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R.M.20.c.2
- Record Id:
- 040-001948636
- Hierarchy Root Ancestor Record Id:
- 032-001948397
- MDARK:
- ark:/81055/vdc_100000000293.0x00037e
- LARK:
- ark:/81055/vdc_100156352762.0x000001
- SLARK:
- Format:
- ISAD(G)
- Reference (shelfmark):
- R.M.20.c.2
- Title:
- George Frideric Handel: Riccardo Primo (melodramma by Paolo Antonio Rolli, after a libretto by Francesco Briani), HWV 23. Autograph
- Scope & Content:
-
A leaf with Nicolai’s annotations indicated as f. i was removed during recent conservation. ff. 23v, 38v, 39v, 43v, 75v, 79v, 115v, 124v, 137v and 144 are ruled with staves but otherwise blank.
Points of note:
1. ff. 10-12v. A cancelled Scene 2 of Act I, differing both in words and music from that in H-G.
2. f. 13. ‘Se perì l’amato’ (H-G., p. 10).
3. f. 15. Sc. 2 (H-G., p. 12).
4. ff. 16-18. A cancelled setting of the end of ‘Vado per obedirti [sic]’. The stage direction on f. 17v: ‘Prende per mano Costanza e partono seguite da Beraldo, ma Oronte vien trattenuto da Isacio’, is omitted in H-G., p. 15.
5. f. 19. Different recitatives for Isacio and Oreste (H-G., p. 15) crossed out. The original words of ‘V’adoro’ (beginning: ‘Per due begl’occhi’) are crossed out throughout the air.
6. ff. 20-22v. A different Scene 3 (both words and music), with an air (‘Fra poco spero’) for Riccardo; partly crossed out.
7. f. 24. ‘Cessata è la procella’. Original words (‘Calmate le tempeste’) crossed out.
8. ff. 33-35. A different version (words and music) of the end of Scene 5 and Scene 6, all crossed out.
9. f. 38. ‘Fine dell’Atto 1’. The arrangement of the MS. from here is as follows:
10. f. 39. Recitatives (H-G., p. 34).
11. f. 40. The end of an air (‘…perche io’. Da capo). A cancelled ‘Scena 3za, Campo di Riccardo con l’esercito accampato’. Recitatives for Corrado and Riccardo.
12. f. 40v. ‘Nube, che il sole’ (H-G., p. 65), down to H-G., p. 66, line 6, end of bar 5.
13. f. 42. Sinfonia in B flat (not in H-G.) [Prelude to Act II of Semele].
14. f. 44. The end of ‘Nube, che il sole’, followed by Scene 4 (slightly differing from Sc. 3 in H-G., p. 39). ‘Ti vedrò regnar’ (H-G., p. 40) is not in the MS.
15. f. 45v. ‘Ah padre’ (H-G., p. 45).
16. f. 46v. ‘Quel gelsomino’ (H-G., p. 46).
17. f. 48v. Opening recitatives of Scene 5, crossed out in pencil. Rewritten (as in H-G., p. 48) on f. 49.
18. f. 50. The whole page (recitative following those on f. 48v) is crossed out in pencil.
19. f. 50v. ‘Bella già il cor’ air for Alto (?Oronte), not in H-G.
20. f. 51v. ‘Scena 6. Costanza e Berardo’. Crossed out.
21. f. 52v. ‘Scena 8. Oronte con spada nuda in mano, e detti’. A long scene of recitatives, completely rewritten in the H-G. version (pp. 52, 57).
22. ff. 55-56v. ‘Io più soffrir non sò’. Air (S.) not in H-G.
23. f. 56v. ‘Scena 9. Pulcheria ed Oronte con guardie’. Not in H-G.
24. f. 57v. ‘L’aquila altera’ (H-G., p. 69).
25. f. 60. End of recitative (‘Se non vedo…cor mio’) in H-G., p. 48 and ‘Cor mio’ (p. 49).
26. f. 63v. ‘Scena 5. Lido di Lamisso’ etc. (H-G., p. 51).
27. f. 65v. ‘Ai guardi tuoi’ (H-G., p. 53).
28. f. 67v. Ends ‘in tanto’ (H-G., p. 57, line 4, bar 1) (continues on f. 70).
