Johan Helmich Roman (1694-1758)

Johan Helmich Roman (born 26 October 1694 in Stockholm, died 20 November 1758 on the Haraldsmåla estate in Småland) is one of Sweden’s most important composers of all time. He has been called ‘the father of Swedish music’, and with good reason. As chief conductor of the Royal Court Orchestra, composer, musician and teacher, Roman laid the ground for an increasingly rich music scene in 18^th century Sweden. He was also the first Swedish composer to attain international status, and had a prolific musical output covering most of the genres of his time, instrumental and vocal, with the exception of opera and oratorios.

Biography

Roman's signet.

Life

Childhood, studies and early performances

Johan Helmich Roman was born into a musical family, the son of Johan Roman the elder − himself a member of the Hovkapellet (the Royal Court Orchestra) − and his wife, Catharina Margareta von Elswig. His father’s family had their roots in Finland, while his mother was from a German family that had recently moved to Sweden. Johan Helmich was therefore enrolled at the German school, which was the best in Stockholm and which exposed his young mind to a broader European cultural heritage.

Johan Helmich was quick to display an exceptional gift as a violinist, having no doubt received a thorough musical grounding from his father at home. Already by the age of seven, according to Sahlstedt, he ‘played his Violin at the Royal Court where he performed difficult passages from diverse Compositions with much skill’ and ‘participated in his twelfth year at a grand Royal banquet, Barncomoedian at the Hoftheater (Royal Court Theatre)’.

In 1711, at the age of seventeen, Roman was given a position at the Hovkapellet, where the North German influence that had coloured the music of the Swedish empire period still held sway. Amongst the musicians there from 1712 was oboist Johann Jakob Bach, one of Johann Sebastian Bach’s older brothers. In 1704, he had taken up the post of regimental oboist with King Charles XII’s life guard, but was called in 1712 to Sweden and the Hovkapellet, where he remained until his death in 1722. So for many years, the young musician Johan Helmich Roman sat side by side with Johann Sebastian Bach’s beloved sibling in the Swedish court orchestra. Roman treated the oboe as his second instrument and was said by many to be a talented player, no doubt having picked up a considerable amount from the experienced German oboist from the magnificent, time-honoured Bach dynasty. During the first decades of the 18^th century, however, the French influence became stronger at the Swedish royal court, and thus in the Hovkapellet as well, which gave Roman a valuable schooling in both the German and French stylistic ideals.

Mural by Johan Pasch

Mural, late 1740s, by Johan Pasch from a small octagonal belvedere that Count Adam Horn (1717-1778) commissioned at his manor Fogelviken in the north of Småland. Roman spent some time with the Horn family at Fogelviken. (Musikverket).

A young Swede in Handel’s orchestra

Amongst all the dispatches that passed between Stockholm and Bender during Charles XII’s fateful sojourn in the Ottoman Empire is a short document made out to Marshal of the Court Nicodemus Tessin concerning certain salaries at the royal court:

It is Our gracious will that […] musician Johan Roman the Younger may travel for some Years to perfect himself in Musick, and willing likewise Support for his Journey, do grant him full Salary;
At Bender 19 March 1712
Carolus.

For Charles XII, this was a matter of little importance; for the young musician and for the development of the Swedish music scene, the decision was a momentous one.

When Roman − already a year after being first employed − was granted permission by the King’s grace to study overseas, the Hovkapellet and its finances were ‘verie weake for the tyme’. Consequently, Roman was not able to depart until the new year of 1716, and then to London. Very little is known of his stay in England. According to royal secretary Abraham Sahlstedt’s address at a ceremony in commemoration of Roman, the young Swede was quickly ‘taken up as a Violinist at the Opera’ soon after his arrival and that he was given lessons in basso continuo ‘by the great Maestro Handel’ and in composition by ‘Musices Doctor Pepusch’. Sahlstedt remarks further that ‘the Swedish virtuoso […] had, on demand, demonstrated his skills on the Violin and Oboe’ to the Duke of Marlborough and other dignitaries. ‘As a consequence thereof, the Duke of Newcastle, did prevail upon him to leave the Opera and join his Court as a Gentleman, and that he proceeded to do in 1717’.

The King’s Theatre − where Roman was employed − was then one of the foremost opera houses in Europe, with Italian opera as a speciality, Handel as the house composer, and a long list of brilliant vocal soloists on its books. However, financial straits forced the opera to close in the autumn of 1717, which coincides nicely with the record of Roman’s leaving his employment there in that year. After a couple of years in fallow, the King’s Theatre made a bold return to Italian opera, investing in the continent’s leading singers and re-signing Handel as director of music. The orchestra he was now entrusted to lead comprised 34 musicians of high international calibre, and included, according to the payrolls from 1719/20, one Mr Roman in the second violins. ‘The Swedish virtuoso’ was not one of the top ranking musicians of this first-rate ensemble − salary-wise he was low down with the other second violinists − but he was there, the only Scandinavian, in one of the most desirable orchestras in Europe of the time.

This meant that the young Swede was in the orchestra when Handel led the brilliant premier of Radamisto from the harpsichord in April 1720. And regardless of whether or not Roman was taught basso continuo by Handel, he was certainly able to study Handel’s own continuo technique and his manner of leading the singers and musicians night after night. For the next few seasons, the programmes were dominated by a trio of composers: Handel, Giovanni Bononcini and Attilio Ariosti − all richly represented in Roman’s notated legacy. There can be no question that he became thoroughly acquainted with Italian baroque opera and its stylistic ideal.

Roman, Hovkapellmästare

Back at the Swedish court, the new royal couple was waiting impatiently for Roman’s return. After the fatal shooting of Charles XII in November 1718, his sister Ulrika Eleonora had been elected queen, but she soon abdicated in favour of her husband, hereditary prince Frederik of Hesse-Cassel. In May 1720 he was crowned Frederik I.

Roman would serve this royal couple for many years. But naturally he was reluctant to leave his place in Handel’s orchestra and his service at an opera house that was bubbling with vitality. Awaiting him at home was a musical scene ‘in a state of much decrepitude’ − as Roman himself put it − and a stretch of heavy drudgery at a royal court in tatters after decades of war. Stockholm had neither opera nor concert circuit. Yet in the early summer of 1721 he returned to the capital as a highly trained, modern-minded musician. He had grown into a superb violinist and − most importantly perhaps − as a composer who had acquired thorough knowledge of new stylistic trends in opera and instrumental music. He had also gained experience of the vibrant English concert scene and a familiarity with the repertoire that would prove invaluable to his future as hovkapellmästare (chief conductor of the Hovkapellet).

The Swedish court was certainly in desperate need of a man of Roman’s capacity. Just a few months after his arrival in Stockholm he was appointed vice kapellmästare (second conductor of the Hovkapellet), ‘such that We may graciously derive much pleasure from the exceptional talent that Johan H. Roman has acquired for himself in Musick’, as it says in the letter of appointment issued by Frederik I on 18 December 1721. For the next few years, Roman worked hard to bring the orchestra up to an acceptable level.

Some years later, he also appeared as a composer with a series of cantatas in honour of the royal couple. The first of these Feste musicale is a cantata for soloists, choir and orchestra, which was performed on Frederik I’s birthday in 1725 − a comical dialogue in Italian between Svezia (soprano) and Frederico (bass). The queen was similarly celebrated with, amongst other works, the 1727 cantata Statt upp du trogna folk (for soprano, bass and orchestra). It is an occasional piece containing elements of both the French and Italian style. Some of the cantatas begin with an overture in the French manner, others with a simple Italian sinfonia. Most of the arias follow the Italian da capo form, are gently lyrical and in some cases richly ruffled with coloratura, and are obviously inspired by Bononcini and Handel.

