1.
Abrams, Harriet (c1758–1821, fl. 1775–
c1785), English soprano, pupil of Thomas
Arne; composer.
SARTI: A Periodical Italian SONG Sung by Miss
Abrams, at the Ladies Concerts No.1 “Vadasi pur a
morte io non la temo.” Rt. Birchall [c1785], 1f., 7pp.
Scored for strings. BUC 922.
8.
Baldwin, Mary (fl. 1703–1706), English
singer at Lincoln’s Inn Fields and the
Queen’s Theatre.
[ECCLES, J.]: A SONG Sung by Mrs Baldwin. “As
Cupid rogishly one day”. No imprint [c1703], 2pp.
(‘152’ on recto).
 BALFE, MICHAEL WILLIAM (1808–
70, fl. 1825–64), Irish baritone & opera
composer.
THE BLIGHTED FLOWER, Ballad. Sung by Mr.
Balfe. “I had a flower”. Dublin: Robinson & Bussell
[c1835]. 7pp.
9.
2.
Albani, Emma (1847–1930, fl. 1870–1911),
Canadian soprano, pupil of Duprez, the first
London Elsa, Elisabeth and Desdemona; a
distinguished teacher.
WECKERLIN: CHANSONS ANGLAISES... 2 LA
DERNIÈRE ROSE D’ÉTÉ. Paris: Heugel [1873], PN
4275, lith. portrait on TP.
 BANDERALI, DAVIDDE (1789–1849, fl.
1806–49), Italian tenor & singing teacher (in
Milan & at the Paris Conservatoire);
teacher of Pasta.
7 songs, French texts, published in Paris by Pacini
and Petit [c1830]. CPM has none of his works.
10.
3.
Alboni, Marietta (1826–94, fl. 1842–72),
Italian contralto.
ROSSINI: MUSICAL BOUQUET. THE ALBONI
QUADRILLE ARRANGED ON FAVORITE
OPERATIC MELODIES SUNG BY MADLLE.
ALBONI. Musical Bouquet [c1850], no. 193. Oval
portraits of Alboni and Jenny Lind.
11.
Bannister, John (1760–1836, fl. 1778–c1812),
actor and singer.
6 songs sung by him, of which the first is a duet with
Maria Bland: TINK A TANK, Shield’s THE WOLF,
Dibdin’s The RACE HORSE (also sung by Dignum at
the Anacreontic Society), A BACHANALIAN SONG,
and Arnold’s THE RUSH-LIGHT and THE
WAND’RING SAILOR. Published by Boag, Diether,
Preston, Wood, and 2 without imprint.
4.
Allegranti, Maddalena (1754–after 1801, fl.
1770–c1800), Italian soprano, admired by
Burney and Mozart; singing teacher.
G1ORDANI, G. or T.: The favorite RONDO Sung by
SIGra. ALLEGRANTI in the New Comic Opera [by
Anfossi] I. VIAGGIATORI FELICI. J. Preston [1782],
9pp., score.
12.
Banti, Brigitta (née Giorgi) (1755–1806, fl.
1776–1802), Italian soprano, principal
soprano at the King’s Theatre 1794–1802.
‡[a] BIANCHI, F.: Nel silenzio i mesti passi... as
sung... in the Opera of ALZIRA. Rt. Birchall [c1801],
full score, 17pp. Contemporary extensive MS
markings in ink throughout the vocal line.
[b] BIANCHI, F.: NON PIANGETE... As sung... In
the Serious Opera of ANTIGONA. The Proprietor and
Lavenu [1796], full score, 6pp.; signed by the
composer. The words are by Da Ponte.
‡[c] GUGLIELMI, P. C.: A COMPIR GIÀ VÒ
L’IMPRESSA. RECITATIVE AND AIR, With a Violin
Obligato... in the Opera of LA VENDETTA DI
NINO... Arranged for the Piano Forte, with
ornaments by D. Corri. Rt. Birchall [1794 plates,
later issue], score, 16pp. Banti’s decorations are
printed in the vocal line. An aria that she inserted into
Bianchi’s opera.
[d] GLUCK: NON VI TURBATE NO... in the OPERA
of ALCESTE. Rt. Birchall [1795], score, 5pp.
[e] PAISIELLO: ABBRACCIAMI O SPOSO THE
FAVORITE DUETT as Sung by Madame Banti &
Sigr. Viganoni. in... ELFRIDA. Rt. Birchall [c1800],
score, 10pp.
 APRILE, GIUSEPPE (1732–1813, fl.
1752–85), Italian soprano castrato, teacher
of Michael Kelly.
CANZONET With an Accompanyment for a PianoForte, or Harp... First Singer and Composer to the
Opera at NAPLES. “Se un core annodi”. S. Babb
[c1780]. 3pp. Edition not in RISM or BUC.
5.
6.
Arne, Cecilia (née Young) (1711–89, fl.
1732–55), English soprano, the best English
female singer of her time; sang in five
Handel premieres.
ARNE, T. A.: A Favourite Song out of ALFRED.
Sung by Mrs. Arne. “O Peace...”. No imprint
[c1740s], 2ff. (pp.36–7), cut close.
7.
Arrowsmith, Daniel (fl. 1783–94), tenor
singer and composer.
3 of the songs associated with him. Michael Arne’s
The Topsails shiver in the Wind; THE SPORTSMANS
INVITATION (both sung at Vauxhall Gardens); and
Thomas Smart’s The Happy Fellow sung at the
Royalty Theatre. [c1785–90].
1
[f] PAISIELLO: CREDI LA MIA FERITA The
favorite Duett as Sung by Madame Banti and Sigr.
Viganoni in ELFRIDA. Rt. Birchall [1798], score,
14pp.
16.
Bertinotti-Radicati, Teresa (1776–1854, fl.
c1800–1820), Italian soprano, singing at the
King’s Theatre 1810–12 (successful in
Mozart’s operas); teacher.
[a] MOZART: “AH GUARDA SORELLA” The
Favorite Duett FROM ... Cosi Fan Tutte, Sung... at
the LONDON and DUBLIN THEATRES by Madame
Bertinotti, & SIGNORA CAUVINI. Arranged by F.
RADICATI. Goulding [c1816 (wmk)], 7pp.
[b] MARTINI: MARTINIS Celebrated Polacca AS
SUNG... at the LONDON & DUBLIN THEATRES,
with Additions expressly Composed for her BY F.
RADICATI. Goulding & Co [c1815], 6pp.; with a
particularly florid vocal line at the end.
[c] RADICATI: Consola quest’ anima, DUO, In...
PHEDRA, Sung by Made. Bertinotti Radicati, & Mr.
Tramezzani. Monzani & Hill, and Birchall [c1811],
5pp.
13.
Barbier, Jane (1695–1757, fl. 1711–c1735),
English contralto, created 3 roles for
Handel.
[a] [GALLIARD]: Sung by Mrs Barbier and Mrs
Chambers in Apollo and Daphne. “Am’rous kisses” /
“Nuptial blesses”. n.i. [c1726], 1f. (p.8).
[b] [GALLIARD]: Sung by Mrs: Barbier in Apollo &
Daphne. “Vain were graces Blooming Faces”. n.i.
[c1726], 1f. (p.1).
14.
Beard, John (c1717–1791, fl. 1734–67),
English tenor, singing more Handel roles
under the composer than any other singer,
creating six operatic parts for him and the
tenor roles in almost every one of his
oratorios. ‘The heroic parts Handel
composed for him... established the
importance of the tenor voice at a time when
leading male roles were still often taken by
castratos or women’ (Winton Dean in
NewGrove).
[a] [ANON]: Song in The Fair Sung by Mr. Beard.
“In story we’re told”. n.i. [c1751], 1f., trimmed close.
[b] [ANON]: A Loyal Song Sung... at the Theatre
Royal in Covent Garden. “FROM Barren Caledonian
Lands”. n.i. [c1745], 1f.
[c] BAILDON, J.: Sung by Mr. BEARD. LOVE in a
VILLAGE. “Let Gay ones and Great”. n.i. [c1765],
1f.
[d] [Another edition]: Sung by Mr. Beard in Love in a
Village. n.i. [c1765], 1f.
[e] [FESTING ?]: SONG in LOVE in a VILLAGE
Sung by Mr. BEARD. “The honest Heart”. n.i.
[c1765], 1f. In the lower half of the leaf is a song
sung by Dyer, “Think my Fairest”.
17.
Billington, Elizabeth (1765–1818, fl. c1783–
c1817), English soprano, the first truly
international British prima donna. She was
ranked at her death as ‘the most celebrated
vocal performer that England ever
produced’, and Michael Kelly called her
‘the Saint Cecilia of song’. Haydn called her
‘a great genius’ and composed Arianna a
Naxos for her. The Harmonicon praised her
‘inexhaustible fund of ornaments, always
elegant, always varying, always
extemporaneous; not even a pencil
memorandum of what she meant to do was
ever in her singing copy’. This gives added
importance to the printed evidence of her
ornaments in many of the following
examples (especially in the section [a–l]).
[a] ARNE: THE SOLDIER TIRED... at the Theatres
Royal Drury Lane & Covent Garden. Goulding & Co
[c1815], 3pp. Florid vocal line.
[b] ARNE: NEW EDITION. GENTLE YOUTH AH!
TELL ME WHY. [in] LOVE IN A VILLAGE... with
the VOCAL GRACES AS INTRODUCED BY Mrs.
Billington, Mrs. Dickons, Miss Stephens, Miss.
Griglietti, &c. &c. Dublin: the Author (T. Philipps),
[c1815?], 3pp.
‡[c] [ARNE]: The SONGS SUNG BY Mrs Billington
in... ARTAXERXES, with all the Graces, Variations,
& Embellishments, introduced by her... arranged...
BY Dr. Busby. W. Rolfe [c1802], 1f., 22pp. Complete
set of the 5 songs in the edition. Very rare.
[d] GIORDANI: RONDO, Introduced & Sung... in
the Lady of the Manor [by J. Hook]... “Oh stay ah
turn”. Preston [1788], 2ff. (pp.16–18), with vocal
ornaments.
 BÉGREZ, PIERRE (1787–1863, fl. 1815–
c1840), French tenor & teacher, sang at the
King’s Theatre 1816–24.
[a] SIA BENEDETTO AMORE! Canzonetta;
[and b] Bella speranza amica! NOTTURNO. London:
the author [c1820 (wmk)], each 3pp.
[c] SAY BUT THE WORD... Sung by... Mr. BEGREZ.
Mori & Lavenu [1831], 4pp., signed by the
composer.
15.
2
‘Billingtonian system of singing, in twelve golden
rules’, in which Elizabeth is referred to three times.
[e] HANDEL: ANGELS EVER BRIGHT & FAIR
Sung by MADAME MARA and Mrs. BILLINGTON. J.
Dale [c1802], 2ff. (pp.98–99), with vocal ornaments.
From Theodora.
[f] [HANDEL]: Tune the soft Melodious Lute, as
Sung... in Jephta. Goulding & Co [1800/04], 2ff.
(pp.113–115).
[g] AH WILL NO CHANGE OR CLIME. The
celebrated ADDITIONAL SONG introduced by MRS.
BILLINGTON in... Inkle and Yarico. Dublin: E.
Rhames [c1795], 2ff. Opera by S. Arnold.
[h] [Another edition]: Mrs. Billington’s additional
Song Introduced at the Theatre Royal Covent Garden
in... INKLE and YARICO... Longman & Broderip
[c1795], 4pp. Opera by S. Arnold.
[i] [ANON]: MRS. BILLINGTON’S Much admired
Song; Introduced in the OPERA of Lionel &
Clarissa. Arranged... by P. URBANI. “Why with
sighs”. Edinburgh: Willm. White [c1800?], 4pp.,
publisher unrecorded. English & Italian text.
‡[j] SHIELD: The favorite Song of GOLDEN
TREASURES ... in the Opera of FONTAINBLEAU.
Longman & Broderip [1784], 5pp. The song has a
very florid vocal line, and p.5 contains a highly
decorated coda, which is stated to be optional (an
option that I have never before seen in print at this
period).
[k] SHIELD: Have we cross’d the boist’rous Main...
in the CRUSADE. Longman & Broderip [c1790],
4pp., vocal ornamentation printed. Not in BUC.
[l] WINTER, P.: VAGHI COLLI AMENI PRATI,...
Duett, As Sung... By Sigra. Grassini & Mrs
Billington, In... IL RATTO DI PROSERPINA... M.
Kelly [1804], 6pp.
[m] WINTER: Apri alla Madre il Core... in... IL
RATTO DI PROSERPINA. M. Kelly [1804], 4pp.
Contains elaborate ornamentation.
[n] [ANON]: Mrs. Billington’s additional Song
Introduced... in... THE WOODMAN. “Court me not”.
Longman & Broderip [c1792], 4pp. Opera by Shield.
[o] A GROUP of 25 separately-published songs and
arias, duets, glees and a trio sung by Mrs Billington,
with her name featured on the title-pages, published
between c1795 and c1815, by composers including
Arne, Attwood, Boyce, Cimarosa, Kelly, Mayr,
Mozart, Shield and Winter. Her duets are sung with
Braham, Harrison, Grassini and Incledon, and the trio
with Grassini and Viganoni. Other singers include
Bartleman and Mme Mara.
 BLAND, MARIA (SANG AS MISS
ROMANZINI UNTIL 1790), (1770–1838, fl.
1781–1824), Italian-born soprano.
‘Twas in the solemn midnight hour A favorite
ballad... COMPOSED and Sung... by Mrs. Bland in
the new Comedy of SIGHS or THE DAUGHTER The
Poetry by R. Cumberland Esqr. T. Monzani [1799],
3pp. TP signed by the composer. Hoare’s comedy
was first given on 30 July 1799 at the Haymarket.
19.
20. Bland, Maria
[a] Go, George, I can’t endure you Sung my Miss
Romanzini in... NO SONG NO SUPPER... by Stephen
Storace. Longman & Broderip [1790], BUC 983,
CPM 54 p.315.
[b] A GROUP of 12 separately-published songs and
arias sung by her between c1795 and c1818, by
various composers including S. Arnold, Bishop and
Storace; also Thomas Shaw’s popular TO
WELCOME MIRTH & HARMLESS GLEE, The
Favorite Duett Sung by Mrs. BLAND & MISS LEAK
in the Play of the STRANGER... Longman &
Broderip [c1798], full score, pp.5–9, and a different
edition of it published by Clementi, Banger, Hyde,
Collard & Davis [c1801/10].
21.
Bowen, James (c1682–after 1701, fl. 1695–
1701), English singer, first as a boy. Henry
Purcell wrote roles for him and said of his
ornamentation: ‘he will grace it more
natutrally than you, or I, can teach him’.
Roger North saw him on a par with the star
performers of the day.
PURCELL, D.: Sung by Mr. Bowen in ye Comedy
call’d the Humor of ye Age Set by Mr. D: Purcell.
“Fixd on ye fair ye fair Miranda’s Eies”. n.i. [1701],
1 leaf. A florid vocal line. Thomas Baker’s play was
premiered on 1 March 1701 at Drury Lane.
 BRAHAM, JOHN (1774–1856, fl. 1796–
1852), tenor, creator of Sir Huon for Weber
in Oberon. He often wrote the music that he
himself sang in operas.
[a] THE ENGLISH FLEET in 1342, a Celebrated
Comic Opera as performed... at the Theatre Royal,
Covent Garden... M. P. Corri [c1803], 1f., 110pp.,
marbled boards. The complete opera, first edition.
CPM 7, p.370.
[b] A GROUP of 19 items, excerpts composed &
sung by him from the operas The Americans, The
Cabinet (5 — 1 with text changed in MS), The
Devil’s Bridge (2), The English Fleet (2), False
Alarms (signed by the composer), Family Quarrels,
22.
 BILLINGTON, THOMAS (1754–c1832),
tenor, teacher, brother-in-law of Elizabeth
B.
St. GEORGE & THE DRAGON. Preston for the
author [1824], [6]pp. The final page is headed
18.
3
Kais, Narensky, The Paragraph (2), The Thirty
Thousand, and the song ‘The King! God bless him’. 2
items are duets with Anna Storace, with whom he
had a liaison for 20 years.
27.
Brent, Charlotte [Mrs Pinto from 1766],
1734–1802, fl. 1755–73), English soprano,
pupil of Thomas Arne, for whom she
created several roles (including Mandane in
Artaxerxes and Rosetta in his pasticcio Love
in a Village).
[a] 2 separately-published songs in Artaxerxes:
“Adieu thou lovely Youth” and “IF O’ER THE
CRUEL TYRANT LOVE”. Both n.i., [c1765], 2ff. &
1f.
[b] 11 separately-published songs in Love in a
Village, all 1 or 2 ff. without imprint, [c1765–80].
ARNE: THE TRAVELLER BENIGHTED. ARNE:
“Gentle youth”. ARNE: WHEN WE SEE, (p.46).
