 2, pp. 349-351, already noted that the extant arias were nearly all from acts II and III. For information concerning the libretto, see SARTORI, n. 9020, and FRANCHI 1988, pp. 641-642. Barb. lat. 4161-4162

Barb. lat. 4162 1690-1694 ca., 98 × 265 mm, V.152.I ff., 4 staves, 4 hands

Miscellany of fifty-six arias from four dramatic works. The first twentyone are in LA CADUTA DEL REGNO DELL’AMAZZONI (Rome, Palazzo Colonna, January 1690), libretto by Giuseppe Domenico De Totis, music by Bernardo Pasquini. The next three are in L’AMAZONE CORSARA O VERO L’ALVILDA

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(Naples 1689/90), libretto by Giulio Cesare Corradi (Venice 1686), with new music by Alessandro Scarlatti (who is named for n. 22). The next eight may be all from an unidentified pastoral work with music by Angelo Olivieri, who is named for nn. 25-27 and 29-32; he served various Barberini, Princes Maffeo and Urbano, as well as Prince Taddeo, jr and Cardinals Carlo and Francesco, jr. The final twenty-four are in AMOR SPESSO INGANNA (Piacenza, Teatro Ducale, 1689), libretto by Aurelio Aureli (as ORFEO, Venice 1673) and revised by Aureli, with new music by Bernardo Sabadini (later revived in Rome as ORFEO in 1694). The setting is S/B unless otherwise indicated. Eleven are scored A/B (nn. 1-2, 5, 38-39, 42, 44-46 and 48-49); two are B/B (nn. 41 and 43); one TB/B (n. 51); one SA/B (n. 52); one S/TrB (n. 50); one S/TB (n. 40); and four A/TB (nn. 53-56). Online in DVL. 1 (ff. 1-2v) [BERNARDO PASQUINI]. Se havesse in man la face, direi che fosse Amor, A/B, G major. For Mitilene in II:8 of LA CADUTA DEL REGNO DELL’AMAZZONI (Rome 1690). Anonymous in the score to the opera entitled GLI AMAZZONI, GB-Lbl Add. 16151; and attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn (olim Pc) Rés. 1692 (2). In the scores, the aria is in D major for S/B, and is preceded and followed by different TrTrAB ritornellos. Scores and musical incipit are cited in CRAIN vol. 2, pp. 208 and 224. In aria collections, it is also for S/B in D major: it is attributed to “B.o Pasquini” in F-Pn Rés. Vmf. 40, ff. 19-22, and I-Rli Fondo Caetani 208.A.2. ff. 40-42v (CARBONI 9, n. 11485; CAR-GIA-ZI, p. 102, n. 22). It is anonymous in D-MÜs 176, ff. 47-50 and 51-54 (two copies); and anonymous and untexted in I-Fc B.2379, f. 102. Barb. lat. 4162 2 (ff. 2v-4) [PASQUINI]. Se tal’hor curiose pupille, str. 2: Son di Pindo lusinghe fiorite, A/B, A minor. For Mitilene in III:10 of LA CADUTA DEL REGNO. Anonymous, for S/B, in E minor, and followed by a TrTrAB ritornello in the score entitled GLI AMAZZONI, GB-Lbl Add. 16152. Attributed to “Bernar.o Pasquini” in I-MOe Mus. G.264, ff. 3-6v (S/B, E minor). These musical sources and incipit in CRAIN vol. 2, pp. 208, 237. The present location of the Becherini ms. listed in CRAIN is unknown (it is not in either I-Fc or I-Fn). 3 (ff. 4-6) [PASQUINI]. Quanto deve alla sua sorte, donna forte, str. 2: Ringratiar può la sua stella, donna bella, C major. For Mitilene in I:14 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GBLbl Add. 16150, and attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1), with TrTrAB instruments in both scores. Scores and musical incipit are given in CRAIN, vol. 2, pp. 208 and 217. The aria is attributed to “B.o Pasquini” in the collection I-Rli Fondo Caetani 208.A.2, ff. 53-58 (CARBONI 9, n. 10409; CAR-GIA-ZI, p. 103, n. 27).

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4 (ff. 6-7v) [PASQUINI]. Se col tuo core, o ingrato, d’amarmi hor ti pentisti, str. 2: E se il mio core ancora divenne in te crudele, D minor. For Mandane in III:3 of LA CADUTA DEL REGNO. Anonymous, with TrTrB instruments and followed by a TrTrAB ritornello, in the score entitled GLI AMAZZONI, GB-Lbl Add. 16152. CRAIN vol. 2, pp. 208, 234. Another copy is n. 19 below. It is attributed to “B.o Pasquini” in the aria collection F-Pn Rés. Vmf 40, ff. 3638; and is anon. in I-Fc B.2379, f. 59; I-Rc 2573, ff. 50-52; and I-Rli Fondo Caetani 208.A.2, ff. 23-27v (CARBONI 9, n. 11530; CAR-GIA-ZI, p. 101, n. 17). 5 (ff. 7v-9) [PASQUINI]. Biondi crini che stringete l’alma mia, str. 2: Se tra lucide catene il mio cor gioisce involto, A/B, F major. For Licandro in I:5 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16150; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). In these scores, for T/B, in B! major, and a different TrTrAB ritornello precedes each strophe. CRAIN vol. 2, pp. 208, 212. In aria collections, for S/B in B! major: attributed to “Bernardo Pasquini” in D-SWl Mus. 4718b (Atelier Foucault), pp. 59-61; I-Bc V.291, ff. 243-46v; I-Rli Fondo Caetani 208.A.2, ff. 46-47v (CARBONI 9, n. 1288; CAR-GIA-ZI, p. 102-103, n. 24, which adds GB-Lcm 1098 and I-Rc 2573, ff. 40v-42v); US-BEm 118, pp. 8-9; and US-Wc Cage M1507.M24, pp. 171-178 (S/B, B! major). Anonymous in D-MÜs 176, ff. 55-58v; F-Pc H.659, I/2, pp. 28-31; GB-Och 954, ff. 53v-56 (A major); and I-Fc B.2379, ff. 84v-85. NESTOLA 2015, AIF.086. 6 (ff. 9-10v) [PASQUINI]. Il mio sen cangiato ha il core, str. 2: A ragion l’altrui desio, D major. For Licandro in II:1 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16151; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). In these scores, for T/B and followed by a TrTrAB ritornello. CRAIN vol. 2, pp. 208, 220. Attributed to “Bernardo Pasquini” in US-Wc Cage M1507.M24, pp. 155-162; anon. in I-Rc 2573, ff. 7v-9r (with some differences), and I-Fc B.2379, f. 85. 7 (ff. 10v-12v) [PASQUINI]. Guerra, guerra, all’armi, all’armi, del Sarmata audace, C major. For Mitilene in I:8 in LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16150; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). In these scores, with TrTrAB instruments. CRAIN vol. 2, pp. 208 and 214. In aria collections, attributed to “B.o Pasquini” in I-Rli Fondo Caetani 208.A.2, ff. 50-51v (CARBONI 8, n. 5106; CAR-GIA-ZI, p. 103, n. 26); anon. in I-Fc B.2379, f. 99. 8 (ff. 12v-13v) [PASQUINI]. Dolce. Povero core, tu soffri e taci, A minor.

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For Mitilene in II:8 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16151; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). CRAIN vol. 2, pp. 208, 224. 9 (ff. 17-18v) [PASQUINI]. Allegro. Dir ch’io v’ami, o luci belle, str. 2: Se con avide pupille, C major; only the first line of str. 2 is given. For Mandane (str. 1) and Licandro (str. 2) in I:6 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16150; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). In both scores, followed by a TrTrAB ritornello. CRAIN vol. 2, pp. 208, 213. Attributed to “Bernardo Pasquini” in I-Bc V.291, ff. 78-81; anon. in D-MÜs 176, ff. 63-66v; I-Fc B. 2379, f. 72; and I-Rc 2573, ff. 11-12v. A different, anonymous setting of this aria text is in F-Pc H. 659, II, pp. 118-120; its composer might be Innocenzo Fede (see n. 15 below).

10 (ff. 18-21) [PASQUINI]. Perche l’huom l’è ignoto ancora, A major. Marked “con violini,” but no violin part is given. For Mandane in I:7 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GBLbl Add. 16150; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). In both scores, with TrTrMsB instruments. Attributed to “Bernar.o Pasquini” in I-MOe Mus. G.264, ff. 7-10. CRAIN vol. 2, pp. 208, 213. Anonymous in I-Fc B. 2379, ff. 60v-61. A different setting “del Sig.r Scarlatti” and also headed “La sig.ra Angela” is I-Nc 34.5.1ter (Arie 484.C), ff. 103-106v, S/B, B minor (Internet Culturale access).

11 (ff. 21-22v) [PASQUINI]. Assistimi, o sorte, mentr’io per dar vita, str. 2: Secondami, o Amore, mentr’io per dar pace, D minor. For Mandane in I:9 of LA CADUTA DEL REGNO. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16150; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). In both scores, followed by a TrTrAB ritornello. CRAIN vol. 2, pp. 208, 215. Anonymous in I-Fn B.2379, f. 66v. In place of this aria the printed libretto has a duet, Lo sdegno più crudel d’Amore è figlio. 12 (ff. 23-25) [PASQUINI]. Se un’astro scintilla Amor l’infiammò, str. 2: Se ride ogni sponda Amor l’ingemmò, A minor. For Mandane in I:13 of LA CADUTA DEL REGNO. Marked “aria con violini,” but no violin part is given. The libretto has “l’abellì” rather than “l’ingemmò.” Anonymous and with TrTrB instruments in the score entitled GLI AMAZZONI, GB-Lbl Add. 16150. Lacking in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (1). CRAIN vol. 2, pp. 208, 216. Attributed to “B.o Pasquini” in F-Pn Rés. Vmf 40, ff. 1-6v; anon. in I-Fc B.2379, f. 95.

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13 (ff. 25-26v) [PASQUINI]. Ardito. Mensogner, fabro d’inganni, str. 2: Vanne, o crudo, e sia tuo vanto, G minor. For Mandane in II:3 of LA CADUTA DEL REGNO. This setting is not present in either score to the opera (see n. 1 above). Same text but different music in n. 14 below.

14 (ff. 27-28v) [PASQUINI]. Mensogner, fabro d’inganni, str. 2: Vanne, o crudo, e sia tuo vanto, G minor. For Mandane in II:3 of LA CADUTA DEL REGNO. Same text but different music than n. 13 above. Anonymous in the complete score entitled GLI AMAZZONI, GB-Lbl Add. 16151; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). In both scores, followed by a TrTrAB ritornello. CRAIN vol. 2, pp. 208, 221. Anonymous in the aria collections I-Rc 2573, ff. 13-14v; I-Rli Fondo Caetani 208.A.2, ff. 28-31 (CARBONI 8, n. 7068; CAR-GIA-ZI, p. 101, n. 18); and I-Fc B.2379, f. 96. 15 (ff. 28v-30v) [PASQUINI]. Langue, geme, sospira e si lagna, colomba che chiama, str. 2: Così lungi dal tuo bel sembiante, non trova mai pace, B minor. For Mandane in II:10 of LA CADUTA DEL REGNO. Marked “aria con un violino,” but no violin part is given. Anonymous in the score entitled GLI AMAZZONI, GB-Lbl Add. 16151; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). In both scores, with TrTrB instruments. CRAIN vol. 2, 208, 225. Attributed to “B.o Pasquini” in F-Pn Rés. Vmf 40, ff. 13-18v; anon. in I-Rc 2573, ff. 57v-62, and I-Fc B.2379, ff. 59v-60. A different solo setting of this aria text is attributed to “Inn[ocenzo] Fede” in F-Pn H.659, IV, pp. 79-82, with Rés. F.1675 (7), f. 14v (cf. n. 9 above), NESTOLA 2015, AIF.280. This text was also set in two SA/B duets, one ascribed to Pietro Torri (d. 1731) in I-Bc MART.2.83 (dubiously attrib. to A. Scarlatti in I-Bc DD.43.15) and another by George Frideric Handel (HWV 188; ca. 1722-1723).

16 (ff. 30-32v) [PASQUINI]. Se [in] quel mostro mirare a me lice, D major. For Mandane in II:10 of LA CADUTA DEL REGNO (same role and scene as n. 15 above). Marked “aria con violini,” but no violin part is given. Anonymous and with TrTrAB instruments in the score entitled GLI AMAZZONI, GB-Lbl Add. 16151, where it immediately follows str. 1 of Veggio amore sul marmo gelato for the tenor Licandro. Lacking in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). CRAIN vol. 2, pp. 208, 226. Anonymous in the collection I-Fc B.2379, f. 62. 17 (ff. 32v-34v) [PASQUINI]. L’honor che più aggrada, str. 2: Se stilla ruggiade, A major. For Mandane in II:14 of LA CADUTA DEL REGNO. Marked “aria con violini,” but no violin part is given. Anonymous in the score en-

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titled GLI AMAZZONI, GB-Lbl Add. 16151; attributed to “Pasquini” in the incomplete score entitled ARTIDE, F-Pn Rés. 1692 (2). In both scores, followed by a TrTrAB ritornello. CRAIN vol. 2, pp. 208, 228. Anonymous in the collection I-Fc B.2379, ff. 61v-62. 18 (ff. 34v-36) [PASQUINI]. Non mi duole il sospirar, str. 2: Stillo lieta in pianti il cor, D major. For Mandane in the “scene aggiunte dopo ‘La Noce di Benevento’,” which follows act II of LA CADUTA DEL REGNO. Marked “aria con violini,” but no violin part is given. Anonymous and with TrTrAB instruments in the score entitled GLI AMAZZONI, GB-Lbl Add. 16151. Attributed to “Bernar.o Pasquini” in I-MOe Mus. G.264, ff. 23-28. These sources in CRAIN vol. 2, pp. 208, 232-233. Also anon. in the collection I-Fc B.2379, f. 95v-96. 19 (ff. 36-38) [PASQUINI]. Se col tuo core, [o] ingrato, d’amarmi hor ti pentisti, str. 2: E se il mio core ancora divenne in te crudele, D minor. For Mandane in III:3 of LA CADUTA DEL REGNO. Anonymous, with TrTrB instruments, and followed by a TrTrAB ritornello in the score entitled GLI AMAZZONI GB-Lbl Add. 16152. CRAIN vol. 2, pp. 208, 234. Another copy of this aria is n. 4 above. 20 (ff. 38-40) [PASQUINI]. Se al desio dico che speri mi risponde, D major. For Mandane in III:11 of LA CADUTA DEL REGNO. Anonymous and preceded and followed by a TrTrAB ritornello in the score entitled GLI AMAZZONI GB-Lbl Add. 16152. CRAIN vol. 2, pp. 208, 237. Anonymous in I-Rc 2573, ff. 69v-70v; F-Pn Rés. Vmc 88, ff. 23-24; and I-Fc B.2379, f. 93. 21 (ff. 40v-42v) [PASQUINI]. A battaglia, a battaglia, amante infido, str. 2: Alle straggi, alle morti, ingrato amante, D major. For Mandane in III:12 of LA CADUTA DEL REGNO. Anonymous and with TrTrAB instruments in the score entitled GLI AMAZZONI GB-Lbl Add. 16152. CRAIN vol. 2, pp. 208, 238. In aria collections, attributed to “B. Pasquini” in I-Rli Fondo Caetani 208.A.2, ff. 48-50v (CARBONI 8, n. 5; CAR-GIA-ZI, p. 103, n. 27). Anonymous in I-Fc B.2379, f. 71. 22 (ff. 45-46v) ALESS.O SCARLATTI. Amor tu sai perché m’aggiro in questo suol, G minor. For Irene in I:4 of L’AMAZONE CORSARA (Naples 1689/90). Also attributed to “Alessandro Scarlatti” and with TrTrAB instruments in the score to the opera I-MC 5-F-7 (olim 126-C-37; from the nineteenthcentury copy D-Mbs Mus. 2861). 23 (ff. 46v-48) [A. SCARLATTI]. Idolatro un vago volto e non sa, G minor. For Irene in I:5 of AMAZONE CORSARA. Attributed to “Alessandro Scarlatti” in the score to the opera I-MC 5-F-7; see n. 22 above.

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24 (ff. 48v-49v) [A. SCARLATTI]. Amar e non penar, possibile non è, A minor. For Irene in II:1 of AMAZONE CORSARA. Attributed to “Alessandro Scarlatti” and preceded by a TrTrAB ritornello in the score to the opera I-MC 5-F-7; see n. 22 above. 25 (ff. 51-54) D. ANGELO OLIVIERI. Loquace l’affetto la lingua discioglie, str. 2: Un breve momento m’affligge e consola, A major. 26 (ff. 55-58) D. ANGELO OLIVIERI. Fra tanti affanni chi ti consola, str. 2: Opra fu degna de pensier tuoi, G minor. 27 (ff. 59-62v) D. ANGELO OLIVIERI. Noiosi pensieri ch’il cor mi turbate, str. 2: Tiranni dell’alma, su, dunque assalite, A minor. 28 (ff. 63-65v) [OLIVIERI?]. Deh, movetevi a pietà di chi v’ama, str. 2: Di Fileno al rio dolor chi non langue, G minor. 29 (ff. 67-68v) D. ANGELO OLIVIERI. Un breve momento qual hor non ti miro, B! major. 30 (ff. 69-72v) D. ANGELO OLIVIERI. Eccomi sola a piangere, str. 2: Temprar con noti flebili, G minor. 31 (ff. 73-78v) D. ANGELO OLIVIERI. Dall’arco d’un ciglio, str. 2: Mal saggia la mente, A major. 32 (ff. 79-82v) D. ANGELO OLIVIERI. Misera Clori, hor va, palesa, str. 2: La colpa è mia qual’hor confido, A major. 33 (ff. 83-84) [BERNARDO SABADINI]. Luci belle, no, non piangete, C minor. For Orfeo in I:2 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). OPAC-SBN attributes this aria to Angelo Olivieri, without explanation. Also in C minor is Antonio Sartorio’s different setting of this text in I:2 of L’Orfeo for Venice 1673, upon which the Parma 1689 setting was based; see I-Vnm Contarini It.IV, 443 (9987), ff. 7v-8, and I-Nc 33.2.25 (= Rari 6.4.13).

34 (ff. 85-86v) [SABADINI]. Più d’uno quel crine ancor legherà, C major. For Autonoe in II:6 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). Also anonymous in the Roman collection Barb. lat. 4139, n. 3. Not in Orfeo of Venice 1673. 35 (ff. 87-88) [SABADINI]. Amar e non temer vorrei ma non si può, F major. For Orfeo in I:13 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 36 (ff. 89-90) [SABADINI]. Che far mai poss’io, s’Amor vuol così, G major. For Autonoe in II:15 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694).

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37 (ff. 91-92) [SABADINI]. Sia vago o deforme il labro che portò, D minor. For Autonoe in I:7 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 38 (ff. 93-94) [SABADINI]. Vincerò con la costanza, A/B, D minor. For Autonoe in I:19 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 39 (ff. 95-96) [SABADINI]. Fammi bacciar chi adoro, A/B, C major. For Aristeo in II:22 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). The 1694 libretto reads Fa’ che m’ami chi adoro. 40 (ff. 97-100v) [SABADINI]. Spero di ridere se pianse il cor, S/TB, F major. For Autonoe in III:4 in AMOR SPESSO INGANNA (Parma 1689, Rome 1694). Marked “aria col violon[cell]o obligato” (C4 clef). 41 (ff. 101-102v) [SABADINI]. Lunghe gioie non speri godere, B/B, D major. For Esculapio in II:5 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). OPAC-SBN attributes this aria to Angelo Olivieri without explanation. Esculapio’s different setting, also for bass, occurs in II:3 of A. Sartorio’s 1673 Orfeo; see I-Vnm Contarini It.IV, 443 (9987), f. 36r-v, and I-Nc 33.2.25 (= Rari 6.4.13).

42 (ff. 103-104v) [SABADINI]. Ho cor che sa resistere ai colpi del destin, A/B, G minor. For Euridice in I:16 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 43 (ff. 105-106) [SABADINI]. La feb[b]re d’Amore sanar io non so, B/B, C minor. For Esculapio in I:10 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 44 (ff. 107-108) [SABADINI]. So servire e so adorar, A/B, E minor. For Aristeo in II:3 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 45 (ff. 109-110v) [SABADINI]. Non amarmi, non pregarmi, A/B, D minor. For Euridice in II:2 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 46 (ff. 111-112v) [SABADINI]. Torno a l’amato sposo, A/B, F major. For Euridice in I:3 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 47 (ff. 113-114) [SABADINI]. Del duol che chiudo in petto, A major. For Orfeo in II:4 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 48 (ff. 114bis-114ter) [SABADINI?]. Vieni, alma cara, a flagellarmi il cor, A/B, G major. For Aristeo in AMOR SPESSO INGANNA (III:15 in Parma 1689; III:18 in Rome 1694). 49 (ff. 115-116) [SABADINI]. Gelosia l’alma t’inganna, A/B, A major. For

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Euridice in AMOR SPESSO INGANNA (II:14 in Parma 1689; II:13 in Rome 1694). Also anonymous in the Roman collection Barb. lat. 4139, n. 2. 50 (ff. 117-122v) [SABADINI]. Allegro. Se credi di bacciar la tua diletta, S/ TrB, D minor. For Autonoe in II:23 of AMOR SPESSO INGANNA (Parma 1689). Marked “aria con viol[ino] oblig[ato]” (with double stops and tremolo). The Parma libretto reads Se speri di baciar. 51 (ff. 123-126v) [SABADINI]. Amami / Donami ch’io t’amerò, TB/B, F major. For Erinda and Brillo in II:8 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). 52 (ff. 127-130v) [SABADINI]. Autonoe: Se Amore a te mi tolse, SA/B, C major. For Aristeo and Autonoe in AMOR SPESSO INGANNA (III:17 in Parma 1689; III:15 in Rome 1694). 53 (ff. 131-134v) [SABADINI]. Amor, le tue faville nel core ammorzerò, A/ BB, C major. For Achille in AMOR SPESSO INGANNA (III:21 in Parma 1689; III:20 in Rome 1694). Marked “aria col violon[cell]o.” 54 (ff. 135-139v) [SABADINI]. Chi spera di goder tra le catene è stolta, A/ TB, D major. For Euridice in AMOR SPESSO INGANNA (III:1 in Parma 1689; III:2 in Rome 1694). Marked “aria col viol[oncell]o oblig[ato]” (C4 clef). 55 (ff. 141-144v) [SABADINI]. Risana, cor mio, l’affanno del sen, A/TB, E minor. For Euridice in I:12 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). Marked “aria col viol[oncell]o” (C4 clef). 56 (ff. 145-150) [SABADINI]. Preparati a gioir, o core amante, A/TB; F major. For Aristeo in II:12 of AMOR SPESSO INGANNA (Parma 1689, Rome 1694). Marked “aria con violoncello obligato” (C4 clef). Bound in parchment (110 × 262 mm). The number 33 is written in black ink on the spine, and the shelfmark XLVII.33 is written in black ink inside the front cover, both in a modern hand. Paper with the first two watermarks was utilized by hands A-C. The first has three hills with the letters A N above, within two concentric circles (ff. 2, 8, 11, 19, 33, 39, 41, 46 and 79-80). The second is a fleur-de-lis within two concentric circles (ff. 15, 22, 27, 30, 45, 51, 53, 55, 60, 62 and 64). The final watermark is on paper utilized by hand D, who copied the arias from Parma. The image is a crowned shield with five balls within and the letters CC below it (ff. 85, 90, 93, 98, 106-107, 112, 118, 124, 129, 132, 136 and 149). The shield of the Duke of Parma/Piacenza is five fleurs-de-lis and five balls, as shown on the printed libretto to AMOR SPESSO INGANNA, p. 6. A watermark with five balls is also featured in Barb. lat. 4176, which also dates from Parma/Piacenza 1689.

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The foliation in pencil is recent. Two folios following f. 114 are unnumbered and have been indicated as 114bis and 114ter above. All flyleaves are blank. Blank staves only are on ff. 14-16, 43-44, 50, 66 and 140. Hand A copied all twenty arias from LA CADUTA DEL REGNO DELL’AMAZZONI. Words for second strophes are below the basso continuo staff. This hand also copied Barb. lat. 4152 and parts of 4139 (Hand B), 4149 (Hand A), 4173 (Hand D), and 4206 (Hand L), all Roman mss. from ca. 1686 to ca. 1694. Hand B copied all three arias from L’AMAZONE CORSARA. Hand C copied nn. 25-32, all but one of which are attributed to Angelo Olivieri. Hand D copied the twenty-four arias from AMOR SPESSO INGANNA. There are two fold marks on each page of this section, usually a sign of spedition by post (Parma to Rome). LA CADUTA DEL REGNO DELL’AMAZZONI was a “festa teatrale,” privately produced in Rome during the carnival of 1690 by the Spanish ambassador to celebrate the marriage of King Carlos II and Mariana of Neuburg, Countess Palatine of the Rhine. The elaborate production had scenes designed by Girolamo Fontana, represented in twelve plates in the libretto printed by the Reverenda Camera Apostolica. Other editions lack the plates; two are in SARTORI, nn. 4348-4349; three are described in FRANCHI 1988, pp. 621-623; see the CORAGO portal for access to digital facsimiles of two. All arias in Barb. lat. 4162 are for three characters: Mandane (nn. 4 and 9-21), Mitilene (nn. 1-3 and 7-8) and Licandro (nn. 5-6). In addition to the known sources, Giovanni Antelli, “per servizio dell’Ecc.mo Sig.r Prencipe di Rosana [G.B. Borghese], per ordine del Sig.r Bernardo Pasquini,” copied much music on or before 1 May 1691. That payment list includes fourteen arias from LA CADUTA, ten of which are in Barb. lat. 4162, nn. 3-5, 9, 12, 14-17 and 21 (DELLA SETA 1983, p. 154). The volume I-Fc B.2379 has all the arias in Barb. lat. 4162 (and more) except for 4162, nn. 2, 3 and 8. For a study of De Totis’s libretto for Rome and the 1657 Spanish play that it and other Italian dramas were based upon, see A. GARAVAGLIA, Amazons from Madrid to Vienna by Way of Italy: the circulation of a Spanish text and the definition of an imaginary, in Early Music History 31 (2012), pp. 204-215. All three arias from L’AMAZONE CORSARA O VERO L’ALVILDA are for the character Irene. Barb. lat. 4162 is not among the sources for the opera listed in ROSTIROLLA, p. 339. The score to the opera in I-MC bears the title L’Amazzone guerriera, drama per misica [sic] del Sig.re Alessandro Scarlatti, rappresentata nel Reggio palazzo nell’anno mille Seicento ottanta nove (INSOM n. 7778). The dedication of the libretto is dated 6 November 1689; DOMÍNGUEZ RODRÍGUEZ 2010, however, reports only one performance on 15 May 1690 (vol. 2, p. 332). Eight arias, conjecturally, may come from an unidentified pastoral

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work with music by Angelo Olivieri (nn. 25-32), known to have been active as a composer in Rome from 1678 to 1715. See the comments for Barb. lat. 4210. Twenty-four arias are in Sabadini’s AMOR SPESSO INGANNA, first performed in Piacenza 1689. No score survives, and the only known aria collections are Barb. lat. 4162 and Barb. lat. 4139. The opera was revived as L’ORFEO at the Roman Teatro della Pace in 1694. The only aria in Barb. lat. 4162 that is not in the Roman libretto is n. 50, which was replaced by Farò l’ultima prova per vince l’infedele. See Barb. lat. 4176 for arias from another Piacentine opera of 1689. Barb. lat. 4162-4163

Barb. lat. 4163 after 1647-1649, 102 × 263 mm, I.[101].I ff., 4 staves, one hand

An anthology of twenty-four cantatas, twenty for soprano and basso continuo and four for two or three singers and continuo. The music copyist attributed twelve works to composers who were active in Rome: Vincenzo Albrici, Antimo Liberati, Marc’ Antonio Pasqualini, Luigi Rossi, Mario [Savioni] and Loreto [Vittori]. Attributions to Luigi (n. 3) and [Carlo] Rainaldi (n. 20) were added later. Concordant sources additionally identify the composers of n. 5 (Luigi Rossi), nn. 8 and 24 (Savioni), n. 21 (Gregorio Allegri), and n. 23 (Marco Marazzoli). Five cantatas remain anonymous (nn. 2, 6, 9, 11 and 12). Online in DVL. 1 (ff. 1-4v) LUIGI [ROSSI]. Su la veglia d’una speme, C major, R-1-R2-R. Three-part chords appear on the vocal staff on ff. 1 and 3. Attributed to Rossi in F-Pn Rés. Vmc 78 (olim Thibault G.T. 3), ff. 69-74v; GB-Ouf U.210.4, ff. 1-6v; I-MOe Mus. G.257, ff. 31-35; and I-Rv 2565 (olim Blumenstihl), ff. 37-40 (cf. ROSTIROLLA 2003, n. 9, p. 710, also transcribes the poem). Anonymous in Barb. lat. 4208, n. 30, copied by this same hand. CALUORI n. 188 gives the musical incipit, the first three concordances, and the modern edn in PRUNIÈRES 1914, pp. 12-14. 2 (ff. 5-7) La bella mia tiranna che del mio mal si ride, C minor; 2 strophes, text only for str. 2. Also anonymous in I-Rc 2478, ff. 172-74v. 3 (ff. 7v-10) LUIGI [ROSSI]. La bella per cui son cieco, D minor; 2 str., text only for str. 2. The attribution may not be in the hand of the music copyist. CALUORI n. 103 gives the musical incipit and two other anon. sources, F-Pn Rés. Vmd 26 (olim H.P. 4), ff. 59v-61, and I-MOe Mus. F.1382, ff. 55-56. 4 (ff. 10v-12) MARIO [SAVIONI]. Dove miro o movo il passo, D minor, R-

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1-R. The Barberini copy lacks strophe 2. Anonymous in I-Rc 2466, ff. 14546v, and I-Vc Busta 1.11 (olim N.11-primo; busta 1-15), ff. [83v-87]. Musical incipit in WECIS 2. 5 (ff. 13-15v) [L. ROSSI]. Né notte né dì riposa quest’ alma, G minor; R1-R-2-R; text only for str. 2. CALUORI n. 122 gives the musical incipit and four concordances. Attributed to Rossi in D-SWl 4718a, pp. 77-79, and GB-Lbl Harley 1273, f. 76v. Anonymous in D-Mbs 1524, ff. 16-19 and F-Pn Rés. 2096, pp. 136-137. See also Caluori’s correct argument that the aria No, no, no, no, fuggir non vo’ does not belong to this work (CALUORI, vol. 2, pp. 70-71). Barb. lat. 4163 6 (ff. 16-17v) Troppo è ver quel ch’io credo, F major; 3 str., text only for str. 2-3. Anonymous in D-Mbs Mus. 1524, ff. 96-99 (F major). Lacking strophes 2-3 are GB-Och Mus. 17, ff. 11r-v and Och Mus. 350, p. 8; and GB-Lbl Add. 29396, f. 107, all in C major and perhaps miscopied up a third. 7 (ff. 18-19v) MARC’ANT.O PASQUALINI. Mai non si troverà che petto nobile, D minor; 2 str., text only for str. 2. Pasqualini is also named in I-Rc 2478, ff. 85-90v (in corrente) and F-Psg 3372, ff. 39v-41. MURATA n. 142a. The text is attributed to Giovanni Lotti in the anonymous copy Barb. lat. 4220, n. 7 and in its duet arrangement, Barb. lat. 4222, n. 31. 8 (ff. 20-22) [SAVIONI]. Innumerabili son le catene, D minor, R-1-R-2-R. Attributed to Savioni in B-Br II.3947, ff. 119-20v. Anonymous in I-Rc 2505, ff. 87v-98v and F-Pn Rés. 2095, ff. 1-2. Musical incipit in WECIS 2. 9 (ff. 22v-28v) Con l’esca de’ bei rai le donn’ allettano, E minor, 2 str. The text is in ABATI 1672, vol. 1, pp. 390-391 headed “Contra le donne” (also in ABATI 1673, 1676). 10 (ff. 29-32) VINCENZO ALBRICI. Mio cor, non pensar più a quel idolo ingrato, D major; R-1-R-2-R, text only for str. 2. 11 (ff. 32v-34) Che volete da me, pensieri miei? Tutte le mie speranze, A minor; 3 str., text only for str. 2-3. Also anonymous in B-Bc 17059, ff. 102v103, and I-GR Crypt. It. 3, pp. 204-208. Listed in RICCIARDELLI, p. 28 as Che volete da me, vani pensieri? 12 (ff. 34v-36v) Fate largo al mio pensiero, G major; 2 str., text only for str. 2. 13 (ff. 37-38v) LUIGI [ROSSI]. Amor così si fa, G minor; 2 str., text only for str. 2. Musical incipit in CALUORI n. 14. 14 (ff. 39-45v) ANTIMO LIBERATI. Amanti non va così, sol con dir t’adoro,

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ohimè, G major, R-1-R-2-R. Also attributed to Liberati in I-Nc 33.4.12a (Cantate ibride 9), ff. 11-20v (Internet Culturale access). 15 (ff. 45v-48) MARIO [SAVIONI]. Perduta libertà, quanto ti piange il cor, D minor; R-1-R-2-R, text only for str. 2. Musical incipit in WECIS 2. 16 (ff. 48v-51) Cav. LORETO [VITTORI]. All’armi, o mio core, con certa speranza, C major; R-1-R-2-R, text only for str. 2. Facsimile in B.M. ANTOLINI, Loreto Vittori, musico spoletino, Spoleto 1984, pp. [75-76]. Modern edn L. VITTORI, Complete Solo Settings, ed. T.D. Dunn, Middleton, WI 2014, pp. 11-13. 17 (ff. 51v-54) MARIO [SAVIONI]. Timidetta mia speranza, dove voli, dove vai?, E minor; 2 str., text only for str. 2. Musical incipit in WECIS 2. 18 (ff. 54v-57v) MARIO [SAVIONI]. Pupillette, tocca a voi, B! major, R-1-R2-R-3-R. Also attributed to “Mario Savioni” in I-Nc 33.4.12a (Cantate ibride 9; Arie 47), ff. 41-44v. Musical incipit in WECIS 2. 19 (ff. 58-60v) MARIO [SAVIONI]. Sentite ch’io sospiro e non m’adiro, A minor; 2 str., text only for str. 2. Also attributed to Savioni in BAV Chigi Q.IV.1, ff. 72-75v, though not in the hand of the main copyist. Musical incipit in WECIS 2. 20 (ff. 61-67v) Cav.re [CARLO] RAINALDI. Pallido, muto e solo mentre nel sen chiudea, C minor. The only aria is Datti pace, o mio core. The attribution is not in the hand of the music copyist. A facsimile of f. 61 appears in MARX-Rainaldi, p. 64 (see also pp. 70-71 on the cantata). Two anonymous concordances in A minor are F-Pn Rés. Vmf 20, ff. 45-50v and I-MOe Mus. G.258, ff. 71-76. 21 (ff. 68-76v) [GREGORIO ALLEGRI]. A 2. Se d’Amor le catene dolcemente n’avvinsero, SS/B, G minor. Attributed to Allegri in I-Bc Q.50, ff. 98v-101. Anonymous in I-Bc Q.48, ff. 78-81; I-Nc 33.5.10 (Cantate ibride 14), ff. 98103; Nc 33.3.1 (Cantate 58), ff. 91-92 and I-Rc 2464, ff. 208-13v. 22 (ff. 77-85) MARC’ANT.O PASQUALINI. Begl’occhi morrà di duolo, SSB/ (B), C minor, R-1-R-2-R. Also attributed to Pasqualini in I-Bc Q.50, ff. 117120. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 34. Also anonymous in Barb. lat. 4219, n. 18. A modern edn is in CAMETTIMAP. MURATA n. 24. 23 (ff. 85v-90) [MARAZZOLI]. Rispondi, o mio core per chi ti ferì, SAB/B, F minor; 2 str., text only for str. 2. Called a “villanella” in BAV Chigi Q.VI.81, ff. 59v-66, which is a Marazzoli autograph; see WITZENMANN 1970, p. 218, n. 13, which gives the musical incipit.

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24 (ff. 90v-100) [SAVIONI]. Fugga Amor chi desia, SS/B, A minor. Rubrics include “adagio” and “presto.” Attributed to Savioni in I-Bc Q.44, ff. 3v-5v and Q.50, ff. 38-40. Musical incipit in WECIS 2. Bound in parchment (110 × 266 mm), embossed on front and back covers in gold, with a simple frame with thistle ornaments in the four corners. In the center, the impaled arms Pamphili/Maidalchini, identified by MARXRainaldi, p. 59, and Morelli-A 2009, p. 386, as those of card. Francesco Maidalchini, elevated in 1647. On the spine are two embossed thistles and a pink Vatican sticker, and above it, the number 34 written in black ink by a modern hand, who also wrote the shelfmark XLVII.34 inside the front cover. Gilt edges. In 15 gatherings of two bifolios (ff. 1-56 and 97-100) and five of five bifolios (ff. 57-96), all on paper with the same type of watermark associated with Rome (praying cleric/saint in shield of the the general type HEAWOOD 1352). Folios [I] and [102] are blank. The hand (A) is the same as appears in most of Barb. lat. 4200 (Hand A) and in other mid-century music mss., including I-Rc 2477 and I-Rn 141. (He is called Hand B in RUFFATTI 2006). It is the same professional hand as Barb. lat. 4387-E, 4204-B and 4205-B. Calligraphic initials head each composition. A table of contents with 24 items, in the hand of the copyist, is on f. 101r-v. The attributions for n. 3 and n. 20 appear to be later additions by an unknown hand. The latter dates from or after 1649, when Carlo Rainaldi was knighted by Maurizio of Savoy as cavaliere of the Order of SS. Maurizio e Lazzaro di Savoia Carlo Caproli, a member of the Pamphili household in 1644-1647, is not represented here. Barb. lat. 4163-4164 The ICCU on-line database incorrectly identifies “Mario” in this ms. as Mario Perti. A modern copy of Barb. lat. 4163 is B-Bc ms. 17197.

Barb. lat. 4164 1692 ca., 98 mm × 268 mm, I.144.I ff., 4 staves, one hand

Anthology of twenty-four anonymous arias. The first thirteen are in L’ERACLEA O VERO IL RATTO DELLE SABBINE (Rome, Teatro della Tordinona, carnival 1692), text by Nicolò Minato (Vienna 1674), revised in Rome (possibly by Silvio Stampiglia), with new music, at least for act II, by Giovanni Bononcini (who is named for nn. 1 and 3-13). The remaining eleven arias are unidentified. The setting is S/B except for nn. 12-13 and 18 (A/B) and

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four that include obbligato instrumental parts: nn. 1 and 24 are scored for S/TrB; n. 2 for T/TB; and n. 7 for S/BB. See also Barb. lat. 4161. 1 (ff. 1-14) [GIOVANNI] BONONCINI. Allegro. Già ritorna nel mio seno la speranza a lusingar, S/TrB, C major. For Mirena in II:10 of ERACLEA (Rome 1692). Attributed to “Gio. Bononcini” in Barb. lat. 4161, n. 2. 2 (ff. 15-22v) [BONONCINI?]. Contro l’armi del nume bambino, T/TB, A major. For Tazio in I:3 of ERACLEA. The instrumental staff in tenor clef is labeled “violone”; see also n. 7 below. Attributed to “Bononcini” in D-Mbs 11406, ff. 99-101, which is marked “con violoncello” without any separate part for it. Anonymous in D-MÜs 595, ff. 33-36v. 3 (ff. 23-30v) BONONCINI. Non posso disperar, sei troppo cara al cor, G minor. For Romolo in II:7 of ERACLEA. Also attributed to “Gio. Bononcini” in Barb. lat. 4161, n. 1. 4 (ff. 31-36) BONONCINI. Spera, o core, ma non lo dir, B! major. For Eraclea in II:2 of ERACLEA. Also attributed to “Bononcini” in BAV Chigi Q.IV.32, ff. 105-108v. Barb. lat. 4164 5 (ff. 37-42) BONONCINI. O son sprezzato, o amar non so, B minor. For Romolo in II:7 of ERACLEA. Attributed to “Gio. Bononcini” in Barb. lat. 4161, n. 3, q.v. for five further concordances. 6 (ff. 43-46v) GIO. BONONCINI. Costanza pur, mio core, non ti muova fato avverso, B! major. For Mirena in II:5 of ERACLEA. Also attributed to “Bononcino” in I-Rsc G.392, ff. 65-68v; anon. in Barb. lat. 4161, n. 9. 7 (ff. 47-52v) BONONCINI. No, che non vo’ pietà d’affetti ignuda, S/BB, C major. For Romolo in III:4 of ERACLEA. The first bass staff is marked “violone.” Anonymous in Barb. lat. 4161, n. 7, q.v. for other concordances. 8 (ff. 53-56v) BONONCINI. Allegro. Su Roma festeggi e Marte severo, D major. Anonymous in Barb. lat. 4161, n. 6. Not in the 1692 libretto, but the aria in trumpet-style is suitable for Romolo to close the opera in place of the printed aria for him in III:10, Già di Marte la severa tromba rigida tacerà. 9 (ff. 57-63v) BONONCINI. Son sdegnato e già mi sento, A major. For Romolo in III:2 of ERACLEA. 10 (ff. 65-69v) BONONCINI. Deh, più a me non v’ascondete, A major. For Mirena in II:11 of ERACLEA. Anonymous in Barb. lat. 4161, n. 5, q.v. for further concordances. 11 (ff. 71-75v) BONONCINI. Ecco Roma bambina che infasce, D minor.

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For Romolo in II:1 of ERACLEA. Anonymous in Barb. lat. 4161, n. 13, q.v. for other concordances. 12 (ff. 77-83v) BONONCINI. Occhi bei, voi siete stelle, A/B, A major. For Talassio in II:9 of ERACLEA. Attributed to “Bononcini” in BAV Chigi Q.IV.32, ff. 199-202. Anonymous in Barb. lat. 4161, n. 15, and D-MÜs 595, ff. 77-82. 13 (ff. 85-88) BONONCINI. Credi, o core, che t’inganna troppo facile speranza, A/B, E! major. For Talassio in II:19 of ERACLEA. Attributed to “Bononcini” in D-MÜs 595, ff. 97-100. 14 (ff. 89-90v) Tu nascesti a tormentarmi e il tuo crin, E minor. 15 (ff. 91-96v) Per chi fede mai non serba fingerò di sospirar, G major. 16 (ff. 97-100v) Giunse Amor, bella, volando tutto vezzi entro il mio cor, D major. 17 (ff. 101-103v) Ride l’aura lusinghiera qui d’intorno, A minor. The final line ends “ridan l’ombre e Augusto piange.” 18 (ff. 105-108v) Vasta guerra di pensieri turba il regno del mio cor, A/B, B minor. 19 (ff. 109-114) Reggie idee, pensieri amanti, E minor. 20 (ff. 115-120) Furie che m’agitate, lasciate, pur lasciate, F major. 21 (ff. 121-125v) Presto. Sei pur cara, gradita incostanza, A major. 22 (ff. 127-130v) Fonti voi che mormorando, E major. 23 (ff. 131-136) Andante. Dove andate sì sdegnose, belle luci fulminando, E minor. 24 (ff. 137-144) Aria con tromba. Stringa ogn’hor scettro di fulmine, S/ TrB, D major. The treble staff is labled “tromba.” Bound in brown leather (110 × 280 mm). On both covers, a double border tooled in gold with floral bouquets in each corner, in the center, the arms of prince Urbano Barberini also embossed in gold, as on Barb. lat. 4154-4155, 4165-4167 and 4169-4170. Four cords divided the spine into five floreated panels, one covered by a pink BAV sticker. Edges gilt. Inside the front cover is another pink BAV sticker and the previous shelfmark XLVII.35 written in black ink by a modern hand. The watermark is a leaping stag in a circle with a P above, similar to HEAWOOD n. 3850. Each aria begins a new gathering of two nested bifolios, which, depending on the length of the aria, is then extended by a single bifolio or another nested

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two. The added folios are always preceded by a catch word, which occur only within individual arias. The only exception is n. 14, which consists of only one bifolio. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 64, 70, 76, 84, 104 and 126. The sole copyist, probably the Roman professional Flavio Lanciani, was also responsible for Barb. lat. 4154-4155, 4159, 4160 (copyist A), 41654167, 4169-4170 and 4171 (copyist A). Large, not-quite professional strapwork initial letters that do not fill their allotted space begin each aria; the letters are not repeated in the text underlay. The da capos are written out. See the commentary to Barb. lat. 4161 for a discussion of nn. 1-13 above, all from L’ERACLEA O VERO IL RATTO DELLE SABBINE. Although n. 8 above is not in the libretto, it is also in Barb. lat. 4161, which includes only arias from L’ERACLEA. It is noteworthy that all arias in Barb. lat. 4161 and all except n. 2 in 4164 are from acts II and III of L’ERACLEA. Since n. 2 above from act I is anonymous, the inference is that Bononcini may have had little or nothing to do with the composition of act I. Another anonymous aria from act I is Barb. lat. 4167, n. 3. See CAMETTI, TdN vol. 2, pp. 349-351, for further information. Barb. lat. 4164-4165

Barb. lat. 4165 1691-1693 ca., 266 × 100 mm, II.138.II ff., 4 staves, one hand

Anthology of thirty-three anonymous arias copied in Rome, of which thirty come from four Venetian operas of the 1691-1692 season. Arias from the same operas are in Barb. lat. 4169. Two were produced at the Teatro Vendramin (S. Salvatore): LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (autumn 1691), libretto by Francesco Silvani, music by Marc’Antonio Ziani; and FURIO CAMILLO (carnival 1692), libretto by Matteo Noris, music by Giacomo Perti. The other two operas were produced at the Teatro San Giovanni Grisostomo: L’IBRAIM SULTANO (carnival 1692), libretto by Adriano Morselli, music by Carlo Francesco Pollarolo; and ONORIO IN ROMA (February 1692), libretto by Giovanni Matteo Giannini, music by Pollarolo. Three arias remain unidentified (nn. 9, 16 and 21). The arias are scored for soprano (16), alto (12), tenor (4), and bass (1), accompanied by basso continuo. The setting is S/B unless otherwise indicated. 1 (ff. 1-4v) [GIACOMO PERTI]. Perdonatemi, luci belle, altro volto non posso amar, C major. Aria for Camillo in III:4 of FURIO CAMILLO (Venice 1692; also Milan 1693, Regio Teatro Ducale; Bologna 1693, Teatro Malvezzi), libretto by Matteo Noris (1st edn Parma 1686). Preceded by a TrTrAB ritor-

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nello in the score to the opera, F-Pn (olim Pc) D.12644, which is attributed to “Giacomo Perti.” The score said to be located in the Berlin Staatsbibliothek (D-B) was not consulted for concordances for this or the arias below. The libretto for Bologna 1693 reads Perdonatemi luci vaghe, altro volto … (p. 66). 2 (ff. 5-8) [CARLO POLLAROLO]. Il core tremante vorrebbe e non sa, A/B, E minor. For Rosana in III:12 of L’IBRAIM SULTANO (Venice 1692). 3 (ff. 9-14) [MARC’ ANTONIO ZIANI]. Deh, ferma quel pié che preme quest’alma, F major. For Stratonica in I:4 of LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (Venice 1691). Barb. lat. 4165 4 (ff. 15-18v) [POLLAROLO]. Care luci, care, care saettatemi pur ch’io vel perdono, G major. For Ibraim in I:5 of L’IBRAIM SULTANO. Anonymous and headed “S. G.G.” in GB-Lam 128, pp. 158-159; also anonymous in GB-Lbl Harley 1272, f. 51v (C major). 5 (ff. 19-24) [POLLAROLO]. Ad amarti, se puoi, mi sforza, ch’io per me n’havrò piacer, A/B, F major. For Bajazet in III:2 of L’IBRAIM SULTANO. 6 (ff. 25-28v) [PERTI]. Su, dunque all’armi, all’armi, insin chi è donna, F major. For Lidia in I:9 of FURIO CAMILLO (Venice 1692, Bologna 1693). With TrTrB instruments in the score to the opera F-Pn D.12644, ff. 34-36. 7 (ff. 29-32v) [POLLAROLO]. Sul fianco più non dorma, T/B, C major. For Acmat in I:1 of L’IBRAIM SULTANO. 8 (ff. 33-34v) [PERTI]. Esco fuor del laberinto, T/B, A minor. For Erippo in II:6 of FURIO CAMILLO (Venice 1692, Bologna 1693). In the score to the opera F-Pn D.12644, f. 63. 9 (ff. 35-38v) È pur poco dir’ un sì ad un sen che vuol pietà, B! major. 10 (ff. 39-42v) [POLLAROLO]. Deh m’ascondi, amica notte, E minor. For Ibraim in II:11 of L’IBRAIM SULTANO. 11 (ff. 43-46v) [POLLAROLO]. Chi non soffre in amor non gode, no, B minor. For Lucillo in III:3 of ONORIO IN ROMA (Venice 1692). Anonymous but marked “Oselia” in I-MOe Mus. G.324, n. 31. Giovanni Secondo Oselia was the singer who portrayed Lucillo (see the commentary to Barb. lat. 4166). The score to the opera is D-AN VI g 39. TERMINI, pp. 313 and 629. 12 (ff. 47-49v) [POLLAROLO]. Spera ch’il dio d’amor, bella, t’assisterà, C major. For Rusteno in III:6 of IBRAIM SULTANO. Also anonymous and headed “S. G.G.” in GB-Lam MS 128, ff. 172-173; also anonymous in GB-Lbl Harley 1272, f. 51.

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13 (ff. 51-54v) [M.A. ZIANI]. Crudel se tu m’offendi, forse che vi sarà, A/B, G minor. For Arsacomo in I:7 of LA VIRTÙ TRIONFANTE (Venice 1691). 14 (ff. 55-58v) [POLLAROLO]. Deggio, oh Dio, lasciar morir il tiran della mia pace, A/B, E minor. For Rosana in II:1 of L’IBRAIM SULTANO. Anonymous and headed “S. G.G.” in GB-Lam 128, pp. 166-167; also anonymous in GB-Lbl Harley 1272, f. 50 (S/B, A minor). The libretto reads “tiranno di” rather than “tiran della.” 15 (ff. 59-62v) [POLLAROLO]. Chi sa, che mie non siate bellezze amate un dì. A/B, G major. For Rosana in III:4 of L’IBRAIM SULTANO. Anonymous and headed “S. G.G.” in GB-Lam 128, p. 163. 16 (ff. 63-64v) Di fiero destino non temo vicende, T/B, G major. 17 (ff. 65-68v) [POLLAROLO]. Grata al par della corona, A/B, C major. For Bajazet in I:7 of L’IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 15. 18 (ff. 69-73v) [POLLAROLO]. Da quei lumi egl’ è piagato, G minor. For Atalida in II:2 of L’IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 17. 19 (ff. 75-78v) [POLLAROLO]. Adorar altro sembiante è impossibile mio cor, A/B, D major. For Bajazet in III:2 of L’IBRAIM SULTANO. 20 (ff. 79-82v) [PERTI]. Ch’io parta? Partirò. Ma è barbaro rigore, C major. For Lidia in II:15 of FURIO CAMILLO (Venice 1692, Bologna 1693; II:16 in Rome 1696). Followed by a TrTrAB ritornello in the score to the opera, F-Pn D.12644, ff. 89v-90. Anonymous in F-Pn Rés. Vma 967, f. 67. This aria was retained in the Rome 1696 revival of Perti’s opera. The Roman version is attributed to “Perti” in I-Rc 2473, ff. 137-140, and in I-URBc Ubaldini VI.2.16.1. 21 (ff. 83-88v) De la fiamma ch’il sen mi flagella, C major. 22 (ff. 89-94v) [POLLAROLO]. Con le stille del mio pianto, D major. For Atalida in II:4 of L’IBRAIM SULTANO. Anonymous and headed “S. G.G.” in GB-Lam 128, pp. 168-169; also anon. in GB-Lbl Harley 1272, f. 49v. 23 (ff. 95-97v) [POLLAROLO]. Fra ritorte lagrimar, sospirar, A minor. For Ibraim in III:8 of L’IBRAIM SULTANO. 24 (ff. 99-102v) [POLLAROLO]. T’adorerò, ti seguirò, A/B, D major. For Atalida in III:11 of L’IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 16, a Venetian collection of arias from IBRAIM SULTANO. Anony-

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mous and headed “S. G.G.” in another Venetian collection, GB-Lam 128, p. 185; also anon. in a third Venetian collection, Barb. lat. 4143, n. 29. 25 (ff. 103-106v) [POLLAROLO]. Contro voi spietate stelle, A major. For Atalida in II:8 of L’IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 1, a Venetian collection of arias from IBRAIM SULTANO. 26 (ff. 107-110v) [POLLAROLO]. Ti lascierò se vuoi, ma il cor se’n pentirà, A/B, G minor. For Bajazet in I:11 of L’IBRAIM SULTANO (1692 libretto, p. 47), a substitute aria for Vuoi così? così farò (p. 22). Also anonymous in I-MOe Mus. G. 327, n. 7, a Venetian collection of arias from IBRAIM SULTANO. 27 (ff. 111-113) [POLLAROLO]. Augelletti ch’il volo spiegate, A/B, G major. For Rosana in II:5 of L’IBRAIM SULTANO. 28 (ff. 115-118v) [POLLAROLO]. Sotto l’ombra de’ Traci stendardi, B/B, E minor. For Orcano in I:14 of L’IBRAIM SULTANO. 29 (ff. 119-122v) [POLLAROLO]. Dimmi Amore s’è legge fatale, A minor. For Rusteno in I:5 of L’IBRAIM SULTANO. 30 (ff. 123-126v) [POLLAROLO]. Sovra il foglio d’un lieto viso, A/B, E minor. For Onorio in ONORIO IN ROMA (Venice 1692). The score to the opera is D-AN VI.g.39. TERMINI, p. 627, lists this as an “optional aria,” because it is listed among the “canzonette aggiunte” in some impressions of the 1692 libretto (see TERMINI, p. 587, ALM n. 386, and the commentary to Barb. lat. 4166). 31 (ff. 127-130v) [POLLAROLO]. Alma non ti lasciar, mai più legar, T/B, B minor. For Acmat in II:10 of L’IBRAIM SULTANO. Also anonymous in I-MOe Mus. G.327, n. 2. 32 (ff. 131-134v) [POLLAROLO]. Sei leggiadra, sei vezzosa, ma per me non posso amarti, A/B, D major. For Bajazet in II:7 of L’IBRAIM SULTANO. Anonymous and headed “S. G.G.” in GB-Lam 128, pp. 164-165. 33 (ff. 135-138) [PERTI]. Tu mi dici ch’io speri, A major. For Lidia in III:10 of FURIO CAMILLO (Venice 1692). Followed by a TrTrAB ritornello in the score to the opera attributed to Perti, F-Pc D.12644, ff. 130v-131. Replaced in the Bologna 1693 libretto by Non dar più pene, o caro, a chi t’adora.

Bound in brown leather (112 × 268 mm). The embossed Barberini arms are like those for Barb. lat. 4135, 4154-4155, 4164, 4166-4167 and 41694170. Edges gilt. The endpapers bear an abstract design painted in four colors, as in Barb. lat. 4169. The previous shelfmark XLVII.36 is written in black ink inside the front cover. Three watermarks are intermingled. The

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first has three hills surmounted by the letters A N, within two concentric circles (ff. 12, 25, 39, 63, 89, 98, 103, 117 and 130), similar to HEAWOOD nn. 1620-1623. The second is a fleur-de-lis within two concentric circles (ff. 13, 26, 71, 79, 114, 119 and 121), similar to HEAWOOD nn. 1591-1592. The third is a stag within a single circle (ff. 20, 37, 53, 61, 75, 81, 100, 102, 104, 109, 113 and 135), similar to HEAWOOD nn. 3850. The foliation in pencil is recent. Both flyleaves and ff. [II] and [139] are blank; blank staves only are on ff. 50, 74, 98 and 114. The copyist, probably the Roman professional Flavio Lanciani, also copied Barb. lat. 4154-4155, 4159, 4160 (Hand A), 4164, 4166-4167, 4169-4170 and 4171 (Hand A). The da capo sections are written out. Two arias are in LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (nn. 3 and 13), autumn 1691, Venice, Teatro Vendramin (S. Salvatore), text by Francesco Silvani, music by Marc’Antonio Ziani. Both are in the libretto printed by Bortoli (ALM n. 389), but not in the nova impressione by Nicolini (ALM nn. 378-379). Other arias from the opera are in Barb. lat. 4143 (six arias), 4154 (32 arias), 4169 (13 arias) and GB-Lam ms. 128. See 4154 for further information. Five arias are from FURIO CAMILLO (nn. 1, 6, 8, 20 and 33), carnival 1692, Venice, Teatro Vendramin (S. Salvatore), libretto by Matteo Noris, music by Giacomo Perti. All five are in the score to the opera, F-Pn D.12644. Aria n. 1 is not in the libretto, but may have been added to the Venetian performance after the printing of the libretto. Thirty-three other arias from the opera are in Barb. lat. 4169 and GB-Lam ms. 128. It was restaged in Rome in 1696 at the Teatro Tor di Nona. Twenty-one arias are in L’IBRAIM SULTANO (nn. 2, 4-5, 7, 10, 12, 14-15, 17-19, 22-29 and 31-32), carnival 1692, Venice, Teatro S. Giovanni Grisostomo, libretto by Adriano Morselli, music by Carlo Pollarolo. TERMINI, pp. 306-307, gives bibliographical information, but cites no musical sources for the opera. No score is extant. Other arias from the opera are in Barb. lat. 4143 and 4169. The same Roman scribe copied 4165 and 4169, and perhaps the arias from IBRAIM SULTANO in these mss. were intended for a single volume. The largest Venetian collection, I-MOe Mus. G.327, includes nineteen arias (LODI, p. 159; CHIARELLI n. 539). All six arias from IBRAIM in Barb. lat. 4143 are also in I-MOe Mus. G.327. Fourteen arias from the opera are in another Venetian ms., GB-Lam 128 (pp. 153, 156-157, 161-177, 181 and 185); three are among the five from the opera in an English ms., F-Pn Rés. Vma 967 (nn. 79, 84, 88, 114, 118 and 122). In total, these six sources include forty arias from L’IBRAIM SULTANO. Although singers are not named in the 1692 libretto of IBRAIM, they are known from an early eighteenth-century list of casts for the Teatro

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S. Giovanni Grisostomo from 1678 to 1766 (I-Vnm It.Cl.IV. Cod. 748 [= 10466], ff. 44-100). Casts for 1678-1714 are transcribed in SAUNDERS, pp. 447-466, which lists (on p. 455): Bajazet sung by Francesco Pistocchi (A); Atalida by Diana Orelia turinese (S); Rosana by Lucrezia [Pontissi, la] Trombettina (A); Rusteno by Antonio Romolo Ferrini (S); Ibraim by Gio. Secondo Oselia (S); Acmat [by Dionisio from Rome] (T); and Orcano by Pietro Moggi (B). These are the same singers who performed in ONORIO IN ROMA, and are listed in the commentary to Barb. lat. 4166. Two arias are in ONORIO IN ROMA (nn. 11 and 30), carnival 1692, Venice, Teatro S. Giovanni Grisostomo, libretto by Giovanni Matteo Giannini, music by Carlo Pollarolo. The libretto was dedicated to cardinal Pietro Ottoboni. The two are concordant with arias in the score, D-AN VI g 39; see TERMINI, pp. 627 and 629. Forty-two other arias from the opera are in Barb. lat. 4166; further sources are F-Pn Rés. Vma 967 and GB-Lam ms. 128 and I-MOe Mus. G.324. See the commentary for Barb. lat. 4166 for a discussion of this work. Arias from all four operas are also found in GB-Lam MS 128, pp. 153200, mentioned above: five from FURIO CAMILLO, sixteen from L’IBRAIM SULTANO, one from LA VIRTÙ TRIONFANTE, and nine from ONORIO IN ROMA.

Barb. lat. 4166 1692 ca., 100 × 268 mm, I.169.I ff., 4 staves, one hand

Anthology of forty-one anonymous Venetian arias and a French air, all from ONORIO IN ROMA (Teatro S. Giovanni Grisostomo, February 1692), text by Giovanni Matteo Giannini, music by Carlo Pollarolo. The air from a 1685 ballet by Ph. Quinault and J.-B. Lully (n. 34) was sung in the opera. The printed libretto is dedicated to Cardinal Pietro Ottoboni. The score to the complete opera, D-AN ms. VI g 39, is attributed to “Carlo Francesco Polaroli.” Characters and their associated clefs are Termanzia (S), Eucherio (S) and Lucillo (S); Onorio (A) and Placidia (A); Marcellino (T); and Stilicone (B). The scoring is S/B unless otherwise indicated. 1 (ff. 1-4v) [CARLO POLLAROLO]. Chiede pace e pace havrà, A/B, D major. For Onorio in I:1 of ONORIO IN ROMA (Venice 1692), as all arias below. Accompanied by TrTrATB instruments in the score to the complete opera, D-AN ms. VI g 39 (see TERMINI, pp. 313, 626). Headed “Con istrumenti [Francesco] Pistocchi” (the singer of the role) in I-MOe Mus. G.324, n. 1, ff. 1-2 (musical incipits for entire ms. in RISM online). Barb. lat. 4165-4166

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2 (ff. 5-8v) [POLLAROLO]. Può sperar di goder un core amante, A major. For Lucillo in I:2. Preceded by a TrTrATB ritornello in D-AN VI g 39, where the part in C4 clef is labeled “v[iol]a 2a” (TERMINI, p. 626). Headed Giovanni Secondo “Oselia” in I-MOe Mus. G.324, n. 2, ff. 3-4. 3 (ff. 9-12v) [POLLAROLO]. A voi torno o guanc[i]e intatte, A/B, C major. For Onorio in I:4. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 626). Headed “Pistocchino” in I-MOe Mus. G.324, n. 3, ff. 5-6. Anonymous in GB-Lam 128, pp. 182-183, headed “S. G.G.” [Teatro S. Giovanni Grisostomo]; and in GB-Lbl Harley 1272, f. 50v (S/B, A major). 4 (ff. 13-16v) [POLLAROLO]. Amerò se ben son reso disperato in ria catena, B! major. For Eucherio in I:5. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 626). Headed Antonio Romolo “Ferrini” in I-MOe Mus. G.324, n. 4, ff. 7-8. Barb. lat. 4166 5 (ff. 17-20v) [POLLAROLO]. Amar e non temer, no, non si può, A major. For Termanzia in I:6. With TrB instruments (“violini unisoni”), followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 626). Headed “Diana” in I-MOe Mus. G.324, n. 5, ff. 9-14. RISM gives a possible identification of the singer as Diana Margherita Aureli (RISM ID 850013868). 6 (ff. 21-23v) [POLLAROLO]. Qui per poco ferma il piè, T/B, C major. For Marcellino in I:7. Followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 626). Headed “Dionisio” in I-MOe Mus. G.324, n. 6, ff. 15-16. 7 (ff. 24-27v) [POLLAROLO]. Non è questa la bella ch’à l’anima, D minor. For Lucillo in I:9. The Venetian libretto has “alma” instead of “anima.” Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 626). Headed “Oselia” in I-MOe Mus. G.324, n. 7, ff. 17-18. 8 (ff. 28-31v) [POLLAROLO]. Pensieri del mio amor datevi pace, A/B, F major. For Placidia in I:10. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 627). Headed “Trombettina” [= Lucrezia Pontissi] and with the text for only str. 2 (Lusinghe del mio sen partite a volo) in I-MOe Mus. G.324, n. 8, ff. 19-20, whereas the 1692 libretto gives a da capo aria. 9 (ff. 32-35v) [POLLAROLO]. S’amerà le tue bellezze, le grandezze, B/B, C minor. For Stilicone in I:10. With TrTrATB instruments in D-AN VI g 39 (TERMINI, p. 627). Headed Pietro “Mozzi” in I-MOe Mus. G.324, n. 9, ff. 21-22. 10 (ff. 36-38v) [POLLAROLO]. Dove andate, luci amate, belle scorte del mio piè, A/B, D minor. For Onorio in I:11. TERMINI, p. 627. Headed “Pisto[cchi]” in I-MOe Mus. G.324, n. 10, ff. 23-24.

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11 (ff. 40-43v) [POLLAROLO]. Chi ben ama dona il core, B! major. For Termanzia in I:11. Preceded by a TrTrATB ritornello and with “4 violini invece di bassi” in D-AN VI g 39 (TERMINI, p. 627). Headed “Dianina” and “suonano solo violini senza alcun basso” in I-MOe Mus. G.324, n. 11, ff. 25-26. Anonymous in GB-Lam 128, p. 188 (headed “S. G.G.”). 12 (ff. 44-47v) [POLLAROLO]. Non vorrei ch’il core amante, A/B, E minor. For Onorio in I:13. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 627), where it is str. 2. Headed “Pistocchino” in I-MOe Mus. G. 324, n. 12; str. 1: Non vorrei che diventasse di contento in sen timor, instead of “… core amante mi pungesse o rio timor,” (ff. 27-28). 13 (ff. 48-51v) [POLLAROLO]. T’intendo, Cupido, mi vuoi tormentar, E! major. For Eucherio in I:14. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 627). Headed “Ferrini” and given a slightly altered text incipit (Ho inteso Cupido) in I-MOe Mus. G.324, n. 13, ff. 29-30. 14 (ff. 52-55v) [POLLAROLO]. Ho un certo cor in sen che non serba velen, A/B, D major. For Placidia in I:15. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 627). Headed “Trombettina” in I-MOe Mus. G.324, n. 14, ff. 31-32. 15 (ff. 56-59v) [POLLAROLO]. È più dolce Amor al seno, C major. For Termanzia in I:16. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 627). Headed “Dianina” in I-MOe Mus. G.324, n. 15, ff. 33-34. Anonymous in GB-Lam 128, pp. 195-196 (headed “S. G.G.”). 16 (ff. 60-63v) [POLLAROLO]. Renderà ragione il ferro, T/B, F major. For Marcellino in II:1. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 628). Headed “Dionisio” in I-MOe Mus. G.324, n. 16, ff. 35-36. 17 (ff. 64-67) [POLLAROLO]. Chi nacque alle glorie mentire non sa, B/B, D minor. For Stilicone in II:2. Followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 628). Headed “Mozzi” in I-MOe Mus. G.324, n. 17, ff. 37-38. 18 (ff. 68-71v) [POLLAROLO]. Voi, sì, sì, vaghe mie stelle, G major. For Lucillo in II:4. Preceded by a TrATB ritornello in D-AN VI g 39 (TERMINI, p. 628). Headed “Oselia” in I-MOe Mus. G.324, n. 18, ff. 39-40. 19 (ff. 72-79v) [POLLAROLO]. La speranza in chi ben ama, str. 2: La costanza in chi ben ama, A major. For Placidia (str. 1) and Termanzia (str. 2) in II:6. Each strophe is preceded by a TrTrATB ritornello in D-AN VI g 39, in which str. 1 is notated in D major in alto clef for Placidia, and str. 2 is marked “alla 4.a bassa” (in A major) for Termanzia, in soprano clef (TERMINI, p. 628). The strophes are numbered separately in I-MOe Mus.

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G.324: n. 19 is headed “Trombettina” (ff. 41-42, with three sharps in the signature) and n. 20 is headed “Diana” (ff. 43-44, with two sharps). Anonymous in GB-Lam 128, p. 177 (Tr/B, D major, headed “S. G.G.”), and GB-Lbl Harley 1272, f. 52. 20 (ff. 80-83v) [POLLAROLO]. Alma mia, v’è ancor speranza, C minor. For Eucherio in II:7. With TrB instruments (“violini unisoni”) and followed by a TrATB ritornello in D-AN VI g 39 (TERMINI, p. 628). Headed “Ferrini” and “più vv. all’unisono” in I-MOe Mus. G.324, n. 21, ff. 45-50. 21 (ff. 84-85v) [POLLAROLO]. Goda Roma, il Tebro esulti, A/B, D major. For Onorio in II:9. With instruments scored TrTrTrTrAB (“aria con trombe overo oboe e tutto il concerto raddoppiato”) in D-AN VI g 39 (TERMINI, p. 628). CELANI and BARONCI listed this aria as “L’oda Roma.” 22 (ff. 86-91v) [POLLAROLO]. Amori venite, danzatemi in sen, str. 2: Contenti porgete conforto al mio cor, SA/B, G major. Strophe 1 is for Termantia and Onorio; str. 2 for Lucillo and Placidia in II:9. With instruments scored TrTrATBB (“tutto il concerto”) in D-AN VI g 39 (TERMINI, p. 628). 23 (ff. 92-95v) [POLLAROLO]. Punto un dì da un’ape ascosa, G minor. For Eucherio in II:11. TERMINI, p. 628. Headed “Ferrini” in I-MOe Mus. G.324, n. 22, ff. 51-52. 24 (ff. 96-99v) [POLLAROLO]. Muterò lo scettro in folgore, A/B, C major. For Onorio in II:13. With TrAAB instruments in D-AN VI g 39 (TERMINI, p. 628). The Venetian libretto reads “fulmine” instead of “folgore.” Headed “Pisto[cchi]” in I-MOe Mus. G.324, n. 23, ff. 53-57. 25 (ff. 100-103v) [POLLAROLO]. In quel piè legato ho il core, A/B, A minor. For Placidia in II:14. With TTB instruments (“quest’aria va accompagnata da due viole, e dal violone solo con la tiorba”) and followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). Headed “Trombettina” and “2 violoncelli” in I-MOe Mus. G.324, n. 24, ff. 59-61v. 26 (ff. 104-106v) [POLLAROLO]. Secondami, o sorte, arridi al mio onor, B/B, F major. For Stilicone in II:15. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). Headed “Mozzi” in I-MOe Mus. G.324, n. 25, ff. 63-64. 27 (ff. 108-111) [POLLAROLO]. Sol per farvi amar dai cori, D major. For Lucillo in II:16. Followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). Headed “Oselia” in I-MOe Mus. G.324, n. 26, ff. 65-66v (RISM gives Sol per farsi amar). 28 (ff. 112-115v) [POLLAROLO]. Ho un’alma, o mio nume, A major. For

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Termanzia in II:17. With TrB instruments (“aria con violini unisoni”) and followed by a TrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). Headed “Dianina” in I-MOe Mus. G.324, n. 27, ff. 67-71v. Anonymous in GB-Lam 128, pp. 178-179 (headed “S. G.G.”), and GB-Lbl Harley 1272, f. 49. 29 (ff. 116-119v) [POLLAROLO]. Chi mi presta un’altro core, A/B, E minor. For Onorio in II:19. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). Headed “Pisto[cchi]” in I-MOe Mus. G.324, n. 28, ff. 73-74v. 30 (ff. 120-123) [POLLAROLO]. Posso ben morire, o bella, G minor. For Eucherio in III:1. TERMINI, p. 629. Headed “Ferrini” in I-MOe Mus. G.324, n. 29, ff. 75-76. 31 (ff. 124-127v) [POLLAROLO]. Siete vago, siete bello, A/B, G major. For Placidia in III:2. Accompanied by a TrTrB (“concertino dentro la scena”) and TrTrATB (“concerto grosso”) in D-AN VI g 39 (TERMINI, p. 629). Headed “Trombettina” in I-MOe Mus. G.324, n. 30, ff. 77-78. Anonymous in GBLam MS 128, pp. 196-197 (Tr/B, D major, headed “S. G.G.”), and GB-Lbl Harley 1272, f. 38v (C major). 32 (ff. 128-131v) [POLLAROLO]. Tolta Amor la corda all’arco, D major. For Lucillo in III:4. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 629). A likely substitute for this aria is discussed below (see Barb. lat. 4169, n. 5 and comments below). 33 (ff. 132-135) [POLLAROLO]. Vacillante è il regno mio, A/B, G minor. For Onorio in III:5. Accompanied by SATB strings (“aria accompagnata da istrom[en]ti d’arco soli”) in D-AN VI g 39 (TERMINI, p. 629). Headed “Pisto[cchi]” in I-MOe Mus. G.324, n. 33, ff. 83-84v. 34 (ff. 136-137) [JEAN-BAPTISTE LULLY]. Suivons l’aimable paix qui nous appelle, str. 2: Nous fuyons le beauté toujours sévère, C major. For Termanzia in III:6. Termed “aria francese” in the score, D-AN VI g. 39 (TERMINI, p. 630). Headed “Diana” in I-MOe Mus. G.324, n. 34, f. 85r-v. Anonymous in GB-Lam 128, p. 183 (headed “S. G.G.”) and I-Rama A.3978, f. 176. The poem by Quinault was set to music as a duet by J.-B. Lully (TrS/B) in their Ballet du Temple de la Paix (Fontainebleau 1685), p. 102 (LWV 69/25). 35 (ff. 138-143) [POLLAROLO]. Usignoli che cantate, str. 2: Venticelli che battete, A/Tr, C major. Headed “aria con un violino” (i.e., without continuo). Strophe 1 for Onorio and str. 2 for Termantia in III:6. Accompanied by Tr (“aria con violini soli senza altro accompagnamento”), then followed by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 630). Headed “a 2. Pistocchino e Diana” in I-MOe Mus. G.324, n. 35, ff. 87-89v. Anonymous in

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GB-Lam 128, pp. 198-200 (Tr/Tr; str. 1 in C major, str. 2 in G major, headed “S. G.G.”). 36 (ff. 144-145v) [POLLAROLO]. Quanto può, quanto sa la destra, e l’asta, T/B, E minor. For Marcellino in III:7. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 630). Headed “Dionisio di Roma” in I-MOe Mus. G.324, n. 36, ff. 91-92. 37 (ff. 146-49v) [POLLAROLO]. Con la punta della spada, o Fortuna, B/B, A minor. For Stilicone in III:8. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 630). Headed “Mozzi” in I-MOe Mus. G.324, n. 37, ff. 93-94. 38 (ff. 150-153v) [POLLAROLO]. Fiamma del dio d’amor, A/B, G major. For Placidia in III:9. TERMINI, p. 630, provides the theme in D-AN VI g 39. Headed “Trombettina” in I-MOe Mus. G. 324, n. 38, ff. 95-96v. 39 (ff. 154-157v) [POLLAROLO]. Amore ch’ha l’ali volante mi fa, C major. For Lucillo in III:10. With TrTrATB instruments in D-AN VI g 39 (TERMINI, p. 630). Headed “Oselia” in I-MOe Mus. G.324, n. 39, ff. 97-98v. 40 (ff. 158-161v) [POLLAROLO]. A voi cara, a voi confido, A/B, G major. For Placida in III:11. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 630). Headed “Trombettina” in I-MOe Mus. G.324, n. 40, ff. 99-100. 41 (ff. 162-165v) [POLLAROLO]. Alimento del mio core in Amor è la speranza, C major. For Termanzia in III:11. Preceded by a TrTrATB ritornello in D-AN VI g 39 (TERMINI, p. 630). Anonymous in GB-Lam 128, p. 184 (headed “S. G.G.”). 42 (ff. 166-169v) [POLLAROLO]. Corteggiato dal trofeo non più reo comparirò, F# minor. For Eucherio in III:14. With AB instruments (“aria con violette unisoni”) in D-AN VI g 39 (TERMINI, p. 630). Headed “Ferrini” in I-MOe Mus. G.324, n. 41, ff. 101-104. Bound in brown leather (112 × 268 mm). The gold embossing is identical to that on Barb. lat. 4164 and 4165, and similar or identical to that for Barb. lat. 4135, 4154-4155, 4167 and 4169-4170. See 4164 for a description. Edges are gilt. The previous shelfmark XLVII.37 is written in black ink inside the front cover by a modern hand. The usual Roman watermark, found on thirty folios between f. 6 and f. 166, is a stag in a circle with a P above, similar to HEAWOOD n. 3850. The other Roman watermark, found on seven folios between f. 9 and f. 152, is a fleur-de-lis in two concentric circles, similar to HEAWOOD nn. 1591-1592. The foliation in pencil is re-

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cent. Both flyleaves are blank and detached from the binding. Blank staves only are on ff. 39 and 107. The copyist, probably the Roman professional Flavio Lanciani, also copied Barb. lat. 4154 (q.v.)-4155, 4159, 4160 (copyist A), 4164-4165, 4167, 4169-4170 and 4171 (copyist A). The Venetian libretto (online in MdZ with some defective pages) is dedicated to Cardinal Pietro Ottoboni, nephew of the recently deceased Pope Alexander VIII (SARTORI, n. 17101 and ALM, n. 386). SAUNDERS, pp. 139-140, and TERMINI, pp. 313 and 587, discuss the score to the complete opera, D-AN VI g 39 (Onorio in Roma … musica del Sr. Carlo Francesco Polaroli). TERMINI, pp. 626-630, gives the themes for forty-six vocal and six instrumental pieces, plus six “canzonette aggiunte” (printed at the end of some copies of the libretto). Forty-two of the original forty-six vocal pieces are in Barb. lat. 4166, and their themes, keys and vocal clefs are the same as those found in the complete score. The four missing pieces are TERMINI, pp. 626 and 629-630, nn. 9, 44, 48 and 57b. TERMINI n. 44 and one of the “canzonette aggiunte” (TERMINI n. 19) are Barb. lat. 4165, nn. 11 and 30. The contents of Barb. lat. 4166 are given in the same order as in I-MOe G.324, where a singer is named at the head of almost every aria. The singers’ names (which are not in the Venetian libretto) are also given in I-Vnm It.Cl.IV, 748 (= 10466), ff. 44-100, which lists the casts for S. Giovanni Grisostomo productions of 1678-1766. SAUNDERS, pp. 447-466, transcribes those for 1678-1714 and provides the cast for the 1692 ONORIO on p. 455. Both mss. list Francesco Pistocchi for Onorio (A), Diana Aurelia for Termanzia (S), Lucrezia Pontissi detta la Trombettina for Placidia (A), and Pietro Mozzi for Stilicone (B). The Modena anthology lists Antonio Romolo Ferrini for Eucherio (S) and Giovanni Secondo Oselia for Lucillo (S), while the Venetian ms. switches their roles. Only the Modenese anthology provides the name “Dionisio di Roma” for Marcellino (T). Since the Modenese anthology was undoubtedly copied during or shortly after the run of ONORIO IN ROMA, its assignments are more credible. The singers listed above also performed in IBRAIM SULTANO, which was performed during the same carnival season at San Giovanni Grisostomo (see SAUNDERS, pp. 454-455 and the commentary to Barb. lat. 4165). As shown above, I-MOe G.324 lacks Barb. lat. 4166, nn. 21-22, 32 and 41. It does, however, have arias that are not in Barb. lat. 4166. Lucillo’s arias in III:3-4 provide two examples that involve three Barb. lat. manuscripts. In the Venetian libretto and score, D-AN VI g 39, Lucillo sings Chi non soffre in amor non gode, no, no in III: 3 and Tolta Amor la corda all’arco in III: 4 (TERMINI, p. 629). Chi non soffre is n. 31 in I-MOe G.324, ff. 79-80, and n. 11 in Barb. lat. 4165. Tolta Amor is n. 32 in Barb. lat. 4166,

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but was apparently replaced by n. 32 in I-MOe G.324, ff. 81-82, Strinse lo strale amor, which is also in Barb. lat. 4169, n. 5. Strinse lo strale amor is not among the arias in the Venetian libretto or score, yet the Modenese anthology assigns it to Giovanni “Oselia,” so he presumably sang it at some performances of ONORIO IN ROMA. The only other significant collection of arias for ONORIO IN ROMA is GBLam 128, a Venetian ms. that contains thirty-one arias derived from four opera productions at S. Giovanni Grisostomo in 1691-1692 (pp. 153-200). As noted in the above entries, nine of them are concordant with Barb. lat. 4166, nn. 3, 11, 15, 19, 28, 31, 34-35 and 41. Barb. lat. 4166-4167

Barb. lat. 4167 1692 ca., 101 × 268 mm, I.126.I ff., 4 staves, one hand

Anthology of twenty-four arias performed in Roman productions of 1692. Twenty are from IL MAURITIO, libretto by Adriano Morselli for Venice 1687; original music by Domenico Gabrielli revised by Severo De Luca for Rome, Teatro di Tordinona, carnival 1692. One aria is from L’ERACLEA O VERO IL RATTO DELLE SABBINE, libretto by Nicolò Minato for Vienna, 1674; text and music rewritten — presumably by Silvio Stampiglia and Giovanni Bononcini — for Rome, Teatro di Tordinona, carnival 1692. One aria is from AMOR VINCE LO SDEGNO O VERO L’OLIMPIA PLACATA, libretto by Aurelio Aureli, music by Domenico Freschi for Venice 1681; Alessandro Scarlatti composed a new score for Naples 1686, which was revised by Francesco Gasparini for Rome, Teatro Capranica, carnival 1692. Two arias — the anonymous n. 11 and Sabadini’s n. 24 — have not yet been found within a dramatic work. The setting is S/B unless otherwise indicated. 1 (ff. 1-11v) [SEVERO DE LUCA]. Spiritoso. Per me non la so intendere, S/ TrB, C minor. For Mauritio in I:11 of MAURITIO (Rome 1692). Attributed to “S.r Severo” in D-MÜs Hs. 172, ff. 61-64 (S/B); misattributed to Alessandro Scarlatti in GB-Lbl Harley 1273, f. 71-73 (S/TrB). Anonymous among Roman arias in BAV Barb. lat. 4152, n. 5 (S/B); D-MÜs 595, ff. 83-88; and I-Rc 2465, ff. 127-36v (S/TrB). Domenico Gabrielli’s different setting for Venice 1687 appears anonymously in Barb. lat. 4140, n. 34; F-Pn Vm7 5, ff. 176-177; and I-MOe Mus. G.78, n. 18. Alessandro Scarlatti set a similar incipit, Per me non so intendere, for Lisetta in I:4 of GLI EQUIVOCI NEL SEMBIANTE (Rome 1679); see the edn by F.A. D’Accone, Cambridge, MA 1982 (The Operas of Alessandro Scarlatti, 7), p. 54.

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2 (ff. 13-22) [DE LUCA]. Alma, se non mi vendico, S/TrB, D major. For Cirene in III:8 of MAURITIO; see n. 1 above. “Del sig.r De Luca” in BAV Chigi Q.IV.34. ff. 17-20v. Anonymous in D-MÜs 595, ff. 63-68; I-PAVu 423, ff. 54v-56v; and I-Rc 2465, ff. 175-184 (S/TrB). Barb. lat. 4167 Gabrielli’s different setting for Venice 1687 occurs in Barb. lat. 4140, n. 12 (S/B, A minor), q.v. for other sources. An anonymous third setting is GB-Lbl Harley 1273, f. 11.

3 (ff. 23-26v) [GIOVANNI BONONCINI?]. Ad[agi]o. Attende il cor mio presagio dal ciel, G minor. Aria for Romolo in I:17 of ERACLEA (Rome 1692). 4 (ff. 27-30v) [DE LUCA]. Parmi d’amar ancora, non amo più, no, no, B! major. For Cirene in II:7 of MAURITIO (Rome 1692). Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 49-52. D. Gabrielli’s original aria for this text, also for II:7, is Barb. lat. 4140, n. 17 (q.v. for other copies).

5 (ff. 31-34v) [DOMENICO GABRIELLI / rev. DE LUCA]. Più non voglio amarlo, acquietati mio cor, G major. For Cirene in I:7 of MAURITIO (Rome 1692). Attributed to Severo de Luca in I-Rsc G.392, ff. 47-50v (B! major). Anonymous in Barb. lat. 4152, n. 13 (B! major); D-MÜs 595, ff. 111-14v (G major); I-MOe Mus. G.78, no. 8; and I-Rc 2465, ff. 27-30. Attributed to Domenico Gabrielli in I-MOe Mus. F.417, ff. 33-34v, the score for the Modena 1689 production. De Luca made small changes to Gabrielli’s aria. 6 (ff. 35-38v) [GABRIELLI]. Sotto l’ombra di placidi mirti, G major. Aria for Mauritio in I:1 of MAURITIO (Venice 1687, Rome 1692). Anonymous in the Roman collections, Barb. lat. 4152, n. 15; D-MÜs 595, ff. 53-56v; and I-Rc 2465, ff. 71-74v. Also anon. among Venetian arias in Barb. lat. 4139, n. 9; Barb. lat. 4140, n. 19; Barb. lat. 4142, n 15; F-Pn Vm7 5, ff. 195-96v; and I-MOe Mus. G.78, n. 35, ff. 80-81v. 7 (ff. 39-42v) [DE LUCA]. Che m’inganni quel bel volto, nol posso credere, C major. For Placilla in II:6 of MAURITIO (Rome 1692). Also in the anon. Roman collection I-Rc 2465, ff. 55-58v. The aria is not in the score for Venice 1687. Same text but different music for Venice 1687 in Barb. lat. 4140, n. 15 and elsewhere (q.v., for other copies).

8 (ff. 43-50) [GABRIELLI]. Col destin voglio contendere, B! major. For Ergilda in I:4 of MAURITIO (Venice 1687, Rome 1692). Also anon. among Roman arias in Barb. lat. 4152, n. 4; D-MÜs 595, ff. 89-96; and I-Rc 2465, ff. 93-98v. Anonymous among Venetian arias, as in Barb. lat. 4140, n. 24 and elsewhere (q.v. for further copies).

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9 (ff. 51-54v) [DE LUCA]. S’inganna chi crede co’l ciglio adescarmi, F major. Aria for Ergilda in III:11 of MAURITIO (Rome 1692). The libretto reads “chi spera” insted of “chi crede.” Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 37-38, which has only the A section; the B section and writtenout da capo are in Chigi Q.IV.50, ff. 39-40v. 10 (ff. 55-58v) [DE LUCA]. Allegro. Perdona se vuoi col ciel garreggiar, D major. Aria for Ergilda in III:10 of MAURITIO (Rome 1692). Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 13-15v. Same text but different music in Barb. lat. 4140, n. 39, Gabrielli’s setting for Venice, 1687, q.v. for further concordances.

11 (ff. 59-62v) Ti lascio l’alma in pegno, bella se parte il piè, D major. Not compared with the anon. I-MOe Mus. G.78, n. 22 (which is nowhere listed among arias from Legrenzi’s setting of Il Giustino). The same incipit, Ti lascio l’alma in pegno, bella se parte il piè, was set by Legrenzi for Anastasio in I:3 of IL GIUSTINO, Venice, Teatro San Luca, 1683. Legrenzi’s aria occurs in three scores to the opera: I-Nc Rari 6.5.4 (= 32.3.32), ff. 37-39, I-Rc 2572, ff. 10-11; and I-Vnm It.IV, 426 (= 9950), ff. 7v-8. A modern edn is Luciano Bettarini, ed., Milan, Nazionalmusic, 1980, pp. 27-30. Legrenzi’s aria also appears in six collections: I-Nc 33.4.5 (Arie 228, online access), ff. 6-7; I-Nc 33.4.14B (Cant. ibr. 3B), n. 24; I-Nc 34.5.7 (Cantate 265, online access), n. 69; I-Vqs 1435, ff. 75-76v; I-Vlevi CF.D.19, ff. 8v-10; and US-BEm 117, ff. 61-64. (See PASSADORE-ROSSI, p. 277, n. 21; EMANS, p. 495, n. 814, and RISM online). The printed libretto for the Rome 1695 production of Il Giustino, with music by Luigi Mancia, has a different aria for Anastasio in I:3, Mio ben, se parte il piè, non parte il core (da capo aria).

12 (ff. 63-66v) [GABRIELLI and DE LUCA?]. Cupido troppo fiero, i dardi m’avventò, C major. For Cirene in II:21 of MAURITIO (Venice 1687; II:20 in Rome 1692). Attributed to “De Luca” in BAV Chigi Q.IV.34, ff. 41-44v. De Luca might have revised Gabrielli’s setting for Venice 1687, which occurs in I-MOe Mus. G.78, n. 28, and Barb. lat. 4140, n. 20, q.v. 13 (ff. 67-72) [DE LUCA]. Che dolce vendetta io penso di far, D minor. Aria for Mauritio in III:4 of MAURITIO (Rome 1692, as “… ch’io penso di far”). Also anon. in I-Rc 2465, ff. 157-161v, and D-MÜs 595, ff. 37-42. Gabrielli’s setting for Venice 1687 occurs in Barb. lat. 4140, n. 5, q.v. for other concordances.

14 (ff. 73-77v) [DE LUCA]. Mi dice la Speranza, che cert’ ho da goder, G major. For Placilla in I:6 of MAURITIO (Rome 1692). Also anon. and in B! major in Barb. lat. 4152, n. 6, and I-Rc 2465, ff. 67-70v. Gabrielli’s setting for Venice 1687 occurs in I-MOe Mus. G.78, n. 15 (anon.),

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and in the score for the Modena 1689 production, I-MOe Mus. F.417, ff. 30v-32, which is attributed to “Domenico Gabrielli.”

15 (ff. 79-82v) [DE LUCA]. Di te, o barbaro, non teme la mia costanza, D minor. Aria for Cosdroe in III:3 of MAURITIO (Rome 1692). Also anon. among Roman arias in D-Mbs 11406, ff. 74-75, and I-Rc 2465, ff. 107-11v (T/B). Gabrielli’s setting for Venice 1687 occurs in Barb. lat. 4139, n. 17 and Barb. lat. 4142, n. 4, both A/B, q.v. for other concordances. SARTORI 1980, p. 551, incorrectly implies that Barb. lat 4142 and 4167 are the same musical setting.

16 (ff. 83-88) [GABRIELLI]. Un guardo ch’è sereno m’intorbida la pace, A major. Aria for Mauritio in I:5 of MAURITIO (Venice 1687, Rome 1692). The Roman production of 1692 retained Gabrielli’s 1687 setting. The aria occurs among Venetian arias in Barb. lat. 4140, n. 14, and I-MOe Mus. G.78, n. 21. It is also anon. among Roman arias in Barb. lat. 4152, n. 1; Chigi Q.IV.48, ff. 43-45v (D major); D-MÜs 595, ff. 57-62, and I-Rc 2465, ff. 75-79. 17 (ff. 89-92v) [GABRIELLI]. Dispensiera d’april, destra tanto gentil, C major. Aria for Mauritio in II:1 of MAURITIO (Venice 1687, Rome 1692). Same as Barb. lat. 4140, n. 44, where further concordances are listed. Also anon. among Roman arias in Barb. lat. 4152, n. 21; I-Rc 2465, ff. 163-66v; and D-MÜs 595, ff. 101-104v. 18 (ff. 93-100) [GABRIELLI]. Venticelli che tacete, rispondete, A minor. For Mauritio in II:11 of MAURITIO (Rome, 1692). Same as the first two sections of Barb. lat. 4152, n. 22, q.v. for further concordances and information. 19 (ff. 101-103v) [DE LUCA?]. Sarò tuo, sarai mia, sì, mio tesoro, sì, A/B, E minor. Aria for Ircano in II:6 of MAURITIO (Venice 1687; II:5 in Rome 1692). Anonymous in I-Rc 2465, ff. 59-61v. Although the aria occurs in the Venetian collection I-MOe Mus. G.78, n. 19, it is not in the Venetian score of Mauritio. It is presumably by De Luca or was revised by him. 20 (ff. 105-108v) [DE LUCA]. Parea ch’ il bel seren d’un ingemmato ciel, A/B, A minor. Aria for Ircano in II:20 of MAURITIO (Rome 1692). Also anonymous I-Rc 2465, ff. 171-74v, and in Barb. lat. 4152, n. 16 (S/B, E minor). 21 (ff. 109-112) [DE LUCA]. Mi fulminate a torto, luci vezzose e belle, C minor. Aria for Ergilda in II:16 of MAURITIO (Rome 1692). Attributed to De Luca in BAV Chigi Q.IV.34, ff. 21-23v. Anonymous in I-Rc 2465, ff. 39-42, and D-MÜs Hs. 565, ff. 43-46. Differs from Gabrielli’s setting for Venice 1687, which occurs in Barb. lat. 4140, n. 8, q.v. for further concordances.

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22 (ff. 113-116) [DE LUCA]. Consolati che Amor per te ancor, D minor. Aria for Placilla in III:7 of MAURITIO (Rome 1692). Also anon. in I-Rc 2465, ff. 149-51v. Gabrielli’s setting for Venice 1687 occurs in Barb. lat. 4140, n. 7, q.v. for further concordances.

23 (ff. 117-119v) [FRANCESCO] GASPERINI. Mi tradisti, e poi crudele, B! major. For Olimpia in I:2 of AMOR VINCE LO SDEGNO [OLIMPIA PLACATA] (Rome 1692). In the libretto, this aria is preceded by the sign “ –,” indicating that it was not in OLIMPIA VENDICATA of Venice 1682 or Naples 1686, but was added “dall’autore medesimo della Rosaura,” that is, by Giovanni Battista Lucini, librettist of GL’EQUIVOCI IN AMORE, which — like AMOR VINCE LO SDEGNO — was performed during carnival 1692 at the Teatro Capranica. 24 (ff. 121-126) D. BER.O SABATINI. Mi torna nel core la gioia e il piacer, T/B, C minor. Among arias copied for Cardinal Pietro Ottoboni in March 1692, Mi torna nel core appears among arias sung in the Roman production of MAURITIO (MARX-Ottb, pp. 130-131, n. 40). Bound in brown leather (110 × 268 mm), with gold embossing on spine and covers identical to that on Barb. lat. 4154-4155, 4164-4166 and 41694170; see Barb. lat. 4154 for a description. Edges gilt. The previous shelfmark XLVII.38 is written by a modern hand in black ink inside the front cover. The ubiquitous watermark is a deer in one circle with the letter P above (ff. 3, 7, 11, 13, etc.), similar to HEAWOOD n. 3850. A fleur-de-lis within concentric circles, found (only?) on f. 32, is similar to HEAWOOD nn. 1591-1592. The end flyleaf, f. [127], has a circle, within which are three hills beneath a five-pointed crown, with a V to the right of them. The foliation in pencil is modern. Both flyleaves are blank; blank staves only are on ff. 12, 78, 104, and 120. The copyist, probably the Roman professional Flavio Lanciani, also was responsible for Barb. lat. 4154 (q.v.)-4155, 4159, 4160 (Hand A), 4164-4166, 4169-4170, and 4171 (Hand A). As in other mss. copied by him, strapwork initial letters open each aria and da capo sections are written out. Twenty arias from the Roman production of MAURITIO in February 1692 at the Teatro di Tordinona appear in Barb. lat. 4152 and 4167. No earlier edition of the libretto had named a poet, and the Roman edition incorrectly named “Nicolò Minati” (rather than Adriano Morselli) on its title page (available through the CORAGO portal; see also SARTORI, n. 15279, or FRANCHI, 1692/5). Libretti survive for seven earlier productions; five of them name Domenico Gabrielli as the composer of “musica singolare”

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(SARTORI, nn. 15271-15278). Seven of the arias in Barb. lat. 4167 retain music by Gabrielli (nn. 5-6, 8, 12, and 16-18); the other thirteen were presumably composed by De Luca. Since n. 11 occurs in the midst of arias from MAURITIO, it may belong in the opera even though it is not in the Roman libretto. MARX-Ottb, pp. 130-131, includes n. 24 in MAURITIO, but without explanation. See the comments for Barb. lat. 4152 for further information. Severo De Luca is named as the composer of new settings for Mauritio in four Roman aria collections: BAV Chigi Q.IV.34, ff. 1-31v, 37-38 and 41-63v; I-Rsc G.392, ff. 13-16v and 47-50v; D-Mbs Mus. 11406, ff. 74-75v; and D-MÜs 172, ff. 61-64. The attributions to De Luca in Chigi Q.IV.34 and MÜs 172 are cited above for seven arias in Barb. lat. 4167 (nn. 1-2, 4, 9-10, 12, and 21). De Luca composed or revised at least five, and perhaps seven more arias in Barb. lat. 4167: nn. 7, 13-15 and 22, and perhaps nn. and 19-20. Barb. lat. 4167 may thus provide as many as fifteen new settings by De Luca, which is three more than the possible total provided by Barb. lat. 4152. The largest collection of arias for the Roman production of MAURITIO is I-Rc 2465, in which thirty-three of the thirty-eight arias are from MAURITIO. It includes sixteen of the twenty arias in Barb. lat. 4152 (nn. 1-2, 5-8, 1318, and 19-22). The next largest collection was a ms. copied for Cardinal Pietro Ottoboni in March 1692. Since Ottoboni’s volume is unknown, it is not listed above. At least twenty-nine of its 108 arias were from MAURITIO. They are itemized in MARX-Ottb, pp. 130-131, n. 33c, items 1-10, 40, 44-50, 52-56 and 59-64. Ten from this list also appear in Barb. lat. 4167 (nn. 1-2, 4-6, 12-13, 16 and 21-22). The third largest collection is Barb. lat. 4152. Its twenty arias from MAURITIO duplicate nine in Barb. lat. 4167 (nn. 1, 5-6, 8, 14, 16-18 and 20). Another significant Roman collection is D-MÜs 595. Its eighteen arias include nine from MAURITIO, all of which also appear in 4167 (nn. 1-2, 5-6, 8, 13, 16-17 and 21). See CAMETTI-TdN, vol. 2, pp. 351353, for further information about the production. One aria (n. 3) is from L’ERACLEA O VERO IL RATTO DELLE SABBINE, Rome, Teatro di Tordinona, text by Nicolò Minato (Vienna 1672), revised in 1692, perhaps by Silvio Stampiglia; music by Giovanni Bononcini. Other arias are in Barb. lat. 4161 and 4164. For the composer of n. 3 above, see the comments in Barb. at. 4164. The Roman libretto (FRANCHI 1692/2) is available through the CORAGO portal. One aria (n. 23) is from AMOR VINCE LO SDEGNO O VERO L’OLIMPIA PLACATA, Rome, Teatro Capranica, text by Aurelio Aureli (OLIMPIA VENDICATA, Venice 1682), with music by Alessandro Scarlatti for Naples 1686 revised by Scarlatti and Francesco Gasparini. For the composer of, n. 23 above,

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see LINDGREN 1981, pp. 6 and 179. The Roman libretto (FRANCHI 1692/8) is available through the CORAGO portal. Barb. lat. 4167-4168

Barb. lat. 4168 1640-1656 ca., 104 × 265 mm, [I].100.[I] ff., 3-4 staves, 2 hands

Anthology of thirty-seven Italian arias and cantatas. All but nine of the compositions bear the initials of the name of a Roman composer in the hand of the music copyist: Marco Aureli [= Giovanni Marcorelli], Carlo Caproli (del Violino), Giacomo Carissimi, Marc’Antonio Pasqualini, Luigi Rossi, and Mario Savioni. “C. M.” and “M. A.” remain undetermined (nn. 4, 13, 20). Two of the nine anonymous pieces come from the opera DAL MALE IL BENE (Rome 1654 and 1656) and can be attributed to Marco Marazzoli (nn. 34-35). They provide a terminus ante quem for most of the copying. Added much later at the end of the volume is an aria by Domenico Gabrielli (n. 37) from the Venetian opera IL MAURITIO, performed in Rome in 1692. Six pieces remain anonymous, nn. 22, 25, 27, 36, and nn. 3 and 26, which are incomplete. No poets are named, but they include Francesco Buti (n. 7), Giovanni Lotti (nn. 8, 11, 23), and Giulio and Giacomo Rospigliosi (n. 34). The first thirty-two compositions are for solo voice, of which nn. 6-32 are for soprano and basso continuo, the scoring unless otherwise indicated. Numbers 33-36 are four duets between one soprano and different other voices. Online in DVL. 1 (ff. 1-3) M. AU[RE]LI [GIOVANNI MARCORELLI]. Alma non prestar fede, T/B, C minor, multipartite aria. 2 (ff. 3v-8) M. AU[RE]LI [MARCORELLI]. Notte beata a cui sereni i giorni, T/B, A minor. The closing aria is Somma pietà quel che le stelle (2 strophes). 3 (ff. 8v-9) Untexted recitative and aria (incomplete), A/B, C minor. 4 (ff. 13-16) C. M. Se chi donna crudel serve et adora, T/B, G major, multipartite aria. A figure sketched in pencil stands in the tail of the elaborate initial S. Barb. lat. 4168 5 (ff. 16v-18) J. C[ARISSIMI]. No, no, non si speri, è morta la speme, A/B, C minor; 3 str., text only for str. 2-3. Musical incipit in WECIS 5/1. Modern edns are LANDSHOFF 1912, pp. 49-51, and FLORIDIA 1923, pp. 99-102 (an arrangement). 6 (ff. 18v-20) M. S[AVIONI]. No, no, non m’ innamoro più, A minor; 2 str.,

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text for str. 2 written below the continuo staves. The copyist had originally given the initials “M.P.” as an attribution, but struck through the letter P. Musical incipit in WECIS 2. Barb. lat. 4168 7 (ff. 20-21v) M. S[AVIONI]. Quella luce che s’indorò, B! major; 3 str., text only for str. 2-3. Musical incipit in WECIS 2. A version for SB/B is I-Bc Q.44, ff. 24v-25v. Another setting of the text by G. G. Kapsberger is KAPSPERGER 1632, p. 11, where the text with the subject title “Instabilità mondana” is attributed to Francesco Buti.

8 (ff. 22-23) M. A. P[ASQUALINI]. Non temo di morte, m’impiaghi, m’uccida, A minor. The original attribution (possibly M.S.) has been altered to the MAP monogram. A compositional draft in Pasqualini’s hand is Barb. lat. 4175, n. 27. The text is attributed to Giovanni Lotti in the anonymous concordance Barb. lat. 4220, n. 20 (q.v.), where two further attributions to Pasqualini are listed. MURATA n. 163. Erroneously ascribed to Luigi Rossi in RICCIARDELLI, p. 30, due to his matching incomplete incipits. 9 (ff. 23v-24v) C. V. [CARLO CAPROLI]. Deh, soffri mio core s’il cielo consente, C minor; 2 str., text only for str. 2. Another anonymous copy is Barb. lat. 4150, n. 7. This cantata is not listed in Grove Music Online, s.v. Caproli. AFFORTUNATO 2011 n. 27 does not list the concordance and gives a signature of three sharps. 10 (ff. 25-27) C. V. [CAPROLI]. Amor, te la perdono, ma non ci tornar più, D minor, 2 str. (The second strophe has the beginnings of a redundant, small decorated initial, which may be an incomplete letter S). Anonymous in BAV Barb. lat. 4150, n. 13, and Chigi Q.IV.5, ff. 59-60v; I-IBborromeo Misc. 5, ff. 158v-62v; and I-Vc Correr Busta 1.11, ff. [87v-91]. AFFORTUNATO 2011, n. 4 lists no concordances. This cantata is not listed in Grove Online, s.v. Caproli. 11 (ff. 27v-23v) M. A. P[ASQUALINI]. Bel volto m’ ancidi, C minor, aria. A compositional draft in Pasqualini’s hand is Barb. lat. 4175, n. 35. The text is attributed to Giovanni Lotti in the copy Barb. lat. 4220, n. 14, q.v. for further sources with attributions. MURATA n. 27. Despite citing concordant sources with attributions to Pasqualini, RICCIARDELLI, p. 30 ascribes this to Luigi Rossi. 12 (ff. 29-30) M. A. P[ASQUALINI]. Legate un pensiero che fai nel cor, A minor, aria. An anonymous copy is Barb. lat. 4175, n. 33. See Barb. lat. 4220, n. 26 for further attributions to Pasqualini and a text attribution to Luigi Ficeno. MURATA n. 131. Ascribed to Luigi Rossi in RICCIARDELLI, p. 30.

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13 (ff. 30v-33) M. A. [MARCORELLI?]. Ahi, che piangendo io taccio, C minor. The only aria is Chi non sa perch’ io mi dolga. 14 (ff. 34-39v) L[UIGI] R[OSSI]. Torna indietro, pensier, dove si va, D minor. Arias are Torna indietro (A minor, ed. in CALUORI 1981, vol. 1, n. XXII), Masnadiero il tormento è l’atroce compagnia (A minor), and Del silenzio ella si chiama (D minor, 2 str.). Attributed to Rossi in GB-Och 998, ff. 65-78v. Anonymous and defective in I-Ria 1, ff. 44-52v. Musical incipit in CALUORI, n. 193. 15 (ff. 40-41) M. S[AVIONI]. M’ ha lasciato la speme, a Dio contenti, G minor, R-1-R-2-R. Musical incipit in WECIS 2. 16 (ff. 41v-42v) M. S[AVIONI]. Occhi belli, un guardo solo, A minor; 2 str., text only for str. 2. Musical incipit in WECIS 2. 17 (ff. 43-44) M. S[AVIONI]. Fortuna, che fai? Tu dormi al mio bene, D minor; R-1-R-2-R, text only for str. 2. Also attributed to Savioni in I-Rc 2478, ff. 42-45v (barred in 43 and not in 46). Musical incipit in WECIS 2. 18 (ff. 44v-45v) M. S[AVIONI]. Mai non è labile, ma sempre stabile, D minor; 2 str., text only for str. 2. Musical incipit in WECIS 2. 19 (ff. 46-47) M. S[AVIONI]. Uccidimi dolore, hor ch’ in grembo alle pene, C minor; 2 str., text only for str. 2. Musical incipit in WECIS 2. 20 (ff. 47v-50) M. A. [MARCORELLI?]. Al’hor, ch’alto più ferve, C minor. The only aria is Più soffrir mio cor non sa (G minor). A different anonymous setting is I-Rc 2483, ff. 104-111, and GB-Och 959, ff. 95-100v.

21 (ff. 50v-52) M. S[AVIONI]. Non fuggir libertà, che furia è questa?, G minor. Musical incipit in WECIS 2. 22 (ff. 52-53) Crudeltà del mio thesoro, di minaccie si disarmi, C minor, 2 str. Strophe 2 was originally written out in poetic form at the end, but was later also underlaid below the continuo staves. 23 (ff. 53v-57v) M. S[AVIONI]. Una fede io sento stridere, G minor, cantata. Arias include O d’Amor possenti schiere (G minor) and S’abbatta, si franga, marked “presto” (G minor). Anonymous in I-IBborromeo AP.27. The musical incipit is in WECIS 2 and BOGGIO. The text is attributed to Giovanni Lotti in the different setting by M. A. Pasqualini, Barb. lat. 4220, n. 55.

24 (ff. 58-59) M. S[AVIONI]. O queste son quelle pupille serene, C major; 2 str., text only for str. 2. Rubrics include “adagio” and “presto.” The deco-

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rated initial is erroneously a letter Q instead of an O. Musical incipit in WECIS 2. 25 (ff. 59-61v) Che speranza, che conforto?, C minor, R-1-R-2-R; text for str. 2 written below the continuo staves for str. 1. Another setting by Arcangelo Lori is I-Rdp 51, pp. 14-18.

26 (f. 62) Partisti, hoimé, partisti, e pur son viva, C minor, incomplete, 16 12 bars only. Anonymous in F-Pn Rés. Vmd 26, ff. 50-53v. 27 (ff. 62v-65v) Già mai non sorge il sole, E minor, cantata. The only aria is Su presto desiri, su partiti homai. The final phrase is marked “ad[agi]o.” 28 (ff. 66-69v) M. S[AVIONI]. Un fulmine dimando, o maledetti rai, C minor, 2 str. Musical incipit in WECIS 2. 29 (ff. 69v-71v) M. S[AVIONI]. Ogn’un sento sospirare, C major, 2 str., but most of str. 2 is lacking. Musical incipit in WECIS 2. 30 (ff. 72-73) M. S[AVIO]NI. Ecco torno e ritorno ad adorarti, E minor, aria. Musical incipit in WECIS 2. 31 (ff. 73v-75v) M. P. Quant’è meglio esser suo, ch’esser d’altrui, E minor, in three parts, of which parts 1 and 2 are strophic. Rubrics include “presto.” This work is attributed to Mario Savioni in WECIS 2, which gives the musical incipit. It is attributed to “Tenaglia” in I-MOe Mus. G.216 (dated 1662), where it is headed “Amante pentito del suo amore” (available online at I-MO-BEU mus.g.216.pdf). A different setting of the text is GB-Ouf U.210.4, ff. 57-62, attributed to Arcangelo Lori.

32 (ff. 76-78) J. C[ARISSIMI]. Piangete ohimè piangete, anime innamorate, G minor; 2 str., text for str. 2 written below the continuo staves and at the end in poetic form. Attributed to Carissimi in GB-Lbl Add. 31502, ff. 8186v; an attribution in I-Bc X.235, n. 3 is not in the hand of the music copyist. Anonymous in I-GR Crypt. It. 4, ff. 17-[21]. Musical incipit in WECIS 5. A modern, but defective edition is PARISOTTI 1898, pp. 61-65; other modern editions include ISORI II 1913; PATON 1994; DALL’ALBERO/CANDELA. 33 (ff. 78v-84v) J. C[ARISSIMI]. Ahi, non torna ed io mi moro, SS/B, F minor. The opening aria and Sì, sì lieta il cor serena are S/B; in duet is O sempre quel dì felice per me. WHENHAM 1982, p. 242, has shown that this text has three strophes, which are not set to strophic music. Musical incipit in WECIS 5/1. An anonymous copy is Barb. lat. 4136, n. 23, q.v. for five further concordances and two modern editions.

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34 (ff. 85-87v) [MARCO MARAZZOLI]. Ohimè, chi mi consola, SA/B, G minor, str. 1 only. For Donna Elvira (S) and Don Fernando (A) in DAL MALE IL BENE, II:11 (Rome 1654, 1656). The duet is also anonymous in I-IBborromeo Misc. 8, no. 22, ff. 40-42. Marazzoli set all of act II; see Barb. lat. 4387 for details. The libretto is by Giulio and Giacomo Rospigliosi. 35 (ff. 88-92v) [MARAZZOLI]. O lusinga de’ mortali, 2 str: O sirene d’ogni petto, ST/B, G minor, 2 str. For Donna Leonora (S) and Don Diego (T) in DAL MALE IL BENE, II:4; see n. 34 above. Anonymous in I-GR Crypt.It. 3, ff. 250-259. 36 (ff. 93-95) [N]on ama un che non spera, SMs/B, A minor, aria. Also anon. in I-Nc 33.3.1, ff. 71v-72v, and 33.3.2 (I-II/a-b) [= Cantate 58 and 58(1), partbooks with Internet Culturale access]. 37 (ff. 98v-100v) [DOMENICO GABRIELLI]. Ricordati ch’è mio quel petto morbidetto, A/B, D major. Aria for Cosdroe in IL MAURITIO, I:9 (Venice 1687). In the score to the opera for Modena 1689 that is attributed to “Domenico Gabrielli,” it is A/B, E major, and followed by a TrTrATB ritornello (I-MOe Mus. F.417, ff. 38v-40). As Gabrielli’s 1687 setting, the aria exists anonymously in Barb. lat. 4139, n. 4 (S/B, B major) and Barb. lat. 4140, n. 16 (A/B, E major), q.v. for three further concordances. Other anonymous copies appear among arias from the Rome 1692 production, including Barb. lat. 4152, n. 10 (S/B, C major). For further information, see Barb. lat. 4152 and 4167, each of which includes twenty arias from IL MAURITIO produced at Rome in 1692. See also LINDGREN-Ven, p. 178. Bound in red leather (110 × 263 mm), elaborately embossed in gold on both covers and spine; the covers bear “fanfare” and tassel motifs and two Barberini bees on either side of the arms of Cardinal Antonio, jr, with a Maltese cross above the shield. On the spine is a pink Vatican sticker. Original ties on three sides are lacking. Gilt edges. Inside the front cover a modern hand wrote the shelfmark XLVII.39 in black ink. In uniform gatherings of two bifolios, all with the same Roman watermark (the letter F on three hills, in a shield, similar to Heawood n. 2616, dated Rome 1638); the same paper makes up Barb. lat 4175. The uniform gatherings and watermark suggest that the compositions were entered consecutively in an already constructed volume. In fact the handwriting is not uniform, nor are the styles of numerous finely drawn, historiated initials in pen and ink. Folio [101] is blank; blank staves only are on ff. 10-12. The foliation in pencil is modern. On the front flyleaf is drawn an unidentified coat-of-arms topped by a knight’s helmet and pinions and the motto “Rubet ubique” (RICCIARDELLI read “Ruret ubique.”) The 4-petaled flower, and two-pointed

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banner planted on three hills in the shield are tinted red. The paper ruled with three staves begins on f. 81. Copyist A seems to have copied all but n. 37, which is a much later addition by 4168-B. Elaborate, figured initials begin nn. 1-12; the same hand may have also done the much smaller initials for nn. 17, 24, and 31-33. From n. 13, the style and professional quality of the initials change markedly; seven have only simple letters and two lack initials. The last four items, nn. 34-37, lack both monograms and calligraphic initials. “M. Au.li,” and possibly also “M. A.,” represent Marco Aureli, that is, Giovanni Marcorelli, who first served in Rome at S. Maria in Trastevere 1641-1642, then at S. Maria in Vallicella April 1646-April 1647. He was chosen by the Duke of Altemps to compose one of the Lenten oratorios for Holy Year 1650 at the oratorio of the Crocifisso. The different initials may possibly also refer to two separate individuals. RICCIARDELLI resolved the attribution of nn. 1-2 as “M. Antonioli” (p. 29). “C. M.” is unknown.

Barb. lat. 4169 1692 ca., 101 × 266 mm, II.208.II ff., 4 staves, one hand

Anthology of fifty-one anonymous Venetian arias. They are from the four operas that are also represented in Barb. lat. 4165. Two were produced at the Teatro San Salvatore (San Luca); thirteen arias are from LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (autumn 1691), libretto by Francesco Silvani with music by Marc’Antonio Ziani; and thirty-two are from FURIO CAMILLO (carnival 1692), libretto by Matteo Noris with music by Giacomo Perti. Two operas were produced at San Giovanni Grisostomo; five arias are from L’IBRAIM SULTANO (carnival 1692), libretto by Adriano Morselli with music by Carlo Francesco Pollarolo; and one is from ONORIO IN ROMA (February 1692), libretto by Giovanni Matteo Giannini with music by Pollarolo. The scoring is S/B unless otherwise indicated (fourteen arias for A/B and three for T/B). Barb. lat. 4168-4169 1 (ff. 1-4) [GIACOMO PERTI]. Studio invan d’Enio sul foglio, A major. For Camillo in I:1 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” in the score to the opera F-Pn D.12644 (olim F-Pc). The score said to be located in the Berlin Staatsbibliothek was not consulted (D-B) for concordances for this or the arias below (it is not in RISM online). 2 (ff. 5-6v) [PERTI]. Vanne, vola, riedi alla bella, B! major. For Camillo in I:2 of FURIO CAMILLO (Venice 1692; not in the Rome libretto). Attributed to

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“Giacomo Perti” in the score to the opera F-Pn D.12644. Anonymous, but headed “S. G.G.” in GB-Lam 128, p. 186. RISM online reports other copies in D-SÜN ms. 31; D-Hs ND VI 25 (A 7), f. 13v; and D-MÜs 3976, n. 16 (A/B, F major). Barb. lat. 4169 3 (ff. 7-12v) [PERTI]. Amo senza speranza, D major. For Camillo in I:5 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to Giacomo Perti in I-Rc 2473, ff. 69-72v, and I-URBc Ubaldini VI.2.16.1. Attributed to “Giacomo Perti” and accompanied by TrTrAB instruments in the score to the opera F-Pn D.12644. Anonymous in D-MÜs 3976, n. 17 (A/B, G major; cf. RISM). 4 (ff. 13-16v) [PERTI]. Darò amplessi e farò vezzi, A major. For Cloridea in I:6 of FURIO CAMILLO (Venice 1692 and Rome 1696). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera, F-Pn D.12644. Attributed to Giacomo Perti in I-Rc 2473, ff. 19-24v, and IURBc Ubaldini VI.2.16.1. Anonymous, but headed “S. G.G.” in GB-Lam 128, p. 189 (Tr/B, C major). Anonymous in GB-Ob Mus. Sch. e.388, pp. 52-53. 5 (ff. 17-20) [POLLAROLO]. Strinse lo strale Amor per piagar il mio core, D major. For Lucillo in ONORIO IN ROMA. Marked “Oselia” for the singer Giovanni Secondo Oselia in I-MOe Mus. G.324, n. 32, ff. 81-82 (see RISM n. 850013865). It probably replaced Tolta Amor la corda all’arco (Barb. lat. 4166, n. 32) in III:4 at some performances. See the discussion in the commentary for Barb. lat. 4166. 6 (ff. 21-24) [PERTI]. Mi balza fuor dal petto tutto giulivo il cor, A major. For Lidia in I:10 of FURIO CAMILLO (Venice 1692, Rome 1696). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera, F-Pn D.12644. Attributed to Giacomo Perti in I-URBc Ubaldini VI.2.16.1. 7 (ff. 25-26v) [PERTI]. Conosco che sei vago: porti lucente imago, G major. For Lidia in I:12 of FURIO CAMILLO. Attributed to “Giacomo Perti,” and with TrB instruments and str. 2 (La chioma è una catena) in the score to the opera, F-Pn D.12644. Anonymous in F-Pn Rés. Vma 967, f. 18. 8 (ff. 27-30v) [PERTI]. Ogni bella che m’invaghì, A/B, A minor. For Arideo in I:14 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera, F-Pn D.12644. This aria was replaced by Da’ tregua al mio penar, non mi lasciar in Perti’s revival for Rome 1696.

9 (ff. 31-33v) [PERTI]. E pur cerco anco tradita, E minor. For Cloridea in I:15 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” and

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with BB instruments [violoncello and basso continuo] in the score to the opera, F-Pn D.12644. The Venice libretto has “anche” instead of “anco.” This scene is not in the Rome 1696 libretto. 10 (ff. 35-40v) [PERTI]. Lega virtù quest’alma, nè viddi ancor beltà, A major. For Lidia in I:18 of FURIO CAMILLO. Attributed to “Giacomo Perti” and with oboe + TrTrAB strings in the score to the opera F-Pn D.12644. Replaced by Quest’Amore che m’alletta in the Rome 1696 libretto.

11 (ff. 41-44v) [PERTI]. Vergognoso s’asconda Marte, D major. For Camillo in II:1 of FURIO CAMILLO (Venice 1692, Rome 1696). Attributed to “Giacomo Perti” and with TrB instruments in the score to the opera, F-Pn D.12644. 12 (ff. 45-46v) [PERTI]. Inquieta è l’alma mia, B minor. For Cloridea in II:2 of FURIO CAMILLO (Venice 1692, Rome 1696). Attributed to “Giacomo Perti” and with TrB instruments in the score to the opera F-Pn D.12644. 13 (ff. 47-50v) [PERTI]. Amore che mi consigli? Amar né favellar, C major. For Lidia in II:3 of FURIO CAMILLO (Venice 1692; II:2 in Rome 1696). Attributed to Giacomo Perti in I-Rc 2473, ff. 85-87v. Attributed to “Giacomo Perti” and with TrTrB instruments in the score to the opera F-Pn D.12644. 14 (ff. 51-54v) [PERTI]. Chi ben serve un giorno gode, B! major. For Lidia in II:4 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Anonymous, but headed “S. G.G.” in GB-Lam 128, p. 187 (a Venetian ms.). In Rome 1696, this aria was replaced by different arias for Ariene and Lidia.

15 (ff. 55-58v) [PERTI]. Mi presta una sirena l’arte d’adormentar, A/B, D minor. For Arideo in II:5 of FURIO CAMILLO. Attributed to “Giacomo Perti” in the score to the opera F-Pn D.12644. (This scene does not appear in the Rome 1696 libretto.) 16 (ff. 59-63v) [PERTI]. Su la palla mi tien Fortuna, A minor. For Cloridea in II:7 of FURIO CAMILLO. Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. (This aria is not part of the scene in Rome 1696). 17 (ff. 65-68v) [PERTI]. Regia mano con più verghe sferzò il mar, B! major. For Furio Camillo in II:8 of FURIO CAMILLO. Attributed to “Giacomo Perti” in the score to the opera F-Pn D.12644. (This aria is not part of the scene in Rome 1696). 18 (ff. 69-70v) [PERTI]. Cieca notte che guidi i sonni, A major. For Furio Camillo in II:9 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to

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“Giacomo Perti” and accompanied by TrTrAB instruments in the score to the opera F-Pn D.12644. 19 (ff. 71-74v) [PERTI]. Adagio/Andante. Sei caro a queste luci, ritorna a consolarmi, G minor. For Cloridea in II:11 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to “Giacomo Perti” and preceded by a TrTrB ritornello in the score to the opera, F-Pn D.12644. 20 (ff. 75-78) [PERTI]. Vago spunti dall’uscio d’oro, B! major. For Furio Camillo in II:14 of FURIO CAMILLO. Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera, F-Pn D.12644. (The first four lines of the aria are lacking in the Rome 1696 libretto.) 21 (ff. 79-82) [PERTI]. Servir se tu non sai lasciar d’amar, A major. For Lidia in II:19 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to “Giacomo Perti” and followed by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Attributed to Giacomo Perti in I-Rc 2473, ff. 133-36v, and I-URBc Ubaldini VI.2.16.1. Anonymous, but headed “S. G.G.” in GBLam 128, pp. 192-193; anon. in GB-Ob Mus. Sch. E.388, p. 59. 22 (ff. 83-86) [PERTI]. Povero amante, ma sei fuor di speme, C major. For Cloridea in II:19 of FURIO CAMILLO. Attributed to “Giacomo Perti” and followed by a TrTrB ritornello in the score to the opera F-Pn D.12644. In the Rome 1696 libretto, replaced by Datti pace; mi dispiace (II:20).

23 (ff. 87-91v) [PERTI]. Apra bendato cento pupille volante Amor, A/B, F major. For Arideo in II:20 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” and with TrTrAB instruments in the score to the opera F-Pn D.12644. In the Rome 1696 libretto, replaced by Nel petto mio s’avanza.

24 (ff. 93-94v) [PERTI]. Dove sei, spirto adorato?, C major to A minor. For Furio Camillo in III:1 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to “Giacomo Perti” and scored for TrTrTrTrTrTrAAB instruments in F-Pn D.12644, the score to the opera. 25 (ff. 95-98v) [PERTI]. È da nume usar pietà, F major. For Cloridea in III:3 of FURIO CAMILLO (Venice 1692; Rome 1696). Attributed to “Giacomo Perti” and with TrTrB instruments in the score to the opera F-Pn D.12644. 26 (ff. 99-100v) [PERTI]. Di’ ciò che vuoi, ch’io non ti voglio: intendi?, D major. For Lidia in III:5 of FURIO CAMILLO (Venice 1692; III:4 in Rome 1696). Attributed to Giacomo Perti in I-Rc 2473, ff. 65-67v, and I-URBc Ubaldini VI.2.16.1. Attributed to “Giacomo Perti” and with TrTrB instruments in the score to the opera F-Pn D.12644.

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27 (ff. 101-104v) [PERTI]. Mi tradì la cruda ch’adoro, A/B, F major. For Arideo in III:6 of FURIO CAMILLO. Attributed to “Giacomo Perti” and preceded by a TrTrB ritornello in the score to the opera F-Pn D.12644. In the Rome 1696 libretto, this aria was replaced by Son sprezzato e son tradito.

28 (ff. 105-108) [PERTI]. Tiranne stelle, sempre rubelle, T/B, B! major. For Erippo in III:7 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. In the Rome 1696 libretto, this aria is replaced by Sommi Dei ch’in ciel regnate.

29 (ff. 109-112v) [PERTI]. Ti lascio amato padre, prenditi il core e l’alma, A major. For Cloridea in III:7 of FURIO CAMILLO (Venice 1692). Attributed to “Giacomo Perti,” with a solo violin and followed by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Attributed to Giacomo Perti in I-URBc Ubaldini VI.2.16.1. Anonymous, but headed “S. G.G.” in GB-Lam 128, pp. 190-191 (Tr/B, C major). 30 (ff. 113-116) [PERTI]. Orto vago del sol ch’adoro, G major. For Lidia in III:9 of FURIO CAMILLO (VENICE 1692; III:8 in Rome 1696). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Attributed to Giacomo Perti in I-URBc Ubaldini VI 2.16.1; anon. in BAV Chigi Q.IV.49, ff. 17-19 (the copyist began but did not complete the da capo section). 31 (ff. 117-119v) [PERTI]. Dell’honor sarò campione, B! major. For Camillo in III:11 of FURIO CAMILLO (Venice 1692; III:10 in Rome 1696). Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Attributed to Giacomo Perti in I-Rc 2473, ff. 47-50v. 32 (ff. 121-124v) [PERTI]. Un dì chi mi tradì, se innante mi vedrò, G major. For Cloridea in III:12 of FURIO CAMILLO. Attributed to “Giacomo Perti” and preceded by a TrTrAB ritornello in the score to the opera F-Pn D.12644. Attributed to Giacomo Perti in I-Rc 2473, ff. 127-32v (A major), and I-URBc Ubaldini VI.2.16.1 (A major). NESTOLA 2015, AIF.640 adds a 1708 Ballard print. 33 (ff. 125-128v) [MARC’ ANTONIO ZIANI]. Scoprì l’ardor del seno, G minor. For Teodato in I:2 of VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (Venice 1691). Anonymous, but headed “S. Salvatore. S. L[uca]” in Barb. lat. 4143, n. 31. 34 (ff. 129-132v) [M.A. ZIANI]. Barbara, mi vuoi morto, crudele morirò, E minor. For Artaserse in I:8 of VIRTÙ TRIONFANTE.

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Not related to the anon. Barbara mi vuoi morto (S/B, F minor) in B-Bc 15178/5 (cf. RISM n. 703002646).

35 (ff. 133-136v) [M.A. ZIANI]. Cari marmi che accrescete, A/B, B! major. For Arsacomo in I:10 of VIRTÙ TRIONFANTE. 36 (ff. 137-140v) [M.A.ZIANI]. O dammi più d’un core o smorza Amor, A/B, D major. For Arsacomo in I:10 of VIRTÙ TRIONFANTE. 37 (ff. 141-146) [M.A.ZIANI]. Quanto possa ancor non sai, A/B, D major. For Arsacomo in I:15 of VIRTÙ TRIONFANTE. 38 (ff. 147-149v) [M.A.ZIANI]. Dirò dunque al mesto rio, A/B, E major. For Arsacomo in II:1 of VIRTÙ TRIONFANTE. The second strophe for Stratonica is anonymous in Barb. lat. 4154, n. 9. 39 (ff. 151-152v) [M.A.ZIANI]. Risvegliasi ancora la speme nel sen, A/B, F major. For Arsacomo in II:3 of VIRTÙ TRIONFANTE. 40 (ff. 153-156) [M.A.ZIANI]. Vattene, corri, va, e in petto del tuo re, A/B, E! major. For Arsacomo in III:2 VIRTÙ TRIONFANTE. 41 (ff. 157-160v) [M.A.ZIANI]. Ti fan gradi al trono, al regno, T/B, F major. For Mazeo in III:3 of VIRTÙ TRIONFANTE. 42 (ff. 161-166v) [M.A.ZIANI]. Portami tra le piume, il mio nume, A/B, E minor. For Arsacomo in III:5 of VIRTU TRIONFANTE. 43 (ff. 167-170) [M.A.ZIANI]. A’ piedi del soglio l’orgoglio cadrà, A/B, G major. For Arsacomo in III:9 of VIRTÙ TRIONFANTE. 44 (ff. 171-174v) [POLLAROLO]. Vuo’ soffrire ancor’ un poco, A/B, G minor. For Rosana in I:3 of IBRAIM SULTANO. Anonymous, but headed “S. Gio. Crisostomo. S. G.G.” in Barb. lat. 4143, n. 21. 45 (ff. 175-180v) [M.A.ZIANI]. Un lampo di riso baleni sul labro, E minor. For Berenice in III:6 of VIRTÙ TRIONFANTE. 46 (ff. 181-184v) [POLLAROLO]. Voi furie, belve e stelle, D major. For Cintia in III:17 of IBRAIM SULTANO. 47 (ff. 185-188) [POLLAROLO]. Viva ancor nelle mie ceneri, A/B, C minor. For Bajazet in II:7 of IBRAIM SULTANO. 48 (ff. 189-192v) [M.A. ZIANI]. Vorrei strapparti l’ali, se ho potessi Amor, T/B, A minor. For Arbante in II:9 of VIRTÙ TRIONFANTE. 49 (ff. 193-196v) [POLLAROLO]. Vuoi ch’io speri, sì o no? Dubbio cor che mi rispondi?, C major. For Atalida in III:10 of IBRAIM SULTANO. Anony-

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mous, but headed “S. G.G.” in GB-Lam 128, p. 171. Anonymous in F-Pn Rés. Vma 967, f. 68v. 50 (ff. 197-202v) [PERTI]. Vibri l’armi a farmi guerra, C major. For Camillo in II:7 of FURIO CAMILLO (II:18 in Rome 1696). Attributed to “Giacomo Perti” and accompanied by TrTrAB instruments in the score to the opera F-Pn D.12644. The libretto has “scagli” instead of “vibri.” 51 (ff. 203-208) [POLLAROLO]. Vieni, vieni, o bella mia, dividiamo le catene, C major. For Ibraim in II:12 of IBRAIM SULTANO. Bound in brown leather (110 × 265 mm). The gold embossing is identical to that for Barb. lat. 4154-4155, 4164-4167 and 4170. See Barb. lat. 4154 for a description of the design, with the arms of Prince Urbano Barberini. The previous shelfmark XLVII.40 is written in black ink inside the front cover. The endpapers bear an abstract design painted in four colors, as in Barb. lat. 4165. The most common watermark, found on thirty-two folios between f. 2 and f. 172, is a stag within one circle, with the letter P above, similar to HEAWOOD n. 3850. The next in frequency, found on twelve folios between f. 45 and f. 205, are three hills surmounted by the letters A N, within two concentric circles, similar to HEAWOOD nn. 1620-1623; this is likely the bottom half of the third watermark, found on folios 6, 94, 169, 177 and 191: a fleur-de-lis within two concentric circles, similar to HEAWOOD nn. 1591-1592. The foliation in pencil is modern. The flyleaves are blank. Blank staves only are on ff. 34, 64, 92, 120 and 150. The copyist, probably the Roman professional Flavio Lanciani, also copied 4154-4155, 4159, 4160 (scribe A), 4164-4167, 4170 and 4171 (scribe A). He began each aria with a large, ornamental letter. For all the operas and these arias, see LINDGREN-Ven, passim. The 1692 Venetian production of FURIO CAMILLO was dedicated by Matteo Noris to Ferdinand the Third, Grand Prince of Tuscany. The letter to the reader in the printed libretto identified Giacomo Perti as the composer (SARTORI, n. 11141; ALM, n. 383). A score to the opera survives in F-Pn D.12644. On its flyleaf is written Furio Camillo, recitata nel Teatro Vendramino di San Salvator. Poesia del Sig.r Mateo Noris. Musica del Sig.r Giacomo Perti. Venetia. The folios are not numbered. The musical incipits, keys and vocal clefs in Barb. lat. 4169 are concordant with those in this score. Arias nn. 1-4 and 6-32 are given in the order in which they were sung. Another aria, Barb. lat. 4169, n. 50, was sung between nn. 20 and 21. Eleven of the thirteen arias from LA VIRTÙ TRIONFANTE DELL’AMORE E DELL’ODIO (nn. 33-43) are in both editions of the libretto. The remaining two arias (nn. 45 and 48) are only in the first edition printed by Bortoli. The

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first eleven are placed in the order in which they were sung in the opera, and nn. 35-43 include eight for Arsacomo and one for Mazeo, the only alto and tenor roles in the opera. Arias from this opera are also present in Barb. lat. 4154 (thirty-two arias), 4165 (two), and 4143 (six). See the commentary to Barb. lat. 4154 for further information. The five arias from L’IBRAIM SULTANO (nn. 44, 46-47, 49 and 51) were copied by the same Roman hand that copied twenty arias in Barb. lat. 4165 (q.v. for information about four sources and the cast for this opera). The single aria from ONORIO IN ROMA (n. 5) supplements the two in Barb. lat. 4165 and the forty-two in Barb. lat. 4166 (q.v. for a discussion of this work). Barb. lat. 4169-4170

Barb. lat. 4170 1693 ca., 102 × 268 mm, I.176.I ff., 4 staves, one hand

Anthology of thirty-seven anonymous arias. See Barb. lat. 4172 for details and comments. All were sung in IL VESPASIANO (Rome, Teatro di Tordinona, 24 January 1693), text by Giulio Cesare Corradi (Venice 1678 with music by Carlo Pallavicino for Venice 1678 and 1680); revised by Aurelio Aureli (Parma 1689/90 with music revised by Bernardo Sabadini). Aureli and Pietro Porfirii produced another revision for the inauguration of the Teatro Aurora in Fabriano in 1692; this version was further altered by unknowns for Rome 1693. The scoring is A/B unless otherwise indicated. S/B is used only for Gesilla (nn. 16, 23, 25 and 32-33), and T/B only for the comic role Delia (n. 6). The duets for Arricida and Tito are scored SA/B and AA/B (nn. 17 and 21); the one for the comic Delia and Delbo is TB/B (n. 22). 1 (ff. 1-8) Allegro. Mi fan guerra Amor e Sdegno, G minor. Not in any known edition of the libretto for IL VESPASIANO (Rome 1693). For details see Barb. lat. 4172, n. 14. 2 (ff. 9-12v) [CARLO PALLAVICINO, revised anonymously]. Per uscir da tante pene, cieco dio che far dovrò?, A minor. For Tito in I:15 of VESPESIANO (Venice 1678). Not in the libretto for Rome 1693. Barb. lat. 4172, n. 12. 3 (ff. 13-14v) [PALLAVICINO]. Care tende adorate, stanze dell’idol mio, A minor. Not in the 1693 libretto for Rome. See Barb. lat. 4172, n. 9. 4 (ff. 15-20) Mi confido che Cupido non può vincere il mio cor, E major. Not in the 1693 libretto for Rome. Barb. lat. 4172, n. 5.

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5 (ff. 21-26v) Bellezze idolatrate, pompe del dio d’amor, G major. For Tito in II:15 of VESPASIANO (Rome 1693). Barb. lat. 4172, n. 41. 6 (ff. 27-29v) Vorrei esser manco bella et haver più libertà, T/B, C major. Barb. lat. 4172, n. 21. Barb. lat. 4170 7 (ff. 31-34) [PALLAVICINO]. Sul mio crin ti voglio alloro, E major. Barb. lat. 4172, n. 38. 8 (ff. 35-38v) [PALLAVICINO]. Sì, sì, vincerò. Da laccio severo, G major. Barb. lat. 4172, n. 1. 9 (ff. 39-42v) Libertà, libertà. Nel far guerra al ciel di Roma, D major. Barb. lat. 4172, n. 2. 10 (ff. 43-45v) [PALLAVICINO]. Sì, sì, gioisci, o cor. Le mie stelle, D major. Barb. lat. 4172, n. 3. 11 (ff. 47-48) Per pietade, ahi, chi m’uccide?, E minor. Barb. lat. 4172, n. 28. 12 (ff. 49-50v) [PALLAVICINO]. Conduttier di più bel giorno, G minor. Barb. lat. 4172, n. 23. 13 (ff. 51-54) Di fulmine armato vendetta farà, F major. Barb. lat. 4172, n. 17. 14 (ff. 55-58) [PALLAVICINO]. Sei destinato a piangere, povero afflitto cor, G minor. Barb. lat. 4172, n. 19. 15 (ff. 59-60v) [PALLAVICINO]. Chi non vede il sol ch’adoro, D major. Barb. lat. 4172, n. 16. 16 (ff. 61-64v) Ricordati, o caro, di chi fai morir, S/B, G major. Same as Barb. lat. 4172, n. 11. 17 (ff. 65-74) A 2. Allegro. Con l’onda che scherza, col maggio che ride, AA/B, D major. Barb. lat. 4172, n. 39. 18 (ff. 75-80v) Su le nemiche stragi al trono ascenderò, D minor. Barb. lat. 4172, n. 31. 19 (ff. 81-84v) Miei spirti brillate, quel ciglio vedrete, A minor. Barb. lat. 4172, n. 32. 20 (ff. 85-88) Ad[agio] assai. Notte amica ai dolci amori, G major. Barb. lat. 4172, n. 7. 21 (ff. 89-92v) A.2. Allegro. T’abbraccio, ti stringo, amato mio ben, SA/B, G major. Barb. lat. 4172, n. 27.

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22 (ff. 93-103v) A 2. Mia vita gradita, mio caro tesoro, TB/B, D minor. Barb. lat. 4172, n. 22. 23 (ff. 105-110) Allegro. Finché sul mio sembiante la rosa fiorirà, S/B, E minor. Barb. lat. 4172, n. 26. 24 (ff. 111-14v) Parto, ma lascio il core tutto nel tuo bel sen, E minor. Barb. lat. 4172, n. 35. 25 (ff. 115-120v) Adesso è bizzarria saper cangiar amor, S/B, F major. Barb. lat. 4172, n. 18. Cf. BAV Chigi Q.IV.47, f. 5 (CARBONI 12/3, n. 10). 26 (ff. 121-124v) Cieca dea che de’ mortali, E minor. Barb. lat. 4172, n. 29. 27 (ff. 125-128v) Partirò, ma fra catene il mio cor qui resterà, A major. Barb. lat. 4172, n. 8. 28 (ff. 129-134v) Vo’ cara su quel labro che di tormenti è fabro, D major. Barb. lat. 4172, n. 4. 29 (ff. 135-140v) Il penar per donna infida è follia, G major. Barb. lat. 4172, n. 20. 30 (ff. 141-144v) Voglio perder il cor se si trova in amor, G major. Barb. lat. 4172, n. 36. 31 (ff. 145-146v) [PALLAVICINO]. Ferma il piè, deh, non partir. Di quel ciglio è vago il lume, D minor. For Tito in II:5 of VESPESIANO (Venice 1678). Barb. lat. 4172, n. 34. 32 (ff. 147-150) Fingo per mio diletto vezzi, lusinghe e amor, S/B, A major. Barb. lat. 4172, n. 37. 33 (ff. 151-154v) Sento Amor che su quest’onde, S/B, G major. Barb. lat. 4172, n. 33. 34 (ff. 155-158v) Non mi lasciar, no, no, dolce Speranza, G major. Barb. lat. 4172, n. 42. 35 (ff. 159-162v) Ad[agi]o. Vo cercando, sospirando, il crudel che m’ingannò, A minor. Barb. lat. 4172, n. 15. 36 (ff. 163-168) Miei spirti all’armi, ne già vi disarmi, F major. Barb. lat. 4172, n. 24. 37 (ff. 169-176) [PALLAVICINO]. Con le furie di Cocito lacerar ti voglio il core, str. 2: Con lo stral della vendetta saettar ti voglio il seno, C major. For Arricida in II:14 of VESPESIANO (Venice 1678). Barb. lat. 4172, n. 40.

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Bound in brown leather (113 × 270 mm). Front and back covers embossed in gold with a double-line border and floral corner ornaments. In the center are the arms of Prince Urbano Barberini. A crown surmounts a shield bordered by olive branches; between the crown and the peak of the shield is a radiant sun. Within the shield are the papal umbrella and keys above three bees. Suspended from the shield is a ring, upon which hangs the ram’s skin that represents the Order of the Golden Fleece. Similar decoration is found on the bindings of Barb. lat. 4154-4155, 4164-4167 and 4169. The spine has four cords with tooled designs in five compartments. Edges gilt. A modern hand has written the previous shelfmark XLVII.41 inside the front cover in black ink. The watermarks are associated with Rome: a fleur-de-lis within two concentric circles, found on thirteen folios between f. 2 and f. 173, similar to HEAWOOD nn. 1591-1592 (but without the letter V above) is likely the top part of the three hills surmounted by the letters A N and placed within two concentric circles, found on fifteen folios between f. 15 and f. 170, similar to HEAWOOD nn. 1620-1623. A stag in one circle with the letter P above, found on twelve folios between f. 30 and f. 172, is similar to HEAWOOD n. 3850. Each aria begins with normative gatherings of two nested bifolios; preceded by a verso with a catch word, single bifolios fill out longer arias (beginning with ff. 13, 19, 25, 47, 59, 73, 79, 109, 119, 133 and 167). The exception is n. 31, which is contained on a single bifolio. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 30, 46 and 104. The copyist, a Roman professional, appears to be Flavio Lanciani (Illus. 7). The same hand appears in Barb. lat. 4154 (q.v.)-4155, 4159, 4164-4167 and 4169 and parts of 4160 (copyist A) and 4171 (copyist A). Initials are ornamental, but awkward, letteroni, a trait of copies by F. Lanciani. Da capo sections are written out, another feature of his copies. No score is known for the Roman production of IL VESPASIANO, and Barb. lat. 4170 and 4172 are by far the two largest extant aria collections. All the arias in Barb. lat. 4170 are present in 4172 with the same music in the same keys. See Barb. lat. 4172 for a discussion of the production. As shown above, Barb. lat. 4170, nn. 2-3, 7-8, 10, 12, 14-15, 31 and 37 retain musical settings written by Carlo Pallavicino for the Venetian production of 1678. They are preserved in the 1678 score, I-MOe Mus. F.894, and — as shown in the listings for Barb. lat. 4172 — they were retained in the 1680 score at I-Vnm It.Cl.IV, 462 (= 9986). All thirty-seven pieces in Barb. lat. 4170 were presumably performed in Rome, yet — as noted in Barb. lat. 4172 — some do not appear in the Roman libretto. These include Barb. lat 4170, nn. 1-3, 10, 14, 22, 28 and 36.

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Barb. lat. 4171 1693-1696 ca., 100 × 265 mm, III.192.III ff., 4 staves, 5 hands

Miscellany of nineteen arias from three operas. Giovanni Bononcini is named as the composer of the thirteen from IL TRIONFO DI CAMILLA, REGINA DE’ VOLSCI (Naples, Teatro S. Bartolomeo, 27 December 1696; Rome 1698), libretto by Silvio Stampiglia; music by Giovanni Bononcini. Four arias are from IL RE INFANTE (Rome, Teatro Capranica, February 1696), libretto by Matteo Noris (Venice 1683), music by Luigi Mancia. Two are from IL SELEUCO (Rome, Teatro di Tordinona, 3 January 1693), libretto by Adriano Morselli (LA PACE FRA TOLOMEO E SELEUCO, Venice 1691), revised by Aurelio Aureli (Piacenza 1691); with music by Carlo Francesco Pollarolo (Venice 1691), Bernardo Sabadini (Piacenza 1691), and anonymous (Rome 1693). The setting is S/B unless otherwise indicated. Six other scorings are present: SS/BB (n. 2); S/TrB (nn. 7-8, 10 and 15); S/TrAB (nn. 9 and 11); A/B (n. 17); SS/B (n. 18); and SST/B (n. 19). Barb. lat. 4171 1 (ff. 1-6) [GIOVANNI] BONONCINI. Largo. Cieco Amor, vorrei nel seno o più cori o meno affanni, D major. For Prenesto in III:4 of IL TRIONFO DI CAMILLA (Naples 1696). This aria survives in the following fifteen scores (and in many aria collections listed in LINDGREN). Eleven scores for the Naples production of 1696 are extant: D-B Mus. 2184 (La Camilla trionfante, … representata nel Real Teatro di Santo Bartolomeo di Napoli, … 1697); D-Dl Mus. 2193-F-1 (Il trionfo di Camilla, online access; pp. 259260); D-MÜs 596 (La Camilla, … cantata in Napoli, l’anno 1697); F-Pn L.13.695 (Camilla trionf[ante], at[to] III; incomplete, wanting acts I-II); GB-ABu Powell Collection (La Camilla trionfante); GB-Lbl Add. 14185 (Il trionfro [sic] di Camilla); GB-Lbl Add. 31542 (Il trionfo di Camilla); I-MOe Mus. F.1781 (La Camilla trionfante, 1697); I-Nc Rari 6.6.19 (La Camilla; = 33.6.13; voice and continuo part only); US-AUS Ransom Humanities Research Center MS-2976 (Il trionfo di Camilla); and the anonymous US-Wc M.1500. P82T6 (wrongly attributed to Porpora). Four scores for the Roman revival of 1698 — entitled LA RINOVATA CAMILLA, REGINA DE’ VOLSCHI — are extant: A-Wgm Q.1199 (Il trionfo di Camilla); GB-Cfm Mus.Ms 122 (31.G.6; no title and anon.); GB-CDp M.C.1.4 (Il trionfo di Camilla, 1697); and GBLbl R.M. 22.b.9-10 (incomplete, wanting act I; anon.). A score was copied by Giovanni Maria Pertici for Cardinal Pamphili before 5 November 1706 (MARX 1983, p. 175, n. 148). 2 (ff. 7-21) BONONCINI. Non disprezzar chi t’ama, chi vita sua ti chiama, str. 2: Più non tradir crudele, un alma sì fedele, SS/BB, C major. For Turno

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(str. 1) and Lavinia (str. 2, G major) in III:11 of TRIONFO DI CAMILLA. The da capo of str. 2 is replaced by a duet in which the first-section texts of strs. 1 and 2 are combined. Turno is accompanied by “Primo cembalo,” Lavinia by “Secondo cembalo.” In the table of contents on f. [II], this aria is attributed to “Giovannini.” This aria occurs in the scores listed for n. 1 above. 3 (ff. 23-26v) BONONCINI. Largo. Nacqui al regno e nacqui al trono, B minor. For Camilla in I:1 of TRIONFO DI CAMILLA. This aria occurs in the scores listed for n. 1 above. NESTOLA 2015, AIF.332. Also in I-PAp Sanvitale Sanv.B.23. 4 (ff. 27-34v) BONONCINI. Non son paga d’esser vaga, D minor. For Camilla in I:11 of TRIONFO DI CAMILLA. This aria occurs in the Neapolitan (but not the Roman) scores listed for n. 1 above. NESTOLA 2015, AIF.385. 5 (ff. 35-40v) BONONCINI. Se vedi il mar senz’onde, e senza arene il lido, B minor. For Turno in III:6 of TRIONFO DI CAMILLA. This aria occurs in the scores listed for n. 1 above. 6 (ff. 41-46v) BONONCINI. S’en vola il dio d’amore intorno a la mia bella, A major. For Turno in II:10 of TRIONFO DI CAMILLA. This aria occurs in the scores listed for n. 1 above. 7 (ff. 47-66v) BONONCINI. Vivace. Cara, sì, tu mi consumi, mi fai penar, S/ TrB, F major. For Prenesto in I:11 of TRIONFO DI CAMILLA. The treble staff is marked “All’unisoni.” This aria occurs in the scores listed for n. 1 above. NESTOLA 2015, AIF.092, gives two concordances listed in LINDGREN, and Rés. Vmf 22, pp. 1-15; and Rés. Vmb 91, ff. 16-23v. 8 (ff. 67-84) BONONCINI. Andante. Amo per servir, servo per sperar, S / TrB, G minor. For Prenesto in III:8 of TRIONFO DI CAMILLA. The treble staff is marked “unisoni.” This aria occurs in the scores listed for n. 1 above. NESTOLA 2015, AIF.035. 9 (ff. 85-104) BONONCINI. Vivace. Mai non si vide ancor più bella fedeltà, beltà più fida, S/TrAB, G minor. For Turno in I:15 of TRIONFO DI CAMILLA. The treble staff is marked “unisoni.” This aria occurs in the scores listed for n. 1 above. 10 (ff. 105-122) BONONCINI. Mi lusingo e l’alma spera, ch’è men fiera, S/ TrB, G major. For Camilla in I:3 of TRIONFO DI CAMILLA. The treble staff is marked “All’unisoni.” Incomplete in D-Dl Mus. 2193-F-1, f. 1 (folios are wanting from m. 9 of its B section until I:7). This aria occurs in the other scores listed for n. 1 above. 11 (ff. 123-137v) BONONCINI. Allegro. Sì, sì, mi basta, sì, amore per amor,

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S/TrAB, A minor. For Prenesto in III:4 of TRIONFO DI CAMILLA. The treble staff is marked “unisoni.” This aria occurs in the scores listed for n. 1 above. NESTOLA 2015, AIF.577. 12 (ff. 139-142v) [LUIGI MANCIA]. Sì, ti sento, [o] gelosia, B! major. For Doricle in III:8 of IL RE INFANTE (Rome 1696). Attributed to “Luigi Mancia” and with TrTrAAB instruments in the score to the opera at I-Fc D.1161. 13 (ff. 143-145v) [MANCIA]. Bell’idolo crudel, pur che vivi fedel, G major. For Anna in III:1 of RE INFANTE, with str. 2 for Flavio: S’hai l’alma e per me. The da capo is indicated. Attributed to “Luigi Mancia” and with TrTrAAB instruments in the score to the opera I-Fc D.1161. Also attributed to “Luigi Mancia” in the aria collections, GB-Ob Mus. Sch. E.388, ff. 107-108, and I-Bc V.291, ff. 11-16. The printed libretto has “già” instead of “pur.” 14 (ff. 147-150v) [MANCIA]. V[u]oi saperlo amante core, non hai sorte con Amor, G major. For Anna in III:1 of RE INFANTE. Attributed to “Luigi Mancia” and with TrTrAAB instruments in the score to the opera I-Fc D.1161. 15 (ff. 151-157v) [MANCIA]. Una speranza, figlia d’Amore, questo mio core, S/TrB, G major. For Sestilia in I:2 of RE INFANTE. The da capo is indicated. Attributed to “Luigi Mancia” and with TrB instruments in the score to the opera I-Fc D.1161. A copy of the aria was made for Cardinal Pietro Ottoboni in January 1693 (MARX-Ottb, p. 135). 16 (ff. 159-164v) [CARLO POLLAROLO or BERNARDO SABADINI]. Pupille care, care, moro se non vi miro, D minor. For Antioco in II:13 of LA PACE FRA TOLOMEO E SELEUCO (Piacenza 1691) and IL SELEUCO (Rome 1693). Labeled with the singer’s name, “Antonio Pistocchi,” in I-MOe Mus. G.292, ff. 45-46 (for 21 arias from the Piacenza production, see RISM n. 850014201). Also anonymous in BAV Chigi Q.IV.47, ff. 15-20; D-MÜs 176, ff. 95-98 (A/B, G minor), and D-MÜs 904, ff. 1-7 (both with added attributions to Giacomo Carissimi); I-Bc V.291, ff. 144-149; I-Mc Fondo Sartori Gentili, Riserva Mus.c.113, pp. 357-360; I-Rli Musica M 15/2, ff. 63-68v; US-BEm 118, pp. 1-2 (T/B, E minor). A copy of the aria was made for Cardinal Pietro Ottoboni in January 1693 (MARX-Ottb, p. 135). This aria text occurs in II:12 in the Venice 1691 libretto for LA PACE FRA TOLOMEO E SELEUCO, set to music by Pollarolo.

17 (ff. 165-170v). Vicino al mio tesoro voglio morir, sì, sì, A/B, C major. For Antioco in I:7 of IL SELEUCO (Rome 1693). Also anonymous in D-MÜs 3951, ff. 43-54. 18 (ff. 171-182v) BONONCINI. Con la speme /Senza speme di farmi contento, SS/B, B! major. For Turno and Prenesto in III:1 of TRIONFO DI CA-

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MILLA. This aria occurs in the scores listed for n. 1 above. NESTOLA 2015, AIF.544 also lists the concordance Rés. Vmb 91, ff. 76-80v (available online in GALLICA).

19 (ff. 183-191v) BONONCINI. Andante. Vorrebbe il cor dubbioso, risolvere e non sa, SST/B, B minor. For Camilla and Turno, with recitative comments by Tullia in III:5 of TRIONFO DI CAMILLA. This aria occurs in the scores listed for n. 1 above. Bound in parchment (110 × 269 mm). The spine with five cords has four panels; a pink BAV sticker covers one, in the second a modern hand has written the number 42 in black ink. The same hand wrote the previous shelfmark XLVII.42 in black ink inside the front cover. Edges tinted pink with black or formerly blue speckles. The watermark found throughout is a fleur-de-lis in two concentric circles with a V above, similar to HEAWOOD nn. 1591-1592. There is a slight variant on ff. 14, 167 and 170. The gathering structure is by individual aria. Each begins with two nested bifolios; continuations are of either more duernions or a single bifolio. Catch words only occur at the ends of gatherings for which the music continues. Thus single bifolios (I) close nn. 1, 5, 6, 8, 10, 16, 17 and 19. Pages have been trimmed at the top. The foliation in ink is by the copyist who wrote a table of contents on flyleaf [II]; he appears to be identical with music copyist A. Fly-leaves [I, III] and ff. [192-94] at the end are blank; blank staves only are on ff. 22, 138, 146, 158, and 192. Copyist A, probably the Roman professional Flavio Lanciani, copied the Bononcini arias (nn. 1-11, 18-19) and n. 17. He also copied Barb. lat. 4154 (q.v.)-4155, 4159, 4160 (Hand A), 4164-4167, and 4169. Da capos are written out. The arias by Mancia were copied by Hands B (nn. 12-14) and C (n. 15). A different (amateur) hand completed both text and music notation for the last 3 mm. of n. 13. Copyist D copied n. 16. Space was left at the head of each piece for an ornamental letter, though initial words are complete. Calligraphic initials by their respective copyists only occur before nn. 16-17, the arias from Seleuco. As shown above (see n. 1), many musical scores survive for the Naples production of IL TRIONFO DI CAMILLA, REGINA DE’ VOLSCI, and four more survive for the Roman revival one year later. For lists of thirty-four editions of the libretto, aria text incipits in nineteen editions (which conjecturally retained some music by Bononcini), singers in nine productions, and many scores and aria collections that preserve his music, see LINDGREN, pp. 677-

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745. ITALOP vol. 17 reproduced the GB-ABu Powell Collection score in facsimile. The bookseller Carlo Giannini dedicated the libretto of IL RE INFANTE to the second wife of Urbano Barberini, Felice Ventimiglia d’Aragona Pignattelli e Barberini, principessa di Palestrina. He did not mention either the composer, Luigi Mancia, or the person who revised Noris’s text for the Roman production. A complete score for the production is in I-Fc D.1161. Besides the four arias in Barb. lat. 4171 (nn. 12-15), the only other aria from IL RE INFANTE in the Barb. lat. mss. is 4160, n. 3. Like nn. 13-14 above, it is for Anna, a role sung by Gioseppino Argenti da Udine. The remaining two arias in the present volume were sung by Orazio Scutarini, in the service of the Duchess of Zagarolo, Maria Camilla Rospigliosi (Doricle); and Carl’Antonio Zanardi, servant of the prince of Tuscany (Sestilia). The two arias from IL SELEUCO of 1693 (nn. 16-17) are both for the character Antioco. See the commentary to Barb. lat. 4159 for information about the 1691 production in Piacenza. Barb. lat. 4171-4172

Barb. lat. 4172 1693 ca., 104 × 275 mm, I.98.I ff., 4 staves, 3 hands

Anthology of forty-four anonymous arias, thirty-seven of which are also in Barb. lat. 4170. All were sung in IL VESPASIANO (Teatro di Tordinona, Rome, 24 January 1693). IL VESPESIANO, the original libretto by Giulio Cesare Corradi with music by Carlo Pallavicino for Venice 1678 and 1680 was revised by Aurelio Aureli and Bernardo Sabadini for Parma 1689/90. Further musical revisions were made by Pietro Porfirii for Fabriano (Teatro Aurora, libretto printed Pesaro 1692). Unknown hands reworked the opera for Rome 1693. Ten arias here retain the music by Pallavicino for the Venetian production of 1678. The composers of the remaining thirty-four arias remain undetermined. The arias were originally placed mainly in the order in which they were sung, in acts I (nn. 1-14), III (nn. 15-32) and II (nn. 33-44). Indeed, at the top right of f. 1 is written “Arie del Primo Att[o]” and at the top of f. 63 is written “Arie del 3.o atto.” Since all arias below were likely sung in IL VESPASIANO in 1693, neither this title nor date of production is listed for each item; the music not by Pallavicino might be by Sabadini, Porfirii, or others. 1 (ff. 1-3v) [CARLO PALLAVICINO]. Sì, sì vincerò: Da laccio severo, A/B, G major. For Domitiano in I:1 in IL VESPESIANO (Venice 1678; the text is also present in the libretti for Milan 1685, Parma 1689/90, Fabriano 1692,

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Rome 1693 and Bologna 1695). Also anonymous in Barb. lat. 4170, n. 8. Concordant with Pallavicino’s setting in D major for the 1678 Venetian score, I-MOe Mus. F.894, ff. 1-4v; the 1680 Venetian score, I-Vnm It.IV, 462, ff. 1-2; the 1678 aria collection, I-MOe Mus. G.298, ff. 63-64v (S/B, “con instrumenti”); and the modern edn by MCKEE, vol. 2, pp. 3-15; text ed. in vol. 1, p. 224. The 1678 score is A/TrTrAATBB; the 1680 score is A/TrTrB. 2 (ff. 3v-5) Libertà, libertà. Nel far guerra al ciel di Roma, A/B, D major. For Domitiano in I:5. Also anon. in Barb. lat. 4170, n. 9. Differs from Pallavicino’s setting for the 1678 Venetian score; the 1680 Venetian score; the 1678 collection, I-MOe Mus. G.298; and the modern edn by MCKEE, vol. 2, pp. 29-36. The 1678 and 1680 scores are both A/TrTrB. (The aria text is in the libretti for the productions for Ferrara 1682, with Pallavicino’s music, and Milan 1685; the music for the latter is not known.)

