Songs with guitar from the age of Napoleon

By John McCormick

INTRODUCTION

In this, the 5^th incarnation of “Songs with Guitar from The Age of Napoleon”, I have made a few changes and have added a considerable number of songs and collection locations to the “catalogue” of composers and libraries. The changes I have made are as follows: I have shortened the commentary section to a considerable degree, sticking mainly to “factual” material and omitting as many of my editorial comments as I could without gritting my teeth.

I have put the library and collection listing (catalogue) that you will find at the very end in better order, namely, alphabetically by library sigla, thus, in effect, grouping them by country. I have also added a biography or two. Finally, I have made some more corrections, and there are numerous additions in my listings. It should be observed that the song composer and collection listings are still far from complete, since such a vast number of songs with guitar were composed during this period. However, as further discoveries are made, they will be added to the lists.

COMMENTARY

The approximate time-period in which I am interested encompasses the latter part of the 18^th century and extends through the beginnings of the 19^th century. This era is variously known as The Age of Reason, The Rossini Period, The Age of Napoleon, the beginning of the romantic period, the end of the classical period, the classic-romantic period, and by any one of a countless number of other labels that have been attached to this tumultuous, creative era. Whichever is used depends entirely on the vantage point from which one views this remarkable time.

During this time, profound changes in virtually all aspects of society swept across Europe in an amazingly short time. They affected every aspect of the social, economic, cultural and political environment. Of all the possibilities that present themselves as ways of identifying this period, which in certain contexts does not even span what we would normally regard as one generation, The Age of Napoleon seems to best personify the character of the music that is the subject of this presentation. The social and political structure of the age had a profound influence on musical tastes, and most specifically, on the incredible popularity of the guitar. Furthermore, many of the composers listed below owe much of their success to the active support of either Napoleon himself, or to that of his many relatives who had been strategically placed throughout his far-flung empire. For all of his faults, he and most of his family members were, most certainly, ardent supporters of the arts, especially music.

The fact that the guitar was extremely popular during this period is well documented. During the Age of Napoleon, its popularity was equaled only by the popularity of singing. Singing in its various forms has always been the single most universal form of music making, but during this period, it became especially widespread. Opera and song were the two most important forms of musical entertainment. However, because of The Revolution, and all the events surrounding it, operatic themes (and song) underwent a radical change. Before the revolution, operatic librettos dealt largely with real or imagined historical events that had to do with royalty and pageantry. After the revolution, comic opera came into vogue, often using humor to lampoon those in authority or to make fun of past royalist practices.

Today, we often overlook many of the social mores attached to musical practices of the past, which are now completely different. This is, in part, because we tend to see the eighteenth century through today’s eyes, often at our own expense. Take, for example, our use of the terms “popular” and “classical” as applied to styles of music. This terminology is a modern innovation stemming from compositional practices that began to evolve in the latter part of the nineteenth century, when composers began thinking in terms of writing music for the “ages”, attempting to express through music grand philosophical thoughts that transcend a specific time or place. This approach was then taken one step further, with “experimental” music, which heralded the first time in history that an attempt was made to write music with a total disregard for its potential audience. It was also the first time in history a composer was not expected to make a living through composing.

In the late 18^th century, there was no distinction between “serious” and “popular” music. The closest approximation of this concept could only be drawn from the time of royalty, when serious musicians were dependent on the whims and tastes of their royal employers. They were called upon to write and perform elegant music for elegant tastes. Demand for their music was most often associated with a specific event – a wedding, a coronation, a banquet or for the entertainment of a visiting dignitary. None of these touched the average person of the day unless it was part of a specifically staged public event. The only other avenue for the composer was through the church. Indeed, this was a rich period in the volume of music produced for the church that extended well through the Napoleonic era. Through one of the many vagaries of history, not much of the liturgical music written during the Age of Napoleon is heard today. While most of it may not now be seen to have been on a par with many of the great masterpieces from previous eras, it, along with secular vocal music, began to reflect the changing tastes of the times, taking on a rich simplicity that marked a new-found preoccupation with closely wedding the text and the melodic line.

For the practicing musician, the most telling and personal effect of the French Revolution was the sudden and complete loss of his livelihood. Musicians had worked for royalty. Now, aside from Napoleon and his family, there was no more “royalty”. For better or for worse, the Revolution heralded the dawn of “free enterprise”. Therefore, in order for them to make a living, musicians of all kinds, as well as publishers, instrument makers, and impresarios, were all faced with the need to find new markets for their wares. Under the circumstances, this involved going directly to the average “man on the street”.

Today, those of us who are given to think about such things sometimes marvel at the volume of works commonly turned out by a single composer during this time and previous eras. Haydn, Schubert, Mozart and Rossini are names that immediately come to mind. The days when a composer such as Johannes Brahms could afford to take twenty years or so to think about one symphony were yet to come. In the Age of Napoleon, the free market was more like a free-for-all for everyone involved in music. There were no copyright laws, for example. Anyone could publish anything that might sell, whether it was already being published by someone else or not. Under such circumstances, composers had no control over the fate of their music, once it was sold to a publisher, even to the extent of merely correcting typographical errors. Nor could they benefit from arrangements of their music done by a person hired by the publisher, a very common practice with music for which there was a demand. In addition, there were no restrictions on publishers “stealing” from other publishers. There are countless instances in which a given work of a composer appeared in numerous editions put out by dozens of publishers in as many countries. They each, in turn, issued arrangements of popular works for what now seems like rather bizarre combinations of voices and instruments. This was especially true of operatic arias, since opera, especially comic opera containing a generous dose of political satire, was the most popular music of the day.. If a particular opera succeeded in becoming well known, arias were extracted for publication in whatever form would sell to the public. In all of this, the composer had no say and reaped no benefits.

Under the circumstances, composers were always heavily involved in self-promotion. This generally took the form of performing their own music in concerts. Unlike concert programs of today, in which the performer presents works by a variety of composers from different periods, the performer was most often the composer, and the program was made up entirely of his or her own compositions. Very rarely did a performer present works by other composers. There were also occasions, especially in Vienna, when concerts were sponsored by wealthy patrons that involved the participation of several performers, all of whom presented samples of their works.

Over a long period, almost since the beginnings of opera, staged performances involving singing were often no more than showcases for singers who were capable of displaying the greatest range and flexibility in their voices. By the 18^th century, their careers had come to depend almost entirely on their ability to dazzle their audiences. Their vocal displays normally included improvisation of lavish melodic ornamentation, often so extreme that it rendered the work of the composer nearly unrecognizable. One manifestation of this trend was the phenomenon of the castrato, a voice type that began in the church and migrated into opera. This was a voice with incomparable power, range and agility, ideally suited for the times.

Beginning in the second half of the 18^th century, however, this all began to change. Audiences, performers and composers alike began to view such practices as straying far afield from the intrinsic spirit of music, and in particular, of singing. The pendulum began to swing completely toward simplicity, expressivity, and respect for the wishes of the composer. In both opera and song, the emphasis became that of placing great importance on communication of the text, on a beautiful, flowing legato line, and on musical simplicity.

This trend toward simplicity and directness in Italian song without further development may have been its undoing with respect to its historic perpetuation as a great art form. Elsewhere, the same theme of expressivity began to take the form of innovation; largely centered on exploiting the perceived capabilities of the piano The major innovation was to establish the “accompanying” instrument and the voice as equal partners, and to compositionally place melody, text, harmony and rhythm on an equal footing. This was a purposeful break from the time-honored tradition associated with solo song, in which every other musical element was subservient to the vocal line.

Girolamo Crescentini, one of the composers of songs with guitar listed below, was among those who contributed substantially to this change in thinking. One of the most famous of the Castrati, and virtually the only one to remain active during this time, he became disenchanted with the prevailing trends and retired as a singer. He established himself instead as a teacher of singing and wrote several treatises on the aesthetics of the voice. He also wrote numerous songs and vocalizes to illustrate his point, a substantial number of which are accompanied by the guitar.

Although there were undoubtedly other poets who were also popular, the majority of Italian songs at this time, whether they were written with guitar or other instruments, used as their texts the poetry of Pietro Metastasio. According to the Oxford Companion to Music, Metastasio was “born in Rome in 1698 and died in Vienna in 1782, aged eighty-four. He was a grocer’s son who, being heard at the age of eleven publicly improvising verses in the street, was adopted and educated by a wealthy man of learning, Gravina, who later left him a fortune. He now climbed rapidly, devoting himself particularly to the provision of texts for music, and becoming the most celebrated librettist in Europe–almost The Librettist, for his dramas were accepted as the perfection of their kind, some of them being set by twenty or thirty different composers, so that their every word was known in advance by the audiences of the day, as regular church-goers know their book of prayers. Gluck, Handel, Haydn and Mozart were amongst his clients. Hasse set all his librettos once and some twice. His poetic works, other than those for music, were translated into many languages. For over half a century he lived in Vienna as court poet.”

As was the case with his libretti before, some of his many verses that songwriters used quickly became favorites. One such was Ecco quel fiero istante. It was set to music not only by Metastasio himself, but also by no less a composer than Mozart. Others included Zingarelli, Johann Gottlieb Naumann and Pellegrini. Among the composers of guitar accompanied song who used this verse were Carulli, Crescentini, Brambilli and Melia, to name a few. It was also used by numerous anonymous writers of songs with guitar, piano, and orchestra. It was set for duets, vocal trios and choruses. This verse was only one of many that enjoyed such repeated use. In fact, among the many songs with guitar in the Italian language I have encountered, whether the composer in Italian or another nationality, it is somewhat rare that one of them has verses by a poet other than Mestastasio.

Such evolutionary processes also made it easy for future historians to place comparative value judgments on differing styles of song writing, at the expense of those, which did not follow their particular way of thinking. It has been my experience over the years that most of the literature I have read having to do with music history and biographical information on composers contains the common flaw of having subjective opinion presented under the guise of factual information. This tendency seems to be especially true of general reference material. Naturally, the tendency is far less prevalent in works devoted to the in-depth study of a given composer. On the other hand, perhaps such subjective evaluations are seen as being more acceptable in such a context. In any event, it usually takes the form of a gratuitous opinion concerning the quality of a particular composer’s work, or the aesthetic characteristic of a specific composition. In light of the highly personal nature of musical taste, this practice is, at best, flawed, and for the most part, highly misleading. In my view, one of the results of this practice has been to minimize the artless simplicity of Italian song writing during the late 18^th century, dismissing it as being, for the most part, mundane. This seems to be especially true of songs written with guitar, since they have all been ignored in standard music history texts.

Songs with guitar from this period present numerous opportunities in the realm of subtle artistic expression. This is intimate music; designed for intimate settings. The lessons of this body of music were to influence songwriters and singers for many generations. Correctly or incorrectly, I have long felt that if it were not for this music, and the trends it set in terms of expressivity, vocal technique, and the wedding of the text to the melodic line, similar vocal writing, notably the somewhat later German Lied with piano, might very well have taken a different turn.

The biographical material, when provided, came from the following sources - P. J. Bone – The Guitar and Mandolin; The New Groves; The New Groves Opera; Massimo Agostinelli; The Oxford Companion to Music; Thomas F. Heck, Mauro Giuliani, Virtuoso Guitarist and Composer; Grout, A History of Western Music; Rosselli, Singers of Italian Opera; Stevens, A History of Song; Frederick V. Grunfeld, The Art and Times of the Guitar.