29. f. 68. A cancelled page (in a copyist’s handwriting) of a ‘Scena 3a’ between Riccardo and Corrado.
30. f. 68v. ‘O vendicarmi’ (H-G., p. 57), music in a copyist’s handwriting; words written by Handel over the original text. Ends (f. 69v.) at ‘bel sole ri-’ (H-G., p. 58, line 5, bar 3).
31. f. 70. Recitative (beginning H-G., p. 57, line 4, ‘su le mie squadre’). Recitative H-G., p. 59.
32. f. 70v. ‘Dell’onor’ (H-G., p. 59).
33. f. 72v. Sc. 7. (H-G., p. 63).
34. f. 73v. Sc. 8. Recitatives only (H-G., p. 64).
35. f. 74. ‘Si m’è contrario’ (H-G., p. 67).
36. f. 76. ‘T’amo sì’ (H-G., p. 72).
37. f. 79. ‘Fine dell’Atto 2’.
38. f. 80. The last six bars of ‘L’aquila altera’. ‘Fine dell’Atto 2do’.
39. f. 90v. Act III, sc. 2. The MS. has version B of ‘Quell’innocente’ (H-G., p. 89).
40. f. 93. The last six bars of ‘Bacia per me’ (H-G, p. 100) followed by ‘Scena 3za. Bosco vicino alle mura di Lamisso. Riccardo solo’ and three lines of a recitative – all crossed out.
41. f. 93v. ‘Son qual colombo amante’. Air (S.) for Riccardo; not in H-G.
42. f. 97. ‘Scena 4. S’apre il Proscenio e si discuopre le mura di Limusso da una parte e dall’altra il Padiglione di Riccardo del quale esce Pulcheria ed Oronte, e Corrado che vien loro incontro’. Recitatives, not in H-G.
43. f. 98. ‘Scena 5ta. Pulcheria sola incatenata con guardie’. ‘A chi? misera’ recitative (accompanied) and ‘Nubiloso fra tempeste, air (S.) not in H-G.
44. f. 102v. ‘Scena 6ta. Compariscono soldati sui muri della Rocca di Lamisso…[injured by damp] il quale esce con Oronte, e Corrado dal suo Padiglione’. Recitatives, not in H-G.
45. f. 102v. ‘Scena 7ma. Comparisce sui merli della Rocca Isacio che tiene per mano Costanza incatenata e dice a Riccardo’. Recitatives, not in H-G.
46. f. 103. ‘Scena 8. Frettolosa ed anelante viene Pulcheria, e si pone in ginocchio in faccia d’Isaccio e detti’. Recitatives (not in H-G.), after which ‘tutti entrano per la breccia mentre si suona una bellica Sinfonia’.
47. f. 104. ‘Or mi perdo di speranza’. Air (not in H-G). The opening bars are on f. 129v.
48. f. 105. ‘Scena Xma. I Soldati di Riccardo rispingano quelli d’Isacio, ed intanto entrano combattendo Riccardo ed Isacio, il quale resta vinto e abbattuto; e poi Pulcheria incatenata che si distacca dalle guardie che la custodiscano’.
49. f. 105. A short Symphony. Recitatives; ‘Di me non ti lagnar’, air (S.) not in H-G.
50. f. 109. Recitative (‘A che sei giunta…d’un giusto affanno’, for S.) followed by ‘Quando non vede’ (H-G., p. 125, where Chaloumeaux is wrongly printed Chalameaux).
51. f. 111v. ‘Scena Ultima. Sala Regia. Riccardo con guardie…entra Pulcheria’. Recitatives; not in H-G.
52. f. 112. ‘Quanto goda l’alma mia’, duet (S. S.), not in H-G.
53. f. 115. Recitatives, words only.
54. f. 116. Sketches (Treble and Bass).
55. f. 116v. Recitatives (words only) and ‘Segue il Coro’ (in a copyist’s hand) followed by a blank leaf.
56. f. 117. The end of a recitative (B.) ‘…il fine aspetta. (Parte Corrado in atto cruccioso)’ – all crossed out, followed by ‘Nel mondo, nell’abisso’ (H-G., p. 95).
