Songs With Guitar From the Age of Napoleon, John Mccormick

7/28/2019 Songs With Guitar From the Age of Napoleon, John Mccormick

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NGS WITH GUITAR FROM THE AGE OF NAPOLEON, John McCormick

p://www.guitarandluteissues.com/mccormick/mccormic.htm[13/01/2013 12:39:51]

SONGS WITH GUITAR FROM THE AGE OF NAPOLEON

J ohn McCormick

INTRODUCTION

In this, the 5th incarnation of "Songs with Guitar from The Age of Napoleon", I have made a few changes and haveadded 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, stickingmainly 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 observedthat the song composer and collection listings are still far from complete, since such a vast number of songs withguitar 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 extendsthrough the beginnings of the 19th 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-romanticperiod, and by any one of a countless number of other labels that have been attached to this tumultuous, creativeera. 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 shorttime. They affected every aspect of the social, economic, cultural and political environment. Of all the possibilitiesthat present themselves as ways of identifying this period, which in certain contexts does not even span what wewould normally regard as one generation, The Age of Napoleon seems to best personify the character of the musicthat 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 thecomposers listed below owe much of their success to the active support of either Napoleon himself, or to that of hismany relatives who had been strategically placed throughout his far-flung empire. For all of his faults, he and mostof 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 thesingle most universal form of music making, but during this period, it became especially widespread. Opera andsong were the two most important forms of musical entertainment. However, because of The Revolution, and allthe events surrounding it, operatic themes (and song) underwent a radical change. Before the revolution, operaticlibrettos 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 pastroyalist practices.

Today, we often overlook many of the social mores attached to musical practices of the past, which are nowcompletely different. This is, in part, because we tend to see the eighteenth century through today's eyes, often atour 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 latterpart of the nineteenth century, when composers began thinking in terms of writing music for the "ages", attemptingto express through music grand philosophical thoughts that transcend a specific time or place. This approach wasthen taken one step further, with "experimental" music, which heralded the first time in history that an attempt wasmade to write music with a total disregard for its potential audience. It was also the first time in history a composerwas not expected to make a living through composing.

In the late 18th century, there was no distinction between "serious" and "popular" music. The closest approximationof this concept could only be drawn from the time of royalty, when serious musicians were dependent on thewhims 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, abanquet or for the entertainment of a visiting dignitary. None of these touched the average person of the day unlessit 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 theNapoleonic era. Through one of the many vagaries of history, not much of the liturgical music written during theAge of Napoleon is heard today. While most of it may not now be seen to have been on a par with many of thegreat masterpieces from previous eras, it, along with secular vocal music, began to reflect the changing tastes of thetimes, taking on a rich simplicity that marked a new-found preoccupation with closely wedding the text and themelodic line.

For the practicing musician, the most telling and personal effect of the French Revolution was the sudden andcomplete loss of his livelihood. Musicians had worked for royalty. Now, aside from Napoleon and his family, therewas no more "royalty". For better or for worse, the Revolution heralded the dawn of "free enterprise". Therefore, inorder 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 goingdirectly 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 commonlyturned out by a single composer during this time and previous eras. Haydn, Schubert, Mozart and Rossini arenames 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 wasmore like a free-for-all for everyone involved in music. There were no copyright laws, for example. Anyone couldpublish anything that might sell, whether it was already being published by someone else or not. Under suchcircumstances, composers had no control over the fate of their music, once it was sold to a publisher, even to theextent of merely correcting typographical errors. Nor could they benefit from arrangements of their music done bya 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 agiven 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 agenerous 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 formof performing their own music in concerts. Unlike concert programs of today, in which the performer presentsworks by a variety of composers from different periods, the performer was most often the composer, and theprogram was made up entirely of his or her own compositions. Very rarely did a performer present works by othercomposers. There were also occasions, especially in Vienna, when concerts were sponsored by wealthy patrons thatinvolved 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 18th 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 itrendered 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 incomparablepower, range and agility, ideally suited for the times.

Beginning in the second half of the 18th century, however, this all began to change. Audiences, performers andcomposers alike began to view such practices as straying far afield from the intrinsic spirit of music, and inparticular, of singing. The pendulum began to swing completely toward simplicity, expressivity, and respect for thewishes 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 undoingwith respect to its historic perpetuation as a great art form. Elsewhere, the same theme of expressivity began to takethe 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 placemelody, text, harmony and rhythm on an equal footing. This was a purposeful break from the time-honoredtradition 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 contributedsubstantially to this change in thinking. One of the most famous of the Castrati, and virtually the only one toremain active during this time, he became disenchanted with the prevailing trends and retired as a singer. Heestablished himself instead as a teacher of singing and wrote several treatises on the aesthetics of the voice. He alsowrote 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 theOxford 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 thestreet, was adopted and educated by a wealthy man of learning, Gravina, who later left him a fortune. He nowclimbed rapidly, devoting himself particularly to the provision of texts for music, and becoming the mostcelebrated 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 bythe 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 formusic, 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 wasEcco quel fiero istante. It was set to music not only by Metastasio himself, but also by no less acomposer than Mozart. Others included Zingarelli, Johann Gottlieb Naumann and Pellegrini. Among thecomposers of guitar accompanied song who used this verse were Carulli, Crescentini, Brambilli and Melia, toname a few. It was also used by numerous anonymous writers of songs with guitar, piano, and orchestra. It was setfor duets, vocal trios and choruses. This verse was only one of many that enjoyed such repeated use. In fact, amongthe many songs with guitar in the Italian language I have encountered, whether the composer in Italian or anothernationality, 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 ondiffering styles of song writing, at the expense of those, which did not follow their particular way of thinking. Ithas been my experience over the years that most of the literature I have read having to do with music history andbiographical information on composers contains the common flaw of having subjective opinion presented under theguise of factual information. This tendency seems to be especially true of general reference material. Naturally, thetendency 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 usuallytakes the form of a gratuitous opinion concerning the quality of a particular composer's work, or the aestheticcharacteristic of a specific composition. In light of the highly personal nature of musical taste, this practice is, atbest, 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 18th century, dismissing it as being, for themost part, mundane. This seems to be especially true of songs written with guitar, since they have all been ignoredin standard music history texts.

Songs with guitar from this period present numerous opportunities in the realm of subtle artistic expression. This isintimate music; designed for intimate settings. The lessons of this body of music were to influence songwriters andsingers for many generations. Correctly or incorrectly, I have long felt that if it were not for this music, and thetrends it set in terms of expressivity, vocal technique, and the wedding of the text to the melodic line, similar vocalwriting, 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 toMusic; Thomas F. Heck, Mauro Giuliani, Virtuoso Guitarist and Composer; Grout, A History of WesternMusic; Rosselli, Singers of Italian Opera; Stevens, A History of Song; Frederick V. Grunfeld, The Art andTimes of the Guitar.