THE COMPOSERS AND THEIR SONGS

• Accorimboni – Se perdo l’idol mio [15]
• Agliasti, Luigi
• Alström, Olof (1756-1835) – Louises Graf * Sörg ej den gryende dagen (voice and lute) * Här vid denna silver bächen (voice and lute) [22]
• Albenese (1729-1800) – Wrote three collections of songs with guitar and violin that were published in Paris. These collections included a few guitar solos as well, along with vocal duets, songs with one and two violins and bass; voice, guitar and bass, and other combinations. The songs are mostly on French texts and are in a popular vein. In some cases, it is difficult to tell whether a particular songs is an arrangement or an original composition. All of the accompaniments were written for five-string guitar.
• Alt, E. - So ist mein Wunsch (1825) [11]
• .Ambrosche, Joseph Charles (Bohemia) (1759-1822) – Als ich auf meines Bleiche [11] * Romance des Pagen aus Figaros, op. 5 – (Several songs with guitar published mainly between 1800 and 1817.) Here is one of a number of examples I have found thus far of singers who also composed. Unlike some of the others, Ambrosche limited himself to writing songs. Although his output was relatively small as compared to other such composers, he did write a significant number, many of which were with guitar. According to the article in Groves, “his lied style ranges from simple, strophic, folk-like works to more complex pieces………His accompaniments are quite simple, but his vocal lines often have numerous embellishments”. His singing career began in Prague. After he made his debut at Bayreuth, he remained in Germany for the rest of his life. He remained a prominent and respected musical figure in Berlin until his death.
• Amon, Johann Andreas (1763-1825) – Wahrsagenlied [11] – Amon was born in Bamburg and began his musical career as a singer. He later studied the violin and guitar, as well as horn playing. He also founded a music publishing company.
• Andrade, Jean Auguste (d. 1793) - Souvenir [2]
• Andreozzi – Tout m’alarme tout excite et ma crainte et mes regrets [2]
• Anelli, Giuseppe (Joseph) – Non dormo un’ora al gano (aria) * Grazie o pietosi Dei (aria) * Vado in traccia del ben mio (cavatina) * Povero cor tu palpiti (cavatina) * Child of heart with the Golden Hair (cavatina) * Tre cavatine * estrate dalla cantata - Borne in Turin at the beginning of the 19^th century. Wrote about 300 songs with guitar. Little is known abour Anelli concerning his exact date of birth or his birthplace. He was distinguishing himself as a performer as early as 1809 in Turin. For some time he was employed by the Princess Paolina Borghese, Napoleon’s sister. During this time, he not only gave solo guitar concerts, but often performed as a vocal soloist to his own guitar accompaniment. At the end of 1813 Anelli left Italy for Paris, where he stayed for a short time. .There he came to know Fernando Sor and became his rival in guitar concerts. He was sometimes judged by Parisian music critics to be the better performer of the two. Here he played for the public his two Concerti for guitar and orchestra, the scores of which are now presumably lost. In 1815, Anelli moved to London, though he continued to visit Italy, After a brief stay in London, he moved to the provinces west of London, where he appears to have remained for the rest of his life
• Apel, Johann George Christian (1775-1841) - Mutter spricht ich soll’s night leiden [15]
• Apell, David August von (1754-1832) - Fernandos Lied [11]
• Aprile, Fortunato (18^th cent.) - Sopra una candida (Cavatina) [1]
• Arcari, Valentino - A quanto è mai difficile * Napoleon sei solo [24] * Voi lo vol terete (2 voices & guitar) [40]
• Arnold, Johann (1773-1806) – Although his primary instrument was the violoncello, he published several volumes of songs with guitar.
• Asioli, Bonafazio (1769-1832) – Mio ben ricordati [40] * Se restosul lido (Canzonetta) * Timor mi scaccia (Canzonetta) [53]
• Auber, Daniel-François (1782-1871) – Jenny [2]
• Baldenecker, C. – Ah lorsque la mort trop cruelle [9]
• Baldini – Non v’è più barbaro (cavatina) * Crudel morir mi vedi (2 voices & guitar) * Mio ben ricordati * O cara immagine del mio tesoro * Per te non ho più pace * Sacri orrori amiche selve * Se tuti miei pensieri * Zeffiretti fovieri dal giorno [15]
• Balochi, Luigi (1760-1832) – Mes Souhaits [4]
• Barbereau, Mathurin-Auguste (1799-1879) – Heure du soir [2]
• Bassi, Nicola
• Bathioli or Barthioli, Francois (beginning of 19^th century) – Lived in Vienna where many of his compositions were published. He died in 1830. In addition to writing songs for voice and guitar, he wrote a number of guitar solos and a guitar method that included basic instructions in singing, and songs with guitar accompaniment. Much of his music was published by Diabelli.
• Beauplan, Amédée de (1790-1853) – Je ne suis á personne * Marguerita (2 sop. & guitar) [2]
• Bédard, J. B. – Conseils a mon amie * Romance * L’Amour Venge * Comparaison (Published in facsimile by S.P.E.C., Florence, Italy)
• Benzon, Siegfried (d. 1793) – Alexis und Nettchen [11]
• Berger, Ludwig (1777-1839) – An die Geliebten [11] – Prolific composer of lieder and sacred choral music. This is the only song for voice and guitar by this composer I have found so far. Given the total volume of music he wrote, it is easy to suspect there might very well be more.
• Bertioli, Alessandro - Lived in London during the first part of the 19^th century
• Berton, Henry-Montan (1767-1844) – Agnes Sorel. [4]
• Bevilacqua, Matteo P. (1772-1849) - Quattro Cavatine * Non t’accostare all’uma (aria) * Quattro duettini * Otto Cavatine * Reueil complet d’airs, romances, rondeaux ey duos les plus favoris allemande, francois et italiens avec accompagnement de guitarre / choisis par M. Bevilacqua (Musiche di Blangini, Cimarosa, Crescentini, Farinelli, Mozart, Paer, Salieri, Sarti, Weigl, Zingarelli) [28]
• Bianchi, Antonio (1758-ca. 1802) – Douze chansons italiennes [28] [37] * Una vaga giovinetta (from Maître de chapelle, arr. W/ guitar by Bianchi) * Verita * Rimprovero di disinganno * Pretensione ingiusta [15] * Agitazion d’amore [26] [10] [14] * An Emma * No non vo piu rogatoli [6] * Pretensione ingiusta [18] * Smorfiofella [18] [27] [53] * Douze (12) Chansons Italiannes – Bianchi was a prolific writer of songs to French, German and Italian texts. Many of these songs were with guitar accompaniment, even though he was primarily neither a composer nor a guitarist. He was, instead, a famous operatic baritone. Although he sang in Milan, Genoa and Paris during his early career, he enjoyed his greatest success in Germany. He remained a permanent member of the opera buffa company at the Prussian court for many years. The only adverse criticism his performances received was on the few occasions that he attempted to sing German opera in German. The songs he wrote were published and re-published, mostly in Berlin and Hamburg. The few operas and ballets he wrote were only moderately successful.
• Bianchi, Francesco ( 1752-1810) - À votre belle soyez fidèle * Villanella rapita [2] * Maître de chapelle [27] * Douze chansons italiennes *
• Bigatti, Carlo (1779-1854) - Non dorma un ora al giorno (Cavatina) [15]
• Blangini, Felice (1781-1841) - Romances for voice and guitar [6] * Speranza al cor mi dice (2 voices & guitar). * Je n’est plus la [4] * Silve a l’age de quinze ans, (2 voices & guitar) * Senza parlar fra loro (2 voices & guitar) * Mai se di lei t’ accendi (2 voices & guitar) * Mai l’amor mio verace (2 voices & guitar) * Almen si nono poss’io (2 voices & guitar) * Chi vive amante (2 voices & guitar) * T’intendo si mio cor (2 voices & guitar) * Il piè s’allontana [15] * Nocturnes à Deux Voix Avec Accomp. De Lyre ou Guitarre ( Mi lagnerò tacendo, T’intendo si mio cor, Chi vive amante, Almen se non poss’io, Mai l’amor mio verace, Mai se di lei t’accendi, Senza parlar fra loro, Silve à l’âge de quinze ans, De tous les pays pour vous, Amor che nasce con la speranza, sentirsi dire) [13] * A votre belle soyez fidèle [2] - Blangini is listed in Groves Opera as a French Composer, singing teacher and tenor of Italian birth. As a boy he sang in the Turin Cathedral choir and was a pupil of Bernardo Ottani. Arriving in Paris in 1799, he became fashionable as a singer, composer of salon music and singing teacher. He made his debut as an opera composer at the Theatre Feydeau in 1802 and at the Opera in 1806. In 1805 he became Maestro di Cappella to the Duke of Saxe-Coburg in Munich; he was also in the service of Pauline Borghese, Napoleon’s sister, who had an affair with him. In 1809, Napoleon transferred him to Kassel, where he was director of the theater, maestro di cappella and master of chamber music to the new King of Westfalia, Jerome Bonaparte, with whom he remained until the king fell from power. Back in Paris in 1814,, he was superintendent of the royal chapel, court composer, and professor of singing at the Conservatoire. He was a member of the Legion d’honneur and received an auristocratic title, became a French citizen and married a banker’s daughter. After the revolution of 1830, he lost his court appointments, and as a musician, was overtaken by the rise of romanticism. His autobiography was published in Paris in 1834. Blangini composed nearly 30 operas, mostly operas comiques, as well as sacred works and vocal chamber music; he claimed, and has subsequently been credited with, the invention of the vocal nocturne. Many of his stage works were unsuccessful and received few performances. They were written in a light, almost banal style, and although several romances are appealing, there is generally much artificiality in his harmonic language and formal structure. [The preceding analysis is by the contributor to Groves Opera on the composer. Not having heard the music, I would have no way of verifying those opinions. However, I would not take such statements as a deterrent that would prevent me from investigating Blangini's songs with guitar. (J.Mc)]
• Blum, Carl Ludwig (1786-1844) – Balladen, Romanzen und lieder [51] * Schäne kommen gezogen (2 voices & guitar) * Kleine Blumen, kleiner Blätter [53] – A pupil of Antonio Salieri and a prolific composer, his works include numerous songs and romances with guitar accompaniment.
• Boccomini, Giuseppe - Racolta di 7 Canzonette [12] - Born in Florence during the latter part of the 18^th century. His compositions include various vocal solos and duets with guitar accompaniment, published in 1820 by Ricordi, Milan.
• Boieldieu, François-Adrien (1775-1834) - S’il est vrai que d’être deux [16] * Troubadour [14]
• Bolaffi, Michele (1769 -?) – Il mese armonico [30]
• Bonfichi, Paolo (1769-1840) – Dolente e care immagini [24]
• Bornhardt, Johann Heinrich Carl (1774-1840) - Sonst und jetzt * Jugendliche Frohsinn (V, fl, guit.) * Liebe lehrt in dunkeln Kummertagen * Ton der :leier * Wiedersehn * An die Hoffnung [11] * Mir bluhet kein Fruhling [11] [16] * Morgenlied [10] * Zitterbuben’s Morgenlied * Piu che a te penso [8] * Aujourd’hui l’amour commode [21]
• Bortnjanskij, Dmitrij (1751-1825) - Hark the Vesper Hymn (4 voices & guitar) [27]
• Bortolazzi, Bartolomeo (b. 1773) - 6 Italian Songs, op. 5 * 6 French Songs, op 20 * 6 Venetian Songs – He was probably borne in Venice. He was among the most famous mandolinists in Europe. He lived in London from 1800-1803 where he perfected his skills on the guitar, studying with local teachers. After 1803, he moved to Germany for his concert activities, living for some years in Braunschweig and Berlin. In about 1805 he moved to Vienna, where he enjoyed success as a composer and teacher. In addition to his many works for mandolin, Bortolazzi wrote many chamber pieces calling for the guitar, and songs for voice and guitar. He also wrote a Method for the guitar.
• Brambilli, Luigi - IV Romances, op. 2 * IV Romances op. 3 * IV Romances op. 4 * V Ariette Italiane e Duettino op. 5IV Romances op. 6 * IV Romances; 1 Italienne 1 Allemande 1 Francaise et 1 Russe op. 8 * IV Romances op. 9 Little is known about this composer, most of whose works for voice and guitar were published in Vienna between 1809 and 1821. (op. 5 published in facsimile by Tecla)
• Bridy - Pour toi ma reine l’amour m’enchaîne [2]
• Brusch, C. F. – Menschensinn [10]
• Bruguière, Edouard (d. 1793) – Soldat * Laissez-moi le pleurer ma mère * je te pardonne en t’oubliant * Faux ermite (2 voices and guitar) [2]
• Campenhout, François van (1779-1848) – Je pense à toi lorsque sous la feuillée [2]
• Carafa de Colobrano, Michel (1787-1832) – De la douceur de voir Adèle [4]
• Carpi, Vittorio – Alta è la luna in cielo * Non senti amore * O mia Renè
• Carulli, Ferdinando (1770-1841) -Lungi da me che fai * Arrivo alle donne * Chi un dolce amor condanna * Deh torna in questo seno * Parlami pur sincero * Son lungi e non mi brami * Tu mi guardi tu sospiri: [15] * (Douze Ariettes Italiennes sur motifs de Rossini) – Ecco quel fiero istante * Sognai mia fillide * O bella filide * Tornatesereni begl’astri * Ha negli occhi * Se son lontana * Già la notte s’avvicina * Amene selve, amiche peante * Conservati fedele * Amo te sola * Son lungi * Gia pronta la t’aspetta: (Grand Air italien) – Senti Mio bene: (Trois ariettes et trois romances italiennes, op.3) – Frena la bella lagrima * Amo te sola * Ombre amene * Ecco quel fiero istante * Parlami pur sincero * Solitario bosc’ombroso: (Trois Ariettes italiennes, op.4) – Che fa il mio bene * Deh con me non vi sdegnate * Tornate sereno begl’astri: {Six Nocturnes (for two voices and guitar)} – Dal di ch’io vi mirai * Di me chi vide mai * Quel cor che mi prometti * Io rivedrò sovente * V’è com’è bello il mar * Selve ombrose - A Neapolitan who spent much of his life in Paris, Carulli is well known today primarily for his guitar duets, as well as his solo guitar music and a one-movement guitar concerto. He did, however, write numerous songs with guitar, one set of which was dedicated to Giuseppina Grassini, a famous soprano of the time who was also a mistress of Napoleon.
• Caruso, Luigi (1754-1822) – Trova un sola mia bella Clori (2 voices & guitar) * Sentirsi dire (2 voices, violin & guitar) * Ah se di te mi privi (2 sopranos, violin & guitar * Sento già in sen che l’alma (2 sopranos, violin & guitar) * Fuggi dagl’occhi miei (2 Sop., violin & guitar) * Ah non pianger bell’idol mio (2 sop., violin & guitar) [36]
• Champein, Stanislas (1753-1830) – O dieux qui m’avez tout oté [4]
• Cimarosa, Domenico (1749-1801) – Sei Canzonette Italiane – Though of by many as “the Italian Mozart”, Cimarosa was a highly successful composer of comic opera.. Even though he traveled to other places, he spent much of his life in his native Naples. When he was in Vienna in 1792, he performed his Il Matrimonio Segreto. The Emperor ordered supper to be served to the performers and then told them to perform the entire opera again. Cimarosa helped welcome the French revolutionary troops into Naples in 1799, and when the Bourbon monarchy later regained power, he was arrested and spent a short time in prison. He died shortly thereafter at the age of 51 in Venice. In addition to his many light-hearted comic operas for which he was most famous, he wrote quite a number of songs and keyboard sonatas. It is suspected that his few songs with guitar may have had their accompaniments crafted by an unknown contemporary, although this speculation is without specific foundation. In view of his wide-ranging skills as a composer, it is equally possible he wrote them himself.
• Colomer, José Melchor Gomis (1791-1836) – El chacho moreno (Cancion andaluza) * La gitanilla zelosa (Cancion andaluza) [52]
• Comoglio, Giovanni (b. end of 18^th cent.)
• Corigliano,Domenico (1770-1838) – Bianco il rosso il palido [16]
• Costa, Mario
• Crescentini, Girolamo (1766-1846) – Dodici (12) canzonette * Dove rivolgo oh dio * Languir d’amore crudel mi vede * O teneri piaceri * Numi sei giusti siete * Per valli per boschi * Fra tanti palpiti d’incerti affetti * Mio ben ricordati, s’avvien ch’io muora [14 - manuscripts - (Several other libraries have printed editions. The manuscripts apparently contain both piano and guitar accompaniment. There were printed issues with either one or both)] - Composer of songs with guitar published by Artaria, Vienna, and by Simrock, Bonn He was a famous castrato singer who was admired and supported by Napoleon. Following a long and successful singing career, he turned to the teaching of singing, and quickly became established in this capacity at the Conservatory in Naples. His musical training began very early, following in the footsteps of those two generations before him. Also, as with his predecessors, he began singing in public at a very early age. However, unlike his predecessors, whose youthful singing generally took place in church, Crescentini was singing comic opera in the small town of Fano at the age of 14. He was one of many castrati who could be characterized as very learned men. In addition to undergoing long and disciplined training in the art of singing, as well as in other musical skills, they often had extensive literary training. When they retired from singing, they often became bibliophiles and dealers in books, as well as teachers, composers, and performers on musical instruments. He may have played others, the piano, for example, but Crescentini’s musical instrument, on which he was very adept in both writing and playing, was the guitar. As a teacher of singing, he wrote several treatises on the subject. One, written in about 1810, placed great importance on smooth, legato phrasing, as well as on words and expression. “Singing”, he wrote – echoing Caccini after more than two centuries – “must be an imitation of speech”.
• Curci, Giuseppe Maria (1765-after 1822) – Care zittele (2 voices, strings & guitar, from the opera “Le due nozze e un sol marito”) [10] * Vieni tranquillo sonno [3]
• Dalayrac, Nicolas-Marie (1753-1809) – Premier amour [4] * Que de maux loin de toi [5]
• Dalberg, Johann Friedrich von (1760-1812) – An den Schlaff [10] * Sie Schwankt dahin [26] * Wie wohl ist mir im Dunkeln [23]
• Dalvimare, Martin Pierre (1772-1839) - Regrets * Mon coeur soupire [4]