3 (ff. 5v-7) [PALLAVICINO]. Sì, sì, gioisci, o cor. Le mie stelle, già rubelle. A/B, D major. For Arricida in I:7 (Venice 1678). Not in the 1693 libretto for Rome 1693. Also anon. in Barb. lat. 4170, n. 10, which is concordant with Pallavicino’s setting in G major in the 1678 Venetian score, I-MOe Mus. F.894, ff. 16-18v; the 1680 Venetian score, I-Vnm It.IV, 462, ff. 8-9; the 1678 collection, I-MOe Mus. G.298, ff. 65-66 (S/B, “con instrumenti”); another collection, I-MOe Mus. G.316, n. 13, f. 36r-v; and the modern edn by MCKEE, vol. 2, pp. 46-55; text, vol. 1, p. 228 4 (ff. 7v-10) Vo’ cara su quel labro che di tormenti è fabro, A/B, D major. Perhaps for Arricida. Not in any known edition of the libretto. Also anon. in Barb. lat. 4170, n. 28, and BAV Chigi Q.IV.47, ff. 73-76v, and MARX-Ottb, p. 134. Barb. lat. 4172 5 (ff. 10v-12v) Mi confido che Cupido non può vincere il mio cor, A/B, E minor. For Arricida in I:7. Also anon. in Barb. lat. 4170, n. 4, and D-MÜs 3951, ff. 87-91v (S/B, B minor). The concordance I-Rli Musica M 15/2, ff. 21-26 (S/B, B minor) is headed “Finalino,” who sang the role in the Rome 1693 production. Differs from Pallavicino’s setting in the 1678 score for Venice, the 1678 collection, I-MOe Mus. G.298, and the modern edn by MCKEE (see n. 1 above). In I:8 of the 1680 Venetian score, Arricida instead sings Chi mi diffende olà, chi mi diffende? Falangi guerriere (see MCKEE, vol. 1, p. 231). The aria text also occurs in I:8 of the Milan 1685 libretto; but its musical setting is that of Venice 1672.

6 (ff. 13-15) O son pur nel grand’imbroglio, B/B, F major. For Delbo in I:8. A character named Delbo seems first to appear in the 1693 libretto for Rome, 1693, a role sung by G.B. Pettricioli. Text ed. in MCKEE, vol. 1, pp. 232-233. Not in Barb. lat. 4170.

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7 (ff. 15-16v) Ad[agi]o assai. Notte amica ai dolce amori, A/B, G major. For Attilio in I:9. Also anon. in Barb. lat. 4170, n. 20, and D-MÜs 904, ff. 20-22v (with an attribution to Giacomo Carissimi not by the music copyist). Text ed. in MCKEE, vol. 1, p. 233. Differs from Pallavicino’s setting of the same text in the 1678 Venetian score, the 1680 Venetian score; the 1678 collection, I-Vqs 1431, f. 31; and the modern edn by MCKEE, vol. 2, pp. 70-75. Pallavicino’s setting is for A/TrTrAATBB in C major.

8 (ff. 17-19) Partirò, ma fra catene, il mio cor qui resterà, A/B, A major. For Attilio in I:9. Also anon. in Barb. lat. 4170, n. 27; BAV Chigi Q.IV.47, ff. 65-67v; D-MÜs 598, ff. 49-52v (S/B, E major); and D-MÜs 3951, ff. 29-33 (S/B, E major). Text ed. in MCKEE, vol. 1, p. 234. 9 (ff. 19-20v) [PALLAVICINO]. Care tende adorate, stanze dell’idol mio, A/B, A minor. For Tito in I:11 (Venice 1678). Also anon. in Barb. lat. 4170, n. 3, and in the 1678 Venetian score, I-MOe Mus. F.894, ff. 28v-29; the 1680 Venetian score, I-Vnm It.IV, 462, f. 15 (which is preceded by a brief TrTrB “sinfonia”); the 1678 collection, I-MOe Mus. G.298, ff. 19-20; and the modern edn by MCKEE, vol. 2, pp. 81-82; text in vol. 1, p. 235. Not in the 1693 Roman libretto, where Care tende was replaced by Per mirar chi al sol dà luce (text ed. in MCKEE, vol. 1, p. 235).

10 (ff. 20v-22v) Alle straggi, guerrieri infieritevi, B/B, B! major. For Vespasiano in I:12 (Fabriano 1692; text ed. in MCKEE, vol. 1, p. 238). In Rome 1693 Alle stragi was replaced by Un nume disperezzato [sic] (text ed. in MCKEE, vol. 1, p. 238). This and Alle straggi replaced Pallavicino’s aria, Su, su, miei fidi guerrieri (text ed. in MCKEE, vol. 1, p. 237), extant in the 1678 Venetian score, I-MOe Mus F.894, ff. 38-39v, and the modern edn by MCKEE, vol. 2, pp. 103-106.

11 (ff. 23-24v) Ricordati, o caro, di chi fai morir, S/B, G major. For Gesilla in I:13. Also anon. in Barb. lat. 4170, n. 16; D-MÜs 3951, ff. 55-58; and BAV Chigi Q.IV.47, ff. 11-14. Text ed. in MCKEE, vol. 1, p. 239. The aria text seems to first appear in I:14 of the Milan 1685 libretto. Ricordati o caro replaced Pallavicino’s aria, Ricordati di me se vuoi ch’io t’ami, extant in the 1678 Venetian score; the 1680 Venetian score; two 1678 collections, I-MOe Mus. G.298, ff. 57-58; I-Vqs 1431, ff. 37-38v; the Ferrara 1682 libretto, and the modern edn by MCKEE, vol. 2, pp. 109a-111, where the da capo aria on pp. 110-111 is preceded by a thematically related ritornello on p. 109ac.; text edn vol. 1, p. 239.

12 (ff. 24v-27) [PALLAVICINO]. Per uscir da tante pene, cieco Dio che far dovrò?, A/B, A minor. For Tito in I:15 (Venice 1678; not in Rome 1693).

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Also anon. in Barb. lat. 4170, n. 2, and BAV Chigi.Q.IV.47, ff. 39-42. Concordant with Pallavicino’s setting in a 1678 Venetian score, I-MOe Mus. F.894, ff. 45-46 (enclosed by two different ritornellos); the 1680 Venetian score, I-Vnm It.IV, 462, f. 22v-23 (enclosed by two different ritornellos); two 1678 collections, I-MOe Mus. G.298, ff. 53-54v, and I-Vqs 1431, ff. 2930v; three more collections, I-MOe Mus. G.316, n. 14, f. 37r-v; I-Nc 33.5.36 (Arie 75), ff. 13v-15v (anon.); and I-Nc 33.5.38 (Cantate 50), ff. 137v-38v (anon., the erroneous attrib. “Melani” is modern); and the modern edn by MCKEE, vol. 2, pp. 114-119; text ed. in vol. 1, p. 240. The scorings are A/ TrTrATTBB in 1678 and A/TrTrB in 1680. 13 (ff. 27v-29) È pur cara e pur vezzosa, la beltà che mi piagò, A/B, D major. For Domitiano in I:16. Also anon. in BAV Chigi Q.IV.46, ff. 69-71v. In I-Rli Musica M 15/3, ff. 89-96, headed with the name “Ballarino,” who sang the role in Fabriano 1692 and in Rome 1693. Not in Barb. lat. 4170. È pur cara replaced Se men cruda è la bella ch’adoro in Venice, 1678, I:16, which is in the 1678 and 1680 Venetian scores and in the modern edn by MCKEE, vol. 2, pp. 133-137; text ed. vol. 1, p. 243-244. The ritornellos are scored TrTrATTBB in 1678 and TrTrB in 1680.

14 (ff. 29v-32v) Allegro. Mi fan guerra Amor e Sdegno, A/B, G minor. Not in any known edition of the libretto. Also anon. in Barb. lat. 4170, n. 1, and I-MOe Mus. G.328, n. 11, ff. 28-33v (A/TrB; RISM n. 850013896). 15 (ff. 33-34) Adag[io]. Vo cercando, sospirando, il crudel che m’ingannò, A/B, A minor. For Arricida in III:5. Also anon. in Barb. lat. 4170, n. 35, and BAV Chigi Q.IV.46, ff. 15-17v. Text ed. in MCKEE, vol. 1, pp. 281-282. Pallavicino’s different setting in D minor is found in the 1678 and 1680 Venetian scores, the 1678 collection, I-MOe Mus. G.298, ff. 79-81, and the modern edn by MCKEE, vol. 2, pp. 328-332, where it is scored S/TrTrAATBB, followed by a TrTrAATBB ritornello. Pallavicino’s setting was also heard in the Ferrara 1682 production.

16 (ff. 34v-35v) [PALLAVICINO]. Chi non vede il sol ch’adoro, A/B, D major. For Tito in III:8 (text ed. in MCKEE, vol. 1, p. 284). Also anon. in Barb. lat. 4170, n. 15, and D-MÜs 598, ff. 83-85v (S/B, A major). Concordant with Pallavicino’s setting in the 1678 Venetian score, I-MOe Mus F.894, act III, f. 132; the 1680 Venetian score, I-Vnm It.IV, 462, f. 78v; two 1678 collections, I-MOe Mus. G.298, ff. 5-6, and I-Vqs 1431, ff. 3-4 (S/B in A major); and the modern edn by MCKEE, vol. 2, pp. 340-341. 17 (ff. 35v-36v) Di fulmine armato vendetta farà, A/B, F major. For Arricida in III:11. Also anon. in Barb. lat. 4170, n. 13, and BAV Chigi Q.IV.47, ff. 35-38. Text ed. in MCKEE, vol. 1, p. 285.

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18 (ff. 37-38v) Adesso è bizzaria saper cangiar amor, S/B, F major. For Gesilla in III:12. Also anon. in Barb. lat. 4170, n. 25. A somewhat similar setting in F major is in BAV Chigi Q.IV.47, ff. 5-10v (CARBONI 12/3, n. 10); D-MÜs 904, ff. 85-92 (with an added attribution to Giacomo Carissimi); I-Bc V.291, ff. 190-197; and I-Rli Musica M 15/2, ff. 89-96v, headed by the singer’s name, “Rinaldino,” for Rinaldo Gherardini, who sang the role in Fabriano 1692 and in Rome 1693. Text ed. in MCKEE, vol. 1, p. 286. The Barb. lat. setting and its concordances differ from Pallavicino’s setting for S/B in D minor, found in the 1678 and 1680 Venetian scores, the 1678 collection, I-MOe Mus. G.298, ff. 1-2; for the 1682 Ferrara production, and the modern edn by MCKEE, vol. 2, pp. 348-351.

19 (ff. 39-40) [PALLAVICINO]. Sei destinato a piangere, povero afflitto cor, A/B, G minor. For Tito in III:17 (Venice 1678; not in Rome 1693). Also anon. in Barb. lat. 4170, n. 14, and BAV Chigi Q.IV.14, ff. 81-86v, which is for S/B in D minor, with str. 2: Sei destinato a piangere, misero afflitto sen. Concordant with Pallavicino’s setting, found in the 1678 Venetian score, IMOe Mus F.894, ff. 137v-38, followed by a TrTrAATBB ritornello; the 1680 Venetian score, I-Vnm It.IV, 462, ff. 81v-82, followed by a TrTrB ritornello; two 1678 collections for S/B in D minor, I-MOe Mus. G.298, ff. 67-68, and I-Vqs 1431, ff. 19-20v; one other collection, I-Nc 33.5.38 (Cantate 50), ff. 135-36v (attr. by another hand perhaps to “Melani”); and the modern edn by MCKEE, vol. 2, pp. 353-355; text ed. in vol. 1, p. 287. NESTOLA 2015, AIF.529 adds the concordances F-Pn H 659 VI, pp. 88-90 with F.1675 (8), f. 17; CH-Zz Q.902, pp. 51-52; and I-Vlevi CF.D.17, ff. 1-14. 20 (ff. 40v-42v) Il penar per donna infida, è follia di sciocco amante, A/B, G major. For Attilio in III:14 (str. 2). Also anon. in Barb. lat. 4170, n. 29, and BAV Chigi Q.IV.47, ff. 53-56. Strophe 1 in the Venetian sources (Non dar fede a donna alcuna) is not in the Roman libretto. The setting for Rome differs from Pallavicino’s, found in the 1678 and 1680 Venetian scores, the 1678 collection, I-MOe Mus. G.298, ff. 4748; for the Ferrara 1682 production; and the modern edn by MCKEE, vol. 2, pp. 356-360; text ed. in vol. 1, p. 289. A later setting of this aria text by Domenico Sarro for Naples 1707 exists in E-PaP (Palma de Mallorca, Biblioteca Pública), ms. 1203.

21 (ff. 43-44) Vorrei esser manco bella, et haver più libertà, T/B, C major. For Delia in III:15. Also anon. in Barb. lat. 4170, n. 6. Text ed. in MCKEE, vol. 1, p. 290. 22 (ff. 44v-50) Mia vita gradita, mio caro tesoro, TB/B, D minor. Presumably for Delia and Delbo. Not in any known edition of the libretto. Also anon. in Barb. lat. 4170, n. 22.

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23 (ff. 50v-51v) [PALLAVICINO]. Conduttier di più bel giorno, Febo mai dal Gange uscì, A/B, G minor. For Domitiano in III:17. Also anon. in Barb. lat. 4170, n. 12, and BAV Chigi Q.IV.49, f. 21r-v (only the beginning of the A section). Also in Pallavicino’s setting for S/B in D minor in the 1678 Venetian score, I-MOe Mus F.894, ff. 141-142; the 1680 Venetian score, I-Vnm It.Cl.IV 462 (= 9986), ff. 83v-84; the 1678 collection, I-MOe Mus. G.298, ff. 7-8; and the modern edn by MCKEE, vol. 2, pp. 363-366; text ed. in vol. 1, p. 291. The ritornellos that precede this aria are scored for TrTrATTBB in 1678 and TrTrB in 1680. 24 (ff. 52-55) Miei spirti all’armi, ne già vi disarmi, A/B, F major. For Tito in III:20 (Fabriano 1692; not in Rome 1693). Also anon. in Barb. lat. 4170, n. 36, and BAV Chigi Q.IV.47, ff. 47-50. Text ed. in MCKEE, vol. 1, p. 293. 25 (ff. 55v-58) Penare, crepare, orbarmi, stroppiarmi, TB/B, C major. For Delia and Zelto in III:22 (Fabriano 1692). Not in Rome 1693 or in Barb. lat. 4170. 26 (ff. 58v-60) Finché sul mio sembiante la rosa fiorirà, S/B, E minor. For Gesilla in III:21 Also anon. in Barb. lat. 4170, n. 23; BAV Chigi Q.IV.48, ff. 37-40; D-MÜs 172, ff. 83-84; and D-MÜs 3951, ff. 93-99v. Labeled with the singer’s name, “Rinaldino,” in I-Rli Musica M 15/2, ff. 33-40, for Rinaldo Gherardini who sang the role in Fabriano 1692. Text ed. in MCKEE, vol. 1, pp. 294-295. 27 (ff. 60v-61v) T’abbraccio, ti stringo, amato mio ben, SA/B, G major. For Tito and Arricida in III:25. In the Rome 1693 libretto, line 2 is t’annodo al mio sen. Also anon. in Barb. lat. 4170, n. 21. Text ed. in MCKEE, vol. 1, p. 297. 28 (f. 62r-v) Per pietade, ahi, chi m’uccide?, A/B, E minor. For Domitiano in III:23. Also anon. in Barb. lat. 4170, n. 11. Text ed. in MCKEE, vol. 1, p. 295. Differs from Pallavicino’s setting in the 1678 and 1680 Venetian scores; the 1678 aria collection, I-MOe Mus. G.298, ff. 51-52v; for the 1682 Ferrara production; and the modern edn by MCKEE, vol. 2, pp. 386-388.

29 (ff. 63-65) Cieca dea, che de’ mortali, A/B, E minor. For Domitiano in III:1. Also anon. in Barb. lat. 4170, n. 26. Text ed. in MCKEE, vol. 1, p. 275. Differs from Pallavicino’s setting in the 1678 and 1680 Venetian scores; the 1678 collection, I-MOe Mus. G.298, ff. 15-16; and the modern edn, MCKEE, vol. 2, pp. 281-282.

30 (ff. 65v-66v) Cangia spesso sue vicende, B/B, F major. Not in any known edition of the libretto, and not in Barb. lat. 4170. It could have been

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for the role of Zelto in Fabriano 1692, which was for a bass, or for either Vespasiano or Delbo, the roles in a bass range in the 1693 VESPASIANO. 31 (ff. 67-68v) Su le nemiche stragi al trono ascenderò, A/B, D minor. For Domitiano in III:3 (text ed. in MCKEE, vol. 1, pp. 279-280). Also anon. in Barb. lat. 4170, n. 18. In I-Rli Musica M 15/2, ff. 7-12 (S/B, A minor), headed with the name, “Ballarino,” the singer who sang the role in 1693. Differs from Pallavicino’s setting in the 1678 and 1680 Venetian scores; two 1678 Venetian collections, I-MOe Mus. G.298, ff. 73-74v, and I-Vqs 1431, ff. 45-46v; used in the Ferrara 1682 production; and the modern edn by MCKEE, vol. 2, pp. 322-326. In the Milan 1685 libretto, this aria text is assigned to Licinio (III:3).

32 (ff. 69-70v) Miei spirti brillate, quel ciglio vedrete, A/B, A minor. For Attilio in III:4. Also anon. in Barb. lat. 4170, n. 19. Text ed. in MCKEE, vol. 1, p. 281. 33 (ff. 71-72) Sento Amor, che su quest’onde nel mio sen scherzando va, S/B, G major. For Gesilla in II:5. Also anon. in Barb. lat. 4170, n. 33, and D-MÜs 3951, ff. 63-66. Text ed. in MCKEE, vol. 1, p. 256. 34 (ff. 72v-73v) [PALLAVICINO]. Ferma il piè, deh non partir, A/B, D minor for Tito; str. 2: Ferma il piè, non t’involar, S/B, G minor for Attilio. In II:5. Also anon. in Barb. lat. 4170, n. 31, and D-MÜs 3951, ff. 83-85v (S/B, A minor). Also in Pallavicino’s setting in the 1678 Venetian score, I-MOe Mus. F.894, ff. 79v-80v; the 1680 Venetian score, I-Vnm It.IV, 462, ff. 39v-40; two 1678 collections, I-MOe Mus. G.298, ff. 41-42, and I-Vqs 1431, ff. 17-18 (S/B in A minor); and tbe modern edn by MCKEE, II, pp. 207-210; text ed. in vol. 1, p. 254. 35 (ff. 74-75v) Parto, ma lascio il core, tutto nel tuo bel sen, A/B, E minor. For Tito in II:7. Anonymous in I-MOe Mus. G.328, n. 16, ff. 47-48. Also anon. in Barb. lat. 4170, n. 24, and D-MÜs 598, ff. 123-128 (S/B, B minor). Text ed. in MCKEE, vol. 1, p. 258. 36 (ff. 76-77v) Voglio perdere il cor, se si trova in Amor, A/B, G major. For Attilio in II:18. Also anon. in Barb. lat. 4170, n. 30, and I-Rli Musica M 15/2, ff. 76-77v. Text ed. in MCKEE, vol. 1, pp. 258-259. Differs from Pallavicino’s setting in the 1678 and 1680 Venetian scores; two 1678 collections, I-MOe Mus. G.298, ff. 77-78, and I-Vqs 1431, ff. 5-6v; and the modern edn by MCKEE, vol. 2, pp. 217-223. Followed by TrTrAATBB ritornello. AMATO, p. 234, n. 28-III:13 also lists I-Nc 34.5.1ter (Arie 484 A), ff. 32v-33v (Internet Culturale access). The aria text also occurs in II:18 [recte II:17] of the Milan 1685 libretto, but its musical setting is unknown.

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37 (ff. 78-79) Fingo per mio diletto, vezzi, lusinghe e amor, S/B, A major. For Gesilla in II:9. Also anon. in Barb. lat. 4170, n. 32, and D-MÜs 904, ff. 81-84, with an attribution to Giacomo Carissimi added by a late hand. The concordance I-Rli Musica M 15/2, ff. 27-31v, is headed by the name “Rinaldino,” for Rinaldo Gherardini who sang the role in Fabriano 1692 and Rome 1693. Text ed. in MCKEE, vol. 1, p. 260. 38 (ff. 79v-80v) [PALLAVICINO]. Sul mio crin ti voglio alloro, A/B, E major. For Domitiano in II:12. Also anon. in Barb. lat. 4170, n. 7, and BAV Chigi Q.IV.12, ff. 229-30v (S/B, A major). Pallavicino’s setting is for S/B in A major in the 1678 Venetian score, I-MOe Mus. F.894, ff. 93; the 1680 Venetian score, I-Vnm It.IV, 462, f. 46; two 1678 aria collections, I-MOe Mus. G.298, ff. 71-72v, and I-Vqs 1431, ff. 27-28v; and the modern edn by MCKEE, vol. 2, pp. 238-242; text ed. in vol. 1, p. 262. A ritornello precedes each version: TrTrATTBB in 1678 and TrTrB in 1680. Pallavicino’s setting was also heard in the Ferrara 1682 production (II:11). 39 (ff. 81-85) Allegro. Coll’onda, che scherza, col maggio, che ride, AA/B, D major. For Arricida and Tito in II:13. Also anon. in Barb. lat. 4170, n. 17. Text ed. MCKEE,vol. 1, p. 263. Differs from Pallavicino’s setting in the 1678 and 1680 Venetian scores; the 1678 aria collection, I-MOe Mus. G.298, ff. 13-14v; and the modern edn by MCKEE, vol. 2, pp. 243-247.

40 (ff. 85v-86v) [PALLAVICINO]. Presto assai. Co’ le furie di Cocito; str. 2: Co’ lo stral della vendetta, A/B, C major. For Arricida in II:14 (str. 1 is sung to Tito, str. 2 to Gesilla). Also anon. in Barb. lat. 4170, n. 37. In the concordance I-Rli Musica M 15/2, ff. 53-61v, headed by the name “Finalino,” for Gioseppe Finalino who sang the role in Rome 1693. For S/B in G major in in Pallavicino’s setting in the 1678 Venetian score, I-MOe Mus. F.894, ff. 35v-36v; in the 1680 Venetian score, I-Vnm It.IV, 462, ff. 50v-51; two 1678 aria collections, I-MOe Mus. G.298, ff. 3-4, and I-Vqs 1431 ff. 33-34v; and the modern edn by MCKEE, vol. 2, pp. 261-265; text ed. in vol. 1, p. 267. A ritornello follows the aria in the scores to the opera: scored TrTrATTBB in 1678 and TrTrB in 1680. 41 (ff. 87-89) Bellezze idolatrate, pompe del dio d’amor, A/B, G major. For Tito in II:17. Also anon. in Barb. lat. 4170, n. 5, and I-MOe Mus. G.296, n. 21 (A/[B]B: “aria con violoncello obligato; see RISM ID n. 850013500). The libretto has fregi instead of pompe. 42 (ff. 89v-90v) All[egr]o. Non mi lasciar, no, no, dolce Speranza, A/B, G major. For Attilio in II:17. Also anon. in Barb. lat. 4170, n. 34, and D-MÜs 598, ff. 77-82 (S/B, C major). Text ed. in MCKEE, vol. 1, p. 273.

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43 (ff. 91-92v) Presto. Si suoni, si danzi, allegri, sì, sì, TB/B, G major. For Delia and Delbo in II:17. Not in Barb. lat. 4170. Text ed. in MCKEE, vol. 1, p. 286. 44 (ff. 93-96v) Largo. Vieni, o cara, a riposarti / Vengo, o caro, a riposarmi, TB/B, B! major. For Delia and Zelto in II:19 (Fabriano 1692). Not in Rome 1693 or in Barb. lat. 4170. Text ed. in MCKEE, vol. 1, p. 275. Bound in parchment (110 × 270 mm). At one time, four leather ties on the front cover clasped ivory beads on the back cover. The bead at the top remains; the two at the sides and the one at the bottom are no longer present. The number 43 is written in black ink on the spine. The previous shelfmark XLVII.43 is written in black ink inside the front cover. Edges speckled pink and blue. The papers have three watermarks associated with Rome. The predominant one, found on fourteen folios between f. 1 and f. 94, is a fleur-de-lis within two concentric circles, similar to HEAWOOD nn. 1591-1592. A stag within a single circle with the letter P above, found on five folios (ff. 4, 25, 45, 57 and 9), is similar to HEAWOOD n. 3850. Three hills surmounted by the letters A N within two concentric circles, also found on five folios (ff. 5, 38, 81, 84 and 88), is similar to HEAWOOD nn. 1620-1623. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 97-98. Hand A copied the arias from act I (nn. 1-14), which are headed “Arie del primo att[o]” (f. 1). Hand B copied the arias from act III (nn. 15-32), headed “Arie del 3.o atto” (f. 63). And Hand C copied the arias from act II (nn. 33-44). Arias in acts I and II are placed precisely in the order in which they were sung. In act III, the five arias placed last, nn. 29-32, were sung before the preceding fourteen, nn. 15-28. These three hands bear no resemblance to the usual professional copyists, such as the one who wrote Barb. lat. 4170, the other collection of arias from the 1693 carnival production of IL VESPASIANO in Rome. The musical sources examined included two scores available through the Internet Culturale portal: the 1678 Venetian score I-MOe Mus. F.894 and the 1680 Venetian score I-Vnm It.Cl.IV 462 (= 9986). In view of McKee’s study, the 1685 score I-MOe Mus. F.898 was not consulted. Twelve arias in Barb. lat. 4172 are not in the Rome 1693 edition of the libretto. Four were sung in the Venetian productions of 1678 and 1680 (nn. 3, 9, 12 and 19). Four are found only in the Fabriano edition of 1692 (nn. 10, 24, 25 and 44). And four — nn. 4, 14, 22 and 30 — do not occur in any edition of the libretto catalogued in MCKEE, vol. 2, pp. 221-289 (who provides complete aria texts from fourteen editions of 1678-1695). Eleven of the 34 still-anonymous arias retained Venetian texts: Barb.

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lat. 4172, nn. 2, 28-29 and 31 are for Domitiano; nn. 5, 15 and 39 for Arricida; nn. 7, 20 and 36 for Attilio; and n. 18 for Gesilla. The librettos published for Parma in 1689/90 and Fabriano in 1692 are the sources for the comic arias nn. 21, 25 and 44, and for twelve serious arias: nn. 11, 26, 33 and 37 for Gesilla; nn. 8, 32, and 42 for Attilio; nn. 24, 35 and 41 for Tito; n. 10 for Vespasiano; and n. 17 for Arricida. These settings may have been retained for the Roman production of 1693. The letter to the “curioso lettore” in the Parma edition dated 1689 states that “le aggiunte del ridicolo … sono stati inventate del sig. Aurelio Aureli poeta … e poste in musica del virtuoso sig. D. Bernado Sabadini, Maestro di Capella di S[ua] E[ccellenza], con diverse ariette fattevi da novo” (also transcribed in SARTORI, n. 24725). A similar letter in the Fabriano edition of 1692 claims that there were “molte aggiunte e machine inventate dal sig. Aurelio Aureli e posto in musica dal sig. D. Pietro Porfirij, maestro di Cappella in Fabriano” (transcribed in SARTORI, n. 24727). The close relationship between the productions in Parma, Fabriano and Rome is tabulated and discussed in MCKEE, vol. 1, pp. 109-133. All of them utilized Aureli’s revision of Giulio Cesare Corradi’s Venetian libretto. The Romans nevertheless placed only Corradi’s name on their title page and did not refer to Aureli or any other librettist (MCKEE, vol. 1, pp. 52-53). The dedication to the Duchess of Medinaceli, wife of the Spanish ambassador, is signed by a bookseller, Francesco Leone, rather than by a librettist responsible for the Roman text. One can therefore only speculate that Silvio Stampiglia was responsible for the revisions (as do CAMETTI 1938, pp. 350 and 355, n. 1; SARTORI, n. 24730; and FRANCHI 1988, pp. 657-658). For a discussion of Vespasiano in the context of the nine operas sponsored by the Duke of Medinaceli in Rome and the production of the opera in Milan in 1685 (dedicated to the Condesa de Melgar), see José María Domínguez Rodriguez, Roma-Napoles-Madrid. Mecenazgo musical del duque de Medinaceli, 1687-1710, Kassel 2013, passim. Dominguez emphasizes a strong connection between Medinaceli and the singer Pistocchi, who performed the role of Tito in Fabriano and Rome, and who eventually went to serve Medinaceli in Naples. Only six of the aria texts in Barb. lat. 4172 had not previously been set by Pallavicino, Sabadini or Porfirii. They are the four (nn. 4, 14, 22 and 30) not found in any known edition of VESPASIANO and the two found only in the Roman edition (Barb. lat. 4172, nn. 13 and 27). The nine singers’ names are listed in the Roman libretto, and three of them are also named at the head of their arias in the collection I-Rli M.15/2 (see above, nn. 5, 18, 26, 31, 37 and 40). Three who repeated their Fabriano 1692 roles in Rome 1693 may have retained their 1692 aria settings: Francesco Antonio Pis-

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tocchi (Tito), Francesco Ballarino (Domitiano), and Rinaldo Gherardini as Gesilla (cast lists in SARTORI, nn. 24727 and 24730 and MCKEE, vol. 2, p. 302). Barb. lat. 4172-4173 No complete score for the Roman production is known. The largest extant aria collection is Barb. lat. 4172. Thirty-seven of its forty-four arias are in the next largest collection, Barb. lat. 4170 (q.v.). In January 1693, Cardinal Ottoboni paid for the copying of arias from SELEUCO and VESPASIANO, which were the carnival operas at the Teatro Tordinona (MARX-Ottb, pp. 134-135, nn. 42b-42c); of the twelve arias from VESPASIANO, seven are also in Barb. lat. 4172 (nn. 4, 11, 13, 18 and 35-37). Of the more than forty arias from VESPASIANO, twenty-seven are also those in Barb. lat. 4172 (nn. 1-5, 7-8, 11, 13-16, 18, 20, 26, 29, 31-39 and 41-42). The three extant scores for earlier productions are described in SAUNDERS, pp. 131-134, and MCKEE, vol. 1, pp. 142-198). The text in the earliest score, I-MOe Mus F.894, corresponds with the second issue of the Venetian libretto of 1678; it is a fair copy, which might have been presented to the Duke of Modena (MCKEE, vol. 1, p. 151). The text in the second score, IVnm It.Cl.IV 462 (= 9986), corresponds with the Venetian edition of 1680; it is a fair copy made for the collection of Venetian scores assembled by a nobleman, Marco Contarini. The text in the third score, I-MOe Mus. F. 898, corresponds with the Milan (as Il Vespesiano) and Modena libretti of 1685; it was copied for use during productions in those cities. Its close relationship to the earlier scores is demonstrated by the list of concordances provided in MCKEE, vol. 1, pp. 221-299. Two large aria collections that derive from the Venice 1678 production are listed above. The volume I-MOe Mus. G.298 contains forty arias (see LODI, p. 154), while I-Vqs 1431 (Cl.VIII. Cod.V), ff. 1-46, includes twentythree (see ROSSI-QS, 17-18). The collections I-MOe Mus. G.328 and G.296 are inventoried, with musical incipits, in RISM online. A comparison of the Venetian libretto and score with the Naples production of 1707 is F. MENCHELLI BUTTINI, “Il Vespesiano” da Venezia (1678) a Napoli (1707), in Rivista Italiana di Musicologia (1995), pp. 335-358.

Barb. lat. 4173 1650-1690 ca., 103 × 278 mm, I.104.I ff., 4 staves, 6 hands

Miscellany of eleven arias and four cantatas (nn. 1, 8, 10-11). At least nine of the arias were sung in privately staged dramatic works heard in Rome. Two are from IL FIGLIO DELLE SELVE (Casa Capece, Roman carnival

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1687, 1694), libretto by Carlo Capece, music by Cosimo Bani (nn. 4, 6). One is in I GIOCHI TROIANI (Palazzo Colonna, carnival 1688), text by Carlo Capece, music by Bernardo Pasquini (n. 5). Three are in AMORE, AMICITIA E COSTANZA (Palazzo Rospigliosi, carnival 1688), libretto by Giovanni Filippo Apolloni, music by Pietro Franchi (nn. 13-15). Three are from LA ROSMENE OVERO L’INFEDELTÀ FEDELE (Naples 1688, Florence 1689, Rome 1690), libretto by Giuseppe Domenico De Totis, music by Alessandro Scarlatti (nn. 2, 7, 12). One chamber aria is attributed to Luigi Rossi (n. 9). One cantata is attributed to Paolo Petti (n. 1), and another is likely by Marc’Antonio Pasqualini (n. 11). Still anonymous are one aria (n. 3) and two cantatas (nn. 8, 10). Items are arias unless otherwise indicated. The setting is S/B unless otherwise stated. Four other scorings are: A/B (nn. 1, 8 and 12), S/ TrB (nn. 2 and 5), A/TrB (n. 3) and S/TrTrB (n. 4). Online in DVL. 1 (ff. 1-12v) PAOLO PETTI. Or che tra l’onde Ibere, posa in letto d’argento il dio dell’oro, A/B, E minor, cantata. Internal arias are Zeffiretti che battete (E minor) and Con le rose del sembiante (2 str., E minor). At the end is “PP.” in the same hand as the attribution at the head of the cantata. This may be a composer’s autograph; see comments for Hand A. 2 (ff. 13-22) [ALESSANDRO SCARLATTI]. [V]’è chi per te sospira e tu non l’odi, str. 2: V’è chi per te si strugge e more e tace, S/TrB, A major. For Eurillo in III:2 of LA ROSMENE (Naples 1688, [Florence 1689], Rome 1690). The aria is in the anonymous score for Naples 1688, F-Pn Vm4 18, where it is followed by a TrTrAB ritornello. In the Rome 1690 libretto the strophes are separated by recitative (p. 47). Also anon. in the aria collections F-Pn Rés. Vmf 36, pp. 305-319; I-Nc 33.4.10 (Cantate 47), f. 43 (with an erroneous modern attrib. to Stradella and erroneously identified as from LA ROSAURA); and I-MOcaffagni, ms. 2, ff. 38-39 (A/B, D major). Not in the score to the opera D-MÜs 3933. The score attributed to Alessandro Scarlatti D-BDk ms. 137 (St. Katharinenkirche) was not examined. Barb. lat. 4173 3 (ff. 23-34v) Allegro. Non è fierezza l’usar fierezza, str. 2: È vile amore l’usar amore, A/TrB, F major. 4 (ff. 35-43v) [COSIMO BANI]. Lacerare mi sento il core dall’ardore, S/ TrTrB, E minor. For Ferindo in I:8 of FIGLIO DELLE SELVE (undetermined performance). Attributed to “Abbate Bani” in the aria collection BAV Chigi Q.IV.30, ff. 29-33v (S/B). The aria does not appear in the printed librettos for Rome in 1687, 1690, or 1694, but may have been composed for any one of a number of re-stagings (e.g., Florence 1688, Livorno 1695, etc.). The earliest libretto that lists performers, who seem mostly to have been amateurs, was printed for the performance by the Accademia del Cimento

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in Livorno; it lists “il Canonico Cosimo Bani, Compositore della Musica, il primo Cimbalo” (p. 64), which shows that Bani was involved in some restagings. The aria is present in the score to opera, I-MOe Mus. F.52 (online access via I-MO-BEU), which is autograph only in part (the segments remaining from the Rome 1687 production). In MOe Mus. F.52, ff. 45-48v, this aria is in the hand of a copyist (possibly the Roman Flavio Lanciani). This aria is also present in the other extant score to the opera, GB-Cfm Mu.Ms 659, which is attributed to “Abb.te C. Bani.” In the printed librettos, the text is usually Mi sento nel seno un dardo mortale. A new setting was made for the 1696 production in Viterbo by Cinthio Vinchioni (libretto pub. in Rome), who wrote the dedication and address Al lettore: “Vero si è totalmente diversa da quella di prima, e nell’Aria, et in alcune Scene, a ciò non si è fatto per correggere il di lei primo Autore, che è di si purgato giuditio, ma solo per rinovarlo con altri adornamenti musicali.” Another new setting was composed by Lignani for performance “alla presenza delle loro A.A.R.R” at the Regio Teatro di Torino in 1699. Mercedes Viale Ferrero kindly shared references she found “al musico sonatore et compositore Domenico Lignani” in the Archivio di Stato di Torino, Sezioni Riunite (private communication). His salary there during these years was at least L. 1000. Three copies of his setting of FIGLIO DELLE SELVE are listed in the comments to Barb. lat. 4130, n. 46. They seem to be virtually identical, and their five dozen arias include at least a dozen composed by Bani in 1687.

5 (ff. 45-56v) [BERNARDO PASQUINI?]. La speme è già in campo che l’egro timore, S/TrB, D major. For Enone in II:5 of GIOCHI TROIANI (Rome 1688). Attributed to “Gio. del Violone” in GB-Lbl Add. 31506, ff. 35v-44; likely an incorrect attribution (see the comment below). 6 (ff. 57-60) [BANI]. Ah, che una morte è poco, str. 2: Astri del ciel tiranni, F# minor. For Teramene and Ferindo in III:9 of IL FIGLIO DELLE SELVE (Rome 1687 and 1694; one str. only in Rome 1690). Text for str. 2 written below the continuo staves, as it is in the holograph scene in I-MOe Mus. F.52, ff. 169-170. Also in GB-Cfm Mus. 659. See n. 4 above. In the libretti, the aria begins Anzi una morte è poco. See the likewise anonymous concordance Barb. lat. 4139, n. 5, for further concordances in two scores and three aria collections and for Lignani’s setting of this text. 7 (ff. 61-67v) ALESSANDRO SCARLATTI. Che cos’è quest’honestà? Io per me non la capisco, A major. For Liso in III:17 of ROSMENE (incorrectly headed sc. 18 in Rome 1690); in the same scene as n. 12 below. Followed by a TrTrAB ritornello in both scores to the opera, F-Pn Vm4 18 (anon.), a score that represents the production for Naples 1688; and D-MÜs 3933 (“Aless.o Scarlatti”). The score attributed to Alessandro Scarlatti D-BDk

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ms. 137 (St. Katharinenkirche) was not examined. Also attrib. to “Aless.o Scarlatti” in the aria collections BAV Chigi Q.IV.44, ff. 31-38, and I-Rsc G.391, ff. 29-34. Anonymous in aria collections F-Pn Rés. Vmf 26, pp. 241252, and Rés. Vmf 36, pp. 374-391. In the Florence 1689 libretto, this aria has three strophes (p. 59). 8 (ff. 69-76) Doppo lungo servire all’amata crudele, A/B, B! major, cantata. The arias are Ti gradirei men bella and Se al mio languir ti pieghi. A different setting of this cantata text is attributed to Carlo Francesco Pollarolo in D-B Mus. 30074 (see KÜMMERLING n. 1229) and D-Mbs Mus. 1139 (RISM ID 450054949). The Pollarolo setting is anonymous in I-Tn Foà 13, ff. 120-23v (see WECIS 4B, n. 234).

9 (ff. 77-78) LUIGI [ROSSI]. Un pensier nobile si mi ragiona, str. 2: Pensier che bramano ogn’hor mercede, D major; text for str. 2 written below the continuo staves. Musical incipit in CALUORI n. 199. 10 (ff. 78v-80v) [M]adre che farò io con quest’occhi miei di foco, D minor, cantata, R-1-R-2-R; the text for str. 2 is written below the continuo staff for str. 1. 11 (ff. 81-89) [PASQUALINI?]. Il tempo che fu, o come si brama, C major, cantata. The opening aria returns twice as a refrain. The closing aria is O voi che d’Amore (3 str.). Also anonymous and holograph in Barb. lat. 4220, n. 46 (q.v.), where the text is attributed to Giovanni Lotti. For the attribution, see MURATA n. 113. 12 (ff. 91-93) [A. SCARLATTI]. Crudo Eurillo, e come a gioco prender puoi mia stabil fé, A/B, D minor. For Celidora in III:15 of ROSMENE (sc. [17] in Florence 1689 and Rome 1690); in the same scene as n. 7 above. Attributed to “Aless.o Scarlatti” and accompanied by TrTrAB instruments in D-MÜs 3933. Anonymous in the aria collection I-MOcaffagni ms. 2, ff. 3334v (RISM ID 850027048). Anonymous for S/B and TrTrB instruments (A minor) in F-Pn Vm4 18, a score that represents the Neapolitan production of 1688. The score attributed to Alessandro Scarlatti D-BDk ms. 137 (St. Katharinenkirche) was not examined. 13 (ff. 95-98) [GIOVAN PIETRO FRANCHI]. Tu sol mancavi, o gelosia, str. 2: E non bastavi, destin crudele, C minor. For Ericlea in I:5 of AMORE, AMICITIA E COSTANZA (Rome 1688). 14 (ff. 99-101v) [FRANCHI]. Dall’oriente, chiaro e lucente, str. 2: Già la fres[ch]’aura ch’il cor ristaura, C major. For Celina in I:3 of AMORE, AMICITIA E COSTANZA. Also anonymous in the collection GB-Lbl Harley 1272, f. 54v.

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15 (ff. 103-104) [FRANCHI]. Porto in seno un certo core, str. 2: Vorrei far da ritrosetta, B! major. For Celina in I:9 of AMORE, AMICITIA E COSTANZA. Attributed to “D. Pietro Franchi” in the aria collection BAV Chigi Q.IV.36, ff. 45-50v. Anonmous in GB-Lk R.M.24.i.11, n. 26. Bound in parchment (114 × 280 mm), covered with a lacquer-like gloss that has now yellowed (see also Barb. lat. 4176). On the spine below a pink Vatican sticker, a modern hand has written the number 44 in black ink, as well as the previous shelfmark XLVII.44 in black ink inside the front cover. The watermark that denotes the later fascicles is a fleur-de-lis in two concentric circles with a V above (ff. 16, 19, 21, 24, 29, 54, 61, 63, 65, 69, 71 and 97, similar to HEAWOOD nn. 1591-1592). A fleur-de-lis in a single circle is on ff. 2 and 6, similar to HEAWOOD 1569. A cleric/saint in a shield, of the type HEAWOOD n. 1347, occurs for at least two of the earlier cantatas on ff. 23, 78, 82 and 87 (nn. 3, 9, 11). Two concentric circles enclose three hills with the letters A and N on either side on ff. 32, 36, 48, 51 and 100, similar to HEAWOOD nn. 1620-1623; the upper part of this watermark was not visible. The foliation in pencil is recent. Both flyleaves are blank. Blank staves only are on ff. 44, 68, 90, 94 and 102. Hand A copied n. 1, which ends with the initials PP., suggesting that this may be the hand of composer Paolo Petti (d. 1678). However, Barb. lat. 4149, n. 1 also ends with “PP.,” but the music writing is not the same. The music notation here resembles that of I-Rli Fondo Chiti ms. Musica M.17, Petti’s Missa Contrariorum, but not that of Petti psalm settings in Musica M.24, also marked PP. and considered “autograph” in CARERI (p. 29). The latter hand rather resembles that of Barb. lat. 4149. One hand may be Petti’s, the other his regular copyist. An illustrated initial with a pen-and-ink drawing is on a piece of paper pasted to f. 1; similar drawings are in Barb. lat. 4149, f. 21, and 4158, f. 7. This decorative initial, with a face in profile on the outside rim and an ignudo, is identical and drawn by the same hand responsible for the initial letters R and O of I-Rc 2471, ff. 1 and 15. (Both of the Casanatense cantatas are by Pier Simone Agostini.) Another example is I-MOe Mus. G.261 (facsim. in NIGITO-BP, tav. 32), a cantata by Bernardo Pasquini. Copyist B copied nn. 2 and 12, both by A. Scarlatti. A pen-and-ink drawing of a man with a protruding tongue precedes n. 12. Copyist C copied nn. 3-6, probably 13-15, and Barb. lat. 4153-4155, likely Flavio Lanciani. Copyist D copied n. 7, and is Barb. lat. 4139 Hand B. Copyist E copied n. 8.

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Copyist F copied nn. 9-11; these pieces may have been copied before 1686-1688. All three arias from LA ROSMENE OVERO L’INFEDELTÀ FEDELE (nn. 2, 7, and 12) are also in F-Pn Vm4 18, the anonymous score that corresponds to the Neapolitan production of 1688. See ROSTIROLLA 1972, pp. 337-338, and NIGITO 2008, pp. 28-55, who both argue that a 1686 performance of Scarlatti’s score in Rome is highly unlikely, especially when costumes and sets are considered. (Card. Pamphili did produce a rather lavish work in 1686, however, with the character Rosmene, played by Nicolo Paris; see NIGITO 2008, Doc. P161 from I-Rdp, sc. 2, b. 6, n. 673, and other documents). Both arias from IL FIGLIO DELLE SELVE (nn. 4 and 6) are in the scores GBCfm Mus. 659 (olim 52.B.13), which once belonged to Pietro Ottoboni, and I-MOe Mus. F.52. The latter in part is in Bani’s hand, but also was heavily revised for unknown productions (available online via I-MO-BEU). The Fitzwilliam describes its score as corresponding to the Lucca 1699 libretto; nonetheless its watermark is associated with Rome, and Ottoboni’s singer Andrea Adami sang the role of Ferindo in Rome 1687. See CAMETTI-CC, p. 58, for further information. A chronological list of 25 productions, based upon extant libretti of 1687-1771, is provided in Norbert Dubowy, “Il figlio delle selve” — Holzbauers Oper zur Eröffnung des Theaters in Schwetzingen [in 1753], in Mannheim — Ein “Paradies der Tonkünstler?,” Kongressbericht Mannheim 1999, ed. L. Finscher, B. Pelker and R. Thomsen-Fürst, Pieterlen and Bern, 2002, p. 331. No list of the scores has been published. Only three arias from GIOCHI TROIANI are known to be extant. The other two are attributed to “Ber.o Pasquini”: Bell’effigie che ad amarti for Paride in I:7, which occurs in I-Bc V.291, ff. 116-19v; and L’alma mia fin hor avvezza for Enone in III:4, which occurs in BAV Chigi Q.IV.38, ff. 63-66. Since Giovanni Lulier’s earliest known dramatic work was written in 1691, it seems highly unlikely that he wrote for GIOCHI TROIANI in 1687/88, despite his presence in Rome and the attribution given in the GB-Lbl source. See TAMBURINI 1997, pp. 178-179; CAMETTI-CC, p. 58; and MORELLI-A-Pasq, pp. 182-184, for further information concerning these Roman productions. AMORE, AMICITIA E COSTANZA was performed privately in the Duchess of Zagarolo’s chambers in the Palazzo Rospigliosi al Quirinale. No printed libretto is known, but ms. libretti survive in BAV Borg. lat. 116, ff. 62v-93, and I-PAp Palatino 573, ff. 132-174 (MORELLI-G 1988, p. 258). The three arias in Barb. lat. 4173 and the two in BAV Chigi Q.IV.36, ff. 41-50v, are the only known musical sources for this work; the attribution of Porto in seno to Pietro Franchi (ca. 1651-1731) provides the only known evidence for

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the composer’s contribution. In the following Lenten season he presented his first public work in Rome, an oratorio at the Crocifisso of S. Marcello. From Pistoia like the Rospigliosi, Franchi became the head of their musical establishment (see his entry in the DBI).

Barb. lat. 4174 1695 ca., 125 × 288 mm, II.63.II ff., 4 staves, one hand

Anthology of thirty-three anonymous arias from four Venetian operas of 1694-1695. Eighteen are from IRENE and Il PASTORE D’ANFRISO, libretti by Girolamo Frigimelica Roberti and music by Carlo Francesco Pollarolo. Nine are from LAODICEA E BERENICE, libretto by Matteo Noris, music by Giacomo Perti. Six are from IL PRINCIPE SELVAGGIO, libretto by Francesco Silvani, music by Michelangelo Gasparini. This volume contains most of the known music for Perti’s LAODICEA E BERENICE and M. Gasparini’s IL PRINCIPE SELVAGGIO. (No other musical source for the latter is known.) Seventeen arias are scored S/B; fifteen are A/B; and one is AB/B. The setting is S/B unless otherwise indicated. Barb. lat. 4173-4174 1 (f. 1r-v) [CARLO POLLAROLO]. Amian chi n’ama, sì, G minor. For Clizia in III:5 of PASTORE D’ANFRISO (Venice 1695). Also in Barb. lat. 4134, n. 32. Followed by a TrTrATB ritornello in the score to the opera CZ-K 73.K.1. 2 (ff. 2-4) [POLLAROLO]. Non sa chi ben non ama, A/B, A minor. For Memete in II:5 of IRENE (Venice 1695). The da capo is indicated. With TrATB instruments in the score to the opera CZ-K 70.K.1. Domenico Scarlatti adapted Pollarolo’s IRENE for the Naples 1704 production. He retained Pollarolo’s setting for this aria and for all others marked § in the Naples libretto. Music for this aria is thus extant in I-Nc Rari 7.1.20 (= 32.2.29 and Arie 512), which is titled Arie con stromenti dell’Irene delli Sig.ri Carlo Francesco Pollaroli & Domenico Scarlatti, n. 32. The musical incipit in TERMINI, p. 671, is from the I-Nc aria collection; the entry incorrectly names Alessandro Scarlatti as the Neapolitan adapter. Barb. lat. 4174 3 (ff. 4v-5v) [POLLAROLO]. Sento una forza in petto, A/B, A major. For Memete in I:2 of IRENE. Followed by TrTrATB ritornello in CZ-K 70.K.1. Domenico Scarlatti retained Pollarolo’s aria in his Naples 1704 revision (see n. 2 above); it is extant in I-Nc Rari 7.1.20, n. 1. TERMINI, p. 670. 4 (ff. 6-7v) [GIACOMO PERTI]. Gioirà, goderà, forse lieta quest’alma un dì,

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A/B, C major. For Origene in II:17 of LAODICEA E BERENICE (Venice 1695). This aria text first appears in the second printing of the libretto. 5 (ff. 8-9) [POLLAROLO]. Vincitor, terror del mondo, A/B, D major. For Memete in II:5 of IRENE. Also in Barb. lat. 4133, n. 20. Marked “li violini e violette suonano il basso, raddoppiando le note tutte” in CZ-K 70.K.1, the score to the opera. Domenico Scarlatti retained Pollarolo’s aria in his Naples 1704 revision (see n. 2 above); it is extant in I-Nc Rari 7.1.20, n. 31. TERMINI, p. 671. 6 (ff. 10-11v) [POLLAROLO]. Guerra, guerra, voglio guerra e voglio amar, A/B, D major. For Memete in I:3 of IRENE. Also in Barb. lat. 4133, n. 3. Accompanied by TrTrTr (trumpet and oboes), B (timpani); and TrTrATB (violins, violette, and basso continuo) in the score to the opera CZ-K 70.K.1. Domenico Scarlatti retained Pollarolo’s aria within his Naples 1704 revision (see n. 2 above). 7 (ff. 12-13v) [POLLAROLO]. Per fuggir tutti gl’inganni, A/B, C major. For Erasto in II:3 of PASTORE D’ANFRISO. Also in Barb. lat. 4133, n. 8. Preceded by a TrTrAB ritornello in the score to the opera CZ-K 73.K.1. 8 (ff. 14-15v) [POLLAROLO]. Ne l’amante son gran nemici, A/B, G major. For Solimeno in III:8 of IRENE. Also in Barb. lat. 4133, n. 6. With TrATB instruments in the score to the opera CZ-K 70.K.1. Printed in the libretto, p. 11, as a replacement for Grand’amante è grand’imprudente. 9 (ff. 16-17) [POLLAROLO]. Vanne, fuggi dal mio aspetto, A/B, C major. For Licisco in III:2 of PASTORE D’ANFRISO. Also in Barb. lat. 4133, n. 2, and in the score to the opera CZ-K 73.K.1. 10 (ff. 18-19) [PERTI]. È nel campo di Bellona, A/B, C major. For Gilade in I:15 of LAODICEA E BERENICE. 11 (ff. 20-21) [PERTI]. Crude tiranne stelle, per me non v’è pietà, D minor. For Antioco in III:10 of LAODICEA E BERENICE. This aria text first appears in the second impression of the libretto. 12 (ff. 22-23) [POLLAROLO]. Amar da ver con cor fido e sincero, A/B, D major. For Erasto in IV:6 of PASTORE D’ANFRISO. Followed by a TrTrAB ritornello in the score to the opera CZ-K 73.K.1. 13 (ff. 24-25v) [PERTI]. Dove Esperia d’oro ha l’onde, A/B, F major. For Gilade in III:18 of LAODICEA E BERENICE. 14 (ff. 26-27v) [POLLAROLO]. Morirò, morirò. Voglio per monti su monti, A/B, F major. For Licisco in V:1 of PASTORE D’ANFRISO. Also in Barb. lat.

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4133, n. 7. Marked “li violini e violette unisoni” (cf. n. 5 above) in the score to the opera CZ-K 73.K.1. 15 (ff. 28-29) [POLLAROLO]. Non chiedo Amor non più, D major. For Deianira in III:3 of IRENE. Preceded by a TrTrATB ritornello in the score to the opera CZ-K 70.K.1. 16 (ff. 30-31) [POLLAROLO]. Per serbar l’animo casto, B! major. For Dafne in V:5 of PASTORE D’ANFRISO. Also in Barb. lat. 4133, n. 14. With TrTrAB instruments in the score to the opera CZ-K 73.K.1. 17 (f. 31r-v) [POLLAROLO]. Vo’ aprirlo questo petto (recit.), A/B, F minor. For Licisco in IV:9 of PASTORE D’ANFRISO. Also in Barb. lat. 4133, n. 9, and in the score to the opera CZ-K 73.K.1. 18 (ff. 32-33v) [POLLAROLO]. Su, su, s’armi, all’armi, all’armi, AB/B, D major. For Solimano and Hali in V:4 of IRENE. Also in Barb. lat. 4133, n. 5. With TrTrTr (trumpet, violins, oboes) and ATB (violette and basso continuo) in the score to the opera CZ-K 70.K.1. Domenico Scarlatti replaced Pollarolo’s setting in his Naples 1704 revision of Irene (see n. 2 above).

19 (ff. 34-35) [PERTI]. Laodicea: Giubila, ridi e godi, che il tuo caro tu baccierai, G major. For Laodicea in II:17 of LAODICEA E BERENICE. This aria was deleted from the second printing of the libretto. 20 (ff. 36-37) [MICHELANGELO GASPARINI]. S[ant’] A[ngelo]. Quel caro ardor che mi lusinga il cor, io non intendo, no, A major. For Arideno in II:8 of IL PRINCIPE SELVAGGIO (Venice 1695). 21 (ff. 38-39v) [M. GASPARINI]. Fingi di non [m’]intendere, A major. For Eleonora in II:21 of PRINCIPE SELVAGGIO. The da capo is indicated. 22 (ff. 40-41) [PERTI]. Al seno stringerai la bella, sì, la bella, B! major. For Laodicea in III:13 of LAODICEA E BERENICE (2nd edn of the pub. libretto, issued late Jan. 1695). The da capo is indicated. 23 (ff. 42-43v) [M. GASPARINI]. Se non mel dice, Amor, F major. The da capo is indicated. For Arideno in II:15 of PRINCIPE SELVAGGIO. The da capo is indicated. 24 (ff. 44-45) [M. GASPARINI]. S[ant’] A[ngelo]. Tu non vuoi farmi gioire, A major. For Irene in III:12 of PRINCIPE SELVAGGIO. The da capo is indicated. 25 (ff. 46-47v) [M. GASPARINI]. Belle ciglia che celate, B! major. For Eleonora in II:19 of PRINCIPE SELVAGGIO. The da capo is indicated.

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26 (ff. 48-49) [PERTI]. Già la piaga è aperta in seno, G minor. For Antioco in I:18 of LAODICEA E BERENICE. The da capo is indicated. This aria was deleted from the second printing of the libretto. 27 (ff. 50-51v) [M. GASPARINI]. Amor, che si può far?, G major. For Eleonora in I:10 of PRINCIPE SELVAGGIO. 28 (ff. 52-53) [POLLAROLO]. L’amore è bello il dì, la notte è dolce, G major. For La Notte in the “ultima apparenza” that follows act V of PASTORE D’ANFRISO. The libretto prints a recitative for La Notte, then the instruction “Segue l’aria col ballo.” It does not give the text of Barb. lat. 4174, n. 28, but this aria is in the score to the opera CZ-K 73.K.1 (where it is incomplete). 29 (ff. 54-55v) [PERTI]. Bianca man, quando baciai, A/B, D major. For Origene in II:3 of LAODICEA E BERENICE. The da capo is indicated. This aria was deleted from the second printing of the libretto. 30 (ff. 56-57v) [PERTI]. Da’ tregua al mio penar, A/B, F major. For Origene in II:4 of LAODICEA E BERENICE. The da capo is indicated. 31 (ff. 58-59v) [POLLAROLO]. Gran tormento è di chi è colto, B minor. For Deianira in IV:10 of IRENE. The da capo is indicated. Also in Barb. lat. 4133, n. 11. With TrTrATB instruments in the score to the opera CZ-K 70.K.1. 32 (ff. 60-61) [POLLAROLO]. Sol d’Amore si diffende, F major. For Dafne in IV:4 of PASTORE D’ANFRISO. The da capo is indicated. Also in Barb. lat. 4133, n. 4. Preceded by a TrTrAB ritornello in the score to the opera CZ-K 73.K.1. 33 (ff. 62-63) [POLLAROLO]. Cedi, cedi a chi ti prega, C major. For Dafne in IV:2 of PASTORE D’ANFRISO. The da capo is indicated. Also in Barb. lat. 4133, n. 12, and in the score to the opera CZ-K 70.K.1. Bound in parchment (134 × 290 mm). A modern hand wrote the number 45 on the spine and the prevous shelfmark XLVII.45 inside the front cover; both locations have a pink Vatican sticker. Edges were tinted red and speckled with blue that now appears blackish. The leaves have been trimmed at the top. Folio II has a watermark of a single fleur-de-lis in a circle, and all flyleaves appear to be of paper different from the ruled music paper. Gatherings are of single bifolios, with no catch words. The watermark on ff. 1, 15, and 16 looks like a column with C and B suspended from its left and right arms, respectively (similar to WOODWARD, p. 148). Another watermark is a circle or small shield with faint letters — perhaps C A S — inside (ff. 38 and 49; cf. ff. 3 and 20). On f. II, a table of contents

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that includes only nn. 1-20 was written by the same hand that added folio numbers in brown ink. This hand provided similar lists of contents for Barb. lat. 4143-4144. The other flyleaves are blank. Music and text were copied by one hand. Librettos for the four operas represented in Barb. lat. 4174 were all printed by Francesco Nicolini in Venice and are available via the CORAGO portal. IRENE and PASTORE D’ANFRISO were the autumn 1694 and winter 1695 productions at San Giovanni Grisostomo, while LAODICEA E BERENICE and IL PRENCIPE SELVAGGIO were winter 1695 productions at San Salvatore and Sant’Angelo, respectively (GROPPO, pp. 75-76). All four include a dedication signed by the librettist. None names any composer (SARTORI, nn. 13641, 14118-19, 18133-34 and 19122). Complete scores for both of Pollarolo’s operas are in the Státní oblastní archiv v T—eboni, poboçka Çeský Krumlov in Çeský Krumlov (CZ-K), and most of the Pollarolo arias in Barb. lat. 4174 have concordances in Barb. lat. 4133. This is true for seven of the ten from PASTORE D’ANFRISO and five of the eight from IRENE. Barb. lat. 4174, n. 1 is concordant with Barb. lat. 4134, n. 32. These three volumes, which all contain arias from 1694-1696 productions, seem to be closely related. See LINDGREN-Ven, passim. Singers for IRENE and PASTORE D’ANFRISO are named in I-Vnm It.Cl. IV. Cod. 748 [= 10466], a ms. that covers productions at San Giovanni Grisostomo from 1678 through 1766. According to SAUNDERS, p. 447, the writer’s source for his information is unknown, but it seems to be reliable. If so, Francesco Ballarini (Memete in IRENE and Licisco in PASTOR D’ANFRISO sang nn. 2-3, 5-6, 9, 14 and 17 above); Giacomo Filippo Cabella (Hali in IRENE) sang n. 18; Vincenzo Dati (Solimano in IRENE and Erasto in PASTORE D’ANFRISO) sang nn. 7-8, 12 and 18; Antonia Marzari (Dafne in PASTORE D’ANFRISO) sang nn. 16 and 32-33; and Diamante Maria Scarabelli (Deianira in IRENE and Clizia in PASTORE D’ANFRISO) sang nn. 1, 15 and 31. It is not known who portrayed La Notte in PASTORE D’ANFRISO singing n. 28. Barb. lat. 4174-4175 For Perti’s LAODICEA E BERENICE, only two arias are known in addition to those in Barb. lat. 4174; they are F-Pn Rés.Vma 967, nn. 52 and 158. No other musical source for M. Gasparini’s IL PRINCIPE SELVAGGIO is known.

Barb. lat. 4175 1635-1645 ca., 131 × 272 mm, IV.142.III ff., 4 staves, 7 hands

Thirty-five anonymous Italian cantatas for soprano and basso contin-

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uo. Concordances attribute nine to Luigi Rossi and five to Marc’Antonio Pasqualini; two others may be by either composer. In addition, six or seven items are compositional drafts in the hand of Pasqualini (nn. 6-7, 26-29, 34). Three further works in Rossi’s hand may be by him (nn. 12, 17, 21). Nine remain anonymous. Three of the Pasqualini drafts (nn. 7, 26, 28) appear as finished works in Barb. lat. 4221, dated 1638; two compositional drafts (nn. 6 and 27) appear as finished works in Barb. lat. 4220 dated 1654. Poets are not named, but they include Antonio Barberini, jr (nn. 9, 26), Domenico Benigni (nn. 2, 4, 13, 15), Luigi Ficieni (n. 33), Lelio Guidiccioni (n. 19), Giovanni Lotti (nn. 6, 8, 25, 27, 30, and 35), and Stefano Vai (n. 20). Scoring is S/B, unless otherwise noted; clef changes within compositions are not noted. Musical incipits for all but n. 32 are in CALUORI 1981, vol. 2. Online in DVL. Barb. lat. 4175 1 (ff. 5v-23v) Olimpia. Mezza tra viva e morta, su duro sasso algente, F minor, cantata. Arias include Amor che vuoi da me (2 strophes) and Chi fugge d’Amor lo strale (13 str., of which 8 and 13 repeat the first and the others are in variation). The initial M includes a bee. On f. 18 the copyist has erroneously written a bass clef for strophe 6 instead of an alto clef. CALUORI n. 350 gives one anonymous concordance, I-Rc 2505, ff. 125v-34v. Another is likely the “Lamento d’Olimpia” in the Giovanna del Bourbon del Monte volume sold at Christie’s in November 2007 (location unknown). 2 (ff. 25v-27) [LUIGI ROSSI]. Ragion mi dice lascia d’amare, C major, 3 str. with refrain. Attributed to Rossi in F-Pn Rés. Vm7 59, ff. 117-18v, where the text is attributed to [Domenico] Benigni. Anonymous in I-IBborromeo Misc. 4, ff. 106-107v. Listed as anon. in OPAC-SBN in I-IE Pianetti PLAN. MSS.415. CALUORI n. 160. 3 (ff. 27v-29) Un pensiero che da te Filli, sen vola, C minor, 2 str. CALUORI n. 402. Ascribed without explanation to Luigi Rossi in RICCIARDELLI, p. 34. 4 (ff. 29v-31) Sì, ch’io v’amo, begl’occhi, E minor, 2 str. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 36. Another setting by Mario Savioni is F-Pn Rés. Vm7 59, ff. 127-28v, which attributes the text to Domenico Benigni. CALUORI n. 381 also lists a third, anonymous, setting (G major) in D-Mbs 1524, ff. 159-61v [= 148-50v]. A fourth setting (A major) is attributed to Joseph Chabanceau de la Barre in BALLARD 1695 and 1705 (cf. NESTOLA 2015, AIF.563.).

5 (ff. 31v-33) Pupillette mie belle, occhi cari ch’adoro, G minor, 2 str. with closing refrain. Text for str. 2 laid under the basso continuo staff. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 34. CALUORI n. 373 lists one other anonymous setting in D-Mbs 1524, ff. 52-55v.

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6 (ff. 33v-35) [MARC’ANTONIO PASQUALINI]. Disperati cor mio, e che sperar vuoi più?, C major; 2 str., text only for str. 2. A compositional draft for the version in Barb. lat. 4220 (vol. dated 1654), n. 12, where the text is attributed to Giovanni Lotti. Rubrics include “premute” (f. 34). The continuo line is lacking on f. 34. MURATA n. 71; CALUORI n. 320. 7 (ff. 37-39) [PASQUALINI]. Ch’Amor sia foco io me ne rido, A minor. A compositional draft texted until f. 38v, after which the six-minim basso ostinato has been laid out, but only the first part of the second strophe of the vocal line has been composed. A fair copy Barb. lat. 4221 (vol. dated 1638), n. 65, is also incomplete. MURATA n. 32; CALUORI n. 309. 8 (ff. 39v-45) Dove miri, pensiero? Ferma, troppo alto è del tuo strale il segno, A minor, 3 str. in variation. CALUORI n. 321. The text is attributed to G. Lotti in the different setting by Marc’Antonio Pasqualini, Barb. lat. 4220, n. 35.

9 (ff. 45v-49) [PASQUALINI]. Dove mi spingi, Amor?, C minor, 2 str. Includes the name Filli (“Lascerà Filli in lacci di martiri,” f. 46v), which does not occur in the opera version (see comments). Attributed to “Marc’Ant.o Pasqualini” in the chamber version in I-Rc 2467, ff. 43v-48. MURATA n. 75a. 10 (ff. 51v-59) [L. ROSSI]. Gelosia che a poco a poco nel mio cor serpendo vai, C minor, 3 str. in variation. Attributed to Luigi Rossi in Ariette di Musica (Bracciano 1646), pp. 31-36; to “L.R.” and the text to Domenico Benigni in F-Pn Rés. Vm7 59, ff. 103-108v; and to “Luige Rossi” in GB-Lbl Harley 1265, ff. 79-86v. Anonymous in B-Bc 694 (olim F.A.VI.38), ff. 57-64v and US-SFsc *M2.5 v. 68, ff. 59v-66. CALUORI n. 78. The modern edns GEVAERT, vol. 1, pp. 39-46 (n. 9) and MACCLINTOCK, pp. 76-80 give only strophes 1 and 3; a complete poetic and musical transcription with English translation is in HOLZER, pp. 603-615. Arrangements from 1866-1899 for string orchestra and for string quartet in B! minor exist in I-Raf 1.C.16.VII.2. 11 (ff. 59v-63) [L. ROSSI]. Amor, s’io mi querelo, D minor, 2 str. in Rossi’s hand. A facsimile of f. 61v is in RUFFATTI 2006, p. 202. Attributed to Rossi in I-Rc 2467, ff. 48v-53; F-Pn Vm7 6, f. 6; GB-Lbl Harley 1501, ff. 58v-59. CALUORI, n. 17. 12 (ff. 63v-65) [L. ROSSI?] Non mi negar ch’io speri, D minor, 2 str. in Rossi’s hand. The text for str. 2 is laid under the continuo staff. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 33. CALUORI n. 356 lists it among unreliable attributions to Rossi; tentatively re-attributed here to Rossi as his holograph. 13 (ff. 65v-69) [L. ROSSI]. Difenditi Amore, per foco di sdegno, B! major,

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R-1-R-2-R, in Rossi’s hand. The music is attributed to Rossi and the text to Domenico Benigni in I-Bc V.289, ff. 197-99v, and F-Pn Rés. Vm7 59, ff. 11920v; also to Rossi in I-Vnm It.IV, 742 (dated 1646), ff. 3v-6 (lacking text for str. 2-3). Anonymous in I-Vnm It.IV, 743, ff. 44v-51 and F-Pa M 948, ff. 6768v. CALUORI n. 58. Modern edns are H. RIEMANN, Handbuch der Musikgeschichte, Leipzig 1922, pp. 381-383 and CALUORI 1981, vol. 1, pp. 211-213. 14 (ff. 69v-73) [L. ROSSI]. Degg’io dunque in amore, C minor, 2 str. with refrain in Rossi’s hand. Attributed to Rossi in F-Pn Vm7 6, f. 4v. CALUORI n. 53. 15 (ff. 73v-77) [L. ROSSI]. No mio bene, non lo dite ch’altre fiamme, altre catene, E minor, 3 str. with refrain in Rossi’s hand. The text to str. 3 is laid under the continuo staff for str. 2. Attributed to Rossi in F-Pn Rés. Vm7 102, ff. 155bis-156bis, with a text attribution to Domenico Benigni. Anonymous in US-CA Mus. 106, ff. 111-112v. CALUORI n. 124. A different, anonymous SS/B setting is I-Rc 2464, ff. 105-108 (B! major, 2 str.), and I-Bc Q.48, ff. 163-165.

16 (ff. 77v-79) [L. ROSSI]. Già finita è per me d’amor ogni fortuna, F minor, 2 str. with closing refrain in Rossi’s hand. The text for str. 2 is laid under the continuo staff. Attributed to Rossi in F-Pn Rés. Vm7 6, f. 3. CALUORI n. 79. 17 (ff. 79v-81) [L. ROSSI?] E pur mi lusingate, amorosi pensieri, C minor, 3 str. in Rossi’s hand. Strophes 2 and 3 are laid under the continuo staff. Also anonymous in B-Br II.3947, ff. 59-62v and I-IBborromeo Misc. 11, ff. 8-9v. CALUORI n. 324. Ascribed without explanation to Luigi Rossi in RICCIARDELLI, p. 33. Re-attributed here to Rossi as his holograph. 18 (ff. 81v-85) [PASQUALINI or L. ROSSI]. MAP. Chiuda quest’ occhi il sonno, C minor, 2 str. in variation, in Rossi’s fairer hand. Attributed to “Luigi” in I-Rc 2467, ff. 53v-59, but not by the music copyist. Anonymous in Barb. lat. 4374, n. 25 (T/B) and written in Luigi Rossi’s hand; anonymous and copied by Pasqualini in Barb. lat. 4220, n. 29 (text attrib. to Giovanni Lotti). CALUORI, n. 312 lists this among cantatas unreliably attributed to Luigi Rossi because of its presence in Barb. lat. 4220 in Pasqualini’s hand and the appearance of Pasqualini’s monogram here. MURATA n. 49.

19 (ff. 85v-91) [PASQUALINI]. Il celeste arator, se mira a pena, G minor; sonnet with 4 parts in variation, in Luigi Rossi’s fair hand. Marked “MAP” in Barb. lat. 4223, n. 16 (q.v.), where the poem is attributed to Lelio Guidiccioni (d. 1643). CALUORI n. 339; MURATA n. 110. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 33.

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20 (ff. 91v-94) [L. ROSSI]. Son divenuto amante; che pretendete più bei labri ardenti, E minor, 4 str. in Rossi’s hand. Text for str. 2 laid under the continuo staff for str. 1; for str. 4, under the continuo staff for str. 3. Attributed to Rossi in I-Bc V.289, ff. 207-208v, where the text is attributed to [Stefano] Vai, and in F-Pn Vm7 17, pp. 86-89 (lacking text for str. 2-4). CALUORI n. 176. 21 (ff. 94v-96v) [L. ROSSI?]. Non ti doler cor mio, se la cruda beltà, E minor, 2 str. with a refrain in Rossi’s hand. The name “Costa” in a modern hand, appears in pencil at the head; Baronci read it as “Ant.o.” CALUORI n. 361 placed it among unreliable attributions to Rossi; it is re-attributed here to Rossi as his holograph. CALUORI also lists a different anonymous setting, US-CA Mus. 106, ff. 127-28v. An entirely different work is BAV Chigi Q.IV.5, ff. 19-20, Non ti doler cor mio, se ti niega Amor pietà.

22 (ff. 97-98) O cor che mi lasciasti, C minor, 3 str. CALUORI n. 365. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 36. 23 (ff. 98v-100v) Lusinghiero desio, ch’il moribondo cor, F minor, 3 str. CALUORI n. 347. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 35. 24 (ff. 101-102) Dagli occhi un mar puoi tu ben piovere, E minor, aria. CALUORI n. 317. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 36. 25 (ff. 102v-105) [PASQUALINI or L. ROSSI]. Trafiggemi pensiero, ho perduto un thesoro, D minor, 2 str. Written in two hands; the main hand is Rossi’s; the text of the second strophe below the continuo staff is in Pasqualini’s. The text is attributed to Giovanni Lotti in the anonymous concordance Barb. lat. 4220, n. 28. CALUORI n. 397 (Rossi unreliable); MURATA n. 236. 26 (ff. 105v-109) [PASQUALINI]. Che più dar poss’Amor, che prender puoi?, C minor, R-1-R-2-R-3-R; a compositional draft in Pasqualini’s hand. The text is attributed to “A.B.” in Barb. lat. 4221 (vol. dated 1638), n. 66. MURATA n. 39. A different anonymous setting is Barb. lat. 4203, n. 5.

27 (ff. 109v-110v) [PASQUALINI]. Non temo di morte, m’impiaghi, m’uccida, A minor, 2 str.; a compositional draft or revision in Pasqualini’s hand. Marked “MAP” in Barb. lat. 4168, n. 8, and attributed to Pasqualini in I-Rc 2467, ff. 13v-16, and B-Br II.3947, ff. 135-38v. Anonymous in Barb. lat. 4220, n. 20, where the text is attributed to Giovanni Lotti. MURATA n. 164.

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28 (ff. 111r-v) [PASQUALINI]. Occhi belli a me crudeli, C minor; 2 str.; text for str. 2 laid under the continuo staff. A draft in Pasqualini’s hand for Barb. lat. 4221, n. 68 (anon.). Attributed to Pasqualini in B-Br II.3947, ff. 105-108v. MURATA n. 167. 29 (ff. 113v-114) [PASQUALINI?]. Adora mio core sembiante gradito, E minor. A fair copy in Pasqualini’s hand. Also anon. and holograph in Barb. lat. 4220, n. 27. MURATA n. 2. 30 (ff. 115v-120) [PASQUALINI]. Occhi lingue d’amore, non mi chiedete più, G minor, cantata. The closing aria is Nel centro del’alma sen stiano i sospiri. The copy Barb. lat. 4203, n. 27 is marked MAP. The anonymous copy Barb. lat. 4220, n. 25 attributes the text to Giovanni Lotti. MURATA n. 169. 31 (ff. 120v-126v) [L. ROSSI]. Perché ratto così il lampo del sole, E minor, in four parti. Attributed to “Luigi” in I-Rc 2467, ff. 94v-102v. CALUORI n. 146. 32 (ff. 127-138) E che sperate più, lumi dolenti, F minor, cantata. The closing aria is Spera et adora fedele et amante. 33 (ff. 138v-139v) [PASQUALINI]. Legate un pensiero, che fa nel mio core, A minor, aria. Attributed to “Sig.r M. A. P.” in I-Rc 2467, ff. 91v-94, which attributes the text to Luigi Ficeni; to “M. A. P.” in Barb. lat. 4168, n. 12, and to Pasqualini in B-Br II.3947, ff. 109-112v. Anonymous in Barb. lat. 4220, n. 26. MURATA n. 132. 34 (ff. 140-143) [PASQUALINI]. Il duol gionto all’eccesso, C minor, a texted draft for a cantata in Pasqualini’s hand, with the vocal line only. Arias include Non son io l’amato segno and another on f. 143 which lacks text and is incomplete. MURATA n. 111. 35 (ff. 143v-145) [PASQUALINI]. Bel volto m’ancidi, C minor, 2 str., a compositional draft. Attributed to “M. A. P.” in Barb. lat. 4168, n. 11; and to Pasqualini in I-MOe Mus. G.157 with the subject title “Crudeltà d’un bel volto”; and in I-Rc 2467, ff. 38v-43. Anonymous in Barb. lat. 4220 (vol. dated 1654), n. 14, which attributes the text to Giovanni Lotti. MURATA n. 27. Oblong (143 × 275 mm), bound in reddish-brown leather, with elaborate overall tooling in gold. The front cover is broken. The watermark of the letter F on three hills in a shield (Heawood n. 2616) has been dated 1638; the same paper is found in Barb. lat. 4203 and 4168. The ms. consists of 35 gatherings of two nested bifolios, except for the last gathering of three bifolios (ff. 141-146). The regular gathering structure and single watermark suggest a volume pre-bound with pre-ruled paper. The foliation

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in pencil is modern. Numbered folios 1-4 and 147-149 are original flyleaves of which ff. 2-4, and 147-149 are blank. Blank staves only are on ff. 24, 36, 50, 112-113, and 115. On f. 1 appears the inscription “Ce livre a partien a mon pere mon.s lougii.” The first initial bears a bee (a Barberini bee?). Fine, ornamental initials also appear in copies by hand A (to f. 31v) and hands E and F. On f. 146v is written a seguidilla strophe not in the hand of f. 1 or any of the music copyists: “Mariposa atrevida[,] Mariposa atrevida huye la llama[,] la llama que es la muerte del fuego para quien ama[,] para quien ama.” The phrase repetitions suggest that they belonged to or were designed to fit to a musical composition. Except for Pasqualini’s intervening hand, the copyists made entries serially; their hands form distinct sections of the ms.: Hand A copied nn. 1-5, n. 8, and the text of the 2d strophe of n. 6. He is the copyist of Luigi Rossi’s Palazzo incantato, Barb. lat. 4389, copied in 1641-1642. RICCIARDELLI, p. 33, erroneously considered n. 8 to be in the hand of Luigi Rossi. Pasqualini’s hand (Hand B) first appears in nn. 6-7, then in part of the text of n. 25; he wrote nn. 26-30, and 34-35. Hand C wrote nn. 9-10; he is likely Antonio Chiusi, copyist of I-Rc 2480 and I-Rsc G.885 among other Roman mss. Hand D, identifiable as Luigi Rossi’s, wrote nn. 11-21 and n. 25; he also copied Barb. lat. 4146, Barb. lat. 4374, and possibly Barb. lat. 4181. Hand E wrote nn. 22-24, all anonymous. Hand F wrote nn. 31 and 32 (= copyist of Chigi Q.VII.99). Hand G wrote n. 33. CALUORI 1981, vol. 2, p. 5 noted resemblances between nn. 11 and 25 and Rossi’s hand in GB-Lbl Add. ms. 30491 and his holograph will, two pages of which appear in photograph in GHISLANZONI 1954 (Rome, Archivio di Stato di Roma, Notai RCA, Atti Cermontinus, vol. 551, ff. 844-45v). The conflicting attributions between Rossi and Pasqualini are discussed in §3 of the Introduction to Murata, Thematic Catalogue of Chamber Cantatas by Marc’Antonio Pasqualini, JSCM Instrumenta, vol. 3, 2016 (sscm-jscm.org). In 1954 GHISLANZONI attributed a number of compositions in Barb. lat. 4175 to Luigi Rossi, most of which Caluori considered unreliable attributions. Eight items appear in Barb. lat. 4220, a Pasqualini volume dated 1654 (nn. 6, 18, 25, 27-29, 33-34). In this group are three compositional drafts by Pasqualini and three with attributions to him in concordances; all eight may be by him (i.e., including nn. 25 and 29) and not Rossi. With slightly different text, the aria n. 9 was sung by Bradamante in II:9 of IL PALAZZO INCANTATO, libretto by Giulio Rospigliosi, music by Luigi

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Rossi (Rome 1642). Pasqualini sang this role, and a passage in the singercomposer’s hand is pasted to the aria in the score Barb. lat. 4389, f. 109v. The entire operatic scene also appears with the MAP monogram in Barb. lat. 4223, n. 27, where the text attribution to “A.B.” suggests Cardinal Antonio Barberini, jr as the poet and indicates Pasqualini as composer. One anonymous stanza occurs in F-Pn 2096, ff. 75-76 (S only). CALUORI 1981, vol. 2, p. 202 lists this among excerpts in operas by Luigi Rossi and lists a modern edn in ZANON 1953, pp. 38-41 (in B! minor). Stefano Vai had been in the households of Card. Maffeo Barberini, then in Card. Antonio junior’s; see VÖLKEL, p. 447, n. 270. Barb. lat. 4175-4176

Barb. lat. 4176 1689, 134 × 256 mm, I.78.I ff., 4 staves, one hand

Anthology of thirty-seven anonymous arias performed in TEODORA CLEMENTE at the Teatro Ducale, Piacenza 1689. Aurelio Aureli revised Adriano

Morselli’s libretto TEODORA AUGUSTA (Venice 1685/86; two edns); Bernardo Sabadini revised Domenico Gabrielli’s score for Venice. For the singers in Piacenza, see comments. The scoring in Barb. lat. 4176 is S/B unless otherwise indicated. The exceptions are A/B (nn. 7, 13, 18, 25 and 27 for Clitarco, and nn. 8 and 35 for Osmano), T/B (n. 15 for Leone), B/B (nn. 21-22 and 33 for Niso) and TB/B (n. 23 for Desba and Niso). Alessandro Scarlatti’s later and different settings of these aria texts for Naples 1692 and Rome 1693 (for TEODORA AUGUSTA) are not referenced here. Online in DVL. 1 (f. 1r-v) [BERNARDO SABADINI]. Getti i sospiri al vento e prieghi il sordo mar, C major. For Romilda in III:19 of TEODORA CLEMENTE (Piacenza 1689). Also anonymous in I-MOe Mus. G.295, ff. 45-46, which names “Becarina,” who sang the role in the 1689 Piacenza production. The aria is not in either libretto for Venice 1686. 2 (ff. 3-4v) [DOMENICO GABRIELLI or SABADINI]. Quanto è dolce per voi languir, pupillette, care, care, G major. For Romilda in II:13. An incorrect attribution “Scarlatti” has been added in pencil. Also anonymous in I-MOe Mus. G.295, ff. 29-30, which names “Beccharina,” who sang the role in Piacenza 1689. Also anon. in F-Pn Vm7 4905, ff. 7-9. Not in the first edition of the Venice 1686 libretto, but in II:12 of the Venetian edition “ristampata con nuova aggiunta.” 3 (ff. 5-6) [GABRIELLI or SABADINI]. Vorrei, ma non posso amarti mio ben, A major. For Romilda in I:15 (I:11 in Venice 1686). Also anon. in I-

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MOe Mus. G.295, ff. 1-2, which names “Becharina,” who sang the role in Piacenza 1689. 4 (ff. 7-9) [SABADINI]. Sento il cor ch’amando spera il suo bene un dì goder, B minor. For Lotario in III:3. Also anon. in I-MOe Mus. G.295, ff. 3134, which names “Chechino,” who sang the role in Piacenza 1689. Not in either Venice 1686 libretto. Barb. lat. 4176 5 (ff. 11-12) [GABRIELLI or SABADINI]. Io vo’, sì, sì, goder quel vago labro arcier, G major. For Lotario in II:10 for Piacenza 1689 (II:9 in Venice 1686). 6 (ff. 13-14v) [GABRIELLI or SABADINI]. Ridete, festeggiate, ch’è tempo di gioir, A major. For Teodora in III:22. Also anon. in I-MOe Mus. G.295, ff. 47-48v, which names “Mignati,” who sang the role in Piacenza 1689. Not in the first edition of the Venice 1686 libretto, but in III:15 of the edition “ristampata con nuova aggiunta.” 7 (ff. 15-16) [SABADINI]. Quel bello, quel labro, quel occhio, quel nume, A/B, D major. For Clitarco in III:19. Also anon. but S/B in D major in DMÜs 176, n. 15 (RISM ID 451002192). Anonymous and scored for S/B in A major are Barb. lat. 4139, n. 10; Barb. lat. 4142, n. 17; and GB-Lbl Harley 1272, f. 41. The other two Barb. lat. mss. read “…quel vago, quel genio” instead of “… quel labro, quel occhio.” Not in either libretto for Teodora Augusta (Venice 1686), on which the Piacenza opera was based, nor in the Bologna 1687 libretto. 8 (ff. 17-18v) [GABRIELLI or SABADINI]. Bacciarla e stringerla se non saprò mio danno, A/B, D major. For Osmano in II:2 for Piacenza 1689 (II:1 in Venice 1686). Also anon. in I-MOe Mus. G.295, ff. 17-18, which names Francesco “Balarino,” who sang the role in Piacenza 1689. 9 (f. 19r-v) [SABADINI]. Nel tempio si deve il nume adorar, B! major. For Romilda in I:2. Not in either Venice 1686 libretto. 10 (ff. 21-22v) [SABADINI]. Su quel volto cosparso di rose mille baci, A minor. For Lotario in II:10. Also anonymous in I-MOe Mus. G.295, ff. 2528, which names “Chechino,” who sang the role in the Piacenza 1689. Not in either Venice 1686 libretto. 11 (ff. 23-24) [GABRIELLI or SABADINI]. Quel ciglio che ride mi sforza a languir, A major. For Lotario in II:9 for Piacenza 1689 (II:8 in Venice 1686). 12 (ff. 25-26v) [GABRIELLI or SABADINI]. Vezzi, amori, lusinghe e baci, A major. For Teodora in III:12 for Piacenza 1689 (III:9 and III:7 in the Venice 1686 libretti). Anonymous in F-Pn Vm7 5, ff. 145-148, and in I-MOe Mus. G.295, ff. 37-38, which names “Migniati,” who sang the role in Piacenza

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1689. In the score for Cembalo I of TEODORA AUGUSTA (Rome 1693), BAV Chigi.Q.VII.107, ff. 9-11v, the aria (S/B, A major) occurs in III:2, as in the printed libretto. 13 (ff. 27-28v) [GABRIELLI or SABADINI]. Bella speme non partir: sei tu sola il mio conforto, A/B, A major. For Clitarco in II:14 for Piacenza 1689 (II:13 in Venice 1686). 14 (ff. 29-30) [GABRIELLI or SABADINI]. Patienza, tu m’ingannasti Amor, F major. For Romilda in I:14. Not in the first edition of the Venice 1686 libretto, but in I:10 of the 2nd edn. Also anon. in I-Nc 33.3.7 (Cantate 56), ff. 33v-34v (Internet culturale access; AMATO, p. 24, n. 3: 21). 15 (ff. 31-32) [GABRIELLI or SABADINI]. Quietati omai, non piangere, T/B, B! major. For Leone in I:14 in Piacenza 1689 (I:10 in Venice 1686). 16 (ff. 33-34) [GABRIELLI or SABADINI]. Per seguirti, idolo mio, perderò la libertà, A minor. For Romilda in III:18. Not in the first Venice 1686 libretto, but in III:12 of the 2nd edn. 17 (ff. 35-36) [GABRIELLI or SABADINI]. Mi sveglia la tromba, pensieri di guerra, D major. For Teodora in III:20 for Piacenza 1689 (III:13 in Venice 1686). Also anonymous in I-MOe Mus. G.295, ff. 43-44, which names “Migniati,” who sang the role in Piacenza 1689. In the score for Cembalo I of TEODORA AUGUSTA (Rome 1693), BAV Chigi.Q.VII.107, ff. 66-68v, the aria (S/TrT, D major) occurs in III:11, as in the printed libretto. 18 (ff. 37-38) Adag[i]o. [SABADINI]. Da voi già spunta la luce, cari alberghi del mio ben, A/B, D major. For Clitarco in II:7. 19 (ff. 39-40) [GABRIELLI or SABADINI]. No, che non mi vo’ perdere di speranza, G major. For Climene in I:20 for Piacenza 1689 (I:18 in Venice 1686). The copyist wrote only the A section of the piece, followed by “da capo.” 20 (ff. 41-42) [GABRIELLI or SABADINI]. Fra l’armi vo’ cercar la mia fortuna, C major. For Climene in III:20. Not in the first Venice 1686 libretto, but in III:13 of the 2nd edn. 21 (f. 43r-v) [SABADINI]. L’ho fatta, ma grossa. Le perle, l’anella, B/B, E minor. For Niso in III:15. Not in either Venice 1686 libretto. 22 (f. 45-45v) [SABADINI]. Son pur sventurato: quando gioco perdo sempre, B/B, D major. For Niso in I:4. Not in either Venice 1686 libretto. The authority for the BAV attribution of this aria to Giovanni Lulier is unknown.

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23 (ff. 47-50) [SABADINI]. Maledetto sia quel dì ch’al tuo sen m’ incatenò, TB/B, C major. For Desba and Niso in I:4. Not in either Venice 1686 libretto. 24 (ff. 51-52) [SABADINI]. Sdegno, rabbia, duolo e furor, C major. For Leone in II:6. Also anon. in I-MOe Mus. G.295, ff. 21-22, which names “Sperone,” who sang the role in the Piacenza 1689. Not in either Venice 1686 libretto. A different, anonymous setting is in D-Mbs Mus. 1527, ff. 124v-25v (see RISM online).

25 (ff. 53-54) [GABRIELLI or SABADINI]. Delizia degl’occhi, conforto dell’alma, A/B, E! major. For Clitarco in I:13 (I:9 in Venice 1686). Also anon. in I-MOe Mus. G.295, ff. 5-6, which names Francesco “Pistochino,” who sang the role in Piacenza 1689. 26 (ff. 55-56v) [GABRIELLI or SABADINI]. Non mancheran[n]o amanti a questo volto, A minor. For Climene in III:13 for Piacenza 1689 (III:10, then III:8 in Venice 1686). Also anonymous in I-MOe Mus. G.295, f. 18, which names “Giul[i]a Bianchi,” who sang the role in Piacenza 1689; and GB-Lbl R.M.24.i.11, n. 23 (RISM n. 800256511). 27 (ff. 57-58v) [GABRIELLI or SABADINI]. Comincia a tormentarmi la cruda gelosia, A/B, D minor. For Clitarco in II:7. Not in the first Venice 1686 libretto, but in II:6 of the 2nd edn. A different anon. setting is I-Rli Musica M 15/2, ff. 86-91 (RISM 850030786), S/B, B minor.

28 (ff. 59-60v) [GABRIELLI or SABADINI]. Ti lascio, o bella mia, l’alma che spira in te, F major. For Osmano in II:12 (II:11 in Venice 1686). Also anon. in F-Pn Vm7 5, ff. 101-104. A different anon. setting is I-Rli Musica 15/2, ff. 50-55, and I-Nc 33.4.2 (Arie 227) f. 15-16 (Internet Culturale access); both S/B, D minor.

29 (ff. 61-62v) [GABRIELLI or SABADINI]. Sì, sì, vo’ abbracciarti, mia sposa, mia vita, str. 2: Sì, sì vo’ adorarti, A minor. For Osmano, with str. 2 for Romilda in II:5 for Piacenza 1689 (II:4 in Venice 1686). Also anonymous in I-MOe Mus. G.295, ff. 19-20, which names Francesco “Balarino,” who sang the role in Piacenza 1689. 30 (ff. 63-64) [GABRIELLI or SABADINI]. Contento maggiore un core non ha, G major. For Romilda in II:12 for Piacenza 1689 (II:11 in Venice 1686). 31 (ff. 65-66) [SABADINI]. Per uscir dal laberinto dov’io son il fil non trovo, D major. For Leone in II:15. Not in either Venice 1686 libretto.

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32 (ff. 67-68v) [GABRIELLI or SABADINI]. Non temo, o Fortuna, la vela che spieghi, B! major. For Teodora in II:8 for Piacenza 1689 (II:6, then II:7 in Venice 1686). 33 (f. 69r-v) [SABADINI]. Hai tu vinto, io non ne ho più, B/B, C major. For Niso in II:3. Not in either Venice 1686 libretto. 34 (ff. 71-72v) [SABADINI]. Tempeste del mio cor tornate in calma, A major. For Leone in III:5. Also anonymous in I-MOe Mus. G.295, ff. 35-37, which names “Sperone,” who sang the role in Piacenza 1689. Not in either Venice 1686 libretto. 35 (ff. 73-74) [SABADINI]. Resta, o cara, e non aggiungere, A/B, A minor. For Osmano in III:18. Not in either Venice 1686 libretto. 36 (ff. 75-76v) [GABRIELLI or SABADINI]. Care fonti, aure soavi, le mie pene lusingate, G major. For Romilda in I:10 for Piacenza 1689 (I:6 in Venice 1686). 37 (ff. 77-78) [GABRIELLI and/or SABADINI]. So che pena per te chi pena ogn’or ti dà, B! major. For Teodora in I:17 for Piacenza 1689 (I:15 in Venice 1686), then for Lotario in I:19 (I:17 in Venice 1686). Also anon. in IMOe Mus. G.295, ff. 15-16, which names “Checchino,” who sang the role in Piacenza 1689. In the Cembalo II score to TEODORA AUGUSTA, BAV Chigi Q.VII.108, between ff. 37v and 41v, two copies of the aria were cancelled from scene 16, where the text occurs in the Rome 1693 libretto, and a final version placed in I:18. Bound in parchment, whose varnish has yellowed (140 × 280 mm). The previous shelfmark XLVII.47 is written in black ink by a modern hand inside the front cover, and the number 47 is similarly written on the spine. Edges are speckled pink and blue; in addition, letters have been scrawled in black across the edges of the pages. The primary watermark is a crowned shield that has five balls within and the letters CC below (ff. 9, 26-27, 29, 41, 48, 53, 69 and 78). (The ducal shield of Parma and Piacenza bears five fleurs-de-lis and five balls.) The same paper appears in Barb. lat. 4162 for arias from AMOR SPESSO INGANNA, another Piacentine opera of 1689. The second watermark shows a large fleur-de-lis with the letters G B V below (ff. 11, 21, 37 and 61). The foliation in pencil is modern. Both flyleaves are blank. Only blank staves are on folios 2, 10, 20, 44, 46 and 70. The hand of the music copyist resembles that of the Piacentine arias of 1689 in Barb. lat. 4162 (copyist D). It appears to be that of a non-professional copyist, since the text is often difficult to read. Since there are

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at least two shapes for clefs, two hands might have collaboratively copied Barb. lat. 4176. The production of TEODORA AUGUSTA at the Venetian theater of San Salvatore in 1686 (for which two editions of the libretto are extant, SARTORI nn. 23019-20; ALM, pp. 200-201) formed the basis for the text and music heard in the Piacentine production of 1689 (exemplars of the libretto available via the CORAGO portal). In the libretto for TEODORA CLEMENTE, Aureli relates that he inserted la parte di vecchia [Desba] a sceneggiar col servo [Niso] per cavarne a l’uso di questo paese et al genio di chi commanda il ridicolo. V’ho aggiunta e diminuita qualche scena. … V’ho fatta qualche nuova arietta. … Le nuove aggiunte sono state poste in musica dal virtuosissimo sig. D. Bernardo Sabadini, Maestro di Cappella di S. A. S. (pp. 9-10).

As noted above, twenty-three of the thirty-seven aria texts in Barb. lat. 4176 are in at least one of the two editions of the Venetian libretto of 1686. The Piacenza production could have either retained Gabrielli’s music for Venice or Sabadini could have composed new music for those texts. The arias nn. 12 and 28 above are most likely by Gabrielli, because they also occur in F-Pn Vm7 5, which is a collection of arias from Venetian productions. The only other large collection of arias from TEODORA CLEMENTE is I-MOe Mus. G.295, which contains twenty-one (RISM n. 850014206). The Modenese ms. provides the name or nickname of a singer at the head of each of its twenty-one arias (SARTORI lists all except n. 3 above). As indicated above, fifteen arias in the Modenese ms. appear in Barb. lat. 4176. OPAC-SBN acknowledges that the contents of Barb. lat. 4176 may be by either Gabrielli or Sabadini, but individual items are nonetheless all catalogued under Sabadini’s name. There are no arias for the comic pair, Desba and Niso, in I-MOe Mus. G.295, but Barb. lat. 4176 has pieces for all nine characters. Eight arias and one strophe of a ninth are for Romilda (sung by Anna Maria Torri bolognese, called Becharina). Five arias each are for Clitarco (Francesco Antonio Pistocchi), Teodora (Maria Maddalena Mignatti) and Lotario (Francesco de Grandis, called Cecchino). Four are for Leone (Giovanni Battista Speroni). Three and one strophe of a fourth are for Osmano (Francesco Ballarini). Three each are for Climene (Giulia Bianchi) and the comic bass Niso (Pietro Paolo Benigni). The sole duet is for Niso and the comic tenor Desba (Antonio Predieri). In 1689, four of these singers — Pistocchi, Speroni, Benigni and Predieri — were in the service of the Duke of Parma and Piacenza, Ranuccio II.

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299

A few years later, TEODORA AUGUSTA was produced in Naples for the November 1692 birthday of the Spanish king Carlos II and in Rome for the 1693 carnival at the Teatro Capranica. Alessandro Scarlatti composed new music and presumably retained nothing from earlier settings in his score, two copies of which are in GB-Och 991 and US-Wc M1500.S28T4. Thirty arias by Scarlatti are preserved in I-MC 1-A-12 a-zd (RISM n. 852022014). Parts utilized for the Roman performances are BAV Chigi Q.VII.103-110. This Chigi score surprisingly reinstates some settings that might be either Venetian or Piacentine, i.e., Barb. lat. 4176, nn. 12, 17 and 37. An anonymous arranger working in Rome — or Sabadini himself? — must therefore have edited or amended Scarlatti’s Neapolitan score.

Barb. lat. 4177 1640-1645 ca., 150 × 222 mm, 42 ff., 5 staves, one hand

A copybook with twelve brief compositions for Spanish guitar in letter tablature, the first ten of which are also in Barb. lat. 4178. On f. 1 is inscribed “+ Dell’ Ill.mo et Ecc.mo Sig.e Don Carlo Barberini.” Online in DVL. 1 (f. 2) Gagliarda per A, G major. 2 (f. 2) Gagliarda per C, D major. 3 (f. 2) Berg[ama]sca per A, G major. 4 (f. 2) Berg[amas]ca per C, D major. 5 (f. 2v) Ruggiero per C, D major. 6 (f. 2v) Follia per C, D major. 7 (f. 3) Ciaccona per C, D major. 8 (f. 3) Passagaglio per D, A minor. 9 (f. 3) Passagagli per E, D minor. Barb. lat. 4176-4177 10 (f. 3v) Untitled, A minor. 11 (f. 4) Lanturluru per B. Il povero Re di Francia, C major, with text. The melody is probably related to the tune Contre les Huguenots; cf. SILBIGER, pp. 131, 201. See also CARBONCHI 1640, p. 33 (Lantùrerù) and 42 (Lantùrlù pisicato); CARBONCHI 1643, p. 30 (La Inturlurù with “sua cechona”); Carlo CALVI, Intavolatura di chitarra e chitarriglia, Bologna 1646, p.

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24, and the Lanturlura for keyboard in BAV Chigi Q.IV.28, f. 65v-66v in C major (CEKM, 32/2, rev ed. 2001, p. 65). Also the Aria dell’Antururu in DE’ LAZZERI, p. 232, and as the spiritual contrafactum O gran Redentore ch’ascendesti al Ciel in COFERATI 1675, pp. 313-314, and COFERATI 1689, pp. 349-350 (F major). 12 (f. 4v) Untitled 13 (f. 22v) Ruggiero, bass line only in staff notation, followed by a G scale. Bound in parchment (156 × 228 mm). On the spine is written Sonate per la chitarra spagnola, partially covered by a pink BAV sticker and the number 48 written in the modern hand that wrote the previous shelfmark XLVII.48 inside the front cover. The single watermark is associated with Rome (crown with a star above; HEAWOOD general type 1120). In four quaternions, framed by two gatherings of two bifolios, folios 1 and 42 belonging with the endpapers. Folio 42 is blank; blank staves only appear on ff. 5-22, 24-41. The foliation in pencil is modern. The same hand wrote Barb. lat. 4178, which has ten of the same pieces (q.v.). On f. 23 appears a table of rhythmic values and solmization scales. The ms. is catalogued in RISM vol. B.VII, pp. 305-306. The letters in the titles (e.g., per A) refer to chord symbols in Italian guitar tablature (alfabeto notation), usually for a five-course instrument (A stands for a G-major chord; E for a D-minor chord, etc.). Carlo Barberini (1630-1706) was the eldest son of Taddeo, prince of Palestrina. The terminus ante quem for the dating of the ms. reflects Carlo’s remove to Paris during the pontificate of Innocent X; he became Prince of Palestrina upon his father’s death in 1647. Barb. lat. 4177-4178

Barb. lat. 4178 1640-1645 ca., 151 × 224 mm, 42 ff., five staves, one hand

A copybook of twelve brief compositions for Spanish guitar in letter tablature, as in Barb. lat. 4177. Ten of these are also in Barb. lat. 4177. On f. 1 is inscribed “Dell’Ill.mo et Ecc.mo Sig.r Don Nicolò Barberini.” 1-4 (f. 2) Same as Barb. lat. 4177, nn. 1-4. 5-6 (f. 2v) Same as Barb. lat. 4177, nn. 5-6.

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7-9 (f. 3) Same as Barb. lat. 4177, nn. 7-9. 10 (f. 3v) Untitled, A minor, perhaps incomplete. 11 (f. 4) Pasagaglio per B, C major. 12 (f. 5) Untitled, A minor; same as Barb. lat. 4177, n. 10. Bound in parchment (157 × 251 mm). On the spine is a pink BAV sticker and the number 49 written in black ink by the modern hand that wrote the previous shelfmark XLVII.49 inside the front cover. Two holes remain on each cover, and a bit of leather from the original set of ties. With uniform gatherings and watermark as for Barb. lat. 4177. Blank folios are ff. 1 and 42; blank staves only appear on ff. 4v, 6-40. The foliation in pencil is modern. The same hand copied nn. 1-12 of Barb. lat. 4177. The ms. is catalogued in RISM vol.B.VII, p. 306. On f. 41v, upside down, appears an incomplete passage in numerical lute tablature on a six-line staff. Nicolò Barberini (1635-1699) was the youngest son of Taddeo, Prince of Palestrina. Barb. lat. 4181 also belonged to him. Barb. lat. 4178-4179

Barb. lat. 4179 1704, 149 × 219 mm, 96.II ff., 8 staves, one hand

An instrumental concerto by Carlo Ferrini and a score for the serenata LE GARE FESTIVE IN APPLAUSO ALLA REAL CASA DI FRANCIA, libretto by Giacomo Buonaccorsi, set to music by Pietro Paolo Bencini, given by Urbano Barberini, Prince of Palestrina, in Rome, 24-25 August 1704. The three roles are La Fama (S), Giunone (S), and Pallade (S). Two other scores, nine partbooks and a different instrumental introduction for LE GARE FESTIVE are in Barb. lat. 4228 (q.v.). Online in DVL. 1 (ff. 1-18) CARLO FERRINI. Concerto del Sig.r Carlo Ferrini virtuoso del Sig.r Pren[ci]pe di Palestrina. For “trombe, VV. del concert[i]no, VV. del conc[er]to grosso, basso del conc[er]to grosso, basso del concert[i]no,” TrTr/TrTr/TrTrBB, D major. Only the bass for the concertino group has continuo figures. Four movements. Also in the copy of the serenata B-Bc 15188, entitled “Sinf[oni]a concertata del sig.r Carlo Ferrini, vertuoso del sig.r Prencipe di Palestrina.” It may have replaced the Introdutione to the serenata by Pietro Paolo Bencini in Barb. lat 4228, n. 1, which called for trumpets, oboes and bassoon. Barb. lat. 4179

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2 (ff. 19-96v) [Pietro Paolo] BENCINI. Giunone: Qui dove scorre il Tebro fra l’antiche ruine ancor più altero (recit.), S/B. Giunone sings the first of the fourteen arias, Vorrei pur lusingarmi, S/TrTrB, E minor. Fama (S) sings the closing aria, Con cento trombe pronta e giuliva, S/TrTr/TrTrB, D major. Desinet “piego il vol, di riva in riva io spiego il vol. Fine.” “Tutti” and “solo” indications appears in the violin parts. This version gives final versions of the drafts written in the hand of Bencini in Barb. lat. 4228, nn. 2a-b. Another source is B-Bc 15188, listed as autograph in RISM online (ID 703003874). Bound in brown leather (155 × 220 mm), with front and back covers embossed with gold border lines, corner ornaments, and in the center the princely arms of the Barberini, with a sun beneath a crown carried by putti above the shield, and bees and the papal cross and parasol within. There is no ram of the Toson d’oro suspended below the shield despite the late date, as there is on the bindings of Barb. lat. 4154 (and Barb. lat. 4155, 4164-4167, and 4169-4170), which could suggest that the binding is from later in the Settecento, as the marbled-paper pastedowns also suggest. The edges of the binding bear decorative tooling in gold. The worn spine, divided by cords into five panels, has a pink BAV sticker in the upper panel. Inside the front cover a modern hand has written the previous shelfmark XLVII.50 in black in, where there is another BAV sticker. Gilt edges. The watermark found throughout has a bird on three hills within a circle, similar to HEAWOOD n. 7255. It also appears throughout the score of the work B-Bc 15188. One flyleaf [f. 97] has a six-pointed star within a circle, similar to HEAWOOD n. 3883. Duernions after the first are numbered 2-5 by the music copyist for the concerto and 2-19 for the serenata; gathering 20 is a single bifolio. Only stubs remain of the two leaves that were at the beginning of the ms. The foliation in pencil is modern. The two flyleaves at the end are blank. The single professional Hand A also copied the final versions of the score Barb. lat. 4228, n. 3, and B-Bc 15188, as well as the partbooks Barb. lat. 4228, nn. 4-12, and possibly Barb. lat. 4231, n. 25. The libretto printed for the serenata is Le gare festive in applauso alla Real Casa di Francia con occasione della nascita del Serenissimo duca di Bertagna festeggiata dall’llustriss., ed Eccellentiss. signore, il signor principe di Palestrina D. Urbano Barberini … Cantata a tre voci dell’Abb. Giacomo Buonaccorsi. Dedicata all’eccellentissima signora, la signora D. Isabella Maria Giron Duchessa d’Uzeda ambasciatrice di Spagna. In Roma MDCCIV. Per Giuseppe De Martijs, nella stamperia di Gio. Francesco Chracas/… (15 pp.). FRANCHI 1704/22; exemplar online via the MdZ portal. Among exemplars of this libretto are BAV Barb. JJJ.IX.30/10; Barb.

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JJJ.IX.47/12; Miscell. A.67/5; and Miscell. A.67/12; B-Bc 20454; I-Rc Misc. 1104/11; and I-Rli 171.J.19/8. The printing and binding expenses “della Serenata fatta per servitio dell’Ecc.mo S.r P.npe di Palestrina,” totalling 45.70 scudi are in BAV ArchBarb Gius.II.239, item n. 531; the giustificazioni are signed by Luca Antonio Chracas, 6 Dec. 1704. Barb. lat. 4179 The score in B-Bc 15188 (olim F.A.VI.74) is in the same hand as Barb. lat. 4179, Barb. lat. 4228, nn. 3-12, and Barb. lat. 4229, n. 21. The infant Duke of Brittany, eldest son of the Dauphin, was born 25 June 1704, but died 13 April 1705. The performances were summarized in a Relatione della comparsa della serenata fatta fare dall’Ecc.mo sig. principe di Palestrina la sera della domenica 24 agosto 1704 alla sig.ra ambasciatrice di Spagna, et il lunedì 25 detto, giorno festivo di S. Luigi, all’ecc.mo sig. card. di Gianson (BAV, Archivio Barberini, Carteggi e documenti, busta 23B, fasc. 28 [inventario Pecchiai]; cited in PECCHIAI 1951, pp. 2-3, and summarized in PECCHIAI 1955, p. 224): Ordinò il sig. principe di Palestrina che si fabbricassero tre bucentori, uno di detti con poppa scoperta a modo di galera, dove in grande alzata sedevano le tre cantarine, che riccamente vestite di broccato rassembravano tre dee, e l’altri due poi senza poppa, ma bensi più spaziosi, li quali venivano ripieni di esquisiti instrumenti.

The three soprano soloists were “la figlia di Laura, che habita dirimpetto il palazzo de’ Chigi nel Corso, la Cochina de’ Monti et una damigella della medesima prencipessa, figliola d’un falegname” (according to VALESIO, vol. 3, p. 153). Each evening, “dopo il suono delle campane, partirono dal Palazzo Barberini” the elaborately decorated bucentaurs, “e per la prima sera fu fatta la serenata a piazza di Spagna, all’ecc.mo sig. ambasciatore duca d’Uccedo e signora ambasciatrice consorte, e la seconda sera alla piazza di S. Marco, all’Em.mo sig. card. Gianson, come ministro della corona di Francia, and hebbe ambedue le sere un applauso con un ‘viva la Casa Barberina’ così universale che giungevano alle stelle” (PECCHIAI 1951, p. 3). Valesio’s diary reported that the “serenata sontuosa” was not a wise endeavor for il prencipe di Pellestrina Barbarini, che, quantunque carico di debiti, havendo hora presa qualche somma considerabile ad interesse, la cominciava ad impiegare in simili vanità. … Si calcola che il prencipe di Pellestrina in questa serenata vi habbia speso più di 600 doppie (VALESIO, vol. 3, pp. 152 and 156).

The only known report in English was written by Charles Talbot, Duke of Shrewsbury. On 24 August 1704 he

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went to Piazza di Spagna where prince Senestina [Palestrina] gave a noble serenade upon the birth of the d[uke] of Britany. … About 2 at night the musicians came in three sumptuous open coaches like triumphant chars all gilt, … the musicians all handsomely drest (in their own cloaths) with white feathers and 3 woemen who sung finely drest. The serenade lasted about an hour: the woemen’s voices could not well be heard in so wide a place. The three coaches were driven, that which carry’d the woemen and near 20 other musicians, by Prince Prestini [Palestrina]. … I saw it from a chamber hired over against the amb[assado]r’s. … Many heard it from other windows, and many in open coaches planted there from the morning without horses. … When the serenade began the torches were put out and a few candles lighted, that the musick might see their notes. (Journal of His Grace Charles, Duke of Shrewsbury, 1700-1706, Northamptonshire Record Office, Shrewsbury Papers, vol. 21, p. 87, as cited in TILMOUTH 1981, pp. 365-366).

On this work, see Stefanie Tcharos, Sounding the Serenata, in Opera’s Orbit: Musical Drama and the Influence of Opera in Arcadian Rome, Cambridge 2011, pp. 102-110. Barb. lat. 4179-4180

Barb. lat. 4180 17th c., 161 × 230 mm, 18 ff., four staves (4 × 6 ll.), one hand

Seven anonymous dances in Italian lute tablature for 10-course lute. Harmonic designations refer to final chords only. 1 (f. 2v)

Courante, A major

2 (f. 3)

Sarabande, A major

3 (ff. 3v-4)

Courante, A major

4 (ff. 4v-5)

Courante, D minor

5 (f. 5)

Sarabande, D minor

6 (f. 5v)

Sarabande, D minor

7 (f. 6v)

Untitled dance, F major

Bound in paper painted yellow (161 × 231 mm). A pink BAV sticker wraps the bound edge. On the left of the front cover a modern hand has written the number 51 in black ink and the old shelf mark XLVII.51 in-

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side the front cover. The single watermark is associated with Rome (cleric with hat and cross in a shield; HEAWOOD general type 1352). The partial watermark on the end guard sheet may be part of a fleur-de-lis in a circle. Nine bifolios in a single gathering. The foliation in pencil is modern. Blank folios are 1 and 18; blank staves only appear on ff. 7-17. Described in COELHO, n. 42, pp. 148-150; tablature incipits (also transcribed into mensural notation) are provided on pp. 596-597. This ms. is not listed in RISM vol.B.VII, Handschriftlich überlieferte Lauten- und Gitarrentabulaturen des 15. bis 18. Jahrhunderts. Barb. lat. 4180-4181

Barb. lat. 4181 1641-1650 ca., 155 × 216 mm, 42 ff., 4 staves (2 × 6/7 ll.), one hand

A ruled copybook with the name “Nicolò Barberini” on f. 1v, containing only one anonymous keyboard composition. (ff. 2r-v) Untitled, C major, a theme of eight measures followed by an eight-measure variation. Bound in parchment (161 × 220 mm), embossed in gold on front and back covers with double-line borders and Barberini bees in the corners. The borders continue across the spine, which is further divided into three panels by two other sets of double lines, and has a pink BAV sticker and the number 52 written in black ink by a modern hand. This hand also wrote the old shelfmark XLVII.52 inside the front cover. The paper is of uniform watermark, associated with Rome (six-pointed star over crown; HEAWOOD general type 1120). Except for opening and closing bifolios, the gatherings are of four bifolios. A more detailed description is JEANNERET 2009, p. 266267. Folios 1 and 42 were the original flyleaves; f. 42 is blank; ff. 3-41 have only blank staves. The foliation in pencil is modern. While features of the copyist’s hand resemble that of Barb. lat. 4374 and 4146, JEANNERET 2009, p. 266, identified it as the hand of Girolamo Frescobaldi, which is disputed by ANNIBALDI 20121 and 20122. See also SILBIGER, pp. 115-116. In January of 1643, Frescobaldi was paid six scudi to teach the three Barberini boys to play (“ch’insegna a sonar a’ signorini”); see ArchBarb Indice IV.1282, Salarij e companatici della famiglia [of Taddeo Barberini], unfoliated. Nicolò Barberini (1635-1699) was the youngest son of Taddeo, Prince of Palestrina. Barb. lat. 4178 also belonged to him.

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Barb. lat. 4182 1641-1645 ca., 155 × 219 mm, 42 ff., 4 staves (2 × 6/7 ll.), one hand

Mostly empty copybook with music for a keyboard instrument, with the cleffing G3-C1 + C5-F3. On f. 1 are the initials “C B” (Carlo Barberini). 1 (ff. 2-3v) Avignone Corrente, theme with one variation, D minor. The dance tune Avignone corrente was heard in the 1642 Barberini opera IL PALAZZO INCANTATO, III:7 (music by Luigi Rossi); see the score of the opera Barb. lat. 4389, f. 220. 2 (f. 36v) Untitled, three variations on a two-measure ostinato bass, D minor. 3 (ff. 40v-41) Pr[im]o [tono], D minor and 2.o [tono], B! major. Chord progressions for the first two tones for the Magnificat, LU, pp. 207-208. Bound in parchment (160 × 223 mm), with a gold-embossed double line border with Barberini bees in the four corners, on front and back covers. The spine with a pink BAV sticker continues the top and bottom borders and is divided into three panels by two further double lines. On the spine a modern hand has written the number 53 in black ink, and inside the front cover, the old shelfmark XLVII.53. In ten gatherings of two bifolios. The uniform watermark is associated with Rome (six-pointed star above a crown; HEAWOOD general type 1120). A more detailed descrition is JEANNERET 2009, pp. 267-271. Pages have been trimmed at the top. Folio 42 is blank; blank staves only are on ff. 4-35, 37-39. The foliation in pencil is modern. A table of rhythmic values appears on f. 41v. The letter T alone is on f. 1v. The single hand resembles that of Luigi Rossi (cf. Barb. lat. 4374 and 4146). On the music writing in this ms., also cf. JEANNERET 2009 and ANNIBALDI 20121-2. For other keyboard settings of the Avignon corrente see SILBIGER, pp. 41, 115-116; Alis DICKINSON, “The Courante ‘La Vignonne’,” Early Music 10 (1982), pp. 56-62 (it does not discuss this one); and Bruce GUSTAFSON, French Harpsichord Music of the Seventeenth Century (Ann Arbor, 1977/1979), vol. 1, p. 7 (22 settings). Versions for 5-string guitar include two settings in CARBONCHI 1640, p. 35 (battuta) and p. 43 (pizzicata); and CARBONCHI 1643, p. 41, “L’Avignona corrente franzese.” Carlo Barberini (1630-1706) was the eldest son of Taddeo, prince of Palestrina. Barb. lat. 4182

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Barb. lat. 4183 mid-17th century, 159 × 225 mm, III.208.III ff., 6 staves, one hand

Seven settings of the Ordinarium Missae and a Requiem Mass by Cristóbal de Morales (ca. 1500-1553), six for five voices and two for six voices, presumably scored up from partbooks for his Missarum liber primus and Missarum liber secundus [Rome 1544]. These publications are named for nn. 2-8, but without specifying any print editions. Final tones given here are for the closing Agnus Dei. Modern editions of the Liber primus and the secundus are in MORALES, Opera omnia, ed. Higinio Anglés, Monumentos de la música española (MME), vols. 11, 15, and 21, Rome 1952, 1954, 1962; repr. 1984. The same hand likewise wrote out the Palestrina masses of Barb. lat. 4184 in score. Online in DVL. Barb. lat. 4183 1 (ff. 1-26) CHRISTOPHORUS MORALES. Missa Ave maris stella cum quinque vocibus, SATTB, finalis D. In each movement, the contralto part is marked “canon,” its “resolutio” written out in the first tenor part. The closing Agnus is SSATTB. Desinet “Laus Deo sit semper.” First edn Rome 1544. MME 11, pp. 104-147. RISM B.XV, pp. 599-600 lists three other ms. concordances, in E-PAbm, E-Tc, and MEX-Pc. RISM online lists D-Mbs Mus. ms. 602, a copy dated 1836 of the 1546 edition. 2 (ff. 26v-52v) CHRISTOPHORUS MORALES. Missa Queramus cum pastoribus cum quinque vocibus lib.o p.o, TrMsABarBar, finalis F. The Agnus III cum sex vocibus is scored TrTrMsABarBar. Based on a motet by Jean Mouton. First edn Venice 1543. MME 11, pp. 148-192. RISM B.XV, pp. 611-612, lists four other ms. concordances, in CO-B, D-Mbs, E-PAbm, and MEX-Pc. The copy D-Mbs Mus. ms. 44 is in choirbook format and dated ca. 1550. 3 (ff. 53-80) CHRISTOFORUS MORALES. Missa L’homme armé cum quinque vocibus lib. p.o, TrMsMsABar, finalis F. The Agnus III cum sex vocibus is scored TrMsMsABarBar. Desinet “Laus Deo et B.V.M.” First edn Venice 1540. MME 11, pp. 193-237. RISM B.XV, pp. 608-609, lists seven other ms. concordances, in CO-B, D-Sl, E-Mn, E-PAbm, MEX-Pc, P-Pm, and USNYhsa. RISM online lists D-Mbs Mus. ms. 602; see n. 1 above. 4 (ff. 80v-106) CHRISTOPHORUS MORALES. Missa de Beata Virgine cum quinque vocibus lib.o 2.o, TrMsMsAT, finalis F. The Agnus III cum sex vocibus is scored TrTrMsMsABar. Based on a trope for the Gloria, Spiritus et alme. First edn Venice 1540. MME 15, pp. 66-113. RISM B.XV, pp. 603604, lists nine ms. concordances, including BAV Cappella Sistina ms. 19,

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ff. 68v-89; and in D-B, D-ROu, D-Sl, E-PAbm, E-Tc, I-CFm, I-REsp, and NLL. RISM online also lists D-Mbs Mus. ms. 602; see n. 1 above. 5 (ff. 106v-130v) CHRISTOPHORI MORALES. Missa Quem dicunt homines cum quinque vocibus lib.o 2.o, TrSMsABar, finalis C. The closing Agnus Dei cum sex vocibus is scored TrTrMsMsABar. Based on a motet by Jean Richafort. First edn Rome 1544. MME 21, pp. 89-129. RISM B.XV, p. 612 lists five other ms. concordances, in D-ROu, E-MO, E-PAbm, and E-Tc. 6 (ff. 131-155) CHRISTOPHORUS MORALES. Missa Pro defunctis cum quinque vocibus l[ibr]o 1.o [recte 2.o], SAATB, final G. Intonations are written out on the lowest (sixth) empty staff with a C1 clef, including that for the Lux eterna (f. 153v), but not for the Sanctus and Agnus Dei, where they appear on the soprano (C1) staff. Desinet “Laus Deo. B.V.M.” First edn Rome 1544. MME 15, pp. 114-153. RISM B.XV, pp. 618-620, lists nine other ms. concordances, in D-Mbs, E-CU, E-PAbm, E-SE, E-Tc, P-BRp, PCug, P-Pm, and MEX-Pc. The copy D-Mbs Mus. 603 is dated 1836. 7 (ff. 155v-178) CHRISTOPHORI MORALES. Missa Mille regretz cum sex vocibus, lib.o p.o, SSATTB, finalis E. The Sanctus, Benedictus, and Agnus I and III are those of the Rome 1544 print and not the version in BAV Cappella Sistina ms. 17, ff. 100v-121. MME 11, pp. 238-273. Based on a chanson by Josquin des Prez. RISM B.XV, pp. 609-611, lists ten further ms. concordances (A-Wn, D-B, E-Bbc, E-Boc, E-E, E-MO, E-PAbm, E-Tc, MEX-Pc, US-NYhsa), as well as two prints with arrangements of part of the Credo and of the Benedictus for vihuelas. Barb. lat. 4183 In RISM B1/1, 15681, a similar work is attributed to “Thoma Creqvilone.” See TRUMPFF 1953 (below) for a discussion of the resemblances between these works.

8 (ff. 178-206v) CHRI.OP.S MORALES. Missa Si bona suscepimus cum sex vocibus lib.o p.o, SSATBarB, finalis A. Based on a motet by Philippe Verdelot. First edn Rome 1544. MME 11, pp. 274-314. RISM B.XV, pp. 612-613, lists seven ms. concordances, BAV Capp. Sist. 154, ff. 70v-94, and in CO-B, E-GRmf, E-Mn, E-PAbm, E-Tc, and MEX-Pc. RISM online also lists D-Mbs Mus. ms. 602; see n. 1 above. Bound in parchment (170 × 228 mm). On the spine is a pink Vatican sticker and below it the number 54 written in black ink by a modern hand, which has also written the shelfmark XLVII.54 inside the front cover. Both watermarks are associated with Rome: a praying cleric/saint with a cross within a shield (HEAWOOD type 1352); and a crown beneath a six-pointed star (PICCARDKZ type 102, dated Rome 1626). Both the signature number-

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309

ing (A4-CC4) and the foliation in ink are original. The flyleaves are blank; blank staves only are on ff. 207-[208]. The copyist and format are the same as in Barb. lat. 4184; barlines run through all the staves, and the text is placed only under the lowest sounding voice. Occasional errors in the vertical alignment of parts are corrected, evidence that the score was copied from partbooks. The watermarks provide the only evidence for dating this volume, which is likely to be the same for Barb. lat. 4184. MME lists only sixteenth-century sources. Entries in RISM B.XV include concordances other than those from Spain, Portugal, and Latin America, but only up to 1630. Barb. lat. 4183-4184 TRUMPFF 1953 discusses models for all of the imitation masses. Bibl.: G.A. TRUMPFF, Die Messen des Cristobal de Morales, in Anuario Musical 8 (1953), pp. 93-151. E.E. LOWINSKY, Early Scores in Manuscript, in Journal of the American Musicological Society 13 (1960), pp. 126-173. RISM B.XV. Mehrstimmige Messen in Quellen aus Spanien, Portugal und Lateinamerika ca. 1490-1630. Drucke, Handschriften und verlorene Quellen. C. URCHUEGUÍA, ed. Munich 2005. DIAMM.

Barb. lat. 4184 mid-17th century, 164 × 222 mm, front., [208].I ff., 8 staves, one hand

Anthology of thirty-six Latin polychoral works in eight-stave score. Thirty are by Giovanni Pierluigi da Palestrina: four imitation settings of the Ordinarium Missae with their source motets, four litanies (nn. 5-8), and eighteen Latin antiphons, psalms, and other motets. All are for eight voices in two choirs, except for n. 35, which divides into three four-voice choirs. Only the first two masses bear an attribution. Items 33-36 appeared in Palestrina’s Motets, Book 2 (Venice 1572) and nn. 24-27 in his Motets, Book 3 (Venice 1575). The four litanies are attributed to Palestrina in F. COSTANTINI, Scelta de’ salmi a 8 (Orvieto, B. Zannetti, 1620). Eighteen compositions appear in BAV Cappella Giulia ms. XIII.24, fourteen of them with attributions to Palestrina. In addition, Barb. lat. 4184 is a unique source for six anonymous motets, also scored for two choirs (nn. 12, 16-17, 19-20, and 28), for which no attributed versions have been found. Abbreviations in titles have been tacitly resolved. The hand of this volume also wrote Barb. lat. 4183, masses by Cristóbal Morales in score format. Online in DVL. 1 (ff. 1-22v) JO. PRENESTINI. Missa Laudate Dominum omnes gentes cum octo vocibus, SATB/ SATB, finalis F, and based on the motet n. 36 below.

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Published Venice 1601. Modern edns in Werke, Leipzig 1862-1907, vol. 22, pp. 1-39; and Opera completa, Rome, 1939- , vol. 30, pp. 1-58. Another ms. copy is BAV Cappella Sistina mss. 171-172 from the Collegio Germanico, Rome. 2 (ff. 23-42) JO. PRENESTINI. Missa Hodie Christus natus est a 8, TrTrMsBar/ MsAABar, finalis G, and based on the motet n. 27, part 1, below. Published Venice 1601. Modern edns in Werke 22, pp. 40-73; and OC 30, pp. 59-109. 3 (ff. 42v-62v) [PALESTRINA]. Missa Fratres ego enim [accepi], TrMsABar/ TrMsABar, finalis G, and based on the motet no. 11, part 1 below. Published Venice 1601. Modern edns Werke 22, pp. 74-109; and OC 30, pp. 110162. Barb. lat. 4184 4 (ff. 63-86v) [PALESTRINA]. Missa Confitebor tibi Domine, TrMsAT/ TrMsAT (later Bar), finalis G, and based on the motet n. 33 below. Published Venice 1585. Modern edns Werke 22, pp. 110-154; and OC 30, pp. 163-227. 5 (ff. 87-90v) [PALESTRINA]. Litanie del Sacramento. Chirie eleison, Christe audi nos, Pater de celis, TrMsABar/ TrMsABar, finalis F. Listed as Litaniae Sanctissimi Corporis Christi in the index at the end of the volume. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 53, as Litaniae Sacrosanctae Eucharistiae. Published in COSTANTINI RISM 16201. Modern edns Werke 26, pp. 125-132; and OC 20, pp. 144-153. 6 (ff. 90v-94) [PALESTRINA]. Litanie del Nome di Jesu. Chirie eleison, Christe eleison, Pater de celis, TrMsAT/ TrMsAT, finalis G. Listed as Litaniae Sanctissimi nominis Jesu in the index at the end of the volume. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 52. Published in COSTANTINI RISM 16201. Modern edns Werke 26, pp. 119-124; and OC 20, pp. 136-143. 7 (ff. 94-103) [PALESTRINA]. Litanie della Madonna. Chirie eleison, Pater de celis, TrMsAT/ TrMsAT, finalis G. Listed as Litaniae B. Virginis Mariae in the index at the end of the volume. Attributed to Palestrina in BAV Capp. Giulia XIII.24, n. 42. Published in COSTANTINI RISM 16201. Modern edns Werke 26, pp. 78-94; and OC 20, pp. 86-105. 8 (ff. 103-105v) [PALESTRINA]. Litanie della Madonna. Chirie eleison, Christe eleison, Pater de celis, TrMsAT/ TrMsAT, finalis G. Listed as Litaniae B. Virginis Mariae in the index at the end of the volume. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 50. Published in COSTANTINI RISM 16201. Edited from Barb. lat. 4184 in Werke 26, pp. 95-101; OC 20, pp. 106-115.

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311

9 (ff. 106-107v) [PALESTRINA]. Pater noster qui es in coelis, TrMsAT/ TrMsAT, finalis D. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 38. Modern edn Werke 6, pp. 150-153. 10 (ff. 108-109v) [PALESTRINA]. Ave Maria gratia plena, TrMsAT/ TrMsAT, finalis D. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 51 and Capp.Giulia XV.62, n. 17. Modern edn Werke 11, pp. 121-124. 11 (ff. 110-112v, 113-116) [PALESTRINA]. Fratres ego enim accepi, motet, TrMsABar/ TrMsMsBar; [Secunda pars]: Expurgate vetus fermentum, finalis G (dorian). Also in BAV Capp.Giulia XIII.24, nn. 27-28. Published in F. COSTANTINI, Selectae cantiones, Rome, Zanetti, 1614. Published as separate motets in Werke 6, pp. 4-9, 144-149. 12 (ff. 116v-119v) Apparuit gratia Dei salvatoris nostri, TrMsAT/ TrMsAT, finalis G. Edited from this source in Werke 7, pp. 153-157. 13 (ff. 119v-121v) [PALESTRINA]. Sub tuum presidium confugimus, TrMsAT/ TrMsAT, finalis G. Also in Capp.Giulia XIII.24, n. 35. Published in COSTANTINI 1614 (see n. 11 above). Modern edn Werke 6, pp. 1-4. 14 (ff. 121v-124, 124-126v) [PALESTRINA]. Caro mea vere est cibus, TrTrMsBar/ MsAABar. Secunda parte: Hic est panis qui de coelo descendit, finalis F. Published in COSTANTINI 1614 (see n. 11 above). Modern edn Werke 6, pp. 10-18 (which is scored TrAABar/ TrMsABar). 15 (ff. 126v-131) [PALESTRINA]. Ave mundi spes Maria, TrMsAT/ TrMsAT, finalis G. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 9. Modern edn Werke 6, pp. 111-118. 16 (ff. 131v-134) Dies sanctificatus illuxit nobis, TrMsABar/ TrMsABar, finalis G, responsory. Edited from this source in Werke 7, pp. 158-162. 17 (ff. 134-136v) Hic est dies preclarus, TrMsAT/ TrMsABar, finalis G. Edited from this source as Haec est dies praeclara in Werke 7, pp. 163-167. 18 (ff. 136v-139) [PALESTRINA]. Disciplinam et sapientiam docuit eos, TrMsAT/ TrMsAT, finalis G. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 12. Modern edn Werke 11, pp. 129-134. Omitted from the OPACSBN database. 19 (ff. 139v-141) Congratulamini mihi omnes, TrMsAT/ TrMsAT, finalis G. Edited from this source in Werke 7, pp. 167-171. 20 (ff. 141v-144; 144-145v) Magnus Sanctus Paulus vas electionis, TrMsABar/ TrMsABar. Secunda pars: Sanctus Paulus apostolus predicator

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veritatis, finalis G. Edited from this source in Werke 7, pp. 171-180, with the second part as Sancte Paule Apostole, preaedicator. This is not the same motet as the likewise anonymous Magnus Sanctus Paulus vas electionis in BAV Capp. Giulia XIII.25, n. 16.

21 (ff. 146-148v) [PALESTRINA]. O quam suavis est Domine, SATB/ SATB, finalis F. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 11. Modern edn Werke 6, pp. 125-129. 22 (ff. 148v-151v) [PALESTRINA]. Nunc dimittis servum tuum, Domine, canticle, SATBar/ SATBar, finalis E. Attributed to Palestrina in BAV Capp. Giulia XIII.24, n. 25, but edited from Barb. lat. 4184 in Werke 7, pp. 181186. 23 (ff. 151v-156) [PALESTRINA]. Omnes gentes plaudite manibus, psalm, TrMsAT/ TrMsAT, finalis G. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 26, but edited from Barb. lat. 4184 in Werke 7, pp. 186-194. 24 (ff. 156-158) [PALESTRINA]. Surge illuminare Hierusalem, TrMsAT/ TrMsABar, finalis D. Published in his Motettorum liber tertius, Venice 1575. Modern edns Werke 3, pp. 134-138; and OC 8, pp. 174-179. 25 (ff. 158v-160v) [PALESTRINA]. Lauda Sion salvatorem, SSABar/ ATTB, finalis G. Published Venice 1575. Modern edns Werke 3 pp. 138-143; and OC 8, pp. 180-185. 26 (ff. 161-164v) [PALESTRINA]. Veni Sancte Spiritus, TrSMsT/ MsAABar, finalis G. Published Venice 1575. Modern edns Werke 3, pp. 143-149; and OC 8, pp. 186-194. 27 (ff. 164v-167; 167v-171) [PALESTRINA]. Hodie Christus natus est, noe, noe, TrTrMsT/ MsAABar, finalis G, with instruction at end “Verte” to the [secundam partem]: Jubilate Deo omnis terra, TrMsABar/ TrMsABar, finalis D. Published Venice 1575. Modern edns Werke 3, pp. 155-166; and OC 7, pp. 202-207; 209-216. 28 (ff. 171-173) Victimae paschali laudes, sequence, TrTrMsA/ MsAABar, finalis G (dorian). Edited from this source in Werke 7, pp. 194-199. The first phrase and the passage “Mors et vita duello” resemble the likewise anonymous eight-part setting edited from a source from the Collegio Romano that is published in Werke 7, pp. 112-117. 29 (ff. 173v-176) [PALESTRINA]. Alma* redemptoris mater, TrMsABar/ TrMsABar, finalis F. *No intonation given for the first word. Attributed to Palestrina in the index to BAV Capp.Giulia XIII.24, n. 6. Modern edn Werke 6, pp. 159-164.

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30 (ff. 176-178v) [PALESTRINA]. Ave regina cèlorum, SSAT/ ATTB, finalis F. Excipit “semper Xpum exora.” Also in BAV Capp.Giulia XIII.24, n. 4. Published Venice 1575. Modern edns Werke 3, pp. 150-154; and OC 7, pp. 195-201. 31 (ff. 178v-181) [PALESTRINA]. Regina coeli letare, SAABar/ SAABar, finalis F. Attributed to Palestrina in BAV Capp.Giulia XIII.24, n. 1. Modern edn Werke 6, pp. 165-170. 32 (ff. 181v-184v) [PALESTRINA]. Salve* regina mater misericordiae, TrMsAT/ TrMsAT, finalis G (dorian). *No intonation given for the first word. Attributed to Palestrina in the index to BAV Capp.Giulia XIII.24, n. 3. Modern edn Werke 6, pp. 153-158 with different text underlay. 33 (ff. 184v-188; 188v-191) [PALESTRINA]. Confitebor tibi Domine quoniam iratus es mihi, TrMsAT/ TrMsABar, finalis D, motet. [Secunda pars]: Notas facite in populis, finalis G. Published in his Motettorum liber secundus, Venice 1572. The modern edn Werke 2, pp. 132-142, has sextus and quintus parts reversed in different choirs for Notas facite; also OC 7, pp. 176-190. 34 (ff. 191-194; 194v-197v) [PALESTRINA]. Laudate pueri Dominum, TrTrMsMs/ AATBar, finalis D, psalm. [Secunda pars]: Qui [sic] sicut Dominus Deus noster, finalis A. The index correctly reads Quis sicut Dominus. Published Venice 1572. Modern edns Werke 2, pp. 142-153 (with all inner parts reversed, e.g., Alto I of choir II equals Treble II of choir I); and OC 7, pp. 190-204. Omitted from the OPAC-SBN database. 35 (ff. 197v-201; 201-204) [PALESTRINA]. Domine in virtu[te tua], TrMsABar/ TrMsABar, finalis C. Seconda parte: Magna est gloria ejus, finalis G. Published Venice 1572. Modern edns Werke 2, pp. 153-163; and OC 7, pp. 205-219. Omitted from the OPAC-SBN database. 36 (ff. 204-206v) [PALESTRINA]. Laudate Dominum omnes gentes, SATB/ SATB, finalis [F], lacking the final six measures. Also in BAV Capp.Giulia XIII.24, n. 15. Published Venice 1572. Modern edns Werke 2, pp. 164-168; and OC 7, pp. 219-225. Omitted from the OPAC-SBN database. Bound in parchment (170 × 230 mm). The leaves have three watermarks associated with Rome, all datable mid-17th century, principally a praying cleric/saint in a shield (Heawood type 1352); a crown and six-pointed star (PICCARDKZ type 102, dated Rome 1626); and a fleur-de-lis in a circle. The watermarks provide the only evidence for the date of the volume. The gatherings are numbered A4-CC4 by the original hand. The foliation in ink is

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original. The printed frontispiece, now detached, bears no title, and there are three unnumbered folios at the end. Of these, f. [209] is blank; folios [207-208v] bear a tavola that indexes the entire contents. Four ruled folios that would have been ff. 207-210 have been cut out and the following folio is also lacking. In one hand throughout including the tavola, with continuous, regular barring through all parts; larger note values from the partbooks have been subdivided and tied over the barlines. The cleffing often differs from that in the sixteenth-century printed editions. A copy of this source in D-Rp was made by Carl Proske, who attributed all of its items to Palestrina. Haberl’s 1881 preface to vol. 6 of the Werke refers to the anonymous unica in Barb. lat. 4184: “Qua propter genuina sint necne certior factus sum ea esse Praenestini, cum invenerim (1875) transcriptionem hujus codicis a [Dr Carolus] Proske confectam” (p. VI; this preface is lacking in the 1968 Gregg reprint). For locations of all works in modern collected editions, see Alison Hall, Palestrina: An Index to the Casimiri, Kalmus, and Haberl Editions, Philadelphia 1980 (MLA Index and Bibliography Series, 22). Barb. lat. 4184-4185

Barb. lat. 4185 1735, 201 × 275 mm, 34 ff., 8 or 10 staves, 2 hands

Bass partbook for a PROLOGO/ ET INTERMEZZI/ Per Musica da cantarsi/ NELLA CITTÀ DI PALESTRINA/ NEL TEATRO/ DEGL’ECCELLENTISSIMI/ PRINCIPI BARBERINI/ COL LORO INTERVENTO/ In Occasione della Fiera di S. MARTINO/ nel mese di Novembre 1735. IN PALESTRINA, nella Stamperia Barberina, per Gio: Domenico Masci 1735/… (exemplar in BAV Stamp. Barb. JJJ.VI.25, int.17). Andrea BASILI is named as the composer on the continuo scores Barb. lat. 4229, nn. 33 and 37. The characters in the prologue are Il Piacere (S), La Vendemmia (S) and L’Autunno (B); in the intermezzi, Clori (S), Lilla (S), and Alfeo, pedante delle damigelle di corte (B). Other partbooks are Barb. lat. 4229, nn. 1-2 and 4-5. 1 (ff. 1-10v) [ANDREA BASILI. Prologo a 3 voci]. Autunno: Al crin di grappi pampinosi cinto … autunno son io (recit.), B/(B). Two fascicles with the recitatives, verbal cues, and arias for Autunno, including the arias Non è ver ch’il mondo nacque (ff. 1v-3v, A major) and Ei la dolce face accesa (ff. 4v-5, D major); and the closing trio, Ninfe belle, vaghe e snelle (ff. 7v-10v, D major). The basso continuo line is not given for the second aria or for the trio. A four-measure recitative to be inserted at the sign at the end of f. 3v,

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315

“Già col germe novello,” was added by a second hand (B) on f. 10v, which wrote nothing else in this ms. The text occurs on p. 5 of the printed libretto. 2 (ff. 11-24) [BASILI]. Parte di Alfeo. Intermezzo p.mo. Io non so come mai e con che coscienza (recit.), B/(B). Four fascicles with the recitatives, verbal cues, and arias for Alfeo. It includes the aria Come farfalle che lo stuppino (ff. 13-15v, G major) and the closing trio, Siam pronte, sì, sì (G major). The basso continuo line is not given for the aria or for the trio. Desinet “poi no, o questo poi no. DC.” See the score, Barb. lat. 4229, n. 33, for further information. 3 (ff. 25-34v) [BASILI]. Parte di Alfeo. Intermezzo 2.o. Oh che duello fiero! Queste dicon da vero (recit.), B/B. Partbook with the recitatives, verbal cues, and arias for Alfeo. It includes the aria No, no, mai non permettere (ff. 25-27, A major) and the closing trio Vecchio, vecchio bavoso (ff. 29v-34v, D major). The basso continuo line is not given for the aria or for the trio. Desinet “-tonio, per Marcantonio che mi vendicarò. Fine.” The direction to return to the da capo section is lacking. See the score, Barb. lat. 4229, n. 37, for further information. Barb. lat. 4185 Bound in heavy paper sewn to paper strips (205 × 280 mm). The spine has deteriorated beneath a pink BAV sticker. A cover title, PARTE DI ALF… on the front has been heavily lined out. The number 56 is written on the front cover in black ink by the same modern hand and ink that wrote the old shelf-mark XLVII.56 inside the front cover. The watermark is a fleurde-lis in a single circle, similar to HEAWOOD n. 1569. The fleur-de-lis in two concentric circles, similar to HEAWOOD nn. 1591-1592, appears only on f. 4 (without a letter V). The music copyist numbered nine gatherings of nested bifolios (III + 2 × II + I – 4 × II + I). The first fascicle (ff. 1-6) has paper ruled with eight staves; the remaining fascicles have ten staves. The foliation in pencil is modern. Hand A also copied the music for Basili’s prologue and intermezzi that survives in Barb. lat. 4229, nn. 1-5 and 33-39. Hand B wrote four mm. of recitative on f. 10v. A continuo score for the prologue does not survive, but partbooks for the soprano roles Vendemmia and Piacere and for violins I-II are in Barb. lat. 4229, nn. 1-2 and 4-5. Continuo scores for the two intermezzi are Barb. lat. 4229, nn. 33 and 37; the parts for Clori are 4229, nn. 4 and 39; the parts for Lilla, nn. 34 and 38; and the parts for violins I-II are nn. 35 and 36 therein. The libretto for Basili’s untitled work is listed in FRANCHI 1735/11 and Franchi IS, n. 539. Neither Basili nor a librettist is mentioned in the print,

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and this work is not listed in Michael Talbot’s entry s.v. Basili in Grove Online. This work is similar to the intermezzi given in Palestrina for St. Martin’s fair in 1734 (see Barb. lat. 4186 and 4196). Without mentioning the name of Carlo Barberini (Colonna di Sciarra), who was born in September of 1735, the work celebrates the birth of the second son of the couple, who was designated to carry on the line of the Barberini princes of Palestrina. In the prologue, Piacer sings “Vedi come Preneste/ Gode or più che non suole,/ Sulla novella Prole/ Del caro suo Signor.” Vendemmia responds “O qual mai frutto crescerà da questo/ Glorioso Innesto/ De’ BARBERINI, e COLONNESI Eroi?” OPAC-SBN gives the composer as Giacomo Antonio Perti, without explanation. Barb. lat. 4185-4186

Barb. lat. 4186 1734, 202 × 275 mm, II.22.II ff., 10 staves, one hand

Partbook for the alto singer in a prologue and two intermezzi for St. Martin’s fair in Palestrina, performed in 1734, music by Domenico Antonio Berti, who is named in Barb. lat. 4196 (q.v.) and 4229, nn. 25 and 29-31. Filing titles given here are the text incipits of the three components. The singing roles in the prologue are Fortuna (S), Gloria (A) and Fama (B); in the intermezzo, Clori (S), Lilla (A) and Alfeo (B). 1 (ff. 1-8v) [DOMENICO ANTONIO BERTI]. Prologo a 3 voci, parte prima. [PUR VI RIVEGGO AL FINE]. Gloria: O Fortuna, o possente dea. Partbook for A/B, including recitatives, two solos (I gloriosi amanti sposi and L’ostro che in lui risplende), and the closing trio (Viva di prole in prole). Other extant partbooks are Barb. lat. 4229, nn. 24-26 (for tromba, violino secondo, and Fortuna, respectively). A continuo score and two partbooks (for Fama and violino primo) are lacking for this prologue. 2 (ff. 9-15v) [BERTI]. Intermezzo primo. [PRO PRESENTE LECTIONE]. Lilla: M’inchino anch’io. Partbook for A/B, including recitatives, one aria (Son donzelletta amabile) and the closing trio (Signor magnifico gliela sacrifico). The first version of the trio (f. 13r-v) is incomplete; a revised version is on ff. 14-15v. See the score, Barb. lat. 4196, n. 1, for further information. 3 (ff. 17-22v) [BERTI]. Intermezzo 2.o. [PRECIPITATA FILOSOFIA]. Lilla: Lilla a te s’avvicina. Partbook for A/B, including recitatives, one solo (Se credi esser più bella), and the closing trio (Tutto ti sgraffio, sì). In the trio

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317

(f. 22), a few measures are struck through, and a new opening for the B section is given on a pasted-on slip of paper. See the score, Barb. lat. 4196, n. 2, for further information. Bound in cardboard, covered with marbled paper (200 × 272 mm). The six gatherings of two bifolios each were apparently numbered by the music copyist, but such numbers have been trimmed away; all that remains is a remnant of “2” on f. 5. Watermarks resemble HEAWOOD nn. 1591-1592. The foliation in pencil is modern. All flyleaves are blank; blank staves only are on f. 16. The copyist also was responsible for the scores and other partbooks for Berti’s prologue and intermezzi, in Barb. lat. 4196 and Barb. lat. 4229, nn. 23-31. OPAC-SBN erroneously catalogues this partbook under “Perti, Giacomo Antonio” with the title Gloria. Prologo a 3 voci, under the uniform title IL PRECETTORE. Barb. lat. 4186-4187

Barb. lat. 4187 1648-1655 ca., 200 × 270 mm, I.18.I ff., 8 staves, one hand

The cantata PREDICA DEL SOLE for SSATB soloists and basso continuo ensemble. The poet is Giovanni Lotti, the composer or composers unknown. Reference to the emblems of the Pamphili dove and the Barberini sun dates the text between 1648 and1653/54, the period in which the two papal families reconciled: Come mai/ a regnar sovr’ i tuoi rai/ volerà/chi nel fango immerso sta?/ Con qual piuma possente? Sole: Di Colomba innocente (f. 15). The bass soloist represents Il Sole. Online in DVL. 1 (ff. 1v-2v) Introduttione, SSB [= VV/bc], E minor. 2 (ff. 3v-18) Mad[riga]le a 5: Ergi la mente al sole, mal accorto mortale. Subsequent sections are Io sono il sole (B/B); Tu sereni i giorni nostri (SSA/B); Per giunger sicura bassezza terrena (S/B); and the “Madri[gale] ultimo” a 5, Poiche sovente per terminar con esito ridente. Desinet “d’animosa innocenza un passo basta. Laus Deo” (f. 18). Modern, unpublished editions include one by Jean Lionnet in F-Vmb LIO 165; and GRAMPP 2001, vol. 1 pp. 31-34 (libretto) and vol. 2, §III.1.1.1 (music). A partbook for lute is Barb. lat. 4231 n. 19. Another setting also for SSATB soloists, which opens with the same madrigal text, is BAV Chigi Q.VIII.178, ff. 34-44, attributed to Marco Marazzoli (the ms. dates from 1654 to mid 1655); CARBONI 12/3, n. 544.

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Bound in boards (200 × 273 mm) with a parchment spine and cover title: Poesia del Sig.re Gio: Lotti/ Predica Del Sole./Cantata a 5. Morale/ Ergi la men[t]e al Sole, in the hand of Marc’Antonio Pasqualini. On the spine, below a pink Vatican sticker, is the number 58 written in black ink in a modern hand, which also wrote the shelfmark XLVII.58 inside the front cover, where there is another pink sticker. In gatherings of two bifolios, except for ff. 1-2 (the instrumental Introduction). The watermarks, associated with Rome, are the anchor in circle with a six-pointed star above and the letter M below (not in PICCARDANK), as well as the praying cleric/ saint in a shield of the general types HEAWOOD 8 without letters, and 1352; see also GRAMPP 2001, vol. 1, p. 13. First and last guard sheets are blank (Grampp, ivi, notes their watermark of the fleur-de-lis on three hills with the letter M above). The foliation in pencil is modern. The sole copyist is Marc’Antonio Pasqualini. Barb. lat. 4187-4187 GHISLANZONI, pp. 110-111, attributed the entire work to Luigi Rossi, without material evidence, an ascription repeated in RICCIARDELLI, pp. 3839. PLANK and GRAMPP 2001, vol. 1, pp. 275-277, do not attribute the music to any composer. The text appears in LOTTI 1688, part 1, pp. 40-42, without the opening madrigal. A variant text with rubrics for a setting in three voices is Barb. lat. 3873, ff. 68-69v. GRAMPP 2001, vol. 1, p. 137 dates the cantata to 16361644. The cantata has been recorded, under Rossi’s name, by the ensemble Tragicomedia, as edited by Richard Partridge, on Vanitas vanitatum. Rome 1650, Teldec 4509-98410-2 (1995), with libretto and English translation; by the Ensemble Européen William Byrd, dir. Graham O’Reilly, on Carissimi. Music in Rome circa 1640, Passacaille 940 (2007; 2012); and by Les Paladins, dir. Jérome Correas on Soleils baroques, Ambronay AMY013 (2008), using the transcription by Jean Lionnet (see above), with libretto and trans. into French and English. Lionnet’s modern transcription of the instrumental introduction only is F-Vmb LIO 166 (attributed to Luigi Rossi). The recordings by Les Paladins and Ensemble Européen William Byrd also include the Marazzoli setting.