BARNARD: “In Love shou’d there meet a fond
Pair”, 3 different editions, one anonymous, one with
the imprint ‘Sk[illern]’. GALUPPI: “Young I am and
sore afraid”. GIARDINI: “‘Tis not Wealth” (2
different editions, the second ‘Sung by Mrs Pinto’).
WELDON: HOPE THOU NURSE (duet with Miss
Hallam: 2 editions, one anonymous).
[c] 3 further songs: ARNE: A favourite Song in
Judith. “Vain is Beauty’s gaudy Flow’r”, n.i. [c1766–
70], 2ff. 2 editions, one naming her as ‘Mrs. PINTO’.
ARNE: NYMPHS AND SHEPHERDS Sung by Miss
Brent at Ranelagh, and by Mrs. Vincent, at
Vaux=Hall Gardens. n.i. [c1765], 2ff.
23. Braham, John
[a] CLARKE, John: The last words of Marmion,
EXPRESSLY WRITTEN FOR, & sung with
unbounded applause By Mr. BRAHAM. “The war,
that for a space did fail”. Preston [c1807 (wmk)], 1f.,
10pp.
[b] COOKE, T.: The celebrated Serenade of “LILLA
COME DOWN TO ME” as introduced in... the Siege
of Belgrade by Mr. BRAHAM. J. Power, & Dublin:
W. Power [c1810], 1f., 4pp.
[c] STEVENSON, John: Come tell me where the
Maid is found A BALLAD, Introduced in the Opera of
the Haunted Tower BY Mr. Braham. J. Power, &
Dublin: W. Power [c1809 (wmk)], 7pp.
[d] MARTÍN Y SOLER: PIETA PIETA DI NOI.
THE FAVORITE QUARTETT as Sung by Madm.
Fabrizzi, Mr. Braham, Sigr. Morelli, & Sigr.
Viganoni, in... L’ALBORE [sic] DI DIANA. L.
Lavenu [1797], 3pp.
[e] A GROUP of 11 separately-published songs &c.
sung by Braham at various venues, composed by
Hook, Michael Kelly, Nasolini, Reeve, Storace and
others.
28.
Camporese, Violante (1785–1839, fl. 1815–
1823), Italian soprano, pupil of Crescentini,
a fine singer of Mozart and Rossini (for
whom in 1819 she created the female lead in
Bianca e Falliero).
[a] PACINI, G.: Come sembravami CAVATINA... in
the Opera of LA SPOSA FEDELE. Birchall [c1819
(wmk)], 9pp.
[b] ROSSINI: Deh! pensa che domani, RECvo. E
EBBEN PER MIA MEMORIA, Sung by Madm.
Camporesi & Madm. Vestris, IN LA GAZZA LADRA.
Falkner [c1821], 12pp. The first London production.
 BRAMBILLA, MARIETTA (1807–75, fl.
1827–48), Italian contralto, created two
trouser roles for Donizetti — the first (1833)
being Orsini in Lucrezia Borgia, which she
also sang in the 1839 London premiere (see
below).
Ah! felice ancor sarò, Cavatina. Leader & Cock
[1846], 1f., 7pp. Not in CPM.
24.
25. Brambilla, Marietta
DONIZETTI: IL SEGRETO PER ESSER FELICI,
ARIA... [in] LUCREZIA BORGIA. C. Lonsdale
[1839], 5pp., first English edition.
 CARUSO, ENRICO (1873–1921, fl. 1894–
1920), Italian tenor.
‡[a] NO! NUN DI CA SO STATO I! ‹AMMORE E
LACREME.› CARMÉ. Chappell & Co, 1911, 1f., 8pp.
Not in CPM. Composed jointly with Richard
Barthélemy.
‡[b] DREAMS of LONG AGO JUGEND-TRAUM.
Einlage aus der Operette “THE MILLION”. Berlin:
C. M. Roehr (1912), 5pp., 1f. Not in CPM, which has
a New York edition, 10, p.327.
29.
26.
Branchu, Alexandrine Caroline (1780–1850,
fl. 1799–1826), French soprano, creator of
the leading roles in Spontini’s La Vestale,
Fernand Cortez, and Olimpia; a great
interpreter of Gluck.
SPONTINI: FERNAND CORTEZ Air avec Récitatif...
“Du dieu du mal implacables ministres”; and ...Air
chanté par Mme Branchu... “De l’amitié noble et
touchant modèle”. Paris: Mlles. Érard [c1817], PN 1
and 854, pp.9 & 5. Nos. 1 and 9 in the vocal score.
Worn copy.
4
‡[d] Cease your funning FROM THE BEGGARS
OPERA, with all the GRACES as Sung by Madame
Catalani. Clementi & Co [c1805], 3pp.
[e] 6 separate works, each “composed expressly for
Madame Catalani” by Pio Cianchettini, the pianist
who composed for her, accompanied her, and
directed her concerts and tours. In each edition
Catalani’s additional embellishments are inserted ‘As
sung by Made. Catalani’; the fact that Cianchettini
was her accompanist of course lends special
authenticity to her ornamentation set out in these
editions. [i] Scena ed Aria “Ah! quando cesserà”...
[sung by her] AT THE Bath and Bristol Musical
Festivals... W. Mitchell [1823], 11pp. Not in CPM.
[ii] “BENEDICTUS”, For Three Voices as sung at
the BATH & BRISTOL MUSICAL FESTIVALS, BY
Madame Catalani, Mr. Sapio & Signor Placci.
Birchall [1823], 1f., 11pp. [iii] SCENA E DUETTO,
“Che l’ira mia disarmi”, as Sung... by Made.
Catalani and Mr. Sapio at the new ARGYLL
ROOMS, May 22nd. 1822. Mitchell [c1822], 15pp.
Not in CPM. [iv] DUETTO CON RECvo. “Ecco di
Paso il tempio”, as Sung... by Made. Catalani and
Mr. Braham, AT THE Glasgow Musical Festival,
AND LIKEWISE AT Made. Catalani’s Edinburgh
Concerts. Mitchell [c1823], 15pp. Not in CPM. [v]
PIETOSÀ À MIEI LAMENTI... followed by an AIR
WITH VARIATIONS... by Wm. CLEMENTS, ‹of
Vienna.›. Dublin: J. Willis [c1823], 1f., 5pp. Not in
CPM. [vi] Cavatina and Polacca, Sei tu solo il mio
tesoro,” with Violin obligato, as sung... AT THE Bath
Choral Concerts, 1822... Mitchell [c1823], 1f., 9pp.
[f] 6 editions of separately-published vocal pieces
sung by Catalani, published by various London
publishers [c1810/25], by Guglielmi, Ferrari, Handel,
Mayr, Pucitta and Sarti; including a duet sung with
Naldi.
[g] An issue of Allgemeine musikalische Zeitung for
10 July 1816, no. 28, cols. 471–9. Under the heading:
‘NACHRICHTEN. Hamburg, im Juny. Einige
Bemerkungen, Madame Catalani und ihren Gesang
betreffend.’, C. F. G. Schwenke discusses Catalani’s
voice and singing and gives examples of her
ornamentation.
30.
Casentini, Anna (fl. 1790–97), Italian
soprano, engaged by the King’s Theatre.
[a] PAISIELLO: TUTTO DA VOI DIPENDE the
Celebrated Duetto, Sung... by Sigr. Lazzarini, &
Sigra. Casentini... [in] LA LOCANDA. Skillern, and
Goulding [1791], score, 8pp.
‡[b] PAISIELLO: NEL COR PIÙ NON MI SENTO...
Sung... by Sigra. Casentini, Sigr. Lazzarini, & Sigr.
Morelli [in] LA MOLINARELLA. Skillern, and
Goulding [1791], 7pp., with the Kings Theatre
Pantheon pictorial title-page.
 CATALANI, ANGELICA (1780–1849, fl.
1797–1824), Italian coloratura soprano,
renowned for her ornamentation, singing
regularly in London from 1806. Sang
Susanna in the first London performance of
Le Nozze di Figaro (1812).
[a] PAPA, A Favorite Canzonetta. Sung at the King’s
Theatre Hay Market by Madame Catalani, In the
Opera of IL FURBO CONTRO IL FURBO, The
Melody by Mme. Catalani, The Accompaniments by
G. G. FERRARI. Adolfo Ferrari [c1807 (wmk)], 4pp.
[b] VARIATIONEN über ein Thema von RODE von
Mme. Catalani... Hamburg: A Cranz [c1824], oblong
folio, 7pp.
31.
32. Catalani, Angelica
‡[a] Manuscript, very possibly in her hand, of an aria
“Frenar vorrei le Lacrime” by Portogallo, from his
opera La morte di Semiramide (1801). She has
inscribed it on the title-page ‘Madame Catalani
envoie beaucoup de compliments A Madame La
Duchesse D’Albufera’. The MS is paginated [128]–
149 (from a larger volume), oblong 4to. The music is
in score — oboe, trumpets, horns, bassoons and
strings; curiously the singing character is named
Zaira. The vocal line is already florid but pencilled
ornamentation has been added throughout, probably
by Catalani herself.
[b] FERRARI, G. G.: SIX Italian Ariettas, Composed
for MADAME CATALANI... To be had from the
Author, Birchall, and Kelly [c1810], 2ff., 17pp., with
2-page list of subscribers.
[c] 3 editions of: MOZART: O Dolce Concento, A
favorite Song, Sung by MADme. CATALANI. in the
Opera of Le Virtuose in Puntiglio, Composed by W.
A. MOZART. The Variations by Madme. Catalani,
Arranged by G. G. Ferrari. [i] L. Lavenu [c1805],
6pp.; ‘Allegretto’ on p.1 in upper & lower case. [ii]
L. Lavenu [c1805], 6pp.; ‘ALLEGRETTO’ in upper
case. [iii] A different caption title, Goulding,
D’Almaine Potter [c1811/16], 4pp. The music is ‘Das
klinget so herrlich’ from Die Zauberflöte.
 CATLEY, ANN (1745–89, fl. 1762–82),
soprano.
A favorite Air in Love in a Village, Composed and
Sung by Miss Catley. “Cease gay Seducers”. L.L.
[Longman Lukey] & JJ. [John Johnston] [c1775], 1f.
CPM 11 p.32. It was as Rosetta in this opera that she
first made her mark, introducing this song (which is
her only known composition).
33.
5
 COLBRAN, ISABELLA (1785–1845, fl.
1801–24), Spanish soprano, Rossini’s first
wife, creator of 9 Rossini roles.
‡ Sei CANZONCINE Ou Petits Airs Italiens... Paris:
au Magasin de Musique... Chérubini, Méhul...
[1805], 1f., 19pp., PN 344, Italian and French text.
Contemporary French crimson straight-grained
morocco, lettered in gilt, doublures of pale blue
watered silk. Not in CPM. Outstandingly fine and
rare.
34.
Cibber [née Arne], Susanna Maria (1714–
66, fl. 1732–65), English tragedienne and
singer, sister of Thomas Arne, sang in many
Handel premieres including Messiah.
ARNE: Sung by Mrs: Cibber in The Way to keep him.
“Ye fair marri’d Dames”. n.i. [c1760], 1f., worn.
Words by Garrick; Murphy’s play was premiered in
1760.
39.
35.
Cimador, Giambattista (1761–1805, fl.
c1790–1800), Italian singer and composer.
MARCELLO, B.: QUAL ANELANTE, The
Celebrated Duett as Sung by Messrs. Cimador and
Viganoni at Messrs. Cramer’s & Cimador’s Benefit
Concerts... Monzani & Hill [c1800], 7pp., score.
 CRESCENTINI, GIROLAMO (1762–
1846, fl. 1776–1805), Italian soprano
castrato, singing teacher to Napoleon’s
family; his didactic works were in use
throughout the 19th century.
[a] Sei Ariette ‹inedite› per voce sola... Napoli: G.
Girard [c1820?], 23pp., PN 416, oblong folio. The
first arietta begins “Auretta”. Uncut & unbound.
Work not in CPM.
[b] Six ARIETTES ITALIENNES... Paris: Mlles Erard
[c1808], 1f., 16pp., PN 706. The first arietta begins
“Sino al ultimo momento”. Work not in CPM.
[c] Six Italian Arietts... Rt. Birchall [wmk 1817], 1f.,
21pp. The same work as [b], not in CPM.
[d] Twelve Italian Ariettes... Rt. Birchall [wmk
1806], 1f., 21pp.. The first arietta begins “Tu mi
chiedi”. CPM 14 p.239. With a separate edition of
Arietta VII (“Clori la pastorella”), S. Chappell
[1828], with guitar accompaniment.
[e] An edition without general title-page but with
caption titles of nos. 7–12 of [d] above; Paris:
Imbault [c1803/7], pp. 14–25, Italian & French text,
PN 788. Not in CPM.
‡[f] SEI CANTATE E DICIOTTO ARIETTE a voce
sola... Milano: Gio. Ricordi [June 1820], 2ff., pp. 13,
14, 14. PN 822, 823, 824, oblong folio. This is the
third of the 3 books of this publication, containing
cantatas [5 & 6], Amor timido and La gelosia, and
ariettas 13–18; the first 2 books appeared in the same
month (see Laterza pp.28–9, where the full details of
the contents of each book are given). The typeset leaf
giving the texts of the cantatas follows the title-page.
Uncut and unbound. CPM 14 p.239 has a Bologna
edition.
[g] Twelve CANZONETTE Composed & Sung BY
Signor CRESSCENTINO [sic]. Lavenu & Mitchell
[c1808 (wmk)], 1f., 35pp. See CPM 14 p.239
‡[h] DODICI SOLFEGGI PER Voce di Basso.
Milano: Gio. Ricordi [Nov. 1828], PN 3831, 1f.,
36pp., oblong folio, 1 leaf wrongly bound.
[i] Manuscript headed ‘Arietta Crescentini’ of his
‘Spine voi che germogliate’, for voice and piano,
4pp., oblong 4to. This was published in Book 3 of Sei
cantate e diciotto ariette (see [f] above). It is just
40.
 CINTI DAMOREAU, LAURE (1801–63,
fl. 1816–48), French soprano, creator of
Rossini’s final 4 soprano roles and many for
Auber.
‡[a] Manuscript (possibly autograph) of 2 songs with
piano accompaniment, 3pp. oblong folio, [c1850?]:
‘Créature d’un jour qui t’agites une heure’, from
Musset’s poem Lettre à M. de Lamartine; and
Gabriel Prévost’s ‘Nous nous aimâmes tout un jour’.
With MS corrections.
[b] DÉVELOPPEMENT PROGRESSIF DE LA
VOIX. NOUVELLE MÉTHODE DE CHANT A
L’USAGE DES JEUNES PERSONNES...
INTRODUCTION A SA MÉTHODE D’ARTISTE.
Paris: Heugel [1855], 8vo, 88pp., original boards
worn. CPM 40 p.151. An extremely popular method,
reissued as late as 1890 and translated into 4
languages.
[c] AH! la voila. Romance. Paris: Carli [c1827]. Not
in CPM.
36.
37. Cinti Damoreau, Laure
‡[a] PAER: LES JOYEUX PASSAGERS Barcarolle...
Composée & Dédiée À Mme DAMOREAU. Paris:
Maurice Schlesinger; Berlin A. M. Schlesinger
[1830/31], PN 1068, 1f., [2]pp., Lith vignette on titlepage by Jaime.
[b] MEYERBEER: ROBERT, TOI QUE J’AIME,
CAVATINA, Sung... [in] ROBERT LE DIABLE.
Chappell [1832], PN 3990, 8pp.
38.
Clive, Catherine (‘Kitty’), (1711–85, fl.
1728–69), Anglo-Irish soprano and comic
actress, made her reputation in ballad
opera.
‡ Aileen aroon an Irish Ballad. Sung by Mrs. Clive at
ye Theatre Royal. n.i. [c1740], 1f.
6
possible that this and the next item may be in the
composer’s hand.
‡[j] Manuscript in the same hand as [i] of an arietta
‘Una moglie sventurata’ for voice and piano, 4pp.,
oblong folio. No printed source of this arietta found.
‡[k] Manuscript of the arietta ‘Or che la notte invita’,
4ff. oblong 4to, with elaborate additional vocal
ornamentation on the last 4 pages in a different hand.
The arietta was published by Ricordi in Book I of Sei
cantate e diciotto ariette in June 1820.
 DIBDIN, CHARLES (1745–1814, fl.
1765–1808), English composer, singer and
entertainer.
[a] Irish Italian Song... for... THE WAGS... The
Author [1790], 11pp., signed by the composer.
Accompanied by strings, flutes & keyboard. A satire
on Italian operatic singing, mentioning Pacchierotti,
Perretti, Tenducci, Mme Mara, Mingotti, and
Marchesi.
‡[b] Pomposo a RECEIPT for an ITALIAN SONG...