• Danzi, Franz (1763-1826) – In des Lebens Maientagen * O weine nicht in einem bessern Leben [11] * Sörg icke mer (voice and Lute) [22]
• Darondeau, Henry (1779-1856) – Tiers [4]
• Delfante, Antonio (1770-1822) – Care zitelle no non sperate (2 voices & guitar) [15]
• Diabelli, Anton – Ihr Wuchs ist Nympfenhalt und schlank [53]
• Doisy – (Six Airs Nouveaux) Romance * La fuite de l’Amour * Il faut une amie * Jadis et Maintenant * L’Esprit du tems * A Lisa (Published in facsimile by S.P.E.S., Florence, Italy)
• Doltzhauer, Justus Johann Friedrich (1783-1860) – Abschied [11]
• Dottori, Daniel – (Eight Airs With Guitar) – Mi giuri che m’ami mi chiami * Senza l’amabile dio di citera * Te lo giuro o mio tesoro * Nice, bella Nice ingrata * Se lontan ben mio tu sei * Non le scherza te intorno * Se io t’amo s’io t’ao * Cara Nice, ingrata sei gia loso [48]
• Drexel, Friedrich - (Early 19^th cent.) – 6 songs, op. 16; 6 lieder, op. 20; Twenty songs, op. 32 (location & source unknown)
• Dusik, Jan Ladislav (1760-1812) – Fernandos Hochgesang an Clara [11]
• Ebers, Karl Friedrich (1770-1836) – Vergessner Schwur [11]
• Eberwein, Carl (1786-1868) – Elegie auf die Treue ihres Geschlechts [11]
• Eisenhofer – Holde leibe sanfe freuden [53]
• Fabricatoriello, Giuseppe - E la bella m’a cercato * Me vogli anzurare dinto fratta * Chi t’a fatta sta bella * Piccere si m’ave nattanno bella cosa [48]
• Farinelli, Giuseppe (1769-1836) – Ah potessi in quella tomba [40]
• Ferrari – En vain de la nature je revois la parure (2 voices & guitar) * Il n’est point d’amant Elvire [2] * L’angellina e la cornacchia * Cuco (Canon for three voices)
• Ferrari, Giacomo Goffredo (1763-1842) – Quand l’Amour nacquit à Cithère [16]
• Fiocchi, Vincenzo (1767-1843) – Pourquoi [4]
• Fioravante, Valentino (1764-1837) - Placida campagna (2 voices, bass & guitar) [43] * 12 Ariette per voce di soprano con accompagnamento di Arpa, o di Piano-Forte, o di Chitarra Francese (Se un core annodi, Perche se mia tu sei, Giace di quell’avel,Non giova il sospirar, Spettri e larve che volate, Questa rosa porporina, Io dico all’antro addio, Che chiedi, che brama, Ombre amene, Aurette leggiere, che intorno volate, Non cerchi innamorarsi, Se infida tu mi chiami) [35] [44]
• Flora – Coleccion de Canciones españolas [52]
• Flotow, Friedrich Ludwig Ferdinand (1783-1858) – Charade [11]
• Fortunato, Giovanni ca. 1800 - Pien di contento * Ecco ridente il cielo * Se il mio nome saper voi bramate * Sorte mia tiranna [16]
• Foster, Stephen Collins (1826-1864) – Old Memories * Gentle Annie * Hard Times Come Again No More * Come With Thy Sweet Voice Again * Willie We Have Missed You * Some Folks * Old Dog Tray * Oh Boys, Carry Me Along * My Old Kentucky Home * Massa’s in de Cold Ground * Maggie by my Side * Little Ella * Farewell My Lilly Dear * Eulalie * Fairy Belle * Camptown Races * Willie My Brave * Jeanie With the Light Brown Hair - I acquired these songs quite by accident. During a casual conversation, a colleague at the university where I was teaching informed me that the library had facsimile copies of first editions of the complete works of Stephen Foster. Among these works, he told me, were many songs with guitar. I later made copies of them just to have them. Aside from perhaps one or two, the guitar accompaniments, simple as they are, were written by Foster himself rather than by someone else hired by his publisher. Apparently there was a demand for these versions, which were issued along with their piano accompanied companions.
• Furstenau, Caspar (b. 1772) – Famous flutist and composer who wrote a set of six songs with flute and guitar accompaniment, as well as six songs with guitar or piano, according to P. J. Bone.
• Garcia - (15 Boleri) – Un fraile se que, Para campana grande, Muchos hai que se casan, Con los aficialitos, Al entrar en ducasa, Tiene sin su barbero, Todos de las mujeres, Yome halle, Te dico a su marido, Mujer que llego, Todos dicen, Pienso en ti solamente, Un rosal que tenia, De los calvos no quieras, Non temas que te de puisa [28] * Amores y dolores guitan el sueño (2 voices and guitar) [3]
• Garcia, Manuel Vicente (1775-1832) – El bajelito nuevo [52]
• Gaveaux, Pierre (1760-1825) – Patrie absente [4]
• Giroust, Francois (1738-1799) – Hymne des Versaillois [39]
• Giuliani, Giovanni Francesco (1760-1818) – Sei duetti notturni a due soprani (2 voices & guitar, harp, or piano)[29]
• Giuliani, Mauro (1781-1829) – Trois Romances, op.13 * Trois Romances. Op.22 * Marie Louise au Berceau de son Fils, op.27 * Sei Cavatine, op.39 * Sechs Lieder op.89 * Sei Ariette, op. 95 * Pastorale a due voci, op.149 * Romance “Près d’un volcan”, op.151 * Anacreontic Ode, op. 151bis (Published in facsmile by Tecla) * Flatter, flatter kleiner Vogel [53] – One of the most famous guitarists of his time. He composed numerous songs, many with guitar, to German French and Italian texts. Those listed are all with guitar.
• Glachant, Antoine-Charles (1770-1851) – Sophie (Romance) [52]
• Glaesser, Karl (1784-1829) – “Numerous songs with guitar” (P. J. Bone)
• Glück, Johann Ludwig (1793-1840) – In einem kühlen Grunde [14] * Heimweih [9]
• Gougelet (18^th cent.) – Troisieme Recueil d’airs choisis avec accompagnement de Guitarre  [35]
• Gossec, François-Joseph (1734-1829) - Oiseaux en chantant s’eshappent du bocage [2]
• Goulet, Pierre Marie (1726-1790) – French songs with guitar published from about 1744.
• Gragnani, Filippo (d. ca. 1767) – Perche due cori insieme * Dove soletta o Clori * Non ti sdnegnar mia Fille [15]
• Grazioli, G. – Ci vuol altro che vantarsi [15]
• Grosheim, George Christoph (1764-1841) – Zu einem Tal bei einem Hirten [23] * Mädchen aus der Fremde (Voice, flute & guitar) [11] * Mädchen aus der Fremde (voice & guitar) [16] Slumra du lilla (voice & lute) [22]
• Guglielmo, Pietro Alessandro (1728-1804) – Scolierò le mie Catena [24] * Bella pescatrice (voice, violin & guitar) [2]
• Guglielmi, Pietro Carlo
• Gyrowetz, Adalbert (1763-1850) – Beim Abschied * An Elisen um Mitternacht [11] * Prends cette rose nouvelle éclose [2] * Cavatine aus der Oper: der Augenarzt * Neben dir ist das liebste Plätzchen mir (Lied) [53]
• Hanssens, V. - Mes adieux aux Alpes [2]
• Harder, August (1775-1813) – An ein Abendlüftchen [23] * Klotar * Mirta (2 voices & guitar) * An die Laute (2 voices & guitar) * An die Harfe (2 voices & guitar) * An den Mond (2 voices & guitar) * An den Hesperus (2 voices & guitar) * Abendlied (2 voices & guitar) [17] * Abschied [10] * Die Propheten der Natur * Wellen rauchen (Lied) [53]
• Haydn, Joseph (1732-1809) - Roxalane [Chansonnette] (2 voices & guitar) * Gentille et vive Lisette ne voudroit jamais [2]
• Hédouin, Pierre (1789-1868) – Pauvre Amélie [2]
• Held, John (Au.) – Collections of songs with guitar published around 1796. (P. J. Bone)
• Helwig - Psalm LXXXVI [53]
• Henrard, Jean-Joseph (1791-1846) – Devais-tu donc me laisser revenir [2]
• Hertel, Peter Ludwig (1817-1899) – Weg zum Glück * Am meine Lyra * Weltweisen * Wohinaus zum grünen Hirteen dort hinauf * Ungestilltes Sehnen * Sehnsucht * Dir kleines Bethlehem erklang * Jüngling * Gunst des Augenblickes [7]
• Hildebrand, Wilhelm – Zerstörte Glück, op. 3 * Trinklied, op. 3 * Hasche die Zeit, op. 3 * Gewehnt getan, op.3.* Ergo bibamus, op. 3 * Bischoffslied, op. 3 [17] * Küsschen das ein Kind mir schlenket [15]
• Himmel, Friedrich Heinrich (1765-1814) - Liebende * Es kann ja nicht immer so bleiben [23] * Welt ist nichts als ein Orchester [19] * Gebet während der Schlacht* An Hebe [11] [15] * Lied der Nachtwächter * Hin ist hin * Lieblingsplätzchen * Wenn im Schatten wo die Pracht * Lied der Nachtwächter in Berlin * Leiermann * An die Freude * Lied der Zufriedenheit [11] * Drei deutche Lieder [51] Beglückt, beglückt, wer die Geliebte findet * Fort, das die Leyer Klinge * Herzenswechel * Gebet während der Schlacht * Ida an Alexis, bei Sendung einer Rose * Die Wiederkehr in mein Vaterland [53] - Himmel was one of many non-Italian composers who was deeply influenced by Italian vocal music, opera in particular. King Friedrich Wilhelm II was so impressed with his talents, he appointed him chamber composer and financed a rather extended trip to Italy, where Himmel studied and composed. While in Italy, his operas were performed in Venice and Naples.. When he returned to Germany, he had elaborate plans to revive interest in opera in his homeland, but his royal employers had no interest in this idea whatsoever. He therefore made the long trips to Russia, Denmark and Sweden, financing the journey with the proceeds from the operas he presented there. Luckily, the trips were very successful, both financially and artistically. After this, his several operas began to enjoy lasting success in Germany. He remained in favor with the court throughout his life, in spite of a pattern of rather erratic behavior. His vocal works are numerous, especially his lieder. For once, among his listed works, the songs with guitar are mentioned, and there are many. It is observed in the course of the essay that his songs are often indebted to the aria melodies of the Italians.
• Horetsky, Felix (1800-1871) – Born in Prague and having spent much of his life in Edinburg, Scotland, Horetsky was a famous guitarist and composers. In addition to numerous guitar solos, he composed many songs with guitar to Italian, Spanish and English texts which were published in Scotland and London. (P. J. Bone)
• Hurka, Friedrich Franz (1762-1805) - Lob der blauen Farbe [7] * Mädchen an ihren Geliebten * Du Kleines braunäugugtes Mädchen * Entfernte [27] * Schiffarhrt [14] [27] {53] * Frülingsabend * An Minna [16] * Waren mir selige Tag (2 versions, one in C and the other in D) [10] * Liebe [14] * An Louise [5] * Lob der weissen Farbe [53]
• Interlandi, Vito – Nice dorme, io solo inondo * Non vi fidate agl’uomini * Son le donne sul principio * In placido riposo * Vicino al segreto Dorindo * E che soffrir mi resta * Bedda Clori, un it scantari * Cara, se vuoi ch’io canti * Nice un parrari, un ridiri [46]
• Jacquin, Gottfried von (1767-1792) – Blümchen das sich zwar nicht mehr [11]
• Jadin, Louis Emmanuel ( 1768-1853) – Aveu timide [4] * Fillettes voulez-vous connaître [2]
• Jusdorf, J. C. (18^th or 19^th cent.) – An den Mond * An Minna.[11]
• Kallenbach, George Erst (1765-1832) - Weine Nicht [53] * Lebe wohl o mütterliche Erde [15]
• Kanne, Friedrich (1778-1833) (Vienna) – Wassernymphe – According to P. J. Bone, Kanne authored four volumes of songs with guitar, plus six songs with guitar, op. 9. He was a man of broad interests. Born in Bavaria, he studied medicine in Leipzig and Theology at Wittenburg. He then decided to devote his life to music. In 1808, he moved to Vienna, where he spent the rest of his life. In addition to composing, he was active as a music teacher, journalist and poet.. According to the essay on him in Groves, he never achieved the established success his talents seemed to warrant, primarily because he turned down several offers for permanent positions in preference to maintaining an always tenuous independence. “In addition to a dozen operas an a similar number of theater scores……….he composed songs and duets, a mass, a cantata, a symphony and some instrumental works. He also wrote a number of plays and long and short poems.” As usual, no specific mention is made in this reference to his songs with guitar. At this writing, I have not located a source for those listed by Bone. The only one I have found so far is shown below.
• Karl Keller (1784-1855) - Feldflasche [14] [8] * Holden Blumen bunter Schimmer [10] - Die Laute * Rondo (Tempo di Bolero) * Kennst du der lieb Sehnen? * Land meiner soligsten Gefuhle [53] - Both a flute and guitar virtuoso; Karl Keller was also a teacher of singing. He was born in Dessau, Germany and died in Schaffhausen, Switzerland. In addition to his positions in the orchestras of Berlin, Cassel and Donauschingen where he played both instruments, he toured extensively as flutist. While most of his numerous compostions were for flute, he wrote a guitar method and several chamber works involving the guitar He also wrote a large number of songs with guitar that were very popular during his lifetime. They were mainly published by Breitkopf & Hartel and by Aibt, Vienna.
• Kestner, August (1777-1853) - Geistesgruss [15]
• Kraglich, Georgio - Tutto da voi dipende * Da te lungi idol’amato [24]
• Krauss, Joseph Martin (1756-1791) - Dröj Sol uti din upgangstima (voice and lute) * Du i hvars oskuldsfulla blick [22]
• Krebs, Franz Xaver (1765-after 1810) - Mädel im Tal * Aufruf zur Jagd (2 voices and guitar) * An Elise [17]
• Kretzschmer, Andreas (1775-1839) - Jean Pauls Lieblingslied [11] * Die junge Schäferin * Der ritterliche Sänger [53]
• Kreutzer, Conradin (1780-1849) - Ich wäre recht fröhlicht so gerne * An die Entfernte [11] * Frühlings-Ruhe * In der Frene * Lebewohl * Morgenlied * Morgenandacht im Freien an einem Sonntage * Scheiden und meiden
• Kuffner, Joseph (1776-1856) – Very prolific composer whose output included about 30 songs with guitar.(According to P. J. Bone)
• Labarre, Theodore (1805-1870) – Deux familles [2]
• Lafont, Charles Philippe (1781-1839) - C’est une larme [12]
• Lagoanère, Chevalier de (1785-1841) - Prestiges de l’amour (2 voices and guitar) [2]
• Lami, Luigi – Bayard pour chant et guitarre
• Lanza, Francesco – 2 Arie con recitativo per una voce con accompanimento di Violino e chitarra; Gia la notte a me ne viene, Nella capanna andiamo [32]
• Lanza, Gino (18^th cent.) – Sei arie notturne con recitativo [32]
• Lanza, Giuseppe (1750-1812?) - 2 Arie con recitative per una voce con accompanimento di Violino e chitarra; Gia la notte a me ne viene, Nella capanna andiamo [8]. Composer and singing teacher. He probably moved to London in 1793, where he was employed by the Duke of Abercorn. On returning to Naples in 1812 he was appointed singing teacher at the Reale Collegio di Musica and at the Pensionato Reale dei Miracoli.
• Legros - L’amour et la gloire (1806) [44]
• Lemire, Désiré - Jeune Indienne [2]
• Lindpainter, Peter Joseph von – Amanda * Preghiera * Sehnstucht nach dem Vaterlande * Stille Liebe [53] – Born in Koblenz, he was a well-known violinist and obtained a lifetime tenure as conductor of the court orchestra in Stuttgart. Apart from his conducting activities, he composed a considerable amount of very fine lieder with guitar.
• Maes, Louis - Souvenirs [2]
• Malabran, Maria Felicita (Garcia) (1808-1836) A famous singer of the period whose father was an even more famous voice teacher. She was also very proficient on the guitar and gave many concerts accompanying herself. She wrote several songs with guitar which were published by D’Almaine, London, and by Schott. (P. J. Bone)
• Marani, Gaetano – Na cest alle pene mi povero * Lascia diletta fillida * Eccomi non ferir numi pieta * E it gha cor de vederme [48]
• Marchesi, Luigi (1754 – 1829) – Sei ariette italiane [37]
• Marpurg, Friedrich Wilhelm (1718-1795) - Was ich liebe zu vergessen [11]
• Marschner, Heinrich (1796-1861) – Closely associated with Weber. Skillful Guitarist and Singer. In addition to several successful operas, wrote numerous songs with guitar, including 12 songs, op.5, songs on poems by Goethe, pub. By Schott, and several collections of songs without opus numbers published by Breitkopf & Hartel.
• Martini - Ah Lucette il fallait nous voir ce matin (2 voices & guitar) * J’voudrais ben comprendre pourquoi (2 voices & guitar) * Amis je voudrais peindre Adelle [2] - I wonder which Martini this might be. There were quite a number, since this was a very popular name, especially for foreigners who wanted to make it as opera composers and songwriters in Italy. (see Martin y Soler below)
• Martin y Soler, Vicente (1754-1806) – 12 Canzonette Italiane (Published in a modern performance edition by Editions Orphèe. The songs were originally published with only a sketch of an accompaniment, to be played on piano, harp or guitar. In this modern edition, I wrote a fully realized guitar accompaniment.) – Born in Valencia, Martin y Soler left Spain while he was in his early twenties, never to return. Little is known of his life prior to that time, except that he served for a while as a church organist in his home town, and that he briefly studied composition with Padre Soler (no relation).Settling in Italy where he assumed the name Vincenzio Martini, he became known as Martini lo Spagnuolo, to distinguish him from others with the same popular name. Over the next eight years or so, he established his reputation with nearly a dozen operas written for various Italian cities. Martin y Soler achieved his greatest success when he went to Vienna sometime before 1785, and began a collaboration with the librettist, Lorenzo da Ponte which resulted, among others, in the creation of what became his most famous opera, Una Cosa Rara, o sia belleza ed onesta. Near the end of 1788, he went to Russia, having been commissioned by Catherine II The Great to compose a Russian comic opera, Gore Bogatyr Kosometovich, for which she had written the libretto. During the year of 1795, Martin y Soler spent time in London, collaborating again with Da Ponte, who had married an English woman and had arrived there three years earlier. They produced two more opere buffe, as well as a set of six rather uninspired songs with piano for a Miss Miller, who was apparently a well-known opera singer of the time. Soler then returned to Sty. Petersburg, where he remained for the rest of his life. He died there on February 11, 1806.