Another kind of tribute music is Golovinmusiken, composed on commission of the Russian ambassador in Stockholm, Count Nicolai Golovin, in honour of the coronation of the twelve-year old Tsar Peter II in St Petersburg in February 1728. The event was celebrated by extravagant feasts that demanded a great deal of music. And Roman delivered a rich stock of charming, highly varied instrumental pieces − 25 all told.

It was naturally a matter of great importance to Roman to qualify for the post of hovkapellmästare as a composer too. His opportunity arose in October 1726, when the old hovkapellmästare died. A few months later, authorisation was issued for ‘Our true Servant [and] much beloved Johan H. Roman […] to be Capellmästare at Our court’, making Roman the nominal leader of the Hovkapellet. Six months later, Roman published his XII Sonate a flauto traverso, violone e cembalo, the only work by the composer to be printed during his lifetime. The flute sonatas were dedicated to Queen Ulrika Eleonora − a gesture of obsequious gratitude from the newly appointed hovkapellmästare − and with them, Roman presented himself to the public as a fully-fledged composer.

The opening of sinfonia no. 2 in D flat major.

Roman's autograph on the opening of sinfonia no. 2 in D flat major, BeRI no. 11. (Musikverket).

Soon after Roman’s appointment as hovkapellmästare there are clear signs of increased activity at the Hovkapellet, reorganisations that reflect the radical changes on the contemporary European music scene. So, for instance, in July 1727, the two boys who had served as trebles were replaced by women, breaking the centuries-long tradition of using boys in the higher registers in order to comply with the new vocal style’s use of female voices in opera arias and cantatas. It was also the first time that a woman had been employed by the exclusively male Hovkapellet, which also gave Roman access to professional female singers for the many vocal works he would go on to compose.

Hitherto, Roman had naturally assumed the traditional role of the court’s private composer and conductor. But in 1731, he brought the orchestra into the open to perform public concerts, heralding a new era in Swedish music in which classical music, no longer confined to the court and the church, was made available to a general musically interested public. In doing this, Roman was also something of an international pioneer too; public concerts for paying audiences were held in only a few places around the continent. England led the way, although Roman had probably also been inspired by Paris’s famous Concerts spirituels. The first Swedish concerts were performed at Easter 1731 in Riddarhussalen in Stockholm, with Handel’s Brockes passion on the programme. Several Handel works featured on the repertoire over the coming years, including Chandos anthems, his pastoral Acis and Galatea and the oratorio Esther. Ten years after his stint in London, Roman was thus able to perform in public some of the works he had probably heard Handel himself conduct.

The House of Nobility, Stockholm.

"Ritter Palats in Stockholm, The House of Nobility. This is where Johan Hemlich Roman in 1731 organized the first public concerts in Stockholm, with both Court musicians and Noble amateurs contributing. Exterior late 17th century. (Svecia antiqua et hodierna)

One remarkable fact is that the lyrics of these works were translated into Swedish. This passion for his native tongue is very much evident in Roman’s vocal output. While he was the first to advocate the use of Swedish in music, it was in fact one of the most fruitful aspects of the country’s 18^th century cultural life in literature, drama and science. The ‘cultivation’ of the language was also considered one of the main missions of the Vetenskapsakademien (the Royal Academy of Science, founded in 1739), to which Roman was elected as a representative of musical science within its first year.

Roman the composer saw his own mission as creating a rich repertoire of sacred music in Swedish, and this he achieved in different ways: he composed his own works, he translated the lyrics of foreign vocal works in to Swedish, and even set to adapting foreign works. After his Andliga sånger, comprising almost a hundred compositions to Swedish lyrics, mostly from the Book of Psalms, his sacred production culminates with Then Swenska Messan for soloists, choir and orchestra, composed in the early 1750s. Roman had thus fulfilled his ambition to demonstrate the ‘Swedish language’s facility for church music’; this did not, however, prevent him from setting lyrics in other languages. In his music too, Roman ‘the Father of Swedish music’ − was international in the highest degree.

A new journey, new impressions and new music

For Roman the composer, the 1730s and 40s seem to have been a period of maturity and prolific output. In 1735 the opportunity arose for him to travel abroad again, this time to England, Italy and Germany. He was away for two years and the experiences he gathered made a profound impact on his rich artistic development. He spoke English, French, Italian, German and understood, according to Sahlstedt, ‘enough Latin to read an author’, and these skills no doubt eased his valuable contacts and encounters with many of the leading musicians and composers of the time.

Roman was now travelling through a musical Europe very much marked by the rupture taking place between the high baroque and the new, gallant style. He entered circles where the waves of debate swelled high about the superiority of French or Italian music, and about the attempt to blend the two in a stile misto. After these two years, Roman was extremely well-orientated in the new musical ideas and techniques of his time, which can be seen, to a certain extent, in the many names that feature in his surviving excerpts and transcripts, in all the sheet music he brought back with him to the Hovkapellet, and − most clearly of all − in his own musical production. His instrumental pieces contain most of the settings and genres in fashion at the time, as well as the different national stylistic ideals − music that is suited exceptionally well to both the court and the public concert halls.

His orchestral production comprises almost twenty sinfonias, nine suites, four overtures, seven solo concertos and a good many freestanding orchestral pieces and sketches. In his chamber music, the trio sonata and the solo sonata for one instrument and continuo are well-represented. There are also harpsichord sonatas and multi-movement works for solo violin. These remarkable Assaggi a Violino Solo are some of the most independent in his oeuvre. Assaggio roughly translates as ‘attempt’ or ‘trial’, and behind this rather unassuming title hides suite or sonata-like compositions in three or four movements for unaccompanied solo violin − a rather unusual form for this era. While J. S. Bach’s masterly solo works for violin and for cello are well-known to posterity, they can hardly have been known to Roman. However, it is likely that he became acquainted in London with Geminiani’s sonatas op. 1 for solo violin, which was published in 1716 without continuo. Maybe the young Swede also listened to these pieces performed by Geminiani himself, who was a violinist at the English court and on London’s blossoming concert scene.

Roman’s late period

In the early 1740s, a number of radical changes took place at the Swedish royal court. The marriage between Ulrika Eleonora and Frederik I was a childless one, and when the queen died in November 1741, the question of succession became precarious. In the search for a suitable heir, Swedish eyes turned first and foremost to the Danish and German royal houses. In the end, the chosen candidate was Adolf Frederick of Holstein-Gottorp, and in October 1743 the new crown prince made his entry into Stockholm. A few months later, a marriage contract was sealed with Princess Lovisa Ulrika of Prussia, sister of Frederick the Great.

The wedding was celebrated in the summer of 1744 at Drottningholm Palace, where the Prussian princess was received with all conceivable splendour. Hovkapellmästare Roman provided the grand musical arrangements and performed his most resplendent work − his so-called Drottningholmsmusiken − for the ‘royal nuptials’. The ‘Bilägers musique’ (Royal Nuptials Music) is a 24-movement suite − with another eight movements in reserve − that was doubtlessly divided up into suitable combinations for ceremonies and processions and for performance as concert pieces and mealtime music over the four days that the wedding lasted.

The young royal couple came as a breath of fresh air to the rather elephantine Swedish court life. Unlike Frederik I, Adolf Fredrick and Lovisa Ulrika were both music lovers: he played cello, she the harpsichord. On his arrival to Sweden, the new hereditary prince brought his own orchestra of 14 musicians, a welcome reinforcement of its Swedish counterpart, which had around 20 members at the time. Without question, the new crown prince and princess were making new demands on music at the Swedish court.

Adolf Fredrik and Lovisa Ulrika.

Adolf Fredrik and Lovisa Ulrika. (Engraving by Johann Gottlieb Schmidt).