THE COMPOSERS AND THEIR SONGS

Accorimboni - Se perdo l'idol mio [15]Agliasti, LuigiAlström, Olof (1756-1835) - Louises Graf * Sörg ej den gryende dagen (voice and lute) * Här vid dennasilver 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 violinsand 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 originalcomposition. All of the accompaniments were written for five-string guitar.Alt, E. - So ist mein Wunsch (1825) [11].Ambrosche, J oseph Charles (Bohemia) (1759-1822) -- Als ich auf meines Bleiche [11] * Romance desPagen aus Figaros, op. 5 - (Several songs with guitar published mainly between 1800 and 1817.) Here isone 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 othersuch composers, he did write a significant number, many of which were with guitar. According to the articlein Groves, "his lied style ranges from simple, strophic, folk-like works to more complex pieces.........Hisaccompaniments are quite simple, but his vocal lines often have numerous embellishments". His singingcareer 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, J ohann Andreas (1763-1825) - Wahrsagenlied [11] - Amon was born in Bamburg and began hismusical career as a singer. He later studied the violin and guitar, as well as horn playing. He also founded amusic publishing company.Andrade, J ean Auguste (d. 1793) - Souvenir [2]Andreozzi - Tout m'alarme tout excite et ma crainte et mes regrets [2]Anelli, Giuseppe (J oseph) - Non dormo un'ora al gano (aria) * Grazie o pietosi Dei (aria) * Vado intraccia 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 19th century. Wroteabout 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 bythe Princess Paolina Borghese, Napoleon's sister. During this time, he not only gave solo guitar concerts, butoften performed as a vocal soloist to his own guitar accompaniment. At the end of 1813 Anelli left Italy forParis, where he stayed for a short time. .There he came to know Fernando Sor and became his rival in guitarconcerts. He was sometimes judged by Parisian music critics to be the better performer of the two. Here heplayed 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 movedto the provinces west of London, where he appears to have remained for the rest of his lifeApel, J ohann George Christian (1775-1841) - Mutter spricht ich soll's night leiden [15]Apell, David August von (1754-1832) - Fernandos Lied [11]

Aprile, Fortunato (18th 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, J ohann (1773-1806) - Although his primary instrument was the violoncello, he published severalvolumes 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) - J enny[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 mieipensieri * 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 19th century) - Lived in Vienna where many of hiscompositions 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 guitaraccompaniment. Much of his music was published by Diabelli.Beauplan, Amédée de (1790-1853) - J e ne suis á personne * Marguerita (2 sop. & guitar) [2]Bédard, J . B. - Conseils a mon amie * Romance * L'Amour Venge * Comparaison (Published in facsimileby 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 19th centuryBerton, 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, francoiset 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 (fromMaître 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 hewas primarily neither a composer nor a guitarist. He was, instead, a famous operatic baritone. Although hesang in Milan, Genoa and Paris during his early career, he enjoyed his greatest success in Germany. Heremained a permanent member of the opera buffa company at the Prussian court for many years. The onlyadverse criticism his performances received was on the few occasions that he attempted to sing Germanopera in German. The songs he wrote were published and re-published, mostly in Berlin and Hamburg. Thefew 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). * J e n'est plus la [4] * Silve a l'age de quinze ans, (2 voices & guitar) * Senza parlar fra loro (2voices & 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 (2voices & guitar) * I l 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, Amorche nasce con la speranza, sentirsi dire) [13] * A votre belle soyez fidèle [2] - Blangini is listed in GrovesOpera as a French Composer, singing teacher and tenor of Italian birth. As a boy he sang in the TurinCathedral choir and was a pupil of Bernardo Ottani. Arriving in Paris in 1799, he became fashionable as asinger, composer of salon music and singing teacher. He made his debut as an opera composer at the TheatreFeydeau 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 withhim. In 1809, Napoleon transferred him to Kassel, where he was director of the theater, maestro di cappellaand master of chamber music to the new King of Westfalia, Jerome Bonaparte, with whom he remained untilthe 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 anauristocratic title, became a French citizen and married a banker's daughter. After the revolution of 1830, helost his court appointments, and as a musician, was overtaken by the rise of romanticism. His autobiographywas published in Paris in 1834. Blangini composed nearly 30 operas, mostly operas comiques, as well assacred works and vocal chamber music; he claimed, and has subsequently been credited with, the inventionof the vocal nocturne. Many of his stage works were unsuccessful and received few performances. Theywere written in a light, almost banal style, and although several romancesare appealing, there is generally

much artificiality in his harmonic language and formal structure. [The preceding analysis is by thecontributor to Groves Opera on the composer. Not having heard the music, I would have no way of verifyingthose opinions. However, I would not take such statements as a deterrent that would prevent me frominvestigating 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 18th

century. His compositions include various vocal solos and duets with guitar accompaniment, published in1820 by Ricordi, Milan.Boieldieu, François-Adrien (1775-1834) - S'il est vrai que d'être deux [16] * Troubadour [14]Bolaffi, M ichele (1769 -?) - I l mese armonico [30]Bonfichi, Paolo (1769-1840) - Dolente e care immagini [24]

Bornhardt, J ohann Heinrich Carl (1774-1840) - Sonst und jetzt * J ugendliche Frohsinn (V, fl, guit.) *Liebe lehrt in dunkeln Kummertagen * Ton der :leier * Wiedersehn * An die Hoffnung [11] * Mir bluhetkein 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 inLondon 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 about1805 he moved to Vienna, where he enjoyed success as a composer and teacher. In addition to his manyworks 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 eDuettino op. 5IV Romances op. 6 * IV Romances; 1 I talienne 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 werepublished 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) - J e 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 RenèCarulli, Ferdinando (1770-1841) -Lungi da me che fai * Arrivo alle donne * Chi un dolce amorcondanna * Deh torna in questo seno * Parlami pur sincero * Son lungi e non mi brami * Tu mi guardi tusospiri: [15] * (Douze Ariettes Italiennes sur motifs de Rossini) - Ecco quel fiero istante * Sognai miafillide * 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 bellalagrima * Amo te sola * Ombre amene * Ecco quel fiero istante * Parlami pur sincero * Solitariobosc'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 chivide 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, aswell as his solo guitar music and a one-movement guitar concerto. He did, however, write numerous songswith guitar, one set of which was dedicated to Giuseppina Grassini, a famous soprano of the time who wasalso 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 (2sopranos, 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 MatrimonioSegreto. The Emperor ordered supper to be served to the performers and then told them to perform the entireopera again. Cimarosa helped welcome the French revolutionary troops into Naples in 1799, and when theBourbon monarchy later regained power, he was arrested and spent a short time in prison. He died shortlythereafter 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 withguitar may have had their accompaniments crafted by an unknown contemporary, although this speculation iswithout specific foundation. In view of his wide-ranging skills as a composer, it is equally possible he wrotethem himself.Colomer, J osé Melchor Gomis (1791-1836) - El chacho moreno (Cancion andaluza) * La gitanilla zelosa(Cancion andaluza) [52]

