dell’opera italiana”; Reinhard Wiesend, “Baldassare Galuppi fra opera seria e
opera buffa”; Stefan Kunze, “Per una descrizione tipologica della Intro-
duzionenell’opera buffa del settecento e particolarmente nei drammi giocosi
di Carlo Goldoni e Baldassarre Galuppi”; Maria Delogu, “Galuppi a Vienna:
Artaterse”; Elena Sala di Felice, “Metastasio e Galuppi a Vienna”; and Dale E.
Monson, “Galuppi, Tenducci, and Montezuma: A Commentary on the History
and Musical Style of opera seria after 1750.” The volume has a name index.See also Heartz (#250) and other entries on Goldoni, who was one of Galuppi’s libret-
tists, and #1007.
Francesco Gasparini (1661–1727)
853.Atti del Primo Convegno Internazionale. Ed. Fabrizio della Seta and Franco
Piperno. Quaderni della Rivista italiana di musicologia, 6. Florence: Olschki,- 341p. ISBN 88-222-2988-6. ML5 .Q13.
Twenty papers from a conference held in Camaiore, 29 September–1 October - Opera coverage includes Leopold M. Kantner, “Le opere di Francesco
Gasparini a Vienna”; Reinhard Strohm, “Francesco Gasparini, le sue opere
tarde e Georg Friedrich Händel” (see #854); and Lowell Lindgren, “Le opere
drammatiche ‘romane’ di Francesco Gasparini (1689–1699).” The volume has
name and composer indexes. - Strohm, Reinhard. “Francesco Gasparini’s Later Operas and Handel.” In
Essays on Handel(#953), 80–92.
Originally in #853, in Italian. Concerns Gasparini in Rome, 1714–1727. His
works influenced Handel, who knew Tamerlano(1711; revised as Bajazetin
1719); Handel’s Tamerlano appeared in 1724, with evident borrowing.
Another “partly derivative” Handel work was Faramondo(1738), drawn
from Gasparini’s opera of the same name (1720). Musical examples exhibit
these relationships. Handel’s other models—also with “a distinctively Roman
basis”—were Bononcini and Stradella. - Strohm, Reinhard. “An Opera Autograph of Francesco Gasparini?” In Essays
on Handel(#953), 106–121.
Originally in German, in Hamburger Jahrbuch für Musikwissenschaft 3
(1978). Examines an anonymous manuscript in the British Library (add.
ms.14233), concluding that the arranger of the score for Milan appears to
have been Gasparini. After Strohm had done this analysis, his conclusion was
verified by the discovery of a letter written by Gasparini, showing the same
handwriting.
Florian Gassmann (1729–1774)
- Donath, Gustav. “Florian Gassmann als Opernkomponist.” Studien zur Musik-
wissenschaft2 (1914): 34–211.
A thorough, documented biography and full treatment of the works. List of
operas, with premiere information and publication data, library locations of
manuscripts, and detailed description of every work with musical examples.
Pages 137–211 have extended excerpts.
170 Opera