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- 114 Songs
- A collection of 114 songs set by Charles Ives, with lyrics by Ives and others. The back of the book contains a philosophical essay by Ives.
- 1er quatuor, pour deux violons, alto et basse, oeuvre 5
- Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass.
- 7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80
- This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208).
- Achille et Polixene, tragédie dont le prologue & les quatre derniers actes
- Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
- Achilles. An opera.
- John Gay is credited with inventing the ballad opera, a genre that blends spoken plays and previously composed songs to new texts. Although The Beggar’s Opera (1728) was his most successful endeavor, he continued to compose English musical dramas. Achilles was finally performed in 1733, one year after Gay died. In this story, Achilles appears as a girl named Pyrrha, unknown to most of the inhabitants of the island of Scyros, in order to circumvent a prediction that he will die in battle. Deidamia (the king’s daughter) knows the secret, however, because she is carrying the disguised man’s child. After Achilles’s identity is revealed, he and Deidamia are able to wed. Then, in a fateful twist of irony, Achilles plans to join the Greeks in the Trojan War.
- Acis and Galatea
- This is a ca. 1743 score of Acis and Galatea, a musical masque (also considered an English pastoral opera) by Handel to a libretto by John Gay. The performance forces include: oboes (2), flauto [recorder], violins, basso continuo, and chorus of mixed voices (mostly soprano, three tenors and bass) and vocal soloists. On the front cover the name Morgan appears imprinted on a red stamp with golden ornaments and letters. The names Anna Maria [Lawes] and Mary Anne Morgan were written at the top of the title page and the inscription, "the gift [of] her uncle T. Morgan, 1808." Underneath the dedication: WH London, 1890.
- Agenda Ecclesiae Moguntinensis
- "Per reverendissimum in Christo patrem, et amplissimum principem, ac dominum, Dominum VVolfgangum, Archiepiscopum Moguntinum, S. Romani Imperii per Germaniam Archicancellarium, Principem Electorem, &c. Necessariis quibusdam additionibus auctior, et multis locis emendatior, iam denuò typis evulgata." Text in Latin and German, including tables, calendars, and a catechism in German, along with notated music. Two of the back end pages have handwritten notes, including a handwritten rendering of Psalm 129/130 ("De profundis clamavi...").
- Agenda Ecclesiae Moguntinensis
- Agenda ecclesiae from the Catholic archdiocese of Mainz. This extensive volume includes calendars for movable feasts, a daily listing of feast days for commemoration, days for fasting and abstinence from eating meat, and instructions for priests on administering the sacraments, texts of various blessings and prayers, with text in Latin and German. The volume includes notated musical settings, and a catechism in German.
- Airs russes: fantaisie for the piano forte, op.43
- Music score for Airs russes: fantaisie, written for the piano forte, part of opus 43 by Leopold von Meyer.
- Airs russes, [op.20]
- Musical score for "Airs russes" written for piano by Leopold von Meyer, as part of opus 20. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer."
- Alceste
- This is a ca. 1774 score of the opera "Alceste" by Anton Schweitzer based on a libretto by Christoph Wieland. The work premiered in Weimar in 1773. The plot was based on the Greek legend of Alcestis, on the subject of female virtue and conjugal love. The library's copy contains an engraved illustration that portrays a domestic scene. The score does not indicate the musical instruments and the music, which is notated in two, three or four staves, contains the German text underlaid with indication of the character who sings.
- Alceste: tragedie opera en trois actes
- According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."
- Alexander's Feast or the Power of Musick.
- A secular choral work in two parts for four soloists (SSTB) and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 bassoons, 2 trumpets, 3 violins, viola, violoncello, and continuo). The names of the vocal soloists (Mr. [John] Beard, Signora [Anna Maria] Strada, Miss. [Cecilia] Young, and Mr. Erard) are printed at the top of their designated songs.
- Amadis; tragedie, mise en musique
- The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of Amadis at the Opéra in Paris on 18 January 1684. It was an immediate public success.
- Amour au village : opera-comique, en un acte, et en vaudeviles
- Libretto for Charles-Simon Favart's 1754 opera L'amour au village. Charles-Simon Favart gained prominence for his parodies of extant operas during the middle of the eighteenth century. His L’amour au village (1754), a typical example of the genre, was based on Carolet’s L’amour paysan (1737). The parody technique consisted of setting new texts to existing melodies and writing new dialogue based on a familiar plot. L’amour au village includes a typical vaudeville finale. In the Virtual Rare Book Room’s volume, the melody is included along with the first verse’s text. Because vaudeville finales are strophic (with one repeated melody), the subsequent verses are numbered to indicate each time the melody should begin again.
