Scan 139
Groves Dictionary Of Music And Musicians,vol.4, Ed.3, 1908
97 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1PERGOLESI
33. La Gallustia (Naples, 1731). Libretto—Rome, Bibl. Vitt. Em. Score—Naples R.C.M.
44. Nerino e Nibbia (Naples, 1731). Libretto—Rome, Bibl. Vitt. Em.
55. Ricimero (Naples, 1732).
66. Il geloso schernito (Naples, 1732). Score—Berlin, Brussels Cons.
77. Lo frate innamorato (Naples, 1732). Score—Brit. Mus., Brussels Cons., Naples R.C.M.
88. Il prigioniero superbo (Naples, 1733). Libretto—Rome, Bibl. Vitt Em. Score—Naples R.C.M.
99. 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 maîtresse).
1010. Adriano in Siria (Naples, 1734). Score—Brit. Mus., Naples R.C.M.
1111. 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.
1212. L'Olimpiade (Rome, 1735) Score—Brit. Mus., London R.C.M., Dresden, Milan Cons., Münster, Paris Cons., Vienna Hofbibl.
1313. Il Flaminio (Naples, 1735). Libretto—Rome, Bibl. Vitt. Em. Score—London R.C.M., Brussels Cons., Naples R.C.M.
1414. Il transito di San Giuseppe (?). London R.C.M., Einsiedeln, Vienna Musikfreunde.
1515. Il Teunistocle (ascribed to Pergolesi). Score—Bologna.
17H. M. Schletterer's biography in the Sammlung musikalischer Vorträge edited by Count P. von Walderssee, gives a very full account of later performances of the operas in Italy and in other countries, but is otherwise inaccurate and uncritical.
19II CANTATAS
201. Chi non oda e chi non vede Brit Mus., London R.C.M., Berlin, Brussels Cons.
212. Clori, se mai rivioli London R.C.M.
223. Della città vicina di Mergellina. Münster.
234. Daisigre, ahi! mia Daisigre. Brit. Mus., Berlin, Brussels Cons. Münster.
245. Ecco, Tirsi, quel mirto. London R.C.M.
256. In queste piagge amene. London R.C.M.
267. Luce degli occhi miei Brit. Mus., London R.C.M., Berlin, Brussels Cons., Münster.
278. Nel chiuso centro (L'Orfeo) Brit. Mus., Berlin, Brussels Cons., Cambridge Fitzw., Vienna Hofbibl
289. Quest' è amor, quest' è fede Münster. one of two readings
299. Quest'è amor, quest'è fede Münster. one of two readings
3010. Quest' è il piano e quest' è il rio. Brit. Mus. (autograph ?). one of two readings
3110. Quest'è il piano e quest'è il rio. Brit. Mus. (autograph ?). one of two readings
3211. Rinfacciar son costretto. London R.C.M.
3312. Io mi rido: Serenata for two voices. London R.C.M.
35PRINTED EDITIONS
36Quattro cantate da camera … raccolte da G. Bruno. (Napoli, 1750 (?)), four cantatas; London, Preston & Son (1790 ?)
38III. SACRED MUSIC
39Mass (Kyrie and Gloria) for ten voices (two choirs) and two orchestras, in F. Brit Mus., Milan, Münster.
40Mass (Kyrie and Gloria) for five voices and orchestra in C. Published at Vienna, Condojo d'arti e d'industria.
41Mass (Kyrie and Gloria) for five voices and orchestra in D. Brit. Mus. (2 copies), Brussels Cons., Milan, Münster, etc.
42Mass for four voices in D minor Brit. Mus
43Aure sacratis amoris, motet for S. and orchestra. Brussels, Ste. Gudule.
44Confitebor, psalm for S.S.A.T.B. and orchestra (in most libraries). De pizcolo torrente, motet for S. and orchestra Brussels, Ste. Gudule. one of two readings
45Confitebor, psalm for S.S.A.T.B. and orchestra (in most libraries). one of two readings
46De pizcolo torrente, motet for S. and orchestra Brussels, Ste. Gudule. one of two readings
47Dies irae, motet for S.A. and orchestra. Münster.
48Dixit Dominus (in D), psalm for ten voices (two choirs) and orchestra Naples R.C.M (autograph).
49Dixit Dominus (in B flat), psalm for S.A.T.B. and orchestra. Münster.
50Domine ad adjuvandum (in D), motet for S.A.T.B. and orchestra. Münster
51Domine ad adjuvandum (in G), motet for S.S.A.T.B. and orchestra. Brit Mus., Milan, Münster.
52Domine ad adjuvandum (in D), motet for A.T.B. and orchestra. Brit. Mus
53Ecco pietatis signa, motet for S. and orchestra Milan.
54Ecce superbus hostes, motet for S. and orchestra. Brussels, Ste. Gudule.
55In coelestibus regnis, motet for S. and orchestra Milan
56In hac die tam decora, motet for S.S.A.T.B. and orchestra. Brit. Mus., Milan.
57Laetatus sum, psalm for S.A.T.B and orchestra. Münster.
58Laetatus sum, psalm for S. and orchestra Brussels Cons.
59Laudate pueri, psalm for S.A.T.B. and orchestra Brussels Cons.
60Laudate pueri, for canto solo, vocal quartet, strings and wind, the MS. of which is in the Santini Library
61Miserere mei Deus (in C minor), psalm for S.A.T.B. and orchestra. London R.C.M.
62Miserere mei Deus (in C minor), psalm for S.A.T.B. and orchestra. Brit. Mus., Milan, Münster
63Miserere mei Deus (in G minor), psalm for S.A.T.B., unaccompanied. Brussels Cons.
64Miserere mei Deus (in A minor) for nine voices and organ. Schwerin.
65Pius acut Deus noster, motet for B. and orchestra. Brussels, Bibl. Roy.
66Salve regina (in F minor) for S.S. and orchestra. Brussels Cons.
67Salve regina (in A minor) for S. and orchestra. Milan.
68Salve regina (in A minor) for S. and orchestra. Brit. Mus., London R.C.M., Brussels Cons., Milan, Schwerin, etc.
69Salve regina (in F major) for S. and harpsichord. Milan.
70Salve regina (in C minor) for S.B. and orchestra. Münster.
71Stabat Mater for S.A. and orchestra. Montecassino (autograph).
72MS. copies in most libraries; several printed editions.
73Tuba et timpano, motet for S. and orchestra. Brussels, Ste. Gudule.
74A De Profundis, mentioned by De Brosses, is no longer extant.
75Venerabilis barba capucinorum, for T.B. (Scherzo fatto ai Cappuccini di Pozzuoli). Milan, Münster, München, Naples R.C.M.
77IV. INSTRUMENTAL MUSIC
78Sonata for violoncello and continuo. Milan, Naples R.C.M.
79Concerto for violin and strings. Milan, Naples R.C.M
80Symphony in G for orchestra. Münster
81Concerto for flute in G. (Breitkopf's thematic catalogue, 1765.)
82Fourteen sonatas for two violins and bass. (12mo, London, 1780 ?)
83Twelve sonatas for two violins and bass. (London)
84Eight lessons for the harpsichord. (London, c. 1780 ?)
85A second set of eight lessons for the harpsichord.
86There 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.
88E. J. D.
90Apart 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.
92PERI, 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.
94Malvezzi, 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
961 Riemann: has Rome of Florentine parents.
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