a beneplacito. Op. 9 (Venice, Francesco Magni Gardano, 1667) Acclamationi Divote a voce sola. Libro Primo. Op. 10 (Bologna, Giacomo Monti, 1670) La Cetra. Libro Quarto di Sonate a due tre e quattro stromenti. Op. 10 (Venice, Francesco Magni Gardano, 1673, reprinted 1682) Cantate, e Canzonette a voce sola. Op. 12 (Bologna, Giacomo Monti, 1676) Idee Armoniche Estese per due e tre voci. Op. 13 (Venice, Francesco Magni detto Gardano, 1678) Echi di Riverenza di Cantate, e Canzoni. Libro Secondo. Op. 14 (Bologna, Giacomo Monti, 1678) Sacri Musicali Concerti a due, e tre voci. Libro Terzo. Op. 15 (Venice, Gioseppe Sala, 1689) Balletti e Correnti a cinque stromenti, con il basso continuo per il cembalo. Libro Quinto Postumo. Op. 16 (Venice, Gioseppe Sala, 1691) Motetti Sacri a voce sola con tre strumenti. Op. 17 (Venice, Gioseppe Sala, 1692) Sonate a 2, 3, 4, 5, 6 e 7 istrumenti con tromba, o senza, overo flauto Op. 18 (Venice, Gioseppe Sala, 1693) (no copy survives) Voci geniali, raccolte in duetti e terzetti Op. 19 (Venice, Gioseppe Sala, 1698) (no copy survives) Note: Two collections were published as opus 10, Acclamationi Divote (1670) and La Cetra (1673). The printing of La Cetra as Opus 10 appears to be an error on the part of the Venetian publisher, who was presumably unaware of the collection published in Bologna in 1670: the correct numbering of the publications resumed with Opus 12. Unpublished works A number of works survive in manuscript copies only. Most can be ascribed confidently to Legrenzi, though there are a few of less certain attribution. Among the most important of these works are: The Messa a cinque voci con stromenti, found at Oxford. The Missa quinque vocibus found at Loreto. This Mass, dated 1689 and surviving in a magnificently bound volume, may have been presented as a votive offering. The Messa a 16 for four choirs and organ continuo held in the Vatican Library. The Prosa pro mortuis, a complete setting for double choir and instruments of the sequence "Dies irae" from the Requiem Mass. A unique setting for double choir and instruments of Matins for Christmas Day, including the Invitatory, Psalms and Te Deum; and concluding with the Introit for the First Mass of Christmas. Intret in conspectu, a motet for 6 voices, known from a single source copied out by Handel, who drew on Legrenzi's motet in the chorus 'To