Comoglio, Giovanni (b. end of 18th cent.)Corigliano,Domenico (1770-1838) - Bianco il rosso il palido [16]

Costa, MarioCrescentini, Girolamo (1766-1846) - Dodici (12) canzonette * Dove rivolgo oh dio * Languir d'amorecrudel mi vede * O teneri piaceri * Numi sei giusti siete * Per valli per boschi * Fra tanti palpiti d'incertiaffetti * Mio ben ricordati, s'avvien ch'io muora [14 - manuscripts - (Several other libraries have printededitions. The manuscripts apparently contain both piano and guitar accompaniment. There were printedissues with either one or both)] - Composer of songs with guitar published by Artaria, Vienna, and bySimrock, Bonn He was a famous castrato singer who was admired and supported by Napoleon. Following along and successful singing career, he turned to the teaching of singing, and quickly became established inthis capacity at the Conservatory in Naples. His musical training began very early, following in the footstepsof those two generations before him. Also, as with his predecessors, he began singing in public at a veryearly 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 castratiwho could be characterized as very learned men. In addition to undergoing long and disciplined training inthe art of singing, as well as in other musical skills, they often had extensive literary training. When theyretired 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'smusical 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 onsmooth, legato phrasing, as well as on words and expression. "Singing", he wrote - echoing Caccini aftermore than two centuries - "must be an imitation of speech".Curci, Giuseppe Maria (1765-after 1822) - Care zittele (2 voices, strings & guitar, from the opera "Ledue 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, J ohann Friedrich von (1760-1812) - An den Schlaff [10] * Sie Schwankt dahin [26] * Wie wohlist 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 * I l faut une amie * J adis et Maintenant *L'Esprit du tems * A Lisa (Published in facsimile by S.P.E.S., Florence, Italy)

Doltzhauer, J ustus J ohann 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 19th cent.) - 6 songs, op. 16; 6 lieder, op. 20; Twenty songs, op. 32 (location &source unknown)Dusik, J an 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 pervoce di soprano con accompagnamento di Arpa, o di Piano-Forte, o di Chitarra Francese (Se un coreannodi, Perche se mia tu sei, Giace di quell'avel,Non giova il sospirar, Spettri e larve che volate, Questarosa porporina, Io dico all'antro addio, Che chiedi, che brama, Ombre amene, Aurette leggiere, cheintorno 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 voibramate * 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 * OhBoys, 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 * J eanie 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 firsteditions of the complete works of Stephen Foster. Among these works, he told me, were many songs withguitar. I later made copies of them just to have them. Aside from perhaps one or two, the guitaraccompaniments, simple as they are, were written by Foster himself rather than by someone else hired by hispublisher. Apparently there was a demand for these versions, which were issued along with their pianoaccompanied companions.Furstenau, Caspar (b. 1772) - Famous flutist and composer who wrote a set of six songs with flute andguitar 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 losaficialitos, Al entrar en ducasa, Tiene sin su barbero, Todos de las mujeres, Yome halle, Te dico a sumarido, 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, orpiano)[29]Giuliani, Mauro (1781-1829) - Trois Romances, op.13 * Trois Romances. Op.22 * Marie Louise auBerceau de son F ils, op.27 * Sei Cavatine, op.39 * Sechs Lieder op.89 * Sei Ariette, op. 95 * Pastorale adue voci, op.149 * Romance "Près d'un volcan", op.151 * Anacreontic Ode, op. 151bis (Published infacsmile by Tecla) * Flatter, flatter kleiner Vogel [53] - One of the most famous guitarists of his time. Hecomposed numerous songs, many with guitar, to German French and Italian texts. Those listed are all withguitar.Glachant, Antoine-Charles (1770-1851) - Sophie (Romance) [52]Glaesser, Karl (1784-1829) - "Numerous songs with guitar" (P. J. Bone)Glück, J ohann 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-J oseph (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 miaFille [15]Grazioli, G. - Ci vuol altro che vantarsi [15]Grosheim, George Christoph (1764-1841) - Zu einem Tal bei einem Hirten [23] * Mädchen aus derFremde (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 CarloGyrowetz, Adalbert (1763-1850) - Beim Abschied * An Elisen um Mitternacht [11] * Prends cette rosenouvelle 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 dieLaute (2 voices & guitar) * An die Harfe (2 voices & guitar) * An den Mond (2 voices & guitar) * An denHesperus (2 voices & guitar) * Abendlied (2 voices & guitar) [17] * Abschied [10] * Die Propheten derNatur * Wellen rauchen (Lied) [53]Haydn, J oseph (1732-1809) - Roxalane [Chansonnette] (2 voices & guitar) * Gentille et vive Lisette nevoudroit jamais [2]Hédouin, Pierre (1789-1868) - Pauvre Amélie [2]Held, J ohn (Au.) - Collections of songs with guitar published around 1796. (P. J . Bone)Helwig- Psalm LXXXVI [53]Henrard, J ean- J oseph (1791-1846) - Devais-tu donc me laisser revenir [2]Hertel, Peter Ludwig (1817-1899) - Weg zum Glück * Am meine Lyra * Weltweisen * Wohinaus zumgrünen Hirteen dort hinauf * Ungestilltes Sehnen * Sehnsucht * Dir kleines Bethlehem erklang * J üngling * 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 istnichts 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 * Idaan Alexis, bei Sendung einer Rose * Die Wiederkehr in mein Vaterland [53] - Himmel was one of manynon-Italian composers who was deeply influenced by Italian vocal music, opera in particular. King FriedrichWilhelm II was so impressed with his talents, he appointed him chamber composer and financed a ratherextended trip to Italy, where Himmel studied and composed. While in Italy, his operas were performed inVenice and Naples.. When he returned to Germany, he had elaborate plans to revive interest in opera in hishomeland, but his royal employers had no interest in this idea whatsoever. He therefore made the long tripsto 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 beganto enjoy lasting success in Germany. He remained in favor with the court throughout his life, in spite of apattern of rather erratic behavior. His vocal works are numerous, especially his lieder. For once, among hislisted works, the songs with guitar are mentioned, and there are many. It is observed in the course of theessay 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 manysongs 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 * DuKleines braunäugugtes Mädchen * Entfernte [27] * Schiffarhrt [14] [27] {53] * Frülingsabend * AnMinna [16] * Waren mir selige Tag (2 versions, one in C and the other in D) [10] * Liebe [14] * AnLouise [5] * Lob der weissen Farbe[53]Interlandi, Vito - Nice dorme, io solo inondo * Non vi fidate agl'uomini * Son le donne sul principio * Inplacido riposo * Vicino al segreto Dorindo * E che soffrir mi resta * Bedda Clori, un it scantari * Cara, sevuoi ch'io canti * Nice un parrari, un ridiri [46]