Barb. lat. 4188 mid-17th c., 204 × 270 mm, I.24.I ff., 8 staves, one hand

Continuo score for the cantata DISPERAR DI SE STESSO for SSATB soloists, two violins and basso continuo ensemble. The text is by Giovanni

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Lotti; the composer or composers are unknown, but one section is a contrafactual arrangement of a trio attributed elsewhere to Luigi Rossi. Online in DVL. 1 (ff. 3r-v) Sinf[oni]a. Introduttione, SSB [= VV/bc], D minor. The folio is headed “Prima Introduttione della Cantata a 5. Disperar di se stesso.” A modern edn by Jean Lionnet is F-Vcm LIO 166. Barb. lat. 4188 2 (ff. 4-23v) [LUIGI ROSSI? et al.?]. Poesia del Sig.r Gio. Lotti. Disperar di se stesso all’empio è spene, ATB/B, D minor. Subsequent sections include Il mio niente è sempre niente (B/B); Mai non nega a chi piange (A/B); Spargete sospiri, ergete lamenti (SSAB/B); Mirate là su’l Palestin Giordano (S/B); O sventurato me che tanto errai (S/B); Innamoratevi d’esser dolenti (ATB/B); and Allor che più pena (SSATB). Desinet “una lagrima sola estingue Averno. Laus Deo.” A concordance for one section appears in Barb. lat. 4219, n. 1, and a lute partbook is Barb. lat. 4231, n. 21; see comments below. Modern editions in GRAMPP 2001, vol. 1, pp. 46-48 (libretto); vol. 2, §III.1.1.5 (music); and SPECK 2003, CD-ROM n. 44 (libretto). Bound in boards (201 × 272 mm) with parchment spine and cover title: +/ Seconda Cantata per/ Oratorio a 5. Morale/ Con Instromenti se si vuole/ Disperar di se stesso/ Poesia del Sig. Gio: Lotti/, in the hand of Marc’Antonio Pasqualini. On the spine, below a pink Vatican sticker, is the number 59, written in black ink in a modern hand, which also wrote the shelfmark XLVII.59 inside the front cover, where there is another pink sticker. In gatherings of two bifolios, ff. 3-22, framed by single bifolios. The watermarks are associated with Rome (cleric/saint in shield and the anchor in a circle with letter M, of the general types HEAWOOD 1352 and 5; see also GRAMPP 2001, vol. 1, p. 14). First and last flyleaves are blank; blank staves only are on ff. 1-2 and 24. The foliation in pencil is modern. Marc’Antonio Pasqualini is the sole copyist. A partbook for lira and/or violone, also in Pasqualini’s hand, is Barb. lat. 4231, n. 21, which differs from this score in a few respects (including a passage for bass soloist and some word changes) and also incorporates ritornelli which were later additions to the score of 4188. The cantata likely dates around or after 1656, the date of Barb. lat. 4219, in which the strophes of the component quartet Spargete sospiri (4219, n. 1) appear anonymously and without the intervening solos present in 4188. The quartet version has an anonymous secular contrafactum Lasciate ch’io peni (Barb. lat. 4219, n. 10) with text also by Lotti. Barb. lat. 4219, n. 2 is a trio version of Spargete sospiri titled PENTIMENTO DE’ PECCATI. This trio version also exists with the same contrafactum text Lasciate ch’io

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peni in Barb. lat. 4219, n. 11. This trio version (which does not appear in Disperar di se stesso) has one concordance, BAV Chigi Q.IV.16, ff. 203-208, which attributes its music to Luigi Rossi (who died in 1653); this version is probably the source of the spiritual contrafactum and arrangements; these may well not be by Rossi, even if the secular trio is. RICCIARDELLI ascribes the whole cantata to Rossi. See GRAMPP 2001, vol. 1, pp. 203-221 on the cantata. GRAMPP 2002 does not attribute any of the music. SPECK 2003 has a complete bibliography. The cantata with which this was paired is unknown. Spargete sospiri alone was recorded as a work under Luigi Rossi’s name with the title UN PECCATOR PENTITO, by Les Arts Florissants on Harmonia Mundi HMC 901297 (1989), with a modern edition and translations of Lotti’s poem. The entire cantata sung by Les Cris de Paris is on the CD Memento mori, Harmonia Mundi AP059 (2012). Barb. lat. 4188-4189

Barb. lat. 4189 mid-17th c., 204 × 276 mm, I.22.I ff., 8 staves, one hand

Title on f. [I]: Cantata a 5. Inferno. Continuo score to the cantata INFERNO IO VEGGO APERTE LE FAUCI TUE for SSATB soloists, five-part strings, lute,

and basso continuo ensemble. The text by Giovanni Lotti was published in his Poesie (Rome 1688). The composer or composers are uncertain, but at least one component trio is attributable to Marc’Antonio Pasqualini; a second composer may be Marco Marazzoli; a third remains unidentified (see comments). For partbooks in Barb. lat., see comments below. 1 (ff. 5-21) [MARC’ANTONIO PASQUALINI et al.] Cantata a 5. Inferno io veggo aperte le fauci tue, B/B. The opening bass solo is preceded by the rubric “Sinf[oni]a,” but there is no music for it. Subsequent sections are Voi per ultima aita occhi sol voglio (SSB/B), Offeso Dio che pendi (S/B), Quel prezzo ch’allaga (SSB/B), Stillati dunque in tepidi torrenti (T/B), E se pur non abonda (A/B); only the continuo line is given for the closing quintet Altro non ho [che povertà], with short word cues that correspond to Lotti’s poem. Instrumental ritornelli have continuo lines only. Upublished modern editions by Jean Lionnet in F-Vmb LIO 162, and in GRAMPP 2001, vol. 1, pp. 36-39 (libretto) and vol. 2, §III.1.1.2 (music). Barb. lat. 4189 Bound in boards with parchment spine (204 × 280 mm) and cover title in two inks: + piace a [me] / ORATORIO. Poesia del [S.?] Gio. Lotti / P. Can.a [Prima cantata] / CANTATA A 5. INFERNO. On the spine is a pink Vatican

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sticker and below it the number 60 in black ink by a modern hand. Inside the front cover a modern hand has written the shelfmark XLVII.60 in black ink. The watermarks are associated with Rome: cleric/saint in shield of the general type HEAWOOD 1352; and the anchor in a circle with letter M below; see also GRAMPP 2001, vol. 1, p. 15. In five gatherings of two bifolios each. The foliation in pencil is modern. The guard sheets are blank; blank staves only are on ff. 1-4, 21-22. The sole copyist is Marc’Antonio Pasqualini. Partbooks for S1,ATB voices and violins I-II, ATB strings (viole), lute, lira and violone are Barb. lat. 4296, nn. 1 (with the subject title “Peccator pentito”), 5a-c, 7a-f, and 10a-c. A partbook for S2 is lacking. Concordances for independent sections of this cantata exist in two hands, the first Pasqualini’s; the second of an unknown composer, who may be Marco Marazzoli. The opening bass solo and central trio of the cantata (Voi per ultima aita, ff. 8-17v) appear in Pasqualini’s hand in Barb. lat. 4219, nn. 3-4, where the trio is captioned “Un peccator pentito.” The ritornelli of Barb. lat. 4189 were added to 4219, a volume dated 1656. The trio Voi per ultima aita is attributed to Pasqualini in S-Skma Statens musikbibliotek, Musik Rar, ff. 54-77 (cf. RISM A/II 190.022.429), a fine copy in a Roman hand. In Barb. lat. 4231, n. 17, an unknown composer, whose hand resembles Marco Marazzoli’s, has compiled a continuo score of (1) a compositional sketch of the opening bass solo, (2) the trio Voi per ultima aita in Pasqualini’s hand, (3) his copy of the rest of the cantata, omitting vocal parts for the closing quintet. This unidentified hand (Marazzoli?) has added continuo figures throughout. GRAMPP 2001, vol. 1, pp. 162-163 also infers a collaboration from the distribution of hands in this partbook. The partbooks in Barb. lat. 4296 (nn. 1, 5, 7, 10) are in these two hands and also in a third hand; they are also compilations added to the original parts for the Barb. lat. 4219 version of the trio Voi per ultima aita. In 4296, n. 1, Voi per ultima aita is in Pasqualini’s hand; the rubrics and music succeeding that trio are in a second hand. The present score (4189) was probably copied from the folios in Barb. lat. 4231. The unknown composer probably also wrote the opening section of the cantata O CECITÀ DEL MISERO MORTALE (Barb. Lat. 4218, Hand B). A detailed analysis is in GRAMPP 2001, vol. 1, pp. 142-164. A version of the opening text of this cantata, Inferno io veggo aperte, that does not include “Voi per ultima aita,” is included in the opening section of the poem with the subject title “Peccatore a piè del Crocifisso” in LOTTI, 1688, part 1, p. 96 only; occasional lines and words differ. The section of the cantata that begins “Offeso Dio che pendi” appears in its entirety as an independent poem in LOTTI 1688, headed “Peccator pentito dopo haver sentito gl’elementi, che gl’intimavano la morte, così prega” (pt. 1, pp. 94-

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95). The subsequent section of the cantata that begins “Stillati dunque” returns to the closing twenty-one lines of Lotti’s published poem Inferno io veggo aperte (Lotti 1688, pt. 1, p. 98). The closing madrigal of the cantata, “Altro no ho, che povertà di pianto” are the direct words of the single sinner in the poem. The text Voi per ultima aita appears as an incipit in I-Rv ms. P. 5, the 1679 AGGIUNTA AL TEATRO SPIRITUALE, with the rubric “Per la settimana santa, a 2 canti”; cf. MORELLI-A 1986. (This could have been Pasqualini’s 4219 version, or any other, e.g., I-Rli Fondo Caetani 208.A.6, ff. 105-14v, or I-PLc Arm. 1, Pis. 2.) The text of the cantata INFERNO IO VEGGO APERTE LE FAUCI TUE is n. 43 on the CD-ROM in SPECK, with the unexplained attibution “Bearbeitung von Salvatore Meschita?”. Speck’s edition lacks a complete text for the closing madrigal. The whole cantata is ascribed to Luigi Rossi in RICCIARDELLI, p. 40, but Rossi’s hand does not appear in any of its sources. Barb. lat. 4189-4190

Barb. lat. 4190 mid-17th c., 207 × 267 mm, I.22.I ff., 8 staves, one hand

A lute partbook, but effectively a score, to the cantata ANCOR SATIO NON for SSATB soloists, violins in two parts, and basso continuo ensemble that includes lute and lira. The text is by Giovanni Lotti, partially published in LOTTI 1688. Marc’Antonio Pasqualini may have composed all or part of it; see the comments for Barb. lat. 4192, an earlier copy of the score (q.v.), for subsections of the cantata and further information. SEI,

1 (f. 2v) Liuto. Prima Introduttione, SSB [= VV/bc], A minor. There are figures for continuo realization both above and below the bass staff. 2 (ff. 3-21) Ancor satio non sei di riderti di me, secolo stolto? S/B. Desinet “le dolcezze immortal da i flutti amari” (A minor). Rubrics include “ritorn[ell]o,” “sonate,” “adagio”; some pitches, including in the vocal parts, have been corrected. Bound in paper-covered boards (205 × 265 mm) with front and back cover titles: Cantata Morale / a 5/ Ancor satio non sei / Poesia del Sig.r Gio. Lotti (these same lines appear in different order on the back cover). On the spine is a pink Vatican sticker and the number 61 written in black ink by a modern hand, who also wrote the shelfmark XLVII.61 in black ink that has bled. Folios 1-8 are single bifolios; ff. 7-10 comprise four gatherings of two bifolios each. The watermarks are associated with Rome: cleric/saint

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in shield; anchor in circle with star above (cf. HEAWOOD general types nn. 1352 and 8; see also GRAMPP 2001, vol. 1, p. 16 who reports the letters A and C on the sides of one version of the anchor mark and an M below the circle in another). The guard sheets are blank; blank staves only are on ff. 1 and 22. The foliation in pencil is modern. Marc’Antonio Pasqualini is the sole copyist. In places, bass lines or SSB music for ritornellos have been added in, also in Pasqualini’s hand. See Barb. lat. 4192 for information on partbooks to this work, concordances, the attribution to Pasqualini, and bibliography.

Barb. lat. 4191 mid-17th c., 206 × 275 mm, I.20.I ff., 8 staves, one hand

Continuo score for the cantata UN PECCATOR PENTITO or MI SON FATTO for SSATB soloists, two violins, lute and basso continuo ensemble. The libretto is by Giovanni Lotti. The composer or composers are unknown, but at least one component trio is attributable to Marc’Antonio Pasqualini. A facsimile edition is in Anonymous Oratorios in the Barberini Collection of the Vatican Library, Howard Smither, ed., New York 1986, pp. 297-338 (ITALORAT 2). For vocal and instrumental partbooks in Barb. lat., see comments at end. NEMICO

1 (f. 1) P[rim]a Introduttione della cantata, B only, C minor. The folio is headed “Cantata a 5.” 2 (ff. 1-20v) [MARC’ANTONIO PASQUALINI et al.] Mi son fatto nemico il mondo e’l cielo, B/B (lira). Subsequent sections include Deh non rubarmi i vanti, A/B (lira); Ogni porta di speranza, ATB/B (liuto e violone); Se miro alcun che preghi, S/B (liuto); Taci, malcauto, taci (S/B); Vedi che mentre accusi (S/B), Colpe mie venite a piangere, SSB/B (lira and liuto; later cimbalo, lira e violone); and the closing “mad[rigal]e a 5” Inteneritevi, petti crudeli, SSATB/SS[vlni]B. The changing instrumentation of the continuo ensemble is indicated throughout. Music is lacking for the violins for several ritornelli. Desinet “s’egli v’entrò di giaccio uscir di foco, uscir di foco. Finis.” Modern edn in GRAMPP 2001, vol. 2, §III.1.1.6 (music) and vol. 1, pp. 49-51 (libretto). Barb. lat. 4190-4191 Bound in boards (206 × 280 mm) with parchment spine and cover title: * Poesia del Sig. Gio: Lotti piace a me/ Oratorio/ Un Peccator Pentito Mi son fatto Nemico/ Cantata a 5./ con stromenti/. On the spine, below a pink Vatican sticker, is the number 62, written in black ink in a modern hand, which

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also wrote the shelfmark XLVII.62 inside the front cover, where there is another BAV sticker. Five gatherings of two bifolios each. The watermarks are associated with Rome (cleric/saint in shield; anchor in circle with sixpointed star above; fleur-de-lis in circle with letter M above (f. I); GRAMPP 2001, vol. 1, p. 17, also reports the letter M below the anchor mark on two folios and with the letters A and C at the sides on two others). The guard sheets are blank. The sole copyist is Marc’Antonio Pasqualini. The foliation in pencil is modern. Parts for S2, ATB, violins 1-2, lute, lira and violone are Barb. lat. 4296, nn. 9a-e and 11a; parts for S1, lira/violone, and cembalo are Barb. lat. 4231, nn. 12, 13 and 16. These partbooks were copied by Pasqualini and by two other unknown copyists. The cantata contains the anonymous trio Colpe mie venite a piangere, which exists as an independent work in Barb. lat. 4219, n. 8 (q.v., volume dated 1656), and is attributable to Pasqualini; see MURATA n. 52a-b-c. The text of this trio was published in LOTTI 1688, pt. 1, pp. 125-126 with the subject title “Peccatore a piè del Crocifisso.” This SSB trio appears based on the version for SST/B in Barb. lat. 4219, n. 5, which in turn is related to Barb. lat. 4201 n. 28 (SS/B). All versions are in Pasqualini’s hand; Barb. lat. 4201 also shows corrections and revisions in his hand. The cantata is ascribed to Luigi Rossi in RICCIARDELLI, p. 40. Neither GRAMPP 2002 nor SPECK 2003 (with a brief bibliography, p. 289) ventures possible composers, but GRAMPP 2001, vol. 1, §II.1.1.6 recognizes Pasqualini’s contribution to the Colpe mie trio. Barb. lat. 4191-4192 Modern editions of the text, with translations, accompany the recordings by Les Arts Florissants, William Christie, dir., on Harmonia Mundi HMC 901091 (1982) and by Los Músicos de Su Alteza on Alpha 183 (2010/2012).

Barb. lat. 4192 mid-17th c., 208 × 275 mm, III.24.III ff., 8 staves, one hand

The cantata ANCOR SATIO NON SEI for SSATB soloists, violins in two parts and a basso continuo ensemble that includes lute and lira. The text is by Giovanni Lotti, but differs from that published in LOTTI 1688 (see below); the central trios Son pentito e più non voglio and Quanto fui povero, are not part of the published poem. Marc’Antonio Pasqualini composed part of it, and possibly all (see comments). For vocal and instrumental partbooks in Barb. lat., see comments.

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1 (f. 1v) Prima introduttione, SSB [= VV/bc], A minor. The continuo line is figured. 2 (ff. 2-20v) [MARC’ANTONIO PASQUALINI (et al.?)]. Solo: Ancor satio non sei di riderti di me, secolo stolto? S/B, A minor. Subsequent sections are the trios O che verme io sento al core (ATB/B), Son pentito e più non voglio (SSB/B); a solo recitative and aria, Partiti da quest’alma + Ti sommergo per sempre in mar di pianti (S); Quanto fui povero (ATB), and Cerco pene e mi contento (str. 2 of Son pentito). The closing madrigal a 5 is O benedette lagrime che m’addolciste, sì. Desinet “le dolcezze immortal da i flutti amari. Finis.” Rubrics include “in aria,” “piano,” “sinfonia,” “ritornello”; and “sonate” for two bars of the continuo part. A modern edn and commentaries, including source information, is in GRAMPP 2001, vol. 1, pp. 43-45 (libretto); vol. 2, §III.1.1.4 (music). Barb. lat. 4192 Bound in paper-covered boards (207 × 275 mm) with the cover title: Una Cantata Morale / Per Oratorio / Cantata a 5. Poesia del S.r Lotti / Ancor’ satio non sei, in Pasqualini’s hand. On the spine, below a pink Vatican sticker, is the number 63, written in black ink in a modern hand, which also wrote the shelfmark XLVII.63 inside the front cover. In eight gatherings of two bifolios each, including the guard sheets. The watermarks are associated with Rome: cleric/saint in shield; stag alone or within circle (of the general types HEAWOOD nn. 1352 and 3850; see also GRAMPP 2001, vol. 1, p. 18, who also notes the fleur-de-lis on three hills on the first front guard sheet). Pages have been trimmed on the right, with some loss of rubrics. The guard sheets are blank; blank staves only are on ff. 21-24. The modern foliation in pencil begins with the ruled folios. The sole copyist is Marc’Antonio Pasqualini. A bass staff in Pasqualini’s hand has been added freehand on f. 1v. In places, other music for the ritornelli has been squeezed in on the vocal staff lines or written on empty or freehand staves. The ritornello that introduces the closing madrigal was written on f. 16v, cancelled, and rewritten on f. 16, suggesting that the previous trio (the end of Son pentito) and the madrigal were copied at different times. Partbooks, all in Pasqualini’s hand, for S1, S2, ATB, violins 1-2, [lute], lira and violone are Barb. lat. 4296 nn. 2a-c, 4a-d, 6, and 8a-b. Barb. lat. 4190 is a figured partbook for lute with the vocal parts in score. Parts of the cantata without the internal trios constitute the poem published as “Aria morale” in LOTTI 1688, pt. 1, pp. 92-93. The two strophes of the trio Son pentito e più non voglio appear in Barb. lat. 4219 (dated 1656), n. 6, as an independent trio without the solo sections that intervene in Ancor satio non sei. This trio is an arrangement and

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contrafactum of the duet Già son morto e non lo crede (SS/B), which exists as a compositional draft in Pasqualini’s hand in Barb. lat. 4205, n. 42 (q.v.). Other copies of this secular duet are GB-Och 377 (dated 1653), ff. 30v-33v; GB-Och 996, ff. 133-34v attributed to “Marc’Antonio”; and the anonymous Barb. lat. 4219, n. 27 (dated 1656). The compositional draft and the attributions of Già son morto form the basis for considering Son pentito, if not all of the cantata ANCOR SATIO NON SEI, by Pasqualini. See MURATA n. 101. See GRAMPP 2001, vol. 1, pp. 185-202; and for a brief bibliography, SPECK, p. 269, n. 83. The whole is ascribed to Luigi Rossi in RICCIARDELLI, pp. 40-41.

Barb. lat. 4193 mid-17th c., 207 × 280 mm, 38 ff., 8 staves, one hand

Partially condensed continuo score to the anonymous cantata O CEfor SSATB soloists and instruments. The poet is Giovanni Lotti, the composer or composers unknown. A facsimile edition is in Anonymous Oratorios in the Barberini Collection of the Vatican Library, Howard Smither, ed. (New York 1986), pp. 225-294 (ITALORAT 2). See Barb. lat. 4218 for a description of the work, a possible partial attribution to Marco Marazzoli, concordances, and a modern edition. Online in DVL. CITÀ DEL MISERO MORTALE

1 (ff. 3v-4v) Prima Introduttione, SSB [= VV/bc], A minor. 2 (ff. 5-34) A 2. O cecità del misero mortale, AT/B. Desinet “che l’eterno silentio alfin alfin t’aspetta t’aspetta. Finis.” Bound in boards (208 × 281 mm) with parchment spine and cover title: + Morale. + Poesia del S.r Gio Lotti/ Oratorio/ Cantata a 5. O Cecità/ Con strom. se si vuole/ O Cecità/ Poesia del S.Gio: Lotti/, in the hand of Marc’Antonio Pasqualini. On the spine, below a pink Vatican sticker, is the number 64, written in black ink in a modern hand, which also wrote the shelfmark XLVII.64 inside the front cover, where there is another pink sticker. In eight gatherings of two bifolios, with a single bifolio, ff. 33-34. The watermarks are associated with Rome: cleric/saint in shield of the general type HEAWOOD 1352; anchor in circle, with six-pointed star above and letter M below; see also GRAMPP 2001, vol. 1, p. 19. Blank staves only are on ff. 1-2, 35-38. Marc’Antonio Pasqualini is the sole copyist. The foliation in pencil is modern. Barb. lat. 4192-4193

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This score contains two upper instrumental parts (SS) for the “Prima introduttione” that are not present in Barb. lat. 4218. In the body of the cantata, MsAB parts indicate viole, which regularly enter in the closing phrases of ritornelli, making five-part strings with the upper violin parts (e.g., “Viole a 5” on ff. 6, 9, 15, 20, indicating violas and bass violins, not viols). Brief instrumental echoes for “stromenti” are lacking in the duet passage “Piangerà” (AT/B), ff. 6v-7v. Several sections of the continuo line are designated “lira e violone.”

Barb. lat. 4194 mid-17th c., 205 × 270 mm, I.32.I ff., 8 staves, one hand

Figured keyboard score to GIOSEPPE, an oratorio in two cantatas for SSATB soloists in the roles of Testo (A), figli di Giacobbe (SSATB), Gioseppe (B), and servi (ATB), with basso continuo. The poet and composer are unknown. Instruments specified are two violins, lira, lute, violone and cembalo. The first cantata is 4194, the second Barb. lat. 4195. A facsimile is Anonymous Oratorios in the Barberini Collection of the Vatican Library, Howard Smither, ed., New York 1986, pp. 3-110 (ITALORAT 2). For vocal and instrumental partbooks, see comments. For modern editions of the libretto, see comments at end. Online in DVL. 1 (f. 2v) Cimbalo. Prima Introduttione, TrTrBB, A minor. Only the second bass staff is figured. 2 (ff. 3-31) Prima cantata. Testo: Dalla valle di Mambre ov’è Giacobbe astretto. Desinet “di sofferte sventure è sempre dolce, è sempre dolce.” A partbook for lute is Barb. lat. 4231, n. 20a. A modern edition of the music is in GRAMPP 2001, vol. 2, §III.1.2.1(1). Barb. lat. 4193-4194 Bound in boards (205 × 270 mm) with a parchment spine and the cover title Prima cantata/ Gioseppe. On the spine, below a pink Vatican sticker, is the number 65, written in black ink in a modern hand, which also wrote the shelfmark XLVII.65 inside the front cover, where there is another BAV sticker. In seven gatherings of two bifolios, ff. 3-30. Watermarks associated with Rome are the stag in a circle (of the general type HEAWOOD 3850) and a bird in a circle with letter T (of the type MAHONEY 9); see also GRAMPP 2001, vol. 1, p. 20. Leaves have been trimmed at the top. The guard sheets are blank; blank staves only are on ff. 1 and 32. The foliation in pencil is modern. The sole copyist is Marc’Antonio Pasqualini.

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SSATB vocal partbooks in Pasqualini’s hand exist in Barb. lat. 4296, nn. 13a-e. Instrumental partbooks to the first cantata are lacking, except for the lute book cited above. The text of Barb. lat. 4194-4195 is not the libretto by Francesco Buti listed in Prospero MANDOSIO, Bibliotheca, s.v. “Buti” — Il Giuseppe, per musica, which is now identified as Giuseppe venduto, oratorio a 6 voci, attributed to Buti in the libretto collection I-Rv ms. P.2 (see MORELLI-A 1986, p. 84; libretto ed. in SPECK 2003, CD n. 40; and by M. Luisi in BIANCONI-Buti, pp. 421-431). Set to music by Egidio Magli (MISCHIATI, n. 271), Giuseppe venduto begins Già su le rive d’oriente ardea and casts Giuseppe (S) Testo (T), Giacob (B), and fratelli (SSA). Nonetheless, the Barberini text appears in an edition by M. Luisi in L. Bianconi, ed., Fr. Buti. Drammaturgia musicale e politica culturale, Rome 2015, pp. 393-412, including a brief introduction. Another edn of the libretto is in GRAMPP 2001, vol. 1, pp. 52-60. Attributions of this score to Luigi Rossi derive from Charles Burney’s report of a work attributed to “Aloigi de Rossi” entitled Giuseppe figlio di Giacobbe, now lost (BURNEY, vol. 2, p. 618). Listed in an inventory prepared before 1783, the ms. I-Fn Magl.XIX.22 (ms. VI.61) appears to have last been seen sometime before 1883 (SPECK 2003, pp. 298-299, and ROSE 1974, p. 174). There is no evidence connecting the Barberini-Pasqualini copy to the lost Magliabecchiana score. A note made by F[ranz]E[hrle] dated 3 Jan. 1911, and now tipped into Barb. lat. 4194 before its first guard sheet, refers to the Rossi/Buti attributions, although Speck credits the erroneous triple association of Barb. lat. 4194-4195 with Luigi Rossi and Francesco Buti to Henry Prunières in PRUNIÈRES 1913, pp. 298-299. RICCIARDELLI, pp. 42-43, erroneously considered the mss. a Luigi Rossi holograph. See also CAMETTI-LR; GHISLANZONI, pp. 94-100 (with musical incipits); ITALORAT vol.1, pp. 195-202; GRAMPP 2001, vol. 1, §II.1.2.1, and 2002; and SPECK 2003, pp. 304-310. Speck offers Marco Marazzoli for consideration as the composer of Barb. lat. 4194-4195, but with no documentary or stylistic evidence. The oratorio has been recorded as Giuseppe (under the name of Luigi Rossi) by the CappellAntiqua, dir. Bernhard Pfammatter, on DIVOX Antiqua CDX 75239-2 (1998). Barb. lat. 4194-4195

Barb. lat. 4195 mid-17th. c., 203 × 270 mm, I.20.I ff., 8 staves, one hand

Figured cembalo score for the second part of the oratorio GIOSEPPE (see Barb. lat. 4194). Online in DVL.

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1 (f. 1) Prima Introdutione, TrTrB (= VV/bc), A minor. The folio is headed “Cimbalo. Seconda Cantata.” 2 (ff. 1v-20v) Seconda parte. Tur[b]a de servi a 3: O voi che lasciate d’Egitto il ritorno, ATB/B. The “Madrig[ale] ultima a 5” is Quanto quanto s’inganna. Desinet “e gastigo de i rei anco il perdono. Finis.” A modern edn of the score is GRAMPP 2001, vol. 2, §III.1.2.1 (2). Binding (203 × 270 mm) as for Barb. lat. 4194 with the cover title: Gioseppe/ Seconda Cantata. On the spine, below a pink BAV sticker, is the number 66, written in black ink in a modern hand, which also wrote the shelfmark XLVII.66 inside the front cover, where there is another BAV sticker. In five gatherings of two bifolios. Lower margins have been trimmed. Watermarks are as in Barb. lat. 4194 (cf. GRAMPP 2001, vol. 1, p. 21). The flyleaves are blank. The foliation in pencil is modern. The sole copyist is Marc’Antonio Pasqualini. Five SSATB vocal partbooks for part two in Pasqualini’s hand are Barb. lat. 4296, n. 13h and 13j-m. Partbooks for violins 1-2 and violone for the second cantata only are Barb. lat. 4296, nn. 13f-g and 13i. A partbook for lute is Barb. lat. 4231, n. 20b. For further information, see the comments to Barb. lat. 4194.

Barb. lat. 4196 1734, 204 × 276 mm, II.53 ff., 10 staves, one hand

Continuo score for two intermezzi, composed by Domenico Antonio Berti and performed in Palestrina for St. Martin’s fair in mid-November 1734. Texts for the untitled prologue and intermezzi were printed in Celebrandosi nel corrente anno in questa città di Palestrina la festa del glorioso S. Martino vescovo, con fiera libera. Per breve della san. mem. di Urbano VIII. E recitandovisi da giovani studiosi una commedia in prosa coll’intervento de’ signori principi novelli, è stata arricchita con prologo, & intermezzi in musica, che per appagare la curiosità degli astanti, si è stimato bene d’ imprimerli. In Palestrina, nella Stamperia Barberina, per Gio. Domenico Masci 1734 (with three exemplars in BAV Stamp. Barb. JJJ.). The present catalogue lists the three components using the three text incipits as filing titles: Barb. lat. 4195-4196 Prologue PUR VI RIVEGGO AL FINE Intermezzo I PRO PRESENTE LECTIONE Intermezzo II PRECIPITATA FILOSOFIA

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The roles in the intermezzi are Clori (S), Lilla (A) and Alfeo pedante (B). The instruments are two violins and continuo, with a trumpet added for the D-major aria in the second intermezzo. The prologue Pur vi riveggo al fine that preceded the intermezzi, also composed by Berti, is not in ms. 4196. Partbooks for the three segments are in Barb. lat. 4186 and 4229, nn. 23-31 (q.v.) 1 (ff. 1-25v) Del sig.r D. ANTONIO BERTI. Intermezzo primo. [PRO PREAlfeo, Lilla, e Clori. Alfeo: Pro presente lectione sufficit, e basta: oggi v’attendo (recit.), B/B. Desinet “ra la la la la larà la la. D.C.” There are three arias: Son donzelletta amabile for Lilla (A/TrTrB, C major, ff. 3v-7); Bisogna con giudizio for Alfeo (B/TrTrB, G major, ff. 8-12); and Io son ragazza tenera for Clori (S/TrTrB, D major, ff. 13-16v). On ff. 18rv was the beginning of a trio, Signor Magnifico gliela sacrifico, which is struck through and followed by the stubs of three folios that contained the remainder of the trio (two stubs follow f. 18, while the third follows f. 26). A revised setting of Signor Magnifico was inserted on two bifolios (SAB/ TrTrB, A major, ff. 19-26). Barb. lat. 4196 Partbooks for the singers are Barb. lat. 4186, n. 2 (Lilla), and Barb. lat. 4229, n. 27 (Alfeo) and n. 31 (Clori). Partbooks for the violins are Barb. lat. 4229, nn. 29 and 30. SENTE LECTIONE.]

2 (ff. 27-53) [BERTI]. Secondo intermezzo. [PRECIPITATA FILOSOFIA]. Alfeo: Precipitata filosofia e dove andò la continenza mia!, B/TrTrB (arioso). Desinet “matte, son matte per mia fé, per mia fé. Da Capo. Fine.” There are three arias: Tantin d’amore (possi schiattare) for Clori (B! major, ff. 30v-34); Io tengo, tengo ma più non posso for Alfeo (D major, ff. 35-37v); and Se credi esser più bella for Lilla (F major, ff. 39-42v). They are followed by a trio, Tutto ti sgraffio, sì (D major, ff. 44-53). The arioso, arias and trio are accompanied by “violini” and continuo. “Tromba” is written above the violin parts of Io tengo; that trumpet part is Barb. lat. 4229, n. 24. Partbooks for the singers are in Barb. lat. 4186, n. 3 (Lilla), and Barb. lat. 4229, nn. 23 (Alfeo) and 28 (Clori). The violin parts are Barb. lat. 4229, nn. 29 and 30. Quarter-bound in cardboard (205 × 277 mm) with a parchment spine (possibly from an original binding). On the spine is a pink BAV sticker and the number 67 written in black ink by a modern hand, which also wrote the old shelfmark XVII.67 inside the front cover. The modern cover and several front and back folios are worm-eaten, with no loss of music. The single watermark is the fleur-de-lis within two concentric circles. Gatherings, apparently of two bifolios each, were numbered at the upper left hand corners by the music copyist; but these numbers are sometimes cropped

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and partly disrupted by three stubs and the insertion of two new bifolios, the last folio of which (f. 26) has blank staves and is followed by the third stub. The second intermezzo begins an eighth new gathering with the stub of excised folio [26bis]. The foliation in pencil is recent. Both flyleaves are blank. The single copyist also was responsible for the scores and other partbooks for Berti’s prologue and intermezzi, Barb. lat. 4186 and 4229, nn. 23-31. In 1905 CELANI “united” the sets of intermezzi by Andrea Basili (see Barb. lat. 4185) and Berti, subsuming them under the title “IL PRECETTORE. Commedia per musica,” composed by Berti or Perti (CELANI, pp. 134-135 and 146). As a result, Baronci incorrectly attributed Barb. lat. 4196 to Giacomo Antonio Perti in his catalogue (BARONCI, p. 82), a misattribution and erroneous title maintained in OPAC-SBN. Berti’s work and the unknown prose comedy were perhaps performed on St. Martin’s Day, 11 November in 1734. A brief issued by Urban VIII had granted permission for a ten-day fair in Palestrina in honor of St. Martin (see L. CECCONI, Storia di Palestrina, città del prisco Lazio, Ascoli, Niccola Ricci et al., 1756, ad indicem). The 1734 festivities appear to have honored Cornelia Costanza Barberina (1716-1797) and her husband Giulio Cesare Colonna di Sciarra (1708-1787), Prince of Carbognano, who married in May 1728. Urbano Barberini-Colonna di Sciarra, their first son had been born in June of 1733. The couple’s visit to Palestrina in 1734 is further documented by the Corona poetica per la venuta in Palestrina dell’illustrissimi et ccellentissimi signori D. Giulio Cesare e D. Cornelia Costanza Barberini, principi di detta città, dedicata alli medesimi, Palestrina 1734 (exemplar BAV Stamp.Barb. JJJ.VI.1/12). In Berti’s prologue, Fortuna, in whose ruined temple the Barberini palace was built, refers to the “eccelsi figli da coppia sì sublimi, e al ciel diletta, Roma bramosa aspetta” (Barb. lat. 4229, n. 26). The Corona contains an eclogue, a madrigal, and sonnets by various writers. See Barb. lat. 4185 for a discussion of the analogous work composed by Andrea Basili for mid-November 1735. Berti (whose name appears in published libretti as Don Antonio, Don Domenico, and Don Domenico Antonio) is known mainly as a composer of oratorios. He set five written by Arcangelo Spagna for performance in Rome from 1711 to 1716, libretti reprinted in A. SPAGNA, Fasti sacri, Rome, Domenico Antonio Ercole, 1720 (exemplar BAV Stamp.Ferr.V.2097). Berti also composed eight oratorios written by Tommaso Aceti for performance in the Roman church of S. Girolamo della Carità from 1718 to 1731; see F. RUSSO, Tommaso Aceti, in Almanacco Calabrese 20-21 (1970-1971), p. 89. He also set an oratorio by Paolo Felici for Good Friday at S. Lorenzo

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in Lucina, Rome, in 1736 (SARTORI n. 21017). Besides the prologue and intermezzi in the Barb. lat. mss., the only music by Berti currently known is a duet for Irene and Idraspe, Caro sposo, amata Irene, in F-Pn X.914, ff. 105-107v. Barb. lat. 4196-4197

Barb. lat. 4197 1683 or later, 201 × 271 mm, II.44.I ff., 10 staves, two hands

Organ continuo parts for thirty-nine string trios. The first twelve are for Giovanni Battista Mazzaferrata’s op. 5, Bologna 1674. The next twelve are for Arcangelo Corelli’s op. 1, Rome 1681. The remaining twelve are by “Antonio” (nn. 25-26), Giovanni Battista Bassano (n. 39), Giovanni Maria Bononcini (n. 35), Paulo Calvani (n. 30), Lelio Colista (nn. 28, 37-38), Corelli (n. 29), Vincenzo de Grandis (n. 34) and Carlo Ambrogio Lonati (nn. 32-33). Two further pieces, entitled Piva, were composed by an unknown “Francesco de B.” (n. 27) and Colista (n. 36). The five-movement work n. 31 remains anonymous. Every piece is headed with the word “organo,” and each has four movements unless otherwise indicated. Online in DVL. 1 (ff. 1-2) [GIOVANNI BATTISTA MAZZAFERRATA]. Organo. Sonata prima, G minor. Published in his Primo libro delle sonate a due violini con un bassetto [di] viola se piace, op. 5, Bologna, Giacomo Monti, 1674, n. 1. In the printed editions, the bass part (which is distinct from the bassetto part) consists of 27 pages for “basso continuo” in quarto grande (SARTORI 1952, n. 1674d); 37 pages for “basso continuo” in quarto (SARTORI 1952, n. 1678e); and 30 pages for “organo” in quarto (SARTORI 1952, n. 1688e). Mazzaferrata’s op. 5 has twelve church sonatas, each with four sections. The forty-eight thematic incipits in the GB-Lbl copy of SARTORI 1952, n. 1678e, are identical with those in Barb. lat. 4197, nn. 1-12. Musical incipits for the 12 opening movements are in HAAS, which also gives the tempi of succeeding sections. 2 (ff. 2-3) [MAZZAFERRATA, op. 5]. Sonata 2.a, D minor 3 (ff. 3-4) [MAZZAFERRATA, op. 5]. Sonata 3.a, C major. 4 (ff. 4-5) [MAZZAFERRATA, op. 5]. Sonata quarta, D major. 5 (ff. 5v-6) [MAZZFERRATA, op. 5]. Sonata quinta, B! major. 6 (ff. 6v-7) [MAZZAFERRATA, op. 5]. Sonata sesta, F major. 7 (ff. 7v-8) [MAZZAFERRATA, op. 5]. Sonata settima, A minor.

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8 (ff. 8v-9) [MAZZAFERRATA, op. 5]. Sonata ottava, E minor. 9 (ff. 9v-10) [MAZZAFERRATA, op. 5]. Sonata nona, C minor. 10 (ff. 10-11) [MAZZAFERRATA, op. 5]. Sonata decima, A major. 11 (ff. 11-12) [MAZZAFERRATA, op. 5]. Sonata undecima, B minor. 12 (ff. 12-13) [MAZZAFERRATA, op. 5]. Sonata duodecima, G major. 13 (ff. 15-16) [ARCANGELO CORELLI, op. 1]. Sonata prima, F major. Published in his Sonate a tre, doi violini e violone o arcileuto, col basso per l’organo, op. 1, Rome, Gio. Angelo Mutii, 1681, n. 1. In the first three printed editions, the continuo partbook is 36 pages for “organo” in quarto (SARTORI 1952, n. 1681a); 31 pages for “violone e organo” (SARTORI 1952, n. 1682h); and 37 pages for “basso per l’organo” (SARTORI 1952, n. 1684d). MARX 1980, pp. 97-99 (see Bibl. below), lists sources for Corelli’s op. 1, but does not include Barb. lat. 4197. Musical incipits for each of the sections in every sonata of Corelli’s op. 1 are identical with those given in Barb. lat. 4197, nn. 13-24. Barb. lat. 4197 14 (ff. 16-17) [CORELLI, op. 1]. Sonata seconda, E minor. 15 (ff. 17-18v) [CORELLI, op. 1]. Sonata terza, A major. 16 (ff. 18v-19) [CORELLI, op. 1]. Sonata quarta, A minor. 17 (ff. 19v-20v) [CORELLI, op. 1]. Sonata quinta, B! major. 18 (ff. 20v-22) [CORELLI, op. 1]. Sonata sesta, B minor. 19 (ff. 22-23) [CORELLI, op. 1]. Sonata settima, C major, in 3 movements. 20 (f. 23r-v) [CORELLI, op. 1]. Sonata ottava, C minor. 21 (ff. 23v-25) [CORELLI, op. 1]. Sonata nona, G major. 22 (ff. 25-26) [CORELLI, op. 1]. Sonata decima, G minor, in 5 movements. 23 (ff. 26-27) [CORELLI, op. 1]. Sonata undecima, D minor. 24 (ff. 27-28) [CORELLI, op. 1]. Sonata duodecima, D major. 25 (ff. 28v-29) Sig.r ANTONIO. [Sonata], F minor. The movements are Largo C [ 42], Allegro C, 32 [ 62], and Presto assai C. The tempo indication “adagio assai” was probably meant to head the 32 section and not the second half of the first Allegro. 26 (ff. 29v-30) Del mede[si]mo Sig.r ANTONIO. [Sonata], F minor, in 3 3 movements. See n. 25 above. The movements are Largo assai C; C; and 8.

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27 (f. 30r-v) S.r FRAN[CES]CO DE B. Piva, D major, in 3 movements. 28 (ff. 30v-31v) S.r L[ELIO] COLISTA. [Sonata], G major. No concordance is listed in WESSELY-KROPIK, p. 116, n. 18; ALLSOP, p. 42, Table 2; or WESSELY-KROPIK/D’OVIDIO, pp. 183-184. Three concordances are listed in the modern edn by H. and O. Wessely, Diletto Musicale, n. 678, Vienna 1979: D-MÜs 1152, n. 10bis; GB-Och 1126 (section 1 only); and I-Tn Giordano 15, ff. 7v-11v. 29 (ff. 31v-33) Sig.r ARCANGELO CORELLI. [Sonata], A major. Seven concordances are listed in MARX 1980, pp. 218-220. One is a printed source: Corelli, Sonate a tre, due violini e basso continuo, Amsterdam, Estienne Roger, [1715], op. posth., n. 6 (see LESURE below, p. 64, and the appended facsimile, p. 55, n. 198). Listed as WoO 5 in MARX 1976 (see below), pp. 71-75. 30 (f. 33r-v) Sig. PAULO CALVANI. [Sonata], D major. Its sections are Adagio C; 43 [ 46]; C; and Allegro 68. 31 (f. 34r-v) [Sonata], B! major, in 5 movements: Grave C; Allegro C; Grave C; Allegro 43; and Largo C. 32 (ff. 34v-36) Sig.e C[ARLO] AMBROGIO LONATI. [Simfonia], A major, in 5 movements. Four concordances are listed in WESSELY-KROPIK, p. 116, n. 23; ALLSOP 1989, p. 35, Table 1; and WESSELY-KROPIK/D’OVIDIO, pp. 191192, which gives musical incipits. It is “Simfonia del Sig.re Carlo Anbrogio [sic] Lonati” in I-Tn Giordano 15, ff. 68-73v; “Simph. 3. Lelio Colista” in GB-Lbl Add. 33236, ff. 16v-18; and anon. in GB-Ob Mus. Sch. d.256, n. 33, and GB-Ob Mus. Sch. E.400-403, n. 7. Modern edn in LONATI, Simfonie a 3, ed. Allsop, New Orpheus, Series 1: Rome, n. 1; Devon, UK 1990, pp. 15-22. 33 (ff. 36-37) Del mede.mo [LONATI]. [Simfonia], D major. Four concordances are listed in WESSELY-KROPIK, p. 116, n. 20, and ALLSOP 1989, p. 35, Table 1. Five are listed in WESSELY-KROPIK/D’OVIDIO, pp. 183-184, where musical incipits are given. It is “Simfonia del Sig. Carlo Ambrogio Lonati a 3” in I-Tn Giordano 15, ff. 74-79v; “Simphonia 4.a, Lelio Colista” in GB-Lbl Add. 33236, ff. 18-20; a work by “L. Calista” in US-Cu 959, n. 25; an anon. “Sonata terza” in GB-Ob Mus. Sch. E.400-403; and an anon. [Sonata n. 4] in GB-Ob Mus. Sch. D.256. Modern edns in L. COLISTA, Sonata terza, ed. H. Kropik, Vienna, 1952 (Hausmusik, 139), and COLISTA, Sonata no. IV, ed. M. Tilmouth, London 1960. 34 (ff. 37v-38) Sig.r VINCENZO DE GRANDIS. [Sonata], D minor, in 3 movements (C, C, and 43). De Grandis held positions in Rome in 1670-1674, when this work may have originated. No instrumental work by him is listed

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in J.A. Griffin, s.v. “De Grandis, Vincenzo (ii),” Grove Online (last accessed Oct. 2017). 35 (ff. 38-39) Sig.re [GIOVANNI MARIA] BONONCINI. [Sonata], E! major. This is Sonata quarta of the Suonate da chiesa a tre in Giovanni Maria Bononcini, Trattenimenti musicali a tre & a quattro stromenti, op. 9, Bologna, Giacomo Monti, 1675. In the print, the bass part is labeled “violone e basso continuo” (SARTORI 1952, n. 1675b). 36 (f. 39r-v) Sig.r L. COLISTA. La Piva, G major, in one movement. No concordance is known, according to WESSELY-KROPIK, p. 116, n. 19; ALLSOP, p. 42, Table 2; and WESSELY-KROPIK/D’OVIDIO, p. 184, which gives the musical incipit. 37 (ff. 39v-41) Sig.r LELIO COLISTA. [Sonata] 12.a, F major, 5 movements. Two concordances are listed in WESSELY-KROPIK, p. 116, n. 25; in the mod. edn by H. and O. Wessely, Vienna 1979 (Diletto Musicale, n. 677); in ALLSOP, p. 35, Table 1; and in WESSELY-KROPIK/D’OVIDIO, pp. 164-166, which gives the musical incipits. It is headed “Simfonia del Sig.re Lelio Colista a 3” in I-Tn Giordano 15, ff. 52v-58. Only three movements are complete in GB-Och 1126, ff. 3-5, which is headed “Sonata Terza.” 38 (ff. 41-42v) Del mede[si]mo Sig.r LELIO C[OLISTA]. [Sonata], D minor. Two concordances are listed in WESSELY-KROPIK, p. 116, n. 32; ALLSOP, p. 35, Table 1; and WESSELY-KROPIK/D’OVIDIO, pp. 174-175, where musical incipits are given. The work is headed “Simfonia del Sig.re Lelio Colista a 3” in I-Tn Giordano 15, ff. 33-36v. Anonymous and incomplete in GBLbl Add. 31431, ff. 78-79, which is headed “14 sonata.” Modern edn in L. COLISTA, Simfonie a 3, ed. Peter Allsop, Devon, UK 1991 (Series 1: Rome, n. 4), pp. 15-22. 39 (ff. 42v-44) Sig.r GIO. BATT.A BASSANO. [Sonata], C minor, 6 movements. This is “Suonata decima” in Gio. Battista Bassani, Sinfonie a due e tre instromenti, con il basso continuo per l’organo, op. 5, Bologna, Giacomo Monti. It was printed in the “organo” partbook of editions in Bologna (SARTORI 1952, nn. 1683a and 1688f) and Antwerp (SARTORI 1952, n. 1691f). Bound in parchment (207 × 273 mm). The number 68 is written on the spine in black ink by a modern hand, which also wrote the previous shelfmark XLVII.68 inside the front cover. The first watermark is a stag in a circle (ff. 3-6, 11-12, 33-36 and 43), similar to HEAWOOD n. 3850. The second is the common fleur-de-lis in two concentric circles (ff. 13, 17-20, 25-27, 29 and 40). Sections 1 and 2 consist of three gatherings of two nested bifolios with a single added bifolio for ff. 13-14 and ff. 27-28. These are followed by

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ff. 29-34 (I + II) and ff. 35-44 that were originally II+II+II, but were altered by the excision of leaves (the non-existent ff. 38bis, 42bis and 44bis), whose stubs were pasted onto present ones. The foliation in pencil is modern. The front flyleaves are blank. On the verso of the end flyleaf, f. 45, upside down, are writing exercises. All folios have 10 staves except f. 41, which has only eight. Blank staves only are on ff. 13v-14v. The copyists are two Roman professionals. Hand A wrote nn. 1-12. Hand B is similar. Hand B wrote “volti subito” at the bottoms of pages; hand A did not. Hand B presumably wrote the tempi and attributions as well as the music for nn. 25-39. The entry for OPAC-SBN erroneously identifies only one hand, as that of Barb. lat. 4195 (who is Marc’Antonio Pasqualini) and Barb. lat. 4196 (who is an unknown copyist after 1734). On the front cover what appear to be four small letters (“cl o. a”?) are written in ink. On f. 1 a modern hand has written “I Serie” in pencil; on f. 15, “Serie II”; on f. 28v “Serie III.” The present dating of ca. 1683 reflects the date of the first edition of n. 39 (though it may equally well have been copied from the 1688 printing). Brief descriptions of Barb. lat. 4197 are given in WESSELY-KROPIK, pp. 114-115; ALLSOP, pp. 41-42; and WESSELY-KROPIK/D’OVIDIO, pp. 141142; but see the more recent A. D’Ovidio, Alle soglie dello strumentalismo corelliano: Colista, Lonati, Stradella, Mannelli. Studio storico-analitico ed edizione critica delle Sonate a tre, Ph.D. thesis, Università di Pavia (Cremona), 2004. She identifies activities in Rome of lutanists Paolo Calvani and Francesco De Petris, as well as organist De Grandis. Bibl.: ALLSOP

LESURE

MARX 1976

MARX 1980 WESSELY-KROPIK WESSELY-KROPIK/ D’OVIDIO

P. Allsop, Problems of Ascription in the Roman Simfonia of the Late Seventeenth Century: Colista and Lonati, in Music Review 50 (1989), pp. 34-44. F. Lesure, Bibliographie des éditions musicales publiées par Estienne Roger et Michel-Charles Le Cène: (Amsterdam, 16961743), Paris 1969. A. Corelli, Historisch-kritische Ausgabe der musikalischen Werke, n. 5: Works without opus numbers, ed. H.J. Marx, Cologne 1976. H.J. Marx, Die Überlieferung des Werke Corelli, catalogue raisonnée. Cologne 1980. H. Wessely, Lelio Colista, ein römischer Meister vor Corelli. Leben und Umwelt. Vienna 1961. H. Wessely, Lelio Colista, un maestro prima di Corelli; published with a thematic catalogue by A. D’Ovidio, Rome 2002.

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337

Barb. lat. 4198 mid-17th c., 200 × 273 mm, I.24.I ff., 8 staves, one hand

Part one of the ORATORIO PER LA SETTIMANA SANTA for SSATB soloists in the roles of Pilato (B), Demonio (B), Turba (ATB) and Demoni (SSATB). Instruments specified are two violins and a basso continuo ensemble that includes lute and lira. The text is by Giulio Cesare Raggioli, the composer unknown. Part two is Barb. lat. 4199. Both volumes are likely partbooks for the keyboard performer in the continuo ensemble; the continuo line is lightly figured. A facsimile is in Anonymous Oratorios in the Barberini Collection of the Vatican Library, Howard Smither, ed., New York 1986, pp. 113-222 (ITALORAT 2). 1 (f. 2v) Prima introd[uzio]ne. Adagio, TrTrB [= VV/bc], B! major. 2 (ff. 3-23v) Turba a 3: Baraba a noi si dia, ATB/TrTrB. Desinet “Eco festante festante. Finis.” Musical incipits are given in GHISLANZONI 1955, pp. 101-103. A partbook for lute is Barb. lat. 4231, n. 18. A modern edition is in GRAMPP 2001, vol. 1, pp. 61-64 (libretto) and vol. 2, §§III.1.2.2 (1) (music). Bound in parchment (207 × 273 mm), with the cover title: ++ piace a me / Prima Parte Oratorio/ Per la Settimana Santa/ Poesia del Sig.r Giulio Cesare Raggioli in the hand of Marc’Antonio Pasqualini. On the spine, below a pink Vatican sticker, is the number 69, written in black ink in a modern hand, which also wrote the shelfmark XLVII.69 inside the front cover, where there is another pink sticker. Edges tinted red. In five gatherings of two bifolios, except for ff. 1-2 and 23-24. The two watermarks, both associated with Rome, are the praying cleric/saint in a shield and a stag in a circle, of the general types HEAWOOD 1352 and 3850; above the latter, GRAMPP 2001, vol. 1, p. 22, notes the letter P. Front and back guard sheets are blank; blank staves only on ff. 1 and 24. The foliation in pencil is modern. The sole copyist is Marc’Antonio Pasqualini. GHISLANZONI 1955 mistook this score for a holograph of Luigi Rossi, from whence apparently derive all subsequent attributions to Rossi, including RICCIARDELLI, pp. 44-45. See SMITHER, ITALORAT vol. 1, pp. 194203; GRAMPP 2001, vol. 1, §II.1.2.2; GRAMPP 2002; and SPECK 2003, pp. 253-266. Barb. lat. 4198 Besides the libretto in GRAMPP 2001, cited above, modern edns of the libretto are SPECK 2003, CD-ROM n. 39; and the texts with translations that accompany two recordings, both issued under the name of Luigi Rossi: by Les Arts Florissants, dir. William Christie, Harmonia Mundi CD 901297 (1989); and by the Ensemble l’Aura Soave, dir. Diego Cantalupi from his

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own edition of the score, MV Cremona MVC 007-021 (2008). RICCIARDELLI reports a television broadcast of the work on Good Friday, 1972. After detailed musical analysis and a few biographical details for Raggioli, GRAMPP 2001 concludes that this oratorio likely dates from between 1656 and 1661 (vol. 1, p. 346). The score for part two (Barb. lat. 4199) appears to be somewhat later, given its watermarks and unique copyist.

Barb. lat. 4199 3rd qtr 17th c., 200 × 276 mm, I.30.I ff., 8 staves, two hands

Part two of the ORATORIO PER LA SETTIMANA SANTA, text by Giulio Cesare Raggioli, composer unknown, for SSATB soloists in the roles of Vergine (S), Demonio (B), Turbe amiche (ATB) and Demoni (SATB). For vocal and instrumental partbooks, see comments. Part one is Barb. lat. 4198. 1 (f. 2v) Prima introd[uzio]ne, TrTrB, C major. The treble staves are marked “Violini”; the continuo staff is lightly figured. Barb. lat. 4198-4199 2 (ff. 3-30v) 2.a parte. Dem[onio] solo: O del Tartareo speco dell’antro cieco, B/B. Desinet “[so]-no, le penne sono.” A modern edition is in GRAMPP 2001, vol. 1, pp. 65-68 (libretto) and vol. 22, §III.1.2.2 (2) (music). Bound in parchment (210 × 280 mm) with the cover title Poesia del S.r Giulio Cesare Raggioli ++ / Seconda Parte Oratorio/ Per la Settimana Santa/ in the hand of Marc’Antonio Pasqualini. On the spine below a pink Vatican sticker is the number 70, written in black ink in a modern hand, which also wrote the shelfmark XLVII.70 inside the front cover, where there is another pink sticker. In six gatherings of two bifolios except for single bifolios beginning ff. 1, 23 and 29. The watermarks, both associated with Rome, are a stag in a circle and the fleur-de-lis in a double circle. GRAMPP 2001, vol.1, p. 23, notes the letters P above the first and C above the second. First and last guard sheets are blank; blank staves only are on f. 1. The foliation in pencil is modern. Except for the instrumental introduction, which was copied by Pasqualini (Hand A), part two is in the hand of an unknown copyist (Hand B). Rubrics, minor text and music corrections, and the filling in of occasional words are by Pasqualini, on ff. 9-10, 15, 17, 27v, 29-30v. The same unknown Hand B prepared the partbooks for part two of the oratorio; parts for S1-2, ATB voices, violins 1-2, lute, and lira are in Barb. lat. 4296, nn. 12a-i (Hand F in 4296). See comments to Barb. lat. 4198 for bibliography. Barb. lat. 4198-42199

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Barb. lat. 4200 before 1656, 200 × 270 mm, I.[185].I ff., 6 staves, two hands

Anthology of thirty-nine Italian arias and cantatas; twenty-one arias and cantatas are for soprano, followed by eighteen duets, trios and quartets, all with basso continuo. All compositions are anonymous, except for nn. 22, 23 and 26 which bear the monogram of Marc’Antonio Pasqualini in his hand; items 36-37 and 39 are also attributable to him. Eleven others have been attributed to Luigi Rossi on the basis of concordances. Twenty-two compositions remain unidentified. The last work (n. 39) is an incomplete draft of a trio in the hand of Marc’Antonio Pasqualini; its final version exists in Barb. lat. 4219, a volume dated 1656 and thus a terminus ante quem for this volume. No poets are named, but they include Giovanni Lotti (nn. 22, 26, 36) and Francesco Melosio (n. 4). Scoring is S/B unless otherwise indicated. Six duets (nn. 25, 30-31, 36-38) and five trios (nn. 22-24, 26, 32) are for high voices. Five trios are scored SABar (nn. 27-29) and SST and SSB (nn. 34 and 39); two quartets are for SSSB and SSMsB voices (nn. 33, 35). Online in DVL. The original foliation skips the number 131; nonetheless the original foliation is used below. 1 (ff. 1-10) Aita, o cieli, aita. Già dal soglio di Persia, E minor, cantata. Arias are Bellezza che cela suoi pregi (A major); A colei che se di bella (F major), and Di tesor che si perde (D major). A monologue lament of Queen Esther. CALUORI n. 294. 2 (ff. 10-18v) Mustafà. Alle note affannose che mandò Zaida al suo fedel rapito, A major, cantata. Arias include O turbini, o tempeste (A minor) and Quando fia che si mirino (A major). CALUORI n. 295. 3 (ff. 19-25) Non superbite, no, non superbite amanti, D minor, cantata. The arias are Vanne dunque, crudel (A minor) and Schiere d’amanti a dio (D minor). CALUORI n. 360. 4 (ff. 25v-33) [LUIGI ROSSI]. Il sdegno smargiasso. Tutto cinto di ferro e con più armi attorno, A minor, cantata. The arias are Fuori, fuori dal mio petto (C major, marked “arieta”) and Dati pur pace, cor mio (A minor). Attributed to Rossi in GB-Och 998, ff. 53-64v. The text by Francesco Melosio is in MELOSIO 1672, pp. 283-287. CALUORI n. 196. Barb. lat. 4200 A different setting by Carlo Caproli is I-Bc Q.47, ff. 111-117 (AFFORUNTATO n. 121).

5 (ff. 33v-35) [L. ROSSI]. Mani altere e divine, F major; 2 strophes, text

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for str. 2 written below the continuo staff. Attributed to “Luigi” in GB-Och Mus. 17, ff. 10-11 (C major, without str. 2). CALUORI n. 113. Also anon. in I-IBborromeo Misc. 8, ff. 17r-v and Misc. 11, ff. 1-2v. 6 (ff. 35v-36v) Sempre in fasce, o mio desire, A minor; 2 str., text for str. 2 written below the continuo staff. CALUORI n. 377. 7 (ff. 37-38) L’Augellino. Augelin di sete acceso, io ti lascio in libertà, S/ Bar, C major; R-1-R-2-R, text for str. 2 written below the continuo staff for str. 1. The continuo staves use baritone clef for the refrain and tenor clef for the stanzas. Also anonymous in BAV Chigi Q.IV.8, ff. 36-37v. CALUORI n. 303. A different anonymous solo setting is I-Nc 33.4.25 (Cantate ibride 10), ff. 120124. A duet setting attributed to Luigi Rossi is I-Fc D.2357, ff. 33v-38 (CALUORI n. 211).

8 (ff. 38v-39v) Voi sete troppo belle, o mie catene, G minor; 2 str., text for str. 2 written below the continuo staves. CALUORI n. 407. A different setting by Luigi Rossi is F-Pn Vm7 1, ff. 100v-101v; I-IBborromeo Misc. 5, no. 11, ff. 90-91; and US-LAuc fC.697.M.4, pp. 4-6. CALUORI n. 202.

9 (ff. 40-41) E che ti costa un guardo, B! major; 2 str.; text for str. 2 written below the continuo staves. CALUORI n. 322. 10 (ff. 41v-43) Se l’antica mia guerriera, C minor, cantata. The sole opening aria has two strophes, with the text for str. 2 written below the continuo staves. CALUORI n. 376. A different setting attributed to Carissimi is I-Nc 33.4.17a, ff. 95-103 (Internet Culturale access).

11 (ff. 43-45v) Ove tenebre, ohimè, ove fuggite, E minor, R-1-R-2-R. CALUORI n. 367. 12 (ff. 46-47) Uccidetemi affanni, fab[b]ri sol di tormenti, F minor, aria “da capo.” CALUORI n. 400. 13 (ff. 47v-48v) Il mondo delle [sic] bellezza ha sempre nel sen la congiura, D minor, aria da capo. CALUORI n. 341. CALUORI n. 341 also lists an anonymous SB/B version of this text in F-Pn Vm7 10, ff. 10v-12.

14 (ff. 49-50) Sta forte, mio core, nel primo desire, B! major; 2 str., text of str. 2 written below the continuo staves. CALUORI n. 388. A related but different setting is attributed to Pasqualini in both I-Rc 2478 and I-Nc 33.4.12a (Cant. ibr. 9), ff. 143-48v (Internet Culturale access); it also exists

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in I-Nc 33.4.7a (Cant. ibr. 6), ff. 89-94 (incomplete) with an attribution to Carissimi; see MURATA n. 229.

15 (ff. 50v-52) Tu giuri ch’è mio quel seno che vedo, G minor; 2 str, text for str. 2 written below the continuo staves. CALUORI n. 398. For a different SBar/B setting by Luigi Rossi, see CALUORI, n. 260 (in GB-Lbl Harley 1501, GB-Och 996, and I-Nc 33.5.10.)

16 (ff. 52v-55v) Sonetto. Prima parte: Mentre la notte havea d’horrore indegno, E minor, 4 parti in variation, each marked. CALUORI n. 349. 17 (ff. 56-57) Ardo per te, ben mio, ma vuole il crudo amore, C minor; 2 str., text for str. 2 written below the continuo staves. CALUORI n. 302. For another setting of two strophes in C minor, with an attribution to “Sig.r Titta Pignataro,” see I-Nc 33.4.11b, n. 16, pp. 50-52; it appears to be incomplete (Internet Culturale access).

18 (ff. 57v-62v) Torna in te, che fai, mio core, C minor; R-1-R-2-R. Also anonymous in I-SPc 2 (13.095), ff. 9-13v. CALUORI n. 395. 19 (ff. 63-65) Begli occhi, pietà, son vinto, vi cedo, C minor, R-1-R-2-R. CALUORI n. 304. A different setting by Luigi Rossi is F-Pn Vm7 6, f. 13 (CALUORI n. 25).

20 (ff. 65v-67) [L. ROSSI]. Ohimè, madre, aita, aita! Già nel cor mi sento un foco, F minor. The text is a refrain form; the cantata is through-composed. A modern hand has written “Rossi?” in pencil at the top of f. 65v. Attributed to Rossi in F-Psg 3372, ff. 23-24v and GB-Lbl Harley 1501, ff. 15v16. Anonymous in I-Nc 33.4.19b, (Cant. ibr. 15), ff. 39-41v. CALUORI n. 137. A different setting attributed to Mario Savioni is GB-Och 998, ff. 201-203v (cf. WECIS 2).

21 (ff. 67v-72) [L. ROSSI]. Erminia sventurata, ove t’aggiri?, E minor, cantata. The only aria is Mori, infelice, mori! Certa di tue ruine (E minor). Attributed to Rossi in GB-Lbl Harley 1265, ff. 143-52v; I-Nc 33.4.12a, ff. 7584 (= Arie 47, Cant. ibr. 9); and I-Rc 2478, ff. 1-8v (CLORI n. 540). An attribution to Carissimi in GB-Och 946, ff. 91-96v is not in the hand of the copyist. Anonymous in CH-Zz Q.902, ff. 173-182. CALUORI n. 70 and WECIS 5/2. 22 (ff. 72v-87) [MARC’ANTONIO PASQUALINI]. MAP. Io ritorno dal periglio, SSS/B, C minor. The MAP monogram is a later addition by Pasqualini, who has also made additions and corrections to the score on ff. 75, 79, 81-82, 84r-v. CALUORI n. 436; MURATA n. 123. The monogram MAP also appears on another version for SSB/B, Barb. lat. 4222, n. 2, where the text is attributed to Giovanni Lotti (in LOTTI 1688, pt. 3: 116-117,

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headed “Uno liberato da’ lacci d’amore”). MURATA n. 122a-b. The SSS/B version of Barb. lat. 4219, n. 13 is related to the SSB version of Barb. lat. 4222, not to the version for three sopranos here.

23 (ff. 87v-[91v]) [PASQUALINI]. MAP. Piango, prego e sospiro, e nulla al fin mi giova, SSS/B, C minor, 3 strophes. The texts for strophes 2-3 are in Pasqualini’s hand in all voices (text for the vocal bass written below the continuo staves). Anonymous in Barb. lat. 4219 (dated 1656), n. 16. CALUORI n. 439; MURATA n. 180. 24 (ff. 92-95) [L. ROSSI]. Mortale, che pensi? Son caduchi i tuoi trionfi, SSA/B, E minor (the da capo ends on a B-major chord). Attributed to Rossi in B-Bc 662, pp. 151-157 (the same two concordance sources as nn. 27-29, 33, and 38 below) and GB-Och 996, ff. 128-29v. Anonymous in GB-Lbl Add. 31505, ff. 138-45v, and I-Bc Q.50, ff. 35v-38. CALUORI n. 281. 25 (ff. 95v-100) Ch’io vi fugga? O questo, no, SS/B, C minor. CALUORI n. 413. A different anonymous solo version is I-Rc 2477, ff. 35-40v and BAV Chigi Q.IV.8, ff. 89-91 (CARBONI 12/3, n. 214).

26 (ff. 100v-121) [PASQUALINI]. MAP. A 3. Navicella che sì altera (perch’hai grave il sen di vento), SSS/B, F minor/F major (the cantata remains in minor until the antepenultimate line at f. 118 of the final section). Anonymous in Barb. lat. 4219, n. 9 (q.v.) where the text is attributed to Giovanni Lotti (pub. in his Poesie, pt. 3, pp. 33-34). The text only is anonymous in BAV Fondo Ferraioli ms. 1, ff. 164-65v, as Navicella sei sì altera, headed “Dell’humane felicità, canzonetta.” CALUORI n. 437; MURATA n. 149. A different, anonymous solo setting is I-Rc 2478, ff. 135-45v, and I-Nc 33.4.14a, ff. 98-106v.

27 (ff. 121v-124) [L. ROSSI]. A 3. Deh, perché non m’uccide il dolor del partire, SABar, C minor. Attributed to Rossi in GB-Och 996, ff. 105v-107 and B-Bc 662, pp. 64-68 (the same sources of concordances as n. 24, 28-29, 33, and 38 here). Defective and anonymous in D-HVl IV, 422, pp. 11-13. CALUORI n. 269. 28 (ff. 124v-127) [L. ROSSI]. A 3. Quand’io credo esser disciolto, SABar, G minor. Attributed to Rossi in GB-Och 996, ff. 103v-105 and B-Bc 662, pp. 119-124 (the same sources of concordances as nn. 24, 27, 29, 33, and 38 here). CALUORI n. 284. 29 (ff. 127v-132v) [L. ROSSI]. A 3. Mio core impara dal mare, SABar/Bar, C minor. A separate continuo part appears only for the baritone solo on ff. 128v-29v. Rubrics include “adasio” (f. 132). Attributed to Rossi in GB-Och

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996, ff. 101-103, and B-Bc 662, pp. 113-118 (the same sources of concordances as for nn. 24, 27-28, 33, and 38 here). CALUORI n. 280. 30 (ff. 133-142) A due canti. Ciglia brune, archi lucenti, SS/B, G minor. CALUORI n. 414. 31 (ff. 142-144v) A 2. Parla, parla mio core, che non trova pietà, SS/B, G minor; 2 str., the text for str. 2 is written below the continuo staff throughout for both sopranos, giving an impression that the bass line could be sung (a modern hand added a question mark after the “A 2” in pencil). Also anon. in D-MÜs 4087, ff. 35-56. CALUORI n. 426; WECIS 4B, n. 369; and GIANTURCO & MCCRICKARD 10-139 (as an unreliable attribution to Alessandro Stradella in the Santini catalogue). 32 (ff. 145-150v) [L. ROSSI]. A 3. Disperate speranze, a Dio, SSS/T, C minor; 2 str., the text for str. 2 is written above the continuo staves throughout, which are in tenor clef, with figures. Attributed to Rossi in I-Bc Q.50, ff. 46v-48v. CALUORI n. 271. 33 (ff. 151-155) [L. ROSSI]. A 4. Solo: Hor che fra l’ombre del notturno vello [sic], SSSB/B, E minor. A modern hand has struck through the “A 4” designation in pencil. Baronci’s ms. inventory for the Vatican indexed the closing quartet Ahi duolo, ahi tormento (ff. 153-155) as a separate piece. Attributed to Rossi in GB-Och 996, ff. 71v-73, and B-Bc 662, pp. 100-105 (the same sources of concordances as nn. 24, 27-29, and 38 here). CALUORI n. 290. 34 (ff. 155v-159) A 3. Libertà sospirata, da me ove ten vai?, SST, G minor. 35 (ff. 159v-171v) Prima parte: Io ardo a poco a poco per doi luci homicide, SSMsB/(B), C minor. The continuo part has only threee opening, independent measures on the vocal bass staff. The “seconda parte” begins on f. 165v: Ardo, o forza d’Amore. CALUORI n. 440. An S/B setting by Marco Marazzoli is BAV Chigi Q.VIII.177, ff. 143v-45 (an anonymous holograph; vol. dated ca. 1648-1652; CARBONI 12/3, n. 902).

36 (ff. 172-176) [PASQUALINI]. Ahi, non resta al mio duol altro che morte, SS/B, D minor. Marked “MAP” in Barb. lat. 4222, n. 19, which attributes the text to Giovanni Lotti. CALUORI n. 409; MURATA n. 9a. GHISLANZONI and RICCIARDELLI both ascribed this to Luigi Rossi. LANDSHOFF 1927, pp. 9599, suggested Giovanni Legrenzi as the composer; thus the duet appears in EMANS, p. 83, and in PASSADORE/ROSSI, n. 63. An anonymous SSB/B version is Barb. lat. 4219, n. 17, where the text is also attributed to Giovanni Lotti. A different solo setting by “Giovannini” is I-Nc 33.4.7a, ff. 37-44.

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37 (ff. 176-181v) [PASQUALINI?]. Prima parte: Non mi fate mentire, no, no, no. Ho già detto a ciascun che voi m’amate, SS/B, A minor; 2 str., but the text for strophe 2, which begins on f. 179, is lacking. CALUORI n. 420; MURATA n. 159. Barb. lat. 4219, n. 29 is a version for SSB/B (A minor) to which Pasqualini added a bass vocal line on freehand staves, below the original continuo part; it also lacks text for str. 2. A solo setting attributed to “Luigi” Rossi is D-SW 4718a, pp. 95-97, Caluori n. 128. A second anonymous setting is F-Pn Rés. 2096, pp. 116-117 (S only). A third solo setting is I-GR Crypt. It. 5, n. [34] in G major.

38 (ff. 181v-185) [L. ROSSI]. A te, mio core, a te, non ti fidar d’un ciglio, SA/B, C minor. Attributed to Rossi in B-Bc 662, pp. 134-137 (the same sources of concordances as nn. 24, 27-29, and 33 above) and GB-Och 996, ff. 108bis-109; also in F-Pn Vm7 6, f. 19r-v; I-Bc Q.50, ff. 96v-98v; I-Fc D.2357, ff. 148-150. CALUORI n. 210. A modern edn is LANDSHOFF 1927, vol. 2, pp. 66-69. 39 (ff. 185-186v) [PASQUALINI]. Lo sai tu, chi ti costringe, SSB/B, C minor, an incomplete compositional draft in Pasqualini’s hand that ends “… si finge quel dolor.” The complete cantata is Barb. lat. 4204, n. 28, and Barb. lat. 4219, n. 15, both anonymous; they open with music that is here on f. 186. MURATA n. 135. Modern binding (215 × 280 mm) in half-parchment with a pink Vatican sticker on the spine and, on the lower spine, the arms of Pope Pius X and Cardinal Bibliotecario Alfonso Capecelatro (1890-1912) stamped in black. Single front and end guard sheets are modern. In gatherings of four bifolios, except for ff. 88-91 (all of n. 25) and ff. 165-170, of paper of uniform watermark of the praying cleric/saint in a shield, of the general type HEAWOOD 1352. The original foliation in ink skips the number 131; foliation is lacking for ff. 89-91. Elaborate initials begin several compositions. Several pages have been silked. The principal copyist (4200-A) is also the copyist of Barb. lat. 4163 and of portions of the Barberini scores of DAL MALE IL BENE (q.v.). The second hand (copyist B) is Pasqualini’s, in portions of n. 22 and 23, and for all of n. 39, the last item being an addition and a compositional fragment. On n. 26 he added his own monogram. On f. 1 a modern hand has written in pencil “Barb_lat_4200.” GHISLANZONI attributed the entire contents of this volume to Luigi Rossi (p. 218). CALUORI 1981 rejected all but the eleven attributions she could confirm; she gives musical incipits and concordances for all compositions, except for nn. 34 and 39. RICCIARDELLI incorrectly ascribed all items as holographs by Luigi Rossi (pp. 45-51).

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Barb. lat. 4201 1630-1660 ca., 207 × 265 mm, II.164 ff., 6-8 staves, two hands

Miscellany of forty-four items, among which are six fair copies of Italian cantatas and thirty-eight compositional sketches and drafts for Italian chamber arias and cantatas, two dramatic dialogues (nn. 38, 44), and one Latin motet (n. 37). All are in the hand of Marc’Antonio Pasqualini, except for a few locations within pieces. All are anonymous; however, four nonBarberini concordances provide attributions to Pasqualini (nn. 14, 20, and 35) and to Luigi Rossi (n. 30). Eight more are marked MAP in Barb. lat. 4223 (vol. dated 1658). Altogether, thirty items in Barb. lat. 4201 appear in other Pasqualini-Barberini volumes dated between 1638 and 1658. The sketches and compositional drafts have here been attributed to Pasqualini. All the contents, which represent forty-one works, are probably by him, except for possibly n. 30. Poets are not named, but they include Sebastiano Baldini (n. 26), a Mons. Bentivoglio (nn. 1, 29), an Abate Cesi (n. 25), Nicolao Foresta (n. 13), Giovanni Lotti for eight (nn. 2, 8, 10, 17, 21, 23, 28, 42), Marc’Antonio Meniconi (n. 7), Virginio Orsini (n. 32), Francesco Petrarca (nn. 27, 31), and [Carlo] Theodoli (n. 11). The scoring is S/B unless indicated otherwise. Six are SSB/B trios (nn. 29, 30, 32, 36, 37, 42, 44). Thirteen are of vocal lines alone. The dialogue n. 38 is scored SSST/B. 1 (ff. 1-3) [MARC’ANTONIO PASQUALINI]. Deh, non più mi ferite, occhi severi, C minor, compositional draft for the cantata Barb. lat. 4223, n. 38, which is marked MAP. Two freehand staves per page were drawn for the continuo part. Rubrics include “piano stra[ordinari]o.” An untexted sketch of the melody only is Barb. lat. 4204, n. 38. MURATA n. 66a. The text is attributed to “Monsignor Bentivogli” in the trio arrangement Barb. lat. 4222, n. 3, also marked MAP. 2 (ff. 3v-6) [PASQUALINI]. Streviglio: Non mi ci cogli più, Amor fa quanto sai, C minor; R-1-R-2-R. A compositional draft for the anonymous Barb. lat. 4220, n. 49, which attributes the text to [Giovanni] Lotti. MURATA n. 158a. An arrangment for SSB/B, marked MAP, is Barb. lat. 4222, n. 12, which also attributes the text to Lotti. The text is not the anonymous Non mi ci coglie più su l’incude di Vulcano in I-MOe Mus. F.1385 or the anonymous Non mi ci coglie più, infido Cupido in IMOe Mus. G.306. Barb. lat. 4201

3 (ff. 6v-7v) [PASQUALINI]. Cessate pensieri d’affligermi il core, S/(B), D minor, draft of the vocal line only, with signatures for the continuo part but no music. MURATA n. 31.

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Another setting by A.F. Tenaglia is I-MOe Mus. G.217, ff. 1-7v, with the subject title “Costanza in amore” (also in I-Nc ms. 33.4.7a, ff. 11-18).

4 (ff. 7v-8) [PASQUALINI]. Son esca d’ardore, son preda d’amore, S/(B), C minor, an incomplete draft of a vocal line, with signatures for the continuo part, but no music. It begins on f. 8 and continues on f. 7v. MURATA n. 225a. See also n. 23 below, which is not the same music. 5 (ff. 8v-12) [PASQUALINI]. Io ben mi veggio, ahi lasso, C minor, compositional draft for the anonymous cantata Barb. lat. 4220, nn. 47 and 48. Among the three arias, only the closing Ma che pensi, o cor trafitto is so marked (f. 11v) and lacks much of its continuo part. MURATA n. 118. 6 (ff. 12v-13) [PASQUALINI]. Costanza pensieri, non ritorcete, S/(B), D minor, a draft of the vocal line only, with signatures for the continuo part but no music. MURATA n. 57. Another partial sketch is Barb. lat. 4204, n. 37 (MURATA n. 56). 7 (ff. 15v-16; ff. 16-18) [PASQUALINI]. Poesia del s[ig]. cav.ro [Marc’Antonio] Meniconi. Non mi mirate più, no, no, no, no, donne che sol godete, S only and S/B, A minor. A sketch of the vocal line only is followed by a compositional draft of two strophes in variation, with basso continuo. The final version is Barb. lat. 4221, n. 13 (q.v.). MURATA n. 161. 8 (ff. 18v-19) [PASQUALINI]. Soffrite e tacete, arditi pensieri, D minor; 2 str., text only for str. 2. Draft for Barb. lat. 4220, n. 36, where the text is attributed to Giovanni Lotti (q.v. for further concordances). The basso continuo line was written by a second hand (B. Terenzi?), onto the ruled and freehand staves drawn by Pasqualini. MURATA n. 222a. An arrangement for SB/B is Barb. lat. 4222, n. 33 (q.v. for ensemble settings by other composers). 9 (ff. 20v-22) [PASQUALINI]. Chi sa le mie pene non pianga se può, C minor, aria. Also in Barb. lat. 4221, n. 40 and I-IBborromeo Misc. 6 and 8. MURATA n. 48a. An arrangement for SB/B is Barb. lat. 4222, nn. 13 and 25 (both duets are marked MAP). A different anonymous setting for bass solo is I-MOe Mus. G.307, ff. 45-33, with the subject title “Querele d’un amante in morte della sua donna.”

10 (ff. 25v-26, f. 26v) [PASQUALINI]. Poesia del sig. [Giovanni] Lotti. In corrente. La reggia d’Amore è piena d’avvinti, D minor, aria; a composi6 tional draft in 8 meter for Barb. lat. 4220 (vol. dated 1654), n. 37. On f. 26v the first eight tones of the melody are sketched without text in C minor 6 and in 4 meter, followed by a different, incomplete continuation. MURATA n. 126.

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11 (ff. 27-28v) [PASQUALINI]. Sì, ch’io voglio morire, ne sia chi mi conforte, A minor, cantata; compositional draft for Barb. lat. 4223, n. 12. Stratiatemi, uccidetemi tormenti is marked “aria.” The fair copy in Barb. lat. 4223 is marked MAP and attributes the text to Marchese [Carlo] Theodoli. An anonymous copy is I-Rn ms. 141 (olim 71.9.A.33), ff. 216-219. MURATA n. 212. 12 (ff. 29-30) [PASQUALINI]. Streviglio: Io non voglio stelle ingrate, E minor. A draft, in Pasqualini’s compositional hand, with alternating freehand continuo staves, for Barb. lat. 4221 (vol. dated 1638), nn. 10 and 58. MURATA n. 121a. An arrangement for SB/B is Barb. lat. 4222, n. 37, marked MAP. 13 (ff. 30v-33v) [PASQUALINI]. Chi mi toglie la libertà, E minor, a compositional draft for the cantata Barb. lat. 4223, n. 25, which is marked MAP and attributes the text to Nicolao Foresta. Marked “arietta” is Lontananza è un tal dolore. A partial copy is Barb. lat. 4221, n. 9 (edited in HOLZER, pp. 682-685). MURATA n. 46. 14 (ff. 34-37) [PASQUALINI]. Compatitemi perché lo merito, A minor, a compositional draft for the cantata Barb. lat. 4223, n. 32, which is marked MAP. Marked “arietta” (f. 38v) is Ch’in amore non trovò sorte (B minor), followed by a “recitato” of the opening poetic line. The music is attributed to Pasqualini in both F-Pn Rés. Vmf 20, ff. 93-99v and I-Nc ms. 33.4.17b (Cantate ibride 8), ff. 115-120v. MURATA n. 53. 15 (ff. 37v-39) [PASQUALINI]. Streviglio. Quando meco tornerai, libertà da me sparita, A minor. A compositional draft for Barb. lat. 4221, n. 53. MURATA n. 190. CALUORI, n. 152 gives the incipit of another setting by Luigi Rossi in I-Rn Mus. 141.

16 (ff. 39v-41v) [PASQUALINI]. Sì, ch’io voglio sperare, parlo a voi fantasme fiere, A minor, a compositional draft for Barb. lat. 4223, n. 20, which is marked MAP. See 4223, n. 20 for two anonymous concordances and two ensemble arrangements, both also marked MAP. MURATA n. 213a. 17 (ff. 42-43) [PASQUALINI]. Dove miri, pensiero? Ferma, troppo alto è del tuo strale il segno, A minor, aria. A compositional draft for Barb. lat. 4220, n. 35, where the text is attributed to G. Lotti. MURATA n. 74. A different setting of this text (with 2 further strophes) is Barb. lat. 4175, n. 8 (CALUORI n. 321).

18 (ff. [47]v-48) [PASQUALINI]. Ho da cader un dì cadavero spirante alli tuoi piè, S/(B), C major. A clean draft of the soprano line; the continuo part

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written below alternate vocal staves has signatures but no music. See nn. 19 and 22 below. MURATA n. 105. 19 (f. 48v) [PASQUALINI]. [Ho da cader un dì cadavero spirante alli tuoi piè], C minor, B/B, an untexted fragment reworking of the opening of n. 18 above for bass; the continuo staff has signatures but no pitches. See also n. 22 below. MURATA n. 105. 20 (f. 48v; f. 13) [PASQUALINI]. Che ci trovi in quegl’ occhi, perduto cor, SB/(B), E minor. Sketch of seven measures of the vocal lines, with a continuation and new version on f. 13. A finished version is Barb. lat. 4219 (vol. dated 1656), n. 33. MURATA n. 34b. A solo setting of the text is Barb. lat. 4221, n. 23 and I-Bc Q.47, ff. 236r-v, the latter with an attribution to Pasqualini. 21 (ff. 49-51v) [PASQUALINI]. Ricordati vita che m’hai lasciato anciso, D minor, a compositional draft for the cantata Barb. lat. 4220, n. 40, where the text is attributed to G. Lotti. Marked “aria” are Lontananza m’ha ferita (C major), Viddi il sol non per bearmi (G minor), and Un tesoro che fuggì (D minor). MURATA n. 201. 22 (ff. 52r-v) [PASQUALINI]. Ho da cader un dì cadavero spirante, B/B (A minor/C major). An incomplete setting of six poetic lines and only 7 mm. for the continuo; see nn. 18-19 above. MURATA n. 105. 23 (ff. 53v-55) [PASQUALINI]. Son esca d’ardore, C minor, 2 strophes. The continuo line for str. 2 has signatures but no music. This is a different setting from n. 4 above. The final version is Barb. lat. 4221, n. 60, which attributes the text to Giovanni Lotti. MURATA n. 225a. An arrangement of n. 23 for SB/B is Barb. lat. 4222, n. 34, marked MAP, which also attributes the text to Lotti. 24 (ff. 55v-56) [PASQUALINI]. Le mie cose vanno male, né si trova più rimedio, S only, D minor. Draft of a refrain and first stanza only of a vocal line, with blank staves for alternating vocal staves. MURATA n. 133. A different setting by Venantio Leopardi is I-Bc Q.47, ff. 238-39v; I-Rc 2475, ff. 77-80v, and I-MOe Mus. F.1382, ff. 51-53v.

25 (ff. 56v-63v) [PASQUALINI]. Sì, [sì], ch’io voglio languire, così caro è quel tormento, A minor, cantata. Marked “aria” is Cieco dio, dunque in me sola (E minor). Attributed to “MAP” in Barb. lat. 4223, n. 21. An arrangement for SSB/B is Barb. lat. 4222, n. 6, also marked MAP, which attributes the text to an Abbate Cesi. MURATA n. 218a. 26 (ff. 63v-65v) [PASQUALINI?]. Eh dove? Ah fier tiranno, dove rivolgi il

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piè?, S only, E minor. Draft of the vocal line only to a cantata. Ariette include Destino crudele, lontano ti guida and the closing Odi almeno i voti miei. The text, which addresses “O gran monarca ibero, o crudo re de Galli,” partially corresponds to the recitativo with the same incipit by Sebatiano Baldini in MORELLI-G 2000, n. 158 and CARBONI 10, n. 509: BAV Chigi L.VII.240, ff. 70-71, “Bellissima dama si duole della lontananza del suo marito impiegato nelle guerre di Milano. Recitativo per musica.” The revised text is also in BAV Chigi R.III.69, ff. 594-595. MURATA n. 83. 27 (f. 66; ff. 66v-68) [PASQUALINI]. Solo e pensoso i più deserti campi, B/B. Two poetic lines are set in A minor, then transposed to G minor, setting the entire first quatrain (f. 66). The entire sonnet by Petrarch was then set with emendations as four parts in variation in D minor. See also n. 31 below. Pasqualini added freehand staves to the six pre-ruled staves as necessary. MURATA n. 223. 28 (ff. 79v-86v) [PASQUALINI]. Colpe mie venite a piangere, SS/B, C minor, a copy with corrections, cancellations, a few additions. This duet is related to but is not the same as the SST/B setting in Barb. lat. 4219, n. 5 (q.v.). The text is published in G. LOTTI, 1688, pt. 1, pp. 125-126. MURATA n. 52a. A different, anonymous setting for S/B is I-Rc 2486, ff. 96-101v (F minor).

29 (ff. 89-92v) Quanto poco durate, o contenti in amore, SSB/B, A minor, 2 str. of which the second is incomplete, breaking off after ten bars. Also in Barb. lat. 4219, n. 22, where the text is attributed to “Mons. Bentivoglio.” A modern transcription is F-Vcm LIO 313 (doubtfully attributed to Luigi Rossi). MURATA n. 194. A different setting by Paolo Lorenzani is in GB-Lbl Harley 1863, ff. 59v-63.

30 (ff. 95v-100) [LUIGI ROSSI?]. Poesia del S. Lotti. Lasciate ch’io peni. SSB/B, D minor, 2 str. The music of str. 2 was copied by a second hand (B); its text underlay is by Pasqualini. The music is attributed to Rossi in BAV Chigi Q.IV.16, ff. 203-210, which is a ms. probably after 1658. Also anonymous in Barb. lat. 4219, n. 11. A contrafactum of the trio is Barb. lat. 4219, n. 2; Barb. lat. 4219, n. 10 is an arrangement of it for four voices and continuo. The contrafactum became part of an oratorio-cantata; see comments for Barb. lat. 4219. Considering the trio as a component of a larger work, CALUORI 1981 does not include it in her index (vol. 2, p. 135). 31 (f. 100v; ff. 101-103) [PASQUALINI]. Sonetto: Solo e pensoso i più deserti campi, S/B, A minor. The first quatrain is sketched on f. 100v, and is related to n. 27 above; it is followed by a draft of the complete sonnet. A fair copy of Petrarch’s sonnet in this setting is Barb. lat. 4223, n. 15, which is marked MAP. MURATA n. 223.

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32 (ff. 103v-108) [PASQUALINI]. Che brami hora più, devoto mio cor?, SSB/B, C minor, a copy with revisions and additions that continues from f. 104v as a compositional draft for Barb. lat. 4219, n. 7; lacks most of the second strophe of the closing trio. Barb. lat. 4219 attributes the text to Cardinal [Virginio] Orsini and has erased an attribution of Pasqualini’s full name and the monogram that was written over it. A modern transcription, doubtfully attributed to Luigi Rossi, is F-Vcm LIO 170. MURATA n. 33. 33 (ff. 110v-111) [PASQUALINI]. Io de’ vostri rigori, occhi bruni mi dolgo, C minor, aria. Also in Barb. lat. 4223, n. 19, which is marked MAP. MURATA n. 120. 34 (f. 113v) [PASQUALINI]. Lascio il core e senza te, S only, D minor, 12bar abandoned draft of a vocal line. MURATA n. 128. 35 (ff. 114-116) [PASQUALINI]. Lascio il core, e senza te, E minor. Different from n. 34 above, a compositional draft, lacking a continuo line for the second strophe from bar 5. MURATA n. 129a. See the concordance Barb. lat. 4221, n. 49 for the attribution to Pasqualini in I-Rn ms. 141, an arrangement for SB/B by him, and for another setting of the text not related to Pasqualini’s. 36 (f. 116v; ff. 117-123v) [PASQUALINI]. A 3. Vuoi ch’io peni in sempiterno, SSB/B, F minor. A partial sketch of the two soprano lines is crossed out on f. 116v. Two strophes are then drafted and revised of the cantata Barb. lat. 4219, n. 12. MURATA n. 247. 37 (ff. 123v-127v) [PASQUALINI]. [Salve regina] mater misericordie [sic], SSB/B, A minor, a compositional draft for an antiphon-motet, of which some folios appear to be from a fair copy. The continuo part is lacking on f. 126r-v and for the first bar of f. 127. A modern transcription from this unique source is F-Vcm LIO 70 (made by Jean Lionnet and Isabelle Coulmeau, who attribute it to Luigi Rossi). MURATA, Thematic catalogue, 2016, Appendix 1, A.4. 38 (ff. 129v-140v) [PASQUALINI]. Giove, ten[ore]: Cittadini celesti, e qual vi muove sdegno malconsigliato, compositional draft for a dialogue or intermedio for Giove (T), Venere (S), Giunone (S), and Ninfa (S) about the rivalry between Turnus and Aeneas in Latium. Two ariette are Di Constanza, o pio guerriero (Venere) and Bella dea ch’in Cipro hai regno (Ninfa). Desinet “Torni più lieto a trar carole il piede” (A minor). The part for Giove is written in soprano clef but marked “Ten.” on f. 129v and “in tenore” on ff. 134v and 136. MURATA n. 51. 39 (ff. 141-143) [PASQUALINI]. Streviglio: La vince chi dura, mio cor se

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resisti, E minor. A compositional draft for Barb. lat. 4221, nn. 14 and 59. At the head Pasqualini wrote instructions to substitute the second version of the refrain for the opening one: “In luogo di questa stanza scriverete dove è la croce [on f. 142] e poi tornate a seguitare.” Within the first strophe, Desio sì nobile non manchi in te is marked “aria” (f. 141v). MURATA n. 131a. An arrangement for SB/B is Barb. lat. 4222, n. 39, marked MAP. See Barb. lat. 4221, n. 14 for further information. 40 (ff. 143v-145v) [PASQUALINI]. Sostenete, o miei pensieri, la credenza de desiri/ ciò che piace a miei desiri, S only, C minor, a compositional draft for of Barb. lat. 4221, n. 27, which uses the substitute second line “ciò che piace …” Other text substitutions occur. The closing aria O Filindo is unfinished. MURATA n. 228. 41 ff. 148v-149) [PASQUALINI]. Senti Lidio, o Filli, o Clori, S only; a partial and incomplete sketch for an aria (in C major) and four bars of recitative, with blank staves for a continuo part. MURATA n. 206. 42 (ff. 149v-150) [PASQUALINI]. S’avvien ch’io ripensi al ben che ricevo, SSB/B, A minor, an incomplete compositional draft which lacks music for the vocal bass and some of the continuo. The last 3 mm. on f. 149v have been cancelled and replaced by a continuation that is in a different ink. The text is published in LOTTI, Poesie, pt. 1: 47-49. MURATA n. 203. 43 (ff. 151v-155) [PASQUALINI]. Sospiri, che fate? Dal centro del core, S only, with cleffed blank staves for the continuo line, F minor; a composing draft for Barb. lat. 4223, n. 18, which is marked MAP. Desinet “che d’amor fatta già fu” (also lacks indication for the return of the refrain “Begl’occhi su, su” at the end). MURATA n. 226a. An arrangement for SB/B is Barb. lat. 4222, n. 11, also marked MAP. 44 (ff. 155v-164v) [PASQUALINI]. Già spunta il dì e pur l’Aurora, SSB/B, C major. This compositional draft is incomplete and continues on Barb. lat. 4231, n. 24. Desinet “e da ridere e da ride- .” The basso continuo line is lacking from f. 156v to f. 159 and on ff. 160 and the end of f. 164. The cantata or intermedio centers around rabbit-hunting with a dog pack; many of the presumably Barberini dogs are named (e.g., Orlando, Fracasso, Tigri, Drago, etc.) MURATA n. 102. The original binding is lacking. The first front guard leaf bears a pink BAV sticker and is detached. Gilt edges. Watermarks are all varieties of the cleric/saint in a shield (of the general type HEAWOOD 1352). The gathering structure is irregular. One leaf between ff. 6 and 7 has been excised, leaving a stub; three were excised between ff. 26 and 27, leaving stubs. Some

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compositions comprise independent fascicles (nn. 1, 9, 10, 11, 28, 29, 30, 33, 34-35, 38); of these, six are fair copies. Modern foliation in pencil begins with n. 18 on f. [44] but omits numbers 44-47 in the numbering. Folios 1-88v have 6 staves per page, often with two staves added freehand by Pasqualini; folios 89-162v have 8 staves. Folios 163-164 have only freehand staves and might have been two of four original flyleaves (one original flyleaf is now Barb. lat. 4231, f. 145.) Blank folios are [I-II]; blank staves only are on ff. 14, 20, 23-24, 44-46, 69-78, 87, 109, 112, 128, 146-148. The copyist is Marc’Antonio Pasqualini; a second, professional hand (Bernardino Terenzi?) appears in a few places, e.g., the basso continuo line of n. 8 and the music of the second strophe of n. 30. ROSE 1974 suggested that the copyist is Luigi Rossi, but the hand does not resemble Rossi’s. Nine compositions appear in Barb. lat. 4221 (volume dated 1638), six in Barb. lat. 4220 (volume dated1654), five in Barb. lat. 4219 (volume dated 1656), and ten in Barb. lat. 4223 (volume dated 1658). Concordances are not known for 19 items, but some of these are sketches that Pasqualini appears to have abandoned. The Monsignore Bentivoglio is likely the prelate Annibale Bentivoglio, who wrote in praise of the singer Leonora Baroni in a 1639 print; see G. MAZZUCHELLI, Gli scrittori d’Italia, vol. 2, pt. 2, Brescia 1760, p. 867.

Barb. lat. 4202 1691-1692 ca., 200 × 265 mm, I.146.I ff., 8 staves, one hand

Anthology of nine cantatas, the approximate dates of which are based on copyists’ bills, cited below for nn. 1-4 and 6-9. Composers are named only for nn. 2-4, but others have been attributed on the basis of concordances: Francesco Gasparini (nn. 4 and 9), Giovanni Lulier (nn. 2-3 and 6), and Alessandro Scarlatti (n. 1). Three remain anonymous (nn. 5, 7-8). The setting is for S/B or S/TrTrB (n. 9 only). The volume is described in scheda n. 1521 in the CLORI database (www.cantataitaliana.it), with poetic transcriptions. Online in DVL. Barb. lat. 4201-4202 1 (ff. 1-12v) [ALESSANDRO SCARLATTI]. [L]à nel bel sen della regal sirena, F major. Arias are Lungi dunque dalla vita (2 strophes), Non ha tante stelle in ciel luminoso, and Crudele possanza di ria lontananza. CLORI n. 1522. HANLEY n. 362 lists two concordances: B-Br II.3950 (Fétis 2427), ff. 29-33v, and I-Bc DD.50, ff. 1-10, with an attribution to “Aless.o Scarlatti.” “Scarlatti Cantates” is on the spine of the B-Br volume. A copy of the cantata

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was made for Cardinal Pietro Ottoboni in March 1692 (MARX-Ottb, p. 130, n. 33b). Barb. lat. 4202 2 (ff. 13-26v) GIO. [LULIER] DEL VIOLONE. Tomiri vendicata. [L]a scitica regnante, vedova del suo figlio, F major. Three arias are Quella morte sì bramata; Dell’Egitto la donna real; and O mio core a lusingarti. CLORI n. 1523. Also “D. S. G. D. V.e” (“Del Signor Giovanni del Violone”) in I-Rli Fondo Caetani 208.A.4, ff. 61-78v (CAR-GIAL-ZI, n. 66; facsim. in CLORI n. 1087, which names Tarquinio Lanciani its copyist). PELLICCIA n. 24. Tarquinio Lanciani copied this cantata for Cardinal Pietro Ottoboni in June 1691 (MARX-Ottb, p. 127, n. 20c). Another copy was made for Ottoboni in March 1692 (MARX-Ottb, p. 130, n. 33b). 3 (ff. 27-35v) GIO. [LULIER] DEL VIOLONE. [C]on ingiuste querele, bella tu mi condanni, G minor. Two arias are Non è fabro d’inganni e di frodi and Tu nel ciel del tuo bel viso. CLORI n. 1524. Barb. lat. 4202, nn. 3 and 6 are both in GB-Cfm Mu. Ms. 128 (olim 32.E.10), ff. 66-74v and 76-83v; see comments below. The binder’s title of the Fitzwilliam volume is “Cant. Lulier.” PELLICCIA n. 4. Tarquinio Lanciani copied a cantata with this incipit for Cardinal Pietro Ottoboni in June 1691 (MARX-Ottb, p. 127, n. 20c). Two copies were made for Ottoboni in March 1692 (MARX-Ottb, p. 130, n. 33b). 4 (ff. 37-55) FRAN.CO GASPERINI. [D]oppo haver pianto e sospirato invano, B minor. Five arias are Ad un’alma innamorata; Veder non ti voglio; Che lusinga è mai d’un cor; Se fra i numi non v’è la pietà; and Furie torbide, imagini pallide. Facsimile edn and poetic text in ITALCANTAT 7, pp. 17-35 and 255-256. CLORI n. 1525. With the subject title “Amante disperato,” the text only appears in BAV Vat. lat. 10204, “Cantate per musica a voce sola di Fran[cesc]o Maria Paglia,” ff. 2-3v. A cantata with this text incipit was copied for Cardinal Pietro Ottoboni (by Flavio Lanciani) in November 1691 (MARX-Ottb, p. 128, n. 24); another copy was made for Ottoboni in March 1692 (MARX-Ottb, p. 130, n. 33b). 5 (ff. 57-72v) [P]overa libertà, chi t’involò, A minor. Arias are Misero petto, che sei ricetto (2 str.); Risolviti crudel, se m’hai rubbato l’alma (E minor, 2 str.); and Chi ti segua, o nume alato (2 str.). CLORI n. 1528. Also anonymous in I-Rli Fondo Caetani 208.A.8, ff. 127-42v (CAR-GIA-ZI, n. 69). See also H. J. Marx and K. Watanabe, Händels italienische Kopisten, in Göttinger Händel-Beiträge 3 (1989), pp. 189-234. 6 (ff. 73-86) [LULIER]. Speranze, lasciatemi languir nel dolor, str. 2: Speranze partitevi ch’io voglio morir, G minor. The second “Aria andante” is Sì, sì, tu m’hai ingannato. The closing aria, marked “Largo,” is Tu solo

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errasti incauto core. CLORI n. 1529. Also in GB-Cfm Mu.Ms. 128 (32.E.10), ff. 76-83, in a volume with the binder’s title “Lulier”; see comments below. PELLICCIA n. 21. Tarquinio Lanciani copied a cantata with this incipit for Cardinal Pietro Ottoboni in June 1691 (MARX-Ottb, p. 127, n. 20c); another copy was made for Ottoboni in March 1692 (MARX-Ottb, p. 130, n. 33b). 7 (ff. 87-101v) [M]i tenti Amor invano, già so che l’idol mio, G minor. Arias are Perde il merito al soffrire; Voi begl’occhi chi mi ferite (2 str.); and Resista chi teme trovar fedeltà (2 str.). CLORI n. 1530. Copies of this cantata were made for Cardinal Pietro Ottoboni in November 1691 and again for him in March 1692 (MARX-Ottb, p. 128, n. 24, by Flavio Lanciani, and p. 130, n. 33b); and for Cardinal Benedetto Pamphili in November 1704 (MARX-Pamph, p. 168, n. 116, copied by Giovanni Pertica). 8 (ff. 103-119v) [I]mportuno sospir, tornami al core, G minor. Arias are Con lo sguardo il suo dardo (2 str.), Sei destinato povero core a soffrire, and Mai il pensiero ancor s’avanza (2 str.). CLORI n. 1531. Flavio Lanciani copied this cantata for Cardinal Pietro Ottoboni before 22 November 1691 and made another copy in March 1692 (MARX-Ottb, p. 128, n. 24, and p. 130, n. 33b). 9 (ff. 121-146) [GASPARINI]. Quanto sei penosa, o quanto al mio core, o lontananza, S/TrTrB, E major. Two further arias are Voi del Tebro onde correnti (2 str.) and Vola, vola, o mio pensiero (2 str.). CLORI n. 1532. Attributed to Gasparini in D-MÜs 862, ff. 25-39. Copyist Giovanni Pertica made a copy of this “cantata con violini del sig.r Franc.o Gasperini” for either Cardinal Pamphili or Cardinal Ottoboni in October 1689 (MARX-Pamph, p. 159, n. 69). A modern edn based on the Santini source is Francesco Gasparini, Cantatas with Violins. Part 1: Soprano Cantatas, ed. L. Navach, Middleton, WI, 2010 (Recent Researches in the Music of the Baroque Era, 162). Bound in parchment (208 × 270 mm). Four sets of holes on the front and back covers remain for ties that are missing on each edge. Edges speckled red and blue. Cords divide the spine into six panels. A pink BAV sticker is in panel one; the number 73 is written in black ink in panel 3, by the same hand that wrote the previous shelfmark XLVII.73 in black ink inside the front cover, where there is another BAV sticker. The gatherings of two bifolios were numbered by the music copyist. Leaves have been trimmed at the top. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 36, 56, 102 and 120. The predominant watermark, found on sixty-one folios between f. 2 and f. 145, is the fleur-de-lis within two concentric circles surmounted by the letter V, similar to HEAWOOD nn. 1591-192. The three hills surmounted by the letters A N within two

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concentric circles (ff. 47, 49, 53, 90, 95, 106 and 113) resemble HEAWOOD nn. 1620-1623. A stag within a single circle, found on ff. 30, 37 and 57, is similar to HEAWOOD n. 3850. The sole copyist is a Roman professional. CLORI n. 1521 names the hand as Antonio Giuseppe Angelini’s, q.v. for other exemplars of his hand. Spaces for large decorative initials are blank throughout. In March 1692 nine cantatas “di Giovannino [Lulier] e Fla[v]io [Lanciani] et altre diverse” were copied for Cardinal Pietro Ottoboni (MARXOttb, p. 130, n. 33b), seven of these titles occur in Barb. lat. 4202 (nn. 1-4 and 6-8). This helps to date the cantatas, but does not connect the payment record to Barb. lat. 4202. The volume in GB-Cfm, which has the arms of the papal singer Andrea Adami on its covers, is misbound. Folios 66-74v have the opening recitative and aria for Barb. lat. 4202, n. 3, followed by the second aria and closing ariosi for Barb. lat. 4202, n. 6. Folios 76-83v have the opening aria for Barb. lat. 4202, n. 6, followed by the second aria and closing ariosi for Barb. lat. 4202, n. 3. See Chiara PELLICCIA, Le cantate da camera di Giovanni Lorenzo Lulier: studio e catalogo tematico, in Miscellanea Ruspoli 2 (2012), pp. 21-143.

Barb. lat. 4203 1638-1660 ca., 200 × 272 mm, [III].174.[III] ff., 4 staves, 3 hands

Twenty-eight anonymous Italian vocal chamber works in copied in three sections, distinguished by three hands and probably copied at three different times. In the first two sections, nn. 1-2 and nn. 3-7, all compositions remain anonymous, except for n. 7, attributed elsewhere to Luigi Rossi. Section three is in the hand of Marc’Antonio Pasqualini beginning with n. 13; eighteen (nn. 8-9, 13-28) are marked with his monogram. No concordances are known for the nine anonymous works (nn. 1-6, 10-12). The Pasqualini section appears to have been begun as settings of the poetry of Cardinal Antonio Barberini junior (nn. 8-18 and 24, as well as n. 5), although in several instances attributions to him conflict with text attributions in concordant Barberini sources. In addition to Barberini, poets include Sebastiano Baldini (n. 25), Nicolao Foresta (n. 26) and Giovanni Lotti (nn. 19-20, 22, 27). All works are S/B except for n. 3, for alto and basso continuo, and nn. 9-12, for tenor and basso continuo. Online in DVL. 1 (ff. 1v-13) Dal aureo sol che porta un nuovo oriente, E minor, six stanzas of a sestina in variation. Barb. lat. 4202-4203

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2 (ff. 14-26) Deh, fuggite Amor tiranno, D major, eight parts (not in variation). Barb. lat. 4203 3 (ff. 27-36v) Alma mia, troppo alto aspiri, A/B, G major, eight parts (not in variation). 4 (ff. 37-43) Vanne pur, libertà, da chi ti chiama, B! major, three parts (not in variation). 5 (ff. 43v-48v) Che più dar posso, Amor, che prender puoi?, A minor, a refrain form. Barb. lat. 4221, n. 66, a different setting by Marc’Antonio Pasqualini, attributes this text to “A. B.”

6 (ff. 49-50v) Mirai Filli e rimirato fui da lei, D minor, 5 strophes. 7 (ff. 51-64v) [LUIGI ROSSI]. Su, su, su mio core, la guerra, la guerra, A minor, in six parts. Attributed to Rossi in I-Rn Mus. 141, ff. 99-102v. CALUORI n. 190 gives the musical incipit. 8 (ff. 65-69v) [MARC’ANTONIO PASQUALINI]. MAP. Poesia dell’Em.o Card. Ant.o. [Barberini]. Sonetto. E al Padre e al’ spirto uguale, A minor. Also anonymous in Barb. lat. 4220, n. 2, where the text is attributed to “A. B.” Mod. edn of the poem in M. LUISI, p. 306. MURATA n. 15, as Al Padre e l’ Spirto uguale. 9 (ff. 70-73) [PASQUALINI]. MAP. Poesia dell’Em.o Card.le Ant.o [Barberini, jr]. Fallace guida al mio lungo fallire, T/B, E minor, in three [parti]. Modern edn of the poem in M. LUISI, p. 307, which notes the MAP monogram on f. 71, where part 2 begins. MURATA n. 92. 10 (ff. 74-78) Poesia del’Em.o Card.le Ant.o Barb.o. A piè del sanguinoso tronco da cui pendea, T/B, D minor. Twelve numbered quatrains are through-composed. Mod. edn of the poem in M. LUISI, pp. 307-308. Recorded on the CD Mortale, che pensi?, Reliquie di Roma, vol. 3; ensemble Atalante, dir. Erin Headley; Destino Classics (2014). 11 (ff. 78v-83) Poesia dell’Em.o Card.le Ant.o [Barberini, jr]. Croce, altar sacrosanto ove il suo sangue Iddio, T/B, D minor. Twelve numbered quatrains are through-composed. Modern edn of the poem in M. LUISI, pp. 308-309. 12 (ff. 83v-86v) Poesia dell’Em.o Card.e Ant.o [Barberini, jr]. Opra, Dio mio, l’onnipotente mano, T/B, D minor, sonnet setting in 4 [parti]. Modern edn of the poem in M. LUISI, p. 310. 13 (ff. 87-92v) [PASQUALINI]. MAP. Poesia del Em.o Card.le Ant. Un pec-

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cator a piedi d’un crocifisso. Reo d’impuniti eccessi, E minor, 3 str. Desinet “E s’io torno a peccar, mari annegatemi.” A facsimile of f. 87r-v is in ROSE 1974, plates III-IV. The text is attributed to Giovanni Lotti in Barb. lat. 4220, n. 1; see also Barb. lat. 4205, n. 24, a compositional draft in Pasqualini’s hand. Modern edn of the poem in M. LUISI, p. 310-311. MURATA n. 200. Cf. Reo d’infiniti eccessi in I-Rv ms. P.5, Aggiunta al Teatro spirituale (1679), n. XI, “Un peccator che dimanda perdono,” listed in MORELLI-A 1986, p. 92. 14 (ff. 93-96) [PASQUALINI]. MAP. Poesia del mede.mo [Antonio Barberini, jr]. Corre il mondo dietro un nulla, F minor, cantata. The only other aria is Turbini gravidi di spirti rei. Rubrics include “rec[itativ]o,” “ondeggiante,” “presto” and “adagio.” Modern edn of the poem (as by Antonio Barberini) in M. LUISI, pp. 311-312. The text is attributed to Giovanni Lotti in Barb. lat. 4220, n. 3; see also Barb. lat. 4205, n. 19. MURATA n. 54. 15 (ff. 96v-97) [PASQUALINI]. MAP. Poesia di S.Em.za [Antonio Barberini, jr]. MADRIGALE SOPRA LA NASCITA DEL BAMBINO GIESÙ. Perché dolce Bambino da’ sacrosanti lumi, D minor. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 38; see also Barb. lat. 4220, n. 4. Modern edn of the poem in M. LUISI, p. 312-313. MURATA n. 177. Recorded on the CD Lamentarium, Reliquie di Roma I, Nadine Balbeasi, sop. with the ensemble Atalante; Nimbus Alliance NI 6152 (2011). 16 (ff. 97v-104v) [PASQUALINI]. MAP. Poesia di S. Em.za [Antonio Barberini, jr]. Bellezza nel mio cor da luogo a Dio, A minor, cantata. Arias are Questo amante ha pietà (E minor) and Tu mio Dio fai pentirmi (marked “aria”). Pasqualini is named as composer in I-Rdp 51, pp. 64-69; and I-Nc 33.4.19b (Cantate ibride 15), ff. 21-32v. Modern edn of the poem (as by Antonio Barberini) in M. LUISI, p. 313-314. The text is attributed to Padre Luigi Ficeni in the anonymous concordance Barb. lat. 4220, n. 5. MURATA n. 26. 17 (ff. 105-113) [PASQUALINI]. MAP. Poesia di S. Em.a [Antonio Barberini, jr]. Dove vai, pensier volante, A minor, cantata. The only other aria is È possibile ch’anima forte, which is marked “più presto.” The music is attributed to Marc’Antonio Sportonio in GB-Och 946, ff. 25-31v (probably an error for Pasqualini). The text is attributed to Giovanni Lotti in the concordance Barb. lat. 4220, n. 57, and for the duet version Barb. lat. 4222, n. 15. The text is published in LOTTI 1688, pt. 3, pp. 141-142 with the subject title “Rimedio per liberarsi dall’Amor terreno” and several word differences. Modern edn of the poem (as by Antonio Barberini) in M. LUISI, pp. 314316. MURATA n. 77a.

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18 (ff. 113v-118) [PASQUALINI]. MAP. Poesia di S. Em.za [Antonio Barberini, jr]. Sempre si piangerà, basta che ’l guardo miri, C major, cantata. Other arias are Quando l’ali ei scuote a volare (A minor) and in closing, A giratevi pur d’appresso. The text is attributed to Giovanni Lotti in the concordance Barb. lat. 4220, n. 56 and also in the duet version Barb. lat. 4222, n. 16. Modern edn of the poem (as by Antonio Barberini) in M. LUISI, pp. 316-318. MURATA n. 204a. 19 (ff. 119-123) [PASQUALINI]. MAP. Dov’è la Morte e Pluto, A minor, cantata. A recitative followed by the aria is Alma va, non tardar più. Attributed to Pasqualini in I-Nc 33.4.12a (Cantate ibride 9), ff. 56-62 and 33.4.7a, ff. 44-49v. The text is attributed to Giovanni Lotti in Barb. lat. 4220, n. 23; see also Barb. lat. 4204, n. 50, a compositional draft in Pasqualini’s hand. MURATA n. 73. 20 (ff. 123v-125) [PASQUALINI]. MAP. Tienti che cadi Amore, C major. An internal aria is Ad un sì del mio consenso (C major). The text is attributed to Giovanni Lotti in Barb. lat. 4220, n. 22; a compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 51. MURATA n. 234. 21 (ff. 125v-127) [PASQUALINI]. MAP. Streviglio. Mi vogliono morto due lumi guerrieri, B! major; R-1-R. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 48; see also Barb. lat. 4220, n. 24 (anon.). MURATA n. 148. RICCIARDELLI, p. 53 notes that the vocal line resembles the aria Si tocchi tamburo from the Barberini opera Il palazzo incantato (Rome, 1642, music by Luigi Rossi). 22 (ff. 127v-131v) [PASQUALINI]. MAP. Fate ch’io speri, che v’amerò, A minor, cantata. A second and closing aria is Ahi che dissi dolente. The text is attributed to Giovanni Lotti in the anonymous concordance Barb. lat. 4220, n. 39. MURATA n. 92. 23 (ff. 132-138) [PASQUALINI]. MAP. Pietosi allontanatevi, disperati seguitemi, C minor, 4 str. in variation with a refrain. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 52. Also marked “MAP” in Barb. lat. 4223, n. 13, q.v. for other settings and a modern edition. MURATA n. 182a. A trio version is Barb. lat. 4222, n. 10, which is also marked MAP. 24 (ff. 138v-145) [PASQUALINI]. MAP. Di S. Em.a [Antonio Barberini, jr]. Bench’io sia senza speranza, C minor, 3 str. in variation. Rubrics include “più presto” and “adagio” within the strophe. Also marked “MAP” in Barb. lat. 4223, n. 26, which attributes the text to “S[ine] N[omine] A. B.” Modern edn of the poem in M. LUISI, pp. 318-319. MURATA n. 29. 25 (ff. 145v-155) [PASQUALINI]. MAP. Un infelice core amò, servì, penò, B

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minor, cantata. Arias are È cieco Cupido (A minor) and the closing Io lo so ch’ il duol sopporto. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 61. The concordance Barb. lat. 4223, n. 28 (q.v.) attributes the text to Sebastiano Baldini; see also ivi, n. 35, which is marked MAP. MURATA n. 239. For a different setting of this text by Carissimi, see WECIS 5 and SARTORI 1975, p. 65.

26 (ff. 156v-166v) [PASQUALINI]. MAP. Era la notte e Cintia non havea, A minor, cantata. The closing aria is Cari lumi che tenete (A minor, from f. 163v). Revisions in Pasqualini’s hand for this cantata are present in the draft Barb. lat. 4205, n. 36. The concordant copy Barb. lat. 4223, n. 30, which is also marked MAP, attributes the text to Nicolo Foresta. MURATA n. 89. A sketch of a different melody for the aria only is Barb. lat. 4204, n. 62 (MURATA n. 30).

27 (ff. 167-171v) [PASQUALINI]. MAP. Occhi lingue d’Amore non mi chiedete più, G minor, cantata. The closing aria is Nel centro del’alma sen stiano i sospiri. Anonymous in Barb. lat. 4220, n. 25, which attributes the text to Giovanni Lotti, and in Barb. lat. 4175, n. 30; both are also in Pasqualini’s hand. MURATA no. 169. 28 (ff. 171v-174) [PASQUALINI]. MAP. P[rim]a: Che mora il mio core, G minor, in three parts, with only parts 1 and 2 strophic in verse and music. Also marked “MAP” in Barb. lat. 4223, n. 6. Anonymous in Barb. lat. 4205, n. 28. MURATA no. 37a. Duet and trio versions are Barb. lat. 4222, nn. 27 and 4 respectively. Bound in red leather (205 × 265 mm) extensively tooled with “fanfare” and floral motifs in gold on front and back covers and spine. In the center of both covers are the arms of Cardinal Antonio Barberini, jr (elev. 1627 in pectore), or, less likely, of his nephew Carlo Barberini (elev. 1654). The ends of the Maltese cross appear on each of the four sides of the shield and the whole Maltese cross hangs from its bottom. The spine has a single pink Vatican sticker. Gilt edges. Front and back pastedowns are of marbled paper; inside the front cover a modern hand has written the previous shelfmark XLVII.74 in black ink. Front and back flyleaves are blank. Section 1 (ff. 1-26) has irregular, independent gatherings, paper of the same watermark (the letter F in a shield, comparable to Heawood 2616, dated Rome 1638 and also the main paper in Barb. lat. 4175). It has a uniformly extremely fine hand (A), with pen and ink historiated initials at the head of each strophe or principal section of music; the first is in goldleaf. In section

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2 (from f. 27), gatherings are of four bifolios, except for ff. 51-54 of two bifolios. The paper in this section bears a uniform watermark associated with Rome: praying cleric/saint in shield of the type Heawood nn. 13521353. Hand B of this section copied ff. 27-64v, which also has historiated initials; he seems to be Bernardino Terenzi, copyist B of Barb. lat. 4219. Marc’Antonio Pasqualini (Hand C) wrote the remainder, beginning with f. 65. Decorative initials are lacking for this entire last section. The original foliation in ink is only on ff. 1-23; modern foliation in pencil continues. Of the seventeen compositions marked MAP, nn. 8, 13-22, and 27 appear in Barb. lat. 4220 (dated 1654), while nn. 23-26 and 28 are in Barb. lat. 4223 (dated 1658). Items 17-18, 23 and 28 were re-arranged for vocal ensembles in Barb. lat. 4222 (dated 1676). Cardinal Antonio Barberini’s poems and their settings are discussed and edited in M. LUISI, Le poesie per musica del cardinale Antonio Barberini nel Cod. Vaticano Barb. lat. 4203, in La musique à Rome au XVIIe siècle, Rome 2012, pp. 291-319. Barb. lat. 4203-4204

Barb. lat. 4204 1630-1660, 200 × 268 mm, 171.I ff., 6-8 staves, 3 hands

Title on f. 1: STra Stracciafoglio d’un amante che non ama. Sixty-two anonymous Italian chamber cantatas and arias, and one Latin motet (n. 54). Nine are fair copies, and fifty-three are compositional drafts of complete or incomplete pieces; eight of the drafts are of vocal lines only. All are in the hand of Marc’Antonio Pasqualini save three (nn. 8, 15, 44) and parts of others (see comments at end). Seven are attributed to him and one to Luigi Rossi (n. 57) in non-Barberini sources; fourteen have concordances marked with the MAP monogram. Forty-one also exist in PasqualiniBarberini volumes dated between 1638 and 1658. Concordances are not known for 15 items (nn. 2, 4, 7-8, 16-17, 25, 33, 37, 40/43, 44, 49, 52, 54, and 58). All the sketches and compositional drafts have here been attributed to Pasqualini; most likely all of the compositions are by him. The only poets named are Flavio Orsini (nn. 19, 46) and Lelio Orsini (nn. 18, 20, 56). Five or six others identifiable through concordances are Sebastiano Baldini (n. 5), Giovanni Pietro Cataloni (n. 29), Nicolao Foresta (nn. 3, 9, 13), Giovanni Lotti with ten (nn. 6, 10, 11, 22, 24, 26, 35, 39, 5051); Marzio Orsini (n. 45), and possibly John Patrick Carey (n. 14). Cancellation marks on copies may indicate completion of fair copies made from them (nn. 1, 12) as well as discarded passages. The scoring is for soprano

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and basso continuo (S/B clefs) unless noted otherwise. Five are for vocal ensembles with basso continuo: one for SS/B (n. 36), one for SSS/B (n. 57), and four for SSB/B (nn. 28, 29, 34, 46). 1 (ff. 3-4) [MARC’ANTONIO PASQUALINI]. Chi lo dice ch’io sia dolente, E! major; R-1-R-2-R. The text for strophe 2, written below the bass staff for str. 1, was added by a different copyist (Hand B) below the bass line. All pages have been struck through. Attributed to “Pasqualini” in I-Vc Busta 1.11 (olim 1-15-N11), n. 1, ff. 7-9v. MURATA n. 45. 2 (ff. 4-7v) [PASQUALINI]. Che volete voi ch’io faccia, A minor, 2 str. Compositional draft to f. 6, continued with fair copy in the hand of a professional copyist (same as in n. 3 below). Two systems on f. 5, and two on f. 5v were struck through and replaced by the music on f. 6; the bottom system on f. 6 was cancelled and replaced by the music on f. 6v. MURATA n. 43. 3 (ff. 8-9v) [PASQUALINI]. Lo sapete ben lo so, D minor, 2 str. The 2d strophe is in the hand of copyist B and lacks the music for the continuo. Marked MAP in Barb. lat. 4223 (vol. dated 1658), n. 7, which attributes the text to Nicola Foresta. MURATA n. 136. Barb. lat. 4204 4 (ff. 10r-v) [PASQUALINI?]. Amor arozza i cori con l’insegna d’un bel guardo, B! major, binary aria. Probably a compositional draft, but lacking hesitations or revisions. MURATA n. 17. CALUORI, n. 296; ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 55. 5 (ff. 12-14) [PASQUALINI]. Corrente. Vo cercando una speranza, che fallace alletti il core, A minor, compositional draft of 4 str. in variation. Also anonymous in Barb. lat. 4221 (vol. dated 1638), n. 56, which attributes the text to Sebastiano Baldini (cf. MORELLI-G 2000, p. 39 and n. 506, which erroneously gives Benedetto Marcello as the composer). Also anon. in I-Fn Magl. XIX.26, ff. 22v-26v. MURATA n. 243. A variant of this melody with a different text is n. 16 below. 6 (ff. 14v-15v) [PASQUALINI?]. Tutti insieme pensieri da la pace del core, E! major, 2 str. The text of str. 2, entered below the bass line, is by Hand B. Also anonymous in Barb. lat. 4220 (vol. dated 1654), n. 19, which attributes the text to Giovanni Lotti. MURATA n. 237. A duet setting by Sebastiano ENNO in his Arie a una e due voci has a different version of the text (Venice 1654, NV 888).

7 (ff. 17v-20) [PASQUALINI]. Importuna lontananza strugger fa in amor il petto, C minor, compositional draft for a cantata. Rubrics include “presto.” Also anonymous in Barb. lat. 4220, n. 30, as Inportuna lontananza. MURATA n. 116.

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8 (ff. 21-28v) E chi non piangerebbe al pianto mio?, F minor, cantata. MURATA n. 80; CALUORI, n. 323; ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 55. 9 (f. 29; ff. 29v-30v) [PASQUALINI]. Streviglio: Sofferenza, sofferenza, o core, così vuol empia Fortuna, C minor; R-1-R. Folio 29 bears a draft of the melody of the refrain, with a few bars for the continuo. It is followed by a revised refrain and a draft for the complete aria. MURATA n. 221a. The text is attributed to [Nicola] Foresta both in Barb. lat. 4221, n. 39 (S/B, anon.) and in Barb. lat. 4222, n. 7 (SSB/B), which is marked MAP, whereas Barb. lat. 4222, n. 21 (SB/B) attributes the text to [Giovanni] Lotti. 10 (ff. 32v-34v; f. 87?) [PASQUALINI]. Quanto adoro, ahi, ch’il desire, A minor, draft for the cantata Barb. lat. 4220, n. 32 (q.v.), which attributes the text to Giovanni Lotti. Attributed to Pasqualini in GB-Ouf U.210.4, ff. 13-18v, and I-Nc 33.4.7b (Cantate 6), ff. 19-24. MURATA n. 191. Nine measures in a different meter of an untexted vocal line only on f. 87 may be related to this cantata. 11 (ff. 35-36v) [PASQUALINI?]. Che gloria la morte sarebbe al mio core, A minor, aria. Pasqualini has made changes to the text; two cancelled untexted bars (f. 36) may have been a copying error or a compositional decision. Also anonymous in Barb. lat. 4220, n. 31, where the text is attributed to Giovanni Lotti. MURATA n. 36. 12 (ff. 37-38) [PASQUALINI]. Quanto vi baciarei, labbrucci inzuccherati, A minor. Pasqualini has written: “Questa è la canzona (f. 37) … e qui finisce (f. 38).” The entire compositional draft of the “canzona” has been crossed out, system by system. Attributed to Pasqualini in F-Pn Rés. Vmf 20 (olim H. P. 5), ff. 29-31v. 13 (ff. 39-41) [PASQUALINI]. Tanto rigor perché, perché, perché, occhi belli amati tanto, E minor, 2 str. Two systems on f. 39v have been struck through. Marked “MAP” in Barb. lat. 4223, n. 8, where the text is attributed to “Nicolao Foresta.” CALUORI, n. 393 gives the musical incipit. Ascribed without explanation to Luigi Rossi in RICCIARDELLI, p. 55. MURATA n. 233. 14 (ff. 41v-43) [PASQUALINI?]. Pur m’offendete con dolce telo, E minor, 2 str. in variation. Also anonymous in Barb. lat. 4221, n. 4, where the text is attributed to “Gio. P. C.” (Giovanni Patrick Carey?). MURATA n. 188. 15 (ff. 44-54v) [PASQUALINI]. Da gli abissi dell’Herebo, su Furie, scatenatevi, B minor, cantata. The only aria is Rio rigor di crudeltà (4 str.). Marked “MAP” in Barb. lat. 4223, n. 40. An anonymous compositional draft is

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Barb. lat. 4205, n. 60. MURATA n. 59; CALUORI, n. 316. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, pp. 55 and 57. 16 (ff. 55-57) [PASQUALINI]. In un sen ch’è tutto gelo, S/(B), A minor, 4 str. in variation; compositional draft of the vocal line. The continuo staves have signatures but no music. The melody is a variant of n. 5 above. MURATA n. 117. 17 (ff. 57v-68) [PASQUALINI]. E volete voi ch’io speri?, S/(B), F minor, cantata, compositional draft of the vocal line; the continuo staves have signatures but no music. Arias include No, no che viver non [può] (Fm); Filindo, o Dio come, ohimè (Fm), and Non più, non più dolore (Fm). See also Barb. lat. 4221, n. 27 for an aria resembling Filindo, o Dio. MURATA n. 91. 18 (ff. 68v-69v) [PASQUALINI]. Poesia del S.r D[on] Lelio Orsini. A la difesa, pensieri, su, su, B! major, 2 str., compositional draft. The poem for str. 2 appears at the end. Also anonymous in Barb. lat. 4221, n. 11 and I-Gl A-5-Cass., ff. 108-114. MURATA n. 11. 19 (ff. 70r-v) [PASQUALINI?]. Poesia del S.r Prencipe de Nerola [Flavio Orsini ante 1660]. Luci belle, s’io vi adoro, C minor, aria. Also anonymous in Barb. lat. 4221, n. 12. MURATA n. 140. 20 (ff. 71v-72, ff. 72-73) [PASQUALINI]. Poesia del S[ignor] D[on] Lelio Orsini. Pupilluccie mie belle, quanto v’adorerei, S/B, A minor, aria. Draft of a vocal line only of section one (the continuo staves have only signatures), followed by a compositional draft of the entire aria, in a new meter, which abandons the opening and revises on the basis of the “Presto” section (from m. 6) of the first draft. A fair copy is Barb. lat. 4221, n. 22. MURATA n. 187a. Arrangements for SB/B and SSB/B are Barb. lat. 4219, nn. 34 and 31 respectively. 21 (ff. 73v-74v; 87v-89v; 109-110v) [PASQUALINI]. Oh Dio, come farò lontano da quel sol che m’invaghì, F minor, incomplete compositional draft, with freehand staves drawn for continuo staves, for the cantata Barb. lat. 4223, n. 29, which is marked MAP. The draft lacks music for the continuo on ff. 74v and 87v and the closing refrain. Also anonymous in F-Pn Rés. Vmb 63, ff. 76-83. MURATA n. 172. 22 (ff. 75-76v) [PASQUALINI]. Per un guardo del mio bene, A minor, aria; compositional draft for Barb. lat. 4220, n. 11, which attributes the text to Giovanni Lotti. Marked MAP in I-Nc 33.4.19b (Cant. ibr. 15), ff. 147-150v. CALUORI, n. 370; MURATA n. 180a. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 55. An arrangement for SB/B is Barb. lat. 4219, n. 35 which also attributes the text to Lotti.

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23 (ff. 77-78) [PASQUALINI]. Se voi non sentite amore, D minor, 3 str. in variation; a compositional draft for Barb. lat. 4221, n. 43. MURATA n. 208. 24 (ff. 78v-79v) [PASQUALINI?]. Rammentati core, che’l foco primiero, E! major, aria in Pasqualini’s rapid draft hand, with few corrections, for Barb. lat. 4220, n. 8, which attributes the text to Giovanni Lotti. MURATA n. 199. 25 (ff. 80-82v; f. 83?) [PASQUALINI]. Per crudeltà, per tirannia d’amore, A minor, cantata. The only aria is Al pianto apritevi, occhi dolenti. Desinet “che si racchiude in seno.” A copy in Pasqualini’s draft hand with some compositional alterations, for which no fair copy is known. The untexted sketch for an aria in A minor on f. 83 may or may not be part of this cantata. MURATA n. 178. 26 (ff. 84v-85v) [PASQUALINI]. All’armi, mio core, e contro una spene fallace, B! major, draft for the aria Barb. lat. 4223, n. 24, marked MAP, which attributes the text to “Giovan Lotti.” Also anonymous in F-Pa 948, ff. 7-8v, and I-Nc 33.4.19b (Cantate ibride 15), ff. 80-86v. MURATA n. 14. 27 (f. 86r-v) [PASQUALINI]. Mi curo pur poco se trema il mio core, D major; compositional draft of the refrain and one strophe only. Also in Barb. lat. 4223, n. 4 (q.v.), which is marked MAP. MURATA n. 146a. An arrangement for SB/B is Barb. lat. 4222, n. 26, also marked MAP. 28 (ff. 90-95) [PASQUALINI]. Lo sai tu chi ti costringe, SSB/B, C minor, cantata. The attribution to Pasqualini is based on a compositional draft in his hand, Barb. lat. 4200, n. 39, as well as corrections and revisions to the present draft. Also anonymous in Barb. lat. 4219, n. 15. MURATA n. 135. 29 (ff. 96-98) [PASQUALINI]. Inimica Fortuna fa di me crudo scempio, SSB/B, A minor; compositional draft for Barb. lat. 4219, n. 23, where the text is attributed to “Gio. Piet. Cat.i” (Giovanni Pietro Cataloni). MURATA n. 115. 30 (ff. 98v-103v) [PASQUALINI]. Il mio cor signora, sclama, A minor, draft for 6 str. in variation, with light compositional evidence from f. 101. Strophe 6, in different ink and beginning a new folio, appears to have been added at some time after str. 5. Also anonymous in Barb. lat. 4221, n. 45 (q.v.). MURATA n. 112. 31 (ff. 104-105) [PASQUALINI]. Non è usanza del mio core, A minor, aria. Compositional draft, with two freehand staves drawn for the continuo part, for Barb. lat. 4221, n. 46. MURATA n. 155. 32 (ff. 105-106) [PASQUALINI]. Dolcezze amare, voi m’offendete, D minor,

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a compositional draft, with two freehand staves drawn per page for the continuo part, for the arietta Barb. lat. 4221, n. 3. MURATA n. 72. 33 (ff. 106v-108v) [PASQUALINI]. Per pietade e chi m’ adita, S/(B), A minor, compositional draft of what appears to be a complete vocal line. The continuo part has signatures on alternate staves but no music; no freehand staves are yet drawn in. Marked “arietta” is Se nell’ Averno l’alme dannate. MURATA n. 179. 34 (ff. 111v-115) [PASQUALINI]. Begl’occhi, morrà di duolo il mio core, SSB/B, C minor, R-1-R-2-R. Compositional draft for Barb. lat. 4219, n. 18. Attributed to Pasqualini in Barb. lat. 4163, n. 22 and I-Bc Q.50, ff. 117-120. MURATA n. 24. A modernized edition is in CAMETTI 1921/3 (insert between pp. 112 and 113). 35 (ff. 115v-116v) [PASQUALINI]. Non ho più lagrime da dissertarne amore, F minor, compositional draft, with two freehand staves drawn for the continuo part, for the aria Barb. lat. 4220, n. 33, which attributes the text to Lotti. Ornamental decorations for the closing phrase are worked out on f. 116v. The poem is published in LOTTI, Poesie, pt. 3, p. 177. MURATA n. 157. 36 (ff. 118-120) [PASQUALINI]. Armatevi di sdegno, occhi guerrieri, SS/B, B! major. Compositional draft for the cantata Barb. lat. 4219, n. 30. MURATA n. 20; CALUORI, n. 411 (Rossi unreliable). Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 55. 37 (f. 120v) [PASQUALINI]. Costanza pensieri, non ritorcete i gloriosi vanni, S only, A or D minor. Partial draft of a vocal line only; one staff for the continuo part has signatures but no music. MURATA n. 56. Barb. lat. 4201, n. 6, a different setting of the same text, likewise lacks music for the continuo. 38 (f. 121) [PASQUALINI]. [Deh, non più mi ferite, occhi severi], S/(B), C minor, untexted draft of the first 13 mm. of the vocal line only; the continuo part, with two freehand staves per page, has signatures but no music. See Barb. lat. 4201, n. 1 for another sketch. The complete cantata is Barb. lat. 4223, n. 38 (q.v.), which is marked MAP. MURATA n. 66a. 39 (ff. 121v-126) [PASQUALINI]. Su la riva d’un ruscello, C minor. Compositional draft, with two freehand staves drawn per page, for the cantata Barb. lat. 4223, n. 37, which was twice marked MAP. Marked “aria” in 4204 is S’il mio pianto, ohimè, non può. The aria Pene, affanni, ahi per pietà is not indicated as such. MURATA n. 230a. The text is attributed to [Giovanni] Lotti in Barb. lat. 4222, n. 18, an arrangement for SB/B also marked MAP. 40 (f. 123v) [PASQUALINI]. Filli bella, voi piangete, S/(B), D minor. In-

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complete cancelled sketch of a soprano line on staves 1 and 3. Staff 2 for the continuo has signatures but no music. See n. 43 below. MURATA n. 94. 41 (ff. 126v-127) [PASQUALINI]. La caggione del mio pianto, S/(B), D minor, draft of a partial vocal line; the continuo part has signatures but no music. See n. 42 below. MURATA n. 124. 42 (ff. 127v-128) [PASQUALINI]. La cagione del mio pianto, D minor; 2 str., text only for str. 2. With one freehand staff drawn per page, a complete setting different from n. 41 above, in Pasqualini’s rapid draft hand. Also anonymous in Barb. lat. 4221, n. 36. MURATA n. 125. 43 (ff. 128v-129) [PASQUALINI]. Filli bella, voi piangete, S/(B), D minor, compositional draft of the vocal line for an aria; the continuo part has some signatures but no music. See n. 40 above. MURATA n. 94. 44 (ff. 129v-131) Non si parli più di spene, S/(B), C minor, the vocal line only to a cantata. The music of the vocal line was notated by a professional copyist (Hand C); Pasqualini has underlaid the text. Rubrics include “forte” and “piano”; some note groups have been struck out; two freehand staves for the continuo part with no music appear on f. 131. The continuo part has signatures but no music. No concordant copies are known. MURATA n. 163. 45 (ff. 131v-134v) [PASQUALINI]. Dove ne vai, crudele, deh per pietà rimira, A minor. Compositional draft, with two freehand staves per page, for the cantata Barb. lat. 4223, n. 36, which is marked MAP and attributes the text to “Martio Orsini.” Marked “aria” in Barb. lat. 4204 is Tu col canto soave. MURATA n. 76. 46 (ff. 134v-137v, 139v-140) [PASQUALINI]. Infelice mio core, dove, dove trascorre, SSB/B, A minor, incomplete draft in Pasqualini’s rapid compositional hand (with some alterations or additions) for the cantata Barb. lat. 4219, n. 19, which attributes the text to the Principe di Nerola [Flavio Orsini ante 1660]. This draft begins on systems 3 and 4 of f. 134v, with scattered four word phrases under the continuo part indicating a bass voice, until the bass vocal solo (ff. 137v; 139v-40), which ends the draft. Many passages lack music for the continuo. MURATA n. 114a. An arrangement for quartet is Barb. lat. 4222, n. 1. 47 (ff. 138-139) [PASQUALINI]. Hor va mio core, hor va, serba intatta pur la fé, A minor, R-1-R-2-R. Compositional draft for Barb. lat. 4221, n. 44, which is also anonymous. In this draft, str. 2 (f. 139) has the soprano line only and appears incomplete. CALUORI n. 338; MURATA n. 109. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, p. 56

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48 (f. 141; ff. 141v-142v) [PASQUALINI]. Streviglio: Mi vogliono morto dui [sic] lumi guerrieri, B! major; R-1-R. Folio 141 bears a preliminary sketch of the melody, which has been struck through; it is followed by a draft, with two freehand staves drawn for the continuo part, for Barb. lat. 4220, n. 24. The copy Barb. lat. 4203, n. 21 is marked MAP. MURATA n. 148. CALUORI n. 352 corrects the erroneous identification of this as an aria from Luigi Rossi’s Il palazzo incantato (Rome 1642), in GHISLANZONI n. 147. 49 (ff. 142-146v) [PASQUALINI]. Misero io sento il core, E minor; compositional draft for a cantata (begins on f. 142v, system 3) with two freehand staves drawn per page. Marked “aria” is Fuggite pur da me but not Quel meschino per me non fia così, which bears the rubric “ad[agio]” for one phrase. MURATA n. 147. 50 (ff. 148-150) [PASQUALINI]. Dov’è la Morte e Pluto, A minor. Compositional draft for the anonymous cantata Barb. lat. 4220, n. 23, which is titled Partenza and attributes the text to [Giovanni] Lotti. The music is attributed to Pasqualini in I-Nc 33.4.7a, ff. 44-49v and 33.4.12a, ff. 55-62. The copy Barb. lat. 4203, n. 19 is marked MAP. Also anonymous in I-MOe Mus. G.257, ff. 1-9v. MURATA n. 73. 51 (ff. 150v-151) [PASQUALINI]. Tienti che cadi Amore, C major. Compositional draft for the anonymous cantata Barb. lat. 4220, n. 22, which attributes the text to [Giovanni] Lotti. The copy Barb. lat. 4203, n. 20 is marked MAP. MURATA n. 234. 52 (ff. 151v) [PASQUALINI]. Al cimento pensieri, ecco qua la speranza, S only, C major, a partial draft of only a soprano line for an aria. The continuo part has signatures, but no music. MURATA n. 13. A setting attributable to Marco Marazzoli is BAV Chigi Q.VIII.180, ff. 4-5 (CARBONI 12/3, n. 35).

53 (ff. 152-153; 158v-159; 164v-165) [PASQUALINI]. Delle sfere al moto instabile, B minor, compositional drafts for a cantata (on f. 164v, systems 3 and 4 only). The continuo part is lacking for all but the opening 7 1/2 bars. Another draft, in which the continuo part is also incomplete, is Barb. lat. 4205, n. 44. MURATA n. 68. 54 (ff. 153v-156; 157-158) [PASQUALINI]. Recitato: Cum pervenisset Lucia ad sepulcrum Beate Agathe, F minor, compositional draft for a motet. Arias include Assurge Lucia, cur tarda?; Barbarit ira…; Crudelia tela eia nunc; and Sponse dulcissime. Desinet “suave dolore.” Rubrics include “trascinato” and “ondeggiato piano e forte.” MURATA, Thematic catalogue, Appendix 1, A.2.

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55 (ff. 159v-160v) [PASQUALINI]. Tolleranza, o miei pensieri, E minor; R1-R-2-R, text for str. 2 written below the bass for str. 1 by a different hand. Compositional draft for the anonymous Barb. lat. 4221, n. 37. Attributed to Pasqualini in I-Nc 33.4.12a (Cant. ibr. 9; Arie 47), ff. 137-142v. A modern edn is HOLZER, pp. 678-681, which gives the text in poetic form and an English translation. MURATA n. 235. 56 (ff. 161-162) [PASQUALINI]. È celato il mio gran foco, E minor, 2 str. Compositional draft for Barb. lat. 4223, n. 3, which is marked MAP and attributes the text to Lelio Orsini. Rubrics include “presto.” MURATA n. 79. 57 (ff. 162v-163, 164v; ff. 163-164) [PASQUALINI]. Al bel lume d’un bel volto, SSS/B, D minor, cantata. A soprano line is sketched out first, followed on f. 163 by a complete compositional draft for three sopranos that does not entirely follow the first sketch. The single vocal line without music for continuo on f. 164v (systems 1 and 2) may have been the continuation of f. 162v. MURATA n. 12. The attribution to Luigi Rossi in I-Bc Q.44, ff. 40-42v, is accepted by CALUORI n. 266, and tacitly by RICCIARDELLI, p. 55. A modern edition is TORCHI 1894, V, pp. 186-189, with a modern accompaniment for piano (reedited by P. Sisak in the online Petrucci Music Library, IMSLP #36732). Another modern edn with some re-scoring is in P. COLINO, Quattro lezioniconcerto in Quaderni dell’Accademia Filarmonica Romana, 23 (1976-1977), pp. 40-43. (All three printed edns give Rossi as the composer.) 58 (f. 164v) [PASQUALINI]. A fragment of a soprano line on systems 1 and 2 only, D minor. The text is “Sì, che vede che’l suo foco / solo è ardor, ogn’altro è gioco.” See n. 57 above. (For systems 3-4, see n. 53 above.) 59 (ff. 165v-167) [PASQUALINI]. Luci belle, e che aspettate, E! major, 4 str. in variation, compositional draft for the anonymous Barb. lat. 4221, n. 34. MURATA n. 138. 60 (ff. 167v-168) [PASQUALINI]. Che giustizia è questa, Amore?, A minor, (arietta). In Pasqualini’s rapid comnpositional draft hand. An anonymous fair holograph copy is Barb. lat. 4221, n. 33. MURATA n. 35. 61 (ff. 168v-169) [PASQUALINI]. Hor qual colpa v’ha il mio core, E minor, compositional draft for the anonymous aria Barb. lat. 4220, n. 21. The first three bars of the continuo line appear to have been copied by another hand, probably professional copyist C. MURATA n. 108. 62 (ff. 170v-171v) [PASQUALINI]. Cari lumi che tenete, A minor, 3 str. in variation. In Pasqualini’s rapid draft hand; only a few words are altered. A different setting of this poem in the same key concludes Barb. lat. 4223, n.

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30 (marked MAP, q.v.), where the text for the entire cantata is attributed to “Nicolo” Foresta. MURATA n. 30. Barb. lat. 4204-4205 Bound in parchment (207 × 265 mm). On the spine is a pink BAV sticker and below it the number 75 in black ink by a modern hand, which has also written the shelf mark XLVII.75 inside the front cover. Gilt edges. The watermarks are all variants of the saint/cleric in a shield of the general type HEAWOOD nn. 1352-1353. The gatherings are of four nested bifolios, except for ff. 122-125 (within n. 39), which are of two bifolios. One leaf between ff. 81 and 82 that was the close of a gathering has been cut out (with no apparent loss of music), leaving one stub. Two leaves were excised between ff. 142 and 143. Folios 3-147 contain 6 staves; two freehand staves were added to these on ff. 104-106, 109-10v, 115v, 121-126, 127v, 131-34v, 138-r-v, and 141-146. Folios 148-171 contain 8 ruled staves per page. Blank folios were ff. 1-2 and 172-[173]; blank staves only are on ff. 11, 16, 31, 117, and 147. Untexted sketches occur on ff. 80-82v, 87 and 121. The foliation in pencil is modern and begins with the first original guard leaf. The second back guard leaf appears to have been lost. Copyist A, Marc’Antonio Pasqualini, wrote all items except for two in the hand of copyist B (nn. 8 and 15). These by Hand B both also have large, calligraphic initials. Hand B also entered portions of nn. 1-3, 6, 18, and probably n. 55. He is the same as professional copyist B of Barb. lat. 4205 and the sole copyist of Barb. lat. 4200 and I-Rc 2478. The music only of n. 44 was entered by a professional copyist C, who may be the hand that also appears in Barb. lat. 4219, n. 7 (Bernardino Terenzi). Pasqualini wrote the same title for the volume Barb. lat. 4205. Sixteen items appear in Barb. lat. 4221 (1638), ten in Barb. lat. 4220 (1654), five in Barb. lat. 4219 (1656), and ten in Barb. lat. 4223 (1658).

Barb. lat. 4205 1630-1670 ca., 203 × 260 mm, III.192.I ff., 6-8 staves, 2 hands

Title on f. [I]: Straccia foglio d’un’amante che non ama. Fifty-three anonymous Italian chamber arias and cantatas of which at least twenty-five are compositional drafts in the hand of Marc’Antonio Pasqualini. Nine other items are his partial drafts or sketches of only vocal lines. All but two of the sixty-two items (nn. 18 and 54, as well as a section of n. 61) are in his hand, but it is likely that all were composed by him, since ten are attributed to Pasqualini in non-Barberini sources, and fifteen more are marked MAP

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in Barb. lat. 4223 or Barb. lat. 4203. All the compositional drafts have here been attributed to Pasqualini. Fifty-two of the items also appear in other Pasqualini-Barberini volumes dated from 1638 to 1658. Seven compositional drafts have no known concordances (nn. 10-11, 26, 44-45, 47, 62). The only poets named are Flavio Orsini (n. 58) and Lelio Orsini (nn. 48-49, 53). Six others identified by concordances are Sebastiano Baldini (nn. 57, 61), Andrea Barbazza (n. 4), Antonio Barberini, jr (nn. 19, 24, 38), Nicolao Foresta (nn. 41, 52, 55), Giovanni Lotti for thirteen (nn. 3, 7, 8-9, 12-13,1617, 29-30, 35, 42, 50), and for n. 6, possibly John Patrick Carey. Apart from the drafts that are only of vocal lines, forty-seven items are S/B; four duets are scored SS/B and one is SB/B; and n. 43 is a trio (SSB/B). The setting is S/B unless otherwise indicated. Online in DVL. 1 (ff. 1-2) [MARC’ANTONIO PASQUALINI?]. È gentilezza amar bellezza, C minor, 3 strophes; text for str. 2-3 written below the basso continuo staff. Also anonymous in Barb. lat. 4221 (vol. dated 1638), n. 38. MURATA n. 82. 2 (ff. 2v-4) [PASQUALINI]. Che più sperar degg’io, A minor, 2 str.; text for str. 2 written below the bass staff. Rubrics include “presto.” The copy has been struck through and has been cancelled from the Table on f. 191; but see n. 20 below. MURATA n. 40. 3 (ff. 4v-7) [PASQUALINI?]. P[rim]a: Occhi belli, all’armi, all’armi! S’armi in cielo, s’armi in cielo, F major, 3 str. A fragment of this aria exists in Barb. lat. 4221, n. 28 and a complete anonymous copy in Barb. lat. 4220, n. 42. The text is attributed to Giovanni Lotti in Barb. lat. 4222, n. 38, which is an arrangement for SB/B and marked MAP. MURATA n. 166a. 4 (ff. 7v-9v) [PASQUALINI?]. Oh libertà gradita dove sei, che non torni a dar aita, C minor, R-1-R-2-R. The text is attributed to Andrea Barbazza in the anon. copy Barb. lat. 4221, n. 29. Also anon. in I-Nc 33.4.19b (Cantate ibride 15), ff. 9-16. MURATA n. 173. A duet setting is in Francesco PETROBELLI, Scherzi amorosi, op. 7, Venice 1668, pp. 5-6 (NV 2205). Barb. lat. 4205

5 (ff. 10r-v) [PASQUALINI]. Quel tener per profetia, D minor, (arietta). Attributed to Pasqualini in F-Psg 3372 (“in corrente”), ff. 41-42. Also anon. in Barb. lat. 4221, n. 32; an arrangement for ST/B is Barb. lat. 4222, n. 28, which is marked MAP. MURATA n. 197a. 6 (ff. 11-12) [PASQUALINI]. Occhi bugiardi, sì, voi mi tradite, C minor. This aria, not listed in the table on f. 191, bears minor corrections in Pasqualini’s hand. Attributed to MAP in I-Nc 33.4.19b (Cantate ibride 15),

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ff. 151-53v. The text is attributed to “G.P.C.” [Giovanni Patrick Carey?] in the anon. copy Barb. lat. 4220, n. 17. MURATA n. 168. 7 (ff. 12v-13) [PASQUALINI]. A schiere sen viene assalto di pene, D minor, 2 str.; text for str. 2 written below the bass staff. A reprise is indicated for the last four bars, and the postlude for the basso continuo is struck through. Attributed to Pasqualini in F-Psg 3372, ff. 9-10v, and I-Rc 2478, ff. 96-97v; and to MAP in I-Rv ms. 2565 (olim Blumenstihl), ff. 113-116. Other anonymous copies, with some differences among them, are Barb. lat. 4220, nn. 6 (q.v.) and 18; D-Mbs Mus. 1524, ff. 67v-70; and I-IBborromeo Misc. 5, ff. 263v-65v The text is attributed to [Giovanni] Lotti in Barb. lat. 4222, n. 29, which is an arrangement for ST/B marked MAP. ROSTIROLLA 2003, n. 19; MURATA n. 22a. 8 (ff. 14v-15v) [PASQUALINI]. E dove fuggì, quel rapido piede, A minor, 2 str.; text for str. 2 written below the bass staff. Attributed to Pasqualini in F-Psg 3372, ff. 2v-4v, and I-Rc 2478, ff. 112-13v; and to “M. A. P.” in I-Rv 2565 (olim Blumenstihl), ff. 109-112. The text is attributed to G. Lotti in Barb. lat. 4221, n. 71 and Barb. lat. 4220, n. 38, which are anonymous copies. MURATA n. 81. 9 (ff. 17v-20v) [PASQUALINI?]. Ahi, ch’a forza ritenni il pianto al core, C minor, cantata. Marked “aria” is Nel suo muto volere. A few vocal graces and harmonizing tones above the bass have been added by Pasqualini. The text is attributed to Giovanni Lotti in the anon. copy Barb. lat. 4220, n. 58. MURATA n. 4. 10 (ff. 21-21v) [PASQUALINI?]. Che stravaganza è questa, S/(B), C minor, draft of a vocal line only, the first part of a binary melody; the continuo staves have signatures but no music. This item is cancelled from the table at the end of the volume. MURATA n. 41. For another setting, see n. 37 below. 11 (ff. 21v-23) [PASQUALINI?]. P[rim]a: È ventura del mio core, S/(B), A minor, vocal line only of 4 str. in variation. The continuo staves have clefs but no music. A complete anon. version is Barb. lat. 4220, n. 59. MURATA n. 90. 12 (ff. 23v-27v) [PASQUALINI]. Ah! che mentiva il guardo!, C minor, cantata. The closing and only aria is Occhi bugiardi onde l’acerba piaga. This fair copy has corrections or revisions to both text and music in Pasqualini’s hand. The text is attributed to Giovanni Lotti in Barb. lat. 4223, n. 2, which bears the monogram MAP. Anonymous in B-Bc 694 (olim FA.VI.38), ff. 193-200v (a facsim. of f. 193 in RUFFATTI 2006, p. 408). MURATA n. 3.

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13 (ff. 28-31) [PASQUALINI]. Primo amore. Lassa, e qual per le vene, F minor, compositional draft for a cantata. The closing and only aria is Vanne Amor fuor del mio petto. The text is attributed to Giovanni Lotti in Barb. lat. 4223, n. 1, which bears the monogram MAP. MURATA n. 130. 14 (ff. 31v-33) [PASQUALINI]. Deh fermati, Amore, pietate sol chiedo, B! major, R-1-R-2-R, with compositional alterations and additions. Attributed to Pasqualini in F-Pn Rés. Vmc 78, ff. 27v-28, though not in the hand of the music copyist. Anonymous in Barb. lat. 4221, n. 54, which is headed “streviglio.” MURATA n. 63. 15 (ff. 33-34) [PASQUALINI]. È possibil ch’in amore io non debba haver mai sorte, B! major, 3 str.; text for str. 2-3 written below the bass staff. Some changes and revisions to text and music notes in Pasqualini’s hand. Also anon. in Barb. lat. 4220, n. 60. MURATA n. 85. 16 (ff. 34v-36v) [PASQUALINI?]. Quanto parla il mio dolore, A minor, 2 str. in variation. The upper right edges of ff. 35-36 have been damaged, with some loss of music on f. 35. Minor corrections and additions in Pasqualini’s hand. The text is attributed to Giovanni Lotti in the anon. copy Barb. lat. 4220, n. 41. MURATA n. 192. 17 (ff. 38-40) [PASQUALINI]. Mia vita non vedi tu, D minor, 2 str., with some revisions on f. 38. Attributed to Pasqualini in I-Rc 2478, ff. 56-59v and F-Psg 3372, ff. 11-13, which reads Mia vita il vedi tu. Anonymous in Barb. lat. 4221, n. 18, where the text is attributed to Giovanni Lotti. MURATA n. 144. 18 (ff. 40v-43v) [PASQUALINI]. Se non credi al grave ardore, D minor, 4 str. in variation. In the left margin of f. 40v, a modern hand has written “Andrea Basso?” in pencil. Attributed to Pasqualini in F-Psg 3372, ff. 15v18. Also anonymous in Barb. lat. 4221, n. 19. MURATA n. 205. 19 (ff. 44-46) [PASQUALINI]. Corre il mondo dietro un nulla (C minor to E! major); F minor, cantata. The only other aria is Turbini gravidi di spirti rei. Folio 46 has several corrections in Pasqualini’s hand. Rubrics include “Recit.to,” “ondeggiato,” “presto,” and “adagio.” The attribution to him is based on the MAP on the copy Barb. lat. 4203, n. 14, where the poet named is Antonio Barberini [jr]. Anonymous in Barb. lat. 4220, n. 3, which attributes the text to G. Lotti. MURATA n. 54. 20 (ff. 46v-51v) [PASQUALINI]. P[rima]: Che più sperar degg’io, lasso mi fu rapita, A minor, 3 str. in variation (the version n. 2 above has only one strophe of music). Rubrics include “presto” and “adagio.” Marked “MAP” in Barb. lat. 4223, n. 22. MURATA n. 40.

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A different anonymous setting of the text is I-Rc 2226, ff. 41-42v, (3 str., A minor).

21 (ff. 51v-53v) [PASQUALINI]. P[rim]a: Sì, sì, che voglio amar, soffrir pena e dolor, D minor, 2 str., with a few corrections and changes in Pasqualini’s hand. Marked “MAP” in Barb. lat. 4223, n. 5. MURATA n. 217a. An arrangement for SB/B is Barb. lat. 4222, n. 35, also marked MAP. 22 (ff. 54-56) [PASQUALINI]. P[rima]: Sì forte è lo sdegno ch’in seno mi sta, E minor, 3 str. in variation, with several revisions. See also n. 40 below. Attributed to Pasqualini in F-Psg 3372, ff. 29-31. Anonymous in Barb. lat. 4221, n. 62. MURATA n. 214. 23 (ff. 56v-59) [PASQUALINI]. P[rima]: Viver in questo stato, Amor, non posso più, C minor, 3 str. in variation, with some emendations also in Pasqualini’s hand. Anonymous in Barb. lat. 4221, n. 41. MURATA n. 242. A different anonymous setting of this text as a ciaccona is I-Rc 2490, pp. 210-211 (S/B, G major).

24 (ff. 59v-64) [PASQUALINI]. Un peccatore a piedi d’un crocefisso. Reo d’impuniti eccessi, E minor, compositional draft of 3 str. in variation. The text is attributed to [Giovanni] Lotti in the anonymous copy Barb. lat. 4220, n. 1, but to Antonio Barberini [jr] in Barb. lat. 4203, n. 13, which is marked MAP. MURATA n. 200. A different anonymous setting of the text is BAV Vat. mus. 426, ff. 29v-33.

25 (ff. 64v-65; 65v-69) [PASQUALINI?]. Quanto parla il mio rispetto, A minor; five phrases of an untexted vocal line with no music for the continuo part, followed by a completely texted, revised version of 5 str. in variation. Also anon. in Barb. lat. 4221, n. 24. MURATA n. 193. 26 (ff. 69v-70) [PASQUALINI?]. Estriviglio: Pupillette, che vestite, C major. S/(B); vocal line to the refrain and first strophe, and continuo staves with signatures but no music, except for one phrase at the cadence to str. 1. MURATA n. 186. 27 (ff. 71v-72v) [PASQUALINI?]. Streviglio: Gioite, o pensieri, bandite dal core, B! major; R-1-R-2-R. Also anonymous in Barb. lat. 4221, n. 25. MURATA n. 104. 28 (ff. 73-74v) [PASQUALINI]. P[rima]: Che mora il mio core? Io pur vi consento, G minor, cantata in 3 [parti]. The opening aria has two designated strophes; part “3” is the closing recitative quatrain. Marked “MAP” in both Barb. lat. 4223, n. 6 and Barb. lat. 4203, n. 28. MURATA n. 37a. Two arrangements are Barb. lat. 4222, nn. 4 (SSB/B) and 27 (SB/B); both are in G minor and marked MAP.

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29 (ff. 75v-78) [PASQUALINI]. P[rima]: Lontano sen va, chi vita mi diè, D minor, 2 str. MURATA n. 134a. The text is attributed to [Giovanni] Lotti in the anonymous copy Barb. lat. 4220, n. 10 and in Barb. lat. 4222, n. 32, which is a version for SB/B marked MAP. MURATA nn. 134a-b. 30 (ff. 78-82) [PASQUALINI]. P[rima]: Avverti mia vita, che s’un dì me ne vo, E! major, 2 str. in variation. Attributed to Pasqualini in I-Rc 2477, ff. 109-116. Anonymous in Barb. lat. 4221, n. 61 and I-Nc 33.4.19b (Cantate ibride 15), ff. 101-11v. MURATA n. 23a. An arrangement for SB/B is Barb. lat. 4222, n. 30, marked MAP with the text attributed to [Giovanni] Lotti. 31 (ff. 82v-84v) [PASQUALINI?]. Ahi Signor, che dite, ohimè, E! major, 2 str. The refrain that follows each strophe is marked “streviglio” each time (Se vedrommi, ohimè, partire). Also anon. in Barb. lat. 4221, n. 30. MURATA n. 10. 32 (ff. 85-88v) [PASQUALINI?]. Deh, non mi lasciar tormento, S/(B), C minor, 3 str. of the vocal line only, in variation; the continuo staves have signatures but no music. “Finis” appears at the end. The complete version in Barb. lat. 4221, n. 26, is also anonymous. MURATA n. 65. 33 (ff. 89-91) [PASQUALINI?]. Partirò, partirò? Ahi, ch’a quel suono fero, E! major, 2 str. Rubrics include “presto.” Occasional continuo figures appear to have been added to the copy. Also anon. in Barb. lat. 4221, n. 21. MURATA n. 176. 34 (ff. 92-93v) [PASQUALINI?]. E pur dolce il penar, E! major, 2 str. in variation. Also anon. in Barb. lat. 4221, n. 5, and I-Rc 2475, ff. 1-4v, which has different barring. MURATA n. 88. 35 (ff. 94-97v) [PASQUALINI]. Su la rota di Fortuna posa lieta la mia fé, C minor, cantata. The opening aria has 3 marked strophes; the closing aria is Se legge tiranna commanda così. Marked “M. A. P.” in Barb. lat. 4208, n. 23 and attributed to Pasqualini in I-MOe Mus. G.155. For other concordances, see Barb. lat. 4220, n. 45, where the text is attributed to Giovanni Lotti. CALUORI n. 390; MURATA n. 231a. 36 (ff. 98-100v, 117-120v) [PASQUALINI]. Era la notte e Cintia non havea, E minor, compositional drafts for a cantata. The sketch for the closing aria, Cari lumi, che tenete (from f. 118v) and the 9 bars of recitative preceding it, has only the vocal line for 3 strophes, with blank staves for a continuo part. The text is attributed to Nicolo Foresta in the concordance Barb. lat. 4223, n. 30, which bears the monogram MAP. The copy Barb. lat. 4203, n. 26, is also marked MAP. MURATA n. 89. A different setting of Cari lumi che tenete only is Barb. lat. 4204, n. 62.

