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  Partner: UNT Music Library
 Language: Italian
 Collection: Virtual Music Rare Book Room
Oeuvres de J. Haydn, Cahier VIII

Oeuvres de J. Haydn, Cahier VIII

Date: 1799
Creator: Haydn, Joseph (1732-1809)
Description: This volume contains fifteen sacred and secular songs for one to four voices with piano accompaniment. Contrary to the title page, the titles of each song are given either in German or German and Italian. When both languages are present in the text underlay, the Italian text sits directly below the staves with German below the Italian. Most songs either give "Singstimme" or a voice part for the vocal staves; some give names of characters, possibly indicating a theatrical or semi-dramatic performance context. Songs for one voice tend to be strophic while part songs are through-composed. Authors such as Gellert, Metastasio, and Shakespeare figure among the authors (most anonymous) of the texts. As with the other binlingual pieces in this volume, the scene "Arianna a Naxos" is set in Italian and German. The interaction of the soprano voice and piano accompaniment as well as the structural alternation between arioso/aria and recitative reveals this piece to be a solo cantata. The volume concludes with a four-page catalog of all of Breitkopf und Härtel's publications in Leipzig complete with price in thalers for each piece and a table of contents. The positioning of the Inhalt at the end of the volume reflects ...
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Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons

Oeuvres de J. Haydn, Cahier IX contenant XXXIII Airs et Chansons

Date: 1799
Creator: Haydn, Joseph (1732-1809)
Description: Though the cover of this volume is in French, the title page gives the same information in German. This latter language also receives pride of place in the text underlay: Most songs are solely in German but, when lyrics are given in two languages, German is immediately below the musical staves with either Italian or French in italics below the German. Songs use one to three voices with the voice part sometimes integrated into the top staff of the piano part with text underlay indicating when to sing. Several songs are set for three-part Männerchor or four-part chorus with piano accompaniment. In strophic settings, only the first stanza of poetry appears in the score; the rest are included as addenda at the end of the piece. The volume concludes with a table of contents given the name and first line of each song in all languages used for each entry.
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Il primo libro de madrigali a cinque voci

Il primo libro de madrigali a cinque voci

Date: 1567
Creator: Carli, Gierolamo, b. ca. 1530
Description: This partbook contains the "quinto" part for "Il Primo Libro de Madrigali a Cinqve Voci, con Tre Sesti, et Tre Dialoghi a Otto, Nouament e da lui Composti, & per Antonio Gardano dati in luce." Carli dedicated his First Book of Madrgials "all' Illustrissimo Signor Conte Alfonso Gonzaga Conte di Nuuolara." A table of contents at the end of the partbook lists the madrigals alphabetically in three categories: five-voice pieces, six voice pieces, and eight-voice dialoghi.
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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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Catone in Utica

Catone in Utica

Date: 1763
Creator: Metastasio, Pietro, 1698-1782.
Description: This is a ca. 1763 copy of the libretto of "Catone in Utica," by Metastasio. Gian Francesco de Majo set this libretto to music for the 1763 carnival season in Turin. In this story, Caesar and Fulvio meet Cato, Utica's ruler, and offer him a peace truce, but Emilia, Pompey's widow, suspects treachery and plots to murder Caesar. Cato rejects a Senate's order for a reconciliation with Caesar and demands that Caesar surrender his dictatorial powers. Marzia, Cato's daughter, promised in marriage to Arbace, is in love with Caesar and pleas to her father to deter him from waging war. Arbace, who feels that his love for Marcia was betrayed, is lured by Emilia into an assassination attempt on Caesar. Fulvio is led to believe that Emilia will attempt on Caesar's life as he leaves by the gate of the city and advises him to take a secret path only to discover that Emilia used him to deliver Caesar into the hands of her followers. As Fulvio announces the victory of Caesar's armies in Utica, Cato stabs himself and before dying grants forgiveness to Marcia on condition that she swear loyalty to Arbaces and hatred towards Caesar. The library's copy ...
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Ifigenia in Aulide

