Herman-François Delange (Liège, 2 de juny de 1715 - Liège, 27 d'octubre de 1781) va ser un violinista i compositor flamenc. Entre els anys 1723 i 1730, va cantar al cor de l'església col·legiata de Sant Martí, de Liège. Allà va entrar en contacte amb el seu primer professor, el mestre de capella Hubert Renotte. Seguidament, va estudiar amb els jesuïtes a la universitat finalitzant la formació el 1738. Va estudiar violí amb Joseph Clément i harmonia amb Jacques-Georges Lelarge, l'organista de la col·legiata jesuïta. El 1740 va abandonar Liège gràcies a una beca que va rebre de la Fundació Lambert Darchis. Va visitar Itàlia abans de retornar a Liège on va ser nomenat violinista de l'església col·legiata de Sant Martí. El 1760 va entrar a treballar a l'església col·legiata de Sant Pau, càrrec que va mantenir la resta de la seva vida. Entre els anys 1764 i 1769 va mostrar notable activitat com a compositor escrivint 24 simfonies, 12 sonates en trio i una antologia mensual de cançons (1765-6). També va compondre 2 obres de teatre, 9 misses menors, 2 misses solemnes i diversos motets. Es desconeix el per què va deixar de compondre després del 1769. Va morir a Liège l'octubre de 1781.

OBRA:

Vocal secular:

Le riche malheureux et le réformateur des moeurs de ce siècle, Liège, Théâtre des Jesuites, 23 Aug 1763
Nicette, ou L'école de la vertu (oc, 3, Du Perron), Liège, Jan 1776
Le rossignol, ou Recueil de chansons (Liège, 1765–6) [pubd as monthly journal];
c30 unpubd qts, trios, duos, airs

Vocal religiosa:

6 messes brèves, 4vv, 2 vn, bc;
[2] Messes brèves, 4vv, 2 vn, 2 fl, 2 hn, vc, org;
Messe solennelle, 4vv, 2 vn, 2 hn, org;
Messe solennelle, 4vv, 2 vn, 2 hn, org, partly reconstructed by L. Terry;
Lauda Sion, 4vv, 2 vn, 2 ob, 2 hn, org;
Missa sexta, 4vv, 2 vn, 2 hn, org, Bibliothèque des Chiroux, Fonds Capitaine, Liège;
Motets

Instrumental:

6 syms., op.7 (Liège, 1764), lost;
6 syms., op.9 (Liège, 1766), lost;
6 syms., op.10 (Liège, 1767), lost;
6 ovs., 2 vn, va, bc, 2 hn ad lib, op.6;
3 quatuors, str qt, unpubd;
6 sonate, vn/fl, vn, b;
6 sonate, 2 vn, b, op.8 (Paris, n.d.);
6 sonate, vn, b, op.1 (Liège, n.d.);
A Collection of Favourite Minuets, hpd, vn/fl (London, n.d.);
Le toton harmonique, ou Nouveau jeu de hasard (Liège, 1768) [a musical game]

Francesc Valls (Barcelona?, c.1671 - Barcelona, 3 de juny de 1747) va ser un compositor català. Es desconeixen els seus primes anys de vida i la seva formació. La primera referència data del 1688 quan va assolir el càrrec de mestre de capella a la Basílica de Santa Maria de Mataró pocs mesos abans d'assolir el mateix càrrec a la Catedral de Santa Maria de Girona. Va mantenir aquest càrrec fins el 1696 quan va rebre el nomenament com a mestre de capella de la Basílica de Santa Maria del Mar de Barcelona. Aquell mateix any va entrar a col·laborar amb Joan Barter, qui es creu que va ser mestre de Valls i en aquell temps el mestre de capella de la Catedral de Santa Creu i Santa Eulàlia de Barcelona. La mort de Barter el 1709 va implicar l'assumpció oficial de Valls del càrrec de mestre de capella de la catedral, que ja va mantenir fins a la seva jubilació (algunes fonts apunten que va ser el 1726, d'altres el 1741). Allà va compondre abundant música religiosa i secular i va exercir com a teòric, escrivint entre altres el famós tractat Mapa Armónico Práctico (1742), i professor amb alumnes com Pere Rabassa, Antoni Jordi i Domènec Terradelles. Va morir a Barcelona el juny de 1747.

OBRA;

Vocal religiosa:

9 masses, some with orch:
De difuntos, 7vv, E-PAMc;
De difuntos, 8vv;
De difuntos, 10vv, 1723, Ac;
De dos tiples;
De tiple solo;
De tiple y tenor;
Haec est virgo sapiens, 9vv;
Regalis, 5vv, 1740;
Scala aretina, 11vv, 1702, ed. J. López-Calo (London, 1978);
Tu es Petrus, 8vv;
Sine nomine, 16vv;
Sine nomine, 12vv

Letanías a la SS Virgen, 6vv, VAc;
9 Magnificat settings, 6–8vv

Motets etc.:
Beata quae credidisti, MA;
Beatus vir;
Conceptio gloriose Virginis Mariae, MA (Bbc);
Confitebor; Credidi;
Dies irae, dies illa;
Dixit Dominus; Domine [? ne infurore];
Domine probasti; Himno de S Agustín, PAMc;
In exitu;
Laetatus sum;
Lauda Jerusalem;
Laudate Dominus;
Libera me, Domine;
Memento;
Nunc dimittis;
O sacramentum pietatis, MA;
Parce mihi, PAMc;
Primer salmo de prima;
Salve regina;
Suscipe verbum, MA;
Tercer salmo de prima;
Tota pulchra, in A. Martín y Coll: Arte de canto llano y canto de órgano (Madrid, 1719)

Oratorios (texts only):
Oratorio místico y alegórico, Barcelona, Convent of S Cayetano, 13 Oct 1717;
El cultivo del alma, figurando en la parábola de la viña, Valencia, Oratorio de S Felipe Neri, 1720;
Eco la voz divida, Barcelona, Convent of Our Lady of Mercy, ?1736;
Oratorio de S Domingo, Zaragoza, Seo

Villancicos:
Adoren los hombres finezas de amor, 3vv, MA;
Al combite que Amor oy previene, 8vv, MA;
Assy a los serafines, 12vv, MA;
Cual puede ser;
Del amor el exemplo mas cabal, 8vv;
Entre golfos de dulzuras, 4vv, in MA;
Es tan violento el estrago de tus ojos peregrinos, 4vv, MA;
Fue la assumpción de María [=Del amor el exemplo mas cabal];
Pueble del ayre los vagos al cielo, 14vv;
Quien será dezid el arco para herir, 12vv, MA;
Ya el sol puede estender su claridad, 4vv, MA;
Others, lost, cited in Horch (1969) and Bermejo and others (1990)
Other vernacular works, MA, Bbc, VAc

Instrumental: 

c70 fugues and canons, MA

Literatura:

Respuesta del Licenciado Francisco Valls, Presbytero, Maestro de Capilla en la Santa Iglesia Cathedral de Barcelona, á la censura de Don Joachim Martínez, organista de la Santa Iglesia de Palencia contra la defensa de la entrada de el tiple segundo en el ‘Miserere nobis’ de la Missa ‘Scala aretina’ (Barcelona, 1716)
Mapa armónico práctico: breve resumen de las principales reglas de música sacado de los más clássicos authores especulativos y prácticos, antiguos y modernos illustrado con differentes exemplares, para la más segura enseñanza de muchachos (MS, E-Bbc, Bu, Mn*, MO)
Arte de composición (MS, Bbc 163)

Ignazio Sieber (c.1680 - Venècia?, c.1757) va ser un flautista, oboista i compositor italià. Es desconeix la quasi totalitat de la seva vida. Es creu que va viure a Alemanya abans de publicar les seves Sonates per a Flauta a Roma a l'entorn del 1722. Va viure a Venècia, ciutat on va treballar com a professor de flauta i oboè a l'Ospedale della Pietà a partir del 1728 i on es creu que va col·laborar amb Vivaldi. Per tant, és probable que morís en aquella ciutat a l'entorn del 1757.

Johann Jacobsson (Estocolm, 2 d'agost de 1835 - Estocolm, 4 de juny de 1909) va ser un organista i compositor suec. Va estudiar amb Ludvig Norman, Gustaf Mankell i Franz Berwald. Es va distingir principalment com a organista i compositor. Entre les obres més importants que va compondre hi figuren una Missa, per a solo, cor i orgue, un Agnus Dei, per a soprano i orquestra, l'opereta Ungmors kusin (1868), l'obertura concert Sommarminenn i una cantata per les noces d'argent del rei Òscar II. Va compondre a més, lieders, música de cambra, obres corals i peces per a piano. Com a mestre de violí va tenir d'alumnes, entre altres, a Emile Shinner. Va morir a Estocolm el juny de 1909.

Maria Hester Park (29 de setembre de 1760 - Hampstead, 7 de juny de 1813) va ser una professora i compositora anglesa. Va treballar com a intèrpret de piano i clavicèmbal en ambients aristocràtics. L'abril de 1787 es va casar amb el gravador i bibliògraf Thomas Park. El 22 d'octubre de 1794 Joseph Haydn va escriure a Maria Hester en agraïment per la tramesa ‘for the Mistris Park a little Sonat’ i amb el compromís d'Haydn de visitar-la. Va treballar com a professora si bé va dedicar temps a la composició destacant les seves obres per a piano, entre elles, un concert. De salut delicada tota la seva vida, va morir a Hampstead el juny de 1813.

OBRA:

published in London
op.
1Sonatas, hpd/pf, vn acc. (1785), ded. Countess of Uxbridge
23 Sonatas, hpd/pf (c1786)
3A Set of Glees with the Dirge in Cymbeline (?1790)
42 Sonatas, pf/hpd (1790)
6Concerto, pf/hpd, str (?1795)
7Sonata, pf (?1796)
132 Sonatas, pf, vn acc. (?1801)
—Waltz, pf (?1800)
—Divertimento, pf, vn acc. (?1811)

Possibly lost, advertised in op.13:
6 Divertimentos, hp, pf, op.8;
6 Duets, hp, pf, op.9;
Sonata with the Berlin Favourite;
Sonata with Prince Adolphus Fancy

Johann Hugo von Wilderer (Bavaria, c.1670 - Mannheim, bur. 7 de juny de 1724) va ser un compositor alemany i una de les figures musicals més importants de la Cort de Düsseldorf, Heidelberg i Mannheim. El 1692 va assolir el càrrec d'organista de la cort a l'església de St Andreas de Düsseldorf. És precisament allà, i en el contingut d'un document preparat per Giorgio Maria Rapparini el 1709 per títol Le portrait du vrai mérité dans la personne serenissime de Monseigneur L’Electeur Palatin, on es documenta la formació de Von Wilderer a Itàlia amb Giovanni Legrenzi si bé no existeix cap evidència de la seva presència a Venècia. El 1696 va assolir la condició de vice-Kapellmeister a la cort de Düsseldorf abans d'ascendir a la de Kapellmeister el 1703. Allà va escriure, a banda de música religiosa, una desena d'òperes. El 1716 va canviar d'ubicació a Heidelberg i posteriorment a Mannheim, on va seguir component i on va establir les llavors de la que seria, anys més tard, l'orquestra més famosa d'Europa. El 1723 va estrenar a Heidelberg la seva obra més coneguda, l'òpera sacra (oratori) Esther. L'any següent es va estrenar a Mannheim pocs mesos abans de la seva mort el juny de 1724.

OBRA:

Vocal secular:

Operas:
first performed in Düsseldorf unless otherwise stated
Giocasta (3, S.B. Pallavicino), 1696, A-Wn
Il giorno di salute, ovvero Demetrio in Athene (3, ?Demanstein), 1697, Wn
Quinto Fabio Massimo (3, G.M. Rapparini), 1697, only lib extant
La monarchia risoluta (1), ?1697, Wn
L’Armeno (3, Rapparini), ?1698, D-WD, E-Mn
La forza del giusto (3, Rapparini), 1700, only lib extant
La monarchia stabilita (3), 1703, A-Wn
Faustolo (pastorale, 5, ?Pallavicino), 1706, only lib extant
Amalasunta (?Pallavicino), 1713, only lib extant
Coronide (pastorale, 3), Heidelberg, 1722, lost

Vocal religiosa:

Esther (poema sacro drammatico, 2), Heidelberg, 1723, revived Mannheim, 1724, only lib extant
oratorios and cantatas
D’incontre avventurato, orat, 1v, chorus, orch, D-WD;
Eurilla, cant., S, bc, Bsb;
Il trionfo di placido, orat, Mannheim, 1722, only lib extant;
In occasione del felice passaggio, cant., 4vv, 1722, only lib extant;
Pupillette sdegnosette, cant., 1v, 2 vn, va, WD;
Vaghe labbra di Filli, cant., 1v, ob, insts, A-Wn

Other:
Modulationi sacre [10 motets], 2–4vv, vns (Amsterdam, c1700)
Ky, Gl, g, 4vv, str, bc, D-Bsb;
Custodi me Domine, motet, KA;
Laudate pueri Dominum, S, A, ob, bn, vns, va, bc, WD
Te Deum;

Johann Michael Haydn (Rohrau, 14 de setembre de 1737 - Salzburg, 10 d'agost de 1806) va ser un organista i compositor austríac, germà petit de Joseph Haydn. Va ser un compositor molt prolífic (més 800 obres) en diferents gèneres i especialment admirat per la seva música sacra. Va néixer a Rohrau, a la riba del riu Leitha, proper a geogràficament a la frontera entre Àustria i Hongria. Amb 8 anys va viatjar a Viena on va entrar a formar part del cor de la Catedral de Sant Esteve en un temps en què el mestre de capella era Georg Reutter. Amb 12 anys va compaginar els seus estudis corals i acadèmics amb la feina d'organista suplent de la catedral tot escrivint les primeres obres. El 1753, el canvi que va produir la seva veu, el va fer desistir del cor. Probablement, va entrar en contacte amb el seminari Jesuïta on va progressar ràpidament en el coneixement de la llengua llatina i amb la literatura clàssica. En aquell temps va continuar exercint d'organista amb Albrechtsberger. També va estudiar les obres de Johann Fux, el compositor més conegut a Viena aleshores. També va estudiar a Bach, Händel, Graun i Hasse. En aquells primers anys va compondre especialment música religiosa: Nombroses misses, lletanies, himnes, etc. Ràpidament, la seva fama va créixer i la seva obra es va exportar arreu d'Àustria i Moràvia entre els anys 1759-1763.

El 1757 va viatjar de Viena a Grosswardein (Oradea, Romania). Allà hi va romandre fins el 1765, any en què Dittersdorf el va succeir com a mestre de la Hofkapelle. La Missa SS Cyrilli et Methodii (1758) va ser una de les grans obres que va compondre a Grosswardein. En aquell temps Haydn ja havia escrit 15 simfonies, 14 misses, divertimentos, partites i alguns concerts així com nombrosa obra religiosa per a cor a quatre veus i orquestra. El 1762 va fer una visita fugaç a Viena on un programa de concert d'aleshores cita una "Composition du S.r Michel Hayde". L'Arquebisbe de Salzburg, Sigismund Christoph, i el seu nebot Vinzenz Joseph Schrattenbach, van sentir interès per aquell jove compositor i el van recomanar a la cort de Salzburg. Durant els anys 1750-1760 el seu nom era àmpliament conegut arreu d'Àustria fins i tot amb major intensitat que el seu propi germà Joseph Haydn. El 1762, la mort de Johann Ernst Eberlin, va propiciar la reorganització musical a Salzburg i va precipitar el nomenament de Michael Haydn com a Konzertmeister de Salzburg, el càrrec musical més important de l'Arquebisbat de Salzburg. Entre els col·legues d'Haydn cal destacar a Leopold Mozart, A.C. Adlgasser, G.F. Lolli i posteriorment a Wolfgang Amadeus Mozart.