For Roman, the change in circumstances ought to have brought a wealth of fresh opportunities. He if anyone had mastery of all the current styles flowing through European music, and he was the right man to animate the music at the new court. Yet after the wedding ceremonies at Drottningholm, Roman withdrew increasingly from his duties, partly on account of his failing health and gradual deafness. On top of this, in June 1744 − two months before the royal wedding and in the midst of his work with Drottningholmsmusiken − Roman was made a widower for the second time and had to raise his five young children on his own. In 1745 he was granted leave from his position at the court without loss of pay, and given the title of hovintendent (royal court superintendent). He subsequently moved with his children to his father-in-law’s Haraldsmåla estate near Kalmar, although this did not deter him from maintaining lively relations with the city’s music scene and with the court.

A few years later, he was ordered back to the royal court to lead the music for Frederik I’s funeral in September 1751 in Riddarholm Church and at the crowing of Adolf Frederick and Lovisa Ulrika in Stockholm Cathedral two months later. For these two ceremonies, he compiled the music, led the coaching of the musicians and composed a number of works, most importantly Högst Salig Konung Fredrichs Begrafnings Musique and Hans Mayt: Konung Adolph Friedrichs Krönings Music. The grandiose national ceremonies would be hovkapellmästare Johan Helmich Roman’s final trial of strength at the court he had served ever since he was taken on as a violinist in Charles XII’s court orchestra at the age of 17.

The Drottningholm Palace.

The Drottningholm Palace. Oil painting attributed Johan Sevenbom (1721-1784).(Nationalmusem).

He tarried in Stockholm for a while longer to lead the performance of Then Svenska Messan at the Ekeblad palace in the spring of 1752, possibly composed on commission of Marshal of the Realm Claes Ekeblad. Roman’s mass was not conceived for liturgical use, being a Missa brevis that although containing two of the normal parts of the High Mass − Kyrie and Gloria with the closing Laudamus − takes an otherwise quite liberal approach to the service. The music has a more concert-like feel and belongs more in a concert spirituel of the kind that he himself introduced into Sweden.

By the early summer of 1752 Roman was back in Haraldsmåla. During his final years ‘in the Wildernesse’, as he put it himself, he spent his time translating works of music theory by, amongst others, his old mentor Pepusch. He also continued to compose, mainly vocal pieces from the Book of Psalms.

A delicate − and quite remarkable for his time − testimony to the tender love Roman felt for his children appears in his will, the last preserved document written in his own hand: It is, he writes, ‘my solemn Will that since my Children are all equally dear to me, so shall that which I leave behind be divided equally between them, so that the Sisters shall receive the same portion as their Brothers, for they are all equally dear to me. / Lilla Haraldsmåla d: 31 Decemb:1757.’

Hovkapellmästare Johan Helmich Roman died of cancer on 20 November 1758 − half a year before the revered maestro Handel. His last dated composition is from June 1756 to words from Psalm 11: ‘In the Lord put I my trust’. And so ended the Father of Swedish music’s earthly labours.

Anna Ivarsdotter © 2014
Trans. Neil Betteridge

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Publications by the composer

Bibliography

Andersson, Greger: Musik av Johan Helmich Roman och hans samtida i Lunds universitetsbibliotek, in Svensk tidskrift för musikforskning, 1994.
Bengtsson, Britta & Helenius-Öberg, Eva: Med Maria valt det bästa. Kring ett nyfunnet Romanbrev, in Svensk tidskrift för musikforskning, 1990.
Bengtsson, Ingmar: Johan Helmich Roman och hans instrumentalmusik − Käll- och stilkritiska studier, med förteckning över äkta, dubiösa och oäkta instrumentalverk, med BeRI-numrering, diss. Uppsala universitet, 1955.
−−−: 'Signor Leos Dixit imiterat af Roman'. En inledande studie över J. H. Romans musikaliska bearbetningsteknik, in Svensk tidskrift för musikforskning, vol. 40, 1958.
−−−: En okänd instrumentalsats av Roman?, in Svensk tidskrift för musikforskning 1955, with additions in Svensk tidskrift för musikforskning, 1965.
−−−: Johan Helmich Roman − ett tvåhundraårsminne, in Svensk tidskrift för musikforskning, 1958.
−−−: Roman som orgelsakkunnig, in Svensk tidskrift för musikforskning, 1960.
−−−: Äkthetsproblem och en vitter tullkontrollör. Om Johan Helmich Roman och A Nicander, in Festskrift till J P Larsen, 1972.
−−−: Johan Helmich Romans flöjtkonsert, in Svensk tidskrift för musikforskning, 1973.
−−−: Mr R:s spuriosity shop − A thematic catalogue of 503 works... by more than 60 composers 1976.
−−−: Handstil 14 i Roman-samlingen identifierad, in Svensk tidskrift för musikforskning, 1979.
−−−: article in Sohlmans Musiklexikon, vol. 5, pp. 211−213, 1979.
−−−: Johan Helmich Roman. Festmusik till Greve Golovin, in liner notes to the CD edition Musica Sveciae MSCD 404, Stockholm, 1986.
−−−: Johan Helmich Roman. Sonater och Assagi, in liner notes to the CD edition Musica Sveciae MSCD 406, Stockholm, 1987.
Bengtsson, Ingmar & Danielsson, Ruben: Handstilar och notpikturer i Kungl. Musikaliska Akademiens Roman-samling, Stockholm, 1955.
Cronhamn, Fritiof: Svenska musikens fader − Några anteckningar om Johan Helmich Roman, in Anmärkningar till Oscar Fredriks högtidstal i Kongl. Musikaliska Akademien, 1885.
Frigel, Pehr: Förteckning på framl. hofintendenten och kongl. kapellmästaren Johan Helmich Romans efterlämnade musikaliska arbeten, in Tidning för musik, Helsinki, 1910/11.
Gerulf, Folke: Johan Helmich Roman och Haraldsmåla, in Kalmar län 67, 1982.
Helenius-Öberg, Eva: Johan Helmich Roman, liv och verk genom samtida ögon − dokumentens vittnesbörd, Kungl. Musikaliska akademiens skriftserie, no. 78, Stockholm, 1994.
−−−: Johan Helmich Roman i källornas ljus, in Svensk tidskrift för musikforskning, 1994.
Holm, Anna Lena: Tematisk förteckning över J.H. Romans vokalverk. Stockholm: Musikaliska akademiens bibliotek, 1994.
Ivarsdotter Johnson, Anna: Johan Helmich Roman och hans tid, in Musiken i Sverige, vol. 2, Kungl. Musikaliska akademiens skriftserie 74, Stockholm, 1993.
Lellky, Åke: Ett bidrag till kännedomen om Johan Helmich Romans triosonater, in Svensk tidskrift för musikforskning, 1936.
Moberg, Carl-Allan: Johan Helmich Roman − den svenska musikens fader, in Svensk tidskrift för musikforskning, 1944.
Ryhming, Gudrun: Johan Helmich Romans sånger för 1−3 röster. En inventering, bachelor's thesis in musicology, Stockholms universitet, 1971.
Sahlstedt, Abraham M: Äreminne öfwer hofintendenten kongl. capellmästaren... Johan Helmich Roman, i Riddarhus salen framstäldt d. 30 maj 1767, 1767.
Vretblad, Patrik: Johan Helmich Roman 1694−1758 − Svenska musiken fader, vol. 1−2, Stockholm, 1914.
−−−: Karl Mikael Bellman och Johan Helmich Roman, in Zeitschrift der Internationalen Musikgesellschaft, 1913/14.
−−−: Johan Helmich Roman − Minnesteckning. Stockholm, 1944.
−−−: article in Svenska Män och Kvinnor, vol. 6, Bonniers förlag: Stockholm, 1949, p. 312.
−−−: Johan Helmich Roman och Ryssby församling, in Ryssby kyrka 200 år, Ryssby kyrkoråd: Kalmar, 1950.
Vretblad, Åke: Ett obeaktat tal av Roman, in Svensk tidskrift för musikforskning, 1937.
−−−: Johan Helmich Romans vistelse i Rom, in Svensk tidskrift för musikforskning, 1945.
−−−: Johan Helmich Romans bibliotek, in Svensk tidskrift för musikforskning, 1953.
Walin, Stig: Beiträge zur Geschichte der schwedischen Sinfonik, diss. Uppsala, 1941.
−−−: 'Sonate a flauto traverso, violone e cembalo' da Roman , Svedese, in Svensk tidskrift för musikforskning, 194(?).