• Mayr, Johann Simon (1763-1845) - Catina Bellina grazioso * Chi dice mal d’amore [15] Chi mi nostra chi m’addita [16] * Untitled * Oh come scorrono * Amor perche m’accende [38] * Non mi sprezzar Fileno * Amante mi sarete (duettino with guitar) [46] * -So che l’et [24] * Suonatore sventurato (Soprano, guitar & orchestra) [28] – Mayr received his earliest musical training from his father, Joseph, a schoolteacher and organist. He sang in the church choir, and by the age of ten could play the most difficult keyboard sonatas of Schubert and C.P.E. Bach. In 1774 he was admitted to the Jesuit college in Ingolstadt and in 1781, enrolled in the university there to study theology. During this time he taught himself to play almost all the string and wind instruments and also studied the organ. In 1786 he published a collection of twelve lieder. His musical talent was noticed by a Swiss Freiherr, who took him to Italy in 1787, where he began formal musical studies two years later with Carlo Lenzi in Bergamo. Lenzi, quickly becoming aware of the extent of Mayr’s talent, helped obtain financial support from one of the cathedral canons for Mayr to study in Venice with Fernando Bertoni. Mayr’s first sacred compositions led to a commission from he Conservatorio di Medicanti for an oratorio. Five more oratorios and cantatas followed, until the death of his patron, Count Pesenti, and encouragement from Piccinni and Peter von Winter caused him to take up opera. His first stage work was Saffo, a serious opera presented during Carnival 1794 at la Fenice, where he had played the viola since the theater opened in 1792. He was to provide one of the two principal carnival productions there. It was during this period that he also supplied other Venetian theaters with more than a dozen comic operas and one-act farces. In 1799, Mayr made his debut at La Scala, Milan,, with a revision of his second serious Venetian opera. Thereafter, he tended to write his serious operas largely for La Scala, although he wrote several for theaters in Naples between 1813 and 1817, and continued to supply occasional ones to La Fenice and other Italian theaters. In the 1820′s. Mayr developed cataracts and became blind in 1826. The last of his approximately 80 operas appeared in 1824, however, he remained active in the musical life of Bergamo – teaching, supplying music for the cathedral, and organizing performances of music by Haydn, Mozart, Beethoven and others rarely heard there. In 1838 he made a trip to Bavaria to visit his birthplace and his sister. He died in 1845. Verdi took time from the production of his opera, Attila, in Venice, to attend Mayr’s funeral.
• Méhul, Etienne Nicolas (1763-1817) - Lorsque de mes parents [4] * Le doux mal [53]
• Melia, Gabriello (?-1840) – Duetto, op.15 * Duetto, op.16 * 12 Canzonette * Cavatine * Vini fagiam ben mio difebo il vivo ardor * Questa è la bella face * Quando miro il tuo sembiante * Ecco quel fiero istante * Quando non so dove il mio bene * Sempre più t’amo * So che pietà non hai * Povero cor tu palpiti * Invan si lagna questo mio core * Tradito sprezzato da quello che adoro * Praticel di fiori adorno * Sia benedetto amore * Rondinella a cui rapita * O cara di questa anima amabile [16] - Melia was probably born in Rome in the last decadeof the 1700′s, and he seems to have never worked outside that city. He lived for many years in the via de’ Sediari (Chairmaker’s Street) at number 76, a small street that still exists close to the center of the city; his principal publishers, Ratti and Cencetti did business in the same street. It is reasonable to assume that Melia did not develop his activities elsewhere, maintaining a close relationship with the Rome environment. This can be reliably inferred from the dedicatees of his compositions, who were noble and diplomatic personalities in Rome at the time. Indications of the extent of his teaching activities are found in the dedications of many of his compositions to his students. At the same time there does not seem to be much documentation of his concert activities, which on the surface, appear to have been very limited. At the time, Rome does not appear to have been a favorable climate for the guitar. Giuliani visited Rome around that time and encountered great difficulty in developing much interest in his presence, performing in concert only twice. There is also no evidence of any other important guitarists in Rome.
• Méliant – Âge d’or [4]
• Mellini, Francesco – Dammi nice di sta grasta * Si ti guardu * Nici mia comu si fa * Chi amuri sfurtuna * Forti geniu di simpatia * Com’e possibli lassari [48]
• Mengozzi, Bernardo (1758-1800) – Se m’abbandoni [40]
• Merchi, Giacomo (1730 – ?) - [Raccolta d'ariette francesi ed italiane, op. 4 (8 French Songs and 6 Italian Songs)] Ariette * Brunette * Musette Allemande * Ariette dans le gout Italien * Ariette * Romance * Ariette * Ariette [XXI LIVRE DE GUITARRE op. 25 (French songs with guitar)] Vaudeville du Tableau Parlant * Vaudeville de l’Amant Déguifé * L’Eloge de Babet * Romance * La Fidélité * La Bergère Vaincue * Romance * Le Serment indiscret * L’Indifférent * Le Plaifer * Colin et Colette * Le Galant Ridicule * Le Sorcier * Le bon Confeil * La Fileufe * Le tendre Reproche * Les Moineaux * La Grand Fille * La Bergère Calmée * La Quittance mutuelle * L’Heureux Berger * Lè Trelintintin * L’Histoire de Pierrot * L’Amour Gredadier * La Préférence * Romance * La Guitarre * Robin * L’Eloge de la Boffe * La Mére Confidentè (Published in facsimile by S.P.E.S., Florence, Italy)
• Methfessel, Albert Gottlieb (1786-1869) – Alte feldherr * Thaddaeus [15] * Kriegers Abschied * Liebestandelei * Lizidas * Sängers Morgenlied * So mancher möcht ihr Blümchen sein [53]
• Meurger, Al. – L’exil de Troubador; Recueil de romances (1 & 2 voices with guitar [51]
• Milhès, Isidore (d. 1806) – Habitude [2]
• Millico, Giuseppe (1737-1802) – Volle cogliere uno rosa * Dormia sul margine (Cavatina) * Ho sparso tante lagrime (Cavatina) [15]
• Moltke, Carl Melchior Jakob (1783-1831) - An Molly * An Mignon * Mädchen und der Jüngling * Nähe des Geliebten * Einsamkeit * Hirtin Wahl * Abendlied an den Ufren der Ostsee * Freiwillige Krieger[11]
• Mondonville – M’aimes-tu bien [2]
• Monzino, Giacomo (1772-1854) – Anima mia consolami * Cavatina, Chi vuol la bella rosa * Cavatina del Simone Mayr, Chi dice mal d’amore * Dei vostri accenti al suono [15] - Born in Milan, he was a skilled guitarist and composer for the guitar. He was the son of Antonio Monzino, one of the most popular stringed instrument makers and dealers in Milan. Monzino began a career as an editor and publisher at the beginning of the 19^th century, mainly publishing guitar music of local composers. This activity flourished for at least twenty years, and he contributed significantly to the guitar repertory in competition with other great publishers in Milan. Among his compositions are several Cavatine for voice and guitar.
• Moretti, Federico (1765-1835) – Dodici canzonette op.12 Trofei d’amore (1806) * Dodici canzoni op. 24 (Doce canciones) – Originally from Naples, he spent much of his life in Spain as an officer in the Spanish Army. He was a prolific composer, having written many songs, mainly with guitar accompaniment. His set of 12 Spanish songs represent one of the earliest known song cycles.
• Moretti, Ferdinando – La Spiegazione * Ti vidi o bella fille * Il Desio * Oh ma Felice * La Partenza * Dunque partir degg’io * Il Ricordo * Eccomi lungi dall’amayo mio ben * Il Sospetto * Compagni, ah perchè mai * Il Giuramento svanito * Ah più dubbio non v’è * Il Disinganno * Qual colpoo inaspettato * La Speranza * E fia ver che il mio bene * Il Delirio * Misero a chi ragiono * La Calma * Dove trascorro mai * La Libertà * Respirpo alfin [35]
• Moretti, Luigi – Sei cavatine, op.21 [41] * Duettino; Non mi lasciar ben mio (2 sopranos & guitar) [32] – Little is known about this composer, the brother of Federico Moretti. He apparently lived in Naples, his birthplace, the first few years of his life. It is assumed that he spent much of his life in Northern Italy, probably in Milan, since most of what is known of his surviving works were published by Ricordi and other Milanese publishers.
• Mosca, Giuseppe (1772-1839) – Io bramo viver sciolto * Ah che in si bel momento [16] - Mosca was born in Naples. He studied there with Fenaroli at the Conservatory of S. Maria di Loreto. In 1791, his first opera, Silvia e Nardone, was perfomed at the Teatro Nuovo in Rome. For twelve years he composed for various Italian theaters, presenting his operas in Rome, Naples, Venice and elsewhere, usually with much success. In 1803 he went to Paris as maestro al cembalo at the Theatre Italien; he composer additional music when required, but wrote no operas. When Spontini assumed directorship of the theater in 1810, Mosca returned to Italy. After the success of Rossini’s La pietra del paragone, Mosca accused Rossini of having plagiarized one of his own operas, , particularly the device of the crescendo, circulating copies of his music as proof. The charge was repeated by critics until Radiciotti discovered that the crescendo had been employed before Mosca’s use of it in two operas by Johann Simon Mayr. Moscas style shows a remarkable similarity to Rossini’s in many respects, but it would be difficult to decide who influenced whom. In 1817 Mosca went to Palermo as music director of Teatro Carolino, but gave up the post after the revolution of 1820. A return to Milan revived his career. After several years of touring, however, he settled in Messina as director of another theater. He composed more than 40 operas; all were written before 1826.
• Mosca, Luigi (1775-1824) – Senza il tuo dolce amore [27]
• Motta, Artemio – Ecco quel fiero istante [50]
• Müller - Wenn mir dein Auge strahlet (2 voices & guitar) * War’s vieleicht um eins (2 voices & guitar) [23]
• Müller, August Eberhard (1767-1817) – Mädchen und der Vogel [15]
• Mussini, Natale (1765-1837) – Wie der Tag mir schleichet [11] * Souvent l’amour nous prouve son empire [5] [10] [16] * Ah ingrato m’inganni [26] [16]* Aure amiche ah non spirate * Fra le querelle il pianto * Già la notte si avvicina * Pastorella al prato * Più che a te penso * Senti il mio caso [18] [16]* Voi che il mio cor sapete [18] [11] [16]* Chi un si dolce amor condanna * Patorella al prato [16]
• Naumann, Johann Gottlieb (1741-1801) – Par che di giubilo (Soprano, Violin and Lute) [44]
• Nava, Antonio Maria (Milan) (1775-1828) - Raccolta di ariette * Sei ariette, op.22 [32] * Sei ariette, op.39 * Sei ariette, op.56 * Sei ariette, op.59 * Sei ariette, op.60 (2 voices) * Cavatina, Mi vien da ridere * Cavatina, O cara memoria * Cavatina, Quel dirmi oh dio * Cavatina, Venga avanti * Romanza, Teneri miei sospir - Several volumes of songs with guitar published by Ricordi. He was one of the best known guitarist-composers working in Italy in the first decades of the nineteenth century. A concert performer on the guitar and a teacher of voice, he was the teacher of his child, Gaetano (1802-1875). His concert activities took him for a brief period of time to Paris, London, and presumably Germany around 1812. His major interest, however, was in composition.
• Neuland, W. – Hätt ich Flügel könnt ich fliegen [15]
• Neyts, G. – Nanna [2]
• Nicolini, Giuseppe (1762 – 1829) - Ne’giorni tuoi felici (2 voices & guitar} [15] * Sei Ariette di Metastasio [37]
• Orlando, Ferdinando (1777-1848) – Furbi alle nozze [15]
• Osthoff, W. – Lied aus Gabriel * Lied von Clotilde [53]
• Pacini, Giovanni (1796-1867)
• Pacini, Antonio (1787-1840 – Veux tu m’aimer [52]
• Paer, Ferdinando (1771-1839- 4 Ariette italiane coll’accompagnamento di Chitarra ed un violino [41]
• Paisiello, Giovanni (1740-1816) - Lieux paisible verts bocages (2 voices & guitar) [2] * Du printemps de mon âge je vois passer la fleur (2 voices & guitar) * Vien qua Dorina bella [16] * Patrona compati me * Amor contrastato [11] * Mamma mia [12] [16] - According to the Oxford Companion to Music, Paisiello was born in Taranto and died in Naples. He was an opera composer in the courts of Ferdinand IV, of Joseph Bonaparte and Murat of Naples, of Catherine the Great at St Petersburg and of Napoleon I in Paris. He composed 100 operas, in which he used a charming simplicity, according to the dictates of the time, and innovated many structural ideas related to the dramatic plans of his operas. Like many other opera composers of his time, he was also a prolific composer of songs, many of which were with guitar accompaniment. Several of his songs were also set to a guitar accompaniment by Carulli.
• Panseron, Auguste-Mathieu (1796-1859) – Album * Chant de la nourrice * Eh vogue ma nacelle (2 voices and guitar) * Emmène-moi * Maman me permet de danser [2]
• Patouart fils – la muse lyrique: Requeil d’airs avec guitarre [51]
• Pavesi, Stefano (1779-1850) – Canzonetta; Oh inspettato felice istante [32]
• Peellaert, Augustin-Philippe de (1793-1876) - Ombre du soir [2]
• Persichini, Pietro (1755-1837) – No non quel lampo [15]
• Persuis, Louis-Luc Loiseau de, (1769-1819) - Ce matin dans une bruyère * Vous qui loin d’une amante * Voici venir le doux printemps * Que j’aime à voir les hirondelles * Dans cette aimable solitude * Ah s’iil est dans votre village [2]
• Perucchini, Giovanni (1784-1870) – Ti lo vedi Cate mia * Notte sce bella * E ti gà cuor de venderme * Che non parla mi non parlo * No non quel lampo [15]
• Pfáhler, W.S – Warnung vor dem wasser [15]
• Picchianti, Luigi (1786-1864) Trentasei Ariette Nazionali [34] * Chi sa dimi o mia speranza (Cavatina) * Come dolce all’alma mia (Cavatina nell’ opera Aureliano di Rossini) – A Florentine composer, he wrote numerous songs with guitar, most of which were published by Cipriano, Florence
• Pilz, Carl Philipp Emanuel (18^th cent.) - Adelaide [15] [10]
• Plantade, Charles-Henri (1764-1839) - Bocage que l’aurore embellit * Bonheur * Grand portes heureux * Loin de l’ectat du diadème * Tort de l’absence [4] * Je recontrai nagguère la fille Mathurin [2]
• Pleyel, Ignace (1757-1831) - Au lever de l’aurore sur un tapis de fleurs [2]
• Pollini, Francesco - Leggi adorata Nice * Deh non cessate [32] * Isene siedia l’ombra [31] * con accompagnamento Canzone di chitarra
• Porro, P. – Instruction élémentaire de la lyre-guitarre - The lyre-guitarre was an instrument which, though unusual in shape, had six strings and was tuned like a conventional guitar. This volume, in addition to instruction in basic music notation, tuning and various technical exercises, contains several short guitar solos which are somewhat reminiscent of those found in the appendix to the famous Carcassi Method. In addition, it contains six rather attractive songs set to French texts, collectively called Six Romances, whose individual titles are as follows: Cantique de Venus (Andante) * Canzonetta (Andantino innocente * Romance (Lento sensibile) * Romance (Lento espressivo) * Le besoin d’aimer (Andante graziozetto) * Les sermens oubliés (Andante) - [Nouvelles Etremmes de guitarre, op. 4 (1784)] - This collection contains 14 songs plus two guitar solos, one of which is a three-movement sonata. Two of the songs have no accompaniment, while others not only have a guitar accompaniment, but rather lengthy instrumental interludes between verses. - [Journal de guitarre] Les Etrénnes des dieux * A l’Amité * A Mlle. Alexandrine Mal++ * Élégie * Invocation a la Nuit * Musette imitée de l’Espagnol – [Six Romances nouvelles, avec Accompagnement de Guitare ou Lyre, Violon ou Flute à volonté Op. 34] Le Saule du Malheureux * La Serenade * L’Amour Marchaud de C( * Chant d’une jeune Arabe * Canzonetta * L’Adieu (All of the above collections of music by Porro are published in facsimile by S.P.E.C., Florence, Italy)
• Portugal, Marcos (1762-1830) - Mi pizzica mi stimolo (Cavatina) [15]
• Pozzi - Schöne Damen durch Jugend und Reize [11]
• Preis, A. - Erinnerung an die Heimat * Pilgerin * Erinnerung an Thoreida [11]
• Puccini, Domenico (1772-1815) - 6 Ariette e 6 Duettini – The second son of Antonio Puccini and grandfather of Giacomo,, he had his first music lessons from his parents, and continued his studies in Bologna under Mattei and in Naples under Paisello, with whom he remained on excellent terms. From 1806-1809, he was director of the Cappella di Camera, founded by Napoleon’s sister Elisa Baciocchi, the Regent of Lucca, and of the municipal chapel from 1811-1815. His death in that year was sudden and mysterious; some think he was poisoned for political reasons. In a mid-19^th century illustration published by Breitkopf & Hartel, Domenico appears with Gretry and other important contemporary musicians, a sure sign of the esteem his music enjoyed. His style is completely theatrical, even in sacred and vocal chamber music compositions; it differed from that of his father so much that he could not complete his father’s unfinished Te Deum. The style is very simple and fluid; counterpoint has almost disappeared. In his operas, especially the comic ones, he reveals an outstanding theatrical sense, and a fresh, spontaneous inspiration, along with the assimilation of styles present in the comic operas of the time.
• Pucitta, Vincenzo (1778-1861) - Biondina in gondoletta [9]
• .Reichardt, Johann Friedrich (1752-1814) - Was zieht mir das Herz * Schäfers Klagelied [23] * Klärchens Lied * Es ritt ein Jagersmann über die Flur * Wär ich ein Vögelein [15] * Wir gingen beide Hand in Hand * Lied der Nacht * Ach umsonst auf aller Länder Garten [11] * Aechtes Glück * An den Abenstern * Das Lösegeld * Der Alpenjäger * Lied der Nacht [53] * Gebet während der schlacht * Steile Pfad auf den ich leite * Morgenlied – Johann Reichardt was a well-known literary critic of the time, a journalist, violinist and composer. In addition, he served as Kapellmeister to Frederick the Great. He was particularly active as a composer of lieder, many of which he wrote with guitar accompaniment.
• Reichardt, Louise (1779-1826) - Liebe * Nach Sevilla wo die hohen Prachtgebäude * Des Schäfers Klage [11] * Das Machen am Ufer * Spanisches Lied [53] Zu Coblenz auf der Brücken
• Reinicke, Leopold Karl (1775-1813) - Lieblich prangt um uns der Blumen Fülle [19]
• Ricci, Francesco Pasquale (1732-1817) - Chiamami pur cosi * Arrivo alle donne * Mio ben l’amato oggetto [15]
• Righini, Vincenzo (1756-1812) - Abend * Frühlingslied * Hoffnung und Erinnerung * Schiffer * Sehnsucht * Vergiss mein nicht * Nehmt euch in Acht * Tief in der Brust verborgen * Mit zärtlichen Herzen verlangt ihr nach liebe [11]* Alls du sagtest ich muss scheiden [15] * Aure amiche, ah! Non spirate (Canzonetta) * Freudvoll und leidvoll * Nehmt euch in acht * Trinklied * Schönste Rosen knospe dieser Flur [53]

