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 Collection: Virtual Music Rare Book Room
Cendrillon
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. digital.library.unt.edu/ark:/67531/metadc39252/
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. digital.library.unt.edu/ark:/67531/metadc1/
Love in a Village: a Comic Opera As it is Performed at the Theatre Royal in Covent-Garden. For the Harpsicord, Voice, German Flute, or Violin.
Vocal score for Love in a Village is broken into four labeled sections ('books'), each of which has a separate title page, and includes the music from the comic opera which has figured bass. Some of the music includes underlaid lyrics and the names of the persons who performed the pieces. Table of contents for the entire work is on page [1]. According to Grove Music Online, the opera is the story of a heroine (Rosetta) who runs away from an unhappy marriage. digital.library.unt.edu/ark:/67531/metadc25957/
Thomas and Sally
1782 vocal score of Thomas Arne's opera Thomas and Sally, or the Sailors return. Dramatic pastoral in two acts by Thomas Augustine Arne to a libretto by Isaac Bickerstaff; London, Covent Garden, 28 November 1760. Thomas and Sally can claim to be the first all-sung English comic opera. It is noteworthy as well for the introduction of clarinets into the orchestra (Grove Music Online). digital.library.unt.edu/ark:/67531/metadc12/
Le tonnelier
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. digital.library.unt.edu/ark:/67531/metadc39261/
The musical library, vocal
This is a digital copy of volumes 1 and 2 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. 1 Madrigal, “Awake, sweet love!” by John Dowland, pp. 1-3; Song, “Forgive me,” composed to German words by [Joseph] Haydn, pp. 4-5; Song, “Beneath the ocean’s swelling wave” from [Giovanni] Pacini’s opera “Niobe,” pp. 6-7; Duet, “Come opprima” from the opera “Enea nel Lazio” by [Vicenzo] Righini, pp. [8]-10; Song, “The kiss, dear maid! thy lip has left” by Felix Mendelssohn, p. 11; Glee, “Forgive, blest shade!” by Dr. [William Hutchins] Callcott, pp. 12-13; Song, “Toll, toll the knell” from the opera “Mahmoud” by Stephen Storace, pp. 14-[16]; Duet, “Two daughters of this aged stream are we” from the masque “King Arthur” by [Henry] Purcell, pp. 17-19; Song, “How deep the slumber of the floods!” by Carl Löwe, p. 20; Serenade, “Good morning” by [Wolfgang Amadeus] Mozart, p. 21; Song, “Jephtha’s daughter” by Carl Löwe, pp. 22-24; Canzonet, “Recollection” by [Joseph] Haydn, pp. 25-27; Madrigal, “When flow’ry meadows deck the year” by [Giovanni Pierluigi da] Palestrina, pp. 28-31; Song, “O! sing unto roundelay” by Stephen Paxton, p. 32; Duet, “Love in thine eyes for ever plays” by [William] Jackson, pp. 33-35; Song, [“Thy voice is sweet, is sad, is clear”] originally set to German words by the chevalier [Sigismond] Neükomm, pp. 36-37; Glee, “Hark! the lark at heav’n’s gate sings” by Dr. [Benjamin] Cooke, pp. 38-40; Canzonet, “The marmaid’s song” by [Joseph] Haydn, pp. 41-43; Aria, “Deh calma, o ciel!” from the last scene in “Otello” by [Gioachino] Rossini, pp. 44-45; Round, “Winde, gentle evergreen” by Dr. William Hayes, p. 45; Cantata, “Mad Tom” by [Henry] Purcell, pp. 46-49; Madrigal, “As fair as morn, and fresh as May” by John Wilbye, pp. 50-52; “The hermitage” by [Carl Ludwig] Drobisch, p. 53; “Romance” from the German opera “Euryanthe” by [Carl Maria von] Weber, pp. 54-55; Glee, “The May-Fly” by Dr. [William Hutchins] Callcott, pp. 56-60; Arietta, “Ah! Non lasciarmi nò” by Bonifazio Asioli, p.61; Canzonet, “My wife’s a winsome wee thing” by [Ludwig van] Beethoven, pp. 62-63; Canzonet, [“Schäferlied,” Hob. XXVIa:27] by [Joseph] Haydn, pp. 64-65; Prize glee, “Here in cool Grot” by [Garret Colley Wesley], the Earl of Mornington, pp. 66-68; Duet, “Time has not thinn’d my flowing hair” by [William] Jackson, pp. 69-71; Aria, “With verdure clad” from [Joseph] Haydn’s “Creation,” pp. 72-76; Song, “Adieu, ye streams!” by [Carl Gottlieb] Reissiger, p. 77; Glee, “Ne’er trouible thyself with the times” by Matthew Lock, pp. 78-79; Song, “The woodman” by T. Linley, sen., pp. 80-81; Canzonet, “Pleasing pain” [Hob. XXVIa:29] by [Joseph] Haydn, pp. 82-84; Quartet, “Five times by the Taper’s light” from [the opera] “The iron chest” by Stephen Storace, pp. 85- pp. 85-87; Canzonet, “Pretty fairy!” by Miss Mary Linwood, pp. 88-90; Invocation, “Giusto ciel in tal periglio” transferred to [the opera] “L’Assedio di Corinto” by [Gioachino] Rossini, pp. 91-92; Round, “How great is the pleasure” by Henry Harrington, p. 92; Madrigal, “Now, o now, I needs must part, [John] Dowland, pp. 93-95 “Air” from the opera Les deux journées by [Luigi] Cherubini, pp. 96-97; “Round,” (anon., 