Preston [c1805], 4pp. A wonderful satire on Italian
singing.
44.
 CRIVELLI, DOMENICO (1793–1851),
Italian singing teacher, pupil of Millico.
Non giova il sospirar, CANZONETTA VENEZIANA.
With Embellishments, BY SIGNOR D. CRUVELLI.
Lonsdale & Mills [1830], 3pp., with frequent printed
ornaments.
41.
 DIGNUM, CHARLES (c1765–1827, fl.
1784–1812), English tenor, pupil of Thomas
Linley; composer.
[a] Caroline OF Dartmouth, ... the Melody
Composed & Sung by Mr. Dignum... At the
ANACREONTIC SOCIETY &c. &c. S. A. & P.
Thompson [c1790], 2ff.
[b] THE Maid of the Rock... Sung... by Master Walsh,
at the THEATRE ROYAL in the HAYMARKET the
Melody Composed by Mr. DIGNUM the
Accompaniments by Mr. Florio Junr. Longman &
Broderip [c1795], full score, 5pp.
45.
42.
Crouch, Anna Maria (née Phillips), (1763–
1805, fl. 1780–1801), English soprano, pupil
of Thomas Linley, created many roles
(especially for Storace), lived with Michael
Kelly.
[a] LINLEY: STILL THE LARK FINDS REPOSE...
Sung by MISS PHILLIPS in the SPANISH RIVALS. S.
A. & P. Thompson [1784], 4pp., repaired. She
married Crouch in 1785.
[b] CORRI, D.: EVENING Sung by Mrs. Crouch at
the Theatre Royal Edinburgh. n.i. [c1795], 2pp.
[c] ANON: FAIR ROSALE ... sung by Mrs.
CROUCH at the MUSIC HALL, LIVERPOOL, and
Mr. Dignum at the Anacreontic Society. S. A. & P.
Thompson [c1795], full score, 4pp.
[d] 2 editions of “When pensive I thought of my
love”, sung by her in Michael Kelly’s Blue Beard.
Published by Corri, Dussek & Co [c1798], and by D.
Corri [c1805].
[e] 2 songs sung by her in The Heiress [1786]: “For
tenderness form’d” (S. A. & P. Thompson) and
“Belle Rosine” (J. Dale).
[f] PLEYEL: Tho’ pity I cannot deny... in the
Haunted Tower. Longman & Broderip [c1790], 3pp.
An insertion aria into Storace’s opera.
[g] STORACE: The Summer heats bestowing... in the
DOCTOR and the APOTHECARY. Longman &
Broderip [c1788], 4pp. Written for the adaptation of
Dittersdorf’s opera.
[h] STORACE: Ye streams that round my Prison
Creep... [in] LODOISKA. J. Dale [1794], 4pp.
Composed for Kreutzer’s opera.
46. Dignum, Charles
7 separately-published songs sung by him [c1790–
1800]: Could a Man be secure, and WINE CANNOT
CURE, both duets with Sedgwick sung at the Je ne
scai quoi Club; HOOK, Bright Phoebus has mounted
the Chariot of Day, sung at Drury Lane; HOOK,
Within a Mile of Edinburgh; LINLEY, Primroses
Deck the Banks green side; REEVE, THE GALLEY
SLAVE, sung at Drury Lane; and ...THO BACCHUS
MAY BOAST OF HIS CARE KILLING BOWL, sung
at the Anacreontic Society.
 DONZELLI, DOMENICO (1790–1873, fl.
1808–44), Italian tenor, creating roles for
Rossini and Halévy, and Pollione in Norma.
Esercizj giornalieri di CANTO. Vienna: Pietro
Mechetti [1842/3], 43pp., PN 3700, title-page
repaired. Not in CPM.
47.
 DUPREZ, GILBERT (1806–96, fl. 1825–
50), French tenor and teacher.
[a] LE JUGEMENT DERNIER. ORATORIO en 3
PARTIES... PARTITION arrangée avec accompagnt.
de 1 et de 2 Pianos par l’Auteur. Paris: Heugel
[c1860]. Vocal score, 8vo, 5ff., 138pp. Subscribers’
list. Thick paper copy, a.e.g., contemporary full goat,
gilt tooling; initials ‘G.D.’ on front cover — certainly
the composer’s personal copy, with an inserted
48.
43.
Davis, John (fl. 1700–1705), English singer,
at the Lincoln’s Inn Fields Theatre.
WELDON, John: A SONG... Sung by Mr Davis. “Fair
Celia’s Eyes”. n.i. [c1704], 2ff. Not in RISM or BUC.
7
autograph leaf detailing the costs of mounting a
performance.
‡[b] Autograph manuscript, signed with initials and
dated Varennes, Puy de Dôme, 22 August 1883: a
song Loin d’Elle!, for tenor and piano, 2½ pp., folio,
marked up for printing. Not in CPM.
[c] 2 published songs: SUR LA TAMISE. Nocturne à
deux voix, Paris: Meissonnier [c1838/9], dedicated to
Balfe; and LA FILLE DU GEOLIER. CANTILÈNE
pour voix de Tenor, Paris: Bernard-Latte [1842].
Inscribed by the composer in pencil, Monte Carlo
1880. This includes song [a] above. Bound with
Deuxième Recueil 20 Mélodies de J. Faure... Paris:
Heugel & fils [1876], PN 4707, 2ff. 127pp. Signed by
the composer. CPM 20 p.287.
[d] Troisième Recueil 20 Mélodies de J. Faure...
Paris: Heugel & fils [1881], PN 5296, 2ff., 129pp.
This includes song [b] above.
[e] Separate publications of 4 songs (1872–1902), 3
with pictorial title-pages — Pauvre France 1870–
1871, Valse des feuilles, Hymne aux astres, Un petit
enfant — and Pater noster (1903); Paris: Heugel,
folio.
[f] Une Année d’études. Exercices et vocalises avec
théorie... Édition pour ténor ou soprano. Paris:
Heugel [1923 issue], PN 6675, 141pp., original
wrappers, minor repairs.
49.
Falcon, Cornélie (1814–97, fl. 1832–42),
French soprano, pupil of Pellegrini and
Nourrit, creator of Valentine (Les
Huguenots) and Rachel (La Juive).
PANOFKA, H.: MADEMOISELLE CORNÉLIE
FALCON. REBECCA Scène Dramatique DE Mr.
Emilien Pacini... OP. 12. Paris: Maurice Schlesinger
[1836/7], PN 2310, 9pp. The work is dedicated to
Falcon.
Feron, ‘Miss’ (fl. c1808–c1830), English
soprano, associated with the London
Pleasure Gardens (where she sang from
memory — rare at the time).
‡[a] PARKE, W. T.: THE ROMP or the GREAT
CATALANI... Sung at Vauxhall Gardens. J. Fentum
[c1809], 5pp. Her most famous song, in imitation of
Catalani’s singing style.
[b] STORACE: “SIGNOR SIGNOR”... Duet, Sung
by MADAME FERON & Mr. BRAHAM, in the Opera
of Isidore de Merida. Clementi & Co. [c1827], 5pp.
Ornamentation printed in the edition.
52.
 [FARINELLI] BROSCHI, CARLO
(1705–82, fl. 1720–37), Italian soprano
castrato, the most admired of all the
castrati; composer of 11 arias (listed in
NewGrove).
‡[a] Copyist’s manuscript, Aria Del Sigr Broschi.
“Care luci perdonate”. Voice written in the soprano
clef, accompanied by 2 horns, strings and bass, 23pp.,
full score, oblong 4to. Not listed in NewGrove.
[b] Copyist’s manuscript of a 16-bar song “Che digo
e vero patrona cara”, with bass accompaniment,
attributed to Signor Broschi (misspelled) at the head;
1 page, written in the soprano clef on the fourth page
of a manuscript of Handel’s da capo aria for and from
Admeto, sung by Senesino at its 1727 premiere: “Si
caro caro si ti stringa al fin”, the voice part being set
in the soprano clef, with accompaniment for a treble
instrument (probably a violin) and bass; 3pp. obl. 4to.
The song is not listed under Farinelli in NewGrove.
50.
 FODOR-MAINVIELLE, JOSÉPHINE
(1789–1870, fl. 1810–33), French soprano,
singer in the first London and Paris
performances of many of Rossini’s operas;
also specialised in Mozart roles.
Trois ROMANCES Avec Accompagnement de
Piano... Première Cantatrice du Théâtre Royal
Italien. Paris: Carli [c1820], PN 1172, 1f., 7pp. No
work of hers in CPM.
53.
 FAURE, JEAN–BAPTISTE (1830–1914,
fl. 1852–86), French baritone, creator of
Meyerbeer’s Nelusko (L’Africaine), Verdi’s
Posa (Don Carlos), and the title-role in
Thomas’s Hamlet.
[a] Autograph manuscript of Les Myrtres sont flétris,
4pp. oblong folio, written in the treble clef, signed
and dated London, March 1872, the engraver’s copy
marked up in pencil.
‡[b] Autograph manuscript, Ici bas tous les lilas
meurent, title-page and 2pp., oblong folio, written in
the treble clef, signed and dated Etretat, 1876., the
engraver’s copy, marked up in pencil.
[c] Premier Recueil 25 Mélodies de J. Faure... Paris:
Heugel & fils [c1872], PN 4168, 2ff., 127pp.
54. Fodor-Mainvielle, Joséphine
[a] ROSSINI: Una Voce poco fà, CAVATINA... [in]
IL BARBIERE DI SIVIGLIA. Rt. Birchall [c1825],
9pp. With ornamentation in pencil (probably
contemporary).
[b] ROSSINI: The Echo, Rossini’s favorite Rondo...
Arrasnged... BY C. M. Sola. “Quel dirmi o Dio”.
Falkner [c1820], 7pp.
[c] ISOUARD (‘NICOLO’): Non je ne veux pas
chanter. Rt. Birchall [c1820 (wmk)], 11pp. The vocal
line towards the end becomes extremely florid.
51.
8
 GARAT, PIERRE-JEAN (1762–1823, fl.
c1785–c1810), French tenor and baritone,
regarded as the supreme interpreter of
Gluck.
[a] SIX ROMANCES... Paroles de Mr.
Dechampcenet. Paris: J. H. Naderman [c1790], 1f.,
13pp. RISM G351 (Paris only), not in CPM or BUC.
[b] La Complainte DU TROUBADOUR Paroles et
Musique de Garat. Paris: Freres Gavaux [c1800],
11pp., oblong folio. Title-page initialled by the
composer, CPM 22 p.355.
[c] No. 58. ARIETTES ITALIENNES. del Sigr.
Garat... “Giovinetti che qui state smorfiosi / Ô jeune
homme trop volage”. Paris: Erard [1804/5], PN 466,
6pp. Not in RISM or CPM.
[d] Henri Quatre à GABRIELLE... Paris: Erard
[1808/9], 2ff. Not in RISM or CPM.
[e] EL CABALLO. “Yo que soy contrabandista”. [No
imprint, c1820?], [2]pp., possibly the supplement to a
journal.
‡[f] CHANSONS ESPAGNOLES PAR MANUEL
GARCIA PÈRE Paroles françaises de Mr. LOUIS
POMEY Arrangées avec accompagnement de Piano
PAR Mme. PAULINE VIARDOT. Paris: E. Gérard
[c1875], PN 11415. Complete set of the 6 songs, with
the additional single leaf for each song giving the
original Spanish text.
‡[g] ALBUM dedié à Mademoiselle GARCIA. AIRS
ET ROMANCES chantées aux Concerts à Paris,
Londres, Bruxelles, Berlin, Vienne etc. par
MADAME MALIBRAN et sa soeur
MADEMOISELLE PAULINE GARCIA. Berlin: A. M.
Schlesinger [c1838], 35 pp., 1f, + lith. portrait of
Pauline García as frontispiece; title-page printed in
colours, original yellow printed wrappers. The
contents include Manuel García’s AY, AY ! LAS
NADORAS and EL CONTRABANDISTA, and songs
by Joseph Dessauer (2), Pauline Duchambge,
Meyerbeer, A. de Beauplan, Loïsa Puget, Louis Huth,
and Maria Malibran’s RATAPLAN and “LÈVE-TOI
!”.
55.
 GARCÍA, MANUEL (i) (1775–1832, fl.
1797–1831), Spanish tenor, creator of Count
Almaviva in Rossini’s Il Barbiere di Siviglia,
introduced Italian opera into America,
eminent composer, father of Maria
Malibran, Pauline Viardot and Manuel (ii,
the eminent singing teacher).
‡[a] Autograph musical manuscript, oblong 4to,
bearing the watermark date 1812 (which suggests that
it may date from one of García’s visits to London).
The first part contains three unaccompanied vocal
quartets, signed at the head of the first, which is
marked andante a 4: “Se nel placido orror”, written in
the soprano, soprano, alto and tenor clefs, pp.[1–9],
oblong folio. The second quartet in 6/8 begins on
p.10 and is written for 3 trebles and a tenor; the third
(pp.16–18) is in 3/4 and reverts to 2 sopranos, alto
and tenor; it is incomplete. The second part of the
manuscript is on p.24–40 and consists of L’Agnellina.
Canone a 4 voci, an elaborate and substantial piece
for 3 trebles and a tenor with piano accompaniment,
to the words “Vado corro per valli e per monti”.
Pages 40–45 contain the beginning of another canon
for 2 sopranos, alto and tenor, but García has not
completed it.
García liked to compose canons — see [b & c]
below. This is a working manuscript, showing many
changes, corrections, and crossings-out. He visited
London first in 1818. In 1824 he opened a singing
academy in Dover Street.
[b] CANONE... “Donzellette che presto volate”.
Paris: l’auteur [c1818], 1f., 9pp.
[c] CANONE... “Se mi prestasse”. Paris: l’auteur
[c1818], 6pp.
[d] CANZONETTA VARIATA... “Se tu sapesi quanto
t’adore”. Paris: [l’auteur c1818], pp.2–5.
56.
57. García, Manuel (i)
‡[a] PAISIELLO: SAPER BRAMATE. CAVATINA
DEL BARBIERE DI SIVIGLIA. Paris: au Trophée
Musical [Omont, 1815], 2pp. Published the year
before García created Almaviva (the same role) in
Rossini’s opera.
[b] ROSSINI: Zitti, Zitti, Piano, Piano... TERZETTO,
as Sung by Made. Fodor, Signori Garcia e Naldi [in]
IL BARBIERE DI SIVIGLIA. Rt. Birchall [c1817],
4ff. (pp.12–18).
58.
Garden, Mary (1874–1967, fl. 1900–34),
American soprano of Scottish birth, pupil of
Fugère and Sybil Sanderson, creator of
Debussy’s Mélisande and Massenet’s
Chérubin.
CUVILLIER, C.: POUR MARY GARDEN.
MÉLANCOLIE. Paris: Enoch (1903), 4pp. The song
is dedicated to her.
59.
Gardoni, Italo (1821–82, fl. 1840–74), Italian
tenor, creator of Carlo, the leading tenor
role in Verdi’s I Masnadieri (1847) — the
only Verdi opera to be premiered in
England.
VERDI: O mio castel paterno... [in] I MASNADIERI.
Addison & Hodson [1847], PN 1307, 3pp. Published
during the first run, in July 1847.
9
her... Willis & Co. [1834], PN 1370, 14pp. Pencilled
MS markings in the very florid vocal line.
[b] DONIZETTI: Al dolce guidami Castel natio,... in
the Opera of ANNA BOLENA. Charles Ollivier
[c1840], PN 2, pp.3. Ornamentation printed in, MS
markings.
[c] DONIZETTI: O mio Fernando... [in] LA
FAVORITA. R. Mills [c1848], PN 3472, 9pp., some
MS ornamentation.
[d] DONIZETTI: L’AMOR SUO MI FÈ BEATA...
[in] ROBERTO DEVEREUX. Chappell [1838], PN
5639, 9pp., with printed ornamentation.
[e] MARLIANI: [2 editions] STANCA DI PIÙ
COMBATTERE, ARIA. INTRODUCED AND
SUNG... IN [ROSSINI’S] OPERA OF OTELLO.
Lonsdale & Mills [1834], PN 2721, 9pp. And an
edition by D’Almaine & Co [c1834], 9pp.
Ornamention printed in both editions.
‡[f] MERCADANTE: Quando guerrier mio
splendido... [in] I BRIGANTI. D’Almaine [1836],
11pp., with ornamentation printed in.
60.
Girelli Aquilar, Antonia Maria (fl. 1752–73),
Italian soprano, created roles in 2 Gluck
operas and Silvia in Mozart’s Ascanio in
Alba.
VENTO: A FAVOURITE RONDO... Sung by Sigra.
Girelli in Sophonisba. “Mio Sposo mia vita”.
Welcker [c1780], full score, 8pp.
61.