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37 (ff. 101-103) [PASQUALINI?]. Che stravaganza è questa, SS/B, B! major, with a few corrections and emendations in Pasqualini’s hand. Also anonymous in Barb. lat. 4219, n. 25. The same text but not the same melody as n. 10 above. This duet appears in the table of contents, the first of the pieces “A dua” (f. 192). MURATA n. 42. 38 (f. 103v) [PASQUALINI]. Mad[riga]le sopra la nascito [sic] di N. S. Perché dolce bambino, da’ sacrosanti lumi, D minor. Two bass staves have been added freehand by Pasqualini. The text is attributed to Antonio Barberini [jr] in Barb. lat. 4203, n. 15, which is marked MAP. An anon. copy is Barb. lat. 4220, n. 4. This item does not appear in the index to this volume. The poem is transcribed in M. LUISI, pp. 312-313. MURATA n. 177. 39 (ff. 104v-108v) [PASQUALINI]. Sì, ch’io ti voglio amar, SS/B, A minor, 2 str., draft with some compositional revisions and lacking basso continuo for str. 2. A complete anon. copy is Barb. lat. 4219, n. 26 (q.v.). MURATA n. 211. 40 (f. 109) [PASQUALINI]. Sì forte è lo sdegno ch’in seno mi sta, three measures of the vocal line only, transposed to D minor, with respect to n. 22 above. The continuo staff has signatures but no music. MURATA n. 214. 41 (ff. 109-117) [PASQUALINI]. Ahi, che duol che porto al core, SS/B, F minor, 4 str., with revisions and embellishments added to strophes 3 and 4. Desinet: “è ed’ ho tormenti.” An anon. copy is Barb. lat. 4219, n. 28. MURATA n. 5a. The text is attributed to [Nicola] Foresta in Barb. lat. 4222, n. 8, marked MAP, which, while similar, is a different version. (For systems 2-3 on f. 117, see n. 36 above.) 42 (ff. 121v-125v) [PASQUALINI]. A 2: Già son morto e non lo crede, SS/B, A minor; a compositional draft with most of the corrections in the continuo line, which is lacking for the repetition of the refrain. The duet is attributed to “Marc’Antonio” in GB-Och Mus. 996, ff. 133-134v (dated 1672; the musical incipit is given in WECIS 1, due to interpreting the name as Antonio Cesti’s). Also anonymous in GB-Och Mus. 377, ff. 30v-33v (dated 1653) and Barb. lat. 4219, n. 27, which attributes the text to Giovanni Lotti. With the contrafactum text Son pentito e più non voglio, this duet is part of the oratorio-cantata Ancor satio non sei, Barb. lat. 4190 and 4192. The contrafactum alone is Barb. lat. 4219, n. 6. MURATA n. 101. 43 (ff. 125-128v) [PASQUALINI]. Che ne dite pensier, durar si può, SSB/B, E minor, a compositional draft for an R-1-R-2-R form. The basso continuo part is lacking for the first strophe (S solo, from f. 127). The first nine words of the cantata occur in the refrain to n. 42 above. Another copy is Barb. lat. 4219, n. 20. MURATA n. 38.

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44 (ff. 128v-132) [PASQUALINI]. Delle sfere al moto instabile, B minor, a compositional draft with a continuo part only to f. 130; includes the internal aria Così misero men vivo. Desinet “Uccidetemi begl’occhi.” Another draft with the same entire text and lacking almost all of the continuo part is Barb. lat. 4204, n. 53. MURATA n. 68. 45 (ff. 132v-134v) [PASQUALINI]. Hor dite, hidre d’Averno, B minor, compositional draft of a vocal line with complete text; only the opening staff for a continuo part has signatures, with no music. Freehand staves for alternate continuo staves are not drawn. Desinet “per conservarmi eterno a tante pene.” MURATA n. 107. 46 (ff. 135-138) [PASQUALINI]. Sentite quel che dice Amor, A minor, compositional draft for a recitative and the aria Lasciatemi stare ch’a dirla fra noi (R-1-R-2-R-3-R-4-R). Strophe 2 is on ff. 136v-37; str. 3 on ff. 137v-38; str. 4 on f. 136r-v. This item is not listed in the table of this volume. An anonymous fair copy is Barb. lat. 4221, n. 55. MURATA n. 207a. A version for SB/B is Barb. lat. 4222, n. 36, which is marked MAP. 47 (ff. 138-139) [PASQUALINI]. Untexted sketch for SB or S/B in B minor or E minor. The first draft of 10-11 measures extends from f. 138 to the top of f. 138v, and another draft in B minor extends from the bottom of f. 138v to f. 139. These may be related to nn. 44-45 above. 48 (ff. 143-146v) [PASQUALINI]. Parole del S[ignor] D[on] Lelio Orsini. Dalle sponde del Tebro al patrio suolo, C minor; compositional draft for the cantata in Barb. lat. 4223, n. 41 (q.v.), which bears the monogram MAP. Rubrics include “adagio.” Marked “aria” are Forse un alma invidiosa and Già m’avvedo che nel petto. Music for the basso continuo is lacking from the second aria (end of f. 145) to the end. MURATA n. 61. 49 (ff. 147-148) [PASQUALINI]. Parole del S[ignor] D[on] Lelio Orsini. Luci belli e spietate, perché voi mi [schernite] volete, C minor; R-1-R-2-R. Draft with sparse compositional alterations. An anonymous fair copy is Barb. lat. 4221, n. 42. MURATA n. 139. 50 (ff. 148v-149; 149v-150) [PASQUALINI]. Satiatevi, satiatevi luci spietate, in tormentarmi sempre, C minor. Compositional draft of the vocal line of a refrain, followed by a cancelled vocal line of the first strophe (148v-49); the continuo staves have signatures but no music. A new vocal line with continuo for str. 1 begins on f. 149v; the continuo part still lacks music for the return of the refrain. The complete aria is Barb. lat. 4220, n. 15, where the text is attributed to [Giovanni] Lotti. MURATA n. 202. 51 (ff. 150v-154) [PASQUALINI]. P[rima]: Pietosi allontanatevi, disperati

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seguitemi, C minor, compositional draft for 4 strophes in variation. Strophe 3 begins on f. 153v, str. 4 on f. 152v. Fair copies which bear the MAP monogram are Barb. lat. 4223, n. 13 (q.v. for other settings) and 4203, n. 23. MURATA n. 182a. A version for SSB/B is Barb. lat. 4222, n. 10. 52 (ff. 154v-160) [PASQUALINI]. Deh, morir non si nieghi a un infelice, C minor, compositional draft for a cantata. Internal arias are Già sapevo, o cruda sorte; Contrastato un cor meschino and Io che mai sotto la luna. Rubrics includes “in aria” and “recitat.o.” A fair copy is Barb. lat. 4223, n. 43 (q.v.), where the text is attributed to Nicolo Foresta. MURATA n. 64a. A version for SB/B is Barb. lat. 4222, n. 14, is marked MAP. 53 (ff. 160v-163) [PASQUALINI]. Parole del P[rincipe] S.r D. Lelio Orsini. Filli, se tu non credi ch’io ti serva, ch’ io t’ami, E minor, compositional draft for a cantata. Marked “aria” is Vuol Cupido ch‘io mi lagni. A fair copy is Barb. lat. 4223, n. 34, which is marked MAP (q.v.). MURATA n. 96. 54 (ff. 163v-164) Già lo so che tocca a me, A minor; R-1-R-2-R, with the text of str. 2 written below the bass staff. Also anonymous in Barb. lat. 4208, n. 19. This item is not included in the table at the end of the volume. Ascribed to Luigi Rossi in RICCIARDELLI, p. 57, based on an erroneous notion that Barb. lat. 4208 contains only works by Rossi. CALUORI n. 334; MURATA n. 100. CALUORI n. 334 also lists a different, anonymous setting in F-Pa 948, ff. 72v-74v.

55 (ff. 164v-165) [PASQUALINI]. È pur bella Lilla mia, E! major; R-1-R. Draft in Pasqualini’s rapid compositional hand for Barb. lat. 4223, n. 10, which is marked MAP and attributes the text to Nicolao Foresta. MURATA n. 86. 56 (ff. 166v-167v) [PASQUALINI]. Dimmi sorte, a che donarmi, E! major, compositional draft for a multipartite aria. An anonymous fair copy is Barb. lat. 4221, n. 17. MURATA n. 70. 57 (ff. 168v-170v) [PASQUALINI]. D’anno in anno in van trapasso, C minor, R-1-R-2-R. Compositional draft for the anonymous fair copy Barb. lat. 4221, n. 52 (q.v.), where the text is attributed to Sebastiano Baldini. MURATA n. 62. 58 (ff. 171-176) [PASQUALINI]. Parole del S.r Principe di Nerula [sic = Flavio Orsini]. Presso un liquido cristallo, SB/B, A minor. Dialogue for Lilla (S) and Tirsi (B) that opens with a bass solo. A compositional draft for the anonymous fair copy Barb. lat. 4219, n. 24. Internal arias include Quest’empio ch’inganna (S), Due luci serene (B), Tirsi al certo credi al me (S+B), and Non sperar questo da me (SB). MURATA n. 185.

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59 (f. 176v) [PASQUALINI]. Io ci sono per le pelle, E! major, a compositional draft for the anonymous fair copy Barb. lat. 4221, n. 7. MURATA n. 119. 60 (ff. 177-184v) [PASQUALINI]. Da gli abissi del Herebo, su Furie, scatenatevi, B minor, compositional draft for the cantata Barb. lat. 4223, n. 40, which is marked “MAP” and titled Disperatione. The only aria is Rio rigor di crudeltà, which lacks a continuo part for str. 2-4 (f. 183v to the first system of f. 184v). Also anonymous in Barb. lat. 4204, n. 15, a professional fair copy. MURATA n. 59; CALUORI n. 316. Ascribed to Luigi Rossi without explanation in RICCIARDELLI, pp. 55 and 57. GHISLANZONI n. 70 erroneously accords it a concordance in Barb. lat. 4168. 61 (ff. 185-189) [PASQUALINI]. Un infelice core amò, servì, penò molti e molt’anni, B minor, compositional draft for the cantata Barb. lat. 4223, n. 28, where the text is attributed to Sebastiano Baldini. The strophes of the arias È cieco Cupido and Io lo so che’l duol sopporto are numbered; the aria Così le pene mie is marked adagio. On f. 189 appear the hands of both Pasqualini and Copyist B, who wrote just the 2d strophe of the closing refrain aria Io lo so che’l duol (see comments below). MURATA n. 239. The copies in Barb. lat. 4223, n. 35 (q.v.) and Barb. lat. 4203, n. 25, bear the “MAP” monogram. 62 (f. 190) [PASQUALINI]. E pur cerco, e pur sospiro, S/(B), C minor, compositional draft of the vocal line only for a binary aria; the continuo staves have signatures but no music. It is listed in the original table (f. 191) without a folio number. MURATA n. 87. Bound in parchment (210 × 270 mm), embossed in gold on the spine, front and back covers. Both covers bear the arms of Cardinal Antonio Barberini, jr at the center of double frames that contain additional bees. Gilt edges. The spine has four panels each with a Barberini bee. In modern black ink on the spine are the number “76” and a pink BAV sticker. Inside the front cover is the shelfmark XLVII.76, in modern black ink. The pages have been trimmed at the top. Visible watermarks are several variants of the 6-pointed star above a 5-pointed crown (ff. 47 to the end), and probably the cleric/saint in a shield (between ff. 2-38). There are 22 gatherings of four bifolios, and two of three bifolios (ff. 25-30 and 39-44). A single gathering of two bifolios, ff. 139-142, marks the end of the first, 6-stave section of the volume. This 6-stave section is divided after f. 103, where two folios were removed, leaving stubs only. Between f. 103 and f. 142 (with nn. 37-47) lie most of the sketches and compositional drafts whose titles do not appear in the final Table. Begin-

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ning with n. 48, folios 143-190 bear 8 staves; all but n. 54 in this last section of the volume are compositional drafts. The original foliation in Pasqualini’s hand extends from 1 to 1017 (at f. 116; he wrote numbers after 109 as 1010, 1011, etc.); this has been corrected by modern foliation in pencil after f. 76, where the original begins to err. Blank folios are ff. [II-III], and 193; blank staves only are on ff. 16, 37, 121, 140-142, and 168. Folios 75r and 104 have only clefs and signatures. An incomplete table of contents headed Tavola in Pasqualini’s hand appears on ff. 191-192 (on the first two of the three original end guard leaves); The Table lacks eleven items (nn. 2, 6, 10, 38, 40, 44-47, 60-61). Copyist A, Marc’Antonio Pasqualini, wrote all except nn. 18, 54, and three systems of f. 189 in n. 61, which are in the hand of copyist B, who is also the second hand in Barb. lat. 4204 and the copyist of Barb. lat. 4200. The letterone for n. 18, written by copyist B, was planned for; insufficient space was allotted for the initial letter of n. 58. Redundant calligraphic initials appear for nn. 50 and 52-53. Given the arms of cardinal Antonio Barberini, jr on the binding, it seems plausible that the volume was intended as a pre-ruled anthology and subsequently used by Pasqualini as a kind of workbook. The earlier items are fairly clean copies which Pasqualini may have later emended. As he did in other volumes, he would later use available empty staves to compose upon. The duet n. 37 (f. 101) might have originally been intended to start a new section of duets and trios; however, the items from f. 125 on (from n. 43) are mostly very messy compositional drafts. Barb. lat. 4205-4206 John Patrick Carey (aka Patrick Cary) was at the Venerable English College in Rome from Oct. 1638 to 1650. A Roman volume of musical settings of his poems is GB-Lbl Add. 58853; see WILLETTS 1976. Twenty-two items appear in Barb. lat. 4221 (1638); 14 in Barb. lat. 4220 (1654); five in Barb. lat. 4219 (1656); thirteen in Barb. lat. 4223 (1658) and seven in Barb. lat. 4203. See MURATA, Thematic Catalogue of Chamber Cantatas by Marc’Antonio Pasqualini, JSCM Instrumenta, vol. 3, 2016 (sscm-jscm.org).

Barb. lat. 4206 1692-1701 ca., 202 × 280 mm, II.121.I ff., 8-9 staves, 14 hands

Miscellany of eighteen arias and fourteen cantatas. Ten arias are from L’INGRESSO ALLA GIOVENTÙ DI CLAUDIO NERONE (nn. 7-16), Modena, Teatro Fontanelli, November 1692, text by Giovanni Battista Neri, music by An-

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tonio Gianettini (Zannettini). Two arias are from AMILCARE DI CIPRO (nn. 21-22), Bologna, December 1692, text by Alessandro Gargiera, music by Giovanni Paolo Colonna. One aria is from NERONE FATTO CESARE (n. 6) staged in Naples 1695, with music by Alessandro Scarlatti (first performed in Venice 1693, with text by Matteo Noris and music by Giacomo Antonio Perti). One aria is attributed to Carlo Cesarini (n. 18). Four arias remain unidentified (nn. 3, 17 and 19-20). The cantatas are by Giuseppe Aldrovandini (n. 26), anonymous (nn. 4 and 27), Giovanni Bononcini (nn. 2 and 32), Carlo Francesco Cesarini (n. 1, dated 1692), Dionisio Fregiotti (n. 5), Francesco Mancini (nn. 24-25), Alessandro Scarlatti (nn. 23, 28 and 3031), and perhaps by Tomaso Albinoni (n. 29). The scoring is S/B unless otherwise indicated. Four other scorings are: A/B (nn. 2, 12, 15-16, 20 and 30-31), Ms/B (nn. 23-24 and 26), S/TrB (nn. 14 and 17) and A/TrB (nn. 1819). Online in DVL. Barb. lat. 4206 1 (ff. 1-6) CERRINI [CARLO FRANCESCO CESARINI]. Parole del sig.r abbate [Donato Antonio] Leonardi, anno 1692. Lascia Febo le selve e torna al cielo, C minor to G minor, cantata. Three arias are Quanto è meglio in carta d’oro (C minor); Più del tronco immobil resta (G minor); and Stima un sogno ciò che vede (C minor). SCIOMMERI n. 33 includes a poetic transcription. The attributions and the date were added by the hand that added those for nn. 18 and 21 (cf. also nn. 7-8). Leonardi, who wrote opera librettos for Lucca in 1675 and for Zagarola in 1690 (LINDGREN/ SCHMIDT, pp. 210-212), was with Cesarini in Benedetto Pamphili’s legation to Bologna 1690-1693. Cf. SCIOMMERI, pp. 52-53; NIGITO 2008, p. 90; and H. Van der Linden, Benedetto Pamphilj in Bologna (1690-3): Documents on his Patronage of Music, in Royal Music Association Research Chronicle 47/1 (2016), pp. 87-144. 2 (ff. 8-13) GIO. BONONCINI. Voi che tutto dolente, A/B, D minor, cantata. Its two arias are Son tiranne del mio core and Io, sì, che son l’istesso. Nine concordances are known: GB-Cfm Mu.Ms. 649 (olim 52.B.3), pp. 151-155; GB-Lam 34, ff. 12v-14v; GB-Lbl Add. 31546, ff. 39-43v; GB-Lbl R.M.24.c.17, pp. 15-18; GB-Lgc G. Mus. 400, ff. 96-98v; GB-Ob Mus. d.20, ff. 67-71v (facsim. in ITALCANTAT 10, pp. 64-68); GB-Ob Mus. d.22, pp. 63-72; I-Pca D.I.1367, pp. 251-256; and US-Cn Case VM.1532.B.69L, ff. 33-37v. The copy in I-Pca D.I.1367, like Barb. lat. 4206, is for A/B in D minor; all other sources are for S/B in A minor. 3 (ff. 14-15v) Tu dirai all’idol mio che languendo l’alma va, str. 2: Le dirai che questo core sempre fido a lei sarà, D major. Also anonymous in I-Nc 34.4.14 (Arie 146/1), n. 3, ff. 5-6v; one strophe (T/B, C major), preceded by a TrTrB ritornello (Internet Culturale access).

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4 (ff. 16-21v) Sento nel core un certo ardore che poco a poco, G major, cantata. The second and third arias are Luci vaghe, luci belle and Voglio adorarvi, sì, bellissime pupille. The cantata text (but beginning Sento nel core un dolce ardore che poco a poco) with all three internal arias but different music is ascribed to Pietro Paulo Bencini in I-Mc Nose.B.78.15, S/B, B! major. This is not the cantata by Alessandro Scarlatti Sento nel core certo dolore (HANLEY 655), which includes the aria Temo d’innamorarmi sento.

5 (ff. 22-27v) DIONISIO FREGIOTTI. Il pallor del sembiante, le meste luci e gl’interrotti accenti, G minor, cantata. The two arias are Mio ben, mio bel tesoro and Vuoi veder se sono amante. Another copy attributed to “Fregiotti” is BAV Chigi Q.VI.74, pp. 101-115 (LIONNET 1980, pp. 287 and 295). 6 (ff. 28r-v) [ALESSANDRO SCARLATTI]. Vengo dove mi guidi, ma guidami al mio bene, B! major. For Pallante in III:8 of NERONE FATTO CESARE (Naples 1695). A transposed version of the aria in A major attributed to Alessandro Scarlatti in I-Nc 34.5.1 (= Arie 484/1), ff. 136-138 (Internet Culturale access), and B-Bc 15321/101, pp. 397-400 (both incipits online in RISM). See the comments below. Two further different settings are Perti’s setting of this aria for the first performance Venice 1693 and the aria that closes in C minor attributed to “sig.r Gio. Butie-” (trimmed, possibly Lulier) and to “Gio. del Violone” in D-Dl Mus. 1-I-2, 3, ff. 46-47v = pp. 91-94 and 74v-76 = pp. 148-151, respectively (accessible online via Dresden SLUB). This Dresden volume, Roman in origin, belonged to Agostino De Rossi. Lulier’s setting is likely to have been for the Rome 1695 production at the Teatro Capranica, which in general retained Perti’s music from Venice 1693.

7 (ff. 30r-v) [ANTONIO] ZANNETTINI [= GIANETTINI]). Comedia fatta in Modana dell’1692 di 9.mbre. Agl’amori, sì, sì, cor mio, F major. For Claudio Nerone in III:3 of L’INGRESSO ALLA GIOVENTÙ DI CLAUDIO NERONE (Modena 1692). The attribution, genre, city, and date are not in the hand of the music copyist, but were added later (see n. 8; cf. nn. 1, 18 and 21). 8 (ff. 30v-31) Del sud[ett]o [GIANETTINI]. Il sudor di mille f[r]onti ed il rio, C major. For Illisa in III:10 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). The attributions for nn. 7-8 are in the same hand. 9 (ff. 31v-32) [GIANETTINI]. Ch’io lasci mai d’amar, o questo no, A minor. For Illisa in II:15 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 10 (ff. 32r-v) [GIANETTINI]. Purché vi baci un dì, sì, sì, begli occhi, sì, D minor. For Claudio Nerone in III:5 of L’INGRESSO ALLA GIOVENTÙ (Modena

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1692). Strophe 2, which is not in Barb. lat. 4206, is sung by Valleria: Di viver lieta un dì. 11 (ff. 33r-v) [GIANETTINI]. M’innamoro, sì, m’innamoro, ma non voglio gelosa penar, C minor. For Illisa in I:15 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 12 (ff. 33v-34) [GIANETTINI]. Al nome solo del dio bambin, A/B, D major. For Valleria in II:6 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). The libretto has “Dio d’Amor” instead of “bambin.” 13 (ff. 34r-v) [GIANETTINI]. Sì, sì, che voglio anch’io un sen, che m’innamori, G major. For Tigellino in I:2 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 14 (ff. 35-36) [GIANETTINI]. Si vanti un cor gelato di non sentir ardor: a poco a poco, S/TrB, G minor. Marked “con violini unisoni.” For Claudio Nerone in II:18 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 15 (ff. 36v-37) [GIANETTINI]. Lasciar sì van pensier è pur soave al cor, A/B, G minor. For Valleria in II:5 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 16 (ff. 37-38) [GIANETTINI]. Gioca il Tempo, e la Fortuna chi più finge in un regnante, A/B, G major. For Valleria in III:12 of L’INGRESSO ALLA GIOVENTÙ (Modena 1692). 17 (ff. 40-41) S’al mio cor niega mercede, S/TrB, G major. “Cor” is written both before and after “mio.” Marked “aria con VV. all unisono.” 18 (ff. 42-45v) CESARINI. Parole dell’Em[inentissim]o Panfilio [Cardinal Benedetto Pamphili]. A l’aratro che primiero, tornerà nel nuovo solco, A/ TrB, F major, aria. “Aratro” is first written as “atro.” The attributions were added by the hand that added those for nn. 1 and 21 (cf. also nn. 7-8). Items 21 and 22 below are from a Bolognese production dedicated to Cardinal Pamphili, AMILCARE DI CIPRO. 19 (ff. 46-50) Nel veder partire il sole, ha ragione se si duole, A/TrB, D minor. 20 (ff. 50v-53) Ben sarebbe avara cura, str. 2: Non voler l’altrui contento e delitto d’un gran core, A/B, G minor. 21 (ff. 53v-54) [GIOVANNI PAOLO] COLONNA, M[aest]ro di Cappella in S. Petronio, 1692. Care speranze, tornatemi in sen, G major. For Irene in III:6 of AMILCARE DI CIPRO (Bologna 1692). The attribution and date were added by the hand that added those for nn. 1 and 18 (cf. also nn. 7-8).

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22 (ff. 54v-55v) [COLONNA]. Assistetemi, o dell’etra immortali deità, C major. For Irene in III:2 of AMILCARE DI CIPRO (Bologna 1692). 23 (ff. 56-59) ALESS.O SCARLATTI. Amo, peno e languisco, ardo, soffro e mi moro, Ms/B, D minor, cantata. The two arias are Impiaga quanto sai, ahi, che mi fai morir and Ma se ancor il cor è rio. HANLEY n. 44, gives music for the opening measures of recitative, lists Barb. lat. 4206 as the only known source, and questions the authenticity of the attribution to Scarlatti. 24 (ff. 60-63) [FRANCESCO MANCINI]. Celinda, anima mia, e l’una e l’altra face, Ms/B, B! major, cantata. The two arias are Tal’hor spargo un sospiro and È ingegno d’amante deriderne tante. Attributed to Francesco Mancini in D-B Mus. 30186, pp. 89-94 (KÜMMERLING, n. 1341; four musical incipits in RISM online ID n. 455031368), and GB-Lbl Add. 14227, ff. 147-152; both S/B, D major. Also anon. in Barb. lat. 4206, n. 25 below, S/B, E major. WRIGHT n. 29. Another setting is attributed to Giovanni Bononcini in D-LEm Becker ms. III.5.5 and US-IDt (both in RISM online with musical incipits).

25 (ff. 64-67v) [MANCINI]. Celinda, anima mia, e l’una e l’altra face, E major, cantata. See n. 24 above for further information. 26 (ff. 68-73v) GIOSEPPE ALDOVRANDINI. Mentre pittrice notte col pennello dell’ombra, Ms/B, A major, cantata. The two arias are È pur giunto a darmi pace and Fra l’ombra il dio d’amor. This work was printed in Aldrovandini, Cantate a voce sola, op. 2, Bologna, Marino Silvani, 1701, pp. 26-38. 27 (ff. 74-87) Già lacerato in mille parti e mille, A minor, cantata. The three arias are Cupido pietà d’un alma che more (2 str.), Non pretendo speranza in amore (2 str.), and Vattene rapido, Amor non ti vo’. Different music for this text is in Giovanni Battista Bassani, L’armonia delle Sirene: cantate amorosi musicali a voce sola, op. 2, Bologna, Giacomo Monti, 1680, pp. 78-99, with the subject title “Amante disperato per esser povero,” and the text attributed to Giovanni Battista Neri, poet of nn. 7-16 above.

28 (ff. 88-95v) ALESS.O SCARLATTI. Quanti affanni ad un core può far soffrire Amore, G minor, cantata. The two arias are Stando lungi dal bene che brama and Se a me non vieni, se a te non torno. HANLEY n. 599 lists sixteen concordances for Barb. lat. 4206. The copy in I-Nc 33.3.10 (Cantate 264), n. 22, has the subject title Lontananza in amore, while those in F-Pn Vm7 61bis, ff. 74-76v (collection Brossard), and GB-Lbl Add. 31487, ff. 32-42, bear the subject titles Pene amorose per lontananza. Additional concordances are GB-Lgc G.Mus. 449, n. 9 (misattributed to “Giov. Bononcini”), and GB-Mp Q544 Bk 51, ff. 33-36v (“Del Sig.e Aless.o Scarlatti”).

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29 (ff. 96-101v) [TOMMASO ALBINONI?]. Al fin m’ucciderete, o miei pensieri, G minor, cantata. The two arias are Io morirei contento per non penar così and Faria la pena mia piangere i sassi. Attributed to Albinoni in GB-Lbl Add. 31512, ff. 77-81v (S/B, A minor) and GB-SA FIN.M1612.S28. According to TALBOT 1990, p. 274, note 18, a misattribution is suspected, because the style of this cantata is uncharacteristic of Albinoni. HANLEY n. 21 lists thirty-one sources for Scarlatti’s different setting of this text.

30 (ff. 102-106) [A. SCARLATTI]. Del Tirreno su’l lido spargea note dolenti (recit.), A/B, E minor, cantata. The arias are Della bella il sospirare and Venere bella non lagrimar. Attributed to Scarlatti and dated “Xbre 1697” in DMÜs 3909. Anonymous in I-Rama A.3711. HANLEY n. 187. Musical incipits of each segment are in E. ZANETTI, Una raccolta sconosciuta di cantate da camera di Alessandro Scarlatti, in Studi Musicali 14/1 (1985), pp. 116-117. 31 (ff. 106-111v) ALESS.O SCARLATTI. Abbandonar Fileno dovea dell’idol suo (recit.), A/B, C minor, cantata. The arias are Vanne, misero, a morir; Restati in pace, mio dolce ristoro; and Se vedrai l’onde del mare. HANLEY n. 187 lists four concordances: Barb. lat. 4139, n. 24 (S/B, F minor; anon.); D-MÜs 869, pp. 1-16; D-MÜs 3910; and I-MOe Mus. G. 237 (anon.). The same musical setting is attributed to Francesco Gasparini in a sixth source: D-Mbs Mus. 1138, ff. 1-4v; facsim. in ITALCANTAT, vol. 7, pp. 1-5 and 255. 32 (ff. 114-121) GIO. BONONCINI. Infelice quel cor che vi crede, F major, cantata. Two more arias are Come vuoi che in lontananza and Non creder che fedele ti voglia l’alma mia. A second copyist wrote ff. 119-120. Part of the copy by the initial copyist must have been lost, damaged or discarded, because the B-section of the closing aria, on f. 121, is once again by him. Seven concordances are known: A-Wn 17748, ff. 54v-57v; D-B Mus. 30182, ff. 38-41 (KÜMMERLING, n. 1299); D-Mbs Mus. 11882, pp. 110-116; I-Mc Noseda C-65-7, pp. 46-50 (anon.); I-Nc Cantate 38, ff. 112-115v; I-PLc Arm.I.Pis.6, ff. 3-13; and I-Us Armadio 3 (2), ff. 10-13. The concordances are all in G or B! major; see RISM online for the copies in I-Nc, D-Mbs, and D-B. See CLORI n. 7093 for the first page of the copy in Urbino, Cappella del SS. Sacramento, with a poetic transcription (cf. C. INZERILLO, Una partitura del primo Settecento inedita e la scoperta di un compositore sconosciuto: Anastasio Lingua Napoletano, in Accademia Raffaello. Atti e Studi, n.s. vol. 1 [2008], pp. 43-48). Bound in parchment (221 × 280 mm). The number 77 is written in black ink on the spine. The shelf-mark XLVII.77 is written in black in inside the front cover. The gathering structures and rastrication, as analyzed in SCIOMMERI 2010, are individual to each item through f. 41 (n. 17) and again

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for nn. 28, 29, and 32. Items 18-22 form one fascicle and nn. 23-27 and nn. 30-31 form two others. The most common watermark is a fleur-de-lis within two concentric circles, which is found on more than thirty folios between f. 8 and f. 116; it is similar to HEAWOOD nn. 1591-1592 (without the letter V). Three hills surmounted by the letters A N within two concentric circles are found on ff. 81, 87, 89-90 and 101; it is similar to HEAWOOD nn. 1620-1623. An oval, which could be the top of a fleur-de-lis by itself, is found on ff. 4-5, 44-45, 49-50 and 53-55, which contain works by Cesarini, Colonna and anonymous. The final watermark, a face in a single circle, is on ff. 32-33 and 36-38 (and 119?), which contain arias by Gianettini. The first and last flyleaves are blank. Blank staves only are on ff. 7, 29, 39, and 112-113. Nine staves are drawn on ff. 88-95 (n. 28). The hand that foliated the ms. also provided a table of contents on fly-leaf [II]. This table omits thirteen items: six Gianettini arias (nn. 8-10, 12-13 and 15), the second Colonna aria (n. 22) and the final six cantatas (nn. 27-32). It does include the other nineteen items, plus one of the arias within n. 4 (Luci vaghe) and a recitative within n. 23 (“Vorrei sol che non tante”). The table given in CELANI, p. 139, is similarly defective: it lacks nine numbers (nn. 8-10, 1213, 15, 25, 29 and 31), includes the other twenty-three, and adds three (the two listed above plus the aria Venere bella within n. 30). Copyist A copied n. 1, which opens with a painted initial in gold, red, blue, and green of two putti holding the letter L. Copyist B copied n. 2. Copyist C copied nn. 3-4 and 26 Copyist D copied n. 5. Copyist E copied nn. 6 and 29. Copyist F copied nn. 7-16. Copyist G copied n. 17. Copyist H copied nn. 18-20. Perhaps nn. 19-20, both anonymous, are also by Cesarini, the composer of n. 18. Copyist I copied nn. 21-22. Copyist J copied nn. 23-25 Copyist K copied n. 27 Copyist L copied nn. 28, 30-31, and Barb. lat. 4139 (Copyist B) Copyist M copied n. 32, ff. 114-118 and 121. Copyist N copied n. 32, ff. 119-120. An examination of the ms., including its gathering structure is in G. SCIOMMERI, Le cantate da camera di Carlo Francesco Cesarini, tesi di laurea, Università degli Studi di Roma Tor Vergata, 2010, pp. 47-54. Ten arias from L’INGRESSO ALLA GIOVENTÙ DI CLAUDIO NERONE (nn. 7-16) are on ff. 30-39; they also bear an earlier foliation, ff. 15-24. The

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1692 libretto with the names of its singers is available online through the CORAGO portal. A score for the complete the opera is I-MOe Mus. F.499 (CHIARELLI, n. 751). The arias in Barb. lat. 4206 are for three sopranos and one alto. Domenico Cecchi (Claudio Nerone) sang nn. 7, 10 and 14; Anna Maria Torri (Illisa) sang nn. 8-9 and 11; the alto Lucretia Pontissi (Valleria) sang nn. 12 and 15-16; and Francesco de Grandis (Tigellino) sang n. 13. What each singer and instrumentalist was paid for nine performances, 9-29 November 1692, is listed in a ms. published in G.F. FERRARI-MORENI, Un dramma in musica rappresentato in Modena nell’anno 1692, in Messaggere di Modena, n. 593 (14 June 1851). AMILCARE DI CIPRO (nn. 21-22) was dedicated to the Roman Cardinal Benedetto Pamphili, who was serving as the papal legate to Bologna in 1692. He wrote the text for the unidentified aria, Barb. lat. 4206, n. 18. The 1695 Roman production of NERONE FATTO CESARE was dedicated to Felice Ventimiglia d’Aragona Pignatelli e Barberini, principessa di Palestrina. The address to the reader in the Roman libretto states that the Roman production of 1695 was based on the Venetian one of 1693, to a libretto by Matteo Noris, “senza haverlo alterato in alcuna cosa toltane la mutatione di alcune ben’ poche arie, la poesia, e musica delle quali si è presa da altro drama per servire all’angustia del tempo, al bisogna della scena & al genio de’ recitanti” (p. 5; SARTORI, n. 16424; FRANCHI, p. 686). Since lines 2-7 of the text to Venga dove mi guidi (n. 6 above) completely differ from the Venetian libretto (Vengo dove mi guidi: ma chi tieni in fronte il dì of only a quatrain), the Roman production could not have used Giacomo Antonio Perti’s music from Venice 1693 for this aria. (Both Venetian and Roman libretti are available online through the CORAGO portal.) According to Sartori (n. 16424), a score for the Roman production is in the Württembergische Landesbibliothek in Stuttgart, but one is not listed in RISM online and was not consulted. Lulier’s setting appears amid arias attributed to Perti for NERONE FATTO CESARE, and was likely composed for Rome. Alessandro Scarlatti’s score was also performed in 1695; his aria has the same text as Lulier’s. Barb. lat. 4206-4207

Barb lat. 4207 1660-1670 ca., 206 × 270 mm, II.134.II ff., 8 staves, one hand

Anthology of twenty-seven Italian cantatas and arias scored for soprano and basso continuo (S/B). All are anonymous, except for n. 26, attributed to Antonio [Pietro] Cesti. On the basis of concordances, five can be attributed

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to Carlo Caproli; nine, possibly ten, to Cesti; and one with less certainty to Luigi Rossi. Eleven remain anonymous. No poets are named, but they include Giovanni Filippo Apolloni, Sebastiano Baldini, Giampietro Monesio, and Salvatore Rosa. Online in DVL. 1 (ff. 1-6v) Dimmi sogno pittore, come, come facesti, G minor, 3 strophes in variation. 2 (ff. 7-12v) Aiutatemelo a dire, miei sospiri, A minor, cantata. A second aria is A voi chieggio pietà. 3 (ff. 13-16) [CARLO CAPROLI]. Conoscer quando inganna una beltà tiranna, D minor, 2 str. Attributed to Caproli in I-Nc 33.4.17b (Cantate ibride 8/2), ff. 25-29 (2 str.; Internet Culturale access). The text by Giampietro Monesio is in MONESIO, vol. 2, pp. 109-110. AFFORTUNATO 2011, n. 21 gives the musical incipit. Barb. lat. 4207 4 (ff. 16v-22) [CAPROLI]. Sentite un caso bello, D minor. Arias include Fingo morir per lui and Così me la passo. A ritornello is indicated by rubric, without any music. Attributed to “Carlo del Violino” in A-Wn 17765, ff. 49-58v. The text by G. Monesio is in MONESIO, vol. 2, pp. 20-21, with the subject title “Schernisce con passione la crudeltà di bella donna.” The text only is anon. in I-Rli Cors. 45.D.15, p. 527 (CARBONI 9, n. 12013). 5 (ff. 22v-26v) E perché non tornate, miei pensier’ amorosi, G minor. The only aria is Ritornate per pietà a tenere in vita un core. 6 (ff. 27-34) Toglietemi i respiri, aure vitali, F minor, cantata. Arias are E su l’ali d’un sospiro and Stelle armate, stelle care, which is marked “Aria adagio.” Ritornellos are indicated by rubrics, with no music. 7 (ff. 34v-40) [CARLO CAPROLI]. S’era alquanto addormentato, E minor. The only aria is Quando vi spezzerete. Rubrics include “adagio.” Attributed to “Carlo Caproli” in I-IBborromeo Misc. 2, ff. 98-11v. An attribution to Luigi Rossi heads B-Bc 17193, ff. 123-129; that in GB-Cfm MU MS 44 (olim 24.F.4), ff. 103-105v, is not by the music copyist. Anonymous in GB-Lbl Harley 1264, ff. 24-33v and Harley 1863, ff. 115v-21v. AFFORTUNATO n. 103. A modern edn is RIEMANN, Kantaten-Frühling, vol.1, pp. 50-59. The text by G. Monesio is in MONESIO, vol. 1, pp. 66-67, and anon. in I-Rli Cors. 45.D.15, p. 460 (CARBONI 9, n. 460). CALUORI n. 172 includes this cantata among Rossi’s; she also lists a different setting by Giuseppe Corsi in A-Wn 17765, S-B NB holm 215, and I-Nc 33.4.18a (Internet Culturale access).

8 (ff. 40v-47) [CAPROLI]. Sempre vostro sarò, C minor, 4 str. Attributed to “Carlo dal Viollino” in I-MOe Mus. E.243. AFFORTUNATO n. 112.

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9 (ff. 47v-50v) Non so se devo credere, D minor; R-1-R-2-R. The poem by Sebastiano Baldini as “Scioperato Buontempi” is in BAV Chigiani L.V.153B, f. 329, with the title L’Incredula and the subject title “Un cavaliere prommetteva gran cose ad’una dama, e questa gli cantò una canzone del seguente tenore.” CARBONI 11, n. 8448. 10 (ff. 51-56v) Lasciami Gelosia, che vuoi più, C minor. Marked “aria” are Fiero mostro del tuo rostro and the closing Voglio amar senza tormento, but not the internal Nulla senti il tutto credi. Also anon. in GB-Och 953, ff. 121-130. 11 (ff. 57-63) [CAPROLI]. Voi del sole che piangete, C minor. The opening is marked “Pia[no],” but this is probably a misreading for “Prima,” since the 2.a, 3.a, and 4.a [parti] are indicated; the rubric “ritornello” occurs before the last two. Attributed to “Carlo Caproli” in I-Bc Q.47, ff. 14-20v. AFFORTUNATO n. 131. 12 (ff. 63v-66) [CAPROLI]. Io mi struggo in lento foco, A minor. Marked “aria” is the arioso “O non vede o non crede.” Attributed to “detto” [= Carlo del Violino] in I-Rsc G.885, ff. 123-26v, and to “Carlo del Violino” in US-Eu MS 1, ff. 69r-72v. Anonymous in US-CA Mus. 106, ff. 70-72v. AFFORTUNATO n. 62. 13 (ff. 66v-74v) Su l’africane arene dove l’empia Biserta al ciel vicina, F minor. The only aria is Amore qual più t’avvanza (9 marked str. in variation). Another setting of the text is BAV Chigi Q.IV.5, ff. 63v-67 (CARBONI 12/3, n. 1694).

14 (ff. 75-80) [PIETRO/ANTONIO CESTI]. Sensi voi ciò che godete il finire ha per natura, D minor/major; recitative followed by the aria Pensieri contentatevi (R-1-R-2-R). Musical incipit in WECIS 1 and CALUORI n. 379 (Rossi unreliable). The text is by Salvator Rosa (cf. U. LIMENTANI, Poesie inedite di Salvator Rosa, Florence, 1950, pp. 52-53); a copy of the poem is BAV Chigiani D.II.24, f. 135 (CARBONI 11, n. 12449). Attributed to “Padre Cesti” in GB-Lbl Harley 1501, ff. 23v-25v; and to “Luigi” in I-Rc 2468 (accepted by RICCIARDELLI, p. 58.) Anonymous in F-Pn Rés. Vmc 78 (ex-Thibault), ff. 47r-v (incomplete); Rés. Vmf 14 (ex-Prunières), ff. 36-41v; and PL-Kj Mus. ant. pract. P 970 [3], pp. 36-39. BURROWS 1961, pp. 71-72, noted that the refrain “Pensieri contentatevi” is similar to an aria in Cesti’s opera ALESSANDRO VINCITOR DI SE STESSO (Venice 1651). Listed as by Luigi Rossi in OPAC-SBN. 15 (ff. 80v-86) [CESTI]. Ferma Lacchesi, ohimè, sospendi per brev’hora,

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A minor. Marked “aria” is È la vita un gioco labile (2 str.). Attributed to Cesti in BAV Chigi Q.IV.7, ff. 49-58v (CARBONI 10/1, n. 4615, and 12/3, n. 575); GB-Och 83, pp. 10-15; and I-Nc 33.4.17a, ff. 85-90v (Internet Culturale access). Anonymous in I-PEchiaretti, ff. 50-54v and I-Vqs 1439, ff. 15-21v (ROSSI-QS 14:3). Musical incipit in WECIS 1. Copies of the poem by G.F. Apolloni exist with various subject titles: BAV Fondo Chigi I.VII.273, ff. 10-11 (CARBONI 10/1 above); BAV Fondo Ferraioli 1, ff. 37v-38v, “Per la morte d’una dama del Ser.mo Arciduca d’Insprugg” [Ferdinand Karl]; I-PAc Palatino 573, ff. 79-80, “Morte improvvisa della contessa Giovanna de Tiriempac”; I-Rn Eborense 26, ff. 21-24, “recitativo per musica”; see MORELLI-G 1988, n. 21. CARBONI 8/1, n. 4333 lists this text incipit in I-Rli Cors. 2537, f. 130. 16 (ff. 86v-91v) [CESTI]. Era la notte e muto dentro un oblio profondo, F major. Marked “aria” and preceded by the bass line for a “ritorn[ell]o” is Astri fieri, astri fatali (3 str.). Attributed to Cesti in BAV Chigi Q.IV.13, ff. 85-92 (D minor with only 2 str. in the aria; facsim. edn ITALCANTAT 6, pp. 21-29; CARBONI 10/1, n. 4331; 12/3, n. 543). Musical incipit in WECIS 1. Copies of the poem by G.F. Apolloni exist with various subject titles: I-PAc Palatino 573, f. 68, “scherzo per musica”; I-Rn Eborense 26, ff. 9092, “Amante geloso, capriccio per musica”; and among the Campori autographs in I-MOe, unspecified ms., f. 39; see MORELLI-G 1988, n. 19. 17 (ff. 92-96v) Piangente un dì Fileno, C minor. Marked “aria” is Ah stelle perfide (3 str.). Musical incipit in WECIS 1[b]. The poem by G.F. Apolloni is in BAV Fondo Ferraioli 1, ff. 167-68v, “Lamento d’amante per musica, canzone”; I-Fn Palatino 285.IX, ff. 80v-81; I-Rn Eborense 26, ff. 99-102, “Lamento di Fileno”; and according to MORELLI-G 1988, n. 48, among the Campori autographs in I-MOe, in an unspecified ms., f. 6v. 18 (ff. 99-100v) [CESTI]. Alpi nevose e dure, E minor. Marked “aria” is Sì, sì voglio morir (2 str.). Attributed to Cesti in Barb. lat. 4157, n. 3 and to “Signor Cavalier Cesti” in I-Bc Q.47, ff. 247v-49v. Anonymous in I-PEchiaretti, ff. 39-41v; GB-Lbl Harley 1863, ff. 93v-96; I-Nc 33.5.16 (Cantate 31), ff. 121-25v. DE LUCCA 2009, Doc. 5, p. 277, reports a copy made in 1660-1662 (Arch. Colonna I.A.36). The poem by G. F. Apolloni is in I-PAc Palatino 573, ff. 87-88, “scherzo per musica”; and I-Rn Eborense 26, ff. 69-70, “capriccio per musica”; see MORELLI-G 1988, n. 3. Musical incipit in WECIS 1. Modern musical edns are TORCHIE, n. 22 (closing aria only); CESTI 1963, n. 2; and FULLER 1987/2006, n. 67. See also MURATA 2005, pp. 416-417. 19 (ff. 101-104v) Sin qui lunge da voi, dolce mio ben, G minor. The only aria is E s’io sorrido alquanto (A minor). Musical incipit in WECIS 1[b]. DE

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LUCCA 2009, p. 282, reports copies made in 1660-1662 (see n. 18 above) and again in 1674-1676, Doc. 12 (Archivio Colonna I.A.59). 20 (ff. 105-110) [CESTI?]. Quant’ è dolce il languir per chi lo sa, C minor. Marked “alegro” is the aria Occhi belli, occhi tiranni (D minor). Two concordances, originally anonymous, have attributions to Cesti that are not in the hands of the music copyists: GB-Och 947, ff. 117-28v, and I-Nc 33.4.15b, ff. 166-79v; OPAC-SBN lists the vol. as infra (15b), but in the Internet Culturale image, it is supra. DE LUCCA 2009 reports a copy made in 1674-1676 (Doc. 12, see n. 19 above). Musical incipit in WECIS 1. The reference to I-Nc 33.4.2 in WECIS 1 is to a different composition with different text.

21 (ff. 110v-116) [CESTI]. Partitevi respiri da quest’alma dolente, D minor. Arias are Chi segue bellezza and Non speri mercé (2 str.). Attributed to Cesti in F-Pn Rés. Vmf 19 (ex-Thibault), ff. 104-15v, and GB-Och 83, pp. 49-53. DE LUCCA 2009 reports a copy made in 1674-1676 (Doc. 12, see n. 19 above). Musical incipit in WECIS 1 and the concordance D-Kl 2o Mus. 34 with an original attribution to Cavalli. 22 (ff. 116v-118v) [CESTI]. Pose in fronte al mio tiranno, B minor; 2 str., text only for str. 2. “Del Sig. Cesti” in I-MOe Mus. G.259, ff. 1-10v. Musical incipit in WECIS 1. DE LUCCA 2009 reports a copy made in 1674-1676 (Doc. 12, see n. 19 above). A modern edn is CESTI 1963, pp. 63-70. 23 (ff. 119-121v) Vuol il Ciel ch’io stia legato, B! major. The second aria is Perché Filli è infedele. Musical incipit in WECIS 1(b). 24 (ff. 122-124v) [CESTI]. Potrebb’essere, chi lo sa, F major. Attributed to Cesti in P-La 47-I-65, ff. 23-24v. Anonymous in F-Pn Rés. Vmb 63, ff. 50-52v (in C major). Musical incipit in WECIS 1[b]. 25 (ff. 125-127) Fuora amici, andiam via, G major. The only aria is Il vitio regnante. Musical incipit in WECIS 1(b). 26 (ff. 127v-130) Sig.r ANT.O CESTI. Io non so che cosa m’habbia, D minor, R-1-R-2-R. Musical incipit in WECIS 1. The text by Sebastiano Baldini is in BAV Chigi L.V.153B, f. 292r-v, entitled Lo stordito; and in Chigi L.VII.234, f. 125v; see MORELLI-G 2000, n. 248, and CARBONI 12 /3, n. 919, and 10/1, n. 6365. A different setting by Carlo Caproli is I-Rc 2468, ff. 155-60v, and GB-Och 953, 41v-45v. AFFORTUNATO n. 63.

27 (ff. 130v-132v) [CESTI]. Il servir senza speranza è la palma, D minor, 2 str. Attributed to Cesti in I-Nc 33.4.15b (Cant. ibr. 4), ff. 67-72; OPAC-SBN

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lists the vol. as infra (15b), but in the Internet Culturale image, it is supra. Musical incipit in WECIS 1. Bound in parchment (214 × 274 mm), embossed on front and back covers, as Barb. lat. 4208, in gold with double floreated frames. The inside frame has two bees and two Giustiniani crowned eagles in opposite corners. In the center is a princely shield with the impaled arms of Maffeo and Olimpia Barberini, who married in 1653. On the spine appear a bee and a crowned eagle in two of four embossed panels, as well as a pink Vatican sticker and the number 78 written in black ink by a modern hand; it also wrote the shelfmark XLV78 [sic]. The front and back pastedowns are of marbled paper. In gatherings of two bifolios. The watermarks are associated with Rome: a star above a crown, and a six-pointed star above a circle with an anchor and the letter N inside (neither type is exactly in HEAWOOD). Front flyleaves and ff. [136-137] are blank. Blank staves only are on ff. 133-134. The foliation in ink is original. The single copyist (A) also wrote the table of contents on the first end guard sheet f. [135]; it has 26 items and omits n. 21. A large, elaborate calligraphic initial (not redundant) appears for the first item only. The manuscript was probably copied after Cesti’s first arrival in Rome at the end of 1659. Caproli served the Barberini from 1657 to 1664. Maffeo Barberini joined the Order of the Golden Fleece in 1671, which insignia does not appear in the stemma of this volume. Barb. lat. 4207-4208

Barb. lat. 4208 1654-1670 ca., 205 × 272 mm, III.150.II ff., 8 staves, one hand

Anthology of thirty-eight chamber arias and cantatas for soprano and basso continuo. All are anonymous except for nn. 23 and 29, which have attributions added by Marc’Antonio Pasqualini. Nineteen can be attributed to Roman composers on the basis of concordances: Luigi Rossi (12), Carlo Caproli (3), Marco Marazzoli (2), Giacomo Carissimi (1) and Marc’Antonio Pasqualini (1). All but Carissimi served the Barberini at different times. Eighteen remain anonymous. No poets are named, but attributions from concordances include Domenico Benigni (n. 9), Francesco Melosio (nn. 14, 35), and Stefano Vai (n. 16). Musical incipits for all compositions are given in CALUORI 1981, due to the mass attribution of the contents to Rossi in GHISLANZONI. The binding bears the impaled arms of Principe Maffeo Barberini and his wife Olimpia Giustiniani, dating it from after their marriage late in 1653. Scoring is S/B unless otherwise indicated.

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1 (ff. 1-3v) [S]ovra un sasso addolorata, A minor, cantata (on Ariadne and Bacchus). The only aria is Che sole già spento. CALUORI n. 386. 2 (ff. 4-8v) [S]u la sponda ove fremea, A minor, cantata. Other arias include Ah, non più, s’armi a miei danni and Di costanza saldo sendo il mio cor. CALUORI n. 391. 3 (ff. 9-13v) [CARLO CAPROLI]. [T]u mancavi a tormentarmi, crudelissima speranza, C minor, 3 strophes. Attributed to Carlo Caproli in I-Bc Q.46, ff. 15v-16v and to “Carlo del Violino” in I-Rc 2468, ff. 13v-36v. Anonymous in GB-Lbl Harley 1501, ff. 25v-26v, and I-Rdp 51, pp. 70-71. Modern edn in DALL’ALBERO & CANDELA, n. 21. See further AFFORTUNATO n. 120. CALUORI n. 399 explains the attribution to “M. A.” [Pietro/Antonio] Cesti in GEVAERT, vol. 1, n. 24 (repeated in PARISOTTI 1890, pp. 44-48) as based on the proximity of other Cesti attributions in Gevaert’s source, a copy of the Harley version in B-Bc 588 (n. 3). Gevaert’s published edition is likely the source for IVnm It.IV, 740 (= 10313), ff. 1-5v, which attributes the aria to “M. A. Cesti” and Cesti’s Orontea, 1649; but the ms. is a modern forgery. A defective anon. source is I-Vnm It.IV, 743 (= 10317), ff. 21v-27, also headed Orontea. Both Venetian mss. have only one strophe. The aria was arranged for string orchestra and harp by Leopold Stokowski (New York 1949), B.B. 438.

4 (ff. 14-16) [MARCO MARAZZOLI]. [G]ioir non si può quando il sospetto, B! major, R-1-R-2-R. Also anonymous in BAV Chigi. Q.VIII.180, ff. 61v62v, a Marazzoli holograph (ca. 1655-1658); and I-Rc 2477, ff. 147-52v. CALUORI n. 335; CARBONI 10/1, n. 5459. 5 (ff. 16v-18v) [T]ormentato mio cor lascia d’amare, F minor, 2 str. Anonymous in GB-Och 953, ff. 46-50. CALUORI n. 394 also gives a different setting by Antonio Farina in I-Fc Basevi CF.48 (olim B.XV.3808), for which a modern arrangement by Guido Tacchinardi is I-Fc C.11.AU.11 (olim ms. 2494), pp. 24-27.

6 (ff. 19-20v) [LUIGI ROSSI]. [H]o perduta la fortuna, che fuggendo ogn’hor mi va, str. 2: Mi mostrò lieto il sembiante, E minor; text only for str. 2. Attributed to Rossi in F-Pn Vm7 6, f. 1; anonymous in F-Pa 948, ff. 51-53. CALUORI n. 83 notes that the 2nd section of strophe 1 that begins “Pensieri dolenti fortuna cercate” has erroneously been listed in various catalogues as an independent piece. Barb. lat. 4208 7 (ff. 21-22) [G]ià fiero il tormento s’accrescan’ le pene, Tr/Bar, E minor, 3 str. (text only for str. 2-3). CALUORI n. 333. 8 (ff. 22-28v) [G]ià dalla bella Aurora arricchiti di perle, E minor, cantata. Arias include Canori augelletti che sul mattin scherzate, Di piaga incurabile

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and Deh, prendi conforto in tanto martire. Also anon. in I-Rc 2466, ff. 1-12v. CALUORI n. 332. 9 (ff. 29-33v) [L. ROSSI]. [P]resso un ruscel sedea un huom di crin canuto, S/T, E minor, cantata. An internal aria is Oh come tranquille con passo d’argento (str. 2 Oh come sereno con placide aurette). Attributed to “Luigi Rossi” in BAV Chigi Q.IV.11, ff. 153-62v, and to “Luigi” in GB-Och 949, ff. 61-68v. Anonymous in BAV Vat. mus. 426, ff. 89-94, headed “Morale”; in GB-Lbl R.M. 24.i.11, n. 22 (where “Luigi” is not written by the music copyist); and in I-Rc 2466, ff. 175-82v. CALUORI n. 149. Attributed to “Carissimi” in I-MOe Mus. G.41 (dated 1662), with a text attribution to Domenico Benigni and the subject title “Quanto sia instabile l’età dell’uomo”; this copy is listed in SARTORI 1975, p. 77 (as in A minor), and WECIS 5/2 (as an unreliable attrib. to Carissimi). 10 (ff. 34-37) [A]mor, sai perché così tu m’oltraggi?, A minor, R-1-R-2-R (str. 1 of quinari; str. 2 of senari). Also anon. in the Roman miscellany I-PAc Borbone Borb. 431 (olim CF-III-1), ff. 144-150; and I-Rc 2466, ff. 217-223. CALUORI n. 298. 11 (ff. 39v-43) [D]entr[o] negra foresta dove già la portò desio di morte, B minor, cantata (on Armida and Rinaldo). An aria is Se d’amor contro un’ rebelle. CALUORI n. 319. The copyist wrote the first word as “-entre;” the table to the ms. reads “Dentro.” 12 (ff. 43v-46) [L. ROSSI]. [C]hi non ha speranza alcuna, E minor, R-1-R2-R. Attributed to Rossi in F-Pn Vm7 6, ff. 16r-v, and I-Rc 2477, ff. 23-28v. CALUORI n. 39. 13 (ff. 46v-50) [L. ROSSI]. [M]entre sorge dal mar la bella Aurora, E minor, cantata. Marked “aria adagio” is Solo Aminta sventurato, succeeded immediately by Noiosi pensieri (B minor) and Fe’ che solca un mar di pene (E minor). Attributed to Rossi in I-Rc 2466, ff. 37-46v (facsim. edn in ITALCANTAT, vol. 1, n. 4). Also anon. in I-Rc 2475, ff. 129-38v. CALUORI n. 114. 14 (ff. 50v-54) [L. ROSSI]. [P]atienza tocca a me di languir sempre così, A minor, cantata. “Del sig.r Luigi” in I-Rc 2466, ff. 117-24v (facsim. edn ITALCANTAT, vol. 1, n. 8). Also anon. in the Italian ms. GB-Och 959, ff. 21-27v. CALUORI n. 142 gives the musical incipit. The text by Francesco Melosio is in MELOSIO 1678/2, pp. 85-86 (HOLZER 1990, p. 361); a copy attrib. to Melosio is in I-Rli Cors. 45.D.15, p. 503 (CARBONI 9, n. 9130) A different setting is I-GR Crypt. It. 2 (12), ff. 42-48v; cf. CLORI n. 4581, which gives a facsimile of f. 42 and the poetic text.

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15 (ff. 54v-57v) [I]n sì dura lontananza dove volgo il piede errante, E minor, R-1-R-2-R. CALUORI n. 344. 16 (ff. 57v-62) [L. ROSSI]. [S]opra conca d’argento la bella Citherea, B! major, cantata. The only and closing aria is Non ha core, no, non ha core (R-1-R-2-R). Attributed to Rossi (as “del d[ett]o”) in both I-Bc V.289, ff. 7784v, which attributes the text to Monsig. [Stefano] Vai, and I-Rc 2480, ff. 27-34v (CLORI n. 507 includes a facsimile image of f. 27 and a poetic transcription). Also anonymous in the Venetian anthology BAV Chigi Q.VII.99, ff. 49-53. CALUORI n. 177. 17 (ff. 62v-66) [L. ROSSI]. [C]osì va, dice il mio core, F major, R-1-R-2-R. Attributed to Rossi in F-Pn Vm7 6, ff. 15v-16, and I-Nc 33.4.12a, ff. 109114v (Internet Culturale access). CALUORI n. 51. Modern edn in PRUNIÈRES 1914, pp. 15-18. 18 (ff. 66v-69v) [L. ROSSI]. [C]on Amor si pugna in vano, F major, R1-R-2-R. Attributed to Rossi in I-Rc 2466, ff. 109-112. Anonymous in I-Nc 33.4.15a, ff. 89-92, attrib. to “Tenaglia” not in the hand of the music copyist; OPAC-SBN lists as 15a; it was the upper volume, but the vol. is infra in the Internet Culturale digitization. CALUORI n. 48. 19 (ff. 70-72)[MARC’ANTONIO PASQUALINI?]. [G]ià lo so che tocca a me, A minor, R-1-R-2-R. Anonymous in Barb. lat. 4205, n. 54, a copy that lacks any paleographic grounds for attribution, but is probably by him. CALUORI n. 334. MURATA n. 99. A different, anonymous setting is F-Pa 948, ff. 72v-74v.

20 (ff. 72v-75v) [CAPROLI]. [M]e ne contento, non ricuso pena alcuna, B minor, R-1-R-2-R. “Del Sig. Carlo dal Violino” in I-Rc 2468, ff. 73-80v; also anonymous in GB-Och 953, ff. 35v-41, and I-Rc 2475, ff. 53-58v. CALUORI n. 348; AFFORTUNATO n. 69. 21 (ff. 75v-78v) [GIACOMO CARISSIMI]. [V’]intendo occhi, v’intendo, voi mi volete morto, A minor, cantata. Attributed to Carissimi in GB-Lbl Harley 1501, ff. 21-23, and I-Rc 2479, ff. 193-98v. Anonymous in D-Mbs 1524, ff. 152-55bisv; I-GR Crypt. It. 3, pp. 137-143; I-Nc 33.4.11b, no. 42 (G minor); I-Rc 2482, ff. 74v-78 (A/B, D minor); US-SFsc *M2.5 v. 69 (olim Misc. V.LXVIII), ff. 21-27. CALUORI n. 404; SARTORI 1975, p. 85; WECIS 5/1. 22 (ff. 79-80) [MARAZZOLI]. [S]prigionami, o sdegno, dal regno d’amore, A major, 2 str. Attributed to Marazzoli in BAV Chigi Q.IV.11, ff. 89-97v and IMOe Mus. G.117. Anonymous in Chigi Q.VIII.180 (ca. 1655-1658), ff. 32r-v, a Marazzoli holograph; B-Bc 694 (olim F.A.VI.38), ff. 133-36v (with a later

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addition of his name); and I-GR Crypt. It. 2, ff. 118v-20v (cf. CLORI n. 4628 which includes the poetic text); I-Rc 2477, ff. 158-61v; and P-La 47-I-65 (a Roman anthology), ff. 8v-10 (G major). CALUORI n. 387. Caluori n. 387 also lists the different setting I-Nc 33.4.17a, ff. 91-94, by Mario Savioni.

23 (ff. 80v-83) [PASQUALINI]. MAP. [S]u la rota di Fortuna, posa lieta la mia fé, C minor, cantata. The opening aria has 3 str.; the second, closing “arietta” is Se legge tiranna comanda così. Attributed to Pasqualini in I-MOe Mus. G.155, dated 1662. Anonymous in Barb. lat. 4220 (dated 1654), n. 45 (q.v.). Arranged by Pasqualini for SB/B in Barb. lat. 4222, n. 17. CALUORI, n. 390; MURATA n. 230a. 24 (ff. 84-88v) [N]on mi turbate più, pensieri amanti, G minor, cantata. Marked “aria” is Dite pur quanto sapete. Also anonymous in F-Pn Vm7 8, ff. 73v-75. CALUORI n. 357. 25 (ff. 89-91v) [B]egl’occhi tiranni, e dove s’intese, G minor, cantata. Another aria is S’audir non piegate. CALUORI n. 305. RICCIARDELLI, pp. 59 and 111, gives an incorrect concordance A-Wn 17762, ff. 106-17v, which is Begl’occhi tiranni, che pretendete da un cor.

26 (ff. 92-95v) [L. ROSSI]. [H]ora ch’ad eclissar la luna audace, E minor, cantata. The only aria is Col pianto degl’occhi (monologue for Celinda). The index to this ms. reads: “… ad ecclissar il sole” (f. 150v), but the reference is to the Ottoman crescent. Attributed to Rossi in I-Rdp 51, ff. 1-7. CALUORI n. 84. 27 (ff. 96-101) [S]ommergetemi o pianti, sospir rapite al duolo, A minor, cantata. The closing aria is Dunque va malinconia. CALUORI n. 385. 28 (ff. 101v-104v) [L. ROSSI]. [S]u, consiglio, o miei pensieri, F minor, cantata. A second aria is Bellezza gradita d’un stuolo de cori. “Del d[ett]o” [Luigi Rossi] in I-Rsc G.885, ff. 29-36v. CALUORI n. 189. 29 (ff. 105-108v) S.[r] LUIGI ROSSI. [S]parite dal volto, loquaci pallori, C minor, cantata. Other arias are Da per legge a me Cupido (C minor) and Tornate nel seno (C minor, 3 str.). The attribution to Rossi was written by Marc’Antonio Pasqualini. CALUORI n. 183. 30 (ff. 109-111) [L. ROSSI]. Su la veglia d’una speme, C major, R-1-R-2-R. A passage in the refrain has 3-part harmony on the vocal line for the three statements. Attributed to “Luigi” in BAV Barb. lat. 4163, n. 1, q.v. for five other sources. CALUORI n. 188. 31 (ff. 111v-114v) [C]he ti resta, o mio core?, E minor, cantata. An aria

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is Ahi, che delira. Anonymous in B-Bc 695 (olim F.A.VI.20), ff. 29-40v, and Bc 24092, ff. 29-39v/pp. 57-78 (volume headed “Ant.o Fran.co Tenaglia,” not seen); F-Pn Vm7 1, ff. 102-13v; and I-MAC Mus. 113.43 (olim 78), ff. 152-55v. CALUORI n. 310. 32 (ff. 118-121) [A]mor con strana doglia tiranneggia superbo il mio pensiero, E minor, three parti, only partially in variation. CALUORI n. 297. 33 (ff. 121-125v) [CAPROLI]. [I]n questa oscuritade horrida e negra, C minor, cantata. The closing and only aria is Sì, voglio ridere pur di core (R-1-R2-R). Attributed to “Carlo del Violino” in GB-CKc 22, ff. 189v-92, according to CALUORI n. 343. AFFORTUNATO n. 60 lists two further concordances for the aria alone, as Voglio ridere pur di cuore: D-SWl Mus. 4718a, pp. 60-63, and F-Pn Rés. Vmd 26, ff. 63-72v, both with attributions to “Carlo Caproli.” 34 (ff. 126-130) [B]ella cosa sarebbe amore, se non fosse la crudeltà, D major, R-1-R-2-R. CALUORI n. 306. 35 (ff. 130v-135v) Affetto più bizzaro di questo ch’io vi narro, C major, cantata. The only aria is Una bella che bella non è (R-1-R-2-R, the rubric “p[rim]a” is misplaced at the head of the refrain). CALUORI n. 293 gives the musical incipit. The text by Francesco Melosio is in MELOSIO 1678/2, pp. 146-147 (HOLZER, p. 360). 36 (ff. 135v-140v) Se noto io fo’ quel stravagante affetto, A minor, cantata. Arias are Tra le rughe d’antico sembiante and Coi capelli d’argento belli, between which appears the rubric “rit[ornell]o”; and Nel suo core mai cessa l’ardore. CALUORI n. 378. 37 (ff. 140v-144) Cara bocca, se ride o parla, D minor, R-1-R-2-R. Also anonymous in B-Bc 566/2 (olim F.A.VI.23), ff. 9-16v, and GB-Lbl Harley 1266, ff. 83-92v. CALUORI n. 307. 38 (ff. 144v-147) Una mano di puro latte, G minor, 2 str. CALUORI n. 401. Bound in parchment (214 × 273 mm), tooled in gold and embossed with the Barberini bees and impaled arms of Prince Maffeo Barberini and his wife Olimpia Giustiniani on front and back covers. On the spine are two bees in gold, facing downward; a pink Vatican sticker and the number 79 written in black ink by a modern hand that also wrote the shelfmark XLVII.79 in black ink inside the front cover. Gilt edges. In gatherings of two bifolios throughout on paper of uniform Roman watermark (praying cleric in shield of the general type Heawood n. 1352), except for the flyleaves. The original foliation in ink omits the number 77. Front and two of the three original back guard sheets are blank. Blank staves only are on ff. 115-117,

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148-149. A table of contents with 38 items in the hand of the music copyist is on the original first end guard sheet, now f. 150r-v. Ten items are marked with a cross, but not by the copyist (nn. 5-6, 9, 13, 15, 17, 19, 23, 30-31), but what the mark means is not apparent. Calligraphic initials are lacking, and also initial text letters for all but the last four anonymous cantatas. The professional copyist, Giovanni Antelli (d. 1696), appears also in Barb. lat. 4220 (vol. dated 1654) n. 5, and as copyist A in Barb. lat. 4158, as well as in scores in the Chigi collection, e.g., Chigi Q.IV.11, ff. 1-6v and Q.V.57 L’EMPIO PUNITO (first performed Rome, 1669). See other mss. in his hand in RUFATTI 2006 and 2007. RICCIARDELLI ascribed the contents of the entire ms. to Luigi Rossi (pp. 58-63), as does OPAC-SBN, except for nn. 9 and 23. Barb. lat. 4208-4209

Barb. lat. 4209 After 1662?, 206 × 270 mm, 48 ff., 8 staves, two hands

Score to the oratorio SANTA CATERINA for SSATB soloists, two violins and basso continuo ensemble, including a lira. The libretto is by Lelio Orsini; music by Marco Marazzoli. Roles are Testo/Fede (S), Massimino (B), S. Caterina (S), due soldati (AT), and Speranza (A). 1 (ff. 1v-2) [Intr]oduttione, TrTrB [= VV/bc], G minor. 2 (ff. 3-24) Prima Cantata. Poesie di S[ig.] D[on] [Lelio Orsini]. Testo: [C]on torbide procelle da nem[ici di Cristo], S/B. The upper right corner is damaged. The closing “mad[rigal]e a 5” is Ah’ che troppo è palese. Desinet “D’una vera speranza e viva fede.” 3 (ff. 27-48) Seconda Cantata. Testo: Da custodi malvaggi fatto al reg[g]e paterno, S/B. The closing ensemble a 5 is Misere e non vedete che mendiche sarete. Desinet “Chi non possiede il ciel, nulla possiede.” Modern edn in GRAMPP 2001, 1: 69-87 (libretto); 2: §III.1.2.3 (music). Bound in parchment (217 × 280 mm) with the cover title: Oratorio di/ Santa Caterina. On the spine below a pink Vatican sticker, is the number 80, written in black ink in a modern hand, which also wrote the old shelfmark XLVII.80 inside the front cover, where there is another pink sticker. Both the cover and several damaged pages have recently been repaired and restored (since 2000). In ten gatherings of two bifolios, except for single bifolios beginning ff. 1, 23, 25, and 47. Watermarks associated with Rome are the kneeling saint/cleric in a shield; the fleur-de-lis in a double circle;

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and the stag in a circle, some of the latter with the letter P above; see also GRAMPP 2001, vol. 1, p. 24. The upper right quadrants of ff. 1-17 and 3748 were extensively worm-eaten and crumbled away, with loss of music. The foliation in pencil is modern. Folios 25-26 have blank staves only. The copyist is Marc’Antonio Pasqualini throughout (Hand A), except for the instrumental introduction, ritornelli (e.g., f. 20v) in the first cantata, and violin parts in the closing madrigal of part 2 (Hand B, not a professional copyist). Barb. lat. 4209 The libretto is attributed to Lelio Orsini in manuscript copies in I-Rv mss. P. 1 (dated 1677), P. 4 (dated 1679), and P. 70; the copy in I-Ras Cartari-Febei, busta 212 gives one date of performance of 25 November 1670 at the Chiesa Nuova in Rome (cf. MORELLI-A 1986, p. 104, n. 240). MISCHIATI 1962 also lists a S. Caterina in a set of Oratorian inventories with the same text incipit, whose text is attributed to Lelio Orsini and its music to Marco Marazzoli (MISCHIATI 1962, nn. 14, 212, 275, and 291). The damaged upper right corner of f. 3 of 4209 appears to read “Poesie di S.[r] D …”. With ultraviolet light, SPECK discerned “Poesia del S. [oder ‘L’] O.” (p. 393). GHISLANZONI read the damaged attribution as “ ‘Poesia del sig. [Fa] bio’ o Gio….” and also gives musical incipits (pp. 104-107). RICCIARDELLI discerned only “… io.” A modern edition of the libretto is n. 65 on the companion CD-ROM in SPECK. Alessandro Stradella also set Orsini’s libretto, possibly the oratorio performed in Florence in 1683, 1687, and 1690 (GRAMPP 2001, §I.5.3, citing C. GIANTURCO, Alessandro Stradella (1639-1682), Oxford 1994, pp. 205-206).

The inventories’ naming of Marazzoli is supported by a secular version of the aria on ff. 29-31, Deh non più Signor, non più. The contrafactum Deh non più Amor, non più, BAV Chigi Q.VIII.177, ff. 136v-38, is attributable to Marazzoli as his holograph. For the oratorio, Orsini, and perhaps Pasqualini, revised an earlier composition. Since Marazzoli’s hand is nowhere in evidence, and given the type of watermarks present, Pasqualini may have edited Marazzoli’s score and added instrumental parts posthumously (“handelt es sich möglicherweise um die Fassung eines Oratoriums, das ursprünglich ohne Instrumentalsätze konzipiert war und durch den Zusatz von Introduttione und Ritornellen eine Bearbeitung erfuhr,” GRAMPP 2001, vol. 1, p. 308). SPECK similarly regards Pasqualini as the editor of 4209 who may have added the instrumental passages and parts for the violins (pp. 393-395). See SMITHER, vol. 1, pp. 191-194; GRAMPP 2002 and 2001, vol. 1: §II.1.2.3; and SPECK, pp. 392-411 (with four substantial musical exx. and two facsimile pages from Barb. lat. 4209). GRAMPP 2001 notes that the latest possible date of composition would have

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been St. Catherine’s day, 25 Nov. 1661. RICCIARDELLI, pp. 63-65, erroneously considered the hand to be Luigi Rossi’s and therefore also the music. The oratorio has been recorded on the CD Reliquie di Roma II: Caro sposo; ensemble Atalanta, Erin Headley, dir., Destino Classics (2012), with the Italian libretto and an English translation. Barb. lat. 4209-4210

Barb. lat. 4210 1681, 208 × 282 mm, 98.I ff., 8 staves, 5 hands

Act I of the Comedia intitolata DALLA PADELLA ALLA BRAGIA, fatta in Palestrina in occasione delle nozze della sig.ra D. Costanza Barberini, con il s.r Duca di S. Marco di Casa Gaetani l’anno 168[1] @ 20 gen.o. Parole del s.r Abb. [Domenico Filippo] Contini, musica di D. Ang[el]o Olivieri alias de Massimi (f. 1). The five roles are Gordiano (B) from Palestrina; Costumia (Ms), wife of Gordiano; Cintia (Ms), daughter of Gordiano, who loves Leandro; Leandro (T) from Rome, who loves Cintia; and Tresca (S), servant of Leandro. A full complement of instruments consists of four parts TrTrMsB; the continuo line is hardly figured. The work, set in Palestrina, appropriately ends with a marriage. Numerous alterations were probably made for one or more revivals in or after 1681. Acts II-III are Barb. lat. 4211-4212. Online in DVL. 1 (f. 2-97) Atto P.o. Leandro: Se il paterno rigore, lungi dal Tebro ov’il mio ben risiede (T/B). In fourteen scenes. The first aria, in the principal copyist’s hand, is Tacete, partite, volanti sirene, T/B, E minor, with TrTrB instruments (I:1). The last aria in I:14 is Gordiano, se m’ami non pormi in cimento, a duet for Gordiano and Costumia (MsB/B, D minor, 2 str.). It originally ended the act with the words “al fin della festa vedrem chi più può.” The “Fine del P. Atto” was cancelled and a phrase sung by Gordiano was added by the hand of f. 2, followed by a section in the principal hand that introduces a closing balletto. Desinet [Gordiano] “Hor via che più si tarda. Dimenate le membra alla gagliarda” (f. 97v). 2 (ff. 98r-v) Balletto and Sarabanda, B only, D major; Il Rigadone and La sua Boré, TrB, C major. The two pages are in two different hands. At the bottom left of f. 98v is the number “267.” Bound in cardboard covers (220 × 277 mm); a new pair of cardboard covers with two fabric ties now encloses the volume. Cover title: Atto primo. On the spine a pink BAV sticker and the number 81 written by a mod-

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ern hand. Inside the front cover, the shelfmark XLVII.81, written in black ink by a modern hand. The watermark of a fleur-de-lis in two concentric circles with a C above is found on forty-one folios between f. 4 and f. 95; its lower half of three hills is found on ff. 24 and 31. The foliation in pencil is modern. The original opening flyleaf, now numbered f. 1, became the titlepage. The closing flyleaf is blank. One folio [4bis], which formed a bifolium with the added present f. 2 (176 × 237 mm), was removed. Hand A copied the original version of the entire three acts of the opera, Barb. lat. 4210-4212. In act I, Hand B copied the opening added recitative (f. 2r-v) and the inserted phrase for Gordiano (f. 96v). Third and fourth hands (C and D) copied the middle of the inserted scene I:12bis for Cintia (ff. 81v-82). The dances at the end are by copyists E and D (f. 98 and 98v); the hand of f. 98v resembles the music and not the text hand of f. 81v, system 3, to f. 82v. (See also f. 58v.) Some of the many alterations, which were often made hastily or squeezed in, might be in the hand of Olivieri, the composer, or a later arranger. Barb. lat. 4210 On the front cover a 17th-century hand made a note “fogl. 23 – – 24 / a 7.6-” Many ritornellos, whether written for continuo alone or with treble instruments, were partly or totally struck through and then obliterated by pasting a piece of paper over them. Sixteen of the arias have two strophes, and the second was apparently deleted in some performances: e.g., “non si dice” on f. 19v indicates that str. 2 of Cintia’s Care piante, amiche fiori was not sung; similarly the sewn together ff. 53-58 indicate that the second strophe of Costumia’s Quanto gode il cor mio was omitted at some performance. “Cintia scena” (I:12bis) on ff. 80-82 and copied by Hands A and C, provided her with two more arias, Dimmi Amor quanto starai and È meglio morire che viver tacendo (2 str.). The first was later marked “alla 5.a bassa,” while the second was marked “alla 3.a alta.” In the original version, the part of Cintia is notated in mezzo-soprano clef and was given the only extraordinary accompaniment in the act: MsMsB for Incomincio innamorarmi (I:8, from f. 42v), which was later marked “alla 5.a bassa.” An instrumental part in mezzo-soprano clef was later added to the ritornello for her aria Di divenir amante ho gran curiosità (I:5) which is also marked “alla 5.a bassa.” The first performance of DALLA PADELLA ALLA BRAGIA celebrated the marriage of Costanza Barberini (1657-1687), eldest child of Maffeo, prince of Palestrina, with Gaetano Francesco Caetani (1656-1716), prince of Caserta and heir of Filippo II, duke of Sermoneta (PECCHIAI 1959, pp. 219-220 and 260, and CAETANI, p. 83). On 18 January 1681, the Avvisi di Roma reported:

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“Qui si è concluso matrimonio tra il s.re Don Caetano, figlio del [Filippo] principe di Caserta, e la signora Donna Costanza Barberini, figlia del s.re [Maffeo] principe di Pellestrina, nella cui città saranno celebrati li sponsali per le mani del S.re Card.e [Carlo] Pio” (I-Rli 1756, f. 9). Three weeks after its premiere, the work was performed at least once at the Collegio Clementino in Rome. On February 9, Barb. lat. 4210 ad instanza della Regina di Svetia, si recitò nel teatro del Collegio Clementino con grandiss.mo applauso e concorso l’opera in musica del principe di Palestrina, che è riuscita anchora più dell’aspettatione. Sua Maestà v’intervenne in publico con otto cardinali, e vi furono anche privatamente [Marchese del Carpio,] l’Ambasciatore di Spagna e le principesse [Eleanora Boncompagni Borghese] di Rossano, [Olimpia Giustiniani di] Palestrina [e Costanza Barberini] de’ Gaetani (I-Rli ms. 1756, Avvisi di Roma, 10 February 1681, f. 71v).

Since the work was created for the 1681 wedding, it is incorrect to identify an unnamed work of 1667 with DALLA PADELLA ALLA BRAGIA, as do Pier Maria Capponi, s.v. Roma, in Enciclopedia dello Spettacolo, vol. 8 (1961), col. 1115, and Paul Kast, s.v. Rom, in Die Musik in Geschichte und Gegenwart, vol. 9 (1963), col. 735. Their identification is based upon a report for 1667, cited in ACHILLE NERI, Costumanze e sollazzi, Genoa 1883, p. 22, and ADEMOLLO 1888, p. 97. No printed libretto for the production of 1681 is known. Contini’s text was given the title DA SCILLE IN CARIDDI, OVERO DALLA PADELLA NELLA BRACE in MANDOSIO (1692), vol. 2, p. 311. Twenty-five years later, it was revived with the title OGNI DISUGUAGLIANZA UGUAGLIA AMORE, comico divertimento per musica, Bologna, Costantino Pisarri, 1706 (exemplars via the CORAGO portal). The printed libretto for this revival wrongly attributed the text to Giuseppe De Totis on the title page. This mistake was covered by a pasted-on slip of paper, which has been removed from the copy in I-Rn 40.9.E.8 (11). The Bologna title and text appeared virtually unchanged in the libretto for a carnival 1713 production in the “Puplico [!] Teatro” of Rimini (Rimino, il Ferraris, 1713). Since their fifty-two aria texts include only fifteen from Barb. lat. 4210-4212, it seems likely that a completely new setting was composed. The Bologna title was also utilized for the only other known revival, in the “casa Bonaventura” in Urbino, Angelo Ant. Monticelli, 1710, which had “musica del sig. Antonio Alessandro Toschi ferrarese” (SARTORI nn. 16899-901). For Contini and Olivieri see Grove Online and DBI. The Benedictine Olivieri seems to have served Cardinal Carlo Camillo II de’ Massimi (d. 1677). Financial records of the Oratorio del Santissimo Crocefisso name him “Angelo de Massimi” in 1678 and 1680, but in 1679 they indicate that

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he was in the household of Prince Maffeo Barberini by naming him “Angelo di Palestrina” (LIESS, pp. 158-159). At his death in 1685, Maffeo bequeathed Olivieri a legacy of 30 scudi as his portion of the 1500 scudi left to his 38 household members (ArchBarb Comp. 488, Registro diverso, pp. 80-82). From 1686 to at least 1707, Olivieri served Prince Urbano and his uncle Card. Carlo Barberini. Other works by him are the cantatas of 16811682 in Barb. lat. 4139 and 4149 and eight arias from an undated pastoral drama in Barb. lat. 4162. Barb. lat. 4210-4211

Barb. lat. 4211 1681, 208 × 282 mm, 96.I ff., 8 staves, 3 hands

Act II of DALLA PADELLA ALLA BRAGIA (Palestrina and Rome 1681), text by Domenico Filippo Contini, music by Angelo Olivieri. Acts I and III are Barb. lat. 4210 and 4212. The roles are Gordiano (B), Costumia (A), Cintia (Ms), Leandro (T) and Tresca (S). Costumia’s part, written in the mezzo-soprano clef in act I, is now scored in the alto clef, or in mezzo altered to alto clef. The full complement of instruments is scored TrTrAB. Online in DVL. 1 (f. 1) Sinf[oni]a avanti il 2.o atto, TrTrB, D minor. Smaller in size (214 × 155 mm) than the other folios in the ms., the leaf appears to have been written by the copyist who made revisions in Barb. lat. 4210 (Hand D) and 4212 (Hand B). 2 (ff. 2-96v) Leandro / Cintia: Dove sei / Dove t’aggiri / adorato mio tesoro, MsT/B, D minor. In twelve numbered scenes. The last aria is also a duet for Cintia and Leandro, Vuoi ch’io mora?/ No./ Pietà, MsT/B, E major. TrTrAB instruments accompany eight arias and play ritornellos for one. TrTrB instruments play ritornellos for two arias. An original version may have ended at f. 95, with Leandro saying “Chi troppo offende il Cielo, in van si pente.” As in act I, Hand B added a recitative for Gordiano, ff. 95v-96v, first system, which introduces the zitelle who dance in an intermedio or entr’acte. It ended “Ballate pur ballate coi vostri amanti ancora” followed by the rubric “Si balla.” To this was added a continuation of Gordiano’s recitative by another hand (copyist C, f. 96v); which closes “Cedete il campo al forastiero.” It is followed by a six-bar Balletto, B only, C major, with the rubric “Suoni p. gra[nde].” Bound in cardboard covers (220 × 285 mm); a new pair of cardboard covers with two fabric ties now encloses the volume. Cover title: Atto secondo. The original binder’s spine is lacking. Inside the front cover is a pink

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BAV sticker and the shelfmark XLVII.82 written in black ink by a modern hand. The watermark of a fleur-de-lis in two concentric circles with a C above (similar to HEAWOOD nn. 1591-1592 without the letter “V”) is found on forty-seven folios between f. 2 and f. 96. The only other watermark is found on the closing flyleaf: an anchor in a circle with a star above and a P below, similar to HEAWOOD, plate 1 and nn. 5-6 and 8. Catch words occur at the ends of gatherings of two nested bifolios (at ff. 5v, 9v, 17v, 21v, etc.). The foliation in pencil is modern. The closing flyleaf is blank. Blank staves only are on f. 14. Hand A copied the original version of the entire opera, Barb. lat. 42104212. Hand B copied the sinfonia at the beginning and the final portion of the recitative at the end of the act. Some of the many alterations, which were often made hastily or squeezed in, might be in the hand of Olivieri, the composer. On the left front cover has been scribbled “fogli 25– / 25–/25–/36– / fogli 111 /” and 37:10 / 4:40 / 42.–.” On the right front cover has been scribbled “quinterni 4 1/2– / s. 4.10.” As in act I, Cintia’s part is revised the most. All of her arias are marked for transposition, either “alla 5.a bassa,” “alla 3.a bassa” or “un tuon più alto.” The only other one thus marked is “suonino un tuon più basso” for Tresca (f. 67). The brief opening ritornello for TrTrMsB in Cintia’s first aria, Dir che vago il mio sembiante (II:1), is struck through then pasted over (f. 6v). The scene including her second aria, Quant’è infido un huom amante (II: 10, f. 65), and the ensuing aria for Tresca, Gira il mondo, gira tondo (II:11), were repositioned and abbreviated at some performance(s), according to the struck-through comment on f. 74. See the commentary for Barb. lat. 4210 for information about performances of the work. In I:2, Costumia asks Tresca to identify the Roman Leandro. Leandro’s servant replies: “L’è un signorazzo di casata illustrissima romana, padron di quella villa, e quel palazzo passato la fontana” (f. 17v), which could be a reference to the Palazzo Barberini in Palestrina or one of the Caetani palaces outside of Rome. Barb. lat. 4211-4212

Barb. lat. 4212 1681, 219 × 285 mm, I.88.I ff., 8 or 10 staves, 3 hands

Act III of DALLA PADELLA ALLA BRAGIA (Palestrina and Rome 1681), text by Domenico Filippo Contini, music by Angelo Olivieri. Acts I and II are in Barb. lat. 4210-4211. The roles are Gordiano (B), Costumia (A), Cintia

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(Ms), Leandro (T) and Tresca (S). For further information see Barb. lat. 4210. Online in DVL. 1 (f. 88v) Sinfonia avanti il 3.o atto, TrTrMsB, F major. 2 Atto 3.o (ff. 1-88) Cintia: Con chi parli, Speranza? (recit.), Ms/B. In nine scenes. The first formally marked aria is in I:2, Cintia’s Che parta, che vada, che fugga di qui, with TrTrMsB instruments that shift to “violette” and continuo instruments in MsMsMsB clefs at an adagio (f. 8v); str. 2 begins after a short recitative dialogue. The last is a six-measure madrigale for all five soloists: E spiri a noi d’intorno, sempre benigno il ciel, SMsATB/B, G major (f. 87). Desinet “il ciel aure di vita.” TrTrAB instruments accompany seven arias, and TrTrB instruments accompany one. Bound in cardboard covers (230 × 290 mm); a new pair of cardboard covers with two fabric ties now encloses the volume. Original binder’s spine is lacking. A pink BAV sticker is on the original, much worm-eaten pastedown. The shelfmark XLVII.83 is written in black ink on the first guard sheet, as is “Atto 3.o Cinzia” (damaged), both by modern hands, and in pencil “Barb. lat. 4212.” Catch words occur after each gathering of two nested bifolios, e.g., on ff. 4v, 8v, 12v, etc. A watermark of a fleur-de-lis in two concentric circles with a C above, similar to HEAWOOD nn. 1591-1592 without the letter “V,” occurs on forty-two folios between f. 3 and f. 87. The foliation in pencil is recent. It numbers 88 folios, but does not number f. 44bis. The closing flyleaf is blank. Blank staves only are on f. 14. There are eight staves on all folios except ff. 87-88, which have ten. Hand A copied the original version of the entire opera, Barb. lat. 42104212. The madrigale and sinfonia in Barb. lat. 4212 were apparently written by Hand B. He could be called “the usual paste-over copyist,” and he made many small alterations in the score and wrote in the instrumental parts to arias copied by Hand A (e.g., ff. 7 and 59-61v, and the aria on f. 37r-v). Another “paste-over copyist” (Hand C) seems to have written some items, e.g., the eight bars of partially-texted duet on f. 30v-31 that anticipate the same passage on f. 36v. Barb. lat. 4212 As in the previous acts, most of the revisions were made to Cintia’s part. Three of her four arias are marked for transposition “alla 5.a [bassa].” (This might have been necessary if a woman had sung the role in Palestrina, but a man took the part when the opera was re-staged at the Collegio Clementino in Rome a few weeks later.) The original beginning of her first aria, Che parta, che vada is struck through, then pasted over (f. 5), and a new beginning is written (f. 5v). Her next aria, Se tal un comincia a frangere, was originally preceded and followed by an arioso duet for her

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405

and Leandro, Tanto ardir / tanta fé (ff. 30v-31 and 36r-v); both ariosi were pasted over and replaced by recitatives. See the commentary for Barb. lat. 4210 for information on performances of the work. Barb. lat. 4212-4213

Barb. lat. 4213 1689 and later, 216 × 277 mm, I.51 ff., 10 staves, 3 hands

Score to act I of LA GELOSA DI SE STESSA, libretto by Arcangelo Spagna, music anonymous, first performed on 17 February 1689 at the Palazzo Barberini in Rome and subsequently during that carnival season. The roles are Floro giovine (A), Batocco suo servo vecchio (B), Irene dama (S) and Cornelia vecchia sua serva (A). The volume represents several different stages or productions of the opera, whose dates have not been determined. Scores and violin partbooks for acts II-III are in Barb. lat. 4214-4217 and 4231, n. 33. A second, inaccessible, set of music for the opera, described as a set of four vocal partbooks (SATB) and two violin partbooks, is IIBborromeo ms. AP.02 (cf. BOGGIO). 1 (ff. 2-50v) Atto p.o. Aure amiche all’alma amante, arioso for Floro in D major, A/B. For the opening of other versions, see comments below. The first aria in Barb. lat. 4213, in the printed libretto of 1689, and in a revised ms. libretto, Barb. lat. 3895, ff. 47-76v, is Parvi forse poco intrico; str 2: Senza haver di stufa il male, D major, B/TrTrB, for Batacco (I:1). The last scene (I:12) closes with Farmici fare, vo’ tanti d’occhi; str. 2: Egli che dato che non l’adulo, B/TrTrB, D major, an aria for Batocco. It is followed by “Fine dell’Atto Primo” in Barb. lat. 4213 and 3895. Two arias for Floro from the original layer of Barb. lat. 4213 have been published. Il poter di nume infante, A major (I:1) appears as a musical example in MURATA 1993 (see below), p. 332. Floro’s aria Benché speranza sia menzognera, F major (I:6), which begins on Barb. lat. 4213, f. 26, was published in a modern edn in G major, including the opening four-measure ritornello, in Échos d’Italie, ed. [Lorenzo Pagans], vol. 6, Paris 1874, pp. 55-59, with an improbable attribution to “Buononcini.” This second aria is not known in any known libretto and the source for this French edition is not known. (In one revised version of the opera, the latter aria was replaced by Voi siete bella, ma troppo fiere in F major).

2 (f. 50r) Minuet, TrB, D major. This may have served for the “Anticamera Serrata. Intermezzo di Ballo” indicated in the ms. libretto Barb. lat. 3895, f. 55.

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3 (f. 50v) Ritornello avanti l’aria della Scena 4.a che dice Se il cor non m’inganna, TrTrB, D major. The music has been struck through; Se il cor non m’inganna is not present in the score. Irene’s aria is crossed out in the ms. libretto Barb. lat. 3895 and is also not present in the 1689 printed libretto, nor is its substitute in 3895, Se non m’inganna Amor. Bound in folded cardboard (227 × 285 mm), with cover title Atto Primo / Irene, in two hands. The back cover is lacking; a new pair of cardboard covers with fabric ties now encloses the volume. The original spine has mostly disintegrated, including its pink BAV sticker. A modern hand wrote the previous shelfmark XLVII.84 in ink inside the front cover. The prevailing watermark is associated with Rome: a fleur-de-lis in two concentric circles with the letter “V” above, similar to HEAWOOD nn. 1591-1592. On folio 27 the fleur-de-lis differs and above the circles is the letter C. In 2014, the volume consisted of eleven irregular gatherings and one cancelled gathering that probably represent a conflation of regular original fascicles and music for a revised version or versions, with excisions. Present catch words represent both the old fascicles and the probable first binding of a revised version. [A]5 = ff. 1-2 within a cancelled bifolio + ff. 3-4, both enclosed within the pastedown and guardsheet and their two stubs, that now follow f. 4. [B]3 = nested bifolios wrapped by f. 5 attached to the stub after f. 9. [C]2 = nested bifolios, ff. 10-13, ending with a catch word. [D]7 = ff. 15-16 + five nested bifolios: ff. 17-22 wrapped by the stubs before f. 17 and f. 23 and the stub following it; both enclosed by f. 14 and the stub before f. 24. Musical continuity is broken between f. 16 and f. 17. [E]3 = ff. 25-26 + 27-28 (added aria) wrapped by f. 24 and the stub after f. 28 (which had a catch word). [F]2 = nested bifolios, ff. 29–the stub after f. 31. [G]1 = ff. 32-33, an added aria in Hand C. [H]2 = nested bifolios, ff. 34-37. [I]2 = two cancelled, nested bifolios, that ended with a catch word. [K]3 = ff. 39-40 + 41-42 wrapped by ff. 38-43, ending with a catch word. [L]3 = ff. 45-46 + 47-48 wrapped by ff. 44-49, ending with a catch word. [M]2 = ff. 50-51 nested in the stub after f. 49 and the lacking end guard sheet.

Modern foliation in pencil. The opening flyleaf is blank. Blank staves only are on ff. 1, 21 and 51. Barb. lat. 4213 Hand A copied most of Barb. lat. 4213, 4214 and 4216. Hand B copied Barb. lat. 4213, ff. 18-20v (an added duet), 38-44v, and 47-49, which contain the closing three scenes of the act (I:10-12). In addition to verbal instructions throughout, Hand C wrote Barb. lat. 4213, ff. 27-28v, 32-33, and 45-46v, which include three substitute arias. In February and March of 1689 Prince Urbano Barberini paid Tarquinio Lanciani for several copies on 10-stave paper of parts for violins and for Irene and Floro, but none of the three hands in Barb. lat. 4213-4215 corresponds to Lanciani’s script

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nor is the number of folios the same (BAV ArchBarb Gius.II.181, unfoliated; see p. 7 of the fascicle for February 1689 which includes “Per l’originale P.o, 2.o, e 3.o atto fogli quarantotto,” and a receipt for 5 March “per saldo di un conto di copiature d’ariette … e originale di comedia e copie. s[cudi] 9 — ”). Barb. lat. 4213, like the scores for acts II-III, includes instrumental staves with music for most of the arias: six in act I call for TrTrB instruments; three include TrTrB ritornellos; one utilizes TrB instruments; only six arias in the revised version have continuo alone. No instrumental partbooks survive for act I in the Fondo Barberini. The first performances of LA GELOSA DI SE STESSA were described in reports sent to Francesco II d’Este, the Duke of Modena (whose stepmother was Lucrezia Barberini). The guests at the première on 17 February 1689 in the palace of Urbano Barberini included Cardinals Carlo Barberini and Benedetto Pamphili. Since the work was judged “galante assai,” it was revived the following week at the home of Lucrezia Colonna Conti, Duchess of Guadagnolo (CLEMENTI vol. 1, p. 627). The drama by Arcangelo Spagna is loosely based on Tirso de Molina, La celosa de sí misma (1621-1622; see MURATA 1993, pp. 330-334). Several months after this première, a revised version of the text was published with a dedication to D. Michele De Tassis, Marchese de Paul, Conte de Zel, &c., e Corriero Maggiore Perpetuo di Sua Maestà Cattolica in Roma (Roma, per Gio. Francesco Buagni, 1689). The print of the I-Rn exemplar is available via the CORAGO portal. (Gioseppe Ambrogio Maietta’s dedication, dated 4 June 1689, is also published in SARTORI, n. 11332, and FRANCHI, pp. 611-612.) The carnival production of LA GELOSA was probably associated with the marriage in late March 1689 of Camilla (1660-1740), daughter of Prince Maffeo Barberini, and Carlo Borromeo Arese (1657-1734), the eldest son of Giulia Arese and Count Renato Borromeo of Milan, who had served Spain as a diplomat in Rome in 1686. The marriage was apparently arranged by Cardinal Carlo Barberini (PECCHIAI 1959, pp. 216 and 220). The only musical work known specifically mentioning the marriage is a cantata for the figures Honestà, Tempo, and Amore, Per le nozze dell’illustriss. et eccellentiss. sig. D. Carlo Boromeo e D. Camilla Barberini. Cantata di Pietro Bagni [i.e., Vagni], posta in musica dal sig. Flavio Carlo Lanciani. Dedicata all’illustrissimo, & eccellentissimo sig. D. Urbano Barberini, prencipe di Palestrina. In Roma, nella stampa di Gio. Battista Molo, 1689 (SARTORI, n. 18511, and FRANCHI, p. 618; copies include BAV, Barb. JJJ.VI.47/3 and Barb. JJJ.VII.51/26). Incipit Da la magion’ celeste, ove io più luminosa ogn’or risplendo. The earliest version of the libretto to LA GELOSA is Barb. lat. 3862, ff.

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26-55v, which begins with an aria for Floro, Fido orror, selve beati. Act I has fifteen arias and two duets within eleven scenes. In the printed libretto of 1689, Floro and Irene each have two fewer arias. The 1689 libretto begins Alle mura latine, meta de’ miei contenti, set as a recitative for Floro in Barb. lat. 4213, f. 3, which has the word “spiaggie” in place of “mura,” as in the Borromeo musical source. The printed libretto may have been prepared before any version of the work had gone into rehearsal or was staged. The ms. libretto Barb. lat 3895, ff. 47-76v, is largely based on the revised version of Barb. lat. 3862, ff. 26-55v, and was at first neatly copied. At least two layers of revisions were subsequently made to it; its additions and cancellations are not described here. It closely corresponds with the revised musical version in Barb. lat. 4213-4215. Its seventeen scenes in act I include new texts, which have corresponding new musical settings in Barb. lat. 4213 for three of Floro’s five arias, for all three of Irene’s arias, and for their duet. Floro’s first aria, Il poter di nume infante (I:1), was at one time deleted by sealing together folios 7 and 8. On f. 17, both “un tono più alta and “a luogo come sta” are struck through in a dialogue between Floro and Irene. Texts are the same in the print and the ms. librettos for the four arias sung by Batacco, the two arias sung by Cornelia, and the aria in which Cornelia and Batacco each sing one strophe. Stubs of folios as described above signify excision of substantial passages in act I. For example, the two stubs after f. 16 may have contained a prior version of I:4 with an aria for Irene. The remaining vestige of this aria in Barb. lat. 4213 is the cancelled ritornello that closes the volume. In many places the libretto Barb. lat. 3895 is also misbound and defective. Act III, for example, begins on ff. 73-76v, continues on 67-72v, and lacks the final duo Con l’onda che scherza which is present in the score to act III, Barb. lat. 4215. Spagna’s libretto was republished with some new aria texts and further revised dialogue in his Melodrammi scenici, dedicati all’eminentiss. e reverendiss. signore, il signor Cardinale Francesco Barberino. … Libro terzo. In Roma, per Dom. Ant. Ercole, 1709 (exemplars in BAV Barb. JJJ.III.17; JJJ.III.18: and JJJ.III.19). The dedication is to Cardinal Francesco junior (1662-1738; elev. 1690), but it refers mainly to Cardinal Francesco senior (1597-1679), whom Spagna had served for twenty-three years, “dalla quale derivommi il comodo di esercitarmi nei studii, potendo con ragione dire anch’io col poeta Deus nobis haec otia fecit.” This 1709 print does not help to date the later states of the musical score. Bibl.: V. GALLO, Il codice Barberiniano latino 3895 della Biblioteca Apostolica Vaticana e i suoi scenari, in Biblioteca teatrale 49-51 (1999), pp. 249-309, esp. p. 274.

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409

M. MURATA. Theater à l’espagnole and the Italian Libretto, in Acts of the 15th Congress of the International Musicological Society, Madrid, 1992. Revista de Musicologia 16 (1993), pp. 318-334. Barb. lat. 4213-4214

Barb. lat. 4214 1689 and later, 206 × 278 mm, I.[78].I ff., 10 staves, 3 hands

Score for act II of LA GELOSA DI SE STESSA, libretto by Arcangelo Spagna, music anonymous, first performed on 17 February 1689 at the Palazzo Barberini in Rome. See Barb. lat. 4213 for a list of the four characters, the score of act I, and comments on the librettos and first performance. Scores and treble partbooks for acts II and III are in Barb. lat. 4214-4217 and 4231, n. 34. 1 (ff. 1-77v) Atto 2.o. Cornelia: Eccovi consolata, lo sposo è già venuto (recit.), A/B. The first aria in the act is Mentre il cielo mi sforza; str. 2: Se rapisce gl’affetti, S/TrB, C major, for Irene (II:1). The closing aria in Barb. lat. 4214 and in the concordant libretto, Barb. lat. 3895, is M’ha tradito il nume infante, A/TrTrB, B! major, for Floro (II:17). Desinet “… -te non sarò. Fine dell’atto 2.o,” followed by a folia, B only, D minor, marked “da capo.” A treble part for this dance is in the violin partbook Barb. lat. 4216, f. 32v. Bound in cardboard covers (227 × 290 mm), with the cover title Atto 2.o. The front cover is broken. A new pair of cardboard covers with fabric ties now encloses the volume. The spine, which has a pink BAV sticker and the number 85 written in ink by a modern hand, has fallen into two pieces. The same hand wrote the old shelfmark XLVII.85 inside the front cover, where there is another BAV sticker. The watermark on the flyleaves is an anchor in one circle with a trefoil crown above it, similar to HEAWOOD, Plate 1 and nn. 5-6 and 8; and WOODWARD, nn. 158-180. The watermark throughout the score is a fleur-de-lis in a double circle with the letter V above, similar to HEAWOOD nn. 1591-1592. In nineteen irregular gatherings, reflecting revisions within and across original fascicles of two and three nested bifolios. The gathering structure indicates that some cuts (gluing and sewing of pages) were made prior to binding. Folios 14 through 56 are fairly regular. Leaves have been trimmed at the bottom. [A]3 = outside leaves are f. [I] and the stub after f. 4. [B]3 = stubs before f. 5 and after f. 7 enclose two sewn leaves and ff. 5-7. [C]4 = nested bifolios, ff. 8-13 and two stubs following f. 13. [D]2 + [E]2 + [F]2 = ff. 14-17, 18-19, 22-26. [G]1 + [H]1 + [I]1 = ff. 27-28, 29-30, 31-32. [K]2 = ff. 33-36. [L]3 = ff. stub before f.

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410

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37-41. [M]2 + [N]2 = ff. 42-45, 46-49. [O]1 = ff. 50-51. [P]3 = ff. 52-55/56 (glued). [Q]3 = ff. 57 to stubs after f. 60. [R]10 = stub before f. 61/69, 61/68, and 62/67 wrapped around 64/64 + 65/66. [S]2 = ff. 70-73. [T]4 = two stubs before f. 74-two end guard sheets (f. [79] lacking).

The foliation in pencil is recent. It skips the numbers 25 and misnumbers ff. 67-68 (as 68v-r and 67v-r. Both flyleaves are blank. Blank staves only are on f. 66. Barb. lat. 4214 Hand A also copied most of Barb. lat. 4213 and 4216. Hand B, which is also hand B in Barb. lat. 4213, copied ff. 29v-33, 52-53, 59-64v, 67-69v, and 72-77v, which include six arias and some recitatives. Hand C, which is also hand C in Barb. lat. 4213, has written text changes, instructions throughout and copied ff. 5-6, 25v (the pasted-on slip of paper only), 27-28, 37-41v, 48, 49v, and 55-55v, which include six arias and some recitatives. In Barb. lat. 3862, the earliest version of act II, there are fifteen arias and three duets in fifteen scenes. The printed libretto of 1689, which has sixteen arias and two duets, includes two texts that are not in Barb. lat. 3862. Basically concordant with Barb. lat. 4214, the ms. libretto Barb. lat. 3895 includes twenty-two arias and one duet in seventeen scenes. Only twelve of the twenty-three are found in earlier sources (two of them are in Barb. lat. 3862, but not in the 1689 libretto). The eleven new pieces include four for Floro, three for Cornelia, and two each for Batocco and Irene. Barb. lat. 4214 adds two more arias, one for Batocco and one for Irene, for a total of twenty-five. Many musical passages and performance indications in Barb. lat. 4214 were added, struck through, or in some other way deleted. The second strophe of Hor vanne contento for Batocco was at one time deleted by sealing ff. 48v-49 together (II:10). An aria for Floro in II:12 was also sealed together (ff. 55-56) and replaced by Che bella Venere. Stubs of folios signify excision of substantial passages: there are four stubs after f. 4; three after f. 60; two after ff. 13 and 73; and one after ff. 7 and 36. Those after f. 4 must have contained the aria replaced by the first new aria in act II, Le zitelle che son belle, D major, sung by Cornelia with violoncello and continuo (II:1, ff. 5-6). Excisions after f. 60 begin with struck-through recitative on f. 60v; they continue with whatever was on three excised leaves, then with the cancelled aria on ff. 61-64, and finally then with the aria on ff. 64v and 6768v. This aria, Perché ne gabban tanti, for Batocco in C major, B/B (II:14) is bifurcated by an inserted bifolio, ff. 65-66, which is headed “Segue altr’aria diversa ma le med[esim]e parole.” Another setting of the same text ensues (B/TrB). With the numerous alterations, it is impossible to know precisely which arias and duets were heard at any one performance of act II.

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411

See the commentary to Barb. lat. 4213 for information concerning the sources and productions of this work. Barb. lat. 4214-4215

Barb. lat. 4215 1689 and later, 203 × 280 and 216 × 275 mm, II.78.II ff., 10 staves, 2 hands

Score for act III of LA GELOSA DI SE STESSA, text by Arcangelo Spagna, music anonymous, first performed on 17 February 1689 at the Palazzo Barberini in Rome. See Barb. lat. 4213 for the four characters, the score of act I, and comments on the librettos and first performance. The scores and treble partbooks for acts II and III are in Barb. lat. 4214-4217 and 4231, n. 33. 1 (ff. 1-76v) Atto 3.o. Cornelia: Come v’è sopragiunta in sì poch’hore (recit.), A/B. The first aria is S’alcun m’incolpa d’infedeltà; str. 2: Ci vuol pazienza se v’ingannò, A/TrTrB, E major, for Cornelia (III:1), f. 2. The act closes with the duet Con l’onda che scherza; str. 2: Con l’aura che ride, SA/B, D major, for Irene and Floro (III:15). Desinet “con l’aura che ride/scherza io torno a gioir.” One aria in III:11, Delusa mia speme, pensieri fallaci, S/TrTrB, E minor, for Irene (ff. 50-53v), is also in Barb. lat. 4231, n. 3 (q.v. for a tentative attrib. to Severo De Luca). This aria does not appear in the printed libretto of 1689; its text is pasted over another in Barb. lat. 3862, and it is part of the ms. libretto Barb. lat. 3895, which is concordant with Barb. lat. 4215. Modern binding in half parchment (220 × 290 mm). On the spine a pink BAV sticker; a red leather rectangle with the shelfmark Bar. Lat. 4215 and also stamped in gold; the arms of Pius XII and Card. Giovanni Mercati, Vatican librarian in 1936-1957. On the modern front pastedown is another pink BAV sticker. First and last flyleaves are modern. On an original flyleaf (f. [ii]), a modern hand has written the old shelfmark XLVII.86 in black ink. The Roman watermark throughout is a fleur-de-lis in two circles with a V above, similar to HEAWOOD nn. 1591-1592 and in the other acts of this opera. Due to the modern rebinding the gatherings are more difficult to describe with certainty. [A]3 + [B]3 = f. [II]-stub after f. 4 + stub before f. 5-9. [C]2 + [D]2 + [E]2 + = ff. 10-stub after f. 12; ff. 13-16; ff. 17-20. [F]3 + [G]3 = two stubs before ff. 21-23; one stub before f. 24–one stub after f. 26bis. [H]2 = one stub before ff. 27-29. [I]1 = ff. 30-31.

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412

BARB. LAT. 4215

[K]7 = stub before f. 32 with the 2d stub after f. 42 wrap three duernions: ff. 3235 (with catch word) + ff. 36-39 + ff. 40-stub after f. 42 with catch word. [L]2 = stub before f. 43-45. [M]4 = 3 stubs before f. 46-f. 50, ending with a catch word. [N]2 + [O]2 + [P]2 = ff. 51-54, 55-58, 59-62, each ending with a catch word. [Q]3 = ff. 63-66bis (stub after f. 63 is the other half of f. 66). [R]3 = stub before f. 67-71, ending with a catch word. [S]2 = ff. 72-75, ending with a catch word. [T]2? = ff. 76-[78] with one end guard sheet lacking. Barb. lat. 4215

The foliation in pencil is recent. Both flyleaves are blank. Blank staves only are on ff. 25, 42 and 77. Since ff. 47-48 are still uncut, ff. 47v-48r have blank staves. They are among those added by hand C. Hand B of Barb. lat. 4213-4214 and 4216 copied ff. 1-4v, 9-23, 27-29, 3244 and 49-76v. Hand C of Barb. lat. 4213-4214 copied 4215, ff. 5-8, 24-26bis, 30-31 and 44v-48v, which include all five substitute arias. Two of them, on ff. 24-26 and 30-31, are on pages that are taller than the others in the volume. Hand A from Barb. lat. 4213-4214 does not appear. In Barb. lat. 3862, the earliest version of act III, there are fifteen arias and two trios in fourteen scenes. The printed libretto of 1689, which has thirteen arias, one duet and two trios, has three texts not found in 3862. In Barb. lat. 4215, which is concordant with Barb. lat. 3895, n. 2, there are sixteen arias, one duet and one trio in fifteen scenes. Only nine of its eighteen pieces are found in the 1689 libretto. As in the two earlier acts, many musical passages and performance indications were added in Barb. lat. 4215, struck through, or in some other way deleted. An aria for Irene, Ecco mi porta Amore (III:10), was at one time deleted by sealing together ff. 43-44. Above the beginning of this aria is written “Segue l’aria diversa ma le med[esi]me parole.” Another setting of the same text was presumably on the three stubs that follow f. 44. The next aria in the score is Il contento nel mio core, which replaces the cancelled Ecco mi porta Amore in Barb. lat. 3895. The bottom of f. 66 has been cut off, and a stub separates it from f. 67. The remaining six staves of f. 66 contain the beginning of an aria, Non nieghi la sorte, that was cut from act II; the staves on f. 66v contain a bit of recitative that leads to f. 67. Substitutes are given for five arias that have been struck through and largely excised. See the commentary to Barb. lat. 4213 for information concerning the sources and productions of this work.

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413

Barb. lat. 4216 1689 and later, 205 × 280 mm, I.33.I ff., 10 staves, 2 hands

Partbook for violins 1-2 for act II of LA GELOSA DI SE STESSA (Rome 1689), libretto by Arcangelo Spagna, music anonymous. It matches the music in the score to the opera, Barb. lat. 4214. Another copy of this partbook is Barb. lat. 4231, n. 33. The partbook for act I is lost, that for act III is Barb. lat. 4217. 1 (ff. 1-32v) Violini. Atto 2.o., TrTrB. An instrumental partbook written in score containing the string parts for fifteen arias in LA GELOSA DI SE STESSA, act II, each preceded by a short verbal cue. The first aria is [Mentre il cielo], TrB, C major, marked “VV.all’unisono.” The original first aria began with the cancelled ritornello (TrTr/B, D major) on the present f. 3, which was headed “Violini. Atto secondo, Scena p.ma.” (Only the close of it remains in Barb. lat. 4214, f. 7.) The last aria is [M’ha tradito il nume infante], TrTr/B, B! major (from f. 30). At the bottom of f. 32 is written “Fine del Secondo atto.” On f. 32v is the only source for the treble part of the Folia, for which the basso continuo part is given in Barb. lat. 4214. The volume contains TrTrB parts for three arias and two ritornellos that were cancelled in the vocal score Barb. lat. 4214 and that are not present in the other violin partbook Barb. lat. 4231, n. 33. Bound in cardboard covers (223 × 285 mm). On the spine is a pink BAV sticker. On the cover is an original title Violini./Atto 2.o and the number “87” written by a modern hand, which also added the shelfmark, XLVII.87 in black ink inside the front cover, where there is another BAV sticker. A recently added pair of cardboard covers now encloses the volume. Watermarks associated with Rome are the fleur-de-lis in a double circle with a V above it, the same as in the other violin partbook in Barb. lat. 4231 and similar to HEAWOOD nn. 1591-1592; a watermark whose lower half is the three hills with the letters A N on each side, similar to HEAWOOD nn. 16201623 (ff. 3, 10 and 19); and on f. 9, a stag in a circle, similar to HEAWOOD n. 3850. The foliation in pencil is recent. Both flyleaves are blank. Blank staves only are on ff. 29 and 33. Barb. lat. 4216 The principal hand also copied most of Barb. lat. 4213-4214. Hand B copied ff. 16-16v, 20v-21v, 27v-28, and 32v, which include three arias and the folia. Comments and rubrics by a third text hand are by Hand C of acts I and II; see ff. 3, 6, 15, 27v, etc. This partbook does not include nine arias in act II: eight accompanied by continuo alone and one, Le zitelle che son belle for Cornelia (II:1), ac-

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414

BARB. LAT. 4216-4217

companied by violoncello and continuo. Changes made in the act II score, Barb. lat. 4214, were also made in 4216. Some deletions and replacements are signified by stubs: three after ff. 7 and 23; two after f. 2; and one after ff. 15, 20 and 33. See the commentary to Barb. lat. 4213 for information concerning the sources and productions of LA GELOSA DI SE STESSA. OPAC-SBN briefly describes Barb. lat. 4216-4217 in its entry for 4213-4215. BARONCI’s inventory entered this partbook under its verbal cue, “Io non v’intendo come.”

Barb. lat. 4217 1689 and later, 200 × 265 to 205 × 280 mm, 28.I ff., 8 or 10 staves, 2 hands

Partbook for violins 1-2 in act III of LA GELOSA DI SE STESSA (Rome 1689), libretto by Arcangelo Spagna, music anonymous. It matches the music in the score to the opera, Barb. lat. 4215. The corresponding partbook for act I is lost, that for act II is Barb. lat. 4216. The modern foliation is followed here. Barb. lat. 4216-4217 1 (ff. 1-28v) [LA GELOSA DI SE STESSA]. Atto terzo, TrTrB. Instrumental partbook, written in score, with string and continuo parts for fifteen arias in act III. The first aria is [S’alcun m’incolpa], TrTrB, E major, for Cornelia, preceded by a text cue, “Più che certa n[on] sono.” The last is a ritornello for TrTrB, D major, corresponding to f. 68v of Barb. lat. 4215. It is preceded by the cue “stretta al mio petto,” which is the end of str. 1 of Bella t’adorerò (Floro in III:14). Parts have also been retained for three arias cancelled in the version of act III in Barb. lat. 4215. Desinet “dolce saetta … Fine dell’opera” (f. 28v). Bound in cardboard covers (213 × 275mm) with the cover title Violini/ Atto 3.o in ink, and in a modern hand, the number 88 in black ink. A recently added pair of cardboard covers with fabric ties now encloses the volume. The pink BAV sticker on the spine has worn away. The previous shelfmark, XLVII. 88, is written in black ink inside the front cover, where there is another pink BAV sticker. Two stubs after f. 13 and one stub after ff. 2, 9, 12, 13, 16, 25 and 28 represent excisions from the first state of the score (see comments to Barb. lat. 4213.) The Roman watermark found throughout is a fleur-de-lis in two concentric circles, similar to HEAWOOD nn. 1591-1592, and found in the other volumes of music for this opera. Folio 9 exceptionally has three hills with the letters A N on either side, enclosed in two concentric circles, similar to HEAWOOD nn. 1620-1623. The

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BARB. LAT. 4217-4218

415

folios were not cut to a uniform size, but are of several different sizes. An original foliation in ink has “13 e 14” on f. 13, probably when the original f. 14 was removed; it continues with 15 through 29. The modern foliation in pencil numbers those leaves 14-28. The end flyleaf is blank. All folios have ten staves except ff. 1-2v, 7-10v and 24-26v, which have only eight. A staff was added freehand at the bottom of f. 26, and an extra staff was ruled on f. 26v. Barb. lat. 4217-4218 The principal copyist of 4217 (and 4215) is Hand C in Barb. lat. 42134214 and 4216. The copyist of ff. 1-2v, 7-10v and 23-25, which include three arias and two fragments of replaced arias, appears to be a new hand (Hand D) within these opera parts. Six arias call for TrTrB strings, while four have TrTrB ritornellos, and four — in which the Tr part is marked “violini all’unisono” — utilize TrB strings. Torna un raggio di speranza, D major, for Floro (III:8), requires trumpet as well as TrTrB strings; the trumpet part is not given in this partbook (it is in the score Barb. lat. 4215, ff. 35-39). See the commentary to Barb. lat. 4213 for information concerning the sources and productions of LA GELOSA DI SE STESSA. OPAC-SBN briefly describes Barb. lat. 4216-4217 in its entry for 4213-4215.

Barb. lat. 4218 mid-17th c., 219 × 282 mm, I.34.I ff., 8 staves, three hands

Basso continuo score with revisions to the oratorio O CECITÀ DEL MISEfor SSATB soloists, five-part strings (marked viole) and basso continuo ensemble. The poet is Giovanni Lotti, the composer or composers unknown. One copyist is Marc’Antonio Pasqualini; another may be Marco Marazzoli, who may have composed part or all of this cantata. References below follow the modern pencil foliation. For instrumental partbooks in Barb. lat., see the comments. A second continuo score is Barb. lat. 4193. RO MORTALE

1 (f. 2v) Prima Introduttione, B only, A minor. 2 (ff. 3-34) O cecità del misero mortale, AT/B (lira and violone). Subsequent sections include Riconosciti una volta (SSB/B), Ahi, ch’è publico inganno (AT/B), Traditor sei di te stesso (SSB/B), Deh, rimira che seco (T/B), and the closing madrigal Non mi dir che sei stanco (SSATB/B). Desinet “che l’eterno silentio al fin al fin t’aspetta t’aspetta.” Modern edn in GRAMPP 2001, vol. 1, pp. 40-42 (libretto); vol. 2, §III.1.1.3 (music). Bound in boards (220 × 285 mm), with the cover title Oratorio/O Cecità

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416

BARB. LAT. 4218

Cantata a 5./Con strom.ti se si vuole/ Poesia Del Sig. Gio Lotti, in the hand of Marc’Antonio Pasqualini. On the spine below a pink Vatican sticker is the number 89 written in black ink in a modern hand, which also wrote the shelfmark XLVII.89 inside the front cover, where there is another pink sticker. Gatherings are of two bifolios with three irregularities of single bifolios: folios 31-32 on different paper were inserted. Folios 33-34 bear the original ending, marked originally as folios 29-30. The modern foliation is in pencil; the first foliation in ink begins on f. 3. Watermarks are associated with Rome: cleric/saint in shield; anchor in circle with six-pointed star above and letters L and N or M within, of the general types HEAWOOD nn. 1352 and 5; see also GRAMPP 2001, vol. 1, p. 25. The guard sheets are blank; blank staves only on ff. 1-2 and 32v. Barb. lat. 4218 Marc’Antonio Pasqualini (copyist A) copied folios 2v (rit. only) and other emendations (e.g., a word on f. 23v). Copyist M, whose hand resembles Marco Marazzoli’s, copied ff. 3-7 and ff. 22-34 (text, from the return of Riconosciti), as well as occasional guide words between gatherings (e.g., f. 14v). He is the principal copyist (M) of Barb. lat. 4231, n. 17 and possibly one of the composers of this cantata. Copyist B is responsible for ff. 7v-21v (beginning with Riconosciti) and some of the following music notation only, texted by copyist M. Likewise GRAMPP 2001, vol. 1, p. 95, distinguishes three hands. Performance indications are in the hands of Pasqualini and “M,” including on folios copied by hand B. Pasqualini’s may have been made when he prepared the fair copy Barb. lat. 4193. RICCIARDELLI incorrectly considered this source a “bozza” in the hand of Luigi Rossi (p. 65). Partbooks for lira and violone exist in Barb. lat. 4231, nn. 14-15; they are both also in the hands of Pasqualini and copyist M of Barb. lat. 4231. GRAMPP 2001 gives a detailed analysis of the cantata in vol. 1, §II.1.1.3; he considers this volume a compositional manuscript (“Konzeptschrift, vermutlich Kompositionsexemplar”), whereas it appears more like a fair copy subjected to revisions. GRAMP 2002, p. 283, does not make any composer attributions. See SPECK, p. 269 for further bibliography. A modern edition of the text, with translations, accompanies the CD recording by Les Arts Florissants, Wm. Christie, dir., Harmonia Mundi HMC 901091 (1982). Also Les Cris de Paris, G. Jourdain, dir., Harmonia Mundi AP059 (2012). Three indecipherable names and payment sums appear on the lower right hand corner of the front cover; they are not necessarily connected with this cantata: Rosi 60/ M.lizzi (?) 62:1/ P---- (?) 75/ [totalling] 197.1 / (scudi: baiocchi?, if so an enormous sum). GRAMPP 2001, vol. 1, p. 25, read Rosi, Mo [?], and Rum [?]. The notation may be a trace of a three-part collaborative project or projects between Luigi Rossi, Marco Marazzoli, and

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BARB. LAT. 4218-4219

417

Pasqualini or someone else, prior to 1653. Rossi’s hand does not appear in Barb. lat. 4218. Barb. lat. 4218-4219

Barb. lat. 4219 1656, 220 × 285 mm, II.215.II ff., 6-8-10 staves, 2 hands

Thirty anonymous Italian cantatas for two to four voices with basso continuo, along with five duplicate copies or variant scorings. All but one (n. 7) is in the hand of Marc’Antonio Pasqualini, who wrote the title: MAP. Straccia foglio. Perdimento di tempo, per sfuggir l’ozio (f. [II]) and the table of contents dated 1656 (f. 215). Five of the 30 appear among other Pasqualini mss. as components of cantatas for oratorio performance (nn. 1, 3-4, 6, and 8). One secular trio (n. 11) is attributed to Luigi Rossi elsewhere; it appears here in differing arrangements and as a spiritual contrafactum (nn. 1-2 and 10). Concordances attribute ten items to Pasqualini (nn. 4, 9, 13-14, 16-18, 27; and the solo versions of nn. 33 and 35). Compositional drafts in his hand exist in other Pasqualini mss. for at least fourteen items. In addition, six compositions (nn. 25, 31-35) are ensemble arrangements of solo cantatas in the Pasqualini volumes. He may be responsible for all of the arrangements here. Only n. 21 has no known concordances. Two contrafacta are SSAB/B (nn. 1, 10). Eighteen cantatas are SSB/B, three are SSS/B (nn. 9, 13, 16), and one SST/B (n. 5). Five duets are SS/B and five SB/B. One B/B solo (n. 3), that opens the oratorio cantata INFERNO IO VEGGO APERTE LE FAUCI, appears in the table of contents as one item together with the trio n. 4. Poets named or represented are Luc’Antonio Casini (n. 14), Giampietro Cataloni (n. 23 and probably n. 21), Nicolao Foresta (n. 28), Giovanni Lotti with fifteen (nn. 1-6, 8-13, 17, 27, 35); Flavio Orsini (nn. 19, 24), Lelio Orsini (nn. 31, 34), and Virginio Orsini (n. 7); and one of the Bentivoglio prelates (n. 22). Online in DVL. 1 (ff. 1-4) [LUIGI ROSSI?]. Poesia del S[igno]r Gio. Lotti. Un peccator pentito. A 4. Spargete sospiri, ergete lamenti; 2.a [stanza]: Io voglio morire in braccio al dolore, SSAB/B, D minor. A contrafactum of n. 10 below; for the uncertain attribution to Rossi, see nn. 10-11 below. Recorded by Les Arts Florissants as Un peccator pentito by Luigi Rossi (Harmonia Mundi HMC 901297; 1989). Both stanzas appear in the cantata DISPERAR DI SE STESSO, Barb. lat. 4188 (q.v.). See n. 2 below for a trio version. See GRAMPP 2001, passim. 1bis (ff. 5-8v) Poesia del S.r Gio. Lotti. Un peccator pentito. A 4. P[rima]:

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418

BARB. LAT. 4219

Spargete sospiri, ergete lamenti, SSAB/(B), 2 str. Short score of n. 1 above, with four texted staves and some tones and figures for the basso continuo on the vocal bass staff. 2 (ff. 9-13) [LUIGI ROSSI]. Poesia del S.r [Giovanni] Lotti. Pentimento de’ peccati a tre. P[rima]: Spargete sospiri, ergete lamenti, SSB/B, D minor, 2 str. For the attribution to Rossi, see n. 11 below, of which this is a contrafactum. It is not known when this text was substituted, or by whom. Items 1 and 2 are differing arrangements of the same composition. 3 (ff. 14-15v) [MARCO MARAZZOLI?]. Poesia del S.r Gio. Lotti. Un pecc[ator]e pentito. Inferno, io veggo aperte, B/B, A minor. This solo serves as the opening section in the cantata of the same name, Barb. lat. 4189 (q.v.). As a component of a score to that cantata, Barb. lat. 4231, n. 17 (ff. 95-97v) is compositional draft by an unidentified hand that is possibly Marazzoli’s, the basis for the tentative attribution here. A version of the text opens the poem titled Peccatore a piè del Crocifisso, in LOTTI 1688, pt. 1, pp. 96-98: 96. Barb. lat. 4219 4 (ff. 16-24) [MARC’ANTONIO PASQUALINI]. Poesia del S.r Lotti. Un peccator pentito a 3. Voi per ultima aita, SSB/B, A minor. Internal sections are De falli miei son cinto and Offeso Dio che pendi. Desinet “un Dio che more. Finis. Laus Deo.” Instrumental passages are indicated by a single bass staff with rubrics for other instruments, e.g., “viole” or “sinfonia.” Attributed to “Marc’Ant.o Pasqualini” in S-Skma Musik Rar, ff. 54-77, a Roman copy (by Bernardino Terenzi?). An anonymous soprano partbook is Barb. lat. 4296, n. 1. As the second composition in the cantata INFERNO IO VEGGO APERTE LE FAUCI TUE (Barb. lat. 4189), this trio follows n. 3 above, and is not listed as a separate item in the table to this volume. MURATA n. 245. Voi per ultima aita appears as a text incipit in the 1679 Aggiunta al Teatro spirituale of the Roman Oratorians, I-Rv ms. P. 5: Per la settimana santa, a 2 c[anti]; cf. MORELLI-A 1986, n. XXIII, p. 93. It may be this or another setting. A version of the text from Offeso Dio, che pendi to the end of the cantata appears as an independent poem in LOTTI 1688, pt. 1, pp. 94-95, with the subject title “Peccator pentito. Doppo haver sentito gl’elementi, che gl’intimavano la morte, così prega.” The same text incipit also appears in MORELLI-A 1986, n. VI, p. 92, its music credited to Antonio Maria Grazini; no Grazini score is known. An S/B cantata of a different text with the same text incipit is I-Rli Fondo Caetani 208.A.6, ff. 105114v (CAR -GIAL-ZI, n. 167).

5 (ff. 25v-34) [PASQUALINI]. Poesia del S.r Gio. Lotti. Un peccator pentito a 3. Colpe mie venite a piangere: ben sapete chi voi siete, SST/B, C minor.

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Desinet “Il paricidio ancor gloria diventa. Laus Deo.” The “Introduttione dell’aria” (f. 25v) and other instrumental sections (e.g., those marked “ritornello”) are B only, with rubrics indicating other instruments (viole, cimbalo, lira). Partbooks are Barb. lat. 4296, n. 3 (T), and idem, within nn. 9 and 11 (q.v.). Attributed here to Pasqualini on the basis of Barb. lat. 4201, n. 28, a related setting for SS/B with corrections and cancellations in his hand; see also n. 8 below. The text, with some differences, is in LOTTI 1688, pt. 1, pp. 125-126 with the subject title “Peccatore a piè della Croce.” MURATA n. 52b. Arranged for SSB/B, Colpe mie became a component of the cantata MI SON FATTO NEMICO, Barb. lat. 4191 (q.v.) and Barb. lat. 4231, n. 12, ff. 59-67. A different anonymous S/B setting of Lotti’s text is I-Rc 2486, ff. 96-101v. A third setting by Paolo Lorenzani is M-MDca (Malta, Mdina Cathedral Museum Archives), ACM ms. 40.

6 (ff. 35-40) [PASQUALINI]. Poesia del Sig.re Gio. Lotti. Un peccator pentito a 3. Son pentito e più non voglio; 2. [stanza]: Cerco pene e mi contento, SSB/B, A minor. For the attribution to Pasqualini, see n. 27 below, of which this is a contrafactum. See MURATA n. 101. The contrafactum became a component of the cantata ANCOR SATIO NON SEI (Barb. lat. 4190 and 4192, q.v.). The text of Son pentito, however, is not part of the “aria morale” Ancor satio non sei in LOTTI 1688, pt. 1, pp. 92-93. 7 (ff. 41-48v) [PASQUALINI]. Poesia del S.r Card. [Virginio] Orsini. Che brami hora più, devoto mio core, SSB/B, G minor. Subsequent sections are Entro presepio vile (S/B) and the closing Alma mia non voler già, 2 str: Fa’ ch’ei s’apra di tal sorte (SSB/B). Desinet “tutto in pianto si discioglia. Fine.” The attribution to Pasqualini is based on Barb. lat. 4201, n. 32, a compositional draft in his hand, notwithstanding that the original attribution “Del Sig.r Marc’ Antonio Pasqualini” was scraped off and the monogram MAP written over it has been inked out. The Barb. lat. 4219 exemplar was professionally copied (Hand B), but Pasqualini added text to the 1st soprano line on f. 41, the figures for the basso continuo, and the attribution to card. Orsini (elevated in 1641). A modern transcription, attributed doubtfully to Luigi Rossi, is F-Vcm LIO 170. MURATA n. 33. 8 (ff. 49v-59) [PASQUALINI]. Poesia del S.r Gio. Lotti. Un peccator pentito a 3. Colpe mie venite a piangere: ben sapete chi voi siete, SSB/B, C minor. Folio 49v bears the P[rim]a Introduttione dell’aria, B only. Desinet “Il paricidio ancor gloria diventa. Laus Deo.” MURATA n. 52c. An arrangement of n. 5 above, the trio became a component of the cantata MI SON FATTO NEMICO, in the version preserved in Barb. lat. 4191 (q.v.).

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9 (ff. 59-68v) [PASQUALINI]. Poesia del S.r Gio. Lotti. Navicella che sì altera (perch’ hai grave il sen di vento), SSS/B, F minor. Desinet “a trionfar de’ venti.” Also in Barb. lat. 4200, n. 26, which is marked MAP. The text is in LOTTI 1688, pt. 3, pp. 33-34 with the subject title “Quanto sia infelice quell’ardimento, che tenta cose improportionate alle sue forze, e meriti”; it is an anonymous “canzonetta” with the subject title “Dell’humane felicità” in BAV Ferraioli ms. 1, ff. 164-65v. GHISLANZONI n. 364 (as by Luigi Rossi); CALUORI n. 437 (as an unreliable attrib. to Rossi); MURATA n. 150. A different, anonymous setting is in I-Rc 2478, ff. 135-45v, and I-Nc 33.4.14a (olim Cant. ibr. 3A), ff. 98-106V.

10 (ff. 68-72v) [LUIGI ROSSI?]. Poesia del S.[r] Gio. Lotti. A 4. P[rim]a: Lasciate ch’ io peni, dolenti pensieri; [2da]: Chiamate la morte, desiri piangenti, SSAB/B, D minor. A secular contrafactum of n. 1 above and an arrangement of n. 11 below. Although n. 11 may be attributed to Rossi, there is no evidence that he arranged this quartet version. Pasqualini has altered or corrected notes and added brief melismas; he may have made this four-voice arrangement. 11 (ff. 73-78) [LUIGI ROSSI]. Poesia del S.r Gio. Lotti. A 3. Lasciate ch’io peni, dolenti pensieri, SSB/B, D minor, 2 str. Pasqualini has made corrections to his original fair copy. Anonymous in Barb. lat. 4201, n. 30; attributed to Rossi in BAV Chigi Q.IV.16, ff. 203-206. A secular contrafactum of n. 2 above. 12 (ff. 79-84v) [PASQUALINI]. Poesia del S.r Lotti. Vuoi ch’io peni in sempiterno; (2) Fosca larva, ohimè, divento, SSB/B, F minor. Attributed to Pasqualini on the basis of Barb. lat. 4201, n. 36, a compositional draft in his hand. MURATA n. 247. 13 (ff. 85-92) [PASQUALINI]. Poesia del S.r Gio. Lotti. A 3. Io ritorno dal periglio, SSS/B, C minor. Pasqualini has made emendations or corrections to his own fair copy. The text is in LOTTI 1688, pt. 3, pp. 116-117, with the subject title “Uno liberato da’ lacci d’Amore.” MURATA n. 122a. An arrangement for SSB/B is Barb. lat. 4222, n. 2, which is marked MAP. A different setting of the text for SSS/B, also by Pasqualini, is Barb. lat. 4200, n. 22, also marked MAP (MURATA n. 123).

14 (ff. 93-102v) [PASQUALINI]. Poesia del S.r [Luc’Antonio] Casini. Armatevi olà, rubelli d’Amore, SSB/B, B! major. Internal solo sections begin La sua regina barbara non vide (S); È sirena all’hor che canta (S); Ma qual farà difesa (B); and A fuggir dunque il periglio (S). Desinet “Non è rendersi viltà” (SSB/B). The music is attributed to “Marc’ Ant.o Pasqualini” in SSkma Musik Rar, ff. 1-29v. MURATA n. 21.

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14bis (ff. 103-112) Same as n. 14 above. 15 (ff. 114-120v) [PASQUALINI]. Lo sai tu chi ti costringe, SSB/B, C minor. The attribution to Pasqualini is based on Barb. lat. 4200, n. 39, an anonymous, incomplete compositional draft in his hand. Also anonymous in Barb. lat. 4204, n. 28. MURATA n. 135. 16 (ff. 121-123) [PASQUALINI]. Piango, prego, e sospiro, e nulla alfin mi giova, SSS/B, C minor, one str. only. Also in Barb. lat. 4200, n. 23 which is marked MAP and includes the text for str. 2-3. CALUORI n. 439; MURATA n. 181. Recorded on Le canterine romane by the ensemble Tragicomedia, Teldec 4509-90799-2 (1993). 17 (ff. 125-128v) [PASQUALINI]. Poesia del S.r Gio. Lotti. A 3. Ahi, non resta al mio duol altro che morte, SSB/B, D minor. A version for SS/B is Barb. lat. 4200, n. 36 and 4222, n. 19; both are in D minor and marked MAP. CALUORI n. 409; MURATA n. 9b. Another setting is I-Nc 33.4.7a, ff. 37-44, S-bc, attributed to “Giovannini.”

18 (ff. 129-132) [PASQUALINI]. A 3. Streviglio. Begl’occhi morrà di duolo, SSB/B, C minor; R-1-R-2-R. Attributed to Pasqualini in Barb. lat. 4163, n. 22 and I-Bc Q.50, ff. 117-120. An anon. compositional draft is Barb. lat. 4204, n. 34. A modern edn is CAMETTI 1921, vol. 3, n. 4, insert between pp. 112 and 113. MURATA n. 24. 19 (ff. 133-138) [PASQUALINI]. Parole dell’Ecc.mo S.[r] P[ri]n[ci]pe de [sic] Nerola [Flavio Orsini]. Infelice mio core, dove, dove trascorre il tuo desire, SSB/B, A minor. A rubric on f. 135v for the S2, “seguita il Primo soprano,” suggests that the music was scored up from partbooks. An incomplete compositional draft is Barb. lat. 4204, n. 46. MURATA n. 114a. An arrangement for quartet, copied after 1660, is Barb. lat. 4222, n. 1. 20 (ff. 139-141v) [PASQUALINI]. A 3. Streviglio. Che ne dite, pensier, durar si può, SSB/B, E minor; R-1-R-2-R-3-R. The attribution to Pasqualini is based on Barb. lat. 4205, n. 43, a compositional draft in his hand. MURATA n. 38. 21 (ff. 143-148v) [PASQUALINI?]. Poesia del S.[r] Gio. P. Catal.e. A 3. P[rima]. Luci care, amate stelle, SSS/B, D minor, 3 str. Pasqualini has heavily revised three mm. of the 2d soprano on f. 148v. Poetic attributions to “A. C.” and “G. P. C.” have been crossed out (the latter partially trimmed); the poet is probably Giampietro Cataloni. MURATA n. 141. 22 (ff. 149-151v) Mons.r Bentivogli. A 3. Quanto poco durate, o contenti in amore, SSS/B, A minor, one stanza only. Figures for the continuo bass

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BARB. LAT. 4219

appear to have been added at different times. Also anonymous in Barb. lat. 4201, n. 29 (SSB/B), where str. 2 in incomplete. MURATA n. 194. Bentivoglio is likely the prelate Annibale Bentivoglio, who wrote in praise of the singer Leonora Baroni in a 1639 print; see G. Mazzuchelli, Gli scrittori d’Italia, vol. 2, pt. 2, Brescia 1760, p. 867. A different solo setting by Paolo Lorenzani is GB-Lbl Harley ms. 1863, f. 59v-63.

23 (ff. 153-154v) [PASQUALINI]. Gio. Piet. Cat.ri [sic]. A 3. Inimica Fortuna, fa’ di me crudo scempio, SSB/B, A minor. The attribution to Pasqualini is based on Barb. lat. 4204, n. 29, a compositional draft. The poet is likely Giampietro Cataloni. MURATA n. 115. 24 (ff. 155-160v) [PASQUALINI]. Poesia dell’ Ecc.mo Sig.r P.n.pe di Nerola [Flavio Orsini]. Dialogo a dua. Presso un liquido cristallo (B); SB/B, A minor. The roles are Lilla (S) and Tirsi (B). Solo arias are Quest’empio ch’inganna (S/B, E minor, 3 str. in variation); Due luci serene (B/B, A minor, 2 str. in variation); and Tirsi certo credi al me (S+B/B, A minor). The closing duet is Non sperar questo da me. Desinet “di stridente zampogna mi destò.” The attribution to Pasqualini is based on Barb. lat. 4205, n. 58, a compositional draft. MURATA n. 185. 25 (ff. 161-162v) [PASQUALINI?]. A dua. Che stravaganza è questa, Amore, SS/B, B! major. Also anonymous in Barb. lat. 4205, n. 37, which bears corrections or emendations by Pasqualini. MURATA n. 42. 26 (ff. 163-166) [PASQUALINI]. A 2.a [dua]. Sì, ch’io ti voglio amar, segua che può, SS/B, A minor, 2 str. The attribution to Pasqualini is based on Barb. lat. 4205, n. 39, a draft with revisions, both in his hand. Murata n. 211. 27 (ff. 167-172) [PASQUALINI]. Poesia del S.r Gio. Lotti. A due. Già son morto e non lo crede, SS/B, A minor, 2 str. The 2d strophe, Già son polve e vuol ch’io viva, is in the hand of professional copyist Bernardino Terenzi (Hand B). Attributed to “Marc’Antonio” in GB-Och Mus. 996 (dated 1672), ff. 133-34v. It is anonymous in Barb. lat. 4205, n. 42, a compositional draft in Pasqualini’s hand. Also anonymous in GB-Och 377 (dated 1653), ff. 30v33v. MURATA n. 101. See the contrafactum Son pentito e più non voglio, n. 6 above. OPAC-SBN attributes this to Antonio Cesti, probably on the basis of its inclusion in WECIS 1, due to Godfrey Arkwright’s erroneous interpretation of the name in Och 996 (Christ Church catalogue, part 2 (i), Oxford 1923, pp. 149-152). 28 (ff. 174-182) [PASQUALINI]. A 2.a. P[rim]a: Ahi, che duol che porto al core, SS/B, F major, 4 str. Pasqualini’s authorship is based on the draft in

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his hand with revisions and embellishments, Barb. lat. 4205, n. 41. MURATA n. 5a. A trio version is Barb. lat. 4222, n. 8, marked MAP, and with a text attribution to [Nicolao] Foresta. 29 (ff. 183-197) Non mi fate mentire, no, no, no. Ho già detto a ciascun, SSB/B, A minor. Fair copy for two sopranos and basso continuo to which Pasqualini added a bass vocal line on freehand staves, below the original continuo line. The second strophe lacks text and has no added vocal bass line. A similarly defective SS/B version is Barb. lat. 4200, n. 37. CALUORI, n. 420; MURATA n. 159. Caluori n. 420 also lists a different setting attributed to Luigi [Rossi] in D-SWl 4718a, pp. 95-97, (prob. the basis of the Rossi attrib. in RICCIARDELLI 1988, p. 67). An anon. third setting is F-Pn Rés. 2096, pp. 116-117. An anon. fourth setting is in I-GR Crypt It. 5.

30 (ff. 189-191) [PASQUALINI]. Armatevi di sdegno, occhi guerrieri, SS/B, B! major. The attribution to Pasqualini in based on Barb. lat. 4204, n. 36, a compositional draft. CALUORI, n. 411. MURATA n. 20. 31 (ff. 193-195) [PASQUALINI]. P[o]esia dell’Ecc.mo Sig. D[on] Lelio Orsini. A 3. Pupilluccie mie belle, quanto v’ adorerei, SSB/B, A minor. The attribution to Pasqualini is based on the attribution of the solo version, Barb. lat. 4204, n. 20, which also attributes the text to Lelio Orsini. MURATA n. 186c. Another arrangement for SB/B is n. 34 below. 31bis (f. 196) The closing measures of n. 31, SI and part of SII only. 32 (ff. 197-202v) [PASQUALINI?]. A 2. P[rima]: Ahi mio sole, e dove sei, SB/B, C minor, 3 str. A solo version is Barb. lat. 4221, n. 50. MURATA n. 8b. 33 (ff. 203-206) [PASQUALINI]. A 2. Che ci trovi in quegl’ occhi, SB/B, E minor, 2 str. The attribution to Pasqualini is based on Barb. lat. 4201, n. 20 (ff. 13 and 48v), a sketch and a compositional draft of this duet in his hand. MURATA n. 34b. A solo version, anonymous in Barb. lat. 4221, n. 23, is attributed to Pasqualini in I-Bc Q.47, ff. 236r-v. 34 (ff. 207-209) [PASQUALINI]. Poesia del S.r D[on] Lelio Orsini. A 2. Pupilluccie mie belle, quanto v’ adorerei, SB/B, A minor. MURATA n. 187c. See n. 31 above for the attribution and other versions. 35 (ff. 211-213v) [PASQUALINI]. Poesia del S.r Gio. Lotti. A 2. Per un guardo del mio bene, SB/B, A minor. CALUORI n. 370; MURATA n. 179b. The attribution to Pasqualini is extended from the solo version, which is attributed to “MAP” in I-Nc 33.4.19b (Cantate ibride 15), ff. 147-50v. It is anonymous in Barb. lat. 4204, n. 22 (a compositional draft) and 4220, n. 11. Ascribed to Luigi Rossi in GHISLANZONI (n. 194).

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BARB. LAT. 4219-4220

Bound in parchment (224 × 290 mm), with the cover title: 1663. Aire [sic] A due a 3 a [= e] Dua a 4. On the spine is written Arie a 3 / A 4 – A 2; a modern hand has written below the number 90 in black ink, above a pink Vatican sticker. The binding has disintegrated on the right edge, exposing the board below. The front pastedown bears a pink Vatican sticker and the shelfmark XLVII.90 in modern black ink. The four watermarks are associated with Rome: cleric/saint in a shield (several variants of the type HEAWOOD 1352); circle with crown above and fleur-de-lis within (nn. 11, 19, 22-23, WITZENMANN type O); circle with six-pointed star above and within, an anchor and the letters L and M to either side (nn. 13-14, 20, 24, 27-28, HEAWOOD 5); and a horse or stag in a circle (n. 32). See also GRAMPP 2001, vol. 1, p. 26. Pages have been trimmed at the top. The gathering structure is irregular; most compositions are made up of single, serial bifolios. Those of one bifolio are nn. 3, 23, 25; of two bifolios, nn. 1 and 1b; 10, 16, 17, 18, 20, 22, 26, 30, 31, 33, 34, and 35; of three bifolios, nn. 2, 6, 11, 12, 19, 21, 24, 27, 29, and 32; of four bifolios, nn. 7 (II + II); 13 (nested), 15 (three wrapped in one), and 28 (nested); of five bifolios nn. 4, 5, and 8 (four wrapped in one), 9, 14 and 14b.

The original foliation in ink omitted numbers 140 through 169 and 201; the final folio was originally numbered 246. Original folios 14-15 are lacking. The foliation here follows the modern continuous numbering in pencil, which has cancelled all the original folio numbers from f. 16 on. The guard sheets except for the title-page are blank; blank staves only appear on ff. 58, 113, 124, 142, 152, 173, 187-188, 191-192, 209-210, and 214. The table of contents on f. 215 is dated 1656 and contains thirty-seven items; it lists nn. 1 and 1bis, 14 and 14bis, and n. 31 twice, and omits n. 4. GRAMPP 2001, vol. 1, p. 96 reads the date on the cover as “1667 [?]”. Pasqualini copied all the music, titles, the table, foliation, and attributions except for n. 7 and the second strophe of n. 27, which were both copied by Bernardino Terenzi (Hand B), who is also Hand B of Barb. lat. 4201 and 4203; Hand C of Barb. lat. 4204; of Act 2 of Barb. lat. 4387, I-Bc X.234 and other Roman vocal works, including operas. Variations between separate items in writing and ink indicate that they were not copied in the same period. Barb. lat. 4219-4220

Barb. lat. 4220 1654, 220 × 285 mm, III.161.I ff., 8 staves, 2 hands

Title on f. [II]: MAP. Straccia foglio. Poesie del Sig.r Gio. Lotti. Perdimento

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425

di tempo, per sfuggir’ l’ozio. Sixty Italian chamber arias and cantatas for soprano and basso continuo, all in the hand of Marc’ Antonio Pasqualini, except for n. 5 and the end of n. 56. All copies are anonymous; however twenty-five have been attributed to Pasqualini in concordant sources and one each to Luigi Rossi and, erroneously, to Marc’Antonio Sportonio. Eighteen may also be attributed to Pasqualini on the evidence of compositional sketches and drafts in his hand elsewhere. Twenty that lack firm paleographic grounds for attribution remain anonymous, but are probably by him and are here listed as [Pasqualini?]. The year 1654 appears on the table of contents on f. 161. Despite the title, several musical attributions here and in concordances among the Barberini mss. bear conflicting text attributions to Antonio Barberini, jr (nn. 2, 3, 4, 5, 56, 57) and to poets Luigi Ficeni (n. 5) and “G.P.C.” (n. 17). 1 (ff. 1-4) [MARC’ANTONIO PASQUALINI]. Poesia del S[igno]r [Giovanni] Lotti. Un peccatore a piedi d’un crocifisso. Reo d’impuniti eccessi, E minor, 3 strophes in variation. Desinet “E s’io torno a peccar, mari annegatemi.” Marked “MAP” in Barb. lat. 4203, n. 13, which attributes the text to Antonio Barberini, jr. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 24. MURATA n. 200. A different setting of the text is BAV Vat. mus. ms. 426, ff. 29v-33.

2 (ff. 5-7) [PASQUALINI]. Poesia A[ntonio] B[arberini, jr]. A. B. Sonetto. P[rim]a [parte]: Al Padre e l’spirto uguale in fra i celesti, A minor. The index and original reading give Col Padre e l’spirto. Marked “MAP” in Barb. lat. 4203, n. 8, which attributes the text to “Em.o card. Ant.o.” MURATA n. 15. 3 (ff. 9-10v) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. Corre il mondo dietro un nulla, F minor. The closing aria is Turbini gravidi di spirti rei. Rubrics include “rec[itat]o,” “ondeg[gia]to,” “presto” and “adagio.” Marked “MAP” in Barb. lat. 4203, n. 14, which attributes the text to Antonio Barberini, jr. Also anonymous and in Pasqualini’s hand, with his corrections, is Barb. lat. 4205, n. 19. MURATA n. 54. 4 (f. 11) [PASQUALINI]. Mad[riga]le sopra la nascita di N[ostro] S[ignore]: Perché dolce bambino, da’ sacrosanti lumi, D minor. Marked “MAP” in Barb. lat. 4203, n. 15, which attributes the text to Antonio Barberini, [jr]. Also anonymous in Pasqualini’s hand in Barb. lat. 4205, n. 38. Recorded on Reliquie di Roma, I: Lamentarium on Nimbus Alliance NI 6152 (2011). MURATA n. 177. Barb. lat. 4220 5 (ff. 13-17v) [PASQUALINI]. Poesia dell’ padre [sic] Luigi Ficeni. Un peccator’ pentito. Bellezza nel mio cor da luogo a Dio, A minor, cantata. Arias

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426

BARB. LAT. 4220

are Che più tardi a sciolto (D minor); Questo amante ha pietà (E minor), and the closing Tu mio Dio, che fai pentirmi (A minor, marked “aria”). Attributed to Pasqualini in I-Rdp ms. 51, pp. 64-69 and I-Nc 33.4.19b (Cantate ibride 15), ff. 21-32v. Marked “MAP” in Barb. lat. 4203, n. 16, which attributes the text to Antonio Barberini, jr. MURATA n. 26. 6 (ff. 19-20) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. A schiere sen viene, D minor, 2 str. Attributed to Pasqualini in F-Psg 3372, ff. 9-10v; I-Rc 2478, ff. 96-97v; and to “M. A. P.” in I-Rv 2565 (olim Blumenstihl), ff. 113116. Also anonymous in, Barb. lat. 4205, n. 7; the copy n. 18 below; and DMbs Mus. 1524, ff. 67v-70. The poem is edited in ROSTIROLLA 2003, p. 718. MURATA n. 22a. An arrangement for ST/B is Barb. lat. 4222, n. 29, which is marked MAP. 7 (ff. 21-22) [PASQUALINI]. Poesia del s.r Lotti. In corr[ent]e. Mai non si troverà, D minor, 2 str. A modern hand has written “Pasqualini” in pencil at the head. Attributed to Pasqualini in Barb. lat. 4163, n. 7; F-Psg 3372, ff. 39v-41; and I-Rc 2478, ff. 88-90v. MURATA n. 143a. An arrangement for SB/B is Barb. lat. 4222, n. 31, marked MAP. 8 (ff. 23-24) [PASQUALINI]. Poesia del s.r Gio. Lotti. Rammentati core, che ’l foco primiero, E! major, aria. The attribution to Pasqualini is based on the compositional alterations to the draft in his hand Barb. lat. 4204, n. 24. MURATA n. 199. 9 (ff. 25-26) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Filli mia, com’è possibbile, C minor; 2 str., text for str. 2 written below the continuo staves. MURATA n. 95. 10 (ff. 27-28v) [PASQUALINI]. Poesia del s.r Gio. Lotti. P[rim]a: Lontano sen va chi vita mi die’, D minor; 2 str. Also anonymous in Barb. lat. 4205, n. 29. MURATA n. 134a. An arrangement for SS/B is Barb. lat. 4222, n. 32, which is marked MAP, the basis for the attribution of this solo version. 11 (ff. 29-30) [PASQUALINI]. Poesia del s.r Gio. Lotti. Per un guardo del mio bene, A minor, aria. Attributed to “MAP” in I-Nc 33.4.19b (Cantate ibride 15), ff. 147-150v. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 22. CALUORI n. 370, MURATA n. 180a. An arrangement for SB/B is Barb. lat. 4219, n. 35, which also attributes the text to Lotti. 12 (ff. 31-32) [PASQUALINI]. Poesia del s.r Gio. Lotti. P[rim]a: Disperati cor mio, e che sperar vuoi più, C major; 2 str, text only for str. 2. Rubrics include “premute.” The attribution to Pasqualini is based on the compositional draft in his hand, Barb. lat. 4175, n. 6. CALUORI n. 320; MURATA n. 71.

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13 (ff. 33-34v) [PASQUALINI?]. Poesia del s.r Lotti. Ho da morire, ditela, C minor. MURATA n. 106. 14 (ff. 35-36v) [PASQUALINI]. Poesia del s.r Gio. Lotti. Bel volto m’ancidi, C minor, 2 str. in variation. Attributed to Pasqualini in I-Rc 2467, ff. 38v43 and I-MOe Mus. G.157, with the subject title “Crudeltà d’un bel volto” (copy dated 1662). Marked “MAP” in Barb. lat. 4168, n. 11. Barb. lat. 4175, n. 35 is an anon. compositional draft in Pasqualini’s hand. MURATA n. 27. 15 (ff. 37-38) [PASQUALINI]. Poesia del s.r Gio. Lotti. Satiatevi, satiatevi luci spietate, C minor, aria. The attribution to Pasqualini is based on compositional drafts in his hand, Barb. lat. 4205, n. 50. MURATA n. 202. 16 (ff. 39-40v) [PASQUALINI?]. Poes[ia] del s.r [Giovanni] Lotti. P[rima]: Quel vostro ridere mi vuol uccidere, C minor, R-1-R (lacking str. 2). Also anonymous in I-Rc 2475, ff. 165-68v. MURATA n. 198. 17 (f. 41r-v) [PASQUALINI]. Poesia de s.r G. P. C. [Giovanni Patrick Carey?]. Occhi bugiardi, sì, voi mi tradite, C minor, aria. Attributed to “MAP” in I-Nc 33.4.19b (Cantate ibride 15), ff. 151-53v. Also anonymous in Pasqualini’s hand in Barb. lat. 4205, n. 6. MURATA n. 168. 18 (f. 42r-v) [PASQUALINI]. Poesia del s.r Gio. Lotti. Corr[en]te. A schiere sen viene, D minor. See n. 6 above, which differs in places, for sources of the attribution to Pasqualini. MURATA n. 22a. 19 (ff. 43-44) [PASQUALINI?]. Poes[i]a del s.r Gio. Lotti. P[rim]a: Tutti insieme pensieri, da la pace del core, E! major; 2 str., text for str. 2 written below the continuo staves. Also anonymous in Barb. lat. 4204, n. 6. MURATA n. 237. A duet setting by Sebastian Enno (Venice 1654, NV 888), p. 109, sets several more lines of text and has poetic the lines in a different order.

