1 Benefit: Signor Guanducci, ‘musician to his Royal Highness the Great Duke of Tuscany’. According to LS, iv/3, 1313 there was no performance at the King's Theatre on this date, and there appears to have been no other performances of it this season.Google Scholar

2 Not included by Peter Ward Jones in his Corri works list in NG2, vi, 501.Google Scholar

3 Dedicated ‘To the Scottish Ladies, Lovers and Judges of Music’.Google Scholar

4 Domenico Corri is nowhere else recorded as a singer, but there seems to be no other plausible candidate for this role.Google Scholar

5 Daughter of Cornforth Gilson; BDL, vi, 215.Google Scholar

6 GB-Ob Vet. A5 d.698; as The Deliverance of Bethulia.Google Scholar

7 GB-Lbl RB.23.a.8209; as Bethulia Delivered.Google Scholar

8 The text is set as a duet (see 2 ix below) rather than a chorus; see note 10 below.Google Scholar

9 Text from Part 1.Google Scholar

10 It is unclear just what this is, but it appears to be part of the proceeding duet. The chorus is specifically marked to sing after this text has been sung.Google Scholar

11 ‘A new Sacred Oratorio. Music entirely new composed by Bach. [Cecilia] Grassi being indisposed [Gasparo] Savoi will do her part’; LS, iv/3, 1463. This last comment suggests that the role must have been transposed.Google Scholar

12 [Giusto Ferdinando] Tenducci instead of [Gaetano] Guadagni; LS, iv/3, 1465.Google Scholar

13 Parts by [Polly] Barthelemon [née Young], [Cecilia] Grassi, Lelia Guglielmi, [Andrea] Morigi, [Gasparo] Savoi, and [Giusto Ferdinando] Tenducci; LS, iv/3, 1522.Google Scholar

14 GB-Cu S.721.d.70.4/4; also 1770 Edinbrugh: GB-En NG.1579.f.39 (1).Google Scholar

15 ‘Inscribed to Lady Georgiana Cavendish.‘Google Scholar

16 ‘First time of performing this Grand Musical Entertainment in England, and is judged by all conoisseurs to be the most exquisite piece of composition ever heard before’; LS, iv/2, 838.Google Scholar

17 Parts by [Christina] Passerini, [Cassandra] Frederick, [Teresa] Eberardi, [Gaetano] Quilici, and [Christiano] Tedeschino [Tedeschini?]. ‘By Desire. An Italian Oratorio in Two Acts. Words by Metastasio. Music by Jomelli. First time of performing this Grand Musical Entertainment in England, and is judged by all connoisseurs to be the most exquisite piece of composition ever heard before’; LS, iv/2, 838.Google Scholar

18 Dedicated to the members of the Dublin Catch Club.Google Scholar

19 Advertisement, GB-Cu MR460.d.75.1/8.Google Scholar

20 Dublin: GB-Cu MR460.d.75.1/8.Google Scholar

21 ‘Oratorio composed by Dr Arne’; LS, iv/2, 920.Google Scholar

22 ‘By Desire of several Persons of Distinction’; LS, iv/2, 1038.Google Scholar

23 Listed as GB-Lbl in BUCEM, but copy starts at number 9, page 439.Google Scholar

24 Milton's ‘Morning Hymn’ used to open Act 1.Google Scholar

25 ‘From the Italian of Metastasio, set to Music by Nicollo Piccini’; LS, iv/3, 1313.Google Scholar

26 Milton's ‘Morning Hymn’ used to open Act 1.Google Scholar

27 ‘Last Oratorio, but one this season. From the Italian of Metastasio. The Music by Sg Nicolo Piccini, the composer of La Buona Figluola [sic] with additional Chorusses’; LS, iv/3, 1467.Google Scholar

28 ‘Oratorio—taken from the Italian of Metastasio. Music by Piccini’; LS, iv/3, 1531. Elizabeth Harris records buying a libretto for this performance; see Harris, Elizabeth, London account book, 6 March 1771; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 626. No trace of a 1771 libretto has been found.Google Scholar

29 Michael Kassler and Philip Olleson, Samuel Wesley (1766–1837): a Source Book (Aldershot, 2001), 201.Google Scholar

30 US-PRu Ex 3609.37.Google Scholar

31 US-Ws 155–228q.Google Scholar

32 GB-Lbl R.M.5.e.6(4).Google Scholar

33 ‘Gently’ in 1762.Google Scholar

34 ‘Gabriel’ throughout in 1762.Google Scholar

35 Not specified, 1762.Google Scholar

36 An annotation suggests that this duet was omitted in performance.Google Scholar

37 Text present but not set in 1755.Google Scholar

38 Text present but not set in 1755.Google Scholar

39 GB-Ob Vet. A5 e.3801.Google Scholar

40 GB-Lcm XX.G.19/17.Google Scholar

41 Music by Pergolesi.Google Scholar

42 Music by Carissimi.Google Scholar

43 Music by Galliard.Google Scholar

44 Music by Pergolesi.Google Scholar

45 Music by Corelli.Google Scholar

46 Music by Pergolesi.Google Scholar

47 Music by Carissimi.Google Scholar

48 Music by Leo.Google Scholar

49 Music by Pergolesi.Google Scholar

50 Music by ‘Mr’ [J.C.?] Bach.Google Scholar

51 GB-Lbl Add. MS 34, 999.Google Scholar

52 US-SM K-D 57l (5).Google Scholar

53 ‘A Sacred Oratorio. Music—Jomelli’; LS, iv/3, 1458.Google Scholar

54 Parts—[Giusto Ferdinando] Tenducci [called Senesino], Savoi, Morigi, [Cecilia] Grassi, [Lelia] Guglielmi, [Polly] Barthelemon [née Young]. ‘The first part of an Oratorio; Music by Jomelli’; LS, iv/3, 1530.Google Scholar

55 No performances recorded for 1765.Google Scholar

56 This pasteover appears to have been much later; the firm traded from 1814 to 1831.Google Scholar

57 ‘Oratorio from the Italian of Metastasio. Never performed. The Music by Sg Jomelli. With additional Chorusses by Leo Graun, and others’; LS, iv/3, 1461.Google Scholar

58 US-Wc ML53.2.P28 J6 1765 (Case).Google Scholar

59 GB-Ob Harding D 2456 (5).Google Scholar

60 GB-Ob Harding D 2441 (7).Google Scholar

61 I-Vgc ROL.0472.19.Google Scholar

62 Text in 1770 and 1772, but not marked as accompanied recitative.Google Scholar

63 US-Ws 155228 (13).Google Scholar

64 Setting by Leonardo Leo.Google Scholar

65 Setting by Carlo Meli.Google Scholar

66 Setting by Graun.Google Scholar

67 Setting by Barsanti and Leo.Google Scholar

68 Setting by Richter.Google Scholar

69 Setting by Richter.Google Scholar