Vicenzo Righini was born five days before Mozart. He was originally a singer in his native Bologna, but during his lifetime, became a famous and important composer. In addition to writing roughly 200 songs to both Italian and German texts, he wrote operas, as well as sacred music and instrumental scores. He established himself as a singing teacher in Vienna in 1780, and later, in 1787, became the first Italian-born Kapellmeister in the royal court of Mainz. He was then appointed Kapellmeister and director of the Italian Opera in Berlin, working with Johann Friedrich Reichardt.

• Rivolta, Giacomo – Quel caro, e bel visetto (Cavatina Buffa) [32]
• Roger, Alexis-André (d. 1814) - Aveux de Lucette [2]
• Rolla, Alessandro (1757-1841) - Padrona compatime (Canzonetta Veneziana) [15] * Cinque (5) romanze * Romanza, Perche mai it affanni tanto -Born April 23^rd in Pavia. His uncle Giuseppe was a violinist who, in 1765, played in the orchestra directed by Giambattista Sammartini (1700-1775). Rolla began the study of the fortepiano and the viola at a very early age., later adding his two favorite instruments, the guitar and the violin. Rollas compositions for the guitar are mainly limited to chamber music with violin, although he wrote a few works for voice and guitar, a set of five romances and one independent romance.
• Romagnesi, Henri (1781-1850) - Amant et le nautonnier (2 voices & guitar) * C’est ainsi que l’amour finit * Est-ce l’amour est-ce la peur * Gentille Nonnette (2 voices & guitar) * Heureux sommeil (2 voices & guitar) * Mot de toi [2] * Fi! Que c’ect laid d’etre jaloux! * Sauf le respect que je vous dois [52]
• Rosquellas – Zirana del Tripili (Sop., Flute & guitar) [31]
• Rousseau, Jean-Jacques (1712-1778) - Wie der Tag mir dauert [37] * Quand on sait aimer et plaire * Si des galants de la ville [29]
• Salvati, Bernadino (18^th cent.) – Se son bella che vi premo * Breve lontananza * Idolo del mio core [15]
• Savart, Eugène - Pauvre petit (Romance) [52]
• Seelicke, C. F. - Lied eines Mädchens * An die Erwählte * Wie der Tag mir schleichet * Mutter bei der Wiege * Betende (v, fl, guit) * Beruhigung (V, fl, guit) * Ungetreue Witzling * Klage und Ermunterung * Abendlied eines Hausvaters * Lebensgenuss * Wo liebe sich bettet [11]
• Seidel, Friedrich Ludwig (1765-1831) - Wo ich sei und wo mich hingewendet [19] * Romance aus der Trauerspiel: der Leuchthurm [53]
• Schacht, Theodor von (1748-1823) – Ti lascio ben mio, op. 1/1 * Amo te sola, op. 1/2 * Dolce sonno amica quiete, op. 1/3 * Mi lagnerò tacendo, op. 1/4 * Quanto mai felici siete, op. 1/5 * Perché mai vezzosi, op. 1/6 * È la fede degli amanti, op. 2/1 * Son confusa pastorella, op. 2/2 * Giovinette semplicette, op. 2/3 * Nel mirarvi o boschi amici, op. 10/1 * Tu sei gelosa è vero. Op. 10/2 * Perché mai vezzosi rai, op. 10/4 * Almen se non poss’io, op. 10/5 * In dieser stillen Grufte, op. 10/6 * Mille amanti so per prova, op. 11/1 * Amo te solo, op. 11/2 * Superbo di me stesso, op. 11/3 * Mi lagnerò tacendo, op. 11/4 * Sei troppo scaltra, op. 11/5 * Alla selva al fonte al prato, op. 11/6 * Conservati fedele, op. 12/1 * Caro bell’idol mio, op. 12/2 * Ti lascio ben mio, op. 12/3 * Dolce sonno amica quiete, op. 12/4 * So che vanti un cor ingrato, op. 12/5 * Aure amiche care piante, op. 12/6 [18] – These songs are described as Canons for three voices accompanied by Cembalo and/or guitar. The voices are variously specified as three sopranos, three tenors or three equal voices.
• Siebert - Zauberin [11]
• Signorila, Nicola – Finche splende in cielo il sole * Ah la mia Clori e tutta bella * Mentre la notte placida * Sorge la bella aurora (Duettino notturno) [51]
• Sola, Charles (It.) 1786-?) - Brulant D’amour (A Troubadour Song) [44] – Wrote numerous songs in Spanish, Italian and English, most of which were published in London (P. J. Bone). His name also shows up as the writer of guitar accompaniments for songs by other composers.
• Soerensen, Johann (1767-1831) – Es hann schon nicht immer so bleiben * Sterne * Rückerinnerung an meine Heimat * Sehnsucht * Nach der Mahlzeit * Lobgesang * Gedanken auf einem Kirchhofe * Bei den Gräbern der Freunde * Danklied * Ruhe im Grabe * Abschied * Pilgerlied * Seelenruhe * Loblied * Beruhigung * Abendbilder * Abendlied eines Fremdlings * Trost * Morgenlied [12]
• Sor, Fernando (1778-1839) - Canción Civita (various versions) * Chanson relative aux événemnet d’Espagne * [Seguidillas y Boleros] Acuerdate bien mio * Al mediator jugando * Cesa de atormentarmi * Cómo ha de resolverse * Cuantas naves se han visto * De amor en las prisiones * El amor siempre empieza * El que quisiera amando * Las mujeras y cuerdas * Lo que no quieras darmi * Los canónigos, madre * Me pregunto un amigo * Mis descuidados ojos * Morena de mis ojos * Muchacha y la vergüenza * Muchacho, y la verguenza * No doblarán campanas * No quiero, no, que vengo * No tocarán campanas * Pajarillo amoroso * Prepárame la tumba * Puede una buena moza * Si a otro cuando me quieras * Si dices que mis ojos * Si mis ojos te dicen * Sin duda que tus ojos * Yo no sé lo que tiene * Yo sembré una mirado * Yo soy el cocinero (These Seguidillas and Boleros were written at various times throughout Sor’s lifetime. Most were written with guitar accompaniment, though several were written with piano, and some with both.) [French Songs] O vous que Mars rend invincible * Il reviendra (Sor also arranged arias by Mozart as well as some Italian songs. In addition, he wrote some sacred choruses for four voices and guitar. A complete edition of songs with guitar by Fernando Sor is newly published in a modern performance edition by Chantarelle) – Another celebrated guitar virtuoso of the time and well known today for his guitar compositions. Unlike most other famous guitarists of the time, who for the most part only wrote music related to the guitar, Sor also wrote operas, ballets, symphonies, string quartets, choral compositions, and songs with guitar, piano and orchestra.
• Sterkel, Johann Xaver (1750-1817) - Auf der liebe dunklen Meere [10] * Tief unten im einsamen Tale * M’hanno detto [13]
• Streitwolf, Johann Heinrich - Oft lässt die Lieb’ uns ihre Macht empfinden [11]
• Stévens, Jean-Baptiste ( d. 1796) - Je t’aime encore [2]
• Stuber - Mein Hüttchen * Lebenssinn * Morgenlied eines jungen Ehepaars [11]
• Sussmayer, Franz (1766-1803) - Spiegel von Arkadien (This song is listed as #3 in “Sechs Arietten für die Guitarre”) [10]
• Tarchi - Vole doux Zéphyr [2]
• Terziano, Pietro (1765-1831) – 9 Canzoncine (Il Sospiro, Nice lontano, L’affanno, Lo strale di Clori, Barbara navicello, A Nice infedele, Il pretesto, O si, o no, La Tomba) [33]