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Sources

Summary list of works

23 sinfonias, orchestral suites (including Drottningholmsmusiken and Golovinmusiken), 4 violin concertos, a flute concerto, an oboe concerto, a concerto for oboe d'amore and orchestra, flute sonatas, trio sonatas, works for harpsichord (sonatas/suites, etc.), Assaggi for solo violin, 25 etudes for violin, approx. 70 songs, choral works (Svensk mässa, cantatas, etc.).

Collected works

Numbering of works according to Ingmar Bengtsson 1955 [BeRI] and Anna Lena Holm 1994 [HRV], respectively

Sinfonias
Sinfonia G major [BeRI 9]
Sinfonia F major, "Printz Gustafs Musique" [BeRI 10]
Two orchestral movements F major [BeRI 10 ½]
Sinfonia B-flat major [BeRI 11]
Sinfonia D major [BeRI 12]
Sinfonia C major [BeRI 13]
Sinfonia D major [BeRI 14]
Sinfonia G major "Fogelvik Aug. 2. 1746" [BeRI 15]
Sinfonia A major [BeRI 16]
Sinfonia F major [BeRI 17]
Sinfonia C major [BeRI 18]
Sinfonia G major [BeRI 19]
Sinfonia G major [BeRI 20] (uncertain)
Sinfonia E minor [BeRI 22]
Sinfonia D major [BeRI 23]
Sinfonia D major [BeRI 24]
Sinfonia A major [BeRI 26]
Sinfonia D minor [BeRI 27] (uncertain)
Sinfonia B-flat major [BeRI 28]
Sinfonia / Ouverture B-flat major [BeRI 29]
Sinfonia / Ouverture G minor [BeRI 30]
Sinfonia (two orchestral movements) A major/G minor [BeRI 31] (most likely not by Roman)

Suites and overtures
Suite, the Golovin music, 1728 [BeRI 1]
Eight minuets [BeRI 1 ½]
Suite, 'Bilägers musiquen', the Drottningholm music, 1744 [BeRI 2]
Suite, 1744 [BeRI 2 ½]
Sinfonia / Suite E major [BeRI 3]
Suite / Sinfonia F major [BeRI 4]
Ouverture [Suite] F major [BeRI 5]
Suite D minor [BeRI 6]
Suite G minor, 'Sjukmans Musiquen' [BeRI 7]
Partita / Sinfonia [Suite] C minor [BeRI 8]
Suite / Sinfonia / Concerto G major [BeRI 21]
Concerto [Suite] D major [BeRI 25]
Ouverture F major, to 'Festa musicale', 1725 [BeRI 32]
Sinfonia [Ouverture] D major, to "Freudige Bewillkommung", 1726 [BeRI 33]
Sinfonia / Ouverture D major, to "Cantata zu einer Taffelmusic", 1727 [BeRI 34]
Introduzzione [Ouverture] F major, to Cantata 1731 [BeRI 35]
Sinfonia G major, till "Cantata vid Ny-Året 1754" [BeRI 36] (most likely not by Roman)
Ouverture C major [BeRI 37]
[Ouverture] G major [BeRI 38]
Introduttione / Sinfonia F major, to "Bröllops Music" [BeRI 39]
Sinfonia / Ouverture F major [BeRI 40] (most likely not by Roman)
Sinphonia [Ouverture] B-flat major [BeRI 41]
Introduzzione [Ouverture) G minor [BeRI 42]
Ouverture G minor [BeRI 43]
Introduzzione / Sinfonia (di Chiesa) [Ouverture] E minor [BeRI 44]

Concerti
Concerto [grosso] B-flat major [BeRI 45]
Concerto [grosso] B-flat major [BeRI 46]
Concerto [grosso] G minor [BeRI 47] (not by Roman)
Concerto [per il Violino solo] D major [BeRI 48]
Concerto [per il Violino solo] D minor [BeRI 49]
Concerto per il Violino solo Ess major [BeRI 50]
Concerto per il Violino solo Ess major [BeRI 51] (most likely not by Roman)
Concerto / Partita [per il Violino solo] F minor [BeRI 52]
Concerto per il Oboe d'Amore D major [BeRI 53]
Concerto for flute and orchestra G major [BeRI 54] (earlier attributed to F. Zellbell jr)

Trio sonatas
Sonata à Tré nr 101 i G minor [BeRI 101] (most likely not by Roman)
[Suite] B-flat major, in: 6 Sonate a tre, no. 1 [BeRI 102]
[Suite] D minor, in: 6 Sonate a tre, no. 2 [BeRI 103]
Two orch m D minor, in: 6 Sonate a tre, no. 3 [BeRI 104]
Sonata à 3 E minor, in: 6 Sonate a tre, no. 4 [BeRI 105]
Sonata à 3 B minor, in: 6 Sonate a tre, no. 5 [BeRI 106]
Sonata à 3 A minor, in: 6 Sonate a tre, no. 6 [BeRI 107]
Sonata à 3 D major and Adagio D minor, in: 7 Sonate a tre, no. 1 [BeRI 108, 108 ½]
Sonata à 3 F-sharp minor, in: 7 Sonate a tre, no. 2 [BeRI 109]
Sonata à 3 C major, in: 7 Sonate a tre, no. 3 [BeRI 110]
Sonata à 3 D major, in: 7 Sonate a tre, no. 4 [BeRI 111]
Sonata à 3 B-flat major, in: 7 Sonate a tre, no. 5 [BeRI 112]
Sonata à 3 G minor, in: 7 Sonate a tre, no. 6 [BeRI 113]
Sonata à 3 A major, in: 7 Sonate a tre, nr 7 [BeRI 114]
Sonata à 3 E minor [BeRI 115]
Sonata à 3 C major [BeRI 116] (uncertain)
Sonata à 3 C minor [BeRI 117]
XII Sonate a flavto traverso, violone e cembalo; Print Stockholm 1727 [BeRI 201−212]
Sonata [à] Traversa Solo D major [BeRI 213] (most likely not by Roman)
Sonata à Violino Solo e Basso A major [BeRI 214]

Clavier sonatas
Sonata C major [BeRI 215] (uncertain)
Sonata E minor [BeRI 216] (incomplete; most likely not by Roman)
Sonata E minor [BeRI 217] (most likely not by Roman)
Sonata E minor [BeRI 218] (most likely not by Roman)
Sonata D major [BeRI 219]
[Sonata] A major [BeRI 220] (incomplete?)
Sonata F major [BeRI 221]
Sonata D minor [BeRI 222] (most likely not by Roman)
Sonata B-flat major [BeRI 223] (most likely not by Roman)
Sonata G minor [BeRI 224]
Twelve sonatas [suites] for clavier [BeRI 225−236]
Sonata C major [BeRI 237]
Sonata A minor [BeRI 238] (uncertain)
Duetto A minor for clavier and violin (viola) [BeRI 239]

