SONGS WITH GUITAR FROM THE AGE OF NAPOLEON

John McCormick

INTRODUCTION

In this, the 4th edition of "Songs With Guitar From the Age of
Napoleon", I have added substantially to the list of composers and
songs. Most significantly, I have added selected works from the
collection of Kenneth Sparr, whose complete collection appears at his
own site. He was kind enough to allow me to extract material from his
catalogue. For those whose interests in guitar music from this period
are much broader than that which is offered here, as well as in lute
music, his is a site that is well worth visiting. The selections I have
extracted are what appear to be songs that were originally written by
their respective composers with guitar accompaniment. I am trying to
limit this list to only such works, with only the small exceptions I
explain later.

In addition, I am now including library locations as I find them. It

finally occurred to me that this list is not very useful to anyone who
is interested in such matters unless I do so. A list of the libraries
in which I have located this material follows the catalogue of
composers and works. It includes library sigla, addresses and where
possible, phone and fax. I have employed a numbering "system" as a way
of relating specific works to specific libraries, rather than relying
entirely on the sigla, since many of them individually apply to more
than one library. Moreover, as time goes by, I hope to include many
library locations and collections that are not a part of this system. I
will also fill in further biographical information where it is missing,
as I am able to locate it.

The list remains far from complete. As time goes by, I will hopefully
continue to add many more names, specific songs, locations, and
additional biographic material. This being the case, I invite anyone
who shares my interest in this music, and has any additional
information on these or any other composers from this period,
especially Italian ones, to contact me. I have a deep interest in this
as an ongoing project. Any additional information will be greatly
appreciated, especially with respect to those composers in the
following list whose names are not followed by any biographical
information, song titles, or library locations. I am interested in
music that does not show up in RISM on-line, especially in small
Italian libraries, of which there are many. Quite naturally, I am
curious about songs with guitar that may have been written by Nicolo
Paganini. I am also interested in ones by any of the Moretti's, other
than the twelve Spanish songs published in facsimile by Tecla. I would
like to acquire film or photocopies of such music for the purpose of
performance and recording, as well as for possible modern publication.
It is my strong belief that much of this music, once it is identified,
should be heard, rather than merely written about and catalogued. If
you have any such information you would be willing to share, you can
contact me either directly or through Editions Orphe�.

The indications of works that have been re-published in modern editions

as well as in facsimile remain. There are also some songs with lute.
Since the lute had virtually disappeared from common use by this time,
I found it interesting that some composers were still writing songs
with this instrument. So much so, that it seemed worthy of inclusion.
Not having seen the music (yet), it would seem reasonable to assume
that anyone who wished to do so could easily play these songs on either
the guitar or the lute. In any event, this is one of several
illustrations of the fact that the guitar maintained its preeminence
during this time as a vehicle for vocal accompaniment in the face of
some rather stiff competition. The piano had begun to cast its long
shadow over the musical world. For many composers, it was the vehicle
of choice to accompany the voice. There was also the Harp. In my
journey through the maze of song literature from this period in search
of that written with guitar, I have encountered quite a number of songs
in which the Harp was specified as the accompanying instrument. I have
also encountered numerous songs with orchestra, especially in
orchestrations made up almost exclusively of strings. Given the tastes
of the times, one might safely assume that the influence of opera had a
lot to do with this practice.

Another plucked instrument that deserves some mention is the Mandore.

Also sometimes called the Mandora, it was a relatively small
instrument, shaped somewhat like a Lute, which enjoyed a brief surge of
popularity during this time. It is said to have had its beginnings
during the latter part of the sixteenth century and was used
extensively during that time in France. In its original form, it had
only four single strings. In 1618, Praetorius described it in some
detail and included in his writing a drawing, which showed a specific
tuning. By the seventeenth century, its use had pretty well died out.
In the mid-eighteenth century, however, the instrument enjoyed a strong
but brief comeback in Italy, where it acquired six double strings. As
the turn of the century approached, it was also mentioned in Germany as
an instrument with eight pairs of strings. Again, in my quest for
guitar accompanied songs, I encountered a number of Italian songs with
Mandore. The majority of these songs were by "anonymous" composers and
I have therefore not included them. It looks as though the use of this
instrument was a fad, which died out rather quickly.

I have now included some material I initially vowed I would not. That
is, in a few isolated cases, I have listed songs with guitar which are
shown as being "arrangements". I have done so in cases where the
composer was primarily a composer of operas, in addition to having
written a few songs with guitar. Arias from operas were set to guitar
accompaniment in many instances. Where there is an indication that such
settings were done by someone else, I have not included them. When
there is no such indication, there seems to be the possibility that the
composer of the original also made the arrangement. Although I have no
way now of confirming this speculation, I have included some of these,
just to be on the safe side. Finally, I have gone through this
presentation to correct some typographical errors. I imagine that in
the process, I have substituted some new ones, but, over time, I will
hopefully spot these as well. As is the case when one embarks on this
sort of correction, there is the tendency to look at other aspects of
writing with a critical eye. This being the case, I have rearranged the
text into a more coherent order and added more material.

The biographical sketches I have included with many of the entries have
been obtained from standard reference sources. What constantly strikes
me about these sources is the nearly total absence of any mention of
guitar accompanied song, in spite of its obvious and widespread
popularity during this period. Even in the instances where listings of
a given composer's works are included, many of which are purported to
be "complete", reference is very seldom made to works for voice and
guitar. I am mystified by such a massive oversight. Those of us who are
attracted to the guitar and its music are also aware of the fact that
among all musical instruments, it is arguably the most pervasive. Since
the time of the renaissance, it has been employed in every form of
music in every European nationality. As far as I know, no other musical
instrument can make that statement. Likewise, what other instrument has
accompanied as many singers around the world as has the guitar?

Over several years of playing such music, I have noticed that those who
were primarily guitarists wrote most of the currently published songs
with guitar from this period. They were re-discovered almost by
accident by people who were searching from the guitarists' point of
view. The result is that the current repertory for voice and guitar is
very small as compared to songs written with piano accompaniment. This
is even the case if one includes renaissance, baroque, and modern songs
with guitar. In terms of sheer numbers, the piano still wins out.

Throughout the recorded history of composed song literature, the guitar

and guitar-like instruments have played an important role as an
accompanying instrument. Yet literature written in the twentieth
century related to general music history has uniformly ignored this
reality. The numerical proportion of currently published songs with
piano as compared to those with guitar does not reflect historic
reality. It seems to me to make sense that since the guitar antedated
the piano by centuries, the reverse should be true.

Our current lack of awareness of so much of this rich and rewarding

music can be attributed to a number of factors. Serious guitarists, for
the most part, tend to ignore song accompaniment simply because they
have been conditioned to instinctively view such music as less than
challenging. Accompanying singers is an activity that somehow places
the guitar on a lower plane. It relates to mere "strumming". In fact,
many authoritative writers on the history of the guitar make this
point. One of many examples of this occurs in the preface of Alexander
Bellow's An Illustrated History of the Guitar. [The more I delved into
the history of the guitar, the more convinced I was in my contention
that the guitar is not just an appendage to the family of string
instruments. Its musical role is more than that of an instrument to be
plucked and strummed as an accompaniment to songs and ballads.] I must
make it clear at this point that I have always admired Mr. Bellow. Not
only do I consider this book a treasure, one of the best ever written
about the guitar, but I have long used his collections of renaissance
and baroque guitar music in both teaching and performing. I think they
are wonderful modern realizations of a body of exquisite music for the
guitar. It is a shame that, as I understand, many of these collections,
as well as the book, are no longer in print.

No, I am not picking on Mr. Bellow. Nor do I quarrel with the statement
based on its face value. It is merely one of many such statements I
have read in which the author makes a similar point by comparing solo
guitar music to that of accompaniment, a role which is one of many the
guitar has assumed. Such statements subliminally encourage serious
players of the guitar to avoid the"mere" role of accompanist.
Guitarists therefore, might not be inclined to search out such material
as a primary interest, or even as a secondary one. There is, quite
rightly, a natural inclination among guitarists and guitar enthusiasts
to search for music that will offer technical and musical challenges
and expand the solo repertory. Song accompaniments, especially those
that come from the 18th and 19th centuries, are not thought to be, for
the most part, technically demanding. While this may be generally true,
there are many exceptions which are as technically and artistically
demanding as numerous solo pieces from the period played regularly by
concert guitarists the world over. On the other hand, even the easier
accompaniments can be somewhat deceptive. I have found that in order to
play such music effectively, it is necessary to continue practicing
music that is more challenging in order to keep one's technique at a
high level. This is due to the artistic demands that are present
calling for careful control of tone and phrasing in a way that becomes
a sympathetic reflection of the vocal line.

Another factor that may also hold back contemporary interest in such
songs could be a lack of interest on the part of many singers and
teachers of singing. Song literature is vast and international,
especially that which utilizes the piano. Capable pianists outnumber
capable guitarists by a large margin. As a matter of convenience, it is
only natural that a serious singer, when casting about for an
accompanist, will think first of a pianist, unless the singer has a
specific interest in guitar accompanied song, a relative rarity. In
addition, most students of singing are encouraged to pursue opera.
Current vocal technique is generally designed to develop a large volume
of sound for this purpose. The presentation of song recitals is viewed
as a secondary activity, since fewer opportunities to do so are thought
to exist. At least this seems to be the conventional music school
wisdom.

While the guitarist may not face many heavy technical demands, the
singer also is not called upon to stretch the voice beyond reasonable
limits. This was the age of bel canto, and as such, great respect was
accorded the artistic capabilities of the human voice. This being the
case, there are demands related to nuance, language, idiom and a
relaxed, linear production of tone of which few of today's singers are
capable.

Incidentally, we have discovered that in order to perform these songs

as they may have been heard in their own time, lowering the pitch by
approximately one half step from A 440 not only comes closer to
replicating the pitch in use when they were written, but it enhances
their sound. The guitar sounds richer and more vocal. The range of the
vocal line falls well within the middle range of the average voice, an
important consideration for this music. During the time of Mozart and
Beethoven, the standard pitch is thought to have fallen somewhere
between A 416 and A 430, according to the Oxford Companion to Music.
Therefore, lowering the pitch to that range seems quite logical,
especially in view of the outcome.

This is my only concession to period "authenticity". As a matter of

personal taste, I do not subscribe to the notion that the use of period
instruments somehow brings us closer to the intentions of the composer.
I enjoy listening to early music performed on instruments that are no
longer in use, .the Lute and Viol da Gamba for example, as well as many
early wind instruments that no longer exist. I do not, however, get
much from performances of later music on early versions of modern
instruments. For example, listening to the piano works of Mozart
performed on a Forte-Piano of his time is, to me, a frustrating
experience. While the sound is often beautiful and delicate, I find
myself longing for the sustaining power and dynamic range of the modern
piano. This also holds true for the guitar, an instrument that has
changed very little in its long history. What changes have taken place
can only be thought of as improvements with respect to such
capabilities as flexibility of tone, sustaining power, volume and ease
of playing. Such considerations are especially important when using the
guitar as an accompaniment to the voice. In such a context, there are
questions of balance and tone, which, to me, far override other
considerations such as the use of an "authentic" instrument.

There are several peripheral aspects of this little investigation that

I find quite interesting. One that struck me is the surprising number
women who were composers during this time and wrote songs with guitar.
While the ones I have found are not all that great in number, there are
enough to suggest the possibility of interesting future discoveries,
not only within this limited field of voice and guitar, but in other
aspects of musical composition within this period as well. It has
always been my impression that the late 18th and early 19th centuries
were characterized by a rather high degree of male chauvinism,
especially with respect to artistic pursuits. This makes the presence
of a significant number of female composers even more surprising.