El 14 d'agost de 1763 va assumir, oficialment, el seu nou càrrec que implicava les funcions d'organista, violinista, direcció del cor i composició a la Catedral de Salzburg. En aquell temps, a banda de la regular interpretació i direcció, va compondre obres teatrals dramàtiques sacres i seculars per a la Universitat Benedictina. Entre aquestes cal citar Die Schuldigkeit des ersten Gebots (1767), una obra teatral creada per Haydn amb la col·laboració d'Adlgasser i d'un Mozart de només 11 anys. El 17 d'agost de 1768 es va casar amb Maria Magdalena Lipp (1745-1827) i van anar a viure en un pis propietat de l'Abadia de Sant Pere, coordenada important en la vida d'Haydn. L'únic fill que Haydn va tenir, Aloysia Josepha, va morir abans de complir l'any d'edat. L'entronació, el març del 1772, del nou arquebisbe Hieronymus, Comte de Colloredo, va condicionar la nova vida musical de Salzburg. La limitació de les activitats musicals en el teatre universitari, tancat definitivament el 1778, van motivar grans canvis en la vida d'Haydn. No obstant, va conservar el càrrec de mestre de capella i va assolir un nou càrrec d'organista, el 1777, a la Dreifaltigkeitskirche, fruit de la sobtada mort d'Adlgasser. Una posició sol·licitada per Leopold Mozart pel seu fill Wolfgang. Aquesta circumstància adversa per la família Mozart va desencadenar el recel de Leopold vers Michael Haydn.

Aquell va ser un dels períodes més creatius de Michael Haydn amb obres com el famós Rèquiem Pro defuncto Archiepiscopo Sigismundo (1771), la Missa S Hieronymi (1777) i la Missa de S Aloysii (1777). El 1782 va assumir el càrrec d'organista de la cort. En motiu de la commemoració del 1200 aniversari de l'Arquebisbat, el comte Colloredo va publicar una carta pastoral que, entre moltes altres coses, era la primera d'una sèrie de proclames dirigides a simplificar els serveis de l'església. Com a resposta, Haydn va compondre, entre els anys 1783-1791, un centenar de parts de missa en un estil homòfon simple. En aquella dècada Haydn va escriure també 20 noves simfonies. Aquestes van arribar a mans de Mozart, en aquell temps a Viena, que les va estudiar en profunditat. També va compondre, el 1786, la descomunal Missa a due cori (Missa Hispanica) per la cort espanyola. Van ser temps de relativa calma per Haydn a Salzburg. A partir del 1790 Haydn es va convertir en professor de composició. Alguns dels seus alumnes van ser G.J. Schinn (mestre musical a la Hofkapelle de Munich on es va difondre la música de Michael Haydn durant gran part del segle XIX), Anton Diabelli (en posterioritat va publicar gran part del catàleg religiós d'Haydn), Segismundo Neukomm (va exportar al Brasil la música religiosa d'Haydn) i C.M. von Weber va estudiar contrapunt i harmonia amb ell (1797).

Al final de la seva vida, Haydn va fer dos viatges a Viena. El primer el 1798 i el segon motivat pel saqueig que els soldats francesos van fer a casa seva el 1801. Aquell mateix any va compondre la gran Missa Sancta Theresia en honor a la visita que va fer a l'emperadriu Maria Teresa. El 1801 va rebre l'encàrrec d'assumpció del lloc de mestre de capella del príncep Nicolau Esterházy, un càrrec que va acceptar a contracor. Va viure a Viena fins pocs mesos abans de la seva mort. Emulant a Mozart, va iniciar la composició d'un rèquiem (MH.838), encarregat per la pròpia emperadriu, que no va poder finalitzar. Abans de morir va decidir tornar a Salzburg, la ciutat que l'havia vist créixer i consolidar, on va traspassar el 10 d'agost de 1806. Franz Schubert, que no va coincidir amb ell, va expressar la profunda admiració per la seva música religiosa. ETA Hoffmann va admirar de tal forma a Michael Haydn que va deixar escrit que possiblement va ser el més delicat i brillant compositor d'església del segle XVIII. Werigand Rettensteiner (1751-1822) va descriure a Haydn, en la seva biografia, com "el gran, únic i inimitable mestre musical religiós".

OBRA:

Vocal religiosa:

Latin masses:
for S, A, T, B, SATB and orchestra unless otherwise stated

SS Trinitatis, st1/klI:1, S, S, A, T, B, SATB, orch, 1754;
d, st2, c1754–7, frag.;
d, st3/klI:31a, c1754–7, frag.;
a, st18, c1754–7, frag.;
S Michaelis, st12/kl1:27, c1754–7; BVM, st15, c1754–7, ed. C.H. Sherman (Stuttgart, 1994);
S Josephi, st16/klI:7, c1754–7;
S Gabrielis, st17/112/klI:5, c1754–7, rev. 1768, ed. O. Biba (Altötting, 1990);
S Francisci Seraphici, st43/119/klI:25, c1754–7, rev. by c1772; C, st42/klI:35, c1754–7;
SS Cyrilli et Methodii, st13/klI:2, 1758;
SS Crucis, st56/klI:16, SATB, org, 29 March 1762, ed. C.H. Sherman (Stuttgart, 1987)
Dolorum BVM, st57/552/klI:3, 3 April 1762, lost, listed in Lang (c1804), rev. 1794 as Quadragesimalis, ed. C.H. Sherman (Stuttgart, 1995);
S Raphaelis, st87/111/klI:6, by c1764, rev. 7 Nov 1768;
S Nicolai Tolentini, st109/154/klI:4, 4b), 17 Sept 1768, rev. 14 Dec 1771;
Pro defuncto Archiepiscopo Sigismundo, st155/klI:8, 31 Dec 1771, ed. C.H. Sherman (Stuttgart, 1991);
S Joannis Nepomuceni, st182/klI:9, SATB, org, May 1772;
S Amandi, st229/klI:10, 26 March 1776;
S Hieronymi, st254/klI:11, 14 Sept 1777, ed. C.H. Sherman (Vienna, 1970);
S Aloysii, st257/klI:12, S, S, A, SSA, orch, 21 Dec 1777, ed. W. Reinhard (Zürich, 1942)
S Ruperti, st322/klI:13, 11 Aug 1782, ed. K. Jäger (Adliswil, 1994);
S Dominici, st419/klI:14, 25 March 1786, ed. J.F. Doppelbauer (Altötting, 1988);
A due cori 'Hispanica', st422/klI:17, 4 Aug 1786, S, A, T, B, SATB, orch, ed. C.H. Sherman (Salzburg, 1966);
S Gotthardi, st530/klI:15, 19 Feb 1792;
Pro defunctis, c, st559, c1792–5, draft;
S Ursulae, st546/klI:18, 5 Aug 1793, ed. in RRMCE, xii (1980);
Pro quadragesima, st551/klI:20, SATB, org, 15 Feb 1794, ed. in DTÖ, xlv, Jg.xxii (1915/R) and by C.H. Sherman (Stuttgart, 1995);
Tempore quadragesimae, st553/klI:19, SATB, org, 31 March 1794, ed. in Denkmäler liturgischer Tonkunst, xvi (Augsburg, 1927) and by C.H. Sherman (Stuttgart, 1995)
Sotto il titulo di S Teresia, st796/797/klI:22, 3 Aug 1801, rev. shortly after 1801;
Subtitulo S Francisci Seraphici, st826/klI:23, 16 Aug 1803, ed. in DTÖ, xlv, Jg.xxii (1915/R);
S Leopoldi, st837/klI:24, S, S, A, SSA, orch, 22 Dec 1805, ed. W. Reinhart (Zürich, 1952);
Pro defunctis, B , st838/klI:26, 10 Aug 1806, inc.;
Reworking of Gl from F.J. Haydn’s Missa brevis Sancti Joannis de Deo, B , h XXII:7, 16 July 1795, ed. H.C.R. Landon (Munich, 1958)

Doubtful:
Over 60 masses, attrib. ‘Haydn’;
Over 60 others, each attrib. both to M. Haydn or only ‘Haydn’ and to another comp., incl.: klI:28, also attrib. G. Reutter (ii), klI:29, also attrib. L. Hofmann and Krottendorfer, klI:33, also attrib. Krottendorfer and Schneider, klI:34, also attrib. Schneider, klI:36, also attrib. Heimerich, klI:37, also attrib. Strasser, klI:38, also attrib. J. Haydn (h XXII:G1) and Diabelli

German masses:
A, st536/klVI:3, SATB, orch, by c1793;
B , st602/klVI:2, SSA, orch, 17 Aug 1795;
F, st611/klVI:4, SATB, orch, 11 Nov 1795;
E , st561/klVI:6b, F, st562/klVI:6a, both SSA, ?c1795;
C, st629/klVI:5, SATB, orch, 23 March 1796;
B , st642/klVI:1, SATB, org, lost, listed in Lang (c1804);
st560, doubtful

Mass proper movements:
for SATB and orchestra unless otherwise stated

Spiritus Domini, Veni Creator Spiritus, st45, A, orch, c1754–7;
In omnem terram, st46/klIII:41, S, A, orch, c1754–7;
Ecce Virgo, st121, S, orch, c1754–7, lost, listed in Göttweig catalogue (1830);
Humiliavit semetipsum, S, orch, c1754–7;
Civitatem, Festina lente, st47, S, SATB, orch, c1754–7, lost, listed in Göttweig catalogue (1830);
Vidi civitatem, Caelestis inter caetus, st48, S, SATB, orch, c1754–7;
Christus factus est, st38, 18 March 1761, ed. C.H. Sherman (Stuttgart, 1987);
Veni Sancte Spiritus, st39, 22 March 1761, ed. C.H. Sherman (Stuttgart, 1989);
Iste confessor, st40/klV:16, SATB, orch, 26 June 1761
Deus tuorum militum, st158, S, orch, c1764–71, frag.;
Jesu corona, st100, SATB, orch, c1764–71, ed. C.H. Sherman (Stuttgart, 1994);
Nos conservat, st122, S, A, T, B, SATB, orch, c1764–71;
O Maria Virgo spes, st165, S, orch, c1764–71;
Surrexit pastor, Plaudes plebs, st160, B, SATB, orch, c1764–71;
Tubae resonate, st124, S, SATB, orch, c1764–71;
Vexilla regis, st126, SATB, c1764–71;
Ave Maria, B , st72/klIII:21, S, SATB, orch, 1765, ed. C.H. Sherman (Stuttgart, 1991);
Urbs Jerusalem, st75, Invictus heros, st78, Jam faces lictor, st79, all 1766
Dedit mihi, st77, c1766;
Inveni David, st115, S, A, T, B, SATB, orch, Et bracchium meum, st116, both c1769, related to Completorium st114;
Tota pulchra es, st139, S, S, orch, c1770, related to orat st138;
Cantate Domino, e, st142/klIII:44, c1770, related to ?Ballo, st141;
Sicut cervus, st143/klIIb:48, S, A, T, B, SATB, orch, c1770;
Anima nostra, st146, S, S, S, A, SSSA, orch, 1771;
O Maria nostra spes, st149/klIII:33, S, A, T, B, SATB, orch, c1771, related to tragedy Hermann st148
Tres sunt, st183/klIIa:40, S, A, T, B, SATB, orch, 7 June 1772, ed. in KL;
Antiphonae ad stationes pro tribus diebus rogationun, st201/klV:10, SATB, org, c1773–5;
Egregie doctor Paule, st190, S, A, T, B, SATB, orch, c1774;
Lauda Sion, st215/klIIa:42, ?1775;
Quae est ista, st226, S, SATB, orch, by c1775;
In te mi Deus confido, st230, A, SATB, orch, 24 Sept 1776;
Alma Dei creatoris, st221/klIII:2, B, SATB, orch, 1776;
Inveni David, st224/klIII:38, B, SATB, orch, 1776;
Deus refugium, st222/klIII:32, B, SATB, orch, ?1776;
Dignare me, st223, S, A, SATB, orch, by c1776
Justorum animae, st225/klIII:37, B, SATB, orch, by c1776;
Laeta quies, st253/klIIb:17a, 11 March 1777;
Timete Dominum, st256, S, A, T, B, SATB, orch, 29 Oct 1777, ed. R. Pauly (New York, 1964);
Sub vestrum praesidium, st275/klIII:34, 15 March 1778;
Ad festum S Augustini, st280/klIIb:16, S, A, SATB, orch, 26 Aug 1778;
Diffusa est gratia, st281/klIII:18, S, S, orch, 16 Nov 1778;
Canta Jerusalem, st269/klIII:19, 1778;
Justorum animae, st286, B, SATB, orch, c1778–80, related to Spl Der englische Patriot st285
Eja corda exsultate, st290/klIII:39, S, S, SATB, orch, O caeli luminaria, st291/klIII:8, T, B, orch;
Qui nunc laeti, st292/klIII:35, S, A, orch, Unitis cordibus, st293, Tu digna amore, S, A, orch, all c1780, related to applausus st289;
Quicunque manducaverit, st259/klIII:9, by c1789;
Salvete flores, st307/klIV:2b, 3vv, orch, 29 Nov 1781;
Veni Creator Spiritus, st326/klIIa:39b, 26 Aug 1782;
Jesu redemptor omnium, st329/klV:25b, Sancti Dei omnes, st328/klV:25a, Surgite sancti, st327/klV:9f, all SATB, 27 Aug 1782, all ed. C.H. Sherman (Stuttgart, 1986)
Ex ore infantium, st331/klI:30, SSA, org, 26 Dec 1782;
In adoratione nostra, st324/klIII:6, S, A, A, T, B, SATB, orch, Cantate Domino, E , st325, S, A, A, T, B, SATB, orch, Clangite buccinis, Nec alacrior, S, A, orch, all c1782, related to orat st323;
Viderunt omnes, st341/klIIa:8, 6 Dec 1783, ed. O. Biba (Hilversum, 1971);
Alleluia! Laudate pueri, st342/klIIa:11, S, S, A, orch, 12 Dec 1783, ed. I. Sulyok (Kassel, 1978);
Sederunt principes, st343/klIIa:9, 17 Dec 1783;
Hic est discipulus, st344/klIIa:10, 21 Dec 1783;
Ecce sacerdos, st345/klIIb:42, 24 Dec 1783;
Alme Deus, st332/klIII:29, B, SATB, orch, by c1783
Omnes de Saba, st350/klIIa:13, 2 Jan 1784;
Salvos fac nos, st351/klIIb:2, 8 Jan 1784;
Gloriosus Deus, st352/klIIb:14, 12 Jan 1784;
Tu es vas electionis, st353/klIIb:10, 16 Jan 1784;
Nunc dimittis, st355/klIIb:1, 29 Jan 1784, ed. M. Eckhardt (Kassel, 1976);
Ab ortu solis, st356/klIIa:45, 5 Feb 1784;
Audi filia, st357/klIIb:31, 27 Feb 1784;
Domine praevenisti, st359/klIIb:46, 16 March 1784;
Dolorosa et lacrymabilis es, st360/klIIa:26, 24 March 1784;
Victimae paschali laudes, st361/klIIa:29, 5 April 1784, ed. O. Biba (Hilversum, 1970)
Alleluia! In die resurrectionis, st362/klIIa:30, 8 April 1784;
Alleluia! Confitebuntur, st363/klIIb:20, 16 April 1784;
Dicite in gentibus, st364/klIIb:22, 22 April 1784;
Alleluia! Ascendit Deus, st365/klIIa:37, 9 May 1784;
Veni sancte Spiritus, st366/klIIa:39, 13 May 1784, ed. H. Graf (Zürich, 1966);
Benedictus es Domine, st369/klIIa:41, 3 June 1784;
Exultabunt sancti, st370/klIIb:13, 6 June 1784;
Priusquam te formarem, st372/klIIb:8, 21 June 1784;
Constitues eos principes, st373/klIII:7, 24 June 1784;
Benedicta et venerabilis es, st374/klIIb:29, 28 June 1784;
Adjuvabit eam Deus, st375/klIIb:47, 7 July 1784
Dilexisti justitiam, st376/klIIb:23, 11 July 1784;
Speciosus forma, st377/klIIb:24, 24 July 1784;
Probasti Domine, st378/klIIb:39, 30 July 1784;
Felix es sacra, st379/klIIb:11, 11 Aug 1784;
Nimis honorati sunt, st380/klIII:16, 17 Aug 1784;
Benedicite Dominum, st381/klIIb:12, 24 Aug 1784;
Juravit Dominus, st382/klIIb:41, 4 Sept 1784;
Locus iste, st383/klIIb:25, 9 Sept 1784;
Timete Dominum, st385/klIII:14, 27 Oct 1784;
Dilectus meus, st386/klIIb:7, 12 Nov 1784;
Tollite portas, st387/klIIb:28, 19 Nov 1783;
Ave Maria, st388/klIIb:30, 26 Nov 1784, ed. C.H. Sherman (Stuttgart, 1990)
Justus ut palma, st389/klIIb:45, 29 Nov 1784;
Tecum principium, st390/klIIa:6, 5 Dec 1784;
Benedictus qui venit, st391/klIIa:7, 7 Dec 1784;
Effuderunt sanguinem, st392/klIIa:12, 11 Dec 1784;
Tu es Petrus, st397/klIIb:9, 12 Feb 1785;
Beatus vir,st398/klIIb:43, 19 Feb 1785;
Laeta quies, st400/klIIb:17b, 30 March 1785;
Oculi omnium, st401/klIII:43, 14 April 1785;
Alleluia! Confitemini Domini, st402/klIIa:38, 1 May 1785;
Domine, quis habitabit, st403/klIIb:3, 8 May 1785
Ecce Virgo concipiet, st408/klIIb:6, 24 Nov 1785;
Ne timeas Maria, st409/klIII:1, 29 Nov 1785;
Beatus vir, qui suffert tenta, st410/klIIa:44, 1 Dec 1785;
Miraculorum patrator, st426/klIIb:18, 18 Dec 1786;
Emicat meridies, st437/klIIb:4, 4 Jan 1787;
Universi, qui te exspectant, st442/klIIa:1, 26 Aug 1787, ed. in KL;
Ex Sion species, st443/klIIa:2, 7 July 1787, ed. in KL;
Qui sedes, Domine, st444/klIIa:3, 1 Sept 1787, ed. in KL;
Prope est Dominus, st445/klIIa:4, 5 Sept 1787, ed. in KL
Adjutor in opportunitatibus, st446/klIIa:18, 9 Sept 1787;
Sciant gentes, st447; klIIa:19, 14 Sept 1787;
Tu es Deus, st448/klIIa:20, 20 Sept 1787;
Angelis suis, st451/klIIa:21, 27 Oct 1787, ed. in KL;
Anima nostra, st452/klIII:13, 12 Nov 1787, ed. O. Biba (Hilversum, 1973);
Tribulationes cordis mei, st453/klIIa:22, 23 Nov 1787, ed. in KL;
Deus in adjutorium, st454/klIV:1, SSA, org, 29 Nov 1787;
Libera me, st431, c1787;
Exsurge Domine, st479/klIIa:23, 20 Feb 1788, ed. in KL;
Laetatus sum, st480/klIIa:24, 26 Feb 1788, ed. in KL;
Eripe me, st481/klIIa:25, 1 March 1788, ed. in KL
Alleluia! Cognoverunt, st482/klIIa:31, 8 March 1788;
Alleluia! Redemptionem misit, st483/klIIa:32, 14 March 1788;
Alleluia! Dextera Domini, st484/klIIa:33, 26 March 1788;
Alleluia! Surrexit Christus, st485/klIIa:34, 11 April 1788;
Alleluia! Regnavit Dominus, st486/klIIa:35, 23 April 1788;
Ad Dominum, dum tribularer, st487/klIIa:46, 29 April 1788;
Jacta cogitatum tuum, st488/klIIa:47, 7 May 1788;
Propitius esto Domine, st489/klIIa:48, 17 May 1788;
Convertere Domine, st490/klIIa:50, 29 May 1788;
Domine, Dominus noster, st491/klIIa:53, 7 June 1788
Benedicam Dominum, st492/klIIa:56, 19 June 1788;
De produndis, st494/klIIa:67, 20 Nov 1788;
Benedictus Dominus Deus Israel, st495/klIIa:14, 29 Nov 1788;
Misit Dominus verbum suum, st496/klIIa:15, 10 Dec 1788;
Timebunt gentes, st497/klIIa:16, 20 Dec 1788;
Dominus regnavit, st498/klIIa:17, 29 Dec 1788;
Protector noster,st501/klIIa:49, 12 Feb 1789;
Venite filii, st502/klIIa:51, 1 March 1789;
Esto mihi in Deum, st503/klIIa:52, 19 March 1789;
Custodi me Domine, st504/klIIa:54, 4 April 1789;
In Deo speravit cor meum, st505/klIIa:55, 23 April 1789
Respice Domine, st506/klIIa:57, 12 May 1789;
Bonum est confidere, st509/klIIa:58, 2 Aug 1789;
Bonum est confiteri Domino, st510/klIIa:59, 22 Aug 1789;
Beata gens, st511/klIIa:60, 3 Sept 1789;
Laetatus sum, st519/klIIa:61, 14 Sept 1790;
Dirigatur oratio mea, st520/klIIa:62, 23 Sept 1790;
Domine refugium, st521/klIIa:64, 14 Oct 1790;
Ecce quam bonum, st522/klIIa:65, 21 Oct 1790;
Liberasti nos, st523/klIIa:66, 28 Oct 1790;
Paratum cor meum, st524/klIIa:63, 20 Nov 1790;
In omnem terram, st525/klIII:17, 14 Dec 1790
Gloria et honore, st526/klIIb:38, 25 Dec 1790;
Caro mea vere, st513/klIIb:44, c1790;
Post partum Virgo, st528/klIIb:26, 25 Jan 1791;
Ad te, Domine, st531/klIII:3, B, SATB, orch, 29 Feb 1792;
Antiphonarium romanum, st533/klIV:8, 27 May 1792;
Exaltabo te, st547/klIII:25, S, SATB, orch, 9 Aug 1793;
Vos estis, st554/klIIb:37, 28 May 1794;
Perfice gressus meos, st557/klIII:27, S, orch, 27 Aug 1794;
Laudibus mons, st556/klIIb:19, 30 Aug 1794;
Iam sol recedit igneus, st595/klV:17, SATB, org, 29 May 1795
Christus factus est, klIIa:28, Dextera Domini, klIII:11, Non autem, a, all 7 March 1796;
Communion, B  klIII:12, 7 March 1796;
Virgo prudentissima, st635/klV:23, 5 Aug 1796;
Gaude Virgo, st638/klV:22b, 24 Nov 1796;
Es amator, st640, T, B, orch, c1795–7;
Germinavit radix Jesse, st651/klV:22a, 27 Jan 1797;
Ecce ancilla Domini, st653/klIIb:5, 23 Feb 1797;
Sub tuum praesidium st654/klIIb:33, 24 Feb 1797;
Dominus firmamentum, st655/klIII:27, 4 April 1797;
Hodie scietis, st656/klIIa:5, 12 May 1797;
Tenuisti manum, st695/klIIa:27, 4 April 1798, ed. in KL
Alleluia! Confitemini quoniam, st696/klIIa:36, 17 April 1798, ed. H. Graf (Zürich, n.d.);
Laudate populi, st792/klIII:4, S, A, T, B, SATB, orch, 7 Dec 1800, ed. O. Biba (Wiesbaden, 1971);
Debitam morti, B , st793/klIII:20, S, A, T, B, SATB, orch, 29 Jan 1801;
Petite et accipietis, st798/klIIb:35, 8 Aug 1801;
Magnus Dominus, st799/klIII:23, 11 Aug 1801;
Alleluia! Confitebuntur, st810, 4 April 1802;
Domine Deus salutis, st827/klIII:22, S, A, T, B, SATB, orch, 23 Aug 1803, ed. F. Jöde (Wolfenbüttel, 1925);
Cantate Domino, A, st828/klIIb:36, 30 Aug 1803