20 (ff. 45-46v) [PASQUALINI]. Poes[i]a del s.r Lotti. P[rim]a: Non temo di morte, m’impiaghi, m’uccida, A minor, 2 str. Attributed to Pasqualini in Barb. lat. 4168, n. 8; B-Br II.3947, ff. 135-138v; and I-Rc 2467, ff. 13v-16. A compositional draft in Pasqualini’s hand is Barb. lat. 4175, n. 27. MURATA n. 164. 21 (f. 47r-v) [PASQUALINI]. Hor qual colpa v’ha il mio core, D minor. The attribution to Pasqualini is based on the compositional draft in his hand Barb. lat. 4204, n. 61. MURATA n. 108. 22 (ff. 48-49) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. Tienti che cadi, Amore, C major. Marked “MAP” in Barb. lat. 4203, n. 20. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 51. MURATA n. 234.

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23 (ff. 49-51v) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. Partenza. Dov’è la Morte e Pluto, A minor, cantata. The only aria is Alma va, non tardar più. Attributed to Pasqualini in I-Nc 33.4.7a (Cantate 6), ff. 44-49v, and Nc 33.4.12a (Cantate ibride 9), ff. 55-62. Marked “MAP” in Barb. lat. 4203, n. 19. An anonymous compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 50. Also anonymous in I-MOe Mus. G.257, ff. 1-9v. MURATA n. 73. 24 (ff. 51v-52v) [PASQUALINI]. Streviglio: Mi vogliono morto dui [sic] lumi guerrieri, B! major; R-1-R. Marked “MAP” in Barb. lat. 4203, n. 21. Barb. lat. 4204, n. 48 is an anonymous compositional draft in Pasqualini’s hand. CALUORI n. 352. MURATA n. 148. 25 (ff. 53-55) [PASQUALINI]. Poesia del s.r Gio. Lotti. Occhi lingue d’amore, non mi chiedete più s’io sono amante, G minor, cantata. The only aria is Nel centro dell’ alma sen stiano i sospiri. Marked “MAP” in Barb. lat. 4203, n. 27. Anonymous in Pasqualini’s hand in Barb. lat. 4175, n. 30. MURATA n. 169. 26 (ff. 55v-56) [PASQUALINI]. P[rim]a: Legate un pensiero, che fa nel mio core, A minor. No second stanza is given. Attributed to Pasqualini in B-Br II.3947, ff. 109-112v, and I-Rc 2467, ff. 91v-94; and to “M.A.P.” in Barb. lat. 4168, n. 12. The Casanatense copy attributes the text to [Luigi] Ficeno. An anonymous copy is Barb. lat. 4175, n. 33. MURATA n. 132. 27 (f. 56v) [PASQUALINI?]. P[rim]a: Adora, mio core sembiante gradito, E minor. No second stanza is given. Also anonymous in Barb. lat. 4175, n. 29, a fair copy in Pasqualini’s hand. MURATA n. 2. 28 (ff. 57-58) [PASQUALINI?]. Poesia del s.r Gio. Lotti. P[rim]a: Trafiggemi pensiero, ho perduto un thesoro, D minor; 2 strophes, text for str. 2 written below the continuo staves. Also anonymous but in Rossi’s hand in Barb. lat. 4175, n. 25. CALUORI, n. 397; MURATA n. 236. 29 (ff. 59-60v) [PASQUALINI or LUIGI ROSSI]. Chiuda quest’ occhi il sonno, C minor, 2 str. in variation. Marked “MAP” in Barb. lat. 4175, n. 18. Attributed to Luigi Rossi in I-Rc 2467, ff. 53v-59. Also anon. in Barb. lat. 4374, n. 25 (for T/B), a volume in the hand of Luigi Rossi. CALUORI n. 312 rejects the Casanatense attribution to Rossi, which she listed as reliable in WECIS 3a, n. 42, because it is not in the hand of the music copyist. See MURATA, Introduction §3.3. MURATA n. 49. 30 (ff. 61-63) [PASQUALINI]. Inportuna lontananza, strugger fa in amor il petto, C minor, cantata. The opening aria has two strophes; another aria is Pria ch’io dia disperato. The attribution to Pasqualini is based on the compositional draft in his hand Barb. lat. 4204, n. 7, where the text begins Importuna lontananza. Murata n. 116.

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The poem is not “Importuna lontananza / Mi persegue a tutte l’hore” in LOTTI 1688, pt. 3.

31 (ff. 63v-64v) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Che gloria la morte sarebbe al mio core, A minor. Also anonymous in Barb. lat. 4204, n. 11. MURATA n. 36. 32 (ff. 65-66v) [PASQUALINI]. Poesia del s.r Gio. Lotti. Quanto adoro, ahi ch’il desire, A minor. The second and closing aria is Ardasi lieto e morasi. Attributed to Pasqualini in I-Nc 33.4.7a (Cantate ibride 6), ff. 19-24, and GB-Ouf U.210.4, ff. 13-18v. Also anonymous in Pasqualini’s hand in Barb. lat. 4204, n. 10 (q.v.). MURATA n. 191. 33 (ff. 67-68) [PASQUALINI]. Poes[i]a del s.r Gio. Lotti. Non ho più lagrime da dissertarne amore, F minor. The attribution to Pasqualini is based on the compositional draft in his hand Barb. lat. 4204, n. 35. The text is published in LOTTI 1688, pt. 3, p. 177 with the caption title “Amante, che piange sempre” and some word differences. MURATA n. 157. 34 (ff. 69-72) [PASQUALINI]. Poesia del s.r Gio. Lotti. Mi consumo, ah lo sa il core, A minor, 3 str. in variation. The music is attributed to Pasqualini in I-MOe Mus. G.154, which has the subject title “Amante che si consuma.” MURATA n. 145a. Duet and trio arrangements, both marked MAP, appear in Barb. lat. 4222, nn. 20 and 9, respectively. 35 (ff. 73-74) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. Dove miri pensiero? Ferma troppo alto è del tuo strale il segno, A minor, aria. Rubrics include “presto.” The attribution to Pasqualini is based on the compositional draft in his hand in Barb. lat. 4201, n. 17. MURATA n. 75. A different, anonymous, setting of the text is Barb. lat. 4175, n. 8 (CALUORI, n. 321).

36 (ff. 75-76) [PASQUALINI]. Poesia del s.r Gio. Lotti. P[rim]a: Soffrite e tacete, arditi pensieri, D minor, 2 str. The attribution to Pasqualini is partly based on the compositional draft in his hand Barb. lat. 4201, n. 8. Also anonymous in I-Rc 2475, ff. 103-104v and Rc 2477, ff. 167-168 (one strophe only). MURATA n. 222a. An arrangement for SB/B marked MAP is Barb. lat. 4222, n. 33, q.v. for two further ensemble settings of the text. 37 (ff. 77r-v) [PASQUALINI]. Poesia del s.r. Gio. Lotti. La reggia d’Amore è piena d’avvinti, D minor, aria. Middle voices for the continuo right hand have been squeezed in to connect the two last phrases. The attribution to Pasqualini is based on a compositional draft in his hand Barb. lat. 4201, n. 10. MURATA n. 126.

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BARB. LAT. 4220

38 (ff. 79-80) [PASQUALINI]. Poesia del s.r. Gio. Lotti. P[rim]a: E dove fuggì quel rapido piede, A minor, 2 str. Attributed to Pasqualini in F-Psg 3372, ff. 2v-4v; and I-Rc 2478, ff. 112-113v; and to “M.A.P.” in I-Rv 2565 (olim Blumenstihl), ff. 109-112. Other anonymous copies are Barb. lat. 4205, n. 8 and Barb. lat. 4221, n. 71. The poem is edited in ROSTIROLLA 2003, pp. 717-718. MURATA n. 81. 39 (ff. 81-83) [PASQUALINI]. Poesia del s.r. Gio. Lotti. Fate ch’io speri che v’amerò, A minor, cantata. Another aria is Ahi, che dissi dolente. Marked “MAP” in Barb. lat. 4203, n. 22. MURATA n. 93. 40 (ff. 85-87v) [PASQUALINI]. Poesia del s.r Gio. Lotti. Ricordati vita, che m’hai lasciato anciso, D minor, cantata. After the opening aria, Lontananza m’ha ferita (C major) is marked “in aria”; then marked “aria” are Vidi il sol non per bearmi (G minor) and the closing Un tesoro che fuggì (D minor). The attribution to Pasqualini is based on the compositional draft in his hand Barb. lat. 4201, n. 21. MURATA n. 201. 41 (ff. 89-90) [PASQUALINI?]. Poesia del s.r. Gio. Lotti. Quanto parla il mio dolore, A minor, 2 str. in variation. Anonymous in Pasqualini’s hand with minor corrections and additions in Barb. lat. 4205, n. 16. MURATA n. 192. 42 (ff. 91-92v) [PASQUALINI?]. P[rim]a: Occhi belli, all’armi, all’armi … S’armi in cielo di bei rai, F major, 3 str. Also anonymous is Barb. lat. 4205, n. 3; a fragmentary copy is Barb. lat. 4221, n. 28. MURATA n. 166a. The text is attributed to Giovanni Lotti in the duet arrangement Barb. lat. 4222, n. 38, which is marked MAP. 43 (ff. 93-95) [PASQUALINI]. Poesia del s.r Gio. Lotti. Eh potesti lasciarmi? E stabilir con sì mortal decreto, A minor, cantata. An internal aria is Non si fidi un cor, no, no (E minor); the closing aria is No, no, non vo’ consiglio (A minor). The music is attributed to Pasqualini in I-Rc 2478, ff. 91-95v. Also anonymous in I-Rc 2475, ff. 71-76v (CLORI n. 1469). MURATA n. 84. 44 (ff. 97-100) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Ecco Filli, hor apri il core, A minor, cantata. Another aria is Ardisci favella e rompa il suo laccio. Also anonymous in BAV Chigi Q.IV.5, ff. 11-13, with the subject title “Amante timido.” See also below, n. 50. MURATA n. 78. 45 (ff. 101-103v) [PASQUALINI]. Poesia del s.r Gio.Lotti. P[rim]a: Su la rota di Fortuna posa lieta la mia fé, C minor, cantata. The opening aria has three strophes; the closing aria is Se legge tiranna comanda così. Attributed to Pasqualini in I-MOe Mus. G.155, with the subject title “Quanto sia bu3 giarda la Fortuna” (copy dated 1662 and barred in 4 ). Marked “MAP” in

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Barb. lat. 4208, n. 23. Also anonymous in Barb. lat. 4205, n. 35, and I-Fn Magl.XIX.26, ff. 8v-14v. CALUORI, n. 390; MURATA n. 231a. The text is also attributed to Lotti in Barb. lat. 4222, n. 17, a version for SB/B marked MAP. 46 (ff. 105-108v) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Il tempo che fu, o come si brama, C major, cantata. Marked “aria” is L’Amor che sprezzai già, but it moves into a return of Il tempo che fu. The closing aria is E voi che d’amore (3 str.). Also anonymous is Barb. lat. 4173, n. 11. MURATA n. 112. 47 (ff. 109-112v) [PASQUALINI]. Poesia del s.r [Giovanni] Lotti. Io ben mi veggio, ahi lasso, C minor, cantata. Internal arias are Ahi miseria infinita and O Ciel chi provò mai, and the closing “in aria” Ma che pensi, o cor trafitto (all C minor). The attribution to Pasqualini is based on the compositional draft in his hand Barb. lat. 4201, n. 5; see also n. 48 below. MURATA n. 118. 48 (ff. 113-117) [PASQUALINI]. Poesia del s.r Gio. Lotti. Io ben mi veggio, ahi lasso. Same as n. 47 above. MURATA n. 78. 49 (ff. 117v-120) [PASQUALINI]. Poes[ia] del s.r [Giovanni] Lotti. Streviglio: Non mi ci cogli più, Amor fa quanto sai, C minor, R-1-R-2-R. The attribution to Pasqualini is based on the compositional draft in his hand, Barb. lat. 4201, n. 2. MURATA n. 158a. An arrangement for SSB/B is Barb. lat. 4222 n. 12, which is marked MAP. Two different cantatas that begin with the same five words are Non mi ci cogli piu, infido Cupido (I-MOe Mus. G.306, ff. 78-82) and Non mi ci cogli[e] più su l’incude di Vulcano (I-MOe Mus. F.1385, ff. 63-66).

50 (ff. 121-124) [PASQUALINI?]. Poesia del s.r Gio. Lotti. AMANTE TIMIDO. Ecco Filli, hor apri il core. Same as n. 44 above. 51 (ff. 125-128v) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Poiché chiaro s’avvide, B minor, cantata. Rubrics include “in aria”; the only aria is the closing Pietà, Filli, pietà. MURATA n. 183. 52 (ff. 129-131v) [PASQUALINI?]. Poesia del s.r Gio.Lotti. PARTENZA. Ahi, ch’ i lamenti non son possenti, 2 str., C minor, cantata. MURATA n. 6. LA RISPOSTA is n. 53 below. 53 (ff. 133-136) [PASQUALINI?]. Poesia dcl s.r [Giovanni] Lotti. Lungi da te mio bene, ahi quante pene, F minor, cantata. “Quest’ è la risposta dell’antecedente.” MURATA n. 142. Different from Lungi da te mio bene, idolo di quest’alma, S/B, C minor, by O. TARDITI, in Arie a voce sola de’ diversi auttori, raccolte da Francesco Tonalli, Venice, A. Vincenti, 1656, pp. 17-20.

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BARB. LAT. 4220

54 (ff. 137-139v) [PASQUALINI?]. Poesia del s.r Gio.Lotti. Quando con giusto sdegno, A minor, cantata. The only aria is the closing Ingannami, tradiscimi. MURATA n. 189. 55 (ff. 141-145v) [PASQUALINI]. Poesia del s.r Gio. Lotti. Una fede io sento stridere ch’è assalita e già si more, C minor, cantata. The only aria is O d’Amor possenti schiere (so marked). Attributed to Pasqualini in I-Rc 2478, ff. 114-23v (CLORI n. 788). MURATA n. 238. A different setting of the text by Mario Savioni is Barb. lat. 4168, n. 23.

56 (ff. 147-148v) [PASQUALINI]. Poes[ia] del s.r [Giovanni] Lotti. Sempre si piangerà, basta che ’l guardo miri, C major. Other arias include Quando l’ali ei scuotea volare (A minor) and Agiratevi pur d’appresso (C major). Marked “MAP” in Barb. lat. 4203, n. 18, which attributes the text to Antonio Barberini, [jr]. MURATA n. 204a. An arrangement for SB/B that attributes the text to Lotti is Barb. lat. 4222, n. 16, also marked MAP. 57 (ff. 149-153) [PASQUALINI]. Poesia del s.r Gio. Lotti. Dove vai pensier volante, A minor, cantata. Another aria is È possibile ch’anima forte (A minor), marked “presto.” Marked MAP in Barb. lat. 4203, n. 17, which attributes the text to Antonio Barberini, [jr]. The text is published in LOTTI 1688, pt. 3, pp. 141-142. The music is attributed to Marc’Antonio Sportonio in GB-Och 946, ff. 25-31v. MURATA n. 77a. A duet arrangement is Barb. lat. 4222, n. 15, also marked MAP. 58 (ff. 155-157) [PASQUALINI?]. Poesia del s.r Lotti. Ahi ch’ a forza ritenni il pianto al core, C minor. Marked “aria” are Nel suo muto volere un’arsa voglia and Nell’ince[n]dio ch’arde in me. A copy with musical additions in Pasqualini’s hand is Barb. lat. 4205, n. 9. MURATA n. 4. 59 (ff. 157v-159) [PASQUALINI?]. In corr[en]te. P[rim]a: È ventura del mio core, A minor, 4 str. in variation. The uncertain attribution to Pasqualini is based on the draft of the soprano line only in Pasqualini’s hand in Barb. lat. 4205, n. 11. MURATA n. 90. 60 (ff. 159v-160v) [PASQUALINI?]. P[rim]a: È possibil ch’in amore io non debba haver mai sorte, B! major, 3 str. Also anonymous in Barb. lat. 4205, n. 15, a holograph with changes and revisions also by Pasqualini. MURATA n. 85. Bound in parchment (228 × 305 mm). On the spine is a pink Vatican sticker and below it, the number 91 written in black ink by a modern hand. This hand also wrote the previous shelfmark XLVII.91 inside the front cover, in black ink. The watermarks are associated with Rome: a crown

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433

surmounted by a star; a cleric/saint in a shield; and a fleur-de-lis on three hills in a circle (cf. HEAWOOD general types 1120, 1352, and MAHONEY 18). The ms. consists of single bifolios, except for ff. 13-16, but almost every composition is an individual fascicle with its own gathering structure, except for the gatherings that include nn. 17-18, 21-22, 23-24, 25-27, 30-31, 48-49, and 58-60. The original foliation in ink extends to f. 201, but errs after f. 79 (within a composition) and has been corrected by modern foliation in pencil from f. 80 on. The table of contents dated 1654 (on f. 161, originally the first end guard sheet), has 58 entries, omitting nn. 18 and 24. Flyleaves [I], [III] and [162] are blank; blank staves only are on ff. 8, 12, 18, 78, 88, 96, 104, 132, 140, 146 and 154. Two freehand staves have been drawn on f. 60 to complete the music within the bifolio. Pasqualini is the copyist (A) of all, including the title-page, attributions, foliation and table of titles, except for the music and text of n. 5 and the last 16 measures of n. 56, which are in the hand of Giovanni Antelli (Hand B, see Barb. lat. 4208). RICCIARDELLI, pp. 70-71, ascribed nn. 9, 26, 53 and 57 to Luigi Rossi, without explanation. Barb. lat. 4220-4221 The Barberini copy of the posthumous edition of Lotti’s Poesie latine, e toscane, Roma, G.G. Komarek, 1688) is BAV Stamp.Barb. JJJ.IV.14.

Barb. lat. 4221 1638, 220 × 290 mm, III.153.II ff., 6-8 staves, 2 hands

Anthology of sixty-seven anonymous Italian chamber arias and cantatas for soprano and basso continuo, and two fragments, all in the hand of Marc’Antonio Pasqualini, who wrote the title MAP. Straccia foglio. Perdimento di tempo p[er] sfuggir lozio (f. II). These are preceded by two anonymous sonnet settings for bass voice and basso continuo in a different hand (nn. 1-2). Two further pieces are only partial copies (nn. 9, 17bis) and two are duplicates (nn. 58-59). The year 1638 appears on the cover and heads the table at the end. Sixteen items can be attributed to Pasqualini in nonBarberini concordances. Anonymous compositional drafts in Pasqualini’s hand in other Barberini volumes exist for at least twenty-six pieces. The remaining twenty-three anonymous works may also be by Pasqualini. Poets named by Pasqualini are Sebastiano Baldini, Andrea Barbazza, Luigi Ficeni, Nicolao Foresta, Giovanni Lotti, Flavio Orsini, Lelio Orsini, “A. B.,” and “Gio. P. C.” For several pieces, a rubric designating the opening strophe (prima) or refrain (streviglio) heads the page.

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434

BARB. LAT. 4221

1 (ff. 1-3) [MARC’ANTONIO PASQUALINI?]. Fiume che corri al mar veloce tanto, B/B, D minor, sonnet (4 parti in variation). Attribution to Pasqualini based on Barb. lat. 4151, n. 33, which is a compositional draft. MURATA n. 98. Barb. lat. 4221 2 (ff. 3v-6) [PASQUALINI?]. Dal cavo monte ond’all ombroso mondo, B/B, C minor, sonnet (4 parti in variation). MURATA n. 60. 3 (ff. 7-8) [PASQUALINI]. P[rim]a: Dolcezze amare, voi m’offendete, D minor, aria. There is no second strophe. Attribution to Pasqualini based on Barb. lat. 4204, n. 32, a compositional draft. Murata n. 72. 4 (ff. 9-10) [PASQUALINI?]. Gio. P.C. P[rim]a: Pur m’offendete con dolce telo, E minor, 2 strophes in variation. Also anonymous in Barb. lat. 4204, n. 14. The initials likely indicate the poet Giovanni Patrick Carey (Patrick Cary). Murata n. 188. 5 (ff. 11-12v) [PASQUALINI?]. P[rim]a: È pur dolce il penar a un core amante, E! major, 2 str. Also anon. in Barb. lat. 4205, n. 34 and I-Rc 2475, ff. 1-4v. MURATA n. 88. 6 (ff. 13-14) [PASQUALINI?]. P[rim]a: Luci belle ch’al mio core, D minor, 2 str. MURATA n. 137. 7 (ff. 15r-v) [PASQUALINI]. Io ci sono per la pelle, E! major, aria. Attribution to Pasqualini based on Barb. lat. 4205, n. 59, a compositional draft. MURATA n. 119. 8 (ff. 17-18v) Benché nota è la frode onde m’oltraggi, G minor, cantata. Folio 18v lacks any indication that it is the end of the cantata, though it likely is. Marked “in aria” is So ben ch’invan ritorno. MURATA n. 28. 9 (ff. 19-20) [PASQUALINI]. [Chi mi toglie la libertà] … per sentir vivendo, E minor, the closing half of the cantata. Marked “arietta” is Lontananza è un tal dolore. The complete cantata exists as Barb. lat. 4201, n. 13, a compositional draft, and Barb. lat. 4223, n. 25, which attributes the text to Nicolao Foresta and is marked MAP. A modern edn of this excerpt only, with an edn of its text and an English translation, is HOLZER, pp. 682-685. MURATA n. 46. 10 (ff. 20r-v) [PASQUALINI]. Streviglio: Io non voglio stelle ingrate, E minor. “Streviglio” marks the refrain (estribillo); “P.a” and “2.a” the internal stanzas (coplas). The attribution to Pasqualini is partly based on a draft in his composing hand, Barb. lat. 4201, n. 12 (q.v.). Another fair holograph copy is n. 58 below. MURATA n. 121a. Marked MAP is the SB/B arrangement in Barb. lat. 4222, n. 37.

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11 (ff. 21r-v) [PASQUALINI]. Poesia del S[ignor]D[on] Lelio Orsini. A la difesa, pensieri, su, su, B! major, aria. The text of str. 2 is given at the end in poetic form. The attribution to Pasqualini is based on a compositional draft, Barb. lat. 4204, n. 18. Also anonymous in I-Gl A-5 Cass., ff. 108-114. MURATA n. 11. (OPAC-SBN incorrectly names Orsini as composer.) 12 (ff. 22r-v) [PASQUALINI?]. Poesia del S.re P[ri]n[ci]pe de Nerola [Flavio Orsini]. Luci belle, s’io v’adoro, C minor, aria. Also anonymous in Barb. lat. 4204, n. 19. MURATA n. 140. 13 (ff. 23-24v) [PASQUALINI]. P[rim]a: Non mi mirate più, no, no, no, no, donne che sol godete, A minor, 2 str. in variation. The text is attributed to “Cav.ro [Marc’Antonio] Meniconi” in Barb. lat. 4201, n. 7, a sketch and compositional draft on which the musical attribution is based. MURATA n. 161. 14 (ff. 25-26v) [PASQUALINI]. Streviglio. La vince chi dura mio cor se resisti, E minor. Within the strophes, Desio sì nobile and Se duri a piangere are marked “in aria” and “aria.” Attribution to Pasqualini based on Barb. lat. 4201, n. 39, a compositional draft. Another copy is n. 59 below. MURATA n. 131a. Arranged for SB/B in Barb. lat. 4222, n. 39, which is marked MAP. This is not the anonymous La vince chi dura che la guerra d’Amore in I-MOe Mus. F.1377.

15 (ff. 27-28v) [PASQUALINI?]. P[rim]a: Amor che sarà? Un core che adora beltà, E minor, 3 str. in variation. MURATA n. 18. 16 (ff. 29-30) [PASQUALINI]. Poes[i]a del s.r Luigi Ficeni. P[rim]a: Tacete mò! Ho sentito un mesto sospiro, C major, 2 str. in variation. The attribution to Pasqualini is based on the addition of musical figures for the continuo here and on the “MAP” that marks the SB/B arrangement in Barb. lat. 4222, n. 23. MURATA n. 232a. 17 (ff. 31-32) [PASQUALINI]. Dimmi sorte a che donarmi, E! major, multipartite aria. Attribution to Pasqualini based on Barb. lat. 4205, n. 56, a compositional draft. MURATA n. 70. [17bis] (f. 33) … –me ahi ch’ancor d’ogni aurea stella, A minor, fragment, the closing of an unknown composition. Desinet “Quanto è noto un chiuso ardore. Finis.” 18 (ff. 33v-35) [PASQUALINI]. Poes.a del s.r [Giovanni] Lotti. P[rim]a: Mia vita non vedi tu, D minor, 2 str. Attributed to Pasqualini in F-Psg 3372, ff. 11-13, and I-Rc 2478, ff. 56-59v (CLORI n. 778). Anonymous in Barb. lat. 4205, n. 17. MURATA n. 144.

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436

BARB. LAT. 4221

19 (ff. 35v-37v) [PASQUALINI]. P[rim]a: Se non credi al grave ardore, D minor, 4 str. in variation. Attributed to Pasqualini in F-Psg 3372, ff. 15v-18. Anonymous in Barb. lat. 4205, n. 18. MURATA n. 205. 20 (ff. 39-40v) [PASQUALINI?]. Non fia ver giamai che sia, D minor, 2 str. in variation. MURATA n. 156. 21 (ff. 41-42v) P[rim]a: Partirò? partirò? Ahi ch’ a quel suono fero, E! major, 2 str. Also anonymous in Barb. lat. 4205, n. 33. MURATA n. 176. 22 (ff. 43-44) [PASQUALINI]. Poesia del s.re D. Lelio Orsini. Pupilluccie mie belle, quanto v’adorerei, A minor, aria. Attribution to Pasqualini based on Barb. lat. 4204, n. 20, a sketch and compositional draft. MURATA n. 187a. Arranged for SB/B and SSB/B in Barb. lat. 4219 nn. 34 and 31, respectively. 23 (ff. 45-46v) [PASQUALINI]. P[rim]a: Che ci trovi in quegli occhi, E minor, 2 str. Attributed to Pasqualini in I-Bc Q.47, ff. 236r-v. A modern edn is VATIELLI, vol. 2, pp. 18-20. MURATA n. 34a. Pasqualini sketched a version for SB/B in Barb. lat. 4201, n. 20; the final duet version is Barb. lat. 4219, n. 33. 24 (ff. 47-49) [PASQUALINI?]. P[rim]a: Quanto parla il mio rispetto, A minor, 5 str. in variation. Also anonymous in Barb. lat. 4205, n. 25. MURATA n. 193. 25 (ff. 49v-50v) [PASQUALINI?]. Streviglio. Gioite o pensieri, bandite dal core, B! major. Also anon. in Barb. lat. 4205, n. 27. MURATA n. 104. 26 (ff. 51-53v) [PASQUALINI]. P[rim]a: Deh, non mi lasciar tormento, poiché tuo m’ha fatto il duolo, C minor, 3 str. in variation. The attribution to Pasqualini is based on the draft of the vocal line in his composing hand, Barb. lat. 4205, n. 32. MURATA n. 65. 27 (ff. 55-56v) [PASQUALINI]. Sostenete, o miei pensieri, ciò che piace a miei desiri, C minor, cantata. The only other aria is Filindo, o Dio, dove hoimè, dove sei tu? The aria resembles but is different from the aria Filindo, o Dio come, ohimè from the cantata E volete voi ch’io speri (Barb. lat. 4204, n. 17). Attribution of the cantata to Pasqualini is based on Barb. lat. 4201, n. 40, a compositional draft of the vocal line; its second aria is incomplete. MURATA n. 228. 28 (f. 57) [[PASQUALINI?]. [Occhi belli, all’armi, all’armi! S’armi in cielo di bei rai] … si risparmi all’armi, F major, the closing six measures of the work, Barb. lat. 4205, n. 3 and Barb. lat. 4220, n. 42. MURATA n. 166a. 29 (ff. 57-58v) [PASQUALINI?]. Poesia del conte Andrea Barbazza. Strevi-

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glio. Oh libertà gradita, dove sei che non torni a darmi aita, C minor. Also anon. in Barb. lat. 4205, n. 4 and I-Nc 33.4.19b (Cantate ibride 15), ff. 9-16. MURATA n. 173. A different, duet setting for SS/TrTrB is in Francesco Petrobelli, Scherzi amorosi, op. 7 (Venice 1668, NV 2205), in partbooks.

30 (ff. 59-60v) [PASQUALINI?]. P[rim]a: Ahi Signor, che dite, ohimè, E! major, 2 str. Also anonymous in Barb. lat. 4205, n. 31. MURATA n. 10. 31 (ff. 61-62v) [PASQUALINI]. Poesia del s.r Luigi Ficeni. Vedi là quel bel crine? È un bosco d’oro, C minor, 2 str. in variation. Attributed to Pasqualini in I-Rc 2478, ff. 83-87v (CLORI n. 781). Also anonymous in B-Bc ms. 694 (F.A.VI.38), ff. 165-70v. MURATA n. 241a. Arranged for SB/B in Barb. lat. 4222, n. 22, which is marked MAP. 32 (ff. 63r-v) [PASQUALINI].]. In corr[en]te. Quel tener per profetia, D minor. Attributed to Pasqualini F-Psg 3372, ff. 41-42. Also anonymous in Barb. lat. 4205, n. 5. MURATA n. 197a. Arranged for SB/B in Barb. lat. 4222, n. 28, which is marked MAP. 33 (ff. 65-66) [PASQUALINI]. Che giustitia è questa, Amore?, A minor, aria. Attribution to Pasqualini based on Barb. lat. 4204, n. 60, a compositional draft. MURATA n. 35. 34 (ff. 66-68v) [PASQUALINI]. Luci belle e che aspettate, E! major, 4 str. in variation. Attribution to Pasqualini based on Barb. lat. 4204, n. 59, a compositional draft. MURATA n. 138. 35 (ff. 69-70v) [PASQUALINI?]. Poesia del s.r Luigi Ficeni. P[rim]a: S’io mi lamento e grido a l’aer cieco, C minor, 2 str. in variation. Marked “aria” to close str. 2 is M’ucciderà il mio dolore. MURATA n. 216. 36 (ff. 71r-v) [PASQUALINI]. P[rim]a: La cagione del mio pianto. D minor. Strophe 2 is given in poetic form at the end. Attribution to Pasqualini is based on Barb. lat. 4204, nn. 41 and 42, sketches and a compositional draft. MURATA n. 125. 37 (ff. 73-74) [PASQUALINI]. Tolleranza, o miei pensieri, E minor. Attributed to Pasqualini in I-Nc 33.4.12a (Cantate ibride 9), ff. 137-42v (Internet Culturale access). An anonymous compositional draft is Barb. lat. 4204, n. 55. Modern edn in HOLZER, pp. 678-681, with the text in poetic form and an English translation. MURATA n. 235. 38 (ff. 75-76v) [PASQUALINI?]. P[rim]a: È gentilezza amar bellezza, C minor, 3 str. Also in Barb. lat. 4205, n. 1. MURATA n. 82.

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BARB. LAT. 4221

39 (ff. 77r-v) [PASQUALINI]. Poesia del s.r Foresta. Sofferenza, sofferenza, o core, così vuol empia Fortuna, C minor, aria. Attribution to Pasqualini is based on Barb. lat. 4204, n. 9, a compositional sketch and draft. MURATA n. 221a. Arranged for SB/B and SSB/B in Barb. lat. 4222, nn. 7 and 21, respectively, both marked MAP; the latter attributes the text to Giovanni Lotti. 40 (ff. 78r-v) [PASQUALINI?]. P[rim]a: Chi sa le mie pene, C minor, aria. Also anonymous in Barb. lat. 4201, n. 9; I-IBborromeo Misc. 6, ff. 46-47, and Misc. 8, ff. 80v-82. MURATA n. 48a. Arranged for SB/B in Barb. lat. 4222, nn. 13 and 25, both marked MAP. A different, anon. setting for bass solo is I-MOe Mus. G.307, ff. 45-33, with the subject title “Querele d’un amante in morte della sua donna.”

41 (ff. 79-80v) [PASQUALINI?]. P[rim]a: Viver in questo stato, Amor, non posso più, C minor, 3 str. in variation. Also in Barb. lat. 4205, n. 23. MURATA n. 242. A different setting of the text as a ciaccona is I-Rc 2490, pp. 210-211.

42 (ff. 81-82) [PASQUALINI]. Poesia del s.r D[on] Lelio Orsini. Luci belle e spietate, C minor, R-1-R-2-R. Attribution to Pasqualini based on Barb. lat. 4205, n. 49, a holograph draft with minor revisions. MURATA n. 139. 43 (ff. 83-84) [PASQUALINI]. P[rim]a: Se voi non sentite amore, D minor, 3 str. in variation. Attribution to Pasqualini based on Barb. lat. 4204, n. 23, a compositional draft. MURATA n. 208. 44 (ff. 85-86) [PASQUALINI]. Hor va mio core, hor va, serba intatta pur la fé, A minor. Attribution to Pasqualini based on Barb. lat. 4204, n. 47, a partial compositional draft. CALUORI n. 338; MURATA n. 109. 45 (ff. 87-89) [PASQUALINI]. Il mio cor signora sclama, A minor, 6 str. in variation. Attribution to Pasqualini based on Barb. lat. 4204, n. 30, a compositional draft. CALUORI n. 309 observes that this ostinato bass is the same as used in Barb. lat. 4175, n. 7, Pasqualini’s compositional draft for Barb. lat. 4221, n. 65 below, Ch’Amor sia foco, io me ne rido. MURATA n. 112. 46 (ff. 89v-90v) [PASQUALINI]. P[rim]a. Non è usanza del mio core, A minor, aria, lacking str. 2. Attribution to Pasqualini based on Barb. lat. 4204, n. 31, a compositional draft. MURATA n. 155. See also MURATA 1979, p. 133. 47 (ff. 91-94v) [PASQUALINI]. P[rim]a: A che mi tormentate, rimembranze d’amor, C minor, 3 str. in variation. Attributed to Pasqualini in I-MOe Mus. G.158 with the subject title “Rimembranze odiose.” Also anon. in BAV Chigi Q.IV.5, ff. 6v-8v. The soprano line only is in F-Pn Rés. 2096, pp. 48-57 (anon.). MURATA n. 1.

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48 (ff. 95-96v) [PASQUALINI?]. Poes.a del S.r Luigi Ficeni. P[rim]a: Che vuoi far di quel foco, A minor, 2 str. in variation. MURATA n. 44. 49 (ff. 97-98v) [PASQUALINI]. P[rim]a: Lascio il core, e senza te, E minor, 2 str. Attributed to Pasqualini in I-Rn 141 (olim 71.A.9.33), ff. 269-72v. A compositional draft in Pasqualini’s hand is Barb. lat. 4201, n. 35; ivi, n. 34 is a partial and different sketch for the same text. MURATA n. 129a. Arranged for SB/B in Barb. lat. 4222, n. 41 and marked MAP. A different, anonymous setting of the text, not related to any Pasqualini version, is GB-Och MS 953, ff. 109-111.

50 (ff. 99-100v) [PASQUALINI?]. Ahi mio sole, e dove sei?, C minor, 2 str. in variation. MURATA n. 8a. The arrangement for SB/B in Barb. lat. 4219, n. 32 has 3 strophes. 51 (ff. 101-102v) [PASQUALINI?]. Streviglio: Occhi miei, più non v’aprite, C minor. MURATA n. 170. A different setting is in the keyboard ms. I-Rdp 251, f. 2v; see ANNIBALDI 1982, p. 305.

52 (ff. 103-104v) [PASQUALINI?]. Poesia del S.r B. Bald[in]o. Streviglio: D’anno in anno in van trapasso, C minor. The probable attribution to Pasqualini is based on the draft in his hand Barb. lat. 4205, n. 57. MORELLI-G 2000, n. 107 gives the incipit as “… invan trapassò,” but the rhyming word is “sasso.” MURATA n. 62. 53 (ff. 105-106) [PASQUALINI]. Streviglio: Quando meco tornerai, libertà da me sparita, A minor. Attribution to Pasqualini based on Barb. lat. 4201, n. 15, a compositional draft. MURATA n. 190. A different setting by Luigi Rossi is I-Rn Mus. ms. 141, ff. 231v-34v (cf. CALUORI n. 152).

54 (ff. 107-108) [PASQUALINI]. Streviglio: Deh, fermati Amore, pietate sol chiedo, B! major. Attributed to Pasqualini in F-Pn Rés. Vmc 78, ff. 27v-28. Also anon. in Barb. lat. 4205, n. 14. MURATA n. 63. 55 (ff. 109-111) [PASQUALINI]. Sentite quel che dice Amor, A minor, cantata. The only aria is Lasciatemi stare ch’a dirla fra noi (refrain) with 4 intercalated stanzas in variation. Attribution to Pasqualini based on the sketches in Barb. lat. 4205, n. 47. MURATA n. 207a. Arranged for SB/B in Barb. lat. 4222, n. 36 and marked MAP. 56 (ff. 113-114v) [PASQUALINI]. Poesia del S.r B[astiano] Baldini. P[rim]a: Vo cercando una speranza, che fallace alletti il core, A minor, 4 str. in variation. Attributed to Pasqualini on the basis of the compositional

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BARB. LAT. 4221

draft Barb. lat. 4204, n. 5. Also anonymous in I-Fn Magl.XIX.26, ff. 22v26v. Citing CAROLINE S. FRUCHTMAN, Checklist of Vocal Works by Benedetto Marcello, Detroit, MI, 1967, MORELLI-G 2000, n. 506, erroneously attributes this cantata to Benedetto Marcello. Morelli gives three strophes in poetic transcription, p. 39. MURATA n. 243. 57 (ff. 115-116v) [PASQUALINI?]. In corr[ent]e. Amo Filli e nulla spero, A minor, R-1-R-2-R. The refrain has nearly the same basso continuo line as the stanza of n. 56 above. MURATA n. 16. 58 (ff. 117r-v) [PASQUALINI]. Streviglio: Io non voglio stelle ingrate, E minor. Same as n. 10 above with the refrains written out. MURATA n. 121a. 59 (ff. 118-119v) [PASQUALINI]. Strev[igli]o: La vince chi dura, mio cor se resisti, E minor. Same as n. 14 above. MURATA n. 131a. 60 (ff. 121-122) [PASQUALINI]. Poesia del S.r Gio. Lotti. Son esca d’ardore, son preda d’amore, C minor, 2 str. The attribution is based on Barb. lat. 4201, n. 23, a draft in Pasqualini’s hand. MURATA n. 225a. An arrangement for SB/B is Barb. lat. 4222, n. 34, marked MAP. 61 (ff. 123-126) [PASQUALINI]. Poes.a del S.r Gio. Lotti. Avverti mia vita, che s’un dì me ne vo, E! major, 2 strophes. Attributed to Pasqualini in I-Rc 2477, ff. 109-16v. Also anonymous in Barb. lat. 4205, n. 30 and I-Nc 33.4.19b (Cantate ibride 15), ff. 101-11v. MURATA 2003, n. 23a. Arranged for SB/B in Barb. lat. 4222, n. 30 and marked MAP. 62 (ff. 127-128v) [PASQUALINI]. Sì forte è lo sdegno ch’in seno mi sta, E minor, 3 str. in variation. Attributed to Pasqualini in F-Psg 3372, ff. 29-31. Also anonymous in Barb. lat. 4205, n. 22; see also the fragment Barb. lat. 4205, n. 40. MURATA n. 214. 63 (ff. 129-131v) [PASQUALINI]. Sì, sì, sì, sì, sì, ch’io vo’ darvi il core, A minor, R-1-R-2-R. The attribution to Pasqualini is in I-MOe Mus. G.152, with the subject title “A dui bell’ occhi” (copy dated 1662). Another anon. copy is I-Ria ms. 1, ff. 18v-22v (cf. CLORI n. 554). MURATA n. 219. 64 (ff. 133-135) [PASQUALINI]. No mio cor non ti difendere, F minor, 2 str. The music is attributed to Pasqualini in I-MOe Mus. G.153, with the subject title “Conforta il suo cuore” (copy dated 1662). Also anon. in BAV Chigi Q.IV.5, ff. 8v-10. MURATA n. 153. 65 (ff. 137-138v) [PASQUALINI]. Ch’amor sia foco, io me ne rido, A minor, 2 str. in variation. Strophe 2 lacks the second half of the binary form. Attribution to Pasqualini is based on Barb. lat. 4175, n. 7, an incomplete compositional draft. MURATA n. 32.

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66 (ff. 139-140v) [PASQUALINI]. Poesia A. B. Che più dar poss’Amor, che prender puoi, C minor, R-1-R-2-R-3-R. Attribution to Pasqualini is based on Barb. lat. 4175, n. 26, a compositional draft. MURATA n. 39. A different anonymous setting is Barb. lat. 4203, n. 5.

67 (ff. 141-142v) [PASQUALINI]. P[rim]a: Voi partite, mio sole, B! major, 2 str. in variation. The attribution to Pasqualini is based on Barb. lat. 4151, nn. 12 and 18, compositional sketches in his hand. The text by Francesco Balducci is in BALDUCCI 1630, pt. 6, p. 31 and 1645, 1: 417, titled La partita. A modern edn is HOLZER [1990], pp. 533-539, with a poetic transcription and English translation. MURATA n. 244. Three different settings are F-Pn Rés. Vm7 579, pp. 48-49, S-bc, which is related to I-Fn Cl.VII, 1222bis (HILL, vol. 1, p. 410); G. FRESCOBALDI 1630 (NV 10211020), vol. 1, p. 30 (T/B); vol. 2, p. 19 (S/B); Fr. SEVERI, Arie a 2 (Rome 1626, NV 2615, p. 26, lost; a Rome 1645 edn in a private collection was not seen).

68 (ff. 143-144) [PASQUALINI]. Occhi belli a me crudeli, C minor, 2 str. Attributed to Pasqualini in B-Br II.3947, ff. 105-108v. A compositional draft in Pasqualini’s hand is Barb. lat. 4175, n. 28. MURATA n. 167. 69 (ff. 145-148) [PASQUALINI]. Strev[igli]o: No, no, no, non ti credo più, speranza, D minor. The music is attributed to Pasqualini and the text to [Domenico] Benigni in I-MOe Mus. G.156, which bears the subject title “In biasimo della Speranza” (copy dated 1662). MURATA n. 162. 70 (ff. 149-150) [PASQUALINI?]. Poesia del s.r Gio. Lotti. Sospiri e lamenti, son breve conforto, C minor, 2 str. MURATA n. 227. Other settings of this text are L. CORSINI (Rome 1640, NV 625), pp. 62-65, SS/B; and an SSB/B setting in F. VITALI (Florence 1647), pp. 4-7.

71 (ff. 151r-v) [PASQUALINI]. Poesia del s.r Gio. Lotti. E dove fuggì quel rapido piede, A minor, 2 str. Attributed to Pasqualini in I-Rc 2478, ff. 11213v (CLORI n. 787) and F-Psg 3372, f. 2v-4v; marked M.A.P. in I-Rv 2565 (olim Blumenstihl), ff. 109-112. Also anon. in Barb. lat. 4205, n. 8 and 4220, n. 38. MURATA n. 81. Bound in parchment (230 × 298 mm) with the cover title 1638. Ariette a solo. Except for ff. 1-4 and 117-120, which are gatherings of two bifolios, the volume consisted of 72 gatherings of single bifolios. It was restored by the BAV Laboratorio in May 2005. The watermarks are associated with Rome: anchor with the letters M and L on either side, in a circle for nn. 1-2 and f. 136 (HEAWOOD type 6); principally the crown surmounted by a star; cleric/saint in a shield (nn. 52-69); and fleur-de-lis in a circle (nn. 5, 17-19, 21, Witzenmann type O). Folios 1-6 (nn. 1-2) in Hand B have a watermark

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BARB. LAT. 4221-4222

different, as noted, from the two in the body of the ms. and have 6 staves per page. The paper for n. 50 appears to be different and to have another watermark, for which there is too little to decipher. Folios beginning with f. 7 have 8 staves per page. The foliation in ink in Pasqualini’ s hand extends from folios 1 to 151; the remaining folios are numbered in pencil by a modern hand. Two items are fragments (nn. 9, 17bis), but their folios were already lacking when the folios were numbered. Blank folios are now numbered ff. B and D in pencil at the opening and are unfoliated at the end ff. [114-115, uncut from the end pastedown]. Blank staves only are on ff. 16, 38, 54, 64, 72, 112, 120, 132, 136, 152. On f. 153, a table of contents in Pasqualini’s hand dated 1638 lists all 69 complete compositions. It includes nn. 1-2, but not the two fragments. Marc’Antonio Pasqualini (Hand A) copied the main manuscript, its table of contents, and the cover. Copyist B copied nn. 1-2. ROSE 1974, p. 174 suggested that hand B is Luigi Rossi, but it does not resemble known Rossi holographs. It bears resemblances to the presumed hand of Orazio Michi. The poet of n. 13 is not known, except that in 1653, Cavaliere [Marc’Antonio] Menicone became or was reportedly a “gentleman” of “Eminentissimo [Camillo] Panfilio” (Barb. lat. 6367, Avvisi di Roma for 19 April 1653, f. 526). The poet “A. B.” of n. 66 may be Andrea Barbazza, the poet of n. 29 (he left Rome in 1632), or possibly cardinal Antonio Barberini junior although he is more often identified in the Pasqualini mss. as Sua Eminenza or Nihil Nomen. RICCIARDELLI, pp. 71-72, ascribes nn. 44, 45, 53, 65, and 68 to Luigi Rossi, without explanation.Barb. lat. 4221-4222

Barb. lat. 4222 1676, 220 × 283 mm, [III].190.I ff., 8 staves, one hand

Title on f. [I]: 1676. Perdimento di tempo per sfuggir l’otio. Straccia foglio, in the hand of Marc’Antonio Pasqualini. Anthology of forty-two ensemble cantatas all in the hand of Marc’Antonio Pasqualini; his monogram MAP appears on all but nn. 1 and 21. Each composition is related to other compositions among the Pasqualini manuscripts (Barb. lat. 4201-4205, 42194223). Many of the solo models can themselves be attributed to Pasqualini, and most likely he composed and/or arranged everything in this volume. Poets named by Pasqualini are Luigi Ficeni (nn. 22-23), Nicolao Foresta (nn. 5, 7, 8, 14), Giovanni Lotti with seventeen (nn. 2, 9, 12, 15-21, 24, 29-

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34, 38), Flavio Orsini (n. 1), a Bentivoglio prelate (n. 3) and a Cesi abbot (n. 6). Several have localized corrections and additions. Twenty-six are duets scored SB/B (with two duplicated); two are ST/B (nn. 28-29), and one is SS/B (n. 19). Ten are trios for SSB/B, and one is a quartet scored SSAB/B (n. 1). 1 (ff. 1-6) [MARC’ANTONIO PASQUALINI]. Poesia del S. Buca [Duca] di Bracciano [Flavio Orsini]. A 4. Infelice mio core, dove, dove trascorre il tuo desire, SSAB/B, A minor. MURATA n. 114b. The attribution to Pasqualini is based on the compositional draft of an SSB version in Barb. lat. 4204, n. 46, which is the version of Barb. lat. 4219, n. 19; there Orsini is called Principe di Nerola, his title before 1660. 2 (ff. 7-13v) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Io ritorno dal periglio, SSB/B, C minor. CALUORI n. 436; MURATA n. 122b. A version for three sopranos is Barb. lat. 4219, n. 13. The text is published in LOTTI 1688, pt. 3, pp. 116-117, with the subject title “Uno liberato da’ lacci d’amore.” A different trio setting of Lotti’s poem is Barb. lat. 4200, n. 22, which is also marked MAP.

3 (ff. 15-19) [PASQUALINI]. MAP. Poesia di Mons. Bentivogli. Deh, non più mi ferite, occhi severi, SSB/B, C minor. Rubrics include “in aria.” MURATA n. 66b. The solo version Barb. lat. 4223, n. 38 is also marked MAP (q.v.). 4 (ff. 21-23v) [PASQUALINI]. MAP. A 3. P[rim]a: Che mora il mio core, SSB/B, G minor. In three parti: 2 str. and a concluding section marked “A 3.” Several passages bear revisions in Pasqulini’s hand, including the erasure of “Finis” at the end of str. 2. MURATA n. 37c. A duet version is n. 27 below. The solo version is also attributable to Pasqualini; see Barb. lat. 4203, n. 28; 4223, n. 6; and 4205, n. 28. Barb. lat. 4222 5 (ff. 25-30) [PASQUALINI]. MAP. Poesia del S.r Nicolao Foresta. A 3. Sì ch’io voglio sperare… Parlo a voi fantasme fiere, SSB/B, A minor. MURATA n. 213c. A duet version is n. 24 below, where the text is attributed to [Giovanni] Lotti. The solo model Barb. lat. 4223, n. 20 and Barb. lat. 4201, n. 16 is also attributable to Pasqualini. Ascribed without explanation to Luigi Rossi in RICCIARDELLI, p. 74. 6 (ff. 31-36) [PASQUALINI]. MAP. Poesia del Abb[ate] Cesi. A 3. Sì, sì, ch’io voglio languire, così caro è quel tormento, SSB/B, A minor. MURATA n. 217b. For the solo model, see Barb. lat. 4201, n. 25 and Barb. lat. 4223, n. 21 (the latter also marked MAP). 7 (ff. 37-39) [PASQUALINI]. MAP. Poesia del S. Nicola Foresta. A 3. Sofferenza, sofferenza o core, così vuol empia Fortuna, SSB/B, C minor. MU-

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n. 221c. The duet version, n. 21 below, attributes the text to Giovanni Lotti. The music of the solo model is attributable to Pasqualini; see Barb. lat. 4204, n. 9 and 4221, n. 39.

RATA

8 (ff. 41-47v) [PASQUALINI]. MAP. Poesia del S.r Foresta. Ahi, che duol che porto al core, SSB/B, F minor, 4 str., the last in variation. MURATA n. 5b. See Barb. 4219, n. 28 and 4205, n. 41 for a duet arrangement likely by Pasqualini. The upper parts of the trio are similar to, but not the same as those of the duet. 9 (ff. 49-56) [PASQUALINI]. MAP. Poesia del S. Gio. Lotti. A 3. Mi consumo, ah, lo sa il core, SSB/B, A minor, 3 str. in variation. MURATA n. 145c. A duet version is n. 20 below. The solo model Barb. lat. 4220, n. 34, is also attributable to Pasqualini. 10 (ff. 57-63v) [PASQUALINI]. MAP. P[rima]: Pietosi allontanatevi, disperati seguitemi, SSB/B, C minor, 4 str. in variation. MURATA n. 182b. The solo model is attributable to Pasqualini (see Barb. lat. 4205, n. 51; 4223, n. 13; and 4203, n. 23). A different SSB setting is O. Tarditi, Canzonette amorose, libro secondo (Venice 1647, NV 2701), pp. 40-43. Other solo settings include I-Rvat Chigi Q.IV.8, ff. 20v-25, anon.; I-Rsc G.390, ff. 74-83v, Bar/B, attrib. Carissimi (CLORI n. 1682); and G.F. Sances, Quarto libro delle cantate et arie a voce sola (Venice 1636, NV 2548), pp. 27-[28]; mod. edn JEPPESEN, vol. 2, pp. 23-24.

11 (ff. 63v-68) [PASQUALINI]. MAP. A 2. P[rima]: Sospiri, che fate? Dal centro del core, SB/B, C minor. “Prima” here may refer to “prima aria”; the second aria (SB/B) is Begl’occhi su, su; the return of its refrain is headed by the rubric “subbito.” MURATA n. 225b. The solo model Barb. lat. 4223, n. 18 is attributable to Pasqualini. 12 (ff. 69-73) [PASQUALINI]. MAP. Poesia del S. Gio. Lotti. Non mi ci cogli più, Amor fa quanto sai, SSB/B, C minor. MURATA n. 158b. The solo model Barb. lat. 4220, n. 49 is attributable to Pasqualini (q.v.). 13 (ff. 73v-74v) [PASQUALINI]. MAP. Chi sa le mie pene, non pianga se può, SB/B, C minor. See also n. 25 below. MURATA n. 48b. For the solo version, see Barb. lat. 4201, n. 9 and 4221, n. 40. 14 (ff. 75-85v) [PASQUALINI]. MAP. Poesia del S.r Nicolo Foresta. Deh, morir non si nieghi, SB/B, C minor. Rubrics include “in aria” followed by “recitativo” (f. 81v). The arioso and original three arias are the only sections set as duets. MURATA n. 64b. The solo model is attributable to Pasqualini; see Barb. lat. 4205, n. 53 and 4223, n. 43.

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15 (ff. 87-94) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Dove vai, pensier volante, SB/B, A minor. Rubrics include “rec[itat]o.” MURATA n. 77b. The solo model is attributable to Pasqualini; see Barb. lat. 4203, n. 17 (also marked MAP), which attributes the text, to Antonio Barberini, jr. The text is published in LOTTI 1688, pt. 3, pp. 141-142, with the subject title “Rimedio per liberarsi dall’Amor terreno.” 16 (ff. 95-99v) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Sempre si piangerà, basta che’l guardo miri, SB/B, C major. MURATA n. 204b. Also marked MAP is the solo version, Barb. lat. 4203, n. 18, which attributes the text to Antonio Barberini, jr; see also Barb. lat. 4220, n. 56. 17 (ff. 101-105) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Su la rota di Fortuna posa lieta la mia fé, SB/B, C minor. Strophes 2 and 3 of the opening aria are so marked. Rubrics include f[orte]-p[iano] on the notes of a semitone (f. 103v). CALUORI n. 390; MURATA n. 231b. The solo model is also attributable to Pasqualini; see Barb. lat. 4205, n. 35. Ascribed without explanation to Luigi Rossi in GHISLANZONI n. 237 and RICCIARDELLI 1988, p. 73. 18 (ff. 105v-112) [PASQUALINI]. MAP. Poesia del S.r Lotti. Su la riva d’un ruscello, SB/B, C minor. Rubrics include “solo” and “adagio.” MURATA n. 230b. The solo model is attributable to Pasqualini; see Barb. lat. 4204, n. 39 and 4223, n. 37; the latter is also marked MAP. 19 (ff. 113-116) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Ahi, non resta al mio duol altro che morte, SS/B, D minor. Anonymous in Barb. lat. 4200, n. 36 (q.v.). MURATA n. 9a. Ascribed without explanation to Luigi Rossi in RICCIARDELLI, p. 74. LANDSHOFF 1927, pp. 95-99, suggested Giovanni Legrenzi as the composer; thus the duet appears in EMANS, p. 83 and PASSADORE & ROSSI, no. 63. (The 1955 Peters reprint of Landshoff lacks the 1927 introduction.) A trio version is Barb. lat. 4219, n. 17; cf. CALUORI, n. 409. 20 (ff. 117-120v) [PASQUALINI]. MAP. Poesia del S.r [Giovanni] Lotti. P[rima]: Mi consumo, ah, lo sa il core, SB/B, A minor, 3 str. Pasqualini added one freehand stave at the bottom of each page. MURATA n. 145b. A modern hand has written in ink “E lo stesso della piaq__ [pagina?].” See n. 9 above. 21 (ff. 121-122v) [PASQUALINI]. Poesia del S.r Lotti. A dua. Sofferenza, sofferenza, o core, così vuol empia Fortuna, SB/B, C minor. The middle section between refrains is marked “2.” MURATA n. 221b. A trio version is n. 7

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above. The solo version, Barb. lat. 4204, n. 9, and 4221, n. 21, is attributable to Pasqualini. 22 (ff. 123-125) [PASQUALINI]. MAP. Poesia del Sig.r Luigi Ficeni. Vedi là quel bel crine?, SB/B, C minor, 2 str. Pasqualini has added one freehand continuo staff on each page. MURATA n. 241b. The solo model Barb. lat. 4221, n. 31 is attributable to Pasqualini (q.v.). 23 (ff. 125v-126v) [PASQUALINI]. MAP. Poesia del S.r Luigi Ficeni. Tacete mo’! Ho sentito un mesto sospiro, SB/B, C major. MURATA n. 231b. An anonymous solo version is Barb. lat. 4221, n. 16. 24 (ff. 127-132) [PASQUALINI]. MAP. Poesia del S.r [Giovanni] Lotti. Streviglio: Sì, ch’io voglio sperare … parlo a voi fantasme, SB/B, A minor. Rubrics include “adagio” and “a dua.” MURATA n. 213b. See also n. 5 above and Barb. lat. 4223, n. 20 for concordances. 25 (ff. 133r-v) [PASQUALINI]. MAP. Chi sa le mie pene, non pianga se può, SB/B, C minor. Same as n. 13 above. MURATA n. 48b. 26 (ff. 134-135v) [PASQUALINI]. MAP. Mi curo pur poco se trema il mio core, SB/B, D major. MURATA n. 146b. The solo version Barb. lat. 4223, n. 4, is also marked MAP; see also Barb. lat. 4204, n. 27. 27 (ff. 135v-138) [PASQUALINI]. MAP. P[rima parte]: Che mora il mio core, SB/B, G minor. See n. 4 above. 28 (ff. 139r-v) [PASQUALINI]. MAP. In corrente. Quel tener per profetia, ST/B, D minor. MURATA n. 197b. The solo model Barb. lat. 4205, n. 5 is attributable to Pasqualini (q.v.). 29 (ff. 141-142) [PASQUALINI]. MAP. Poesia del Sig.r [Giovanni] Lotti. A schiere sen viene, ST/B, D minor, 2 str. MURATA n. 22b. The solo model Barb. lat. 4205, n. 7 is attributable to Pasqualini (q.v.). 30 (ff. 143-146v) [PASQUALINI]. MAP. Poesia del S.r [Giovanni] Lotti. A 2. Avverti, mia vita, che s’un dì me ne vo, SB/B, E! major, 2 str. The MAP monogram is written twice on f. 143. MURATA n. 23b. The solo model is attributable to Pasqualini; see Barb. lat. 4205, n. 30 and 4221, n. 61. 31 (ff. 147-148v) [PASQUALINI]. MAP. Poesia del Sig.r Gio. Lotti. Mai non si troverà che petto nobile, SB/B, D minor, 2 str. MURATA n. 143b. The solo model is attributable to Pasqualini; see Barb. lat. 4163, n. 7 and Barb. lat. 4220, n. 7. 32 (ff. 149-151) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. Lontano

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sen va che vita mi die’, SB/B, D minor, 2 str. MURATA n. 134b. For the solo version, see Barb. lat. 4220, n. 10 and 4205, n. 29. 33 (ff. 153-155v) [PASQUALINI]. MAP. Poesia del S.r [Giovanni] Lotti. Soffrite e tacete, arditi pensieri, SB/B, D minor, 2 str. MURATA n. 222b. The solo model is attributable to Pasqualini; see Barb. lat. 4201, n. 8 and 4220, n. 36. See WECIS 1 for the different SS/B setting in GB-Cfm MU.MS 44 (olim 24.F.4), ff. 111-112, which is dubiously attributed to Cesti; and GB-Cfm MU.MS 181 (olim 2.F.25), pp. 4-6, the same work dubiously attributed to Alessandro Stradella (cf. WECIS 4B, n. 384 and 1[b]). A trio setting (SAT) is Mario Savioni, Madrigali e Concerti a 3 (Rome 1672), n. 13, pp. 32-33 (NV 2568).

34 (ff. 157-158v) [PASQUALINI]. MAP. Poesia del S.r Gio. Lotti. P[rima]: Son esca d’ardore, son preda d’Amore, SB/B, C minor, 2 str. The second stanza Venite dogliosi, affani amorosi is listed separately in the table on f. [II]. MURATA n. 225b. The solo model is Barb. lat. 4201, n. 23 and Barb. lat. 4221, n. 60. 35 (ff. 159-161v) [PASQUALINI]. MAP. Sì, sì, che voglio amar, soffrir pena e dolor, SB/B, D minor, 2 str. MURATA n. 217b. Copies of the solo version are Barb. lat. 4205, n. 21 and Barb. lat. 4223, n. 5, the latter also marked MAP. 36 (ff. 163-166) [PASQUALINI]. MAP. A D[ua]. Sentite quel che dice Amor, SB/B, A minor. Recitative followed by the refrain aria Lasciatemi stare ch’a dirla fra noi with four internal stanzas all marked. MURATA n. 207b. The solo model is attributable to Pasqualini; see Barb. lat. 4205, n. 47 and 4221, n. 55. 37 (ff. 167-168v) [PASQUALINI]. MAP. Streviglio: Io non voglio stelle ingrate, SB/B, E minor; R-1-R-2-R. Several embellishments appear to have been added to all three sections. MURATA n. 121b. The solo model Barb. lat. 4201, n. 12 is attributable to Pasqualini. 38 (ff. 169-172v) [PASQUALINI]. MAP. Del S.r [Giovanni] Lotti. Occhi belli, all’armi, all’armi! S’armi in cielo, SB/B, F major, 3 str. Several passages in str. 1 and 2 appear to have been erased and written over. MURATA n. 166b. For copies of the solo version, see Barb. lat. 4205, n. 3. 39 (ff. 173-176v) [PASQUALINI]. MAP. La vince chi dura, mio cor se resisti, SB/B, E minor; R-1-R-2-R. Rubrics include “solo” and “in aria.” MURATA n. 131b. The solo model Barb. lat. 4201, n. 39, and Barb. lat. 4221, nn. 14 and 59, is attributable to Pasqualini. 40 (ff. 177-178v) [PASQUALINI]. MAP. No, mio cor, non mel negare. SB/B,

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E minor. MURATA n. 152b. The solo version Barb. lat. 4223, n. 39, is also marked MAP. 41 (ff. 179-182v) [PASQUALINI]. MAP. P[rima]: Lascio il core e senza te, SB/B, E minor, 2 str. MURATA n. 129b. The solo model Barb. lat. 4221, n. 49 is attributable to Pasqualini; see also Barb. lat. 4201, n. 35. 42 (ff. 183-189) [PASQUALINI]. MAP. Di gioir speranza infida, SB/B, G minor. The solo version is Barb. lat. 4223, n. 42, where an attribution to Pasqualini was erased and the MAP monogram added by Pasqualini himself. The closing aria, as is evident from the solo version, is Di donna infedele, SB/B, G minor, 2 str. (ff. 187-189), despite its separate listing in the table of contents on f. [II], with folio numbers reversed from Di gioir speranza (f. 192 and f. 184). Di gioir does not end with “finis,” whereas the copy of Di donna ends “tradir la mia fé. Finis.” MURATA n. 69b. Bound in parchment (240 × 290 mm). The cover title seems to read: 1676. Arie A tre et A due[.] 3 e a 4. On the spine is a pink Vatican sticker and below it, the number 93 written in black ink in a modern hand, which also wrote the shelfmark XLVII.93 inside the front cover, where there is another pink Vatican sticker. The watermarks are associated with Rome: a bird or fleur-de-lis on three hills in a double circle; cleric/saint in a shield; and possibly a horse in a circle (none precisely in HEAWOOD). The manuscript consists entirely of single bifolios, except for ff. 133-136; most compositions are in independent fascicles, except for nn. 10-11, 17-18, 22-23 and 25-27. The title-page, which has become detached, bears the notation “copiato” in the upper left corner. Flyleaves [III] and [191] are blank; blank staves only are on ff. 14-20, 24, 40, 48, 86, 100, 140, 152, 156, 162, and 190. The recent foliation in pencil corrects errors and skips over pages that had original foliation in ink but were removed. A table of contents with fortyfour items and referring to varying original foliations appears on f. [II]. Its two extra entries are for internal arias in nn. 34 and 42. Pasqualini is the sole copyist. For several duets, Pasqualini drew a ninth staff at the bottom of the page by hand for the basso continuo line (nn. 20, 22, 23, 25, 28-29; 31-32, 34).Barb. lat. 4222-4223

Barb. lat. 4223 1658, 220 × 285/290 mm, II.159 ff., 6-8 staves, 3 hands

Title on f. [II]: MAP. Straccia foglio. Perdimento di tempo per sfuggir l’ozio. Miscellany of forty-two Italian cantatas and chamber arias and one

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operatic scene for soprano and basso continuo. All but n. 43 are headed by the monogram MAP; all are in the hand of Pasqualini, except nn. 35 and 42. On these two, attributions to Pasqualini have been erased and replaced by his monogram. Four cantatas (nn. 27, 31-33) are attributed to him in concordances, and sketches or compositional drafts exist elsewhere in his hand for nineteen. Poets named by Pasqualini are Sebastiano Baldini (nn. 28, 35), Antonio Barberini junior (nn. 26-27), Domenico Bongiovanni (n. 17), Nicolao Foresta (nn. 7-8, 10, 25, 30, 43), Lelio Guidiccioni (n. 16), Giovanni Lotti (nn. 1-2, 24), Lelio Orsini (nn. 3, 34, 41), Marzio Orsini (n. 36), Francesco Petrarca (n. 15), and [Carlo] Theodoli (n. 12). The dating of the volume is from the cover title. For a facsimile edition of twenty-six of the cantatas, see ITALCANTAT, vol. 3. 1 (ff. 1-3) MAP. Poes[ia] del s.r Gio. Lotti. Lassa, e qual per le vene, F minor. The only aria is Vanne, Amor, fuor del mio petto. An anonymous compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 13, titled Primo amore. MURATA n. 130. 2 (ff. 5-7v) MAP. Poes.a del s.r Gio.Lotti. Ah! che mentiva il guardo!, C minor. The only aria is Occhi bugiardi onde l’acerba piaga. Also anonymous copies are Barb. lat. 4205, n. 12 (with revisions in Pasqualini’s hand) and B-Bc 694 (F.A.VI.38), ff. 193-200v. MURATA n. 3. 3 (ff. 9-10) MAP. Poesia del s. D[on] Lelio Orsini. È celato il mio gran foco, E minor, 2 strophes. An anonymous compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 56. Orsini’s poem is transcribed from Barb. lat. 4223 in AMENDOLA, p. 142. MURATA n. 79. 4 (ff. 11r-v) MAP. Mi curo pur poco, D minor. Anonymous in Barb. lat. 4204, n. 27. MURATA n. 146a. An arrangement for SB/B is Barb. lat. 4222, n. 26, also marked MAP. Barb. lat. 4223 5 (ff. 13-14v) MAP. P[rim]a: Sì, sì che voglio amar, soffrir pena e dolor, D minor, 2 str. Anonymous in Barb. lat. 4205, n. 21. MURATA n. 217a. An arrangement for SB/B is Barb. lat. 4222, n. 35, also marked MAP. 6 (ff. 15-16) MAP. P[rim]a: Che mora il mio core, G minor, in three parti. Also marked “MAP” in Barb. lat. 4203, n. 28. Anonymous in Barb. lat. 4205, n. 28. MURATA n. 37a. Arrangements for SSB/B and SB/B are Barb. lat. 4222, nn. 4 and 27, respectively; both are also marked MAP. 7 (ff. 17-18) MAP. Poesia del s.r Nicolao Foresta. Lo sapete ben lo so, D minor, 2 str. Same as Barb. lat. 4204, n. 3. MURATA n. 136. 8 (ff. 19-20) MAP. Poesia del s.r Nicolao Foresta. P[rim]a: Tanto rigor

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non più, non più, no più, occhi belli amati tanto, E minor, 2 str. The copy Barb. lat. 4204, n. 13 has “perché” instead of “non più.” CALUORI n. 393; MURATA n. 233. 9 (ff. 21r-v) MAP. P[rim]a: Cieco dio, tiranno odiato, C minor, aria. No second strophe is given. MURATA n. 50. 10 (f. 23r-v) MAP. Poesia del s. Nicolao Foresta. Streviglio: E pur bella Lilla mia, E! major. An anonymous compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 55. MURATA n. 86. 11 (ff. 25-26) MAP. P[rim]a: Filli, se tu presumi d’adescare il mio core, G minor, aria. No second strophe is given. MURATA n. 97. 12 (ff. 27-28v) MAP. Poesia del s. marchese [Carlo?] Theodoli. Sì, ch’io voglio morire, ne sia chi mi conforte, A minor, cantata. The only aria is Stratiatemi, uccidetemi tormenti. A compositional draft in Pasqualini’s hand is Barb. lat. 4201, n 11. Anonymous in I-Rn Mus. 141 (olim 71.9.A.33), ff. 216219. MURATA n. 212. 13 (ff. 29-32v) MAP. P[rim]a: Pietosi allontanatevi, disperati seguitemi, C minor, 4 str. in variation. Marked “MAP” in Barb. lat. 4203, n. 23; a compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 51. MURATA n. 182a. Barb. lat. 4222, n. 10 is an arrangement for SSB/B, which is also marked MAP, q.v. for a trio setting by Orazio Tarditi. Three other solo settings of this text are (1) BAV Chigi Q.IV.8, ff. 20v-25 (anon.); (2) G. F. Sances, Il quarto libro delle cantate et arie a voce sola (Venice 1636, NV 2547), pp. 27-28, with a modern edn of only the first strophe in JEPPESEN 1949, vol. 2, pp. 23-24; and (3) Orazio Tarditi, Canzonette amorose, libro secondo (Venice 1646); cf. RePIM (accessed 4 August 2014).

14 (ff. 33-35) MAP. P[rim]a: Quel cor ch’a te già diedi, D minor, 3 str. in variation. MURATA n. 196. 15 (ff. 37-38v) MAP. Sonetto. P[rim]a: Solo e pensoso i piu deserti campi, A minor, sonnet with 4 parti in variation. The poem is by Petrarch. Anonymous sketches in Pasqualini’s hand are Barb. lat. 4201, nn. 27 and 31. MURATA n. 223. Other solo settings are by Nicolò Borboni, Musicali concenti libro primo (Rome 1618), pp. 13-16 and Filippo Vitali, Musiche a una e due voci (Rome 1618), pp. 13-16 (see LEOPOLD 1995, nn. 1013-1014).

16 (ff. 39-42) MAP. Poesia del s.r Lelio Guidiccione. P[rim]a: Il celeste arator se mira appena, G minor, sonnet with 4 parti in variation. Anonymous in Barb. lat. 4175, n. 19. CALUORI n. 339; MURATA n. 110. See A. MORELLI, Un amico di Frescobaldi: Lelio Guidiccioni, in A fresco: Mélanges

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offerts au Professeur Etienne Darbellay, B. Bocadoro and G. Starobinski, eds, Bern 2013, pp. 61-62. 17 (ff. 43-45v) MAP. Dom[eni]co Bongiovanni. O quante volte, o quante feci delle mie pene, C minor, 3 str. in variation. The poet Bongiovanni is unknown. MURATA n. 175. 18 (ff. 47-50) MAP. Streviglio: Sospiri che fate? Dal centro del core, C minor, cantata. The first aria is in F minor; the second aria is Begl’ occhi, su, su. A draft of the vocal line in Pasqualini’s hand is Barb. lat. 4201, n. 43. MURATA n. 226a. An arrangement for SB/B is Barb. lat. 4222, n. 11, also marked MAP. 19 (ff. 50r-v) MAP. P[rim]a: Io de’ vostri rigori, occhi bruni, C minor, aria. No second strophe is given. Same as Barb. lat. 4201, n. 33. MURATA n. 120. 20 (ff. 51-54) MAP. Streviglio: Sì, ch’io voglio sperare, … parlo a voi fantasme, A minor. A compositional draft in Pasqualini’s hand is Barb. lat. 4201, n. 16. Anonymous in I-MOe Mus. F.1382, ff. 41-43 and Mus. F.1350, ff. 69-71v, for solo bass in E minor. MURATA n. 213a. Ensemble arrangements, both marked MAP, are Barb. lat. 4222, n. 5 (SSB/B) which attributes the text to Nicolao Foresta, and n. 24 (SB/B) which attributes the text to Giovanni Lotti. 21 (ff. 55-58v) MAP. Sì, ch’io voglio languire, così caro è quel tormento, A minor, cantata. The second aria is Cieco dio, dunque in me sola. Same as Barb. lat. 4201, n. 25. MURATA n. 217a. An arrangement for SSB/B is Barb. lat. 4222, n. 6, where the text is attributed to “Abbate Cesi.” The aria Cieco dio is discussed in FREITAS 2009, pp. 257-258. 22 (ff. 59-62v) MAP. P[rim]a: Che più sperar degg’io? Lasso, mi fu rapita, A minor, 3 str. in variation. Same as Barb. lat. 4205, n. 20. MURATA n. 40. A different anonymous setting of the text is I-Rc 2226, ff. 41-42v.

23 (ff. 63-64v) MAP. Deh perdonatemi, nere pupille, C minor, R-1-R-2-R. MURATA n. 67. 24 (ff. 65-66) MAP. Poesia del s.r Giovan Lotti: All’armi mio core, e contro una spene fallace, B! major, aria. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 26. Anonymous in F-Pa 948, ff. 7-8v and I-Nc 33.4.19b (Cantate ibride 15), ff. 81-86v. MURATA n. 14. 25 (ff. 68-70v) MAP. Poesia del s.r Nicolao Foresta. Chi mi toglie la libertà, E minor, cantata. The second “arietta” is Lontananza è un tal dolore. A compositional draft in Pasqualini’s hand is Barb. lat. 4201, n. 13; a partial

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copy is Barb. lat. 4221, n. 9 (the latter is edited in HOLZER, pp. 682-685). MURATA n. 46. 26 (ff. 71-74) MAP. Poesia S[ine] N[omine]. A. B. P[rim]a: Bench’io sia senza speranza, 3 str. in variation. Also marked “MAP” in Barb. lat. 4203, n. 24, which attributes the text to “Sua Eminenza.” Both text attributions indicate Cardinal Antonio Barberini junior; the poem is edited in LUISI 2013, n. 12. MURATA n. 29. 27 (ff. 75-79) MAP. Bradam[ant]e infuriata contro Rugg[ier]o. Poesia N[ihil] N[omen] AB. Dove mi spingi, Amor?, C minor, 2 str., followed by recitative. For Bradamante in II:9 from the opera IL PALAZZO INCANTATO (Rome 1642), libretto by Giulio Rospigliosi, music by Luigi Rossi, sung by Pasqualini in the opera. This excerpt indicates that the text for the scene was written by Antonio Barberini junior and the music by Pasqualini. Attributed to Pasqualini in I-Rc 2467, ff. 43v-48. Anonymous in Barb. lat. 4175, n. 9, and F-Pn 2096, ff 75-76 (one strophe only of the melody of the aria). The chamber version in Rc and Barb. lat. 4175 version has some differences in text. MURATA n. 75b. See also comments to the score of the opera Barb. lat. 4389. 28 (ff. 81-86) MAP. Poesia del s.r B[astiano] Baldini. Un infelice core amò, servì, penò, B minor, cantata. Arias include È cieco Cupido, credetelo amanti and Io lo so che’l duol sopporto. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 61. Also marked “MAP” are n. 35 below and Barb. lat. 4203, n. 25. Baldini’s text is in BAV Chigi L.IV.94, ff. 343-45v, titled Il pentimento (MORELLI-G, n. 488; CARBONI 12/3, n. 1785). The internal aria Io lo so is discussed in FREITAS 2009, pp. 257-258. MURATA n. 239. For a different setting of this text by Carissimi, see WECIS 5 and SARTORI 1975, p. 65; it is also in CH-Zz ms. Q 902 (olim ms. 7633), pp. 221-234.

29 (ff. 87-92) MAP. Oh Dio, come farò lontano da quel sol che m’invaghì, F minor, cantata. A partial compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 21. Anonymous in F-Pn Rés. Vmb 63, ff. 76-83. MURATA n. 172. 30 (ff. 93-97v) MAP. Poesia del s.r Nicolo Foresta. Era la notte e Cintia non havea, A minor, cantata. The only aria is Cari lumi che tenete prigionate. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 36. Also marked MAP is Barb. lat. 4203, n. 26. MURATA n. 89. See Barb. lat. 4204, n. 62 for another setting by Pasqualini of the text of the closing aria.

31 (ff. 99-101v) MAP. Lasciatemi, o pensieri, tanto ch’io mi consoli, C mi-

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nor, cantata. Arias include Il pensar a quel che fu; Sì, pensieri, sì, fuggite; and Un cor prigioniero se piange e sospira. Attributed to Pasqualini in I-Rc 2478, ff. 32-41v (CLORI n. 774) and I-Rn Mus. 141 (olim 71.9.A.33), ff. 177185. MURATA n. 127. 32 (ff. 102-105) MAP. Compatitemi perché lo merito, A minor, cantata. The second aria is Ch’in amor non trovò sorte. Attributed to Pasqualini in F-Pn Rés. Vmf 20, ff. 93-99v, and I-Nc 33.4.17b (Cant. ibr. 8), ff. 115-20v. Barb. lat. 4201, n. 14 is a compositional draft. MURATA n. 53. 33 (ff. 106-109v) MAP. Non mi lusingar più, speranza infida, E minor, cantata. The closing aria is Dove sete, o folli amanti. Attributed to Pasqualini in I-Rc 2478, ff. 60-69v (CLORI n. 779). MURATA n. 160. CALUORI n. 240 and CLORI n. 2258 give a setting of this text for SA/B by Luigi Rossi. Not the oratorio text by D. Benigni, Non mi lusingar più, cieco mondo fallace in BAV Fondo Ludovisi-Boncompagni M.15, listed in MORELLI-A 1986, n. 338, set by Mario Savioni as a madrigal in his Madrigali morali e spirituali a 5, Rome 1668, and by G.B. Mazzaferrata in his Cantate morali e spirituali, op. 7, Bologna 1680.

34 (ff. 110-114v) MAP. Poesia del s.r D[on] Lelio Orsini. Filli, se tu non credi ch’io ti serva, ch’io t’ami, E minor, cantata. Arias include Forse temi ch’io t’inganni and Vuol Cupido ch’io mi lagni. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 53. The poem is transcribed from Barb. lat. 4223 in AMENDOLA, pp. 142-143. MURATA n. 96. 35 (ff. 116-123v) MAP. Poesia del sig.r Bastiano Baldini. Un infelice core amò servì, penò. Same as n. 28 above, but in another hand, on paper of different size, and lacking the second strophe of the second aria. An attribution to Pasqualini in the hand of the music copyist has been erased. The attribution to Baldini, however, as well as the MAP monogram are in Pasqualini’s hand. MURATA n. 239. 36 (ff. 125-128) MAP. Poesia del sig.r marchese Martio Orsini. Dove ne vai crudele? Deh per pietà, rimira, A minor. Marked “aria” is Tu col canto soave but not the closing No, no, seguir voglio. A compositional draft in Pasqualini’s hand is Barb. lat. 4204, n. 44. MURATA n. 76. 37 (ff. 129-132v) MAP. Su la riva d’un ruscello, che di perle e di zaffiri, C minor, cantata. Arias include S’il mio pianto, ohimé and Pene, affanni, ahi per pietà. The MAP monogram was removed, then added again later (both are in Pasqualini’s hand). On f. 129 is the number 1, from an earlier foliation or gathering. A compositional draft of the cantata in Pasqualini’s

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hand is Barb. lat. 4204, n. 39. MURATA n. 230a. An arrangement for SB/B is Barb. lat. 4222, n. 18, which is also marked MAP and attributes the text to Giovanni Lotti. 38 (ff. 133-135v) MAP. Deh non più mi ferite, occhi severi, C minor, cantata. The closing aria is Se dunque, o pupille. Sketches of the vocal line in Pasqualini’s hand are Barb. lat. 4201, n. 1 and 4204, n. 38. MURATA n. 66a. An arrangement for SSB/B is Barb. lat. 4222. n. 3, also marked MAP, which attributes the text to Monsignor Bentivoglio. 39 (f. 136r-v) MAP. P[rim]a: No mio cor, non mel negare, E minor, aria. No second strophe is given. MURATA n. 152a. An arrangement for SB/B is Barb. lat. 4222, n. 40, also marked MAP. 40 (ff. 137-144v) MAP. Disperatione. Da gli abissi dell’Herebo, su Furie, scatenatevi, B minor, cantata. The only aria is Rio rigor di crudeltà. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 60. Anonymous in Barb. lat. 4204, n. 15. CALUORI n. 316 gives the musical incipit. MURATA n. 59. 41 (ff. 145-148v) MAP. Poesia del sig.r D[on] Lelio Orsini. Dalle sponde del Tebro al patrio suolo, C minor, cantata. Arias include Forse un’alma invidiosa and Già m’avvedo che nel petto. A compositional draft in Pasqualini’s hand is Barb. lat. 4205, n. 49. Orsini’s poem is transcribed from Barb. lat. 4223 in AMENDOLA, p. 143. MURATA n. 61. 42 (ff. 149-152v) MAP. Di gioir speranza infida, G minor, cantata. The closing aria is Speranze fallaci tradir la mia fé (the refrain of an internal streviglio of which the first strophe begins Di donna infedele). An attribution to “sig.r Marco Ant.o Pasqualini” in the hand of the music copyist has been erased. MURATA n. 69a. An arrangement for SB/B is Barb. lat. 4222, n. 42, also marked MAP. 43 (ff. 153-158) [PASQUALINI]. Poesia del S.r Nicolo For[es]ta: Deh, morir non si nieghi a un infelice, C minor, cantata. Arias include Già sapevo, o cruda sorte; Contrastato un cor meschino, and Io che mai sotto la luna. The attribution to Pasqualini is based on a compositional draft in his hand, Barb. lat. 4205, n. 52. MURATA n. 64a. An arrangement for SB/B is Barb. lat. 4222, n. 14, which is marked MAP. Bound in parchment (236 × 300 mm) with the cover title: 1658. Ariette a solo (the “58” of the year is faint). On front and back covers are two holes each, where leather ties had been. On the spine is a pink BAV sticker and the number 94 in black ink, written by the modern hand that wrote the

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previous shelfmark XLVII 94 inside the front cover. The watermarks are associated with Rome: a six-pointed star over a crown; cleric in shield, and one instance of the fleur-de-lis in a circle (n. 41). Except for nn. 19 and 39 (which are both missing their second strophes), each piece comprises an individual fascicle with its own gathering structure and begins on the first recto of a gathering. The paper for n. 35 (ff. 115-124) measures 211 × 277 mm. Eight staves are on each folio, except for the exceptional item n. 35, which has six. The first flyleaf is blank; blank staves only are on ff. 4, 8, 12, 22, 24, 36, 46, 67, 80, 98, 115, and 124. The foliation in ink is in Pasqualini’s hand. Folio 99bis is not numbered, and there is no f. 112. A table of contents in Pasqualini’s hand is on f. 159. Pasqualini is the copyist of all except nn. 35 and 42, which were copied by professionals. Item 35 is by the hand (B) that copied act I of the Chigi score of LA COMICA DEL CIELO (Chigi Q.VII.100). Hand C copied n. 42. The Garland facsimile edition of cantatas from this volume (ITALCANTAT, vol. 3) reproduces nn. 1-2, 6, 11-14, 17-18, 20-21, 25, 29-38, and 40-43, with an edition of their texts in poetic form. The poet of n. 12 is likely Carlo Theodoli, who became the 4th marchese di S. Vito ca. 1648. RICCIARDELLI, pp. 74-76 selectively ascribes nn. 5, 8, 16, 20, 33, and 40 to Luigi Rossi, without explanation, as well as n. 27, the excerpt from the opera Il palazzo incantato.Barb. lat. 4223-4224

Barb. lat. 4224 1714, 214 × 272 mm, I.172.I ff., 8-10 staves, one hand

Score and three instrumental partbooks for act I of DAGL’INGANNI ALLE NOZZE, favola pastorale for the marriage of Maria Teresa Boncompagni and

Urbano Barberini, Prince of Palestrina, 20 May 1714. The end of act III is dated “Roma li 25 mag[gi]o 1714.” No title is given in any musical source, but Dagl’inganni alle nozze heads two ms. libretti in Barb. lat. 3806 and Barb. lat. 3862. Libretto and music are both anonymous, though all or part of the music may be by Pietro Paolo Bencini (see comments below). The five characters are all high voices: Narete, pastore d’Arcadia (S); Dorinda, ninfa, figlia di Narete, amante di Silvio (S); Silvio, pastore, amante e poi sposo di Dorinda (A); Tirsi, pastore, amante di Dorinda (A), sung by Filippo Sicardi; and Clori, amante di Tirsi (S). Acts II and III are Barb. lat. 4225 and 4226.

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1 (ff. 1-82) Aatto [sic] Primo. Dorinda: Vezzosette violette, arrossir fate la rosa, S/TrTrB, B minor. In nine scenes with five arias for Tirsi, four for Clori, three arias and a duet for Dorinda, one aria and a duet for Silvio, and one for Narete. The last aria is Fu sempre il fingere l’arte più bella, S/TrTrB, G major, for Tirsi (I:9). Desinet “arte più bella per farsi amar” (f. 81v) with closing instrumental ritornello and “Fine dell’atto primo” (f. 82). On f. 1 a modern hand has written “Dorinda, Clori, Narete.” 2 (ff. 83-118v) Atto Primo. Concertino, TrTrB. Partbook, written in score for two violins. It includes TrTrB staves for nine arias (one marked “senza cembalo”); TrB scoring for three arias for which the upper part is marked “unissoni”; and TrTrB ritornellos for three arias. The first aria is Vezzosette violette, TrTrB, B minor (from f. 83v). Text cues precede each subsequent aria. The last aria is Fu sempre il fingere, TrTrB, G major (from f. 115v). Desinet “Fine dell’Atto primo” (f. 118v). In the partbook appear indications for “tutti” and “soli,” as well as “piano” and “forte.” On f. 83 a modern hand has written “Vezzosette violette.” 3 (ff. 119-146v) Atto primo. Violino primo, TrB. Partbook presumably for ripieno first violin(s). It includes identical TrB score as in n. 2 above for the fifteen arias with text cues, with the same “tutti” and “soli” indications. Desinet “Fine dell’atto prim[o].” 4 (ff. 147-172v) Atto primo. Violino secondo, TrB. Partbook presumably for ripieno second violin(s). It includes identical TrB score as in n. 2 above for the fifteen arias with text cues, with the same “tutti” and “soli” indications. Desinet “Fine dell’Atto primo.” Barb. lat. 4224 Quarter-bound in parchment, with boards covered with mottled green paper (233 × 290 mm). The spine is embossed with a gold Barberini bee surmounted by a crown (similar to Barb. lat. 4225-4232) below a pink BAV sticker and the number 95 written in black ink by a modern hand. The previous shelf-mark XLVII.95 is written inside the front cover in ink, where there is another BAV sticker. There are two watermarks associated with Rome. The fleur-de-lis in a double circle with the letter “V” above is found throughout the score and in the partbook for the concertino first violin (similar to HEAWOOD nn. 1591-1592). It is only found twice in the second violin partbook (on ff. 167-168). The stag in a circle (similar to HEAWOOD n. 3850) appears nine times in the second violin partbook (ff. 148-150, 158, 161-162, 165-166 and 169). The music copyist numbered each gathering of two bifolios. For the vocal score, gatherings after the first are numbered 2-20 with each new gathering headed “Primo.” For n. 2, gatherings after the first are numbered 2-5; for n. 3, gatherings are numbered 1-4; for n. 4,

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they are numbered 1-4 (the last is of three bifolios). The foliation in pencil is modern. Both flyleaves are blank. There are ten staves per page for the score and concertino partbook (ff. 1-118) and eight staves per page for each violin part book (ff. 119-172). The copyist, a Roman professional, also wrote most of the music for the following two acts of the opera: Barb. lat. 4225, nn. 2-4, and 4226, nn. 1 and 3-5. He also copied Barb. lat. 4179; 4227, nn. 1 and 3-9; and 4228, nn. 3-12, all of which contain works by Pietro Paolo Bencini. Bencini himself presumably wrote the scores found in Barb. lat. 4225, n. 1 (all of act II); 4226, n. 2 (all of act III); and the compositional drafts of the cantata AMINTA E DORI, Barb. lat. 4227, n. 2; and 4228, n. 2a-b. This hand appears in the music writing for Bencini’s oratorio IL SACRIFICIO DI ABRAMO in GBMp M580Bk51 (v.2-10), facsim. edn ITALORAT vol. 15, as well as the text and music for the substitute aria, Luce degl’occhi miei, on ff. 87-89v of that volume. Bencini’s surname, written on Barb. lat. 4227, f. 44, appears to be in the same hand in IL SACRIFICIO DI ABRAMO, ff. 1, 7 and 63. The latter two folios of Il sacrificio are headed “originale,” which means either that it is the composer’s holograph or that it is the full score from which parts should be drawn. In this case it seems to have both meanings. Because Barb. lat. 4225, n. 1, and 4226, n. 2, appear to be in Bencini’s hand, he is here provisionally considered as the composer of at least two acts or substantial parts of acts II and III of DAGL’INGANNI ALLE NOZZE. A laudatory sonnet printed for the performance of the work is In lode del Signor Filippo Sicardi, comico virtuoso, nell’opera pastorale in musical intitolata DALL’ INGANNI ALLE NOZZE. Fatta rappresentare dall’eccellentiss. signor Prencipe di Palestrina nel suo teatro in detta città, in occasione delli sponsali coll’eccellentissima Signora Donna Teresa Boncompagni. Sonetto allusivo alla parte di Tirsi pastore, rappresentata dal mede[si]mo. … In Palestrina, nella Stamperia Barberina, per Gio. Domenico Masci, 1714 (BAV Stamp. Barb. JJJ.IX.46). Prince Urbano Barberini’s third marriage was contracted only on 25 April (Avvisi di Roma for 28 April 1714, in Barb. lat. 6430, f. 284). The wedding itself and a celebratory banquet was held in Rome in the palace of the bride’s great-aunt Ippolita Ludovisi on 20 May (ibid. for 26 May, f. 311). No performance is recorded in FRANCHI 1997, but it may have taken place during the succeeding weeks during Urbano’s “villeggiatura.” Sicardi had performed in Rome in 1711 in both operas given at the Teatro Capranica, LA DORISBE and L’ENGELBERTA. The libretto was based on G.B. Candi’s IL TRADIMENTO PREMIATO, favola pastorale da recitarsi in musica (Venice, G.B. Zuccato, 1709), but the musical setting for Palestrina is new. Three ms. libretti are extant. Barb. lat. 3895, ff. 109-126, preserves two versions of the title Dal tradimento alle

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nozze and Dai tormenti alle nozze, both of which were cancelled. Its text differs only slightly from that in the three-act score, Barb. lat. 4224-4226. Six of its forty-two aria texts were replaced, but musical settings for three of those discarded arias remain in the musical sources. They are Merta lode quella frode and Bella infida mi tradisti in act II, and Non ho per altra bella in act III. In this libretto, the handwritten signatures of two clerics, Nicolaus Selleri and Gregorij Selleri, follow the word “imp[rimatu]r” at the end of the text (Barb. lat. 3895, f. 126), which suggests that this was the text from which a printed libretto would have been published. The other two ms. libretti are Barb. lat. 3862, Dai tormenti alle nozze, ff. 58-79, and 3806, ff. 22-42. Only one of their forty-two aria texts differs from those in the three-act score. The Venetian libretto was dedicated by the printer G. B. Zuccato to Don Marc’Antonio III Borghese, Prince of Rossano, and his son, Don Camillo (SARTORI, n. 23379). BONLINI 1731, n. 436, and GROPPO 1745, n. 440, name Giovanni Battista Candi as the librettist and Girolamo Polani as the composer (see CORAGO for two online copies of this libretto). It has one additional character not in the Barberini score: the shepherd servant Batto. When the work was revived in Mantua ca. 1714, the printed libretto named Polani as the composer (SARTORI, n. 23380), and the servant Batto is not present. Since only six of the forty-two arias in the Roman score are derived from the Venetian libretto, the Roman score was undoubtedly a new musical composition. A later edition of the libretto adopted the Barberini title: DAGL’ INGANNI ALLE NOZZE, dramma pastorale per musica da recitarsi in Perugia nel Teatro de’ Nobili il presente carnevale dell’anno 1725. Names of the singers and scene painter are given, but the composer’s identity is concealed: “La musica è di cavaliere dilettante, e di gusto il più perfetto” (SARTORI, n. 7040). The thirty-five aria texts in the Perugia libretto are all in Barb. lat. 42244226, and only three of them are somewhat revised. The Palestrina text was thus the basis for the Perugia libretto, but the “cavaliere dilettante” presumably provided a new musical setting for Perugia. Barb. lat. 4224-4225

Barb. lat. 4225 1714, 213 × 272 mm. I.103.I ff., 8-12 staves, 2 hands

Score and three instrumental partbooks for act II of DAGL’INGANNI ALLE favola pastorale (Palestrina 1714). The composer might be Pietro Paolo Bencini, because the score of act II (no. 1 below) seems to be in the

NOZZE,

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hand that wrote his compositional drafts in Barb. lat. 4227, n. 2, and 4228, nn. 1-2bis. Cf. also Barb. lat. 4226, n. 2, and see Barb. lat. 4224 for further background information. 1 (ff. 1-27v) Atto Secondo. Narete: Quando ride un verde aprile, S/TrB, D minor. In ten scenes. “Fine dell’Atto 2.o” occurs on f. 25v. The closing aria Crudel, si morirò, A/Tr(unisono)B, A minor, may have been added to or replaced the previous aria for Silvio, Bella infda mi tradisti. Desinet [sempre m’aggirerò.] “Crudel. Da capo” (f. 27v). There are very few revisions; nonetheless, this score is conjecturally a holograph in the hand of Pietro Paolo Bencini; see comments to Barb. lat. 4224. The first version of act II included three arias each for Narete, Silvio and Tirsi, and two arias each for Clori and Dorinda. After revision, the aria for Tirsi in II:8, Merta lode quella frode, A/B followed by a TrTrB ritornello, C major, was replaced by Vincere con inganno il cieco arcier tiranno, A/ TrTrB, E minor (in Barb. lat. 4231, n. 30), a change that is not evident in Barb. lat. 4225. 2 (ff. 29-56v) Atto Secondo. Concertino, TrTrB. Partbook in score, presumably for the principal first and second violins. The first aria is Quando ride un verde aprile. It includes verbal cues from the second to the last aria, and staves scored TrTrB for eight arias (one of which is marked “senza cembalo”); TrB music for three arias (in which the upper part is marked “unissoni”); and TrTrB ritornellos for two arias. Desinet “Fine dell’Atto sec.o” (f. 56v). These thirteen include Merta lode but not Vincere con inganno; and they include the last aria Crudel si morirò, but not Bella infida, which is, however, represented by mm. 1-11 of the struck-through continuo part on f. 53v. 3 (ff. 58-81) Atto Secondo. Violino primo, TrB. Partbook, in score presumably for one or more ripieno violins. (No “tutti/soli” indictions are in any of the violin partbooks.) The first aria is Quando ride un verde aprile; the last is Crudel, si morirò. It includes TrB parts identical to those for the thirteen arias in n. 2 above. (Bella infida is not present.) Desinet “Fine dell’Atto secondo” (f. 81). 4 (ff. 82-103) Atto Secondo. Violino secondo, TrB. Partbook in score presumably for one or more ripieno violins. The first aria is Quando ride un verde aprile; the last is Crudel, si morirò. It includes TrB parts identical to those for the thirteen arias in n. 2 above. Desinet “Fine dell’Atto 2.o” (f. 103). Barb. lat. 4225 The binding (230 × 288 mm) is the same as that for Barb. lat. 4224, with

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the number 96 written by a modern hand in black ink above the embossed Barberini bee. The previous shelf-mark, XLVII.96, is written inside the front cover in ink, where there is another pink BAV sticker. As in Barb. lat. 4224, there are two Roman watermarks. The fleur-de-lis in two concentric circles surmounted by the letter “V” is found from f. 1 through f. 77, i.e., in the score and the concertino and first violin partbooks (similar to HEAWOOD nn. 1591-1592). The stag in a single circle (similar to HEAWOOD n. 3850) is found in the second violin partbook (ff. 84-89, 94-95, 98-99 and 103). Gatherings of two bifolios for n. 1 are numbered 1-7. Gatherings for n. 2, after the first are numbered 2-4 “conc.no”; for n. 3, after the first are numbered 2-3 “V.P.o. à[tto] 2.o.” Gatherings for n. 4 after the first are numbered 2-4 “V.o 2.o atto 2.do”; the last is a single bifolio. Folios 1-28 are larger in size than the others (218 × 290 mm.), because they were not trimmed. The foliation in pencil is recent. Both flyleaves are blank. Blank staves on ff. 28 and 57 separate items 1 and 2 from the next ms. There are twelve staves for the full score (ff. 1-28), ten for most of the concertino partbook (ff. 29-53), and eight for the remainder of the volume (ff. 54-103). Hand A that copied act I (Barb. lat. 4224), here copied nn. 2-4 and 4226, nn. 1 and 3-5; 4227, nn. 1 and 3-9; and 4228, nn. 3-12, as well as Barb. lat. 4179. Hand B copied n. 1 (the whole of act II), and Barb. lat. 4226, n. 2; 4227, n. 2; and 4228, nn. 1-2bis. See the commentary to Barb. lat. 4224 and 4228, where this hand is conjecturally identified as that of Pietro Paolo Bencini. Barb. lat. 4225-4226

Barb. lat. 4226 1714, 215 × 282 mm, I.198.I ff., 8-12 staves, 2 hands

Two scores and three instrumental partbooks for act III of DAGL’INGANNI ALLE NOZZE, favola pastorale (Palestrina 1714). With few revisions, the sec-

ond score (n. 2) appears to be a holograph, if not a compositional draft, of Pietro Paolo Bencini, for whom compositional drafts exist in Barb. lat. 4227, n. 2, and 4228, nn. 1-2bis. See also and Barb. lat. 4224 and Barb. lat. 4225, n. 1, for further background information. 1 (ff. 1-80v) Atto terzo. Narete: Scostati indegna figlia! Lungi da gl’occhi miei (recit.) and aria Preparati a soffrir il più fiero martir, S/TrB, A major. In eleven scenes. Arias include four arias for Clori; two arias each and a duet for Dorinda and Silvio; two arias each for Narete and Tirsi. The last

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aria is Dopo i turbini dell’alma, SSAAT/TrTrB, A minor. The tenor part in the quintet is designated for Narete, whose part is otherwise notated in soprano clef. Desinet “calma alfin ritornò. Fine” (f. 80v). The concertino, violin 1 and violin 2 partbooks for the aria Perduto ho il caro ben (III:7, ff. 46-48) are in Barb. lat. 4231, nn. 30 and 32, and Barb. lat. 4229, n. 20. The trumpet part for S’armi d’ira questo petto, S/TrTrTrB [= tromba, VV., (bc)], D major, for Clori in III:4 is Barb. lat. 4231, n. 32. 2 (ff. 82-120) Atto 3.o. Contents same as n. 1 above, but the aria Perduto ho il caro ben, (Silvio, scene 7, ff. 98-99) is bound in the middle of his previous aria, Alma bella, dove stai (ff. 97v and 100-101v), rather than in the middle of the aria it replaces, Non ho per altra bella (ff. 102v-104). This score is in the hand that wrote Barb. lat. 4225, n. 1, and is conjecturally a holograph of Pietro Paolo Bencini. Desinet “più bella la calma alfin ritornò. Fine. Roma li 25. mag.o 1714” (f. 120). 3 (ff. 122-146v) Atto Terzo. Violino primo, TrB. Partbook in score, presumably for ripieno first violin(s). It includes TrB staves for the fourteen arias in n. 5 below. This includes Non ho per altra bella but not its replacement aria, Perduto ho il caro ben, for which the partbook is in Barb. lat. 4231, n. 30. 4 (ff. 147-170) Atto Terzo. Violino secondo, TrB. Partbook in score presumably for ripieno second violin(s). It includes TrB staves for the fourteen arias in n. 5 below. This includes Non ho per altra bella but not its replacement, Perduto ho il caro ben, for which the partbook is Barb. lat. 4229, n. 20. Barb. lat. 4226 5 (ff. 171-197v) Atto Terzo. Concertino, TrTrB. Partbook in score, presumably for two principal violins. It includes TrTrB staves for nine arias (one of which is marked “senza cembalo”) and TrB parts for five arias (in which the Tr part is marked “unissoni”). This includes the aria Non ho per altra bella but not its replacement, Perduto ho il caro ben (III:7), for which the partbook is in Barb. lat. 4231, n. 32. The binding (228 × 290 mm) is the same as for Barb. lat. 4224-4225, with the number 97 written in black ink by a modern hand above the embossed bee. The same modern hand wrote the previous shelfmark XLVII.97 inside the front cover, where there is another pink BAV sticker. For n. 1, duernions after the first are numbered 2-20, some also headed “3.o” [atto]; the last is a single bifolio. Duernions for n. 2 are numbered 1-10. Gatherings for n. 3 are numbered 1-3 (of 4+4+5 bifolios). Quaternions for n. 4 are numbered 1-4, with the second misnumbered 3; some are headed “V.o 2.o, Atto 3.o.”

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462

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Gatherings for n. 5 after the first are numbered 2-4, headed “Conc.no. 3.o” (three quaternions and one duernion). There are two watermarks associated with Rome, as in Barb. lat. 4224-4225. The fleur-de-lis in two concentric circles surmounted by the letter “V” (similar to HEAWOOD nn. 1591-1592) is found from f. 3 to f. 145 and f. 172 to f. 196, that is, for all but the second violin part. The stag within a circle is found in the partbook for the second violin (ff. 149-150, 153-154, 157-158 and 161-166). The foliation in pencil is modern. Both flyleaves are blank. There are ten staves for the professional copy of the full score and the concertino part (ff. 1-81 and 171-198), twelve staves for the second copy of the full score (ff. 82-121), and eight staves for the violin parts (ff. 122-170). Blank staves on ff. 81, 121 and 198 separate nos. 1 and 2 from the next ms. A professional Roman hand copied nn. 1 and 3-5, and Barb. lat. 4179; 4224; 4225, nn. 2-4; 4227, nn. 1 and 3-9; and 4224, nn. 3-12. Hand B copied n. 2 and Barb. lat. 4225, n. 1; 4227, n. 2; and 4228, nn. 1-2bis. See the commentary to Barb. lat. 4224, where hand B is conjecturally identified as that of the composer Pietro Paolo Bencini. In n. 1, Perduto ho il caro ben, A/TrTrB, D minor, for Silvio (III:7, ff. 46-48v) is to be sung “invece di quella che dice Non ho per altra bella,” A/ TrTrB, F major, also for Silvio (ff. 41-45v and 49). Mio caro // mio bene // tu mi stringi // sì, t’abbraccio is a duet for Dorinda and Silvio found in all three ms. libretti (see the commentary to Barb. lat. 4224). In Barb. lat. 4226, scene 10, it is replaced by Sì, begl’occhi ch’io son vostro // sì, son tua dolce, mio viso, SA/TrTrB, D minor. This is the only set piece in Barb. lat. 4224-4226 whose text is not in the ms. libretti.Barb. lat. 4226-4227

Barb. lat. 4227 ca. 1700-1738, 215 × 280 mm, I.174.I ff., 8-12 staves, 2 hands

Two continuo scores and seven partbooks for AMINTA E DORI, “Cantata a due con violini. Del sig.r Pietro Paolo Bencini” (f. 1), for alto and soprano soloists, strings and basso continuo. Despite the designation of “concertino” and “concerto grosso” partbooks, there are few indications in any of the scores of tutti or soli passages. 1 (ff. 1-42) PIETRO PAOLO BENCINI. AMANTA [sic], E DORI. Aminta: Nell’onda d’occidente, senza velo di nubi (recit.), A/B, A minor. Continuo score with all parts notated, comprising six solo arias and a closing duet. Arias for alternating characters are Cintia bella d’ogni stella (C major, Aminta);

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Vince su l’alta mole (D major); Temo ne so di chi (G major); Dimmi che vuoi da me (D minor); Vede il nocchier tranquilli (F major); and Averti ingrato che tanto ardore (E minor). The closing duet is O non amarmi o non temer, SA/ TrB (A minor). Desinet “ingrato alla mia fé. Fine” (f. 42). Aminta’s solos are with TrTrB instruments. Dori’s first two solos and the duet are scored TrB, with the violins playing “unisono.” Dori’s final aria has continuo alone, with a TrTrB ritornello. 2 (ff. 44-57) BENCINI. AMINTA, E DORI, cantata a due voci con VV. A fair copy of n. 1 above, in a different hand, perhaps Bencini’s, with occasional revisions or corrections. Desinet “o non amarmi o non temer. Da capo sino al segno #. Fine” (f. 57).

3 (ff. 58-74) PIETRO PAOLO BENCINI. AMINTA, E DORI. Cantata a due con VV. Aminta. Incipit Nell’onda d’occidente, senza velo di nubi. Partbook scored A/B with verbal cues, recitatives, three solos, and the duet cited in n. 1 above. Desinet “ingrato ingrato alla mia fé. Fine” (f. 74). The instruction “Viol.o solo piano” occurs in the aria Temo ne so di che (ff. 62-64v), since this vocal partbook has no music for the violin. 4 (ff. 75-91v) PIETRO PAOLO BENCINI. AMINTA, E DORI. Cantata a due con VV. Dori. Incipit “Col suo candor” (a verbal cue) and Tornerà d’oriente il dio di Delo (recit.). Partbook scored S/B with verbal cues, recitatives, and the three solos and duet cited in n. 1 above. Desinet “ingrato, ingrato alla tua fé. Fine” (f. 91v). 5 (ff. 92-97, 97bis, 98-109) PIETRO PAOLO BENCINI. AMINTA, E DORI. Cantata a 2.e. Violino primo, TrB. Partbook with the first violin and bass parts with their verbal cues for the solo arias and duet, as in nn. 8-9 below. Incipit “Cintia fra quelle” (verbal cue); desinet “Fine.” Barb. lat. 4227 6 (ff. 110-125v) PIETRO PAOLO BENCINI. AMINTA E DORI. Cantata a 2.e. Violino secondo, TrB. Partbook with the second violin and bass parts for the solo arias and duet, with their verbal cues, as in nn. 8-9 below. Incipit “Cintia fra quelle” (verbal cue); desinet “Fine.” 7 (ff. 126-133) PIETRO PAOLO BENCINI. AMINTA, E DORI. Cantata a 2.e con VV. Violone, B. Partbook with the bass part for the entire cantata. Incipit “Rec.o Nell’onda d’occidente”; desinet “Fine.” 8 (ff. 134-153) PIETRO PAOLO BENCINI. AMINTA, E DORI, Cantata a 2.e. Concerto grosso, TrTrB. Partbook, which includes the ripieno parts for the solo arias and duet. Desinet “Fine.” 9 (ff. 154-173) PIETRO PAOLO BENCINI. AMINTA,

E

DORI, Cantata a due.

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Concertino, TrTrB. Partbook, which includes the concertino parts for the solo arias and duet, identical to n. 8 above. Desinet “Fine.” Quarter bound in parchment, with boards covered with mottled green paper (228 × 290 mm), as with Barb. lat. 4228-4230. The spine is embossed with a gold Barberini bee surmounted by a crown (similar to Barb. lat. 4224-4232), above which are the number 98 written by a modern hand in black in and, above it, a pink BAV sticker. The previous shelfmark XLVII.98 is written inside the front cover in black ink, where there is another BAV sticker. The only watermark is the fleur-de-lis within two concentric circles, similar to HEAWOOD nn. 1591-1592, but without the letter “V.” Gatherings are numbered by the music copyists — one for every two bifolios — in each of the nine parts of the ms. The foliation in pencil is recent. Folio 97bis is not numbered. Both flyleaves are blank. Blank staves only are on ff. 43, 96 and 104. There are ten staves on ff. 1-43; twelve staves on ff. 44-57; and eight staves on ff. 58-173. Water damage has resulted in some browning of the paper. The copyist (A) for nn. 1 and 3-9 also copied Barb. lat. 4179 and 4228, nn. 3-12. The copyist (B) for n. 2 is the same as the copyist of Barb. lat. 4228, nn. 1-2bis — that is, presumably the composer Bencini. The professional copyist wrote n. 1 of Barb. lat. 4227 and wrote out the da capo sections. Hand B is less neat and did not write out the da capo sections. The same two hands copied the opera in Barb. lat. 4224-4226, which may also be by Bencini, in whole or in part. A modern edn from this source by Jean Lionnet is F-Vmb ms. JL Arc Ben 11. Bencini died in Rome in 1755.Barb. lat. 4227-4228

Barb. lat. 4228 1704, 215 × 285 mm, I.278.I ff., 8 or 10 staves, 2 hands

“Serenata a 3. Con violini, trombe e oboe del Sig.e Pietro Pauolo Bencini” (f. 1). An instrumental introduction, two scores, and nine partbooks for LE GARE FESTIVE IN APPLAUSO ALLA REAL CASA DI FRANCIA, libretto by Giacomo Buonaccorsi, music by Pietro Paolo Bencini, given by Urbano Barberini, Prince of Palestrina, in Rome, 24-25 August 1704. The three roles are La Fama (S), Giunone (S) and Pallade (S). Another copy of the serenata is B-Bc ms. 15188 (described as autograph, see comments at end). A third score to this work with a different instrumental introduction by

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Carlo Ferrini is Barb. lat. 4179 (q.v. for the printed libretto, relatione, and comments on the work). 1 (ff. 1-8v) PIETRO PAUOLO BENCINI. Introdutione. Serenata a 3, D major. The outer movements are scored for TrTr (trombe), TrTr (oboe), TrTr (violini), B (fagotto), B (violone) and B (cembalo). The second movement in B minor is scored TrTr (violini), BB and is marked Largo. This introdutione was presumably replaced by the Carlo Ferrini concerto that prefaces the revised scores in Barb. lat. 4179 and B-Bc F.15188. 2a (ff. 9-34v) [BENCINI]. Serenata a 3, con VV e viola, e trombe. La Fama, Giunone, Pallade. Giunone: Qui dove sorge il Tebro dell’antiche ruine (recit.), S/B, on a cancelled page. The earliest known version of Bencini’s serenata LE GARE FESTIVE is Barb. lat. 4228, n. 2a-b. The score contains significant alterations and corrections and appears to be a compositional draft in his hand, including a revised beginning on f. 35: Giunone, Qui dove scorre il Tebro fra l’antiche ruine (recit.), S/B, which returns to the first aria on f. 9v, Vorrei pur lusingarmi, S/TrTrAB (E minor.) The last aria of the first version is Con cento trombe pronta e giuliva, S/TrTr (trombe), TrTr/B, D major, for Fama; desinet “tra d’un nuovo Sol. Da capo. Fine” (f. 34v). 2b (ff. 35-40) [BENCINI]. These folios append the revised versions of four pieces in Barb. lat. 4228, n. 2a. The opening recitative cited in 2a above; the aria Al suo valore confine anguste, S/B; a recitative for Fama; and the duet Le vaghe stelle ridenti, SS/TrTrB, A minor. There are also a few examples of cancelled, then rewritten instrumental parts on ff. 35-40, which imply that Bencini continued to revise the serenata on these folios. 3 (ff. 42-109v) BENCINI. Cantata a 3.e con VV. e trombe. Giunone: Qui dove scorre il Tebro fra l’antiche ruine (recit.), S/B. A fair copy of the score to the complete serenata LE GARE FESTIVE that incorporates the revisions in n. 2 above, with all instrumental parts. Desinet “Io spiego il vol. Fine” (f. 109v). Barb. lat. 4228 4 (ff. 110-128v) [BENCINI]. Giunone. Cantata a 3. con violini e trombe. Qui dove scorre il Tebro fra l’antiche ruine (recit.), S/B. Partbook to to LE GARE FESTIVE with Giunone’s recitatives and arias, each after the first preceded by text cues. Her final piece is the duet Le vaghe stelle ridenti. Three stubs precede the end of the original duet, Cresci pur (f. 128), which probably contained the rest of this duet. The replacement Le vaghe stelle appears to have been tipped into an existing partbook (ff. 124-127). Desinet “nuovi regni al nuovo sole. Fine” (f. 128v). 5 (ff. 130-151) BENCINI. Fama. Cantata a 3.e con VV., e trombe. Aria

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con VV. e trombe. Ad’onta dell’oblio, mie trombe, non tacete, S/B D major, preceded by the text cue “ad’onta ancor di morte.” Partbook to LE GARE FESTIVE scored S/B only with Fama’s recitatives and arias, preceded by text cues. After her second aria Rosa vermiglia, a revised recitative described above (in 2b above) is inserted on ff. 136-37v. The three stubs that follow f. 138 presumably contained the original version of her duet with Giunone (see Barb. lat. 4228, nn. 2b and 4). Desinet “Io spiego il vol. Fine” (f. 151). 6 (ff. 153-165) BENCINI. Pallade. Cantata a 3.e con VV. e trombe. È senza senno Amore, ma lo sguarda ha Linceo (recit.), S/B, preceded by the text cue “E’ il pargoletto Amor.” Partbook to LE GARE FESTIVE scored S/B only with Pallade’s recitatives and arias. A stub follows f. 153, which implies that her opening recitative was revised. Revisions in her first aria Non è il bello ch’innamora can be seen on f. 154. The beginning and end of the original version of her third aria, Al suo valore confine augusto on ff. 158v and 161, are struck through. The rest of this version was presumably on the page that is now merely a stub preceding f. 161. A new version of Al suo valore (ff. 159-60v) is headed “Aria mutata.” Desinet [del nobile in-] “-fante. Fine” (f. 165). 7 (ff. 166-191) [BENCINI]. Cantata a 3 con VV. e trombe. Concerto grosso. Aria. Vorrei pur, TrTrB, preceded by the text cue “Al gran tonante.” Partbook to LE GARE FESTIVE for strings with bass. Because there are no recitatives, the partbook would not have likely been used by a continuo performer. It includes TrTrB ritornellos for six arias, TrB accompaniments for four, TrTrB accompaniments for four, and TrTrB parts for a 5-bar sinfonia (a D-major fanfare). The original version of Cresci pur is on ff. 182v and 187-88v, which are struck through. Its replacement Le vaghe stelle is on ff. 183-85v. Desinet “Fine” (f. 191). 8 (ff. 192-213v) PIETRO PAUOLO BENCINI. Violino p[ri]mo. Concerto grosso. Cantata a 3 voci con violini, e tromba [sic], TrB. Partbook to LE GARE FESTIVE with the first violin part for the arias, sinfonia and cancelled duet (Cresci pur). Desinet “Con cento. Fine” (f. 213v). 9 (ff. 214-235v) PIETRO PAUOLO BENCINI. Violino primo. Concerto grosso. Canta[ta] a 3 voci con violini, e tromba [sic], TrB. Partbook to LE GARE FESTIVE that has the same contents as Barb. lat. 4228, n. 8. 10 (ff. 236-257v) PAUOLO BENCINI. Violino 2.do del concerto grosso. Cantata a 3 voci con VV., e tromba [sic], TrB. Partbook to LE GARE FESTIVE with the second violin part for the arias, sinfonia and cancelled duet (Cresci pur) to LE GARE FESTIVE.

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11 (ff. 258-268) [BENCINI]. Violone. Cantata a 3.e con VV. e trombe, B. Partbook to LE GARE FESTIVE with the arias, sinfonia and cancelled duet (Cresci pur), with no recitatives, to LE GARE FESTIVE. 12 (ff. 269-278v) [BENCINI]. Violone. This B partbook to LE has the same contents as Barb. lat. 4228, n. 11.

GARE FES-

TIVE

Quarter bound in parchment (235 × 295 mm), with boards covered with mottled green paper, as with Barb. lat. 4229 and 4230. The spine is embossed with a gold Barberini bee surmounted by a crown, above which a modern hand has written the number 99 in black ink, below a pink BAV sticker. The same hand wrote the previous shelfmark XLVII.99 in black ink inside the front cover, where there is another BAV sticker. The watermark for items 1-2b is a fleur-de-lis in two concentric circles with the letter “V” above, as in HEAWOOD nn. 1591-1592. The watermark for nn. 3-12 is a stag in a circle, similar to HEAWOOD n. 3850. Gatherings are of two bifolios, numbered within each of the twelve items. The modern continuous foliation is in pencil. Item 2 bears original separate foliation in ink (numbered from 1-32; modern ff. 9-40). Both flyleaves are blank. Ten staves are on ff. 1-191, eight on ff. 192-278. Blank staves only are on ff. 41, 129, 152 and 186. Hand A copied nn. 1. Hand B (Bencini) copied n. 2; evidence of compositional alterations in n. 2a-b is described above. Hand C copied nn. 3-12 as well as the other two extant scores of the serenata (BAV Barb. lat. 4179 and B-Bc F. 15188; the latter, however, is listed in RISM online as autograph). The partbooks in Barb. lat. 4228 include no music for the Introdutione (n. 1) and no wind parts. The partbook for the second trumpet is Barb. lat. 4229, n. 21. Oboes and bassoons are required only in the score for the “Introdutione,” which appears to have not been used in the 1704 performance. Because the serenata was performed outdoors in three bucentaurs, continuo instruments were likely only portable ones. Revisions for four pieces in n. 2a were drafted by Bencini in n. 2b, and his verbal comments in n. 2a refer to replacements on ff. 27, 27v, 28 and 29, all found in n. 2b at ff. 35, 35v, 36 and 37. A viola is mentioned on the titlepage and is called for in the first aria and in the ritornello for the second, but never later nor anywhere in other sources for the serenata. The Brussels copy, with an opening by Ferrini, is titled Serenata fatta dall’Ecc.mo sig prencipe di Palestrina, grande di Spagna di prima classe, e cavaliere del Toson d’oro, avanti il palazzi dell’E.mo sig cardinal di Giansò et Ecc.mo sig. ambasciator di Spagna le sere di S. Luigi per la nascita della maestà del dvca di Bertagna. Sinf.a concertata del sig.r Carlo Ferrini vertuoso del

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sig.r prencipe di Palestrina; [p. 18:] Cantata à 3e. del sigr P.o Paolo Bencini (see RISM ID 703003874). Following Fama’s aria Rosa vermiglia che su l’aurora, an expanded recitative praised the wife of the dauphin, Marie Adélaïde of Savoy, the “illustra eccelsa donna, … che eletta fu dal franco monarca invitto augusto per eternar con nuovi germi e chiari l’inclito onor vetusto della sacra real stirpe guerriera. Oh raro pregio! Oh donna alta e felice! Oh magnanimo rege!” This last Duke of Brittany died in 1705; Marie’s youngest son became Louis XV.Barb. lat. 4228-4229

Barb. lat. 4229 1675-1735 ca., 216 × 290 mm, I.322.I ff., 8 or 10 staves, 8-9 hands

Miscellany of thirty-nine items. Thirty-four preserve three scores and thirty-one partbooks for five sets of prologues and intermezzi. Two sets, each with three roles, were produced in Palestrina, as discussed in the commentaries to Barb. lat. 4185-86: two scores and ten partbooks contain music composed by Andrea Basili in 1735 (4229, nn. 1-5 and 33-39), and nine partbooks have music composed by Domenico Antonio Berti in 1734 (4229, nn. 23-31). The remaining three sets, each with four roles, are anonymous intermezzi, in which the brevity and rarity of set pieces suggests that they may predate 1690 by at least a decade. Each of these anonymous sets is identified below by its text incipit. One score and four partbooks are for O CHE FLEMMA CI VUOLE (4229, nn. 6-9 and 32); four partbooks are for APPENA SORGE IL DÌ for three Staffieri and a Lacchè (4229, nn. 11-14); and four partbooks are for AMICI, BUONE NUOVE (4229, nn. 15-18). The other five items include two items by Pietro Paolo Bencini (4229, n. 10 and n. 21) and three further anonymous works (4229, nn. 19, 20 and 22). 1 (ff. 1-8v) [ANDREA BASILI]. Prologo 1735. [AL CRIN DI GRAPPI PAMPINOSI]. Vendemmia: Ecco a voi di Preneste fortunate contrade, io fo ritorno (recit.), S/B. This recitative follows the text cue “di doni miei” (sung by Autunno). Partbook with the recitatives, verbal cues, and arias for Vendemmia. It includes one aria, Se il sol sprezzar già mai (F major, ff. 2v-4v) and all vocal lines for the closing trio, Ninfe belle, vaghe e snelle (D major, ff. 5-8v). Music for the continuo staff for the closing trio is largely missing. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair 1735. Partbooks for the other two figures in this prologue are n. 2 below; Autunno’s partbook is Barb. lat. 4185, n. 1. Barb. lat. 4229

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2 (ff. 9-18v) [BASILI]. Prologo a 3. [AL CRIN DI GRAPPI PAMPINOSI]. Il Piacere: Ed io sono il Piacere (recit.), S/B, the recitative follows the text cue “La Vendemmia son’io.” Partbook with the recitatives, text cues, and arias for Piacere. It includes two arias: Ah senti l’aura lieta (G major, ff. 9v-11v); and L’ombre illustri de’ grand’ avi goderanno (C major, ff. 13-15); and the closing trio, Ninfe belle, vaghe e snelle (D major, ff. 15v-18v), with all vocal parts notated. The continuo part is given only for the beginnings of arias. It omits the aria in printed libretto Ninfe, e pastori, silvani, e satiri (p. 4). Partbooks for the other two figures in this prologue are n. 1 above (Vendemmia) and Barb. lat. 4185, n. 1 (Autunno); see the latter for a discussion of this work for St. Martin’s fair in Palestrina 1735. 3 (ff. 19-28) [BASILI]. Intermezzo p[ri]mo. [IO NON SO COME MAI]. Parte di Clori: O cara Lilla! Or presto a noi (recit.), S/B. The recitative follows the text cue “o Clori.” Partbook with the recitatives, verbal cues, and arias for Clori. It includes one “mezz’aria,” Deh, cara Lilla mia (Allegro, B! major, ff. 19-20v), for which Lilla sings the next quatrain; and the closing trio, Siam pronte, sì, sì, verremo oggi armate (G major, ff. 21-28), with all vocal parts notated. The continuo part for the aria and trio is given only in the continuo score for this intermezzo, n. 33 below. Partbooks for the other two characters in this intermezzo are n. 34 below (Lilla) and Barb. lat. 4185, n. 2 (Alfeo). See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. 4 (ff. 29-36) [BASILI]. Prologo. [AL CRIN DI GRAPPI PAMPINOSI]. Violino p[ri]mo, Tr. This partbook includes a three-movement Sinfonia (ff. 29v30), five arias, and a closing trio for the vocal parts in Barb. lat. 4229, nn. 1-2 and 4185, n. 1. Each aria is headed not by a title, but with its text cue. Since no continuo score for the prologue survives, the Sinfonia is known only from the violin parts in 4229, nn. 4-5. See Barb. lat. 4185 for a discussion of this work. 5 (ff. 37-44) [BASILI]. Prologo. [AL CRIN DI GRAPPI PAMPINOSI]. Violino secondo, Tr. This partbook includes a three-movement Sinfonia (ff. 37v38), five arias, and a closing trio for the vocal parts in Barb. lat. 4229, nn. 1-2 and 4185, n. 1. Each aria is headed not by a title, but with its text cue. Since no score for the prologue survives, the Sinfonia is known only from the violin parts in 4229, nn. 4-5. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. 6 (ff. 45-54v) [Intermezzo a 4. O CHE FLEMMA CI VUOLE]. Corteggiano: O che flemma ci vuole: mezz’hora e più mi bisogno stentare (recit.), T/B. Partbook for Il Corteggiano with the opening recitative; one arioso, “O male-

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detta corte, folle è ben chi ti seguitar” (f. 49r-v); and the closing trio, O sorte tiranna chi ogn’hor ti da fede (G major, ff. 52v-54v, notated T/B only), which includes recitative interjections and is not in da capo form. Desinet “-perati, disperati. Fine” (f. 54v). The other vocal parts are nn. 7-8 below. The continuo score is n. 9 below. 7 (ff. 55-61v) [Intermezzo a 4. O CHE FLEMMA CI VUOLE.] Litigante: Che sarà cieli tiranni (recit.), S/B, a recitative that follows the text cue “i figli ciechi” (sung by Postiglione). Partbook for the Litigante with recitatives, verbal cues, and the closing trio, O sorte tiranna (notated S/B only). Desinet “-perati, disperati. Fine” (f. 61v). The other vocal parts are in Barb. lat. 4229, nn. 6, 8 and 9. The continuo score is in Barb. lat. 4229, n. 9. 8 (ff. 63-70v) [Intermezzo a 4. O CHE FLEMMA CI VUOLE]. Napolitano: Sono chiù de due mise che Mammama non schrive (recit.), S/B, a recitative that follows the text cue “o corte, o lite.” Partbook for Napolitano with recitatives, text cues and the closing trio O sorte tiranna (notated S/B only). The other vocal parts are in Barb. lat. 4229, nn. 6-7 and 9. The continuo score is in Barb. lat. 4229, n. 9. 9 (ff. 71-80v) [Intermezzo a 4. O CHE FLEMMA CI VUOLE]. Corteggiano: O che flemma ci vuole! Mezz’hora, e più mi bisognò stentare (recit.), T/B. A continuo score, possibly holograph, with music for Corteggiano (T), Postiglione (S), Litigante (S), and Napolitano (S). The complete intermezzo can be assembled from five items in Barb. lat. 4229: the three vocal partbooks in nn. 6-8; this continuo score (n. 9), which is the only source (ff. 73v-74) for the nine measures of recitative sung by the fourth character, Postiglione (S); and the TrTrB string parts in nr. 32 (that play only in the closing trio). In n. 9, only the parts for Corteggiano and the basso continuo are written for the closing trio, O sorte tiranna chi ogn’hor ti da fede (ff. 79-80v); it has no staves for the violins, and the staves for Litigante and Napolitano are blank. 10 (ff. 83-86v) [PIETRO PAOLO BENCINI]. Cantata a voce sola. Clori che m’invaghì, quant’è vezzosa sì, S/B, D minor. The other aria is Sdegnami quanto vuoi, sprezzami quanto puoi, D minor. The work is attributed to Bencini in D-MÜs 858, ff. 37-41v; F-Pn X. 118B, pp. 184-191; and I-MC B-78-19 (A/B, G minor). 11 (ff. 87-94v) [Intermezzo a 4. APPENA SORGE IL DÌ]. A 3. Staffiere P.o: Appena sorge il dì che sudare, A/B (A minor, f. 87). Partbook with recitatives, text cues, and arias for Staffiere p[rim]o, who also sings five other brief ensembles: (2) a quartet Noi poveri servi gran cosa (A minor, ff. 88v-

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89v); (3) a trio Ben per voi sol’ (E minor, f. 90); (4) a trio Sì, sì, ch’è così (A minor, f. 92); (5) a duet Sol per noi cieca Fortuna (E minor, ff. 92v-93); and (6) a quartet Dal nome di corte (A minor, f. 94): “Dal nome di Corte/ a quello di morte/ altro svario non v’è/ che di mutar in M. il primo C.” The vocal partbooks for this intermezzo are Barb. lat. 4229, nn. 11-14. No continuo score or instrumental partbooks are known. 12 (ff. 95-104v) [Intermezzo a 4. APPENA SORGE IL DÌ]. Staffiere 2.o: Appena sorge il dì che sudare, A/B. Partbook with recitatives, text cues, and arias for the Staffiere 2.do, who also sings the six ensembles listed in Barb. lat. 4229, n. 11. The continuo part for the opening ensemble is not written in. 13 (ff. 105-114) [Intermezzo a 4. APPENA SORGE IL DÌ]. A.3. Staffiere 3.o: Appena sorge il dì che sudare, B/B. Partbook with recitatives, text cues, and arias for the Staffiere 3.o, who sings five of the pieces listed in Barb. lat. 4229, nr. 11 (he does not sing n. 4, the duet.) 14 (ff. 115-123v) [Intermezzo a 4. APPENA SORGE IL DÌ]. Lacchè: Destrieri volanti i nostri gran vanti, S/B. This aria follows the text cue “accarechar le spie.” Partbook with recitatives, text cues, and arias for the Lacchè. He sings the two quartets (nn. 1 and 5) listed in Barb. lat. 4229, nr. 11, and two arias: Destrieri volanti (E minor, f. 115) and A una vana meraviglia (D minor, ff. 121-122). 15 (ff. 125-130) [Intermezzo a 4. AMICI, BUONE NUOVE]. Nicoletto: Buon’ pro’ le faccia (recit.), A/B. This phrase follows the text cue “giubilo assai.” Partbook with recitatives, verbal cues and arias for Nicoletto. It includes two arias, Le genti tutte prestano ommaggio (D major, ff. 125v-26) and Gran flemma ci vuole (A major, ff. 127v-28), and the brief closing quartet, E dal letto a quella mensa (D major, ff. 129v-30). Desinet “un breve, un breve passo. Fine.” The vocal partbooks for this intermezzo are Barb. lat. 4229, nn. 15-18. No continuo score or instrumental partbooks are known. 16 (ff. 131-134v; 143-151) [Intermezzo a 4. AMICI, BUONE NUOVE]. Don Gigutte: Amici, buone nuove, il vostro Don Gigutte (recit.), A/B, a recitative that begins the intermezzo. Partbook with recitatives and verbal cues for Don Gigutte. Until the closing quartet, E dal letto a quella mensa, Gigutte’s part consists exclusively of recitatives. 17 (ff. 135-142v) [Intermezzo a 4. AMICI, BUONE NUOVE]. Ambrogio: Io ne giubilo assai (recit.), B/B, a recitative phrase that follows the text cue “discaccia.” Partbook with recitatives, text cues and arias for Ambrogio. It includes three arias: Ogn’uno a gara (D major, f. 135v), Per condir nobil

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vivanda (G major, ff. 136-137), and S’accinga a soffrire (D major, ff. 137v138); and the closing quartet, E da letto a quella mensa. 18 (ff. 152-154) Intermezzo a 4. AMICI, BUONE NUOVE]. Cameriere: Con tanti moti e gesti (recit.), T/B, a recitative that follows the cue “regolato.” Partbook with recitatives, text cues and arias for the Cameriere. It includes one aria, A nulla vale l’usar sodezza (E minor, f. 152), and the closing quartet. 19 (ff. 157-162v) Io provo a ciel sereno le procelle, S/TrTrAB, A minor; an accompanied recitative in da capo form. 20 (ff. 165-166v) [BENCINI?] Violino 2.o. Aria nell’atto 3.o invece di quella che dice Non ho per altra bella, &c. Aria Tempo giusto. Perduto ho il caro ben, TrB, aria for Silvio in III:8 of DAGL’INGANNI ALLE NOZZE (Palestrina 1714). The second violin partbook for DAGL’INGANNI ALLE NOZZE in Barb. lat. 4226, n. 4, does not include this replacement aria. The score in Barb. lat. 4226, n. 1, includes the original aria on ff. 41-45v and 49, then this replacement aria on ff. 46-48v. The earliest violin and concertino partbooks that contain this replacement aria are Barb. lat. 4231, nn. 31 and 33. 21 (f. 167r-v) [PIETRO PAOLO BENCINI]. 2.a Tromba (Tr). This partbook for trumpet includes two arias for Fama from Bencini’s serenata LE GARE FESTIVE (Rome 1704): Ad onta dell’oblio (with its introductory sinfonia) and Con cento trombe pronta. Both are in D major. See Barb. lat. 4179 and 4228 for scores and other partbooks. 22 (ff. 168-171v) Introd[uttion]e. This three-movement introduction in D major is scored for two trombe, two violins and basso continuo. The copyist of n. 22 resembles the copyist(s) of nn. 20-21; thus n. 22 might have introduced a performance of either n. 20 or n. 21. 23 (ff. 172-181v) [DOMENICO ANTONIO BERTI]. Intermezzo 2.o. [PRECIPITATA FILOSOFIA]. Alfeo: Allegro. Precipitata filosofia, B/B. This arioso begins

the second intermezzo. Violins are indicated, with no music. Partbook with recitatives, text cues, and arias for Alfeo. It includes one aria, Io tengo, tengo ma più non posso (D major, ff. 174v-75v); and the closing trio with all vocal parts notated, in which Alfeo’s incipit is Fermate, aiuto ohimé (D major, ff. 176v-81v). The score for this intermezzo, Barb. lat. 4196, n. 2, contains TrTrB accompaniments for both his arioso and his aria. His aria is also accompanied by tromba; its part is given only in Barb. lat. 4229, n. 24 below. See Barb. lat. 4186 for a discussion of this work for St. Martin’s fair in Palestrina, 1734. 24 (ff. 182-183) [BERTI]. Intermezzo 2.o [[PRECIPITATA

FILOSOFIA]

and

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Prologo [PUR VI RIVEGGO AL FINE], Tromba, Tr. Partbook with verbal cues and arias for the trumpet. It includes three vocal pieces in D major. The first on f. 182, which is preceded by the cue “tenere,” is Alfeo’s aria, Io tengo ma più non posso, which is extant (but without the trumpet part) in the continuo score, Barb. lat. 4196, n. 2, and in Alfeo’s partbook, Barb. lat. 4229, n. 23 above. The second, headed “Tromba. Prologo,” which follows the cue “nipoti” (f. 182v), is for the aria for Fama Di lido in lido volando, sonando; the only other surviving portion of this aria is the violin 2 part in Barb. lat. 4229, f. 187v. The third is the prologue’s closing trio, Viva di prole in prole, which follows the cue “eroi” (f. 183) and is extant, but without the trumpet part, in the score, Barb. lat. 4229, ff. 193-95v. See Barb. lat. 4196 for a discussion of this work for St. Martin’s fair in Palestrina, 1734. 25 (ff. 184-187v) D. ANTONIO BERTI. Prologo a 3 voci. [PUR VI RIVEGGO Violino 2.o, TrB. Partbook with verbal cues and arias for the second violin. It provides only cues for its four arias, the last of which is incomplete. The cue “ai cenni suoi” is for Questo suol che fu già mio (A major, ff. 184-185), an aria for Fortuna in Barb. lat. 4229, ff. 189-90v. The cue “d’amore” is for I gloriosi amanti sposi (G major, ff. 185-86v), an aria for Gloria in Barb. lat. 4186, ff. 2-4. The next two cues are for arias sung by Fama in the prologue, whose partbook does not survive. Both texts are on pp. 4-5 of the printed libretto: The cue “eroi” is for La candida Fenice ogni cent’anni e cento; the cue “nipoti” is for Di lido in lido volando (f. 187v). The violin’s music is incomplete in this partbook, and the only other surviving part from this aria is for tromba, in Barb. lat. 4229, f. 182v. See Barb. lat. 4196 for a discussion of this work for St. Martin’s fair in Palestrina, 1734. AL FINE].

26 (ff. 188-195) [BERTI]. Prologo a 3 voci. [PUR VI RIVEGGO AL FINE]. Parte prima. Fortuna: Pur vi riveggio al fine, o splendide ruine (recit.), S/B. Partbook with recitatives, text cues, and arias for Fortuna. It includes two arias, Questo suol che fu già mio (A major, ff. 189-90v) and Le parche liete tesseranno a loro (C major, ff. 192-193), and the closing trio, Viva di prole in prole, finché su l’alta mole (D major, ff. 193v-95). A later hand added “del S.o Iannesse” at the beginning of the second aria. This may refer to Nicola Jannese, who composed an “accademia” for the Collegio Capranica in December 1744 (SARTORI, n. 19661, and FRANCHI 1997, p. 313). See Barb. lat. 4196 for a discussion of this work for St. Martin’s fair in Palestrina 1734. 27 (ff. 196-203v) [BERTI]. Intermezzo primo. [PRO PRESENTE LECTIONE]. Alfeo: Pro presente lectione sufficit, e basta (recit.), B/B. Partbook with recitatives, verbal cues, and arias for Alfeo. It includes one aria, Bisogna con giudizio (G major, ff. 198v-200), and the closing trio, Signor Magnifico (A

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major, ff. 201v-203). Various alterations in the music of the closing trio, which are on ff. 202v-203v, might be in Berti’s hand. A continuo score is Barb. lat. 4196, n. 1, q.v. for a discussion of this work for St. Martin’s fair in Palestrina 1734. 28 (ff. 204-209v) [BERTI]. Intermezzo 2.o. [PRECIPITATA FILOSOFIA.]. Clori: Clori, la tua diletta (recit.), S/B. This recitative follows the cue “di sella.” Partbook with recitatives, verbal cues, and arias for Clori. It includes an “aria con violini,” Tantin d’Amore, tantin tantino (B! major, ff. 204v-206v), and the closing trio [Tutto ti sgraffio, sì], in which her incipit is “Tutta ti pelo affè” (D major, ff. 208-209v). A continuo score is Barb. lat. 4196, n. 2. See Barb. lat. 4196 for a discussion of this work for St. Martin’s fair in Palestrina 1734. 29 (ff. 210-222v) D. ANTONIO BERTI. Intermezzo primo [PRO PRESENTE LECTIONE], ff. 210-216, and Intermezzo 2.o [PRECIPITATA FILOSOFIA], ff. 217222v. Violino Primo, Tr/B. Partbook with verbal cues and music for the three arias and closing trio in the first intermezzo; and the arioso, three arias, and closing trio in the second. In the first intermezzo, on f. 214v, the beginning of the original version of the trio, Signor Magnifico, is struck through; the remainder was on the stub that follows f. 214; the revised version is written on ff. 215-216. See Barb. lat. 4196, nn. 1-2, for the text incipits of the nine arias in these intermezzi. See Barb. lat. 4196 for a discussion of this work for St. Martin’s fair in Palestrina 1734. 30 (ff. 223-236v) D. ANTONIO BERTI. Violino 2.o, Tr/B. Intermezzo primo (ff. 223-30v) and Intermezzo 2.o (ff. 230v-36v). The first aria Son donzelletta amabile follows the cue “Volumus.” This partbook for [PRO PRESENTE LECTIONE] and [PRECIPITATA FILOSOFIA] includes the three arias and the closing trio in the first intermezzo, and the arioso, three arias, and closing trio in the second. In the first intermezzo, the original version of the trio, Signor magnifico, is struck through on ff. 227r-v and 230r-v; the revised version is on ff. 228-229. See Barb. lat. 4196, nn. 1-2, for the text incipits of the nine arias in these intermezzi, q.v. for a discussion of this work for St. Martin’s fair in Palestrina 1734. 31 (ff. 237-244v) [BERTI]. Intermezzo primo. [PRO PRESENTE LECTIONE]. Clori: Saluto il Precettor (recit.), S/B, a recitative that follows the cue “liceo.” Partbook with recitatives, verbal cues, and arias for Clori. Her part includes an “aria con violini,” Io son ragazza tenera (D major, ff. 238v-40v) and the closing trio, Signor Magnifico (D major). The original version of the trio is given on ff. 241-42v; the revised version is on ff. 243-244v. The

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continuo score is Barb. lat. 4196, n. 1, q.v., for a discussion of this work for St. Martin’s fair in Palestrina 1734. 32 (ff. 246-248) [Intermezzo a 4. O CHE FLEMMA CI VUOLE]. Three separate instrumental parts, TrTrB for the closing trio, O sorte tiranna: Violino p.o (f. 246), Violino 2.o (f. 247), Basso (f. 248). The continuo score is in Barb. lat. 4229, n. 9 above. 33 (ff. 249-265v) D. ANDREA BASILJ. Intermezzo p[ri]mo a 3 voci. [IO NON SO COME MAI]. Alfeo, pedante delle damigelle di corte (B), Lilla (S) e Clori (S). Alfeo: Io non so come mai e con che coscienza (recit.), B/B. Continuo score for an intermezzo performed in Palestrina in mid-November 1735. There are two arias: Come farfalle che lo stuppino for Alfeo (G major, ff. 251-54v); and Deh, cara Lilla mia for Clori followed by Deh, non voler for Lilla (B! major, ff. 256-260). It ends with a trio, Siam pronte, sì, sì (G major, ff. 261-65v). TrTrB accompaniments are given for the first and second arias. See Barb. lat. 4185 for a discussion of Basili’s work. 34 (ff. 267-276v) [BASILI]. Primo intermezzo. [IO NON SO COME MAI]. Lilla: Ecco il Bagiano, o Clori (recit.), S/B, a recitative that follows the cue “cercar’ ognor.” Partbook with recitatives, verbal cues, and arias for Lilla. It includes the “mezz’aria” Deh non voler (B! major, ff. 267v-68v) and the trio Siam pronte, sì, sì (G major, ff. 269v-76v). Most of the continuo part for the aria and trio is not given. The continuo score is Barb. lat. 4229, n. 33 above. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. 35 (ff. 277-280; 280v-284) [BASILI]. Intermezzo p[ri]mo [IO NON SO COME and Intermezzo secondo [ECCOCI QUA VENUTE]. Violino p[ri]mo, Tr. This partbook includes the three arias and closing trio in each intermezzo. The continuo scores to the intermezzi are Barb. lat. 4229, nn. 33 and 37. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. MAI]

36 (ff. 285-288; 288v-292) [BASILI]. Intermezzo p[ri]mo [IO NON SO COME MAI] and Intermezzo secondo [ECCOCI QUA VENUTE]. Violino secondo, Tr. This partbook includes the three arias and closing trio in each intermezzo. The continuo scores to the intermezzi are Barb. lat. 4229, nn. 33 and 37. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. 37 (ff. 293-310) D. ANDREA BASILJ. Intermezzo secondo [ECCOCI QUA Lilla (S) e Clori (S) con elmo in testa e spada in mano, poi Alfeo (B). Clori: Eccoci qua venute, cinte di giacco e maglia (recit.), S/B. Continuo VENUTE].

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score for an intermezzo performed in Palestrina in mid-November 1735. It includes three arias: No, no, mai no[n] permetterò for Alfeo (A major, ff. 293-96v); Son sì poco fortunato a questo gioco for Lilla (B! major, ff. 298-300v); and Se vi vedesse or qui, mio bel tesoro for Clori (F major, ff. 301v-304). It ends with a trio, Vecchio, vecchio bavoso/schifoso (D major, ff. 305-310). Desinet “mi vendicarò, che mi vendicarò. Fine.” All three arias and the closing trio have TrTrB instrumental parts. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. 38 (ff. 311r-v, 163-164v, and 312r-v) [BASILI]. Intermezzo 2.o [ECCOCI QUA VENUTE]. Lilla: Oh che burla! O che gioco (recit.), S/B, a recitative that follows the cue “a modo di battaglia.” Partbook with recitatives, text cues, and arias for Lilla. It includes one aria, Son sì poco fortunato (B! major, found on ff. 311v, 163-64v, and 312). The final trio is lacking. The complete score is Barb. lat. 4229, n. 37 above. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina, 1735. 39 (ff. 313-322) [BASILI]. Intermezzo 2.o [ECCOCI QUA VENUTE]. Clori: Eccoci qua venute, cinte di giacco e maglia (recit.), S/B. Partbook with recitatives, text cues, and arias for Clori. It includes an aria, Se vi vedesse qui, mio bel tesoro (F major, ff. 314-316) and the closing trio Vecchio, vecchio bavoso (D major, ff. 316v-22). The continuo part for the solo and trio is not given. The complete score is n. 37 above. See Barb. lat. 4185 for a discussion of this work for St. Martin’s fair in Palestrina 1735. Quarter-bound in parchment with boards covered with mottled green paper (235 × 300 mm). The spine of the restored volume is embossed with a gold Barberini bee surmounted by a crown (similar to Barb. lat. 42244232). A modern hand has written the number 100 in black ink on the spine and the previous shelf-mark XLVII.100 inside the front cover. The leaves have not been trimmed. There are five watermarks associated with Rome. A fleur-de-lis in one circle appears in nn. 1-5 (cf. HEAWOOD, n. 1569). A fleur-de-lis in two concentric circles appears in nn. 6-26 (cf. HEAWOOD, nn. 1591-1592). A stag in a single circle occurs in nn. 19-22 (cf. HEAWOOD, nn. 3850). Three hills surmounted by the letters A N within two concentric circles appear in nn. 7-8, 11, 13, 15-16 (cf. HEAWOOD, nn. 1620-1623). And an anchor in a single circle is present in nn. 11 and 16 (cf. HEAWOOD, Plate 1 and nn. 5-6 and 8). There are ten music staves for nn. 1-5, 9, and 22-39. There are eight staves for nn. 6-8 and 10-21. The foliation in pencil is modern. Both flyleaves are blank. Blank staves on ff. 62, 81-82, 124, 155-156, 245 and 266 separate nn. 7, 9, 14, 18 and 32-33 from the following items. Hand A copied the scores and partbooks for Andrea Basili’s prologue

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and intermezzi of 1735, extant in Barb. lat. 4185 and 4229, nn. 1-5 and 3339. Hand B copied the scores and partbooks for Domenico Antonio Berti’s prologue and intermezzi of 1734, extant in Barb. lat. 4186, 4196 and 4229, nn. 23-31. Hand C copied the vocal partbooks for the three anonymous intermezzi in 4229, nn. 6-8 and 11-18; it resembles the Roman hand (A) that copied thirteen Venetian arias of ca. 1687 in Barb. lat. 4139 and 4142. Hand D hastily copied the score and instrumental parts in 4229, nn. 9 and 32. Hand E copied n. 10, the cantata by Bencini. Hand F hastily copied n. 19, an anonymous accompanied recitative. Items 20-22 may have been copied by one, two or three hands. See the commentaries to Barb. lat. 4185, 4186 and 4196 for Celani’s incorrect attribution solely to Berti of works by Berti and by Basili (CELANI, pp. 134-135). CELANI divided Barb. lat. 4229 into four parts (p. 146): “IL CORTEGIANO, opera in musica … (del sig. Antonio Perti?)” (including characters from f. 1 onwards); “prologo a tre voci del sig. D. Antonio Perti” (ff. 184-195); “un aria del sig. Jannessei” (ff. 192-193); and “Alfeo pedante … del sig. Andrea Basili” (ff. 249 onwards). In his catalogue, BARONCI terms Barb. lat. 4229 “incompleta e mal compaginata…. Come già dissi v’è grande confusione nella disposizione dell’opera, e il nome del probabile autore “Perti Giacomo Antonio” vi si legge spesso, ff. 1-248.” The name found on these folios is, however, “D. Antonio Berti” (ff. 184, 210, 223 and 237). Thus Baronci, like Celani, incorrectly ascribed the first 248 folios to Perti (BARONCI, ff. 115-116).Barb. lat. 4229-4230

Barb. lat. 4230 1682/83, 217 × 286 mm, I.253.I ff., 8 staves, one hand

Anonymous and untitled scores for three acts and eight partbooks for different acts of LA GUERRIERA COSTANTE, comedia by Flavio Orsini, Duke of Bracciano, with music by Alessandro Scarlatti, performed February 1683 in the Palazzo Orsini in Piazza di Pasquino with Orsini’s prose comedia LA DAMA DI SPIRITO GELOSO. For the single libretto that was printed for both, see the comments below. The six characters in LA GUERRIERA COSTANTE are Fidalba, queen of Portugal (S); Alfonso, counselor of royal blood (B); Olindo, member of the royal guard (T); Clorinda, disguised as Oreste (S); Faldiglia, buffo servant (B); and Rosino, young page at the court (S). Online in DVL. 1 (ff. 1-41) [ALESSANDRO SCARLATTI]. Atto primo. Fidalba: [I]nvitto Al-

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fonso, al cui valor sublime (recit.), followed by the first aria Se nel mar di vasto impero, S/B, 2 strophes, A minor. In eight scenes, with sixteen arias: six for Faldiglia, three for Oreste/Clorinda; two each for Fidalba, Alfonso, and Olindo; and one for Rosino. Fidalba’s second aria in the printed libretto, E pur vero che l’arciero (2 str.), is replaced in the score with Difesa non ha da un guardo vezzoso (I:5, ff. 23-25v). The last aria is Altri giri il suo cervello, C major, for Faldiglia. Desinet “Ritor.o. Fine dell’Atto P.o” (f. 41). Three of the arias in act I are attributed to “Scarlatti” in I-Vnm It.IV, 467 (9991), pp. 1-20; 21-23; 221-225: O dolcissima speranza and E qual fia pena maggiore?, both in the same soliloquy scene for Oreste (I:2); and Difesa non ha for Fidalba. ROSE 1972, pp. 430-431 (see below), prints a facsimile of the opening page of Difesa non ha from each source: Barb. lat. 4230, f. 23v, and I-Vnm It.IV, 467 (9991), p. 221. 2 (ff. 42-53) [A. SCARLATTI]. Violini. Atto primo, TrTrB. Partbook with text cues, music for four arias, ritornellos for six arias, and an act-ending ritornello in G major that follows Faldiglia’s act-ending arioso (see. n. 1). The first ritornello follows the S/B aria Se nel mar di vasto impero (I:1). Only bass lines performed with violins are notated. Barb. lat. 4230 3 (ff. 54-105v) [A. SCARLATTI]. Atto secondo. Rosino: [F]aldiglia mio, ti fo la riverenza (recit.), and a duet exchange Ah perfido paggio, a un par di Faldiglia, SB/B, G minor, for Rosino and Fadiglia. In eleven scenes with eighteen arias: three each for Faldiglia, Rosino, an alternation or combination of Faldiglia and Rosino, Fidalba and Olindo; two for Oreste (Clorinda); and one for Alfonso. The last aria is a duet exchange between Faldiglia and Rosino, Se ben fossi tutto acciaro, SB/B, C major. Desinet “quanto ridere mi fa. Ah, ah, ah, ah … (f. 105). Fine dell’atto secondo” (f. 105v). The opening duet replaced the solo aria for Rosino in the printed libretto, Ma se sia, ch’io ritrovi. 4 (ff. 106-115v) [A. SCARLATTI]. Atto 2.o. Rosino, S/B. Partbook, which includes verbal cues, the recitatives, three arias, and three shared arias sung by Rosino in act II. Incipit “Faldiglia mio, ti fo la riverenza.” Desinet “quanto ridere mi fa. Ah, ah, ah, ah, …. Fine dell’atto 2.o.” 5 (ff. 116-117v) [A. SCARLATTI]. Atto 3.o. Rosino: Fatti gl’occhi ha la Regina (aria), A minor, S/B. Partbook, which includes the recitatives and two arias for Rosino in act III, with text cues. The other aria is Stupite stupite che Oreste. Desinet “dall’arco celeste. Fine dell’opera.” 6 (ff. 118-127v) [A. SCARLATTI]. Att 2.o. Olindo: E che contesa è questa? (recit.), T/B. Partbook with the recitatives, verbal cues, and three arias sung

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by Olindo in act II. The arias are Era poco quel timore; Per far guerra a la costanza; and Perché combattete pensieri dubbiosi. Desinet “celai carta loquace entro quei fiori. Fine dell’Atto 2.o.” 7 (ff. 128-141) [A. SCARLATTI]. Atto secondo. Violini, TrTrB. Partbook with violin music for three arias and TrTrB ritornellos for seven arias, with verbal cues. Incipit Era poco quel timore, D major (f. 128v). Desinet “Fine dell’Atto secondo.” 8 (ff. 142-155) [A. SCARLATTI]. Atto 3.o. Violini, TrTrB. Partbook with violin music for five arias, and ritornellos for seven arias, with verbal cues. Incipit Partirei, B! major. Desinet “Fine dell’opera.” Staves for the ritornello that closes III:8 lack music; n. 9 below provides a complete basso continuo line only and lacks music on the prepared violin staves (f. 206r-v). 9 (ff. 156-221v) [A. SCARLATTI]. Atto terzo. Oreste: [M]i comandi ch’io parta, ah crudo Olindo (recit.) and the first aria Partirei, se crudo Amore, S/B, B! major. In nine scenes with twenty arias: five for Oreste (Clorinda), four for Faldiglia, four for Fidalba, two each for Olindo and Rosino, one for Alfonso, one for Fidalba and Oreste singing subsequent strophes, and one for Olindo and Oreste singing together. The closing aria is Se sospira un’alma e piange, S/B, A minor, for Fidalba. Desinet [ottien vittoria] “la costanza e fede. Fine dell’opera.” In the libretto this closing aria is marked “tutti.” 10 (ff. 222-243v) [A. SCARLATTI]. Atto 3.o. Fidalba, S/B. Partbook with recitatives, four arias, and one strophe of a fifth aria for Fidalba in act III, with text cues. Incipit Cara e dolce, dolce, dolcissima libertà, B minor. Fidalba’s first aria, Cara e dolcissima libertà (III:2), is attributed to “Scarlatti” in I-Vnm It.IV.467 (9991), pp. 233-240. The closing aria is Se sospira un’alma e piange, A minor. Desinet “la costanza e fede. Fine.” Neither this partbook nor n. 9 above includes another aria assigned to Fidalba in the printed libretto, E d’ogn’altro più soggetto (III:4). 11 (ff. 244-253) [A. SCARLATTI]. Atto 3.o. Olindo, T/B. Partbook with recitatives, two arias and one duet sung by Olindo in act III, with text cues. Incipit Già degl’ordini miei ad Oreste il rigor feci palese (recit.). The first aria is Se speme mi guida, C major. The last aria is Queste lacrime cadenti, ST/B, C minor, a duet for Oreste and Olindo (III:8). Desinet “tua costanza amante io sono. Fine dell’opera.” Quarter-bound in parchment with boards covered in mottled green paper (235 × 295 mm). The parchment spine is embossed with a gold Barberini bee surmounted by a crown, above which is written the number 101 in black ink by a modern hand and a pink BAV sticker (similar to Barb. lat.