- Les amours des dieux : ballet heroique
- Mouret’s Les amours des dieux is classified as a ballet-heroïque, a type of opéra-ballet that was popular during the first half of the eighteenth century. Although the term ballet-heroïque suggests the prevalence of dance, drawing on the divertissement tradition, singing and acting are also integral parts of this genre. What distinguishes the opéra-ballet from the tragedie en musique is the use of separate plots for each entrée (comparable to an act). The segments are not entirely independent, however, in that there is typically a central, overarching idea.
- Andante for the piano forte, op. 42
- Musical score of "Andante for the piano forte", part of opus 42 by Leopold von Meyer.
- Anna Bolena
- Piano-vocal score for selections from Gaetano Donizetti's Anna Bolena, with libretto by Felice Romani.
- Antiqvæ mvsicæ avctores septem, Græce et latine, Marcvs Meibomivs restituit ac notis explicavit
- Contents: I. I. Aristoxeni Harmonicorvm elementorvm libri III. II. Evclidis [i.e. Cleonidae?] Introdvctio harmonica. Euclidis Sectio canonis. III. Nicomachi Geraseni, Pythagorici, Harmonices manvale. IV. Alypii Introdvctio mvsica. V. Gavdentii, philosophi, Introdvctio harmonica. VI. Bacchii senioris Introdvctio artis mvsicæ.--v. II. Aristidis Qvintiliani De mvsica libri III. & Martiani Capellæ De mvsica liber IX.
- Armide
- Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
- Armide: drame héroïque
- Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
- Armide: Drame héroique, mis en musique
- Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
- Armide: Drame héroique, mis en musique
- Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
- Armide : tragedie mise en musique
- Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
- Artaxerxes. An English opera.
- 1763 English libretto for Thomas Arne's opera Artaxerxes. Thomas Arne most likely wrote his own libretto for Artaxerxes, which enjoyed a successful run at Covent Garden beginning on 2 February 1762. Artaxerxes follows the structure of Metastasio’s Italian libretto on the same subject; no other English-language opera has been recognized as following the principles of Metastasian opera seria.
- L'Atalipa: dramma per musica
- Libretto for L'Atalipa by Girolamo Gigli.
- Atys : tragedie
- Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals.
- Atys : tragédie lyrique en trois actes
- The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
- Atys : tragédie lyrique en trois actes
- The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
- Atys : tragedie mise en musique
- Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
- Atys; tragedie mise en musique
- Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
- Aurora che Sorgereai with Brilliant Variations for the PIano Forte
- This is a digital copy of the ca. 1830 edition of Henri Herz's Brilliant variations for the piano forte on the cavatina "Aurora che sorcerai" from Rossini's two-act melodrama "La donna del lago," (i.e., The lady of the lake). The library's copy is part of a bound collection of piano music by variopus nineteenth-century composers. The pianist, and Herz's friend, Franz Hünten adapted several passages of the music to suit the range of the contemporaneous piano fortes. A note on the t.p. indicates that "Mrs. [Lucy] Anderson had the distinguished honor of performing this piece before their Majesties at Brighton." Plate no. 476.
- Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung
- "Detailed theoretical and practical instruction on playing the piano-forte," issued in four parts.
- Ausführliche theoretisch-practische Anweisung zum Piano-forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung
- A piano method book by Johann Nepomuk Hummel, with three parts bound in one volume.
- Bajazeth
- Musical score containing the piano part for "Bajazeth: air national [sic] des turques pour le piano forte" by Leopold von Meyer.
- Ballet du Temple de la paix
- The elements that make up the Jean-Baptiste Lully's Ballet du Temple de la Paix have some parallels to the plot of Roland, which premiered in the same year. Both celebrate the expanding influence of France and Louis XIV through the introduction of exotic characters. The flexibility of the ballet de cour format, which was more a progression of loosely related scenes and spectacles than an organized plot, allowed librettist Philippe Quinault more freedom in his elaboration of that theme.
- Barbe bleue : comédie en prose et en trois actes
- Although the story of Bluebeard was familiar to French readers from Charles Perrault’s 1698 collection of children’s tales, transferring it to the operatic stage was problematic due in large part to the gruesome nature of the plot. Other violent works had appeared in Paris, but in this instance, the drama was to be performed at the Comédie-Italienne, which typically featured lighter plots than that of Raoul and Isaure. Nevertheless, the opera had a successful run, receiving over a hundred performances in the decade after its premiere. After its initial popularity, Raoul Bluebeard was staged less frequently, but it still made an impression on nineteenth-century composers, particularly Weber.
- Barbier de Seville [Il barbiere di Siviglia] Opéra comique en quatre actes
- Paisiello’s Il barbiere di Siviglia was based on the first play, Le barbier de Séville, ou La precaution inutile (1772), of Beaumarchais’s famous trilogy. The controversial commentary on aristocracy caused the play to be banned from the stage for three years. The ban was lifted in 1775 and the work premiered that same year; Beaumarchais finally saw the work performed in 1780 when he was employed by Catherine II in St. Petersburg. Although Rossini’s later opera (of 1816) is more familiar today, Paisiello’s rendition was extremely popular throughout Europe during its time. The work was first performed in St. Petersburg in September of 1782.