Inc.:
stAppx., 2/klIII:36, klIIa:43, klIIb:27, 32, 40, klIII:40 and 42
Doubtful:
st96, st97, st101, st113,st131, st161, st248, klIII:15, st260, klIII:31, st261, st346, st348, st456, st670, klIIb:49, st688

Other latin sacred:
for S, A, T, B, SATB and orchestra unless otherwise stated

Alma Redemptoris mater: E , st270/klV:19b, B, orch, ?c1778; D, st637/klV:19a, SATB, orch, 16 Nov 1796; st92, 113, 163, 164, all doubtful
Ave regina: a, st140/klV:14a, 23 March 1770, ed. C.H. Sherman (Stuttgart, 1987); G, st650/klV:14b, SATB, orch, 21 Jan 1797; st14, 127, 227, 457, all doubtful
Asperges me: B , st98, SATB, org, c1764–72, ed. C.H. Sherman (Stuttgart, 1995); F, st572/klV:7a, F, st573/klV:7b, both SATB, org, ?1795
Completorium: C, st815/klIV:7a, 23 July 1802, ed. M.P. Eckhardt (Zürich, 1979); A, st114/klIV:7b, c1769, ? rev. as/of doubtful Vespers st58/klIV:4

Lits:
De venerabili sacramento, d, st66/klIV:14, 8 April 1764;
BVM, C, st120/klIV:17b, by c1764;
Lauretanae, C, st71/klIV:11, S, SATB, orch, by c1764;
Lauretanae, B , st74/88/klIV:9, S, S, S, A, SSSA, orch, 6 Dec 1765, rev. 1768;
De SS nominis Jesu, st110/klIV:10, 10 Dec 1768; BVM, C, st157/klIV:16, ?c1770–72;
Lauretanae, C, st212, by c1775;
De venerabili sacramento, st228/klIV:13, 26 March 1776; BVM, F, st282, c1779;
Della Madonna, st330/klIV:12, S, S, A, SSA, orch, 24 Dec 1782;
De venerabili sacramento, B , st532/klIV:15, 25 March 1792; BVM, A, st258, S, S, A, org;
st89, 156, both doubtful

Psalms:
Momento Domine David, st200/klIV:2a, 8 Dec 1774, S, S, orch;
A, C, E , st304/klIV:1, SSA, orch, 20 Nov 1781;
D, D, B , G, st809/klIV:3, 27 Jan 1802; st102, doubtful

Regina caeli:
C, st22, SATB, orch, by c1764, frag.;
E , st93/klV:15d, S, B, orch, by c1764;
C, st80/klV:15a, 15 May 1766;
B , st191, S, S, SSATB, orch, by c1774;
st94, 263, 264, all doubtful

Responsoria:
In festo SS corporis Christi, st213/klV:11, SATB, org, ?c1775;
In coena Domini, st276/klV:9a, In parasceve, st277/klV:9b, In sabbato sancto, st278/klV:9c, all SATB, org, 4 April 1778;
In festo resurrectionis Domini, st669/klV:9d, SATB, orch, c1795–8;
Ad matutinum in nativitate Domini, st639/klV:9e, SATB, orch, 9 Dec 1796

Salve regina:
C, st29/klV:13b1, SATB, orch, 11 Aug 1760;
D, st30/klV:13b2, S, SATB, orch, 12 Aug 1760;
b, st32/klV:13b4, SATB, orch, 16 Aug 1760;
B , st31/klV:13b3, SATB, orch, 17 Aug 1760;
D, st33/klV:13b5, B, SATB, orch, 11 Sept 1760;
C, st34/klV:13b6, SATB, orch, 13 Sept 1760;
B , st90, B, SATB, orch, by c1764;
B , st283/klV:13[a]a, ?c1779;
A, st634/klV:13[a]d, SATB, orch, 1 Aug 1796, ed. T.C. Pumberger (Stuttgart, 1994);
st19, 20, 21, 91, 129, 231, 347, all doubtful

Stella caeli:
F, st306/klV:18[2]a, SSA, org, 27 Nov 1781;
F, st394/klV:18, SATB, orch, c1783–4;
F, st830/klV:18b, SATB, org, 28 Sept 1803

Tantum ergo:
d, st130/klV:12d, SATB, org, ?c1768–70;
C, st249, S, A, SATB, orch, by c1777;
C, st404/klV:12e, SATB, orch, 10 May 1785;
C, st460/klV:12i, SATB, orch, ?c1786–8;
C, st772/klV:12a, SATB, orch, 20 March 1799;
e, st773/klV:12b, SATB, orch, 25 March 1799;
st265, 396, both doubtful

TeDeum:
C, st28/klV:1, SATB, orch, 1 April 1760;
C, st145/klV:2, 9 Dec 1770, ed. R. Pauly (New Haven, CT, 1961);
C, st415/klV:6, 30 Jan 1786, ed. H. Graf (Zürich, n.d.);
D, st800/klV:4, 21 Aug 1801, ed. L. Dité (Vienna, 1946);
D. st829/klV:5, 20 Sept 1803, ed. C.H. Sherman (Stuttgart, 1990)

Tenebrae:
a, st125, SATB, org, ?c1768–70;
E , st162/klV:8c, SATB, orch, by c1780, ed. T.D. Thomas (New York, 1962);
B , st305/klV:8a, SSA, org, 24 Nov 1781;
a, st824/klV:8b, SATB, orch, 25 June 1803

Vespers:
F, st294/klIV:1a, SSA, 3vv, orch, 22 Dec 1780;
De Dominica, st321/klIV:6, 22 July 1782, ed. T.C. Pumberger (Stuttgart, 1994);
Pro festo SS Innocentium, st548/klIV:5, S, S, A, SSA, 8 Dec 1793, ed. H. Graf (Zürich, 1971);
st58, 214, both doubtful

Other works:
Ave maris stella, G, st49, SATB, orch, by c1764;
Vidi aquam, e, st99, SATB, org, c1764–72, ed. C.H. Sherman (Stuttgart, 1995);
Pange lingua, C, st395/klV:12c, ?c1783–5

Other german sacred works:
for S, A, T, B, SATB and orchestra unless otherwise stated

O glorreiche Himmelssonne, st168, S, orch, ?c1770–72;
Grosse Frau, wir rufen Dich, st169, S, orch, ?c1770–72;
Erhebet euch ihr Augenlider, st167, S, S, orch, ?c1770–72;
Dank dem Geber, Dank!, st178, S, S, S, B, SATB, ?c1770–72;
Kommt her, ihr Menschen, st180, S, orch, 13 Jan 1772;
Leget alle Trauer nieder, st203, S, S, orch, ?c1773–5;
Sehet den Reichtum, st194, SATB, orch, c1774;
Mutter der Gnaden, st195, S, A, orch, c1774, related to st84;
Ein träger Berg, st196, S, A, orch, c1774;
Deutsche Lauda Sion, SATB, orch, c1775, related to st215
Gibt acht ihr Hirten, SATB, orch, c1775, ed. A. Kircher (Vienna, 1995);
Lauft ihr Hirten allzugleich,st217, S, SATB, orch, c1775, ed. R. Ewerhart (Laaber, 1985);
Stimmet ihr Männer, SATB, orch, So wie der Hirsch läuft, both ?c1775, related to Cantate Domino st142/klIII:44;
Auf! Ihr Christen, st267/klVI:20, SATB, orch, c1775–8;
Gerechter Herr, st219, B, orch, ?c1776;
Aria funebris, st303, c 14 Nov 1781;
Dich grüssen wir, st301/300, S, SATB, orch, c1781, related to st300;
Bei Jubel und wünchenden Tönen,st295, A, T, B, SATB, orch, ?c1781;
Erhebet euch, Christen, st368/klVI:9, SATB, orch, 29 May 1784
Weint auch ihr, st371, S, S, orch, 17 June 1784;
Heiligste Nacht, st427/429/klVI:28a, SA, orch, 20 Dec 1786, ed. O. Biba (Altötting, 1974);
Heiligste Nacht, st428/430/klVI:28b, SA, orch, 20 Dec 1786, ed. O. Biba (Altötting, 1974);
Deutsches Dixit et Magnificat, st517/klVI:23d, b, S, S, SS, orch, 24 Aug 1790;
Ewiges Wesen, st542, S, A, orch, ? 28 Feb 1793, related to st107;
Am Kirchenweifest, st543, SATB, orch, 25 June 1793;
Wir betten an, SSB, c1793, related to st73 and 539;
Mutter des Lebens, st555/klVI:21, S/T, orch, 25 July 1794
Deutsches Miserere, F,st592/811/klVI:18, S, S, SS, org, 25 March 1795, rev. 12 April 1802;
Deutsches Tenebrae, E , st610, SATB, org, ? 11 Nov 1795, lost, listed in catalogue of St Peter’s abbey (1822), related to st162;
Wenn ich, o Schöpfer, st567, S, S, orch, ?c1795;
Aus Davids Psalmen und biblischen Gesänge, st575, SATB, org, ?c1795;
Zu Dir ruft, st576, SS, orch, ?c1795;
Deutsches Magnificat, F, st673/klVI:23, S, S, SS, orch, ?c1795–8, related to orat st323;
Segenlied, B , st680, SSB, org, c1795–8, related to Ger. Mass st602
Auf die Auferstehung, st684, SSA, orch, ?c1795–8;
Deutsche Fastenvesper, G, st674, SS, org, ?c1795–8;
Deutscher Segenlied, C, st678, SSB, orch, ?c1795–8;
Deutscher Segenlied, C, st679, SSB, orch, ?c1795–8;
Deutsches Alma Redemptoris mater, G, st676, SSB, orch, ?c1795–8;
Deutsches Ave maris stella, G, st677, S, S, orch, ?c1795–8;
Deutsches Salve regina, B , st675, SSB, orch, ?c1795–8;
Deutsches Te Deum, C, st672, SAB, orch, ?c1795–8;
Gekrönte Himmelskönigin, st687, SSB, orch, ?c1795–8;
Komm, heiliger Geist, st685, SSB, orch, ?c1795–8
Lobegesang de venerabili sacramento, C, st681/klVI:8a, S, S, SS, orch, ?1795–8;
Stern auf diesem Lebensmeere, st686, SSB, orch, ?c1795–8;
Wer nur den lieben Gott, st682/klVI:26, S, S, orch, ?c1795–8;
Wie lieblich ist doch, Herr, st683, SS, org, ?c1795–8;
Dankesempfindung, st630, SATB, org, 23 March 1796;
Grabet mit fleissigen Händen, st636/klVI:22, TTBB, orch, 30 Oct 1796;
Segenlied, D, st643/klVI:24d, SSSB, orch, 1797;
Deutsches Regina caeli, F, st694/klVI:25, S, S, SS, orch, 30 March 1798;
Deutsches Te Deum, C, st836/klVI:19, SATB, orch, 5 June 1805