Attitudes toward women in the arts, especially the performing arts,

were based on various versions of the Napoleonic Code. Married female
singers, for example, were not permitted to enter into contracts
without the written permission of their husbands, or if they were
unmarried, their fathers. This surely leaked over into other forms of
artistic expression. There are many stories, for example, of sibling
rivalry in which the sister nearly always became subservient to her
"obviously" more talented brother. Attitudes on several levels were
such as to render it extremely difficult for a woman to exercise her
artistic instincts.

Another observation that catches my attention is the number of writers

of these songs who turn out not to be what they appear at first glance.
I'm referring to the many famous guitarists who also taught singing,
the composers who were actually famous singers, and the composers well
known for their works in other musical forms who also turned out
numerous songs with guitar. It seems as though everyone needed to try
their hand at writing songs with guitar.

Finally, although one might justifiably assume that guitar-accompanied

songs are largely limited to romantic verses for the solo voice, this
turns out to be less true than I first thought. In fact, as I go about
assembling and expanding this "catalogue", it quickly become apparent
that the guitar was used in conjunction with a rather wide variety of
musical forms related to vocal repertory: choruses, canons for three
equal voices, and a wealth of duets.

I have purposely avoided the inclusion of any "arrangements", which are

far too numerous to list in this context. As mentioned earlier, the
only exceptions are operatic composers who also wrote original songs
with guitar. This, of course, is in the face of some rather famous
"arrangements". Those of Sor and Matieka come to mind, not to mention
the guitar accompaniments to many of Schubert's songs that were
published concurrently with his original versions for piano. In
addition, famous guitarists such as Carcassi and Carulli regularly
wrote accompaniments for popular songs of the day. Such practices
attest to the massive popularity of guitar accompanied song in this
era. However, I am attempting to limit this list to music originally
written with the guitar in mind. Admittedly, this is a somewhat
difficult proposition, since indications as to the origins of songs
accompaniments are often sketchy and sometimes misleading. This,
however, is my intent. I also, of necessity, have avoided the inclusion
of "anonymous" composers, who seem to have far outnumbered those with
identifiable names. They too, however, further underscore the
incredible popularity of this music.

I have also avoided going too far into the 19th century. In my opinion,
what began as purposeful art, tended to later degenerate into the
maudlin and sentimental, at least in the context of guitar accompanied
song. This tendency seems to have been parallel to the general decline
in the popularity of the guitar as a serious instrument and the rise of
the piano as the principle accompaniment for the voice. The one
composer from this slightly later period, which I have included, is
Stephen Foster and the 18 songs he wrote with a simple guitar
accompaniment. I have done this for two reasons. The first is to
illustrate how pervasive the guitar had become in this medium in a
relatively short period. The other is simply to list the songs for
those who may not be aware of Fosters having written them in this
manner.

Having recently published a collection of songs with guitar by Vicente

Martin y Soler, a composer of comic operas from the late eighteenth
century (see listing), I began wondering whether or not there might be
more. In other words, if I were to look for such material from the
standpoint of the singer rather than the guitarist, what would happen?
This impulse became stronger as I was following up on getting
information about Johann Simon Mayr, a composer of whom I had never
heard, but was a major influence on Italian operatic style and was the
principal teacher of Donizetti (see listing). A few years ago, during a
trip to Italy, I had acquired manuscripts of a couple of songs by him,
written for voice and five-string guitar. Groves provided the
information that he was a major opera composer who had left Bavaria at
an early age and settled in Bergamo, Italy for the remainder of his
long life.

Thus began a serious search. Sure enough, many who had written
guitar-accompanied songs were indeed, primarily composers of opera.
Further search revealed also that the ones who do not appear to have
written operas, were in some cases rather prolific songwriters. Due to
the concurrent popularity at the time of both the piano and the guitar
as accompanying instruments, they wrote for both. One was not a
composer at all until his later years, after he had retired as an opera
singer. The rest are somewhat obscure composers for the guitar.

The list may not be entirely accurate in some respects, largely because
of some of the sources I have used. For example, some of these names
come from the well-known book by P.J. Bone, The Guitar and Mandolin.
Since I have had this book for some years, this was where I started. I
simply excerpted all the composers he claimed had written songs with
guitar. I have not yet had a chance to follow up on the accuracy of
many of these claims. The ones I have located thus far, however, tend
to confirm them. I mention this only because several people of my
acquaintance who are far more experienced in musical research than I
have questioned the accuracy of some of Mr. Bone's material. I am not
in a position to say one way or the other. I happened on to this book
sometime in the late fifties or earlier sixties through an
advertisement in The Guitar Review. The signed and numbered copy I
received directly from Mr. Bone was a source of great inspiration at a
time when I was just getting into playing the guitar. It became one of
several books and articles I poured over repeatedly, almost to the
point of literal memorization. Furthermore, thinking about this and
other such pioneering efforts on behalf of the guitar, as well as other
such research, is quite humbling for a person such as myself who is, in
effect, just getting into such activities relatively late in life.
These efforts were made long before the advent of the computer. Were it
not for this technology, I'm not sure I would even know where to begin
such a search, let alone develop the incentive to do so in the first
place.

My wife and I have so far made two trips to Italy. In each case,
discoveries were made that would not have been possible otherwise. In
one instance, we were there to obtain a copy of songs by Carulli. In
the process, we came across two other collections of songs with guitar
by composers previously unknown to us.

The second trip yielded 147 pages of manuscripts and published music,
some of which was by anonymous composers, with guitar-accompanied songs
by Paisiello, Crescentini, Carulli and others. One of the most
interesting in the group was a set of six songs and six duets for
voice(s) and guitar by Domenico Puccini, the Grandfather of the much
more famous Giacomo.

As has no doubt become obvious at this point, the focus here is on

Italian composers from this period. It has become evident that this may
be a vastly overlooked niche in the history of music, and in
particular, a further testament to the influence of Italian song on
other nationalities. There are many instances throughout this list, in
fact, of songs written to Italian texts, and the Italian style, by
composers of other nationalities.

I do not assume that every piece of music rediscovered is going to turn

out to be a previously hidden masterpiece. Far from it! In fact, the
very popularity of both the guitar and vocal music of all sorts makes
it safe to assume a tremendous amount of exploitation occurred,
resulting in what could only be termed as "junk". Hidden in what is
sure to be an incredible volume of music in this medium, in my
experience thus far, are some real gems that deserve to be published,
recorded, and performed in concert

The Italian preoccupation with vocal music in the late 18th century,
opera in particular, made it necessary for Italian guitarist-composers
to go elsewhere. The extreme popularity of the solo guitar at the time
prevailed nearly everywhere except in Italy. London, Paris and Vienna
were the major centers of guitar activity.

This, however, is not to say the guitar was totally absent in Italy.
While it was not very healthy as a solo instrument, the guitar was
widely accepted as an accompaniment to the voice. In fact, it seems to
have been appreciated in this role with considerable justification from
a purely vocal perspective since tastes in singing styles and in the
role of singing were undergoing drastic changes.

Over a long period of time, almost since the beginnings of opera,

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

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

Girolamo Crescentini, one of the composers of songs with guitar listed

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

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

During the years Metastasio lived in Vienna, which was most of his
professional life, he was responsible for providing libretti on which
operas were written for numerous specific royal events; birthdays,
anniversaries, visiting dignitaries, marriages and more. Most of the
reference material I have encountered thus far focuses more on his
opera libretti than on his poetry and song texts. In this light, it is
observed that his popularity as a librettist declined during the latter
part of the 18th century. This was largely due to the subject matter he
chose, which reflected political views he held that had gone out of
fashion. This falling out of favor that befell his libretti was
certainly not the case with his poetry. Throughout the late 18th and
early 19th centuries, his poetry remained the most popular literary
vehicle for songwriters of several nationalities.
As such, it contributed in no small way to the Italian vision of
wedding verse and melody, exerting an influence of such magnitude that
it was to affect the writing of vocal composers the world over from
that time on. The evolution of opera on this basis is well known. Not
so universally accepted is the role Italian song played in the writings
of non-Italian composers.

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

This trend toward simplicity and directness in Italian song without

further development may have been its undoing with respect to its
historic perpetuation as a great art form. Elsewhere, the same theme of
expressivity began to take the form of innovation, largely centered on
exploiting the perceived capabilities of the piano The major innovation
was to establish the "accompanying" instrument and the voice as equal
partners, and to compositionally place melody, text, harmony and rhythm
on an equal footing. This was a purposeful break from the time-honored
tradition associated with solo song, in which every other musical
element was subservient to the vocal line.

Such evolutionary processes also made it easy for future historians to

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

Italian songs with guitar from this period present numerous

opportunities in the realm of subtle artistic expression, as is the
case with those of any nationality. This is intimate music; designed
for intimate settings. The lessons of this body of Italian music were
 to influence songwriters and singers of many nationalities. Correctly
or incorrectly, I have long felt that if it were not for this music,
and the trends it set in terms of expressivity, vocal technique, and
the wedding of the text to the melodic line, similar vocal writing of
other nationalities, notably the German Lied, might very well have
taken a different turn.

The biographical material, when provided, is more or less directly

quoted from the sources. A few of the specific compositions were also
gleaned from these same sources, which include the following - P.J.
Bone - The Guitar and Mandolin: The New Groves: The New Groves Opera:
Massimo Agostinelli: The Oxford Companion to Music: Thomas F. Heck,
Mauro Giuliani: Virtuoso Guitarist and Composer; Grout, A History of
Western Music; Rosselli, Singers of Italian Opera; Stevens, A History
of Song.

THE COMPOSERS AND THEIR SONGS

* Agliasti, Luigi
* Alstr�m, Olof (1756-1835) - Louises Graf * S�rg ej den gryende dagen
(voice and lute) * H�r vid denna silver b�chen (voice and lute) [38]
* Albenese (1729-1800) � Wrote three collections of songs with guitar and
violin which were published in Paris. These collections included a few
guitar solos as well, along with vocal duets, songs with one and two
violins and bass; voice, guitar and bass, and other combinations. The
songs are mostly on French texts and are in a popular vein. In some
cases, it is difficult to tell whether a particular songs is an
arrangement or an original composition. All of the accompaniments were
written for five-string guitar.
* Alt, E. - So ist mein Wunsch (1825) [10]
* .Ambrosche, Joseph Charles (Bohemia) (1759-1822) �- Als ich auf meines
Bleiche [10] * Romance des Pagen aus Figaros, op. 5 - (Several songs
with guitar published mainly between 1800 and 1817.) Here is one of a
number of examples I have found thus far of singers who also composed.
Unlike some of the others, Ambrosche limited himself to writing songs.
Although his output was relatively small as compared to other such
composers, he did write a significant number, many of which were with
guitar. According to the article in Groves, "his lied style ranges from
simple, strophic, folk-like works to more complex pieces.........His
accompaniments are quite simple, but his vocal lines often have
numerous embellishments". His singing career began in Prague. After he
made his debut at Bayreuth, he remained in Germany for the rest of his
life. He remained a prominent and respected musical figure in Berlin
until his death.
* Amon, Johann Andreas (1763-1825) - Wahrsagenlied [10]
* Andrade, Jean Auguste (d. 1793) - Souvenir [5]
* Andreozzi - Tout m'alarme tout excite et ma crainte et mes regrets [5]