J acquin, Gottfried von (1767-1792) - Blümchen das sich zwar nicht mehr [11] J adin, Louis Emmanuel ( 1768-1853) - Aveu timide [4] * Fillettes voulez-vous connaître [2] J usdorf, J . C. (18th or 19th 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 fourvolumes of songs with guitar, plus six songs with guitar, op. 9. He was a man of broad interests. Born inBavaria, he studied medicine in Leipzig and Theology at Wittenburg. He then decided to devote his life tomusic. In 1808, he moved to Vienna, where he spent the rest of his life. In addition to composing, he wasactive 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 forpermanent positions in preference to maintaining an always tenuous independence. "In addition to a dozenoperas an a similar number of theater scores..........he composed songs and duets, a mass, a cantata, asymphony and some instrumental works. He also wrote a number of plays and long and short poems." Asusual, 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 aflute and guitar virtuoso; Karl Keller was also a teacher of singing. He was born in Dessau, Germany anddied in Schaffhausen, Switzerland. In addition to his positions in the orchestras of Berlin, Cassel andDonauschingen where he played both instruments, he toured extensively as flutist. While most of hisnumerous compostions were for flute, he wrote a guitar method and several chamber works involving theguitar He also wrote a large number of songs with guitar that were very popular during his lifetime. Theywere 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, J oseph Martin (1756-1791) - Dröj Sol uti din upgangstima (voice and lute) * Du i hvarsoskuldsfulla blick [22]Krebs, Franz Xaver (1765-after 1810) - Mädel im Tal * Aufruf zur J agd (2 voices and guitar) * An Elise[17]Kretzschmer, Andreas (1775-1839) - J ean Pauls Lieblingslied [11] * Die junge Schäferin * Derritterliche 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 meidenKuffner, J oseph (1776-1856) - Very prolific composer whose output included about 30 songs withguitar.(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 guitarreLanza, Francesco - 2 Arie con recitativo per una voce con accompanimento di Violino e chitarra; Gia lanotte a me ne viene, Nella capanna andiamo [32]

Lanza, Gino (18th 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. Heprobably moved to London in 1793, where he was employed by the Duke of Abercorn. On returning toNaples in 1812 he was appointed singing teacher at the Reale Collegio di Musica and at the PensionatoReale dei Miracoli.Legros - L'amour et la gloire (1806) [44]Lemire, Désiré- J eune Indienne [2]Lindpainter, Peter J oseph 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 thecourt orchestra in Stuttgart. Apart from his conducting activities, he composed a considerable amount of veryfine lieder with guitar.Maes, Louis - Souvenirs [2]

