R.M.20.b.9

Some missing parts of this MS. and of R.M.20.b.10. are in Fitzwilliams MSS Nos 256, 265. Between ff. 14 and 15 is a leaf ruled with staves, but otherwise blank, not foliated; ff. 21v, 48v, 52v 77v and 78v are ruled with staves but otherwise blank. See also R.M.20.b.10.; for copies see Eg. 2918, Add. MSS 31571, 31572, 33238; for selections see R.M.18.c.6. (ff. 11-14), R.M.18.c.10. (ff. 3-9), R.M.18.b.4. (ff. 41-42). See also Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford: Clarendon, 1994), p. 46.

ff. 104. 9.25 x 11.5in.

Points of note:

1. ff. 17v-21. Act I, sc. 1. The two songs for Gismonda, as in H-G., pp. 15-18.

2. f. 30v. The recitative ending ‘i pensieri miei’ (H-G., p. 29) is followed by the air ‘Io sperai’ (H-G., p. 130). ‘Ritorna, o dolce amore’ (H-G., p. 30) is not in the MS.

3. ff. 34v-36. Sc. 6. A setting of the second part of ‘Diresti poi’, in common time, crossed out in ink and replaced (f. 35) by that in H-G., p. 33.

4. f. 53v. Act II, sc. 3. The recitative for Gismonda, ending ‘un buon consiglio’ (H-G., p. 52) is followed by the air ‘Pensa, spietata madre’ (H-G., p. 136).

5. f. 55. ‘Ah! Tu non sai’ (H-G., p. 53).

6. f. 61. ‘Scena 6’ (misprinted ‘11’ in H-G., p. 60).

7. f. 67v. Sc. 8, 9. The page ends with the words ‘A conforto dell’ (H-G., p. 68, bottom line).

8. f. 68. An inserted leaf with a note by Nicolai (‘Here part of Scena 8va and the Scena 9na are wanting’), after which all is wanting until Scene 10 (H-G., p. 74).

9. f. 72v. Sc. 12. ‘Notte cara’ (H-G., p. 78).

10. ff. 76-79. Act III, sc. 1. ‘Dove sei’. The lower notes printed in H-G., pp. 81-82, are in the MS.

11. ff. 82-83v. Sc. 2. The version of the recitative ‘Io son tradito’ in H-G., pp. 86-87, leading to ‘Non à tempre’ (H-G., p. 94).

12. f. 85. Sc. 3. A short Presto for violins and bass, preceeding the recitative ‘Empi! al vostro attentato’ is crossed out in ink.

13. f. 85v. Ends at the end of the recitative (‘…e di tua preda’) Version A of H-G., p. 96.

14. f. 86. The air ‘Tanti affanni’ from Sc. 2 (H-G., p. 87).

15. f. 89. The air ‘D’innalzar’ (H-G., p. 96).

16. f. 91. ‘The air ‘A te lascio’ (H-G., p. 94), followed by Sc. 4 (H-G., p. 98).

17. f. 92. Sc. 5. The last words of Emireno’s recitative (H-G., p. 99, bottom line, version A) set in the MS., are omitted in H-G. The notes are partly written above Version B of H-G., p. 99. Sc. 6 follows.

18. f. 92v. ‘Dirli potessi’ (H-G., p. 102). The recitatives in Sc. 7 (H-G., p. 106) are missing.

19. ff. 94-95v. Sc. 7. ‘Nò, non temere’ (H-G., p. 107). The following recitative (H-G., p. 109) and ‘Gode l’alma’ (p. 110) are not in the MS.

20. f. 96. Sc. 7. (The mistake of two scenes 7 is also in H-G., p. 113). Version A of the recitatives (p. 113) and of ‘Nel suo sangue’ (p. 114).

21. ff. 97v-101v. Sc. 8 (p. 116).

22. ff. 102-104. Sc. 9. Version A (H-G., p. 121).

23. f. 104. ‘Fine à Londres August 21n/10v A. 1722’. On f. 104v is a line of unset recitative.

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

Nicola Francesco Haym, composer, poet and theatre manager: Stefano Benedetto Pallavicino, librettist and poet: Handel's 'Ottone' to a libretto by Nicola Francesco Haym, after a text by Stefano Benedetto Pallavicino: 1722: Ital.

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