Assaggi à Violino solo
Assaggio à Violono solo i A major [BeRI 301]
[Assaggio] B-flat major [BeRI 302]
[Assaggio] C major [BeRI 303]
D major [BeRI 304] (number of movements unknown)
E major [BeRI 305] (number of movements unknown)
[Assaggio] F major [BeRI 306] G major
[BeRI 307] (number of movements unknown)
[BeRI 308–309] (missing)
[Assaggio] C minor [BeRI 310]
[Assaggio] D minor [BeRI 311]
[Assaggio] E minor [BeRI 312]
[Assaggio] F-sharp minor [BeRI 313]
Assaggio à Violino solo G minor [BeRI 314]
[BeRI 315–316] (missing)
[Assaggio] A major [BeRI 317]
G major/A major? [BeRI 318] (number of movements unknown)
E major [BeRI 319] (number of movements unknown)
[Assaggio] G minor [BeRI 320]
[Ouverture à Violino solo] E-flat major [BeRI 321]
Ouverture à Violino solo E-flat major [BeRI 322]
[Assaggio à Vilino Solo?] A minor [BeRI 323]
[Assaggio à Vilino Solo?] B minor [BeRI 324]

Choral works with orchestra, several movements
Beati omnes (Book of Psalms 128), soli, choir and orchestra [HRV 400] (not by Roman)
Jubilate (Book of Psalms 100), soli, choir and orchestra [HRV 401]
King Fredrik I's funeral music (text ?), soli, choir and orchestra [HRV 402]
Coronation music 1751 (Compiled from parts of Book of Psalms 147 etc.), soli, choir and orchestra [HRV 403]
Svenska mässan (Mass text), soli, choir and orchestra [HRV 404]
Te Deum (no. 6 in Swedish Book of Hymns, 1695), soli, choir and orchestra [HRV 405]

Other works for choir or at least 3 voices
Besinner dock at Herran förer sina heliga (Book of Psalms 4 verse 4), SATB and strings [HRV 500]
Gud vi förbide tina godhet (Book of Psalms 40 verse 10), SATB and orchestra [HRV 501] (uncertain)
Gud är wår tilflykt (Book of Psalms 46 verse 2), SATB and orchestra [HRV 502]
Herre hvi träder tu så långt ifrå (Book of Psalms 10 verse 1), SATB and orchestra [HRV 503] (uncertain)
Herrans ord är sanferdigt (Book of Psalms 33 verses 4–5, 12, 22), SATB and unnumbered b.c. [HRV 504]
Hielp Herre the helige (Book of Psalms 12 verse 2), SATB and strings [HRV 505]
Jag vil göra tig utkoradan (Isaiah chapter 48 verses 10–11), STB and orchestra [HRV 506] (uncertain)
Lofver Herran alle hedningar (Book of Psalms 117 verses 1–2), SATB and strings [HRV 507]
Lät oss denna dag (Olof von Dalin), SAB and orchestra [HRV 508]
Siunger Herranom en ny viso (Book of Psalms 98 verses 1–3; 4–6), bass solo, SATB and orchestra [HRV 509]
Säll är then som Herran fruktar (Book of Psalms 112), SATB and strings [HRV 510]
Tacker Herranom sjunger om honom (Book of Psalms 105 verses 1–5, 7–8), SATB [HRV 511]
Väl den som får i stillhet bo (text ?), canon for 3 parts [HRV 512] (uncertain)
Önsker Jerusalem lycko (Book of Psalms 122 verses 6–7), SAB and strings [HRV 513]

Cantatas for special occasions
Förnöyen eder sälla paar, wedding music (Ulrik Rudenschöld), soprano, bass and orchestra [HRV 600]
Cantata to en taffelmusik, Sysse Zeiten eilet nicht, cantata to table music (Johan Köppen), soprano, bass and orchestra [HRV 601]
Hoggi sul´orizonte del Germanico, cantata to King Fredrik I's birthday in 1725, "Festa musicale" (Antonio Papi), soprano, (Svezia) and bass (Federico) solo, choir and orchestra [HRV 602]
Verdoppelte Sonne deinen Schein, cantata to Queen Ulrikas Eleonora's birthday in 1726, "Freüdige Bewillkommung" (Carl Johan Lohman), soprano, tenor, bass and orchestra [HRV 603]
Statt up du trogna Folck, cantata to Queen Ulrika Eleonora's birthday in 1727 (Neresius), soprano, bass and strings [HRV 604]
Warelse som utan dagar, cantata to Ulrika Eleonora's birthday in 1730 (Sophia Elisabeth Brenner), soli, choir and strings [HRV 605]
Wälkommen store kung igen, cantata to Fredrik I's homecoming in 1731 (text ?), soprano, tenor, bass, 3-part choir and orchestra [HRV 606]

Duets
Befalla Herranom tin väg (Book of Psalms 37 verse 5), soprano, alto and unnumbered b.c. or soprano, bass and unnumbered b.c. with instrumental introduction. Also for soprano, alto, bass and instrument [HRV 700]
Haf tina lust i Herranom (Book of Psalms 37 verse 4), soprano, alto and unnumbered b.c. [HRV 701]
Herre Gud Sebaot (Book of Psalms 89 verses 9; 10–11; 12–15; 16–17; 18–19), soprano, bass and unnumbered b.c. [HRV 702]
Hör mig när jag ropar (Book of Psalms 4 verse 2), soprano, tenor and strings [HRV 703]
I Lyckans blinda dårar (Fredrik Lorentz Bonde ?), soprano, bass and unnumbered b.c. eller soprano and unnumbered b.c. [HRV 704]
Jag tackar Herranom af allo hierta (Book of Psalms 111), soprano, alto and b.c. [HRV 705]
Jag tröstar ther uppå (Book of Psalms 13 verse 6; Book of Psalms 34 verse 2–5), soprano, bass, violin and unnumbered b.c. [HRV 706]
Jag vill prisa Guds ord (Book of Psalms 56 verses 11–14), soprano, bass and unnumbered b.c. [HRV 707]
Jorden är Herrans (Book of Psalms 24 verses 1–5), soprano, tenor and b.c., also for soprano, tenor, bass and strings [HRV 708]
Lofva Herran min siäl (Book of Psalms 103), soprano, tenor and unnumbered b.c. [HRV 709]
Lofvad vare Herren dagliga (Book of Psalms 68 verses 20–21, 36), soprano and bass [HRV 710]
Mit hierta är redo Gud (Book of Psalms 57 verses 8–12), soprano, bass and b.c. [HRV 711]
Siunger Herranom en ny viso (Book of Psalms 149), 2 sopranos and unnumbered b.c. [HRV 712]
Tacker Herranom siunger om honom (Book of Psalms 105 verses 1–5, 7–8), soprano, bass and unnumbered b.c. [HRV 713]
Tig vi lofve, O Gud, vi lofve Tig (no. 6 in Swedish Book of Hymns, 1695 [paraphrase]), soprano, tenor and unnumbered b.c. [HRV 714]
Vår siäl väntar efter Herranom (Palter psalm 33 verses 20–22), soprano, bass and b.c. [HRV 715]