Malabran, Maria Felicita (Garcia) (1808-1836) A famous singer of the period whose father was an evenmore famous voice teacher. She was also very proficient on the guitar and gave many concertsaccompanying 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 itgha 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. Inaddition to several successful operas, wrote numerous songs with guitar, including 12 songs, op.5, songs onpoems 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 comprendrepourquoi (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 tomake 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 editionby Editions Orphèe. The songs were originally published with only a sketch of an accompaniment, to beplayed 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 isknown 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 thename Vincenzio Martini, he became known as Martini lo Spagnuolo, to distinguish him from others with thesame popular name. Over the next eight years or so, he established his reputation with nearly a dozen operaswritten for various Italian cities. Martin y Soler achieved his greatest success when he went to Viennasometime before 1785, and began a collaboration with the librettist, Lorenzo da Ponte which resulted, amongothers, in the creation of what became his most famous opera, Una Cosa Rara, o sia belleza ed onesta. Nearthe end of 1788, he went to Russia, having been commissioned by Catherine II The Great to compose aRussian 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 Englishwoman and had arrived there three years earlier. They produced two more opere buffe, as well as a set of sixrather uninspired songs with piano for a Miss Miller, who was apparently a well-known opera singer of thetime. Soler then returned to Sty. Petersburg, where he remained for the rest of his life. He died there onFebruary 11, 1806.Mayr, J ohann Simon (1763-1845) - Catina Bellina grazioso * Chi dice mal d'amore [15] Chi mi nostrachi 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 andorganist. 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, enrolledin the university there to study theology. During this time he taught himself to play almost all the string andwind instruments and also studied the organ. In 1786 he published a collection of twelve lieder. His musicaltalent was noticed by a Swiss Freiherr, who took him to Italy in 1787, where he began formal musical studiestwo 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 FernandoBertoni. Mayr's first sacred compositions led to a commission from he Conservatorio di Medicanti for anoratorio. Five more oratorios and cantatas followed, until the death of his patron, Count Pesenti, andencouragement from Piccinni and Peter von Winter caused him to take up opera. His first stage work wasSaffo, a serious opera presented during Carnival 1794 at la Fenice, where he had played the viola since thetheater opened in 1792. He was to provide one of the two principal carnival productions there. It was duringthis period that he also supplied other Venetian theaters with more than a dozen comic operas and one-actfarces. In 1799, Mayr made his debut at La Scala, Milan,, with a revision of his second serious Venetianopera. Thereafter, he tended to write his serious operas largely for La Scala, although he wrote several fortheaters in Naples between 1813 and 1817, and continued to supply occasional ones to La Fenice and otherItalian theaters. In the 1820's. Mayr developed cataracts and became blind in 1826. The last of hisapproximately 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 hissister. He died in 1845. Verdi took time from the production of his opera, Attila, in Venice, to attend Mayr'sfuneral.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 benmio 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 * Siabenedetto amore * Rondinella a cui rapita * O cara di questa anima amabile [16] - Melia was probablyborn in Rome in the last decadeof the 1700's, and he seems to have never worked outside that city. He livedfor many years in the via de' Sediari (Chairmaker's Street) at number 76, a small street that still exists close tothe center of the city; his principal publishers, Ratti and Cencetti did business in the same street. It isreasonable to assume that Melia did not develop his activities elsewhere, maintaining a close relationshipwith the Rome environment. This can be reliably inferred from the dedicatees of his compositions, who werenoble and diplomatic personalities in Rome at the time. Indications of the extent of his teaching activities arefound 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. Atthe time, Rome does not appear to have been a favorable climate for the guitar. Giuliani visited Romearound that time and encountered great difficulty in developing much interest in his presence, performing inconcert 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 ItalianSongs)] 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 TableauParlant * Vaudeville de l'Amant Déguifé * L'Eloge de Babet * Romance * La Fidélité * La BergèreVaincue * Romance * Le Serment indiscret * L'Indifférent * Le Plaifer * Colin et Colette * Le GalantRidicule * Le Sorcier * Le bon Confeil * La Fileufe * Le tendre Reproche * Les Moineaux * La GrandFille * La Bergère Calmée * La Quittance mutuelle * L'Heureux Berger * Lè Trelintintin * L'Histoire dePierrot * 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, I sidore (d. 1806) - Habitude [2]Millico, Giuseppe (1737-1802) - Volle cogliere uno rosa * Dormia sul margine (Cavatina) * Ho sparsotante lagrime (Cavatina) [15]Moltke, Carl Melchior J akob (1783-1831) - An Molly * An Mignon * Mädchen und der J üngling * Nähedes 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 delSimone Mayr, Chi dice mal d'amore * Dei vostri accenti al suono [15] - Born inMilan, he was a skilledguitarist and composer for the guitar. He was the son of Antonio Monzino, one of the most popular stringedinstrument 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 leasttwenty years, and he contributed significantly to the guitar repertory in competition with other greatpublishers 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 SpanishArmy. He was a prolific composer, having written many songs, mainly with guitar accompaniment. His setof 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 * I l Ricordo * Eccomi lungi dall'amayo mio ben * I l Sospetto * Compagni, ahperchè mai * Il Giuramento svanito * Ah più dubbio non v'è * Il Disinganno * Qual colpoo inaspettato *La Speranza * E fia ver che il mio bene * I l 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, hisbirthplace, 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 otherMilanese publishers.Mosca, Giuseppe (1772-1839) - Io bramo viver sciolto * Ah che in si bel momento [16] - Mosca was bornin 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 variousItalian theaters, presenting his operas in Rome, Naples, Venice and elsewhere, usually with much success. In1803 he went to Paris asmaestro 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 toItaly. After the success of Rossini's La pietra del paragone, Mosca accused Rossini of having plagiarizedone of his own operas, , particularly the device of the crescendo, circulating copies of his music as proof. Thecharge was repeated by critics until Radiciotti discovered that the crescendo had been employed beforeMosca'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 toPalermo as music director of Teatro Carolino, but gave up the post after the revolution of 1820. A return toMilan revived his career. After several years of touring, however, he settled in Messina as director of anothertheater. 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 sonempire [5] [10] [16] * Ah ingrato m'inganni [26] [16]* Aure amiche ah non spirate * Fra le querelle ilpianto * 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, J ohann 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, Tenerimiei sospir - Several volumes of songs with guitar published by Ricordi. He was one of the best knownguitarist-composers working in Italy in the first decades of the nineteenth century. A concert performer onthe guitar and a teacher of voice, he was the teacher of his child, Gaetano (1802-1875). His concert activitiestook him for a brief period of time to Paris, London, and presumably Germany around 1812. His majorinterest, 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 demon 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 theOxford Companion to Music, Paisiellowas born in Taranto and died in Naples. He was an opera composer in the courts of Ferdinand IV, of JosephBonaparte and Murat of Naples, of Catherine the Great at St Petersburg and of Napoleon I in Paris. Hecomposed 100 operas, in which he used a charming simplicity, according to the dictates of the time, andinnovated many structural ideas related to the dramatic plans of his operas. Like many other opera composersof 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 (2voices 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'iilest 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 wrotenumerous songs with guitar, most of which were published by Cipriano, Florence

Pilz, Carl Philipp Emanuel (18th 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] * J e recontrai nagguère la fille Mathurin [2]Pleyel, I gnace (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] * conaccompagnamento Canzone di chitarraPorro, P. - Instruction élémentaire de la lyre-guitarre - The lyre-guitarre was an instrument which, thoughunusual in shape, had six strings and was tuned like a conventional guitar. This volume, in addition toinstruction in basic music notation, tuning and various technical exercises, contains several short guitar soloswhich 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 individualtitles are as follows: Cantique de Venus (Andante) * Canzonetta (Andantino innocente * Romance (Lentosensibile) * 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 twoguitar solos, one of which is a three-movement sonata. Two of the songs have no accompaniment, whileothers not only have a guitar accompaniment, but rather lengthy instrumental interludes between verses. -[ J ournal 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 deGuitare ou Lyre, Violon ou Flute à volonté Op. 34] Le Saule du Malheureux * La Serenade * L'AmourMarchaud de C( * Chant d'une jeune Arabe * Canzonetta * L'Adieu (All of the above collections of music byPorro 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 J ugend 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 andgrandfather of Giacomo,, he had his first music lessons from his parents, and continued his studies inBologna 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-19th century illustration published by Breitkopf &Hartel, Domenico appears with Gretry and other important contemporary musicians, a sure sign of the esteemhis 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. Thestyle 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, J ohann Friedrich (1752-1814) - Was zieht mir das Herz * Schäfers Klagelied [23] *Klärchens Lied * Es ritt ein J agersmann über die Flur * Wär ich ein Vögelein [15] * Wir gingen beideHand in Hand * Lied der Nacht * Ach umsonst auf aller Länder Garten [11] * Aechtes Glück * An denAbenstern * Das Lösegeld * Der Alpenjäger * Lied der Nacht [53] * Gebet während der schlacht * SteilePfad 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 BrückenReinicke, 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'amatooggetto [15]Righini, Vincenzo (1756-1812) - Abend * F rühlingslied * Hoffnung und Erinnerung * Schiffer *Sehnsucht * Vergiss mein nicht * Nehmt euch in Acht * Tief in der Brust verborgen * Mit zärtlichenHerzen verlangt ihr nach liebe [11]* Alls du sagtest ich muss scheiden [15] * Aure amiche, ah! Nonspirate (Canzonetta) * Freudvoll und leidvoll * Nehmt euch in acht * Trinklied * Schönste Rosen knospedieser Flur [53]

Vicenzo Righini was born five days before Mozart. He was originally a singer in his native Bologna, but during hislifetime, became a famous and important composer. In addition to writing roughly 200 songs to both Italian andGerman texts, he wrote operas, as well as sacred music and instrumental scores. He established himself as asinging 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 JohannFriedrich 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 23rd 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 theviolin. Rollas compositions for the guitar are mainly limited to chamber music with violin, although he wrotea 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'amourfinit * 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., F lute & guitar) [31]Rousseau, J ean-J acques (1712-1778) - Wie der Tag mir dauert [37] * Quand on sait aimer et plaire * Sides galants de la ville[29]

Salvati, Bernadino (18th 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 derWiege * 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 sonnoamica 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 accompaniedby Cembalo and/or guitar. The voices are variously specified as three sopranos, three tenors or three equalvoices.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 inSpanish, Italian and English, most of which were published in London (P. J . Bone). His name also shows upas the writer of guitar accompaniments for songs by other composers.