57. f. 119. ‘Scena 2da Costanza e Berardo’. Recitatives, crossed out.
58. f. 119v. ‘Bacia per me’ (H-G., p. 98) – wanting the last six bars, which are on f. 93, ante.
59. f. 121. Sc. 2. ‘Alto immenso poter’ (H-G., p. 92).
60. f. 121v. Sc. 3. (H-G., p. 93).
61. f. 122v. Sc. 4. Recitative. (H-G., p. 98).
62. f. 123. Sc. 5 (H-G., p. 100). Riccardo’s entry (‘Atterra il muro’) has ‘Bassons’ written over it. The end of the song in the MS. is the first version in H-G, p. 104.
63. f. 127v. Sc. 7 (H-G., p. 105).
64. f. 128v. Sc. 8. (H-G., p. 106). ‘Alla vittoria’. The names of the singers in the MS. are: ‘Cuzz. Faust; Sines. Baldi; Palm.’.
65. f. 129v. ‘Scena 9. Atrio. Berardo con le catene di Costanza in mano seguito da Costanza’. Recitatives (‘Come lo scampo avesti…tuoi dolenti’), followed by the beginning of ‘Or mi perdo’ (see ante, f. 104), not in H-G.
66. f. 131v. Sc. 9. (H-G., p. 109). More recitatives (words only) written, but crossed out.
67. f. 132v. ‘Il volo così’. The Flute part is marked ‘Flauto picciolo’ [sic].
68. f. 136. ‘The end of an Air: ‘Se perì l’amato bene Fra l’angosce e fra le pene Anch’io l’alma spirerò’, not in H-G.
69. f. 136v. Sc. 10. ‘Marche’ (H-G., p. 118).
70. f. 138. Sc. 9, 10. Recitatives (H-G., p. 115).
71. f. 138v. ‘Tutta brillanti rai’ (H-G., p. 115).
72. f. 141. Sc 10. Recitatives. (H-G., p. 118).
73. f. 141v. ‘Volgete ogni desir’ (H-G., p. 119).
74. f. 144v. ‘Recitative (to be included on f. 141). The recitative in H-G., p. 121 is not in the MS.
75. f. 145. ‘La memoria’ (H-G., p. 121). The initials only of the names of the singers are in the MS. The original words (‘Spira grata l’aura e il vento’) are crossed out.
76. f. 146v. ‘Fine dell’Opera G. F. H. May 16 1727’.
Paolo Antonio Rolli, dramatist: Francesco Briani, librettist: Handel's 'Riccardo I' to a libretto by Paolo Antonio Rolli, after a text by Francesco Briani: 1727: Ital.
Frederick Nicolay, royal musician and librarian: Handel's autograph scores annotated by: circa 1760- circa 1809: Autogr.
- Collection Area:
- Music Collections
- Project / Collection:
- Royal Music Library Manuscripts
- Hierarchy Record Ids:
- 032-001948397
040-001948636 - Is part of:
- R.M. : Royal Music Library Manuscripts
R.M.20.c.2 : George Frideric Handel: Riccardo Primo (melodramma by Paolo Antonio Rolli, after a libretto by Francesco Briani), HWV 23. Autograph - Hierarchy:
- 032-001948397[0202]/040-001948636
- Container:
- View / search within Archive / Collection: R.M.
- Record Type (Level):
- File
- Extent:
- 1 volume (146 folios)
- Digitised Content:
- https://iiif.bl.uk/uv/#?manifest=https://bl.digirati.io/iiif/ark:/81055/vdc_100156352762.0x000001
- Thumbnail:
-
- Languages:
- Italian
- Scripts:
- Latin
- Start Date:
- 1727
- End Date:
- 1727
- Date Range:
- 1727
- Era:
- CE
- Access:
- Restrictions to access apply please consult British Library staff
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- User Conditions:
- Physical Characteristics:
-
9.25 x 11.75in.
- Information About Copies:
- Digitised copy available on British Library Digitised Manuscripts: http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=R.M.20.c.2
- Publications:
- Händel-Gesellschaft LXXIV. See also Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford: Clarendon, 1994), pp. 56-59.
- Material Type:
- Archives and Manuscripts
- Legal Status:
- Not Public Record(s)