Ifigenia in Aulide

Date: 1762
Creator: Cigna-Santi, Vittorio Amedeo.
Description: This is a ca. 1762 copy of the libretto of "Ifigenia in Aulide," by Vittorio Amedeo Cigna-Santi, the principal librettist at the Teatro Regio in Turin. Cigna-Santi's libretto is an adaptation of Euripide's story of Ifigenia, the daughter of the king of Argos, Agamemnon. The goddess Diana decreed that Ifigenia had to be sacrificed in order to guarantee fair winds for the king's fleet on their journey to Troy. Achilles, rushed to save Ifigenia, his wedding bride, but Diana, moved by Ifigenia's obedience, spared her life before the priest killed her. Ferdinando Giuseppe Bertoni set this libretto to music for the 1762 carnival season in Turin. According to scholar George Hollis, the surviving arias of Ifigenia in Aulide are technically demanding and contain florid and lengthy passages in the tradition of opera seria. The library's copy of "Ifigenia in Aulide"is bound with the following librettos: "Catone in Utica," by Pietro Metastasio; "Sofonisba" by Mattia Verazi; "Arianne e Teseo" by Pietro Pariati; and "Le piacevoli poesie" by Gasparo Gozzi.
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Sofonisba

Sofonisba

Date: 1764
Creator: Verazi, Mattia.
Description: This is a ca. 1764 copy of the libretto of the opera seria "Sofonisba" by Mattia Verazi. Baldassare Galuppi set this libretto to music for the 1764 carnival season in Turin. Mattia Verazi became a court poet at Mannheim and Stuttgart in 1756. Duke Carl Eugen favored operas with French influence, and Verazi catered to his tastes by providing libretti that deviated from Metastasian opera conventions. In 1762, Verazi and Tommaso Traeta collaborated to create operas following French models. Sofonisba was the result of such collaboration. Sofonisba and Siface, king of Numidia, are married and have a child. When Siface fails to return from battle against the Romans, Massinissa, Sofonisba’s former suitor, renews his advances. Siface appears among the captives and rejoins his wife but fail in their attempt to escape from their Roman captors. Afraid that she will be marched in chains through the streets of Rome, Sofonisba poisons herself and is dying when the news arrives that all has been resolved. Baldassare Galuppi composed the music of the opera for the 1764 Turin carnival season. The opening scene includes a programmatic sinfonia that accompanies a pantomimed battle, and later, another pantomime that depicts gladiatorial games. Verazi included detailed ...
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Le piacevoli poesie

Le piacevoli poesie

Date: 1750
Creator: Baretti, Giuseppe Marco Antonio, 1719-1789.
Description: This is a ca. 1750 copy of "Le piacevoli poesie di Giuseppe Baretti" (The Pleasing Poetry of Giuseppe Baretti). Although Baretti is primarily remembered for his frequent travels throughout Italy, England, France, and Portugal, which he recounted in his "Lettere familiari ai suoi tre fratelli," he was also a scholar, linguist, poet, translator, and journalist. He wrote "Le piacevoli poesie di Giuseppe Baretti" in 1750. The poetry imitated the style of Fancesco Berni, a 16th-century Italian poet who wrote parodies and burlesque letters-much of it obscene in nature. The introduction of this work was written by the Venetian Count Gasparo Gozzi, himself a poet, prose writer, journalist, critic, and also the brother of Baretti's friend, Carlo Gozzi. The library's copy of "Le piacevoli poesie" is bound with the following librettos: "Ifigenia in Aulide" by Vittorio Amedeo Cigna-Santi; “Catone in Utica,” by Pietro Metastasio; "Sofonisba" by Mattia Verazi; and "Arianne e Teseo" by Pietro Pariati.
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Arianna e Teseo

Arianna e Teseo

Date: 1764
Creator: Pariati, Pietro, 1665-1733
Description: Libretto of the opera seria "Arianna e Teseo" by Pietro Pariati. The story unfolds in the island of Crete where several young Athenian men are brought to be ritually sacrificed, and Athenian maidens are to be delivered as victims to a minotaur that lives in a labyrinth. Among the Athenians is Arianna, the daughter of Minos (Minosse), King of Crete, who was abducted as a child by King Aegeus, and Teseo, Aegeus's son. Teseo is determined to kill the minotaur in order to save Arianna's friend Laodice, but Arianna believes that he loves her friend. In spite of her doubts, she hands over to Teseo the secret how to kill the minotaur and vanquish Tauride, King Mino's champion, which she overheard from Minos. The work ends with Teseo's victory over the minotaur and his reconciliation with Arianna.
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La favola di Orfeo