1834), p. 97; Aria, “La Rachelina” from [the opera] “La molinara” by [Giovanni] Paisiello, pp. 98-100; Canzonet, “Despair,” [Hob. XXVIa:28] by [Joseph] Haydn, pp. 101-103; Song, “The self-banished” by Dr. [John] Blow, p. 104; Canzonet, “To my boat” by [Sigismond] Neükomm, pp. 105-107; Glee, “Fear no more the heat of the sun” by Dr. [James] Nares, pp. 108-111; Canzonetta, “Cara Lisa” by Carl Gottlieb] Reissiger, p. 112; Arietta, “Bella Ciprignia” by Francesco Pollini, p. 113; Cantata, “Mad Bess” by [Henry] Purcell, pp. 114-117; Madrigal, “The silver swan” by Orlando Gibbons, pp. 118-119; Portuguese “Modhina,” by [Joaquim Manoel] Gago da Camera, [arr. by Sigismond Neükomm], p. 120; Air, “Charmante Gabrielle” by [Eustache Ducaurroy], p. 121; Canzonet, “Fidelity,” [Hob. XXVIa:30] by [Jospeh] Haydn, pp. 122-125; Duet, “As I saw fair Clora walk alone” by [George] Hayden, pp. 126-128; Round, “Sweet enslaver” by [Luffmann] Atterbury, p. 128; Glee, “The fairies” by Dr. [William Hutchins] Callcott, pp. 129-131; Aria, “The husbandman” from [Joseph] Haydn’s “Seasons,” pp. 132-135; “May song,” by [Ludwig van] Beethoven, pp. 136-137; “Tweed-side” by Joseph Corfe, pp. 138-140; Duet, “When the moonlight streaming,” founded on the old French air, “Le clair de la lune” by [Rouennais Adrien] Boieldieu, pp. 141-143; Pastoral ballade, “Hebe”, by [Thomas Augustine] Arne, pp. 144-145; Aria, “Per pieta non dirmi addio,” [op.65] by [Ludwig van] Beethoven, [arr.], pp. 146-148; Canzonet, “Sympathy,” [Hob. XXVIa:33] by [Joseph] Haydn, pp. 149-151; Song, “Ada to Alexis, with a rose” by [Friedrich Heinrich] Himmel, pp. 152-153; Glee, “Health to my dear!” by [Reginald] Spofforth, pp. 154-[156]; Duet, “Could a man be secure” by [Starling Goodwin], pp. 157-159; Aria, “Non vi turbate, no,” [from the opera “Alceste” by Christoph Willibald von] Gluck, pp. 160-161; Madrigal, [“Out upon it”] by [Giovanni] Giacomo Gastoldi, pp. 162-163; Modinha, “As fades the morn,” [by Joaquim Manoel Gago da Camera; arr. by Sigismond Neükomm], p. 164; Canzonet, “The wanderer,” [Hob. XXVIa:32 ] by [Jospeh] Haydn, pp. 165-167; Glee, “Adieu to the village delights” by [Joseph] Baildon, pp. 168-169; Bolero, “Son Gelsomino” by [Gaetano B.] Piantanida, pp. 170-172; Vol. 2 [Table of] Contents with composers named alphabetically arranged; Cavatina, “Winter” from [Joseph] Haydn’s “Seasons,” p. 1; Son, “What makes the poor bosom” by [Louis] Spohr, pp. 2-3; Canzonet, “Soft Cupid, wanton, am’rous boy” by [John] Travers, pp. 4-8; Scena e duetto, “Parto! ti lascio, addio!” by Simone Mäyer, pp. 9-13; Ballad, “Sally in our alley” by Henry Carey, pp. 14-16; Glee, “Lighty tread, ‘tis hallowed ground,” [composed by John Scotland; arr. by George] Berg, p. 17; Canzonet, “Piercing eyes,” [Hob. XXVIa:35 ] by [Joseph] Haydn, pp. 18-19; “La Marmotte, or The Savoyard-boy’s song,” [i.e., "Marmotte", op. 52, no. 7 by Ludwig van] Beethoven, p. 20; Canzonetta, “Nizza, je puis sans peine” by [Gioachino] Rossini, pp. 21-23; Madrigal, “Return, return, my lovely maid” by [Garret Colley Wesley], the Earl of Mornington, pp. 24-27; Song, “O, gentle maid” by [Tommaso] Giordani, pp. 28-29; Air, “Where-e’er you walk” by [George Frideric] Handel, pp. 30-31; Glee, “The sun shines fair on Carlisle wall” by William Horsley, pp. 32-36; Romanza, “L’ombrosa note, vien!” from the opera “Matilde von Guise” by [Johann Nepomuk] Hummel, p. 37; Canzonet, “She never told her love,” [Hob. XXVIa:34] by [Joseph] Haydn, pp. 38-39; Glee, “You gave me your heart” by [Samuel] Webbe, pp. 41; Air, “Blow, blow, thou winter wind” by [Thomas] Arne and [Thomas] Linley, pp. 42-44; “The death song of the Cherokee Indian” [words] written and adapted by Miss [Ann] Home (afterward Mrs. John Hunter), [harmonized melody from “Scottish songs” (1869) by Joseph Ritson], p. 45; Duet, “Still confiding” (Folg’ dem Freunde) from the opera “Faust” by [Louis] Spohr, pp. 46-49; Song, “Down the river” from the [opera] “The iron chest” by [Stephen] Storace, pp. 50-51; Aria, “Rendi ‘l sereno al ciglio” from the opera “Sosarme” by [George Frideric] Handel, p. 52; Song, “Young spring-gods are round us flying,” [from “Gesänge von Goethe,” op. 83, no. 3] by [Ludwig van] Beethoven, pp. 53-55; Song, “O nanny, wilt thou gang with me?” by [Thomas] Carter, pp. 56-57; May song, “Hail! all hail! Thou merry month of May” by C. M. von Weber, pp. 58-59; Air, “Love in her eyes sits playing” from the serenata of “Acis and Galatea” by [George Frideric] Handel, pp. 60-61; Trio, “The flocks shall leave the mountains” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 62-65; Air, “Heart, the seat of soft delight” from the same [i.e., Acis and Galatea] by [George Frideric] Handel, pp. 66-68; Madrigal, “Now is the month