Doubtful:
st131, 166, 170, 514, 680

Oratorios:
Oratorium de Passione Domini nostri Jesu Christi, st202, ?c1773–5
Figura: Canticum in tono peregrino (orat), st323, 24 Aug 1782

Vocal secular:

Dramatic:
Rebekka als Braut (Spl, after P.F. Reichssiegel: Eliezer), st76, 10 April 1766, intrada ed. in DM, no.144 (1968)
Der Traum (pantomime, 2, sequel to Reichssiegel: Pietas in hostem), st84, 7 Feb 1767
Die Schuldigkeit des ersten Gebots, pt ii (sacred drama, I.A. Weiser), st85, before 12 March 1767, lost, pt i by W.A. Mozart, pt iii by A.C. Adlgasser
Der Kampf der Busse und Bekehrung, pt ii (orat), st106, 21 Feb 1768
Die Hochzeit auf der Alm (dramatisches Schäfergedicht, 2, sequel to Reichssiegel: Pietas conjugalis in Sigismundo et Maria), st107/218, 6 May 1768, rev. c1776
Kaiser Constantin I. Feldzug und Sieg, pt iii (orat), st117, 20 Feb 1769, pt i by Adlgasser, pt ii by J.G. Scheicher
Die Wahrheit der Natur (Spl, sequel to Reichssiegel: Pietas in impium),st118, 7 July 1769
Der reumütige Petrus (orat, Reichssiegel), st138, 11 March 1770, part of Drey Beispiele wahrhafter Busse, incl. Adlgasser: Die gereinigte Magdalena, and J. Krinner: Der veränderte Joseph von Arimathia
? Ballo, st141, 15/16 July 1770
Der büssende Sünder (orat), st147, 15 Feb 1771, Introduzione ed. in DM, no.145 (1968);
pt ii of Die menschliche Wanderschaft (Schachtner), incl. Adlgasser: Der laue Christ (pt i), and Krinner: Der sterbende Fromme (pt iii)
Hermann, ein Beyspiel der Liebe zum Vaterlande (tragedy, trans. of Reichssiegel: Pietas in patriam), st148, 1773
Der Schulmeister (Spl, F. Angerer), st204, ?c1773–5
Titus, der standhafte Christ (tragedy, trans. of Reichssiegel: Pietas christiana), before 31 Aug 1774, music lost
Der Bassgeiger zu Wörgl (Spl), st205, c1775–7
Zaïre (incid music, Voltaire), st255/p13, 29 Sept 1777, ed. in DM, no.577 (1981)
Abels Tod (Spl, F.G. Klopstock, after J.S. Patzke), st271, c1778
Der englische Patriot (Spl), st285, c1779
Andromeda e Perseo (os, G.B. Varesco), st438, 14 March 1787, sinfonia (p25) ed. in DM, no.185 (1968)
Die Ährenleserin (Spl, C.F. Weisse), st493, 2 July 1788

Other vocal works with instruments:
for 4 solo voices, SATB and orchestra unless otherwise stated

Attale et Erimene (cant.), st11, A, T, B, SATB, orch, c1754–7, frag.;
Ah ingrato m’inganni nel darmi speranza (aria), st70, 16 Dec 1764, lost, listed in Lang (c1804);
Ninfe in belli (cant.), st73, S, T, SATB, orch, 15 Jan 1765;
Quid video superiale (applausus), st144, T, B, SATB, orch, 14 Nov 1770, sinfonia ed. in DM, no.138 (1968);
Der gute Hirt (cant.), st181, 3 S, SATB, orch, 4 April 1772;
Endimione (serenata),st186, 4 S, SATB, orch, c1773;
Ein träger Berg (lied), st196, S, A, orch, 1774;
An somnio? Anne vigilio? (applicatio), st279, 7 June 1778;
Amor subditorum (applausus), st289, 19 July 1780;
Lied der Recruten, st296, T, B, TB, orch, c1781;
Liedchen für den Feldwebel, st297, T, orch, ?c1781
Morgenlied der Bauern, st298, A, B, orch, ?c1781;
Auch die sprödeste der Schönen (lied), st462, S, S, kbd, before 1784, also attrib. J. Haydn (h XXVIa:18) (Vienna, 1784, attrib. J. Haydn);
Die Jubelfeyer, st449, 30 Sept 1787;
Schäffer-Kantate, st455, 28 Dec 1787;
Der deutsche Kaiser Joseph lebe gesund, st512, SATB, orch, 19 Oct 1798;
Der fröhliche Wiederschein (applausus), st527, SATB, orch, 1791;
Hochzeitslied, st607, S, S, STB, orch, 7 Sept 1795, also in applicatio st279;
Patritius, Gelegenheits-Cantate, st668, S, B, SATB, orch, 26 Sept 1797;
Frohlocke Helfenburg hoch! An Ferdinand Churfürst zu Salzburg, st821, 1 March 1803, lost, listed in Rettensteiner (1814);
Der Christ auf Golgotha,st831/klVI:15, 15 March 1804

Partsongs for male voices:
most for 4 solo male voices; many also in versions for solo voice and keyboard

Feuer zu werden, st450, ? c30 Sept 1787, related to Die Jubelfeyer st449;
Mit frommen Eifer,st539/538, ?c1793, related to cant. st73;
Was ists dass ich mich quäle? st540/541, ?c1793;
Commercelied,st558/822, 1 Sept 1794, rev. 21 April 1803;
Hymne an Gott, st588, 7 Jan 1795;
Trinklied im Winter, st590, 31 Jan 1795;
Verwandlungen,st591, 5 Feb 1795;
Ständchen, st593/594, ? c18 April 1795;
Einweihung, st597/606, 23 July 1795;
Auf den Tod des Herrn Schachtners, st598, 24 July 1795;
An Ignatia, st599/566, 28 July 1795;
An unsern Garten, st604/605, 2 Sept 1795;
Lied der Freiheit, st608/609, 6 Nov 1795;
Das Liedchen von der Ruh,st579/587, Glückwunsch, st578, Tischlied, st585/626, all 1795;
Die Unschuld, st580, Der frühe Bund, st, both ?1795;
Die alten und heutigen Sitten, st564/563, c1795
Abendempfindung, st728, An die Sonne, st730, Der Arme, st731/732, Die Biene, st733, Der Bund, st734, Dankt dem Herrn, st735, Eintracht, st737, Freundschaft! Wie heilig, st74, Grabe, Spaden!, st743, Herbstlied, st744, Jugendglück, st748, Das Kammerfenster, st749 (formerly attrib. W.A. Mozart, k441c/C9.04, as Liebes Mädchen), Lebensweisheit, st752, Ein Lied von der Behutsamkeit, st753, Ein Lied von der Geduld, st755, Ein Lied zur Prüfung, st754, Meine Grille, st756, Der Morgen im Lenz, st758, Pein der Liebe, st761, Die Rose, st762, Scherzend unter Necktar-Küssen, st764, Der Tanzbär, st767, Der Wechsel, st770, all ?c1795–9
Das Gebet, st627, 12 Feb 1796;
Sagt, wo sind die Veichen hin, st632/631, 23 July 1796;
An Decini, st613, Ehrenlied, st624, Freundschaftslied,st615/616, Frühlingslied, st620/621, Meiner Freunde Gesinnungen, st614, Trinklied, st622/623, Schon grünen die Hecker, st633, all 1796; Sehnsucht nach Liebe, st648, Türkisches Kriegslied, st649/664, both 3 Jan 1797;
Monsieur Hans, st657/658, 7 June 1797;
Lied im Grünen, st659/660, 24 June 1797;
Trinklied, st661/662, 11 July 1797;
Friedenslied, st644/647, Rundgesang für eine Gesellschaft Studierender, st645, both 1797;
Rundgesang, st646, ?1797
Der Obersulzer Wein, st697, 16 June 1798;
Die Schweitzer, st692, 1798;
Der Invalid an seinen Fleischtopf, st774, An alle Deutsche, st775, both 10 June 1799;
Zu ihr! zu ihr! st776, 11 June 1799;
Ständchen,st777–9, 23 June 1799;
Bierlied, st780, 7 July 1799;
Von ihr!, st781, 26 Oct 1799;
Das Landleben, st782, 24 Nov 1799;
Abendlied, st784, 20 Jan 1800;
Der Sänger, st785/786, 11 April 1800;
Rundgesang beim Abschied eines Biedermannes, st787, 5 June 1800;
Josephe, st788/789, 25 June 1800;
Trinklied im Freien,st790, 8 Sept 1800;
Die Seligkeit der Liebe, st783, 1800
Nach dem Abzuge der Franzosen, st795/647, 1 March 1801;
Freut euch des Lebens, st816, 28 Oct 1802;
Auf den Tod eines Hündchens, st812/813, 18 April 1802;
Der couragierte Schneidergesell, st807, Sauf, Du alter Gassenschlängel,st808, both ?1802;
Der Invalid an sein Holzbein, st817, 4 Jan 1803;
Der verlassene Mutter am Strome,st818/819, 8 Jan 1803;
An den Hain zu Aigen, st832, 16 April 1804, ed. H. Graf (Zürich, 1959), V. Korda (Vienna, 1961);
Sehnsucht nach dem Landleben, st833, 25 Nov 1804;
An den Herrn von Moll, st834/835, 4 Feb 1805;
arrs. of folksongs and works by others

Doubtful:
st537, 565, 727, 736, 738, 739, 741, 742, 745, 746, 747, 750, 751, 757, 759, 760, 763, 765, 766, 768, 769, Appx, 6

Canons:
for 4 unaccompanied voices unless otherwise stated

Mailied, st589, 31 Jan 1795;
Es packe Dich, st577, 5vv, c1795, formerly attrib. W.A. Mozart (kAnh.10.14);
Einladung in unsern Garten/Vom Glück sei alles, st581/619, c1795, rev. c1796;
Glück fehl Dir/Frater Caspar Decini!st582/583, ?c1795;
Wohlsein, Freunde/Frater Fulgens,st584, 5vv, ?c1795;
Adam hat sieben Söhn’, st699, ?c1795–9;
Allegremente tutti, st232, 3vv, ?c1795–9;
Der arme Sünder, st700, ?c1795–9, formerly attrib. Mozart (kAnh.C10.13);
Canoni voi volite, 3vv, st234, ?c1795–9;
Che viver vuoi contento, st235, Cominicio solo, st236, both 3vv, ?c1795–9;
Ehr’ sei dem Vater, 5vv, st704, ?c1795–9;
Ich und Du, st708, Die Mässigkeit, st709, both ?c1795–9;
Mein Dämä, mein Fingä, mein Ellebog’n, st710, ?c1795–9
Perchè vezzosi rai, st242, Per ti, mio ben, st243, Questi son canoni, st244, Se tu mi vuoi, st246, all 3vv, ?c1795–9;
Sintemal und all’ die Weilen, st641, ?c1795–9;
Tausch an, mein lieba Schiffmann, st718, 5vv, ?c1795–9;
Tre dolci e cari nomi, st247, 3vv, ?c1795–9;
Vinum latificat cor hominis, st721, ?c1795–9;
Vorgetan und nachgedacht, st722, Wer nicht liebt Wien, st725, both 5vv, ?c1795–9;
Wer reines Herzens ist, st726, ?c1795–9;
Es lebe Taddeo, st617, Die Gans bebrüht das Gänschen, st612, Herzige Nani!st618, all 1796;
Ecce quam bonum, st698a/814, 8vv, 16 Oct 1798, orig. lost, rev. 1 July 1802;
Elle avoit une beauté, st803/804, ?c1801–2, 2 versions;
Le vin blanc, st805, ?c1802–2

Doubtful:
st206, 233, 237, 238, 239, 240, 241, 245, 701, 702, 703, 705, 706, 707, 711, 712, 713, 714, 715, 716, 717, 719, 720, 723, 724, 804

Instrumental:

Symphonies
for 2 oboes, 2 horns, 2 bassoons and strings unless otherwise stated

C, st23/p35, 2 ob, 2 hn, 2 tpt, timp, str, c1757–64, ed. C.H. Sherman (Vienna, 1975);
G, st25, 2 ob, 2 hn, str, c1757–64, ed. C.H. Sherman (Vienna, 1975);
G, st26, 2 ob, 2 hn, str, c1757–64, ed. in DM, no.564 (1981);
D, st50/p36, 2 ob, 2 hn, str, c1757–64;
F, st51/p45, c1757–64;
G, st108/p7, 2 fl, 2 ob, 2 hn, str, c1757–64, related to Spl Die Hochzeit auf der Alm st107/218;
D, st132/p37, fl, 2 ob, 2 hn, 2 tpt, timp, 2 solo vn, str, c1757–64;
B ,st133/p52, 2 ob, 2 hn, str, c1757–64, 2nd movt = Andantino st175/p136, 4th movt uncatalogued;
E , ‘Partitta 5ta’, st35/p1, 2 ob, 2 hn, str, 20 Nov 1760
C, st37/p2, 2 ob, 2 hn, 2 tpt, str, 16 Feb 1761;
B , ‘La confidenza’, st62/p51, 7 Dec 1763, ed. in DM, no.353 (1976) and S;
A, st63/p3, 2 ob, 2 hn, str, 29 Dec 1763, ed. in DM, no.345 (1989);
C, st64/p4, 2 ob, 2 hn, str, 14 Jan 1764, ed. in DM, no.346 (1977);
E, st65/p5, fl, 2 ob, 2 hn, str, 25 Jan 1764, ed. in DM, no.347 (1989);
D, st69/p38, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, c1764–72;
B , st82/p9, 2 ob, 2 hn, str, 27 Sept 1766, with 2 different finales, one later rev. J. Haydn in h I:59, the other paired by M. Haydn with movt st184, 15 June 1772
D, 2 ob, 2 hn, str, c 10 Aug 1767, related to Serenata, orch,st86;
F, p46, 2 ob, 2 hn, str, c 7 July 1769, related to Spl Die Wahrheit der Natur, st118;
G, st173a, ?winds, str, ?c1770–72, ? arr. of otherwise unknown sym.;
D, st150/p41+84, 2 fl, 2 ob, 2 hn, str, c 1 Aug 1771, ed. in DM, no.365 (1986), partially based on music for tragedy Hermann st148;
E, st151/p44, 2 fl, 2 ob, 2 hn, 2 hn, str, c 1 Aug 1771, ed. in S, partially based on music for tragedy Hermann st148;
A, st152/p6, 2 ob, 2 hn, str, c 1 Aug 1771, based on music for tragedy Hermann st148 and ?Ballo st141, ed. in DM, no.974 (1990)
C, st188/p10, 2 ob, 2 eng hn, 2 piffari, 3 hn, tam, str, 23 Aug 1773, ed. in DM, no.314 (1969);
D, st198/p11, fl, 2 ob, 2 hn, str, 17 April 1774, ed. in DM, no.317 (1973);
C, st252/p12, 2 ob, 2 hn, str, 2 March 1777, ed. in S;
D, st272/p42, 2 ob, 2 hn, str, before 1772, ed. in DM, no.20 (1962);
F, st284/p14, 22 Aug 1779, ed. in DM, no.348 (1996);
D, st287/p43, before 1781, ed. in S, formerly attrib. W.A. Mozart (k291/Anh.A52);
A, st302/p15, 2 fl, 2 ob, post hn, 2 hn, str, 19 July 1781;
G, st334/p16, fl, 2 ob, 2 bn, 2 hn, str, 23 May 1783, ed. in DM, no.341 (1971), formerly attrib. Mozart (k444/Anh.A53)
E , st340/p17, 14 Aug 1783, ed. in DM, no.342 (1972) and P;
B , st358/p18, 12 March 1784 (Vienna, 1785), ed. in DM, no.350 (1987);
C, st384/p19, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 28 Sept 1784 (Vienna, 1785), ed. in DM, no.351 (1988);
d, st393/p20, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 30 Dec 1784 (Vienna, 1785), ed. J. Vécsey (Budapest, 1960);
D, st399/p21, 10 March 1785, ed. in P;
F, st405/p22, 2 ob, eng hn, 2 bn, 2 hn, vn solo, str, 30 May 1785, ed. in DM, no.343 (1981);
D, st420/p23, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 30 May 1786, ed. in DM, no.318 (1972);
B , st425/p24, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 28 Sept 1786, ed. H. Graf (Zürich, 1965)
E , st473/p26, 2 Jan 1788, ed. in DM, no.319 (1970);
G, st474/p27, 2 ob, 2 bn, 2 hn, str, 13 Jan 1788, ed. in DM, no.320 (1969);
B , st475/p28, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 22 Jan 1788, ed. in DM, no.321 (1969);
D, st476/p29, fl, 2 ob, 2 bn, 2 hn, str, 30 Jan 1788, ed. in DM, no.322 (1969);
F, st477/p30, 10 Feb 1788, ed. in DM, no.352 (1988);
C, st478/p31, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 19 Feb 1788, ed. in DM, no.143 (1966) and P;
F, st507/p32, 15 July 1789, ed. in DM, no.356 (1991) and S;
A, st508/p33, 26 July 1789, ed. in DM, no.184 (1968)