Grassini, Josephina (1773–1850, fl. 1789–
1823), Italian contralto, sang in the premiere
of Cimarosa’s Gli Orazi ed i Curiazi,
supervised the singing studies of her nieces
Giuditta and Giulia Grisi.
[a] BRAHAM: Dunque non senti O barbaro... Duett,
Sung by Mr. Braham & Made. Grassini In... GLI
ORAZI E I CURIAZI. M. Kelly [1805], 5pp.
[b] MAYR: The favorite Rec. & Duetto, Parto ti
lascio, addio! from the opera of LODOISKA, as
introduced, & Sung by Signra. Grassini, & Sigr.
Viganoni, in the Opera, LA VERGINE DEL SOLE.
Rt. Birchall [1804], full score, 11pp.
[c] WINTER: 4 publications from Il Ratto di
Proserpina, performed at the King’s Theatre in 1804.
Lieti Fiori, O Giove omnipotente, PAGA FUI FUI
LIETA UN DI, and the trio Mi lasci o Madre amata
(with Sigra Griglietti and Mme Vestris. Some
ornaments printed, also with some MS markings, the
first 3 published by Kelly, the fourth by Falkner.
Final page torn, small loss.
65.
Harrison, Samuel (1760–1812, fl. 1776–
c1800), English tenor and impresario,
concert and oratorio singer, known for the
purity of his voice.
2 separately-published songs sung by him —
Webbe’s THE ROSE HAD BEEN WASH’D., G.
Walker, [c1800], 4pp., and Shield’s The Falls of the
Clyde, L. Lavenu [c1805], 6pp, signed by the
composer.
62.
Grisi, Ernesta (fl. c1835–c1845), mezzosoprano, daughter of Josephina Grassini,
sister of Carlotta Grisi, the great dancer,
cousin of Giuditta and Giulia.
DONIZETTI: Il segreto per esser felice...
IN...LUCRETIA BORGIA. Addison & Hodson
[c1847], PN 4263, 5pp.
66.
Hayes, Catherine (1825–61, fl. 1845–c1860),
Irish soprano, pupil of Ronconi.
MAYNARD, W.: “I SEEK FOR THEE IN VAIN”,
Ballad. Cramer Beale [c1855], 7pp.
67.
Hughes, Francis (1666/7–1744, fl. 1700–
c1718), English counter-tenor, leading man
(Ormondo) in the first English opera in the
Italian style, Arsinoe, and the hero (Turnus)
in Bononcini’s Camilla.
BARRETT, J.: A SONG... Sung by Mr Hughes at the
Theatre. “Love and Folly were at Play”, n.i. [c1708],
1 leaf.
63.
Grisi, Giuditta (1805–40, fl. 1826–38),
mezzo-soprano, sister of Giulia, a great
Bellini singer and creator of Romeo in I
Capuleti e i Montecchi.
RICCI, Luigi: DUETTO Resta o crudele a pascere...
[from] CHIARA DI ROSEMBERGH... Eseguito in
Milano [with] Sigr. B. Winter. Napoli: B. Girard
[c1838], PN 2365, oblong folio, 16pp.
68.
Incledon, Charles (1763–1826, fl. c1785–
c1815), English tenor, pupil of Rauzzini,
sang in the first London Creation; at Covent
Garden 1790–1815 becoming the leading
English stage tenor.
[a] HOOK: THE LASS of RICHMOND HILL... AT
VAUXHALL GARDENS. Preston [c1790], full score,
4pp. First edition of one of the most beautiful songs
of the Century.
64.
Grisi, Giulia (1811–69, fl. 1830–61), great
Italian soprano, creator of Adalgisa
(Norma), Elvira (Puritani), Norina (Don
Pasqale) and other roles. Lifelong
companion of Mario.
‡[a] COSTA, M.: RECITATIVO... and ARIA “Dall’
asilo della pace,” [Sung in] Rossini’s Opera
L’ASSEDIO DI CORINTO. Composed expressly for
10
 KELLY, MICHAEL (1762–1826, fl.
1777–1808), Irish tenor, prolific composer,
stage manager of the King’s Theatre, &
publisher; Mozart wrote the roles of Don
Basilio and Don Curzio for him.
‡[a] THE GRAND DRAMATIC ROMANCE of Blue
Beard or Female Curiosity, As now performing at...
DRURY LANE... Corri, Dussek [1798], vocal score,
1f., 74pp., pictorial title-page depicting a scene from
the opera, oblong folio, boards. Blue Beard was his
major work, premiered on 16 January 1798 and
remaining in the repertory for 26 years. He, Banister,
Mrs Bland, Mrs Crouch, and Suett are named singers
in this score.
‡[b] The Music of PIZARRO, A PLAY, As now
Performing at... DRURY LANE... For Mr. Kelly
[1799], vocal score, 1f., 30pp., uncut & unbound.
Words by R. B. Sheridan, first performed on 24 May
1799. Among the named singers in the score are
Kelly, Mrs Crouch, and Dorothy Jordan. The music
of three of the movements is by Dussek, Gluck and
Cherubini.
[c] Also 16 further items — 11 excerpts composed
by him from the operas The Blind Bargain, Blue
Beard (4 different editions), The Castle Spectre,
Feudal Times, A Friend in Need, Of Age Tomorrow
(2), and Semiramide, and five songs “Adieu my
fears”, “I sigh for the days”, “The Ray that beams for
ever”, “Rest, warrior rest”, and “The wood pecker”
(sung by Braham at Drury Lane); published c1797–
1818 by Kelly, T. Cooke, Corri Dussek, J. Dale, H.
Falkner, Gow & Shepherd, Hime, J. Power and W.
Power. As well as Kelly himself, the singers include
Maria Bland, Braham, Mrs Crouch, Sgra Grigletti,
Horn, and Catherine Stephens.
[b] MAZZINGHI: 7 separately-published songs,
from operas and entertainments sung by Incledon,
published c1800/10 — SEE FROM OCEAN RISING
(2 different Goulding editions); VAST IS THE
SWELLING TIDE OF JOY; A BLOOMING
FLOWER; TOM STARBOARD; THE CAPTIVE TO
HIS BIRD; and WHEN ORDER IN THIS LAND
COMMENC’D.
[c] SHIELD: 9 songs sung by Incledon, published
[c1785/1815], 3 signed by Shield — OLD TOWLER
(2 different editions); THE HEAVING OF THE
LEAD; Tell her I’ll love her (2 editions); The Post
Captain; SALLY ROY; and The Streamlet that flow’d
round her Cot (2 editions).
[d] 19 further songs sung by him, including BLACK
EYE’D SUSAN (3 editions), THE STORM (one of his
best-known songs, 2 editions), 5 songs by John Davy
(including The Bay of Biscay, 2 editions), 2 by
Reeve, and others.
72.
69.
Ivanoff, Nicola (1810–80, fl. 1832–c1850),
Russian tenor, protégé of Rossini. Verdi
composed insertion arias for him in Ernani
and Attila.
DONIZETTI: “OR CHE IN CIELO”... [in] MARINO
FALIERO. Mori & Lavenu [1835], without PN.
70.
Jordan, Dorothy (1761–1816, fl. 1776–1814),
singer and great actress, composer of The
Blue Bells of Scotland..
[a] CHARD, G. W.: The FAVORITE SONG in
PIZARRO, As Originally Design’d for Mrs. Jordan...
The Words by R. B. Sheridan Esq. “Yes! Yes! be
merciless”. Goulding, Phipps & D’Almaine for the
author [1799], 7pp. Michael Kelly wrote most of the
music for Sheridan’s play.
[b] DIBDIN, C.: Dear me how I long to be Married...
[in] the ROMP. n.i. [c1797 (wmk)], 2ff.
[c] A LADY OF FASHION: ROSA & HENRY... [in]
the SECRET. Longman, Clementi [c1799], 4pp.; and
another edition without imprint, wmk 1815.
[d] PARSONS, William: The Favorite Mad Song... in
the LAST OF THE FAMILY. “Blest were the hours”.
J. Dale [c1797], 4pp.
73. Kelly, Michael
A group of 4 separately-published songs sung by
Kelly:
[a] STORACE: Spirit of my fainted Sire... in the
HAUNTED TOWER. Longman & Broderip, [1789],
4pp.
[b] I’ve roam’d thro many a wearied round... [in] the
Gipsy Prince. M. Kelly [c1801], pp.22–24.
[c] Pray Goody, please to moderate... [in] MIDAS.
Falkner & Christmas [c1810], 4pp.
[d] Lost to the World forgot forlorn... in RICHARD
COEUR de LION. S. A. & P. Thompson [c1786],
4pp.
71.
Kellogg, Clara Louise (1842–1916, fl. 1860–
87), American soprano and impresario, a
famous Marguerite, Aida and Carmen.
‡ MOULTON, C.: BEWARE! TAKE CARE... New
York: G. Schirmer (©1865). Striking pictorial titlepage. Longfellow’s famous song.
11
[b] ‹Adraspe› Sung by Sigra Margaritta in the Opera
of Croesus. “Al bel Idolo del mio core”. [Walsh &
Hare, c1714], 2ff. (pp.44–45), repaired. The pasticcio
Creso was premiered at the Queen’s in January 1714.
74.
Kemble, Adelaide (1814–79, fl. 1835–42),
English soprano, pupil of Pasta; had a short
but highly successful career, especially as
Norma.
[a] BELLINI: THE VOCAL BEAUTIES OF NORMA.
No. 1. THE MOTHER’S FAREWELL... Adapted to
the first movement of “Deh conte”. S. Nelson
[c1844], 1f., 4pp.
[b] ROSSINI: DARK DAY OF HORROR! Duet
SUNG IN SEMIRAMIDE. BY MISS ADELAIDE
KEMBLE, & Mrs. ALFRED SHAW... Adapted by
JULES BENEDICT. Jefferys & Nelson and Cramer,
Addison & Beale [c1842], 1f., 4pp.
79.
Leveridge, Richard (1670–1758, fl. 1695–
1751), English bass singer and composer, for
half a century a leading singer on the
London stage, ‘the Father of the English
Stage’.
[a] [GALLIARD, J. E.]: Sung by Mr. Leveridge in
Apollo and Daphne. “Tho’ Envious old Age”. n.i.
[1726], 1 leaf.
[b] Charon. Sung by Mr. Leveridge in the Masque of
Dr. Faustus. “Ghosts of ev’ry Occupation”. n.i.
[c1724], 1 leaf.
[c] CLARKE, Jeremiah: A Dialogue in the Island
Princess Sung by Mr. Leveridge & Mrs Lindsey Set
by Mr. Clark. “‘Tis Sultry weather”. n.i. [c1705], 2ff.
[d] [STEFFANI, A.]: Baldo Sung by Mr. Leveridge
in the OPERA of THOMYRIS. “Farewell love”. n.i.
[c1710], 1 leaf.
 LABLACHE, LUIGI (1794–1858, fl.
1812–56), Italian bass, ‘the greatest
dramatic singer of his time’ (Lumley),
creator of numerous roles for Bellini,
Donizetti, Verdi etc. including Don
Pasquale.
MÉTHODE complète DE CHANT... avec
EXEMPLES DÉMONSTRATIFS, EXERCICES ET
VOCALISES GRADUÉES... Paris: Canaux [1840/41],
PN C.C.556, 2ff., 90pp., including lith. portrait,
contemporary quarter vellum.
75.
80.
Lind, Jenny (1820–87, fl. 1838–87), Swedish
soprano, ‘the Swedish nightingale’, one of
the legendary singers of all time.
‡[a] BENEDICT, J.: TAKE THIS LUTE... Composed
for, & Sung by MADlle. JENNY LIND. Cramer, Beale
[1849], 5pp.; Lind’s ornamentation printed in.
[b] BENEDICT: FAREWELL SONGS OF JENNY
LIND IN AMERICA... 3. THE LAST ROSE OF
SUMMER. Boston: G. P. Reed [1851], PN 447, 5pp.
[c] DIABELLI, A. (ed.): NORWEGISCHES
SCHÄFERLIED ‹Herbei ihr muntern Thiere›...
Gesungen von Dlle. JENNY LIND IN WIEN. Wien:
A. Diabelli [1846], PN 8384, 11pp. The song is
printed twice here — for high and low voice.
[d] DONIZETTI: APPARVI ALLA LUCE, [in] LA
FIGLIA DEL REGGIMENTO. T. Boosey [1851],
5pp. Lind’s ornamentation is printed in. Marie was
one of her best-loved roles.
‡[e] VERDI: CARLO VIVE? O CARO ACCENTO,
[in] I MASNADIERI. Addison & Hodson [1847], PN
1315, pp.[6]–11, with additional decorative title-page
which includes a portrait of Lind and 4 of her
operatic scenes. This title-page is not mentioned
under Hopkinson 47A(h). Alternative notation for
Lind is printed in. This was the only Verdi role that
she created, at Her Majesty’s on 22 July 1847.
Some Lindiana:
[f] DONIZETTI: MUSICAL BOUQUET. POLKA ON
AIRS FROM “LA FILLE DU REGIMENT”. Musical
Bouquet [c1850?], no. 147, pp.[10]–12, for piano
solo; lith. portrait on title-page of Lind as Marie.
76. Lablache, Luigi
‡ MEYERBEER: SCENA E TERZETTO ‹Cara il
soave istante› Nell’ Opera l’Esule di Granata [sung
by] TOSI. PISARONE. e... LABLACHE. Milano: Gio
Ricordi [1822], obl. folio, PN 1373, 25pp. First
edition.
77.
Laguerre, John (c1702–1748, fl. c1720–
c1745), English baritone, singer in the
premieres of Handel’s Radamisto and Giulio
Cesare, also known as a dancer, composer
and scene-painter.
‡ GALLIARD: Sung by Mr. D’Legard in Dr. Faustus
or the Necro Mancer. “While on ten thousand
Charms I gaze”. [Walsh & Hare, 1724], 2ff. (pp.3–4).
78.
L’Epine, Margherita de (c1680–1746, fl.
1698–1733), Italian soprano, the leading
female singer just before and after the
introduction of Italian opera to London and
the first Italian to establish a lasting
reputation there; she created roles for
Handel.
[a] [GALLIARD]: Calypso› Sung by Sigra.
Margaritta. “No more let sorrow wound thee”.
[Walsh & Hare, c1712], 1f. (p.16). From Calypso &
Telemachus.
12
[g] JULLIEN: THE SWEDISH NIGHTINGALE
WALTZ. Jullien & Co [c1850], 21pp, for piano 4hands.
[h] JULLIEN: LA FIGLIA DEL REGGIMENTO
POLKA... Jullien & Co [c1847], 11pp., for piano
solo. The title-page is illustrated with a particularly
fine example of Brandard’s coloured lith. of Lind in
costume, saluting. [‡ See back cover of this
catalogue.]
[i] KOENIG, H.: THE JENNY LIND WALTZ...
Jullien & Co [c1847], 11pp., for piano solo.
[j] KUHE, W.: No. 2. Two Fantasias for the Piano
Forte on the favorite Airs sung by MADlle. JENNY
LIND. Cramer, Beale [1847], PN 4156, 10pp., piano
solo. Lith. vignette of Lind, half-lenth, on title-page.
[k] STRAUSS, Johann (i): SCHWEDISCHE
LIEDER. WALZER für das Piano-Forte. Zur
Erinnerung an... JENNY LIND... 207tes. Werk. Wien:
Tobias Haslinger [1847], PN 10581, 11pp., piano
solo. First edition, earliest issue.
[l] LE CARPENTIER, A.: DEUX RONDINOSPOLKAS... No. 2. JENNY LIND, Motif de
Wallerstein... Op. 129. Mainz: Schott [c1847], 7pp.,
PN 9640.2, piano solo. Pictorial title-page includes 2
lith portraits of Lind.
[m] WALLERSTEIN: MUSICAL BOUQUET... THE
NEW JENNY LIND POLKA. Musical Bouquet
[c1850], No. 198, pp.[21]–23, for piano solo. The
title-page includes a full-length lith. portrait of
Carlotta Grisi dancing.
83.
Lowe, Thomas (c1719–1783), English tenor,
frequently alternated with John Beard, sang
many Arne roles (especially his Shakespeare
settings). From Samson onwards, Handel
wrote 7 roles for him.
[a] BOYCE: A new favourite Song sung... at Ruckolt
House. “Come all ye young lovers”. J. Simpson
[c1745], 1 leaf.
[b] A Hunting Song. “Hark the Horn calls”. n.i.
[c1750], 1 leaf (p.8).
 MALIBRAN GARCÍA, MARIA (1808–
36, fl. 1825–36), Spanish mezzo, elder
daughter of Manuel García (i), sister of
Pauline Viardot, who made her major debut
at the King’s Theatre as Rosina in 1825. A
truly legendary figure. Her second husband
was the violinist Charles de Bériot. The
collection described below includes more
than 40 different songs — almost all of hers
that are known.