of Maying” by [Thomas] Morley, p. 69; Aria and Coro, “Lieti fiori, ombrose piante” from the opera “Il ratto de Proserpina” by [Pietro] Winter, p. 70-72; Canzonet, “Go, lovely rose” by [Thomas] Attwood, pp. 73-75; Glee, “Harold the valiant” by [Dr. William Hutchins] Callcott, pp. 76-79; Arietta, “Se resto sul lido” by Bonifazion Asioli, p. [80]; Cavatina, “Il pensier stà negli” from [Joseph] Haydn’s opera “Orfeo e Euridice,” pp. 81-83; Canzonet, “Say not that minutes swiftly move” by [Johann Peter] Salomon, pp. 84-85; Ballad, “Black-eyed Susan” by [Richard] Leveridge, pp. 86-88; German song, “Ich liebe dich” by [Carl] Eberwein, p. 89; Madrigal, “Flora gave me fairest flowers” by John Wilbye, pp. 90-93; Aria, “Verdi prati” from the opera “Alcina” by [George Frideric] Handel, pp. 94-95; Duet, “Why should mortals sigh for gold?” by Dr. [James] Nares, pp. 96-99; Song, “The streamlet” from the opera “The woodman,” [music by William] Shield, pp. 100-101; Song, “The parting,” adapted to an air in [Vicenzo] Bellini’s opera “La straniera,” pp. 102-104; Glee, “The fairest flowers the vale prefer” by [John] Danby, pp. 105-107; Quartet, “How strange does all appear!” from [Ludwig van] Beethoven’s [opera] “Fidelio,” pp. 108-112; Cavatina, “Joy has fled, and all is cheerless” [from Beethoven’s opera] “Fidelio,” pp. 112-113; Duet, “Oh more, far more than mortal pleasure” [from Beethoven’s opera] “Fidelio,” pp. 114-119; Canzonet, “Go, gentle gales” by [William] Jackson (of Exeter), pp. 120-123; Air, “La danse n’est pas ce que j’aime” from the opera “Richard coeur-de-lion” by [André Ernest Modeste Grétry], p. 124; Chorus, “Come, gentle spring!” from “Seasons” by [Joseph] Haydn, pp. 125-131; Song, “When I roved, a young highlander!” by [Adalbert] Gyrowetz, pp. 132-133; Glee, “Go, happy heart” by William Horsley, pp. 134-135; Song, “Tell me, lovely shepherd” by [William] Boyce, pp. 136-137; Duet, “Deh! ti conforta, o cara” from “Il matrimonio segreto” by [Domenico] Cimarosa, pp. 138-142; Romance, “Ah! lorsque la mort” from [Etienne Henry] Mehul’s “Joseph” [ i.e., the opera “La legend de Joseph”], pp. 142-144; Canzonet, “O tuneful voice!,” [Hob. XXVIa: 42] by [Joseph] Haydn, pp. 145-149; Glee, “Tell me, then, the reason why?” by [Luffmann] Atterbury, pp. 150-151; Cavatina, “Soave imagine d’amour” by [Saverino] Mercadante, pp. 152-153; Canzonet, “Hast, my Nannette” by [John] Travers, pp. 154-159; Madrigal, “Since I first saw your face” by [Thomas] Ford, pp. 160-161; Canzonet, “I told my nymph, I told her true,” op. 13 by [John Julius] Graeff, pp. 162-164. digital.library.unt.edu/ark:/67531/metadc39288/
The musical library, vocal
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] Handel, pp. 32-35; Madrigal, "Sweet honey-sucking bee" by [John] Wilbye, pp. 36-47; Ballad, "The brooks lullaby" by [Carl Gottlieb] Reissiger, pp. 48-50; Round, "Here is sweet sleep" by [William] Horsley [(1774-1858)], p. 51; Rondo, "La Verginella come la rosa" by [Ferdinando Gasparo] Bertoni [(1725-1813)], pp. 51-53; Ariette, "Le doux mal" by [Etienne Nicolas] Méhul [(1763-1817)], pp. 54-55; Song, "The hardy sailor," From the opera "The castle of Andalusia" by Dr. [Samuel] Arnold pp. 56-57; Duet, "Italian queen," pp. [58]-[60]; Recitative; Aria, "Alma del gran Pompeo; Piangerò," from the opera "Giulio Cesare" by [George Frideric] Handel, pp. 61-63; Prize-Glee, "Swiftly from the mountain's brow" by [Samuel] Webbe [(1740-1816)], pp. 64-69; Song, "Gentle youth, ah! Tell me why?," from "Love in a village" by [Thomas] Arne, pp. 70-71; Coronach (or Dirge), "He is gone on the mountain," from "Scott's Lady of the lake" by [Thomas] Attwood [(1765-1838)], pp. 71-73; Glee, "In holiday gown" by Thomas Fitzherbert, pp. 74-77; Arietta, "Or son d'Elena invaghito," from the comic opera "Un' Avventurata di Scaramuccia" by Luigi Ricci, pp. 78-79; Duettino, "Tendre fruit des pleurs d'aurore" by [Jean-Jacques] Rousseau, p. 80; Duet, "Dolce dell' anima," from the opera "Sargino" by [Ferdinando] Paer, pp. 81-83; Song, "'Tis not wealth, it is not birth," from "Love in a Village" by [Felice] Giardini [1716-1796], pp. [84]-85; Song, "O had I been by fate decreed," from "Love in a Village" by Dr. [Samuel] Howard, p. [86]-87; Russian air, by U.A., p. 87; Four-part song, "Enjoy thyself howe'er thou art" (Ermunterung) by [Carl-Maria] von Weber, p. 88-89; Canzonet, "The fortune land" (Das glückliche Land) by [Ludwig van] Beethoven, pp. 90-93; Madrigal, "The nightingale" by Thomas Weelkes (1600), pp. 94-97; Rondo, "Down, down a thousand fathom deep" by [Karl] Keller, pp. 98-100; Terzettino, "Angiol di pace all' anima," from the opera "Beatrice di Tenda" by [Vicenzo] Bellini, pp. 101-103; Cavatina, "Piu Bianca di giglio," from "La cosa