• Thonus, P.J. von (18^th or 19^th cent.) - Madchen vom Lande [11]
• Trento, Vittorio (1761-1833) - Ogni donna che ha gusta * Quel bianco sende latte * Tocco un di dal canto mio canto * Son pratico in amore dono * Canto bassetti su quei o chieti * Terza note e questa ch’il sonno * Quel Augelino che sol canto * Che ingegnoso putte letto * So miglia l’amore [48] * Amore e un guerriero si forte * Son ferito in mezzo al core * Joti saluto alba novella * Incostanza * Occhi stelle mortali [24] * Virtuoso per forza * Nina non dir di no [15] - Born in Venice and died in Lisbon. After studying under Bertoni at the Conservatorio dei Medicanti in Venice, he began his career there as a composer of ballets that were usually performed between the acts of an opera. According to Fetis, his first was Mastino della Scala (1783) . Most of the large number that followed were also written for Venice, where he became maestro al cembalo at the Teatro S. Samuele, but he sometimes traveled. At Lucca for the opera season of August to October 1787, he was paid 16 testoni for composing the dances. (Roncaglia, the castrato, was paid 240 testoni for singing 38 performances of the opera. In 1796 he went to London at the invitation of Dragonetti and composed the ballet, The Triumph of Love which, with its groups of cupids flying about the stage, was highly successful; but in the same year he returned to Venice, where he became maestro al cembalo at La Fenice. Trento first attempted opera in 1789 with Orpheo negli Elisi, first performed privately in Verona. From 1791, he produced a large number for the public theaters, specializing in farces and comedies. In 1801 came his one great success, the dramma giocoso quanti casi in un sol giorno, which for twenty years was performed all over Europe under a variety of titles and in many forms. Later, he turned more often to the opera seria, but without great succes. In 1806 he went to Amsterdam as maestro concertatore of the Italian opera house and in 1809 to Lisbon in the same capacity.. In 1811-12 he was in London, where his opera, La Climene was performed at the King’s Theater as a vehicle for Angelica Catalani. In 1815 he seems to have been in Munich and then once more in Lisbon. From there he returned to Italy in 1818 and produced several new works, which were almost all failures. He returned to Lisbon in 1821 and remained there until 1824, when he once more went to Italy and produced his last two operas. Trento never became a major figure in Italian opera, and in his later years his works, like so many of his contemporaries, were rendered obsolete by the extraordinary success of the new style of Rossini.
• Trignuolo, Gaetano - Caro ve to sapesi * Se la pena che provo nel seno * Amabile sigella * Hai gl’acchio fille * Vannes infedele, addio * Io far l’amore cosi non so * O si o no (Cavatina) [47] [15]
• Vacher, Pierre Jean (1772-1819) – Quatres Ages de la femme * Mon dernier mot [4]
• Valletta, Nicola ( 1748-1814) - Io far l’amore cosi (Cavatina) [15]
• Verini, Filippo - Benedetta sia la madre * Italian Songs for 1 or two voices & guitar [46] – Prisoner of war during Napoleonic wars. Transported to Spain where he escaped and went to England.
• Volger, Georg Joseph (1749-1814) – March and Variations for voice and lute [22]
• Weber, Carl Maria Von - Die Schaferstunde op. 13, 1 * Wiegenlied op. 13, 2 * Liebeszauber op. 13, 2 * Sanftes Licht op. 13, 4 * Die Zeit op. 13, 5 * Liebe – Gluhen op. 25, 1 * Uber die Berge mit Ungestum op. 25, 2 * Las mich schlummern op. 25, 3 * Betterlied op. 25, 4 * Zu den armen Minnesanger op.25, 5 * Canzonetta op.29, 1 * Canzonetta op. 29, 2 * Canzonetta op. 29, 3 * Die Zeit op.43 * Quodlibet op. 54, 2 (2 V.) * Liebeslied op. 54, 3 * Alte Weiber op. 54, 4 * Weine nur nicht op. 54, 7 * Heimlicher Liebe Pein op. 64, 3 * Gelahrtheit op. 64, 4 * Abendsegen op. 64, 5 * Romanze (no opus)…. I have the above songs in modern performance editions as published by Thüringer Volksverlag- Weimar, and by Verlag F.E.C. Leuckart – München. Having owned them for quite a few years, I am not altogether sure whether they are currently in print, but I believe they are; however, I have found listings of even more songs by Weber in early editions. They are as follows: An den Mond, Bach, Echo und Kuss, Das Veilchen im Thale, Der arme Minnesänger, Der kleine Fritz an seine jungen Freunde, Die freien Sänger, Gebet um die Geliebte, Ich sah ein Röschen, Klage, Lied der Hirtin, Lied von Clotilde, Maienblümlein, Mailied (2 voices & guitar), Meine Farben, Mein Lieder, meine Sänge, Mein Verlangen, Minnelied, Ninfe, se liete viver bramate (Canzonetta in Italian), Persisches Lied, Schlummerlied, Schwäbisches, Umsonst, Unbefangenheit, Volkslied (Mein Schatzerl is Hübsch!), Volkslied (Weine nur nicht), Was zieht zu deinem Zauberkreise, Wiegenlied, Wunsch und Entsagung [53]

• Weber, Johann Gottfried (1739-1797) - Vöglein flog durch Wald und Feld [15]
• Westenholz, Sophia (1759-1838) - Glück der Liebe [15] – She was married to a musician and earned her living as a singer and pianist. She wrote only 26 songs, some of which were transcribed by others to guitar accompaniment from her original piano writing, a common practice of the time.
• Westenholz, Karl August Friedrich (1736-1789) - Geliebten Hand berüren (Voice, flute and guitar) * König Ankäos [10]
• Winter, Peter von (1754-1825) - Cos’e mai questo vago animale (Cavatina for Tenor, Guitar and Orch.) [4] * Dolce tesoro (voice, lute & strings) * Schönste Gottheit edler Seelen (from the opera Maria von Montalban ) * Recitativo and Aria from Babylons Pyramiden * Sacrifizio interotto (from Unterbrochene Operfest )[28] * Die Blumen des Lebens (Canzonetta) * Ich war, wenn ich erwachte (Aria) [53] - The Cavatina by Winter is from one of his operas, first performed in Venice in 1790. It is the only work by him I have found thus far which was originally written for voice and guitar (in this case with orchestra). However, there are several instances in which either he or someone else arranged some of his arias and other operatic excerpts with guitar accompaniment. Since these works are in the Johann Simon Mayr collection in Bergamo, Italy, one could easily presume that Winter was well acquainted with Mayr. In fact, it was Winter who first persuaded Mayr to try his hand at writing operas.
• Zucconi, Francesco (18^th cent.) – Sechs Gesange mit Begleitung der Guitarre oder Pianoforte
• Zumsteeg, Johann Rudolf (1760=1802) - Welt ohne sie [11] * Allah gibt Kicht in Nächten * An Leonoren * Una Ballade * Lied aus der ferne * Freuden der Gegenwart * Erscheinung [15] War ich ein muntres Velein * Russisches Brautlied [53] - The fame of Zumsteeg rests in his importance as a song composer of his time. He was among the first to develop the “ballad” form of song writing in the context of the German Lied, along with Carl Loewe. This poetic genre involved the use of numerous verses with which to tell a story, alternating between narration and dialogue. This form was derived from the popular ballads of England and Scotland and often involves the telling of romantic adventures and supernatural happenings. In most cases, an effort was made to preserve the forthright qualities of the old folk ballads on which they were modeled. Therefore it is not surprising that Zumsteeg would employ the use of the guitar in many of his works of this form.

 

LIBRARY ADDRESSES AND COLLECTIONS
[1] [A Kk] Kärntner Landeskonservatorium, Bibliothek, Miesstelerstr. 8, Klagefurt 9020

• Arcari, Valentino – Voi lo vol terete (2 voices & guitar)

[2] [B Br] Bibliothèque Royale Albert 1. Er, Blvd de l’Empereur 4, Bruxelles 1000 (Brussels)

• Andrade, Jean Auguste – Souvenir; Andreozzi - Tout m’alarme tout excite et ma crainte et mes regrets; Auber, Daniel-François – Jenny; Barbereau, Mathurin-Auguste - Heure du soir; Beauplan, Amédée de - Je ne suis á personne, Marguerita (2 sop & guitar); Blangini, Felice – A votre belle soyez fidèle; Bridy – Pour toi ma reine l’amour m’enchaîne; Bruguière, Edouard – Soldat, Laissez-moi le pleurer ma mère, Je te pardonne en t’oubliant, Faux ermite (2 voices & guitar); Campenhout, François van – Je pense à toi lorsque sous la feuille; Dalayrac, Nicolas-Marie – Que de maux loin de toi; Ferrari – En vain de la nature je revois la parure (2 voices & guitar), Il n’est point d’amant Elvire; Gossec, François-Joseph – Oiseaux en chantant s’eshappent du bocage; Guglielmo, Pietro Alessandro – Bella Pescatrice (voice, violin & guitar); Gyrowetz, Adalbert – Prends cette rose nouvelle éclose; Hanssens, V. – Mes adieux Alpes; Haydn, Joseph – Roxalane [Chansonette] (2 voices & guitar), Gentille et vive Lisette ne voudroit jamais; Hédouin, Pierre – Pauvre Amélie; Henrard, Jean-Joseph – Devais-tu donc me laisser revenir; Jadin, Louis Emmanuel – Fillettes voulez-vous connaître; Labarre, Theodore – Deux familles; Lagoanère, Chevalier de – Prestiges de l’amour (2 voices and guitar); Lemire, Désiré – Jeune indienne; Maes, Louis – Souvenirs; Martini – Ah Lucette il fallait nous voir ce matin (2 voices and guitar), J’voudrais ben comprendre pourquoi (2 voices and guitar), Amis je voudrais peindre Adelle; Milhès, Isidore – Habitude; Mondonville – M’aimes’tu bien; Mussini, Natale – Souvent l’amour nous prouve son empire; Neyts, G. – Nanna; Paisiello, Giovanni – Lieux paisible verts bocage (2 voices and guitar); Panseron, Auguste-Mathieu – Album, Chant de la nourrice, Eh vogue ma nacelle (2 voices and guitar), Emmène-moi, Maman me permet de danser; Peellaert, Augustin-Philippe de – Ombre su soir; Persuis, Louis-Luc Loiseau de – Ce matin dans une bruyère, Vous qui loin d’une amante, Voici venir le doux printemps, Que j’aime à voir las hirondelles, Dans cette aimable solitude, Ah s’il est dans votre village; Plantade, Charles-Henri – Je recontrai nagguère la fille Mathurin; Pleyel, Ignace – Au lever de l’aurore sur un tapis de fleurs; Roger, Alexis-André – Aveux de Lucette; Rolla, Alessandro – Cinque; Romagnesi, Henri – Amant et le nautonnier (2 voices and guitar), C’est ainsi que l’amour finit, Est’ce l’amour est’ce la peur, Gentille Nonnette ( 2 voices and guitar), Heureux sommeil (2 voices and guitar), Mot de toi;Stévens, Jean Baptiste – Je t’aime encore; Tarchi – Vole doux Zéphyr

[3] [CH AR] Napoleonmuseum, Arenenberg 8268

• Garcia – Amores y dolores guitan el sueño (2 voices & guitar)

[4] [CH Gc] Conservatoire de Musique, Bibliothèque, Plave Neuve, Genève 1204

• Balochi, Luigi – Mes Souhaits; Berton, Henri-Monton – Agnes Sorel; Blangini, Felice – Speranza al cor mi dice (2 voices & guitar), Je n’est plus la; Carafa de Colobrano, Michel – De la douceur de voir Adèle; Champein, Stanislas – O dieux qui m’avez tout oté; Dalayrac, Nicolas-Marie – Premier amour; Dalvimare, Martin Pierre – Regrets, Mon coeur soupire; Darondeau, Henry - Tiers; Fiocchi, Vincenzo – Pourquoi; Gaveaux, Pierre – Patrie Absente; Jadin, Louis Emmanuel – Aveu timide; Méhul, Etienne Nicolas – Lorsque de mes parents; Méliant – Âge d’or; Plantade, Charles Henri – Bocage que l’aurore embellit, Bonheur, Grand portes heureux, Loin de l’ctat du diadème, Tort de l’absence; Vacher, Pierre Jean – Quatres Ages de la femme, Mon dernier mot

[5] [CZ BER] Okresni archiv, Seydlovo nám. 24, Beroun 266 01 (Czech Republic)

• Hurka, Friedrich Franz – An Louise

[6] [D B] Staatsbibliothek zu Berlin Preussischer Kulturbesitz, Potsdamer Str. 33, Unter den Linden 8, Berlin 10772 10117

• Bianchi, Antonio – An Emma, No non vo piu rogatoli; Blangini, Felice – Romances for voice & guitar

[7] [D BAUm] Stadtmuseum, Kormarkt 1, Bautzen 02625

• Hertel, Peter Ludwig – Weg zum Glück, Am meine Lyra, Weltweisen, Wohinaus zum grünen Hirten dort hiauf, Ungestilltes sehnen, Sehnsucht, Dir kleines Bethlehem erklang, Jüngling, Gunst des Augenblickes; Hurka, Friedrich Franz – Lob der blauen Farbe

[8] [D BFb] Fürst zu Bentheimsche Musikaliensammlung Burgsteinfurt, Burgstein

• Bornhardt, Johann Heinrich Carl – Zitterbuben’s Morgenlied, Piu che a te penso; Keller, Karl – Feldflasche

[9] [D DO] Pfarrbibliothek Sankt Nikolai, Kleine Kirchgasse 1 Döbeln 04720

• Baldenecker, C. – Ah lorsque la mort trop cruelle; Glück, Johann Ludwig – Heimweih; Pucitta, Vincenzo – Biondina in gondoletta

[10] [D DO] Fürstlich Fürstenbergische Hofbibliothek, Haldenstrasse 5, Donaueschingen 78166

• Bianchi, Antonio – Agitazion d’amore; Bornhardt, Johann Heinrich Carl – Morgenlied; Curci, Giuseppe Maria – Care zittele (2 voices, strings & guitar, from the opera “Le due nozze e un sol marito”); Dalberg, Johann Friedrich von – An den schlaff; Hurka, Friedrich Franz – Waren mir selige Tag (2 versions, one in C, the other in D); Keller, Karl – Holden Blumen bunter Schimmer; Lafont, Charles Philippe – C’est une larme; Mussini, Natale – Souvent l’amour nous prouve son empire; Sterkel, Johann Xaver – Auf der Liebge dunklen Meere; Süssmayer , Franz – Spiegel von Arkadien

