De 22x32 cm. Formato oblongo. Com 53 fólios. Encadernação da época inteira em chagrin vermelho. Ambas as pastas com ferros decorativos a ouro nas pastas e lombada super libris e filetes em esquadria com motivos vegetalistas. Encadernação apresenta pequeno rasgo na pasta anterior. Cantos e lombada cansados. Falta da coifa inferior da lombada. A colectânea musical apresenta a falta, por ablação, dos primeros 10 fólios e dos últimos dez fólios, afectando o início da primeira partitura e o final última partitura.

Restantes partituras estão enunciadas por: primeira obra (incompleta com a ablação dos primeiros 10 fólios) tem no verso do primero fólio o início de um andamento com uma aria a uma voz: “Sogne va il suo pensiero…” (4 fólios). Seguido de: DEL SIGNORE NICOLÒ JOMMELI. ARIA. MODERATO. “… Madre sei ma paventare non dei fidati…”. a duas vozes. (22 fólios). Seguido de: DEL SIGNORE BURANELLO [Baldassare Galuppi]. ARIA. ADAGGIO. “Care se le mie pene, tutti scordar mi fai questo amante core…”. A duas vozes. (7 fólios). Seguido de: DEL SIGNORE DAVID PEREZ. ARIA. “Di render mi la calma prometti o speme infida…”. A uma voz acompanda por quarteto de cordas e sopro. (17 fólios). Seguido de: DEL SIGNORE GALUPPI [Baldassare Galuppi / Buranello]. ARIA. ALLEGRETTO. “Conservati fedele pensa ch’io resto…”. A duas vozes. (esta última obra incompleta com apenas 3 fólios).

BALDASSARE GALUPPI IL BURANELLO (1706-1785) compositor italiano, nascido em Burano, Veneza, daí ser conhecido por Buranello. As suas óperas foram famosas. Em 1762 foi nomeado Mestre de Capela, considerado o mais alto cargo musical em Veneza. Entre 1741 e 1743 viveu em Londres e entre 1765 e 1768 trabalhou para Catarina da Rússia em S. Petersburgo.