rara" by [Vicente] Martin [y Soler] (also listed as Vicenzo Martini), pp. 104-105; Song, "The sapling oak," from "The siege of Belgrade" by [Stephen] Storace, pp. 106-108; Prize-Glee (1773), "In the merry month of May" by Benjamin Cooke, pp. 109-115; Song, "The letter of flowers" by Franz Schubert, pp. 116-117; Duet, "The neighb'ring convent's bell," from "The padlock" by [Charles] Dibdin, pp. 118-120; Elegia, "Sulla tomba di Bellini, l'amico dolente" by [Jules Eugene Abraham Alary (1814-1894)], pp. 121-123; Song, "An address to a Locket" by Dr. [Samuel] Arnold, pp. 124-125; Glee, "Oh! Tarry gentle traveler" by Dr. [William Hutchins] Callcott, pp. 126-131; "Romance and Duet," from the opera "Fortunatus" by [Xavier] Schnyder [von Wartensee, (1786-1868)], pp. 132-134; "A spring song" (Fruhlingslied) by [Felix] Mendelssohn, pp. 134-135; Caliban's song, "The Owl is abroad" from "The tempest" (as altered in 1756) by John Christian Smith, pp. 136-137; Song, "Henry cull'd the flow'ret's bloom," as sung in the opera "Rosina" by [Antonio] Sacchini, pp. 138-140; Round, "[Se placar volete amore / Nel contrasto Amor si rende]" by Vicenzo Martini, [words by Pietro Metastasio, from "Strofe per musica," aria L], p. 140; Canzonet for four voices, "Canst thou love and live alone?" by Ravenscroft, pp. 141-143; Air, "Le secret" by Franz Schubert, [from "Zwei Lieder," Op. 14, No. 2 Geheimes, D 719], pp. 144-146; Song, "Come, dear Maria!" by [Sigismund Ritter von] Neükomm, pp. 146-147; Arietta, "The country wedding" arr. by Thomas Joseph Ritson, pp. 148-149; Cavatina, "Tu sai qual oggetto," from the opera "Constanza e Romilda" by [Giacomo] Meyerbeer, pp. 150-151; Cantata, "Let the dreadful engines," from the opera "Don Quixote" by [Henry] Purcell, pp. 152-157; Terzetto and chorus, "O come o bella" by [Samuel] Webbe, pp. 158-160; Cavatina, "Sgombra I miei dubbi, o cielo!," from the opera "Ismalia" by [Saverino] Mercadante, pp. 161-163; Glee, "The seasons" by Dr. [Samuel] Arnold, pp. 164-169; Duet, "Soft is the Zephyr's breezy wing" by [Thomas Augustine] Geary, pp. 170-173; Romance, "Expectation" by [Felix] Mendelssohn-Bartholdy, pp. 174-175; Song, "Peaceful slumb'ring on the Ocean," from the opera "The pirates" by [Stephen] Storace, p. 176; Vol. 4: Duet, "O what various charms unfolding," [from] "Seasons" by [Joseph] Haydn, pp. 1-3; Song, "No, 'twas neither shape nor feature" (introduced in "The flitch of Bacon") by [Giovanni] Paisiello, pp. 4-5; Romance "Ma belle Ange" by Théodore Labarre, pp. 6-7; Trio, "When the rosy morn appearing," from the opera "Rosina" [by Antonio Sacchini], pp. 8-10; Cavatina, "Si, lo sento," from the opera "Faust" by [Louis] Spohr, pp. 11-13; Round, "The dumb peal" by Dr. [Benjamin] Cooke, p. 13; Cantata, "Alexis" by John Christopher Pepusch, pp. 14-19; Glee, "Melting airs soft joys inspire" by Dr. William Hayes, p. 20; Canzonetta, "Vita felice" by [Ludwig van] Beethoven, pp. 21-23; Song, "How hardy I conceal'd my tears," [music from Das Traumbild by Wolfgang Amadeus] Mozart, pp. 24-25; Duettom "Unito a un puro affetto," in the opera "Teseo" (Theseus) by [George Frideric] Handel, pp. 25-28; Glee, "Mark'd you her eye of heavenly blue?" by [Reginald] Spofforth, pp. 29-31; Madrigal, "Cynthia! Thy song and chanting" by Giovanni Croce, pp. 32-37; Song, "With lowly suit and plaintive ditty," from the two-act opera "No song, no supper" by [Stephen] Storace, pp. [38]-40; Canzonetta, "Aure amiche" by Georg Müller, pp. 41-43; Quartetto, "Dal tuo stellato soglio," from the opera "Mosè in Egitto" by [Gioachino] Rossini, pp. 43-[47]; Song, "Encompass'd in an angel's frame," from the [opera] "Lord of the Manor" by [William] Jackson, pp. 48-49; Canzonet, "I my dear, was born to-day" by [John] Travers, pp. 49-55; Canzonetta, "In questa tomba oscura," [WoO133] by [Ludwig van] Beethoven, pp. 56-57; Recti[ative] and Air, "How gentle was my Damon's air! / On every hill in every grove," from the masque "Comus," [music by] Dr. [Thomas] Arne, pp. 58-60; Song, "What makes this poor bosom" by [Louis] Spohr, pp. 61-63; Trio, "An argument" by I[gnaz] Moscheles, pp. 64-65; Ballad, "Ere around the huge oak," from the comic opera, "The farmer" by [William] Shield, pp. 66-67; Canzonetta, "La contraddizione" by Gabriello Piozzi, pp. 67-69; Prize Glee, "Awake! Aeolian lyre" by [John] Danby, pp. 70-73; Duet, "Dopo cento affanni," from the opera "[La Grotta di] Calypso" by [Peter von] Winter, pp. 74-77; "The spirit song," [H 26a, no. 41] by [Franz Joseph] Haydn, pp. 77-80; Aria, "Adelaide," [op. 46] by [Ludwig van] Beethoven, pp. 81-87; Madrigal, "Fair! sweet! cruel! Why dost thou fly me?" by [Thomas] Ford, pp. 88-91; Rondo, "While the lads in the village," from the opera "The quaker" by [Charles] Dibdin, pp. 92-95; Glee, "Peace to the souls of the heroes!" by Dr. [William Hutchins] Callcott, pp. 96-100; Cavatina, "Lungi dal caro bene," in the opera "Giulio Sabino" by [Giuseppe] Sarti, pp. 101-103; Duet, "Hark! my Daridear!" from [John] Dryden's tragedy "Tyrannick love" (i.e., The royal martyr) by [Henri] Purcell, pp. [104]-111; Song, "Her image ever rose to view" from the opera "Nettley Abbey" by [Carl Friedrich] Baumgarten, pp. 112-115; Prize glee, "A gen'rous friendship no cold medium knows" by [Samuel] Webbe, pp. 116-117; Song, "There the silver'd waters roam" from the opera "The pirates" by [Stephen] Storace, 118-120; Song, "From glaring show and giddy noise" by [Samuel] Webbe, pp. 121-[123]; Round, "I loved thee beautiful and kind" by [Jonathan] Battishill, p. 124; Catch, "O let the merry peal go on!" by [John] Danby, p. 125; Duetto, "Guarda qui, che lo vedrai" by [Joseph] Haydn, p. 126-131; Song "On board the valiant!" from the comic opera "The shipwreck" by Dr. [Samuel] Arnold, pp. 132-133; Prize glee, "Return, blest days" by John Stafford Smith, pp. 134-137; Romanza, Una furtive lagrima" from the comic opera "L'Elisire d'amore" by [Gaetano] Donizetti, pp. 138-140; Madrigal, "Ev'ry bush new springing" by Michael Cavendish, pp. 141-[144]; Duettino, "When first I saw thee graceful move" by Nicolo Pasquali, p. 145; Aria, "Per pieta, non ricercate" in the opera "Il curioso indiscreto" by [Wolfgang Amadeus] Mozart, pp. 146-149; Duet, "Amor gioie mi porge" [music by George Frideric] Handel, pp. [150]-153; Elegy, "While grief and anguish rack my breast" from "Selima and Azor" by Thomas Linley, pp. 154-155; Song, "Light as thistle-down" from the opera "Rosina" by [William] Shield, pp. 156-157; Son, "Fair Liela" by [William] Linley, pp. 158-160; Duetto, "Io lo so" [i.e., Canzonetta: Io lo so, che il bel sembiante, W H4] by Johann Christian Bach, pp. 161-163; Ariette, "Oiseaux, si tous les ans" [K.307/K.284d] by [Wolfgang Amadeus] Mozart, pp. 164-165; "The waits" by Jeremiah Savile, p. [166]; General index to the vocal music, with short biographical notices, pp. [167]-172; General index arranged according to the titles and also the first words ..., pp. [173]-174. digital.library.unt.edu/ark:/67531/metadc39290/
Nouvelles parodies bachiques, mélées de vaudevilles ou ronde de table
This a copy of vol. 2 of an anthology of French songs compiled by Christophe Ballad, music publisher of King Louis XIV. The work consists mainly of unaccompanied melodies with underlaid text for selected acts of the following tragedies: Proserpine (pp. 1-19); Le triomphe de l'amour (pp. 20-60); Persée (pp. 61-81); Phaeton (pp. 62-94); Amadis (pp. 95-125); Roland (pp. 126-155); Armide (pp. 169-176); Acis et Galatée (pp. 177-192). It contains also melodies for "Ballet du temple de la Paix" (pp. 156-168), and Vaudevilles on rondes de table (pp. 193-264). Two previous editions, compiled by Monsieur Ribon, published under title: Parodies bachiques. Cf. RISM, v. B I, 1 1695(4) and 1696(1), present ed. listed as 1700(3). digital.library.unt.edu/ark:/67531/metadc25959/
Le piacevoli poesie
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. digital.library.unt.edu/ark:/67531/metadc39296/
The Padlock
This is a copy of a ca. 1768 edition of Isaac Bickerstaff libretto for the two-act English comic opera "The Paddlock" by Charles Dibdin. The plot is an adaptation of Miguel de Cervantes's "El celoso extremeño" (translated as, The Jealous Estremaduran). The t.p. features a vignette signed by IJ Taylor [possibly by the London engraver Isaac Taylor (1730-1807)] with four infants. The one at the center is holding several keys and is playing horse riding with a walking stick that has a padlock attached to it. In the story, Don Diego, a rich old man, hopes to marry the young Leonora and locks her inside his house using a large padlock on the front door. After bribing the servants, the younger suitor, Leander, climbs over the garden wall to court Leonora. Don Diego returns unexpectedly and catches the lovers, but allows the young couple to wed acknowledging that he is too old for Leonora. digital.library.unt.edu/ark:/67531/metadc31510/
Messa à 4
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. digital.library.unt.edu/ark:/67531/metadc86519/
Orfeo ed Euridice
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. digital.library.unt.edu/ark:/67531/metadc25951/
Tancrède: tragédie