[11] [D EU] Eutiner Landesbibliothek, Schlossplatz 4, Eutin 23701

• Alt, E. – So ist mein Wunsch; Ambrosche, Joseph – Als ich auf meines Bleiche; Amon, Johann Andreas – Wahrsagenlied; Apell, David August von – Fernandos Lied; Benzon, Siegfied – Alexis und Nettchen; Berger, Ludwig – An die Geliebten; Bornhardt, Johann Heinrich Carl – Sonst und jetzt, Jugenliche Frohsinn (voice, flute & guitar), Liebe lehrt in dunkein Kummertagen, Ton der leier, Wiedersehn, An die Hoffnung, Mir bluhet kein Frühling; Danzi, Franz – In des lebens Maientagen, O weine nicht in einem bessern Leben; Doltzhauer, Justus Johann Friedrich – Abschied; Dusik, Jan Ladislav – Fernandos Hochgesang an Clara; Ebers, Karl Friedrich – Vergessnern Schwur; Eberwein, Carl – Elegie auf die treue ihres Geschlechts; Flotow, Friedrich Ludwig Ferdinand – Charade; Grosheim, George Christoph – Mädchen aus der Fremde (voice, flute & guitar); Gyrowetz, Adalbert – Beim Abschied, An Elisen um Mitternacht; Himmel, Friedrich Heinrich – Gebet während der Schlacht, An Hebe, Lied der Nachtwächter, Hin ist hin, Lieblingsplätzchen, Wenn im Schatten wo die Pacht, Lied der Nachtwächter in Berlin, Leiermann, An die Freude, Lied der Zufriedenhiet; Jacquin, Gottfried von – Blümchendas sich zwar nicht mehr; Jusdorf, J. C. – An den Mond, An Minna; Kretzschmer, Andreas – Jean Pauls Lieblingslied; Kreutzer, Conradin – Ich ware recht fröhlicht so gerne, An die Entfernte; Marpurg, Friedrich Wilhelm – Was ich liebe zu vergessen; Moltke, Carl Melchior Jakob – An Molly, An Mignon, Mädchen und der Jüngling, Nähe des Geliebten, Einsamkeit, Hirtin Wahl, Abendlied an den Ufren der Ostsee, Freiwillige Krieger; Mussini, Natale – Wie der Tag mir schleichet, Voi che il mio cor sapete; Paisiello, Giovanni – Patrona compati me, Amor contrastato; Pozzi – Schöne Damen durch jugend und Reize; Preis, A. – Erinnerung an die Heimat, Pilgrin, Erinnerung an Thoreida; Reichardt, Johann Friedrich – Wir gingen beide Hand in Hand, Lied der nacht, Ach umsonst auf aller länder Garten; Reichhardt, Louise – Liebe, Nach Sevilla wo die hohen Prachtgebäude, Des Schäfers Klage; Righini, Vincenzo; Adend, Frühlingslied, Hoffnung und Erinnerung, Schiffer, Sehnsucht, Vergiss mein nicht, Nehmt euch in Acht, Tief in der brust verborgen, Mit zärtlichen Herzen verlangt ihr nach liebe; Seelicke, C. F. – Lied eines Mädchens, An die Erwähte, Wie der Tag mir schleichet, Mutter bei der Wiege, Betende (voice, flute & guitar), Beruhigung (voice, flute & guitar), Ungetreue Witzling, Klage und Ermunterung, Abendlied eines Hausvaters, Lebensgenuss, Wo liebe sich bettet; Siebert – Zauberin; Streitwolf, Johann Heinrich – Oft lässt die lieb’ uns ihre Macht empfinden; Stuber – Mein Hüttchen, Lebensinn, Morgenlied eines jungen Ehepaars; Thonus, P. J. von – Mädchen vom lande; Zumsteeg, Johann Rudoph – Welt ohne sie

[12] [D HER] Brüder-Unität, Archiv, Zitauer Strasse 24, Herrhut 02747

• Boccomini, Giuseppe – Racolta di Canzonette (7); Soerensen, Johann – Es hann schon nicht immer so bleiben, Sterne, Rückerinnerung an meine Heimat, Sehnsucht, Nach der Mahlzeit, Lobgesang, Gedanken auf einem Kirchhofe, Bei den Gräbern die freunde, Danklied, Ruhe im Grabe, Abschied, Pilgerlied, Seelenruhe, Loblied, Beruhigung, Abendbilder, Abendlied eines Fremdlings, Trost, Morgenlied

[13] [D HR] Fürstlich Öttingen-Wallerstein’sche Bibliothek, Schloss Harburg 86655 (Schwaben)

• Blangini, Felice – Nocturnes à Deux Voix Avec Accomp. De Lyre ou Guitarre (Mi lagnerò tacendo, T’intendo si mio cor, Chi vive amante, Almen se non poss’io, Mai l’amor mio verace, Mai se di lei t’accendi, Senza parlar fra loro, Silve à l’âge de quinze ans, De tous les pays pour vous, Amor che nasce con la speranza, Sentirsi dire); Sterkel, Johann Xaver – Tief unten im einsamen Tale, M’hanno detto

[14] [D Hs] Staats-und Universitätsbibliothek Carl von Ossietsky, Musikablteilung, Von-Melle-Park 3, Hamburg 20146 (Tel. 49-40-4123-2256 und -5812 [Musikabteilung], Fax. 49-40-4123-3352)

• Bianchi, Antonio – Agitazion d’amore; Boieldieu, François-Adrien – Troubadour; Crescentini, Girolamo – Dodici (12) canzonette (Dove rivolgo oh dio, Languir d’amore crudel mi vede, O tenere piaceri, Numi sei giusti siete, Per vall per boschi, Fra tanti palpiti d’incerti affetti, Mio ben ricordati, s’avvien ch’io muora; Glück, Johann Ludwig – In einem Kühlen Grunde; Hurka, Friedrich Franz – Schiffarth, Liebe; Keller, Karl – Feldflasche

[15] [D HVs] Stadtbibliothek, Musicabteilung, Hildesheimer Strasse 12, Hannover 30169 (Tel. 49-511-168-2166, Fax. 49-511-168-6410)

• Accorimboni – Se perdo l’idol mio; Apel, Johann George Christian – Mutter spricht ich soll’s nicht leiden; Aprile, Fortunato – Sopra una candida (Cavatina); Baldini – Non v’è più barbaro (cavatina), Crudel morir mi vedi (2 voices & guitar), Mio ben ricordati, O cara immagine del mio tesoro, Per te non ho più pace, Sacri orrori amiche selve, Se tuti miei pensieri, Zeffiretti fovieri dal giorno; Bianchi, Antonio – Una vaga giovinetta (fromMaître de chapelle, arr. W/ guitar by Bianchi), Verita, Rimprovero di disinganno, Pretensione ingiusta; Bigatti, Carlo – Non dorma un ora al giorno; Carulli, Ferdinando – Lungi da me che fa, Arrivo alle donne, Parlami pur sincero, Tu mi guardi tu sospiri, Son lungi e non mi brami; Delfante, Antonio – Care zitelle no non sperate (2 voices & guitar); Gragnani, Filippo – Perche due cori insieme, Dove soletta o Clori, Non ti sdegnar mia fille; Grazioli, G. – Ci vuol altro che vantarsi; Hildebrand, Wilhelm – Küsschen das ein Kind mir schenket; Himmel, Friedrich Heinrich- Gebet während der Schlacht, An Hebe; Hurka, Friedrich Franz – Mädchen an ihren Geliebten, Du kleines braunäugugtes Mädchen, Entfernte, Schiffarth; Kallenbach, George Ernst – Weine Nicht, Lebe wohl o mütterliche Erde; Kestner, August – Geistesgruss; Mayr, Johann Simon – Catina Bellina grazioso, Chi dice mal d’amore; Methfessel, Albert – Alte feltherr, Thaddaeus; Millico, Giuseppe – Volle cogliere una rosa, Dormia sul margine (Cavatina), Ho sparso tante lagrime (Cavatina); Monzino, Giacomo – Anima mia consolami, Chi vuol la bella rosa (Cavatina), Chi dice mal d’amore (Cavatina del Simone Mayr), Dei vostri accenti al suono; Mosca, Luigi – Senza il tuo dolce amore; Müller, August Eberhard – Mädchen und der Vogel; Neuland, W. – Hätt ich Flügel könnt ich fliegen; Nicolini, Giuseppe – Ne’giorni tuoi felici (2 voices and guitar), Sei Ariette di Metastasio; Orlando, Ferdinando – Furbi alle nozze; Persichini, Pietro – No non quell lampo; Perucchini, Giovanni – Ti lo vedi Cate mia, Notte sce bella, E ti gà cuor de venderme, Che non parla mi non parlo, No non quell lampo; Pfähler, W. S. – Warnung vor dem wasser; Pilz, Carl Philipp Emanuel – Adelaide; Portugal, Marcos – Mi pizzica mi stimolo; Reichardt, Johann Friedrich – Klärchens Lied, Es ritt ein Jagersmann über die Flur, Wär ich ein Vögelein; Ricci, Francesco Pasquale – Chiamami pur cosi, Arrivo alle donne, Mio ben l’amato oggetto; Righini, Vincenzo – Alls du sagtest ich muss scheiden; Rolla, Alessandro – Padrona compatime (Canzonetta Veneziana); Salvati, B. – Una Breve lontananza, Idolo del mio core, Se son bella che vi preme; Trento, Vittorio – Virtuoso per forza, Nina non dir di no; Trignuolo, Gaetano – Caro ve to sapesi, Se la pena che provo nel seno, Amabile sigella, Hai gl’acchio fille, Vannes infedele, addio, Lo far l’amore cosi non so, O si o no (Cavatina); Valletta, Nicola – Lo far l’amore cosi (Cavatina); Weber, Johann Gottfried – Vöglein flog durch Wald und Feld; Westenholz , Sophie – Glück der Liebe; Zumsteeg, Johann Rudolf – Allah gibt Kicht in Nächten, An Leonoren, Una Ballade, Lied aus der ferne, Freuden der Gegenwart, Erscheinung

[16] [D KII] Schleswig-Holsteinische Landsbibliothek, Schloss, Schlossgarten, Oslokai, Kiel 24103 (Tel. 49-431-9067-160 [Zentrale], 49-431-9067-172 [Auskunft], Fax. 49-431-9067-167)

• Boieldieu, François-Adrien – S’il est vrai que d’être deux; Bornhardt, Johann Heinrich Carl – Mir bluhet kein Frühling; Corigliano, Domenico – Biano il rosso il palido; Ferrari, Giacomo Goffredo – Quand l’amour nacquit à Cithère; Fortunato, Giovanni – Pien di contento, Ecco ridente il cielo, Se il moi nome saper voi bramata, Sorte mia tiranna; Grosheim, George Christoph – Mädchen aus der Fremde; Hurka, friedrich Franz – Frülingsabend, An Minna; Mayr, Johann Simon – Chimi nostra chi m’addita; Melia, Gabriello – Duetto, op. 15, Duetto, op.16, 12 Canzonette, Cavatine – Vini fagiam ben mio difebo il vivo ardor, Questa è la bella face, Quando miro il tuo sembiante, Ecco quell fiero istante, Quando non so dove il mio bene, Sempre piu t’amo, So che pieta non hai, Povero cor tu palpiti, Invan si lagna questo mio core, Tradito sprezzato da quello che adoro, Praticel di fiori adorno, Sia benedetto amore, Rondinella a cui rapita, O cara di questa anima amabile; Mosca, Giuseppe – Lo bramo viver sciolto, Ah che in si bei momento; Mussini, Natale – Souvent l’amour nous prouve son empire, Ah ingrato m’inganni, Aure amiche ah non spirate, Fra le querelle il pianto, Già la notte si avvicina, Pastorella al prato, Più che a te penso, Senti il mio caso, Voi che il mio cor sapete, Chi un si dolce amor condanna, Pastorella al prato; Paisiello, Giovanni – Du printemps de mon âge je vois passer la fleur (2 voices and guitar), Vien qua Dorina bella, Mamma mia

[17] [D MÜs] Santini-Bibliothek, Münster (Westfalen)

• Harder, August – Mirta (2 voices and guitar), An die Laute (2 voices and guitar), an die Harfe (2 voices and guitar), An den Mond 2 voices and guitar), An den Hesperus (2 voices and guitar; Hildebrand, Wilhelm – Zerstörte Glück op. 3, Trinklied op. 3, Hasche die Zeit op. 3, Gewohnt getan op. 3, Ergo bibamus op.3 Bischoffslied op. 3; Krebs, Franz Xaver – Mädel im Tal, Aufruf zur Jagd (2 voices and guitar), An Elise

[18] [D Rtt] Fürst Thurn und Taxix Hofbibliothek, Schloss, Emmeramsplatz 5, Regensburg 93047

• Bianchi, Antonio – Pretensione ingiusta, Smorfiofella; Mussini, Natale – Aure amiche ah non spirate, Fra le querelle il pianto, Già la notte si avvicina, Patorella al prato, Più che a te penso, Senti il mio caso; Schacht, Theodor von – Ti lascio ben mio op. 1/1, Amo te sola op. 1/2, Dolce sonno amica quiete op.1/3, Mi lagnerò tacendo op. 1/4, Quanto mai felici siete op. 1/5, Perchè mai vezzosi op. 1/6, È la fede degli amanti op.2/1, Son confusa pastorella op2/2, Giovanettesemplicette op.2/3, Nel mirarvi o boschi amici op. 10/1, Tu sei gelosa è vero op. 10/2, Perchèmai vezzosi rai op. 10/4, Almen se non poss’io op. 10/5, In dieser stillen Grufte op. 10/6, Mille amanti so per prova op. 11/1, Amo te sola op. 11/2, Superbo di me stesso op.11/3, Mi lagnerò tacendo op. 11/4, Sei troppo scaltra op.11/5, Alla selva al fonte al prato op.11/6, Conservati fedele op. 12/1, Caro bell’idol mio op.12/2, Ti lascio ben mio op.12/3, Dolce sonno amica quiete op. 12/4, So che vanti un cor ingrato op.12/5, Aure amiche care piante op. 12/6

 

[19] [D SÜN] Schloss, Krankenhaus-Strasse 1, Sünching 93104

• Himmel, Friedrich Heinrich – Welt ist nichts als ein Orchester; Reinicke, Leopold Karl – Lieblich prangt um uns der Blumen Fülle; Seidel, Friedrich Ludwig – Wo ich sei und wo mich hingewendet

[20] [D WEY] Pfarrkirche. Bibliothek, Weyarn

[21] [DK Kc] Carl Claudius musikhistoriske Samling, Abenra 32-34, Carit Etlarsvej 3, Kobenhavn 1124 1814

• Bornhardt, Johann Carl – Aujourd’hui l’amour commode

[22] [FIN A] Sibeliusmuseum Musikvetenskapliga Institutionen vid Abo Academi, Biblioteek & Arkiv, Biskopsgatan 17, Abo 2 (=Turku)

• Alström, Olaf – Louises Graf, Sörg ej den gryende dagen, Här vid denna silver bächen (voice and lute); Danzi, Franz – Sörg icke mer (voice and lute); Grosheim, George Christoph – Slumra du lilla (voice & lute); Krauss, Joseph Martin – Dröj Sol uti din upgangstima (voice and lute), Du I hvars oskuldsfulla blick; Volger, Georg Joseph – March and Variations for voice and lute

[23] [H KE] Helikon Kastélymúzeum Könyvtára, Szabadság u. 1, Keszthely 8360 (Hungary)

• Dalberg, Johann Friedrich von – Wie wohl ist mir im Dunkein; Grosheim, George Christoph – Zu einem Tal bei einem Hirten; Himmel, Friedrich Heinrich – Liebende, Es kann ja nicht immer so bleiben; Müller – Wenn mir dein Auge strahlet (2 voices and guitar), War’s vieleicht um eins (2 voices and guitar); Reichart, Johann Friedrich – Was zieht mir des Herz, Schäfers Klagelied

[24] [HR Dsmb] Samstan Male Brace, Placa 2, Dubrovnik 50000

• Arcari, Valentino – A quanto è mai difficile, Napoleon sei solo; Bonfichi, Paolo – Dolente e care immagini; Guglielmo, Pietro Alessandro – Scolierò le mie Catena; Kraglich, Georgio – Tutto da voi dipende, Da te lugi idol’amato; Mayr, Johann Simon – So che l’etá; Trento, Vittorio – Amore e un guerriero si forte, Son ferito in mezzo al core, Joti saluto alba novella, Incostanza, Occhi stele mortali