Inc.:
st133;
st251;
p8, ed. in DM, no.183 (1968);
p25;
p47

Doubtful:
st24, stAppx, 7, and h I:C19, d3, F16, G4 and B16, attrib. M. Haydn or only ‘Haydn’;
over 25 others, each attrib. both to M. Haydn or only ‘Haydn’ and to another comp., attrib. incl. p39 (? by J.B. Vanhal), p40 and 48 (? by F.X. Pokorny),p50 (? by G.C. Wagenseil)

Other orchestral:
Serenades (Finalmusik):
st60/61/p34, solo trbn, solo tpt, orch, ? Aug 1763, frag., probably orig. 2 trbn conc. movts, tpt conc. movts and an existing sym., movts ed. in DM, nos.344, 373 (1974);
D, st68/p38/58, solo tpt, solo trbn, 2 fl, 2 ob, 2 hn, 2 bn, 2 tpt, str, 4 Aug 1764, ed. L. Kalmár (Budapest, 1965);
B , st133/104/p52, solo tpt, 2 fl, 2 ob, 2 hn, str, c1764–72;
Serenata, D, st86/p87, solo fl, hn, trbn, vn and vc, 2 ob, 2 bn, 2 hn, 2 tpt, str, 10 Aug 1767, ed. W. Rainer (Bad Reichenhall, 1987), incl. movts from Sym., D, Aug 1767;
Casatio, D,st171/p89, 2 ob, 2 hn, 2 tpt, [timp,] str, c1771–85;
Serenata, D, st407/p85, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, str, 9 Sept 1785, ed. G. Darvas (Budapest, 1966);
p86 and 87, spurious, by F.X. Pokorny

Marches:
D, st211, 2 ob, 2 tpt, str, c1771–85;
D, st220/p68, 2 ob, 2 hn, 4 tpt, timp, str, ?1776;
D, st339/p63, 2 ob, 2 hn, 2 tpt, str, 3 Aug 1783;
D, st439/p60, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, str, 28 May 1787;
C, st440/p61, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, str, 17 June 1787;
D, st441/p62, 2 fl, 2 ob, 2 bn, 2 hn, 2 tpt, str, 7 July 1787, ed. in DM, no.557 (1971);
D,st432, 2 ob, bn, 2 hn, str, ?c1787;
D, st515/p64, 2 ob, 2 hn, str, 12 June 1790, ed. in DM, no.557 (1971);
Marcia tuchesca, C, st601/p65, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, tambourine, 6 Aug 1795, ed. in P;
National-Marsch, C, st569/p67, ?c1795, lost kbd arr. in Sammlung historische Märsche (Vienna, 1897);
C, st823/p66, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, timp, str, 22 April 1803;
st67/p56, st320, st421/p59, all inc.

Minuets:
[7] Menuetti, st210, vn, b, c1764–72;
[6] Menuetti, fl, 2 ob, 2 hn, 2 vn, b, c1764–72, formerly attrib. W.A. Mozart (k104/61e);
[12] Menuetti, st135/p79, fl, 2 ob, piffaro, bn, 2 hn, 2 tpt, timp, 2 vn, b, before c1771, nos.1 and 3 = nos.1 and 2 of the preceding;
[6] Menuetti, piffaro, post hn, 2 ob, 2 hn, 2 tpt, timp, tambourine, 2 vn, b, before c1771;
[6] Menuetti, 2 ob, 2 hn, 2 vn, b, before c1771, formerly attrib. Mozart (kAnh.C13.03);
[6] Menuetti, fl, 2 hn, 2 vn, b, before c1771;
[12] Menuetti, st136, fl, 2 ob, bn, 2 hn, 2 vn, b, before c1771;
[12] Menuetti, st197, 2 fl, 2 ob, 2 cl, bn, 2 hn, 2 vn, b, 1774
[12] Menuetti, st193/p81, fl, 2 ob, 2 bn, 2 hn, 2 vn, b, 1775;
[6] Menuetti, st137, fl, 2 ob, bn, 2 hn, 2 vn, b, 1776;
[12] Menuetti, st250, fl, 2 ob, bn, 2 hn, 2 vn, b, 1777;
[12] Menuetti, st274/p80, 2 ob, bn, 2 hn, 2 vn, b, 1778;
[6] Menuetti, st333/p69, fl, 2 ob, 2 bn, 2 hn, 2 vn, b, 1783;
[6] Menuetti, st354/p70, fl, 2 ob, bn, 2 hn, 2 vn, b, 1784, ed. in DM, no.806 (1987);
[6] Menuetti, st413, 2 ob, bn, 2 hn, 2 vn, b, 1785; [6] Menuetti, st414/p71, fl, 2 ob, cl, 2 bn, 2 hn, post hn, 2 vn, b, 19 Jan 1786;
[6] Menuettini tedeschi, st416/p72, 2 ob, 2 bn, 2 hn, tambourine, 2 vn, b, 12 Feb 1786, ed. in DM, no.1137 (1989), nos.3–6 incorrectly ordered
[6] Menuetti, st423/p73, fl, 2 ob, 2 bn, 2 hn, 2 tpt, timp, 2 vn, va, b, 20 Aug 1786;
[6] Menuettini tedeschi, st424/p74, fl, 2 ob, 2 bn, 2 hn, 2 tpt, 2 vn, b, 22 Aug 1786;
[6] Menuettini tedeschi, fl, 2 ob, bn, 2 hn, 2 vn, b, ?c Feb 1786;
[6] Menuetti, st499/p75, 2 ob, 2 bn, 2 hn, timp, 2 vn, b, 15 Jan 1789;
[6] Menuetti tedeschi, st417/p76, 17 Jan 1789;
[12] Menuetti, st550/p77, 16 Jan 1794;
[12] Menuetti, st693/p78, fl, 2 ob, cl, 2 bn, 2 hn, 2 tpt, timp, 2 vn, b, 28 Jan 1798

Other works:
Pastorello, st83/p91, 4 tpt, timp, str, org, 23 Dec 1766, ed. G. Schünemann (Leipzig, 1940);
Inglese, st529/p83, 2 ob, 2 hn, 2 bn, 2 tpt, timp, str, 7 March 1791;
Notturno, st153, incl. movts from music to stage works st141, 148, doubtful

Concs. (only solo insts listed):
Vn, B , st36/p53, 20 Dec 1760, ed. in DM, no.3 (1960);
Vn, G, st52, c1757–64, 2nd movt rev. with tpt solo in Serenade st60/61/p34;
Org/hpd, va, C, st41/p55, 19 Dec ?1761, ed. in DM, no.182 (1970);
Fl, D, st81/p54, 19 Sept 1766, ed. J. Vécsey (Budapest, 1957);
Fl, D, st105/p56, c1771–85, ed. H.C.R. Landon (Salzburg, 1959);
Hpd, F, st268/p57, c1775–8, frag.; Vn, A, st207, ?c1776, ed. in DM, no.194 (1968)

Chamber:
many works entitled ‘divertimento’

Str qnts (all for 2 vn, 2 va, b):
Notturno, C, st187/p108, 17 Feb 1773, ed. H. Albrecht (Lippstadt, 1950);
Notturno, G, st189/p109, 1 Dec 1773, ed. H. Albrecht (Leipzig, 1950);
B , st412/p105, c1782–8, ed. in P;
F, st367/p110, 27 May 1784, ed. in Denkmäler der Musik in Salzburg, vii (Bad Reichenhall, 1991);
F, st411/421/p112/59, 30 June 1786, ed. H. Albrecht (Lippstadt, 1950);
p114, doubtful, also attrib. J. Haydn (h II:G1);
p113, spurious, by J. Haydn (h II:9)

Str qts (2 vn, va, b):
B , st316/p125, ?c1780–82, ed. in DM, no.667 (1980);
D, st319/p93, 27 May 1781, ed. W. Upmeyer (Hanover, 1927);
A, st299/p121, ?c1781, ed. in DM, no.666 (1980);
st174, 175, both inc.;
st172/p104 doubtful;
st308/p124, st309/p118,st310/p122, st311/p120, st312/p119, all ed. in DM, nos.331–5 (1971–2), doubtful;
st313/p116, ed. in DM, no.595 (1972), doubtful;
st314, doubtful; st209/p123 (attrib. J. Haydn and G. Pugnani), st315 (attrib. J. Hafeneder), both probably spurious

Str trios (for 2 vn, b, unless otherwise stated):
D, st5/p101, G, st6/p103, E, st7, A, st8, Variazione, E , st9, B , st10, all ?c1754–7, ed. C.H. Sherman (Stuttgart, 1987);
C, st27, ?c1764–70, vn, vc, b, ed. C.H. Sherman (Stuttgart, 1978);
p102, doubtful

4 duos, vn, va, C, D, E, F, st335–8/p127–30, 1783 (Vienna, 1788), ed. C.H. Sherman (Bellingham, WA, 1985) set completed by W.A. Mozart, k423, 424

Other chbr:
Partita, F, st59/p107, 2 cl, 2 hn, bn, 22 Dec 1762, lost, listed in Lang (c1804);
Divertimento, C, st179/p98, fl, va, b, before 1772;
Notturno, F, st185/p106, 2 hn, 2 vn, va, b, 21 Dec 1772, ed. in DM, no.26 (1963);
Divertimento, B , st199/p92, ob, bn, vn, va, b, 18 Sept 1774, ed in DM, no.24 (1962);
Divertimento, G, st406/p94, fl, bn, hn, bn, va, 17 June 1785, ed. in DM, no.25 (1962);
Divertimento, D, st418/p95, 2 ob, 2 bn, 2 hn, 9 March 1786, ed. in DM, no.312 (1969);
Divertimento, E , st516/p111, cl, bn, hn, vn, va, 4 July 1790;
Divertimento, G, st518/p96, ob, bn, 2 hn, va, b, 4 Sept 1790, ed. in DM, no.275 (1969);
Divertimento, C, st600/p115, eng hn, vn, va, b, ? 3 Aug 1795/8 June 1790;
Divertimento, C, stAppx, 8/p97, 4 hn, bn, Sonata, stAppx, 9/p126, 2 vn, org, both lost, listed in Lang (1804);
Romanze, F, st806, hn, str, ?c1802 (Vienna, n.d.), arr., attrib. Haydn, of Larghetto from W.A. Mozart’s Hn Conc. k447; st54, 55, st208/p90, st173, 463, 464, all doubtful;
p117, spurious, probably by J.B. Davaux

Literatura:

Partiturundament A-Sca, MS, Ssp, ed. M. Bischofreiter (Salzburg, 1833)
50 kleine Orgelstücke zu nützlichen Übung für angehende Orgelspieler, bestehend aus Praeludien, Versetten und Cadenzen (MS, D-Mbs); edns (Linz, c1830), (Paris, c1960)

Pomponio Nenna (Bari, bap. 13 de juny de 1556 - Rome?, 25 de juliol de 1608) va ser un compositor italià. Fill de Giovanni Battista Nenna (1508-c.1565), un oficial de la ciutat de Bari, es desconeix la seva formació inicial tot i que es creu que va rebre classes de Stefano Felis, de Giovanni Jacopo de Antiquis, de Giovanni de Marinis i de Rocco Rodio. Va treballar activament a Itàlia com a mestre de madrigals inspirant-se o potser compartint feina amb Carlo Gesualdo. Va viure entre Nàpols i Roma, ciutat aquesta darrera on probablement va morir el juliol de 1608.

OBRA:

Vocal secular:

Il primo libro de [20] madrigali, 5vv (Venice, 1582); ed. in PIISM, Monumenti, ii (1942)
Il quarto libro de [20] madrigali, 5vv (Venice, 2/1609) [1st edn. lost]; ed. in PIISM, Monumenti, ii (1942)
Il quinto libro de’ [20] madrigali, 5vv (Naples, 1603), ed. in Girolamo Frescobaldi Opere Complete, v (Milan, 1996), 102
Il sesto libro de [19] madrigali, 5vv (Naples, 1607) [incl. 2 villanellas]
Il settimo libro de [20] madrigali, 5vv (Naples, 1608)
Il primo libro de [21] madrigali, 4vv (Naples, 1613, inc., repr. 1621 with bc) ed. in Pompilio [incl. 2 previously pubd in Alessandro di Costanzo: Il primo libro de’ madrigali, 4vv, Naples, 1604, 2/1616]
L’ottavo libro de [14] madrigali, 5vv, ed. F. Archilei (Rome, 1618)
Madrigal, 6vv, 1585;
Madrigal, 5vv, S. Felis: Il primo libro de madrigali, 5vv (Venice, 2/1585, lost);
2 madrigals, 5vv, S. Felis: Il quinto libro de madrigali, 5vv (Venice, 1583, lost);
4 villanellas, 3vv, 15745, 15746, ed. in PIISM, Antologie, i (1941);
Ricercare, 2vv, 159019;
Spiritual canzonetta, 2vv, I-BRq, inc.

Vocal religiosa:

Responsorii di Natale e di Settimana Santa, 4vv (Naples, 1607, inc., repr. 16227 with bc)
Sacrae Hebdomadae responsoria, 5vv, bc (Rome, 1622)
Psalm, 4vv, in Salmi delle compieta, ed. M. Magnetta (Naples, 1620)

Anton Eberl (Viena, 13 de juny de 1765 - Viena, 11 de març de 1807) va ser un pianista i compositor austríac. Fill d'un funcionari de certa importància de la cort imperial, la seva família el destinà al Fòrum, però des de ben jove, i amb només 16 anys, ja va mostrar un gran talent per la música. Ben aviat va escriure dues òperes còmiques, les quals van despertar immediatament l'interès del gran mestre Gluck i d'un jove Mozart amb qui compartiria docència i una profunda amistat. Entre les seves obres més importants cal esmentar una Sonata en Do menor, que va ser atribuïda a Mozart per Pleyel; altres nou sonates per a piano a dues i quatre mans, una per a piano i violí publicades separadament i amb diferents títols; Variacions sobre diferents temes, entre elles vers un tema de La flauta màgica, publicada amb el nom de Mozart; la cantata Gloria d'Imeneo; trios i quartets per a piano i instruments de corda; fantasies, poloneses, concerts, serenates i les òperes El comerç de modes, La reina de les Illes negres, La bruixa, Balduí comte de Flandes, i quatre simfonies a gran orquestra. Les seves obres més notables són l'òpera Els bohemis i Píram i Tisbe. La seva amistat amb Mozart era tant forta que quan aquest va morir Eberl es va veure incapaç d'actuar en els escenaris per respecte al seu amic i va dedicar gran part del seu temps a compondre i a viatjar amb Constance, la vídua de Mozart, per diferents ciutats d'influència i parla germànica.