* Anelli, Giuseppe (Joseph) - Non dormo un'ora al gano (aria) * Grazie o

pietosi Dei (aria) * Vado in traccia del ben mio (cavatina) * Povero
cor tu palpiti (cavatina) * Child of heart with the Golden Hair
(cavatina) * Tre cavatine * estrate dalla cantata - Borne in Turin at
the beginning of the 19th century. Wrote about 300 songs with guitar.
Little is known abour Anelli concerning his exact date of birth or his
birthplace. He was distinguishing himself as a performer as early as
 1809 in Turin. For some time he was employed by the Princess Paolina
Borghese, Napoleon's sister. During this time, he not only gave solo
guitar concerts, but often performed as a vocal soloist to his own
guitar accompaniment. At the end of 1813 Anelli left Italy for Paris,
where he stayed for a short time. .There he came to know Fernando Sor
and became his rival in guitar concerts. He was sometimes judged by
Parisian music critics to be the better performer of the two. Here he
played for the public his two Concerti for guitar and orchestra, the
scores of which are now presumably lost. In 1815, Anelli moved to
London, though he continued to visit Italy, After a brief stay in
London, he moved to the provinces west of London, where he appears to
have remained for the rest of his life
* Apel, Johann George Christian (1775-1841) - Mutter spricht ich soll's
night leiden [27]
* Apell, David August von (1754-1832) - Fernandos Lied [10]
* Aprile, Fortunato (18th cent.) - Sopra una candida (Cavatina) [27]
* Arcari, Valentino - A quanto � mai difficile * Napoleon sei solo [19] *
Voi lo vol terete (2 voices & guitar) [15]
* Arnold, Johann (1773-1806) � (Wurtemburg) � Published several volumes
of songs with guitar.
* Asioli, Bonafazio (1769-1832) - Mio ben ricordati [1]
* Auber, Daniel-Fran�ois (1782-1871) - Jenny [5]
* Baldenecker, C. - Ah lorsque la mort trop cruelle [18]
* Baldini - Non v'� pi� barbaro (cavatina) * Crudel morir mi vedi (2
voices & guitar) * Mio ben ricordati * O cara immagine del mio tesoro *
Per te non ho pi� pace * Sacri orrori amiche selve * Se tuti miei
pensieri * Zeffiretti fovieri dal giorno [27]
* Balochi, Luigi (1760-1832) - Mes Souhaits [31]
* Barbereau, Mathurin-Auguste (1799-1879) - Heure du soir [5]
* Bassi, Nicola
* Bathioli or Barthioli, Francois (beginning of 19th century) � Lived in
Vienna where many of his compositions were published. He died in 1830.
In addition to writing songs for voice and guitar, he wrote a number of
guitar solos and a guitar method which included basic instructions in
singing, and songs with guitar accompaniment. Much of his music was
published by Diabelli.
* Beauplan, Am�d�e de (1790-1853) - Je ne suis � personne * Marguerita (2
sop. & guitar) [5]
* B�dard, J. B. - Conseils a mon amie * Romance * L'Amour Venge *
Comparaison (Published in facsimile by S.P.E.C., Florence, Italy)
* Benzon, Siegfried (d. 1793) - Alexis und Nettchen [10]
* Berger, Ludwig (1777-1839) - An die Geliebten [10] - Prolific composer
of lieder and sacred choral music. This is the only song for voice and
guitar by this composer I have found so far. Given the total volume of
music he wrote, it is easy to suspect there might very well be more.
* Bertioli, Alessandro � Lived in London during the first part of the
19th century
* Berton, Henry-Montan (1767-1844) - Agnes Sorel. [31]
* Bevilacqua, Matteo P. (1772-1849) - Quattro (4) Cavatine * Non
t'accostare all'uma (aria) * Quattro (4) duettini * Otto (8) Cavatine
* Bianchi, Antonio (1758-ca. 1802) - Una vaga giovinetta (from Ma�tre de
chapelle, arr. W/ guitar by Bianchi) * Verita * Rimprovero di
disinganno * Pretensione ingiusta [27] * Agitazion d'amore [34] [12]
[26] * An Emma * No non vo piu rogatoli [25] * Pretensione ingiusta
[40] * Smorfiofella [40] [27] * Douze (12) Chansons Italiannes -
Bianchi was a prolific writer of songs to French, German and Italian
texts. Many of these songs were with guitar accompaniment, even though
he was primarily neither a composer nor a guitarist. He was, instead, a
famous operatic baritone. Although he sang in Milan, Genoa and Paris
 during his early career, he enjoyed his greatest success in Germany. He
remained a permanent member of the opera buffa company at the Prussian
court for many years. The only adverse criticism his performances
received was on the few occasions that he attempted to sing German
opera in German. The songs he wrote were published and re-published,
mostly in Berlin and Hamburg. The few operas and ballets he wrote were
only moderately successful.
* Bianchi, Francesco ( 1752-1810) - � votre belle soyez fid�le *
Villanella rapita [5] * Ma�tre de chapelle [27]
* Bigatti, Carlo (1779-1854) - Non dorma un ora al giorno (Cavatina) [27]

* Blangini, Felice (1781-1841) - Romances for voice and guitar [25] *

Speranza al cor mi dice (2 voices & guitar). * Je n'est plus la [31] *
Silve a l'age de quinze ans, (2 voices & guitar) * Senza parlar fra
loro (2 voices & guitar) * Mai se di lei t' accendi (2 voices & guitar)
* Mai l'amor mio verace (2 voices & guitar) * Almen si nono poss'io (2
voices & guitar) * Chi vive amante (2 voices & guitar) * T'intendo si
mio cor (2 voices & guitar) * Il pi� s'allontana [27] * Nocturnes �
Deux Voix Avec Accomp. De Lyre ou Guitarre ( Mi lagner� tacendo,
T'intendo si mio cor, Chi vive amante, Almen se non poss'io, Mai l'amor
mio verace, Mai se di lei t'accendi, Senza parlar fra loro, Silve �
l'�ge de quinze ans, De tous les pays pour vous, Amor che nasce con la
speranza, sentirsi dire) [13] * A votre belle soyez fid�le [5] -
Blangini is listed in Groves Opera as a French Composer, singing
teacher and tenor of Italian birth. As a boy he sang in the Turin
Cathedral choir and was a pupil of Bernardo Ottani. Arriving in Paris
in 1799, he became fashionable as a singer, composer of salon music and
singing teacher. He made his debut as an opera composer at the Theatre
Feydeau in 1802 and at the Opera in 1806. In 1805 he became Maestro di
Cappella to the Duke of Saxe-Coburg in Munich; he was also in the
service of Pauline Borghese, Napoleon's sister, who had an affair with
him. In 1809, Napoleon transferred him to Kassel, where he was director
of the theater, maestro di cappella and master of chamber music to the
new King of Westfalia, Jerome Bonaparte, with whom he remained until
the king fell from power.. Back in Paris in 1814,, he was
superintendent of the royal chapel, court composer, and professor of
singing at the Conservatoire. He was a member of the Legion d'honneur
and received an auristocratic title, became a French citizen and
married a banker's daughter. After the revolution of 1830, he lost his
court appointments, and as a musician, was overtaken by the rise of
romanticism. His autobiography was published in Paris in 1834..Blangini
composed nearly 30 operas, mostly operas comiques, as well as sacred
works and vocal chamber music; he claimed, and has subsequently been
credited with, the invention of the vocal nocturne. Many of his stage
works were unsuccessful and received few performances. They were
written in a light, almost banal style, and although several romances
are appealing, there is generally much artificiality in his harmonic
language and formal structure. [The preceding analysis is by the
contributor to Groves Opera on the composer. Not having heard the
music, I would have no way of verifying those opinions. However, I
would not take such statements as a deterrent that would prevent me
from investigating Blangini's songs with guitar. (J.Mc)]
* Blume,Carl Ludwig (1786-1844) � A pupil of Antonio Salieri and a
prolific composer, his works include numerous songs and romances with
guitar accompaniment.
* Boccomini, Giuseppe � Racolta di Canzonette (7) - Born in Florence
during the latter part of the 18th century. His compositions include
various vocal solos and duets with guitar accompaniment, published in
1820 by Ricordi, Milan.
* Boieldieu, Fran�ois-Adrien (1775-1834) - S'il est vrai que d'�tre deux
[22] * Troubadour [26]
* Bolaffi, Michele
* Bonfichi, Paolo (1769-1840) - Dolente e care immagini [19]
* Bornhardt, Johann Heinrich Carl ( 1774-1840) - Sonst und jetzt *
Jugendliche Frohsinn (V, fl, guit.) * Liebe lehrt in dunkeln
Kummertagen * Ton der :leier * Wiedersehn * An die Hoffnung [10] * Mir
bluhet kein Fruhling [10] [22] * Morgenlied [12] * Zitterbuben's
Morgenlied * Piu che a te penso [14] * Aujourd'hui l'amour commode [33]