La favola di Orfeo

Date: 1749
Creator: Poliziano, Angelo, 1454-1494. & Baldi, Bernardino, 1553-1617.
Description: Libretto of the opera "La favola di Orfeo" in several verse forms. Poliziano's version of the legend of Orfeo differs from the story in Monteverdi or Gluck's operas. In Poliziano's ending, Orpheus is torn to pieces by the maenads (or Bacchantes). This copy includes Bernardino Baldi's eclogue "Celeo e l'Orto," a culinary poem that describes the production of polenta.
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Storia della musica

Storia della musica

Date: 1770
Creator: Martini, Giovanni Battista, 1706-1784.
Description: This is a copy of the second of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments. It also features an illustration of a minotaur and a young boy (presumably, the god Apollo) holding a lyre. This volume is divided in nine chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from works by Hesiod, Homer, Anacreon, and Sophocles. The book contains maps of Greece and Asia Minor, as well as a table that summarizes the divisions of the breve and prolations translated to 18th century musical notation practice. Chapter 1 discusses the origins of music according to precepts passed down from antiquity and Greece as well as the theory of musical intervals. Chapter 2 discusses several Greek mythological figures and a ...
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Storia della musica

Storia della musica

Date: 1757
Creator: Martini, Giovanni Battista, 1706-1784.
Description: This is a copy of the first of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. Each volume bears a different dedicatee: v.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The t.p. of this volume is printed in red and black ink and decorated with a border that depicts various musical instruments and includes a pastoral scene depicting Euterpe, the muse of music, holding a lyre and a horn as allegory of a scepter, and accompanied by various putti singing or playing musical instruments. Each page of the book is decorated with an ornamented border. The volume is divided in eleven chapters and three dissertations. The start of each chapter and each dissertation features, within an ornamented oval-shaped frame, the notated music of a canon in a five-line staff with underlaid text taken from passages in the book of Psalms and other books of the Old Testament. This volume includes an engraved portrait of Martini by an unknown engraver and one illustration by Nicolaus Valleta depicting Queen Maria Barbara of Portugal in the company of several mythology figures, such as ...
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La fede ne' tradimenti

La fede ne' tradimenti

Date: 1689
Creator: Gigli, Girolamo, 1660-1722.
Description: This is a 1689 copy of Girolamo Gigli's three-act libretto for the opera "La Fede ne' tradimenti," set to music by Giuseppe Fabbrini for the 1689 Carnival season at the Collegio Tolomei in Siena, Italy.
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Le istitutioni harmoniche

Le istitutioni harmoniche

Date: 1562
Creator: Zarlino, Gioseffo, 1517-1590.
Description: This is a 1562 copy of "Le istitutioni harmoniche," one of the most influential music theory treatises written by Gioseffo Zarlino. The first edition appeared in Venice in 1558. The treatise, divided in four parts, includes theoretical and practical elements of music. The first two parts discuss philosophical, cosmological and mathematical aspects of music, Greek tonal system and tuning. The third and fourth parts cover the rules of counterpoint and modes, respectively. This copy bears a dedication to Vicenzo Diedo. It contains a table of contents per chapter and list of corrections. Several handwritten annotations appear on the t.p. ink: "coll: cochi nuoi soc: Jesù;" "exdono Joannis Jerary;" and "Inscriptet catalog."
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Orfeo ed Euridice

Orfeo ed Euridice

Date: 1822
Creator: Calzabigi, Ranieri de, 1714-1795.
Description: This is the libretto of "Orfeo ed Euridice" by Ranieri de Calzabigi, published in vol 2 of "Raccolta di melodrammi serj scritti nel secolo XVIII." The original volume contains works by Apostolo Zeno, Giuseppe Parini, Marco Coltellini, Castone Rezzonico della Torre, Ranieri de Calsabigi, and F. Saverio de Rogati. On the back of the t.p. appears a quote in Virgil's "Georg.," iv, 465: "Te dulcis conjux, te solo in littore mecum, te veniente die, te discedente canebam." The libretto includes a prologue and list of characters.
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Storia della musica