André Campra’s Tancrède, which premiered on 7 November 1702, is his best-known tragédie en musique, with a run of performances until 1764, and high praise by noteworthy music personalities such as Rameau. While the music critic La Cerf de la Viéville wrote positive comments about Tancrède, he was bothered by the opera’s use of low voices, which defied the tradition of employing castrati parts. Additionally, the role of Clorinda was written for a well-known contralto named Mademoiselle Maupin; although the range is that of a mezzo-soprano, the powerful quality of Maupin’s voice seemed to be a prime consideration for Campra. digital.library.unt.edu/ark:/67531/metadc23/
Prima la musica e poi le parole
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." digital.library.unt.edu/ark:/67531/metadc25963/
Mélomanie : opera comique en un acte en vers mêlé d'ariettes mis en musique
During his early career, Champein was known for church music composed while he worked as music master at the collegiate church in Pignon (in the southern Provence region of France). He moved to Paris and established himself as an operatic composer; La mélomanie (1781) is one of his most famous operas, and it remained in the repertoire at the Opéra-Comique until 1829. La mélomanie actually mocks the debate between French and Italian styles of music, with Fugantini as an Italian who is rejected by the French Elise. References to harmony (a French feature) and melody (emphasized by advocates of Italian music) abound in the opera. digital.library.unt.edu/ark:/67531/metadc78/
Coronis
Libretto of the 1691 "Coronis," a French lyrical genre called pastorale-heroïque, representing the love of nobles or gods often disguised as shepherds (or shepherdesses) in Arcadian settings. Daniel-Paul Chappuzeau de Baugé wrote the libretto and Teobaldo de Gatti composed its music. digital.library.unt.edu/ark:/67531/metadc39253/
Les deux journées
Vocal score of Luigi Cherubini's rescue opera "Les deux journées" (also known by the title, The water carrier) to a libretto by Jean-Nicolas Bouilly. The first performance took place in Paris at Théâtre Feydeau on January 16, 1800 followed by 56 performance during that year. Les deux journées remained in the international repertory of operas for most of the 19th century. The piano reduction contains the text in French and German. digital.library.unt.edu/ark:/67531/metadc39254/
Ifigenia in Aulide
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. digital.library.unt.edu/ark:/67531/metadc39295/
Matrimonio segreto : dramma giocoso in due atti = ou, Le mariage secret : opera comiLe mariage secret : opera comique en deux actesque en deux actes
Domenico Cimarosa’s Il matrimonio segreto premiered at the Burgtheater in Vienna on 7 February 1792, just two months after Mozart’s death. It received immediate accolades, particularly from Emperor Leopold II, and the opera was performed a second time that day for a private audience that included the Holy Roman ruler. Il matrimonio segreto enjoyed a successful run that lasted almost a hundred years, with revised versions appearing in the second half of the nineteenth century; in 1933, the work was performed at the Library of Congress. Although the harmonic language is largely diatonic, Cimarosa’s beautiful melodies and exciting rhythms complement Bertati’s direct text. The opera presents the predicament of the secretly married couple without resorting to stock plot conventions such as characters in disguise, conveying the dramatic naturalness and simplicity promoted by Rousseau. The inventive orchestration, which includes clarinets, was another aspect of the opera that was praised by some (while Schumann appreciated the orchestration, Berlioz was unimpressed). digital.library.unt.edu/ark:/67531/metadc82/
Songs in the new opera call'd Arsinoe, queen of Cyprus
Thomas Clayton’s first opera, Arsinoe, Queen of Cyprus, premiered at Drury Lane in London on 16 January 1705. The opera initially enjoyed success, but two years later, Clayton’s second opera was not well-received. Part of Arsinoe’s popularity may have been due to Catherine Tofts' portrayal of the title character; Toft would later become a star of the English stage. digital.library.unt.edu/ark:/67531/metadc3/
Devil to pay: or, The wives metamorphos'd
English libretto to Charles Coffey's ballad opera The devil to pay or, The wives metamorphos'd. The Devil to Pay is an adaptation of Thomas Jevon’s play The Devil of a Wife (1686). Nearly fifty years later, the ballad opera appeared at Drury Lane with Charles Coffey and John Mottley each responsible for half of the three acts. However, a much shorter and more well-received one-act version, edited by Theophilus Cibber, is represented in the printed libretto. Today Coffey is generally the only name widely attached to The Devil to Pay. The opera’s popularity is attested by the frequent performances and a translation into German, which contributed to the development of the Singspiel. digital.library.unt.edu/ark:/67531/metadc2/