* Bortnjanskij, Dmitrij (1751-1825) - Hark the Vesper Hymn (4 voices &

guitar) [27]
* Bortolazzi, Bartolomeo (b. 1773) - 6 Italian Songs, op. 5 * 6 French
Songs, op 20 * 6 Venetian Songs - He was probably borne in Venice. He
was among the most famous mandolinists in Europe. He lived in London
from 1800-1803 where he perfected his skills on the guitar, studying
with local teachers. After 1803, he moved to Germany for his concert
activities, living for some years in Braunschweig and Berlin. In about
1805 he moved to Vienna, where he enjoyed success as a composer and
teacher. In addition to his many works for mandolin, Bortolazzi wrote
many chamber pieces calling for the guitar, and songs for voice and
guitar. He also wrote a Method for the guitar.
* Brambilli, Luigi � IV Romances, op. 2 * IV Romances op. 3 * IV Romances
op. 4 * V Ariette Italiane e Duettino op. 5IV Romances op. 6 * IV
Romances; 1 Italienne 1 Allemande 1 Francaise et 1 Russe op. 8 * IV
Romances op. 9 Little is known about this composer, most of whose works
for voice and guitar were published in Vienna between 1809 and 1821.
(op. 5 published in facsimile by Tecla)
* Bridy - Pour toi ma reine l'amour m'encha�ne [5]
* Brusch, C. F. - Menschensinn [10]
* Brugui�re, Edouard (d. 1793) - Soldat * Laissez-moi le pleurer ma m�re
* je te pardonne en t'oubliant * Faux ermite (2 voices and guitar) [5]
* Campenhout, Fran�ois van (1779-1848) - Je pense � toi lorsque sous la
feuill�e [5]
* Carafa de Colobrano, Michel (1787-1832) - De la douceur de voir Ad�le
[31]
* Carpi, Vittorio - Alta � la luna in cielo * Non senti amore * O mia
Ren�
* Carulli, Ferdinando (1770-1841) �Lungi da me che fai * Arrivo alle
donne [27] * Chi un dolce amor condanna * Deh torna in questo seno *
Parlami pur sincero * Son lungi e non mi brami * Tu mi guardi tu
sospiri: [27] * (Douze Ariettes Italiennes sur motifs de Rossini) -
Ecco quel fiero istante * Sognai mia fillide * O bella filide *
Tornatesereni begl'astri * Ha negli occhi * Se son lontana * Gi� la
notte s'avvicina * Amene selve, amiche peante * Conservati fedele * Amo
te sola * Son lungi * Gia pronta la t'aspetta: (Grand Air italien) -
Senti Mio bene: (Trois ariettes et trois romances italiennes, op.3) -
Frena la bella lagrima * Amo te sola * Ombre amene * Ecco quel fiero
istante * Parlami pur sincero * Solitario bosc'ombroso: (Trois Ariettes
italiennes, op.4) - Che fa il mio bene * Deh con me non vi sdegnate *
Tornate sereno begl'astri: {Six Nocturnes (for two voices and guitar)}
- Dal di ch'io vi mirai * Di me chi vide mai * Quel cor che mi prometti
* Io rivedr� sovente * V'� com'� bello il mar * Selve ombrose - A
Neapolitan who spent much of his life in Paris, Carulli is well known
today primarily for his guitar duets, as well as his solo guitar music
and a one-movement guitar concerto. He did, however, write numerous
songs with guitar, one set of which was dedicated to Giuseppina
Grassini, a famous soprano of the time who was also a mistress of
Napoleon.
* Caruso, Luigi (1754-1822) - Trova un sola mia bella Clori (2 voices &
guitar) * Sentirsi dire (2 voices, violin & guitar) * Ah se di te mi
privi (2 sopranos, violin & guitar * Sento gi� in sen che l'alma (2
sopranos, violin & guitar) * Fuggi dagl'occhi miei (2 Sop., violin &
guitar) * Ah non pianger bell'idol mio (2 sop., violin & guitar) [2]
* Champein, Stanislas (1753-1830) - O dieux qui m'avez tout ot� [31]
* Cimarosa, Domenico (1749-1801) - Sei Canzonette Italiane - Though of by
many as "the Italian Mozart", Cimarosa was a highly successful composer
of comic opera.. Even though he traveled to other places, he spent much
of his life in his native Naples. When he was in Vienna in 1792, he
performed his Il Matrimonio Segreto. The Emperor ordered supper to be
served to the performers and then told them to perform the entire opera
again. Cimarosa helped welcome the French revolutionary troops into
Naples in 1799, and when the Bourbon monarchy later regained power, he
was arrested and spent a short time in prison. He died shortly
thereafter at the age of 51 in Venice. In addition to his many
light-hearted comic operas for which he was most famous, he wrote quite
a number of songs and keyboard sonatas. It is suspected that his few
songs with guitar may have had their accompaniments crafted by an
unknown contemporary, although this speculation is without specific
foundation. In view of his wide-ranging skills as a composer, it is
equally possible he wrote them himself.
* Colomer, Jos� Melchor Gomis (1791-1836) - El chacho moreno (Cancion
andaluza) * La gitanilla zelosa (Cancion andaluza) [44]
* Comoglio, Giovanni (b. end of 18th cent.)
* Corigliano,Domenico (1770-1838) - Bianco il rosso il palido [22]
* Costa, Mario
* Crescentini, Girolamo (1766-1846) - Dodici (12) canzonette * Dove
rivolgo oh dio * Languir d'amore crudel mi vede * O teneri piaceri *
Numi sei giusti siete * Per valli per boschi * Fra tanti palpiti
d'incerti affetti * Mio ben ricordati, s'avvien ch'io muora [26 -
manuscripts - (Several other libraries have printed editions. The
manuscripts apparently contain both piano and guitar accompaniment.
There were printed issues with either one or both)] - Composer of songs
with guitar published by Artaria, Vienna, and by Simrock, Bonn He was a
famous castrato singer who was admired and supported by Napoleon.
Following a long and successful singing career, he turned to the
teaching of singing, and quickly became established in this capacity at
the Conservatory in Naples. His musical training began very early,
following in the footsteps of those two generations before him. Also,
as with his predecessors, he began singing in public at a very early
age. However, unlike his predecessors, whose youthful singing generally
took place in church, Crescentini was singing comic opera in the small
town of Fano at the age of 14. He was one of many castrati who could be
characterized as very learned men. In addition to undergoing long and
disciplined training in the art of singing, as well as in other musical
skills, they often had extensive literary training. When they retired
from singing, they often became bibliophiles and dealers in books, as
well as teachers, composers, and performers on musical instruments. He
may have played others, the piano, for example, but Crescentini's
musical instrument, on which he was very adept in both writing and
playing, was the guitar. As a teacher of singing, he wrote several
treatises on the subject. One, written in about 1810, placed great
importance on smooth, legato phrasing, as well as on words and
expression. "Singing", he wrote - echoing Caccini after more than two
centuries - "must be an imitation of speech".
* Curci, Giuseppe Maria (1765-after 1822) - Care zittele (2 voices,
strings & guitar, from the opera "Le due nozze e un sol marito") [12] *
Vieni tranquillo sonno [3]
* Dalayrac, Nicolas-Marie (1753-1809) - Premier amour [31] * Que de maux
loin de toi [5]
* Dalberg, Johann Friedrich von (1760-1812) - An den Schlaff [12] * Sie
Schwankt dahin [34] * Wie wohl ist mir im Dunkeln [37]
* Dalvimare, Martin Pierre ( 1772-1839) - Regrets * Mon coeur soupire
[31]
* Danzi, Franz (1763-1826) - In des Lebens Maientagen * O weine nicht in
einem bessern Leben [10] * S�rg icke mer (voice and Lute) [38]
* Darondeau, Henry (1779-1856) - Tiers [31]
* Delfante, Antonio (1770-1822) - Care zitelle no non sperate (2 voices &
guitar) [27]
* Doisy - (Six Airs Nouveaux) Romance * La fuite de l'Amour * Il faut une
amie * Jadis et Maintenant * L'Esprit du tems * A Lisa (Published in
facsimile by S.P.E.S., Florence, Italy)
* Doltzhauer, Justus Johann Friedrich (1783-1860) - Abschied [10]
* Dottori, Daniel - (Eight Airs With Guitar) - Mi giuri che m'ami mi
chiami * Senza l'amabile dio di citera * Te lo giuro o mio tesoro *
Nice, bella Nice ingrata * Se lontan ben mio tu sei * Non le scherza te
intorno * Se io t'amo s'io t'ao * Cara Nice, ingrata sei gia loso [17]

* Drexel, Friedrich � (Early 19th cent.) - 6 songs, op. 16; 6 lieder, op.
20; Twenty songs, op. 32
* Dusik, Jan Ladislav (1760-1812) - Fernandos Hochgesang an Clara [10]
* Ebers, Karl Friedrich (1770-1836) - Vergessner Schwur [10]
* Eberwein, Carl (1786-1868) - Elegie auf die Treue ihres Geschlechts
[10]
* Fabricatoriello, Giuseppe - E la bella m'a cercato * Me vogli anzurare
dinto fratta * Chi t'a fatta sta bella * Piccere si m'ave nattanno
bella cosa [17]
* Farinelli, Giuseppe (1769-1836) - Ah potessi in quella tomba [1]
* Ferrari - En vain de la nature je revois la parure (2 voices & guitar)
* Il n'est point d'amant Elvire [5]
* Ferrari, Giacomo Goffredo (1763-1842) - Quand l'Amour nacquit � Cith�re
[22]
* Fiocchi, Vincenzo (1767-1843) - Pourquoi [31]
* Fioravante, Valentino (1764-1837) - Placida campagna (2 voices, bass &
guitar) [28]
* Flora - Coleccion de Canciones espa�olas [44]
* Flotow, Friedrich Ludwig Ferdinand (1783-1858) - Charade [10]
* Fortunato, Giovanni ca. 1800 - Pien di contento * Ecco ridente il cielo
* Se il mio nome saper voi bramate * Sorte mia tiranna [22]
* Foster, Stephen Collins (1826-1864) - Old Memories * Gentle Annie *
Hard Times Come Again No More * Come With Thy Sweet Voice Again *
Willie We Have Missed You * Some Folks * Old Dog Tray * Oh Boys, Carry
Me Along * My Old Kentucky Home * Massa's in de Cold Ground * Maggie by
my Side * Little Ella * Farewell My Lilly Dear * Eulalie * Fairy Belle
* Camptown Races * Willie My Brave * Jeanie With the Light Brown Hair -
I acquired these songs quite by accident. During a casual conversation,
a colleague at the university where I was teaching informed me that the
library had facsimile copies of first editions of the complete works of
Stephen Foster. Among these works, he told me, were many songs with
guitar. I later made copies of them just to have them. Aside from
perhaps one or two, the guitar accompaniments, simple as they are, were
written by Foster himself rather than by someone else hired by his
publisher. Apparently there was a demand for these versions, which were
issued along with their piano accompanied companions.
* Furstenau, Caspar (b. 1772) � Famous flutist and composer who wrote a
set of six songs with flute and guitar accompaniment, as well as six
songs with guitar or piano, according to P. J. Bone.
* Garcia - (15 Boleri) - Un fraile se que, Para campana grande, Muchos
hai que se casan, Con los aficialitos, Al entrar en ducasa, Tiene sin
su barbero, Todos de las mujeres, Yome halle, Te dico a su marido,
Mujer que llego, Todos dicen, Pienso en ti solamente, Un rosal que
tenia, De los calvos no quieras, Non temas que te de puisa [4] * Amores
y dolores guitan el sue�o (2 voices and guitar) [35]
* Garcia, Manuel Vicente (1775-1832) - El bajelito nuevo [44]
* Gaveaux, Pierre (1760-1825) - Patrie absente [31]
* Giuliani, Mauro (1781-1829) � Trois Romances, op.13 * Trois Romances.
Op.22 * Marie Louise au Berceau de son Fils, op.27 * Sei Cavatine,
op.39 * Sechs Lieder op.89 * Sei Ariette, op. 95 * Pastorale a due
voci, op.149 * Romance "Pr�s d'un volcan", op.151 * Anacreontic Ode,
op. 151bis (Most of the above are published in facsmile by Tecla) - One
of the most famous guitarists of his time. He composed numerous songs,
many with guitar, to German French and Italian texts. Those listed
below are all with guitar.
* Glachant, Antoine-Charles (1770-1851) - Sophie (Romance) [44]
* Glaesser, Karl (1784-1829) � "Numerous songs with guitar" (P. J. Bone)