OBRA:

Vocal secular:

Dramatic:
lost unless otherwise indicated

Die Marchande des Modes (Spl, 3), Vienna, Leopoldstadt, 27 Feb 1787
Graf Balduin von Flandern (comic op, 2), Vienna, Leopoldstadt, 1788
Die Hexe Megäre (pt.iii), by 1790
Die Zigeuner (3, H.F. Möller), Vienna, Landstrasse, 1793
Pyramus und Thisbe (melodrama, 1, Eberl), Vienna, National, 7 Dec 1794
Der Tempel der Unsterblichkeit (prol, Reinbeck), 1799
Erwine von Steinheim (parody, 3, F.X. Gewey, after A. Blumauer), Vienna, Freihaus, 23 May 1801
Die Königin der schwarzen Inseln (op, 2, J. Schwaldopler, after C.M. Wieland), Vienna, Kärntnertor, 23 May 1801, A-Wn*; ov. arr. pf (n.d.)

Lieder:
6 deutsche Lieder, i, op.4 (Hamburg, 1796);
6 Gesänge, pf acc., op.23 (1804), 2 ed. in DTÖ, lxxix, Jg.xlii/2 (1935/R)

Other vocal:
Bey Mozarts Grab (cant.), 1791, LEu;
La gloria d’Imeneo (cant., C. Gattechi), 1799, op.11, vs (c1800);
Serenate, 4vv, cl, va, vc, op.37 (Leipzig, 1807);
Arietta, 1807, in ‘In questa tomba oscura’ con accompagnamento di pianoforte in XVIII composizioni di diversi maestri (Leipzig, 1808);
Other single works

Instrumental:

Orch:
3 syms., 1783–5, A-Wgm;
2 syms.: op.33, 1804 (Leipzig, 1807), ed. in The Symphony 1720–1840, ser. B, ix (New York, 1983), op.34 (Leipzig, 1805);
3 pf concs.: C, 1797, D-Bsb, op.32 (Leipzig, ?1805), op.40 (Leipzig, ?1807);
1 for 2 pf, op.45 (?1809)

Chbr:
Sextet, pf, str, cl, hn, 1800, op.47 (1808);
Qnt, pf, cl, str, op.41 (1808);
Qnt, pf, ob, str, 1806, op.48 (n.d.);
3 str qts, op.13 (1801);
2 pf qts: op.18 (1802), op.25, 1804 (n.d.);
4 pf trios: C (1797), attrib. Mozart, 3 as op.8, c1799 (1805);
2 trios, pf, cl, vc: op.44, 1803 (?1809), op.36 (Leipzig, 1806);
7 vn sonatas: 2 as op.10, 1800 (1805), op.14 (1801), op.20 (1803), op.35, 1805 (n.d.), opp.49, 50, 1806 (n.d.);
Fl Sonata, 1804, op.29 (n.d.);
Variations sur un thème russe, pf, vc, op.17 (1802);
Grand Duo, pf, vn/vc, 1804, op.26 (n.d.)

Keyboard:
Sonatas: op.1, 1792 (1798), orig. attrib. Mozart;
Sonatine, 1796, op.5 (Leipzig, 1807), ed. in Mw, xv (1959);
5 grandes sonates: op.12 (1802), op.16 (1802), op.27 (1805), op.43, 1805 (?1809), op.39, 1806 (n.d.);
2 Sonatas, pf duet, op.7 (St Petersburg, 1799)

Variations:
10 on ‘Zu Steffen sprach im Traume’ (Hamburg, 1788), attrib. Mozart;
12 on ‘Bei Männern welche Liebe fühlen’ (1792), attrib. Mozart;
10 on ‘Malbrough s’en va-t-en guerre’ (1797), attrib. Mozart;
?10 on Romance, ?1797, op.6 (Leipzig, 1807);
12 on ‘Freundin sanfter Herzenstriebe’ (1798), attrib. Mozart;
11 on ‘Ascouta Jeannette’, 1799, op.9 (St Petersburg; Vienna, 1805);
Prélude suivi de 8 variations, 2 pf, 1804, op.31 (n.d.)

Other kbd:
3 fantasias: op.15 (1803), op.28 (1805), op.30, 1805 (n.d.);
Caprice et rondeau, op.21 (1803) [? identical to op.38 (n.d.)];
Toccata, op.46 (?1809);
12 deutsche Tänze, 12 Menuetten (1805);
For pf duet: 2 polonaises, op.19 (1803) and op.24 (Leipzig, ?1805) [? also pubd as op.26], Caprice et rondeau, op.42 (1808), march (?1807)

Giovanni Paolo Colonna (Bologna, 16 de juny de 1637 - Bologna, 28 de novembre de 1695) va ser un compositor, professor i organista italià. Fill del constructor d'orgues Antonio Colonna i de Francesca Dinarelli, es va formar a Bolonya amb Agostino Filipucci i després a Roma amb Abbatini, Benevoli i Carissimi. Allà va absorbir la tècnica de l'escriptura policoral i va esdevenir una de les figures prominents de la ciutat. Va treballar com a organista a S Apollinare de Roma abans de tornar a Bolonya, on va assolir una fama considerable com a compositor i on va accedir al càrrec de segon organista de l'església de San Petronio (1658). El 1662 es va casar amb Laura Felice Checchi a l'església de S Nicola di S Felice. El 1666 va ser un dels membre fundacionals de l'Accademia dei Filarmonici de Bolonya. Anys més tard va assolir el càrrec de mestre de capella a Bologna, on va ser també mestre de capella a Madonna di Galliera (1673-88) i a S Giovanni in Monte (1689-90). Entre els anys 1680 i 1694 va ser actiu com a compositor d'oratoris i com a constructor d'orgues per a Francesco II d’Este. L'estiu de 1694 va viatjar a Roma en un intent de restaurar la reputació a Roma, malmesa anys abans degut a una disputa amb Corelli. Allà va dedicar el seu tercer llibre de Psalms op.11 al Papa Innocenci XII. En agraïment, el Papa va oferir el càrrec de mestre de capella de Sant Pere del Vaticà a Colonna càrrec que va rebutjar per raons de salut. Va morir a Bolonya el novembre de 1695, reconegut com un dels compositors religiosos més importants del segle XVII a Itàlia.

OBRA:

Music lost unless otherwise stated.

Vocal religiosa:

all printed works published in Bologna
Dialogo, 3vv (1668)
Salmi brevi per tutto l’anno, 8vv, 1/2 bc (org), op.1 (1681, 2/1701)
Motetti sacri, 1v, 2 vn, bc (org), op.2 (1681, 2/1691); 1 ed. in RRMBE, lvii (1987)
Motetti, 2, 3vv, bc (org), op.3 (1681, 2/1691, 3/1698)
Litanie con le 4 antifone della B. Vergine, 8vv, bc (org), op.4 (1682)
Messe piene, 8vv, 1/2 bc (org), op.5 (1684)
Messa, salmi e responsorij per li defonti, 8vv, 2 bc (org), op.6 (1685)
Il secondo libro de salmi brevi, 8vv, 1/2 bc (org), op.7 (1681)
Compieta con le tre sequenze dell’anno, 8vv, bc (org), op.8 (1687)
Sacra lamentationi della Settimana Santa, 1v, bc, op.8 [recte 9] (1689)
Messe e salmi concertati, 3–5vv, insts, bc, op.10 (1691)
Psalmi … liber tertius, 8vv, 1/2 bc (org), op.11 (1694)
Psalmi ad vesperas, 3–5vv, insts, op.12 (1694)
Messa a 9vv concertata con strumenti, A-Wn, ed. in RRMBE, xvii (1974)
Several other sacred works (masses, psalms, canticles, motets etc.), in MSS at A-Wn, D-Bsb, MÜs, GB-Lbl, Ob, I-Bc, Bof, Bsp, US-NYp and elsewhere

Oratorios:
Il trionfo della fede (L. Tesini), Bologna, 17 March 1672; invocazione only by Colonna, other music by F. Pratichista and G.B. Vitali
La morte di S Antonio di Padova (G. Desideri), Bologna, 1676
Il Sansone (G. Balbi), Bologna, 1677
S Teodora (G.A. Bergamori), Bologna, 1678
Il transito di S Giuseppe (Bergamori), Bologna, 1678, I-MOe
Salomone amante (Bergamori), Bologna, 16 March 1679, F-Pc (facs. in IO, v, 1986), lib Bc
San Basilio, Bologna, 1680 (attrib. doubtful)
Tre magi, c1682
Giudith (Bergamori), Modena, 1684
Absalone [L’Assalone], Modena, 1686, A-Wn, F-Pc
Il Mosè legato di Dio (G.B. Giardini), Modena, 1686, I-MOe
La profezia d’Eliseo (G.B. Neri), Modena, 1686, MOe
La caduta di Gerusalemme (Bergamori), Modena, 1688, F-Pc (facs. in IO, 1986)
Bettuglia liberata (Bergamori), Bologna, 1690
Giuliano apostata (A. Gargieria), Bologna, 1690

Vocal secular:

L’alloro trionfato (dramatic cant., T. Stanzani), Bologna, 1672; with F. Pratichista and G.B. Vitali and others, lib Bc
Le contese di Pallade e Venere (dramatic cant., Bianchini), Bologna, 29 Nov 1666
Le stelle combattute dagli elementi (torneo), Ferrara, 1676, GB-Cfm
Pelope e Ippodamia (drammetto, A.M. Campeggi), Bologna, 1678
Amilcare e Cipro (dramma per musica, A. Gargieria), Bologna, 8 Dec 1692

Other:
19 arias, 1v, bc, in D. Freschi: Tullia superba (dramma per musica, A. Medolago), Bologna, 1680, I-MOe
Vago al fin di mirare (Il Xerse), 1v, bc, 1685
L’inferno degl’amanti, 1v, bc, I-Bc DD.51
22 cants., 1v, bc, GB-Lbl Add.27931
Other cants. in I-MOe, Nc, Rvat

Instrumental:

2 sonatas (fugues), org, 16978

Georg von Bertouch (Helmershausen, 19 de juny de 1668 - Christiania, 14 de setembre de 1743) va ser un compositor i militar alemany. Es va formar amb Daniel Eberlin abans d'entrar a la universitat. Anys més tard va viatjar a Itàlia en companyia de Johann Nicolaus Bach. Allà va conèixer els fills d'un general danès mort. Va assumir aquest càrrec militar i va viatjar a Dinamarca amb ells, iniciant la seva carrera a l'exèrcit d'aquell país. Els següents anys va treballar també com a músic amb èxit notable ja que fou citat per Mattheson en la seva Das beschützte Orchestre. Bertouch va publicar obra vocal i instrumental si bé la majoria d'ella es va perdre per raons desconegudes. Pel que sembla, també va tenir contacte regular amb J.S. Bach, a qui possiblement també va enviar còpies de la seva música. Els darrers anys va viure a Noruega, convertint-se en un dels músics més importants d'aquella geografia. Va morir a Oslo el setembre de 1743.

Sergei Ivanovich Tanéyev (Vladímir, 25 de novembre de 1856 - Diudkovo, 19 de juny de 1915) va ser un compositor, pianista i pedagog rus. Va ser un brillant alumne que va obtenir la medalla d'or en el Conservatori de Moscou, tenint com a mestres a Txaikovski i a Nicolai Rubinstein, aquest últim fundador del Conservatori. Va tenir una agitada vida cultural i social, ja que va contactar a París amb els escriptors Iván Turgénev i Gustave Flaubert, i amb els compositors César Franck i Camille Saint-Saëns. De tornada a Rússia va exercir la pedagogia fins el 1905, tenint com a alumnes a Scriabin, Rakhmàninov, Glière i Medtner. Va viure una temporada (els estius de 1895 i 1896), a la casa de l'escriptor Lev Tolstoi, on va travar una relació massa íntima amb la seva esposa. Aquesta relació va quedar plasmada per Tolstoi en la seva novel·la La Sonata Kreutzer. Entre les seves composicions destaquen, nou quartets de corda, un quintet amb piano, dos quintets de corda, obres de cambra, quatre simfonies (una d'elles incompleta), un conjunt concertant per a violí, un concert per a piano, i dues cantates, "Sant Joan de Damasc o Un Rèquiem Rus"op. 1 i "A la lectura del salm" op. 36. El compositor Pyotr Ilyich Tchaikovsky, que va ser el seu gran admirador, li va confiar l'estrena dels seus dos primers concerts per a piano. En els seus últims anys va tenir problemes amb l'alcohol, morint de pneumònia el juny de 1915 a Diudkovo, una ciutat propera a Moscou, i poc després d'assistir al funeral del seu alumne Alexander Scriabin.

OBRA:

unless otherwise stated, place of publication Moscow

Vocal:

Stage:
Oresteya [The Oresteia] (musical trilogy, A.A. Venkstern, after Aeschylus), 1887–94, St Petersburg, Mariinsky, 29 Oct 1895 (Leipzig, 1900)

Choral:
with orchestra:
Slava N.G. Rubinshteynu [Glory to N.G. Rubinstein] (Y. Samarin), 4 solo vv, chorus, orch, 1874 [based on Russ. folksong Slava Bogu na nebe]
Ya pamyatnik sebe vozdvig nerukotvornïy [I Have Built myself a Monument not Made by Hands] [Cantata for the Unveiling of the Moscow Pushkin Memorial in 1880] (A.S. Pushkin), E , chorus, orch, 1880, ed. G.L. Yavorsky (1937)
Ioann Damaskin [John of Damascus] (A.K. Tolstoy), cant, chorus, orch, op.1, 1883–4 (1886)
Po prochtenii psalma [At the Reading of a Psalm] (A.S. Khomyakov), cant, 4 solo vv, chorus, orch, op.36, 1912–15, vs (1923), fs ed. I. Iordan, G. Kirkov (1960)

with other accompaniment:
Kvartet chinovnikov [Civil Servants' Quartet], 1v, chorus, str qt, 1879
Apofeoz khudozhnika [Apotheosis of the Artist] (Taneyev), cant, B, chorus, pf, 1881
see also no.1 of 2 Trios, BBB, and no.16 of 16 Choruses below

