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  Partner: UNT Music Library
 Resource Type: Musical Score/Notation
 Language: Italian
 Collection: Virtual Music Rare Book Room
Buona figliuola : opera comica

Buona figliuola : opera comica

Date: 1767
Creator: Piccinni, Niccolò, 1728-1800; Goldoni, Carlo, 1707-1793 & Richardson, Samuel, 1689-1761
Description: Goldoni turned to Samuel Richardson’s novel Pamela, or Virtue Rewarded (1740) as the inspiration for his La buona figliuola. In 1750, he wrote the play Pamela nubile and then turned it into a libretto for Duni. Although Duni’s La buona figliuola (1756) was a failure, Piccinni’s setting in 1760 was a huge success. The hilarious comedy coupled with Piccinni’s sentimental treatment of Cecchina contributed to the popularity of the opera, which still receives performances to this day. Typical of opera buffe, La buona figliuola features chain-like finales that propel the plot and characters to the end of the act (at that time, sectional finales were new to Rome). Other features of his music that receive praise are the beautiful, Italianate melodies, energetic accompaniments, and the variety of musical treatment throughout the opera.
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Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 1

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
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Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Don Juan, oder, Der Steinerne Gast : komische Oper in zwey Aufzügen, volume 2

Date: 1801
Creator: Mozart, Wolfgang Amadeus, 1756-1791. & Da Ponte, Lorenzo, 1749-1838
Description: By the time of Mozart and Da Ponte’s collaboration on Don Giovanni, the Don Juan legend had been represented in musical entertainments and on the popular stage a number of times. Although it was an unusual topic for Viennese court opera, the retelling of the Don Juan story was immensely appealing for the Italian troupe in Prague. Don Giovanni did eventually make its way to Vienna, but the opera did not meet the same success it had received in Prague.
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Finta pazza, drama.

Finta pazza, drama.

Date: 1644
Creator: Strozzi, Giulio, 1583-1652
Description: Although Sacrati’s La finta pazza (1641) was immensely popular and influential, the opera has received little discussion in modern scholarship, due in large part to the absence of the music (even the number of extant copies of librettos is very small). Since Lorenzo Bianconi discovery of a score that was used for traveling productions, the opera has received increasing attention.
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Forza del sangue, e della pietà; drama per musica

Forza del sangue, e della pietà; drama per musica

Date: 1686
Creator: Fabrini, Giuseppe & Gigli, Girolamo, 1660-1722
Description: 1686 libretto for Giuseppe Fabrini's opera La forza del sangue, e della pietà. The music for all of Giuseppe Fabrini’s operas, including La forza del sangue e della pietà, is lost. However, the libretti by Gerolamo Gigli, have been preserved for these dramas that were performed at the Collegio Tolomei in Siena. La forza del sangue e della pietà translates as “The Force of Blood and Pity.”
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Giulio Cesare : opera in tre atti

Giulio Cesare : opera in tre atti

Date: 1743
Creator: Handel, George Frideric, 1685-1759.
Description: This is a [ca. 1743] score of "Giulio Cesare," an Italian opera seria in three acts by Handel. The performance forces include: flute, oboe, horns (in A and D), strings (violin, viola, violoncello, bass), continuo (theorbo and viola da gamba), harp, chorus of mixed voices (soprano, alto, tenor, bass), and soloist singers. A list of solo arias and duets of each act appears on p.170 followed by a list containing the names of the subscribers on pp.[171-172]. Two mythological figures [possibly, the god Apollo and the Muse Erato] and musical instruments signed by the London engraver [John] Strongitharm of Pall Mall appear on the title page. The name of each character appear at the top of p.3 with the names of the actual performers inscribed with pencil. The names of the casting coincide with those listed in the Oxford Dictionary of Music (online, 2009): "the castratos Senesino, Gaetano Berenstadt and Giuseppe Bigonzi (Caesar, Ptolemy and Nirenus), Francesca Cuzzoni (Cleopatra), Margherita Durastanti (Sextus), Anastasia Robinson (Cornelia), Giuseppe Boschi (Achillas) and John Lagarde or Laguerre (Curius)."
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Idomeneo : dramma eroico in tre atti, volume 1

Idomeneo : dramma eroico in tre atti, volume 1

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.; Varesco, Giambattista. & Danchet, Antoine, 1671-1748.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
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Idomeneo : dramma eroico in tre atti, volume 2

Idomeneo : dramma eroico in tre atti, volume 2

Date: 1821
Creator: Mozart, Wolfgang Amadeus, 1756-1791.
Description: This score is special edition of Mozart's opera "Idomeneo" issued by subscription by J. Frey in ca. 1822. The cursive signature J. Frey appears in ink at the bottom of the t.p. This edition is in two volumes. Volume 1 lists the names of subscribers and has a table of contents for each of the three acts with the incipit of first lines of texts of arias, recitatives and choruses. Volume 1 also contains the overture of the opera and the first act. Volume 2 contains the second and third acts. According to New Grove, in 1780 Mozart received a commission to composed a serious opera on a libretto by the Salzburg cleric Giambattista Varesco, which the latter based on Antoine Danchet's Idoménée.
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Messa à 4

Messa à 4

Date: unknown
Creator: Bisso, Matteo, 1705-1776
Description: This a manuscript copy of two Mass movements, Kyrie and Gloria, gathered from a "Messa à 4." The copyist, Vincenso Marchetti, attributed this mass to the composer Matteo Bisso. The texts of both movements of the Mass are divided in several sections and set musically for an ensemble of mixed choir (S.A.T.B), vocal soloists, strings and basso continuo. Each section reflects changes of tonality, tempo, and musical meter. The composer indicated dynamics, the use of muted strings (e.g., p.[84]) and performance indications such as unison and col parte (e.g., p. [76] and p.[79]). The last section for the Chirie [sic] is set musically as a slow fugue in triple meter.
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Nouvelles Poesies Morales sur Les Plus Beaux Airs de la Musique Francoise et Italienne avec la Basse.: Fables Choisies Dans le gout de M. De La Fontaine, Sur des Vaudevilles & petits Airs aisés à chanter, avec leur Basse & une Basse en Musette.  Recueil I.  6 liv. broché.

Nouvelles Poesies Morales sur Les Plus Beaux Airs de la Musique Francoise et Italienne avec la Basse.: Fables Choisies Dans le gout de M. De La Fontaine, Sur des Vaudevilles & petits Airs aisés à chanter, avec leur Basse & une Basse en Musette. Recueil I. 6 liv. broché.

Date: 1737
Creator: La Fontaine, Jean de, 1621-1695
Description: This score is a collection of poetry and set to music including moral fables (marked on the table of contents with an asterisk). Each piece has words written with musical lines in treble, bass, or a combination of both. Includes a preface ('Avis.') and table of contents for the movements prior to page 1 for each of the seven collections ('recueil'). The pagination restarts for each collection and for the fables which fall at the end of each section.
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