[25] [HR Osm] Muzej Slavonije (zbirke Prandau), Partizanski trg 6, Osijek 54000

[26] [HR Zha] Zbirka Don Nicole Udina Algarotti, Gunduliceva 6, Zagreb 41000

• Bianchi, Antonio – Agitazion d’amore; Dalberg, Johann Friedrich von – Sie Schwankt dahin; Mussini, Natale – Ah ingrato m’inganno

[27] [H SFm] István Király Múzeum, Gagarin tér 3, P.O.B. 12, Székesfehérvár

[28] [I BGc] Biblioteca Civica Angelo Mai, Piazza Vecchia 15, Bergamo 24129 (Italy)

• Garcia – 15 Boleri (Un fraile se que, Para campana grande, Muchos hai que se casan, Con los aficialitos, Al entrar en decasa, Tiene sin su barbero, Todos de las mujeres, Yome halle, Te dico a su marido, Mujer que llego, Todos dicen, Pienso en ti solamente, Un rosal que tenia, De los calvos no quieras, Non temas que te de puisa; Mayr, Johann Simon – Suonatore sventurato (Soprano, guitar and orchestra); Bevilacqua, Matteo P. - Quattro Cavatine * Non t’accostare all’uma (aria) * Quattro duettini * Otto Cavatine * Recueil complet d’airs, romances, rondeaux et duos des operas les plus favoris allemande, francois et italiens, avec l’accompagnement de guitarre / choisis par Bevilacqua: Musiche di Blangini, Cimarosa, Crescentini, Frainelli, Mozart, Paer, Salieri, Sarti, Weigl, Zingarelli ; Bianchi, Antonio – Douze chansons italiennes

[29] [I BO] Civico museo bibliografico musicale – Bologna, Italy

• Giuliani, Goivanni Francesco – Sei duetti notturni (2 sop. & guitar)

[30] [I FI} Biblioteca del Conservatorio di musica Luigi Cherubini - Firenza, Italy

• Bolaffi, Michele - Il mese armonico; Lanza, Gino - Sei arie notturne con recitativo

[31] [I Le pastore] Lecce (Italy) Biblioteca Privata Giuseppe Pastore

• Rosquellas – Zirana del Tripili (Sop. Flute & Guitar)

[32] [I MI] Conservatorio di Musica Giuseppe Verdi, Biblioteca, Via Conservatorio 12, Milano 20122 (Italy)

• Pollini, Francesco – Leggi adorata Nice, Deh non cessate Lanza, Francesco – 2 Arie con recitative per una voce con accompanimento di Violino e chitarra; Gia la notte a me ne viene, Nella capanna andiamo; Nava, Antonio Maria – Six ariettes italiennes, Raccolta di ariette; Moretti, Luigi – Non mi lasciar ben mio (2 sop. & guitar); Lanza, Gino – Sei arie notturne con recitativo; Rivolta, Giacomo – Quel caro, e bel Visetto (Cavatina buffa); Pavesi, Stefano – Oh inaspettato felice istante

[33] [I MN] Biblioteca musicale Opera Pia Greggiati – Ostiglia, Italy

• Terziani, Pietro – 9 Canzoncine (Il sospiro, Nice lontana, L’affanno, Lo strale di Clori, Barbara navicella, A Nice infedele, Il pretesto, O si, o no, La Tomba

[34] [I MO] Biblioteca dell’Istituto musicale pareggiato Orazio Vecchi, Modena

• Picchianti, Luigi – Trentasei Ariette nazionali (pub. Firenze), Arietta nazionale (pub. Bologna)

[35] [I NA] Conservatorio di Musica S. Pietro a Majella, Biblioteca, Via San Pietro a Maiella 35, Napoli

• Fioravanti, Valentino – 12 Ariette per voce di soprano con accompagnamento di Arpa, o di Piano-Forte, o di Chitarra Francese (Se un core annodi, Perche se mia tu sei, Giace di quell’avel,Non giova il sospirar, Spettri e larve che volate, Questa rosa porporina, Io dico all’antro addio, Che chiedi, che brama, Ombre amene, Aurette leggiere, che intorno volate, Non cerchi innamorarsi, Se infida tu mi chiami), Gougelet – Troisieme Recueil d’airs choisis; Moretti, Ferdinando – La Spiegazione:Ti viddi o bella Fille * Il Desio: Oh me felice * La Partenza: Dunque partir degg’io * Il Ricordo: Eccomi lungi dall’amato bene * Il Sospetto: Compagni, ah perche mai * Il Giuramento svanito: Ah piu dubbio non v’e * Il Disinganno: Qual colpo inaspettato * La Seranza: E fia ver che il mio bene * Il Delirio: Misero a chi ragiono

[36] [I Pesp] Basilica Benedettina di San Pietro, Achivio e Museo della Badia, Borgo XX Giugno 74, Perugia 06100 (Italy)

• Caruso, Luigi – Trova un sola mia bella Clori (2 voices & guitar), Sentirsi dire (2 voices, violin & guitar), Ah se di te mi privi (2 sopranos, violin & guitar), Sento già in sen che l’alma (2 sopranos, violin & guitar), Fuggi dagl’occhi miei (2 sopranos, violin & guitar), Ah non pianger bell’idol mio (2 sopranos, violin & guitar

[37] [I PR] Biblioteca Palatina. Sezione Musicale – Parma, Italy

• Nicolini, Giuseppe - Sei Ariette di Metastasio; Marchesi, Luigi – Sei ariette italiane; Antonio Bianchi – Douze chansons italiennes

[38] [I Rc] Biblioteca Casanatensa, Via di S. Ignazio 52, Roma 00186 (Italy)

• Mayr, Johann Simon – Untitled, Oh come scorrono, Amor perche m’accende

[39] [I RM] Biblioteca musicale governativa del conservatorio di musica S. Cecilia, Roma

• Giroust, Francois – Hymne des Versaillois

[40] [I Tf] Academia Filarmonica, Achivio, Piazza San Carlo 183, Torino 10123 (Italy)

• Asiola, Bonafacio – Mio ben ricordati; Farinelli, Giuseppe – Ah potessi in quella tomba; Mengozzi, Bernardo – Se m’abbandoni

[41] [I VE] Biblioteca del conservatorio statale di musica Benedetto Marcello – Venezia

• Paer, Ferdinando – Ariette italiane coll’accompanimento di chitarra ed un violino; Moretti, Luigi – Cavatine

[42] [I Vlevi] Fondazione Ugo e Olga Levi, Biblioteca, San Marco 2893, Venezia 30124

[43] [S Skma] Statens Muskbibliotek, Torsgaten 21, Box 16326, Stockholm 103 26

• Fioravante, Valentino – Placida campagna (2 voices, bass & guitar)

[44] [S Smf] Stiftelsen musikkulturens främjande, Stockholm, Sweden

• Naumann, Johann Gottlieb – Per che di giubilo; Fioravanti, Valentino – 12 Ariette per voce di soprano con accompagnamento di Arpa, o di Piano-Forte, o di Chitarra Francese (Se un core annodi, Perche se mia tu sei, Giace di quell’avel,Non giova il sospirar, Spettri e larve che volate, Questa rosa porporina, Io dico all’antro addio, Che chiedi, che brama, Ombre amene, Aurette leggiere, che intorno volate, Non cerchi innamorarsi, Se infida tu mi chiami)

[45] [US AUS] University of Texas at Austin, Music Library, Austin TX 78712 (Tel. 1-512-495-4475)

[46] [US Bem] University of California, Music Library, 240 Morrison Hall, Berkley CA (Tel., 1-510-642-2623, Fax., 1-510-642-8237)

• Interlandi, Vito – Nice dorme, io solo inondo, Non vi fidate agl’uomini, Son le donne sul principio, In placido riposo, Vicino al segreto Dorindo, E che soffrir mi resta, Bedda Clori, un it scantari, Cara, se vuoi ch’io canti, Nice un parrari, un ridiri; Mayr, Johann Simon – Non mi sprezzar Fileno, Amante mi sventurato (duettino with guitar); Salvati, Bernadino - Se son bella che vi premo, Breve lontananza, Idolo del mio core Verini, Filippo – Benedetta sia la madre

[47] [US Bu] Boston University, Mugar Memorial Library, Department of Special Collections, Boston, Mass. (Tel. 1-617-353-3705)

• Trignuolo, Gaetano – Caro ve to sapesi, Se la pena che provo nel seno, Amabile sigella, Hai gl’acchio fille, Vannes infedele, addio, Lo far l’amore cosi non so, O si o no (Cavatina)

[48] [US NYp] New York Public Library at Lincoln Center, Music Division, 111 Amsterdam Ave., New York NY 10023 (Tel. 1-212-870-1650 – Fax. 1-212-787-3852)

• Dottori, Daniel – Eight Airs with guitar (Mi giuri che m’ami mi chiami, Senza l’amabile dio di citera, Te lo giuro o mio tesoro, Nice, bella Nice ingrata, Se lontan ben mio tu sie, Non le scherza te intorno, Se io t’amo s’io t’amo, Care Nice, ingrata sei gia loso; Fabricatoriello, Giuseppe – E la bella m’a cercato, Me vogli anzurare dinto fratta, Chi t’a fatta sta bella, Piccere si m’ave nattanno bella cosa; Marani, Gaetano – Na cest alle pene mi povero, Lascia diletta fillida, Eccomi non ferir numi pieta, E it gha cor de vedermi; Mellini, Francesco – Dammi nice di sta grasti, Si ti guardu, Nici mia comu si fa, Chi amuri sfurtuna, Forti geniu di simpatia, Com’e possibli lassari; Trento, Vittorio – Ogni donna che ha gusta, Quel bianco sende latte, Tocco un di dal canto mio canto, Son pratico in amore dono, Canto bassetti su quei o chieti, Terza note e questa ch’il sonno, Quel Angelino che sol canto, Che ingegnoso putte letto, So miglia l’amore

[49] [US Wc] Library of Congress, Music Division, Washington DC 20540 (Tel. 1-202-287-5504, 1-202-287-5505, 1-202-287-5506)

[50] [US SFsc] San Francisco State University, Col. Frank V. de Bellis Collection, 1630 Holloway Ave., San Francisco CA 94132

• Motta, Artemio – Ecco quel fiero istante

[51] [US R] Sibley Music Library, Eastman School of Music, University of Rochester, Rocester NY

• Signorila, Nicola -Finche splende in cielo il sole, Ah la mia Clori e tutta bella, Mentre la notte placida, Sorge la bella aurora (Duettino notturno); Blum, Carl – Balladen, Romanzen und Lieder; Himmel, Friedrich Heinrich – Drei deutsche Lieder; Meurger, Al. – L’Exil de Troubadour. Recueil de romances (1 & 2 voices with guitar); Mr. Patouart fils – La muse lyrique: Requeil d’airs avec guitarre

[52] Kenneth Sparr Collection, Nynäshamn, Sweden

• Colomer, José Melchor Gomis – El chacho moreno (cançion andaluza), La gitanilla zelosa (cancion andaluza); Flora – Coleccion de canciones españolas; Garcia, Manuel Vicente – El bajelito nuevo; Glachant, Antoine-Charles – Sophie (Romance); Legros – L’amour et la gloire; Pacini, Antonio – Veux tu m’aimer; Romagnesi, Henri – Fi! Que c’est laid d’etre jaloux, Sauf le respect que je vous dois; Savart, Eugène – Pauvre petit (romance)

[53] Matanya Ophee Collection

• Asioli, Bonafacio – Se resto sul Lido (Canzonetta), Timor mi scaccia (Canzonetta); Bianchi, Antonio – La smorfia sella; Blum, Carl – Schwäne kommen gezogen (2 voices & guitar), Kleine Blumen, kleiner Blätter; Carafa – Sempre più t’amo; Diabelli, Anton – Ihr Wuchs ist Nympfenhalt und schlanck; Eisenhofer – Holde Leibe sanfte freuden: Ferrari – L’agnellina e la cornacchia, Cuco (Canon for three voices); Giuliani, Mauro - Flatter, flatter kleiner Vogel; Gyrowetz, Adalbert – Cavatine aus der Oper: der Augenarzt, Neben dir ist das liebste Plätzchen mir (Lied); Harder, August – Die Propheten der Natur, Wellen rauchen (Lied); Helwig – Psalm LXXXVI; Himmel, Friedrich Heinrich – Beglückt, beglückt, wer die Geliebte findet, Fort, dass die Leyer klinge, Herzenswechel, Gebet während der Schlacht, Ida an Lexis, bei Sendung einer Rose, Die Wiederkehr in mein Vaterland; Hurka, Friedrich Franz – Lob der weissen Farbe, Die Schiffahrt; Kallenbach, George Ernst – Weine nicht; Keller, Carl – Die Laute, Rondo (Tempo di Bolero), Kennst du der liebe Sehnen?, Land meiner soligsten Gefuhle, Kretzschmer, Andreas – Die jumge Schäferin, Der ritterliche Sänger; Kreutzer, Conradin – Frühlings – Ruhe, In der ferne, Lebewohl, Morgenlied, Morgenandacht im Freien an einem Sonntage, Scheiden und meiden; P. Lindpainter – Amanda, Preghiera, Sehnstucht nach dem Vaterlande, Stille Liebe; Mehul, Etienne Nicolas – Le doux mal; Methfessel, Albert Gottlieb – Kriegers Abschied, Liebestandelei,Lizidas, Sängers Morgenlied, So mancher möcht ihr Blümchen sein; W. Osthoff – Lied aus Gabriel, Lied von Clotilde; Reichardt, Johann Friedrich – Aechtes Glück, An den Abenstern, Das Lösegeld, Der Alpenjäger, Lied der Nacht; Reichardt, Louise – Das Machen am Ufer, Spanisches Lied: Righini, Vincenzo – Aure amiche, ah! Non spirate (Canzonetta), Freudvoll und leidvoll, Nehmt euch in acht, Trinklied, Schönste Rosen knospe dieser Flur; Seidel, Friedrich Ludwig – Romance aus der Trauerspiel; der Leuchthurm; Carl Maria von Weber – An den Mond, Bach, echo und Kuss, Das Veilchen im Thale, Der arme Minnesänger, Der kleine Fritz an seine jungen Freude, Die freien Sänger, Gebet um die Geliebte, Ich sah ein Röschen, Klage, Lied der Hirtin, Lied von Clotilde, Maienblümlein, Mailied (2 voices & guitar), Meine Farben, Mein Lieder, meine Sänge, Mein Verlangen, Minnelied, Ninfe, se liete viver bramate, Persisches Lied, Schlummerlied,Schwäbisches Tanzlied, Umsonst, Unbefangenheit, Volkskied, Volkslied, Was zieht zu deinem Zauberkreise, Wiegenlied, Wunsch und Entsagung; Winter – Di Blumen des Lebens (Canzonetta), Ich war, wenn ich erwachte (Aria); Zumsteeg – War ich ein muntres Vögelein, Russisches Brautlied.

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