unaccompanied:
Bozhe! bud' milostiv k nam [God be Merciful unto Us], 1874–5
Sosna [The Pine] (M.I. Lermontov), SATB, 1877 (1940)
Serenada (A.A. Fet), SATB, 1877 (1952)
Venetsiya noch'yu [Venice at Night] (Fet), SATB, 1877, rev. 1880 as no.1 of 3 Choruses, male vv
Fugue on a Russian Folksong, 1879
Niderlandskaya fantasiya na russkuyu temu [Netherlandish Fantasia on a Russian Theme] (textless), 12vv/?solo vv, 1880 [based on no.12 in Balakirev's folksong collection]
Kheruvimskaya [Cherubim's Song], SSATBB, 1880
Ceremonial Chorus for the Arrival of Guests, STBB, 1880
Three Choruses, male vv, 1880 (1881): Venetsiya noch'yu; Noktyurn (Fet); Vesyolïy chas [A Happy Hour] (A.V. Kol'tsov)
Lech' bï v krovati [I Want to Lie in Bed] (Taneyev), comic canon, 1880
Irmos [First Verse] from the First Hymn of Epiphany, SATB, 1881
Two Comic Fugues (K. Prutkov), 1880: Fontan [The Fountain], ABarB, ed. (1981);
Spetsialist podoben flyusu [A Specialist is Like a Gumboil], ATB
Odnazhdï k popad'ye [Once to a Priest's Wife] (Prutkov), BBB, 1880, ed. (1981)
Pesnya korolya Regner [King Regner's Song], male vv, 1881 (1882)
Vechernyaya pesnya [Evening Song] (Khomyakov), male vv, 1881 (?1882)
Fugue, c, SATB/?solo vv, 1883
Three Sacred Pieces, 1883: Khvalite imya Gospodne [Praise the Name of the Lord], 5vv;
Tvoryay angelï svoya [He Who Makes His Angels], 4vv;
Spaseniya sodelal yesi [Though Hast Brought Salvation], 6vv [on a theme from the Ordinary]
Madrigal (Taneyev), SAB, 1884, ed. (1981)
Slava Kirillu i Mefodiyu [Glory to Cyril and Methodius], 1885
Syadu zavtra ya k okoshechku [Tomorrow I Shall Sit by the Little Window] (Taneyev), romance, 4vv/solo vv, 1887
Srazhennïy rïtsar' [The Knight Struck Down] (Pushkin), BBBB, 1887, ed. (1981)
Two Trios (G.R. Derzhavin), BBB, 1887, ed. (1981): Skromnost' [Modesty], with pf;
Raznïye vina [Different Wines]
Ėkho [The Echo] (Pushkin), SATBB, 1888
Three Comic Canons for Leonid Sabaneyev (Esperanto texts), chorus/?solo vv, 1895
Voskhod solntsa [Sunrise] (F. Tyutchev), op.8, by 1897 (Leipzig, 1898)
Iz kraya v kray [From Border to Border] (Tyutchev), op.10, double chorus, 1898–9 (Leipzig, 1899)
Two Choruses, op.15, 1900 (Leipzig, 1904): Zvyozdï [Stars] (Khomyakov);
Al'pï [The Alps] (Tyutchev)
Two Choruses, SATBB: Tï konchil zhizni put', geroy [You Have Finished Life's Journey, O Hero], ?1909;
Solntse nespyashchikh [Sun of the Sleepless] (Byron), 1910, ed. (1981)
Twelve Choruses (Yu.P. Polonsky), op.27, 1909 (1910–11):
Na mogile [On the Tomb]; Vecher [Evening];
Razvalinu bashni [The Tower's Ruin];
Posmotri, kakaya mgla [Behold, what Darkness];
Na korable [On the Boat]; Molitva [Prayer];
Iz vechnosti muzïka vdrug razdalas' [Music Suddenly Sounded from Eternity];
Prometey [Prometheus]; Uvidal iz-za tuchi utyos [From Behind the Cloud I Saw a Rock];
Zvyozdï [Stars]; Po goram dve khmurïkh tuchi [Two Sullen Clouds Among the Mountains];
V dni, kogda nad sonnïm morem [On a Day When Over the Sunny Sea]
Sixteen Choruses (K. Bal'mont), male vv, op.35, 1912–13, nos.1–4, 9–12 (1914): Tishina [Stillness]; Priimaki [Visions];
Sfinks [Sphinx]; Zarya [Dawn];
Molitva [Prayer];
V prostrantsvakh ėfira [In the Expanses of the Ether];
I son i smert' [Both Sleep and Death];
Nebesnaya rosa [The Dew of Heaven];
Myortvïye korabli [Dead Ships];
Zvuki priboya [Sounds of the Surf];
Morskoye dno [The Sea Bed];
Morskaya pesnya [Sea Song];
Tishina [Stillness];
Gibel' [The Wreck];
Belïy lebed' [The White Swan];
Lebed' [The Swan], with vn

vocal ensembles:
with piano; see also choral works that may be performed by solo voices

quartets
Adeli [To Adèle] (A.S. Pushkin), 4 B, 1887, rev. as op.24 no.2
Two Quartets (Pushkin), 2 S, A, T, op.24 (1908): Monastïr na Kazbeke [The Monastery on the Kazbek], 1907;
Adeli [To Adèle], 1887, rev. 1907

trios
Two Trios (A.N. Maykov), T, Bar, B, 1880, ed. (1966): O chyom v tishi nochi tainstvenno mechtayu? [Of What Do I Secretly Dream in the Quiet of the Night?];
Ya v grote zhdal tebya [I Waited for You in the Grotto]
Ne ostïvshaya ot znoyu [Still Sweltering from the Heat] (Tyutchev), S, A, T, 1907 [orig. no.3 of 4 terzettos, the others pubd as op.23], as chorus (1977)
Three Terzettos (Tyutchev), S, A, T, op.23, 1907 (1908): Sonet Mikel-Andzhelo;
Rim noch'yu [Rome at Night];
Tikhoy noch'yu [In the Silent Night]
S ozera veyot [It Blows from the Lake] (Tyutchev, after F. Schiller), S, A, T, op.25, 1881, rev. 1909, also orchd

duets
V vechernem sumrake dolina [The Valley, in the Evening Twilight] (N.P. Ogarev), 2 B, 1877 (1979)
Two Duets (Fet), 2 B, 1879, ed. (1981): Vecher u vzmor'ya [Evening by the Seashore];
Rastut, rastut prichudlivïye teni [The Fantastic Shadows Grow and Grow]
Iz Shillera [From Schiller] (Tyutchev), T, B, 1881
Polden' [Noon] (Tyutchev), A, B, 1881, ed. (1981)
Kak nezhish' tï! [How Spoiled You Are!] (Fet), T, B, 1883, rev. as op.18 no.1
Two Duets (Pushkin), 2 B, 1884: Solovey [The Nightingale], ed. (1981);
Bakhicheskaya pesnya [Bacchic Song], rev. as op.18 no.2
Two Duets, 2 B, 1886, ed. (1981): Nochnoy zefir [The Night Zephyr] (Pushkin);
Vesnoy, volshebnoyu vesnoy [In Enchanted Spring] (N.P. Grekov)
Blizost' vesnï [The Approach of Spring] (V.A. Zhukovsky), S, A, 1891, ed. (1981)
Two Duets (Lermontov), S, A, 1891: Sosna [The Pine] (1952);
Gornïye vershinï [Mountain Summits], ed. (1963)
Two Duets, op.18 (Leipzig, 1906), also orchd: Kak nezhish' tï [How Spoiled You Are!] (Fet), Mez, T, 1883, rev. 1900;
Bakhicheskaya pesnya [Bacchic Song] (Pushkin), T, B, 1884, rev. 1905

songs
with piano unless otherwise stated
Letn'aya noch' [Summer Night] (Grekov), 1874, ed. (1979)
Izmenoy sluga paladina ubil [With Treachery the Servant Slew the Paladin] (Zhukovsky), 1874, ed. (1979)
Luna na nebe golubom [The Moon in a Blue Sky] (N.M. Yazikov), S, 1876, ed. (1979)
Chto tebe v imeni moyom? [What's in My Name for You?] (N.), eclogue, S, 1877
Three Songs, 1877, ed. (1979): C'était au milieu de la nuit (T.S. Sikorskaya, after Sully-Prudhomme);
Moy tyazhkiy grekh [My Grave Sin] (A. Borovikovsky);
Lyudi spyat [The World is Asleep] (Fet), rev. as op.17 no.10
Nakhodka [The Godsend] (V.P. Kolomitsova, after Goethe), 1878 (1922)
Starïy rïtsar' [The Old Knight] (Zhukovsky), ballad, S, c1870–80 (1979)
Iz srednevokovoy zhizni [From Medieval Life] (Taneyev), end of 1870s (1979)
Golos v lesu [A Voice in the Forest] (Maykov), T, 1880, ed. (1965)
Three Songs (Taneyev), v, pf, hp, 1882, ed. (1979): Vstanu ya s voskhodom solntsa [I Rise at Sunrise];
Zhil odnazhdï chelovechek [There Once Lived a Little Man];
Raz vecherkom gulyal ya [One Evening I Strolled]
Ne veter veya s vïsotï [Not the Wind Blowing from the Heights;
Serenade on the Departure of the Marquise de Fige] (A.K. Tolstoy), B, 1884, rev. as op.17 no.5
Kolïshetsya more [The Sea Heaves] (A.K. Tolstoy), B, 1884, ed. (1979)
Iz Gafiz [From Hafiz] (F.I. Maslov), Bar, 1886, ed. (1979)
K ney [To Her] (Fet), 1890, ed. (1979)
Iz Shelli [From Shelley] (Bal'mont, after P.B. Shelley), 1895: Mechtï v odinochestve vyanut [Dreams Wither in Solitude];
Pust' otzvuchit [Let it Sound no More]; rev. as op.17 nos.2–3
Kolibel'naya pesnya [Cradle Song] (Bal'mont, after Shelley), 1896 (1916)
Sonoriloi di vespero [The Evening Bell] (Esperanto text), ?1894–6
Se premas min dolore (Esperanto text, after Lermontov: Molitva [Prayer]), 1896
Two Romances, v, pf, mand, op.9 (Leipzig, 1899) [after choruses of 1877]: Venetsiya noch'yu, 1897;
Serenada (Khomyakov), 1896
Ten Romances, op.17 (Leipzig, 1905): Ostrovok [The Island] (Bal'mont, after Shelley), 1901;
Mechtï v odinochestve vyanut [Dreams Wither in Solitude], 1895, rev. 1905;
Pust' otzvuchit [Let it Sound] (Bal'mont, after Shelley), 1895, rev. 1903;
Blazhennïkh snov ushla zvezda [The Star of the Blessed Ones Again Disappeared] (Bal'mont, after Shelley), 1905;
Ne veter veya s vïsotï [Not the Wind Blowing from the Heights] (A.K. Tolstoy), 1884, rev. 1903;
Kogda, kruzhas', osenniye listï [When the Whirling Autumn Leaves] (Ellis, after L. Stecchetti), 1905;
Noktyurn: Aromatnoy vesenney noch'yu [Nocturne: In the Scented Autumn Night] (N.F. Shcherbina), 1878, rev. 1905;
V dïmke nevidimke [In the Invisible Mist] (Fet), 1883;
B'yotsya serdtse bespokoynoye [The Restless Heart is Beating] (N.A. Nekrasov), 1883, rev. 1905;
Lyudi spyat, 1894
Ten Romances from Ellis's Immortelles, op.26, 1908 (1909): Rozhdeniye arfï [The Birth of the Harp] (after Moore);
Canzone XXXII (after Dante), later arr. with pf trio; Otsvetï [Reflections] (after M. Maeterlinck);
Muzïka (after C. Baudelaire);
Lesa dremuchiye [Dense Woods] (after Baudelaire);
Stalaktitï [Stalactites] (after Sully-Prudhomme);
Fontanï [Fountains] (after G. Rodenbach);
I drognuli vragi [And the Enemy Trembled] (after J.-M. de Heredia);
Menuet (after C. D'Orias);
Sredi vragov [Among the Foe] (after F. Nietzsche)
Four Songs (Polonsky), op.32, 1911 (1911): V godinu utratï [In Time of Loss];
Angel; Moy um podavlen bïl toskoy [My Mind was Crushed by Melancholy];
Zimnïy put' [The Winter Road]
Five Songs (Polonsky), op.33, 1911 (1912): Noch' v gorakh Shotlandii [Night in the Mountains of Scotland]; Svet voskhodyashchikh zvyozd [The Light of the Rising Stars];
Potseluy [The Kiss];
Chto mne ona? [What is She to Me?];
Uznik [The Prisoner]
Seven Songs (Polonsky), op.34, 1911–12 (1912): Posledniy razgovor [The Last Talk];
Ne moi li strasti? [Are they Set on my Passions?];
Maska [The Mask];
Lyubya kolos'yev myagkiy shorokh [Loving the Soft Rustle of the Ears of Corn];
Posledniy vzdokh [The Last Sigh];
Noch' v Krïmu [Night in the Crimea];
Moyo serdtse – rodnik [My Heart is a Spring]

Instrumental:

Orchestral:
Quadrille, D, small orch, 1872–3
Symphony [no.1], e, 1873–4, ed. P. Lamm (1948)
Overture, g, 1874–5
Overture, d, 1875, ed. G. Kirkor (Moscow, 1955)
Adagio, C, ?1875, ed. P. Lamm (Moscow, 1950)
Piano Concerto, E , 1875–6, ed. P. Lamm (1953) [2 movts only]
Symphony [no.2], b , 1877–8, ed. V. Blok (Moscow, 1977) [3 movts only]
Overture on a Russian theme, C, 1882, ed. P. Lamm (1948) [based on no.10 in Rimsky-Korsakov’s folksong collection, op.24]
Canzona, f, cl, str, 1883, ed. P. Lamm, A. Semenov (1947)
Symphony [no.3], d, 1884, ed. B.L. Yavorsky (1947)
Overture to Oresteya, op.6, 1889 (Leipzig, 1897)
Symphony for children’s insts, ?1895
Symphony no.4, c, op.12, 1896–8 (Leipzig, 1901) [orig. pubd as no.1]
Suite de concert, vn, orch, op.28, 1908–9 (Berlin and Moscow, 1910)

Chamber:
String Quartet, d, 1874–6 [2 movts completed], ed. in G. Kirkor, B. Dobrokhotov Kvartetï, iv (1952)
March, 2 pf, hnm, 3 trbn, vc, ob, glock, 1 other inst, 1877
String Trio, D, 1879–80, ed. (1956)
String Quartet, E , 1880, ed. in Kirkor and Dobrokhotov
String Quartet, C, 1882–3, ed. in Kirkor and Dobrokhotov
String Quartet, A, 1883, ed. in Kirkor and Dobrokhotov
String Quartet no.1, b , op.4, 1890 (1892)
Sonatina, A, vn, pf, 1895 [1st movt only; other 3 movts by Morozov, Koreshchenko and Konyus; for I.V. Grzhimali’s silver jubilee]
String Quartet no.2, C, op.5, 1894–5 (Leipzig, 1896)
String Quartet no.3, d, op.7, 1886, rev. 1896 (Leipzig, 1898)
Variations on a Favourite Theme, mand, vn, pf, 1897
String Quartet no.4, a, op.11, 1898–9 (Leipzig, 1900)
String Quartet no.5, A, op.13, 1902–3 (Leipzig, 1903)
String Quintet no.1, G, op.14, 1900–01, rev. 1903 (Leipzig, 1904)
String Quintet no.2, C, op.16, 1903–4 (Leipzig, 1905)
String Quartet no.6, B , op.19, 1903–5 (Leipzig, 1906)
Piano Quartet, E, op.20, 1902–6 (1907)
Trio, D, 2 vn, va, op.21, 1907 (1909)
Piano Trio, D, op.22, 1906–8 (1908)
Trio, E , vn, va, t va, op.31, 1910–11 (1911)
Piano Quintet, g, op.30, 1910–11 (1912)
Sonata, a, vn, pf, 1911, ed. (1948)
String Quartet, c, 1911 [2 movts only], ed. in Kvartetï, iv
String Trio, b [2 movts only], ed. (1952)

Keyboard:
for solo piano unless otherwise stated
Scherzo, e , 1874–5, ed. P. Lamm, V. Shebalin in Sochineniya dlya fortepiano (1953)
Theme and Variations, c, 1874, ed. in Sochineniya
Piano Sonata, E , 1874–5 [1st movt only]
4 Scherzos, F, C, g, d, 1875, ed. in Sochineniya
4 Pieces, ed. in Sochineniya: Quadrille, A, 1879; March, d, 1879; Otdokhnoveniye [Repose], 1880; Kolïbel'naya [Slumber Song], 1881
Variations on a theme of Mozart, E , 2 pf, 1880
March, C, pf 4 hands, 1881, ed. (1981)
Den' rozhdeniya kompozitora [The Composer’s Birthday], 1892 [a joke for Tchaikovsky’s birthday, based on themes from his ballets]
Choral varié, org, 1894 (Paris, 1914)
Prelude, F, 1894–5 (1904), arr. pf 4 hands, 1896
Improvisation, 1896 (1923) [for a set, collab. Arensky, Glazunov and Rachmaninoff]
Prelude and Fugue, g , op.29, 1910 (1911), arr. 2 pf (1914)
Andante semplice, ed. in Sochineniya

Work on tchaikovsky’s compositions:
Pf arrs.:
Sym. no.4, 4 hands (Moscow, 1879);
Sym. no.5, 4 hands, 1888;
Iolanta, vs (Moscow, 1892);
The Nutcracker, solo pf, ?1892;
Count Almaviva’s couplets from The Barber of Seville, vs, 1905

