R.M.19.a.1

ROYAL MUSIC COLLECTION. G.F. Handel: Miscellaneous collections and selections vol. XVII; circa 1740. Copy. Full scores, unless otherwise described. Aylesford Collection.

ff. i + 171. 8.25 x 11 in.

1. ff. 2-25v. ‘Ah crudel nel pianto mio’. Cantata ‘Composto a Roma per il Sgr. Marchese Ruspoli da G. F. Handel’. (H-G. LIIa). [HWV 78] For another copy see R.M.19.d.10

2. ff. 26-61v. ‘Da qual giorno fatale’. Cantata. (H-G. LIIa). "Delirio amoroso" [HWV 99]. Autograph lost.

3. ff. 62-65v. Overture to Esther, for Harspichord.

4. ff. 66-69v. ‘Sinfonia dell’Oratorio Athalia’, for Harspichord.

5. ff. 70-71v. ‘Nell’amor, nella speranza’ ‘Song in the Opera of Scipio’. (Not in H-G LXXI. Cfr. Musical Antiquary, July 1991, p. 215).

6. ff. 72-78v. ‘Signor lo credi a me’ ‘Alter’d twice; in Admetus’. Version A of two, neither in H-G. LXXIII, for Bass.

7. ff. 72-78v. ‘Signor lo credi a me’ ‘Alter’d twice; in Admetus’. Version B of two, neither in H-G. LXXIII, for Tenor.

8. ff. 79-80v. Overture to Alexander’s Feast, for Harpsichord.

9. ff. 81-85v. ‘He sung Darius great and good’ (Alexander’s Feast)

10. ff. 86-89v. ‘Behold a ghastly band’ (Alexander’s Feast).

11. ff. 90-110v. ‘Organ part (‘Organo, Tasto solo e l’ottava bassa per tutto’) to Alexander’s Feast. The recitative ‘Timotheus, plac’d on high’ is followed by a ‘Concerto per il Lioto e l’Harpa’, and Organ; the Second Part begins with a Concerto; the chorus ‘Let old Timotheus’ is followed by a ‘Concerto per l’Organo’ (no music) an the figured bass part of the chorus ‘Your voices tune’, leading without break to ‘Let’s imitate her notes’ (here a chorus) with which the work ends. As to these differences from H-G. XII, see the 1738 edition of th Ode; neither contains the Concertos.

12. ff. 111-112v. Overture to Arminio, for Harpsichord.

13. ff. 113-114. ‘Olà! custodi’, Recit., with figured bass, from Arminio, Act II, sc. 9.

14. ff. 114v-115. ‘Sei pur sola’, Recit. with figured bass, from Atalanta, Act II, sc. 2.

15. ff. 115v-116v. ‘Un incognito affanno’, recit. ‘con stromenti’, from Alessandro Severo, Act III, sc. 5 (not in H-G.).

16. ff. 117-120. Overture to Giustino, for Harpsichord.

17. ff. 120v-121. Minuet from the Overture from Tamerlano, for Harpsichord.

18. ff. 121v-122v. Adagio and Minuet, from the Overture from Tamerlano.

19. ff. 123-125v. Overture to Berenice, for Harpsichord.

20. ff. 126-127v. Overture to Faramondo, for Harpsichord.

21. ff. 128-131v. ‘Cosi suole a rio vicina’ ‘an unfinish’d song’, in Faramondo, Act III, sc. 3 (not the setting in H-G. XCI).

22. ff. 132-133v. ‘Ascolta degli Elisi’, accompanied recitative in Faramondo, Act I, sc. 1.

23. ff. 134-140. Overture to Alessandro Severo (H-G. XLVIII, p. 104).

24. ff. 140v-144. Overture to Alessandro Severo, for Harpsichord.

25. ff. 144v-147v. Overture to Serse, for Harpsichord.

26. ff. 148-150v. ‘Now when I think thereupon’, recit. from ‘As pants the hart’ (Chandos Anthem VIb, H-G. XXXIV, p. 254).

27. ff. 151-158. ‘Adagio, a new Introduction of ye 4th Organ Concerto’ (Op. 7, No 4. A longer version than that in H-G. XXVIII, p. 115).

28. ff. 158v-160. March (H-G. XLVIII, p. 142).

29. ff. 160v-171v. ‘Ten [or rather, eleven] tunes for Clay’s Musical Clock’. [See also E. Crof-Murray, ‘The Ingenious Mr. Clay’, in Country Life, 31.12.48.].

(a-c) ff. 160v-164. Three unnamed pieces.

(d) ff. 164v-165. [‘Vola l’augello’] from Sosarme.

(e) ff. 165v-166. Allegro, unnamed.

(f) f. 166v. [‘Alla fame dimmi il vero’] from Ottone.

(g) f. 167. [‘Deh! lascia un bel desio’] from Arianna.

(h) ff. 167v-168. Allegro, unnnamed.

(i) ff. 168v-169. [‘Dell’onda ai fieri moti’] from Ottone.

(k) ff. 169v-170. [‘In mille dolci modi’] from Sosarme.

(l) ff. 170v-171. Unnamed piece.

George Frideric Handel, composer: Music manuscripts: 18-19th cent: Ital, Eng: Copies.

includes:

• ff. 2-25 Francesco Maria Ruspoli, Marquess: Handel's cantata "Ah crudel nel pianto mio" (HWV 78) dedicated to: 18th cent: Ital.
• ff. 26-61 Benedetto Pamphili, Cardinal, writer: Handel's Cantata 'Delirio Amoroso: Da quel giorno fatale' (HVW99) to a text by Benedetto Pamphili: 18th cent: Ital.
• ff. 62-65 Jean Racine, French poet: Dr John Arbuthnot, physician and wit: Alexander Pope, poet: Selections from Handel's 'Esther' (HWV50) to a libretto by Alexander Pope, and Dr John Arbuthnot after a text by Jean Racine: 18th cent.
• ff. 70-71 Paolo Antonio Rolli, dramatist: Selections from Handel's 'Scipione' to a libretto by Paolo Antonio Rolli: [circa 1726-circa 1742]: Ital.
• ff. 72-78 Bartolomeo Ortensio Mauro, librettist: Aurelio Aureli, librettist: Selections from Handel's 'Admeto' , after texts by Aurelio Aureli and Bartolomeo Ortensio Mauro: 18th cent: Ital.
• ff. 111-114 Antonio Salvi, librettist: Handel's 'Arminio' , after a text by Antonio Salvi: 1736-circa 1740: Ital.
• ff. 114v-115 Belisario Valeriani, librettist: Selections from Handel's 'Atalanta' , after a text by Belisario Valeriani: circa 1736-circa 1740: Ital.
• ff. 160v-171v Charles Clay, clockmaker: George Frideric Handel, composer: Tunes for Clay's Musical clock by George Frideric Handel: circa 1740: Copy.