- Beggar's opera
- This is a 1735 fourth ed. of the three-act ballad opera "The beggar's opera" by John Christopher Pepusch and John Gay. It includes the score for the overture (for violins (2), viola, and bass ensemble) and the melodies of each song. The inscription, "Nos haec novimus esse nihil" (transl. as, We know these to be nothing) that appears on the t.p. is an epigram by Marcus Valerius Martialis from his Books of Epigrams. On the back of the t.p. appears the advertisement of these works printed by John Watts: Fifty one new fables in verse; The tunes to the songs in the Beggar's Opera, transposed for the flute; and Gay's opera "Achilles." A table of songs shows the first lines of text for each act. The item includes a list of characters.
- Bellérophon; tragedie mise en musique
- Although not the first of the Jean-Baptiste Lully's tragédies lyriques, Bellérophon was the first of Lully's opera scores to appear in print. The Ballard first edition was printed in 1679 to accompany the premiere, on January 31 of that year, at the Palais Royale. Bellérophon was the second of two operas (the first was Psyché) created by Lully without librettist Philippe Quinault after the scandal associated with Isis that led to Quinault's temporary dismissal as royal librettist. After an extended illness during which he did not compose, Lully collaborated with Thomas Corneille and Bernard le Bovier de Fontenelle for the second time to create one of his most unqualified successes. Following the first performance in January 1679, Bellérophon played for nine months at the Palais Royale.
- Belshazzar : a sacred Oratorio in Score
- A sacred oratorio in three acts for soloists and mixed chorus (SATB) with orchestra acc. (2 oboes, 2 violins, viola, and basso continuo). A contents index is given on p. 219. According to the Grove Dictionary of Music and Musicians, Handel composed this oratorio from 23 August - 23 October 1744. Charles Jennens wrote the libretto on the Biblical story of the downfall of the King of Babylon with details taken from "Cyropaedia" (a political romance about the education of an ideal ruler) by Herodotus and Xenophon's.
- La Bohème: scene da La vie de Bohème di Henry Murger: 4 quadri: opera completa per canto e pianoforte
- Piano-vocal score for Puccini's La Bohème, autographed by Puccini.
- The Booke of Common Prayer
- 1611 edition of the Book of Common Prayer, with psalms. The psalms include incipits in Latin, and occasional notated settings, along with the traditional canticles (Benedictus, Magnificat, Nunc Dimmitis) for morning, evening, and night prayer, Te Deum, the Athanasian Creed, and other hymns and prayers.
- Booke of Common Prayer and The Whole book of Psalmes
- A 1611 Booke of Common Prayer, bound with a 1609 book of Psalms with notated settings, "collected into English meeter by Thomas Sternhold."
- Brooklyn Academy of Music: a brief address and ten plates
- Architectural drawings for a planned new building for the Brooklyn Academy of Music. It is addressed first to subscribers, but also to the residents of Brooklyn, in an appeal for funding and support. The copy includes a cover letter dated October 12, 1905, addressed to Mr. Hosmer B. Parsons.
- Buona figliuola : opera comica
- 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.
- Le cadi dupé, opéra bouffon en un acte, representé sur le Théatre de l'opera comique
- The figured bass is unrealized in the full score of this one-act comic opera. Sung French text is underlaid; spoken text is printed before and after each song.
- Cantates françoises à I. et II. voix: avec simphonie, et sans simphonie, V. 1-2
- This item contains volumes 1 and 2 of Clérambault's "Cantates Françoises." The second volume bears the subtitle "Mellées de Simphonies." Volume 1 contains the cantatas "L'amour piqué," "Le jaloux," "Orphée," "Poliphême," "Medée," and "L'amour et Baccus." Volume 2 contains "Alphée et Arethuse," "Leandre et Hero," "La musette," "Pirame et Tisbé," "Pigmalion," and "Le triomphe de la paix." The continuo line is figured.
- Cantates françoises a voix seule et basse-continue, avec et sans symphonies, Livre second
- This item comprises two books of secular cantatas for soprano (indicated by the consistent use of the soprano clef in the vocal line), obbligato strings and winds, and (unrealized) basso continuo. The first book was printed in 1706; the second, in 1708. Since the two volumes were bound together, the later date is used for this item. The subtitle for the first volume indicates "a voix seule avec symphonies" while the subtitle for the second volume gives "a voix seule et basse-continue, avec et sans symphonies."
- Cantates, Troisieme receuil
- Collection of solo cantatas with continuo by various composers, bound subsequent to publication. A handwritten table of contents with composers and dates (where available), and possibly approximate timings, is on the first end page.