Soerensen, J ohann (1767-1831) - Es hann schon nicht immer so bleiben * Sterne * Rückerinnerung anmeine Heimat * Sehnsucht * Nach der Mahlzeit * Lobgesang * Gedanken auf einem Kirchhofe * Bei denGräbern 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 événemnetd'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 siempreempieza * 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 unamirado * Yo soy el cocinero (These Seguidillas and Boleros were written at various times throughout Sor'slifetime. Most were written with guitar accompaniment, though several were written with piano, and somewith both.) [French Songs] O vous que Mars rend invincible * Il reviendra (Sor also arranged arias byMozart 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 performanceedition by Chantarelle) - Another celebrated guitar virtuoso of the time and well known today for his guitarcompositions. Unlike most other famous guitarists of the time, who for the most part only wrote musicrelated to the guitar, Sor also wrote operas, ballets, symphonies, string quartets, choral compositions, andsongs with guitar, piano and orchestra.Sterkel, J ohann Xaver (1750-1817) - Auf der liebe dunklen Meere[10] * Tief unten im einsamen Tale *M'hanno detto [13]Streitwolf, J ohann Heinrich - Oft lässt die Lieb' uns ihre Macht empfinden [11]Stévens, J ean-Baptiste ( d. 1796) - J e 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 dieGuitarre") [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, I l pretesto, O si, o no, La Tomba) [33]

Thonus, P.J . von (18th or 19th cent.) - Madchen vom Lande [11] Trento, Vittorio (1761-1833) - Ogni donna che ha gusta * Quel bianco sende latte * Tocco un di dalcanto mio canto * Son pratico in amore dono * Canto bassetti su quei o chieti * Terza note e questa ch'ilsonno * Quel Augelino che sol canto * Che ingegnoso putte letto * So miglia l'amore [48] * Amore e unguerriero si forte * Son ferito in mezzo al core * J oti saluto alba novella * Incostanza * Occhi stellemortali [24] * Virtuoso per forza * Nina non dir di no [15] - Born in Venice and died in Lisbon. Afterstudying under Bertoni at the Conservatorio dei Medicanti in Venice, he began his career there as acomposer of ballets that were usually performed between the acts of an opera. According to Fetis, his firstwas Mastino della Scala (1783) . Most of the large number that followed were also written for Venice, wherehe became maestro al cembalo at the Teatro S. Samuele, but he sometimes traveled. At Lucca for the operaseason 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 thestage, was highly successful; but in the same year he returned to Venice, where he became maestro alcembalo at La Fenice. Trento first attempted opera in 1789 with Orpheo negli Elisi, first performed privatelyin Verona. From 1791, he produced a large number for the public theaters, specializing in farces andcomedies. In 1801 came his one great success, thedramma giocoso quanti casi in un sol giorno, which fortwenty years was performed all over Europe under a variety of titles and in many forms. Later, he turnedmore often to theopera seria, but without great succes. In 1806 he went to Amsterdam asmaestroconcertatoreof the Italian opera house and in 1809 to Lisbon in the same capacity.. In 1811-12 he was inLondon, where his opera, La Climenewas performed at the King's Theater as a vehicle for AngelicaCatalani. In 1815 he seems to have been in Munich and then once more in Lisbon. From there he returned toItaly in 1818 and produced several new works, which were almost all failures. He returned to Lisbon in 1821and remained there until 1824, when he once more went to Italy and produced his last two operas. Trentonever became a major figure in Italian opera, and in his later years his works, like so many of hiscontemporaries, 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'acchiofille * Vannes infedele, addio * Io far l'amore cosi non so * O si o no (Cavatina) [47] [15]Vacher, Pierre J ean (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 warduring Napoleonic wars. Transported to Spain where he escaped and went to England.Volger, Georg J oseph (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 (2V.) * 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 inmodern 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 inearly editions. They are as follows: An den Mond, Bach, Echo und Kuss, Das Veilchen im Thale, Der armeMinnesänger, Der kleine Fritz an seine jungen Freunde, Die freien Sänger, Gebet um die Geliebte, Ichsah 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, J ohann 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 herliving as a singer and pianist. She wrote only 26 songs, some of which were transcribed by others to guitaraccompaniment 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 vonMontalban ) * Recitativo and Aria from Babylons Pyramiden * Sacrifizio interotto (from UnterbrocheneOperfest )[28] * Die Blumen des Lebens (Canzonetta) * Ich war, wenn ich erwachte (Aria) [53] - TheCavatina 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 operaticexcerpts with guitar accompaniment. Since these works are in the Johann Simon Mayr collection inBergamo, Italy, one could easily presume that Winter was well acquainted with Mayr. In fact, it was Winterwho first persuaded Mayr to try his hand at writing operas.

Zucconi, Francesco (18th cent.) - Sechs Gesange mit Begleitung der Guitarre oder PianoforteZumsteeg, J ohann Rudolf (1760=1802) - Welt ohne sie [11] * Allah gibt Kicht in Nächten * An Leonoren* Una Ballade * Lied aus der ferne * F reuden der Gegenwart * Erscheinung [15] War ich ein muntresVelein * 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 GermanLied, along with Carl Loewe. This poetic genre involved the use of numerous verses with which to tell astory, alternating between narration and dialogue. This form was derived from the popular ballads of Englandand Scotland and often involves the telling of romantic adventures and supernatural happenings. In mostcases, an effort was made to preserve the forthright qualities of the old folk ballads on which they weremodeled. Therefore it is not surprising that Zumsteeg would employ the use of the guitar in many of hisworks 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, J ean Auguste - Souvenir; Andreozzi - Tout m'alarme tout excite et ma crainte et mes regrets;Auber, Daniel-François - J enny; Barbereau, Mathurin-Auguste - Heure du soir; Beauplan, Amédée de - J e 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, J e tepardonne en t'oubliant, Faux ermite (2 voices & guitar); Campenhout, François van - J e pense à toi lorsquesous la feuille; Dalayrac, Nicolas-Marie- Que de maux loin de toi; Ferrari - En vain de la nature je revoisla parure (2 voices & guitar), Il n'est point d'amant Elvire; Gossec, François-J oseph - Oiseaux en chantants'eshappent du bocage; Guglielmo, Pietro Alessandro - Bella Pescatrice (voice, violin & guitar); Gyrowetz,