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4224-4232). The modern hand also wrote the previous shelfmark XLVII.101 inside the front cover in black ink, where there is another BAV sticker. The folios differ in size because they have not been uniformly trimmed; those trimmed on all sides are 214 × 271 mm. The probable single watermark is associated with Rome: within two concentric circles, a fleur-de-lis above three hills with the letters A N on either side (28 mm); cf. HEAWOOD n. 1622 (Rome 1674), which, however, has a different arrangement of these components. The foliation in pencil is modern. Both flyleaves are blank. Folio 238 has blank staves only. The copyist is a single Roman professional whose traits are not uniformly consistent (e.g., downstems are written both left and right of noteheads), but whose hand resembles Owen Jander’s “Roman Scribe A” (cf. facsim. in WECIS 4, pp. 63 and 64, from I-Tn Foà 16, f. 104v, and GB-Cfm Mu.Ms 131, f. 25). A comparison with the autograph receipt in NIGITO-BP, illus. 14. suggests Tarquinio Lanciani as a possible copyist. Decorative initials letters for the beginnings of each act of the complete score are lacking. Also cf. the hand of Barb. lat. 4148. Barb. lat. 4230 contains a score to the complete opera (nn. 1, 3 and 9) and all of the string parts (nn. 2 and 7-8), but not a complete set of vocal partbooks, preserving only act II for Rosino and for Olindo (nn. 4 and 6) and act III for Rosino, for Fidalba and for Olindo (nn. 5 and 10-11). The identity of its composer was revealed in GLORIA ROSE, Two Operas by Scarlatti Recovered, in Musical Quarterly 58 (1972), pp. 428435. She reported that four arias with attributions to Scarlatti in I-Vnm It.IV.467 (9991) are present in Barb. lat. 4230. The Marciana collection also contains other Roman arias from productions of 1683, some of which are represented in Barb. lat. 4148. The libretto was identified in R. STROHM’s review of Alessandro Scarlatti by R. Pagano and L. Bianchi, in Rivista Italiana di Musicologia 11/2 (1976), p. 318, note 5a. The score is listed in OPAC-SBN under the filing title [Fidalba e Oreste]. The libretto is LA DAMA DI SPIRITO GELOSO, E LA GUERRIERA COSTANTE, comedia in comedia. Di Filosinauro. Recitata nelle feste per la nascita dell’altezza reale del Duca di Borgogna, nel Palazzo di Pasquino. In Bracciano, nella Ducale Stamperia, 1683. … Si vendono in Piazza Navona in bortega [sic] di Carlo Giannini libraro. Some extant copies are listed in SARTORI, n. 7068, and FRANCHI 1988, p. 552; an exemplar is available online through the MdZ portal. Orsini identifies himself by an anagram and by the emblem of a seated bear that is writing (p. 5). He is also named as the author in MANDOSIO, vol. 2, pp. 108-110. The work honored Louis, Duke of Burgundy, the eldest son of the Grand Dauphin, born on 6 August 1682. Two Orsini productions in February 1683 commemorated this event. The other was the opera ARSATE,

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also set to music by Alessandro Scarlatti (SARTORI, n. 2888, and FRANCHI 1988, p. 551); see Anne-Madeleine Goulet, Costumes, décors et machines dans L’Arsate (1683) d’Alessandro Scarlatti. Contribution à l’histoire de l’opéra à Rome au XVIIe siècle, in Dix-septième siècle n. 262 (2014/1), pp. 139-166. The performance of play and opera began with a prologue consisting of a recitative and three arias for La Musica (pp. 5-6), which are not in Barb. lat. 4230. The first act of the prose comedy ended with “la resolutione di far recitare il seguente drammetto imparato da quei musici, che doveano fare gl’intermedij, e così si da principio all’opera in musica” (p. 25). Act II of LA DAMA was followed by act II of LA GUERRIERA; act III of LA DAMA by act III of LA GUERRIERA. At the end of the libretto, a bear (Orsini) walks away with a quill in its right hand (p. 112). Barb. lat. 4230-4231

Barb. lat. 4231 1659-1714 ca., sizes vary, I.229.I ff., 4-10 staves, 21 hands

Miscellany of thirty-four mostly anonymous vocal and instrumental scores, partbooks, replacement arias, and musical fragments. Datable items range from possibly 1659 (nn. 1, 28) to 1714 (nn. 29-32). There is music from five operas, the anonymous CHI LA FA’ SE L’ASPETTI (Viterbo 1659, nn. 1, 28); IL FLAVIO CUNIBERTO (Rome 1696) with music by Luigi Mancia (nn. 7-11); LA GELOSA DI SE STESSO (Rome 1689), music anonymous (n. 3, 33); L’EUDOSSIA (Rome 1692), music by Bernardo Pasquini (n. 26); and DAGL’INGANNI ALLE NOZZE (Palestrina 1714), music anonymous (nn. 2932, possibly by P.P. Bencini); as well as a complete set of intermedi by Fr. Gasparini (Venice 1707, n. 27). Instrumental pieces include a concerto by T.A. Vitali (n. 2) and two anonymous dances (nn. 22-23). Secular cantatas or partbooks or fragments thereof are by P.P. Bencini (n. 25), G. Nardelli (n. 4), Marc’Antonio Pasqualini (n. 24), Severo De Luca (n. 34), and anonymous (n. 19). Devotional music includes parts for five anonymous Italian cantatas for the oratorio (nn. 12-18, 20-21); a Latin motet by Alessandro Melani (n. 5), and a Latin dialogue probably by Quirino Colombani (n. 6). The fascicles are on different sizes and types of paper, in different hands. It is not known when they were first bound together; see the commentary following the catalogue of items. Composers are named for only eight works. Numbers 3, 12-20, 24, 29-33 complement or correspond with sixteen other Barberini volumes, as noted at each appropriate entry. Paper sizes are given in the comments following the inventory. Online in DVL.

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1 (ff. 1-4v) Prologo, LA CURIOSITÀ. La Curiosità: Qual soave armonia mi tien’ fermo l’orecchio, S/B, G major. Desinet “… aprir la scena a chi già tanto aspetta. Fine del Prologo.” In the same hand and on paper of similar or related watermark as n. 28 below (q.v.), and likely part of the same work, the anonymous CHI LA FA’, SE L’ASPETTI. 2 (ff. 5-10) TOMASO ANTONIO VITALI. Concerto, TrTrABB, G major. In four movements: Grave – Andante, Allegro, Grave, and Allegro assai. Five partbooks are bound together: 2a (ff. 5v, 10) Organo Barb. lat. 4231 2b (f. 6r-v) Violino secondo 2c (f. 7r-v) Violino primo 2d (f. 8r-v) Alto viola 2e (f. 9r-v) Violoncello Modern edn based on this copy and the concordant I-Baf ms. capsa II, n. 36 (dated 1703), by Vittoria Rosapane, Albese con Cassano 2006. 3 (ff. 11-13) [SEVERO DE LUCA?] Delusa mia speme, pensieri fallaci, S/ TrTrB, E minor, aria for Irene in III:11 of the opera LA GELOSA DI SE STESSA (Rome 1689). The text is by Arcangelo Spagna, the music of the opera anonymous. Desinet “La 2.a da capo” (f. 13). Also in the score to the opera Barb. lat. 4215, ff. 50-53v. See also n. 33 below. The tentative attribution is based on the hand, which appears to be that of Severo de Luca in a presumed holograph GB-Och 956, ff. 42-47. 4 (ff. 15-18v) D. GIO. NARDELLI. Già su volante Pino a nobil fuga intento, S/B, D major, cantata. Arias include Vendetta, o mar, ti chiedo; Vaghe aurette che lievi spirando; and Se vuole il Fato tiranno amato. Desinet “e tramortì sul’ lido. Fine 1697.” (f. 18v). 5 (ff. 19-24) ALESS.O MELANI. Nuntiate filiae Hierusalem, dilecto meo dicite, S/B, A minor, motet. Desinet “Tu voluptas cordis es. Finis.” This copy is a unicum; see WECIS 8-9, p. 291. 6 (ff. 25-32v) D. QUIRINO [COLOMBANI?]. DIALOGUS INTER CHRISTUM ET ANIMA[M] a 2.bus con violin[is]. Anima: O quam dulcis Amor Christi, o dulcedo cordis mei, SS/TrTrB, C major, dialogue motet. Desinet “sunt vera contenta. Finis L[aus]D[eo].” Christus enters on f. 25v; violins are in unison until the closing duet. 7 (ff. 33I-34vI) LUIGI MANCIA. Di quel bel che m’innamora, S/B, G major.

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483

For Flavio Cuniberto in I:11 of IL FLAVIO CUNIBERTO (Teatro Capranica, Rome 1696). Same as Barb. lat. 4159, n. 12 (q.v.). This aria and nn. 8-11 below are in the 1696 Roman libretto, dedicated to Felice Ventimiglia d’Aragona Pignatelli Barberini, princess of Palestrina. The music is concordant with that in the score to the opera I-Fc D.1161. 8 (ff. 33-38v supra) [MANCIA]. Preparati a veder del faretrato arcier, S/ TrTrB, G minor. For Ernelinda in II:1 of FLAVIO CUNIBERTO (Rome 1696). Orazio Scutarini sang the role. See also n. 7 above. 9 (ff. 39-42 supra, 35I-36I) [MANCIA]. Vedrai ne’ suoi bei rai, S/TrB, G major, For Ernelinda in I:8 of FLAVIO CUNIBERTO (Rome 1696). Same as Barb. lat. 4160, n. 26; see also n. 7 above. 10 (ff. 37I-39I) [MANCIA]. Siam troppo facili noi altre femine, T/B, D minor. For Zelta in I:13 of FLAVIO CUNIBERTO (Rome 1696). Antonio Predieri sang the role. See also n. 7 above. 11 (ff. 43-46v supra) [MANCIA]. Parto, sì, che la vendetta caderà, S/TrTrB, F major. For Emilia in III:2 of FLAVIO CUNIBERTO (Rome 1696). Carlo Antonio Zanardi sang the role. See also n. 7 above. The 1682 Venetian setting of this aria by Gio. Domenico Partenio is in I-Vqs 1433 (Cl.VIII.7), ff. 17-18v. A third setting by G.F. Handel for FLAVIO RE DEI LONGOBARDI (London 1723) is GB-Lbl Add. 31572, n. 16.

12 (ff. 47-54, 59-72v) Cimbalo. Cantata a 5. MI SON FATTO NEMICO, SSATB/B, C minor. Keyboard score to the cantata of the same title, Barb. lat. 4191. On f. 59, where the trio Colpe mie venite a piangere begins, M.A. Pasqualini wrote “Poesia del Sig.r [Gio.] Lotti,” which is repeated by a modern hand on f. 47. Bass lines for ritornelli are written in freehand in several places. Second soprano and tenor vocal lines are lacking from f. 64. Desinet “uscir di foco. Laus D[eo]” (f. 71). 13 (ff. 58, 55-57) Canto P[rimo]. Vocal partbook to the cantata MI

SON

FATTO NEMICO, see Barb. lat. 4191. The partbook begins on f. 58 and contin-

ues with an earlier existing partbook for the trio Colpe mie venite a piangere on f. 55; see n. 12 above; Barb. lat. 4219, n. 5; and Barb. lat. 4296, nn. 3, 9a and 9d, and 11. 14 (ff. 73-73v, 81-84; 84v) Violone. Poesia del S.r Gio. Lotti. O CECITÀ [DEL MISERO MORTALE], instrumental partbook to the oratorio of the same title, Barb. lat. 4218. Folio 84v, which is crossed out, is the same as f. 73v. The range of the part is C2-D4. Folio 73, which reads “Prima introduttione,” is headed “Cantata a 5 morale con stromenti se si vuole.”

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15 (ff. 75-79v) Lira. O CECITÀ [DEL MISERO MORTALE], instrumental partbook to the oratorio of the same title, Barb. lat. 4218. The range of the part is the same as for the violone (n. 14) above. Folio 75 which reads “Prima introduttione” is headed “Cantata morale a 5. Con stromenti se si vuole.” 16 (ff. 85-94) Lira e Violone. MI SON FATTO NEMICO, cantata a cinque, B only. Instrumental partbook to the oratorio of the same name, Barb. lat. 4191; fully figured and with texted vocal lines. The range of the part is D2E4. Passages where the lute is to play are indicated. Another copy of the partbook is in Barb. lat. 4296, n. 9a. 17 (ff. 95-109) [MARC’ANTONIO PASQUALINI et al.]. Inferno io veggo aperte le fauci tue, SSATB/B, A minor, keyboard score to the cantata of the same title Barb. lat. 4189. A copy of the first aria only (B/B) from before 1656 is Barb. lat. 4219, n. 3. Giovanni Lotti is named on f. 98 as the author of the text of the internal trio Voi per ultima aita (q.v. also 4219, n. 4), a trio attributable to Marc’Antonio Pasqualini. See the comments for Barb. lat. 4189 for further information and other partbooks. 18 (ff. 110-115) Liuto. Prima cantata. Baraba a noi si dia, instrumental part to the ORATORIO PER LA SETTIMANA SANTA, Barb. lat. 4198, with figured bass and partially texted vocal lines for recitatives. 19 (ff. 116-121v) Liuto. Canta[ta] a 5. Morale. PREDICA DEL SOL[E]. Ergi la mente al sole, instrumental partbook to the cantata Barb. lat. 4187 of the same title, with figured bass and partially texted vocal lines. 20 (ff. 122-136) Lute partbooks to the oratorio GIOSEPPE, Barb. lat. 4194-4195. 20a (ff. 122-29v) Prima Cantata. Testo: Dalla valle di Mambre, A/B. The texted music begins after the instrumental “Introduttione.” Lute part for the first half of the oratorio. 20b (ff. 130-136) Liuto. Seconda Canta[ta]. O voi che lasciate, instrumental partbook for the second half of the oratorio. The first vocal section is preceded by a “Prima introduttione.” 21 (ff. 138-143) Prima Introduttione della Cantata a 5. DISPERAR DI SE partbook for lira and violone to the cantata Barb. lat. 4188, with figured bass and partially texted vocal lines for recitatives. STESSO,

22 (f. 144) Sarabanda dell’atto 2.o, TrB, G minor, for violin and basso continuo; marked “Largo.” The work in which the dance was played is unknown.

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23 (f. 144v) Balletto p[er] l’atto P.o, TrB, G minor, for violin and basso continuo. The work in which the dance was played is unknown. 24 (f. 145r-v) [M.A. PASQUALINI]. [Già spunta il dì e pur l’Aurora], SSB/B, C major. A continuation of the sketch of a cantata or intermedio in the hand of Pasqualini that begins with Barb. lat. 4201, n. 44. The folio was originally a flyleaf to Barb. lat. 4201; the staves are written free hand. Desinet “E buttatelo via ch’è can da peco[re].” 25 (ff. 146-149v) [PIETRO PAOLO] BENCINI. Nel vostro oscuro seno date ricetto almeno, S/B, G minor, cantata. Arias include Care tenebre, accogliete and Dir potete, o sassi amati. The copy is incomplete; desinet “… a voi d’intorno fa sog-”[-giorno]. 26 (ff. 150v, 150) [BERNARDO PASQUINI ]. [Tortorella. vedovella], str. 2: Ruscelletto limpidetto, S/B, B minor. Closing 40 mm. of strophe 2 of an aria for Eudossia in III:13 of the opera L’EUDOSSIA (Rome 1692), libretto by Alessandro Pollioni. Listed in CRAIN, vol. 2, p. 258 with no musical sources. The complete aria with an attribution to Pasquini is in D-Mbs Mus. 11406, ff. 84-87v. The score to the complete opera was acquired recently by a private party. See MORELLI-A-Pasq, pp. 217-233, with musical exx. 27 (ff. 151-186v) FRAN.CO GASPARINI. 1707. Intermedi dell’opera seconda di S. Casciano [TAICAN, RE DELLA CINA]. Lisetta: Che bella cosa è in una donna, A/TrB, E minor. Scored for Astrobolo indiano (B) and Lisetta (A), strings (TrTrAB), and “due flautini piccoli” (TrTr) for the second intermedio. The “intramezzi ridicoli” are mentioned but not printed in the libretto to TAICAN, RE DELLA CINA (Venice 1707), libretto by Urbano Rizzi, music by Francesco Gasparini (ALM 540); therefore the intermedi are probably by someone other than Rizzi. Act I closed with a Ballo di mori, e mori indiane, one of whom may have been the character Astrobolo. The intermedi were later performed in Rome within the tragedy L’ATTILIO REGOLO and are published with the drama (Rome 1711; exemplar in I-Rc Comm. 501/7). See TROY 1979, passim. FRANCHI 1711/3 gives the composer of the Roman performances, however, as Antonio Caldara. 27a [Intermedio primo] (ff. 151-160) Lisetta: Che bella cosa è in una donna, A/TrB, E minor. The other arias are Sia testimon del mio parlar sincero and the closing duet Men vado ma creda. Desinet “… la servì sin là (f. 159v). Fine del Primo.” 27b Intermedio secondo (ff. 160v-170v) Astrobolo: Qual sia il parco, ho dimandato, B/B, G major. Other arias are Canarini, usignoli with “due

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piccoli flautini” and the closing duet Andiamo sì, andiamo. Desinet “… andiamo, sì, andiamo. Fine del Secondo.” 27c Intermedio terzo (ff. 171-183v) Astrobolo: Ohimé, non posso più, ho cercato per tutto (recit.), B/B. Arias are Ho Megera nelle viscere; Ritorno a dir; and the closing duet Non credesse già signora. Desinet “… che venir voglia con lei. Fine del Terzo.” 27d Intermedio quarto (ff. 184-186v) Lisetta: Ogni donna da me apprenda, S/B, F major. This fourth intermedio is incomplete. Desinet “un infelice, un misero…” 28 (ff. 187-194v) Nel regno d’Amore non v’è più beato/felice di me, MsT/ TrTrB, G major. Duet for Lidia (Ms) and Fileno (T) in I:1-2 and part of scene 3 of CHI LA FA’ SE L’ASPETTI, favola pastorale per musica. Both author and composer are unknown. The libretto was published in Viterbo 1659 (exemplar in BAV Dramm. Allacci 57/1; also via the CORAGO portal) and re-published Rome 1672 (exemplar in I-Rn 34.1.B.15/2); see FRANCHI 1988, pp. 337-338, 446. Scene 2 includes the aria Miei sospiri, alati affanni, T/B, F major. The other characters in these scenes are Eurillo (T) and Clori (S). The character Vafrino enters later. See also n. 1 above. 29 (ff. 196-197v, 195r-v) [BENCINI?]. Vincere con inganno il cieco arcier tiranno, A/TrTrB, E minor. Aria for Tirsi from II:8 of the opera DAGL’INGANNI ALLE NOZZE (Palestrina 1714). This aria replaced Merta lode quella frode, which is in the score to act II of the opera, Barb. lat. 4225. 30 (ff. 198-199v) [BENCINI?]. Violino primo. Perduto ho il caro ben, TrB. Partbook for the aria for Silvio in III:7 of DAGL’INGANNI ALLE NOZZE (Palestrina 1714). This is a replacement aria for Non ho per altra bella. The rest of the violin partbook is Barb. lat. 4226, n. 3. See also n. 29 above and n. 32 below. 31 (f. 200r-v) [BENCINI?]. Tromba. S’armi d’ira [questo petto], Tr only. Trumpet part for the aria for Clori in III:4 of DAGL’INGANNI ALLE NOZZE (Palestrina 1714). The score is Barb. lat. 4226, n. 1. See also nn. 29-30 above. 32 (ff. 201-202v) [BENCINI?] Concertino. Perduto ho il caro ben, TrTrB. Partbook in score for the replacement aria in III:7 of DAGL’INGANNI ALLE NOZZE; see n. 30 above. The rest of the partbook is Barb. lat. 4226, n. 5. 33 (ff. 203-206v, 221-224v, 217-220v, 207-216v) Violini. Partbook including TrTrB or TrB parts in score for the 15 arias of act II of LA GELOSA DI SE STESSA (Rome 1689), libretto by Arcangelo Spagna, music anonymous. The same arias are in Barb. lat. 4216, another copy of the partbook.

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34 (f. 225r-v) SEVERO DE LUCA. Pria che d’Eto i nitriti, S/B, G minor. Fragment of a cantata which ends after 3 mm. of the first aria: Qual farfalla intorno al foco. The complete work is attributed to De Luca in D-MÜs 869, pp. 165-179. The attrib. to Alessandro Scarlatti in B-Br II.3950, ff. 24v-29, is listed as a doubtful in HANLEY, pp. 50-52; 406-407 where the incipit is given as Pria che desto ai nitriti. Bound in half parchment (234 × 290 mm), as Barb. lat. 4224-4230; see 4224 for a description. The spine bears a pink BAV sticker, the number 102 written in black ink by a modern hand, and a gold embossed Barberini bee surmounted by a crown. Inside the front cover where there is another BAV sticker, the same modern hand wrote the previous shelfmark XLVII.102. Compositions and partbooks are independent fascicles with differing gathering structures. Watermarks where present or complete are indicated below. The foliation in pencil is modern. Two 4-stave fascicles are bound side-by-side between ff. 29 and 41. The upper folios have been numbered 33-40 supra; the lower folios have been numbered 33I-40I (infra). The front and back flyleaves are blank; blank staves only are on ff. 10v, 13v-14v, 24v, 40Ir-v, 47v, 71v, 74r-v, 80r-v, 97v, 109v, 115v, 116v, 137r-v, 143v, 226-229 (uncut). N. 1: 222 × 285 mm, 8 staves; copyist A. The watermark is Roman (fleur-de-lis on 3 hills in double circle). This hand also appears in Barb. lat. 4208, f. 135v and I-PAc olim CF-III-1. N. 2: 214 × 265 mm, 10 staves; copyist B. The watermark is a simple fleur-de-lis. N. 3: 216 × 276 mm, 8 staves; copyist C. The watermark is Roman (fleur-de-lis with the letters A and N on either side, on 3 hills, all in a double circle; cf. MAHONEY 18). This appears to be a holograph of Severo de Luca. N. 4 (Nardelli): 218 × 275, 10 staves; copyist D. The watermark is a small running stag in circle; above is the letter P. Other exx. of this type of watermark are late miscellanies of Roman composers such as GB-Och Mus. 956-957. The fascicle was once folded into eighths. N. 5 (Melani): 217 × 285 mm, 8 staves; copyist E. The watermark is that of n. 3 with the letters A and N. N. 6 [Colombani?]: 220 × 280 mm, 10 staves; copyist F. The watermark is Roman (fleur-de-lis in double circle; above, the letter V; cf. MAHONEY 17). The writing has the appearance of a composer’s holograph, if not a compositional draft. N. 7 (Mancia): 108 × 277 mm, 4 staves; copyist G. The watermark is the same as for n. 6. N. 8 [Mancia]: 117 × 280 mm, 4 staves; copyist H. N. 9 [Mancia]: 110 × 280 mm, 4 staves; copyist G. The watermark is the same as for nn. 6-7. N. 10 [Mancia]: 108 × 280 mm, 4 staves; copyist G. N. 11 [Mancia]: 109 × 280 mm, 4 staves; copyist G.

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N. 12: 215 × 277 mm, 8 staves. The watermarks are associated with Rome (cleric/saint with a cross in a shield). There are two copyists; the primary one is Marc’Antonio Pasqualini (copyist I). Figures, rubrics and some pasted-on revisions (ff. 66r-v) are in the second hand (copyist K). The vocal lines are texted throughout; some violin lines are present. There are rubrics for the entrances of other continuo instruments made by both copyists. Folios 59-67 are the original score to the trio Colpe mie venite a piangere, SST/B. Folio 72 was its original title-page, which read “Un peccator pentito a 3”; folio 72v was the original opening sinfonia to the trio (in hand K!). Both are crossed out. This trio has a separate watermark, ff. 62-67, also Roman (anchor in circle with and without the letters M and I [?] at the sides of the anchor, with star above the circle; cf. Mahoney 4, dated 1652-1662). N. 13: 225 × 170 mm, 9 staves. The primary copyist (I) is Pasqualini, ff. 57-58. A second hand (copyist L = copyist E of Barb. lat. 4296) provided the trio Colpe mie venite a piangere, ff. 55-56. N. 14: 170 × 226 mm, 8 staves. The primary copyist (I) is Pasqualini. Folios 81r-v and f. 84v are in a second hand (copyist M). N. 15: 170 × 226 mm, 8 staves. The watermark is Roman (cleric in shield). Pasqualini (copyist I) copied only the Introduttione, f. 75; copyist M the rest. N. 16: 219 × 273 mm, 8 staves; copyist I (Pasqualini). The watermark is Roman (cleric/saint in shield). N. 17: 220 × 270 mm, 8 staves; the copyist (M) may be the composer. The watermark is Roman (cleric/saint in shield). The first aria, ff. 95-97v consists of two bifolios with one page removed. The trio Voi per ultima aita, ff. 98-105, has a separate watermark (same as the trio of n. 12) and copyist, Pasqualini (copyist I). Copyist M has written annotations and ritornelli on this part of the score and copied the remainder, ff. 100-109. N. 18: 215 × 270 mm, 8 staves; copyist I (Pasqualini). The watermark is Roman (cleric in shield). N. 19: 214 × 283 mm, 8 staves; copyist I (Pasqualini). N. 20: 218 × 290 mm, 8 staves; copyist I (Pasqualini). The watermark is Roman (large stag in circle). N. 21: 215 × 277 mm, 8 staves; copyist I (Pasqualini). The watermark is Roman (anchor with letters G or C and A on either side, in a circle; below circle, the letter M). NN. 22-23: 130 × 263 mm, 6 staves; copyist N. N. 24: 203 × 264 mm, 8 staves; copyist I (Pasqualini). N. 25 (Bencini): 164 × 227 mm, 8 staves; copyist O (= professional copyist of Barb. lat. 4179? a work also by Bencini). The watermark is Roman (bird on 3 hills in circle; cf. MAHONEY 5). N. 26 [Pasquini]: 173 × 231 mm, 8 staves; copyist P. The watermark is that of nn. 6-7 and 9 above. N. 27: 194 × 268 mm, 10 staves; copyist Q. The watermark is Venetian (3 crescents, apparently without counter-mark). N. 28: 217 × 285 mm, 8 staves; copyist A. The watermark is a fleur-de-lis with the

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489

letters F and M on either side of its base, in a double circle; this may be the same watermark as in n. 1 above. N. 29: 215 × 283 mm, 10 staves; copyist R. The watermark is a fleur-de-lis in a double circle. N. 30: 215 × 278 mm, 10 staves; copyist S. The watermark is the same as that of n. 4 above. N. 31: Same size and copyist as n. 30 above. N. 32: Same size and copyist as nn. 30-31 above. The watermark is a fleur-de-lis in a double circle. N. 33: 209 × 267 mm, 10 staves; copyist T. The watermark is the same as that of nn. 6-7, 9 and 26. Barb. lat. 4231-4232 N. 34 (De Luca): 204 × 265 mm, 8 staves; copyist U = Tarquinio Lanciani. Blank staves, ff. 226-229: 215 × 274 mm. The final folios have 10 staves and the same watermark as nn. 6-7, 9, 26 and 33. As noted above, they are uncut.

Folios 203-206 and 217-224 were damaged on their inside edges, with loss of music; they have been repaired with plain paper patches. Modern transcriptions of nn. 22-23, dubiously attributed to Luigi Rossi, are F-Vmb ms. LIO 167. The two dances are also ascribed to Luigi Rossi in RICCIARDELLI, pp. 77-78, which he reports have concordances in F-Pn [Vm] 7 675, a volume of lute and guitar tablatures (not consulted).

Barb. lat. 4232 1716 ca., 230 × 302 mm, I.77.I ff., 10 staves, 2 hands

Partbooks for the three voices and second violin for an untitled, anonymous Serenata a 3 con violini del Sig.r Leonardo Leo, in honor of a Filippo and a Margherita, who are not identified. The former is likely Filippo Tana d’Entracque, marquis d’Entrèves (see comments below). This catalogue has adopted the filing title of the text incipit OR CHE L’ESTIVO SOLE. The three roles are Peloro (S), Dori (A) and Cammàro (B). The name “Peloro” refers to Messina, and the river Camaro flows through it. One aria also calls for one or two oboes. Online in DVL. Barb. lat. 4232 1 (ff. 1-20) LEONARDO LEO. Serenata a 3 con V.V. Peloro: Or che l’estivo sole vibra i più caldi rai su l’arsa terra (recit.), S/B. Partbook for Peloro with recitatives, text cues, and eight arias. It includes three arias and a closing ensemble in each of two parts. Arias are scored for voice and basso continuo; when marked “con V.V.,” no music for the violins is notated. In part 1: Rivoletto ch’avea a le sponde (B! major); Non so mirar quel volto (C major); and Poi rimirar potrai (B minor). In part 2: L’usignuolo in cima al

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pino (E! major); Son [sic] qual nave giunta in porto (E major); and La ruggiadosa aurora il piede e il crin m’indora (B! major). Part 1 ends with a duet Fresca l’onda, cara l’ombra (SA/B, C major); part 2 ends with a trio A tal diletto, a tanto ardore (SAB/B, C major). Desinet “che dolce pace, che dolce ardor, che dolce ardor. Laus Deo et B.M.S.V.” Tipped in between ff. 2 and 3 is a handwritten leaf numbered [f.] 21 in pencil that contains the texts for Peloro’s six arias, each marked “aria”; the fourth is given as Con qual nave. 2 (ff. 21-40v) LEONARDO LEO. Serenata a 3 con V.V. Dori: Di caldissima estate l’ardor non cura, no (recit.), A/B. Partbook for Dori with recitatives, text cues, and eight arias. Three solos and a closing ensemble are in each of the two parts. In part 1: Deh sospiri al mormorio (E major); De la tua fronte la luce stabile (F major); and Sono di pure rose le guancie mie vermiglie (D major). In part 2: Qual sen va la vita amante (A minor); Vo’ mirare la bellezza (G major); and Se in te riposa il cor (G minor). The two parts close with the duet and trio cited in n. 1 above. 3 (ff. 41-58v) LEONARDO LEO. Serenata a 3 con V.V. Cammàro: Peloro, or come in seno (recit.), B/B. Partbook for Cammàro with text cues, recitatives (two of them accompagnato) and seven arias. It includes three arias and an accompanied recitative in each of its two parts and a closing trio in part 2. In part 1: Vanne, corri ad altre glorie (A major); Se d’ira freme Marte nel campo (E! major); and Di lacrime amare farò pieno il mare (F minor). In part 2: Stringa Amor la bella Fede (B minor); Vive ne’ suoi bei colli (C major); and Godi, godi, coppia avventurosa (G major). Part 2 ends with the trio cited in n. 1 above, marked “Coro.” Desinet “che dolce guerra, che dolce pace, che dolce ardor. Da capo. Laus Deo B.M.S.V.” 4 (ff. 61-75v) LEONARDO LEO. Serenata a 3 con V.V. e oboe. Violino secondo. Partbook for the second violin (Tr only) of a sinfonia, verbal cues, nineteen arias, and two accompanied recitatives. The sinfonia has three movements: Allegro in A minor, Largo in E minor, and “tutti unissoni” in A minor. Desinet “Da capo. Fine della Serenata.” An aria that only seems missing is Dori’s final aria, Se in te riposa il cor, which appears to have been a continuo aria and so would not appear in this partbook. Quarter-bound in parchment; boards covered with mottled green paper (243 × 316 mm). The spine is embossed with a gold Barberini bee surmounted by a crown (similar to Barb. lat. 4224-4231), above which is a pink BAV sticker and the number 103 written in black ink by the same modern hand that wrote the old shelfmark XLVII.103 inside the front cover. The only watermark is three crescent moons, similar to HEAWOOD nn.

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867 (dated Venice 1696) and Woodward, nn. 138-144. A few folios have been trimmed. The foliation in pencil is modern. Both flyleaves are blank. Blank staves only are on ff. 59-60 and 76. Hand A copied the vocal partbooks (nn. 1-3) and the title page (f. 61) of the violin 2 partbook. At the end of each vocal partbook he wrote “Laus Deo B.M.S.V.” Hand B copied the second violin part (ff. 62-75v). CELANI, BARONCI and OPAC-SBN used the name of the character of the first partbook as the filing title PELORO, which is repeated in Grove Online. The occasion and place of performance for this serenata have not been determined, but it celebrates a Filippo who is a military figure and strong supporter of Sicily and/or Messina, and a Margherita. The text places it in summer. Just before she sings Vo’ mirare la bellezza, the character Dori refers to her “soggiorno in la bella Zancla,” that is, Messina (f. 34). Within the text, Cammàro identifies Dori with a Felicita (ff. 54v-56): “E che veggio sotto il nome di Dori / quel d’alta donna ascoso/ Felicitta la bella … / Che del fiume Reale/ le sponde abbandonando/ venne a felicitar queste contrade?/ Veggio Filippo poi, che in sen l’accoglie/ quale sposo fedel, fedele moglie;/ Filippo onor di Marte/ e del fido Pelor forte sostegno./ E il bel Peloro io veggio/ saltar di gioia al fortunato arrivo/ e con Pelor di Zancla / la Real fede unita/ gridar “viva Filippo e Margherita”/ (ff. 54v-56). Dott. Andrea Merlotti of Turin has connected the elements in the text with a period in which the Duke of Savoy reigned as King of Sicily (17131718), with Messina among his strongest supporters. (Entracque lies in western Piedmont; the Dora flows south toward Turin.) Filippo Tana d’Entracque, marquis d’Entrèves, served as governor of Messina between 1715 and 1716, and commanded a Piedmontese regiment in defense of the city. He would later serve as governor of Turin. Merlotti identifies the peace mentioned in the serenata as the Treaty of Commerce of Madrid, signed in December of 1715, a development from the Treaty of Utrecht in 1713 that had settled the War of the Spanish Succession. Tana took as his second wife Felicita von Burgsdorf in Turin in 1711. The serenata appears to celebrate her arrival in Messina, but her physical presence there has not been ascertained. Nor has any notice come to light indicating that that Filippo’s sister-in-law, Maria Margherita Provana Tana d’Entraque, widowed in 1713, might have left Turin to visit Messina. This work has not yet been placed within Leo’s oeuvre, nor is it known if the serenata was performed in Naples or in Messina. Merlotti notes that the composer did visit Turin in 1739/40, when Tana was its governor. If the paper of these partbooks, however, is indeed Venetian, Leo’s earliest work for Venice was the opera Il Pisistrato in May of 1714, a date closer

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to Tana’s presence in the south. Leo had composed the music for Il trionfo della castità di Santo Alessio, to a libretto by Nicola Corvo (Naples 1713), that was dedicated to Camilla Barberini Borromei, “vice-regina nel Regno di Napoli” and wife of the Austrian viceroy in Naples, Carlo Borromeo from 1710. They however left Naples in April of 1713.Barb. lat. 4232-4288

Barb. lat. 4288 mid-17th century, 221 × 161 mm, [41] ff., 9 staves (3 × 6/7 ll.), two hands

Anthology of sixteen compositions in keyboard notation (13 staff lines with TrSTB clefs). Simple melodies for the right hand have chordal accompaniments for the left. The first three pieces have completely texted melodies and full chords for the left hand. Harmonic designations here refer to final chords only. Online in DVL. 1 (ff. 1v-2) O Clorida già che s’adornano, G major. The text for stanzas 2-4 appears on f. 1v. The melody resembles O Clorida as set in BAV Chigi Q.IV.28, ff. 66v-67v in C major (ed. in CEKM, vol. 32/2, 2d rev. ed. 2001, p. 66); and in G. GIAMBERTI, Duo tessuti … nuovamente stampati da Paolo Olivieri, Rome, I. Fei, 1664; also in the 1st edn of 1657), pp. 62-64 (exemplar in US-Rs Vault M.1490.G432). The common tune appears as a spiritual contrafactum O vergine divo abitacolo, in COFERATI 1675, pp. 333-334, and COFERATI 1689, pp. 379-380 (G major). For other keyboard settings, see SILBIGER 1980, Table 6, p. 42; and DE’ LAZZERI 1654, p. 80. Guitar settings include CARBONCHI 1640, 1: 47, and arrangements in STEFANI 1618 and MILLIONI 1627, q.v. GAVITO 2006. The canzonetta text appears in ROMANO 1 (Venice 1618), pp. 96-98. OPAC-SBN erroneously reads “O Clorinda.” C. Milanuzzi’s 1628 Sesto libro delle ariose vaghezze contains an O Clorida vaga e gentile (p. 36).

2 (ff. 2v-5v) O tu che fra le selve occulta vivi, G minor. The poem is by Bernardo Tasso. A version of the melody is set in I-Vc Torrefranca 250, ff. 101v-102 (ed. in HILL 1997, n. 45, pp. [149-50]). The Barberini version has a lengthened and elaborated closing passage. Barb. lat. 4288 3 (ff. 6v-7) Lo mio dolce signore spesso mi dice, G minor. 4 (ff. 7v-8) Fuggoni [sic], G major. The melody appears related to the anonymous Fuggon i giorni in I-Bc Q.140, f. 35 (ed. in HILL 1997, n. 140, p.

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[369]). The canzonetta text is in ROMANO RES (Venice 1626) as Fuggone i giorni cari, & adorni with the title L’inverno, p. 29. 5 (ff. 8v-10) Spagnoletta, G minor, three parts (sections) in variation. 6 (ff. 10v-11) Alegrezze d’amore, G major. Other settings of the tune are I-Rdp 250/B, f. 5v (for keyboard, in G major) and MILLIONI 1627, p. 52 (guitar), titled Allegrezza d’amore con trilli (G major). 7 (ff. 11-12v) Romanescha, G minor. 8 (f. 13r-v) Corrente, G minor. Edited in B. JOHNSSON, Romersk cembalo(klaver)-musik fra det 17. ärhundrede, Egtved, Denmark, Edition Egtved, 1980. 9 (ff. 13v-14) La verginella sposat’ a Dio, G minor. 10 (ff. 14v-15) Gesu dol[c]e, G minor. 11 (ff. 15-16) Ballo francese, G minor. For the similarity of this dance with a bourrée in PRAETORIUS 1612, n. 32, see SILBIGER, p. 116. 12 (f. 16-16v) Corrente, C major. SILBIGER, p. 116 identifies this as a setting of the popular tune Est-ce Mars. 13 (ff. 17-21v) Tenor di Napoli, G major, variations in four partite. 14 (ff. 21v-22) Corrente del Re, D minor. SILBIGER, p. 116 cites arrangements in BAV Vat. mus. 569, p. 84 and PRAETORIUS 1612, n. 117. 15 (ff. 22v-23) Corrente della guerra, G major. 16 (ff. 23-26v) La bataglia di Pavia, G major. 17 (f. 27) Untitled, G minor?, incomplete. Bound in parchment (228 × 165 mm), in five gatherings of four bifolios each. Uniform watermark of a fleur-de-lis in circle, with a small crown above (similar to MAHONEY 16). Blank folios are ff. 1 and [41]; blank staves only are on ff. 6 and 28-[40], except for clef signs on f. [39v]. The modern foliation in black ink numbers only the first 27 folios. Folios 1-26 are in a single hand (Hand A); only n. 17 is in a second hand (Hand B). A more detailed description is JEANNERET 2009, pp. 271-274, where the copyist is identified as Bonaventura Mini (cf. a signed receipt from 1674, ivi, p. 386). The dating is based on the watermark, which also appears in Barb. lat. 4220 and 4219, as well as Witzenmann’s watermark type O from BAV Chigi Q.V.69 — all volumes dated between 1653 and 1659; see WITZENMANN

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1969. JEANNERET 2009 calculates “au moins aux annés 1660.” SILBIGER dates the musical contents ca. 1610-1630 (cf. pp. 26, 42, 115-116).

Barb. lat. 4289 17th c., 228 × 168 mm, III.front.70.III ff., 5-10 staves, four hands

Anthology of forty-two strophic devotional songs. Five are settings of poems in the Sacre canzonette of Anello Sarriano (at least eight edns, Naples, 1635-1668). Several others occur in the print of Lodi et canzonette spirituali (Naples, Tarquinio Longo, 1608). Twenty-eight are scored for mezzo-soprano and basso continuo; two others in mezzo-soprano clef lack a continuo line (nn. 7 and 29). Two are for S/B (nn. 6 and 12) and six for A/B (nn. 1, 10, 17, 18, 24 and 26). Numbers 2-5 are set for mixed trios and constitute an independent fascicle. An engraved frontispiece shows King David writing the psalms from heavenly inspiration; next to him is a large harp. Harmonic designations here do not indicate tonalities, only closing chords. Barb. lat. 4288-4289 1 (ff. 1v-2) Dolce mio Signor eterno, A/B, F major, 3 stanzas. 2 (f. 3) Sopr’il fieno colcato veggio un fanciul’, SMsB/B, F major. The solo opening two lines has 3 stanzas underlaid, with one refrain line (lines 3-4) for the trio. Stanzas 4-5 have text only, with different words for each closing trio line. Cf. the poem Sopra ’l fieno colcato/ vidi un fanciul … in LODI 1608, p. 381. 3 (ff. 3v-4) Ecco la bella Aurora di Maria verginella, MsTB, B! major; text only for stanzas 2 and 3. See also n. 28 below. 4 (ff. 4v-5) Giesù mio dolc’amore, alma del alma mia, SAB/B in C minor; text only for stanzas 2 and 3. There is no separate staff for the continuo line, but untexted phrases are marked with slurs and once “sona.” Not the same poem Giesù mio dolce amore, per te desio languire (3 str.) in Anello Sarriano, Sacre canzonette (various edns including Naples 1646, p. 27; 1651, p. 13).

5 (ff. 5v-6) Folte pioggie che scendete, ATB, F major; text only for stanzas 2 and 3. Barb. lat. 4289 6 (ff. 7v-8) Ascoltate o viventi quest’alma avventurata, S/Bar, F major, 3 stanzas. 7 (ff. 8v-9) Peccator crudo e rio, Ms only, E (Phrygian), 3 stanzas. The

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basso continuo line has a clef and meter signature, but no music. All three strophes of the poem are in the Sacre canzonette of Anello Sarriano, Naples 1651, p. 17; 1651 and 1668, p. 5, with the subject title, “Rinfacciamento al peccatore dell’ingratitudine usata con Dio.” 8 (ff. 9v-10) Ascoltate o viventi quest’anima dannata, Ms/B, A minor, 4 stanzas. 9 (ff. 10v-11) Alla morte, o peccatore, Ms/B, F major, 3 stanzas. 10 (ff. 11v-12) Mirate, che pietà, del mio Christo amoroso, A/B, A minor, 4 stanzas. Omits stanza 3 of the poem as printed in the Sacre canzonette of Anello Sarriano, Naples 1646, pp. 74-75; 1651 and 1668, pp. 45-46, et al., where it has the subject title “Accorgimento dell’error proprio, e della pietà del Signore.” 11 (ff. 12v-13) Fanciullin, che porta fiamma, Ms/B, F major, 3 stanzas. 12 (ff. 13v-14) Ninno mio, bello ninno, io vo’ cantarti un’ inno, S/B, C major, a lullaby for the Christ child with a refrain and 4 short stanzas. 13 (ff. 14v-15) Ahi, con piagata mano batterò sempre, Ms/B, A minor, 3 stanzas. The text for stanzas 1-2 is that of stanzas 1 and 5 in LODI 1608, p. 158; pp. 154-155 give another musical setting for three voices. 14 (ff. 15v-16) O peccator, c’hai qui fermato il piede, Ms/B, D minor, 3 stanzas; all in the Sacre canzonette of Anello Sarriano, Naples 1646, p. 18; 1651, pp. 6-7, where the poem has the subject title “In occasione di ragunanze spirituali.” 15 (ff. 16v-17) Chi non t’ama con affetto, Vergin madre di beltà, Ms/B, D minor, 3 stanzas. 16 (ff. 17v-18) Ahi, perché nacqui al mondo, Ms/B, G major, 3 stanzas. 17 (ff. 18v-19) O dolce mio Signore, non vo’ star senz’amore, A/B, E minor, 3 stanzas. 18 (ff. 19v-20) Già morto è il re di vita, A/B, C minor, 3 stanzas. 19 (ff. 20v-21) La terra gioisce, ralegrasi il Ciel, Ms/B, C minor, 4 stanzas. All four stanzas appear as Laude XVIII. La terra gioisca, rallegrasi il Ciel, in the Salterio di cento cinquanta laudi spirituali, ed. Gabriele “della Nunciata,” pt. 2, “Altre laudi trentotto,” Genoa, Heredi del Calenzani, 1675, pp. 345-346. 20 (ff. 21v-22) Tu mi rapisci il core, Giesù mio dolce amore, Ms/B, D minor, 3 stanzas.

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21 (ff. 22v-23) Signor, peccai no’l niego, Ms/B, D minor, 3 stanzas. 22 (ff. 23v-24) Giesù mio tanto t’amo, Ms/B, G minor, 3 stanzas. 23 (ff. 24v-25) Vieni a brugiarm’il core, spirto divino, Ms/B, C mixolydian, 3 stanzas. Stanzas 1-2 are stanzas 1 and 3 of four in LODI 1608, p. 338. 24 (ff. 25v-26) Vieni, o dolce sonno, A/B, G minor, 3 stanzas. 25 (ff. 26v-27) Tu sei, mondo, immondo, Ms/B, F major, 3 stanzas. 26 (ff. 27v-28) A battaglia mio cor, ti chiama il cielo, A/B, B! major, 3 stanzas. 27 (ff. 28v-29) Vergine bella, madre d’amore, Ms/B, F major, 3 stanzas. 28 (ff. 29v-30) Ecco la bell’Aurora di Maria verginella, Ms/B, B! major, 3 stanzas. Same melody as n. 3 above, but a different bass line and harmonization; the texts for stanzas 1-2 are the same; the 3d stanzas differ. This version has no separate entry in OPAC-SBN. 29 (ff. 30v-31) O bella peccatrice che port’ in man di neve, Ms/(B), vocal line only, with 3 stanzas of text. 30 (ff. 31v-32) Da la porta d’oriente lampeggiando usciva il sole, Ms/B, F major, 3 stanzas. 31 (ff. 32v-35) Ascolta, o santo amor del Paradiso, Ms/B, F major, 4 stanzas. 32 (ff. 35v-34) Giesù bello, crespo, e biondo, Ms/B, F major, 4 stanzas. 33 (ff. 34v-35) O madre d’amor, deh fa’ che fervente, Ms/B, F major, 3 stanzas. 34 (ff. 35v-36) Giesù mio so che m’ami, Ms/B, G minor, 3 stanzas. 35 (ff. 36v-37) Alme fide in amar il sommo bene, Ms/B, B! major, 3 stanzas. 36 (ff. 37v-38) Peccatori su, su, lavate i cori, Ms/B, D minor, 3 stanzas. 37 (ff. 38v-39) T’offesi, o mio Signor, ma dirti sento già, Ms/B, C minor, 3 stanzas; all in the Sacre canzonette of Anello Sarriano, Naples 1646, p. 63; 1651 and 1668, p. 37, where the poem has the subject title “Accusa, pentimento, e richiesta di perdono del proprio errore.” 38 (ff. 39v-40) Dimmi un poco anima mia, Ms/B, C mixolydian, 4 stanzas; all in the Sacre canzonette of Anello Sarriano, Naples 1646, p. 91; 1651

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and 1668, p. 57-58, where the poem has the subject title “Del ben, che noi facciamo doversi sempre ringratiare l’Autore, ch’è Dio.” 39 (ff. 40v-41) Deh quando fia che volerà disciolta, Ms/B, G minor, 3 stanzas. 40 (ff. 41v-42) Verginella, madre bella di Giesù mio gran Signore, Ms/B, B! major, 3 stanzas. 41 (ff. 42v-44) Deh fermate, o cieli, il moto, Ms/B, in A minor, 6 stanzas. The continuo line (to f. 43 only) is incomplete. Anonymous and slightly different in I-Rc 2472, ff. 12v-13 (S/B, D minor). 42 (ff. 44v-45) S’io potessi, o mio Dio, signoreggiare, Ms/B, F major, 5 stanzas. This item is not listed in OPAC-SBN. Bound in parchment (232 × 170 mm) with the binder’s title “Rime/ in/ Musica /Mss.,” below this is a pink Vatican sticker, under which a modern hand has written the number 57 in ink. One-third down the spine the hand of the binder’s title wrote “–64–” and, at the foot of the spine, “MMM.” Inside the front cover is another pink BAV sticker and the previous shelfmark in a modern hand, XLVIII.57. The watermark for all folios except for the flyleaves and ff. 5-6 appears to be a horse in a double circle, with the letter A above; bifolio 8/13 has a single circle with a fleur-de-lis above three hills, similar to MAHONEY 18. Gatherings are irregular; with Roman numerals indicating the number of bifolios: I (ff. 1-2); II (ff. 3-6); quaternions consisting of three internal bifolios each are wrapped within ff. 7/14, 8/13, 9/10, 11/12; IV as ff. 16-21 are wrapped within 15/22; ff. 25-30 are a normal nested quaternion; V as ff. 32-39 are wrapped within 31/40; VI as ff. 42-51 within 41/52; II (ff. 55-56); III (ff. 52-62); II (ff. 6366); II (ff. 67-70).

The foliation in ink is modern. All folios have five staves per page except ff. 3-6, which have ten. Blank staves only are on ff. 1, 2v, 6v, 7, 45v-70v. The last third of the volume is empty. The music extends across each opening from verso to recto. The main copyist (A) copied all but n. 2 (copyist B), n. 41 (copyist C), and n. 42 (copyist D). A Barberini copy (Stamp. Barb. JJJ.II.22) of A. Sarriano’s Sacre canzonette is an unnumbered printing published by D.A. Parrino and dedicated to Isidoro Calisto (Naples 1668). RICCIARDELLI observed eight pieces that he thought resembled the musical style of the Barberini oratorios and, with reservations, listed nn. 4, 7, 15, 21, 22, 32, 34, and 41 as potential compositions by Luigi Rossi (pp. 7879).

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Barb. lat. 4296 mid-17th c., 230 × 170 mm, I.237.I ff., 9 staves, six hands

A miscellany of vocal and instrumental partbooks for six oratorios or oratory-cantatas: ANCOR SATIO NON SEI (Barb. lat. 4190 and 4192), MI SON FATTO NEMICO (Barb. lat. 4191), INFERNO IO VEGGO APERTE (Barb. lat. 4189), GIOSEPPE (Barb. lat. 4194-4195), the ORATORIO PER LA SETTIMANA SANTA (Barb. lat. 4198-4199), and Colpe mie, venite a piangere (Barb. lat. 4219, n. 5). On f. 130 is a title-page only to the lute partbook for an unknown DIALOGO DI AGAR E ISMAELE a 9. Online in DVL. 1 (ff. 1-6) [MARC’ANTONIO PASQUALINI et al.]. PECCATOR PENTITO. Poesia di Sig. [Giovanni] Lotti. Voi per ultima aita occhi sol voglio. Vocal partbook headed “P[rim]a cantata] a 3 / Inferno” to the cantata INFERNO IO VEGGO APERTE LE FAUCI TUE (see Barb. lat. 4189). Desinet “… si figurano un’ infinito.” The rubric “Canto” appears on f. 6, the original cover page. The trio Voi per ultima aita is attributed to Pasqualini in S-Skma Statens musikbibliotek, Musik Rar, ff. 54-77 (cf. RISM A/II 190.022.429). It is anonymous in Barb. lat. 4219, n. 4. For other partbooks, see nn. 5, 7 and 10 below. 2 (ff. 7-9v) Three untitled instrumental partbooks for ANCOR SATIO NON SEI.

2a (f. 7r-v) Lute or other continuo instrument with the range E2-D4; lightly figured. 2b (f. 8r-v) Violino primo 2c (f. 9r-v) Violino secondo 3 (ff. 13-14v) [PASQUALINI]. Tenor: Colpe mie venite a piangere, vocal partbook for the trio (SST/B) with the same incipit. Barb. lat. 4219, n. 5 is the complete score; see also n. 9 below. Titles to internal sections of MI SON FATTO NEMICO are squeezed in at the head of the original partbook, indicating that this partbook was reused for the oratorio. 4 (ff. 15-30v) Four untitled vocal partbooks to the cantata ANCOR SATIO The second soprano book is n. 6 below; see also n. 8 below. 4a (ff. 15-18) Canto 4b (ff. 19-21) Contralto 4c (ff. 23-24v) Tenore 4d (ff. 27-30v) Basso Barb. lat. 4296

NON SEI.

5 (ff. 31-38) [PASQUALINI et al.]. Three untitled instrumental partbooks to the cantata INFERNO IO VEGGO APERTE. For other partbooks, see n. 7 below.

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5a (ff. 31-34v) Leuto, the range of the part is D2-C4. 5b (ff. 35-36) Quinto, same as ff. 45-46 below (violin 2). 5c (ff. 37-38) Violino canto; see also ff. 47-48 below. 6 (ff. 39-41v) Canto. Vocal partbook (S2) to the cantata ANCOR NON SEI.

SATIO

7 (ff. 43-70) [PASQUALINI et al.]. Six untitled instrumental partbooks to the cantata INFERNO IO VEGGO APERTE. 7a (ff. 43-44) Basso 7b (ff. 45-46) Violino [secondo] 7c (ff. 47-48) Violino [primo] 7d (ff. 49-50) Alto, in mezzo-soprano clef with range A3-D5. 7e (ff. 51-52) Tenore, in alto clef, with range E3-A4. 7f (ff. 53-70) Lira e Violone, with range D2-D4. 8 (ff. 71-84) Two untitled, figured, instrumental partbooks to ANCOR SATIO NON SEI.

8a (ff. 71-78) Lira, with range D2- D4; f. 78 is the original cover page. 8b (ff. 79-84) Violone 9 (ff. 86-116) Two instrumental and three vocal partbooks to MI SON The component trio Colpe mie venite a piangere is in the hand of copyist B in all parts. See also n. 11 below. 9a (ff. 86-98) Lira e Violone, with range D2-Eb4; another copy is Barb. lat. 4231, n. 16. 9b (ff. 100-105v) Basso. Un peccator pentito a 5. 9c (ff. 107-108) Contralto. Un pecc.e pent.o a 5. The titles of internal sections of MI SON FATTO NEMICO precede the notated part. 9d (ff. 109-112v) Leuto 9e (ff. 115-116) Tenore FATTO NEMICO.

10 (ff. 117-129) [PASQUALINI et al.]. Three untitled vocal partbooks to INFERNO IO VEGGO APERTE. 10a (ff. 117-119v) Alto 10b (ff. 121-126) Basso 10c (ff. 127-129) Tenore 11 (ff. 131-138) Two instrumental and one vocal partbook to MI SON FATTO NEMICO. 11a (ff. 131r-v, 134r-v) Violino [secondo] with revisions pasted on f. 131v. 11b (ff. 132-133v) Violino [primo] 11c (ff. 135-138) Soprano secondo

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12 (ff. 142-180v) Four instrumental and five vocal partbooks to the ORATORIO PER LA SETTIMANA SANTA, part two, corresponding to Barb. lat. 4199.

12a (ff. 142r-v, 139-141v) Liuto, 2.a parte (f. 142); the Sinfonia avanti la 2.a parte begins on f. 141v. 12b (ff. 143-150v) Lira, 2 parte, with range E2 -D4. 12c (ff. 151-155v) Cantus [primus] 12d (ff. 157-159) Cantus [secundus], 2.a parte 12e (ff. 161-163v) Altus, 2.a parte 12f (ff. 165-168) Tenor, 2.a parte 12g (ff. 169-172) Bassus, 2.a parte 12h (ff. 173-176v) Violino P.o, 2. parte; the Sinfonia avanti la 2.a parte begins on f. 176v. 12i (ff. 177-180v) Violino 2.o, 2 parte; the Sinfonia avanti la 2.a parte begins on f. 180v. 13 (ff. 181-237) Ten vocal and three instrumental partbooks for the oratorio GIOSEPPE. 13a (ff. 181-184v) P[rimo] Canto, for part 1; part 2 begins on f. 210 below; folios 181-185 are heavily damaged in the upper right quadrants. 13b (ff. 186-192) Basso. Prima cantata. 13c (ff. 193-197v) Tenore. Prima cantata. 13d (ff. 198-202v) 2. Canto (for part 1) 13e (ff. 203-207v) Contralto. Testo. Prima cantata. 13f (ff. 208-208v, 215) Violino 2. Seconda cantata. 13g (ff. 209r-v, 214) Primo violino. Seconda parte. 13h (ff. 210-212) Canto. P[rimo]. Seconda cantata. 13i (ff. 216-222) Violone. Seconda cantata. 13j (ff. 224-225) Canto 2. Seconda cantata. 13k (ff. 226-228v) Contralto. Seconda cantata. 13l (ff. 230-232v) Tenore. Seconda cantata. 13m (ff. 234-237) Basso. Seconda cantata. Bound in half-parchment and paper-covered boards (250 × 182 mm). On the spine is a pink BAV sticker, above which appears the number 64 in blank ink in a modern hand that has written the previous shelfmark XLVIII.64 in black ink at the top and bottom of f. 1. Individual partbooks are independent fascicles except in nn. 2, 11, and n. 13 (beginning with f. 208), which are three instances in which originally independent partbooks were erroneously interleaved and bound as single gatherings. Slight differences in the measurements of the leaves due to wear on the right and bottom edges have not been noted. Front and back guard sheets are blank;

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blank staves only are on ff. 10-12, 22, 25-26, 42, 77, 85, 99, 106, 113-114, 156, 160, 164, 185, 191-192, 196-197, 202, 207, 213, 223, 229 and 233. The foliation in ink is modern. On f. 120 appears a fragment of music in Hand C, without text and cancelled. The lone title-page on f. 130 is also cancelled. This became the back folio of the fascicle forming the tenor partbook to INFERNO IO VEGGO APERTE. Watermarks and copyists are noted in the summaries below. See also the physical description in GRAMPP 2001, vol. 1, pp. 28-29, with watermarks noted folio by folio. ANCOR SATIO NON SEI, nn. 2, 4, 6, 8. The set of partbooks is complete: S1, S2, A, T, B; violins 1-2, [lute], lira, violone. The watermark in all parts is associated with Rome (of the general type cleric/saint in shield, HEAWOOD 1352). The copyist for all parts is Marc’Antonio Pasqualini (copyist A). INFERNO IO VEGGO APERTE, nn. 1, 5, 7, 10. The set of partbooks lacks S2; preserved are S1, A, T, B; violins 1-2 (two copies each); viole A, T, B; lute, lira and violone. It is not known whether the duplicate parts for the violins represent two sets or four parts for one performance. The watermarks are associated with Rome (cleric/saint in shield of the type HEAWOOD 1352; and for all new folios added to Voi per ultima aita by copyists B and C, the six-pointed star above an anchor in a circle, of the general type MAHONEY 4). The parts seem to be in three hands: Pasqualini (A) and copyist B (possibly the composer of the opening and closing sections), who copied the five string parts and the last sections of the vocal parts. Copyist C (e.g., ff. 35, 54, 117) seems to have taken over wherever B left off. Two or more hands may appear on the same page. A fourth copyist, D, may have copied the lute part (ff. 31-34v). See Barb. lat. 4189 and 4231, n. 17. MI SON FATTO NEMICO, nn. 9 and 11. Vocal partbooks are S2, A, T, B; instrumental partbooks are violins 1-2, lute, lira and violone. Together with Barb. lat. 4231, nn. 9-10 and 13, these partbooks form a complete set for this cantata. The main copyist is Pasqualini (A); hand B appears on ff. 9395 in the section for Colpe mie that was an earlier separate partbook for this trio. From f. 95, copyist B has written the rubrics, but the music copyist is C (? or E?). The hand of copyist E appears in the parts for lira, basso, lute and second soprano, along with that of Pasqualini. GIOSEPPE, n. 13. Vocal partbooks are S1, S2, A, T, B, for parts 1 and 2. Instrumental partbooks exist only for part two: violins 1-2 and violone; the partbook for lute is Barb. lat. 4231, n. 20a-b. The watermarks are associated with Rome (cleric/saint in shield; fleur-de-lis in a double circle, perhaps with letter P or O). The sole copyist is Pasqualini (A).

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ORATORIO PER LA SETTIMANA SANTA, n. 12. The partbooks are only for part two of the oratorio: SSATB voices, violins 1-2, lute, and lira. The watermarks are associated with Rome (cleric/saint in shield; fleur-de-lis in double circle, letter P above). A lute partbook for part one is Barb. lat. 4231 n. 18. The only copyist is Hand F, the same as for Barb. lat. 4199, the copyist of the complete score of part two. Barb. lat. 4296-4322 UN PECCATOR PENTITO. Colpe mie venite a piangere, nn. 3, 9, 11. The complete score is Barb. lat. 4219, n. 5. The partbooks, all in the hand of copyist E, are S2 (in n. 11), T (n. 3), lute (in n. 9), and lira and violone (in n. 9). The S1 partbook is Barb. lat. 4231, n. 13. Except for n. 3, the other partbooks for Colpe mie have been incorporated into the partbooks for the cantata MI SON FATTO NEMICO. Rubrics on f. 13 are in Pasqualini’s hand (A).

Barb. lat. 4322 1630 ca., 271 × 208 mm, II.21.III ff., 10 staves, one hand

Title on f. 1: Grazie rese all’Ill.mo et R.mo Signor Card. Barberino nel ricevimento fattogli in Collegio Romano, poste in musica da Virgilio Mazzocchi, a presentation copy of an occasional cantata for SAT/SSST singers with basso continuo ensemble. The poet is unknown. Online in DVL. 1 (f. 2) Chi mi raddoppia il giorno (A/B), with the rubric “È trasportato per 4.a.” Desinet “Andiam’ pingendo delle bell’alme il fiore” (f. 20). Bound in parchment (276 × 210 mm) embossed in gold on front and back covers with two nested frames, with four bees in the corners of the smaller one. In the center in a tasseled oval are the arms of cardinal Francesco Barberini senior. On the spine are four bees in each of four panels, embossed in gold. Later additions on the spine are the number 90 written by a modern hand, an eroded white printed sticker, and a pink Vatican sticker. Two sets of ties are lacking. Gilt edges. Inside the front cover are another Vatican sticker, a white printed sticker with the number 843 written in it and in ink below it. Two further shelfmarks in ink are VII.D.20 (17thor 18th-century) and XLVIII.90 (modern). Watermarks are not discernible. In five gatherings of two bifolios. The beginning and end guard sheets are blank; folio [21] has blank staves only. The foliation in ink is modern. The elaborate initials are colored red, blue and gold; bees and the names of Barberini in the text are in gold. A monogram FS or TS appears under the title on f. 1 (and also on other Barberini non-musical manuscripts datable

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503

ca. 1625-1632, e.g., Barb. lat. 3710). REVERBERI, p. 387, observes that FS are the initials of Fabrizio Sirleto (1557-1635), bishop of Squillace, whose library was donated to card. Antonio junior in 1637 (BIGNAMI-ODIER, pp. 114, 135, note 149). On f. 10, cardinal Francesco is called “del gran Carlo generoso herede,” which suggests that his father, Carlo Barberini, has died († March 1630). The dedication reads: Barb. lat. 4322-4364 All’Ill.mo et R.mo Sig.r et P[a]dron Coll.mo Il Sig.r Cardinal Barberino. Queste grazie non tanto rese a V.S. Ill.ma quanto da lei accresciute, mentre degnolle della sua grata udienza, ritornano a lei, non trovando ricovero migliore, che la sua cortesia. Spero sia per mostrare a loro occhio benigno, come già lor diede cortese orecchio: è facilmente riconosceralle per cosa sua; essendo vinta la forma, da me comunque datale in musica, dalla materia ampissima, che V.S. Ill. ma a loro porta con le sue rare doti, e particolarm[en]te con la sua singolariss.ma benevolenza. Della quale restando io obbligatiss.mo servid.re, umilmente le bacio la sacra porpora. Di V.S.Ill.ma et R.ma devot.mo serv.re Virgilio Mazzocchi.

SCHRAMMEK V.81 gives the musical incipit (p. 316) and a transcription of the dedication with a translation into German (pp. 337-338).

Barb. lat. 4364 1637-1644 ca., 307 × 206 mm, I.6.I ff., 10 staves, one hand

An anonymous occasional cantata for soprano and basso continuo to a poem by Jacopo de Totis, rector of Santa Maria di Grottapinta, “ad Romam ut Deum precetur pro incolumitatis Urbani Octavi Pont. Opt. Max.” The poem is given on ff. 1-2. (f. 3) Roma imperatrix orbis ac potentium parens, S/B, G major. Desinet “O vive Urbane nam te sospite saeclo fruemur aureo” (f. 6). Bound in parchment (310 × 220 mm), embossed with the arms of Urban VIII on front and back covers. In one gathering, on uniform paper and in a single hand. The opening and closing flyleaves are blank. The foliation in ink is original. The dating here encompasses years in which the pope’s poor health was reported in Avvisi di Roma. Giacomo De Totis is identified as “Rector S. Mariae Griptae pictae.” Appointing the rector of the small church (it is no

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longer consecrated) was among the rights of the Orsini, who had a chapel there, as well as a palace behind it (Palazzo Orsini-Pio-Righetti).

Barb. lat. 4374 1641-1645 ca., 317 × 215 mm, I.130.II ff., 8-9 staves, one hand

Anthology of thirty chamber arias and cantatas for tenor and three chamber duets (nn. 31-33) in Italian, all with basso continuo. All are anonymous but copied by a single hand, that of Luigi Rossi, as their composer. Concordances attribute four to Luigi Rossi (nn. 1, 4, 25, 29); n. 25 exists with a conflicting attribution to Marc’Antonio Pasqualini. No poets are named but concordances provide attributions to Antonio Abati, Domenico Benigni, and Francesco Buti. The binding bears the arms of Cardinal Antonio Barberini, jr. The dating here represents the first years that Rossi served the Barberini in Rome. The rubric parte frequently heads internal sections, whether they are strophes or some other kind of independent formal division. Scoring is T/B, unless otherwise indicated. Barb. lat. 4146 is in the same hand (q.v.), as are portions of Barb. lat. 4175 (q.v.). 1 (ff. 1v-6, pp. 1-10) [LUIGI ROSSI]. Quando mi chiede, Amore, s’io sarò sempre amante, A minor. An ornamental initial Q encircles the Barberini emblem of the sun (Illus. 10). Attributed to “Luigi” in the later Roman miscellany F-Pn Rés. Vmc 78, ff. 19-22. CALUORI n. 153 gives the musical incipit. Barb. lat. 4373-4374 A different anonymous setting is BAV Chigi Q.VIII.177, ff. 77v-80 (CARBONI 12, n. 1416), a Marco Marazzoli holograph (Illus. 11). At one time the text was erroneously attributed to Salvatore Rosa; see M. MURATA, Dr Burney Bought a Music Book …, in Journal of Musicology 17 (1999), pp. 76-111.

2 (ff. 6v-8, pp. 11-14) [LUIGI ROSSI]. Prima par[te]. Hor che’l sonno ai vaghi augelli. 2.a par. [H]or che’l sol nell’onda ibera, D minor, 2 parti in variation. 3 (ff. 8v-9, pp. 15-16) [L. ROSSI]. [I]o non sapea ch’un anima gentile, A minor; 3 str., text only for str. 2-3. 4 (ff. 9v-10, pp. 17-18) [L. ROSSI]. [C]h’io sospiri al vostro foco, C minor, 3 str. Text for str. 2-3 laid under the basso continuo staff. The music is attributed to Rossi and the text to Domenico Benigni in the Roman anthology F-Pn Rés. Vm7 59, ff. 125-26v. Anonymous in I-Fn Magl. XIX.26, ff. 29-30v (T/B, lacking text for str. 3). CALUORI n. 41. Barb. lat. 4374

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505

HOLZER, p. 170, reports two other settings by Pietro Paolo Sabbatini, Rome 1641 and Rome 1652 (facsim. edn of the Seconda scelta di villanelle a una voce, 2d edn, Stuttgart 1999, p. 10).

5 (ff. 10v-11, pp. 19-20) [L. ROSSI]. Chi non dice il suo mal non speri mercé, F major, 3 str. With lower-case tablature letters for guitar, including chords shifted up to the fourth and sixth frets. Text only for str. 2 and 3; an earlier version of the text for str. 2 has been cancelled. 6 (ff. 11v-12, pp. 21-22) [L. ROSSI]. Di crudo rigore armata non è, E minor. Texts for str. 2 and 3 laid under the continuo staff. 7 (ff. 12v-17, pp. 23-32) [L. ROSSI]. [E]ra la cheta notte e tempestoso amante, A minor. The only aria is Se da me lungi non vai (3 str., with closing refrain marked “Rx”). Titled Il pensiero, recitativo per musica, the poem by Antonio Abati is in Vat. lat. 13999, ff. 146v-47v. In ABATI 1671, vol. 1, pp. 20-21, it has the subject title “Amante, che in letto parla coi proprij pensieri, perché l’abbandonino, per musica” (also in ABATI 1673, pp. 257-258; and 1676). 8 (ff. 17v-22, pp. 33-42) [L. ROSSI]. Chi cerca ogn’hor pietà, D minor, 5 parti, each marked, in variation. 9 (ff. 22v-25, pp. 43-48) [L. ROSSI]. Chi ricerca il rio tormento, E minor, 3 parti (strophic), each marked and written out. 10 (ff. 25v-28, pp. 49-[54]) [L. ROSSI]. Ostinata a miei dolori l’amor mio sdegnar ben puoi, D minor, 2 str. in variation. 11 (ff. 28v-30, pp. [55-58]) [L. ROSSI]. Disperato cor mio, perché ne tuoi sospiri, A minor, 2 str. with refrain. Also anonymous in US-CA Mus 106, ff. 103-104v (S/B). 12 (ff. 30v-33, pp. [59-64]) [L. ROSSI]. Fu questo un picciol rio Fillide, hor fatto è grande, E minor, 6 parti, of which only 1 and 6 are in variation. 13 (ff. 33v-36, pp. [65-70]) [L. ROSSI]. Per la Resur[rezio]ne di Christo S.r Nostro. Che vegg’io? Se l’alta mole, A minor, 2 str. 14 (ff. 36v-40, pp. [71-78]) [L. ROSSI]. Dunque, ahi dunque è pur vero Lidia di questo cor gioia è conforto, E minor, 3 parti. The aria Empia Fortuna, così mi sprezzi tu returns at the end of each parte. RICCIARDELLI, p. 80 lists the scoring as for “soprani e b.c.” and gives I-Fc D.2357 as a concordance. 15 (ff. 40v-44, pp. [79-86]) [L. ROSSI]. Per immenso sentiero là nel ondoso regno, T/T, C minor, 4 parti, of which 1-3 are in variation. The original pagination ends with this composition.

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A different setting, attributed to “Pietro Ant.o Vanini” in I-Rc 2478, ff. 149-56v, and to “Pietro Paulo Vannino” in F-Pn Rés. Vm7 102, ff. 133-38v (D minor), is anonymous in BAV Chigi Q.IV.3, ff. 25-27 (CARBONI 12, n. 1328); I-Rc 2475, ff. 23-30v; and I-IBborromeo Misc. 13, ff. 3v-6. It has the same incipit as the SSB/B setting in SAVIONI 1660 (musical incipit in WECIS 2).

16 (ff. 44v-49) [L. Rossi]. Come appare mentre spira aura seconda, C major, 4 parti with a “5.a aggiunta.” One section appears to be a compositional draft. Verse 2 of str. 1 originally read “Al spirar d’aura seconda.” The original excipit to pt. 4 was “il legno al sorto”; the excipit to pt. 5 is “e stabil noia.” 17 (ff. 49v-53v) [L. ROSSI]. Vi par poco, occhi tiranni, ch’io per voi piangea e sospiri, B minor, 3 str. Also anonymous in US-CA 106, ff. 113-14v; I-IBborromeo Misc. 9, ff. 5v-7; and I-GR Crypt. It. 4. A different, SS/B setting is doubtfully attributed to Alessandro Stradella in DMÜs 4087, n. 21. This duet is anonymous in the miscellany I-Nc 33.5.10 (Cantate ibride 14), ff. 158-163 (SS/B, E minor), available online via the Internet Culturale portal (which adopts the ascription to Stradella).

18 (ff. 54v-58v) [L. ROSSI]. Non aspreggi sua catena chi non spera libertà, A major; 3 str. Also anon. in F-Pn D.11837, ff. 130-131 (S/B). 19 (ff. 59v-62) [L. ROSSI]. Ch’io pianga e mi quereli, C minor, 3 str. 20 (ff. 62v-66) [L. ROSSI]. Spera e dura mio core, se ben la speme, D minor, sonnet. 21 (ff. 66v-69) [L. ROSSI]. Come quel fero, ch’a ferir mi vene, E minor, 3 parti. 22 (ff. 69v-73) [L. ROSSI]. Se nell’uscir di spene finissero le pene, D minor, 3 parti in variation. A different setting is F-Pn Rés. Vm7 102, ff. 64-66v, text by Francesco Buti, music by Giacomo Carissimi.

23 (ff. 73v-75v) [L. ROSSI]. Dove vai, speranza infida, il tuo volo e troppo frale, E minor; 3 str. in variation. Also anon. in US-CA Mus. 106, ff. 95-96v and I-Rc 2226, ff. 39-40v (2 str., D minor). A different setting by Marco Marazzoli is BAV Chigi Q.VI.80, ff. 62v-67 (WITZENMANN 1970, p. 207).

24 (ff. 76-78v) [L. ROSSI]. No, mia vita, non è vero ch’altra fiamma, F minor; 2 str. 25 (ff. 79v-82) [L. ROSSI or MARC’ANTONIO PASQUALINI]. Chiuda quest’occhi il sonno, C minor, 2 str. in variation. Marked “MAP” in Barb. lat. 4175,

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n. 18, another copy in Luigi Rossi’s hand. Attributed to “Luigi Rossi” in I-Rc 2467, ff. 53v-59, but not in the hand of the music copyist. Anonymous in the Pasqualini anthology Barb. lat. 4220 (dated 1654), n. 29, a copy in Pasqualini’s fair hand. CALUORI n. 312 doubted the Rossi attribution. MURATA n. 49. Another setting of the text may be I-Rgiazotto ms. 2, ff. 34-37, E minor (not seen).

26 (ff. 82v-85) [L. ROSSI]. Apri il seno a quei che l’hore, D minor, 2 str. 27 (ff. 85v-90) [L. ROSSI]. O begli occhi che di lume gareggiate, C minor, 3 str. The text in BALDUCCI 1646, p. 69 reads “luce” for “lume.” A different anonymous setting for SS/B is I-Bc Q.48, ff. 166v-169.

28 (ff. 90v-93) [L. ROSSI]. Chi in amor lieto si vide, C minor; 3 str. 29 (ff. 93v-96) [L. ROSSI]. Ch’io speri o disperi, Amor che ti fa?, C major, R-1-R-2-R-3-R; the third strophe is marked “3.a et ult.” As S/B, attributed to Rossi in I-Gl A-5-Cass., ff. 153-159, and B-Br II.3947, ff. 63-66v. Also anon. in Barb. lat. 4146, n. 5 (in Luigi’s hand), I-Rc 2226, ff. 26v-28 (B! major), I-IBborromeo Misc. 8, ff. 23v-24, and I-GR Crypt. It. 4. CALUORI n. 42. Caluori also gives two further settings: I-Rn 141 (= 71.9.A.33), ff. 55-58v, attrib. to Carissimi (see WECIS 5, Addendum; CLORI n. 316); and F-Pn Rés. 2096, pp. 150-153 (anon., voice only, lacking str. 3).

30 (ff. 96v-102) [L. ROSSI]. Sospiri miei loquaci, lingue del mio bel foco, E minor, 3 str. Also anonymous in Barb. lat. 4150, n. 3 (2 str.) and I-Rc 2482, ff. 15-17v (S/B, differs in some rhythms and ornamental figures; 3rd str. indicated but lacking). A different setting is in Pietro Paolo Sabbatini, Prima scelta di villanelle a una voce … Rome, Vitale Mascardi, 1650; 2d edn 1652 (facsim. Stuttgart 1999), pp. [12]-13, with 3 str.

31 (ff. 104v-106, 121v-123) [L. ROSSI]. [S]ì, sì, datevi pace, o miei pensieri dolenti, ST/B, G minor. The text to str. 2, Non puote il ciel d’un viso, is laid under the continuo staff on ff. 104v-106, then written out on all three staves from f. 121v. 32 (ff. 106v-113) [L. ROSSI]. Se al mio ardor non ardete, luci vaghe e serene, SS/B, A minor, 3 str. in variation with closing refrain. Folio 108 bears a text correction in the hand of Pasqualini. 33 (ff. 113v-119) [L. ROSSI]. A 2. Gite, gite dolenti, gite pianti e sospiri, ST/B, E minor; 3 str. in variation. Upright folio bound in parchment (322-330 × 220 mm), embossed in

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gold with two nested double borders connected by diagonals; flowers in the outer corners, bees in the inside corners. In the center, the arms of Cardinal Antonio Barberini junior with a Maltese cross, on front and back covers. Four narrow tooled borders divide the spine into four panels, presumably each with an embossed bee. In ink is the shelfmark “142”; two stickers bear later shelfmarks: “3297” and “4374.” Folios are gilt edged. The paper has a watermark associated with Rome — the cleric/saint in a shield throughout, except f. 1, which has a cross on three hills in an 8-point shield (not in HEAWOOD, but cf. his n. 921, from Rome 1646). Bound in gatherings of four bifolios beginning with ff. 2, 10, 18, 26, 34, 42, 50, 58, 66, 74, 82 and 90. The series of solo compositions ends with one gathering of three bifolios, ff. 98-103. The remainder of the ms. is four quaternions, beginning with ff. 104, 112, 120; the last, containing ff. 128-130 is lacking five cancelled folios. The foliation in pencil is modern. Folios 1v-44 bear original pagination in ink, which is ten numbers in error after p. 40. Modern pagination in ink continues this error, numbering ff. 44v-125 as pp. 77-234. Front and back flyleaves are blank. Blank staves only are on ff. 103, 120, and 124-130. Folios to f. 104 have 8 staves per page; ff. 104v-128 have 9 staves. The opening of ff. 128v-129 is in choirbook format with space for four initials (there is no music); folios 128v-130v have 8 staves grouped 4+4. The single copyist, Luigi Rossi, also wrote out the few works in Barb. lat. 4146. See Illus. 10. Rossi’s hand and the lack of conflicting attributions (except for n. 25) as well as concordances are the principal reasons for securely attributing the compositions to him. Annotations also appear in the hand of Marc’Antonio Pasqualini. Contents seem to have been copied in serial order. The volume appears not to have been completed; many items lack their decorative initial letters and a few have been written in simply. HOLZER, pp. 416-422, locates the poet of n. 7, Antonio Abati, in Rome by 1636, although he had connections there before 1631. He was absent from Rome from 1641 to 1645. Of the nine musical settings of Abati by composers in Rome listed in HOLZER’s Table 6-1, three are in Barberini sources: n. 7 above; Barb. lat. 4163, n. 9; and Barb. lat. 4150, n. 1.Barb. lat. 4374-4375

Barb. lat. 4375 1635/38?-1645 ca., 323 × 223 mm, III.90.III ff., 10-12 staves, one hand

Anthology with only six Italian cantatas in the hand of Marco Marazzoli. One solo, one duet and two trios for high voices are followed by two

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509

settings for SATB ensemble, all with basso continuo. Item 3 is incomplete. One text is by Francesco Balducci. None of these anonymous works appears in the Marazzoli volumes in the Chigi collection, which suggests that the Barberini volume predates the Chigi set. 1 (ff. 1v-2) [MARCO MARAZZOLI?]. Tu sapesti negando mercé, S/B, B! major, 3 strophes. Strophes 2-3 are written below the continuo staff. 2 (ff. 39-44) [MARAZZOLI?]. IL RAGGIUNTO. E qual mi resta più loco ov’io mi chiuda, SS/B, B! major, R-1-R-2-3-R-4-R. The music for each refrain is written out. The text is in Francesco BALDUCCI 1645/46, pp. 53-54. 3 (ff. 44v-45) [MARAZZOLI?]. Pur è ver che fiero danno, SSA/B, A minor, incomplete. Related to GB-Och 996, ff. 63v-69, a setting for SSSB/B attributed to Luigi [Rossi], but not in the hand of the music copyist and not on Italian paper. Accepted as by Rossi in CALUORI n. 291. 4 (ff. 69-70v) [MARAZZOLI?]. Apparve a gl’ occhi miei del tuo volto il seren, SSA/B, B! major, 3 str. Strophes 2-3 are written below the continuo staff. 5 (ff. 71-73) [MARAZZOLI?]. Già la terra giovinetta gravidi di mille parti, SATB/B, G major, 3 str. On ff. 71r-v the original text has been altered to read Già col raggio più possente. The texts for strophes 2-3 were entered below the continuo staff. See n. 6 below. 6 (ff. 73v-80v) [MARAZZOLI]. Già col raggio più possente l’arcier di Delo incenerito ha il maggio, SATB/B, G major, 3 str. A parody reworking of n. 5 above with music for stanzas 2-3 written out. Changes, alterations, extension of the closing section, and swift writing suggest that this draft is compositional. Barb. lat. 4375 Bound in parchment (356 × 226 mm), embossed in gold with bees at four inner corners and the arms of Cardinal Antonio Barberini junior on front and back covers (as on Barb. lat. 4374). Binder’s title in ink: Ariette manu[a]le and Barberini bees in gold in each of six panels. In the first panel have been written the numbers 3298 and 143 in ink; over the second panel is a pink BAV sticker. The latter number was more recently added by the hand that wrote the previous shelfmark XLVIII.143 inside the front cover, where there is another BAV sticker. Only holes remain where two sets of ties closed the right side. Red edges with traces of gilt. The volume was prepared as an anthology, but was never completed. The paper, including the guard sheets, has a uniform watermark associated with Rome (praying cleric/saint with a cross, in a shield pointed at the top and lower edges). Gatherings are of five bifolios except for the quaternion ff. 31-38 that would have closed the section devoted to solos, and the last two bifo-

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lios of ff. 87-90. The original foliation in ink exists only for ff. 42-44. The continuous foliation in pencil is modern and replaces an earlier modern foliation in ink, which was entered only on those pages with music (e.g., f. 69 bears the modern folio number 10). All guard sheets are blank. Blank staves only are on ff. 1, 3-38, 46-68, 81-90. Folios 1-38 have 10 staves per page (5 systems of 2 staves); folios 39-68 have four systems of 3 staves; folios 69-90 have 3 systems of 4 staves. The sole copyist is Marco Marazzoli, but the compositions were not entered at the same time (see Illus. 12). Unlike his usual manner, the music does not read across the opening, verso to recto, and back to the verso. Attributing the works to him is provisional, since the entries are fair copies and not compositional drafts or sketches. His earliest known association with Cardinal Antonio Barberini dates from 1631. The approximate dating of this volume extends from the time Antonio took up permanent residence in Rome at the Palazzo Barberini alle Quattro fontane until he fled the city in 1645, but it could have been begun around the time that Barb. lat. 4374 was initiated by Luigi Rossi, after 1641.Barb. lat. 4375-4376

Barb. lat. 4376 1656-57?, 320 × 226 mm, III.220.III ff., 12 staves, 2 hands

Score to the opera DAL MALE IL BENE (f. 5), an opera commissioned by the Barberini (Cardinal Carlo), with music by Antonio Maria Abbatini and Marco Marazzoli (Rome, Palazzo Barberini, 1654 and 1656). The libretto is by Giulio and Giacomo Rospigliosi. For the cast of characters, see Barb. lat. 4387, from which this codex may have been copied. Online in DVL. 1 (ff. 1-4) Prologo. Fortuna: Il biondo crin che su la fronte accolto, S/ TrTrB, G major, 5 strophes in variation (without the address to Queen Christine of Sweden). Desinet “germoglia tal hor dal male il bene,” with closing ritornello in G major scored BTrTr. 2 (ff. 5-67v) Atto p.o. Leonora: Dunque, o lieta novella, il mio caro germano, S/B. In eight scenes. Desinet “speme non perde mai …”; (the closing trio is incomplete). 3 (ff. 69-131) Atto secondo. D. Diego: Ecco che pure al caro oggetto io torno, T/B. In eleven scenes. Desinet “ma son d’altri i contenti e mie le pene.” 4 (ff. 133-220v) Atto terzo. D. Fernando: È stato al fin d’ogni mia speme il frutto, A/B. In fifteen scenes. Desinet “e tragge a suo piacer dal male il bene.”

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511

Bound in parchment (330 × 230 mm) embossed with the arms of Cardinal Francesco Barberini senior on front and back covers, with Barberini bees in the corners of a double-bordered rectangular design and also in the five panels of the spine (two are worn and one covered by a BAV sticker). In the top panel is written the number 3128 (by an 18th-c. hand?); below the gilt bee, a modern hand has written the number 144 in black ink, followed in the second panel by XLVIII in pencil. Two sets of ties on the long side are lacking. Gilt edges. Inside the front cover is another BAV sticker and, in a modern hand, the previous shelfmark XLVIII-144-. The volume consists of 55 gatherings of two bifolios each, all of paper with the watermark of the praying cleric/saint in a shield (of the general type HEAWOOD 1352), excluding the original guard leaves, which have an anchor in a circle. Upper margins have been trimmed. Front and back guard leaves are blank; blank staves only are on ff. 68 and 132. The foliation in ink is modern. Finely drawn, decorated initial letters begin each act. The first copyist (A) appears to be Antonio Maria Abbatini. In May of 1657 Cardinal Francesco ordered payment to Abbatini for a copy of DAL MALE IL BENE (LAVIN 1975, Doc. 2). This may be that copy, notwithstanding the change to a second copyist (B) on ff. 157-220, who is copyist E of Barb. lat. 4387. The first hand (Abbatini) is the same as that for the prologue and act I in Barb. lat. 4387 (composed by Abbatini). Cancellation marks for the duets in act III, scenes 7 and 13 have been removed. For further commentary and bibliography, see Barb. lat. 4387. In June of 1656 Abbatini had the Barberini pay 3 scudi and 50 baiocchi to Pompeo Colonna’s music copyist for this opera; he may be Hand B here (ArchBarb Gius.I.115, f. 265: “Io infrascritto ha riceuto dal s.r Santini scudi quattro e baiocchi 50, sono tre scudi per copiature pagati da me al copista dell’Ecc.mo prencipe di Galgano [Gallicano] per la comedia Dal male il bene, e giuli quindici per pagare il s.r Marco del violino per tre sere che lo chiami a suonare a la detta comedia. Questo dì 14 giugno 1656. Io Ant.o M.a Abbatini m.o pp.a” (Illus. 13).Barb. lat. 4376-4386

Barb. lat. 4386 1647?, 335 × 225 mm, II.326.I ff., 12 staves, one hand

Score to the COMEDIA/ CHI SOFRE SPERI/ POESIA/ DELL’ ILLUVSTRISSIMO MÕN./ RVSPIGLIOSI/ Posta in Musica/ DALLI SIGNORI/ VERGILIO MAZZOCCHI E MARCO/ MARRAZZOLI (f. 1). A first version of the opera was performed at the Palazzo Barberini alle Quattro fontane

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in 1637; this score is related to a second production there in carnival of 1639. The librettist is Giulio Rospigliosi. In the prologue the characters are four nymphs Eurilla, Lilla, Licori, Clori (SSSS), Voluttà (S), Otio (S), Virtù (S). In the drama the characters are Egisto (S), Silvano (B), Zanni (T), Coviello (T), Moschino (S), Eurilla (S), Silvia (S), Colillo (S), Fritellino (S), Lucinda (S), Alvida (S), Rosilda (S) Dorillo (S), Fileno (Ms), Titiro (T), Dafne (S), Lidia (S), Nerea (S), Clori (S), Ergasto (B). Additional characters in Intermedio I: Cavaliere (T); in Intermedio II: merchants (SSSSAATTB), butcher (B), Narnese (T), Donna/Dama (S). Online in DVL. 1 (ff. 1r-v) Prologo. Sinfonia, TrTrBB, F major. Both bass staves have continuo figures. Barb. lat. 4386 2 (ff. 2-21v) Prologo. Choro di 4 Ninfe: Al mormorio di vago rio. Desinet “chi soffre speri.” 3 (ff. 22-75v) Atto primo. Silvano: Antico è l’edifitio e vago. In nine scenes. Desinet “al sen trova spes co i mosch[’] im man.” 4 (ff. 76-92) Intermedio [I]. Zanni: Ah dimmi un po’ paisan. Desinet “Allo scampo, allo scampo” (SSATBB). 5 (f. 92v), Sinfonia, TrTrBB, G minor. 6 (ff. 93-171v) Atto 2.o. Rosilda: Con sì veloci passi, Alvida, io son già stanca. In [13] scenes. Desinet “che vedrom i fiol tra l’ultima zent.” 7 (ff. 172-250) [Intermedio II]. Alla fiera, alla fiera, la vaga primavera, SSATB + SSATB/B. Desinet “e qui cessi ogni lavoro.” 8 (f. 250v), Sinfonia, TrTrB, C major. 9 (ff. 251-308) Atto 3.o. Dorillo: Se non c’è tempo più perso (2 str.). In 13 scenes. Desinet “e a garga gorgogliscan, gorgogliscan a gara i oselet” (f. 307v), with closing Ballo, B only, C major. 10 (ff. 308-325v) Intermedio [III]. Fiori (Eurilla, Lilla, Clori, Licori): Su, su, predate dell’herbe. Desinet “gioire il prato e risonar le valli” (f. 323v), with closing instrumental Ballo in 8, SB, A minor. Bound in parchment (345 × 230 mm), with heavily worn edges. On the spine a modern hand has written the number 154 above a pink BAV sticker and below it, XLVIII. Inside the front cover is a rectangle from an earlier pastedown with XXXX VIII-154 written in pencil. In 81 fascicles of two nested bifolios each. Only three types of watermark appear, all associated with Rome: cleric/saint in shield (HEAWOOD type 1352); six-pointed star

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over crown (HEAWOOD type 1120), and an anchor in a circle with a star above, on the second original front guard leaf (MAHONEY 4). The first front and back flyleaves are modern. The foliation in ink is original; it omitted the number 306. The continuous copying across regular gatherings, relative lack of basso continuo figures, and uncorrected errors preclude the possibility that this is a composing or performing copy. It may be the copy made by Giovanni Antonio Carpano for Cardinal Antonio Barberini junior in 1647, paid for by his brother, Card. Francesco (see MURATA 1981, Doc. 13, p. 262). This is the earliest Barberini opera to survive in ms. score. SCHRAMMEK WV n. 78. Another copy, found and described by Barbara Nestola (NESTOLA 2007) is F-Pn Rés. 1355 (1-3); it bears the arms of Carlo I Cybo Malaspina, and was made by a Roman copyist, probably Bernardino Terenzi. A facsimile edn of the Barberini score is L’Egisto overo Chi soffre speri (New York and London, 1982), ITALOPERA, vol. 61. A facsimile of the 1639 argomento and one of several ms. libretti is in Italian Opera Librettos 16491770, vol. 14 (New York and London: Garland Publishing, 1983). A modern edn of the libretto by Massimiliano Chiamenti, though from one of the latest text sources, is in Giulio Rospigliosi. Melodrammi profani, Danilo Romei, series ed. (Florence 1998), pp. 53-146. Musical excerpts in modern edition include GOLDSCHMIDT 1901, pp. 312-324 and MURATA 1981, pp. 263-288. REINER 1961 equated payments to the two composers and their division of labor based on this score. A score related to the second intermedio known as La Fiera di Farfa (Chigi Q.VIII.190) is described in WITZENMANN 1969, pp. 68-69; see also HAMMOND 1994. One aria exists in I-Bc Q.46, ff. 42-43v, which was also published in Bracciano1646 (SCHRAMMEK WV n. 85). For further sources for the text, musical concordances, Virgilio Mazzocchi’s expenses for the 1639 production, and further bibliography, see SCHRAMMEK 2000, pp. 240-259; 361-363; MURATA 1981; BIANCONI-WALKER 1984; TAMBURINI 1997, pp. 241-246; DAOLMI, esp. pp. 56-62; see also bibl. below. Further Bibl.: ADEMOLLO, ALESSANDRO. Una rappresentazione celebre nel Teatro Barberini (1639), in Rassegna settimanale n. 177 (1881). PURCIELLO, MARIA. And Dionysus Laughed: Opera, Comedy and Carnival in Seventeenth-century Venice and Rome. Ph.D. diss., Princeton University, 2005. ROMEI, DANILO. Banca Dati Giulio Rospigliosi . TAMBURINI, ELENA. Gian Lorenzo Bernini e il teatro dell’Arte. Florence 2012 (Storia dello Spettacolo, Saggi, 20), pp. 87-104.

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——. Per uno studio documentario delle forme sceniche: i teatri dei Barberini a gli interventi berniniani, in Tragedie dell’Onore nell’Europa Barocca, ed. M. CHIABÒ and F. DOGLIO, Rome 2003, pp. 255-275.Barb. lat. 4386-4387

Barb. lat. 4387 1653-1656, 345 × 235 mm, I.220.I ff., 12 staves, 5 hands

Score for the opera DAL MALE IL BENE (f. 5), music by Antonio Maria Abbatini and Marco Marazzoli to a libretto by Giacomo and Giulio Rospigliosi, first performed at the Palazzo Barberini alle Quattro fontane, 12 February 1654 and again during carnival of 1656. Related to the manuscript libretto BAV Vat. lat. 13355, this score bears additions, corrections, and cancellations that were later incorporated into the score Barb. lat. 4376. The roles are Fortuna (S, prologue only), Leonora (S), Marina (S), Fernando (A), Tabacco (B), Diego (T), Elvira (S), Voce (T, brother of Elvira). Online in DVL. 1 (ff. 1-4) [ANTONIO MARIA] ABB[ATI]NI. Prologo. Fortuna: Il biondo crin che su la fronte accolta, S/TrTrB [= VVbc], G major, 5 numbered strophes (1-4 and 6 of the 1656 version). Desinet “germoglia talhor dal male il be[ne].” 2 (ff. 5-67v) Atto P.a [sic]. Leonora: Dunque o lieta novella, S/B. In eight scenes. Desinet “Dunque sia viva sempre, sempre la spene.” Folios 32-38 contain an added scene (I:5); the old ending of I:4 on f. 38 is crossed out; the heading of the old scene 5 is corrected to scene 6. In I:8 (ff. 61v-62) two alternative lines are given for “Una voce”; one is cancelled. 3 (ff. 69-132v) [MARCO] MA[RA]Z[ZO]LI. Atto Secondo. D. Diego: Ecco che pure al caro oggetto io torno, T/B. In ten scenes. Desinet “Ma son d’altri i contenti, e mie le pene.” 4 (ff. 133-220v) Atto Terzo. D. Fernando: È stato al fin d’ogni mia speme il frutto, A/B. In thirteen scenes. Desinet “E tragge a suo piacer dal male il bene.” On f. 175 a change of composer is marked: “Atto 3.o Scena [10]. Abb.ni.” Bound in parchment (350 × 239 mm). On the spine an 18th-c. hand (?) has written the number 2806, below which a modern hand wrote the number 155 in black ink; between the two numbers a more modern hand has written the previous shelfmark XLVIII in pencil. Below the three numbers is a pink BAV sticker. Inside the front cover is another sticker and XLVIII /

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155 in ink. Two sets of ties between front and back covers on the long edge are lacking. The only watermark is associated with Rome (praying cleric/ saint in shield, HEAWOOD general type 1352). The prologue and act I are in gatherings of two bifolios except for ff. 6-11 and 61-64ter of three bifolios, and folio 5, which is a singleton. Catch words exist from f. 1 to 10v. A page has been removed between ff. 13 and 14, shortening the aria E che farete amante (I:1). Catch words resume at f. 18v, 22v, 26v, etc. The bifolio 31/40 is wrapped around ff. 32-37 and the single bifolio 38/39 was added to make up the newly added scene 5. The gathering ff. 61-64 is in one hand for ff. 61-62 and another for ff. 62-64 and has had its last two pages removed. Act II is in six gatherings of five bifolios, concluded with a single gathering of two (ff. 129-132). Marazzoli’s scenes in act III are made up of three gatherings of five bifolia, one of four (ff. 143-150), and one of two (ff. 171-179). Abbatini’s portion of act III is of seven gatherings of three bifolia, concluding with a single gathering of two. The original foliation in ink, ff. 1-98, is followed by modern foliation in ink for ff. 99-220 (the modern hand has also redundantly written “1” on the first folio). Front and back flyleaves are blank, except for f. [I] on which a seventeenth-century hand has written “pag: 65” and “aria pag. 96” (where there is no aria). Folio 68 has blank staves only. Barb. lat. 4387 Act I is by a single hand throughout (copyist A, Abbatini), who also copied parts of the other fair Barberini score of DAL MALE IL BENE (Barb. lat. 4376, q.v.). See Illus. 14. The added scene 5, however, is by copyist E, who copied ff. 157-220 of the second Barberini score for Dal male il bene (Barb. lat. 4376); Hand E is also the copyist of Barb. lat. 4163, most of Barb. lat. 4200 (hand A), and a few pieces in Barb. lat. 4205 (hand B) and 4204 (hand B), as well as the full score of IL PALAZZO INCANTATO in I-Bc BB.255. Copyist B for act II and act III to f. 174v is Bernardino Terenzi, who copied several opera scores in the Chigi collection (Q.V.53, Q.V.56, Q.V.58, Q.VII.101-102) and cantatas in Barb. lat. 4203 (Hand B), Barb. lat. 4220 (Hand C), Barb. lat. 4219 (Hand B), and Barb. lat. 4223 (Hand C); the three latter volumes are dated 1654, 1656 and 1658, respectively. Act III, scene 10 to the end of the opera seems to alternate with no pattern between two yet further different hands (copyists C and D) up to f. 205v, after which C continues. The closing madrigal however, from f. 215, is partly in the hand of Act I (Abbatini), with some texts added by other hands. The duet in III:13 exhibits many corrections, cuts, and additions. For Hands A and B, see Illus. 14 and 15. The original state of the ms. precedes that of Barb. lat. 4376 (q.v.). The libretto is based on the Spanish play No ay bien sin ageno daño by Antonio Sigler de Huerta, published in Madrid in 1652 when Giulio Rospigliosi

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was papal nuncio in Spain. A unique ms. of the Spanish play is Barb. lat. 3494. Among contemporary leaves loose in the score are three containing dialogue text for characters in this opera, but not from any known libretto source. These are described below as Barb. lat. 4387a. For the 1654 printed argomento, present in BAV Vat. lat. 13335, see FRANCHI 1654/1. For surviving stage directions see DAOLMI (available at http://www.examenapium.it/barberini/). Other copies of the complete score are I-Bc Q.50.3, D-MÜs Hs. 5 (Act I) with I-Rsc ms. G.24-25 (Acts II-III); and I-IBborromeo AU.001 (not seen; BOGGIO, p. 3). Sources for the libretto (11) and other musical concordances (in addition to arias in Barb. lat. 4168 and 4136), as well as an index with first lines of arias are in MURATA 1981. The libretto as edited by Teresa Megale, though from one of the latest textual sources, is in Giulio Rospigliosi. Melodrammi profani, Danilo Romei, ed. (Florence 1998). Musical excerpts in GOLDSCHMIDT 1901, pp. 325-348; MURATA 1981, pp. 348-368. One aria is arranged in L. TORRI, Quattro arie tratte da melodrammi italiani del secolo 17, Padua 1917. See also CILIBERTI below, pp. 263-330 (which reproduces extracts verbatim from earlier studies and commentaries). Barb. lat. 4387-4387a Other Bibl.: ANDRAE, A. K. Ein römischer Kapellmeister im 17. Jahrhundert: Antonio Maria Abbatini (ca. 1600-1679). Studien zu Leben und Werk. Herzberg 1986. BAJINI, I. “Recitato. Cantato. Da un dramma di Antonio Sigler de la Huerta a un libretto d’opera di Giulio Rospigliosi” in Intersezioni. Spagna e Italia dal Cinquecento al Settecento, ed. Maria Teressa Cattaneo. Diagonal no. 3 (1995), pp. 67-101. CILIBERTI, G. Antonio Maria Abbatini e la musica del suo tempo (1595-1679): documenti per una ricostruzione bio-bibliografica. Perugia 1986. DAOLMI, D. La drammaturgia al servizio della scenotecnica. Le volubili scene dell’opera barberiniana, in Il Saggiatore Musicale 13/1 (2006), pp. 1-114. With supplementary material at http://www.examenapium.it/barberini/.

Barb. lat. 4387a 17th c., 193 × 130 (3 ll.).), 200 × 137 (1 l.).) 4 ff., one hand

One bifolio (A) and two loose single leaves (B and C) with dialogue text in the hand of Giacomo Rospigliosi for characters in the opera DAL MALE IL BENE. The order of the leaves here is hypothetical. At one time they were located at f. 200. The upper leaf of the bifolio is blank. (A recto) Se la prometta sorte è Dio che manda. Desinet “Inquieto è sem-

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pre, et ha dolcezze amare.” (A verso) Don D[iego]: Lodato il ciel a far ancor più lieto. Desinet [Tabacco]: “Marina a Dio, io già romito sono.” (B recto) M[arina]: Vanne nella buon hora. Desinet [D. Elvira]: “Non sia l’alma ritrosa.” (B verso) [D. Elvira]: a seguir pronta alto voler di Cielo. Desinet [Tabacco]: “Un povero romito.” (This line and two above it have been cancelled.) (C recto) Noi ce n’andiamo e a voi e D. Fernando. Desinet [Tabacco]: “Che cerca charità.” (C verso) Dhe, movetevi a pietà. Desinet [D. Elvira]: “E poi dal male ne nacque eterno bene.” Barb. lat. 4387a-4388 Three paper markers appear no longer to be present. They were (at f. 51) folded paper with the name “M.a Pacifica” in ink and numbers in pencil; a folded marker, fragment from a printed book of the 17th century; (at f. 179) a paper marker, incipit: “Sor Angela Vittoria mia gli mordo si B…” Exemplars of Giacomo Rospigliosi’s hand are in the corespondence preserved in BAV Vat. lat. 13371, for the years circa 1659 to 1661. On 16 and 22 Feb. 1660, he wrote to his brother Vincenzo in Avignon, promising to try to have copies made of Dal male il bene as well as Marazzoli’s Armi e gl’amori: “se le havere appresso di me l’invierei senza farle copiare, ma io non li tengo …” (f. 6r-v; 46r-v). In April he reports that he has sent “le due comedie in musica, e le parole di esse senza la musica” (f. 30).

Barb. lat. 4388 After 1641, 344 × 239 mm, I.[262].III ff., 12 staves, one hand

Condensed (continuo) score to the opera IL PALAZZO INCANTATO, composed by Luigi Rossi to a libretto by Giulio Rospigliosi for Cardinal Antonio Barberini junior (Rome 1642). Ensemble pieces for chorus or orchestra are represented by only soprano clef or violin lines, with basso continuo. See Barb. lat. 4389 for the cast of characters, comments, and bibliography. Online in DVL. 1 (f. 1), Sinfonia del prologo, B only (continuo), G minor. 2 (ff. 1v-11v) Prologo. Pittura: Vaghi rivi, perché andate fuggitivi, S/B. Desinet “Il famoso guerrier cada nel laccio.” 3 (ff. 12-94v) Atto primo. Angelica: Lassa, chi mi soccorre?, S/B. In fourteen scenes. Desinet “Oh che lieve ingannar chi tosto crede” (f. 94), with closing Ballo in G major (Tr/B).

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4 (ff. 95-213v) Atto 2.o. Rug[gier]o: Deh dimmi, aura cortese, T/B. In seventeen scenes. Desinet “si dileguò,” with closing ritornello in F (B only). 5 (ff. 214-271) Atto 3.o. Ruggiero: Per quel punto felice in cui divenni, T/B. In nine scenes. Desinet “A.10. Vincer gl’ inganni e trionfar d’Averno. Finis.” Bound in parchment (357 × 255 mm) with an original binder’s title Il palazzo incantato. A modern hand has also written the number 156 in black ink on the spine, above a pink BAV sticker; lower is written the previous shelf mark XLVIII, also in black ink. Inside the front cover is another BAV sticker and in pencil XLVIII – 156. The watermarks are associated with Rome; all are the praying cleric in shield except for f. 124, which has a crown and star (HEAWOOD general types 1352 and 1120). In 65 gatherings of two bifolios, except for a single bifolio, numbered ff. 270-271. The original foliation in ink is numbered 1-160, 170-271; thus there are only 262 folios. Front and back flyleaves are blank. Occasional passages are lacking text. The single professional hand is Roman. (RICCIARDELLI, pp. 81-83, considered this codex a Rossi holograph, which it is not.) This score was possibly copied from the revised version of Barb. lat. 4389, q.v. for further comments. Act II, scene 9 (Dove mi spingi, Amor, from f. 127) is headed with the MAP monogram of Marc’Antonio Pasqualini, as in Barb. lat. 4389. He is likely the composer of this solo scene, which he sang.Barb. lat. 4388-4389

Barb. lat. 4389 1642, 340 × 236 mm, II.223.III ff., 12 staves, two hands

Condensed (continuo) score to the opera IL PALAZZO INCANTATO (also known as LEALTÀ CON VALORE, LA GUERRIERA AMANTE, and IL PALAZZO D’ATLANTE), composed by Luigi Rossi to a libretto by Giulio Rospigliosi for Cardinal Antonio Barberini junior, and first performed at the Palazzo Barberini in Rome, 21 February 1642. Only S/B scoring is given for choral ensembles; upper string parts are omitted for accompanied arias, and only violin and bass are given for instrumental ensembles. Characters in the prologue are Pittura (S), Poesia (S), Musica (S), Magia (S). Characters in the drama are Angelica (S), Gigante (B), Orlando (T), Bradamante (S), Marfisa (S), Ferraù (T), Sacripante (B), Ruggiero (T), Alceste (A), Fiordiligi (S), Prasildo (S), Gradasso (B), Mandricardo (B), dama (S), altra dama (S), Atlante (A), Olimpia (S), Idalia (S), Doralice (S), Iroldo (T), Cacciatore

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(T), Nano (S), Astolfo (T), Eurinda (S), and Fioralba (S). Two ms. libretti are Barb. lat. 3857, with emendations and the most complete, and Barb. lat. 3858, a fair copy of the former. Corrections, revision and cancellations appear in all the acts, some corresponding to changes made to the earliest libretto, Barb. lat. 3857. These changes in Barb. lat. 4389 are incorporated into the score Barb. lat. 4388. Online in DVL. 1 (f. 1v) Sinfonia, B only (continuo), G minor. 2 (ff. 2-12v) Prologo. Pittura: Vaghi rivi, perché andate fuggitivi, S/B. Desinet “Il famoso guerrier cada nel laccio.” 3 (ff. 13-82) Atto primo. Angelica: Lassa, chi mi soccorre?, S/B. In fourteen scenes. Desinet “Oh che lieve ingannar chi tosto crede” (f. 81), with closing dances in G major. Barb. lat. 4389 4 (ff. 83-171) Atto 2.o. Ruggiero: Deh dimmi, aura cortese, T/B. In seventeen scenes. Desinet “ogni paura pur al fin si dileguò,” and closing ritornello in F (B only). 5 (ff. 172-223v) Atto 3.o. Ruggiero: Per quel punto felice in cui divenni, T/B. In eight scenes. Desinet “Vincer gl’ inganni e trionfar d’Averno.” Bound in parchment (350 × 245 + 19 mm). The long sides of front and back covers fold inward; two sets of ties on this side are lacking. On the spine is the number 157 written in black ink by a modern hand above a pink BAV sticker. Another sticker is on f. [Iv]. The uniform Roman watermark is the star over a crown (of the general type HEAWOOD 1120), except for the end papers. Many pages are pasted or tipped in, and others have been cancelled, making gatherings of one to five bifolios, although quaternions are the norm. The modern foliation in ink is consecutive according to pages with music on them; blank rectos or versos are not numbered. The modern flyleaves, ff. [I] and [226] are blank. Of the original flyleaves, f. [224] is blank. On f. [II] is written: “Sig.re Francesco”; on f. [225] the copyist has written “fogli 110,” possibly the original number of bifolios. One professional copyist (Hand A) is responsible for the entire score; however alterations to the aria in act II, scene 9 (f. 109r-v), headed by the monogram MAP, are in the hand of Marc’Antonio Pasqualini; he originally sang the aria in the role of Bradamante and likely composed it (Barb. lat. 4175, n. 9 and Barb. lat. 4223, n. 27 are versions of it). RICCIARDELLI, p. 81 considered the ms. a Rossi holograph, which it is not. An arrangement of the Avignon Corrente from act III appears in Barb. lat. 4182. Three scores exist in addition to the two Barberini condensed scores.

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One is GB-Lcm 546 I-II (olim Sacred Harmonic Society ms. 1867). Facsimile edns of two full scores are Il palazzo incantato overo La guerriera amante (BAV Chigi Q.V.51), New York and London 1977, and Il palagio d’Atlante overo la Guerriera amante (I-Bc Q.50.2 = BB.255), Bologna 1983 (pages from this score are reproduced in RICCIARDELLI [1990], pp. 189-234). A facsimile of the 1642 argomento and a manuscript libretto is Italian Opera Librettos: 1640-1770, New York and London 1979, vol. 8, n. 1. For the argomento, see also FRANCHI 1642/2. Modern editions of the libretto include Danilo Romei, ed., Melodrammi profani / Giulio Rospigliosi, Florence, 1998 (from which Palazzo incantato only was reissued, n.p., Lulu, 2013), and Il palazzo incantato di Atlante: overo La guerriera amante (Torremaggiore 1998), published in the program book for the first modern performance, Teatro Comunale Luigi Rossi, Torremaggiore, 1 November 1998, under musical director Annibale Cetrangolo (http://www.ifontanaritorremaggioresi.com/files/il-Palazzo-incantato-di-Atlante-1.pdf). For further original sources of the libretto (in eleven non-Barberini sources), scores, arie staccate (in thirteen non-Barberini sources), and the cast, see Gabriella MINGHETTI, Ricerche sul “Palagio … d’Atlante” di Luigi Rossi, in Quadrivium 10 (1969), pp. 135-147, and MURATA 1981. Further aria concordances are given in CALUORI 1981, vol. 2, pp. 203-204. Excerpts in modern edition are ZANON 1953, pp. 3-4 (transposed); LANDSHOFF 1912, I, pp. 33-35; GOLDSCHMIDT 1901, pp. 385-388; GHISLANZONI 1954; and MURATA 1981. See also KÜFFEL; HAMMOND 1994; DAOLMI, pp. 68-69; and Danilo Romei, Banca Dati “Giulio Rospigliosi” . Barb. lat. 4389-4428

Barb. lat. 4428 1630-1653, 495 × 380 mm, [I + I] ff., 121 pp., [I + I] ff., one hand

CANONI DI DIVERSI STVDI DI PIER FRANCESCO VALENTINI ROMANO ET VNA MESSA DELLA FERIA DEL MEDESIMO IN CANONE A Dieci Voci In Due Chori, Ciascuno de’ Quali è formato di Cinque Voci. ET ANCO VNA DIMOSTRATIONE ARMONICA OPERA ET INVENTIONE DELL’ ISTESSO PIERFRANCESCO … ET ANCORA VN’ALTRA DIMOSTRATIONE ARMONICA ET DILVCIDARIO DELLE PITTAGORICHE PROPORTIONI … (p. 1). Each of the fifty-seven canons is provided with a resolution in score, except for those canons in unison. Two have basso continuo accompaniment (nn. 18, 22). Valentini included earlier printed

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editions of 1631 and 1645 for eight items (see nn. 1, 2, 6, 8, 42, 43, 51, 60). One canon (n. 50) is dated 1644. The first fifty-two canons are each illustrated by an apposite engraving, pasted in; only musical illustrations are noted here. The Valentini arms accompanies n. 21. Valentini appears to have prepared the manuscript himself and is the author of all or part of several texts (nn. 1, 6, 22, 26, 33). Slash marks here (/) divide vocal choirs. The last item is a game board printed in 1645. A detailed study of this volume is in chap. 5 and Appendix I of G. GERBINO, Canoni ed enigmi (see Bibliography at end). Online in DVL. 1 (pp. 3-5) Gaude Virgo gloriosa, mundo fragans sicut rosa, SATB/ SATB/ SATB/ SATB, finalis F, quadruple canon for 16 voices, 9 strophes. See also nn. 50-51 below. The first strophe is realized in score on pp. 4-5. Part of the text is by Valentini himself, according to Barb. lat. 4418, pt. 3, p. 8. Manuscript partbooks exist in I-Ras Biblioteca ms. 369, nn. 12 and 14. A note by Valentini refers to changes made to the print (n. 51 below). The engraving shows the assumption of the Virgin and a musical ensemble of angels. A facsim. is in WUIDAR, p. 120 (see Bibl. at the end of this scheda). 2 (pp. 6-7, [64infra = 63bis]) Cantabimus canticum novum, SATB/ SATB/ SATB/ SATB/ SATB, finalis F, quadruple canon for twenty voices. The second subject is sopra le vocali. The “spartitura e resolutione” is given on p. 7. This canon as published by A. Fei (Rome 1645) is included on p. 63 in this volume (the lower portion of the double-foldout forming the bottom of p. 64); see also Barb. lat. 4418, pt. 1, p. 67. A facsim. of p. 7 and the print are in WUIDAR, pp. 122-123. Manuscript partbooks containing this canon are in I-Ras Biblioteca 369, n. 13. Barb. lat. 4428 3 (p. 8) Ave Maria gratia plena … Benedicta sit Sancta Anna, SSTT, finalis C, a double canon in due modulationi. 4 (p. 9) Profer lumen caecis, TrMsT or MsAT, finalis A, canon sopra le vocali con due resolutioni a tre voci … et ambedue si possono cantare a due voci. Facsimile in WUIDAR, p. 134. 5 (p. 9) Mala nostra pelle, ATB or SATB, a transposing canon sopra le vocali con due resolutioni. 6 (pp. 10-11, [61infra = 62bis]) Nemini parco, ATTBar or AAATTT, canon sopra le vocali. The resolutions are provided along with two expanded versions on p. 11 that begin Ego mors nemini parco. The second expanded version, printed Rome 1645, is included on the bottom of the double foldout that forms p. 61 of this volume. A handwritten annotation on the back of p. 62bis states that the text of Ego mors nemini is by Valentini.

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7 (p. 11) Regina coeli laetare alleluia, canon sopra le vocali for five voices at the unison, finalis D. See the emended version, n. 56 below. 8 (p. 12, [61infra = 62bis]) Quasi Aurora consurgens, canon sopra le vocali for ten voices at the unison, finalis F. The printed version (Rome 1645) is included on p. 62bis in this volume. 9 (p. 13) Sancte Petre et Francisce orate pro nobis, TrTrTT, finalis G (dorian), canon sopra le vocali in four parts. 10 (p. 13) Sancte Valentine ora pro me, finalis G (dorian), canon sopra le vocali for five voices at the unison. 11 (p. 14) Ave Maria gratia plena, Dominus tecum, TrAAT, finalis D, a puzzle canon with two parts inscribed on a single staff and each doubled at the third. Facsimile in WUIDAR, p. 141. 12 (p. 15) Pater de coelis Deus, TrAABar, finalis A (phrygian), a two part canon with each part doubled at the third: “Si può trasportare e cantare in molti modi.” Valentini also shows that the canon can be completely notated on a staff of only three lines. Facsimile in WUIDAR, p. 142. 13 (p. 16) Iste confessor Domini sacratus, STB, finalis F, canon in two parts at the fifth with a cantus firmus. 14 (p. 17) Iste confessor Domini colentes, TrMAAT, finalis G, a double canon with three parts at the unison or octave and two parts in parallel tenths that sing only the “note bianche” (white notes) at a sub-quadruple proportion. The OPAC-SBN entry reads the incipit as “… Domini sacratus.” 15 (p. 18) Omnes Sancti et Sanctae Dei, SATB, finalis F, canon for four voices di quinta in quinta sotto. Each voice enters a fifth below the previous one. 16 (p. 19) Cantemus socij cantemus, TrTrTrMsABar, finalis C, canon in five parts with a parte sciolta. Two contrafacta are nn. 49 and 53 below. 17 (pp. 20-21) Fac me vere tecum flere, SATTB, finalis F, triple canon. The first subject is a cantus firmus in the tenor. 18 (pp. 22-24) Sub tuum praesidium confugimus, SATB/B, finalis G, canon in four parts at the fifth and at the octave, with basso continuo accompaniment. Facsimile in WUIDAR, p. 139. 19 (p. 24) Ecce natus est hodie, finalis F, canon at the unison for three or two voices. 20 (p. 25) Mater Christi, TrMsABar, canon sopra le vocali for four voices with two possible resolutions.

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21 (p. 25) Radij solis, et luna insignia sunt domus Valentinorum romanorum, finalis F, canon sopra le vocali for five voices at the unison. The engraved illustration portrays the Valentini arms of three solar rays and a crescent moon described in the text, with lambequins and crescent at the crest that represent the rank of lower nobility. Facsimile in WUIDAR, p. 135. 22 (pp. 26-27) Plebs ergo francigena, BBBB/B, finalis G, canon at the unison with basso continuo, in honor of St. Louis. On p. 27 is an alternative text by Valentini in honor of the Virgin: Gens ergo christicola. 23 (p. 28) Noe, noe, noe, noe psallite, AA, finalis C, canon for two voices; the second sings the inversion. 24 (p. 29) Tota pulchra es, finalis C, canon at the unison for four voices. 25 (p. 29) Hec dies quam fecit Dominus, F major, canon at the unison for six voices. 26 (p. 29) Te rogo virgo, tu sancta Maria, finalis F, canon at the unison for eight voices. The text also is by Valentini. 27 (p. 29) Vinum et musica laetifiant, finalis F, canon at the unison for eight voices. This canon is the same as n. 57 below. The engraving illustrates a banquet with two musicians who play chitarrone and viola da gamba. See also n. 59 below. 28 (pp. 30-31) Pater noster qui es in coelis, TrSATBar, finalis C, proportional canon in three parts. 29 (pp. 32-34) Lauda Syon salvatorem, BBBB, a puzzle canon (“Vidi quatuor angelos stantes super quatuor angulos terrae”) with several resolutions, of which seven are given. A facsim. of p. 32 is GERBINO, Fig. 3. 30 (p. 34) Assumpta est in coelum Maria, ABar or TrABar, finalis F, canon sopra le vocali for two or three parts. 31 (p. 35) Assumpta est Maria in coelum, TrB/ TrB/ TrB/ TrB, finalis C, canon for four basses, with each part accompanied by a soprano at the tenth. 32 (pp. 36-37) Beata viscera Mariae, canon sopra le vocali on a single staff line for two, three, and four voices. Valentini gives seventeen resolutions and notes that the canon was published in A. KIRCHER, Musurgia universalis, Rome, Fr. Corbelletti, 1650, p. 585. 33 (pp. 38-39) Salve Regina coeli, canon sopra le vocali on a single staff line. A puzzle canon for two or four voices that can be sung forward, back-

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ward, and upside down. The text also is by Valentini. A resolution in four voices is given in GERBINO, p. 124. 34 (p. 40) Christe spes animae, canon sopra le vocali on a single staff line, for four voices or two. Valentini includes a version transposed a fifth. Published in KIRCHER MU (see n. 32 above), p. 585. 35 (p. 41) Consolatrix afflictorum, retrograde canon on two staff lines for two or three voices. Valentini gives nine resolutions. 36 (pp. 42-46) Amor quis major patet, canon sopra le vocali on two staff lines for two to six voices, with a version on the contrafactum text Lasso mi fa mortale (facsim. in WUIDAR, p. 131). Valentini gives several resolutions and another version on an abbreviated subject: Salvator mundi. Musical examples of resolutions are in Appendix II of GERBINO (p. 123.) 37 (p. 47) Salvator mundi, T, with several resolutions; see n. 36 above. 38 (p. 47) Sancte Raphael ora pro nobis, canon sopra le vocali for five voices at the unison. 39 (pp. 48-51) Isti quatuor non derelinquuntur (SS) / Duo sunt precepta (AA) / Duae sunt vitae (SSTT) / Quatuor sunt virtutes (BBBB), finalis C, canon “notizzato et motteggiato a undici et anco a dodici voci se piace.” The first three canons are inscribed in three concentric circles, each with its own text and mensuration. A single part for four basses lies within, to be performed in its prime, inverted, retrograde, and retrograde inversion forms. Valentini suggests that the third soprano be omitted due to its difficulty, resulting in an 11-part polytextual canon. Transcriptions and a resolution in 11 voices are in Gerbino, pp. 125-128. 40 (p. 52) Virgo singlularis [sic], SSSSSSTTTTTTBBBBBB, canon sopra le vocali. This canon may be sung in many modes and with more parts. Facsim. in WUIDAR, p. 137. 41 (p. 52) Ad te clamo, SSSS/ SSSS/ SSSS/ AAAA/ TTTT/ BBBB, canon sopra le vocali for 12 voices and 12 voices in retrograde. Facsimile in WUIDAR, p. 137. 42 (pp. 53-54) CANONE NEL NODO DI SALOMONE / A NOVANTASEI VOCI CON LE SVE RESOLVTIONI / DI PIER FRANCESCO VALENTINI ROMANO./ In Roma, Appresso Paolo Masotti. 1631. / This is the published, untexted resolution for a canon published by Valentini in 1629. Suggested texts for the four voice ranges singing the canon are given in manuscript on p. 54, where the knot, written in ink, has been pasted onto the page, along with printed illustrations (facsim. in WUIDAR, p. 127). The text for the so-

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pranos is Haec est sponsa, for the basses Haec est mater, for the contraltos Haec filia, for the tenors, Nostri Dei. Facsimile in WUIDAR, p. 126. 43 (pp. 55-58) RESOLVTIONE SECONDA / Del Canone nel Nodo di Salomone à Cinquecento dodici voci in / Centoventi otto Chori, … / DI PIER FRANCESCO VALENTINI ROMANO. / Colophon (p. 58): IN ROMA, Appresso Paolo Masotti. MDC.XXXI. 44 (p. 59) O Crux benedicta, ST or AB, finalis G, canon sopra le vocali for two voices. 45 (p. 59) Sancte Sebastiane ora pro nobis, AAA, finalis F, canon at the unison for three voices. 46 (p. 59) Vexilla regis prodeunt, finalis F, canon at the unison for four voices. 47 (p. 59) Salvator mundi, S[SS], finalis F, canon at the unison for two or three voices. 48 (pp. 60-63) Benedicta sit Sancta Trinitas, triple canon for 35 or 37 voices. The first canon has ten parts (SSAAAATTBB), the second has five (SSTTB); the third canon has ten (SSSSAATTBB) and ten in inversion (SSSAAATTBB). They are notated in concentric circles. The resolution in score is given on pp. 62-63 in a double fold-out. A facsimile of p. 60 is GERBINO, Fig. 2. 49 (p. 64) Ecce consoni et dissoni praecepta, TrTrTrMsABar, C major, canon in five parts with one free voice, a contrafactum of n. 16 above. Copied from the printed version in KIRCHER, MU, p. [viii]. See also below, n. 53. 50 (pp. 65-67) Innocentius decimus Pamphilius romanus, SSSSS/ AAAAA/ TTTTT/ BBBBB, F major, quadruple canon in 20 parts in five choirs, dated 1644. This is a contrafactum of n. 1 above. Valentini notes that he was to have published this canon but was forbidden by the Sacred Palace, because “il Papa non ha bisogno di esser lodato.” The four subjects are written facing out from each edge of the page. At the center is an illustration of the papal arms and a canon sopra le vocali on the motto below the Pamphili arms, Fluctuum extirpatrix, which refers to the Pamphili dove bearing an olive branch. Facsimile of p. 65 in WUIDAR, p. 113. 51 (pp. 68-69) Gaude virgo gloriosa, quadruple canon in five choirs of four voices. This is the printed version of n. 1 above (Rome, A. Fei, 1645), with two further subjects that can be added. On p. 69, Valentini explains in manuscript how the two new short canons can be resolved and added.

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The engraved illustration, the same as for n. 1 above, is given twice; on p. 68 with the additional subjects on the text Tu coeli alta scandis. A facsim. is GERBINO, Fig. 4, and in WUIDAR, p. 116. 52 (pp. 70-71) Ave Maria tu dulcis mater pia, AAAAAA, finalis F, canon for five contraltos at the unison with one free part. Facsim. of f. 70 in WUIDAR, p. 84. 53 (p. 71) Te rogo dulcis pia, TrTrTrMsABar, finalis C, canon in five parts with one free voice (Tr), a contrafactum of nn. 16 and 49 above. 54 (p. 72, 92bisr-v) Christe eleison, TrMsABar, finalis F, canon quaternis vocibus de quinta in quintam, in score. A musical sketch for this canon is bound between pp. 92-93. 55 (p. 72) Christe eleison, TrMsABar, finalis G, canon quaternis vocibus de quarta in quartam, in score. 56 (p. 73) Regina coeli laetare, finalis D, canon for seven voices at the unison sopra le vocali, an emendation of n. 7 above. 57 (p. 73) Hic finis est libri Deo gratias, finalis F, canon for eight voices at the unison, a contrafactum of n. 27 above. For a modern copy, see comments below. 58 (pp. 75-90) Messa [Nocte surgentes] della feria con la Gloria senza il Credo in canone a dieci voci, SSATB/ SSATB/ B per l’organo, finalis G. The cantus firmus for each movement is the hymn Nocte surgentes. Canonic procedures vary from section to section of the Mass. The Christe eleison appeared earlier in a canonic mass by an unidentified composer (see p. 78) and also appears in Barb. lat. 4418, p. 45. This mass was not compared with I-Ras Biblioteca 20.E.11, Missae proprium de tempore et sanctorum (on Nocte surgentes).

59 (pp. 91-109) PRIMA DIMOSTRATIONE ARMONICA con la quale le musiche pittagoriche proportioni che ne minimi numeri radicali si ritrovano … Incipit Proemio (p. 91): “Il radoppiamento delle proportioni, che è l’aggiungere ad una, o a più proportioni della medesima natura …” Incipit Dichiaratione della Prima dimostratione armonica: “La presente Dimostrationi (come in essa si vede) è formata di due progressioni geometriche …” (p. 95). Desinet “… opera che essa proportione della Diapason con la Diapente sia stimata indivisibile con numeri interi in due parti eguali (f. 109).”

60 (pp. 111-120) SECONDA

DIMOSTRATIONE ARMONICA ET DILUCIDARIO

DELLE PITTAGORICHE PROPORTIONI,

opera et inventione di Pier Francesco

Valentini, romano” (t.-p., p. 113).

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Allo studioso lettore: “Hanno scritto ordinariamente quelli, che della theorica musica hanno trattato, …” (p. 111). Dichiaratione: “La nascita et la derivatione delle proportioni musicali et in particolare di quelle del Genere Diatonico …” (p. 117). Desinet “… vi si possono aggiungere, et ritrovare le proportioni di quante come l’huomo desidera” (p. 120).

61 (p. 122) PFV. DICHIARATIONE DEL GIUOCO DELLE STELLE. Roma, Appresso Paolo Masotti, 1645. Folio volante. A printed gaming board with a title held aloft by an angel in the center TESORO DELLE STELLE, with the autograph attestation of Valentini’s authorship, and handwritten notes in the margins. Bound in parchment (500 × 385 mm). On the spine is a pink Vatican sticker and the number 37 in ink. On the inside front cover is affixed a small piece of paper on which the shelfmark XLIX.37 is written in black ink (probably from an original pastedown). The present front and back guard sheets are of different paper, the first and last are modern, the second and second-to-last original. Seventeen originally numbered gatherings of two bifolios, except for gatherings VII and VIII (pp. 49-52, 53-58), and gathering XVII of eight bifolios (pp. 107-[126]). The main watermark is a crown with star above (of the type Heawood 1120), but many watermarks are unreadable because the engravings are pasted on the pages. The pagination in ink is original and in Valentini’s hand. Blank folios, other than the guard sheets, are pp. 74, 110, 121. The manuscript title-page is written within a printed floral border that has been affixed to the page. The earliest date of compilation given here is based on a reference in n. 32 to the 1650 publication of Kircher’s Musurgia Universalis; GERBINO, pp. 55-57, infers from a letter by Valentini dated 1646 that a good part of the ms. was compiled before then. Some of these canons may have been published posthumously in Rome in 1655 (see RISM 1655c). The unique copy of the print in I-Ras Biblioteca 20.E.5 was stolen before or in 1977 and could not be consulted. A modern copy of n. 57 is in D-MÜs 4203, f. 2v, along with two other canons attributed to Valentini and two contrafacta on sections from the Missa L’homme armé by Josquin des Prez. The Valentini manuscripts in the BAV had been in the personal library of Cardinal Antonio Barberini, jr.; they entered the family collection in 1672 (cf. REVERBERI, p. 386). Bibl.: M. CASINI CORTESI, P. F. Valentini: Profilo di un musicista barocco, in Nuova Rivista Musicale Italiana 3-4 (1983), pp. 529-562.

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G. GERBINO, Canoni ed enigmi. Pier Francesco Valentini e l’artificio canonico nella prima metà del Seicento. Istituto di Paleografia Musicale. Rome 1995. L. WUIDAR, Canons énigmes et hiéroglyphes musicaux dans l’Italie du 17e siècle, Collection “Études de musicologie,” n. 1, Brussels 2008, chap. III, pp. 105-146.

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APPENDICES

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APPENDIX A.1

LATIN INCIPITS INCIPIT Ad te clamo Alma redemptoris mater a 8 Amor quis major patet Apparuit gratia Dei salvatoris nostri a 8 Assumpta est in coeleum Maria Assumpta est Maria Ave Maria gratia plena … Benedicta sit Sancta Anna a 4 Ave Maria gratia plena a 8 Ave Maria gratia plena Dominus tecum a 4 Ave Maria tu dulcis mater pia Ave mundi spes Maria a 8 Ave Regina celorum a 8 Beata viscera Maria Benedicta sit Sancta Trinitas Cantabimus canticum novum a 20 Cantemus socij cantemus Caro mea vere est cibus a 8 Christe eleison Christe spes animae Confitebor tibi Domine a 8 Congratulamini mihi omnes a 8 Consolatrix afflictorum Credo a 2 Cum pervenisset Lucia Dialogus inter Christum et Animam (title) Dies sanctificatus illuxit novis a 8 Disciplinam et sapientiam docuit eos a 8 Domine in virtute tua a 8 Domine Jesu Christe Due sunt vitae Duo sunt praecepta Ecce consoni et dissoni praecepta

BARB. LAT.

COMPOSER

4428-41 4184-29 4428-36 4184-12 4428-30 4428-31 4428-48

Valentini Palestrina Valentini anon. Valentini Valentini Valentini

4184-10 4428-11 4428-52 4184-15 4184-30 4428-32 4428-48 4428-02 4428-16 4184-14 4428-53, -54 4428-34 4184-33 4184-19 4428-35 657 4204-54 4231-06 4184-16 4184-18 4184-35 4151-39 4428-39 4428-39 4428-49

Palestrina Valentini Valentini Palestrina Palestrina Valentini Valentini Valentini Valentini Palestrina Valentini Valentini Palestrina anon. Valentini anon. Pasqualini Colombani? anon. Palestrina Palestrina Pasqualini Valentini Valentini Valentini

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532

APPENDIX A.1

Ecce natus est hodie Ego mors nemini parco Expurgate vetus fermenta (pt. 2) Fac me vere tecum flere Fratres ego enim accepi a 8 Gaude virgo gloriosa mundo fragrans a 16 Gens ego christicola Gloria (fragment) a 1 Gloria (fragment) a 1 Gloria Clementie pax a 3 Gloria. … qui semper a 1 Gloria. … quos libriata a 2 Gloria. O redentor noster a 2 Hec dies quam fecit Dominus Hic est dies preclarus a 8 Hic est panis qui de coelo descendit (pt. 2) Hic finis est libri Hodie Christus natus est, noe, noe a 8 Innocentius decimus Pamphilius romanus Isti quatuor non derelinquuntur Jubilate Deo omnis terra (pt. 2) Lauda Sion salvatorum a 8 Lauda Syon salvatorum Laudate Dominum omnes gentes a 8 Laudate pueri Dominum a 8 Litaniae B. Virginis Mariae a 8 Litaniae B. Virginis Mariae a 8 Litaniae sacrosanctae Eucharistiae a 8 Litaniae sanctissimi corporis Christi a 8 Litaniae sanctissimi nominis Jesu a 8 Magna est gloria ejus a 8 Magnus Sanctus Paulus vas electionis a 8 Mala nostra pella a 3/ a 4 Mater Christi Missa Ave maris stella a 5 Missa Confitebor tibi Domine a 8 Missa de Beata Virgine a 5 Missa Fratres ego enim [accepi] a 8 Missa Hodie Christus natus est a 8 Missa L’homme armé a 5

4428-19 4428-06 4184-11 4428-19 4184-11 4428-01, -51 4428-22 171-4 171-6 171-5 171-3 171-2 171-1 4428-25 4184-17 4184-14 4428-56 4184-27 4428-50 4428-39 4184-27 4184-25 4428-29 4184-36 4184-34 4184-7 4184-8 4184-5 4184-5 4184-6 4184-35 4184-20 4428-5 4428-20 4183-1 4184-4 4183-4 4184-3 4184-2 4183-3

Valentini Valentini Palestrina Valentini Palestrina Valentini Valentini anon. anon. anon. anon. anon. anon. Valentini anon. Palestrina Valentini Palestrina Valentini Valentini anon. Palestrina Valentini Palestrina Palestrina Palestrina Palestrina Palestrina Palestrina Palestrina Palestrina anon. Valentini Valentini Morales Palestrina Morales Palestrina Palestrina Morales

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533

LATIN INCIPITS

Missa Laudate Dominum omnes gentes a 8 Missa Mille regretz a 6 Missa Pro defunctis a 5 Missa Quem dicunt homines a 5 Missa Queramus cum pastoribus a 5 Missa Si bona suscepimus a 6 Nemini parco a 4/ a 6 Noe, noe, noe, noe, psallite Notas facite in populis (pt. 2) Nunc dimittis servum tuum a 8 Nuntiate filiae Hierusalem dilecto mio

4184-1 4183-7 4183-6 4183-5 4183-2 4183-8 4428-6 4428-22 4184-33 4184-22 4231-5

O crux benedicta O quam suavis est Domine a 8 Omnes gentes plaudite manibus a 8 Pater de coelis Deus a 4 Pater noster qui es in coelis Pater noster qui es in coelis a 8 Plebs ergo francigena Profer lumen caecis, a 2/a 3 Quasi Aurora consurgens a 10 Quatuor sunt virtutes Quis sicut Dominus Deus noster (pt. 2) Radij solis et luna insignia Regina coeli laetare a 8 Regina coeli laetare alleluia a 5 Roma imperatrix orbis Salvator mundi

4428-44 4184-21 4184-23 4428-12 4428-28 4184-9 4428-22 4428-4 4428-8 4428-39 4184-34 4428-21 4184-31 4428-55 4364 4428-36, -37,- 47 4428-33 4201-37 4184-32 4428-9 4428-38 4428-45 4428-10 4184-20

Salve Regina coeli Salve Regina mater misericordie Salve Regina mater misericordie a 8 Sancte Petre et Francisce orate pro nobis a 4 Sancte Raphael ora pro nobis Sancte Sebastiane ora pro nobis Sancte Valentine ora pro me a 5 Sanctus Paulus apostolus predicator veritatis (pt. 2) Sub tuum praesidium confugimus Sub tuum presidium confugimus a 8

4428-18 4184-13

Palestrina Morales Morales Morales Morales Morales Valentini Valentini anon. Palestrina Melani, Alessandro Valentini Palestrina Palestrina Valentini Valentini Palestrina Valentini Valentini Valentini Valentini anon. Valentini Palestrina Valentini anon. Valentini Valentini Pasqualini Palestrina Valentini Valentini Valentini Valentini anon. Valentini Palestrina

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534

APPENDIX A.1

Summe deus maiestatis / Juste judex equitatis a 3 Surge illuminare Hierusalem a 8 Te rogo virgo Tota pulchra es Veni Sancte Spiritus a 8 Vexilla regis prodeunt Victimae paschali laudes a 8 Vinum et musica laetifiant Virgo singularis

1862

anon.

4184-24 4428-26 4428-26 4184-26 4428-46 4184-28 4428-27 4428-40

Palestrina Valentini Valentini Palestrina Valentini anon. Valentini Valentini

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APPENDIX A.2

TEXT INCIPITS AND TITLES IN ITALIAN (& French and English)* A battaglia, a battaglia, amante infido, 4162-21 A battaglia mio cor, ti chiama il cielo, 4289-26 A che darmi al piè catene, 4147-2 A che mi tormentate, rimembranze, 422147 A che sciogliermi le catene, 4130-48 A che tiranno Amore dall’arco tuo, 4146-4 A chi finge e sa tacere, 4155-26 A colei che se di bella, 4200-1 A consiglio, o miei pensieri, 4139-21, 4142-20 A dio, begl’occhi, a dio, tosto, 4130-62 A dio, crudele, a dio, partirò, sì, 4130-69 A dio, tiranna, a dio, vado, 4130-39 A dispetto d’empia sorte, 4155-4 A dispetto di Fortuna l’empio mostro, 4130-47 A dispetto di Fortuna vo’ goder, 4130-47 A gli assalti di beltà, 4147-7 A l’aratro che primiero tornerà, 4206-18 A la difesa, pensieri, su, su, 4204-18, 4221-11 A la gelosa non giova il piangere, 4134-18 A la speranza il pensier, 4143-9 A morire, a morire, infelice mio core, 4147-19 A nulla vale l’usar sodezza, 4229-18 A piè d’un colle in verde piaggia, 4151-27 A piè d’un verde alloro chiuse le luci, 4149-4 A piè del sanguinoso tronco, 4203-10 A’ piedi del soglio l’orgoglio, 4169-43 A quel bel che m’innamora, 4159-24

A ragion l’altrui desio, 4162-6 A schiere sen viene, 4205-7, 4220-6, -28; 4222-29 A tal diletto, a tanto ardore, 4232-1 A te, mio core, a te non ti fidar, 4200-38 A te serve chi al mare dà legge, 4134-19 A un alma ch’è forte è bello, 4141-15 A un amor che non si sa, 4133-59 A una vana meraviglia, 4229-14 A vibrarmi strali, 4157-8 A voi, cara, a voi confido, 4166-40 A voi chieggio pietà, 4207-2 A voi torno o guancie intatte, 4166-3 Abbandonar Fileno dovea, 4139-24, 420631 Acque care, che sì chiare, 4149-1 Ad amarti, se puoi, mi sforza, 4165-5 Ad onta dell’oblio, mie trombe, 4228-5, 4229-21 Ad un’alma innamorata, 4202-4 Ad un gesto ch’innamora, 4142-38 Ad un gesto che rapisce, 4142-38 Addio, crudele, addio, partirò, 4130-69, 4137-39 Additatemi, onde chiare, 4152-15 Adesso è bizzarria saper cangiar, 417025, 4172-18 Adora mio core sembiante, 4175-29, 4220-27 Adorar altro sembiante, 4165-19 Adorata cara speranza, se m’assisti, 4131-5 Affetto più bizzaro di questo, 4208-35 Agl’amori, sì, sì, cor mio, 4206-7 Agl’occhi Amore la benda tolse, 4131-11

* Incipits or titles occurring only in comments are located as 4xxx-00. Titles, none in Appendix C, are in small caps.