* Gl�ck, Johann Ludwig (1793-1840) - In einem k�hlen Grunde [26] *

Heimweih [18]
* Gossec, Fran�ois-Joseph (1734-1829) - Oiseaux en chantant s'eshappent
du bocage [5]
* Goulet, Pierre Marie (1726-1790) - French songs with guitar published
from about 1744.
* Gragnani, Filippo (d. ca. 1767) - Perche due cori insieme * Dove
soletta o Clori * Non ti sdnegnar mia Fille [27]
* Grosheim, George Christoph (1764-1841) - Zu einem Tal bei einem Hirten
[37] * M�dchen aus der Fremde (Voice, flute & guitar) [10] * M�dchen
aus der Fremde (voice & guitar) [22] Slumra du lilla (voice & lute)
[38]
* Guglielmo, Pietro Alessandro (1728-1804) - Scolier� le mie Catena [19]
* Bella pescatrice (voice, violin & guitar) [5]
* Guglielmi, Pietro Carlo
* Gyrowetz, Adalbert (1763-1850) - Beim Abschied * An Elisen um
Mitternacht [10] * Prends cette rose nouvelle �close [5]
* Hanssens, V. - Mes adieux aux Alpes [5]
* Harder, August (1775-1813) - An ein Abendl�ftchen [23] * Klotar * Mirta
(2 voices & guitar) * An die Laute (2 voices & guitar) * An die Harfe
(2 voices & guitar) * An den Mond (2 voices & guitar) * An den Hesperus
(2 voices & guitar) * Abendlied (2 voices & guitar) [21] * Abschied
[10]
* Haydn, Joseph (1732-1809) - Roxalane [Chansonnette] (2 voices & guitar)
* Gentille et vive Lisette ne voudroit jamais [5]
* H�douin, Pierre (1789-1868) - Pauvre Am�lie [5]
* Held, John (Au.) � Collections of songs with guitar published around
1796. (P. J. Bone)
* Henrard, Jean-Joseph (1791-1846) - Devais-tu donc me laisser revenir
[5]
* Hertel, Peter Ludwig (1817-1899) - Weg zum Gl�ck * Am meine Lyra *
Weltweisen * Wohinaus zum gr�nen Hirteen dort hinauf * Ungestilltes
Sehnen * Sehnsucht * Dir kleines Bethlehem erklang * J�ngling * Gunst
des Augenblickes [39]
* Hildebrand, Wilhelm - Zerst�rte Gl�ck, op. 3 * Trinklied, op. 3 *
Hasche die Zeit, op. 3 * Gewehnt getan, op.3.* Ergo bibamus, op. 3 *
Bischoffslied, op. 3 [21] * K�sschen das ein Kind mir schlenket [27]
* Himmel, Friedrich Heinrich (1765-1814) - Liebende * Es kann ja nicht
immer so bleiben [37] * Welt ist nichts als ein Orchester [23] Gebet
w�hrend der Schlacht* An Hebe [10] [27] * Lied der Nachtw�chter * Hin
 ist hin * Lieblingspl�tzchen * Wenn im Schatten wo die Pracht * Lied
der Nachtw�chter in Berlin * Leiermann * An die Freude * Lied der
Zufriedenheit [10] - Himmel was one of many non-Italian composers who
was deeply influenced by Italiin vocal music, opera in particular. King
Friedrich Wilhelm II was so impressed with his talents, he appointed
him chamber composer and financed a rather extended trip to Italy,
where Himmel studied and composed. While in Italy, his operas were
performed in Venice and Naples.. When he returned to Germany, he had
elaborate plans to revive interest in opera in his homeland, but his
royal employers had no interest in this idea whatsoever. He therefore
made the long trips to Russia, Denmark and Sweden, financing the
journey with the proceeds from the operas he presented there. Luckily,
the trips were very successful, both financially and artistically.
After this, his several operas began to enjoy lasting success in
Germany. He remained in favor with the court throughout his life, in
spite of a pattern of rather erratic behavior. His vocal works are
numerous, especially his lieder. For once, among his listed works, the
songs with guitar are mentioned, and there are many. It is observed in
the course of the essay that his songs are often indebted to the aria
melodies of the Italians.
* Horetsky, Felix (1800-1871) - Born in Prague and having spent much of
his life in Edinburg, Scotland, Horetsky was a famous guitarist and
composers. In addition to numerous guitar solos, he composed many songs
with guitar to Italian, Spanish and English texts which were published
in Scotland and London. (P. J. Bone)
* Hurka, Friedrich Franz (1762-1805) - Lob der blauen Farbe [39] *
M�dchen an ihren Geliebten * Du Kleines braun�ugugtes M�dchen *
Entfernte [27] * Schiffarth [26] [27] * Fr�lingsabend * An Minna [22] *
Waren mir selige Tag (2 versions, one in C and the other in D) [12] *
Liebe [26] * An Louise [36]
* Interlandi, Vito - Nice dorme, io solo inondo * Non vi fidate
agl'uomini * Son le donne sul principio * In placido riposo * Vicino al
segreto Dorindo * E che soffrir mi resta * Bedda Clori, un it scantari
* Cara, se vuoi ch'io canti * Nice un parrari, un ridiri [26]
* Jacquin, Gottfried von (1767-1792) - Bl�mchen das sich zwar nicht mehr
[10]
* Jadin, Louis Emmanuel ( 1768-1853) - Aveu timide [31] * Fillettes
voulez-vous conna�tre [5]
* Jusdorf, J. C. (18th or 19th cent.) - An den Mond * An Minna.[10]
* Kallenbach, George Erst (1765-1832) - Weine Nicht * Lebe wohl o
m�tterliche Erde [27]
* Kanne, Friedrich (1778-1833) (Vienna) � Wassernymphe - According to P.
J. Bone, Kanne authored four volumes of songs with guitar, plus six
songs with guitar, op. 9. He was a man of broad interests. Born in
Bavaria, he studied medicine in Leipzig and Theology at Wittenburg. He
then decided to devote his life to music. In 1808, he moved to Vienna,
where he spent the rest of his life. In addition to composing, he was
active as a music teacher, journalist and poet.. According to the essay
on him in Groves, he never achieved the established success his talents
seemed to warrant, primarily because he turned down several offers for
permanent positions in preference to maintaining an always tenuous
independence. "In addition to a dozen operas an a similar number of
theater scores..........he composed songs and duets, a mass, a cantata,
a symphony and some instrumental works. He also wrote a number of plays
and long and short poems." As usual, no specific mention is made in
this reference to his songs with guitar. At this writing, I have not
located a source for those listed by Bone. The only one I have found so
far is shown below.
* Karl Keller (1784-1855) � Feldflasche [26] [14] * Holden Blumen bunter
 Schimmer [12] - Many vocal compositions with guitar which were very
popular. Published by Breitkopf & Hartel and by Aibt, Vienna.
* Kestner, August (1777-1853) - Geistesgruss [27]
* Kraglich, Georgio - Tutto da voi dipende * Da te lungi idol'amato [19]
* Krauss, Joseph Martin (1756-1791) - Dr�j Sol uti din upgangstima (voice
and lute) * Du i hvars oskuldsfulla blick [38]
* Krebs, Franz Xaver (1765-after 1810) - M�del im Tal * Aufruf zur Jagd
(2 voices and guitar) * An Elise [21]
* Kretzschmer, Andreas (1775-1839) - Jean Pauls Lieblingslied [10]
* Kreutzer, Conradin (1780-1849) - Ich w�re recht fr�hlicht so gerne * An
die Entfernte [10]
* Kuffner, Joseph (1776-1856) - Very prolific composer whose output
included about 30 songs with guitar.(According to P. J. Bone)
* Labarre, Theodore (1805-1870) - Deux familles [5]
* Lafont, Charles Philippe (1781-1839) - C'est une larme [12]
* Lagoan�re, Chevalier de (1785-1841) - Prestiges de l'amour (2 voices
and guitar) [5]
* Lanza, Giuseppe (1750-1812?) - Composer and singing teacher. He
probably moved to London in 1793, where he was employed by the Duke of
Abercorn. On returning to Naples in 1812 he was appointed singing
teacher at the Reale Collegio di Musica and at the Pensionato Reale dei
Miracoli.
* Legros - L'amour et la gloire (1806) [44]
* Lemire, D�sir� - Jeune Indienne [5]
* Maes, Louis - Souvenirs [5]
* Malabran, Maria Felicita (Garcia) (1808-1836) A famous singer of the
period whose father was an even more famous voice teacher. She was also
very proficient on the guitar and gave many concerts accompanying
herself. She wrote several songs with guitar which were published by
D�Almaine, London, and by Schott. (P. J. Bone)
* Marani, Gaetano - Na cest alle pene mi povero * Lascia diletta fillida
* Eccomi non ferir numi pieta * E it gha cor de vederme [17]
* Marchesi, Luigi - Sei ariette italiana
* Marpurg, Friedrich Wilhelm (1718-1795) - Was ich liebe zu vergessen
[10]
* Marschner, Heinrich (1796-1861) � Closely associated with Weber.
Skillful Guitarist and Singer. In addition to several successful
operas, wrote numerous songs with guitar, including 12 songs, op.5,
songs on poems by Goethe, pub. By Schott, and several collections of
songs without opus numbers published by Breitkopf & Hartel.
* Martini - Ah Lucette il fallait nous voir ce matin (2 voices & guitar)
* J'voudrais ben comprendre pourquoi (2 voices & guitar) * Amis je
voudrais peindre Adelle [5] - I wonder which Martini this might be.
There were quite a number, since this was a very popular name,
especially for foreigners who wanted to make it as opera composers and
songwriters in Italy. (see Martin y Soler below)
* Martin y Soler, Vicente (1754-1806) - 12 Canzonette Italiane (Published
in a modern performance edition by Editions Orph�e. The songs were
originally published with only a sketch of an accompaniment, to be
played on piano, harp or guitar. In this modern edition, I wrote a
fully realized guitar accompaniment.) - Born in Valencia, Martin y
Soler left Spain while he was in his early twenties, never to return.
Little is known of his life prior to that time, except that he served
for a while as a church organist in his home town, and that he briefly
studied composition with Padre Soler (no relation).Settling in Italy
where he assumed the name Vincenzio Martini, he became known as Martini
lo Spagnuolo, to distinguish him from others with the same popular
name. Over the next eight years or so, he established his reputation
with nearly a dozen operas written for various Italian cities. Martin y
 Soler achieved his greatest success when he went to Vienna sometime
before 1785, and began a collaboration with the librettist, Lorenzo da
Ponte which resulted, among others, in the creation of what became his
most famous opera, Una Cosa Rara, o sia belleza ed onesta. Near the end
of 1788, he went to Russia, having been commissioned by Catherine II
The Great to compose a Russian comic opera, Gore Bogatyr Kosometovich,
for which she had written the libretto. During the year of 1795, Martin
y Soler spent time in London, collaborating again with Da Ponte, who
had married an English woman and had arrived there three years earlier.
They produced two more opere buffe, as well as a set of six rather
uninspired songs with piano for a Miss Miller, who was apparently a
well-known opera singer of the time. Soler then returned to Sty.
Petersburg, where he remained for the rest of his life. He died there
on February 11, 1806.
* Mayr, Johann Simon (1763-1845) - Catina Bellina grazioso [27] * Chi mi
nostra chi m'addita [22] * Untitled * Oh come scorrono * Amor perche
m'accende [3] * Non mi sprezzar Fileno * Amante mi sarete (duettino
with guitar) [29] * So che l'et� [19] * Chi dice mal d'amore [27] *
Suonatore sventurato (Soprano, guitar & orchestra) [4] - Mayr received
his earliest musical training from his father, Joseph, a schoolteacher
and organist. He sang in the church choir, and by the age of ten could
play the most difficult keyboard sonatas of Schubert and C.P.E. Bach.
In 1774 he was admitted to the Jesuit college in Ingolstadt and in
1781, enrolled in the university there to study theology. During this
time he taught himself to play almost all the string and wind
instruments and also studied the organ. In 1786 he published a
collection of twelve lieder. His musical talent was noticed by a Swiss
Freiherr, who took him to Italy in 1787, where he began formal musical
studies two years later with Carlo Lenzi in Bergamo. Lenzi, quickly
becoming aware of the extent of Mayr's talent, helped obtain financial
support from one of the cathedral canons for Mayr to study in Venice
with Fernando Bertoni. Mayr's first sacred compositions led to a
commission from he Conservatorio di Medicanti for an oratorio. Five
more oratorios and cantatas followed, until the death of his patron,
Count Pesenti, and encouragement from Piccinni and Peter von Winter
caused him to take up opera. His first stage work was Saffo, a serious
opera presented during Carnival 1794 at la Fenice, where he had played
the viola since the theater opened in 1792. He was to provide one of
the two principal carnival productions there. It was during this period
that he also supplied other Venetian theaters with more than a dozen
comic operas and one-act farces. In 1799, Mayr made his debut at La
Scala, Milan,, with a revision of his second serious Venetian opera.
Thereafter, he tended to write his serious operas largely for La Scala,
although he wrote several for theaters in Naples between 1813 and 1817,
and continued to supply occasional ones to La Fenice and other Italian
theaters. In the 1820's. Mayr developed cataracts and became blind in
1826. The last of his approximately 80 operas appeared in 1824,
however, he remained active in the musical life of Bergamo - teaching,
supplying music for the cathedral, and organizing performances of music
by Haydn, Mozart, Beethoven and others rarely heard there. In 1838 he
made a trip to Bavaria to visit his birthplace and his sister. He died
in 1845. Verdi took time from the production of his opera, Attila, in
Venice, to attend Mayr's funeral.
* M�hul, Etienne Nicolas (1763-1817) - Lorsque de mes parents [31]
* Melia, Gabriello (?-1840) - Duetto, op.15 * Duetto, op.16 * 12
Canzonette * Cavatine * Vini fagiam ben mio difebo il vivo ardor *
Questa � la bella face * Quando miro il tuo sembiante * Ecco quel fiero
istante * Quando non so dove il mio bene * Sempre pi� t'amo * So che
