George Frideric Handel: Aria ‘E troppo bella troppo amorosa la Pastorella’, part of the cantata ‘Ho fuggito Amore anch’io’ (HWV 118), for voice and basso continuo
Scope & Content:
Autograph score. Written in ink on systems of two staves: vocal line in the alto clef and figured bass. In D; tempo direction ‘allegro’ (f. 1r). Annotations by Vincent Novello in the upper margin of f. 1r record that the manuscript formerly belonged to Domenico Dragonetti and attest to its authe...
George Frideric Handel: ‘Floridante’, opera in three acts (libretto Paolo Antonio Rolli): final chorus ‘Quando pena la costanza’ from Act III
Scope & Content:
Autograph full score. Written in ink on systems of nine staves. No tempo direction. Headed ‘Coro’ (f. 1r) and with ‘Fine dell’ Opera à Londres ce 28 de Novembre 1721’ at the end (f. 4r). Part of Handel’s composition score of the opera. The discovery of this hitherto missing conclusion to the c...
George Frideric Handel: Oratorio ‘Joseph and his Brethren’ (words James Miller, after the book of Genesis), 1743: recitative ‘With Songs of ardent gratitude, and Praise’
Scope & Content:
Autograph score. Written in ink on systems of two staves: vocal line in the alto clef and figured bass. Headed ‘Joseph’ in the upper margin, the music followed by ‘Segue il Coro Alleluja we will rejoice’, and with ‘Fine dell oratio. [sic] Joseph’ in the lower margin. Joseph and his Brethren wa...
Autograph full score. Written in ink on systems of 12 staves. Signed and dated on the title-page (f. 1r): ‘Sinfonia in C / di me giuseppe Haydn m[anu] p[ro]pria London. 792 [line above]’. In four movements, as follows: ff. 1v-13r. ‘Adagio (f. 1v) - Vivace’ (f. 2r). The first page of music (f. ...
Joseph Haydn: Piano trio in E flat minor (Hob. XV:31)
Scope & Content:
Autograph score. Written in ink on systems of four staves. In two movements, as follows: ff. 1v-5r. ‘Andante’; instrumental lines marked ‘Violino’, ‘Cembalo o p:f:’ and ‘Violoncello’ (f. 1v). Headed ‘In Nomine Domini’ and ‘di me giuseppe Haydn m[anu] p[ro]pria / 795 [line over]’ on f. 1v. ff...
Joseph Haydn: Variations in G on the anthem ‘Gott erhalte den Kaiser’, for keyboard; theme and Variation I
Scope & Content:
Autograph. Written in ink on systems of two staves, on the recto of a single leaf. The theme occupies the bottom four staves, and Variation I the upper eight staves. No key signature is given, and tempo directions and expression marks are also absent. On the verso is a note of authenticity, in I...
Michael Haydn: String quartet in B flat, ‘Divertimento Notturno’ (Perger 125)
Scope & Content:
Incomplete, lacking the last 100 bars of the final ‘Rondeau’. Autograph full score. Written in ink on systems of four staves. Headed in upper margin of f. 1r ‘Divertimento notturno. à 4. 2 Violini, Viola e Basso.’, with the signature ‘di G. Michele Haydn m[anu] p[ropr]ia’. Comprising the followi...
Paul Hindemith: Kammermusik no. 2 (Piano Concerto), op. 36, no. 1, for piano and 12 solo instruments: draft of the first and last movements
Scope & Content:
Autograph. The last movement incomplete. In short and condensed score. Written in pencil and ink on systems of two to six staves. No tempo directions. In a small notebook, the two movements written from opposite ends of the volume. At some stage Hindemith wrote in titles for both movements, and ...
Nicolò Jommelli: Aria ‘Per voi Donzellette sospiro’, for bass voice and orchestra
Scope & Content:
Autograph full score. Written in ink on systems of 10 staves. In D; accompaniment scored for 2 violins, 2 oboes, 2 flutes, 2 horns, viola [?] (marked to play with the bass throughout), and unfigured bass. In 3/4 time; the end is followed by a single bar of the vocal line in 2/4, with the text ‘B...
Johann Ludwig Krebs: Chorales ‘Treuer Gott ich muss dir klagen’ in G, for oboe d’amore and organ, and ‘Wie schön leuchtet der Morgenstern’ in E, for oboe d’amore [or oboe?] and organ
Scope & Content:
Both incomplete. Autograph score. Written in ink on systems of four staves. A single leaf, originally part of a bifolium, with the page nos. ‘1’ at top left of the recto and ‘4’ at top right of the verso, apparently not in the composer’s hand. Contents: Recto. The first 18½ bars of ‘Treuer Got...