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APPENDIX A.2

Ah! che mentiva il guardo, 4205-12, 4223-2 Ah, che narrommi il ver, 4160-17 Ah, che una morte è poco, 4139-5, 4173-6 Ah crudele, chi ti pose, 4148-8, 4149-44 Ah non più, s’armi, 4208-2 Ah, perfido paggio, a un par, 4230-2 Ah senti, l’aura lieta, 4229-2 Ah, speranza del cor, m’hai fatto torto, 4133-61 Ah, tutta al giubilo, al canto, al riso, 4134-13 Ahi, ch’a forza ritenni, 4205-9, 4220-58 Ahi, ch’i lamenti non son possenti, 422052 Ahi, ch’invan le voci io spargo, 4136-13 Ahi, che delira, 4208-31 Ahi, che duol che porto, 4205-41, 421928, 4222-8 Ahi, che piangendo io taccio, 4168-13 Ahi, con piagata mano batterò, 4289-13 Ahi, dolci glorie per mio mal passate, 4150-11 Ahi, duolo, ahi tormento, 4200-33 Ahi, mio sole, e dove sei, 4219-32, 422150 Ahi, miseria infinita, 4220-47, -48 Ahi, non resta al mio duol, 4200-36, 4219-17, 4222-19 Ahi, non torna et io mi moro, 4136-23, 4168-33 Ahi, perché nacqui al mondo, 4289-16 Ahi, Signor, che dite, ohimè, 4205-31, 4221-30 Ahi, tu mi nieghi; io credea crudi, 4151-3 A’ piedi del soglio l’orgoglio, 4169-43 Aita, o cieli, aita. Già dal soglio di Persia, 4200-1 Aiutatemelo a dire, miei sospiri, 4207-2 Al bel che t’invaghì, 4143-24 Al bel lume d’un bel volto, 4204-57 Al cimento pensieri, ecco qua, 4204-52 Al cor dai vita che sta languendo, 4132-4 Al crin di grappi pampinosi, 4185-1 AL CRIN DI GRAPPI PAMPINOSI (filing title), 4185, 4229-1, -2, -4, -5 Al dispetto di Fortuna pur alfin, 4130-47

Al fin m’ucciderete, o miei pensieri, 420629 Al’hor ch’alto più ferve, 4168-20 Al’hor che nel cielo di raggi lucenti, 413614 Al lampo guerriero de’ brandi, 4154-18 Al mio ben voglio esser fida, 4144-27 Al mormorio di vago rio, 4386-2 Al nome solo del dio bambin, 4206-12 Al Padre e l’ Spirto ugual, 4203-8, 4220-2 Al pianto apritevi, occhi dolenti, 4204-25 Al seno stringerai la bella, 4174-22 Al seren di questa reggia, 4142-71 Al suo valore confine anguste, 4228-2b, -6 Al tuo dispetto ti baccierò, 4135-22 Al tuo labro non do fede, 4132-30 ALCEO, L’, 4146-3 Allegrezze d’amore, 4288-6 Alhor ch’ arditamente dico, 4151-15, -16 Alimento del mio core, 4166-41 All’armi, mio core, e contro una spene, 4204-26, 4223-24 All’armi, o mio core, con certa speranza, 4163-16 All’hor che nel cielo di raggi lucenti, 413614 All’offerta d’uno sposo, 4134-53 Alla fiera, alla fiera, la vaga primavera, 4386-7 Alla morte, o peccatore, 4289-9 Alla rocca del pensiero, 4136-7 Alle mura latine, meta de’ miei contenti, 4213-00 Alle note affannose che mandò Zaida, 4200-2 Alle straggi, alle morti, ingrato, 4162-21 Alle straggi guerrieri, infieritevi, 4172-10 Alma bella, dove stai, 4226-2 Alma brilla e non temer, 4154-12 Alma che ti sollievi a un dolce lume, 4151-11 Alma godi ch’ho sciolto i nodi, 4131-29, 4138-8 Alma mia, non voler già, 4219-7 Alma mia, troppo alto aspiri, 4203-3 Alma mia, v’è ancor speranza, 4166-20

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TEXT INCIPITS AND TITLES IN ITALIAN

Alma non prestar fede, 4168-1 Alma non ti lasciar, mai più, 4165-31 Alma, se non mi vendico, 4140-12, 41672 Alma tu non l’intendi, 4159-11 Alma va, non tardar più, 4203-19 Alme fide in amar il sommo bene, 428935 Almen se tu mi lasci, 4144-4, -11, -28 Almeno, o fido cor, ti voglio, 4144-18 Almeno un pensiero, ch’è lampo, 4136-6 Alpi nevose e dure, 4157-3, 4207-18 Altri giri il suo cervello, 4230-1 Altro poi non è l’amar, 4142-45 Amami / Donami ch’io t’amerò (duet), 4162-51 Amante stravagante, più del mio ben, 4159-4 AMANTE TIMIDO, 4220-44, -50 Amanti che dite, 4136-24 Amanti non va così, 4163-14 Amar da ver con cor fido, 4174-12 Amar e non penar possibile non è, 416224 Amar e non temer, no, 4166-5 Amar e non temer vorrei, 4162-35 Amar vorrebbe il cor, 4154-3 Amerò se ben son reso, 4166-4 Amian chi n’ama, sì, 4134-32, 4174-1 AMICI, BUONE NUOVE (filing title), 422915, -16, -17, -18 Amici, buone nuove, il vostro Don Gigutte, 4229-16 AMINTA E DORI, 4227 Amo di quando in quando, 4143-39 Amo Filli e nulla spero, 4221-57 Amo il dio che sempre armato, 4140-28 Amo per servir, servo per sperar, 4171-8 Amo senza speranza, 4169-3 Amo, peno e languisco, 4206-23 Amor arozza i cori, 4204-4 Amor, che cosa sia ancora, 4135-37 Amor, che sarà? Un core che adora, 422115 Amor, che si può far?, 4174-27 Amor, che vuoi da me, 4175-1 Amor con strana doglia, 4208-32

537

Amor, consolami che gelosia, 4149-7 Amor, così si fa, 4163-13 Amor, delle tue pene non mi saprò lagnar, 4134-76 Amor, dimmi s’io devo chiamar, 4151-22 Amor, fa’ quanto sai, non m’innamorerò, 4137-29 Amor, le tue faville nel core, 4162-53 Amor, nel mio penar deggio, 4159-8 Amor non vuo’ pietà, 4150-27 Amor poiche non giovano, 4145-7 Amor, s’io mi querelo, 4175-11 Amor, sai perché così, 4208-10 Amor, se lo puoi cingere, 4158-12 Amor, se mi togli l’amata beltà, 4131-22, 4134-33 Amor, se non m’inganni, 4158-22 Amor, se non vedrò il sol che m’ invaghì, 4140-41 AMOR SEGRETO, L’, 4151-35 Amor, te la perdono, 4150-13, 4168-10 Amor t’intendo, mi vuoi ferir, 4134-68 Amor, tu reggimi, 4144-36 Amor, tu sai perché m’aggiro, 4162-22 Amore ch’ha l’ali volante, 4166-39 Amore che mi consigli?, 4169-13 Amore e Fortuna son puri accidenti, 4135-19 Amore è un tiranno ch’in trono, 4149-27 Amore qual più t’avvanza, 4207-13 Amore, e che sarà? Vorrei saper, 4140-43 Amore, sarò contenta, se tua pietà, 41318 Amori venite, danzatemi, 4166-22 Anch’io bramo, e peno anch’io, 4133-25 ANCOR SATIO NON SEI, 4190, 4192 Ancor satio non sei di riderti, 4190-2, 4192-2 Ancor tu vuoi tormentarmi, 4148-4 Andiamo, e ai nostri cori, 4131-39 Anime voi che siete da le furie, 4150-22 Antico è l’edifitio e vago, 4386-3 Anzi all’hor del dio, 4149-20 Anzi una morte è poco, 4139-5, 4173-6 Apparve a gl’ occhi miei, 4375-4 APPENA SORGE IL DÌ (filing title), 4229-11, -12, -13, -14

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APPENDIX A.2

Appena sorge il dì che sudare, 4229-11 Apra bendato cento pupille, 4169-23 Apri il seno a quei, 4374-26 Arbante, sì mia vita, 4134-28 Ardea di sì bel foco, 4147-22 Ardendo, struggendo, quest’alma, 413220 Ardeva in tanto foco, 4136-16 Ardo amante d’un sembiante, 4131-25, 4134-55 Ardo, o forza d’Amore, 4200-35 Ardo per te, ben mio, ma vuole, 4200-17 ARIA ALLA BARCAROLA, 4132-39 Arma il sen d’una costanza, 4132-14 Armatevi di sdegno, occhi guerrieri, 420436, 4219-30 Armatevi di sdegno, su, su, miei spirti, 4132-8 Armatevi olà, rubelli d’Amore, 4219-14, -14bis Armati, cieca dea di crudeltà, 4147-9 Armati di fierezza per vendicarti, 4143-46 Armati di fierezza, o mio costante cor, 4135-23 Armati di vendetta crudo Amor, 4147-9 Armati mia costanza, siegui, 4141-12 Ascolta, o santo amor del Paradiso, 428931 Ascoltate o viventi quest’alma avventurata, 4289-6 Ascoltate o viventi quest’anima dannata, 4289-8 Assistetemi, o dell’etra immortali, 420622 Assistimi, o sorte, mentr’io, 4162-11 Astri belli, deh mi girate, 4134-48 Astri del ciel tiranni, 4173-6 Astri fieri, astri fatali, 4207-16 Astri placatevi, non più rigor, 4149-46 Astro vago sei pur bello, 4139-11, 414248 Attende il cor mio presagio, 4167-3 Augelin di sete acceso, io ti lascio, 4200-7 Augelletti ch’il volo spiegate, 4165-27 Augelletti che sentite, 4149-36 AUGELLINO, L’, 4200-7 Aure amiche all’alma, 4213-1

Aure coi vostri giri, unite, 4131-20 Aure placide [e volanti], 4145-8 Aure voi che raccogliete, 4154-15 Aure voi che v’aggirate, 4149-36 Aurette vaganti, che i rami, 4130-46 Aurette vaganti, volate al mio ben, 413046 Aurette vezzose, deh, l’ali, 4158-19 Averti ingrato che tanto ardore, 4227-1, -2 Avverti mia vita, che s’un dì, 4205-30, 4221-61, 4222-30 Bacciarla e stringerla se non saprò, 41768 Baraba a noi si dia, 4198-2, 4231-18 Barbara ingrata, ferma, 4149-13 Barbara, mi vuoi morto, 4169-34 Begl’occhi, morrà di duolo, 4163-22, 4204-34, 4210-18 Begli occhi, pietà, son vinto, 4200-19 Begl’occhi tiranni, che pretendete, 420825 Begl’occhi tiranni, e dove s’intesi, 420825 Bel labro, m’offendi a dirmi così, 4140-40 Bel tempo per me se n’andò, 4136-5 Bel volto m’ ancidi, 4168-11, 4175-35, 4220-14 Bell’alba sui fiori stilando, 4149-12 Bell’idolo crudel, pur che vivi, 4171-12 Bell’ombre, che fate, compagne, 4156-16 Bella bocca di cinabro, 4130-14 Bella Cintia ch’il sole sei, 4133-31 Bella cosa sarebbe amore, 4208-34 Bella dea ch’in Cipro, 4201-38 Bella fede, speranza gradita, 4153-7 Bella fiamma del mio seno, 4155-18 Bella Giunia, ora il mio core, 4132-1 Bella infida mi tradisti, 4224, 4226-2, -3, -4, -5; 4229-20 Bella man, mano vezzosa, 4159-3 Bella man, pietosa un dì, 4144-35 Bella man, tu mi risani, 4130-26 Bella mia che il sen m’impiaghi, 4132-22 Bella mia, tu vai fra l’armi, 4130-25 Bella, non più rigor, 4137-10

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TEXT INCIPITS AND TITLES IN ITALIAN

Bella, non ti doler, che per te, 4132-19 Bella sai ch’io t’adoro, 4147-15 Bella speme non partir: sei tu sola, 417613 Bella t’adorerò, 4215-1, 4217-1 Belle ciglia che celate, 4174-25 Belle faci aventurose, 4151-36, -41 Belle mura, alberghi amanti, 4139-16, 4142-6 Bellezza che cela suoi pregi, 4200-1 Bellezza gradita d’un stuolo, 4208-28 Bellezza nel mio cor da luogo, 4203-16, 4220-5 Bellezza semplice non allettò, 4137-33 Bellezze idolatrate, pompe, 4170-5, 417241 Ben m’avveggo che tu godi, 4134-41 Ben mio per non mancarmi, 4141-4 Ben per voi sol’, 4229-11 Ben sarebbe avara cura, 4206-20 Ben te lo dissi, o cor, 4144-33 Bench’in seno alle tempeste, 4142-70 Bench’io sia senza speranza, 4203-24, 4223-26 Benché d’altri si pensi, 4153-10 Benché nota è la frode, 4221-8 Benché roca pur impetra, 4150-10 Benché speranza sia menzognera, 4213-1 Bersaglio allo sdegno, indegno, 4144-22 Bianca man, col tuo candor(e), 4143-1, 4144-12, -35, 4159-3 Bianca man, quando baciai, 4174-29 Biondi crini che stringete, 4162-5 Bisogna con giudizio, 4196-1, 4229-31 Buon’ pro’ le faccia (recit.), 4229-15 Canarini, usignoli, 4231-27b Cangia le sue vicende, 4137-44 Cangia nido, dio Cupido, 4158-10 Cangia spesso sue vicende, 4172-30 Cangia volto anche l’amante, 4134-82 Cangiatevi in sepolcri, orti di Flora, 41357 Cangiati, o cruda, un dì, 4135-1 Canori augelletti che sul mattin, 4208-8 Cara bocca, se ride, 4208-37 Cara e dolce, dolce, dolcissima, 4230-10

539

Cara e dolcissima libertà, 4230-10 Cara fè tu mi dai vita, 4130-26 Cara non disperar, non disperar mio ben, 4130-22 Cara non lagrimar, dà pace, 4160-24 Cara, sì, tu mi consumi, 4171-7 Care fonti, aure soavi, 4176-36 Care labra di me se sarete, 4142-33 Care labra in cui d’amore, 4149-42 Care luci, care, care saettatemi, 4165-4 Care speranze, tornatemi in sen, 4206-21 Care spoglie se perdeste, 4153-18 Care stelle, amati raggi, 4156-9 Care tende adorate, stanze, 4170-3, 41729 Care tenebre, accogliete, 4231-25 Cari lumi che tenete, 4203-26, 4204-62, 4205-36, 4223-30 Cari marmi che accrescete, 4169-35 Caro autor de’ miei tormenti, 4132-6 Caro sposo, e dove sei? Mio conforto, 4160-23 Cedete amanti che vantate di goder, 413551 Cedi, cedi a chi ti prega, 4133-12, 4174-33 Celinda, anima mia, 4206-24, -25 Cercherò d’un’altra bella, 4130-7 Cercherò di non amar, 4137-12 Cercherò maggior fortuna, 4147-5 Cerco affetto e trovo sdegno, 4156-8 Cerco pene e mi contento, 4219-6, -27 Cessa omai, nume volante, 4137-3 Cessate pensieri d’affligermi, 4201-3 Ch’abbian pace i suoi pensieri, 4149-14 Ch’Amor sia foco io me ne rido, 4175-7, 4221-65 Ch’io lasci mai d’amar, 4206-9 Ch’io manchi alla mia vita, 4160-7 Ch’io non t’adori, o caro / … te non ami (duet), 4152-23 Ch’io parta? Partirò. Ma è barbaro, 413240, 4165-20 Ch’io parta? Partirò. Ma forse, 4132-40, 4165-20 Ch’io pianga e mi quereli, 4374-19 Ch’io risolva, ch’io pensi, 4161-8 Ch’io sospiri al vostro foco, 4374-4

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APPENDIX A.2

Ch’io speri o disperi, Amor che ti fa?, 4146-5, 4374-29 Ch’io ti baci? o questo no, 4135-33 Ch’io vi fugga? O questo, no, 4200-25 Che bel contento sarebbe Amore, 4159-14 Che bella cosa è in una donna, 4231-27 Che bella Venere, 4214-00 Che brami hora più, 4201-32, 4219-7 Che ci trovi in quegl’ occhi, 4201-20, 4219-33, 4221-23 Che colpa è la mia, se Amor, 4143-45, 4159-10 Che cos’è quest’honestà?, 4173-7, -12 Che dici, o cara speme, tu credi, 4141-35 Che dolce vendetta ch’io penso, 4140-5, 4167-13 Che far mai poss’io, s’Amor, 4162-36 Che far vi poss’io, 4156-11 Che farebbe con me la bellezza, 4141-26 Che farò, figlia infelice!, 4133-77 Che farò, m’ innamorò, sì o no?, 4150-18 Che fosse Amore un dio, 4144-38 Che giustizia è questa, Amore?, 4204-60, 4221-33 Che gloria la morte sarebbe, 4204-11, 4220-31 Che gran pena sarebbe del core, 4142-37 Che lusinga è mai d’un cor, 4202-4 Che m’inganni quel bel volto, 4140-15, 4167-7 Che magnanimi eroi, o Clio, 4136-20 Che mi giova far preda di belva, 4141-9 Che mora il mio core, 4203-28, 4205-28, 4223-6; 4222-4, -27 Che ne dite pensier, durar, 4205-42, -43, 4219-20 Che parta, che vada, che fugga, 4212-2 Che più dar posso, Amor, 4175-26, 42035, 4221-66 Che più sperar degg’io, 4205-2, -20; 422322 Che pretendi, o calva diva, 4133-46 Che quanto è di vago, 4136-12 Che sempre le pene, 4139-7 Che sole già spento, 4208-1 Che sospiri, che languisca, 4135-52 Che speranza, che conforto?, 4168-25

Che stravaganza è questa, 4205-10, -37; 4219-25 Che stupor? ch’un regio petto, 4134-43 Che ti resta, o mio core?, 4208-31 Che tu speri io ti prometto, 4144-20 Che vegg’io? Se l’alta mole, 4374-13 Che vi sia sole più vago, 4131-4 Che volete da me, pensieri, 4163-11 Che volete da me, vani pensieri?, 4163-11 Che volete voi ch’io faccia, 4204-2 Che vuoi far di quel foco, 4221-48 Chi ben ama dona il core, 4166-11 Chi ben’ama, sempre teme, 4130-8 Chi ben serve un giorno, 4169-14 Chi cerca ogn’hor pietà, 4374-8 Chi d’Amor divien seguace, 4158-7 Chi d’Amor fatt’ è seguace, 4158-7 Chi desia trovar via d’infiammar, 4150-1 Chi fugge d’Amor lo strale, 4175-1 Chi idolatra un’ bel sembiante, 4158-7 Chi in amor desia mercede, 4132-12 Chi in amor lieto si vide, 4374-28 Chi lo dice ch’io sia dolente, 4204-1 Chi m’insegna, o miei tormenti, 4149-3 Chi mi diffende olà, 4172-5 Chi mi disprezza io voglio amar, 4139-22 Chi mi fugge io vo’ seguire, 4139-22 Chi mi presta un’altro core, 4166-29 Chi mi radoppia il giorno, 4322-1 Chi mi toglie la libertà, 4201-13, 4221-9, 4223-25 Chi nacque alle glorie, 4166-17 Chi non dice il suo mal, 4374-5 Chi non gode il bel d’un viso, 4130-4 Chi non ha speranza alcuna, 4208-12 Chi non sa che cosa sia, 4150-22 Chi non sa perch’ io mi dolga, 4168-13 Chi non soffre in amor non gode, 4165-11 Chi non t’ama con affetto, Vergin madre, 4289-15 Chi non vede il sol ch’adoro, 4170-15, 4172-16 Chi più di me contenta, 4147-12 Chi più di me felice, 4147-12 Chi porta al core lo stral, 4137-32 Chi può mai schivare, 4149-26 Chi ricerca il rio tormento, 4374-9

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Chi s’innamora è stolto, 4133-39 Chi sa che mie non siate bellezze, 4165-15 Chi sa che non si cangi, 4154-26 Chi sa la dolcezza d’un alma, 4150-5 Chi sa le mie pene non pianga, 4201-9, 4221-40, 4222-13, -25 Chi sapesse ov’è il mio bene, 4139-1, 4142-5 Chi segue bellezza, 4207-21 Chi segue il nume arcier non speri, 413112 Chi spera di goder tra le catene, 4162-54 Chi ti segua, o nume alato, 4202-6 Chi tormenti non vuol, non s’innamori, 4135-40 Chi tu mi nieghi; see Ahi tu mi nieghi, —— Chi vien col tuo bel volto, 4141-3 Chi vita a me donò, 4131-31 Chi vive in libertà non s’incateni, 415425 Chiamate la morte, desiri piangenti, 4219-1, -2, -10, -11 Chiaro fonte, ahi, non sdegnar, 4149-2 Chieda chi vuol amor, 4153-12 Chiede pace e pace havrà, 4166-1 Chiuda quest’occhi il sonno, 4175-18, 4220-29, 4374-25 Chiude le fiamme in petto, 4135-42 Chiuder la fiamma in petto, 4135-42 Ci vuol pazienza se v’ingannò, 4215-1 Ci vuol per farsi amar, 4159-7 Cieca dea ch’al mondo imperi, 4152-14 Cieca dea che de’ mortali, 4170-26, 417229 Cieca notte che guidi, 4169-18 Cieca sorte è una tiranna, 4147-4 Ciechi abissi, eterni orrori, 4135-10 Cieco alato dio bendato, 4141-14 Cieco Amor, vorrei nel seno, 4171-1 Cieco Amore e cieco Sdegno, 4137-20 Cieco dio ch’al tergo hai l’ale, 4130-54 Cieco dio, tiranno odiato, 4223-9 Cielo, ciel son scelerato, 4134-75 Ciglia brune, archi lucenti, 4200-30 Cingo il brando e son’amante, 4130-5 Cinosura in tanto periglio, 4149-31

541

Cinta d’armi lusinghiere, 4158-23 Cintia bella d’ogni stella, 4227-1, -2 Cinto il crin d’aurea corona, 4142-67 Cinto il crin di mirti e allori, 4134-37 Cinto il crin di rose e fiori, 4137-43 Cinto il seno di forte costanza, 4153-7 Cittadini celesti, e qual vi muove, 420138 Clori che m’invaghì, quant’è vezzosa sì, 4229-10 Clori, la tua diletta, 4229-28 Coi capelli d’argento, 4208-36 Coi natali ha ’l corso, 4147-25 Col dardo suo dorato, 4158-31 Col desio di cento baci, 4132-48, 4142-35 Col destin voglio contendere, 4140-24, 4152-4, 4167-8 Col pianto degl’occhi, 4208-26 Col tradito in paragone, 4156-2 Col versar sì belle lagrime, 4159-21 Colomba che voli, 4153-2 Coloro dormono d’ozi a vicenda, 4134-67 Colpe mie venite a piangere, 4191; 420128; 4219-5, -8; 4296-3, -9, -11; 423112 Come, ahi come cadeo Gionata, 4136-15 Come appare mentre spira, 4374-16 Come farfalle che lo stuppino, 4185-2, 4229-33 Come quel fero, ch’a ferir, 4374-21 Come s’uccida e impiaghe, 4131-42 Come sento a risvegliarmi, 4133-28 Come v’è sopragiunta in sì poch’hore, 4215-1 Come vuoi che in lontananza, 4206-32 Comincia a tormentarmi la cruda gelosia, 4176-27 Compatisci il mio martir, 4149-2 Compatitemi perché lo merito, 4201-14, 4223-32 Con Amor chi scherza o tresca, 4150-23 Con Amor entro al mio petto, 4133-68 Con Amor si pugna in vano, 4208-18 Con cento trombe pronta e giuliva, 4179; 4228-2a; 4229-21 Con chi parli, Speranza?, 4212-2 Con ingiuste querele, bella, 4202-3

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Con l’ardore del vostro sguardo, 4156-9 Con l’aura che ride, 4215-1 Con l’esca de’ bei rai, 4163-9 Con l’onda che scherza, col maggio (duet from VESPASIANO), 4170-17, 417239 Con l’onda che scherza (duet from LA GELOSA), 4213-00; 4215-1 Con la bella che m’impiaga, 4142-50 Con la dama che s’adora, 4154-6 Con la punta della spada, 4166-37 Con la scorta del dio di Gnido, 4135-31 Con la speme nodrisco l’ardore, 4149-6 Con la speme/Senza speme di farmi contento (duet), 4171-18 Con le furie di Cocito lacerar, 4170-37, 4172-40 Con le rose del sembiante, 4173-1 Con le stille del mio pianto, 4165-22 Con lo sguardo il suo dardo, 4202-8 Con qual nave giunta in porto, 4232-1 Con sì veloci passi, Alvida, 4386-6 Con soave condito, 4147-8 Con sue faci horrende Aletto, 4147-3 Con sue fiamme il trovo Pluto, 4147-3 Con tanti moti e gesti, 4229-18 Con torbide procelle, 4209-2 Con tranquillo riposo i vaghi lumi, 41586 Con un vezzo, con un riso, 4159-16 Concedimi, ch’ io trovi la figlia, 4133-37 Conducetemi verso il porto, 4157-1 Conduttier di più bel giorno, 4170-12, 4172-23 Conoscer quando inganna, 4207-3 Conosco che sei vago, 4169-8 Consola, pur consola, 4149-34 Consolatevi, o luci belle, 4130-58 Consolati, che Amor per te, 4140-7, 416722 Contenti porgete conforto, 4166-22 Contento maggiore un core non ha, 417630 Contro di me voi deitadi, 4156-2 Contro il ciel, contro la sorte, 4130-38 Contro l’armi del nume bambino, 4164-2 Contro te, Giove tiranno, 4142-58

Contro voi spietate stelle, 4165-25 Core avvezzo agli strali, 4144-27 Corran pure a cento e a mille, 4149-25 Corre il mondo dietro un nulla, 4203-14, 4205-19, 4220-3 Corro alla morte, o cara mercé, 4138-5 Corteggiato dal trofeo non più reo, 416642 Così bramo adempire ogni tua voglia, 4151-38 Così con scaltro ingegno, 4156-5 Così fa chi è troppo amato, 4134-17 Così le pene mie, 4205-61, 4223-28 Così lungi dal tuo bel sembiante, 4162-15 Così m’ha fatto Amor, 4151-5 Così me la passo, 4207-4 Così trapassa al trapassar, 4151-7 Così va, dice il mio core, 4208-17 Così volete, così sarà, bella tiranna, 413611 Costante adora e spera, 4142-29 Costanza, gradita costanza, 4144-2 Costanza pensieri, non ritorcete, 4201-6, 4204-37 Costanza pur, mio core. Non ti muova, 4161-9, 4164-6 Crede e s’anima questo core, 4131-38 Credi, o core, che t’inganna, 4164-13 Credimi, o bella, credimi, sì, 4132-49 Croce, altar sacrosanto, 4203-11 Cruda furia ch’il cor mi sterpi, 4158-25 Crude stelle, havete vinto, 4137-28 Crude tiranne stelle, per me, 4174-11 Crudel, perché mi lascia in vita, 4143-43 Crudel se tu m’offendi, 4165-13 Crudel, si morirò, 4225-1, -2, -3, -4 Crudel, sovengati che m’involasti, 413538 Crudel tu vuoi partire, non me ’l negar, 4151-10 Crudele possanza di ria lontananza, 4202-1 Crudele, perché con tanti lamenti, 415611 Crudeltà del mio thesoro, di minaccie, 4168-22 Crudo Amor dalle tue pene, 4149-22

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Crudo Amor, se al mio mal, 4133-45, 4134-3 Crudo Eurillo, e come a gioco, 4173-7, -12 Crudo padre, come vanti, 4149-48 Cupido pietà d’un alma, 4206-27 Cupido troppo fiero i dardi, 4140-21 D’alma vil ch’erge, 4144-27 D’Amor la ricca benda, 4134-71 D’anno in anno in van trapasso, 420557, 4221-52 D’aure placide su l’ali, 4132-66 D’auree fila alto fulgore, 4147-24 D’esser felice un dì, sì, spera, 4160-9 D’intorno al tuo bel lume, 4155-16 D’oscure foreste, di sorde tempeste, 413389 D’un amante fa un eroe, 4134-84 D’un crin nero fra le ritorte, 4142-68 D’un labro canoro ai fiati, 4148-6 Da custodi malvaggi, 4209-3 Da’ due sguardi in un’istante, 4144-25 Da dura fame oppresso a morte, 4151-37 Da gli abissi dell’Herebo, su Furie, 420415, 4205-60, 4223-40 Da la porta d’oriente lampeggiando, 4289-30 Da la reggia de’ tormenti aspra doglia, 4135-43 Da per legge a me Cupido, 4208-29 Da quegl’ occhi luminosi, 4148-13 Da quei lumi egl’è piagato, 4165-18 Da’ tregua al mio penar, non mi lasciar (Laodicea), 4174-30 Da’ tregua al mio penar, non mi lasciar (Furio Camillo), 4169-8 Da voi già spunta la luce, 4176-18 Da vostr’ occhi vennero, 4147-22 Dagli occhi un mar puoi tu, 4175-24 DAI TORMENTI ALLE NOZZE, 4226 Dal cavo monte ond’all ombroso mondo, 4221-2 Dal furor di schiere audaci, 4155-28 Dal mio soglio io fuggo, 4153-19 Dal nome di corte, 4229-11 Dal nume bendato si speri, 4149-29

543

DAL TRADIMENTO ALLE NOZZE, 4224 Dal vostro albergo non volgo, 4147-21 Dal’aureo sol che porta un nuovo oriente, 4203-1 Dall’arco d’un ciglio, 4162-31 Dall’oriente, chiaro e lucente, 4173-14 Dalla valle di Mambre, 4194-2, 4231-20 Dalle calme alle procelle, 4134-25 Dalle sponde del Tebro al patrio suolo, 4205-48, 4223-41 DAMA DI SPIRITO GELOSO, LA, 4230 Dammi Amore più d’un core, 4158-10 Dammi il crin, bella Fortuna, 4153-17 Dammi pace, o gelosia, 4150-25 Dammi un bacio, o mia vezzosa, 413242, 4132-68 Dammi un dì qualche pietà, 4130-21 Dar martiri a chi s’adora, 4133-43 Darò amplessi e farò vezzi, 4169-4 Date all’armi, o miei pensieri, 4156-7 Datti pace, mio cor costante, 4158-29 Datti pace, o bella, e spera, 4147-10 Datti pace, o mio core, 4163-20 Datti pace; mi dispiace, 4169-22 Datti pur pace, cor mio, 4200-4 De’ dolci contenti s’il ciel, 4142-62 De’ falli miei son cinto, 4219-4 De l’alma la speranza, quel latte, 4132-46 De la fiamma ch’il sen, 4165-21 De la sorte alle tempeste, 4158-30 De la tua fronte la luce stabile, 4232-2 Degg’io dunque in amore, 4175-14 Deggio, oh Dio, lasciar morir, 4165-14 Deh, see also Dhe, Deh, cara Lilla mia, 4229-3, -33 Deh, chi misera t’addita, 4136-16 Deh, dimmi, aura cortese, 4388-4, 4389-4 Deh, ferma quel pié che preme, 4165-3 Deh, fermate il passo errante, 4154-17 Deh, fermate, o cieli, il moto, 4289-41 Deh, fermati, Amore, pietate, 4205-14, 4221-54 Deh, fuggite, Amor tiranno, 4203-2 Deh, lasciatemi in preda al mio tormento, 4156-14 Deh, m’ascondi, amica notte, 4165-10

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APPENDIX A.2

Deh, m’uccidi, o bella mia, 4143-3, 414414 Deh, misera regina, see Di misera regina Deh, morir non si nieghi, 4205-52, 422214, 4223-43 Deh, movetevi a pietà di chi, 4162-28 Deh, non m’havere a sdegno, 4134-50 Deh, non mi lasciar tormento, 4205-32, 4221-26 Deh, non più così cruda, 4133-67 Deh, non più mi ferite, occhi severi, 42011, 4204-38, 4222-3, 4223-38 Deh, non voler, 4229-33, -34 Deh, perché non m’uccide il dolor, 420027 Deh, perdona il mio furore, 4149-37 Deh, perdonatemi, nere pupille, 4223-23 Deh, pietose verdi erbette, 4158-15 Deh, più a me non v’ascondete, 4161-5, 4164-10 Deh, placatevi, serenatevi, 4132-53 Deh, prendi conforto, 4208-8 Deh, quando fia che volerà disciolta, 4289-39 Deh, se mai ti punse amore, 4133-13 Deh, senti almen, oh bella, 4155-3 Deh, soffri mio core s’il cielo, 4150-7, 4168-9 Deh, sospiri al mormorio, 4232-2 Deh, v’aprite, o mie pupille, e accrescete, 4154-28 Deh, volate, deh posate, 4141-28 Del duol che chiudo in petto, 4162-47 DEL GIUDITIO UNIVERSALE, 4136-12 Del gran valore d’eroe novello, 4136-19 Del mio core la barbara doglia, 4134-62 Del più pungente dardo, 4151-35 Del ricercar qual sorte, 4157-6 Del rigor d’un empio fato, 4137-11 Del rigor del cieco dio, io mi sdegno, 4141-32 Del silenzio ella si chiama, 4168-14 Del sol lucido e sovrano, 4136-21 Del Tirreno su ’l lido spargea, 4206-30 Delizia degl’occhi, conforto dell’alma, 4176-25 Dell’Egitto la donna real, 4202-2

Dell’honor sarò campione, 4169-31 Dell’humane felicità, 4219-9 Della bella il sospirare, 4206-30 Delle sfere al moto instabile, 4204-53, 4205-44 Delusa mia speme, pensieri fallaci, 42151; 4231-3, -33 Dentro negra foresta dove già, 4208-11 Destino crudele, lontano ti guida, 420126 Destrieri volanti i nostri gran vanti, 422914 Devo e poi voglio, darti il mio cor, 413365 Dhe mira, egli cantò, spuntar la rosa, 4151-7 Di caldissima estate (recit.), 4232-2 Di Cartagine superba stesa all’erba, 41416 Di’ ciò che vuoi, ch’io non ti voglio, 416926 Di Constanza, o pio guerriero, 4201-38 Di costanza saldo sendo, 4208-2 Di crudo rigore armata, 4374-6 Di dar fine al mio tormento, 4149-17 Di diventir amante ho gran curiosità, 4210-2 Di fierezza si può dar vanto, 4133-81 Di fiero destino non temo, 4165-16 Di Fileno al rio dolor, 4162-28 Di fulmine armato vendetta, 4170-13, 4172-17 Di gioir speranza infida, 4222-42, 422342 Di goder non ho speranza, 4137-26 Di lacrime amare farò pieno il mare, 4232-3 Di lido in lido volando, 4229-24, -25 Di Marte i furori, 4161-14 Di misera regina strano destin, 4158-15 Di piaga incurabile, 4208-8 Di por fine al mio tormento, 4156-16 Di’ quanto sai, fa’ quanto puoi, 4137-23, -38 Di quegli occhi al doppio sole, 4150-25 Di quel bel che m’innamora, 4159-12, 4231-7

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TEXT INCIPITS AND TITLES IN ITALIAN

Di saette il cielo armato, 4141-18 Di Sisifo i sassi, 4156-2 Di te, o barbaro, non teme, 4139-17, 4142-4, 4167-15 Di tesor che si perde, 4200-1 Dibbattendo i vanni amanti, 4158-2 Dice al core la speranza/costanza (duet), 4141-42 Difenditi Amore, per foco di sdegno, 4175-13 Difesa non ha da un guardo vezzoso, 4230-1 Digli che l’amo, di’ che l’adoro, 4141-13 Dileguatevi procelle, 4157-2 Dimmi, alato dio di Gnido, 4142-21 Dimmi Amore, s’è legge fatale, 4165-29 Dimmi che vuoi da me, 4227-1, -2 Dimmi, o bella dolce bocca, 4131-35 Dimmi sogno pittore, come, come facesti, 4207-1 Dimmi sorte, a che donarmi, 4205-56, 4221-17 Dimmi un poco anima mia, 4289-38 Dio de’ cori, arcier infante, 4158-16 Dir ch’io v’ami, o luci, 4162-9 Dir che vago il mio sembiante, 4210-2 Dir potete, o sassi amati, 4231-25 Dir ti vorria l’anima mia, 4144-6 Dirò dunque a quella rosa, 4154-9 Dirò dunque al mesto rio, 4154-9, 416938 Disarmi il tuo consiglio, 4131-30 Dispensiera d’april, destra tanto gentil, 4140-44, 4152-21, 4167-17 DISPERAR DI SE STESSO (filing title), 4188 Disperar di se stesso all’empio è spene, 4188-2, 4219-1, 4231-21 Disperate speranze, a Dio, 4200-32 Disperati cor mio, e che sperar, 4175-6, 4220-12 Disperato cor mio, perché, 4374-11 Dissi di non amar e lo confermo, 4132-31 Dite pur quanto sapete, 4208-24 Dogliosa Madre a piè del tronco, 4151-6 Dolce fiamma del cor mio, 4137-40 Dolce mio Signor eterno, 4289-1 Dolce sonno dal mio seno, 4141-8

545

Dolce speranza, assistimi, 4130-33 Dolcezze amare, voi m’offendete, 420432, 4221-3 Dolci aurette amorosette, 4137-1 Donna incostante, tu m’hai scartato, 4151-24 Donna rea, di me tu ridi, 4140-32 Donne belle, mi piacete, 4135-15 Doppo haver pianto e sospirato, 4202-4 Doppo lungo servire all’amata, 4173-8 Dormi, o cara, ne la tua dolce, 4158-6 Dormite, o pupille, fra taciti horror, 41358 Dov’è la Morte e Pluto, 4203-19, 4204-50, 4220-23 Dove andate, luci amate, 4166-10 Dove andate sì sdegnose, 4164-23 Dove Esperia d’oro ha l’onde, 4174-13 Dove mi spingi, Amor?, 4175-9, 4223-27, 4389 Dove miri, pensiero? Ferma, troppo alto, 4175-8, 4201-17, 4220-35 Dove miro o movo il passo, 4163-4 Dove ne vai, crudele, deh per pietà, 420445, 4223-36 Dove sei / Dove t’aggiri adorato mio tesoro (duet), 4211-2 Dove sei, dove t’ascondi, 4132-27 Dove sei, spirto adorato?, 4169-24 Dove sete, o folli amanti, 4223-33 Dove vai, pensier volante, 4203-17, 422057, 4222-15 Dove vai, speranza infida, il tuo volo, 4374-23 Due luci serene, 4205-58, 4219-24 Due lumi vezzosi, se vincer, 4143-16 Duo luci vezzosette son gl’idoli, 4137-19 Dunque, ahi dunque è pur vero, 4374-14 Dunque, bella un tanto, 4149-17 Dunque, o lieta novella, 4376-2, 4387-2 Dunque, va malinconia, 4208-28 E al Padre e al’ spirto uguale, 4203-8, 4220-2 È beata la verginella, 4134-12 È bello l’ardire, 4136-17

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546

APPENDIX A.2

È ben folle, chi non sa cangiar voglie, 4130-12 È celato il mio gran foco, 4204-56 E che contesa è questa? (recit.), 4230-6 E che farete amanti, 4136-8 E che pensi, o mio core, 4151-42 E che sperate più, lumi dolenti, 4175-32 E che ti costa un guardo, 4200-9 E chi non piangerebbe al pianto mio?, 4204-8 È cieco Cupido, 4205-61, 4223-28 E come mai si può veder, 4144-24 È costume d’ogni fera, 4134-21 E d’ogn’altro più soggetto, 4230-10 È da nume usar pietà, 4169-25 E dal letto a quella mensa, 4229-16 È destino d’amor ch’innamorato cor, 4130-37 È dolce la speranza di goder, 4130-28 E dove fuggì, quel rapido piede, 4205-8, 4221-71, 4220-38 È felice l’alma mia, 4130-55 È foco o gelo, ohimè, 4157-12 È follia seguir costante, 4132-18 È gentilezza amar bellezza, 4205-1, 422138 È gran felicità l’esser reina, 4141-22 È il core in periglio, se Amore, 4143-10 È il perdon regia vendetta, 4133-32 È ingegno d’amante, 4206-24 È la donna un mar infido, 4134-22 È la vita un gioco labile, 4207-15 È matta certo sua maestà, 4141-24 È nel campo di Bellona, 4174-10 E non bastavi, destin crudele, 4173-13 E non ti rivedrò dunque mai più?, 413118 E perché non tornate, miei pensier, 42075 È più dolce Amor al seno, 4166-15 È possibil ch’in amore, 4205-15, 4220-60 È possibile ch’anima forte, 4203-17 È pur bella Lilla mia, 4205-55, 4223-10 È pur cara e pur vezzosa, 4172-13 E pur cerco anco tradita, 4169-9 E pur cerco, e pur sospiro, 4205-62 È pur dolce a chi ben ama, 4140-33

E pur dolce il penar, 4205-34, 4221-5 È pur giunto a darmi pace, 4206-26 È pur giunto il dì beato, 4142-54 E pur mi lusingate, amorosi pensieri, 4175-17 È pur poco dir’ un sì, 4165-9 È pur poco un guardo solo, 4132-55 E pur vero che l’arciero, 4230-1 E pur voi non lo credete, 4147-22 E pure ricetto de’ dardi, 4139-7 E qual fia pena maggiore?, 4230-1 E qual mi resta più loco, 4375-2 E s’io sorrido alquanto, 4207-19 E se il mio core ancora, 4162-4, -19 È senza senno Amore, 4228-6 È sì fiero destino a miei danni, 4139-13, 4142-9 È stato al fin d’ogni mia speme, 4376-4, 4387-4 E su l’ali d’un sospiro, 4207-6 È un insidia la bellezza, 4143-32 È un mostro la beltà, 4137-31 È una gran pena Amor [amar], 4137-4 È una nave il mio pensiero, 4141-49 È ventura del mio core, 4205-11, 4220-59 È vile amore usar amore, 4173-3 E volete ch’io più v’adori, 4147-21 E volete voi ch’io speri?, 4204-17 Ecco a voi di Preneste (recit.), 4229-1 Ecco che pure al caro oggetto, 4376-3, 4387-3 Ecco Filli, hor apri il core, 4220-44, -50 Ecco il Bagiano, o Clori (recit.), 4229-34 Ecco la bell’Aurora di Maria verginella, 4289-3, -28 Ecco Roma bambina ch’infasce, 416113, 4164-11 Ecco torno e ritorno ad adorarti, 4168-30 ECCOCI QUA VENUTE (filing title), 422935, -36, -37, 38-, 39 Eccoci qua venute, cinte di giacco e maglia, 4229-35, -36, -37, -38, -39 Eccomi sola a piangere, 4162-30 Eccovi consolata, lo sposo è già venuto, 4214-1 Ed all’hor forse men fiera, 4149-20 Ed io sono il Piacere (recit.), 4229-2

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TEXT INCIPITS AND TITLES IN ITALIAN

Egli che dato che non l’adulo, 4213-1 Eh dove? Ah fier tiranno, 4201-26 Eh potesti lasciarmi?, 4220-43 Ei la dolce face accesa, 4185-1 Empio Fato, astri tiranni, 4130-42 Entro presepio vile, 4219-7 Era degli imenei d’Anna e d’Annello, 4136-19 Era degli imenei d’Anna e Savello, 413619 Era degli imenei d’Anna e Sp[inola], 4136-19 Era di grandi imenei, 4136-19 Era la cheta notte e tempestoso amante, 4374-7 Era la notte e Cintia non havea, 4203-26, 4204-62, 4205-36, 4223-30 Era la notte e muto dentro, 4207-16 Era poco quel timore, 4230-6 Era un giorno Fileno con la sua vaga (recit.), 4139-23 Ergi la mente al sole, 4187-2, 4231-19 Erminia sventurata, ove t’aggiri?, 420021 Errai, Signor, errai, ma dell’error, 4136-2 Esco fuor del laberinto, 4165-8 Esser amante voglio, 4144-16 Fa’ ch’ei s’apra di tal sorte, 4219-7 Fa’ che m’ami chi adoro, 4162-39 Fa gran piaghe in questo cuore, 4132-44 Fa’ quanto vuoi, sì, sì, tiranno Amor, 4130-53 Fa ridere e fa piangere, 4142-28 Faldiglia mio, ti fo la riverenza, 4230-2, -4 Fallace guida al mio lungo fallire, 4203-9 Falso è l’affetto onde sospiran questi, 4151-8 Fammi bacciar chi adoro, 4162-39 Fammi saper, se stringere, 4134-6 Fanciullin, che porta fiamma, 4289-11 Fanciullo Amore, omai comincia, 413064 Fanno lega nel mio core, 4139-15, 414210 Farfalletta almen tu puoi, 4148-12 Farfalletta intorno al lume, 4158-2

547

Faria la pena mia, 4206-29 Farmici fare, vo’ tanti d’occhi, 4213-1 Farò le mie vendette, 4147-1 Fate ch’io speri, che v’amerò, 4203-22, 4220-39 Fate largo al mio pensiero, 4163-12 Fatti gl’occhi ha la Regina, 4230-5 Favilla che stende, 4153-2 Favor di corte e lieve piuma, 4133-34 Fe’ che solca un mar, 4208-13 Fede non mi prestar, 4137-41 Felice, contenta, ben presto sarò, 4140-49 Ferma il piè, deh non partir. Di quel ciglio, 4131-13 Ferma il piede e non partir, cara speme, 4131-13, 4170-31, 4172-34 Ferma Lacchesi, ohimè, sospendi, 420715 Festeggia, superba, o reggia, 4133-23 Fiamma del dio d’amor, 4166-38 Fiamme d’amor tiranne, 4143-18 Fida scorta al passo mio, 4138-2 Fido orror, selve beati, 4213-00 Fiero mostro del tuo rostro, 4207-10 Filaura la bella a cui prodigo, 4158-35 Fileno, idolo mio, ove lungi da me, 415612 Filindo, o Dio come, ohimè, 4204-17, 4221-27 Filli bella, voi piangete, 4204-40, -43 Filli, il sole esce dal mare, 4151-20 Filli mia, com’è possibbile, 4220-9 Filli, ove ten vai? Crudel, ove, 4156-11 Filli, se tu non credi, 4205-53, 4223-34 Filli, se tu presumi d’adescare, 4223-11 Fin’ a quanto, crudeli perversi, 4136-19 Fin qui con la speranza, 4155-25 Finché sul mio sembiante, 4170-23, 4172-26 Fingi d’haver costante, 4160-11 Fingi di non m’intendere, 4174-21 Fingo morir per lui, 4207-4 Fingo per altri amore, 4141-31 Fingo per mio diletto vezzi, 4170-32, 4172-37 Fior che ride in un bel viso, 4153-23 Fiori voi ch’al sole, 4149-21

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548

APPENDIX A.2

Fiume che corri al mar veloce tanto, 4151-30, -33, -44; 4221-1 Fiume, ch’all’ onde tue ninfe e pastori, 4151-3 Folte pioggie che scendete, 4289-5 Fonti voi che mormorando, 4164-22 Forse un alma invidiosa, 4205-48, 422341 Forse un dì ti cangerai, 4149-32 Fortuna ed Amor, due ciechi, 4134-42 Fortuna, che fai? Tu dormi, 4168-17 Fortunato vado a morire, 4132-7 Fosca larva, ohimè, divento, 4201-36, 4219-12 Fra gelosi martiri, pene, angoscie, 415146 Fra l’armi vo’ cercar, 4176-20 Fra l’ombra il dio d’amor, 4206-26 Fra le dame leggiadre, 4150-1 Fra queste braccia, o cara, 4143-13 Fra ritorte lagrimar, sospirar, 4165-23 Fra speme e spavento quest’alma, 414311 Fra tanti affanni chi ti consola, 4162-26 Fregio sì vile non sei beltà, 4133-21 Fresca l’onda, cara l’ombra, 4232-1 Fu questo un picciol rio Fillide, 4374-12 Fu sempre il fingere, 4224, 4225-1, -2 Fu sì dolce la ferita che nel sen, 4156-2 Fugga Amor chi desia, 4163-24 Fuggì, sparì, col volto, 4144-34 Fuggimi pur crudele, 4130-61 Fuggimi pur spietato, ch’io pur, 4130-50 Fuggon i giorni [cari], 4288-4 Fuor della Stigia sponda, 4149-3 Fuora amici, andiam via, 4207-25 Fuori, fuori dal mio petto, 4200-4 Furie che m’agitate, lasciate, 4164-20 Furie torbide, imagini pallide, 4202-4 Furie, turbini dell’onde, 4141-50 GARE FESTIVE, LE, 4185-1, 4228-00 Gelosa più non sono de l’adorato ben, 4131-2 Gelosia che a poco a poco, 4175-10 Gelosia con fiero dente, 4136-11 Gelosia, deh, dillo tu, 4156-2

Gelosia, l’alma t’inganna, 4139-2, 416249 Gelosia, l’arde e lo gela, 4150-17 Gesu dolce, 4288-10 Getti i sospiri al vento, 4176-1 Già che perso ho la speranza, 4139-14, 4142-1 Già col raggio più possente, 4375-5, -6 Già con sua man fiorita, 4157-2 Già dalla bella Aurora arricchiti, 4208-8 Già degl’ordini miei ad Oreste, 4230-11 Già di Marte la severa tromba, 4164-8 Già fiero il tormento s’accrescan, 4208-7 Già finita è per me, 4175-16 Già i’ sapeva che queste pupille, 4154-29 Già il cor mi lacerà, 4147-19 Già il sonno alletta l’alme, 4156-10, 4157-7 Già la fresch’aura ch’il cor, 4173-14 Già la piaga è aperta in seno, 4174-26 Già la terra giovinetta, 4375-5 Già lacerato in mille parti, 4206-27 Già lo so che goder più, 4130-45 Già lo so che tocca a me, 4205-54, 420819 Già m’avvedo che nel petto, 4205-48, 4223-41 Già mai non sorge il sole, 4168-27 Già morto è il re di vita, 4289-18 Già ritorna nel mio seno la speranza, 4161-2, 4164-1 Già son morto e non lo crede, 4190, 4192; 4205-42, 4219-27 Già son polve e vuol ch’io viva, 4219-27 Già spunta il dì e pur l’Aurora, 4201-44, 4231-24 Già su volante Pino, 4231-4 Giesù bello, crespo, e biondo, 4289-32 Giesù mio dolc’amore, alma del alma, 4289-4 Giesù mio dolce amore, per te desio, 4289-4 Giesù mio so che m’ami, 4289-34 Giesù mio tanto t’amo, 4289-22 Giesù nostr’ alme sperano, 4145-7 Gioca il Tempo e la Fortuna, 4206-16 Gioir brama il mio core, 4151-43

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TEXT INCIPITS AND TITLES IN ITALIAN

Gioir non si può quando il sospetto, 4208-4 Gioirà, goderà, forse lieta, 4174-4 Gioirò col guardo almeno, 4135-12 Gioisci mio core ch’è giunto il piacer, 4135-44 Gioite, o pensieri, bandite, 4205-27, 4221-25 GIOSEPPE, 4194, 4195 Gira il mondo, gira tondo, 4210-2 Gira il tempo e l’anno gira, 4158-9 Giran pure in ciel le sfere, 4158-9 Giri pur, contraria sorte, 4142-64 Gite, gite dolenti, gite pianti, 4374-33 Giubila, ridi e godi, 4174-19 GIUDITIO UNIVERSALE, 4136-13 Giunse Amor, bella, volando, 4164-16 Gli assalti di beltà, see A gli assalti Goda Roma, il Tebro esulti, 4166-21 Gode più chi n’ha più d’una, 4130-57 Goder ho risolto l’amata beltà, 4130-43 Godi, godi, coppia avventurosa, 4232-3 Godi, saziati, o barbara sorte, 4132-58, 4142-34 Godrò, sì, d’esser’amata, 4134-14 Gordiano, se m’ami, 4210-1 Graditi sospiri, felici lamenti, 4157-14 Gran flemma ci vuole, 4229-15 Gran tormento è di chi è colto, 4133-11, 4174-31 Grand’arte di regnare, 4134-27 Grata al par della corona, 4165-17 Guerra e non più pace, giusto sdegno, 4138-7 Guerra e pace, amori ed armi, 4142-18 Guerra, guerra, all’armi, … del Sarmata, 4162-7 Guerra, guerra e non più pace, va pur rea, 4138-7 Guerra, guerra, voglio guerra, 4133-3, 4174-6 Guerra mi fa nel seno, 4142-27 Guerrier ch’armato va, non resta, 413386 Guida tu l’anima errante, 4150-19 Ha negl’occhi il sol diviso, 4132-13

549

Hai tu vinto, io non ne ho più, 4176-33 Hai vinto, cor mio, hai vinto, 4137-18 Han le donne il genio istesso, 4142-23 Ho cor che sa resistere, 4162-42 Ho da cader un dì cadavero, 4201-18, -19, -22 Ho da morire, ditela, 4220-13 Ho inteso Cupido, mi vuoi, 4166-13 Ho l’alma tremante, sconvolto, 4143-40 Ho lieto il core ne so perché, 4160-15 Ho Megera nelle viscere, 4231-27c Ho perduta la fortuna, che fuggendo, 4208-6 Ho un’alma, o mio nume, 4166-28 Ho un certo cor in sen, 4166-14 Hor che fra l’ombre del notturno vello, 4200-33 Hor che in un sen di latte, 4155-27 Hor che ’l sol nell’onda ibera, 4374-2 Hor che ’l sonno ai vaghi augelli, 4374-2 Hor dell’alba i vaghi rai, 4156-12 Hor dite, hidre d’Averno, 4205-45 Hor qual colpa v’ha, 4204-61, 4220-21 Hor va mio core, hor va, 4204-47, 422144 Hor vanne contento, 4214-00 Hora ch’ad eclissar la luna, 4208-26 I gloriosi amanti sposi, 4186-1, 4229-25 I sensi del mio cor, no, non intendi, 413239 I tuoi fulmini, ciel, apprestami, 4140-38 I turbini dell’alma Amor dileguarà, 413034 Idolatro un bel sembiante, 4130-35 Idolatro un vago volto, 4162-23 Il biondo crin che su la fronte accolto, 4376-1, 4387-1 Il campo di Marte mia reggia, 4144-30 Il celeste arator, se mira a pena, 4175-19, 4223-16 Il contento nel mio core già ritorna, 413349 Il cor che vivea legato, 4141-33 Il core già sento che tutto, 4160-13 Il core tremante vorrebbe, 4165-2 Il dardo di Cupido per te, 4142-66

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550

APPENDIX A.2

Il duol che sento in me non vuol, 4139-6, 4142-8 Il duol gionto all’eccesso, 4175-34 Il fato del mio amore non so, 4142-13 Il fato dispone non ho libertà, 4158-4 Il mio bene si mostra sdegnoso, 4154-2 Il mio cor signora, sclama, 4204-30, 4221-45 Il mio petto è un campo, 4153-14 Il mio regno è la beltà, 4133-17 Il mio sen cangiato ha, 4162-6 Il mio sole oscuro ha il lampo, 4133-78 Il mio trionfo mio ben, 4161-4 Il mondo delle [sic] bellezza ha sempre, 4200-13 Il mondo è un bel prato, 4153-4 Il morir mi sarà caro, 4133-73 Il morir non mi da pena, 4142-60 Il nume fatale per darmi, 4149-35 Il pallor del sembiante, le meste luci, 4206-5 Il penar per donna infida, 4170-29, 417220 Il pensar solo, 4157-15 Il pensier filo non trova, 4134-59 Il poter di nume infante, 4213-00 Il povero re di Francia, 4177-11 IL RAGGIUNTO, 4375-2 IL SDEGNO SMARGIASSO, 4200-4 Il seren del tuo bel volto, 4154-30 Il sereno d’un volto ridente, 4137-19 Il servir senza speranza è la palma, 420727 Il sudor di mille fronti, e ed il rio, 4206-8 Il tempo che fu, o come si brama, 417311 Il timor e la speranza, 4149-45 Il tuo crin vittorioso, cinga homai, 415431 Il vedermi tradito così, 4138-1 Il vitio regnante, 4207-25 Impara a fingere con chi t’ama, 4133-40 Impara a fingere se vuoi goder, 4144-37, -43 Imperi tesori la sorte mi toglia, 4158-20 Impiaga quanto sai, ahi, 4206-23

Importuna lontananza strugger fa, 42047 Importuno sospir, tornami al core, 42028 In braccio del mio bene, 4130-56 In folle bendato non regna, 4149-29 In fresch’età quei che si fidano, 4136-12 In gran rischio col non fuggir, 4134-40 In mirarvi, o luci belle, 4150-9 In prigioniera mole poiché vide, 4147-25 In quel piè legato ho il core, 4166-25 In quel volto di gigli e di rose, 4143-22, 4154-20 In quella rosa che m’invaghì, 4143-12 In questa oscuritade horrida, 4208-33 In sì dura lontananza dove volgo, 420815 In un sen ch’è tutto gelo, 4204-16 Incendio né tempesta non turba, 4141-11 Incomincio innamorarmi, 4210-2 Incomincio solo adesso a saper, 4152-7 INCREDULA, L’, 4207-9 Infelice mio core, dove, dove, 4204-46, 4219-19, 4222-1 Infelice quel cor che vi crede, 4206-32 INFERNO, IO VEGGO APERTE (filing title), 4189 Inferno io veggo aperte le fauci tue, 4189, 4219-3, 4231-17, 4296-1 Ingannami, tradiscimi, 4220-54 Ingemmato brilli il prato, 4158-18 Inimica Fortuna fa di me, 4204-29, 421923 Innumerabili son le catene, 4163-8 Inportuna lontananza strugger fa, 42047, 4220-30 Inquieta è l’alma mia, 4169-12 Insegna dolci baci a questa bocca, 413016, 4137-22 Insegnatemi dov’è selve ombrose, 414711 Insegnatemi dov’è verdi herbette, 4147-11 Insino che mi piace un solo voglio, 413016, 4137-22 INVERNO, L’, 4288-4 Invitto Alfonso, al cui valor sublime, 4230-1

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TEXT INCIPITS AND TITLES IN ITALIAN

Invocate deità, deh, correte, 4156-1 Involasti, Amor tiranno, 4130-30 Io ardo a poco a poco, 4200-35 Io ben mi veggio, ahi lasso, 4201-5, 422047, -48 Io che ’n fin hor le piante, 4146-3 Io che sin hor le piante, 4146-3 Io ci sono per le pelle, 4205-59, 4221-7 Io de’ vostri rigori, occhi bruni, 4201-33, 4223-19 Io fuggo dal foco, mi perdo, 4141-29 Io lo so che ’l duol sopporto, 4205-61, 4223-28 Io lo vedo o luci belle, 4150-24 Io m’avvedo ch’il nume d’amore, 4138-4 Io mi struggo in lento foco, 4207-12 Io morirei contento, 4206-29 Io ne giubilo assai, 4229-17 Io non sapea ch’un anima gentil, 4374-3 Io non so che cosa m’habbia, 4207-26 IO NON SO COME MAI (filing title), 4185-2, 4289-30 Io non so come mai e con che coscienza, 4229-3, -33, -34, -35, -36 Io non so dir pensieri, 4149-11 Io non spero a’ miei martiri, 4157-5 Io non ti credo ancor, 4135-18 Io non voglio stelle ingrate, 4201-12, 4221-10, 4222-37 Io peno ma godo di viver acceso, 4135-41 Io più sperar, non so, senza, 4135-29 Io provo a ciel sereno le procelle, 4229-19 Io ritorno dal periglio, 4200-22, 4219-13, 4222-2 Io seguir voglio, 4149-19 Io son pur solo, 4157-11 Io son ragazza tenera, 4196-1 Io son zitella, ma sono scaltra, 4160-4 Io t’aspetto e a me non vieni, 4134-31 Io tengo, tengo ma più non posso, 4196-2 Io vagheggio, e rose e gigli, 4149-41 Io vi lascio, amiche selve, 4132-35 Io vi lascio, o luci belle, 4130-24 Io vo’, sì, sì, goder quel vago, 4176-5 Io voglio amare, voglio sperare, 4141-27 Io, sì, che son l’istesso, 4206-2

551

L’alma mia si scuote in vano, 4133-38 L’alma non è più mia, 4155-3 L’amare è destino e non volontà, 4158-4 L’amore è bello il dì, 4174-28 L’amore e lo sdegno sapete cos’è?, 415012 L’arder tacito amante, 4150-6 L’etra fendete, belliche trombe, 4137-30 L’ho fatta ma grossa. Le perle, l’anella, 4176-21 L’honor che più aggrada, 4162-17 L’impero d’un re non obliga, 4154-13 L’offeso mio core vendetta, 4154-16 L’ombre illustri de’ grand’ avi, 4289-29 L’ostro che in lui risplende, 4186-1 L’usignuolo in cima al pino, 4232-1 La bella mia tiranna che del mio mal, 4163-2 La bella per cui son cieco, 4163-3 La bellezza è un aura lieve, 4153-23 La beltà che il sen m’accende, 4148-13 La beltà che m’ha rapito, 4133-72 La cag(g)ione del mio pianto, 4204-41, -42; 4221-36 La candida Fenice ogni cent’anni, 422925 La colpa è la mia, 4162-32 La costanza in chi ben ama, 4166-19 La fama d’un guerrier, ch’ è Marte, 413141 La febbre d’Amore sanar, 4162-43 La fortuna del mare adirato, 4141-36 La fortuna è una sirena, 4147-4 La Fortuna invan pretende, 4155-5 La mia donna crudele con un sguardo, 4151-17 La mia fé d’un incostante, 4155-4 La mia fede altrui giurata, 4158-26 Là nel bel sen della regal sirena, 4202-1 La reggia d’Amore è piena d’avvinti, 420110, 4220-37 La ruggiadosa aurora il piede, 4232-1 La scitica regnante, vedova, 4202-2 La speme è già in campo, 4173-5 La speranza è un laccio fier, 4144-13 La speranza in chi ben ama, 4166-19

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APPENDIX A.2

La speranza mi consola, e la tema, 413530 La speranza mi dice ch’io speri, 4149-6 La speranza mi tradisce, 4148-11 La terra gioisca, rallegrasi il Ciel, 4289-19 La verginella sposat’ a Dio, 4288-9 La vince chi dura, mio cor, 4201-39, 4221-14, -59; 4222-39 Labbro dolce, ch’io già baccia, 4131-7 Laberinto di tormenti, 4130-32 Labra vezzose, fonti d’ardore, 4149-38 Labri ardenti, chi vi lega?, 4133-27 Lacerare mi sento il core, 4173-4 Lagrima pur tuo danno, 4140-21 LAMENTO DI DAVIDE SOPRA LA MORTE DEL GIONATA, 4136-15 LAMENTO DI FILENO, 4207-17 LAMENTO DI GIONATA, 4136-15 Langue per noi, 4155-9 Langue, geme quest’anima amante, 41552 Langue, geme, sospira, 4162-15 Languia già l’alba e la ridente aurora, 4156-3 LANTURLURU. IL POVERO RE DI FRANCIA, 4177-11 Lascia Amor, vola tra l’armi, 4137-21 Lascia di respirar, cadavere, 4142-47 Lascia Febo le selve e torna al cielo, 42061 Lasciami, fuggimi, cieca pietà, 4140-23, 4152-18 Lasciami Gelosia, che vuoi più, 4207-10 Lasciar sì van pensier, 4206-15 Lasciate ch’io peni, 4201-30; 4219-1, -2, -10, -11 Lasciate di mirarmi, luci adorate, 414326 Lasciatemi la vita, fierissimi tormenti, 4150-15 Lasciatemi, o pensieri, tanto ch’io mi consoli, 4223-31 Lascio il core e senza te, 4201-34, -35; 4221-49 Lassa, chi mi soccorre?, 4388-3, 4389-3 Lassa, e qual per le vene, 4205-13, 4223-1 Latte d’alba ha poco vanto, 4133-62

Le cime de’ fiori mie piante premete, 4158-20 Le dirai che questo core, 4206-3 Le fiamme al cor mi desti, 4134-26 Le genti tutte prestano ommaggio, 422915 Le magnanimi eroi, o Clio, 4136-20 Le mie cose vanno male, 4201-24 Le parche liete tesseranno, 4229-26 Le proprie viscere dar alla scure, 4134-45 Le ride su la bocca il pargoletto, 4134-23 Le sciagure di quaggiù, 4144-44 Le stelle incolpa non il mio core, 4130-18 Le vaghe stelle ridenti, 4228-2b, -4 Le zitelle che son belle, 4215-00, 4216-00 Lega virtù quest’alma, 4169-10 Legate un pensiero che fai, 4168-12, 4175-33, 4220-26 Libertà, libertà! Fuga l’alma una guancia, 4135-46 Libertà, libertà. Nel far guerra, 4170-9, 4172-2 Libertà, libertà … ragion mi sgrida, 413546 Libertà sospirata, da me ove ten vai?, 4200-34 Lidia m’abbandonasti crudel, 4151-14 Lieta ti voglio, ti bramo, vezzosa, 4132-57 Lilla a te s’avvicina, 4186-3 Lo dissi per gioco, 4156-15 Lo mio dolce signore spesso mi dice, 4288-3 Lo sai tu, chi ti costringe, 4200-39, 420428, 4219-15 Lo sapete ben lo so, 4204-3, 4223-7 Lo sdegno più crudel d’Amore, 4162-11 LO SPOSALITIO. L’ARDIRE DELLA FEDE, 4136-19 LO STORDITO, 4207-26 Lo strale fatale de’ cori, 4143-19, 4154-1 Lontananza m’ha ferita, 4201-21, 422040 Lontano sen va, chi vita, 4205-29, 422010, 4222-32 Loquace l’affetto la lingua discioglie, 4162-25 Luce degl’occhi miei, 4224-00

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Luci belle ch’al mio core, 4221-6 Luci belle, chiare stelle, 4134-57 Luci belle, e che aspettate, 4204-59 Luci belle, il cor m’impiaga, 4132-38 Luci belle, il vostro lampo, 4132-38 Luci belle, no, non piangete, 4162-33 Luci belle, s’io vi adoro, 4204-19, 422112 Luci belli e spietate, perché voi, 4205-49, 4221-42 Luci care, amate stelle, 4219-21 Luci vaghe, luci belle, 4206-4 Lumi tiranni, s’io che v’adoro, 4149-39 Lunghe gioie non speri, 4162-41 Lungi da te mio bene, ahi quante pene, 4220-53 Lungi dall’idol mio, privo, 4150-17 Lungi dalla mia Filli che pur, 4161-7 Lungi dunque dalla vita, 4202-1 Lusingami speranza che non mi spiace, 4148-7 Lusinghe del mio sen partite, 4166-8 Lusinghiero desio, ch’il moribondo cor, 4175-23 M’è cara l’alma mia, 4142-49 M’è sparito dagl’occhi il mio bene, 414336 M’ha lasciato la speme, a Dio, 4168-15 M’ha tradito il nume infante, 4213-1, 4216-1 M’havete chiarito, begl’occhi, 4150-4 M’inchino anch’io, 4186-2; 4196-1; 422927, -29, -30, -31 M’innamoro, sì, m’innamoro, ma non voglio, 4206-11 M’involasti, Amor tiranno, 4130-30 M’ucciderà il mio dolore, 4221-35 Ma ch’ non vuol esser’ amante, 4139-8 Ma che pensi, o cor trafitto, 4201-5; 4220-47, -48 Ma dille almeno, dille, 4143-34 Ma l’istesse ferite, 4156-2 Ma nel ciglio io non vorrei, 4153-19 Ma per volare a sì beato loco, 4151-43 Ma perché d’un cor l’arsura, 4147-23 Ma più vale e più diletta, 4153-9

553

Ma poscia il suo core di quello, 4149-35 Ma se ancor il cor è rio, 4206-23 Ma se sia, ch’io ritrovi, 4230-2 Madonna, il nostro amor gradite, 415121 Madre che farò io con quest’occhi, 417310 MADRIGALE SOPRA LA NASCITA DEL BAMBINO GIESÙ, 4203-15 MADRIGALE SOPRA LA NASCITO (!) DI N.S., 4205-38 Mai il pensiero ancor, 4202-8 Mai non è labile, ma sempre stabile, 4168-18 Mai non intesi per altro sguardo, 4160-6 Mai non si troverà che petto nobile, 41637, 4220-7, 4222-31 Mai non si vide ancor, 4171-9 Mal saggia la mente, 4162-31 Mal’accorto, mio core, 4150-8 Maledetto sia quel dì ch’al tuo sen, 417623 Mani altere e divine, 4200-5 Marmi che mi chiudete, 4154-14 Masnadiero il tormento, 4168-14 Me ne contento, non ricuso, 4208-20 Meco scherza il dio d’amor, 4137-7 Men vado ma creda (duet), 4231-27a Mensogner, fabro d’inganni, 4162-13, -14 Mentr’io v’adoro e voi m’havete, 4151-9 Mentre il cielo mi sforza, 4214-1, 4216-1 Mentre la notte havea d’horrore, 4200-16 Mentre pittrice notte, 4206-26 Mentre sorge dal mar, 4208-13 Mercede imploro, o cara, 4142-29 Merta lode quella frode, 4224, 4225-1, -2, -3; 4231-29 Mesto in sen d’un antro ombroso, 413621 Mezza tra viva e morta, 4175-1 Mi balza fuor dal petto, 4169-6 Mi comandi ch’io parta, 4230-9 Mi confido che Cupido, 4170-4, 4172-5 Mi consiglia a prender l’armi, 4142-12 Mi consumo, ah lo sa il core, 4220-34, 4222-9, -20 Mi contento così, benche soffra, 4156-13

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Mi curo pur poco se trema, 4204-27, 4222-26, 4223-4 Mi dice la Speranza, che cert’ ho, 4152-6, 4167-14 Mi dipinge amabile sorte, 4156-3 Mi disfida la Fortuna, 4140-9, 4152-20 Mi dispiace che deliri, 4141-2 Mi dite un non so che, 4134-39 Mi fa vezzi e vuol ch’io rida, 4160-14 Mi fan guerra Amor e Sdegno, 4170-1, 4172-14 Mi fulminate a torto, luci spietate, 41408, 4167-21 Mi legasti Dio bambin, 4149-5 Mi lusingo e l’alma spera, 4171-10 Mi mostrò lieto il sembiante, 4208-6 Mi nacque in seno la crudeltà, 4143-7 Mi piace amar da vero, 4140-35 Mi prendo diletto, 4156-15 Mi prepara Amor contenti, 4134-49 Mi presta una sirena, 4169-15 Mi ribello al dio d’amore, 4135-14 Mi sarà cara la vita, 4144-31 MI SON FATTO NEMICO (filing title), 4191, 4219-5, 4231-12, -13, -16, 4296-3, -9, 11 Mi spirti incrudelitevi, inferocitevi, 414251 Mi sveglia la tromba, pensieri, 4176-17 Mi tenti Amor invano, 4202-7 Mi torna nel core la gioia, 4167-24 Mi tradì la cruda ch’adoro, 4169-27 Mi tradisti, e poi crudele, 4167-23 Mi va scherzando in petto la gioia, 413136 Mi vogliono morto due lumi, 4203-21, 4204-48, 4220-24 Mia tiranna, oh Dio, pietà, 4147-18 Mia vita gradita, mio caro, 4170-22, 4172-22 Mia vita non vedi tu, 4205-17, 4221-18 Mie bellezze, voi sete pur vaghe, 4137-36 Mie bellissime pupille, se un sol guardo, 4131-10 Miei lumi serenatevi, 4148-15 Miei pensieri, che severi, 4130-70 Miei sospiri, alati affanni, 4231-28

Miei spirti all’armi, ne già, 4170-36, 4172-24 Miei spirti brillate, quel ciglio, 4170-19, 4172-32 Miei spirti inferocitevi, incrudelitevi, 4142-51 Mio ben, mio bel tesoro, 4206-5 Mio ben, se parte il piè, 4167-11 Mio caro /mio bene, tu mi stringi (duet), 4232-00 Mio cor che farà, 4157-9 Mio cor, non pensar più, 4163-10 Mio cor, non tocca a te, 4150-27 Mio core impara dal mare, 4200-29 Mio nume che in croce, 4153-5 Mio nume, mio sposo, non cerco, 413250 Mio sol pensa a gioir, 4142-40 Mira il bel che tu disprezzi, 4142-44 Mira quel seno che vuoi svena, 4130-9 Mirai Filli e rimirato fui, 4203-6 Mirarvi e non morir, 4130-3 Mirate, che pietà, del mio Christo, 428910 Misera Clori, hor va palesa, 4162-32 Misero io sento il core, 4204-49 Misero petto, che sei ricetto, 4202-5 Mora, pera, vo’ severa, 4143-2 Morirò, morirò. Voglio per monti, 41337, 4174-14 Mortale, che pensi? Son caduchi, 420024 Morte amata hor che t’invoco, 4155-15 MORTE, LA (title), 4136-12 Morte, morte ultimo male, 4131-19 Muterò lo scettro in folgor, 4166-24 Nacqui al regno, 4171-3 Narrando al sordo mar, 4151-29 Nasce là dentro le selve, 4147-25 Nasce misero chi nasce re, 4137-5 Nascerà guerra, crudele, solo a danni, 4134-60 Navicella che sì altera, perch’hai grave il sen, 4200-26, 4219-9 Ne l’amante son gran nemici, 4133-6, 4174-8

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Né notte né dì riposa, 4163-5 Ne senza spine la rosa, 4149-15 Negatemi i rai del dì, 4148-9 Nel centro del’alma, 4203-27 Nel cercar il mio bene sparì, 4158-34 Nel duol più fier che al cor, 4143-38 Nel formar un sì bel volto, 4142-39 Nel fulgor di tanti fregi, 4158-35 Nel mio sen crescere osservo, 4133-54 Nel pensar ch’un’altra goda, 4130-17 Nel petto mio s’avanza, 4169-23 Nel regno d’Amore non v’è più beato/felice (duet), 4231-28 Nel ricercar qual sorte, 4157-6 Nel suo core mai cessa, 4208-36 Nel tempio si deve il nume, 4176-9 Nel tuo volto onde il mio cuore, 4157-14 Nel veder partire il sole, 4206-19 Nel vostro oscuro seno date ricetto, 423125 Nell’arte dell’amar, ho un cor, 4132-65 Nell’onda d’occidente, senza velo (recit.), 4227-1, -2, -3, -7 Nella caccia ho perduta, 4158-34 Ninfe belle, vaghe e snelle, 4185-2, 4229-1 Ninno mio, bello ninno, io vo’ cantarti, 4289-12 No, che non mi vo’ perdere, 4176-19 No, che non vo’ pietà, 4161-7, 4164-7 No, che sazio non è ancora, 4134-65 No, mia vita, non è vero, 4374-24 No, mio bene, non lo dite, 4175-15 No, mio cor, non mel negare, 4222-40, 4223-39 No, mio cor, non ti difendere, 4221-64 No, no che viver non [può], 4204-17 No, no, che nol soffrirò, 4156-1 No, no, giuro ad Amor, non dar già mai, 4135-35 No, no, mai non permettere, 4185-3; 4229-37, -39 No, no, no, no, fuggir non vo’, 4163-5 No, no, no, non ti credo più, 4221-69 No, no, non ci pensa, no, 4150-16 No, no, non m’ innamoro più, 4168-6 No, no, non si speri, è morta, 4168-5 No, no, non vo’ consiglio, 4220-43

555

No, no, non voglio spargere, 4131-21 No, non m’accese invano lo stral, 414134 No, non vi vo’ più credere, 4154-5 No, non vo’ più penar per guancia, 415421 Noiosi pensieri, 4208-13 Noiosi pensieri ch’il cor, 4162-27 Non ama un che non spera, 4166-36 Non amarmi, non pregarmi, 4162-45 Non ascolto chi da stolto, 4134-24 Non aspreggi sua catena, 4374-18 Non ben saldata ancor, 4146-3 Non chiedo Amor non più, 4174-15 Non conosco più diletto, 4149-10 Non così fra dubbi venti, 4153-11 Non creder che fedele, 4206-32 Non credo instabile chi mi piagò, 415919 Non dipende da noi, 4134-30 Non disperar, chi sa che fida, 4135-29 Non disperar, mio core, la patienza, 4136-3 Non disperi del dio d’Amore, 4130-23 Non disprezzar chi t’ama, 4171-2 Non disprezzarmi ingrato che poi, 416021 Non distinguo il foco ond’ardo, 4143-4 Non dorme mio core, penando si sta, 4146-1 Non è bella sul crin la corona, 4134-51 Non è come tu credi, 4157-14 Non è fabro d’inganni, 4202-3 Non è fierezza l’usar fierezza, 4173-3 Non è possibile mirar e non amar, 4159-6 Non è questa la bella, 4166-7 Non è sempre tiranno il pargoletto, 41601 Non è usanza del mio core, 4204-31 Non è ver ch’il mondo nacque, 4185-1 Non esser sì sdegnosa (ritrosa), 4154-7 Non fia poca mercede, 4144-10 Non fia ver giamai che sia, 4221-20 Non fuggir da chi t’adora, 4135-13 Non fuggir libertà, che furia è questa?, 4168-21 Non ha core, no, non ha core, 4208-16

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Non ha da credere allo spavento, 4134-83 Non ha maggio tanti fiori, 4158-21 Non ha pace il mio desir, 4158-1 Non ha tante stelle in ciel, 4202-1 Non ha tregua il mio dolor, 4158-1 Non ha un dì felice, 4134-15 Non ho mai pace al cor, 4158-28 Non han ore tanti giri, 4158-21 Non ho pace da quel dì, 4149-10 Non ho pace, non ho bene, 4149-10 Non ho per altra bella, 4224; 4226-2–5; 4227-2; 4229-20; 4231-30 Non ho più core in sen, 4144-9 Non ho più lagrime da dissertarne, 420435, 4220-33 Non lasciarmi, speranze gradite, 4137-17 Non lo credete? Voi lo vedrete, 4141-51 Non lo dite a questo core, 4143-41 Non m’importa, occhi adorati, 4132-21 Non mancherano amanti, 4176-26 Non mi ci cogli più, Amor, 4201-2, 422049, 4222-12 Non mi ci coglie più, infido Cupido, 4201-2 Non mi ci coglie più, su l’incude, 4201-2 Non mi conosci, no, no, 4156-3 Non mi curo di favella, 4143-25 Non mi duole il sospirar, 4162-18 Non mi fate mentire, no, no, no, 4200-37, 4219-29 Non mi lasciar, no, no, dolce Speranza, 4170-34, 4172-42 Non mi lusingar più, cieco mondo fallace, 4223-33 Non mi lusingar più, speranza infida, 4223-33 Non mi mirate più, no, no, no, no, donne, 4201-7, 4221-13 Non mi negar ch’io speri, 4175-12 Non mi parlar così, che mi farai morir, 4130-6 Non mi turbate più, pensieri, 4208-24 Non morir mio ben, no, no, 4130-36 Non palpitarmi, sta cheto, 4131-9 Non pavento nemico Destino, 4144-37 Non più amor, non più contenti, 413123, 4134-73

Non più assalti a questo seno, 4132-41 Non più, non più dolore, 4204-17 Non posso disperar, sei troppo cara, 4161-1, 4164-3 Non pretendo speranza, 4206-27 Non può dir che sia piacere, 4149-40 Non può risolvere quest’alma, 4132-54 Non puote il ciel d’un viso, 4374-31 Non riposa un sol momento, 4142-36 Non sa chi ben non ama, 4174-2 Non sa fingere questo cor, 4135-27 Non sa se debba ridere, 4140-30 Non si fidi un cor, no, no, 4220-43 Non si muor per Amor, 4140-4 Non si parli più di spene, 4204-44 Non si può veder un volto, 4154-4 Non so che d’augusto è grande, 4134-77 Non so mirar quel volto, 4232-1 Non so se devo credere, 4207-9 Non so tradir, so amar, 4142-32 Non son conformi gl’effetti d’Amor, 414110 Non son paga d’esser vaga, 4171-4 Non sono ancora, no, di speme priva, 4144-40 Non sperar questo da me, 4205-58, 421924 Non speri mercé, 4207-21 Non suol fidarsi Amore di chi, 4160-22 Non superbite, no, non superbite, 4200-3 Non svenate un sen regale, 4135-11 Non tardar di venir’ a chi t’ama, 4160-8 Non tardar, dolce speranza, 4132-47 Non temo di morte, m’impiaghi, 4168-8, 4175-27, 4220-20 Non temo, o Fortuna, la vela, 4176-32 Non tentar la mia costanza, 4153-8 Non ti credo, deità mensogniera, 4149-47 Non ti doler cor mio, se la cruda beltà, 4175-21 Non ti punisco, no, né ti perdona, 4135-2 Non tormentarmi più, lasciami in pace, 4135-49 Non v’è cor ch’ami da vero, 4133-64 Non varrà il fuggir, no, no, 4158-8 Non vedo perché tu speri, c(u)or mio, 4131-26, 4134-74

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TEXT INCIPITS AND TITLES IN ITALIAN

Non vi sdegnate, pupille belle, 4133-75 Non voglio spargere in lagrime, 4131-21 Non voglio più seguir chi disprezza, 4151-45 Non voler l’altrui contento, 4206-20 Non vorrei ch’il core amante, 4166-12 Non vorrei che diventasse, 4166-12 Notte amica ai dolci amori, 4170-20, 4172-7 Notte beata a cui sereni i giorni, 4168-2 Nous fuyons le beauté toujours, 4166-35 Now with death I’m contented, 4139-5 Nulla senti il tutto credi, 4207-10 O begli occhi che di lume gareggiate, 4374-27 O bella peccatrice che port’ in man, 428929 O bocca di rubin, in te compone, 4133-87 O cara Lilla! Or presto a noi, 4229-3 O cara, o dolce, o dolce, o cara libertà, 4132-36 O cecità del misero mortale, 4193-2, 4218-2, 4231-14, -15 O CECITÀ DEL MISERO MORTALE (filing title), 4193, 4218 O cessate di piagarmi, 4148-2 O CHE FLEMMA CI VUOLE (filing title), 4229-6 O che flemma ci vuole: mezz’hora e più, 4229-6, -7, -8, -9, -32 O Ciel chi provò mai, 4220-47, -48 O cielo acquietati, 4149-7 O Clorida già che s’adornano, 4288-1 O cor che mi lasciasti, 4175-22 O d’Amor possenti schiere, 4168-23, 4220-55 O dammi più d’un core, 4169-36 O del Tartareo speco dell’antro cieco, 4199-2 O dell’alma, see Oh dell’alma O dolce mio Signore, non vo’ star, 428917 O dolcissima speranza, 4230-1 O felice la pastorella, 4134-64 O Fortuna, o possente dea, 4186-1 O gran Redentore ch’ascendesti, 4177-11

557

O la, pensieri, o la, e qual dentro, 4136-4 O la, pensieri, o la, il varco, 4136-4 O lumi piangete, se spensi, 4136-15 O lusinga de’ mortali, 4168-35 O madre d’amor, deh fa’ che fervente, 4232-1 O mia bella Licori, per te piangendo vo, 4151-47 O mio bene, o cara vita, 4151-13 O mio cor che dolente, non più pena, 4151-34 O mio core a lusingarti, 4202-2 O non amarmi o non teme, 4227-1, -2 O non si prende moglie, 4132-17 O peccator, ch’hai qui fermato il piede, 4289-14 O quante volte, o quante feci, 4223-17 O quanto mi fai ridere, 4132-9 O queste son quelle pupille, 4168-24 O sempre quel dì felice per me, 4136-23, 4168-33 O sirene d’ogni petto, 4168-35 O soffrimi innocente, o lasciami, 4134-81 O son pur nel grand’imbroglio, 4172-6 O son sprezzato o amar, 4161-3, 4164-5 O sorte tiranna chi ogn’hor, 4229-6, -7, -8, -9, -32 O tu che fra le selve occulta vivi, 4288-2 O tu limpido fonte, nato dal sen, 4149-2 O tu serbami la fede, 4144-38 O turbini, o tempeste, 4200-2 O va spietato Amore, 4134-76 O vergine divo abitacolo, 4288-1 O voi che d’Amore, 4173-11, 4220-46 O voi che in aride ossa, 4136-13 O voi che languite di pianti, 4158-5 O voi che lasciate d’Egitto, 4195-2 Occhi bei, voi siete stelle, 4161-15 Occhi belli a me crudeli, 4175-28, 422168 Occhi belli, all’armi, all’armi! S’armi, 4205-3, 4221-28, 4220-42, 4222-38 Occhi belli del mio nume, 4143-15 Occhi belli e lucenti, venite, 4139-7 Occhi belli, occhi tiranni, 4207-20 Occhi belli, un guardo solo, 4168-16

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APPENDIX A.2

Occhi bugiardi, sì, voi mi tradite, 4205-6, 4220-17 Occhi cari, che l’alma accendete, 4132-56 Occhi chi non v’adora, 4144-42 Occhi chi non vi mira, 4134-10, 4140-42 Occhi lingue d’Amore non mi chiedete, 4175-30, 4203-27, 4220-25 Occhi miei, fin ch’io son sola, 4133-85 Occhi miei, più non v’aprite, 4221-51 Occhi vaghi e lusinghevoli, 4151-31 Oda il mar, la terra, il cielo, 4131-37 Odi almeno i voti miei, 4201-26 Offeso Dio che pendi, 4189-1; 4219-4, 4296-1 Ogn’hor per te mi moro, 4149-16 Ogn’un sento sospirare, 4168-29 Ogn’uno a gara, 4229-17 Ogni bella che m’invaghì, 4169-8 Ogni donna da me apprenda, 4231-27d Ogni vero amator vive in cattena, 413536 Oh, cara rimembranza, 4156-6 Oh che burla! O che gioco, 4229-38 Oh che duello fiero!, 4185-3 Oh come sereno con placide, 4208-9 Oh come tranquille con passo, 4208-9 Oh dell’alma spariti piaceri, 4141-16 Oh Dio, ch’a poco a poco, 4147-19 Oh Dio, come farò lontano, 4204-21, 4223-29 Oh libertà gradita, dove sei, 4205-4, 422129 Oh quante volte, oh quante, l’alma, 41444 Oh questo, no. Troppo presto, 4141-48 Ohimè, chi mi consola, 4168-34 Ohimè, madre, aita, aita!, 4200-20 Ohimè, non pianger più, non sospirar, 4151-25 Ohimé, non posso più, ho cercato, 423127c Ombre cieche, sordi orrori, 4132-3 Onde chiare, che bagnate, 4153-25 Ondeggiante fra le pene, 4130-32 Opra fu degna de’ pensier tuoi, 4162-26 Opra, Dio mio, l’onnipotente mano, 4203-12

Or ch’a la dea notturna, 4158-1 Or che Imeneo per te, 4133-70 OR CHE L’ESTIVO SOLE (filing title), 423200 Or che l’estivo sole, 4232-1 Or che tra l’onde Ibere, 4173-1 ORATORIO PER LA SETTIMANA SANTA, 4198, 4199, 4231-18 Orto vago del sol ch’adoro, 4169-30 Ostinata a miei dolori, 4374-10 Ove fuggi, o mia speranza?, 4136-9 Ove tenebre, ohimè, ove fuggite, 4200-11 Padre, ti lagni a torto, 4160-12 Pallido, muto e solo mentre nel sen, 416320 Parche, troncate il mio vivere, 4133-69 Parea ch’ il bel seren, 4152-16, 4167-20 Parla, parla mio core, 4200-31 Parlar potesse il cuore, 4144-2 Parmi d’amar ancora, non amo, 4140-17, 4167-4 Parmi un sogno ed è pur vero, 4132-28 PARTENZA and RISPOSTA, 4220-52, -53 Partirei, se crudo Amore, 4230-8, -9 Partirò, ma forse un dì, 4134-16 Partirò, ma fra catene, 4170-27, 4172-8 Partirò, ma teco resta, 4140-36 Partirò, partirò? Ahi, ch’a quel suono, 4205-33, 4221-21 Partirò per non vederti, ostinata, 4131-15 Partisti, hoimé, partisti, 4168-26 PARTITA, LA, 4151-18 Partitevi respiri da quest’alma, 4207-21 Parto, ma lascio il core, 4170-24, 4172-35 Parto, sì, che la vendetta, 4231-11 Parvi forse poco intrico, 4213-1 Passa i giorni chi amanti, 4149-33 Passami, o barbaro, passami, 4154-19 Pastor a cui fra l’ombre, 4136-1 Pastorel che vai intrecciando, 4153-20 Patienza tocca a me, 4208-14 Patienza, tu m’ingannasti Amor, 4176-14 Peccator crudo e rio, 4289-7 PECCATORE A PIÈ DEL CROCIFISSO, 4219-3 PECCATORE A PIEDE D’UN CROCEFISSO, UN, 4205-24

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TEXT INCIPITS AND TITLES IN ITALIAN

Peccatori su, su, lavate i cori, 4289-36 Penare, crepare, orbarmi, 4172-25 Pene, a pena sento pena, 4150-20 Pene, affanni, ahi per pietà, 4204-39, 4222-18, 4223-37 Pensier che bramano ogn’hor, 4173-9 Pensier di te non ho, se ben, 4142-26 Pensieri consigliatemi, se deggio amare, 4148-14 Pensieri contentatevi, 4207-14 Pensieri d’amore ch’il cor, 4149-49 Pensieri del mio amor datevi, 4166-8 Pensieri dolenti, fortuna cercate, 4208-6 Pensieri havrete pace; e quella pace, 413391 Pensieri tranquillatevi, 4149-1 PENSIERO, IL, 4374-7 Penso, risolvo, sarò fedel, sì, sì, 4161-8 PENTIMENTO DE’ PECCATI, 4219-2 Per baciarti, mia bella, 4131-43 Per chi fede mai non serba, 4164-15 Per condir nobil vivanda, 4229-17 Per crudeltà, per tirannia d’amore, 420425 Per dar forza al mio petto, 4149-31 Per far guerra a la costanza, 4230-6 Per favor d’amico Fato, 4149-30 Per finezza mio nume, 4155-6 Per fuggir tutti gl’inganni, 4133-8, 4174-7 Per gionger’ a goder, 4132-5 Per immenso sentiero là nel ondoso regno, 4374-15 PER LA RESUR[REZIO]NE DI CHRISTO S.R NOSTRO, 4374-13 Per me non la so intendere, 4140-34, 4152-5, 4167-1 Per mirar chi al sol, 4172-9 Per mirar se sian fide, 4153-3 Per morire d’amante fedele, 4143-27, 4154-27 Per non esser traditore, il core, 4141-46 Per non viver gieloso, 4135-6 Per pietà cangia desio, 4155-22 Per pietade, ahi, chi m’uccide?, 4170-11, 4172-23 Per pietade chi m’insegna, 4132-64 Per pietade e chi m’ adita, 4204-33

559

Per pietade, o luci belle, 4158-33 Per quel punto felice in cui divenni, 43885, 4389-5 Per sanar del cor la piaga, 4130-27 Per seguirti, idolo mio, perderò, 4176-16 Per serbar l’animo casto, 4133-14, 417416 Per te s’io vivo e spiro, 4144-4, -11, -28 Per te sospira un core, ma non, 4160-2 Per te, Tazio/Metio, sì, sì (duet), 4161-12 Per torbido mare m’ha fatt’ il peccato, 4151-19 Per torbido mare m’ha fatto il pensiero, 4151-19 Per un guardo del mio bene, 4204-22, 4219-35, 4220-11 Per uscir da tante pene, 4170-2, 4172-12 Per uscir dal laberinto dov’io son, 417631 Per voi questo core con rigide tempre, 4158-24 Per vostr’ honore un fulmine, 4155-7 Perch’io vegga, se son tradito, 4144-36 Perché combattete pensieri dubbiosi, 4230-6 Perché dolce Bambino, 4203-15, 420538, 4220-4 Perché Filli è infedele, 4207-23 Perché in vita mi serbate, 4132-34 Perche l’huom l’è ignoto, 4162-10 Perché mai, luci adorate, 4142-59 Perché mai non trovi inciampo, 4133-60 Perché mi sei, tu così lento, 4133-30 Perché ne gabban tanti, 4214-00 Perché ogn’or ti viva in petto, 4133-35 Perché piange quest’alma, 4134-87 Perché più non mi lamento, 4151-48 Perché ratto così il lampo, 4175-31 Perché sì cruda con chi t’adora?, 4130-18 Perde il cor chi vive amante, 4135-47 Perde il merito al soffrire, 4202-7 Perdona se vuoi col ciel gareggiar, 414039, 4167-10 Perdonatemi, luci belle, altro volto, 41651 Perduta libertà, quanto ti piange, 4163-15

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Perduto ho il caro ben, 4226-1, -2, -3, -4, -5; 4229-20; 4231-30, -32 Perduto ho il core, purtroppo, 4148-5 Peregrin d’ignote sponde, 4136-22 Peregrina alta beltà, 4157-14 Piaga adorata e cara, t’ha fatto, 4142-7 Piangente un dì Fileno, 4207-17 Piangerò, se giova a piangere, 4133-82 Piangete ohimè piangete, anime innamorate, 4168-32 Piangi su la tua palma, 4138-6 Piango sempre, ogn’or sto in pene, 413383 Piango, prego e sospiro, e nulla, 4200-23, 4219-16 Picciola è l’ape ancor, 4155-23 Pien di giubilo il cor sarà, 4135-27 Piena di bellezze, 4145-9 Pietà Didone del suo penar, 4141-7 Pietà, Filli, pietà, 4220-51 Pietosi allontanatevi, disperati seguitemi, 4203-23, 4205-51, 4222-10, 4223-13 Più che in mar dall’onde, 4143-6 Più crudel quanto più amato, 4158-23 Più d’una amata voglio, 4158-3 Più d’una bella voglio, 4158-3 Più d’uno quel crine ancora, 4139-3, 4162-34 Più dolce, o chiome aurate, 4133-50 Più indorato del usato, 4158-18 Più lieta ti voglio, perché più, 4143-30 Più non ho scintilla in petto, 4137-6 Più non m’affligie, no, Timor, 4135-5 Più non mi vedrai piangere, 4130-30 Più non pensi confuso il pensiero, 416111 Più non può di stella alcuna, 4143-8 Più non temo lo stral de la sorte, 4147-8 Più non temo lo stral di Cupido, 4147-8 Più non ti voglio credere, o mensognero, 4130-29 Più non voglio amarlo, acquietati, 414018, 4152-13, 4167-5 Poi rimirar potrai, 4232-1 Poiché chiaro s’avvide, 4220-51 Porgi la destra, mio dolce amor, 4132-2 Portami a Filli in sen, 4161-7

Portami tra le piume, 4169-42 Porti spietata le Furie, 4149-13 Porti tu l’acque al mar, 4151-30, -44 Porto in seno un certo core, 4173-15 Pose in fronte al mio tiranno, 4207-22 Posseder quel, che desia, 4133-29 Posso ben morire, o bella, 4166-30 Posso contar l’arene, 4155-8 Potessi così tu dar prova, 4155-24 Potrebb’essere, chi lo sa, 4207-24 Povera gioventù, dove ti guida Amor, 4135-28 Povera libertà, chi t’involò, 4202-5 Povero amante, ma sei fuor, 4169-22 Povero cor lo so, non piangi, 4160-18 Povero cor ti veggio, 4142-43 Povero core, tu soffri, 4162-8 PRECIPITATA FILOSOFIA (filing title), 41863, 4196, 4229-23, -24, -28, -30 Precipitata filosofia e dove andò, 4196-2 PREDICA DEL SOL, 4187-00 Preparati a gioir, o core, 4162-56 Preparati a soffrir, 4226-1, -2, 4, -5 Preparati a veder del faretrato arcier, 4231-8 Presso un liquido cristallo (dialogue), 4205-58, 4219-24 Presso un ruscel sedea un huom, 4208-9 Pretendo di vincere un cor, 4153-16 Pria che d’Eto i nitriti, 4231-34 Pria che dal cor quel volto, 4154-11 Pria che desto ai nitriti, 4231-34 Pria che mai mancar di fé, 4135-48 PRO PRESENTE LECTIONE (filing title), 4186-2 Pro presente lectione sufficit, 4196-1, 4229-27 Prodigo a te del pianto, 4151-3 PROTETTIONE DI MARIA, 4151-19 Provi il mio sdegno, tiranno Amor, 413461 Punto il dì da un’ape, 4166-23 Può ben celarsi un poco, 4132-24 Può sperar di goder un core, 4166-2 Pupille adorate che mi rapiste, 4135-50 Pupille amorose, m’è forza, 4137-9 Pupille belle ch’il cor m’ardete, 4149-38

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Pupille care, care, moro, 4171-16 Pupille lacrimate, dolenti mie pupille, 4133-90 Pupillette, che vestite, 4205-26 Pupillette mie belle, occhi cari, 4175-5 Pupillette, tocca a voi, 4163-18 Pupillette volete ch’io mora, 4156-16 Pupilluccie mie belle, quanto v’adorerei, 4204-20, 4221-22; 4219-31, -34 Pur ch’io baci quel volto sereno, 4137-14 Pur ch’io ti sia fedel, 4135-21 Pur è ver che fiero danno, 4375-3 Pur m’offendete con dolce telo, 4204-14, 4221-4 PUR VI RIVEGGO AL FINE (filing title), 4186-1, 4196, 4229-24, -25, -26 Pur vi riveggio al fine, o splendide ruine, 4229-24, -25, -26 Pura i lacci d’un bel crin, 4147-7 Purché vi baci un dì, sì, sì, 4206-10 Qual farfalla intorno al foco, 4231-34 Qual sen va la vita amante, 4232-2 Qual sia il parco, ho dimandato, 423127b Qual soave armonia mi tien’ fermo, 4231-1 Quand’io credo esser disciolto, 4200-28 Quando con giusto sdegno, 4220-54 Quando fia che si mirino, 4200-2 Quando meco tornerai, libertà, 4201-15, 4221-53 Quando mi chiede, Amore, 4374-1 Quando nel seno havrò, 4134-29 Quando poi son per gioire, 4139-8 Quando ride un verde aprile, 4225-1, -2 Quando s’ama, amar da vero, 4142-57 Quando vi spezzerete, 4207-7 Quando voglio con un vezzo, 4137-15 Quando voglio io so ferir, 4137-15 Quant’è dolce e quant’è vaga, 4130-31 Quant’è dolce il languir, 4207-20 Quant’è folle chi siegue un fanciullo, 4149-33 Quant’è infido un huom amante, 4210-2 Quant’è meglio esser suo, 4168-31 Quante frodi insegnia Amore, 4135-16

561

Quante volte giurai fermo, 4151-2 Quanti affanni ad un core, 4206-28 Quanti inganni insegna Amore, 4135-16 Quanti scherzi, quanti vezzi, 4140-26 Quanto adoro, ahi, ch’il desire, 4204-10, 4220-32 Quanto deve alla sua sorte, 4162-3 Quanto è dolce per voi languir, 4176-2 Quanto è folle il seguir bellezza, 4149-34 Quanto è gradito e caro amar, 4143-38 Quanto gode questo mio core, 4130-52 Quanto il sol dall’alto scopre, 4136-20 Quanto parla il mio dolore, 4205-16, 4220-41 Quanto parla il mio rispetto, 4205-25, 4221-24 Quanto poco durate, o contenti, 4201-29, 4219-22 Quanto possa ancor non sai, 4169-37 Quanto punga, quanto stimola, 4133-26 Quanto può, quanto sa la destra, 4166-36 Quanto sei penosa, o quanto, 4202-9 Quanto vi baciarei, labbrucci, 4204-12 Quanto, quanto, o quanto, errò, 4147-6 Quel bello, quel vago, quel genio, 413910, 4142-17, 4176-7 Quel caro ardor che mi lusinga, 4174-20 Quel ciglio che ride mi sforza, 4176-11 Quel ciglio, quel labro, quel vezzo, 414246 Quel cor ch’a te già diedi, 4223-14 Quel tener per profetia, 4205-5, 4221-32, 4222-28 Quel vostro ridere, 4220-16 Quell’alma che detta, 4149-3 Quell’occhio mi piace, 4132-23 Quella fronte ha un non so che, 4159-23 Quella luce che s’indorò, 4168-7 Quella man se potete, stringete, 4142-31 Quella morte sì bramata, 4202-2 Quelle han rapito a te la cara libertà, 4156-4 Quelle li, quelle, quelle mio cor, 4156-4 Quello a l’angue ch’altri uccide, 4156-4 Querelati, o mio sol, del tuo destin, 414256 Quest’Amore che m’alletta, 4169-10

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APPENDIX A.2

Quest’empio ch’inganna, 4205-58, 421924 Questa man fatta guerriera, 4140-11, 4152-8 Questa, sì, ch’è bizzaria, 4137-35 Queste lacrime cadenti, 4230-11 Questo amante ha pietà, 4203-16, 4220-5 Questo labro solo, solo, baccierò, 413132 Questo mondo è una gran gabbia, 414125 Questo sole degl’amanti, 4149-43 Questo suol che fu già mio, 4229-25, -26 Qui attendimi, fedele, e non partir, 413355 Qui contrasti con zeffiro, 4142-52 Qui dove scorre il Tebro, 4179-2, 42282a, -3, -4 Qui per poco ferma il piè, 4166-6 Qui solingo tra l’arene, 4157-11 Quietati omai, non piangere, 4176-15 Ragion mi dice lascia d’amare, 4175-2 Rammentati core, che ’l foco primiero, 4204-24, 4220-8 Rapite gioie non dan piacer, 4135-22 Ravivato dal sepolcro, s’oda il Tebro, 4142-55 Re miserabile, ah l’umana fortuna, 413128 Reggie idee, pensieri amanti, 4164-19 Regia mano con più verghe, 4169-17 Renderà ragione il ferro, 4166-16 Rendimi l’alma al meno, 4149-3 Rendimi la mia pace, che m’involasti, 4137-27 Rendimi la mia pace, che mi rubasti, 4137-27 Reo d’impuniti eccessi, 4203-13, 420524, 4220-1 Resista chi teme trovar fedeltà, 4202-7 Resta ancora alla mia sorte, 4160-10 Resta, o cara, e non aggiungere, 4176-35 Restatevi pure, infide lusinghe, 4147-20 Restati in pace, mio dolce ristoro, 413924, 4206-31

Ricche spoglie che chiudete, 4139-4, 4153-22 Ricordati ad ogn’hora, la fede, 4152-10 Ricordati ch’è mio, quel petto, 4139-4, 4140-16, 4152-10, 4168-37 Ricordati di me se vuoi, 4172-11 Ricordati, o caro, di chi fai morir, 417016, 4172-11 Ricordati un poco, Fortuna, 4132-11 Ricordati vita che m’hai lasciato, 420121, 4220-40 Ride l’aura lusinghiera, 4164-17 Ridete, festeggiate, ch’è tempo, 4176-6 Ridi ch’io riderò, 4132-37, -60 Rimembranza per me, 4149-2 Ringratiar può la sua stella, 4162-3 Rio rigor di crudeltà, 4204-15, 4205-60, 4223-40 Risana, cor mio, l’affanno, 4162-55 Risolvete di sanarmi, o cessate, 4142-22 Risolvetevi d’amarmi, luci belle, 4130-60 Risolviti crudel, se m’hai rubbato, 4202-5 Rispondete, o pensieri, chi crudele, 415014 Rispondi, o mio core per chi, 4163-23 Ritorno a respirar se non m’inganni, 4132-45 Risvegliasi ancora la speme, 4169-39 Risvegliato il braccio mio, 4140-36 Ritornate per pietà a tenere, 4207-5 Ritorni l’alma in sen col lucido balen, 4132-45 Ritorno a dir, 4231-27c Ritorno a respirar al chiaro balenar, 4132-45 Ritorno, aquila amante, 4144-3 Rivoletto ch’avea a le sponde, 4232-1 Rompo i lacci e frango i strali, 4159-22 Rosa vermiglia, 4228-5 Ruscelletto almen tu puoi, 4148-12 Ruscelletto limpidetto, 4231-26 S’abbatta, si franga, 4168-23, 4220-55 S’accinga a soffrire, 4229-17 S’al fulgor di biondo crine, 4149-43 S’al mio cor niega mercede, 4206-17

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TEXT INCIPITS AND TITLES IN ITALIAN

S’alcun m’incolpa d’infedeltà, 4215-1, 4217-1 S’amasti da davvero, 4130-44 S’amerà le tue bellezze, 4166-9 S’Amor ti punge il seno, 4130-51 S’armi d’ira questo petto, 4226-1, 423131 S’audir non piegate, 4208-25 S’avvien ch’io ripensi, 4201-42 S’en vola il dio d’amore, 4171-6 S’era alquanto addormentato, 4207-7 S’hai l’alma e per me, 4171-13 S’ho il piè tra catene, 4138-3 S’ho le cattene al piè, non l’ho, 4138-3 S’ho tradito e troppo amato, 4131-19 S’il destin per me fu ingrato, 4135-34 S’il mio pianto, ohimè, 4204-39, 422218, 4223-37 S’inganna chi crede co ’l ciglio, 4167-9 S’io bramo, o begl’occhi, 4150-15 S’io cedessi il mio tesoro, 4137-16 S’io credessi di morire, non mi cangio, 4135-45 S’io d’altri fossi un giorno, 4160-19 S’io deggio morire, morire e tacere, 414137 S’io mi lamento e grido, 4221-35 S’io più cerco, 4156-2 S’io potessi, o mio Dio, signoreggiare, 4289-42 S’io ti adoro, Amor lo sa, 4135-24 S’io vi miro, grandezze terrene, 4153-6 S’io vi veggio, delizie, 4153-6 S’un labro m’innamora, 4130-2 SACRIFICIO DI ABRAMO, IL, 4224 Sacro il ferro, il braccio e l’alma, 4133-44 Saluto il Precettor, 4229-31 Sanerò quest’alma afflitta, 4134-20 Sangue mio, va tutto in lagrime, 4131-21 SANTA CATERINA, 4209-00 Saprò ben io deridere degl’astri, 4160-25 Saprò deridere un empio cor, 4144-43 Sarà nel volo un folgore, 4131-1 Sarò di chi mi piace, 4133-57 Sarò tuo, sarai mia, sì, 4167-19 Satiatevi, satiatevi luci spietate, 4205-50, 4220-15

563

Scaglia pur fulmini, barbaro re, 4154-10 Scherniti pensieri dell’alma, 4143-37 Scherza ch’io scherzerò, 4132-37, -60 Scherzerò con mille vaghe, 4135-21 Schiere d’amanti a dio, 4200-3 Sciolto havean dall’alte sponde, 4136-24 Scopri l’ardor del seno, 4143-31, 4169-33 Scostati indegna figlia!, 4226-1 Sdegnami pur crudele, ch’io pur, 4130-61 Sdegnami quanto vuoi, sprezzami, 422910 Sdegno, rabbia, duolo e furor, 4176-24 Se a me non vieni, 4206-28 Se a’ miei detti haver fede, 4155-29 Se al desio dico che speri, 4162-20 Se al mio ardor non ardete, 4374-32 Se al mio languir ti pieghi, 4173-8 Se al par della sorte, 4144-17 Se Amore a te mi tolse, 4162-52 Se ascolti il mio dolore, 4155-13 Se basta a farsi amar, d’astucia armar, 4135-17 Se ben crudel beltà di ciel, 4134-44 Se ben fossi tutto acciaro, 4230-2 Se ben parte il piede, o cara, 4133-79 Se brami di succhiar il mel, 4144-5 Se brami pace l’estinta face, 4130-10 Se cerchi un vero amante, 4147-14 Se chi donna crudel serve, 4168-4 Se chiedo arene al mare, 4148-10 Se cingete l’alma e il petto, 4153-18 Se col mostrar mia fé, 4137-25 Se col tuo core, o ingrato, 4162-4, -19 Se cominci a gustar, 4140-13 Se con avide pupille, 4162-9 Se credi di bacciar la tua, 4162-50 Se credi esser più bella, 4186-3, 4196-2 Se d’amor contro un’ rebelle, 4208-11 Se d’Amor le catene dolcemente, 4163-21 Se d’ira freme Marte nel campo, 4232-3 Se dal fonte del tuo core, 4136-11 Se di marmo hai fatto il core, 4134-11 Se dirò che fra gli ardor, 4140-6, 4152-2 Se fra i numi non v’è la pietà, 4202-4 Se giungo a baciarla, vo’ stringerla, 41422 Se gl’assalti del timore, 4149-45

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Se havesse in man la face, 4162-1 Se il paterno rigore, lungi dal Tebro, 4210-1 Se il pentirsi d’amor mitigasse, 4157-4 Se il sol sprezzar già mai, 4229-1 Se [in] quel mostro mirare, 4162-16 Se in te riposa il cor, 4232-2 Se l’antica mia guerriera, 4200-10 Se l’huom si pentisse, 4145-00 Se le doglie ch’ il sen’ accoglie, 4156-13 Se legge tiranna commanda così, 420535, 4208-23, 4220-45, 4222-17 Se magnanimi eroi, o Clio, 4136-20 Se men cruda è la bella, 4172-13 Se mi condanni, o nume arciero, 4148-1 Se mi feri nel cor, saprò svenar, 4143-33 Se nel mar di vasto impero, 4230-1, -2 Se nell’ Averno l’alme dannate, 4204-33 Se nell’uscir di spene, 4374-22 Se non c’è tempo più perso, 4386-9 Se non credi al grave ardore, 4205-18, 4221-19 Se non è bella, bella, 4132-15 Se non m’inganna Amor, 4213-3 Se non m’inganni, o speme, 4158-22 Se non mel dice, Amor, 4174-23 Se non piaccio a chi mi piace, 4131-24; 4134-5, -54 Se non posso con fervido amore, 4134-69 Se non sani il mio dolore, 4149-9 Se non vale la costanza, 4133-53 Se noto io fo’, 4208-36 Se piace al dio d’amor un dì, 4141-5 Se poscia il suo core di gelo, 4149-35 Se posso a te giovar, parla, 4135-20 Se potessi non amar la beltà che mi piagò, 4130-12 Se quel bel idolo che mi fa, 4141-40 Se quest’alma per te more, 4158-36 Se rapisce gl’affetti, 4214-1 Se ride ogni sponda Amor, 4162-12 Se sospira un’alma e piange, 4230-9, -10 Se speme mi guida, 4230-11 Se speri di baciar la tua, 4162-50 Se stilla ruggiade, 4162-17 Se tal’hor curiose pupille, 4162-2 Se talun chiede qual sia, 4155-12

Se teco fuggirò, sarò felice, 4152-11 Se ti cangi, crudo Fato, 4141-17 Se tormento sia l’amar, 4159-1 Se tra lucide catene, 4162-5 Se tu lasci il fido amante, 4142-61 Se tu pensi col tuo pianto, 4133-76 Se tu sarai fedele, costante io, 4130-59 Se un tal comincia a frangere, 4212-2 Se un’astro scintilla Amor, 4162-12 Se una donna di cucina, 4141-21 Se una volta lo strale, 4149-33 Se v’è chi si vanti, 4136-16 Se va tessendo, destra guerriera, 4134-80 Se vedi il mar senz’onde, 4171-5 Se vedrai l’onde del mare, 4139-24, 420631 Se vi vedesse or qui, 4229-37, -39 Se vibrasti cieco Amor, 4149-5 Se vive in te il mio cor, 4159-15 Se voi non sentite amore, 4204-23, 422143 Se volgi altrove il piè, 4159-15 Se vuole il Fato tiranno, 4231-4 Secondami, o Amore, mentr’io, 4162-11 Secondami, o sorte, arridi, 4166-26 Seguimi quanto vuoi, 4132-29 Sei bella e vezzosa, ma troppo crudel, 4133-51, 4147-16 Sei bella, sei vezzosa, ma non ti posso, 4133-51 Sei caro a queste luci, ritorna, 4169-19 Sei destinato a piangere, 4170-14, 417219 Sei destinato povero cor, 4202-8 Sei leggiadra, sei vezzosa, ma per me, 4165-32 Sei mia vita, sei mio core, 4149-9 Sei mostro di beltà, ma sfinge, 4144-21 Sei nel ciel della beltà, 4130-65, 4137-42 Sei pur cara, gradita incostanza, 4164-21 Sempre in fasce, o mio desire, 4200-6 Sempre m’affligo più in pensar, 4136-10 Sempre più stabile nel mio dolor, 4147-19 Sempre si piangerà, basta che ’l guardo, 4203-18, 4220-56, 4222-16 Sempre un volto io vo’ adorar, 4137-34 Sempre vostro sarò, 4207-8

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Sensi, chi vi consiglia?, 4144-45 Sensi voi ciò che godete, 4207-14 Senti Lidio, o Filli, o Clori, 4201-41 Senti, proteggi i miei tormenti, 4141-41 Sentite ch’io sospiro, 4163-19 Sentite quel che dice Amor, 4205-46, 4221-55, 4222-36 Sentite un caso bello, 4207-4 Sento al cor d’Amor quel dardo, 4144-41 Sento Amor che su quest’onde, 4170-33, 4172-33 Sento Amore che dice al core, 4142-53 Sento dir che quando alletta, 4155-14 Sento dirmi dalla Speranza, 4130-49 Sento già che nel mio core, 4143-42 Sento il cor ch’amando spera, 4176-4 Sento nel core certo dolore (Scarlatti), 4206-4 Sento nel core un certo ardore (anon.), 4206-4 Sento nel core un dolce ardore (Bencini), 4206-4 Sento una forza in petto, 4174-3 Senza haver di stufa il male, 4213-1 Senza te che sei mio nume, 4155-1 Senza tua legge l’onda, 4134-72 Senza voi, luci adorate, l’alma mia, 413020, 4139-12 Senza voi, luci adorate, non ha pace, 4130-20, 4139-12, 4142-3 Seppi a pena, o mio caro, 4157-9 Serba all’ire de la sorte, 4144-1, -29 Serenatevi, o luci belle, 4131-33 Servir se tu non sai, 4169-21 Sguardi miei da quale oggetto, 4147-20 Sì, begl’occhi ch’io son vostro (duet), 4226-1 Sì, ch’adoro chi mi fugge, 4149-24 Sì, ch’adoro un bel sembiante, 4149-24 Sì, ch’io ti voglio amar, 4205-39, 4219-26 Sì, ch’io v’amo, begl’occhi, 4175-4 Sì, [sì], ch’io voglio languire, così caro, 4201-25, 4222-6, 4223-21 Sì, ch’io voglio morire, ne sia chi, 420111, 4223-12 Sì, ch’io voglio sperare, ... parlo a voi fantasme, 4201-16; 4222-5, -24; 4223-20

565

Sì, che sarò crudel a un cor, 4161-7 Si colgano le palme, 4149-8 Sì, d’Amor su l’arco infranto, 4154-22 Sì forte è lo sdegno, 4205-22,-40; 4221-62 Sì, godi, ridi e spera, 4159-5 Si mietano gl’allori, 4149-8 Sì, mio bene, sì, mio caro, vo’ salvarti, 4133-16 Si misera regina strano destin, 4158-15 Si parta, si fugga, e l’alma, 4141-45 Sì, pensieri, ho già risolto, 4143-20, 41548 Sì pien d’odio e pieno d’ire, 4133-84 Si pur tiranno Amor, 4139-22 Si rallegra il ciel che mira, 4140-2, 4152-9 Si scherzi, si rida, si pensi, 4143-14 Sì, sì, bella mia luce, 4142-42 Sì, sì, caro mio bene, 4147-15 Sì, sì, ch’io languirò, 4152-22 Sì, sì, ch’io vo’ goder, 4137-2 Sì, sì, che voglio amar, 4205-21, 4223-5, 4222-35 Sì, sì, che voglio anch’io un sen, 4206-13 Sì, sì, datevi pace, o miei pensieri, 437431 Sì, sì, ditelo, o pensieri, 4144-33 Sì, sì, fedel, mio caro, 4140-37 Sì, sì, Fortuna cieca, 4132-10 Sì, sì, gioisci, o cor. Le mie stelle, 417010, 4172-3 Sì, sì, lieta il cor serena, 4136-23, 4168-33 Sì, sì, mi bacierai, cor mio, 4130-68, 4137-37 Sì, sì, mi basta, sì, 4171-11 Sì, sì, mio bene, quel rossore, 4141-44 Sì, sì, mio cor, sì, sì, penar, 4158-19 Sì, sì, presto sorgete, alati feritor, 4142-24 Sì, sì, sì, sì, sì, ch’io vo’ darvi il cor, 422163 Sì, sì, tu m’hai ingannato, 4202-6 Sì, sì, vincerò. Da laccio severo, 4170-8, 4172-1 Sì, sì, vo’ abbracciarti, mia sposa, 417629 Sì, sì, voglio morir, 4207-18 Sì, sì volate, sì, contenti, 4158-27 Si suoni, si danzi, allegri, 4172-43

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Sì, ti sento, [o] gelosia, 4171-13 Sì, tu amante, tu lieto sì presto, 4133-10 Si vanti un cor gelato, 4206-14 Si vedrà la mia costanza, 4141-47 Sì, voglio amare, 4141-27 Sì, voglio ridere pur, 4208-33 Sia per forza o per inganno, 4134-36 Sia testimon del mio parlar, 4231-27a Sia vago o deforme il labro, 4162-37 Siam pronte, sì, sì, 4185-2, -3; 4229-3, -33, -34 Siam troppo facili, noi altre femmine, 4231-10 Sia[m] tanto labile noi altre femmine, 4135-17 Siegui pur dunque a fingere, 4149-19 Siete bella ma siete crudele, 4139-23 Siete mio, se non mente, 4141-38 Siete, o cieli, sì crudeli, 4135-3 Siete pur care, 4156-14 Siete vago, siete bello, 4166-31 Siete voi di labra morbide, 4134-78 Signior, languido giaccio, 4151-49 Signor Magnifico gliela sacrifico, 4186-2, 4196-1, 4229-30 Signor, peccai no ’l niego, 4289-21 Silenzi della notte, a voi ricorre, 4140-29 Sin’ a quando aspre catene, 4147-25 Sin ch’io spiri aure vitali, 4135-26 Sin ch’io vivo t’adorerò, 4135-26 Sin qui con la speranza, 4155-25 Sin qui lunge da voi, 4207-19 Sino il sol ch’in ciel risplende, 4132-67 Sirti, scogli, tempeste, procelle, 4144-44, 4160-27 So ben che mi saettano, 4158-12 So ben io che voi m’amate, 4156-6 So che pena per te chi pena … ti dà, 417637 So che questo è un bel mestiero, 4141-19 So servire e so adorar, 4162-44 Soavi catene ch’il piè mi stringeste, 415824 Soavissimi lumi al cui bel guardo, 415140 Soccorretemi ch’io moro, 4136-18 Soccorrimi, o sdegno, 4156-2

Sofferenza, sofferenza, o cor, 4204-9, 4221-39, 4222-7, -21 Soffri, e spera sul confin, 4130-63 Soffrir non si può più, 4150-27 Soffrire e non parlar è fiero affanno, 4153-24 Soffrite e tacete, arditi pensieri, 4201-8, 4220-36, 4222-33 Sol d’amore si diffende la costanza, 41334, 4174-32 Sol per farvi amar, 4166-27 Solo Aminta sventurato, 4208-13 Solo e pensoso i più deserti campi, 420127, -31; 4223-15 Somma pietà quel che le stelle, 4168-2 Sommergetemi o pianti, 4208-27 Sommi Dei ch’in ciel regnate, 4169-28 Son amante e Filli adoro, 4157-11 Son Amore e son quel nume, 4130-19 Son catene sino i fior, 4133-1 Son contenta, son felice nel tuo foco, 4160-3 Son delizie del mio pensiero, 4140-22, 4142-19, 4152-17 Son di Pindo lusinghe, 4162-2 Son divenuto amante; che pretendete, 4175-20 Son donzelletta amabile, 4186-2, 4196-1, 4229-27, -29, -30, -31 Son due luci fiammegianti, 4137-19 Son esca d’ardore, son preda, 4201-23, 4221-60, 4222-34 Son esca d’ardore, son preda, 4201-4 Son felice e son beato, 4131-16 Son ministri de’ tormenti, 4158-13 Son nato per penar: non v’è pieta, 4144-8 Son pazzo, ma ben veggo, 4133-56 Son pentito e più non voglio, 4190, 4192; 4205-42, 4219-6 Son pietosa e al tuo dolore, 4149-23 Son povera donzella, altro non ho, 4159-9 Son presso ai tuoi bei labri, 4155-16 Son presso ai tuoi bei lumi, 4155-16 Son pur care al sen piagato, 4143-23 Son pur sventurata fin hor, 4155-17 Son pur sventurato: quando gioco perdo, 4176-22

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Son qual nave giunta in porto, 4232-1 Son risolta d’abbracciarti, 4135-25 Son risolta di vendicarmi, 4142-16 Son sdegnato e già mi sento, 4164-9 Son sì poco fortunato, 4229-37, -38 Son sprezzato e son tradito, 4169-27 Son tiranne del mio core, 4206-2 Son tradita, son schernita, 4130-15 Son tradito, son schernito, 4135-4 Son tutti traditori gl’amanti, 4140-48 Sono amante sventurato che deluso, 4139-8 Sono chiù de due mise, 4229-8 Sono di pure rose le guancie mie vermiglie, 4232-2 Sono in odio all’ amor, 4156-14 Sopr’il fieno colcato veggio un fanciul’, 4289-2 Sopra conca d’argento la bella, 4208-16 Sospetta è la mia fede, 4151-23 Sospira un pastore per donna crudele, 4150-2 Sospirar per un ch’è morto, 4141-23 Sospiri, che fate? Dal centro del core, 4201-43, 4222-11, 4223-18 Sospiri e lamenti, son breve conforto, 4221-70 Sospiri miei loquaci, lingue, 4150-3, 4374-30 Sostenete, o miei pensieri, 4201-40, 422127 Sotto l’ombra de’ placidi mirti, 4139-9, 4140-19, 4142-17, 4152-12, 4167-6 Sotto l’ombra de’ Traci stendardi, 416528 Sovr’al foglio d’un volto, 4134-86 Sovra il foglio d’un lieto viso, 4165-30 Sovra l’humida sponda d’un … fonte, 4150-25 Sovra l’umida sponda d’un vago fiumicello, 4150-25 Sovra nobil destrier che racchiudea, 4157-8 Sovra un sasso addolorata, 4208-1 Sovvengati ch’è mio, 4152-10 Sparg’ i sospiri al vento, 4130-67

567

Spargete sospiri, ergete lamenti, 4188-2; 4219-1,-1b, - 2, -10, -11; Spargi pur, notte adorata, 4143-17 Sparite dal volto, loquaci pallor, 4208-29 Sparse dal pianto mio, piante, 4139-20, 4142-11, 4152-3 Speme dolce, cara, cara speranza, 415814 Speme, pria di lasciarmi, dimmi, 4133-63 Spera ch’il dio d’amor, bella, 4165-12 Spera e dura mio core, 4374-20 Spera pur da me vendetta, 4149-28 Spera, o core, ma non lo dir, 4164-4 Speranza d’amore, tornatemi, 4142-25 Speranze del cor mio, più non vi trovo, 4159-20 Speranze gradite volate, volatemi, 4137-8 Speranze, lasciatemi languir, 4202-6 Sperar io non dovrei, e pur, 4160-16 Sperar né disperar quest’anima, 4132-52 Sperate pur, mortali, 4144-34 Spero di ridere, mio cor, 4158-11 Spero di ridere se pianse, 4162-40 Spesso il sole degl’ amanti, 4149-43 Spirti fieri, alla vendetta, se lo sdegno, 4143-44, 4144-39 Spirti offesi, all’ire, all’armi, 4132-62 Splenda pure qual face, 4149-18 SPOSALITIO, LO, 4136-19 Sprigionami, o sdegno, dal regno, 420822 Spuntò dal mare il dì, 4132-32 Squarciami il petto, uccidimi, 4159-17 Sta forte, mio core, nel primo desire, 4200-14 Stanco è Amor di darmi, 4142-65 Stando lungi dal bene, 4206-28 Starvi a canto e non languire, 4159-18 Stelle armate, stelle care, 4207-6 Stelle rie, s’egli è possibile, 4157-15 Stelle, guidatemi il caro sol, 4134-34 Stelle, stelle, ditemi, 4147-23 Stelle, uscite ad una ad una, 4140-25 Stelle voi segnate in cielo, 4153-17 Stillo lieta in pianti il cor, 4162-18 STORDITO, LO, 4207-26

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Stratiatemi, uccidetemi tormenti, 420111 Stringa Amor la bella Fede, 4229-33 Stringa ogn’hor scettro, 4164-24 Stringi pur stringi, Cupido, 4154-24 Strinse lo strale Amor, 4166-32, 4169-5 Studio invan d’Enio sul foglio, 4169-1 Studio scampo e vie riprovo, 4147-25 Stupite stupite che Oreste, 4230-5 Su compagni, che l’alba ci sgrida, 413467 Su, consiglio, o miei pensieri, 4208-28 Su, dunque a battaglia, a stragi, 4161-10 Su, dunque all’armi, all’armi, insin chi, 4165-6 Su, feroci miei guerrieri, 4130-66 Su l’africane arene dove l’empia Biserta, 4207-13 Su l’ali di Cupido mio cor, 4137-13 Su la bocca il rio, 4142-69 Su la palla mi tien Fortuna, 4169-16 Su la riva d’un ruscello, 4204-39, 422218, 4223-37 Su la rota di Fortuna posa lieta, 4205-35, 4208-23, 4220-45, 4222-17 Su la sponda ove fremea, 4208-2 Su la veglia d’una speme, 4163-1, 420830 Su le nemiche stragi al trono, 4170-18, 4172-31 Su le rive dell’ Arno mesti i giorni, 4156-6 Su, mia lingua, ch’invan, 4131-17 Su, mio core, alla vendetta, 4130-41 Su, mio core, non mi tradir, 4134-38 Su pensieri, alla difesa. Ecco Amor, 415128 Su quel bel volto assiso, 4133-41 Su quel labro il dolce riso, 4140-47 Su quel[l]’ occhi sì vivaci, 4135-32 Su quel volto cosparso di rose, 4176-10 Su, ridì gl’alteri van[t]i, 4136-20 Su, Roma festeggi. E Marte severo, 41616, 4164-8 Su, su, predate dell’herbe, 4386-10 Su, su, s’armi, all’armi, all’armi, 4133-5, 4174-18 Su, su, su mio core, la guerra, 4203-7

Su tre sentieri corra veloce, 4131-3 Su, venite ad agitarmi, 4144-39 Su venite, su movete, alle danze (minuet), 4141-30 Sui liti del Gange, 4149-12 Suivons l’aimable paix, 4166-34 Sul cinabro di quel labro, 4132-33 Sul fianco più non dorma, 4165-7 Sul mio crin ti voglio alloro, 4170-7, 4172-38 Suonerà l’ultima tromba, 4136-12 Sussurrate intorno a Clori, 4158-6 T’abbraccio, ti stringo, 4170-21, 4172-27 T’adorerò, ti seguirò, 4143-29, 4165-24 T’affligo e sospiro, t’inganno, 4144-19 T’amo Lilla, cor mio, ma nessun, 4156-5 T’amo più che non amò, 4144-32 T’aspetto, diletto di queste mie luci, 413226 T’inganni, pur t’inganni, se credi, 414415 T’intendo, Cupido, mi vuoi, 4166-13 T’offesi, o mio Signor, ma dirti sento già, 4289-37 Tacere e sospirar è pena atroce, 4153-24 Tacerò, ma il brando ignudo, 4160-5 Tacete mò! Ho sentito un mesto sospiro, 4221-16, 4222-23 Tacete, partite, volanti sirene, 4210-1 Tal’hor spargo un sospiro, 4206-24 Tal’or dico al crudo Fato, 4134-35 Tal’or la frode, onor di lode, 4133-24 Tal’ora le frodi son pegno di fé, 4134-52 Tanti baci, mio bene, 4142-14 Tantin d’amore (possi schiattare) = Tantin d’Amore, tantin tantino, 4196-2, 4229-28 Tanto ardir/ Tanta fé (duet), 4212-2 Tanto cade, onda costante, 4153-1 Tanto più costante adoro, 4133-19 Tanto rigor perché, perché, perché (… non più, non più), 4204-13, 4223-8 Tarpa i vanni alla mia fama, 4155-20 Te mio nume, s’in braccio, 4158-18 Temo d’innamorarmi sento, 4206-4 Temo ne so di che, 4227-1, -2, 3

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TEMPESTA, LA, 4136-24 Tempeste del mio cor tornate, 4176-34 Tempra il duolo o cara, 4147-10 Temprar con noti flebili, 4162-30 Tenti chi vuol goder, 4153-12 Tergi pur, tergi il pianto, 4149-34 Tesifoni d’abisso, volatemi, 4140-45 Tessi, mia destra, tessi, 4134-46, -70 Ti fan gradi al trono, 4169-41 Ti giubila, ti scherza, 4131-34 Ti gradirei men bella, 4173-8 Ti lascierò se vuoi, 4165-26 Ti lascio, amato padre, 4169-29 Ti lascio il cor’ in pegno fin che, 4142-41 Ti lascio l’alma in pegno bella se parte, 4142-41, 4167-11 Ti lascio, o bella mia, 4176-28 Ti rendo altra vita mia figlia, 4134-56 Ti rifiuto, o regia sede, 4155-21 Ti sacro il core e l’alma, 4144-6 Ti veggo nel guardo un certo baleno, 4131-40 Ti voglio, ben amante, ma non così, 4133-36, 4134-2 Tienti che cadi Amore, 4203-20, 4204-51, 4220-22 Timidetta mia speranza, 4163-17 Tiranna è chi t’adora, 4155-6 Tiranna gelosia, pace non ho, 4133-80 Tiranne stelle, sempre rubelle, 4169-28 Tiranni dell’alma su dunque, 4162-27 Tirinto mio, tu mi feristi, 4145-5 Tirsi al certo credi al me, 4205-58, 421924 Toglietemi i respiri, aure vitali, 4207-6 Toglietemi la vita ancor, 4148-9 Tolga un raggio il più sereno, 4154-23 Tolleranza, o miei pensieri, 4204-55, 4221-37 Tolta Amor la corda, 4166-32, 4169-5 TOMIRI VENDICATA, 4202-2 Tormentando mi va più, 4149-4 Tormentato mio cor lascia, 4208-5 Tormenti, tormenti, tormenti non più, 4147-24 Tormentosa gelosia, freddo inferno, 415519

569

Torna d’Amor la face, ad infiammarmi, 4160-11 Torna in te, che fai, 4200-18 Torna indietro, pensier, 4168-14 Torna o cara, per pietà, 4157-9 Torna, torna, amica pace, 4133-22 Torna un raggio di speranza, 4215-2, 4217-00 Tornate a lusingarmi, speranze, 4153-15 Tornate nel seno, 4208-29 Tornerà d’oriente il dio di Delo, 4227-4 Torno a baciar lo strale, 4132-43 Torno a l’amato sposo, 4162-46 Torno a voi, lucidi alberghi, 4140-1, 4152-19 Tortorella vo gemendo, 4144-7 Tortorella, vedovella, 4231-26 Tra il sì e il no, non so, 4132-63 Tra le rughe d’antico, 4208-36 Tra montagne di foco romito vive, 415021 Tra queste braccia o caro/o cara (duet), 4143-13 Tra soavi martiri, nel foco, 4156-9 TRADIMENTO PREMIATO, IL, 4226-00 Trafiggemi pensiero, ho perduto, 417525, 4220-28 Trionfi chi può di popoli intieri, 4136-19 Troppo è ver quel ch’io credo, 4163-6 Troppo facile, alma mia, 4140-10 Tu al mio ciglio et al mio labro, 4134-47 Tu cancella il mio dispetto, 4149-37 Tu col canto soave, 4204-45, 4223-36 Tu dirai all’idol mio, 4206-3 Tu fuggisti o cara notte, 4130-1 Tu giuri ch’è mio quel seno, 4200-15 Tu m’insegnasti Amor, 4144-43 Tu m’aspettasti al mare, 4157-1 Tu mancavi a tormentarmi, 4208-3 Tu mi conosci, di’? Eh che, 4143-5 Tu mi dici ch’io speri, 4165-33 Tu mi lusinghi il so, 4135-18 Tu mi rapisci il core, Giesù mio, 4289-20 Tu mi rendi il core amante, 4133-33 Tu mio Dio fai pentirmi, 4203-16, 4220-5 Tu nascesti a tormentarmi, 4164-14 Tu nel ciel del tuo bel viso, 4202-3

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570

APPENDIX A.2

Tu, no, non sei quella, sì vaga, 4132-59 Tu non vuoi farmi gioire, 4174-24 Tu parti alle delitie, 4157-15 Tu partisti, idolo amato, 4158-15 Tu sapesti negando mercé, 4375-1 Tu sei, mondo, immondo, 4289-25 Tu sol mancavi, o gelosia, 4173-13 Tu sola, Speranza, mi vai consolando, 4131-27, 4133-88, 4134-4 Tu, sola tu, consolami, 4142-63 Tu solo errasti incauto core, 4202-6 Tu vai cercando piaghe, 4155-11 Turbini gravidi di spirti rei, 4203-14, 4205-19, 4220-3 Tutt’abbruccio e tutt’avvampo, 4134-9 Tutta giubilo e tutta riso, 4140-27 Tutti insieme pensieri, 4204-6, 4220-19 Tutto amore quest’alma, 4144-23 Tutto chiedimi fuor, 4148-3 Tutto cinto di ferro, 4200-4 Tutto foco l’acceso mio petto, 4139-18 Tutto il regno d’Amore, 4157-13 Tutto sdegno l’acceso, 4139-18 Tutto ti sgraffio, sì, 4186-3, 4196-2, 422923, -24, -28, -30 Uccidetemi affanni, fabbri sol, 4200-12 Uccidimi dolore, hor ch’ in grembo, 416819 Udite fierezza inaudita, 4147-13 Un amante sì codardo, 4140-50 Un breve momento m’affligge, 4162-25 Un breve momento qual hor, 4162-29 Un chiaro baleno presaggio, 4158-5 Un cor da voi ferito, 4155-9 Un core ch’ama non può, 4133-52 Un dì chi mi tradì, se innante, 4169-32 Un dì gode in amor quando, 4160-20 Un fulmine dimando, o maledetti, 416828 Un genio fatale mi sforza, 4135-9 Un giorno per una le belle adorate, 413114 Un giuocatore amante che dalle carte, 4150-12 Un guardo ch’è sereno m’intorbida, 414014, 4152-1, 4167-16

Un infelice core amò, servì, penò, 420325, 4205-61, 4223-28 Un lampo di conforto, 4134-8 Un lampo di riso baleni, 4169-45 Un miserabile chi veder vuol, 4156-2 Un motivo d’allegrezza, 4140-51 Un nobil cor non teme, 4134-7 Un non so che di speme, 4149-11 Un non so che mi dite, 4144-45 Un nume disperezzato, 4172-10 Un’occhio che piange, un labro, 4140-3 UN PECCATOR PENTITO, 4219-1, -3, -4, -5, -6, -8 Un pensier dal cor m’è uscito, 4157-11 Un pensier nobile si mi ragiona, 4173-9 Un pensiero che da te Filli, 4175-3 Un raggio di speranza s’accende, 4152-24 Un rival, no, non è degno, 4141-43 Un tesoro che fuggì, 4201-21, 4220-40 Una bella che bella, 4208-35 UNA DAMA LEGGIADRA, 4150-1 Una fede io sento stridere, 4168-23, 422055 Una furia et una dea, 4155-10 Una mano di puro latte, 4208-38 Una speranza, figlia d’Amore, 4171-15 Usignoli che cantate, 4166-35 V’è chi per te si strugge e more, 4173-2 V’è chi per te sospira, 4173-2 V’intendo occhi, v’intendo, 4208-21 Va naufraga in quel pianto, 4154-32 Vacillante è il regno mio, 4166-34 Vada regno e vada vita, 4134-85 Vado e spero per tua mercé, 4133-15 Vaghe aurette che lievi spirando, 4231-4 Vaghe stelle, opre voi siete, 4153-13 Vaghi fiori, che d’odori, 4149-1 Vaghi rai, pupille ardenti, 4150-26 Vaghi rivi, perché andate fuggitivi, 43882, 4389-2 Vago spunti dall’uscio d’oro, 4169-20 Val più un vezzo, un bacio, un riso, 413013 Vanne dunque, crudel, 4200-3 Vanne pur, libertà, da chi ti chiama, 4203-4

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TEXT INCIPITS AND TITLES IN ITALIAN

Vanne speranza, va, fuggi, 4158-32 Vanne, corri ad altre glorie, 4232-3 Vanne, fuggi dal mio aspetto, 4133-2, 4174-9 Vanne, fuggi dal seno Amor, 4132-25 Vanne, misero, a morir, 4139-24, 420631 Vanne, o crudo, e sia, 4162-13, -14 Vanne pur, libertà, da chi ti chiama, 4203-4 Vanne, spirto vitale, al mio bel sol, 415132 Vanne, vola, riedi alla bella, 4169-2 Vanterà vita immortale, 4155-15 Vasta guerra di pensieri, 4164-18 Vattene rapido, Amor non ti vo’, 4206-27 Vattene, corri, va, 4169-40 Vecchio, vecchio bavoso, 4185-3, 422937 Vede il nocchier tranquilli, 4227-1, -2 Veder non ti voglio, 4202-4 Vedi là quel bel crine?, 4221-31, 4222-22 Vedrai ne’ suoi bei rai, 4160-26, 4231-9 Veggio amore sul marmo, 4162-16 Veggo in voi che l’alba pose, 4143-36 Veglia l’alma notte e giorno, 4147-24 Vendetta, o mar, ti chiedo, 4231-4 Venere bella non lagrimar, 4206-30 Vengo a baciar quel labro, 4130-40 Vengo a dirvi, o luci belle, 4153-21 Vengo dove mi guidi, ma guidami, 42066 Vengono alterni piaceri, 4149-15 Vengo, o bella, a pianger tanto, 4133-48 Venni a prender e son presa, 4134-79 Venticelli che battete, 4166-35 Venticelli che scuotete qui d’intorno, 4134-63 Venticelli che tacete, rispondete, 4152-22, 4167-18 Verdi erbette che sempre, 4149-21 Vergine bella, madre d’amore, 4289-27 Verginella, madre bella di Giesù, 4289-40 Vergognoso s’asconda Marte, 4169-11 Vergognoso volando s’en fugge, 4149-18 Verme industre i tuoi lavori, 4153-22 Versi l’urna sua Pandora, 4147-3

571

Vezzi, amori, lusinghe e baci, 4176-12 Vezzosette pupillette, quanto volete, 413342 Vezzosette violette, arrossir fate la rosa, 4224-1 Vi bacerò begl’occhi, 4137-24 Vi bacierò, vi succhierò, 4131-6 Vi dirò qual sia d’amore, 4153-21 Vi par poco, occhi tiranni, 4289-2 Vi ramenta la Baltica sponda, 4136-19 Vi ringratio, mia luce adorata, 4159-2 Vi sento, vi sento, soavi contenti, 4130-11 Vibri l’armi a farmi, 4169-50 Vicino al mio tesoro voglio morir, 417117 Viddi il sol non per bearmi, 4201-21, 4220-40 Vien, prendi la corona, 4134-66 Vieni a brugiarm’il core, spirto divino, 4289-23 Vieni a celar la face, 4133-18 Vieni, alma cara, a flagellarmi, 4162-48 Vieni, cara mia speme, se non brami, 4137-45 Vieni, o cara/o, a riposarti/mi (duet), 4172-44 Vieni, o dolce sonno, 4289-24 Vieni sol che solo adoro, 4156-12 Vieni, vieni, o bella mia, dividiamo, 4169-51 Vieni, vieni, o duce invitto, 4140-31 Vince su l’alta mole, 4227-1, -2 Vincere con inganno il cieco arcier, 42251, -2, -3, -4, 4231-29 Vincerò con la costanza, 4162-38 Vinciamo il sesso forte, 4134-58 Vincitor, terror del mondo, 4133-20, 4174-5 Vinta son, vinta son’io, caro ben, 413347 Viva ancor nelle mie ceneri, 4169-47 Viva di prole in prole, 4186-1, 4229-24, -26 Vive ne’ suoi bei colli, 4232-3 Viver in questo stato, Amor, 4205-23, 4221-41 Viver lungi dal suo bene, 4132-16

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572

APPENDIX A.2

Vo’ aprirlo questo petto, 4133-19, 417417 Vo’ cara su quel labro, 4170-28, 4172-4 Vo cercando, sospirando, il crudel, 417035, 4172-15 Vo cercando una speranza, 4204-5, 422156 Vo’ mirare la bellezza, 4232-2 Vo’ mordere quel labro ch’il cor, 4132-51 Vo pensando nel pensiero, 4132-61 Voglia o non voglia, chi te ’l giuro, 413269 Voglio adorarvi, sì, 4206-4 Voglio amar chi mi disprezza, 4139-22 Voglio amar senza tormento, 4207-10 Voglio amarti, adorarti, 4133-66 Voglio cangiar, Amor, non posso star, 4135-39 Voglio farti dire il vero, 4159-13 Voglio guerra. Come ardea, 4141-1 Voglio morir, sì, sì, s’ho da penar, 413922 Voglio per forza, o caro, 4140-46 Voglio perder il cor, 4170-30, 4172-36 Voglio rider pur di cuore, 4208-33 Voglio un pegno più certo in amore, 4133-58 Voi begl’occhi chi mi ferite, 4202-7 Voi bramate saper s’io v’adoro, 4139-23 Voi che tutto dolente, 4206-2 Voi del sole che piangete, 4207-11 Voi del Tebro onde correnti, 4202-9 Voi furie, belve e stelle, 4169-46 Voi non lo crederete e pur è vero, 4157-5 Voi partite mio sole, 4151-12, -18

Voi per ultima aita, 4189, 4219-3; 423117 Voi pur mi prometteste, 4151-4 Voi rose modeste il genio spiegate, 414230 Voi sete troppo belle, o mie catene, 4200-8 Voi, sì, sì, vaghe mie stelle, 4166-18 Voi siete bella, ma troppo fiere, 4213-1 Voi siete, o bella, voi siete quella, 4141-39 Vola, vola, o mio pensiero, 4202-9 Volate sospiri, narrate, 4136-21 Voragini ingorde, 4157-2 Vorrebbe il cor dubbioso, 4171-19 Vorrei esser manco bella, 4170-6, 417221 Vorrei far da ritrosetta, 4173-15 Vorrei, ma non posso amarti, 4176-3 Vorrei pur lusingarmi, 4179-2, 4228-2a, 4229-21 Vorrei strapparti l’ali, 4169-48 Vorresti ch’Acate a un volto, 4141-20 Vorresti farmi piangere, 4133-71, 4134-2 Vorria pur ridere delle mie lagrime, 413374 Vuo’ soffrire ancor’ un poco, 4143-21, 4169-44 Vuoi ch’io mora?/ No./ Pietà (duet), 4212-2 Vuoi ch’io peni in sempiterno, 4201-36, 4219-12 Vuoi ch’io speri, sì o no?, 4169-49 Vuoi saperlo amante core, 4171-14 Vuoi veder se sono amante, 4206-5 Vuol il Ciel ch’io stia legato, 4207-23 Zeffiretti che battete, 4173-1

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APPENDIX B

COMPOSERS ——, Antonio, 4197 Abbatini, Antonio Maria, 4136, 4376, 4387 Agostini, Pietro Simone, 4147, 4156, 4157, 4158 Albinoni, Tommaso, 4206 Albrici, Vincenzo, 4150, 4156, 4163, Aldovrandini, Gioseppe, 4206 Alghisi, Paris, 4142 Allegri, Gregorio, 4163 Amadori, Luca, 4158 Bani, Cosimo, 4139, 4173 Basili, Andrea, 4185, 4229 Bassano, Giovanni Battista, 4197 Bencini, Pietro Paolo, 4179, 4224, 4225, 4226, 4227, 4228, 4229, 4231 Berti, Domenico Antonio, 4186, 4229 Boniventi, Giuseppe, 4142 Bononcini, Giovanni, 4161, 4164, 4167, 4171, 4206 Bononcini, Giovanni Maria, 4197 Borzio, Carlo, 4147 Calvani, Paulo, 4197 Calvi, Carlo, 4145 Caproli, Carlo “del Violino”, 4150, 4168, 4200, 4207, 4208 Carbonchi, Antonio, 4177, 4288 Carissimi, Giacomo, 4136, 4146, 4150, 4168, 4200, 4208 Cavalli, Francesco, 4156 Cesarini, Carlo Francesco, 4206 Cesti, Pietro (Antonio), 4147, 4156, 4157, 4207 Colista, Lelio, 4197 Colombani, Quirino, 4231 Colonna, Giovanni Paolo, 4206 Colonnese, Filippo, 4149 Corelli, Arcangelo, 4197 D’India, Sigismondo, 4145, 4151

De B____, Francesco, 4197 De Grandis, Vincenzo, 4197 De Luca, Severo, 4152, 4167, 4231 De Santis, Gioseppe, 4147 Enno, Sebastiano, 4204-6 Ferrini, Carlo, 4179 Foggia, Antonio, 4149 Franceschini, Petronio, 4130, 4137 Franchi, Giovan Pietro, 4173 Fregiotti, Dionisio, 4206 Freschi, Giovanni Domenico, 4130, 4135, 4137, 4147, 4158 Gabrielli, Domenico, 4132, 4139, 4140, 4142, 4152, 4167, 4168, 4177 Gasparini, Francesco (Gasperini), 4139, 4167, 4202, 4231 Gasparini, Michelangelo, 4174 Giamberti, Giuseppe, 4288 Gianettini, Antonio (Zannettini), 4130, 4137, 4206 “Giovannini,” 4200 Kapsperger, Johannes, 4145, 4151 Legrenzi, Giovanni, 4130, 4137, 4158 Leo, Leonardo, 4232 Liberati, Antimo, 4150, 4163 Lonati, Carlo Ambrogio, 4149, 4197 Lorenzani, Paulo, 4156 Lori, Arcangelo, 4168 Lotti, Antonio, 4143 Lulier, Giovanni “del Violone”, 4152, 4153, 4155, 4202, 4206 Lully, Jean-Baptiste, 4166 M., C., 4168 Mancia, Luigi, 4159, 4160, 4171, 4231 Mancini, Francesco, 4206 Marazzoli, Marco, 4150, 4151, 4163, 4168, 4189, 4193, 4200, 4208, 4209, 4218, 4375, 4376, 4386, 4387 Marcorelli, Giovanni, 4168

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574

APPENDIX B

Marenzio, Luca, 4151 Margherini, Francesco, 4150 Martinengo, Francesco, cav., 4143, 4144 Masini, Antonio, 4147 Mazzaferrata, Giovanni Battista, 4197 Mazzocchi, Virgilio, 4386 Melani, Alessandro, 4153, 4157, 4158, 4231 Melani, Atto, 4156 Michi, Orazio “dell’Arpa”, 4151 Milanuzzi, Carlo, 4145 Millioni, Pietro, 4288 Morales, Cristóbal, 4183 Nardelli, Giovanni, 4231 Navarra, Francesco, 4133 Olivieri, Angelo, 4139, 4149, 4162, 4210, 4211, 4212 P., M., 4168 Pacieri, Gioseppe, 4157 Palestrina, Giovanni Pierluigi da, 4184 Pallavicino, Carlo, 4135, 4140, 4141, 4158, 4170, 4172 Partenio, Giovanni Domenico, 4130, 4137 Pasqualini, Marc’Antonio, 4150, 4151, 4163, 4168, 4173, 4175, 4189, 4190, 4191, 4192, 4200, 4201, 4203, 4204, 4205, 4208, 4219, 4220, 4221, 4222, 4223, 4231, 4296, 4389 Pasquini, Bernardo, 4147, 4148, 4149, 4153, 4157, 4158, 4162, 4173, 4231 Pergolesi, Giovanni Battista, 4156 Perti, Giacomo Antonio, 4132, 4142, 4143, 4144, 4159, 4160, 4165, 4169, 4174 Petti, Paolo, 4149, 4173 Piganatta, Pietro Romolo, 4133, 4134

Pollarolo, Carlo Francesco, 4131, 4133, 4134, 4143, 4144, 4159, 4165, 4166, 4169, 4171, 4174 Praetorius, Michael, 4288 Rainaldi, Carlo, cav., 4150, 4156, 4163 Rontani, Raffaello, 4145 Rossi, Luigi, 4146, 4150, 4163, 4168, 4173, 4175, 4188, 4200, 4203, 4208, 4219, 4374, 4388, 4389 Rovetta, Giovanni Battista, 4151 Sabadini, Bernardo (Sabatini), 4133, 4139, 4159, 4162, 4167, 4171, 4176 Sances, Giovanni Felice, 4151 Sartorio, Antonio, 4130, 4137, 4147 Savioni, Mario, 4150, 4163, 4168, 4200 Scarlatti, Alessandro, 4139, 4141, 4143, 4144, 4148, 4149, 4152, 4153, 4155, 4156, 4158, 4162, 4173, 4176, 4202, 4206, 4230 Stefani, Giovanni, 4288 Stradella, Alessandro, 4156, 4158, 4200 Tenaglia, Francescco, 4157 Tomasi, Giovanni Battista, 4135 Tosi, Giuseppe Felice, 4132, 4142 Valentini, Pier Francesco, 4428 Vanarelli, Francesco, 4144 Vecchi, Gioseppe, 4147, 4156, 4158 Vitali, Tomaso Antonio, 4231 Vittori, Loreto, cav., 4163 Viviani, Bonaventura, 4158 Viviani, Giovanni Bonaventura, 4147 Zannettini, see Gianettini, Ziani, Marc’Antonio, 4130, 4131, 4132, 4133, 4134, 4135, 4137, 4138, 4142, 4143, 4154, 4165, 4169 Ziani, Pietro Antonio, 4147, 4158

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APPENDIX C

OPERA TITLES Achille in Sciro, L’, 4158 Adone in Cipro, 4158 Agrippina, L’, 4152, 4155 Aldimiro o vero Favor per favore, L’, 4139 Alessandro Magno in Sidone, 4135 Alessandro vincitor di se stesso, 4207 Alfonso primo, 4131 Amage, regina de’ Sarmati, 4144 Amazone corsara overo l’Alvilda, L’, 4162 Amilcare di Cipro, 4206 Amor di Curzio per la patria, L’, 4142 Amor per vendetta, o vero l’Alcasta, 4158 Amor quando si fugge allor si trova, 4158 Amor spesso inganna, 4139, 4162 Amor vince lo sdegno overo l’Olimpia placata, 4167 Amore figlio del merito, L’, 4131 Amore, amicitia e costanza, 4173 Antioco il grande, 4130, 4137 Astiage, 4147 Attila, 4158 Basilio re d’Oriente , 4133 Biante, Il, 4158 Brenno in Efeso, 4142 Bugia regnante, La, 4147-06 Caduta del regno dell’amazzoni, La, 4162 Chi la fa se l’aspetti (Viterbo 1659), 4231 Chi soffre speri, 4386 Chi tutto vuol tutto perde, 4149 Costanza vince destino, La, 4133, 4134 Creonte, 4132, 4142 Creso, Il, 4137 Dagl’inganni alle nozze, 4224-25-26, 4229-20, 4231 Dai tormenti alle nozze, 4224 Dal male il bene, 4136, 4376, 4387 Dal tradimento alle nozze, 4224 Dalla padella alla bragia, 4210-11-12 Didone delirante (Naples 1696), 4141

Dionisio overo La virtù trionfante del vizio, 4130, 4137 Domizio, Il, 4134 Dorisbe, La, 4224 Elena rapita da Paride, 4147 Engelberta, 4224 Equivoci in amore overo la Rosaura, Gli, 4152, 4155 Eraclea (G.C. Godi), 4133 Eraclea overo Il ratto delle sabine, L’ (Rome 1692), 4161, 4164, 4167 Eudossia, L’, 4231 Falsirena, La (Venice 1690), 4142 Fede grecha, La, 4147-06 Figlio delle selve, Il, 4130, 4139, 4173 Finta pazza d’Ulisse, La, 4133, 4134 Flavio Cuniberto (Naples 1693), 4143, 4144, 4159 Flavio Cuniberto (Venice 1682), 4159, 4231 Flavio Cuniberto, Il (Rome 1696), 4159. 4160 Flavio re dei longobardi (London 1723), 4159 Flora, La, 4130, 4137 Furio Camillo (Venice 1692), 4165, 4169 Galieno, 4158 Gelosa di stessa, La, 4213-14-15-16-17, 4231 Germanico sul Reno, 4147-03 Gierusalemme liberata, La (Corradi), 4140 Giochi troiani, I, 4173 Giulio Cesare in Egitto, 4147 Giustino, Il (Modena 1697), 4138 Gordiano, Il, 4132 Gran macedone, Il, 4142 Guerriera costante, La, 4230 Heraclio, L’, 4147

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576

APPENDIX C

Ibraim sultano, L’, 4143, 4165, 4169 Incoronazione di Serse, L’, 4142 Inganni felici, Gli, 4131, 4133, 4134 Inganno di Chirone, L’, 4143, 4144 Inganno regnante overo l’Atanagilda regina di Gottia, L’, 4132 Inganno scoperto per vendetta, L’, 4132 Ingresso alla gioventù di Claudio Nerone, L’, 4206 Innocenza risorta, o vero Ezio, L’, 4158 Iphide greca, 4147 Irene e Costantino, 4130, 4137 Irene, L’, 4133, 4174 Laodicea e Berenice, 4174 Lisimaco, Il (Ferrara 1693), 4131, 4138 Mauritio, Il (Rome 1692), 4139, 4140, 4142, 4152, 4167 Maurizio, Il (Venice 1687), 4152 Moglie nemica, La, 4131 Narciso, Il (Masini), 4147-11 Narciso, Il (Borzio), 4147 Nerone fatto Cesare, 4206 Nerone, Il, 4135 Onorio in Roma, 4165, 4166, 4169 Orazio, 4132 Orfeo, L’ (Rome 1694), 4139, 4162 Orfeo, L’ (Venice 1672), 4158 Ottone, 4131 Pace tra Tolomeo e Seleuco, La, 4159 Palazzo incantato, Il, 4223, 4388, 4389 Pastore d’Anfriso, Il, 4133, 4174 Penelope la casta (Rome 1696), 4159, 4160 Pirro e Demetrio, 4142 Pompeo magno in Cilicia, 4130, 4137 Pompeo, Il (Rome 1683), 4148, 4149 Principe selvaggio, Il, 4174

Prosperità di Elio Seiano, La, 4143, 4144, 4147-7 Psiche, La (Naples 1683), 4149 Pyrrhus and Demetrius (London 1709), 4155-8 Re infante, Il, 4160, 4171 Rosalinda, La, 4131 Rosimonda, 4133, 4134 Rosmene overo L’Infedeltà fedele, La, 4139, 4173 Santa Dinna, 4153 Sardanapalo, 4135 Scipione africano, see Il trionfo della continenza, Seleuco, Il (Rome 1693), 4171 Sesto Tarquinio, 4135 Silentio d’Arpocrate, Il (Rome 1686), 4149 Talamo preservato, Il, 4158 Teodora augusta (Venice 1686), 4176 Teodora clemente (Piacenza 1689), 4176 Tessalonica, La, 4148, 4149 Thomyris, 4155-8 Tradimento premiato, Il, 4224 Trespolo tutore, 4158-4 Trionfo dell’innocenza, Il, 4143 Trionfo della continenza considerato in Scipione africano, Il, 4158 Trionfo della continenza, Il (G.C. Corradi), 4142 Trionfo di Camilla, regina de’ Volsci, Il (Naples 1696), 4171 Tullia superba, 4158 Una villa di Tuscolo, 4158-2 Vespasiano, Il (Rome 1693), 4170, 4172 Virtù trionfante dell’amore e dell’odio, Il, 4143, 4154, 4165, 4169

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APPENDIX D

ROLES NAME OF CHARACTER / ALIAS (title of opera to clarify) Acasto Acate Achilla Achille Acmat Acrisio Adone (Falsirena) Adraste Agarista Agesilas Agrippina (L’Agrippina) Agrippina (Prosperità di Elio Seiano) Alceste Alfeo pedante Alfonso Alidoro (Chi tutto vuol) Alimene Almira Almirena Alsuinda Alvida Amage Ambrogio Amet Aminta (Aminta e Dori) Amore (Falsirena) Anastasio Angelica Anima Anna (Re infante) Anteo Antioco (Antioco il grande) Antioco (Laodicea e Berenice) Antioco (La pace tra Tolomeo e Seleuco) Antioco (Il Seleuco) Apollo (Mauritio)

CLEF S S S A T S A S S S S S A B B S S S S A S A B S A S A S S S S S S S S S

BARB. LAT. 4144 4141 4147 4162 4165 4149 4142 4133 4131, 4133, 4134 4132 4152, 4155 4143, 4144 4388, 4389 4185, 4186, 4229 4230 4149 4130, 4137 4133, 4134 4158 4133, 4134 4386 4144 4229 4131 4227 4142 4138 4388, 4389 4231 4160, 4171 4149 4130, 4137 4174 4159 4171 4140, 4152

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578

Apollonide Araspe (Antioco) Araspe (Irene e Costantino) Arbante (Inganni felici) Arbante (Virtù trionfante) Arbante/Ormondo Argante (Gierusalemme liberta) Argenore Arideno Arideo (Il Furio Camillo) Arideo (Trionfo della Costanza) Ariene (L’Alfonso primo) Ariene (Penelope la casta) Aristeo (Amor spesso inganna) Armida Armisia Arricida Arsacomo Artaserse (Virtù trionfante) Artemisia Aspasio Astolfo Astrea Astrobolo indiano Atalida Atalo Atanagilda/Gismondo Atlante Attilia Attilio (Amor di Curizio) Attilio (Vespasiano) Autonoe (Orfeo) Autonoe (Amor spesso inganna) Autunno Bajazet (Ibraim sultano) Batocco Beleso Berenice (Virtù trionfante) Bradamante Brillo cacciatore cameriere Camilla (Brenno in Efeso) Camilla (Trionfo di Camilla) Cammaro Cassandro (Tessalonica)

APPENDIX D

A S S T T S A S S A S S S A S S A A S S S T S B S S S A S S A S A B S B S S S B T T S S B S

4133 4130 4130 4134 4169 4133 4140 4149 4174 4169 4142 4131 4160 4162 4140 4135 4170, 4172 4165, 4169 4143, 4154, 4169 4158 4142 4388, 4389 4149 4231 4165, 4169 4137 4132 4388, 4389 4131 4142 4170, 4172 4139 4162 4185, 4229 4143, 4165 4213-4214-4215 4135 4143, 4154, 4169 4388, 4389 4162 4388, 4389 4229 4142 4171 4232 4148

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17 Lindgren-Murata Appendix D.indd 578

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cavaliere Celia (Didone delirante) Celidora Celina Celinda (Chi tutto vuol) Celindo Christus Cintia (Dalla padella alla bragia) Cintia (Ibraim sultano) Cirene (Il Gordiano) Cirene (Mauritio) Claudia Claudio (Il Pompeo) Claudio Nerone Clearco (Costanza vince) Clearte Cleopatra (Antioco il grande) Cleopatra (Giulio Cesare in Egitto) Cleta Climene (Equivoci in amore) Climene (Pirro e Demetrio) Climene (Teodora clemente) Clistene Clitarco Clizia Clori (intermezzi by Basili) Clori (intermezzi by Berti) Clori (Chi soffre speri) Clori (Dagl’inganni alle nozze) Cloridea Clorinda (Gierusalemme liberata) Clorinda (Guerriera costante) Colillo Coridea Cornelia corteggiano Cosdroe (Mauritio) Costantino Costumia Coviello Creonte Creso Curiazio Curio Curiosità Curzio

ROLES

579

T S A S S S S Ms S S S S S S S S S S S S S S A A S S S S S S S S S S A T S S Ms T S S S S S S

4386 4141 4173 4173 4149 4155 4231 4210-4211-4212 4169 4132 4140, 4152, 4167 4135 4148, 4149 4206 4133 4142 4130 4147 4142 4152, 4155 4142 4176 4133, 4134 4176 4134, 4174 4185, 4229 4186, 4196, 4229 4231, 4386 4224-4225-4226, 4231 4169 4140 4230 4386 4142 4213-4214-4215 4229 4139, 4140, 4142, 4152, 4167, 4168 4137 4210-4211-4212 4386 4132 4137 4132 4147 4231 4142

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17 Lindgren-Murata Appendix D.indd 579

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580

Dafne (Chi soffre speri) Dafne (Pastore d’Anfriso) dama (Chi soffre speri) dama 1 (Palazzo incantato) dama 2 (Palazzo incantato) Dario Decio Deianira (Ercole in cielo) Deianira (Irene) Deidamia (Pirro e Demetrio) Deidemia (Achille in Sciro) Delbo (Il Vespasiano) Delia (Il Vespasiano) Demarata Demetrio/Armidoro demoni Demonio Demostene Desba Didone Diego Dionisio Dirce Domitiano (Il Vespasiano) Domizio Don Gigutte Doralba (Tutto il mal) Doralice Dori (Aminta e Dori) Dori (Or che l’estivo sole) Doricle (Il re infante) Doriclene Doride Dorillo (Chi soffre speri) Dorillo (Brenno in Efeso) Dorinda Dorisbe (Adone in Cipro) Dorisbe (Aldimiro) Dorisbe (Trionfo dell’innocenza) Doristo Edvige Efestione Egisto Eleanora (Ottone) Elena (Giuochi troiani) Elena (Incoronazione di Serse)

APPENDIX D

S S S S S S S S S S S A T S S SSATB B S T S T S A A S A S S S A S S S S S S S S S A A S S S S S

4386 4133, 4174 4386 4388, 4389 4388, 4389 4132 4132 4134 4133, 4174 4142 4158 4170, 4172 4170, 4172 4133 4131, 4133, 4134 4198-99 4198-99 4142 4176 4141 4376, 4387, 4168 4130, 4137 4135 4170, 4172 4134 4229 4156 4388, 4389 4227 4232 4171 4130 4130, 4137 4386 4142 4224-4225-4226 4158 4139 4143 4133 4134 4135 4386 4131 4173 4142

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17 Lindgren-Murata Appendix D.indd 580

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581

ROLES

Eleonora (Principe selvaggio) Elidora Elisa Elmira (Sesto Tarquinio) Elmiro (Equivoci in amore) Elvida Elvira (Brenno in Efeso) Elvira (Dal male il bene) Elvira, fratello di (Dal male il bene) Emilia (Flavio Cuniberto) Emilia (Flora) Endimione Endimiro (Brenno in Efeso) Enea Enone (Elena rapita da Paride) Epicide Eraclea (L’Eraclea 1692) Eraclea (L’Eraclea 1696) Erasto (Creonte) Erasto (Pastor d’Anfriso) Ercole (Ercole in cielo) Erene Erenio Ergasto (Chi soffre speri) Ergilda (Mauritio) Ergirida Ericlea (Amore, Amicitia e Costanza) Erinda Erippo Eritia Ermechildo Ernelinda Ersinda Esculapio Eucherio Eudossia (L’Eudossia) Eumene (Domizio) Eumene (Il trionfo della continenza) Eunomio Euridice (L’Orfeo, 1694) Euridice (Amor spesso inganna) Eurilla (Chi soffre speri) Eurillo (La Rosmene) Eurinda (Palazzo incantato) Eurinda (Sesto Tarquinio) Fabio

S S S S S S S S T S S S S S S A S S S A A S A B S S S T T S A S ? B S S S S S A A S S S S S

4174 4149 4130, 4137 4135 4155 4160 4142 4376, 4387, 4168 4376, 4387 4143, 4144, 4159, 4231 4130, 4137 4135 4142 4141 4147 4133 4161, 4164 4133 4132, 4142 4133, 4174 4134 4143 4133, 4134 4386 4140, 4152, 4167 4134 4173 4162 4165, 4169 4133, 4134 4133, 4134 4144, 4159, 4160, 4231 4153-14 4162 4166 4231 4134 4142 4148 4139 4162 4386 4173 4388, 4389 4135 4135

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17 Lindgren-Murata Appendix D.indd 581

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582

Faldiglia Fama (Le gare festive) Fama (prologue by Berti) Fausta (Dionisio) Feraspe (Chi tutto vuol) Feraspe (Il trionfo dell’innocenza) Ferindo Fernando Ferraù Fidalba Filea Filena (Penelope la casta) Fileno (Chi soffre speri) Fileno (Chi la fa) Filippo (Il Gordiano) Filismena Filomela Fiordiligi Fioralba Flavia (Amor di Curzio) Flavia (Basilio) Flavio (Flavio Cuniberto) Flora (La Flora) Flora (Il trionfo della continenza) Flori Florimondo Florindo (Chi tutto vuol) Floro (La gelosa) Floro (Orazio) Floro (Il trionfo della continenza) Fortuna (prologue by Berti) Fortuna (Dal male il bene) Fritellino Frullo Fulvia (Il Galieno) Furio Camillo Galieno Gelinda Geminio Gemmira Germanico (L’Agrippina) Germanico (Prosperità … Seiano) Gesilla Giacobbe, figli di Gigante Giunone (Gare festive)

APPENDIX D

B S B S S S S A T S S S Ms T S S S S S S S S S S S S S A A S S S S S S S S S S S T S S SSATB B S

4230 4179, 4228 4186 4130, 4137 4149 4143 4139, 4173 4376, 4387, 4168 4388, 4389 4230 4131, 4138 4160 4386 4231 4132 4142 4143 4388, 4389 4388, 4389 4142 4133 4143, 4144, 4159, 4231 4130, 4137 4142 4131 4147 4149 4213-4214-4215 4132 4142 4186, 4229 4376, 4387 4386 4141 4158 4165, 4169 4158 4131, 4137 4130 4137 4152, 4155 4143, 4144, 4147 4170, 4172 4194-95 4388, 4389 4179, 4228

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17 Lindgren-Murata Appendix D.indd 582

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583

ROLES

Gilade Gilauro Gilbo Gioseppe Gismondo Giulia (L’Agrippina) Giunia Giunio (L’Agrippina) Giustino Gloria Gordiano (Gordiano) Gordiano (Dalla padella alla bragia) Gradasso Gubaldo Guido (Flavio Cuniberto) Hali Hillo Hircano Ibraim Idalia Ilioneo Illisa Iole Iphide Ippolita (Inganno di Chirone) Ircano (Il Mauritio) Irene (Amilcare di Cipro) Irene (Amazzone guerriera) Irene (Attila) Irene (Gelosa di se stessa) Irene (L’Alcasta) Irene (Principe selvaggio) Iroldo Isandro Isifile (Creonte) Isifile (Novello Giasone) Issicratea La Notte (Pastore d’Anfriso) lacché Laodicea Laureno Laurindo Lavinia Leandro Leone (Basilio) Leone (Teodora clemente)

A S B B A S S S S A S B B A S B S S S S S S S S S S S S S S S S T S S S S S S S S S S T S T

4174 4143 4132 4194-95 4160 4155 4132 4155 4138 4186 4132 4210-4211-4212 4388, 4389 4131 4143, 4144, 4159, 4160 4133, 4174 4134 4144 4143, 4165, 4169 4388, 4389 4144 4206 4134 4147 4143 4132, 4152, 4167 4206 4162 4158 4213-4214-4215, 4231 4158 4174 4388, 4389 4143, 4144 4142 4156 4148 4174 4229 4174 4133 4131 4171 4210-4211-4212 4133 4176

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17 Lindgren-Murata Appendix D.indd 583

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584

Leonora (Dal male il bene) Lepido (Il Gordiano) Lepido (Nerone) Leucippe Licandro Licisco Licori (Chi soffre speri) Lidia (Chi soffre speri) Lidia (Il Furio Camillo) Lidia (Il Galieno) Lidia (Chi la fa) Lidio Lidoro Lilla (intermezzi by Basili) Lilla (Chi soffre speri) Lilla (intermezzi by Berti) Lincea Lisetta (intermezzi by Gasparini) Liso (La Rosmene) litigante Livia Livia/Sicambre Longino Lotario Lotilda Luceo Lucillo Lucinda Lutezio macellaro Magia Mandane (Caduta del regno) Mandane (Inganno scoperto) Mandricardo Marcellino Marfisa Marina Massimino Massimissa (Scipione africano) Mauritio Mazeo Memete Mente humana (Alfonso primo) Meraspe Mercurio (Falsirena) Metilde

APPENDIX D

S S S S A A S S S S Ms S S S S A S A S S S S S S S S S S S B S S S B T S S B S S T S S A S S

4376, 4387, 4136, 4168 4132 4135 4147 4162 4133, 4174 4386 4386 4165, 4169 4158 4231 4131 4149 4185, 4229 4386 4186, 4196 4149 4231 4173 4229 4144 4141 4133, 4134 4176 4132 4158 4165, 4166, 4169 4386 4160 4386 4388, 4389 4162 4132 4388, 4389 4166 4388, 4389 4376, 4387, 4136 4209 4158 4139, 4140, 4142, 4152, 4167 4154, 4169 4133, 4174 4131 4134 4142 4131

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17 Lindgren-Murata Appendix D.indd 584

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585

ROLES

Mirena (L’Eraclea) Mitilene Mitridate (Il Pompeo) Moschino Musica nano napolitano Narete narnese Nerea (Chi soffre speri) Nerone Nesso Nicea (Moglie nemica) Nicea (Sardanapalo) Niceforo Nicoletto Niso (Teodora clemente) Olimpia (Palazzo incantato) Olimpia (Amor vince lo sdegno) Olindo Onorio (L’Ezio) Onorio (Onorio in Roma) Orcano Orestilla (L’Agrippina) Orfeo (Amor spesso inganna) Orgonte/Sifalce Origene Orismondo Orlando Ormondo (Il Creonte) Oronta/Alceste Oronte (Antioco il grande) Oronte (Inganno regnante) Orontea (Amage) Orvante Osmano (Teodora clemente) Osmiro Otio Ottone (Moglie nemica) Ottone (Ottone) Palamede Pallade Pallante Paride Peleo Pelope

S A S S S S S S/T T S S B S S S A B S S T S A B S S S A T T A S S S S S A S S S S S S S S S A

4161, 4164 4162 4148 4386 4388, 4389 4388, 4389 4229 4224-4225-4226 4386 4386 4135 4134 4131 4135 4131 4229 4176 4388, 4389 4167 4230 4158 4165, 4166 4165 4155 4162 4131, 4133, 4134 4174 4158 4388, 4389 4142 4131, 4133, 4134 4130 4132 4144 4133 4176 4143 4386 4131 4131 4133, 4134 4179, 4228 4206 4147 4143, 4144 4139

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17 Lindgren-Murata Appendix D.indd 585

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586

Peloro Penelope (Finta pazzia d’Ulisse) Penelope (Penelope la casta) Piacere Pilato Pittura Placidia (Il Basilio) Placidia (Onorio in Roma) Placilla Poesia Pompeo (Flora) Pompeo (Pompeo magno in Cicilia) Postiglione Prasildo Prenesto Psiche Rinaldo Romilda Romolo (L’Eraclea) Rosalba (Chi tutto vuol) Rosana (Ibraim sultano) Rosane (Astiage) Rosane (Creonte) Rosaura (Equivoci in amore) Rosilda Rosimonda Rosino Ruggiero Rusteno Sabina Sacripante Santa Caterina Sardanapalo Scipione (Il Pompeo) Seiano (Prosperità … Seiano) Selenisa Seleuco (Antioco) servi Sestilia (Il Domizio) Sestilia (Re infante) Sesto (Il Pompeo) Sesto (Sesto Tarquinio) Sicandro Siderme Silvano Silvia

APPENDIX D

S S S S B S S A S S S S S S S S A S S S S S S S S S S T S S B S S S S S S ATB S S S S S S B S

4232 4133, 4134 4159, 4160 4185, 4229 4198-99 4388, 4389 4133 4166 4139, 4140, 4142, 4152, 4167 4388, 4389 4130, 4137 4130 4229 4388, 4389 4171 4149 4140 4176 4161, 4164, 4167 4149 4143, 4165, 4169 4147 4132, 4142 4155 4386 4133, 4134 4230 4388, 4389 4143, 4165 4132 4388, 4389 4209 4135 4148 4143, 4144 4149 4130 4194-95 4134 4171 4148 4135 4130, 4137 4132 4386 4386

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17 Lindgren-Murata Appendix D.indd 586

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587

ROLES

Silvio Sitalce soldati Sole Solimano Speranza staffiere 1 staffiere 2 staffiere 3 Statira (Incoronazione di Serse) Statira (Inganno scoperto) Stilicone Stratonica (Virtù trionfante) Sulpizia Tabacco Taide Talassio Tancredi Tarquinio (Tullia superba) Tazio Teodata Teodato (Virtù trionfante) Teodelinda Teoderico Teodora (Teodora clemente) Teodosia (Heraclio) Teramene Termane Termantia Tessalonica Testo Testo/Fede Tiberio (Mauritio) Tigellino Tigrane Tinacre/Creuso Tiridate (Nerone) Tirsi Titiro Tito Trasone Tresca Tulllio turba Turno Ulisse (Finta pazzia d’Ulisse)

S S AT B A A A A B S S B S A B S A S A T S S S S S S S S S S A S T S S S S A T A S S S ATB S S

4224-4225-4226, 4231 4131 4209 4187 4133, 4174 4209 4229 4229 4229 4142 4132 4166 4154, 4165 4131 4376, 4387 4135 4161, 4164 4140 4158 4164 4134, 4143, 4144, 4159 4143, 4154, 4169 4131 4131 4176 4147 4139, 4173 4139 4166 4148, 4149 4194-95 4209 4140 4206 4131 4141 4135 4224-4225-4226, 4231 4386 4170, 4172 4133 4210-4211-4212 4135 4198-99 4171 4133, 4134

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17 Lindgren-Murata Appendix D.indd 587

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588

Ulisse (Penelope la casta) Valeria Valleria Vendemmia Venere (Adone in Cipro) Venere (Falsirena) Venere (Gran macedone) Vespasiano Virtù Vitige Voluttà Zanni Zelta

APPENDIX D

S S A S S S S B S S S T T

4160 4132 4206 4185, 4229 4158 4142 4142 4170, 4172 4386 4144, 4159, 4160 4386 4386 4231

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17 Lindgren-Murata Appendix D.indd 588

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APPENDIX E

ORATORIOS AND OCCASIONAL CANTATAS TITLE OR TEXT INCIPIT

BARB. LAT.