piet� non hai * Povero cor tu palpiti * Invan si lagna questo mio core
 * Tradito sprezzato da quello che adoro * Praticel di fiori adorno *
Sia benedetto amore * Rondinella a cui rapita * O cara di questa anima
amabile [22] - Melia was probably born in Rome in the last decadeof the
1700's, and he seems to have never worked outside that city. He lived
for many years in the via de' Sediari (Chairmaker's Street) at number
76, a small street that still exists close to the center of the city;
his principal publishers, Ratti and Cencetti did business in the same
street. It is reasonable to assume that Melia did not develop his
activities elsewhere, maintaining a close relationship with the Rome
environment. This can be reliably inferred from the dedicatees of his
compositions, who were noble and diplomatic personalities in Rome at
the time. Indications of the extent of his teaching activities are
found in the dedications of many of his compositions to his students.
At the same time there does not seem to be much documentation of his
concert activities, which on the surface, appear to have been very
limited. At the time, Rome does not appear to have been a favorable
climate for the guitar. Giuliani visited Rome around that time and
encountered great difficulty in developing much interest in his
presence, performing in concert only twice. There is also no evidence
of any other important guitarists in Rome.
* M�liant - �ge d'or [31]
* Mellini, Francesco - Dammi nice di sta grasta * Si ti guardu * Nici mia
comu si fa * Chi amuri sfurtuna * Forti geniu di simpatia * Com'e
possibli lassari [17]
* Mengozzi, Bernardo (1758-1800) - Se m'abbandoni [1]
* Merchi, Giacomo (1730 - ?) - [Raccolta d'ariette francesi ed italiane,
op. 4 (8 French Songs and 6 Italian Songs)] Ariette * Brunette *
Musette Allemande * Ariette dans le gout Italien * Ariette * Romance *
Ariette * Ariette [XXI LIVRE DE GUITARRE op. 25 (French songs with
guitar)] Vaudeville du Tableau Parlant * Vaudeville de l'Amant D�guif�
* L'Eloge de Babet * Romance * La Fid�lit� * La Berg�re Vaincue *
Romance * Le Serment indiscret * L'Indiff�rent * Le Plaifer * Colin et
Colette * Le Galant Ridicule * Le Sorcier * Le bon Confeil * La Fileufe
* Le tendre Reproche * Les Moineaux * La Grand Fille * La Berg�re
Calm�e * La Quittance mutuelle * L'Heureux Berger * L� Trelintintin *
L'Histoire de Pierrot * L'Amour Gredadier * La Pr�f�rence * Romance *
La Guitarre * Robin * L'Eloge de la Boffe * La M�re Confident�
(Published in facsimile by S.P.E.S., Florence, Italy)
* Methfessel, Albert Gottlieb (1786-1869) - Alte feldherr * Thaddaeus
[27]
* Milh�s, Isidore (d. 1806) - Habitude [5]
* Millico, Giuseppe (1737-1802) - Volle cogliere uno rosa * Dormia sul
margine (Cavatina) * Ho sparso tante lagrime (Cavatina) [27]
* Moltke, Carl Melchior Jakob (1783-1831) - An Molly * An Mignon *
M�dchen und der J�ngling * N�he des Geliebten * Einsamkeit * Hirtin
Wahl * Abendlied an den Ufren der Ostsee * Freiwillige Krieger [10]
* Mondonville - M'aimes-tu bien [5]
* Monzino, Giacomo (1772-1854) - Anima mia consolami * Cavatina, Chi vuol
la bella rosa * Cavatina del Simone Mayr, Chi dice mal d'amore * Dei
vostri accenti al suono [27] - Born in Milan, he was a skilled
guitarist and composer for the guitar. He was the son of Antonio
Monzino, one of the most popular stringed instrument makers and dealers
in Milan. Monzino began a career as an editor and publisher at the
beginning of the 19th century, mainly publishing guitar music of local
composers. This activity flourished for at least twenty years, and he
contributed significantly to the guitar repertory in competition with
other great publishers in Milan. Among his compositions are several
Cavatine for voice and guitar.
* Moretti, Federico (1765-1835) - Dodici canzonette op.12 Trofei d'amore
 (1806) * Dodici canzoni op. 24 (Doce canciones) - Originally from
Naples, he spent much of his life in Spain as an officer in the Spanish
Army. He was a prolific composer, having written many songs, mainly
with guitar accompaniment. His set of 12 Spanish songs represent one of
the earliest known song cycles.
* Moretti, Ferdinando - La Spiegazione * Ti vidi o bella fille * Il Desio
* Oh ma Felice * La Partenza * Dunque partir degg'io * Il Ricordo *
Eccomi lungi dall'amayo mio ben * Il Sospetto * Compagni, ah perch� mai
* Il Giuramento svanito * Ah pi� dubbio non v'� * Il Disinganno * Qual
colpoo inaspettato * La Speranza * E fia ver che il mio bene * Il
Delirio * Misero a chi ragiono * La Calma * Dove trascorro mai * La
Libert� * Respirpo alfin
* Moretti, Luigi - Sei cavatine, op.21 * Riduzione d'opera - Little is
known about this composer, the brother of Federico Moretti. He
apparently lived in Naples, his birthplace, the first few years of his
life. It is assumed that he spent much of his life in Northern Italy,
probably in Milan, since most of what is known of his surviving works
were published by Ricordi and other Milanese publishers.
* Mosca, Giuseppe (1772-1839) - Io bramo viver sciolto * Ah che in si bel
momento [22] - Mosca was born in Naples. He studied there with Fenaroli
at the Conservatory of S. Maria di Loreto. In 1791, his first opera,
Silvia e Nardone, was perfomed at the Teatro Nuovo in Rome. For twelve
years he composed for various Italian theaters, presenting his operas
in Rome, Naples, Venice and elsewhere, usually with much success. In
1803 he went to Paris as maestro al cembalo at the Theatre Italien; he
composer additional music when required, but wrote no operas. When
Spontini assumed directorship of the theater in 1810, Mosca returned to
Italy. After the success of Rossini's La pietra del paragone, Mosca
accused Rossini of having plagiarized one of his own operas, ,
particularly the device of the crescendo, circulating copies of his
music as proof. The charge was repeated by critics until Radiciotti
discovered that the crescendo had been employed before Mosca's use of
it in two operas by Johann Simon Mayr. Moscas style shows a remarkable
similarity to Rossini's in many respects, but it would be difficult to
decide who influenced whom. In 1817 Mosca went to Palermo as music
director of Teatro Carolino, but gave up the post after the revolution
of 1820. A return to Milan revived his career. After several years of
touring, however, he settled in Messina as director of another theater.
He composed more than 40 operas; all were written before 1826.
* Mosca, Luigi (1775-1824) - Senza il tuo dolce amore [27]
* Motta, Artemio - Ecco quel fiero istante [20]
* M�ller - Wenn mir dein Auge strahlet (2 voices & guitar) * War's
vieleicht um eins (2 voices & guitar) [37]
* M�ller, August Eberhard (1767-1817) - M�dchen und der Vogel [27]
* Mussini, Natale (1765-1837) - Wie der Tag mir schleichet [10] * Souvent
l'amour nous prouve son empire [5] [12] [22] * Ah ingrato m'inganni
[34] [22]* Aure amiche ah non spirate * Fra le querelle il pianto * Gi�
la notte si avvicina * Pastorella al prato * Pi� che a te penso * Senti
il mio caso [40] [22]* Voi che il mio cor sapete [40] [10] [22]* Chi un
si dolce amor condanna * Patorella al prato [22]
* Naumann, Johann Gottlieb (1741-1801) - Par che di giubilo (Soprano,
Violin and Lute) [45]
* Nava, Antonio Maria (Milan) (1775-1828) - Sei ariette, op.22 * Sei
ariette, op.39 * Sei ariette, op.56 * Sei ariette, op.59 * Sei ariette,
op.60 (2 voices) * Cavatina, Mi vien da ridere * Cavatina, O cara
memoria * Cavatina, Quel dirmi oh dio * Cavatina, Venga avanti *
Raccolta di ariette * Romanza, Teneri miei sospir - Several volumes of
songs with guitar published by Ricordi. He was one of the best known
guitarist-composers working in Italy in the first decades of the
 nineteenth century. A concert performer on the guitar and a teacher of
voice, he was the teacher of his child, Gaetano (1802-1875). His
activities took him for a brief period of time to Paris, London, and
presumably Germany around 1812. His major interest, however, was in
composition.
* Neuland, W. - H�tt ich Fl�gel k�nnt ich fliegen [27]
* Neyts, G. - Nanna [5]
* Nicolini, Giuseppe - Ne'giorni tuoi felici (2 voices & guitar} [27] *
Sei Ariette di Metastasio
* Orlando, Ferdinando (1777-1848) - Furbi alle nozze [27]
* Pacini, Giovanni (1796-1867)
* Pacini, Antonio (1787-1840 - Veux tu m'aimer [44]
* Paganini, Nicolo
* Paisiello, Giovanni (1740-1816) - Lieux paisible verts bocages (2
voices & guitar) [5] * Du printemps de mon �ge je vois passer la fleur
(2 voices & guitar) * Vien qua Dorina bella [22] * Patrona compati me *
Amor contrastato [10] * Mamma mia [12] - According to the Oxford
Companion to Music, Paisiello was born in Taranto and died in Naples.
He was an opera composer in the courts of Ferdinand IV, of Joseph
Bonaparte and Murat of Naples, of Catherine the Great at St Petersburg
and of Napoleon I in Paris. He composed 100 operas, in which he used a
charming simplicity, according to the dictates of the time, and
innovated many structural ideas related to the dramatic plans of his
operas. Like many other opera composers of his time, he was also a
prolific composer of songs, many of which were with guitar
accompaniment. Several of his songs were also set to a guitar
accompaniment by Carulli.
* Panseron, Auguste-Mathieu (1796-1859) - Album * Chant de la nourrice *
Eh vogue ma nacelle (2 voices and guitar) * Emm�ne-moi * Maman me
permet de danser [5]
* Peellaert, Augustin-Philippe de (1793-1876) - Ombre du soir [5]
* Persichini, Pietro (1755-1837) - No non quel lampo [27]
* Persuis, Louis-Luc Loiseau de, (1769-1819) - Ce matin dans une bruy�re
* Vous qui loin d'une amante * Voici venir le doux printemps * Que
j'aime � voir les hirondelles * Dans cette aimable solitude * Ah s'iil
est dans votre village [5]
* Perucchini, Giovanni (1784-1870) - Ti lo vedi Cate mia * Notte sce
bella * E ti g� cuor de venderme * Che non parla mi non parlo * No non
quel lampo [27]
* Pf�hler, W.S - Warnung vor dem wasser [27]
* Picchianti, Luigi (1786-1864) Trentasei Ariette Nazionali * Chi sa dimi
o mia speranza (Cavatina) * Come dolce all'alma mia (Cavatina nell'
opera Aureliano di Rossini) - A Florentine composer, he wrote numerous
songs with guitar, most of which were published by Cipriano, Florence
* Pilz, Carl Philipp Emanuel (18th cent.) - Adelaide [27] [10]
* Plantade, Charles-Henri (1764-1839) - Bocage que l'aurore embellit *
Bonheur * Grand portes heureux * Loin de l'ectat du diad�me * Tort de
l'absence [31] * Je recontrai naggu�re la fille Mathurin [5]
* Pleyel, Ignace (1757-1831) - Au lever de l'aurore sur un tapis de
fleurs [5]
* Pollini, Francesco - Leggi adorata Nice * Deh non cessate [8] * Isene
siedia l'ombra [31] * con accompagnamento Canzone di chitarra
* Porro, P. - Instruction �l�mentaire de la lyre-guitarre - The
lyre-guitarre was an instrument which, though unusual in shape, had six
strings and was tuned like a conventional guitar. This volume, in
addition to instruction in basic music notation, tuning and various
technical exercises, contains several short guitar solos which are
somewhat reminiscent of those found in the appendix to the famous
Carcassi Method. In addition, it contains six rather attractive songs
 set to French texts, collectively called Six Romances, whose individual
titles are as follows: Cantique de Venus (Andante) * Canzonetta
(Andantino innocente * Romance (Lento sensibile) * Romance (Lento
espressivo) * Le besoin d'aimer (Andante graziozetto) * Les sermens
oubli�s (Andante) - [Nouvelles Etremmes de guitarre, op. 4 (1784)] -
This collection contains 14 songs plus two guitar solos, one of which
is a three-movement sonata. Two of the songs have no accompaniment,
while others not only have a guitar accompaniment, but rather lengthy
instrumental interludes between verses. - [Journal de guitarre] Les
Etr�nnes des dieux * A l'Amit� * A Mlle. Alexandrine Mal++ * �l�gie *
Invocation a la Nuit * Musette imit�e de l'Espagnol - [Six Romances
nouvelles, avec Accompagnement de Guitare ou Lyre, Violon ou Flute �
volont� Op. 34] Le Saule du Malheureux * La Serenade * L'Amour Marchaud
de C( * Chant d'une jeune Arabe * Canzonetta * L'Adieu (All of the
above collections of music by Porro are published in facsimile by
S.P.E.C., Florence, Italy)
* Portugal, Marcos (1762-1830) - Mi pizzica mi stimolo (Cavatina) [27]
* Pozzi - Sch�ne Damen durch Jugend und Reize [10]
* Preis, A. - Erinnerung an die Heimat * Pilgerin * Erinnerung an
Thoreida [10]
* Puccini, Domenico (1772-1815) - 6 Ariette e 6 Duettini - The second son
of Antonio Puccini and grandfather of Giacomo,, he had his first music
lessons from his parents, and continued his studies in Bologna under
Mattei and in Naples under Paisello, with whom he remained on excellent
terms. From 1806-1809, he was director of the Cappella di Camera,
founded by Napoleon's sister Elisa Baciocchi, the Regent of Lucca, and
of the municipal chapel from 1811-1815. His death in that year was
sudden and mysterious; some think he was poisoned for political
reasons. In a mid-19th century illustration published by Breitkopf &
Hartel, Domenico appears with Gretry and other important contemporary
musicians, a sure sign of the esteem his music enjoyed. His style is
completely theatrical, even in sacred and vocal chamber music
compositions; it differed from that of his father so much that he could
not complete his father's unfinished Te Deum. The style is very simple