Adalbert - Prends cette rose nouvelle éclose; Hanssens, V. - Mes adieux Alpes; Haydn, J oseph - Roxalane[Chansonette] (2 voices & guitar), Gentille et vive Lisette ne voudroit jamais; Hédouin, Pierre - PauvreAmélie; Henrard, J ean-J oseph - Devais-tu donc me laisser revenir; J adin, Louis Emmanuel - Fillettesvoulez-vous connaître; Labarre, Theodore - Deux familles; Lagoanère, Chevalier de - Prestiges de l'amour(2 voices and guitar); Lemire, Désiré - J eune indienne; Maes, Louis - Souvenirs; Martini - Ah Lucette ilfallait 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 paisibleverts bocage (2 voices and guitar); Panseron, Auguste-Mathieu - Album, Chant de la nourrice, Eh voguema nacelle (2 voices and guitar), Emmène-moi, Maman me permet de danser; Peellaert, Augustin-Philippede - Ombre su soir; Persuis, Louis-Luc Loiseau de - Ce matin dans une bruyère, Vous qui loin d'uneamante, Voici venir le doux printemps, Que j'aime à voir las hirondelles, Dans cette aimable solitude, Ah s'ilest dans votre village; Plantade, Charles-Henri - J e 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 andguitar), Mot de toi;Stévens, J ean Baptiste - J e 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 midice (2 voices & guitar), J e 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; J adin, 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 J ean - 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, Berlin10772 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 dorthiauf, 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, J ohann 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, J ohann Ludwig - Heimweih; Pucitta, Vincenzo -Biondina in gondoletta

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





Bianchi, Antonio - Agitazion d'amore; Bornhardt, J ohann Heinrich Carl - Morgenlied; Curci, GiuseppeMaria - Care zittele (2 voices, strings & guitar, from the opera "Le due nozze e un sol marito"); Dalberg, J ohann Friedrich von - An den schlaff; Hurka, Friedrich Franz - Waren mir selige Tag (2 versions, one inC, the other in D); Keller, Karl - Holden Blumen bunter Schimmer; Lafont, Charles Philippe - C'est unelarme; Mussini, Natale - Souvent l'amour nous prouve son empire; Sterkel, J ohann Xaver - Auf der Liebgedunklen Meere; Süssmayer , Franz - Spiegel von Arkadien

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

Alt, E. - So ist mein Wunsch; Ambrosche, J oseph - Als ich auf meines Bleiche; Amon, J ohann Andreas -Wahrsagenlied; Apell, David August von - Fernandos Lied; Benzon, Siegfied - Alexis und Nettchen;Berger, Ludwig - An die Geliebten; Bornhardt, J ohann Heinrich Carl - Sonst und jetzt, JugenlicheFrohsinn (voice, flute & guitar), Liebe lehrt in dunkein Kummertagen, Ton der leier, Wiedersehn, An dieHoffnung, Mir bluhet kein Frühling; Danzi, Franz - In des lebens Maientagen, O weine nicht in einembessern Leben; Doltzhauer, J ustus J ohann Friedrich - Abschied; Dusik, J an Ladislav - FernandosHochgesang an Clara; Ebers, Karl Friedrich - Vergessnern Schwur; Eberwein, Carl - Elegie auf die treueihres Geschlechts; Flotow, Friedrich Ludwig Ferdinand - Charade; Grosheim, George Christoph -Mädchen aus der Fremde (voice, flute & guitar); Gyrowetz, Adalbert - Beim Abschied, An Elisen umMitternacht; Himmel, F riedrich 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; J acquin, Gottfried von - Blümchendas sich zwar nichtmehr; J usdorf, J . C. - An den Mond, An Minna; Kretzschmer, Andreas - J ean Pauls Lieblingslied; Kreutzer,Conradin - Ich ware recht fröhlicht so gerne, An die Entfernte; Marpurg, F riedrich Wilhelm - Was ich liebezu vergessen; Moltke, Carl Melchior J akob - An Molly, An Mignon, Mädchen und der Jüngling, Nähe desGeliebten, 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, J ohann Friedrich - Wir gingen beide Hand in Hand, Lied dernacht, Ach umsonst auf aller länder Garten; Reichhardt, Louise - Liebe, Nach Sevilla wo die hohenPrachtgebäude, 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 mirschleichet, Mutter bei der Wiege, Betende (voice, flute & guitar), Beruhigung (voice, flute & guitar),Ungetreue Witzling, Klage und Ermunterung, Abendlied eines Hausvaters, Lebensgenuss, Wo liebe sichbettet; Siebert - Zauberin; Streitwolf, J ohann Heinrich - Oft lässt die lieb' uns ihre Macht empfinden;Stuber - Mein Hüttchen, Lebensinn, Morgenlied eines jungen Ehepaars; Thonus, P. J . von - Mädchen vomlande; Zumsteeg, J ohann Rudoph - Welt ohne sie

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

Boccomini, Giuseppe - Racolta di Canzonette (7); Soerensen, J ohann - Es hann schon nicht immer sobleiben, 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'intendosi mio cor, Chi vive amante, Almen se non poss'io, Mai l'amor mio verace, Mai se di lei t'accendi, Senzaparlar fra loro, Silve à l'âge de quinze ans, De tous les pays pour vous, Amor che nasce con la speranza,Sentirsi dire); Sterkel, J ohann 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 seigiusti siete, Per vall per boschi, Fra tanti palpiti d'incerti affetti, Mio ben ricordati, s'avvien ch'io muora;





