It's too bad St. Germain's music is not more readily available.
I have a tape from "L'Incostanza Delusa," an opera pastiche that he composed for, which I obtained either from the PRA or the Theosophical Society a few years ago.
here is a quote from the grove dictionary of music and musicians:
"Saint Germain, Count of
(d Eckernfƒ¶rde, 27 Feb 1784). Courtier, adventurer, amateur scientist, inventor and dilettante musician. He purposely concealed his background and identity, and used such pseudonyms as Count Welldone, Prince Ragotzy, Count Bellamare and Count Surmont on his wide travels throughout Europe. Further confusion has arisen with the like-named French general Claude Louis de Saint Germain and with Robert-Franƒ§ois Quesnay de Saint Germain, an ardent occultist who may have written the essays La trƒ¨s sainte Trinosofie and La magie sainte (still used by Freemasons) that are attributed to the count. Gerber, alone among the many commentators on Saint Germain's life (which has many times been made the subject of fiction, by George Sand and Bulwer-Lytton for instance), maintained that he was identical with an obscure violinist and composer in Berlin named Giovannini, but this is improbable. Saint Germain was most likely either the son of Franz Leopold Rƒ¡kƒ³czi, exiled Prince of Transylvania, or the illegitimate son of Maria-Anna of Neubourg, widow of Charles II of Spain. In his youth he was probably a protege of the Grand Duke Gian Gastone (the last of the Medicis) and may have studied at Siena University. He appeared in London society from about 1743, and in 1758 was in Paris, where he became a favourite of Mme de Pompadour and Louis XV. After an embarrassing affair as an unofficial political agent in The Hague (1760) he returned briefly to England. Further travels took him to Russia, Germany and Italy; he visited Berlin at the invitation of Friedrich August of Brunswick, and in 1779 Prince Karl of Hesse, his last patron, gave him a building for his scientific experiments. He claimed to have made several discoveries applicable to manufacturing processes and was associated with industries in the Low Countries.
Most of Saint Germain's musical activities were associated with his visits to England, although his talent was also praised by the French courtiers. According to Burney, the ¢â‚¬Ëœcelebrated and mysterious' Count Saint Germain contributed several songs to the pasticcio L'incostanza delusa (1745) and attended its rehearsals with Prince Lobkowitz (to whom the libretto was dedicated); his ¢â‚¬ËœPer pietƒ bell' idol mio' was encored nightly, but Burney considered the other songs in the published score insipid. Horace Walpole, who claimed that the count had been in England for about two years by December 1745, described him as follows: ¢â‚¬ËœHe sings, plays on the violin wonderfully, composes, is mad and not very sensible'. He published in London several sentimental English songs, a collection of 42 Italian arias (Musique raisonnee) and a book each of trio sonatas and solo violin sonatas. The aria collection includes the three from L'incostanza delusa; texts and music range from unpretentious idylls to intense dramas, all with considerable emphasis on accurate text rendering. His trio sonatas combine polyphonic and homophonic styles, but the violin sonatas are more Rococo in character.
WORKS
Vocal: Gentle love this hour befriend me, song (London, c1745); 3 arias for L'incostanza delusa (pasticcio), London, 1745, in Favourite Songs (London, c1745); The maid that's made for love and me, song, in London Magazine (1747), 46-7 [also pubd as Oh wouldst thou know what kind of charms, Gentleman's Magazine, xvii (1747), 441, and with new text in The Summer's Tale (pasticcio) (London, 1765)]; Jove, when he saw my Fanny's face, song, in Gentleman's Magazine, xviii (1748), 372; Musique raisonnee selon le bon sens aux dames angloises qui aiment le vrai goƒ»t en cet art, insts (London, c1750); The Self Banish'd, song (London, ?1750)
Inst: 6 Sonatas, 2 vn, bc (London, c1750); 7 Solos, vn, bc (London, c1758)
BIBLIOGRAPHY
BurneyH
GerberNL
E.M. Oettinger: Graf St. Germain (Leipzig, 1846)
L. Wraxall: Remarkable Adventurers and Unrevealed Mysteries (London, 1863)
I.C. Oakley: The Comte de St.-Germain: the Secret of Kings (Milan, 1912, 2/1927/R)
G.B. Volz: Der Graf von Saint-Germain (Dresden, 1923)
A.E. Waite: ¢â‚¬ËœComte de Saint-Germain as an Historical Personality', Occult Review, xxxvii (1923), 219
P. Chacornac: Le Comte de Saint-Germain (Paris, 1947/R)
J. Franco: ¢â‚¬ËœThe Count of St. Germain', MQ, xxxvi (1950), 540-50
W.S. Lewis and others, eds.: The Yale Edition of Horace Walpole's Correspondence, xix (New Haven, CT, 1955), 181 only
J.H. Calmeyer: ¢â‚¬ËœThe Count of Saint Germain or Giovannini: a Case of Mistaken Identity', ML, xlviii (1967), 4-16
J.O. Fuller: The Comte de Saint-Germain (London, 1988)
J.H. CALMEYER"
no wonder i couldn't find him right off. i didn't understand what some of you were saying lol... musiquee rasionee is a type of french music style, not a name of a work and it's opera pasticco not opera pastische! also the opera's name, L'incostanza delusa was written by Josef Haydn. a not a very original guy if he's involved in pasticco (it means pie or patchwork, in other words his arias would be with someother more famous composer's work and it would end up on london as the last stop.) lol.....
as far your recordings go, it looks like you are stuck with what you have as it doesn't list any of the recordings available. you are lucky to even to have that recording! he is a pretty obsure guy in the world of musicology. but it does give further biographical references so goodie i hope i helped find out more information for those that are interested in reading further.