and fluid; counterpoint has almost disappeared. In his operas,
especially the comic ones, he reveals an outstanding theatrical sense,
and a fresh, spontaneous inspiration, along with the assimilation of
styles present in the comic operas of the time.
* Pucitta, Vincenzo (1778-1861) - Biondina in gondoletta [18]
* .Reichardt, Johann Friedrich (1752-1814) - Was zieht mir das Herz *
Sch�fers Klagelied [37] * Kl�rchens Lied * Es ritt ein Jagersmann �ber
die Flur * W�r ich ein V�gelein [27] * Wir gingen beide Hand in Hand *
Lied der Nacht * Ach umsonst auf aller L�nder Garten [10] * Gebet
w�hrend der schlacht * Steile Pfad auf den ich leite * Morgenlied
* Reichardt, Louise (1779-1826) - Liebe * Nach Sevilla wo die hohen
Prachtgeb�ude * Des Sch�fers Klage [10]* Zu Coblenz auf der Br�cken
* Reinicke, Leopold Karl (1775-1813) - Lieblich prangt um uns der Blumen
F�lle [23]
* Ricci, Francesco Pasquale (1732-1817) - Chiamami pur cosi * Arrivo alle
donne * Mio ben l'amato oggetto [27]
* Righini, Vincenzo (1756-1812) - Abend * Fr�hlingslied * Hoffnung und
Erinnerung * Schiffer * Sehnsucht * Vergiss mein nicht * Nehmt euch in
Acht * Tief in der Brust verborgen * Mit z�rtlichen Herzen verlangt ihr
nach liebe [10]* Alls du sagtest ich muss scheiden [27]
* Rivolta, Giacomo
* Roger, Alexis-Andr� (d. 1814) - Aveux de Lucette [5]
* Rolla, Alessandro (1757-1841) - Padrona compatime (Canzonetta
Veneziana) [27] * Cinque (5) romanze * Romanza, Perche mai it affanni
tanto - Born April 23rd in Pavia. His uncle Giuseppe was a violinist
 who, in 1765, played in the orchestra directed by Giambattista
Sammartini (1700-1775). Rolla began the study of the fortepiano and the
viola at a very early age., later adding his two favorite instruments,
the guitar and the violin.Rollas compositions for the guitar are mainly
limited to chamber music with violin, although he wrote a few works for
voice and guitar, a set of five romances and one independent romance.
* Romagnese, A.
* Romagnesi, Henri (1781-1850) - Amant et le nautonnier (2 voices &
guitar) * C'est ainsi que l'amour finit * Est-ce l'amour est-ce la peur
* Gentille Nonnette (2 voices & guitar) * Heureux sommeil (2 voices &
guitar) * Mot de toi [5] * Fi! Que c'ect laid d'etre jaloux! * Sauf le
respect que je vous dois [44]
* Rosquellas - Zirana del Tripili (Sop., Flute & guitar) [43]
* Rousseau, Jean-Jacques (1712-1778) - Wie der Tag mir dauert [37] *
Quand on sait aimer et plaire * Si des galants de la ville [29]
* Salvati, Bernadino (18th cent.) - Se son bella che vi premo * Breve
lontananza * Idolo del mio core [27]
* Savart, Eug�ne - Pauvre petit (Romance) [44]
* Scalese, F.
* Seelicke, C. F. - Lied eines M�dchens * An die Erw�hlte * Wie der Tag
mir schleichet * Mutter bei der Wiege * Betende (v, fl, guit) *
Beruhigung (V, fl, guit) * Ungetreue Witzling * Klage und Ermunterung *
Abendlied eines Hausvaters * Lebensgenuss * Wo liebe sich bettet [10]
* Seidel, Friedrich Ludwig (1765-1831) - Wo ich sei und wo mich
hingewendet [23]
* Schacht, Theodor von (1748-1823) - Ti lascio ben mio, op. 1/1 * Amo te
sola, op. 1/2 * Dolce sonno amica quiete, op. 1/3 * Mi lagner� tacendo,
op. 1/4 * Quanto mai felici siete, op. 1/5 * Perch� mai vezzosi, op.
1/6 * � la fede degli amanti, op. 2/1 * Son confusa pastorella, op. 2/2
* Giovinette semplicette, op. 2/3 * Nel mirarvi o boschi amici, op.
10/1 * Tu sei gelosa � vero. Op. 10/2 * Perch� mai vezzosi rai, op.
10/4 * Almen se non poss'io, op. 10/5 * In dieser stillen Grufte, op.
10/6 * Mille amanti so per prova, op. 11/1 * Amo te solo, op. 11/2 *
Superbo di me stesso, op. 11/3 * Mi lagner� tacendo, op. 11/4 * Sei
troppo scaltra, op. 11/5 * Alla selva al fonte al prato, op. 11/6 *
Conservati fedele, op. 12/1 * Caro bell'idol mio, op. 12/2 * Ti lascio
ben mio, op. 12/3 * Dolce sonno amica quiete, op. 12/4 * So che vanti
un cor ingrato, op. 12/5 * Aure amiche care piante, op. 12/6 [40] -
These songs are described as Canons for three voices accompanied by
Cembalo and/or guitar. The voices are variously specified as three
sopranos, three tenors or three equal voices.
* Siebert - Zauberin [10]
* Signorila, Nicola - Finche splende in cielo il sole * Ah la mia Clori e
tutta bella * Mentre la notte placida * Sorge la bella aurora (Duettino
notturno) [24]
* Sola, Charles (It.) 1786-?) � Brulant D'amour (A Troubadour Song) [44]
- Wrote numerous songs in Spanish, Italian and English, most of which
were published in London (P. J. Bone). His name also shows up as the
writer of guitar accompaniments for songs by other composers.
* Soerensen, Johann (1767-1831) - Es hann schon nicht immer so bleiben *
Sterne * R�ckerinnerung an meine Heimat * Sehnsucht * Nach der Mahlzeit
* Lobgesang * Gedanken auf einem Kirchhofe * Bei den Gr�bern der
Freunde * Danklied * Ruhe im Grabe * Abschied * Pilgerlied * Seelenruhe
* Loblied * Beruhigung * Abendbilder * Abendlied eines Fremdlings *
Trost * Morgenlied [7]
* Sor, Fernando (1778-1839) � Canci�n Civita (various versions) * Chanson
relative aux �v�nemnet d'Espagne * [Seguidillas y Boleros] Acuerdate
bien mio * Al mediator jugando * Cesa de atormentarmi * C�mo ha de
resolverse * Cuantas naves se han visto * De amor en las prisiones * El
 amor siempre empieza * El que quisiera amando * Las mujeras y cuerdas *
Lo que no quieras darmi * Los can�nigos, madre * Me pregunto un amigo *
Mis descuidados ojos * Morena de mis ojos * Muchacha y la verg�enza *
Muchacho, y la verguenza * No doblar�n campanas * No quiero, no, que
vengo * No tocar�n campanas * Pajarillo amoroso * Prep�rame la tumba *
Puede una buena moza * Si a otro cuando me quieras * Si dices que mis
ojos * Si mis ojos te dicen * Sin duda que tus ojos * Yo no s� lo que
tiene * Yo sembr� una mirado * Yo soy el cocinero (These Seguidillas
and Boleros were written at various times throughout Sor's lifetime.
Most were written with guitar accompaniment, though several were
written with piano, and some with both.) [French Songs] O vous que Mars
rend invincible * Il reviendra (Sor also arranged arias by Mozart as
well as some Italian songs. In addition, he wrote some sacred choruses
for four voices and guitar. A complete edition of songs with guitar by
Fernando Sor is newly published in a modern performance edition by
Chantarelle) - Another celebrated guitar virtuoso of the time and well
known today for his guitar compositions. Unlike most other famous
guitarists of the time, who for the most part only wrote music related
to the guitar, Sor also wrote operas, ballets, symphonies, string
quartets, choral compositions, and songs with guitar, piano and
orchestra.
* Sterkel, Johann Xaver (1750-1817) - Auf der liebe dunklen Meere [12] *
Tief unten im einsamen Tale * M'hanno detto [13]
* Streitwolf, Johann Heinrich - Oft l�sst die Lieb' uns ihre Macht
empfinden [10]
* St�vens, Jean-Baptiste ( d. 1796) - Je t'aime encore [5]
* Stuber - Mein H�ttchen * Lebenssinn * Morgenlied eines jungen Ehepaars
[10]
* Sussmayer, Franz (1766-1803) - Spiegel von Arkadien (This song is
listed as #3 in "Sechs Arietten f�r die Guitarre") [12]
* Tarchi - Vole doux Z�phyr [5]
* Thonus, P.J. von (18th or 19th cent.) - Madchen vom Lande [10]
* Trento, Vittorio (1761-1833) - Ogni donna che ha gusta * Quel bianco
sende latte * Tocco un di dal canto mio canto * Son pratico in amore
dono * Canto bassetti su quei o chieti * Terza note e questa ch'il
sonno * Quel Augelino che sol canto * Che ingegnoso putte letto * So
miglia l'amore [17] * Amore e un guerriero si forte * Son ferito in
mezzo al core * Joti saluto alba novella * Incostanza * Occhi stelle
mortali [19] * Virtuoso per forza * Nina non dir di no [27] - Born in
Venice and died in Lisbon. After studying under Bertoni at the
Conservatorio dei Medicanti in Venice, he began his career there as a
composer of ballets that were usually performed between the acts of an
opera. According to Fetis, his first was Mastino della Scala (1783) .
Most of the large number that followed were also written for Venice,
where he became maestro al cembalo at the Teatro S. Samuele, but he
sometimes traveled. At Lucca for the opera season of August to October
1787, he was paid 16 testoni for composing the dances. (Roncaglia, the
castrato, was paid 240 testoni for singing 38 performances of the
opera. In 1796 he went to London at the invitation of Dragonetti and
composed the ballet, The Triumph of Love which, with its groups of
cupids flying about the stage, was highly successful; but in the same
year he returned to Venice, where he became maestro al cembalo at La
Fenice. Trento first attempted opera in 1789 with Orpheo negli Elisi,
first performed privately in Verona. From 1791, he produced a large
number for the public theaters, specializing in farces and comedies. In
1801 came his one great success, the dramma giocoso quanti casi in un
sol giorno, which for twenty years was performed all over Europe under
a variety of titles and in many forms. Later, he turned more often to
the opera seria, but without great succes. In 1806 he went to Amsterdam
 as maestro concertatore of the Italian opera house and in 1809 to
Lisbon in the same capacity.. In 1811-12 he was in London, where his
opera, La Climene was performed at the King's Theater as a vehicle for
Angelica Catalani. In 1815 he seems to have been in Munich and then
once more in Lisbon. From there he returned to Italy in 1818 and
produced several new works, which were almost all failures. He returned
to Lisbon in 1821 and remained there until 1824, when he once more went
to Italy and produced his last two operas. Trento never became a major
figure in Italian opera, and in his later years his works, like so many
of his contemporaries, were rendered obsolete by the extraordinary
success of the new style of Rossini..
* Trignuolo, Gaetano - Caro ve to sapesi * Se la pena che provo nel seno
* Amabile sigella * Hai gl'acchio fille * Vannes infedele, addio * Io
far l'amore cosi non so * O si o no (Cavatina) [6] [27]
* Vacher, Pierre Jean (1772-1819) - Quatres Ages de la femme * Mon
dernier mot [31]
* Valletta, Nicola ( 1748-1814) - Io far l'amore cosi (Cavatina) [27]
* Verini, Filippo � Benedetta sia la madre [29] - Prisoner of war during
Napoleonic wars. Transported to Spain where he escaped and went to
England.
* Volger, Georg Joseph (1749-1814) - March and Variations for voice and
lute [38]
* Weber, Carl Maria Von - Die Schaferstunde op. 13, 1 * Wiegenlied op.
13, 2 * Liebeszauber op. 13, 2 * Sanftes Licht op. 13, 4 * Die Zeit op.
13, 5 * Liebe - Gluhen op. 25, 1 * Uber die Berge mit Ungestum op. 25,
2 * Las mich schlummern op. 25, 3 * Betterlied op. 25, 4 * Zu den armen
Minnesanger op.25, 5 * Canzonetta op.29, 1 * Canzonetta op. 29, 2 *
Canzonetta op. 29, 3 * Die Zeit op.43 * Quodlibet op. 54, 2 (2 V.) *
Liebeslied op. 54, 3 * Alte Weiber op. 54, 4 * Weine nur nicht op. 54,
7 * Heimlicher Liebe Pein op. 64, 3 * Gelahrtheit op. 64, 4 *
Abendsegen op. 64, 5 * Romanze (no opus) - (I have the above songs in
modern performance editions as published by Th�ringer Volksverlag-
Weimar, and by Verlag F.E.C. Leuckart - M�nchen. Having owned them for
quite a few years, I am not altogether sure whether or not they are
currently in print. I have found listings of even more songs by Weber
in early editions.)
* Weber, Johann Gottfried (1739-1797) - V�glein flog durch Wald und Feld
[27]
* Westenholz, Sophia (1759-1838) - Gl�ck der Liebe [27]
* Westenholz, Karl August Friedrich (1736-1789) - Geliebten Hand ber�ren
(Voice, flute and guitar) * K�nig Ank�os [10]
* Winter, Peter von (1754-1825) - Cos'e mai questo vago animale (Cavatina
for Tenor, Guitar and Orch.) [4] * Dolce tesoro (voice, lute & strings)
* Sch�nste Gottheit edler Seelen (from the opera Maria von Montalban )
* Recitativo and Aria from Babylons Pyramiden * Sacrifizio interotto
(from Unterbrochene Operfest ) - The Cavatina by Winter is from one of
his operas, first performed in Venice in 1790. It is the only work by
him I have found thus far which was originally written for voice and
guitar (in this case with orchestra). However, there are several
instances in which either he or someone else arranged some of his arias
and other operatic excerpts with guitar accompaniment. Since these
works are in the Johann Simon Mayr collection in Bergamo, Italy, one
could easily presume that Winter was well acquainted with Mayr. In
fact, it was Winter who first persuaded Mayr to try his hand at writing
operas.
* Zucconi, Francesco (18th cent.)
* Zumsteeg, Johann Rudolf (1760=1802) - Welt ohne sie [10] * Allah gibt
Kicht in N�chten * An Leonoren * Una Ballade * Lied aus der ferne *
Freuden der Gegenwart * Erscheinung [27] - The fame of Zumsteeg rests
in his importance as a song composer of his time. He was among the
first to develop the "ballad" form of song writing in the context of
the German Lied, along with Carl Loewe. This poetic genre involved the
use of numerous verses with which to tell a story, alternating between
narration and dialogue. This form was derived from the popular ballads
of England and Scotland and often involves the telling of romantic
adventures and supernatural happenings. In most cases, an effort was
made to preserve the forthright qualities of the old folk ballads on
which they were modeled. Therefore it is not surprising that Zumsteeg
would employ the use of the guitar in many of his works of this form.