Solo songs
Ach förlåt mig mina synder (Palter psalm 25 verse 11 [paraphrase]), soprano and strings [HRV 800]
Ach! Huru ljufligit är att Bröder enhälligt lefva (Anders Nicander), soprano and unnumbered b.c. [HRV 801]
Ach! Huru Säll är den, hvars Synd är aldeles aftvådd (Anders Nicander), soprano and b.c. [HRV 802]
Alt far undan och flyr (Jacob Frese), soprano and unnumbered b.c. [HRV 803]
At ju mången har i dag vänner efter sitt behag (Olof von Dalin), soprano and unnumbered b.c. [HRV 804]
Afwund som mot dygden rasar (text ?), soprano and strings [HRV 805]
Böljorne bulra och gny (Jacob Frese), bass, violin and unnumbered b.c. [HRV 806]
Cara speme questo core (Nicola Francesco Haym), soprano and unnumbered b.c. [HRV 807]
De Menschen heeft maer eenen dach (Pindaros? In Dutch translation?) soprano and unnumbered b.c. [HRV 808]
The som hoppas uppå Herran (Book of Psalms 125), soprano and b.c. [HRV 809]
The som redeliga för sig vandrat hafver (Isaiah chapter 57), voice and b.c.; also with strings and flutes [HRV 810]
Det gagnar grenen at han skiäres (A.D. Leenberg), soprano [HRV 811]
Thet är en kostelig ting at tacka Herranom (Book of Psalms 92), soprano and unnumbered b.c. [HRV 812] (uncertain)
Thet är min glädje (Book of Psalms 73 verse 8), bass, violin and unnumbered b.c., also arr. for strings [HRV 813]
Dettere diri liri la diri den en na deri diri liri ney (text ?), one voice, one staff notation [HRV 814] (uncertain)
Du hala lycka hvad är åt (Ulrik Rudenschöld), soprano and unnumbered b.c. [HRV 815]
Du kjära dag som blänker opp (A.B. Castoria), soprano and b.c. [HRV 816]
Då Natten aldra mörkast är (A.D. Leenberg), soprano and unnumbered b.c. [HRV 817, 818]
Efter en ilande blåst (Jacob Frese), soprano, violin and unnumbered b.c. [HRV 819]
Efter nu the elände förtryckte varda (Book of Psalms 12), soprano and b.c. [HRV 820]
En ädelmodig själ den motgångs böljor möta (Sophia Elisabeth Brenner), soprano and unnumbered b.c. [HRV 821]
Enfin dans cet horrible gouffre de misere (Antoinette Deshoulières), soprano and unnumbered b.c. [HRV 822]
Et lugn jag äntlig finner (Carl Rudenschöld), voice and unnumbered b.c. [HRV 823]
Et lugn jag äntlig finner (Carl Rudenschöld), voice and b.c. [HRV 824] (uncertain)
Fast Inders ståt ej mina rum förgyller (Jacob Frese), soprano and b.c. [HRV 825]
Flättjans blomster mig ej locka (text ?), soprano only [HRV 826]
For the few hours of life allotted me (the text used by Henry Bowman [−1686]), soprano and b.c. [HRV 827] (uncertain)
Födas, gråta, dij och lindas (Olof von Dalin), soprano and unnumbered b.c. [HRV 828]
Gud alla härars Gud (Jacob Frese), soprano and unnumbered b.c. [HRV 829]
Gud jag tror at jag tin nåde i the sällas land skul se (text ?), soprano and b.c. [HRV 830] (uncertain)
Gud! mit ropande hör; uppå mina böner haf agtning (Anders Nicander), soprano and unnumbered b.c. [HRV 831]
Gud är vår tilflygt och starkhet (Book of Psalms 46 verses 2; 3; 5−6), soprano, violin and b.c. [HRV 832]
Går solen ned hon går och opp (Ulrik Rudenschöld), soprano and unnumbered b.c. [HRV 833]
Habet omnis hoc voluptas (A.M.T.S. Boethius), bass and unnumbered b.c. [HRV 834]
Hade ej Israels Gud oss nära vid handene varit (Anders Nicander), soprano and unnumbered b.c. [HRV 835]
Han skal låta regna öfver de ogudaktiga (Book of Psalms 11 verse 6) soprano and b.c. [HRV 836]
Herre Tu äst min tröst (Jacob Frese), soprano and unnumbered b.c.; also violin [HRV 837]
Herre, mitt hopp! Lät ej på skam mig evärdeliga komma (Anders Nicander), soprano and unnumbered b.c. [HRV 838]
Herre, nu låter Tu Tin tienare (Gospel of Luke chapter 2 verses 29–30), tenor and strings [HRV 839] (uncertain)
Herre när jag tig hafver (Book of Psalms 73 verses 25−26), soprano and b.c. [HRV 840]
Herre när jag tänker huru tu (Book of Psalms 119 verse 52), soprano and b.c. [HRV 841]
Herre när jag tänker huru tu (Book of Psalms 119 verse 52), bass and unnumbered b.c. [HRV 842]
Herre när jag tänker huru tu (Book of Psalms 119 verse 52), soprano and harpsichord [HRV 843]
Herren lefver och lofvad vare min tröst (Book of Psalms 18 verse 47, Exodus chapter 15 verse 2, Book of Psalms 28 verse 7), voice and b.c.; possibly also violin, bass and unnumbered b.c. [HRV 844, 845]
Herren lofver af Himlen hög (Anders Nicander), soprano and b.c. [HRV 846]
Herren lofver uti Guds Helgdoms heliga boning! (Anders Nicander) soprano and b.c. [HRV 847]
Herren skall döma jordenes krets rätt (Book of Psalms 9 verses 9−11), soprano and b.c. [HRV 848]
Herren är konung, therföre vredgas folken (Book of Psalms 99 verses 1−4, 9), soprano and unnumbered b.c. [HRV 849]
Herren är min herde (Book of Psalms 23 verses 1−4), soprano, violin and b.c. [HRV 850]
Herren är min starkhet och lofsång (Exodus chapter 15 verse 2; Book of Psalms 28 verse 7), bass and b.c. [HRV 851]
Herren är rättferdig och hafver rätthetena kär (Book of Psalms 11 verse 7), soprano and b.c. [HRV 852]
Herrans heliga namn beprise all hedena skara (Anders Nicander), soprano and b.c. [HRV 853]
Hjärteliga kär hafver jag tig. Herre min starkhet (Book of Psalms 18 verses 2−3), voice and unnumbered b.c. [HRV 854]
Ho kan uttala Herrans dråpeliga gierningar? (Book of Psalms 107 verse 2; Sirach 42:18; Book of Proverbs 5:21−22), soprano and unnumbered b.c. [HRV 855]
Ho är en sådana Gud som Tu äst (Book of Micah chapter 7 verses 18-19), soprano and unnumbered b.c. [HRV 856]
Hosper kyathizus enioth hae tychae (Difilos, fragment 107), soprano and b.c. [HRV 857]
Hur liuft hur angenämt oss nöyet förekomma plär (text ?), voice and unnumbered b.c. [HRV 858]
Huru stor är tin godhet [Aria] (Book of Psalms 31 verses 20−23, 25), soprano and b.c. [HRV 859]
Hvad var en Styrmans kunst, var ikke Storm og Bölger (Ovidius, from Tristia; Danish translation), soprano and unnumbered b.c. [HRV 860]
Hvi äst du dyre Tid så snar som Blixten (Ulrik Rudenschöld), soprano and b.c. [HRV 861]
Hvi äst du dyre Tid så snar som Blixten (Ulrik Rudenschöld), soprano and unnumbered b.c. [HRV 862]
Hör mig när jag ropar, mine rättferdiges Gud (Book of Psalms 4 verses 2−9), soprano and b.c. [HRV 863]
I tino ljuse, Herre, se vi ljus (Compiled from parts of Book of Psalms 36:10, 1 John 4:13, Book of Wisdom [Apocrypha]: 5−7 etc.), soprano and b.c. [HRV 864]
I envy not Sir Courtly Nice (text ?), soprano and unnumbered b.c. [HRV 865]
I foglar vilde djur och alt hvad eljest andas (Jacob Frese), soprano and unnumbered b.c. [HRV 866]