‡[a] Album Lyrique Composé de Quatorze Romances
Chansonnettes et Nocturnes... par Madame Malibran
avec Accompt. de Guitare Par MEISSONNIER Jne.
Orné du Portrait de l’Auteur et de quatorze
Lithographies de MM. Grenier & Deveria. Paris:
Troupenas [1831], 8vo, complete with the attractive
portrait (lith. by O. Tasseaert after F. Bouchot) and
14 lithographs (one before each song). A beautiful
copy in contemporary (original?) ornamental boards
tooled in gilt. Rare: not in CPM.
‡[b] DERNIERES PENSEES [musicales de] MARIE
FELICITE GARCIA DE BERIOT. Paris: Pacini,
[c1836], folio, PN 4864, 1f., 39pp., containing 10
songs, before each of which is a lith. illustration. Not
in CPM (which has an English edition of 1837). A
description of a different copy accompanies the item.
[c] Two of her songs, “I saw thee weep” and “Le
Retour de la Tyrolienne”, printed on pp.48–60 of
THE MUSICAL GEM: A SOUVENIR FOR
MDCCCXXX. London: Mori & Lavenu, 1829, 4to,
5ff., 83pp., with a fine lith. frontispiece portrait of
Mme M. by M. Gauci, another fine portrait of Mme
Sontag lith. by Sharp after Hullmandel, and 4 other
lith. plates. Original calf-backed boards.
‡[d] 11 of her songs, with piano accompaniment,
individually published in Paris by Troupenas [c1832],
folio, with PNs between 580 and 592. 9 have an
elegant vignette at the head of the first page of music,
1 has it on the title-page; Rataplan also has a later
Brandus issue [1851] and no vignette. Le Lutin has a
Depot Central imprint. The songs are: Le Batelier,
Belle viens à moi, Le Lutin, ‡ Rataplan, Les Refrains,
Le Réveil d’un beau jour, Row Boys!, La Tarentelle,
Le Village, La Voix qui dit: je t’aime. Mostly first
editions. CPM has only 4 of these editions.
84.
81.
Lindsey, Mary (fl. 1697–c1715), English
soprano, very active both on stage and in
concerts; sang Nerina in the first Italian
opera in London, Arsinoe.
[a] BARRETT: The Happy Pair. A SONG Set by Mr
Ino Barrett Sung by Mrs Linsey at York Buildings.
“Ianthe the Lovely”. n.i. [c1705], 1 leaf.
[b] [BONONCINI, M. A.]: Sung by Mrs. Lindsey in...
Camilla, at the Theatre Royall. “These Eyes are
made so killing”. n.i. [c1706], 1 leaf (p.37), laid
down.
[c] Sung by Mrs Lindsey in the OPERA call’d
Thomyris at ye Theatre Royall. “AWAY you Rover”.
n.i. [c1710], 1 leaf, laid down.
[c] Sung by Mrs Lindsey in the OPERA call’d
Thomyris at ye Theatre Royall. “CAN you leave
ranging”. n.i. [c1710], worn & stained.
82.
Love, Emma Sarah (fl. 1823–30), English
singer in many operas.
‡ BARNETT: John: RISE GENTLE MOON, Sung by
Miss Love, in... Charles the Twelfth... [at] Drury
Lane. Mayhew & Co. [c1828], 5pp. Attractive titlepage lithograph by M. Gauci of a scene from the
drama, showing Miss Love singing.
13
[e] 7 of her songs, with piano accompaniment,
individually published in Paris by Pacini
[1828/1834], with PNs between 1347 and 2525. One
has a vignette at the head of its first page of music, 3
have vignettes on their title-pages (2 of these being
different issues of Le Retour..., of which one is
clearly reworked and later). The songs are: En
soupirant, L’Indifférence, Je fus heureux avant de te
connaitre, Le Page de la Dame du Châtel, La Pensée,
Le Retour de la Tyrolienne. Mostly first editions.
CPM has only one of these editions.
[f] 2 of her individually published songs from other
publishers: Rataplan, Leipzig: Fr. Hofmeister
[c1830], PN 2077, with vignette on TP, as sung by
Francilla Pixis. And The Tyrolese Hunter, London:
D’Almaine [c1840], full page lith. illustration on TP,
“Up, and away to the hills”, ‘Sung and Composed by
the late Madame Malibran de Beriot’.
‡[g] ‘THOU ART AN ANGEL NOW!’ A TRIBUTE To
the Memory of the DEPARTED GENIUS... BEING
ONE OF THE MOST RECENT COMPOSITIONS OF
THAT EMINENTLY-GIFTED ARTISTE... London:
Mori & Lavenu [1836], PN 3822, 2ff., 4pp., followed
by a 4-page memoir, including a fine lith frontispiece
portrait. Original wrappers. Not in CPM.
[h] Moscheles: GEMS À LA MALIBRAN, A
Dramatic Fantasia for the Piano Forte, In which are
Introduced The Favorite Subjects... with the Admired
Embellishments & Cadences as Sung by MADE.
MALIBRAN. London: Mori & Lavenu [1830], PN
2686, 15pp. The subjects include arias from La
Clemenza di Tito and Semiramide.
[i] Moscheles: BIJOUX A LA MALIBRAN. Trois
Fantaisies pour le Piano-Forté Sur les airs les plus
Favoris CHANTÉS PAR MME. MALIBRAN... No.1.
(No.2.). Paris: Schlesinger [1832], PN1142 & 1143,
1f., 11pp.; 1f., 14pp. Lith. portrait of Mme M. on
both TPs. Her embellishments include arias by
Cimarosa, Mozart, Nicolini and Rossini.
[d] BERIOT, C. de: ARIA... eseguita dalla Sigra.
MARIA de BÉRIOT-GARCIA nell’ Opera:
L’ELISIRE D’AMORE di G. DONIZETTI. “Prendi
per me sei libero”. Wien: Pietro Mechetti [c1832],
obl. folio, 11pp. Series: Aurora, no. 267. Alternative
ornamention printed in.
[e] HALÉVY, F.: LE CHASSEUR DES ALPES.
Ballade Suisse... Composée & Dédiée à Mme
Malibran. Paris & Berlin: Schlesinger [1831], 1f.,
3pp., PN M.S.1076. Fine lith by Jaime on title-page.
Not in CPM.
[f] HERZ, H.: OUR SONG SHALL BE OF OTHER
DAYS, Duet SUNG BY Madme. Malibran & Mr.
Parry Junr. D’Almaine [c1840], 1f., 5pp. No. 5 from
A first set of songs and a Duet.
[g] HORN, C. E.: “THE DEEP DEEP SEA”... AS
SUNG BY MADAME MALIBRAN... at all THE
Musical Festivals. T. Welsh [c1835], 1f., 5pp., ‘New
Edition’. Some ornamentation printed in.
[h] MAZZINGHI: WHEN A LITTLE FARM WE
KEEP, A COMIC DUET, AS SUNG... BY MADAME
MALIBRAN DE BERIOT, AND Mr. PARRY JUNr.
D’Almaine [c1840], pp.25–32. ‘New Edition’.
[i] MEYERBEER: GIOVINETTO CAVALIER,
Romance, Sung by MADEMOISELLE GARCIA, [in]
IL CROCIATO IN EGITTO... at the King’s Theatre
Haymarket. W. Eavestaff [1825], 1f., 4pp. She was
aged 17 at this time.
[j] ROSSINI: GREEN HILLS OF TYROL!
TYROLIEN... in the Grand Opera — Guillaume Tell.
Goulding & D’Almaine, [1830], 1f., 5pp.
86.
Mara, Gertrud (1749–1833, fl. 1766–c1802),
German soprano, a bravura singer, worked
extensively at the Berlin Opera before major
successes in London from 1784.
[a] [ARNE, T. A.]: Hope told a Flattering Tale
INTRODUCED BY MADAME MARA...[in]
ARTAXERXES. J. Dale [c1800], score (2 flutes, bass,
harp), 4pp., with ornamentation added in MS.
[b] Another edition of the above, the harp
accompaniment attributed to Mazzinghi. G. Goulding
[c1800], 4pp. Also with MS ornamentation.
[c] AH CHE NEL PETTO IO SENTO Sung by
MADAM MARA in... IDALIDE. and with ENGLISH
WORDS as sung by Mrs. BILLINGTON. Dublin:
Edmund Lee [c1791], 2ff.
[d] PICCINNI: Madam Mara’s Favorite Song IN
DIDONE ABBANDONATA. “Se il ciel mi divide”.
Longman & Broderip [1787], score, 9pp. Dynamic
and other markings added in MS. The London
production was a pasticcio; this aria is not in
Piccinni’s Didon.
[e] VINCI, Leonardo: VO SOL CANDO... Sung by
Madame MARA at the Grand Professional Concert
85. Malibran García, Maria
‡[a] BEAUPLAN, A. de: LE BONHEUR DE SE
REVOIR. TYROLIENNE chantée par Mme.
MALIBRAN. Paris: J. Meissonnier [c1830], PN 130,
2ff. Lith. vignette by A. Menut at caption title.
[b] BEAUPLAN, A. de: La LEÇON TYROLIENNE
Chansonnette ‹Chantée dans le Barbier de Séville
par Mme. MALIBRAN›. Paris: J. Meissonnier
[c1832], PN 191, 2ff. Lith. vignette by A. Menut on
title-page, depicting the lesson scene in Act 3 of Il
Barbiere.
‡[c] BELLINI: “DO NOT MINGLE, ONE HUMAN
FEELING,” AIR as Sung by Madame Malibran in...
LA SONNAMBULA at the Theatres Royal Drury
Lane, & Covent Garden... T. Boosey [c1833], 7pp.,
‘Second Edition’, ornamentation printed in.
14
 MILLICO, GIUSEPPE (1737–1802, fl.
1757–80), Italian soprano castrato, created
Paris in Gluck’s Paride ed Elena, sang in
London 1772–4, later taught Emma
Hamilton, composed songs and operas.
‡[a] SIX SONGS, with an Accompanyment for the
GREAT or SMALL HARP, Forte Piano or
Harpsichord... London: [Peter] Welcker [1773],
oblong 8vo, 2ff., 16pp., including dedication-leaf (to
Mrs Hobard); Italian text. RISM M2813. First edition.
[b] SIX SONGS... Longman & Broderip [c1783],
oblong 8vo, 1f., 16pp., some page numbers cropped.
Probably third edition, completely re-engraved. RISM
M2815. Bound with [c] & [d] below.
[c] A Second Set of SIX SONGS... Rt. Birchall
[c1790], 1f., 17pp., Italian text. RISM M2819.
[d] A Third Sett of SIX CANZONETS with an
Accompanyment for the Pedal or Small Harp, Forte
Piano, or Harpsichord... Longman and Broderip
[1786], 1f., 21pp., Italian text. First edition. RISM
M2820.
[e] Two of his canzonets, “Ho sparse tante lacrime”
and “Mira quel fiùmicello”, arranged by G. Liverati
for voice and piano. Birchall [c1825], each 2 facing
pages.
Hanover Square. H. Wright [c1790], 4pp., with
instrumental cues.
[f] VINCI: “Vo sol cando un mar crudele”, Aria,
from... ARTASERSE... and sung by Madame Mara...
at the CONCERTS OF ANTIENT MUSIC. Royal
Harmonic Institution [c1819 (wmk)], 7pp., with MS
markings.
90.
 MARCHESI, LUIGI (1755–1829, fl.
1773–1805), Italian castrato, sang many
roles for Sarti, known as the most celebrated
castrato of opera seria; he was also a
composer (see [c] below).
[a] CIMAROSA: ARIA SERIA SE CERCA, SE
DICE,... NELL’ OLIMPIADE PER L’APERTURA
DEL NUOVO MAGNIFICO TEATRO DI VICENZA.
Venezia: Antonio Zatta [c1785], full score, 13pp.,
untrimmed copy. This edition has a long opening
recitative, ‘Misero me, che veggo!’.
[b] CIMAROSA & SACCHINI: Se Cerca se Dice...
[in] OLIMPIADE. Longman & Broderip [1788], full
score, 11pp. Unlike [a], this includes oboes and horns
but has no opening recitative.
[c] SARTI: 3 separately-published arias from Giulio
Sabino: Cari Figli un’ Altro Amplesso; RONDO “In
quel barbaro momento”; and CAVATINA. Lungi dal
Caro bene. Longman & Broderip [1788], full scores,
8, 12, 7pp. Pages 6–7 of the third contains the same
aria with harp accompaniment: ARIA DEL SIGr.
GUISEPPE [sic] SARTI coll accompagnamento d
Arpa DEL SIGr. LUIGI MARCHESI.
87.
91. Millico, Giuseppe
‡ ANFOSSI: A FAVORITE AIR Sung by Sigr. Milico
at the Grand Carnaval at Venice and Sigr.
Pacchierotti at Milon [sic]. Alle Dame 1781. “Ai
dolci affetti miei”. S. Babb [c1782], full score, 5pp.
Not in RISM, BUC or CPM: apparently unrecorded.
 MARCHESI, MATHILDE (1821–1913),
German mezzo, pupil of Manuel García (ii),
renowned teacher in Cologne, Vienna and
Paris; her own pupils included Melba and
Calvé.
Etude d’Agilité pour voix de Mezzo-Soprano... OP. 9.
Vienne: C. A. Spina [1870/71], PN 22,013.
88.
92.
Nicolini [Grimaldi, Nicolo] (1673–1732, fl.
1685–1731), Italian alto castrato, the leading
male singer of his age and also a great actor.
Handel composed Rinaldo and Amadigi for
him (both roles requiring exceptional agility
and compass).
[a] [GASPARINI, F.]: Antiochus Sung by Signr.
Nicolini in the Opera of Antiochus. “Questo
conforto”. [Walsh & Hare, 1712], 2ff. (pp.54–55).
[b] [CONTI]: Sung by Signr Nicolini in the OPERA
call’d Clotilda, Alfonso Sings. “S’armi pur amor
superbo”. [Walsh & Hare, 1709], 2ff. (pp.38–39).
[c] [MANCINI, F.]: Idaspe. Sung by Sigr. Nicolini in
ye Opera of Hydaspes. “Infelice prigioniero”. [Walsh
& Hare, 1710], 1f. (p.37).
89.
Mario, Giovanni (1810–83, fl. 1838–70),
Italian lyric tenor, the stage and personal
partner of Giulia Grisi, creator of Ernesto in
Don Pasquale.
[a] MEYERBEER: UN IMPERO PIÙ SOAVE... IN
LE PROPHÈTE. Chappell, and Cramer Beale [1849],
PN 8225, 5pp.
[b] FLOTOW: M’APPARÌ TUTT’ AMOR... [in]
MARTA. Boosey & Sons [c1858], 4pp., ‘La Scala,
no. 84’.
15
Claudio di Mercadante. Paris: Carli [c1824], PN
1996, 9pp., ornamentation printed in.
‡[e] ROSSINI: GIORNO D’ORRORE È DI
CONTENTO! DUETTO, sung by MADe. PASTA &
MADe. VESTRIS, In... SEMIRAMIDE. Goulding,
D’Almaine [c1824], 5pp., ornamention printed in and
alternative ornamentation added in contemporary
MS.
[f] ZINGARELLI: IDOLO DEL MIO COR ed
OMBRA ADORATA ASPETTA. CAVATINA, SCENA
e RONDO di Romeo e Giulietta... Chanté par
CRESCENTINI et Mme. PASTA. Paris: Pacini
[c1822], PN 864, 8pp.
[g] MOSCHELES: Ricordanza À LA PASTA. Scène
Dramatique Imaginaire... Paris: Maurice Schlesinger
[1827/8], PN 668, 1f., 13pp., piano solo.
[h] MOSCHELES: OPERATIC REMINISCENCES,
Dramatic Fantasia for the PIANO FORTE,
Introducing the most Admired Airs Sung by
MADAME PASTA in Bellini’s Opera NORMA.
Addison & Hodson [c1844], 11pp., piano solo.
93.
Nilsson, Christine (1843–1921, fl. 1864–83),
Swedish soprano, created Ophélie in Hamlet
(Thomas) and sang numerous roles in
London.
AIRS SUÉDOIS & NORVÉGIENS... Transcrits avec
acct. de Piano PAR J. B. Weckerlin. Paris: Heugel
[1878], PN 3463–4880, French text. Nos. 2, 4, 5, 6 &
8 of the 8 songs. Portrait of Nilsson on each titlepage.
94.
Nourrit, Adolphe (1802–39, fl. 1821–39),
great French tenor, pupil of García (i),
creator of Rossini’s last 4 tenor roles and
Masaniello (Auber), Robert and Raoul
(Meyerbeer), and Eléazar (Halévy).
MEYERBEER: O Fortune à ton Caprice,
Sicilienne... [in] ROBERT LE DIABLE. S. Chappell
[1832], 6pp., PN 4042, French & English text.
