Already documented

Already documented: comparator 1001057046 notes this copy remains anonymous and records attributions to Malzat, Ferrandini and Sammartini as well as Adam (doubtful).

Numbers of the quadrille match arrangements from Auber's La Part du diable (incipits 1.9.1, 1.1.1, 1.8.1 and the Romanze 1.2.1 of those copies), the opera the title already names; this identifies the tunes, not the quadrille's arranger (the record notes a pencilled 'Zollner').

'Süßes Liebchen' matches, with the same words, incipits 1.4.1 and 1.4.2 of the printed arrangement of Baumgarten's Das Grab des Mufti; the anonymous record already cross-references Baumgarten.

'Lebe wohl, du Land der Knechtschaft' matches, with the same words, incipits 1.29.1 and 1.29.2 of the printed arrangement of Baumgarten's Das Grab des Mufti; the anonymous record already cross-references Baumgarten.

The waltzes match Bayer's waltzes (RISM 551002424) note for note, the Trio also as incipit 1.2.1 of RISM 550280026; the anonymous record already names Bayer.

The horn melody is a tune from Norma, a sixth apart from another arrangement; the title already names the opera, and the record says the potpourri's arranger is unknown.

An 1860 note on the copy calls it a sinfonia 'd'ignoto autore' from the head of Il voto di Jefte (Mantua, 1794), with music by Luigi Gatti and Vincenzo Benatti; the one encoded incipit matches the sinfonia of Benatti's partial autograph of Egeria, which points to Benatti.

The waltz matches a piano arrangement from Boieldieu's Le petit chaperon rouge over 18 pitches; Rosalieb, the anonymous title, is that opera's German title (Rosalieb, das Rotkäppchen).

'Seuls confidents de mes...' matches, with the same words and transposed, an excerpt from Iphigénie en Tauride attributed to Campra; the title already names the work, with a query. The opera was begun by Desmarest and completed by Campra, who wrote the scenes between Oreste and Iphigénie in Acts IV and V; this air follows their Act V duet (CMBV edition and 2024 recording booklet).

The polonaise matches a guitar arrangement from Cherubini's Lodoïska.

Matches no. 10 (incipits 1.13.1 and 1.13.2, 'Einen Koffer wird man se...', same words) of the pasticcio Der Kapellmeister aus Venedig, which RISM catalogues under 'Compilations'; this identifies the number, not a composer. RISM titles the anonymous copy D major, but its first incipit has no key signature.

The song 'Lovely nymph assuage my...' matches, with the same words and a tone apart, another arrangement from Midas, the ballad opera by Kane O'Hara (cross-referenced by the anonymous record) catalogued under 'Compilations'; this identifies the song, not its composer.

The song 'Lovely nymph assuage my...' matches, with the same words and a tone apart, an arrangement from the ballad opera Midas (Kane O'Hara) catalogued under 'Compilations'; this identifies the song, not its composer.

Matches the Allegro of the overture to Dezède's Julie in a harp or keyboard arrangement, which the title already names.

'Sentir avec ardeur' matches, with the same words, another arrangement from L'erreur d'un moment.

Comparator 650002241 already names this anonymous PL-CZ copy. Among the encoded incipits only the Andante (1.2.1) matches; the comparator records a historical attribution to 'Neimann' (Neumann) in the Paluselli catalogue of 1791.

The tunes match arrangements from La Fille du régiment ('Salut à la France', incipit 1.2.1 of two copies), which the title already names; the record says the potpourri's arranger is unknown.

Matches another arrangement from Donizetti's Lucrezia Borgia, transposed.

'Voilà la petite laitière' matches, with the same words and a fourth apart, an excerpt from Duni's Les deux chasseurs et la laitière.

'Viens doux vainqueur' matches, with the same words, the Divertissement air (incipit 1.24.1) of the printed Le Prix de Cythère, which the title already names; the print cross-references De Rochet.

The anonymous record already carries Hob. V:C6, a work listed under Haydn. Its opening matches the keyboard incipit (1.1.2) of the first movement of a Fils sonata (FuhM 12.3) note for note, so both names are in play.

'Scherzerò con mille vaghi' matches, with the same words, an excerpt from Freschi's setting of Sardanapalo.

'Mes chers enfants unissez...' has the music of 'Seid glücklich Kinder' in a German arrangement of Gaveaux's L'Amour filial: the same number with translated words.

'Sotto a quel faggio ombroso' matches, with the same words, the Duetto (incipit 1.5.1) of Giardini's 6 Duets; both records cross-reference Naumann.