Ihr Augen worzu nutzt ihr mir (Charles de Saint-Évremond), soprano and unnumbered b.c.; with instrumental features [HRV 867]
Jag fröjdar mig och är glad i Tig (Book of Psalms 9 verse 3, Psalm 18:51, Psalm 20:7, Psalm 21:8), voice and unnumbered b.c. [HRV 868] (uncertain)
Jag förtröstar på Herran (Book of Psalms 11 verse 1), soprano and b.c. [HRV 869]
Jag hafver sett en ogudaktig (Book of Psalms 37 verses 35−40), soprano and b.c. [HRV 870]
Jag håller thet så före (Romans chapter 8 verses 18, 28, 31−34, 35−37, 38−39), soprano and unnumbered b.c. [HRV 871]
Jag låter andra gerna fika om ära, vällust (text ?), only soprano [HRV 872]
Jag skal prisa dig och min siäl skal uphöja (Anders Nicander), soprano and b.c. [HRV 873]
Jag skämmes icke vid Christi Evangelium (Romans chapter 1 verse 16), voice and unnumbered b.c. [HRV 874]
Jag tackar Herranom af allo hierta (Book of Psalms 111 verses 1−4), bass and strings [HRV 875]
Jag tröstar theruppå at Tu så nådelig äst (Book of Psalms 13 verse 6), soprano and b.c. [HRV 876]
Jag vet at min förlossare lefver (Job chapter 19 verses 25−27), voice and b.c.; also with violin and viola [HRV 877] (uncertain)
Jag vil uphöja Tig, min Gud, Tu konung (Book of Psalms 145), soprano and unnumbered b.c. [HRV 878]
Je sors Enfin de mon triste Esclavage (text ?), voice and unnumbered b.c. [HRV 879]
Jesu lär min arma siäl (text ?), soprano and strings [HRV 880]
Kan äran i ett sinne trifwas (text Per Brant?), voice and unnumbered b.c. [HRV 881] (uncertain)
Kom tysta enslighet dig will iag mig förtro (Jacob Frese), soprano and b.c. [HRV 882]
Konungen hoppas uppå herran (Book of Psalms 21 verse 8), soprano and strings [HRV 883]
Kung är Herren oc [sic] härliga prydd med oändelig höghet (Anders Nicander), soprano and unnumbered b.c. [HRV 884]
La Ragion gli affetti ascolta (Pietro Metastasio), soprano and unnumbered b.c. [HRV 885]
Later, huxa dig om, och lär, hvad myrorna lära (Jacob Frese), soprano and b.c. [HRV 886]
Lofva din Herra och Gud (Anders Nicander), soprano and b.c. [HRV 887]
Låt glädja sig alla them som trösta uppå Tig (Book of Psalms 5 verses 12−13), soprano and b.c. [HRV 888]
Lät jord titt lof med sång uppgå (Thore Odhelius), soprano and b.c. [HRV 889]
Mà tu sorda à miei sospiri non accoglie in seno Amor (text ?), soprano and strings [HRV 890]
Men jag vil siunga om til makt (Johan Gabriel Werving), soprano and unnumbered b.c. [HRV 891] (uncertain)
Mes yeux, mes inutiles yeux! Vous savez bien que dans ces lieux (Charles de Saint-Évremond), bass and unnumbered b.c. [HRV 892]
Min andakt skynda dig; men tröttna ej på vägen (Jacob Frese), soprano and unnumbered b.c. [HRV 893]
Min Daphnis dig wil iag til swar min späda mun uplåta (text ?), soprano and unnumbered b.c. [HRV 894]
Min lefnadsdag du alla dagars plåga (Jacob Frese), soprano and unnumbered b.c. [HRV 895]
Min siäl väntar allenast i stillhet efter Gud (Book of Psalms 62 verses 2−13), soprano and b.c. [HRV 896]
Mitt hjerta rörs af frögd, min blod af glädje gjäser (Jacob Frese), soprano and unnumbered b.c. [HRV 897]
Märker dock, I galne bland folket; och I dårar (Book of Psalms 94 verses 8, 9−11, 12−15), soprano and b.c. [HRV 898]
Nu i Skuggans tid den Tysta Som med Stiernor (text ?), voice and unnumbered b.c. [HRV 899] (uncertain)
När alle skapade ting sin skapares ära förkunna (Fredrik Lorenz Bonde), soprano and b.c. [HRV 900]
När som i förriga tid ur Chams land vandrade Jacob (Anders Nicander), soprano and unnumbered b.c. [HRV 901]
O Herre Gud, Guds Lamb och Fadrens Son (Mass text), soprano and strings [HRV 902]
O liufva ort farväl Du samling af alt nöje (Carl Rudenschöld), soprano and unnumbered b.c. [HRV 903]
Om Herren icke med oss vore (Book of Psalms 124), soprano and unnumbered b.c. [HRV 904]
Om sin stund Gud råda lät (Johan Runius), soprano and unnumbered b.c. [HRV 905] (uncertain)
Om tidens skiften himlen rår: Hvi skull dess växling (text ?), voice and b.c. [HRV 906] (uncertain)
Ombra errante inamorate (text ?), soprano and b.c. [HRV 907]
Piante amiche erbette care torno a voi (text ?), soprano and strings [HRV 908] (uncertain)
Prince qui remplissés l'espoir de la Patrie (text ?), clavier with underlying text [HRV 909]
Privo de tuoi bei lumi idolo mio (text ?), soprano and unnumbered b.c. [HRV 910] (uncertain)
Risolv' abbandonar la bella che mi sprezza (Paolo Antonio Rolli), soprano and unnumbered b.c. [HRV 911]
Se pietà di me non senti giusto (Nicola Francesco Haym), soprano and obesiffred b.c. [HRV 912]
Sein eigen Herze fressen (Christian Hofmann von Hofmannswaldau), soprano and unnumbered b.c. [HRV 913] (uncertain)
Si the ogudagtige spänna bågan (Book of Psalms 11 verse 2) [HRV 914]
Si son prigionier di quel bandato (text ?), soprano and unnumbered b.c. [HRV 915]
Si vedrai non son piu quello ne piu affanato (text ?), soprano and unnumbered b.c. [HRV 916]
Sjunger af inliga frögd I Guds rättfärdiga siälar, soprano and strings (Anders Nicander), soprano and b.c. [HRV 917]
Sjunger Gudi gladeliga then vår starkhet är (Book of Psalms 81 verses 1, 5−6), soprano and b.c. [HRV 918] (uncertain)
Skal iag ey snart få solen se (Ulrik Rudenschöld), voice and unnumbered b.c. [HRV 919]
Skapa i mig, Gud, et rent hierta (Book of Psalms 51 verses 12–14), soprano and b.c. [HRV 920] (uncertain)
Skicklighet ej til gunst ej konst til rikedom hjelper (Jacob Frese), soprano and unnumbered b.c. [HRV 921]
Smaker och seer huru liuflig Herren är (Book of Psalms 34 verse 9), soprano and strings [HRV 922]
Som ett glas nu skin nu brister snöen smälter i en älf (text ?), voice and unnumbered b.c. [HRV 923] (uncertain)
Som klippan i det vilda haf et lugn och stormvär lika aktar (Fredrik Lorentz Bonde), soprano and unnumbered b.c. [HRV 924]
Så gack nu kära sol förnögd men kom än många resor åter (text ?), only soprano [HRV 925]
Så älskade Gud verldena at han utgaf sin enda son (Gospel of John chapter kap 3 versw 16), voice and unnumbered b.c. [HRV 926] (uncertain)
Så är nu intet fördömligit i them som äro i Christo Jesu (Romans chapter 8 verses 1−2, 15−17, 27), voice and b.c.; possibly also violin [HRV 927]
Så äre vi quitte all jorde riks quida (Frese ?), soprano and b.c. [HRV 928] (uncertain)
Såsom hiorten ropar efter friskt vatn (Book of Psalms 42 verses 2−3, 12), soprano and besiffrad b.c.; soprano, bass, violin and unnumbered bass [HRV 929 a, b]
Såta wänner I som sett red'nhwars annans redlighet (Gustaf Christian Roman), soprano and b.c. [HRV 930]
Tacker Herranom ty han är mild (Book of Psalms 106 verses 1−5, 47), soprano, violin and unnumbered b.c. [HRV 931]