Ancor satio non sei Chi mi radoppia il giorno DIALOGO DI AGAR E ISMAELE DIALOGUS INTER CHRISTUM ET ANIMAM (O quam dulcis Amor Christi) Disperar di se stesso GIOSEPPE Inferno io veggo aperte le fauci tue Mi son fatto nemico O cecità del misero mortale Oratorio per la Settimana Santa PREDICA DEL SOLE (Ergi la mente al Sole) Roma imperatrix orbis SANTA CATERINA UN PECCATOR PENTITO (Colpe mie venite) UN PECCATOR PENTITO (Mi son fatto nemico) UN PECCATOR PENTITO (Voi per ultima aita)

4190, 4192, 4219, 4296 4322 4296 4231 4188, 4219 4194-95, 4296 4189, 4219, 4296 4191, 4296 4193, 4218 4198-99, 4296 4187 4364 4209 4219, 4296 4191 4219

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18 Lindgren-Murata Appendix E.indd 589

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18 Lindgren-Murata Appendix E.indd 590

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APPENDIX F

MUSICAL AND POETIC MSS. CITED (non-Barberini concordances only) Alphabetical by RISM sigla KEY: 4228-34 = Barb. lat. 4228, item n. 34. 4228-35-38 = Barb. lat. 4228, items numbered 35 through 38. A-Wgm IV.27719: 4148-1, 6; 4149-45 A-Wgm Q.1199: 4171-1 A-Wn E.M. 165: 4133-43; 4134-35, 4849 A-Wn E.M. 179: 4133-16, 42-43, 45, 71 A-Wn Mus.16291/2-3: 4161 comments A-Wn Mus.16491: 4159-3 A-Wn Mus.17592: 4157-5 A-Wn Mus.17748: 4206-32

A-Wn Mus.17762: 4208-25 A-Wn Mus.17763: 4136-2 A-Wn Mus.17765: 4136-6; 4207-4, 7 A-Wn Mus.17769: 4147-23; 4156-1, 2 A-Wn Mus.17772: 4147-3-5, 8-9, 16; 414933; 4158-10 A-Wn Mus.17940: 4158-10 A-Wn Mus.18642: 4144-1 A-Wn Mus.18833: 4148-2, 8; 4149-44

* marks Brussels Conservatory volumes either not in RISM online or http://catalog.b-bc.org/cgi-bin/koha/opac-main.pl (Beta version 2016)

B-Bc 577/1-46 (FA.VI 21): 4161-13 B-Bc 566/1-11 (FA-VI-023): 4136-9, 18, 21; 4208-37 *B-Bc 588: 4208-3 B-Bc 662: 4200-24; 4200-27, 28, 29, 33, 38 *B-Bc 694 (F.A.VI 38): 4136-11; 4150-8; 4175-10; 4205-12; 4208-22; 422131; 4223-2 B-Bc 695 (FA-VI-020): 4208-31 B-Bc 696: 4147-14; 4148-9 B-Bc 697 (F.A.VI 3): 4157-11 B-Bc 703: 4133-13, 16 B-Bc 2275: 4140 comments B-Bc 15178/1-15: 4169-34 B-Bc 15188 (F.A.VI 74): 4228, 4179 B-Bc 15321/1-122: 4206-6 B-Bc 17059: 4163-11 *B-Bc 17193: 4146-5; 4207-7

*B-Bc 17197: 4150-18; 4163 comments B-Bc 24092/1-21: 4208-31 B-Bc 55858: 4157-4, 11, 15; 4158-18 B-Br II.3947: 4146-5; 4150-21, 22, 24; 4163-8; 4175-17, 27, 28; 4175-33; 4220-20, 26; 4221-68; 4374-29 B-Br II.3950: 4202-1; 4231-34 B-Br II.3951: 4171-18 B-Br II.3962: 4137-27; 4148-2, 12 B-Earenberg 1: 4155-1 B-Lc Terry 280: 4147-1; 4158-9 CH-Zz Q 902: 4147-9, 16; 4158-2; 417219; 4223-28 CZ-K 70.K.1: 4174 passim CZ-K 72.K.1: 4133-31, 52, 77, 81-82, 8485; 4134-27, 36-40, 42, 58, 64-67, 4134-69, 75, 81-85, 87 CZ-K 73.K.1: 4131-16-19, 21, 28, 37-38; 4133-2, 4, 7-9, 12, 14; 4174 passim

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19 Lindgren-Murata Appendix F.indd 591

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592

APPENDIX F

CZ-K 75.K.1: 4133-21-30, 32, 34 D-AN VI g 39: 4165-11, 30; 4166 passim D-B L.35: 4161-7 D-B Mus. 2184: 4171-1 D-B Mus. 9062: 4159-10, 16, 22 D-B Mus. 17745: 4131-16-19, 21, 28, 3738 D-B Mus. 30074: 4173-8 D-B Mus. 30182: 4206-32 D-B Mus. 30186: 4206-24 D-Bsa SA 1188: 4141 passim D-Bsa SA 1282: 4148-2 D-BDk 137: 4139-18; 4173-2, 7 D-Dl Mus. 1-I-2,1: 4156-2 D-Dl Mus. 1-I-2,3: 4130-1; 4132-45; 42066 D-Dl Mus.1813-F-2: 4140-27-32, 35, 37, 40-42, 45-48, 50, 51 D-Dl Mus. 2193-F-1: 4171-1, 10 D-DS Mus. 498: 4159-8 D-HVl IV, 422: 4200-27 D-Hs ND VI 25 (A 7): 4169-2 D-Kl 2o Mus. 34: 4156-10; 4207-21 D-LEm Becker III.5.5: 4206-24 D-Lr K.N.145: 4136-6, 15 D-Mbs Mus. 44: 4183-2 D-Mbs Mus. 602: 4183-1, 3, 4, 8 D-Mbs Mus. 603: 4183-6 D-Mbs Mus. 1138: 4206-31 D-Mbs Mus. 1139: 4173-8 D-Mbs Mus. 1510: 4156-6; 4157-15 D-Mbs Mus. 1519: 4149-5, 10 D-Mbs Mus. 1524: 4150-2; 4163-5, 6; 4175-4, 5; 4205-7; 4208-21; 4220-6 D-Mbs Mus. 11406: 4142-4; 4152-24; 4155-7; 4161-1-3, 7-8; 4164-2; 416715; 4231-26 D-Mbs Mus. 11882: 4206-32 D-MÜs 5: 4387 comments D-MÜs 172: 4139-4; 4140-34; 4152-5; 4167-1; 4171-18; 4172-26 D-MÜs 176: 4140-16; 4152-10; 4162-1, 5; 4171-16; 4176-7 D-MÜs 187: 4132-38-39, 41, 44-45, 5154, 61, 66-67

D-MÜs 595: 4139-9; 4140-5, 8, 12, 14, 18, 19, 24, 34, 44; 4142-15; 4152-1, 4; 4152-5, 12-13, 21; 4161-1, 3, 15; 4164-2, 12-13; 4167-1-2, 5-6; 41678, 13, 16-17, 21 D-MÜs 596: 4171-1 D-MÜs 598: 4172-8, 16, 35, 42 D-MÜs 854: 4157-5, 15 D-MÜs 858: 4229-10 D-MÜs 862: 4202-9 D-MÜs 868: 4157-11 D-MÜs 869: 4139-24; 4206-31, 4231-34 D-MÜs 904: 4159-21; 4171-16; 4172-7, 18, 37 D-MÜs 1152: 4197-28 D-MÜs 3000: 4158-5 D-MÜs 3909: 4206-30 D-MÜs 3910: 4206-31 D-MÜs 3911: 4158-2 D-MÜs 3933: 4139-18; 4173-2, 7, 12 D-MÜs 3948: 4148-1, 3, 5-15; 4149-4445 D-MÜs 3950: 4158-2 D-MÜs 3951: 4159-23; 4171-17; 41725, 8, 11, 26, 33-34 D-MÜs 3976: 4169-2-3 D-MÜs 4085: 4158-8, 25 D-MÜs 4086: 4147-21; 4158-20, 26 D-MÜs 4087: 4200-31; 4374-17 D-MÜs 4203: 4428 comments D-SÜN 31: 4169-2 D-SWl Mus 2407: 4159-4, 12, 14, 16, 22 D-SWl 4718a: 4163-5; 4200-37; 420833; 4219-29 D-SWl 4718b: 4155-12, 14-17, 19, 24, 29; 4162-5 DK-Ku Ms. C, I, 51050: 4148-9, 11 E-Mn M. 2244: 4160-3 E-PaP 1203: 4172-20 F-Pa 948: 4175-13; 4204-26; 4205-54; 4208-6, 19; 4223-24 F-Pa 6826, vol. II: 4133-56; 4134-64, 81, 87 F-Pn 8351: 4135-13-18, 20-24, 26-27, 29, 31-33, 38

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19 Lindgren-Murata Appendix F.indd 592

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MUSICAL AND POETIC MSS. CITED

F-Pn D.1161: 4160-3 and comments F-Pn D.11837: 4130-28, 49, 52; 4148-12, 5-8; 4149-44; 4374-18 F-Pn D.11897: 4130-46; 4139-5 F-Pn D.11901: 4155-4 F-Pn D.12290: 4140 comments F-Pn D.12644: 4165-1, 8, 20, 33; 41691-4, 6-32, 50 and comments F-Pn H.659, I: 4160-17; 4162-5 F-Pn H.659, II: 4162-9 F-Pn H.659, IV: 4132-39; 4162-15 F-Pn H.659, V: 4149-10; 4160-22 F-Pn H.659, VII: 4157-15; 4172-19 F-Pn L.13.695: 4171-1 F-Pn Rés. 1355 (1-3): 4386 comments F-Pn Rés. 1692 (1-2): 4162-1, 5-8, 11-12, 14-17 F-Pn Rés. 2095: 4163-8 F-Pn Rés. 2096: 4146-5; 4150-18; 415148; 4163-5; 4175 comments; 420037; 4219-29; 4221-47; 4223-27; 437429 F-Pn Rés. 2097: 4159-13, 20; 4160-14, 16, 19 F-Pn Rés. F.935: 4136-23; 4150-26 F-Pn Rés. F.935B: 4136-17 F-Pn Rés. F.1675: 4132-39; 4149-10; 4160-22; 4162-15; 4172-19 F-Pn Rés. Vma 967: 4142 comments; 4143-14; 4144-5, 8, 18, 32, comments; 4160-1; 4165-20; 4169-7, 49; 4174 comments F-Pn Rés. Vm7 59: 4175-2, 4, 10, 13; 4374-4 F-Pn Rés. Vm7 102: 4175-15; 4374-15, 22 F-Pn Rés. Vm7 579: 4145-7; 4151-4, 18; 4221-67 F-Pn Rés. Vmb 63: 4135-46; 4204-21; 4207-24; 4223-29 F-Pn Rés. Vmb 91: 4171-7, 18 F-Pn Rés. Vmc 77: 4146-1 F-Pn Rés. Vmc 78: 4130-27, 51; 415022; 4163-1; 4205-14; 4207-14; 422154; 4374-1 F-Pn Rés. Vmc 88: 4144-2; 4162-20

593

F-Pn Rés. Vmd 26: 4163-3; 4168-26; 4208-33 F-Pn Rés. Vmf 14: 4136-7, 8, 12; 420714 F-Pn Rés. Vmf 17: 4143-45; 4159-1, 2, 7, 9-10, 13-14, 16-17, 20, 22, 24; 4160-2-3, 5-11, 13-14, 16-18, 21-23, 25, 27 F-Pn Rés. Vmf 19: 4147-17; 4157-1; 4207-21 F-Pn Rés. Vmf 20: 4163-20; 4201-14; 4204-12; 4223-32 F-Pn Rés. Vmf 22: 4171-7 F-Pn Rés. Vmf 24: 4139-5; 4148-6 F-Pn Rés. Vmf 26: 4173-7 F-Pn Rés. Vmf 27: 4159-20; 4160-1, 6-7, 9, 14, 16, 18-20, 25 F-Pn Rés. Vmf 36: 4173-2, 7 F-Pn Rés. Vmf 38: 4155-2, 5, 7, 11 F-Pn Rés. Vmf 40: 4162-1, 4, 12, 15 F-Pn Rés. Vmf 41: 4146-3 F-Pn Vm4 18: 4139-18; 4173-2, 7, 12 and comments F-Pn Vm4 924: 4158-4 F-Pn Vm7 1: 4200-8; 4208-31 F-Pn Vm7 5: 4132-38-39, 44, 51, 54-55, 67; 4139-4, 9, 20; 4140-1, 3, 4, 8, 9, 13, 15-17, 19, 24, 28, 32, 33-34, 39, 42-44, 47, 49; 4142-11, 15, 32, 50; 4152-3-5, 10-12, 19-21; 4159-23; 4167-1, 6; 4176-12, 28, comments F-Pn Vm7 6: 4150-10, 18; 4175-11, 14, 16; 4200-19, 38; 4208-6, 12, 17 F-Pn Vm7 7: 4171-1, 4, 7-8, 10, 18 F-Pn Vm7 8: 4158-10, 23; 4208-24 F-Pn Vm7 10: 4200-13 F-Pn Vm7 17: 4136-17; 4175-20 F-Pn Vm7 30: 4130-46 F-Pn Vm7 53: 4171-18 F-Pn Vm7 58: 4171-1, 7 F-Pn Vm7 61bis: 4206-28 F-Pn Vm7 70: 4159-13; 4160-21 F-Pn Vm7 675: 4231 comments (re nn. 22-23) F-Pn Vm7 1818: 4149-5, 9-10, 15 F-Pn Vm7 4905: 4176-2

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19 Lindgren-Murata Appendix F.indd 593

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594

APPENDIX F

F-Pn X. 118B: 4229-10 F-Pn X.914: 4196 comments F-Psg 3372: 4163-7; 4200-20; 4205-5, 7, 8, 17, 18, 22; 4220-6, 7, 38; 4221-18, 19, 32, 62, 71 F-V 138: 4147-16 F-Vmb JL Arc Ben 11: 4227 comments F-Vmb LIO 70: 4201-37 F-Vmb LIO 162: 4189-1 F-Vmb LIO 165: 4187-2 F-Vmb LIO 166: 4187 comments; 41881 F-Vmb LIO 167: 4231 comments (re nn. 22-23) F-Vmb LIO 170: 4201-32, 4219-7 F-Vmb LIO 313: 4201-29 GB-ABu (Powell Collection): 4171-1 GB-CDp M.C.1.4: 4171-1 GB-Cfm Mu.Ms 44: 4207-7; 4222-33 GB-Cfm Mu.Ms 86: 4158-1 GB-Cfm Mu.Ms 122 (31.G.6): 4171-1 GB-Cfm Mu.Ms 128 (32.E.10): 4202-3, 6 GB-Cfm Mu.Ms. 131 (32.E.13): 4230 comments GB-Cfm Mu.Ms 181: 4222-33 GB-Cfm Mu.Ms 649 (52.B.3): 4206-2 GB-Cfm Mu.Ms 659 (52.B.13): 4139-5; 4173-4, 6 and comments GB-Cfm Mu.Ms 718 (32.F.33): 4132-3739, 41, 45-46, 60; 4142-36 and comments GB-Cmc 2591: 4136-15 GB-CKc 22: 4208-33 GB-Er P 1430: 4143-3, 41-43, 45; 41441-2, 9, 13-14, 29, 34, 37; 4144-42-43 GB-Lam 34: 4206-2 GB-Lam 42: 4136-4 GB-Lam 126: 4160-19 GB-Lam 128: 4143-25-26, 29; 4154-12; 4165-4, 12,14-15, 22, 24; 4165-32; 4166-3, 11, 15, 19, 28, 31, 34-35, 41; 4169-2, 4, 14, 21, 29, 49 GB-Lcm 546 I-II: 4389 comments GB-Lcm 604: 4158-1

GB-Lcm 1098: 4162-5 GB-Lbl Add. 14167: 4155-3, 5, 6 GB-Lbl Add. 14185: 4171-1 GB-Lbl Add. 14218: 4148-7-8; 4149-44, 47 GB-Lbl Add. 14227: 4206-24 GB-Lbl Add. 14229: 4136-12 GB-Lbl Add. 16109: 4131-22-27; 413333, 35-38, 40-43, 45, 69-74, 83, 8991; 4134-1-6, 33, 35, 48-53, 56-57, 76-77 GB-Lbl Add. 16150-52: 4162-1-8, 11, 1419, 21 GB-Lbl Add. 29396: 4163-6 GB-Lbl Add. 30491: 4175 comments GB-Lbl Add. 31431: 4197-38 GB-Lbl Add. 31440: 4145-8 GB-Lbl Add. 31487: 4206-28 GB-Lbl Add. 31502: 4148-1, 10; 4168-32 GB-Lbl Add. 31505: 4200-24 GB-Lbl Add. 31506: 4139-18; 4149-15; 4173-5 GB-Lbl Add. 31512: 4206-29 GB-Lbl Add. 31513: 4155-3-4 GB-Lbl Add. 31542: 4171-1 GB-Lbl Add. 31546: 4206-2 GB-Lbl Add. 31572: 4159-4, 8, 10, 12, 14, 16, 18-19, 22; 4231-11 GB-Lbl Add. 33236: 4197-32, 33 GB-Lbl Add. 34055: 4156-2; 4157-11 GB-Lbl Add. 36877: 4145-8, 9 GB-Lbl Add. 58853: 4150 comments; 4205 comments GB-Lbl Egerton 2692: 4148-7, 8, 11-13; 4149-44; 4159-9 GB-Lbl Harley 1264: 4156-12; 4207-7 GB-Lbl Harley 1265: 4139-22; 4156-15; 4175-10; 4200-21; GB-Lbl Harley 1266: 4140-33; 4150-11; 4208-37 GB-Lbl Harley 1270: 4147-9; 4148-1, 14 GB-Lbl Harley 1271: 4136-21; 4150-11 GB-Lbl Harley 1272: 4136-6; 4140-47; 4143-23; 4148-8; 4152-22; 4165-4, 12, 14, 22; 4166-3, 19, 28, 31; 417314; 4176-7

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19 Lindgren-Murata Appendix F.indd 594

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MUSICAL AND POETIC MSS. CITED

GB-Lbl Harley 1273: 4132-27; 4139-1; 4140-12, 29, 34; 4142-5; 4147-9; 4148-1, 14; 4149-44; 4152-5; 41536, 24; 4163-5; 4167-1-2 GB-Lbl Harley 1501: 4175-11; 4200-15, 20; 4207-14; 4208-3, 21 GB-Lbl Harley 1863: 4135-9; 4146-1; 4150-18; 4157-1; 4201-29; 4207-7, 4207-18; 4219-22 GB-Lbl R.M.18.c.4: 4159-8 GB-Lbl R.M.18.c.10: 4159-8 GB-Lbl R.M.19.d.11: 4159-8 GB-Lbl R.M.22.b.9-10: 4171-1 GB-Lbl R.M.23.d.11-15: 4159-4, 14 GB-Lbl R.M.23.f.4: 4171-18 GB-Lbl R.M.23.f.10: 4158-1 GB-Lbl R.M.24.i.11: 4148-5-6; 4149-10, 16; 4176-26, 4208-9 GB-Lbl R.M.24.c.17: 4206-2 GB-Lgc G. Mus.400: 4206-2 GB-Lgc G. Mus. 449: 4206-28 GB-Mp BRm710.5Rf31: 4159-4 GB-Mp M580 Bk51 (v.2-10): 4224 comments GB-Mp MS 130Hd4v.130: 4159-11 GB-Mp Q544 Bk51: 4206-28 GB-Ob Mus. c.30: 4130-46; 4139-5 GB-Ob Mus. c.107: 4171-18 GB-Ob Mus. d.20: 4206-2 GB-Ob Mus. d.22: 4206-2 GB-Ob Mus. d.255: 4137-43 GB-Ob Mus. e.45: 4148-12 GB-Ob Mus. Sch. C.103: 4132-36 GB-Ob Mus. Sch. D.226: 4159-1, 20; 4160-26 GB-Ob Mus. Sch. D.256: 4197-32-33 GB-Ob Mus. Sch. E.388: 4159-1, 2, 4-5, 9, 14-20; 4160-1, 4, 6, 8-9, 11, 13, 1517, 19-20; 4160-23-25; 4169-4, 21; 4171-13 GB-Ob Mus. Sch. E.390: 4160-1, 6, 9, 11, 14-15, 17-19, 21, 24 GB-Ob Mus. Sch. E.392: 4159-1-9, 1112, 14-16, 18, 20, 22 GB-Ob Mus. Sch. E.396: 4148-2, 7-9, 12; 4149-44

595

GB-Ob Mus. Sch. E.400-403: 4197-32, 33 GB-Ob Mus. Sch. G.606: 4149-15 GB-Ob Tenbury 1074: 4130-46; 4139-5 GB-Och Mus.17: 4163-6; 4200-5 GB-Och Mus.51: 4136-4, 6, 17, 21 GB-Och Mus.83: 4207-15, 21 GB-Och Mus.350: 4163-6: GB-Och Mus.377: 4136-24; 4192 comments; 4205-42; 4219-27 GB-Och Mus.946: 4200-21; 4203-17; 4220-57 GB-Och Mus.947: 4136-18; 4207-20 GB-Och Mus.948: 4158-7 GB-Och Mus.949: 4136-6, 17; 4156-10; 4208-9 GB-Och Mus.953: 4207-10, 26; 4208-5, 20; 4221-49 GB-Och Mus.954: 4130-14, 34; 4148-7; 4162-5 GB-Och Mus.955: 4148-7 GB-Och Mus.956: 4158-2; 4231-3 GB-Och Mus.959: 4168-20; 4208-14 GB-Och Mus.989: 4143-1-3, 41-46; 4144-1-2, 4, 6, 10-14, 27-29, 39, 4245; 4159-3 GB-Och Mus.991: 4176 comments GB-Och Mus. 996: 4136-24; 4150-26; 4192 comments; 4200-15, 24, 27-29, 33, 38; 4205-42; 4219-27; 4375-3 GB-Och Mus.998: 4168-14; 4200-4, 20 GB-Och Mus.1126: 4197-28, 37 GB-Ouf U.210.4: 4150-22; 4163-1; 4168-31; 4204-10; 4220-32 GB-SA FIN.M1612.S28: 4206-29 I-Baf 1424: 4151-4 I-Baf capsa II, n. 36: 4231-2 I-Bc BB.255 (olim 50/2): 4389 comments I-Bc CC.225: 4145-8 I-Bc DD.50: 4202-1 I-Bc MART.2.83: 4162-15 I-Bc Q.44: 4136-24; 4157-13; 4163-24; 4168-7; 4204-57

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596

APPENDIX F

I-Bc Q.46: 4136-16; 4208-3; 4386 comments I-Bc Q.47: 4136-5, 9, 20, 23; 4150-27; 4200-4; 4201-20, 24; 4207-11, 18; 4219-33; 4221-23 I-Bc Q.48: 4163-21; 4175-15; 4374-27 I-Bc Q.50: 4135-46; 4136-22; 4150-26; 4163-21, 22, 24; 4200-24, 32, 38; 4204-34; 4219-18 I-Bc Q.140: 4288-4 I-Bc V.32: 4387 comments I-Bc V.41: 4147-21; 4156-2, 10 I-Bc V.285: 4147-17; 4158-4, 21 I-Bc V.286: 4158-12 I-Bc V.289: 4150-18, 26; 4175-13, 20; 4208-16 I-Bc V.291: 4141-13; 4152-24; 4161-3; 4162-5, 9; 4171-1, 16; 4172-18; 4173 comments I-Bc X.234: 4136-5, 6, 11, 17, 18, 21, 24; 4219 comments I-Bc X.235: 4136-14; 4168-32 I-Bca A.462: 4130-1-4, 7, 11-14, 16, 1920, 25-26, 28, 32-33, 40, 45-46, 50; 4130-53, 57-58, 60-64; 4137-2, 6-7, 9, 12-13, 15, 17, 22-23, 27, 31-32, 40 I-Bsp P.69.36: 4141-3, 9, 12, 14, 17, 27, 36-37 I-BGc 227.8A: 4132-38-39, 41, 44-45, 52-55, 67 I-COd: 4136-13 I-Fc B.2379: 4155-3-5, 7-10; 4162-1, 4-7, 11-12, 14-18, 20-21 I-Fc C.11.AU.11 (olim 2494): 4208-5 I-Fc CF.36/1 (= B.2558): 4158-23 I-Fc CF.36/3 (=B.XI.2560): 4158-26 I-Fc CF.48 (=B.XV.3808): 4136 comments; 4208-5

I-Fc CF.36/2 (=B.XI.2559): 4156-7 I-Fc CF.83, Codex Barbera (= DAM[erini] 1965): 4151-10 I-Fc D.1367: 4139-18 I-Fc D.III.425-427 (= D.1161): 4159-12; 4160-3; 4171-12-15; 4231-7 I-Fc f-I-25 (olim 2357): 4136-22; 42007, 38; 4374-14 I-Fc f-I-31: 4150-26 I-Fn Cl. VII, 1222bis: 4151-10, 18; 422167 I-Fn Landau Finaly 175: 4145-20 I-Fn Landau Finaly 252: 4145-7 I-Fn Magl.VII, 1222bis: 4151-18 I-Fn Magl.XIX.22 (lost): 4194 comments I-Fn Magl.XIX.24: 4145-7 I-Fn Magl.XIX.26: 4136-13; 4204-5; 4220-45; 4221-56; 4374-4 I-Fn Palatino 285.IX: 4207-17 I-Fr 2774: 4145-5 I-Fr 2793: 4145-7, 20 I-Fr 2804: 4145-5, 20 I-Fr 2849: 4145-20 I-Fr 2951: 4145-5, 20 I-Fr 2952: 4145-5, 20 I-Fr 2973: 4145-5 I-Fr 3121: 4145-7 I-Fr 3145: 4145-5, 20 I-Gl A.5. Cass.: 4136-5, 9; 4146-5; 415010; 4204-18; 4221-11; 4374-29 I-GR Crypt. It. 1: 4136-24 I-GR Crypt. It. 2: 4136-11; 4208-14, 22 I-GR Crypt. It. 3: 4136-7, 8; 4163-11; 4168-35; 4208-21 I-GR Crypt. It. 4: 4136-9, 21; 4146-5; 4168-32; 4374-17, 29 I-GR Crypt. It. 5: 4150-19; 4151-19; 4200-37; 4219-29

(No Borromeo mss. were seen either physically or in reproductions.)

I-IBborromeo AP.02: 4213-4214-4215 I-IBborromeo AP.20 : 4150-23 I-IBborromeo AP.27: 4168-23 I-IBborromeo AU.001: 4387 comments

I-IBborromeo AU.031: 4147-11 I-IBborromeo Misc. 2: 4136-12; 4207-7 I-IBborromeo Misc. 4: 4150-18, 20; 41752

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19 Lindgren-Murata Appendix F.indd 596

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MUSICAL AND POETIC MSS. CITED

I-IBborromeo Misc. 5: 4168-10; 4200-8; 4205-7 I-IBborromeo Misc. 6: 4136-11; 422140 I-IBborromeo Misc. 7: 4157-1 I-IBborromeo Misc. 8: 4136-15; 4146-5; 4150-18, 22; 4168-34; 4200-5; 422140; 4374-29 I-IBborromeo Misc. 9: 4374-17 I-IBborromeo Misc. 11: 4175-17; 42005 I-IBborromeo Misc. 13: 4374-15 I-MAC Mus.113.43: 4156 (comments); 4208-31 I-Mc Noseda A.54: 4148-3, 12 I-Mc Noseda B-78-15: 4206-4 I-Mc Noseda C-65-7: 4206-32 I-Mc Noseda H.2: 4171-8 I-Mc Fondo Sartori Gentili, Riserva Mus.c.113: 4171-16 I-Mdemicheli Mus. 102: 4143-38 I-MC 1-A-12 a-zd: 4176 comments I-MC 5-F-7 (olim 126-C-37): 4162-22-24 I-MC 6-B-2: 4156-15 I-MC 6-C-l2: 4147-3 I-MC 126-C-34: 4144 comments I-MC B-78-19: 4229-10 I-MOcaffagni, ms. 2: 4155-8; 4173-2, 12 I-MOe Campori γ I.5.35: 4145-7 I-MOe Campori γ.L.11.9 : 4136-9, 10, 12, 14 I-MOe Campori K.7.12: 4158-26 I-MOe Mus. E.243: 4207-8 I-MOe Mus. E.280: 4136-5 I-MOe Mus. E.281: 4136-12 I-MOe Mus. E.300: 4157-1 I-MOe Mus. F.52: 4139-4-5, 22; 4173-4, 6 and comments I-MOe Mus. F.396: 4135-13-18, 20-24, 26-27, 29, 31-33, 38 I-MOe Mus. F.397: 4147-1–2 I-MOe Mus. F.417: 4139-4, 17, 20; 41401, 2, 3, 4, 5, 7, 8, 9, 12, 15, 16, 18, 20, 23; 4140-24, 39, 44, 49; 4142-4, 11,

597

18; 4152-3-4, 6, 9-10, 13; 4152-18-22; 4167-5, 14; 4168-37 I-MOe Mus. F.499: 4206-comments I-MOe Mus. F.618: 4153 comments I-MOe Mus. F.894: 4170 comments; 4172-1, 3, 9-10, 11, 16, 19, 23, 34, 38, 40, comments I-MOe Mus. F.898: 4172 comments I-MOe Mus. F.904: 4158-5 I-MOe Mus. F.921: 4132-37, 37-39, 4145, 53-54, 60, 68-69 I-MOe Mus. F.1134: 4158-12 I-MOe Mus. F.1350: 4223-20 I-MOe Mus. F.1351: 4156-10 I-MOe Mus. F.1377: 4221-14 I-MOe Mus. F.1379: 4161-7 I-MOe Mus. F.1382: 4163-3; 4201-24; 4223-20 I-MOe Mus. F.1385: 4201-2; 4220-49 I-MOe Mus. F.1534: 4158-13 I-MOe Mus. F.1535: 4147-2; 4158-13 I-MOe Mus. F.1554: 4158-18 I-MOe Mus. F.1781: 4171-1 I-MOe Mus. G.8: 4152-6 I-MOe Mus. G.39: 4136-13 I-MOe Mus. G.41: 4208-9 I-MOe Mus. G.43: 4136-12 I-MOe Mus. G.78: 4139-4, 9, 17, 20; 4140-1-4, 9, 11, 12, 14, 16-20, 22-25, 34, 39, 44, 49; 4142-4, 11, 15, 18, 19; 4152-1, 3-5, 7-13, 17-21; 4167-1, 5-6, 11-12, 14, 19 I-MOe Mus. G.108: 4150-11 I-MOe Mus. G.117: 4208-22 I-MOe Mus. G.152: 4221-63 I-MOe Mus. G.153: 4221-64 I-MOe Mus. G.154: 4220-34 I-MOe Mus. G.155: 4205-35; 4208-23; 4220-45 I-MOe Mus. G.156: 4221-69 I-MOe Mus. G.157: 4168-11; 4175-35; 4220-14 I-MOe Mus. G.158: 4221-47 I-MOe Mus. G.160: 4157-4 I-MOe Mus. G.216: 4168-31 I-MOe Mus. G.217: 4201-3

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598

APPENDIX F

I-MOe Mus. G.237: 4206-31 I-MOe Mus. G.256: 4130-47 I-MOe Mus. G.257: 4136-11, 18; 41631; 4204-50; 4220-23 I-MOe Mus. G.258: 4158-6; 4163-20 I-MOe Mus. G.259: 4207-22 I-MOe Mus. G.260: 4157-8; 4158-26 I-MOe Mus. G.261: 4157-15; 4173 comments I-MOe Mus. G.264: 4162-2, 10, 18 I-MOe Mus. G.266: 4157-9 I-MOe Mus. G.292: 4159-21, 23; 417116 I-MOe Mus. G.295: 4176-1, 2, 3, 4, 6, 8, 10, 12, 17, 24-26, 29, 34, 37, and comments I-MOe Mus. G.296: 4172-41 and comments I-MOe Mus. G.298: 4172-1-3, 6, 9, 1112, 15-16, 18-20, 23, 28-29, 31, 34, 36, 38-40 I-MOe Mus. G.299: 4130-47 I-MOe Mus. G.303: 4130-11, 25-26, 29, 32-33, 38, 40, 46, 49-51, 53, 59, 61; 4137-24 I-MOe Mus. G.304: 4135-21-22 I-MOe Mus. G.305: 4156-12 I-MOe Mus. G.306: 4201-2; 4220-49 I-MOe Mus. G.307: 4201-9; 4221-40 I-MOe Mus. G.308: 4130-50, 53; 41378, 14-15, 28 I-MOe Mus. G.310: 4147-1, 9 I-MOe Mus. G.311: 4142-22, 53-54, 63, 71 I-MOe Mus. G.315: 4135-21-22, 39 I-MOe Mus. G.316: 4135-1-2, 6; 4172-3, 12 I-MOe Mus. G.324: 4165-11; 4166-1-2, 4-20, 23-31, 33-40, 42; 4169-5 I-MOe Mus. G.327: 4143-14, 21, 25-26, 29; 4165-17-18, 24-26, 31 I-MOe Mus. G.328: 4172-14, 35, and comments I-MOe Mus. G.329: 4132-8-9, 16, 18, 22, 25, 36

I-MOe Mus. G.331: 4132-2, 10, 21, 26, 28, 33, 35 I-Nc 32.2.7 (Rari 6.5.7): 4158-3, 11, 17 I-Nc 32.2.35 (Rari 6.4.13): 4162-33, 41 I-Nc 32.3.29 (Rari 7.1.20): 4133-3, 20; 4174-2, 3, 5 I-Nc 32.3.32 (Rari 6.5.4): 4167-11 I-Nc 33.3.1: 4136-23, 24; 4150-25, 26; 4163-21; 4168-36 I-Nc 33.3.2 (Cantate 58): 4168-36 I-Nc 33.3.4 (Arie 237): 4147-9, 16; 41585 I-Nc 33.3.6: 4144-2 I-Nc 33.3.7 (Cantate 56): 4176-14 I-Nc 33.3.10 (Cantate 264): 4206-28 I-Nc 33.3.15 (Rari 7.1.2): 4141-1-2, 5-8, 11, 13-15, 17, 26, 28-31, 33-34, 3740, 44; 4141-46-47, 49-51 I-Nc 33.3.19: 4144-39 I-Nc 33.4.2 (Arie 227): 4131-25, 27; 4133 comments; 4134-1, 6, 33, 49, 76; 4176-28, 4207-20 I-Nc 33.4.5 (Arie 228): 4139-22; 4147-6; 4158-4, 21; 4167-11 I-Nc 33.4.7a : 4136-18; 4200-14, 36; 4201-3; 4203-19; 4204-50; 4219-17; 4220-23, 32 I-Nc 33.4.7b: 4158-13; 4204-10 I-Nc 33.4.10 (Cantate 47): 4132-6-7, 10, 14, 21, 32-34; 4147-16; 4148-12; 4173-2 I-Nc 33.4.11a (Cantate 53): 4147-17 I-Nc 33.4.11b: 4200-17, 4208-21 I-Nc 33.4.12a: 4136-11; 4163-14, 18; 4200-14, 21; 4203-19; 4204-50, 55; 4208-17; 4220-23; 4221-37 I-Nc 33.4.13a: 4136-23 I-Nc 33.4.14 (Arie 146): 4206-3: I-Nc 33.4.14a (Cant. ibr. 3a): 4200-26; 4219-9 I-Nc 33.4.14b (Cant. ibr. 3b): 4167-11 I-Nc 33.4.15a/15b: 4147-8; 4207-20, 27; 4208-18 (infra and supra may have been rebound)

I-Nc 33.4.16: 4158-20:

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MUSICAL AND POETIC MSS. CITED

I-Nc 33.4.17a: 4200-10; 4207-15; 420822 I-Nc 33.4.17b: 4150-22; 4201-14; 42073; 4223-32 I-Nc 33.4.18a: 4207-7 I-Nc 33.4.19b: 4200-20; 4203-16; 420422, 26; 4205-4, 6, 30; 4219-35; 42205, 11, 17; 4221-29, 61; 4223-24 I-Nc 33.4.20: 4158-7 I-Nc 33.4.21 (Rari 6.4.6): 4130-47 I-Nc 33.4.25: 4200-7 I-Nc 33.4.31: 4171-1, 4, 8, 11 I-Nc 33.4.36b: 4140-41; 4148-5, 14 I-Nc 33.4.57 (Cantate 265): 4155-8; 4167-11 I-Nc 33.5.10: 4136-23; 4150-26; 416321; 4200-15; 4374-17 I-Nc 33.5.15: 4147-12; 4156-13; 4158-2 I-Nc 33.5.16: 4157-11; 4207-18 I-Nc 33.5.18: 4150-18; 4156-2 I-Nc 33.5.26 (Rari 6.4.11): 4135-1, 33, 47 I-Nc 33.5.27 (Arie 31): 4147-8; 4158-7 I-Nc 33.5.31 (Arie 246): 4147-10 I-Nc 33.5.32 (Cantate 37): 4130-1-3, 1214, 16-18, 24, 27-28, 30, 32-33, 40, 57; 4135-9, 14, 22 I-Nc 33.5.35 (Rari 6.7.8): 4147-1; 41585 I-Nc 33.5.36 (Arie 75): 4130-1; 4147-45, 12; 4172-12: I-Nc 33.5.38 (Cantate 50): 4147-14; 4172-12, 19 I-Nc 33.6.3 (Rari 6.6.21): 4147-3 I-Nc 33.6.7: 4131-12 I-Nc 33.6.9 (Rari 6.5.8): 4135-39, 41-42 I-Nc 33.6.13 (Rari 6.6.19): 4171-1 I-Nc 33.6.22 (Rari 6.7.2): 4147-6 I-Nc 33.6.29: 4147-4-5, 16 I-Nc 34.5.1 (Arie 484/1): 4206-6 I-Nc 34.5.1ter (Arie 484C): 4147-7; 4153-5; 4158-2, 22; 4162-10; 417236 I-Nc 34.5.7 (Cantate 265): 4155-2 I-Nc 34.5.19 (Cantate 296): 4155-1 I-Nc 34.6.33 (Cantate 32): 4141-3, 4, 5,

599

12-14, 17, 26-27, 29-30, 34-35, 38-40, 44, 46; 4161-7 I-Nc 60.1.51: 4157-1 I-Nc 60.1.53 (Arie 556): 4148-2, 7-8, 1112; 4149-44 I-Nc 60.1.54 : 4158-2 I-Nc 60.1.55 (Arie 211): 4149-16 I-Nc 60.2.49: 4141-27, 37, 44, 46 I-Nc 60.2.52 (Cantate 24): 4171-1 I-Nc Cantate 68 (olim Od.4.4): 4134-10 I-Nc Rari 6.4.6: 4130-47 I-OS Mus.B.17: 4141-13-14, 28-29, 3940, 50-51 I-Pca D.I.1367: 4206-2 PAp = Biblioteca Palatina; PAc = Bibl. Palatina, sezione musicale:

I-PAp Borbone Borb. 431: 4208-10 I-PAp Palatino 573: 4157-1, 4, 15; 4173 comments; 4207-15, 16, 18 I-PAp Sanvitale Sanv.B.23: 4131-2, 4, 10, 35; 4144-5; 4171-3 I-PAVu 423: 4140-12; 4167-2 I-PAVu Ticinese 696: 4143-6, 9-12, 34, 36-40; 4144-15, 19, 22-23, 25, 40 I-PEchiaretti: 4207-15, 18 I-PEu Cass. 23: 4150-26 I-PLc Arm. 1, Pis. 2: 4189 comments I-Pu 1475: 171-5 I-Raf 1.C.16.VII.2: 4175-10 I-Rama A.247: 4151-19 I-Rama A.249: 4148-1, 3, 6, 8, 12; 414944 I-Rama A.3711: 4206-30 I-Rama A.3978: 4166-34 I-Ras Biblioteca 369: 4428-1, 2 I-Ras Biblioteca 20.E.5: 4428 comments I-Ras Biblioteca 20.E.11: 4428-58 I-Ras Cartari-Febei, busta 212: 4209 comments I-Rc 2226: 4146-5; 4223-22; 4374-23, 29 I-Rc 2464: 4134-46; 4163-21; 4175-15 I-Rc 2465: 4139-4, 9, 20; 4140-1, 3, 5, 7,

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600

APPENDIX F

8, 9, 11, 12, 14, 15, 16, 18, 19, 22, 23, 34, 44; 4142-4, 11, 15, 18-19; 41521-8, 10-14, 16-22; 4161-1-3; 4167-12, 5-8, 13-17, 19-22 I-Rc 2466: 4163-4; 4208-8, 9, 10, 13, 14, 18 I-Rc 2467: 4150-16; 4175-9, 11, 18, 27, 31, 33, 35; 4220-14; 4220-20, 26, 29; 4223-27; 4374-25 I-Rc 2468: 4136-5, 12, 13; 4207-14, 26; 4208-3, 20 I-Rc 2471: 4156-2; 4157-5, 11; 4173 comments I-Rc 2472: 4289-41 I-Rc 2473: 4159-9, 13, 20; 4160-1, 6-7, 9, 12, 14, 16, 18-20, 25; 4165-20; 4169-3-4, 13, 21, 26, 32 I-Rc 2474: 4148-1-2, 6, 8, 10, 12; 414944 I-Rc 2475: 4201-24; 4205-34; 4208-13, 20; 4220-16, 36, 43; 4221-5; 437415 I-Rc 2477: 4136-12; 4163 comments; 4200-25; 4205-30; 4208-4, 12, 22; 4220-36; 4221-61 I-Rc 2478: 4163-2, 7; 4168-17; 4200-14, 21, 26; 4205-7, 8, 17; 4219-9; 42206, 7, 38, 43, 55; 4221-18, 31, 71; 4223-31, 33; 4374-15 I-Rc 2479: 4150-21; 4208-21; I-Rc 2480: 4175 comments; 4208-16 I-Rc 2481: 4149-18, 24-25, 33-36, 43 I-Rc 2482: 4208-21; 4374-30 I-Rc 2483: 4168-20 I-Rc 2486: 4201-28; 4219-5 I-Rc 2490: 4151-15-16; 4205-23; 422141 I-Rc 2505: 4146-3; 4150-21, 22; 4163-8; 4175-1 I-Rc 2572: 4142-41; 4167-11 I-Rc 2573: 4162-4-6, 9, 14-15, 20 I-Rdp 51: 4136-17; 4168-25; 4203-16; 4208-3, 26; 4220-5 I-Rdp 250/B: 4288-6 I-Rdp 251: 4221-51 I-Rgiazotto 2: 4374-25

I-Ria 1: 4168-14; 4221-63 I-Rli Fondo Caetani 208.A.2: 4142-68; 4155-3, 9; 4162-1, 3, 5, 7, 14, 21 I-Rli Fondo Caetani 208.A.4: 4202-2 I-Rli Fondo Caetani 208.A.5: 4155-14, 17-19, 22-23, 25-26, 29 I-Rli Fondo Caetani 208.A.6: 4189 comments; 4219-4 I-Rli Fondo Caetani 208.A.8: 4202-5 I-Rli Cors. 1756 (36.C.3): 4210 comments I-Rli Cors. 2537: 4157-1; 4207-15 I-Rli Cors. 45.D.15: 4207-4, 7; 4208-14 I-Rli Musica M 15/2: 4171-16; 4172-5, 18, 26, 31, 36-37 and comments; 4176-27-28, 40 I-Rli Musica M 15/3: 4172-13 I-Rn Eborense 26: 4157-1; 4207-15, 16, 17, 18 I-Rn Mus. 56: 4151-11 I-Rn Mus. 141: 4146-5; 4163 comments; 4201-11, 15, 35; 4203-7; 4221-49, 53; 4223-12, 31; 4374-29 I-Rn V.E. 1090: 4150-25 I-Rsc G.24-25: 4386 comments I-Rsc G.390: 4222-10 I-Rsc G.391: 4139-4-5, 22; 4140-16; 4148-12, 14; 4152-10; 4173-7 I-Rsc G.392: 4140-18; 4161-1, 5, 9; 4152-13, 24; 4164-6; 4167-5 I-Rsc G.498: 4150-26 I-Rsc G.885: 4150-22; 4175 comments; 4207-12; 4208-28 I-Ru 279: 4151-7 I-Rv P. 1: 4209 comments I-Rv P.2: 4194 comments I-Rv P. 4: 4209 comments I-Rv P. 5: 4189 comments; 4203-13; 4219-4; I-Rv P. 70: 4209 comments I-Rv 2565: 4163-1; 4205-7, 8; 4220-6, 38; 4221-71 I-SPas Arch. Campello, ms. n. 107: 4155 comments I-SPc Musica 6 (13.905): 4200-18

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MUSICAL AND POETIC MSS. CITED

I-SPc Musica 7 (13.906): 4136-9 I-Tn Foà 13: 4173-8 I-Tn Foà 15 : 4158-12 I-Tn Foà 19: 4157-4; 4158-6 I-Tn Foà 26: 4133-1, 10, 13, 15-16 I-Tn Giordano 15: 4197-28, 32, 33, 37, 38 I-Us Arm. 3 (2): 4206-32 I-URBc Ubaldini VI.2.16.1: 4160-1, 6-7, 9, 12-21; 4165-20; 4169-3-4, 6, 21, 26, 29-30 I-URBc Ubaldini VI.2.18: 4151-25 I-Vc Correr Busta 9.5: 4130-1-5, 19-20, 22-23, 57-58, 62, 64-65, 68-69; 41375, 11, 13, 15, 19, 34, 37, 39, 42 I-Vc Correr Busta 1.11 : 4150-13; 41634; 4168-10; 4204-1 I-Vc Correr Busta 1.12: 4136-16 I-Vc Correr Busta 2.34 (Mus. var. 47) : 4136-18 I-Vc Correr Busta 2.35 : 4147-7 I-Vc Correr Buste 49-70: 4130-15 I-Vc Torrefranca 250: 4288-2 I-Vlevi CF.D.17: 4172-19 I-Vlevi CF.D.19: 4167-11 I-Vnm It.IV, 357: 4147-1-2 I-Vnm It.IV, 381: 4135-39-42 I-Vnm It.IV, 395: 4158-14 I-Vnm It.IV, 421: 4147-6 I-Vnm It.IV, 423: 4130-6-10, 12-17, 70; 4137-2-3, 6,10, 12, 22, 25-26, 31, 36, 41 I-Vnm It.IV, 424: 4158-3, 17 I-Vnm It.IV, 426: 4167-11 I-Vnm It.IV, 428: 4147-8 I-Vnm It.IV, 430: 4130-11, 24, 33-34; 4137-24, 33 I-Vnm It.IV, 438: 4147-11 I-Vnm It.IV, 443: 4162-33, 41 I-Vnm It.IV, 448: 4130-18, 60, 63, 6667; 4137-1, 4, 7-9, 14, 16-17, 20-21, 23, 4137-27-30, 32, 40, 44 I-Vnm It.IV, 452: 4135-13-18, 20-24, 2627, 29, 31-33, 38

601

I-Vnm It.IV, 462: 4170 comments; 4172-1, 3, 9, 12, 16, 19, 23, 34, 38, 40, 4172-comments I-Vnm It.IV, 463: 4158-12 I-Vnm It.IV, 467: 4148-5-6, 11-12, 1415; 4230-1, 10, comments I-Vnm It.IV, 560: 4158-1 I-Vnm It.IV, 740: 4208-3 I-Vnm It.IV, 742: 4175-13 I-Vnm It.IV, 743: 4175-13; 4208-3 I-Vnm It.IV, 748: 4131 comments; 4134 comments; 4135 comments; 4165 comments; 4166 comments; 4174 comments I-Vqs 1430: 4144-2; 4147-1-5, 9, 16 I-Vqs 1431: 4147-14; 4158-31, 34; 41727, 11-12, 16, 19, 31, 34, 36, 38 I-Vqs 1432: 4130-1-5, 11, 19, 22-25, 28, 30, 32-33, 40-41, 45-46, 48, 50-51, 4130-53, 59-60, 64; 4137-1, 11, 1314, 17-18, 21, 23, 32, 34-35, 37, 40, 43; 4148-3 I-Vqs 1433: 4159-3, 12, 20; 4231-11 I-Vqs 1435: 4167-11 I-Vqs 1436: 4158-3 I-Vqs 1438: 4147-8 I-Vqs 1439: 4147-3, 9; 4156-4; 4158-13; 4207-15 I-Vqs 1440: 4158-18, 26 I-Vqs 1441: 4135-1-2, 6-7, 9, 11, 14, 2126, 28, 30-32, 37-39, 41, 44-47, 49-52 I-Vqs 1443: 4158-17 I-Vqs 1444: 4130-24-28, 32, 35, 37, 3940, 45, 49-50, 53, 55, 59 M-MDca ACM 40: 4219-5 P-La 47-I-65: 4147-8; 4158-7; 4207-24; 4208-22 P-La 47-II-1: 4157-13 PL-Kj Mus. ant. pract. P 970 [3]: 4136-15; 4207-14 RUS-Mk XI-438: 4157-11

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602

APPENDIX F

S-B (Skoklosters Slott) NB holm 215: 4132-38, 45, 66; 41486; 4155-26; 4158-2; 4207-7 S-Sk S.231: 4146-1 S-Skma Musik Rar: 4189 comments; 4219-4, 14; 4296-1 S-L 582 Samml.Engelhardt: 4133-77 US-AUS Ransom MS-2976: 4171-1 US-BEm 117: 4167-11 US-BEm 118: 4132-37, 39, 54; 4139-22; 4148-3; 4162-5; 4171-16 US-BEm 723: 4147-11 US-BEm 850: 4133 comments US-BEm 1325: 4133 comments US-CA Mus. 106: 4150-18; 4175-15, 21; 4207-12; 4374-11, 17, 23 US-CHH Music VM2.1 M1: 4150-22 US-Cn Case VM.1532.B.69L: 4206-2 US-Cu 959: 4197-33 US-Eu 1: 4207-12 US-IDt (no shelfmark): 4206-24 US-LAuc fC697M4: 4136-12; 4200-8 US-NH Misc. ms. 278: 4157-4 US-NHub Osborne Music 1: 4139-23 US-NYp JOG 72-79 (vol. 6): 4133 comments; 4148-7 US-SFsc *M2.1 M419: 4131-1-3, 5, 7, 9, 30, 42 US-SFsc *M2.1 M420: 4131-16-19, 21, 28, 37-38 US-R M1620.S286ca: 4156-15 US-SFdeBellis *M2.5 v. 68: 4175-10 US-SFsc *M2.5 v. 69: 4208-21 US-Su ML96 P38 T4: 4148-1, 3-15; 4149-44 US-Su ML96.S33 T8: 4156-15 US-Wc M.1500.P82 T6: 4171-1 US-Wc M1500.S28 T4: 4176 comments US-Wc Cage M1507.M24: 4155-8; 41625-6 V-CVbav = BAV Borg. lat. 116: 4173 comments Capp. Giulia XIII.24: 4184-5, 6, 7, 8, 9, 10, 11, 13, 15, 18, 21, 22, 23, 29, 31, 32, 36

Capp. Giulia XIII.25: 4184-20 Capp. Giulia XV.62: 4184-10 Capp. Sistina 19: 4183-4: Capp. Sistina 171-172: 4184-1: Chigi D.II.24: 4207-14 Chigi I.VII.273: 4207-15 Chigi L.IV.94: 4136-12, 19; 4223-28 Chigi L.V.148: 4136-13 Chigi L.V.153B: 4207-9, 26 Chigi L.VI.187: 4136-19 Chigi L.VII.234: 4207-26 Chigi L.VII.240: 4201-26 Chigi Q.IV.1: 4163-19 Chigi Q.IV.3: 4157-11; 4374-15 Chigi Q.IV.5: 4150-13, 21; 4168-10; 417521; 4207-13; 4220-44; 4221-47, 64 Chigi Q.IV.7: 4207-15 Chigi Q.IV.8: 4200-7, 25; 4222-10; 422313 Chigi Q.IV.11: 4147-17; 4156-10; 41571; 4208-9, 22, comments Chigi Q.IV.12: 4130-25, 32, 40, 46; 413721; 4149-33; 4158-23; 4172-38 Chigi Q.IV.13: 4149-33; 4158-12, 22; 4207-16 Chigi Q.IV.14: 4172-19 Chigi Q.IV.16: 4188 comments; 420130; 4219-11; Chigi Q.IV.17: 4147-10; 4157-15 Chigi Q.IV.28: 4177-11; 4288-1 Chigi Q.IV.30: 4139-5; 4173-4 Chigi Q.IV.32: 4161-1, 3, 5, 8, 10-15; 4164-4, 12 Chigi Q.IV.34: 4140-1, 9, 12, 17, 20, 22, 25, 39, 49; 4142-19; 4152-19-20, 22; 4167-2, 4, 9-10, 12, 21 Chigi Q.IV.36: 4131-21; 4173-15 and comments Chigi Q.IV.38: 4149-6, 9; 4153-4, 17, 24; 4155-14-15, 17; 4173 comments Chigi Q.IV.39: 4160-8-9, 12-13, 15-19, 21 Chigi Q.IV.40: 4131-27, 4133-36, 42; 4134-48, 76 Chigi Q.IV.42: 4155-5 Chigi Q.IV.43: 4152-24

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MUSICAL AND POETIC MSS. CITED

Chigi Q.IV.44: 4173-7 Chigi Q.IV.46: 4158-2; 4159-6; 417213, 15 Chigi Q.IV.47: 4143-45; 4159-15; 417025; 4171-16; 4172-4, 8, 11-12, 17-18, 20, 24 Chigi Q.IV.48: 4139-4; 4140-14, 16; 4149-15; 4152-1, 10; 4167-16; 417225 Chigi Q.IV.49: 4169-30; 4172-23 Chigi Q.IV.50: 4140-23; 4160-16; 41679 Chigi Q.V.51: 4389 comments Chigi Q.V.53: 4387 comments Chigi Q.V.56: 4387 comments Chigi Q.V.57: 4208-comments Chigi Q.V.58: 4387 comments Chigi Q.V.65: 4158-3, 11, 17 Chigi Q.V.66: 4158-2 Chigi Q.V.67: 4147-11 Chigi Q.V.69: 4151-28 Chigi Q.VI.74: 4206-5 Chigi Q.VI.80: 4150-25; 4374-23 Chigi Q.VI.81: 4163-23

603

Chigi Q.VII.99: 4150-22; 4175 comments; 4208-16 Chigi Q.VII.101-102: 4223 comments; 4387 comments Chigi Q.VII.103-110: 4176-12, 17, 37 Chigi Q.VIII.177: 4200-35; 4209 comments; 4374-1 Chigi Q.VIII.178: 4187-2 Chigi Q.VIII.180: 4136-13; 4204-52; 42084, 22 Chigi Q.VIII.190: 4386 comments Chigi Q.VIII.206: 4133-45 Chigi R.III.69: 4201-26 Ferraioli ms. 1: 4136-12; 4200-26; 4207-15, 17; 4219-9 Ludovisi-Boncompagni M.15: 4223-33 Vat. lat. 10204: 4202-4 Vat. lat. 13311: 4150-22 Vat. lat. 13335: 4387 comments Vat. lat. 13539: 4136-13 Vat. lat. 13999: 4374-7 Vat. mus. 426: 4136-13; 4205-24; 42089; 4220-1 Vat. mus. 570: 4145-5

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19 Lindgren-Murata Appendix F.indd 603

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19 Lindgren-Murata Appendix F.indd 604

28-May-18 11:26:00 PM

BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS* 1

Aldrovandini, Gioseppe. Cantate a voce sola, op. 2, Bologna, Marino Silvani, 1701. BALLARD

BANCK 1863/64

BOGHEN 1923/27 BOGHEN 1930

CARBONCHI 1640

CARBONCHI 1643

CARISSIMI 1960

Series of anthologies published by the Ballard family in Paris from 1695 to 1716, listed in RISM B.I: 16955, 16981, 16992, 16993, 17002; 1701, 1702, 1703, 1704,1705, 1706, 1707, 1708, 1709, 1710 and 1716, ivi, pp. 311-314; inventories of their Italian contents in NESTOLA 2015, vol. 2, pp. 35-45. Banck, C., ed. Zwei Liebeslieder … von Aless. Scarlatti. 1728. Leipzig, B. Senff, [1863-1864]. Bassani, Giovanni Battista. L’armonia delle Sirene, cantate amorosi musicali a voce sola, op. 2. Bologna, Giacomo Monti, 1680. Pasquini, Bernardo. Arie ed ariette (1637-1710), ed. F. Boghen. Rome, Casa Editrice “Musica,” 1923; ristamp. 1927. ———. Arie ed ariette per canto e pianoforte, ed. F. Boghen. Milan 1930 (I libri d’oro del bel canto italiano). Does not include arias from the 1923/27 collection. Bononcini, Giovanni Maria. Trattenimenti musicali a tre & a quattro stromenti, op. 9. Bologna, Giacomo Monti, 1675. Borboni, Nicolò. Musicali concenti libro primo. Rome, Borboni, 1618. Borzio, Carlo. Il Narciso. Lodi, Associazione Culturale Musicarte, Centro di storiografia musicale lombarda, 1993. Carbonchi, Antonio. Sonate di chitarra spagnola con intavolatura franzese. Florence, Stamp. Nova d’Amador Massi e Lorenzo Landi, 1640. Facsim. edn Florence [1981], (Archivum Musicum, Collana di testi rari, 41). ———. Le dodici chitarre spostate … libro secondo. Florence, Fr. Sabatini, 1643. Facsim. edn Florence [1981], (Archivum Musicum, Collana di testi rari, 41). Carissimi, Giacomo. Cantate, ed. L. Bianchi. Rome 1960 (Monumenti ser. 2. Cantate, 1).

* Only composers’ names given in full.

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20 Lindgren-Murata Bib printed.indd 605

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606

BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

CARISSIMI 1980 CARISSIMI 1983

CARISSIMI 2012 CARISSIMI 1976 CARISSIMI 1969

CEKM 32

CESTI 1963

COFERATI 1675

COFERATI 1689

COLONNA

———. Cantate, ed. Fr. Luisi. Rome 1980 (Monumenti ser. 2. Cantate, 3). ———. Cantate a una, due e tre voci. Facsim. of I-Bc ms. X.234. Florence 1983 (Archivum musicum, Cantata barocca, 14). ———. Le cantate su testo di Sebastiano Baldini, ed. T. Gialdroni and F. Muccioli. Rome 2012. ———. Six cantates, ed. R. Blanchard. Paris 1976. ———. Six Solo Cantatas for high voice and keyboard, ed. G. Rose. London and New York 1969. Cavalli, Francesco. Il novello Giasone, facsim. edn, F. Antonucci and L. Bianconi. Milan 2013 (DMV vol. 3). Seventeenth-Century Keyboard Music in the Chigi Manuscripts of the Vatican Library, ed. H.B. Lincoln; rev. J. Caldwell. 3 vols. Holzergerlingen 2001 (Corpus of Early Keyboard Music, 32). Cesti, Antonio. The Italian Cantata, I: Antonio Cesti, 16231669, ed. D. Burrows. Wellesley, MA 1963 (The Wellesley Edition, 5). Coferati, M. Corona di sacre canzoni, o laude sprituali di più divoti autori, di nuovo date in luce, corrette & accresciute ... con l’aggiunta delle loro arie in musica, per renderne più facile il canto. Florence, G.F. Barbetti, 1675. ———. Corona di sacre canzoni o laude spirituali di più devoti autori, nuovamente corrette et accresciute in questa seconda impressione. Florence, Jacopo Carlieri, 1689. Colino, P., ed. Quattro lezioni-concerto, in Quaderni dell’Accademia Filarmonica Romana 23, Rome 1976-1977. Colista, Lelio. Simfonie a 3, ed. Peter Allsop. Devon, UK 1991 (Series 1, Rome, 4). ———. Sonata a 3 in F Major, ed. H. & O. Wessely. Vienna 1979 (Diletto Musicale, 677). ———. Sonata a 3 in G Major, ed. H. & O. Wessely. Vienna 1979 (Diletto Musicale, 678). ———. Sonata terza, ed. H. Kropik, Vienna 1952 (Hausmusik, 139). ———. Sonata No. IV, ed. M. Tilmouth. London 1960. Colonna, Giovani Ambrosio, ed. Scielta de canzonette a voce sola … de’ più illustri musici di Roma. Milan, Er[ede] di G.B. Colonna, 1627. Issued with his Intavolatura di chitarra spagnola. Corelli, Arcangelo. Sonate a tre, due violini e basso continuo, ouvrage postume. Amsterdam, Estienne Roger, [1715].

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20 Lindgren-Murata Bib printed.indd 606

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BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

CORSINI DALL’ALBERO CANDELA DDT I/55

DE’ LAZZERI

EITNER

FLORIDIA FULLER 1987

GEVAERT

GLENN – TAYLOR GOLDSCHMIDT

607

———. Sonate a tre, doi violini e violone o arcileuto, col basso per l’organo, op. 1, Rome, Gio. Angelo Mutii, 1681. Corsini, Lorenzo. Musiche, libro quinto. Rome, A. Fei, 1641. Dall’Albero, C. and Candela, M., eds. Celebri arie antiche: le più note arie del primo barocco italiano. Milan 1998. Pallavicino, Carlo. Gierusalemme liberata, ed. H. Abert. Leipzig 1916 (Denkmäler deutsche Tonkust, ser. I, 55); repr. 1959. Available online in IMSLP. Laudi e canzoni spirituali: con ariette facili e dilettevoli. In Fiorenza, e con nuova scelta e musica. Rome, Ignatio de’ Lazzeri, 1654. D’India, Sigismondo. Le musiche e balli a quattro voci. Venice, Vincenti, 1621. Échos d’Italie, ed. [Lorenzo Pagans]. Paris 1874. Die Oper von ihren ersten Anfängen bis zur Mitte des 18. Jahrhunderts, ed. R. Eitner. 3 vols. Leipzig [18811885]; repr. 1966 (Publikationen älterer praktischer und theoretischer Musikwerke, [10, 12, 14]). Enno, Sebastiano. Arie a una e due voci. Venice, Stampa del Gardano, Fr. Magni, 1654. Early Italian Songs and Airs, ed. P. Floridia. 2 vols. Boston 1923-1924. Fuller, S. The European Musical Heritage, 800-1750. New York 1987 (rev. ed. Boston 2006). Gallo, F.A. and Vecchi, G., eds. I più antichi monumenti sacri italiani, parte prima. Bologna 1968 (Monumenta lyrica medii aevi italica, 3). Gasparini, F. Francesco Gasparini, Cantatas with Violins. Part 1: Soprano Cantatas, ed. L. Navach. Middleton, WI, 2010 (Recent Researches in the Music of the Baroque Era, 162). Les Gloires de l’Italie, chefs’d’oeuvre anciens et inédits de la musique vocale italienne aux XVIIe et XVIIIe siècles, ed. Fr.-A. Gevaert. 2 vols. Paris 1868. Giamberti, Giuseppe. Duo tessuti ... nuovamente stampati da Paolo Olivieri, Rome, I. Fei, 1664 Classic Italian Songs, ed. B. Taylor and M. Glenn. Bryn Mawr, PA, 1968. Goldschmidt, H. Studien zur Geschichte der italienischen Oper im 17. Jahrhundert. 2 vols. Leipzig 1901-1904; facsim. rpr. Hildesheim 1967 and Wiesbaden 2001.

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20 Lindgren-Murata Bib printed.indd 607

28-May-18 11:25:43 PM

608

BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

Grandi, Alessandro. Cantade ed arie, repr. Venice, Vincenti, 1620. HAM HILL 1997

ISORI II 1913

ITALCANTAT

ITALOP

ITALORAT

Davison, A.T. and Apel, W., eds. Historical Anthology of Music, 2nd edn. 2 vols. Cambridge, MA 1950. Hill, J.W. Roman Monody, Cantata, and Opera from the Circles around Cardinal Montalto, vol 1: Text, vol. 2: Music. Oxford 1997. Altitalienische Arien aus dem 16.17. und 18. Jahrhundert, ed. I. Isori. 2 vols. Vienna 1912-1913; reissued Vienna 2000. The Italian Cantata in the Seventeenth Century. Facsimiles of manuscripts and prints of works by leading composers, including an edition of the poetic texts, ed. C. Gianturco. 16 vols. New York 1985-1986. vol. 1 Cantatas by Luigi Rossi, ed. Fr. Luisi (1986) vol. 2 Cantatas by Giacomo Carissimi, ed. G. Massenkeil (1986) vol. 3 Cantatas by Marc’Antonio Pasqualini, ed. M. Murata (1985) vol. 6, pt. 1 Cantatas by Pietro Cesti, ed. D. Burrows (1986). vol. 7 Cantatas by Francesco Gasparini, 1661-1727, ed. G. Biagi Ravenni (1986) vol. 11 Cantatas by Alessandro and Atto Melani, ed. R.L. Weaver (1986) vol. 12 Cantatas by Mario Savioni, 1608-1685. Pietro Simone Agostini, c. 1635-1680, ed. I. Eisley (1985) Italian Opera, 1640-1770: Major Unpublished Works in a Central Baroque and Early Classical Tradition, ed. H.M. Brown and E. Weimer, facsim. vols. of scores and librettos in two series. Vols. 1-64. New York 1977-1984 [series 1]. vol. 1 L. Rossi, Il palazzo incantato overo La guerriera amante (1977) vol. [16] C.F. Pollarolo, Gl’inganni felici (1977) vol. [17] G. Bononcini, La Camilla triomfante (1978) vol. 61 V. Mazzocchi and M. Marazzoli, L’Egisto overo Chi soffre speri (1982) Italian Opera, 1640-1770, ed. H. M. Brown and E. Weimer, Vols. 65-97. New York 1982-1983 [series 2]. The Italian Oratorio, 1650-1800: Works in a Central Baroque and Classic Tradition, ed. J.L. Johnson and H.E. Smither. 31 vols. New York, 1986-1987. vol. 2 Anonymous Oratorios in the Barberini Collection of the Vatican Library: Gioseppe [Barb. lat. 4194-4195],

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20 Lindgren-Murata Bib printed.indd 608

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BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

609

Oratorio per la Settimana Santa [Barb lat. 4198-4189], O cecità [Barb. lat. 4193] and Mi son fatto nemico [Barb. lat. 4191]. New York 1986. vol. 15 Bencini, Pietro Paolo. Il sacrificio di Abramo. New York 1986. JAKOBY JEPPESEN JOHNSSON

KAPSPERGER 1622

KAPSPERGER 1619

LANDSHOFF 1912/13

LANDSHOFF 1927

LAZZARINI

LODI 1608

LONSDALE

MACCLINTOCK

Jakoby, R., ed. Die Kantate. Cologne 1968 (Das Musikwerk, 32). Jeppesen, K., ed. La Flora. Arie &c. antiche italiene, 3 vols. Copenhagen 1949. Johnsson, B., ed., Romersk cembalo-(klaver)-musik fra det 17. ärhundrede. Egtved (Denmark) 1980. Kapsperger, Giovanni Girolamo. Libro primo d’intavolatura di chitarone. Venice 1604. Digital copy available via IMSLP. ———. Li fiori, libro sesto di villanelle a una, due, tre e quattro voci con alfabeto per la chitarra spagnola. Rome, P. Masotti, 1632. ———. Libro terzo di villanelle à 1. 2. & 3 voci, accommodate per qual si voglia stromento con l’intavolatura del chitarone et alfabeto per la chitarra spagnola. Rome 1619. Landshoff, L., ed. Alte Meister des Bel Canto: eine Sammlung von Arien aus Opern und Kantate, von Kanzonen, Kanzonetten, Oper- und Kammerduetten / Old Masters of Bel canto, 2 vols. New York, London, Frankfurt 1912; reprint Leipzig, C. F. Peters, s.d. Carissimi, Giacomo. Sechs Kammerduette, ed. L. Landshoff. Leipzig, Edition Peters, 1927; repr. Boca Raton 1998. Lazzarini, S. Sacra melodia d’oratorii musicali. Rome, Bartolomeo Lupardi, 1678; facsim. repr. with an introduction by A. Morelli. Lucca 1993 (Musurgiana, 18). Legrenzi, Giovanni. Il Giustino, ed. L. Bettarini. Milan 1980. Lodi, et Canzonette Spirituali, raccolte da diversi autori: & ordinate secondo le varie maniere de’ versi, aggiuntevi a ciascuna maniera le loro arie nuove di musica assai dilettevoli … Naples, Tarquinio Longo, 1608. Lonati, Carlo Ambrogio. Simfonie a 3, ed. P. Allsop. Devon, U.K. 1990 (New Orpheus, series 1: Rome, n. 1). Gemme d’antichità. London, C. Lonsdale [ca. 1834-1877?]. Numbered consecutively; publication dates approx., according to plate nos. MacClintock, C., ed. The Solo Song, ed. New York 1973.

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20 Lindgren-Murata Bib printed.indd 609

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610

BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

MCKEE

MILLIONI 1627 MORALES

NIGITO-BP

PARISOTTI PATON 1985 PATON 1994 PATON 1991

PRAETORIUS 1612 PRUNIÈRES 1914 RIEMANN

Marini, Biagio. Arie, madrigali et corenti. Venice, Gardano appresso B. Magni, 1620; facsim. in AntMI, Monumenta brixiensa, 8 [1970]. ———. Per le musiche da camera concerti, op. 7, Venice, Gardano appresso B. Magni, 1634. Mazzaferrata, Giovanni Battista. Primo libro delle sonate a due violini con un bassetto [di] viola se piace, op. 5, Bologna, Giacomo Monti, 1674. McKee, R.M. A Critical Edition of Carlo Pallavicino’s Il Vespasiano. Ph.D. diss., University of North Carolina, 1989. Milanuzzi, Carlo. Primo scherzo delle ariose vaghezze … op. 7. Verona and Venice, B. Magni, 1622. ———. Sesto libro delle ariose vaghezze, … op. 14. Venice, A. Vincenti, 1628. Millioni, Pietro. Prima scielta di villanelle. Rome, Facciotti, 1627. Morales, Cristóbal. Opera omnia, ed. H. Anglés. [Rome], CSIC, Delegación de Roma, 1952- (Monumentos de la música española, 11, 13, 15, 17, 20-21 and 24. Escuela Española de Historia y Arqueología en Roma). Pasquini, Bernardo. Le cantate, ed. A. Nigito. Turnhout 2012 (Monumenta Musica Europea, III: Baroque Era, vol. 2). Palestrina, Giovani Pierluigi da. Opera completa. Rome 1939———. Werke. Leipzig 1862-1907. Arie antiche, ed. A. Parisotti. 3 vols. Milan [1886], 1890, [1898]. L’aria barocca, ed. J.G. Paton. Geneseo, NY 1985. Italian Arias of the Baroque and Classical Eras, ed. J.G. Paton. [Van Nuys, CA] 1994. Twenty-six Italian Songs and Arias, ed. J.G. Paton. Van Nuys, CA 1991. Pignani, G., ed. Scelta di canzonette italiane, ed. London, Wm Godbid and J. Playford, 1679. Praetorius, Michael. Terpsichore, musarum aoniarum quinta. Wölfenbüttel, Fuurstlicher Druckerey, 1612. Rossi, Luigi. Six airs et une passacaille, ed. H. Prunières. Paris 1914. Kantaten-Frühling (1633-1682): vierzehn Kantaten ... mit ausgearbeitetem Klavier-Accompagnement, ed. H. Riemann. Leipzig [1912?].

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20 Lindgren-Murata Bib printed.indd 610

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BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

RUNG

SABBATINI 1650/52

SABBATINI 1652

SABBATINI 1641 SARTORIO-GC

SAVIONI 1660

SCAR-Pomp

SCHERING-Bei STEFANI 1618 STEFANI 1620 TAILLEFERRE 1927

TORCHI V TORCHI-E

611

Rontani, Raffaello. Le varie musiche, libro primo. Florence 1614; facsim. New York 1986. Musica scelta de’ antichi maestri italiani, ed. H. Rung. Copenhagen, P.W. Olsen, [ca. 1855]; Mainz, B. Schott, s.d.; lightly re-edited by G.W. Teschner, Berlin, T. Trautwein, s.d. Prima scelta di villanelle a una voce … di nuovo ristampate, e corrette. Rome, Vitale Mascardi, 1652; repr. Stuttgart 1999. ———. Seconda scelta di villanelle a una voce … di nuovo ristampate, e corrette. Rome, V. Mascardi, 1652; repr. Stuttgart 1999. ———. Varii capricii e canzonette, a una e tre voci … Libro settimo, op. 14. Rome, V. Bianchi, 1641. Sartorio, Antonio. Giulio Cesare in Egitto, ed. C. Monson. Madison, Wisconsin 1991 (Collegium Musicum: Yale University. 2d series, 12). Savioni, Mario. Concerti morali e spirituali a tre voci differenti. Rome, Iacomo Fei, 1660. Scarlatti, Alessandro. Cinque Arie, ed. Mario Pilati. Naples 1924. ———. Gli equivoci nel sembiante, ed. F.A. D’Accone. Cambridge, MA 1982 (The Operas of Alessandro Scarlatti, 7). ———. Il Pompeo, ed. J. Roberts. New York 1986 (Handel Sources, 6). ———. Thirty-Six Ariettas for a Single Voice with a Thorough Bass for the Harpsichord, London, Thomas Vanderman, [ca. 1755]. Schering, A., ed. Geschichte der Musik im Beispielen. Leipzig 1931; repr. New York 1959. Affetti amorosi, canzonette ad una voce sola ... da diversi, ed. G. Stefani. Venice, G. Vincenti, 1618. Scherzi amorosi, ed. G. Stefani. Venice, A. Vincenti, 1620. Airs italiens, ed. G. Tailleferre. 3 vols. Paris 1925-1927 (Maîtres du chant, 5). Tarditi, Orazio. Arie a voce sola de’ diversi auttori, raccolte da Francesco Tonalli, Venice, A. Vincenti, 1656 L’arte musicale in Italia, vol. 5: Secolo XVII, ed. L. Torchi. 7 vols. Milan 1897; repr. 1968. Available online in IMSLP. ———. Eleganti canzoni ed arie del secolo 17, ed. L. Torchi. Milan 1894.

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20 Lindgren-Murata Bib printed.indd 611

28-May-18 11:25:43 PM

612

BIBLIOGRAPHY OF PRINTED MUSICAL CONCORDANCES AND EDITIONS

Torri, Luigi, ed. Quattro arie tratte da melodrammi italiani del secolo 17. Padua 1917. Van, G. de, ed. Les monuments de l’Ars nova: La musique polyphonique de 1320 à 1400 environ. Paris s.d. VATIELLI

Antiche cantate d’amore, ed. Fr. Vatielli. 2 vols. Bologna 1920. Vitali, Filippo. Musiche a tre voci, libro quinto. Florence, L. Landi and G.A. Bonardi, 1647. ———. Musiche a una e due voci, libro secondo. Rome, G.B. Robletti, 1618. Vitali, Filippo. Musiche a tre voci … libro quinto. Florence, Nella stamperia di Lando Landi, e Gio. Anton Bonardi, [1647]. Vitali, Tommaso Antonio. Concerto [in G Major] e Sonata nona, ed. V. Rosapane. Albese con Cassano 2006/2011. Vittori, Loreto. Complete Solo Settings, ed. T.D. Dunn, Middleton, WI 2014. Von Fischer, K. and Gallo, F.A., eds. Italian Sacred Music. Monaco 1976 (Polyphonic Music of the Fourteenth Century, 12). ———. Italian Sacred and Ceremonial Music. Monaco 1987 (Polyphonic Music of the Fourteenth Century, 13).

ZANON 1953

12 arie italiane dei secoli XVII e XVIII, ed. M. Zanon. Milan 1953. Raccolta di 24 arie di vari autori del secolo XVII, ed. M. Zanon. Milan [1914].

ZANON 1914

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20 Lindgren-Murata Bib printed.indd 612

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GENERAL BIBLIOGRAPHY OF PRINTED SOURCES AND REFERENCES1 ABATI 1673 ADEMOLLO 1883 ADEMOLLO 1888 ALLACCI 1666 ALLACCI 1755 ALM AMATO

AMENDOLA ANNIBALDI 1982

ANNIBALDI 20121 ANNIBALDI 20122

ANTOLINI 1978

BALDUCCI 1630 BALDUCCI 1645 1

Abati, Antonio. Poesie postume. Venice, Angelo Bodio, 1673 (other edns, 1671-1676). Ademollo, A. Il carnevale di Roma nei secoli XVII e XVIII. Rome 1883; repr. Bologna 2009. ———. I teatri di Roma nel secolo decimosettimo. Rome 1888; facsim. Bologna 1969. Allaci, Leone. Drammaturgia. Rome, Mascardi, 1666. ———. Drammaturgia … accresciuta e continuata fino all’anno 1755. Venice, G. Pasquali 1755. Alm, I. A Catalog of Venetian Librettos at the University of California, Los Angeles. Berkeley 1992. Amato, M. Le antologie di arie e di arie e cantate tardo seicentesche alla Biblioteca del Conservatorio “S. Pietro a Majella” di Napoli. 2 vols. Ph.D. diss., Scuola di Paleografia e Filologia Musicale di Cremona, University of Pavia, 1998. Amendola, A. La collezione del principe Lelio Orsini nel palazzo di piazza Navona a Roma. Rome 2013. Annibaldi, C. L’archivio musicale Doria Pamphilij: saggio sulla cultura aristocratica a Roma fra 16o e 19o secolo, in Studi Musicali 11 (1982), pp. 91-120; 277-344. ———. La cappella musicale pontificia nel Seicento. vol. I: Da Urbano VII a Urbano VIII (1590-1644). Palestrina 2011. ———. Was Frescobaldi a Chameleonic Scribe? in Early Music 40/1 (2012), pp. 87-90. ———. Quando il filologo musicale cerca lo scoop: considerazioni preventive sull’ultimo volume delle «Opere complete» di Girolamo Frescobaldi, in Il Saggiatore Musicale 19 (2012), pp. 237-264. Antolini, B.M. La carriera di cantante e compositore di Loreto Vittori, in Studi musicali 7 (1978), pp. 141-188. Baiocco, M. Su Baldassare Ferri, cantante evirato del Seicento, in Esercizi. Musica e spettacolo 15, n.s. 6 (1996), pp. 19-46. Balducci, Francesco. Le rime. Rome, G. Facciotti, 1630. ———. Le rime … parte seconda. Rome, Filippo de’ Rossi, 1645-1646.

First names given only for writers before 1740.

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21 Lindgren-Murata Bibliography.indd 613

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614

BANNISTER

BARONCI BARTHÉLEMY BASSANI

BENIGNI BIANCONI-Buti

BIANCONI-WALKER

BIGNAMI ODIER

BOGGIO

BRIQUET

BURNEY-GHM

CACCIAGLIA 1

GENERAL BIBLIOGRAPHY

Bannister, H.M. Monumenti vaticani di paleografia musicale latina. Leipzig 1913 (Codices e Vaticanis selecti phototypice expressi, 12). Barbieri, P. I “doi bellisimi organi” di S. Lorenzo in Damaso, Roma, in Amici dell’organo di Roma, ser. 2, 3 (1984), pp. 46-53. Baronci, G. Inventario dei codici Barberiniani musicali (1932); photocopy of orig. ms. BAV, Sala dei Mss. Barthélemy, M. Inventaire général des manuscrits anciens du Conservatoire royal de musique de Liège. Liège 1977. Bassani, F. Biographische Materialien zur Geschichte des römischen Oratoriums im 17. Jahrhundert: Marc’Antonio Pasqualini, Giovanni Lotti, Giulio Cesare Raggioli, D. Lelio Orsini, in Mélanges de l’École française de Rome. Italie et Mediterranée 122/2 (2010), pp. 399-430. See also under GRAMPP, F. Benigni, Domenico. Poesie di Monsignor Domenico Benigni … divise in tre parti … Parte prima. Macerata 1667. Bianconi, L., ed. Francesco Buti. Poesia e drammaturgia. Rome 2015 (Univ. degli Studi di Parma, Miscellanea musicologica, 9). Bianconi, L. and Walker, T. Production, Consumption and Political Function of Seventeenth-century Opera, in Early Music History 4 (1984), pp. 209-296. Bignami Odier, J. La Bibliothèque vaticane de Sixte VI à Pie X: Recherches sur l’histoire des collections de manuscrits, avec la collaboration de J. Ruysschaert. Città del Vaticano 1973 (Studi e testi, 272). Boggio, E. Il fondo musiche dell’Archivio Borromeo dell’Isola Bella. Lucca 2004. (Cataloghi di fondi musicali del Piemonte, 3). Briquet, C.M. Les Filigranes. Dictionnaire historique des marques du papier, dès leur apparition vers 1282 jusqu’en 1600. Geneva & Paris 1907. Brumana, B. Il pianto de’ cigni in morte della fenice de’ musici. Poesie per Baldassare Ferri e nuove ipostesi sulla carriera del cantate. Perugia 2010. Burke, J. Musicians of S. Maria Maggiore, Rome, 16001700: A Social and Economic Study, in Note d’Archivio, n.s. 2 (1984), supplement. Burney, C. A General History of Music. First edn, 4 vols. London 1776-1789; 2d edn 1789-82? Re-issued in 2 vols., ed. F. Mercer, London and New York 1935. Cacciaglia, L. Le Giustificazioni dell’Archivio Barberini.

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21 Lindgren-Murata Bibliography.indd 614

28-May-18 11:25:28 PM

GENERAL BIBLIOGRAPHY

CAETANI

CALUORI CAMETTI-LR

CAMETTI-CC

CAMETTI-MAP CAMETTI-OM

CAMETTI-TdN CARBONI

CARBONI 1 CARBONI 8-9 CARBONI 10/11 CARBONI 12

CAR-GIA-ZI

CARERI

615

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Natuzzi, E. Il Teatro Capranica dall’inaugurazione al 1881. Rome 1999 (Quaderni de «La Musica e la Danza», 12). Nestola, B. L’Air italien sur la scène des théâtres parisiens (1675-1715). Ph.D. diss., Université François Rabelais de Tours, 2015. ———. La musica italiana nel Mercure galant (1677-1683), in Recercare 14 (2002), pp. 85-145. ———. L’Egisto fantasma di Cavalli: nuova luce sulla rappresentazione parigina di Egisto ovvero Chi soffre speri di Mazzocchi e Marazzoli (1646), in Recercare 19 (2007), pp. 125-146. Nigito, A. Alla corte dei Pamphilj: la musica a Roma tra Seie Settecento. Ph.D. diss., Philosophische Fakultät Zürich, Institut für Musikwissenschaft, 2008. ———. La musica alla corte del principe Giovanni Battista Pamphilj, 1648-1709. Berlin 2012 (Musik u. Adel im Rom des Sei- und Settecento, 1). Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700, ed. E. Vogel, A. Einstein, F. Lesure, C. Sartori. 3 vols. Pomezia 1977. Ongaro, Antonio. Rime in volgare, libro primo. Farnese, Nicolò Mariani, 1600; modern edn Nettuno 2004.

PASSADORE-ROSSI

PECCHIAI PELLICCIA

Palisca, C.V. The “Camerata fiorentina”: a reappraisal, in Studi Musicali 1 (1972), pp. 203-236. ———. The Florentine Camerata: Documentary Studies and Translations, New Haven 1989 (Yale Music Theory Translations, 8) ———. G.B. Doni, Musicologist, Activist and his Lyra Barberina in Modern Musical Scholarship, ed. E. Olleson, Stockfield 1978, 1980, pp. 180-205. ———. The Musica of Erasmus of Höritz, in Aspects of Medieval and Renaissance Music, ed. J. LaRue, New York 1966, pp. 628-648. Passadore, F. and Rossi, F. Le sottigliezze dell’ intendimento. Catalogo tematico di Giovanni Legrenzi. Venice 2002. Pastor, L. von. Geschichte der Päpste seit dem Ausgang des Mittelalters, Freiburg 1886; Eng. trans. The History of the Popes, vol. 29, E. Graf, trans., London 1938. Pecchiai, P. I Barberini. Rome 1959 (Archivi d’Italia e Rassegna Internazionale degli Archivi, Quaderni, 5) Pelliccia, C. Le cantate da camera di Giovanni Lorenzo Lulier: Studio e catalogo tematico, in Mecenatismo e Musica tra i secoli XVII e XVIII, Vignanello 2012 (Miscellanea Ruspoli, 2), pp. 21-143.

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GENERAL BIBLIOGRAPHY

PICCARDKZ

PICCARDANK

PITONI PLANK PORTER

PRUNIÈRES 1933

PRUNIÈRES 1913 RAGUENET-Eng

REGESTI

REINER 1961 REVERBERI

RICCIARDELLI

625

Piccard, G., ed. Das Kronen-Wasserzeichen. Stuttgart 1961. (Die Wasserzeichenkartei Piccard im Hauptstaatsarchiv Stuttgart, 1). Also http://www.piccard-online.de/bilder/einleitungen/001. pdf. ———, ed. Wasserzeichen Anker. Stuttgart 1978. (Die Wasserzeichenkartei Piccard im Hauptstaatsarchiv Stuttgart, 6). Also http://www.piccard-online.de/bilder/einleitungen/006. pdf. Pitoni, Ottavio. Guida armonica libro primo. Rome s.d.; facsim. edn Fr. Luisi, ed. Lucca 1989. Plank, S. Of Sinners and Suns: Some Cantatas for the Roman Oratory, in Music and Letters 64 (1985), pp. 344-354. Porter, W.V. Northwestern University’s Seventeenth-Century Manuscript of Roman Cantatas, in Essays in Honor of John F. Ohl: A Compendium of American Musicology, E.A. Arias, S.M. Filler, W.V. Porter and J. Wasson, eds. Evanston 2001, pp. 92-121. Prunières, H. Les musiciens du Cardinal Antonio Barberini in Mélanges de musicologie offerts à M. Lionel de la Laurencie. Paris 1933. ———. Les représentations du Palazzo d’Atlante à Rome (1642), d’après des documents inédits,” in Sämmelbände der Internationale Musikgesellschaft 14 (1912-13), pp. 218-226. ———. L’Opéra italien en France avant Lulli, Paris 1913, repr. Paris 1975. Raguenet, François. A Comparison between the French and Italian Musick and Opera’s, translated from the French, with some remarks [by N. Haym]. London: Lewis, 1709; rpr. London 1968. Ramírez, W.; see under Villaurrutia. Regesti di bandi, editti, notificazioni e provvedimenti diversi relativi alla città di Roma ed allo stato pontificio, 4: 16231639; 5: 1639-1655. Rome 1932-1934. Reiner, S. Collaboration in Chi soffre speri, in Music Review 22 (1961), pp. 265-282. Reverberi, I. Il cardinale Antonio Barberini junior (16081671) e la sua biblioteca. Considerazioni ed ipotesi, in Miscellanea Bibliothecae Apostolicae Vaticane 16 (2009), pp. 369-417. Ricciardelli, P. Repertorio bibliografico-storico delle composizioni del musicista Luigi Rossi, 2 vols. Torremaggiore 1988-1994. Vol. 1, part 1: Manoscritti antichi (MSS. A/1)

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626

RIEMANN RIETBERGEN RISM A/II RISM B.I RISM B.III.2 RISM B.IV.5 RISM B.VII

RISM B.XV

ROBERTS 1993 ROMANO 1

ROMANO 3/1622

ROMANO 3/1625

ROMANO 4

ROMANO RES ROSE 1974 ROSE 1972 ROSSI-L ROSSI-QS

GENERAL BIBLIOGRAPHY

nella Biblioteca Vaticana. Vol. 1, part 2: Manoscritti antichi (MSS. A/2) in Austria, Belgio e Francia. Riemann, H. Handbuch der Musikgeschichte. Vol. 2/2, Der Generalbasszeitalter. 2 vols. Leipzig 1912. Rietbergen, P. Power and Religion in Baroque Rome: Barberini Cultural Policies. Leiden and Boston 2006. RISM Online. Repertoire internationale des sources musicales. Series A/II. Music Manuscripts after 1600. Recueils imprimés, XVIe-XVIIe siècles, ed. F. Lesure. Munich 1960. The Theory of Music from the Carolingian Era up to 1400. vol. 2: Italy, ed. P. Fischer. Munich 1968. Manuscrits de musique polyphonique, XVe et XVIe siècles. Italie, ed. N. Bridgman. Munich 1991. Handschriftlich überlieferte Lauten- und Gitarrentabulaturen des 15. des 18. Jahrhundert, ed. W. Boetticher. Munich 1978. Mehrstimmige Messen in Quellen aus Spanien, Portugal und Lateinamerika ca. 1490-1630. Drucke, Handschriften und verlorene Quellen, ed. C. Urchueguía. Munich 2005. Roberts, J.H. The Aylesford Collection, in Handel Collections and their History, ed. T. Best, Oxford 1993, pp. 39-85. Romano, Remigio, ed. Prima raccolta di bellissime canzonette musicali, e moderne. Treviso, Angelo Righettini 1618; Venice, A. Salvadori, 1622; Pavia, De Rossi, 1625. ———, ed. Terza raccolta di bellissime canzoni alla Romanesca. Per suonare, e cantare nella chitara alla spagnuola. Vicenza, per A. Salvadori, 1620/1622; Pavia, De Rossi, 1625. ———, ed. Nuova raccolta di bellissime canzonette musicali, e moderne ... parte terza. Venice 1625; Pavia, De Rossi, 1625. ———, ed. Nuova raccolta di bellissime canzonette musicali, e moderne ... parte quarta. Venice, A. Salvadori, 1623/1625; Pavia, De Rossi, 1625. ———, ed., Ressiduo alla quarta parte di canzonette musicali. Venice, A. Salvadori, 1626. Rose, G. Pasqualini as Copyist, in Analecta Musicologica 14 (1974), pp. 170-175. ———. Two Operas by Scarlatti Recovered, in Musical Quarterly 58 (1972), pp. 428-435. Rossi, F. La Fondazione Levi di Venezia: Catalogo del fondo musicale. Venice 1986. ———. Le opere musicali della fondazione “Querini-Stampalia” di Venezia. Turin 1984 (Cataloghi di fondi musicali italiani, 2).

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GENERAL BIBLIOGRAPHY

ROSTIROLLA 1972

ROSTIROLLA 2003

RUFFATTI 2007

RUFFATTI 2006

SARTORI 1952 SARTORI 1975 SARTORI SARTORI 1980

SAUNDERS

SCHERING

SCHRAMMEK

627

Rostirolla, G. Catalogo generale delle opere di Alessandro Scarlatti, in Alessandro Scarlatti, ed. R. Pagano and L. Bianchi, Turin, 1972. ———. Musica e musicisti nella Basilica di San Pietro, vol. 1, Vatican City, 2014. ———. La professione di strumentista a Roma nel Sei e Settecento, in Studi Musicali 23/1 (1994), pp. 87-174. ——— Uno sconosciuto codice seicentesco di cantate romane, in “Et facciam dolçi canti.” Studi in onore di Agostino Ziino in occasione del suo 65° compleanno. B.M. Antolini, T.M. Gialdroni, and A. Pugliese, eds, 2 vols. Lucca 2003, vol. 1, pp. 687-735. Ruffatti, A. “Curiosi e bramosi l’oltramontani cercano con grande diligenza in tutti i luoghi.” La cantata romana del Seicento in Europa, in Journal of 17th-Century Music 13/1 (2007), http://www.sscm-jscm.org/ v13/no1/ruffatti.html. ———. Les cantates de Luigi Rossi (1597-1653): Diffusion et réception dans le contexte européen. Ph.D. diss., Université de Paris-Sorbonne (Paris IV) and Università degli Studi di Padova, 2006. Salmon, P. Les Manuscrits liturgiques de la Bibliothèque Vaticane. 5 vols. Vatican City 1968-1972 (Studi e Testi, 251, 253, 260, 267, 270). Sarriano, Anello. Sacre canzonette. Naples, C. Cavallo, 1646; 7th edn, C. Cavallo, 1651; Naples, D.A. Parrino, 1668; Milan, M.A. Pandolfo Malatesta, 1676. Sartori, C. Bibliografia della musica strumentale italiana stampata in Italia fino al 1700. 2 vols. Florence 1952, 1968. ———. Giacomo Carissimi. Catalogo delle opere attribuite. Milan 1975. ———. I libretti italiani a stampa dalle origini al 1800, 7 vols. Cuneo 1990-1994. ———. I ricuperi dell’ufficio ricerche fondi musicali: Domenico Gabrielli, Carlo Pallavicino, Freschi, Legrenzi, Sartorio e Marcantonio Ziani, in Nuova Rivista Musicale Italiana 14/4 (1980), pp. 548-554. Saunders, H.S., jr. The Repertoire of a Venetian Opera House (1678-1714), The Teatro Grimani di San Giovanni Grisostomo, Ph.D. diss., Harvard University, 1985. Schering, A. Neue Beiträge zur Geschichte des italienischen Oratoriums im 17. Jahrhundert, in Sämmelbände der Internationalen Musikgesellschaft 8/1 (1906-07), pp. 43-70. Schrammek, B. Zwischen Kirche und Karneval. Biographie,

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628

GENERAL BIBLIOGRAPHY

soziales Umfeld und Werk des romischen Kapellmeisters Virgilio Mazzocchi (1597-1646). Lucca and Kassel 2000. SCIOMMERI Sciommeri, G. Le cantate da camera di Carlo Francesco Cesarini: Introduzione, studio ed indice tematico con la trascrizione dei testi. Tesi di laurea, Università degli Studi di Roma, Tor Vergata, 2010. SELFRIDGE-FIELD-Bod Selfridge-Field, E. One Hundred Venetian Arias of the Late Seicento in the Bodleian Library, in Notes of the Music Library Association, ser. 2, 40/4 (1983), pp. 503-509. SELFRIDGE-FIELD-NC ———. A New Chronology of Venetian Operas and Related Genres, 1660-1760. Stanford 2007. SELFRIDGE-FIELD-PV ———. Pallade veneta: Writings on Venetian Music in Society, 1650-1750. Venice 1985. SILBIGER Silbiger, A. Italian Manuscript Sources of 17th-Century Keyboard Music. Ann Arbor 1980 (Studies in Musicology, 18). Solerti, A. Lettere inedite sulla musica di Pietro della Valle, in Rivista Musicale Italiana 12 (1905), p. 271-338. Smither, H. A History of the Oratorio, vol. 1: The Oratorio in SMITHER the Baroque Era: Italy, Vienna, Paris. Chapel Hill 1977. SPAGNA 1709 Spagna, A. Melodrammi scenici. Rome, D.A. Ercole, 1709. SPECK Speck, C. Das italienische Oratorium, 1625-1665. Musik und Dichtung. Turnhout 2003 (Speculum Musicae, 9). Staffieri, G. Colligite Fragmenta: La vita musicale romana STAFFIERI negli “Avvisi Marescotti” (1683-1707). Lucca 1990. Stanghetti, G. La scuola di canto nel Pontificio Collegio Urbano di Roma (1627-1925), in Note d’Archivio 3 (1926/1), pp. 46-57. TALBOT 1990 TAMBURINI 1997

TERMINI

TEZIO TEZI 2005 TILMOUTH

Talbot, M. Tommaso Albinoni: the Venetian composer and his world. Oxford and New York 1990. Tamburini, E. Due teatri per il principe: studi sulla committenza teatrale di Lorenzo Onofrio Colonna (1659-1689), con un’ipotesi di ricostruzione del teatro “piccolo” elaborata in collaborazione con Sergio Rotondi. Roma 1997. Termini, O.A. Carlo Francesco Pollarolo: His Life, Time, and Music with Emphasis on the Operas. Ph.D. diss., University of Southern California, 1978. Tetio, Girolamo. Aedes barberinae. Rome, V. Mascardi, 1642; Italian trans. L. Faedo, see TEZI 2005. ———. Aedes Barberinae ad Quirinalem descriptae, L. Faedo and Th. Frangenberg, eds. Pisa 2005. Tilmouth, M. Music and British Travellers Abroad, 16301730 in Source Materials and the Interpretation of Music, ed. Ian Bent, London 1981, pp. 357-382.

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GENERAL BIBLIOGRAPHY

TRONSARELLI 1631 TRONSARELLI 1646 TROY VALESIO

VITALI

VÖLKEL VON FISCHER – GALLO 12 VON FISCHER – GALLO 13 VOSS 2003

WADDY WEAVER

WECIS 1

629

Tronsarelli, Ottavio. Drammi musicali. Rome, Fr. Corbelletti, 1631. ———. Poesie postume. Rome, Mascardi, 1646. Troy, C.E. The comic intermezzo: a study in the history of eighteenth-century Italian opera. Ann Arbor, MI 1979. Valesio, Francesco. Diario di Roma, 1700-42, G. Scano and G. Graglia, eds. 6 vols. Milan 1977-1979. Van der Linden, H. Benedetto Pamphilj in Bologna (16903): Documents on his Patronage of Music, in Royal Music Association Research Chronicle 47/1 (2016), pp. 87-144. Vavoulis, V. Antonio Sartorio (c. 1630-1680): Documents and Sources of a Career in Sevnteenth-Century Venetian Opera. Royal Music Association Research Chronicle, n. 37 (2004). Villaurrutia, W. Ramírez, marqués de. La embajada del Marqués de Cogolludo a Roma en 1687. 2d edn. Madrid 1927 (1st edn 1920). Volpicelli, M.L. Il Teatro del cardinale Ottoboni al Palazzo della Cancelleria, in Il Teatro a Roma nel Settecento, 2 vols. Rome 1989. Vitali, C. Un cantante legrenziano e la sua biografia: Francesco de Castris, “musico politico,” in Giovanni Legrenzi e la cappella ducale di San Marco, ed. F. Passadore and F. Rossi, Florence 1994, pp. 567-603. Völkel, M. Römische Kardinalshaushalte des 17. Jahrhunderts. Borghese – Barberini – Chigi. Tübingen 1993. Von Fischer, K. and Gallo, F.A., eds. Polyphonic Music of the Fourteenth Century, vol. 12: Italian Sacred Music. Monaco 1976. ———, eds. Polyphonic Music of the Fourteenth Century, vol. 13: Italian Sacred and Ceremonial Music. Monaco 1987. Voss, S. Penelope la casta und Didone delirante: Zwei neapolitanische Opern. A. Scarlattis aus dem Jahr 1696, in “Et facciam dolci canti”: Studi in onore di Agostino Ziino, ed. B.M. Antolini et al., 2 vols., Lucca 2003, vol. 1, pp. 783-796. Waddy, P. Seventeenth-Century Roman Palaces: Use and the Art of the Plan. New York and Cambridge, MA 1990. Weaver, R.L. and Weaver, N.W. A Chronology of Music in the Florentine Theater, 1590-1750: Operas, Prologues, Finales, Intermezzos and Plays with Incidental Music. Detroit 1978. Antonio Cesti (1623-1669), ed. D. Burrows. Wellesley, MA 1964 (Wellesley Cantata Index Series, 1).

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630

WECIS 2 WECIS 3b

WECIS 4

WECIS 5 WECIS 8-9

WHENHAM 1982 WILLETTS WITZENMANN 1969/ WITZENMANN 1970 WITZENMANN 1993

WOODWARD WORSTHORNE WRIGHT

ZANF

GENERAL BIBLIOGRAPHY

Mario Savioni (1608-1685), ed. I. Eisley. Wellesley, MA 1964 (Wellesley Cantata Index Series, 2). Luigi Rossi (ca. 1598-1653). Unreliable attributions, ed. E. Caluori, Wellesley, MA 1965 (Wellesley Cantata Index Series, 3b). Alessandro Stradella (1644-1682). 4a: Reliable attributions; 4b: Unreliable attributions. Ed. O. Jander. Wellesley, MA 1969 (Wellesley Cantata Index Series, 4a-b) Giacomo Carissimi (1605-1674), ed. G. Rose. Wellesley, MA 1966 (Wellesley Cantata Index Series, 5). Atto Melani (1626-1714). Alessandro Melani (1639-1703), ed. R. Weaver. Wellesley, MA, 1972. (Wellesley Cantata Index Series, 8 and 9). Whenham, J. Duet and Dialogue in the Age of Monteverdi. Ann Arbor, MI 1982 (Studies in British Musicology, 7). Willetts, P. Patrick Cary and his Italian Poems, in British Library Journal, eBLJ (1976), art. 11, pp. 109-119. Witzenmann, W. “Autographe Marco Marazzolis in der Biblioteca Vaticana (I),” Analecta Musicologica 7 (1969), pp. 36-86; part (II), ivi 9 (1970), pp. 203-294. ———. Beiträge der Brüder Mazzocchi zu den musikalischen Akademien Kardinal Francesco Barberinis, in Akademie und Musik: Erscheinungsweisen und Wirkungen des Akademiegedankens in Kultur- und Musikgeschichte: Institutionen, Veranstaltungen, Schriften. Festschrift für Werner Braun zum 65. Geburtstag …, W. Frobenius, N. SchwindtGross and T. Sick, eds. Saarbrücken 1993, pp. 181-214 and 359-360. Woodward, D. Catalogue of Watermarks in Printed Maps, ca. 1540-1600. Chicago 1996. Worsthorne, S.T. Venetian Opera in the Seventeenth Century. Oxford 1954; repr. 1968. Wright, J. The Secular Cantatas of Francesco Mancini (1672-1736). Ph.D. diss., New York University, 1975. Zanetti, E. Una raccolta sconosciuta di cantate da camera di Alessandro Scarlatti, in Studi Musicali 14/1 (1985), pp. 105134. Zanotelli, A. Domenico Freschi. Musicista vicentino del Seicento. Catalogo tematico. Venice 2001 (Edizioni Fondazione Levi Serie 3).

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INDEX OF NAMES (excluding modern authors and editors) “A. B.,” 290, 293, 441 “C. M.,” 246, 251 “M. A.,” 246, 248, 251; (see also Marcorelli) “M. A. P.,” (see Pasqualini, Marc’Antonio) “M. P.,” 247, 249 “P. P.,” 144, 150; (see also Petti, Paolo) “P. S. A.,” (see Agostini, Pier Simone) “Angela,” 215, 517 “Angelo di Palestrina,” (see Olivieri, Angelo) “Antonio” (composer), 333 “B__”, Francesco de (composer), 332 “Becarina” (Beccarina, Becharina), singer, (see Torri, Anna Maria) “C., Gio. P.,” (see under Carey or Cataloni) “Cecchino,” (see De Grandis, Francesco) “Dionisio” (singer), 233-235, 238-239; (see also Fregiotti, Dionisio) “Domenico” del principe (Maffeo), (theorbist), XXI “Fabritio” (instrumentalist), XXI “Franceschino” (not musician), LVII “Gabriele della Nunciata,” (see Bianchi, G.Fr.) “Giampaolo di Domenico,” 55 “Giovanni Maria” (singer in 1688), 33 “Giovannini,” 263; 343, 421; (see also Lulier, G.) Ginnasio Attabist Linda, pseudonym for Landi, G.B. Marco “del violino,” 511 “Michelangelo” (instrumentalist), XXI “Nicolini” (singer); see Grimaldi, N.

Scioperato Buontempi, pseudonym for Baldini, Sebastiano Abati, Antonio, 152, 223, 504, 505, 508, 619 Abbatini, Antonio Maria, XXI, XXIV, XXX, LXII, LXXI, XCVI-XCVII; Illus. 13-14; 65-67, 510, 511, 515-516, 681 Acciarelli, Antonio (music copyist), 198 Aceti, Tommaso, 331 Adami, Andrea (singer), 86, 185, 281, 355 Agostini, Paolo, LXI Agostini, Pier Simone, 134, 138, 184186, 188-191, 280, 573, 608 Albinoni, Tomaso, LXV; 380, 384, 573, 628 Albrici, Vincenzo, 155, 185, 222-223, 573 Albrizzi, Girolamo (publisher), 23 Aldrovandini, Giuseppe, 380, 383, 573 Alexander VII, pope, XXIV, XLVIII Alexander VIII, pope, XIX; 24, 163, 178, 182-183, 239 Alghisi, Paris, LXXVI; 106, 109-112, 114, 573 Alibert, Giacomo d’, count of Clignancourt and Beauregard (also Aribert, Ariberti), LVII-LVIII Allegri, Gregorio, XXXVI; 222, 224, 573 Altemps, Gianpietro d’, 3rd duke of Gallese, 251 Amadori, Luca, 191, 196, 199, 573 Anelli, Giacomo (wind player), XXI Angelini, Antonio Giuseppe (music copyist), 355 Antelli, Giovanni (music copyist), XXX; 139, 150, 187, 198, 221, 397, 433 Apolloni, Giovanni Filippo, LXXII, LXXV;

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632

INDEX OF NAMES

134, 188, 190, 192, 277, 387, 389, 622 Aragón y Sandoval, Francisca Josefa de, countess of Santiesteban del Puerto, 183 Arcoleo, Antonio, LXXVI; 106 Arese Borromeo, Giulia, countess of Arona, 407 Argenti, Gioseppe (Gioseppino, singer), 120, 203, 209, 266 Aureli, Aurelio, LXXII-LXXIII, LXXV, LXXVII-LXXVIII; 6, 55, 73, 83, 134, 193, 203, 213, 240, 245, 258, 262, 266, 275, 293, 298 Aureli, Marco (see Marcorelli) Aurelia Averara, Diana (singer), 54, 234, 239 Averara, Pietro d’, LXXX; 54, 115-116, 119, 121-122 Badovero, Camillo, LXXII; 55 Bagni, Pietro (see Vagni, P.) Balbeasi, Nadine (singer), 357 Baldi, Raffaello (singer), 203 Baldini, Sebastiano (Bastiano), 65, 6769, 184-185, 345, 349, 355, 359-361 370, 377-378, 387-388, 390, 433, 439, 449, 452-453, 606, 623 Balducci, Francesco, 132, 156, 158, 160, 441, 507, 509, 613, 619 Ballard (publishers), 49, 71, 117, 205, 255, 287, 605 Ballarino, Francesco (singer), 24, 269, 272, 276 Bani, Cosimo, abbot, LXXV; 83-84, 277278, 281, 681 Barbazza, Andrea, 370, 433, 436, 442 Barberini, Alessandro (d. 1612), XIV Barberini, Anna Camilla (d. 1631), XIV Barberini, card. Antonio jr (d. 1671), VIII, XIV, XXI, XXIII-XXIV, XXVII, XXXI, XXXV-XXXVI, XLV-XLVI, XLIX, LXIILXIII, LXVII; Illus. 2; 293, 425, 504, 513, 625 Barberini, card. Antonio sr (Marcello, d. 1646), XIV Barberini, Camilla (d. 1666), XIV, LXIII

Barberini Borromeo-Arese, Camilla, countess of Arona (d. 1740), XV, XXXII, XLVI, L, LVIII, LXIII, LXV; 172, 177, 407, 492 Barberini, Carlo, duke of Monte Rotondo (d. 1630), XIV, XVII, XXI; 503 Barberini, card. Carlo (d. 1704), XIV, XXII, XXXIV, XXXVI-XXXVII, XLVI-XLVII, XLIX, LXIV, LXVII; Illus. 4; 299300, 306, 359, 402, 407, 503 Barberini Colonna di Sciarra, Carlo, prince of Palestrina, XXXIII, LI; 316 Barberini Colonna di Sciarra, Cornelia Costanza, duchess of Basanello and princess of Palestrina (d. 1797), XV, XXXIII, LI, LI, LXV; 331 Barberini Caetani, Costanza, duchess of Sermoneta (d. 1687), XV, XXXII, L; 399-401 Barberini, Francesco di Carlo (1528– 1600), (see under Tafani da Barberino, Fr.) Barberini, card. Francesco jr (d. 1738), XV, XXXIV, XXVI, XXXVI-XXXVII, XLVI, XLIX, LI-LIII, LV, LVIII, LXIV-LXV, LXVII; Illus. 8; 84 Barberini, card. Francesco sr (d. 1679), XIV, XIX-XX, XXII, XXVII, XXXII-XXXIII, XXXVI-XXXVII, XLI, XLVIII-XLIX, L, LIII, LV, LXI-LXIII, LXVII; Illus. 1; 502503, 511, 513 Barberini, Gian Donato (d. 1603), XIV Barberini d’Este, Lucrezia, duchess of Modena (d. 1699), XIV, XXVI, LIII; 82, 407 Barberini, card. Maffeo (see Urban VIII) Barberini, Maffeo (d. 1685), prince of Palestrina, XV, XXV-XXVI, XXXIIXXXIII, XLVI, XLIX-L, LV-LVI, LXVII; Illus. 3, 5; 63, 72, 138, 140, 213, 391, 396, 401-402, 407 Barberini, Maffeo Callisto, marchese of Corese (b. 1688), xv Barberini Duglioli, Maria (d. 1621), XIV Barberini, suor Maria Grazia (Clarice, d. 1665), XIV, LXIII

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25-May-18 7:26:37 AM

INDEX OF NAMES

Barberini, Nicolò (d. 1699), XV, XLVI, LXVI-LXVII; 300-301, 305 Barberini, Olimpia Giustiniani, princess of Palestrina (d. 1729), see under Giustiniani Barberini, Olimpia Barberini, Ruggero (d. 1704), XV Barberini, Taddeo, balì, later duke of Rignano (d. 1702), XV, LII-LIII, LV, LXVII; 82, 172, 177, 213 Barberini, Taddeo, prince of Palestrina (d. 1647), XIV-XV, XXIV, XLV, LIII, XLVIII, LVI, LXI-LXIII, LXVII; 300-301, 305-306 Barberini, Urbano, prince of Palestrina (d. 1722), XV, XXVI-XXVII, XXXIXXXII, XXXIV, XLVII, LI-LII, LIV, LVILVIII, LXIV-LXV, LXVII; Illus. 6; 43, 63, 97, 176, 182, 213, 227, 257, 261, 301-302, 402, 406-407, 455, 457, 464, 467 Barberini Colonna di Sciarra, Urbano, duke of Basanello, XXXIII; 331 Barbiere, Giovanni Battista, XXI Bardi, Giovanni, count of Vernio, XLII Bartoli, Daniello, XL Basili, Andrea, XLVII, LXV; 314-316, 331, 468-469, 475-477, 573, 579, 584 Bassani (Bassano), Giovanni Battista, 332, 335, 383, 573, 605 Basso, Andrea, 372 Bencini, Lorenzo, XXVII Bencini, Pietro Paolo, VIII, XXVII, XXXI, XLVII, LVII, LXXX; Illus. 16-17; 301302, 381, 455, 457-468, 470, 472, 477, 481, 485-486, 488, 565, 573, 609, 614, 619 Beni Venturini, Clarice (see Venturini, C.) Benigni, Domenico, 65, 67-68, 71, 152, 155, 287-289, 391, 393, 441, 453, 504 Benigni, Pietro Paolo (singer), 298 Bentivoglio (unknown monsignor), 345, 349, 417, 443, 454; see also Bentivoglio, Annibale Bentivoglio, mons. Annibale, 352, 422

633

Bentivoglio, Ippolito (librettist), LXXII; 196 Beregan, Nicolò, LXXI, LXXX; 80, 136 Bergalli, Luisa (librettist), LXV Bernini, Gian Lorenzo, XX; 513-514 Bernini, Luigi, XX Berti, Domenico Antonio, LII; 316-317, 329-332, 468, 472-474, 477, 573 Besci, Paolo (singer), 151 Bezzi, Tomaso, 114 Bianchi Francesco (singer), XXXVI Bianchi, Giovanni Francesco (padre Gabriele dell’Annunciata) Bianchi, Giulia (singer), 296, 298 Boccalino, Francesco (theorbist), XXI; 70 Bolis, Sebastiano, LV Bolis, Stefano, LV Bona, Giuseppe, da Cortona; see Boni, Giuseppe Boncompagni Borghese, Eleanora, princess of Rossano, L; 401 Boncompagni Ludovisi Barberini, Maria Teresa, princess of Palestrina, XV, XXXII, LI, LXV; 455, 457 Bonetti, Carlo, LXIII Bongiovanni, Domenico, 449, 451 Boni, Giovanni Battista, da Cortona (cembalaro), XLIX, LVI, LXIX Boni, Giuseppe, da Cortona (cembalaro), XLVI, LVI-LVII, LXVI Boni, Pietro Giuseppe Gaetano, 119 Boni, Tomaso (singer), 17 Bonifazio, Ennio (organ builder), XX Bonis, Novello, LXXIII; 6, 12, 73 Boniventi, Giuseppe, LXXVI; 107, 109, 114, 573 Bononcini, Giovanni, LVII, LXXVII, LXXX; 20, 105, 209-212, 225-228, 240-241, 245, 262-265, 380, 383384, 405, 573, 608, 620 Bononcini, Giovanni Maria, 332, 335, 605 Bonsini (Bonzi), Margherita (singer), 100, 128 Borboni, Nicolò, 450, 605

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634

INDEX OF NAMES

Borghese, Camillo, 4th prince of Sulmona (d. 1763), 458 Borghese, Giovanni Battista, 2d prince of Sulmona and Rossano (d. 1717), 221 Borghese, Marc’Antonio, 3rd prince of Sulmona and Rossano (d. 1729), 458 Borghese, card. Pier Maria, 140 Borosini, Antonio (singer), 168, 184, 202 Borromeo-Arese, Carlo IV, count of Arona, 5th marquis of Angera (d. 1734), xv, xxxii, lxvi, l; 407, 492 Borromeo, card. Giberto, LVIII Borromeo, Renato, count of Arona, 407 Borromeo, Vitaliano VI, 4th marquis of Angera (d. 1690), LVIII Bortoli, Antonio (publisher), 176-177, 232, 257 Borzio, Carlo, LXXIII; 133, 136, 573, 605 Bouchard, Jean-Jacques, XLIII Branca, Giacomo, XXI Briffò [Briffeau?], Giovanni (wigmaker), LVI Brunelli, Antonio, LX Brunetti, Giovanni Gualberto, LX Buagni, Francesco (publisher), 182, 407 Buonaccorsi Giacomo, 301-302, 464 Buontempi, Scioperato; see Baldini, Sebastiano Burgsdorf, Felicita von, 491 Burney, Charles, XXXVIII; 189, 328, 504, 614 Burzi, Giulio Cesare (organ builder), XX Bussani, Giacomo Francesco (librettist), LXXII; 135, 137 Bussani, Vincenzo, 140 Buti, Francesco, XXXVIII; 246-247, 328, 506, 614 Cabella, Giacomo Filippo (singer), 286 Caccini, Giulio, LXXI Caetani, Gaetano Francesco, 9th duke of San Marco and Sermoneta (d. 1716), XV, XXXII, L, LXV; 209, 400

Caldara, Antonio, LI; 485 Calisto, Isidoro, 497 Calvani, Paulo, XLVII; 332, 334, 336, 681 Calvi, Carlo, 299, 573 Candi, Giovanni Battista, LXXX; 457458 Capece, Alessandro, 157 Capece, Carlo Sigismondo, LXXV; 83, 276-277; 615 Capecelatro, card. Alfonso, LXVIII; 344 Capponi, Gino Antonio, LXIII Capranica, Luigi, LVI Capranica, Pompeo, LVI-LVII Caproli, Carlo, “del Violino,” 70, 152154, 225, 246-247, 339, 387-388, 390-392, 394, 396, 573 Carbonchi, Antonio, 131, 299, 306, 492, 573, 605 Carey, John Patrick (Giovanni Patrizio), 155, 360, 362, 370-371, 379, 434 Carissimi, Giacomo, XXXV; 65-73, 133, 155, 197, 202, 246, 249, 264, 268, 270, 273, 318, 340-341, 359, 391, 393-394, 444, 452, 506-507, 573, 605-606, 608-609, 627, 630 Carlos II, king of Spain, 221, 299 Carpiani, Giovanni Luca, LIII; 196 Cary, Patrick; see Carey Casata, Santi (singer), XXVI Casini, Luc’Antonio, 417, 420 Castelli, Ottaviano, XXII, XLV Cataloni, Giampietro, 360, 364, 417, 421-422 Catarina, Francesca (singer), 99 Cavaletti, Giulio (singer), 209 Cavalli, Francesco, 136, 140, 390, 573, 714 Cecchi, Domenico, “Il Cortona” (singer), LIII; 17, 98, 184 Cerda y Aragón, Luis de la, duke of Medinaceli, LIII; 105, 275, 617 Cesarini, Carlo Francesco, LIII, LXIV; 380, 382, 385, 573, 628 Cesi, unknown abbot, 345, 348, 443, 451 Cesti, Antonio (Pietro), 13, 134, 137-

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INDEX OF NAMES

138, 184-186, 188, 375, 386-392, 422, 447, 573 Cevoli, Mario, 184, 186 Charles II, king of England, 71 Chassebras de Cramailles, Jacques, 65 Chierici, Sebastiano, LXIV Chracas, Giovanni Francesco (publisher), 302 Christie, William, 324, 337, 416 Christine, queen of Sweden, XIX-XX, XLI, XLIX-L; 151, 510 Cialli, Rinaldo, LXXVI, LXXVIII; 25, 32, 106, 114-115 Cifra, Antonio, 157 Coelli, Giacomo, XX Colaluce, Francesco (singer), XXII Colista, Carlo Urbano, XXI Colista, Lelio, XXI, XLVII; 332, 334-336, 573, 606 Colle d’Anchise, prince of; see Di Costanzo, Fulvio Coloccino, Gioseppe (music copyist), XXVII

Colombani, Quirino, XXXV; 481-482, 487, 531, 573 Colonna Barberini, Anna, princess of Palestrina (d. 1658), XIV-XV, LXILXIII

Colonna Spinola, Anna, marchesa de los Balbases (d. 1689), 69 Colonna, Giovanni Paolo, LXXVII; 380 Colonna Conti, Lucrezia, duchess of Guadagnolo (d. 1716), 407 Colonna, Pompeo, prince of Gallicano, XXX; 511 Colonna Ottoboni, Tarquinia, duchess of Fiano, 182 Colonna di Sciarra, Giulio Cesare, 5th prince of Carbognano and duke of Bassanello, XV, XXXIII, LI; 331 Colonnese, Filippo, abbot, LXXIV; 144, 146-148, 150-151, 573 Contarini, Marco, 276 Contini, Domenico Filippo, L, LXXIII; 399, 401-403 Corelli, Arcangelo, XXXIV; 332-334, 336, 573, 606, 621

635

Cornacchioli, Giacinto, LXI Corradi, Giulio Cesare, LXXII-LXXVI, LXXVIII-LXXIX; 25, 32, 45, 55, 73, 88, 97, 106, 122, 140, 213, 258, 266, 275 Correas, Jérome, 318 Corsi, Giuseppe, 387 Corsini, Lorenzo, LXIII; 441, 607 Corsini, Ottaviano, LXXI Cortona, Pietro Berettini da, XXII Cortona (see Boni, Giovanni Battista and Boni, Giuseppe, or Cecchi, Domenico) Corvo, Nicola, 492 Costantini, Fabio, 310-311 Costanzo, Fulvio di (see under Di Costanzo) Cottini, Antonio (singer), 81 Crequillon, Thomas, 308 Cybo Malaspina, Carlo I, prince of Massa, XLIX; 513 D’Adda, card. Ferdinando, LV, LXIV; 21, 23 D’India, Sigismondo, 130, 156, 573, 607 Dal Pozzo, Cassiano, XLI Dati, Vincenzo (singer), 286 David, king, 69, 494 De Bottis, Giuseppe, LXV De Castris, Francesco (singer), 17, 65, 128, 629 De Grandis, Francesco (singer), 80, 114, 298, 386 De Grandis, Vincenzo, XLVII, LXI; 332, 334-336, 573 De Luca, Severo, LXXV, LXXVII; 85, 8896, 107, 109, 163-167, 169, 209, 240245, 411, 481-482, 487, 489, 573 De Micheli, Jorxe, 119 De Romanis, Vincenzo (bookseller), XXXIV

De Santis, Giuseppe, 134 De Totis, Giacomo (Jacopo), 503 De Totis, Giuseppe Domenico, LXXIIILXXVI; 82-83, 177, 183-184, 186-187, 212, 221, 277, 401, 616 Del Po, Andrea, 183 Del Po, Aurelio, 183

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636

INDEX OF NAMES

Della Casa, Girolamo, 157 Della Donna, Sergio (singer), 203 Della Valle, Pietro, XLV; 619, 628 Di Costanzo, Fulvio, prince of Colle d’Anchise, 152-155 Dognazzi, Francesco, 160 Donati, Giuseppe Maria (singer), 65 Doni, Giovanni Battista, XLI-XLIII, XLVXLV; 618, 624 Donnini, Nicolò, XXI Draghi, Antonio, 135, 140, 144-146, 182, 209, 212 Eggenberg, Johann Anton, duke of Krumau, XXXIII Enno, Sebastiano, 361, 427, 573, 607 Erasmus of Höritz, XLI; 624 Ercole, Domenico Antonio (publisher), L; 172, 331, 408, 628 Erulo, Antonio, LVII Este, Francesco I, d’, duke of Modena (d. 1658), XIV Este, Francesco II, d’, duke of Modena (d. 1694), 173, 407 Este, Rinaldo, d’, duke of Modena (d. 1737), XIV, LIII; 80, 82, 195, 209 Farina, Antonio, 392 Farinelli, Vittoria (singer), 21, 23, 81 Farnese, sister Francesca (Poor Clares), XXXVII

Farnese, Ranuccio II, duke of Parma and Piacenza, 298 Fattorini, Tebaldo, LXXII; 197 Fede, Gioseppe, XVIII Fede, Innocenzo, 215 Federici, Bonaventura (singer), 209 Fei, Andrea (publisher), 521, 525, 607 Fei, Giacomo (publisher), 492, 607, 611 Felici, Paolo, 331 Feo, Francesco, LXV Ferdinand Charles, archduke of Innsbruck (d. 1662), 389 Ferrari, Antonio (singer), LIII Ferrari, Benedetto, 157 Ferraris, Diego Domenico (publisher), 401 Ferri, Baldassare (singer), XX; 613-614

Ferrini, Antonio Romolo (singer), 208, 233-239 Ferrini, Carlo, XLVII; 301, 465, 467, 573 Ficeni (Ficieni), Luigi, 247, 287, 291, 357, 425, 428, 433, 435, 437, 439, 442, 446 Finalino (Gius. Maria Segni, singer), 267, 273 Foggia, Antonio, XXXVII; 144-145, 151, 573 Foggia, Francesco, XXXVII, LXIII; 151 Fontana, Girolamo, 221 Foresta, Nicolao (Nicola, Niccolò), 345, 347, 355, 359, 360-362, 369-370, 374-375, 377, 417, 423, 433-434, 438, 442-444, 449-452, 454 Franceschi, Antonio, LXXX; 99 Franceschini, Giovanni Battista (singer), 209 Franceschini, Petronio, LXXIII; 6-9, 14, 73-75, 77, 79, 573 Franchi, Giovanni Pietro, LXXV; 86, 277, 279-282, 573 Franci, Ippolito (singer), LIII Fregiotti, Dionisio, LV-LVI; 23, 380-381, 573 Fregiotti, Francesco (François Fresciot), LV

Fregiotti, Michele (singer), XIX, XLVI, LV; 23, 151 Freschi, Giovanni Domenico, LXXILXXIII; 6, 8, 14-15, 55-61, 64, 73-79, 133-134, 136, 191, 197, 240, 573, 627, 630 Frescobaldi, Girolamo, XIX, XXVIII, XXXVI, LXII; 158, 305, 441, 613, 618 Frigimelica Roberti, Girolamo, LXXVIIILXXX; 18, 24, 33, 45, 282 Frisari, Girolamo, XXXVI, LXXV; 6, 32, 73 Fusai, Ippolito (singer), LIII Fusetti, Giovanni Paolo, 135-136 Gabrielli, Domenico, LXXIV-LXXV, LXXVII; 24-28, 32, 83-86, 88-96, 98, 107109, 114, 163-169, 240-246, 250, 293-298, 573, 627

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637

INDEX OF NAMES

Gaffi, Tomaso, LXIV Gambari, Pietro, LXI Garghetti, Pietro (singer), XVIII Gargiera, Alessandro, LXXVII; 380 Gasparini, Francesco, LI; 29, 86, 240, 244-245, 352-354, 384, 481, 485, 583, 607-608 Gasparini, Michelangelo, LXXIX; 282, 284-286 Genari, Andrea (singer), LIII Generoli (Generale), Federico, 195 Gentilini, Matteo, 190 Gherardini, Rinaldo (singer), 270-271, 273, 276 Gian(n)ettini, Antonio (= Zanetti, Zanettini), LVII, LXXIII, LXXVII; 6-8, 11, 73, 76-77, 79, 114, 379-382, 385, 573-574 Giannini, Carlo (bookseller), 266, 480 Giannini, Giovanni Matteo, LXXII, LXXVII; 194, 228, 233, 251 Gigli, Carlo, LXIV Gigli, Girolamo, LI Giob, Giovanni (painter), LVI Girardini, Alessandro (singer), 33 Giustiniani Barberini, Olimpia, princess of Palestrina (d. 1729), XV, XXXII, LXVII; Illus. 3; 72, 391, 396, 401 Giustiniani Savelli, Caterina, princess of Albano, 72 Godbid, William (music printer), 138, 197, 610 Godi, Giovanni Cesare, LXXX; 33, 575 Gonzaga-Nevers, Ferdinando Carlo, duke of Mantua, LIII González de Salas, Jusepe Antonio, XLIII Gori, Anton Francesco, XLII Graziani, Bonifacio, LXIII, LXIV; Illus. 4 Grazini, Antonio Maria (Grazzini), 418 Greggiati, Giuseppe, 105 Gregory XV, pope, XIX Grimaldi, Nicola, “Nicolino” (singer), 128, 179, 183 Grimani, Vincenzo, LXXV; 24, 32 Gringher (Ghering), Angiola (singer), 24

Groppo, Antonio, 16, 23, 44, 54, 56, 61, 64, 79, 97, 114, 286, 458, 618 Grossi, Giovanni Francesco, “Siface” (singer), 65 Guarini, Battista, 156-157 Guazzi, Eleuterio, 157 Guidiccioni, Lelio, XLII-XLIII; 287, 289, 449, 450 Handel, George Frideric, 77, 120, 183, 216, 353, 483, 611, 626 Haym, Giovanni Antonio, XXXIV, LVII; 625 Haym, Nicola, 183 Headly, Erin, 356 Hugh of St. Victor, XLI Innocent X, pope, XXXVIII, 525, 532 Isidore of Seville, XLI, XLIII

LXVIII;

300,

Jannese, Nicola, 473 Janson, card. Toussaint de Forbin de, 303, 467 Jommelli, Niccolò, LXV Josquin des Prez, 308, 527 Jourdain, Geoffroy (Cris de Paris), 320, 416 Kapsperger, Giovanni Girolamo, XXIV, XXXI, XXXVI, XLVI, LX, LXI; Illus. 9; 128-129, 131, 156, 161, 163, 247, 573, 609 Keiser, Reinhard, 142 Lamare, Carlo di (dance master), LV Lanciani, Flavio Carlo (music copyist and composer), XXX-XXXII, LXIV; Illus. 7; 139, 150, 173, 176, 181, 184, 189-190, 198, 203, 208, 228, 232, 239, 244, 257, 261, 265, 278, 280, 353-355, 515 Lanciani, Tarquinio (music copyist), XXX, L-LI, LVI, LVIII; 143, 173, 196, 199, 353-354, 406, 480, 489 Landi, Giovani Battista, LXXIV; 144, 151 Landi, Lorenzo (publisher), 605, 612

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638

INDEX OF NAMES

Landi, Stefano, XIX-XXII, XXIV, XXXVI, LX, LXII, LXXI; 620 Landini (di Castelnuovo, later Conti), Maria (singer), 54 Lauber, brothers, LV Lazzarini, Gregorio, XIX Legnani (Lignani), Angelo Domenico, 12, 84 Legrenzi, Giovanni, LXXII; 6, 9-14, 1617 Lemene, Francesco de, LXXIII; 137, 140 Leo, Leonardo, XXVII; 489-492 Leonardi, Donato Antonio, 380 Leone, Francesco (bookseller), 275 Leonelli, Malatesta, LXII Leopardi, Venanzio, 348 Leveridge, Richard (singer), 106 Liberati, Antimo, 155, 185, 222-224, 573 Liberti, Vincenzo, LX; 157 Lisi, Paolo (music copyist), XXX, L Livaldini, Giovanni Battista, 179 Lonati, Carlo Ambrogio, XLVII; 138, 144-145, 332, 334, 336, 573, 609, 617 Longhini, Marco, 71 Longo, Tarquinio (publisher), 494, 609 Lorenzani, Giovanni Andrea, 173 Lorenzani, Paolo, XXXIX; 184, 349, 419, 422, 573 Lori, Arcangelo, XXI; 573 Lotti, Antonio, LXXVIII; 115, 117-118, 121, 573 Lotti, Giovanni, XXI, XXXIX, LXIX; 6566, 223, 246-248, 279, 287-291, 317326, 339, 341-343, 345-349, 351, 355, 357-365, 367, 370-376, 415433, 435, 438, 440-447, 449, 451, 454, 483-484, 498, 614, 621 Louis de France, duke of Brittany (d. 1705), 467 Louis, duke of Burgundy, “le petit dauphin” (d. 1712), 480 Lucini, Giovanni Battista, LXXVI; 164, 182-183, 244 Lulier, Giovanni Lorenzo (“Giovannino,” “del Violone”), XXXIV, LXXVII;

163, 168-169, 171, 173, 177, 179181, 183, 281, 295, 352-355, 381, 386, 573 Lully, Jean-Baptiste, 233, 237, 573 Maderni, Carlo (librettist), LXXII; 55, 57 Magalotti Barberini, Costanza, duchess of Monterotondo (d. 1644), XIV Mag(g)ioni, Giuliano (singer), XXI Magli, Egidio, XXXVIII; 328 Maidalchini, card. Francesco, XXIV, LXVIII; 225 Maietta, Gioseppe Ambrogio, 407 Mancia, Luigi, LVII, LXIV, LXXX; 57, 81, 120, 127, 199-204, 207-208, 242, 262, 264-266, 481-483, 487, 573 Mancini Colonna, Maria, princess of Paliano, XXV; 140, 617 Mancini, Francesco, LXV; 120, 380, 383, 573, 630 Mandosio, Prospero, XXXVIII; 328, 401, 480, 621 Marazzoli, Marco, XXI, XXIV-XXV, XXVIII, XXXI, XXXVI-XXXVIII, XL, XLIX-L, LXIII, LXIX, LXXI; Illus. 11-12; 68-69, 151, 154, 156, 158-160, 163, 222, 224, 246, 250, 317-318, 320-321, 326, 328, 343, 367, 391-392, 394, 397-398, 415-416, 418, 504, 506, 508-510, 514-515, 517, 573, 608, 624, 630 Marchesi, Faustin (singer), 115 Marchi, Antonio, LXXIX; 18 Marcorelli, Giovanni, 246, 248, 251, 573 Marenzio, Luca, 156, 574 Margherini, Francesco, 155, 574 Mariana of Neuburg, queen of Spain (d. 1740) Marie Adélaïde of Savoy (d. 1712), 468 Marini, Biagio, 159, 610 Martinengo, Francesco, lxxx; 115-116, 121-122, 124-126, 574 Martijs, Giuseppe de (publisher), 302 Marzari, Antonia (singer), 286 Mascardi, Vitale (publisher), XVIII; 507, 611, 613, 628-629

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INDEX OF NAMES

Masci, Domenico (publisher), 314, 329, 457 Masini, Antonio, 137, 574, 576 Masotti, Paolo (publisher), 524-525, 527, 609 Massimi, card. Carlo Camillo de’, 399, 401 Maximilian II Emanuel, duke of Bavaria (d. 1726), 176 Mazarin, card. Jules, XXI Mazzaferrata, Giovanni Battista, 332333, 453, 574, 610 Mazzella, Salvatore, XXI Mazzocchi, Domenico, LX, LXII; 630 Mazzocchi, Virgilio, XIX-XX, XXII, XXIV, XXXII, XXXVII, XLIII, XLVIII, LXIX, LXXI; 502-503, 511, 513, 574, 608, 624, 627-628, 630 Medici, Ferdinando de’, grand prince of Tuscany (d. 1713), 208 Medolago, Antonio, LXXII; 197 Meibom, Marcus, XL Melani, Alessandro, XXXV, LXXII, LXXIV; 169-171, 173, 188-189, 191, 193, 196, 269-270, 481-482, 487, 533, 574, 608, 630 Melani, Atto, 186, 608, 617, 630 Melosio, Francesco, 65-66, 152, 154, 339, 391, 393, 396, 619, 622 Méndez de Haro, Gaspar, 7th marquis of Carpio, 401 Meniconi, Marc’Antonio, cavaliere, 345-346, 435 Mercati, card. Giovanni, LXVIII; 411 Micheli, Romano, XIX, LX Michi, Orazio “dell’arpa,” XXXI; 156159, 162-163, 442, 574, 615 Mignati Musi, Maria Maddalena (see under Musi) Milanuzzi, Carlo, 130, 492, 574, 610 Millini, card. Savo, 208 Millioni, Pietro, 129, 492-493, 574, 610 Minato, Nicolò, LXXI-LXXII, LXXVII, LXXX; 115, 121-122, 134-136, 140, 143-144, 168, 209, 225, 240, 244-245 Mini, Bonaventura (music copyist), 493 Moccia, Beatrice, 155

639

Molina, Tirso de, 407 Molo, Giovanni Battista (publisher), XXXIII; 407 Monesio, Giampietro, 184-185, 387, 622 Montagu, Charles, earl of Manchester (d. 1722), 97 Montevecchi, Giulio, LXXII; 196 Monti, Giacomo (publisher), 332, 335, 383, 605, 610 Monticelli, Angelo Antonio (publisher), 401 Morales, Cristóbal, XVII, XXXIV; 307309; 532-533, 574, 610 Morelli, Cesare, 68 Moretti, Carlo, XX, XXII Moretti, Gordiano, XXXVII Morselli, Adriano, LXXIV-LXXVIII; 24, 83, 88, 106-107, 115, 163, 168, 195, 203, 228, 232, 240, 244, 251, 262, 293 Mouton, Jean, 307 Mozzi (Moggi), Pietro (singer, basso), 233-236, 238-239 Mugnai, Margherita (singer), 99 Musi, Maria Maddalena, “la Mignatta,” (singer), 128, 298 Muti Barberini, Teresa, duchess of Rignano (d. 1711), XV Mutii, Giovanni Angelo (publisher), 333, 607 Nanino, Belardino, 157 Nannini (also Nasini), Livia (singer), 54 Nannini, Lucia (singer), 54 Nardelli, Giovanni, 481-482, 487, 574 Navarra, Francesco, LXXIX; 33, 36, 4041, 43-44, 574 Navarra, Girolamo (singer), XXXVI Negrenti (see Legrenzi) Negrenzi (see Legrenzi) Neri, Giovanni Battista, LXXVII, LXXIX; 33, 379, 383 Nerola, prince of (see Orsini, Flavio) Nicolini, Bartolomeo (singer), XXXVI Nicolini, Francesco (publisher), 16, 23,

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INDEX OF NAMES

31-32, 44, 54, 64, 79, 117, 176, 195, 232, 286 Noris, Matteo, LXXII-LXXIII, LXXVIILXXX; 6, 18, 33, 45, 64, 73, 115, 122, 134, 192, 194-195, 203-204, 228, 232, 251, 257, 262, 266, 282, 380, 386 O’Reilly Graham, 318 Olivieri, Angelo, don, XXVI, XXXIV, XXXVI, XLIX, L, LXXIII; 82, 84, 87, 144, 149, 213, 218-219, 221-222, 399403, 574 Olivieri, Angelo (saddlemaker), XXVI Ongaro, Antonio, 156, 624 Oreglia (see Aurelia) Orelia (see Aurelia or Oselia) Orlandi, Camillo, 157 Orsini, Flavio, prince of Nerola, then duke of Bracciano, LI, LXXIV; 360, 363, 366, 370, 377, 417, 421-422, 433, 435, 443, 477, 480-481 Orsini, Lelio, prince of Vicovaro, LXIX; 360, 363, 368, 370, 376-377, 397398, 417, 423, 433, 435-436, 438, 449-450, 453-454, 613, 614 Orsini, Marzio, marquis (of Penna), 360, 366, 449, 453 Orsini, card. Virginio, 345, 350, 417, 419 Oselia (Orelia), Giovanni Secondo (singer), 229, 233-236, 238-240, 252 Ottoboni, Antonio, prince of Soglio, 106, 182 Ottoboni Barberini, Cornelia, princess of Palestrina, XV, XXXIII, LXIV; 182 Ottoboni, Marco, duke of Fiano, 182 Ottoboni, card. Pietro, XIX, LVII; 24, 84, 169, 177, 183-184, 212, 233, 239, 244-245, 264, 276, 281, 353-355, 616, 621, 629 Pacieri, Gioseppe, 188, 574 Paglia, Francesco Maria, LXXX; 99, 353 Palavicino, Benedetto, 56 (see also Pallavicino, Carlo) Palestrina, Giovanni Pierluigi da, XVII,

XXXIV-xxxv; 307, 309-314, 531-534, 574, 610 Pallavicini Rospigliosi, Maria Camilla, duchess of Zagarolo, 266, 281 Pallavicino, Carlo, LXXII-LXXIV, LXXVIII; 19, 46, 55-56, 88, 93-96, 99-100, 191-192, 194-195, 199, 258-261, 266-273, 275, 574, 607, 610, 627 Palmer, Roger, earl of Castlemaine, XXXIV

Pamphili, card. Benedetto, LIII, LXVIII, LXXIV; 169, 172-173, 190, 196, 199, 262, 281, 354, 380, 382, 386, 407, 622 Pamphili, Giovanni Battista, prince of Valmontone, 143 Pancieri, Giulio, LXXVI; 106-107, 114 Paris, Nicola (singer), 54, 281 Parrino, Domenico Antonio (publisher), 497, 627 Partenio, Giovanni Domenico, LXXI, LXXIII; 6, 9, 14-15, 73, 75, 78-79, 122, 135-136, 200-202, 483, 574 Partridge, Richard, 318 Pasqualini, Marc’Antonio, XXI, XXV, XXVII-XXVIII, XXXI-XXXII, XXXVI-XL, LXIX; 151-152, 156, 158-163, 222224, 246-248, 277, 279, 287-293, 318-329, 336-352, 355-379, 391, 394-395, 398, 415-455, 481, 483485, 498-499, 501-502, 504, 506508, 518-519, 531, 533, 574, 608, 614-615, 623, 626 Pasquini, Bernardo, XXX-XXXI, XXXIX, LXXII, LXXIV-LXXVIII; 21, 80, 82, 133134, 136, 138, 140-146, 148-150, 169-171, 173, 183, 188-194, 196, 199, 212-217, 221, 277-278, 280281, 481, 485, 488, 574, 605, 610, 616, 622 Paul V, pope, XIX Pergolesi, Giovanni Battista, 185 Peiresc, Nicolaus, XLI Perti, Giacomo, LIX, LXIV, LXXVI-LXXVII, LXXX; 25, 28-32, 106, 109, 111-112, 114-116, 121-122, 124, 199, 202-

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INDEX OF NAMES

208, 228-232, 251-255, 257, 282286, 316-317, 331, 380-381, 386, 477 Perti, Mario, 225 Pertica, Giovanni (music copyist), 172, 354 Pertici, Giovanni Maria (music copyist), 262 Perugina, Faustina (singer), 115 Petrarca, Francesco, 345, 349, 449 Petrobelli, Francesco, 370, 437 Petti, Paolo, 144, 150-151, 277, 280, 574 Pettricioli (Petriccioli), Giovanni Battista (singer), 267 Pfammatter, Bernhard, 328 Pia, Margherita (singer), LIII; 65, 195 Piccolomini card. Aeneas (see Pius II) Pignani, Girolamo, 138, 194, 610 Pignataro, Titta, 341 Pignatta, Pietro Romolo, abbot, LXXIX; 33, 38-41, 43-45, 48-49, 51, 53, 54 Pini, Maria Domenica, “Tilla” (singer), 128 Pio di Savoia, Ascanio, LXIII Pio di Savoia, card. Carlo jr, 401 Pippi, Mario, “Mariuccio” (singer), 184, 208 Pisari, Costantino (publisher), 401 Pistocchi, Francesco Antonio, “Pistocchino” (singer), 99, 114, 192, 202, 233-235, 237, 239, 264, 275-276, 298 Pius II, pope, XXXIV; 5 Pius X, pope, LXVIII; 344 Pius XII, pope, LXVIII; 411 Playford, John (music publisher), 138, 197, 610 Polacchine, le (singers, see Nannini) Pollarolo, Carlo Francesco, LXXVIILXXX; 17-24, 33-54, 115-125, 203, 228-239, 251-252, 256-257, 262, 264, 279, 282-286, 574, 608, 628 Pollarolo, (Giovanni) Antonio, 46, 50 Pollioni, Alessandro, LXXVII; 485 Pomatelli, Bernardino (publisher), 23 Pontissi, Lucrezia, “la Trombettina” (singer), 233-234, 239, 386 Porfiri, Pietro, LXXVIII; 258, 266, 275 Pozzo, Cassiano dal (see Dal Pozzo)

641

Pradon, Nicolas, LI Predieri, Antonio (singer), 298, 483 Priuli, Giovanni, LX Proske, Carl,, 314 Provana Tana d’Entraque, Maria Margherita, 491 Quinault, Philippe, 233, 237 Raggioli, Giulio Cesare, LXIX, 138, 140, 184, 187, 337-338, 614 Rainaldi, Carlo, 155, 186, 222, 224, 574, 621 Reali Pavia, Angela (widow of painter Francesco Pavia), LVII Reggio, Pietro, 129 Riccardini, Giacomo (singer), LIII Riccioni, Barbara, “la Romanina” (singer), 91, 99, 114 Richafort, Jean, 308 Rinaldino (see Gherardini, Rinaldo) Rinuccini, Ottavio, LXXI Rivani, Antonio (singer), LIII Rizzi, Urbano, 485 Roberti, Giovanni Battista (singer), 203 Roger, Estienne (publisher), 334, 336, 606 Romana, Giulia (singer), 65 Romanis, Vincenzo de (bookseller), XXXIV

Rontani, Raffaello, 130, 157, 574, 611 Rosa, Salvatore, 387-388, 504, 621 Rospigliosi, card. Giacomo, XLIX; 6566, 246, 250, 510, 514, 516-517 Rospigliosi, Giovanni Battista, 1st duke of Zagarolo, 86 Rospigliosi, card. Giulio, later Pope Clement IX, XX, XLVIII-XLIX, LXXI; 65-66, 68, 246, 250, 292, 452, 510, 512-516, 518, 520, 620, 623 Rospigliosi, Vincenzo, cav. di Malta, 517 Rossi, Antonio Agostino de, 381 Rossi, Francesco, XXII Rossi, Giovanni Carlo, XXIII Rossi, Luigi, XXI, XXIII, XXXI, XXXV, XXXVIII-XXXIX, XLVI, XLIX, LXXI; Illus. 10; 62, 66, 69-70, 72, 132-133,

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642

INDEX OF NAMES

151-154, 222-223, 246-248, 277, 279, 287-293, 306, 318-320, 322, 324, 326, 328, 337, 339, 340-345, 347, 349-350, 352, 355-356, 358, 360-363, 365-368, 377-378, 387-388, 391-395, 397, 399, 416-420, 423, 425, 428, 433, 439, 442-443, 445, 452-453, 455, 489, 497, 504-510, 517-520, 574, 608, 610, 615, 618, 625, 627, 630 Rossi, Michelangelo, XXIV, LXII, LXXI Rossini, Andrea, LXXIII; 6, 73 Rusticucci, card. Girolamo, XVII Rusticucci, Marietta, XVII Sabadini, Bernardo, LXXV, LXXVII-LXXVIII, LXXX; 33, 36-37, 43, 83, 85, 107108, 199, 202-203, 213, 218-220, 222, 240, 258, 262, 264, 266, 275, 293-299, 574 Sabbatini, Pietro Paolo, LXI, LXIII; 154, 505, 507, 611 Sacco, Giovanni, 142 Saint Dymphna (see St. Dymphna) Sances, Giovanni Felice, 156, 160, 444, 450, 574 Sances, Lorenzo, XXI, XXXVI Sant’Agata, Tomaso da, LXII Saracini, Claudio, 157 Sarriano, Anello, 494-497, 627 Sarro, Domenico, 270 Sartorio, Antonio, XXV, LIV, LXXI-LXXIII; 6-8, 15, 64, 73-74, 76-79, 133, 135137, 191, 193, 218-219, 574, 611, 629 Sartorio, Gasparo, LXXI Sassani Matteo,”Matteuccio” (singer), LIII, 128 Savelli, card. Fabrizio (d. 1659), LXVIII; 65, 71-72 Savelli, Federico, 1st prince of Albano (d. 1649), 72 Savelli, Giulio, 3rd prince of Albano (d. 1712), 72 Savelli, card. Paolo (d. 1685), 72 Savioni, Mario, XL, LXIII; 70, 151, 155, 222-225, 246, 248-249, 287, 341,

395, 432, 447, 453, 506, 574, 608, 611, 630 Scaccia, Giuseppe (singer), 99, 202 Scandalibene, Pietro Paolo (singer), 54 Scarabelli, Diamante Maria (singer), 54, 286 Scarlatti, Alessandro, XXVII, XLVI, L-LI, LV-LVIII, LXIV, LXXIII-LXXVI, LXXVIIILXXX; 12, 20-21, 38, 41-48, 50, 52, 54, 76, 82, 84-86, 94-95, 99-105, 115-116, 119-128, 140-144, 148-149, 151, 164-165, 168-169, 171, 173, 177-179, 181-184, 186-187, 189, 190-192, 195, 200, 202, 206, 208, 213, 215-218, 221, 240, 245, 277280, 293, 299, 352, 380-381, 383384, 386, 477, 478-481, 487, 565, 574, 605, 611, 615-616, 619, 621622, 626-627, 629-630 Scarlatti, Domenico, 34-36, 282-284 Scutarini, Orazio (singer), 203, 266, 483 Selleri, Gregorio, 458 Selleri, Nicolaus, 458 Seneca, Lucius Annaeus, XLIII Serafini, Giacinto, XX Severi, Francesco, 158, 441 Sforza Pallavicini Rospigliosi, Maria Camilla, princess of Gallicano; see Pallavicini Rospigliosi, M.C. Sicardi, Filippo (singer), 455, 457 Sigler de Huerta, Antonio, 515-516 Silvani, Francesco, LXXVI-LXXIX; 18, 25, 32, 115, 173, 176, 228, 232, 251, 282 Silvani, Marino (publisher), 383, 605 Simonelli, Matteo (singer), XXI Sinibaldi, Giacomo, LXIV, LXXVIII Sirleto, Fabrizio, bishop of Squillace, 503 Spada, Laura (singer), 33 Spagna, Arcangelo, L, LII, LXV, LXXV; 331, 405, 407-409, 411, 413-414, 482, 486, 628 Sperati, Gaetano (trumpeter), LVII Speroni, Giovanni Battista (singer), 298 Spinola, Paolo, marquis of Los Bal-

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INDEX OF NAMES

bases, duke of San Severino and Sesto, 69 Sportonio, Marc’Antonio (singer), 357, 425, 432 St. Dymphna, 169 St. Louis, 523 Stampiglia, Silvio, LXXX; 209, 225, 240, 245, 262, 275 Steffani, Agostino, 12, 84 Stokowski, Leopold, 392 Strada, Anna Maria (singer), 183 Stradella, Alessandro, 145, 178, 185, 191-192, 194, 196, 277, 343, 398, 447, 506, 574, 618, 622, 630 Tacchinardi, Guido, 392 Tafani da Barberino, Francesco di Carlo (1528-1600), XVII Tagliavacca, Angelo Maria (singer), 208 Talbot, Charles, duke of Shrewsbury, 303-304 Talianni, Filippo, LV Tana d’Entracque, Filippo, marquis d’Entrèves, XXVII; 489, 491-492 Tarditi, Orazio, 155, 431, 444, 450, 611 Tarquini, Vittoria, “la Bombace” (singer), 33, 115, 122, 126, 128 Tassis, Michele de, marquis of Paul, L; 407 Tasso, Bernardo, 492 Tasso, Torquato, 156, 265 Téllez-Girón y de Sandoval, María de Las Nieves, duchess of Medinaceli, 275 Téllez-Girón y Gómez de Sandoval, Isabel María, duchess of Uceda, 302303 Tenaglia, Francesco Antonio, 136, 188189, 249, 346, 394, 396, 574 Teodoli (see Theodoli) Terentio, Belardino (see Terenzi, Bernardino) Terenzi, Bernardino (music copyist), XXX-XXXI, XLIX; Illus. 15; 72, 346, 352, 360, 369, 418, 422, 424, 513, 515 Testi, Diana (singer), 115

643

Theodoli, Carlo, 4th marquis of S. Vito, 345, 347, 449-450, 455 Theodono de Caprio, XLI Tibaldi, Giovanni Battista (trumpeter), LVII, LXV Tiepoli, Pasqualino (singer), 168, 184 Tiriempac (Dürrenbach?), Giovanna, countess of, 389 Tofini, Giulio, Illus. 8 Tomasi, Giovanni Battista, LXXII; 55, 58-63, 574 Tonalli, Francesco, 431 Torelli, Gasparo, 97, 114 Torri, Anna Maria, “Beccarina” (singer), 298, 386 Torri, Pietro, 216 Torscianello, Henrico, 157 Toschi, Antonio Alessandro, 401 Tosi, Giuseppe Felice, LXXV-LXXVI; 2428, 106, 108-115, 574 Tozzi, Francesco, XXI Tubéry, Jean, 71 Urban VIII (Maffeo Barberini), pope, XIV, XVII, XIX-XX, XXXII, XLII, LX, LXVII; 293, 329, 331, 503, 613, 619 Urbani, Valentino (singer), 114 Vagni (Bagni), Pietro, XXXII; 407 Vai, Stefano, 153, 287, 290, 293, 391, 394 Valentini, Giuseppe, LXV Valentini, Pier Francesco, XXXII, XXXV, XLIV-XLV, LXVIII; 157, 520-528, 531534, 574, 615, 618, 620, 623 Valvasense, Giovanni Francesco (publisher), 195 Vanarelli, Francesco Antonio, LXXX; 115, 122, 124-126, 574 Vanderman, Thomas, 149, 611 Vannino (Vanini), Pietro Paulo, 506 Varini, Carlo, LX Varischino, Giovanni, 12 Vecchi, Gioseppe, XXV; 134, 138-139, 184, 187, 191, 197-198, 574 Veliosi, Francesco (see Vezzosi) Veltroni, Vincenzo Maria, abbot, LXXIII; 198

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644

INDEX OF NAMES

Ventimiglia Pignatelli Barberini, Felice, princess of Palestrina, XV, XXXIII, LXIV; 203, 209, 266, 386, 483 Venturini, Clarice Beni (singer), 114 Verdelot, Philippe, 308 Vezzosi, Francesco, LIV-LV Villifranchi, Giovanni Cosimo, 192 Vincenti, Alessandro (publisher), 431 Visconti, Gaspero, XLV Vitali, Filippo, XXIV, XXXVI, LX, LXII, LXXI; 441, 450, 612 Vitali, Tomaso Antonio, XLVII; 481, 482, 574 Vitry, Philippe de, XLI Vittori, Loreto, XIX, XXIV, XXXVI, LXII, LXXI; 222, 224, 574, 720 Vittorio Amedeo II, duke of Savoy (d. 1732), 208, 491 Viviani, Giovanni Bonaventura, LXXII; 133-134, 136, 191, 193, 197, 574 Wartenberg, Franz Wilhelm von, bishop, XX

Wáadysáaw IV, king of Poland, XIX Wright, John Michael, 172 Zagarolo, duchess of (see Pallavicini Rospigliosi, Maria) Zampetti, Girolamo (singer), XX, XXII Zanardi, Carlo Antonio (singer), 184, 203, 266, 483 Zanetti (see Gianettini, Antonio) Zan(n)etti, Bartolomeo (publisher), 309 Zanettini (see Gianettini, Antonio) Zannoni, Angelica (singer), 114 Zeno, Apostolo, LXXIX; 18, 33, 45, 123 Ziani, Marc’Antonio, LXXIII, LXXV-LXXVI, LXXVIII-LXXX; 6-8, 15, 17-27, 2931, 33, 38-39, 41-52, 54-55, 61-62, 73-74, 76-79, 81-82, 95, 106-107, 110-112, 114-115, 117-118, 121, 123, 173-176, 228-230, 232, 251, 255, 256, 574, 627 Ziani, Pietro Andrea, XXV, LXXI-LXXII, LXXIV; 133, 136, 191, 193-195

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