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Amadis, tragedie en musique

Amadis, tragedie en musique

Date: 1684
Creator: Quinault, Philippe, 1635-1688.
Description: Libretto of the 1684 opera "Amadis," by Philippe Quinolt. 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. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.
Contributing Partner: UNT Music Library
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.
Contributing Partner: UNT Music Library
Isis, tragedie en musique

Isis, tragedie en musique

Date: 1677
Creator: Quinault, Philippe, 1635-1688.
Description: Libretto of the opera "Isis," by Philippe Quinolt. The music of the opera was composed by Jean-Baptiste Lully's and premiered on January 5, 1677 at St. Germain-en-Laye. The libretto is a loose adaptation of one of the episodes in Ovid's Metamorphoses. The plot resembles that of Lully's previous opera, Atys. It is set in pastoral and divine realms. In the opera, Jupiter courts the nymph Io, and jealous Juno imprisons her under the hundred watchful eyes of Argus. The god Mercury helps Io to escape and turns Hiérax, Io's former lover, into a bird when he tries to interfere. Then, Juno orders a Fury to torment Io. After a series of tortures, Io invokes Jupiter who interferes with Juno promising he will be faithful to her in exchange of her sparing Io. Juno then transforms Io into the Egyptian goddess Isis. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.
Contributing Partner: UNT Music Library
Enée et Lavinie

Enée et Lavinie

Date: 1690
Creator: Fontenelle, M. de (Bernard Le Bovier), 1657-1757.
Description: Libretto of the opera "Enée et Lavinie" by Bernard le Bovier de Fontenelle. Pascal Collasse composed the music of the opera which premiered on November 7, 1690. The plot, which Bovier de Fontenelle adapted from Virgil's "Aeneid, Book vii," revolves around the marriage of Enée (i.e., Aeneas) to the Latin bride Lavinia.
Contributing Partner: UNT Music Library
Elements of Musical Composition; comprehending the Rules of Thorough Bass, and the Theory of Tuning.

Elements of Musical Composition; comprehending the Rules of Thorough Bass, and the Theory of Tuning.

Date: 1812
Creator: Crotch, William, 1775-1847.
Description: Manual describing musical composition for beginners. The manual is divided in 9 chapters and includes 479 musical examples engraved in 59 pages at the end of the book, as well as four plates with figures (plate no. II appears at the beginning of the book. The musical examples cover the following subjects: scales, intervals (diatonic and chromatic) and their inversion, counterpoint rules, harmonic progressions, use of non-harmonic tones (suspensions, passing notes, appoggiaturas, and upper-lower neighbor. It also includes several examples taken from Handel's "Dettingen Te Deum," "Messiah," and from Haydn's oratorio "Creation," among others.
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Cendrillon

Cendrillon

Date: 1759
Creator: Anseaume, M. (Louis), 1721-1784.
Description: Libretto of the 1759 pastiche-style comic opera "Cendrillon," by Louis Anseaume. The songs were contributed by the singer-composer Jean-Louis Laruette and Egidio Duni, which they likely adapted from fashionable tunes. "Cendrillon" (Cinderella in English) premiered in Paris at Foire St-Germain on February 21, 1759. The opera underwent two revisions before the definitive version of 1764. Anseaume adapted the plot the fairy tale by Charles Perrault. This copy includes (from pp.54-63) notated melodies of airs and recitatives.
Contributing Partner: UNT Music Library
Zephire et Flore

Zephire et Flore

Date: 1688
Creator: Duboullay, Michel
Description: This is a digital reproduction of the 1688 libretto of the opera "Zephire et Flore" by Michel Du Boullay. The music of the opera is attributed to Louis and Jean-Louis Lully, sons of Jean-Baptiste Lully. It was performed for the first time on March 22, 1688 at the Palais Royale in Paris.
Contributing Partner: UNT Music Library
The musical library, vocal

The musical library, vocal

Date: 1849
Creator: Ayrton, William, 1777-1858.
Description: This is a digital copy of volumes 3 and 4 of "The musical library," a bound collection of part songs and songs with piano accompaniment edited by William Ayrton. It includes arrangements of famous nineteenth-century tunes, madrigals, ballads, canzones, elegies, and opera arias by various composers. The contents of each volume are given below: Vol. 3: Glee, "Desolate is the dwelling of Morna" by Dr. [William Hutchins] Callcott, pp. 1-5; Cavatina, "Col sorriso d'innocenzo," from the opera "Il pirata" by [Vicenzo] Bellini, pp. 6-7; A Brazilian Air, "And are these the mountains," U.A., pp. 8-9; Quartet, "Pieta di noi," from the comic opera "L'arbore di Diana" by Vicenzo Martini, pp. 10-13; Cantata, "From rosy Bow'rs" by [Henry] Purcell, pp. 14-19; Air (de trios notes), "Que le jour me dire!" by [Jean-Jacques] Rousseau, p. 20; Aria, "Infelice in tanti affani" by Carl Friedrich Zelter, pp. 21-23; Elegy, "Ye woods and ye mountains" by [William] Jackson (of Exeter), pp. 24-27; Romance, "Oh! forbear to bid me slight her" by [Johann Nepomuk] Hummel, p. [28]-29; Song, "No flower that blows," from the opera "Selima and Azor" by [Thomas] Linley (Senior), p. 29-31; Duetto, "Caro! Bella!," from the opera "Giulio Cesare" by [George Frideric] ...
Contributing Partner: UNT Music Library
Le triomphe de l'amour

Le triomphe de l'amour

Date: 1861
Creator: Quinault, Philippe, 1635-1688.
Description: Libretto of the ballet "Le triomphe de l'amour" written by Philippe Quinault in collaboration with Isaac de Benserade. It is divided in two parts. The first, contais the prologue and the ballet entrances (i.e., entrées); the second part contains flattering comments and instructions directed to the noble people participating in the ballet. Each of the entrées that comprise "Le Triomphe de l'Amour" reveal aspects of love triumphant. The theater represents a magnificently ornate place where a crowd receives Amour (i.e., the god Love), the son of Venus. The latter presides over the crowd and sings of the virtues of the king who has restored peace to his kingdom. Venus entreats everyone to pay homage to her victorious son. The first performance took place at Saint-Germain-en-Laye on January 21, 1681. The twenty entrées of this 'ballet de cour' (i.e., court ballet) were choreographed by Pierre Beauchamp with music by Jean-Baptiste Lully. Carlo Vigarani designed the stage décor and Jean Berain provided designs for costumes and decorations of this royal festivity. This copy includes a frontispiece engraving that depicts a stage setting by Daniel Marot.
Contributing Partner: UNT Music Library
Le tonnelier

Le tonnelier

Date: 1765
Creator: Audinot, Nicolas Médard, 1732-1801. & Quétant, Antoine-François, 1733-1823.
Description: Libretto of the comic opera "Le tonnelier" (The cooper) by Nicolas-Médard Audinot in collaboration with Antoine-François Quétant. The music of this one-act opera is a pasticcio of works by Gossec and other contemporaneous composers. Typical of the genre, the opera contains a variety of musical forms (airs, romance, vaudeville, and recitatives) and the dialogues are interspersed with additional airs, possibly using popular tunes. This copy includes (on pp. 52 and 54-56) notated melodies of airs.
Contributing Partner: UNT Music Library