LIBRARY ADDRESSES

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

[2] [I Pesp] Basilica Benedettina di San Pietro, Achivio e Museo della

Badia, Borgo XX Giugno 74, Perugia 06100 (Italy)

[3] [I Rc] Biblioteca Casanatensa, Via di S. Ignazio 52, Roma 00186

(Italy)

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

[5] [B Br] Biblioth�que Royale Albert 1. Er, Blvd de l'Empereur 4,

Bruxelles 1000 (Brussels)

[6] [US Bu] Boston University, Mugar Memorial Library, Department of

Special Collections, Boston, Mass. (Tel. 1-617-353-3705)

[7] [D HER] Br�der-Unit�t, Archiv, Zitauer Strasse 24, Herrhut 02747

[8] [I Mc] Conservatorio di Musica Giuseppe Verdi, Biblioteca, Via

Conservatorio 12, Milano 20122 (Italy)

[9] [I Nc] Conservatorio di Musica S. Pietro a Majella, Biblioteca, Via

San Pietro a Majella 35, Napoli

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

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

[12] [D DO] F�rstlich F�rstenbergische Hofbibliothek, Haldenstrasse 5,

Donaueschingen 78166

[13] [D HR] F�rstlich �ttingen-Wallerstein'sche Bibliothek, Schloss

Harburg 86655 (Schwaben)

[14] [D BFb] F�rst zu Bentheimsche Musikaliensammlung Burgsteinfurt,

Burgstein

[15] [A Kk] K�rntner Landeskonservatorium, Bibliothek, Miesstelerstr.

8, Klagefurt 9020

[16] [US Wc] Library of Congress, Music Division, Washington DC 20540

(Tel. 1-202-287-5504, 1-202-287-5505, 1-202-287-5506)

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

[18] [D DO] Pfarrbibliothek Sankt Nikolai, Kleine Kirchgasse 1 D�beln

04720

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

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

[21] [D Mus] Santini-Bibliothek, M�nster (Westfalen)

[22] [D KII] Schleswig-Holsteinische Landsbibliothek, Schloss,

Schlossgarten, Oslokai, Kiel 24103 (Tel. 49-431-9067-160 [Zentrale],
49-431-9067-172 [Auskunft], Fax. 49-431-9067-167)

[23] [D S�N] Schloss, Krankenhaus-Strasse 1, S�nching 93104

[24] [US R] Sibley Music Library, Eastman School of Music, University

of Rochester, Rocester NY

[25] [D B] Staatsbibliothek zu Berlin Preussischer Kulturbesitz,

Potsdamer Str. 33, Unter den Linden 8, Berlin 10772 10117

[26] [D Hs] Staats-und Universit�tsbibliothek Carl von Ossietsky,

Musikablteilung, Von-Melle-Park 3, Hamburg 20146 (Tel. 49-40-4123-2256
und -5812 [Musikabteilung], Fax. 49-40-4123-3352)

[27] [D HVs] Stadtbibliothek, Musicabteilung, Hildesheimer Strasse 12,

Hannover 30169 (Tel. 49-511-168-2166, Fax. 49-511-168-6410)

[28] [S Skma] Statens Muskbibliotek, Torsgaten 21, Box 16326, Stockholm

103 26

[29] [US Bem] University of California, Music Library, 240 Morrison

Hall, Berkley CA (Tel., 1-510-642-2623, Fax., 1-510-642-8237)

[30] [US AUS] University of Texas at Austin, Music Library, Austin TX

78712 (Tel. 1-512-495-4475)

[31] [CH Gc] Conservatoire de Musique, Biblioth�que, Plave Neuve,

Gen�ve 1204

[32] [HR Osm] Muzej Slavonije (zbirke Prandau), Partizanski trg 6,

Osijek 54000

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

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

[35] [CH AR] Napoleonmuseum, Arenenberg 8268

[36] [CZ BER] Okresni archiv, Seydlovo n�m. 24, Beroun 266 01 (Czech
Republic)

[37] [H KE] Helikon Kast�lym�zeum K�nyvt�ra, Szabads�g u. 1, Keszthely

8360 (Hungary)

[38] [FIN A] Sibeliusmuseum Musikvetenskapliga Institutionen vid Abo

Academi, Biblioteek & Arkiv, Biskopsgatan 17, Abo 2 (=Turku)

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

[40] [D Rtt] F�rst Thurn und Taxix Hofbibliothek, Schloss,

Emmeramsplatz 5, Regensburg 93047

[41] [H SFm] Istv�n Kir�ly M�zeum, Gagarin t�r 3, P.O.B. 12,

Sz�kesfeh�rv�r

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

[43] [I Lepastore] Lecce (Italy) Biblioteca Privata Giuseppe Pastore

[44] Kenneth Sparr Collection, Nyn�shamn, Sweden

[45] [S Smf] Stiftelsen musikkulturens fr�mjande, Stockholm, Sweden

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Copyright � 1999 by John R. McCormick. ALL RIGHTS RESERVED.

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