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. digital.library.unt.edu/ark:/67531/metadc50/
Thetis et Pelée; tragédie en musique
Pascal Collasse was one of the few opera composers able to secure successful performances in the years following Lully’s death. Collasse then went on to supply the music for the entire opera, Thétis et Pélée, which was premiered at the Paris Opéra on 11 January 1689. Thétis remained popular throughout Collasse’s lifetime, in spite of its rather weak plot. Owing to its success is primarily the music, including a significant storm scene in Act II. This departure from the Lullian tradition is perhaps Collasse’s most significant contribution to the tradition of French opera. digital.library.unt.edu/ark:/67531/metadc4/
Elements of Musical Composition; comprehending the Rules of Thorough Bass, and the Theory of Tuning.
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. digital.library.unt.edu/ark:/67531/metadc39255/
1er quatuor, pour deux violons, alto et basse, oeuvre 5
This is a digital copy of the four parts of Charles Dancla's first string quartet, op.5 in F 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). The library's copy includes a list of subscribers that names amateur and distinguished musicians such as: the composers [Hector] Berlioz, [Luigi] Cherubini, [Giacomo Meyerbeer], the violinist [Jean-Delphin] Alard, and pianist [Pierre] Zimmermann, among others. digital.library.unt.edu/ark:/67531/metadc39285/
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). digital.library.unt.edu/ark:/67531/metadc39286/
Prélude à l'après-midi d'un faune
This is the orchestral score of Debussy's Prélude à l'après-midi d'un faune. The copy was presented to Edouard Colonne with the inscription by the composer on the title page, "à Monsieur E. Colonne en hommage d'infinie gratitude artistique, Claude Debussy, Oct. 1895." The score contains performance markings in pen, pencil and crayon; possibly by Colonne. In original green wrapper. Preserved in green cloth-and-marbled-paper chemise with matching slipcase. digital.library.unt.edu/ark:/67531/metadc11081/
Momie
This is a ca. 1778 libretto for the burlesque opera in three acts "Momie" by a Jean Étiennethat Despréaux. The opera is a parody based on Leblanc du Roullet's libretto of "Iphigénie en Aulide," an opera by Christoph Willibald Gluck. The libretto includes the titles of the tunes at the opening of each scene. Page 6 of the library's copy is incorrectly numbered as page 9. digital.library.unt.edu/ark:/67531/metadc25958/
Issé
1724 score of André Cardinal Destouches' opera Issé. Destouches’s Issé premiered in 1697, just nine years after the death of Jean-Baptiste Lully. The tradition of featuring new operas at the court prior to a public premiere—common during Lully’s later years—was reinstated with this work. When Destouches revived the opera in 1708, he enlarged the original three-act work to five acts. This allowed for expanded divertissements, choruses, and more elaborate arias, which appealed to contemporary public preferences. The volume in the Virtual Rare Book Room is the five-act version. digital.library.unt.edu/ark:/67531/metadc5/
Omphale, tragedie en musique
Omphale (1701) is one of Destouches’s contributions to the Lullian genre of the five-act tragédie en musique. Half a century after the premiere, Friedrich Melchior Grimm targeted the opera in his pamphlet “Lettre sur Omphale” (1752), which continued the earlier debate between advocates of Lully and Rameau. This written attack also precipitated the famous guerre des bouffons, which was sparked by a performance of Pergolesi’s La serva padrona (1733) in 1752. digital.library.unt.edu/ark:/67531/metadc6/
Zephire et Flore
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. digital.library.unt.edu/ark:/67531/metadc39291/
Les deux chasseurs et la laitière; comédie en un acte
Undated score of Egidio Duni's opera Les deux chaussures et la laitière. Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc8/
Les deux chasseurs et la laitière; comédie en un acte
Duni’s French style was shaped by the developments of the War of the Buffoons, which pitted French tragic opera against Italian comic opera. The newly emergent opéra comique genre, for which Duni is still considered to be one of the major contributors, combined elements of both styles. His significance in the development of opéra comique is evident in the long-term success of Les deux chasseurs et la laitière, which was performed at the Comédie-Italien until 1792, almost twenty years after the composer’s death. digital.library.unt.edu/ark:/67531/metadc7/
Jeannot et Colin
