R.M.20.b.2

The MS. differs considerably from the version in H-G. The part of Rossane was originally written for a Contralto (Maddalena Salvai), but when the opera was revived in 1733 it was sung by a Soprano. Consequently the recitatives for Rossane in the earlier version are different from those sung in 1733: the latter only are printed in H-G., which also contains the additional songs written for Durastanti, who sang Anastasia Robinson’s part (Elmira) in 1733. (Cf. Charles Burney, A General History of Music from the Earliest Ages to the Present Period, London 1789, vol. IV, pp. 283, 366). The Symphony before the last scene (H-G., p. 116) is not in the MS. The final Chorus is missing (see Zweig MS37; see also Sotheby’s sale catalogue 16 March 1937, lot 385, and The Musical Times, 1937, p. 313). ff. 48v, 58v, 70v, 71, 99v and 100v are ruled with staves but otherwise blank. For copies see R.M.19.f.4., R.M.19.c.10.; for selections see R.M.18.c.2. (ff. 28-29), R.M.18.c.3. (ff. 2-4), R.M.18.c.10. (ff. 27-82), R.M.18.b.4. (ff. 26-40). See also Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford: Clarendon, 1994), pp. 31-32.

ff. 101. 10 x 11.5in.

Points of note:

1. f. 5. Act I, sc. 1. The whole scene was originally written in different keys from those in H-G. Handel has marked the necessary transpositions.

2. f. 6. The second part of ‘Dimmi, O spene’ (begins: ‘Quanto grato a nobil core’) is omitted in H-G., as also in printed libretto. ‘Oh dolce mia speranza’ (H-G., p. 12) is an addition of 1733 and not in the MS.

3. f. 8v. Sc. 2. The MS. directs ‘La Marche’, but without the music. (‘Dopo l’ombre’ (H-G., p. 19) is an addition of 1733 and not in the MS.).

4. ff. 12-13. The recitative ‘Avventurosa Elmira’ and air ‘Ma un dolce mio pensiero’ for Soprano (here called ‘Rosaura’) as in H-G., pp. 9-10.

5. ff. 14-16, 17-18v. Two versions of ‘Ma pria vedro le stelle’, one in E minor (H-G., p. 22), another (transposed) in G minor (H-G., p. 125).

6. f. 24. Sc. 6. The recitatives are followed by ‘E un sospir’ (H-G., p. 128) and Timante’s recitative (H-G., p. 34. A)

7. f. 26. ‘Sospiro e vero’ (H-G., p. 31) for S. in A minor. A note directs transposition to E minor (‘ex E moll’).

8. f. 28. ‘Doppo il nembo’ (H-G., p. 34).

9. ff. 30v-33. Sc 8. ‘Ah mia cara’ in F minor.

10. f. 35v. Act II, sc. 1. The end of Rossane’s recitative (‘Oh fortunati affetti’) is on f. 38, where it is followed by a setting of ‘Gode l’alma’ for Alto (not in H-G.). That for Soprano (H-G., p. 48) is on ff. 36-37. ‘Oh quanto è caro’ (H-G., p. 50) is an addition of 1733 and not in the MS. (Not in the 1733 libretto).

11. f. 46v. Sc. 5. The last seven words of Elmira’s recitative (H-G., p. 60) are on f. 49.

12. ff. 47-48. The setting of ‘Barbaro! t’odio’ in H-G., p. 61.

13. ff. 49-50. A transposed version of ‘Barbaro’ (in E flat major).

14. f. 56v. Sc. 6. The second part of ‘Fuor di periglio’ was originally set for two voices: the whole section is crossed out.

15. ff. 57-58. The voice and cembalo parts of ‘Fuor di periglio’ with the second part as in H-G., p. 70.

16. f. 59. Sc. 7. A crossed out opening of the scene (indicated as ‘Scene 8’); Scene 7 follows on ff. 60-62.

17. f. 68. Sc. 9. A version of Elmira’s recitative (‘Fatto ai [sic] l’estremo…estinto’) not in H-G., p. 80. The version printed in H-G., p. 80 is on f. 71v.

18. ff. 82v-89. The MS. of Act III, sc. 4,5, is arranged as follows: f. 82v: ‘Vivere per penare’. (H-G., p. 97). f. 84: Sc. 5. The recitatives (with ending A, H-G., p. 99). f. 84v: ‘Vanne segui’ (H-G., p. 99). f. 85: Timante’s recitative (‘Servasi alla mia bella’) and air (‘Amor commanda’) (H-G., p. 102, version A). f. 87: Second setting of ‘Amor commanda’ (H-G., p. 105, version B) without the dotted brackets in line 2.

19. f. 89v. Sc. 6. The MS. has Version A in H-G., p. 107.

20. f. 93v. Sc. 9. The MS. has Version A in H-G., p. 112.

21. f. 100. An incomplete setting (1 line only) of a recitative for Emilia, beginning ‘La citta e la reggia festeggi’.

22. f. 101. A note by Nicolai.

Paolo Antonio Rolli, dramatist: Francesco Silvani, librettist: Handel's 'Floridante' to a libretto by Paolo Antonio Rolli, after a text by Francesco Silvani: [1721-1733]: Ital.

Frederick Nicolay, royal musician and librarian: Handel's autograph scores annotated by: circa 1760- circa 1809: Autogr.

George Frideric Handel, composer: Music manuscripts: 18th cent: Autogr.