Books › Grove's Dictionary of music and musicians, 1927 › scan 143
Scan 143
Grove's Dictionary of music and musicians, 1927
93 lines. Read by computer on 4 September 2026, twice; the two readings disagreed in places. Printed page 107. See the scan on archive.org.
13. La Sallustia (Naples, 1731). Libretto—Rome, Bibl. Vitt. Em. Score—Naples R.C.M.
24. Nerino e Nibbia (Naples, 1731). Libretto—Rome, Bibl. Vitt. Em.
35. Ricimero (Naples, 1732).
46. Il geloso schermito (Naples, 1732). Score—Berlin, Brussels Cons.
57. Lo frate nammorato (Naples, 1732). Score—Brit. Mus., Brussels Cons., Naples R.C.M.
68. Il prigioniero superbo (Naples, 1733). Libretto—Rome, Bibl. Vitt. Em. Score—Naples R.C.M.
79. La serva padrona (Naples, 1733). Libretto—Rome, Bibl. Vitt. Em. Score in all important libraries. There are many printed editions, both Italian and French (La Servante maitresse).
810. Adriano in Siria (Naples, 1734). Score—Brit. Mus., Naples R.C.M.
911. Tracollo (Naples, 1734). Score in all important libraries. Performances under other titles: Livietta e Tracollo (reprint by G. Radicciotti, Paris); La finta Polacca (Rome, 1748); La contadina astuta (Venice, 1744); Il ladro convertito per amore (Venice, 1750); Il finto pazzo, etc.
1012. L’Olimpiade (Rome, 1735). Score—Brit. Mus., London R.C.M., Dresden, Milan Cons., Münster, Paris Cons., Vienna Hofbibl.
1113. Il Flamino (Naples, 1735). Libretto—Rome, Bibl. Vitt. Em. Score—London R.C.M., Brussels Cons., Naples R.C.M.
1214. Il transito di San Giuseppe (?). London R.C.M., Einsiedeln, Vienna Musikfreunde.
1315. Il Temistocle (ascribed to Pergolesi). Score—Bologna.
15H. M. Schletterer’s biography in the Sammlung musikalischer Vorträge edited by Count P. von Waldersee, gives a very full account of later performances of the operas in Italy and in other countries, but is otherwise inaccurate and uncritical.
17II CANTATAS
181. Chi non ode e chi non vede. Brit. Mus., London R.C.M., Berlin, Brussels Cons.
192. Clori, se mai rivolgi. London R.C.M.
203. Della città vicina di Mergellina. Münster.
214. Dalsigre, ahi! mia Dalsigre. Brit. Mus., Berlin, Brussels Cons. Münster.
225. Ecco, Tirsi, quel mirto. London R.C.M.
236. In queste piagge amene. London R.C.M.
247. Luce degli occhi miei. Brit. Mus., London R.C.M., Berlin, Brussels Cons., Münster. one of two readings
257 Luce degli occhi miei. Brit. Mus., London R.C.M., Berlin, Brussels Cons., Münster. one of two readings
268. Nel chiuso centro (L’Orfeo). Brit. Mus., Berlin, Brussels Cons., Cambridge Fitzw., Vienna Hofbibl.
279. Quest’è amor, quest’è fede. Münster.
2810. Quest’è il piano e quest’è il rio. Brit. Mus. (autograph ?).
2911. Rinfacciar son costretto. London R.C.M.
3012. Io mi rido: Serenata for two voices. London R.C.M.
32PRINTED EDITIONS
33Quattro cantate da camera … raccolte da G. Bruno. (Napoli, 1750 (?)), four cantatas; London, Preston & Son (1790 ?).
35III. SACRED MUSIC
36Mass (Kyrie and Gloria) for ten voices (two choirs) and two orchestras, in F. Brit. Mus., Milan, Münster.
37Mass (Kyrie and Gloria) for five voices and orchestra in C. Published at Vienna, Contojo d’art e d’industria.
38Mass (Kyrie and Gloria) for five voices and orchestra in D. Brit. Mus. (2 copies), Brussels Cons., Milan, Münster, etc.
39Mass for four voices in D minor. Brit. Mus.
40Aure sacratis amoris, motet for S. and orchestra. Brussels, Ste. Gudule.
41Confitebor, psalm for S.S.A.T.B. and orchestra (in most libraries).
42De placido torrente, motet for S. and orchestra. Brussels, Ste. Gudule.
43Dies irae, motet for S.A. and orchestra. Münster.
44Dixit Dominus (in D), psalm for ten voices (two choirs) and orchestra. Naples R.C.M. (autograph).
45Dixit Dominus (in B flat), psalm for S.A.T.B. and orchestra. Münster.
46Domine ad adjuvandum (in D), motet for S.A.T.B. and orchestra. Münster.
47Domine ad adjuvandum (in G), motet for S.S.A.T.B. and orchestra. Brit. Mus., Milan, Münster.
48Domine ad adjuvandum (in D), motet for A.T.B. and orchestra. Brit. Mus.
49Ecce pietatis signa, motet for S. and orchestra. Milan.
50Ecce superbos hostes, motet for S. and orchestra. Brussels, Ste. Gudule.