This is a ca. 1857 copy of the libretto of Jeannot et Colin, an opera by Charles Etienne with music by Nicolo Isouard. The opera premiered in Paris at the theater of the Opéra-Comique on 17 October 1814. The expressive melodies of the opera as well as its performers ensured its success. The opera was staged again on 14 October 1857. The first page of the library's copy contain the names of the performers that participated in both productions. digital.library.unt.edu/ark:/67531/metadc39260/
Forza del sangue, e della pietà; drama per musica
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.” digital.library.unt.edu/ark:/67531/metadc9/
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. digital.library.unt.edu/ark:/67531/metadc10/
Enée et Lavinie
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. digital.library.unt.edu/ark:/67531/metadc39256/
Thetis et Pelée
Libretto of the opera "Thetis et Pelée" by Bernard le Bovier de Fontenelle. In the plot, the Nereid Thetis is wooed by Jupiter and Neptune, as well as by a mortal, Pelée (Peleus). When a storm caused by Neptune disrupts a celebration Jupiter gave in honor of Thetis, an oracle is consulted, which foretells that Thetis's husband will one day be less powerful than his son. Neptune and Jupiter withdraw their claims, and Thetis marries Pelée. Pascal Collasse composed the music of the opera which premiered at the Paris Opéra on January 11, 1689. This copy includes an engraved frontispiece titled, "Thetis et Pelée" by Juan Dolivar (undersigned as J. Dolivart). digital.library.unt.edu/ark:/67531/metadc39289/
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. digital.library.unt.edu/ark:/67531/metadc11/
Amore fra' gl'impossibili
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." digital.library.unt.edu/ark:/67531/metadc11793/
La fede ne' tradimenti
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. digital.library.unt.edu/ark:/67531/metadc25954/
La Geneviefa
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. digital.library.unt.edu/ark:/67531/metadc25956/
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." digital.library.unt.edu/ark:/67531/metadc34/
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. digital.library.unt.edu/ark:/67531/metadc67/
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. digital.library.unt.edu/ark:/67531/metadc45/
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. digital.library.unt.edu/ark:/67531/metadc56/
Echo et Narcisse, drame lyrique en trois actes
After the resounding success of Iphigénie en Tauride (1779), Gluck set out to compose his last of the seven Paris operas, which turned out to be his final opera. Whereas Iphigénie en Tauride is often considered Gluck’s best opera, its immediate successor, Echo et Narcisse (1779) was ill-fated and quickly disappeared from the repertoire. Echo was premiered a mere four months after Tauride, and the Parisian audience was not prepared for the differences between these two operas. Although the music resembles that of his other French operas, the pastoral story lacks the dramatic intensity that viewers expected in a Gluck opera. Thus, the serene music—though it is at times quite beautiful— lacks dramatic impulse. digital.library.unt.edu/ark:/67531/metadc13/
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements. digital.library.unt.edu/ark:/67531/metadc15/
Iphigenie en Aulide; tragédie. Opera en trois actes
Although he did not have a production planned, Gluck composed the music for Iphigénie en Aulide for Paris, with the intention (along with Roullet) of establishing himself at the Opéra. He initially had difficulties convincing the Academy of Music to arrange for the production, but with the support of Marie Antoinette, the opera was finally realized in 1773. Gluck revised Iphigénie for performances in 1775. The most significant change was the addition of Diana as a character, whose appearance serves as the deus ex machina of the plot. He also altered and expanded the divertissements. digital.library.unt.edu/ark:/67531/metadc14/
Orphée et Euridice; tragédie; opéra en trois actes
The Viennese premiere of Orfeo was extremely well received, and Gluck decided to revise the opera as Orphée et Eurydice for Paris in 1774, with the French adaptation and additions provided by Pierre Louis Moline. The role of Orpheus was lowered slightly for an haute-contre singer (a male operatic voice type more in line with an alto range), adhering to French preferences. The opera was lengthened, to create a more magnificent spectacle, with extra arias, ensembles, and instrumental numbers. Gluck also modified the orchestration to accommodate the orchestra at the Académie Royale de Musique. This version, Orphée et Eurydice, became one of the most popular operas in France. digital.library.unt.edu/ark:/67531/metadc16/
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