Storia della musica

Date: 1781
Creator: Martini, Giovanni Battista, 1706-1784.
Description: This is a copy of the third of three volumes of "Storia della musica" (Music History) by Giovanni Batista Martini. The t.p. of this volume is printed in red and black ink and each page is decorated with an ornamented border. It contains numerous figures, musical examples demonstrating theoretical concepts of Greek music, and footnotes. Each one of the volume bears a different dedicatee: V.1: alla Sacra reale cattolica Maestà Maria Barbara; v.2: All'Altezza serenissima elettorale di Carlo Teodoro; v.3: a sua Altezza reale Don Ferdinando di Borbone. The present vol. 3 is divided as follows: ch.1 - Greek music (pp. 1-24); ch.2 - Poetics, music and drama (pp. 25-90); ch.3 Dramatic poetry (pp. 91-148); ch.4 - Medieval and new dramatic poetry (pp.149-169); ch.5 - Music in Greek tragedy and drama (pp. 170-197); ch. 6 - Illustrious Greek music teachers (pp.198-268); ch.7 Greek philosophers on music (pp.269-369); ch.8 - Greek music theory practice (pp.370-440); Dissertation on the prodigious effect produced by antique Greek music (pp.[419]-440); Index of people mentioned in the volume (pp.441-445); Index of authors with short biography, in alphabetical order (pp445-458); Errata (p. 459).
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Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Prattica di musica, utile et necessaria si al compositore per comporre i canti suoi regolatamente, si anco al cantore per assicurarsi in tutte le cose cantabili

Date: 1596
Creator: Zacconi, Lodovico, 1555-1627.
Description: This book is the first part of Lodovico Zacconi's "Prattica di musica," published in 1596. The contents of this book are divided in four parts covering: the history of music, definition of musical terms, introduction to musical notation, modes, time and prolation, rules of counterpoint, musica ficta, classification of musical instruments, and proper manner of singing polyphonic works and musical ornaments. A second part, "Prattica di musica seconda parte," was published in Venice in 1622. The library's copy contains the following pagination errors: leaves 30, 67, 124, 130, 134, 188 were numbered incorrectly as 29, 140, 130, 122, 130, 194, respectively. There are two leaves numbered 50, each containing the parts for the alto, bass and tenor with underlaid text "Beatus author seculi" and "Residuo." Each leaf is preceded by another leaf that contains the singing parts for the cantus, quintus and tenor. These are two versions of a polyphonic setting, in duple time and triple mensuration, respectively. In the second example, the words Gloria tibi domine" appear under the cantus and quintus.
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Rutzvanscad, il giovine

Rutzvanscad, il giovine

Date: 1724
Creator: Valaresso, Zaccaria, 1686-1769.
Description: This is a copy of Cattuffio Panchianio's "Rutzvanscad, il Giovine," a parody of Greek tragedy. The library's copy is bound with the libretto of Giovanni Battista Casti's "Prima la musica e poi le parole." Clarification notes relating to terms and characters of the tragedy appear on the back of p.79 together with a list of printing errors.
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Prima la musica e poi le parole

Prima la musica e poi le parole

Date: 1786
Creator: Casti, Giovanni Battista, 1724-1803.
Description: This is a copy of Giovanni Battista Casti's libretto for the comic opera "Prima la musica e poi le parole". On the back of the t.p. appears a list of characters and names Antonio Salieri as the composer of the music. The one-act opera was commissioned by Emperor Joseph II. Members of the Burgtheater's Italian troupe premiered it at the Schönbrunn Palace on February 7, 1786. The library's copy is bound with the libretto of Zaccaria Valaresso's "Rutzvanscad, il giovine."
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La Geneviefa

La Geneviefa

Date: 1685
Creator: Gigli, Girolamo, 1660-1722
Description: This is a ca. 1685 copy of the three-act libretto of "La Geneviefa" by Girolamo Gigli. The work was dedicated to Prince Francesco Maria of Toscana. The Sienese composer Giuseppe Fabbrini set the libretto to music for an opera staged at the theater of the Collegio Tolomei in Siena. Although the music of the opera is lost, the remark, "Il Sign. Giuseppe Fabrini, che ha data l'anima al verso con l'armonia della musica ..." in the preface of the libretto confirms Fabbrini's setting it to music. Concerning Fabbrini's operas, the Grove Music states that, "His operas to librettos by Gigli were all written for the college theatre which opened in 1685." The opera "La Genefieva" premiered that same year in February.
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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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Amore fra' gl'impossibili

Amore fra' gl'impossibili

Date: 1693
Creator: Gigli, Girolamo, 1660-1722. & Campelli, Carlo
Description: According to Grove Music, Gigli's 'Amore fra gli impossibili' is an eccentric work where "the pastoral setting is disturbed by mythological references and the addition of the characters Don Chisciotte and Coriandolo, in an ironic and grotesque atmosphere."
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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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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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