Comparator 230008400 already documents this copy of the variations on a Paisiello theme, headed only 'Grundling'.

Comparator 840016153 already cites this copy; the air matches no. 3 (incipit 1.5.1) of Grétry's La Fausse magie.

Comparator 840018321 already cites this copy. Its pieces match the Sinfonia (incipit 1.1.1) and the aria 'Tornerai nel fido amante' (incipit 1.3.1) of Hasse's Ipermestra.

Comparator 550500620 already cites this autograph and cross-references Dittersdorf. The anonymous record itself raises Johann Gabriel Seyffarth as a possible composer from the handwriting and revisions. The one encoded incipit matches note for note; composer unresolved between Hofmann, Dittersdorf and Seyffarth.

Matches a keyboard arrangement of a Water Music movement (GB-Lbl Add. 63816), rhythm included; the anonymous record already notes the Water Music attribution.

The anonymous record already carries HWV Anh. B 318, and comparator 453011722 already cites this copy. Its one encoded incipit matches the solo violin's Allegro (incipit 1.2.1) of that copy, where the Handel attribution is qualified as alleged.

Matches an arrangement from Muzio Scevola; the title already carries HWV 13. The anonymous record says Act 1 is by Amadei, Act 2 by Bononcini, and the overture and Act 3 by Handel; the match does not show which act this number comes from.

The Largo matches another Alessandro Severo excerpt; the title already carries HWV A13.

'Je suis modeste et soumise' matches, with the same words, incipit 1.1.2 of another arrangement from Isouard's Cendrillon, transposed.

The potpourri opens with the overture of Kücken's Der Prätendent, transposed; the record already names Kücken, and the potpourri's arranger is not identified.

The march headed 'Marche De Thesée [par Lully]' matches La Marche (incipit 1.11.1) of an arrangement from Thésée.

'Venés reconnoissés vôtre...' matches incipit 1.74.2 of the printed Zéphire et Flore; the words differ only in old spelling ('Venez reconnaissez votre'). The opera was a joint work of Louis and Jean-Louis Lully, and the match does not show which brother wrote this number.

'Quoi qu'un juste dépit' matches, with the same words, incipit 1.1.2 of an arrangement from Zéphire et Flore that names Louis Lully. The opera was a joint work of Louis and Jean-Louis Lully; this number is credited to Louis in that print.

A German version of Una cosa rara: the recitative and aria match no. 8 (incipits 1.26.1 and 1.26.2) and 'Seguir degg'io chi fugge' (incipit 1.9.1), with translated words. The anonymous record already names Martín y Soler.

No. 8 matches no. 7 (incipit 1.8.1) of another arrangement from L'arbore di Diana, transposed.

Matches the Ouverture of Mayr's Le due giornate (Milan 1801); the anonymous title already reads 'Sinfonia Nelle due Giornate Del Sig.r Simon Mayr'.

Tunes of the potpourri match Les Huguenots (incipits 1.1.2 and 1.29.2 of the print); its Andantino also agrees partway with a figure in Le Ricordanze (incipit 1.1.1 of RISM 455001012). The anonymous record already names Meyerbeer; this identifies the tunes, not the potpourri's arranger.

A number matches Robert le Diable (incipit 1.5.1 of an arrangement); the Allegro brillante matches a Melodie attributed to Meyerbeer as alleged (incipit 1.1.1 of RISM 1001357041). The record already names Meyerbeer; the potpourri's arranger is not identified.

The potpourri opens with the Introduction (incipit 1.2.1) of Meyerbeer's L'Étoile du Nord; the record already names Meyerbeer, and the potpourri's arranger is not identified.

'Il piacer la gioia scenda' matches a Meyerbeer divertimento (RISM 850779716) over 14 pitches; the anonymous record already names Meyerbeer.

Comparator 651004152 already lists 'Weitere Kopie in D-DO Mus. Ms. 1808 (anonym)', this copy under its former Donaueschingen shelfmark.

The theme is 'Das klinget so herrlich' (incipit 1.6.1) from Die Zauberflöte, which the record already names; the variations' composer is not identified.

Matches an excerpt from Méhul's Les Deux Aveugles de Tolède, which the title already names.

The recitative 'Coraggio anima mia' and the duet 'Deh se m'ami' match, with the same words, the Nasolini scene and duet whose title on the source is 'Nelle Feste d'Iside' (incipits 1.1.1 and 1.2.2 of RISM 850601495, catalogued there under the other title, Il Sesostri).