Tu parti amato bene mi lasci idolo mio (text ?), soprano and b.c. [HRV 932]
Ty Herren är god (Book of Psalms 100 verse 5), soprano and orchestra [HRV 933] (uncertain)
Täcka bräde konstigt zijrat and med gyldne (Carl Gyllenborg), voice and b.c. [HRV 934]
Täcka bräde konstigt zijrat and med gyldne (Carl Gyllenborg), voice and unnumbered b.c. [HRV 935]
Hvad står til råds! det bästa sku' vi hoppas (Jacob Frese), soprano and b.c. [HRV 936]
Hvad tänken I som icke vid er tråttas (Jacob Frese), soprano and unnumbered b.c. [HRV 937]
Hvad är emot tin magt the främmande fattige Gudar (Jacob Frese), soprano and unnumbered b.c. [HRV 938]
Vare oss nådelig och välsigne oss Herren (Anders Nicander), soprano and unnumbered b.c. [HRV 939]
Vederkveck mig genom tina nåd (Book of Psalms 119 verses 88−96), bass, violin and unnumbered b.c. [HRV 940]
Vi lofve tig vi välsigne tig vi tilbedje Tig (Mass text), bass and strings [HRV 941]
Wi tacke tig o Gud som oss den nåd täcks unna (text ?), soprano and strings; soprano, tenor and strings [HRV 942 a, b] (uncertain)
Hvilken är then som et godt lefvande begärar (Book of Psalms 34 verses 13−15), soprano and unnumbered b.c. [HRV 943]
Hvilken är som trädet fäller för en gren (A.D. Leenberg), soprano and unnumbered b.c. [HRV 944]
Vist behöfves at man öfves genom motgångs dagar (A.D. Leenberg), soprano and unnumbered b.c. [HRV 945]
Wår frälserman och broder Jesu kiär (text ?), bass and orchestra [HRV 946]
Väl den i bästa vår får skiära mogen fruckt (Ulrik Rudenschöld), voice and unnumbered b.c. [HRV 947]
Är girig vid alt sitt bekymmer ett ögnablek ej rolig nögd (text ?), endast soprano [HRV 948]
Äta litet, dricka vatten, roligt sälskap, sömn om natten (Olof von Dalin), soprano and unnumbered b.c. [HRV 949]
Om Herren icke med oss vore (Book of Psalms 124), soprano and unnumbered b.c. [HRV 904] Om sin stund Gud råda lät (Johan Runius), soprano and unnumbered b.c. [HRV 905] (uncertain) Om tidens skiften himlen rår: Hvi skull dess växling (text ?), voice and b.c. [HRV 906] (uncertain) Ombra errante inamorate (text ?), soprano and b.c. [HRV 907] Piante amiche erbette care torno a voi (text ?), soprano and strings [HRV 908] (uncertain) Prince qui remplissés l'espoir de la Patrie (text ?), clavier with underlying text [HRV 909] Privo de tuoi bei lumi idolo mio (text ?), soprano and unnumbered b.c. [HRV 910] (uncertain) Risolv´ abbandonar la bella che mi sprezza (Paolo Antonio Rolli), soprano and unnumbered b.c. [HRV 911] Se pietà di me non senti giusto (Nicola Francesco Haym), soprano and obesiffred b.c. [HRV 912] Sein eigen Herze fressen (Christian Hofmann von Hofmannswaldau), soprano and unnumbered b.c. [HRV 913] (uncertain) Si the ogudagtige spänna bågan (Book of Psalms 11 verse 2) [HRV 914] Si son prigionier di quel bandato (text ?), soprano and unnumbered b.c. [HRV 915] Si vedrai non son piu quello ne piu affanato (text ?), soprano and unnumbered b.c. [HRV 916] Sjunger af inliga frögd I Guds rättfärdiga siälar, soprano and strings (Anders Nicander), soprano and b.c. [HRV 917] Sjunger Gudi gladeliga then vår starkhet är (Book of Psalms 81 verses 1, 5−6), soprano and b.c. [HRV 918] (uncertain) Skal iag ey snart få solen se (Ulrik Rudenschöld), voice and unnumbered b.c. [HRV 919] Skapa i mig, Gud, et rent hierta (Book of Psalms 51 verses 12–14), soprano and b.c. [HRV 920] (uncertain) Skicklighet ej til gunst ej konst til rikedom hjelper (Jacob Frese), soprano and unnumbered b.c. [HRV 921] Smaker och seer huru liuflig Herren är (Book of Psalms 34 verse 9), soprano and strings [HRV 922] Som ett glas nu skin nu brister snöen smälter i en älf (text ?), voice and unnumbered b.c. [HRV 923] (uncertain) Som klippan i det vilda haf et lugn och stormvär lika aktar (Fredrik Lorentz Bonde), soprano and unnumbered b.c. [HRV 924] Så gack nu kära sol förnögd men kom än många resor åter (text?), only soprano [HRV 925] Så älskade Gud verldena at han utgaf sin enda son (Gospel of John chapter kap 3 versw 16), voice and unnumbered b.c. [HRV 926] (uncertain) Så är nu intet fördömligit i them som äro i Christo Jesu (Romans chapter 8 verses 1−2, 15−17, 27), voice and b.c.; possibly also violin [HRV 927] Så äre vi quitte all jorde riks quida (Frese ?), soprano and b.c. [HRV 928] (uncertain) Såsom hiorten ropar efter friskt vatn (Book of Psalms 42 verses 2−3, 12), soprano and besiffrad b.c.; soprano, bass, violin and unnumbered bass [HRV 929 a, b] Såta wänner I som sett red'nhwars annans redlighet (Gustaf Christian Roman), soprano and b.c. [HRV 930] Tacker Herranom ty han är mild (Book of Psalms 106 verses 1−5, 47), soprano, violin and unnumbered b.c. [HRV 931] Tu parti amato bene mi lasci idolo mio (text ?), soprano and b.c. [HRV 932] Ty Herren är god (Book of Psalms 100 verse 5), soprano and orchestra [HRV 933] (uncertain) Täcka bräde konstigt zijrat and med gyldne (Carl Gyllenborg), voice and b.c. [HRV 934] Täcka bräde konstigt zijrat and med gyldne (Carl Gyllenborg), voice and unnumbered b.c. [HRV 935] Hvad står til råds! det bästa sku' vi hoppas (Jacob Frese), soprano and b.c. [HRV 936] Hvad tänken I som icke vid er tråttas (Jacob Frese), soprano and unnumbered b.c. [HRV 937] Hvad är emot tin magt the främmande fattige Gudar (Jacob Frese), soprano and unnumbered b.c. [HRV 938] Vare oss nådelig och välsigne oss Herren (Anders Nicander), soprano and unnumbered b.c. [HRV 939] Vederkveck mig genom tina nåd (Book of Psalms 119 verses 88−96), bass, violin and unnumbered b.c. [HRV 940] Vi lofve tig vi välsigne tig vi tilbedje Tig (Mass text), bass and strings [HRV 941] Wi tacke tig o Gud som oss den nåd täcks unna (text ?), soprano and strings; soprano, tenor and strings [HRV 942 a, b] (uncertain) Hvilken är then som et godt lefvande begärar (Book of Psalms 34 verses 13−15), soprano and unnumbered b.c. [HRV 943] Hvilken är som trädet fäller för en gren (A.D. Leenberg), soprano and unnumbered b.c. [HRV 944] Vist behöfves at man öfves genom motgångs dagar (A.D. Leenberg), soprano and unnumbered b.c. [HRV 945] Wår frälserman och broder Jesu kiär (text ?), bass and orchestra [HRV 946] Väl den i bästa vår får skiära mogen fruckt (Ulrik Rudenschöld), voice and unnumbered b.c. [HRV 947] Är girig vid alt sitt bekymmer ett ögnablek ej rolig nögd (text ?), endast soprano [HRV 948] Äta litet, dricka vatten, roligt sälskap, sömn om natten (Olof von Dalin), soprano and unnumbered b.c. [HRV 949]