95.
Pacchierotti, Gasparo (1740–1821, fl. c1770–
1793), Italian soprano castrato, ‘the most
perfect singer it ever fell to my lot to hear’
(Mount Edgcumbe).
[a] BERTONI: NON TE MER, Demofoonte. Sung by
Sigr. Pacchierotti. J. Dale [1778], full score, 9pp.
[b] GIORDANI: Caro mio ben... Sung by SIGr.
PACCHIEROTTI... at the CONCERT, for the
MUSICAL FUND, at the OPERA HOUSE. John
Preston [c1785], full score, 4pp.
[c] GLUCK: The Favorite Song Sung by SIGr.
PACCHIEROTTI in... SILLA. “Rafferena il mesto
ciglio”. Wright & Wilkinson [c1783], score, 3pp.
Silla was a pasticcio. Gluck’s aria is taken from his
Artamene.
97.
Pate, John (d. 1704, fl. 1691–1703), English
tenor-countertenor, sang in Purcell’s Fairy
Queen (1692), regarded by John Evelyn as
‘reputed the most excellent singer, ever
England had’.
‡ PURCELL, D.: Rouse ye Gods of ye Main Sung by
Mr. Pate... n.i. [1700], 2ff. From The Island Princess.
98.
Paton, Mary Anne (1802–64, fl. 1822–
c1840), Scottish soprano, the finest British
female singer of her day, created Reiza in
Oberon, toured America introducing
audiences there to Bellini and bel canto
operas.
[a] Bonny brave Scotland... Arranged and sung by
MISS PATON in the Opera of Guy Mannering.
Lavenu & Co. and W. Cart [c1825], 5pp., her
ornamentation printed in.
[b] MARY OF CASTLE CARY OR SAW YE MY WEE
THING... As Sung... by MISS PATON And Mr.
Braham. Edinburgh: John Sutherland [c1822 (wmk)],
3pp.
[c] SMITH, S. T.: FOLLOW, FOLLOW OVER
MOUNTAIN... J. B. Cramer and J. H. Callcott [c1825
(wmk), 5pp.
[d] STEVENSON, John (arranger): THE MINSTREL
BOY, Sung by MISS PATON, at the THEATRES
ROYAL AND MUSICAL FESTIVALS, THE WORDS
BY THOMAS MOORE ESQr. Addison & Hodson
[c1845], 5pp. Some MS markings. Moore’s most
famous song, adapted by him from the old melody,
Moreen.
96.
Pasta, Giuditta (1797–1865, fl. 1816–35),
legendary Italian soprano, influencing and
creating roles for Rossini, Bellini (including
Norma) and Donizetti (including Anna
Bolena).
[a] BELLINI: QUAL COR TRADISTI, DUETTO —
SUNG BY MADAME PASTA AND SIGNOR
DONZELLI IN... NORMA. Mori & Lavenu [1833],
PN 3165, 5pp.
[b] GLUCK: CHE FARO SENZA EURIDICE...
[from] ORPHÉE. Paris: Carli [c1825], PN 2231, 5pp.
‡[c] MERCADANTE: IL SOAVE BEL CONTENTO,
CAVATINA, Introduced by MADAME PASTA, IN...
DIDONE, at the KING’S THEATRE... This is the
only genuine Edition as Sung & authorized by
Madame Pasta. Goulding & D’Almaine [c1827],
9pp., with ornamentation printed in and also
pencilled MS markings.
[d] PACINI: Lungi dal caro ben, CAVATINA...
Musica di PACINI aggiunta nell’ Opera d’Elisa e
16
[e] WEBER: What tho’ the daystar’s glowing
splendor, a favorite Cavatina from... DER
FREISCHÜTZ... Sung by Miss Noel, Miss Paton &
Miss Graddon. Clementi & Co [c1825], 4pp. Paton
was the first London Agathe.
103. Phillips, Henry
[a] MARSCHNER: 2 excerpts sung by Phillips from
Der Vampyr: “Hah! yet one and thirty days”, and the
duet sung with Miss Cawse “OH! MY FATHER”. W.
Hawes [c1829], PN 265 & 270, 15 & 12pp. This was
the first London production, of 1829.
‡[b] WEBER: “WE NEVER MEET AGAIN”, An
Admired Ballad... G. Warne [c1835], 5pp., first
English edition of the song Elle était simple.
Handsome portrait, lith. by M. Gauci, of Weber on
title-page.
[c] A group of 5 songs sung by Phillips, published
c1830s. CRAMER (arr.): OH! TIS THE MELODY; L.
DEVEREAUX: FRANCE & LIBERTY (composed
expressly for him); M. P. KING: SIGH NOT FOR
LOVE and Tom Steady (from Up all Night); and John
Smith: DOES THE WAVE OF THE OCEAN.
 PATTI, ADELINA (1843–1919, fl. 1859–
1906), Italian soprano, one of the star
singers of the second half of the century
(and probably the best paid).
‡ LE BAISER D’ADIEU. IL BACIO D’ADDIO.
POÉSIE DE LORD BYRON. MUSIQUE DE
ADELINA PATTI. Paris: G. Brandus & S. Dufour
[c1867], lith., 1f., 7pp., French text. The title-page
depicts her in 4 operatic roles — in Elisire d’amore,
La Sonnambula, La Stella del nord, and Marta.
99.
100. Patti, Adelina
[a] ALABIEF: LE ROSSIGNOL... Chanté sans la
Leçon de Chant du BARBIER DE SÉVILLE. PAR
Mme. ADELINA PATTI... Paris: Heugel [c1873, issue
of 1913], PN 4354(2), 5pp., portrait of Patti on titlepage.
[b] COEDÈS, A.: Le Jour ou Sylvain m’a parlé !
Paris: J. Hiélard [c1875], PN 553, 5pp. Portrait of
Patti on title-page. ‘2e Edition’.
[c] DIVA. Valse executée pour la première fois à
Moscou par Adelina Patti transcrite pour le piano
par Ferd. Bogouslaw. St Petersbourg and Moscou:
M. Bernard [c1868], 9pp. Title-page in colours;
original wrappers.
104. Pilotti-Schiavonetti, Elisabetta (d. 1742, fl.
1710–c1726), Italian soprano, created 4 roles
for Handel; an exceptional artist, with
dramatic fire.
[GASPARINI, F.]: Arsinoe. Sung by Sigra. Pilotti in
ye Opera of Antiochus: “Fier destin di chi ben ama”.
[Walsh & Hare, 1712], 2ff. (pp.7–8).
105. Pischek, Jan Krtitel (1814–73, fl. 1835–
c1865), Bohemian baritone, considered by
Berlioz to be ‘perhaps the greatest dramatic
singer of his age’.
[a] 2 songs by P. LINDPAINTNER: EVER IS MY
HEART WITH THEE, and STANDARD BEARER.
London, [c1845], German & English text.
[b] REISSIGER, C. G.: HOME, ‹HEIMWEH›.
Cramer Beale [c1845]. German & English text.
[c] SCHMIDT, Johannes: DES JÜNGLINGS TRAUM
‹THE YOUTH’S DREAM›. Charles Jefferys [c1850],
10, 3pp. (including obligato violin part). German &
English text.
101. Patti, Carlotta (1835–89, fl. 1861–c1878),
Italian soprano, Adelina’s elder sister.
Album de Chant. 6 MÉLODIES & Chansons
IRLANDAISES, ÉCOSSAISES, ESPAGNOLES et
HAVANAISES AVEC PAROLES FRANÇAISES
Chantées dans ses Concerts PAR CARLOTTA PATTI.
Paris: La Revue et Gazette musicale, 1864, 1f., 25pp.
Original green wrappers.
106. Pixis, Francilla (1816–1888?, fl. 1833–46),
German contralto, creator of Pacini’s Saffo.
DESSAUER, J.: Romance Italienne Composée pour
Mademoiselle Francilla Pixis. “Felice
donzella”.Paris: Maurice Schlesinger [1833/4], PN
1552, 5pp.
102.  PHILLIPS, HENRY (1801–76, fl. 1824–
47), English baritone, sang in the premiere
of Elijah, Mendelssohn wrote On Lena’s
gloomy heath for him; composer of songs.
A group of 7 of his separately-published songs with
piano accompaniment, various publishers [c1835–
56]. THE BEST OF ALL GOOD COMPANY; Gather
ye rose buds while you may (with lith. vignette, not in
CPM); LOVE’S ERRAND (signed by the composer);
OH! THE LAKE OF KILLARNEY; THE RETURN
OF THE ADMIRAL (6th and 7th editions); and
WOMAN (Mori & Lavenu and Addison & Hollier
editions).
107.  POOLE, MARIA (afterwards DICKONS,
1774–1833, fl. 1787–1819), English soprano,
harpsichordist and composer; Haydn wrote
an aria for her.
[a] DEAR LE VERROU... Composed and Sung by
Miss Pool, AT VAUXHALL-GARDENS. Longman
and Broderip [c1792], scored for 2 violins and bass.
17
TWO VOLUMES. VOL: I, Recitativo “Ah che
tutto...” and Rondo “Cari oggetti...”, 11pp.; and VOL:
II, Duettino Notturno “Ombre Amene...”, pp.13–21.
The Author [1797]: the first excerpt, with piano
accompaniment, is in 2 copies, one with title-page,
the other without but signed by Rauzzini at the foot
of p.3; the second, in full score, is in original printed
blue wrappers and is signed by Rauzzini on p.13.
[b] Then prythee no more come to woo... Sung by
Mrs. Dickons, In the Comic Opera of Two faces
under a Hood. Composed by Mrs. Dickons. Clementi,
Banger, Hyde, Collard & Davis [1807, wmk 1806],
pp.88–90.
108.  RAUZZINI, VENANZIO (1746–1810, fl.
1765–81), Italian soprano castrato, Mozart
composed Exultate Jubilate for him; eminent
singing teacher (of Braham, Michael Kelly,
Nancy Storace, Incledon, Elizabeth
Billington, Gertrud Mara), prolific
composer.
[a] A Selection from Pyramus and Thysbe a
CANTATA... performed at the KINGS THEATRE... R.
Bremner [1775], 37pp., full score. Boards.
[b] Twelve ITALIAN DUETTINOS for two Voices
with a Thorough Bass... OPERA V. Welcker [1778],
obl. 4to, 1f., 55pp. Italian text. Boards.
[c] Ah! Dearest Laura... at the Bath Concerts.
Preston [1796], 4pp.
[d] “Ah touch again that plaintive strain” A favorite
Song... Longman & Broderip [c1796], 4pp.
[e] Cease to blame my melancholy... Sung at the
BATH CONCERTS. by Mr. Braham, Miss Parke &
Mr. Nield. Longman & Broderip [c1797], 4pp.
[f] CYNTHIA. Sung by Mr. Incledon... at the
CONCERTS, BATH. Preston [c1780], score, 4pp.
[g] [L’Eroe cinese] SELECT ITALIAN ARIETTE
Sung by Miss Prudom In the Opera L’EROE
CINESE... No. I. (Select Italian Ariette Sung by Sigr.
Piacchiorotti [sic]... and by Mr. Tenducci. at Bath.
the Pantheon. &c... No. II; ... Sung by Sigr. Ansani...
No. VII). Longman & Broderip [c1782], 4, 4, 3pp.,
keyboard accompaniment only. CPM 47 p.90 has
no.II only. RISM R372.
[h] False Shepherd ... Sung By Mrs. ASHE, At the
Bath and London Concerts... Goulding Phipps
D’Almaine [c1807 (wmk)], 8pp.
[i] DUETTO Vive Alina sol per te Sung by Sigr.
Rauzzini and Sigra. Carnovale, in ... LA REGINA DI
GOLCONDA. [No imprint, c1784], 4pp.
[j] Vivè Alina sol per te A FAVORITE DUET, in the
Opera of LA REGINA DI GOLCONDA. Rt. Birchall
[1790s?], 4pp. A different edition.
[k] The VILLAGE MAID... Sung by MISS
CANTELO... at the CONCERTS, BATH. Preston
[1788], 4pp., score.
[l] WHEN HENRY DIED... Sung at his BATH
CONCERTS, BY Mrs. Ashe. Goulding, Phipps,
D’Almaine [c1806, (wmk 1805), 3pp.
[m] Why my Julia why this care, RONDO... Sung... at
the BATH CONCERTS. Preston [1794], 4pp., short
score.
‡[n] [Samples from] A PERIODICAL COLLECTION
OF VOCAL MUSIC, (never before Printed,)... IN
109. Reeves, John Sims (1818–1900, fl. 1838–91),
renowned English tenor.
‡ BALFE: “COME INTO THE GARDEN MAUD”.
Boosey & Sons [1858], 7pp. Half-length portrait of
Reeves, lith. J. H. Lynch, on title-page. Balfe’s bestknown song and perhaps the most famous of all
Victorian songs.
110. Robinson, Anastasia (c1692–1755, fl. c1712–
1724), English soprano (later contralto),
creating several roles for Handel (including
Cornelia in Giulio Cesare) and Bononcini.
‡ ARIOSTI, A.: The first [& last] Air of the famous
CANTATA Diana in Mount Latmos... Sung by Mrs
Robinson at the Hay Market & Drury Lane Theatres.
“Per vincer il mio Cor”, and “Le Ninfe amorosette”.
n.i. [c1720], 2ff. The only recorded edition, and the
only music from the work to have been published.
111.  ROMER, EMMA (1814–68, fl. 1830–48),
English soprano, created roles for Balfe and
others.
MY SONG SHALL BE JOYOUS. BALLAD SUNG BY
MISS REBECCA ISAACS, AND THE COMPOSER.
B. Williams [c1854], 5pp., lith. by J. Brandard on
title-page.
112. Roncaglia, Francesco (c1750–c1800), Italian
soprano castrato.
ANON: A Favorite RONDO, as Sung by Signor
Roncaglia, at Florence. “Sem bianze Amabile”. J.
Bland [c1790], score, 4pp. BUC p. 940.
113.  RONCONI, DOMENICO (1777–1839, fl.
1801–19), Italian tenor, teacher of his son
Giorgio (creator of the title role in Nabuco
and of 7 roles for Donizetti).
Seconda Raccolta DI SEI ARIETTE... Milano: Gio.
Ricordi [1829], PN 3834–3839, 23pp. Not in CPM.
114. Ronzi de Begnis, Giuseppina (1800–53, fl.
1816–c1845), Italian soprano, the first Paris
Rosina, created 5 roles for Donizetti.
PAËR: VARIATIONS... Sur l’Air: La Biondina in
Gondoletta. Composées pour Mme. Catalani,
intercalées dans le Barbier de Seville, de Rossini et
Chantées PAR Mme. RONZI-DEBEGNIS. Paris:
18
Janet & Cotelle [1819], PN 1110, 1f., 12pp. MS
markings in the vocal line.
(not paginated). Not in Smith-Handel without
pagination, not in CPM: apparently unrecorded.
[c] [HANDEL]: Si Caro. Sung by Senesino. From
Bickham’s Musical Entertainer, I [1737], p.44. An
aria from Admeto.
115. Rubinelli. Giovanni Battista (1753–1829, fl.
1766–1800), Italian castrato.
[a] GRESNICK, A. F.: Quel labro adorato... in the
Opera of ALCESTE. Longman & Broderip [1787],
full score, 7pp.
[b] GRESNICK, A. F.: Scherza il nocchier Talora
Sung... in the Opera of ALCESTE. Longman &
Broderip [1787], full score, 11pp.
120. Sestini, Giovanna (fl. 1774–91), Italian
soprano.
[a] BERTONI: La Governante. LA VERGINELLA.
Sung by Siga. Sestini. W. Napier [c1779], score, 5pp.
RISM B2387. Series: A Periodical Italian SONG.
[b] GIORDANI, T.: The FAVOURITE RONDEAU
Sung by Sigra. Sestini in... LA FRASCHETANA.
“Non dubitare”. Longman & Broderip [c1776], full
score, 8pp. For Paisiello’s opera.
[c] GIORDANI, T.: The Favorite RONDO Sung by
Sigra. Sestini in... Il Barone di Torre Forte. “Sento
che in seno”. S. Babb [c1781], full score, 8pp. For
Piccinni’s opera.
116.  RUBINI, GIOVANNI BATTISTA (1794–
1854, fl. 1815–44), Italian tenor, a vital
influence on Bellini, creating 4 major roles
for him and 7 roles for Donizetti.
L’ADIEU DE G. B. RUBINI. ROMANCES - AIR ARIETTE & DUETTO... Paris: L’Illustrateur des
Dames, 1864, 1f. 27pp., French texts, boards. Not in
CPM.
121.  SINCLAIR, JOHN (1791–1857, fl. 1810–
30), Scottish tenor, creator of Idreno in
Rossini’s Semiramide.
