R.M.20.c.3

ROYAL MUSIC COLLECTION. (Händel-Gesellschaft LVIII; Hallische Händel-Ausgabe II/4.1 and 4.2, 1993 and 1996). Fragments of the 1711 (A) and 1731 (B) versions. ff. 54v and f. ii (at end) are ruled with staves but otherwise blank. See also RM.19.d.5., a copy of the 1711 version with numerous autograph pencil alterations for the 1731 version. For other copies see R.M.18.b.12., Eg. 2915, R.M.20.f.11. (ff. 19-21), R.M.18.c.9. (ff. 2-56). See also Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford: Clarendon, 1994), pp. 60-61.

ff. ii + 57. 9.25 x 11.5in.

Points of note:

1. f. 1. A. Overture. The Bass is figured throughout.

2. f. 2. ‘Violino solo’ (H-G., p.2, line 1, bar 2) has been crossed out and ‘Flauto solo’ written above. ‘In the bass of the same passage, ‘Violoncello’ has been written, but crossed out and ‘Basson’ written above. In the last bar of line 2 ‘Tutti e forte’ is written above the bass.

3. f. 2v. (H-G., p. 2, line 2, last bar). The E and C have no shakes; line 3, bar 1: ‘Violin solo’ over the top line, ‘Violoncello solo’ over the bass, but crossed out and ‘Basson’ written above; line 4, bar 3 ‘Hautb. Sol.’ over top line, ‘Basson Solo’ over bass; line 5, bar 3 ‘tutti’ over top line and bass (last note of bar).

4. f. 3. No tempo to the ¾ movement, which is marked ‘Adagio e piano’ in H-G., p. 3. The last movement is headed ‘Gigue’.

5. f. 5. Act I, sc. 3. The MS. begins at the bottom line (H-G., p. 16).

6. f. 6. (H-G., p. 18, top line, bass, bar 4) ‘Soli’ marked in the MS.

7. f. 10. (H-G., p. 23, line 5, bar 1) ‘Il Violino 2do si scrive della (not ‘dalla’) Viola’.

8. f. 12. Sc. 5. Version A (H-G., p. 25). No ‘Presto’ in the MS.

9. f. 15. ‘Molto voglio’ (H-G., p. 29) is marked ‘Presto’.

10. f. 17. Sc. 6. (H-G., p. 31). The Flauto piccolo part is marked ‘Flageolett’.

11. f. 23v. Version A (H-G., p. 35).

12. f. 26v. Sc. 7. (H-G., p. 38). The ‘Sinfonia’ is headed ‘Prelude’ and has no tempo mark.

13. f. 27. ‘Cara sposa’. Version A (H-G., p. 39). The second part (p. 41) is marked ‘presto’.

14. f. 30v. The MS. ends at the end of H-G., p. 42, line 8, bar 2.

15. f. 31. Sc. 9. ‘Venti, turbini’. (H-G., p. 46. Version A).

16. f. 34v. The MS. ends at the end of the last bar of H-G., p. 49, line 2.

17. f. 35. Act II, sc. 7. ‘Abbruggio avvampo’ (H-G., p. 68, Version A).

18. f. 36v. Sc. 8. The MS. ends at ‘spaventi d’Inferno’ (H-G., p. 70).

19. f. 37. Act III, sc. 6. The MS. begins at Argante’s recitative (H-G., p. 93).

20. f. 41v. Sc. 7. H-G., p. 97 prints as ‘Scena VIII’.

21. f. 42. ‘Bel piacere’ has no tempo mark. The opening bars are marked ‘Tutti’; ‘Violin pianiss.’, where the voice begins.

22. f. 42v. Sc. 8., ‘Scena VII’ in H-G.

23. f. 43v. ‘Di Sion’. Version A (H-G., p. 100).

24. f. 47v. ‘Or la tromba’ (H-G., p. 104) has no tempo mark.

25. f. 51v. Sc. 11. At the end of Goffredo’s recitative the MS. has ‘Segue l’Aria’.

26. f. 52. Version B (H-G., p. 109) of the ‘Battaglia’. The MS. ends at the end of H-G., p. 110, line 2, bar 2.

27. f. 53. ‘Solo dal brando’ (H-G., p. 112). This is evidently the air referred to on f. 51v.

28. f. 54. B. The 1731 version. Act I, sc. 4. The first two lines contain part of a second version of ‘Vieni o cara’, for Alto. The third line ‘Che se privo del suo bene Prova il cor tormenti e pene’ (also for Alto) has not been identified.

29. f. 55. Act II, sc. 11. ‘Parolette’. (H-G., p. 186).

Giacomo Rossi, librettist: Aaron Hill, playwright and theatre manager: Handel's 'Rinaldo' to a libretto by Giacomo Rossi, after a scenario by Aaron Hill: [circa 1711-circa 1745]: Ital.

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