Glück, J ohann 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, J ohann George Christian - Mutter spricht ich soll's nicht leiden;Aprile, Fortunato - Sopra una candida (Cavatina); Baldini - Non v'è più barbaro (cavatina), Crudel morirmi 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 vagagiovinetta (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 chefa, 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, J ohann 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 labella 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 Ariettedi 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 nonparlo, No non quell lampo; Pfähler, W. S. - Warnung vor dem wasser; Pilz, Carl Philipp Emanuel -Adelaide; Portugal, Marcos - Mi pizzica mi stimolo; Reichardt, J ohann Friedrich - Klärchens Lied, Es rittein 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, Vannesinfedele, addio, Lo far l'amore cosi non so, O si o no (Cavatina); Valletta, Nicola - Lo far l'amore cosi(Cavatina); Weber, J ohann Gottfried - Vöglein flog durch Wald und Feld; Westenholz , Sophie - Glück derLiebe; Zumsteeg, J ohann Rudolf - Allah gibt Kicht in Nächten, An Leonoren, Una Ballade, Lied aus derferne, 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, J ohann Heinrich Carl - Mir bluhetkein Frühling; Corigliano, Domenico - Biano il rosso il palido; Ferrari, Giacomo Goffredo - Quandl'amour nacquit à Cithère; Fortunato, Giovanni - Pien di contento, Ecco ridente il cielo, Se il moi nomesaper voi bramata, Sorte mia tiranna; Grosheim, George Christoph - Mädchen aus der Fremde; Hurka,friedrich Franz - Frülingsabend, An Minna; Mayr, J ohann 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 miobene, Sempre piu t'amo, So che pieta non hai, Povero cor tu palpiti, Invan si lagna questo mio core, Traditosprezzato 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 lequerelle il pianto, Già la notte si avvicina, Pastorella al prato, Più che a te penso, Senti il mio caso, Voi cheil mio cor sapete, Chi un si dolce amor condanna, Pastorella al prato; Paisiello, Giovanni - Du printemps demon 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 andguitar), 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.3Bischoffslied op. 3; Krebs, Franz Xaver - Mädel im Tal, Aufruf zur J agd (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 lequerelle 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 lagneròtacendo 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 seigelosa è vero op. 10/2, Perchèmai vezzosi rai op. 10/4, Almen se non poss'io op. 10/5, In dieser stillen Grufteop. 10/6, Mille amanti so per prova op. 11/1, Amo te sola op. 11/2, Superbo di me stesso op.11/3, Mi lagneròtacendo 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 uncor 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 prangtum 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, J ohann 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, F ranz - Sörg icke mer (voice and lute); Grosheim, George Christoph - Slumra du lilla (voice & lute);Krauss, J oseph Martin - Dröj Sol uti din upgangstima (voice and lute), Du I hvars oskuldsfulla blick;Volger, Georg J oseph - March and Variations for voice and lute

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

Dalberg, J ohann 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, J ohann 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 lugiidol'amato; Mayr, J ohann Simon - So che l'etá; Trento, Vittorio - Amore e un guerriero si forte, Son feritoin mezzo al core, J oti 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, J ohann Friedrich von - Sie Schwankt dahin; Mussini,Natale - Ah ingrato m'inganno





[27] [H SFm] I stván 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, Alentrar en decasa, Tiene sin su barbero, Todos de las mujeres, Yome halle, Te dico a su marido, Mujer quellego, Todos dicen, Pienso en ti solamente, Un rosal que tenia, De los calvos no quieras, Non temas que te depuisa; Mayr, J ohann Simon - Suonatore sventurato (Soprano, guitar and orchestra); Bevilacqua, Matteo P.

- Quattro Cavatine * Non t'accostare all'uma (aria) * Quattro duettini * Otto Cavatine * Recueil completd'airs, romances, rondeaux et duos des operas les plus favoris allemande, francois et italiens, avecl'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 F rancesco - 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, F rancesco - Leggi adorata Nice, Deh non cessateLanza, Francesco - 2 Arie con recitative per unavoce 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, ANice 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, odi 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, Ombreamene, 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: Ohme 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 colpoinaspettato * 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, Perugia06100 (I taly)

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, J ohann 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, J ohann Gottlieb - Per che di giubilo; Fioravanti, Valentino - 12 Ariette per voce di soprano conaccompagnamento di Arpa, o di Piano-Forte, o di Chitarra Francese (Se un core annodi, Perche se mia tusei, Giace di quell'avel,Non giova il sospirar, Spettri e larve che volate, Questa rosa porporina, Io dicoall'antro addio, Che chiedi, che brama, Ombre amene, Aurette leggiere, che intorno volate, Non cerchiinnamorarsi, 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 placidoriposo, Vicino al segreto Dorindo, E che soffrir mi resta, Bedda Clori, un it scantari, Cara, se vuoi ch'iocanti, Nice un parrari, un ridiri; Mayr, J ohann Simon - Non mi sprezzar Fileno, Amante mi sventurato(duettino with guitar); Salvati, Bernadino - Se son bella che vi premo, Breve lontananza, Idolo del mio coreVerini, 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 NY10023 (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 logiuro 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 voglianzurare dinto fratta, Chi t'a fatta sta bella, Piccere si m'ave nattanno bella cosa; Marani, Gaetano - Na cestalle 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 disimpatia, Com'e possibli lassari; Trento, Vittorio - Ogni donna che ha gusta, Quel bianco sende latte, Toccoun di dal canto mio canto, Son pratico in amore dono, Canto bassetti su quei o chieti, Terza note e questach'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., SanFrancisco 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, J osé Melchor Gomis - El chacho moreno (cançion andaluza), La gitanilla zelosa (cancionandaluza); 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 tum'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 - Lasmorfia 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 - HoldeLeibe 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 istdas liebste Plätzchen mir (Lied); Harder, August - Die Propheten der Natur, Wellen rauchen (Lied); Helwig- Psalm LXXXVI; Himmel, F riedrich Heinrich - Beglückt, beglückt, wer die Geliebte findet, Fort, dass dieLeyer klinge, Herzenswechel, Gebet während der Schlacht, Ida an Lexis, bei Sendung einer Rose, DieWiederkehr 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 derliebe Sehnen?, Land meiner soligsten Gefuhle, Kretzschmer, Andreas - Die jumge Schäferin, Der ritterlicheSänger; Kreutzer, Conradin - Frühlings - Ruhe, In der ferne, Lebewohl, Morgenlied, Morgenandacht imFreien an einem Sonntage, Scheiden und meiden; P. Lindpainter - Amanda, Preghiera, Sehnstucht nach demVaterlande, Stille Liebe; Mehul, Etienne Nicolas - Le doux mal; Methfessel, Albert Gottlieb - KriegersAbschied, Liebestandelei,Lizidas, Sängers Morgenlied, So mancher möcht ihr Blümchen sein; W. Osthoff -Lied aus Gabriel, Lied von Clotilde; Reichardt, J ohann Friedrich - Aechtes Glück, An den Abenstern, DasLösegeld, 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; derLeuchthurm; Carl Maria von Weber - An den Mond, Bach, echo und Kuss, Das Veilchen im Thale, Der armeMinnesänger, Der kleine Fritz an seine jungen Freude, Die freien Sänger, Gebet um die Geliebte, Ich sahein Röschen, Klage, Lied der Hirtin, Lied von Clotilde, Maienblümlein, Mailied (2 voices & guitar), MeineFarben, Mein Lieder, meine Sänge, Mein Verlangen, Minnelied, Ninfe, se liete viver bramate, PersischesLied, Schlummerlied,Schwäbisches Tanzlied, Umsonst, Unbefangenheit, Volkskied, Volkslied, Was zieht zudeinem 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.

Copyright © 2003 by J ohn R. McCormick. All Rights Reserved.

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Songs With Guitar From the Age of Napoleon, John Mccormick