51In coelestibus regnis, motet for S. and orchestra. Milan.
52In hac die tam decora, motet for S.S.A.T.B. and orchestra. Brit. Mus., Milan.
53Laetatus sum, psalm for S.A.T.B. and orchestra. Münster.
54Laetatus sum, psalm for S. and orchestra. Brussels Cons.
55Laudate pueri, psalm for S.A.T.B. and orchestra. Brussels Cons.
56Laudate pueri, for canto solo, vocal quartet, strings and wind, the MS. of which is in the Santini Library
57Miserere mei Deus (in C minor), psalm for S.A.T.B. and orchestra. London R.C.M.
58Miserere mei Deus (in C minor), psalm for S.A.T.B. and orchestra. Brit. Mus., Milan, Münster.
59Miserere mei Deus (in G minor), psalm for S.A.T.B., unaccompanied. Brussels Cons.
60Miserere mei Deus (in A minor) for nine voices and organ. Schwerin.
61Quis sicut Deus noster, motet for B. and orchestra. Brussels, Bibl. Roy.
62Salve regina (in F minor) for S.S. and orchestra. Brussels Cons.
63Salve regina (in A minor) for S. and orchestra. Milan.
64Salve regina (in A minor) for S. and orchestra. Brit. Mus., London R.C.M., Brussels Cons., Milan, Schwerin, etc.
65Salve regina (in F major) for S. and harpsichord. Milan.
66Salve regina (in C minor) for S.B. and orchestra. Münster.
67Stabat Mater for S.A. and orchestra. Montecassino (autograph).
68MS. copies in most libraries; several printed editions.
69Tuba et timpano, motet for S. and orchestra. Brussels, Ste. Gudule.
70A De Profundis, mentioned by De Brosses, is no longer extant.
71Venerabilis barba capucinorum, for T.B. (Scherzo fatto ai Cappuccini di Pozzuoli). Milan, Münster, Munich, Naples R.C.M.
73IV. INSTRUMENTAL MUSIC
74Sonata for violoncello and continuo. Milan, Naples R.C.M.
75Concerto for violin and strings. Milan, Naples R.C.M.
76Symphony in G for orchestra. Münster.
77Concerto for flute in G. (Breitkopf’s thematic catalogue, 1765.)
78Fourteen sonatas for two violins and bass. (12mo, London, 1780 ?)
79Twelve sonatas for two violins and bass. (London.)
80Eight lessons for the harpsichord. (London, c. 1780 ?)
81A second set of eight lessons for the harpsichord.
82There are in addition many fragments of unidentified operas, including fifteen airs in Breitkopf’s thematic catalogue (1765), and the incomplete autograph parts of a trio, ‘Parla, che dirmi vuoi,’ at Milan.
84E. J. D.
86Apart from the Stabat Mater, ‘La serva padrona,’ the spurious ‘Tre giorni’ and a certain Gloria in excelsis, all of which exist in numerous modern editions of more or less value (the first was re-instrumented by Lvov, and the last was mainly popular in an arrangement for organ solo), there are not many of Pergolesi’s works accessible in modern reprints. The series of songs called ‘Gemme d’antichità’ contains the motet ‘Sanctum et terribile,’ three airs from ‘La conversione di San Guglielmo,’ a ‘Salve Regina,’ the airs ‘Euridice, dove sei’ and ‘Ogni pena’ (the latter in many other editions); Gevaert’s ‘Gloires d’Italie’ has airs from ‘Il maestro di musica’ and ‘Olimpiade’; and the air ‘Tremende oscura’ from ‘Meraspe’ is in the Oxf. Hist. Mus. vol. iv. p. 221. Banck’s ‘Duetten alter Meister’ contains a duet, and his ‘Arien und Gesänge älterer Tonmeister’ contains an air by Pergolesi, ‘Se cerca, se dice’; a sonata for two violins and violoncello was published by Joseph Williams; the harpsichord suites were edited by J. Pittman, and a solo sonata in D by J. A. Fuller Maitland.
88PERI, JACOPO (b. Florence,1 Aug. 20, 1561; d. Florence, Aug. 12, 1633), Florentine composer, called by his contemporaries ‘Il Zazzerino’ in allusion to his long hair; a pupil of Cristoforo Malvezzi.
90Malvezzi, a native of Lucca, became a canon of San Lorenzo in Florence, maestro di cappella to the Medician Grand Dukes Francesco and Fernando I. and died in Florence, 1597. Little is known of the facts of Peri’s life. He became attached to the grand-ducal court of Florence and seems to have had some part in Medician diplomacy. He was appointed maestro di cappella (Principale direttore della musica e dei musici), a post which he held under Francesco, Fernando I. and Cosmo II. In 1618 he was created a ‘Camerlengo generale.’ His name is closely connected with that group of futuristic poets and musicians who centred first around Giovanni Bardi dei Conti Vernio, and later around Jacopo Corsi. In this way he will have come into contact with and been influenced by much of the finest Florentine culture of his day. The intensive forces of the Renaissance, liberating men’s minds, rendering acute their intellects, opening up immeasurable vistas of art and philosophy, found in the Bardi-Corsi
921 Riemann has Rome, of Florentine parents.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.