The zither piece is the song 'Wandern ach wandern' from Der Rattenfänger von Hameln, transposed; the comparators attribute it to Neuendorf only conjecturally, with a cross-reference to Gustav Lange.

'Non ti punisco' matches, with the same words and a fifth apart, an excerpt from Pallavicino's setting of Nerone.

'Tôt battez chaud' is the Vaudeville (incipit 1.38.1) of Philidor's Le Maréchal-Ferrant.

La Cecchina is the other title of Piccinni's La buona figliuola. Its arias match that opera's arias and cavatinas with the same words in several copies, a tone apart: 'Che piacer che bel diletto' (1.4.1, 1.4.2), 'Quel che d'amore si chiama' (1.5.1, as 1.1.2 of RISM 106468), the Aria di Mengotto (1.5.2, as the Cavatina 1.1.1 of RISM 1001266334), the Aria di Sandrina (1.6.1, 1.6.2, as the Scena IV Cavatina 1.13.1, 1.13.2 of RISM 1001281572), the Aria del Marchese (1.7.1, 1.7.2, as 1.16.2 of RISM 1001280681), an Andantino (1.9.1, 1.9.2, as the Aria 1.1.1 of RISM 1001263265), and the Finale I (1.22.1).

Movements I and II match a Pisendel autograph concerto in E minor (RISM 212003237), whose attribution RISM qualifies as conjectural; the anonymous record already carries PW Anh. 4:e1.

The anonymous record already names Polazzi; the comparator's attribution is qualified as doubtful.

Comparator 1001248421 already cites this copy; the aria 'Sento che nel mio petto' matches with the same words.

'Crudo brando empia ferita' matches, with the same words, an excerpt from Pollarolo's setting of Il Roderico. The anonymous record notes a misattribution to Stradella and an attribution discussed by Gianturco and McCrickard.

The Andante matches the Sinfonia of Luigi Ricci's L'Orfanella di Ginevra, which the title already names.

The Sinfonia matches Richter's symphony BoeR 59, the number the anonymous title already carries.

The march matches the Finale march (incipit 1.22.1) of Salieri's Axur re d'Ormus; the anonymous record already names Salieri.

The anonymous record already carries CSWV and GraunWV numbers; the comparator attributes it to Schaffrath conjecturally, with a cross-reference to Graun.

Matches the Introduzione of Schmittbauer's Lindor und Ismene (1778), rhythm included, in Leucht's scores from Darmstadt and Hamburg sources. Comparator 1001295610 already cites this copy and calls the attribution possible; it also names Fabrizi's opera into which Dresden inserted it.

Comparator 650002967 already cites this copy (there headed 'Bach'). The work has been attributed to Bach, Hoffmann, Holzbauer, Malzat, Stamitz and Wagenseil; Wolf rejects Johann Stamitz and the heading reflects the name 'Steinmiz' on the manuscript. Composer unknown.

The anonymous record says other sources give it probably to Anton or Carl Stamitz. Its one encoded incipit matches a copy naming Anton Stamitz (RISM 1001198035) note for note, which favours Anton but does not rule out Carl.

The one encoded movement matches a Carl Stamitz concerto (RISM 400013124) note for note; the anonymous record already names Stamitz.

Comparator 806550013 already cites this copy; one comparator cross-references Visconti. The one encoded movement matches, though encoded in c against 3/4.

'So ben io che la bellezza' matches, with the same words, an excerpt from Varischino's setting of L'Odoacre.

The title already carries RV 303; several comparators cross-reference Tartini.

'Doux sentiment de la nature' matches the air (incipit 1.17.1) of the printed score of Vogel's Démophon.

'Quelle fatalité dans ces lieux' matches, with the same words, the air (incipit 1.13.1) of the printed score of Vogel's Démophon.

The three encoded incipits match Wagenseil divertimentos in two copies (one the autograph fragment, whose incipit 1.1.1 matches the anonymous 1.1.3); the anonymous record already carries 'MicWka deest'.

The song 'Trink armer Mann der Wein ist gut' matches, with the same words, a copy attributed to B. A. Weber, which cross-references Dalayrac.

'Cremona holdes Mädchen' and the sextet 'Dies sind Timoneus' Töne' match, with the same words, incipits 1.1.2 and 1.1.1 of other Babylons Pyramiden excerpts, which that copy (RISM 1001087919) places in Act 2. The anonymous record says Act 1 is by Mederitsch and Act 2 by Winter.

'Amami seguimi pregami' matches, with the same words and transposed, an excerpt from Ziani's setting of Alessandro Magno in Sidone.