[a] The Mountain Maid... as Sung ... by Mr.
SINCLAIR, at the Theatre Royal Covent Garden In...
MIDAS... W. Dale [c1822 (wmk)], 4pp.
[b] Hey the bonnie breast-knots... Edinburgh:
Alexander Robertson [c1825 (wmk)], 5pp.
117. Salmon, Eliza (1787–1849, fl. 1803–25),
English soprano, her style similar to
Catalani’s.
[a] BOCHSA: The much Admired Air, “CEASE
YOUR FUNNING”, with new Variations Composed
Expressly for & Sung by Mrs. SALMON, at all the
Musical Festivals, Concerts &c. E. Lavenu [c1820
(wmk)], 5pp. An extremely florid vocal line.
[b] 2 ballads sung by her, published c1820: G.
Lanza’s LOVE IS LIKE THE ROSE, and C. Smith’s
O softly Sleep my Baby Boy.
122. Sinclair, John
[a] DOYLE, J. C.: 2 different editions, published by
W. Dale [c1812], of Love among the Roses... In the
Revived Opera of the LORD of the MANOR. And
LOVE AMONG THE ROSES... Each 4pp. and
indicating a passage omitted by Sinclair.
[b] 2 different editions of: PRAY GOODY, A
FAVORITE AIR IN Midas... Arranged... BY J.
MAZZINGHI. Goulding & Co. [c1812], 3pp. And:
PRAY GOODY PLEASE TO MODERATE, THE
MUCH... [in] MIDAS. J. Duncombe [c1812], 2pp.
118. Schneider, Hortense (1833–1922, fl. 1853–
c1875), French soprano specialising in
operetta and creator of several of
Offenbach’s main roles.
‡[a] HERVÉ: LA BELLE POULE ‹RENDEZ LE MOI
N’ L’ CASSEZ PAS› Couplets... Paris: E. Gérard
[1876], 3pp. Oval lith. portrait by Donjean of her in
costume on title-page.
[b] OFFENBACH: SCHNEIDER-POLKA SUR DES
THÈMES DE LA GRANDE DUCHESSE DE
GÉROLSTEIN. Paris: G. Brandus & S. Dufour
[1867], PN 11216, 5pp., piano solo.
123. Smalley, Master (fl. 1800s), boy singer.
WARE, W.: The Cabin Boy, A favorite Ballad Sung
by MASTER SMALLEY... in the New Pantomime of
HARLEQUIN & MOTHER GOOSE. W. Hodsoll
[c1806], 3pp. Sone ornamentation printed in.
119. Senesino [Bernardi, Francesco], (c1680–
c1759 fl. 1707–40), Italian alto castrato,
created 17 roles for Handel (including
Giulio Cesare) and several for Bononcini
and Ariosti.
[a] [BONONCINI]: Sung by Sigr. Senesino in the
Opera of Crispus. “Dille dille che peno”. [Walsh &
Hare, c1722], 2ff. (pp.1–2), worn.
‡[b] [HANDEL]: Sung by Sigr. Senesino in
Rodelinda. “Scacciata dal suo nido”. n.i. [c1730]. 2ff.
124. Sontag, Henriette (1806–54, fl. 1821–54),
German soprano, sang in the premieres of
Beethoven’s 9th Symphony and Missa
solemnis, one of the foremost singers of her
day.
‡[a] BERIOT, C. de: AIR VARIÉ pour la voix
composé pour Madamoiselle Henriette Sontag...
Mayence: Schott [c1828], PN 2947, 1f., 11pp. Italian
and German text. Beautiful lith of Sontag, half-
19
length, on title-page. Superb untrimmed copy, as
issued, in original green printed wrappers (initialled
by the composer). Note that de Beriot later married
her great rival, Maria Malibran.
[b] MOESER, C.: TROIS ROMANCES
FRANÇAISES... composées et dédiées à Mademlle.
Henriette Sontag... Berlin: T. Trautwein [c1830], PN
222, oblong folio, 7pp.
WOMAN’S HEART IS BOUGHT... [in] the HEIR OF
VERONI, full scores. Published [c1815–30].
127. Storace, Nancy (‘Anna’) (1765–1817, fl.
1779–1808), English soprano, sister of
Stephen, pupil of Rauzzini and Sacchini.
Sarti, Paisiello, Salieri, Martín y Soler and
Mozart wrote important roles for her — the
most notable being Susanna in Figaro and
Lilla in Una cosa rara. Additional arias were
written for her by her brother, for whom
she created several roles. She was a close
friend of Michael Kelly and for years the
lover of John Braham.
[a] BRAHAM: AH WHAT A PITY... [in] the
CABINET. J. Dale [c1802], 3pp.
[b] BRAHAM: KITTY’S COMPLAINT... [in] THE
ENGLISH FLEET. M. P. Corri [c1803], 2ff. (pp.58–
61).
[c] BRAHAM: LITTLE JANE... [in] FAMILY
QUARRELS. At 28 Haymarket [c1802], 3ff. (pp.35–
39).
[d] CIMAROSA: DUETTO Con quelle tue manine
Sung by Sigra. Storace & Sigr. Morelli in... LA
LOCANDIERA. Longman & Broderip [1788], full
score, 22pp.
[e] CORRI, D.: 3 different editions: [i] THE
CABINET. The Bird in Yonder Cage Confined. D.
Corri [c1797 (wmk)], 4pp. The word ‘Flagelletto’ is
at the head of the music. There is a small illustration
on each edition. [ii] Same caption-title text but music
re-engraved. ‘Flageolet’ at the head of the music; the
singer’s breaths marked with crosses; no engraver’s
name at foot of p.1. [iii] Same caption-title text,
breaths marked with crosses, engraver’s name (E.
Riley) at bottom right of title-page.
[f] ANON: BE MINE, TENDER PASSION... [in]
THE HAUNTED TOWER. Dublin: Edmund Lee
[c1800], 2ff.
[g] MARTÍN Y SOLER: Love, from the heart all its
danger concealing [in] the HAUNTED TOWER.
Longman & Broderip [1789], 3pp.
[h] PAISIELLO: Where is my Love... [in] the
HAUNTED TOWER. G. Goulding [c1795], 2ff.
[i] PAISIELLO: Whither, my Love, ah! whither art
thou gone?... in the HAUNTED TOWER. Longman &
Broderip [1789], 4pp., untrimmed.
‡[j] PAISIELLO: NEW EDITION. WHITHER MY
LOVE... [with] the vocal Embellishments of Sigra.
Storace, Mrs. Dickons, Miss Stephens, Miss Byrne,
&c. Dublin: the proprietor [c1810], 4pp., extensive
ornamentation printed in.
[k] PAISIELLO: Chi mi mostra [in] GLI SCHIAVI
PER AMORE. Longman & Broderip [1787], full
score, 5pp.
125.  STAUDIGL, JOSEPH (1807–61, fl. 1836–
47), Austrian bass, creator of the role of
Elijah in 1846.
[a] KÖNIGINN UND PAGE. ABSCHIED... Op. 4.
Wien: A. Diabelli [1843], PN 7216, 11pp.
[b] IN DER FREMDE. UNDINE... 6tes. Werk. Wien:
Ant. Diabelli [1843], PN 7219, 7pp.
126. Stephens, Catherine (1794–1882, fl. 1812–
35), English soprano and actress, one of the
most popular and admired artists of the day
(both among audiences and her colleagues).
Weber wrote his final composition for her,
From Chindara’s warbling fount I come.
[a] 3 different editions of: Cease your funning... ‹with
the embellishments, &c.› as Sung by MISS
STEPHENS, in the Beggars Opera, AT THE Theatre
Royal Covent Garden. Falkner [c1817 (wmk), 3pp.,
repaired. And another edition of similar date, also
with the embellishments. Goulding, D’Almaine,
Potter, 3pp. And another edition of similar date,
without embellishments, published by G. Shade.
[b] A group of 15 separately-published songs sung by
Miss Stephens: [i] AND THEY’RE A’ NODDIN NID,
NID NODDIN, to words by Burns. [ii] Hope told a
flattering tale, from Arne’s Artaxerxes. [iii] O! NO —
WE NEVER MENTION HER, from Bayly’s
Melodies, arranged by Bishop and John Parry. [iv] A
duet version of CHARLIE IS MY DARLING sung
with Mrs Salmon. [v] DONALD, as sung at the
Rotunda concerts, Dublin. [vi] Emdin’s AH! WHY
DID I GATHER THIS DELICATE FLOWER... as
Sung by Mrs SALMON & Miss Stephens, at the
CONCERTS, FESTIVALS &c. &c. [vii] Knyvett’s
glee for 3 voices “THERE IS A BLOOM”. [viii]
Linley’s NO FLOWER THAT BLOWS. [ix] Simone
Mayer’s Alfin ritorna O Caro... as sung... at the
PHILHARMONIC CONCERTS. [x] John Parry’s Gin
living worth could win my Heart... Sung... [at] The
Hanover Square Rooms. [xi] Parry’s O! MERRY
ROW THE BONNIE BARK. [xii] W. H. Ware’s Tell
me have ye seen a Toy... [in] Don John or the Two
Violettas; and [xiii] his November’s hail Cloud drifts
away... [in] Montrose or the Children of the Mist,
with embellishments. [xiv–xiv] the second and fourth
editions of John Whitaker’s OH! SAY NOT
20
[l] PAISIELLO: QUARTETTO in the Second Act of
GLI SCHIAVI PER AMORE Sung by Sigra. Storace,
Sigra. Sestini, Sigr. Morigi, and Sigr. Morelli.
Longman & Broderip [1787], full score, 14pp.
[m] PAISIELLO: OLA DICO Sung by Signoras
Storace & Sestini Signors Morelli & Morigi in... GLI
SCHIAVI PER AMORE. Longman & Broderip
[1787], full score, 23pp.
[n] PAISIELLO: PANDOLFETTO GRAZIOSETTO...
Sung by Sigre. Morrelli & Sigra. Storace... [in] I
ZINGARI IN FIERA. J. Dale [1793], score, 8pp.
[o] STORACE, Stephen: Be mine, tender Passion...
in the HAUNTED TOWER. Longman & Broderip
[c1790], 4pp.
[p] STORACE: Down by the River there grows a
green Willow... in the IRON CHEST. J. Dale [1796],
2ff.
[q] STORACE: SWEET LITTLE BARBARA. a
DUETT. Sung by Sigra. Storace & Mr. Bannister
Junr. in the IRON CHEST. J. Dale [1796], 4pp.
[r] STORACE: THE CARPET WEAVER... IN
MAHMOUD. J. Dale [1796], 2ff.
[s] STORACE: The Favorite Masquerade Song... IN
MY GRANDMOTHER. “On the lightly sportive
wing.” J. Dale [1796], 3pp.
[t] STORACE: Across the downs this morning... in
NO SONG NO SUPPER. Longman & Broderip
[c1790], 4pp.
[u] STORACE: With lowly suit and plaintive ditty...
in NO SONG NO SUPPER. Longman & Broderip
[c1790], 4pp.
[v] STORACE: Lovers, who Listen to Reason’s
persuasion... in the PIRATES. J. Dale [1792], 4pp.
[w] STORACE: THE LULLABY... in the PIRATES.
“Peaceful slumb’ring on the ocean”. J. Dale [1792],
4pp. Some ornamentation printed in.
[x] THE Favorite Air & Minuet... in the SIEGE OF
BELGRADE. “La ra la ra la la ra”. J. Dale [c1791],
2ff. Some ornamentation printed in.
[y] WINTER: When those beauteous Eyes command
me, DUETT, as Sung by Sigra. Storace & Mr.
Braham in the SIEGE OF BELGRADE. H. Falkner
[c1820], 8pp. Some ornamentation printed in. Some
MS markings in soprano line.
129. Suett, Richard
STORACE: A Traveller stopt at a Widow’s Gate... in
the IRON CHEST. J. Dale [c1796], 2ff.
130.  TAGLIAFICO, JOSEPH DIEUDONNÉ
(1821–1900, fl. 1847–c1870), French bass,
created several famous roles in their first
London performances.
[a] PREMIER RECUEIL. QUINZE MÉLODIES.
Chant et piano. Paris: Hachette [c1902], 8vo, PN
1392, 103pp., original wrappers.
[b] ABAISSEZ-VOUS, MONTAGNES! Paris: Heugel
[1894], lith. pictorial title-page.
[c] AMI PRINTEMPS. Paris: Hachette [c1902], PN
1001, portrait on title-page.
131.  TAUBER, RICHARD (1891–1948, fl.
1913–47), Austrian tenor, especially known
for his Lehár roles.
‡ Der singende Traum. Romantische Operette...
Leipzig & Wien: W. Karczag, 1934, PN 2002, vocal
score, 105pp.
132.  TENDUCCI, GIUSTO FERDINANDO
(c1735–1790, fl. 1750–85), Italian soprano
castrato and composer; he was widely
regarded as another Senesino.
‡[a] SIX New English Songs Composed by
FERDINANDO TENDUCCI and to be Sung by him
at Ranelagh. Printed for the Author, 1763, obl. fol.,
1f., 17pp.
‡[b] A Collection of LESSONS for the Harpsichord.
Welcker [c1770], 1f., 18pp. RISM T491 (only 2
copies recorded; not in CPM).
[c] LUCY. For the Guittar &c. Set by Sigr. Tenducci.
A favorite Song Sung at Ranelagh. “Fair’s my
LUCY”. No imprint, [c1765], 1 page. Unrecorded.
133. Tenducci, Giusto Ferdinando
‡[a] A Collection of FAVORITE AIRS in Score Sung
at Haberdashers Hall BY Sigr. Tenducci and
dedicated by him to the GENTLEMEN of the Castle
Society. Welcker [c1770], full score, 1f., 19pp. RISM
Bii p.65, BUC p.13. Very rare. The airs are by Arnold
(3), David Rezzi, the Earl of Kelly, and Anon.
[b] [ARNE]: DUETT. Sung by Mr. Tenducci & Miss
Brent in ARTAXERXES. “Fair Aurora prithee stay”.
n.i. [c1762], 1f.
[c] [ARNE]: 4 different editions of “Water parted
from the sea” from Artaxerxes, sung by Tenducci, n.i.
[c1765], each 1f., worn. [i] Title in upper & lower
case. [ii] Title in upper case, Tenducci’s name in top
line. [iii] Title and Tenducci in upper case,
Artaxerxes in lower case. [iv] Title in upper case,
Tenducci in lower case, Artaxerxes in upper case.
128.  SUETT, RICHARD (c1758–1805, fl.
1771–1805), English actor and singer,
composer of songs and a volume of sonatas.
[a] SOFT MUSIC LET MY HUMBLE LAY. Sung by
Miss Farren, in the New Comedy of False Colours.
Preston & Son [1793], pp.[2]–4.
[b] THE TRANQUIL THATCH... Sung by Mr
Incledon. Preston & Son [c1795], pp.[2]–4.
21
135.  UNGER, CAROLINE (1803–77, fl. on
stage 1824–43), Austrian mezzo, Schubert’s
only professional singing pupil (he coached
her as Dorabella in 1821); she was also a
pupil of Salieri and Johann Michael Vogl.
She sang in the premiere of Beethoven’s 9th
Symphony and created roles for Bellini and
Donizetti. After marrying François Sabatier
in 1841 she became an outstanding lieder
singer and revealed a talent as a composer
of lieder (see below).
Two highly important manuscripts of her songs:
‡[a] Album, mainly autograph: title-page reads
‘Lieder Componirt Von Caroline Unger-Sabatier’.
Oblong folio, 51 ff., of which 45 are written on both
sides and 6 (at the end) blank. Elaborately tooled and
decorated dark green sheep, rebacked in hide; all
edges gilt. Containing 24 of her songs (one further
being without text). On the front endpaper is written
an autograph dedicatory poem by Franz von Schober
(Schubert’s friend), headed ‘Den 6ten Januar 1843’,
signed by him.
‡[b] Album, autograph and copyist, titled on front
cover ‘LIEDER | COMPONIRT | VON | CAROLINE
UNGER-SABATIER’. Oblong folio, 74 ff., most
written on both sides. Original cloth. Containing 45
of her songs — the 24 of the first Album and 21
others. Containing numerous corrections and
changes, with some pencilled markings by the
printer. There are two or three hands here, but most
of the music and almost all of the texts seem to be in
Caroline Unger’s own hand.
[c] Lieder Mélodies et Stornelli DE CAROLINE
UNGHER-SABATIER, publiées et offerts à ses amis
par F. S. U. Inst. lithogr. de C. G. Röder Leipzig. En
dehors du commerce. 8vo, engraved, 1f., 131pp.,
including list of contents. Bookplate of Princesse
Valentine Galitzine on endpaper, and MS inscription
[to her] ‘en souvenir d’une véritable artiste et d’une
vraie amie F.S.U.’ Original printed cloth-backed
wrappers, worn. Containing 46 songs — the same as
in [b] above but here ‘Allons Beppo’, the longest
piece, has been divided into two songs and there is
one extra song at the end, ‘Stornello fiorentino’. The
volume seems to have been privately printed for the
family; an incomplete copy is recorded at the
Gesellschaft der Musikfreunde, Vienna.