Orchestrations:
Ni slova, o drug moy [Not a Word, O My Friend], op.6 no.2;
Ne otkhodi ot menya [Do not Leave Me], op.27 no.3, 1891;
Strashnaya minuta [The Fearful Minute], op.28 no.6, 1891;
V ogorode, vozle brodu [In the Garden, Near the Ford], op.46 no.4;
Pesn' tsïganki [Gypsy’s Song], op.60 no.7, 1891;
Serenada, op.63 no.6; Noch' [Night]

Completions:
Duet for Romeo and Juliet, completed and orchd (Moscow, 1894);
Andante and Finale, pf, orch, op.79, completed and orchd (Moscow, 1897);
Impromptu, A , pf, completed (Moscow, 1898)

Other arrangements:
2 It. songs: Voca, voca, arr. SATB, pf, 1880;
Addio, mia bella Napoli, arr. SAB, pf, 1880
Transcrs. of 20 Caucasian folktunes, 1885
1st movt of Arensky’s orch Suite, op.7, arr. pf 4 hands, ?1886
Transcrs. of folksongs, 27 Ukr. and 1 Russ., c1880–90
2 Belarusian spring songs arr. ob, hp, ?1907
Vocal score of Arensky’s Gimn iskusstvu [Hymn to Art], 1913

Literatura:

O muzïke gorskikh tatar [On the music of the mountain Tatars], Vestnik Evropï, xxi/1 (1886), 94
Podvizhnoy kontrapunkt strogogo pis'ma [Invertible counterpoint in the strict style] (Leipzig and Moscow, 1909; Eng. trans., 1962)
ed. V.M. Belyayev: Ucheniye o kanone [The study of canon] (Moscow, 1929) 

Volkmar Andreae (Berna, 5 de juliol de 1879 - Zürich, 19 de juny de 1962) va ser un compositor i director d'orquestra suís. Va estudiar piano i composició amb Karl Munzinger a Berna i posteriorment amb Franz Wüllner a Koln (1897-1900), ciutat on va estrenar les seves primeres obres. El 1902 es va instal·lar a Zürich, on es va construir la seva carrera musical. Allà va ser promocionat al càrrec de director del Gemischter Chor (1902), del Winterthur Stadtsängerverein (1902) i del Zürich Männerchor (1904) abans d'assolir el seu càrrec més important com a director de la Tonhalle Orchestra (1906-1949). Addicionalment, va ser director del Conservatori de Zürich entre els anys 1914 i 1941 donant també classes a la universitat, on es va doctorar honoríficament el 1914. El 1920 va ser seleccionat president de la Schweizerischer Tonkünstlerverein, convertint-se en el primer president honorífic el 1925. Va gaudir de notable i internacional reputació dirigint, com a director convidat, nombroses orquestres europees. Va ser també un dels promotors de la música europea a Suïssa divulgant autors com Berlioz, Debussy, Ravel, Mahler, Strauss, Reger o Bruckner. El seu estil com a compositor fou romàntic en les seves obres primerenques per posteriorment explorar noves tendències, en clara sintonia amb les avantguardes emergents. Va morir a Zürich el juny de 1962.

OBRA:

Vocal:

Ratcliff (op, after H. Heine), op.25, Duisburg, 1914;
Abenteuer des Casanova (4 1-act ops, F. Lion), op.34, Dresden 1924;
La cité sur la montagne (incid music to Festspiel, G. de Reynold), op.41, Geneva, 1942

Vocal-orch:
Das Göttliche (J.W. von Goethe), op.2, T, chorus, orch, perf. 1900;
Charons Nachen (J.V. Widmann), op.3, solo vv, chorus, orch, perf. 1901;
Sinfonische Fantasie (W. Schaedelin), op.7, T, T chorus, orch, org, perf. 1903;
Vater unser, op.19, Mez/Bar, chorus, org; Magentalied, op.28, male vv, orch (1917)

Male choruses:
Waldesfriede und Graf Isenburg (M. Wetter), op.6;
4 Männerchöre (M. Lienert), op.13;
3 Männerchöre (G. Keller), op.22;
Suite (E. Zahn), op.38, perf. 1935; arrs.

Solo vocal:
Der Spielmann (Wetter), 4 Lieder, op.5 (1903);
6 Gedichte (C.F. Meyer), op.10 (1906);
4 Gedichte (H. Hesse), op.23 (1913);
Li-tai-pe (Chin., trans. Klabund), 8 Lieder, op.37, T, orch, perf. 1931

Instrumental:

Orch:
Pf Conc., d, perf. 1898;
Sym., F, perf. 1899;
Konzertstück, b, pf, orch, perf. 1900;
Kleine Suite, op.27, perf. 1917;
Notturno und Scherzo, op.30, perf. 1918;
Sym., C, op.31, perf. 1919;
Rhapsodie, op.32, vn, orch, perf. 1920;
Musik für Orch, op.35, perf. 1929;
Vn Conc., f, op.40, perf. 1936;
Ob Concertino, op.42, perf. 1941 (1947);
marches for band

Chbr:
Str Qt, E , perf. 1898;
Pf Trio no.1, f, op.1, perf. 1899;
Sonata, D, op.4, vn, pf; Str Qt, B, op.9, perf. 1905;
Pf Trio no.2, E , op.14, perf. 1908;
6 Klavierstücke, op.20 (1911);
Str Trio, d, op.29, perf. 1917;
Str Qt no.2, e, op.33 (1921);
Divertimento, op.43, fl, str trio, perf. 1942

Innocentio Alberti (Treviso, c.1535 - Ferrara, 15 de juny de 1615) va ser un compositor italià, actiu principalment a Ferrara, i autor de madrigals i obra religiosa.


He came from a family of North Italian musicians that had lived in Treviso since the mid-15th century. His father was the town trumpeter; his uncle and brother were musicians in the courts of Ferrara and Munich respectively. He was one of the three young men brought to the newly founded Accademia degli Elevati in Padua in 1557 as music tutors under Francesco Portinaro. His first published madrigals appeared, together with madrigals by Rore, Portinaro and other members of the group around Rore, in Rore’s fourth book of madrigals for five voices (RISM 155723). In 1560 the Accademia degli Elevati was dissolved and Alberti went to work for the Este court at Ferrara. He remained on the salary rolls there, listed among the instrumentalists as ‘Innocentio del Cornetto’, until the dissolution of the court early in 1598. In 1568 he prepared a manuscript collection of madrigals for Henry, Earl of Arundel. In an autograph letter of 1607 (in I-MOs) Alberti appealed for financial relief to the Duke of Modena; an accompanying letter states that Alberti was ‘very poor and, what is worse, old, weak, and unable to earn his way’.

The perusal of a handful of Alberti’s madrigals from the 1580s indicates that he was a composer of minor importance, whose style was conservative and serious and whose craftsmanship was above average. The final three books of madrigals for four voices, published in the first decade of the 17th century, are almost certainly collections of madrigals written 10 to 30 years earlier. (EinsteinIM; NewcombMF)

OBRA:

Vocal secular:

Il primo libro de madrigali, 4vv (Venice, 1603)
Il secondo libro de madrigali, 4vv (Venice, 1604)
Terzo libro de madrigali, 4vv (Venice, 1607)
Further madrigals, 4, 5vv, 1557, 1560, 1582, 1586, 1591, 1592
22 madrigals, 1568, GB-Lbl Roy.App.36–40;
4 madrigals, after 1580, I-MOe Mus.F.1358
Canzoni, 5vv, lost; cited in catalogue FEc

Vocal religiosa:

Salmi penitenziali armonizzati, libro primo, 6vv (Ferrara, 1594)
Motetti, libro secondo, 6vv (Ferrara, 1594)

John Alcock (London, 11 d'abril de 1715 - 23 de febrer de 1806) va ser un organista i compositor anglès, pare del també compositor John Alcock.


He was a chorister of St Paul’s Cathedral when, in his own words (GB-Lcm 1189), he and Boyce were ‘Schoolfellows and Bedfellows’ under Charles King. Afterwards he was apprenticed to John Stanley. In the early years of the 18th century, growth in the number of organs in large provincial parish churches afforded new professional opportunities, and Alcock is an early example of an organist who reached a cathedral position through posts in parish churches – in his case St Andrew’s, Plymouth (1737), and St Laurence’s, Reading (1742). He was admitted vicar-choral and organist of Lichfield Cathedral in January 1750. He took the BMus degree at Oxford in 1755 and the DMus there in 1766. The cathedral documents fail to make clear exactly when he ceased to be organist, but this was certainly by September 1765. By the cathedral statutes, the organist held a place as vicar-choral, which constituted a freehold, and this Alcock continued to hold for the rest of his life, living in the cathedral close and doing duty in the choir. He was organist of Sutton Coldfield parish church, Warwickshire, from 1761 to 1786 (part of this time while still organist of Lichfield Cathedral), and of Tamworth parish church from 1766 to 1790. He was also private organist to the Earl of Donegal.

In the dedication of his Service in E minor in 1753 Alcock stated that sometimes only one priest vicar and one lay vicar attended the cathedral services, and he also alluded to ridiculous criticism of his organ accompaniments. In 1758 trouble arose between him and the men of the choir, who accused him of mockery and of ‘splenetic tricks upon the organ to expose or confound the performers’. Alcock’s fiery temperament is revealed in his semi-autobiographical novel, The Life of Miss Fanny Brown (published pseudonymously, under the name of John Piper, in 1761), in which these events are described. That Alcock considered himself hard done by as a result of his conditions of work at Lichfield is abundantly clear from his argumentative preface to his anthems published in 1771. It is possible that, far away in the Midlands yet having troubled to take a doctorate (for what it was then worth), he felt he lacked the status which his contemporary Boyce and others enjoyed. For that reason, perhaps, it was a gratification to him when visiting London in his old age to be invited to join the Musical Graduates’ Meeting established by Samuel Arnold (whom he helped with his Cathedral Music, 1790).

In the course of his work Alcock became impressed by the ‘numberless Mistakes’ in manuscript copies of older cathedral music, and in 1752 he issued a prospectus of a plan for a quarterly publication of a service engraved in score. He proposed to start with Tallis’s Dorian Mode Service, Byrd’s Short Service and Gibbons’s in F (all of which it is interesting to note that he proposed to transpose up a tone), and working through to Charles King. Apparently for lack of response nothing came of this, though Alcock issued his own Service in E minor as a specimen of the engraving. When he heard of Greene’s proposal to publish an anthology of cathedral music he presented him with the materials already gathered. Greene’s plan, as is well known, eventually came to fruition in Boyce’s Cathedral Music. Alcock had antiquarian interests, scoring for himself some of Tallis’s and Byrd’s Latin church music and Morley’s canzonets and balletts (Lbl Add.23624 and Lcm 952–3). He once owned the Tregian anthology, the ‘Sambrooke MS’ (now US-NYp Drexel 4302). It is to him that the story of Byrd’s contact with Philippe de Monte is owed.

Alcock’s own music has a good general level of competence in an idiom adhering to that prevailing in his early manhood. No doubt his instrumental music derived from Stanley, but without the master’s freshness and vigour. His anthems are in similar mould to those of Greene, whose general style they share, and in fact in his aforementioned preface he felt it necessary to anticipate possible charges of plagiarism from both Croft and Greene. But only the Service in E minor, of all his church music, ever attained any currency, and this is too lacking in character to have survived. As published it is a slightly revised form of the original composed in 1732. Alcock’s output includes several large-scale anthems with orchestra, including We will rejoice, which he contributed to the Worcester Music Meeting of 1773. He cultivated the art of catch and canon writing, and won Catch Club prizes in 1770, 1772 and 1778.

In connection with the organ accompaniment to cathedral music, Alcock made some remarks that are worth mentioning. To the anthem Unto thee have I cried he supplied an organ part in full (virtually a short score), in order to prevent people, when the vocal bass part rests, from ‘keeping a continual Roaring upon the Full-Organ, by striking Chords, or, at least, Octaves, with the Left-hand, to every Note’. And in relation to his E minor Service he said:
As in Cathedral Music the usual Method is to play the Treble [voice-part] uppermost, I have left out those Figures which are of Course expressed in that Part … they being quite unnecessary … [In verses] the Notes in the upper Parts [are] play’d just as they are wrote, (except when the Contra-Tenor, and Tenor Parts are uppermost, which are often performed eight Notes above) and not as in Through Bass, which is the Reason why I have not figured most of the Verses.

OBRA:

Vocal secular:

Twelve English Songs, with a Recitativo & Duet out of … Rosamond, 1v, fl, bc (1743) [duet acc. vn, bc]
Songs, catches, canons, glees and kbd works pubd singly and in contemporary anthologies

Vocal religiosa:

A Morning [Communion] and Evening Service, e, 3–6vv, org, 1732 (1753) [with important ded.]
Six and Twenty Select Anthems … a Burial Service … and part of … the 150th Psalm, 1–8vv, org, 1732–71 (1771 [with preface], 2/c1775)
Miserere, 4vv, 1756 (Lichfield and London, 1771)
3 anthems, 1778–9, in Six New Anthems, 2–4vv, 2 ob, bn, org (c1790) [remainder by John Alcock (ii)]

Chants and psalm tunes in:
Psalmody, or a Collection of Psalm Tunes … with Several Festival Hymns (Reading, ?1749);
Divine Harmony (Birmingham, 1752);
The Pious Soul’s Heavenly Exercise (1756) [with preface];
The Harmony of Sion (1779, 2/1816);
The Harmony of Jerusalem (1801)
Services, GB-Lsp, LF: Verse Service, B , 1771;
Third Service, F, 1788;
Services in C, E , a; setting of Commandments etc.

Anthems:
Laudate Dominum, double choir, orch, 1754, LF [rev. 1771 as We will rejoice]; Blessed is he, vv, orch, 1761, Ob [rev. 1776 as O praise the Lord];
The Ways of Sion, double choir, orch, 1766, Ob [rev. from verse anthem in Six and Twenty Select Anthems];
Sing unto the Lord, vv, orch, 1776, LF;
Behold how good, 1785, LF;
Almighty and everlasting God, 1789, LF;
Why do the heathen, 1793, Lcm;
Let every Soul, 1794;
Lord, teach us, 1798, LF

Instrumental:

Six Suite’s of Easy Lessons … with a Trumpet Piece, hpd (1741, 2/1742), ed. R. Jones (c1985)
Six Concerto’s in Seven Parts [2 fl, 2 ob, bn], 4 vn, va, vc, bc (1750/R1989 in TCMS, iii)
Ten Voluntaries, org/hpd, i (1774); nos.1, 2, 6, 10 ed. in Tallis to Wesley, xxiii (1961), nos.4, 5, 7, [8] ed. P. Marr, Eight Georgian Organ Voluntaries for Manuals (c1985)
Harmonia Festi, or a Collection of Canons … Glees, & Catches, mostly 4–5vv (Lichfield, 1791)

CPDL: No disponible

François de Fossa (Perpinyà, 31 d'agost de 1775 - París, 3 de juny de 1849) va ser un guitarrista i compositor francès. Fill d'un jurista i historiador perpinyanenc de la petita noblesa, als 21 anys se'n va anar a Espanya com a membre voluntari de la Legió dels Pirineus, que en aquell temps formava part de l'Exèrcit dels Emigrats, força contrarevolucionària que pretenia reinstaurar a França l'Antic Règim. També va visitar Mèxic, Nova Espanya aleshores, entre el 1798 i el 1803. Després va accedir a Espanya a un càrrec de cap de gabinet al Ministeri de les Índies. Empresonat a Granada arran de la invasió napoleònica, va tornar a França l'any 1814, a través dels Pirineus, una vegada les tropes franceses havien estat derrotades pels britànics. Va ser nomenat cap de batalló a Molins de Rei l'any 1824, arran de la campanya del duc d'Angulema. Va ser condecorat per les monarquies francesa i espanyola, les de Lluís XVIII i Ferran VII. Se li van imposar les insígnies d'oficial de la Legió d'Honor abans de la seva participació, el 1830, en la batalla d'Alger. Paral·lelament a la seva carrera militar, va ser un músic i guitarrista. Les seves primeres aproximacions a la composició van tenir lloc a Cadis. Posteriorment, al voltant de 1808, va donar a conèixer públicament les seves obres a Madrid. Durant la Restauració francesa i entre el 1824 i el 1844 va dedicar-se amb intensitat a la música i va editar la seva obra. Obres per a guitarra sola però també en duet i acompanyada de violí i violoncel. Va traduir al francès el mètode de guitarra de Dionisio Aguado, i el va editar a França. Els darrers anys va viure a París, on va morir el juny de 1849.