 Baldassare Galuppi (1706 1785) was an Italian composer from Venice, noted for his operas, and particularly opera Buffa. He was born on the island of Burano in the Venetian Lagoon, and as a result, he became known as IL BURANELLO. In 1762, he was appointed MAESTRO DI CAPPELLA (considered Venices top musical post) there. He lived and worked for most of his life in Venice, though from 1741 to 1743 he worked in London, and from 1765 to 1768 he worked for Catherine the great, nn St. Petersburg. NICOLÒ JOMMELI Aversa 1714 Jommelli was born in, Italy on September 10. His first training was in the cathedral choir of that town, but he began study in the renowned musical center of Naples at the age of just eleven.  From 1725 to 1728 he studied at the Conservatorio Sant’ Onofrio, thereafter moving to the Conservatorio Pietà dei Turchini. His first opera, L’errore amorosa, was premiered in Naples in 1737, and another comic opera followed the next year. In 1768, Jommelli began to make preparations to leave Stuttgart.  King Jose I of Portugal was interested in commissioning some works for Lisbon.  His negotiations with Jommelli created problems, however Jommelli lost his pension and all access to the operas he had written for Carl Eugen. Jommelli was in a poor position to contest these unfair arrangements, as he had returned to his hometown of Aversa in the hope that the climate would help his sickly wife. Unfortunately, she and Jommelli did not go to Lisbon but did agree to send José I one serious opera and one comic opera per year. Since the composer could not return to Stuttgart, he settled in Naples. Here, however, the innovations he had developed in Germany were not appreciated. Mozart called Jommeli’s Armida “beautiful but too serious and old-fashioned for the theater”. In his last years, Jommelli wrote operas for Naples and Rome as well as fulfilling his responsibilities to Lisbon. In August of 1771, he suffered a stroke and was unable to write for almost a year. Thereafter, he began work on what was to be his last opera for Lisbon, Clelia. It was enthusiastically received by audiences in Lisbon, as were almost all the operas he sent to Portugal. From 1769 to 1777, when King José I died, up to four Jommelli operas a year were heard in Lisbon. Jommelli died in 1774, greatly mourned throughout Europe. Some, such as the German composer and theorist Christian Friedrich Daniel Schubart, called him Europe’s greatest composer.  Despite such praise, Jommelli was soon forgotten. Only within the last twenty-five years have his operas been rediscovered. DAVID PEREZ (Naples, 1711 - Lisbon, 1778). At the age of 11 he became a student at the Conservatorio di S Maria di Loreto in Naples, where he remained until 1733, studying counterpoint with Francesco Mancini, singing and keyboard playing with Giovanni Veneziano, and violin with Francesco Barbella. In 1752 José I, King of Portugal, invited Perez to become Mestre de Capela and music master to the royal princesses, a position he occupied until his death. The annual stipend of 2:000$000 (two contos de réis), coupled with the excellent musical and theatrical resources of the Portuguese court, undoubtedly influenced his decision to remain in Lisbon. The ambition of the recently crowned Portuguese king was to depart from his father musical policy, almost uniquely concerned with church music, and to give Italian opera a central position in the court. Sumptuous scenic treatment was the rule, and Perez’s operas were mounted by such famous designers as Berardi, Dorneau, Bouteux and Galli-Bibiena. Equally important were the great singers who appeared at the Portuguese court, including Raaf, Elisi, Manzuoli, Gizziello and Caffarelli. The terrible earthquake, that destroyed Lisbon on 1 Nov. 1755, changed forever Perez’s output. The court withdrew from the theatres, no operas were produced for the next 7 years, and thereafter only in a less spectacular fashion. During the last 23 years of his life, Perez wrote just three new operas. Instead he composed a huge amount of church music, covering almost all the rituals and practices of the two main musical chapels of Lisbon, the Royal and the Seminário da Patriarcal. He never left Portugal, so that his international acclaim slowly declined. Still, Gerber noted that since 1766 Perez’s compositions were known and in demand in Germany and that he was in 1790 ‘one of the most celebrated and beloved composers among the Italians masters … one of the latest composers who maintained the rigour of counterpoint’. J. C. Krause named Hasse, Perez and Paisiello as satisfactory models. In 1774 he became by acclamation a member of London Academy of Ancient Music, and had the only full-scale piece printed in his life time, the Mattutino de’ Morti (his third set of the Office of the Deads), published there by Bremner. His music, specially the religious, was widely copied in Italy. During the last four years of his life Perez suffered of a chronic disease, eventually losing his sight, but continued to compose. In 1778 his pupil, now Queen Maria I, made him a Knight of the Order of Christ when he died she ordered a pompous funeral at the Crown’s expense. Perez was recognized in his time as one of the greatest Italian composers. 18th-century critics ranked him with Hasse and Jommelli.. However it was in his later compositions for the church that Perez had the possibility to develop most his style. His is one of the finest corpus of music for the Roman Catholic rituals in the 18th century ot much is known about Perezs output. The he distribution of manuscripts copies of Perezs music depended necessarily on the prestige and on the fortunes of the institutions that influenced its creation. The greatest number of his works, and most of his autographs, remained in the two Portuguese royal chapels the Ajuda Library has the music composed for the Ajuda Royal chapel, while the Fábrica da Sé Catedral de Lisboa (which came from the confraternity of Santa Cecilia) in Lisbon has the music written for the Patriarchal Chapel. Many copies of his music are to be found in institutions that, in the eighteenth-century, emulated musical practices of the royal chapels, such as the collections in Évora, Vila Viçosa, Braga and Viseu. The chapter of Rio de Janeiro Metropolitan cathedral is known to house music by Perez, that once belonged to the Portuguese royal chapel. Thus some of Perezs music is found in the collections formed by the Roman Fortunato Santini in Münster, by Masseangelo  Masseangeli in the Bolognese Accademia Filarmonica, by Carl Proske in Regensburg, and Raphael G. Kiesewetter in Vienna.