Add MS 14125

ff. 2-138. Sacred Songs, with accompaniments for strings and a figured bass for harpsichord or organ, in score, by Nicolo [Antonio] Porpora; apparently written for his pupils (Angiola Moro, etc.); 1728-1745. Nos. 1-7, 9, 10, and 12 are autograph. 1. 'In coelo stellæ claræ fulgescant': 'mottetto . . . 1744.' f. 1. 2. 'Placida surge, Aurora': 'mottetto . . . 1744.' f. 14. 3. 'Clad splendete, cœli': 'mottetto . . . 1744.' f. 26. 4. 'Qualis avis.' '1745.' f. 38. 5-9. Five settings of the 'Salve, Regina,' dated 1745, 1744 (2), —, and 1728. ff. 49, 60, 73, 86, 99. 10. 'O quanti contra nos hostes apparent.' f. 110. 11. 'Salue, Regina.' f. 117. 12. 'Recitative and aria,' Clamat Sponsus.' f. 133.

ff. 139-143. iIl vezzoso tuo sembiante’: Aria, with symphony and accompaniments for strings, in score, by Porpora, who has added in his own hand an alternative Latin text, beginning ‘[Lumi]nose apparent stellæ’; 18th century.

ff. 144-154. 'In exitu Israel‘: Motet for two choirs of 3 voices each, with accompaniments for strings and a figured bass for organ, in score, by Nicolo Porpora; 1745. Autograph.

ff. 155-166b. 'Sinfonia' in D, for trumpets, oboes, bassoons, and strings, in score, by Nicolò Porpora; 18th century. It consists of four movements, the only one named (the last) a 'contradanza.'

ff. 167-184. Concerto in G for violoncello, with separate parts for 2 violins, violetta, and harpsichord, by Nicolò Porpora; 18th century. The movements are Adagio and Allegro (common time), Adagio (3/4 time), and Allegro (3/8 time).

ff. 185-187b. Sonata ( — , Allegro, Adagio, Allegro non presto), in F, for violoncello, with a bass for harpsichord, in score, by Porpora; 18th century.