This remarkable archive of Caroline Unger’s
music apparently contains all her known works. Peter
Branscombe mentions it both in NewGrove and in his
article ‘Schubert and the Ungers: a preliminary study’
in Schubert Studies (ed. Brian Newbould), 1998, pp.
209–19, where he describes her as ‘a song-composer
of more than amateur talent... The 46 songs vary in
length and ambitiousness from miniatures with a
[d] GIORDANI, G. or T.: Queen Mary’s
Lamentation... at the PANTHEON & Mr. ABEL’S
CONCERT &c, J. Preston [1782], score, 4pp., extra
notation entered in ink.
[e] [GIORDANI, G. or T.]: QUEEN MARYS
LAMENTATION as Sung by Mr. TENDUCCI at the
Pantheon in London. Dublin: John Lee [c1780], 1f.
Poor copy.
[f] GLUCK: A FAVOURITE SONG Sung by Mr
Tenducci at... Covent Garden. “Che farò senza
Euridice”. Welcker [c1785], score, 3pp.
[g] HANDEL: A FAVORITE SONG Sung by Mr.
Tenducci at the Pantheon and at Mr. ABEL’S
CONCERT. “Tears such as tender lovers shed”.
Randall [c1775], score, 3pp. From Deborah. Not in
Smith.
[h] RAUZZINI: A FAVORITE RONDEAU Sung... at
the Concert at Bath... “From Place to Place forlorn I
go”. Thomas Cahusac [c1785], score, 3pp.
‡[i] RAUZZINI: A favorite SONG, sung at the
Concert at Bath by Mr. Tenducci, Accompanied on
the HAUTBOY by Mr. FISCHER, and on the PIANO
FORTE by MISS GUEST. “Ah perchie [sic] mai
l’ingrato cosi m’abbandono”. J. Preston [c1782],
score, 11pp.
134. Tofts, Catherine (c1685–1756, fl. 1703–
1712), English soprano, ‘the first English
prima donna’ (NewGrove), sang the title
roles in the first English operas in the Italian
style — Arsinoe and Camilla.
[a] CLAYTON: A SONG in the OPERA of Arsinoe.
“O Love, I have gain’d a Victory sure”. n.i. [c1705],
1f., no foliation.
[b] CLAYTON: A SONG in the OPERA of Arsinoe.
“To Warr my thoughts to warr”. n.i. [c1705], 1f., no
foliation.
[c] CLAYTON: A Celebrated Verse in the OPERA of
Arsinoe... “Wanton Zephy’rs softly Blowing”. n.i.
[c1705], 1f., no foliation. Laid down.
[d] HAYM, N.: Sung by Mrs Toft in the OPERA
calld Pyrrhus and Demetrius. “Thus with thirst my
soul expiring”. n.i. [c1708], 1f., no foliation, laid
down.
22
mere twelve bars to the 23-page-long ballade “Allons
Beppo”, of 379 bars... The poets represented include
such well-known names as Rellstab, Platen, Rückert,
Uhland, Göthe (sic), Lamartine, Geibel, Heine,
Georges Sand and Petöffy; from the Schubert circle
there are Franz von Schober and Moritz Hartmann...
Eleven of the settings are of French texts, two of
Italian; the rest are German...’.
‡[e] ROSSINI: Ah come mai, DUETT from Rossini’s
Opera TANCREDI, With Embellishments by SIGNOR
VELLUTI. J. B. Cramer, Addison & Beale [1828],
PN 621, 1f., 5pp. Numerous embellishments.
139. Vestris, Lucia Elizabeth (1797–1856, fl.
1815–54), English contralto (possessing in
Chorley’s words ‘one of the most luscious of
low voices’), actress and theatre manager;
created Fatima in Oberon for Weber and
many roles in the London premieres of
Rossini’s operas.
[a] BARNETT, John: THE LIGHT GUITAR, The
Celebrated Serenade... “Oh! leave the gay and festive
scenes”. Mayhew & Co [c1824 (wmk)], 1f., 5pp.
[b] A group of 5 separately-published songs sung by
her: J. T. Craven’s The Light Bark; Charles Horn’s
“CHILD OF EARTH WITH THE GOLDEN HAIR”
and OBERON’S VOYAGE; J. H. Powell’s I’LL BUY
THY HEART; and J. H. Tully’s LOVELY NIGHT.
136. Valentini [Valentino Urbanio] (fl. 1690–
1719), Italian alto castrato, created roles for
Handel in Rinaldo, Il pastor fido and Teseo.
[a] CONTI, F.: Sung by Signr Valentino in the
OPERA call’d Clotilda. “Del fallo sul camin”. n.i.
[c1709], 1f. (p.43).
[b] ‹Cyrus› Sung by Sigr. Valentini in the Opera of
Croesus. “Cara bella tù di me”. n.i. [c1714], 1f.
(p.23), poor copy.
137.  VELLUTI, GIOVANNI BATTISTA
(1780–1861, fl. 1801–30), Italian soprano
castrato, the last of the great castrati. He
created roles for Nicolini, Rossini and
Meyerbeer. ‘His retirement marked the end
of an era in operatic history’ (NewGrove).
Or che la notte placida, CAVATINA, Composed by
SIGNOR G. B. VELLUTI. Birchall & Co [1826], PN
1852, 3pp. This is one of only two songs composed
by Velluti listed in CPM.
140.  VIARDOT, PAULINE (née GARCÍA)
(1821–1910, fl. 1837–70), French singer of
Spanish origin, daughter of Manuel García
(i), sister of Maria Malibran and Manuel
García (ii), inspirational singer, prolific
composer, talented artist, famous teacher,
friend of Turgenev, Berlioz, Brahms,
Chopin, Gounod, Liszt, Clara Schumann,
and numerous others — one of the greatest
artists of the 19th century.
‡[a] 12 GEDICHTE von Puschkin, Feth und
Turgeneff... für eine Singstimme MIT BEGLEITUNG
DES PIANOFORTE. Leipzig: Breitkopf & Härtel
[c1865], PN 10731, 1f., 46pp., texts in German. Fine
copy
‡[b] 1850. ALBUM de CHANT CONTENANT [3
songs each by G. Duprez and L. Gouin] La Petite
Chevrière | L’Absence | Solitude | par PAULne.
VIARDOT... Offert aux Abonnés de la REVUE ET
GAZETTE MUSICALE de PARIS... Paris, 1850,
27pp., with lith. frontispiece by Victor Coindre
illustrating PV’s first song. Original printed pink
wrappers.
‡[c] VIARDOT Mélodies Chant Piano. Paris:
Auditorium Musical [1904], PNs 104–118.
Containing Le Toréador, Peronelle, Poursuite, Sara
la Baigneuse, La vase brisé and Le savetier et le
financier. Red cloth, dated 1907, bound with 4 PV
works published by the same publisher [1904–5]:
ELLE PASSE..., Canzone d’Amore TI VOGLIO
AMAR, Deux Airs de Ballet, and DÉFILÉ
BOHÉMIEN POUR PIANO A 4 MAINS.
8 separately-published songs by her:
[d] Rossignol, Rossignolet Villanelle. Paris: Enoch
frères & Costallat [1894], PN 2237.
138. Velluti, Giovanni Battista
[a] MAYR, Simone: Lovinski hai “cor Recit vo” e,
Parto ti lascio addio Duetto [sic]... Embellishments
by SIGNOR VELLUTI. J. B. Cramer Addison &
Beale [c1828], PN 620, 1f., 7pp., repaired. From
Mayr’s opera Lodoiska. Numerous embellishments.
[b] NICOLINI, G.: “OR CHE L’INDISSOLUBILE”,
ARIETTA... To which are added ornaments & Graces
by SIGNOR VELLUTI. J. B. Cramer, Addison &
Beale [c1825], PN 60, 1f., 4pp. Numerous
embellishments.
‡[c] PERRUCCHINI, G. B.: Ariette Italiane con
accompagnamento di Pianoforte all’ Immenso
Cantante Sig. Gio. Bata. Velluti. Copyist’s MS
(copied by Francesco Boerio), oblong folio, 1f. (titlepage), 20 ff. (music, most written on both sides).
Containing 12 ariettas for Velluti and, at the end, 2
further ariettas composed and dedicated by
Perrucchini to Enrichetta, Baronessa di Neüwirth,
dated ‘1816’. Two of the Velluti ariettas (nos. 1 and
10) contain elaborate embellishments in another
(professional) hand. Contemporary red boards, a little
worn.
[d] PERRUCCHINI, G. B.: Il Canto, ARIETTA, Sung
by SIGNOR VELLUTI. Birchall & Co [c1825], PN
1786, 3pp. This song is no. 7 in [c] above.
23
Two of his published glees: “The Night is rainy” ...at
the ARGYLL ROOMS; and The Merry Gypsies... at
Mr. Cooke’s and other Concerts... likewise at the
Argyll Glee Club. Royal Harmonic Institution
[c1823], PN 1228 & 1543; the first inscribed ‘from
the author’.
[e] J’EN MOURRAI !, no. 3 of her SIX MÉLODIES
AT UNE HAVANAISE. Paris: Heugel [1899], PN
5120; and CHANSON MÉLANCHOLIQUE, no. 6 of
the same collection, PN 5121.
[f] SÉRÉNADE, no. 3 of her SIX MÉLODIES...
Boileau... Paris: Heugel [1883], PN 5629.
[g] AIMEZ-MOI, no. 1 of SIX CHANSONS DU XVe.
SIÈCLE. Paris: Heugel [1886], PN 6277.
[h] ICI-BAS TOUS LES LILAS MEURENT, no. 3 of
her SIX MÉLODIES... ALFRED DE MUSSET...
Paris: Heugel [1887], PN 6398; and SÉRÉNADE À
ROSINE, no. 4 of the same collection, PN 6400.
[i] CANZONETTA DE CONCERT Tirée du 17eme.
Quatuor DE J. HAYDN. Transcrite pour la Voix Par
Mme. PAULINE VIARDOT. Paris: Heugel [1880],
5112.
144. Welsh, Thomas
HOOK: Listen to the Voice of Love... Sung... by
Master Welsh, at Vauxhall Gardens. A. Bland &
Weller [1795], full score, 3pp.
145. Wilson, Mary Ann (1802–67), English
soprano, pupil and later wife of Thomas
Welsh (see above), had a meteoric career
but soon overtaxed her voice.
‡ FIORAVANTI: THE MASTER & SCHOLAR.
FIORAVANTE’S CELEBRATED SINGING LESSON,
A FAVORITE DUET. As Sung by MISS WILSON,
AND Mr. HORN... in the OPERA of the BARBER of
SEVILLE AT THE THEATRES ROYAL LONDON &
DUBLIN. Dublin: I. Willis [c1822 (wmk)], 10pp.,
portrait of Miss Wilson as Rosina on title-page.
Rosina’s role is partly in English and partly in Italian,
while her teacher’s consists of instructions and
encouragement etc. in English.
141. Viardot, Pauline
‡[a] BERLIOZ: LA CAPTIVE... Chantée par
Madame VIARDOT GARCIA... PAROLES DE
VICTOR HUGO. Paris: S. Richault [1849 plates], PN
10154, lith., 1f., 6pp., title-page vignette by F.
Sorrieu. Untrimmed copy. Hopkinson 16E+. Piano
accompaniment by Stephen Heller.
[b] BERLIOZ: Die Gefangene gesungen von Mad.
Viardot. LA CAPTIVE... Berlin: Schlesinger [1855
plates], PN 4093, lith., 9pp. Hopkinson 16E(f)+.
Piano accompaniment by Stephen Heller.
[c] MEYERBEER: MIO FIGLIUOL, Air... IN LE
PROPHÈTE. Cramer Beale, and Chappell [1849], PN
8224, 4pp. Viardot created the role of Fidès in Paris
in 1849 and also sang in the London premiere that
year.
* * *
Other singer-composers () and singers
represented in the collection:
Ashe, Mrs, fl. c1820 (2); Baddeley, Sophia;
 BARROILHET, Paul; Bartleman, James; Belocca,
Anna de (inscribed by Benjamin Godard);
 BENELLI, Antonio; Bishop, Anna; Blanchard,
Thomas; Bolton, Miss E.; Borghi-Mamo, Erminia; 
BOULANGER, C. A. (3); Caradori-Allan, Maria;
Cargill (née Brown), Ann (3); Chanu, Marie;
Clendenning, Elizabeth; De Camp, Miss (2); Elliot,
‘Master’; Elliston, Robert William; Emery, John;
Fawcett, John; Gray, Sarah Jane; Griglietti, Miss;
Hagley, Miss; Hooke, Mr, of the Anacreontic
Society) (2); Johannot, Richard; Johnstone, John
Henry (4); Johnstone, Nannette; Kemble, Elizabeth;
Kennedy, Margaret (2); King, Thomas (2); Mahone,
John? 2); Morelli, Giovanni (2); Morichelli, Anna;
Mountain, Rosemond (3);  NALDI, Sebastiano (3);
Nield, Jonathan; Parepa-Rosa, Euphrosyne (2);
Rovedino, Carlo;  RUSSELL, Henry (2);
 SAINTON-DOLBY, Charlotte;
Sainton-Dolby, Charlotte (2); Sedgwick, Thomas;
Sims, Sarah; Slader, Mr (2); Spray, John; and Waters,
Miss M. A.
142. Viganoni, Giuseppe (d. 1823, fl. 1781–1805),
Italian tenor, sang frequently at the King’s
Theatre, a fine actor.
[a] MAMMA MIA Sung... at the Concerts of the
Nobility... Preston [c1800], 3pp.
[b] MAMMA MIA, as Sung... at the Nobilities
Concerts. Broderip & Wilkinson [c1800 (wmk)],
4pp.
[c] PAER: PER VIVERE CONTENTO... in... I DUE
GOBBI. Longman & Broderip [1796], 4pp. An
insertion aria in Portogallo’s opera.
[d] ZINGARELLI: DUNQUE IL TUO BENE. A
favorite Duet, As Sung by Messrs. Viganoni &
Cimador, AT THE PUBLIC & PRIVATE
CONCERTS. R. Birchall [c1812 (wmk)]., 4pp.
143.  WELSH, THOMAS (c1780–1848, fl.
1792–c1800), English boy soprano, later
bass, singer; composer of dramatic works;
singing teacher (John Sinclair and
Catherine Stephens were his pupils).
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CROSS-REFERENCES (selective):
Malibran, Maria —  GARCIA [g]
Mara, Mme — Billington [e, o]
Morelli — Storace [l, m]
Morelli, Giovanni — Braham [d],
Casentini [b], Storace [d, l, m]
Morigi — Storace [l, m]
Naldi — Catalani [f], Garcia [b]
Pacchierotti, Gasparo — Millico
Pisaroni, Rosmunda — Lablache
Rauzzini, Venanzio — Tenducci [h, i]
Romanzini, Maria — Bland, Maria
Salmon, Eliza — Stephens [b]
Sestini, Giovanna — Storace [l, m]
Shaw, Mary — Kemble, Adelaide [b]
Stephens, Catherine — Billington [b],
Storace [j]
Suett, Richard —  KELLY [a]
Tenducci —  RAUZZINI [g]
Tosi, Adelaide — Lablache
Vestris, Lucia Elizabeth — Grassini [c],
Pasta [e]
Viardot, Pauline —  GARCIA [f, g]
Viganoni, Giuseppe — Banti [e, f],
Billington [o], Braham [d], Grassini [b]
Winter, Berardo — Grisi, Giuditta
Ansani, Giovanni —  RAUZZINI [g]
Billington, Elizabeth — Mara [c]
Bland, Maria — Bannister
Braham, John — Billington [o], Catalani
[e], Feron [b], Grassini [a],  KELLY [c],
Paton [c],  RAUZZINI [e], Storace [w]
Brent, Charlotte — Tenducci [b]
Cantelo, Ann —  RAUZZINI [k]
Catalani, Angelica — Feron [a]
Cauvini, Sgra — Bertinotti-Radicati
Chambers, Isabella — Barbier
Crescentini — Pasta [f]
Dickons, Maria — Billington [b], Storace
[j]
Dignum, Charles — Bannister
Donzelli, Domenico — Pasta [a]
Fabrizzi, Orsola — Braham [d]
Fodor, Joséphine — Garcia [b]
Grassini — Billington [l & o]
Grisi, Carlotta — Lind [m]
Incledon, Charles — Billington [o]
Jordan, Dorothea —  KELLY [b]
Lazzarini, Gustavo — Casentini [a–b]
Lindsey, Mary — Leveridge [c]
25